daSAvatAra stabakam (36 Slokams)

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daSAvatAra stabakam (36 Slokams)

Source: maNipravALa articles in SrI ranganAtha pAdukA by

U.Ve (Dr.) NaavalpAkkam KaNNan Swamy

Smt. Geetha Anand

With “Sri nrusimha sEvA rasikan”

Oppiliappan Koil Sri VaradhAchAri SaThakopan

(sadagopan.org)

INTRODUCTION

BY

SRI. V. SADAGOPAN

In this stabakam the poet describes the role of PirATTi in SrI MahA VishNu’s ten incarnations through thirty six Slokams. The first Slokam eulogizes all the ten incarnations of the Lord. The last Slokam instructs us that MahA Lakshmi venerates and celebrates Her Lord, the daSAvatAran.

The role of PirATTi in the incarnations is described by the following number of Slokams:

• Matsya avatAram — three Slokams.

• KUrma avatAram — one Slokam

• VarAha avatAram — two Slokams

• Narasimha avatAram — five Slokams

• VAmana avatAram — four Slokams

• ParaSurAma avatAram — three Slokams

• Raama avatAram — five Slokams

• BalarAma avatAram — one Slokam

• KrshNa avatAram — five Slokams

• KalkI avatAram — three Slokams

• Role of Lakshmi in the ten avatArams — three Slokams

In the first Slokam, the poet says that MahA Lakshmi is the supporting staff (avalampam/PaRRukkOl) for the Lord during His ten incarnations. It is with Her invaluable support, He accomplishes His avatAra kAryams and upholds the dhArmic activities of the noble souls. Protection of His bhaktAs is the prime purpose of these avatArams and the destruction of the enemies of His BhAgavatAs is of secondary importance. The poet affirms that Lakshmi sambandham leads to the avatAra Phala siddhi (fulfillment of the purpose of the avatArams).

The poet equates sAdhu paritrANam (protection of the sAdhu janam) to that of a yaj~nam and BhagavAn as the grhastan and the kartA of that yaj~nam, needs His sahadharmacAriNi to conduct that yaj~nam. Without Her at His side, He would not be qualified to perform that yaj~nam. She becomes indispensable for this noble yaj~nam for which He has undertaken the dIkshA (vow). The poet offers his vandanams to MahA Lakshmi of such glorious attributes (tasyai Sriyai nama:).

In the second Slokam, the poet describes a wonder made possible by PirATTi (i.e.). the Lord incarnating as a Matsyam. That happened because of the dayA rasa anugraham of PirATTi on Her Lord (tvayA labdha rasena mAtsyam vapu: ASrita:), which was the cause behind the Lord's incarnation as a MahA Matsyam.

In the third Slokam, the power of Devi's glances to restore wealth, wherever they fall is celebrated. Swamy DeSikan has saluted this unique power of MahA Lakshmi's glances to restore the wealth lost by the DevAs due to the curse of Sage DurvAsA (SrI stuti, 14th Slokam): “labdhvA bhUyas-tribhuvanam lakshitam tvat kaTAkshai:, sarvAkArA sthira samudayAm sampadam nirviSanti”.

In the next Slokam of SrI stuti, Swamy DeSikan continues to celebrate the power of the glances of MahA Lakshmi: “yasyAm yasyAm diSi viharate devi drshTis- tvadIyA, tasyAm tasyAm ahamahamikAm tanvate sampadoghA:” Here, Swamy DeSikan states that the various aiSvaryams compete with one another to be at whatever places the glances of PirATTi fall. Those items of wealth desired by the devotees grow further and further (vAnchitAnAm vasUnAm dhArA: adhikam adhikam niryAnti) and originate from the house of Kuberan or from the ocean or from the AkASam or from the palaces of the kings due to the power of Lakshmi KaTAksham. Taking a lead from this, SrI VenkaTAdvAri kavi draws the parallel between tAyAr’s beautiful eyes that reminds one of a sleek form of a fish, to the sankalpam by bhagavAn to incarnate as a Fish (matsya avatAra). BrahmA had lost His wealth (i.e.), Vedams. BhagavAn looked deeply into the eyes of His PirATTi (mIna locani) and recognized that it is PirATTi's auspicious glances emanating from the sporting fish like eyes that restore lost wealth in a second (cira proshitAm bhUtim tava drshTi: eva bhUya: api kshaNAt AnAyati). He decided immediately that He should take the form of a fish to realize the wonders caused by PirATTi's eyes and this way He can help BrahmA regain the VedAs that he lost.

