Legends of the Goddess-2

Soundarya Lahari is totally a description of her beauty. This is out of scope for a blog like this. In fact, Soundarya Lahari means (Waves of Beauty)


Apart from that, there's another text called "Mooka Panchashati", sung by (the Dumb Poet)Mooka Kavi. There are five hundred verses in all, with five divisions of hundred verses each. Each of these divisions are:


Aarya Shatakam,Kataaksha Shatakam, Mandasmita Shatakam, Paadaaravinda Shatakam, Stuti Shatakam. Yet again, Mooka Panchashati makes one go absolutely speechless, while going through the descriptions about Amba's beauty in each of its verses.

How much ever poems come up, there has been nobody other than Kaameshwara who can describe Amba's beauty thoroughly. Soundarya Lahari says, thus-
" Tvadeeyam Soundaryam Tuhina giri Kanye Tulayitum
Kaveendraa: kalpante Kathamapi virinchiprabhrutaya:
Yada loka outhsukhyaat amara lalanaa yaanti manasaa
Tapobhi: Dushpraapaam Api Girisha Saayujya padaveem"


O Daughter of Tuhina Giri (Himavan)! Poets like Brahma and the others try to find the comparison to your beauty with great effort. Even the celestials damsels are trying to understand the depth of your beauty by becoming one with the mind of Lord Shiva, which is impossible to achieve even by those who perform severe penance.






How did Lalita Devi come into being?
This is a long long story… And it starts from here-

Long ago, the Vindhya mountain (this divides Bharata Varsha into half) grew really headstrong.
To control its ego, Sage Agastya moved his residence from Varanasi (Kashi) to South of India. Due to his presence Dakshina Bharata (South India) became prosperous.

Sages are always filled with thoughts on the wellness of the entire world and its subjects. When the age of Kali approached, he started noticing evil traits within the minds of the people. Inspite of strict guidance and guardianship, he could do nothing to root out the evil thoughts out of their minds.

He was deeply worried as to how his subjects would attain salvation (Moksha). He started on a pilgrimage to search for an answer. When he arrived at Kanchi, he was not able to bear the burden in his heart and cried out to Swami Varadaraja (Sanskrit:The king who is adept in giving boons) one of the aspects of Lord Vishnu.

Lord Vishnu appeared before Agastya in the form of Hayagreeva (Sanskrit:The one who has horse-like neck), another aspect of Lord Vishnu. The sage posted his question to Hayagreeva.

Lord Hayagreeva told:


In this age of kali, there are two ways to attain salvation:


1) To detach from Samsara, renounce the world and attain the knowledge of Parabrahman


2) To worship the Supreme Goddess, who has divine attributes of Lord Vishnu. Even a sinner can worship Paradevataa and still attain salvation. The devotee can have enjoyment and still attain salvation. This is an easier way"

Lord Vishnu then commanded Agastya to spread this secret in the divine world.


Agastya asked Lord Vishnu, "Please lord, tell me more about the Supreme Mother, who governs this universe"
At this point, Hayagreeva relates to Agastya the story of how, the first time Paraashakti appears as Prakriti (The Nature).. This is an entire portion in Brahmanda Purana and we will come to this part later.



The second time Paradevataa appears in the Mohini Avataara. It is said that Lord Vishnu meditated to Paraashakti and prayed to her to get a beautiful form…. And the end result, we still talk about Mohini being a bewitching beauty.

And then Hayagreeva told Agastya the story of Goddess Lalita:



Sati-DehaTyaaga

Sati was one of the daughters born of Daksha, who was one of the maanaseeka putraa: (son born out of the mind) of Lord Brahma. She was married to Lord Shiva.


However, Daksha bore an ill-will towards Lord Shiva and in order to insult him, arranged for a sacrifice, for which all Gods except Lord Shiva was invited. Further, Daksha refused to give the Havir-Bhaagha (the sacrificial offering) due to Lord Shiva. Sati was joyous about her father celebrating the Yagna, but didn't know about the insult being done to her husband. She went to her father's place, even when Lord Shiva stopped her from going

However when she went to the place of the Yagna, she realized what was being done. She demanded from her father that her husband be given the respect & Havir-bhaga due to him. Since Daksha refused, and further abused Shiva and herself, Sati burnt herself by Yogic fire, unable to bear the insult.

