I meditate always upon Lakshmi. The great ones consider Her lotus feet as the twin of the wish granting tree kalpaka vrksham. She is the consort of KrshNa and has infinite fame.

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mAtA! We will get abundant wealth and other riches (here and the hereafter) only from You. We will not stand before haughty alpa SrImAns, whose wealth could be destroyed in an instant, and who become so vain that those who need their help fear their anger as they direct their fiery glances at those who approach them for help. They make it thus hard to approach them. We will not become objects of ridicule by begging wealth from such alpa SrImAns, who became rich by stealing another person’s wealth. Mother! Please make our wishes to stay away from such petty tyrants come true by granting us adequate wealth with Your dayA-laden heart!

Let aDiyEn praise only You — SrIranganAcciyAr — SrIrangam

Slokam 19

kAtaryeNa kadaryavarya nrpati prIti pratIkshA udita:
kashTam kashTam apAsta vAstava camatkAra: na me rocate |
rAme venkaTanetu: adbhutaguNagrAme dayAmedurAm
tvAm eva Srita kAmadhenum asakrt sA me stutAm bhAratI ||

Prose Order:

venkaTanetu: rAme adbutaguNagrAme sA me bhAratI kAtaryeNa kadaryavarya nrpati prItipratikshA udita: apAsta vAstava camatkAra: me na rocate. kashTam kashTam. dayA medurAm ASrita kAmadhenum tvAmeva stutAm.

Meaning:

Previously my tongue (speech) did not praise tiruvenkaTamuDaiyAn thinking that He may not grant me the desired boons. My speech developed dosham from that lapse. My tongue praised instead evil, undeserving kings anticipating rewards from them. I am now ashamed of my bad behavior. May my eulogy of Your limitless, auspicious guNams praise only You, Who is the granter of all riches to Your devotees.

Comments:

The poet develops nirvedam over his lapses of praising the lowly and egotistic kings in the hope of being rewarded with riches. He asks for the pardon of the dayA mUrti, MahA Lakshmi and seeks to delight Her with his stuti of Her.

The matchless consort of SrIman nArAyaNan!

SrI Perundevi tAyAr — kanchipuram

Slokam 20

bhImAn aham na bhImAn rAj~nAm nicayAn Srayeya ghorAj~nAn |
kalpAnokaha kalpAn Saure: dArAn bhaje mahodArAn ||

Prose Order:

aham ghorAj~nAn bhImAn rAj~nAm nicayAn bhImAn na Srayeya. (kimtu) kalpAnokaha kalpAn mahodArAn Saure: dArAn bhaje.

Meaning:

I will not approach with fear the kings with fearsome faces to seek riches. From now on, I will praise and surrender only to nArAyaNan’s consort who displays matchless and abundant generosity.

 || iti SrI lakshmI sahasre vadAnya stabaka: ||

***

SrI lakshmI sahasram 14

yamaka stabakam (61 Slokams)

Translated by Dr. (Smt) Geetha Anand, Sri Srinivasan Narayanan

with Additional Commentaries in English by

“Sri nrusimha sEvA rasikan” Oppliappan Koil Dr. VaradhAchAri SaThakopan

(sadagopan.org)

INTRODUCTION BY SRI. V. SADAGOPAN

Yamaka stabakam is the fourteenth among the twenty five stabakams of SrI Lakshmi sahasram. SrI VenkaTAdhvari Kavi has a title (birudu) that recognizes his extraordinary skills in using yamaka alankAram: “Slesha yamaka cakravarti”. Indeed, he is the emperor among those who use adroitly the word pictures created by Yamakam, where the words and syllables are used in different order (aNInUlAr maDakku in Tamil poetry) to provide different meanings. He uses 61 Slokams in this stabakam with most enjoyable Yamakams to pay tribute to the Vaibhavam of MahA Lakshmi.

The poet is an expert in handling yamakams among Sabda alankArams and Slesha among arthAlankArams. The gifted poet has created a whole stabakam for Yamakams as Sabda alankArams for SrI Devi. Many of the Slokams are set with simple words to understand the meanings easily and then there are others, where one needs familiarity with vyAkaraNam and nigaNDu and intricacies of alankAra SAstrams. Some of the yamakams handled by the poet are: pAdAnta yamakam, pAda madhyama yamakam, pAdAdi yamakam, anuloma pratiloma yamakam, sArtaka varNA vrddhi yamakam, pAdAdi bhAga Avrtti yamakam, VirodAbhAsa yamakam, toDaka vrtta yamakam, SrngalA yamakam, samuddhaka yamakam and mahA yamakam.

