Tag: chants

There was a powerful asurā named Tārakā who repeatedly defeated the Devas in heaven. He had cleverly obtained a boon that only the son of Lord Paramaṣivā could defeat him. This occurred after Dhakṣa’s Yaga. Lord Paramaṣivā and his wife, ṣatidevi, the daughter of King Dhakṣa, were not invited to the Yajṉa organized by Dhakṣa. ṣatidevi attended the Yajṉa alone, but unable to endure the humiliating insults Dhakṣa directed at Lord Shiva, she decided to renounce her physical body. She detached her brahmasvarūpa (divine consciousness) and immolated herself in the fire. In deep grief, Lord Shiva carried Sati’s burnt body and wandered across the universe. Lord Vishnu, using his sudarṣaṉa cakrā, cut the body into fifty-one pieces, which fell at various places, later known as shaktipītās.
This is where the story begins. Lord Shiva’s anger subsided, and he retreated to the Himalayas, assuming the form of Dhakṣiṇāmūrthi, the embodiment of Supreme Consciousness. He engaged in intense penance, detached from all thoughts and emotions, absorbed in solitary meditation for years.

The Devas were desperate for the birth of a son to Shiva, as only he could defeat the demon Tārakāsurā. At this time, Sati Devi had reincarnated as Pārvati Devī, living in the Himalayas, devotedly caring for Lord Shiva, who remained in deep meditation. The Lalithopākhyāṉam begins here. The Devas thought, “If Pārvati and Paramesvarā were to marry, Siva Kumārā would be born. He would defeat Tārakāsurā and free us from our fearful and humiliating existence.”

In his arrogance, Maṉmatā, the God of love, thought, “Let my arrows of love and desire awaken Lord Shiva’s affection for Pārvati and lead to the birth of Siva Kumārā.” However, when he approached Lord Shiva, the Lord opened his third eye and burned Kāmadevā to ashes. Thus, Kāmadevā ceased to exist. The Lalithopākhyāṉam begins at this point, where Kāmadevā, who had tried to assist the Devas, was reduced to ashes by the fire from Shiva’s third eye. The Devas were distressed, as Kāmadevā’s intentions had been sincere in helping them. Chitraseṉa, an army chief, collected Kāmadevā’s ashes and drew a form from them. There are two interpretations of the form created by Chitraseṉa.

Some say that the form Chitraseṉa created from Kāmadevā’s ashes was an incomparably beautiful version of Maṉmatā. However, when Brahmā saw this figure, he burst into laughter. Since he was not its creator, Brahmā sarcastically exclaimed, “Bhandā, Bhandā” a Sanskrit term used to mock. Brahmā found the figure amusing and thought, “What a strange form Chitraseṉa has made.” Despite this, the Devas still carried the form and placed it before Paramesvarā.

It is said that when Lord Shiva glanced briefly at the form, it came to life. Out of sympathy for Maṉmatā, the Devas bestowed various boons upon this newly created being. They offered ceremonial umbrellas and fans, while Sūryā (the Sun God) and the nine planets presented him with various gifts. Indra gifted him an elephant comparable to Airāvatā. A sage then initiated this being, named Bhandā, into the Rudramantra.

Bhandā was instructed to chant the Rudramantra daily for his prosperity and growth. He was granted a boon to live in great prosperity for sixty thousand years. However, betraying the trust of the Devas, Bhandā became an evil and formidable asura. With the destruction of love and desire embodied by Kāmadevā, a being fueled by terrible anger was born—Bhandāsurā. In their fear of Bhandāsurā, the Devas even forgot the torment they had been enduring under Tārakāsurā.

One of the Devas had granted Bhandā a boon: “You will gain half the strength of every foe you fight.” This is part of the history of Bhandāsurā’s destruction, as detailed in the Lalitha Sahasranama. We will learn more in the upcoming episodes.

To be continued….
#Lalita #LalithaSahasranamam

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.

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#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

Let me tell you a story. A great soul named Appayya Dikshithar lived in Thanjavur. He was the one who introduced the tradition of “Sampradaya Bhajans.” A wealthy landowner, he had two children. Nearing the end of his life, he wanted to divide his wealth between his offspring. He called them near and asked, “What do you want from me?” The elder son replied, “I want all your arable land.” In those days, a man’s wealth was measured by the fertile fields he owned. His land, located by the banks of the Kaveri River in Thanjavur, was so fertile that crops could be harvested three times a year. The elder son claimed all the fertile land, and Appayya Dikshithar transferred it to him.

