26

virańciH pańcatvaM vrajati harirApnoti viratiM

vinAshaM kiinAsho bhajati dhanado yAti nidhanam |

vitandrii mAhendrii vitatirapi sammiilitaddashA

mahAMsahAre'sminviharati sati tvat patirasau ||

Virańci dissolves into the five elements, Hari ceases to exist,

Kinasha (Yama) suffers dissolution (vinasha), Dhanada (Kubera) goes to destruction

(nidhana);

even the total of mighty Indra's (thousand) eyes grows weary and closes -

in that great dissolution, O devoted wife, that husband of yours (alone) is visible.

27

japo jalpaH shilpaM sakalamapi mudra viracanA

gatiH prAdakShiNyakramaNamashanAdyAhutividhiH |

praNAmaH saMveshaH sukha makhilamAtmArpaNa dRshA

saparyAparyAyastava bhavatu yanme vilasitam ||

Let my idle chatter be the muttering of prayer, my every manual movement the execution

of ritual gesture,

my walking a ceremonial circumambulation, my eating and other acts the rite of sacrifice,

my lying down prostration in worship, my every pleasure enjoyed with dedication of

myself,

let whatever activity is mine be some form of worship of you.

28

dadAne diinebhyaH shriyam anisham AshAnusadRshiiM

amandaM saundarya prakaramakarandaM vikirati |

tavAsmin mandArastabakasubhage yAtu caraNe

nimajjan majjiivaH karaNa caraNaiH ShaT caraNatAm ||

Ever granting to the needy wealth equal to their hopes,

untiringly scattering an abundance of beauty like the honey of flowers,

bestowing blessings like a cluster of coral-tree blossoms - in that foot of yours let

my being, immersing itself, reach a state like that of the six-footed (bee plunged into a

flower) by means of the six senses as though they were feet.

29

sudhAm apyAsvAdya pratibhayajarAmRtyu hariniiM

vipadyante vishvo vidhi shatamakhAdyA diviShadaH |

karAlaM yat kShveDaM kavalivataH kAlakalanA

na shaMbhos tanmUlaM tava janani tATanka mahimA ||

Though they have drunk the nectar which wards off danger, old age, death,

all the gods who dwell in heaven perish, Vidhi (Brahma), the Hundred-Sacrificer (Indra)

and the rest;

the fact that, after swallowing the fearful poison, extinction by Time

does not befall Shambhu, O mother, has its cause in the power of your ear-ornaments.

30

kiriiTaM vairińcaM parihara puraH kaiTabhabhidaH

kaThore koTiire skhalasi jahi jambhAri mukuTam |

praNamreShveteShu prasabham bhiyAtasya bhavanaM

bhavasyAbhyutthAne tava parijanoktir vijayate ||

"Keep off Virińci's crown in front of you! The Kaitabha-crusher's (Vishnu's)

hard crest you will trip over! Look out for the diadem of Jambha's enemy (Indra)!"

while these gods lay prostrate, you impetuously arose, as there came to your mansion

Bhava (Shiva) - whereupon this warning rang out from your retinue.

31

catuH ShaShTyA tantraiH sakalam abhisaMdhAya bhuvanaM

sthitas tattat siddhi prasavapara tantraiH pashupatiH |

punas tvan nirbandhAdakhila puruShArthaika ghaTanA

svatantraM te tantraM kShiti talam avAtiitarad idam ||

After he had been controlling the entire universe with the sixty-four tantras,

which are subordinate, each producing its separate accomplishment, Pashupati

further, at your insistence, the tantra which alone effects all human purposes,

this, your tantra, which is absolute, brought down to earth's surface.

32

shivaH shaktiH kAmaH kShitiratha raviH shiitakiraNaH

smaro haMsaH shakrastadanu ca parA mAra harayaH |

amii hRllekhAbhistimRbhir avasAneShu ghaTitA

bhajante varNAste tava janani nAmAvayavatAm ||

Shiva, Shakti, Kama, Kshiti; then Ravi, Shitakirana,

Smara, Hamsa, Shakra; and after them Para, Mara, Hari - [the sequences of syllables

represented by]

these [three groups], when completed at their respective terminations with the three

syllables hrng,

as letters become the components of your name, O mother.

33

smaraM yoniM lakShmiiM tritayamidamAdau tava manor

nidhAyaike nitye niravadhi mahAbhoga rasikAH |

japanti tvAM cintAmaNi guNanibaddhAkSha valayAH

shivAgnau juhvantaH surabhi ghRta dhArA huti shatau ||

Smara, Yoni, Lakshmi, some place this triad at the beginning of your mantra,

O eternal one, tasting boundless intense bliss,

and mutter the mantra to you, using rosaries of wishing-jewels as beads,

while making offerings in Siva's fire with hundreds of oblations consisting of streams of

ghee from Surabhi (the heavenly wish-cow).

35

manas tvaM vyoma tvaM marud asi marut sArathir asi

tvam Apas tvaM bhUmis tvayi pariNatAyAM na hi param |

tvameva svAtmAnaM pariNamayituM vishvavapuShA

cid AnandAkArAM shiva yuvati bhAvena bibhRShe ||

You are mind, you are space, you are wind, you are the (fire) for whom the wind is

charioteer,

you are the cosmic waters, you are the earth; when you are evolved into these forms there

is nothing more.

You only, to effect evolution of yourself in the form of the universe,

O young bride of Shiva, through your very nature bear the form of consciousness and

bliss.

