Invoking Lakshmi.pdf 424q6s

INVOKING LAKSHMI The Goddess of Wealth in Song and Ceremony

/ Constantina Rhodes

Invoking Lakshmi

Siddhalakshmi: Goddess of Power

Invoking Lakshmi The Goddess of Wealth in Song and Ceremony

Constantina Rhodes

Front Cover: Lakshmi Seated on Lotus. Popular poster image. India; Twentieth century. Author’s collection. Cover photo of author. Photo credit: Ed Wolf FRONTSPIECE: Siddhalakshmi: Goddess of Power. Nepal; Inscription date 1694. Pigment on cloth. Courtesy Rubin Museum of Art. Published by

State University of New York Press, Albany © 2010 State University of New York All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher. For information, State University of New York Press, Albany, NY www.sunypress.edu Production, Laurie Searl Marketing, Anne M. Valentine Library of Congress Catag-in-Publication Data Rhodes, Constantina Eleni, [date] Invoking Lakshmi : the goddess of wealth in song and ceremony / Constantina Rhodes. p. cm. Includes bibliographical references and index. ISBN 978-1-4384-3321-9 (hardcover : alk. paper) 1. Lakshmi (Hindu deity)—Prayers and devotions—History and criticism. 2. Hindu hymns—History and criticism. 3. Lakshmi (Hindu deity)—Cult. I. Title. BL1225.L32R46 2010 294.5’2114—dc22

2010005367 10 9 8 7 6 5 4 3 2 1

For my beautiful daughter, Alexandra

Contents

Acknowledgments Introduction: The Goddess Arrives in Delhi What Does It Mean to Invoke a Goddess? On the Format of This Book Sources: Sanskrit Texts and Popular Worship Manuals PART ONE: The Divine Personalities of Lak∑m¥ Chapter 1: The Awesome Power of Auspiciousness: Lak∑m¥ of the Vedic Traditions The Primordial Lotus Goddess The Goddess of Auspiciousness: Ír¥’s Essence, Lak∑m¥’s Form Alak∑m¥, the Inauspicious Chapter 2: Living the Good Life: Lak∑m¥ of the Puråîc Traditions The Burgeoning World of the Puråâs Lak∑m¥ and the Lords of the Three Realms: Indra, Vi∑û, and Bali All Women Are Embodiments of Lak∑m¥ Lak∑m¥, Embodiment of the “Four Wealths” (Caturartha) The Absence of Lak∑m¥: Is Lady Luck a Fickle Goddess? Chapter 3: Living the Powerful Life: Lak∑m¥ of the Tantric Traditions The World According to Tantra Lak∑m¥ as Kuˆ∂alin¥ Lak∑m¥, Íiva, and the “Ten Great Wisdom Goddesses” (Daßamahåvidyås)

xi 1 3 6 8 13

15 15 18 20

23 23 24 26 30 42

47 48 49 52

C ON T EN T S

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The Grace-Bestowing Mother Lak∑m¥ as Siddhi: Magical Attainment, Spiritual Power

56 58

PART TWO: The Power of Poetry to Summon the Goddess

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Chapter 4: The Power of Vedic Hymns: Generating Auspiciousness Reciting the Hymns (S¶ktas) Ritual Application of the Vedic Hymns

63 63 65

Chapter 5: The Power of Puråîc Songs: Drawing Down the Goddess Reciting the Songs of Praise (Stotras) The Propitious Glance of the Goddess Fruits of the Recitations (Phala)

67 67 68 69

Chapter 6: The Power of Tantric Songs: Waking Up the Goddess Alchemy of the Goddess: The Magic of Transformation Vibratory Essence: Engaging the Sound-Forms of Lak∑m¥ The Potency of a Woman’s Recitations Literary Genres of the Tantric Songs Structure of the Tantric Songs

71 71 76 81 82 83

PART THREE: Ceremony

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Introduction: Invoking Lak∑m¥ in Ceremony: Lakƒm¥ P¶jå Creating Space to Receive the Goddess The Ancient Art of Hospitality Structure of the Ceremony

93 93 96 97

Lakƒm¥ P¶jå Text Preparation and Purification Heart of the Ceremony: Receiving the Goddess Outline of the Lakƒm¥ P¶jå

99 99 104 116

PART FOUR: Song

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Vedic Hymns to Lak∑m¥ Hymn to Ír¥ (Ír¥ S¶ktam) Hymn to Lakƒm¥ (Lakƒm¥ S¶ktam)

121 121 124

C ON T EN T S

Puråîc Songs to Lak∑m¥ Song for Lakƒm¥, Gracious Bestower of Blessings (Prasannavaradå Ír¥ Lakƒm¥ Stotram) Song for the Glorious Lotus Goddess (Ír¥ Kamalå Stotram) Lord Indra’s Song for Lakƒm¥ (Devaråja Indrak®ta Lakƒm¥ Stotram) The Heavenly Gods’ Praise-Song for Lakƒm¥ (Ír¥ Daivak®ta Lakƒm¥ Stotram) Eight Verses Praising Mahålakƒm¥ (Mahålakƒmyaƒ†akam Stotram)

ix 127 127 133 137 143 146

Tantric Songs to Lak∑m¥ The Secret Heart of Lakƒm¥ (Ír¥ Mahålakƒm¥ H®dayam) Praise-Song for the Bestower of Wealth (Dhanadå Stotram) Song-Amulet of the Bestower of Wealth (Dhanadå Kavacam) Praise-Song for the Lotus Goddess (Kamalå Stotram) 108 Names of the Glorious Lotus Goddess (Ír¥ Kamalå Aƒ†ottaraßatanåma Stotram) Song-Amulet of the Lotus Goddess (Kamalåtmikå Kavacam) Song for the Lakƒm¥ of Spiritual Power (Ír¥ Siddhalakƒm¥ Stotram) Song for the Glorious “Eyes of Indra” (Ír¥ Indråkƒ¥ Stotram) Song-Formulary of the Glorious Mahålakƒm¥ (Ír¥ Mahålakƒm¥ Pañjara Stotram) Secret Lakƒm¥ Incantation That Yields Immediate Results (Sadya÷ Phaladå Lakƒm¥stava H®dayam)

149 149 169 170 171

Epilogue: The Goddess Returns Home

203

Transliterated Sanskrit Texts Lakƒm¥ P¶jå Text Vedic Texts Puråîc Texts Tantric Texts

207 207 211 213 222

Notes

249

Bibliography

265

Index

275

177 181 186 190 194 200

Acknowledgments

I wish to express heartfelt gratitude to Sri Swami Chidvilasananda Gurumayi, for it was she who first suggested that my increasingly unresolved questions about the enigmatic goddess Lak∑m¥ might be turned into a book. The challenge to unfold even a small portion of the goddess’s mystery could not have been undertaken without great on many levels, seen and unseen. I am extremely grateful to Nancy Ellegate, senior acquisitions editor at the State University of New York Press, both for her creative sensibility and her steadfast of this project from seed of thought to fruition. Many thanks also to Laurie Searl, senior production editor at SUNY Press, for her excellent guidance throughout the production process. I gratefully acknowledge Eckerd College, the Sheva Arts Foundation, and the Muktabodha Indological Research Institute for their generous financial in the form of research grants during the two sabbaticals that were required for the completion of this book. My sincere gratitude goes to the individuals in each of these institutions for believing in this project so wholeheartedly, most especially to Dean Lloyd Chapin at Eckerd, Janice Burney of Sheva Arts, and Hema Patankar of Muktabodha, who has lovingly held this project close to her heart from the beginning. I would also like to acknowledge the Rubin Museum of Art for granting permission to use the image of Siddhalakshmi, with special thanks to Helen Abbott for her gracious facilitation of the process. Many colleagues have contributed to my ideas and evaluated numerous drafts of my translations and their interpretations as this book has taken shape. I am grateful for the Works in Progress sessions at the conferences of the Society for Tantric Studies, most especially to the generous collegiality of Loriliai Biernacki, Marcy Braverman, Douglas Brooks, Glen Hayes, Jeffrey Lidke, William K. Mahony,

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A C K N OW LEDGMENT S

June McDaniel, Paul Muller-Ortega, Charles Orzech, Bruce Sullivan, Sthaneshwar Timalsina, and David Gordon White. I am grateful for the opportunities to have presented lectures and workshops at Sri Muktananda Ashram during the early phases of this book’s development; from workshop coordinators as well as participants has been particularly helpful in making connections between theory and practice. Many other friends and colleagues have contributed to this project as it has developed over the years. For reiterating the value of a book on the goddess Lak∑m¥, as well for sharing their scholarly wisdom, inspirational conversations, and practical advice, I wish to thank Elisabeth Benard, Edwin Bryant, Carol P. Christ, Saraswati Clere, Thomas B. Coburn, Paula Christine, Barbara D’Angelis, Janet Dobrovolny, Laura Duggan, Mark S. G. Dyczkowski, George Franklin, John Friend, John Grimes, Rick Jarow, Angana Jhaveri, Sally Kempton, Valerie Leeds, Peggy Lipton, Rachel Fell McDermott, Patricia Monaghan, Beverly Moon, Vasudha Narayanan, Suze Orman, Tracy Pintchman, Carlos Pomeda, Diane Rhodes, Sujata Ringawa, Steven J. Rosen, Deepak Sarma, Graham Schweig, Miranda Shaw, Rita DasGupta Sherma, Frederick M. Smith, H. Daniel Smith, and Demetri Tashie. At Eckerd College, I extend warm thanks for the congenial of Victoria Baker, Jewel Spears Brooker, David Bryant, Julienne Empric, Davina Lopez, Carolyn Johnston, Jared Stark, and Robert Wigton. At Hunter College of the City University of New York, I gratefully acknowledge Barbara C. Sproul, Director of the Program in Religion, for her foresight and generosity, as well as fellow linguists Vishwa Adluri and Alice Hunsberger for delightful explorations of ancient phraseology. Thanks also to my many students whose astute questions and comments have contributed to a richer understanding of the goddess. I am deeply grateful to Stephen C. Robinson, founder and director of the Holistic Studies Institute of New York, for creating new avenues to explore the ideas in this book, as well as for his wise counsel and continuous encouragement. Many thanks as well go to my amazingly gifted friends at H.S.I. for generously sharing their insights as this project has progressed. Countless others who have contributed their thoughts, insights, and inspiration remain unnamed. I am grateful to all, though of course any oversights or inaccuracies in this book are entirely my own. Constantina Rhodes New York City

IN TRODUCTI ON

The Goddess Arrives in Delhi

It was autumn in Delhi, that majestic time of year when the sky sparkles a bright blue and evenings resonate with a gentle coolness. A season of delightful reprieve from the summer’s heat, autumn is a time to celebrate life’s bounty. As its refreshment mediates against all kinds of torpor, many experience this season as an expression of the goddess. Even the name Autumn is one of her names.1 This is a time of movement and excitement, a time of visiting and of receiving guests. It is therefore no wonder that this is the time to receive the most desirable guest of all, for this is when the gracious goddess visits her earthly devotees and infuses them with her blessings. In particular, autumn is the most auspicious time for invoking Lak∑m¥, beloved goddess of beauty, wealth, prosperity, and abundant good fortune. In every neighborhood, people were cleaning house, some of them also scrubbing the exterior walls, applying fresh coats of whitewash or paint. They were preparing for D¥vål¥,2 the Festival of Lights celebrating Lak∑m¥. Everyone and everything seemed to be in on the celebration. Temples, homes, shops, taxis, and the streets themselves were decorated and made ready for the goddess’s arrival. In the marketplaces, strings of tiny electric lights sparkled in the trees and from awnings. When night fell, firecrackers would compete with the sound of devotional music on public loudspeakers. On the day of the new moon, women decorated the steps leading to their doors with beautiful designs in bright-colored powders, tracing footsteps for the goddess of wealth to find her way into their homes. Alongside the footsteps they placed rows and rows of small clay lamps, and at nightfall, they lit the lamps, their cotton wicks saturated with ghee,3 which emitted an exquisite, golden brilliance. These small lamps were also placed up on the flat rooftops, so that the entire house was lit up in a kind of landing pattern for Lak∑m¥ to follow as she descended from the heavens. With an invitation of

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I N VOK I N G LA K S H M I

such beauty and luminosity, how could the goddess resist gracing these homes with her presence? I had been invited to attend my first p¶jå, or ceremonial worship of the deity, in a private home on the outskirts of Delhi. Veena, the woman of the house, was performing a D¥vål¥ p¶jå, for which she had set up a temporary altar in a corner of the bedroom. Having spent the past few days in cleaning and preparation, she appropriately began the actual ritual at dusk, when lamps are lit to dispel darkness. The central image of worship was a small framed lithograph print of the goddess Lak∑m¥, which had been set into a large stainless steel bowl filled with puffed rice. Veena lit several sticks of sweet, highly fragrant incense and began to recite prayers and make offerings as she waved a small brass lamp fueled with ghee. Here again was that exquisite golden light. She was invoking the goddess, inviting her to enter the home and impart her blessings. Despite the steadfastness with which she performed the ritual motions, however, there was an impression of mild disorder, imprecision, and distraction: some of the liquid offerings spilled out of their containers, while powdered offerings blew away and onto the nearby bed, staining the bedcover with indelible vermilion and turmeric splotches. Children (hers and the neighbors’) were running through the house and out into the lanes. Her husband would chase after them and bring them inside, after which they would wriggle free and resume their gleeful romping and attempting to get into the box of firecrackers. Despite the distractions and having to stop and start several times, Veena continued, nonplussed. It was clear from her relaxed demeanor that all was proceeding well. Although as a visitor I could only perceive the ordinary messiness of life that would somehow stand in the way of drawing down the divine into that house on that night, the hostess proceeded with a calm certainty that this was the p¶jå, with spills, color, ringing bells, and interruptions, for as Veena sang supplicatory prayers to the Mother of the Universe, her own children were beseeching her to please hurry up and give them their sweets and sparklers. This jumbly melange of activities struck me as what the goddess of abundance must stand for—life, bright and awake, burgeoning, and despite all distractions and possible encumbrances, was ever moving in and around the human realm. This was certainly a far cry from the peaceful feeling of stillness I had expected. But the ceremony was not yet complete. Toward the close of the ceremony, Veena lit another lamp, this one with camphor, which sent out an initial blaze of sparks and then

I N T R ODU C T I O N

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settled into a diamond-like, piercingly brilliant white light along with an astringent and pungent fragrance. Very suddenly things got quiet. Of their own accord, the children gathered close to the altar, standing still and with an attitude of expectation. I noticed that the street noise had subsided, and the darkening room seemed to spread with light. Within an instant, everything had changed. A deep and peaceful fullness settled over the house. That yogic point of perfect quietude flooded the heart and stilled the mind. I let go of compulsive, dualistic queries: Is Lak∑m¥ a goddess of the worldly realm? Or a goddess of transcendence? In that moment when the p¶jå imploded into perfection, when the supplications from the human realm seem to have succeeded in drawing the goddess into our space, crowding out mundane restlessness with a deep and abundant tranquility, existence within the world and transcendence beyond the world seemed as one. The p¶jå elicited a point of perfect suspension, a window into the infinite that exists between the movements of coming and going, of past and present, of mundane and holy. What was the cause of that glorious hiatus? When that splendid moment subsided and we began to move about, the first words out of anyone’s mouth came when Veena’s son Ramesh, all of three or four years old, announced: “Dev¥ å rah¥ hai!” That is, “The goddess has arrived!”

What Does It Mean to Invoke a Goddess? The goddess had arrived. What exactly did that mean? What exactly is a goddess? Who is the goddess Lak∑m¥? And if she had arrived, where had she come from? How had Veena convinced her to come? Certainly, there were preparations, ceremonial actions, and singing to the goddess, which, I later discovered, were conceptualized as invitations extended to a magnificent guest. Invitations, however, do not always guarantee arrivals. What was in Veena’s invocation that seemed to spell success? Invoking Lakshmi: The Goddess of Wealth in Song and Ceremony addresses these questions. The answers—or perhaps, speculations—are based upon songs of praise that are offered to the goddess and that constitute the essence of her worship in its countless variegations. All of the songs in this volume are originally in Sanskrit. None but a few of these verses has ever appeared in translation. This is, to my knowledge, the first English-version collection of devotional songs dedicated entirely to Lak∑m¥. With this volume, we offer an entirely

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new resource for the study and the invocation of the goddess of prosperity. Lak∑m¥ is by far the most popular and the most widely worshiped goddess in all of India. Her shrines appear everywhere—in homes, along roadsides, in most shops and places of business, and of course in the great temples across the entire subcontinent. For centuries, her devotees have invoked her in song and ceremony. Authorship of many of these songs is attributed to the gods themselves, and their words are said to have been imparted for the benefit of humankind, so that they may be used to invoke the goddess with efficacious results. All of these songs are invocations—the tradition holds that if a worshiper sincerely invokes Lak∑m¥ with these words, she will listen and respond to the call. Why do people invoke the goddess Lak∑m¥? A better question might be: Why would they not invoke her? Who does not have at least some concern for physical and emotional well-being, material comfort, harmonious relationships, and spiritual insight? Not everyone may be focused entirely upon all of these, all of the time, and some may insist that they have no need for any of them. It is no secret, however, that when people seek the advice of spiritual, psychological, or religious counselors, their most pressing concerns overwhelmingly involve health, career, love, or existential crisis. The labels placed upon these issues vary, of course, according to cultural, religious, and historical frameworks, but they remain a constant in one form or another. The songs to Lak∑m¥ in this volume give voice to these concerns, and they also provide insight into the nature and personalities of this goddess as she is envisioned both by her human devotees and by the gods themselves. As we shall see, Lak∑m¥’s devotees have turned to her again and again for blessings of good fortune in every aspect of life, for she is recognized as the limitless source-energy of all abundance, prosperity, and power, and her wealth takes infinite forms. Ancient India was renowned as a land of bounteous splendor, majesty, and wealth: It was an abundant source of precious metals and gemstones; of exquisite spices and condiments and gorgeous fabrics; of sophisticated medical sciences and equally sophisticated arts of sensual pleasure; and of a multitude of philosophical schools and spiritual traditions whereby one could contemplate how to integrate these many ways of being or simply abandon them altogether in pursuit of spiritual liberation. India’s majestic confluence of material and spiritual prosperity reflects the nature of this goddess who embodies the rich and diverse ways of experiencing one’s walk though this world. This explains why her devotees extol her as bhukti-mukti-


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pradåyin¥—“bestower of material enjoyment and spiritual liberation.” By worshiping the goddess of abundance, one is free to experience the fullness of all of life’s blessings. Invoking Lakƒm¥, Invoking Divine Luminosity Before moving forward with our study, we pause to address the question: What exactly is a goddess? The Sanskrit word for goddess is dev¥; the word for god is deva. Both derive from the verbal root div, which means to shine, to play, to sparkle, to rejoice. In English as well as in Sanskrit, luminosity and playful movement are two ways of verbalizing a singular phenomenon, as when we say, for example, that sunlight plays upon the waters. The verbal root div also means to gamble, to cast dice. The term, then, also conveys the excitement of uncertainty, the expectancy of luck, and the vibrant sensation that anything can happen—all of these as opposed to the frozen stagnancy of absolute certainty. Of course, depending upon perspective, playful uncertainty may be experienced as a chaotic abyss, and absolute certainty, a tranquil haven. This dichotomy is not lost as we move through this book and consider the many gradations of meaning in Lak∑m¥’s name, how she expresses herself, and what happens when she is forced into hiding. We shall see that Lak∑m¥ is the epitome of luminous energy in action: without a doubt, the goddess of prosperity is the quintessential dev¥. The devas (gods and goddesses collectively) are “luminous beings.” When a worshiper invokes any of the devas, he or she is first calling upon their essence—divine, undifferentiated luminosity. Every impulse toward invoking Lak∑m¥ begins with a desire for that source of delight, splendor, and source-energy. When the energy of that source is aroused, then one may consider a particular focus, of which there are infinite expressions. These expressions may be seen as moods or personalities of the gods, making them perceptible to the world qualified by name and form. This is why the particular avenue of expressing divine energy to break past obstacles, for example, is embodied in the form of Gaêßa, lord of obstacles. So too does that luminous essence take form as the lovely one who shapes sound into eloquent speech, and artistic impulse into glorious refinement of artistic expression, as Sarasvat¥, goddess and patron of the fine arts. When that luminosity expresses itself as bounteous beauty, delight, harmony, abundant wealth, and spiritual liberation—in short, prosperity of every kind—then it is recognized and called upon as Lak∑m¥, goddess of abundance. To invoke and draw forth the luminous source of all abundance and prosperity is the purpose of the songs in our collection.

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On the Format of This Book We offer this book as a source and resource for various types of readers. Scholars and students of Indic religion will find that this collection of original sources greatly enhances the study of goddess worship, devotional poetry, and, above all, the rich complexity of the goddess Lak∑m¥ herself, about whom surprisingly little has been written. Spiritual seekers will find that these songs are indeed conversations with the goddess, and that the words to these songs may give voice to their own joys and concerns as they navigate their way through the material expression of this world. And finally, devotees of the goddess in any of her forms will find in this volume a worship manual—a compendium of invocatory songs and the text of a worship ceremony—to use as a guide in their own worship, much as the original Sanskrit volume containing the texts of these songs was compiled as a guide for worshipers of the goddess in India. The heart of this book is a corpus of texts invoking the goddess Lak∑m¥, both in song and in ceremony. I have organized this volume into four parts, as follows. In Part One, I portray the divine personalities of Lak∑m¥ as they emerge in the Vedic, Puråîc, and Tantric texts—three major areas of Sanskrit sacred literature. In Part Two, I discuss the power of poetry in summoning the goddess, that is, I explore how each genre of song is understood to “work” in invoking the goddess. In Part Three, I present my translation of a complete Lak∑m¥ p¶jå text. Here, in systematic detail, we revisit our impressionistic description of the Lak∑m¥ p¶jå performed by Veena in her home in Delhi. I introduce this with a discussion of the nature of p¶jå, explaining how to appreciate what p¶jå is and how it “works.” Then I present the translation of the p¶jå text, accompanying each verse with additional analysis and commentary specific to that aspect of the ceremony. In Part Four, I present what I consider the heart of this book—my translations of Vedic, Puråîc, and Tantric songs invoking Lak∑m¥. For scholars and for those devotees who wish to address the goddess in the original Sanskrit, I include, at the end of this volume, the texts in transliteration. Three Categories of Song, Three Emerging Portraits of the Goddess When viewed sequentially, the songs invoking Lak∑m¥ reflect an increasingly complex portrait of the goddess as she is envisioned by her devotees. Each “divine personality” of the goddess builds upon and


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enhances the nuances of the previous one. In order to get a glimpse into the nature of the goddess we are about to encounter, we offer here the highlights of our first three chapters (constituting Part One of the book), as follows. Chapter 1, “The Awesome Power of Auspiciousness: Lak∑m¥ of the Vedic Traditions,” introduces the goddess in her form as the lotus and the lotus goddess, as well as an embodiment of ßr¥—splendor and majesty. The Vedic hymns invoke the goddess to come to the earthly realm, specifically to assist the king, whose sovereignty ensures the well-being of the kingdom. The realm of the goddess’s blessing, then, is this earth, this world that we inhabit as embodied beings and as social creatures seeking abundance and prosperity. Chapter 2, “Living the Good Life: Lak∑m¥ of the Puråîc Traditions,” opens to a wider universe and engages the presence of the goddess not only across the fertile earth and propitious kingdom, but throughout the three worlds of heaven, earth, and the netherworlds. Prosperity expands in time and space, and, thematically, the goddess’s blessings are now expressed through the more subtle and complex avenues of pleasure (kåma), material wealth (artha), virtue (dharma), and spiritual liberation (mokƒa). These songs engage both the king and the householder, and many of their verses are said to have been uttered by the god Indra, king of the heavenly gods, in gratitude to the goddess for restoring harmony among the three worlds. The Puråîc songs address the goddess as Lak∑m¥, majestic goddess of wealth, and consort or wife of Vi∑û. Together they embody the divine couple that preserves harmony in and among the worlds. These songs reflect the concerns of householders—whether the “house” is that of one’s immediate family, the larger community, or the entire three worlds. The petitioners may be seeking prosperity or they may be expressing thanks to the goddess for having restored prosperity that had been lost and regained. The goddess is also addressed as Mahålak∑m¥, or “Great Lak∑m¥,” the expansive form of the goddess who creates, preserves, and destroys the universe, as well as obscurs and reveals supreme reality. Most of the songs use the names Lak∑m¥ and Mahålak∑m¥ interchangeably, with little technical distinction regarding the divine attributes of the goddess. Chapter 3, “Living the Powerful Life: Lak∑m¥ of the Tantric Traditions,” moves into the esoteric realms of interior worship and the transformation of consciousness. Whereas the Vedic songs elicit the goddess’s presence as the display of wealth and glory in this world, and those of the Puråâs seek her presence as the harmonious blending of all types of wealth throughout the three realms of heaven, earth, and

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the netherworlds, the Tantric songs locate the power of the goddess in even more subtle universes embedded deep within the multiple strata of the human body and consciousness. Some of the Tantric songs invite the goddess’s blessings by requesting that the goddess’s powerful aspects come to dwell upon and within the practitioner. Most of the Tantric songs, however, reflect a monistic viewpoint: Here, the essence of the goddess is the ground of all being, inviting the Tantric worshiper to engage in her worship not only through external means but internally. The songs of the Vedas as well as those of the epics and Puråâs invoke the goddess by drawing her down from her heavenly realm; the Tantric songs invoke her presence by waking her up, for she is the divine power that lies within us all. The songs throughout our collection seek the “favor” (prasannå) of the goddess, or for her to grant a boon (vara). The Tantric songs seek also to generate siddhi—the spiritual power of attainment and perfection—within the practitioner’s own body and consciousness. The Tantric poets invoke the goddess in her most subtle forms, for not only do they seek those blessings that make their mark in the material world, but they seek to live in complete alignment with the source energy of those blessings.

Sources: Sanskrit Texts and Popular Worship Manuals My intention with Invoking Lakshmi is to present a collection of devotional songs and ceremonies that most closely replicates what a Hindu worshiper would use to invoke the goddess. I have therefore drawn upon a compilation of Sanskrit worship texts presented in a paddhati, or manual for popular worship. The paddhati is an intriguing popular genre that has received relatively little attention by scholars, especially as a source of Sanskrit texts. Although basing my selection of songs upon a paddhati has not been without some scholarly problems (mostly concerning the origins and lineage of the texts as well as some variants in language and spelling), I have found that presenting a body of work based upon the indigenous category of the paddhati offers an exciting new way to experience Sanskrit texts in translation.4 Most of the texts in this book are taken from Ír¥ Lakƒm¥ Upåsanå [Adoration of the Glorious Lak∑m¥], edited by Pandit Rajesh Dixit. This manual contains Sanskrit texts dedicated to Lak∑m¥ that originate from a variety of sources and worship traditions. Since the main purpose of a paddhati is to facilitate ritual, it is therefore not surprising that the texts included in such a manual have not been categorized


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in any way, nor has much information been given concerning their original sources. Some of the texts provide source information in the colophon, although this is not always reliable. Such disparity is a feature not only of the paddhati but of the textual traditions themselves, which, as they developed with complexity across time and region, may have come to exist in varying recensions and editions. For example, the colophon of the Song for the Lakƒm¥ of Spiritual Power (Ír¥ Siddhalakƒm¥ Stotram) indicates that it is found in the Bråhma Purå£a, although inspection of that purå£a has not revealed that text. Clearly, the very first questions often asked by scholars about the specific origin of a text may never be addressed within the tradition. However, this should not deter us from translating these texts, listening to what they have to say, and allowing them to increase our appreciation of how worshipers and deities communicate with each other. Sanskritists may find interest in the slightly nonstandard forms of the language exhibited in some of the Tantric selections. The text of the Song-Amulet of the Lotus Goddess (Kamalåtmika Kavacam), for example, suggests an Eastern transmission of Íåkta literature (as in Assam or Bengal), employing the doubling of consonants instead of consonant clusters (such as (samåttam for samåptam), or the doubling of the semivowel v (such as sarvva for sarva, purvva for purva, and pårvvat¥ for pårvat¥). Locating the Heart of a Text It is not always possible to ascertain the exact origin of some devotional texts, for a couple of reasons: First, the tradition itself does not always provide the types of answers we are looking for. Even the most easily identifiable songs—our first two, which are from the Vedas—are actually appended to the Vedas. We do not know where they “existed” before that. Second, the nature of Sanskrit devotional poetry is fluid and malleable. When a text is said to be found within a larger work, it is never entirely clear whether that text was derived from the larger work or whether it was later inserted into that work. Two well-known examples of this may be seen when we consider whether the Bhagavad G¥tå was inserted into—or derived from—the Mahåbhårata, or whether the Dev¥ Måhåtmyam was inserted into—or derived from—the Mårka£¿eya Purå£a. This feature—whereby entire segments may be inserted into or extracted from larger texts—actually begins with individual verses comprising the texts themselves. As I note throughout Invoking Lakshmi,

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certain verses in one song appear verbatim in other songs. Sometimes, these are the initial verses that establish a visualization for meditation on the deity. Perhaps the most striking example of this malleability is in the final song of our Tantric section, the Secret Lakƒm¥ Incantation That Yields Immediate Results (Sadya÷ Phaladå Lakƒm¥stava H®dayam); eleven of this song’s sixteen verses also appear within the 108 verses of The Secret Heart of Lakƒm¥ (Ír¥ Mahålakƒm¥ H®dayam). Another example of this feature may be seen when some songs, such as the two earliest texts in our collection—The Hymn to Ír¥ (Ír¥ S¶ktam) and the Hymn to Lakƒm¥ (Lakƒm¥ S¶ktam)—may appear as either two separate texts or as one blended text. And again, when they appear separately, they may vary in their number of verses. Some editions of the Ír¥ S¶ktam contain fourteen verses, whereas others contain fifteen, and yet others, sixteen. The differences between these numbers are significant according to the tradition that employs the text in its ceremonial worship.5 The narrator of a Puråâ or Tantra may shift into song to express the heart of a age, for the richest, most memorable essence is always with song. We may not be too far from this concept if we think of the devotional hymns in these texts as akin to the musical interludes that punctuate the story lines of a Broadway show or a Bollywood musical. The songs accentuate the movement of the story, and so too they may be extracted to be sung and cherished independently, existing as memorable works that resonate with viewers long after the prose-dialogue has receded into the background of one’s consciousness. Worship Texts Versus Worship Traditions Although the Ír¥ Lakƒm¥ Upåsanå does not divide these texts according to any specific lineage or origin, I have presented them in three broad categories: Vedic, Puråîc, and Tantric. It is not my intention here to document the precise schools and subschools that may claim these texts as their own. Even the earliest of our songs, the Ír¥ S¶ktam, while acknowledged as an appendage of the §g Veda, is also incorporated into the worship texts and traditions of various sacred lineages. Two south Indian traditions, the Påñcaråtra and the Ír¥ Vidyå, for example, employ the Ír¥ S¶ktam in a particularly Tantric way; to label that song Tantric, however, would be misleading. Therefore I feel it is important to reiterate that these categories are broad; the designations of Vedic, Puråîc, and Tantric in this volume have as much to do with thematic considerations as they do with textual origins. Further, each


11

of these categories is filled with its own complexities and resistance to categorization. It is for this reason that I have chosen to compose the introductory sections with a strong focus on the texts themselves. To discuss with accuracy the ways in which various schools have employed these texts in their worship or textual traditions could well require several large volumes. In addition, it would detract from our immediate purpose—to present a collection of poetry invoking the goddess, allowing that poetry to occupy a space of its own in all of its variegations and complexities. The three broad categories will help us to understand the general themes and perhaps the origins of these texts, but we would be somewhat remiss in stating that any of these texts “belongs” solely to a specific tradition. This helps us to keep in mind the original audiences for whom the worship manuals were compiled. This also helps us to see that categories of “Hindu worship” are indeed quite fluid, that worshipers of the goddess may move freely within the vastly rich layers of these textual traditions as they seek words to express the deepest concerns of the heart. Our focus, then, is not so much on who owns these texts, but on the goddess within them. How is she portrayed? How is she addressed? What do her devotees ask of her, and what do they expect to receive? As mentioned earlier, no other source in English presents such an abundant body of poetry to the goddess Lak∑m¥. I have found that the sheer volume of these verses, taken together, evokes a sense of the goddess’s abundant presence that cannot be experienced when we encounter such works piecemeal. I would therefore invite the reader to discover the goddess section by section, moving at will between the introductory chapters and the texts, perhaps reaching a point where the texts alone become a cherished place to return again and again. As for filling in the blanks where we have not provided precise details of school or origin, I invite future generations of scholars to use these translations as a guide into aspects of the goddess that are just beginning to come to light. The Hindu goddess of prosperity first expresses herself in this world in the form of a lotus. With that in mind, let us behold the petals of her divine personalities as they unfold, one layer at a time.

PART O NE

The Divine Personalities of Lak∑m¥

The goddess of wealth expresses herself in infinite forms. Here we explore the development of the goddess’s divine personalities as reflected in the songs offered by her worshipers, for the manner in which she is approached in song tells us much about how she avails herself for perception in the three worlds.

CH APTER 1

The Awesome Power of Auspiciousness Lakƒm¥ of the Vedic Traditions

The Primordial Lotus Goddess In the spiritual imagination of her earliest worshipers, the goddess of prosperity revealed herself through the abundant riches that sweeten the experience of life. She existed in the exuberant life-force of plants and animals and in the prosperous well-being of individuals, families, and communities. The majesty of the day and night and the changing of seasons exhibited her splendor. The ways in which she manifested herself were infinite. And yet, who or what was the essence behind these manifestations? Who was this goddess? By what name could she be invoked? The personification of this goddess took shape gently, tenderly, in the space between reality and surreality, where the as-yet undifferentiated divine essence blossomed into various categories of embodiment at once. In particular, her early worshipers recognized the earthly form of the goddess as something very much of the natural realm and yet not quite of this world, a hybrid apparition of a radiantly beautiful woman embodied in all living things, but most especially in the sacred lotus. Like all forms of life, the form of the goddess begins in the waters. Long before the songs praising Lak∑m¥ were written down, ancient Indian visual art was replete with lovely and graceful motifs of lotuses rising from pools of water and of nymph-like figures curling lithely around tree trunks. Other images depict a female figure seated on a lotus, bearing in her hands blossoming lotuses and tender shafts of freshly sprouted grain. This same figure is sometimes flanked by 15

16


plump elephants who shower her with water from belly-round urns. These images depict the primordial lotus goddess, earliest form of the Indian mother goddess, beneficent deity of life-force, fertility, and glorious abundance. The earliest of these images were created some four to five thousand years ago by the artists of the Harappa civilization.1 The iconographic records from ages past have no written indications of her name, but when the sacred texts begin to recognize this deity in song, she is called upon with a variety of names that reiterate her images, among them Kamalå, Ambujå, På, and Piˆ¥, all of which mean “lotus.” Thus it is that in the opening verse of one of her earliest songs, Lak∑m¥ is addressed and identified as the lotus goddess Piˆ¥: Most lovely goddess Piˆ¥ With lotus face And lovely lotus-petal eyes, O you who cherish the lotus, O you who cherish the world, O goddess whose heart pervades the universe, To your lotus feet I bow.2 As the hymn continues, each part of the goddess’s body—her eyes, lips, limbs, and so forth—is said to consist of lotus petals. As well, she sits on a lotus, dwells within the lotus, bears lotuses in her lotus-hands, and indeed is the inner essence of the lotus. This is a hyperreality; the parts do not add up to make “ordinary” sense—nor are they expected to. As such, this is a more potent form of the goddess, less specifically manifest, yet containing every possibility, for as the unfolding petals expand outward, they express the goddess’s essence in form, replicating the entire multilayered universe, which itself is the very body of the primordial lotus goddess. Her divine essence is understood to dwell in that form, and her worshipers see the lotus not only as a symbol but as an actual embodiment of the goddess. This having been said, it should be with informed interest that we can appreciate a vignette reported in an 1808 edition of Curtis’s Botanical Magazine, in which horticulturist W. J. Hooker notes that “a native of Nepal, who entered Sir William Jones’ study, made prostrations before a lotus, the flowers of which happened to be there for examination.”3 One can only wonder how the renowned philologist interpreted this gesture.4 The Nelumbo necifora, or sacred Indian lotus, has long captured the religious imagination in South Asia. To contemplate the serene

THE A W ES OME P OW ER OF AU S P ICIO U S NE S S

17

and easeful characteristics of this aquatic plant is to be invited into an almost surrealistic realm of symbol. The lotus is considered to evoke the full range of existence in all of its elemental variegations, with its roots deeply embedded in the muddy soil of the pond-bed, its stalk holding steadfastly through the waters, and its flower rising gloriously in the air, untouched by the other elements. Some varieties of lotus may take two or more years to produce a bloom, which may then unfurl slowly and steadily over the course of three days, finally revealing the fullness of its exquisite flower, complete with its intoxicating fragrance. It then takes another three days to fold back in upon itself, perpetuating its cycle of incubation, unfolding, opening in full majesty, and then closing inward again. The luxuriant fertility of the waterborne lotus as it moves through these cycles replicates the process of the goddess as the one who gives birth to the world, nourishes it, and oversees its eventual dissolution. As well, the lotus flower in full bloom is seen as an expression of the abundance, beauty, purity, gracefulness, mystery, and revelation of this goddess. In her laudatory songs, the goddess of creation, the goddess of prosperity, and the lotus goddess are recognized as one and the same. Just as her many epithets address this goddess as the foundation of the entire world, so too has the lotus persisted as a pan-Indian image that represents the very wellspring and of the creation. In particular, her name as På, meaning “lotus,” also literally denotes a foothold: pad refers to foot and må refers to a measured expansion across a spacial dimension. The lotus seat serves as the foundation upon which the gods rest in their embodied forms when they become manifest upon the earth, thereby serving as an intricate link between the earth and the realms of heaven. It is an image that extends beyond Hindu iconography to that of Jainism and Buddhism as well, for the lotus seat that s the images of the Buddha has been taken far beyond the motherland to become established in the sacred arts of virtually all of the Buddhist countries. In addition to representing the divine mother and her expression as the graceful yet steadfast of the world, so too does the lotus come to be recognized in the interior, subtle body of the human being, itself a reflection of the divine consciousness of the goddess. As we shall see, aligning with the internal presence of the lotus goddess becomes an essential feature of the esoteric paths to spiritual liberation. Other recognized forms of Lak∑m¥—cows, gold coins, precious gems, sprouts of grain or green plants, for example—have traditionally also elicited devout response in her worshipers. It is the

18


image of Lak∑m¥ as the lotus, however, that recurs most prevalently throughout our collection of sacred poetry, appearing in the selections from the Vedas, Puråâs, and Tantras even as her personality and imagery develop with different emphases in each of these literary traditions.

