श्रीश्यामला नवरत्नमालिका

ओङ्कारपञ्जरशुकीं उपनिषत्–उद्यान केलि कलकण्ठीं। आगम विपिन मयूरीं आर्यां अन्तर्विभावये गौरीं॥ १

दयमान दीर्घ नयनां देशिक रूपेन दर्शिताभ्युदयां। वामकुच निहित वीणां वरदां सङ्गीत मातृकां वन्दे॥ २

श्याम तनु सौकुमार्यां सौन्दर्यानन्द सम्पत्–उन्मेषां। तरुणिम करुणापूरां मदजल कल्लोल लोचनां वन्दे॥ ३

नखमुख मुखरितवीणा नाद रसास्वाद नवनवोल्लासां।मुखं अम्ब मोदयतु मां मुक्ता ताटङ्क मुग्ध हसितां ते॥ 

सरिगमपधनिरतां तां वीणा सङ्क्रान्त क्रान्त हस्तां तां।शान्तां मृदुल स्वान्तां कुचभरतां तां नमामि शिव कान्तां॥ ५

अवटु यट घटित चूली तडित ताली पलाश ताटङ्कां। वीणा वादन वेळाऽकम्पित शिरसां नमामि मातङ्गीं॥ ६

वीणा रवानुषङ्गं विकसित मुखाम्बोज माधुरी भृङ्गीं। करुणा पूर तरङ्गं कलये मातङ्ग कन्यकापङ्गं॥७

मणिभङ्ग मेचकाङ्गीं मातङ्गीं नौमि सिद्धमातङ्गीं। यौवन वन सारङ्गीं सङ्गीताम्भोरुहानुभव भृङ्गीं॥ ८

मेचकं आसेचनकं मिथ्या दृष्ट्यान्त मध्यभागं ते। मातः तव स्वरूप मङ्गल सङ्गीत सौरभं मन्ये॥ ९

इति श्रीश्यामला नवरत्नमालिका सम्पूर्णं

श्रीश्यामला नवरत्नमालिका

ओङ्कारपञ्जरशुकीं उपनिषत्–उद्यान केलि कलकण्ठीं। आगम विपिन मयूरीं आर्यां अन्तर्विभावये गौरीं॥ १

ओङ्कार= Praṇava Omkāra; पञ्जर= (is likened to a) cage शुकीं = The parrot (dwelling in this cage). Devi is compared to the parrot in the cage called Omkāra. Praṇava signifies the Vedas, Parrot is taught by rigorous training for speech. Thus, Knowledge of Vedas by long arduous training with respect to the pronunciation and the intonation is seen here.  शुक by Katapayādi sankhyā is 15. Hence, we can see that the Pañcadaśākṣari Śrī Vidyā mantra is said in the Vedas. It is not explicitly said, is said in a veiled, coded manner only. Also, we find the Vedic basis for ŚrīVidyā upāsana. Comp. ह्रीङ्कार–पञ्जर–शुकीं is seen in Lalitā Triśati.  Being caged can be seen as restraint which is seen in the ullāsas of Kalpa sūtra, the first four ullāsa are samaya (praudhāntaṃ samayaṃ), meaning restraint. Ullāsas are experiential states that arise from the use of prescribed things called 5 M in Śrī Vidyā upāsana. “ārambha-taruṇa-yauvana- prauḍha- tadanta- unmana- anavasthollāseṣu prauḍhântāḥ samayâcārāḥ |tataḥ paraṃ yathā-kāmī|svaira-vyavahāreṣu vīrâvīreṣvayathā -mananād adhaḥ pātaḥ| Parasurama kalpa sūtra_10.68 | 

उपनिषत्-= The Upanishads are called Vedānta, or jñāna khanda; उद्यान = (are likened to a) garden; केलि = playing (in this garden); कल= Sound कण्ठीं= (in the) neck or a beautiful song, esp. cuckoo is said here. Now we move from the ritualistic part to the experiential section, which has been expounded by the sages as Upanishad. Cuckoo is a natural singer, entrancing the entire wild life, represents free flow of bliss and arts which are inherent, not trained. This is the next three stages said in the kalpasūtra which is svairācāra, doing as at the moment, which is a blossoming of the upāsana and culmination of the sadhana to bliss. Comp. सर्वोपनिष–दुद्–घुष्टा is seen in Lalitā sahasranāma / ह्रीङ्कार–उद्यान–केकिनी is seen in Lalitā triśati. 