36

tavAjńA cakrasthaM tapana shashi koTi dyuti dharam

paraM shaMbhuM vande parimililatapArshvaM paracitA |

yam ArAdhyan bhaktyA ravi shashi shuciinAm aviShaye

narAloke loko nivasati hi bhAlokabhavane ||

Located in your Ajńa cakra, shedding a light equal to that of ten million suns and moons,

the supreme Shambhu I worship, embraced on his left side by supreme consciousness

(paracit, that is Devi as the Cit Shakti);

when worshiping him with devotion, in a region beyond the range of sun, moon, and fire,

the world dwells in a realm which receives no light yet is flooded with radiance.

37

vishuddhau te shuddha sphaTika vishadaM vyoma janakaM

shivaM seve deviimapi shiva samAna vyasaniniim |

yayoH kAntyA shashi kiraNa sArUpya saraNiM

vidhUtAntar dhvAntA cakoriiva jagatii ||

In your Vishuddhi, where he is clear as flawless crystal, parent of the ether,

Shiva I worship, and Devi too, equally active with Shiva;

in the lovely splendor of those two, which travels a course like that of the moon's beams,

the world, with her inner darkness dispelled, seems like a female cakora bird (which

drinks moonlight).

38

samun miilat saMvit kamala makarandaikarasikaM

bhaje haMsadvaMdvaM kim api mahatAM mAnasacaram

yad AlApAd aShTAdasha guNita vidyA pariNatir

yad Adatte doShAd guNam akhilam adbhyaH paya iva ||

Subsisting only on honey from wisdom as though it were an opening lotus (the Anahata),

that pair of hamsas (Shiva and Devi) I worship, as they glide over the minds of the great

ones (as though over Lake Manasa);

from their ululations evolve the eighteen sciences;

they separate all the valuable from the worthless as hamsas drink apart milk and water.

39

tava svAdhiShThAne hutavaham adhiShThAya nirataM

tamiiDe saMvarta janani mahatiiM tAM ca samayAm |

yad Aloke lokAndahati mahati krodha kalile

dayArdrA dRShTi shishiram upacAraM racayati ||

The fire residing permanently in your Svadhishthana,

the Samvarta (fire) that I praise, O mother, and its mighty Shakti called Complementary;

when his fierce gaze filled with anger is burning up the worlds,

your glance, moist with pity, provides a cooling antidote.

40

taDitvantaM shaktyA timira paripanthi sphuraNayA

sphurannAnA ratnAbharaNa pariNaddhendra dhanuSham |

tava shyAmaM meghaM kamapi maNipUraika sharaNaM

niSheve varShantaM hara mihira taptaM tribhuvanam ||

Flashing with lightning from his Shakti, who is a radiance to check the gloom,

and bearing a rainbow of sparkling ornaments composed of many kinds of jewels,

he (Pashupati) seems to be a dark cloud abiding only in your Manipura;

it I worship as it sheds its showers upon the three worlds sun-scorched by Hara.

41

tavAdhAre mUle maha samayayA lAsyaparasyA

navAtmAnaM vande navarasa mahA tANDava naTam |

ubhAbhyAm etAbhyAm ubhaya vidhim uddishya dayayA

sanAthAbhyAM jajńe janaka jananiimaj jagad idam ||

In your Muladhara, accompanied by his Shakti called Complementary, who concentrates

on the feminine lasya dance,

Navatman (Soul of the nine aesthetic sentiments) I worship, who dances the great masculine tandava dance informed with the nine rasas (aesthetic sentiments);

from these two, as they engaged in their common rite and with compassion

were filled, was born this world, having them as father and mother.

42

gatair mANikyatvaM gagana maNibhiH sAndra ghaTitaM

kariiTaM te haisaM hima giri sute kiirtayati yaH |

sa niiDeyac chAyAc churaNa shabalaM candra shakalaM

dhanuH shaunAsiiraM kim iti na nibadhrAti dhiShaNAm ||

Studded with the gems of the sky (the constellations) as though they were jewels,

whoever praises your golden crown, O daughter of the snowy mountain,

would he not, on seeing it shaped like the crescent moon and varicolored from the insets

of nestling beauties,

conceive it to be the rainbow?

43

dhunotu dhvAntaM nas tulita dalitendiivara vanaM

ghana snigdhaM shlakShNaM cikura nikurambaM tava shive |

yadiiyaM saurabhyaM sahajam upalabdhuM sumanaso

vasantyasmin manye vala mathana vATii viTapinAm ||

Let there dispel our inner darkness the cluster of full-blown blue lotuses,

which is the mass of your hair, thick, sleek, smooth, O wife of Shiva;

to gain its intimate fragrance, blossoms

from the trees in the garden of Indra the crusher of Vala seem to abide in it.

44

vahantii sindUraM prabalakarii bhAratimira

tviShAM vRndair bandiikRtam iva naviinArka kiraNam |

tanotu kSheM nas tava vadana saundarya laharii

pariivAha srotaH saraNir iva siimanta saraNiH ||

Bearing a mark of vermilion so that the impenetrable darkness of your thick locks

with the hosts of their beauties makes it seem like an imprisoned ray of the new-risen

sun,

may there bring welfare to us, as though the flood of beauty of your face

had a channel to flow in, the streak which is the part in your hair.

45

arAlaiH svAbhAvyAd alikalabhasashriibhir alakaiH

pariitaM te vaktraM parihasati pankeruha rucim |

darasmere yasmin dashana ruci kińjalka rucire

sugandhau mAdyanti smara mathana cakShur madhulihaH ||

With naturally curly locks as beautiful as young bees

encircling it, your lotus-like face shames the beauty of the lotus;

in it, when it smiles slightly, shows in its white teeth the brightness of lotus stamens,

and breathes a sweet perfume, the eyes of Smara's vanquisher revel like bees.

