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Saundaryalaharī • Chapter 01

Saundaryalaharī (Ananda & Saundarya Laharī)

सौन्दर्यलहरी (आनन्दलहरी च)

The hymn of divine beauty, Śākta metaphysics, and mantra-tantra attributed to Ādi Śaṅkarācārya.

Total: 100 Verses • Citations: SL 1.1–100 • 3 Lexicon Terms • Page 3 of 4 (Verses 30 shown)
असौ नासावंशस्तुहिनगिरिवंशध्वजपटिः

त्वदीयो नेदीयः फलतु फलमस्माकमुचितम् ।

वहन्नन्तर्मुक्ताः शिशिरतरनिश्वासगलितं

समृद्ध्या यत्तासां बहिरपि च मुक्तामणिधरः ॥ ६१॥
English Translation
May your nose-ridge — the banner of the Himālaya lineage, being very near —
bestow the fitting fruit upon us. Bearing the pearls within (nostrils) dropped by the exceedingly cool
breath, and yet by their abundance a bearer of a pearl-gem outside too.
व्याख्या / Traditional Commentary & Notes
【Title: The Nose — The Banner of the Snow-Mountain Lineage】 Vaṃśa means both "bamboo" (the material whose straight ridge evokes the nose-bridge) and "lineage/dynasty." The verse pivots on this double meaning: the nose-ridge (nāsā-vaṃśa) is simultaneously the ridge of the nose made like polished bamboo AND the flag-standard (dhvaja-paṭi) of the Himalayan dynasty. The three-fold play — physical shape, family honour, and the banner that signals royal descent — is accomplished in a single compound. Nedīyaḥ (comparative superlative of antika, "near") is a grammatical curiosity: it intensifies the nose's proximity to our faces when we worship the image, suggesting that proximity to the Goddess guarantees reward. Padaccheda: असौ · नास-वंशः · तुहिनगिरि-वंश-ध्वज-पटिः · त्वदीयः · नेदीयः · फलतु · फलम् · अस्माकम् · उचितम् · वहन् · अन्तः · मुक्ताः · शिशिरतर-निश्वास-गलितम् · समृद्ध्या · यत् · तासाम् · बहिः · अपि · च · मुक्तामणि-धरः
प्रकृत्या रक्तायास्तव सुदति दन्तच्छदरुचेः

प्रवक्ष्ये सादृश्यं जनयतु फलं विद्रुमलता ।

न बिम्बं तद्बिम्बप्रतिफलनरागादरुणितं

तुलामध्यारोढुं कथमिव विलज्जेत कलया ॥ ६२॥
English Translation
O fair-toothed one! I shall describe the similarity with the naturally red
lustre of your lip. Let the coral creeper bear fruit [for comparison]. But that bimba fruit — reddened
as it is by the reflection of your lip's image — how would it not be ashamed to even step onto the scale
of comparison by even a fraction?
व्याख्या / Traditional Commentary & Notes
【Title: The Lower Lip Surpassing the Bimba Fruit】 The bimba fruit (a bright-red berry, Momordica monadelpha) is the standard upamāna (standard of comparison) for red lips in Sanskrit poetry. This verse turns the convention inside out with elegant logic: the bimba fruit appears red only because it has been reddened by the reflection (pratiphalana) of the Goddess's lip. Its redness is borrowed, not native. Therefore it cannot be compared to the lip — the comparison would be circular (the copy claiming equality with the original that colours it). Vidruma-latā (coral creeper) is proposed as an alternative, but the dismissal of bimba is the poem's real thrust. The verse is a masterwork of vyatireka alaṃkāra taken to its logical extreme. Padaccheda: प्रकृत्या · रक्तायाः · तव · सुदति · दन्त-च्छद-रुचेः · प्रवक्ष्ये · सादृश्यम् · जनयतु · फलम् · विद्रुम-लता · न · बिम्बम् · तत्-बिम्ब-प्रतिफलन-रागात् · अरुणितम् · तुलाम् · अध्यारोढुम् · कथम् इव · विलज्जेत · कलया
स्मितज्योत्स्नाजालं तव वदनचन्द्रस्य पिबतां

चकोराणामासीदतिरसतया चञ्चुजडिमा ।

अतस्ते शीतांशोरमृतलहरीमम्लरुचयः

पिबन्ति स्वच्छन्दं निशि निशि भृशं काञ्जिकधिया ॥ ६३॥
English Translation
Those cakora birds who drank the flood of smile-moonlight from your face-moon
experienced a numbing of the beak from its excessive sweetness. Therefore, those (now) with a craving
for sourness drink the nectar-wave of your cool-rayed [moon] freely, night after night intensely,
imagining it to be kāñjika (sour rice-water).
व्याख्या / Traditional Commentary & Notes
【Title: The Smile-Moonlight and the Cakora Birds】 The cakora (Greek partridge) is mythologically said to drink moonbeams — this is the standard upamāna for the devotee who drinks the nectar of the beloved's face. Here the conceit is inverted and extended: the moonlight of the Goddess's smile is SO sweet (ati-rasatā) that it paralyses the beak (cañcu-jaḍimā) — a medical-poetic image of sweetness overload. The birds then crave sourness and drink the ordinary moonlight, mistaking it for kāñjika (the sour fermented rice-water used as a palate-cleanser). The entire metaphor is a sustained vipralambha (separation-longing) in which ordinary moonlight is the sour substitute for the face-moon's incomparable nectar. Padaccheda: स्मित-ज्योत्स्ना-जालम् · तव · वदन-चन्द्रस्य · पिबताम् · चकोराणाम् · आसीत् · अतिरसतया · चञ्चु-जडिमा · अतः · ते · शीतांशोः · अमृत-लहरीम् · अम्ल-रुचयः · पिबन्ति · स्वच्छन्दम् · निशि निशि · भृशम् · काञ्जिक-धिया
अविश्रान्तं पत्युर्गुणगणकथाम्रेडनजपा