The Goddess of Auspiciousness: Ír¥’s Essence, Lak∑m¥’s Form The Vedas, or “wisdom books,” are the earliest scriptures of the Hindu tradition.5 When we turn to the tradition of the earliest Vedic texts, we encounter invocations for the presence of ßr¥, which translates as splendor, glory, majesty, brilliance, and the divine power of auspiciousness. Ír¥ is the power of life and vitality, and that which is touched by ßr¥ becomes radiant with health, wealth, well-being, abundance, and bounteous prosperity. The radiant force of ßr¥ can dispel the darkness of misfortune, decay, and poverty. Ír¥ is an abstract quality, and although as a feminine noun the term carries the connotation of a divine feminine force, it is not yet associated with any particular form or personification of divinity. Rather, there is a magnificent ambiguity in the term, for “splendor” is recognized as taking the form of wherever it manifests, as in the blossoming abundance of the earth, the life-giving waters, bounteous grains, and fatted cattle. Ír¥ is identified also in the auspicious workings of society: in the peaceful and prosperous realm of a righteous king; in the abundant circulation of gold and commercial exchange; and in harmonious relationships: happy, strong families, and loyal friends, colleagues, and attendants. In the Vedic consciousness, the stability of the universe (®ta) depends upon the attraction and maintenance of the elusive ßr¥. Indeed, all that is auspicious—the luxuriant bounty of the earth, the resonant chanting of sacred songs, the virtuous actions of regents, the fullness of a contented heart, for example—is inextricably linked as ßr¥ is propitiated to become graciously manifest on earth and in the affairs of society. By the late Vedic period, when the scintillating and auspicious qualities known as ßr¥ come to be recognized as manifesting in a particular form, they are also called lakƒm¥, literally an imprint, a sign, a display, an embodied expression, that is, a specifically recognizable manifestation of ßr¥. No longer only an abstract quality, this divine force now takes form as a deity and, in particular, as a goddess, a personification of the abundance, prosperity, splendor, and beauty


19

that have long been recognized as desirable qualities in life. The songs of the Vedas now sing of ßr¥ (Ír¥) and lakƒm¥ (Lak∑m¥), sometimes as two independent goddesses, and at other times as one and the same goddess.6 In all of her attributes of abundance and splendor, it is not surprising that the goddess of prosperity comes to be known by an abundant array of names, all of which lend further dimensions to the human perception of her identity. Challenges of Translation: How English Constricts Sanskrit Expression In appreciating these songs and the many designations of Lak∑m¥, it is helpful to conceptualize softened edges between one form and the next, to categorize them not by differences but to perceive the fluidity of forms, as we have considered with that of the lotus-woman form of the goddess. Contributing to the ambiguity of the goddess’s names and identities is the fact that devanågar¥, the script most often employed for writing in Sanskrit, does not distinguish between lowercase and uppercase ligatures, rendering common nouns and personal names interchangeable. Although such ambiguity is particularly challenging for the translator, it allows for a luxuriant complexity and multiple layering of nuance—the perfect expression for Ír¥-Lak∑m¥-Piˆ¥. She is, at once, the essence of the goddess as well as her only-partially revealed form, part sacred lotus, part lovely woman, never to be held captive in the world of names and forms (nåma-r¶pa), or to be grasped entirely by the limitations of human consciousness. Another difference between Sanskrit and English is that Sanskrit grammar does not employ definite and indefinite articles; whereas in English we may delineate an entire theology hinging on the difference between “God” and “a god” or “the Goddess” and “a goddess,” for example, no such linguistic distinction exists in Sanskrit. Even a comparison between “God” and “the Goddess” becomes forced and uneven in English; we can’t, for example, switch the language to compare “the God” with “Goddess” without many unnecessary permutations. Freedom from the the and a in Sanskrit is important to keep in mind as we consider the complexities of Lak∑m¥ or indeed of any of the Hindu deities. English compels us to choose: Are we discussing one goddess, is she the only goddess, is she one of many goddesses? Are they peers or is there an implicit hierarchy? Again, the ambiguity of Sanskrit reflects quite wonderfully the overlapping of these categories. In fact, the English language imposes categories of relationship that do not necessarily exist in the Indic consciousness. The Sanskrit word for goddess, as noted earlier, is dev¥. When

20


speaking of her in an Indic language, one does not have to identify “the goddess” or “a goddess” in relationship to others of her kind. She is simply goddess.7

Alak∑m¥, the Inauspicious Splendor and well-being are not without a dark side. Just as the auspicious presence of the Vedic Ír¥-Lak∑m¥ serves to uphold ®ta, the orderly working of the universe, so is inauspicious disarray associated with the personification of Lak∑m¥’s opposite, appropriately called by the names Nir®t¥, Alak∑m¥, and Påp¥-lak∑m¥. (The prefixes nir and a indicate a negation or absence.) Developing the concept of the dual aspects of Ír¥ even further, late Vedic literature frequently highlights the opposition between the concept of ßr¥ with that of påpman, or evil, misfortune, misery, disease, and death.8 The auspicious presence of ßr¥ is also referred to as su-lakƒm¥, the prefix su meaning “good” or “positive.” In contrast, the palpable lack of such qualities is known as påp¥-lakƒm¥, the prefix påp¥ meaning “bad” or “negative.” However, the prefix su is usually not appended at all. Just as in English, where “luck” usually indicates “good luck,” so too does lakƒm¥—the manifestation of auspiciousness—indicate the normative quality of auspiciousness itself. If the auspicious Lak∑m¥ is to be invited into one’s presence, it is often deemed necessary first to take strong action to dislodge the presence of Alak∑m¥ or at least to take precautions against her arrival. Before the yajña, or Vedic fire sacrifice, is performed, the forces of inauspiciousness are invoked outside of the sacred precincts and specifically onished to stay far from them. The elaborate ritual of the råjas¶ya (royal coronation), for example, includes the conscious expulsion of Nir®t¥ by attracting her with sacrifices offered at a desolate area, facing south, the direction of death, keeping her far from the auspicious abode of the king and the sacred precincts where Lak∑m¥ is worshiped.9 The inauspicious Påp¥-lak∑m¥ is identified and summoned so as to be kept away from the home and the palace, opening the way for the presence of the auspicious Lak∑m¥ to arrive. The two are understood never to exist in the same space. How are we to conceptualize the relationship between these two entities, Lak∑m¥ and Alak∑m¥? They are identified as exact opposites, each bearing the kernel of the other’s name—and identity. Auspiciousness and inauspiciousness cannot inhabit the same space, but they can be very close and, seemingly without warning, Alak∑m¥ may


21

appear where Lak∑m¥ once stood. In part, this has to do with what is known as Lak∑m¥’s cañcalå nature: she can be “fickle,” “restless,” “unsteady,” “wavering.” The invocatory verses therefore beseech her not only to arrive but to stay, to be “steadfast.” If “Lady Luck” is fickle, the message in the imagery of Lak∑m¥ is that the acquisition of wealth, of Lak∑m¥ herself, is the recognition that all of this is part of a continuous movement of energy, an evocation of the fluid qualities of the goddess. Essentially, to receive the blessings of this goddess one must be able to step into her effervescent energy field. Therefore, in a seeming paradox, the “steadfastness” of Lak∑m¥ must be invoked and generated continuously. Lak∑m¥ flees when her devotees succumb to laziness, apathy, fear, hoarding, circumstances of decay—when one’s actions and thoughts, whether through neglect or default, become aligned with and hide behind the opaque and stagnant energy of Alak∑m¥.

CH APTER 2

Living the Good Life Lakƒm¥ of the Purå£ic Traditions

The Burgeoning World of the Puråâs When we move from the Vedic hymns into the literature of the Puråâs, we discover a world that has exploded into myriad expressions of form. The Puråâs are a group of texts composed from approximately 200 bce to 1000 ce, a period that also produced the two great epics of India, the Råmåya£a and the Mahåbhårata.1 The expansive, elaborate cosmology of the Puråâs extends through eons of time and vast stretches of space, describing cycle upon cycle of world-creation, world-preservation, and world-dissolution. The “three worlds” (triloka) of heaven-earth-netherworld are displayed as a multileveled expanse of realms stretching above, through, and below the earth. Here we find narratives about the gods and goddesses and their encounters with beings of all kinds. The inhabitants of the various realms move rather freely from place to place in this vast universe. All three realms constitute saμsåra, that is, the world of birth and rebirth, and as such an embodied “living being” (j¥va) does not necessarily inhabit any of these forever. The motif by which gods and goddesses change shape—shifting into versions of each other, or being created from the essence of one another—highlights the concept that ultimately these forms and personalities are simply external expressions, guises adopted for mere l¥lå, or play. Divine activity, of course, is distinct from human activity, which is usually less play (l¥lå) and more work (karma). But the underlying substratum shared by both humans and gods is their essence, their “own true form” (svar¶pa), which consists of consciousness. This helps to explain the often-quoted pronouncement that there

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is one God and yet 330 million gods2—both attest to the infinitude of the divine and its presence at all times, in all places. The gods may appear and reappear in subsequent world cycles, sometimes in forms similar to their previous existence, and sometimes in forms seemingly unrelated. Once embodied, all manner of beings may change from one form and situation to another, moving from divine to human to animal or to hybrid human-animal, or yet to plant or even to a part of the earth itself, as a mountain or a stream, and then back again. Even demons are included in this great shifting of modes, as they may undergo spiritual transformation to such an extent that they evolve into a higher category of being. Sometimes the circumstances motivating these changes may appear as mere caprice, and at other times they may appear to be warranted by the fruits of one’s “good deeds.” Ultimately, one never knows fully what lies in store; after all, such is the illusory quality that characterizes saμsåra. If this all seems like the a game of Chutes and Ladders—riding high one day and sliding down the next—it should come as no surprise that a similar boardgame, intended to teach about patterns of karma, was played in India centuries ago. Nothing embodied, then, is entirely fixed or stable in the realm of qualified existence, which goes a long way in explaining the high level of concern for stability, security, and the wisdom to perceive life behind its appearances. So it is that those struggling to stay afloat in the turbulent ocean of saμsåra would understandably seek refuge in a deity who generates and embodies the qualities of cosmic order, social harmony, and a joyous existence on earth, as well as success in achieving eventual liberation from this existence.

Lak∑m¥ and the Lords of the Three Realms: Indra, Vi∑û, and Bali As the goddess who sustains the entire creation, Lak∑m¥ benevolently embodies herself in time and space, ever pervading each realm to maintain harmony, fullness, and equanimity. When the creation is in danger of losing its balance and falling into irreparable decay, she descends into the world, manifesting in a specifically recognizable form. All prosperity, all that nourishes the earth and its inhabitants, all that ensures benevolent increase—all of this is the expression of the auspicious goddess Lak∑m¥. Through her pervasive auspiciousness she reveals herself in myriad ways, expressive of her luxuriant bounty

LI VI N G T HE GOOD L IF E

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and beneficence. Here, the abstract concept of ßr¥ becomes personified more specifically in the form of the goddess Lak∑m¥. In the Puråîc literature, Lak∑m¥ is most closely affiliated with Vi∑û, lord of world preservation. In the Vai∑âva3 understanding of her descent into the world, Lak∑m¥ accompanies Vi∑û whenever he intercedes to uphold the creation. Together they infuse the universe with the energy of bounteous life to be lived on the hospitable earth. Just as her heavenly form dwells with Vi∑û in Vaikuˆ†ha and in other celestial realms, so also is Lak∑m¥’s domain the natural environment of the earth. In the Puråâs we find details about Lak∑m¥ and the circumstances of her “descents” (avatåras) into the earthly realm: her parents, her birth, her physical characteristics, her deeds, her marriage, her offspring. We should note here too that the Vai∑âva themes and personalities of Lak∑m¥ carry over into other categories of literature, and some of the songs share two or more textual or worship traditions. The “earthly” realm is but one part of the triloka, the “triple world,” or the “three realms,” which, as we have seen, consist of a series of heavens, the earth, and netherworlds. In addition to her affiliation with Vi∑û, with whom she infuses harmony throughout the earthly realm, Lak∑m¥’s presence is sought by Indra, lord of heaven, as well as Bali, lord of the underworld. Each of these kings requires the splendor of Lak∑m¥ to animate his realm. Many of the Puråîc stories illustrate the loss and restoration of sovereignty in of who can best attract and maintain this goddess, for she is the embodiment of every type of well-being. Both Indra and Bali exemplify male force and regency, yet recognize that when they lose their allegiance with goddess, so too do they lose their potency. Because these texts contain stories that span many kalpas, or world-epochs, we find that the circumstances of Lak∑m¥’s manifestations move through many dimensions of time and space. In one story, she incarnates as the daughter of the sage Bh®gu and the nymph Khyåti; in others, she takes the form of a sacred plant, such as the basil (tulas¥) or, as we have previously considered, the lotus. Yet again, Lak∑m¥ emerges in her form as splendid, radiantly beautiful goddess, one of the “fourteen gems” to emerge from the churning of the Ocean of Milk.4 In this lengthy and complex story, the gods (devas) of heaven and the demigods (asuras) of the underworld forces to regain the am®ta, or elixir of immortality,5 which has been cast into the ocean. Holding onto the divine serpent Våsuki, who offers himself as a churning rope, both sides engage in a massive tug-of-war, churning

26


the vast milk-ocean to force its contents to the surface. Some of these are deadly and others auspicious. Finally, fourteen treasures emerge, and first among them is Ír¥-Lak∑m¥ bearing the golden urn of immortal nectar. The goddess’s appearance is cause for jubilant rejoicing in the three worlds, expressed as some of the laudatory songs included in our collection.

All Women Are Embodiments of Lak∑m¥ Whether exhibiting steadfastness or restlessness, nurturing, independence, or any other embodiment or mode of expression, Lak∑m¥ always retains her core essence as the divine feminine. Every one of her forms is specifically female. She incarnates as other goddesses—most distinctly as Rådhå, S¥tå, and Rukmiˆ¥, who are consorts of various forms of Vi∑û. She is P®thv¥, the divine feminine embodied as Mother Earth, and nearly every river is recognized as a form of her. When she manifests as the lotus, she is På, and when she manifests as the sacred basil plant, she is Tulas¥. So too does she embody other fragrant flowers and is known by such names and identities as Ketak¥ and Målat¥.6 In the earthly realm, Lak∑m¥ expresses herself as every girl and woman. In the Song for the Glorious Lotus Goddess (Ír¥ Kamalå Stotram), Lord Indra lauds the goddess: [E]very woman is an embodiment of you7 In The Heavenly Gods’ Praise-Song for Lakƒm¥ (Ír¥ Daivak®ta Lakƒm¥ Stotram), the assembly of gods sing: Every woman is an emanation of you8 And in the Praise-Song for the Lotus Goddess (Kamalå Stotram), the gods proclaim: You exist as little girls in their childhood, As young women in their youth, And as elderly women in their old age . . .9 From the gods’ point of view, all women are recognized as embodiments of Lak∑m¥, even if there may be difficulty ing this in the human realm. However, certain roles and rituals may reiterate aware-


27

ness of this expression of the goddess. This last point is important to keep in mind as we consider two of her most significant expressions, as Råjya (“royal”) Lak∑m¥, and G®hya (“household”) Lak∑m¥: O goddess, you are Royal Lak∑m¥ In the palaces of kings, And Lak∑m¥ of the Home In ordinary households.10 In both cases, the identities of the goddess and of human women merge as women step into specific roles that give form to their goddess-essence. Lakƒm¥ of the Royal Palace In traditional India, Lak∑m¥ played a central role in the king’s court and in this capacity the goddess was known as Råjya (royal) Lak∑m¥. Ideally, the king was an embodiment of virtue (dharma), itself a form of Vi∑û, upholder of the universe. A kingdom could not prosper without the active presence of Lak∑m¥ at its center, in the royal court; many ritual activities, therefore, were performed to this end.11 The queens were embodiments of majesty (aißvarya), an expression of Lak∑m¥ most specifically aligned with the virtuous conduct (dharma) of the regent. Together they embodied virtue, stability, sovereignty, and prosperity. Lak∑m¥’s presence at the court also took form as devadås¥s, literally,”servants of the gods,” sacred royal courtesans who, as living embodiments of the goddess, would ceremonially invoke and awaken the goddess within their own bodies.12 Their presence in the court upheld the prosperity of the kingdom, most specifically as expressions of the goddess’s beautiful display of abundance in pleasure (kåma) and material wealth (artha). As we shall consider, pleasure (kåma), wealth (artha), and virtue (dharma) are all specifically expressions of Lak∑m¥’s prosperous essence. Lakƒm¥ of the Home Although the royal court and the home of an ordinary person may seem to be distant and distinct arenas, they are actually two versions of the same model, for the king, whose duty it is to ensure the well-being of the entire kingdom, is the quintessential householder.

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Similarly, just as the palace provides the central foundation for the prosperity of the kingdom, so does one’s home operate as the foundational center from which all of life’s endeavors originate. The goddess of the household is known as Lak∑m¥, and, like Råjya Lak∑m¥, she is recognized not only as a celestial deity but in the form of a woman as householder: In homes, you are G®hya Lak∑m¥, goddess of the household, Manifest as the woman of the house.13 Just as the king and queen represent Vi∑û and Lak∑m¥ on earth, so do a husband and wife emulate the roles established by this divine couple. Drawing upon Vi∑û and Lak∑m¥ as the divine source of all prosperity and well-being, the Hindu wedding ceremony casts the bride and groom as living representatives of the divine couple, roles that are to continue onward into married life. A married woman becomes a Lak∑m¥ in her household, for like the queen as well as the devadås¥ in the royal palace, she is viewed as a living embodiment of Lak∑m¥. This is in fulfillment of a woman’s str¥-dharma, or the inherent powers and responsibilities entailed in living a woman’s life. Many of these responsibilities involve integrity in relationships—with her spouse, children, extended family, and with the gods—as well as attention to overseeing the acquisition, storage, and preparation of food, the upkeep of the home-space, and the management of finances. Invoking Lak∑m¥ of the Home also entails performing obligatory domestic ceremonies. Here, women are responsible for preparing ritual offerings in the home, which range from simple daily offerings to complex vows and fasts at certain times throughout the year.14 All of these draw upon the inherent energies of a woman to generate and sustain well-being in her home and family. It is women who sweep the threshold clean each morning in order to drive away Alak∑m¥, and it is women who create ra‰goli or colam, decorative patterns on floors and walls to attract the goddess of wealth into their homes. In attending to these responsibilities a woman is transforming the family home into a temple of Lak∑m¥. By virtue of her being female, a woman is said to be a form of the goddess and thus an extension and repository of the goddess’s power. Although the Vai∑âva paradigm tends to highlight Lak∑m¥ in her state of marriage to Vi∑û, it is important to the goddess’s primary identification as an independent force and entity. Women, as embodiments of her energy, are understood first as embodi-


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ments of the goddess’s essence as ßr¥—splendor—and, from there, the specific personifications may be formulated. All females are recognized as forms of the goddess, regardless of age, station, or marital status. This helps us to understand that G®hya Lak∑m¥, although a specific and localized form, also carries the full majesty of the comprehensive identity and power of the goddess. As Lak∑m¥ embodies beauty in form as well as essence, conscious attention to this therefore begins with the proper attention to and nourishment of one’s body as the body of the goddess. Ornamenting the body with cosmetic coloring around the eyes, on the parting of the hair, or on the hands and feet, and adorning it with jewelry is an act of honoring and invoking the goddess, for ornamentation itself is a display of auspiciousness. Nearly every one of the songs in our collection beseeches the goddess specifically to dwell in one’s home. The types of gifts that Lak∑m¥ provides continue to be the foundation of a harmonious life for those in the householder stage of life.15 The way in which a woman relates to her home environment takes on special significance, for the home is the temple of G®hya Lak∑m¥. Heightened attention to the home-space, then, clearly becomes a kind of ritual in and of itself. When infused with the consciousness that the world we inhabit is the body of the goddess, preparing a hospitable space for her to reside becomes sacred action. With the consciousness of that sacred, ritualized action, a woman generates the ßakti—the creative cosmic power of the goddess—that is part of her own essential being. By stepping into the paradigm by which she is both an attendant of the goddess as well as her living embodiment, a woman may ensure that her home also becomes an abode of Lak∑m¥. We are well aware that the very idea of a Lak∑m¥ of the Home, or Household Lak∑m¥, may suggest a sense of enslavement or drudgery. Is this really what G®hya Lak∑m¥ intends for women? It is useful, first of all, to that Household Lak∑m¥ and Royal Lak∑m¥ are the same goddess, merely dwelling, we might say, in different abodes. Both are embodiments of the goddess as majesty (aißvarya). Therefore, when a woman is ened to imagine herself as the goddess of the home, it is intended as an act of empowerment, not enslavement. Even the devadås¥, whose name means “servant” of the gods, was never intended to be servile, but ideally to dwell in the elevated dignity of her sacred status. The kind of service and dedication to be cultivated here is not the same as a servile enslavement that would dessicate the spirit. A woman who is enslaved to her family and home, who has lost her own center, and whose home has lost its center, is not acting in

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accord with that divine mantle that the goddess has sanctioned with this particular form of embodiment. Such a woman has, for whatever reason, forgotten her aißvarya, her innate majesty. Our discussion here may be furthered by envisioning G®hya Lak∑m¥ in light of her ancient Greek counterpart, Hestia, goddess of the hearth. The essence of Hestia, like that of Lak∑m¥ of the Home, was recognized in the sacred flame of the hearth; without this fire, there could be no warmth, no light, no cooked food—essentially there might be the shell of a house, but no home. In order to recognize the continuance of Lak∑m¥’s radiant and empowering presence in all of her forms, it is useful to consider that for more and more contemporary women, the home has become a place to escape from; women are going elsewhere in order to feel and express their natural, personal power. However, such movement beyond the home is simply an expression of the goddess’s sovereign essence already having left, for where she is not honored, Lak∑m¥ will not stay. Reimagining Hestia in contemporary , feminist philosopher Ginette Paris posits that a reevaluation of our contemporary understandings of the hearth goddess may empower women outside of the home, even as they draw strength from experiencing the home as a vital foundation of being.16 In a similar vein, Vodun priestess Luisah Teish speaks of the importance of the consecration of ordinary work: “Washing your dishes,” she says, “can turn into an exquisite ritual” when you accompany the activity with the right music and add to the sink of dishwater “an ounce of river water, an ounce of ocean water, an ounce of rain water, and some lemon oil.” Further, she concludes: “Woman’s work has been degraded and it never should have been. It’s what preserves life. When you start to make your everyday work a ritual, you become re-empowered as queen of the manor.”17 When a woman experiences herself not as a servant but as a sovereign in her domain, then she—and those around her—may experience Household Lak∑m¥ and Royal Lak∑m¥ as two aspects of the same goddess whose favor is essential to a majestic, fulfilling life.

Lak∑m¥, Embodiment of the “Four Wealths” (Caturartha) The Puråîc songs to Lak∑m¥ highlight the themes of wealth, abundance, prosperity, harmony, and well-being in the natural world and in the lives of all beings as they experience the various aspects of moving their way through saμsåra, or life in this world. And so it is


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that these songs extol the goddess of prosperity as embodied in the caturårtha, that is, four components that, when addressed together, contribute to a life of balance and harmony. The term caturartha is often translated as the four (catur) “goals” or “aims” (artha) of life. It is helpful to that the term artha has multiple shades of meaning, as it may also be translated with such as “purpose,” “meaning,” “component,” “aspect,” “wealth,” and even “opulence.” If we think of these four “goals” with all of those connotations in mind, we get a more holistic sense of Lak∑m¥’s attributes in each of them and how they operate collectively. In English, the term goal carries a resonance of diligent striving toward a single end, with little appreciation of the process along the way; I find it more useful therefore to consider these as “four wealths” or “four meanings” of life, for they address a process and quality of living as much as they do an end result. It might also be useful to vary our translation of the term each time we consider it, in order to keep its resonance fluid and closer to its original multivalence. That being said, let us consider the four categories to be addressed in living a balanced life: (1) kåma, or pleasure and enjoyment; (2) artha, or material prosperity: (3) dharma, or virtuous conduct and harmonious relationships; and (4) mokƒa, or spiritual liberation. Our songs remind us that these four aspects of living well are forms of the goddess herself: You are the supreme mother of all, And every woman is an embodiment of you. So too do you express yourself in the forms Of dharma, artha, kåma, and mokƒa.18 Through these songs, we come to view the four “purposes” as a fluid continuum, for a well-balanced life enjoys the blessing of Lak∑m¥ in many aspects of existence.19 In this sense, the four are not separated by impenetrable walls of difference, but rather they exist as a spectrum, with shades that merge at the borders as one moves into different “frequencies” of experiencing life on earth. The first three goals, specifically world-affirming, are most readily apparent in their associations with Lak∑m¥ as the goddess of prosperity, yet the wealth of Lak∑m¥ is the full and harmonious infusion of Lak∑m¥’s abundance, culminating in liberation from attachment. In the worship of the goddess, one must first embrace the world, glorifying it as a manifestation of divine essence. Before liberation can be attained, one must live well in the world and yet grasp its hidden meaning, having evolved to the awareness by which Mahåmåyå—the goddess as

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Great Illusion—is recognized as both the one who veils and the one who reveals the truth of existence. Lakƒm¥ as Kåma: The Wealth of Pleasure, the World’s Delight Kåma is pleasure, delight, sensuality, sexuality. It is the ion that incites idea toward form. It is the pulse and the impulse of nature, deeper than thought or intention, that ignites the spark of procreation, ensuring the continuance of life from one generation to the next. Like the Greek Aphrodite, Lak∑m¥ is golden-skinned and scintillating, the exciter of ion, arousing the first stirrings of the sexual energy necessary to propagate life and expansion. Just as Aphrodite is the mother of Eros, so too is Lak∑m¥ extolled in the songs as Pradyumnajanan¥, “mother of the god of love.”20 Kåma ranges from eroticism to the pleasurable appreciation of beauty in all of its aesthetic subtleties. Lak∑m¥ is manifest in every perceivable aspect of the material world, in its variegated fragrances and pungencies, in its array of rasas (savors or flavors), and in all that expresses the pulse of divine energy as it ripples through the world. When the senses are enlivened, they heighten one’s experience of the goddess’s presence, for one’s capacity for sensual receptivity is the very same that allows for the reception of Lak∑m¥’s grace. As do the Vedic hymns, the Puråîc songs recognize Lak∑m¥ in various forms that are part flower and part woman. They also glorify her as dwelling in the sensual, magical realms inhabited by K®∑â. Her essence is recognized in lush green vegetation sprouting from the moist earth, in the brilliant colors and intoxicatingly sweet fragrance of blossoming flowers, and in the languid waywardness of vines as they grow entangled with luxuriant abandon. The kåma aspect of Lak∑m¥ is abundantly lovely, graceful, fragrant, moist, and sensuous, and she expresses herself as much in the flowering vegetation of the forest as in the intertwined bodies and souls of lovers. Through her expression of kåma, Lak∑m¥ becomes Rådhå, the beloved of K®∑â, whom she meets for secret love-play in the enchanted V®ˆda forest. In The Heavenly Gods’ Praise-Song for Lakƒm¥ (Ír¥ Daivak®ta Lakƒm¥ Stotram), the celestial ones celebrate Lak∑m¥ in her glorious display of such forms: In Goloka, You are the goddess more dear to K®∑â Than life itself, His own Rådhikå.


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Deep in the forest, Deep in the V®ˆda forest, You are mistress of the mesmerizing rasa dance. In the boughs of the sacred bhandira tree, You are K®∑â’s desire. In the sandalwood forest you are Candrå, In the grove of sweet yellow jasmine you are Virajå, And on the hundred-peaked mountain you are the lovely Sundar¥.21 Ecstatic in their union of hearts, bodies, and souls, and mournfully depressed when forced into separation, Rådhå and K®∑â (that is, embodiments of Lak∑m¥ and Vi∑û) represent that which Vai∑âva theologians interpret as a perfect paradigm for the soul’s longing for and blissful union with the divine. ion, drama, exasperation, delight: All of these are expressions of the soul’s journey in saμsåra. Lakƒm¥ as Artha: Material Wealth and Prosperity Consciousness More than any of her other aspects, Lak∑m¥ is most widely identified and worshiped as the goddess of material prosperity. She is the quintessential embodiment of artha, or material wealth. Her qualities of fluidity and expansiveness take form as money and its circulation in society. It is no surprise that merchants are among her most ardent devotees, and many business establishments in India grace their premises with private shrines to the goddess. Lak∑m¥’s most important festival, D¥vål¥ (festival of lights), is also the occasion for closing out financial books and beginning a new fiscal year. This is also the only time that gambling is encouraged—as if to test one’s faith in the blessings of Lady Luck. There is a luxuriant gracefulness about Lak∑m¥’s wealth. As an expression of her own nature, it springs from the source of her being and pours forth bounteously. Thus is Laks¸m¥ lauded for her generosity, and her sacred images display her with open hands from which pour forth unending streams of gold coins. The easeful, life-giving currents of gold, of water, of fructifying rains, and indeed of any form of energy are all variations on the same image of Lak∑m¥’s bestowal of prosperity. In some images, elephants lustrate the goddess with streams of water, increasing the magnitude of bounty and also illustrating an important point—that the goddess of plenty herself enjoys replenishment. Thus does the cycle continue propitiously.

