U.Ve (Dr.) NaavalpAkkam KaNNan Swamy

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Devi! I meditate upon EmperumAn’s ten incarnations when I worship Your fish shaped eyes, that protect the gullible, that cause a lot of happiness to EmperumAn, that glance His face, that have a beautiful colour, that help many, that steal the beauty of a doe, that makes Your Lord desire You, that are black and that destroy disputes.

Comments:

This is a very beautiful Slokam where the poet has used the same words to represent both the beauty of PirATTi’s eyes and EmperumAn’s ten incarnations.

• PirATTi’s eyes are “mAtsya jyotishi”- that which gleam like the eyes of the fish. This term also refers to EmperumAn’s MatsyAvatAram

• PirATTi is involved in “manda rakshaNa pare” — protecting the innocent. EmperumAn was involved in “mandara-kshaNa-pare” — the churning of the Ocean with the Mandara Mountain during KUrmAvatAram.

• PirATTi’s eyes cause “ananta ucca harsha Avahe”- immense happiness to EmperumAn. EmperumAn caused “anantA ucca harsha Avahe” — raised BhUmi PirATTi- anantA — from the ocean as VarAhA

• PirATTi’s eyes fondle EmperumAn’s face “hari Asya sprSi”. EmperumAn had the face of a lion — hari — in nrsimha avatAram (haryAsya sprSi)

• PirATTi’s eyes have a beautiful colour (varNi) and luster “cAru varNini”. EmperumAn took the deer like innocent brahmacAri form — cAruvarNini when He incarnated as Vamana.

• PirATTi helps people “krta aSesha adhika upakriye”. EmperumAn caused a lot of anger and heartache for many as ParaSsurAmA “krta aSesha Adhi kopa kriye”.

• PirATTi’s eyes steal the beauty of MaarIca (eNa SrI mushi), who took the form of a beautiful golden deer.

• When one looks at PirATTi’s eyes, he desires Her company eternally “kAma pAla vibhave”. BalarAma is called kAma pAlan.

• PirATTi’s eyes are black in colour “krshNe”. EmperumAn incarnated as KrshNa. She puts an end to brawl “kali dhvamsane”. He destroys Kaliyugam.

Thus one can meditate upon all the ten incarnations of EmperumAn in PirATTi’s eyes.

Slokam 35

krshNa: keSa: drk eshA jhasha tanu: adhara: mandarAgam hi dhatte
saukaryam doshNi uroje kila mukha haritA madhyam AttA valiSrI: |
rAmAgryatvam nitamba: prathayati yamunA darpa hrt romavallI
dhatte janghA abhirAma Sriyam iha kali hrt pAdapadmam tava SrI: ||

aravinda grhe! — SrI nAmagiri tAyAr

Meaning:

SrI! Ten parts of Your body display the ten incarnations of EmperumAn. Your hair resembles KrshNa, Your eyes resemble matsyA, Your red lips remind the KUrmAvatAram, Your shoulders represent VarAhAvatAram, Your breasts represent nrsimhAvatAram, Your middle part represents wealth that VaamanA/ TrivikramA obtained, Your prshTha bhAgam represents ParaSurAma avatAram, Your hair represents BalarAma taming the YamunA river, Your ankles represent the beauty of RaamA, Your lotus feet represent the KalkI avatAram.

Comments:

PirATTi’s hair is black- KrshNa. EmperumAn incarnated as KrshNa;

Her eyes resemble a fish and the MatsyAvatAram;

Her lips have a red tinge that supports “manda rAgam” which also means Mandara mountain that EmperumAn supported as KurmA;

The term saukaryam means both the shoulder ornament and the VarAhA-sUkaram.

Her breasts have a black tip — mukhahari- which also means the lion face that nrsimha had.

The folds in Her stomach — valiSrI also read as baliSrI which means the wealth of MahAbali that reached Vaamana/Trivikrama;

The shape of Her back represent the hallmark of a beautiful woman- rAmAgryatvam. If the word is split as rAma-Akryat it means ParaSurAma;

Her hairline is straight like the YamunA river that was dug by BalarAma. Her ankles are beautiful- abhirAmam- RaamAvatAram.

Her lotus feet remove difficulties — kali hrt- like the KalkI avatAram.

The poet has not followed the order of EmperumAn’s incarnations as he was primarily describing PirATTi’s beauty from head to toe and so was implying the appropriate incarnation of EmperumAn.