जपापुष्पच्छाया तव जननि जिह्वा जयति सा ।

यदग्रासीनायाः स्फटिकदृषदच्छच्छविमयी

सरस्वत्यामूर्तिः परिणमति माणिक्यवपुषा ॥ ६४॥
English Translation
O Mother! Your tongue — red as the japā flower, ceaselessly engaged in the
repeated recitation of the catalogue of your husband's virtues — is victorious; for at its tip,
Sarasvatī who was of crystal-clear lustre transforms into the form of ruby.
व्याख्या / Traditional Commentary & Notes
【Title: The Tongue — Sarasvatī in Ruby Form】 Āmreḍana is a grammatical term meaning "repetition for emphasis" — the tongue is engaged in āmreḍana-japa, the repetitive recitation-murmur of Śiva's praises. The word carries both the sense of japa (mantra repetition) and simply "talking about" (kathā). The tongue is hibiscus-red (japā-puṣpa) — a colour that names the japa-flower and thus puns on japa (repetition): the tongue is red with japa, as a hibiscus is red. Sarasvatī, who is the goddess of clear crystal speech, turns ruby-red when she seats herself on the Goddess's tongue — she takes on the passionate red of the Goddess's loving praise of Śiva. Crystal (pure knowledge) becomes ruby (love-inflamed knowledge). Padaccheda: अविश्रान्तम् · पत्युः · गुण-गण-कथा-आम्रेडन-जपा · जपा-पुष्प-च्छाया · तव · जननि · जिह्वा · जयति · सा · यत् · अग्र-आसीनायाः · स्फटिक-दृषद्-अच्छ-च्छवि-मयी · सरस्वती · अमूर्तिः · परिणमति · माणिक्य-वपुषा
रणे जित्वा दैत्यानपहृतशिरस्त्रैः कवचिभिः

निवृत्तैश्चण्डांशत्रिपुरहरनिर्माल्यविमुखैः ।

विशाखेन्द्रोपेन्द्रैः शशिविशदकर्पूरशकला

विलीयन्ते मातस्तव वदनताम्बूलकबलाः ॥ ६५॥
English Translation
O Mother! The pieces of camphor white as the moon that dissolve in the
betel-mouthfuls of your face — these are [the offerings of] Skanda, Indra, and Viṣṇu — who, having
conquered the demons in battle and returned, their helmets removed and their armour off, having turned
away from the used garlands of the Sun and Śiva.
व्याख्या / Traditional Commentary & Notes
【Title: The Goddess's Camphor — The Pān Offered by Defeated Gods】 Nirmālya refers to flowers, garlands, and offerings that have already been presented to a deity and are thus "used" — they carry the deity's śakti but are no longer primary offerings. The gods returning victorious from battle are described as turning away from the nirmālya of the Sun (Sūrya) and Śiva — these are lower offerings for lower deities from the Śākta perspective. They proceed instead to the Goddess's mouth with camphor-offerings. This ranking — Śiva's nirmālya below the Goddess's fresh offering — enacts the Śākta theological hierarchy. The camphor offered to the Goddess dissolves in her betel-chew, becoming part of her, which is the highest possible absorption of an offering. Padaccheda: रणे · जित्वा · दैत्यान् · अपहृत-शिरस्त्रैः · कवचिभिः · निवृत्तैः · चण्डांश-त्रिपुरहर-निर्माल्य-विमुखैः · विशाख-इन्द्र-उपेन्द्रैः · शशि-विशद-कर्पूर-शकलाः · विलीयन्ते · मातः · तव · वदन-ताम्बूल-कबलाः
विपञ्च्या गायन्ती विविधमपदानं पशुपतेः

त्वयारब्धे वक्तुं चलितशिरसा साधुवचने ।

तदीयैर्माधुर्यैरपलपिततन्त्रीकलरवां

निजां वीणां वाणी निचुलयति चोलेन निभृतम् ॥ ६६॥
English Translation
Sarasvatī, singing the various deeds of Paśupati on her vīṇā, as soon as you
begin to speak — nodding her head in approval saying "bravo" — quietly hides her own vīṇā in her
garment, since your sweetnesses have silenced/put to shame its melodious string-sounds.
व्याख्या / Traditional Commentary & Notes
【Title: Sarasvatī Hides Her Vīṇā in Envy】 Apalapita (from apa-lap) means "denied, suppressed, made to seem absent" — Sarasvatī's vīṇā strings are not broken but rendered inaudible, their sweet sounds "denied" by the comparative sweetness of the Goddess's voice. The word nicuLayati (hides away, wraps up) implies a deliberate concealment — Sarasvatī doesn't just stop playing, she physically wraps her vīṇā in her garment so no one notices. The psychological precision here is remarkable: first she applauds (sādhu-vacana), then she secretly hides her instrument. This is the behaviour of a great artist who has just heard someone better and responds with both genuine admiration and private humility — a beautiful portrait of artistic grace. Padaccheda: विपञ्च्या · गायन्ती · विविधम् · अपदानम् · पशुपतेः · त्वया · आरब्धे · वक्तुम् · चलित-शिरसा · साधुवचने · तदीयैः · माधुर्यैः · अपलपित-तन्त्री-कलरवाम् · निजाम् · वीणाम् · वाणी · निचुलयति · चोलेन · निभृतम्
कराग्रेण स्पृष्टं तुहिनगिरिणा वत्सलतया

गिरीशेनोदस्तं मुहुरधरपानाकुलतया ।

करग्राह्यं शम्भोर्मुखमुकुरवृन्तं गिरिसुते

कथङ्कारं ब्रूमस्तव चिबुकमौपम्यरहितम् ॥ ६७॥
English Translation
O daughter of the mountain! Your chin — touched with fingertips by the
Himālaya in parental affection; repeatedly lifted up by Śiva in eagerness to drink from your lower lip;
the handle of the mirror of Śambhu's face, to be grasped by his hand — how shall we describe this chin
that is beyond all comparison?
व्याख्या / Traditional Commentary & Notes
【Title: The Chin — Beyond All Comparison】 The verse describes the chin from three perspectives: the father's fingertip-touch (vatsalatayā — with parental love), the husband's repeated upward tilt (udasta — lifted up in passion), and the function as a handle (kara-grāhyam vṛnta — the stem grasped by hand). These three — the father's affection, the husband's desire, the utilitarian grip — exhaust the ways in which a chin can be meaningfully touched. Together they make the argument for aupamya-rahitatva (incomparability): the chin that has been touched in all these ways by Himālaya himself and by Śiva himself cannot be compared to anything, because nothing else has been so blessed. The rhetorical question "how shall we describe it?" (kathaṃkāram brūmaḥ) is the apophatic move — description fails where intimacy is absolute. Padaccheda: कर-अग्रेण · स्पृष्टम् · तुहिनगिरिणा · वत्सलतया · गिरीशेन · उदस्तम् · मुहुः · अधर-पान-आकुलतया · कर-ग्राह्यम् · शम्भोः · मुख-मुकुर-वृन्तम् · गिरिसुते · कथङ्कारम् · ब्रूमः · तव · चिबुकम् · औपम्य-रहितम्
भुजाश्लेषान्नित्यं पुरदमयितुः कण्टकवती

