कमलाम्बा नवावरणं सार्थम्
The set of compositions, popularly known as ''KamalAmbA
NavAvaraNam'' is a series of eleven kIrtanam-s composed by the
illustrious composer, ShrI MuttusvAmi DIkShitar, in praise
of Goddess KamalAmbA of the mammoth temple at TiruvArUr. This
work is one of the peaks of his creativity. Be it the meaning,
the rAga or the structure, each one of the kritis is a gem.
In this intellectual project, the composer is at his best,
the lyrics are superb and steeped in devotion, the theme is
lofty, and everything is indeed 'par excellence'!!
The shrine of Goddess kamalAmbA
TiruvArUr is a small town in the south Indian district of
Ta~njAvUr, about 35 miles east of the town of Ta~njAvUr,
situated as a railway junction between NAgapaTTaNam and
Ta~njAvur, as well as between MayilAdutturai and KAraikkuDi,
in the KAveri river delta. This is the location of the
vast temple complex dedicated to Lord TyAgarAja (Shiva).
Seven temples in the vicinity of TiruvArUr are designated as
'sapta viTa~Nka kShetram'-s of TyAgarAja (somAskanda), and
the foremost among them is the 'vIthI viTa~Nka' TyAgarAja of
the majestic TiruvArUr temple. The massive structure of this
temple is enclosed in a huge quadrangle that measures 846 feet
in length, and 666 feet in breadth. There are four gopurams
(temple towers) on the four sides, and three smaller ones
inside the complex. The eastern entrance is vast and spacious
(110 feet by 60 feet), and has the huge rAja gopuram (main
temple tower) 120 feet tall. It is a gigantic five-tiered
structure topped with 11 'kalasham'-s (sacred pots), and has
the unique and unusual feature that it abruptly diminishes in
size as it rises. There are three prAkArams (complex walls,
circumambulatory paths) in this temple, and numerous shrines
too many to count, big and small, are scattered throughout.
The TyAgarAja shrine is located in the innermost prAkAram,
to the south of the ValmIkanAtha (pRRithvI li~Ngam or ValmIka
li~Ngam-ant-hill)) shrine within the same prAkAram. Both
share a common mukha maNDapam. Four other important shrines,
HATakeshvara, Acaleshvara, SiddhIshvara, Anandeshvara are
located at the four cardinal points (southewest, southeast,
northeast, and northwest, respectively) of the middle
prAkAram. The consort of TyAgarAja is NIlotpalAmbA, the
goddess of blue lotus. In TevAram songs, she is affectionately
addressed in tamil as ``alliyankotai''. Her shrine is located in
the second prAkAram on the right side. The unique feature is
that here, nIlotpalAmbA is depicted as blessing her second son,
skanda (subrahmaNya) with her hand on his forehead.
The KamalAmbA shrine is in the northwest corner of the outermost
prAkAram, well away from the main shrines, with its own MaNDapam
and circumambulatory passages that makes an angle with the
prAkAram wall. This shrine is traditionally and ritually
unconnected with the main shrine of TyAgarAja. Here, the
Goddess is depicted in a meditating posture. While NIlotpalAmbA
is supposed to represent the ``bhoga shakti'' of Lord Shiva,
KamalAmbA represents the ``yoga shakti''. It is to be observed
that muttusvAmi dIkShitar never associated kamalAmbA with
TyAgarAja, and considered only NIlotpalAmbA as the consort
of the deity. All the eleven kIrtanams of the KamalAmbA
NavavAvaraNam series are engraved in marble slabs on the walls
at the entrance to the main sanctorum of Goddess KamalAmbA.
The huge tank, kamalAlayam is located on the western side
of the temple complex. and covers an enormous area of 25
acres (compared to only 20 acres area of the temple complex).
There is a shrine dedicated to nAganAthasvAmi in the middle of
the tank, approached only by boat. The grand float festival
that takes place in this tank is indeed very magnificent.
The KamalAmbA NavAvaraNa KIrtanam-s
The series consists of eleven compositions, all in praise
of Goddess KamalAmbA. It starts with a 'dhyAna kIrtanam'
(benediction), followed by eight composition, one in each
of the eight vibhaktis of the proper noun ``kamalAmbA''
(or sometimes ``kamalAmbikA'') in feminine gender
continuing on to a ninth kIrtanam which employs all the eight
declensions of the sanskrit language;
the series concludes with an auspicious 'ma~NgaLa kIrtanam',
appropriately set in the auspicious rAgam shrI. Each of the nine
vibhakti songs in on one of the nine AvaraNams (enclosures)
of the ``shrI chakram'' (the auspicious wheel) belonging to the
doctrine of shrIvidya (auspicipus wisdom).
The kIrtanams of the KamalAmbA NavAvaraNa series are as follows:
dhyAna kIrtanam in saMbodhanA vibhakti (vocative case )-
``kamalAmbike'', toDi rAgam, rUpaka tALam.
The first AvaraNa kIrtanam in prathamA vibhakti (nominative case) -
``kamalAmbA saMrakShatu mAm'', Anandabhairavi rAgam, tripuTa tALam
(on trailokya-mohana chakram).
The second AvaraNa kIrtanam in dvitIyA vibhakti (accusative case) -
``kamalAmbAM bhaja re'', kalyANi rAgam, Adi tALam
(on sarvAshA-paripUraka chakram).
The third AvaraNa kIrtanam in tRRitIyA vibhakti (instrumental case) -
``shrIkamalAmbikayA'', sha~NkarAbharaNa rAgam, rUpaka tALam
(on sarva-saMkShobhaNa chakram).
The fourth AvaraNa kIrtanam in chaturthI vibhakti (dative case) -
``kamalAmbikAyai'', kAmbhoji rAgam, aTa tALam
(on sarva-saubhAgyadAyaka chakram).
The fifth AvaraNa kIrtanam in paऽnchamI vibhakti (ablative case) -
``shrI kamalAmbikAyAH'', bhairavi rAgam, jhaMpa tALam
(on sarvArtha-sAdhaka chakram).
The sixth AvaraNa kIrtanam in ShaShThI vibhakti (genitive case) -
``kamalAmbikAyAH'', punnAgavarALi rAgam, rUpaka tALam
(on sarva-rakShAkara chakram).
The seventh AvaraNa kIrtanam in saptamI vibhakti (locative case) -
``shrI kamalAmbikAyAm'', sahAnA rAgam, tripuTa tALam
(on sarva-roga-hara chakram).
The eighth AvaraNa kIrtanam in sambodhanA vibhakti (vocative case) -
``shrI kamalAmbike'', ghaNTA rAgam, Adi tALam
(on sarva-siddh-iprada chakram).
The ninth (and the last) AvaraNa kIrtanam, employing all
the eight vibhaktis (cases)-
``'srI kamalAmbA jayati'', Ahiri rAgam, rUpaka tALam
(on sarvAnanda-maya chakram). The pallavi employs prathamA
vibhakti, the anupallavi, the dvitIyA (the first three lines),
and tRRitIyA vibhakti (rest of the anupallavi), while the
charaNam has one line each in chaturthI, pa~nchamI, and ShaShThI
and saptamI vibhaktis. The line set in chaturthI vibhakti also
incorporates the sambodhanA vibhakti, while the last two lines
in madhyamakAla return to the prathamA vibhakti.
The final auspicious ma~NgaLa kIrtanam, again in saMbodhanA
vibhakti (vocative case)-``shrI kamalAmbike'', shrI rAgam,
khaNDa eka tALam.
In each kIrtanam, MuttusvAmi dIkShitar carefully brings out
several tAntrik details, the name of the chakram, its geometry,
many salient features that are specific to the chakram, and
the devatas and sub-deities associated with it. On many
occasions, dIkShitar cleverly indulges in very lengthy word
constructions, which to a layman may seem like a tongue-twister.
The phrase ``guruguha'' (used in several meanings) appears in
all these compositions as the composer's signature (mudra).
