Post 16: SAUNDARYALAHARĪ

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Tags: Shri Adi Shankaracharya Disciple Principle Saundaryalahari Advaita

Śhrī Mātājī's words on Saundaryalaharī

Translation by Pandit S. Subrahmanya Sastri and T. R. Srinivasa Ayyangar, published by The Theosophical Publishing House, Madras India, sixth printing 1985

Translation by Poornima Damodaran in pdf format: pdf

Transliterations link 1 and link 2

Quotes
References to Kuṇḍalinī awakening abound in many of the Indian Scriptures. Some of these are Vāsiṣhṭha Yoga, Ṛigveda, Puruṣha Sūkta, Upaniṣhads of Atharvaveda, Yogopanishad, Yogaśhikhā Upaniṣhad, Kaṭhopaniṣhad and Yoga Kuṇḍalinī Upaniṣhad. In the Purāṇas are Devī Bhāgavat[am] Purāṇa, Mārkaṇḍeya Purāṇa, Śhrī Bhāgavat[a] Purāṇa, etc. In Sanhitas: Haṭh[a] Yoga Sanhita, Laya Yoga Sanhita, Rāj Yoga Sanhita, Śhiv Sanhita. In the Yoga tests: Haṭha Yoga Pradīpikā, Saundaryalaharī, Śhubhodayam, Lalitā Sahasrānam, and by Saints such as Bhakt Kabīr, Nāṇak, Gyāneśhwar, etc.
1900-0000 Quote from the book Divine Knowledge through Vibrations (1992) by P.T. Rajasekharan and R. Venkatesan, Pages 73 and 74

Śhrī Ādi Śhaṅkarāchārya lived in sixth century A.D. He wrote many texts: Saundaryalaharī, Upadeśhasāhasri, Vivekachūḍāmaṇi, Ātmabodh, etc. In most of these texts, there are various references to Kuṇḍalinī awakening, as some of the following stanzas [10 and 9 from Saundaryalaharī] will illustrate:
[Having in-filled in the pathway of the nāḍīs with the streaming shower of Nectar flowing from Thy pair of Feet (Lotus Feet), having resumed Thine own position from out of resplendent lunar regions, and Thyself assuming the form of a serpent of three and a half coils, sleepest Thou in the hollow of the Kulakuṇḍa.] [Kulakuṇḍa=the hollow of the Mūlādhāra - sacrum bone.]
[Thou art diverting (residing) in secrecy with Thy Lord (the Spirit) in the thousand-petalled Lotus, having pierced through the Earth situated in Mūlādhāra, the Water in the Maṇipūra, the Fire abiding in the Swādhiṣhṭhāna, the Air in the Heart (Anāhata), the Ether above (the Viśhuddhi) and Manas between the eyebrows (Āgñyā) and thus broken the entire Kula path.]
Śhrī Ādi Śhaṅkarāchārya propounded that it is the Kuṇḍalinī who has to be awakened and unless and until you get your Realization you are nowhere near religion. Śhrī Ādi Śhaṅkarāchārya also had given a very befitting answer to the so-called proponents of Haṭha Yoga, Gyān Yoga, Karma Yoga or Rāj Yoga. "Neither by Yoga, nor philosophy, nor by work, nor by learning but by the Realization of one's identity with the Brahman is liberation possible and by no other means.
1900-0000 Two Quotes from the book Divine Knowledge through Vibrations (1992) by P.T. Rajasekharan and R. Venkatesan, Pages 75 and 76

[Śhrī Mātājī looks similar in every Incarnation. This is why the description of Her in the Saundaryalaharī is so accurate.]
1908-0000 Advices from the book Eternally Inspired Recollections of our Divine Mother, Volume 1, Pages 295--297

When this thing enters through this into that subtle form you start feeling from your hands a Cool Breeze flowing. This is described in our Scriptures. If you read even Christ has said, "Something passed out of My body when somebody touched Me." [Luke 8.46.] But in our Scriptures it's given very, very clearly. Here, in some of them, for example I would say Śhaṅkara - Śhaṅkarāchārya described that as Saundaryalaharī. He called it as Saundaryalaharī this force somewhere. He called as vibrations. So many people are talking of vibrations but they don't know what they're talking.
1977-1121 Public Program, Tantrism, Caxton Hall, 10 Caxton Street, Westminster, London, UK

When this thing enters through this into that subtle form, you start feeling from your hands a Cool Breeze flowing. This is described in our Scriptures.
If you read, even Christ has said [Luke 8.46]: "Something passed out of My body when somebody touched Me."
But in our Scriptures is given very-very clearly. In some of them, for example I would say Śhaṅkara: Śhaṅkarāchārya has described that as Saundaryalaharī. He calls it as Saundaryalaharī, the force somewhere else. He called them vibrations.
Everybody people are talking of vibrations but they do not know what they're talking!
1979-0227 Public Program (Marathi), Dhule, Maharashtra, India

The fourth thing that you get is that you have Cool Vibrations coming out of your hands. It is called Saundaryalaharī by Ādi Śhaṅkarāchārya. In the Bible, it has been described as a Cool Breeze. When you get it, if you get, you feel something cool, the breeze coming out from your hands in form of Cosmic Breeze.
1979-0322 Public Program (Hindi), Sahaja Yoga and the Subtle System, Biralā Krīṛā Keṃdra, Chowpatty, Girgaum Chowpatty, Mumbai, Maharashtra, India (other date 0321)

We had a Saint called Mārkaṇḍeya, who they say lived fourteen thousand years ago. He has written about this fourth dimension and has described it as the blessing of the Primordial Mother. The second person who was very well equipped with this knowledge, was Ādi Śhaṅkarāchārya who has written many books. The first book he wrote was Vivekachūḍāmaṇi, in which he describes this fourth dimension and explains why we should try to attain this fourth dimension. An intellectual, one Mister Sharma, challenged him and told him that he could not do anything as an ascetic and win over my intellect. Thus he felt that for the common people all this discussion might just seem to be mental acrobatics. So he decided to write books just praising the Primordial Mother, especially in Saundaryalaharī, where he described all the Divine Vibrations as the vibrations of the loving beauty of the Primordial Mother. At that time all this was written in the Sanskrit language but the common people did not understand this language, except for a very few learned people, who also did not want to go into the details of this exposition.
1995-0929 Meta Modern Era, Chapter 9: Evolution

1 Transliteration
śhivaḥ śhaktyā yukto yadi bhavati śhaktaḥ prabhavituṁ
Na ched evaṁ devo na khalu kuśhalaḥ spanditum api
Atas-tvām ārādhyāṁ hari-hara-viriñch'ādibhir api
Praṇantuṁ stotuṁ vā katham akṛita-puṇyaḥ prabhavati

1 Translation
Only if conjoint with the Śhakti (Thyself), would Śhiva earn the privilege to become Overlord; otherwise the God is not able even to stir. ......
United with Śhakti, Śhiva is endowed with the power to create the universe. Otherwise, He is incapable even of movement. Therefore, who except those endowed with great merits acquired in the past can be fortunate enough to salute or praise Thee, Mother Divine, who art the adored of even Hari, Hara and Viriñchi.

2 Transliteration
Tanīyāṁsaṁ pāṁsuṁ tava charaṇa paṅkeruha bhavaṁ
Viriñchis-sañchinvan virachayati lokān avikalam
Vahaty'enaṁ śhauriḥ katham api sahasreṇa śhirasāṁ
Haras saṁkṣhudy'ainaṁ bhajati bhasit'oddhūlana vidhim

2 Translation
Viriñchi, having gathered the tiniest speck of dust of Thy lotus-like Feet, creates the worlds, leaving nothing to be desired; ......
Gathering a minute particle of dust from Thy lotus FeeT, Brahmā the Creator brings into being this universe (limitless and mysterious) without any imperfection. ......

3 Transliteration
Avidyānām antas timira-mihira dvīpa nagarī
Jaḍānāṁ Chaitanya stabaka makaranda sruti jharī
Daridrāṇāṁ chintāmaṇi guṇanikā janma-jaladhau
Nimagnānāṁ daṁṣhṭrā mura ripu-varāhasya bhavati

3 Translation
...... (Thou art) the steam, ever flowing with the honey of the cluster-of-flowers of consciousness, for the dull-witted; (Thou art) the Chintā-maṇi-duplicate (in bestowing their heart's desire) on the destitute; ......
...... It forms the cluster of flower buds, from which gushes forth the nectar of intelligence, enlivening the dull-witted. It is a veritable necklace of wish-yielding gems for the poverty-stricken. ......

4 Transliteration
Tvad anyaḥ pāṇibhyām abhaya varado daivata-gaṇaḥ
Tvam-ekā n'aivāsi prakaṭita var'ābhītya bhinayā
Bhayāt trātuṁ dātuṁ phalam api cha vāñchhā samadhikaṁ
Śharaṇye lokānāṁ tava hi charaṇāv'eva nipuṇau

4 Translation
...... For, Thy Feet, by themselves, are proficient in affording immunity from fear and bestowing boons transcending (one's) desire.
...... For, O Refuge of All, Thy very feet (without any demonstration) are themselves inherently capable of sheltering devotees from the great fear of Samsara and of giving them much more than what they pray for!

5 Transliteration
Haris-tvām ārādhya praṇata jana saubhāgya jananīṁ
Purā nārī bhūtvā pura-ripum api kṣhobham anayat
Smaro-'pi tvāṁ natvā rati nayana lehyena vapuṣhā
Munīnām apy'antaḥ prabhavati hi mohāya mahatām

6 Transliteration
Dhanuḥ pauṣhpaṁ maurvī madhu kara mayī pañcha viśhikhāḥ
Vasantaḥ sāmanto malaya marud āyodhana rathaḥ
That'āpy'ekaḥ sarvaṁ hima-giri-sute kāmapi kṛipām
Apāṅgāt te labdhvā jagad idam anaṅgo vijayate

6 Translation
...... having obtained some grace from Thy side-glance, [Anaṅga, the formless Manmatha] conquers all this world single-handed.
...... he is Anaṅga, the bodiless one. ...... blessed by Thy gracious side glance he, by himself alone, is victorious over the whole world.

7 Transliteration
Kvaṇat kāñchī-dāmā kari kalabha kumbha stana natā
Parikṣhīṇā madhye pariṇata śharach-chandra vadanā
Dhanur bāṇān pāśhaṁ sṛiṇim api dadhānā kara-talaiḥ
Purastād āsthāṁ naḥ pura mathitur āho-puruṣhikā

7 Translation
...... the Mother with Her slender waist girdled with jingling mini-bells, ......, with Her face resembling the autumnal moon, and with Her hand sporting a bow, arrows, noose and a goad!

8 Transliteration
Sudhā sindhor madhye sura viṭapi vāṭī parivṛite
Maṇi-dvīpe nīpo-‘pavana-vati chintāmaṇi gṛihe
Śhivākāre mañche parama-śhiva-paryaṅka nilayāṁ
bhajanti tvāṁ dhanyāḥ katichana chid-ānanda-laharīm

8 Translation
Blessed are the few that serve Thee, the flood of Consciousness and Bliss, ......
Fortunate indeed are the few who adore Thee, the Inundation of Bliss-Consciousness, ......

9 Transliteration
Mahīṁ mūlādhāre kam-api maṇipūre huta-vahaṁ
Sthitaṁ svādhiṣhṭhāne hṛidi marutam ākāśham upari
Mano-'pi bhrū-madhye sakalam api bhittvā kula-pathaṁ
Sahasrāre padme saha rahasi patyā viharase

9 Translation
Thou art diverting Thyself, in secrecay with Thy Lord, in the thousand-petalled lotus, having pierced the Earth situated in the Mūlādhāra, the Water in the Maṇipūra, the Fire abiding in the Swādhiṣhṭhāna, the Air in the Heart (Anāhata), the Ether above (the Viśhuddhi), and Manas between the eyebrows (Āgñyā) and thus broken through the entire Kula path.
Having penetrated the Pṛithvī (earth) element situated in the Mūlādhāra, the Jala (water) element in the Maṇipūra, the Agni (fire) element in the Swādhiṣhṭhān, the Vāyu (air) element in the Heart (Anāhata), the Ākāśha (sky or ether) element above the former in the Viśhuddhi, and Manas in the Āgñyā between the eyebrows, Thou, ascending through the Suṣhumṇā, sportest with Thy Consort in the solitude of Sahasrāra, the Thousand-petalled Lotus.

10 Transliteration
Sudhā-dhārā sāraiśh charaṇa yugal'āntar vigalitaiḥ
Prapañchaṁ siñchantī punar api ras'āmnāya mahasaḥ
Avāpya svāṁ bhūmiṁ bhujaga nibham adhyuṣhṭa valayaṁ
Svam ātmānaṁ kṛitvā svapiṣhi kula-kuṇḍe kuhariṇi

10 Translation
Having in-filled the pathway of Nāḍīs with the streamingshower of nectar flowing from Thy pair of Feet; having resumed Thine own position from out of the resplendant Lunar regions, and Thyself assuming the form of a serpent of three-and-a-half coils, sleepest Thou in the hollow of the Kulakuṇḍa.
Drenching the whole manifested multiplicity (the prapañcha, here meaning the seventy-two thousand Nāḍīs of the Jīva) with the nectar flowing from Thy Feet, Thou (the Kuṇḍalinī representing Tripurasundarī) descendest from the exuberance of the Nectarine Radiance of the Moon (here the Sahasrāra where the Kuṇḍalinī unites with Śhiva) into the hollow of Thy own sphere in the Mūlādhāra at the lower end of the Suṣhumṇā, assuming Thy serpentine form of three and a half coils and sleepest therein.