In the fourth and concluding Slokam on MatsyAvatAram, the poet expresses his profound confidence about being lifted up from the ocean of samsAric tApams (tApa arNavAt uddharaNam) by Sriya: pati based on his facile way in which the Lord lifted the VedAs that were sunk under the oceans (SrIdhara: jalanidhau magnAm tAm SrutIm uddharan iva).

After paying tribute to SrI Lakshmi's role in MatsyAvatAram through three Slokams, the poet moves on to the celebration of KUrmAvatAram with one Slokam. The poet says that the abundant love that the Lord had for His devi propelled Him to incarnate as the KUrmam with Her help (sa: kaurmam dharmam dhArayan tvat-sahAya:, tvayi amanda-rAgam dadhau manda-rAgam mandara-agam dadhAra). Swamy DeSikan visualizes the KUrmAvatAran sporting with His PirATTi in the gentle waves of the milky ocean (kUrma vapusha: nirvrta: deva: SriyA saha eva viharate).

The poet uses two Slokams to salute the VarAha divya rUpam of BhagavAn. The poet points out that the Lord took Matsya rUpam to protect the VedAs, which had declared their dAsyam to PirATTi and He took kUrma rUpam to gain PirATTi, the daughter of the Milky Ocean as His bride and He chose VarAha avatAram out of the abundance of love for Her. The leelAs of the KapaTa VarAhan (kuhanA potrI) to enter into the praLayam waters and to lift up BhUmi Devi, the amSa bhUtai of SrI Devi are saluted here. Equating BhU devi to the status of a sister (sahodari/svasr) of Sri Devi based on the fact that both arose from the depth of the ocean, the poet imagines that SrI devi encouraged Her Lord to extend a special honor to Her sister BhU devi by holding Her at a level higher than Her Lord's chest region, where She (SrI devi) resides. Sri BhU VarAhan obliged and held the sister of SrI devi on His tusk. Swamy DeSikan enjoys this sevai of BhUmi PirATTi holding firmly on to the tusk of VarAha mUrti at all times: “yat- damshTrAnkura-koTi gADhA ghaTanA nishkampa nitya sthiti:”. Sri VenkaTAdhvari Kavi relishes the scene of BhUmi Devi being lifted up by the Lord from under the ocean sporting hundreds of hands with the Veda mantram from taittirIya Upanishad in mind: “uddhrtAsi varAheNa krshNena Sata bAhunA”. The exact words used by the poet in prose order are:

devI mahI eka udara sthAnata: te svasr-bhAvam eva yat agAt,
tasmAt eva krta AdareNa tarasA kuhanA varAha vapushA
dAmodareNa devena damshTra ancale asau svayam dadhre

The poet says that dAmodara KrshNan taking the kapaTa VarAha Vesham lifted BhU devi with great ardour because of the fact that She was a sister of SrI devi.

Five Slokams of SrI nrsimhAvatAram follow now. MahA Lakshmi is portrayed as taking an even more active role during nrsimhAvatAram compared to the previous three avatArams as Matsya, KUrma and VarAha mUrtis. Sri Devi is saluted through these Five Slokams as sahakAri (upakAri as sahadharmiNI) for SrI nrsimhan:

