SrI lakshmI sahasra

PrAdurbhAva stabakam
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Smt. Geetha Anand

With
“ Sri nrusimha sEvA rasikan ”
Oppiliappan Koil Sri VaradhAchAri SaThakopan
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 Sincere Thanks To:

Sri IVK Chary for rendering the audio for this stabakam.

Nedumtheru SrI Mukund Srinivasan / Smt. Jayashree Muralidharan for image

selections.

SrI Mannargudi Srinivasan Narayanan for providing Sanskrit text and

proofreading.

SrI Anil T for assembling the E-book.

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 IMAGE CREDITS

We would like to express our sincere thanks to Sri AMR Kannan, Sri Narasimha
Bhattar and Sri Murali Bhattar and www.pbase.com/svami for the images in this
E-book.
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 CONTENTS

Introductory Note to PrAdurbhAva stabakam 6

by Sri. V. Sadagopan

Slokams and Commentaries

Slokam 1 9

Slokam 2 12

Slokam 3 15

Slokam 4 16

Slokam 5 18
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Slokam 6 19

Slokam 7 21

Slokam 8 23

Slokam 9 25

Slokam 10 26

Slokam 11 28

Slokam 12 30

Slokam 13 32

Slokam 14 33

Slokam 15 34

Slokam 16 36

Slokam 17 37

Slokam 18 39

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 Slokam 19 41

Slokam 20 43

Slokam 21 44

Slokam 22 46

Slokam 23 48
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 . ïI>.

ïI pÒavit smet ïIinvas präü[e nm>.

ïImte ramanujay nm>.

ïImte ingmaNt mhadeizkay nm>.

ïI ve»qaXvir Svaimne nm>.

lúmIshöm!
(ïIve»qaXvirk«tm!)

lakshmI sahasram
Stbk> 2 stabakam 2

àaÊÉaRvStbk>
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prAdurbhAva stabakam

Introductory Note by Sri. V. Sadagopan:

Sri MahA Lakshmi’s avatAram (Manifestation/PrAdurbhAvam) during the churning

of the Milky Ocean is the subject matter of this stabakam. While Indra, Siva and
others (devAs) benefited from minor gifts including nectar that arose out of the
Ocean, our Lord received the best among all that resulted from the churning of
the Ocean (viz.), Sri MahA Lakshmi. She was the last to arise out of the Ocean and
chose the Lord as Her Husband in the Svayamvaram that took place on the banks
of the Milky Ocean. She chose Her Lord’s chest as Her place of residence. Her
udAra guNams in blessing us with any one of the desired four kinds of PurushAr-
thams (darma-artha- kAma-moksham) and chasing away our SamsAric sorrows as
the compassionate Mother are celebrated here. The 27th and the 28th daSakams
of Sri NaarayaNeeyam celebrates amrta mathanam and Sri MahA Lakshmi’s avatA-
ram and kalyANam. The 8th canto (chapters 7 and 8) of Srimad BhAgavatam is the
source for all the details about amrta Mathanam. Swamy Desikan salutes Her
AvirbhAvam and Her Thirumanjanam by the elephants of the directions (ashTa dig
Gajams) in one of the SrI stuti slokams. The divya desam of ThirukkaNNamangai in

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 COLa Naadu, MahA Lakshmi blesses us with Her sevai as Abhishekavalli as She
manifested from the Milky Ocean and enjoyed the sacred abhishekam before wed-
ding Her Lord.
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 Slokams
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and
Commentaries

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SrI Padhmavathi ThAyAr, ThiruchanUr

Slokam 1

Éje ÊGxaMbuix< yÇ pir:ktu¡ hreér>,

kiQn< suk…mar< c rÆ< àaÊrÉUd iÖxa.

bhaje dugdhAmbudhim yatra parishkartum harerura: |

kaThinam sukumAram ca ratnam prAdurabhUd dvidhA ||

Meaning:

I worship TirupArkkadal from which the two gem stones, one hard and the other
soft, which emanated to serve as ornaments for VishNu’s chest.

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 Comments:

The DevAs churned the ThirupArkkadal when the jewel Kasthubham, Sri MahA
Lakshmi Who is the StrI Ratnam, the moon and the horse UccaisSravas emerged
along with many other auspicious treasures. Among them Kaustubham and Sri MahA
Lakshmi adorned the chest of Sriman nArayaNa. PirAtti is the crown jewel among
women. That is why She is compared to Kaustubham. Even though it is a hard gem
it is the best among the precious stones. Both Sri MahA Lakshmi and Kaustubham
add beauty to the already beautiful chest of EmperumAn. The poet salutes
TirupArkkadal that gave both PirAtti and the Kaustubham to the Lord through this
poem.

Srimad BhAgavatam describes the avatAram of Kaustubha ratnam is this way:

kaEStuÉaOymÉUÔÆ< pÒragae mhaedxe>,

tiSmNhir> Sp&ha< c³e v]ae=l»r[e m[aE.

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kaustubhAkhyam abhUt ratnam padmarAgo mahodadhe: |

tasmin hari: sprhAm cakre vakshoalankaraNe maNau ||

---Srimad BhAgvatam 8.8.5

Meaning:

Out of that ocean arose the gem named Kaustubham. Our Lord desired that gem as
an AbharaNam for His chest. This is the KaThina ratnam.

After Kaustubam, PaarijAta Vrksham, apsarastrIs appeared from the Ocean.