From this Slokam, one realizes that not only PirATTi incarnated along with EmperumAn in all these avatArams but also supported them by Her infinite Sakti.

Slokam 36

vidita guNa alankaraNam
vicitra racanA vicakshaNa preksham |
kavim iva krta daSa rUpakam
aravindagrhe abhinandayasi mukundam ||

Meaning:

aravinda grhe! One who has the lotus as Her residence! You praise Your consort Mukunda, who has incarnated as the ten avatArams. He possesses all the famous good qualities as His ornaments. He can create this wonderful world by His wish, sankalpam. He himself incarnated in the ten forms. Due to these reasons He is like a good poet.

Comments:

In this Slokam, EmperumAn is compared to a good poet. A good poet is aware of all the good qualities of a poem. He is capable of creating wonderful epics. He creates plays that are called “daSarUpakam”. EmperumAn possesses all the good qualities; He creates the world and incarnated as the “daSa avatAr”. viditam means famous and what is known.

alankaraNam means ornament. EmperumAn has the Kaustubham, crown, jewels and His qualities as ornaments. A good poem has many ornaments such as special usage of words, meanings etc.

rUpakam means forms and also the ten types of epics. Both the poet and EmperumAn seek PirATTi’s kaTAksham.

 || iti SrI lakshmI sahasre daSAvatAra stabaka: ||

***

SrI lakshmI sahasra 22

Citra stabakam (59 Slokams)

Source: maNipravALa articles in SrI ranganAtha pAdukA by

Translated Dr. (Smt) Geetha Anand

with Additional Commentaries in English by

“Sri nrusimha sEvA rasikan”

Oppiliappan Koil Sri VaradhAchAri SaThakopan

(sadagopan.org)

INTRODUCTION

BY

SRI. V. SADAGOPAN

The twenty second stabakam of SrI LakshmI sahasram is named Citra stabakam. It has 59 Slokams.

SrI VenkaTAdhvari was an expert in creating Slokams with Yamaka Sabda citrams (Please see the 14th chapter of SrI LakshmI sahasram http://www.alamelumanga.org/sls14.html)

Because of his expertise in handling Yamaka Sabda citrams (usage of the same word with different meaning in another section of the same Slokam), He adorned a Birudu (title) called "yamaka Cakravarti". Besides the different prayogams of Yamakam, viz. pAdAnta Yamakam, padA madhya Yamakam, pAdAti Yamakam, anuloma pratiloma Yamakam and MahA Yamakam — SrI VenkaTAdhvari Kavi as a great poet and author of the MahA kAvyam of SrI LakshmI sahasram used other Sabda, ardha citrams and bandhams with entries (gati-s) and returns (Agati-s) of words in novel combinations to bring out different meanings.

As one of the greatest admirer of Swamy Desikan, he followed the path laid out by the Kavi Simham in the 30th paddhati (citra paddhati) of SrI RanganAtha pAdukA sahasram and created Slokams for his citra stabakam with a variety of citra bandhams like:

1. gomUtrikA,
2. ardha bhramakam,
3. cara,
4. muraja,
5. caturangaturanga,
6. sarvatobhadra,
7. gavAksha and other bandhams.

In a special bandham like gomUtrikA, he displayed his sense of invention and daring by creating difficult gomUtrikA variations such as bhinnavrttAnuloma and pratiloma gomUtrikAs. In the cakra bandham category, he handled with ease new derivatives such as:

1. dviSrngATaka cakra bandham,
2. dvicatushka cakra bandham,
3. caturara cakra bandham,
4. garuDa gati cakra bandham,
5. ashTAra cakra bandham and
6. kavi-kAvya nAmAngita mahA cakra bandham.

It has been pointed out that there is no poet who has created so many variations of cakra bandham in Sanskrit poetry like SrI VenkaTAdhvari kavi. One can also see other citralankArams like trisvaram, dvisvaram, ekasvaram, trivyanjanam, dvivyanjanam and ekavyanjanam et al. Whatever the Kavi handled, he showed a flair to open new paths and delight every one with his extraordinary poetic skills. In the ashTa daLa padmam alone, He has created three geometric marvels based on the words used in the Slokam — “kavinAmAnkita ashTa daLa padmam and prabandha vishaya nAmAnkita ashTa daLa padma bandham”. The ashTa daLa padma cakram portrays ashTa Lakshmi-s and includes Kavi nAmam and prabandha vishaya nAmam. The unique creation of ashTa daLa padmam for ashTa LakshmI-s brings to mind the creation of the rare SrI pAdukA bandham in SrI RanganAtha pAdukA sahasram by AcArya sArvabhaumar, Swamy Desikan.