The rAga mudra is incorporated (through the art of shleSham
(double meaning), in most of these compositions. The dhyAna
kIrtanam in the rAgam toDi does not feature a rAga mudra,
and the kIrtanams in rAgams Anandabhairavi (the first AvaraNa
kIrtanam), and sha~NkarAbharaNam (the third AvaraNa kIrtanam)
have only partial rAga mudras (the word ``Ananda'' for the
former, and sha~Nkara for the latter). The kAmbhoji, sahAnA,
and Ahiri compositions have disguised rAga mudras (kAmbhoja,
shAna, Ahari, respectively). All other kRRitis have the proper
rAga mudra built into the sAhityam.
The shrIchakram
Since each of these compositions glorifies one of the nine
AvaraNams of the shrI chakram, we shall quickly describe the
various geometrical components of the chakram. The shrI chakram,
or the auspicious wheel is a geometrical diagram employed in
the worship of Goddess tripurasundari, according to tantric
traditions. It is more than a mere diagram, and has mystic
powers and great significance in the shakti worship rituals.
The outer portion of the shrI chakram consists of four units -
the outermost gateway of three rectangular walls (bhUpura),
three concentric circles (trivalaya, or vRRittatraya), a sixteen
petaled rose ShoDashadaLa padma), and an eight-petaled rose
(aShTadaLa padma). The core of the shakti group consists
of 43 triangles-a set of fourteen triangles (manukoNa),
two sets of ten triangles (bahirdashAra and antardashAra),
a set of eight triangles (vasukoNa), and the innermost sole
triangle (trikoNa). In fact these 43 triangles are formed
by the intersections of four isosceles triangles with vertex
pointing upwards (called the shiva group) , and five isosceles
triangles with downward vertices (called the shakti group),
all situated inside the eight petaled rose. The culmination
of all these is the bindu, a single dot placed at the center.
Each sub-chakram has its own presiding deity (devatA), as well
as the subordinate deities (yoginis) associated with it.
The nine AvaraNam-s of the shrIchakram
1. bhUpuram - trailokya-mohana chakram
Of the three lines forming this diagram, the outer
prAkAram, supposed to be white in color,is the first
entrance to the citadel of the Goddess. Here the ten
siddhis - aNimA, laghimA, mahimA,
Ishitva, vashitva, prAkAmya, bhukti, ichchA, prApti,
and sarvakAmA, reside, guarding the entrance. The middle
line is aruNa (red), and is presided over by the eight
mAtRRi shaktis - brAhmI,
mAheshvarI, kaumArI, vaiShNavI,
vArAhI, mAhendrI, cAmuNDA, and
mahAlakShmi. The inner enclave, yellow in color, is
the abode of the ten mudrA devis - They are
sarvasamkShobhiNi, sarvavidrAvaNi, sarvAkarShiNi,
sarvonmAdini, sarvamahA~NkushA,
sarvakhecarI, sarvabIjA, sarvayoni, and
sarvatrikhaNDA. Thus, there are 28
yoginis (also known as AvaraNba
devatAs) of the bhUpura, collectively known as
prakaTa yoginis. The presiding manifestation of
Goddess in this chakram is tripurA.
2. ShoDashadaLapadmam - sarvAshA-paripUraka chakram
This AvaraNaM consists of a set if 16 lotus petals
arranged in a circular fashion inside the
three concentric circles residing in the bhUpuraM,
and is supposed to be white in color.
The sixteen presiding deities in the second AvaraNam are:
kAmAkarShiNi, sparshAkarShiNi, buddhyAkarShiNi,
ahaMkArAkarShiNi, shabdAkarShiNi, rUpAkarShiNi,
rasAkarShiNi, gandhAkarShiNi,
cittAkarShiNi, dhairyAkarShiNi, smRRityAkarShiNi, nAmAkarShiNi,
bhIjAkarShiNi, AtmAkarShiNi,
sparshAkarShiN, amRRitAkarShiNi, and sharIAkarShiNi.
They are collectively known as gupta yoginis. The main deity
here is tripureshI.
3. vasudaLam - sarva-samkShobhaNa chakram
This is (a circular arrangement of) an eight-petalled lotus,
in the color (red shade)
of the japAkusuma flower.
The eight shaktis associated with this chakram are -
ana~NgakusumA, ana~NgamekhalA, ana~NgamadanA,
ana~NgamadanAturA, ana~NgarekhA, ana~NgaveginI, ana~NgAMshukA and
ana~NgamAlinI. These shaktis are described as
guptatara yoginis. The main deity here is tripurasundari
4. chaturdashAram (manukoNam) - sarva-saubhAgyadAyaka chakram
This is a set of 14 outermost triangles of the color
of the pomgranate flower.
The fourteen shaktis worshiped here are:
sarvasaMkShobhiNI, sarvavidrAviNI, sarvAkarShiNI,
sarvasthaMbhinI, sarvajhRRi.mbhinI, sarvavashaMkarI, sarvAhLAdinI,
sarvasaMmodinI, sarvara~njanI, sarvAnmodinI, sarvArthasAdhakA,
sarvasaMpattirUpiNI, sarvamantramayI and sarvadvandvakShayaMkarI.
These deities are collectively called sampradAya yoginis.
The main deity presiding over this chakram is tripuravAsini.
5. bahirdashAram - sarvArtha-sAdhaka chakram
This consists of the outer set of ten triangles in the color
of sindhUra. The ten shaktis residing here are:
sarvasiddhipradA, sarvasampatpradA, sarvapriyaMkarI,
sarvama~NgaLakAriNI, sarvakAmapradA, sarvaduHkhavimocinI,
mRRityuprashamanI, sarvavighnanivAriNI, sarvasundarI and
sarvasaubhAgyadAyinI . These are collectively
known as kulottINa yoginis. The Goddess manifests here as
tripureshI.
6. antardashAram - sarva-rakShAkara chakram
This is the set of ten inner triangles, in the color of the
japAkusuma flower. The ten shaktis
associated here are: sarvaj~nA, sarvashaktipradA, sarvaishvaryapradAyinI,
sarvaj~nAnamayI, sarvavyAdhivinAshinI, sarvAdhArasvarUpA,
sarvapApaharA, sarvAnandamayI, sarvarakShAsvarUpiNI
and sarvepsitaphalapradA. These shaktis are called
nigarbha yoginis.
The manifestation of Goddess in this chakram is tripuramAlini.
7. vasukoNam - sarvaroga-hara chakram
This is the innermost group of eight triangles, and are in the
color of padmarAga, or the rising sun. The eight shaktis,
that reside here are:
vashini, kAmeshI, medinI, vimalA, saruNA,
jayinI, sarveshI and kauLinI. These
shaktis are collectively called rahasya yoginis, or
vAgdevatAs. The presiding from of Goddess is tripurasiddhA.
