Chapter 3 - Contents of the Saundaryalahari (Summary)

Saundaryalahari, the text intended for study, is a devotional work in praise of Goddess Parvati, composed by the great Advaitin Sri Sankara (780 - 820 A.D). The work consists of 100 stanzas. But there are views that it consists of only 98 stanzas. Manuscripts consisting of 103 stanzas have also been found. The whole poem is composed in Sikharini metre. The tantric form of worship is given jin cheng more importance in the work. The first stanza brings out the greatness of Lord Siva and His spouse Sakti. Lord Siva cannot even stir without T Sakti. He is not capable of doing anything without Her. This greatness of Sakti is stressed in the second stanza also. It is from the tiny speek on Her feet that Brahma creates the world. Visnu 's serpent (Sesa) supports the world, somehow, with His 1000 hoods, Hara pulverises the world at the time of the great deluge and besmears it on His body. The Goddess is the island of Sun who dispels the darkness of the ignorance of the illiterate. She is the stream of ambrosia of consciousness to the mentally under-developed. She is the wish-yielding jewel for the poor. For those who are immersed in the ocean of births and deaths, She acts 1 as the tusk of the great boar, the enemy of Mura. All the other Gods except Parvati hold the mudras of abhaya 1. Soundarya-lahari, 3

64 : But and varada (geatures of refuge and boon) with their hands. Parvati does not demonstrate them. The feet of the Goddess are capable of offering refuge and bestowing boons even beyond the wishes and expectations of the devotee. Once, Lord Visnu got the power to stir the mind of Siva in the disguise of Mohini by propitiating the Goddess, Cupid who is dear to Rati 2 bows down to Her and is able to fascinate the minds of even the 3 mightiest sages who have controlled their senses. He wins the world with his flowery-bow, bow-string of bees and arrows of flowers; he has spring as his attendent and Malaya wind as warchariot. His victory over the world is possible because the merciful glance of the Goddess is cast on him. 4 The poet now prays for the appearance of the Goddess before his eyes. There is a description of the form of the Her beauty is Goddess the poet wishes to see. She is banded with jingling girdle. Her body is slightly bent with the weight of breasts which are like the temples of young elephants. enchanted by slender waist. Her face is like the autummal full 5 moon and Her four hands hold bow, arrows, noose and goad. The posture of the Goddess is as follows. She is seated on the Paryanka (carpet) of Paramasiva, which is laid on the couch formed by the four Sivas (Brahma, Hari, Rudra and Isvara). This seat is situated in the mansion built of Cintamani gems and surrounded by Nipa trees. The mansion itself is in the 3. 2. S.I., 4 S.I., 5 +m 4. S.I., 6 5. Saundaryalahari, 7

: 65 island of gems surrounded by Kalpaka trees, amidst the ocean of ambrosia. The devotee who contemplates this form of the 6 Goddess, attains supreme bliss and consciousness. The Goddess sports with Her Lord, secretly, in the thousand petalled lotus called Sahasrara situated at the pericarp of the brain. She reaches there after traversing through six plexuses viz., (1) Muladhara (at the tip of genitals), (2) Manipura (at the navel), (3) Svadhisthana (at the root of genitals), (4) Anahata (at the heart), (5) Visuddhi (at the throat) and (6) Ajna (in between the eyebrows). These plexuses are centres of earth, water, fire, air, ether and mind respectively. The ascending path of the Goddess otherwise known as Kundalini Sakti is explained by this.7 Then, showering the six plexuses and the whole universe with ambrosia emanating from Her pair of feet, She descends to Her abode in the Kulakunda burrow (in Muladhara) and falls into a trance in coils. 8 9 She resides in the Sricakra which is made up of four triangles of Siva called Srikanthas and five triangles of Sakti called Sivayuvatis. The four triangles cannote the origin of Universe with Majja, Sukla, Prana, and Jiva together with the five triangles which represent Ivak, Asrk, Mamsa, Medas and Asthi. The Bindu lies at the centre of the Sricakra. There Parasambhu (Siva) resides. Outside the forty-four cornered figure made of triangles there is Vasudala made of eight petals, and Kalasra made of sixteen petals. Outside them, lie the three circles and a three lined figure.⁹ The Sricakra is as follows:- 64 S.I., 8 7. S.I., 9 8. Saundaryalahari, 10 9. S.I., 11

S RICA KRA.

