Dhyana The start of the
Lalita Sahastranama is characterized by the
Dhyana, which are descriptive verses for visualization. There are four
dhyana verses. It describes the
yogi (the person reciting the
Sahastranama) as meditating upon the form of Lalita and describes many of the qualities of the goddess. The
Dhyana is said before chanting the thousand names. The first verse starts with "
sinduraruna-vigraham" and is most likely the verse composed by the eight
Vaag Devis. The second verse beginning with "
arunam karuna-tarangatakshim" is said to have been composed by
Dattatreya. The fourth, beginning with "
sakumkuma-vilepanam", was probably composed by
Adi Sankaracharya. No known information is available on the origins of the third verse beginning with "
dhyayet padmasanastham". In all the
dhyana verses there is a recurring theme on Devi's red complexion, which is said to resemble the sun at dawn, and her compassionate nature.
Lalita The
Lalita Sahastranama is organized in such a way that Devi is described from "Head to Toe" (
Kesadi Padam). The names then go on to extoll Devi in all her achievements, powers, and forms.
Physical description The
Lalita Sahastranama goes into great detail describing the physical aspect of the goddess. The beginning of the
Sahastranama describes Devi Lalita in her female form,
Kameshvari, along with her consort,
Kameshvara.
Kameshvari is described as extremely beautiful, having dark thick long hair adorned with
champaka,
ashoka,
punnaga and
saugandha flowers (13), having a musk
tilak on her forehead (16), and having eyebrows which appear as if they are the arch gates of
Kamadeva's abode (17). The next few mantras continue describing Lalita Devi as the ideal feminine form whose splendor is unmatched by any other celestial: with cheeks that shine like a mirror of
Padmaraga (23), having beautiful white teeth resembling the
shodasakshari mantra (25), and having a voice sweeter than the sound emanating from
Kachchapi, the
veena of
Saraswati. The last mantra describing Devi's physical appearance is the 46th name, "
sinjana mani majira mandita sripadambuja" (whose feet are adorned with musical anklets filled with gem stones).
Kameshvara and Kameshvari The next few names then continue to focus on the union between Lalita as
Kameshvari, and
Kameshwara. Devi is described as having a beautiful smile (28), beautiful breasts (33), and perfect thighs (39) which steal the heart of Kameshvara; she wears a
mangal sutra and necklaces (30), with succeeding names describing the lower half of Devi's body to her feet. This divine couple continues to stay united throughout the
Sahastranama; the penultimate name is "
sivasakti aikya rupini" (who is the unification of
Siva and
Shakti). As per
Hindu philosophy, it is understood that there is nothing beyond this union of Siva and Shakti, or the Absolute form, except the true goddess Lalita herself. This is why the last name of the
Sahastranama is "
Lalitambika" effectively showing that Devi's form as
Lalitambika is her most absolute form.
The City of Sri Nagara Origins At the behest of name 57, the divine city of
Sri Nagara is described in all its splendor. The origins of the city can be traced to two different texts. One is in
Durvasa's Lalithastavaratna, saying that
Sri Nagara was constructed by celestial architect
Visvakarma. The other, in the
Rudra Yamala (as told to
Parvati by
Shiva), says that
Sri Nagara is in the midst of an
ocean of milk as an island called
Ratnadvipa (island formed out of precious gems). This description fits name 61, "
sudha sagara madhyasta," which describes Devi as residing in the middle of the ocean of nectar.
Description Sri Nagara is surrounded by twenty five walls, each wall representing a
tattva.
Sri Nagara has 25 streets circling it, made of elements, gems, and precious stones. In the eighth street is a forest of
kadambas presided by
Mantrini (Matangi) (60). On the fifteenth street resides the eight directional guardian deities. In the sixteenth resides
Varahi(alias Dandini or Dandanatha) who was Lalita's commander in chief in her battle with
Bhandasura. In the seventeenth street resides the different
Yoginis. In the eighteenth street resides
Maha Vishnu. In the nineteenth street resides
Esana, in the twentieth resides
Tara Devi, in twenty first resides
Varuni, in the twenty second resides
Kurukulla who presides over the fort of pride, in twenty third resides
Marthanda Bhairava, in twenty fourth resides the moon, and in the twenty fifth resides
Manmatha presiding over the forest of love. In the center of
Sri Nagara is the
Maha Padma Atavi (59), the forest of the Great Lotuses, and within it the
Chintamani Griha (57), a palace constructed out of
Cintamani, the wish fulfilling gem. The palace is said to be on the northern side of
Sri Nagara; to its north east is the
Chid-agni kunda and on both sides of its eastern gate are the houses of
Mantrini and
Dandini. On its four gates stand the
Chaduramnaya gods for watch and ward. The
Sri Chakra and Lalita herself are said to reside within the
Chintamani Griha. The chakra is said to be made up of the following components, all represented in its decorative features: the square representing
Trilokya Mohanam (Devi as the most beautiful in the three worlds), the sixteen petaled lotus called the
Sarvasa paripoorakam (Devi as the fulfiller of all desires), the eight petaled lotus called the
Sarvasamksopanam (Devi as the cleanser), the sixteen cornered figure representing
Sarva Saubhagyam (luck), the external ten cornered figure called the
Sarvartha Sadhakam (Devi as the giver of all assets), the internal ten cornered figure called
Sarva Raksha Karam (Devi as the protector), the eight cornered figure called the
Sarva Roga Haram (Devi as the cure to all diseases), the triangle called the
Sarva Siddhi Pradam (Devi as the giver of all powers), and the central dot known as the
Sarvananda Mayam or the Bindu (Devi as pleasure). In the center of the Chakra, on the throne of the
Pancha Brahmas (58) on the
Bindu Peeta (380) sits
Maha Tripura Sundari.