1. She is recognized as the powerful One, who quenched the awesome fire of anger of Lord Narasimhan in reaction to the maltreatment of His bhaktan, PrahlAdan (nrsimha vapusha: rosha agni tvayA Samita:),
2. She is portrayed as the gentle golden deer (hiraNya varNAm hariNI) sitting fearlessly on the lap of Her Lord with a fierce form. The poet takes off from the Veda vAkyam of SrI sUktam (hiraNya varNAm hariNIm, yasyAm hiraNyam vindeyam) and enjoys the scene, where the golden hued, HiraNya VarNai, Sri Devi is sitting on the lap of the One, who destroyed HiraNyan
3. SrI Devi is recognized for Her ability to tie down the mighty Lord through Her auspicious guNams, when IndrA, BrahmA and others ran away in fright from Her Lord. The MahA balasAli, SrI nrsimhan was tied down by the abalai (weak one), SrI Devi through Her guNams (tvayA api vaSIkrta: ayam adbhuta kesari:).
4. Lord took the wonderous and never-seen-before rUpam as nrsimhan (Lion's face and the trunk of a human) to impress SrI Devi with His adbhuta kesari vesham (te paramam vismayam vidhAtum nAtha: apUrvam nArasimham SarIram iha jagrhe). nrsimhan's deep love for His PirATTi is displayed here.
5. SrI Devi is equal in every measure with Her Lord and therefore are samAna caritars, who are equal objects of adoration and worship.

After an elaborate salutation to Lord Narasimhan, the poet pays his tributes to vAmana avatAram and PirATTi's role in this avatAram with four Slokams:

1. She hid under the deer skin tied to the sacred thread of Her Lord, the KapaTa vAmanar. Had Her MangaLa drshTi fallen on Bali, then the avatAra kAryam of Her Lord would have been nullified (deva: tvAm krshNAjinena AvrNot).
2. SrI Devi residing on the broad chest of KapaTa vAmanar is saluted as the cause behind His successful negotiation of the three steps of land from Bali Cakravarti. The Lakshmi KaTAksham is linked to His success in this avatAram. Had SrI Devi stayed back at Paramapadam, Vaamanan would not be fortunate to receive the three steps of land that He sought as dAnam. PirATTi's sahakAram led to success in His efforts to help the devAs.
3. SrI Devi is depicted as One who blesses even a mahA pApi so that he is filled with Parisuddhi, when he meditates on Her. Our Lord seats Her on His Chest as Vakshassthala Lakshmi and therefore She is very close to His heart. Through his skills as a poet, Sri VenkaTAdhvari links the deceitful ways in which Vaamanar received the dAnam while pretending to be a BrahmacAri to the activities of a sinner. The poet says that Vaamanar accrued five kinds of pApams and all of them were chased away by SrI Devi through Her Lord's Lakshmi dhyAnam.
4. Sri Devi is described as the amused and smiling consort listening to Her Lord's deceitful conversation with Bali Cakravarti, while She was being hidden under the deer skin (divya-vaTo: ukti: niSamya tat urasi tvayA sishmiye).

ParaSurAmAvatram is the next incarnation that is saluted by the poet with three Slokams:

1. SrI Devi's parihAsam of his yAcakam activities during vAmanAvatAram is cited as the reason for the Lord to take the next avatAram to have the upper hand through dAnam of the earth that He won from the KshatriyAs to KaaSyapa Muni during an yaj~nam. At Bali's yaj~nam, He received the deceitful dAnam and in Sage KaaSyapA's yaj~nam, He gave away the land. This was all done to stop the parihAsam of His Devi.
2. During the ParaSurAma avatAram, SrI Devi stayed at the tip of the axe (ParaSu) of Her Lord as vIra Lakshmi and helped to fulfill Her Lord's avatAra kAryam.
3. MahA Lakshmi is saluted as the force behind ParaSurAmar possessing simultaneously His status as BrAhmaNa and a Kshatriyan. This is some thing that does not happen ever. It is only PirATTi's Sakti that made it possible to have the two polar opposite things to coexist.