In the first Slokam starting with “ya” as the first letter in all the four pAdams (yaSasvinI, yadunAtha, yamakam and yatpadam), the poet deftly introduces the name of yamakam in the 3rd and the 4th pAdam to indicate that MahA Lakshmi is the twin (yamaka) to kalpaka vrkshA in the matter of granting boons: “yamakam kathayanti AryA: yatpadam kalpaSAkhina:”.

In the second Slokam, the yamakam, known as pAdAdtyanta yamakam is created by making the beginning and the ending words the same:

dayA sampUrNa hrdayA
mayA krtamanAmayA |
ramA guNena paramA
stavam grhNAtu vAstavam ||

In the fourth Slokam, the poet uses a prAsam known as sekAnuprAsam, where the pairs of vowels and consonants appear repeatedly without interruption:

ramAramApattimapAsyatAm me
dayodayopekshitabhaktamantu: |
mudAmudArAm ca diSet samrddhim
natAnatApAn kurute yadIkshA ||

The intensity of the usage of yamakam is seen in Slokam 7, where each of the four lines demonstrate the repeated use of the same words:

ghanAghanAbhasya ghanAghanASina:
sadA sadASArasadA sadArDhyadhI: |
hitAhitArkshyA rahitAhitA mano-
ramearamevAcara me rame mudam ||

The skillful interplay of words to produce the multiple echoes of Sabdam cannot be understood unless the padams of the pAdams are split to realize the prose order.

For prose order, please see Meanings/Comments under this Slokam 7 in Slokams and Commentaries section.

The clever use of words to form the toDaka vrtta alankAram is seen in the 24th Slokam:

bhavatI jagadamba krtArtabhavo-
paramA paramA paramApa ramA
kuhrdoadritaTImavanAya krupA-
mahitA mahitA mahitA mahitA ||

Slokam 26 introduces another kind of Yamakam, where the last group of words of first pAdam (vArijAtekshaNA) is repeated with different meaning at the end of the second pAdam; the same type of handling is seen between the third and the fourth pAdams, where the group of words are, “pAhi mAm Sobhita:”.

trAtumapracyutA vArijAtekshaNA-
tvam natAn dhvastadevArijAtekshaNAt |
pAtakAdindire pAhi mAm Sobhita-
SrIraghadhvAntalopAhimAmSobhita: ||

In Slokam 28, the poet introduces us to a special kind of Yamakam known as SrngalA Yamakam. SrngalA means a chain. Like a chain is made of many individual links, here the words are linked smoothly with one another to create this chain of words:

Samadamau madamauDhya-harau vahan
madhuripum dhuri puNyakrtAm sthita: |
vinamatInamatIva tavArcako
nijagadam jagadamba jahAti ca ||

A beautiful example of Yamakam construction is seen in Slokam 51, where the first two pAdams are the same and the third and the fourth pAdams are the same but the meanings of each pAdam is different. The text of the Slokam is:

mahodayAsArabhujAtvayAtayA
mahodayA sArabhujA tvayA tayA |
vilopakArAtiSayAstade vibhA-
vilopakArAtiSayAsta devi bhA ||

The words of the Slokam has to be split to understand the meaning.

For prose order, please see Meanings/Comments under this Slokam 51 in Slokams and Commentaries section.

An example of samuddhaka Yamakam (the four pAdams look alike) is provided by the Kavi in the fifty third Slokam:

kevalam tucchavimatA hariNA kshitavAmatA: |
ke valantu cchavimatA hariNAkshi tavAmatA: ||

The 56th Slokam is a beautiful example of a Yamakam that starts with the word, rAjIvAyatanA in every one of the four pAdams:

rAjIvAyatanAparatramahatIm kuryAnmudam na: krpA
rAjIvAyatanAgabAhuraghahrt krshNo na deva: apara: |
rAjIvAya tanAvihApi sukhadA SuddhA tavaivArpyate
rAjIvAyata nAyakam phaNigireryA asau dayAsrotasAm ||

The 58th Slokam is an example of a Yamakam, where only three of the four pAdams fold in the yamakam:

sArasenamahitApahArikA
sArasenamahitApahArikA |
sArasena mahitApa hArikAnantagA
jayati yA anaghA ramA ||

The last two Slokams of this stabakam are grand salutations to Her eka Seshitvam (upAyam and upeyam as Her Lord) and Parama hita tattvam. Both these Slokams have identical words in all the four pAdams. The individual pAdams might look similar but when the sandhi-s are split, they reveal totally different meanings as per the rules of Yamakam.