तव ग्रीवा धत्ते मुखकमलनालश्रियमियम् ।

स्वतः श्वेता कालागुरुबहुलजम्बालमलिना

मृणालीलालित्यं वहति यदधो हारलतिका ॥ ६८॥
English Translation
Your neck — forever goose-bumped from the embrace of the arms of the Subduer
of the Triple City — bears the beauty of the stalk of the face-lotus. Below it, the
pearl-necklace-creeper, naturally white yet darkened by the mud of abundant black aloe-wood perfume,
bears the graceful delicacy of a lotus-stalk.
व्याख्या / Traditional Commentary & Notes
【Title: The Neck and the Pearl Necklace】 Kaṇṭakāvatī ("having thorns") is the poetic term for romāñca (horripilation, goose-bumps), one of the eight sāttvika bhāvas (involuntary signs of aesthetic emotion) catalogued in the Nāṭyaśāstra. The neck is permanently goose-bumped from Śiva's embrace — not just during the embrace but always, as a lasting imprint of love. This permanent romāñca is the Goddess's body's testimony to a joy that has become its normal condition. The comparison of the neck to a lotus stalk (kamala-nāla) is anatomically apt (long, graceful, slightly curved) and cosmologically meaningful (the face-lotus grows on the neck-stalk). Padaccheda: भुज-आश्लेषात् · नित्यम् · पुरदमयितुः · कण्टकवती · तव · ग्रीवा · धत्ते · मुख-कमल-नाल-श्रियम् · इयम् · स्वतः · श्वेता · काला-अगुरु-बहुल-जम्बाल-मलिना · मृणाली-लालित्यम् · वहति · यत् · अधः · हार-लतिका
गले रेखास्तिस्रो गतिगमकगीतैकनिपुणे

विवाहव्यानद्धप्रगुणगुणसंख्याप्रतिभुवः ।

विराजन्ते नानाविधमधुररागाकरभुवां

त्रयाणां ग्रामाणां स्थितिनियमसीमान इव ते ॥ ६९॥
English Translation
O you who are uniquely skilled in gait, musical ornaments, and song! The
three lines on your neck — sureties for the count of strings tightly strung on [Śiva's bow] at the
wedding — shine like the boundary-rules of the three musical grāmas (tonal systems), the mines from
which manifold sweet rāgas arise.
व्याख्या / Traditional Commentary & Notes
【Title: The Three Lines of the Neck as the Three Musical Scales】 The three grāmas of classical Indian musical theory are the ṣaḍja-grāma, madhyama-grāma, and gāndhāra-grāma — the three fundamental tonal systems from which all rāgas derive. Each grāma defines the intervals and relationships between notes in a different way, and together they exhaust the possibilities of melodic organisation. The three neck-lines are compared to the three grāmas: just as the grāmas set the "boundary-rules" (sthiti-niyama-sīmā) within which all musical beauty must operate, the neck-lines set the framework for the beauty of the entire figure. The vocative addressed to the Goddess as uniquely skilled in gati (dance steps), gamaka (musical ornaments), and gīta (song) places her as the supreme musician whose body embodies musical theory. Padaccheda: गले · रेखाः · तिस्रः · गति-गमक-गीत-एक-निपुणे · विवाह-व्यानद्ध-प्रगुण-गुण-संख्या-प्रतिभुवः · विराजन्ते · नाना-विध-मधुर-राग-आकर-भुवाम् · त्रयाणाम् · ग्रामाणाम् · स्थिति-नियम-सीमानः · इव · ते
मृणालीमृद्वीनां तव भुजलतानां चतसृणां

चतुर्भिः सौन्दर्यं सरसिजभवः स्तौति वदनैः ।

नखेभ्यः सन्त्रस्यन् प्रथममथनादन्धकरिपोः

चतुर्णां शीर्षाणां सममभयहस्तार्पणधिया ॥ ७०॥
English Translation
Brahma, the lotus-born, praises the beauty of your four arm-creepers — tender
as lotus stalks — with four faces; [and he does so] simultaneously with all four heads, with the thought
of extending the gesture of fearlessness, terrified of your nails from the primordial churning by the
enemy of Andhaka (Śiva).
व्याख्या / Traditional Commentary & Notes
【Title: The Four Lotus-Arms and Brahma's Four Faces】 Brahma's four faces, which in other contexts recite the four Vedas or face the four directions, are here employed for a single purpose: praising the Goddess's four arms. The number-match (4 faces for 4 arms) is not coincidental — the verse implies that each of Brahma's faces was given to him specifically to praise one arm-creeper of the Goddess. The mythological allusion to Brahma's terror of Śiva's nails (prathama-mathana — the primordial churning, likely referring to Śiva's cosmic dance of destruction at the first moment) gives his effusive praise a comic undertone: Brahma praises the arms partly out of genuine admiration and partly to placate the Goddess whose husband's nails he fears. Padaccheda: मृणाली-मृद्वीनाम् · तव · भुज-लतानाम् · चतसृणाम् · चतुर्भिः · सौन्दर्यम् · सरसिज-भवः · स्तौति · वदनैः · नखेभ्यः · सन्त्रस्यन् · प्रथम-मथनात् · अन्धक-रिपोः · चतुर्णाम् · शीर्षाणाम् · समम् · अभय-हस्त-अर्पण-धिया
नखानामुद्द्योतैर्नवनलिनरागं विहसतां

कराणां ते कान्तिं कथय कथयामः कथमुमे ।

कयाचिद्वा साम्यं भजतु कलया हन्त कमलं

यदि क्रीडल्लक्ष्मीचरणतललाक्षारुणदलम् ॥ ७१॥
English Translation
O Umā! How shall we describe the beauty of your hands — whose nail-gleam
laughs at the pinkness of new lotuses? Alas! Let the lotus attain some fraction of similarity — if its
petals are reddened by the lac-dye from the soles of sporting Lakṣmī's feet.
व्याख्या / Traditional Commentary & Notes
【Title: The Hands Whose Nails Outshine New Lotuses】 The verse enacts a playful logical game. The hands surpass new lotuses. Can the lotus claim any similarity? Only if Lakṣmī (who stands on lotuses) has been playing on it and her lac-stained feet have reddened its petals. But Lakṣmī's feet get their red from the lac-dye applied as beauty cosmetics — a secondary redness, borrowed from beauty culture. Meanwhile the Goddess's hands have their redness from their own nature (prākṛtika). The chain of comparison: Goddess's hands → new lotus → Lakṣmī's lac-stained feet → lotus petals reddened by those feet. Each step introduces another layer of mediated redness, while the Goddess's original redness remains pure and unmediated. Hanta (alas!) signals genuine wonder at the impossibility of comparison. Padaccheda: नखानाम् · उद्द्योतैः · नव-नलिन-रागम् · विहसताम् · कराणाम् · ते · कान्तिम् · कथय · कथयामः · कथम् · उमे · कयाचित् · वा · साम्यम् · भजतु · कलया · हन्त · कमलम् · यदि · क्रीडत्-लक्ष्मी-चरण-तल-लाक्षा-अरुण-दलम्
समं देवि स्कन्दद्विपवदनपीतं स्तनयुगं

