% Text title : Navaratri Kirtanam by MahArAjA SvAti TirunAL % File name : navarAtrikIrtanAnimahArAjasvAtitirunAL.itx % Category : devii, kRitI, svAtitirunAL, devI % Location : doc\_devii % Author : svAtitirunAL % Transliterated by : Pallasena Narayanaswami ppnswami at gmail.com % Proofread by : Pallasena Narayanaswami ppnswami at gmail.com % Description-comments : Collection % Latest update : August 23, 2019 % Send corrections to : sanskrit at cheerful dot c om % % This text is prepared by volunteers and is to be used for personal study % and research. The file is not to be copied or reposted for promotion of % any website or individuals or for commercial purpose without permission. % Please help to maintain respect for volunteer spirit. % \documentstyle[11pt,multicol,itrans]{article} #include=ijag.inc #endwordvowel=.h \portraitwide \parindent=100pt \let\usedvng=\Largedvng % for 1 column \pagenumbering{itrans} \def\engtitle#1{\hrule\medskip\centerline{\LARGE #1}} \def\itxtitle#1{\medskip\centerline{\LARGEdvng #1}\medskip\hrule} \def\endtitles{\medskip\obeyspaceslines} %% \begin{document} \engtitle{.. Navaratri Kirtanam by MahArAjA SvAti TirunAL ..}## \itxtitle{.. mahArAjA shrI svAti tirunAL virachitAni navarAtrikIrtanAni ..}##\endtitles ## ##Introduction : When one thinks of MahArAjA SvAti TirunAL, one is invariably reminded of Lord PadmanAbha of the mammoth temple of SyAnandUrapuram (presently known as Tiruvanantapuram). The MahArAjA used the various synonyms of the proper noun ``PadmanAbha'' as the composer's signature ("mudra") in most of his musical compositions. While a bulk of his kIrtanam‐s is the outpouring of his devotion to Lord PadmanAbha, he has also penned a few songs in praise of various other deities in nearby temples. Among these, a group of nine kIrtanam-s he composed, in praise of the Goddess, specifically for singing during NavarAtri festival, stand out as a distinctive, and precious collection. Popularly known as ``Navaratri kIrtanam‐s", the series of nine songs on Goddess, to be sung on each day of the nine day during NavarAtri season is as follows. Day 1: ##devi jagajjanani ## devi jagajjanani (rAgaM: sha~NkarAbharaNaM, tALaM: Adi) Day 2: ## pAhi mAM shrIvAgIshvari ## pAhi mAm shrI vAgIshvari (rAgaM: kalyANi, tALaM: Adi) Day 3: ## devi pAvane ## devi pAvane (rAgaM: sAveri, tALaM: Adi) Day 4: ## bhArati mAmava ## bhArati mAmava (rAgaM: tODi, tALaM: Adi) Day 5: ## jananI mAmava ## jananI mAmavA meye (rAgaM: bhairavi, tALaM: tripuTa) Day 6: ## saroruhAsanajAye ## sarOruhAsana jAye (rAgaM: pantuvarALi, tALaM: Adi) Day 7: ## janani pAhi sadA ## janani pAhi sadA (rAgaM: shuddha sAveri, tALaM: tripuTa) Day 8: ## pAhi janani santatam ## pahi janani santatam (rAgaM: nATakura~nji, tALaM: tripuTa) Day 9: ## pAhi parvatanandini ## pAhi parvatanandini (rAgaM: Arabhi, tALaM: Adi) The navarAtri concerts are usually preceded by the rendition of commencing pieces, `tODayaM’, a Ma~NgaLam, and a prayer to Lord GaNesha, ``paripAhi ganAdhipa'' in rAgaM sAveri, composed by the MahArAja himself, to ward off all obstacles. NavarAtri utsavam There is a legend associated with this festival. The famous Tamil poet Kambar, the author of the Tamil epic story, ``Kamba RAmAyaMam", used to offer regular worship to Goddess Sarasvati in a temple situated in PadmanAbhapuram. As his health deteriorated, he approached