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The Puråîc songs address Lak∑m¥ with a variety of epithets, among them, Dhanadå, meaning “bestower” (då) of “wealth” (dhana). The term dhana incorporates an expansive definition of prosperity: abundance, luxury, comfort, happiness, good health, well-being, material wealth, harmonious relationships with friends, family, and community, and a meaningful spiritual life. Lak∑m¥ is also called Vasudhå, “yielder of wealth,” referring to the goddess as the bounteous earth. Vasu is the wealth of the land and the abundant life that it yields. It is also the material wealth of the earth’s hidden treasures—the precious metals, minerals, crystals, and gemstones that lie beneath its surface—as well as the mysterious treasures of the forests and in the depths of the sea. With this in mind, we may understand the context by which Lak∑m¥ is beloved by the elemental spirits of the woods and by the forces that dwell in caverns and deep into the earth’s many layers. We may also further appreciate the expansive arena of the triple world (triloka) that is her domain. Heavenly, earthly, and subterranean beings alike all seek the wealth that Laks¸m¥ embodies. This allows us better to understand the place of the asuras, or “anti-gods” who inhabit the subterranean realms and the watery, dark netherworlds. In the Puråîc literature, the asuras are cast as debilitating forces who continuously antagonize the gods, in large part because of their attitude toward Lak∑m¥’s wealth: The problem with the asuras is that they insist upon hoarding. As Devdutt Pattanaik points out: The asuras of Hinduism are not evil creatures like the demons of the biblical tradition. They are children of Brahma who live under the earth and who pull the earth’s wealth downward. The gods who live above the earth pull wealth upwards. . . . In the language of modern economics, one might say that devas are distributors of wealth while asuras are creators of wealth. The former spend wealth, the latter hoard it. Both play vital roles in the cycle of wealth.22 When we consider the nuances of Lak∑m¥’s wealth, we may say, then, that dhana is prosperity, and vasu is the raw material behind that prosperity. Artha is the currency of value as it is recognized in a particular culture; it is the wealth that may be counted or demonstrated or used in the currency of exchange—as property, valuables, treasures, possessions, money, and the like. When one has received the blessing of artha, it is considered appropriate to display and enjoy it visibly. On the importance of the display of wealth in early Indic


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culture, Jan Gonda points out, “[T]he very manifestation of prosperity and liberality means esteem and satisfaction. A prosperous man is an honored man, because he gives evidence of possessing uncommon abilities.”23 To take this a step further, the goddess is the source of those uncommon abilities and of the material wealth itself, and to hide her gifts is considered to disrespect their divine source. Just as Lak∑m¥ is a visible expression of ßr¥, so too is artha a material expression of the goddess’s energy as money or material wealth. Attracting and maintaining wealth—however one interprets it—entails an attitude, a state of mind, quite literally a state of consciousness that aligns with the consciousness of the goddess. The poet of the Song for Lakƒm¥, Gracious Bestower of Blessings (Prasannavaradå Ír¥ Lakƒm¥ Stotram), for example, seeks the ability to attract wealth as well as to discover the state of consciousness that produces it: Consumed by dire poverty, I am breathless with anxiety and fear. In this impossibly painful state, I am drawn to your side. O Lak∑m¥, Ocean of Comion, Bestow wealth, And guide me to a state of prosperity.24 The prayers to Lak∑m¥ ask for material abundance and at the same time for the conscious awareness to dwell in that state of prosperity, which is a state of consciousness, a state of engagement with the wealth-energy of the goddess. The energy of this goddess is the energy of prosperity itself, and to dwell in this is what truly empowers the supplicant. It is interesting to note how modern writers on the metaphysics of prosperity speak in similar . Consider, for example, the words of Catherine Ponder, an American Christian minister writing in the middle of the twentieth century: “Money is filled with the desire for life, movement, expansion and activity. It does not like to be grasped, clutched or restrained in idleness. Indeed, it is the active circulation of money that brings prosperity, whereas depressions and recessions are caused by the miserly hoarding of money.”25 Centuries later and a world apart, Ponder’s words read like a meditation on Lak∑m¥ herself. As we have observed, most especially with our focus on Lak∑m¥ of the Home, women inherently contain the divine power of prosperity. This is best realized when a woman invokes the goddess by

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becoming the goddess: A woman becomes Lak∑m¥ when she models her attitudes, behavior, and consciousness on qualities that are recognized as embodiments of Lak∑m¥. Prosperity begins with prosperity consciousness, to which can be applied the specifics of successful money management and financial planning. The Hindu goddess of wealth plays a key role in the work of yet another American writer on prosperity. Coming from a perspective that is generally more practical than metaphysical, popular financial writer Suze Orman has engaged millions in turning their financial lives around by offering systematic, nuts-and-bolts advice. Yet even this practical advice is grounded upon higher principles. In a work written specifically for women, Orman exhorts her readers to tackle feelings of powerlessness in matters of money by focusing on “the 8 qualities of a wealthy woman”: “It is my wish that you will carry these eight qualities within you wherever you go and that they will serve as your guideposts to make sure you are always walking toward wealth rather than walking away from it.”26 By carrying these qualities, one imbibes them and becomes empowered by them. What are these eight qualities? Harmony, balance, courage, generosity, happiness, wisdom, cleanliness, and beauty.27 As we shall see throughout the texts of our devotional songs, these eight qualities have long been lauded as specific expressions of Lak∑m¥ herself. The Wealth of Artha and the Wealth of Dhana The material prosperity denoted by the term artha does not necessarily resonate with the wider aspects of abundance that the term dhana carries. While Lak∑m¥ is most certainly the source of artha , or material prosperity, it is significant that she is never addressed as artha-då (“bestower of money”), and only rarely is she supplicated to grant artha by itself. Rather, she is often addressed as dhana-då (“bestower of wealth”), and she is consistently invoked for the more expansive designations of material wealth as an expression of the goddess’s limitless abundance, of which artha is only a finite part. Material wealth is one thing; the energy that creates and sustains material wealth is quite another. It is this that the wise seek of the goddess; they request that the goddess bestow not only the material expression of wealth, but that she draw them into alignment with the limitless source of all prosperity. In fact, without alignment to this source, one may be incapable of receiving her blessings, much less of sustaining them should they arrive. Failure to recognize the subtle yet essential differences between dhana and artha may contribute to misinterpreting Lak∑m¥’s prosperity


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as it pertains to money in the context of spiritual growth. Money—and its acquisition or its denial—quite obviously has been a highly charged issue throughout the ages and across cultures. The Puråîc narratives highlight the emotional upheaval created among gods, humans, and demons as they gain, lose, and seek to regain Lak∑m¥’s wealth and favor. So too do they stress that the goddess listens to requests, and if she is pleased, she grants them. One may pursue and succeed in the acquisition of artha—material wealth—to the exclusion of other concerns, just as one may single-mindedly pursue pleasure or communal obligations or spiritual liberation. On the other hand, one may engage in a vigorous avoidance or denigration of material prosperity, deeming it as antithetical to “spirituality.” In either case, the goddess is misperceived through a limited understanding of her expansive nature, and both extremes may be seen as a form of “poverty consciousness.” This calls to mind an intriguing misunderstanding of Lak∑m¥ that I observed at a festival of Indian culture held in the United States. An American attendee was sifting through a stack of large lithographed “god-posters,” indicating to the proprietor that she was looking for an image of Lak∑m¥. He presented her with a popular image of the goddess standing on a lotus, with a stream of gold coins emitting from her hand. The woman shuddered and exclaimed, “Not that one! It’s ruined by all of that money. I’m looking for a spiritual picture of Lak∑m¥.”28 The woman had missed the point that Lak∑m¥’s effulgent spirit streams into the world as palpable, “worldly” blessings. We are reminded that the name Ír¥-Lak∑m¥ means “display of glory.” So too does Lak∑m¥’s abundance resonate with elegance and harmony, manifest through the multifaceted aspects of life on earth. Those who seek her favor are reminded that an overly zealous attention to any one of the four aims of life to the exclusion of the others may create an imbalance that may actually send Lak∑m¥ fleeing. It is interesting to note that one of the manifestations of Alak∑m¥ in the Puråâs is called Atulå, “Unbalanced”: An unbalanced pursuit of Lak∑m¥ may inadvertently result in attracting her inauspicious sister instead.29 What, then, is a “balanced” propitiation of the goddess of wealth? How does one achieve an appropriate attitude toward artha? The successful engagement with Lak∑m¥’s abundance entails adapting the consciousness of the goddess of wealth, which is literally “prosperity consciousness.” The abundant quality of Lak∑m¥’s wealth is also referred to as v®ddhi, which means expansiveness, opening outward, and reaching for a state of graceful equipoise. Therefore, Lak∑m¥’s divine benevolence manifests as a luxuriant, comfortable fullness in

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the human realm. This is achieved by maintaining an awareness that its neither greedy and frantic excess nor the neglect that would either dishonor it or allow it to diminish and decay; such could be seen as motivated by either excessive rajas (the quality of intense energy) or excessive tamas (the quality of lassitude). Indeed, neither the excessive indulgence in, nor the excessive denial of material prosperity is in accordance with the essence of Lak∑m¥’s wealth and how she bestows it upon her worshipers. One must be open to the consciousness of wealth in order to receive it. And yet, how does one invoke both expansiveness and discipline at the same time? This becomes evident when we consider Lak∑m¥’s association with dharma. Lakƒm¥ as Dharma: The Wealth of Virtue and Harmonious Relationships There are many ways to translate the term dharma—“virtue,” “virtuous conduct,” “harmonious relationship,” “religion,” “etiquette,” “religious duty,” “communal obligation,” “social consciousness,” “balanced way of life,” “living in right relationship,” and even “doing the right thing.” Because its meanings are so variously nuanced, it is often left untranslated, or it is translated with different according to context. The root of the term dharma is dh®, which means foundation or . In general, we may consider dharma to be the energy governing harmonious relationships—with oneself, with one’s spouse, children, and family, with one’s community, with one’s natural environment, and with the gods. Dharma may sometimes be described in of obligatory actions, as the scriptures designate codes of etiquette that range from good manners to religious canons and ritual observances. More than merely following rules, however, dharma is a way to cultivate wisdom. On a cosmic level, dharma is the harmony of interconnectedness that upholds society and s the creation; it is Lak∑m¥ and Vi∑û who reign over that auspicious function, and for this reason Lak∑m¥ is lauded in her poetry as “upholder of dharma.”30 The auspicious preservation of the entire creation, of course, entails harmony on the personal level as well. Lak∑m¥’s association with dharma, therefore, informs one’s appropriate and successful interconnections with others. This is why Lak∑m¥ is so often approached by those seeking a spouse, good home, steady income, and other such aspects of life: O Most Fortunate One! It is always through your propitious glances That men obtain wives and children,


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As well as homes, Loyal friends, Bountiful harvests, And every type of prosperity.31 In the Puråâs, Lak∑m¥ is identified most strongly as the consort of Vi∑û, and together they serve as sustainers of the universe. In world-cycle after world-cycle, they appear together as embodiments of dharma, restoring harmony among the various elements that constitute the realms of existence. Together they constitute the quintessential divine couple, existing as a singular energy that expresses itself in the complementary aspects of divine male and divine female. As we have previously considered, the unified image of Lak∑m¥ and Vi∑û also sets the paradigm for the bride and groom in the Hindu wedding ceremony. Dharma is an important enough feature of Hindu society to constitute a type of wealth in its own right. Even the earliest Vedic songs to Lak∑m¥ emphasized the importance of happiness in the home and communal well-being. In the Puråîc songs too, we may see how attention to dharma is linked with other aspects of Lak∑m¥’s wealth. Both kåma (pleasure) and artha (material wealth) may be generated without attention to dharma. However, dharma governs the karmic aspects of thoughts and actions. Lak∑m¥ as an embodiment of dharma ensures the graceful balance of the continued flow of her energy, for it also reminds her devotees of the karmic results of benevolent as well as maleficent behavior. Kåma, or pleasure, may be enhanced by its appropriate application and attention to relationships. Similarly, the attraction of artha, or material wealth, may be more successfully sustained when generated within the context of appropriate types of exchange, for this ensures the healthy sending and receiving of the wealth-energy. In either case, dharma provides a richer context in which to express the fulfillment of excitement and good fortune. Once again, we are reminded that the root of this term is dh®, meaning foundation or . It is through dharma that many of the aspects of Lak∑m¥’s wealth may be enjoyed and sustained in a palpable form, for the relationships that link one person to the next provide the conduits for the sustained flow of the goddess’s energy. As Lak∑m¥ upholds dharma, so then does the worshiper seeking her blessings invoke her by emulating her and adhering to dharmic behavior. From this perspective, the fluid nature of Lak∑m¥’s beneficence moves in a propitious cycle, pouring forth as divine grace to an individual, extending outward from the individual to the family,

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from there to the community, and from there, through ritual offerings, back to the divine source. When material blessings are received, graciously enjoyed, and sent forth again, they expand even moreso; such circulation actively stirs up the goddess’s energy, infusing the creation with the manifestation of her golden presence. Dharma entails a joyful awareness and gratitude for the source of that wealth, its generous use, and its bounteous circulation; dharma provides the human context for the flow of material wealth and can contribute to the happiness of meaningful relationships that Lak∑m¥’s devotees seek. As such, the act of receiving Lak∑m¥’s blessings entails becoming an active participant in her prosperity. The Puråîc songs propitiate Lak∑m¥ for material well-being and for the easeful, trusting attitude that fosters such well-being. Lakƒm¥ as Mok∑a: The Wealth of Spiritual Liberation As we have seen, Lak∑m¥ is extolled as the goddess whose bright auspiciousness infuses the creation with kåma, artha, and dharma, or pleasure, prosperity, and living in right relationship. Together these three constitute a unit and are qualified as bhukti, the “enjoyment” or “relishing” of the world. The fourth and final component is mokƒa or mukti, release from worldy attachment. As well as providing the foundation for its delights, Lak∑m¥ is said to be the final refuge, the transport to liberation from attachment to the world. Devotees of the goddess are not forced to choose between “spirituality” and “materiality,” and in fact to do so would be to disregard the magnificent arena of the goddess’s essence. The goddess is invoked for both spiritual and material blessings, for she is the material and spiritual substratum, the platform upon which everything rests and moves; she is the experience of life and she is the wisdom to see past life’s vicissitudes. Indeed, one her best-known epithets in this regard is bhukti-mukti-pradåyin¥, that is, “bestower of worldly enjoyment and spiritual liberation.”32 In this more expansive aspect, Lak∑m¥ is also known as Mahålak∑m¥, or “Great Lak∑m¥.” The name Mahålak∑m¥ often refers to the goddess as the creator-preserver-destroyer. However, this more expansive definition does not automatically indicate a switch from the name Lak∑m¥ to Mahålak∑m¥. (At this point in our understanding of this amazingly variegated goddess, would we really expect to find something so limited and predictable?) Some of the songs in our collection quite easefully interchange the names “Mahålak∑m¥” and “Lak∑m¥’—both within the texts themselves and between the texts and their colophons.


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The Puråîc songs also glorify Mahålak∑m¥ as Mahåmåyå, or “Great Illusion,” speaking from a vision of the entirety of the creation and the engagement of living in it, through it, and beyond it. So too is she addressed as the origin and essence of all space and time, Mahåkålå, as well as Great Goddess, Mahådev¥. It is she who oversees the movement and measuring (måtra) of time and circumstance, who constitutes it entirely and is yet beyond it, expressing herself not only as Great Illusion, but also as Resplendent Wisdom, Ír¥ Vidyå, who fosters liberation. Just as she is the veil of illusion that keeps one from recognizing the truth behind appearances, so too is she the means to liberation. The release from cyclical existence in saμsåra, then, comes from the same goddess who sanctions the world and embellishes it, even mesmerizing one to enjoy attachment to it for lifetime after lifetime. To the one who views kåma, artha, dharma, and mokƒa as disparate endeavors, the illusion of Måyå can be tormenting. To the wise, all of this is the majesty of the goddess’s creation, unveiled: O Auspicious One, You are sacrificial knowledge, Supreme knowledge, And secret, mystical knowledge. You are knowledge of the higher Self, O Goddess, And you are the one who confers liberation. You are metaphysics, You are the three Vedas, You are the arts and sciences, And you are the purveyor of justice. O Goddess, the entire world, With all of its pleasing and displeasing forms, Consists of your essence.33 The protection and upliftment of the world sometimes necessitate that the benign goddess appear in a terrifying form, with the creator and sustainer expressing herself also as destroyer. The terrifying aspects of the goddess become manifest in separate forms as independent identities, such as that of the raging and bloodthirsty Kål¥, whose auspicious nature takes ferocious expression as she vanquishes debilitating forces. Whether expressing herself as the gracious, benign, and bright (gaur¥) Lak∑m¥, or as the frenzied, destructive, “red,” or “fiery-dark” (raudri) Kål¥, the goddess is the embodiment of auspiciousness. That

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is, whether the goddess is smiling with favor or contorted with rage, these two aspects are equally auspicious and they both enhance the continuity of life and supreme wisdom. In addition to these two extremes—the bright, merciful goddess of expansiveness, and the dark, fearsome goddess of contraction and destruction—there is a multifaceted form of Lak∑m¥ who is the gracious goddess of prosperity and well-being and yet wields destructive weapons, surrounds herself with poisonous snakes, and accepts blood sacrifice. The seeming disparity of these elements will be brought together when we consider Lak∑m¥ as a Tantric goddess, in the following chapter. Before we do so, however, we must consider a different sort of paradigmatic dichotomy that exists in the Lak∑m¥ literature, also manifesting as opposing personalities. Here it is not a matter of pacific as opposed to ferocious qualities of auspiciousness but rather it is the auspicious as against the inauspicious. Here we refer to Alak∑m¥, the opposing counterpart to Lak∑m¥ and the embodiment of inauspiciousness.

The Absence of Lak∑m¥: Is Lady Luck a Fickle Goddess? Most of the Puråîc songs that we present in our collection express gratitude to the goddess for restoring something that had been lost: wealth, rank, sovereignty, well-being. The words of the songs are said to be those used by the gods themselves as they communicate with the goddess, and these same words are transmitted to her devotees so that they in turn may attract her attention. Indra, lord of heaven, speaks not only for himself but for all inhabitants of the three worlds when he sings to the goddess. Touched by Indra’s performance, Ír¥ replies: . . . Never shall I turn my face From that person Who offers morning recitations Of the song you have sung to me.34 Lakƒm¥ the Cañcalå: The Mystery of Lakƒm¥’s Capricious Nature Never shall she turn her face from that person . . . and yet if Lak∑m¥ brings balance, harmony, abundance, wealth, and a sense of security, she is nonetheless, as we have considered in the Vedic songs, also known as Cañcalå, the “fickle” or “restless” or “capricious” one. The sense of security can be just that—a sense, perhaps an illusion—when its


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true nature is not understood and approached properly. Even Indra, lord of the gods and regent of heaven, learns the hard way that disrespecting the goddess of wealth—even if unconsciously—results in the loss of her favor. Indeed, one of the events leading to the previously mentioned Churning of the Ocean story entails disregard for this goddess: The sage Durvåsa bestows a fragrant wreath of flowers upon Indra’s elephant, Airåvata, who casts it off and stomps it under foot. The irascible Durvåsa flies into rage at the affront shown not only to his generosity but to the inhabitant and true essence of the flower garland, Ír¥-Lak∑m¥ herself. The sage thereupon curses Indra, and Lak∑m¥ flees his side, leaving the lord of the gods and his kingdom, which comprises the entire three worlds, with nothing but chaos, poverty, and misery. How, then, can Lak∑m¥ be sought for security when she herself may leave without a moment’s notice? At least one text has stated that Ír¥ is so fickle that she moves even in her pictures, and that she is attracted to Vi∑û only because, with his many avatåras (“descents,” or incarnations) he himself is restless and always changing form.35 Certainly, Lak∑m¥ is beseeched to be steadfast and to leave behind the restless aspect of her nature as the capricious Lady Luck. The seeming paradox of steadfastness and movement may be explained through Lak∑m¥’s quality of sattva, or dynamic equipoise. This is the ebullience, not frozen stagnancy, that comes from the harmonious balancing of pleasure, wealth, and sacred ceremony. The word sattva literally means to be in a state of truth or beingness. This is Lak∑m¥’s fullness and life-energy, and it expresses what the Greek philosophers put forth: truth is beauty and beauty is truth. Lak∑m¥ dwells in expansion and reception: in the fullness of giving and receiving of gifts, nourishment, and pleasure; in the commercial exchange of goods and services; and in the ritual exchange of offerings and boons. Therefore, when Lak∑m¥ is called Cañcalå, this also refers to the sparkling and bright quality of her presence; that which is scintillating may be difficult to capture, but it is exquisitely enticing. It is in resplendence that the true nature of Lak∑m¥ expresses itself, ever pulsating with the essence of life. One attracts Lak∑m¥ by engaging in that exquisitely beautiful essence. And one sustains Lak∑m¥ by engaging in the conscious awareness, appreciation, and invocation of her presence. The Purå£ic Alakƒm¥ We have already been introduced to the inauspicious Alak∑m¥ in the Vedic literature, where she is also called Nir®ti. In the Puråîc literature,

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Alak∑m¥ also manifests as Daridrå (Poverty)36 as well as Ak¥rti (Ill Repute), Atulå (Unbalanced), and Jye∑†hå (Elder or Eldest). The latter name refers to her as Lak∑m¥’s “elder sister,” for when the world is re-created from the churning of the ocean, all that is inauspicious is born together in a group (which includes Jye∑†hå), followed later by the birth of the auspicious, the first of whom is På (Lak∑m¥).37 Just as the identity of Lak∑m¥ expands in the Puråâs, so too does Alak∑m¥ develop from a conceptualization to an entity in her own right, with identifiable physical characteristics, life-episodes, and even marriage.38 Her detailed personification brings the qualities of Lak∑m¥ even more sharply into focus, articulating the contrast between what the two represent. Lak∑m¥ and Alak∑m¥ never reside in the same place, for that which attracts one repels the other. For example, Alak∑m¥ is said to be frightened away by the sound of sacred chanting39 and the sweet smell of incense. She is said to be drawn instead to homes “where the family argue constantly with one another,” where “neither Íiva nor Vi∑û is honored ceremonially,” where the inhabitants are “deluded,” “lethargic,” “gluttonous,” and “neglectful of the home,” where “guests are not cared for appropriately,” and where “adults partake of food in the presence of children without feeding them as well.”40 The extensive exemplification of Alak∑m¥’s whereabouts demonstrates the ways in which the inauspicious may pervade worldly existence, manifesting in all four of the “wealths,” or purposes of life discussed earlier. In her aspect as Atulå, or Unbalanced, she manifests as either the extreme denial of or the obsessive indulgence in pleasure.41 As Daridrå, or Poverty, she embodies not only the lack of material goods but the greed that springs from miserliness, hoarding, and fear that there is never enough; she is poverty of the spirit and poverty of the creative imagination. Ak¥rti, or Ill Repute, entails the neglect of dharma, the observance of which fosters respect, and she attaches herself to one who shuns responsibilities toward the home, family, ancestors, community, and the gods. The continued invocation of Ír¥-Lak∑m¥, especially through the chanting of sacred songs, is said to keep away the inauspicious Alak∑m¥ in any of her forms: Those who hear or recite This birth story of Lak∑m¥ Attract the presence of Ír¥ in their homes For three generations.


Alak∑m¥, repository of penury and strife, Never gains entrance into those homes Whose inhabitants offer songs to Ír¥.42

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CH APTER 3

Living the Powerful Life Lakƒm¥ of the Tantric Traditions

We have reserved the most complex, multilayered, and in many ways most fascinating selections for our final section of songs invoking Lak∑m¥. Here, we see a culmination of the personality of the goddess and, at the same time, a culmination in the how the worshiper may access her presence. We shall see that the goddess expresses herself in powerful forms that the worshiper may access and draw into alignment with his or her own being. All of the concerns about prosperity expressed by the poets of the Vedic and Puråîc songs are here taken a step further. Concerns for abundant food, wealth, and happiness continue to occupy the petitioners, but the source of generating and maintaining their successful acquisition through the blessings of the goddess may now be located in the body and consciousness of the worshiper himself. The arena for worship, we could say, has expanded. So too has the identity of the goddess. The Tantric personality of Lak∑m¥ continues to express itself as the lovely, sweetly smiling lady of the lotus, bestower of all auspiciousness, bounty, and prosperity in the world. However, this same Lak∑m¥ also dons the accoutrements of the fierce goddesses. She may bear a lotus, discus, and conch, and also a sword and a necklace of severed heads. She may be attended not only by smiling, sweetnatured, plump young elephants who shower her with life-giving rains, but also by poisonous cobras whose hoods sway menacingly as they stand poised by her side. So too we shall see that, from some perspectives, the goddess pervades one’s consciousness and indeed all that exists, even beyond the time-space continuum. In this regard, we shall see that the Tantric Lak∑m¥ expresses herself as Kuˆ∂alin¥ Íakti—the divine power that exists within our own bodies.

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Every form of Lak∑m¥—whether Vedic, Puråîc, or Tantric—is worshiped for abundance and prosperity in the world. We have already considered an epithet of Mahålak∑m¥ extolled in the Puråâs: She is “bestower of worldly success and spiritual liberation” (bhuktimukti-pradåyin¥). In this, we recognize attention to the material world and the freedom to disengage from it. In the Puråîc consciousness, spiritual liberation is a goal that may remain distinct from that of pleasure-wealth-virtue. The Tantric Lak∑m¥, however, instead of focusing directly on liberation, applies her awesome powers to destroy whatever stands in the way of a successful, fulfilling existence on earth, right here, right now. Instead of mukti (spiritual liberation), she grants siddhi (spiritual power). The Song for the Lakƒm¥ of Spiritual Power (Siddhalakƒm¥ Stotram) reiterates this in its closing verses: This song was composed by the gods For the benefit of all living beings. . . . For Lak∑m¥ is the destroyer of every affliction And the bestower of every success.1

The World According to Tantra The nature of worldly embodiment is such that the mind perceives a duality between the human and divine. Spiritual quests are undertaken to mend that rift. Many of the esoteric traditions of India maintain that the so-called duality of the world is a misconception, though a misconception that may work well enough until one seeks to awaken from it. Part of the mystery unveiled in these esoteric traditions is that the misconception (or illusion) has been created by the divine source itself—Mahålak∑m¥ in her form as Måyå (Illusion) or Mahåmåyå (Great Illusion). Some are drawn to move beyond the web that Måyå has spun, in search of the source from which all has arisen. In the monistic esoteric traditions, all is understood to come from one source—the joy, the horror, the illusion, the revelation, the human, the divine, in short, everything imaginable and everything beyond our imagination. This is why adherents of these traditions seek spiritual liberation by means of that which creates bondage. The world is only an obstacle to those who would not understand its divine origin and essence. Tantra is a means of uniting the disparate elements of a person’s entire being. Tantra means “weaving,” and the Tantrika, or Tantric practitioner, seeks to weave together what are usually experienced as

LI VI N G T HE P OW ER F U L L IF E

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irreconcilable opposites: the “worldly” and the “spiritual.” The physical body, like the material world, is not to be ignored or necessarily transcended, but rather is to be engaged as the ground for spiritual realization. Further, the “hybrid” aspects of Lak∑m¥’s Tantric personalities are in accordance with this understanding of wisdom through the weaving together of seemingly disparate forms. The Tantric traditions refer to themselves as the most expedient and necessarily the most intense route to the goddess and to her magnificent blessings, both mundane and spiritual. Initiation into a Tantric path and proceeding under the guidance of a perfected master are said to be essential for the efficacious awakening of such powers and for the beneficial manifestation and application of their results. Within the heightened awareness that comes with such tutelage or simply with such intentionality, the recitation of mantras (sacred syllables and formulas) and stotras (sacred songs of praise) is acknowledged in the Tantric traditions to be a potent practice for awakening one’s consciousness to the presence of Lak∑m¥ and her blessings. Chanting, singing, or listening to these songs provides a way to activate the goddess’s energy, for, according to Tantric understanding, she dwells inside of their very syllables, and her divine power is released with their utterance. So too may the mantras of these songs be inscribed directly on one’s body. From the highest level of understanding, the same divine energy that exists inside the syllables exists deep within each person. The chanting or recitation awakens that which is already present, though dormant, within the seeker. The existence of the goddess within the body of the practitioner is, according to certain Tantric teachings, a fundamental aspect of her cosmic personality. Some schools of Tantra are dualistic, maintaining that the goddess exists outside of the individual, and she must be drawn from afar. Even so, the goddess’s energy exists in her mantras, and when they are applied ritually to the body (as will be explained further in Chapter 6), they envelop the practitioner in the goddess’s sacred mantle of sound.

Lak∑m¥ as Kuˆ∂alin¥ As we further appreciate the complexities of Lak∑m¥’s identity, we are reminded of her ever-present manifestation as the lotus goddess. In the Vedic materials we find the first literary expressions to laud the primordial goddess of beauty and fecundity, embodied in the lotus. The Puråîc materials develop the symbolism of the exquisite flower

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whose roots in the mud and blossom in the air remind the worshiper that even when entangled in the mire of worldly existence, one may transcend to the pristine realms of the liberation of the spirit. In the Tantric imagery of the lotus, we encounter the fulfillment of Tantric wisdom. The Tantric perspective allows us to stand back and view the entire situation holistically, beholding the roots, the stalk, and the flower as the integral organism that it is. The roots stretch deep into the mysterious, subterranean realms that are the essential foundation of all life in this world. Often it is the very darkness, turbulence, and messiness of life that fuels the most successful of Tantric spiritual endeavors. The Tantric practitioner does not attempt to transcend or to escape the earthly situation but to engage with the energy of life in the fullness of its expression—to ride with that energy as it moves through the entirety of our beings. Success in this endeavor constitutes its own kind of liberation from the shackles of the world. In the symbolism of the lotus lies the image of the human born into the earthly realm of saμsåra; the ocean of existence is the venue for an individual’s karmic struggles and triumphs. The Tantric understanding of the lotus goddess as the goddess of supreme wisdom may be seen again in this imagery. Of significance, however, is not so much that one ascends from the lower or baser or “muddier” centers upward to attain the highest space in the rarefied element of air or the ethers, but rather, Lak∑m¥’s message in the Tantras is one of integration. One attains siddhi—spiritual or magical success, attainment, accomplishment, perfection, or power—while remaining consciously and intentionally rooted in the moist, life-engendering soil of the earth. One need not relinquish materiality for spirituality, sexuality for asceticism. Instead of a separation of categories, there is a marriage of complementary segments, a conscious integration of what only appear to be disparate elements to create a harmonious, differentially patterned, vibrant whole. Again, we are reminded that the root of the term tantra is “to weave.” The Tantrika does not seek to relinquish the “base” station in exchange for the “transcendent,” but rather to enliven and integrate all aspects of being. Just as the lotus epitomizes the essence and form of Lak∑m¥’s nature, encoming the myriad dimensions of “spirituality” and “materiality,” so too does the subtle body of a human contain the form of a lotus within itself. Yogis and intuitives from many esoteric traditions have witnessed in meditation the internal structure of these subtle bodies, in which the central stalk or channel, like the lotus stalk, reaches down to the energies of the earth and upward toward the etheric realms.2 This central channel is called the suƒumnå nåd¥, and


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it is located along the physical spinal column. Along this stalk are seven3 centers of energy, envisioned as round spinning vortexes, variously labeled as cakras (wheels) or pås (lotuses),4 each with specific numbers of petals in specific positions and of specific hue. Along the vertical axis, the first cakra, called the “root ” (mulådhåra), is located at the base of the torso, roughly at the spot of the perineum, and is connected energetically with the earth. Here is where the Kuˆ∂alin¥ Íakti resides, envisioned as a coiled snake, lying dormant until her arousal. Kuˆ∂alin¥ Íakti, the great serpentine power of transformation, is recognized as a manifestation of Lak∑m¥ herself.5 Each subsequent cakra, moving higher up the axis, resonates with aspects of an individual’s consciousness; the highest is the “thousand-petalled” (sahasråra) lotus on the crown of the head, abode of Lord Íiva. When the awakened goddess rises to the crown cakra, she merges there with Íiva, and the bliss of their union creates the full opening of the thousand-petalled lotus, experienced as both the exquisite collapsing of limited consciousness and the blissful expansiveness of divine consciousness. The fullness of this experience resonates outward around the crown, relaxing back downward like a waterfall over the body, toward the earth, and cycling back up again into the first—the earth-based—root cakra, the place from which the cycle may continue again. Without that full circuit and effulgence, the wisdom of integrative consciousness may become lost in the “transcendent,” and the practitioner may remain literally ungrounded, unsettled, and unfulfilled (as well as feeling “spacy”). The experience is not complete unless it is integrated throughout the entire being, for it is with integration that authentic spiritual transformation occurs. It is the goddess herself who initiates the process of transformation, for her energy in the form of Kuˆ∂alin¥ moves throughout the centers, causing each of the lotuses to open, allowing the divine transformative energy to activate that center, purify it of blockages, and move farther upward, enlivening the consciousness. The Secret Heart of Lakƒm¥ (Ír¥ Mahålakƒm¥ H®dayam) speaks of the holistic transformation that occurs in this process; it reminds us that the awakening is not only at the crown of the head, but in one’s entire being as it scintillates with the integrative consciousness that results from that awakening and merging. One may experience something like “heaven on earth,” with the focus on both the heavenly and the earthly. More specifically, the poet of this text speaks of experiencing one’s body as Vaikuˆ†ha, the heavenly realm where Lak∑m¥ dwells with Lord Vi∑û. So too are all of the faculties of an individual’s perception transmuted into the magnificent awareness enjoyed by the gods:

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At the moment of awakening, Let my body become Vaikuˆ†ha, From the seat to the forehead and in the crown of my head. Grant that my eyes become the abode of Ír¥. Grant that my speech become anchored in the Realm of Truth. O Lak∑m¥, grant that by experiencing A mere portion of your essence within me, I may inhabit that glorious White Island Illumined by its own splendor.6

Lak∑m¥, Íiva, and the “Ten Great Wisdom Goddesses” (Daßamahåvidyås) A number of the works in our collection are addressed to Lak∑m¥ specifically as Kamalå (“Lotus”) or Kamalåtmikå (“Soul-essence of the Lotus”). Although she has many designations, Kamalå is often identified as a Tantric goddess. The Tantric traditions include a group of deities known as the daßamahåvidyås, that is, the “Ten Great Wisdom Goddesses.” We may understand these as Supreme Wisdom expressed through ten paths or sacred personalities of the goddess. Together they express the totality of existence. The exact identities of these goddesses vary somewhat from region to region, and indeed some lists include more than ten. Each list, however, begins with Kål¥, the fierce, dark (raudr¥) goddess of death and dissolution, and ends with Kamalå, the beneficent, bright (gaur¥) goddess of life, prosperity, beauty, and well-being. Kamalå, the charming essence of the lotus blossom, foundation upon which the entire creation rests, is none other than Lak∑m¥ herself. As such, the inclusion of Kamalå-Lak∑m¥ into the established category of the Ten Great Wisdom Goddesses offers further opportunity to appreciate the variegations with which her personality expresses itself. Lakƒm¥ as Kamalå, Tantric Lotus Goddess The identity of the ancient lotus goddess Kamalå, like that of the ancient Ír¥, developed in various directions throughout time and geographical region. Most traditions view Kamalå and Lak∑m¥ as the same goddess, although some differentiate the two.7 The songs in our collection address the lotus goddess in ways that point both to the gracious goddess of prosperity who is associated with Vi∑û, as well


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as to a group of multifaceted wisdom goddesses, all of whom are associated with Íiva. The Song-Amulet of the Lotus Goddess (Kamalåtmikå Kavacam), for example, invokes Kamalå by addressing her with names that clearly identify her as the Vai∑âva Lak∑m¥, such as Jayå, Vijayå, Kameß¥, Vi∑ûmåyå, and, indeed, as Lak∑m¥. Yet in the same song she is also extolled as Ía∫kar¥, Pårvat¥, and Íivad¨t¥, thus linking her with Íiva, and most particularly with Sadåßiva (the “everlasting” Íiva), an association shared by all of the mahåvidyå goddesses.8 If such various names and identities are invoked within the corpus of one particular song, does this indicate that all are aspects of one all-encoming goddess, or do they constitute an array of individual goddesses? The answer lies somewhere in between: All of these individual goddesses are aspects that lie within the goddess in potential form; as one of the mahåvidyå goddesses, Kamalå shares a common substratum that constitutes her nature as Supreme Wisdom. When called to the fore, such ferocity takes on independent form and identity, all the while maintaining the underlying transformative power of that supreme wisdom. With a shift in frequency, as it were, the tenor of the particular expression of that wise force may be expressed as anything from the obsidian darkness of Kål¥ at one end of the mahåvidyå spectrum, to the golden brilliance of KamalåLak∑m¥ at the other. It is generally understood that Kål¥, being the most conspicuously terrifying of the group, is the most potent form of the Tantric goddesses available to the householder as she presides over severing the ties that bound one to the world and worldly consciousness.9 In contrast, the beneficent Kamalå presides over the attainment of worldly comfort and prosperity.10 In a very basic sense, it is necessary to come to with the world before one can leave it behind. Maintaining her modest position at the end of the list of Great Wisdom goddesses, Kamalå represents the turning point, the point of departure from complete immersion in worldly consciousness and onto the path of spiritual transformation. Yet when the Tantric practitioner undergoes an intense sådhana (spiritual practice) in which ordinary worldly consciousness is collapsed and burned in the fiery destructive energy of a Kål¥ or a Chinnamastå, it is through Kamalå that his presence in the world can be reintegrated. Kamalå’s Secret The divine essence of the goddess that motivates the Tantric path is by nature ever moving, never entirely known, and certainly not to be

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contained entirely in any category. Its fullest truth always remains a mystery, a mystery that expresses itself in l¥lå, the playfulness of the goddess as she moves through the worlds. The Tantric goddess of transformation who can be easily identified solely as world-destroying is perhaps not, after all, the fullest expression of the Tantric goddess of transformation. Some of the most powerful Tantric masters have chosen not to relinquish their ordinary clothing and “day jobs” for a mantle of sacred ash, wandering from place to place, but remain as householders and perform their Tantric practice (sådhana) while conducting a life of relative normalcy. The old Tantric adage applies well here: To worship Vi∑û in the world, Íiva at home, and the goddess in one’s heart. Might not, then, the supreme divine expression of worldly transcendence abide in the image of a perfectly benign and worldly goddess? The deepest Tantric mysteries are actually right before our eyes; experiencing this truth is a matter of rending the veil of illusory expectations and of ultimately changing perspective. Part of what makes Tantra heterodox is that it recognizes and highlights the divinity that exists everywhere, even as it is embedded in the mundane. One penetrates its mysteries in order to awaken and gather its inherent spiritual power. The vehicle for transformation is not necessarily that which is far and away, abstracted and devoid of color, but rather that which is embodied, located in space and time, filled with color and scintillating movement. As well, we should that these ten goddesses operate together, on a continuum, each sharing the essence of divine wisdom as it plays out through various “goddess personalities.” Integrated awareness of the material and physical world and the role of the human body—with its thoughts, emotions, capacity for sensuality, and so forth—lies at the core of Tantric spiritual transformation. And so it is that the force of the most complete transformation—so complete and seamless that it escapes all but the most discerning Tantric eye—may indeed be embodied in the most seemingly ordinary, the least “threatening” embodiment of the Ten Great Paths of Wisdom, the lovely and delicately smiling Kamalå. From this perspective, the list categorizing divine vehicles of wisdom may begin with ferocious destruction, but it ends in the serene attainment of the goal. We might consider that last in line, Kamalå embodies the integrated consciousness, the successful culmination of the Tantric path. The perfection of sådhana is not just severing the bonds of the world, but reentering the world and living within it, mastering it instead of being mastered by it. The lotus goddess


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invites the worshiper to be in the world, of the world, and beyond the world, all at once. This is the Tantric vision, a vision of integration, harmony, and continuous, on-the-edge, awareness. This is the secret of Lak∑m¥ as the Tantric lotus goddess, spiritual perfection clothed in the exquisite, variegated, and challenging beauty of the world. It is for this reason that the Tantrika who achieves this mastery is recognized as siddha—one who has “perfected” this integration. Such a person is also called v¥ra—“hero”—for to achieve mastery of life’s physical, emotional, intellectual, and spiritual challenges requires consummate courage. The full integration of a happy life, an awakened heart, and magnificent wisdom are the blessings bestowed by this goddess. The Song for the Lotus Goddess (Kamalå Stotram) extols her with these words: Through your power of illusion, A person can become disconnected From his Higher Self, Wandering about from place to place, Bereft of clear thought, Lost in destructive behavior. It matters not how much truth May shine forth in the world, Illuminating the entire creation, For one cannot acquire wisdom Unless it is experienced Through the opening of the heart. A person immersed in the depths of your wisdom Enjoys the fullness of a happy life Blessed with a spouse, home, family, good friends, And the banishment of debilitating sorrow.11 The Tantric Alakƒm¥ The glorious embodiment of auspiciousness is not, as we have seen in the Vedic and Puråîc materials, without its opposite. Just as Alak∑m¥, the inauspicious, appears as the Vedic Nir®ti and the Puråîc Jye∑†hå, so also does she appear among the Ten Great Wisdom Goddesses as Dh¨måvat¥, the “smoky one.” Withered and frightening, described as “crow-like” in appearance, Dh¨måvat¥ is the embodiment of inauspiciousness. She is identified as a widow, severed from all that

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is bright, colorful, sensual, and life-engendering. Seated in a chariot disconnected from anything to pull it, she represents fragmented, unsatsifying existence. In contrast to the ever-moving Kamalå-Lak∑m¥, Dh¨måvat¥ is literally stuck in one place. Dh¨måvat¥’s presence represents the absence of the auspicious life-force. And yet, as with Nir®ti and Jye∑†hå, we should not misconstrue her as an “evil” entity, for in a dark and uncomfortable way, the smokiness of Dh¨måvat¥, much like that of Íiva, represents the smoldering ashes of the world destroyed; it is such distaste for the world—or at least disappointment with it—that may inspire one to take the first steps on the spiritual path of transformation. Hers is not the rampant, colorful, dramatic destructiveness of Kål¥ in her auspicious rage. Rather, we might say that the disquietude and stagnancy of Dh¨måvat¥ provide the subtle, initial, necessary inspiration to contemplate life behind its appearances. They also remind one to recognize with conscious gratitude the blessings of Lak∑m¥ once they arrive. In an even deeper sense, Dh¨måvat¥ is the smoky haze that is the goddess in her aspect of cosmic obscuration. Just as Kamalå, the full-blown lotus, embodies life at its most effulgent and abundant, so does Dh¨måvat¥, her opposite, embody the complete absence of being. She is the embodiment of the cosmic pralaya, or the fallow period between cycles of the universe, where time, space, and being collapse into absolute nothingness. Just as the universe expands and contracts cyclically, so does one’s walk through this life. During the course of the spiritual quest, one may expand one’s consciousness and move forward, only to encounter fallow periods where one may feel stuck, uninspired, depressed. This is where Dh¨måvat¥ manifests as the absence of life and hope, but in this she holds the space for the next leap forward. Dh¨måvat¥ is an embodiment of the silence and stillness of nonbeing. Here, one may remain stagnant, or, once that abandoned chariot can be reconnected to a horse (auspicious and regal symbol, of course, of Lak∑m¥), then Dh¨måvat¥ may be understood as not only the stillness that follows death but the gestation that precedes life.

