||    SrI Maha LakshmI krithis of Sri Mutthuswami Dikshithar    ||

In this and few other postings, I will focus on Maha Lakshmi. She stands in front of Bhagvan"s name and creates a distinct identity for Him thru names such as Lakshmi Narasimhan, Sriman Narayanan, Lakshmi Kaanthan, Sreevaasan (Sahasra Namam #609 ,), Sree Pati: (SN # 610), Sreesa:-the Lord of Sri, Srinivasa:, Sri Nidhi:, Sridara: and Sreyas Srimaan. The last name is particulary revelatory in the string of above names that establish the Lord"s distinction because of his association with Sri Devi revered as Maha Lakshmi. One name for Lakshmi is Seyas Sri:, since She has to be approached for the fulfillment of all human endevaours. Sreya: refers to the human endeavours of a beneficial kind and the goal of attainig them. Sri: denotes that it is She who has to be approached for the attainment of Sreya: That is why She is saluted as Vimukthi Pala Dhaayini by Vishnu Puranam. Our Lord Narayana"s glory is intricately and seamlessly linked to Her.

Swami Desikan (Sri Sthuthi), Sri Sthavam (Kuresa), Chathussloki (ALavandAr) , Guna Ratna Kosam (Parasara Bhattar), Adi Sankarar (Kanaka Taara Stotram) , Lakshmi Sahsra Namam, Lakshmi Ashtottram, Srimad Bhagavatham, Srimad Narayaneeyam and Sri Sooktham pay tribute to Her and celebrate Her Ananta Kalyana Gunas and Her unique relationship with Her Lord.

I would focus on the seven maha Lakshmi Krithis of a great musical genius, who meanings of the understood fully the tributes paid by the above sources and created his own tribute to Maha Lakshmi in the tradition of Sri Sampradhaayam . This Naadhopaasaka is none other than Sri Mutthuswami Dikshithar of Thiruvaroor. Although, he is known as a Devi Worshipper with the mudra of Guru Guha (Subramanya), he has composed outstanding pieces of Krithis about the Archa Murthys of temples for Sriman Narayana at different Divya Desams (Srirangam, Guruvayoor, Raja Mannargudi, ThirukaaNamangai, Tillai Thiruchitrakootam (4), Kanchi (Varadarajan), Katikai/Sholingar and Thirupathi). Our topic here would be the seven Krithis on Maha Lakshmi, which are abundant testimony to his bhakthi for Maha Lakshmi as well as for his scholarship on Sri sampradhaayam.

His seven Maha Lakshmi krithis rich in sruthi/Smrithi/stotra meanings are :

1.HARI YUVATIM HAIMAVATHIM AARADHAYAAMI, RAGAM
DESI SIMHAARAVAM(HAIMAVATHI, 58TH MELAM).

2.HIRANMAYEEM LAKSHMIM SADHAA BHAJAAMI ,
HINA MAANAVA AASRAYAM THYAJAAMI, RAGAM LALITHA

3.MANGALA DEVATAYAA TVYAA BHAUMAANITHOHAM ,
RAGAM DHANYAASI

4.VARALAKSHMIM BHAJAREH REH MAANASA ,
RAGAM SOWRAASHTRAM

5.SRI VARALAKSHMII NAMASTHUBHYAM VASUPRADEH ,
SRI RAGAM

6.MAHA LAKSHMII KARUNAARASALAHARII MAAMAVA
MADHAVA MANOHARI , RGAM: MADAVA MANOHARI

7.SRI BHARGAVI BHADRAM MEH DISATHU,
RAGAM : MANGALA KAISIKHI

In rich and resonant Sanskrit, Sri Dikshitar echoes the sentiments of many Acharyas that went before him and paid his own tribute to the all-encompassing Sri Principle represented by Maha Lakshmi.

In the samashti krithi (one without Anupallavi) set in Haimavathi, Sri Dikshitar celebrates Her as NARA HARI HRUDHYA NIVAASINI, NAAMA RUPA PRAKAASINI. Here is our hyperlink to take the blessed attempt to navigate a little in the ocean of ambrosia that She represents. I will continue in the next few postings the significance of the many Naamas by which Sri Dikshitar saluted Her and point out the source references
for his selection of the Naamas for the Archana that he performed.

Sri Dikshithar has great affection for Maha Lakshmi, especially in her form revered as Vara Lakshmi. In the three of the seven Krithis about Maha Lakshmi, One finds him paying special reverence to Vara Lakshmi, the deity of celebration during the Vara Lakshmi Vratham. These Krithis
are set in Haimavathi, Sri and Sowrashtra Ragas. Vara Lakshmi concept focuses on the Vara Dhayaki aspects of Her. Granting boons to Her devotees in abundance is one of Her Ananta Kalyana Gunas. As Swami Desikan observed, the riches pile one over the other, whichever direction her side glances fall. They chase each other to arrive first. Swami Desikan"s verse containing this thought stream is as follows:

YASYAAM YASYAAM DISI VIHARATEH DEVI DHRUSHTISTVADHEEYAA
TASYAAM TASYAAM AHAMAHIMIKAAM TANVATEH SAMPADHOGAA :

Sri Dikshitar was a scholar, who had completed Veda Adhyayanam. He threfore understood fully the deep meanings of the Naacchiyaar (Sri Devi) Sambhavanaa Mantram enshrined in the Vedam. He has distilled for us the essence of the meanings of this mantram in many of his Krithis dealing with the Sri Tattvam. The Naacchiaar Sambhavana Mantram begins majestically with the word Grunaahi:

"GRUNAAHI GRUTHAVATI SAVITAARAATHIPATYAI:
PAYASVATHI RANTHIRASAA NOSTHU "

and ends with

"VISHTAMBHO DHIVO DHARUNA: PRTHIVYAA
ASYEASAANAA JAGATHO VISHNUPATNEE "

This mantram reveals that She is the sustaining force of both the Earth and the Heavens and is pervasively present in these worlds as the Consort of Maha Vishnu. She sets in motion, controls and directs the activities of the creatures of the Universes. This mantram further reveals that She is the fundamental force behind the Jivans and is of supremely lustrous form. It recognizes the power of her glances to yield immesaurable wealth of all kinds. It prays for the abundance of milk, ghee, curd, and asks Her for the boon of protection of one's friends and relatives. She is understood as the one, who by Her own power is able to ward off all dangers through Her Abhaya Hasta Mudra. Hence this mantram requests Her to be present in a pervasive manner everywhere and to protect the ones that seek refuge in Her. It prays for the well being of the Deva Guru, Brahaspathi and the all important Prana Vaayu with Her blessings, so that they can protect the boon seekers. This mantram concludes by stating that She is the primordial force and that the saranagatha seeks Her lotus feet as his sole refuge to ward off all ills and gain all types of riches.

When we anlayse the Vakhyaarthams of the Sahityam of Sri Dikshitar, we will find the echoes of the above mantram.

Our Sampradhaayam is known as Sri Sampradhaayam, because of the tradition of approaching Bhagavan through Her. Swami Desikan points out in his Sri Sthuthi sloka starting with the words " UREEKARTHUM KUSALAMAKILAM ---" THAT CLEAR MINDED PEOPLE SEEK HER GRACE AND BANISH ALL FEARS RELATED TO SAMSARA AND ATTAIN MOKSHA SIDDHI THANKS TO HER MERCY AND POWER.

Swami Desikan recognizes Her sacred feet as "Siddhi Kshetram ". He says Her holy feet are like the most fertile land that yields many blessings . Those , who worship them gain the boon of Moksham at the end of their earthly existence and reside in Vaikuntam to enjoy the sweet experience of Nitya Kaimkaryam there to the Divya Dampathis:

YASMINNESHANNAMIA SIRASOH YAAPAYITVAA SARIRAM
VARDHISHYANTEH VITAMASI PADEH VASUDEVASYA DHANYAA:

Besides being the means (Uphayam ) and fruit (palan) of Saranagathi, She excells Her Lord in the aspect of Purushaakaram. (intercession). Swami Desikan celebrates this Svarupa Guna Visesham in one of the Varadaraja Panchasat slokam as follows:

Swami says in the slokam beginning with "Paryaakulam Mahati Dukka Payonidhou Maam ---" that Varadaraja sees with wide- awakened eyes the miserable plight of Swami struggling in the ocean of Samsaram and does not make a move to come to his rescue. At that time, Maha Lakshmi, the embodiment of mercy sitting next to Her Lord could not watch the suffering of Her child and gives Her hand and lifts Swami out of the fearsome Samsaric ocean and places him at the feet of Her Lord and intercedes with Her Lord for mercy. Through Her pure affection,She pleads with Her Lord and saves the Jivans struggling in Samsaric Ocean thru her help as the Boat to cross that dangerous Ocean (Bhava Jaladhi Gataanaam Potapaatri ).

