ஸ்ரீ மத் நாராயணீயம் - தசகம் 20 - ஸ்லோகம் - 1 to 10-ரிஷபதேவரின் கதை
प्रियव्रतस्य प्रियपुत्रभूता-
दाग्नीध्रराजादुदितो हि नाभि: ।
त्वां दृष्टवानिष्टदमिष्टिमध्ये
तवैव तुष्ट्यै कृतयज्ञकर्मा ॥१॥
ப்ரியவ்ரதஸ்ய ப்ரியபுத்ரபூ₄தா-
தா₃க்₃நீத்₄ரராஜாது₃தி₃தோ ஹி நாபி₄: |
த்வாம் த்₃ருஷ்டவாநிஷ்டத₃மிஷ்டிமத்₄யே
தவைவ துஷ்ட்யை க்ருதயஜ்ஞகர்மா || 1||
1. ப்ரியவ்ரதனின் புத்ரன் ஆக்னீத்ரன் என்ற அரசனுக்கு நாபி என்ற மகன் இருந்தான். உன் சந்தோஷத்தின் பொருட்டு நிறைய யாகங்கள் செய்த நாபி, யாகத்தின் நடுவில் வேண்டிய வரங்களைத் தரும் உன்னை தரிசித்தான்.
अभिष्टुतस्तत्र मुनीश्वरैस्त्वं
राज्ञ: स्वतुल्यं सुतमर्थ्यमान: ।
स्वयं जनिष्येऽहमिति ब्रुवाण-
स्तिरोदधा बर्हिषि विश्वमूर्ते ॥२॥
அபி₄ஷ்டுதஸ்தத்ர முநீஶ்வரைஸ்த்வம்
ராஜ்ஞ: ஸ்வதுல்யம் ஸுதமர்த்₂யமாந: |
ஸ்வயம் ஜநிஷ்யே(அ)ஹமிதி ப்₃ருவாண-
ஸ்திரோத₃தா₄ ப₃ர்ஹிஷி விஶ்வமூர்தே || 2||
2. உலகங்களுக்கு நாயகனே! முனிவர்கள் உன்னை வாழ்த்தினர். அரசனான நாபியும் உன்னைத் துதித்து உனக்கு ஒப்பான ஒரு மகன் வேண்டும் என்று வேண்டினார்.நீயும் “நானே பிறக்கிறேன்” என்று கூறி யாகத்தில் மறைந்தாய்.
नाभिप्रियायामथ मेरुदेव्यां
त्वमंशतोऽभू: ॠषभाभिधान: ।
अलोकसामान्यगुणप्रभाव-
प्रभाविताशेषजनप्रमोद: ॥३॥
நாபி₄ப்ரியாயாமத₂ மேருதே₃வ்யாம்
த்வமம்ஶதோ(அ)பூ₄: ரூஷபா₄பி₄தா₄ந: |
அலோகஸாமாந்யகு₃ணப்ரபா₄வ-
ப்ரபா₄விதாஶேஷஜநப்ரமோத₃: || 3||
3. பிறகு, நாபியின் மனைவியான மேரு தேவியிடத்தில் ரிஷபதேவராக அவதரித்தாய். உலகில் வேறெங்கும் காணமுடியாத கல்யாண குணங்களுடன் அனைவருக்கும் அளவற்ற சந்தோஷத்தைக் கொடுத்தாய்.
त्वयि त्रिलोकीभृति राज्यभारं
निधाय नाभि: सह मेरुदेव्या ।
तपोवनं प्राप्य भवन्निषेवी
गत: किलानन्दपदं पदं ते ॥४॥
த்வயி த்ரிலோகீப்₄ருதி ராஜ்யபா₄ரம்
நிதா₄ய நாபி₄: ஸஹ மேருதே₃வ்யா |
தபோவநம் ப்ராப்ய ப₄வந்நிஷேவீ
க₃த: கிலாநந்த₃பத₃ம் பத₃ம் தே || 4||
4. மூவுலகையும் தாங்கி நிற்கும் உன்னிடம், நாபி ஆட்சியை ஒப்படைத்துவிட்டு, மேருதேவியோடு வனம் சென்று தவத்தை மேற்கொண்டார். உன்னை வணங்கி, உன் லோகமான வைகுந்தத்தை அடைந்தார்.
इन्द्रस्त्वदुत्कर्षकृतादमर्षा-
द्ववर्ष नास्मिन्नजनाभवर्षे ।
यदा तदा त्वं निजयोगशक्त्या
स्ववर्षमेनद्व्यदधा: सुवर्षम् ॥५॥
இந்த்₃ரஸ்த்வது₃த்கர்ஷக்ருதாத₃மர்ஷா-
த்₃வவர்ஷ நாஸ்மிந்நஜநாப₄வர்ஷே |
யதா₃ ததா₃ த்வம் நிஜயோக₃ஶக்த்யா
ஸ்வவர்ஷமேநத்₃வ்யத₃தா₄: ஸுவர்ஷம் || 5||
5. உன்னிடம் பொறாமை கொண்ட இந்திரன், உன் தேசத்தில் மழையைப் பொழியவில்லை. அப்போது நீ உன் யோக சக்தியால் அஜனாபம் என்ற உன்னுடைய தேசத்தில் மழை பெய்யச் செய்தாய்.
जितेन्द्रदत्तां कमनीं जयन्ती-
मथोद्वहन्नात्मरताशयोऽपि ।
अजीजनस्तत्र शतं तनूजा-
नेषां क्षितीशो भरतोऽग्रजन्मा ॥६॥
ஜிதேந்த்₃ரத₃த்தாம் கமநீம் ஜயந்தீ-
மதோ₂த்₃வஹந்நாத்மரதாஶயோ(அ)பி |
அஜீஜநஸ்தத்ர ஶதம் தநூஜா-
நேஷாம் க்ஷிதீஶோ ப₄ரதோ(அ)க்₃ரஜந்மா || 6||
6. தோல்வியடைந்த இந்திரன், தன் பெண்ணான ஜயந்தியைத் உனக்கு மணம் செய்து கொடுத்தான். ஆத்ம யோகத்தில் ஈடுபட்டவராயிருந்தாலும், உன், அவள் மூலம் நூறு புத்திரர்களை உண்டுபண்ணினாய். அவர்களில், முதலில் பிறந்தவன் பரதன்.
नवाभवन् योगिवरा नवान्ये
त्वपालयन् भारतवर्षखण्डान् ।
सैका त्वशीतिस्तव शेषपुत्र-
स्तपोबलात् भूसुरभूयमीयु: ॥७॥
நவாப₄வந் யோகி₃வரா நவாந்யே
த்வபாலயந் பா₄ரதவர்ஷக₂ண்டா₃ந் |
ஸைகா த்வஶீதிஸ்தவ ஶேஷபுத்ர-
ஸ்தபோப₃லாத் பூ₄ஸுரபூ₄யமீயு: || 7||
7. மூத்த புத்திரன் பரதன். ஒன்பது புத்திரர்கள் சிறந்த யோகிகளாக ஆனார்கள். ஒன்பது பேர்கள் பாரத நாட்டின் ஒன்பது கண்டங்களை ஆண்டனர். மற்ற எண்பத்தொரு பேர்கள் தவ வலிமையால் பிராம்மணத் தன்மையை அடைந்தனர்.
उक्त्वा सुतेभ्योऽथ मुनीन्द्रमध्ये
विरक्तिभक्त्यन्वितमुक्तिमार्गम् ।
स्वयं गत: पारमहंस्यवृत्ति-
मधा जडोन्मत्तपिशाचचर्याम् ॥८॥
உக்த்வா ஸுதேப்₄யோ(அ)த₂ முநீந்த்₃ரமத்₄யே
விரக்திப₄க்த்யந்விதமுக்திமார்க₃ம் |
ஸ்வயம் க₃த: பாரமஹம்ஸ்யவ்ருத்தி-
மதா₄ ஜடோ₃ந்மத்தபிஶாசசர்யாம் || 8||
8. பிறகு, நீ சிறந்த முனிவர்களுடன் புத்திரர்களுக்கு முக்தி மார்க்கங்களை உபதேசித்தாய். பிறகு, அவதூதராகப் பித்தன் போல, ஜடம் போல இருந்து வந்தாய்.
परात्मभूतोऽपि परोपदेशं
कुर्वन् भवान् सर्वनिरस्यमान: ।
विकारहीनो विचचार कृत्स्नां
महीमहीनात्मरसाभिलीन: ॥९॥
பராத்மபூ₄தோ(அ)பி பரோபதே₃ஶம்
குர்வந் ப₄வாந் ஸர்வநிரஸ்யமாந: |
விகாரஹீநோ விசசார க்ருத்ஸ்நாம்
மஹீமஹீநாத்மரஸாபி₄லீந: || 9||
9. பிறருக்கு உபதேசித்துக் கொண்டு அவதூதராகவும், பரமானந்த ரஸத்தில் மூழ்கினவராகவும் உலகம் முழுவதும் சஞ்சரித்தாய்.
शयुव्रतं गोमृगकाकचर्यां
चिरं चरन्नाप्य परं स्वरूपं ।
दवाहृताङ्ग: कुटकाचले त्वं
तापान् ममापाकुरु वातनाथ ॥१०॥
ஶயுவ்ரதம் கோ₃ம்ருக₃காகசர்யாம்
சிரம் சரந்நாப்ய பரம் ஸ்வரூபம் |
த₃வாஹ்ருதாங்க₃: குடகாசலே த்வம்
தாபாந் மமாபாகுரு வாதநாத₂ || 10||
10. ஓ குருவாயூரப்பா! மலைப்பாம்பு, பசு, மான், காகம், இவற்றின் செய்கைகளை ஏற்று வாழ்ந்து வந்தாய். குடகு மலையில் ஏற்பட்ட காட்டுத்தீயால் உன் சரீரம் எரிந்தது. நீ என்னுடைய தாபங்களைப் போக்க வேண்டும். இவ்வாறு “என்னுடைய தாபங்களைப் போக்குங்கள்” என்று பட்டத்ரி சொல்வது, ஒவ்வொருவரும் இதைப் படித்து, தம்முடைய தாபங்களைப் போக்கவேண்டும் என்று வேண்டிக் கொள்ளவேயாகும்.
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Yā devi sarva-bhūtesu matru-rupena samsthithā namasthasyai namasthasyai namasthasyai namō namah ||
Sri Devi Mahatmyam originates from the Markandeya Purana. Sri Devi Mahatmyam is revered as Veda Samanam and is considered a powerful Mantra Shastra. This sacred text is also known as Sri Durga Sapthasati or Sri Chandi Sapthasati. Sri Devi Mahatmyam is the only scripture that holds the esteemed status of a “MahaMantra”, where every shloka is a mantra. This sacred text, rich with Beeja Aksharas, unlocks the transformative potential inherent in each verse.
The MahaMantra status of this scripture emphasizes the necessity of receiving Navakshari- Mantropadesham (initiation into the mantras) from a staunch Sri Vidya Upasaka, ensuring that we approach it with the proper reverence and understanding. Through the practice of parayana and chanting, we are guided to connect deeply with the cosmic energies, invoking the protective and empowering presence of the Divine Mother. The divine Mother is also the Supreme Shakthi, the power of the whole universe, the energy of the cosmos which is unsurpassed. Sri Chandi Sapthasati shlokas are not only devotional and poetic but also hold a deeper philosophical and esoteric meaning which leads us to the realization of God as The Impersonal Supreme Reality. The Devi Mahatmyam is a teertha yatra into yourself, the ultimate reality.
Tvayā etad dhāryate viswam tvayā etat srjyate jagat |
Tvayā etat pālyate devi tvam atsy ante ca sarvadā ||
The stories within Chandi Sapthasati hold profound significance in addressing our inner struggles and guiding us toward liberation. Each narrative illustrates the triumph of the divine feminine over various forms of adversity, symbolizing the battles we face within ourselves, such as fear, doubt, and ignorance. As we engage with these tales, we are reminded that just as the Goddess confronts and conquers formidable demons, we too have the capacity to overcome our own challenges. The characters and events in these stories serve as powerful metaphors for the psychological and spiritual conflicts we encounter in our daily lives. Moreover, the recitation and contemplation of these stories during rituals and prayers deepen our understanding of our own experiences. They encourage introspection, helping us identify and confront the obstacles that obstruct our path to spiritual awakening. Through devotion and practice, the teachings of Chandi Sapthasati empower us to transform our inner battles into opportunities for growth, ultimately leading us toward liberation and enlightenment.