After them arose the SukumAra StrI ratnam, the nectar among women
(PeNNamudu), SrI MahA Lakshmi like a streak of lightning illuminating all
directions (Srimad BhAgavatam: 8.8.8):

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 ttíaivrÉUTsa]aCÀI rma ÉgvTpra,

rÃyNtI idz> kaNTya iv*uTsaEdamnI ywa.

tata: ca AvirabhUt sAkshAt SrIramA bhagavatparA |

ranjayantI diSa: kAntyA vidyutsaudAmanI yathA ||

Sukha Maharishi salutes Sri MahA Lakshmi here as “bhagavat-parA”, the divine
consort, Who is never separated from Her Lord.
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www.sadagopan.org

Slokam 2

ctumuRoadIn! jgdMb ifMÉan!

ÊGxEbRhUn! vxRiytu< sm&ÏE>,

py> pyaexe> ÉvtI dya¦u>

sTy< àj}e sh kamxeNva.

caturmukhAdIn jagadamba DimbhAn

dukdhai: bahUn vardhayitum samrddhai: |

paya: payodhe: bhavatI dayALu:

satyam prajaj~ne saha kAmadhenvA ||

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 Meaning:

Oh Jagadamba, the Mother of all worlds, You grace Your worshipers with
unlimited prosperity out of Your compassionate nature (dayALu). We are all Your
children including the four-faced Brahma, Rudra, Muruga and the DevAs. You
emerged from TirupArkkadal and had Kamadhenu emerge with You as You needed a
lot of milk to feed all of Your children.

Comments:

MahA Lakshmi’s Kudumbam is very big and She has to nourish and sustain them all.
She needs therefore a lot of milk to feed them. The poet suggests that the divine
cow, Kaamadhenu appeared therefore before Sri MahA Lakshmi manifested.
Srimad BhAgavatam says, the Maharishis were gifted with the Divine Kaamadhenu
for conducting their Yajn~ams and to offer havis to the devAs:
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tami¶haeÇIm&;yae jg&hu> äüvaidn>,

y}Sy devyanSy meXyay hiv;e n&p.

tAm agnihotrImrshayo jagru: brahmavAdina: |

yajn~yasya devayAnasya medhyAya havishe nrpa ||

---Srimad BhAgavatam: 8.8.2

Sri VenkatAdhvari Kavi, who is no stranger to Yajn~ams takes a more imaginative

view and states that Kaamadhenu appeared to help MahA Lakshmi feed Her
children.

Kamadhenu is capable of granting any wish immediately. Starting from Brahma and
Rudra all the living beings emerged from Sriman nArAyaNa as mentioned in
MahAnArAyaNa Upanishad (nArAyaNAt brahmaa jAyate, nArAyNAt rudro
jAyate). Thus they are SrI MahA Lakshmi’s children. As Brahma created other

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 lives , they are also Her children. Thus PirAtti needs a lot of milk to feed all Her
children. The poet says that for this reason, She emerged from the Milky Ocean
of ThirupArkkadal and had along with Her Kamadhenu who can also give milk, the
milk being the wishes of all of them.

The mother gives milk to the child without expecting it to ask her. The baby needs
it to exist. Similarly we cannot exist without PirAtti’s grace.
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 Slokam 3

TvyaeJJvl< ÊGxpyaeixmXye mhaeÖy< deiv shaeidyay,

hreéraeÉU;[mekmasIdNyiCDraeÉU;[mòmUteR>.

tvaya ujjvalam dugdha payodhi madhye

mahodvayam devi sahodiyAya |

harerura: bhUshaNam ekam AsIt

anyat Siro bhUshaNam ashTamUrte: ||

Meaning:
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Devi! The bright Kaustubham and Candra emerged from ThirupArkkadal along with
You. The Kaustubham adorned the chest of Lord NaarAyaNa while the Moon
became the ornament for Siva, Who wore it on His head. (MahA Lakshmi is saluted
as Candra-sahodari since She appeared along with Candran during the churning of
the Milky Ocean).

Thus association with PirAtti (sambandham) will grant one great honors.

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 Slokam 4

jIv< jIv< àTyudara< sm&iÏ<

ktu¡ htu¡ kÃxame tma<is,

sv¡ Çatu< sTkdMb< pura=Bxe>

caNÔI mUitRjaRyte tavkI c.

jIvam jIvam prati udArAm samrddhim

kartum hartum kanjadhAme tamAmsi |

sarvam trAtum sat kadambam purAbdhe:

cAndrI mUrti: jAyate tAvakI ca ||

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Meaning:

Lakshmi, Who resides on the lotus! You exist for dispelling the darkness of
ignorance that is present in the jIvAs and grant them moksham. The moon exists
as a source of nourishment for the cakora birds and to remove the darkness and
support the stars.

Comments:

The technique of using homonyms, homophones and phrases that have different
contextual meaning for rhetorical effect in poetry is called “silEdai aNi”. In this
slokam the poet explains the reason for the emergence of Lakshmi and Chandra
from ThirupArkkadal using the silEdai aNi. Sri MahA Lakshmi pardons the sins the
jIvAs commit since time immemorial. She mediates on their behalf and explains
their sad state to EmperumAn and grants them moksha. She removes ignorance
and protects sAdus.

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 Moon grants its life-preserving rays to cakora birds that use it as food. He is the
head of the stars and dispels darkness. Thus the moon and SrI Lakshmi emerged
from thirupArkkadal for the same reason, to help others.

