Sarasvati Namastubhyam

Maharshi Ashvalaayana’s question answer session on Maha Sarasvati’s taatvika swarupa vivechana. Then the saadhana bhuta dasha shloki Sarasvati Vidya varnana, is followed. Further Sarasvati prardhanaas, Bhagavati’s Brahmatva, prakriti tatva, maayaa vasheebhoota viveschana followed.The dasha shlokaas followed by the Rishis Bharadwaaja-Atri-Mucchhanda-Bhargvaa- Grutsamada. Then Devi Sarasvati’s prardhanaas, Brahmatva – Prakriti Tatva and Purushatvarupana, Maha vasheebhuta brahmana, samaadhi vidhaanaas and mukti prapti vidhaaana.

(1) Invocation (2) Vidya Tatva (3) Devi Saraswati’s ‘Puja Vidhana’and ‘Kavacha’vide Brahma Vaivartha Purana.] :

(1)

Manikya veenaam upalaalayanteem madaalasaam manjula vaagvilaasaam, mahendra neela dyuti komalaangim Maatanga Kanyaam manasaa smaraami/ Chaturbhuje chandrakalaa vatamse, kuchonnate kumkuma raaga sone, pundrekshu paashaankusha pushpa baanahaste namaste jagadaika maataa/ Maataa marakata shyaama Maatangi mada shalini, kuryaat kataaksham kalyaani kadamba vana vaasini/ Jaya Maatanga tanaye,jaya neelotpala dyuthe jaya sangeeta rasike, jaya leela shuka priye! [Maha Kavi Kaalidaasa] Devi Saraswati the illustrious gift to Sage Matanga excelling in one of the Maha Vidyas! you are the icon of everplayful musical Veena stunningly studded with lustrous gems! You are the symbol of feminity of exhubarant grace and exraordinary beauty! You are the personification of auspiciousness while spreading four arms, moon shine smile, firm and high chested physical charm, carrying mesmerising flowers of intoxicating smell, juicy sugarcane, defensive rope to instantly arrest the evil, an arrow to terminate the malevolent, a mighty goad to suppress immorality and a pundarika or conchshell to warn the wicked! Bless me Mother with your sweet and merciful looks from the benign eye corners even being seated cosily in the unique forest of fragrant and ripe fruits of sweet lusciousness! Victory to you the Universal Mother Matangi even as you resemble the singular blue lotus, ever blissful with celestial musical notes of Veena and carrying a green parrot for mere play and pastime! [Matangi is the Tantrik Maha Vidya-the Goddess of music, arts and knowledge]

(2)

Vidya Tatwa is essentially knowledge based. Indeed knowledge is limitless and as much one acquires, so much more remains. Maha Maya obstructing the clear vision of Pure Consciousness due to ‘Shad Kanchukas’ or Six Layers / Coverings and ‘Malaas’ or defilements of Aaanava, Maayiya and Karma nature, being the inner most, the interior and the outer parts of the husk that cover in three layers before obtaining the pure grain or antaratma with neither desirable nor the totally free from the stains of the pristine Self! Pancha Bhutas, Panchendriyas and Tri-Tatwas viz. Manas, Buddhi and Ahamkara total up to Prakriti. Prakriti is the totality of the 23 products, each produced from the cause and effect cycle and together Prakriti and Purusha activise the entite universe compose of 36 tatwas!From Prakriti upto Earth, creation encases ‘Chaitanyam’ or the Pure Conscious -ness by ‘dehabhava’ as concealed, just as chaff covering the food grain. This Chaitanyam is covered by Maya aided by indriyas or the sense organs or ‘kalaas’ to specific gross physical elements. Thus the process of Creation is composed by seven steps beginning from Shiva-Shakti-Sadashiva-Ishwara-shudda vidya-maya and kala the creativity. Vigjnaana is a flow of Self Awareness and is conceptual only. Kashmiri Shaivism feels that Supreme Consciousness is possible by ‘sambhavopaaya’ or ‘icchopaaya’ or as coincidental or as being desirable. It may be like the myth of a rope as a snake. But surely Maha Maya has no role in this illusion. Finally one concludes that the Self Consiousness and Supreme Consciousness are true mirror images since the former has no role in the pluses and minuses of the mortal bodies as per their panchendriyas, mind, buddhi sustained by vital foce praana and the Individual Concsiousness is a mute spectator only and surely the photo image of Paramatma!

(3)

Sage Narayana described the methodology of worship of Devi Sarasvati, the powerful manifestation of Mula Prakriti, the Goddess of Knowledge, Mental Faculties, Memory, ‘Mantras’, Literature and Fine Arts. Her symbol is ‘Veena’(Lute) and Books; Her ‘Vahana’(Vehicle) is ‘Hamsa’ (Swan) and Her male counterpart is Para Brahma. On every Sukla Panchami of Magha month and on the day of commencing education, the worship of Sarsvati is to be performed as per Kanva Sakha Yajur Veda hymns, if possible. Being clean, wearing white clothes, white flower garlands, white sandal paste and using white conchshell, one performs Ganesh Puja first, ‘Kalasa Puja’( Vessel with pure water and an inverted Coconut representing the Deity), then Sarasvati Vandana and ‘Shodasa Upacharas’ or sixteen types of Services like ‘Avahana’ (Welcom), ‘Asanam’(Seat), ‘Padyam’( Sprinkling Holy water), ‘Arghyam’(A kind of welcom drink), ‘Achamaniyam’( Settling down offer of water), ‘Panchamrita Snanam’( mix of milk, curd, butter, honey, and sugar), ‘Vastra dvayam’ ( two sets of clothing), Sacred Thread or ‘Yagnopaveetham’, ‘Abharanam’ ( ornaments), ‘Gandham’ (Sandal paste), ‘Pushpa Puja’( worship with flowers, preferably white),‘Agarbatti dhoopam’ (incense stick burning),‘Deepa darsana’( showing of lights of cow ghee soaked vicks), ‘Neerajanam’(Showing of Camphor light), ‘Naivedyam’or offerings of eatables including fruits, ‘MantraPushpam’( Vedic Chanting) and ‘kshmapana’( seeking forgiveness of procedural defects of worship).Devi Sarasvati is pleased with the recitation of the Root Mantra, ‘Aim Kleem Sarasvathyai Namah’. Sage Narayana gave this Seed Mantra to Rishi Valmiki on the banks of Ganges and at the time of Solar Eclipse, Sage Bhrigu gave it to Sukracharya at Pushkara Tirtha; Brahma gave it to Bhrigu at Badarika Ashrama, Surya gave it to Yajnavalkya and so on. It is said that any one recites the Mantra four lakh times would attain Siddhas.

Brahma gave the highly energetic Sarasvati Kavacham – kind of defence armour -to a select few and its ‘Vidhana’ or procedure is also provided by Prajapati Brahma Himself. The Kavacha was composed in Brihti Chhandah and its ‘Viniyoga’or application is for acquiring spiritual knowledge and fulfillment of desires. The Kavacha says:- Aim Srim Hrim Sarasvathyai Svaha: May my entire head be protected; Srim Vagdevathyai Svaha: my forehead; Aim Hrim Sarvasvatyai Svaha: to protect my ears always; Aim Srim Hrim Bhagavatyai Sarasvathyai Svaha: to protect my eyes; Aim Hrim Vakvadinyai Svaha to protect my nose always; Aim Hrim Vidyadhisthratri Devyai Svaha to protect my lips always; Aim Hrim Brahmayai Svaha to protect my teeth; Aim-a single word, to proctect my neck; Aim Srim Hrim to protect my throat; Srim to protect my shoulders; Aim Hrim Vidyadhistatri Devyai Svaha: my chest; Aim Hrim Vidyadhiswarupaya Svaha: my navel; Aim Hrim Klim Vanyai Svaha: my hands; Aim Sarva Varnatmikayai Swaha: my feet; Aim Vagadhisthatri Devayai Swaha: my body; Aim Sarva Kantha Vasinyai Svaha:my east; Aim Sarvajibhraga Vasinya Svaha: my South East; Aim Hrim Klim Sarasvathyai Budha jnanayi Svaha : my South; Aim Hrim Srim Svaha : my West; Aim Sarvam bikaiya Svaha:my North West; Aim Srim Klim Gadya Vasinyai Svaha : my North; Om Hrim Sarva Pujithayai Svaha:my Top; Aim Pusthaka Vasinyai Svah: my Below;Aim Grantha Bija Svarupayai Svaha:my Sides.

Sarasvathi Stotram was performed in all earnestness by Sage Yajnavalka as he was cursed by his Guru Sage Vysampayana; the Guru committed a serious crime of killing a Brahmana and was atoning for the sin for long time by paying penance and Yajnavalka offered to perform the penance all by himself, and the Guru became furious and asked him to vomit all the Mantras of Yajurveda and quit his Ashram. Yajnavalka prayed to Surya Deva who no doubt gave back the same Veda Mantras but asked to pray to Devi Sarasvati to return his memory. It was in this context that the Sage meditated the Devi by various hymns that She affixed to Vedas the three significant letters ‘Anusarga’, ‘Visarga’ and ‘Chandravindu’; He recited as per this Substance: “She is the ‘Vyakhya’( exposition) of all ‘Sastras’ and the Presiding Deity of the annotaions of these Shastras; that She is the Super Mathematician and invented the count of Numbers and Time; that She is responsible for finalising ‘Siddhanthas’ ( Definite Conclusions) in guiding enlightened Rishis and Human experts); that She is the mammoth Sakti to provide Memory, Knowledge, Intelligence and Imagination and power of Speech; that She resolved arguments of Bhu Devi and Anantha Deva, the doubts of Maharshi Veda Vyasa and Sage Valmiki about certain doubts of ‘Purana Sutras’, guided Indra and Deva Guru Brihaspati on some critical explanations about ‘Sabda Sastra’; that Vishnu, Mahesa and Brahma prayed to Her and so did Devas, Manus, Maharshis, and of course innumerable humans for their own advantages.” As Yajnavalkya thus meditated and sang potent Hymns to Devi Sarasvati, She blessed him with sharp memory and Spiritual Knowledge to and he became an Illustrious and erudite Sage remembered for ages for his contribution of fifteen solid chapters of Vedas called ‘Vajasniya Samhitas’! Even if an ignoramus prays sincerely the Goddess Sarasvati for a year regularly, he or she would turn intelligent for sure; a dumb person would gain power of speech and an illiterate would secure the capacity and strong will to get educated.]