66 : Good bards like Brahma try to explain the beauty of the Goddess with great effort. The heavenly courtesans, with a view to glancing at Her beauty attain identity with penance. Siva which is very hard to attain even after performing severe 10 A man who is decrepit, ugly in appearance and inactive in the art of love can captivate women if the glance of the Goddess falls on him. Women pursue him with dishevelled hair, garments slipping off, and girldles breaking down, owing The lotus feet of the Goddess rest in the to haste. 11 Sahasrarapadma, which is above 360 rays emanating from the six plexuses. Among the 360 rays, 56 rays emanate from Muladhara (centre of earth-stuff), 52 from Manipura (centre of water-stuff), 62 from Svadhisthana (centre of fire-stuff), 54 from Anahata (centre of air-stuff), 72 from Visuddhi (centre of ether-stuff) and 64 from Ajna (centre of mind-stuff)!2 The person who wishes to get proficient in the use of words sweet like honey, milk, and grapes, must contemplate Her form which is bright as autumnal moon-light, having moon on the crest and holding rosary and books in two hands and abhaya and varada mudras (refuge and boon) with the other 13 (This form of the Goddess may seem as a paradox two hands. to Her form described as devoid of abhayavarada mudras. It is only an identification of the Goddess with the other forms of 10. S.I., 12. 11. Saundaryalahari, 13. 12. Saundaryalahari, 14 13. Saundaryalahari, 15

: 67 : the Goddess.) The heart-petals of bards are opened by the crimson-coloured Goddess, as the petals of lotus flowers are opened by the crimson-coloured Sun. They are blessed with profound and fluent speech by the contemplation of the Goddess in crimson colour. 14 The Goddess is accompanied by the eight attendants like Vasini, Modini, Vimala, Aruna, Kamesvari, Jayini, Sarvesvari and Kaulini. the rays of moon-stone. She is bright and lustrous like The devotee who meditates on this form of the Goddess becomes composer of great and facile poems noted for felicity of expression with the fragrance of the sweet-lotus-like mouth of Goddess Saraswati.15 The person who meditates on the form of the Goddess having the splendour of the rising sun, the red radiance of which conceives the whole of earth and heaven, can captivate all women. Even heavenly courtesans like Urvasi, having 16 timid eyes like the deer, get fascinated. In order to captivate the woman whom one desires, the contemplation is to be as follows. The face of the Goddess is to be contemplated as Bindu and the two breasts as the two bindus below that. This means the half of Hara (Siva) 14. Saundaryalahari, 16 15. Saundaryalahari, 17 16. Saundaryalahari, 18.

68 : i.e., Sakti fire (Rajas), The first bindu i.e., Her face, indicates The two bindus presided over by Brahma. below that, indicate Sun and Moon (Sattva and Tamas) presided over by Hari and Rudra. The Universe having Sun and Moon 17 as breasts, gets fascinated by the votary. The devotee will be blessed with powers to get the submission of others when he contemplates the Goddess who is like the personification of moon-stone carved out, and sending forth nectar from its innumerable rays. He can make the serpents submissive, as if he were the king of birds who can quell the pride of serpents. With a mere glance, showering nectar, he can cure those who are afflicted with fever. 18 The votary is blessed with the attainment of supreme bliss, if he meditates with a purified mind, upon the Goddess who is like the line of lightning, who is the essence of Sun, Moon, Fire and who resides in the forest on the great lotus (Sahasrara) above the six plexuses. 19 The devotee wishes to pray 'Oh Lady, please bestow your merciful glance upon me, your servant'. But even before he says '0, Lady liberation is attained by him because the Goddess takes it to be the great sentence "(Oh lady!) thou art me". The devotee attains salvation 17. Saundaryalahari, 19 18. Saundaryalahari, 20 19. Saundaryalahari, 21

