(Digest of pp.915-920 of Deivathin Kural, 6th volume, 4th imprn.)


The power of speech is endowed by parA-shakti only to the human species. As a special gift from Her it must be really important for us. If we have any good sense in us we would use it only for noble purposes. The shakti of speech that She has given us should be used only to reach Her again.


          The greatness of the power of speech lies in this. Its greatness lies in using it, not just to get great experiences for oneself  but for further transmitting them  to others also. This can be done only by the faculty of speech. It is for such sharing that the parA-shakti has given us, Her children, this unique faculty. What greater benefit could there be in life for the power of speech?


          When a Guru teaches a certain path of sAdhanA, he appends to it a number of strict injunctions to be  followed. On the other hand a poet perhaps is able to give a similar thing in the form of pleasing enjoyable music. It is the Grace of ambaal that  has made such a thing possible by endowing us all with the faculty of speech. That is why we praise vAk-Shakti.  It is LalitAmbika who graces us thus and this shloka says She does it in the form of vAg-devi, that is Sarasvati. Just once if we bow down to Her, good souls get the excellence of the faculty from Her.


Note however that ‘satAm’ is the word used. Not everybody but only those noble souls who can be classified as ‘sAdhu’ would be endowed.  The excellence of speech is compared to the excellence of sweetness of three kinds: honey, milk and grapes. They can be easily swallowed and  digested.  On the spiritual side, the speech faculty would help them receive messages full of sense and assimilate them in their innermost hearts; and all this by just one prostration. Instead of saying in prosaic words that ‘they will be endowed with such faculties’ the poet in the Acharya says: Why would not they be endowed with such faculties?’


          Just a word about the play with the sound of the word ‘natvA’. It is used two times. One time to mean ‘natvA’, that is, (having) prostrated; and another time to mean ‘na tvA’ meaning, ‘not – You’. Here it is two words ‘na’ and tvA’ .  The word ‘na’ goes with ‘sannidadhe’ (endowed, graced) so that it gives the meaning: (Why would they) be not endowed. The ‘You’ goes with the earlier word ‘natvA’ thus meaning prostrated to You.


          kavIndrANAM cetaH kamala-vana-bAlAtapa-ruciM

          bhajante ye santaH katicid-aruNAm-eva bhavatIM /


          gabhIrAbhir-vAgbhir-vidadhati satAM ranjanam-amI // 16 //


          ye katicit santaH : Those few righteous persons who

          bhajante : worship

aruNAm eva bhavatIM: You who are nothing but aruNA , that is, the colour of crimson personified

          bAlAtapa-ruchiM: (and) who are the rising Sun to

kavIndrANAM cetaH kamala-vana: the forest of lotuses (in the form of) the minds of great poets,

amI : they

ranjanaM vidadhati: give rapturing excitement

satAM ; to the noble souls

gabhIrAbhir-vAgbhiH:  by majestic and profound words

taruNa-tara-sRGgAra-laharI : that is a flood of love which is youthfully fresh

virinchi-preyasyAH : from the beloved of Brahma, i.e., from Sarasvati.


In the previous shloka the talk was about the all-white vAgdevI. The same Sarasvati is now talked about in her dynamic (rajo-guNa) form. Just before sunrise, it is all crimson in the east and we call it the rising of aruNa. The word aruNa means ‘crimson-red’. The charioteer of the Sun is of that colour; so he is called aruNa. Here aruNA is the personification of the crimson colour and this is  Sarasvati in Her rajo-guNa form. When She is meditated in this form She gives the speech-excellence, where love is dominant. Love belongs to rajo-guNa. It is therefore usually symbolised as crimson. So it is quite fitting that aruNA-devi graces one with Love.