Swami Desikan says elsewhere in Daya Sataka Slokam that She as the Daya Devi helps some Jivans directly and some others indirectly .In that slokam starting with " Abhimuka Bhava Sampadhaabhi --", he compares Her to the Vedic river Saraswati , whose flow is seen occasionally over the earth and most of the other times under the Earth. He recognizes Her as "Nikila Loka Samruddhikari" (One who thru her flood of Mercy enriches all the Worlds).

In the next posting, I will conclude the introduction to Sri Devi"s Anantha kalyana Gunas as a prelude to the understanding of Sri Dikshitar"s Maha Lakshmi Krithis and then take one by one the Seven Krithis of Dikshithar to understand the rich meanings housed in them.

ASMAN MAATHARAM ASARANYAAM ANANYASARANA:
SARANAMAHAM PRAPATYEH

The glory (Sreyas) of Maha Lakshmi has been established by the Vedas as " Sruthimitasampathi). Swami Desikan decribes one aspect of that Sreyas in one of the daya sataka Slokam beginning with the words" TVATUDHAYA TULIKAABH RAMUNAA ---". He describes her unique role bridging Her Lord and the Acharyas here.

He recognizes in this slokam that She is the pen/brush (writing/painting tool) in the hands of her Lord, when He wishes to write/Paint His Siddhanthams on the canvas known as Acharyas. The Lord is a great artist/Painter. He wants to paint on the minds (Canvasses) of the Acharyas His Siddhanthams. Those canvasses are very fit and appropriate to receive and hold the writings/paintings of the Lord. In the task of the Lord, Maha Lakshmi serves as the Pen/Brush for the Lord
to complete His writing task. If it were not for Her, the Lord could not the pictures of Tatvaarthaas on the Minds (Canvasses) of Acharyaas.If the Pen/Brush were not to be available, then the Acharyaas wont have any material to help their disciples. Swami Desikan goes on to say in this slokam that Maha Lakshmi is the power that was behind Acharyaas like Nammazhwaar,Natha Muni, Alavandhaar to possess the special Jnanam and Anugraha Siddhi. He concludes here that Saranagathi at Your holy feet alone can serve as the means to gain Moksha Palan. This section of the slokam is as follows:

YATIPATHI YAAMUNA PRABRUDHAYA: PRATAYANTHI DHAYEH
JAGATHI HITAM NA NASTVAYI BHARANYASANAADADHIKAM

Swami Desikan celebrated further by hailing Her as "KRUPANA JANTHU CHINTAAMANEH, KRUPEH" AND" NIGAMA SOWDHA DEEPA SRIYAA :".Here , Swami recognizes her as the most merciful,boon-granting Chintamani Ratnam for those suffering Jivans. In the second salutation, he pays tribute to Her Jnana Svarupam. He recognizes her as the brilliant luster (Deepam) in the big mansion of the Vedas.

The Purvaacharya of Swami Desikan, Alavandhaar blessed us with Cathussloki to establish the Sri Tatvam . In one of the slokas, he reveals her Kataksha Mahima this way:

EESHAT TVAT KARUNAA NIREEKSHANA
SUDHAASANTUKSHANAATH RAKSHYATEH
SAMSRUTYAKSHARA VAISHNAVAATHSU
NRUNAAM SAMBHAVYATEH KARHACHIT

Here Alavandhaar reveals the mysteries of Lakshmi Tantram. He says that Maha Lakshmi is very dear to the Lord (Aravinda Lochanan). Without Her Anugraham, there is no chance for the Jivans to receive the blessings of Isvaryam (Worldly Riches), Kaivalyam and Moksham.

Kuresa, who came later echoed Alavandhaar"s thoughts in the following portion of his Sri Stavam Sloka :

YASYAA : KATAKSHA VEEKSHAA KSHANA
LAKSHAM LAKSHITAA MAHESAASSYU :
SRI RANGARAJA MAHISHEE SAA
MAMAPI VEEKSHATAAM LAKSHMEE:

Here, he describes the jivans getting indescribable wealth in this and the
other world due to the falling of Sri Ranganayaki"s glances even for a second on them. He prays for those auspicious glances to fall on him as well.

Kuresa points out in yet anothe rslokam of Sri Stavam that even the Lord considers himself as a fortunate or blessed one (Dhanyan), when Her glances fall on Him :

TAVA EEKSHANAATH SVAATMAANAM DHANYAM MANYATEH

Kuresa reveals further that the Lord practises EKASESHITVAM by following closely His consort"s hints revealed through her facial expressions and the lifting of Her Eye brows and performs accordingly the creation, protection and the destruction of the worlds.

YASYAA VEEKSHYAA: MUKHAM
TATINGITHA PARAADHINOH VIDATTEKILAM

The Lord reveals directly in Agasthya Samhita that Maha Lakshmi is his AAHLAADHINI SAKTHI or the transcendent power of delight. He says that He has no independent existence without Her. Swami Desikan exhoes these thoughts thru his choice of words: "PATHI: TVAT PAARAARTHYAM PRATAYATHI
VRUKSHASHMAADHARA PATHI: "

Here, Swami Desikan reveals that the Lord is contented to describe Himself as subservient to Her and is pleased , when the jivans address Him as Laksmi Narasimha, Kamala Kaantha, Sriya: Sri: , Indiraa Klaathra , Lakshmi Varaha, Seetha Rama et al.

Kuresa"s son, Parasara Bhattar celebrated the glories of Maha Lakshmi (Ranga Nayaki) in his Guna Ratna Kosam and described Her husband's dismay and happiness at the sight of Her as Vijaya Lakshmi in Viswa Rupam form. He says that Sriman Narayana is overcome with a sense of affection and wonder at the sight of Her avataram as Viswa RoopiNi with thousands of limbs. He says that the Lord is caught up in the whirlpool of her leelas and goes round and round in those swirling waters (Neer Chuzhi) and is wonder struck .

Adi Sankara in his beautiful verses of kanaka Taara Stotram offers his eulogies to the greatness of Maha Lakshmi. He begs for the blessings of this Mangala Devataa this way:

MAATHUSSAMATHA JAGATHAAM MAHANEEYA MURTHI:
BHADHRANII MEH DISATHU BHARGAVANANDANAAYAA:

He visualizes Her as sititng on the red lotus and shining with the lustre of the red lotus and prays to Her to cast Her glances on him to get the blessings beyond Aswamedha Yaagam and other Vedic Sacrifices.:

In a moving sloka of Kanaka Taara Sthuthi , he paints a beautiful word and sound picture of Her this way and requests for Her Anugraham this way:

SARASIJA NILAYEH SAROJA HASTEH
DHAVALATHAMAAMSU GANDHA MAALYA SOBEH
BHAGAVATI HARI VALLABEH MANOKJYEH
TRIBHUVANA BHOOTHIKARI PRASEEDHA MAHYAM.

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I will focus on the Desisimharavam Krithi of Sri Dikshithar first. The Raga Desisimharavam in the Dikshitar Sampradhaayam is known today as Haimavathi. This is the 58th mela karthaa ragam.

Beisdes the Krithi on Mahalakshmi known as "Hari Yuavatheem Haimavathim Aaraadhayaami satatam Jananeem Sri", Dikshithar has also composed two more krithis in this Ragam:

1. Sri Kanthimathim Sankara Yuvathim Sri Guru Guha Jananim Vandeham" on Thirunelveli AmbaaL, Sri Kanthimathi

2." Mathuraambhikaayaam Sadhaa Bhakthim Karomi " on the Haalasya Nagara Nayaki.

The Krithi on Maha Lakshmi has Gaaandhaara Eduppu. The one on Kanthimathi has Rishabha Eduppu and the one on Mathurai Meenaakshi starts with the Panchama svaram. There are Maantric significance for these choices, which we will not go into here.