Stanzas 1-5

Rishaye ha vai Bhagavantamaashvaalanam sampujya paruacchhuh: kenopaayena tatjnaanam tadpadardhaarthaava bhaasakam/ Yadupaasanaya tatvam jaanaasi bhagavanvada Sarasvati dasha shlok sa ruchaa beejamishrayaa- stutvaa japtvaa paraam suddhhimalabham munipungavaah/ Rishaya uuchuh: katham Saarasvata praaptih kena dhyaanena suvrata/MahaSarasvati yena tushthaa Bhagavatee vada/ Saho Vaachaashvalaayanah: asya Shri arasvatee yena tushthaa bhagavatee vada/ Sahovaachaashvalanah: Asya Shri Sarasvatee Dashaashlokee maha mantrasya ahamaashvalaayana rishih/ Anuhthup cchhandah/Shri Vageshvaree devataa/ Yadvaagiti beejam/ Deveem vaachamiti shaktih/ Prano deveeti keelakam/ Viniyogastadpreetyarthe/ Shraddhhaa medaa pragjnaa dhaaranaa vaagdevataa maha Sarasvateeyerthairanganyaasah /Neehaarasaara ghanasarvasudhakaraabhaaam kalyaanadaam kaakachampakadhaama bhushanaam/ Uttungapeenakuchakumbhamanoharaangeem Vaaneem manasaa vachasaa vibhutyai/

Once samasta rishi ganaas approached Maharshi Ashvalaayana and asked as to by which jnaana that the ‘Tat’ padardha swarupa be able to define the ‘paramatma tatva jnaana’. Further which Parama Shakti Upasana dwaaraa that the ‘tatva jnaana prapti’ be feasible. Then the Maharshi Ashvalaayana replied that the ‘Chanda’ be ‘anushthub’- ‘Devata’ be Vaageeshvari- Beeja mantra be ‘ yedvaag’, ‘Devi Vaacham’ is the Shakti- ‘Prano Devi’ is the Keelakam.The ‘viniyoga’ be to state: Vageeshvari Devata preetyardham. Its ‘anganyaasa’ be of the mantras as of ‘shrddhha-pragjna-medha-dharana-vaagdevata and Maha Sarasvati sampannaa. [Prano devi Sarasvati vajebhir vajineevati deena avitraya avatu/ May Devi Sarasvati who protects those who worship her, protect and awaken our intelligence.

Subsequently, the dhyana varnana be as follows: Devi Sarasvati! May you be pleased to let me prostrate with utmost earnestness as you are of the ‘ hima, muktaahaara kaantiyukta, kalyana pradaayaka, suvarna sadrusha, champaka pushpa maala sushobhita Vaak Devi.

Stanzas 6-15

Om Prano Deveetyasya mantrasya ‘Bharadwaaja Rishih’/ Gayatri cchhandah/Shri Sarasvati evata/Pranavena beejaakshara shaktih keelakam/Ishtarthe viniyogah/ Mantreana nyaasah/
Yaa vedantaarta tatvaikaswarupaa paramardhatah Naama Rupatmamana vyaktaa saa maam paatu Saraswati/

Om Prano devee Saraswati vaa vaajebhirvaajaneevatee Dheenaamamitryavatu/

Aa no diva iti mantrasya ‘Atri Rishih’ Trishthubh cchandah/ arasvati evataa/Hreemiti beeja saktih keelakam/Ishtarthe viniyogah/Mantrena nyaasah/

Yaa sangopaangavedeshu chatushverkaiva geeyate/Advaita Brahmanah Shan=ktih saa maam paatu Saraswatee/

Hreem aa no divo brihatah parvataadaa Sarasvateyajataagatum yagjnam/ Havam Devee jujushaanaa ghritaachee shagmaa m no vaachamushatee shrunet/
Paavakaa na iti mantrasya/ ‘Mricchanda Rishih’/ Gayatri cchandah/ Saraswatee Devataa/ Mayucchhanda Rishih/ Shreemiti beeja shaktih keelakamshtaarthe mviniyogah/Mantrena nyaasah/

Yaa varnapadavaakyaartha swarupenaiva varat anaadi nidhanaanantaa saa maam paatu Sarasvati/

Shreem Paavaka nah Sarasvatee vaajebhirvaarjineevteee/Yagjnam vashtu dhiyaa vasuh/

Chodayatreeti mantrasya ‘Madhucchhanda Rishih’/ Gayatree cchhandah/ Sarasvati Debataa/ Blumiti beeja shaktih keelakam/ Mantrena nyaasah/

‘Om pranodevi’ naamaka mantra be of Rishi Bharadvaaja, ‘chhandas’ is of Gayatri and Devata be of Devi Sarasvati. Om namah or the Pranava mantra is the beeja-shakti and keelaka as of the threesome. Ishtaardha siddhi hetu is of the viniyogata and this mantra be able for ‘anganyaasa’. Simply stated is that of this mantra (‘pra no devi), Bharadvaja is the seer; Gayatri, the metre; Devi Sarasvati, the divinity; OM, the seed, power and lynch-pin; its application is for gaining whatever is desired; consecration is with the mantra

‘ Aa no divah’ naamaka mantra was of Atri Rishi, chandas is trishthup, Devata is Devi Saraswati, the mantra be of beeja, hreem is all of beeja-shakti and keelaka, Its ‘abheeshta kaarya siddhi hetu’ is to be explained as the viniyoga The mantra’s nyaasa is to be learnt as of kriya sampannata.

.Angopaanga of chaturvedaas of Rig-Yajur-Sama-Atharvas and vedaanagas of Siksha, Kalpa, Vyakarana, Nirukti, Chhandas and Jyotisha, for which ‘eka devaa stuti’ be occuring then that be as of Mother Devi Sarasvati; may She provide us ‘eka maatra samrakshana pradaana’ or of unique provision for guaranteed safety and auspiciousness.

May we all be directed to the yagjna shaala and seek to utter the pavitra mnantraas of immense potency such as Om ‘Hreem’ Guru Rupey Maam Grihna Grihna Aim Vada Vada Vaagvaadini Swaaha- Om Aim Namah Shaaradey Shreem Shuddhey Namah Sharadey Aim Vada Vada Vagvadini swaha- Om Aim Vada Vada Vaagvaadini Swaaha- Om Hreem Aim Am Am Im Eem Vum Voom Rum Rumta Yem Aim Om Aoum/ Kam Kham Gam Gham Cham Chham Jam Jham Im Tam Tham Dum Dham Nam Tam Tham/ Dum Dham Nam Pam Pham Bham Bham Mam Yam Rum Lam Vam Sham Sham Sum Ham Lam/ Ksham Aksha maaley Akshara Maalikaa Sdamaalamkritey Vada Vada Vaagvaadini Swaaha/

Then the stanza twelve on Pavakaa nah-/This Mantra drishtaa Rishi Madhucchhanda- chhanda Gayatri and Devata Devi Sarasvati. This mantra beeja-shakti and keelaka the threesome are ‘Shreeem’; Kaamanaasidhi mantra-viniyoga and the related ‘anga /kara nyaasas’ be followed up

The related mantra and its meaning are as follows: Om Hreem Shreem Kleem Aim Namasshuddha Phaladey Aim Vada Vada Vaagvadini Swaaha Shubha Shubhavati Shanta Shantida Shubadayani, Sheetala Shulini Sheeta Shrimati Shubjanvita/( Shubha or the Auspiciousness of Devi; Shubhavati or the Image of Propitiousness; Shanta or Tranquility; Shanti daa or the Endower of Peacefulness; Shubha dayani or the provider of Contentment; Sheetala or Coolness; Shulini or the Displayer of Trident as a gesture of Confidence to her devotees; Sheeta or the One with placidity devoid of anxieties; Shrimati or Lakshmi Swarupa or the Jewel of Womanhood; Shubhanvita or the Harbinger of favourableness and success ).

Stanza Thirteen explains:

May that content of rupa varnana- pada vaakyaadi varnana of the self be repleted with even the anumaatra of the oceanic plentitude the Vidya-Vigjnaana-Vakdevi the mother of the universe

Stanza Fourteen:

May that Universal Mother provide ample provision to the Saadhakaas for dhana dhaanyaas by their dharma karmaacharanaas as she indeed be the karya karana swarupa and yagjna kaarya paripurana janani by Her invocations at yagjna kaaryas

Stanza Fifteen explains:

Of this mantra viz. ‘Chodayitri’, Madhucchandas is the Rishi – Gayatri, the metre; Sarasvati, the divinity; Bloom the seed, power and lynch-pin; consecration is with the mantra

(RV 6.61) are given below. The hymn is associated with rishi (sage) Bharadwaja, who incidentally was the preceptor of king Divodasa referred to in this hymn. The hymn is dedicated to devi (goddess) Saraswati and the mantras are in three different chandas (poetical meters) – gayatri, jagati and thrishtup. The first seven mantras are addressed to a goddess who destroys enemies and bestows well-being. It is from the eighth mantra that it becomes clearly evident that the goddess being addressed is indeed a river.

[ Vishle. on Sarasvati Sukta vide Rig Veda 6.61)

1.. sarasvathi devanido ni barhaya prajaam vishvasya brsayasya maayinah

utha kshithibhyo avaniiravindo vishamebhyo asravo vaajiniivathi

O Saraswati, you who are rich in wealth/food, you who provides (riverine) land to men, and takes them away from difficulties, destroy the offspring of the god hater, the universal deceptor Brsaya.

2. pra no devii sarasvathii vaajebhirvaajiniivathii, dhiinaamavithryavathu

Goddess Saraswati, who is rich in wealth with food, protector of devotees, may she protect us well.

3. yasthvaa devi sarasvathyupabruuthe dhane hithe, indram na vrthrathuurye

O goddess Saraswati, whosoever invokes you gains wealth, like Indra in his victory against Vrthra/enemy.

4.thvam devi sarasvathyavaa vaajeshu vaajini, radaa puusheva nah sanim

You goddess Saraswati, who is abundant in food, protect us; bestow on us gifts like Pushan Deva (the god of nourishment).

5. utha syaa nah sarasvathii ghoraa hiranyavarthanih, vrthraghnii vashti sushtuthim

May the fierce Saraswati, the slayer of enemies, who traverses a golden path, grant us prosperity,

6.yasyaa anantho ahruthasthveshashcharishnurarn- avah, amashcharathi roruvath

Devi you are limitless, unrestrained, forceful meandering wave moves quickly with a loud roar. As a river

7. saa no vishvaa athi dvishah svasr-ranyaa rthaavarii, athannaheva suuryah

She who follows a regular routine along with her other sisters, leads us beyond all our adversaries, like the passing on of the sun. ( Seven sisters of river Saraswati: One of the interpretations is – river Sindhu and its five tributaries (Vitasta, Ashikni, Parushni, Vipasha and Shutudri) and Drshadvathi, which is a tributary of Saraswati.

8.utha nah priyaa priyaasu sapthasvasaa sujushtaa, sarasvathii sthomyaa bhuuth

She who is our dearest among the dear ones, who has seven sisters, is indeed propitiated. May Saraswati be praised.

9.aapaprushii paarthhivaanyuru rajo anthariksham, sarasvathii nidaspaathu

May Saraswati, who showers water to the expansive earth and the sky beyond, protect us from criticizers.