the ruling CEra King (identified only as Kulashekhara PerumAL), and extracted a promise from him that the NavarAtri festival for the temple would be conducted every year, with the same old grandeur, and without any interruption. To this day, the Royals of Travancore has honored this promise, and the idol of Goddess sarasvati came to be worshipped by the ruling family over succeeding generations. This idol, cast in pa~nca lOham (amalgam of five metals), does not bear the usual vINa, but wields the rosary, a manuscript, and is seated on a pedastal, and not on a lotus, a description that fully agrees with the one given by SvAti TirunAL in his second navarAtri kIrtanaM , ``pAhi mAM shrI vAgIshvari". During the regime of KArtika TirunAL RAma Varma, the capital was shifted from PadmanAbhapuram (now in Tamilnadu) to Tiruvanantapuram. To keep the promise given to Kambar, it was arranged that every year, during the Malyalam month ``kanyA", the idol of Goddess Sarasvati would be brought in a grand procession on an adorned elephant, to the new capital, Tiruvanantapuram. The procession culminates at the navarAtri maNTapam, located on the right side of the East gOpuram of the PadmanAbhasvAmi temple, where it is received with great respect by the Head of the Royal. The nine day festival is conducted there in an equally grand manner. Since the idol is not an ``utsava vigraham", when it is taken to the capital, a lamp is lit in its original location, and regular pUja offered there. The venue of the utsavam is the NavarAtri MaNTapam in the Fort Palace of the MahArAjA of Travancore. In earlier days, the navarAtri festival used to feature devotional music, dance, vedic chanting, grantha pUja, Ayudha pUja, scholarly discussions, and debates on the purANams. But these days, except for the pUja and music, most of the activities have vanished. MahArAjA SvAti TirunAL himself codified the music for the NavarAtri concerts, and composed these nine gems in weighty rAgams, so that they could be sung as the main piece on each day. The sequence in which these songs have to be rendered was also stipulated by the composer. These kIrtanams were rendered in a group earlier, with an elaborate rAga AlApana and tAnam, alone rendered by the chief musician, in the typical Travancore style with a mRRida~Ngam accompaniment. But, nowadays, one musician renders the entire song. Also, in those days, all the caraNaM lines were sung, whereas these days only one of the caraNams is sung. During the first three days, devi is worshipped as sarasvati, the next three days as lakShmi, and as durga on the last three days. The concerts are offerings to devi. Till early 1900s, the ``mullamUDu'' bhAgavatars gave the concerts, where one musician would lead the chorus, and each one took turns to do the rAga AlApana, neraval, kalpanA svarams, etc. The ancestry and musical tradition of these BhAgavatars dates back to the time of MahArAjA SvAti TirunAL himself. In fact, we are deeply indebted to these musicians for handing over to the present generation, numerous compositions of SvAti TirunAL , in their original authentic forms. Slowly however, the system changed. Competent musicians from outside were invited to sing the main concert, and ``mullamUDu'' bhAgavatars were restricted to singing just the initial invocation, the ``tODaya ma~NgaLam". The scene of the navarAtri