Sri Raja Matangi Mediation

O Loveable guru! Guide us in darkness; lead us to light with music

Sri Raja Matangi Devi, who emerged out of the sugarcane bow of Sri Lalitha, was made
the prime minister. There was a special charka (chariot) for her to ride- the Geya charka.
The chariot had seven tiers, like the seven notes in music and the charioteer was Hasanti
syamala Devi. The devatas seated around her in her chariot are manmatha with his wives
rati and preeti, his five forms and his five arrows. Also found are the sixteen virgins
(kanyakas), the eight pair of bhairavas and matrukas. The Dhanurveda (warfare deity)
took a form and presented to her the Bow called Brahma siras. She was praised with 16
names on her march to war, which is found in the ritual manuals. During the war when
Visukra engaged in magical warfare by throwing a vighna yantra, she along with Varahi
were not affected and prayed to Sri Lalitha to remove this obstacle. Again on the third
day of battle, she engaged with Visukra (The enemy prime minister) and severed his head
with an arrow from the above bow. Her Geya chakra was always moving in step with Sri
Chakra and Kiri chakra (of Sri Varahi).

Mata~ngIm bhUShitAn~gIm madhumadamuditAm nIpamAlAdhyaveNIm

sadvINAM SoNacelAm mrkamadatilakAmindurekhAvatamsAm
karNodyat san~kha patrAm smita madhuradrsA sadhakasyeShTadAtrIM
dhyAyet devIm sukAbhAm sukamakhila kalArUpamasyAscapArsve

Her mantra has 98 syllables and she is meditated in the Heart chakra (anahata), along
with her anga uapanga, pratyanga devatas and the Syamala gurupaduaka during the early
morning- bed side rasmi mala mantra recitation.
The translation of the above meditative verse is:” O Matangi devi- daughter of matanga
muni, you are adorned with jewels, with a intoxicating smile, wearing nIpa flowers on
your braid, holding vINa- a stringed musical instrument, adorned with red clothes,
sporting a musk mark on her forehead along with a crescent moon on her diadem,
wearing earrings of conch shells (OR palm leaves folded like an earring), bestowing on
the aspirant all his needs by her loveable glance and beautiful smile, you are green like a
parrot, and the representative of all art forms resides beside you in the form of a parrot.”

We shall try to meditate on her while reciting her mantra.

Om Aim hirIm srIm Aim kLIm sauh Om namo bhagavati: Imagine a small thread of
light from your mulAdhAra cakra rising up to the anAhatA (heart) and blossoming into a
lotus there of 12 petals. This is found in the above verse as ‘bhUshitAngIM’- adorned
with jewels, the same is the impact of ‘bhagavati’- one who is with bhaga – i.e aisvarya
which means richness or lordship.
srI mAta~ngIsvarI: This is am address to the deity also found in the dhyana verse as
‘mAtaNgIM’. Now meditate on the deity on the lotus as green in colour as said
‘sukAbhAm’

Sarva jana manoharI: This refers to the attraction of mind of all people. The moon is
the soothing attractive object to the mind of all persons, universally. We can meditate on
the moon on her crown .This is said as ‘indurekhAvatamsAm’

Saravamukha raNjani; This refers to the pleasing nature of devi with all world, living
things. Her face with an intoxicated smile will surely cause all to be pleased. Here the
intoxication means that her awareness level is not like that common ordinary people. We
can meditate on the her face with the charming, intoxicating smile as ‘madhu mada
muditAm’

kLIm hrIm srIm: These are the bijaksharas of the devi kLIm refers to the tatva
sodhanA, hrIm to the sva svarUpanusandhAna and srIm immerse in the divine. This can
be done by nAdhAnusandhAna, the immerse of mind in harmony of music, since the best
instrument of musical harmony is vIna, meditate on the ruby studded vIna in the hands of
the devi, this is found as ‘sadvINAm’.