तवेदं नः खेदं हरतु सततं प्रस्नुतमुखम् ।

यदालोक्याशङ्काकुलितहृदयो हासजनकः

स्वकुम्भौ हेरम्बः परिमृशति हस्तेन झडिति ॥ ७२॥
English Translation
O Goddess! May this pair of your breasts — simultaneously drunk by the faces
of Skanda and the elephant (Gaṇeśa), always with overflowing nipples — remove our sorrow. Seeing which,
Gaṇeśa, his heart agitated by doubt (and in a way that causes laughter), quickly checks his own kumbhas
with his hand.
व्याख्या / Traditional Commentary & Notes
【Title: The Breasts That Feed Skanda and Gaṇeśa】 Dvipa-vadana ("elephant face") is Gaṇeśa. The simultaneous nursing of Skanda and Gaṇeśa (samam pītam) is a visual conceit: two very different faces — a beautiful boy's and an elephant's — nursing at the same time. The comedic scene that follows — Gaṇeśa checking his own kumbhas (the twin foreheads of an elephant, shaped like breasts) — is a brilliant hāsya-rasa (comic sentiment) moment. Gaṇeśa, seeing the Goddess's breasts, worries for a moment (āśaṅkā) that his own kumbhas might be mistaken for or compared to them, and in his concern quickly checks his own head with his hand. The comedy turns on self-consciousness and the absurdity of comparison. Padaccheda: समम् · देवि · स्कन्द-द्विप-वदन-पीतम् · स्तन-युगम् · तव · इदम् · नः · खेदम् · हरतु · सततम् · प्रस्नुत-मुखम् · यत् · आलोक्य · आशङ्का-आकुलित-हृदयः · हास-जनकः · स्व-कुम्भौ · हेरम्बः · परिमृशति · हस्तेन · झडिति
अमूते वक्षोजावमृतरसमाणिक्यकुतुपौ

न संदेहस्पन्दो नगपतिपताके मनसि नः ।

पिबन्तौ तौ यस्मादविदितवधूसङ्गरसिकौ

कुमारावद्यापि द्विरदवदनक्रौञ्चदलनौ ॥ ७३॥
English Translation
O banner of the mountain king! There is not the slightest tremor of doubt in
our minds [that] these two breasts of yours are ruby flasks of nectar-juice. Because those two — the
elephant-face-cleaver and the Krauñca-mountain-piercer (Gaṇeśa and Skanda) — are still youthful to this
day, never having known the pleasure of a wife's company, because they are still drinking from
them.
व्याख्या / Traditional Commentary & Notes
【Title: The Breasts as Ruby Vessels of Nectar】 Kutupa is a flask or vessel for holding precious liquids. The breasts as amṛta-rasa-māṇikya-kutupa (ruby flasks of nectar-juice) compress three metaphors: (1) the breast's shape like a rounded flask; (2) its ruby-red colour; (3) the milk it contains which is equated with nectar (amṛta). The proof offered for this identification is clever logic: Gaṇeśa and Skanda, despite being the most powerful of gods — elephant-head-makers and mountain-piercers — remain youthful (kumāra = perpetually young) and innocent of marriage because they have never stopped drinking from the Goddess's breasts. If the milk were ordinary, they would have outgrown it long ago. Only nectar could maintain eternal youth. Therefore the breasts are nectar-flasks. Padaccheda: अमू · ते · वक्षोजौ · अमृत-रस-माणिक्य-कुतुपौ · न · संदेह-स्पन्दः · नगपति-पताके · मनसि · नः · पिबन्तौ · तौ · यस्मात् · अविदित-वधू-सङ्ग-रसिकौ · कुमारौ · अद्यापि · द्विरद-वदन-क्रौञ्च-दलनौ
वहत्यम्ब स्तम्बेरमदनुजकुम्भप्रकृतिभिः

समारब्धां मुक्तामणिभिरमलां हारलतिकाम् ।

कुचाभोगो बिम्बाधररुचिभिरन्तः शबलितां

प्रतापव्यामिश्रां पुरदमयितुः कीर्तिमिव ते ॥ ७४॥
English Translation
O Mother! The expanse of your breasts bears a pure pearl-necklace creeper
fashioned from pearl-gems with the nature of the foreheads of demon-elephants — streaked within by the
lustre of the bimba-red lips — like the fame of the Subduer of the Triple City, mixed with his
splendour.
व्याख्या / Traditional Commentary & Notes
【Title: The Pearl Necklace on the Breasts as Śiva's Fame】 Stamberāma-danuja-kumbha refers to the foreheads of demon-elephants (danuja = enemy, demon; kumbha = the twin foreheads of an elephant). This peculiar compound for pearls alludes to the belief that large pearls form in the foreheads of great war-elephants. The pearl-necklace made from such elephantine pearls embodies conquest — these pearls were won in battle. Hanging on the Goddess's breast, they become Śiva's kīrti (fame) made visible — the trophies of his conquest of the Triple City (Tripura), displayed on the Mother's breast as her ornament. The red of the bimba-lip's reflection on the white pearls represents the blood and fire of Śiva's conquest mixed into the white of fame. Padaccheda: वहति · अम्ब · स्तम्बेरम-दनुज-कुम्भ-प्रकृतिभिः · समारब्धाम् · मुक्तामणिभिः · अमलाम् · हार-लतिकाम् · कुचाभोगः · बिम्बाधर-रुचिभिः · अन्तः · शबलिताम् · प्रताप-व्यामिश्राम् · पुरदमयितुः · कीर्तिम् इव · ते
तव स्तन्यं मन्ये धरणिधरकन्ये हृदयतः

पयःपारावारः परिवहति सारस्वतमिव ।

दयावत्या दत्तं द्रविडशिशुरास्वाद्य तव यत्

कवीनां प्रौढानामजनि कमनीयः कवयिता ॥ ७५॥
English Translation
O daughter of the earth-bearer! I consider your breast-milk to carry, from
the heart, the ocean of milk like the Sarasvatī river of speech. A Draviḍa child, having tasted what was
given by you in compassion, became a charming poet-maker among the great accomplished poets.
व्याख्या / Traditional Commentary & Notes
【Title: The Milk That Made the Draviḍa Child a Poet】 This verse contains a historical-mythological allusion: the "Draviḍa child" who was nursed by the Goddess and became the greatest of poets is Ādi Śaṅkarācārya himself — born in Kerala, a Draviḍa. The legend holds that the infant Śaṅkara was fed by the Goddess herself, which is why he became the author of incomparable Sanskrit hymns including the very Saundaryalaharī. The verse is thus the poem referring to its own origin — a self-referential moment of poetic autobiography embedded in the hymn. Sārasvatam (the Sarasvatī river / the stream of poetic speech) flowing from the milk-ocean of the Goddess's breast = the river of eloquence that Śaṅkara received. Padaccheda: तव · स्तन्यम् · मन्ये · धरणिधर-कन्ये · हृदयतः · पयः-पारावारः · परिवहति · सारस्वतम् इव · दयावत्या · दत्तम् · द्रविड-शिशुः · आस्वाद्य · तव · यत् · कवीनाम् · प्रौढानाम् · अजनि · कमनीयः · कवयिता
हरक्रोधज्वालावलिभिरवलीढेन वपुषा