The word “sat” refers to sat purusha and also stars as shown by the ratnamala
“satklIbam rushe”. “kanca dhAme”- dhAme means both residence and tejas. Candra
chases the external darkness, while PirAtti chases the darkness of ignorance. Sat-
kadambam means good community. ThirupArkkadal had the satkadAmbam of Kaus-
tubham, Kalpataru, Candra, airAvadam and ucccaisSravas. PirAtti supported them
just as She supports the “satkadambam” in this world. It is interesting that the
poet mentions the cakora birds in this slokam. PirAtti is called “cakora candra” one
who likes the cakora birds.
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 Slokam 5

ivñasecnk< muo< tv py> isNxaeédÂÄda

zi»Tva ivg¦Tk¦»mpr< cNÔa»‚r< z»r>,

NySt< mStpde ivxu< àwmtae nUn< É&z< NyUnimit

AMb æ<zsiytu< StuviÚv izr>kMp< rme inmRme.

viSvAsecanakam mukham tava paya: sindho: udancat tadA

SankitvA vigaLat kaLankam aparam candrAnkuram Sankara: |

nyastam mastapade vidhum prathamato nUnam bhrSam nyUnam iti

amba bhramSayitum stuvanniva Sira:kampam rame nirmame ||

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Meaning:

Lakhmi! When Siva saw Your resplendent face emerge from TirupArkkadal he
thought it was a moon that had no blemishes. He sang Your praise while shaking
His head as if He was trying to displace the moon that he had placed there
previously.

Comments:

In this slokam a normal occurrence is said to mean something else. This aNi is
called “tharkuripEtra aNi”. The kavi says that when Siva looked at PirAtti’s face
He was very impressed with its blemish-free beauty. He showed His appre-
ciation by shaking His head and singing Her praise. This act of Siva looked as if He
was trying to shake off the moon on His head as though He was ashamed to have
adorned it on His hair as it can wax and wane and has blemishes on its sur-
face.

PirAtti is aptly addressed as Rame, one Who gladdens the heart of the observer.

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SrI Maha Lakshmi ThAyAr

Slokam 6

datu< Tva< pué;aeÄmay tnya< pÒe g&hItìt>

àadat! kamgvI— mude sumnsa< painymPyMbuix>,

k<ict! siÝmnuÄm< m"vte kLpÔ‚m< ceòd<

svR}ay ista<zuk< x&tjqavgaRy idGvasse.

dAtum tvAm purushottamAya tanayAm padme grhIta vrata:

prAdAt kAmagavIm mude sumanasAm pAniyam api ambudhi: |

kancit saptim anuttamam maghavate kalpadrumam ca ishTadam

sarvajn~Aya sitAmSukam dhrtajaTAvargAya digvAsase ||

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 Meaning:

Padme! Samdura rAjan wanted to bequeath you as KannikA dAnam to Sriman

NaarAyaNa who is PurushottamA. Before offering You as dAnam he gave many
objects as dAnam to worthy people. He offered Kamadhenu as “gO dAnam” and
amrt to the Rishis. The horse UccaiSravas and the wish-granting tree Kalpaka
vrksham were given to Indra as offerings to a Brahmin. Siva, an expert in Veda
who roams around as digambara or naked mendicant was offered the moon as
“vastra dAnam” in the place of a white cloth (sarvajn~Aya sitAmSukam dhrta
jaTAvargAya digvAsase). Even though all these things emerged from the ocean
along with Lakshmi, the kavi poetically says that the Ocean God offered them to
different people as dAnam.

Comments:

Indra is referred to as maghavate, one who has done many yAgams. When one does
thousand aSvameda yAgams, one gets the position of Indra. It was appropriate
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that he was given the horse UccaiSravas. Siva is called jaTAvargA one who has
matted hair, the hallmark of a great rishi. He is called digambara one Who is
naked and has no desires. It also means that he has the sky as His dress.

The word “sumanansAm” also represents experts or panditAs. Siva is called

“sarvajn~Aya” one who is jn~AvAn, one who is an expert of jn~Ana yogam.

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 Slokam 7

h;aRdBxerm&tklz< Tvadde devs'">

ïImanu½E>ïvsmmrúmapitíNÔmIz>,

te;amek< n ikl jg&he Tva< zuÉamev za¼IR

pÒe sar¢h[inpu[> pairze:yad ¢hItum!.

harshAdabdhe: amrtakalaSam tvAdade devasangha:

SrImAn uccai:Sravasam amarakshmApati: candram ISa: |

teshAm ekam na kila jagrhe tvAm SubhAmeva SArngI

padme sAragrahaNa nipuNa: pAriSeshyAd grahItum ||

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Meaning:

Padme! The thirty three crores of DevAs accepted the amrt, kalpaka tree and
kAmadhenu. Their king Indra thought it would fit his status to accept the horse.
However, Sriman NaarAyaNan who is “sAragrahaNa nipuNa”, one who prefers the
sAram or the best of anything preferred only You, the sAram of everything. He
smartly wished for You while the DevAs in their ignorance accepted less cele-
brated objects.

Comments:

The poet celebrates our Lord’s exquisite taste about selecting what is
Saaratamam: “Padme! sAaragrahaNa nipuNa: SArngi tvAm SubhAmeva grahItum
pAriSeshyAd”.