46

lalATaM lAvaNya dyuti vimalam AbhAti tava yad

dvitiiyaM tanmanye mukuTa shashi khaNDasya shakalam |

viparyAsanyAsAd ubhayam api saMbhUya ca mithaH

sudhA lepa syUtiH pariNamati rAkAhimakataH ||

Your forehead, which shines beautiful and pure in its brilliance,

I take to be a second half-moon to the half-moon in your crest;

if the two were transposed, put together, and joined,

then cemented with nectar as though with an unguent, they would become a soma-filled

full moon.

47

bhruvau bhugne kiM cid bhuvana bhaya bhanga vyasanini

tvadiiye netrAbhyAM madhukara rucibhyAM dhRtaguNe |

dhanurmanye savyetaraka gRhiitaM ratipateH

prakoShThe muShTau ca sthagayati nigUDhAntaramume ||

When your eyebrows are slightly arched, O you who are devoted to banishing the fear of

the worlds,

and strung with your two eyes, which are like bees,

I think I see the Lord of Passion's bow gripped in his left hand,

his wrist and fist concealing the hidden middle (of the bow with its string), O Uma.

48

ahaH sUte savyaM tava nayanam arkAtmakatayA

triyAmAM vAmaM te sRjati rajanii nAyakamayam |

tRtiiyA te dRShTir daradalita hemAmbuja ruciH

samAdhatte saMdhyAM divasanishayor antaracariim ||

Your right eye, because it has the sun as its essence, gives birth to the day;

your left eye, which has the moon as its substance, produces the night;

your third eye, which resembles a golden lotus slightly opened,

creates the twilight intervening between day and night.

49

vishAlA kalyANii sphuTarucir ayodhyA kuvalayaiH

kRpAdhArA dhArA kim api madhurA bhogavatikA |

avantii dRShTiste bahunagara vistAra vijayA

dhruvaM tattannAma vyAvaharaNa yogyA vijayate ||

Far-extending (vishala), Auspicious (kalyani), its sudden beauty Uncontested (ayodhya)

by blue lotuses,

a Shower (dhara) of streams of compassion, Honeyed (madhura),

as it were, Fortunate (bhogavatika),

Helpful (avanti), Victorious (vijaya) over an array of many cities is your glance;

forever does it prevail, conforming to the characteristic of each separate (city) name.

50

kaviinAM saMdharbastaka makarandaika rasikaM

kaTAkSha vyAkShepa bhramara kalabhau karNayugalam |

amuńcantau dRShTvA tava nava rasAsvAdataralAv

asUyAsaMsargAd alikanayanaM kiMcidaruNam ||

Intent upon relishing the nectar of poets' flower-like compositions is

your pair of ears; your two eyes diverted toward them with sidelong glances like two

young bees

do not forego them, eagerly hovering to savor the nine flavors (sentiments).

When it sees (the two eyes), the third eye, from a rush of jealousy, becomes a bit red.

51

shive shRngARArdrA taditaramurave kustanaparA

saroShA gangAyAM girisha carite vismayavatii |

harAhibhyo bhiitA sarasiruha saubhAgya jayinii

sakhiiShu smerA te mayi janani dRShTiH sakaruNA ||

Tender with passion toward Shiva, disdainful of others,

wrathful toward Ganga, amazed at the exploits of Girisha,

fear-stricken by Hara's serpents, victorious over the loveliness of the lotus,

smiling toward your companions is your glance, O mother, and to me it is full of

compassion.

52

gate karNAbhyarNaM garuta iva pakShmANi dadhatii

purAM bhettush citta prashama rasa vidrAvaNa phale |

ime netre gotrAdhara pati kulottaMsa kalike

tavA karNA kRShTa smara sharavilAsaM kalayataH ||

Extending as far as your ears, with the eyelashes as feathering,

having tips (phala) whose effect (phala) is to dissipate the sentiment of tranquility in the

breast of him who destroyed the cities,

these two eyes of yours, O crowning bud of the mountain king's family,

have the appearance of Smara's shafts full drawn to your ears.

53

vibhakta traivarNya vyatikarita niilAńjanatayA

vibhAti tvan netra tritayamidam iishAnadayite |

punaH sraShTuM devAn druhiNa hari rudrAnuparatAn

rajaH satvaM bibhrattama iti guNAnAM trayam iva ||

It has three separate colors and by reason of the blue antimony eyesalve (representing the

primordial ocean)

the triad of your eyes here, O beloved of Ishana, shines forth

as if to recreate the gods Druhina (Brahma), Hari, and Rudra, who were obliterated in the

great dissolution,

and wears, in bearing rajas (red), sattva (white), and tamas (black), the triad of the gunas.

54

pavitriikartuM naH pashupati parAdhiina hRdaye

dayA mitrair netrair aruNa dhavala shyAma rucibhiH |

nadaH shoNo gangA tapanatanayeti dhruvamamuM

trayANAM tiirthAnAm upanayasi saMbhedam anaghe ||

To purify us, O you whose heart is devoted to Pashupati,

by means of your compassionate eyes, which are red, white, and dark,

of the rivers Shona (the golden), Ganga (the white), and the daughter of the sun (Yamuna,

the dark), unfailingly

you provide a conjunction of three goals of pilgrimage, O sinless one.