The Grace-Bestowing Mother As we have noted, the worship of the goddess (Íakti) as the supreme reality is known as Íåktism, and in many ways the Íåkta principles overlap with those of Tantra. According to the teachings of Íåktism,


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the goddess expresses herself in five eternal functions (pañcak®tyas): In addition to her functions of creation (s®ƒ†i), maintenance (sthiti), and dissolution or destruction of the universe (samhåra), she also expresses herself through obscuration (tirodhåna) and, as the glorious complement to obscuration, she then reveals herself through her bestowal of grace (anugraha). From the monistic perspective of Lak∑m¥’s five aspects, everything that exists, everything that occurs in one’s life and in the cycles of the universe is an aspect of the goddess. When life is experienced as bleak and fraught with pain, when Lak∑m¥ seems not to be present, the Íåkta scriptures would articulate such poverty and constriction as the expression of the goddess’s quality of obscuration. Whether due to karmic propensities or simply to the lack of appropriate ritual and devotional actions, the worshiper has not sufficiently moved through the darkness of Lak∑m¥’s obscuration into the light of recognizing her and receiving her blessings. Whether misfortune is conceptualized as the presence of an independent entity such as Dh¨måvat¥ or Alak∑m¥, or whether it is attributed to the goddess’s expression as obscuration, the transformation that occurs as an antidote is anugraha, the goddess’s bestowal of grace. If the Tantric Lak∑m¥ may be identified as Kamalå, the lotus goddess, force of life and regeneration, and source of magnificent wisdom, she is, as we have considered, the Great Goddess as well. Like the lotus flower that embodies the message of Lak∑m¥’s gifts, wisdom may be transcendent, but its roots are deeply anchored in an earthly, even subterranean, abode. The goddess of supreme wisdom is ever approachable, a generous mother whose worshipers, while standing in awe of her magnificence, nonetheless feel secure in a warm and intimate relationship with her. Just as the Tantric songs convey philosophical wisdom teachings, they also contain verses of spontaneous, heartfelt emotion. The Tantric worshiper, like the worshiper in the Vedic and Puråîc traditions, expresses concerns with life in the world, and turns to the beneficent goddess of prosperity for relief when the world presses down too hard: Homage to you, Destroyer of crushing poverty and woes. Homage! Homage to you, Pacifier of all fears, Bestower of abundance, Abiding on the chest of Lord Vi∑û.12

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The Tantric worshiper recognizes a correlation between the goddess’s influence in external affairs and the awakening of divine consciousness within his or her own inner being. The true prosperity of Lak∑m¥ is qualified by an abundant state of mind, expansive and courageous as one moves through life. Even as she bestows these qualities of ferocious strength, the goddess’s devotees clearly approach her as a gentle mother of infinite comion: “Give me. . . .” “There isn’t any. . . .” In an anxious state I intrude with these words, Casting myself down before you for refuge. Even as I fall before you, I beg you to dwell securely within me And bestow never-ending fearlessness.13

Lak∑m¥ as Siddhi: Magical Attainment, Spiritual Power Siddhi is one of those Sanskrit words with a wide resonance of meanings, all of them operative at once. It denotes perfection, accomplishment, mastery, prosperity, success, spiritual power, magical power, magical attainment, and more. An integral feature of the Tantric paths is the acquisition of siddhi, which may be applied to whatever the practitioner is focused upon. The fullness of siddhi leaves no remainder, no further longing. We could therefore translate “the siddhi of wealth” as “the attainment of wealth,” but it means more than that. To beseech the goddess for the siddhi of wealth means not only to be blessed with material prosperity, but to have full and complete mastery of the inherent power that generates and sustains such wealth. The siddhi of wealth means mastery of the state of prosperity consciousness. We include in our collection a song dedicated to an aspect of the goddess known as Siddhalak∑m¥ (also called Siddhilak∑m¥ or simply Siddhi).14 Like Kamalå of the Ten Great Wisdom Goddesses (daßamahåvdyås), Siddhalak∑m¥ is an exquisitely complex form of Lak∑m¥. She is lauded as the bright (gaur¥) and beneficent goddess of beauty and prosperity who bears a lotus, discus, and royal mace, and who is associated with Vi∑û and the bounty of the world’s creation. At the same time, she is extolled as the dark (raudr¥), ferocious goddess of destruction and transformation who wields a sword and trident, and who is associated with the destructive god Íiva. The Song for the


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Lakƒm¥ of Spiritual Power (Siddhalakƒm¥ Stotram) lauds the goddess who exhibits both beneficent and terrifying characteristics; in this hymn, the lovely “embodiment of the unfathomable bliss of Vi∑û” is also the “demon-destroying Íakti,/ Garlanded with enemies she has slain.”15 Her devotees appreciate her alluring beauty even as she wields the weapons to protect them from harm. Note the description in the verse for her visualization: That goddess Who is the feminine aspect of Brahmå, Vi∑û, and Íiva, Who has six arms, four faces, and three eyes, Wielder of sword and trident, Bearer of lotus, discus, and mace, Revealing herself as an alluring young woman Dressed in bright yellow garments And adorned with a dazzling array of jewels— Upon that resplendent goddess Let us meditate.16 In his illuminating study of Siddhalak∑m¥’s worship in Kashmir and Nepal, Sthaneshwar Timalsina demonstrates how this goddess exhibits an exquisite synthesis of qualities from two extremely different traditions: Whether Siddhilak∑m¥ properly falls within the Íaivite or Vai∑âvite tradition highlights the rich paradoxes of this deity. She contains within herself the Puråîc Lak∑m¥—a gentle, loving figure linked with the beneficent Nåråyaâ—while also embodying a Tantric nature that demands the consumption of wine, blood offerings, and other left-handed elements clearly linking her with the Íaiva Tantra and specifically the Kåpålika tradition . . . Placement of Siddhilak∑m¥ within the deities of the northern transmission further suggests that Siddhilak∑m¥, like other deities in the Íaiva family, emanates from Lord Íiva and specifically falls within the family of Kål¥. The difference between the Puråîc and Tantric texts that deal with deities of the same name lies in the way the respective ritual visualizations are executed.17 This form of the goddess is certainly a departure from the Puråîc Lak∑m¥ who accepts only fruits, flowers, and other sweet, vegetative offerings. Yet it demonstrates once again how her expansive essence

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need not be contained within a singular definition of who she is. Just as she provides material blessings of food, wealth, and material wellbeing, so too does Siddhalak∑m¥ infuse her devotees with the insight to penetrate the meaning of the world from beyond the ordinary human perspective, and into the goddess’s unlimited consciousness. In addition, she grants the courage to live life from this wider perspective, so that one may boldly engage the angers, jealousies, insecurities, and other debilitating aspects of one’s life and direct them to become fuel for the path toward spiritual perfection. The Tantric songs to Lak∑m¥ continue to seek the goddess’s blessings in all aspects of life, but their focus is more clearly directed toward the internalized identification with the goddess’s siddhi. This spiritual and magical power is what motivates the seeker, for it brings one’s consciousness into direct with the source of all prosperity, courage, mastery, sovereignty, and freedom. The Tantric songs to Lak∑m¥ demonstrate that the magnificent power of siddhi is but another expression of ßr¥, the auspiciousness of the goddess. Is not the ferocious beauty of the Tantric Lak∑m¥ but another expression of the Vedic Ír¥-Lak∑m¥? We might say that the difference lies in her devotees’ understanding of where she exists and where one must go to meet her. In the Vedic Hymn to Ír¥ (Íri S¶ktam), the poet beseeches the sacred fire to bring the goddess into his presence: “Draw unto me . . . the goddess Lak∑m¥.” In the Tantric hymns, the poet speaks directly to the goddess and asks that she establish her auspicious essence not only around him, but within: O Mother, Deeply embedded Is my fear, my insecurity. Have mercy, O Mother, on my wretched state. Uproot it With the joy that arises From your sweet and comionate glance. O Mother of the Universe, Infuse your children with fearlessness! Plant in us the seed of auspiciousness As we make our way in this world.18

PART TWO

The Power of Poetry to Summon the Goddess

Sound is a form of the goddess’s powerful essence. The mantras that constitute the songs to the goddess carry her sacred energy, for their syllables are understood to constitute her sonic body. In this section we explore how the various genres of sacred songs operate as vehicles for calling forth her presence.

CH APTER 4

The Power of Vedic Hymns Generating Auspiciousness

Reciting the Hymns (S¶ktas) We open our collection with the two earliest known songs to Lak∑m¥, the Hymn to Ír¥ (Ír¥ S¶ktam) and the Hymn to Lakƒm¥ (Lakƒm¥ S¶ktam). Their recitation continues to be an important part of Hindu worship to this day. Literally meaning “well said” (su = well; ukta = said), or “eloquently stated,” a s¶kta is a verse format employed in the Vedas for songs of praise. The Hymn to Ír¥ is a well-known hymn that has been appended to the fifth khila (song-cycle) of the §g Veda. The structure and vocabulary of the Sanskrit indicate that all but a few of its verses were composed somewhat later than the §g Veda. The verses of the Hymn to Lakƒm¥ appear to be even more recent, for in addition to linguistic indications, the imagery of Lak∑m¥ as a goddess with specifically recognizable characteristics is further developed than in the earlier verses. The text of the Hymn to Ír¥ exists in several, slightly varying, versions. As well, it is sometimes blended with the Hymn to Lakƒm¥ and recited as one continuous hymn. However, this blending slightly compromises the structural integrity of the Hymn to Ír¥, which has its own story to tell. The Hymn to Ír¥ is chanted to accompany the ancient Vedic fire sacrifice (yajña). The opening three verses and closing three verses provide a framework describing a majestic procession in which the goddess, riding a splendid chariot attended by horses and elephants, enters into the human realm. The sacred fire is the avenue upon which the goddess and her entourage arrive from the heavens. The poet is the spectator, waiting eagerly, eyes trained on the fire. Most of the

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hymn is addressed to Agni Jåtavedas, fire god and sacred fire itself, to impel the movement of that procession. Excitement grows as the goddess comes closer, for her presence infuses this world with vitality, prosperity, and abundant good fortune, transforming and enlivening everything in its path. The Hymn to Ír¥ begins: Draw unto me, O sacred fire, the goddess Lak∑m¥, The resplendent, the golden, Doe-like, moon-lustrous, Garlanded in silver and in gold.1 The goddess of the Hymn to Ír¥ is an apparition of splendid luminosity; her visage is that of the sun, or of the moon, or of rain on a petal. Her most identifiable physical characteristic is her radiance; she manifests as golden light.2 So too is she “doe-like,” indicating a gentle, tender nature that is also fleeting, glimpsed in a moment’s flash like the swift and graceful bounding of a deer. As yet, the poet is not close enough to be able to discern a form other than that of shimmering light. He can barely look at her, much less address her directly in speech. In only one verse does the poet employ the vocative voice.3 Rather, a certain distance remains between the worshipers and the presence referred to as “that goddess Ír¥”4 or “that goddess Lak∑m¥.”5 The images in the second hymn, the Hymn to Lakƒm¥ (Lakƒm¥ S¶ktam), demonstrate a slight shift toward the personification of a beloved goddess. Here we encounter glimpses of a personality whose attributes continue to be the magnificent forces of abundance and prosperity that fill the earth with splendor, but here too are indications that the goddess is developing a personality with aspects recognizable in the human realm, and she is therefore approached on a more personal level. Some of the verses address her directly, lauding her not only for her radiant splendor but for her beauty, tenderness, and generous capacity for showing favor. Here, as in the earlier hymn, are invocations of Kubera (god of wealth), along with Kardama, Cikl¥ta, and ≈nanda. Kardama (“mud”) and Cikl¥ta (“moisture”) are sons of Ír¥ who take form both as Vedic seers as well as the rich, moist, primordial wetlands of creation. ≈nanda, whose name means “bliss,” is also known as a sage and a son of Ír¥, and his presence introduces the rapturous sensation of experiencing divine consciousness. If Kardama and Cikl¥ta remind us of the lotus’s subterranean origins, ≈nanda reflects its highest effulgence in the full-blown lotus. It is here, too, that Lak∑m¥’s association with Vi∑û begins to develop, for together they represent the flourishing of the

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creation and of human affairs by means of unity and integration, with its focus on harmony, the sacred union of male and female, and the experience of the heart as a vehicle for personal transformation.

Ritual Application of the Vedic Hymns Perhaps the earliest known form of Lak∑m¥’s worship specifically linking ritual with the recitation of the Hymn to Ír¥ is the Ír¥kalpa ceremony, described in the Baudhåyana G®hya Íeßa S¶tra.6 In the Ír¥kalpa, the goddess is invited, sprinkled with water, given a ritual bath, and offered sandalwood, camphor, flowers, incense (d¶pa), light (d¥pa), and food. Each of these ritual attendances is to be accompanied by a specified verse of the Hymn to Ír¥. In addition, the worshiper is instructed to repel the inauspicious Alak∑m¥ by brushing a lotus flower over his body while reciting the mantra “kƒutpipåsåmalå jyeƒ†hå.”7 Other ritual uses of the Hymn to Ír¥ also prevailed, for each verse constitutes an independent mantra and energy of its own. As such, any of its verses may be chanted independently to a specific end, whether as the sole mantra or as ed with another series of mantras. In various worship traditions throughout India, the verses of the Hymn to Ír¥ continue to accompany particularized ritual actions in specified formats. Especially noteworthy is a verse known as the Lakƒm¥ Gåyatr¥ (verse 10 of the Hymn to Lakƒm¥). Like the gåyatr¥ mantras to other deities, this is a compact, concentrated verse, revered as a potent collection of syllables for invoking the deity, and employed more for its incantatory powers than for lyrical expressiveness. Like the gåyatr¥s to other deities, the Lakƒm¥ Gåyatr¥ is often chanted independently. The Lakƒm¥ Gåyatr¥ is as follows: oμ mahålakƒm¥ ca vidmahe viƒ£u patni ca dh¥mahi tanno lakƒm¥ prachodayåt Oμ. Let me meditate on the great goddess Lak∑m¥, consort of Vi∑û. Let Lak∑m¥ inspire that meditation and illumine my mind.8 Ritual advice from Saunaka’s §g Vidhåna singles out other individual verses of the Hymn to Ír¥ to be chanted on specific occasions to generate prosperity and auspiciousness, whether for an individual

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or for the entire kingdom. Thus, according to Saunaka, verse 11 of the Hymn to Ír¥ is to be chanted by or for one seeking to have children. Verse 6 is to be chanted for generating all types of prosperity; we should notice that this is the only verse in the hymn that speaks to the goddess directly. Verse 7 is to be chanted by the king on the auspicious occasion of his royal consecration.9 Indeed, in traditional India, the king had to be Ír¥-Lak∑m¥’s most ardent devotee, for he was responsible for attracting and maintaining her presence in the royal court. If the king failed to attract Ír¥, the entire kingdom would suffer. It would appear, then, that the Hymn to Ír¥ was compiled specifically in behalf of the king, for he required the presence of Ír¥-Lak∑m¥ to bestow prosperity on the entire kingdom, which was an extension of his royal person. In the Vedic context, the recitation of the hymn is closely aligned with ritual action. Íaunaka therefore advises: For one desirous of Ír¥, sacrifices should be performed where the fuel of the fire should consist of Bilva, and the number of oblations differ according to the desire of the sacrificer. The possession of Ír¥ for eternity (ßåßvat¥ ßr¥) which can be possible only by offering oblation for hundred thousand times, can be very easily accomplished just by the japa (muttering) of Ír¥-S¶kta for ten thousand times.10 Such “easy accomplishment”—after just ten thousand recitations— explains why Vedic worship engages ritual specialists—full-time priests whose family’s sole occupation and lineage is to carry forth such rituals and recitations with absolute precision and accuracy. The Vedic tradition continues to this day, and its priests still to invoke the goddess’s presence through mantras offered at the flames of the sacred fire.

CH APTER 5

The Power of Puråîc Songs Drawing Down the Goddess

Reciting the Songs of Praise (Stotras) To a great extent, the fortune in one’s life is believed to be dictated by karma, which serves to explain why Lak∑m¥’s blessings may seem to be more readily apparent with some than with others. However, the Puråîc narratives indicate that individuals may exert a certain influence over their fortunes and misfortunes, the latter being exacerbated by the neglect of Lak∑m¥ and a perhaps inadvertent invitation to Alak∑m¥ either by inappropriate indulgence or simply through lassitude. The texts urge worshipers to take action against misfortune—whatever its cause—and the chanting of stotras, or sacred praise-songs, is said to have tremendous power in remedying and possibly even reversing the effects of karma. The extent to which the goddess dissolves one’s karmic residues and alters the situation of one’s worldly circumstances is a matter of one’s own karma as it is intercepted by the bestowal of Lak∑m¥’s grace, both of which remain, ultimately, a mystery. At the very least, one’s attitude and capacity for acceptance are strengthened by the power generated through the recitations. In addition, such a shift in perception informs the choices one makes in the creation of new karma. By no longer adhering to the thought and behavioral patterns dictated by previous saμskåras (residual karmic patterns), one allows those effects of debilitating actions to wear away and lose their hold. The teachings within these songs suggest that by chanting them, it is indeed possible to alter karma and thus the circumstances of one’s life. The stotra is a genre of sacred poetry used in the Puråîc and Tantric sources. Its Sanskrit root is stu, “to praise in song.” Related

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for songs of praise are stava and stuti. A stotra may be sung, chanted, recited, read aloud, read silently, or simply listened to attentively. In yogic , the power of the Sanskrit verses may generate enough psychic heat (tapas) in the subtle body to begin to burn karmic residues and transmute karmic propensities. However, on a very basic level, the chanting of the songs is simply a way to call forth the goddess, to get her attention and compel her to shift from her undifferentiated state to a localized state or place—to come before the petitioner. The goddess is imagined as inhabiting both a limitless “state” of consciousness as well as a heavenly realm, most often the heavenly locale known as Vaikuˆ†ha, where she dwells with Lord Vi∑û. By singing these invocations, the petitioner is literally drawing down the goddess from that place or state. When she comes to this world, the goddess appears in a form that resonates with worldly consciousness; she meets the inhabitants of the three worlds in forms that they can recognize. As previously discussed, gods in heaven, humans on earth, and demigods in the underworld all seek Lak∑m¥. When they call upon her, they remain in their own locales and in their own state of consciousness. In her abundant mercy, the goddess accommodates her infinite Self to match the needs and the capacities of her devotees.

The Propitious Glance of the Goddess Many of the songs ask that the goddess “be pleased” (prasannå), for the goddess’s happiness generates the flow of her radiance, which constitutes the essence of all abundance, prosperity, and auspiciousness. So too do the petitioners ask for a boon (vara), a specified gift from the deity, often granted in return for a sacrifice or offering. As these songs indicate, the offering of a song may be enough to please the goddess and compel her to bestow boons and blessings. In some cases the goddess has fashioned the very words of the songs and presented them to her devotees as a means for calling her back into their presence; she promises that when she hears these words, she will respond to the call. It is believed that the stotras to Lak∑m¥ should be recited in a way that resonates with the essence of this gentle and beautiful goddess. One does best to deliver them in a soft, tender, and unhurried manner. The Puråîc songs most clearly portray Lak∑m¥ as the goddess of wealth, the deity who oversees concerns of pleasure, virtue, wealth, and spiritual liberation. Most of these verses are said to have

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been uttered by the gods themselves—whether as petitions for the goddess to restore lost wealth, or to thank her for having restored it once again. These songs have been extracted from (or inserted into) longer narratives that explain the details of a cosmic drama that ends happily when the goddess arrives. The goddess arrives through the force of song, and it is said that the goddess will return whenever she is called with these verses, thus re-creating that original cosmic moment enjoyed by the gods, right here on earth. The songs are t¥rthas—sacred crossing points—that connect the local and limited with the cosmic and infinite. By their very nature, the Puråîc songs of praise contain many more references to cosmic events and personages than the Vedic or Tantric songs. Although these songs may play a greater role in the Vai∑âva traditions, their recitation is not limited to Vai∑âvas alone. Of all the songs of praise in this book, perhaps the most widely recited remains the Eight Verses Praising Mahålakƒm¥ (Mahålakƒmyaƒ†akam Stotram). Devotees from many different backgrounds recite this brief hymn daily as a powerful way to invoke the essence of the goddess of prosperity. The chanting itself, then, may be enacted as a spiritual discipline to evoke a feeling of closeness with the goddess. It is an active way to call her forth and a receptive way to prepare for receiving her blessings. How, exactly, is her arrival envisioned? In the Puråîc songs, devotees seek the goddess’s gracious and propitious glance. She is drawn from heaven to embrace the worshiper with her look. The power of this glance is what ignites the changes in the life of the devotee.

Fruits of the Recitations (Phala) Many Sanskrit devotional songs—whether Vedic, Puråîc, or Tantric— conclude with stanzas known as phala verses. Thematically separate from the potent core of the actual song of praise, they are appended as closing verses. These additional verses enumerate the phalas—the “fruits” or “results” that one may obtain by reciting or listening to a recitation of the song. The phala verses are sometimes quite specific, but more often they indicate that the song’s purpose is to attract prasannå, the “favor” or the “pleasing” of the goddess. Such is the beneficent nature of Lak∑m¥ that when she is pleased, she reveals herself in one’s life by altering one’s material circumstances; she reveals herself in one’s consciousness by replacing nescience and obscuration with the wisdom of awareness. The songs are believed

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to provide a vehicle by which one can uplift and actually transform the experience of earthly existence. As the phala verses indicate, there are often particular prescriptions for the recitation of these songs of praise, with certain expected results. In this sense, the worshiper can exercise a certain amount of will in how his or her life unfolds. The recitation of the sacred songs constitutes a honing and discipline of one’s faculties that develop one’s consciousness so that when the favor of the goddess is indeed attracted, it may be recognized, received, and sustained. Both the Vedas and the Tantras assume the potency of their verses on a vibratory level. It is not always entirely clear, however, whether the potency of the Puråîc songs is believed to exist in the intrinsic, sonic power of the Sanskrit words as mantras or in the devotee’s discursive understanding of the words as prayers and expressions of devotion. These texts do not always make a clear distinction between reciting the song and listening intently to another recite it; what seems to be important is the sincerity of devotional mood as the sacred sound is released into the atmosphere. Such songs may be recited by priests or other professional readers who have been engaged by a pious householder. Nowadays, live professional readers are frequently replaced by electronic recordings. The instructions for recitation that occur in the phala verses as well as in the body of the songs suggest that their efficacy in invoking the goddess requires both attention to perfect enunciation of the sonic forms—in Sanskrit—as well as to giving oneself over to a mood of devotion, contemplating the meanings of the words. This would occur in whatever language the devotee requires to understand them.1 Such a harmonious combination engages a vigorous mental concentration attended by the emotional softening of the heart. The space one creates by sending forth petitions and releasing one’s emotions may then become filled with the blessings conferred by the goddess. The songs to the goddess serve as the vehicle for such communion. As the verses in our collection note, Lak∑m¥ promises to respond when she hears the words of particular songs, offered to her with verbal precision, but, moreover, with complete devotion.2 She promises to bestow every type of prosperity, culminating in the boon of liberation, so pleased is she with songs of praise.

CH APTER 6

The Power of Tantric Songs Waking Up the Goddess

Alchemy of the Goddess: The Magic of Transformation According to the Tantric traditions, the way to achieve true prosperity is by focusing not so much on its forms as on its essence, going behind the specific expressions to the source from which they spring. In this way, the worshiper participates with the goddess in the manifestation of prosperity. Because their verses constitute the body and essence of the goddess, recitation of the Tantric songs is believed to unite the worshiper with the source of all life, all abundance, all prosperity. As we further consider the Tantric songs invoking Lak∑m¥, it becomes even more apparent that the identity of this goddess is not limited to her various physically recognizable forms and personalities, but that it is closely aligned with the mantras that constitute the songs. Tantric philosophy holds that mantras are vehicles to the deity because they are actual embodiments of her being. Among all of the goddess’s infinite forms, the most subtle—and therefore most potent—is her form as a vibration of sound. The songs in this section not only glorify the goddess, they are constructed as vehicles for preparing the worshiper to meet the goddess as she rises to the surface of his consciousness. Awakening the Goddess Within Tantric sådhana, or spiritual practice, is a continuing process of enlivening and strengthening the awareness of the goddess’s presence within; the worshiper recognizes a correlation between the goddess’s influence in external affairs and the establishment of awakened divine

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consciousness within his or her own inner being. Worshipers of Lak∑m¥ seek health, wealth, abundance, beauty, peace, and prosperity in every aspect of life; they may beseech her for success with very specific situations in life—ing an exam, securing employment, finding a suitable mate, giving birth to and raising healthy children, business success, a comfortable place to live—as well as more general states of being, such as mental clarity, emotional stability, and spiritual contentment. The lists are as varied and yet as stable as human concerns have been through the ages. The prosperity of Lak∑m¥ may be expressed in any of those particular forms, and many more, and yet in its fullest sense, the true prosperity of Lak∑m¥ is an abundant state of consciousness, fostering an expansive and courageous way of being as one moves through life. The wise seeker asks not only for the external manifestations of wealth, but for conscious union with the essence of true wealth at its source. Spiritual transformation along a Tantric path entails a change of heart, of vision, and of consciousness, so that ultimately one’s entire being comes into perfect alignment with the source of all. If one is to become perfected on the path of the goddess, if the divine consciousness of Lak∑m¥ is to be discovered within—and made manifest in every aspect of life—then one’s perception must be continuously purified and expanded so as to move beyond viewing the world from the perspective of the limited self, ultimately becoming integrated with the Highest Self, the consciousness of the goddess. The Tantrika seeks to recognize the presence of the goddess that has always been there, to enliven it, and to rid the mind of obstacles in perceiving it. The esoteric path assists the worshiper in moving from an external awareness of the transformation of consciousness to a complete and steadfast interior transformation, so that one lives each moment perceiving the world through the eyes of the deity. Seeing the world through the goddess’s eyes, integrating that vision into the depths of one’s being, one may come to experience life as infused with the power, fearlessness, and supreme consciousness of the goddess. Invoking Lak∑m¥ is, for the Tantrika, another way of asking the goddess to manifest in one’s awareness so that one may perceive and experience the world not only from a limited, ego-based perspective, but through the perspective of the goddess. The one who has mastered the Tantric perspective (d®ƒ†i), who has become perfected (siddha) in the Tantric path (sådhana), is understood to have gained the capacity for perceiving the holistic vision. In order to obtain that vision, one seeks alignment with the supreme inner being that is the goddess. It is important to note that the Tantric practitioner does not

T HE P OW ER OF T A N T RIC S O NG S

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seek to eradicate the ego, but to infuse it with divine vision. Tantra is a means to resonate more fully and securely with the world, not to lose touch with it. Integrating the Awakened Energy Spiritual transformation on the Tantric path entails the integration of the supreme consciousness of Mahålak∑m¥ into, or with, the consciousness of the devotee. The smaller self is fraught with debilitating tendencies—such as fear and limitation—that may be transmuted by the goddess, thereby allowing the worshiper to live a harmonious worldly life characterized by spiritual bravery and freedom. Although they express an esoteric understanding of the world, these texts are specifically for the use of householders, and they address ordinary obstacles to the householder’s peace of mind. These may manifest as concerns about illness, disharmony in relationships, material loss—in short, anything that disrupts an easeful, abundant experience of life. The Tantric songs are actively engaged with the intent of receiving material blessings from the goddess as well as the spiritual blessing of guidance to the source of all prosperity. This achievement (siddhi) is recognized in the forms of material and spiritual wealth simultaneously. In the Puråîc songs, invoking the presence of the goddess of wealth and prosperity entails addressing a divine presence who dwells in a heavenly realm. The worshiper beseeches her to manifest in the earthly realm and tend to her supplicants, which of course she may do instantaneously, for time and space are but constructs that impose limitations on humans, not on the gods. The Tantric traditions hold that since the divine dwells within each individual, the successful supplication of the goddess is not only a matter of drawing her “down” from a heavenly realm to earth, but of waking her “up” from within the depths of one’s own being. As we have seen in the Puråîc songs, the levels of the created universe are understood to exist on a vast continuum, often referred to as the triple world, or the three realms of heaven, earth, and the netherworlds. And again, each of these is further subdivided, with many subtle levels existing in each stratum. According to the Tantras, the entire macrocosmic universe also exists in microcosmic form within the subtle bodies of the human being. Thus the entire creation stretches outward in many levels of space and time to comprise the realms of the gods, and it stretches inward in many levels of subtle space and transcendent time to comprise the interior universe of the

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human being. Because divine consciousness pervades all that exists, the deities also dwell within each individual. Within the vast comprehensiveness of Puråîc cosmology, Lak∑m¥ incarnates in various subsequent world-ages. Lak∑m¥ abides, for example, in the heavenly realm of Vaikuˆ†ha as well as in a heavenly locale within the cosmic Ocean of Milk known as the White Island. On earth, she is born in Ayodhyå as S¥tå, the queen and wife of Råma, in order to dharma. For the Tantrika, all of these times and spaces exist both within and beyond human time and space. Therefore, when the goddess is addressed in the Tantric songs as dwelling in a particular heavenly location, it is understood that such a realm exists in the exterior universe as well as within the consciousness of the worshiper. A “state” is as much a level of consciousness as it is a location. A devotee of Lak∑m¥ petitions the goddess to remain steadfast in his home, and the Tantric devotee seeks to achieve this by anchoring awareness of the goddess steadfastly in his consciousness, as well, for just as “home” is the external abode that houses the physical body, it is the physical body that houses the subtle bodies—deep into one’s consciousness and in one’s very Self. The Secret Heart of Lak∑m¥ and the Goddess’s Marvelous Elixir Just as Tantra recognizes an interior map of the body, so does Indian alchemy (rasåyana) consider such changes as eminently tangible within the physical and subtle bodies. This aspect of goddess worship is still relatively unexplored, and its texts and traditions remain obscure. The lengthiest, most ionate, and in many ways most intriguing song in our collection is The Secret Heart of Lakƒm¥ (Ír¥ Mahålakƒm¥ H®dayam). It consists of 108 verses plus another dozen or so introductory verses that guide the worshiper in the process of applying the text in its ritual and experiential context, moving from pure devotional lyricism to the urgent evocation of the goddess’s energy to arise within the worshiper. Its verses seek to awaken the goddess and generate her mysterious elixir that effects an alchemical transformation within the body and the consciousness of the devotee. This text comes to us without written commentary. Its colophon, that is, its scriptural signature, states only that it is contained within the Atharvana Rahasya (Secrets of the Atharva Veda). This designation refers in name, at least, to the lineage of the Atharva Veda, that limb of the ancient Veda containing some of the earliest recorded expressions of magical religiosity. Sometimes called the “fifth Veda,” the Atharva Veda is a compendium of sacred formulas concerned with inner


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knowledge as well as spiritual communication with and influences upon the physical and material worlds, addressing such concerns as the appeasement of illnesses, rivalries, or debilitating conditions of nature and the elements. The Atharva Veda also contains more goddess worship than any of the other Vedas combined. The “secret” (rahasya) traditions of the Atharva Veda developed independently of the Vedas, and in a much later time period, although they were consciously aligned with the spirit of the original sacred songs and mantras specifically focusing on mystic knowledge, personal transformation, and worship of the goddess. The Secret Heart of Lakƒm¥ (Ír¥ Mahålakƒm¥ H®dayam) describes an alchemical process of transformation with the “magical elixir” of the goddess operating as the philosopher’s stone, that is, the agent of change: O Ír¥, in addition to the Wish-fulfilling Jewel And the Tree of Paradise, There exists a delightful, magic elixir Formed from just a portion of you. As this nectar moves through me, Touching all of my parts from head to toe, Hak! It transmutes them into a body of gold.1 This golden, invincible body is the one that may be attained by the Tantric worshiper who is devoted to Lak∑m¥ and has received even the smallest amount of her favor. The recitation enlivens the verses, and the “nectar” is an etheric manifestation of the goddess’s essence. Just as the goddess takes form as the Kuˆ∂alin¥ Íakti, or energy within the subtle body, so too does she manifest as the exquisite nectar tasted by yogis who have achieved a certain level of spiritual mastery. The poets of the esoteric songs acknowledge that a mere glance from the goddess is enough to set the transformative process into motion. In fact, a mere glance initiates spiritual perfection (siddhi); however, it is a matter of the mind’s catching up with the bestowal of grace that slows down the realization of that perfection. The poet thus asks for continuity in the flow of blessings so that the alchemical process of transmutation—or spiritual transformation—may become realized completely: O Indirå, lady of the blue lotus, Just a glance from you— And my desires

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Are satisfied here in this world, For you are the Wish-fulfilling Jewel, The celestial tree of the gods, And the nine eternal treasures. And yet, a marvelous elixir there is, Distilled from the nectar of your comion. Secreted from just a portion of you, It fulfills desires beyond imagination. May this your nectar flow with steady ease. O Kamalå, lady of the lotus, Just as the touch of magic elixir Transmutes iron into gold, So, O Mother, does the touch of your gracious glance Transform even the most inauspicious Into a blessing of splendid good fortune.2 While beholding this amazing journey into the interior realms of alchemical transformation, it is important to that these practices are intended to enhance the lives of the goddess’s devotees—here in this world. An esoteric text specifically for householders, The Secret Heart of Lakƒm¥ therefore eloquently concludes: O Goddess, it is you who protect This most secret of teachings, A scripture brought into existence For the benefit of householders. Let its power flourish within me. Let me ever abide in your bounteous grace.3

Vibratory Essence: Engaging the Sound-Forms of Lak∑m¥ Popular images often portray Lak∑m¥ with the lotus and urn, as these are central features of her descriptions in much of her literature. Although the golden vessel that she holds is usually understood to contain the cosmic am®ta (immortal nectar), The Secret Heart of Lakƒm¥ (Ír¥ Mahålakƒm¥ H®dayam) describes its contents as seeds: O Ír¥, grant me fearlessness in every moment. Let steadfastness ever be mine. Let me always remain ed with the resplendent one


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Who bears the lotus And the brilliant golden vessel filled with seeds.4 The “seeds” in the golden vessel are the sacred b¥ja mantras, the “seedsyllables” that are produced from the body of the goddess as vibratory patterns of sacred sound. These seeds are the ova that the goddess bears within her womb, which is represented by the beautiful golden vessel, and they hold the potentialities of all of creation. The seed-mantras are the most potent names with which devotees may invoke the goddess, for they resonate with the highest essence that can be expressed in any perceptible form. Embedded within these names of Lak∑m¥—these sonic extensions of the goddess—lie the essential powers of prosperity, auspiciousness, and abundant well-being. The advanced sådhaka, or aspirant, is able to recognize and resonate with the goddess in her most highly abstracted sound-forms, and to unlock their potency. In this sense, less is more: the less discursively understandable the words of the mantras, the closer they are to their undifferentiated source. The b¥ja mantras are the most potent of all, for they resonate as a core of discursive meaning but do not fit into grammatical categories for use in ordinary speech. Instead, they are expressions of divine power and essence through pure sound. Reciting the mantras invokes and releases the energy of the goddess; reciting the mantras brings one into powerful alignment with creation at its very source. Måt®kå Íakti and Surfing the Cosmic Ocean The universe begins with sound, and Laks¸m¥ exists as the måt®kå ßakti (matrix of cosmic energy), unfurling herself into the universe, as the universe, through her sound-forms, which are expressed as the fifty-two letters of the Sanskrit alphabet. These sound-forms of the goddess are also explained as the constituents that comprise the entire universe. Måt®kå refers to the goddess as the mother of the universe. The term måt®kå is cognate with the Latin word matrix and the English words mother and maternal: the mother of the universe is the matrix or web of all existence as well as the energetic source from which it has been woven. The goddess moves in ordered expression from vowels to consonants, all of these aligned in the six linguistic categories of the Sanskrit alphabet called vargas. As the substance of all sound is the sonic body of the goddess, each of these categories represents a specific vibratory expression of the måt®kå ßakti, flowing from one level into the next like a spectrum of sound. If the goddess extends herself

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outward as waves of sound, it is by means of these waves that the worshiper may be conveyed back to their divine source. This ocean of consciousness, divinity, and transformation is the very same ocean that is saμsåra, which is experienced as turbulent and wearisome to those who cannot behold its divinity. The Tantrika recognizes the world’s “poison” as life-renewing elixir. To the one who succeeds on the Tantric path, life is experienced as a playful dalliance between the goddess’s grace and one’s own actions.5 We might say that such a person does not resist the waves of the cosmic ocean, but catches them and rides the ßakti all the way to the far shore. In order for the worshiper to meet the goddess and “ride the ßakti,” there must be a place of union where the devotee and deity resonate with a similar consciousness, and it is not always possible to begin with the abstracted form that exists in the b¥ja mantras. Various genres of Tantric stotras take the worshiper closer to the goddess’s level of consciousness by establishing a common ground of resonance. The nåmastotra, or recitation of the deity’s names, for example, provides such a meeting place, for these names are t¥rthas, or sacred crosspoints that connect and are accessible from both realms—from the ordinary, discursive consciousness of the devotee, and from the name-sound-form of the deity. When reciting or chanting the name of the deity, the devotee has the benefit of discursive thought combined with lyrical poetry, along with the aesthetic components of rhythm (tåla), melody (råga), and often instrumental accompaniment and dance as well. The body and heart soften and open to the power that is inherent in the names that not only describe the deity, but encapsulate her mantric essence. In our collection we have included several nåmastotras to Lak∑m¥. Even before “meeting” the goddess in the recitation of her names and personalities, one may prepare for a merging of the entire consciousness by conducting nyåsa, a blessing in which the goddess’s sound-forms are ritually placed onto the body of the worshiper. Forming a protective coating of the goddess’s sacred mantras upon the body inaugurates the process of worshiping her and becoming integrated with her cosmic essence. How nyåsa works will be explained further in a later section, on the internal structure of the Tantric songs. “Twilight Language” and Word Play in Sanskrit Tantric literature makes use of word play and the bending of language in particularized ways. This is known as såndhya bhåƒa, or “twilight language,” where meanings are scrambled and obscured, sometimes to


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confound the non-initiate. Some of the Tantric songs in our collection embed puzzles within the language of the text. Just as the goddess reveals herself in the world and then retreats behind her persona as Måyå (Illusion), here it is as if part of the goddess is manifest and part remains hidden in the verses. Deciphering the puzzles embedded in Tantric literature is but another motif representing one’s existence on earth; part of Tantric sådhana consists of learning how to read to the signs, and some of the most potent signs are in the language-bodies of the goddess. Let us consider some examples of how this works. The SongFormulary of the Glorious Mahålakƒm¥ (Ír¥ Mahålakƒm¥ Pañjara Stotram) contains within it an intriguing little song, the Six Verses on the Root Mantra (M¶lamantra S. a†kam). A ƒa†kam is a song of praise in six (ƒa†) verses, and here, each of the verses extols an aspect of Mahålak∑m¥ as the måt®kå ßakti, following her expression as it unfolds across each of the six linguistic categories (vargas) of the Sanskrit alphabet. This brief yet finely constructed song invokes the goddess of prosperity in multiple layerings of her form, moving from her b¥ja mantras, to her various names, to her unfolding as the måt®kå ßakti, that is, the source of all that exists and the matrix though which it expresses itself. The malleable features of its verses, in which the linguistic components are deconstructed and recast in a new pattern, reflect the linguistic categories (vargas) constituting the matrix through which the fluid and mutable sonic energy of the goddess may flow. Such a song is a type of riddle to be unraveled as the various components may be extracted from one context and put together into another in order to discover yet another level of meaning. The ƒa†kam begins: Oμ ßr¥μ hr¥μ aiμ kl¥μ. Homage to Vi∑û’s beloved, Mahåmåyå. Kaμ khaμ gaμ ghaμ ‰aμ. Homage! Homage to you. Protect! Protect me. Shield! Shield my wealth, grains, and prosperity. Bestow! Bestow glorious success. Homage to Ír¥. Svåhå. And it concludes: Oμ ßr¥μ hr¥μ aiμ kl¥μ. O Kamalå, lady of the lotus, Be gracious! Be gracious to me.