69 : through the Goddess whose feet are lustrous owing to the homage paid by the crowns of Brahma, Visnu and Indra. 20 The Goddess who had already stolen the half of Hara, became unsatisfied by that half. So She encroached the other half of the Lord and turned the body totally to a feminine form and gave crimson colour to the whole body. That is why She is found as having crimson colour and three 21 eyes, and the moon as crest. The order given by the spasmodically moving eyebrows of the Goddess is accepted by Brahma, Visnu and Siva. Hence they are engaged in the processes of creation, preservation and destruction. They are born out of Her three gunas viz., Sattva, Rajas and Tamas and bow down to the jewel-studded stool on which Her feet rest. When deluge occurs, Brahma dissolves into the five elements, Hari ceases to exist and Yama undergoes destruction, Kubera perishes, and only the Goddess exists. 22 The poet now requests the Goddess to consider every action of his as service to Her. Let his prattles be prayer to Her, movements of limbs be the mudras (symbols of rituals), any walk be circumbulation, anything eaten be oblation to the a Goddess and his lying down be prostration to the Goddess. 23 20. Saundaryalahari, 22 21. S.I., 23 22. S.I., 24, 25, 26. 23. Saundaryalahari, 27

: : 70 : Let his six sense organs attain the state of a six-footed bee that enjoys the nectar of salvation at the lotus feet 24 of the Goddess. The Gods like Indra and Brahma undergo sufferings like old-age and death even after consuming ambrosia. But Sambhu was not destroyed even after consuming the virulent poison. It is because of the greatness of Her Tatanka (ear ornament). This proves Her chastity. 25 When Lord Siva arrives unexpectedly, She will get on to Her feet. The crests of Brahma, Visnu, Indra etc., will be at Her feet, to salute. So the alarming sound of Her attendants can be heard in the following manner 'Please be away from the crown of Virinci in front;' 'please, do not tread on the hard crown of Visnu,' 'beware of Indra's diadem', 26 etc. Siva blessed the whole world with the sixty four Tantras, by which the world stood satisfied. Then at the instance of Parvati, this independent tantra of Hers was introduced into the world for gaining the aspirations of 27 Dharma, Artha, Kama and Moksa. The quintessence of the Tantra of the Goddess is then explained under the name of Srividya. 9 The words used to cennote it are Siva, Sakti, Kama, Ksiti, / Ravi, Sitakirana, Smara, Hamsa, Sakra / Para, Mara, Hari. The letters in 24. S.I., 28 25. S.I., 29 26. S.I., 30 27. Saundarya-lahari, 31

71 : Srividya are ka, e, i, ka, la (12 letters). la / ha, sa, ka, ha, la/ and sa, These are divided into three parts. Hrim is suffixed to each part to form Kamaraja-Kuta, Vagbhavakuta and Saktikuta respectively (15 letters). When Srim' is prefixed in the beginning, the sixteen lettered vidya called Soda baksari or Srividya is depicted. When the letters Klim, Hrim and Srin, connoted by Smara, Yoni and Laksmi (Madanabija, Bhuvanesvari bija and Ramabija) are placed in the beginning of Sodasaksari it blesses the devotee with immense wealth. (There is another view that the letters ka, e and I are to be placed in the place of ha, sa and ka of the second kuta of Sodabaksari). 28 The first part of the Sodasak sari prescribes contemplation of the Goddess from crest to neck; the second part prescribes contemplation from neck to hip and third part prescribes worship from hip to foot. The Sadhaka has to utter the chant with the rosary of cintamani and offer oblations of pure cow-ghee in Sivagni (sacrificial fire) 29 The body of the Goddess is not distinct from that 9 of Siva to whom Sun and Moon are the breasts. Both Siva and Sakti are having the name navatman i.e., equality in nine vyuhas Kala, Kula, Kala, Nama, Jnana, Citta, Nada, Bindu and Jiva. 28. Saundaryalahari, 32 . 29. Saundaryalahari, 33