The 60th Slokam is a prayer to MahA Lakshmi to discard the incorrect doctrines advocated by a few viparIta vAdis that MahA Lakshmi is like us, a simple jIvan and is not a Vibhu and equal to Her Lord in every way.

The 61st and final Slokam of this Stabakam is a thundering declaration of ParamaikAntitvam by SrI VenkaTAdhvari Kavi. He says that he will not seek any hitam (Parama PurushArtham/ultimate redeeming goal) other than MahA Lakshmi (rAmAnyam hitam na dhyAyAma). He identifies himself as one who has no interest in the pleasures of this world that are perishable and tasteless (anASA: asAram) as well as the cause for various illnesses of Kali Yugam (Adi ArAma hitam) that is spurned by vivekis and the devAs alike (nara-amara amAnyam). The poet swears that he will not be associated with anything that has even a trace of sins linked to Kali Purushan (kalitamasA aram kalitam).

Sri VenkaTAdhvari Kavi was a great admirer of Swamy Desikan and has emulated the many Yamakams used by latter in this stabakam. The genius of Swamy Desikan is unsurpassed and his creation of MahA Yamakam in the 936th Slokam of SrI RanganAtha pAdukA sahasram, where He uses one letter “yA (ya)” is a testament to the Kavi Simham's adbhuta Sakti as a citra Kavi (e-book #25 in http:// www.sundarasimham.org). The MahA Yamakam contained in the 936th Slokam of SrI RanganAtha pAdukA sahasram has six different yamakams inside it. Swamy Desikan's sarvato bhadra citra yamaka Slokams (932 and 933) and the 922nd Slokam illustrating anatirikta padapadArtha anuloma pratiloma yamakam are some more examples of the inspirations to which SrI VenkaTAdhvari Kavi was exposed to. We will see more examples of the use of Yamakams and other SabdAlankArams in the citra stabakam, the twenty second stabakam of SrI Lakshmi sahasram.

mangaLa devatAyai namo nama:

dAsan,

Oppiliappan Koil VardAchAri Sadagopan

***

yaSasvinee! — SrI Anandavalli tAyAr, uttiramerUr

SrI lakshmI sahasram

yamaka stabakam

Slokam 1

yaSasvinIm upAsIya yadunAtha sadharmiNIm |
yamakam kathayanti AryA yat padam kalpaSAkhina: ||

Meaning:

Comments:

PirATTi emerged from tiruppArkaDal along with Kaamadhenu, Kalpaka vrksham, candra and other auspicious things. Hence PirATTi is rightfully considered as the twin of the Kalpaka vrksham. Not only by Her co-emergence with Kalpaka vrksham but also by Her capacity to grant any wish, She can be considered to be Kalpaka vrksham’s sister. In fact the kalpaka vrksham grants only what the seeker asks for, while PirATTi grants Herself to Her devotees.

The poet has used the term sahadharmiNi of YadunAthan — KrshnA to refer to PirATTi. sahadharmiNi is one who shares the same dharmA. PirATTi and PerumAL are said to have eka lakshyam, the same resolution of rescuing jIvAs. Thus She is His sahadharmiNi. She participates in His yAgam of saving jIvAs. Her fame is unlimited as attested by the Vedic salutation ‘yaSasA jvalantIm’.

In this type of yamakam, all the four pAdams start with ‘ya’. Sri VenkTAdhvari Kavi very cleverly indicated the name of yamakam in the third and fourth pAdams.

Slokam 2

dayA sampUrNa hrdayA
mayA krtamanAmayA |
ramA guNena paramA
stavam grhNAtu vAstavam ||

The prose order for this Slokam is:

dayA-sampUrNa-hrdayA anAmayA guNena paramA ramA mayA vAstavam stavam grhNAtu

Meaning:

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