Tag: sanatana dharma

We continue with the description of Devi’s beauty from head to toe, as described in Lalita Sahasranama.

katyadhobhaga dharini
In this section, Devi’s knees, calves, ankles, feet, and toes are praised in order.

The forty-first mantra is:

indra gopa parikṣipta smara tunabha jaṅghikayai namah
whose calves gleam like the jewel-covered quiver of the God of Love.

This mantra describes the exquisite beauty of Devi’s calves, saying they gleam like the jewel-covered quiver of the god of love. Her legs are said to have the color of the Indeevara (blue water lily), with her calves glowing like jewels or fireflies against the backdrop of blue lilies.

In Saundarya Lahari, verse 83, Devi’s calves are described:

parājētuṃ rudraṃ dviguṇaśaragarbhau girisutē
niṣaṅgau jaṅghē tē viṣamaviśikhō bāḍhamakṛta ।
yadagrē dṛśyantē daśaśaraphalāḥ pādayugalī-
nakhāgrachChadmānaḥ suramakuṭaśāṇaikaniśitāḥ ॥
Saundarya Lahari 83

This verse narrates that Manmatha, the god of love, used Devi’s calves as his quiver when approaching Parameshwara to evoke desire. Having been revived by Devi’s grace after being burnt by Shiva’s third eye, Manmatha intended to use Devi’s beauty to arouse longing in Shiva, symbolizing that Devi’s calves possess an irresistible, unmatched beauty.

The great poet Kalidasa describes Devi’s calves similarly:

kōmalasnigdha nīlōtpalōtpādita
anaṅgatūṇīra-śaṅkākarōdāra
jaṅghālatē chārulīlāgatē
Shyamala Dandakam
whose smooth and graceful calves resemble Kama’s quiver made of blue lilies and whose gait is playful.

The forty-second mantra is:

gudha gulpha
whose ankles are hidden.

Gudha implies strength, beauty, and fullness, while gulpha refers to the area around the calf muscles. This phrase highlights the loveliness of Devi’s calf muscles and ankles.

The forty-third mantra is:

kurma prṣṭha jayiṣṇu prapadānvitā
whose feet have arches that rival the back of a tortoise in smoothness and beauty.

The metaphor here compares the high arches of Devi’s feet to the smooth, curving back of a tortoise. Kurma Prishtam means the tortoise shell, and Jayishnu implies that which surpasses all comparison. Sri Shankaracharya in Saundarya Lahari, verse 88, explains that while Devi’s high arches can be likened to a tortoise shell, the beauty of her feet goes far beyond.

padaṃ tē kīrtīnāṃ prapadamapadaṃ dēvi vipadāṃ
kathaṃ nītaṃ sadbhiḥ kaṭhinakamaṭhīkarparatulām ।
kathaṃ vā bāhubhyāmupayamanakālē purabhidā
yadādāya nyastaṃ dṛṣadi dayamānēna manasā ॥
Saundarya Lahari 88

Your feet, Devi, are known for bestowing fame and averting misfortunes. I wonder how poets compared your feet to a tortoise shell. When Siva married you, he lifted your feet tenderly and placed them on a stone, considering the effect they would have on even the hardest of hearts.

Devi’s lotus feet are said to confer fame and prosperity on those who worship them. Worshipping her divine lotus feet purifies the mind, an essential step for attaining the grace of the Divine Mother. In certain wedding ceremonies across India, there is a tradition of placing the bride’s foot on a flat grinding stone, symbolizing stability. It is said that during her wedding, Lord Kameshwara gently placed Devi’s foot on a stone, reflecting that her feet alone have the power to soften even the hardest of hearts. This act signifies that Devi’s feet are a remedy for those with hardened hearts, transforming them through the grace of her divine presence.

To be continued…
#Lalita #LalithaSahasranamam

We now explore the divine feet of Devi as described in Sri Lalita Sahasranama:

kūrma pṛṣṭha jayiṣṇu prapadānvitā
whose feet have arches that rival the back of a tortoise in smoothness and beauty.

The beauty and grace of Devi’s feet are extolled in Saundarya Lahari:

himānīhantavyaṃ himagirinivāsaikachaturau
niśāyāṃ nidrāṇaṃ niśi charamabhāgē cha viśadau ।
varaṃ lakṣmīpātraṃ śriyamatisṛjantau samayināṃ
sarōjaṃ tvatpādau janani jayataśchitramiha kim ॥
Saundarya Lahari 87

In traditional poetry, the limbs of gods and goddesses are often compared to lotus flowers, as seen in Balamukundashtakam: karāravindena padāravindaṃ…
Who with His lotus-like hands holds His lotus-like feet…

However, Sri Shankaracharya holds that the metaphor of the lotus is insufficient to describe Devi’s feet. While lotus flowers close at night and wither in snow, Devi’s lotus feet remain fully bloomed, bestowing grace continuously on her devotees. This constancy of Devi’s feet establishes their supremacy over the traditional lotus metaphor.