But mark it. It is not the usual natural romantic love of the worldly kind. It is the esoteric Love of the partnership of Kameshvara and Kameshvari.  Those who can comprehend it in that light are the righteous ones (santaH). In the  previous shloka, one is said to obtain poetic excellence by worshipping the all-white pure Sarasvati. The poetry that springs out of this grace would also be white, sAtvic and would have the consequence  of giving wisdom and dispassion.  Such a  wisdom and dispassion can be experienced as an expression of Love. That occurs only to the noble souls (satAM) . It is to their satisfaction that the devotees of Sarasvati sing. It is these noble souls who were said (in the previous shloka) to obtain the sweetness of speech, equal in sweetness to madhu (honey), kshIra (milk) and drAkshA (grapes). And in this shloka the same noble souls are being joyfully entertained by the worshippers of Sarasvati, the Crimson (aruNA): ‘vidadhati satAm ranjanam amI’.  Those who were ‘poets’ in the previous shloka, have now become ‘connoisiurs’ !


The poets of the previous shloka were those noble persons who obtain the proficiency for poetry from ambAL. Among those noble persons those who reach the nAyikA-bhava (attitude of the beloved) towards the Almighty are only a few (‘katicit’); these are the ones who can sing of Her Love in the proper manner.

 The ecstasy they enjoy and give in singing is called ‘ranjanaM’. There is a pun on this word here. It is made up of two words ‘ram’ and ‘janam’. The consonant ‘ra’ itself denotes ‘red’. It stands for two kinds of fires. One is the ordinary one; and the other is the fire of love (kAmAgni). ‘ram + ‘janam’ means that which causes red. It means ‘to cause love that is red’. The redness here indicates ripeness. When a fruit is ripe it is deep red. The ‘reddening’ of the mind is to make it fully mature and ripe for receiving the Fullness that is God. The noble persons who are now singing by the Grace of ambaal in the form of arunA (red Sarasvati), are mature enough to produce the esoteric ‘redness’ of ‘ram’. So the poetry comes out of them in a wave of Love (ShRngAra-lahari). They are actually deep and profound words (gabhIrAbhir-vAgbhIh). On the surface they appear to be love and romance. But deep within it, there are  gems of philosophy there.


Goddess Kameshvari has herself the name ‘aruNA’. Recall Her dhyAna-shloka: ‘aruNAM karuNA-tarangitAkshhIM’. Here our Acharya is actually invoking the eight armed Goddess: with bow, arrow, noose and spear  (that go with Kameshvari) in four of the hands and with varam, abhayam, aksha-mAlA and book (that go with Sarasvati) in the other four hands. This is the aruNa-Sarasvati with eight hands, talked about by our elders.



(Digest of pp.921-924 of Deivathin Kural, 6th volume, 4th imprn.)


          In the next shloka (#17) the talk is  about the unique ‘sArasvata-siddhi’ (the siddhi of all Speech and Learning) obtained  by the contemplation of LalitA-Tripurasundari surrounded by the vAg-devatAs (the Gods of speech). The name ‘vAg-devatA’, if used in the singular,  denotes Sarasvati Herself. When it is used in the plural, it denotes eight divinities. They are assigned as follows to the various aksharas (letters of the alphabet):

One for the sixteen vowels;

One for the five letters starting with ka;

Similarly one for each set of five letters starting respectively with cha, Ta, ta, and pa;

One for ya, ra, la and va;

One for sha, shha, sa, ha, La, kshha.


Thus there are eight vAg-devatAs for the 51 letters of the Sanskrit alphabet.The first of these is called ‘vashinI’. Therefore all the eight are called ‘vashinI, etc. devatAs’ (vashinyAdi devatAH) or simply, ‘vashinI devatAs’. These are the ones who sang the Lalita-sahasranAma at the behest of ambaal Herself. In the seventh AvaraNa (always you count from outside) of the  ShrI Chakra, there are eight triangles; that is where these eight devatAs are seated, surrounding ambaaL.