RaamAvatAram now comes into focus with five Slokams and MahA Lakshmi's role during this avatAram is saluted. Lord Raamacandra has been saluted as “sakrt prapanna jana samrakshaNa vrati” and “dharmo vigrahavAn”, kAla anala jvAlA jAla vihAra hAri viSikha vyApAra ghora kraman” by Swami DeSikan in His daSAvatAra stotram. He has taken as main vow the protection of any cetanam, who has sought His refuge even once. He is the embodiment of dharmam and has the power to send fierce arrows that exceed the power of praLaya kAla agni jvAlais in their destructive capabilities. In the five Slokams, SrI VenkaTAdhvari Kavi brings out the importance of PirATTi in Her Lord having all these noble features for which He is venerated:

The apacAram to PirATTi alone was sufficient to burn RaavaNan to ashes. RaamA's BrahmAstram with four faces was a vyAjam for RaavANan's death at the battle field.

1. The droham (injustice) committed by RaavaNan towards SitA PirATTi paved the way for his vinAsam (destruction). Such is Her power. All the retinue of armies could not help RaavaNan.
2. Through Her agni praveSam, PirATTi cleansed Agni (pAvakan) of all his blemishes arising from his residence in RaavaNA's house and made him a pAvanan (the most pure one). It is Her pativratA MahAtmyam made that possible. She removed the aSuddhi of Agni and conferred on him Suddhi.
3. The impossible acts of valor performed by Raamacandra such as breaking the Siva dhanus, the forceful taking away of the axe of ParaSurAma, the building of a dam over the ocean and the killing of the mighty RaavaNan are a result of the empowerment provided by PirATTi. Raamacandran had His PirATTi in mind and accomplished the impossible tasks with Her sahAyam.
4. Through Her sankalpa balam and PativratA vaibhavam, she made the fire lit on HanumAn's tail by the servants of RaavaNan cool as a Moon beam.

The poet eulogizes now BalarAmAvatAram with one Slokam and instructs us that Lakshmi KaTaksham transforms BalarAman “a poor man” with plough as His weapon into one with great aiSvaryam of VaikuNTha vAsam and niravadya Kaimkaryam there. The kavi says: “haladhara: tava prasAdAt bhogI babhUva”. He became to practice “SubhaSAli vrtti”, the profession marked by outstanding auspicious conduct through PirATTi's anugraham.

After the tribute to BalarAmAvatAram, KrshNAvatAram comes into focus and the Kavi celebrates this avatAram with five Slokams and highlights the role of PirATTi during this delectable avatAram:

1. PirATTi took on the rUpam of RukmiNi in this avatAram. She was equal to Her Lord in every way: Youth, beauty and sweet speech. The couple's dAmpatyam (relationship as husband and wife) is cited as the most fitting (vAm mitha: etat dAmpatyam anurUpam). AcArya RaamAnujA's SaraNAgati gadya vAkyams are to be recalled here: “bhagavan-nArAyaNa abhimatAnurUpa svarUparUpa guNa vibhava aiSvarya SeelAdyanavatikatiSaya asankhyeya kalyANa guNagaNAm bhagavtIm Sriyam devIm —SaraNamaham prapadye”.
2. As RukmiNi, She gave birth to Manmathan, who was equal to Her Lord in Five traits (manoj~nam pancAyudham pitrA samAnam kamapi prasUya labdha harshA bhavatI).
3. As RukmiNi, you became the object of worship like Bhagavad GitA in five ways: gambhIra bhAvam, sampat naTIkA bhAvam (showering heaps of wealth), Sruti manju sUkti bhAvam (sweet speech), adhara rasika bhAvam (connoisseur of the fragrance of the Lord's mouth, which performed the Gitopadesam) and Subha yoga bhAvam.
4. You became equal to Your Lord in every way (prabala bhadra vidhAyini! rukmiNi! tvam nija-vallabha-tulyatAm ayase).
5. She became the embodiment all the Mukti kshetrams like MAyApuri, KAncI, MadhurA, AvantI, KaaSI, AyodhyA, dvArakA et al. You made KrshNa happy with many SrngAra leelais with KrshNa (krshNAya trshNA Ayatai: sambhogai: svadase sma).