The poet uses the word “pAriSeshyAd” which means what was left behind or left
over. Sriman nArAyaNa accepted PirAtti, Who was left behind by others due their
ignorance so that no one could blame Him that He took the best and first and left

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 the less important horse, amrt and kalpaka tree for the others. EmperumAn had
the patience to wait for the best that emerged last.
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 Slokam 8

Daya muoe jnin caNÔmsI tvasIt!

kLpÔ‚p‘véic> kryae> pdaeí,

saExae rse vcis sMpdtae n imWya

æat&iïy< shÉuv> piribætIit.

chAyA mukhe janani cAndramasI tava AsIt

kalpadru pallavaruci: karayo: padoSca |

saudho rase vacasi sampadato na mithyA

bhrAtrSriyam sahabhuva: paribibhrati iti ||

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Meaning:

Mother! The brightness of Your face resembles the rays of the moon, the colour
of Your limbs resemble the new leaves of the Kalpataru. The sweetness of Your
words is like the amrt. It is true that people say siblings share common traits.

Comments:

The poet describes the nature of all the things that emerged along with Lakshmi
and explains that She shares some of Her characteristics with Her siblings.

The beauty of Chandra impresses the young and old alike. One never gets satiated
when he glances at the moon. Similarly the face of Sri MahA Lakshmi is an object
of beauty that captures the observer. The leaves of the kalpaka tree are young,
fresh and pinkish in colour. Sri MahA Lakshmi’s hands and feet resemble the young
leaves of the tree in their softness and pinkish hue. (kalpadru pallava ruci: karayO
padoSca). The amrt is known for its sweetness. PirAtti’s words are like the amrt
in their sweetness (saude rase vacasi) and confer everlasting bliss. It is known

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 that siblings have some common characteristics. The poet says that the above-
mentioned characteristics of PirAtti are similar to that of Her siblings.

About the resemblance to the Moon to his sister, the poet says: “jananI! chAyA
mukhe tava cAndramasI AsIt”.
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 Slokam 9

suxady> sNtu twaip taeyix>

Øuv< ÉvTyEv ÉvTypTyvan!,

gu[a rme ja¢tu iv³madyae

gu[I mhaedartyEv ÉUpit>.

sudhAdaya: santu tathApi toyadhi:

dhruvam bhavatyaiva bhavatyapatyavAn |

guNA rame jAgratu vikramAdayo

guNI mahodAratayaiva bhUpati: ||

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Meaning:

Rame! Even though amrt, kaustubham, pArijAtam etc., emerged from the Milky
Ocean and are considered as the children of the Ocean, ThirupArkkadal is praised
as a parent only because You emerged from it. Even though a king may have many
good qualities he is considered great only if he is philanthropic. Thus
ThirupArkkadal is considered great only because You emerged from it.

Comments:

The Milky Ocean did indeed give rise to nectar and the like. Let that be
(sudhAdaya: santu)! Even then (tathApi), the Ocean (toyadhi:) surely (dhruvam) is
praised only as PirAtti’s parent (bhavatyaiva apatyavAn bhavati).

The poet says if the King has magnificence, only then he is called “guNI” one with
good qualities or guNAs.

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 Slokam 10

ïaMyTpÚg v±kaeqrméÚuÚaeimRs<"”nad

HaiqTyaeXvR ivsair ÊGxki[ka in:pÚ pu:paÃil>,

isNxumRNwvsuNxraÉ&ÊdyÏ‚Nxu< XvinCDÒna

StuTva maxvmÑ‚tamlÉt TvamMb kNyami[m!.

SrAamyat pannaga vaktra koTara marunnunnormi sanghaTTanAd

jhATitya Urdhva visAri dugdhakaNikA nishpanna pushpAnjali: |

sindhu: mantha vasundharAbrdudayat dhundhum dhvani: chadmanA

stutvA mAdhavam adbhutAm alabhata tvAmamba kanyAmaNim ||

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Meaning:

Mother, Samudra rAjan worshiped mAdhavan in the following ways and obtained
You. The breath of the snake Vaasuki that was used as the rope lifted the ocean
waters as if two palms are folded in supplication and offering flowers, the flowers
being the milk droplets of the ThirupArkkadal. The sound of the churning
produced with the Mandara Mountain as the axis resounded as if some one was
beating the drums.

Comments:

The poet says that the Samudra rAjan did not beget PirAtti as easily as he got the
Kaustubham and the kalpaka vrksham. He prayed fervently to SrIman nArAyaNa
and got the boon of having PirAtti as his daughter. This slokam explains how he
prayed to SrIman nArAyaNa.

When the ocean was churned with Mandara Mountain as the axis and the snake
Vaasuki as the rope, the snake could not withstand the pain. So he let out a big
sigh through his cave-like mouth. The wind from the sigh caused great waves in

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 the ocean that rose up to the sky splashing a lot of milk. The milk droplets looked
like white flowers that the ocean king was offering to EmperumAn. The sound that
occurred during the churning sounded “dhUm dhUm” and was like the sound of the
ocean king’s rhythmic prayer to the Lord.