72 : The relation between Siva and Sakti is said to be that of complement (Sesa) and essence (Sesi). of supreme bliss both carry equal weight. For the experience 30 The five elements of earth, water, fire, air, ether together with mind are the Goddess Herself. The Goddess acquired the form of Siva's wife, so as to transform Herself as the world. 31 When the votary contemplates the Goddess, in Ajnacakra, who is in embrace with Lord Sambhu, effulgant with crores of Suns and Moons, the votary is blessed with 32 the life beyond the world of Sun, Moon and Fire. In the Visuddhi cakra Lord Siva, the generator of ether, resides as crystal clear. The Goddess here dwells with the lustre equal to moon-beams. Here, the contemplation of Siva and Sakti leads to the removal of internal darkness as well as Universal darkness. 33 The Anahata-cakra is blessed with their residence in the form of heavenly swans. They feed on the nectar of the lotus of pure knowledge. It is their cackling that formed as the eighteen branches of knowledge like six Vedangas, four Vedas, Purva-mimamsa and Uttaramimamsa, Nyaya, Purana, Dharmasastra, Ayurveda, Dhanurveda, Gandharva and Nitisastra. 34 30. Saundaryalahari, 34 31. S.I., 35 32. Saundaryalahari, 36 33. S.I., 37 34. Saundaryalahari, 38.

73 : Samvarta. The Svadhisthana is occupied by the holy fire of She presides there as Samaya sending the merciful glance to soothen the whole world, which is consumed by the mighty stare of Siva. 35 Lord Siva is radiant like the dark-hue of the blue cloud and Sakti is like the flash of lightning. The Manipuracakra is radiant with their form. The various jewells adorned Siva and Sakti by Siva cause the appearance of the rainbow. shower rain over the world which is withered out by the heat of Fire and Sun. 36 In the Muladhara, Siva and Sakti are engaged in the divine dance. It is because of His Tandava (dangerous dance) and Her Lasya (delicate dance) that the creation of the world They, in their hibiscus-crimson hue, are remembered 37 occurs. by the devotee as the parents of the Universe. The Goddess is praised from head to foot, now-onwards. The jewells studded on the crescent of the Goddess make such 38 a sparkle, that one may mistake it to be the rainbow. The thick and dark lock of Her hair, resembles the They expel the internal darkness appearance of blue lotus. in man. The flowers of Kalpaka trees adorn Her head not for 39 fragrance. Instead, they attain fragrance from Her hair. 35. Soundarya-lahari, 39 36. S.I., 40 37. Saundaryalahari, 41 38. S.I., 42 39. Saundaryalahari, 43.

74 : lotuses. The facial beauty of the Goddess outrivals that of Her fore-head is surrounded by bee-like curls. When a smile appears on the lips, the teeth shine like the lotus stamens; the fragrance of Her smile attracts the bee-like eyes of Siva. 40 Her 42 The fore-head of the Goddess is a second half-moon to the one found on the crest. When both are inverted 41 (transposed) they together form a fullmoon. Her eye-brows seem like the bow of cupid. The gap between eye-brows and Her nose act as the concealed space caused by the grip of Cupid on the bow with his wrist and fist of the left hand. Day and night are caused by the eyes of the Goddess. right-eye acts as the Sun, left eye acts as the Moon and the interval between day and night (twilight) is caused by Her third eye, which is slightly red. forth eight types of visions with Her eyes. Visala-glance (blooms inward) is all-comprehensive; Kalyani glance (filled with surprise) spells prosperity; Ayodhya-glance (with expanded pupils) cannot be faced in battles; Dhara glance (denoting idleness) showers forth mercy; Madhura glance (showing a slight swirl) is superbly sweet; Bhogavati glance (friendly expression) enables one to enjoy immense happiness; Avanti 43 The Goddess sends geb glance (innocent nature) is saviour of 40. S.I., 45 41. Saundaryalahari, 46 42. S.I., 47 43. Saundaryalahari, 48