Knowing this, Shiva went into uncontrollable fury. He created Veerabhadra, out of his locks of hair. Veerabhadra, destroyed the entire sacrificial hall of Daksha and even beheaded Daksha. Since Daksha's wives pleaded with him, Veerabhadra restored Daksha's life by placing a goat's head on Daksha's torso. Daksha then repented and prayed for salvation

Lord Shiva, carried away the burnt corpse of Sati and in fury, indulged in a Tandava. The entire universe shook under the impact of Lord Shiva's dance. Lord Vishnu utilized his discus, and severed Sati's burnt limbs, which fell at 51 places all over Bharatavarsha and are today known as Eka-Panchaashat Shakti Peetha: (The 51 Shakti Peethas).

When Shiva calmed down, he went in to a Yogic trance.

Kaama Dahanam


Himavan (the king of the mountain Himalaya) and Menaka did penance for 150 million years to beget the Supreme Goddess as their daughter.


Sati was reborn as the daughter of Himavan and Menaka. She was named Parvati (daughter of Parvata or mountain). She showed exemplary interest in worshipping Lord Shiva from a very young age. When she was of marriageable age, Sage Narada appeared before Himavan, revealing to him that Parvati is none other than the Supreme Goddess. Himavan was overjoyed to hear this. Narada asks Himavan to send Parvati to do service to Lord Shiva who is in a continuous yogic state, as an ascetic at his Sthanu Ashrama (abode of stones) after the departure of Sati. Himavan consents to send Parvati to Lord Shiva's abode of stones.

Parvati used to serve Lord Shiva for long hours, but the Great God would always be in a continuous state of Yoga.

Meanwhile, a demon named Taraka invaded the Deva loka (heaven). The celestials were defeated and pestered and driven out of their abodes. They all went to Brahma to seek a solution.

Brahma gave the solution- Only the son born of Shiva and Parvati is capable of vanquishing Taraka, so take efforts to materialize the marriage of Shiva and Parvati.

Shiva being in a continuous state of meditation, could not be spoken to. The Celestials decided to take the help of Manmatha (the Cupid). Indra, the King of the Celestials, calls for Manmatha. He heaped praises on Manmatha and persuaded him to change the mind of Lord Shiva such that he slightly withdraws out of his Yogic trance and feels attracted towards Parvati.

Manmatha feels proud after such praises being sung for him and readily agrees to help the Celestials. However, Rati Devi, the consort of Manmatha tries to stop her husband from getting into such a venture. She was aware of Lord Shiva's anger and was afraid that if Manmatha arouses his anger, he would be burnt to ashes. Manmatha is in no mind to listen to it, and proceeds to Shiva's abode of stones.

As soon as Manmatha arrives at Sthanu Ashrama, the season changes to Spring… Gentle winds start blowing and all the ganas of Shiva seem to have disturbed minds. Parvati comes in, as usual, to serve Shiva and while her upper garment slightly slips away, Manmatha aims a flower arrow at Lord Shiva, who happens to notice Parvati at exactly the same time and feels disturbance in his mind.

He suddenly starts pondering what could have caused the possible disturbance. And then when he finds Manmatha hiding behind the trees, he understands what could have happened, becomes extremely angry and opens his third-eye and burns Manmatha to ashes.


(To be continued..)

Legends of the Goddess-1

All of a sudden, Lalitha Sahasranamam (The thousand names of Lalitha) looked fascinating and interesting to me… I could understand some of the Nama, but not all… Bhanda sura, Bhanda Putra, Shunyaka… All these words never rang a bell inside my head…




And then, I searched for Lalitopakhyanam (The Story of Lalita). Both Lalitha Sahasranama and Lalitopakhyanam appear in the Brahmanda Purana. But whatever I read inside, made me have goosebumps…

Who is Lalitha?


The term just means "The lady who is beautiful or pleasing" (Lalana- (Sanskrit) to please). As she pleases Lord Shiva, her consort she is called Lalitha


What does she look like?


Lalitha sahasranama and Soundarya Lahari are the two famous testimonies to the incomparable beauty of Lalita Devi.

The Dhyaana Sloka says this-

○ Sindoora Aruna Vigrahaam- Her body has the colour as that of Vermilion


○ Trinayanaam- She has 3 eyes


○ Maanikhya Mouli Sphurat Taaranaayaka Shekharaam- She adorns her hair with the cresent moon that appears like pearl and several rubies as hair ornaments


○ Smita-mukheem- She has a pleasing smiling face


○ Aapeena Vakshoruhaam- Splendid Bust


○ Paanibhyaam mali poorna ratna chashakam raktotpalam bhibhrateem-Holding a jewelled cup filled with honey-wine & a red lotus in her hands


○ Soumyaam-Innocent


○ Ratnaghatastha Rakta Charanam- Red, lotus like feet


○ Arunaam- One who has the complexion as that of the rising sun


○ Karuna-Tharangithaaksheem- Her eyes, which are the waves of compassion


○ Dhrita Paashaankusha Pushpa Baana Chaapam-Holds Paasha (Noose), Ankusha (Goad/Axe), Pushpa Baana- Flowery Arrows, Chaapam (Bow) in her hands