The poet describes SamudrarAjan’s prayer to MahA Lakshmi to beget Her as his
daughter as: “amba! kanyAmaNIm tvAm mAdhavam adbhutAmalabhata”.
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SrI Woraiyur Kamalavalli ThAyAr

Slokam 11

isNxu³aefSwpuqivluQNmNwlBxavtarE>

xuNxu»arESTvÊdymhe ÊNÊiÉïImit ïI>,

àaÂae HÁHainlpqunqaeÚaiqtàaEFvIcI-

v‘Ih‘IskmlkyÚNté‘IFh;aR>.

sindhu kroDa sthapuTa viluThat mantha labdhAvatArai:

dhundhunkArai: tvat udayamahe dundubhi SrImati SrI: |

prAnco jhanjhAnila paTunaTa unnATita prauDha vIcI-

vallI hallIsakam akalayannanta: ullIDha harshA: ||

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 Meaning:

Oh SrI Devi! A mighty wind arose when the Mandara Mountain spun and swirled.
That sounded like the dhvani from the beating of a great drum (berigai/
dhundhubhi). The circular waves the wind created reminded one of a ladies’ dance
where they form a circle and clap their sticks (kOlAttam).

Comments:

During any great event, the drums are sounded and womenfolk dance around to
celebrate it. Many people enjoy the scene. The emergence of Lakshmi looked like
one such event. Berigai is big drum and so was the Mandara Mountain. The sound
that the Mandara Mountain produced, when used as a churning rod was also loud.
The wind that occurred during the churning seemed like a dance teacher. The
wave pattern that occurred during the churning was circular similar to the circle
that women create during their KolAttam dance. The observers of this great event
were the Devas and Asuras.
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The scene looked as if the expert dance teacher Vaayu commanded the students,
the waves, to dance with joy at the occasion of PirAatti’s emergence.

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SrI Perundevi ThAyAr

Slokam 12

bh¡ æaNTva ick…rmudxeéÑvNTya ÉvTya

bÏa mNwi]itÉ&it surE> pÚga> iSvÚgaÇa>,

tTkalEkaeictmitju;> ÇastSTy´ceòa>

rajIva]à[iyin É&z< r¾utam_ynE;u>.

barham bhrAntvA cikuram udadhe: udbhavantyA bhavatyA

baddhA manthakshitibhrti surai: pannagA: svinna gAtrA: |

tat kAlaikocitamatijusha: trAsata: tyakta ceshTA:

rAjIvAksha praNayini bhrSam rajjutAm abhyanaishu: ||

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 Meaning:

The snakes tied as a tether around the Mandara Mountain saw the whiff of hair on
Your forehead and mistook it for peacock feathers. They decided to suppress
their natural instinct and act like a rope lest they attract the peacock’s attention
and their subsequent destruction.

Comments:

When Vaasuki was used as the rope , the Devas tied other smaller snakes to its
body so that it shared the labor with them and served as a strong tether. The
other snakes controlled their urge to hiss, bite and move around and remained
calm. The poet says that they did so not because of the pain that wore them out
but due to following reason. The snakes saw a few strands of PirAtti’s hair on Her
forehead. They mistook them for peacock feather, as they were soft, shining and
dark. They decided to stay quiet so as to not get the attention of the peacock lest
it destroys them (tatkAlaikochita-matijusha: trAsata: tyakta ceshTA:).
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It is said that in the presence of EmperumAn both the acit and cit should act like
acit. Here the cit that is the snake decided to behave like an acit, the rope, in the
presence of PirAtti.

This slokam is an example of the poet’s great imagination.

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 Slokam 13

AalaeKy tÇÉvtImvtI[Rêpa<

v&òa muda sumns> sumn> àxanE>,

ip{fIÉviÑriolaMb py> pyaexe>

if{fIro{finvhE> smmaPlvNt.

Alokya tatra bhavatIm avatIrNa rUpAm

vrshTA mudA sumanasa: sumana: pradhAnai: |

piNDI bhavadbhi: akhilAmba paya: payodhe:

DiNDIra khaNDa nivahai: samamAplavanta ||

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Meaning:

When ThirupArkkadal was churned, the foam that came up looked like butter
floating on the surface of the milk that is churned. The Devas were elated that
PirAtti emerged from the ocean. To show their happiness they showered karpaka
flowers that also looked like the foam. The flowers floated on the surface of the
ocean along with the foam. The poet says that both the flowers and foam danced
on the water surface to show their joy.

Comments:

The joy of the devAs as they saw the emergence of MahA Lakshmi from the Milky
Ocean is described this way by the poet: “tatra avatIrNa rUpAm bhavatI Alokya,
vrshTA mudA sumanasa:”.

PirAtti is addressed as akhilAmbA, the mother of everyone. One can humorously

recall that the moon is called “Canda Mama” or the moon uncle. If the moon is the
uncle, the brother of one’s mother, then the mother can be none other than
PirAtti, Who is his sibling.

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 Slokam 14

AMb Svy< Tviy icradvtI[RvTya<

mNwïmVypnyay moaznanam!,

ïaNtaihr¾ukblIk«itz»yev

]Iraedraexis znErinlícar.

amba svayam tvayi cirAd avatIrNavatyAm

mantha Sramavya panayAya makhASanAnAm |

SrAntAhirajjukabalIkrti Sankayeva

kshIrodarodhasi Sanai: anila: cacAra ||

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Meaning:

Amba! Due to Your sankalpa to emerge slowly, the DevAs churned the ocean for a
long time. The breeze that was flowing to relieve the DevAs of their tiredness was
gentle as it was worried that the snakes that were hungry will swallow it.

Comments:

It is the nature of the breeze to flow gently. The poet assigns this nature to its
fear that the snakes will swallow it.

The breeze blew in gently (anila: Sanai: cacAra). The breeze flew that quiet way
since it was afraid the tired and famished snakes would gulp it as a mouthful of
food (KabalIkaraNam).