75 : Universe; Vijaya - glance (oblique vision) outrivals all because of its prevalence on all cities. These glances produce effects of agitation, attraction, melting, infatuation, 44 subjugation, exorcising, antagonising and death-dealing. When bards sing in praise of the beauty of Goddess, the two long eyes reach near the ears so as to enjoy the bliss of hearing. Her third eye tries to reach near the but never succeeds in that attempt. So it gets ears; red due to intolerance and jealousy, seeing the fortune of 45 the left and right eyes. Various sentiments are expressed by Her eyes. Erotism is expressed towards Siva, aversion towards some, anger towards the Ganges, wonder towards the feats of Lord Siva, fear towards His snakes, smile towards Her friends and compassion towards devotees. 46 Siva the destroyer of Puras had tried to extirpate erotism by burning Cupid. But, the two eyes of the Goddess appear as the arrows of Cupid, the feather ends of which are 47 Her eye-lashes. The varient colours of Sattva, Rajas and Tamas are found in Her eyes (white near the pupils, slightly red in the corners, and black due to collyrium applied in eyes). These may seem as if it were to create Brahma, Visnu and 48 Siva after deluge. The colours of Her eyes represent 44. S.I., 49 45. Saundaryalahari, 50 46. Saundaryalahari, 51 47. Saundaryalahari, 52 48. Saundaryalahari, 53.

: 76 : the three rivers viz. Sona (golden), Ganga (white) and 49 Yamuna (dark), and they provide for salvation. Creation and deluge occur by the opening and closing of Her eyes. It is to avoid the fear of deluge, that She keeps Her eyes 50 The eyes of the Goddess are so beautiful always open. 9 that even Sapharika-fish are inferior to Her eyes in comparison. Out of this inferiority 1000 complex the Sapharikas remain 51 deep in the water. lotus during night. The Goddess of wealth dwells in the When morning dawns, She quits the lotuses to enter the eye lotus of Goddess Parvati." 52 The poet now prays for Her compassionate glance which is capable of extending to an unlimited distance. It is very easy for Her like the shedding of moon-beams on forest and mansion alike. of Cupid. 53 Her curved eye-brows seem like the bow The sudden side-glance of Hers reaching near the ears in a flash will confuse the onlooker who may think that it is an arrow shot by Cupid.54 The two Tatankas (ear ornaments) of the Goddess are reflectedmon the crystal clear cheek, to form the four wheels of the chariot of Cupid. He fights with Siva, the controller of senses, who once faught, on the chariot with 49. S.I., 54 50. Saundaryalahari, 56 51. Saundaryalahari, 55 52. Ibid. 53. S.I., 57 54. Soundarya-lahari, 58.

: 77 : 55 Sun and Moon as its wheels, when He confronted the Puras. She drinks the ambrosia of the sweet songs of Saraswati when Her two ears serve as the cup-like hands to receive it. In appreciation She nods Her head and the jingling sound produced by the ear-ornaments seems to give applause 56 in response to it. Her nose is like a bamboo stalk bearing pearls inside, instead of grains. Owing to their abundance the pearl comes outside during the process of breathing and She bears them outside as nose-ornament. The reddish-lips surrounding the bright teeth can be compared only to the ripe coral-fruits in the coral creeper. Their comparison to bimba-fruits does not suit, because 57 bimba fruits receive redness by the reflection of Her lips. 58 59 Cakora birds are fed-up by the over-sweetness of Her facial moon. And just for a change, they drink the nectar of moon-light which is like a fermented gruel to them. Owing to Her incessant chatting about the glorifications of Lord Siva, Her tongue has become red. As Saraswati resides at the tip of Her tongue, her complexion also has 60 changed to red. 55. S.I., 59 56. Saundaryalahari, 60 57. Soundarya-lahari, 61 58. Saundaryalahari, 62 59. Saundaryalahari, 63 60. Saundaryalahari, 64