In another verse, Devi’s gait is celebrated:

padanyāsakrīḍāparichayamivārabdhu-manasaḥ
skhalantastē khēlaṃ bhavanakalahaṃsā na jahati ।
atastēṣāṃ śikṣāṃ subhagamaṇimañjīraraṇita-
chchalādāchakṣāṇaṃ charaṇakamalaṃ chārucharitē ॥
Saundarya Lahari 91

It is believed that Kailasa, the abode of Shiva, has many divine swans (hamsa) who observe Devi’s unique, graceful walk, described in Lalita Sahasranama as:

marālī manda gamanā
whose gait is as slow and gentle as that of a swan.

The swans, otherwise admired for their elegance, try to imitate Devi’s walk as a lesson in grace. Just as a Bharatanatyam teacher instructs their disciples in the precise placement of each step, Devi subtly shows the swans how to walk. Even after Devi departs, the swans continue practicing her graceful movements. The sound of Devi’s gem-studded anklets is like a guiding rhythm for the swans, further enhancing their training.

The difficulty of serving Devi’s lotus feet is expressed as follows:

purārātērantaḥpuramasi tatastvachcharaṇayōḥ
saparyāmaryādā taralakaraṇānāmasulabhā ।
tathā hyētē nītāḥ śatamakhamukhāḥ siddhimatulāṃ
tava dvārōpāntasthitibhiraṇimādyābhiramarāḥ ॥
Saundarya Lahari 95

Many divine beings, including Indra and other gods, worship Devi to attain the eight siddhis, or supernatural powers, and are stationed as gatekeepers at the outer gates of Sri Puram, Devi’s city. However, Devi resides within the heart of Lord Shiva, making her grace accessible only to the pure-hearted. True worship of Devi’s lotus feet requires mastery over one’s senses and desires, signifying a purified mind that has transcended worldly attachments. This deep level of devotion is described as the “worship of the lotus feet of Devi,” a spiritual practice that emphasizes inner purity.

In her abode, deep within Shiva’s palace, Devi remains in a space reserved only for the truly dedicated and pure-hearted. Indra and other gods, despite their supernatural attainments, stand as guardians alongside the Anima siddhis, demonstrating that only those with steadfast spiritual focus can draw close to Devi’s divine presence.

To be continued…
#Lalita #LalithaSahasranamam

In Sri Lalita Sahasranama, mantras 30-38 offer a detailed and poetic depiction of Devi’s navel and surrounding area. The 39th mantra reads:

kāmeśa jñāta saubhāgya mārdavoru dvayānvitā
(the beauty and softness of whose thighs are known only to Kamesha, her husband.)

This mantra emphasizes Devi’s unwavering love and devotion to Lord Kamesha (Shiva). In Shyamala Dandakam, the poet Kalidasa compares Devi’s thighs to the trunk of Airavata, the divine elephant of Lord Indra:

vikasita-navakiṃśukātāmra-divyāṃśukachchanna-
chārūruśōbhāparābhūta-sindūra-śōṇāyamānēndramātaṅga-
hastārgalē-vaibhavānargalē-śyāmalē”
(who has lovely thighs concealed by cloth as red as palas flowers, surpassing the beauty of Airavata’s trunk adorned with saffron; who has uninterrupted grace; who is a dark beauty.)

Airavata is pure white, while Devi’s thighs are likened to the saffron-smeared trunk of this elephant. Samudrika Lakshana, the science of beauty, holds that ideal feminine legs resemble either an elephant’s trunk or a banana tree stem. Sri Shankaracharya in Saundarya Lahari also compares Devi’s thighs to these forms in verse 82:

karīndrāṇāṃ śuṇḍān kanakakadalīkāṇḍapaṭalī-
mubhābhyāmūrubhyāmubhayamapi nirjitya bhavatī ।
suvṛttābhyāṃ patyuḥ praṇatikaṭhinābhyāṃ girisutē
vidhijñyē jānubhyāṃ vibudhakarikumbhadvayamasi ॥
(O Daughter of the Mountain! The beauty of Thy thighs surpass the trunk of lordly elephants as also the stem of golden coloured banana trees, while, O Observer of all ordained duties, Thy knees, hardened and perfectly rounded by repeated prostrations to Thy Consort; rival the frontal lobes of the heavenly elephant Airavata.)