10. thrishadhasthaa sapthadhaathuh pancha jaathaa vardhayanthii | vaaje-vaaje havyaa bhuuth

She who has a triple seat/three-fold source, comprises seven elements, who increases the prosperity of the five tribes, may she be invoked in every endeavour/battle.

Three-fold source may be referring to three rivulets which join to form the river. Saptha dhatus are the seven metallic elements – gold, silver, copper, lead, tin, iron and bell metal. The “five tribes” are referred to several times in the Rig Veda, but are not clearly identified. One view is that the five tribes/peoples referred to are – Anu, Druhyu, Turvasha, Srnjaya and Krivi.

11.pra yaa mahimnaa mahinaasu chekithe dyumnebhiranyaa apasaamapasthamaa

rathha iva brhathii vibhvane krthopasthuthyaa chikithushaa sarasvathii

She who is distinguished by greatness among the great rivers, who is unique among the glorious, best among the running waters, who is made in great expanse like a chariot, this Saraswati is praised by the worshipers.

12.sarasvathyabhi no neshi vasyo maapa sphariih payasaa maa na aa dhak

jushasva nah sakhyaa veshyaa cha maa thvath kshethraanyaranaani ganma

O Saraswati! Lead us towards prosperity. Do not constrain us. Do not make us short of water. Be pleased by our friendship and subordination. Let us not go from your area to other lands.]

Stanzas 16 -35

Adhyaamamadhidevam cha devaanaam samyageeshvaree/Pratyagaaste vadanteeyaa saa maam paatu Sarasvatee/

Bloom chodayatree suunritaanaam chetantee saumateenaam/Yagjnam dadhe Sarasvatee

Maho arna iti mantrasya Madhuchhanda rishih/ Gayatree chhandah/ Saraswati Devataa/ Souriti beeja shaktih keelakam/Mantrena nyaasah/

Antaryaamaatmanaa vishwam trailokyam yaa niyacchhanti/Rudraadityaadi swarupasthaa yasyaamaaveshya taam punah/Dhyaayanti sarvaupaikaa saa maam paatu Saraswatee/
Sou maho arnah Saraswate prachetayati ketunaa/Dhiyo Vishvaa viraajati/

Chatvaari vaagiti mantrasya Uchathyaputra rishih/ Trishthup cchhandah/Saraswati devataa/ Yemiti beeja shaktih keelakam/ Mantrena nyaasah/

Yaa pratyagdrishtibhijrvaivartanya jeevairvajyamaanaanubhutaye/ Vyapinee jnyaptiruupaikaa saamaam paatu Saraswatee/

Yem chatcaari vvak parimitaa padaani taani vidurbraahmanya ye maneeshinah/Guhaa treena nihitaa nengayanti tureeyam vaacho manushyaa vadanti/

Yadvaagvadanteeti mantrasya Bhargava Rishihi/ Trishthub cchhandah/ Saraswatee devataa/ Kleemiti beeja shaktih keelakamMantrena nyaasah/

Naamajaatyaadibhirbhedairashtadhaa yaa vikaliptaa/Nirvikalpaatmanaa vyaktaa saa maam paatu Saraswatee//

Kleem yadvaagvadantyavichetanaani raashtree devaanaam nishasaada mandraa/Chatastra uurjam duduhe payaamsi kkaswidasyaah paramam jagaama/

Deveen vaachamiti mantrasya Bhargava Rishih/Trishthub chhandah/Saraswatee devataa/Souriti beeja shaktih keelakam/Mantrena nyaasah/
Vyaktaavyaktagirah sarve vedadya vyaharanti yaam/ Sarva kaamadudhaa dhenuh saamaam paatu Sarasvatee/

Souh Devaam vaachamajananyanta devaastaam vishva rupaah pashaavo vadanti / aa no mandreshamuurjam duganaa dhenurvaagsmaanupasrishtataitu/

Uta tva iti mantrasya Brihaspatir rishih/Trishthub chhandah/ Saraswatee devataa/Samiti beeja shaktih keelakam/ Mantrena nyaasah/

Yaam viditwakhilam bandham nirmadhyaakhila vartamaanaa/Yogee yaati param shthaanam saamaam paatu Sarasvatee/

Sam uta tvah pashyanna dadarsha vaachamuta tvah shrunavanna shrunotyenaam/ Uto tasmai tatvam

Visastre jaayeva patya ushatee suvaasah/

Ambitama iti mantrasya Grutsamada Rishih/ Anushthub cchandah/ Saraswatee devataa/ Yemiti beeja shaktih keelkakam/ Mantreana nyaasah/

Naama rupaatmakam sarvam yasyaamaaveshya taam punah/ Dhyaayanti Brahma rupaikaa saamaam paatu Saraswatee//

Yem Ambitame nadeetama devitame arasvati/ Aprashastaa iva smasi pasyantimamba naraskrudhi/

Stanzas 16.

Devi Saraswati as being the ‘samyak adheeshvari’ or the outstanding leader the Celestial Devis and the ‘preanaatmika shakti swarupini’and ‘purusha kartrutva bodha kaarini’; indeed the saadhakaas in their antahkarana she is of the ‘madhyama vaani.’

[Brief on Para-Pashyanti-Madhyama-Vaikhari voices vide Brahmanda Purana’

The Vedas form the sound-manifestation of Ishvara. That sound has four divisions: Para which finds manifestation only in Prana, Pasyanti which finds manifestation in the mind, Madhyama which finds manifestation in the Indriyas, and Vaikhari which finds manifestation in articulate expression.

Articulation is the last and grossest expression of divine sound-energy. The highest manifestation of sound-energy, the primal voice, the divine voice is Para. The Para voice becomes the root-ideas or germ-thoughts. It is the first manifestation of voice. In Para the sound remains in an undifferentiated form. Para, Pasyanti, Madhyama and Vaikhari are the various gradations of sound. Madhyama is the intermediate unexpressed state of sound. Its seat is the heart. The seat of Pasyanti is the navel or the Manipura Chakra. Yogins who have subtle inner vision can experience the Pasyanti state of a word which has colour and form, which is common for all languages and which has the vibrating homogeneity of sound. One’s experience as of the same bhavana of a thing in the Pasyanti state of voice or sound. Gesture is a sort of mute subtle language. It is one and the same for all persons. Any individual of any country will make the same gesture by holding one’s hand to his mouth in a particular manner, say when the is thirsty or hungry. As one and the same power or Shakti working through the ears becomes hearing, through the eyes becomes seeing and so forth, the same Pasyanti assumes different forms of sound when materialised. Bhagavan manifests Himself through his Mayaic power first as Para Vani in the Muladhara Chakra at the navel, then as Madhyama in the heart and then eventually as Vaikhari in the throat and mouth. This is the divine descent of His voice. ]

Stanza 17:

As that Devi Sarasvati be of sayta priyavachana prerita and uttama buddhhi sampannta kartavya bodhana to Her followers and yagjna saadhakaas..

Stanzas 18.

The ‘Maharvava mantra drashta’ be of Rishi Mricchhanda, it is of gayatri chhanda, Devata Sarasvati, The threesome of mantra-beeja-shakti and keelaka be stated as’ and its mantra nyaasa be explained as ‘Souh’ mantraas follows.vide Devi Saraswati Sahasra Nama:

Om Souh Kleem Aim Tato Vada Vada Vaagvaadini Swaahaa

(Kamakhya or the Goddess of Sensuousness and gratification; Kaamada or the giver of one’s requirements in full; Kartri or the Performer; Kratukarma phalaprada or the bestower of the fruits of accomplishing Yagnas; the exterminator of the ingratitude; Karya Karana Rupini or Devi the Swarupa of the Cause and Causation/Action; Kanjakshi or the Lotus Eyed; Kevalaamara Sevita or the One worshipped by Devas in entirety and exclusivity; Kalyana Karini or the Subscriber of Propitiousness; Kanta or the Epitome of Womanhood; Kantida or the Generator of Illumination; Kanti rupini or the Profile of Lustre; Kamala or the Lotus; Kamala vaasa or the Home of Lotuses; Kamalotpala or the Generator of Lotuses; Malini or the Garland of Elegance; Kumudvati or the White Water Lily stated to open at Moon Rise-an epithet of Vishnu; Kalyani or the Blessed Excellence; Kanta or the Ideal Femininity; Kamesha Vallabha or of the Dominant Power Form of Shiva; Kameshwari or the Auxiliary Form of Parvati; Kamalini or the Substitute Swarupa of Lotus; Kamada or the Originator of Kama or Desire; Kama bandhini or the Binding Power of Aspirations; Kamadhenu or the Celestial Milch Cow that fulfils wishes; Kanchanakshi or the Golden Visioned; Kancha nabha or Vishnu the Golden Navelled; *Kalanidhi or the Presider of ‘Shodasha Kalas’ or of Sixteen Art Forms;

[* Shodasha Chandra Kalas: Amrita, Manada, Tushti, Pushti, Rati, Dhruti, Shashini,Chandrika, Kanta, Jyotsna, Shri, Priti, Angada, Poorna and Poornaamrita; The Corresponding *Shodasha Nitya Devis are: Maha Tripura Sundari, Kameshwari, Bhaga maalini, Nityaklinna, Bherunda, Vahni vaasini, Maha Vajreshwari, Shiva dooti /Roudri, Twarita, Kala Sundari, Nitya, Vijaya, Sarva Mangala, Jwala Malini and Chidrupa] Kriya or the Action Form, Kirti kari or the Harvestor of Reputation; Kirti or the Celebrity; Kratu Shreshtha or the Luminary of Yagnas; Kriteswari or the Goddess of Deeds; The Authority of Organising the Systematic Acts of Kratus; The One who enjoys the Organisation of Kratus; Klesha naashakari or the blower of obstacles; Kartri or the Supreme Perforrmer; Karmada or the Decider of the Results of Actions; Karma bandhini or the Enforcer of Resultant Fruits of Actions; Karma bandha hari or She has the power of reversing the effects of Karma also; Krishta or the One who pulls / cultivates or motivates action; Klamaghni or the Liberator from Obstacles; Kanja lochana or the Visionary of clearness like that of Lotus Eyes; Kandarpa Janani or the Mother Figure of Manmadha or that of Devi Lakshmi; Kanta or the Exemplary Female Energy; Karuna or the byword of Compassion; Karunavati or the Rarity of Kindness; *Kleem Kaarini or of the Creator of Seed Energy from the Word Kleem *[Kleem generates Spiritual Power connecting the Supreme and Maha Maya or the transformer of Materialism into Spititualism as facilitated by a Guru to seek Spiritual Empowerment]; Kripaakara or the Profile of Mercy; Kripa Sindhu or the Ocean of Benevolence; Kripavati or the Goddess of Compassion; Karunardra or the One replete with Kindness; Kamalodbhava or Manifested from Lotus; Keertikara or the Provider of Fame and Recognition; Kalmashagni or the destroyer of imperfections and blotches; Kriya kari or the Facilitator of Action; Kriya Shakti or the Top Inspirer of Motivation; Kamalotpala gandhini or the Huge Stock of Fragrance from Lotuses; Kala or the Art Form [See Kala Nidhi above]; Kalavati or The Characterisation of Kalas as referred to above; Kurma or the Incarnation of Maha Vishnu who steadied the Huge Churner of Vasuki in the context of Amrita Mathana by Deva-Danavas; *Kutastha or the Dormant olr Latent Shakti which gets activised at the time of Universal Peril as assured by Lord Krishna stating : Pavitraanaya Sadhunaam Vinashayacha dushkrutaam, Dharma samsthaapanardhaaya sambhavami yugey yugey/; Kanja samsthita or the inhabitant of Lotuses; Kalika or of the Kalika Swarupa; Kanameya jataanvita or Devi the possesor of soft matted head hair; Kara Padma or the Displayer of Lotus Stalk in her hand; Karaabhishta pradaaya or the hand provider of wishes to her devotees; Kratu phala pradaya or the conferror of the positive results of observing Kratus; Koushiki or the Extension Shakti of Devi Parvati]