8. trikoNam - sarva-siddhi-prada chakram
This is the innermost sole triangle of the color of the bandhUka flower,
which houses the bindu, the dot at the center. The three shaktis,
mahAkAmeshvari, mahAvajreshvari, mahAbhagamAlini
residing in this chakram are called
atirahasya yoginis. Goddess is manifest here as tripurAmbA
Text of the Kamalamba Navavaranam
॥ नवावरणध्यानकीर्तनम् ॥
॥ कमलाम्बिके ॥
रागं तोडि - रूपक ताळम्
पल्लवि
कमलांबिके आश्रितकल्पलतिके चण्डिके
कमनीयारुणांशुके करविधृतशुके मामव variation मामव जगदंबिके
अनुपल्लवि
कमलासनादिपूजितकमलपदे बहुवरदे
कमलालयतीर्थवैभवे शिवे करुणार्णवे
चरणम्
सकललोकनायिके संगीतरसिके
सुकवित्वप्रदायिके सुन्दरि गतमायिके
विकळेबरमुक्तिदाननिपुणे अघहरणे
वियदादिभूतकिरणे विनोदचरणे अरुणे
मध्यमकालसाहित्यम्
सकळे गुरुगुहकरणे सदाशिवान्तःकरणे
अ-क-च-ट-त-पादिवर्णे अखण्डैकरसपूर्णे
Word to word meaning:
कमलांबिके - Oh Goddess kamAlmbika (the Lotus mother)
आश्रित-कल्प लतिके - who is like a Kalpaka tree (that
grants all boons) to those who seek refuge in you
चण्डिके - fierce one, one of the ten aspects of shakti
कमनीय-अरुण-अंशुके - attractive, wearing the red robe
कर-विधृत-शुके - holding a parrot in the hand
मां - me
अव - protect
कमलासन-आदि-पूजित - worshipped by Brahma and other Gods
कमल-पदे - possessing lotus feet
बहु-वरदे - showering plenty of boons (to devotees)
कमलालय-तीर्थ-वैभवे - imparting greatness to the tank KamalAlaya
शिवे - auspicious one
करुणा-अर्णवे - ocean of mercy
सकल-लोक-नायिके - ruler of all the worlds
संगीत-रसिके - delighting in music
सु-कवित्व-प्रदायिके - granting the boon of poetic genius
सुन्दरि - beautiful one
गत-मायिके - who has transcended the illusion
वि-कळेबर-मुक्ति-दान-निपुणे - adept in granting salvation
without body (videha mukti)
अघ-हरणे - one who dispels all sins
वियदादि-भूत-किरणे - who emanates the five elements,
space, air, fire, water and earth
विनोद-चरणे - with enchanting feet
अरुणे - reddish
सकळे - full, complete
गुरुगुह-करणे - mother of Guruguha
सदाशिव-अन्तःकरणे - inhabiting the heard of Lord Shiva
अ-क-च-ट-त-पादि-वर्णे - the embodiment of all letters, a, ka, cha, Ta, ta, pa etc
अखण्ड-एक-रस-पूर्णे - filled with matchless bliss
॥ प्रथमावरणकीर्तनम् (प्रथमा विभक्ति) ॥
॥ कमलांबा संरक्षतु माम् ॥
रागं आनन्दभैरवि - तिश्र एक ताळम्
पल्लवि
कमलांबा संरक्षतु मां हृत्-
कमलानगरनिवासिनी
अनुपल्लवि
सुमनसाराधिताब्जमुखी सुन्दरमनःप्रियकरसखी
कमलजानन्दबोधसुखी कान्तातारपञ्जरशुकी
चरणम्
त्रिपुरादिचक्रेश्वरी अणिमादिसिद्धीश्वरी नित्यकामेश्वरी क्षि-
तिपुरत्रैलोक्यमोहनचक्रवर्तिनी प्रकटयोगिनी
सुररिपुमहिषासुरादिमर्दिनी निगमपुराणादिसंवेदिनी
मध्यमकालसाहित्यम्
त्रिपुरेशी गुरुगुहजननी त्रिपुरभञ्जनरञ्जनी मधु-
रिपुसहोदरी तलोदरी त्रिपुरसुन्दरी महेश्वरी
Word to word meaning:
कमलांबा - Goddess Kamalamba
संरक्षतु - protect
मां - me
हृत्-कमला-नगर-निवासिनी - who resides in the lotus city of the (human) heart
सुमनस-आराधिता - worshiped by pure-minded devotees
अब्ज-मुखी - lotus faced
सुन्दर - the beautiful one, Lord Sundaresvara, or Siva
मनःप्रियकर-सखी - delighting the mind of Siva and who is the friend
कमलजा-नन्द - the bliss of Brahman
बोध - (ultimate) knowledge
सुखी - (one who) enjoys happiness
कान्ता-तार-पञ्जर-शुकी - (one who is) the beautiful
parrot residing in the cage of the sound (of OM)
त्रिपुरादि-चक्रेश्वरी - The Goddess who rules over the
nine chakras beginning with tripura
अणिमादि-सिद्धीश्वरी - The Goddess who controls the
accomplishments such as aNima etc
नित्य-कामेश्वरी - who is the Nitya Kameshvari etc (the
fifteen devatAs of this chakra)
क्षितिपुर- - the entire earth, conceived of as the capital
city of the Goddess, the name of the outermost enclosure
त्रैलोक्य-मोहन-चक्र- - the name of the first chakra,
enchanter of all three worlds
वर्तिनी - who is inherent in
प्रकट-योगिनी - the manifest yogini
सुर-रिपु- - enemy of Devas
महिषासुरादि-मर्दिनी - slayer of the Demon Mahishasura,
the buffalo faced one, and others
निगम-पुराणादि- - sacred literature, epics etc
संवेदिनी - (one who has) known (it) well
त्रिपुरेशी - Goddess of the three cities
गुरुगुह-जननी - mother of Lord Guruguha, Subrahmanya
त्रिपुर-भञ्जन-रञ्जनी - who enchants Siva, the destroyer
of three cities
मधु-रिपु-सहोदरी - sister of Vishnu, the enemy of Madhu
तलोदरी - with abdomen as slender as the palm of the hand, slender-waisted
त्रिपुरसुन्दरी - Goddess Tripurasundari
महेश्वरी - the Great Goddess
Notes:
This kRRiti contains the description of the first
trailokyamohana chakra, also called bhUpura (or kshitipura). The
chakra for this song consists of three rectangular walls, with
openings on the four sides (in some versions of the diagrams,
there is no opening, but sub-rectangles closing the entrance!)
The song is set in the nominative case. The basic sentence
unit (anvaya) is: kamalAMbA mAm saMrakShatu (May the Goddess
Kamalamba protect me), and the various phrases qualify the
proper noun Kamalamba.
The eight Yogic accomplishments (siddhis) referred to in this song are :
अणिमा - power to become infinitesimal in size
महिमा - power to grow very huge
लघिमा - power to become very light
गरिमा - power to become inordinately heavy
इशित्व - power to rule over everything
वशित्व - power to subjugate all
प्राप्ति - power to obtain whatever is desired
प्राकाम्य - power to fulfil all wishes
Nityas are the primary devatas (goddesses) of the first
chakra. They are sixteen in number, kAmeshvari being at the
center, and the other fifteen (bhagamAlini, nityaklinnA,
bheruNDA, vahnivAsinI, mahAvajreshvarI, shivadUtI, tvaritA,
kulasundarI, nityA, nIlapatAkA, vijayA, sarvama~NgaLA,
jvAlAmAlinI, citrA and mahAnityA) around her. The shaktis
residing in this chakra are called prakaTa yoginis.
The phrase ``Ananda'' might have been used as a partial rAga
mudrA for the rAga Anandabhairavi.
॥ द्वितीयावरण कीर्तनम् (द्वितीया विभक्ति) ॥
॥ कमलांबां भजरे ॥
रागं कल्याणि - आदि ताळम्
पल्लवि
कमलांबां भजरे रे मानस
कल्पितमायाकार्यं त्यज रे
अनुपल्लवि
कमलावाणीसेवितपार्श्वां कंबुजयग्रीवां नतदेवां variation नतदेहां
मध्यमकालसाहित्यम्
कमलापुरसदनां मृदुगदनां कमनीयरदनां कमलवदनां
चरणम्
सर्वाशापरिपूरकचक्रस्वामिनीं परमशिवकामिनीं
दुर्वासार्चित गुप्तयोगिनीं दुःखध्वंसिनीं हंसिनीं
निर्वाणनिजसुखप्रदायिनीं नित्यकल्याणीं कात्यायनीं
शर्वाणीं मधुपविजयवेणीं सद्गुरुगुहजननीं निरञ्जनीं
मध्यमकालसाहित्यम्
गर्वितभण्डासुरभञ्जनीं कामाकर्षिण्यादिरञ्जनीं
निर्विशेषचैतन्यरूपिणीं उर्वीतत्वादिस्वरूपिणीं
Word to word meaning:
कमलांबां - The Goddess kamalAmbA
भज - worship
रे रे मानस - Oh mind!