The Devi Mahatmyam describes The Victory Of The Goddess Durga over the asuras Madhu-Kaitabha, Mahishasura and Shumbha-Nishumbha in three sections known as the Prathama Charitra, Madhyama Charitra and the Uttama Charitra.The number 3 holds a high significance in our Hindu culture. Each section reflects a transforma
*ONE MORE STORY:*
There is one more story which resulted in the writing of Saundarya Lahari. God was always defined in Sanatana Dharmam as formless Existence Principle [Nirguna Brahman] which is anadi (beginningless) and ananta (endless). Everything “exists” because of Brahman. In Tamil we call this as “Ullathu” – that which always exists. It is non-changing – hence called the Truth (Ullathu). It is also all-pervading – present in and through everything (Ull-athu). Truth being ever-pure Vedas named it Sada-Shiva [Ever Auspicious]. Since ordinary humans cannot conceive of this abstract formless, qualityless, actionless idea, they superimposed a human form (Shiva) to be used ‘temporarily’ only to be given up later. Sankaracharya always used to talk of Shiva and propagate his qualities (Nivrithi Margam). One day his body was completely immobilized (paralysis) and he could not move. So he prayed to Lrod Shiva in Sanskrit “Oh! Shva, why have you taken away ‘Shakthi’ from my body”. “Shakthi has left me so I am unable to move”. Then Goddess Shakthi appeared in his vision and said “Shiva is useful only when you go away from this world. But while inside this material world, you need Shakthi – so start praying to me”. Shankaracharya understood the significance and then compiled the 100 verses of Saundarya Lahari. The Acharya then got back his powers.
*TANTRIC CULTS OF ANCIENT INDIA:*
During early Vedic Periods, while rituals were being propagated by the Karma Kanda of the Vedas, the Tantric Cult was also popular. The latter concentrated on the different forms of Shiva & Shaki in the form Yantras and by controlled their minds through Mantras to procure siddhis. Popular Yantras were the fearful (ugra) forms as Sadashiva and Maha-Kali and they were propitiated to get super-natural powers to conquer enemies. Similarly, they meditated on the erotic form of Parvathi to get sexual powers and win over ladies. Many also appeased Goddess as Lakshmi to procure unlimited wealth. Similarly those who were interested in divine learning would meditate on the Goddess visualizing her as Saraswathi. Basis of all these was Goddess Shakthi (as the name symbolizes), the formless source of creation, preservation and the destruction of the universe. The Tantrics have created a distinct Yantra (symbol) for each verse of the Saundarya Lahari and they believe that each of them is capable of granting a particular sidhi. . Slowly a cult of Goddess worshippers developed (mainly non-Brahmins) who became very popular and powerful. In due course the yantras were replaced with different forms of Goddess. This worship was very popular and reduced the popularity of the Brahmins. As a counter, the shrewd Brahmins, managed, over a period of time, to create a belief that if the prescribed procedures of the Yantras and the correct pronunciation of the Mantras were not accurately observed, Goddess will be angry and destroy the tantric. This “fear” slowly made these rituals unpopular and today only a handful of “tantrics” who are specialized in the worship of the Goddess dare to perform these rituals.
*NOW WE WILL FORMALLY ENTER SAUNDARYA LAHARI.*
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*SHLOKA Nbr: 1*
*Shiva-Shakthi, Supreme Reality – One Single Entity*
शिवः शक्त्या युक्तो यदि भवति शक्तः प्रभवितुं
न चेदेवं देवो न खलु कुशलः स्पन्दितुमपि।
अतस्त्वाम् आराध्यां हरि-हर-विरिन्चादिभि रपि प्रणन्तुं स्तोतुं वा कथ-मक्र्त पुण्यः प्रभवति॥ 1 ॥
Siva Saktyaa yukto yadi bhavati Saktah prabhavitum
na chaed aevam daevo na khalu kusalah spanditum api
atas twaam aaraadhyaam hari hara virinchaadibhir api
pranastum stotum vaa katham akrita punyah prabhavati. (1)
*TRANSLATION* Lord Shiva, who is the embodiment of light and the provider of welfare to the Universe, gets the power to create this Universe (provide the “motive force” to enliven this world) only when he combines with Shakthi. Otherwise, on his own, He cannot move even an inch. In the circumstances, how can anyone hope to be alive, who does not sing your praise, Oh! Mother Goddess, who is worthy of being worshipped even by the Trinity of Brahma, Vishnu and Shiva?
*SIGNIFICANCE:*
This is a very interesting way of looking at ‘Shakthi’. As we discussed earlier, Shiva is the “form” superimposed on Sadashiva the forless Brahman or Pure Existence. Existence cannot be experienced through the senses – it has to be visualized intuitively. Since existence is all-pervading and is single (advaitam), it is infinite. So there cannot be any movement or action. Action presupposes motion and motion means limitation. So Shiva is always motionless. When he becomes aware of the ‘creative’ power (Shakthi) inherent in him, he becomes the creator. Then His power (Shakthi) manifests the universe from within. Thus in the presence of Shiva (Existence or Sat) Shakthi becomes the throbbing consciousness (Chit) and transforms herself into the world of plurality. This is achieved by combining her 3 gunas (qualitatively) and the 5 elements (quantitatively) – their permutation/combination giving rise to the sense organs (5+5) the mind-intelelct-complex and the objects (vishayas). Thus, technically speaking Shiva is able to act only when he ‘combines’ with Shakti. (material world). That is why Lord Krishna said in the Bhagavad Gita “Presided over by me, Prakrithi creates”. Practically speaking whatever we seriously determine (sankalpam) and work for it can be achieved by us – the determination is backed by powerful Shiva.
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*Commentary on Verse 1 contd:*
*ARDHA-NARI ISHWARA:*
Shiva and his ‘Shakthi’ are inseparable like Me and ‘My power’. When I will, my power creates – it sustains and then it destroys. Similarly the Creative power (Shakti) and its owner Shakthiman are inseparable. This is similar to Purusha and Prakrithi in Vedanta and Vishnu and His Maya in Vaishnavism. To put it technically, Existence and Consciousness are inseparable. In Shaiva literature this combination is called Ardha-Nari-Ishwara. This verse describes this ancient Indian concept of Ardha-naari-Iswara, the cause of creation of the Universe. Thus the world gets its existence because of the combination of both positive and negative forces. It has nothing to do with the “sexual” aspect of the creatures (which, of course, is important) but it is the“balancing of the two opposite forces coming together to give birth to the Universal Principle”. This happens when Shiva combines with Shakthi – Shiva represents the “existential” aspect or BEING and Shakthi the WILLING or receptive aspect. In simple language, only when existence combines with willcan there be life. ‘Being’ is a fiction if it is without ‘Will’ and Will, a mere fancy if it is without Being! In their togetherness the mighty universe comes into existence. Many of the Mantras used for the worship of the Devi have been traced to this verse. Some commentators have opined that “Sodasakshari” [Goddess embodied in the 16 letters] is implied here as the first half of the verse contains 16 words. The sixteen principles are 5 basic elements, 10 sense organs and the mind being the 16th – without these there would be no world. Thus, this verse symbolically refers to the powerful “Sri Chakra” representing union of Shiva and Shakthi as the cause of cosmic evolution. [Sri Chakra consists of 4 triangles of Shiva and 5 triangles of Shakthi. We will be elaborately discussing Srichakra later.]
There are discussions in Hata Yoga as to why Shakthi is shown on the left side of Shiva and not the other way round. There are also several mythological stories on why the two forms are inseparable and again why the combination is called “Ardha-nari-Ishwara” and not “Ardha-nara-ishwari”. These discussions are not relevant here and hence not included. In the present context, it is enough if we are convinced that the “male” element in the Universe gets its true meaning and gets completed only when it is combined with the “female” aspects. Similarly the female elements need the presence of male to have any meaning at all. Both are supplementary and complementary to each other. Without Shakthi, Shiva is incomplete and without Shiva, Shakthi has no existence.
*Shloka (2)* *Greatness of Divine Mother*
तनीयांसुं पांसुं तव चरण पङ्केरुह-भवं
विरिञ्चिः सञ्चिन्वन् विरचयति लोका-नविकलम् ।
वहत्येनं शौरिः कथमपि सहस्रेण शिरसां
हरः सङ्क्षुद्-यैनं भजति भसितोद्धूल नविधिम्॥ 2 ॥
taneeya amsam paamsum tavacharana pankaeruha bhavam
virinchis sanchinwan virachayati lokaan avikalan
vahatyaenam Saurih katham api sahasraena Sirasaam
harah samkshudwainam bhajati bhasmod doolana vidhim. (02)
TRANSLATION: Great Lord Brahma, the creator, uses a minute speck of dust from your feet and creates this Universe, without any difficulty. The great Adisesha, with his thousand heads, somehow manages to carry the microscopic dust particle of your feet with great effort. And the venerable Lord Shiva [in the form of Rudra] powders that dust nicely and applies it all over his body as a daily ritual.
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*SHLOKA - 2*
*(2) Greatness of Divine Mother*
तनीयांसुं पांसुं तव चरण पङ्केरुह-भवं
विरिञ्चिः सञ्चिन्वन् विरचयति लोका-नविकलम् ।
वहत्येनं शौरिः कथमपि सहस्रेण शिरसां
हरः सङ्क्षुद्-यैनं भजति भसितोद्धूल नविधिम्॥ 2 ॥
taneeya amsam paamsum tavacharana pankaeruha bhavam
virinchis sanchinwan virachayati lokaan avikalan
vahatyaenam Saurih katham api sahasraena Sirasaam
harah samkshudwainam bhajati bhasmod doolana vidhim. 02
*TRANSLATION:*
Great Lord Bhahma, the creator, uses a minute speck of dust from your feet and creates this Universe, without any difficulty. The great Adisesha, with his thousand heads, somehow manages to carry the microscopic dust particle of your feet with great effort. And the venerable Lord Shiva [in the form of Rudra] powders that dust nicely and applies it all over his body as a daily rituals.
*SAUNDARYA LAHARI (6):*
The verse conveys the grand powers of the Goddess (Consciousness which is beyond the Universe or beyond Time and Space.). MOTHER SHAKTHI beyond the three aspects of life, viz., creation, preservation and destruction – represented respectively by Brahma, Adisesha (Vishnu) and Rudra. She is omni-potent and omni-present. The dust particle of the Goddess’ feet is a mere figurative representation of her inherent creative capacity from which the world was created. The cold seed (Hema-Beeja) representing the “Shiva” principle was introduced into the Hiranyagarbha [the golden-coloured Supernova] representing the Goddess which is actually his “potency”, manifested the universe. This bheeja (macrocosmic causal body or the total of all the individual karana sarirams) is the source of all creations on this universe. Though it is part of the Goddess, when it is blessed by the existence principle has a separate entity while it inhabits various mortal bodies in this Universe. The objective of creation of every entity in this universe is constant self improvement till it is ready to rejoin the Supreme Perfection the Goddess called the ‘Mother of the Universe.” Thus, the Jeevatma “evolves” and improves constantly from birth to birth – the evolution is based on the cumulative experiences accumulated by it and the lessons learnt by the jeeva in its innumerable journeys – naturally the experiences are mixed - good and bad
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*SHLOKA - 3*
*Mother is described as Love*
अविद्याना-मन्त-स्तिमिर-मिहिर द्वीपनगरी
जडानां चैतन्य-स्तबक मकरन्द श्रुतिझरी ।
दरिद्राणां चिन्तामणि गुणनिका जन्मजलधौ
निमग्नानां दंष्ट्रा मुररिपु वराहस्य भवति
॥ 3 ॥
avidyaanaam antas timira mihira dweepa nagaree
jadaanaam chaitanya stabaka makaranda sruti jharee
daridraanaam chintaamani gunanikaa janma jaladhau
nimagnaanaam damshtraa mura ripu varaahasya bhavati. 03
*TRANSLATION:*
The dust under your feet, Oh great Goddess, is like the city of the rising sun in the middle of the sea of darkness representing the unfortunate, ignorant mind of the ordinary human mortal full of worldly cravings. To the uninformed, it is like the flow of honey from the bunch of flowers representing vital energy and action. To the dim-witted one, it is the heap of gems, which grant all wishes and to the poorest of men, it is equal to the teeth of Lord Vishnu [in Varaha Avathara], which rescued the mother Earth from the sea of Samsara.