11 Transliteration
Chaturbhiḥ śhrī-kaṇṭhaiḥ śhiva yuvati-bhiḥ pañchabhir api
Prabhinnābhiḥ śhambhor navabhir api mūla-prakṛitibhiḥ
Chatuśh-chatvāriṁśhad vasu-dala-kalāśhra tri-valaya
Tri-rekhābhiḥ sārdhaṁ tava śharaṇa koṇāḥ pariṇatāḥ

11 Translation
The angles contained in what constitutes Thy mansion (the Śhrī Chakra), which is built of the nine Mūlaprakṛitis (the basic triangles), namely the four Śhrī-kaṇṭhas (with apex downward) and the five Śhiva-yuvatis (with apex upward), all lying apart from Śhaṃbhu (the Bindu), along with a lotus of eight petals, one of sixteen petals, the three circles and the three lines, turn out to be forty-three (in number).
The four Śhrī-kaṇṭhas (Śhiva Chakras) and the five Śhiva-yuvatis (Śhakti Chakras) are the nine Mūla-prakṛitis or basic manifestations, and these are apart from Śhambhu (the Bindu or small circle in the centre). Then there are two lotuses, one of eight petals and another of sixteen, besides three surrounding circles and three lines. This forms Thy mansion with forty-four Koṇas (triangles).

12 Transliteration
Tvadīyaṁ saundaryaṁ Tuhina-giri-kanye tulayituṁ
Kav'īndrāḥ kalpante katham api viriñchi prabhṛitayaḥ
Yadā-loka'utsukyād amara-lalanā yānti manasā
Tapobhir duṣh-prāpām api giriśha sāyujya padavīm

12 Translation
O Daughter of the snow-capped Mountain! The foremost poets, such as Viriñchi and others, are baulked in their attempt to find a match for Thy beauty, ......
O Daughter of the Mountain of Snow! The greatest of poets like Brahma, in trying assiduously to portray Thy beauty, fail to fin any other object to describe it through comparison. ......

13 Transliteration
Naraṁ varṣhīyāṁsaṁ nayana virasaṁ narmasu jaḍaṁ
Tav'āpāṅgā-loke patitam anudhāvanti śhataśhaḥ
Galad-veṇī-bandhāḥ kucha kalaśha visrasta sichayā
Haṭhāt truṭyat kāñchyo vigalita dukūlā yuvatayaḥ

14 Transliteration
Kṣhitau ṣhaṭ-pañchāśhad dvi-samadhika pañchāśhad udake
Hutāśhe dvā-ṣhaṣhṭiśh chatur adhika pañchāśhad anile
Divi dviṣh-ṣhaṭtriṁśhan manasi cha chatuṣh-ṣhaṣhṭir iti ye
Mayūkhās teṣhām apy'upari tava pād'āmbuja yugam

14 Translation
Thy pair of lotus-like Feet is far above those rays, namely the fifty-six (rays) of (the Mūlādhāra, of the character of) Earth, the fifty-two of (the Maṇipūra, of the character of) Water, the sixty-two of (the Swādhiṣhṭhāna of the character of) Fire, the fifty-four of (the Anāhata, of the character of Air, the seventy-two of (the Viśhuddhi, of the character of) Ether, and the sixty-four of (the Āgñyā, of the character of) the Mind.
In the bindu in the center of the Sahasrāra is Thy Lotus Feet (pād'āmbuja yugam) far above the Chakras to which Thy Rays (or luminous manifestation of the Śhaktis) reach in the following combinations – fifty-six in the Mūlādhāra which partakes of the character of the Pṛithvī (Earth element), fifty-two in Maṇipūra which partakes of the character of Jala (Water element), sixty-two in the Swādhiṣhṭhāna which partakes of the character of Agni (Fire element), fifty-four in Anāhata which partakes of the character of Vāyu (Air element), seventy-two in Viśhuddhi which partakes of the nature of Ākāśha (Ether element), and sixty four in Āgñyā which partakes of the character of Mānas (Mind).

15 Transliteration
Śharaj-jyotsnā śhuddhāṁ śhaśhi yuta jaṭājūṭa makuṭāṁ
Vara trāsa trāṇa sphaṭika ghaṭikā pustaka-karām
Sakṛin na tvāṁ natvā katham-iva satāṁ saṁnidadhate
Madhu kṣhīra drākṣhā madhuri madhurīṇāḥ phaṇitayaḥ

15 Translation
How will words, which are of the sweetness of honey, milk and grape-juice, not be in the command of such as have bowed even once to Thee, who hast as Thy crown the coiled pletted-hair with the (crescent) Moon on, and who holdest in Thy hands the boon-bestowing (and) the security-affording (postures), a rosary of crystal beads and a book?
How can torrents of words, excelling even honey, milk and grapes help flowing from the mouth of good men who but once make prostration to Thee who art endowed with the lustre of the autumnal moon, who art holding Thy two hands in the pose of granting boons and offering protection, and sporting in the other two a rosary of crystal beads and a book, and who wearest the crescent moon in Thy crown of plaited locks!

16 Transliteration
Kavīndrāṇāṁ chetaḥ kamala vana bāl'ātapa ruchiṁ
Bhajante ye santaḥ kati-chid aruṇām eva bhavatīm
Viriñchi preyasyās taruṇa-tara śhṛiṅgāra laharī-
Gabhīrābhir vāgbhir vidadhati satāṁ rañjanam amī

16 Translation
Such rare, high-souled men, who worship Thee as Aruṇā, radiant as the morning sunlight, (causing) the lotus-like minds of great poets (to bloom), delight (the assembly of) wise men with their diction, profound like the fresh flood of erotic sentiments flowing from Viriñchi's beloved spouse.
...... Therefore,thosedevotedmenwhoadore Thee become capable of delighting the minds of assemblies of literary connoisseurs with the majestic flow of their words surging like waves of erotic sentiments emanating from youth Saraswatī, the Goddess of Learning.

17 Transliteration
Savitrībhir vāchāṁ śhaśhi-maṇi śhilā bhaṅga ruchibhiḥ
Vaśhiny'ādyābhis tvāṁ saha Janani saṁchintayati yaḥ
Sa kartā kāvyānāṁ bhavati mahatāṁ bhaṅgi ruchibhiḥ
Vachobhir vāg-devī vadana kamal'āmoda madhuraiḥ

17 Translation
O Mother! whoever contemplates Thee along with the generators of speech, Vaśhini and others, who are resplendent like the freshly cut moonstones, becomes the author of great Kāvias, replet with words erudite in style and sweet with the fragrance of the lotus-like mounth of the Gooddess of Learning.
O Mother! Those who meditate on Thee in association with Vasini and allied Deities – who are all the sources of speech and whose radiance resembles the lustre of freshly cut Chandrakānta gem (moonstone) – can become the authors of poetical works as delightful as those of great ones (like Vālmīki and Kālidāsa), and sweet with the fragrance of the mouth of Saraswatī, the Goddess of poetry and learning.

18 Transliteration
Tanuch-chhāyābhis te taruṇa taraṇi śhrī saraṇibhiḥ
Divaṁ sarvām urvīm aruṇimani magnāṁ smarati yaḥ
Bhavanty asya trasyad vana-hariṇa śhālīna nayanāḥ
Sah'orvaśhyā vaśhyāḥ kati kati na gīrvāṇa-gaṇikāḥ

18 Translation
...... him, who conceives the entire Heaven and Earth submerged in the red radiance caused by the lustrous garce of The body, forming, as it were, the abodes of the splendor of the rising Sun.
...... person who meditates on the beauty of Thy form which bathes the heaven and the earth in its crimson radiance resembling the rising sun.

19 Transliteration
Mukhaṁ binduṁ kṛitvā kucha-yugam adhas tasya tad-adho
Har'ārdhaṁ dhyāyed yo Hara-mahiṣhi te manmatha kalām
Sa sadyaḥ saṁkṣhobhaṁ nayati vanitā ity'atilaghu
Trilokīm apy'āśhu bhramayati rav'īndu stana yugām

20 Transliteration
Kirantīm aṅgebhyaḥ kiraṇa nikuramb'āmṛita rasaṁ
Hṛidi tvām ādhatte hima-kara śhilā mūrtim iva yaḥ
Sa sarpāṇāṁ darpaṁ śhamayati śhakunt'ādhipa iva
Jvara-pluṣhṭān dṛiṣhṭyā sukhayati sudhā-dhāra sirayā

20 Translation
He who contemplates Thee in his heart, who diffusest nectar in the form of beams from (Thy) limbs, as an image carved out of a moonstone, quells the pride of serpents, like the king of birds, and cures those afflicted with fever, with a look resembling the nectar-showering Nāḍī.
He who meditates on Thee, who sends forth luminous waves of Bliss from Thy body as an image of moonstone does, will be capable of humbling the pride and ferocity of serpents by his mere look, like Garuḍa himself. Nay, like the nectar-showering Nāḍī, his look can cure any ailment, including the afflictions of fever.

21 Transliteration
Taṭil-lekhā tanvīṁ tapana śhaśhi vaiśhvānara-mayīṁ
Niṣhaṇṇāṁ ṣhaṇṇām apy'upari kamalānāṁ tava kalām
Mahā-padm'āṭavyāṁ mṛidita mala-māyena manasā
Mahāntaḥ paśhyanto dadhati param'āhlāda laharīm

21 Translation
Great men, who, with their minds bereft of impurity and illusion, look at Thy Kalā, slender as a streak of lightning, of the essence of the Sun, the Moon and Fire, and abiding in the great forest of lotuses, standing far above even the six lotuses, derive a flood of the infinite Bliss.
The noble spiritual aspirants, whose minds are free from impurities like lust and greed and from the hold of Māyā consisting of ignorance, egotism and the like, are filled with thrills of spiritual Bliss by experiencing Thy lightning-like Kalā (Śhakti in Union with Śhiva known as Sādakhya) in the core of the Thousand-petalled Lotus, which transcends the six lotuses beginning with the Mūlādhāra inclusive of Thy manifestations as fire, sun and moon in them.

22 Transliteration
Bhavāni tvaṁ dāse mayi vitara dṛiṣhṭiṁ sakaruṇām
Iti stotuṁ vāñchhan kathayati bhavāni tvam iti yaḥ
Tad'aiva tvaṁ tasmai diśhasi nija sāyujya padavīṁ
Mukunda brahm'endra sphuṭa makuṭa nīrājita padām

22 Translation
When one, desirous of earnestly beseeching Thee with the word, 'O Bhavānī! mayest Thou cast Thy merciful glance on me, Thy servant,' pronounces the words, 'Bhavānī twam,' (may I be Thou), that very moment, Thou bestowest on him the status identically Thine own, rendered lustrous by the brilliant crowns worn by Mukunda, Brahman and Indra.
Whoever, desiring to pray to Thee in terms like, 'O Bhavānī, bestow Thy gracious glance on me, Thy servant,' even before he utters, 'Bhavānī twam' (May I) become Thou', Thou art wont to bestow on him the status of oneness with Thy Feet, at which Divinities like Viṣhṇu, Brahmā and Indra are performing the lustration ceremony with the brilliance of their diadems as they bow down their heads in prostration.

23 Transliteration
Tvayā hṛitvā vāmaṁ vapur apari-tṛiptena manasā
Śharīr'ārdhaṁ śhambhor aparam api śhaṅke hṛitam abhūt
Yad etat tvad-rūpaṁ sakalam aruṇābhaṁ trinayanaṁ
Kuchābhyām ānamraṁ kuṭila śhaśhi chūḍāla makuṭam

23 Translation
I fancy that the other (half) as well, of Śhambhu's frame, has been absorbed by Thee with Thy mind, not satisfied with having absorbed that left one; for, this, Thy form, is entirely of a red color, has three eyes, is slightly bent ......, and wears over its crown the crescent moon.
I have a feel that, unsatisfied, even after having appropriated the left half of Śhambhu (Śhiva) as Ardhanārīśhwara (a form half man and half woman), Thou hast also invaded his right half; for Thy form that shines in my heart is totally crimson in complexion and slightly bent ......, besides having three eyes and the crescent moon in the diadem.

24 Transliteration
Jagat sūte dhātā harir avati rudraḥ kṣhapayate
Tiras-kurvan etat svam-api vapur īśhas tirayati
Sadā pūrvaḥ sarvaṁ tad idam anugṛihṇāti cha śhivas
Tav'āgñyām ālambya kṣhaṇa chalitayor bhrū latikayoḥ

24 Translation
The Dhātṛi creates the world; Hari sustains it; Rudra destroys it; making all this disappear, Īśha causes His own form to disappear as well; while Sadāśhiva, in pursuance of the mandate from Thy slightly-knit creeper-like eyebrows, blesses all this.
Brahmā brings forth the universe; Hari (Viṣhṇu) sustains and protects it; Rudra destroys it; and Īsā (Maheśhwara) absorbs all these Deities (including the univers in involution) into Himself and disappears into Sadāśhiva (the Ultimate Category). Then, when it is time for a new cycle of creation to begin, Sadāśhiva, on receiving the mandate from Thee by a movement of Thy creeper-like brows, blesses (i.e., manifests and restores) them into activity (as before in the previous cycle).