Stanza 19

As Devi Sarasvati be as of the antaryaami rupa while be the triloka niyantrita kaarini. As Ekaadasha Rudras viz. Mahan, Mahatma, Matimaan, Bhishana, Bhayankara, Ritudhwaja, Urthvakesha, Pingalaksha, Rucha, Shuchi and Kaalagni and Dwaashaadityaas viz. Indra, Dhata, Parjanya, Pusha, Twashta, Aryama, Bhaga, Vivishwan, Amshu, Vishnu, Varuna and Mitra, the singular Devi be able to safeguard the interests of the trilokaas.

Stanza 20

Devi Saraswati in the form of a massive river visualised down from the mountains of Badrinadh to Prayaga Sangama as of apaara jala raashi parichaya, is well known as devata swarupa and fulfill its karvavta-paraka pragjnaabuddhiu jaagrata kaarana.

Stanza 21

.Of this mantra viz. ‘Chatvari Vak’, the Rishi is Uchathyaputra Deerghatama; Chhandas is ‘Tristhubh’ the metre; Devi Sarasvati is the Devata; AIM, as the beeja- shakti .

[The Devi Sarasvati Sahasra Nama defines AIM as follows:

Om Aim Namah Sharadey Shreem Shuddhey Namah Sharadey Aim Vada Vada Vagvadini swaha/

Sharadaa Shaswati Shaivi Shankari Shankaraatmika, Shri Sharvaani Shataghni cha Sharaschandra nibhaanana/ Sharmishtha Shamanaghnicha Shata Saahasrarupini, Shiva Shambhupriya Shraddhaa Shruti rupaa Shrutipriya/ Shuchishm,ati Sharmakari Shuddhidaa Shuddhi rupini, Shiva Sivankara Suddha Shivaaraadhyaa Shivatmika/ Shrimati Shrimayi Shraavyaa Shruti Sharavana gochara, Shantisshaanti kari Shanti Shantichaara Priyankari/ Sheela labhyaa Sheelavati Shrimaataa Shubha kaarini, Shubha Vaani Shuddha Vidyaa Shuddha Chitta prapujita/ Shrikari Shuta paapaghni Shubhaakshi Shuchi vallabhaa, Shivetaraghni Shabari Shravaneeya Gunaanvitaa/ Shara Shirisha pushpaabhaa Shama -nishthaa Shamaatmika, Shamaanvitaa Shamaaraadhyaa Shiti kantha prapujitaa/ Shuddhihi Shuddhi kari Shreshthaa Shrutaanantaa Shubhaavaha, Saraswati cha Sarvagjnaa Sarva Siddhi Pradaayani/

(Sharada the bashful and modest as stated literally or the Full Moon Kartika Month; but in this context the Deity Saraswati as the Epitome of Vidya and Wisdom; Shaswati or the Ageless and Permanent; Shaivi or the beloved of Shiva in the Form of Devi Parvati; Shankari or the Spouse of Shankara again in the Appearance of Parvati; Shankaratmika or once again in the Form of Devi Gauri; Shri or in the Form of Devi Lakshmi; Sharvani or as Durga the Consort of Shiva; Shataghni or the hundred edged thunderbolt of Indra with the prowess of destroying hundreds of demons in one shot; Sharaschandra nibhaanana or of the visage of Autumnal Moon akin to a white Lotus ; Sharmishtha the epitome of Loyalty and Modesty; Shamanaghni or the Subduer of Situations of undue placidity where ever needed; Shata sahasra rupinyai or She assumes hundred thousand forms simultanenously; Shiva the incarnation of Auspiciousness; Shambhupriaya or the One extremely fond of Shambhu Deva; Shraddha the emblem of Patience and Sacrifice; Shruti Rupa or the personification of Shrutis / Vedas; Shruti priya or She who is eager to hear or assimilate the content of Veda Swaras; Shutismati or She who has the mental frame of clean thoughts and feelings; Sharmakari or She who is the provider of happiness to Brahmanas encouraging them to affix their names with the word Sharma; Shuddhida or the Provider of ‘Bahyaantara Shuchi’ or the external and internal purity; Shuddhi Rupini or the Crest of Cleanliness; Shiva or Devi Saraswati in the alternate Form as Bhagavan Shiva; Shuddha or the hall- mark of Purity and Clarity; Shivaaraadhyaa the One who worships Bhagavan Shiva; Shivatmika or the Soul of Shiva Himself; Shrimati or the Lakshmi Swarupa being the alternate Form of Opulence and Fulfillment; Shrimayi or the one who is surfeit with Material Possessions ; Shraavya the Provider of the the faculty of Pleasant Hearing and Talking; Shruti or the Incarnation of Vedas; Shravana Gochara or the Goddess of Excellent Audibility and Vision; Shanti or the image of Peace and Tranquility; Shantikari the Bestower of Serenity and Repose; Shantichaara Priyankari or Devi Saraswati who is delighted with Peaceful Conduct and Softness; Sheelalabhya or the one who is attainable with character and good behaviour; Sheelavati ot the Emblem of excellent demeanour and disposition; Shri Maata the Mother Goddess of Prosperity and Happiness; Shubhakaarini or the Source and Benefactor of auspiciousness; Shubha Vaani or the One with Outstanding Voice of Pleasantness and extrarordinary charm; Shuddha Vidya or the Origin of Clean Learning and of Pure Knowledge; Suddha Chitta Prapujita or the One who is worshipped by transparent mind and heart; Shrikari or the Provider of Wealth as an alternate form of Maha Lakshmi; Shruta paapaghni or the eliminator of sins and blemishes perpetrated by humanity against the canons prescribed by Vedas; Shubhakshi or the One with benign looks and eyes; Shuchivallabha or the Alternate Form of Brahma the embodiment of Pureness; Shivetaraghni or the destroyer of the Evil Forces except Bhagavan Shiva or His Alternate Swarupas of Brahma, Vishnu, Devis and so on; Shabari or the illustrative devotee of Shri Rama who was the resident of ‘Dandakaranya’ awaiting the latter’s arrival for decades with unending faith and determination; Shravaniya or the exemplary Devi who is most worthy of being listened to and be worshipped; Gunaanvitha or the Deity who is the Manifestation of Outstanding Characteristics and Features; Shara or Arrow representing speed and power; Shirisha Pushpaabha or the One with a Charming Face adorned with of Sirisha Flowers; Shama nishtha or Devi dedicated to Self-Control and Discipline; Shamatmika or the Emblem of Restraint and Composure; Sitikantha prapujita or worshipped of Bhagavan Shiva whose epithet is black neck deposited with poisonous flames; Shuddhi or the characterisation of Spotlessness; Shiddhikari or the Benefactor of Transparency; Shreshtha or the Noblest and the Unsurpassed; Shrutaananta or the Infinity of Vedas; Shubhavaha the Motif of Happiness and Fortune; Sarasvati the Maha Devi Saraswati the Supreme Priestess of Erudition and Intellect; Sarvajna or the Omni-scient and Sarva Siddhi pradaayani or the Provider of all kinds of faculties and powers.

Om Aim Vada Vada Vaagvaadini Swaaha

Sarasvati cha Savitri Sandhya Sarvepsita pradaa, Sarvartaghni Sarvamayi Sarva Vidya pradaayani/ Sarveshwari Sarva Punya Sarga Sthityanta kaarini, Sarvaraadhya Sarva Mata Sarvadeva nishevita/ Sarvaishwaryaprada Nitya Sati Satwagunashraya,Sarvakramapadakaaraa Sarvadosha nishudini/ Sahstaakshi Sahasraasya Sahasrapada samyuta, Sdahastahasta Saahasragunalaankrita vigraha/ Sahasrarupa sadrupa Swadhaa Swaaha Sudhaamayi, Shadgrandhibhedini Seva Sarvalokaika pujita/ Stutya Stutimayi Saadhya Savitrupriyakarini, Samshayacchedini Sankhyavedya Sankhyaa Sadishwari/ Siddhidaa Siddhasampujyaa Sarvasiddhipradayani, Sarvajna Sarva Shaktischa Sarvasampad- pradayani/ Sarvaashubhaghni Sukhada Sukhasamvitswarupini, Sarvasambhashini Sarvajagatsammohini tathaa/ Sarvapriyankari Shubhada Sarvamangala, Sarvamantramayi Sarva Tirtha Punyaphala pradaa/ Sarvapunyamayi Sarvavyadhighni Sarvakaamada, Sarva Vighnahari Sarva vandita Sarva Mangala/ Sarva Mantrakari Sarva Lakshmi Sarvagunaanvita, Sarvaanandamayi Sarva Jnaanada Satya naayika/ Sarva Jnaanamayi Sarva Raajyaada Sarva Muktida, Suprabha Sarvadaa Sarvaa Sdarvaloka Vashamkari/ Subhaga Sundari Siddha Siddhamba Siddhamatrika, Siddhamata Siddha Vidya Siddheshi Siddharupini/ Suripini Sukhamayi Sevakapriyakaarini, Swamini Sarvada Sevya Sthula Sukshmaa paraambika/ Saararupa Sarorupa Satyabhuta Samashraya, Sitaa Sita Sarojaakshi Sarojaasana Vallabha/ Saroruhaabhaa Sarvaangi Surendraadi prapujita, Maha Devi Maheshaani Mahaa Saaraswata pradaa/