*SIGNIFICANCE:*
In the previous verse, the Goddess was described as “power absolute”. Here it is pointed out that she is full of love working for the uplift of the devotees. The cosmic dust (consciousness) is the only light available in the heart which is covered in darkness like the Sun is covered by clouds. The heart is a dark cave full of darkness or ignorance about the true nature of the self. This ignorance has to be removed by the knowledge accumulated by a systematic study of the scriptures under a traditional guru. This knowledge about the Self (Consciousness or Goddess) is nullifies the ignorance of the Self and as a result the Sun of Self shines as Pure Consciousness. The great Acharya has further explained that the Goddess [Ultimate Realization] is not restricted to the highly intelligent and spiritual person. On the contrary, she can be meditated upon and attained by all types of people. Even the dull-witted ordinary run-of-the-mill common men can benefit from her grace by seeking grace with faith. For them She is like the nectar of intelligence oozing from the flowers. Again, She is not the sole property of the rich – she is available to the poorest of the poor also. For the latter, she is like the necklace of wish-granting gems. Further, it is wrong to assume that Goddess realization is restricted to the spiritual persons who, having given up the worldly pleasures, have gone away to the Himalayas and meditate continuously. She is easily accessible even to those who are totally immersed in the sanskaras of samsara. To them, She is like the Tusk of Varaha [Avathara of Vishnu], which rescued and restored the Earth during Pralaya. This means, when the householder is confounded by confusions and feels that everything is lost, he can get help from Her and he will be protected and delivered from the calamities. In short, everyone - the wise, the ordinary, the poor and of course, the one who has left everything and gone to the forest to meditate can expect to be blessed by the Goddess if they sincerely pray to her.
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*Graciousness of the Mother described poetically*
त्वदन्यः पाणिभया-मभयवरदो दैवतगणः
त्वमेका नैवासि प्रकटित-वरभीत्यभिनया । भयात् त्रातुं दातुं फलमपि च वांछासमधिकं
शरण्ये लोकानां तव हि चरणावेव निपुणौ ॥ 4 ॥
twadanyah paanibhyaam abhaya varado daivata ganah twam aekaa naiva asi prakatita vara abheety abhinayaa bhayaat traatum daatum phalam api cha vaancaa samadhikam saranyae lokaanaam tavahi charanaa vaeva nipunau. (4)
*TRANSLATION:*
All gods (except you) O mother, for providing refuge and granting wishes, have to use their hand as abhaya-hastha (for refuge) and/or vara-hastha (for boons)]. But, O mother, no such physical demonstration is necessary. Even a mere (sight) of your holy feet is sufficient to remove forever the fear from the minds of your bhakthas and also grant boons much more than what was asked for.
*SIGNIFICANCE:*
If you visualize the Goddess in her Tripurasundari form, you will find that she is not specifically demonstrating the boon-giving “Vara hastha” or the refuge providing “abhaya-hastha”. This makes the mischievous Shankara Acharya to visualize a subtle distinction between the Goddess and other Gods. That is why he says that there is no need for the Goddess to specifically demonstrate these physical signs with her hands. If the bhaktha merely manages to get a glimpse of her graceful feet, it is sufficient to get all his desires fulfilled – there is no need for Her to specifically bless him. In fact, he can hope to receive much more than what he sought from her if he is able to please her.
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*Source of fascination and attraction.*
हरिस्त्वामारध्य प्रणत-जन-सौभाग्य-जननीं
पुरा नारी भूत्वा पुररिपुमपि क्षोभ मनयत् ।
स्मरोஉपि त्वां नत्वा रतिनयन-लेह्येन वपुषा
मुनीनामप्यन्तः प्रभवति हि मोहाय महताम् ॥ 5 ॥
hari stwaam aaraadhya pranata jana soubhaagya jananeem
puraa naaree bhootwaa pura ripum api kshobha manayat;
smaropi twaam satwaa rati nayana laehyaena vapushaa
muneenaam apy antah prabhavati hi mohaaya mahataam. (5)
*TRANSLATION:*
Once Lord Vishnu, by worshipping you, in the form of Shree Chakra, capable of granting all wishes, could assume the feminine form (Mohini Roopam) which was so pretty and enchanting that he/she could entice even the strict mind of great Lord Shiva (which is capable of burning down entire cities) and make him fall in love. Manmatha, who with your blessings got the beautiful body, which is visible like nectar only to Rathi, his wife, after venerating you, becomes capable of creating passion even in the mind of Great Sages. [Here reference is to Sage Vishwamitra, the Brahma Rishi, who was enticed by Menaka, the heavenly damsel.]
*SIGNIFICANCE:*
This verse refers to the famous story of Lord Ayyappa, the boy with the bell round his neck (Manikanntan) born to Hari and Hara. This incarnation was to kill Demon Mahishi, the tormentor of Universe. The demon had performed great penance and had obtained a boon from Brahma that no person who is born to a female will be able to kill him. Naturally, he was indestructible and created havoc in the world. The suffering bhakthas prayed to Shiva and Vishnu to destroy him. So Lord Vishnu, decided to take the female form of Mohini and entice Lord Shiva. Naturally, this needs the approval of the Goddess Parvathi, his wife! So, it is shown that Lord Vishnu worshipped the Goddess, in the form of Shree Chakra, which is capable of granting all wishes. With the blessings and tacit approval of the Goddess, Vishnu is reported to have assumed the pretty, lovable and seductive feminine form of Mohini and made Lord Shiva fall in love with her. It is not easy to attract and seduce the strict mind of great Lord Shiva (which is capable of burning down entire cities). So they had to take the help of Manmatha, the God of Love. Again there was a problem, Manmatha, cannot do anything with Lord Shiva’s mind unless he first gets the approval of the powerful Goddess – otherwise she will finish him off. So he takes her blessings and creates lust in Lord Shiva. The child born to Mohini is the powerful Ayappa – also known as Hariharaputhra – or son of Hari and Hara or Vishnu-Shiva combination.
One should not bother so much with the physical aspects and waste our time in question whether such a thing was possible scientifically. On the contrary, the mind should be applied to understand the significance behind the story. The true significance is that if a human being is able to combine in him the qualities of both Vishnu (graceful aspect of performing daily chores) and Shiva (brutal destructive force to face difficulties) he will be very powerful and can get over all the obstacles in his life. Both these aspects are essential for successful life.
Manmatha is shown as having the capacity of creating passion even in the mind of Great Sages. The reference is to Sage Vishwamitra, the Brahma Rishi, who was enticed by Menaka, the heavenly damsel. The Union gave to this Universe, the most beautiful Shakunthala, who gave birth to Bharatha, the great king of India, after whom the country is known as Bharath. Through this Heavenly genetic intervention, the Earthly
creations were improved
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*Mother's grace empowers Kama-Deva*
धनुः पौष्पं मौर्वी मधुकरमयी पञ्च विशिखाः
वसन्तः सामन्तो मलयमरु-दायोधन-रथः ।
तथाप्येकः सर्वं हिमगिरिसुते कामपि कृपां
अपाङ्गात्ते लब्ध्वा जगदिद-मनङ्गो विजयते ॥ 6 ॥
dhanuh poushpam mourwee madhu karamayee pancha visikhaah
vasantas saamanto malaya marud aayodhana rathah
tathaa apy aekas sarwam hima giri sutae kaamapi kripaam
apaangaat tae labdhwaa jagad idam anango vijayatae. 06
*TRANSLATION.:*
Oh, Himavathi! Manmatha, the lord of love, even without having a body, can, with a bow made of flowers, bow string of honey bees, five arrows made of tender flowers and with spring as his minister and riding on the chariot of breeze blowing softly from the mountains, when he receives the sideways glance of your holy eyes (tacit approval) becomes capable of winning (seducing) all creatures.
*SIGNIFICANCE:*
Having talked of Manmatha creating the requisite lust in the mind of Lord Shiva (in the previous verse) the Acharya, naturally diverts to tell us his significance. Manmatha, the God of Love, represents the attachment of the humans to everything physical. Beautiful things created by nature like the moon-lit nights, mild breeze, spring season, lovely flowers and their heavenly fragrance have all the capacity to act as aphrodisiacs and they weaken the mind of most humans (as if pierced by arrows). This creates sexual urge and it is expressed through the body. These attractions cloud the minds of virtually every human being and they remain attached to life because of this “bondage”. Manmatha signifies one of the forms of the Goddess as “Maya” which dominates the creatures of the world and makes them remain interested, involved and attached to the world. Kama is not only sexual attachment but represents all types of attachment. Of course, ultimately, this attachment is the root cause of the problems of all the creatures!
Upanishads, the great Indian scriptures, clearly describe the attachment to worldly things as the “avidya” which needs to be removed. This is not possible for all humans. Only the best and the most sincere are able to do this. This is the greatest “test” given to the humans to find out whether they are ready for spiritual journey. Our scriptures categorically state that humans can escape from the clutches of Maya, only with the blessings of the Goddess, which comes to only those who are sincere in their worship and serious in their approach. Only when we progressively disjoin ourselves [demonstrating the requisite vairagya) can we move forward in our eternal journey. Most of us fail this test. The truth is all of us can get over Maya if only we try sincerely and have the blessings of the Goddess.
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*Goddess in the classic form of Tripurasundari*
क्वणत्काञ्ची-दामा करि कलभ कुम्भ-स्तननता
परिक्षीणा मध्ये परिणत शरच्चन्द्र-वदना ।
धनुर्बाणान् पाशं सृ॒णिमपि दधाना करतलैः
पुरस्ता दास्तां नः पुरमथितु राहो-पुरुषिका ॥ 7 ॥
kwanat kaanchee daamaa kari kalabha kumbha stana nataa
pariksheenaa madhyae parinata sarat chandra vadanaa
dhanur bhaanaan paasam srunim api dadhaanaa karatalaih
purastaa daastaam nah puramathitu raaho purushikaa. (07)
*TRANSLATION:*
O Goddess, your superb appearance, slim and pretty, with a golden belt adorned with tiny tingling bells, your heavy breasts angular like the two frontal lobes of a beautiful baby elephant, and with a face like the (bright) autumn moon, holding a bow of sugarcane in her hands with arrows made of flowers and the noose and goad – Your, having this wonderful form, who is the (alter) ego of the Lord Shiva (who destroyed all the three Worlds) is always a pleasure to behold.
*SIGNIFICANCE:*
[To fully understand and enjoy this verse, please keep the “classic” image of the Goddess in the form of *TRIPURASUNDARI* in front of you. Look at her beauty for as long as possible. Then read the verse word by word and enjoy her beauty.] The Acharya is unable to take his eye off her and describes her beauty in very minute detail. [No one can describe the Goddess better than the Acharya who is intoxicated with her beauty.] While this verse describes her physical beauty, the next three verses describe the meaning and significance of this posture.
The three worlds are the 3 states of consciousness through which each human being passes on a daily basis – jagrat-swapna-sushupthi. The three are material and hence keep changing and are superimposed on the 4th (Thuriyam) that is formless basis – the Goddess Supreme. That is why she called the conquerer of Three-puras – three states. The three states are also synonymous with time and space and the Goddess is beyond time and space.
Any person involved in yogic meditation has to first go beyond the body-mind-intellect representing the above 3 states – Waking state is concerned with body, dream state is associated with the mind and the deep sleep is associated with the intellect. While we (our ego) passes through these three states routinely, the consciousness which facilitates all these states remains non-changing and all-pervading – ever a witness. The movement of the mind beyond the three states is described in the next verse. [With warm regards: R. Hariharan]
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सुधासिन्धोर्मध्ये सुरविट-पिवाटी-परिवृते
मणिद्वीपे नीपो-पवनवति चिन्तामणि गृहे ।
शिवकारे मञ्चे परमशिव-पर्यङ्क निलयाम्
भजन्ति त्वां धन्याः कतिचन चिदानन्द-लहरीम् ॥ 8 ॥
sudhaa sindhor madhyae sura vitapi vaatee parivritae
mani dweepae neepopa vanavati chintaamani grihae
Sivaakaarae manchae parama Siva paryanka nilayaam
bhajanti twaam dhanyaah katichina chidaananda lahareem. 08
*TRANSLATION.*
Situated in the middle of the sea of nectar, in the isle of precious gems, surrounded by Kalpaga trees capable of granting all wishes and Kadamba trees (which emits great fragrance) in the house of the gem of thought, seated on the chair represented by great God Shiva, the Goddess, is like a tide in the sea of happiness of ultimate truth and can be worshipped only by a fortunate few (deserving) selected holy men.
*SIGNIFICANCE:*
This description of the Goddess is symbolic and traces the route to be taken by the mind to reach the Goddess who is “paramasukha” or “ultimate bliss”. This can be achieved only through severe penance or Tapa. The “ocean of milk” represents the vast human consciousness, accumulated over generations of existence. Only when this ocean is churned through continuous meditation can one really start on the spiritual journey. Constant meditation provides all the benefits to the practitioner and ultimately leads to the realization of the Goddess or Ultimate Bliss.