○ Padmaasanasthaam- Seated in a lotus


○ Vikasita Vadanaam- Brightened face


○ Padma Patraaya thaaksheem- Lotus-like eyes


○ Hemaabhaam-Of Golden COmplexion


○ Peeta Vastraam-Wearing yellow-coloured robes


○ Karakalitha lasat Hema padmaam varaangeem-Sporting a golden lotus and providing boons to the ones who seek refuge in her


○ Sarva Alankaara Yuktaam- She is adorned with all ornaments


○ Satatam Abhayadaam-She always protects her devotees


○ Bhakta Namraam-She is soft towards her devotees


○ Sri Vidyaam- She is the embodiment of knowledge or She is the Supreme Knowledge (Sri-Vidya)


○ Shaanta Moortim- She is the embodiment of Peace


○ Sakala sura nutaam- She is worshipped by all Gods


○ Sarva sampat pradaatreem-She bestows prosperity on all






The Lalitha Sahasranama says this-


○ Udyad-bhaanu Sahasraabha- Her radiance is as bright as the rising of a thousand suns

○ Raga-swaroopa Paashaadya- She holds a noose that characterises desires


Comment: The Noose is symbolic of the fact that Amba uses the Noose to remove all the desires and attachment to Samsaara and to give us Self-Realization

○ Krodhaakaara Ankusha Ujjwalaa- The Goad that characterises Anger


Comment: Amba uses the Goad to cut-off another human evil: Anger

○ Mano Roopekshu Kodandaa: She holds a bow, of Sugarcane that characterises the mind


Comment: Amba holds the mind in her hand

○ Panchatanmaatra saayakaa: The five flowery arrows in her hand characterise the five subtle elements (tanmaatra).


Comment: The five subtle elements are the five subtle properties of energy. They are :


1) Shabda: Words
2) Roopa: Appearance
3) Sparsha: Touch
4) Rasa: Taste
5) Gandha: Smell
They correspond to the five subtle components:
Prithvi (Earth), Aakasha (Ether), Vayu (Air), Vahni (Fire), Jala (Water)(not necessarily in the same order)

So, to the one who surrenders to her, Lalita Devi cuts the attachment that one hold towards Samsaara, diminish one's ego (Anger is a consequence of Ego), holds control of their mind and bless them with Mukti (i.e attainment of God and relief from the cycle of birth and death)


○ Nijaaruna Prabhaapoora Majjad Brahmaanda Mandalaa: Bathes the entire Brahmaanda (Universe) with the splendour of the red complexion arising from within her

○ Champaka Ashoka Punnaaga Soungandhika Lasat Kachaa: The flowers Champaka, Ashoka, Punnaga flowers have their fragrance from the shining locks of her hair

○ Kuruvinda Mani Shreni Kanat Koteera Manditaa: Her crown is adorned with rows of Kuruvinda Gems


○ Ashtami Chandra Vibhraaja Dalikasthala Shobhita: Her forehead shines like the crescent moon on the eigth day of the fortnight


○ Mukhachandra kalankaabha mruganaabhi visheshaka: The Kasturi Tilaka (which is obtained from the navel of the Musk deer (mruga naabhi)) shines on her face just like, the spots on the face of the moon


○ Vadanasmara Maangalya grhatorana chillikaa: On her auspicious face, are the eyebrows, that looks like the archways to the abode of auspiciousness and beauty


○ Vaktra lakshmi pareevaaha chalan meenaabha lochana: Her eyes move like fish beautifully on her face/ Her eyes are shaped like fish


Comment: When there's a description about fish-like eyes, this not only talks about the shape of the eyes. It is told that the fish after they lay their eggs, keep a watch over those eggs and protect them, just by using their eyes. Similarly, the Goddess takes care of her devotees and protects them just by the movements of her eyes.