sarva rAja vasaNkari: This means that devi attracts all the emperors in the world Five
names from this will have the word ‘vasankari’- one who attracts. This is secret of this
mantra’s meanings. There can be no foe;- upanishat says “Atmanastu kAmAya sarvam
priyam bhavati” – hence all are attracted / subjugated as friends / admirers. Meditate on
the earrings made of conch shell / folded palm leaf as said in the dhyana sloka as
‘karNodyta shaNka patrAm’

sarva strIpurusHavasaNkari: This means that devi is further attracting all men and
women of the world. This not only refers to the humans also to all living beings
inhabiting the world. The Musk deer attracts its partner by the smell of musk.
Simultaneously it will also search for the source of the smell not knowing that this smell
is emitted from its own body. Meditate on the mark of musk on her forehead as said in
the dhyana verse-‘mrgamada tilakAm’.

sarva dusHtamrga vasaNkari: This means that devi further attracts and subjugates all
animals which have bad /evil tendencies. This not only refers to the animals but also to
the humans who have such tendencies. Parrots have a charming aspect which will attract
all and are also personification of all art forms. The subtle nature of arts will subjugate
all. Hence meditate on the parrot near her as said in the dhyana verse-‘sukham akhila
kalA rUpam asyAsca pArshve’.

sarva satva vasaNkari: This means that devi further even attracts and subjugates all the
good natured humans /animals. Flowers have a charming aspect which will attract only
the pure good minded living things. ‘nIpa’ as per kaTapayAdi code will refer 10, which
will denote the five karmendriyas, five gynanendriyas. Also the kesa (hair) of devatas is
termed as bhuvanaadhvaa which is allegoric of the universe. Thus the created universe
with the above are referred when we meditate on the braided hair with nIpa flowers. This
will cause the stillness in the mind which will be now drowned in the satva nature Hence
meditate on the braided hair with nIpa flowers as said in the dhyana verse-‘nIpa
mAlAdhya veNIm’

sarva loka vasaNkari This means that devi in all aspects will effectively attract all living
things, whether good or bad. Red colour will universally mean Love, which is all
encompassing. . Hence meditate on the red garment of devi as said in the dhyana
verse-‘soNa celAm’

amukam me vasamAnaya: This refers to the subjugation of a particular person to me.

‘amukam’ is to be replaced with the name of that person. We find variations in this area
in many lineages. Some prefer ‘sarvajanam’, others ‘trailokyam’, We also find
‘rAjAnam’. Since this is mantra devata is also referred as sri rAjamatangi and as seen
from Bhargavarama kalpasutra ‘rAja darsanAnhi nyAyah’, the last of the above may be
used. Meditate on the smile on her face with a flow of grace to the aspirant as said in the
dhyana verse-‘smita madhura drsA sAdhakasya ishTa dhAtrIm’- The aspirants
prayer is for the final anubhava- realization that all this is Brahman.

svAhA sauh kLIm Aim srIm hrIm aim: These final svAhA and bijaksharas are in the
reverse order are to merge the aspirant , the deity and the universe in line with the above
thoughts.

While meditating on the above a finer structure in the various parts of the mantra was
revealed. The six adhAra cakras and the sahasrAra could be linked to these parts. Thus
we find ‘sarva janamanohari’ corresponding to AgynA cakra- manas tatva, ‘sarva
mukha ranjani’ to mulAdhAra- mukha refers to the earth element, ‘sarva rAja vasankari’
to visuddhi- rAja is number 16 as per secret code, ‘sarvastrIpurushavansankari’ to
svashistana- the basic instinct attractive place, ‘sarva dushtamrgavasankari’ to anAhata,
since karuna rasa originates from heart, ‘sarva satva vasankari’ to sahsrAra- satva
pradhAna guru caranAravinda is there, ‘sarva lokavasankari’ to manipurAka cakra- all
world is figuratively said to reside in the stomach of the divine. Thus we find a veena
playing method in the above sequence of the various parts of the mantras on the spinal
chord- klIm hrIm srIm.

1. sangItayogini: sangIta is music, yoga in union. She is the Devi who shows the

way to union with divine through music.

2. syAmA: dark hued. Devi is meditated in a dark hue, of green .

3. syAmalA: This is an extension of the above, here we are directed to meditate

Devi in all dark hued objects in this world, like rain bearing clouds, etc.