The Goddess is shown as seated on the BENCH that is “Lord Shiva” – this may not be clear to many bhakthas. How can the wife sit over the body of the husband? This posture, as stated earlier, is symbolic. Shiva or Sadashiva as described earlier (Verse 1) is Pure Existence or Brahman the basis (ullathu). Everything is happening on that universal ‘platform’ which is fixed and non-moving. Bhagavad Gita beautifully calls is Koodastha. Lord Shiva is the screen on which the universal movie is played – projected by Goddess. Yet another illustration is the bubble, the ocean and the water. Both bubble and the ocean are essentially water. Bubble is the jeeva with the three states, ocean is the Goddess and water is the Sadashiva. That is why He is called Brahman [Brh – expanded] [man – mind]. Mind has to expand through meditation to go beyond the three states to reach the Goddess on our way to reaching Lord Shiva – we can then win over death (Kala or Time) and become Mrityunjaya.
While this verse describes the “external” aspects of meditation, the next two verses describe the “internal” aspect. That is, the ascending of the energy, during severe meditation, from the Kundalini to the Sahasrara [verse No.9] and the descending from Sahasrara to the Kundalini [verse No.10]. [With warm regards: R. Hariharan]
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*Internal meditation – Kundalini ascending to Sahasrara.*
महीं मूलाधारे कमपि मणिपूरे हुतवहं
स्थितं स्वधिष्टाने हृदि मरुत-माकाश-मुपरि ।
मनोஉपि भ्रूमध्ये सकलमपि भित्वा कुलपथं
सहस्रारे पद्मे स हरहसि पत्या विहरसे ॥ 9 ॥
maheem moola adhaarae kamapi manipoorae hutaavaham
sthitam swaadhishthaanae hridi marutam aakaasam upari
mano api bhroomadhyae sakalamapi bhittwaa kulapatham
sahasraarae padmae naha rahasi patyaa viharasae . 09
TRANSLATION. Oh My Goddess, you live in seclusion with your consort, inside the “thousand petalled lotus” which can be reached ONLY after breaking through the five constituents of the macrocosm [pancha-bootha]. Starting with the power of earth in Mooladhara, water of Manipura, fire of Swadhishtana, air in the Heart [Anahatha], and the power of ether in between the eyelids [Agna Chakra] one can reach the ultimate destination or Sahasrara. [The order of the Chakras in the sloka is slightly different – this may be to explain the order in which the elements were created.]
[Note: Hata Yoga, which was very popular in Ancient India, is a great science. It prescribes all the physical kriyas required for getting psychic powers. For this, “Kundalini” power stored in the Mooladhara Chakra [root of the spinal column] like a coiled snake and lying dormant since human appearance in the universe (millions of years ago) needs to be kindled. This coiled energy (Ojas) has to be pushed up through the charkas situated inside our body viz.: Mooladhara representing Earth (foundation or base), Manipuraka (water – urinary bladder), Swadishtana (fire in the belly and guts – Jataragni) Anahata (representing Air in the lungs), Vishudhi (akasha or ether) and then the Ajna (representing the subtle element of Lord Shiva) and above all is Sahasrara representing the 1000 petalled lotus of Goddess or Ultimate Bliss. They are interconnected through the Sushmna nadi or nerve. As the awakened Kundalini moves from the Mooladhara to the final Sahasrara Chakra, at the top of the Head, the practitioner progressively gets psychic powers. This movement of the Kundalini, is through a micro nerve called Sushmna which is placed smack inside the back bone. This nerve connects all the 75000+ nerves through the Chakras which are like cut-outs in an electric circuit. To facilitate smooth movement of the Kundalini, through this
... 9 contd...
Hata yoga believes that the accumulated energy of humans [Kundalini] is situated at the root of the backbone Mooladhara chakra – coiled like a snake or “Anantha”. This name Anantha is very significant and appropriate. It literally means unending – representing the accumulated experiences of the humans, collected through generations of existence on the Earth. Of these, all those that have “influenced our minds” have been stored away in our conscience. They can be both good and bad. These are consolidated and continuously compressed in our memory – these are called “prarabdas”. Thanks to this compression over the years, these are hardened like hard, unbreakable rocks. That is why they are shown as represented by the element Earth – the hard outer crust. This outer shell needs to be broken. This naturally requires severe and sincere effort – almost super-human. That is why the initial “take off” into meditation is always difficult and requires maximum effort – just like the aircraft needing to generate maximum thrust, and straining itself fully using maximum fuel, when it takes off.
When the hard outer crust is broken with sever meditation, the kundalini or coiled snake is awakened and it moves up – first to the Swadishtana chakra (represented by water), which is less “subtle” than Earth. Physically, this is situate just above the sexual organs. [Remember, our urinary bladder is always filled with water]. Swadishtana represets ego/wishes/physical desires etc. We can continue on our spiritual efforts only if we “conquer” these desires and move away from them. This is tough test and needs lots of mental strength or “vairagyam” to succeed.
Once we are able to control or conquer the physical desires and move up, then we reach Mani-pooraka chakra situated behind the belly button. This is represented by the third element “fire” which is less dense (more subtle) than water. This is home of “Jataragni – or stomach fire”. Symbolically it is shown as “Gem wheel” – and conquering it means, we will have to detach ourselves from all our worldly possessions or assets. This is the second stage of vairagyam. When we cross this, we would have conquered our “hunger for worldly possessions”.
If we are able to continue our journey, then we will reach Anahatha [Death-less] chakra situated inside the physical heart represented by “air” which is more subtle than fire. Air is most important requirement for life and “prana” inside the air when lodges itself in the heart of the unborn child, it starts ticking. This air remains there till death. When our meditation makes us reach this stage, we are shown as having conquered “death”. This does not mean we will not die – death is inevitable to all those who are born. It means something more important - we have conquered the “fear” of death or Abhinivesha. A sadhaka who has reached this stage is not afraid or worried about dying.
Then the practitioner who continues his journey, progresses to Vishuddhi Chaka (ultimate cleanliness – represented by first part of Ether) lodged between the eyebrows also known as the Akgna chakra (Wheel of genuine knowledge represented by the denser part of the subtle Ether). When the kundalini moves up to this stage, genuine knowledge dawns and the practitioner is able to visualize the true characteristics of our origin.
Moving further up, one reaches the top of brain, known as the Sahasrara Chakra (the wheel of thousand petalled lotus). This is supposed to provide the “Ultimate Void or Shunya) – the most subtle. The pleasure experienced is reported to be unbelievably fantastic. [A description of this experience is provided by the Acharya in the next verse]. [With warm regards: R. Hariahran]
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*Internal meditation – Kundalini descending to Mooladhara.*
सुधाधारासारै-श्चरणयुगलान्त-र्विगलितैः
प्रपञ्चं सिन्ञ्न्ती पुनरपि रसाम्नाय-महसः।
अवाप्य स्वां भूमिं भुजगनिभ-मध्युष्ट-वलयं
स्वमात्मानं कृत्वा स्वपिषि कुलकुण्डे कुहरिणि ॥ 10 ॥
sudhaa dhaaraa saarais charana yugalaantar wigalitaih
prapancham sinchantee punar api rasaamnaaya mahanah,
avaapya swaam bhoomim bhujaga nibhamadyushtha valayam
swam aatmaanam kritwaa swapishi kulakundae kuharini. 10
*TRANSLATION:*
Using the nectar that flows from between your feet, to drench all the (72,000) nerves of the body [prapancha] with nectar like rays from the moon, and descending to reach back to your place, and coiling your body in to a ring like serpent, you sleep in the Kula Kunda – the resting place of the Kundalini.
*SIGNIFICANCE:*
To understand verse 10, it is necessary to recapitulate the essence of verse 9. All the experiences of a human accumulated from all previous births - both good and bad – are stored in the Mooladhara chakra like a compressed and coiled snake, called Kundalini. If the devotee is able, through continuous tapas, to awaken this snake and lead it through the different chakras and make it reach the Sahasrara, he realizes the Goddess who is the ultimate source of genuine pleasure. What are his feelings at that time? Verse 10 graphically describes them. Even in the initial stages of sincere meditation, the sadhaka can experience a feeling of general “well-being” – so the feeling of a person who has reached the ultimate stage has only to be imagined. Actual Experience of “Ultimate Bliss” or Union with the Goddess gives a scintillating pleasure as if all the 72,000 nerves in our bodies are drenched with the nectar of moonlight. It is as if, every nerve end in our body gets tickled just like “nectar of moon-light” is passing through each of them. You will feel as if time is standing still. Alas, this experience of pleasure does not last forever. People who have experienced this say, it lasts only for a fleeting moment. But that experience should have been fantastic. In hata yoga, this verse is used to describe the “orgasm” which the Goddess provides after union with Lord Shiva. In fact, Acharya Rajanish [later known as Osho] always explained that to “understand the timeless God, one must visualize the orgastic experience of sexual union”. His teachings have been interpreted by the Western audience only to the limited extent of equating God realization to sexual orgasm. What a pity! After the pleasurable experience, Kundalini returns from Sahasrara back to Mooladhara and settles down in its original place. This means, after experiencing the pleasures of paramananda, the practitioner is back to earthly consciousness. He has to continue to do his earthy mundane duties. [With warm regards: R. Hariahran]
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*Sri-Chakra described.*
चतुर्भिः श्रीकण्ठैः शिवयुवतिभिः पञ्चभिपि
प्रभिन्नाभिः शम्भोर्नवभिरपि मूलप्रकृतिभिः ।
चतुश्चत्वारिंशद्-वसुदल-कलाश्च्-त्रिवलय-
त्रिरेखभिः सार्धं तव शरणकोणाः परिणताः
॥ 11 ॥
chaturbis Sreekanthais Siva yuvatibhih panchabhir api
prabhinna abhis Sambor navabhir api moola prakritibhih
chatus chatwaarimsad vasu dala kalaasra trivalaya
tri raekhaabhis saartham tava Sarana konaah parinataah. (11)
*TRANSLATION:* With the four tathwas (known as Shiva Chakras) and five elements (Shiva maids or Shakthi chakras) constituting the basic manifestations (dhatoos representing Prime Nature) apart from Sambhu (the Bindu or small circle in the center), along with two lotuses, one of eight petals and another of sixteen, besides three surrounding circles and three lines, totaling 44 elements make up Sri Chakra or Sri Yantra, your abode, which is the ultimate refuge of one and all.
*SIGNIFICANCE:* Sri Chakra represents the essence of the entire cosmos. Hence no one has really understood the Chakra. Has anyone visualized the cosmos in its entirety? It can be understood only by those who, through continuous meditation, has reached exalted state called “Nirbeeja Samadhi” – they experience true ‘silence’ or Ultimate Bliss. Even if someone has experienced it, he will not be able to explain to the ordinary person who will never be able to realize the grandeur. It has to be personally experienced. It represents the vision of both the microcosm and the macrocosm. We have to be satisfied with the beautiful explanation given by the Acharya. For us, the common people, Sri Chakra, is a bucket full of nectar rising from the well of immortality with a hole at the bottom from which there is a continuous flow of mercy dripping and bathing the bhakthas. [With warm regards: R. Hariharan
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*Figurative description of Tripurasundari:*
त्वदीयं सौन्दर्यं तुहिनगिरिकन्ये तुलयितुं
कवीन्द्राः कल्पन्ते कथमपि विरिञ्चि-प्रभृतयः ।
यदालोकौत्सुक्या-दमरललना यान्ति मनसा
तपोभिर्दुष्प्रापामपि गिरिश-सायुज्य-पदवीम् ॥ 12 ॥
twadeeyam soundaryam tuhina giri kanyae tulayitum
kaveendraah kalpantae kathamapi virinchi prabhritayah
yuda alokoutsukyaad amara lalanaa yaanti manasaa
tapobhir dushpraapaam api girisa saayujya padaveem . 12
*TRANSLATION:* Oh, Himawathi! Your beauty is unfathomable. Even the best among poets, who, with their imagination could succeed somehow in creating Brahma and others, could not visualize (create) anything comparable to your beauty. Eager to see (feel) your beauty, heavenly damsels mentally try to imagine a state of union with Shiva (which is impossible even for great ascetics.).
*SIGNIFICANCE:* The ultimate objective of every creation is to reach “bliss” or “paramananda”. To reach this state, one has to understand ones own “Self” – which is represented by Shiva Principle – Pure Existence. This is symbolised in the Upanishads by the words “Shivoham – I am Shiva”. This is beyond the reach of common intellect. So Shankaracharya and other great thinkers have represented the route to ultimate paramananda as knowing the “Shakti” of Lord Shiva or the female aspect, which is naturally considered beautiful and enjoyable. This state is the ‘formless Goddess’ or pure anandam, which again cannot be understood by majority of the devotees. Therefore, the great thinkers have superimposed a beautiful form of the Goddess (Tripurasundari). We have to understand the Goddess (Consciousness) which has manifested as both the micro and macrocosm or individuality and the totality. After realizing Shakthi knowing Shiva is easy.
