Chapter 4 - Poetic beauty in Saundaryalahari

Saundaryalahari consists of three parts namely Anandalahari (1 to 41 stanzas), Saundarya-lahari (42 to 91 stanzas) and Svarupalahari (92 to 103 stanzas). Each and every aspect of Goddess Parvati is imagined by Sankara with great poetic fancy and depicted with all its beauty. It may seem hard to believe that an Advaitin free from all bondages on earth, could compose such lustrous lines studded with rare jewels of imagery and ornamentations. No wonder, Goddess Laksmi blesses the devotee with incessant shower of golden goose-berries, the moment he praises Her with captivating and melodious lines of No wonder, Goddess Laksmi and Lord Kanakadharastava. Visnu blessed Sankara's mother at her death-bed liberating her from earthly life, at the moment when the spontaneous flow of Krsnastaka occurred from the lips of this authentic genius. From head to foot, the beauty of Goddess Parvati is praised in Saundaryalahari (42 to 92) as follows:- Kirita (crest) 42. Cikura (curls) 43. Simantarekha (partition line on the head) 44. Vaktra (face) - 45. Lalata (forehead) - 46.Bhruvau (eye-brows) - 47. Nayana (eye) 48. Drstih (glance) - 49, 50, 51, 52, 53, 54, 55, 56, 57, 58. Tatanka (ear ornaments) - 59, 60. Nasa (nose) and Nasabharana (nose-ornament) -

: 86 61. Danta (teeth) - 62. Vadana (face) - 63. Jihva (tongue) - 64, 65. Vacana (words) - 66. Cibuka (chin) - 67. Griva 1000 (neck) 68, 69. Bhuja (hands) Stanayuga (breasts) - 72, 73, 74. 70. Nakha (nail) - 71. Stanya (breast-milk) - 75. Nabhi (navel) - 76, 77, 78. Nitamba (buttocks) 81. Janu (two Madhya (abdomen) - 79, 80 thighs) - 82. Janghe (shanks)- 83. Caranau (feet) -84, 85, 86, 87, 88, 89, 90, 91. Srigara (erotism) 92. Arunarupa (form in crimson colour) - 93. Vadana (face)-94, 95. Caranau (feet) - 96. Satitva (chastity)-97. Mahima (greatness) - 98, 99, 100, 101, 102, 103. A great variety of Alamkaras is also found in Soundarya-lahari, though the major portion in the work is important as a portrait of tantric philosophy. The first part of the work viz., Anandalahari, though not so much notable for literary merit as the second part of Saundaryalahari exhibits certain alankaras like Parikara, Parinama, Nidarsana, etc. Beautiful imagery enriches most of the stanzas. An Advaitin like Sankara, living in the garb of an ascetic, can rarely compose such divinely excellent lines. The ornamentations he uses, for depicting the beauty of the Goddess can claim divine excellence. The whole work is composed in Sikharini metre. Alankaras: While speaking about the beauty of the Goddess, the description of the crown comes first. Seeing

87 : the crescent on Her crest jewel, Sankara doubts whether rainbow itself is studded there with various jewels. 1 Here we can see three alamkaras - (1) Utpreksa (because the crest jewel is compared to rainbow) (2) (2) Sandeha (because crescent is concealed behind the simile of rainbow) (3) Atisayokti (because the quality of the crown is exaggerated and suspected as rainbow). The 43 rd stanza speaks of Her locks. Upama and Samasokti are the alankaras. Here Utpreksa, The full-blown blue lilies (which are represented by Her curly-locks) are supposed to give fragrance; but, instead, they unveil the inward darkness in man. It is said that the flowers of Kalpaka trees get fragrance because they adorn Her lock. The partition streak on the forehead is spoken of as a channel to let out the flood of beauty and hence, Utpreksa. Her sindura (vermilion) on the fore-head is compared to the rays of the Sun. Here also Utpreksa is used. Darkness is imposed upon the locks; so Rupaka also shines forth. 2 1. S.I., 42 2. l S.I., 44. This verse is cited by Appayyadiksita in his Kuvalayananda, as an example for Prastutankura. Vahanti sinduram - Atra varnaniyatvena prastutayah simantasaranervadana saundaryalahariparivahatvotpreksanena paripurna tatakavat parivahakaranibhuta svasthane amanti vadanasaundarya samruddhih pratiyate. saapi varnaniyatvena prastutaiva.