4. mantra nAyikA: The word mantra means that which transforms the person who

chants into a realm of mindless state, nayikA means one who is queen – skill full

in performing this deed

5. mantriNI: This is an extension of the above where in we discover that the Divine

in this form is especially for this transformation MantriNi also means a minister.

6. sacivesAnI: This is further light on the above name, saciva means minister and

IsAni is the head, so she is the prime minister in the court of Sri Lalithambika-

kamesvara

7. pradhAnesI: pradhAna means important, Isi means head, since as seen above , the

role of a prime minister as the important head in the court on advice to the

emperor , that’s why sri bhargava rama in kalpasutra says about the importance of

syamala uapsana as ‘raajadarsanaat hi nyaayah’

8. sukapriyA: Suka means parrot and priya means fond of, Thus this points to the

parrot loving nature of this deity. Parrot signifies the Vedas / all arts which are

repetition of what is heard. Hence we may conclude that this deity is the Queen of

all art forms. From Secret code Ka Ta payAdi we find ‘su’ and ‘ka’ are ‘5’ and

‘1’, reading it will be 15 which will denote Sri Lalitambika. Since Syamala is

fond of and also is adored by Sri Lalitha, this name is thus interpretated.

9. vINAvatI: Vina is a stringed musical instrument and she is meditated as holding a

veena. viNa is also denoting the spinal chord and the SuShuMnA maraga in
 10. side it. Syamala being the devi of all the adhAra cakras as seen abobe is

vINAvati.

11. vaiNikI: Her skill in playing the veena is stressed here. This relates to the sadhana

guidance of the divine in the nathAnusandhAna. As an continuation of the above

name we can interpret that the kundalini sadhana is impled here.

12. mudriNI: Mudra is the ring which bears royal sign, Lalitha sahasra nama also says

‘mantrini nyasta rajuasdUh’, The rule of Lalitha devi’s empire-samrajya is by

Syamala on the power of the ring bearing the royal authorizing sign given to her

by Sri Lalithambika. All gestures which cause bliss are called mudra. This devi

being the form of bliss will mean the same.

13. priyakapriyA: priyaka: a flower called priyaka , priyA= fond of that flower

14. nIpapriyA a flower called nIpa , priyA= fond of that flower, even in the

meditative verse we find a reference to her hair braided and having nIpa flowers.

15. kadambesI: kadamba= a special tree called kadamba, Isi= she is the queen of that

tree..

16. kadambavanavAsinI: kadamba is a special type of tree as seen above , vana=

forest full of that type of tree; vAsini= lives in that forest.

17. sadAmadA: sadA- always, madA- intoxicated. The conscious level of the devi

and her aspirant are not like the ordinary, they are different is indicated here.

The Lalithopakhyana describes the opposite; visukra is slain by Syamala Devi and
vishanga by vArAhi. This may in tune with the idea in battle in the days of yore, when
equals fight. The narration in Lalithopakhyana is by Lord Hayagriva, who took part in the
battle. He was placed in the forefront; behind him was sthambini with the rest of the
army. Recitation of Lalitha sahasranama is by vasini vag devis who were on the seventh
tier of the SriCakra raja chariot, flanked with the chariots of syamala and mantrini. Hence
the difference in the narration in lalithopakhyana and sahasranama is evident from the
placement of the narrators as above, we may accept the vasini vag Devi’s view as clear
rather than Lord Hayagriva who might have over looked or narrated within accepted
principles
a. Laghu Syamala Meditation

O Lord Datta , loveable kula guru, shower your blessings

mANikya vINAmupalAlayantIm madalasAm man~julavAk vilAsAm

mAhendra nIladyti komalAn~gIm mAtan~gakanyAm manasA smarAmi

The above is the meditation verse (dhyana sloka) of Sri Laghu Syamalai Devi, who is the
anga devata, primary attendant, of Sri RajaMatangi. Laghu means easy, so this Devi is
easy to approach and confers boons on a little effort. She takes part in the war of Sri Devi
Lalitha with Bhandasura rides a chariot and slays kurUsha, on the first day.