55

aparNe karNe japa nayana paishunya cakitA

niliiyante toye niyatam animeShAH shapharikAH |

iyaM ca shriir baddhac chada puTakapATaM kuvalayam

jahAti pratyUShe ca vighaTayya pravishati ||

O Aparna, alarmed lest they be maligned (for inferior beauty) by your eyes which (are so

long as to seem to) mutter tales in your ears,

the shapharika fish ever hide unwinking in the water,

and Shri here, when the blue night lotus folds up the cover of its petals like a door

at dawn, deserts it, and at night, when it reopens, enters it.

56

nimeShonmeShAbhyAM pralayam udayaM yAti jagatii

tavetyAhuH santo dharaNi dhara rAjanya tanaye |

tvad unmeShAj jAtaM jagad idam asheShaM pralayataH

paritrAtuM shanke parihRt animeShAs tava dRshaH ||

From the closing and opening of your eyes the earth is dissolved and created,

so say the wise, O daughter of the mountains' king;

this world, which had its creation entire from the opening of your eyes - from

dissolution

as if to save it, your eyes refrain from closing.

57

dRshA drAghiiyasyA daradalita niilotpalarucA

daviiyAMsaM diinaM snapaya kRpayA mAm api shive |

anenAyaM dhanyo bhavati na ca te hAniriyatA

vane vA harmye vA samakaranipAto himakaraH ||

With your long-extended eye, which is like a slightly opened blue lotus,

O wife of Shiva, in compassion bathe even me, distant and wretched;

by that bathing this person becomes rich, and through such a small thing there is no loss

to you;

the cooling moon sheds its beams alike on grove and palace.

58

arAlaM te pAlii yugalam agarAjanyatanaye

na keShAm Adhatte kusuma sharakodaNDa kutukam |

tirashciino yatra shravaNa patham ullanghya vilasan

apAngavyAsango dishati sharasaMdhAna dhiShaNAm ||

O daughter of the mountains' chief, the curved pair of your lines (eyebrows)

who would not take to be a wondrous show of the flower-arrowed god's bow,

while appearing to leap transverse to it along the path to the ears

your long side glance of love gives the effect of drawing an arrow?

59

sphuradgaNDA bhoga pratiphalita tATankayugalaM

catush cakraM manye tava mukham idaM manmatha ratham |

yamAruhya druhyatyavani ratha markenducaraNaM

mahAviiro mAraH pramathapataye tvaM jitavate ||

With the pair of your circular earrings reflected in the shining expanse of your cheeks,

your face here I take to be the four-wheeled chariot of Manmatha,

mounted on which he attacked him who had mounted the earth as his chariot with the sun

and moon as wheels;

Mara, the great hero, attacked the lord of the Pramathas, who had conquered himself

(through asceticism).

60

sarasvatyAH sUktiir amRta laharii kaushalahariiH

pibantyAH sharvANi shravaNa culukAbhyAm aviratam |

camatkAra shlAghA calita shirasaH kuNDalagaNo

jhaNatkArais tAraiH prativacanam AcaShTa iva te ||

The sweet songs of Sarasvati, which bring welfare in waves of nectar,

as you constantly drink them with your ears as though they were hollowed hands, O wife

of Sharva,

and nod your head in time in wonder and delight, your ear ornaments

with their high-pitched tinkling seem to give an equivalent response.

61

asau nAsA vaMshas tuhina giri vaMsha dhvajapaTi

tvadiiyo nediiyaH phalatu phalam asmAkamucitam |

vahannantar muktAH shishiratara nishvAsa ghaTitAH

samRddhyA yastAsAM bahir api ca muktA maNidharaH ||

O banner on the staff of the mountain's lineage (vamsha), may that nose-tube (vamsha)

of yours bear very near to us the fruit which we desire;

inside, it holds pearls created by your cool breath,

and because these are so abundant it also supports some pearls outside.

62

prakRtyA raktAyAstava sudati dantacchadaruceH

pravakShye sAdRshyaM janayatu phalaM vidrumalatA |

na bimbaM tad bimba pratiphalana lAbhAdaruNitaM

tulA madhyAroDhuM katham iva vilajjeta kalayA ||

For the beauty of your lips, which are red by nature, O you with lovely teeth,

I shall try to proclaim a match. Let the coral bear fruit!

Would not the red bimba fruit, which is further reddened when (as you bite it) it receives

a reflection from their disk (bimba),

be somewhat embarrassed at being compared with them in any degree?

63

smita jyotsnAjAlaM tava vadana candrasya pibatAM

cakorANAm Asiid atirasatayA cańcujaDimA |

ataste shiitAMshor amRta lahariim amlarucayaH

pibanti svacchandaM nishinishi bhRshaM kAńcikadhiyA ||

As they drank the net of rays from the smile of your moonlike face

the cakoras' beaks grew sated from the oversweetness;

and so, because they want something tart, the stream of nectar from the cool-rayed moon

they drink each night to their fill at their pleasure, as though it were fermented rice water.

64

avishrantaM patpur guNagaNa kathAmreDana japA

japA puShpacchAyA tava janani jihvA jayati sA |

yadagrAsiinAyAH sphaTika dRShad acchacchavimayii

sarasvatyA mUrtiH pariNamati mANikyavapuShA ||

Unweariedly muttering (japa) in repetition tales of your Lord's many achievements,

your tongue, O mother, lovely as the China rose (japa), is supreme;

as Sarasvati sits at its tip, her beauteous crystal-clear

form changes until it looks like a ruby.