The younger son’s name was Nilakandha Dikshithar. His father called him and said, “I have given all my fields to your elder brother, but don’t worry. I am going to gift you something far more valuable.” He handed him a book—the Devi Mahatmyam. He told his son, “This book is worth more than all the material wealth I possess.” Nilakandha, an ardent devotee, accepted the Devi Mahatmyam with great joy. The essence of the Devi Mahatmyam is the story of two devoted worshippers.

The story revolves around two men, Suradha and Samadhi. Suradha was a king, and Samadhi was a businessman, a Vaishya by caste. Both, having been exiled from their homes, met in a forest. There, they learned of Devi’s wondrous and magnificent history from a sage living in the forest. After both had exhausted their karma, Devi appeared before them and asked what they each desired. Suradha, still bound by his vasanas (subtle tendencies of the mind), said, “I want my kingdom back,” “I should have no foes,” and “I should be born as a king in my next life as well.” Devi granted all his wishes. It is said that Suradha was reborn as the son of the Sun God and became Saavarni, the Manu—a mystical sage and ruler of the earth—who later became emperor of the world. This is the story of Suradha as told in the Devi Mahatmyam.

Samadhi, the Vaishya, after living with the sage and listening to his teachings, had engaged in intense devotional practices to worship Devi. By that time, he had become completely detached from his family and wealth. He said, “All I seek is to attain you. I humbly ask for total devotion toward you.” In response, Devi granted him liberation from the world. While Suradha was blessed with material wealth and power, Samadhi attained salvation. Devi, in her grace, granted each what they desired. By chanting the Lalitha Sahasranama, we too can be uplifted from our current spiritual state.

This is one of the foremost blessings of chanting the Lalitha Sahasranama. It is an ideal prayer, suitable for both the common person and dedicated spiritual aspirants. An Ayurveda doctor named Radhakrishna Shasthri wrote a remarkable and insightful commentary on the Sri Lalitha Sahasranama in Tamil. He also authored a commentary on the Saundarya Lahari, among many other works, as a learned scholar. After completing the commentary on the Sri Lalitha Sahasranama, he took it to the Paramacharya of Kanchi for his blessings. The Paramacharya reviewed the book and gave him this advice: “Never sell this book for profit. Charge only the cost of printing.”

He blessed the book and returned it. The Sri Lalitha Sahasranama is one of the greatest and noblest texts ever written. It is complete in itself, and all the prosperity and auspiciousness we need in life will come to us if we sincerely read and reflect upon it. Whether we understand the meaning of each mantra or not, we will still be blessed by its benefits. It’s similar to going to a doctor for an injection. We may not know the exact nature of the medicine—whether it’s an antibiotic or something else—but we trust it will help us. Likewise, we take pills of various colors, as prescribed by the doctor, without fully knowing their composition.

We recognize the pills by their colors, not by the ingredients used in their manufacture, yet the medicine still works. Similarly, many devotees say, “We chant the mantras without knowing their meanings but with the understanding that we are worshiping Devi, the Omnipresent and Omniscient One.” These devotees are also blessed with miraculous boons. They don’t attempt to interpret the mantras with their intellect, but still receive the benefits, even without knowing the deeper meanings.

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#Lalitha #LalithaShasranamam

So far, we have explored the meanings of sixty-three mantras. We have learned about the incarnation of the Goddess as Mother and witnessed her supreme form, ‘The Virat Roopam’ of Devi. We listened to mantras praising her physical form, from her glorious hair to her divine feet. We heard about the majesty of her abodes, including her residence in the ocean of nectar, and the splendor of her palace made of wish-fulfilling Chintamani gems. We also saw how she was seated on a cot or throne supported by the Pancha Brahmas (five Brahmas). Kalidasa describes her seat as a throne studded with precious gems. Devi is portrayed as seated on the left lap of Kameshwara. Mantras 64 to 84 have a different theme but can be understood collectively, though they each hold unique meanings.