flower. : 88: Her face may seem to mock the beauty of the lotus Upama is the figure of speech used here. Her curly lock reminds one, of the bees; Her row of teeth shines like lotus stamens which are attracted by the fragrance of Her smile. Siva's eyes in erotism are like bees, Rupaka is found reflected. Vastudhvani is seen 3 when the poet says that Siva, the vanquisher of Madana, is tortured by the beauty of Her face. Utpreksa is the alankara where Her forehead is considered as an inverted 4 crescent, and also, where Her well-curved eyebrows are the seeming-bent of cupid's bow, the two eyes resemble the stretched-string of the bow; the gap between the eyes, upto nose, is the fist of cupid. 5 Her two eyes and the third eye are supposed to 6 be the progenitors of morning, night and twilight. It is well known in the Agamas and hence Svabhavaokti. 7 Vastudhvani and Atisayokti are combined in the stanza where the Goddess is said to have eyes touching the ears. By a single vision contradictory sentiments like Srigara (erotism), Dvesa (anger) etc. are expressed. This illustrates Virodhalankara. Here though erotism is indicated, other sthayibhavas (permanent traits) 3. Soundarya-lahari, 45 4. Saundaryalahari, 46 5. Saundaryalahari, 47 6. Saundaryalahari, 48 7. Saundaryalahari, 50

89 : are also said to occur and hence Rasavat is also the alankara.8 She is said to send forth arrows like those of Cupid. 9 Nidarsana is the figure of speech here. The descriptions that come next are about Her eyes. 10 The Goddess is having three vague lines of nerves in Her eyes. Utpreksa and The poet suspects them to be the three attributes of Sattva, Rajas and Tamas and with Her glance, She carries out the process of creation, preservation and destruction. Vastudhvani are reflected here. The three lines are again explained as the three rivers i.e., the Sona (red), the Yamuna (slightly black) and the Ganges (slightly red) through Utpreksa. By the processes of opening and shutting of eyes the processes of creation and destruction of the world are conducted. Phalotpreksa is reflected here. The acts of creation and destruction by the Goddess is renowned through Sruti and therefore Svabhavokti is illustrated, and as Her greatness is told here, Vastudhvani also is exemplified.11 Utpreksa and Atisayokti are combined in the 56 th stanza. The immovable nature of the eyes of fish is quite natural, but is commented on here, as fearfulness. Again, the entrance of netralaksmi (Goddess Laksmi residing in Her eyes) into the petals of water-lilies at night (as the cause of their blooming in night) and the entrance of netralaksmi 8. Saundaryalahari, 51 9. Soundarya-lahari, 52 10. Saundaryalahari, 53, 54. 11. Subhagodaya, 55.

: 90 90 : into the eyes of the Goddess in the morning are mere exaggerations. Kavyalinga shines in the same line when it is said that fish are said to hide inside water, for fear of not being fit for comparison with Her eyes. Her vision is mistaken to be a collection of the arrows of Cupid, and the space between eyes and ears is suspected to be the bow of Cupid. Bhrantimat as well as 12 sandeha is seen here. The next stanza is a fine example to Kavyalinga and Atisayokti. Her face is a chariot on which Cupid fights with Lord Siva. Siva prepares for a war with him in which the Sun and the Moon act as the wheels Cupid fights with Siva mounted on Her facial of the chariot. chariot in which Her Tatankas are the wheels. Hearing the nectar-tickling words of Goddess Saraswati, the Goddess shakes Her head in appreciation. Automatically the Kundalas (ear-ornaments) make a jingling sound, which the poet suspects to be the response made by the Goddess. Utpreksa and Atibayokti are combined here. 14 13 Rupaka is depicted in the next stanza where Her nose is spoken of as a bamboo-stalk, shedding forth pearls instead of grains. These generally are born inside. But here (in the case of the Goddess) owing to the abundance in production, She wears it outside the nose. It forms the nasabharana (nose-stud). In the 62 nd, 63 rd, and 64 th stanzas we find Atisayokti. found red are not red naturally. 15 The Bimba fruits which are Redness is acquired by them The conception that Cakoras are fed through Her red-lips. 12. Saundaryalahari, 58 13. Saundaryalahari, 60 14. Saundaryalahari, 61 15. S.I., 62