आगम=The next texts are the āgamas; revealed by Lord Siva and heard by Śakti-his partner; विपिन= (they are compared to) forests; मयूरीं= (moving in those forests is) the peahen. Now comes the texts called tantras of āgamas, these are likened to forests, huge and innumerable pathways. Peahen is the imagery of female form of kumāra – skanda, who is the Śiva Śakti unified form. Thus, we can sense the entire āgamic as aspect and understand that the whole-huge- universe is the expression of Śiva Śakti. 

The progression of knowledge sources namely karma khanda of Vedas which are purely instructive and which give no scope for personal choices are likened to cages, next seen upanishads are speculative and give flight for introspection wherein free mind can enjoy better space. The āgamas are compared to woods, treacherous if not guided properly by a Sadguru, but at the same time provide ample scope for introspection and practice.

First talks of the cage which is inside the house, next is garden which is outside and further is forest which is outside the dwelling place. Thus, a progressive expansion of awareness from individual to universal is seen. 

आर्यां= The most elegant and respected female from esteemed lineage; आर्या by Katapayādi is ten (10). Thus, we can see the entire daśa mahāvidyā svarupa here. The complete tantric aspect of worship is envisaged here. 

अन्तर्विभावये= (I shall) meditate in my inner mind; गौरीं= One, who is white in colour. This implies the Devi is full of sattva guna.  

This being a navaratna mālika – a garland of nine gems, we can find a gem in each line. The planet which is white is Śukra, his ratna- gem – is Diamond. It is also hinted as the cage, usually the parrots are kept in a diamond cage. Śukra is the personification of all arts and enjoyments, this is aptly seen in Devi Śyamala too. 

दयमान दीर्घ नयनां देशिक रूपेन दर्शिताभ्युदयां। वामकुच निहित वीणां वरदां सङ्गीत मातृकां वन्दे॥ २

दयमान=Filled with compassion; दीर्घ=long; नयनां =eyes-which will express compassion in totality; देशिक = Guru रूपेन= in his form; दर्शित=seen; अभ्युदयां= with joy -The physical form of Devi is the Guru and he is full of compassion too the seeker. In turn, the seeker will feel comfort and Joy in the presence of Guru. 

वामकुच= on her left breast; निहित= placed (played); वीणां= stringed instrument called Vīṇā; Vama also means beautiful, kuca- breasts are allegory of universe- since like female breasts this seen universe can’t be seen in totality (whole). Vīṇā is musical instrument, hence signifies sound and synchronisation, thus we can infer the whole beautiful universe is in a harmony. Connecting to the first half of this sloka, vama can mean tantric kaula path, breasts of female will reveal the secret sadhana with “5 M” and Vīṇā to spinal column, thus pointing to shat cakra and inner sadhana, all these are as instructed by Compassionate Guru. 

वरदां = one who gives boons; ‘Vara’ means best, and ‘da’ is the giver; the best is experience of divine bliss, which is a result of treading on earlier path as initiated by Śrī Guru. Vara by the secret code is twenty-four. Thus, we can see that Devi creates Atma tattva- twenty-four in number- in the process of creating this universe. These are also seen as a stage for experience of the Divine in the dissolution of the individual to the All-pervasive consciousness. 

 सङ्गीत मातृकां = in form of the musical notes; This continual experience of divine bliss in all states is called as musical notes. 

वन्दे = I worship. 

The next gem to be envisaged, is through the reference of Guru here. His gem is yellow sapphire. 

श्याम तनु सौकुमार्यां सौन्दर्यानन्द सम्पत्–उन्मेषां। तरुणिम करुणापूरां मद जल कल्लोल लोचनां वन्दे॥ ३

श्याम तनु =Body is of dark green hue- Greenery indicates life and food production in the plant kingdom which is sustenance Lord Vishnu is also seen as green; सौकुमार्यां = tender – This sadhana path itself is raja yoga, the mental sadhana is said as soft with less physical hardships; सौन्दर्यानन्द = beauty and bliss shine forth from her body- which is meditated during sadhana fills the aspirant with Bliss; सम्पत्–उन्मेषां= with virility is the richness. Sampat also will mean the right steps taken as per the guidance of Guru with consistency and faith. तरुणिम= youthful; करुणापूरां = full of compassion; मदजल = fluids secreted on excitement; कल्लोल = surging, out pouring; लोचनां = eyes. The eyes bestow the seeker their desires –स्मित मधुरदृशा साधकस्य इष्टधात्रीं– Here creation is being said, hence the excitement and compassion are referred. The Ikṣana which is the kamakala is to be envisaged here. 

वन्दे= I worship. 

Comp. मदघूर्णित–रक्ताक्षी in Lalitā sahasranāma

The gem as seen from green seen here, which indicates budha graha, is the emerald.  