The futuristic and the last of the ten avatArams of the Lord, KalkI, is now saluted through three Slokams and the influence of MahA Lakshmi on KalkI BhagavAn is described:

1. She is recognized as the generator of KaruNai in KalkI bhagavAn to enable Him to protect the reciters of the VedAs, putting an end to Kali yugam, heralding Krta yugam and causing the destruction of the mlecchAs.
2. She will enable Her Lord (KalkI) to chase away the anxieties of the sAdhu janams, who suffer intensely from the cruelties of Kali Purushan.
3. She is very much entertained by KalkI's intense activities of destroying the adharmams with a sword and shield in His hands and moving with great speed among mlecchars to put an end to Kali yugam and herald the Krta yugam.

The final three Slokams of SrI daSAvatAra stabakam are descriptions of the entire ten avatArams and MahA Lakshmi's role in them.

1. The first of the three Slokams states that PirATTi's glance has all the aspects of the ten avatArams of Her Lord incorporated in them and as such is a fit object for our meditation (tava apAnge tvat dayita avatAra daSakam dhyAyAmi)
2. The second of the three Slokams visualizes MahA Lakshmi bearing the ten avatArams of Her Lord in Her body. Using powerful sleshAlankArams, the poet relates each avatAram to one or the other limbs. He identifies MatsyAvatAram in PirATTi's eyes, KUrmAvatAram in Her lips, VarAhAvatAram in Her shoulders, NarasimhAvatAram in the tip of Her breasts, VaamanAvatAram in the three folds of Her stomach, ParaSurAmAvatAram in Her prshTha bhAgam, RaamAvatAram in Her ankles, KrshNAvatAram in Her black tresses and KalkI avatAram in Her legs. The poet suggests to us to seek the refuge of Her sacred feet since all avatArams of Her Lord are found in Her tirumEni.
3. In the final Slokam of this stabakam, the poet states that MahA Lakshmi worships Her Lord, the daSa vidha rUpan. He compares the Lord to a poet and says that both of them are known for their many guNams and alankArams. Her Lord takes on ten rUpams (daSAvatArams) and the poet engages in creating daSa rUpakams such as nATakam, PrakaraNam, bhANam, vyAyogam, samavakAram, Dimam, ihAmrgam, angam, vIthi and Prahasanam according to alankAra SAstrams.

The final Slokam of Swamy Desikan's daSAvatAra stotram provides a fitting backdrop to the varNanam of the ten avatArAms of the Lord described by Sri VenkaTAdhvari Kavi:

icchA mIna vihAra kacchapa mahA potrin yadrcchA hare
rakshA vAmana roshA rAma karuNA kAkutstha helA halin |
krIDA vallava kalka vAhana daSA kalkin iti pratyaham
jalpanta: purushA: punanti bhuvanam puNyaugha paNyApaNA: ||

Swamy DeSikan instructs us that those who meditate upon the glories of the ten avatArams of the Lord are like shops whose merchandise to sell is PuNyam and that they sanctify this world by their presence. SrI VenkaTAdhvari Kavi's daSAvatAra stabakam echoes this message and concludes that the PirATTi Herself assists Her Lord in the ten avatArams:

yadbhAveshu prthagvidheshvanuguNAn bhAvAn svayam bibhrati
yaddharmairiha dharmiNI viharate nAnAkrtir-nAyikA

— Swamy Desikan’s daSAvatara stotram, Slokam 1

Our Lord is an actor that takes on the ten roles such as matsya, kUrma, varAha, Narasimha, vAmana, paraSurAma, rAma, balarAma, krshNa and KalkI. PirATTi as His sahadharmacAriNi takes on complimentary roles and helps Her Lord with His activities such as creation, protection and destruction. This becomes a sport for Her also. The devotees of the divya dampatis enjoy their roles and their acting and become connoisseurs of their activities.

The prayer is for the divya dampatis sporting these ten incarnations to confer sarva MangaLams on all of us (devo devyA saha na: subhamAtanotu).

SriyAyai nama:

dAsan,

Oppiliappan Koil VaradAchAri Sadagopan

***

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