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O Mahålak∑m¥, I offer you obeisance. Homage to you, O of the world. Yaμ raμ laμ vaμ ßaμ ƒaμ saμ haμ kƒaμ. Homage! Homage to you. Protect me! Keep me in your care. O most beguiling goddess, Íakti of the one who sures all thought, Grant me majestic power. Grant me prosperity. Homage to Ír¥. Svåhå.6 In a manner similar to the mapping of the six verses of the M¶lamantra S. a†kam across the Sanskrit linguistic categories (vargas), so too are certain words separated into their syllabic components and embedded within the texts. In the Song-Amulet of the Bestower of Wealth (Dhanadå Kavacam), the syllables of the goddess’s mantras are divided and placed among other words or syllables, thereby treating the individual monosyllables as if they were b¥jås. This serves to disengage the discursive meaning from the sonic component of the words as well as to apply the power of all sound-forms onto the worshiper. For example: Let the seed-syllable dhaμ protect my head. (Let) the seed-syllable hr¥μ (protect) my forehead. Let the seed-syllable ßr¥μ protect my face. Let the syllable a protect my heart. Let the syllable ti protect my abdomen. Let the syllable pri protect my back. (Let) the syllable ye (protect) both of my legs. (Let) the syllable svå (protect) the soles of my feet. Let the syllable hå cast a mantle of protection over my entire body.7 Here, the essence of Lak∑m¥ is invoked to cloak the petitioner with the goddess’s powerful essence of wealth, delight, and prosperity, represented by the phonemes dhaμ, hr¥μ, and ßr¥μ, respectively. After this, six more syllables are invoked, and if these are extracted from the text and viewed together, they form the phrase a-ti pri-ye svå-hå, that is, “O dearly beloved! Svåhå,” thus reinforcing the power of the song-amulet with the strength of the worshiper’s adoration of the goddess.


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The Potency of a Woman’s Recitations As in the epic and Puråîc materials, the Tantric songs acknowledge women as living embodiments of the goddess. Because women are “extensions” (kalå) of the goddess’s essence, they are closer to the full identification with the goddess that the Tantric songs generate. Just as the goddess is visualized carrying the round, golden urn filled with the seed-syllables that engender all life, so are women envisioned as nourishing the potent mantras within their bodies and giving birth to the fruits of their recitation. One of the phala (“results”) verses of The Secret Heart of Lakƒm¥ (Ír¥ Mahålakƒm¥ H®dayam) offers the image of a woman literally pregnant with its verses: A woman impregnated With this scripture’s sacred mantras Gives birth to prosperity for her family, And her husband becomes equal To the lord of Ír¥. Misfortune never destroys The lineage of a man Whose woman immerses herself In the sacred mantras of The Secret Heart of Lakƒm¥.8 A woman’s recitation of the mantras, then, is particularly efficacious. Women by nature contain and nourish the ova of creation and new life. As we considered earlier, the belly-round urn containing the goddess’s seed-mantras is yet another form of the female body. The most fertile environment for the seed-mantras of the goddess is the womb-essence of a woman. As she nourishes them within her own body and with the power of her recitations and intention, a woman, by virtue of her own feminine power, then may give birth to prosperity, a blessing enjoyed by the entire family and lineage. The feature of a woman’s magical nourishment of seed-syllables, and subsequently her magical power over mantras and indeed of all speech, appears throughout the rich textual traditions of the Tantric goddess. In her brilliant study of N¥lasarasvat¥ (Blue Goddess of Speech), Loriliai Biernacki brings to light textual elucidations of such principles. In one age that she translates from the B®hann¥la Tantra, for example, we learn: “The restrictions which men contend with [in the practice of] mantras are not all there for women. Anything whatsoever, by whichever [means], and moreover in all ways

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[is attained], for women magical attainment [siddhi] occurs, without any doubt . . . for a woman, by merely contemplating [on the mantra] she in this way becomes a giver of boons. Therefore one should make every effort to initiate a woman in one’s own family.”9 If we read the Tantric texts in our collection closely, we find very clear indications that some of these texts are intended specifically for women to recite. Let us consider, for example, the Song-Amulet of the Lotus Goddess (Kamalåtmikå Kavacam), a text whose mantras are literally applied to the body of the practitioner so as to create a mantle of power and protection, and further, to homologize the worshiper with the energies of the goddess. As with other song-amulets, the worshiper begins by systematically blessing each part of the body with the ritual placement of mantras on each of its parts. Here, the worshiper is clearly female, for the prayers call for the placement of the mantras “on my two breasts” (stanadvandve), “on my feminine private parts” (guhye, literally “secret” or “private”), and, reaching the head, “on the parting of my hair” (s¥mante).10 The latter is a “body part” that is specifically feminine and that signifies the shared essence of a woman, the goddess Lak∑m¥, and auspiciousness itself. It is on the hair part that married women place red powder to signify their auspicious state of marriage.

Literary Genres of the Tantric Songs All of the Puråîc and Tantric songs in our collection may be designated as stotras (songs of praise). The rich variety of Tantric stotras, however, may be further categorized as follows. The H®dayam (Essence, Heart, “Secret Heart”) Literally denoting “heart,” the term h®dayam refers to the precious, core essence of something. It lies deep at the very center, requiring a pilgrimage of sorts to approach and unravel its mysteries. When the term h®dayam appears in the title of a work, it may be translated as “the heart of,” or “the hidden mystery of,” or “the essence of,” for such a title announces the sanctity of the text and the suggestion that its contents are addressed to the initiate of an esoteric tradition. The contents of a h®dayam are not always easily understood. However, as one progresses in spiritual practice, uncluttering the mind and infusing all of the faculties of perception with ever stronger currents of


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purifiying divine energy, the deeper meanings of such a work become increasingly clear. As well, these texts sometimes accompany esoteric traditions in which the transmission of the text, its application, and its interpretation are necessarily part of orally transmitted teachings from guru to initiated disciple. The Kavacam (Song-Amulet) Designating “armor,” “amulet,” or any kind of protective device, the song style known as the kavacam, or kavaca stotra, may be thought of as a verbal amulet or song-amulet. It is a song of protection. Its verses include instructions for placing (nyås) the b¥ja mantras onto the body of the worshiper, constructing a mantle of protective sounds whose essence is that of the awakened deity. The Pañjaram (Formulary) The pañjaram is a formulary, or composite work of several different types of invocations, each of which may also stand on its own as an independent stotra. The Nåmastotram (Recitation of Names) As the essential energy of the deity exists within its name (nåma), the nåmastotram, or “recitation of the names,” is a conduit for contemplating the deity and invoking her presence. The enunciation of the names activates the various aspects of the deity’s vibratory essence. Usually a nåmastotram will be composed of 100, 108, 1000, or 1008 names. Sometimes the word hundred is used to indicate “many,” so there need not be exactly one hundred epithets enumerated. However, the designation of a sacred number such as 108 or 1008 calls for an exact enumeration.

Structure of the Tantric Songs The heart of the esoteric text is the stotra (song of praise). Preliminary verses serve as a preparation leading to the core text. Just as external worship entails purification of the ritual space, physical body, and interior spaces of the heart and mind before engaging in the performance of the ceremony, so does the recitation of the Tantric stotra engage preliminaries. These direct the worshiper’s body, mind,


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and consciousness away from life’s ordinary distractions and toward a deeper receptivity for encountering the goddess. The chanting or recitation of the stotra activates the syllables that are Lak∑m¥’s soundbody and releases their inherent power as auspicious blessings of abundance and prosperity. Many Tantric songs are prefaced by the following formulaic preliminaries that introduce the actual song of praise (stotra), as follows. Setting the Intention (Viniyoga) The viniyoga is the formal introduction to the work. As the literature of a tradition that is transmitted orally by those who are privileged to read and recite the sacred texts for others, such a prologue is not uncommon. The viniyoga is usually in prose, giving brief formulaic information about the seer of the text, its poetic meter, and, above all, its anticipated purpose and the circumstances under which it is to be recited. The following information for a Tantric song is usually included in its viniyoga section: • Seer (R.ƒi) Authorship is not generally considered to be entirely human, but rather lies in a relationship between the poet, or seer, and a divine source, in which the poet perceives the verses of the text through mystic insight. • Deity (Devatå) Each of the songs is believed to have been sent to the human realm as a vehicle for communication with a particular aspect of the divine. The devatå is an independent, embodied aspect of the great cosmic consciousness of the deity who presides over the efficacious outcome of the song. Each of the songs in this collection is presided over by Lak∑m¥, in one or in various particular formulations of her divine personality. • Meter (Cchanda) Specifically identifying the metrical pattern of the poetic verses is one way to categorize the songs for the benefit of the musicians and dancers whose performance, in some traditions, accompanies the chanting of the song. Each meter also replicates an aesthetic consideration in


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the variegation of the deity’s sound-form as metrical rhythm (tåla). From this perspective, the meter is also recognized as a form or body of the deity. • Seed-Syllable (B¥ja) The b¥ja is the most compact form of the deity’s body in sonic form. It is literally the “seed” from which emerge all other forms of the deity’s manifestation. The b¥ja mantras are grammatically untranslatable, yet they do hold discursive meanings. Just as Lak∑m¥ manifests in varying personalities or aspects as designated by the different names in the “deity” section of the viniyoga, so do these aspects manifest through specifically corresponding seed-syllables. The main seed-syllables expressing the essence of Lak∑m¥ are ßr¥μ (indicating splendor and prosperity) and hr¥μ (indicating sustenance and delight). • Animating Power (Íakti) This is the force that launches the song into action. The specific power is that which is responsible for enlivening the particular mantras of the sacred song and rendering the whole recitation efficacious. This too corresponds with the deity of the song. The animating power of the esoteric songs to Lak∑m¥ in our collection is either a b¥ja mantra or another component of a mantra, such as “svåhå.” • Nail (K¥lakam) To understand the role of a “nail” or “pin” within the context of a poetic composition, it is useful to that the Tantric song of praise is not only a lyrical composition, or an expression of devotional sentiment, or a philosophical missive, but, in addition, a means for generating spiritual power—for calling forth divine energy and directing it toward a specific goal in the human realm. The k¥lakam is that which “pins down” and contains the goddess’s energy so that it neither be released with dangerous abandon nor dissipate before producing auspicious results. • Intention (Viniyoga) The viniyoga at the conclusion of the introductory segment specifies the result expected from reciting the song. This creates a focal point in the verse-offering. Each of the songs in our collection is to invoke the

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prosperous nature of Lak∑m¥ herself: they are chanted to draw forth the goddess’s blessings of health, wealth, harmonious relationships, and overall good fortune. The concluding phala verses reiterate the results in more specific , although one may address the goddess with any manner of personal concerns. Ultimately, however, it is believed that Lak∑m¥’s powerful boons are greater than anything a worshiper could articulate, and the intentionality of a particular song serves as but the starting point for one to establish a communicative bond with the goddess of prosperity. Ritual Placement of Mantras on the Body (Nyåsa) Literally a “placing down” or “placing onto,” nyåsa refers to the implanting of the song’s mantras onto the body of the worshiper. It is a blessing of the body with mantras. The purpose of this is to create an adamantine body, that is, to cover the physical body and thus the subtle bodies with a protective shield composed of the b¥ja mantras of the goddess. By placing these mantras onto the body and investing them with enlivening power, the adept receives the mantle of her vibratory essence upon and within his own being. Such placement may be done by forming ritual hand gestures (mudrås) to touch the specified parts of the body, or by literally painting the mantras onto the body with specific substances, such as pastes of turmeric or sandalwood. By performing the preliminary nyåsas, the practitioner begins the process of homologizing the “mundane” with the “divine,” toward the goal of complete alignment of oneself with the consciousness of the goddess. These blessings help to activate, protect, and seal in the awakened energy on the cardinal points of the physical body that correspond with residences of deities within the subtle bodies. This highlights the use of the term mudrå, which literally means a seal and is used to designate the formation of the hands and fingers into ritualized gestures.11 The nyåsas are presented in categories. Each of these provides an increasingly subtle way of aligning the divine mantras of the song with the worshiper’s body and state of consciousness. • Ritual Placement of “The Seer, and So Forth” (§syådi-nyåsa) The broadest category of preliminary nyåsa for reciting the songs, the ritual placement of “the seer, and so forth” entails the alignment of all of the preliminaries previously listed in the viniyoga section,


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coordinating each part of the song’s introduction to a part of the worshiper’s body. The sacred song is the inner essence of the worship, and to protect its sanctity and to offer it a steadfast receptacle through which the devotee can approach the sound-form of the goddess and interact with her, the mantras are applied to the worshiper’s body in order to construct a sanctuary where the goddess can manifest and also upon which the worshiper can focus to encounter the deity. Human, divine, aesthetic, and pragmatic forces come together to create a venue for engaging the divine presence. The seer (®ƒi), the personality-form of the goddess (devatå), the metrical pattern (cchanda) with which her energy is expressed, and the other components are then homologized with parts of the worshiper’s body. The first step is to align the worshiper’s body with the external fabrications that will house the deity aesthetically, for these are the causes and conditions that have been woven together to generate the sacred presence. The next two rounds of nyåsa work on yet more subtle levels. • Mantra Placement on the Hands (Kara-Nyåsa) Here, the purification focuses on the energies residing in the hands, including specific locations on each of the fingers. The hands are important because they are the agents of ceremonial performance. The fingers and hands may be positioned in specific gestures (mudrås) to accompany the utterance of the mantras contained in this section of the song. By the purification and infusion of divine energy through the mantras, the hands become transformed and are thereafter no longer referred to as kara (“hands”) but as astra (“weapons,” “arrows,” or “missiles”); they are transformed into vessels of concerted power to project the powerful mantras and intention of the recitation. • Mantra Placement over the Entire Body (Sa†a‰ga-Nyåsa) One of the words for physical body is ƒa†a‰ga, meaning literally “six limbs.” The “six limbs” that together constitute the physical body are: (1) the heart, (2) the head, (3) the top back of the head, (4) the “armor” [torso], (5) the “third eye” [located between the eyebrows], and (6) the “weapon” [hands]. Just as the hands become “weapons” (astra) when enlivened by the mantras, so does the torso become transformed into armor (kavaca) when coated with mantras. We note here that the “top back of the head,” which indicates a literal spot as well as the tuft of hair grown on that spot to desig-

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nate ritual status, is a specifically male reference. In distinction, some verses refer instead to the “parting of the hair,” which is a specifically female reference.12 The ƒa†a‰ga-nyåsa segments also specify a b¥ja (“seed”) mantra, an instruction for placement on the body by paying homage to (or upon) that part, and a concluding verbal articulation such as huμ, vaƒa†, vauƒa†, or pha†. These are strong, explosive sounds, like missiles themselves, the very ones that Vedic priests launch verbally to accompany ritual offerings. Such words, which mean something like “so be it,” convey an additional volley of concentrated and steadfast sound-energy. Pha† is well known for its use in purification rituals, where its onomotopoetic, firecrackery sound is engaged to frighten away demons. Similarly, the thunderous sound of “huμ” is the same ferocious roar made by the terrifying goddess Kål¥ as she roams the battlefield, vanquishing demonic armies. Svåhå is another verbal form employed to seal the mantric expression. Equally powerful, though more graceful than explosive, svåhå is pronounced when offerings are poured into the sacred fire, an auspicious send-off to accompany those offerings to the realm of the gods. Like the previous , svåhå may, in a general sense, denote something like “so be it” or “amen.” Most likely it derives from the verb ah, “to pervade,” to which has been ed the prefix su, meaning “well” or “auspicious,” therefore meaning “may it pervade well.” In addition, svåhå is personified as a goddess, the consort and shared energy of Agni, the sacrificial flame. As well, the goddess Svåhå is recognized as a form of Lak∑m¥. Meditation (Dhyåna) The dhyåna is a verse that describes the deity. It is both a song of praise and a means by which the worshiper may begin to focus concretely on the object of worship, to meditate upon her through visualization. It reminds the worshiper that supplications are communications with an actual presence. With the recitation and contemplation of the dhyåna mantras, the worshiper may begin to experience a very real sense of the deity. Sacred Syllables (Mantra) Like the dhyåna, the presiding mantra helps the worshiper focus and draw forth the goddess. However, whereas the dhyåna mantras evoke


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an image and form of the deity that is consonant with “ordinary” reality, the mantras here are the seed-syllables, the energetic resonances of the goddess’s core being and as such elicit her cosmic essence more fully than her material expression. Song of Praise (Stotra) The previous four sections constitute a formal preparation of physical and subtle bodies leading to the recitation of the stotra itself. The worshiper’s heart may have softened, and mind become calm. One may now enter a state to invoke the goddess and recognize her presence when it manifests. Within the pure space of the stotra, the worshiper may now offer the expressions of his or her needs, desires, and glorifications. Wishful thinking and frantic hopes give way to mature internalization of the goddess’s blessings in a progressive transformation and ultimately an alignment between external circumstances and interior spiritual life.

PART THRE E

Ceremony

IN TRODUCTI ON

Invoking Lak∑m¥ in Ceremony Lakƒm¥ P¶jå

Creating Space to Receive the Goddess The ritual of p¶jå, generally translated as “ceremonial worship,” consists of specified actions for invoking and honoring the gods. It is performed in order to invite the deity into our space and to experience—on some level—her palpable presence. Sacred songs operate on the mantric level of sound; p¶jå operates more tangibly in the physical, material world, working through the third dimension to draw the goddess even more fully into the earthly realm. Tradition holds that whether she is worshiped in homes, where laypeople make their offerings with varying degrees of formality, or in temples, where priests offer precise and elaborate ceremonies, the beneficent goddess Lak∑m¥ receives all offerings graciously. The words contained in the songs of our volume certainly attest to this; the gods themselves are recognized as worshipers of Lak∑m¥, and the “fruits” (phala) verses enumerate the many types of blessings that gods and humans can expect to receive if the goddess is pleased. P¶jå is conscious, even hyperconscious action. It consists of specific parts and sequences, which will be discussed next. Hindu p¶jå engages the natural and physical world in its most splendid expression. The underlying purpose of performing a p¶jå to any of the Hindu deities is to generate the sacred power of auspiciousness. The attitude of the p¶jå for each deity corresponds with the essential qualities of that deity. The ceremony is in a sense an embodiment of the deity’s divine personality traits and varying expressions of the fundamental essence that constitutes all things. The Lak∑m¥ p¶jå is

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performed to arouse the power of ßr¥—a richness of being that enlivens health, wealth, beauty, prosperity, longevity, happiness, harmony, well-being, balance, glory, majesty, splendor, and luxurious bounty: As we have seen in this volume, the expressions of ßr¥ are endless. The devotee consciously sends forth the offering of the ceremony with the subtle awareness that what is being offered is actually the essence of the deity herself. The performance of the ritual draws this quality from the transcendental, back into the realm of human experience. Having been immersed in the timeless essence of the sacred through performance of the ritual, one may then return to the realm of human experience refreshed and better able both to navigate its tumultuous challenges and to savor its beauty. In performing the Lak∑m¥ p¶jå, the worshiper participates in creating a sacred precinct that becomes infused with ßr¥’s essence. In contrast to the joyously piercing clamor of percussive instruments that characterize a Íiva p¶jå, for example, the Lak∑m¥ p¶jå is delivered with a sweet, tender attitude. In order to invite such qualities—or the goddess embodying those qualities—into one’s presence, the worshiper must take the preparatory steps toward creating an auspicious environment, for Lak∑m¥, like all of the deities, is attracted to that which is similar to herself. One summons the goddess by welcoming her into a ritual space that is replete with the abundance of Lak∑m¥ herself. In the preliminary rituals, even imitation is enough to inaugurate the process of drawing the goddess near. Without the conscious preparation for receiving such qualities, one essentially stalls the process before it has even begun. To invoke auspiciousness, one must first consciously banish the inauspicious and engage in auspicious actions and ways of being. As we have previously considered, for example, Lak∑m¥ and her “sister” and antithetical counterpart, Alak∑m¥, never dwell in the same place at the same time. Therefore, the worshiper who propitiates the deity of auspiciousness must consciously abandon any manifestations of the inauspicious. For example, as the time of the p¶jå draws near, participants are ened to become conscious of their speech—to avoid gossip, abusive language, and upsetting conversations, and instead to speak gently, and of uplifting, lighthearted topics. This is both a yogic discipline and an initial engagement of Lak∑m¥’s energy. Sometimes, circumstances call for a separate p¶jå beseeching the inauspicious Alak∑m¥ to absorb and remove negative influences before Lak∑m¥ can be invoked to bestow her auspicious blessings. Usually, however, the preliminary actions preceding the p¶jå serve this purpose, and Gaêßa, remover of obstacles, is invoked to clear the way for the auspicious entrance of Lak∑m¥.

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The physical preparations for the ritual entail that the worshiper must first have bathed, dressed in clean clothing, and adorned himself or herself appropriately. The clothing need not be new, but it should be “untorn,” just as, later, the offerings to the deity must not have been used or in any way “broken in” by humans; the first impressions set onto one’s body and accoutrements should be instilled by the goddess herself. Similarly, the goddess must be the first to partake of the ritual offerings. This explains why the ceremonial rice grains will necessarily be “unbroken” (akƒata), or “unhusked,” why the food offered will not have been tasted, and why the fragrance of the flowers and incense should not have been breathed in by the human participants until after the ceremony. All p¶jås generate a flow of cyclical interaction from the worshiper to the deity and back to the worshiper again. In the Lak∑m¥ p¶jå the worshiper gathers together but a small portion of that which Lak∑m¥ gives to the world, and offers it back to the goddess. Lak∑m¥ p¶jå features gold coins, ripe, sweet fruits, fresh flowers, sanctified water, fragrant substances, and delectable confections of honey, sugar, and milk-based ingredients—milk, of course, being the product of the sacred cow, long recognized as an embodiment of Lak∑m¥. The atmosphere generated is sumptuous and sparkling, bright with the colors of red vermilion powder, golden turmeric, and fresh green leaves. These symbolize Lak∑m¥’s life-sustaining power as the flow of blood in the human body, the flow of monetary currency in society, and the flow of sap in all types of plants as they sustain the natural world with nourishment, medicine, shelter, refreshment, and beauty. When the goddess receives the offerings into herself, ordinary substances such as foods and flowers are transformed into repositories of sacred potency. It is the goddess who alters one’s state of consciousness, transforms one’s material circumstances, and transmutes the essence of “ordinary” substances. As with other festive occasions, participants are given favors upon their departure. At the end of the ceremony the worshipers receive back the sanctified foods and flowers, which are known as prasåda, or “favor.” What the goddess bestows upon the supplicant refers not only to the tangible goods at hand—partaking of the ritual foods, enjoying the fragrance of the flower offerings, receiving the purificatory blessing of the sacred flame by waving the right hand across the årat¥ lamp and drawing its essence across the top of one’s own head, and so forth—but also receiving her blessings of health, prosperity, and the overall improvement in the circumstances of one’s life. Above all, it is the deepest essence of an individual that is touched and expanded so as to receive these blessings

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and allow them to take root. In one’s most profound experience of the Lak∑m¥ p¶jå, the noise and vicissitudes of the world become absorbed back into their source; the world’s dissonance collapses and leaves a resonance of the goddess’s exquisite serenity. From that source, one’s circumstances can unfold and begin anew, guided by the beneficent hand of the goddess of prosperity.

The Ancient Art of Hospitality The performance of p¶jå reflects ancient Indian customs of hospitality. The simple act of offering a comfortable haven to the traveler after a lengthy journey evolved, long ago, into an elaborate and aesthetically significant art of hospitality, in which both the host and the guest enacted specifically designated and complementary roles. Certain aspects of the ritual, such as the offering of the seat, have roots at least as old as Vedic times.1 The motif is patterned upon receiving a guest of royal status. The complementary figure to the king would be the guru, or spiritual preceptor, in that whereas the king holds the highest worldly status, the guru is the regent of one’s spiritual life. The king’s throne and the guru’s gaddi, or sacred seat, are easily transferable to a designated chair, usually the most comfortable or beautiful seat in the house. Any visitor from afar, as the stories constantly remind their listeners, is potentially a god in disguise. By opening to accept these actions, the guest respects his designated position as gracious recipient of the host’s hospitality. The guest therefore remains immobile while the host performs all of the actions. Such is the paradigm of hospitality that even were this a human guest, food and drink would be borne on trays and then presented to the one being honored; never should the guest even have to reach out and take them for himself. Related to this is the notion that the offerings have been prepared especially for the guest and none other. Further, the host does not dine with the guest, but watches attentively and affectionately while the guest partakes of the meal. The underlying principle is that one does everything and takes care of everything for the guest. The host enacts the role of the servant. The ancient Indian etiquette of hospitality maintains clearly designated boundaries between the one who humbles himself to serve and the one who humbles himself to receive. Although the guest motifs were transferred to the ritualized hospitality toward the gods as a means of invoking them, honoring them, and seeking their blessings, it was understood that the gods do

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not actually require any of these attendances. As is well recognized in the literature, the gods neither thirst nor hunger, their feet never touch the ground, they do not perspire, they do not cast shadows, and no matter how dusty or dirty the environment might be, they remain unsullied. Devotees, however, participate in the details of the ceremony as if the gods needed these things. Certainly, the elaborate forms that p¶jå may take—and again, elaborateness is not a requirement, especially in daily offerings—serve the supplicant as much as they do the deity being served. This is in part due to the aesthetic power inherent in the symmetry, discipline, and beauty of the ritual. The intense and abundant overtures with brilliant colors, aromatic fragrances, and chanting serve to awaken the senses and direct them toward a heightened experience of the deity. The effects of a p¶jå are to compel the mind’s chatter to be still and to move away from the distractions of mundane life, in order to allow the supplicant to encounter divine consciousness. The purpose of p¶jå is to call forth and receive the presence of the deity. Performed to its highest standards, p¶jå culminates with the host and guest exchanging roles. The devoted worshiper now becomes the recipient of the abundant gifts and blessings of the deity. Here, though, there is a departure from exact symmetry, for that which the goddess confers always exceeds what the devotee has offered.

Structure of the Ceremony The Lak∑m¥ p¶jå that we present in this volume is an example of smårta p¶jå, “smårta” indicating an orthodox tradition of worship based on the sm®ti, that is, “ed” or traditional literature of the Vedic tradition, which includes the voluminous lore on deity worship contained in the epics and Puråâs. Although smårta p¶jå is in its strictest sense performed by priests, this type of worship does not carry the exclusivity of the Vedic rituals. P¶jå indeed has deep roots in the Tantric traditions, and its present form may actually be more “Tantric” than “Vedic.” Smårta p¶jå therefore has always had a certain degree of malleability, and it is not uncommon for householders to perform these rituals themselves. The Lak∑m¥ p¶jå that we present here was compiled by Pandit Rajesh Dixit and published in Ír¥ Lakƒm¥ Upåsanå, the same manual for Lak∑m¥’s worship that has provided the Sanskrit texts for most of the songs in our volume. The structure of p¶jå traditionally contains sixteen upacåras, which may be translated as ritual attendances, offerings, or reverent

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actions performed for the deity. Each ritual attendance is accompanied by the recitation of a verse, usually from the sm®ti literature. The original paradigmatic structure of the p¶jå contains sixteen upacåras to accompany the recitation of each of the sixteen verses of the Puruƒa S¶ktam (Vedic Hymn to the “Cosmic Man”). Although modifications developed regarding the verses sung and in the details of some of the ritual substances, the general motifs covered by the sixteen ritual actions continue to adhere to the original structure of the p¶jå. On the other hand, some traditions, such as the Ír¥ Vidyå and the Påñcaråtra, celebrate a version of Lak∑m¥ p¶jå in which the sixteen upacåras are accompanied by a verse of the Ír¥ S¶ktam instead of the Puruƒa S¶ktam.2 The entire ritual procedure as presented in the Ír¥ Lakƒm¥ Upåsanå consists of six preliminary actions, followed by twenty-seven ritual attendances. These adhere to the general format of the traditional sixteen-part p¶jå, and they can easily be seen to follow the general guidelines of the sixteen ritual attendances (upacåras); the main difference is that some of the actions are enumerated with subcategories. We turn now to our text of a Lak∑m¥ p¶jå. We introduce each ritual attendance with a brief explanation, which is followed by the translation of its offertory verse. At the end of the text is an outline articulating the correspondence between two enumeration systems of the ritual procedures.

Lakƒm¥ P¶jå Text

Preparation and Purification Prayer for Well-being (Svasti-våcana) In the opening mantras, the Vedic gods are invoked for overall wellbeing (svasti) and for the success of the ceremony. These are the ancient deities who are extolled in the earliest written scriptures of the Brahmanic tradition as presiding over the forces of nature. There is very little mention of them again in the rest of the p¶jå, but their invocation here at the outset creates an important statement just in their inclusion; it lends the authenticity and the power of the ßruti, the revelatory scriptures that were “heard” by the earliest sages and that have their origins in heaven itself. Calling upon the names of these deities constitutes the recitation of a powerful Vedic mantra, thus offering protection in the highest as well as undeniable continuity of a sacred tradition. These deities are considered to be intensely potent entities whose identity hovers in the space between the undifferentiated cosmic essence of the universe and its expression as heavenly presences and the forces of earthly natural phenomena. These include, for example, the dawn, the day, the pole-star, rainstorms, and the waters. They dwell in the sound of their mantras, and recitation of their names releases their power. Invoking them generates their thunderous presence, stirring up the requisite surge of primal energy to propel the p¶jå into its first motions. Prayer for well-being Oμ. May Indra, lord of expansive powers, grant wellbeing.

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May P¨∑ån grant well-being. May B®haspati grant well-being. May the gods of the universe grant well-being. Oμ. May the vital powers of the earth rise up to greet us. May the vital powers of the plants rise up to greet us. May the vital powers of the sky rise up to greet us. May the vital powers of the cardinal directions rise up to greet us. Oμ. Salutations to the spirit of fire, To the spirit of the winds, To the spirit of the sun, To the spirit of the moon, To the Vasus, To the Rudras, To the ≈dityas, To the Maruts, To the gods of the universe, To Lord B®haspati, To Lord Indra, And to Lord Varuâ. Oμ. May there be peace in the heavens, Peace on the earth, Peace in the waters, Peace in the herbal kingdoms, Peace in the forests, Peace among the gods of the universe. May the peace of brahman be unto all. Peace. Peace. Peace. Let there be peace, peace, peace. Purification of the Worshiper (Pavitr¥karaâ) The purification of the worshiper actually begins when the devotee bathes and dresses in clean clothing in preparation for the ritual. At this point, however, there is a further purification in which the worshiper touches his head three times with water while reciting the “verse for the purification of the worshiper.” This takes the preparation from the gross physical level of the body into the various levels of the subtle body.