65

raNe jitvA daityAnapahRta shirastraiH kavacibhir

nivRttaish caNDAMshu tripurahara nirmAlya vimukhaiH |

vishAkhendropendraiH shashi vishada karpUrashakalA

viliiyante mAtas tava vadanatAm bhUlakabalAH ||

After conquering the Daityas in battle and still in armor but with helmets doffed,

when they had returned and had averted themselves from the remnants of the destruction

of the three cities which were like the hot-rayed sun,

Vishakha (Skanda), Indra, and Upendra (Vishnu), (seeing as cooling antidotes) the bits

of betel, with flakes of camphor white as the moon,

falling from your mouth, O mother, snatched them up.

66

vipaccyA gAyantii vividham avadAnaM pashupates

tvayArabdhe vaktuM calitashirasA sAdhuvacane |

tvadiiyair mAdhuryair apalapita tantrii kalaravAM

nijAM viiNAM vANii niculayati colena nibhRtam ||

While she (Sarasvati) was singing to the vina the sacred heroism of Pashupati

and you (Devi) with head nodding in time began to give applause,

when the clear notes of its strings were outdone by your sweet tones,

Vani (Sarasvati) softly slipped her lute (vina) into its case.

67

karAgreNa spRShTaM tuhinagiriNA vatsalatayA

giriishenodastaM muhuradharapAnAkulatayA |

karagrAhyaM shaMbhormukuravRntaM girisute

kathaMkAraM brUmastava cibukamaupamyarahitam ||

Touched with his finger in fatherly affection by the lord of the snowy mountain

(Himalaya),

tilted up repeatedly in the passion of the kiss by the lord of the mountains (Shiva),

a handle to the mirror of your face fit for Shambhu to grasp, O daughter of the mountain - how shall we describe your matchless chin?

68

bhujAshleShAnnityaM puradamayituH kaNTakavatii

tava griivA dhatte mukha kamala nAlashriyamiyam |

svataH shvetA kAlAgarubahala jambAlamalinA

mRNAlii lAlityaM vahati yadadho hAralatikA ||

Constantly horripilated (in joy) from the embrace of him who vanquished the cities,

your neck here has the beauty of a stalk for your lotus face.

Though naturally white, yet now dark from the thick mud-like paste of black aloes,

the pearl necklace below your neck has the grace of the tender filaments on a lotus stalk.

69

gale rekhAstisro gatigamakagiitaikanipuNe

vivAhavyAnaddha triguNa guNasaMravyA pratibhuvaH |

virAjante nAnAvidhamadhura rAgAkarabhuvAM

trayANAM grAmANAM sthitiniyamasiimAna iva te ||

The three creases in your neck, O you who are skilled without compare in the triple art of

singing theme, ornament, and song,

which correspond to the number of strands in the triple thread knotted on your neck at the

time of marriage,

shine forth so that for those mines of manifold sweet musical modes,

the three kinds of basic scales, they seem to be lines for defining the respective limits.

70

mRNAliimRdviinAM tava bhuja latAnAM catasRNAM

caturbhiH saundaryaM sarasijabhavaM stauti vadanaiH |

nakhebhyaH saMtrasyan prathamamathanA dandhakariposh

caturNAM shiirShANAM samamabhaya hastArpaNadhiyA ||

Of your four creeper-like arms soft as the filaments on a lotus stalk

he who was born in a lotus (Brahma) praises the beauty with his four heads;

terrified because his first (or fifth) head was destroyed by the nails of him (Sadashiva)

who is Andhaka's foe,

he hopes to win from them (your four hands) simultaneously gestures of immunity for his

four remaining heads.

71

nakhAnAm uddyotair nava nalina rAgaM vihasatAM

karANAM te kAntiM kathaya kathayAmaH katham ume |

kayA cidvA sAmyaM bhajatu kalayA hanta kamalaM

yadi kriiDal lakShmii caraNatalalAkshAruNadalam ||

Surpassing the glow of the newly opened lotus with the lustre of their nails,

tell us how we, O Uma, can describe the loveliness of your hands;

or let the red lotus claim similarity in some small degree,

provided its petals have gained additional redness from the lac on the soles of Lakshmi's

feet as she sports upon it.

72

samaM devi skanda dvipavadanapiitaM stana yugaM

tavedaM naH khedaM haratu satataM prasnutamukham |

yadA lokyAshankAkulita hRdayo hAsajanakaH

svakumbhau herambaH parimRshati hastena jhaTiti ||

O Devi, the pair of your breasts simultaneously sucked by Skanda and the elephant-faced

one (Ganesha),

may it remove our distress, its nipples ever flowing;

on seeing it, with heart confused by doubt, inciting laughter,

Heramba (Ganesha) suddenly touched the two bosses on his forehead with his trunk.

73

amU te vakShojAv amRta rasa mANikya kutupau

na saMdehaspando nagapati patAke manasi naH |

pibantau tau yasmAd aviditavadhU saMgama rasau

kumArAvadyApi dviradavadana krauńcadalanau ||

Those breasts of yours are ruby jars of nectar (amrta);

there is not a flicker of doubt of this in our mind, O banner of the mountain king;

wherefore the two (sons of yours), drinking from them and never having tasted the sweet

drink of intercourse with women,

the elephant-headed one and the crusher of Mount Krauńca, are still children.

74

vahatyamba stamberama danujakumbha prakRtibhiH

samArabdhAM muktAmaNibhiramalAM hAralatikAM |

kucAbhogo bimbAdhara rucibhirantaH shabalitAM

pratApavyAmishrAM puravijayinaH kiirtim iva te ||

O mother, originating in the forehead bosses of the elephant demon Stamberana (who

was slain by Shiva)

are the pearls strung as the flawless necklace

which the curve of your breasts makes appear speckled within by reflections from your

lower lip, red as a bimba,

like the clear glory of the city-conqueror mixed with his glowing valor.