25 Transliteration
Trayāṇāṁ devānāṁ tri-guṇa-janitānāṁ tava Śhive
Bhavet pūjā pūjā tava charaṇayor yā virachitā
Tathā hi tvat pād'odvahana maṇi pīṭhasya nikaṭe
Sthitā hy'ete śhaśhvan mukulita karottaṁsa makuṭāḥ

25 Translation
O Spuse of Śhiva! the homage rendered to Thy Feet becomes by itself the homage rendered to the three gods born of Thy three Guṇas. It is, therefore, meet that these (gods) ever stand by the jeweled seat on which Thy Feet rest, with their folded hands adorning their crowns.
The worship done at Thy Feet, O Consort of Śhiva, is also the worship of all the three Deities Brahmā, Viṣhṇu and Śhiva, who have their origin in Thy three Guṇas (Rājas, Sattva and Tamas). They require no special worship, because they are ever waiting with their joined palms held above Their diademed heads in salutation to Thee by the side of the foot-stool of diamonds that bear Thy Feet.

26 Transliteration
Viriñchiḥ pañchatvaṁ vrajati harir āpnoti viratiṁ
Vināśhaṁ kīnāśho bhajati dhanado yāti nidhanam
Vitandrī māhendrī vitatir api saṁmīlita dṛiśhā
Mahāsaṁhāre-'smin viharati sati tvat patir asau

26 Translation
O Queen of chastity! Viriñchi goes back to teh five elements; Hari ceases to exist; Kīnāśha meets with destruction; Kubera perishes; the array of the ever-wakeful eyes of Mahendra is also closed (forever); in this great deluge, this Lord of Thine (alone) has His diversion.
Viriñchi (Brahmā) is reduced into elements: Hari (Viṣhṇu) retires into passivity: Kīnāśha (Yama the God of Death) himself dies; Kubera the God of Wealth meets with his end; and Indra with all his followers closes his eyes in destruction. When such, O Satī (chaste consort of Śhiva) is the state of all beings at the time of the total dissolution (Mahāsaṃsāra) of the universe, Thy husband Sadāśhiva alone is sporting.

27 Transliteration
Japo jalpaḥ śhilpaṁ sakalam api mudrā virachanā
Gatiḥ prādakṣhiṇya kramaṇam aśhan'ādy'āhuti vidhiḥ
Praṇāmas saṁveśhas sukham akhilam ātm'ārpaṇa dṛiśhā
Saparyā paryāyas tava bhavatu yan me vilasitam

27 Translation
Whatever action it is of mine, may be taken (as intended) for Thy worship: (my) prattle, as muttering (Thy) prayer; the manifold forms of my manual work, as the Mudrãs (gestures) employed in (Thy) worship; (my) loitering, as going round (Thee) clockwise; my taking nourishment, as offering oblations (to Thee); (my) lying down, as prostrating (before Three); and (my) attending to all other comforts, as dedicating my entire self (to Thee).
May everything that I do with the sense of self-dedication (Ātmārpaṇa-dṛiśha) be items in Thy service – my prattle, the utterance of Thy Mantra; the movements of my hand, the gestures and poses of Thy worship; my walking, Thy circumambulation; my eating, fire-sacrifice to Thee; the stretching of the body in sleep and rest, prostration to Thee; and all my enjoyments, offerings made to Thee.

28 Transliteration
Sudhām apy'āsv'ādya pratibhaya jarā mṛityu hariṇīṁ
Vipadyante viśhve vidhi śhata-makh'ādyā diviṣhadaḥ
Karālaṁ yat kṣhvelaṁ kabali-tavataḥ kāla-kalanā
Na śhambhos tan mūlaṁ tava janani tāṭaṅka mahimā

28 Translation
O Mother~ all the denizens of the ecelestial regions, such as Vidhi, Śhatamakha and others, perish even after drinking nectar, which is reputed to cnfer immunity from terroble old age and death. If the period of life of Śhaṃbhu, who has swallowed virulent poison, is beyond computation, it is all due to the peculiar virtue of Thy Tāṭaṅkas (ear-ornaments)
Even after consuming Amṛuta (nectar), which confers freedom from the fear-inspiring decrepitude of old age and of death, Deities like Brahmā and Indra perish finally at the time of cosmic dissolution. But, even in spite of taking the terrible poison of Kālakūṭa, Thy Consort Śhiva enjoys a life-span that has no end. The cause of this, O Mother, is indeed the unique glory of Thy ear ornament!

29 Transliteration
Kirīṭaṁ vairiñchaṁ parihara puraḥ kaiṭabha bhidaḥ
Kaṭhore koṭīre skhalasi jahi jambhāri-mukuṭam
Praṇam reṣhveteṣhu prasabham upa-yātasya bhavanaṁ
Bhavasy'ābhy'utthāne tava parijan'oktir vijayate

29 Translation
Glory to the words (of caution) of Thy servants: 'Pray avoid the crown of Viriñchi (lying) afore Theee!' 'You will topple over the hard crest of the slayer of Kaiṭabha!' 'Please keep off from the head-gear of the foe of Jambha!' – all these three lay prostrate before Thee – when, all of a sudden, Thou startedst to receive Bhava, who had come to Thy abode!
On Thy Consort Bhava approaching Thy abode unannounced, Thou springest up in such great haste to receive Him, whereupon Thy attendants, in their concern for Thy safety and possible injury, caution Thee, crying out, ‘Deign to keep away from the diadem of Viriñchi (Brahmā); avoid tumbling over the heavy crown of Kaiṭabhari (Viṣhṇu); beware the crest of Jambhāri (Indra).

30 Transliteration
Sva-deh'odbhūtābhir ghṛiṇibhir aṇim'ādyābhir abhito
Niṣhevye nitye tvām aham iti sadā bhāvayati yaḥ
Kim āśhcharyaṁ tasya tri-nayana samṛiddhiṁ tṛiṇayato
Mahā-saṁvart'āgnir virachayati nīrājana vidhim

30 Translation
(O Goddes!) who art eternal and art served all around by the rays, Aṇimā and others emanating from Thine own frame! What is there to wonder at, if the Fire of the great Deluge should perform the ritual of offering lights before whosoever conceives Thee always as 'I am (Thou)', treating the wealth of Trinayana as mere straw?
O Mother eternal and adored of all! By ever meditating with a feeling of identification with Thee, who art surrounded by divine powers like Aṇimā, which are only rays emanating from Thy Feet, a devotee attains to glories far above even those of Śhiva. What wonder then that even the conflagration of Cosmic Dissolution proves only to be the rite of Nīrājana to him.

31 Transliteration
Chatuḥ-ṣhaṣhṭyā tantraiḥ sakalam ati-saṁdhāya bhuvanaṁ
Sthitas tat tat-siddhi prasava para-tantraiḥ paśhu-patiḥ
Punas tvan-nirbandhād akhila puruṣh'ārth'aika ghaṭanā-
Sva-tantraṁ te tantraṁ kṣhiti talam avātītarad idam

31 Translation
Paśhupati, having deluded all the worlds with the sixty-four Tanttras, which have as their sole purpose the confering of the several Siddhis attributed to each, has once again brought down to this world, on account of Thy persuasion, Thy Tantra, which, of its own accordd, would bring about the several ends and aims of human existence.
Paśhupati (Śhiva) at first remained satisfied after 'deluding' (atisaṁdhāya) the world, by giving out the sixty-four Tantras, which expound practices conferring only one or another of the various psychic powers and worldly fulfilments. Afterwards, on Thy special insistence, He revealed this Thy own Tantra to the world, independent of all the others and capable of conferring all the Puruśhārthas - Dharma, Artha, Kāma and Mokṣha – on the votaries, by itself.

32 Transliteration
śhivaḥ śhaktiḥ kāmaḥ kṣhitir atha raviḥ śhīta-kiraṇaḥ
Smaro haṁsaḥ śhakras tadanu cha par'āmāra harayaḥ
Amī hṛillekhābhis tisṛibhir avasāneṣhu ghaṭitā
Bhajante varṇās te tava janani nām'āvayavatām

32 Translation
O Mother! Śhiva, Śhakti, Kāma and Kṣhiti; and then Ravi, Śhītakiraṇa, Smara, Haṁsa; these (three sets of) syllabes, when conkoined severally at their ends with the three Hṛillekhās, become the components of Thy name.
O Mother! The parts that combine to form Thy name (Mantra) are three groups of syllables – first, the group Ka, e, i and la indicated by the words Śhiva, Śhakti, Kāma and Kṣhiti; second, the group ha, sa, ka, ha and la denoted by Ravi, Śhītakiraṇa, Smara, Haṁsa and Śhakra; and third, the group Sa, Ka and la denoted by Para, Māra and Hari together with Hṛillekhā (syllable Hṛim) added at the end of each of the three groups of syllables.

33 Transliteration
Smaraṁ yoniṁ lakṣhmīṁ tritayam idam ādau tava manor
Nidhāy'aike nitye niravadhi mahā-bhoga rasikāḥ
Bhajanti tvāṁ chintā-maṇi guna nibaddh'ākṣha valayāḥ
śhiv'āgnau juhv'antaḥ surabhi ghṛita dhār'āhuti śhataiḥ

33 Translation
O Goddess eternal! having placed this triad of Smara, Yoni and Lakṣhmī before Thy Mantra, some (devotees of Thine), bent on the bountless enjoyment of Beatitude, worship Thine with rosaries strung with Chintāmaṇi beads, while offering hundreds of oblations with streams of Surabhi's ghee, on the fire of Śhivā 9triangle)
Some connoisseurs of the highest Enjoyment (Mahābhogarasikāḥ), adding before the beginning of Thy Mantra (verse 32) the Bīja-syllables of Kāmarāja (Klīm), Bhuvaneśhwarī (Hrīm) and Śhrī (Śhrīm) and adorned with a necklace of Chintāmaṇi, worship Thee with oblation consisting of countless streams of Kāmadhenu's ghee in the purified fire of Śhivā (i.e., Śhakti established as the Trikoṇa in the Anāhata chakra).

34 Transliteration
śharīraṁ tvaṁ śhambhoḥ śhaśhi-mihira vakṣh'oruha yugaṁ
Tav'ātmānaṁ manye Bhagavati nav'ātmānam anagham
Ataḥ śheṣhaḥ śheṣh'īty'ayam ubhaya sādhāraṇatayā
Sthitaḥ saṁbandho vāṁ samarasa par'ānanda parayoḥ

34 Translation
O Glorious Goddess! Thou art the frame of Śhaṃbhu with the Sun and the Moon as the breasts. I conceive Thy flawless frame to be Navātman (Śhaṃbhu). Hence the relationship of the essential and the acccessory, in the case of Ye both, equipped of Transcendent Bliss and Transcendent (Consciousness), strands even.
O Bhagavatī! Thou art verily the body of Śhaṃbhu with the sun and the moon as the two breasts. And Thy being is verily the flawless Śhaṃbhu, having nine aspects (navātman). Therefore in the matter of relationship of Śheṣha (the accessory or the subservient factor) and Śheṣh (the principal or essential entity), both Parānanda (Ānandabhairava) and Para (Ānandabhairavī) stand on an equal footing.

35 Transliteration
Manas-tvaṁ vyoma tvaṁ marud asi marut sārathir asi
Tvam āpas-tvaṁ bhūmis-tvayi pari-ṇatāyāṁ na hi param
Tvameva sv'ātmānaṁ pari-ṇamayituṁ viśhva vapuṣhā
Chid-ānand'ākāraṁ śhiva-yuvati bhāvena bibhṛiṣhe

35 Translation
O youthful spouse of Śhiva! Thou art the Mind, Thou the Eterr, Thou the Air, Thou the Fire, Thou the Water, and Thou the Earth. When Thou hast transformed Thyself, with a view to manifesting Thyself in the form of the Universe, inwardly assumest in the form of Consciousness and Bliss.
Thou art the Mind, Thou art Ākāśha. Thou art also Fire. Thou are Water and Earth too. When Thou has transformed Thyself in this way into the form of the universe, there is nothing beyond not included in Thee. It is to transform Thyself into the universe that Thou assumest this form of Consciousness-Bliss as Śhiva's Consort and Śhakti.

36 Transliteration
Tav'āgñyā chakra sthaṁ tapana śhaśhi koṭi dyuti-dharaṁ
Paraṁ śhambhuṁ vande pari-milita pārśhvaṁ parachitā
Yam ārādhyan bhaktyā ravi śhaśhi śhuchīnām aviṣhaye
Nirāloke-'loke nivasati hi bhā-loka bhuvane

36 Translation
I salute the Supreme Śhambhu, who stand in Thy Āgñyā Chakra, who is effulgent with the radiance of myriads of Suns and Moons whose (left side is embraced by the Suprem Consciousness, and by worshipping whor with all devotion, one takes abode in tha luminous region, which transcends the reac of the Sun, the Moon and Fire, devoid of all agony.
I salute the Supreme Śhambhu residing in Thy Āgñyā Chakra, who is resplendent as crores of suns and moons put together, and whose (left) side is integrated with the Supreme Consciousness embodied as the Devī. He who adores Him with deep devotion attains that Self-conscious and Self-luminous State which is not a Loka, which transcends the pale of the light of the Moon, Sun and Fire, and which is beyond the ken of all.