(Unfortunately for us the Paramacharya does not quote

the shloka #17 and give his word-by-word meanings,

though he explains most of it

  For the sake of completeness I give below

the shloka and supply a word-by-word meaning

from what I understand from His Holiness’s discourse

and from other sources. VK)


savithrIbhir-vAcAM shashi-maNi-shilA-bhanga-rucibhiH

vashinyAdyAbhis-tvAM saha janani samcintayati yaH /

sa kartA kAvyAnAm bhavati mahatAM bhangi-rucibhiH

vacobhir-vAg-devI-vadana-kamalA-moda-madhuraiH // 17 //


yaH samcintayati : He who reflects on

tvAM : You

janani : Oh Mother,

vashinyAdyAbhiH saha : along with the vashinI-devatAs

vAcAM savithrIbhiH : who are the Generators of Speech

shashi-maNi-shilA-bhanga-rucibhiH : who have the colour of the broken moonstone gem,

saH : he

mahatAm kAvyAnAM kartA bhavati : becomes the author of great poetic compositions

vacobhiH ; through words

bhangi-rucibhiH : (which have) the taste of art and wit

vAgdevI-vadana-kamalA-moda-madhuraiH : (and which have) the sweet fragrance of the lotus face of vAg-devI (Sarasvati).


(I now continue the Paramacharya’s comments – VK)


These eight vAg-devatAs constitute the Mothers of speech. That is why the shloka No.17 which prays for excellence in speech begins with ‘savithrIbhir vAcAM’ . In traditional literature there is a gem  known as ‘chandrakAnta gem’ which is crystal-like  and which will melt in moonlight. The vAg-devatAs have that kind of crystal colour in which moon reflects in a dazzling manner. In one shloka ambaal was depicted as pure white like the moonlight (sharat-jyotsnA shuddhAm - #15). In another She is aruNA, red (#16). In this shloka (#17) the aruNa, that is ambaal, is sitting surrounded by the vAg-devatAs, majestically like a Queen with all Her attendants. Whoever can meditate on this scene (sancintayati yah) gets the literary capacity and competence  to compose great epic poems. In fact he gets the fluency and the power of speech which only great writers have.

 And the shloka uses a specific word here: ‘mahatAm bhangi rucibhiH’ . The word ‘ruci’ means ‘taste’, or ‘flavour’. ‘Taste’ certainly has an association with the tongue and the food which it ‘tastes’.  But the shloka adds on to this the ‘flavour’ by the nose also. The food ‘taste’ was indicated  by the last line of shloka (#15) where it was said that the speech prompted by ambAL has the taste of ‘honey, milk and grapes’. Now in this shloka that speech is likened to a profound flavour, not of any ordinary one, but of that which emanates from the  lotus face of Her who is the single vAgdevI integrating all the eight vAgdevIs!  Not only that. We can infer from this that it is not simply the speech that emanates through the poetry of the devotee  has the divine flavour; the people who read and recite that poetry would also get that divine flavour.!!

The fact that ambaaL graces and bestows the faculty of speech is mentioned in the latter part of Soundaryalahari several times. Shloka #75 says that, fed by Her breast milk one is endowed  with magnificient poetic capabilities. Shloka 99 says that the SArasvata-Grace that She endows makes even Brahma, the pati of Sarasvati, envious. The holy water that washes Her feet can make even the dumb to sing poems (Shloka 98). Obviously our Acharya takes pleasure in talking about this aspect of ambaaL’s Grace. Maybe he wants us all to read and recite his stotras, thereby get the Grace of the Mother and also get the vAk-siddhi (speech excellence) that She will certainly grant. That is why, it appears,  he is never tired of repeating this.

The word ‘shashi-maNi-shilA  means ‘moon-gem-stone’ literally. Because of the fact that the dark patch on the moon appears like a rabbit (‘shasha’ in Sanskrit), the moon is known by the word ‘shashi’. The word ‘hima-kara’ also denotes the moon, meaning thereby that there flows icy water from the moon. So ‘hima-kara-shilA’ also represents the same moonstone gem , known as ‘chandrakAnta stone’ in Tamil. ‘sudhA’ is nectar and ‘sudhAkara’ is also the name of the moon, because it is also said that there flows nectar from it. Just as it was said that the attendants of ambaal have the colour of the moonstone (#17: shashi-maNi-shilA), it is said in  shloka #20, that he who can meditate on ambaal Herself in the form made up of the moonstone (hima-kara-shilA), She who is the daughter of hima-giri (Himalayas)  and is therefore ‘hima-giri-sutA’, will pour ‘sudhA’ on him, ‘sudhA’ meaning nectar and ‘sutA’ meaning daughter. In fact it says more.