In the krithi "Hari Yuvatheem Haimavatheem ", the composer celebrates Her as Naarasimhee , the consort of Bhagavan Narasimhan. Therefore , he salutes her as " Nara Hari Hrudhya Vaasini " in the Charana Vaakyam. As I indicated earlier this Krithi is a samashti Krithi without Anupallavi.

He points out that Naarasimhee , the" Hari Yuvathi", is resplendent in
Her Nitya Yowanam or permanent Youthful beauty. The whole Krithi is as follows:

Pallavi: Hari Yuvatheem Haimavatheem Aaraadhayaami Satatam Akhila Loka Jananeem Sri (Hari Yuvatheem)

Charanam : Nara Hari Hrudhaya Vaasini Nama Rupa Prakaasini Guru Guha Maanasa Ranjani Guninuta Niranjani

This maiden with everlasting Beauty is also revered by Lakshmi Sahasra Naamam as" Baalaa Kumaree YUVATHI Karunaa Bhaktha Vatsalaa ". It seems that Dikshitar adopted this Naama from the Sahasra Naamam .

He placed the Raga Mudra in the Pallavi as Hari Yuvatheem HAIMAVATHEEM ". Here he points out that She has the color of Gold as celebrated by the Lakshmi Sahasra Naama passage: " Visvambharaa HAIMAVATHI Samudrecchaa Vihaarini ".

In pallavi, he saluted Her " Akhila Loka Janani " tatvam in the spirit of the Vedic text " Isvareem Sarva Bhoothaanam" Jananeem Sarva Dehinaam " . Dikshitar acknowledged that he worships Her always with the Sahityam words " Hari Yuvatheem Satatam Aaraadhayaami. "

Dikshitar follows the cue of Lakshmi Sahasra Naamam again, when He salutes Maha Lakshmi as " Nara Hari Hrudhaya Nivaasini ". The Sahasra Naama passage corresponding to this Salutation is " Vairochini NAARASIMHEE Jeemuthaa Subhadekshanaa ".
Swami Desikan salutes Naarasimhee , the consort of the Adbhuta Kesari in Daya Satakam as follows:

DHAYEH VRUSHAGIREESITUR DHANUJA DIMPBHA DATTA STHANAA
SAROJA SADDHRUSAA DHRUSAA SAMUDHITAAKRUTHIRDHRUSYASEH

Here, Swami Desikan visualizes Maha Lakshmi standing as Dayaa Devi in the eyes of Bhagavan Narasimhan and blessing Prahlaada with those cool glances and feeding Her child with the milk of Jnanam and making him happy.

The next of the salutation of Dikshitar is" Naama Rupa Prakaasini ". He says that She is shining in a resplendent manner in the hearts of Her devotees through the form of Her Naamas as they invoke Her with these Naamaas. As the devotees invoke Her through the Lakshmi Sahasra Nama paasage,

" PADMAANANEH PADMAKAREH SARVA LOKAIKA PUJITEH
SAANIDHYAM KURU MEH CHITTTEH VISHNU VAKSHASTHALA STHITEH ",

She enters the heart s of the devotees and shines there with Her splendor.

The last two salutations of Dikshitar in the charanam are:
1. Guru Guha Maanasa Ranjani
2. Guni Jana Nuta Niranjani

Through Her Darsanam, She fills the heart of Her nephew, Guhan/Murugan, with indescribable Joy (Guru Guha Maanasa Ranjani).

Through the last salutation " Guni Jana Nuta Niranjani ", Dikshitar acknowledges that She is of the Niranjana Svarupam that is worshipped by Sadhu Janams. She is of blemishless nature and is worshipped by people of pure minds. The pasage in Lakshmi Sahasra Naamam elaborating Her Niranjana Svarupam is as follows:

MAHAA MAAYAA MAHAA NANDHAA BRAHMA NEETHIR NIRAASRAYAA
EKA SVARUPAA TRIVIDHAA SANKYAADHITAA NIRANJANAA

Thus Dikshitar chose Ragam Desi SIMHAARAVAM to remind one of the garjanaa of Narasimha to celebrate Naarasimhi of the golden hue with many excerpts from the Sahasra Naamam dedicated to Her.

In the next posting, I will cover the Dhanyasi Krithi " Mangala Devathayaa Tvyaa Bhumaanithoham Sri ", which slautes Vara Lakshmi and will describe the significance of Maaya Bhijam, which is the seed utterance associated with Maha Lakshmi.

Among the five Dhanyasi Krithis of Dikshithar, The one known as "Mangala Devathayaa Tvyaa Bhaumaanithoham " is dedicated to Maha Lakshmi. The others are:

1. Sri Ranganathaaya Namastheh (Srirangam Krithi)
2. Ramacchandrath Anyam na Jaaneham (One of the Rammashtaka Krithis)
3. Maayara Naatham Anisam Bhajaami (On the Lord of Mayilaaduthurai)
4. Paradevathaa Bruhatkuchaambha Samrakshathu Maam (On the AmbhaaL of Thiruidaimaruthoor).

Dikshitar had many Nathaswara Vidwaans as his disciples. He seems to have selected the ragam Dhanyaas, that is the favorite of Nathaswara Vidwaans for the mid morning part of the day (Murpagal).

The Sahitya Vakhyams of the Maha Lakshmi Krithi are as follows:

Pallavi: Mangala Devathayaa Tvyaa Bhaumaanithoham Sri

Anupallavi: Pungava Kamalaalayaa Bhoga Bhogyaalayaa
Jangama Sthavara loka jana sthithi layayaa Jaya

Saranam: Haridhraa Kumkuma vasthraalankruta vigrahayaa
Dharidra Dukkaadhi moordhanyaa siva nigrahayaa
Varadaraja Gopala hrudhya sarasija Gruhayaa
VARA LAKSHMYAA Hari hara Guru Guha Bhakthaanugrahayaa
Suraarchita Padhambhujayaa sudhaa Saagara Atmajayaa
sura vinuta Siva Anujayaa Maayaa Bhijayaa Vijayaa (Mangala)

Maha Lakshmi has been saluted as "MangaLam MangaLaanaam" by Swami Desikan in the very first verse of Sri Sthuthi. She is the one , who confers Auspiciousness to all Auspicious entities. Dikshithar recognizes Her as that Mangala Devathaa. He says that he has been extensively blessed by Her with all Auspiciousness. Swami Desikan Offered his homage to Maha Lakshmi through the choice words of "Kalyanaanaam Avikala Nidhi: " to reveal that she is the eternal, undiminishing treasure house for all riches and auspiciousness. Dikshitar recognized that such an Avikala Nidhi resides permanently in Celebrated Thiruvaroor (Pungava Kamalaalayaa). Pungava means that which stands as a superior entity in its class.

He saluted Her as "Bhoga Bhogyalayaa " to reveal to us that she is the power behind all that is enjoyable (BHogam). In this world, all Bhogams take their abode (BHogyaalayam) in Her. This reference relates to the Lakshmi Sahasra Naamam passage:

DEVA BHOGYAA MAHA BHAAGAA PRATIJNAA PURNA SEVADHI:

SUVARNA RUCHIRA PRAKYAA BHOGINI BHOGA DAAYINEE

Swami Desikan expresses the same sentiment of Sahasra Naamam, when he salutes HER as "Sakala Bhuvana Praarthanaa Kamadhenu: "

In the next line of Anupallavi, Dikshitar offers his homage as " JANGAMA STHAAVARA LOKA JANA STHITHI LAYAYAA JAYA MANGALA DEVATHAYAA TVYAA BAHUMAANITHOHAM " He says that Maha Lakshmi, who has specially blessed him is the Empress, who creates , protects and dissolves all the Chetanas (sentient beings) and Achetanas (insentient ones). This sentiment is a reflection of Adi Sankara"s beautiful verse
that begins with "GHEERDEVATEHTHI " :

GHEERDEVATEHTI GARUDA DHWAJA SUNDAREETHI
SAKAMBHAREETHI SASISEKHARA VALLABHETHI
SRUSHTI STHITHI PRALAYA KELISHU SAMSTHITHAAYAI
TASYAI NAMASTRIBHUVANAIKA GUROSTARUNYAI

Adi Sankara says that She is the Guru (Acharya) for the three worlds. She is worshipped by many names such as Saraswati, Saakambhari (Bhudevi), The consort of Garuda Dwajan (Naarayani), Vishnu Durgai et al. She creates , protects and ultimately in Pralayaa time, She absorbs them inside Her. Adi Sankara in the above verse offers his salutations to Maha Lakshmi of such illustrious fame. Dikshitar echoes the sentiments of Adi Sankara through his set of choice words :" Srushti sthithi pralaya kelishu samsthithaayaayai and Jangama Sthaavara loka jana sthithi layayaa jaya Mangala Devathayaa " . We will examine the meaning of the Charana Portion of this Sahityam in the next posting.