37 Transliteration
Viśhuddhau te śhuddha sphaṭika viśhadaṁ vyoma janakaṁ
Śhivaṁ seve devīm api Śhiva samāna vyavasitām
Yayoḥ kāntyā yāntyāḥ śhaśhi-kiraṇa sārūpya saraṇe-
Vidhūt'āntar dhvāntā vilasati chakor'īva jagatī

37 Translation
I worship, in Thy Viśhuddhi, Śhiva, clear as pure crystal and generating Vyoman, as also the Goddess, whose functions are the same as Śhiva's; in virtue of the lustre of Them both assuming equality of status with the moonbeams, the Universe, rid of its internal darkness, delights like a she-partridge.
In Thy Viśhuddhi Chakra I meditate on Śhiva, the creator of Ākāśha, resembling a pure crystal in purity, along with the Devī who is equal to Śhiva in all respects. In the Lunar Brilliance proceeding from Them both, the whole universe, free from the darkness of ignorance, rejoices the Chakorī (female partridge).

38 Transliteration
Samunmīlat saṁvit kamala makarand'aika rasikaṁ
Bhaje haṁsa dvandvaṁ kim api mahatāṁ mānasa-charam
Yad ālāpād aṣhṭ'ādaśha guṇita vidyā pariṇatir
Yad ādatte doṣhād guṇam akhilam adbhyaḥ paya iva

38 Translation
I worship that unique pair of swans, subsisting entirely on the honey of the blooming lotus of wisdom (the Anāhata) and gliding over the Mānasa of great minds; from whose mutual cackle, there results the exposition of the eighteen Vidyā, and which extracts all the good from the bad, even as it would, milk from the water (which dilutes it).
O Mother! I adore the pair of swans (Śhiva-Śhakti) who take delight in imbibing the honey of the full-blown Lotus of Knowledge of the Anāhata Chakra, and who swim in the Mānasa lake of the mind of enlightened ones. Their mutual conversation is what has become the eighteen Vidyās, and they separate good from evil, as milk from the water with which it is diluted (as swans do).

39 Transliteration
Tava svādhiṣhṭhāne hutavaham adhiṣhṭhāya nirataṁ
Tam īḍe saṁvartaṁ Janani mahatīṁ tāṁ cha samayām
Yad āloke lokān dahati mahati krodha kalite
Dayārdrā yā dṛiṣhṭiḥ śhiśhiram upachāraṁ rachayati

39 Translation
O Mother! I glorify that Saṃvarta, who abides in Thy Swādhiṣhṭhāna, presiding over Agni-tattva; and also that great Samayā, whose glance, glistening with pity, applies the chilling (soothing) process, when His mighty stare, pregnant with rage, consumes the worlds.
O Mother! Invoking Saṃvarta (Kālāgni-Rudra), the Lord of the Fire of Dissolution in th eFire element of the wādhiṣhṭhāna chakra I adore Him along with Thee, Samayā, the great Mahāśhakti of Rudra. When the angry looks of Rudra burn up the universe, it is Thy merciful look that bestows on them the reviving blessing of coolness.

40 Transliteration
Taḍ ittvan taṁ śhaktyā timira pari-panthi sphuraṇayā
Sphuran-nānā ratn'ābharaṇa pari-ṇaddh'endra dhanuṣham
Tava śhyāmaṁ meghaṁ kam api maṇipūr'aika śharaṇaṁ
Niṣheve varṣhantaṁ hara-mihira taptaṁ tri-bhuvanam

40 Translation
I worship that redoubtable dark-blue cloud, abiding for ever in Thy Maṇipūra, endowed with lightning in the form of the Śhakti, whose lustre controverts darkness, with a rainbow caused by the sparkling of variegated gems set in the jewels (of the Kuṇḍalinī), and showering rain over the worlds scorched by Hara (Fire) and Mihira (the Sun).
I worship that unique dark blue rain cloud which abides ever in the Maṇipūra sending showers on the universe that has been burnt by the sun of Rudra – the rain cloud that is illumined by the brilliant lightning in the form of Śhakti, and revealing the rainbow made by the reflection of the numerous sparkling gems set in the Kuṇḍalinī, and dispelling the darkness reigning in the Maṇipūra.

41 Transliteration
Tav'ādhāre mūle saha samayayā lasya parayā
Nav'ātmānaṁ manye nava rasa mahā-tāṇḍava-naṭam
Ubhābhyām etābhyām udaya vidhim uddiśhya dayayā
Sanāthābhyāṁ jagñye janaka-jananī-maj jagad idam

41 Translation
I conceive, in Thy Mūlādhāra, the Deity dancing the great Tāṇḍava, replete with the nine sentiments, along with Samayā intent upon Lāsya, as Navātman. This world came to own its father and mother in these two, with their manifest grace for the act of Creation.
In Thy Mūlādhāra Chakra I meditate on the Navātman (Mahābhairava) who, expressing nine sentiments, is engaged in the Mahātāṇḍava dance in the company of Samayā (Mahābhairavī) who is dancing in the Lāsya type of dance. The universe has come to have a Father and a Mother in ye both, who have come together graciously for its regeneration (after its being burnt up).

42 Transliteration
Gatair māṇikyatvaṁ gagana maṇibhiḥ sāndra ghaṭitaṁ
Kirīṭaṁ te haimaṁ Hima-giri-sute kīrtayati yaḥ
Sa nīḍeyaḥ chhāyāḥ chhuraṇa śhabalaṁ chandra śhakalaṁ
Dhanuḥ śhaunāsīraṁ kim iti na nibadhnāti dhiṣhaṇām

42 Translation
O Daughter of the snow-capped Mountain! he who describes Thy crown of gold closely set with the (twelve) Suns, why will he not gain the impression that the crescent Moon (beside), variegated with the diffused lustre of the various gems embedded therein, is but Śhaunāsīra;s bow?
O Daughter of the snow-capped Mountain! A poet who describes the golden crown on Thy head, set densely with precious gems (mmāṇikya) constituted of the twelves suns – will he not have the impression that the crescent moon on Thy head is Indra's bow (rainbow), on seeing the variegated hues it reflects from the diffused light of the surrounding luminous bodies falling on it?

43 Transliteration
Dhunotu dhvāntaṁ nas tulita dalit'endīvara vanaṁ
Ghana snigdhaḥ-lakṣhṇaṁ chikura nikurumbaṁ tava śhive
Yad'īyaṁ saurabhyaṁ sahajam upalabdhuṁ sumanaso
Vasanty'asmin manye vala mathana vāṭī viṭapinām

43 Translation
O Spouse of Śhiva! may Thy lock of hair, which resembles an expanse of blue lilies in bloom and which is thick, shining and soft, drive away our (internal) darkness. I take it that flowers of the trees of the garden of the slayer of Vala, take up their abode in this (lock) (as though) to acquire its inherent fragrance.
O Consort of Śhiva! May Thy braid of locks resembling a forest of full-blown lotus flowers, luxuriant, soft and oily, remove the darkness of ignorance in our hearts. I presume that the heavenly flowers of Indra's garden have taken a place in Thy locks to imbibe a little of the natural fragrance of those locks (and not to add fragrance to the locks like flowers ordinarily worn by women.)

44 Transliteration
Tanotu kṣhemaṁ nas tava vadana saundarya-laharī
Parīvāha srotaḥ saraṇir iva sīmanta saraṇiḥ
Vahantī sindūraṁ prabala kabarī bhāra timira
Dviṣhāṁ vṛindair bandī-kṛitam iva navīn'ārka kiraṇam

44 Translation
May the parting line of the hair over Thy forehead, which verily marks the track taken by the surging flood of beauty of Thy face and which bears the vermillion streak, resembling a bea, of the newly rising Sun held in bondage by adversary hordesm, namely the immensely powerful elements of darkness in (the form of Thy) locks of hair, vouchsafe our welfare.
May we be blessed ever more by the parting middle line of Thy hair, which appears to be a canal for carrying the overflowing flood of beauty of Thy face. The streak of vermillion adorning that line looks like the rays of the rising sun entrapped by the opposing enemy hordes of darkness constituted of Thy hair hemming it on both sides.

45 Transliteration
Arālaiḥ sv'ābhāv'yād alika-labha saśhrībhir alakaiḥ
Parītaṁ te vaktraṁ parihasati paṅkeruha ruchim
Dara-smere yasmin daśhana ruchi kiñjalka ruchire
Sugandhau mādyanti smara-dahana chakṣhur madhu-lihaḥ

45 Translation
Surrounded by curly hair resembling (swarmd of) young bees, Thy face scoffs at the beauty of the lotus-flower; in which face, smiling gently, rendered handsome by the filament-like brilliance of the teeth and endowed with fragrnace, the bees of the eyes of the Destroyer of Smara revel.
They face surrounded by Thy naturally curly Alakas (forelocks), beautiful like a swarm of young honey beetles, mocks at the clebrated beauty of lotus flowers and rendered charming by the brilliance of Thy lotus-filament-like rows of teeth, revel the intoxicated honey suckers of the eyes of Śhiva, the destroyer of Cupid.

46 Transliteration
Lalāṭaṁ lāvaṇya dyuti vimalam ābhāti tava yad
Dvitīyaṁ tan manye makuṭa ghaṭitaṁ chandra śhakalam
Viparyāsa nyāsād ubhayam api saṁbhūya cha mithaḥ
Sudhā-lepa syūtiḥ pariṇamati rākā hima-karaḥ

46 Translation
I fancy, Thy forehead, which shines bright and clear in the effulgence of its beauty, is a second crescent fixed on to (Thy) crown. For, the two, by being placed invrtedly (one above the other) nd by blending together, turn out to be the full moon besmered with the balm of nectar.
Thy forehead shining with the pure brilliance of its divine beauty, is, I fancy, a second crescent moon inverted and attached below Thy crown (in addition to the crescent moon already on it). If these two halves (the one on Thy crown with ends up and the other, the crescent moon on Thy forehead with ends down) are attached in the reverse order, they can form the full moon with the nectarine fluid dripping from it.

47 Transliteration
Bhruvau bhugne kiṁ-chid bhuvana-bhaya-bhaṅga vyasanini
Tvadīye netrābhyāṁ madhu-kara ruchibhyāṁ dhṛita-guṇam
Dhanur-manye savy'etara kara-gṛihītaṁ rati-pateḥ
Prakoṣhṭhe muṣhṭau cha sthagayati nigūḍh'āntaram Ume

47 Translation
O Umā, ever intent on annihilation of the world's fear! I see in Thy slsigghtly knitted pair of eyebrows the bow of Rati's consort, strung with Thy bee-like pair of eyes, and held (aloft) in his left hand with the middle part hidden, his wrist and clenched first covering them.
O Umā, ever intent on remedying the distress of the worlds! I am led to believe that Thy two slightly knitted eyebrows form the bow of Kāmadeva and Thy honey-beetle-like black eyes its string, while its middle portion is hidden by the nasal ridge, as if it were the clenched fist and forearm of Kāmadeva's right arm holding it.

48 Transliteration
Ahaḥ sūte savyaṁ tava nayanam ark'ātma-katayā
Triyāmāṁ vāmaṁ te sṛijati rajanī nayaka tayā
Tṛitīyā te dṛiṣhṭir daradalita hem'āmbuja ruchiḥ
Sam'ādhatte saṁdhyāṁ divasa niśhayor antara charīm

48 Translation
Thy right eye, being og the form of the Sun, begets the day, while The left (eye), of the form of the Moon, begets the night; Thy third eye, hich resembles a slightly blossomed gold lotus, brings forth twilight, which intervenes day and night.
Thy right eye as the sun causes the day time, while from the left eye is born the night time with the moon as its lord. Then there is Thy third eye (on the forehead above), resembling a golden lotus slightly in bloom, which is responsible for the two Saṁdhyās, the twilight time that comes between day and night in the morning and evening.

49 Transliteration
Viśhālā kalyāṇī sphuṭa ruchir ayodhyā kuvalayaiḥ
Kṛipā-dhār'ādhārā kim api madhur'ābhoga-vatikā
Avantī dṛiṣhṭis te bahu-nagara vistāra vijayā
Dhruvaṁ tat-tan-nāma vyava-haraṇa yogyā vijayate

49 Translation
Thy glance of Thine eyes is al-comprehensive (Viśhālā); seplls prosperity (Kalyāṇī); serenely dazzles and (as such) cannot be faced in battle (Ayodhyā) by blue lilies; is the fountain-head of the stream of mercy (Dhārā); is superbly sweet (Madhurā); enjoys immense happiness (Bhogavatī); is the savior (Avantī) o fthe devoted); out-rivals in extenso (Vijayā, nay) several (other) cities; and is indeed capable of being (appropriately) indicated by their respectove names. All glory to it!
All glory to Thy eyes which are wide (viśhālā); auspicious (kalyāṇī) because of being brilliantly clear; undefeated (ayodhyā) even by blue lilies; shedding a continuous flow of grace (kṛipādhārā-dhārā); sweet without display (Avyakta-madhura); long (Abhogavati); and offering protection to the world (Avantī). Surpassing (Vijayā) all these great cities in their uniqueness, Thy eyes deserve to be denoted by all the names mentioned above.