75

tava stanyaM manye dharaNi dharakanye hRdayataH

payaHpArAvAraH parivahati sArasvata iva |

dayAvatyA dattaM draviDa shishurAsvAdya tava yat

kaviinAM prauDhAnAmajani kamaniiyaH kavayitA ||

The milk of your breasts, O daughter of the mountains, I think is as if from your heart

there flowed an ocean of the milk of poesy;

when the Dravida child tasted this as you gave it to him in compassion,

he became the poet laureate of the master poets.

76

hara krodha jvAlAvalibhir avaliiDhena vapuShA

gabhiire te nAbhiisarasi kRtasango manasijaH |

samuttasthau tasmAdaca latanaye dhUmatikA

janastAM jAniite janani tava romAvaliriti ||

With his body limned with a line of flame from Hara's wrath,

the mind-born one (Kama) entered the deep pool of your navel;

thence, O daughter of the mountain, there arose smoke like a creeper;

this, O mother, folk know as the line of your abdominal hair.

77

yad etat kAlindii tanutara tarangAkRti shive

kRshe madhye kiM cijjanani tava tadbhAti mudhiyAm |

vimardAd anyonyaM kucakalashayor antaragataM

tanUbhUtaM vyoma pravishadiva nAbhii kuhariNiim ||

That (line of abdominal hair), O spouse of Shiva, which looks here like a tiny ripple on

the blue Yamuna,

a slight thing at your slender waist, O mother, appears to those of pure insight

as if, caught between your jar-like breasts as they rub against each other,

the wide sky, squeezed thin, were entering your cavernous navel.

78

sthiro gangA vartaH stana mukula romAvali latA

kalA vAlaM kuNDaM kusumashara tejo hutabhujaH |

rater liilAgAraM kim api tava nArbhAti girije

bila dvAraM siddher girisha nayanAnAM vijayate ||

A whirlpool of the Ganga become motionless; for the creeper which is your line of

abdominal hair and terminates in your bud-like breasts

a cistern of your element (of love); a pit for the sacrificial fire of the splendor of him

(Kama) whose arrows are flowers;

a bower for passion's sport - as some such your navel, O mountain-born,

appears, the entrance to a cave where Girisha's eyes (like a yogi) may achieve their goal.

79

nisargakShiiNasya stana taTabhareNa klamajuSho

naman mUrternAbhau valiShu shanakais truTyata iva |

ciraM te madhyasya truTita taTinii tiira taruNA

samAvasthAsthemno bhavatu kushalaM shailatanaye ||

Slender by nature, wearied from the burden of your overhanging breasts,

with bent form that seems to be cracking slightly at the navel and the abdominal creases - ever to your waist, which no more than a tree on the trembling rim of a torrent

has any stability, may there be safety, O daughter of the mountain.

80

kucau sadyaH svidyat taTa ghaTita kurpAsabhidurau

kaShantau dormUle kanaka kalashAbhau kalayatA |

tava trAtuM bhangAdalamiti vilagraM tanubhuvA

tridhA naddhaM devi trivali lavalii vallibhiriva ||

When your breasts, which had suddenly burst your bodice as it met their sweating curves,

two golden jars, were rubbing against your armpits at his (Kama's) forcing,

Kama, trying to save your waist from breaking, O Devi,

bound it, three-folded as it is, triply as with withes of the lavali creeper.

81

gurutvaM vistAraM kShitidharapatiH pArvati nijAn

nitambAdAcchidya tvayi haraNarUpeNa nidadhe |

ataste vistiirNo gururayamasheShAM vasumatiiM

nitamba prAg bhAraH sthagayati laghutvaM nayati ca ||

The lord of the mountains, O Parvati, weight and width from his own

buttocks (punningly, mountain spurs) cur off and bestowed on you as dowry;

hence the entire earth this wide and weighty

expanse of your buttocks conceals and outweighs.

82

kariindrANAM shuNDAH kanaka kadalii kANDa paTaliim

ubhAbhyAm UrubhyAm ubhayam api nirjitya bhavatii |

suvRttAbhyAM patyuH praNatikaThinAbhyAM girisute

vijigye jAnubhyAM vibudhakari kumbha dvayam api ||

The trunks of lordly elephants and a cluster of golden plantain stalks,

both alike your ladyship has excelled with your pair of thighs;

with your two well-rounded knees, O daughter of the mountain, calloused from

prostrations before your husband,

you have also surpassed the pair of temporal bosses on (Airavata) the elephant of the

gods.

83

parAjetuM rudraM dviguNa sharagarbhau girisute

niShangau janghe te viShama vishikho bADham akRtA |

yad agre dRshyante dasha sharaphalAH pAdayugalii

nakhAgracchadmAnaH suramukuTa shANaika nishitAH |

To conquer Rudra, O daughter of the mountain, a pair of doubly arrow-filled

quivers the god who uses an unequal number of arrows (Kama) has surely made of your

two shanks;

at their ends appear ten arrow tips, which on your pair of feet

masquerade as toenails preeminently sharpened by whetstones composed of the crowns

of prostrate gods.

84

shrutiinAM mUrdhAno dadhati tava yau shekharatayA

mamApyetau mAtaH shirasi dayayA dhehi caraNau |

yayoH pAdyaM pAthaH pashupati jaTA jUTa taTinii

yayor lAkShA lakShmiir aruNa hari cUDAmaNi ruciH ||

Your two feet, which the apexes of the holy scripture (the Vedanta) wear as their crest,

these, O mother, in your mercy set upon my head as well;

the water in which they are laved is the stream in Pashupati's matted hair,

the lustrous lac on them is the glory of the red jewel which is Hari's crest.