(Salutations to you Devi Saraswati; Savitri-the daughter of the Solar Deity called Savitur and the wife of Brahma whose prayer from Rigveda viz. Gayatri Mantra is practised daily thrice by all Dwijas or the Twice Born Brahmans after Upanayana ; Devi Sandhya or Goddess governing the Ritual of worship three times a day as the Pratah-Madhyahinka-Saayam Kaalas or of Early Morning-Mid Day-Evening; Sarvepsitaprada or the Fulfller of desires of the Virtuous and the Truthful; Sarvaaghni or the Saviour of retributions to the faithful; Sarvamayi the Omni Present and All Pervasive; Sarva Vidyaa Pradaayani or the Benefactor of all types of Knowledge and Mental faculties to the well deserved; Sarveswari or the Highest Authority to all Beings; Sarva Punya or the Personification of Abstract Punya or the Fruits or the Return Advantages of Quality Deeds; Sarga Sthityanta Kaarini or the Creator-Preserver-and Destroyer of the Universe; Sarvaaraadhya or the Singular Entity who is Worshipped and Worship-worthy; Sarva Maata or the Mother of One and All; Sarva Deva Nishevita or the One possessive of and accompanied / backed up by all Devas; Sarvaishwaryaprada or the bestower of all kinds of affluence; Nitya or the Everlasting; Sati or the alternative manifestation of Sati Devi the Consort of Maha Deva; Satva Gunaashraya or the byword of Satva Guna; Sarvakrama padaakaara or the One with perfect lined steps or the epitome of Logically Systemised Learning; Sarva dosha nishudini or the obliterator of all types of imperfections and flaws; Sahastakshi or the Visioner of countless events and happenings; Saharaasya or of Thousnads of Asanaas or Seats; Sahasrapada samyuta or the One with myriad feet and mobility; Sahasra hasta or has numerous hands and of endless reach ; Saahasra Gunaalankrita Samyuta or the Unique Devi with innumerable variations of features simultaneously; Sahasra Seersha or of plentiful heads and of abundant Thinking Capacity; Sadrupa or of the Stunningly Distinct Form of Virtue; Swadha the Specified Deity approachable to Pitru Devatas; Swaha the designated Deity amenable to Devas through the medium of Yagnas, Homas and Agni Karyas; Sudhamayi the depository of Amrita or of Life-Providing elixir; *Shadgrandhi bhedini or the interrupter knots or breakages of physical energies;*[Rudra Grandhi is between Agjnaa Chakra / wheel or at the Third Eye Point and Sahasrara Chakra or Super Consciousness; Vishnu Granthi is between Manipura, Anahata and Vishuddhi Chakras signifying high sensitivity points at the top of human head representing human attachments and emotions; and Brahma Granthi at Sushumna Nadi lying in Mooladhara Chakra the balancer and energiser; Devi Saraswati is the Utmost Guru of Yoga Practice to align human energies with the Parama Shakti];

Sevya or the Highest Deity who is venerable; Sarva Lokaika Pujita or the Para Shakti esteemed by one and all including Devas and Danavaas too; Stutya or the One prayed to by all; Stutimayi or the One eulogised sincerely; Saadhya or the One who is achievable spiritually; Savitru or the the Fulfiller and the daughter of Surya; Priyakrarini or the Cause of Happiness; Samshayacchedni or the smasher of doubts ; Sankhya Vedya or the Epithet of Shankhya Shastra which strongly believes in the Concept of Dualism of Purusha the Unknown and Prakriti the Perceivable Matter; Sankhya or the Origin of Numerical / Ganita Shastra; Sadeeshwari or the Exemplary Deity of Virtue and Dharma; Sidhida or the Povider of Accomplishment; Siddha sampujya or the One adored by those who are the Expert Achievers; Sarva Siddhi pradayani or She who enables to secure success; Sarvagjna or the All-Knowing; Sarva Shakti or the Symbol of Highest Power and Energy; Sarva Samprad pradayani or the Contributor of all types of Prosperity; Sarvaashubhaghni or the Total Eliminator of Inauspiciousness; Shukhada or the Giver of Joy; Sukha samvitswarupini or the Personification of Contentment; Sarva Sambhashni or The Goddess of Convincing Skills of Oratory; Sarva Jagatsammohini or the Devi who mesmerises all Lokas by her example and charm; Sarva Priyaankari or the One who pleases all by her mere looks and conclusive talents; Sarva Shubhada or the Donor of enjoyment to everybody; Sarva Mangala the sponsor of Delight; Sarva Mantramayi the Substance of Mantras; Sarva Tirtha punya phalaprada the Granter of Punya or the Fruits of Visits to Sacred Tirthas; Sarva Punyamayi or the Guarantee of Punya earned through right thought and action; Sarva Rajyada or the Awarder of Kingdoms; Sarva Vyadhighni or the Curer of Physical and Mental ailments; Sarva Kaamada or the Fulfiller of Wishes; Sarva Vighnahari or the reverser of obstacles and difficulties; Sarva Vandita the One who is spontaneously saluted and esteemed; Sarva Mangala or the Source of Excellent Propitiousness; Sarva Mantrakari or the Origin of Mantras with which to appease and please Gods; Sarva Lakshmi or the Emblem of Fortune and Contentment; Sarva Gunanvita or the Ideal Reserve of Features; Sarvananda mayi or the Unending Spring of Joy; Sarva Jnaanada or the bestower of varied branches of Knowledge and Learning; Satya naayika or the Protagonist of Truth and Virtue; Sarva Jnanamayi the Super Star of diverse disciplines of Learning; Sarva Rajyada or the Conferor of Authorities and Kingships; Sarva Muktida the Unique Liberator from the shackles of Samsara or the Cycle of Births and Deaths; Suprabha or the Radiance Personified; Sundari or the Most Charming Female of Beauty and Grace; Sarvada or the One capable of providing disregard of considerations; Sarva or the Totality in absoluteness; Sarva Loka Vashamkari or the Enthraller of all Lokas; Subhaga or the Mine of Propitiousness; Siddha the One Endowed with Ashta Siddhis or Supernatural Faculties; Siddhaamba or the Devi representing the powers of Siddhas; Siddha Matrikaa or the Universal Mothers or Shaktis;Siddha Maata; Siddha Vidya or the Knowledge of Siddha or of the Supernatural powers personified; Siddheshi or the Goddess of Siddhas; Siddha Rupini; Surupini or of the Swarupa of Virtue and Goodness; Sukhamayi or the Symbol of Ecstasy; Sevaka Priya kaarini or the One who takes full care of her devotees; Swamini or the Master in all respects to her Subjects; Sarvadaa Sevya or the One demanding loyalty in all respects; Shtula Sukshma Paraambika the Universal Mother of Huge and Tiny Forms as required by situations; Saara Rupa or of the Quintessetial Form; Sarorupa or of the Appearance of a Lotus Pond; Satya bhuta or the Embodiment of Truthfulness; Samaashraya or the Shelter of all Beings in Creation; Sitaasita or the bright and dark phases of Chandra; Sarojaakshi or the Lotus Eyed; Sarojaasana Vallabha or the Alternate Form of Brahma who is seated on a Lotus; Saroruhaabha or of the Most Gorgeous Countenance; Sarvaangi or of the Stunning Physique of Attraction and Allurement; Surendraadi prapujita or the One revered and worshipped by Indra and crores of Devatas; Maha Devi; Maheshaani or The Alternative Shakti in the Form of Ishwara’s spouse; Maha Saarasvata Pradaa or the Great Instructor of various faculties that she is celebrated for like Speech, Memory, Writing, Voice, Knowledge, Philosophy, Intellect, Wisdom, Art of Communication and Conviction, Veda Shastras and Siddhis] .

Stanza 22-23

What ever be visualised by praanis in the universe by countless forms, Devi Sarasvati be able to fore- sight unilaterally be Mother Goddess Sarasvati. As sampurna vaani be of the Para-Pashyanti-Madhyama and Vaikhari rupaas. These are well understood my samasta vidyaas, yet vaikhaikhari by the throat and mouth are sought to be utilised invariably.

Stanza 24

‘ Yadvaagdanti’ -mantras originator was Maharshi Bhargava, Chhanda be of Trishthub and Devata the Devi Sarasvati.The threesome of Beeja-Shakti and Keelaka are ‘kleem’ .

Stanza 25

As Devi Sarasvati owing to naama-jaati bhedaas is of ashta or of 8 swarupaas and bestow Her blessings to all of Her bhaktas. These names are noted as follows : Mahasaraswati is Brahmi, Vaishnavi, Maheshwari, Kaumari, Varahi, Narsimhi, Aindri, besides Chamunda, revered as powerful goddess in eastern India. Being conceived in eightfold form,Of names, general and the like,
She as the integral is manifest -May She, Sarasvati, protect me!

Stanza 26

Just as being ‘divya bhavana praadurbhaava kaarini, ananda janita vaakshuddhi pradaayini’, do kindly be beholden to agjnaanis like us.Vaak shuddhi be provided to agjnaanis then Devi Sarasvati be readily provided the required food and water too in the vaak yagjna.

[Expl. Vide Isha Upanishasd IX -X-XI on Avidya and Vidya or Ignorance and Knowledge due to karma and th prapti

IX.) Athah tamah pravishanti yevidyaamupaasate, Tato bhuya eva te tamo ya u vidyaayaam ratah/ Indeed one when enters the screen of darkness or ‘Avidya’ and perform rites without the purport or objective of what are the rites intended for, then that act is of no value, especially without faith. That kind of Avidya begets further Avidya and might even be retrograde! In other words, Vidya and Karma are to worshipped being hand in hand; that kind of darkness is characterised as blindness while those in knowledge are normally prone to karma accompanied by worship and meditation; complimentarity is certain in respect of Vidya and Karma!

X) Anyad evaahur Vidyayaa anyad aahur avidyaayaa iti shushruma dheeraanaam ye nastadvichakshire/ (It is normally emphasised that Vidya and Avidya lead to different paths all together in human life, even as faith without works is dead and those learned Pundits define the Paths clearly: Brihadaranyaka Upanishad (I.v.16) explains: ‘Atha trayo vaava Lokaah: Manushya loka pitru loka devaloka iti; soyam manushya lokah putrenaiva jayyah; naanyena karmanaa, karmanaa pitrulokah, vidyaa deva lokah, devaloko vai lokaanaam shreshthah, tasmaad vidyaam prashamshati’; in other words: there are three worlds that are attainable by Scriptures and these are the world of human beings, the Pitru loka and the Deva loka. The Manushya loka is attainable by one’s own son alone and not so much by rites alone as by the Agnihotra by meditation; the Pitru Loka is attainable by rites only but Deva Loka is attainable by intense meditation. Indeed Deva Lokas accomplishable by meditation alone is the best that one could aspire for! While stating so, Pundits avow that knowledge by description and knowledge by experience and works are clearly distinguishable!) Ishopanishad further explains :Knowledge and Ignorance both cross life and death but since theformer might lead to Eternity the latter brings one back to Existence for sure!