गभीरेते नाभीसरसिकृतसङ्गो मनसिजः ।

समुत्तस्थौ तस्मादचलतनये धूमलतिका

जनस्तां जानीते तव जननि रोमावलिरिति ॥ ७६॥
English Translation
O daughter of the mountain! Kāma, with his body consumed by the rows of
flames of Śiva's anger, took refuge in your deep navel-lake. From that rose up a smoke-creeper. O
Mother! People know that (smoke-creeper) as your line of body-hair.
व्याख्या / Traditional Commentary & Notes
【Title: The Navel — Whirlpool Where Kāma Submerged】 The romāvali (the fine line of hair running from the navel upward on a woman's abdomen, called the "love-line" in Sanskrit poetry) is here identified with the smoke-creeper (dhūma-latikā) that rose from Kāma's burning. The image is structurally complete: Śiva burns Kāma with his third eye; the body is consumed; the ash sinks into the Goddess's navel-lake; smoke rises upward from the water in a thin wisp. That thin wisp = the fine dark line of body-hair. The logic is precise: smoke rises from water when fire has recently entered it, and the wisp-like quality of smoke perfectly captures the fine, delicate nature of the romāvali. Padaccheda: हर-क्रोध-ज्वाला-अवलिभिः · अवलीढेन · वपुषा · गभीरे · ते · नाभी-सरसि · कृत-सङ्गः · मनसिजः · समुत्तस्थौ · तस्मात् · अचलतनये · धूम-लतिका · जनः · ताम् · जानीते · तव · जननि · रोमावलिः · इति
यदेतत्कालिन्दीतनुतरतरङ्गाकृति शिवे

कृशे मध्ये किंचिज्जननि तव यद्भाति सुधियाम् ।

विमर्दादन्योऽन्यं कुचकलशयोरन्तरगतं

तनूभूतं व्योम प्रविशदिव नाभिंकुहरिणीम् ॥ ७७॥
English Translation
O Śivā, O Mother! That which appears somewhat in your slender waist — shaped
like the very thin ripples of the Yamunā — is, for the discerning, the space between the two
breast-pitchers that, pressed mutually against each other, has become attenuated and appears to be
entering the hollow navel.
व्याख्या / Traditional Commentary & Notes
【Title: The Waist Thin as a Lightning Flash】 This verse gives a quasi-physical explanation for the waist: it is the space (vyoma) between the two breast-pitchers that has been compressed by their mutual pressing (vimardāt anyonyam) into a thin strip. The compressed space, narrowed to almost nothing, flows downward and enters the hollow of the navel. This "space" comparison is unusual — normally waists are described by solid analogies (lion's waist, lightning bolt), but here space itself is the subject. Kālindī-tanutra-taraṅga (the very thin dark ripples of the Yamunā) captures both the colour (dark) and the thinness of the waist-line perfectly. Padaccheda: यत् · एतत् · कालिन्दी-तनुतर-तरङ्ग-आकृति · शिवे · कृशे · मध्ये · किंचित् · जननि · तव · यत् · भाति · सुधियाम् · विमर्दात् · अन्योऽन्यम् · कुच-कलशयोः · अन्तर-गतम् · तनूभूतम् · व्योम · प्रविशत् इव · नाभिम् · कुहरिणीम्
स्थिरो गङ्गावर्तः स्तनमुकुलरोमावलिलता-

कलावालं कुण्डं कुसुमशरतेजोहुतभुजः ।

रतेर्लीलागारं किमपि तव नाभिर्गिरिसुते

बिलद्वारं सिद्धेर्गिरिशनयनानां विजयते ॥ ७८॥
English Translation
O daughter of the mountain! Your navel — a permanent Gaṅgā-whirlpool; a
garden-basin watered by the vine of the hair-line from the breast-buds; the fire-pit of the fire fed by
Kāma's flower-arrow energy; Rati's pleasure-house; the cave-entrance of accomplishment for Śiva's eyes —
prevails as something indefinable.
व्याख्या / Traditional Commentary & Notes
【Title: The Navel — The Whirlpool, the Sacrificial Pit, Rati's Pleasure-House】 This verse accumulates five distinct identifications of the navel, each from a different register: cosmic (Gaṅgā whirlpool), horticultural (garden-basin for the hair-vine), sacrificial (agni-kuṇḍa = fire-pit), erotic (Rati's pleasure-house), and mystical (Śiva's eye's accomplishment-cave). This fivefold identification parallels the five functions of the Goddess (creation, sustenance, dissolution, concealment, grace) and the five elements. The culminating kimapi ("something indefinable") after this catalogue of definitions is the linguistic enactment of the navel's ultimate nature — it exceeds all five descriptions together. The word vijayate (is victorious / prevails) gives the navel the last word. Padaccheda: स्थिरः · गङ्गावर्तः · स्तन-मुकुल-रोमावलि-लता-कलावालम् · कुण्डम् · कुसुमशर-तेजः-हुतभुजः · रतेः · लीला-आगारम् · किमपि · तव · नाभिः · गिरिसुते · बिल-द्वारम् · सिद्धेः · गिरिश-नयनानाम् · विजयते
निसर्गक्षीणस्य स्तनतटभरेण क्लमजुषो