The term “Sanai:saccAra” also means like the planet Saturn (Sani). Sani also called
as SaniscarA: is said to arrive quietly and hold on to the person who is destined to
experience its effects according to the planet positions in his horoscope. Here the
pace of the breeze is compared to the slow and quiet movement of the Sani.

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SrIrangam Dhivya Dampathi Serthi

Slokam 15

saNÔaeTk{Qams&[mxuijTsadrapa¼xara-

sØIcIiÉ> ñsnivsrd ÊGxvIcIiÉriBx>,

%ÖahaOy< kmip ÉvtImuTsv< lPSymana<

matStatae mxurmnyNm¼¦õankmR.

sAndra utkaNThAmasruNa madhujit sAdara apAngadhArA

sadhrIcIbhi: Svasana visarad dugdha vIcIbhi: abdhi: |

udvAhAkhyam kamapi bhavatIm utsavam lapsyamAnAm

mAta: tAto madhuram anayan mangaLasnAna karma ||

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 Meaning:

Oh MatA! Before Your marriage to Sriman NaarAyaNan, Your father the Samudra
rAjan bathed You with the cooling glances of Sriman NaarAyaNan and with the milk
droplets that were carried by the wind from ThirupArkkadal.

Comments:

It is customary to give a holy bath (mangaLa snAna Karma) to the bride before her
marriage. The Samudra rAjan followed this custom before offering Sri MahA
Lakshmi in marriage by bathing Her with the milk droplets from the ocean. The
milk was as pleasant as the glances of Sriman nArAyaNan (madujit
sAdarApAngadhArA).

In olden days the bride and groom saw each other only on the wedding day. Their
first encounter was their sight of each other. In RamayaNa Sri Rama’s first
meeting of Sita PirAtti is described by Kambar as “aNNalum nOkinAr avaLum
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nOkinAL”.

Following this tradition EmperumAn sees PirAtti only on the day of their marriage.
(This tradition is observed strictly at Srirangam and Kaanchi temples, where there
are separate sannidhis for ThAyAr.) He pours out hence all His love for Her
through His cool glances that are compared to the pleasant waves of
ThirupArkkadal. The waves occur without a break. EmperumAn’s glances are always
with PirAtti. It is said that during creation EmperumAn seeks PirAtti’s approval
for His action by looking at Her facial expression constantly.

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 Slokam 16

suxaedixsmuÑvTsurtéCDqaNtgRte

mnae}mi[m{qpe mhit rÆis<hasne,

iSwta< mi[sraeéhe iÇdzsuNdrIseivta<

jyay ÉvtImh< jnin sNtt< icNtye.

sudhodadhi samudbhavat suratarucchaTAntargate

manojn~a maNimaNTape mahati ratnasimhAsane |

sthitAm maNisaroruhe tridaSa sundarI sevitAm

jayAya bhavatImaham janani santatam cintaye ||

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Meaning:

Oh Janani! You adorn the lotus throne made of precious gems in MaNi MaNTapam
surrounded by KarpakA trees. Celestial maidens worship you (tridaSa sundarI
sevitAm). I meditate upon Thee to cut asunder the bondage of worldly life
(samsArA).

Comments:

The visualization of MahA Lakshmi born out of the Milky ocean (sudhOdadhi
samudbhavati) being seated under the grove of Karpaka trees (sura
taruc-chaTAntargate) on a gem studded throne (ratana simhAsane) inside a most
beautiful MaNi MaNTapam (manojn~e MaNi MaNTape) is most beautiful.

The kavi says that he will be contemplating on PirAtti constantly through the term
“santatam cintaye”. This is similar to EmperumAnAr’s description of bhakti yogam
where one contemplates on sriya:pati like the flow of oil (taila dhArA).

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www.sadagopan.org

Slokam 17

A_y[RS)…rdPsr>krx&tEéÎamÊGxaMbuix>

SvEraeTs&TvrivickashcrE> s<vIijta< camrE>,

hStal»¯¯tp»jamiÉnvakLpErnLpE> zuÉa<

AMb Tvamu;is Smraim jgtamat»kªl»;am!.

abhyarNa sphurad apsara: karadhrtai: uddAma dugdhAmbudhi:

svairot srtvara vicikA sahacarai: samvIjitAm cAmarai: |

hasta alankrta pankajAm abhinavA kalpairanalpai: SubhAm

amba tvAmushasi smarAmi jagatAmAtanka kUlankashAm ||

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 Meaning:

Lakshmi! Celestial maidens fan you with cAmarams that are as white as the waves
of ThirupArkkadal. Your Hands beautify the lotus that They. You are adorned
with many beautiful jewels. You remove our sorrow. I meditate upon thee at the
daybreak (ushat kAalam).

Comments:

The poet says that rhythmic waving the cAmarams simulates the white waves of
ThirupArkkadal rising and falling. A river flowing up to its brim is called
“kUlankashA”. This is compared to PirAtti. The water is clear and very majestic in
its flow. It quenches the thirst of those who seek it. Similarly Sri Lakshmi has a
very graceful demeanor and quenches the thirst of those suffering from the pangs
of samsArA (Atanga kUlankashA).