Bhandasura One of the main events extolled in the
Lalita Sahastranama is Devi's battle with the
asura Bhandasura. According to the story, the
devas prayed to Devi to kill Bhandasura. As she started for war, the
Sahastranama describes her as being accompanied by the powers of various
shaktis and
devis whose accomplishments are extolled in different names. Names in the
Sahastranama describes
Sampatkari Devi as the captain of the elephant regiment (66) and
Aswarooda Devi as the captain of the cavalry (67). Lalita as
Para Shakti herself is described as riding in the
Sri Chakra Chariot (
chakraraja or the king of chariots) in name 68. After descriptions of the battle with respects to the various shaktis, Lalita is described as decimating Bhandasura's army using the
Paashupathastra weapon (81), and destroying him and his city with the
Kameshvarastra weapon (82). After praises from the devas (83), she is said to have then gave life back to
Manmatha (Kamadeva) for the good of the world (84).
The Five Works of God and the Trimurti In the
Lalitha Sahastranama, Devi herself has been described as "
pancha krtya parayana" (274). This is in reference to the five works of God (
pancha krtyam): creation (
srishti), protection (
sthiti), destruction (
samharam), hiding (
tirodhanam) and blessing (
anugraham). The mantras preceding name 274 describe Devi in reference to the
Hindu trinity: {{poemquote|264:
Om Srishti Kartryai Namah // ...who is the Creator. 265:
Om Brahma Rupayai Namah // ...who is in the form of Brahma 266:
Om Goptryai Namah // ...who protects. 267:
Om Govinda Rupinyai Namah // ...who has assumed the form of
Govinda for the preservation of the universe. 268:
Om Samharinyai Namah // ...who is the destroyer of the universe. 269:
Om Rudra Rupayai Namah // ...who has assumed the form of
Rudra for the dissolution of the universe. 270:
Om Tirodhana Karyai Namah // ...who causes the disappearance of all things. 271:
Om Isvaryai Namah // ...who protects and rules everything as
Ishvara. 272:
Om Sada Shivayai Namah // ... one who is always auspicious
Shiva. 273:
Om Anugraha dayai Namah // ...who confers blessing (in the form of liberation). Devi is therefore described as an aspect of
Brahma while creating (
srishti), an aspect of
Govinda (
Vishnu) while sustaining (
sthiti), an aspect of
Rudra (
Shiva) during dissolution (
samhara), an aspect of
Ishvara while concealing (thirodana), and an aspect of
Sadashiva while blessing (liberating). These five entities (Brahma, Vishnu, Rudra, Isvara and Sadashiva) are known as "
pancha-brahma" and "
pancha-preta." The goddess is described as "
pancha-brahma swarupini" (she whose form is composed of the five Brahmas) in name 250. Such mantras are interpreted by many
Shakti-ite scholars to show that Devi's power is at par with, if not superior, to the powers of the
trimurti. This idea is furthered by other mantras like "
Om panca preta manchadi sayinyai namah" (who reclines on a couch made of the Five Corpses) in mantra 947; this most likely references the concept of the five
Brahmas as lifeless bodies when Devi performs all the five tasks, mentioned previously, herself.
The Yoginis The first 60 names from 475 to 534 discuss the seven
chakras of
kundalini and sahasrara. Each
chakra is presided over by a deity called a
yogini (with seven in total)
. Lalita herself is described as being present in the form of the
kundalini energy (the divine feminine energy at the
muladhara chakra at the bottom of the spine). Since the
kundalini energy has to transcend the other chakras to reach
the sahasrara chakra (a representation of Siva or the divine masculine energy) from the
muladhara chakra, worshipping the respective
yoginis of each chakra is paramount. Each of these
yoginis have their own mantras describing their complexion, armories, qualities, and sacred foods within the
Lalita Sahastranama as a whole. ==See also==