कल्पित माया-कार्यं - attachment to worldly desires which are illusory
त्यज रे - please abandon
कमला-वाणी-सेवित-पार्श्वां - she who is flanked by Lakshmi
and Sarasvati on both sides
कंबु-जय-ग्रीवां - with neck that surpasses the beauty of the conch shell
नत-देवां - bowed down by the Devas
कमलापुर-सदनां - who resides in the lotus city
मृदु-गदनां - whose speech is tender
कमनीय-रदनां - who has charming teeth
कमल-वदनां - who has face that resembles the lotus
सर्वाशा-परिपूरक-चक्र-स्वामिनीं - the Goddess of the
chakra named sarvAshAparipUraka (fulfiller of all wishes)
परमशिव-कामिनीं - beloved of the Supreme Lord, Siva
दुर्वासार्चित गुप्-तयोगिनीं - the secret yoginI, worshiped by the sage Durvasa
दुःख-ध्वंसिनीं - who destroys all sufferings
हंसिनीं - who rides the swan
निर्वाण-निज-सुख-प्रदायिनीं - who grants salvation,
which is the bliss of one’s own self
नित्य कल्याणीं - who is ever auspicious
कात्यायनीं - the daughter of sage kAtyAyana
शर्वाणीं - who is sharvAni, the consort of sharva (shiva)
मधुप-विजय-वेणीं - whose hair conquers the blackness of honey bees
सद्गुरुगुह-जननीं - who is the mother of Lord Guruguha
निरञ्जनीं - who is unblemished, unattached
गर्वित-भण्डासुर-भञ्जनीं - who destroyed the demon BhaNDa
who possessed vain glory
कामाकर्षिण्यादि-रञ्जनीं - who delights the devatAs such
as kAmAkarShiNi and others
निर्विशेष-चैतन्य-रूपिणीं - who is the embodiment of
unqualified consciousness
उर्वी-तत्वादि-स्वरूपिणीं - who is manifest in the principles
of earth etc ( five elements)
Notes:
The song is set in accusative case (dvitIyA vibhakti). The
basic sentence unit (anvaya) is kamalAmbAM bhaja re re
mAnasa, kalpitamAyAkAryam tyaja re (Oh mind, worship the
Goddess Kamalamba and renounce worldly desires, which are
illusory), and the remaining phrases qualify the dvitIya noun
``kamalAmbAM''. All these adjectives end in the ``m''
sound. The word ``kamala'' has been used several times with
several different meanings here.
The rAga mudra kalyANI appears in the phrase ``nityakalyANIM''.
The diagram for the second AvaraNa, the sarvAshAparipUraka
chakra, consists of a circular arrangement of sixteen lotus
petals (ShoDasha padma). The sixteen yoginis residing in this
chakra are known as gupta yogini-s, the hidden yoginis.
The sixteen presiding deities in the second AvaraNa, all ending
in the phrase ``AkarShiNI'' (one who attracts like a magnet)
are - kAmAkarShiNI, buddhyAkarShiNI, ahaMkArAkarShiNI,
cittAkarshiNI, dhairyAkarShiNI, sm.rtyAkarShiNI,
sharIrAkarShiNI, shabdAkarShiNI, sparshAkarShiNI, rUpAkarSHiNI,
rasAkarSHiNI, gandhAkarShiNI, nAmAKarShiNI, bIjAkarSHiNI,
AtmAkarShiNI and am.rtAkarShiNI.
The Goddess Kamalamba is conceived of as being served by Lakshmi
and Sarasvati in this composition. It may be noted that the
phrase ``sacAmara ramA vANI savyadakShiNa sevitA'' appears
in LalitAsahasranAma. Dikshitar also begins the nASamani rAga
kRRiti with the words ``shrI ramA sarasvatI sevitAm shrI
lalitAmbAm bhAvaye''.
॥ तृतीयावरणकीर्तनम् (तृतीया विभक्ति) ॥
॥ श्री कमलांबिकया ॥
रागं शङ्कराभरणं - रूपक ताळम्
पल्लवि
श्रीकमलांबिकया कटाक्षितोऽहं
सच्चिदानन्दपरिपूर्णब्रह्मास्मि
अनुपल्लवि
पाकशासनादिसकलदेवतासेवितया
पङ्कजासनादिपञ्चकृत्यकृत् भावितया
मध्यमकालसाहित्यम्
शोकहरचतुरपदया मूकमुख्यवाक्प्रदया
कोकनदविजयपदया गुरुगुहतत्त्रैपदया
चरणम्
अनंगकुसुमाद्ययष्टशक्त्याकारया
अरुणवर्णसंक्षोभणचक्राकारया variation चक्रागारया
अनन्तकोट्यण्डनायकशङ्करनायिकया
अष्टवर्गात्मकगुप्ततरया वरया
मध्यमकालसाहित्यम्
अनंगाद्युपासितया अष्टदळाब्जस्थितया
धनुर्बाणधरकरया दयासुधासागरया
Word to word meaning:
श्रीकमलांबिकया
श्रीकमलाम्बिकया - by the auspicious Kamalambika
कटाक्षितः - graced, protected
अहं - I
सच्चिदानन्द - existence, consciousness, and bliss
परिपूर्ण- - fullness, completeness
ब्रह्मा - the supreme
अस्मि - am
पाकशासनादि-सकल-देवता-सेवितया - by the one who is
worshiped by Indra and all Gods
पङ्कजासनादि-पञ्चकृत्य-कृत् - by Lord Brahma,
who originally performs the five cosmic acts
भावितया - who is contemplated
शोक-हर-चतुर-पदया - whose feet are adept in removing grief
मूक-मुख्य-वाक्-प्रदया - who restores speech to the dumb
कोकनद-विजय-पदया - whose feet conquer the beauty of a red lotus
गुरुगुह-तत्त्रैपदया - who is the three worded sentence,
which is Guruguha himself
अनंगकुसुमादि-अष्टशक्त्याकारया - who is embodied as
ana~Ngakusuma, and the rest of the shaktis
अरुण-वर्ण-संक्षोभण-चक्राकारया - who is enshrined
in the reddish saMkShobhaNa chakra
अनन्त-कोट्यण्ड-नायक-शङ्कर-नायिकया - who is the
beloved of Lord Siva, the master of millions of universes
अष्टवर्गात्मक-गुप्ततरया - who is more secret (than
the previous chakra), being the form of alphabet grouped in
eight sections
वरया - who is superb
अनंगादि-उपासितया - who is worshiped by Kamadeva and others
अष्टदळाब्ज-स्थितया - who resides in the eight petaled lotus
धनुर्बाण-धर-करया - who carries a bow and arrow in her hands
दया-सुधा-सागरया - who is the ocean of the nectar of compassion
Notes:
The song is in tritIyA vibhakti, instrumental case. The
basic sentence word order (anvaya) is ahaM shrIkamalAMbikayA
katAkshitaH sachchidAnandaparipUrNabrahmA asmi (I, protected
by Shri Kamalambika, am the Supreme Brahman, characterized
by the fullness of existence, consciousness and bliss). All
the phrases ending in the syllable ``yA'' qualify the noun
``kamalAmbikayA''.
The third chakra, sarvasaMkShobhaNa chakra, consists of a
circular arrangement of eight-petals (aShTadaLA). The eight
sakti-s referred to as ana~Ngakusuma etc are: ana~Ngakusuma,
ana~NgamekhalA, ana~NgamadanA, ana~NgamadanAturA, ana~NgarekhA,
ana~NgaveginI, ana~NgAMshukA and ana~NgamAlinI. These sakti-s
are described as guptatara yogini-s. There is a partial
rAgamudra in the phrase ``sha~NkaranAyikayA''.