नमन्मूर्तेर्नारीतिलक शनकैस्त्रुट्यत इव ।

चिरं ते मध्यस्य त्रुटिततटिनीतीरतरुणा

समावस्थास्थेम्नो भवतु कुशलं शैलतनये ॥ ७९॥
English Translation
O foremost among women, O daughter of the mountain! May there be long
well-being to the steadiness in balanced poise of your waist — naturally thin, fatigued by the weight of
the breast-masses, its form bowing, as if slowly about to break — like a young tree at a crumbling
riverbank.
व्याख्या / Traditional Commentary & Notes
【Title: A Prayer for the Waist — Bowed by the Breast's Weight】 The verse's prayer — bhavatu kuśalam ("may there be well-being") — addressed not to the Goddess but to her waist's "steadiness in balanced poise" is a delightful example of vyājastuti (indirect praise). One does not normally pray for the structural integrity of a deity's waist. The verse maintains the fiction that the waist is in genuine danger of breaking — as fragile as a young tree on a crumbling riverbank. The four compounds describing the waist's distress (nisarga-kṣīṇa, stana-taṭa-bhara-klama-juṣa, naman-mūrti, śanakaiḥ truṭyat) build up the image of progressive structural failure with comic precision, before the prayer for its well-being delivers the punchline. Padaccheda: निसर्ग-क्षीणस्य · स्तन-तट-भरेण · क्लम-जुषः · नमन्-मूर्तेः · नारी-तिलक · शनकैः · त्रुट्यतः इव · चिरम् · ते · मध्यस्य · त्रुटित-तटिनी-तीर-तरुणा · सम-अवस्था-स्थेम्नः · भवतु · कुशलम् · शैलतनये
कुचौ सद्यःस्विद्यत्तटघटितकूर्पासभिदुरौ

कषन्तौ दोर्मूले कनककलशाभौ कलयता ।

तव त्रातुं भङ्गादलमिति वलग्नं तनुभुवा

त्रिधा नद्धं देवि त्रिवलिलवलीवल्लिभिरिव ॥ ८०॥
English Translation
O Goddess! The three folds [at your waist], clinging to your waist — which
bears the two golden-pitcher-like breasts tearing their bodice at their sweating surfaces, pressing
against the arm-roots — thinking "enough! I shall protect you from breaking," are triply bound, like
lavalī-creepers.
व्याख्या / Traditional Commentary & Notes
【Title: The Three Folds of the Waist as the Lavalee Vine】 The three folds (tri-vali) of the abdomen near the waist are a celebrated feature of Sanskrit feminine beauty. The verse personifies them as active agents who cling (valagnam) to the waist and bind it (naddham) to protect it from the strain of the heavy breasts. The lavalī vine comparison (lavalī-valli) is precise: the lavalī is a creeper that winds around a tree for support, just as the three folds wind around the waist. The personification of the waist-folds as concerned protectors who have decided to rescue the waist from breaking is a charming example of body-as-community: different parts of the Goddess's body actively caring for each other. Padaccheda: कुचौ · सद्यः-स्विद्यत्-तट-घटित-कूर्पास-भिदुरौ · कषन्तौ · दोर्मूले · कनक-कलश-आभौ · कलयता · तव · त्रातुम् · भङ्गात् · अलम् इति · वलग्नम् · तनुभुवा · त्रिधा · नद्धम् · देवि · त्रिवलि · लवली-वल्लिभिः इव
गुरुत्वं विस्तारं क्षितिधरपतिः पार्वति निजान्

नितम्बादाच्छिद्य त्वयि हरणरूपेण निदधे ।

अतस्ते विस्तीर्णो गुरुरयमशेषां वसुमतीं

नितम्बप्राग्भारः स्थगयति लघुत्वं नयति च ॥ ८१॥
English Translation
O Pārvatī! The lord of mountains (Himālaya), having cut off his heaviness and
expansiveness from his own slopes, deposited them in you in the form of a gift. Therefore this wide and
heavy forward-prominence of your hips overshadows the entire earth and renders it lightweight.
व्याख्या / Traditional Commentary & Notes
【Title: The Hips — Bearing Himālaya's Transferred Weight】 Haraṇa-rūpa (in the form of a taking/gift) is a legal term used in inheritance and gift law — Himālaya has "transferred" his mountains' gravitational weight and expansiveness to the Goddess's hips as a kind of dowry or patrimonial gift. The verse plays on gurutva (heaviness / importance / greatness — the same word) and vistāra (expansiveness / width): Himālaya's mountains have both these qualities, which the Goddess has received for her hips. The payoff is comic and philosophical: her hips are now heavier than the mountains that once held all that weight, and they "overshadow the entire earth." The earth is rendered laghu (light) by comparison — a cosmic inversion. Padaccheda: गुरुत्वम् · विस्तारम् · क्षितिधर-पतिः · पार्वति · निजात् · नितम्बात् · आच्छिद्य · त्वयि · हरण-रूपेण · निदधे · अतः · ते · विस्तीर्णः · गुरुः · अयम् · अशेषाम् · वसुमतीम् · नितम्ब-प्राग्भारः · स्थगयति · लघुत्वम् · नयति · च
करीन्द्राणां शुण्डान्कनककदलीकाण्डपटलीः

उभाभ्यामूरुभ्यामुभयमपि निर्जित्य भवती ।

सुवृत्ताभ्यां पत्युः प्रणतिकठिनाभ्यां गिरिसुते

विजिग्ये जानुभ्यां विबुधकरिकुम्भद्वयमसि ॥ ८२॥
English Translation
O daughter of the mountain! You, having conquered both — the trunks of lordly
elephants and the rows of golden-plantain stalks — with both your thighs, have with your two knees,
perfectly round and hardened by prostrations to your husband, conquered the pair of kumbhas of Indra's
celestial elephant Airāvata.
व्याख्या / Traditional Commentary & Notes
【Title: The Thighs Surpassing Elephant Trunks】 The verse performs two separate comparisons for two separate body-parts. The thighs (ūru) surpass both (a) elephant trunks (śuṇḍā) in their smooth solidity, and (b) golden-plantain stalks (kanaka-kadalī-kāṇḍa) in their golden sheen and taper. The knees (jānu), separately, defeat the twin forehead-bumps (kumbha-dvaya) of Airāvata, Indra's celestial elephant. Praṇati-kaṭhinā (hardened by prostrations) is a domestic touch: the knees are hardened not by battle but by daily acts of wifely reverence to Śiva — a detail that renders the cosmic comparison intimate. Padaccheda: करीन्द्राणाम् · शुण्डान् · कनक-कदली-काण्ड-पटलीः · उभाभ्याम् · ऊरुभ्याम् · उभयम् अपि · निर्जित्य · भवती · सुवृत्ताभ्याम् · पत्युः · प्रणति-कठिनाभ्याम् · गिरिसुते · विजिग्ये · जानुभ्याम् · विबुध-करि-कुम्भ-द्वयम् · असि
पराजेतुं रुद्रं द्विगुणशरगर्भौ गिरिसुते