Her mantra in Nityotsava is “Aim namah ucchisTa cANdAli mata~ngi sarva

vasamkarI svAhA”.

We shall try to find an identity of the meditative verse with the mantra.

mANikya vINAmupalAlayantIm: Syamala devi is mediated as playing the ruby

studded veena. Veena represents the backbone and the sushumna nadi with the other two
(ida and pingala) are the strings in it. Thus we find a subtle reference to the Kundalini,
which can be meditated as the Vagbija ‘Aim’. This vowel on continuous repetition will
sound like the playing of the veena.

madalasAm man~julavAk vilAsAm: She is meditated as in a intoxicated state, uttering

soft language . This is the vaikari (gross) speech, which can be meditated as ‘ucchiShTa
cANdALI’. UcchiShTa also means left over after eating which here is the spoken word.
mAhendra nIladyti komalAn~gIm: She is meditated as of blue hued with beautiful
body. In prayogas of six types (ShaTkarmas) said in tantras the deity is to be meditated as
blue hued for attraction (vasikarana), so this attractive force can be seen as ‘sarva
vasa~nkarI’.

mAtan~gakanyAm: She is addressed as daughter of the matanga sage, which can be

seen in the ‘mAta~ngi’

manasA smarAmi: Thus the above Devi is deeply meditated. Deep meditation involves
a complete identification with the deity, which is the main purport of the mantras
‘namah’ and ‘svAhA’. ‘na’ is negation of the self represented by ‘ma’ ; ‘svAhA’ is the
oblation into the fire which consumes the offered materials, thus we are directed to
wholly involve and deeply meditate on the deity resulting in complete unification of the
individual consciousness with the Universal consciousness resulting in experience of
unlimited bliss.
Let us now see the philosophical import of the slaying of asura “kurUsha”, this name is
constructed from two words ‘kuru’ and ‘uShA’ which will mean work and indulgence.
So a workaholic is denoted here. He has no time for sadhana. Once he is initiated and
starts the sadhana he has to find a time out of the busy work schedule. The initial bliss
enjoyed on japa and puja will cause further interest and will pull him into the process.
This is the slaying of the asura by this devi.

b. VagvAdini Meditation

O Dearest Lord Datta, shower your blessings on us!!

amalakamala samsthA lekhinI pustakodyat

karayugala sarojA kunda mandAragaurA
drta sasadhara khaNdollasi koTIrapIThA
bhavatu bhava bhayAnAm bhan~ginI bhAratI nah
The above is the meditation verse (dhyana sloka) of Sri vAgvAdini Devi, who is the
pratyanga devata, secondary attendant, of Sri RajamAtangi. Vag is the spoken word;
vAdana is its delivery, or constant interactions through spoken words. In the sadhana an
aspirant in the initial level will have lots of doubts and misgivings. These have to be
cleared with the Sri Guru only. Parasurama also says ‘guru vAkya shAstradaw sarvatra
asamsayah’- don’t doubt the words of Sri Guru or the scriptures. In this order Guru’s
words have a preference over scriptures, thus if his words are contrary to the scriptures,
they have to be obeyed to the letter and in spirit, which will only lead the seeker in the
sure path of self realization. Vagvadini takes part in the war of Sri Devi Lalitha with
Bhandasura, riding on a swan and slays drughaNa, on the third day.

Her mantra in Nityotsava is “Aim klIm sauh vada vada vAgvAdini svAhA”

This is an attempt to find the mantra in the dhyana sloka.

amalakamala samsthA lekhinI pustakodyat

karayugala sarojA kunda mandAragaurA
drta sasadhara khaNdollasi koTIrapIThA
bhavatu bhava bhayAnAm bhan~ginI bhAratI nah

amalakamala samsthA lekhinI pustaka ; seated on a White lotus holding a pen (which
is like a iron needle) and a palm leaf book. This is the vagbhava bija ‘Aim’ which
bestows all knowledge, the book represents satsras.