Brihadaranyaka Upanishad (IV.iv.10) makes this point amply clear: Andhah tamah pravishanti ye vidyaam upaasate, tato bhuya te tamo ya u vidyaayaam rataah’ or those who practise Avidya or ignorance enter into the dark portals of rites, rituals and sacrifices, or those who blindly get involved in ‘karma kaanda’ or performing rituals without basic understanding and enlightenment of the Supreme tend to distance from the Reality and near the zone of Falsity)

XI) Vidyaam chaavidyaam cha yastad Vedobhayam saha, Avidyayaa mrityum teertvaa vidyayaamritam ashnute/ (Normally a person is differentiated by his nature and nurture. These tendencies tend to influence the proclivities of Vidya and Avidya or Ignorance and Knowledge. Even as both have to cross the gates of death, one prepares for crossing it with not much of concern to other worldliness but of material ends while others due to Vidya or Awareness of higher worlds seek to resort to work and wisdom. Now these tendencies are the follow-up of the previous lives called ‘Prarabdha’ or the carry forward. That indeed was the nature of a person who has just transmigrated with the load of his ‘paapa punyas’ or merits and demerits at the termination of the previous life. Bhagavad Gita in Shraddhaa Traya Vibhaga Yoga, chapter 17-2 ,Lord Krishna explains to Arjuna: ‘Trividhaa bhavati shraddhaa dehinaam saa svabhaavajaa, Saatvki Raahasi chaiva taamasi cheti taam shrunu!’ or there are three types of features that human beings are moulded in the three classes of Satvika- Raajasika-Taamasika tendencies; those with ‘satvika guna’ worship Devas; those with ‘Raajasas’ features tend to worship Yaksha Raakshasas and ‘Taamasikas’ pray to ‘Bhuta pretas’. Referring to Rites or other kinds of sacrifices, the Satvika Guna persons perform the deeds as duties and without returns of fruits, while those with Raajasiha mentality perfor the Sacrifices either seeking returns of for satisfying their own egos; the third category of ‘Taamasikas’ perform worship, if at all, without faith and as a formality. Having detailed the three categories of Satva-Rajasa-Tamasa gunas, Lord Krishna affirms vide chapter17-28: ‘Ashradhayaa hutam dattam tapastaptam kritamcha yat, Asadityachyutchyate Paarthah! na cha tatpretyano iha/’ or ‘Paartha! Homa karyas without mental application and faith, charity for bravado and so called meditation to please others with motives are all called ‘Asatkarmas’ or works and deeds are negative acts with neither faith nor application! Having thus described in Gita, one should also realise that various deeds of virtue by themselves would not by themselves provide ‘mukti’ from the cycle of births and deaths but would be a step forward to cleanse the mind and hearts. On the other hand, it might be interesting to note that Avidya needs to be recognised its due role since in its absence, how could Vidya flourish and be an instrument for Realisation just as when one always lives in darkness would there be a comparison possible for enlightenment! After all in the absence of Aditya what would be the reason and incentive for an individual’s freedom from the bondage of mind, panchendriyas and the thick screen of ‘Maya’!)]

Stanza 27

‘Devi vaachaam’ mantra of this Upanishad was set up by Drashtaa Rishi Bhargava; its chhandas is Trishthub and Devata is Sarasvati; beeja- shakti- keelaka as of the three are ‘souh’; its mantra nyaasa is kriya sampanna .

Stanza 28

As this vak swarupa maata Sarasvati as of vyaktaavyakta vaani from Devatas down to aneka jeeva samudaayaas be blessed to express their inner feelings adequately. May this be on the analogy of kaama dhenu providing the complete contentment to all the Beings of their providing their sarva vaanchita padaardhaas and samrakshana thereof. Devi, our sincere prostrations to fulfil and safeguard all our wishes in plentitude always and forver.

Stanzas 29

As you devi! your kanti maya vaikhari vaani as of praana swarupa devagana prakatita and kama dhenu samaana aananda pradaayaka. There be side anna- bala pradaana kara vak rupini as saadhaaas aim to practise. [ As already explained Vedas describe the four stages of sound, of which vaikhari is the last, as follows: ‘Paraa’ the subtle sound from the origin at the root chakra- Pashyant the sound through and from the navel/ solar plexus chakra- Mahyama is the form of sound as it is associated with the heart chakra- Vaikhari, the sound as it is expressed as speech or noise from the throat, tongue, lips and teeth. It is said that a yogi’s ability to experience each level of sound is dependent on the refinement of his/her awareness and consciousness. Each stage is associated with a different level of existence, with vaikhari being the outermost, or gross, experience. Vaikhari is the physical consciousness and is coupled with the physical body, or sthula deha.While vaikhari is traditionally associated with the throat chakra, it is also linked with jaagtrat or wakeful consciousness. It, therefore, has additional connections with kriya shakti or the power of action.

Stanza 30

‘Uta tvah’ —- mantra was of Rishi Brihaspati- Chhanda is of Trishthup, and Devata is Sarasvati.’Sam’ is the Beeja, Shakti and Keelaka as the threesome, while the mantra dwaara nyaasa be of sampannata.

Stanzas 31

This Devi Sarasvati’s Brahma Vidya rupa sarva vishaya having realised, the Yogee jana be seeking all out endeavors to resort to samasta samsaara bandhana vimukti and tad dwaara seek to accomplish parama pada avinaasha praapti and thus Devi Sarasvati’s role is well defined as vidya provides the seed and moksha the luscious fruit. Hence, may we be protected by by the Vidya Devi.

Stanza 32

Some persons even by realising that they are equipped with vaak shuddhhi but their vision be poor or even nil, some might be hard of hearing likewise. Thus there could be several instances of ability or otherwise likewise of balancing speech- abilty to grasp- finesse in expression-capacity to convey and so on. But indeed the adjustment pattern specially with a life partner be too obvious indeed.

[ Devi Bhagvata Purana on how Devi Saraswati turned an illiterate brahmin to turn to a Learned Sage]

Narada reacted instantly to the Principles of ‘Gunas’ saying that normally one felt that Lords Vishnu, Brahma and Siva represented Satvic, Rajasic and Tamasic Gunas respectively but the description was not fully represented in their cases. Brahma replied that the predominance of their Gunas was described but there was no water-tight segregation possible in their cases too as in the case of human beings. He gave the illustration of a lamp, but the wick, the oil and the flame together provided light. The three materials denoted the Rajas, Satvik and Tamas Gunas, just as each or any living being could –and normally did- synthesise the Gunas. In this connection Brahma gave the example to Narada of an illiterate Brahmana, Satyavrata who turned out to be a Learned Sage, by the Grace of Maha Devi Sarasvati.

Devi Saraswati blesses Satyavrata an illiterate Brahmin turn to a Learned Sage : The description about Maha Devi’s appearance to Trinity and the explanation provided to them by Her about Herself was given to Narada by Lord Brahma. This was handed over to Veda Vyasa by Narada and down the line to Suta Muni and in turn to the King Janmejaya as to how Devi Sarasvati interpreted the foolish Brahmana boy’s ignorant chatter noise as Her Bija ( Seed) Mantra and blessed him. In Kosala Desa of Lord Rama, there lived a Virtuous Brahmana named Deva Dutta desirous of begetting a Son performed ‘Puttreshti’ Yagna with great devotion. Suhotra acted as the Brahma of the Sacrifice, Sage Yagnavalkya as ‘Athurvu’, Brihaspati as ‘Hota’, Paila as ‘Prastotha’, Govila as ‘Udghata’ and many learned Brahmanas as the Key Assistants.There was a Superintendent Brahmana too for the Soma Sacrifice who was to measure the Principal Area for the Yagna, collect the Sacred Vessels, fetch the Sacrifice Animal and manage the Function all through. Rig Veda and Yajur Vedas were rendered and Govila as Udghata being an expert of Sama Veda initiated its recital. But, Deva Dutta became restless since Govila was taking deep breath in the Sama Veda rendering in accented voice,viz. ‘Uddhata’, ‘Anuddhata’ and ‘Svarita’ and finally ‘Ratantara Sama’ in seven tunes. Govila’s rendering was objected by Deva Dutta; he shouted on Govila and said : “you are rendering the Veda in bits and pieces as an ignorant and dumb person!” This insinuation in the open house angered Govila and he cursed as follows: “ Your son will be ignorant and dumb too”! Deva Dutta regretted his remarks and begged of Govila’s pardon. Govila in turn excused Deva Dutta and lightened the curse to say: “ Although your son will be initially stupid and dumb, later in life will be a Learned Sage by the grace of Maha Devi Sarasvati.” As Deva Dutta was blessed with a son in due course, he was named Utathya. But, he had indeed turned out to be a stupid and dumb boy attracting his parents’ frustration and disgust for him. One day, the boy disappeared as he was harassed too much and went into a dense forest without aim.He was surviving with fruits and sitting under a tree took a resolve that he would never tell a lie, come what might. In course of time, he built a hermitage with the help of villagers nearby and gradually came to be known as Muni Satyavrata as a person who always spoke truth. One day, a hunter passed by and asked the so-called Muni whether a boar passed by; actually the boar which was wounded by the hunter’s arrows had indeed taken refuge in his own hermitage and while entering the abode it gave a very pitiable look as though it entreated him not to inform the hunter that the animal was hiding in his own hermitage. Satyavrata being a truth stating person was in a dilemma. Somehow, he did not tell the truth as he felt that the hunter had his selfish reason to catch and kill the boar whereas the boar deserved mercy since it was hurt and gave a frightened and mercy seeking look. So he replied the hunter saying ‘aim, aim and aim’, without meaning any thing.The hunter knew that the Muni had the name for telling the truth only and left away. Meanwhile, the boar left the place into the forest thus rescued. Eversince then he kept repeating the word ‘aim’, aim,’aim’ for everything. Indeed the word was the first letter of the Seed Mantra of Devi Maha Sarasvathi viz. Om Aim Dheem Kleem! Maha Devi Sarasvathi was pleased with the continuous repetition of only one word of the ‘Moola Mantra’ untiringly and gradually he pronounced the word OM also by the grace of Maha Devi Herself! Eventually Satyavrata became a renowned Sage as per the blessing of the Sage Govila and a proud son of Deva Dutta and his virtuous wife. Apparently, there were many factors working in favour of Satyavrata to transform himself from an illiterate to a Sage: the immediate blessing was by Sarsawati Herself as he was persistent in his dedication to speak the truth always and reciting even one word of the Seed Mantra out of sheer ignorance though, the blessing of Sage Govil who diluted the curse into a favour, the forest life and sense of renunciation, the act of mercy shown to the hurt boar vis-à-vis the selfish hunter who might have hurt Satyavrata too but for his weighing the pros and cons in his cool judgment and finally, his own ‘Karma’ as ‘Prarabhda’ or ‘Sanchita’ actions of the past as carry forward were all the beneficient causes.]

Stanzas 33-34-35

Ambitame—mantra was of Ghritsamada Rishi, Chhanda of Anushthub and Devata as of Devi Sarasvati. ‘ AIM’ is the beeja-shakti and keelakam as of threesome. For the mantra the nyaasa sampannata be executed.