Sarana Vaakhyams:
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Adi Sankara offered his eulogy to Maha Lakshmi by describing Her as "Naarayana Pranayini, Purshottama Vallabhaa, Saarngaayudha Vallabhaa,Damodhara Vallabhaa and Nandhaatmaja Vallabhaa. Dikshitar followed this line of thought and saluted Maha Lakshmi as " Varadaraja Gopala Hrudhya Sarasija Gruhayaa " in the first line of the Charanam. He recognized Her as the resident in the heart lotuses of Archaa and Vibhava murthis such as Varadarajan and Gopalan.

He announced that Maha Lakshmi gave him Darsanam while attired in a dress that is a mixture of Yellow and Red colors. He describes Her as: " Haridraa Kumkuma Vastraalankruta Vigraham ". He confesses that hehas been blessed by that Mangala Vigraham. He recognizes Her as " Daridhra Dukkahdhi Moordhanyaasiva nigrahayaa bahumanithoham," He points out that She as the embodiment of auspiciousness and Wealth removes all poverty, misery and worries. He also salutes Her as the most merciful One, who confers Her Anugrahams to Narayana, Sivaa and Her other devotees . The corresponding Sahitya words are: Vara Lakshmyaa, Hari Hara Bhakthaanugrahayaa Bahumaanithoham ".

In the rest of the Charana Vakhyams, he recognizes Her as the one, whose lotus feet are worshipped by the Devaas (Suraarchita Padaambhujayaa), as the one, who was born as the daughter of the milky(Nectar) ocean (Sudhaa Saagara Aatmajayaa) and as the one , who is celebrated by the Devaas as the Victorious sister of Siva (Sura Vinutha Siva Anujayaa, Vijayaa), Vijaya Lakshmi.

The last Charana Vakhyam is Mayaa Bhijayaa Tvayaa Bahumaanithoham ". She is saluted by Dikshitar as Vishnu Maayaa, who destroys the false knowledge. The Bhija Mantram (Seed Utterance) for Maha Lakshmi is Lakshmi Bhijam or Maayaa Bhijam (SREEM).

The mula manthram for Saraswati is Vaak Bhijam; Sri Lalithaa"s mula mantram is Sakthi Bhijam; Maha Lakshmi"s mula Manthram is the Maayaa Bhijam.

Sreem is that Maayaa Bhijam, which can be split in to four parts (S* ,ra, EE, Im ) S* represents Her transcendent divinity of Fortune and Wealth. "R" stands for Her immeasurable riches. "EE" stands for the contented state arising from the acquisition of immeasurable wealth through Her blessings. The nasalization "IM " represents the removal of poverty, AmangaLam and miseries due to the act of worshipping Her. Sri Sooktham states that the recitation of the Mayaa Bhijam results in the banishment of hunger, thirst, the afflictions caused by the five senses, and all the Amangalaas caused by Jyeshtaa Devi:

KSHUTHPIPAASAAMALAAM JYESHTAAM ALAKSHMEER NAASAYAAMYAHAM

Swami Desikan eulogized Her in Srirangam and created a rain of gold coins for the benefit of a poor bachelor. Adi Sankara created a rain of golden Nellikkais by saluting Her through Kanaka Taaraa Stotram.

Dikshitar praises and thanks Maha Laksmi for the special Anugrahams. Dikshitar was poor most of his life. He actually spurned wealth. He refused to approach rich men for favors. One wonders why he was thanking Maha Lakshmi for her Bahumaanams (special blessings). This mystery can be resolved as one contemplates on the meaning of another Sri Sooktha Rk :

MANASA: KAAMAMAAKUTHIM VACHA: SATYAMASEEMAHI
PASUNAAGUM RUPAMANNASYA MAYI SREE: SRAYATHAAM YASA:

The above mantram states: O Maha Lakshmi of great auspiciousness! Please bless me not only with wealth as Your devotee, but bless me to have the greater good fortune of worshipping You every day and the blessings and fame that arise from such a worship ". Worldly wealth is given a second place here. The good fortune and the fame resulting from worshipping Her is given the first place. Dikshitar belonged to this category of worshippers of Maha Lakshmi. He did not pray to Her for perishable wealth.

There is an incident in Dikshitar"s life that was the cause of the creation of this Krithi. Dikshitar had two wives. His first wife was dark in color. Dikshitar"s father though that his son was not interested in the life as a married man because of dissatisfaction with the dark hue of his first wife. Therefore, he found another wife, who was fair complexioned. Even then, Dikshitar was deeply involved in Sri Vidyaa worship and Puja and did not pay much attention to conjugal pleasures. His second wife felt that her husband should go to the court of Tanjore king , sing there and bring wealth home so she could wear a lot of Jewelery and golden ornaments. When she shared her thoughts with Dikshitar , he was very upset and during the evening puja composed a krithi in raga Lalitha " HIRANMAYEEM LAKSHMEEM SADHAA BHAJAAMI, HEENA
MANAVAARAYAM TYAJAAMI ". He went to bed thereafter. During that night, Maha Lakshmi appeared as Sarvaalankara Bhooshanai in the dream of the second wife and asked , " O Dear Child! Is this much of Jewelery sufficient for you? ". The second wife woke abruptly from her sleep and fell at the feet of Dikshitar and said to him that all of her infatuation with gold and jewelery were removed by the auspicious darsanam of Maha Lakshmi and Her offer of untold wealth. Dikshitar was immensely grateful for the blessings of Maha Lakshmi in curing his wife's preoccupation with gold and jewels. As a token of his gratefulness, Dikshitar composed the Dhanyasi Krithi during the mid morning Puja, " Mangala Devathayaa Tvyaa Bahumaanithoham " and offered it at the feet of Maha Lakshmi.

In the last posting , I referred to an incident in Dikshithar"s life that led to the creation of the Danyaasi Krithi , Mangala Devathayaa Tvyaa Bahumaanithoham ".One of the members of our group kindly pointed out that the salutation of Maha Lakshmi as Mangala Devatha was done by Adi Sankara in the first slokam of Kanaka Dhaaraa stotram. Dikshitar took then his cue from Adi Sankara. In this Krithi, he expressed his thanks to Maha Lakshmi for Her intercession to cure the infatuation that his second wife had for Jewelery and Gold. He had composed the night before a krithi in Ragam Lalitha requesting such an intercession.
There he declared his resolve that he will not approach any wealthy person and beg for favors. Maha Lakshmi responded to that firm Bhakthi/Vairagyam of Dikshithar and appeared in the dream of his wife, who thereafter lost her desire for worldly wealth. Hence the Lalitha Raga Krithi and the Dhanyaasi Krithi are very closely connected to that incident in Dikshitar's life.

We will focus on the Lalithaa Raga krithi in this posting. Dikshitar chose the ragam Lalithaa for saluting Maha Lakshmi and expressing his resolve about approaching the wealthy ones of dubious conduct. This is a Panchama Varja Ragam with the five svarams of Suddha Daivatam, Suddha Rishabham, Suddha Madhyamam, Antara Ghaandhaaram and Kakali Nishadham. This is sung in the Jaamam before Sunrise typically for getting the full blessings of the svara Devathaas. Although the goals of this group is focussed more on Bhakthi as opposed to Sangitham, I will mention in passing for the sake of completion that Lalitha Raagam and Vasanthaa Ragam are very close to each other. They differ only in the Daivatha Svaram. Vasantha has Chatusruhti Daivatham and Lalithaa has Suddha Daivatham.