नखमुख–मुखरित वीणानाद रसास्वाद नवनवोल्लासां।मुखं अम्ब मोदयतु मां मुक्ता–ताटङ्क मुग्ध–हसितां ते॥

नखमुख = by the finger nails; मुखरितवीणा = the stringed instrument (Vīṇā) (is struck); नाद = the melodious sound (from the playing of the instrument); रसास्वाद = the innate enjoyment of (hearing the music); नवनवोल्लासां = having ever new (surge of bliss) enjoyment;

अम्ब = O! Mother; मुखं ते = your face; मुक्ता ताटङ्क = (has) Pearls as ear rings (though Mātaṅgi is meditated as wearing ear rings of conch shells, here the whiteness is referred); मुग्ध हसितां = your lovely attractive smile (Mātaṅgi Dhyana says स्मित-मधुर-दृशा smita madhura dṛśā); मां = me (by viewing this charming face); मोदयतु = be made happy. (साधकस्य इष्टधात्रीं Sādhakasya iṣṭa dhātrī)  

Here the bliss of hearing Vīṇā nāda is said, there is a phrase in Tamil which says, if one’s heart doesn’t melt on hearing the Vīṇā, he will never melt for any other circumstances- as such he is a hard-hearted person.  This also portrays that a sādhaka will be bliss on seeing the form of Devi, he worships. Comp. चारुहासा

Here the gem is straight away said as pearl, indicative of soma graha (moon). 

सरिगमपधनिरतां तां वीणा सङ्क्रान्त क्रान्तहस्तां तां।शान्तां मृदुल स्वान्तां कुचभरतां तां नमामि शिवकान्तां॥

स–रि–ग–म–प–ध–नि–रतां= Indulging and enjoying the seven notes of the musical scale in Indian classical music which are Ṣadja (षड्ज), Ṛṣabha (ऋषभ), Gāndhāra (गान्धार), madhyama (मध्यम), pañcama (पञ्चम), dhaivata (धैवत) and niṣāda (निषाद). 

तां = thou (you are immersed in these sound waves)

वीणा सङ्क्रान्त = Holding the stringed instrument Vīṇā (in your hands); क्रान्त हस्तां = plucking (striking) the strings to produce music

तां = thou (you are in action of making music) 

शान्तां = Of peaceful nature; मृदुल स्वान्तां = soft in her inner being; कुचभरतां = having a tress of hair (like a load)- hence a slight bend of head is said figuratively. 

तां = thou (you are in a peaceful stature)

नमामि = I worship (bow my head); शिवकान्तां = The once who is desired by Lord Śiva 

The seven svaras are shortened to Sa, Re, Ga, Ma, Pa, Dha, and Ni. They are natural sounds of animals, also represent seven astral points in human body. 

Sa Ṣadja (षड्ज) The originator / basic svara from which the rest six were born. It is invariant and is present in all raga. Sound of peacock: Placed in mūlādhāra मूलाधार (base of spine); Equivalent Sama Veda svara = svarita; Deity: Ganapati

Re Ṛṣabha (ऋषभ) Powerful, it has three pitch possibilities, namely Śuddha, Catuśruti and Ṣatśruti; Sound of Bull; Placed in svādhiṣṭhāna स्वाधिष्ठान (genitals); Equivalent Sama Veda svara = anudatta; Deity: Agni

Ga Gāndhāra (गान्धार) Melancholic, it has three pitch possibilities, namely Śuddha, Sādhārana and Antara; Sound of Goat; Placed in maṇipūra मणिपूर (navel) Equivalent Sama Veda svara =udatta; Deity: Rudra (Śiva)

Ma Madhyama (मध्यम) The Middle, balanced-It has two pitch possibilities, namely Śuddha and Prati; Sound of Dove; Placed in anāhata अनाहत (heart) Equivalent Sama Veda svara =svarita Deity: Vishnu

Pa Pañcama (पञ्चम) The fifth, expansive- It is invariant; Sound of Koel/Cuckoo; Placed in viśuddha विशुद्ध (throat) Equivalent Sama Veda svara =svarita Deity: Naarada

Dha Dhaivata (धैवत)Sensitive- it has three pitch possibilities, namely Śuddha, Catuśruti and Ṣatśruti; Sound of Horse; Placed in ājñā आज्ञा (third eye); Equivalent Sama Veda svara =anudatta; Deity:  Sadasiva 

Ni Niṣāda (निषाद) The which ends/ closes- It has three pitch possibilities, namely Śuddha, Kaisiki and Kākali; Sound of elephant. Equivalent Sama Veda svara =udatta. 