This mother Saraswati be always on the memory screen reflection in the psyche of Brahmajnaanis even as the’ naama rupaatmaka satata chintana kaarana’ about Her. May those Brahmajnaanis be blessed and ever protected by the Mother.

Sarasvati Maata! You are the samasta maatru shaktis and among the ‘pavitra nadees’ be of the foremost.

[ Brahma Purana explains Brahma outlined some of the other significant Tirthas in the Karma Bhumi of Bharata.Within Himalayas and Vindhyas there were twelve Deva Sambhava Nadis/ Rivers materialised by Devas of utmost importance which were closely associated with Brahma-Vishnu-Maheswaras-six of them from Himalayas to Vindhyas viz. Bhagirathi, Narmada, Yamuna, Sarasvati, Vishoka and Vitasta and six more from Vindhyaparvata to Dakshina Samudra viz. Godavari, Bhimarathi, Tungabhadra, Krishnaveni, Tapi and Payoshni. Of these Asura-Sambandha Nadis viz. Gayasura, Kollasura, Vrittha, Tripura, Andhaka, Hayamurtha, Lavanasura, Namuchi, Shrinka, Yama, Patalaketu, Maya, and Pushkarasura.Then there were Rishi-Sambhava Nadis viz. Prabhasa, Bhargava, Agasti, Nara Narayana, Vasishta, Bharadwaja, Goutama and Kashyapa. These Tirthas apart, there also were Illustrious Manushya Sambhava Nadis in the memory of Ambarisha, Harischandra, Maandhata, Kuru, Kankhala, Bhadraashwa, Sagara, Ashwayupa, Nachiketa, Vrishaakapi, and Arindama. Countless other Rivers, Sarovaras and Tirthas dotted the length and breadth of Bharata Varsha but Brahma Deva mentioned the more popular ones. ]

Stanzas 36-37-38-39-40-41-42

Chaturmukha mukhaambhojavanahamsavadhuurmabha/Maanase ramataam nityam sarvashuklaa Sarasvatee/

Namaste Shaarade Devi kaashmira puravaasini/ Twaamaham praarthaye nityam vidyaadaanam cha dehime/

Akshasutraagkshaadhaaraa paashapustatkadhaarinee/ Muktaahaarasamaayuktaa vaachi tishthatu me sadaa/

Kambhukanthee sutaamoshthee sarvaabharana bhudhitaa/ Maha Sarasvati devi jihvaagne samnivashyataam/

Yaashradhha dharanaa medhaa Vaagdevee vidhi vallabhaa/Bhaktaajihvaagrasadanaa shamaadhigunadaayanee/

Namaamiyaamineenaadhalekaangrutakuntalaam/Nbhavaaneem bhava santaapanirvaana -sudhaanadeem/

Yah kavitvam niraatangkam bhukti muktee cha vaanchati/Soubhyarchanaam dsha shlokyaa nityam stutoti arasvateem/\

This mother Saraswati be as of Brahma Deva’s ‘kamala vana vicharana maanasa rupini’ . Namaste Sharada Devi Kashmeera puravaasinee, twameham praarthaye nityam vidyaa daanam cha dehime/ .
Salutations to Devi Sharada, who resides in the abode of Kashmira, to You, Devi, I always pray for jnaana vigjnaana which illuminates everything from within. Mother Sarasvati! Your ‘chatur hastaas’ are decorated with ‘aksha sutra-ankusha-paasha and pustaka’ or the string of beads, the goad, the noose, the book, or wearing the necklace of pearls; do reside you ever in my speech and tongue-tip.
Devi! You are a ‘kambukanthi’,’taamra samaana oshtha yukta’, ‘samasta aabhranana alankrita’, do kindly be well settled on my tongue tip. May that mother Sarasvati Devi bestow to me shraddhha-dhaarana, medha rupa; do provide my co-bhakti jaanaas the virtues of shat sampatti viz. Shama, or the ability to be calm and keep a peace of mind- Dama, or the ability to control the senses and, therefore, reactions to external stimuli-Uparati, or renouncing anything that doesn’t fit your dharma (duty)-Titiksha, or persevering through suffering -Shraddha, or trusting and having faith in the path of Jnana yogaand Samadhana, or total concentration and focus of the mind. May you be of that kind of chandra kalaankrita kesha-paasha yukta amrita tulya jala rupi nadee samaana bhavaani maata, my protrations. That Purusha as be desirous of kavitva-bhoga-nirbhayataa and mukti aakaamsha be rendering the afore stated dasha shloki as above.

[Alternatively the following eleven Sarasvati Ekaadash Mantras

Saraswati Ekakshar Mantra -Aim-
Saraswati Dvyakshar Mantra-Aim Lrim-
Saraswati Trayksara Mantra – Aim Rum Svom
Saraswati Dashakshar Mantra -Vad Vad Vagvadini Svaha
Saraswati Mantra -Om Aim Namah –
Saraswati Mantra – om Aim Kleem Sauh –
Mahasaraswati Mantra-Om Aim Mahasarasvatyai Namah
Saraswati Mantra- om Aim Hreem Shreem Vagdevyai sarasvatyai Namah॥-
Saraswati Mantra -Om Arham Mukha Kamala Vasini Papatma Kshayamkari
Vad Vad Vagvadini Saraswati Aim Hreem Namah Svaha-
Shri Saraswati Puranokta MantraYa Devi Sarvabhuteshu Vidyarupena Samsthita Namastasyai Namastasyai Namastasyai Namo Namah
Saraswati Gayatri Mantra- Om Aim Vagdevyai Vidmahe Kamarajaya Dhimahi।
Tanno Devi Prachodayat]

Stanzas 43-48

Tastaivam stutavato nityam samabhyarcha Sarasvareem/ Bhakti shraddhhaabhi yuktasy shanmaasat pratyayo bhavet/

Tatah pravartate vaanee swecchhaya lalitaaksharaa/ Gadyapadyaatmikaih shabdairaprameyair vivakshataih/

Akshuto budhyate grandhah praayah Sarasvatih kavih/

Ityevam nishchayam vipraah saa hovaacha Saraswatee/ Atma vidhyaa maya labhdhaa Brahmanaiva sanaatanee//Bahmatvam me sadaa nityam sacchhidaanandarupatah/

Prakritatvam tatah srishtim satyavaadigunasaamyatah/ Satyamaabhaati chicchhaayaa darpane pratibimbavat/

Tena chitpratibimbena trividhaa bhaati saa punah/ Prakrityavacchhinnatayaa purushatvam punaschate/

Those manuhyaas who are engaged in Devi Saraswati’s nitya puja as prescribed, they should be bestowed of their results within six months. Later on their faces become bright and eventually get used to ‘gadya-padya chhando yukta shabdaakshara vaani prabhava’ eventully prominent. By the grace of Devi Vaani , eventually ‘satya-sanaatana atma vidya prapti’ too be facilitated , the ‘sat-raja tamo guna samaanata, the consequent chaitanta tatva and prakriti yoga dwaara the jeevatva saardhkata too be accomplished. Hence Sangeeta saadhana is stated sof the foundation of atma vidya.

[ Vish. vide Narada Purana on Sangeeta Saadhana-

About the Shad Vedangas of Shiksha, Kalpa, Vyakarana, Nirukti, Chhandas and Jyotisha., Narada Purana is quoted about Shiksha with special reference to Sangeeta: Sage Sanandana emphasised the significance of Swara (notations) in the discipline of Sangeeta (Music). In the Swara Shastra, the Swara of Archika is related to Rig Veda, ‘Gaandhik’ is to ‘Gaadha’ and ‘Saamik’ is to Sama Veda. A ‘Swara’ is according to ‘Ruchas’ (Hymns) and their variations, while in ‘Gathas’or metered rhythemic verses Sama Veda has ‘Vyavadhaanas’ or pauses. The Yagjna stotras, karanas and Mantras are required to be pronounced as per Swaras; otherwise they turn out to be ‘Viruddha Swaras’. In the entire ‘Vangmaya’ Shastra (Vocabulary), pronounciation originates from ‘Vakshasthala’ (chest), ‘Kantha’ (throat) and ‘Mastaka’(head); from the chest emerges the low level sounds normally resorted to morning singing, from the Kantha emerge the medium and very broad variety of sounds and from Mastaka are emanated high pitch sounds and their variations of volume. The Sapta Swaras-Sa, Ri, Ga, Ma, Pa, Da, and Ni-are ‘Prathama’ (Shadaja), ‘Dwitiya’ (Rishabha), ‘Tritiya’ (Gandhara), ‘Chaturtha’ (Madhyama), ‘Mandra’ (Panchama), ‘Krushtha’ (Dhaivata) and ‘Atiswara’ (Nishadha). Shadaja-Sa- stands for ‘Sagar’ (Sea) with peacock as the representative bird, ‘Muladhara’ (the base of the spine) as the Chakra (body part) and the ruling Deity as Ganapati. Rishabha Re-means bull representing the bird Skylark, ‘Swadhishtana’or genital as the Chakra and the ruling Deity is Agni. Gandhara Swara ‘Ga’means Gagan or Sky with goat as the representative animal, ‘Manipura’ (solar plexus/ naval) as the Chakra and Rudra is the concerned Deity. Madhyama-Ma-means the Middle, represented by the bird dove, Anahata (heart) being the relevant body part and Vishnu as the Ruler concerned. Panchama-Pa-means the fifth, represented by nightingale and ‘Vishuddha’ (throat) as the relevant body part and the Ruling Deity is Sage Narada. The Swara titled Dhaivata-Dha- means Dharti or Earth, the representative animal being horse, the relevant Chakra being ‘Aaajna’ or the third eye and the Ruler being Sada Shiva. The Seventh Swara viz. Nishada-Ni- meaning Hunter and standing for the animal Elephant, has ‘Sahasrara’ (the crown of the head) as the body part, the Ruler being Surya as the Deity. Besides the Swaras, Shadaja, Madhyama and Gandhara are known as three ‘Graamaas’ (gamut or scale in music). Those who render ‘Saama Gana’ approve twenty graamas in Madhyama Swara, fourteen in Shadaja and fifteen in Gandhara. Also there are seven Murchanas (Intonations / Modulations) meant for Devatas viz. Nandi, Vishaala, Sumukhi, Chitra, Chitravati, Sukha and Bala; and seven for Pitaras viz. Aapyaayani, Vishwabhruta, Chandra, Hema, Kapardini, Maitri and Baarhati. For Rishis too there are seven Murchanas viz. Uttara Mandra in Shadaja Swara, Abhi Rudrata in Rishabha, and Ashvakranta in Gandhara. Besides, there are other Murchanas like Souvira in Madhyama Swara, Harshika in Panchama and Uttarayata in Dhaivata Swara. The seven Murchanas utilised by Rishis are also normally used by humans. Normally, there are ten ‘Gunas’ in music viz. Rakta, Purna, Alankrita, Prasanna, Vyakta, Vikrushta, Slakshana, Sama, Sukumara, and Madhura. When ‘Venu’ (Flute), ‘Veena’ (stringed instrument) and Vocal are rendered together then that combination is known as Rakta or ‘Ranjana’. Swara and Shruti (for eg. Kshobini Shruti in Shadaja, Tivra in Komala Rishabha, Dayavanti in Komala Gandharva, Prasarini in Tivra Madhyama, Alapini in Shuddha Dhaivataini in Komal Nishad) as also ‘Chhanda’ (Prosody) along with clear pronounciation are called ‘Purna’; Alankrita denotes the Swara from the throat down to the place of heart and taking the sound up to the head; Prasanna emerges from kantha in ‘gadgada’ sound; Vyakta or clearly pronounced by the ‘Pada’(letter), Padartha (material), vachana (eka or bahu / single or many) etc. When the sound is clear in high pitch and understood by the letters of Alphabet is Vikrushta; Slakshan is that Shriti which is devoid of either Dhruta or quick and Vilambita or elongated; Sama is that Shriti which normal by aspects without ups and downs; Sukumara Shruti is of soft nature and Madhura is sweet and sonorous. In regard to the Swaras of Padas (letters) there are eight varieties viz. Antodaatta ( like Agnih in ‘Agnirvritraani’), Adyudaatta ( like Somah in Somah pavatey), Udaatta and Anudaatta respectively are like Pra and vah in the word ‘Pra voyahvam’; Neecha Swarit is the word Veeryam in the expression ‘Balam nyubjam veeryam’; Madhyadaatta like Havisha in the word ‘Havishaa vidhema’; Swarita like Swaha in the expression ‘Bhurbhuvah swaha’ and finally Dirudaatta as ‘V’kara and ‘spa’ in ‘Vanaspatih’. ‘Adi Swaras’ are three in number viz. Udatta (high tone), Anudatta (low tone) and Swarita (medium). The Swarita is known as ‘Swaar’ and there are seven Swaars viz. Jaatya, Kshepra, Abhinihit, Taira Vyanjana, Tiroviraama, Prashlishta and Paadavritta. [The wide range of Musical forms includes simple ‘Sarali’ (Easy to the beginners) with single or double digit variety like ‘S-R-G-M-P-D-N or SS-RR-GG-MM-PP-DD-NN; ‘Taara Sthayi’(elevated pitch); ‘Alankaram’or musical ornamentation; ‘Geeta’ or simple musical forms; ‘Swarajati’with complexes like Pallavi, Anupallavi and Charanam; Kritis or fulfledged singing; Varnam; Kirtana or lyrics; Kriti (higher form of singing); Ragamalika (garland of Raagas), Jaavali, Tillana and so on. [Select Raagas according to timings of day/ night: Before Sun rise- Bhoopaala, Bauli, Malayamaaruta; Early morning: Bilhari, Kedaram, Dhanyasi; before noon: Asavari, Saveri, Deva Manohari; Mid-day and later: Sri Ragam, Madhyamavati; before Evening: Mukhara, Begada; Evening: Vasanta, Purva Kalyani; Night: Neelambari, Kedaragoula; any time: Bhairavi, Kambhoji, Shankarabharanam or Kalyani.]