U.Ve (Dr.) NaavalpAkkam KaNNan Swamy has covered extensively the Slokams of citra stabakam of SrI VenkaTAdhvari Kavi in great detail in the SrI RanganAtha pAdukA (Dec. 2007 — Dec. 2009). His summary of this stabakam was presented in the December 2009 issue of SrI RanganAtha pAdukA. aDiyEn will draw from the brilliant summary of Dr. KaNNan Swamy on the architecture of the individual citra stabakams:

1. The first Slokam is a citram (picture) of citra stabakam being held with reverence on the heads of devAs and serving as a jewel (ciram vibudha sanmauLi citrastabaka bhUshitam) on their heads.

2. The second Slokam of citra stabakam carries the citram of apaSabdAbhAsa citram (appearance of an error in the word/fallacious reasoning/soRpizhai tORRam by reading two words together instead of separately). In Tamil, it is called vazhi etukai vazhuppOli portutc-cittiram. The second Slokam of citra paddhati of pAdukA sahasram has this apaSabdAbhAsa (pOli poruL) citram.

3. gomUtrikA bandha citram is found in the third Slokam.

4. The fourth Slokam has the prathama pAda gUDha citram (the hiding of the first pAdam).

5. The fifth Slokam has the caturtha pAda gUDha citram (the disappearance of the fourth pAdam).

6. The sixth Slokam has the niroshTya citram, where the lips do not touch each other during recitation.

7. The seventh Slokam has kriyA vancana citram, where "cheating" is done with the verb.

8. The eighth Slokam has sapta vibkakti vancana citram (deception with all the seven vibhaktis/vERRumaikaL)

9. The ninth Slokam includes ardha pAdAnuloma pratiloma citram (when one reads the second pAdam from right to left, it stays same as when one reads from left to right to left)

kAlInAnana nAlIkA rAdhitA hi hitAdhirA |
mAyAsAmamasAyAmA kApi dIprapradIpikA ||

To play such jugglery with the word arrangements (< — >) and still maintain the meaning is a remarkable feat indeed.

10. The tenth Slokam has been woven with ardha SlokAnuloma-pratiloma citram. Here reading the first pAdam in reverse will yield the second pAdam and fourth pAdam is the reverse of third pAdam. The second pAdam has the ardha pAdAnuloma pratiloma citram:

sA rayAdarihAkhyAsau saukhyAhAri dayArasA |
meya kAya dharA mAtA tAmArAdhaya kAya me ||

11. anuloma pratiloma citram is woven here in the eleventh Slokam.

kAritAbhimatA cittA vAse hAritamA ramA |
mAramAtarihAsevAttA citAmabhitArikA ||

12 & 13. Slokams 12 and 13 have Sloka dvaya anuloma pratiloma citram. The read ing of the last line of Slokam 13 in reverse will give the first line of Slokam 12. One has to include Slokams 12 and 13 as one unit.

14. The 14th Slokam has the anatirikta pada-padArtha anuloma-pratiloma citram.

15. The 15th Slokam has anAvrtta vyanjana citram.

16. The 16th Slokam incorporates dviSrngATaka cakra bandham.

17. The 17th Slokam is set in dvicatushka cakra bandham.

18. The 18th Slokam has both caturara cakra bandham and caturdala garbha dvAdaSa dala padma citram.

19. The 19th Slokam has the integration of four citrams:

(a) gomUtrikA bandham

(b) shoDaSa dala padmam

(c) dvicatushka cakra bandham and

(d) ashTalakshmI cakra bandham.

20. The 20th Slokam is featured by ardhabhrama yamakam.

21. The 21st Slokam has Sara (arrow like) bandham.

22. The 22nd Slokam has Muraja (drum like) bandham.

23. The 23rd Slokam has the yamakam of sajAtIya nirantara yamakam.

24. The 24th Slokam has the GaruDa gati cakra bandham.

25. The 25th Slokam has the caturanga-turanga bandham.

26. The 26th Slokam has turanga padoddhata cakram; the 25th and the 26th Slokams have also been described as having pratipAda turanga bandham.

