[Advaita-l] Sivaanandalahari - 98

Anbu sivam2 anbesivam2 at gmail.com
Wed Feb 10 11:58:28 CST 2010

Sivaanandalahari - 98सर्वालंकारयुक्‍तां सरलपदयुतां साधुवृत्तां सुवर्णां
सद्भिस्संस्तूयमानांसरसगुणयुतां लक्षितां लक्षणांढ्याम् ।
उद्यद्भूषाविशेषा-मुपगतविनयां द्योतमानार्थ-रेखां
कल्याणीं देव गौरी-प्रिय मम कविता-कन्यकं त्वं गृहाण ॥ ९८ ॥

sarvAlaMkArayuk^tAM saralapadayutAM sAdhuvRuttAM suvarNAM
sadBissaMstUyamAnAMsarasaguNayutAM lakShitAM lakShaNAMDhyAm |
udyadBUShAviSeShA-mupagatavinayAM dyotamAnArtha-rekhAM
kalyANIM deva gaurI-priya mama kavitA-kanyakaM tvaM gRuhANa ||98||

This has two meanings one pertaining to the poem Sivananda Lahari and the
other pertaining to spinster girl.

With Reference to the girl:

Oh Mahadeva, lover of Gowri, please hold the hand and marry the girl named
Poem who is fully decorated, has a good gait, has good character, has
shining good colour, praised by all good people, has charming qualities,
considered to be a model girl, has all virtues, who is wearing shining
ornaments,is humble, has brilliant line of wealth in her palm and the
embodiment of auspiciousness

With reference to the Poem Sivananda Lahari:

oh Mahadeva, lover of Gowri,Please accept my Poem which is beautiful due to
all attributes like simili , made of simple and sweet words, has musical
meter, glitters with the select letters, praised by the learned, has good
qualities,has Bhakti as the aim, contains all the qualities of good poem,
has good phrases, is humble, has shining bright ideas and gives good to all.


**hE dhEva* = Hey! Swaprakaasa chithEka rasanE!
*sarvaalankaarayukthaam* = who is adorned with ornaments and vasthras of all
*saralapadhayuthaam* = with soft steps and dignified posture;
*saadhuvrutthaam* = with laudable selections such as vasantha thilakam,
sikirini, aryaavrutham etc or of *commendable conduct;
suvarNaam* = having the golden hue or aksharaalankrutham;
*sadhbhi: *= by vidwad janaas or by those who are great on all counts;
*samsthooyamaanaam *= laudable;
*sarasaguNayuthaam* = having the rasas such as bhakthi and the guNa such as
maadhuryam or having rasas such as sringaaram and guNas such as oudhaaryam;
*lakshithaam* = who has the lakshya in her or who is focussed;
*lakshanaadyaam *= having many kaavya rasas and lakshanas or having the body
parts with uthamOthama lakshanas.
*udhyadhbhooshaavisEshaam* = having sapthaalankaaras that are vividly seen
or having shining ornaments;
*upagathavinayaam *= having the discipline in accordance with poetry or
having self-endowed modesty;
*dhyOthamaanaartharEkhaam *= clearly brilliant or indicating possession of
lakshmee kataaksham;
*kayaaNeem *= giver of mangalam or creator of soura rasam equal to
brahmaanandha rasam;
*mama *= my;
*kavithaakanyakaam* = this kanyaa that is the kavitha called
*hE Gowreepriya *= who is desirous of being with Paarvathi always;
*thvam* = you;
*gruhaaNa *= please accept.

Hey! ParamEswara!  Hey! Gowripriyaa! Please do accept my kavithaa kanya
without any objection.  Let me explain to you in detail of the grantha
mahimaa of my kavithaa kanya named Sivaanandhalahari.  Please listen to me
leisurely and deliberately and accept it ultimately.

This grantham has many upamaanas as its decoration.  These examples were not
repeated and were apt and can easily be related by those who do sravaNam of
this poetry.  Also the words used are easier so that they can be retained in
the mind.  Also these have been composed not in a single vrutham but were
mixed with vasantha thilakam, sikiriNi, aaryaavrutham etc.  thus giving the
reciters of enormous aanandha because of its easiness and the sweet melody.
Besides, Hey! SambhO! it also remains to be capable of being sung by
vidhwaans and parama gnaanis.  This kaavya has bhakthi as its praadhaanyam
and is mixed with the rasas such as karuNa, veera, bhayaanagam, adbhutham,
haasyam and saantham and with guNas such as maadhuryam.  This grantham
reveals in one reading the entire range of thathwas like the myrobalan in
the palm.  It is also capable of being sung as the word groupings have those
lakshanas to give maadhurya rasanas.  Above all it is a modest composition
in style.

Moreover, Hey! ParamEswara! The phrases not only have maadhurya rasam as its
essence but they brightly bring out the thathvaarthams embedded in them.
And they are capable of bringing mangalam to those who chant them.
Therefore Hey! GowripathE! please accept this garland of sivaanandhalahari
without any objection.

This kaavyam has mahimaa only because it imparts Paramasivam to the readers
and not because it was composed by AachaaryaaL.    ParamaachaaryaaL being a
sanyaasi itself is the saakshi for this.

Besides, it is saakshaath Parameswara himself who took the avathaara of
bhagavathpaadhaaL by taking Paarvathi as the BrahmavidhyaaswaroopiNi.  It is
very clear that Paraasakthi herself revealed Herself in this
Sivaanandhalahari.  That is why this kaavya of Sivaanandhalahari remains the
Deviswaroopam revealing that Siva and Shakthi cannot be separated.  It
should be recalled that AachaaryaaL started this Sivaanandhalahari with 'ka'
kaaram doing his smaraNa of the paradhEvatha and by saying 'nijathapa:
phalaabyaam' did the varNana that Siva and Shakthi by their thapas became
their phalaswaroopar.  This is the import of this 98th sloka being dedicated
to AmbaaL.

Saakshaath Paraasakthi's soundharyam cannot be described even by Hari
Brahmaadhi Devathaas.  She shines in her splendour in her aabaraNas and silk
saree.  She is of swarNamayam appearing in sringaara rasam, her poise is of
natural gentleness and by the sruthi vaakyaa 'EshahyEva aanandhayathi' she
feeds sakala praaNis with limitless aanandha.  Hey! ParamEswara! This kaavya
kanya named Sivaanandhalahari is none other than that Soundaryavathi,
sowkumaari, LaavaNya and adhyadhbutha mahaamahimasaalini saakshaath
paraasakthi Sri Parvathi only.  Please accept her as your garland!

shrI pArvathI-paramEshvarau vandhE
cid-bimbau lIlA-vigrahau
mamAbhIShta siddhayE   (Shri)

sukhapradau gandharasAdhArau  (Shri)

lOpAmudrEshArccita caraNau
bhayaharaNau bhavataraNau

shrI pArvatI-paramEshvarau vandhE

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