maNTapam is equally superb. Oil lamps are lit, and the atmosphere is filled with the subtle fragrance of fresh flowers, sandalwood, incense, and camphor fumes. The concerts start exactly at 6.00 p.m and ends precisely at 8.30 p.m. Besides, there is no applause at the end of each song, thus making the entire atmosphere very serene and devotional. The NavarAtri kIrtanam‐s The first six kIrtanams are on Goddess sarasvati, and the remaining three are on Goddess pArvati. This is a surprising deviation from the usual practice, where three days each are equally devoted to durgA, lakShmi, sarasvati. While the first six songs on sarasvati are not on any particular shrine, the last three on durga are on specific temple locations. The seventh and last one are on ‘tiruvARATTu kAvil bhagavati’ of Atti~Ngal, in the suburbs of Tiruvanantapuram. In these two songs, we find the geographical clue, ``vAhinItaTa nivAsini'' (residing on the banks of gushing waters), and especially in the ninth one, the phrase ``nata va~ncinRRipAlaka vaMsha shubhOdaya", indicates that the elder sister of the MahArAja, worshipped there. The eighth song is on Goddess of kanyAkumAri, as is indicated by the phrase ``kanyAkubja vAsini". Unlike MuttusvAmi DIkShitar, who has used all the eight vibhaktis (declensions) of the Sanskrit language, in his popular group compositions like the ``kamalAmbA navAvaraNam", SvAti TirunAL chose to use only the sambOdhanA (vocative case) and prathamA (nominative) vibhakti, in the navarAtri group. All the nine songs are of the ``pAhi mAm'' (please protect me !) type, calling out to the Goddess to protect him, and the bulk of the words employed in each song is just lofty description of the Goddess and her virtues at great length, using highly poetic language. These compositions belong to the ``kRRiti'' pattern, with a short pallavi and anupallavi, followed by a few caraNams. The first song has four caraNams, and the remaining have only three. While the first six songs indulge in very long caraNams using lengthy phrases, the last three, devoted to Goddess PArvati, are shorter and much simpler. Among the songs, the second one is the longest in terms of the individual components, with eight lines to the annupallavi, and nine lines each to the three caraNams. The sixth song in pantuvarALi has caraNams of varying lengths. It is worth observing that the first three songs do not feature the composersh mudra (signature) ``padmanAbha", or any of the synonyms. The third caraNam of the sAveri composition features the phrase ``padmanAbha vilAsini". But, according to some experts, this is an incorrect version, since it means ``the consort of padmanAbha", which is certainly not a correct description for sarasvati. Perhaps the correct phrase should be ``padmabhava vilAsini", since ``padmabhava'' is certainly Lord Brahma! Five of the remaining songs exhibit proper ``padmanAbha mudra", and the last one has only an indication of the composersh name. Some experts hold the view that these songs might have been composed at different times, and finally grouped together as a navarAtri cluster. Since the second song matches the description of the Goddess more closely, and the phrase ``navarAtri utsavam'' is imbedded in the lyric, it might have been composed specifically for the navarAtri utsavam. But, the first song too has the same