50 Transliteration
Kavīnāṁ saṁdarbha stabaka makarand'aika rasikaṁ
Kaṭākṣha vyākṣhepa bhramara kalabhau karṇa yugalam
Amuñchantau dṛiṣhṭvā tava nava-ras'āsvāda taralāu
Asūyā saṁsargād alika-nayanaṁ kiṁ-chid aruṇam

50 Translation
The (third) eye on Thy forehead is somehwat red, (as though) influenced by jealousy, seeing taht Thy two young bee0like obliquely glancing (eyes), in their eagerness to swallow the nine Rasas (poetic sentiments), do not leave off Thy pair of ears, which cheifly delight in the honesty of the cluster of flowers of poetic compositions.
The two honey-bees of Thy long eyes are unceasingly hovering about Thy ear, ever absorbed in imbibing the honey dripping from the flower bunch of the nine poetic sentiments poured into them by poet-devotees (singing hymns on Thee). Seeingthis good fortune of the two eyes, Thy third eye in the forehead looks slightly red out of jealous hostility.

51 Transliteration
śhive śhṛiṅgār'ārdrā tad itara-jane kutsana-parā
Saroṣhā gaṅgāyāṁ giriśha-charite vismayavatī
Har'āhibhyo bhītā sarasiruha saubhāgya jananī
Sakhīṣhu smerā te mayi Jananī dṛiṣhṭiḥ sakaruṇā

51 Translation
O Mother! Thy look is soft with love towards Śhiva; scornful towards other folks; spiteful towards Gaṅgā; expressive of wonder at Giriśha's exploits; full of dread (when confronted) with the snakes (ornaments) of Hara; eclipses the beautiful color of the lotus; smiles on Thy comrades; and is full of grace towards me.
O Mother! The expression of Thy look at Śhiva is characterised by the sentiment of love; at others with that of dislike; at the co-wife Gaṅgā with that of anger; at the hearing of the great deeds of Śhiva, with that of wonder; at the great serpents forming the ornament of Śhiva, with that of dread; at the sight of Thy comrades, with that of light-hearted sympathy characterised by a patronising smile; and at me, a devotee, with that of a compassionate expression. And besides, Thy look has the red-tinged loveliness of a lotus flower, indicating heroism.

52 Transliteration
Gate karṇ'ābhy'arṇaṁ garuta iva pakṣhmāṇi dadhatī
Purāṁ bhettuśh chitta praśhama rasa vidrāvaṇa phale
Ime netre gotr'ādhara pati kul'ottaṁsa Kalike
Tav'ākarṇ'ākṛiṣhṭa smara śhara vilāsaṁ kalayataḥ

52 Translation
O Crest-bud of the dinasty of the King of the Mountains! these two eyes of Thine, finged with feather-like eyelashes, reaching Thine ears, and causing disturance in the profound mental placidity of the Destroyer of the Coties (Śhiva), play the part of Smara's arrows, drawn up to the ear.
O Mother! Thou the flower bud placed on the crest of the Mountain King's dynasty! These long eyes of Thine, which extend up to the ears, with eye lashes resembling the feather wings attached to arrows which are engaged in disturbing the placidity of the mind of Śhiva look like the arrows of cupid aimed and drawn up to the ear.

53 Transliteration
Vibhakta trai-varṇyaṁ vyati-karita līl'āñjanatayā
Vibhāti tvan netra tritayam idam īśhāna-dayite
Punaḥ sraṣhṭuṁ devān druhiṇa hari rudrān uparatān
Rajaḥ sattvaṁ bibhrat-tama iti guṇānāṁ trayam iva

53 Translation
O Beloved of Īśhana! this triad of Thine eyes, displaying the three colors severally, smeared as it is with collyrium, shines out as if possessing the triad of of Guṇas - Rajas, Sattva and Tamas - so as to create once again the Devas - Druhiṇa, Hari and Rudra - when They cease to exists.
O Consort of Īśhwara ! Thy three eyes look tri-colored when the black of the beautifying collyrium shines by the side of their natural white and reddish tinges, each keeping its distinctiveness. It looks as if these three colors represent the three Guṇas of Rajas, Sattva and Tamas, which Thou assumest with a view to revive Brahmā, ṣhṇu and Rudra after Their dissolution in the Pralaya, and start Them once again on the creative activity.

54 Transliteration
Pavitrī-kartuṁ naḥ paśhu-pati parādhīna hṛidaye
Dayā-mitrair netrair aruṇa-dhavala śhyāma ruchibhiḥ
Nadaḥ śhoṇo gaṅgā tapana-tanay'eti dhruvam amuṁ
Trayāṇāṁ tīrthānām upanayasi saṁbhedam anagham

54 Translation
O (Goddess) with a heart entirely devoted to Paśhupati! Thou verily bringest about with Thy merciful eyes, which are red, white and dark in color, this hallowed (sin-washing) confluence of the three sacred streams of the Rivers - Śhoṇā, Gaṅgā and Tapana-tanayā - to sacnctify us all.
O Mother who art ever devoted to Śhiva! It seems certain that with Thy kindly eyes having the three colors of red, white and black, Thou presentest to us the confluence of the holy rivers of Śhoṇā, Gaṅgā and Yamunā to sanctify ourselves by getting immersed in them.

55 Transliteration
Nimeṣh'onmeṣhā-bhyāṁ pralayam udayaṁ yāti jagatī
Tav'ety'āhuḥ santo Dharaṇi-dhara-rājanya-tanaye
Tvad unmeṣhāj-jātaṁ jagad idam aśheṣhaṁ pralayataḥ
Paritrātuṁ śhaṅke parihṛita nimeṣhās tava dṛiśhaḥ

55 Translation
...... the Sages say that the world has (its) dissolution and genesis with the cloning and opening of Thine eyes. Methings, Thine eyes are bereft of winking, with a view to save from dissolution this entire universe, which had its origin in the opening of Thine eyes.
...... Great men say that the closing and opening of Thy eyelids mark the dissolution and creation of this universe. Therefore it must be to prevent this universe, that has sprung at the opening of Thy eyes, from going into dissolution that Thou dost not wink but keepest Thy eyes always open.

56 Transliteration
Tav'āparṇe karṇe japa nayana paiśhunya chakitā
Nilīyante toye niyatam animeṣhāḥ śhapharikāḥ
Iyaṁ cha śhrīr baddhach-chhada puṭa kavāṭaṁ kuvalayam
Jahāti pratyūṣhe niśhi cha vighaṭay-ya praviśhati

56 Translation
O Aparṇā! the (glittering) Śhapharikā fish[es] ever hide themselves under water without winking, afraid of the tell-tale nature of Thine eyes, which are so close to Thine ears. The Goddess of Beauty, again, leaves the blue lily at daybreak when its doorlike petals close, and forces an entrance (into it) at nightfall.
O Aparṇā! The Śhapharikās (female fish) hide themselves in water in fear, afraid of the tell-tale activities of Thy eyes against them, their rivals; and Śhrī, the Goddess of Beauty, abandons the closed petals of the blue lily during the day in order to reside in Thy lotus-like eyes, and returns again at night to the blooming bluelily, when Thy eyes are closed in sleep.

57 Transliteration
Dṛiśhā drāghīyasyā dara-dalita nīl'otpala ruchā
Davīyāṁsaṁ dīnaṁ snapaya kṛipayā mām api śhive
Anenāyaṁ dhanyo bhavati na cha te hānir iyatā
Vane vā harmye vā sama-kara-nipāto hima-karaḥ

57 Translation
O Spuse of Śhiva! may Thou graciously bathe even me, who stands helpless at a far off distance, with Thy far-reaching glance, beautiful like the slightly blossomed blue lily. This (mortal) will derive the summum bonum existence from such (action). By such action, no loss is after all sustained by Thee. The snow-beamed (Moon) sheds the selfsame lustre on a forest as qwell as on a mansion.
O Consort of Śhiva, Grace my miserable self too, in spite of my being far removed from Thee through lack of devotion, with the long-ranging and compassionate look of Thy eyes, which defeat the slightly blooming blue water lily in beauty. By this my humble self shall feel blessed, while to Thee it involves no loss. The rays of the moon fall alike, indeed, on a mansion and a wilderness.

58 Transliteration
Arālaṁ te pālī-yugalam aga-rājanya tanaye
Na keṣhām ādhatte kusuma śhara kodaṇḍa kutukam
Tiraśh-chīno yatra śhravaṇa patham ullaṅghya vilasan
Napāṅga-vyāsaṅgo diśhati śhara saṁdhāna dhiṣhaṇām

58 Translation
O Daughter of the King of Mountains! to whom would the arched pair of ridges (between Thine eyes and ears) not convey the grace of the bow of the flower-arrowed (god of love)? For, Thy long side-glance, directed across which (ridges) and reaching the vicinity of Thine ear, creates the impression of the mounting of an arrow (on the bow-string).
O Daughter of the Mountain King! Who will not perceive the graces of the bow of Kāma, the flower-arrowed god of love, on seeing Thy pair of arched ridges between the eyes and the ears. For, Thy long-sided glances across the ridges reaching up to Thy ears give the impression of an arrow mounted on a bow string.

59 Transliteration
Sphurad gaṇḍ'ābhoga pratiphalita tāṭaṅka yugalaṁ
Chatuśh-chakraṁ manye tava mukham idaṁ manmatha ratham
Yam'āruhya druhyaty'avani-ratham ark'endu charaṇaṁ
Mahāvīro māraḥ pramatha-pataye sajjitavate

59 Translation
This face of Thine, with the pair of Ts (ear-ornaments) reflected on Thy glistening chicks, I fancy, to be the four-wheeled chariot of Manmatha, mounted on which, Māra, the valliant warrior that he is, confronts the Lord of the Pramatha (hosts) who (once_ got ready (for battle, mounted on) the Earth-chariot with the Sun and the Moon as its wheels.
I fancy that Thy face, having two ear ornaments and their reflection in Thy glistening cheeks, is verily the four-wheeled chariot of Manmatha, the gold of love, who can stir the mind of people to its depth. It is seated in this chariot of Thy face that he became valiant enough to inflict pangs on Śhiva, the Lord of Pramatha hosts, when, ready for the destruction of the Tripuras, he was mounted on his earth chariot having the sun and the moon for its two wheels.

60 Transliteration
Sarasvatyāḥ sūktīr amṛita laharī kauśhala harīḥ
Pibantyāḥ śharvāṇi śhravaṇa chulukābhyām aviralam
Chamat-kāra śhlāghā-chalita śhirasaḥ kuṇḍala-gaṇo
Jhaṇat-kārais tāraiḥ prati vachanam āchaṣhṭa iva te

60 Translation
O Consort of Śharva! while Thou hast been continously drinking in, with the hollow of Thine outstretched ears, the sweet wonds of Goddess Saraswatī, which keep far in the background the flood of nectar, and been shaking Thy head by way of appreciating the merit (of the composition), Thy various ear ornaments echo in unison, as it were, with loud chimes.
O Consort of Śhiva! Saraswatī, the Goddess of Learning, imbibing continuously through the cup of her ears Thy sweet speech that humbles the delectableness of the flood of the immortal drink Amṛut, replies congratulating Thee, as it were, by the loud clang of her ear-ornaments, as she shakes her head in appreciation of Thy delightful speech.

61 Transliteration
Asau nāsā vaṁśhas tuhina giri-vaṁśha dhvaja-paṭi
Tvadīyo nedīyaḥ phalatu phalam asmākam uchitam
Vahann antar-muktāḥ śhiśhira-tara niśhvāsa galitaṁ
Samṛiddhyā yat tāsāṁ bahir api cha muktāmaṇi dharaḥ

61 Translation
O Flag of the staff (dynasty) of the snow-capped Mountain! may this, the bamboo of Thy nose, immediately bear us the cherishedfruit. Bearing in its (hollow) interior pearls, kept in their places by Thy very cool breath, it wears a pearl outside also, thee being an abundance of them (pearls therein).
O Flag of the House of the Mountain of Snow! May Thy nose which is, as it were, the hollow bamboo staff of that aflag, bestow on us the desired fruit. The hollow of that staff-like nose is full of pearls; for it is out of their abundance that one pearl, pushed out by the moon-cooled breath of the left nostril, has come out to be Thy nasal pendant.

62 Transliteration
Prakṛity'ārakt'āyās tava sudati Dantach-chhada-rucheḥ
Pravakṣhye sādṛiśhyaṁ janayatu phalaṁ vidruma-latā
Na bimbaṁ tad bimba prati-phalana rāgād aruṇitaṁ
Tulām adhy'āroḍhuṁ katham iva vilajjeta kalayā

62 Translation
O (Goddess) with beautiful (rows of) teeth! I shall presently name what equals the lustre of Thy naturally red lips. Let the coral creaper bear fruit. It is not the Bimba fruit. Having turned red because of the redness caused by the reflection of Thy form, how will it not feel ashamed to be weighted in the balance, even to the slightest extent?
O Devī with attractive rows of teeth! I shall now try to find out an object of comparison to describe Thy naturally red lips. But I am afraid I shall have to wait for this until the coral creeper (red all over) produces a fruit (which one can expect to be more red than the creeper itself). But is there not the Bimba fruit as a fitting object of comparison? No; for how will Bimba fruit not feel ashamed to stand before those lips, a mere reflection of which has made that fruit red!

63 Transliteration
Smita jyotsnā jālaṁ tava vadana-chandrasya pibatāṁ
Chakorāṇām āsīd ati-rasatayā chañchu jaḍimā
Atas te śhīt'āṁśhor amṛita laharīm amla ruchayaḥ
Pibanti svach-chhandaṁ niśhi niśhi bhṛiśhaṁ kāñjika dhiyā

63 Translation
There was satiety in the beaks (reached), owing to excessive sweetness, by the Chakora birds drinking the moonlight-like smile on Thy moon-like face. Hence, eager to taste sonething sour they freely dring every night, ardently, thenecta flowing from the Moon, in the belief that it is gruel.
The Chakora bird has got its tongue insensitised because of the extreme satiety generated by drinking the luminous light of Thy smiling face. It is for this reason that every night it drinks to its fill the light of the 'natural moon' under the impression that it is some sour gruel that will relieve the insenstiveness of its tongue.