In this slokam the poet has established the Paratvam of PirAtti that She is the
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ISvari like EmperumAn. Her paratvam is indicated by the fact that celestial
maidens serve Her. Her bhogyatvam is indicated by the presence of the lotus on
Her hand. Her ASrayatvam is indicated by the term “jagatAm Atanga
kUlankashA”. The poet sings that he will contemplate Her at the “ushat kAlam”.
When a SriVaishNava wakes up at dawn the first thing he would do will be to chant
“Hari” seven times. Swami Desikan mentions this in his VaishNava Dinacaryai.
Here the poet says he will praise PirAtti first thing in the morning. Sri
VenkatAdhvari kavi is following this tradition of his pUrvAcAryar in this slokam.

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Slokam 18

ÉUyasuSte TvdIya miy hirdiyte Swull]a> kqa]a>

yi‘PsaVy¢ÉgaR*mrivrictErÃlIna< àpÂE>,

mNwaiÔ]aeÉÊu>Sw< klzjlinxemRXymuTs&Jy vela<

àaÝE reje sraejEirv nvrjnInaykalaekmUkE>.

bhUyAsuste tvadIyA mayi haridayite sthulalakshA: kaTAkshA:

yallipsAvyagra bhargAdyamara viracitai: anjalInAm prapancai: |

manthAdri kshobhadu:stham kalaSa jalanidhe: madhyam utsrjya velAm

prAptai reje sarojai: iva navarajanI nAyakA lokamUkai: ||

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 Meaning:

Hari dayite! (consort of NArAyaNA), DevAs joined their palms together as anjali
mudra to you and prayed for your kaTAksham. Their folded palms looked like lotus
buds. I now seek such an esteemed kaTAksham of yours that Siva and other
DevAs longed for.

Comments:

The poet gives a very interesting reason for the occurrence of the lotus buds.
Before the ThirupArkkadal was churned, lotus flowers had bloomed in the middle
of the ocean. After churning, the ocean became muddy and the lotuses felt that
the water was unfit for their stay; So they decided to come to the shores
(manthAdrikshObhadhu:stham kalaSa-jalanide: madhyam utsrjya velAm praptau).
At that time the moon rose in the sky. Realising that it was dusk, the lotus
flowers closed their petals. The DevAs’ closed palms are equated to the lotus
buds. What a great imagination !. PirAtti is the moon whose presence makes the
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palms of the DevAs, the lotuses, to close.

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 Slokam 19

A¢e murarerivNdpIQe

hirTkrINÔEriÉi;Cymanam!,

Aveúy puÇImioleñrI— Tva<

AanNdisNxaE inmm¾ isNxu>.

agre murAre: aravinda pIThe

haritkarIndrai: abhishicyamAnAm |

avekshya putrIm akhileSvarIm tvAm

Ananda sindhau nimamajja sindhu: ||

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Meaning:

Oh Lakshmi! Samudra rAjan looked at You being given mangala snAnam by “dig
gajams” such as airAvatam and PuNDarIkam in front of Sriman NArAyaNan thus
making You the Isvari of all the worlds. He was ecstatic that his daughter
received such an honor.

Comments:

It is mentioned in Sri VishNu PurANam that the eight elephants (ashTa dig
Gajams) that stand guard on the eight directions brought water in golden pots and
in front of EmperumAn gave mangala snAnam to Sri MahA Lakshmi, Who was
seated on a golden lotus throne thus making Her the Empress of all the worlds. It
is interesting that the poet says that ThirupArkkadal was immersed in “Ananda
kadal“ (avekshya putrIm akhileSvarIm tvAm sindu: Ananda sindhau nimamajja).

Swamy Desikan’s thirteenth slokam of SrI stuti describing the dig gajams
performing Thirumanjanam for MahA Lakshmi with waters held in golden pots must
have inspired VenkatAdhvari Kavi:

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 A¢e ÉtuR> srisjmye ÉÔpIQe in;{[am!

AMÉaerazerixgtsuxas<PlvaÊiTwta< Tvam!,

pu:pasarSwigtÉuvnE> pu:klavtRka*E>

„ÝarMÉa> knkklkzEr_yi;Ân! gjeNÔa>.

agre bhartu: sarasijamaye bhadrapIThe nishaNNAm

ambho rASe: adhigata sudhA samplvAt utthitAm tvAm |

pushpa AsAra sthagita bhuvanai: pushkalAvartaka Adyai:

klupta ArambhA: kanaka kalaSai: abhyashincan gajendrA: ||

--SrI stuti: 13th slokam

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It is interesting to note that the Samudra rAjan, the king of sAgaram, was
immersed in “Ananda sAgaram”

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 Slokam 20

àsÉmudixkNye pZyta< dEvtana<

prmpué;v]> pIQmaFaEkwaSTvm!,

sh diyttmen SvErkelaE stIna<

n olu injizzUna< siÚixìIRfhetu>.

prasabham udadhikanye paSyatAm daivatAnAm

paramapurusha vaksha: pIThamADhaukathA: tvam |

saha dayitatamena svairakelau satInAm

na khalu nijaSiSUnAm sannidhi: vrIDahetu: ||

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Meaning:

Oh udadhikanye (Samudra kumAri)!. You took seat on EmperumAn’s chest without

His asking in front of Your children, the DevAs. Such an action will not earn the
ridicule.

Comments:

In this slokam the kavi justifies Lakshmi ascending the SrIvatsa mole on
EmperumAn’s chest when She emerged from ThirupArkkadal. He says it is a
normal practice among couples in this world to sit together, talk or do something
together in front of their children. Lakshmi took seat on EmperumAn’s chest in
front of Her children, the DevAs and the asurAs. Thus no one will talk low of Her
for this act. There is no cause for shame (na khalu nijaSiSUnAm sannidhi:
vrIDahetu:).