phrase, but in the fourth caraNam, which might have been probably added later, since all remaining songs have only three caraNam-s. All the songs use majestic rAgams. The first six kIrtanams are in cauka kAlam (slow tempo), whereas the last three use madhyama kAlam (medium tempo). But madhyama kAla passages are found at the very end of the caraNams from the second song onwards (and in some cases, at the close of the anupallavi). To add to the complexity, the middle three songs have ``sholkaTTu'' (rhythmic syllables) in the anupallavi. Other noteworthy features are the absence of mandhra sthAyi sa~ncAram (lower octave phrases) in the kalyANi and pantuvarALi pieces and liberal usage of pa~ncamam in the NATakura~nji piece. The Arabhi song, perhaps due to the presence of rapid flow of phrases, has attained popularity among musicians. However, the kalyANi and bhairavi songs stand out as superb work. The former has dhAtu which is unique, and shows a blending of the salient features of sOpAnam music, an indigenous form of classical music, special to Kerala. The pallavi has two Avartams (tALa‐cycles), the anupallavi six, and the carad nam nine. The caraNam falls into two parts ‐‐‐ the first with four Avartams, and the second, five. It is in the first part that the features of sOpAnam music is exhibited, the syllables moving slowly in the beginning, and then attaining rapidity and uniformity. Speaking of sOpAna sa~NgItam (music), it is a style of singing, with the accompaniment of the eDakka (a kind of drum) and usually takes place in the temples and in the traditional singing of KathakaLi padams. It does contain the basic musical factors such as sruti, svaram, rAgam, and tALam. But the style displays the general aspects of the melody without AlApana, svara prastAram, gamakam, sa~Ngati, etc. It is usually rendered in slow tempo, emphasizing the sAhityam, the lyrics. The word ``sOpAnam'' means the flight of steps at the door of the main temple sanctorum, and it is here that the musicians stand and render these songs at specified time during the temple rituals. Hence the singing was called ``sOpAna pATTu", and in due course, it also denoted the style of singing. The Lyrical Beauty Being a poet himself, SvAti TirunAL has infused a lot of life and poetry into the Nava. The songs are carved out very meticulously and yet have a beautiful flow to them. It would be no exaggeration to say that SvAti TirunAL has excelled himself. The language is simple, charming both in sound and meaning. The flow of words is slow in some places and swift elsewhere, but always graceful. He has employed the various elements that add to the beauty of a poem (in this case, a composition) such as prAsam (rhyme), dvitIyAkShara prAsam (alliteration in the second letter of each line), Adya pada prAsa, (alliteration in the first segment) and so forth. This has been woven very intelligently in all the segments and sub‐segments of the compositions. The composer has expressed his ideas very elegantly, in lucid language employing unique ala.mkAra.m (figure of speech) such as upamA (simile), rUpakam (metaphor), utprekShA (fancy), and so forth. The word flow in the long caraNam lines of the first two songs remind us of similar juggling word constructions usually found in the gItam-s (aShTapadis of Jayadeva's love poem, ``gIta gOvindam". The Essence of the