64 Transliteration
Aviśhrāntaṁ patyur guṇa-gaṇa-kath'āmreḍana japā
Japā puṣhpach-chhāyā tava Janani jihvā jayati sā
Yad agrāsīnāyāḥ sphaṭika dṛiṣhad achchhach chhavi mayī
Sarasvatyā mūrtiḥ pari-ṇamati māṇikya vapuṣhā

64 Translation
O Mother! glory to that tongue of Thine, which is of the color of the Japā flower, and which unceasingly mutters prayers, reiterating the glorious achievements of Thy Lord, while the crystal-like, bright white body of Saraswatī seated at the tip (of Thy tongue) gets transformed into a ruby.
Hail unto Thy tongue which defies the Japā (hibiscus) flowers in its redness and is constantly engaged in the Japa (mutterings) that give expression to the glories of Thy Consort! The ruddiness of that tongue is so intense that the Goddess of speech Saraswatī, who dwells on the tip of that tongue, gets there crystal-like white complexion changed into the color of a ruby noted for its reddish tinge.

65 Transliteration
Raṇe jitvā daityān apahṛita śhirastraiḥ kavachibhir
Nivṛittaiḥ-chaṇḍ'āṁśha tripura-hara nirmālya vimukhaiḥ
Viśhākh'endr'opendraiḥ śhaśhi viśhada karpūra śhakalā
Vilīyante mātas tava vadana tāmbūla kabalāḥ

65 Translation
O Mother! the (chewed) betel and nut (mixed) withthe powder of refined camphor radiant like the moon, (spit) off Thy mouth, is eagerly set upon by Viśhākha, Indra and Upendra, on their return after vanquishing the Daityas in battle, with their head-gear doffed and clad in armor, having given up the offal of Tripurahara as falling to the sahe of Chaṇḍa.
Rejecting the leavings of Śhiva as the share of the devotee Chaṇḍa, celestials like Kumāra, Indra and Viṣhṇu, after their victory over the Asuras, come to Thee with their headdress removed and only their chainmail on, to receive as Thy gracious gift (prasada) the betel rolls used by Thee, and chem. them until they, along with the white pieces of refined camphor contained in them, dissolve.

66 Transliteration
Vipañchyā gāyantī vividham apadānaṁ puraripos
Tvay'ārabdhe vaktuṁ chalita śhirasā sadhu-vachane
Tadīyair mādhuryair apalapita tantrī kala-ravāṁ
Nijāṁ vīṇāṁ vāṇī nichulayati cholena nibhṛitam

66 Translation
Vāṇī, rendering upon the harp (songs recounting) the various past achievements of Puraripu, quietly covers with its sheath her own instruments, the sweet notes of whose strings being far excelled by the soft melody of the words of praise with which Thou began, shaking Thy head to applauud (her rendering).
When, on hearing the songs on the greatness and achievements of Śhiva tuned on the Vīṇā by Saraswatī, the Goddess of learning and fine arts, Thou beginnest to speak nodding Thy head in appreciation, the sweetness of Thy voice seems to cast ridicule on the soft melody of that musical instrument, and Saraswatī therefore secretly puts it in its case.

67 Transliteration
Kar'āgreṇa spṛiṣhṭaṁ tuhina giriṇā vatsala tayā
Girīśhen'odastaṁ muhur adhara pān'ākulatayā
Kara-grāhyaṁ śhambhor mukha mukura vṛintaṁ Giri-sute
Kathaṅ-kāraṁ brūmas tava chibukam aupamya rahitam

67 Translation
O Daughter of the Mountain! in what manner shall we describe Thy chin, touched by Himavat with the tips o fthe fingers by way of showing his affection towards his child, raised often and often by the Lord of the Mount (Kailāśha) with eagerness to implant a kiss, fit to be fondly handles by Śhambhu, mathcless and forming the base of Thy mirror-like face?
O Daughter of Himavat! How can we poets describe the unmatched beauty of Thy chin, which is stroked with all affection by Thy father the Mountain King, which is again and again lifted up by Thy Consort Śhambhu in the intensity of his desire to kiss Thee repeatedly, and which forms the handle of the mirror of Thy face for Śhambhu to hold and view?

68 Transliteration
Bhujā-śhleṣhān nityaṁ pura damayituḥ kaṇṭaka-vatī
Tava grīvā dhatte mukha kamala-nāla śhriyam iyam
Svataḥ śhvetā kāl'āguru bahula jambāla malinā
Mṛiṇālī lālityam vahati yad adho hāra latikā

68 Translation
This neck of Thine, horripilated often owng to the embrace of the vanquished of the (three_ Puras, assumes the aspect of the stalk of Thy lotus-ike face, for the reason thta the pearl necklace (worn) thereunder, itself white, but rendered dark owing to the profuse application of the blacl mud-like Aguru paste, attains the beauty of the tender of the lotus stalk.
Thy neck, with horripilations caused by the constant embraces of Thy Consort, the Destroyer of the cities, resembles the thorny stalk of Thy lotus-like face. For, below Thy neck are Thy naturally white cluster of pearl necklaces which, being discoloured by the generously applied dark coloured Aguru paste on the chest, bears the comeliness of the tender bottom part of the stalk of Thy lotus-like face embedded in mire.

69 Transliteration
Gale rekhās tisro Gati-gamaka-gīt'aika-nipuṇe
Vivāha vyānaddha praguṇa guṇa saṁkhyā pratibhuvaḥ
Virājante nānā vidha madhura rāg'ākara bhuvāṁ
Trayāṇāṁ grāmāṇāṁ sthiti niyama sīmāna iva te

69 Translation
O Unique demonstrator of procedure, undulations and song! on Thy neck shone forth three lines, as though denoting the number of strings made of twisted threads auspiciously tied (round the neck) during (Thy) marriage forming as it weere the boundaries demarcating the positions of the three Grāmas, which constitute the treasure-mine of the various kinds of melodious modes of music.
O Mistress of the musical technicalities of Gati (movement) Gamakam (undulations) and Gītam (song)! As though for the confirmation of the three-foldness of the strands of the auspicious string made by twisting several threads and tied round Thy neck (surrounding the maṅgalasūtra) by Thy Consort at the time of Thy marriage, shine forth the three lines of Thy neck, standing, as it were, as the boundaries demarcating the three musical scales (or Gamakas consisting of Ṣhaḍja, Mādhyama and Gāndhāra), which form the source of the various melodies of musical modes.

70 Transliteration
Mṛiṇālī mṛidvīnāṁ tava bhuja-latānāṁ chatasṛiṇāṁ
Chaturbhiḥ saundaryaṁ sarasija-bhavaḥ stauti vadanaiḥ
Nakhebhyaḥ santrasyan prathama mathanā dandhaka ripoḥ
Chaturṇāṁ śhīrṣhāṇāṁ samam abhaya hast'ārpaṇa dhiyā

70 Translation
The lotus-born (Brahmā) praises the beauty of Thy four creaper-like arms, with his four faces, afraid of the nails of the enemy of Andhaka, one of their fellows (the fifth head) having been once chopped off, in the belief that (the Devī's arms) would vouchsafe safety to his four (remaining) heads at the same time.
The lotus-born Brahmā, being afraid of the fingernails of Sadāśhiva, with which the latter, in former times, nipped off his fifth head, is now praising simultaneously with the remaining four heads the comeliness of Thy four creeper-like arms resembling the stalk of lotus in beauty, so that Thou might give those heads protection from the fear of a fate similar to that of the lost head.

71 Transliteration
Nakhānām uddyotair nava nalina rāgaṁ vihasatāṁ
Karāṇāṁ te kāntiṁ kathaya kathayāmaḥ katham Ume
Kayā-chid vā sāmyaṁ bhajatu kalayā hanta kamalaṁ
Yadi krīḍal lakṣhmī charaṇa tala lākṣhā rasa chhaṇam

71 Translation
O Umā! how shall we characterize the splendor of Thy hands which, with the lustre of their finger-nails, throw into the background the bright hue of the newly bloomed lotus? Pray tell us. In the case the lotus (has) its petals turned red (from contact) with the lac-dye on the soles of Lakṣhmī's Feet playing upon it, then by all means let it (the lotus) somewhat resemble (Thy hands), as it cannot be helped.
O Umā! Pray, tell us how we can describe the splendor of Thy hands which, being lit up with the radiance of Thy nails, surpasses the brightness of the morning’s lotus blooms. Perhaps these flowers can attain to some similarity with Thy nails when their redness is enhanced by contact with the lac-dye of the Feet of Goddess Lakṣhmī who sports in them.

72 Transliteration
Samaṁ Devi skanda dvipa vadana pītaṁ stana yugaṁ
Tav'edaṁ naḥ khedaṁ haratu satataṁ prasnuta mukham
Yad ālokyā śhaṅk'ākulita hṛidayo hāsa janakaḥ
Sva-kumbhau herambaḥ pari-mṛiśhati hastena jhaḍ-iti

72 Translation
O Goddess! may Thy breasts, ever blowing with milk and sucked simultaneously by Skanda and Dvipa-vandana - on seeing which Heramba, his mind distracted, with doubt, suddenly touches his own pair of frontal globes with his hand, creating laughter - drive away our misery.
O Mother! May we be relieved of all our sorrows by Thy breasts, from which milk is flowing always and which are being simultaneously sucked by both Skand and Gaṇeśha, Thy sons. All of a sudden Gaṇeśha (Heramba), looking at Thy breasts, feels with His hands whether the pair of frontal globes on His elephant face are there in their proper places (or whether they have disappeared to become Thy breasts present before his eyes), thus giving occasion for great fun (to His parents and onlookers).

73 Transliteration
Amū te vakṣhojāv'amṛita-rasa māṇikya kutupau
Na saṁdeha spando Naga-pati-patāke manasi naḥ
Pibantau tau yasmād avidita vadhū saṅga rasikau
Kumār'āvady'āpi dvirada vadana krauñcha dalanau

73 Translation
O emblem of the Lord of the Mountains! These two breasts of Thine are verily containers (chiselled out) or ruby and filled with nectar. There is not even the slightest doubt in our minds (about this). As Dvirada-vadana and Krauñcha-dalana who drink (out of the two) are innocent of copulative pleasure, they are, even today, childen.
O the Mountain-King’s flag of victory! We have not even the shadow of a doubt about Thy two breasts being jars mad of Māṇikya (ruby) and filled with Amṛuta, the immortal drink. For, it is by drinking their contents that Thy two sons, the mountain-piercing Kumāra and the elephant-headed Vināyaka, have remained young boys (celibate) without knowing women, to this day.

74 Transliteration
Vahaty'amba stamb'erama danuja kumbha prakṛitibhiḥ
Sam'ārabdhāṁ muktā-maṇibhir amalāṁ hāra latikām
Kuch'ābhogo bimb'ādhara ruchibhir antaḥ śhabalitāṁ
Pratāpa vyāmiśhrāṁ pura damayituḥ kīrtim iva te

74 Translation
O Mother! the region of Thy breasts wears a creeper-like lucid garland, strung with pearls from the skull of Stamberama-danuja, its natural lustre variegated with the reflected lustre of Thy bimba lips, (thus) resembling the flame of thy vanquisher of the (three) Puras intermixed with his valor.
O Mother! In the region of Thy breasts is a flawless necklace made of pearls got from the frontal globe of Gajāsura (the elephant demon). It rests there with its white brilliance variegated from within by the reflection of the ruddy tinge of Thy Bimba-like lips, as if it were the confluence of the (white) fame and the (red) valor of Thy Consort, the Destroyer of Cities.

75 Transliteration
Tava stanyaṁ manye Dharaṇi-dhara-kanye hṛidayataḥ
Payaḥ pārāvāraḥ pari-vahati sārasvatam iva
Dayāvatyā dattaṁ draviḍa-śhiśhur āsvādya tava yat
Kavīnāṁ prauḍhānām ajani kamanīyaḥ kavayitā

75 Translation
O Daughter of the Mountain! I fancy that the ocean of the milk of poesy rising out of Thy heart verily causes the milk of Thy breasts to flow, on swallowing which (milk) given by Thee with grace, the Dravidian child became the poet laureate among great poets.
O Daughter of the Mountain King! I fancy that Thy breast milk is the milk-ocean emerging as poetic inspiration from Thy heart. For, it was by drinking it, so graciously given by Thee, that the child of the Dramila country became a noted poet among great composers.

76 Transliteration
Hara krodha jvāl'āvalibhir ava-līḍhena vapuṣhā
Gabhīre te nābhī-sarasi kṛita-saṅgo manasi-jaḥ
Samutta-sthau tasmād Achala-tanaye dhūma latikā
Janas tāṁ jānīte tava janani rom'āvalir iti

76 Translation
O Daughter of the Mountain! Manasika drowned himself in the tank of Thy navel with his body enveloped in the flames caused by Hara's anger. Thence rose a creeper-like (column of) smoke. O Mother! the world takes it to be the line of down (above Thy navel).
O Mother born of the Mountain! When the flames of Śhiva’s anger began to envelop Kāmadeva (Cupid), he took refuge in the deep lake of Thy navel. The fire that thus got extinguished sent forth a thin creeper-like column of smoke, which men describe as Thy Romāvali or the line of hair that goes up from Thy navel.