Stanzas 49-59

Shuddha satva pradhaanaayaam maayaayaam bimbito hyajah / Satva prasdhaanaa prakritirmaayeti pratipaadyate/

Saa maayaa swavashopaadhih sarvagjnasyeshwarasyahi/ vashyamaayaatwamekatvam sarvagjnatvam cha tasyatu/

Saatvikatvaat samashthitvaat saakshitaajjagaataamapi/ Jagatkartuma kartrum vaa chaanyathaa kartumeeshate/ yah sa ishvara iktutwam sarvajnaatvaadibhirgunaih/

Shaktidwayam hi maayayaa vikshepaavritiruupakam/ Vikshepashaktirlingaadi brahmaandaantam jagatsrijet/

Antardrishyayorbhedam bahischa Brahma sargayoh/ Aavrinetyaparaa shaktih saa samsaarasya kaaranam/

Saakshinah purato bhaatam lingadehena samyutam/ Chiticchhaayaa samaaveshajjeevah syaasadravyaavahaarikah/

Asya jeevaatmamaaropaatsaakshinayapyavabhaasate/ Aavritou tu vinastaayaam bhede bhaatepyaati tat/

Tathaa sargabrahmanoscha bhedamaavritya tishthati/ Yaashaktistadwaashadruhaa vikrutatvena bhaasate/

Atraapyaavritinaashena vibhaati brahmasargayoh/ Bhedastayorvikaarah syatmasarge na brahmani kvachit/

Astibhaati priya rupam shechyashapanchakam/ Aadyatrayam Brahma rupam jagadrupam tato dvayam/

Apekshya naamarupe dve Sacchhidaananda tatparah/ Samadhim sarvadaa krutyaaddwye vaath vaavahih/

The substance of the stanzas of 49-59 is as follows:

‘Shuddha satva guna pradhaanata’ is stated as of Maya Prakriti. Thus the Unborn, in Maya
in which pure Sattva reigns is reflected. Maya Prakriti is that which has Sattva dominant.

Vikshepa and aavarana Maya are the two shaktis. Pradhama vikshepa rupi Shakti be from the linga deha to brahmanda paryanta jagat. Dwiteeya aavarana is the ‘aparaa shakti’ which is the ‘antargata jagat Brahma shrishti kaarana’ or due to ‘samsaarika bandhan mukhya kaarana’.That is why as one’s jeevatva sthiti samaapta be occuring,the maya’s predominence concludes and ‘Aavaranaas’ get severed. Then the vikaara grasta shtiti kaaranaas be replaced with nirvikaaraaabhaasa- priyaananda swarupa-sat-chit-ananda spashtata be realised. In other words, that Maya is adjunct, wholly subordinate to all-knowing Ishwara; for, His alone oneness, over the predominence of Maya the make believe. Of worlds the spectator, as having been just born be gradually realising the hold of Maya shaktis grip .gradually.Maya has forces two; one projection, the other, concealment; the first projects the world – all that is subtle and all gross. The second veils, within, the gulf between the Seer and seen; without, he gulf between creation and Brahman,Maya causes endless cosmic flux. Nescience appears in witness-light, to subtle body conjoined, Spirit and mind co-dwelling there become jiva phenomenal. Jivahood, through attribution shines forth, also, in witness-light; together with the fall of what conceals, and so, the shining forth of distinction.. So also, through subservience,of Brahman to the Power which veils Its difference from cosmos, Brahman shines forth in mutations. Here, too, the difference that holds between Brahman and the cosmos shows not, once Maya’s power which conceals falls low. Five factors are there here; being, shining, loving, form, and name, too; the first three to Brahman pertain; two others constitute the world. Leave aside the last two factors, be intent on the former three; either in the heart, or without, practise always concentration.

Stanzas 60-68

Sa vikalpo nirvikalpah samaadhirdwividho hridi/ Drishya shabdaanubhedhena sa vilalpah punardvidhaa/

Kaamaadyaaschittagaa drishyaastasaakshitvena chetanam/ Dhyaayeddrishaanu baddhhoyam samaadhih savikalpakah/
Asangah sacchidaanandah swaprabho dwaitavarjith/ Asmeetashadaviddhhveyam samaadhih savikalpakah/

Swaanubhutirasaaveshaaddrishyashabdaadyapekshituh/Nirvikakpah samaadhih syaannivaatastitha deepavat/

Hriddeeva baahyadeshopi yasminkamsischa vastuni/ Samaadhiraadya sanmaannaatraannaama- rupapruthakkrutih/

Stabhdheebhaavorasaaswaadaat triteeyah purvavanmatah/Yetaih samaadhibhih shadbhirnayet – galite vigjnaate paramaatmani/ Yatrakaalam nirantaram/

Dehaabhimaane galite vignaatee Paramaatmani/ Yatra yatra mano yaati tatra tatra paraamritam/

Bhidyate hridaya grantshcchhidyantehi sarva shamshayaah/Ksheeyante chaasya karmaani tasmin drishte paraavre/
Mayi jeevatmameeshatvam kalpitam vastuto na hi/Iti yastu vijaanaati sa mukto naatra shamshayah/ Itupanishad/

Stanzas 60-65

explain that in one’s hridaya, there could be samadhis of sorts: Pradhama Samadhi be as of savikalpa and dwiteeya as of nirvikalpa In Savikalpa Samadhi, one would hold on to a thought say some mantra and get completely absorbed by that form for long time. They get absorbed by the form of tone’s favorite deity. On the other side Nirvikalpa Samadhi means a complete thoughtless state. Absence of thoughts after attaining Brahmajnana. A saadhaka yogi’s sthiti be as of vaayurahita-deepa sadrusha saadhana -avichalata ekaagrta, drishyarahita vivekata, chaitanya tatva jnaana; then the chitanya rasaanubhuti praakatyata. Patanjali Sutras are readily recalled vide the eight dimensions of Yoga: age Patanjali has elaborated eight dimensions of yoga in his book Yogsutras as : Yama or Observances-Niyama (Abstinences)-Asana (Postures)- Pranayama (Breath controlling)-Pratyahara (Withdrawal of senses)-Dharana (Determination)-Dhyana (Meditation) Samadhi (Self realization or Nirvanaa). Samadhi is the 8th stage of Yoga..

Stanzas 66-68

No sooner than the ‘dehaabhimaana samaaptapa’ than ‘paramatma jnaana praakatyata’ be of occurance. Once shrashthajnaana be of praadhurbaavata, then the manobhaavaas be of amritatulya anubhabaanandaas. In other words, with conceit in body gone, and Supreme Self realized,
wherever the mind may roam,there rests immortality. The knot of heart is cut asunder
and all doubts are slain, all modes of action dwindle away when the Supreme Self is seen.
Just as a grain of rice if separated from the husk and bran would not be utilised for sprouting like other grains, the pure consciousness in the enlightened Beings when separated from their coverings viz. the six ‘kanchukaas’ or coverings or the offsprings of Maya Shakti around viz. the coverings of , ‘niyati- kaala-raaga-,vidya, – kala and maaya’ then the pure consciousness is as of the Supreme. Once the individuals are freed from the karmik and other defilements, then there is no reason as to why that seed would not sprout once again. In other words the universe and its diverse objects is called by nescience or deep ignorance. The stages of a Being from the actuality or of awakenness-dream stage-sushupti- and finally the pragjnatwa despite the continuance of the physical body. However ‘taadaatnya’ or merger is possible only afer the mortal body falls off. In other words, Samsaara begets Agjnana or Ignorance, swaatma jnaana as a result of the removal of the six kanchukas and three malas of ‘aanava-mayiya-karma phalas’, jeevan mrityu stage might be possible when the self feels like the Supreme but ‘tadaatmya’ or final merger of the Prajnatwa after the body falls only.