॥ चतुर्थावरणकीर्तनम् (चतुर्थी विभक्ति) ॥
॥ कमलांबिकायै ॥
रागं कांभोजि - अट ताळम्
पल्लवि
कमलांबिकायै कनकांशुकायै
कर्पूरवीटिकायै नमस्ते नमस्ते
अनुपल्लवि
कमलाकान्तानुजायै कामेश्वर्यै अजायै
हिमगिरितनुजायै ह्रींकारपूज्यायै
मध्यमकालसाहित्यम्
कमलानगरविहारिण्यै खलसमूहसंहारिण्यै
कमनीयरत्नहारिण्यै कलिकल्मषपरिहारिण्यै
चरणम्
सकलसौभाग्यदायकांभोजचरणायै
संक्षोभिण्यादिशक्तियुतचतुर्थावरणायै
प्रकटचतुर्दशभुवनभरणायै
प्रबलगुरुगुहसंप्रदायान्तःकरणायै
अकळङ्करूपवर्णायै अपर्णायै सुपर्णायै
सुकरधृतचापबाणायै शोभनकरमनुकोणायै
मध्यमकालसाहित्यम्
सकुङ्कुमादिलेपनायै चराचरादिकल्पनायै
चिकुरविजिनीलघनायै चिदानन्दपूर्णघनायै
Word to word meaning
कमलांबिकायै - to KamalAmbika
कनक-अंशुकायै - who is clad in golden robe
कर्पूर-वीटिकायै - who chews betel leaves flavored with camphor
नमस्ते नमस्ते - I offer my salutations to thee again, and again
कमला-कान्त -अनुजायै - who is the younger sister of the husband of Lakshmi
कामेश्वर्यै - who is the goddess Kameshvari
अजायै - who is unborn
हिमगिरि-तनुजायै - who is the daughter of the snowy mountain
ह्रींकार-पूज्यायै - who is worshiped by the mystic sound ``hrIM''
कमलानगर-विहारिण्यै - who dwells in the city of the lotus
खल-समूह-संहारिण्यै - who destroys the dishonest people
कमनीय-रत्न-हारिण्यै - who wears a garland of beautiful jewels
कलि-कल्मष-परिहारिण्यै - who dispels the sins caused
by the poison of Kali
सकल-सौभाग्यदायक-अंभोज-चरणायै - who possesses
lotus feet which grant all auspiciousness
संक्षोभिण्यादि-शक्ति-युत-चतुर्थ-आवरणायै - who
resides in the fourth enclosure containing the shaktis such
as 'saMkShobhiNI’ and so forth
प्रकट-चतुर्दश-भुवन-भरणायै - who sustains the
fourteen manifest worlds
प्रबल-गुरुगुह-संप्रदाय-अन्तःकरणायै - who is at the
heart of the well-known tradition to which Guruguha belongs
अकळङ्क-रूप-वर्णायै - who possesses flawless beauty and complexion
अपर्णायै - who is (known as) aparNa
सुपर्णायै - who is the beautiful bird
सुकर-धृत-चाप-बाणायै - whose lovely hands hold the bow and arrow
शोभनकर-मनुकोणायै - who resides in the effulgent
chakra consisting of fourteen triangles
सकुङ्कुमादि-लेपनायै - who is besmeared with red kuMkuma
(saffron powder)
चराचरादि-कल्पनायै - who is the cause of both moving
and unmoving objects
चिकुर-विजि-नील-घनायै - whose black hair triumphs over
the dark clouds
चिदानन्द-पूर्ण-घनायै - who is the full essence of
consciousness and bliss
Notes:
This song is in chaturthI vibhakti (dative case). The basic
sentence word order (anvaya) is kamalAMbikAyai namaste
(Salutations to Kamalambika), and the phrases ending in
``yai'' all qualify ``kamalAmbikAyai''.
The chakra referred to is sarvasaubhAgyadAyaka, that grants
all auspiciousness. It is also called manukoNa, after the
fourteen Manu-s, and consists of fourteen triangles. There
are fourteen shaktis (called saMpradAya yoginis) involved
here: sarvasaMkShobiNI, sarvavidrAviNI, sarvAkarShiNI,
sarvastambhinI, sarvajh.rMbhiNI, sarvavashaMkarI, sarvAhLAdinI,
sarvasammohinI, sarvara~njanI, sarvAnmodinI, sarvArthasAdhakA,
sarvasaMpattipUraNI, sarvAmantramayI and sarvadvandvakShyaMkarI.
The rAgamudra kAmbhoji appears slightly altered as ``kAmbhoja''
in the line ``dAyakAmbhojacharaNayai''.
॥ पञ्चमावरणकीर्तनम् (पञ्चमी विभक्ति) ॥
॥ श्री कमलांबिकायाः परम् ॥
रागं भैरवि - झम्प ताळम्
पल्लवि
श्रीकमलांबिकायाः परं नहि रे रे चित्त variation कमलाम्बायाः
क्षित्यादिशिवान्ततत्वस्वरूपिण्याः
अनुपल्लवि
श्रीकण्ठविष्णुविरिञ्चादिजनयित्र्याः
शिवात्मकविश्वकर्त्र्याः कारयित्र्याः
मध्यमकालसाहित्यम्
श्रीकरबहिर्दशारचक्रस्थित्याः
सेवितभैरवीभार्गवीभारत्याः
चरणम्
नादमयसूक्ष्मरूपसर्वसिद्धिप्र -
दादिदशशक्त्याराधितमूर्तेः
श्रोत्रादिदशकरणात्मककुळकौळि-
कादि बहुविधोपासित कीर्तेः अ-
भेदनित्यशुद्धबुद्धमुक्तसच्चिदा-
नन्दमयपरमाद्वैतस्फूर्तेः variation सच्चिदानन्द परमाद्वैत
आदिमध्यान्तरहिताप्रमेयगुरुगुहमोदितसर्वार्थसाधकपूर्तेः मू-
variation सर्वार्थसाधकस्फूर्तेः
मध्यम काल साहित्यम्
लादिनवाधारव्यावृत्तदशध्वनि -
भेदज्ञयोगिवृन्दसंरक्षण्याः
अनादिमायाऽविद्याकार्यकारणविनोद -
करणपटुतरकटाक्षवीक्षण्याः
Word to word meaning:
श्रीकमलांबिकायाः परं - Greater than Goddess Kamalamba
न हि - there is nothing else
रे रे चित्त - Oh mind!
क्षित्यादि-शिवान्त-तत्व-स्वरूपिण्याः - the one who is the
quintessence all the principles, from the earth to the
ultimate Lord Siva
श्रीकण्ठ-विष्णु-विरिञ्चादि-जनयित्र्याः - who is the
mother of Siva, Vishnu and Brahma
शिवात्मक-विश्व-कर्त्र्याः - who is the creator of the
universe which is Siva in essence
कारयित्र्याः - who is the agent of all actions
श्रीकर-बहिर्दशार-चक्र-स्थित्याः - who resides in the
auspicious chakra of the outer ten triangles
सेवित-भैरवी-भार्गवी-भारत्याः - who is served
by Bhairavi, Bhargavi, and Bharati (Parvati, Lakshmi and
Sarasvati)
नाद-मय-सूक्ष्म-रूप-सर्वसिद्धिप्रदादि-दश-शक्त्याराधित-मूर्तेः -
whose subtle form is that of sound (nAda) and who is
propitiated by the ten shaktis, sarvasiddhipradA, and so forth
श्रोत्रादि-दश-करण-आत्मक-कुळ-कौळिकादि-बहुविध-उपासित-कीर्तेः -
who is famous for being worshiped in various modes such
as kuLa, kauLa, as the power identical with the ten sense and
motor organs
अभेद-नित्य-शुद्ध-बुद्ध-मुक्त-सच्चिदानन्द-मय-परम-अद्वैत-स्फूर्तेः -
who manifests the supreme eternal, pure, enlightened and
free self, who is the supreme non-dual Brahman, characterized
by existence, consciousness and bliss
आदि-मध्य-अन्त-रहित-अप्रमेय-गुरुगुह-मोदित-सर्वार्थसाधक-पूर्तेः -
who is without beginning, middle, and end, who is
unknowable, who is entertained by Guruguha, who is the manifest
of the sarvArthasAdhaka chakra (achievement of all purposes)
मूलादि-नवाधार-व्यावृत्त-दश-ध्वनि-भेदज्ञ-योगिवृन्द-संरक्षण्याः -
who protects the yoginis who reside in the nine centers of
the astral body (mUlAdhAra etc), and who are adept at piercing
through them, by the knowledge of the ten sounds
अनादि-माया-अविद्या-कार्य-कारण-विनोद-करण-पटुतर-कटाक्ष-वीक्षण्याः -
who with her mere glance is capable of dispelling the
beginning-less delusion and ignorance and the laws of cause
and effect
Notes:
This song is in pa~nchamI vibhakti (ablative vase). The basic
prose sentence unit (anvaya) is kamalAmbiyAH paraM nahi re,
re citta (Oh mind, there is nothing greater than Goddess
Kamalamba), and all the words ending in ``yAH'' or ``eH''
qualify ``kamalAmbAyAH''. The rAga name Bhairavi is given
directly.