78 00 After victory over Daityas, Skanda, Indra, etc., return to rejoice victory. They hesitate to take in the remnants of the oblations offered to Siva; but they snatch up the bits of betel and flakes of camphor offered by the 61 mouth of Goddess Parvati. Goddess Saraswati plays the notes of the glorifications of Pasupati on her lute. The Goddess in response But, thinking that the says something in congratulation. songs of Her lute are inferior to the sweet tongue of the 62 Goddess, Saraswati hides the lute in hesitation. It is hard to find an object to compare with Her chin. Out of affection, Her father Himavan takes it in his hands and Pasupati, 63 out of passion, tilts it up to embrace. The face of the Goddess is like lotus and Her neck seems like the lotus stalk. is naturally white. Though adorned with necklace, Her neck Owing to the application of the paste of black aloes, it seems like the filaments stained by mud. She is well versed in the three arts of singing viz., Gati (theme consisting of Marga and Desi) Gamaka (ornamentation consisting of five types of Gamakas) and Gita (melody consisting 65 of dhatu and matu). The knots knotted by the Lord on the wed-lock at the time of Her marriage, shine forth as if they were showing the bumps of the three bases of all music tones 61. S.I., 65 62. S.I., 66 63. S.I., 67 64. Saundaryalahari, 68 65. .., See Sangitaratnakara, Vol. II Adhyaya II to IV.

79 66 i.e., Sadja, Madhyama and Gandhara. Brahma, the creator, always praises the beauty of the hands of the Goddess with a prayer to save him from the nails of Siva. He is afraid, for, he is reminded of the fact that Siva's nails had once plucked away his fifth head. The reddish glow of Her 67 nails has no object of comparison. Perhaps, the reddish mark left on lotus by the red-lac on the feet of Goddess Laksmi can claim a little comparison. 68 The breasts of Parvati are very large. While sucking milk from them, Ganesa feels on his temples with his hands, so as to ascertain whether he is sucking milk from his mother's breasts or his own temples. This act provokes laughter among his parents. It is because of this milk that Kumara and 70 69 Ganesa are still unaware of sex. The pearls collected from the fore-head of Stanberamadanuja after killing him are fastened to a necklace. It adorns Her breasts. Its gleam, when in contact with the reddish glow of Her lips, gives the appearance of varied colours. It may seem as if the glory and valour of Siva are represented by the white and The milk flowing from Her breasts red colour of pearls.71 is the essence of knowledge originating from Her heart. 66. Soundarya-lahari, 69 67. Saundaryalahari, 70 68. Saundaryalahari, 71 69. S.I., 72 70. Subhagodaya, 73 71. Saundaryalahari, 74.

80 : This milk was once given to Dravidasisu who became the best While Cupid became prey to 72 composer of literary works. the glance of the third eye of Siva, he took a dip in the navel pool of Goddess Parvati. The smoke created by his burning body took the shape of the blue creeper-like line of hair above Her navel. Yamuna. 73 It seems like a wave of River Those of pure insight take it to be the sky itself entering the navel. The navel seems like the motionless eddy of the Ganges, the hair above navel is like a creeper 74 supporting the bud of breasts. Her navel is now compared to a pit in which Cupid was burnt as an oblation, to a pleasure bower of Rati and to the mouth of the cavern 75 for the attainment of Yoga for Siva. The slender waist bearing Her breasts, appears as if bending and almost breaking, like a tree, about to break down on the river banks which are being washed away by flood.76 The three creases are found on the waist, like lavali creeper to 77 support the breasts. The bu The buttocks of the Goddess are very wide. It may seem, as if Her father who is having abundance of land, gave 72. Saundaryalahari, 75 73. Saundaryalahari, 76 74. Soundarya-lahari, 77 75. S.I., 78 76. Saundaryalahari, 79 77. Saundaryalahari, 80.

81 so much space as dowry to his daughter. 78 Her thighs outrival trunks of elephants and plantain stalks. The rounded knees which are hardened by continuous salutation to the Lord, Her two shanks seem excel the temples of elephants. 79 like the quivers made by Cupid to place his arrows in order The nails found on Her toes are ten Siva. to fight with Siva. shafts which are sharpened by sbeing rubbed against the crowns of the Gods, which act as whet-stones. 80 The feet of Goddess Parvati are honoured by the Vedas;B River Ganges who resides in the matted hair of Sambhu waters Her feet, when He bows down to the Goddess; the red lac on those feet reddens the jewel of the crest of Visnu. Siva cannot tolerate the sight of the kicking given by the Goddess on Asoka tree. He is jealous of the fact that even in amorous sports, He does not receive the kicks though He very much desires it. 81 The jingling of Her anklets seems to Him as if it were a sarcastic laugh of Cupid, who could defeat Siva by making Him passionate towards Goddess Parvati.82 The feet of the Goddess excel lotuses in comparison. Her feet are accustomed to walk on snow mountains and they do not wither out in extreme cold like Lotus flowers receive the Goddess of wealth 83 the lotuses. 78. S.I., 81 79. S.I., 82 80. S.I., 83 81. Soundarya-lahari, 85 82. S.I., 86 83. S.I., 87