kIrtanams In all the songs in the series, the composer bows to the Goddess, seeking Her blessings, with an earnest appeal to protect him and save him from sins and torments. These songs contain ``stuti'' (praise) for the deity, description of Her beauty, besides prayers for unwavering bhakti (devotion) towards her. Goddess sarasvati is appropriately described as spotless white in complexion, riding on a white swan, wearing white silk, bearing the vINa (lute‐variety), the book, the rosary and the symbol of protection in her four hands, and having a crescent moon on her head. This reminds us of the famous dhyAna shlOkam, ## yA kundendutuShArahAradhavaLA yA shubhravastrAvR^itA yA vINAvaradaNDamaNDitakarA yA shvetapadmAsanA | yA brahmAchyutasha~NkaraprabhR^itibhirdevaiH sadA pUjitA sA mAM pAtu sarasvatIbhagavatI nishsheShajADyApahA || ## Goddess pArvati is described in the last three songs as very charming in form, having a crescent moon on her head, bearing the trident in her hand, and riding a lion. She is the consort of shiva, and the slayer of the demon chaNDa, muNDa and mahiSha.She grants all desires to her true devotees. Thus, the Navaratri Kirtanam-s are indeed a beautiful gift from SvAti TirunAL to the rich legacy of our karNAtik music. ## mahArAjA shrI svAti tirunAL virachitAni navarAtrikIrtanAni || \section{toDayam} rAgaM \- nATa, tALaM \- jhampa | jaya devakIkishora ! jaya koTismarAkAra ! jaya kAlindItaTavihAra ! jaya gopikAjAra ! (jaya jaya) || 1|| jaya muraLIgAnalola ! jaya suvarNaruchichela ! jaya salIladhR^itashaila ! jaya vAridanIla ! (jaya jaya) || 2|| jaya charitradhutapApa ! jaya khaNDitAsurATopa ! jaya yAdavakuladIpa ! jaya gopAlarUpa ! (jaya jaya) || 3|| jaya kuTilAsitakesha ! jaya munimAnasanivesha ! jaya pa~NkajanAbhAdhIsha ! jaya bhUmIramesha ! (jaya jaya) || 4|| \section{|| ma~NgaLam ||} rAgaM \- pantuvarALi, tALaM \- Adi | pallavi | mAta~Nga tanayAyai ma~NgaLam || anupallavi | bhUyo manasijArikAntAyai ma~NgaLam (mAta~Nga) || charaNam | bahalaku~Nkumapa~NkapATalitakuchAyai mahiShAsurahAriNyai ma~NgaLam (mAta~Nga) || 1|| karirAjagamanAyai varatApasama~nchaya \- smaraNIyacharaNAyai ma~NgaLam (mAta~Nga) || 2|| varanadItaTagAyai vanajanAbhanujAyai marakatamechakA~Ngyai ma~NgaLam (mAta~Nga) || 3|| \section{|| gaNeshagItam ||} rAgaM \- sAveri, tALaM \- Adi | pallavi | paripAhi gaNAdhipa ! bhAsuramUrte ! || anupallavi | sharaNAgatabharaNa ! sAmajopamasundarAsya ! (paripAhi) || charaNam | himakiraNashakalashekharatanubhava ! shamalanivahashamana ! kamalajamukhasuravR^indanutacharita ! kAmitapUrakapAdasaroruha ! (paripAhi) || 1|| mastakavigaLitadAnajalamilita\- madhukarasamudAya ! hastalasitanijadanta ! mahitasugu\- NAkhuvAha ! guhasodara ! nirupama ! (paripAhi) || 2|| pAvanapa~NkajanAbhamanohara\- bhagineya ! deva ! sevakajanatatividyAsamadhika\- shrIsukhadAyaka ! bhUrikR^ipAkara ! (paripAhi) || 3|| \section{ navarAtri kIrtanaM 1} || devi jagajjanani || rAgaM \- sha~NkarAbharaNaM, tALaM \- Adi (2 kaLai) | pallavi | devi ! jagajjanani ! (amba !) dehi kR^ipayA mama tAvakacharaNabhaktim || anupallavi | devamakuTamaNidedIpyamAnapAde ! kevalAnandapUrNe ! kIrasuvANi! vANi ! (devi) || charaNam | vINApustakara~njitakaratalavihasitaka~njavare.ambike ! veNIma~njimapu~njavinirjitavitataghanAghanamAlike ! eNImadavinivAraNanipuNatarekShaNahR^itanatapAtake ! shANollIDhamahAmaNibhUShaNashAlini ! budhajanapAlike ! prINitamunigeye ! druhiNajAye ! paramameye ! nirapAye ! (devi) || 1|| sakalakalAlayashAradahimakarasadR^ishavilAsayutAnane ! makaravarA~NkasharAsanamaurvImahitatarALakamohane ! shukasanakAdimunIshvaravirachitasundarapadayugapUjane ! vikaTajaTAlasitendukalApini ! vimalasarojavarAsane ! vikachakamalapAde ! vihatabhede ! nihatakhede ! bhR^itamode ! (devi) || 2|| jyotirmayanavahArAyitasajjyotiShatantravibhUShite ! mAtarmeduramImAMsAgamamAMsalitoruyugA~nchite ! chetoharatarashabdAgamakA~nchIlatikAguNashobhite ! pAtakaharapAdmAdipurANapAditapANivirAjite ! vItashamalahR^idye ! kalitavidye ! trijagadAdye ! niravadye ! (devi) || 3|| aruNatarAdharaparilasadatimR^iduhasitadyutipaTalojjvale ! sharaNasamAgatajanaparipAlanasatatodyatakaruNAkule ! parijanavirachitanavarAtrotsavaparitoShitahR^idaye.amale ! kuru karuNAmayi ! bhajanapare ! mayi kundamukuLaradane.atule ! bhUrishubhakarANi ! aghaharANI ! nutivarANi ! karavANi ! (devi) || 4|| \section{ navarAtri kIrtanaM 2} || pAhi mAM shrIvAgIshvari || rAgaM \- kalyANi, tALaM \- Adi (2 kaLai) | pallavi | pAhi mAM shrIvAgIshvari pAhi bhuvaneshvari (pAhi mAM) || anupallavi | dehi tAvakadayAmayi bhArati ! dehi bodhasukhadAyikAmiha || mohabhAratimirasa~nchayAmR^ita\- mUrtimamalabudhalokavilasita\- mohanIyakaTakA~NgadabhUShita\- mugdhagAtri ! tuhinAMshuvataMsini ! bAhulAlasitapustakajapavaTa\- bandhurAbhayavare ! parachinmayi ! (pAhi mAM) charaNam | shArade ! kachapAshaviDambitaruchiratarAsita\- nIrade ! nijapatikamalajanirupamatarasukhakaraNavi\- shArade ! sphuTataradhavaLimavilasitamukurashakalapaTa\- lIrade ! vinutanArade ! dAruNAdhikarapAtakAvalI\- dAraNaikanirate ! subhAShiNi ! sArasagarbhadaLAyatalochana\- pUritabhaktamanorathavallari ! vAraNakumbhamadApahakuchayuga\- bhAravinamrakR^ishodari ! mAmaka\- karapadamukhasamakaraNanikaramapi charaNayugabhajanaparamiha kuru tava (pAhi mAM) || 1|| shyAmaLe ! bahaLAgaruchandanamR^igamadaghusR^iNapa\- rImaLe ! parihR^itapadanataparijanasamudayanikhilama\- nomale ! shatamakhamukhasuravarapariNutabahuvidhachari\- te.amale ! madhurakomaLe ! sAmajAdhipamarALikAgati\- chArumandagamane ! suhAsini ! mAmakamAnasatApasamUhavi\- rAmamatIva vidhAtumaye pada\- tAmarasadvayamanukalaye hR^idi tAmasadoShavilAsanirAsini ! samudayadavikalahimakararuchimada\- shamanakaraNapaTuvimalahasitamukhi ! (pAhi mAM) || 2|| bhAsite ! shukashaunakakaushikamukhamunipariShadu\- pAsite ! sahR^idayarasakarakavivaranikarahR^idayakama\- lAsite ! shrutiyugapathapathikanayanaparilasadaruNasi\- tAsite ! kusumavAsite ! bhAsamAnanavarAtrikotsava\- bhAvukApachitimodashAlini ! bhAsurasArasanA~nchitaratnavi\- lAsitavisheShavinirjitashakrasha\- rAsaruche ! sakalAgamarUpiNi ! dAsamimaM kR^ipayA shishirIkuru vasa mama sukhamadhirasanamanavarata\- masadR^ishavilasitavisaramayi janani ! (pAhi mAM) || 3|| \section{navaratri kIrtanaM 3} || devi pAvane || rAgaM \- sAveri, tALaM \- Adi (2 kaLai ) | pallavi | devi ! pAvane ! seve charaNe te budhAvane ! || anupallavi | bhAvukadAyikaTAkShavilAsini ! bhArati ! dehi sadA kushalaM bhuvaneshvari ! || charaNam | somabimbamadaharasumukhi ! bhaktajanAkhila\- kAmitadAnanirate ! kAntakundadanti ! bhImAnantAj~nAnatimirabhedanamihirAyite ! mAmakahR^idi vihara mAnyaguNAvAse ! sAmajapu~NgavachArugate ! sura\- sAdhyanute ! vimale ! varade ! bhuvaneshvari ! (devi) || 1|| vAridanibhachikure ! vAsavopalanayane ! mArasharAsanaruchichorachillikAnte ! sArasakR^itanilaye ! jAmbUnadamayabhUShe ! nAradAdimuninutanAmasamudAye ! bhUrimanoj~nakarA~nchitavINA\- pustakabhAsini ! chAruhase ! bhuvaneshvari ! (devi) || 2|| pAtitaditisute ! shrIpadmabhavilAsini ! vItapApajanageyavibhave ! vidyArUpe ! chAtako jaladamiva sAdaramAshrayAmi tvAM prItiM mayi kuru lokamAtarayi nityaM dhUtamalaM kuru mAM sadaye ! pari\- poShitasUriguNe ! shubhade ! bhuvanesvari !