85

namovAkaM brUmo nayana ramaNiiyAya padayom

tavAsmai dvandvAya sphuTa rucira sAlaktakavate |

asUyatyatyantaM yad abhihananAya spRhayate

pashUnAmiishAnaH pramadavana kankeli tarave ||

Reverence we voice to that eye-delighting pair of your feet,

whose manifest beauty has been enhanced with liquid lac;

when it (the kankeli) years for a kick from that pair of feet, jealous beyond measure is

the lord of creatures at the kankeli (ashoka) tree in your pleasure grove.

86

mRShA kRtvA gotra skhalana matha vailakshyanamitaM

lalATe bharTAraM caraNa kamale tADayati te |

cirAdantaH shalyaM dahana kRtam unmUlitavatA

tulAkoTi kvANaiH kilikilitam iishAna ripuNA ||

When feigningly he called you by a false name and then bowed in embarrassment,

and your lotus foot struck your lord on his forehead,

then, pulling out the thorn long suffered in his heart from the fire (of Shiva's third eye),

the enemy of Ishana (Kama) pealed out his triumph in the tinkling of your anklets.

87

himAnii hantavyaM himagiri taTA krAnti caturau

nishAyAM nidrANAM nishi ca parabhAge ca vishadau |

paraM lakShmii pAtraM shriyam atisRjantau samayinAM

sarojaM tvat pAdau janani jayatash citram iha kim ||

In the snow it perishes, but they are capable of treading upon the slopes of snowy peaks;

at night it folds in sleep, but they are bright by night as well as by day;

it is only a vessel to receive Lakshmi (shri, prosperity), but they shower prosperity (shri)

in profusion upon your suppliants -

what wonder is there here, mother, that your two feet surpass the lotus?

88

padaM te kAntiinAM prapadamapadaM devi vipadAM

kathaM niitaM sadbhiH kaThinakamaThiikarparatulAm |

kathaM vA bAhubhyAm upayamanakAle purabhidA

yadAdAya nyastaM dvaShadi dayamAnena manasA ||

Your forefoot, O Devi, which is the abode of beauties and no place for harshnesses -

how could the wise compare it with the hard shell of the female tortoise?

Or how could the city-wrecker, at the time of marriage, with his two hands

take it and inconsiderately set it on the rough millstone, he whose heart is

compassionate?

89

nakhairnAka striiNAM karakamala saMkoca shashibhis

tarUNAM divyAnAM hasata iva te caNDi caraNau |

phalAni svasthebhyaM kisalayakarAgreNa dadatAM

daridrebhyo bhadrAM shriyam anisham ahnAya dadatau ||

With toenails that are like moons to make the heavenly women fold their hands in

homage as though they were lotuses (which fold in the moonlight),

your feet O Candi, seem to mock the heavenly wishing trees,

which give fruits with their finger-like branches only to the well-to-do,

while the former (your feet) continuously and promptly grant blessing and wealth to the

poor.

90

kadA kAle mAtaH kathaya kalitAlaktakarasaM

pibeyaM vidyArthii tava caraNanirnejanajalam |

prakRtyA mUkAnAm api ca kavitAkAraNatayA

yadAdhatte vANii mukha kamalatAmbUla rasatAm ||

Tell me, mother, when in proper season the lac-mixed

water in which your feet have been laved I may drink, eager for knowledge,

which water, from its quality of turning even born mutes into poets,

has the character of betel juice from Vani's lotus mouth.

91

padanyAsakriiDA paricayam ivArabdhumanasash

carantaste khelaM bhavana kalahaMsA na jahati |

suvishepe shikShAM subhaga maNimańjiira raNitac-

chalAd AcakShANAM caraNa kamalaM cArucarite ||

As though with minds intent upon cultivating the art of graceful step,

the kalahamsas of your household go swinging along and do not stray from

your lotus foot, which in its fine carelessness, with a pretense of jingling its charming

jeweled anklets,

delivers instruction to them, O you with elegant gait.

92

arAlA kesheShu prakRti saralA mandahasite

shiriiShAbhA citte dRShadiva kaThorA kucataTe |

bhRshaM tanvii madhye pRthur urasijArohaviShaye

jagat trAtuM shaMbhor jayati karuNA kA cid aruNA ||

Curly of hair, naturally straightforward in her gentle smile,

delicate like the shirisha in her mind, firm as a rock in the curves of her breasts,

inexpressibly slender in her waist, wide in the regions of her breasts and hips,

let her, the compassion of Shambhu, the ineffable (shakti) Aruna, be victorious to save

the world.

93

purArAterantaH puramasi tatastvaccaraNayoH

saparyA maryAdA tarala karaNAnAmasulabhA |

tathA hyete niitAH shata makha mukhAH siddhi matulAM

tava dvAropAnta sthitibhir aNimAdyAbhir amarAH ||

You are the purdah queen of the cities' enemy (Shiva); hence at your feet

it is impossible for those of unsteady senses to gain the goal of doing worship;

thus it is that these gods, with him who performed the hundred sacrifices (Indra) at their

head, attain their incomparable magic power

along with Anima and the rest, whose place is outside your door.

94

gatAste mańcatvaM druhiNa hari rudreshvara bhRtaH

shivaH svacchacchAyA ghaTita kapaTa pracchada paTaH |

tvadiiyAnAM bhAsAM pratiphalana lAbhAruNatayA

shariirii shRngAro rasa iva dRshAM dogdhi kutukam ||

Druhina, Hari, Rudra, and Ishvara, as servants, form your couch;

Shiva, as a counterfeit bedspread, normally of clear white sheen,

becomes red from receiving the reflection of your glow

and as though he were the erotic sentiment incarnate draws wonder from your eyes.