○ Navachampaka Pushpaabha Naasa danda Viraajitaa: Her Nose Stem is like fresh buds of the Champaka flowers


○ Taaraakaanti Tiraskaari Naasa bharana bhaasura: Her nose-jewel shines brighter than the planet Venus


○ Kadamba manjari klupta karna poora manoharaa: Kadamba flowers adorn over her ears and she looks


Captivating


○ Taatanka Yugalee Bhoota Tapanodupa Mandalaa: Who has the Sun and the Moon as her ear ornaments


○ Padma Raaga Shilaa Darsha Paribhaavi Kapola Bhoo: : Her cheeks are more shining than the mirrors made of Padmaraaga (Sapphire)


○ Navavidruma bimba shree Nyakvaari Radanacchadaa: Her lips are more red than newly riped bimba fruits


○ Shuddha Vidya Ankura Aakara Dvija pankti dvaya ujjwala: The two rows of her teeth are extremely shiny, and appear like sprouts of the Ultimate Knowledge (Sri Vidya)


○ Karpoora veetikaamoda saamakarshi digantaraa: The fragrance of betel combined with camphor in her mouth spreads in all the ten directions


○ Nija Sallaapa Maadhurya Vinirbhatsita Kacchapee: Her speech is more melodious than Kacchapee (Kacchapee is the name of the Veena of Saraswati)


○ Mandasmita prabhaapura majjad kaamesha maanasaa: The radiance of her beautiful smile captivates the mind of Kaameshwara (Lord Shiva)


○ Anaakalita Saadrushya Chubuka Shri Viraajita: She has a chin that has no comparison in beauty


○ Kaamesha baddha maangalya sootra shobhita kandharaa: Her neck is adorned by the auspicious thread, tied by Kameshwara (the Lord who won over Kaama (cupid/desire)), her beloved consort


○ Kanaka angada keyoora kamaneeya bhujaanvita: Her lotus like arms are adorned with golden bracelets and bangles


○ Ratnagraiveya Chintaaka Lola muktaa phalaanvitaa: She wears gem-studded necklace, with a big pearl pendant


○ Kaameshwara Prema Ratna Mani Pratipana Sthani: Her bust, which is formed in exchange to the gem like love which Kaameshwara shows on her


○ Naabhyaala vaala romaali lataphala kuchadvayi: Her bust are like the fruits on the creeper made of hair-line, which starts from her navel and proceeds upwards


○ Lakshyaroma Lata dharata Samunneya Madhyamaa: Her middle (waist) looks like the base for the creeper


○ Sthana bhaara dalan madhya patta bandhavali trayaa : Unable to bear the weight of her breasts, her waist forms three supporting lines


○ Arunaaruna Kausumbha: Vastra Bhaasvat Kateetatee: She wears the cloth dyed with shining saffron on her waist


○ Ratna kinkinika ramya rashanaa dhaama bhooshitha: She wears the waist ornament (girdle/Odyaanam) that is studded with many gems and beautiful little bells


○ Kaamesha gyaata sowbhaagya maardavoru dvyaanvita: Only Kaameshwara, her consort knows the beauty of her two thighs


○ Maanikhya makuta aakaara janu dvaya viraajita: Her two knees look like they are the crowns shaped from precious Ruby


○ Indragopa parikshipta smaratoonaabha janghikaa:- Her calf looks like the quiver of the God of Love, adorned with decorations like the glow-worms


○ Goodhagulpha: Her ankles are well hidden


○ Koormaprushtha Jayishnu Prapadaanvita: The arch of her feet are more beautiful than the back of the tortoise


○ Nakha dheedhiti Sanncchanna Namajjana Tamo Gunaa: The illumination of her nails are capable of dispelling the darkness in the devotees who bow to her


○ Pada dvya Prabhaa jaala paraakrta Saroruhaa: The beauty of her feet defeat the beauty of the lotus


○ Sinjaana Mani manjeera mandita shri padaambuja: Her feet are adorned with anklets that have small beautiful bells attached to them, along with pearls


○ Maraali Manda Gamanaa: Whose gait is as beautiful like that of a swan


○ Mahaa laavanya Shevadhi:- Who is the repository of great beauty


○ Sarva Aruna: Who is red all over


○ Anavadyaangi: Her limbs are flawless


○ Sarvaabharana Bhooshita : She is adorned with all kinds of ornaments






(To be continued)

Ananda Natana Prakasam- Dikshithar's kriti on the Lord of Chidambaram

One is spellbound when one learns a composition of Muthuswami Dikshithar's. And there's this sense of joy when one can sing the kriti, being totally cognizant of its meaning.


Dikshithar's compositions are famous for their unique style, putting Sanskrit Grammar to complete use and most importantly, his habit of including the sthala purana and description of the deity he is singing on.

This has helped in tracing all the places he visited and also to understand about the deity he has sung about. In my opinion, these krithis can be sung as a part of daily worship

Ananda Natana Prakasam, sung on Lord Nataraja at Chidambaram is a typical Dikshithar composition. Set to Mishra Chapu Talam, and Raga Kedaram ( which according to me is a wonderful combo) singing this kriti is capable of transporting you to Chitsabha in the Chidambaram temple, irrespective of where you are.