(Digest of pp.925-929 of Deivathin Kural, 6th volume, 4th imprn.)


kirantIm-angebhyaH kiraNa-nikurumbA-mRta-rasaM

hRdi tvAm-Adhatte hima-kara-shilA-mUrtim-iva yaH /

sa sarpANAM darpaM shamayati shakuntAdhipa iva

jvara-plushhTAn dRshhTyA sukhayati sudhA-dhAra-sirayA // 20 //


saH yaH : He who

Adhatte : establishes

tvAM : You

hRdi : in (his) heart

hima-kara-shilA-mUrtim-iva: as the form made of moonstem gem

kirantIM :  which shoots forth

angebhyaH : from all its parts

kiraNa-nikurumbA-mRta-rasaM : the  nectar essence through clusters of its rays,

shamayati : cools down

sarpANAM darpaM : the energy of snakes

shakuntAdhipa iva : like Garuda

sukhayati : (and) relieves

dRshhTyA : by just an eye-glance

sudhA-dhAra-sirayA : (that is) full (as it were) of the flow of nectar

jvara-plushhTAN : those who are suffering the deadly heat of fever.


The importance of this shloka is in its impact on the eradication of disease. All kinds of diseases afflict people. People who come to those of us like me, mostly come to pray to us for removal of this sickness or that. In fact that tells me how many different kinds of illnesses and afflictions are there in the world. Our Acharya certainly would know all that  and for sure he would have known the remedies for all of them.  But he must have thought of posterity on these lines: “They cannot think of me as God. Even those who grant the avatarhood, would think of me only as a jnana-avatar and so would think of praying to me only for jnAna and vairagya (dispassion)”.


When people of modern times physically see a spiritually great person, they get to know many of his characteristics and activities. So, in addition to thinking of him as a jnAni or saint, they also think of him as father, as mother, child, doctor, a go-getter for a job or a marriage alliance, and what not; they pray for all these and get the anugraha.  But when one is no more,  he is only thought of as a jnAni and only as a benefactor of enlightenment and nothing more. Of course, if he is considered a siddha, he is prayed to  for material welfare even after his physical frame is no more. And we think of our Acharya only as a jnAni.  So he must have naturally thought “Let me leave some stotras for posterity so that they get their sicknesses removed by recitations of these”. He left behind him a ‘Subrahmanya bhujangam’ for this very purpose.  And in this Soundarya lahari too, there are several shlokas mainly for eradication of disease.


The whole of Soundaryalahari, as I already said, is a mantra-shAstra.  Each of its shlokas can give certain specific results when it is used for a mantra-japam. For instance, there are shlokas for

Learning and Education (Sarasvati’s Grace of VidyA) : Shloka nos. 3, 12, 15, 16, 17, 60, 64, 75, 96, 98, 99;

Wealth and Prosperity (lakshmi’s Grace) : Shloka nos.23, 45, 71, 91,99;

Grace of both Sarasvati and Lakshmi: 96, 99;

Proficiency in music: 66, 69

Being blessed with a son : 6, 11, 46, 98

A long-gone relative to return from his journeys: 9

parakAya-pravesham (to jump into another body) : 30, 84

Warding off evil spirits: 24, 37, 85, 90

To counter the bad influence of planets: 48

jnAna, mukti and sac-chid-Ananda: 27, 63, 73, 84, 97, 99.


[Please let it be noted that the Paramacharya

 only listed the various results that accrue from the shlokas.

 Specific numbers of shlokas associated with the specific results

are reproduced here from  a note

appended by Ra. Ganapathi.—VK]


          If one does a recitation (pArAyaNam) of the shlokas without desiring any particular favour, one gets the realisation of either the saguNa-brahman or the nirguna-brahman, depending on the attitude of the devotee. Even if one has a desire to be fulfilled, each shloka will give its own reward. The first shloka and the last shloka are known to be ‘sarva-siddhi-pradam’ and  they will fulfill all one’s desires.