27. The 27th Slokam is illumined by sarvato bhadra and dvisvara cakrams.

28. The 28th Slokam has trisvaram — a type of svara citram.

29. The 29th Slokam has ekasavra citram -AkAra Citram.

30. The 30th Slokam has trivynajana citram.

31. The 31st Slokam has dvi vyanjana citram.

32 & 33. The 32nd and the 33rd Slokams have eka vyanjana citram:

rarorarerararuro rurUrurururorare |
rererArerArarare rarerAririrArirA ||

— 32nd Slokam is made up of variations of one aksharam: ‘ra’

mAmA mamA mameE mAmmA mAmU mAme mamaa mame |
mAmA memi mime mAma mamo mAmA mamA mimAm ||

— 33rd Slokam is made up of one aksharam: ‘ma’

34. The 34th Slokam has the combination of sarvatobhadhram, dvayak sharam and ekavyanjanam:

mAmAna mAmAna mAmA mAna mAna namA namA |
namA namA mAna mAna mAna mAna namA namA ||

— Slokam 34 is made up of 2 aksharams: ‘ma’ and ‘na’

35. The 35th Slokam has dvayakshara citram:

mAyA mAyA mAyA mAyA mAyA mAyA mAyA mAyA |
mAyA mAyA mAyA mAyA mAyA mAyA mAyA mAyA ||

— Slokam 35 made up of 2 aksharams: ‘ma’ and ‘ya’

36. The 36th Slokam has the kavinAmAnkitakoNAsprshTa karNika ashTa dala padma cakram.

37. The 37th Slokam has the kavi kAvya nAmAngita mahA cakra bandham.

38. The 38th Slokam has the ashTAra cakra bandham.

39. The 39th Slokam has gavAksha bandham and ratha bandham (madhyama vIthI gavAksha bandham).

40 & 41. The 40th and the 41st Slokams have binnavrttAnuloma gomUtrikA bandham.

42 & 43. The 42nd and the 43rd Slokams also set in the above bandham.

44. The 44th is featured by prabandha vishaya nAmankitamashTa dala padmam (also known as vAkyAntara garbhita ashTa dala padma bandham.)

45. The 45th Slokam has the Yamaka pUrNa pAda dvaya cakram.

46. The 46th Slokam has PratipAda Yamaka citram.

47 & 48 & 49. The 47th, 48th and the 49th Slokams have binna-vrttAnuloma- pratiloma gomUtrikA bandham.

50. The 50th Slokam has three citra aspects:

(1) anuloma-pratilomam,

(2) dvi svaram and

(3) caturvyanjanam.

51. The 51st Slokam has pAdAti prAsa citram (the beginning of each pAdam has the same beginning):

padme vAsoapyahaha sumana: komaLam klAntikrtte
padmevAsoapyatimrdutano: sAhaseneti siddhe |
AyAsi tvam na kathamadhunA citrakUTASmacArAt
AyAsitvam tadiha krpayA sahyatAm sAhasam me ||

52 & 54. The 52nd and the 54th Slokams have pAdAnta prAsam:

hayarUpadharo ya Asamaste
Sritaloka: kalayA amunA samaste |
jushate dhishaNAvikAsamaste
durite devi bhavad drSA samaste || — Slokam 54

53. The 53rd Slokam has pAda madhya prAsam:

bhayAnakamalAlayam atibhayena jihvAmimAm
stavairna kamalAlayam hutabhugushNayA trshNayA |
bhajeya kamalAlayam tvahamita: param tanmaho
dhutAdhi kamalAlayam nahi bhajanti yatsamSritA: ||

55 & 59. The last five Slokams from the 55th to the 59th are set in SrnkalA Yamakam; Srnkalam is a belt worn around the waist and it is a kind of Yamakam seen in the 15th chapter of KirAtArjunIyam:

janani taTit prabhavapushe
prabhavapushe sampadAm namstubhyam |
vaSita vrshAcalavibhave
calavibhave mA sma mAm pravartayethA: || — Slokam 55

janamanukampAramyA kam pAramyAdrame na modayasi |
krtahitayAcitraNA yA citraNAm nidhistvam akhilAnAm || — Slokam 59

The detailed studies of the inspirations that SrI VenkaTAdhvari Kavi received from Swamy Desikan's Citra Paddhati are worthy topics of research. In view of the shortness of space, aDiyEn stops here and seek MahA Lakshmi's anugraham on every one of Her children.

SrI alamelumangA sameta SrI SrInivAsAya nama:

dAsan, Oppiliappan Koil VaradAchAri Sadagopan

***

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