SrI alarmElmangA samEta SrI SrInivAsa svAmi suprIta: suprasanna: bhavatu!

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SrI alarmElmangA samEta SrI SrInivAsa svAmi suprIta: suprasanna: bhavatu!

dAsan,

Oppiliappan Koil VaradAchAri Sadagopan

 || iti SrI lakshmI sahasre saundarya stabakam ||

***

SrI lakshmI sahasram 9

SrngAra stabakam (50 Slokams)

Smt. Geetha Anand, VaikuNTha vAsi Koil, Sabdam, Vangeepuram,

VeerApuram SrI SaThakOpacchAr

and “Sri nrusimha sEvA rasikan”

Oppiliappan Koil Sri VaradhAchAri SaThakopan

INTRODUCTION

This stabakam consists of 50 choice Slokams celebrating SrngAram, the first of the eight or nine sentiments (nava rasams) met with in poetry and kAvyams. SrngAra rasam is the amorous sentiment of love or eroticism that at one end includes sexual passion between men and women. It has been defined as: "pumsa: striyAm, striyA: pumsi sambhogam prati yA sprhA, sa SrngAra iti khyAta: krIDAratyAdhikAraka:" Thus, the desire of union between men and women or vice versa leading up to sexual union ultimately is defined as SrngAram. SrngAra ceshTA is an amorous gesture and play. SrngAra bhAshitam is amorous talk. SrngAram is of two kinds: sambhoga SrngAram (pleasurable sentiment arising out of union with one's lover) and vipralambha SrngAram (sorrow born out of separation from one's lover).

After listening to the divya saundaryam (divine beauty) of MahA Lakshmi described by the Kavi in the Saundarya stabakam through 236 Slokams and reflecting on His Devi's sAmudrikA lakshaNams (anga/pratyanga/upAnga lakshaNams), Lord SrinivAsan reached the Srngam (peak) of His desire to enjoy Her blissful company and conjugal union. VenkaTAdhvari Kavi describes now the rati SrngAram of the divya dampatis (the sthAyI bhAvams and sancAri bhAvams) through fifty Slokams. Apart from fundamental bhAvams, there are vibhAvAs (what triggers an emotion) and anubhava (the consequence of an emotion as sthAyi bhAvAs (relations of emotions and moods) and sanchAri bhAvAs (transitory states) associated with SrngAra rasam.

Unlike AcAryAs, who preceded him like KureSar, ParASara BhaTTar and Swamy Desikan, VenkaTAdhvari Kavi abandoned caution to the winds and tried to describe the ekAnta SrngAra leelais of the divya dampatis. In the last Slokam of this SrngAra stabakam, the Kavi gives up his efforts and concedes that there is no one who can describe adequately the SrngAra vilAsams of MahA Lakshmi with Her Divine Lord, since they are ati mAnusham:

madana-taru pallavAnAm
madhusUdana -mAnasa-ali-kusumAnAm |
tatkrta tapa: phalAnAm
tava lalitAnAm tu janani ka: stotA? ||

Meaning:

Oh Mother! Who is there that can describe adequately the love drama created by Manmatha bANams that melts the mind of MadhusUdanan and the bhogams that He gained with You through the power of His tapas? No one can.

In the previous Slokam, the Kavi visualizes one expression of the SrngAra leelai of MahA Lakshmi. He sees Her embracing tightly Her Lord, as the tender creeper that attaches itself to Him (the dark green tamAla tree), stays closely as the streak of golden lightning inside the dark blue rainy cloud, illumines the world as the red PadmarAga Gem shining brilliantly at the center of the mansion built of IndranIla gems and remains as the blemishless Moon's beam that extends out to the sky. Oh Devi! You add matchless lustre to Your Lord through Your tight embrace of Him (tvam SaurIm ASlishya mahatIm abhikhyAm ayase).

Among classes of SrngAra rasams, there are:

(1) rati SrngAram

(2) Bhakti SrngAram and

(3) vAtsalya SrngAram.

The poet focuses on rati and vAtsalya SrngAram in this stabakam. From the point of dramaturgy and poetry, the poets have always been interested in describing the basic psychological states, relationships and the moods of the nAyikAs and the nAyakans to describe SrngAra rasam. This stuti is about the illustrious prathama nAyikai of Lord VenkaTeSa, SrI PadmAvati. She is the svAdhInapatikA nAyaki among the eight classes of nAyakis and therefore She is proud of Her love for Her Lord and has utter loyalty for Him. She has Him under Her control through Her saundaryam and SrngAram. She is also a VasakasajjikA nAyaki in that She decorates Herself and the surroundings of Her palace and prepares Herself expectantly for the union with Her Lord. Among the three classes of nAyakis described by nATya SAstrAs (mugdha/the inexperienced, madhya /the partly experienced and Pragalbha /an expert in rati SrngAram), Sri PadmAvati Devi is a Pragalbha nAyaki. Among the Pragalbha nAyakis, there is a three fold classification:

• dhIra,

• adhIra and

• dhIrAdhIra.

Sri Padmavati, the divine consort is a dhIrAdhira Pragalbha nAyaki. She is also a MahA Pativratai and as such She is a sveya nAyaki (one who is very happily married and is utterly faithful to Her Lord). Her ekAnta SrngAra bhogam with Her Lord is the topic of this stabakam that has been daringly chosen by Sri VenkaTAdhvari Kavi. Only Jayadeva Kavi in his ashTapati Slokams described the divine SrngAram between RaadA and Lord KrshNa so joyously and was rewarded by the Lord. VenkaTAdhvari Kavi recognizes that the loftiest prayojanam for the divya saundaryam of SrI PadmAvati is having blissful dAmpatyam with Her anurUpa bhartA, SeshasaileSvaran and being His SrngAra sarvasvam (being the grantor of every thing related to SrngAra rasam).

dAsan,

Oppiliappan Koil VaradAchAri Sadagopan

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