This section focuses on the destruction of the evil Bhandasura, known as “Bhandasuravadham.” It begins with the mantra,

devarṣigaṇa-saṅghāta-stūyamānātma-vaibhavā
[She whose might is the subject of praise by multitudes of gods and sages]
(Sri Lalitha Sahasranama – 64)

bhaṇḍāsura vadhodyukta śakti senā samanvitā
[who is endowed with an army of shaktis intent on slaying Bhandasura.]
(Sri Lalitha Sahasranama – 65)

and ends with the mantra,

haranetrāgni-sandagdha-kāmasañjīva-nauṣadhiḥ
[She who became the life-giving medicine for Kamadeva (the god of love) who had been burned to ashes by the fire from shiva’s (third) eye]
(Sri Lalitha Sahasranama – 84)

The slaying of Bhandasura has been retold as a story, with a detailed description of the battle found in the book Lalithopakhyanam. Sri Lalitha Sahasranama is a stotra derived from Lalithopakhyanam, where we find a much shorter version. The original Lalithopakhyanam contains 1,800 verses that describe the fierce battle. Just as the battle between Rama and Ravana in Sri Lanka showcases Rama’s valor, and the battle of Kurukshetra is central to the Mahabharata, the battle and victory over Bhandasura hold great significance in the Lalitha Sahasranama. So far, Devi has been depicted as serene, gracious, and the Mother of the Universe, with a voice like music and words as sweet as honey. In this part of the Sahasranama, we will now witness her courage and prowess in battle.

atisaumyatiraudrāyai natāstasyai namō namaḥ
namō jagatpratiṣṭhāyai dēvyai kṛtyai namō namaḥ
[We salute her who is beyond peace and anger and offer our salutations. Salutations to her who is the basis of the entire universe, who is the power behind devas and who is action oriented.]
(Devi Mahatmyam – 11)

In the Devi Mahatmyam, Devi is glorified as both the fiercest and the most serene. Her intrinsic nature is one of calm tranquility, but she transforms into a fierce and terrifying form when confronting and destroying evil Asuras and demons. She appears as the vanquisher of Mahishasura, wearing a garland of skulls, her tongue hanging out in anger. However, this fierce aspect of her nature is fleeting—it comes and goes. Much like a doctor who squeezes out all the pus from a festering wound, leaving no trace, Devi shows no hesitation in completely destroying the Asuras when their wicked behavior becomes unbearable for her other children. Despite her actions, she remains compassionate toward all.

We are about to witness her valour and courage in slaying the demon Bhandasura. One might wonder, how can Devi, whose nature is calm and serene, transform into such a terrifying form? The Lalitha Sahasranama needs to be absorbed in different ways. Devi is serene toward her devotees and terrible toward the cruel and wicked. In the Devi Mahatmyam, she is praised as both tranquil and terrifying, highlighting these two aspects of her nature.
Our capacity to understand, much like the flight of birds, differs from person to person. Some birds can fly only short distances, while others soar across continents. Similarly, our intellectual ability to grasp the teachings of the Sri Lalitha Sahasranama varies. Some devotees focus solely on chanting the mantras, believing the sound alone is sufficient to praise their divine mother, and they are blessed accordingly. Others, more advanced in their spiritual journey, understand the tantric meanings and deeper principles behind each mantra, using them as part of their Sadhana. For most of us, simply chanting the names of the gods is a spiritual practice in itself, like sacred steps leading to the divine.

Devotees progress in stages, from beginners (manda-adhikaris) to intermediate (madhyama-adhikaris) and ultimately to advanced (uttama-adhikaris). For great souls (mahapurushas), singing bhajans or listening to scriptures like the Bhagavatham is not a means of progress but a resting place, where they find peace within themselves. Amma, for instance, sings bhajans every day, finding rest in this devotion.

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#Lalitha #LalithaShasranamam

The 59th and 60th mantras of the Lalitha Sahasranama are
mahā-padmāṭavīsaṃsthā-kadamba-vanavāsinī
[She who resides in the great lotus forest and dwells in the Kadamba forest.]
(Sri Lalitha Sahasranama – 59,60)

The 61th mantra of Sri Lalitha Sahasranama is,
sudhā-sāgara-madhyasthā
[She who resides in the center of the ocean of nectar]

These three mantras describe Devi’s various abodes. Surrounding the Chintamani palace, there are prakarams (walls or enclosures) constructed from twenty-four different types of metals, each adorned with precious gems like diamonds and hessonites. Within each enclosure, beautiful gardens flourish. In one garden, a forest of Kadamba trees provides shade, while a great lake hosts a lotus forest. A sea of nectar, called Sudhasagara, is also part of her expansive gardens. Devi’s abode is located within the Chintamani palace, enclosed by these prakarams.