The sahityam of this Lalithaa Raga Krithi are as follows:

Pallavi: HiraNmayeem Lakshmeem sadhaa bhajaami
Heena manavaasrayam tyajaami

Anupallavi: Chiratara sampath prathaam Ksheerambhudi Tanayam
Hari Vakshasthala Aalayaam Harineem charana Kisalayaam
Kara Kamala dhruta Kuvalayaam maragatha mani Valayaam

Charanam: Sveta Dwipa vaasinieem srikalaambhikaam
Bhootha bhavya vilaasineem bhusura pujithaam varaam
Mataram Abjamaalineem maanikya Aabharanadharaam
Gita Vadhya vinodhineem girijaam taam Indiraam
seetha kirana nibha vadanaam sritha chintaamani sadhanaam
Peetha vasanaam Guru Guha Maathula Kaanthaam LALITHAMM
(HiraNmayeem Lakshmeem Sadhaa Bhajaami )

The eduppu for this krithi is Suddha Daivatha Svaram for which this Ragam is famous. In the spirit of Sri Suktha Vakhyams, " HiranyavarNaam Harineem Suvarna Rajathasrajaam ", Dikshitar hails her in Pallavi as" HirNmayeem Lakshmeem ". Sri Suktham visualizes Herwith golden hue and adorned with jewelery made of Gold and Silver (Sarvaalankhaara Bhooshithai). Dikshitar visulized Her as being decked in Gold (Svarna Mayam/HiraNmayee), since his intent was to relate to his wife's desire for the acquisition of a large quantity of Golden Jewelery. He says that he always meditates on Maha Lakshmi as HiraNmayee (HiraNmayeem Lakshmeem Sadhaa Bhajaami).

In the next line of the Pallavi, He expresses his resolve (Heena Maanava Aasrayam Thyajaami) that he will not approach wealthy ones, praise those and seek his fortune from those lowly ones. He states that he rejects that route to acquire wealth to please his wife's cravings for gold.

In Anupallavi, He salutes Maha Lakshmi"s place of birth, Her Divya mangala Vigraham and Her Divya AabharaNams. He points out that the riches obtained with Her blessings are not of a perishable nature (Chira Tara Sampath Pradhaam). He recognizes Her place of birth as the milky ocean (Ksheeraambhudhi Tanayaam) and salutes Her as the daughter of the milky ocean.

He praised next her TENDER feet that are soft like a young, green shoot of plant (Harineem Charana Kisalayaam). Her place of rest is the chest (Vaksha sthalam) of Sriman Naarayana. Her tender feet with the red dye (MaruthaaNi or Red sandal wood paste) rub on the chest region of Her Lord and leave a red hue as visualized by Swami Desikan:"PoorNam Teja:
Spurathi Bhavathi Paadha Laakshaa-- rasaangam ". Dikshitar praised those tender feet , which are like soft petals of Lotus.

In the next salutation, Dikshitar visualized Her as holding the Bhoomandalam in one of Her Lotus hands (Kara kamala Dhrutha Kuvalayaam)
to represent Her duties to protect the Earth and its chetanaas and Achetanam.

In the last salutation of the Anupallavi (Maragatha Mani Valayaam) and in the Charana Vaakyams, he enjoys and describes the DivyaabharaNams of Maha Lakshmi, while She is seated in Her throne at Her Residence celebrated a s Chintaamani Graham (Sritha Chintaamani Sadhanaam).

Next, he explains as to where the Chintamani Graham is and states that it is in Sveta Dwipam (Sveta Dwipa Vaasineem). He goes on to describe Her decorations and Jewelery through the words, " Abhja Maalineem, Maragatha Mani Valayaam, Maanikya Aabharana Dharaam ". She is wearing a garland made of Lotus flowers (Abhja Maalini). She is adorned by a waist band (OttiyaaNam) made of Emeralds (Maragatha Mani Valayaam). She is wearing AabharaNams made up of precious red stones (Maanikya Aabharana Dharaam).

During this time of holding court in Chintamani Graham, Dikshitar says that Her face looked as though it was defeating the cool, full Moon in its beauty (Seetha Kirana Nibha Vadanaam). Her status as Jagan Maathaa and Her affection for Her devotees -- both the Devaas and Humans-- and their Aaraadhanams are covered by Dikshitar through the Charana Vakhyams " Bhootha Bhavya Vilasineem , Bhusura Pujithaam Varaam Matharam ".

The rest of the Charana Vakhyaams are: " Guru Guha Maathula Kaanthaam, Varaam, Girijaam, Taam, Indiraam, Gita Vadhya Vinodhineem, Srikalaambhikaam , Paraam, Lalithaam, HiraNmayeem, Lakshmeem sadhaa bhajaami ". He recognizes Her as the wife of the uncle of Murugan. He describes Her as being inspired by Sama Gaana Music and the music generated by various instruments like VeeNaa, VeNu , Mrudhangam et al. He bows before Her giving Darsanam to him in the forms of Jagadhambhikai, Lalithaambhikai and with the Kalaas of Sri Devi. He states that he worships that golden-hued Maha Lakshmi always.

In the next posting, I will cover the Krithi set in the Uphanga Rakthi
ragam known as Madhava Manohari (Maha Lakshmi Karunaa rasa Lahari).

The fourth of the seven Krithis composed by Dikshitar is in ragam Madhava Manohari, a Janya ragam of the Melam Hari Hara Priyaa (Karaharapriyaa).

The name of this rakthi ragam itself has sacred connotations. It is a feminine raga devatha symbloising the Mangala Devathaa, who charmed the mind of Maadhavaa. It is instructive to understand the significance of the name Maadhavaa, so that one can understand the power of the Lady, who stole the mind of Maadhavaa.

The name Maadhavaa is the 169th Sahasra Namam of Vishnu. There are two explanations for this name. First, Niruktham says: " He is Maadhava since He propounds the true knowledge about Himself as the supreme being. The knowledge of Hari is called "Maa". Thou art the master of that knowledge. Therefore Thou art known as Maadhavaa. "Dhavah " means Lord. The second explanation is given in Maha Bharata to Arjyna: " O Bharata! Know that He is called Maadhavaa since He is endowed with Mauna (Maa), Dhyanaa (Dha) and Yoga (Va). He is thus the embodiment of Silence, meditation and practice (Maadhavan). Maha Lakshmi ,who allures the Lord Maadhavaa"s mind (Manohari) is hence known as Maadhava Manohari. There are no other krithis known in this ragaa. Dikshitar chose an appropriate Ragam with such powerful meaning for saluting Mahaa Lakshmi.

The Sahitya Vaakyams of this rare Krithi are:

Pallavi : Mahaa Lakshmi Karunaaa Rasa Lhari
Maamava Madhava Manohari , Sri

Anupallavi: Mahaa Vishnu Vakshasthalavaasini
Mahaadeva Guru Guha Viswaasini
Maha Paapa Prasamani ManonmaNi
Maara Janani Mangala Pradhaayini

Charanam: Ksheera Saagara Sudeh Veda Nuteh
Kshitheesaadhi Mahiteh siva Sahiteh
Bharathi Rathee Sasee pujiteh
Bhakti Yukta Maanasa Viraajiteh
Vaarijaasanaathyamara Vanditeh
Neerajaasanasteh sumansasteh
Saarasa hasteh sadhaa Namasteh

In the Pallavi, Dikshitar placed the Raga Mudraa. Then he recognized Her as KaruNaa Rasa Lahari. As the divine Mother of All, Her compassion is boundless. She intercedes in Her Purushakaara role with Her Lord so that all of our trespasses can be forgiven. Dikshitar visualizes Her as the Ocean with rolling waves of Compassion. He begs for Her Karunaa Kataksham. Dikshitar's appeal to the compassionate aspect of Mahaa Lakshmi reminds one of the famous slokam of Swami Desikan:

SAANUPRAASA PRAKATITHA DHAYAI :
SAANDRA VAATSALYA DIGDHAI :
AMBHA SNIGDHAI: AMRUTALAHAREE
LABDHA SABRAHMACHARYAI : I
KARMEH TAAPATRAYA VIRACHITEH
GAATA TAPTHAM KSHANAM MAAM
AAKINCHINYAGLAPHITAMANAGAI:
AARDHRAYETHAA: KATAKSHAI : II

Swami Desikan refers to Amrutha Lahari, when he thinks of the power of Her Kataksha Mahima. The most merciful waves emanating from those glances rejuvenate one and cause immortality. Swami Desikan prayed for relief from the scorching afflictions of three kinds (viz)., Aadayaatmikam, Aadhi Daivikam and Aadhi Bowdhikam. For Swami Desikan, Her glances were like waves of Nectar, most friendly (Snigdhai:) and destroyers of sins. He prays for Her to cool him from the sufferings caused by the three Taapas. In this spirit, Dikshitar hailed Her as Karunaa Lahari and asks Her to protect him (Maamava Karunaa Lahari).