निषङ्गौ जङ्घे ते विषमविशिखो बाढमकृत ।

यदग्रे दृश्यन्ते दशशरफलाः पादयुगलीं

नखाग्रच्छद्मानः सुरमकुटशाणैकनिशिताः ॥ ८३॥
English Translation
O daughter of the mountain! Kāma, the odd-arrowed one, certainly fashioned
your two shins as quivers carrying double his arrows — in order to defeat Rudra. At their tips are seen
the ten arrow-heads — disguised as nail-tips — sharpened exclusively on the whetstone of the crowns of
gods.
व्याख्या / Traditional Commentary & Notes
【Title: The Shins as Quivers — Nails as Sharpened Arrow-Tips】 Viṣama-viśikha ("of uneven/odd arrows") is a standard epithet of Kāma, whose five flower-arrows are each of a different flower — an odd and unmatched set. Here, however, Kāma doubles his arsenal using the Goddess's shins as quivers, producing ten arrows disguised as toenails. The word chadmānaḥ (disguised, in the guise of) is crucial — the nails are not arrows but pass themselves off as such. Sura-makuṭa-śāṇa (the crowns of gods as whetstone) is a brilliant image: the gods bow so frequently before the Goddess's feet that their crown-jewels have worn grooves into her nail-tips, sharpening them like a whetstone. Padaccheda: पराजेतुम् · रुद्रम् · द्विगुण-शर-गर्भौ · गिरिसुते · निषङ्गौ · जङ्घे · ते · विषम-विशिखः · बाढम् · अकृत · यत्-अग्रे · दृश्यन्ते · दश-शर-फलाः · पाद-युगलीम् · नख-अग्र-च्छद्मानः · सुर-मकुट-शाण-एक-निशिताः
श्रुतीनां मूर्धानो दधति तव यौ शेखरतया

ममाप्येतौ मातः शिरसि दयया धेहि चरणौ ।

ययोः पाद्यं पाथः पशुपतिजटाजूटतटिनी

ययोर्लाक्षालक्ष्मीररुणहरिचूडामणिरुचिः ॥ ८४॥
English Translation
O Mother! These two feet of yours — which the summits of the Vedas bear as
their crown-ornament — place with compassion on my head also. The water for washing which is the river
flowing in Śiva's matted locks (= the Gaṅgā); and the lac-beauty of which has the lustre of the red
crest-jewel of Viṣṇu.
व्याख्या / Traditional Commentary & Notes
【Title: A Prayer to Place the Feet on the Devotee's Head】 Śrutīnāṃ mūrdhānaḥ (the summits of the Vedas) refers to the Upaniṣads, which are literally the "heads" (mūrdhan) of the Vedic corpus — the knowledge sections at the "end" of the Vedas (vedānta). The Upaniṣads collectively "bear" the Goddess's feet as their crown: the highest teachings of the Vedas culminate in the recognition of the Goddess's reality. The prayer "place them on my head also" (mama api śirasi dhehi) asks that the devotee receive what the Vedic summits themselves gladly hold — the Goddess's feet as the crown of all knowledge. Padaccheda: श्रुतीनाम् · मूर्धानः · दधति · तव · यौ · शेखरतया · मम · अपि · एतौ · मातः · शिरसि · दयया · धेहि · चरणौ · ययोः · पाद्यम् · पाथः · पशुपति-जटाजूट-तटिनी · ययोः · लाक्षा-लक्ष्मीः · अरुण-हरि-चूडामणि-रुचिः
नमोवाकं ब्रूमो नयनरमणीयाय पदयो-

स्तवास्मै द्वन्द्वाय स्फुटरुचिरसालक्तकवते ।

असूयत्यत्यन्तं यदभिहननाय स्पृहयते

पशूनामीशानः प्रमदवनकङ्केलितरवे ॥ ८५॥
English Translation
We declare our salutation to this pair of your feet — pleasing to the eyes,
brilliantly adorned with beautiful lac-dye — [a pair] toward which Paśupati (Śiva), lord of animals,
says the aśoka tree in the pleasure-garden is extremely jealous and desires to strike [your feet]
against it.
व्याख्या / Traditional Commentary & Notes
【Title: Homage to the Feet — The Aśoka Tree's Jealousy】 The aśoka tree (Saraca asoca) is said in classical poetry to bloom when struck by the foot of a beautiful woman — the convention is called aśoka-dohada (the aśoka's craving). The verse turns this convention inside out: the aśoka tree is jealous of the Goddess's feet and wants to be struck by them (abhihanana). Paśupati relays this information to the Goddess, acting as a tender intermediary between the natural world and his wife. Kaṅkeli is another name for the aśoka; pramadavana is the pleasure garden of a royal palace. Padaccheda: नमोवाकम् · ब्रूमः · नयन-रमणीयाय · पदयोः · तव · अस्मै · द्वन्द्वाय · स्फुट-रुचिर-सालक्तक-वते · असूयति · अत्यन्तम् · यत् · अभिहननाय · स्पृहयते · पशूनाम् · ईशानः · प्रमदवन-कङ्केलि-तरवे
मृषा कृत्वा गोत्रस्खलनमथ वैलक्ष्यनमितं

ललाटे भर्तारं चरणकमले ताडयति ते ।

चिरादन्तःशल्यं दहनकृतमुन्मूलितवता

तुलाकोटिक्वाणैः किलिकिलितमीशानरिपुणा ॥ ८६॥
English Translation
Having falsely feigned a slip of the name, [your husband] then bows his
forehead in embarrassment — and you strike that forehead with your lotus-foot. The enemy of Īśāna
(Kāma), who has thereby uprooted the long-standing inner thorn caused by his burning, cries out in
joyful laughter at the tinkling of your anklet-tip.
व्याख्या / Traditional Commentary & Notes
【Title: Śiva Feigns a Slip to Receive a Kick from the Feet】 Gotra-skhalana is the stock Sanskrit poetic convention in which a husband, overcome by passion, accidentally calls his wife by another woman's name. Here Śiva feigns this slip deliberately (mṛṣā) — he pretends to have made the mistake in order to receive the traditional "punishment": being struck on the forehead by the aggrieved wife's foot. The kick of the Goddess's foot on Śiva's forehead is thus his entire goal — not punishment but the supreme grace of foot-contact. The tula-koṭi-kvāṇa (tinkling of the anklet-tip) is the sensory signature of the foot's movement, and Kāma laughs with joy because Śiva has just received what every being in the universe craves. Padaccheda: मृषा · कृत्वा · गोत्र-स्खलनम् · अथ · वैलक्ष्य-नमितम् · ललाटे · भर्तारम् · चरण-कमले · ताडयति · ते · चिरात् · अन्तः-शल्यम् · दहन-कृतम् · उन्मूलितवता · तुला-कोटि-क्वाणैः · किलिकिलितम् · ईशान-रिपुणा
हिमानीहन्तव्यं हिमगिरिनिवासैकचतुरौ