          Some shlokas, by their very meanings, allow us to infer what results will accrue from reciting them. I say ‘infer’ because, they may not bluntly say what results will accrue. Shlokas which bluntly say so are few, like the ones we saw earlier (shloka 17) and the present shloka (#20). Even here, the statement is only that if such and such an upAsanA is done such and such a result will accrue.  Only later commentators, who came in the sishya-paramparA (lineage of disciples) of our Acharya have listed the specifications of the upAsanA, how they should be done, what yantra to be used, how many days the pUjA or japam should be done and similar requirements.


          I was saying that we could infer from the meanings of certain shlokas the results that will accrue. Ashamed at  the excellence of speech of ambaal Herself  Sarasvati winds up Her  play on the VINA (# 66). The three lines on the neck of ambaal are the boundary lines between the three kinds of rAga-categories, so that they may not mix with each other, says Shloka 69.  It is clear that a japam of either of these two shlokas will result in proficiency of music.


          Shloka #28 has the thought that even after drinking the nectar the divines do not live beyond the deluge (pralaya), whereas Lord Shiva, even after drinking the deadly poison, continues to live. It is easy to infer that by doing a mantra japam of this shloka, one gets  a long life, poison or no poison.


          But there are many more shlokas where we cannot in any way infer what results will accrue from a mantra-japam of the shloka.



(Digest of pp.929-935  of Deivathin Kural, 6th volume, 4th imprn.)


I was saying that there are many  shlokas where we cannot in any way infer what results will accrue from a mantra-japam of the shloka. Shloka 35, for instance,  says that ambaal lives in the six chakras as the five elements and the mind. It is said that this shloka has the effect of curing tuberculosis. Obviously there seems to be no connection. Like this there are several shlokas where the meaning and the results said to accrue from it are totally disconnected.  It all means that the vibrations of the sounds created,the words themselves, not their meanings, have that effect. We may make a doll in the shape of a red chili, with sugar as the material base; the outer will look like a hot chili, whereas the whole material is sweet.  In the same way the meanings of the words may be something, but the power of the words as a mantra may be something else.


Also, the same shloka may give different, almost contradictory, results for different persons. Shloka no.84 (ShrutInAM mUrdhAno) has been said to give the power of leaving one’s own body and getting into the body of another.  But the same shloka has also been earmarked as a sAdhaNA for moksha!. One has to remember, in such cases, it is the attitude of the devotee in question that comes into play.  The attitude of the upAsakA (the practitioner of the sAdhanA) has a value. Depending on the needs and desires of the upAsaka, the results will vary. Honey can induce sleep in some one who is habitually  a non-sleeper; and the same honey, in the case of a lazy and constant dozer, may produce wakefulness and alertness.  Thus the same shloka might give different results depending on the mental make-up of the user. Shloka 63 (“smita-jyotsnA-jAlaM”) is a sAdhanA shloka for the merging of jIva in brahman; but if one does not want this high noble effect, it will give the other effect of attracting people to oneself! Again, Shloka 73 which talks about the breast feeding of ambaal’s milk and the consequent effects on Ganesha and Subrahmanya can lead to two different results: if the goal is jnAna, the mantra-japam of this shloka with that as goal, will lead step by step from the blessedness of celibacy all the way up to the obtaining of brahma-jnAna; on the other hand if the same shloka is used as a mantra by a lactating mother who is lacking the necessary breast-milk, she will have her problem solved.


Here is a lemon. It has several uses. It can be used in a garland of lemons for the Goddess. It can be used to give a lemonish touch to an edible combination of vegetables. It can be used as dirt remover while cleaning vessels. It can be used for a medicinal purpose. It may also be used in occult practices. In the same way, the effect of a word or word-vibrations can vary over a wide spectrum. That is why, the ideal way is to have the attitude: “I don’t want this or that. Whatever you think as good for me, Oh Mother, give me that. Even if you don’t want to give anything, let me do the recitation for just the love of it”.