ANUPALLAVI VAAKYAS:

Anupallavi Vahhyams of Madhava Manohari Krithi
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The Six Namaskaranmas chosen by Dikshitar for the Anupallavi of this Krithi are:

1.Maha Vishnu Vaksha Sthala Vaasini
2.MahadevaGuru Guha Viswaasini
3.Maha Paapa Prasamani ManonmaNi
5.Maara Janani
6.Mangal Pradhaayini

All of them end with the prayer Sadha Namasteh.

Her seat as the chest of the Lord is well referred to in the Puraanaas. In all Archas , we see Her seated in the heart region of the Lord (Maha Vishnu Vaksha-sthala Vaasini). The Tirupathi legend, where Maha Lakshmi leaves the Lord's chest as a result of a dispute and incarnation as Padmaavati, the daughter of Akasa Rajan and Lord Srinivasa coming down from Vaikuntam in search of Her and finally marrying her and staying at Thirupathi is well celebrated in dance and drama.

She has abiding affection for Her relatives, Maha Deva (Parama Siva) and Guhan , who is the Guru that initiated Dikshitar at TiruttaNi Kshetram into Sangeetham and composition(Mahadeva Guru Guha Viswaasini).

She is the one, who blesses the Jivans loaded with Maha Paapams and pleads for them with Her Lord to forgive their sins and yield the boon of Moksham (Maha Paapa Prasamani, ManonmaNi , Mangala Pradhaayini). Her Dhyanam is "SARVA ISWARYAKARAM PUNYAM, SARVA PAAPA PRANAASANAM". With this in mind perhaps, Dikshitar saluted Her as "Mahaa Paapa Prasamani".

She is also the mother of Manmathan (Maara Janani) and hence this Anupallavi salutation.

CHARANA VAAKHYAMS:
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The Charanams house another ten salutations (the refrain Sadhaa Namasteh is added at the end of each of these salutations:

1.Ksheerasaagara Sutheh Sadhaa Namasteh ------------------------
2.Veda Nuteh -------------------------------------------
3.Kshitheesaadhi Mahiteh --------------------------
4.Siva Sahiteh ------------------------------------------
5.Bharathi Rathee Sasee Pujiteh, Naradhati Muni Brundha Nandidhiteh ---
6.Bhakthi Yuktha Maanasa Viraajiteh -------------
7.Vaarijaasanaathyamara vandhiteh--------------
8.nirajasanasteh-----------------------------------------
9.Sumanasteh-------------------------------------------
10.Saarasa Hasteh ------------------------------------

She rose from the lap of Her father, the Milky Ocean and hence She is addressed as Ksheera Sagara Tanaya. This Amrutavalli and Her Abhisehakam by the Dhik Gajamas (Lordly elephants of the quarters) with golden pots are described beautifully by Srimad Bhagavatham (Canto 8-8-8) and in the 28 th Dasakam of Sri Naarayaneeyam. The number of the Bhagavatham Slokam (8-8-8) for Maha Lakshmi is suggestive of her Ashta Lakshmi Svaroopam, Ashta Iswarya Dhayaka power and her role as the Patta Mahishi of the Lord of Ashtaaksha Manthram.

"KAMANEEYAA KAMALAA BHABHOOVA" are the words of Sri Narayana Bhattadhiri , when he describes Her Avataaram..

The Rishis like Narada decorated Her with the Mantras from Vedas such as Sri Sooktham and Indra and the other DEvaas presented Her with Gem-studded garlands. She then walked towards Sriman Narayana and placed the garland (in Her hands) around His neck and thereby chose Him as Her Lord in the Svayamvaram that took place at the site of Milky Ocean. Three beautiful slokams of Sri Narayaneeyam describe this most auspicious event:

THE FIRST SLOKAM REFERS TO HER WALKING SHYLY TOWARDS SRIMAN NARAYANA WITH A FRESH GARLAND IN HER HANDS AND THE HONEY BEES SWIRLING AROUND IT. THE MELODIOUS MUSIC RAISED BY HER ANKLE BELLS AND HER SUPREME BEAUTY AS A MAIDEN ARE VISUALIZED HERE.

THE SECOND SLOKAM DESCRIBES THE SVAYAMVARAM, WHERE SHE CHOSE THE LORD OVER EVERY ONE ASSEMBLED THERE AND HER PLACEMENT OF THE FLOWER GARLAND ON SRIMAN NARAYANA'S NECK ( NIHITAA DIVYA MAALAA ).

THE THIRD SLOKAM DESCRIBES HER immediate ASSUMPTION OF DUTIES AS THE EMPRESS OF THE UNIVERSE AND PROTECTING HER LORD'S DOMAINS. THIS SLOKAM REVEALS THAT THE LORD PLACED HER ON HIS NOBLE CHEST AND HONORED HER THROUGH THAT ACTION. SEATED THERE, SHE MADE THE WORLDS PROSPER THROUGH HER KARUNAA KATAKSHAM AS LOKA JANANI.

URASAA TARASAA MAMAANITHA YENAAM
BHUVANAANAAM JANANEEM ANANYABHAVAAM I
TVADHURoVILASATTHA DEEKSHANA
SRIPARIVRUSHTYAA PARIPUSHTAMAASA VISWAM II

Sriman Narayanaa quickly (Tarasa) placed Her on his chest (Urasaa) and honored (Mamaanitha) Her (Yenaam). That Mother of the Universe (Bhuvanaanaam Janani), and Parama Pathivrathaa ,who was not interested in anyone (Ananya Bhavaa) thereafter made the worlds prosper through Her Dikshana SRI PARIVRUSHTAYAA (with Her most auspicious compassionate glances).

TAAM AANANDHA VALLEEM , AVABHUSHITANGHA VALLEM SARANAMAHAM PRAPATYEH.

REST OF THE CHARANA VAAKYAMS WILL BE COVERED IN THE FINAL AND LAST POSTING RELATED TO THIS KRITHI.
 

Rest Of the Charana Vaakyams:
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Maha Lakshmi is saluted as " SAMASTHA DEVA SAMSEVYAM ANIMAADHYASHTA SIDDHITAM " . Dikshitar saluted Her in this vein as " Bharathi Rathee Sasee Pujiteh, Vaarijaasanaadhya Amara Vandhiteh, Naradhaadhi Muni Brundha Nanditeh ". Here, Dikshitar refers to Maha Lakshmi Being worshipped by Her daughter In Law, Rathi Devi , Sarswati (Bharathi) and Indra's wife (Sasi Devi ). The worships by Devendra , the other Devaas and groups of Rishis headed by Narada is referred to next.

When She is seated in Her Mantra Peetam known as ChintamaNi Graham, all of the above DEvas, their consorts and the band of Rishis offer their homages to Her.

In the rest of the charana Namaskaarams, Dikshitar praises Her Anantha Kalyana Gunams. She is hailed as " Padma Priyaam Padma Hasthaam Padmaaksheem Padma Sundareem Padmodhbhavaam Padma Mukhim Padma Naabha Priyaam Ramaam ". Her affilation and attachment to the Lotus flower is indicated here. Through the group of words, " Kshithisaadhi Mahiteh, Bhakthi Yukthi Maanasa Viraajiteh, Neerajanasteh, Sumanasasteh, Saarasa Hasteh" Dikshitar offers his unceasing reverence (Sadhaa Namasteh). Here Saarasa Hasteh refers to Her hands that are soft and beautiful like a lotus flower. Saarasa has the meaning of Lotus. This Namaskaaram can also be intrepreted as the Divine one holding lotus in Her Hands.

That She is the Empress, who rules over the kings of the Earth is indicated by the salutation " Kshithisaadhi Mahiteh ". That She is the illuminating, sacred principle in the Bhakthi-laden hearts of Her devotees is alluded to in the salutation," Bhakthi Yukthi Maanasa Virajiteh ". These devotees are waving camphor and Mangala Deepams in front of Her (Neerajanam). She is seated on Her Lotus and receives those upachaarams is one intrpretation. In the other intrepretation, reference is to the Vedic ceremony (Neerajanam) conducted by the kings of the earth (Kshtheesaas) in the month of Asvina. They consecrate their weapons and tools of war to honor their Kshatriya Dharma .She receives these worships as the Empress of the kings of the earth.

