Shri Lakshmi Sahasra by Venkatadri Kavi

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Shri Lakshmi Sahasra by Venkatadri Kavi

(with comments)

1 Prarambha Stabakam

2 Pradurbhava Stabakam

3 Vakshasthalavasthana Stabakam

4 Karunya Stabakam

5 Kataksha Stabakam

6 Prayatna Stabakam

7 Mangala Stabakam

8 Soundharya Stabakam

9 Shringara Stabakam

10 Aiswarya Stabakam

11 Kshanti Stabakam

12 Utsava Stabakam

13 Vadanya Stabakam

14 Yamaka Stabakam

15 Nakshatramala Stabakam

16 Chitra Charitra Stabakam

17 Nama Vaibhava Stabakam

18 Sadma Vaibhava Stabakam

19 Abheethi Stabakam

20 Parisankya Stabakam

21 Dasavatara Stabakam

22 Chitra Stabakam

23 Sankeerna Stabakam

24 Nirveda Stabakam

25 Saranagathi Stabakam

SrI lakshmI sahasra 1

prArambha stabakam (29 Slokams)

Smt. Geetha Anand With

“ Sri nrusimha sEvA rasikan ”

Oppiliappan Koil Sri VaradhAchAri SaThakopan

Introductory note by Sri V. Sadagopan

SrimAn PaatrachAr Swamy of Sri KrishNa SabhA, Mumbai, introduces the First chapter of Sri LakshmI Sahasram this way: “PrArambha Stabakam commences with the invocation of PadmAvati ThAyAr at ThirucchAnUr and salutations to GuruparamparA. Though he does not state his immediate AcArya, it is clear from his other works that he learnt all the SaastrAs from his father and grandfather. He reverentially speaks of Sri ParAsara for giving Sri VishNu PurANam and portraying Sri Lakshmi’s various attributes and speaks highly of Swami Desikan and his works. He is humility personified for him being chosen to write the sahasram on JaganmAta. He has a unique way of praising the AcAryAs”.

In this First stabakam, VenkatAdhvari Kavi refers to this Kaavyam being a celebration of the Vaibhavam of ThirucchAnUr PadmAvati ThAyAr by offering his salutations to Her Lord, ThiruvengadadmudaiyAn. In the second slOkam, he uses double entendre (slEdai) to salute both ThAyAr and PerumAL. GuruparamparA Vandanam, praNAmams to Adi Kavi Vaalmeeki, ParAsara Brahma Rishi, and Swamy NigamAnta MahA Desikan follow. He states that he seeks the purification of his tongue by singing about the Vaibhavams of ThAyAr after having polluted it by praising insignificant entities like mountain, cities, oceans and clouds.

In the eleventh slOkam of this stabakam, the poet stats that it is fitting to be quiet in the company of most learned ones — AdiSeshan, VyAkarNa grantha karthA, Garudan, the embodiment of VedAs, Chandran the birth place of all kalais, BrahmA, the husband of Sarasvati (the goddess of speech) — engaged in eulogizing PirAtti with their unique skills. He compares his attempt to join these great ones in praising PirAtti would be like selling KunthumaNi in a bazaar, where the precious gems are being sold. In the thirteenth slOkam, the poet points out that his laudatory slOkams would make great connoisseurs like Indran, Sivan et al and make them nod their heads in approval and therefore he does not regret the inability of the deaf ones to enjoy this gandharva ghAnam.

In the twentieth slOkam, the poet acknowledges that the fruits of his alpa stuti is insignificant compared to the achievements of great ones like Brahma’s stOtram of PirAtti. He compares his efforts to the success of Kucela, who realized Kubera sampath (immense wealth) by offering a fist full of pounded rice (aval), where as Kuberan was blessed to gain his legendary aisvaryam by rigorous penance over thousands of years meditating on the divya dampatis.

He concludes in slOkam 20 that PirAtti will accept and enjoy his salutary slOkams even if there are greater poets in the world. In this context, he points out that there are many rivers and oceans and yet Lord SivA carries on His head the river GangA of lofty status because of its association with Lord Thiruvikramn’s sacred feet (Thiruvadi sambandham).

Translation of the slokams is based on Koil, Sabdam, Vangeepuram, VeerApuram Sri Satagopacharyar’s Rathnaprabha.

SrI Panchami Theertham at TiruchanUr

Where SrI Padhmavathi ThAyar took Avatharam in a Lotus

***

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