These mantras carry deep, subtle meanings. The primal energy, Kundalini Shakti, is the life force within every being. The seven chakras, or energy centers in our body, are Muladhara, Swadhisthana, Manipura, Anahata, Vishuddhi, Ajna, and finally, the Sahasrara Chakra at the crown of the head. According to Yoga Shastra (the science of yoga), Kundalini Shakti, represented as a coiled female serpent, resides at the base of the spine. Through deep devotion and intense spiritual practices, this Kundalini energy awakens and ascends through the chakras along the Sushumna nadi (a subtle nerve in the spine).

As Kundalini rises, it breaks through the knots (granthi) of Brahma, Vishnu, and Rudra, and enters the mandalas of Surya, Soma, and Agni, eventually reaching the Sahasrara (thousand-petaled lotus) at the crown of the head, where it unites with Shiva. This union represents Shivashakti samarasyam, the inseparable connection of Shiva and Shakti, like the radiance of the full moon. At this stage, a shower of ambrosial nectar flows through the body, flooding all 72,000 nerves. This nectar transforms the ordinary human self into a Self-realized being, leading to liberation.

The ultimate goal of life is to achieve liberation, attained through the awakening of Kundalini. After this divine union, the Kundalini returns to the Muladhara and resides there. While some may have differing interpretations, this process, known as abhyasa or sadhana (intense spiritual discipline), is the true path to liberation. Only through such dedicated spiritual practice can one achieve life’s ultimate purpose.

abhyāsātiśayajñātā
[She who is known only through the exceedingly streneous practice
of spiritual discipline]
(Sri Lalitha Sahasranama – 990)

This mantra elucidates the principles of liberation.
mahā-padmāṭavī-saṃsthā
[She who resides in the great lotus forest]
(Sri Lalitha Sahasranama – 59)

In the tantric tradition, the mahā-padmam refers to the thousand-petaled lotus of the Sahasrara Chakra, where Devi resides. Between the golden and silver walls, studded with precious gems, lies a Kadamba forest, a grove of celestial trees. Devi is also said to dwell in the center of the ocean of nectar, symbolizing her divine abode amidst boundless bliss and spiritual energy.

sudhā-sindhormadhye-suraviṭapivāṭīparivṛte
maṇidvīpe-nīpopavanavati-cintāmaṇigṛhe
śivākāre-mañce-paramaśiva-paryaṅkanilayāṃ
bhajanti-tvāṃ-dhanyāḥ-katicana-cidānandalaharīm
[The blessed ones meditate on You, full of Consciousness and Bliss and seated on the couch that appears like Śiva and Paramaśiva forming the bed in Your palace Cintāmaṇi surrounded by small sized bushes and celestial tress in the island of Maṇidvīpa situated in the middle of the nectarine ocean.]
(Saundaryalahari – 8)

In the Saundarya Lahari, Sri Shankaracharya Swami beautifully describes Devi’s abode: “In the middle of the ocean of nectar, surrounded by a grove of celestial trees, on the island of Manidweepam, within a dense garden of towering trees, stands a palace made of Chintamani gems. In this palace, on a bed whose planks are Shiva and whose four legs are Brahma, Vishnu, Maheshwara, Ishana & Sadashiva, a few meritorious souls are able to visualize thee and sing hymns in thy praise.”
This vivid portrayal of Devi’s city and gardens mirrors her divine majesty. Similarly, in the hymn Shyamala Dhandakam, Mahakavi Kalidasa offers a comparable description of Devi’s celestial abode.

jaya-janani-sudhā-samudrāntar-udyanmaṇidvīpa
saṃrūḍha-bilvāṭavīmadhya
kalpadrumākalpa-kādambakāntāra
vāsapriye, kṛttivāsapriye, sarvalokapriye !
[Victory to the Divine Mother! who is the darling of Siva and the whole world and who likes to live in the forest of kalpavriksha-like kadamba trees surrounding which is a forest of bilwa trees on the island of Manidweep in the midst of the ocean of nectar.]
(Shyamala Dhandakam)

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The 54th mantra of Sri Lalitha Sahasranama is,

svādhīnavallabhā
[She who keeps Her husband always under Her control]

Kameshwara and Kameshwari are inseparable and indivisible, embodying the union of Shiva and Shakti in one form. Just like Dharma and Dharmi, Shiva and Shakti cannot exist apart. This is reflected in the mantra, “She who sits on the lap of Kameshwara.” The same principle is reinforced in the opening verse of “Saundarya lahari.”