77 Transliteration
Yad etat kālindī tanu tara taraṅg'ākṛiti śhive
Kṛiśhe madhye kiṁ-chij-janani tava yad bhāti sudhiyām
Vimardād anyo'nyaṁ kucha kalaśhayor antara-gataṁ
Tanū bhūtaṁ vyoma praviśhad iva nābhiṁ kuhariṇīm

77 Translation
O spouse of Śhiva, Mother (mone)! this something, assuming the form of the ripples of Kālindī on Thy slim waist, appears to the enlightened (to be) the attenuated Ether intervening the two pot-like breasts, entering the hole of Thy navel, owing to the pressing against each of the two (breasts).
O consort of Śhiva! What in Thy slender middle region shines before me and what is seen by devotees as Thy navel-hair (Romāvali) like the subtle ripples on the surface of Kālindī (Yamunā), is the Vyoma (sky) or interspace between Thy bulging breasts, thinned by their pressure and forced into the cavity of the navel.

78 Transliteration
Sthiro gaṅg'āvartaḥ stana mukula romāvali latā
Kalāvālaṁ kuṇḍaṁ kusuma-śhara tejo huta bhujaḥ
Rater līl'āgāraṁ kim api tava nābhir giri-sute
Bila-dvāraṁ siddher giriśha nayanānāṁ vijayate

78 Translation
O Daughter of the Mountain! all glory to Thy navel (which may be characterized) in some such way (as) a motionless eddy of the Gaṅgā; a trench for the growth of the creeper of the line of down, with the breasts as buds; the pit for maintaining the sacrificial Fire of the prowess of the flower-arrowed (Kusuma-śhara); the pleasure-bower of Rati; the mouth of the cavern for the attainment (of Yoga) by Giriśha's eyes!
O Daughter of the Mountain! Indescribably unique is the glory of Thy navel, which is verily a still whirlpool on the surface of the River Gaṅgā; which forms the bed for the creeper of Thy Romāvali bearing two fruits in the shape of Thy breasts; which is the sacrificial pit wherein burns the fire of the prowess of Kamādeva, the flower-arrowed god of love; which is the pleasure house of his wife Ratī; and which forms the opening of the cavern wherein the eyes of Hara found the consummation of the great austerities he had performed.

79 Transliteration
Nisarga kṣhīṇasya stana taṭa bhareṇa klama juṣho
Naman mūrter nārī tilaka śhanakais truṭyata iva
Chiraṁ te madhyasya truṭita taṭinī tīra taruṇā
Samāvasth'āsthemno bhavatu kuśhalaṁ śhaila-tanaye

79 Translation
O Daughter of the Mountain! may safety be vouchsafed to Thy waist, which is by nature slim, which is in form as if about to give away in the region of the navel and the folds, and whose firmness is akin to that of a tree standing on the fragile bank of a river.
O Daughter of the Mountain! O ornament of womankind! May safety be assured for Thy waist, which, being slender, is laboring under the weight of Thy breasts and therefore stooping, threatening to break under that weight, and whose precarious firmness is like that of a tree on a cracking river bank.

80 Transliteration
Kuchau sadyaḥ svidyat taṭa ghaṭita kūrpāsa bhid-urau
Kaṣhantau dormūle kanaka kalaśh'ābhau kalayatā
Tava trātuṁ bhaṅgād alam iti valagnaṁ tanu-bhuvā
Tridhā naddhaṁ devi trivali lavalī vallibhir iva

80 Translation
O Goddess! Thy three-folded waist has been bound as it were by Tanubhū, three times over with the Lavalī creeper, with a view to save it from breaking, he havingcaused Thy two breasts, which resemble pots of gold, to burst the garment covering their sides perspiring at that moment to rub against the armpits.
O Mother Divine! The three folds in Thy middle region look like three strands of the Lavalī creeper wound by Kamādeva, the god of love, as a support to prevent Thy middle region from breaking under the weight of his creation. Thy quickly perspiring breasts have swollen to the size of two golden pots, touching Thy armpits and bursting the brassiere covering them.

81 Transliteration
Guru-tvaṁ vistāraṁ kṣhiti-dhara patiḥ pārvati nijān
Nitamb'ādāch-chhidya tvayi haraṇa rūpeṇa nidadhe
Atas te vistīrṇo gurur ayam aśheṣhāṁ vasumatīṁ
Nitamba prāg-bhāraḥ sthagayati laghutvaṁ nayati cha

81 Translation
O Pārvatī! the King of the Mountains bestowed on Thee, by way of dowry, heaviness and vastness taken out of his flanks. Hence these, Thy prodigious hips, being (both) broad and heavy, hide from view the entire terrestrial world and make it light as well.
O Pārvatī! Thy father, the Mountain-king, gave the weight and extensiveness of his flanks to Thee as dowry at the the time of Thy marriage. It is for this reason that Thy hips, covering the Earth, have become more extensive than it, and excelling it in weight, rendered it lighter in comparison.

82 Transliteration
Kar'īndrāṇāṁ śhuṇḍān kanaka kadalī kāṇḍa paṭalīm
Ubhābhyām ūrubhyām ubhayam api nir-jitya bhavatī
Su-vṛittābhyāṁ patyuḥ praṇati kaṭhinābhyāṁ Giri-sute
Vidhigñye jānubhyāṁ vibudha kari-kumbha dvayam asi

82 Translation
O Daughter of the Mountain! having surpassed alike the trunks of lordly elephants and the clusters of golden plantain stumps with Thy thighs, Thou hast likewise surpassed the pair of frontal globes of the divine elephant with Thy pair of perfectly round knees, hardened by (constant) prostration before Thy Lord.
O Daughter of the Mountain! Thy thighs subdue by their beauty the trunk of lordly elephants as also the stem of golden colored banana trees while, O observer of all ordained duties, Thy knees, hardened and perfectly rounded by repeated prostrations to Thy Consort, rival the frontal globes of the heavenly elephant Airāvata.

83 Transliteration
Parājetuṁ rudraṁ dvi-guṇa śhara garbhau Giri-sute
Niṣhaṅgau jaṅghe te viṣhama viśhikho bāḍham akṛita
Yad-agre dṛiśhyante daśha-śhara phalāḥ pāda yugalī
Nakh'āgrach-chhadmānaḥ sura makuṭa śhāṇ'aika niśhitāḥ

83 Translation
O Daughter of the Mountain! to vanquish Rudra (in battle) Viṣhama-viśhika has forsooth turned Thy two shanks into two quivers, encasing twice the number of arrows, and over their crests are revealed the ten arrow-heads in the form of toe nails on Thy pair of Feet, exclusively sharpened over the whet-stones of the crowns of the gods.
O Daughter of the Mountain! Surely the five arrowed Kamādeva has, in order to conquer Rudra, utilised Thy shanks as a quiver to store therein double the number of arrows he is credited with. For, at the end of Thy feet are seen, under the guise of Thy toe nails, ten crescent-shaped arrowheads sharpened on the whetstone of the crowns of prostrating Divinities.

84 Transliteration
śhrutīnāṁ mūrdhāno dadhati tava yau śhekhara-tayā
Mam'āpy'etau mātaḥ śhirasi dayayā dhehi charaṇau
Yayoḥ pādyaṁ pāthaḥ paśhu-pati jaṭā jūṭa taṭinī
Yayor lākṣhā lakṣhmīr aruṇa hari chūḍā-maṇi ruchiḥ

84 Translation
O Mother! pray place those Feet of Thine, in the plenitude of Thy mercy, on my head, Feet which the foremost parts of the Vedas wear as a crest-bud, the water washing which (Feet) forms the River (Gaṅgā) flowing over the matted hair of Paśhupati, and the beautiful lac dye over which (Feet) is the lustre of the red crest jewel of Hari.
O Mother! The crest of the Veda bears Thy Feet as its head ornament. Mayest Thou condescend to place those Feet on my head too – the Feet the water-offerings on which form the Gaṅgā in the matted locks of Śhiva, and the bright red dye of which gives brilliance to the jewels on the diadem of Viṣhṇu.

85 Transliteration
Namo-vākaṁ brūmo nayana ramaṇī-yāya padayos
Tavāsmai dvandvāya sphuṭa ruchi ras'ālakta kavate
Asūyaty'atyantaṁ yad abhi-hananāya spṛihayate
Paśhūnām īśhānaḥ pramada vana kaṅkeli tarave

85 Translation
Our salutations we respectfully tender to this Thy pair of Feet, ravishingly beautiful, distinctly bright withthe lac dye freshly painted over them. The Lord of Paśhus grows extremely jealous of the Kaṅkeli tree in (Thy) pleasure-garden, which ardently aspires to be kicked by them (Thy pair of Feet).
Our praise by way of obeisance to Thy Feet, a delight to the eyes because of their brilliance arising from the liquid lac dye applied to them! They Consort, Paśhupati, desiring to be kicked with those Feet, is extremely jealous of the Kaṅkeli (Aśhoka) tree of Thy pleasure garden, as that tree too is a rival aspirant for such kicks.

86 Transliteration
Mṛiṣhā kṛitvā gotra skhalanam atha vailakṣhya namitaṁ
Lalāṭe bhartāraṁ charaṇa-kamale tāḍayati te
Chirād antaḥ-śhalyaṁ dahana kṛitam unmūlita vatā
Tulā koṭi kvāṇaiḥ kili kilitam īśhāna ripuṇā

86 Translation
When Thy lotus-like Foot kicked on the forehead, Thy husband, who having frivolously blundered in callinf (Thee by a wrong) name, was in consequence bnt with shame; through the jingling of (Thy) anklets there was an acclamation of triumph, as it were, from Īśhana's foe, who thus had his vangeance, generated by (his) being burnt to ashes and rankling for a long time, wreaked.
O Devī! When Thou didst deliver a kick at the forehead of Thy Consort when he bent his head in shame for calling Thee inadvertently by the name of another woman, his enemy, Kāma, got an opportunity to root out of himself his long-standing rancour towards him, Īśha, for consuming him in fire, and he gave out his joyous acclamations, as it were, in the form of the tinkling of Thy anklets.

87 Transliteration
Himānī hantavyaṁ hima-giri nivās'aika-chaturau
Niśhāyāṁ nidrāṇaṁ niśhi charama-bhāge cha viśhadau
Varaṁ lakṣhmī-pātraṁ śhriyam ati-sṛijantau samayināṁ
Sarojaṁ tvat-pādau Janani jayataśh chitram iha kim

87 Translation
O Mother! what (is there to) wonder at, if Thy two Feet, quite adapted to abide in the snow-capped mountain, bright all through night and its counterpart (the day) and lavishing their grace on their devotees, have outdone the lotus flower, which easily blights with snow-fall, sleeps during night and only alightly attains Lakṣhmī's grace?
O Mother of the Universe! The lotus of Thy Feet, which flourishes always on the snow Mountain (Himalayas), blooming night and day and bestowing undecaying wealth (lakṣhmī) on the inner circle of devotees, is undoubtedly far superior to the common lotus flower which perishes in snow, closes at night and forms the favorite resort of Lakṣhmī (the goddess of wealth whose blessings on devotees are very temporary).

88 Transliteration
Padaṁ te kīrtīnāṁ prapadam apadaṁ Devi vipadāṁ
Kathaṁ nītaṁ sadbhiḥ kaṭhina kamaṭhī karpara tulām
Kathaṁ vā bāhubhyām upa-yamana kāle pura-bhidā
Yad ādāya nyastaṁ dṛiṣhadi daya mānena manasā

88 Translation
O Goddess! how is it that the fore-part of Thy foot, which is the seat of all fame, which cannot be touched by danger (of any kind), and which was somehow lifted at the time of (Thy) marriage by the vanquished of the (three) Puras, with a soft heart and placed on a stone, has been made a peer of the hard tortoise shell by great poets?
The upper part of Thy feet are the seat of all excellences worthy of praise and they are the panacea for all dangers. How then do great poets equate them with the hard shell of a tortoise? And how did Thy Consort, the Destroyer of the Cities, in spite of all His tenderness towards Thee, have the heart to place them on a hard granite grinding stone at Thy marriage rite?

89 Transliteration
Nakhair nāka-strīṇāṁ kara kamala saṁkocha śhaśhibhis
Tarūṇāṁ divyānāṁ hasata iva te Chaṇḍi charaṇau
Phalāni svaḥ-sthebhyaḥ kisalaya karāgreṇa dadatāṁ
Daridrebhyo bhadrāṁ śhriyam aniśham ahnāya dadatau

89 Translation
O Chaṇḍī! Thy two Feet, which lavish plenty of wealth at all times and at once on the poor, laugh as it were with their toe nails, which resemble (so many) moons causing the closing of the lotus-like hands of celestial women, at the Kalpaka treed which give their fruit exclusively to the denizens of the celestial world to the denizens of the celestial world, with their finger-like sprouts.
O Chaṇḍī! Thy Feet, of the moon-like nails, which make the lotus-bud-like palms of adoring heavenly damsels close, do shower abundant wealth quickly on humble and poor devotees, and thus mock at the wish-yielding Kālpaka trees of heaven whose arms of tender branches bestow desired gifts only to Devas who live in heavenly affluence.