I have presented here a brief interpretation of the kriti, as I understood it-

Pallavi

Ananda Natana Prakasam Chitsabhesham
Aashrayaami Shivakaama valleesham

Anu Pallavi

Bhaanu Koti Koti Sankaasham, Bhukti Mukti Prada Daharaakaasham
Deena Jana Samrakshanam Divya Patanjali Vyaaghrapaada Darshita Kunjikaabja Charanam

Charanam

Sheetaamshu Gangaadharam Neelakantharam
Shri Kedaaraadi Kshetra Aadharam
Bhootesham Shaardula Charmaambaram Chidambaram
Bhoo-Sura-Tri-Sahasra-Muneeshwaram Vishweshwara
Navaneeta Hrudayam Sadaya Guruguha Taatam Adyam Veda Vedyam
Veeta Raagina Aprameyaadvaita Prati Paadyam
Sangeetha Vaadya Vinoda Thaandava Jaata Bahutara Bheda Chodyam



Pallavi

Aananda Natana Prakasam- The effulgent one immersed in blissful dancing,

Chit-Sabhesham- The Lord of the Consciousness Sabha (Hall)*1

Aashrayaami Shiva-Kaama-Valleesham- I take refuge in the Lord of Shiva Kaama Valli *2

Anu Pallavi

Bhaanu-Koti Koti Sankaashaam-The lord, who is as effulgent as a million suns

Bhukti Mukti Prada Daharaakaasham -The lord, who is of the form of the ether*3, and he is the one who provides prosperity as well renunciation from the cycle of birth and death

Deena Jana Samrakshanam -The Lord who protects the distressed people

Divya-Patanjali Vyaaghrapaada Darshita Kunjikaabja Charanam -The Lord who revealed his divine lotus like feet to the sacred muni Patanjali and muni Vyaaghrapaada*4


Charanam

Sheetaamshu gangaadharam-The Lord who holds the Ganga, of soothing cold nature

Neelakantharam- The Lord whose throat is blue in colour

Sri Kedaaradi Kshetra Aadhaaram-The Lord, who is the basis for all the holy places beginning from Kedaara*5

Bhutesham- He who is the Lord of all living beings

Shaardula Charmaambaram-The lord who drapes himself with the skin of a tiger

Chidambaram-The lord whose residence is the Hall of Consciousness

Bhoo-sura Tri-sahasra-muneeshwaram- He, who is the Lord of the mortals, immortals and the three thousand ascetics*6

Vishweshwaram-He who is the Lord of all Universe

Navaneeta Hrudayam -The Lord, who has a heart that melts like butter

Sadhaya- Compassionate One,

Guruguha taatam - Father of Guruguha, *7

Adyam Veda Vedyam-The lord who is praised by the Vedas

Veeta Raagina -He who is capable of freeing his devotees from Desires,

Aprameya- the one who is not understandable,

Advaita Prati Paadyam- He who makes his devotees attain non-duality (advaita) or makes his devotees to be one with him

Sangeetha Vaadya Vinoda Thaandava Jaata Bahutara Bheda Chodyam-He who is the Impetus for the various arts on Music & musical instruments, born out of his distinct style of dancing*8

Notes:

*1: The Sannidhi of Lord Nataraja is called as the ChitSabha meaning the hall of consciouness. It is believed that the Lord resides as the soul of the Universe in Chidambaram. Its also called Kanaka Sabha because of the Golden Roof



*2: The Consort of Lord Nataraja in Chidambaram is called as Shivakaama sundari or Shivakaama valli, a manifestation of Goddess Parvati



*3: Out of the five Panchabhootha Sthala, attributed to Lord Shiva, Chidambaram is the sthala for Ether or Akaasha



*4: Patanjali, an incarnation of Adi Sesha and Vyaaghrapada were two saints who were granted boons after stringent penance, to have a vision of Lord Shiva, in the form of Nataraja. Hence they moved to Chidambaram to witness Lord Nataraja's cosmic dance



*5: Dikshithar indicates through this verse that this kriti is set in the Kedara Ragam



*6: Refers to the three thousand ascetics who witnessed Lord Nataraja's cosmic dance along with Patanjali and Vyaaghrapaada



*7: Guruguha is the mudra or signature of Dikshithar's, that he uses in each of his compositions



*8: Lord Nataraja uses the Damaru while dancing. The sounds that come out of the Damaru form the basis for Sanskrit Grammar as well as the science of music and musical instruments.Patanjali promotes Sanskrit Grammar with the grace of Lord Nataraja, whereas there are various treatises on music and musical instruments based on witness accounts of the Lord's dance. Hence Lord Nataraja is the inspiration behind the development of the sacred arts of music and dance