śivaḥ śaktyā yukto yadi bhavati śaktaḥ prabhavituṃ
na cedevaṃ devo na khalu kuśalaḥ spanditumapi
atastvāmārādhyāṃ hariharaviriñcādibhirapi
praṇantuṃ stotuṃ vā kathamakṛtapuṇyaḥ prabhavati
Saundarya Lahari 1
[Śiva becomes inert without Śaktī. When Śiva is not united with Śaktī, He cannot manifest the universe. Because of Her functional nature, Divine Mother becomes supremely important. Even gods and goddesses find it difficult to bow before Her and sing Her praise.]

Lord Paramashiva can pulsate only in the presence of Shakti; without her, he becomes motionless. Only those with accumulated merit from past births are able to worship Devi and praise her glory, as she is adored by Shiva, Vishnu, and Brahma. This is possible only through the grace and blessings of the Divine Mother. The first verse of Saundarya Lahari reflects this meaning, portraying Devi as one who holds her husband under her influence and control. For example, Sukanya, the devoted wife of Sage Chavana, recognized and reunited with her husband through Devi’s blessings. Sachi Devi, the wife of Indra, was able to keep Indra under her influence with Devi’s grace. Rukmini prayed at Devi’s temple to attain Lord Krishna as her husband, and her wish was granted. We have heard about Devi’s inner abode, on the lap of Kameshwara, where she influences him. Now, we hear of Devi’s outer abodes, described in the three mantras starting from the fifty-fifth verse.

sumeru-madhyaśṛṅgasthā-śrīman-nagaranāyikā
cintāmaṇi-gṛhāntasthā -pañca-brahmāsanasthitā
[She who sits on the middle peak of Mount Sumeru, who is the Mistress of the most auspicious (or prosperous), who resides in a house built of the cintamani and she who sits on a seat made of five Brahmas]
(Sri Lalitha Sahasranama – 55-58)

Two abodes of Devi are described here. One is where she sits on the middle peak of Mount Meru.
sudhā-sāgara-madhyasthā
[She who resides in the center of the ocean of nectar]
(Sri Lalitha Sahasranama -61)

She also resides at the center of the ocean of ambrosia. It is said that Mount Sumeru is made of gold, with four great mountains surrounding it, three of which form a triangle. Devi’s magnificent abode, Sripura, is located on the central peak—the tallest and most majestic of all. Her divine residence is at the very heart of Mount Sumeru. Because of this, the mantra is written in both forms to reflect her abode on the central peak of Mount Sumeru and in the ocean of ambrosia.

“sumeru-madhya-śṛṅgasthā, sumeru-śṛṅga-madhyasthā”.
[She who sits on the middle peak of Mount Sumeru]
(Sri Lalitha Sahasranama – 55)

Devi is the queen of Srinagara, the most auspicious and prosperous city. Sri Pura, shaped like a wheel or chakra, is central to this divine city. The Srichakra, often depicted in sacred texts, is a beautiful and intricate design, composed of many interconnected triangles. Another name for this sacred diagram is Navavaranam, and at its center lies Sripuram, where Devi resides. Devi, the empress of Srinagara, is seated in the Bindu (dot) at the center of a triangle. This is her home, her divine abode. Her palace is located on the central peak of Mount Sumeru, built from the wish-fulfilling Chintamani gems, and she rests in the middle of the ocean of nectar.

These are various abodes of Devi. she is the empress of the most auspicious city, Srimannagara, her palace made of Chintamani. The Chintamani gems can grant every desire of the heart. Devotees pray to Devi, depending on her divine grace for the fulfillment of their wishes. Devi’s palace is set upon the majestic, golden Mount Sumeru, in the most auspicious city in the universe. Her bed or seat is formed by Brahma, Vishnu, Maheshwara, Isana, and Sadashiva – powers representing creation, sustenance, destruction, dissolution, and grace. Paramashiva forms the base of this seat and Devi sits on the lap of Kameshwara, the supreme self, as his consort. She is also the wife of Parabrahma, the ultimate self.

In the Lalitha Sahasranama, Devi’s glory is extolled in various mantras. She is described as residing on the middle peak of Mount Sumeru, reigning as the empress of the most auspicious city, dwelling in a mansion built of Chintamani, and seated on a throne made of the five Brahmas. When united with Shakti, these deities are known as Panchabrahmas, and without Shakti, they are called Panchaprethas.