95

kalankaH kastUrii rajanikara bimbaM jalamayaM

kalAbhiH karpUrair marakatakaraNDaM nibiDitam |

atastvad bhogena pratidinamidaM riktakuharaM

vidir bhUyo bhUyo nibiDayati nUnaM tava kRte ||

The moon's spot is musk; the night-maker's disk, composed of water,

is an emerald casket packed with camphor slivers, which are the moon's sixteen digits;

hence when this each day becomes an empty cavity from your use

Vidhi (Fate, Brahma) again and again promptly fills it for your sake.

96

svadehodbhUtAbhir ghRNibhir aNimAdyAbhir abhito

niShevye nitye tvAmahamiti sadA bhAvayti yaH |

kim AshcaryaM tasya trinayana samRddhiM tRNayato

mahAsaMvartAgnir viracayati niirAjanavidhim ||

With the rays Anima and the others that spring from your own body surrounding you on

all sides,

O you who are eternally to be worshipped, whoever thus constantly meditates upon you with the thought "It is I" -

what wonder is it that before him, who counts as grass the riches of the three-eyed one

(Shiva),

the fire of the universal dissolution performs the evening light-waving ceremony?

97

kalatraM vaidhAtraM katikati bhajante na kavayaH

shriyo devyAH ko vA na bhavati patiH kairapi dhanaiH |

mahAdevaM hitvA tava sati satiinAm acarame

kucAbhyAm AsangaH kuravaka taror apy asulabhaH ||

How many poets have not possessed Vidhatr's wife (Sarasvati)?

Or who with any riches at all does not become lord of the goddess Shri?

Except for Mahadeva, O true wife (sati), first among true wives (satinam),

an embrace from your breasts is unattainable even for the kuravaka tree.

98

girAm Ahur deviiM druhiNa gRhiNiim Agamavido

hareH patniiM padmAM harasahacariim adritanayAm |

turiiyA kApi tvaM duradhigamaniHsiima mahimA

mahAmAye vishvaM bhramayasi parabrahma mahiShi ||

The knowers of the Scripture (agama) speak of Druhina's wife (Sarasvati), the goddess

of speech, as you,

Padma (Lakshmi), the wife of Hari, as you, the mountain's daughter

(Parvati), Hara's mate, as you,

you are an ineffable fourth beyond these three, hard to reach, with power unbounded (by

space, time, cause and effect, substance),

O great power of creation (mahamaya), O wife of the supreme brahman (Sadashiva), you

put the universe through its revolution of appearances.

99

sarasvatyA lakShmyA vidhi hari sapatno viharate

rateH pAtivratyaM shithilayati ramyeNa vapuShA |

ciraM jiivanneSha kShapita pashu pAsha vyatikaraH

parabrahmAbhiravyaM rasayati rasaM tvad bhajanavAn ||

As a rival of Vidhi and Hari, he sports with their wives Sarasvati and Lakshmi,

with his charming form he loosens Rati's devotion to her husband,

long living, he dissolves the union of soul and bond

and savors the sweetness called supreme brahman - he, your devotee.

100

pradiipa jvAlAbhir divasakara niirAjana vidhiH

sudhA sUteshvandropala jala lavair arghya ghaTanA |

svakiiyair ambhobhiH salila nidhi sauhityakataNaM

tvadiiyAbhir vAgbhis tava janani vAcAM stutiriyam ||

No more than a ceremony of light-waving before the sun with lamp-flames (which have

the sun as their source),

only an offering of water with liquid drops from the moonstone to the moon which is the

very source of nectar,

nought but a rite of gratification with his own waters to the ocean which is the depository

of floods,

is this my hymn of praise, O mother of speech, composed with words that come from

you.

Appendix 1

samAniitaH padbhyAM maNi mukuratAm ambaramaNir

bhayAd antarbaddha stimita kiraNa shreNi masRNaH |

dadhAti tvad vaktraM pratiphalitam ashrAnti vikacaM

nirAtankaM candrAn nijahRdaya pankeruham iva ||

 

The jewel of the sky (the sun) has been converted to a jeweled mirror by your feet

and from fear (of the brilliance of your face) has retracted and stilled the multitude of its

rays so that it stays mild;

it holds your lotus face reflected as though it were the freshly opened

lotus of its own heart untroubled by the moon (before which the lotus closes).

Appendix 2

samudbhUta sthUla stana bharam urashvAru hasitaM

kaTAkShe kandarpaH kusumita kadamba dyutivapuH |

harasya tvad bhrAnti manasi janayAm Asa madano

bhavatyA ye bhaktAH pariNatir amiiShAm iyam ume ||

A bosom heavy with the massive breasts that have developed on it, a sweet smile,

love in a sidelong glance, a figure with the beauty of a blossoming kadamba -

Madana has created a counterfeit of you in Hara's mind;

this is the final evolution of those who are your ladyship's devotees, O Uma.

Appendix 3

nidhe nitya smere niravadhi guNe niitinipuNe

nirAghAta jńAne niyama paracittaika nilaye |

niyatyA nirmukte nikhila nigamAnta stuti pade

nirAtanke nitye nigamaya mamApi stutim imAm ||

O treasure, ever smiling, with qualities that have no limitations, skilled in politic conduct,

of unimpaired wisdom, constantly abiding in those whose minds never deviate from the

rules,

independent of necessity, the object of praise in all the Uphanishads,

not subject to fear, eternal, approve this my hymn of praise.