udyatkarayugala sarojA kunda mandAra gaurA; The above are held in brilliant lotus
like hands, which have a whitish jasmines flower like brilliance. This can be meditated as
‘kLIm’, which is the kamaraja bija bestowing all worldly comforts and pleasures. The
lotus born in muddy clay water (prthvi tatva) and its smell (gandha tatva) will represent
the worldly comforts. Jasmine will represent pleasures by its intoxicating perfume.
drta sasadhara khaNdollasi koTIrapIThA: wearing a crescent moon on her crown is
meditated here, the same svarupa meaning is seen in Para’s meditative verse as ‘candra
kalAvatI’ . Hence the para bija ‘sauh’ can be meditated here

bhAratI: This means one who shines forth, seen in the mantra as ‘ vAgvAdini’

bhavatu bhava bhayAnAm bhan~ginI nah: Let our fear of the worldly activities be
destroyed is the purport of this verse. The dispelling of the fear of samsAra is by constant
awareness and realization of the universal consciousness. This can be achieved by the
grace of Sri Guru. The aspirant has to tread the path of sadhana as instructed by him, any
doubts on the path shall be asked and cleared repeatedly, till the sadhaka is sure that he is
on the right path and have the final realization. The repeated clearance is denoted by
‘vada vada’ and the final realization is by ‘svAhA’

Let us now see the philosophical import of the slaying of asura “drughaNa”. This asura’s
name means ‘the iron hammer of a blacksmith’. This will be the hardest one, and shall
break or dent other any metal pieces or things. Thus we can infer the deepest misgivings
and doubts of an aspirant personified as this asura, Sri Vagvadini devi being the
personification of the repeated clearance of doubts and constant vigil in the sadhana by
Sri Guru, which will remove these hindrance, in turn this is slaying of this asura.

c. NakuLI- Mediation

Our most humble salutations to the lineage from

Sri MahA Kamesvara to our guru
With a prayer to dispel the darkness called ignorance
by lighting the lamp of knowledge in our minds

nakulI vajradantAlI sadhya jihvAhi damsini

bhakta vakrtva jananI bhAvanIyA sarasvatI
The above is the meditation verse of NakuLI, the pratynaga Devi of Sri Rajamatangi.
During the first day of war with Bhandasura, five of his commanders, named Karanga,
KAkavasita, vajraloma, vajramukha, vajradanta ventured into the battle. They created an
illusion of serpent goddess called sarpiNi, who projects out a horde of snakes of different
species. Sri Devi Lalitha brought forth Sri Nakuli devi from her palate (upper part- inside
of mouth). Sri Nakuli discharged the akshINanakulAstra (A weapon that shall produce
an Un-exhaustible horde of mongoose) which produced a horde of mongoose with
diamond like teeth. They fought and slew the enemy horde of snakes. Finally she
discharged the Garudastra, which swallowed the illusion called sarpiNi. She engaged
with the above commanders in a battle and severed the heads of the commanders with a
sword. On the third day of war, she killed visheNa.
Her mantra in Nityotsava is
“OShTApidhAnA nakuLI dantaih parivrtA pavih;
sarvasyai vAca IshAna cAru mAmiha vAdayet”

Nakula means mongoose- traditionally considered as an enemy of the serpents. It is also

believed that mongoose will smear some herbal roots/ leaves on its mouth before a fight
with serpent to protect it from the venom of the snake.

A translation of the above rig mantra: “O! Nakuli devi your lips which cover teeth are
smeared with thunder-bolt like speech, you are the head of all spoken words, Let my
speech here be beautiful”. Here Thunder-bolt like speech is allegoric to the mastery in
logic and debate. On a whole this refers to undefeated position in all debates. This is also
concurred in Lalitha shasranama phalasruti which said that Nakuli will cause undefeated
position in debates to a person who chants this sahasranama.