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We have provided explanations for the mantras (47 & 48) up to this point.

marālī-manda-gamanā mahā-lāvaṇya-śevadhiḥ
[She, whose graceful gait resembles the slow and gentle movement of a swan, and who embodies the very essence of beauty.]
(Sri Lalitha Sahasranama stotram)

The next three mantras, beginning with the 49th, are…
sarvāruṇā-anavadyāṅgī-sarvābharaṇabhūṣitā
[She, who is completely radiant in red, whose body is deserving of worship, and
who shines brilliantly adorned with all kinds of ornaments.]
(Sri Lalitha Sahasranama stotram)

Up until this 49th mantra, we have been listening to descriptions of Devi’s glorious physical features, each reflecting a universal principle underlying her form. The mantras emphasize that Devi’s beauty is not merely a physical trait but a manifestation of a higher reality. At one point, we heard a mantra highlighting that Devi is not just a force confined to her body, she is the one who immerses the entire universe in the red effulgence of her form, representing her omnipresent nature. This red glow is symbolic of her divine presence that permeates the entire cosmos.

The 49th mantra reaffirms this aspect of Devi. She is depicted as radiant in red, and her heart is overflowing with compassion. The primary emotion, or intrinsic quality—her rasa—is Shringara (love). It is from this profound love that her compassion and affection for all her children flow. Her red aura envelops her flawless form, and every limb of her body is spotless, venerable, and glorious.

Whether we view her from head to toe or vice versa, her beauty captivates us, unmarred by any imperfection. In the Ramayana, it is said that Sri Rama’s features were so alluring that one could not take their eyes off him or shift their gaze from one part of his body to another. Similarly, if Devi looks at us, her compassionate gaze would absorb us entirely, leaving us unable to look away. Devi’s features are perfect, free of any blemish, and her radiant, red form exudes an unmatched beauty that embodies her divine love and grace.

In the Lalitha Sahasranama, there is the mantra
catuṣṣaṣṭy-upacārāḍhyā
[She who is adored in sixty-four ceremonies]
(Sri Lalitha Sahasranama – 235)

In those sacred ceremonies, there is a ritual where all of Devi’s ornaments, from her Choodamani (the jewel in her crown) to the tinkling anklets on her feet, are gently removed from her divine body. Following this, she is ceremoniously bathed and dressed with utmost reverence. Lit lamps are used to worship her, accompanied by the offerings of camphor and incense. Dance and music performances are held in her honor, as befits the queen of the royal court. What is remarkable is that none of the ornaments adorning her delicate form enhance her beauty. Rather, it is Devi’s radiant form that bestows its brilliance upon the ornaments she wears. She graciously allows herself to be adorned with these ornaments to bring joy to her devotees and to bless them with her grace as they become captivated by her beautifully adorned appearance. Her resplendent beauty shines even brighter through the many jewels and ornaments that grace her form. Now, the meanings of these mantras have been explained in detail.

In Lalitha Trishati, there is the mantra
“oṃ sarva-bhūṣaṇa-bhūṣitāyai namaḥ”
[She who shines brilliantly adorned with all kinds of ornaments]
(Sri Lalitha Trishati -140)

The fifty second mantra of Sri Lalitha Sahasranama is
śiva-kāmeśvarāṅkasthā
[She who sits in the lap of shiva, who is the conqueror of desire]

Devi sits on the lap of Kameshwara. She has also been pictorially described as ṣiva paryanga nilay Devi is depicted as seated on the left lap of Lord Shiva, and this imagery carries profound meanings and principles. In this context, Kameshwara, Lord Shiva, represents the undivided self—the principle of existence, consciousness, and bliss ( sat-chit-ānand ). Devi is referred to as “Parabrahma Mahishi,” meaning the consort of the Supreme Soul. Kameshwara is the Supreme Soul, the absolute and indivisible one.