The chakra for the fifth AvaraNa, called sarvasiddhiprada
chakra, is the outer set of ten triangles, and is known
as bahirdashAra chakra. The nava AdhAras in Kundalini yoga
are: mUlAdhAra, svAdhiShThana, maNipUra, anAhata, madhyamA,
vajrakaNTHa, lambikA, vishuddha, and Aj~nA.
The ten shaktis (dasha shakti) referred to here are:
sarvasiddhipradA, sarvasampatpradA, sarvapriyaMkarI,
sarvama~NgaLakAriNI, sarvakAmapradA, sarvaduHkhavimocanI,
m.rtyuprashamanI, sarvavighnanivariNI, sarvasundarI,
and sarvasaubhagyadAyinI. These ten shaktis are known as
kulottIrNa yoginis.
The dashakaraNas are the the ten organs, consisting of the
five sense organs (jnAnendriya-s) and the five organs of action
(karmendriya-s).
॥ षष्ट्यावरण कीर्तनम् (षष्टी विभक्ति) ॥
॥ कमलांबिकायास्तव ॥
रागं पुन्नागवराळि - रूपक ताळम्
पल्लवि
कमलांबिकायास्तव भक्तोऽहं
शङ्कर्याः श्रीकर्याः संगीतरसिकायाः श्री
अनुपल्लवि
सुमशरेक्षुकोदण्डपाशाङ्कुशपाण्याः
अतिमधुरतरवाण्याः शर्वाण्याः कल्याण्याः
मध्यमकालसाहित्यम्
रमणीयपुन्नागवराळिविजितवेण्याः श्री
चरणम्
दशकलात्मकवह्निस्वरूपप्रकाशान्त-
र्दशारसर्वरक्षाकरचक्रेश्वर्याः त्रि-
दशादिनुत क-च-वर्गद्वयमयसर्वज्ञादि त्रि-
दशशक्तिसमेतमालिनीचक्रेश्वर्याः त्रि-
दशविंशद्वर्णगर्भिणीकुण्डलिन्याः
दशमुद्रासमाराधितकौळिन्याः
मध्यमकालसाहित्यम्
दशरथादिनुतगुरुगुहजनकशिवबोधिन्याः
दशकरणवृत्तिमरीचिनिगर्भयोगिन्याः श्री
Word to word meaning:
कमलांबिकायाः - (of) KamalAmbika
तव - your
भक्तः - devotee
अहं - I (am)
शङ्कर्याः - (of the one who) bestows auspiciousness
श्रीकर्याः - (of the one who) bestows prosperity
संगीत-रसिकायाः - (of the one) who is an enjoyer of divine
music shrI - auspicious (of the one) who holds in her hands
the flower arrows, sugar cane, the noose and the goad
अति-मधुरतर-वाण्याः - (of the one) whose speech is
excessively sweet
शर्वाण्याः - (of the) wife of sharva (Siva)
कल्याण्याः - (of) kalyANI the ever auspicious one
रमणीय-पुन्नाग-वराळि-विजित-वेण्याः श्री - whose braided
hair conquers the lovely black bees swarming around the
punnAga tree
दश-कला-आत्मक-वह्नि-स्वरूप-प्रकाश-अन्तर्दशार-सर्वरक्षाकर-चक्रेश्वर्याः
- whose essential nature is the light of the ten-fold fire,
manifest in the sarvarakShAkara chakra, consisting of the
inner ten triangles
त्रिदशादि-नुत क-च-वर्ग-द्वय-मय-सर्वज्ञादि-
त्रिदश-शक्ति-समेत-मालिनी-चक्रेश्वर्याः -
the Goddess, who is worshipped by the thirty deities in
the chakra of mAlini, which has ten shaktis, sarvaj~nA etc,
who are the ten letters of the alphabet that belong to the
``ka'' and ``cha'' groups
त्रिदश-विंशद्-वर्ण-गर्भिणी-कुण्डलिन्याः -
who is the Kundalini encompassing 50 letters of the
alphabet
दश-मुद्रा-समाराधित-कौळिन्याः -
who is the Goddess Kaulini propitiated by ten mudras
दशरथादि-नुत-गुरुगुह-जनक-शिव-बोधिन्याः -
(who is) worshipped by Dasharatha and others, and who
reveals the identity of Siva, the father of Guruguha
दश-करण-वृत्ति-मरीचि-निगर्भ-योगिन्याः - who is
hidden in the manifestations which are the functions of the
ten senses and the motor organs ( five karmendriyas, and five
j~nAnendriyas)
Notes:
This song is set in ShaShThI vibhakti, the possessive or
genitive case.
The basic sentence unit (anvaya) is ahaM kamalAmbikAyAH
bhaktaH (I am the devotee of Goddess Kamalambika), and all
adjectives ending in ``yAH'' are qualifications of the noun
KamalAMbikAyAH.
The chakra for this AvaraNa, sarvarakShAkara chakra,
consists of the inner set of ten triangles (known as
antardashAra). MAlinI chakra is a diagram where the
Sanskrit alphabet is arranged in a concentric pattern
in these ten triangles. The ten shaktis referred to here
are: sarvaj~nA, sarvashaktipradA, sarvaishvaryapradAyinI,
sarvaj~nAnamayI, sarvavyAdhivinAshinI, sarvAdhArasvarUpA,
sarvapApaharA, sarvAnandamayI, sarvarakShAsvarUpiNI,
and sarvepsitaphalapradA. These shaktis are called the
nigarbha yogini-s. The ten mudrA-s are: sarvasaMkShobhiNI,
sarvavidrAviNI, sarvAkarShiNI, sarvaveshAkarI, sarvAnmodinI,
mahA~NkushA, khecarI, bIja, yoni and trikhaNDa.