91 : on the moon-light becomes a mere fiction, when one thinks of Her face. It is to be understood that moon-light seems to be sour gruel to them and the facial moon of the Goddess 16 showers forth light which is fed by Cakoras. The tongue of the Goddess has become red, owing to the incessant chatting of Siva's greatness and Goddess Saraswati who resides at the 17 tip of Her tongue has acquired the redness of Her tongue. Here Gunalankara also is well brought out. The remnants of Her tambula (chewed betal) scented with camphor are eaten with relish, by Her son Kumara and Indra, and Upendra, who rejoice in their victory after the task of defeating the demons. Here we see Svabhavokti exemplified. Atisayokti where we see Goddess Saraswati is reflected in the place 19 18 getting ashamed of her lute and hiding it under the brim of her garment, because it failed to produce such sweetness in sound as Goddess Parvati could. Ananvaya is the alankara used in depicting the nectar-tickling lips to which no object of comparison can be found. The three lines on the neck, 20 reminding one, of the three knots on Mangalyasutra (wed-lock) are representations of Svaragramas i.e., gati, gamaka and gita (Utpreksa is seen here) 21 16. Saundaryalahari, 63 The poet satirically mentions 17. Saundaryalahari, 64 18. Saundaryalahari, 65 19. Saundaryalahari, 66 20. Saundaryalahari, 67 21. Saundaryalahari, 69

92 Brahma, who always praises Her, as if it were an earnest request to Her to save him from the nails of Lord Siva which once plucked away one of his heads. 22 Both Kavyalinga and Atisayokti are combined here. Bards fail to express the beauty of the fingertips, where nails seem to mock the lustre of lotus stalks. Here we can see Gunalamkara. 23 In the stanza 24 where there is no object of comparison for Her breasts, except temples of Vinayaka, Atisayokti and Upameyopama are combined. Another combination of Kavyalinga and Rupaka is seen in the 73 rd stanza. Vinayaka and Skanda are still unaware of sex and are still in celebacy, because they have sucked the nectar of Her breasts which are compared to pitchers. The pearl-necklace which She wears on Her neck is made of fame and status. So also, Her breast is the source 25 of fame and it milches knowledge which is white in colour. Here we see Utpreksa. The hair above Her navel has got the appearance of a creeper of smoke which arose when Cupid took a dip with his burning body, after becoming prey to the glance of the third eye of Siva. Here is a combination of Utpreksa 26 27 Bhrantiman and Atisayokti. The next two stanzas contain the figure of speech, Malarupaka, where we can see Her navel 22. Saundaryalahari, 70 23. S.I., 71 24. Soundarya-lahari, 72 25. S.I., 75 26. Saundaryalahari, 76 27. Saundaryalahari, 77, 78

93 : compared to a blue creeper of waves and to a creeper of sky. The middle part of Her abdomen is compared to the root of a tree, being washed away by incessant flow of water, and the 28 three partition-lines on the waist are lavali creepers. Here Upama as well as Utpreksa is seen. Atisayokti and Samasokti are used to explain that it was Cupid, and not Brahman who moulded out Her breasts and when he saw that Her waist cannot tolerate the weight of breasts, three rounds of creepers were tied round it, which appear like 29 three golden lines. Her buttocks are having the same size and weight of the land of Himavan which make one believe 30 Here we that Himavan had given his land as gift to Her. see Utpreksa and Atisayokti. The same combination is found in the 83 rd stanza also. Her shanks seem like the bowsheath of Cupid, and the tips of toes get more lustrous because of their rubbing on the crests of Gods who bow at Her feet. Another combination is, of Upama and Vyatireka. 31 Her thighs are said to excel the plantain stalks, the legs to excel the tusks of elephants and the two thigh-bones, to excel the temples of the elephant. Rupaka is exemplified 32 when the poet says that Her feet tread upon the heads of Brahman, Visnu, and Siva. The next two stanzas i.e., 28. Saundaryalahari, 79 29. Saundaryalahari, 80 30. Saundaryalahari, 81 31. S.I., 82 32. Saundaryalahari, 84