The bliss inherent in the realization of Paramananda, or realization of the Goddess Shakthi has to be explained to the common man in a language, which he will understand. That is why, it is stated that, this situation is so attractive that it is desired even by the heavenly beauties. Even for them, it is not easy. But, the realization is so attractive that these damsels will go to any length. They are willing even to attempt mentally to have a “union” with Lord Shiva i.e. attempt the “impossible” with their minds (realization of Shiva and be united with Him) so that they can enjoy the presence of the Goddess. The physical aspects of Shiva and Goddess being husband and wife can be understood by the common man. But those who are deep thinkers will go beyond the physical and understand the subtle significance.
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*Beauty of the Goddess described erotically (Sringara Rasa)*
नरं वर्षीयांसं नयनविरसं नर्मसु जडं
तवापाङ्गालोके पतित-मनुधावन्ति शतशः ।
गलद्वेणीबन्धाः कुचकलश-विस्त्रिस्त-सिचया
हटात् त्रुट्यत्काञ्यो विगलित-दुकूला युवतयः ॥ 13 ॥
naram varsheeyaamsam nayana virasam narmasu jadam
tavaapaanga alokae patitam anudha avanti satasah
galad vaenee bandhaah kucha kalasa visrasta sichayaah
hathat trutyat kaanchyo vigalita dukoolaa yuvatayah. 13
*TRANSLATION:* Even an ugly-looking man with blank eyes and disinterested in physical pleasures, when he comes within the range of your side-glance (becomes so attractive that) he is chased by thousands of young women, with disheveled hair and (unmindful of) the slipping of their upper clothes covering their rounded, shapely breasts, their waistbands bursting, and silk garments in disarray.
*SIGNIFICANCE:* This verse is complementary to the previous one. It is normal for most persons, as they grow old, to become disinterested in everything and so naturally they become ugly and unattractive and their eyes become blank. But if such a person is able to receive the favour of the Goddess (which is possible through bhakthi or through meditation) he gets fully charged with energy and becomes inherently so attractive, that even young damsels will chase them so ardently that they even ignore their upper garments falling off revealing their shapely breasts. This attracts those people to do penance who would have otherwise thought themselves to be old and useless.The mention of old and ugly person on the one side and young and good-looking (sexy) damsels on the other is (a marketing trick) to prevent the common man from getting dejected as he grows old but tempt them to indulge whole-heartedly in bhakthi and other forms of spirituality. It is to remove the normal opinion that spirituality is a boring thing.There is a deeper significance also. Continuous indulgence in bhakthi /meditation not only brings out the mental energies, but this inner fulfillment will be reflected in the shine or “tejas” apparent on the face of the practitioner. The energy increases due to continuous bhakthi or meditation is reflected faithfully on the faces of the practitioners. The inner levels of improved confidence will be apparent on their faces and everything they do. Naturally they become attractive. This attraction is not so much physical – it is more spiritual.
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*Goddess Tripurasundari is transcendant*
क्षितौ षट्पञ्चाशद्-द्विसमधिक-पञ्चाशदुदके
हुतशे द्वाषष्टि-श्चतुरधिक-पञ्चाशदनिले ।
दिवि द्विः षट् त्रिंशन् मनसि च चतुःषष्टिरिति ये
मयूखा-स्तेषा-मप्युपरि तव पादाम्बुज-युगम्
॥ 14 ॥
kshitou shat panchaasad dwi samadhika panchaasad udakae
hutaasae dwaashashtis chamaradhika panchaasad anilae
divi dwishshat trimsan manasi cha chatu shshashtir iti yae
mayookhaas taeshaam apy upari tava paada ambuja yugam . 14
*TRANSLATION:* Fiftysix for earth, fifty-two for water, sixty-two for fire, fifty-four for air, seventy-two for ether and for mind (manas) sixty-four – these are your rays (connected with human existence). Even beyond these are you twin feet (the cause of the sentient world).
*SIGNIFICANCE:* Even though, electricity was yet to be invented, the ancient Indian masters, knew of the “energy distribution system” of our human body. The various charkas, like modern, electrical cutouts or junctions, store the energy and redistribute in a typical “hub and fork” system. The 72,000 nerves in the human body, all-starting from the head, move throughout the body connecting each and every organ. The cosmic energy is collected from the head [Head Office] and stored in the charkas [branches] for further redistribution. That is why, when we meditate, we are advised to visualize the energy in the form of a white light entering the head. Further, as we progress in our meditation, we are advised to energize each and every chakra to ensure our energy distribution is efficient at all levels. Only if sufficient energy is received can the body remain balanced for the long journey of meditation. The 72,000 nerves, which are the forks, end up in 360 sub-branches, which are connected to the various Chakras of hubs or branches. Depending upon their nature and requirements, the values are assigned. Earth (56) is heavier as compared to Water (52), Fire (62) is heavier than Air (54), Ether (72) is denser than Manas (64) – these are values representing the various chakras of the Body. These represent the 360 nerve ends, which join at the charkas. The original (and therefore, ultimate) source of energy, which keeps these supplied is situated at the Head (Sahasrara Chakra) and is represented by the Goddess, the Pure Consciousness
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*Goddess [in the form of Saraswathi] Stimulates poetic faculty in her Bhaktas.*
*[Verses 15, 16, 17 and 18 all go together. They deal with colour effects on the universe. White, ultraviolet and infrared – the three colours form the three angles of the triangle -each 45 degrees. These colours have the powers to create poetic sensations in the minds. The significance is that the imagination of the people meditating on the Goddess gets expanded and their poetic abilities get activated.]*
शरज्ज्योत्स्ना शुद्धां शशियुत-जटाजूट-मकुटां
वर-त्रास-त्राण-स्फटिकघुटिका-पुस्तक-कराम् ।
सकृन्न त्वा नत्वा कथमिव सतां स न्निदधते
मधु-क्षीर-द्राक्षा-मधुरिम-धुरीणाः फणितयः ॥ 15 ॥
Sarajjyotsnaa suddaam sasiyuta jataa joota makutaam
vara traasa traana spatika ghatikaa pustaka karaam
sakrin natwaa na twaa katham iva sataam sannidadhatae
madhu ksheera draakshaa madhurima dhureenaah phanitayah. 15
*TRANSLATION:* (You are) clear as autumnal moon-beams your crown with crescent covering your matted hair (representing the power of meditation) and with your (four) hands (each) bearing refuge, boon-giving gesture, holding rosary of crystal clear beads and book. How could anyone worshipping you even once, not be the recipient of such knowledge that the flow of words from his mouth will be as pleasing and sweet like honey, milk and grapes (objects which are usually considered very desirable.) i.e. Mere thinking of your form, O Goddess, kindles the poetic abilities in the person doing so.
*SIGNIFICANCE:* The classic form of Goddess Saraswathi is described here. She has books in one hand representing knowledge, rosary of clear beads that is used in japa or chanting, her hair is matted due to disinterest shown by those who are highly spiritually evolved and her face is bright like the autumnal moon. Those who pray to Goddess in the form of Saraswathi are likely to get her blessings very easily – that is reflected by the hand which is shown as boon giving. Further everyone can seek her refuge which is shown by the other hand providing refuge. The satisfaction, which they get after receiving her blessings, is compared to the intake of honey, grapes and milk – the best things known to humans then. The Goddess is always shown as representing the white colour that is purity personified and knowledge incarnate. The greatest of ancient Indian poets, Kalidasa, was blessed by the Goddess and he was transformed from an ignorant and idiotic cowherd to a great poet well versed in Sanskrit - one of the nine-gems which adorned the Court of King Vikramaditya.
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*Worship of the Devi as Aruna.*
कवीन्द्राणां चेतः कमलवन-बालातप-रुचिं
भजन्ते ये सन्तः कतिचिदरुणामेव भवतीम् ।
विरिञ्चि-प्रेयस्या-स्तरुणतर-श्रृङ्गर लहरी-
गभीराभि-र्वाग्भिः र्विदधति सतां रञ्जनममी ॥ 16 ॥
kaveendraanaam chaetah kamalavana baalaat ava ruchim
bhajantae yaesa sah katichid arunaam aeva bhavateem
virinchi praeyasyaas taruna tara sringaara laharee
gabheera abhir waagbir vidadhati sataam ranjanamamee. 16
*TRANSLATION:*
Similar to the forest full of lotuses bloom when caressed by the tender light of the dawn (morning sun), the beauty residing within the minds of superior poets comes out when they adore you who are so dear to Brahma as magenta (colour) itself. (When so blessed by the Goddess, these poets become capable of pleasing everyone by profound words of most tender erotic content.
*SIGNIFICANCE:*
The vivid imagination of the Acharya is revealed here. Let us visualize the early morning sunlight falling on the surface of the lake, which is full of lotus buds with their green coverings. When the suns rays reach the buds, they all open up ever so slowly, petal by petal. The outer covering of the lotus is green and the inner petals are reddish. When the green moves away the lake becomes a fantastic sight with all the buds revealing the beautiful “magenta” colour hidden inside them. Similarly, when we contemplate on the beautiful form of the Goddess with sincerity, her knowledge blossoms inside us like the blooming lotuses in the lake. This happens ever so slowly – no quick fixes here. Naturally, all the hidden poetic qualities in us also come out without our knowledge. With blessings of the Goddess, Sankaracharya, an out and out philosopher, and who is not real poet, could compile verses in Her praise with ease. While the previous verse dealt with the importance of white colour, this verse talks of the “magenta” colour, which is very auspicious. For the layperson, the Great Acharya talks of the practice of using these coloured lotuses to worship Brahma [the husband of Saraswathi]. Naturally he can easily be pleased because he is very fond of these flowers. Pooja with Bhakthi and Shradha is the starting point of spiritual journey. [With warm regards: R. Hariharan]
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*Meditation to seek literary excellence.*
सवित्रीभि-र्वाचां चशि-मणि शिला-भङ्ग रुचिभि-
र्वशिन्यद्याभि-स्त्वां सह जननि सञ्चिन्तयति यः ।
स कर्ता काव्यानां भवति महतां भङ्गिरुचिभि-
र्वचोभि-र्वाग्देवी-वदन-कमलामोद मधुरैः ॥ 17 ॥
saavitreebhir vaachaam sasimani silaabhanga ruchibhih
vasinyaadya abhistwaam saha janani sanchintayati yah
sa kartaa kaavyaanaam bhavati mahataam bhangi ruchibhih
vachobhir vaag daevee vadana kamala amoda madhuraih. 17
*TRANSLATION:*
He who can contemplate on your form which is surrounded by Vashinis (Heavenly Ladies) who are the originators of words and whose lustre is like that of moonstone having an elusively fluid gleam, becomes, O Mother, the creator of great poetic works, adding sweet charm to the lotus face of the Goddess of the Word (Saraswathi).
*SIGNIFICANCE:*
Vasini, Kamesvari, Modini, Vimala, Aruna, Jayini, Sarveswari, and Kaulini are the 8 deities who are referred to as the sources of speech and therefore as aspects of Sarasvati who is the Presiding Deity of Speech. These eight deities preside over the eight groups of letters of the alphabet – a, ka, cha, ta, pa, ya, sa and sha. All of them have their positions in the Sri Chakra. Meditation on Tripurasundari as including in Her all these Deities is recommended for procuring great poetic qualities. In Tamil, the vowels (a, aa, etc.) are known as “uyir” or life giving letters whereas ka, cha, etc. are known as “mei” letters. Mei literally means “FACT” or material. Their existence become meaningful and result in words when the life giving vowels are added. Similarly, ka, cha etc. represent the “Shiva” aspect or existential aspect and the vowels represent the motive-force or Shakthi. Both together give rise to words. These words, if appropriately and correctly pronounced form the “mantras” which lead us to the Dieties, who in turn, lead us to the Goddess.
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*Meditation on Goddess to attract women.*
तनुच्छायाभिस्ते तरुण-तरणि-श्रीसरणिभि:
र्दिवं सर्वा-मुर्वी-मरुणिमनि मग्नां स्मरति यः ।
भवन्त्यस्य त्रस्य-द्वनहरिण-शालीन-नयनाः
सहोर्वश्या वश्याः कति कति न गीर्वाण-गणिकाः ॥ 18 ॥
tanu chchaaya abhistae taruna tarani sree saranibhih
divam sarwaam urveem arunimani magnaam smarati yah
bhavant asya trasyad vana harina saaleena nayanaah
sah orwasyaa vasyaah kati kati na geerwaana ganikaah. 18
*TRANSLATION:* He who is able to contemplate on You like the (magenta) colour which pervades the Earth and the Sky when the rays of the young rising sun envelopes them; [as one pervading all over the Universe or Vishwavyapi] that man, wins You over along with Urvasi and many other Heavenly nymphs, having gentle, startled, wild-deer eyes.