॥ सप्तमावरणकीर्तनम् (सप्तमी विभक्ति) ॥
॥ श्रीकमलांबिकायाम् ॥
रागं सहाना - त्रिपुट ताळम्
पल्लवि
श्रीकमलांबिकायां भक्तिं करोमि
श्रितकल्पवाटिकायां चण्डिकायां जगदंबिकायां
अनुपल्लवि
राकाचन्द्रवदनायां राजीवनयनायां
पाकारिनुचरणायां आकाशादिकिरणायां
मध्यमकालसाहित्यम्
ह्रींकारविपिनहरिण्यां ह्रींकारसुशरीरिण्यां
ह्रींकारतरुमञ्जर्यां ह्रींकारेश्वर्यां गौर्यां
चरणम्
शरीरत्रयविलक्षण सुखतरस्वात्मानुभोगिन्यां
विरिञ्चि हरीशानहरिहयवेदित रहस्ययोगिन्यां
परादिवाग्देवतारूपवशिन्यादिविभागिन्यां
चरात्मकसर्वरोगहरनिरामयराजयोगिन्यां
मध्यमकालसाहित्यम्
करधृतवीणावादिन्यां कमलानगरविनोदिन्यां
सुरनरमुनिजनमोदिन्यां गुरुगुहवरप्रसादिन्यां
Word to word meaning:
श्री-कमलांबिकायां - (in) kamalAmbikA, the auspicious one
भक्तिं - devotion
करोमि - (I) do (offer my)
श्रित-कल्प-वाटिकायां - who grants all desires to those
devotees who take refuge in her
चण्डिकायां - caNDikA, the fierce one
जगद्-अंबिकायां - the mother of the universe
राका-चन्द्र-वदनायां - whose face is like the full moon
राजीव-नयनायां - whose eyes are like the lotus bud
पाकारि-नुत-चरणायां - whose feet are worshiped by Indra
आकाश-आदि-किरणायां - who radiates out the sky etc, i.e. the five elements
ह्रींकार-विपिन-हरिण्यां - who is the deer that roams in
the forest of the hrIM sound
ह्रींकार-सु-शरीरिण्यां - whose body is the embodiment of hrIM
ह्रींकार-तरु-मञ्जर्यां - who is the beautiful bunch of
flowers of the tree of hrIM sound
ह्रींकारेश्वर्यां - who is the goddess of hrIM
गौर्यां - Gauri, the fair one
शरीर-त्रय-विलक्षण-सुख-तर-स्वात्मानुभोगिन्यां
- who rejoices in the highest bliss of her own self, which
transcends the three bodies, gross, subtle and causal
विरिञ्चि-हरि-ईशान-हरिहय-वेदित-रहस्य-योगिन्यां -
who is the secret yogini known (only to) Brahma, Vishnu, Siva,
and hayagrIva
परादि-वाग्देवता-रूप-वशिन्यादि-विभागिन्यां - who is the
Goddess of pure speech and its forms, differentiated as the
shaktis vashinI etc
चरात्मक-सर्वरोगहर-निरामय-राज-योगिन्यां - who is
the healing rAja yoga that removes all transient illnesses
कर-धृत-वीणा-वादिन्यां - who holds a vIna in her hand
कमला-नगर-विनोदिन्यां - who resides in Kamala nagara
सुर-नर-मुनि-जन-मोदिन्यां - who charms the gods, men, and sages
गुरुगुह-वर-प्रसादिन्यां - who grants Guruguha the boon of her grace
Notes:
This song is in saptamI vibhakti (locative case). The basic
sentence unit (anvaya) is ahaM kamalAMbikAyAM bhaktim karomi
(I offer my devotion to the Goddess Kamalambika) and all
adjectives with the ``yAM'' ending refer to kamalAmbikAyAM.
The chakra for this song, sarvarogahara chakra, consists of
eight triangles. The five elements are akAsha (space), vayu
(air), tejas (fire), ap (water) and prthvi (earth).
The forms of speech are four in number, according to the Indian
grammatical tradition. First comes pure sound (parA vAk), which
then manifests itself to the speaker (pashyantI). It then goes
through an intermediate stage (madhyamA) of transformation,
and is finally being expressed verbally (vaikharI).
The eight shaktis, vashinyAdi mentioned here are: vashinI,
kAmeshI, medinI, vimalA, aruNA, jayinI, sarveshI, and
kauLinI. These shaktis are collectively called rahasya yogini-s.
The rAga name Sahana appears as a mudrA in a slightly altered
form as ``shAnA'' in the term ``harIshANa''.
॥ अष्टमावरणकीर्तनम् (संबोधनाविभक्ति) ॥
॥ श्रीकमलांबिकेऽवाव ॥
रागं घण्टा - आदि ताळम्
पल्लवि
श्रीकमलांबिके अवाव
शिवे करधृतशुकशारिके
अनुपल्लवि
लोकपालिनि कपालिनि शूलिनि
लोकजननि भगमालिनि सकृदा-
मध्यमकालसाहित्यम्
लोकय मां सर्वसिद्धिप्रदायिके
त्रिपुरांबिके बालांबिके
चरणम्
संतप्तहेमसन्निभदेहे सदाऽखण्डैकरसप्रवाहे
सन्तापहरत्रिकोणगेहे सकामेश्वरिशक्तिसमूहे variation सकामेश्वरिसक्तिसमूहे
सन्ततं मुक्तिघण्टामणिघोषायमानकवाटद्वारे
अनन्तगुरुगुहविदिते करांगुलिनखोदयविष्णुदशावतारे
मध्यमकालसाहित्यम्
अन्तःकरणेक्षुकार्मुकशब्दादिपञ्चतन्मात्रविशिखा-
ऽत्यन्तरागपाशद्वेषाङ्कुशधरकरेऽतिरहस्ययोगिनीपरे
Word to word meaning
श्रीकमलांबिके - Oh shrI kamalAmbika
अव अव - protect (me) protect (me)
शिवे - the auspicious one
कर-धृत-शुक-शारिके - you hold a parrot and a myna
bird in your hands
लोक-पालिनि - Oh protector of the worlds
कपालिनि - you carry a skull
शूलिनि - and a trident
लोक-जननि - you are the mother of the worlds
भग-मालिनि - you are BhagamAlini
सकृत् - just once
आलोकय - Alokaya - glance at
मां - me
सर्व-सिद्धि-प्रदायिके - Oh giver of all powers
त्रिपुरांबिके - Oh mother, Tripura
बालांबिके - Balambika
संतप्त-हेम-सन्निभ-देहे - Your body is effulgent like molten gold
सदा-अखण्ड-एक-रस-प्रवाहे - you are the eternal flow of uninterrupted bliss
सन्ताप-हर-त्रिकोण-गेहे - you reside in the triangle that removes all sorrows
सकामेश्वरि-शक्ति-समूहे - accompanied by the three
shaktis Kameshvari, Vameshvari and Bhagamalini
सन्ततं - ever
मुक्ति-घण्टा-मणि-घोषायमान-कवाट-द्वारे - you are
the wide door, announced by the jeweled bell as the way to
liberation
अनन्त-गुरुगुह-विदिते - you are known to Ananta and Guruguha
कर-अंगुलि-नख-उदय-विष्णु-दश-अवतारे - the nails
of your ten fingers are the source of the ten
incarnations of Lord Vishnu
अन्तःकरण-इक्षु-कार्मुक-शब्द-आदि-पञ्च-तन्मात्र-विशिखा-
अत्यन्त-राग-पाश-द्वेष-अङ्कुश-धर-करे
- you hold the sugarcane bow (symbolizing the mind), the
five arrows (symbolizing the objects of the five senses),
the noose (of attachment) and the goad (of repulsion)
अतिरहस्य-योगिनी-परे - you are the supreme, the most secret yogini
Notes:
This song is set in saMbodhanA vibhakti (vocative). The basic
sentence unit (anvaya) is shrIkamalAMbike! ava ... Alokaya mAM
(Oh Kamalambika, protect me, ... glance at me), and all the
words ending with ``i'' or ``e'' qualify kamalAMbike.
The chakra for this AvaraNa, sarvasiddhiprada chakra is the
innermost triangle in the Srichakra, which houses the bindu,
the dot at the centre. The three shakti-s (Kameshvari etc)
residing in this chakram are called atirahasya yoginis. The
ten incarnations of Vishnu emanate from the fingernails
of the Goddess, as mentioned in the Lalita sahasranama
``कराङ्गुळीनखोत्पन्न नारायण दशाकृतिः''
The rAgamudrA ``ghaNTA'' occurs in the phrase ``ghaNTAmaNi''.