Whether you want it or not, there are effects of such recitation. For instance, the shloka #44 beginning with “tanotu kshhemaM nas-tava vadana soundaryalahari  gives a general cure for all ailments and sicknesses. Specific cures for specific diseases of the body have also been noted for several shlokas. Each of these only trumpets the power of shabda ( sound ). There is a shloka for the cure of diseases of the eye and the ear. “Your eyes have an extent up to the ears” says the shloka (#52) “gate karNApyarNam ... ime netre”. Just by thinking that ambaal’s eyes extend up to the ears, the power of sound is so much that the diseases of both the eyes and ears are cured! Here it appears there is some kind of correlation between the effects of sound and the meanings of the words which make the sound.  In another shloka (#58), though both these (eyes and ears) are mentioned, the effect is said to be ‘cure of all diseases’.  What is the logic behind this? You cannot answer the question. We have only to say “Sound value is such”!

We started all this account from Shloka #20 which contains the mantra for two kinds of ailment – one, a poisonous bite and two, fever.Let us go to that shloka now.


AmbaaL is thought of as having a form that shoots forth amRita-rasa (nectar essence) through the rays emanating from every part of Her body. Hers is that kind of form which is crystal-like in colour that reflects  moonlight with a cool and delightful shine; it is a colourless colour. And nectar springs forth from every spot of that form. The very thought of this divine feat gives us a cooling effect. One who meditates on this himself gets the qualities of nectar. What is the opposite of nectar? Poison. That is why no poison, no snake can touch him!.


Poison is the opposite of nectar. The opposite of snakes is Garuda. Actually there are two opposites of a snake. One is Garuda; the other is a peacock. Lord Vishnu has Garuda as his vehicle and Lord Subrahmanya has peacock as his vehicle.  But the same Vishnu is also reclining on the snake. And Subramanya is Himself called Nagaraja (the King of snakes). All this looks self-contradictory.


The snake has two facets. When it sleeps as the kundalini shakti in a person it only promotes lust. Even the little prANic energy in them is lost in that lust. Therefore the snake in that situation is said to be  poisonous and evil. It is this poison that Garuda and the peacock destroy. When the poison is eradicated, the same snake of the kundalini, when it rises to the sahsrAra cakra, it pours forth nectar! Now it is a ‘good’ snake  - not the corresponding Tamil word, which means a deadly snake!  The fact that  energy is lost because of lust is accepted by all. But the same energy becomes immortal energy (nectar-flow) by yoga is not generally accepted by people; and that too, by the people, who have never done the experiment!


-  35

(Digest of pp.935-942  of Deivathin Kural, 6th volume, 4th imprn.)


I was saying that the same human energy that is wasted by lust becomes the powerful nectar by yoga. Whereas the former is understood by every one easily, the latter fact is always questioned and debated. The difficulty in the belief comes from the observation that even  great yogis that we hear about, ultimately, maybe after a few hundreds of years, die. What is missed in the  understanding  here is the fact that the nectar-flow that yoga talks about and the nectar-drink that the divines are said to have partaken are both different, totally different. That divine drink of ‘amRit’ has nothing to do with any spiritual uplift or the progress of the soul.


The divine drink of nectar that emanated from the churning of the milk ocean is just like one more medicine. It has no power to take care of the resident of the body, the Atman. It only takes care of the body and protects it from becoming old and from decaying. Have you ever heard that the devas like Indra and others who drank that amRit have  become Realised Souls? Their only goal has been endless sensual enjoyment. At least for the human species, sensual enjoyment tires one out after some time since the body ages; so a human being has every chance of turning to something more permanent, something spiritual. The devas on the other hand have no way of learning by experience that sensual enjoyment is not the end of it all.