Devi is also noted for her humility. Like Sri Rama in the Ramayana, Devi greets everyone first, earning the titles purvabhibhashi (one who initiates conversation) and purvanamaskari (one who bows first). Indra and other gods often prostrate before her, and she reciprocates by bowing in return. When Lord Shiva visits, Devi greets him with deep respect. Her knees have grown firm through this continuous gesture of humility (suvṛttābhyāṃ patyuḥ praṇatikaṭhinābhyāṃ), embodying how she models respect and reverence.

The 40th mantra continues:

māṇikya mukuṭākāra jānu dvaya virājitā
(whose knees resemble crowns fashioned from the precious red manikya gem.)

While her legs are soft, her knees are described as firm, symbolizing her regular practice of bowing before others. This notion is further illustrated by a story in Saundarya Lahari, verse 29:

kirīṭaṃ vairiñchaṃ parihara puraḥ kaiṭabhabhidaḥ
kaṭhōrē kōṭīrē skhalasi jahi jambhārimukuṭam ।
praṇamrēṣvētēṣu prasabhamupayātasya bhavanaṃ
bhavasyābhyutthānē tava parijanōktirvijayatē ॥
(As Brahma, Vishnu, Indra, and other deities prostrate before you, Shiva arrives unexpectedly, and you rush to greet him, careful not to trip on the sharp crowns of the gods who have bowed before you.)

In Devi’s court, Brahma, Vishnu, Indra, and other gods gather and bow before her, each wearing crowns studded with gems, their reflections glistening on Devi’s feet. When Lord Shiva enters, Devi, though queen, rises respectfully to greet him. Her attendants, the Yoginis, caution her about the sharp edges of the crowns in her path, ensuring she doesn’t stumble.

This mantra underlines Devi’s humility and her eagerness to honor all, especially Lord Shiva. Her knees, compared to manikya (ruby) crowns, have grown firm through the habitual bowing.

To be continued…
#Lalita #LalithaSahasranamam

We are about to listen to the 34th, 35th, and 36th mantras of Sri Lalita Sahasranama:

nābhyālavāla romāli latā phala kuca dvayyi
(whose breasts are the fruits on the creeper of the fine hairline that begins at her navel and spreads upwards.)

lakṣya roma latā dhāratā sumunneya madhyamā
(who has a waist, the existence of which can only be inferred from the creeper of her hairline that springs from it.)

stana bhāra dalan madhya paṭṭa bandha vali trayā
(whose abdomen has three folds forming a belt to support her waist from the weight of her breasts.)

Much like a child freely playing with its mother, describing her with innocent admiration, Devi’s navel is venerated here. The great poet Kalidasa captures this beauty in Shyamala Dandakam with the lines:

“tārakārājinīkāśa hārāvalismēra chārustanābhōga
bhārānamanmadhya vallīvalichchēda vīchīsamudyatsamullāsa
sandarśitākāra saundaryaratnākarē vallakībhṛtkarē kiṅkaraśrīkarē”
(She, an ocean of beauty, adorned with wave-like lines formed by the slight bend caused by her heavy, beautiful breasts, gleaming with jewels resembling stars; she who plays the sacred veena, and who grants wealth to her devotees.)

Kalidasa compares Devi’s form to a seashore at dusk: the sun has set, stars sparkle above, and below, the ocean waves create rhythmic lines. Her ornaments glimmer like stars in the sky, while the three delicate lines near her navel resemble waves on the ocean. In Samudrika Lakshanam (the science of beauty), three lines on the navel area are considered a mark of the ideal feminine form, likened here to ocean waves. Devi’s skin, with a hint of red, resembles the dusk sky, with her ornaments shining as stars and the navel lines as waves. In Sri Lalita Sahasranama mantra 369, Devi is also described as tanu madhyā (who has a slender waist). Here, Devi’s navel is described with the same tender innocence as a child describing their mother.

Next, we turn to the 37th and 38th mantras:

aruṇāruṇa kausumbha vastra bhāsvat kaṭī taṭi
(whose hips are adorned with a garment as red as the rising sun, dyed with the extract of safflower blossoms.)

ratna kiṅkiṇikā ramya raśanā dāma bhūṣitā
(who is adorned with a girdle decorated with gem-studded bells.)

In many languages, words are doubled for emphasis. Here, “aruna” (red) is repeated to convey the deep red color of Devi’s silk saree. The term aruna also appears frequently in dhyana shlokas, such as:

“aruṇām karuṇā taraṅgitākṣīm…
sindūrāruṇa vigrahām…
aruṇa mālya bhūṣojvalām…”

There is also a form of Devi known as Arunā, whose very essence is red, representing benevolence and embodying love and beauty. Ratnakiṅkiṇi is a special girdle adorned with gem-studded bells. Even today in North India, garments with such bells are common, producing a gentle jingle as women walk. In many instances, Devi is described wearing both yellow and red sarees.