॥ नवमावरण कीर्तनम् ॥
॥ श्री कमलांबा जयति ॥
रागं आहिरि - रूपक ताळम्
पल्लवि
श्रीकमलांबा जयति अंबा
श्रीकमलांबा जयति जगदंबा
श्रीकमलांबा जयति शृंगाररसकदंबा मदंबा
श्री कमलांबा जयति चिद्बिंबप्रतिबिंबेन्दुबिंबा
श्री कमलांबा जयति
मध्यमकालसाहित्यम्
श्रीपुरबिन्दुमध्यस्थचिन्तामणिमन्दिरस्थ-
शिवाकारमञ्चस्थित शिवकामेशाङ्कस्था
अनुपल्लवि
सूकराननाद्यर्चितमहात्रिपुरसुन्दरीं राजराजेश्वरीं
श्रीकर सर्वानन्दमयचक्रवासिनीं सुवासिनीं चिन्तयेऽहं दि-
मध्यमकालसाहित्यम्
वाकरशीतकिरणपावकादिविकासकरया
भीकरतापत्रयादिभेदनधुरीणतरया
पाकरिपुप्रमुखादिप्रार्थितसुकळेबरया
प्राकट्यपरापरया पालितोदयाकरया variation पालितोदयाकरया प्राकट्यपरापरया
चरणम्
श्रीमात्रे नमस्ते चिन्मात्रे सेवितरमाहरिखा variation रमाहरीशदिविधात्रे
वामादिशक्तिपूजितपरदेवतायाः सकलं जातं
कामादिद्वादशभिरुपासितकादि-हादि-सादिमन्त्ररूपिण्याः
प्रेमास्पदशिवगुरुगुहजनन्यां प्रीतियुक्तमच्चित्तं विलयतु
मध्यमकालसाहित्यम्
ब्रह्ममयप्रकाशिनी नामरूपविमर्शिनी
कामकलाप्रदर्शिनी सामरस्य निदर्शिनी
Word to word meaning:
श्री कमलांबा - Goddess KamalAmbA
जयति - is victorious
जगदंबा - the mother of the universe
शृंगार-रस-कदंबा - a flower of the kadamba plant
(the essence) of the pleasure of love
मदंबा - my mother
चिद्बिंब - is of the form of pure consciousness
प्रतिबिंबेन्दुबिंबा - who is the reflection of the original
pure consciousness in the bindu (the root mind)
श्रीपुर-बिन्दु-मध्यस्थ-चिन्तामणि-मन्दिरस्थ-शिवाकार
मञ्चस्थित-शिवकामेश-अङ्कस्था
- who is seated on the throne which is the form of Shiva, in
the embrace of Shiva, the Lord of desire, in the wish-fulfilling
(cintAmaNi) temple which is in the bindu chakra, the abode of
auspiciousness (shrI)
सूकराननादि-अर्चित-महा-त्रिपुरसुन्दरीं - Maha
Tripurasundari, who is propitiated by the goddess VarAhi
(who has a boar’s face) and others
राजराजेश्वरीं - who is the ruler of all rulers
श्रीकर-सर्वानन्दमय-चक्र-वासिनीं - who dwells in the
auspicious sarvAnandamaya chakra (the chakra that is ''replete
with all Bliss'')
सुवासिनीं - the auspicious one
चिन्तये अहं - I meditate upon (her)
दिवाकर-शीत-किरण-पावकादि-विकास-करया - the one who
causes the manifestation of the sun, moon and fire (sources
of energy)
भीकर-ताप-त्रयादि-भेदन-धुरीण-तरया - who is adept
at removing the three terrible sufferings, physical, mental,
and supernatural
पाक-रिपु-प्रमुखादि-प्रार्थित-सुकळेबरया - who possesses
beautiful form assumed to grant the prayers of Indra and
other gods
प्राकट्य-परापरया - who is manifest both as the supreme
and empirical objects
पालितो - I am protected by
दयाकरया - the ever compassionate one
श्रीमात्रे - To the auspicious mother
नमस्ते - I prostrate
चिन्मात्रे - You are the pure consciousness
सेवित-रमा-हरि-खा - worshiped by Lakshmi (ramA), Vishnu
(hari), Sarasvati (kA) and Brahma (vidhAtA)
वामादि-शक्ति-पूजित-परदेवतायाः - (from) the supreme
deity who is worshiped by vAmA and other shaktis
सकलं - everything
जातं - is born
कामादि-द्वादशभिः-उपासित-कादि-हादि-सादि-मन्त्र-रूपिण्याः -
(of her) who has the form of the mantra which begins with the
letters ka, ha or sa - the mantra that is meditated upon by
the twelve savants Kama etc
प्रेमास्पद-शिव-गुरुगुह-जनन्यां - (in her) whose beloved
is shiva, and who is Guruguha’s mother
प्रीति-युक्त-मच्चित्तं - (let) my mind, with pleasing grace
विलयतु - be dissolved
ब्रह्ममय-प्रकाशिनी - She embodies the light that is Brahman
नाम-रूप-विमर्शिनी - She reveals all forms and names
कामकला-प्रदर्शिनी - who reveals the Kama Kala
सामरस्य- निदर्शिनी - who reveals the insight of perfect identity
Notes:
This song employs all eight vibhaktis. The pallavi is in the
nominative case, the first three lines of the anupallavi
are in the accusative case and the rest of anupallavi is
in the instrumental case. The first line of the charaNam is
in the dative case, and also incorporates the vocative (in
the word cinmAtre). The consecutive lines are in ablative,
genitive and locative cases. The last two lines, meant to be
sung in the madhyamakAla, are again in the nominative case,
in order to return to the main pallavi line. The rAgamudrA
``Ahiri'' is slightly altered as ``Ahari'' and occurs in
the phrase ``ramAhari''.
The chakra for this last AvaraNa, sarvAnandamaya chakram, is the
bindu, the dot at the centre of the Srichakra. The shakti which
resides in this chakra is known as parApara rahasya yogini.
॥ नवावरणमंगळकीर्तनम् ॥
॥ श्री कमलांबिके ॥
रागं श्री - खण्ड जाति एक ताळम्
पल्लवि
श्रीकमलांबिके शिवे पाहि मां लळिते
श्रीपतिविनुते सितासिते शिवसहिते
समष्टि चरणम्
राकाचन्द्रमुखि रक्षितकोळमुखि
रमावाणीसखि राजयोगसुखि
मध्यमकालसाहित्यम्
शाकंभरि शातोदरि चन्द्रकलाधरि
शङ्करि शङ्करगुरुगुहभक्तवशङ्करि
एकाक्षरि भुवनेश्वरि ईश प्रियकरि
श्रीकरि सुखकरि श्रीमहात्रिपुर सुन्दरि
Word to word meaning:
श्री कमलाम्बिके - Oh Kamalambika!
शिवे - the auspicious one!
पाहि मां - (please!) protect me
ललिते - Lalita, the gracious one
श्री-पति विनुते - worshiped by Vishnu, the husband of Lakshmi
सित-असिते - who is both fair and dark
शिव-सहिते - who is accompanied by Shiva
राका-चन्द्र-मुखी - whose face resembles the full moon
रक्षित-कोल-मुखी - who protects Kolamukhi (the boar-faced vArAhi)
रमा-वाणी-सखी - who is the friend of Lakshmi and Sarasvati
राज-योग-सुखी - who enjoys the bliss of Raja Yoga
शाकम्भरि - who is dressed in lush vegetation (the earth goddess)
शातोदरि - whose waist is slim and tender
चन्द्र-कला-धरि - who wears the crescent moon
शङ्करि - who grants auspiciousness
शङ्कर-गुरुगुह-भक्त-वशङ्करि - who cherishes the
devotees of shiva and guruguha
एकाक्षरि - who is the single syllable (Om)
भुवनेश्वरि - who is the ruler of the universe
ईश-प्रिय-करि - who is the beloved of Shiva
श्री-करि - who bestows auspiciousness
सुख-करि - who brings happiness
श्री महा-त्रिपुर-सुन्दरि - the supreme Tripurasundari !
Notes:
This concluding song is in the vocative case. The basic sentence
unit (anvaya) is shrIkamalAmbike shive lalite mAM pAhi (Oh
Kamalambika, gracious and auspicious one, protect me). All
phrases ending in ``e'' or ``i'' qualify the proper name
kamalAmbikA.
This is the only kRRiti in this series which has only a pallavi
and samaShTi charaNam; all others have pallavi, anupallavi and
a charaNa.
Compiled, encoded, translated, and proofread by
Pallasena Narayanaswami ppnswami at gmail.com