: 82 : only; (the devotees of the Goddess). The tender feet of the but Her feet bestow wealth in abundance to Samayins The Goddess cannot be compared to the hard back of the tortoise. It is really wonderful to see that Siva could place Her foot 84 on the hard grinding stone at the time of marriage. ten nails on the toes of the Goddess resemble ten crescent moons and they make the heavenly damsels bow to Her with holded hands. Their folded hands appear like closed petals of lotuses at the sight of the crescent-moon-like nails of the Goddess. The Kalpaka trees are capable of bestowing blessings on the heaven-dwellers only. But Her hands can bestow blessings to all the poor and needy 85 devotees. The poet eagerly desires to drink the water which washes Her feet. The water with which Her feet are washed, resembles the betel juice from Saraswati's mouth (because of the red-lac applied on Her feet). It is capable of turning even dumb-people into poet-laureates. 86 The graceful walk of the Goddess is imitated by the swans. to teach gay steps to them. The jingling of anklets seems to be the direction 87 Her smile is straight-forward but hair is crooked; Her heart is soft, but breasts are hard; Her waist is slender, but hips are wide; these contradictions 84. Saundaryalahari, 88 85. Soundarya-lahari, 89 86. Soundarya-lahari, 90 87. S.I., 91

83 : indicate Her gracious power to control the universe having 88 contradictory characters. She resides in the heart of Siva, where those with unsteady senses, cannot enter. That is why Indra has to get satisfied standing at Her gate, along with the eight gunas like anima, mahima, etc., even though he has performed 100 sacrifices. 89 She is seated on the couch made of Brahma, Visnu, Rudra, and Isvara who are engaged in the acts of creation, preservation, destruction and dissolution, Sadasiva who is the imaginary 9 The stain found carpet on which She sits, is crystal white in complexion. But He attains redness, being in contact with the Goddess 90 who is the personification of erotism. in the moon, is not really a stain. It is the musk kept in the moon, which Parvati uses for applying on Her eyes. By daily use of musk from this emerald canister (moon), it waxes. On every full-moon day, creator again fills it with musk. 91 The devotee who meditates the form of Goddess Parvati surrounded by Anima and other gunas can acquire great wealth easily. He stands unaffected by Samvarta fire, which acts as the light-wavering ceremony to him. 92 A poet blessed with literary merits is called Lord of Saraswati. A rich man is called Lord of Laksmi. 88. S.I., 92 89. S.I., 93 90. S.I., 94 91. S.I., 95 92. S.I., 96

84 : 93 But Lordship of Parvati is unattainable to anyone. She is spoken of as the bestower of learnedness, bestower of wealth, daughter of Himavan, partner of Siva and above all 94 95 the spouse of supreme Brahman. The devotee of Goddess Parvati can easily sport with Saraswati and Laksmi. With his charming complexion, he can spoil the chastity of Rati. Leading a long life, he can get rid of the bondage of births and illusions, and can enjoy bliss. The rays of the Sun which originate from it apply nirajana (light-wavering) to the Sun itself. Water emanating from Moon-stone is offered as arghya (receiving one offering water) to the Moon, with its own water. The water emanating from clouds is offered as sauhityakarana (receiving one with satiety with water) to ocean, which originates from itself. Likewise the words sung in praise of the Goddess so far, which originate from Herself, are offered as praise to the Goddess by the 96 poet. 93. S.I., 97 94. S.I., 98 95. Soundarya-lahari, 99 96. S.I., 99