Here we see an imagery of soft sound waves and peaceful inner nature of Devi, who is attractive to Siva. Note the play of words using the syllable “तां”. तां means tat, that which is existing the Brahman. 

क्रान्त denotes the striking nature, which is seen as the bhauma- Mars and his gem Coral is envisaged here 

अवटु यट घटित चूली तडित ताली पलाश ताटङ्कां। वीणा वादन वेळाऽकम्पितशिरसां नमामि मातङ्गीं॥ ६

अवटु यट घटित चूली= Devi Mātaṅgi’s hair tresses are made up of curly hair. 

तडित ताली पलाश ताटङ्कां= (the above said tresses are) hit / struck by ear rings made of the curled green palm leaves

अकम्पित शिरसां = Short head movements (as if to appreciate the music)

वीणा वादन वेळा = (due the movement of her head) While the Vīṇā is being played

नमामि = I worship (Bow)

मातङ्गीं = The daughter of Sage Mātaṅga. 

Here Devi is meditated as fully enjoying the music created by the playing of Vīṇā, the head movements during this appreciation causes her ear rings to strike her curly tresses.

Here the gem cat’s eye (vaidūrya) can be envisaged as the reference to पलाश and the शिर (head), both of which denotes Ketu graha, who is represented by his head. 

वीणा रवानुषङ्गं विकसित मुखाम्बोज माधुरी भृङ्गीं। करुणापूर तरङ्गं कलये मातङ्ग कन्यकापङ्गं॥७

कलये= I visualise (meditate); वीणा रवानुषङ्गं= While enjoying the music from Vīṇā; विकसित मुखाम्बोज= her face blossomed (with joy) like a (bloomed) lotus; माधुरी भृङ्गीं= (has) eyes which are like the honey bees; करुणापूर तरङ्गं= (along with) waves of compassion मातङ्ग कन्यकापङ्गं= which flows from the side glances of the daughter of Sage Mātaṅga.
Here the next stage of relishing the music is said. The earlier was the physical movements related to the playing of Vīṇā. Now the internal movements are seen. The side glance of a deity with compassion will bestow the full grace to a seeker. Comp. Comp. कटाक्षस्यन्दि–करुणा in Lalitā triśati 

Lotus will blossom in Sunlight, hence graha Sūrya and related gem Ruby is envisaged here. 

मणिभङ्ग मेचकाङ्गीं मातङ्गीं नौमि सिद्धमातङ्गीं। यौवन वन सारङ्गीं सङ्गीताम्भोरुहानुभव भृङ्गीं॥ ८

नौमि = I Bow (Worshipfully)

सिद्धमातङ्गीं = The daughter of Sage Mātaṅga who is matured and accomplished in all arts

सङ्गीताम्भोरुहानुभव भृङ्गीं = (Who is like) the bees enjoying honey from lotus called Music 

यौवन वन सारङ्गीं = (Also like) the young deer in forest, ever agile 

मणिभङ्ग मेचकाङ्गीं मातङ्गीं = Female elephant of dark black-blue colour, which is surpassing any gems in that colour.  

There are three comparisons here the Female elephant, deer and bees with respect to their pace in movements. These actions are likened to the three paces (Kala) of music – Vilamba- slow, Madhyama -medium pace and Druta- fast (Kala). We can also infer three stringed instruments- मातङ्गीं to jewel studded Vīṇā, सारङ्गीं to Voilin and भृङ्गी to tambura. Comp. ह्रींकार-अरण्य-हरिणी and ह्रींकार–अम्भोज–भृङ्गिका in Lalitā triśati.

The dark-blue seen above clearly indicates sanaiścara graha and his gem the blue sapphire.

मेचकं आसेचनकं मिथ्या दृष्ट्यान्त मध्यभागं ते। मातः तव स्वरूप मङ्गल सङ्गीत सौरभं मन्ये॥ ९

मन्ये = I meditate (envisage) मातः = O! Mother; ते सङ्गीत सौरभं= your sweet fragrance of music; मङ्गल स्वरूप = Auspicious form; मेचकं आसेचनकं= dark blue coloured charming (form)body; मिथ्या दृष्ट्यान्त तव मध्यभागं = (of which) the mid portion is not seen and hence leaves a doubt on its existence. 

The mid-point in a line is defined, it also defines the starting-point and end-point too. Thus, if we say that this mid-point is not there then it follows that there is no starting-point or end-point. Figuratively, the above can be understood as without start (birth)-anādi and without end(death)-ananta. 

Comp. +समुन्नेय–मध्यमा is seen in Lalitā sahasranāma

The “non-seen” can point to shadow graha Rahu and his gem- Gomedhaka – Garnet.