Kalidasa further elaborates in Shyamala Dandakam:
“chāruśiñchat-kaṭīsūtra-nirbhatsitānaṅga-
līladhanu-śśiñchin-īḍambarē divyaratnāmbarē,”
(She, whose gentle shake of the golden belt surpasses the allure of Kamadeva’s bow in arousing love; she who is adorned in silk studded with gems.)

The jingling from Devi’s ratnakiṅkiṇi as she moves is likened to the sounds from Kamadeva’s bow, the god of love. Kalidasa imagines whether these are the victorious sounds of Kamadeva, Devi’s ardent devotee, who was revived from ashes by her grace after facing Shiva’s wrath.

To Be Continued…

#Lalita #LalithaSahasranamam

The next mantra in Sri Lalitha Sahasranama is
(Sri Lalitha Sahasranama: Mantra 33)
“kāmeśvara-prema-ratna-maṇi-pratipaṇastanī”
[She who gives Her breasts to Kameshvara in return for the gem of love He bestows on Her]

This is the thirty-third name, where Devi’s breasts are described as the object of Kameshwara’s worship. When something is received, something is given in return as an act of appreciation. Devi’s breasts are the seat of Kameshwara’s love, symbolizing her pride in motherhood. As the mother of all, Devi’s chest reveals this truth.

(Saundaryalaharī: Mantra 72)
samaṃ devi skandadvipavadanapītaṃ stanayugaṃ
tavedaṃ naḥ khedaṃ haratu satataṃ prasnutamukham
yadālokyāśaṅkākulitahṛdayo hāsajanakaḥ
svakumbhau herambaḥ parimṛśati hastena jhaḍiti
[Our Goddess Devi, Let your two cool breasts, Which have faces that always, Give out milk, And are simultaneously drunk deeply. By Skanda and the elepahant faced Ganesha, Destroy all our sorrows. Seeing them and getting confused, The Ganapathi feels for his two frontal globes, To see whether they are there, Making you both laugh.]

There is a shloka in Saundarya Lahari that narrates a story, highlighting the significance of Devi’s breasts. On Mount Kailash, Lord Shiva resides with his family—Parvati, Subramanya, and Maha Ganapati. Both Ganapati and Subramanya drank milk from Parvati with pure innocence, completely devoid of any feelings of lust, and this is how they remain to this day.

A playful story is told about Ganapati’s marriage. Being a young child, Ganapati overheard someone discussing marriage and curiously approached his parents, asking, “When will I get married?” His parents, amused, replied, “Tomorrow.” The next day, Ganapati asked again, “When will my marriage be?” This innocent questioning, typical of childhood emotions, made his parents laugh. Once more, they said, “Tomorrow.” According to the story, this playful exchange between Ganapati and his parents has continued for years, even to this day. This charming tale is recounted in Saundarya Lahari.

(Saundaryalaharī: Mantra 73)
pibantau-tau-yasmād-avidita-vadhūsaṅgarasikau
kumārā-vadyāpi-dvirada-vadana-krauñcadalanau
[For The elephant faced one, And he who killed Crownchasura, Even today do not know the pleasure of women, And remain as young children.]

Both Ganapati and Subramanya are great warriors. Ganapati has slain mighty demons like Gajamukhasura, and when the Vigna Yantra emerged during the age of Bhandasura, Mahaganapati effortlessly destroyed it. Similarly, Lord Subramanya was the one who crushed mountains like Krouncha. Despite their immense strength, neither harbored any feelings of lust. This purity is attributed to the milk they drank from Devi, and it is believed that both consumed equal amounts.

(Saundaryalaharī: Mantra 72)
samaṃ-devi-skandadvipavadanapītaṃ-stanayugaṃ
tavedaṃ-naḥ-khedaṃ-haratu-satataṃ-prasnutamukham
[Our Goddess Devi, Let your two cool breasts, Which have faces that always, Give out milk, And are simultaneously drunk deeply.]

There is always milk for both Ganapati and Subramanya, a result of Devi’s boundless maternal instincts. May this divine milk wash away our sorrows and cleanse us of evil thoughts like lust and anger. Devi’s milk purifies the soul. Her chest, beyond description, represents the pure essence of motherhood and purifies the mind. Similar stories exist, such as that of Jnana Sambandhar. As a young child, he cried for his mother, and Devi herself appeared to feed him milk. After drinking Devi’s milk, he became one of the most renowned poets. Thus, Devi’s chest is the pure embodiment of divine motherhood.

The description is continued in the comments section…

#Lalita #LalithaSahasranamam