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 Slokam 21

kiltklzsagraeimRg¼<

kmip muk…Ndmh> kilNdjaE"m!,

knksuùdÉU;yÄvaÉa-

ivtitrtIv rme srSvtIv.

kalita kalaSa sAgara Urmi gangam

kamapi mukundamaha: kalindajaugham |

kanaka suhrda bhUshayat tavAbhA-

vitatiratIva rame sarasvatIva ||

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Meaning:

Oh Rame! The golden hue of Your body mingles with the blue hue of Sriman
NArAyaNa and the milky white colour of Ganga at ThirupArkkadal. This looks like
the triveNi sangamam of Ganga, Yamuna and SarasvatI.

Comments:

It is interesting to note that the poet compares Sri MahA Lakshmi to the river
SaraswatI (rame! sarasvatIva vitatiratIva). SarasvatI is a mythical river that was
once visible. It is said to have gone subterranean now and is not visible to us.
However the presence of SarasvatI is the reason for the triveNi sangamam.
Similarly the presence of Sri MahA Lakshmi adds to the glory of Ganga and Sriman
NArAyaNan and makes them holy.

This slokam reflects the first few words of Sri sUktam “hiraNya varNam hariNIm”
where PirAtti’s golden hue is mentioned.

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 PirAtti is said to have “kanaka suhrd”. Gold or Kanakam is said to be free from all
dosham. PirAtti is also nirdoshA. If there is a situation where one wants to purify
gold further it is bathed in milk. Similarly PirAtti emerged from the milky ocean,
ThirupArkkadal. When one wears gold and performs an action, the action is said to
be free from dosham. Thus gold removes any dosham. Similarly PirAtti is not only
blemish free but also makes us blemish-free. The poet implies that by holding
PirAtti in his heart and singing Her praise he has vAk suddhi. SarasvatIi means vAk
and also sweet words. PirAtti who is mercy incarnate utters only sweet words.
She is addressed as RamE. The name means one that is a composite of many
qualities. PirAtti’s paratvam, pAvanatvam, ASrayatvam and bhogyatvam are
mentioned in this slokam to conform with the address RamE.
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SrI Vedavalli ThAyAr

Slokam 22

*undIizizr< izr> purare>

ÉjtINÊÉRvtI dyarsaÔRm!,

ùdy< murhtuRriBxje va<

%ictEv iSwitéÑvanuêpa.

dyunadI SiSiram Sira: purAre:

bhajati indu: bhavatI dayArasArdram |

hrdayam murahartu: abdhije vAm

ucitaiva sthiti: udbhavAnu rUpA ||

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 Meaning:

abhdhije! (One who emerged from the ocean), Candra your sibling reached the head
of Siva that was cooled by the holy river Ganga. You reach the chest of Sriman
NArAyaNan that is cooled by His dayA (compassion). It is fit that both You and
Candra who were born at the cool place, the ThirupArkkadal reached another cool
place.

Comments:

PurAri is Tripura SamhAran. On top of PurAri’s Siram and in the matted locks are
the cool waters of Ganga (dyunadi SiSiram Sira:), which keep Sivan’s head cool.
There is found Chandran in that cool place. Oh Devi who emerged from the cool
Milky Ocean also attained another cool place (viz), “murahatu: dayArasArdram
hrdayam”. These are fitting cool places for You both (ucitaiva sthiti:
udhbhavAnurUpA) .
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Siva’s head that had Chandra on it still needed the dyunadI Ganga to cool it. Thus
the moon served only as a decoration for Siva and did not cool his head. PirAtti on
the other hand reached EmperumAn’s chest and cooled it due to Her dayA.
Otherwise EmperumAn who is danDadharan will not be merciful towards us. Thus
PirAtti not only decorates EmperumAn’s chest but She is also the reason for its
coolness.

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SrI Padhmavathi ThAyAr, ThiruchanUr

Slokam 23

kmle tae;iytu< Tva<

kaNtÉujaNtrinzaNtmupyaNtIm!,

àayCDËimRhSwE>

àÆ< rÆg[mMbuix> hr[m!.

kamale toshayitum tvAm

kAnta bhujAntara niSAntam upayAntIm |

prAyacchadUrmi hasthai:

pratnam ratnagaNam ambudhi: haraNam ||

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 Meaning:

Kamale! SamudrarAjan, Your father gave Kausthubha and other precious gems
from the ocean as Your dowry, when You accompanied Your Lord to His supreme
abode in SrI VaikuNTham.

Comments:

The poet explains the generosity of the Samudra king by mentioning that He gave
hordes of the precious gems gathered by the waves that are the hands of the
ocean. It is also made clear that the Kaustubha gem was originally SamudrarAjan’s
that he gave away to Sriman NarAyaNan. The term “haraNam” is interesting. It
means demanding and getting something. The poet has used this term to denote
dowry.

When a daughter is sent to her husband’s house she is regarded highly if she is
accompanied by a lot of riches. Samudra rAjan wanted his daughter to be treated
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well by Her husband’s relatives that he sent the gems and jewels first and then his
daughter to Her husband’s place.

. #it ïImÖe»qaXvirivricte ïIlúmIshöe

àaÊÉaRvStbk>.
|| iti SrImad venkaTAdhvari viracite SrIlakshmI sahasre

prAdurbhAva stabaka: ||

For audio of this stabakam, please click on the link below

http://www.alamelumanga.org/audio.html

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