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Verse for the purification of the worshiper Whether in a state of purity or impurity, The one who re the lotus-eyed lord Becomes ritually pure, within and without. Clearing Away Disruptive Spirits (Bh¨ta-ßuddhi) Bh¶ta refers to a restless spirit, often the ghost of a person who has suffered a violent or untimely death, or simply a spirit that lingers restlessly on the earth, unwilling or unable to move beyond. A bh¶ta can also be a disembodied being that is maleficent by nature. Either type of entity can obstruct the success of the ritual. Íuddhi denotes cleansing or purification. The bh¶ta-ßuddhi 1 mantras are recited in order to pacify and/or send away disruptive spiritual influences, clearing the sacred space to receive the auspicious presence of the deity. The worshiper should clasp a bundle of sacred sweetgrass (d¶rvå), unhusked rice, and flowers in the right hand, and dipping it into water, he should use it to sprinkle the area while reciting the “verse for clearing away disruptive spirits.”2 Some advise the worshiper also to kick the earth three times with the heel of the left foot during this purification.3 Verse for clearing away disruptive spirits By the powerful authority of Íiva Let the lingering earthbound spirits be gone And the disruptive spirits hereby be destroyed. Verses for Meditation on Lord Ga£eßa (Ír¥ Gaêßa dhyåna mantra) Widely venerated as the remover of obstacles and the lord of auspicious beginnings, Gaêßa is invoked at the outset of any important enterprise, whether secular or religious. No p¶jå would be undertaken without first seeking the blessings of the elephant-headed god to ward off negative influences and to ensure a clear path between the worshiper and the deity invoked in the ceremony. Verses for meditation on Lord Ga£eßa Oμ. Salutations to the one with a beautiful face. Salutations to the one with a single tusk. Salutations to the red-hued one. Salutations to the one with elephant ears. Salutations to the pot-bellied one.


102 Salutations Salutations Salutations Salutations Salutations Salutations Salutations

to to to to to to to

the the the the the the the

handsome one. one who destroys blockages. one who removes obstacles. one with the grey banner. lord of the spirit-troops. one with the moon on his brow. elephant-headed one.

There is no obstacle that cannot be overcome By a person who recites or listens to these twelve names— When beginning studies, When getting married, When entering or departing any place, When meeting in assembly or on a battlefield, Or when moving forward in any situation. Let us meditate on the god With the pleasing countenance, Who has four arms, Is dressed in moon-white garments, And who pacifies all forces of disruption. Statement of Intention (Sa∫kalpa-våkya) Although in its most general sense p¶jå is performed to receive the blessings of the deity in whatever form the deity wishes to bestow them, a specific intention should be verbalized by the worshiper. The statement of intention draws the focal point to psychological reality and away from mere theoretical abstraction. It emphasizes the clarity and reality of the worshiper’s expectation, and it compels the worshiper to reflect upon his human condition and his relationship with the deity. The statement of intention here does not have a designated mantra or verse, for these words are unique to each worshiper. Verses for Meditation on the Goddess (Dhyåna Mantras) Here the worshiper begins to focus on the deity to be invoked in the ceremony by reciting mantras for visualization. These describe her physical appearance, clothing and other accoutrements, her beneficent deeds, and so forth. The preparatory segment of the ritual guides the worshiper’s consciousness to shift, ever so subtly, from ordinary consciousness to the relaxed, meditative state that is more conducive to


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reception of the deity. Physical and mental preparations have initiated the process; here, the focus hovers between mental imagery, which serves an intellectual purpose, and the resonance of the Sanskrit syllables as mantras, which serve to create awareness beyond intellectual perception; the mantras here have discursive meaning and yet they transcend that as well. As has been noted with some of the other songs of praise in our collection, the extraction and inclusion of verses from one song to the next is a feature of this genre of devotional literature, especially where authorship remains anonymous. Five verses are presented here for meditation on the goddess. Four of these five also appear in the well-known Eight Verses Praising Mahålakƒm¥ (Mahålakƒmyaƒ†akam Stotram).4 Verses for meditation on Lakƒm¥ Salutations to you, O Supreme Enchantress, Abode of good fortune, Adored by all of the gods, Holding in your hands a conch, discus, and mace, O Mahålak∑m¥, salutations to you.

1

Salutations to you, O Rider of the Eagle. O terror of the hostile spirit Kola, O destroyer of all iniquities, O Goddess, O Mahålak∑m¥, salutations to you.

2

O lotus-seated goddess, Embodiment of Ultimate Reality, O Supreme Lady, Mother of the Universe, O Mahålak∑m¥, salutations to you.

3

O Goddess clothed in white, Adorned with a dazzling array of magnificent jewels, You are the foundation of the world And its divine mother. O Mahålak∑m¥, salutations to you.

4

May my home ever be blessed With the presence of Ír¥, That wholly auspicious goddess


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5

Who embodies herself as the divine Lak∑m¥ Seated on a lotus, With lotus in hand, Bearing a golden urn inlaid with jewels, Dressed in the most resplendent apparel, Who has eyes like lotus petals, A slender waist, And rounded hips that curve like lotus leaves.

Heart of the Ceremony: Receiving the Goddess Invocation (≈våhana) Here begins the p¶jå proper. The devotee invokes the goddess with words of praise. Verse of invocation

1

Oμ. O you of the lovely eyes Who bear the lotus in your hand And who bear all the gods within your majestic being, O Goddess, mother of the entire creation, I invoke you! Seat (≈sana) The goddess is invited to be seated. In addition to providing comfort to the divine guest, the seat serves to anchor the ritual in time and space with a solid foundation and focal point. It literally establishes the presence of the goddess. Verse for offering the seat

2

Please accept this beautiful lotus seat of brilliant gold, Resplendently ornamented with magnificent gems. Water for Bathing the Feet (Pådya) Bathing the feet is an ancient custom of hospitality whereby the host receives the honored guest in a physical display of graciously attentive pampering. An important feature of this aspect of hospitality is


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that the host performs the action for and upon the guest; the graceful pouring of water upon the feet is an intimate and humbling way for the host to receive the guest. Washing the feet provides cleansing and refreshment as well as the ritual purification to remove defilements that may have been collected on the journey or indeed anywhere that lies outside of the sanctified space. The soles of the feet are believed to be particularly susceptible to the absorption of impurity, whether physical, emotional, mental, or spiritual. Verse for bathing the feet The water for bathing your feet Has been collected from sites of holy pilgrimage And is mixed with sandal and other perfumes. O Goddess, O you who adore your devotees, Accept my offering.

3

Fragrant Water (Arghya) Arghya is water into which fragrant and aromatic substances, such as sandalwood paste, have been mixed, and it is offered for refreshing the face and mouth. Verse for offering the fragrant water Accept my gift of refreshing water Mixed with eight fragrant substances, And served to you in a vessel of gold. O Mahålak∑m¥, salutations to you.

4

Pure Water for Sipping (≈camana) The goddess is offered pure water to sip as refreshment after partaking of the flavored offerings.5 Verse for offering the water for sipping To the ßakti of the entire world, Who is lauded by Brahmå, Vi∑û, Íiva, And the other gods, I present water for sipping. O Mahålak∑m¥, accept this offering.

5


106 Bathing (Snåna)

The ritual bath consists of the pouring of sacred substances over the image of the deity. If the physical image could be damaged in some way by actual with the bathing materials, these may be poured over a betel nut or simply offered reverently and poured into a bowl before the image. The first of the bathing ingredients is holy water (ideally Ganges water, which may be substituted with any other holy water or water collected from a river on the day of the p¶jå). The other necessary ingredients are known collectively as pañcåm®ta, “the five nectars”: milk, yogurt, ghee (clarified butter), honey, and jaggery (raw brown sugar made from palm sap). Some texts and worship manuals advise that these five nectars should be presented in order, so that the oilier substances (due to their milk or butter content) are followed by the more astringent ones, leaving the body fresh afterward and facilitating the final offering of pure water.6 The milk products are especially significant because these are derived from the sacred cow, a form of the goddess Lak∑m¥. Further, each of these five auspicious substances is said to represent a particular aspect of divine power as it manifests on earth. The Aitareya Bråhma£a notes that yogurt is “power in this world,” ghee is “the brilliance of animals,” sugar is the “distilled sweetness of plants,” and honey is “the sap in plants and trees.”7 These substances are embodiments of Lak∑m¥ and therefore they represent not only the goddess’s sweet and powerful sanctity that lies at the center of all things in nature, but the tenacity and purity of her vital energy in the world. With each new cycle of life, the goddess transmits her essence as fluid energy from one generation of living beings to the next. The ceremonial worship of various other deities also includes the five auspicious substances. At every such p¶jå, as they pay homage by offering these substances, the worshipers also pay honor to the substances, thereby also invoking Lak∑m¥ herself. How much more potent, then, is the worship of Lak∑m¥ when she is offered the very substances that she embodies; in this sense, Lak∑m¥ p¶jå embraces the essence of every p¶jå, and every other deity worshiped in this way can be seen as a manifestation of Lak∑m¥, quintessential embodiment of auspiciousness. Verse for the bathing O Mother of the Universe! O you who adore your devotees! Accept for your bath


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This auspicious Ganges water Mixed with the five immortal nectars.

6

Clothing (Vastrayugma) After being bathed and patted dry, the deity is dressed in fresh, new clothing of a pure material, ideally silk. Traditionally, images of Lak∑m¥ depict her wrapped in a red sari with gold borders. Verse for clothing the image O Mother of the World, I present you with a stunning garment Of fine woven fabric. O Goddess, graciously accept these gorgeous new clothes.

7

Milk-and-Honey Drink (Madhuparka) Madhuparka is a sweet milk-based drink whose most important ingredient is honey (madhu). It also usually contains yogurt and cardamom. Serving madhuparka is widely recognized as a way to express honor when receiving a guest.8 Verse for offering the milk-and-honey drink O Goddess, Accept the sweet contents Of this golden vessel, A gold-colored mixture of Yogurt, milk, and honey. Ornamentation (≈bharaâ) Adorning the body is regarded as a highly auspicious action, and the visual effect of embellishing the image of the goddess of wealth amplifies the quality of her abundance and luxurious splendor. Furthermore, the wearing of ornaments serves not only to enhance beauty but to form a protective coating over the wearer. Pure gold is believed to act as a reflector against inauspicious or debilitating forces. As attested to in the manuals on the sacred science of gems and minerals, each precious gem and metal is valued not only for its beauty but for its inherent potencies—whether as prophylaxis against negative forces,

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many of which are attributed to the interference of malevolently positioned planets and other astrological configurations—or as attractors and magnifiers of auspicious planets and other forces. Beauty can be disarming, and ornamentation enhances beauty. Of course, as has been stated before, the goddess does not need any of this, but rather an image so adorned exudes the commanding and palpable presence of beauty, luxury, splendor, and invincible power.9 Let us add a word here concerning a difference in the p¶jås for male and female deities. As noted above, the paradigm for p¶jå is based upon worship of a male deity, and in the offertory sequences, the “clothing” (vastra) of the image is followed by “that which is placed after or upon the clothing” (upavastra). In the worship of a male deity, the “clothing” consists of an uncut cloth to be wrapped and folded onto the lower part of the body as well as a shawl to drape over the upper part. What follows is the placement of the sacred thread, which is conferred upon males of the upper castes to signify their religious status as “twice-born” (dvija).10 Where ceremony for male deities calls for investiture, the Lak∑m¥ p¶jå instead calls for ornamention (åbhara£a), and instead of the singular placement of the sacred thread there are five independent ritual attendances in which the goddess is adorned with various types of jewelry, perfumed ointments, and sacred powders, all emblematic of the auspicious state of the goddess.11 Verse for offering the ornaments

9

O Goddess, Accept these jeweled bracelets. Take delight in strings of pearls, Cat’s-eye gems, And precious ornaments of every kind. Sandalwood Paste (Candana) Preparing sandalwood paste is a time-consuming endeavor that requires both patience and a fair amount of physical strength. The wood of the sandal tree is ground continuously in a circular motion, eventually producing a highly perfumed, gold-colored residue. This exquisitely fragrant paste may be blended with other aromatic unguents, as is indicated in the following verse.


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Verse for offering the sandalwood paste Please accept your anointment of sandalwood paste Blended with camphor, aloe, and musk. Salutations, O you who adore your devotees.

10

Red Sandal (Rakta candana) A variety of sandalwood, red sandal is especially significant to the goddess because of its golden-red color. Certain rituals in the Lakƒm¥ Tantra, for example, specify the offering of “a million pieces of red sandal” in order to call forth the presence of Lak∑m¥.12 Verse for offering the red sandal Please accept my offering of red sandal Blended with fragrant essential oils Of coral tree and sandalwood. Vermilion Powder (Sind¨ra) Used widely to signify the auspicious life-force, sind¶ra is a bright red powder that is the quintessential emblem of the goddess. Red is the color of blood, the conduit of ßakti, the power of the life-force. A mark of sind¶ra on a woman’s forehead, or in the parting of her hair, indicates that she dwells in saubhågya, that is, the auspicious state of good fortune, especially in the form of a happy marriage. As part of the p¶jå, the auspiciousness generated in the ceremony is sealed into the forehead—seat of the “third eye” of mystical sight—with the application of the red powder. This seal, called a tilakam, is applied both to the image of the goddess and to the participants in the ceremony. The qualities of transformation and life-energy are not necessarily merely symbolic, for sind¶ra is a powdered form of red mercuric oxide that features in the alchemical traditions of medieval India. In English, sind¶ra is known both as vermilion and red lead. Red lead is also a common name of darada, mercuric sulfide, or cinnabar, extolled in the alchemical traditions of India13 and China14 for promoting vitality, longevity, and even immortality. Perhaps because it bears similarities—both alchemical and symbolical—to mercuric sulfide, sind¶ra is also called synthetic cinnabar,15 reinforcing its identification with unconquerable vital energy and the power of transformation.

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Verse for offering the vermilion

12

O Goddess, with great devotion I offer this vermilion. O beloved Goddess, Accept this auspicious marking Of bright red vermilion. Red Powder (Kumkuma) Known in English by its Indic vernacular name, kumkum is another red powder that is used as a forehead adornment to symbolize the energizing power of the goddess and auspiciousness in general. As such it resembles sind¶ra, although it is constitutionally quite different, for sind¶ra is a metallic powder, whereas kumkum is ground from vegetable substances—either saffron or red turmeric.16 Verse for offering the kumkum

13

Kumkum is sacred. It grants every desire. Kumkum is the embodiment of earthly delight, Exquisite happiness, And the auspicious state of a happy marriage. Kindly accept this kumkum. Perfumed Oils and Unguents (Sugandhita taila) Pleasant fragrances attract the goddess, for they are manifestations of her essence. Consider, for example, the Hymn to Ír¥ (Ír¥ S¶ktam): “I invoke that goddess Ír¥,/ Who reveals herself through scent.”17 According to p¶jå instructions in the Viƒ£udharmaßåstra, “Unguents should be one or more out of sandalwood, pine tree paste, musk, camphor, saffron, [or] nutmeg.”18 Verse for anointing with fragrant unguents and oils

14

O Supreme Lady, Please accept my offering of anointment With a wonderful mixture of essential oils And fragrant perfumes.


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Flowers (Pu∑pa) Ideally, flowers offered to Lak∑m¥ should be brightly colored and/or sweetly scented, although not so much as to be overpowering.19 The particular flowers cited in the following verse are paradigmatic of any flower offering to the goddess. The devotee should refrain from inhaling their fragrance until after the p¶jå has been completed, for just as with the other gifts to the goddess, they should be savored first by the one to whom they are offered. At the end of the p¶jå, these offerings will be distributed back to the devotees as prasåda, or blessed favors. Verse for the flower offering Please accept these heavenly blossoms From the trees of paradise— Mandåra, pårijåta, på†ala, and ketak¥. Salutations to you!

15

Sweetgrass (D¨rvå) D¶rvå is a type of sweetgrass regarded as a sacred substance and sometimes venerated as a goddess.20 It is considered to have nutritious and cooling properties. Its use in ceremony as one of the ritual attendances (upacåra) is unique to the Lak∑m¥ p¶jå. This may be due to its role in the story of the Churning of the Ocean, where Lak∑m¥ brings forth the cherished golden urn of immortal nectar from its depths. When the anti-gods are about to steal the vessel, the eagle Garu∂a swoops down and grabs it in his talons, and, as he flies away, some of the nectar falls to earth, landing on a section of d¶rvå, thereby charging the grass with sacred power for all time.21 Verse for offering the sweetgrass O most lovely and beneficent Goddess Who arose from the Ocean of Milk To the joy of Vi∑û and all of the gods, Accept this sweetgrass, Now and evermore. Incense (Dh¨pa) Dh¶pa is a soft, gummy, and extremely sweet-smelling tree resin that is set upon coals and burnt as incense. In more recent times, agarbatti

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(“stick incense”), formed by rolling and pressing the powdered aromatic essences onto a thin sliver of wood, is also burnt as a fragrant offering, although the traditional dh¶pa is considered to be of greater purity and potency. Verse for offering the incense

17

The lord of the forest Yields this highly perfumed incense Whose fragrance charms the hearts of all the gods. O Goddess, accept this fragrant offering.22 Clay Lamp (D¥paka) This is the offering of a small bowl-shaped clay lamp (d¥paka) with a single flame, fueled with ghee to which camphor has been added. Also called d¥pa, this is the derivation of the name of the festival of lights, D¥påval¥, which refers to the “lamps” (d¥pa) spread out in “rows” (åval¥) to attract Lak∑m¥ and lead her into one’s home.23 Verse for offering the clay lamp

18

This lamp of camphor and ghee Dispels darkness and delights the heart. Please accept this light, O Supreme Queen. Food (Naivedya) The simplest food offerings consist of fruits, unrefined brown sugar, and puffed rice. The verses here indicate attention to aesthetic sophistication as well, with a meal containing the “six savors” (ƒa¿rasa), which are sweet (madhura), sour (amla), salty (lava£a), pungent (ka†uka), bitter (tikta), and astringent (kaƒåya). Verse to accompany the food offering

19

O Goddess, Accept for your enjoyment This delectable meal Prepared with the six exquisite savors. O Goddess Lak∑m¥, salutations to you!


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Refreshing Water for Sipping (≈caman¥ya) As in ‘‘pure water for sipping” (åcamana), the goddess is offered water to sip. This time, a small amount of cooling camphor has been added, appropriately astringent for clearing the palate after a meal. Verse to accompany the water for sipping I offer water, cool and clear, Enhanced with refreshing camphor perfume. Accept this water for sipping, O Great Queen.

20

Betel-nut Confection, or Paan (Tåmb¨la) Tåmb¶la is a confection in which the astringent nut of the betel palm (Areca catechu) is mixed with other ingredients such as cardamom, camphor, nutmeg, clove, saffron, almond, and coconut, and folded in a fresh, green betel leaf upon which has been spread a thin layer of cuunam (a white paste of lime, or calcium hydroxide). This delicious mixture is chewed after a meal to refresh the palate, aid digestion, and sweeten the breath.24 It is widely known by its Indic vernacular name, paan. Verse for offering the paan Graciously accept this confection of paan— Areca nut, cardamom, camphor, and clove Mixed in an aromatic blend And folded together with betel-nut leaves. Fruit (Phala) Here we may detect a subtle change in the p¶jå’s focus. With the offering of fruit (phala), the attention begins to shift slightly away from the deity and toward the results (phala) to be obtained by the devotee as a result of the ritual actions. This is a pattern that we have recognized in the songs of praise, where glorification of the deity is followed by the verses articulating the fulfillment of the devotee’s desires. Fruits that are round in shape, sweet, succulent, and of bright color are best suited as offerings to Lak∑m¥. The coconut is often called ßr¥phalam, meaning “Ír¥’s fruit,” or “auspicious fruit.” It may be adorned with red powder (kumkuma) and sacred ash (bhasma), and set with

21

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banana leaves upon an urn (kalaßa) filled with water as a representation of the goddess; the waters in the belly-shaped pot (as the coconut itself) are reminiscent of the amniotic fluids of a pregnant woman or of the wide, round earth containing the life-yielding seas. Verse for the fruit offering

22

Through the offering of fruit Everything comes to fruition, Even the three worlds, Complete with the animate and inanimate. By offering this fruit, Let me obtain my heart’s desires. Gold Coin or Money (Dak∑iˆå) As with all the other offerings in the p¶jå, the devotee presents the goddess with a gift that she has already actually provided, so that it may be blessed by her and returned back multifold. The offering of gold typifies the invocation of the goddess of wealth. As the songs elsewhere in this volume attest, Lak∑m¥ is recognized as manifesting in the form of gold coins and in the precious element of gold itself, for the purity of its constitution, the beauty of its dazzling radiance, and the timelessness of its monetary value. In modern times dakƒi£å may also take form as any type of money or currency, although gold, with all of its resonant meanings, is still considered the ideal p¶jå offering. Verse for the gold coin offering

23

Gold is the very seed of fire. Born from within the depths of Lord Brahmå, It therefore bestows the fruit of endless merit. O Goddess, grant me peace. Waving of Lights (N¥råjana) Somewhat more elaborate than the clay lamp (d¥paka) previously offered, the lamp used here is usually made of brass and contains five small cup-shaped indentations into which are placed hand-rolled cotton wicks soaked in ghee. The worshiper grasps the handle of this lamp in his or her right hand and waves it before the deity in a circular, sweeping motion, creating brilliant streams of light. When


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ghee fuels a fire, it casts a flame of penetrating luminescence and exquisite beauty. As in the Vedic sacrifice (yajña), fire is a form of the deity and constitutes a conduit between the heavens and the earth. Like the auspicious flame of the Vedic fire, the flame offered in p¶jå is regarded as an embodiment of Lak∑m¥. So too does Lak∑m¥ inhabit the fuel for this flame, as ghee is a perfectly distilled product of the sacred cow, herself a form of Lak∑m¥. As has been discussed, the multiple components of the p¶jå may be modified according to individual circumstances. Waving the lights, however, is the one indispensable segment of any p¶jå. In the vernacular languages the waving of lights is called årat¥, and so central is this ritual segment that årat¥ may constitute a ceremony unto itself. In this case, a small ghee lamp is placed on a silver tray adorned with flowers, kumkum, uncooked white rice, and turmeric, and the entire tray is waved in a circular motion before the image of the deity. Verse for the waving of lights This lamp has been prepared with loving devotion. O Supreme Lady, please accept its light And allow it to pervade the four directions, Dispelling the darkness of all the worlds.

24

Circumambulation (Pradak∑iˆå) Pradakƒi£å means literally “toward the right.” Here the devotee circumambulates the sacred image by positioning the right (i.e., auspicious) side of his own body toward the image while walking around it in a clockwise direction. Verse for the circumambulation Whatever evils may have been committed— Even the taking of a brahman’s life— The residues of these actions shall be destroyed With every step around the sacred center.25 Handful of Flowers (Pu∑påñjali) In distinction to the previous offering of flowers, here flowers (puƒpa) are cradled within the worshiper’s folded palms (añjali), itself an honorific gesture of greeting and hospitality. The cupped hands containing

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the petals are held upward and open, and then the palms slowly move apart to release a graceful shower of petals before the image. Verse for offering the handful of flowers

26

Tenderly I offer this handful of flowers— Ketak¥, citrus, jasmine, and more. Accept these sweetly scented blossoms. O Goddess, praises to you. Farewell (Namaskåra) In a complementary action to the opening invocation, the devotee now brings the formal part of the p¶jå to a close by bidding farewell to the honored guest. Just as the guest was invited to enter and fill the space within the sacred boundaries, so too are those boundaries acknowledged and dissolved at the conclusion of the ceremony as the goddess is given leave to return “home.” For this reason, some texts refer to the final part of the p¶jå as visarjana, or the “sending forth.” Although her entire essence is never fully contained by the p¶jå or by any human ceremony or activity, the goddess allows a part of herself to manifest within the confines of human space and time. In so doing she transforms the realm of the p¶jå into a sacred space in which time stands still and ordinary human activity is suspended. The p¶jå is performed as much to experience the goddess’s presence within that timeless framework as it is to savor her lingering resonance throughout the ordinary activities that are to resume. Verse for the farewell

27

Salutations to you, O Beloved of Vi∑û, O you who bestow boons on all of the gods. If you have been pleased with these offerings, Then please grant us your favor, again and again.

Outline of the Lakƒm¥ P¶jå Following is a list of the ritual attendances (upacåras) for the heart of the Lak∑m¥ p¶jå as presented in Ír¥ Lakƒm¥ Upåsanå, edited by Pandit Rajesh Dixit. As previously discussed, the format of p¶jå often enumerates sixteen ritual attendances to correspond with the sixteen standard verses of the Hymn to Ír¥ (Ír¥ S¶ktam). Because our text follows a


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smårta format using selections from other sacred texts to accompany its attendances, it actually incorporates twenty-seven separate steps. The following outline demonstrates that, regardless of these variations, the sixteen-part format remains as the underlying structure, allowing diversity of expression without compromising the integrity of the ritual. For the sake of comparison, I have numbered and categorized the attendances of our text in order to illustrate how its components reflect the paradigmatic sixteen-upacåra pattern.26 1. 2. 3. 4. 5. 6. 7. 8. 9.

Invocation (‹våhana) Offering the seat (‹sana) Water for bathing the feet (Pådya) Fragrant water for refreshing the face (Arghya) Pure water for sipping (‹camana) Bathing (Snåna) Clothing (Vastrayugma) Milk-and-honey drink (Madhuparka) Adornment a. Ornamentation (‹bhara£a) b. Sandalwood paste (Candana) c. Red sandal (Rakta candana) d. Vermilion powder (Sind¶ra) e. Red powder (Kumkuma) 10. Perfumed oils and unguents (Sugandhita taila) 11. Vegetative offerings a. Flowers (Puƒpa) b. Sweetgrass (D¶rvå) c. Incense (Dh¶pa) 12. Clay lamp (D¥paka) 13. Food a. Food (Naivedya) b. Refreshing water for sipping (‹caman¥ya) c. Betel-nut confection, or paan (Tåmb¶la) d. Fruit (Phala) 14. Gold coin or money (Dakƒi£å) 15. Waving of lights (N¥råjana) 16. Farewell27 a. Circumambulation (Pradakƒi£å) b. Handful of flowers (Puƒpåñjali) c. Farewell (Namaskåra)

PART F OUR

Song

Vedic Hymns to Lak∑m¥

Hymn to Ír¥ (Ír¥ S¶ktam) Draw unto me, O sacred fire, the goddess Lak∑m¥, The resplendent, the golden, Doe-like, moon-lustrous, Garlanded in silver and in gold.

1

Draw unto me, O sacred fire, that goddess Lak∑m¥, The constant one In whose presence I shall be blessed With gold, horses, and loyal friends.

2

The procession of the goddess draws near, With horses, chariots, and Trumpeting elephants who announce her arrival. Let the goddess Ír¥ approach me.

3

I invoke that goddess Ír¥, Who manifests as golden light. She blazes with the effulgence of fire Yet glistens like soothing, cool waters. Seated on a lotus, The lotus-hued one Smiles benevolently. Contented, she bestows contentment.

4

I seek refuge in Ír¥, Who manifests as the world’s abundance. I seek refuge in the one garlanded with lotuses,

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5

The one who manifests as the moon’s beautiful luminosity, The one celebrated by all of the gods. O Ír¥, send misfortune afar!

6

O sun-brilliant goddess! Through the force of austerities Did your bilva tree spring up. Through the power of its fruits Let Alak∑m¥ be dispelled.

7

Let Kubera, Together with Fame And the [wish-fulfilling] Jewel, Approach me. As I have been born into this world, Let me be granted renown and prosperity.1

8

I banish Alak∑m¥, the elder sister, Squalid with hunger, Shrunken in thirst. All poverty and misery Be gone from my home!2

9

I invoke that goddess Ír¥, Who reveals herself through scent And through the inexhaustible blessings of cattle. Exceeded by none, She is the majestic sovereign of all creatures.

10

Let me obtain the pleasures Of a good mind, Fulfilled wishes, And truthfulness in speech. Let the abundance of cattle, Food, Prosperity, And renown abide with me.

11

O Kardama, moist earth of primordial creation, The goddess gave birth to you. Dwell in me, Kardama. Let your mother, the lotus-garlanded Ír¥, Establish herself in my home.

VEDI C HYMN S T O L A K | M Á

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Let the waters pour forth, Spreading love and affection. O Cikl¥ta, fertile wetlands of primordial creation, Persuade your mother, goddess of prosperity, To inhabit my home.3

12

Draw unto me, O sacred fire, the goddess Lak∑m¥, The moist, the glistening, The honey-colored one Who delights at the trumpeting of elephants. Garlanded with lotus blossoms, She is the gentle luminescence of the moon.

13

Draw unto me, O sacred fire, the goddess Lak∑m¥, The moist, the glistening, The golden one Who wields the mace of sovereignty. Garlanded with necklaces of gold, She is the brilliant splendor of the sun.

14

Draw unto me, O sacred fire, that goddess Lak∑m¥, The constant one Upon whose arrival I shall be blessed With abundant gold, cattle, attendants, horses, And loyal friends.

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Hymn to Lakƒm¥ (Lakƒm¥ S¶ktam)

1

Most lovely goddess Piˆ¥ With lotus face And lovely lotus-petal eyes, O you who cherish the lotus, O you who cherish the world, O goddess whose heart pervades the universe, To your lotus feet I bow.

2

O lotus-born, With lovely lotus-petal thighs, O goddess whose face is a lotus in bloom, With eyelids shaped like lotus leaves, Cast upon me your lotus-eyes, For your glance bestows every prosperity.

3

Bestower of horses, Bestower of cows, Bestower of wealth, Bestower of prosperity, O goddess, bless me with abundant wealth. Grant my every desire.

4

You are the mother of beginnings And of continuity. Bless me, O goddess, With children and grandchildren, Stores of grain, Elephants, horses, cows, and chariots, Good health, and longevity.

5

You are the wealth of Fire, The wealth of the Wind, The wealth of the Sun, The wealth of the Earth. You are the wealth of Indra, The wealth of B®haspati, The wealth of Varuâ, And the wealth of the Aßvins. Partake, O Garu∂a, of soma. Let the slayer of V®tra drink soma.

VEDI C HYMN S T O L A K | M Á

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By imbibing soma, I absorb into myself The wealth of soma.

6

Those who recite this auspicious hymn With reverence and devotion Accrue the spiritual merit To become free of anger, jealousy, greed, And a dissatisfied mind.

7

O lovely one who dwells in the lotus, Clothed in shimmering white, With lotus in hand And adorned with a garland of fragrant white flowers, O goddess, O charming one, beloved of Hari, Mother of the three worlds, Show me your favor.

8

I bow to the patient goddess, Wife of Vi∑û, Beloved of Vi∑û, Wife of Mådhava, Deeply cherished by Mådhava, Dearest friend, Precious beloved of the imperishable lord.4

9

Oμ. Let me meditate on the great goddess Lak∑m¥, consort of Vi∑û. Let Lak∑m¥ inspire that meditation and illumine my mind.5

10

≈nanda, who is bliss, Ír¥da, bestower of wealth, And Kardama and Cikl¥ta, the moist, primordial Wetlands of creation, Are renowned sages and sons of Ír¥. Let the glorious goddess, along with these radiant ones, Dwell with me.

11

Let illness, debt, poverty, evil, Cowardice, sorrow, untimely death, And the mental anguish that burns the mind Forever be destroyed.

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13


The recitation of this sacred song Confers the greatest of all blessings. These auspicious verses Bestow vitality, health, Wealth, grain, cattle, Abundant progeny, And a long and healthy life That spans one hundred years. Here ends the Lakƒm¥ S¶ktam.

Puråîc Songs to Lak∑m¥

Song for Lakƒm¥, Gracious Bestower of Blessings (Prasannavaradå Ír¥ Lakƒm¥ Stotram) Attributed to the sage Agastya1 Victory to you of the lotus-petal eyes, Beloved of the Lord of Auspiciousness. Victory to you who carry us across The restless ocean of life and death. Victory, O Mother Mahålak∑m¥!

1

Salutations, Salutations, Salutations, O Ocean of

2

O Mahålak∑m¥. O Queen of the Gods. O Beloved of Hari. Comion, salutations!

Salutations, O Lotus-dweller. Salutations, O All-bestowing one. May you ever send showers of wealth on all beings, Drenching them with blessings of sweet delight.

3

Salutations, O Mother of the World. Salutations, O Ocean of Mercy. Salutations, O Tender One. O Queen of the Universe, salutations!

4

Salutations, O Daughter of the Ocean of Milk. Salutations, O of the Three Worlds. Salutations to you of the propitious glance. Protect me, for I come seeking refuge.

5

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6

Protect me, O Queen of the Gods. O Lak∑m¥, Beloved of the Lord of the Gods, Envelop me with your tender comion. Rescue me from poverty!

7

Salutations, O Mother of the Three Realms. Salutations, O Purifier of the Three Realms. O Bestower of Abundance, O you who infuse the world with delight, salutations!

8

Salutations, O Beloved of Vi∑û. Salutations, O of the World. Salutations to you who destroy pain and suffering. Bless us with abundant, everlasting good fortune.

9

Salutations, O Lotus-dweller. Salutations, O Sparkling One. Salutations to you whose movements are graceful and charming. Salutations to you, again and again.

10

Salutations to the Mother of the God of Love. Salutations, O Mother, Salutations to you again and again. O Mother! Hear me, for I come seeking refuge. Envelop me in your protective embrace.2

11

O Refuge! O Lady of the Lotus! O Mahålak∑m¥! O Final Resort! In humility I come before you. Rescue me! Rescue me! Envelop me in your protective embrace. O Mahålak∑m¥, Without you, Nothing is precious or worthy of praise. Without you, The beauty of a person’s good qualities Cannot shine forth,

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And the splendor of virtue, Incapable of expression, Can embellish nothing at all.

12

Wherever beauty is expressed, Wherever virtue shines forth, Wherever Nåråyaâ is honored, In those places is Lak∑m¥ greatly pleased.

13

O Lak∑m¥, it is through you That people are liberated from their debilitating vices, That those without virtue become endowed with excellence, And that those of ill repute Come to earn the finest reputations.

14

O O O O

15

Lak∑m¥, Lak∑m¥, Lak∑m¥, Lak∑m¥,

let let let let

beauty increase. community increase. wisdom increase. prosperity increase in every direction.

O Lak∑m¥, celebrated as Lady of the Lotus, Neither Rudra, Ravi, Candra, Nor the Lord of the Gods Has words suitable to honor you fully. O Mother of the Universe, Who indeed is capable of describing The true depths of your nature And the many forms of your expression? Quickly fulfill my desire, O Mother: Envelop me with your protective embrace.3

16

Consumed by dire poverty I am breathless with anxiety and fear. In this impossibly painful state, I am drawn to your side. O Lak∑m¥, Ocean of Comion, Bestow wealth, And guide me to a state of prosperity.

17

O Mother, Beloved of Hari, Behold me


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18

As I come before you, Lacking wealth or possessions. O Lak∑m¥, so beautifully arrayed In garments of gold, Extend to me your hand, Right here and now.

19

O Lak∑m¥, you are mother, you are father, You are brother, and you are best friend. So too, O Lak∑m¥, are you supreme wisdom.

20

O Mahålak∑m¥! Rescue! Rescue me! O Queen of the Gods! Rescue! Rescue me! O Mother of the Universe! Rescue! Rescue me! Rescue me from poverty, Right here and now.

21

Salutations, Salutations! Salutations, Salutations, Salutations!

22

I am drowning in a sea of poverty. I am sinking Further and further into the murky depths of hell. O Goddess of Fortune, Quickly extend your hand And lift me out of this deep desperation.

23

O Lak∑m¥, what solace could be greater Than to recite again and again The words of this prayer? Truly, truly, O Beloved of Hari, There is no greater refuge.

24

Hearing the words of Agastya’s song, Hari’s Beloved was filled with delight. She spoke to the sage In a voice sweet as honey: “I am pleased with you forever more.

O of the World. Salutations to you. O Upholder of Dharma. O Bestower of Prosperity. Salutations to you.


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Whoever recites or listens to this song of praise So graciously composed by you Becomes endowed with supreme good fortune And obtains complete self-sovereignty.”

25

Never does Lak∑m¥ abandon that person Who recites this song regularly, With sincere devotion. Swiftly and surely, his debts disappear, And never again does he suffer from want.

26

That person who recites it Upon rising in the morning, With an attitude of utmost devotion and faith Enjoys a stable and happy home With the Lady of Fortune ever by his side.

27

Such a person enjoys prosperity, With the blessings of children, Sterling virtues, And a spotless reputation. Endowed with happiness and well-being, He grows to become learned and wise.

28

This highly auspicious song for Lak∑m¥ Revealed by Agastya Bears four types of fruit: It instills one with the tranquility of Vi∑û, It creates triumph at the royal gates, It ensures supreme victory over enemies, And it vanquishes fear.

29–30

Never again shall one suffer from fear Of tigers, ghosts, Restless spirits, hellish fiends, Swindlers, violent men with deadly weapons, Nor indeed of many dangers unforeseen.