The last of the salutations of this Krithi is Sumanasasteh. As arunaa Rasa Lahari, Her mind is overflowing with compassionate thoughts about ways of protecting Her children from their trespasses from Sastric injunctions. She pleads with Her Lord to overlook those trespasses, when He gets angry at them. She with Her Sumanas gives the boons of Unimaginable wealth , Jnanam and MOksham through Her intercession. This is why Swami Desikan poses a rhetorical Question: SEVAAPEKSHAA TAVA CHARANAYOH : SREYASEH KASYA NA: SYAATH? " He asks: Why would not all auspiciousness befall on one, who wishes to offer Kaimkaryam to You? Even the thought of doing Kaimkaryam would be sufficient, since You are a Sumansasthaa says Swami Desikan. Because of Her Sumanas , She causes rows and rows of blessings and boons to those , who worship Her. Swami Desikan lists some of these boons resulting from Her Sumanas:

SAMPADHYANTEH BHAVA BHAYA TAMEE
BHANAVA: TVATH PRASAADHAATH
BHAVAA : SARVEH BHAGAVATHI
HAROU BHAKTHIM UDHVELAYANTHA: I
YAACHEH KIM TVAAM AHAMIHA
YATA: SEETHOH UDHAARA SEELAA
BHUYOH BHUYOH DISASI MAHATAAM
MANGALAANAAM PRABHANDHAAN II -- SRI STHUTHI , VERSE 22

Swami Desikan salutes Her Sumanas this way in the above verse:

O Bhagavathi (Piratti with limitless auspicious attributes), Thanks to Your Sumanas, the fear from the dark Samsaric night is banished as though that darkness is driven away by many bright suns. The states of the minds of Your devotees converge thereafter on Your Lord and enhance their Bhakthi Bhavam. What can I really ask of You? I hesitate to ask , since, You out of Your Sumanas anticipate my wishes and repeatedly shower me with your multifold blessings.

AMBHA! VISHNU KAANTEH! KAMALA NILAYEH !
MAADHAVA MANOHARI! KARUNAA LAHARI !
SARASIJA MAYA BHADRA PEETEH NISHANNAA !
MUKUNDHA VALLABEH! MAANATITHA PRATHITA VIBHAVEH !
SARVAN LOKAAN TAVA KARUNAYAA PAAHI, .

MangaLa Kaisikhi Raaga Krithi
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In this postng, I will attempt to understand the deep meanings of Dikshitar's salutations to Maha Lakshmi in the Ragam Mangala Kaisikhi. This is an Upaangha Rakti Raagam, which is a Janya Raagam of the Mela Kartha, Maaya MaaLava Gowlai. Just as Saint Thyagaraja was fond of composing Krithis in Karahara Priyaa Mela Kartha and its Janya Raagaas, Sri Dikshitar was fond of composing Krithis in the Mayaa MaaLava GouLai and its many Janya Raagaas.

The Significance of the Name MangaLa Kaisikhi
********************************************

Although the Name Kaisikhi has the two meanings of (1) Fine Hair and (2) the sentiment of Love, the context here makes us choose the first meaning. Maha Lakshmi is invoked here as the Goddess with auspicious tresses of Hair. It is like saluting Her as Sughandha Kundalaambhaal or AliveNi in the Shyamaa Sastrigal tradition. Her bluish black hair with divine fragrance is one of Her 32 Saamudhrikaa LakshaNams or signs of beauty of a Padmini type of women. One is reminded of the Sahasra Naamam of Lalitha Parameswari, "Champakaasokha pumnaaga Sowgandhika Lasat Kachaa". That Naamam states that AmbhaaL's coiffure has the natural fragrance of the Champakaa, Asokhaa and Pumnaagaa blossoms. Maha Lakshmi"s beautiful tresses reminding one of the bluish-black color of the VaNdu and the exquisite fragrance of Paarijathaa and other four divine flowers that grow in the garden of Indra. The link to Paarijaatha flower adorning MangaLa Kaisikhi"s coiffure is appropriate, since the Paarijaathaa tree came out of the Milky Ocean during the time of churning of that Ocean for Nectar by the Lord. Indra took that tree for his garden and later Krishna wrested from him in a battle and planted it in Satyabhaamaa"s garden. It is indeed a Raaga of fragrant memory to invoke Maha Lakshmi.

SAAHITYA VAAKYAMS
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PALLAVI: Sri Bhargavee Bhadram Meh Disathu
Sri Ranga Dhaameswari

ANUPALLAVI: Sowbhaagya Lakshmi Satatam Maam Avathu
Sakala Loka Janani Vishnu Mohini

CHARANAM : Madana Guru Guha Maaninee Mama Manasi Thishtathu
Madhukara Vijaya MangaLa Kaisikhaa Nivasathu
Sadhana Madhyeh Maha Lakshmee Sadhaa Viharatu
Saamaja Hema Kumbha Snaapitaa Vijayathu
Padha Nayana Aanana Kara Nalinee
Parama Purusha Pranayinee
Vadana Kamala Guru Guha Dharanee
Vara Nuta Ranganaatha RamaNee (Sri Bhargavee)

This Krithi is a wonderful and moving prayer to Sri Ranganayaki, the empress of Srirangam. Dikshitar recognizes Her as having arisen in the Vamsam of Bhrugu Maharishi. Hence, he salutes Her as Bhargavi. Bhrigu Maharishi is one of the ten patriarchs created by the first Manu according to Manu Smruthi. He is also considered as the direct son of Brahmaa and therefore a brother of Sivaa elsewhere. In Archaavataarams, Maha Lakshmi is born as Ayonijaa and is raised by Maharishis like Bhrigu. For Instance, at Thiruvahindrapuram, she was born inside a golden lotus (Hemaabhja Valli) and was raised by Bhrugu Maharishi and then given in marriage by him to Sri Devanaathan of that Kshetram Hence, Maha Lakshmi has the name of Bhargavi to reveal Her lineage.

Dikshitar prays in the Pallavi to Bhargavi and requests the boon of Auspicious happenings to him. He says: May the empress of Srirangam hailed as Bhargavi confer on me MangaLlams (Bhadram Meh Disathu).

In the Anupallavi Vakyams, He rcognizes Her as Sowbhagya Lakshmi, the mother of all the worlds and Vishnu Mohini. The Lord took "Mohini" rupam and enchanted the world. Maha Lakshmi enchants even the Enchanter (Vishnu Mohini). She is indeed the Madhava Manohari as Vishnu Mohini.

In the Anupallavi, Dikshitar prays also to Her Sowbhagya aspects this way :

"Sowbhagya Lakshmi Satatam Maam Avathu".

He asks for the permanent protection of Sowbhagya Lakshmi, who confers all blessings and good fortune. His prayer is similar to Sri Prandara Dasa"s In Sri Ragam : "Bhagyata Lkshmi Bhaarammaa , Nammama Nee SOWBHAGYATA LAKSHMI Bharammaa". Purandra Dasa also refers to the Vishnu Mohini Concept in that song also, when he says: "AkkareyuLLa Sri ALagiri Rangana Sokka Purandara Vittalana RaaNi , -- Sowbhagya Lakshmi Bharammaa ". Her Sowbhagyam is serving Her Lord as the Maha Pathivrathaa.
Purandara Dasa in his Thodi Raga Krithi reveals that sowbhagyatvam this way:

"Yenu DhanyaLO, Lakumi, Emtha MaanyaLO, Saanuraagaadhimtha Hariya Taaneh, seva MaaduthihaLu. Sarvatrati Vyaaptha Naatha Sarva Dhosha Rahita Naatha Sarva Vandhya Naatha Purandara Vitalneh Sarva Kaaladiseh VisuvaLu (Yenu DhanyaLO). Her Own Sowbhagyam gives Her the power to confer Sowbhagyam to others as Sowbhagya Lakshmi.