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The 47th mantra of the Lalitha Sahasranama is:
marālī-manda-gamanā
[She whose gait is as slow and gentle as that of a swan]

and

The 48th mantra of the Lalitha Sahasranama is:
mahā-lāvaṇya-śevadhiḥ
[She who is the treasure-house of beauty]

From the 39th to the 47th mantra of the Lalitha Sahasranama, we see a vivid description of Devi’s form. Devi emerged from the Chitt Agni Kunda and walked gracefully towards the Devas. The phrase ” marālī-manda-gamanā ” highlights her slow, elegant steps, captivating the Devas. Her walk is described as more graceful than a swan’s glide and more majestic than an elephant’s stride. Devi’s beauty is unmatched, with no parallel in the world. The use of “Maha” emphasizes her supreme beauty and greatness, beyond all earthly and divine comparisons. Devi is described as a treasure, with each part of her body possessing unique attributes that awaken devotion in those who worship her. These mantras beautifully portray Devi’s form from head to toe, concluding with her auspicious feet. Poet Kalidasa emphasizes that no one can resist bowing down to her feet, signifying their divine allure. He provides an extensive list of descriptive words when praising the beauty and grace of Devi’s feet, highlighting their unmatched spiritual significance.

prahva-deveśa-lakṣmīśa-bhūteśa-lokeśa-vāṇīśa-kīnāśa-daityeśa
yakṣeśa-vāyvagni-koṭīramāṇikya-saṃghṛṣṭa-bālātapoddāma
lākṣārasāruṇya-tāruṇya-lakṣmīgṛhītāṃghripadme ! supadme ume!
[Victory to the Divine Mother! before whom bow down Indra, Vishnu, Siva, the lokapalas, Brahma, Yama, the Asura King, Kubera, Vayu, Agni and whose feet, adorned with red laksharasa and caressed by Lakshmi, shine like the light of the rising sun by the rays of manikya in the crowns of the celestials bowing down.]
(Shyamala Dandakam)

Kalidasa describes the imprints of the crowns of Devesha, Lakshmisha, Bhuthesha, Thoyesha, Saraswati, Brahma, Yakshas, Indra, Gandharvas, Vayu, and Agni on Devi’s auspicious feet. These feet are adorned with “Laksha rasam” and radiate beauty and youthfulness. Even goddesses like Lakshmi cling to Devi’s lotus feet, bowing and prostrating at all times, signifying their supreme reverence. The description concludes with Devi’s lotus feet, emphasizing their spiritual significance. In Saundarya Lahari, Adi Shankaracharya extols the superiority of meditating on Devi’s lotus feet, highlighting their transformative power.

kadā kāle mātaḥ kathaya kalitālaktakarasaṃ
pibeyaṃ vidyārthī tava caraṇanirṇejanajalam
prakṛtyā mūkānāmapi ca kavitākāraṇatayā
kadā dhatte vāṇīmukha-kamala-tāmbūla-rasatām
[“O! Divine Mother! I am a spiritual seeker. When I will be able to drink water mixed with henna that is used for washing Your sacred feet, which will make even a born dumb to become a composer of verses? When I will be able to taste the flavour of the essence of betel from Sarasvatī’s mouth?”]
(Saundaryalahari-98)

This shloka narrates a remarkable incident from the Gokarna Devi Temple. A boy, born dumb, was cruelly mistreated and mocked by others. He endured great suffering and, in his despair, devoted himself entirely to Devi, standing before her in the temple and praying continuously. Moved by his devotion, Devi decided to bless him. One day, Devi stepped out of the Sanctum Sanctorum with her auspicious feet smeared with Laksha rasa. She washed her feet in a vessel filled with water and poured this sacred water into the boy’s mouth. Afterward, Devi returned to her abode.

Soon, people noticed the boy’s mouth had turned red. Since no one else was present, they assumed Devi had given him betel leaves (thamboolam) . Miraculously, the boy began to speak and later composed beautiful poems in praise of Devi, marking the fulfillment of her divine grace. He composed the Mukha Pacha Sati, consisting of 500 shlokas. Later, he became the Head Pontiff of Sri Shankara Math. Among these, around 100 shlokas are dedicated to the description of Devi’s lotus feet, known as “Padaravindha Satakam.” The first section of the Satakam is called Mandasmita Satakam, focusing on Devi’s gentle smile. Nearly 100 verses are devoted to celebrating the beauty, grace, and divine essence of Devi’s smile, reflecting its profound spiritual significance.

Thus, the water that washes Devi’s auspicious feet holds the power to make a dumb person speak. This sacred water is considered as divine as the Thamboolam of Saraswati Devi, radiating the same luminous energy. Adi Shankaracharya reflects, “When will I have the chance to drink this holy water? When will I sit before Devi as a student and attain the knowledge of the Self?” Through these words, he exalts the transformative power of the water from Devi’s feet. We have explored Devi’s head-to-toe description so far, and we will continue with more divine descriptions in the days to come.

To be continued…

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