30–31

In order to pacify a debilitating habit Or to expiate a heinous sin, One should, with sincere intent and devotion,

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32

Recite (this song) in a horse’s stable Or in a cow-shed among the cows.4

33

(This song of praise) bestows health and longevity, And indeed creates every happiness. It has been imparted by the sage Agastya So that people may fulfill their hopes and desires Now and for generations to come. Here ends the Lakƒm¥ Stotram composed by Agastya.


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Song for the Glorious Lotus Goddess (Ír¥ Kamalå Stotram) Attributed to Indra5 Salutations Salutations Salutations Salutations

to to to to

the lotus-dweller. Nåråyaˆ¥. the one ever dear to K®∑â. Mahålak∑m¥.

1

Salutations to the lovely lotus goddess With eyes that curve like lotus leaves. Salutations to the feminine aspect of Vi∑û. Salutations to the goddess seated on the lotus, the gracious Piˆ¥.

2

Salutations Salutations Salutations Salutations

3

to to to to

the the the the

essence of all true wealth. one adored by all. one who inspires devotion to Hari. one who infuses the world with delight.

Salutations to the one who dwells on K®∑â’s breast. Salutations, O lovely lotus-jewel! Salutations, O exquisite radiance of K®∑â. Salutations, O luminous beauty of the moon.

4

To the great goddess of wealth and good fortune, Salutations! To the true essence of abundance, To the bestower of abundance, I offer salutations again and again.

5

You are Mahålak∑m¥ in Vaikuˆ†ha And Lak∑m¥ in the Ocean of Milk. You are Svargalak∑m¥ in Indra’s heaven And Råjalak∑m¥ in the palaces of kings.

6

In homes, you are G®halak∑m¥, goddess of the household, Manifest as the woman of the house. You are Surabhi, Cow of Plenty, And you are Dak∑iˆå, beloved consort of the fire sacrifice.

7

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8

You are Aditi, mother of the gods, And you are Kamalå, who dwells in the lotus. In the sacrificial oblations, you are Svåhå And in the ancestral offerings, you are Svadhå.

9

It is you who are the true essence of Vi∑û. You are the earth, the of all. Ever devoted to Nåråyaâ, You embody the essence of purity.6

10

There is no anger or violence about you, For you are the embodiment of beauty and grace. O Lovely One, Granter of Boons, It is you who impart devotion to Hari And you who grant fulfillment Of the highest goal.

11

Without you, the entire universe Would be reduced to ashes. Without you, everything in the world Would be suspended in a state of living death.7

12

You are the supreme mother of all, And every woman is an embodiment of you. So too do you express yourself in the forms Of dharma, artha, kåma, and mokƒa.8

13

Just as a mother always takes Her infant child to her breast, So do you, Mother of All, Ever protect and nourish all that exists.

14

A nursing infant who loses its mother Might go on living through the force of its fate. But most certainly, without you, Not a single person could exist.

15

You have a most gracious nature. Please, O Mother, be gracious to me. O Eternal One, restore to me my own domain, Now in the hands of enemies.


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O beloved of Hari! Since you have abandoned me, I wander about like a beggar, Homeless, without a friend, Stripped of all wealth.

16

Grant me understanding and virtue! Restore all of my cherished good fortune— Majesty, power, and royal authority. Grant me victory in battle, And through this, Supreme sovereignty.

17–18a

Nåråyaâ spoke: As he sang this, the great Lord Indra, Surrounded by all of the other gods, Bowed to the goddess again and again, And all eyes were brimming with tears. Brahmå, Ía∫kara, Íe∑a, Dharma, and Keßava ed together and repeatedly asked for the pardon Of the chief of the gods. Well pleased with those gods assembled before her, Lak∑m¥ then answered their prayers And draped a delightful garland of flowers Upon the lovely-haired one. Rejoicing, the assembled gods Returned to their own realms, O Nårada.

18b–21

In a happy state, the goddess returned to Hari, Who was reclining upon the Ocean of Milk, And Brahmå and Áßana, also extremely pleased, Returned to their own abodes.9

22–23a

Whoever recites this highly auspicious song of praise At the three twilights Becomes like a king of kings And attains wealth equal to that of Kubera. By reciting this song five hundred thousand times, One acquires its spiritual power.10

23b–24

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25


Whoever recites this powerful song Continuously for one month Shall experience great happiness And become, without a doubt, A veritable Lord Indra. Here ends the Ír¥ Kamalå Stotram.


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Lord Indra’s Song for Lakƒm¥ (Devaråja Indrak®ta Lakƒm¥ Stotram)11 Paråßara spoke: Returning once more to the third heaven, Taking his seat upon his splendid lion-throne And exercising his sovereignty among the gods, The Mighty One then addressed the lotus-bearing goddess With a song of praise:12

1

Indra sang: I bow to Ír¥, the ocean-born, With soft and languid lotus-petal eyes. Resting upon the chest of Lord Vi∑û, She is the mother of all that exists.

2

I sing the praises of the lotus-faced goddess, With lotus hands and lotus-petal eyes. Dwelling in the lotus, She is the precious beloved Of the one from whose navel springs a lotus.13

3

You are the success of any endeavor. You are the sacred meals offered to the ancestors And the oblations poured forth in the sacrifice. You are divine nectar, Purifier of the world, The three twilights, and the depth of night. You are radiance, wealth, intellect, and faith, And you are goddess of letters, Sarasvat¥.

4

O Auspicious One, You are sacrificial knowledge, Supreme knowledge, And secret, mystical knowledge. You are knowledge of the higher Self, O Goddess, And you are the one who confers liberation.

5

You are metaphysics, You are the three Vedas,

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6

You are the arts and sciences, And you are the purveyor of justice. O Goddess, the entire world, With all of its pleasing and displeasing forms, Consists of your essence.

7

Who other than you, O Goddess, Is to be found resting upon that body, Composed of all sacrifices, Of the mace-wielding god of gods Whom yogis contemplate in meditation?

8

Abandoned by you, O Goddess, The three worlds were on the brink of destruction. But now through your benevolence They flourish once again.

9

O Most Fortunate One! It is always through your propitious glances That men obtain wives and children, As well as homes, Loyal friends, Bountiful harvests, And every type of prosperity.

10

O Goddess, Those upon whom you cast your glance Have little trouble attaining Strong, healthy bodies, Victory over enemies, Sovereignty, And supreme happiness.

11

You are the mother of all beings And their father is Hari, god of gods. This entire world Of beings animate and inanimate Is pervaded by you and Vi∑û together. O Purifier of All! Never take leave of our treasuries, Our cow-pens,


Our Our Our Nor

homes, properties, bodies, our spouses.

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12

O you who abide on the chest of Vi∑û, god of gods! Never abandon our children, Our circle of friends and attendants, Our cows, Nor our precious ornaments.

13

Those whom you abandon Immediately lose their honor, Truthfulness, Purity, Virtue, And other excellent qualities.

14

Those upon whom you look with favor, Even if lacking in good qualities, Immediately become endowed With honorable virtues And a lineage of fine repute.

15

O Goddess, Whosoever receives your gracious glance Becomes praiseworthy, Prosperous, Of exalted family, Learned and wise, And lives life courageously.

16

O Sustainer of the Universe, Beloved of Vi∑û, All of those excellent virtues and advantages Lose their luster and strength In those from whom you avert your gaze.

17

Even the tongue of Brahmå, the creator, Is incapable of describing your magnificence. Be gracious, O lotus-eyed goddess, And never abandon me.

18

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19

Paråßara spoke: O Twice-born, thus being praised, The delighted Ír¥, Who abides in all beings, Responded to the god of one hundred rites, And all of the gods listened.

20

Ír¥ spoke: Extremely pleased am I, O Lord of the Gods, By your song of praise. Ask of me what you desire, For I have come to grant you a boon.

21

Indra replied: If indeed I am worthy of your gifts, O Goddess, I beg that you grant the following: My first request Is that the three worlds Never again be deprived of your presence.

22

My second request, O Ocean-born, Is that you never abandon anyone Who offers your praises By chanting the words of this very song.

23

Said Ír¥: Most Excellent One! Never again Shall I forsake the three worlds. I grant your first wish, For I am well pleased by your song of praise.

24

And further, Never shall I turn my face From that person Who offers morning recitations Of the song you have sung to me. Paråßara continued: And that is how, O friend, in former times


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The magnificent goddess of prosperity Conferred those boons Upon the chief of the gods, Well pleased by his offering Of laudatory song.

25

In her first birth, Ír¥ was born As the daughter of Bh®gu and Khyåti. In a subsequent age, When the gods and the anti-gods were churning the ocean, She arose from the depths of those turbulent waters.

26

In a similar manner, Janårdana, who is lord of the world And king of the gods, Makes his earthly descent Accompanied each time by his divine partner, Ír¥.14

27

Thus when Hari is born As the son of Aditi Ír¥ arises as the lotus flower. When he is born as Råma Bhårgava, She is born as Dharaˆ¥.15

28

She is S¥tå to Råma Råghava And Rukmiˆ¥ to Lord K®∑â. Whenever Lord Vi∑û descends to this realm, It is she who incarnates as his companion.

29

If he embodies himself with a divine form, So too is her form a heavenly one. If he becomes human, Then human is she. Whatever type of form Vi∑û assumes, She assumes that shape accordingly.

30

Those who hear or recite This birth story of Lak∑m¥ Attract the presence of Ír¥ in their homes For three generations.

31

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32

33–34


Alak∑m¥, repository of penury and strife, Never gains entrance into those homes Whose inhabitants offer songs to Ír¥. Thus, in answer to your inquiry, O brahman, Have I narrated to you The story of how Ír¥, Taking birth as the daughter of Bh®gu, Arose from the Ocean of Milk, And how Alak∑m¥ may never take up residence With those who recite Indra’s verses In praise of Lak∑m¥, The wellspring of abundance And the means to all prosperity.


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The Heavenly Gods’ Praise-Song for Lakƒm¥ (Ír¥ Daivak®ta Lakƒm¥ Stotram) O Mother of Prosperity, O you of patient disposition, O you who have not a trace of anger, O Supreme Goddess Whose essence is truth and clarity, Show comion.

1

You are glorified in the highest By all of the gods and sages. Without you The world has no savor And feels like death.

2

You are the essence of all that exists, The true essence of all prosperity. You are the goddess Who reigns supreme in the ecstatic rasa dance. Every woman is an emanation of you.

3

On Mount Kailåßa you are Pårvat¥. In the Ocean of Milk, you are daughter of the sea. You are Celestial Lak∑m¥ in heaven And Mortal Lak∑m¥ on earth.

4

In Vaikuˆ†ha, you are Mahålak∑m¥, Goddess of the gods. In Brahmå’s heavenly realm, You are Sarasvat¥, Ga∫gå, Tulas¥, and Såvitr¥.

5

In Goloka, You are the goddess more dear to K®∑â Than life itself, His own Rådhikå. Deep in the forest, Deep in the V®ˆda forest, You are mistress of the mesmerizing rasa dance.16

6

In the boughs of the sacred bhandira tree, You are K®∑â’s desire.

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7

In the sandalwood forest you are Candrå, In the grove of sweet yellow jasmine you are Virajå, And on the hundred-peaked mountain you are the lovely Sundar¥.

8

In a thicket of lotuses, you are Påvat¥, In a wood where the målat¥ flower blooms, you are Målat¥, In a forest of white jasmine, you are Kundadant¥, And in a grove of sweet ketak¥. you are Sußilå.

9

So too do you exist as wreaths of kadamba Gracing the bowers of a deep kadamba wood. O Goddess, you are Royal Lak∑m¥ In the palaces of kings, And Lak∑m¥ of the Home In ordinary households.

10

After chanting this song, The gods, sages, and mortals Bowed reverently. Then with throats dried and choking And eyes filled with tears, They spoke these words:

11

This beautiful and auspicious song praising Lak∑m¥ Has been composed by all of the gods. Most assuredly, anything can be achieved By one who recites it Upon arising in the morning.

12–13

If single, one obtains a spouse Who is loyal, accomplished, Of irable conduct, Good-looking, Delightful, Sweet-speaking, And exceedingly loving. Such a spouse, Born of an excellent family And endowed with a pleasant disposition, Shall foster an illustrious lineage.17


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If childless, one is blessed with children. Such a worshiper of Vi∑û enjoys health and longevity, And is endowed with wisdom, Excellent reputation, And great affluence. If home and possessions have been lost, They are regained. If the goddess of prosperity has left his side, He is blessed once again With her auspicious presence.

13–14

Severed ties from friends and family are restored. Lost wealth is replenished. One whose reputation has suffered Again enjoys great esteem, And he reaps the blessing of steadfast security. Most certainly this is true.

15

This wholly auspiciousness song of praise Destroys anguish and distress And generates bliss and delight. Through this beneficent song, One lives life with purpose and honor And achieves final liberation.

16

Here ends the Ír¥ Daivak®ta Lakƒm¥ Stotram.


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Eight Verses Praising Mahålakƒm¥ (Mahalakƒmyaƒ†akam Stotram) Indra spoke:

1

Salutations to you, O Supreme Enchantress, Abode of good fortune, Adored by all of the gods, Holding in your hands a conch, discus, and mace. O Mahålak∑m¥, salutations to you.

2

Salutations to you, O Rider of the Eagle. O terror of the hostile spirit Kola, O destroyer of all iniquities, O Goddess, O Mahålak∑m¥, salutations to you.

3

O O O O O

4

O Goddess, bestower of success and intelligence, Bestower of worldly enjoyment and liberation, O Goddess ever embodied in the sacred chant, O Mahålak∑m¥, salutations to you.

5

O Goddess without beginning or end, O primordial cosmic energy, O great queen born from yoga And made manifest through yoga, O Mahålak∑m¥, salutations to you.

6

O great cosmic power of the mighty storm gods Expressed as material and subtle forms, O Goddess, womb of all, Remover of all wrongdoings, O Mahålak∑m¥, salutations to you.

you who know all, you who grant all boons, you who instill fear in the vicious and corrupt, Goddess, destroyer of all sorrows, Mahålak∑m¥, salutations to you.

O lotus-seated Goddess, Embodiment of Ultimate Reality,


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O Supreme Lady, Mother of the Universe, O Mahålak∑m¥, salutations to you.

7

O Goddess clothed in white, Adorned with a dazzling array of magnificent jewels, You are the foundation of the world And its divine mother. O Mahålak∑m¥, salutations to you.

8

Whoever recites this song to Mahålak∑m¥ With great devotion Achieves every type of success And worldly attainment.

9

If recited regularly once a day, It destroys great transgressions. Recited regularly twice a day, It brings abundant wealth and prosperity.

10

If recited regularly three times a day, It destroys even the greatest enemy, For if pleased regularly (with song), Mahålak∑m¥ bestows gracious blessings of great good fortune. Here ends the Mahålakƒmyaƒ†akam, composed by Lord Indra.

11

Tantric Songs to Lak∑m¥

The Secret Heart of Lakƒm¥ (Ír¥ Mahålakƒm¥ H®dayam) Setting the Intention Bhårgava is the seer of the garland of mantras known as the most glorious Secret Heart of Lakƒm¥. Its deity is the glorious ≈dyådi Mahålak∑m¥, source of all sources. It is composed in anuƒ†ubh and other poetic meters. Ír¥μ is its seed-syllable, hr¥μ its power, and aiμ its nail. Its purpose is to attract the favor of the glorious source of all sources, Primordial Mahålak∑m¥. Mantra Placements Oμ. On my head, salutations to the seer, Bhårgava. Oμ. On my face, salutations to anuƒ†ubh and the other poetic meters. On my heart, salutations to the deity, the glorious ≈dyådi Mahålak∑m¥, source of all sources, On my genitals, salutations to the seed syllable, ßr¥μ. On my feet, salutations to the animating power, hr¥μ. Over my entire body, salutations to the nail, aiμ. Mantra Placements on the Hands Ír¥μ on my thumbs. Salutations! Hr¥μ on my forefingers. Salutations! Aiμ on my middle fingers. Salutations! Ír¥μ on my ring fingers. Salutations! Hr¥μ on my little fingers. Salutations! Aiμ on the palms and tops of my hands. Salutations! 149


150

Mantra Placements on the Body Ír¥μ on my heart. Salutations! Hr¥μ on my head. Svåhå. Aiμ on the top back of my head. Vaƒa†. Ír¥μ on the armor. Huμ. Hr¥μ on the third eye. Vauƒa†. Aiμ on the weapon. Pha†. Ír¥μ. Hr¥μ. Aiμ. Thus are the directions secured.1 Meditation for Visualization of the Deity Let me contemplate the goddess Lak∑m¥ Adorned with sparkling ankle bracelets And charming toe-rings, Playfully holding a lotus in her hand. O Lak∑m¥, bright one, exalted one, Wielder of conch, discus, and mace, Bestower of all success, Grant me a boon. Mantra Oμ ßr¥μ hr¥μ aiμ. (Salutations) to Mahålak∑m¥, Lotus-bearer and Rider of the Lion. Svåhå. Song of Praise

1

Oμ. I sing the praises of Lak∑m¥, Whose essence is supreme auspiciousness And whose body is formed of golden light. Her entire being sparkles with the radiance of pure gold. She bears the golden lotus And the golden vessel filled with seeds. Seated at the left side of Vi∑û, She is Íakti, mother of all creation.2 I sing the praises of Lak∑m¥, Beloved mother of auspiciousness, The eternal one Who confers delight,

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Fulfills all desires, And guides all endeavors to successful fruition.

2

With my mind focused On her majestic sovereignty, Ever do I call upon the queen of the gods. Again and again I praise that supreme lady.

3

I sing the praises of Mahåßr¥, source of wisdom, Mahåßr¥, source of every success and happiness, Mahåßr¥, source of all good fortune, Mahåßr¥, eternal source of auspiciousness.

4

I glorify Hari’s beloved, source of prosperity, The everlasting one Who grants the delight of Self-recognition, The charming one Who gives birth to speech And its amazing variegations. I glorify that goddess Who bestows happiness sweet and everlasting.

5

O Goddess, existing as the entire world, You dwell in all beings as their essence. O queen of endless bounty, May your brilliance illumine the darkness of space As you protect all of creation. O Ír¥, I bow to your lotus feet.

6

You are destroyer of poverty, sorrow, And fruitless endeavor. In my state of wretchedness and scarcity, I place myself at your lotus feet. O Ír¥, anoint me with your merciful glance.

7

O Mother, be gracious. Cast upon me your glance, Moist with the nectar of comion. Let your mercy flow into my home. Clinging to your lotus feet, I bow to the one whose look

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8

Destroys the pain that dwells in my heart. I bow in reverence to you, O Ír¥.

9

I bow to the gentle one, Protectress of those who come seeking refuge. I bow to the lovely one, Abode of desirable virtues. I bow to the serene one, Resolver of difficulties. I bow to that goddess who sustains the world, Bestower of wealth, grains, and abundant good fortune.

10

Salutations to Cosmic Energy. Salutations to the one whom poets laud As the luster of the moon. Salutations to Desire, Who incites the ionate arising of nectar. Salutations to Devotion. Salutations to Intelligence. Salutations to the one Who carries us across the ocean of existence. To the precious beloved of Madhu’s foe, salutations.3

11

Homage to Lak∑m¥, The excellent one, the auspicious one. Homage to Success, Glorified as the perfection of auspiciousness. Homage to Constancy, Who shatters misfortune. Homage to Refuge, Bestower of happiness and good fortune.

12

Glory be to that goddess Whom the gods worship in heaven. Glory be to the goddess of abundance, Vanquisher of the ills of humanity. Glory be to the generous one, Beloved of the earth-sustainer. Glory be to Prosperity, Beloved of Vi∑û, most excellent of men. Homage to you, Destroyer of crushing poverty and woes.


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Homage! Homage to you, Pacifier of all fears, Bestower of abundance, Abiding on the chest of Lord Vi∑û.

13

Glory! Glory be to Lak∑m¥, Who appears and disappears in the twinkling of an eye. Glory! Glory be to På, Dearly beloved lady of the lotus. Glory! Glory be to Wisdom, Seated at Vi∑û’s left side. Glory! May all offer glory and salutations to Ír¥, Wellspring of prosperity.

14

Glory! Glory be to the goddess Worshiped reverently by the assembly of gods. Glory! Glory be to the auspicious one, Good fortune embodied as the daughter of Bh®gu. Glory! Glory be to the ever-spotless one, Celebrated as supreme knowledge. Glory! Glory be to the one Who exists as the goodness Inherent in all things.

15

Glory! Glory be to the delightful one Who dwells in the magnificent depths of the sea. Glory! Glory be to the golden one Whose beautiful body sparkles with brilliant light. Glory! Glory be to the charming one, the resplendent one. Glory! Glory be to the tranquil one. O auspicious goddess, Arrive quickly!

16

The Thunder Beings and the Mighty One, chief of the gods, Are but emanations of the Lotus-Born. It is through her that they obtain Their power, their excellence, their valor, And indeed their entire existence.4

17

My forehead is anointed With the ceremonial markings.

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18

May the traces of those markings Flow inward, There to become manifest As the fruit of inner wisdom. O Ír¥, O Lotus-dweller, O most auspicious Daughter of the Ocean, Reveal to me clearly The full essence of this wisdom.

19

O Goddess, With just a mere portion of your essence You endow all things, animate and inanimate, With their existence. With similar ease May you ever bestow your favor And bless me with prosperity.

20

Just as Vi∑û eternally projects A portion of himself onto the earth, So may Lak∑m¥ ever impart A portion of herself unto me.

21

O Goddess, Bestow complete happiness and well-being. Infuse your worshipers with fearlessness. Be unwavering As that portion of yourself Takes hold within me.

22

At the moment of awakening, Let my body become Vaikuˆ†ha, From the seat to the forehead and in the crown of my head. Grant that my eyes become an abode of Ír¥. Grant that my speech become anchored in the Realm of Truth. O Lak∑m¥, grant that by experiencing A mere portion of your essence within me, I may inhabit that glorious White Island Illumined by its own splendor.5 Just as she dwells in the Ocean of Milk, May a portion of Ír¥ ever dwell in my body.


155

Just as she exists in the sun and the moon, May Ír¥ exist in me always As Lak∑m¥ and her beloved lord.

23

O most glorious Mahålak∑m¥, Origin of origins, Wholly auspicious, Completely sovereign, Establish a portion of yourself in me.

24

Establish a portion of yourself in me As majesty, For majesty is the illuminating light Of pure knowledge That destroys the darkness of ignorance.

25

Establish a portion of yourself in me As auspiciousness, For auspiciousness banishes Alak∑m¥ As surely as the spreading of sunlight Dispels the heavy darkness.

26

Endow me with just a portion of your majesty. Endow me with just a portion of your auspiciousness. For it is through these That I am able to attain your state.

27

O Daughter of Bh®gu, How fortunate am I, Deemed worthy of being possessed by you. Through your grace I have become purified. O Mother of the World, I bow to you.

28

You illumine my entire being With just a portion of yourself. O Ír¥, show me your favor! Draw near! Reveal a mere fragment of your essence! O Primordial Lak∑m¥, absorb me completely, Leaving nothing to remain.

29

O Lak∑m¥, dwelling with Nåråyaâ In glorious Vaikuˆ†ha,

156


30

Come into my presence. Cast upon me your benevolent glance.

31

O Lak∑m¥, dwelling with Våsudeva In the Realm of Truth, Come into my presence. Be gracious and grant me a boon.

32

O Lak∑m¥, dwelling with Lord Vi∑û On the White Island, Come quickly into my presence. O Goddess, Virtuous One, Mother of the World, Show me your favor.

33

O Lak∑m¥, dwelling in the Ocean of Milk, Come into my presence. Ever shower me with the nectar That flows from your merciful glance.

34

O Lak∑m¥, dwelling in the bounteous sea, Come into my presence. Come, come, O Golden One! Become manifest before me.

35

O Mahålak∑m¥, be steadfast. O Flawless One, waver not. O gentle lotus goddess, Be gracious and favor me in your heart.

36

O Abode of Good Fortune! O Great and Auspicious Prosperity! The supreme treasure lies within you. Stir it up! Bring it quickly to the surface And let it be revealed!

37

O Source of Wealth, Receptacle of Wealth, Bestower of Wealth, O Ír¥ most comionate, Reveal to me quickly What is hidden within you.


157

O Auspicious One, Beloved of Vi∑û, You who bring all to successful fruition, Reveal! Bring forth the precious treasures Hidden deep within your womb.

38

O Mother Lak∑m¥, though you have Departed to the netherworlds, Come to me quickly. Reveal to me your supreme form.

39

O Mother, come close! Care for me as tenderly As a mother cow nurtures Her needy young. Become visible! Come to me quickly, With the speed of thought.

40

O Goddess, Womb of the world, Mother of the entire creation, Impatiently I seek you. Come to me quickly.

41

Arise! Awaken within me! Reveal the imperishable golden urn That overflows with brilliant gold.

42

Essence of the inner treasure, awaken! Essence of the inner treasure, arise! Come forth! Become clear! Reveal yourself within me!

43

O Lak∑m¥, be gracious. Come before me As the auspicious Cow of Plenty, Bearing the intoxicating nectar Whose essence is sweet comion.

44

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45

O Golden One, Come to me here and now. O Laks¸m¥, Be firm, Be steadfast, Be fully pleased! Grant me a boon!

46

Draw near, O Goddess! Reveal to me the treasure! Right now! In a flash! And once this has been revealed, Protect it in me always.

47

O Goddess! Make me fearless By settling firmly in my senses And abiding with me at all times. O Mahålak∑m¥, salutations to you.

48

O Mahålak∑m¥, draw near. O Mistress of the White Island, As I bow reverently before you, Look upon me with abundant favor.

49

O Lak∑m¥, though you have departed to the heavens, Your golden essence remains everywhere. Let me perceive your form As all things, in all places.

50

O all-golden goddess, You amuse yourself By spreading wealth across the land. May that graceful current of your abundance Ever flow with steady ease.

51

O Lak∑m¥, Wherever you dwell Reaps the fruits of good fortune. O Mahålak∑m¥, show me your favor! Completely fulfill my heart’s desires.


159

O magnificent goddess, O you who dwell in Ayodhyå And indeed in every city, Come forth! Display your powers mighty and diverse.6

52

O playful goddess, Come! Come before me And stay, For your eyes are moist With the nectar of comion.

53

O Mahålak∑m¥, Be steadfast. Place your hand on my head And anoint me With the sweet nectar of comion.

54

O Lak∑m¥, Delightful One! O you who dwell in the palaces of kings, Draw near. Stand firmly and fully in me now. Render me fearless Through the power of your grace.

55

O Lak∑m¥, O you who dwell in the palaces of kings, As I bow before you, Stroke my head with tender mercy, And establish a part of yourself in me.

56

O most glorious Primordial Mahålak∑m¥, Seated at the left side of Vi∑û, Reveal yourself before my eyes. Envelop me in your protective embrace, For I come to you seeking refuge.

57

O Mahålak∑m¥, show me your favor. O supremely auspicious one, bestow your sweet blessings.


160

58

Never wavering from your exquisite happiness, Settle firmly in my home.

59

As long as the Vedas are upheld, Even the mention of their name confers blessings. And wherever Vi∑û abides There too are you present. In light of these, grant me your comion.

60

O luminous goddess! Just as the moon’s brilliance Increases night by night, So may your tender kindness toward me Steadily unfold.

61

O Ír¥, as surely as you abide In the heavenly city of Vaikuˆ†ha Or deep in the Ocean of Milk, So may you, together with Vi∑û, Settle firmly in my home.

62

O Ír¥, as surely as you and Lord Vi∑û Ever dwell in the hearts of yogis, So may you, together with Vi∑û, Settle firmly in my home.

63

As surely as you dwell in the heart of Nåråyaâ, So does Nåråyaâ abide in your lotus heart, For Nåråyaâ, the eternally auspicious one, Is none other than you. O comion-filled Ír¥, May you both settle firmly in my heart.

64

O O O O

Ír¥, Ír¥, Ír¥, Ír¥,

let let let let

understanding abound in my heart. good fortune abound in my household. comion abound in my being. wealth and prosperity abound in my home.

May you never abandon me, But rather, curl fast Around your devoted worshiper


161

Like Kalpavalli, the fabulous vine That satisfies all desires. O Wish-fulfilling Jewel! O Cow of Plenty! O Mother of the Universe! Bestow your sweet favor throughout my household, Blessing every member of my family.

65

O Primordial Måyå, You are the seed of the unborn egg. You exist as the formed as well as the formless. O Goddess, it is through the magnificent actions Of you and Lord Vi∑û That the egg of existence Is borne upon the waters.

66

Neither Brahmå nor Rudra Nor any other of the Vedic gods Is capable of extolling, in song, Your full glory and majesty. How, then, can I, With my meager voice, Hope to do so?

67

O Mother, Your child lauds you With reverent words and songs of praise. O All-knowing One, Please accept these offerings With tender comion.

68

Never have you failed me When I’ve turned to you for help. O most excellent lady, With this thought filling my mind, I come to you seeking refuge.

69

You are the supreme sanctuary, Ever bestowing infinite happiness Upon your worshipers.

162


70

O magnificent goddess, With this thought filling my mind, I come to you seeking refuge.

71

Solemnly have you promised Never to abandon your devotees. When I contemplate this, It steadies my breath and calms my mind.

72

O Merciful One, Ocean of Comion, Only you can know how much I depend upon you. Bestow upon me as much As I am able to receive.

73

I cannot live even for an instant Without your tender mercy. Those who are separated from you Do not flourish in this existence, But are like fish caught in a net, Dangling above the water.

74

Like a mother whose breasts swell with milk At the very thought of her tender young, You overflow with loving kindness Toward all of your children born on this earth.

75

As I am your child And you are my mother, Anoint me with the nectar of your breasts, Swelling with the milk of comion.

76

Though I strive to overcome them, My faults seem piled high as Mount Mandara. May these failings dissolve through your grace, Just as mounds of sand Wash away in the rain. Of the wretched I am surely foremost. And among the merciful, you are supreme.


163

In all of the three worlds, Who shows me greater comion than you?

77

Even one who violates religious precept Is not denied your tender mercy. Do not healing herbs spring up From even the harshest of soil?

78

Is it your comion Or is it my own sense of excitement That draws me to you? As I reflect on this, Grant me understanding, O Goddess, ocean of mercy.

79

You are mother, You are father, You are guru, You are good fortune. O Ír¥, it is you Who animate all of life. What exists That has not originated in your mind? O my beloved goddess, Essence of truth and mistress of the entire world, Everything is you alone.

80

O Primordial Lak∑m¥, You who yield the sweet milk Of happiness, Of purity, And of wise discernment, Be well pleased. Far suring the three qualities of nature, You are the destroyer of ignorance. O bright goddess of wisdom, Be well pleased.7

81

O Destroyer of Dull and Idle Speech! O Bestower of Sparkling Eloquence! Adorned with vermilion

164


82

I stand trembling before you, Offering my songs of praise. O Ír¥, be well pleased by my words.

83

You are the resplendent glow of success. It is you who illumine all that is vigorous and bright. O Beloved of Vi∑û, awaken! Send forth your splendor! O Goddess of Speech, be well pleased!

84

O lovely one, Bestower of all prosperity, O you who pour forth streams of abundant comion, Fully reveal your glorious splendor. O bestower of riches and bounty, Smile upon me with sweet favor. O golden Ír¥, be pleased!

85

O bestower of every type of wealth, O you who give birth to all the worlds, Queen of the entire universe, Vanquisher of every fear, O most eminent of all, Smile upon me with sweet favor. O golden Ír¥, be pleased!

86

You are resplendent As you remove every obstacle And uplift each one of your devotees. O you who bestow endless good fortune and happiness, O Golden One, be pleased!

87

The legions of gods glorify you As their supreme leader, For with your brilliant light You guide them out of darkness. Be well pleased, O Goddess. Let fall your gracious glance upon my face. O Mother, Deeply embedded Is my fear, my insecurity.


165

Have mercy, O Mother, on my wretched state. Uproot it With the joy that arises From your sweet and comionate glance. O Mother of the Universe, Infuse your children with fearlessness! Plant in us the seed of auspiciousness As we make our way in this world.

88

O Indirå, lady of the blue lotus, Just a glance from you— And my desires Are satisfied here in this world, For you are the Wish-fulfilling Jewel, The celestial tree of the gods, And the nine eternal treasures. And yet, a marvelous elixir there is, Distilled from the nectar of your comion. Secreted from just a portion of you, It fulfills desires beyond imagination. May this your nectar flow with steady ease.

89

O Kamalå, lady of the lotus, Just as the touch of magic elixir Transmutes iron into gold, So, O Mother, does the touch of your gracious glance Transform even the most inauspicious Into a blessing of splendid good fortune.

90

“Give me . . . There isn’t any . . .” In an anxious state I intrude with these words, Casting myself down before you for refuge. Even as I fall before you, I beg you to dwell securely within me And bestow never-ending fearlessness.

91

O Ír¥, in addition to the Wish-fulfilling Jewel And the Tree of Paradise, There exists a delightful, magic elixir Formed from just a portion of you.

166


92

As this nectar moves through me, Touching all of my parts from head to toe, Hak! It transmutes them into a body of gold.8

93

O ≈dyådi Lak∑m¥, Wife of Vi∑û, upholder of dharma, Establish yourself within me. O primordial Lak∑m¥, Through your grace May I perceive the nine treasures At all times, in all places.

94

That person who recites The Secret Heart of Primordial Lakƒm¥, Source of All Sources Shall be blessed with the unwavering presence Of Råjya Lak∑m¥, goddess of kings. Transforming even the most abject poverty Into abundant wealth, Ír¥ shall extend her blessings steadily For generations to come.9

95

That person who continuously re the beloved of Vi∑û Becomes blessed with joyous contentment. An adoring mother to her devotees, The goddess lavishly grants their heart’s desires.

96

If recited five thousand times During the puraßcara£a ceremony, This secret book of divine knowledge Grants the fulfillment of all desires.10

97

Yet indeed, that person who recites Or even listens to this sacred song Three times or even once, While filled with complete devotion, Is certain to attain Ír¥.

98

By invoking Mahålak∑m¥ With the recitation of this auspicious song Five times during a night sacred to Bhårgav¥, One becomes endowed with wealth.11


167

A woman impregnated With this scripture’s sacred mantras Gives birth to prosperity for her family, And her husband becomes equal To the lord of Ír¥.

99

Misfortune never destroys The lineage of a man Whose woman immerses herself In the sacred mantras of The Secret Heart of Lakƒm¥.

100

That person who recites it with a devoted heart While celebrating the festival of Råma During the bright half of the month of ≈ßvina Will be showered With a beautiful golden rain of exaltation Upon uttering the final verse.12

101

That person who recites it faithfully for a year Attains a completely purified mind. After seventy recitations in a day, He becomes victorious. After one hundred recitations in a day, He attains the might of Indra. If even then misfortune should befall him, Ír¥ will destroy it immediately With just a glance.

102

O Ír¥, beloved of Hari! The purpose of these pleasing mantras Is to become firmly established In the remembrance of the spotless, Awakened consciousness Of the guru. Bestow that supreme state, O Mother Ír¥.13

103

You are P®thv¥, Mother Earth, And your husband is Most Excellent of Men. You are the abode of abundance And you are the acumen in obtaining wealth. O Lak∑m¥, grant me many years Of enjoying prosperity and renown.14

104

168

105


O Daughter of Bh®gu, Endow me with the magical attainment Of eloquence in speech, Of good health and stability, Of proficiency in worldly affairs, Of progeny, And of savoring every blessing of abundance For all the days of my life.15 O Ír¥, let wealth increase in my household. O Ír¥, let abundance increase in my home. The chief mantra is oμ yaμ haμ kaμ laμ paμ ßr¥μ.

106

Let us meditate on Lak∑m¥, The lovely one, Clothed in streams of shimmering light, Adorned with charming ornaments, Her face sweet with laughter, Sunrise-radiant with joy.

107

O Ír¥, grant me fearlessness in every moment. Let steadfastness ever be mine. Let me always remain ed with the resplendent one Who bears the lotus And the brilliant golden vessel filled with seeds.

108

O Goddess, it is you who protect This most secret of teachings, A scripture brought into existence For the benefit of householders. Let its power flourish within me. Let me always abide in your bounteous grace. Here ends the Mahålakƒm¥h®daya Stotram, located in the Ír¥ Atharva£a Rahasya.16


169

Praise-Song for the Bestower of Wealth (Dhanadå Stotram)17 Salutations to the one who exists as all things. Salutations to the wellspring of auspiciousness. O Goddess, grant us abundant prosperity. Salutations, O Bestower of Wealth!

1

O Goddess, grant us supreme good fortune. Completely fulfill our deepest desires. O Goddess, grant us happiness and liberation. Salutations, O Bestower of Wealth!