*SIGNIFICANCE:* It should not be construed that a devotee as described in the previous verse runs after women to satisfy his carnal pleasures. But it means that a Bhaktha of Goddess, through intense worship, gets the blessings of the Goddess, he emits such brilliance that he becomes attractive in form and naturally women get attracted to him. But he, having experienced the divine beauty of the Mother, will remain unperturbed and looks upon all of them as trifle. [Note: This and other sidhis – mystical powers – are made available to the sadhakas liberally by the Goddess only to test their resolve. If they are not swayed by these powers which can make them prosperous and pupular and remain steadfast in their meditative movement towards the Goddess (the Bliss Absolute) then they are gifted with the final vision. We have come across many yogis with mystic powers of walking on water, producing watches from thin air etc.].
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*How to practice Manmatha kala!*
मुखं बिन्दुं कृत्वा कुचयुगमध-स्तस्य तदधो
हरार्धं ध्यायेद्यो हरमहिषि ते मन्मथकलाम् ।
स सद्यः सङ्क्षोभं नयति वनिता इत्यतिलघु
त्रिलोकीमप्याशु भ्रमयति रवीन्दु-स्तनयुगाम्
॥19॥
mukham bindum kritwaa kucha yuga madhastasya tadadho
hara artham dhyaayaedyo hara mahishi tae manmatha kalaam
sasadyas samkshobham na yati vanitaa ityati laghu
trilokeem apy aasu bhramayati ravi indu stana yugaam. 19
*TRANSLATION:* O Concert of Shiva! He who making your face the locus, with twin breasts below, and the triangle (yoni) below still, as the better half of Shiva, meditates on your erotic aspect, not only can he promptly stir the hearts of women – can speedily agitate even the whole Universe (consisting of the three worlds), which includes the Sun and Moon as its twin breasts.
*SIGNIFICANCE:* This yogic meditation is used by tantriks who are interested in gaining psychic powers to dominate the women. Some ardent devotees may not like these types of verses being included in a devotional composition. [Note: These may sound very jarring to them in a devotional text like Saundarya Lahari. But we should remember that Shakta Cult (the worshippers of Shakthi) stands for Bhukthi (enjoyment) and Mukthi (liberation). In fact Vedas discussed all the 4 aspects of life – Dharma, duties, Artha – material wealth, Kama – fulfillment of all desires (including sexual, and Moksha – liberation. Kamasutras (scientific treatise on Sex) composed by Sage Vatsyayana was part of the curriculam in the Gurukulam.] But the real objective of meditating on the erotic form of the Goddess is to get over “kama” or sexual obsession. In Bhagavatham also Vyasacharya explicitly descrifbes the Rasakrida of Lord Krishna with the Gopa girls and he has devoted 2 chapters for it. Our Ancient Masters never believed in running away from facts of life – instead they advised the householders to indulge in sensual pleasures and grow out of them after finding that they cannot provide any permanent solution to human problems. The real and permanent solution is always surrender to the Goddess, the all-pervading consciousness who is beyond all sense organs and sensual experiences..[With warm regards: R. Hariharan].
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किरन्ती-मङ्गेभ्यः किरण-निकुरुम्बमृतरसं
हृदि त्वा माधत्ते हिमकरशिला-मूर्तिमिव यः ।
स सर्पाणां दर्पं शमयति शकुन्तधिप इव
ज्वरप्लुष्टान् दृष्ट्या सुखयति सुधाधारसिरया ॥ 20 ॥
›œŠ› kiranteem angaebhyah kirana nikurumba amrita rasam
hridi twaam aadhattae hima kara silaa moortim iva yah
sa sarpaanaam darpam samayati sakuntaadhipa iva
jwara plushtaan drishtyaa sukha yati sudhaa dhaara sirayaa. 20
*TRANSLATION:*
He who can contemplate on Your form which is like a statue made of moonstone, with nectar (amrut) oozing out of your limbs all around, he can with a mere glance, conquer the pride of serpents like (Garuda) the king of birds and cure patients suffering from high fever.
*SIGNIFICANCE:*
This is also part of Hata Yoga worship to get various psychic powers (SIDHIS). Its practice was wide-spread in ancient India. Snakes were very common in India and people were always afraid of them. Therefore, there was huge demand for “snake-charmers” who catch the serpants by enticing them through mantras. This capacity was specifically developed through various practices in the Hata Yoga. The natural prey for snakes is the eagle or Garuda. Hence, by developing psychic powers, the Tantrics could get the powers inherent in the Garuda and use them to rid the people of the snakes.
Similarly, in the absence of regular doctors, people who suffer from high fever also sought the help of tantrics who, by their practices, could acquire special powers to cure people of fever. These people were also in great demand in the ancient India. Hence Hata yoga prescribed various practices by which a person could get powers to cure people suffering form high fever. An important aspect to be remembered here is that in ancient India these services were rendered not for money but out of gratis. There was an element of “self-lessness” and hence the effort involved was sincere. Naturally, the results were guaranteed. [With warm regards: R. Hariharan]
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*To get liberation or moksha:*
तटिल्लेखा-तन्वीं तपन शशि वै॒श्वानर मयीं
निष्ण्णां षण्णामप्युपरि कमलानां तव कलाम् ।
महापद्मातव्यां मृदित-मलमायेन मनसा
महान्तः पश्यन्तो दधति परमाह्लाद-लहरीम् ॥ 21 ॥
tatil laekhaa tanweem tapana sasi vaiswaanaramayeem
nishannaam shannaam apy upari kamalaanaam tava kalaam
mahaa padma atavyaam mridi tamalamaayaena manasaa
mahaantah pasyanto dadhati parama ahlaada lahareem. 21
*TRANSLATION:* Great Human beings, who have cleansed their minds of impurities and meditate within their mind, on your form which is shining bright like the creeper of lightning, having the energy (fire) of sun and moon, and who is residing beyond the forest of six lotuses and inside the “great lotus”, can enjoy waves and waves (lahari) of paramananda.
*SIGNIFICANCE:* This is very symbolic statement. It confirms that those who have managed to cleanse their minds of worldly passions and desires and meditate on the Goddess can have the vision of the ultimate and be the recipients of waves and waves of happiness. This verse also confirms the fact that the practitioner has to move up from Mooladhara Chakra and cross the six chakras [represented in the form of different coloured lotuses with progressively increasing number of petals] and reach the final Great Lotus situated on the top of the head called the Sahasrara Chakra or Pure White lotus with thousands of petals. A person who reaches that stage naturally gets energized as if he is having the power of lightning hidden inside him. Lightning is used because most humans have seen the lightning and are familiar with the power contained inside. Further, lightning provides the ideal “connect” to the other world for the common man.
That is why most Indian Religions advise the beginners to visualize, while meditating, a white powerful light (like a lightning) entering our body through the head and enlightening our interior. Later, after the Sadhaka has started practicing meditation sincerely, he is told more about the subtle aspects.
The true significance is that the Goddess is the ultimate destination and the source of divine pleasure for those who have managed to control their minds and meditate on her form continuously with single-minded devotion.
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भवानि त्वं दासे मयि वितर दृष्टिं सकरुणां
इति स्तोतुं वाञ्छन् कथयति भवानि त्वमिति यः ।
तदैव त्वं तस्मै दिशसि निजसायुज्य-पदवीं
मुकुन्द-ब्रम्हेन्द्र स्फुट मकुट नीराजितपदाम् ॥ 22 ॥
bhavaani tavam daasae mayi vitara drushtim sakarunaam
iti stotum vaanchan kathayati bhavaani twam itiyah
tadaiva twam tasmai disasi nija saayujya padaveem
mukunda brahmaendra sphuta makuta neeraajita padaam. 22
*TRANSLATION:*
If any one seriously makes up his mind to pray to you saying “Oh! Bhavani, my mother, please shower on me, a part of your merciful look”, even before he starts to say, “Oh Bhavani, my goddess”, you would shower him with the eternal knowledge of your feet which is sacred enough to be cleaned with the waters falling from the crowns of Vishnu, Rudra and Brahma, and grant him the eternal knowledge.
*SIGNIFICANCE:* This verse signifies the eagerness of the Goddess to help her bhaktas. A sincere practitioner who makes up his mind to meditate on the feet of the Goddess, as soon as he starts would receive Her guidance to the “eternal knowledge of the Self” or “Atma-sayujyatha”. This verse reiterates the concept of “Swadhyaya” or self-learning [as explained by Sage Pathanjali in Yoga-Sutras] which comes even to the beginner who starts seriously on his spiritual journey and meditates. Even at early stages, the serious practitioners are encouraged by “flashes” which come to them on a regular basis and which provides answers to the questions, which have been bothering them. This regular flashes of knowledge expands the mental horizons of the practitioners who are encouraged to continue on the long and tedious spiritual journey. In fact, but for this encouragement most of the people who are starting may give up early and will seriously affect the spiritual development of the community as a whole.
According to Sankaracharya, the speed with which the genuine bhakta gets his rewards is so fast that even before he completes saying “Oh! Bhavani, my goddess..” she is ready to bless him. This deliberate exaggeration is, once again, intended to encourage common folk to have full faith in the Goddess and start meditating upon her form. In fact, the Goddess is eager and waiting for us to knock. KNOCK AND IT SHALL BE OPENED. This statement is very much true with the ever-merciful Goddess.
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*Goddess appears to overshadow Lord Shiva:*
त्वया हृत्वा वामं वपु-रपरितृप्तेन मनसा
शरीरार्धं शम्भो-रपरमपि शङ्के हृतमभूत् ।
यदेतत् त्वद्रूपं सकलमरुणाभं त्रिनयनं
कुचाभ्यामानम्रं कुटिल-शशिचूडाल-मकुटम् ॥ 23 ॥
twayaa hritwaa vaamam vapu ripari truptaena manasaa
sareera artham sambhor aparam api sanko hritam abhoot
yadaetat twad roopam sakalam arunaabhan trinayanam
kuchaabhyaam aanamram kutila sasi choodaala makutam. 23
*TRANSLATION:* When I visualize your beautiful form, which is totally crimson like the rising sun, with three eyes, bent low due to two heavy busts and wearing a crown with the crescent moon, I get a lingering doubt that you were not satisfied with the half [left side] of the body given to you by Shambo [Shiva] and have occupied His entire body.
*SIGNIFICANCE:* This verse is also quite significant. When we have selected the Goddess as our “Ishta Devata” and meditate on her form as described above [totally red like the rising sun with three eyes and the crescent moon on the crown] seriously, sincerely and with utmost Shradda, it will give the impression as if the Goddess has occupied the entire body of Lord Shiva and has displaced Him. For the Goddess worshippers who concentrate on her form will see only her form to the exclusion of everything else including Lord Shiva on whom she has appeared. [Note: While in a movie theatre, we see only the movie – we can never see th screen on which the movie is being played.] We will forget the “existence” principle and only remember the “subtle” will, which is the Shakthi. This aspect is carried to the logical end in Uttara Gaula [a cult of Shakthi worship] where Shiva is presumed to have merged into Shakthi and there is no separate identity for Him.Becoming one with Shiva - represents the final stage of “Sabeeja Samadhi” by the Sadhakas. [Completion of the First Stage of serious mediation] where only the Beeja or the object of meditation or the Ishta Devatha [here the Goddess] shines continuously and everything else disappears into insignificance. Hence, the poetic interpretation extending the imagination of the Acharya, is expressed that the Goddess has “conquered” Lord Shiva and occupied him. In fact, both the Lord and the Goddess are part of the same principle. So question of conquering does not arise. Of course, from laymen’s point of view, we can say that the Goddess has conquered the Lord. Intense concentration, to be effective, has to be such that the sadhaka is not aware of anything else but his object of meditation. [Note:Arjuna saw only the “eye” of the fast-rotating fish when he was about to shoot his arrow to win over Draupathi.] Only such intense concentration can culminate in genuine meditation.
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*The rightful place of Shakthi in creation:*
जगत्सूते धाता हरिरवति रुद्रः क्षपयते
तिरस्कुर्व-न्नेतत् स्वमपि वपु-रीश-स्तिरयति ।
सदा पूर्वः सर्वं तदिद मनुगृह्णाति च शिव-
स्तवाज्ञा मलम्ब्य क्षणचलितयो र्भ्रूलतिकयोः ॥ 24 ॥
jagat sootae dhaataa harir avati rudrah kshapayatae
tiraskurwann aetat swam api vapureesa stirayati
sadaa poorwas sarwam tad ida manugrihnaati cha sivah
tava ajnaam aalambya kshana chalitayor bhroo latikayoh. 24
*TRANSLATION:* Brahma creates the world, Vishnu sustains, Shiva destroys it and Eastwara in whom all these three forms merge (or disappear) is himself not visible. This Sadshiva, who controls (is the source of energy for these four forces) himself gets his energy from the order given to him, by a momentary move of your eyebrows.