: 94 : 85 th and 86 th, are ornamented with Atisayokti; The touch of Her feet is known by none except Asoka tree which blossoms. by that holy touch. And therefore Siva is jealous of the fact that even though He is desirous of getting the touch of Her feet during love-quarrels, he cannot get it, whereas Asoka gets it. At the time of amorous sports, Her anklets make a jingling sound, as if it were the mocking of Cupid, suggesting that he could win even Lord Siva who is already known as the controller of senses. Her feet outrival the lotus not only in beauty but also in many other aspects. The petals of lotus cannot tolerate snow-fall and so drop in cold season. But her feet remain unaffected in the snowy mountains, Her own father's land. Her feet bestow limitless prosperities to the devotees viz., the followers 33 of Samaya path. Here we see Vyatireka. The object of standard comparison for the top of shapely foot is -'back of tortoise'. The poet cannot agree to that. Her tender feet which cannot tolerate the hardness of grinding-stone 34 (on which, feet are placed at the time of marriage) cannot be compared to the hard back of tortoise. We can see Ananvaya and Atisayokti here. Another example of Vyatireka is the mention of Her feet, compared to Kalpaka-tree. Kalpaka tree is capable of granting boons to divine beings only, whereas Her feet are capable of bestowing desired objects to all the needy people. In the next two stanzas But 35 33. Saundaryalahari, 87 34. S.I., 88 35. Soundarya-lahari, 89

: 95 : we can find Utpreksa (91 st and 92 nd). The redness of red lac applied on Her feet is compared to the remains of tambula rasa of Goddess Saraswati, the consumption of which can transform even dumb people into poets. The jingling of Her anklets at the time of walking may seem as if it were teaching gaity steps to swans. Here Atisayokti also can be seen. The poet now compares Her feet to wish-yielding trees (granting riches according to desires to devotees). Their sense-organs crave to reach the sacred feet of the Goddess like a six-footed Atisayokti and Parinama as well as Upama are in evidence bee. here. 36 Atisayokti in 93 rd and 94 th stanzas and Utpreksa in 95 th and 96 th stanzas shine forth respectively. Her form as Goddess Aruna is spoken of as personification of mercy and the eight traits like anima, laghima, 37 etc., are referred to as guards who stay at Her gate. Redness which is the symbolic colour of erotism is attained by Her 38 when She is in union with Siva. The creseent moon is spoken of as a jewelled vessal of collyrium which daily fades away just because of Her continuous usage of collyrium. 39 Any learned scholar can captivate Goddess Saraswati. wealthy man can captivate Goddess Laksmi. But Goddess Parvati excels them in the fact that nobody can be Her 9 Any captivator except Lord Siva. Ananvaya is the alankara 36. S.I., 90 37. Soundarya-lahari, 93 - 94 38. Saundaryalahari, 95 39. Saundaryalahari, 96 40

: 96 : 41 Both Drstanta and Prativastupama are reflected, 40 used here. when the poet says GARD "Nirajana (light wavering) is done to Sun by its own rays, Arghya (oblation in honour) to Moon is done with its own water from moon-stone, Sauhityakarana (satisfying) to ocean is done with its own water and my praise to thee is done with words emanating from thyself." IMAGERY This rednes of the The poet's appreciation of divine beauty is expressed in most of the stanzas which exhibit his talents in the use of imagery. The 44 th stanza is a beautiful picture of Her parting streak on the forehead. The partition line on the fore-head is besmeared with vermilion. vermilion here reminds one, of the red hue of the Sun's rays at the time of sun-rise. Her face appears like the rising Sun and is supposed to be a channel for the outlet of beauty. The darkish blue hue of Her thick lock on both sides of the parting-streak may seem like a prison to the rising facial Sun of the Goddess. The comparison of Her fore-head to the seeming-half-moon is more sweet. The poet says, anybody, at first sight will take, the curved fore-head to be an inverted half-moon. To one's surprise, it can be seen that when the curved fore-head which is like a seeming semicircle, and the crescent on Her head i.e., another semicircle, are transposed, 40. S.I., 97 41. Soundarya-lahari, 100.

