amba! You wear the Campaka flowers on Your hair. It is to drive away bees that swarm around Your hair trying to imbibe its natural fragrance.

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hE SrI devi! From Your waist belt (mekhalA) arise most enjoyable waves of nAdam for the ears and the mind. Over that waist belt is Your mid portion, which is slightly bent from the weight of Your breasts. The nature of Your waist is so slender that one can conclude that it is almost nonexistent (SUnyam).

Meaning Version 2:

At KaancI nagaram, the scholarly SrI koSams of SrI BhAshyakAra, Swamy Desikan and other pUrvAcAryAs defeated with Veda PramANams the Bhauddha sampradAyam. Their SrI sUktis made Buddhism nonexistent. Even then, the mAdhyAmika Buddhists would not give up their SUnya vAda tattvam.

The description of the waist is followed by the salutations to the saundaryam of the thighs (Uru) of PirATTi in six Slokams. They are compared to the two descending trunks from the mastakam (head) of an elephant, which is wider at the top and slender at the bottom. The thighs are also compared to a banana plant (rambhA). Next follows the varNanai of the beauty of the ankle of PirATTi with five Slokams (206-210). It is the tradition of poets to compare the ankles to arrow case (SaradhI) and KaahaLa vAdhyam (musical instrument like Tirucchinnam). Both the arrow case and the KaahaLam have broad top and narrow bottom like the ankles, which are broad at the top at the knee level and narrow at the foot level. The poet rejects these two comparisons as unfit to describe the anklets of PirATTi that are matchless in their beauty.

As the poet is about to conclude this stabakam, he is contrite over the liberty he has taken as a poet to describe every limb of PirATTi and recognizes that as an apacAram. Hence, SrI VenkaTAdhvari Kavi seeks the pardon of PirATTi for his trespasses by prostrating before Her sacred feet (Slokams 209-236).

Oh devi who is key to conferring the Moksha Sukham! Oh PirATTi worshipped by the assembly of deva strIs! aDiyEn falls at Your sacred feet and seek pardon (bhavtyA: caraNAravinde vande).

The poet eulogizes the lustre of the sacred feet of PirATTi as winning the jyoti of thousands of rising suns and instructs us those sacred feet remove our dehAtma brahamam, which stands in the way of our gaining Moksham. She is instrumental in pleading for us with the Lord to overlook our huge bundle of sins and becomes the means and goal for our SaraNAgati as we seek the rakshaNam of Her sacred feet. The poet confides that he is prostrating before Her sacred feet to cross the ocean of samsAram (bhavam tarItu kAma: vande).

The longest stabakam of SrI Lakshmi sahasram, saundarya stabakam ends with the description of the poet as a Mumukshu (One who is desirous of Moksham) and as one who understands the difference between a fortunate one, who seeks the sacred feet of MahA Lakshmi for protection and the one who does not. The poet points out that the one who holds onto the feet of the Universal Mother through prapatti will be blessed with all kinds of wealth including moksha sukham (ya: tava pada dvayam sevate, asau prabhu: san SritAnAm dvipada: bhavati). This fortunate being gains immense riches in this world and becomes capable of giving away even an elephant as gift to those, who seek his help. The one who stays away from the holy feet of our JaganmAtA is considered by the scholars to be the equivalent of a buffalo.

Note: The numbering sequence for some of the Slokams may be different in other versions.

SrImate nArAyaNAya nama:

dAsan, Oppiliappan Koil VaradAchAri Sadagopan

***

SrI lakshmI sahasram

saundarya stabakam

Slokam 1

vande saundarya paryApti bhUmim kAmapi devatAm |
abjam sahodaram yasyA: Samsanti abjaSaram sutam ||

Meaning:

I worship the SrI Devi, who is the abode indescribable beauty and glory and who is the ultimate goal. Experts in PurAnAs say that She is the sibling of Candra and the mother of Manmatha.

Comments:

PirATTi is the saundarya kuTumbini. Her son Manmatha, the lord of love, is very handsome. Her brother Candra is renowned for his cool and pleasant demeanor. He brings joy to the old and young. The poet prays to PirATTi who is the parama prApyai, granter of all wishes.

The key words here are: “vande saundarya paryApti bhUmim”. The poet identifies MahA Lakshmi as the abode of beauty (saundaryam) and offers his salutations to Her.

Slokam 2

advaitam akshibhi: iha SravasAm yadi syAt
dvaitam prthagyadi punA rasanAsu ca syAt |
ISIya varNayitum arNavarAjakanye
tattAdrSam kila tava avayava abhirUpyam ||

The Mother of Manmathaa! — SrI Perundevi tAyAr

Meaning:

arNava rAjakanye (Daughter of the ocean)! I think I may have the power to describe the beauty of at least one of Your limbs if I have like AdiSeshan, two thousand eyes and two thousand ears that can perform each others’ task interchangeably and thousand tongues that have the capacity to split into two each.