*SIGNIFICANCE:* Symbolically, the process of creation, sustenance and destruction are the responsibility of the Trinity, which is part of “Maheshwara”. Mahaeshwara, who is given a form for the common man to understand, is himself abstract and invisible to the mortal eyes. Such a Maheswara gets his orders from Goddess, the Maheswari. The significance of this verse is that the cause of all creation is the joining of Shiva (the existence) with Shakthi the motive force. That is why Shiva is called Shankara – “Sham karothi is Shankara”. Sham is the opposite of Nasham or destruction. That means, the life energy is provided by Shiva only because of the “will” power he has received by the combination of Shakthi with himself. The motive force or life giving energy starts from the Goddess [that is why she is called Shakthi] and when it joins with Truth or Existence, that is Shiva, then the Universe is created. What is created has naturally to be sustained and ultimately it is destroyed when this energy is removed. All these three aspects of the Universe are contained in the Shiva-Shakthi principle first in the form of Bindu, which has the three forces inherent in itself and later expanded in the middle of the Sri Chakra in the form of the Central Triangle. The circle of creation, preservation and destruction – the cycle goes on presided over by the Goddess. [With warm regards: R. Hariharan]
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படத்தை உன் திருவிளையாடல்
பகிர்வு
திரும்ப பார்க்கபடிக்க வைத்துவிட்டது
இப்படிக் கோர்வையாக எழுத நாவில் கலைமகள் குடியிருக்கவேண்டும்
கலைமைகளின் ஆசியை நீ நிறையவே பெற்றிருக்கிறாய்...
*கலைமகள் தந்த குலமகன் நீ*
அருமை
இதற்கு மேலும் பின்னோட்டம் அளிக்க வார்த்தை பஞ்சம்....🙏
*ஆதி சங்கரரும் காளிதாசனும்*
இருவருமே அம்பாளின் பூரண கடாக்ஷம் பெற்றவர்கள் .. சொல் அலங்காரம் செய்பவர்கள் ...
கற்பனைக்கும் எட்டாத ,எட்ட முடியாத கவித்திறன் கொண்டவர்கள் ...
சரி முதலில் காளி தாசனை பார்ப்போம் ..
ஒரு இடையன் , வடிகட்டிய மடையன் காளி எனும் சொல்லைத் தவிர வேறு ஒன்றும் அறியாதவன் .... அம்பாள் அருளால் மஹாகவி ஆனான் ...
ஒரு முறை போதிராஜனுக்கு செண்பக பாண்டியனுக்கு பெண்களின் கூந்தலில் இயற்கை நறுமணம் உண்டா என்ற சந்தேகம் வந்ததைப்போல் ஒரு சந்தேகம் வந்தது ...
ஒரு புஷ்பத்தில் இருந்து இன்னொரு பூஷ்பம் வரும் என்று அறிந்துள்ளோம் ஆனால் கண்டதில்லை ...
இந்த கேள்விக்கு பதிலை ஒரு அர்த்தமுள்ள கவிதையாக கொடுக்க வேண்டும்
நாளை மாலைக்குள் ஓர் கவி மாலை எனக்குத் தரவேண்டும் என்று அறிவித்தார் ...
1000 பொற்காசுகள் பரிசு என்றும் அறிவித்தார் ...
சபையில் உள்ள பெரும் புலவர்களுக்கு இந்த கேள்வி பெரும் புதிராக இருந்தது ..
ஒருவரும் கவிதை எழுத முன் வரவில்லை ...
அந்த சபையில் காளிதாசனும் இருந்தான் ...
எல்லோர் பார்வைகளும் அவன் பக்கம் திரும்ப உடனே பதிலை கவிதையாக பொழிந்தான் ...
இந்த கவிதை அங்கே நடமாடும் ஒரு பெண்ணின் அழகை வர்ணிக்கக் கூடியதாகவும் அதே சமயத்தில் அழகான அர்த்தங்கள் கொண்டதாகவும் அமைந்தது ..
"ஏ பெண்ணே ! உன் முகமோ வாடாத தாமரை
அங்கே இரு கண்கள் எனும் குளத்தில் உன் இரு விழிகள் இரு நீலோத்பவ மலர்களாய் மலர்ந்துள்ளதே !
என்னே விந்தை!! என்ன இறைவன் படைப்பு !! "
ஒரு புஷ்பத்துக்குள் இன்னொரு புஷ்பம் மலரும் அதை இங்கே இந்த பெண்ணின் இடத்தில் பாருங்கள் என்று கவிதை அமைத்தான் ...
ஆயிரத்திற்கும் மேற்பட்ட பொற் காசுகள் அவனை கனகாபிஷேகம் செய்தன ...
இதையே சௌந்தர்ய லஹரீ ஸ்லோகம் 16 இல் ஆதி சங்கரர்
"அம்மா நீ அருணா சரஸ்வதி , 8 கரங்கள் ...அங்குசம் , பாசம் , மலர் கணைகள் , கரும்பு வில் , புத்தகம் , ஸ்படிக மாலை , அபய வரத முத்திரைகள் இப்படி அருணா ( சிவந்த ) ரூபமாக உனைத் தியானிப்பவன்
ஸ்ருங்கார கவிகள் ஏன் புனைய மாட்டான் ?
பெரிய பெரிய மஹா கவிகள் மனம் எனும் தாமரை மொட்டுக்களை இளம் கதிராய் அருண ரூபத்தில் நீ அன்றோ மலர வைக்கின்றாய் ...
நீயோ ஒரு மலர் உன்னால் அன்றோ கவிகள் எனும் மலர்கள் பிறக்கின்றன ....
கவீந்த்³ராணாம் சேத:கமலவனபா³லாதபருசிம்
பஜ⁴ந்தே யே ஸந்த: கதிசித³ருணாமேவ ப⁴வதீம் ।
விரிஞ்சிப்ரேயஸ்யாஸ்தருணதரஶருங்கா³ரலஹரீ-
க³பீ⁴ராபி⁴ர்வாக்³பி⁴ர்வித³த⁴தி ஸதாம் ரஞ்ஜனமமீ ॥ 16 ॥
அம்பாள் அருள் இருந்தால் நாம் ஓவ்வொருவரும் அருமையான கவித்துவம் கொண்டவர்களாக பெரும் புகழ் அடைய முடியும்...
ஆதி சங்கரரும் காளி தாசனும் இதற்கு மிகப்பெரிய உதாரணங்கள்🙌🙏
அழகு சிங்காரம் நடந்து வருகையில்...
உன் கவிதையை
படிக்காமல் இருக்க முடியுமா???
அருமை
அற்புதங்களும்
அம்பிகை கொலுவிருக்கும் தலங்கள் குறித்த சுவாரஸ்யமான தகவல்களை அறியலாம்.
நெல்லை காந்திமதி அம்மன்...
திருநெல்வேலியில் நெல்லையப்பர் கோவிலில் அமர்ந்து அருள்கிறாள் காந்திமதி அம்மன்.
காந்திமதி அம்மனுக்குத் தினமும் அர்த்தஜாம பூஜையின்போது வெண்ணிற ஆடையே அணிவிக்கப்படுகிறது.மறுநாள் காலை விளாபூஜை நடக்கும்வரையில் அம்பிகை வெண்ணிறப் புடவையோடே காட்சிகொடுக்கிறாள்.
உலகின் ஊழிகாலத்தில் அனைத்தும் அன்னைக்குள்ளாகவே அடங்கும் என்பதை உணர்த்துவதாகவே இது அமைகிறது என்கின்றனர்.
காந்திமதி அம்மன், தினந்தோறும் உச்சிகாலத்தில் தன் கையினாலேயே நெல்லையப்பருக்கு அன்னம் பரிமாறுவதாக ஐதிகம்.உச்சிகால பூஜையின்போது அம்மன் சந்நிதி அர்ச்சகர் அம்பாளின் பிரதிநிதியாக மேளதாளத்தோடு கிளம்புவார். சர்க்கரைப்பொங்கல், புளியோதரை, எலுமிச்சை சாதம், பருப்பு,சாம்பார் சாதம்,ஊறுகாய் எனப் பல உணவுகளுடன் சுவாமி சந்நிதிக்குச் சென்று நைவேத்தியம் செய்வார்.பின்பு அதே நைவேத்தியங்கள் அம்பிகைக்கும் செய்யப்படும்.
பிரதோஷத்தின்போது சிவபெருமான் சந்நிதி நந்திக்குப் பூஜைகள் நடைபெறுவது வழக்கம்.நெல்லையிலோ,காந்திமதி அம்மன் சந்நிதிக்கு முன் உள்ள நந்திக்கும் பிரதோஷ பூஜைகள் நடைபெறுகின்றன. அதன்பின்பு அன்னை ரிஷப வாகனத்தில் எழுந்தருள்கிறாள்.
காந்திமதியம்மன் சந்நிதிக்கு, கங்கையும் யமுனையுமே துவாரபாலகிகள். அருள் கடலுக்கு புனிதநதிகள் காவல் என்பது பொருத்தம்தானே.
நெல்லையப்பர் கோவிலில் அருளும் துர்கைக்கு மானும் சிங்கமும் வாகனங்கள்.
அன்னைமுன்பு வலியோரும் எளியோரும் சமம் என்பதையே இது உணர்த்துகிறது. மேலும் அன்னை துணையிருக்கும்போது எளியோர் யாருக்கும் அஞ்சவேண்டியதில்லை என்றும் பொருள்.
மதுரை மீனாட்சி அம்மன்,ஒருநாளில் மூன்று விதமான திவ்யமங்கள ரூபங்களில் காட்சிகொடுக்கிறாள்.காலையில் சின்ன பெண் போன்ற அலங்காரம்,உச்சி காலத்தில் மடிசார் புடவை அலங்காரம், இரவு அர்த்த ஜாமத்தில் வெண்பட்டாலான புடவை என்று மூன்று அலங்காரங்களுடன் அன்னையைக் காண ஆயிரம் கண்கள் வேண்டும் என்கின்றனர் பக்தர்கள்.
குழந்தைவரம் வேண்டுகிறவர்கள் அன்னை மீனாட்சியைக் காலை வேளையில் பாலசுந்தரியாகக் காட்சிகொடுக்கும் கோலத்தில் தரிசனம் செய்ய வேண்டும் என்று சொல்கிறார்கள். அவ்வாறு செய்தால் விரைவில் மழலைச் செல்வம் கிடைக்கும் என்பது ஐதிகம்.
அன்னை சிறுமியாய்த் தோன்றி அருள்பாலித்த தலங்களுள் மதுரை மிகவும் முக்கியமானது.
மீனாட்சி அம்மன் கோவில் தல புராணம்,அன்னை பாலகியாகத் தோன்றி அருள்புரிந்த சம்பவங்கள் பலவற்றைக் குறிப்பிடுகின்றன.
அவர் ஒரு துறவி. நோயால் துயருற்றார். ஆனபோதும் அவரின் உணவு ஒருநாளுக்கு மூன்று கையளவு கோவில் தீர்த்தமும்,ஒரு கைப்பிடி அருகம்புல்லும்தான். அதை அவருக்குத் தினமும் ஒரு சிறுமி கொண்டுவந்து தருவாள்.தன் துயரம் நீங்குமாறு அன்னை மீனாட்சியை வேண்டிக்கொண்டு அவர் பாடல் இயற்றினார்.
அதுவே, ‘மீனாட்சியம்மை கலிவெண்பா.’ சிறுமியாய் வந்து உணவளித்துவந்த அன்னை அவருக்குக் காட்சி கொடுத்து, அவரின் துயர் தீர்த்தார்.பின்பு, `முருகக்கடவுளின் திருத்தல ஆலயம் சீர் இன்றி இருக்கிறது. அதை நீ சென்று புதுப்பிப்பாயாக’ என்று அனுப்பிவைத்தாள். அந்தத் துறவியும் அன்னை சொன்ன இடத்துக்கு வந்து கோவிலைப் புதுப்பித்துக் கட்டினார்.அந்த ஆலயமே, திருப்போரூர் முருகன் ஆலயம்.
அந்த மகான் சிதம்பரம் சுவாமிகள்.
ஆட்சியாளர்கள் நீதி தவறினால் சீறி அழிப்பதுபோல நல்லாரைப் பேணிக்காப்பாள் அன்னை மீனாட்சி என்பது சர்வ நிச்சயம்.
அகிலாண்டேஸ்வரி அம்மன்...
அம்பாள் முப்பெரும் தேவியராகக் காட்சிகொடுக்கும் தலம் திருவானைக்காவல்.
ஆடி மாத வெள்ளிக்கிழமைகளில் இங்கு அம்பாளுக்கு விசேஷ ஆராதனைகள் நடைபெறுகின்றன.