If the nectar-flow at the apex of the Kundalini yoga could only cause the non-decay of the body and nothing more, I am sure  real yogis would not have gone the path of the kundalini yoga. After all they were after an eternal bliss, not an eternal body. The flow of amRit from the thousand petalled lotus seat in the sahasrAra-chakra is just a step prior to the Realisation of advaita.  In addition  to that it certainly can give to the body, so long as it lasts, an enviable health. But it is mainly intended to shower the divine unlimited bliss. A yogi devoted to the ShAkta tradition may not discard the body and the universe as mAyA, in the same way as a jnAni would do. He would only look at everything as the leelA of ambaal. Therefore so long as he wants it, he is given the power to watch this leelA of ambaal. But in due course of time, maybe several hundreds of years, it will strike him to want to merge with that Ultimate. And at that time his body will also fall.


I told you  of two kinds of serpent: the good one and the bad one.  The former is what gives the nectar. The latter gives only poison. It is this latter one that is destroyed by the peacock of Lord Subrahmanya and the Garuda-vehicle of Lord Vishnu. When the former (the good one, the nectar-showering serpent) is the form of Subrahmanya, we say He is nAga-rAja, the King of snakes. It is the same one that Lord Vishnu is having as his bed-rest. It is the same one that Lord Nataraja is having around his raised foot. And it is the same one who came as Patanjali and taught the yoga-shAstra, where, even if the kundalini yoga is not particularly mentioned, the kundalini that arises out of that yoga is of the serpent form.


Besides the peacock and Garuda, there is one more enemy of snakes. That is the ‘nakulam’ or mongoose. One of the names of ambaal is ‘nakuleshvari’. It is actually the name of ‘MantriNI’ the chief Minister in the universal kingdom of Queen Lalita-ambaal. The latter keeps only the portfolio of gracing the devotees and delineates the other duties of administration of the entire universe to MantrinI. The sahasranama name ‘mantriNI-nyasta-rAjya-dhUH’ meaning, ‘She who has delineated the responsibility of the burden of administration to MantriNi’ arises from this fact. ShyAmaLA  andRaja-mAtangI  are other names of this MantriNI.  Meenakshi of Madurai is also the same. She is the ‘nakuleshvarI’, who shakes up  the sleeping serpent-power in the mUlAdhAra Chakra and opens up the treasury of the Atman to us. The ‘mUlAdhAra’ has another  namekulam’.  The kundalini sleeps in the ‘kula-kunDa’. What wakes it up is the ‘nakuli’. This word arises from nakulam  which should be broken up as ‘na kulam’ to mean, ‘not kulam’, and therefore the opposite of ‘kulam’.


Of the three enemies of the serpent, Garuda is important; because he is also the one who brought the amRit to the serpents after fighting even the King of the divines, Indra. That the serpents could not partake of the amRit, is a different story. The fact that Garuda is the opposite of the serpent and of its poison  and has connections with the story of the divine nectar is what is made capital of in #20 of Soundaryalahari.     


He who meditates on ambaal in Her moonstone form which radiates rays of amRit, can conquer the poison of the serpent like Garuda, the King of birds. Not only that; by his very look, such a person eradicates, in anybody else, the poison of an extreme fever. By meditating on the Goddess as the One who pours amRit, his own body system gets the amRta-nADI, perhaps from the sahasrAra-chakra and so his glance, his sight, itself is enough of a cure for the poison of the fever.


The eight vAg-devatAs are themselves of the moonstone colour. Their seat is in the eight triangular portions of the eight-sided AvaraNa in the ShrI-chakra. This AvaraNa is itself called ‘sarva-roga-hara-chakram’, that is, the chakra that eradicates all diseases. All of this is due to the effect of mantras.


Though the crystal colour of the moonstone is what is praised above as the colour of ambAL to be meditated upon, the colour of the devatA of ShrI-vidyA mantra is red or crimson. This colour of the Goddess has been praised, two slokas earlier (#18)  but since it talks of ‘vashIkaram’ (captivation into submissiveness) I did not want to mention it. But still I want to tell you how the redness is important.



Thus spake the Paramacharya.


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Acknowledgement of Source Material:

Ra. Ganapthy’s ‘Deivathin Kural’ (Vol.6)  in Tamil published by Vanathi Publishers, 4th edn. 1998


Copyright of English Summary  © V. Krishnamurthy


Nov.18, 2003



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