97 : 42 a seeming-full-moon is formed. One cannot help admiring Sankara, when he compares the curving of Her eyebrows to the curves of Cupid's bow and the long eyes of the Goddess reaching up to ears to the long-stretched bow-string of Cupid. 43 We may doubt, as to what the gap between Her two eye-brows stands for. According to Sankara it is the grip of Cupid, who holds the bow in his left hand and thus hides the middle portion of the bow and string by the fore-arm of fingers. The sayings of Goddess Saraswati, are nectar drops to Her ears. While listening to them, in a sense of congratulation the Goddess shakes Her head. Automatically, Her Kundalas (ear-ornaments) get shaken and produce a jingling sound. It is not the jingling of Kundalas, says Sankara; but it is the response of admiration. 44 Generally the object of comparison for nose, is tilapuspa (gingelly flower). Here there is a novelty in the object of comparison for Her nose. Her nose is compared to bamboo stalk. Just as we see grains in the bamboo stalk, Her nose also bears pearls inside. And owing to the abundance in the production of pearls, one pearl from inside came out stealthily and stuck itself outside the flap of Her nose. To our eyes it seems as 45 a jewelled-nose-stud. Another sweet comparison is 42. Saundaryalahari, 46 43. Soundarya-lahari, 47 44. Saundaryalahari, 60 45. Saundaryalahari, 61

: 98 : about Her chin, to the handle of hand-mirror which is taken in hand by Himavan due to affection and which is tilted up by Siva to kiss, out of passion. 46 The poet's knowledge in the science of music is also admirable as seen in his depiction of the Devi as Goddess of musical melodies gati, gamaka, and gita. 47 The passage describing the pearls collected from the forehead of the elephant-shaped demon Stamber ama danuja slander by Lord Siva as being fastened into the necklace i worn by her; and the most imaginative descriptions of the luminous figure of the Devi in all aspects of divine beauty are specimens of the unparalleled poetic excellence attained by 1 Sri Sankara. The poem abounds in felicity of expression and elegance of style.48 Examples for elegance and fluency of style are also not rare in the poem. SENSE OF HUMOUR Some lines exemplify the poet's sense of humour also. The third eye of the Goddess is slightly red. The poet goes on satirically to indicate that it is caused just by the inborn jealousy usually found in women. Her third eye is intolerant in seeing the other two eyes nearing the ears to enjoy the nectar of poesy which is in praise of Her 46. Saundaryalahari, 67 47. Saundaryalahari, 69 - see pages 18 - 19 see pages 18 - 19 above (chapter III) 48. Saundaryalahari, 73 - 81

40 99 beauty. 52 The same tone echoes when he describes that Her eyes seem to mutter something to the ears. The Sapharikas see this and soon they hide inside the deep-water. They never dare to come to the surface of the water because they think they are malingned for their inferior beauty when The poet laughs at the moon-light compared to Her eyes. 53 which no more serves as food for Cakoras. It has rather become a sour gruel to Cakoras, which now feed on the facial moon-light of Goddess Parvati. Moon-light is now totally neglected because Her face serves as ambrosial food 54 for them. We cannot help smiling, when we see the pathetic situation of the Goddess of learning, who unknowingly hides her lute in hesitation. Saraswati was conscious of the inferiority of her lute when compared with the sweet tone of Parvati. So even when Parvati spoke in admiration of her lute revealing the glory of Pasupati, Saraswati conceals her lute out of the sense of inferiority mentioned above. 55 She may Brahma is pictured as trembling in fear which compels him to mutter words of the praise to Parvati, so that, save him from the fear of Pasupati's nails which had once plucked one of his heads. 56 Humour is the outstanding element seen in the picture of Heramba. 57 While Lord Ganesa sucks 52. Saundaryalahari, 50 53. Soundarya-lahari, 55 54. Soundarya-lahari, 63 55. Saundarya-lahari, 68 56. S.I., 70 57. Saundaryalahari, 72

00 : 100 milk from the breasts of Parvati he doubts whether they (breasts) are his own temples (being large) and touches his temples to know whether he was sucking milk from there. (It is quite natural that when child is keenly absorbed in sucking milk from it's mother, unknowingly, the hands feel it:_:_:_: the head automatically.) at the sight of Pasupati Cupid rejoices over his victory yielding to the beauty of Her feet when the anklets jingle with 'Kili Kili' sound while placing Her feet on Him. Cupid smiles, as if he has defeated the controller of senses and made Him a slave to 58 Thus, when studied as a whole, there are sentiments. many traces in the work which testify to the poetic excellence of the composer Sri Sankara, for the benefit of the devotees to achieve concentration on tantric devotion to Goddess i.e. Sakti. 58. Saundaryalahari, 86