Thus Spake the Divine - Ambal Confers Eloquence of Speech

Thus Spake the Divine

Ambal Confers Eloquence of Speech

In this chapter, Poojyasri Maha Periyava elucidates the genesis of Saundarya Lahari composed by Bhagavadpada. He also talks about Mooka Pancha Shati composed by Mooka Kavi and Arya Dwishathi composed by Durvasa Maharishi. All these are Shlokas that stand as testimony of the eloquncy of the Composers gtifted by Ambal.

Scores of Poets and Sages have composed many Shlokas in praise of Ambal, Mother of Universe. Three compositions are the most adored among these. First one is Saundarya Lahari. When Bhagavadpada, after leaving his body, reached Kailasa, Prameshvara Himself handed over to Acharya a bundle of palm leaves in which He Himself had composed verses in praise of Ambal. The bundle contained 100 Shlokas.

While he was returning from Kailasa, Nandikeshwar, Gate Keeper of Kailasa, thought a great wealth was being plundered from Kailasa. Therefore, Nandikeshwar snatched whatever he could from the bundle. As a result, there remained only 41 Shlokas with Acharya and balance 59 remained with Nandikeshwar. Thereafter, Acharya had composed the missing 59 Shlokas in one shot and completed the 100 verses. This is how Saundarya Lahari, which has 100 Shlokas, came into being.

Out of these 100, first 41 Shlokas speak about the mystic Mantra Shastras, Philosophies on Kundalini Yoga and mysteries of Sri Vidya. They contain a lot of useful information for devotees. But the rest 59 Shlokas composed by Acharya are extremely enchanting and exotic! In these, he describes Ambal’s elegance and beauty from Her head to toe part by part. Be it majesty or eleg ance, these Shlokas are the peak of his proficiency in articulation.

If beautiful statues sculpted in olden days get damaged even minutely, they cannot be re-sculpted to their original form and precision. Similarly, not even one word can be removed from Acharya’s composition and replaced with any other equivalent word! It is really a blessing in disguise that 59 Shlokas were lost. If that had not happened, this world would have missed the great enthralling composition by Acharya! However Acharya, with ultimate humility says, “Amma! What is my contribution in this? I have just worshipped You with the proficiency of words gifted by You, that’s all!” He elucidates that even worshipping Her becomes possible only out of Her own grace.

The second great composition on Ambal is Mooka Pancha Shati. There are total 500 Shlokas in it. The first 100 Shlokas talk about the general greatness of Ambal; second 100 about the beauty and elegance of the Feet of Ambal; third 100 on Her magnanimous traits; fourth 100 on the expansive width of Her vision; and the last 100 Shlokas highlight the beauty of Her smile. A set of 100 Shlokas is called “Shathakam”. Thus, Mooka Pancha Shati has been categorised under five sections of 100 each viz. Arya Shathakam, Padharavindha Shathakam, Sthuthi Shathakam, Kataksha Shathakam and Mandhasmitha Shathakam. At the end of the Arya Shathakam, it is stated that those who worship Ambal with concentration are bestowed with proficiency of speech.

The third wonderful compilation on Ambal, Arya Dwishathi, has been composed by Durvasa Maharishi, who obtained the absolute Anugraha of Ambal. This contains 200 Shlokas. (Dwi is two and Shathi is hundred). It is also called as Lalita Sthava Ratnam. It is quite evident that reciting these Shlokas will definitely fetch the grace of Ambal in terms of expertise in articulation. There were only three Devotees of Ambal who were awarded the Title of Bhattaraka (Most learned, expert in all scriptures). One is Parameshvara Himself, second is Poet Kalidasa and the third is Durvasa Maharishi. There is a shrine for Durvasa Maharishi in Kamakshi Temple, Kanchipuram.

All the three prime compositions state that with the grace of Ambal, one gets proficiency in articulation or speech. However, all the three compositions state that the boon of Ambal’s worship is attaining absolute Moksha. On eradication of ignorance emerges wisdom that leads to the state of Moksha. Ambal extends Her grace for attaining Moksha.

Brahma, Vishnu and Shiva (Thrimurti) are prostrating at the Feet of Ambal. Therefore, Acharya says that when we prostrate at Her Feet, we are also prostrating to the Heads of these three Gods too. When She confers Moksha to a devotee, who is seeking Her grace to be Her slave (Bhavani Tvam), the light emanating from the gem stones fixed on the crowns of Brahma, Vishnu and Indra lying at Her Feet shimmer as though doing Karpoora Harati to Ambal. The Three Gods prostrating before Ambal does not mean that one God is superior to another. The philosophy behind this is to demonstrate that all energies, be it human, animal or Devas, are all particles of only one basic Super Power.

The same philosophy is endorsed by science too; that a single energy manifests into different particles and waves. If one worships this origin of power, that power bestows its grace on him. Therefore, if we worship that Power as Ambal, we can attain the grace of all Devatas. All three functions of Creation, Maintenance and Destruction have emerged only from that Super Power. Therefore, worshipping Ambal becomes equivalent to worshipping Brahma, Vishnu and Rudra too, and the devotee is blessed with wealth and wisdom. There is nothing that is not attainable through Ambal’s worship. Shastras envisage different boons from worshipping of Ambal. Her worship brings proficiency in speech. You all must have heard the story of Poet Kalidasa, who was said to be mediocre. Only with the Grace of Ujjain Kali did he turn a great poet. The same is the case with Poet Mooka Kavi.

Great people spread good things that they have obtained or learnt to the rest of the world only by way of words and speech; isn’t it? That is why Ambal pours Her grace on such people and makes them articulate, so that they can effectively share their experiences with us.

Arts, like poetic excellence, musical marvel etc. are all the gifts of Ambal. Generally, Sarasvati is called the Supreme God of all kinds of arts. The same Sarasvati is always playing Veena and singing songs in Ambal’s shrine. What kind of songs does She sing? Is it about the greatness of Ambal? No! Ambal is happy only with the praise of Ishvara. Therefore, Vani (another name of Sarasvati) keeps singing on the eminence of Ishvara. Ambal enjoys Vani’s exotic praise of Ishvara. Appreciation alone motivates an artist, thereby bringing out more creativity. If the listener is a critic and finding fault with the music, the performing artist will lose interest, even his natural capability may dwindle.

Here, Ambal keeps on motivating Sarasvati and Sarasvati keeps on singing. At one point, Ambal openly utters “Besh! Besh! (Wow, excellent) and that’s it! The very words of Ambal become the best of music, rather than the Veena’s tone. Sarasvati becomes ashamed wondering, “Did I undermine my musical proficiency before Ambal, who possesses the sweetest voice?” and packs her Veena into its cover. Saundarya Lahari, in its 63 rd Shloka, describes the above scene as that of a stage-play! This Shloka highlights the fact that by worshipping Ambal, one is bestowed with musical proficiency that imparts happiness to others too. Ambal worship enhances Guru Bhakti and Pati Bhakti (devotion to husband) too. Let us see that in the next chapter.

This article is a snippet from the Book Thus Spake the Divine, is available online at www.giri.in and across Giri Trading Agency Private Limited, A chain of Speciality Stores dealing in all kinds of products needed in Indian Culture and Tradition.