(devi) || 3|| \section{ navarAtri kIrtanaM 4} || bhArati mAmava || rAgaM \- toDi, tALaM \- Adi (2 kaLai )| pallavi | bhArati ! mAmava kR^ipayA natajanArti bhAraharaNaniratayA || anupallavi | shAradavidhumaNDalasadR^ishamanoharamukhi ! || charaNam | vAsavAdisuravinute ! taraNishata\- bhAsurabhUShaNalasite ! hAsajitakundavitate ! vimalamuktA\- hArakaNThi ! gajendragate ! dAsabhUtajanavidyAdAnalole ! paradevi ! bhAsurachandanamR^igamadakusumasu\- vAsitagAtri ! supAvanashIle ! (bhArati) || 1|| nAradAdimanonilaye ! bhuvanatraya\- nAyike ! kR^itAj~nAnilaye ! chArubAhudhR^itavalaye ! vikacha\- sArasAkShi ! toShitabhUvalaye ! mArakArmukhasuShamAchorachilliyuge ! vANi ! vArijabhavadayite ! varavINA\- vAdanalolakarA~NgulijAle ! (bhArati) || 2|| sakalAgamamayarUpe ! nikhilaloka\- janani ! sudhAmadhurAlApe ! akala~NkaguNakalApe ! karuNArasa\- hatavivashajanavilApe ! sakale ! padmanAbhapadasarasijasevakavara\- shukasanakAdimunIshvaravinute ! somakalAsadR^ishAmalaphAle ! (bharati) || 3|| \section{ navarAtri kIrtanaM 5} || jananI mAmava || rAgaM \- bhairavi, tALaM \- tripuTa | pallavi | jananI ! mAmavA.ameye ! bhArati ! jaya sarasijAsanajAye ! || anupallavi | anupamitakamalAvAse ! chAru\- hasitakR^itakundanirAse ! devi ! munivareDitavimalacharite ! mohanIyaguNaughabharite ! (janani) || charaNam | taruNavAridanibhaveNi ! deva\- tarukisalayopamapANi\- kalitavaradAbhItimudre ! kalyANi ! pUrNa\- sharadindusamakAnte ! vANI ! suruchiranayanajitaiNi ! parama\- karuNArasagrishiraveNi ! devi ! charaNagatajanabharaNanipuNe ! paramAmR^itamadhurabhAShiNi ! (janani) || 1|| ghanasAratilakA~NkitaphAle ! ati\- kamanIyavishadadukUle ! vinata\- janavidyAvitaraNalole ! sAdhu\- smaraNIyatamapAdamUle kanakabhUShaNe ! shubhashIle ! sarvA\- gamamayi ! sujanAnukUle ! nAnA\- munimanomayavanajanilaye ! vinihatAshritavividhashamale ! (janani) || 2|| parihR^itaghanAj~nAnakhede ! kR^ita\- padmanAbhasevakamode ! satataparichitavINAninAde ! mama kuru matimayi tava pAde suragaNamahitavinode ! shIta\- karapotadhare ! gatabhede ! sadA sarasIruhamukhi ! sapadi vadane sarasamiha vasa sakalavarade ! (janani) || 3|| \section{ navarAtri kIrtanaM 6} || saroruhAsanajAye || rAgaM \- pantuvarALi, tALaM \- Adi | pallavi | saroruhAsanajAye ! bhavati ! sAmodamamba ! namAmi || purandarAdisurottamasuruchira\- anupallavi | kirITamaNikiraNA~nchitacharaNe ! (saroruhAsanajA) || charaNam | yAminIshamanoj~natamaruchi\- bhUmamadavinivAraNapaTusita\- tAmarasamR^idukoTaravAsini ! sAmajarAjasadR^ishagamane ! kAmama~njusharAsananirupama\- kAntiharachillichalananihata\- bhImanibiDAj~nAnamale ! sula\- lAmashobhibhAlatale ! vara\- hemachArubhUShaNalasite ! mada\- hInamaunihR^idayaikapade ! sura\- bhAminInivahagItaguNe ! shashi\- dhAmamandahasite ! jaya bhagavati ! (saroruhAsanajA) || 1|| ma~NgaLAvarashAlivINA\- sa~NgikaramR^idulA~Ngulidalajita\- tu~Ngakalpakakisalayanivahe ! duritasevakatApabhare ! bhR^i~Ngasa~nchayavalayitasumasura\- bhIkR^itadhammillarachitamada\- bha~NgasajalAmbhodakule ! nava\- pa~Nkajopamanayanayuge ! lasa\- da~NgarAgaghanasArahariNamada\- hArabhAsikuchakumbhayuge hari\- pu~Ngavopamitamadhyatale ! para\- bodharUpiNi ! pare ! jagadIshvari ! (saroruhAsanajA) || 2|| bAlachandravataMsini ! parijana\- pAlanaikapare ! ghanapAtaka\- shailabhidhurAyitacharite ! karu\- NAlavAlAyitahR^idaye lolaruchirALakaparivR^itasuvi\- shAlaruchinilayAyitavadane ! nAlamiha phaNinAyako.api ba\- tAlapitumayi mahimAnaM te tUlatAM naya mamodyadavidyA\- jAlamAshu nanu bhArati ! sakalaM bhAlalochanamukhAkhilavandita\- padmanAbhapadasevakanirate ! (saroruhAsanajA) || 3|| \section{ navarAtri kIrtanaM 7} || janani pAhi sadA || rAgaM \- shuddhasAveri, tALaM \- tripuTa | pallavi | janani ! pAhi sadA jagadIshe ! devi ! smaraharavallabhe ! || anupallavi | anavadyataranavahArAla~NkR^ite ! ma~njuvanajAyatalochane ! vAhinItaTavAse ! (janani) || charaNam | shailarAjatanaye ! chaNDamuNDanAshini ! shUlashobhitakare ! sundararUpe ! bhAlarAjitilake ! paramakR^ipAvati ! pAlitasujanamAlike ! sura\- sAlakisalayachArunijapAde ! (janani) || 1|| mahitabAhubalamahiShAsurAdi\- gahanadahanAyite ! gatamadasevye ! suhasitajitakunde ! shoNajapAdhari ! vihara mama hR^idi vidhusadR^ishamukhi bahalamalayajabandhure ! loka\- (janani) || 2|| paramapAvanashrIpadmanAbhasahodari ! nIlachikure ! kesarivaravAhe ! charitaduritabhaktadaranikare ! gauri ! kuru kR^ipAM mayi kulishadharamukha\- pariNute ! ghanaduritahR^itilole ! (janani) || 3|| \section{ navarAtri kIrtanaM 8} || pAhi janani santatam || rAgaM \- nATTakura~nji, tALaM \- tripuTa | pallavi | pAhi janani ! santataM mAmihAmala pariNatavidhuvadane ! || anupallavi | devi ! sakalashubhade ! himAchalakanye ! sAhasikadAruNachaNDamuNDanAshini ! (pAhi) || charaNam | bAlasomadhAriNI ! paramakR^ipAvati ! nIlavAridanibhanetre ! ruchirashIle ! bhAlalasitavarapATIratilake ! shrI\- nIlakaNThadayite ! nigamavanamAta~Ngi! (pAhi)|| 1|| surabhikusumarAjishobhitakachavR^inde ! varade ! vAsavamukhavandyamAnacharaNe ! aruNajapAkusumAdhare ! kaumudI\- paramojjvalahasite ! bhaktakalpavallike ! (pAhi)|| 2|| kamanIyatamarUpe ! kanyAkubjavAsini ! shamitapApanikare ! shAntahR^idayagehe ! amitavimalaruchihAre ! nIlavArido\- pamaveNi ! gauri ! shrIpadmanAbhasodari ! (pAhi) || 3|| \section{ navarAtri kIrtanaM 9} || pAhi parvatanandini || rAgaM \- Arabhi, tALaM \- Adi (1 kaLai) | pallavi | pAhi parvatanandini ! mAmayi pArvaNendusamavadane || anupallavi | vAhinItaTanivAsini ! kesarivAhane ! ditijALividAraNe ! || charaNam | jambhavairimukhanate ! kari\- kumbhapIvarakuchavinate ! vara\- shambhulalATavilochanapAvaka\- sambhave ! samadhikaguNavasate ! (pAhi) || 1|| ka~njadaLanibhalochane ! madhu\- ma~njutaramR^idubhAShaNe ! mada\- ku~njaranAyakamR^idugatima~njima\- bha~njanAtichaNamantharagamane ! (pAhi) || 2|| cha~nchadaLilalitALake ! tila\- kA~nchitashashidharakalALike ! nata\- va~nchinR^ipAlakavaMshashubhodaya\- sa~nchayaikakR^itisatataguNanike ! (pAhi) || 3|| \section{|| ma~NgaLam ||} || bhujagashAyino || rAgaM \- yadukulakAmbhoji, tALaM \- rUpaka | bhujagashAyino nAma ma~NgaLaM paramajAnatApIha kIrtitaM dahati pApmanAM jAlama~njasA bhuvi shikhI yathA dAru sa~nchayam || ## Encoded with introduction and proofread by Pallasena Narayanaswami ppnswami at gmail.com \medskip\hrule\obeylines Please send corrections to sanskrit at cheerful dot c om Last updated \today https://sanskritdocuments.org \end{document}