Mangala Kaisikhi Krithi Charanam
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Here, Dikshitar invokes (Aavahanam) Maha Lakshmi and prays for Her to reside in his mind always (Mama Manasi Thishtathu). He prays for Her to
play in the middle of the mansion of his mind (Sadhana Madhyeh Maha Lakshmi Sadhaa Viharatu ). He sings PallaNdu to Her, when he says: " Saamaja Hema Kumbha Snaapitaa VIjayathu ".

The reason for Dikshitar"s prayer for Her residence in his mind was his recognition of Her power as "Vimukthi Pala Dhaayini " as revealed in the Sri Sthuthi section of Vishnu PuraaNam :

YAJNA VIDHYAA MAHAA VIDHYAA
GUHYA VIDHYAA CHA SOBHANEH I
AATMA VIDHYAA CHA DEVI TVAM
VIMUKTHI PALA DHAAYINI II

Dikshitar requests the Mangala Kaisikhaa SvarupiNi , who was bathed by the sacred waters held in the golden pots held by the elephants of the quarters to confer blessings on him in the spirit of Adi Sankara"s Prayer in one of the verses of Kanaka Dhaaraa Stotram:

MAATHUSSAMASTHA JAGATHAAM MAHANEEYA MOORTHI :
BHADRANI MEH DISATHU BHARGAVA NANDANAAYAA : II
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The pallavi Vakhyams serve as a refrain and contain the reference to Adi Sankara"s prayer quoted above.

Dikshitar saluted Her as Parama Purusha Hari Pranayini in Charanam and celebrated Her Sowndharyam with the eulogy: " Padha Nayana Aanana Kara NaLinee" Her NaLina Kaanthi is present in every limb of Her from Her Saroja KomaLa Padam to Her Eyes, Face, Hands to testify to Her Sarvaanga Sowndharyam. He salutes Her as Ranganatha RamaNee and states that She is the Aadhaara Sakthi for Her Nephew, Guhan (Guru Guha Dharanee). She is the one Known as the celebrated Vara Lakshmi (Vara Nuta Sowbhaagya Lakshmi). He prays to the consort of the father of Manmathaa and begs Her to take residence in his mind permanently and to sanctify his mind by making it Her Aalayam.

I will conclude this posting with the last verse of Parasara Bhatta"s Guna Ratna Kosam, which is one of the most beautiful sthuthis of Sriranga Nayaki:

SRIRANGEH SARADHA: SADHAM SAHA
SUHRUDHVARGHENA NISHKASHTAKAM
NIRDU: KKAM SUSUKHAM CHA
DAASYA RASIKAAM BHUKTHVAA SAMRUDDHIM PARAAM I
YUSHMATH PAADHA SARORUHAANTHARARAJA:
SYAAMA TVAM AMBHAA PITAA
SARVAM DHARMAMAPI TVAMEVA BHAVA
NA: SVIKURVAKASMAATH KRUPAAM II

TAAM DEVADEVA MAHISHEEM SRIYAMAASRAYAAMA:


The sixth Krithi of Dikshithar on Maha Lakshmi is set in Ragam Sowraashtram, which is a Janya Ragam of Surya Kaantham, the 17th Suddha Madhyama Mela Ragam. The other two Sowrasshtra raga Krithis of Dikshitar are:

1. Navagraha Krithi : Surya Murtheh
2.Gokarneswara Paahi Maam

The Sahitya Vakhyams for this Maha Lakshmi Samashti Krithi are:

Pallavi: Vara Lakshmeem Bhajareh Maanasa
Vaanchitaartha Pala Pradhamm
Varadhaam Vanaja Padhaam

Charanam: Charaacharathmaka Prapancha Jananeem
Sowrashtraa Deasapathinuta Tanineem
Niraamaya Maha Vishnu Maanineem
Niranjaneem Nikhila Agha Panjaneem
Suraarchita Padhaambhuja Vikaasinineem
Niralambha Maanasollasineem
Muraari Vakshasthala Nivaasineem
Puraari Guru Guha Chith Vilaasineem (Vara Lakshmeem)

In this samashti Krithi, Charanam has eight lines and the whole Krithi is set in simple Sanskrit words.

In the Pallavi, Dikshitar asks his mind to eulogize and pray to Sri Vara Lakshmi, who unfailingly grants all the boons that he sought.

In Charanam , He placed the Raga Mudraa in the second line (Sowrashtra Desa Pathi Nuta Tanineem). He points out that She is the one, who is celebrated by the king of Sowrashtra Desam. He points out two more aspects of Her glory through the Namaskaarams (Murari Vaksha Sthala Nivaasineem and Niraamaya Maha Vishnu Pathnee), which recognize Her as
being resident in the Chest of the Lord and the consort of Maha Vishnu free of all blemishes.

Through the Namaskaarams, Suraarchita Padhaambhuja Vikaasineem and Puraari Guru Guha Chith Vilasineem, Dikshitar explains that She has the Lotus feet adored by the DEvaas and that She is the one, who makes the minds of Murughan and Tripura Samhaaran Joyous.

Through the rest of the Charana Vaakhyams, Charaachara Aatmaka Prapancha Jananeem, Niranjaneem Nikhila Agha Bhanjanem and Niralambhamaanasollaasineem, Dikshitar follows the describtion of Her Ananta Kalyana Gunaas outlined in Sri Suktham and other sources. Sri Suktham salutes Her as " Iswareem Sarva Bhoothaanaam ". Dikshitar echoes this thought thru thesalutation, " Charaachara Aatmaka Prapancha Jananeem".

Sri Lakshmi Sahasra Naamam praises Her as" PuNya Sri, PuNya Nilayaa "

Sri Lakshmi Ashtottram salutes Her as, " Sarva Isvaryakaram PuNyam SARVA PAAPA PRANAASANAM".

Dikshitar offers his worship to this PuNya Sri , who destroys all Paapaas as " Niranjaneem, Nikhila Agha Bhanjanam ". He praises Maha Lakshmi as the PuNya SvarupiNi , who banishes all Agham(Sins). The Veda Uses four terms for Sins of different kinds . These are Paapa, Amhas, Enas and Agham. Papa is the sin of the mind,. Since our mind is the source of the four kinds of Sins , Atharva vedam asks , "O sins of the Mind, Go Away from Us( ParOpEhi Manaspaapa: AV --VI 23) . Dikshitar reveals to us here that the Supreme Mother revered as Niranjanee by Her Sahasra Naamam (Ekasvarupaa Trividhaa Sankhyaathita NIRANJANAA) is "Nikhila Agha Bhanjani", the remover of every kind of Sins arising from the mind, body or speech.

In the final salutation, Dikshitar describes Her relatonship to the righteous ones (Saadhus). He says: " Niraalambha MaanasOllasineem Vara Lakshmeem Bhjareh Maanasa".

He points out that She enters the minds of the righteous devotees of Hers and gives them the boons of eternal bliss. Aalambhanam is the mental exercise of a Yogi in endeavouring to bring before his thoughts the gross form (Sthula) form (Sareeram) of the eternal. Niraalambhanam is one step beyond, when the Sukshma (Subtle) form of the deity that is being worshipped is retained in the mind of the Yogi or Saadhu. Niraalambhana Samadhi can be equated to Nirvikalpa Samaadhi. Dikshitar says that Maha Lakshmi enters the mind of the Saadhus and helps them to obtain the eternal bliss arising from Nirvikalpa Samaadhi through the prayer, " Niraalambha MaanasOllasineem, Vara Lakshmeem Bhajare ".

Sri Parasara Bhattar's Guna Ratna Kosam (verse 12) refers to the above boon of Vara Lakshmi for the Yogis:

MANASI VILASATAAKSHANAA
BHAKTHI SUIDDHANJANENA
SRUTHI SIRASI NIGUTAM
LAKSHMITEH VEEKSHAMAANAA: I
NIDHIMIVA MAHIMAANAM
BHUNJATEH YEPI DHANYAA
NANU BHAGAVATHI DAIVEEM
SAMPADHAM TEH ABHIJAATAA: II

Paraasara Bhattar says: "O Bhagavathi! With the revelatory lotion (Anjanam) of Bhakthi, the pure ones identify the glory of Yours, which is hidden inside the Vedas. They treasure that in their mind's eye and feast on it and sanctify themselves.

Srirangaraja Mahishee Saa Mamapi
Veekshathaam LAKSHMI: (Sri Kuraathaazhwaan)

Daasan , Oppiliappan Koil VaradAchAri SadagOpan

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