निशायां निद्राणं निशि चरमभागे च विशदौ ।

वरं लक्ष्मीपात्रं श्रियमतिसृजन्तौ समयिनां

सरोजं त्वत्पादौ जननि जयतश्चित्रमिह किम् ॥ ८७॥
English Translation
O Mother! Your feet are victorious over the lotus — which would be killed by
the frost [that your feet endure on the snow-mountain], which sleeps at night while your feet are open
and bright in the last watch of night, and which are a superior vessel of Lakṣmī, lavishly bestowing
prosperity on initiates. What wonder is there in this?
व्याख्या / Traditional Commentary & Notes
【Title: The Feet — Lotuses That Give Lakṣmī to Worshippers】 The verse makes three specific arguments for the superiority of the Goddess's feet over the lotus: (1) the lotus would be killed by frost (himānī-hantavya), but the feet thrive in the Himālaya; (2) the lotus closes at night (niśāyāṃ nidrāṇa), but the feet are open and luminous in the last watch of night (during the sacred pre-dawn hours of worship); (3) while Lakṣmī stands on the lotus as her seat (śrī-pātra), the Goddess's feet surpass this by directly bestowing Lakṣmī's gifts on the initiated. The rhetorical formula citram iha kim ("what wonder is this?") dismisses the comparison as obvious. Padaccheda: हिमानी-हन्तव्यम् · हिमगिरि-निवास-एक-चतुरौ · निशायाम् · निद्राणम् · निशि · चरम-भागे · च · विशदौ · वरम् · लक्ष्मी-पात्रम् · श्रियम् · अतिसृजन्तौ · समयिनाम् · सरोजम् · त्वत्-पादौ · जननि · जयतः · चित्रम् · इह · किम्
पदं ते कीर्तीनां प्रपदमपदं देवि विपदां

कथं नीतं सद्भिः कठिनकमठीकर्परतुलाम् ।

कथं वा बाहुभ्यामुपयमनकाले पुरभिदा

यदादाय न्यस्तं दृषदि दयमानेन मनसा ॥ ८८॥
English Translation
O Goddess! Your foot — the foremost seat of glories and the destroyer of
calamities — how did the virtuous bring it to comparison with the hard shell of a female tortoise? Or
how, at the time of the wedding, did the compassion-minded destroyer of the Triple City (Śiva) take it
with his arms and place it on the stone?
व्याख्या / Traditional Commentary & Notes
【Title: The Feet — The Place of Glories, Placed on Stone at the Wedding】 The comparison of the soft sole of a beautiful foot to the hard shell of a female tortoise (kamaṭhī-karpara) is a standard convention of Sanskrit foot-description poetry: the slightly convex, smooth underside of the foot resembles the domed, smooth surface of a tortoise-shell. The verse expresses mock-outrage at this comparison: how could poets dare to compare the most glorious, calamity-destroying foot of the Goddess to something so lowly as a tortoise-shell? The second part of the verse wonders how Śiva could place such a sacred foot on the rough wedding stone (the aśmarohana ceremony). Padaccheda: पदम् · ते · कीर्तीनाम् · प्रपदम् · अपदम् · देवि · विपदाम् · कथम् · नीतम् · सद्भिः · कठिन-कमठी-कर्पर-तुलाम् · कथम् · वा · बाहुभ्याम् · उपयमन-काले · पुरभिदा · यत् · आदाय · न्यस्तम् · दृषदि · दयमानेन · मनसा
नखैर्नाकस्त्रीणां करकमलसंकोचशशिभि-

स्तरूणां दिव्यानां हसत इव ते चण्डि चरणौ ।

फलानि स्वःस्थेभ्यः किसलयकराग्रेण ददतां

दरिद्रेभ्यो भद्रां श्रियमनिशमह्नाय ददतौ ॥ ८९॥
English Translation
O Caṇḍī! Your two feet — whose nails are like moons that make the lotus-hands
of celestial women contract — seem to laugh at the divine wish-fulfilling trees. For those trees give
fruits to those already dwelling in heaven (the fortunate) with the tip of their tender-shoot hands;
while your feet give auspicious prosperity to the poor ceaselessly and immediately.
व्याख्या / Traditional Commentary & Notes
【Title: The Feet — Giving to the Poor What the Gods Give to the Blessed】 The divine wish-fulfilling trees (kalpa-vṛkṣa, mandāra, etc.) of Indra's paradise are the standard symbol of abundance in Sanskrit — they grant whatever is asked. The verse surpasses them on two counts: (1) the trees give only to those in heaven (svaḥ-stha), whereas the Goddess's feet give to the poor (daridra); (2) the trees give when asked (kisalaya-karāgreṇa adadatām = giving through their blossom-hands), whereas the feet give ahnāya — immediately, without delay, without even a request. The word ahnāya (instantly, at once) is the crucial intensifier: grace from the Goddess is not just more generous than divine trees but faster and more unconditional. Padaccheda: नखैः · नाकस्त्रीणाम् · कर-कमल-संकोच-शशिभिः · तरूणाम् · दिव्यानाम् · हसतः इव · ते · चण्डि · चरणौ · फलानि · स्वःस्थेभ्यः · किसलय-कर-अग्रेण · ददताम् · दरिद्रेभ्यः · भद्राम् · श्रियम् · अनिशम् · अह्नाय · ददतौ
ददाने दीनेभ्यः श्रियमनिशमाशानुसदृशी-

ममन्दं सौन्दर्यप्रकरमकरन्दं विकिरति ।

तवास्मिन् मन्दारस्तबकसुभगे यातु चरणे

निमज्जन्मज्जीवः करणचरणः षट्चरणताम् ॥ ९०॥
English Translation
O beautiful one adorned with clusters of mandāra flowers! May my soul — whose
sense-faculties are its feet — immersing itself in this foot of yours which gives the poor ceaselessly
prosperity matching their hopes and profusely scatters the nectar of clusters of beauty, attain the
state of having six feet (become a bee).
व्याख्या / Traditional Commentary & Notes
【Title: A Prayer to Be a Bee at the Feet】 The verse pivots on a double pun: caraṇa means both "foot" and "verse/stanza" (and by extension "means of moving"), while ṣaṭ-caraṇa means both "six-footed" (= a bee, which has six legs) and "having six caraṇas" (in prosody, a six-footed metre). The soul (jīva) whose sense-organs are its feet (karaṇa-caraṇa — the faculties by which it navigates existence) prays to become a bee — to give up the multifarious human way of moving through life and become instead a single-minded honey-drinking insect at the Goddess's flower-feet. The mandāra flowers adorn the foot, making it the perfect bee-habitat. Padaccheda: ददाने · दीनेभ्यः · श्रियम् · अनिशम् · आशा-अनुसदृशीम् · अमन्दम् · सौन्दर्य-प्रकर-मकरन्दम् · विकिरति · तव · अस्मिन् · मन्दार-स्तबक-सुभगे · यातु · चरणे · निमज्जन् · मत्-जीवः · करण-चरणः · षट्चरणताम्
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