அகிலாண்டேஸ்வரி ஒருநாளில், காலையில் லட்சுமிதேவியாகவும் உச்சிக்காலத்தில் பார்வதியாகவும் மாலையில் சரஸ்வதி தேவியாகவும் திருக்காட்சியளிக்கிறாள்.மூன்று வேளையிலும் அம்மையை தரிசித்து வழிபட கல்வி, செல்வம்,வீரம் ஆகிய மூன்றும் கிடைக்கும் என்கின்றன சாஸ்திரங்கள்.
திருவானைக்கா திருத்தலத்தில் அம்பாள் நாள்தோறும் உச்சிகாலத்தில் ஈசனை வழிபடுவதாக ஐதிகம்.அதற்காக, அம்பாள் சந்நிதி அர்ச்சகர் அம்பிகையின் புடவையைக் கட்டிக்கொண்டு கிரீடம் மற்றும் மாலை தரித்து தீர்த்த பாத்திரத்துடன் சுவாமி சந்நிதிக்கு, மேள தாளத்துடன் சென்று வழிபாடு செய்கிறார். சுவாமிக்கு அபிஷேகமும், கோபூஜையும் செய்த பின் அம்பாள் தன் சந்நிதி திரும்புவாள். அந்த நேரத்தில் பக்தர்கள்,அந்த அர்ச்சகரை அம்பாளாகவே கருதி வழிபடுவர்.
ஆதி சங்கரர் திருவானைக்கா தலத்துக்கு வந்தபோது அங்கு அன்னை உக்கிர ரூபத்தோடு காட்சியளித்தாள். அன்னையின் உக்கிரம் தணிக்க, சங்கரர் ஸ்ரீசக்கரத்தை தாடகமாகச் செய்து அணிவித்தார். இதனால் அன்னை மனம் குளிர்ந்து சாந்த சொரூபியாக வரப் பிரசாதியாக அருள்பாலித்தார்.
அன்னையின் தாடகங்கள் ஸ்ரீசக்கர ரூபமாக அமைந்ததால்,அதை தரிசனம் செய்வது மிகவும் விசேஷமானதாகக் கருதப்படுகிறது.குறிப்பாக, திருமணம் ஆகாத பெண்கள்,குழந்தை வரம் வேண்டும் பெண்கள், தாடகத்தையே உற்று நோக்கி வேண்டினால். நினைத்தது நிறைவேறும் என்கிறார்கள் பக்தர்கள்.
சிவபெருமானிடம் மாணவியாக இருந்து ஞானத்தைப் பணிவுடன் கேட்கும் அம்பிகையை, ‘சிஷ்ய பாவ கௌரி’ என்கின்றனர். அவளே குருவாகி உலகிற்கு ஞானத்தை உபதேசிக்கும் கோலத்தை, ‘ஞானேஸ்வரி’ என்று போற்றுகிறார்கள். சிவபெருமான் உபதேசித்த ஆகமங்களை அன்னை உலகுக்கு வழங்கும் திருக்கோலமே ஞானேஸ்வரி திருக்கோலம்.
நித்திய சிவபூஜையில் வணக்கம் சொல்லப்படும் ஏழு குருமார்களில் அம்பிகையும் ஒருவர்.அவரை ‘அம்பிகாகுரு’என்று போற்றுகின்றனர்.
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வைகாசி பௌர்ணமி அன்று அன்னையை ஞானேஸ்வரியாக வழிபடுகிறார்கள். அன்று அம்பிகை இடையில் ஒரு வாள் தரித்திருப்பாள். அதை‘ஞானவாள்’ என்கின்றனர். அஞ்ஞானத்தை அறுத்து மெய்ஞ்ஞான வழியில் நடத்தும் வாள் என்பது அதன் தாத்பர்யம்.
அபிராமி பட்டர் அந்தாதி பாட, அமாவாசையன்று முழுநிலவைத் தோன்ற வைத்தாள் அம்பிகை அபிராமி.
அதேபோல ஒரு கவிஞனின் அந்தாதிக்குப் பூச்செண்டு தந்து திருவிளையாடல் புரிந்த தலம் பாபநாசம்.
பாபநாசத்தில் வாழ்ந்த நமச்சிவாயக் கவிராயர்,ஈசன் மீதும் உலகம்மை மீதும் பெரும் பக்தி கொண்டிருந்தார். ஒருநாள் உலகம்மை, மன்னனின் கனவில் தோன்றி கவிராயரின் சிறப்புகளை எடுத்துரைத்தார்.
கண்விழித்த மன்னன், கவிராயரின் சக்தியை சோதிக்க விரும்பினான்.மலர்ச்செண்டு ஒன்றை உலகம்மையின் திருக்கரத்தில் வைத்துக் கட்டினான்.பின்பு கவிராயரை வரச் சொல்லி,‘உம் கவித்திறத்தால் அந்தப் பூச்செண்டு உம் கைக்கு வர வேண்டும்’என்று கட்டளையிட்டான்.
‘எல்லாம் அம்பாளின் திருவிளையாடல்’ என்பதை உணர்ந்துகொண்ட கவிராயர்,
உலகம்மையின் மேல் அந்தாதி பாடத் தொடங்கினார்.95 பாடல்கள் பாடியதும் அன்னை மனம் மகிழ்ந்து தன் கையிலிருந்த பூச்செண்டை கவிராயரின் கையில் சேருமாறு அருள் செய்தாள்.
கவிராயர் பாடிய அந்தாதிகள்,‘உலகம்மை அந்தாதி’ என்று பெயர்பெற்றது.
அன்னை ரிஷப வாகினியாக எழுந்தருளும் நந்திக்கு‘சோம நந்தி’ என்று பெயர். அம்பிகை ஒருமுறை ஈசனை நோக்கித் தவம் செய்தபோது அங்கு வந்த புலி ஒன்று அன்னைக்குக் காவலாக அமர்ந்திருந்தது. அம்பிகையின் தவத்தில் மகிழ்ந்த ஈசன்,அம்பிகைக்கு அருள் செய்தது போல, அம்பிகையைக் காத்து நின்ற புலிக்கும் அருள் செய்தார்.நந்தி கணங்களுள் ஒருவராக அதை மாற்றி அருளினார்.அதுவே சோம நந்தி என்கின்றன புராணங்கள்.அவ்வாறு ரிஷப வாகனத்தில் எழுந்தருளும் அன்னைக்கு,‘தர்ம சம்வர்த்தினி’ என்றும்‘அறம் வளர்த்த நாயகி’ என்றும் பெயர்.
காஞ்சிபுரம் ஏகாம்பரநாதர் கோவிலில் எழுந்தருளியிருக்கும் ஏலவார் பூங்குழலி அம்பிகை, உற்சவங்களின் போது ரிஷப வாகனத்தில் எழுந்தருளி அருள்பாலிப்பார்.
திருநீலக்குடியில் மனோக்ஞ நாதசுவாமி ஆலயத்தில் அம்பாள்,யோகசக்தி,போகசக்தி என்னும் இரு சக்திகளாகத் திருக்கோலம் கொண்டு அருள்புரிகிறாள்.
போக சக்தி-அநூபமஸ்தனி என்ற திருப்பெயருடனும்,
யோக சக்தி-பக்தாபீஷ்டதாயினி என்னும் திருப்பெயருடனும் அருள்கிறாள் அன்னை.இரு சந்நிதிகளுக்கும் தனித் தனி விமானம் இல்லாமல் ஒற்றைக் கலசம் கொண்ட ஒரே விமானம் அமைந்துள்ளது.
திருவாரூர் திருத்தலத்தில் அம்பிகை போக சக்தியாகவும்,யோக சக்தியாகவும் இரு சந்நிதிகள் கொண்டு எழுந்தருளி அருள்பாலிக்கிறார்.
யோகநாயகியை ‘கமலாம்பிகை’ என்று அழைக்கிறார்கள். அன்னை இங்கு யோகாசனத்தில் வீற்றிருக்கிறாள்.
போக நாயகியை ‘நீலோற்பலாம்பிகை’ என்று அழைப்பர். போக நிலையின் அடையாளமாக அம்பிகைக்கு அருகே ஒரு சேடி நிற்க, அவளின் தோளில் முருகன் வீற்றிருக்கிறார்.அம்பிகை முருகனின் சிரசைத் தொட்டவாறு காட்சியருள்கிறாள்.
கர்நாடக மாநிலம்,பேலூரில் அமைந்துள்ள ஸ்ரீசென்ன கேசவர் திருக்கோவிலில் சரஸ்வதி தேவி நடனக் கோலத்தில் பக்தர்களுக்கு அருள்பாலிக்கிறாள்.
அன்னை நடன சரஸ்வதி என்ற திருநாமத்தோடே அழைக்கப்படுகிறாள்.
அதே போன்று, சென்னராயன்பட்டினத்துக்கு அருகே உள்ள நூக்கிஹல்லி என்ற இடத்தில் அமைந்துள்ள ஹொய்சாள மன்னர்கள் கட்டியுள்ள கோவில் ஒன்றில் லட்சுமிதேவி நடனமாடும் திருக்கோலத்தில் காட்சிகொடுக்கிறாள்.
திருவண்ணாமலை
உண்ணாமுலை அம்மன்
ஆடிமாதம்,மாரியம்மன்
கோவில்களில் தீமிதித் திருவிழா நடைபெறும்.பொதுவாக, தேவாரப் பாடல் பெற்ற தலங்களில் ஒரே ஒரு தலத்தை தவிர பிற தலங்களில் தீமிதித் திருவிழா நடத்தும் வழக்கங்கள் இல்லை.
அந்த ஒரு தலம் திருவண்ணாமலை.அக்னித் தலமாக விளங்கும் திருவண்ணாமலை அண்ணாமலையார் ஆலயத்துள் உண்ணாமுலையம்மன் சந்நிதிக்கு முன்பாக யாக சாலைக்கு அருகே அக்னிகுண்டம் உருவாக்கப்படும்.
ஆடிப் பூரத்தன்று, அம்மனுக்கு வளைகாப்பு நடைபெறும்.அன்று ஆலயம் வரும் அனைத்துப் பெண்களுக்கும் வளையல்கள் வழங்கப்படும்.
அன்று மாலையில் தீமிதித் திருவிழா நடைபெறும். அதற்கென பக்தர்கள் விரதமிருந்து பங்கேற்பர்.சிலர் தீச் சட்டி எடுக்கும் வழக்கமும் இங்கு உண்டு.
ஈஸ்வரனுக்குச் சந்திர கலாதரன்,சந்திர மௌலீஸ்வரன் என்றெல்லாம் திருநாமங்கள் இருப்பதுபோன்று அம்பிகைக்கும் சந்திர சடாதரி, பிறைசூடி,பிறைநுதலாள் என்றெல்லாம் பெயர் உண்டு. திருநாகேஸ்வரத்து அம்பிகைக்கு‘பிறையணி நுதலாள்’என்று பெயர்.அன்னையின் நெற்றியே பிறைபோல் இருப்பதால் அவளுக்கு இந்தத் திருநாமம் மிகவும் பொருந்தும் என்கின்றனர்.
திருஞானசம்பந்தர் தன் மனைவியோடும் சுற்றத்தினரோடும் பிற நாயன்மாரோடும் இறைவனோடு ஜோதியில் கலந்த தலம்,‘ஆச்சாள்புரம்.’ அங்கு எழுந்தருளியுள்ள அம்மைக்கு, ‘திருநீற்று உமையம்மை’ அல்லது‘விபூதி கல்யாணி’என்று பெயர்.
திருஞானசம்பந்தரின் திருமணத்தில் கலந்துகொண்டு சிவகதி அடைந்த அனைவருக்கும் அம்மையே விபூதி பிரசாதம் அளித்தாள் என்பது ஐதிகம்.
வழுவூர் ஆலயத்தில் அமைந்துள்ள மோகினி ரூபம் அனைவரின் மனதையும் கொள்ளை கொள்ளும் வகையில் அமைந்துள்ளது.யார் இந்த மோகினி?
சிவபெருமான் தாருகாவனத்து ரிஷிகளின் கர்வத்தை அடக்கி ஞானம் புகட்ட பிட்சாடனராக வந்தபோது, திருமாலும் சிவனோடு மோகினி ரூபம் கொண்டு வந்தார்.
திருமாலே மோகினியாக மாறி வந்த அந்தத் திருக்கோலமே வழுவூரில் அருள்புரிகிறது.
கையில் கிளிகொண்டு, இடையினைச் சாய்த்து ஒய்யாரமாக நிற்கும் இந்த மோகினி, பிட்சாடனர் எழுந்தருளலின் போது சேர்ந்து எழுந்தருளி அருள்பாலிக் கிறாள்