Comments:

In this Slokam, the poet implies that even AdiSeshan cannot describe PirATTi’s beauty fully. AdiSeshan is said to have thousand heads. Each head has two eyes and thus he has two thousand eyes. As he is a snake his eyes function as his ears. Thus, he has two thousand ears. Each of his tongue is split into two as seen in other snakes. Thus, he has two thousand tongues. The poet says that only if he is as equipped as AdiSeshan, he can hope to describe the beauty of at least one limb of PirATTi satisfactorily. The poet states that the superior beauty of the limbs (avayava abhirUpyam) is beyond any mortals' ability to describe fully.

This Slokam follow Swami Desikan’s SrI pAdukA sahasram prabhAva paddhati,

Slokam 2.

niSSeshamambaratalam yadi patrikA syAt
saptArNavI yadi sametya mashI bhavitrI |
vaktA sahasravadana: purusha: svayam cet
likhyeta rangapatipAdukayo: prabhAva: ||

Swami Desikan remarks here that one can attempt to write at least a miniscule of the glory of SrI RanganAtha’s pAdukAs if the sky is the paper, the waters of the seven seas are the ink and if the writer is the thousand-headed paramapurusha, SrI RanganAtha.

Here SrI VenkaTAdhvari kavi says that one can attempt to describe the beauty of at least one limb of PirATTi’s tirumEni if he were to be as accomplished as AdiSesha.

Slokam 3

maulau tvayA api vidhrta: madhupa augha maitrIm
citram karoti kamale cikura prapanca: |
mAne krte api bhuvane malinaika sakhyam
prAyeNa devi kuTila prakrte: svabhAva: ||

Meaning:

Kamale! You have honored Your dark hair by supporting it on Your head. It is surprising that it is going after the group that drinks ‘madhu’, an intoxicant, that is not fitting its esteemed position. I guess this is not that surprising as we see bad people still exhibiting their deplorable behavior even if good souls try to refine them through their association.

Comments:

‘anulomam’ is the customary way of describing EmperumAn or PirATTi from Siras to the divine feet (keSAdi pAdAnta varNanam). Similarly describing them from the sacred feet to the Siras during dhyAnam is called ‘pratilomam’. Commencing from this Slokam, SrI VenkaTAdhvari Kavi describes PirATTi’s keSam (assembly of the tresses of hair) in 18 Slokams.

The poet has introduced pun in this Slokam through the words ‘madhupaughamaitrim’ and ‘malinaika sakhyam’. The first word means those who seek friendship with ones who drink madhu’ and the second word means ‘one that is similar to a blue object’ and ‘one associated with lowly beings’. PirATTi wears flowers on Her hair. Bees swarm around them to collect the honey, madhu. Thus PirATTi is associated with those who drink ‘madhu’. PirATTi’s hair is associated with bluish black colormalinaika sakhyam.

The poet jokingly says that PirATTi’s hair is associating itself with lowly beingsmalinaika sakhyam, those who drink intoxicants, group that drinks ‘madhu’. He has played with the word ‘malinaika sakhyam’. He finds support in the common occurrence where those who do not have honorable qualities continue in their lowly ways even if good people associate with them.

The key insight here is: “bhuvane kuTila prakrte: mAne malinaika sakhyam prAyeNa svabhAva:”. This is like a subhAshitam, where the poet observes that it is but natural in this world for people traveling in the lowly road to continue to associate often with disreputable ones even if they have had the opportunity to interact with righteous ones. It is their svabhAvam.

Slokam 4

na tvam dadhAsi navacampakamAlyam amba
kartum nisarga surabhau kabare sugandham |
kim tarhi kuntaLa parImaLasAra lAbha-
lobha bhramat bhramaraloka nivAraNAya ||

Meaning:

Comments:

Women wear flowers on their hair to give it a sweet fragrance. In this Slokam, the poet says that PirATTi is not wearing campakA flowers on Her hair for that reason. He says PirATTi is wearing the campakA flowers on Her hair to drive away the bees that swarm around Her hair to drink exquisite natural fragrance that resembles the sweet smell arising from the union of all fragrant materials. Generally, bees are not fond of campakA flowers and stay away. The bees are deprived of the pleasure to taste the natural fragrance of PirATTi's keSam because of the presence of the campakA flowers standing guard there (parImaLa sAra lAbha lobha bhramat bhramara loka nivAraNAya dadhAsi).

Slokam 5

rucam racayitum kace rucira pushpavargai: samam
sadA vahasi bhUshaNam saha sudhAmSunA pUshaNam |
ubhAvabhavatAm ata: janani pusphavantau imau
tayo: ghaTanayA uttama Sriyam upaishi tatra ArthikIm ||

Meaning 1:

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