Kula also refers to the six astral centers in the central path called sushumnaa naadi, called
as the shaTcakras, in the body. Kundalini sakthi- which is personified as a snake will
move from the lowest cakra mUlA dhAra, piercing all the five cakras above it, to reach
the sahasrara which is called a-kula, not of the six centers, but the highest-above all.
Na-kula means nayati- kule, which means guiding through these centers. Thus we are
amazed to see the revelation that this devi is devoted to continuous monitor of
Kundalini’s movement- the snake, on the right path in the form of the guidance from Sri
Guru, not allowing it to move in a haphazard manner or getting suspended in or between
cakras. This haphazard movement or suspension in or between cakras may cause mental
de-balance and other physical ailments are only due to unqualified or undirected sadhana
by the aspirant. This Kula sadhana is mainly through verbal instructions by the guru,
Hence this devi is personification of his verbal directions, which continuously light the
way for a seeker.

This is an attempt to find the mantra in the dhyana sloka.

nakulI – sarasvatI : We find both as an address to the deity, which is also found in the
mantra as “nakulI”

vajradantAlI : This means diamond like teeth, the mantra says “OShTApidhAnA
dantaih”- Lips which cover teeth.

sadhya jihvAhi damsini: This is an allegory to the snake poison being bitten on the
opponents tongue , this is clearly said in the mantra as “parivrtA pavih;” the aspirants
lips are smeared with thunderbolt like speech, which shall quell any objections from the
opponent.

bhakta vakrtva jananI : This points to the source of the above act of silencing of the
opponent, which is the mouth of the aspirant. This is referred in the mantra as
“sarvasyai vAca IshAna” – The Head / lord of all speech and its source is the mouth.

bhAvanIyA: Thus the above devi as described is visualized by the aspirant. The result of
this visualization is the beautiful speech in a debate, which is denoted in the mantra as
“cAru mAmiha vAdayet”.
Let us now see the philosophical import of the slaying of all the above asuras. They are
representatives of different types of people who will hinder the improvement of a
sadhaka in his sadhana.
1. Karanga: The name means a skull- empty. There fore this will point to a dull
witted person with no knowledge. He will try to confuse the sadhaka by his
illogical empty arguments.
2. kAkavAsita: The name means breath like a crow. Crows are traditionally believed
to live long due to their lower rate of breath. This will now point to a person who
has some pranAyAma skills. He will suggest other ways, calling them better,
fruitful with less effort and finally will lead the sadhaka astray. Only a sure
committed belief on the guru’s words and a total surrender to Sri Guru is the sure
way of attainment in this sadhana.
3. vajra loma, vajra mukha and vajra danta: vajra means diamond, the one of the
most hardest substance.
A. Loma means sweat, Hence a person who believes in physical work-out i.e.
a staunch body builder. He will try to raise the kundalini by this method.
B. Mukha means the face and hence all sensory organs in it, thus we find a
person fully indulging in pleasure of the sense organs. In ancient times
there was a theory called cArvAka siddhAntA which was like this.
C. Danta means teeth, hence speech by direct revelation. This is now a
knowledgeable adept in debates with lots of logic.
4. visHeNa: Visha is poison, eNa means moon and hence the mind (candra mA
manasO jAtah). This will now refer to persons with poisoned minds who will also
try to poison sadhaka’s mind with lots of data against this sadhana from smrtis
and other sources. .
Thus we find these auras are unshakeable and deeply rooted tendencies in us and also are
seen as people in our environment. Slaying / Removal of this asura / tendency will be by
this deity / Sri Guru’s grace.
The following is a procedure for placement of the mantra on the teeth of a sadhaka for the
fullest realization of the grace of this devi as per prapanca sarasangraha.
O- Left extreme upper molar
ShTA- next molar
Pi- next molar
dhA- next molar
nA – next molar
na – left upper canine
ku- left upper incisors
LI - next incisors
Da - next incisors
Ntaih - next incisors
Pa-right upper canine
Ri- right upper molar
Vr- next molar
tA - next molar
pa- next molar
vih- right extreme upper molar

sa- right extreme lower molar

rva- next molar
syai- next molar
vA- next molar
ca – next molar
I – right lower canine
SA- right lower incisors
na - next incisors
cA - next incisors
ru - next incisors
mA-left lower canine
mi- left lower molar
ha- next molar
vA - next molar
da- next molar
yet- left extreme lower molar