90 Transliteration
Dadāne dīnebhyaḥ śhriyam aniśham āśhānu-sadṛiśhīm
Amandaṁ saundarya prakara makarandam vikirati
Tav'āsmin mandāra stabaka subhage yātu charaṇe
Nimajjan majjīvaḥ karaṇa-charaṇaḥ ṣhaṭ charaṇatām

90 Translation
May my soul attain the quality of a six-footed (bee), with the (six) senses as its feet, by immersing in this, Thy foot, which is ever giving to the helpless wealth in proportion to their desire, scattering abundant honey in the form of a flood of beauty, and which is auspicious as a cluster of Mandāra flowers.
Thy Feet form a veritable bunch of Mandāra flowers dripping the honey of beauty and are a liberal supplier of wealth to Thy poor devotees. May my spirit with its six organs of knowledge (including the mind) become a six-footed honey sucking bee at those Feet forever more.

91 Transliteration
Pada nyāsa krīḍā pari-chayam iv'ārabdhu manasaḥ
Skhalantas te khelaṁ bhavana kala haṁsā na jahati
Atas teṣhāṁ śhikṣhāṁ subhaga maṇi mañjīra raṇitaḥ
Chhalādā chakṣhāṇaṁ charaṇa-kamalaṁ chāru charite

91 Translation
O Goddess with a stately carriage! Thy household swans, frolicking as if prone to practice the balancing of their steps, do not leave off Thy lotus-like Foot, which imparts instruction in its own art (of balancing steps) as it were, by the tingling of the beautiful anklet (filled) with gems.
O Goddess of Holy Fame! The royal Swans inhabiting Thy residence are never abandoning their pursuit of Thee in their effort to observe Thy gait for correcting their own defective ways. And Thy Lotus Feet are, it seems, giving instructions to them in the guise of the tinkling sounds made by the anklets on them, studded with precious stones.

92 Transliteration
Gatās te mañchatvaṁ druhiṇa hari-rudr'eśhvara bhṛitaḥ
śhivaḥ svachchhach-chhāyā ghaṭita kapaṭa prachchhada paṭaḥ
Tvadīyānāṁ bhāsāṁ prati-phalana rāg'āruṇatayā
śharīrī śhṛiṅgāro-rasa iva dṛiśhāṁ dogdhi kutukam

92 Translation
Thy servants Druhiṇa, Hari, Rudra and Īśhwara, have become Thy cot. Śhiva with His imaginary bedsheet of a transparent hue, (Himself) tinged with Thy lustre reflected therein, yields pleasure to Thine eyes assuming as it were the form of erotic sentiment incarnate.
Thy servitors, Brahmā, Viṣhṇu, Rudra and Īśhwara, have taken the shape of Thy cot (i.e., the four legs of the cot) in order to serve Thee very closely, while Sadāśhiva has formed Himself into Thy bedsheet, reflecting Thy crimson glory in His assumed whiteness, thereby causing amazement to Thee by presenting Himself as the very embodiment of erotic sentiment.

93 Transliteration
Arālā keśheṣhu prakṛiti-saralā manda hasite
śhirīṣh'ābhā chitte dṛiṣhad upala śhobhā kucha-taṭe
Bhṛiśhaṁ tanvī madhye pṛithur urasij'āroha viṣhaye
Jagat trātuṁ śhambhor-jayati karuṇā kāchid aruṇā

93 Translation
The transcendent Aruṇā, Śhiva's grace incarnated, curly in Her hair, artless in Her gentle smile, Śhirīṣha-like in Her frame, hard like stone in the region of Her breasts, extremely slim in Her waist, and prodigious in the region of Her hips, excels in Her glory for the welfare of the world.
Thus for the welfare of the worlds abides in all Her glory Aruṇā (Kāmeśhvarī), the Śhakti of Śhambu – the very emodiment of graciousness – with her locks all curly, her smile naturally artless, her heart soft like Śhirīṣha flower, her breast as tight and hard like a grinding stone, her waist extremely slender, and her hips and breasts generous in size.

94 Transliteration
Samāntītaḥ padbhyāṃ maṇi-mukuratām ambara-maṇir
Bhayād āsyad antaḥ-stimita-kiraṇa-śhreṇi-masṛiṇaḥ
Dadhāti tvad-vaktra-pratiphalanam aśhrānta-vikachaṃ
Nirātaṅkaṃ chandrān nija-hṛidaya-paṅkeruham iva

94 Translation
The sun, having attained the position of a mirror (cut out) of crystal for Thy feet, rendered him with his beams withdrawn for fear of (burning) Thy face, reflects Thy face, as it were, namely his own heart-lotus, which by no means [is] troubled by the Moon, is ever in bloom.

95 Transliteration
Kalaṅkaḥ kastūrī rajani kara bimbaṁ jalamayaṁ
Kalābhiḥ karpūrair marakata karaṇḍaṁ nibiḍitam
Atas tvad-bhogena prati-dinam idaṁ rikta kuharaṁ
Vidhir bhūyo bhūyo nibiḍayati nūnaṁ tava kṛite

95 Translation
The (moon's) dark spot is the musk; the watery disc of the Moon is the canister of emerald, replete with the (lumps of) camphor (called) the digits of the moon. Hence Vidhi verily fills the empty (canister) depleted by Thy use, every day over and over again, on Thy account.
The mark on the moon is musk; and her watery disc, a receptacle (canister) of emerald for containing pieces of camphol in the form of the digits of the moon. As and when the contents of that receptacle are exhausted by Thy using them, Brahmā fills it up day by day for Thee with the digits of the waxing moon.

96 Transliteration
Pur'ārāter antaḥ puram asi tatas tvach charaṇayoḥ
Saparyā maryādā tarala karaṇānām asulabhā
Tathā hyete nītāḥ śhata-makha mukhāḥ siddhim atulāṁ
Tava dvār'opānta sthitibhir aṇim'ādyābhir amarāḥ

96 Translation
Thou art the harem of the foe of the (three) Puras. Therefore the privilege of adoring Thy Feet is unattainable by the fickle-minded. Hence it is that these Gods, with S'ata-makha as their leader, have been reduced to a status equal to that of the psychic powers, Aṇimā and others, standing near Thy doorway.
Thou art the Consort of the Destroyer of the Cities, residing in His inner apartment, to which votaries with unregenerate mind find no entry and are therefore denied the privilege of the immediate worship of Thy Feet. It is therefore that all the Deities headed by Indra have by their unparalleled austerities been able only to attain to Aṇimā and other psychic powers (Siddhis) which are but Thy gatekeepers (being only peripheral to Thee and far removed from Thy innermost attributes.)

97 Transliteration
Kalatraṁ vaidhātraṁ kati kati bhajante na kavayaḥ
śhriyo devyāḥ ko vā na bhavati patiḥ kairapi dhanaiḥ
Mahādevaṁ hitvā tava Sati-satīnām-acharame
Kuchābhyām āsaṅgaḥ kuravaka taror apy'asulabhaḥ

97 Translation
O ideal of chastity! how many poets have not courted the wife of Vidhātṛ? Who does not become the lord of Śhridevī (the goddess of wealth) by (commanding) whatever (little) wealth? O foremost amongst the chaste! saving the Great Lord (Mahādeva), the embrace of Thy breast is unattainable even by the Kuravaka tree.
O ideal of chastity! how many poets have not courted the wife of V
O Chastity Embodied! How numerous are the poets who have courted and attained Saraswatī, the consort of Brahmā and the deity of learning and fine arts! So also who with some some wealth fails to become the Lord of Śhrī (Śhrīpati), the consort of Viṣhṇu and the goddess of wealth! But, O the foremost of Chaste Ones! None besides Śhiva the Great God, not even the tree called Kuravaka, has ever had the embrace of Thy breasts.

98 Transliteration
Girām āhur devīṁ druhiṇa gṛihiṇīm āgama-vido
Hareḥ patnīṁ padmāṁ hara sahacharīm adri-tanayām
Turīyā kāpi tvaṁ duradhigama niḥsīma mahimā
Mahā-māyā viśhvaṁ bhramayasi Parabrahma-mahiṣhi

98 Translation
O Queen of the Parabrahman! The knowers of the Āgamas call only Thee as the goddess of letters who is the wife of Druhiṇa; they call only Thee as Padmā who is the wife of Hari; they call only Thee the partner of Hara, the daughter of the Mountain; while Thou perplexest the world, as the transcendent fourth entity unattainable, and with Thy boundless splendor, as the Great Illusory Being and the fountain of all chastity.
O Consort of Parabhraman! The scholars who know the real meaning of the Āgamas (Scriptures) describe Thee as Saraswatī, the Goddess of Learning and the Consort of Brahmā. Besides, they speak of Thee as the lotus-born Lakṣhmī, the Consort of Viṣhṇu, as also as the Daughter of the Mountain, Pārvatī, and the Consort of Hara, Śhiva. But Thou art however the Fourth (the unique Power that is the source of the three Deities mentioned) of inconceivable and limitless majesties – the indeterminable Mahāmāyā who revolves the wheel of this world.

99 Transliteration
Samudbhūta-sthūla-stana-bharam uraśh chāru hasitaṃ
Kaṭākṣhe kandarpāḥ kandichana kadamba-dyuti vapuḥ
Harasya tvad-bhrāntiṃ manasi janasyanti sma vimalā
Bhavatyā ye bhaktāḥ pariṇatir amīhām iyam ume

99 Translation
O Umā! a chest bearing well-developed breasts, acharming smile, a side-glance emitting Cupids as it wre, a Kadamba-like frame, all the (conspire) together to create in Hara's mind a delusive impression, if it were Thou. Whoever are Thy faltless devotees, this is their consummation.

100 Transliteration
Kadā kāle mātaḥ kathaya kalit'ālaktaka rasaṁ
Pibeyaṁ vidyārthī tava charaṇa nirṇejana jalam
Prakṛityā mūkānām api cha kavitā kāraṇa-tayā
Kadā dhatte vāṇī mukha kamala tāmbūla rasatām

100 Translation
O Mother! Pray tell (me), when shall I, who am eagerly desirous of (imbibing) wisdom, drink the water which has cleansed Thy Feet and is (thereby) rendered red with the lacdye; water, which assumes the quality of the chewed betel-juice, (spat out) of the mouth of Vāṇi, through enabling even deaf-mutes to become poets.
O Mother! Tell me when I, a seeker after wisdom, shall have the privilege of imbibing the red-tinged water with which Thy lac-painted Feet have been washed – water that can generate poetic genius even in a naturally dumb person. When shall I expect it, that red-tinged water, to flow out of my mouth as great poetry, which forms the chewed betel leaf juice of Vāṇi, Saraswatī, the Goddess of Learning and Poesy?

101 Transliteration
Sarasvatyā lakṣhmyā vidhi hari sa-patno viharate
Rateḥ pāti-vratyaṁ śhithi-layati ramyeṇa vapuṣhā
Chiraṁ jīvann eva kṣhapita paśhu-pāśha vyati-karaḥ
Par'ānand'ābhikhyam rasayati rasaṁ tvad bhajanavān

101 Translation
Thy devotee diverts himself with Saraswatī and Lakṣhmī, i.e., becomes enlightened and (opulent), and thus excites the jealousy of Vidhi and Hari (their husbands); shatters Rati's chastity with his beatiful frame; and, of what is called exquisite Bliss, bereft of the ignorance incidental to mortals.
O Mother! A devotee of Thine sports with Saraswatī and Śhrī and thus courts the jealousy of their consorts Brahmā and Viṣhṇu. By the charm of his body, he attracts the attention of Rati, the wife of Kāmadeva (the god of love), and thus violates her chastity. And with the beginningless ignorance-born bondage of Jivahood broken, he is immersed in the supreme Bliss of Brahman even in this long-lived embodied state.

102 Transliteration
Nidhe nitya-smere niravadhi-guṇe nīti-nipuṇe
Nirāghāṭajñane niyama-para-chittaika-nilaye
Niyatyā nirmukhe nikhila-nigamānta-stuta-pade
Nirātaṅke nitye nigamaya mamāpi stutim imām

102 Translation
O Treasure-mine! ever smiling, possessed of boundless qualities, proficient in holding the scales even, uninterrupted fountain of Wisdom, ever abiding in well-controlled minds, by no means bound to conventions, with feet glorified by all the Upaniṣhads, void of risks and external, hallow this laudatory composition of even mine (Thy humble devotee).

103 Transliteration
Pradīpa jvālābhir divasa kara nīrājana vidhiḥ
Sudhā sūteśh-chandr'opala jala lavair arghya rachanā
Sva-kīyair ambhobhiḥ salila nidhi sauhitya karaṇaṁ
Tvadīyābhir vāg-bhis tava Janani vāchāṁ stutir iyam

103 Translation
O Mother of diction! Composing this hymn (in praise) of Thee, in words originating from Thee, is very much like adoring the Sun by waving a light (before him), offering,the Moon drops of water (flowing out) of a moonstone, and pleasing the Ocean by (pouring) water into it.
Just as doing Nīrājana (light-waving ceremony) to the sun is only the offering of his own light to him; just as making an offering of Arghya to the moon with the water that oozes out of the moonstone in contact with moonlight, is only to give back what belongs to the moon, and just as making water-offering (Tarpaṇa) to the ocean is to return what belongs to it – so is, O Source of all Learning, this hymn addressed to Thee composed of words that are already Thine.

Jay Śhrī Mātājī!