2

O you who exist as Brahmå, O you who exist as everlasting bliss, O Bliss Eternal! O Goddess, quickly impart magical attainment. Salutations, O Bestower of Wealth!

3

O you who exist as the rays of the sun, O you who exist as the circle of heavenly beings, O Goddess, impart success. Salutations, O Bestower of Wealth!

4

O you who exist as Vi∑û, O you who exist as perfect harmony, O comionate, all-knowing protector of this world, Salutations, O Bestower of Wealth!

5

O you who exist as Íiva, O you who exist as the dissolution of the world, O Bliss of Íiva, O Bliss of Creation and Destruction! Salutations, O Bestower of Wealth!

6

O you who exist as the five essential elements, O you who always delight in the five practices, O Goddess, so dear to the spiritual practitioner, Salutations, O Bestower of Wealth! 18

7

170


Song-Amulet of the Bestower of Wealth (Dhanadå Kavacam)19

1

Kubera is the seer Of the Song-Amulet for the Bestower of Wealth. Its meter is pa‰kti And its deity, Dhanadå, Bestower of everlasting magical power.20

2

Its illustrious purpose is to acquire Virtue, wealth, pleasure, and spiritual liberation.21

3

Let the seed-syllable dhaμ protect my head. (Let) the seed-syllable hr¥μ (protect) my forehead. Let the seed-syllable ßr¥μ protect my face. Let the syllable a protect my heart.

4

Let the syllable ti protect my abdomen. Let the syllable pri protect my back. (Let) the syllable ye (protect) both of my legs. (Let) the syllable svå (protect) the soles of my feet. Let the syllable hå cast a mantle of protection over my entire body. Here ends the glorious Dhanadå Kavacam.


171

Praise-Song for the Lotus Goddess (Kamalå Stotram) O Goddess, you exist as the sounding of oμ. You exist as purity and equipoise. From your essence you have given birth to the gods. Be gracious, O Lovely One.

1

You exist as the senses and as the natural elements. Your heart is the foundation of the Sm®ti And your essence permeates the Veda. Be gracious, O Lovely One.22

2

O Lak∑m¥, ever are you praised in song By gods, demigods, Celestial musicians, Tree spirits, goblins, and centaurs. Be gracious, O Lovely One.

3

O Mother of Wisdom, So too are you lauded By those who have transcended duality And left behind their bondage to this world. Be gracious, O Lovely One.

4

You exist as Brahmå and Såvitr¥. You are the lamp that illumines the world, For the entire creation is your own form. Be gracious, O Lovely One.

5

You exist as the earth, As the waters, As fire, As the winds, And as the atmosphere. It is you indeed who cause the five elements To hold together in harmony. Be gracious, O Lovely One.

6

You are the great queen, You are the lady of the mountain, You are the lotus goddess,

172


7

And you are the consort of the beautiful-haired one. It is you indeed who are dear to the wise. Be gracious, O Lovely One.

8

You exist as little girls in their childhood, As young women in their youth, And as elderly women in their old age. Be gracious, O Lovely One.

9

You exist as the elements of nature And you exist beyond those elements. It is you who are the primordial wisdom From which the entire world has sprung And through which all moves in harmony. Be gracious, O Lovely One.

10

You are practitioner of yogic austerities And you are the magical powers produced through yoga. Yours is the pure consciousness that animates this earth And yours is the spiritual power of heaven. Be gracious, O Lovely One.

11

You are the origin of the world, You are its preservation, And in the end, you are its dissolution. O Goddess, these actions Are simply expressions of your own desire.

12

O you who are fond of your devotees! You illumine all that exists. Whether animate or inanimate, visible or invisible, All is permeated by your beautiful essence.

13

Through your power of illusion, A person can become disconnected From his Higher Self, Wandering about from place to place, Bereft of clear thought, Lost in destructive behavior.23 It matters not how much truth May shine forth in the world,


173

Illuminating the entire creation, For one cannot acquire wisdom Unless it is experienced Through the opening of the heart.24

14

A person immersed in the depths of your wisdom Enjoys the fullness of a happy life Blessed with a spouse, home, family, good friends, And the banishment of debilitating sorrow.

15

O Queen of the Gods, It is only through your will That the sun and moon Grace the sky with their light. Be gracious, O Lovely One.

16

O Queen of the Gods, You are the mother of Brahmå, Áßa, and Vi∑û. Though Brahmå is the name designating Creator, It is you who are the source Of all things manifest and unmanifest. Be gracious, O Lovely One.25

17

O Supreme Lady, Source of all auspiciousness, You are unwavering, All-pervading, Constant, Eternal, And beyond all illusion. Be gracious, O Lovely One.

18

The entire universe is contained in your body. You are queen of the lord of all that exists. Endless you are, And indivisible. Be gracious, O Lovely One.

19

Mistress of all, Adored by all, Existing beyond thought, You are the Supreme Self. It is you who bestow both


174

20

Worldly enjoyment and spiritual liberation. Be gracious, O Lovely One.

21

In In In In

22

In Yama’s abode [the south], you are the black-bodied. In Kubera’s palace [the north], you are Lady Prosperity. In Agni’s corner [the southeast], you are Great Bliss. Be gracious, O Lovely One.

23

In Nair®ta’s sector [the southwest], you are the red-toothed. In Våyu’s sector [the northwest], you are the deer rider. In the depths of murky Påtåla [below], you are Vai∑âv¥. Be gracious, O Lovely One.27

24

On the Island of Gems, you are the charming Suraså, mother of serpents. In Áßana’s northeast sector, you are the spear bearer. So, too, in Lanka, you are Bhadrakål¥. Be gracious, O Lovely One.28

25

On the bridge leading toward Lanka, you are Råma’s queen. In Siμhala, you are she who fascinates the gods. And in Ír¥ K∑etram, you are the flawless one. Be gracious, O Lovely One.29

26

In Kalighatta, you are Kålikå. On the Blue Hill, you are Kåmåkhyå. In O∫ga country, you are Virajå. Be gracious, O Lovely One.30

27

In Kuruk∑etra, you are Bhadrakål¥. In Vraja, you are Kåtyåyan¥. In Dvåraka, you are Mahåmayå. Be gracious, O Lovely One.31

Brahmå’s realm [the center sector], you are Bråhmaˆ¥. Vaikuˆ†ha [above], you are the wholly auspicious one. Amaråvati [Indra’s abode, the east], you are Indrån¥. Varuâ’s abode [the west], you are Ambikå.26

In Mathurå, you are the supreme queen. It is you who offer solace to all living beings,


175

Carrying them across the ocean of existence. Be gracious, O Lovely One.

28

You are Råma’s Jånak¥, Íiva’s mind-bewitcher, And Dak∑a’s daughter. Be gracious, O Lovely One.

29

By infusing Vi∑û with your essence, It was you who destroyed the demon Kaμsa And you who vanquished Råvaâ. Be gracious, O Lovely One.

30

This auspicious song for Lak∑m¥, When recited with devotion, Destroys all mental agitation And allays all fears.

31

That person who recites it regularly, Whether once a day Or at the three twilights, Generates great spiritual merit.

32

He is released from all wrongdoings, Even the most debilitating, And he achieves spiritual liberation, Whether on earth, in heaven, or in a netherworld. Of this there is no doubt.32

33

Whoever recites this song With sincere devotion, Whether in its entirety or just a verse at a time, Overcomes all difficulties And attains the highest state.

34

This song confers both worldly happiness and liberation. Whoever recites it with complete devotion Receives blessings Equal to the fruits of thousands of pilgrimages. Of this there is no doubt.

35

Kamalå, the One Goddess, Always becomes pleased (with its recitation).

176


36

Is there anything more powerful In all the three worlds Than to receive the blessings Of the Queen of the Gods?33

37

What on earth, then, cannot be accomplished By those who recite this song of praise? It is for this reason That this excellent song is so highly esteemed. This is true, O Pårvat¥, most certainly this is true.34 Here ends the glorious Kamalå Stotram.


177

108 Names of the Glorious Lotus Goddess (Ír¥ Kamalå Aƒ†ottaraßatanåma Stotram) Lord Íiva spoke: O Lovely One, I shall now reveal The 108 names of the glorious lotus goddess. Though these names surely invoke her presence, They can never describe fully The mysterious depths of her being:35

1

Great Illusion Supreme Goddess of Wealth Supreme Speech Magnificent Queen Great Goddess Great Cosmic Night Slayer of the Demon King

2

Obsidian Night Lady Kubera Slender-waisted Full of Delight Primordial Auspicious Night Victory Open Space Supreme Cosmic Energy Mother of the Gods

3

Mother of the Great Boar She Who Arouses the God of Love Wide Earth Indra’s Power Indra’s Queen Lauded by Indra Dear to Íiva Beloved36

4

She Who Delights the Lord of Vaikuˆ†ha She Who Dwells on Vi∑û’s Chest Queen of the Universe

178


5

Mother of the Universe Bestower of Boons Bestower of Fearlessness Consort of Íiva37

6

Ma Spear-bearer Discus-bearer Noose-bearer Conch-bearer Mace-bearer She Who Wears a Necklace of Severed Heads Lady of the Lotus Abode of Comion

7

Lotus-eyed Gracious Mother She Who Sweetly Dotes on Mahåvi∑û She Who Frolics with the Lord of the Cow Realm She Who Is Worshiped by the Lord of the Cow Realm38

8

Rider of the Eagle The (river) Gayå The (river) Ga∫gå The (river) Yamunå The (river) Gomat¥ The (river) Gaˆ∂ak¥ The (river) Saray¨ The (river) Tapt¥ The (river) Revå The (river) Payasvin¥

9

The (river) Narmadå The (river) Kåver¥ She Who Dwells in the High Himalaya Maiden She Who Is Lauded by the Beautiful-haired One She Who Is Gloriously Praised by Lord Indra40

39

She Who Is Celebrated in the Vedas Mother of Brahmå and the Other Gods


179

She Who Dwells in the Center of Brahmå’s Cosmic Egg Creatrix of Brahmå’s Cosmic Egg

10

Embodiment of the Veda Source of the Veda Resplendence of Veda and Sm®ti Beauty Daughter of the Waters Mother of the Elephants Origin of the World

11

She Who Gives Birth to the Three Worlds She Whose True Form Is Expressed as Tantric Scriptures She Whose True Form Is Expressed as Tantric Mantras She Who Dispels Illusion Quickly Youthfulness Auspiciousness Abode of Auspiciousness

12

Slayer of Madhu and Kaitabha Vanquisher of Íumbha the Demon Destroyer of Nißumbha and His Armies Mother Adored by Hari and Ía∫kara41

13

Entirety She Who is Filled with the Essence of All the Gods Shelter Protectress of Those Seeking Refuge Adored by Íambhu She Who Dwells by the Waters’ Edge42

14

She Who She Who Protector She Who She Who

15

Delights in the Songs of the Celestial Musicians is Celebrated in the G¥tågovinda of the Three Worlds Exists as the Elements is Filled with the Prime of Youth

Moon Mistress of the Lunar Dynasty Moon-faced Moonlight

180

16


Sister of the Moon Adored by the Moon Praised in Song Final Refuge43 She Who Exists as Cosmic Creation She Who Expands the World into Being She Who Surges Forth the Entire Universe and Contracts It Inward Once Again

17

Thus do I praise you, O Goddess, With the recitation of your hundred and eight names.

18

By reciting this collection (of names) With sincere devotion At dawn, noon, and dusk, A person obtains Whatever may be desired. Of this there is no doubt.

19

Whoever recites this song Shall receive abundant blessings From the goddess of prosperity During this lifetime, And at the time of death That person shall be delivered from even the deepest level of hell By the heavenly queen of Vaikuˆ†ha.

Here ends the Ír¥ Kamalå Aƒ†ottaraßatanåma Stotram.


181

Song-Amulet of the Lotus Goddess (Kamalåtmikå Kavacam)44 O Great Lady, I shall now impart The song-amulet that fulfills all desires. When its mantras are applied with proper skill, The Eternally Auspicious One Appears before one’s eyes.45

1

O Queen of the Gods, By reciting its mantras, One becomes a son of Pårvat¥, Fully mastering the power in all of the scriptures.

2

It grants that Kamalå, beloved of Vi∑û, Ever dwell with those who pursue wealth, And moreover, it bestows the wealth of eternal wisdom Upon those who seek the highest truth.

3

Setting the Intention The Lord is the seer of the four-syllabled song-amulet of Vi∑û’s Beloved. Anuƒ†ubh is its poetic meter. Vågbhav¥ is its power and its deity. Vågbhavaμ is its seed-syllable. Lajjåramå is its nail. Its purpose is to furnish a person abundantly with every spiritual power by forming a protective covering of wise words and beautiful poetry, whose core essence consists of desire. Song-Amulet With the pronunciation of aiμ, Let Vågbhav¥, bestower of all spiritual powers, Bless my head with a mantle of protection. Hr¥μ. Let Íå∫kar¥ protect my two eyes And the space between my eyes.

1

(And let also her protect) my tongue, The inside of my mouth, My ears, teeth, nose, Upper and lower lips, Upper and lower jaws, And cheeks.

2

182


3

Let Vi∑û’s beloved lady bless me with a mantle of protection. Let Lak∑m¥, beautiful embodiment of Vi∑û’s splendor, Protect my two ears. Let Pårvat¥ protect my two arms And my two breasts.

4

Let her also protect my heart, Wrists, neck, rib cage, back, Feminine private parts, Left and right hips and buttocks, Navel, and both thighs.46

5

(Let her also bless with a mantle of protection) Both knees, both feet, Both ankles, and the soles of my feet. And then, following the course of the life-breath Up through the constituent elements of my body, (Let her protect) the hair-part on my head.47

6

Let Vijayå protect me in my home. Let Jayå protect me wherever I travel. Let Kåmeß¥, Mahådev¥, and Sarasvat¥ protect my entire body.48

7

Let Mahåmåyå protect contentment. Let Mahådev¥ protect prosperity. Let Íambhu’s Beloved protect excellence at all times, in all places.

8

Let Vågbhav¥ protect me everywhere. Let the one who dwells with Hara protect me. Let the Goddess of Fortune protect me. Let the Eternal Goddess protect me with her heavenly splendor.49

9

Let Lak∑m¥, Vi∑û’s mysterious creative power, protect my entire body. Let Sureßvar¥ protect (my entire body). Let Íivad¨t¥ always protect me. Let Sundar¥ protect me at all times, in all places.50


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Let Let Let Let

Bhairav¥ always protect me. Bheruˆ∂å protect me at all times. Tvaritå always protect me. Mugutårå protect me at all times.

10

Let Let Let Let

Kålikå always protect me. Kålaråtr¥ protect me at all times. the nine Durgås always protect me. Kåmåk∑¥ protect me at all times.

11

Let the Legions of Divine Mothers And the Circle of Celestial Yogin¥s protect me at all times. Let the Enchanted Ones protect me at all times. Let the female spirits of the sacred seals protect me At all times, in all places.51

12

Let Lak∑m¥, goddess of the gods And bestower of all prosperity, protect me At all times In all places In all matters Under all circumstances.

13

Thus has been revealed the divine song-amulet Comprised entirely of spiritual powers. If one desires to obtain its benefits, It should not be spoken of carelessly or with disparagement.

14

The Supreme Lady Never reveals herself To a person lacking in spiritual devotion, Nor to one who cheats or is abusive, Who is severely disfigured, Or who has an extra finger or toe.52

15

This sacred song has been revealed For the benefit of those dedicated to the kula path And for any other sincere devotees Who greatly desire a vision of the Auspicious One.53

16

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17

18a

18b–19


So too may this most excellent song-amulet Be imparted to devotees of Vi∑û, To those who are virtuous and wise, Who are dedicated spiritual seekers, And who are blessed with a peaceful disposition. Reciting this song-amulet Is equal to reciting all of the Tantras. On Tuesdays and Saturdays, One may inscribe its mantras In red sandalwood paste, With beautiful wildflowers. Inscribing this divine song-amulet (in this way) Is equal to inscribing all of the Tantras.

20–21

(It may also be inscribed) With one’s own sexual juices or those of another, Mixed with various fragrances And red or yellow sandalwood paste. (This should be done) on Sundays During the bright phase of the moon Or during an auspicious constellation Within the months of Íråvaâ, ≈ßvina, Kårttika, or Phålguâ. 54

22–23

On Tuesdays in the early part of Bhådrapada, The song should be inscribed; During an auspicious constellation, Especially during those of ≈yus¸, Pr¥ti, Brahmå, Indra, Íubha, and Íukra, It should be recited in a temple.55

24

During the constellations of Kaulava, Bålava, and Vaîja It is best (to recite it) In desolate burning grounds, Or in any particularly deserted places, Far from other people.

25

One should worship the eternal goddess By first offering prayers to a young girl. Then the supreme goddess should be offered A savory stew of fish, meat, and greens.


185

The Supreme Lady should be worshiped And brahmans should be feasted With fried sweet lentil-cakes prepared with ghee And served with a sauce of various spicy ingredients.

26

One should perform the described practices Flawlessly, three times a day, As is held in the supreme teaching Declared by Lord Ía∫kara.

27

[By observing these practices,] a person is protected From hatred, murder, and other types of violence. One becomes a son of Pårvat¥, Fully mastering the power in all of the scriptures. Of this there is no doubt.

28

One soon acquires the spiritual power By which he can rejoice in the realization That one’s spiritual master is no different than Hara And that one’s wife is the embodiment of Hara’s Beloved.56

29

Whoever recites this song regularly From the depths of one’s being Receives, while still living in this world, Manifold fruits of those recitations. One becomes endowed with every success, And Lak∑m¥ bestows upon that person the crown of a king.

30

Here ends the Kamalåtmikå Kavacam, from the Vißvasåra Tantra.


186

Song for the Lakƒm¥ of Spiritual Power (Ír¥ Siddhalakƒm¥ Stotram)57 Setting the Intention Oμ. Hiraˆyagarbha is the seer of the mantras of the Song for the Lakƒm¥ of Spiritual Power (Ír¥ Siddhalakƒm¥ Stotram). Its poetic meter is anuƒ†ubh, the glorious Mahåkål¥, Mahålak∑m¥, and Mahåsarasvat¥ are its deities, ßr¥μ is its seed-syllable, hr¥μ its animating power, and kl¥μ its nail. The Song for the Lakƒm¥ of Spiritual Power is recited in order to completely destroy all afflictions and suffering, to remove the anxiety of poverty, and to achieve spiritual power of attainment in all endeavors. Mantra Placements of the Seer and Other Preliminaries On my head, salutations to the seer, Hiraˆyagarbha. On my face, salutations to the poetic meter, anuƒ†ubh. On my heart, salutations to the deities, the glorious Mahåkål¥, Mahålak∑m¥, and Mahåsarasvat¥. On my feminine private parts, salutations to the seedsyllable, ßr¥μ. On my feet, salutations to the animating power, hr¥μ. On my navel, salutations to the nail, kl¥μ. Over my entire body, salutations to the intention. Mantra Placements on the Hands Ír¥μ. On my thumbs, salutations to Siddhalak∑m¥. Hr¥μ. On my forefingers, salutations to Vi∑û’s Effulgence. Kl¥μ. On my middle fingers, salutations to Immortal Bliss. Ír¥μ. On my ring fingers, salutations to the demon-garlanded goddess. Hr¥μ. On my little fingers, homage to Resplendent Light. Kl¥μ. On the palms and tops of my hands, salutations to Bråhmaˆ¥, Vai∑âv¥, and Rudråˆ¥. Ír¥μ. On my heart, salutations to Siddhalak∑m¥. Hr¥μ. On my head, salutations to Vi∑û’s Effulgence. Svåhå. Kl¥μ. On the top back of my head, salutations to Immortal Bliss. Vaƒa†.


187

Ír¥μ. On the armor, salutations to the demon-garlanded goddess. Huμ. Hr¥μ. On my eyes, salutations to Resplendent Light. Vaƒa†. Kl¥μ. On the weapon, salutations to Bråhmaˆ¥, Vai∑âv¥, and Rudråˆ¥. Pha†.58 Securing the Directions59 Oμ ßr¥μ hr¥μ kl¥μ ßr¥μ. Salutations to Siddhalak∑m¥. Meditation for Visualization of the Deity That goddess Who is the consort of Brahmå, Vi∑û, and Íiva, Who has six arms, four faces, and three eyes, Wielder of sword and trident, Bearer of lotus, discus, and mace, Revealing herself as an alluring young woman Dressed in bright yellow garments And adorned with a dazzling array of jewels— Upon that resplendent goddess Let us meditate. Song of Praise The syllable oμ is Lak∑m¥, Embodiment of the imperishable heart of Vi∑û. The syllable hr¥μ is Lak∑m¥, Embodiment of the unfathomable bliss of Vi∑û.

1

Kl¥μ is the bright and auspicious one Who bestows immortal bliss. Ír¥μ is the demon-destroying Íakti, Garlanded with enemies she has slain.

2

That goddess who is divine resplendence, Bestower of boons, Source of auspiciousness, And the feminine aspect of Brahmå, Vi∑û, and Íiva, Embodies herself as the beautiful Kålikå.

3

The primordial sound of the goddess is enunciated In the syllable a, embodiment of Lak∑m¥,


188

4

In the syllable u, embodiment of the imperishable Vi∑û, And in the syllable m, embodiment of the unfathomable Puru∑a.60

5

(The primordial sound) Resembles the disc of the sun And the crescent moon, And radiates the same exquisite luster. In between (the sun and moon) is embedded The hidden treasure, The essence of brahman.61

6

The syllable oμ, Greatest bliss of all, Is none other than the lovely goddess, Essence of happiness and well-being. O Siddhalak∑m¥, Mok∑alaks¸m¥, ≈dyalak∑m¥, Salutations to you!62 To Of To To

7a

the auspicious source all auspiciousness, the feminine aspect of Íiva, the one who guides all endeavors to successful attainment, To the one who grants refuge, To the bright, three-eyed goddess, To the feminine aspect of Nåråyaâ, Salutations!

7b

The first (syllable pronounced) is Gaur¥, the three-eyed. And the second is Vai∑âv¥.63

8

The third (syllable) pronounced is Kamalå, The fourth is the beautiful one, The fifth is the animating power of Vi∑û, And the sixth is Kåtyåyan¥.

9

The seventh (syllable) pronounced is Våråh¥, The eighth is Hari’s beloved, The ninth is the sword-bearer, And the tenth is Devak¥.


189

The eleventh is Siddhalak∑m¥, And the twelfth is the rider of the swan.64

10a

That person who recites This most excellent song For one to six months, Continuously and diligently, Without allowing outside distractions, Becomes liberated from the bonds of existence. It should be recited three times a day By those brahmans burdened with troubles And the stressful bane of poverty.

10b–12

One who is childless Shall be blessed with children, And one bound in poverty Due to all the offenses of former lives Shall, after one thousand recitations, Attain Lak∑m¥.

13

Resplendent with glory, The Auspicious One Easily destroys one’s enemies. She roams about on a tiger, Protector against thieves, Subjugator of ghosts and demons, And slayer of vampires.

14

The collected revenue is held secure Within the royal palace gates.65 This song was composed by the gods For the benefit of all living beings.

16

Let it always be recited by brahmans So as never to be harassed by poverty, For Lak∑m¥ is the destroyer of every affliction And the bestower of every success.

16

Here ends the Ír¥ Siddhalakƒm¥ Storam, located in the Brahmå Purå£a.


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Song for the Glorious “Eyes of Indra” (Ír¥ Indråkƒ¥ Stotram)66 Oμ. The Lord of the Thousand Eyes is the seer of the mantras of the Song for the Glorious “Eyes of Indra” (Ír¥ Indråk∑¥ Stotram). Its deity is Indråk∑¥, anuƒ†ubh is its meter, Mahålak∑m¥ its seed, Bhuvaneßvar¥ its animating power, and Bhavån¥ its nail. Its seed-syllables are oμ, ßr¥μ, hr¥μ, and kl¥μ. The purpose of reciting the Song for the Glorious “Eyes of Indra” is to achieve success in whatever is desired.67 Oμ. On my thumbs, salutations to the glorious Eyes of Indra. Oμ. On my forefingers, salutations to Mahålak∑m¥. Oμ. On my middle fingers, salutations to the Supreme Lady. Oμ. On my ring fingers, salutations to the Lotus-eyed. Oμ. On my little fingers, salutations to Kåtyåyan¥. Oμ. On the palms and tops of my hands, salutations to the Maiden. Oμ. On my heart, salutations to the glorious Eyes of Indra. Oμ. On my head, (salutations to) Mahålak∑m¥. Svåhå. Oμ. On the top back of my head, (salutations to) the Supreme Lady. Vauƒa†. Oμ. On the armor [torso], (salutations to) the Lotus-eyed. Huμ. Oμ. On the third eye, (salutations to) Kåtyåyan¥. Vauƒa†. Oμ. On the weapon [hands], (salutations to) the Maiden. Pha†. Oμ bh¶r bhuva÷ svarom.68 Thus have the directions been secured. Herein the mantra: Oμ aiμ hr¥μ ßr¥μ kl¥μ kl¶μ. Salutations to Indråkƒ¥. Indra spoke: I celebrate Indråk∑¥, That goddess Whom the gods glorify with many names:


191

Brightness Bearer of the Conch Formidable Dev¥

1

Red-clad Widow Great Goddess Moonglow Great Heat of Austerity Såvitr¥ Splendor of Meditation Gåyatr¥ Lady Brahmå Sound-essence of the Wisdom Books

2

Lady Naråyaâ Auspicious Darkness Lady Rudra Black-hued Flame of the Sacred Fire She of the Terrifying Face Black Night Mistress of Yogic Austerities

3

Raincloud-dark Thousand-eyed Wild-haired Water-bellied Great Goddess She of Unbound Hair She of Terrifying Form She of Tremendous Might

4

Invincible Bestower of Auspiciousness Felicity Destroyer of Disease Beloved of Íiva Attendant of Íiva Sword-flame of Agni’s Fire She Who Reveals Herself Clearly Before One’s Eyes Supreme Lady

5

192


6

Eternal Bewitching Goddess Beautiful Queen of the Universe Indra’s Eyes Indra’s Splendor Indra’s Cosmic Power Final Refuge

7

Destroyer of the Demon King Vanquisher of Camuˆ∂a Womb of the Gods Lady of the Great Boar Lady of the Man-lion Ferocious She of the Terrifying Roar

8

Sacred Revelation Sacred Remembrance Constancy Intelligence Knowledge Lak∑m¥ Sarasvat¥ Infinity Victory Abundance Mother of the Mind Unrivalled

9

Bhavån¥ Pårvat¥ Durgå Daughter of the Himalaya Ambikå Lady Íiva. Thus has Lord Indra sung the praises of the goddess, Lauding her with these hundred divine names.69 By reciting (this song) one thousand times While standing waist-deep in water,


193

One obtains health, longevity, sovereignty, Wisdom, esteem, and might.

10

The words of this song are mantras That bestow spiritual power. Therefore by chanting it With devotion, One acquires the power of those mantras.

11

The goddess is pleased When this song is recited conscientiously. A person who completes one hundred thousand recitations Attains liberation, Without a doubt.

12

After one thousand recitations, A person obtains whatever is desired. If recited one hundred times every evening, Its spiritual power is realized Within six months.

13

This song releases a person From the fear of disease and mental anxiety. After abiding in it for a full year, One successfully attains all desired goals.

14

Even after six months, A servant becomes equal to a king. Of this there is no doubt.

15

Here ends the Ír¥ Indråkƒ¥ Stotram.


194

Song-Formulary of the Glorious Mahålakƒm¥ (Ír¥ Mahålakƒm¥ Pañjara Stotram) Setting the Intention Oμ. Brahmå is the seer of the supreme mantras of the Song-Formulary of the Glorious Lakƒm¥ (Ír¥ Mahålakƒm¥ Pañjara Stotram). Pa‰kti is its meter, svåhå its animating power, and ßriyai its nail. Desires of all kinds may be fulfilled through the recitation of the Lakƒm¥ Pañjara Stotram.70 Mantra Placements on the Hands Oμ ßr¥μ hr¥μ. On my thumbs, salutations to Vi∑û’s Beloved. Oμ ßr¥μ hr¥μ. On my forefingers, salutations to the Mother of the Universe. Oμ ßr¥μ hr¥μ. On my middle fingers, salutations to the one who is honored as Spiritual Power. Oμ ßr¥μ hr¥μ. On my ring fingers, salutations to the Bestower of Spiritual Power. Oμ ßr¥μ hr¥μ. On my little fingers, salutations to the one who fulfills desires. Oμ ßr¥μ hr¥μ ßr¥μ ßriyai nama÷. On the palms and tops of my hands, salutations to the Goddess of the Sacred Flame.71 Mantra Placements on the Body Oμ ßr¥μ hr¥μ. On my heart, salutations to Vi∑û’s Beloved. Oμ ßr¥μ hr¥μ. On my head, salutations to the Mother of the Universe. Svåhå. Oμ ßr¥μ hr¥μ. On the top back of my head, salutations to the one who is honored as Spiritual Power. Vaƒa†. Oμ ßr¥μ hr¥μ. On my eyes, salutations to the one who fulfills desires. Vauƒa†. Oμ ßr¥μ hr¥μ ßr¥μ ßriyai nama÷ On the weapon [hands], salutations to the Goddess of the Sacred Flame. Pha†. Meditation for Visualization of the Deity Oμ. I sing the praises of Lak∑m¥, Whose essence is supreme auspiciousness


195

And whose body is formed of golden light. Her entire being sparkles with the radiance of pure gold. She bears the golden lotus And the golden vessel filled with seeds. Seated at the left side of Vi∑û, She is Íakti, mother of all creation.72

1

O Mahålak∑m¥, beloved of Hari, I come to you seeking refuge. O Queen of the Gods, Be patient with my shortcomings And show me your favor.

2

To the wholly auspicious one Who graciously confers auspiciousness, To the glorious Ramå, Who is more enticing Than millions of charming love-gods, I bow, seeking refuge.

3

Six Verses on the Root Mantra (M¶lamantra S. a†kam)73 Oμ ßr¥μ hr¥μ aiμ kl¥μ. Homage to Vi∑û’s beloved, Mahåmåyå. Kaμ khaμ gaμ ghaμ ‰aμ. Homage! Homage to you. Protect! Protect me. Shield! Shield my wealth, grains, and prosperity. Bestow! Bestow glorious success. Homage to Ír¥. Svåhå.

1

Oμ ßr¥μ hr¥μ aiμ kl¥μ. Homage to the Mother of the Universe, Ocean of maternal comion. Caμ chaμ jaμ jhaμ ñaμ. Homage! Homage to you. Protect! Protect me. Shield! Shield the prosperity and stability of my home. Bestow! Bestow the magical power of speech. Homage to Ír¥. Svåhå.74

2

Oμ ßr¥μ hr¥μ aiμ kl¥μ. Homage to the one who is honored as Spiritual Power.

196


3

Homage to the indivisible one, The one who fulfills desires, The one embodied as spiritual initiation. T . aμ †haμ ¿aμ ¿haμ £aμ. Homage! Homage to you. Protect! Protect me. Shield! Shield me from every type of fear. Bestow! Bestow prosperity. Homage to Ír¥. Svåhå.

4

Oμ ßr¥μ hr¥μ aiμ kl¥μ. Homage to the Bestower of Spiritual Power. Homage to the ßakti of the one who sures all thought. Taμ thaμ daμ dhaμ naμ. Homage! Homage to you. Protect! Protect me. Keep watch! Keep watch over me. Grant me prosperity! Grant the fulfillment of all my desires. Homage to Ír¥. Svåhå.75

5

Oμ ßr¥μ hr¥μ aiμ kl¥μ. Homage to the one who fulfills all desires, To the one who is the core essence Of all spiritual power and success. Paμ phaμ baμ bhaμ maμ. Homage! Homage to you. Protect! Protect me. Keep watch! Keep watch over me. Bestow! Bestow the successful fulfillment Of all of my heart’s desires. Homage to Ír¥. Svåhå.76 Oμ ßr¥μ hr¥μ aiμ kl¥μ. O Kamalå, lady of the lotus, Be gracious! Be gracious to me. O Mahålak∑m¥, I offer you obeisance. Homage to you, O of the world. Yaμ raμ laμ vaμ ßaμ ƒaμ saμ haμ kƒaμ. Homage! Homage to you.


Protect me! Keep me in your care. O most beguiling goddess, Íakti of the one who sures all thought, Grant me majestic power. Grant me prosperity. Homage to Ír¥. Svåhå. Oμ ßr¥μ hr¥μ aiμ kl¥μ. Salutations Oμ ßr¥μ hr¥μ aiμ kl¥μ. Salutations in the seed-syllable. Svåhå. Oμ ßr¥μ hr¥μ aiμ kl¥μ. Salutations Svåhå. Oμ ßr¥μ hr¥μ aiμ kl¥μ. Salutations Svåhå. Oμ ßr¥μ hr¥μ aiμ kl¥μ. Salutations Oμ ßr¥μ hr¥μ aiμ kl¥μ. Salutations Oμ ßr¥μ hr¥μ aiμ kl¥μ. Salutations Oμ ßr¥μ hr¥μ aiμ kl¥μ. Salutations Svåhå. Oμ ßr¥μ hr¥μ aiμ kl¥μ. Salutations Oμ ßr¥μ hr¥μ aiμ kl¥μ. Salutations Essence of All Things. Svåhå. Oμ ßr¥μ hr¥μ aiμ kl¥μ. Salutations

to the Mother. Svåhå. to the one embodied to Vi∑û’s Beloved. to Spiritual Power. to to to to

Intellect. Svåhå. Constancy. Svåhå. Mind. Svåhå. Feminine Beauty.

to Peace. Svåhå. to the Auspicious to Ír¥. Svåhå.

Oμ. I bow to the lady of Brahmå and the other gods, mother of sacred knowledge, origin of sacred knowledge, womb of sacred knowledge, creative power of all, the supreme Ír¥. O Beloved of Hari, Fulfill! Fulfill my desires. Transmute! Transmute me into a receptacle of Spiritual Power. Bring forth! Bring forth the immortal nectar. Instill! Instill fearlessness. Kindle! Kindle! Blaze! Blaze through every thought and deed. Illumine! Illumine me, a child of cosmic energy. Vanquish! Vanquish debilities. Make perfect! Make perfect all imperfection. Hr¥μ hr¥μ hr¥μ glauμ glauμ ßr¥μ. Salutations to Ír¥. Svåhå.

197

6


198

Song-Amulet of Lakƒm¥ (Lakƒm¥ Kavacam)

1

Oμ. Let the goddess På, the lotus-bearer, Bless my head with protection. Let Lak∑m¥, the lotus-dweller, mother of the world, Bless my forehead with protection.

2

(Let) (Let) (Let) (Let)

3

Let the Maiden bless my throat with protection. (Let) Hari’s Beloved (bless) my shoulders. Let the source of all creative power always bless my heart.

4

Let the Queen of the Universe bless my navel. Let the one who dwells in all things bless my genitals. Let the lotus goddess bless my hips. Let the one honored by Brahmå and the other gods (bless) my thighs.

5

Let the one whose body is the whole world bless my shins. Let the source of all delight (bless) my feet. Let the Self-born One bless my entire body with the seed-syllable of Ír¥.

6

In any difficulty, adversity, or dangerous situation, Whether seen or unseen, May the sky-dweller bless me With her all-pervading auspiciousness.

7

This song-formulary is a great secret That has been mystically revealed by Lak∑m¥ herself. One should guard it with diligence.

Mahåmåyå (bless) my mouth (with protection). the daughter of Bh®gu (bless) my cheeks. the daughter of the ocean (bless) my nose. Vi∑û’s Beloved (bless) my eyes.

That person who recites it continuously With sincere devotion Receives the blessing of conquering the senses. By meditating upon these verses for Lak∑m¥


199

With a loving heart, Nothing at all is difficult to obtain.

8

That person who recites the Thousand Names of Viƒ£u And then with great devotion Completes five cycles (of the Lakƒm¥ Pañjara) Attains the perfection of Hari.

9

One should inscribe a six-angled yantra With the corresponding mantras Upon a bilva pedestal. There, the goddess may be worshiped With the recitation (of this composite invocation).77

10

One should count the recitations On a rosary of turmeric. That person who continually recites this esteemed (song) Most certainly acquires the spiritual power To achieve whatever may be desired.78

11

Here ends the Lakƒm¥ Pañjara Stotram, from the Ír¥ Atharva£a Rahasya.

200


Secret Lakƒm¥ Incantation That Yields Immediate Results (Sadya÷ Phaladå Lakƒm¥stava H®dayam)79

1

I sing the praises of Lak∑m¥, the eternal one, Most glorious mother of auspicious good fortune, Whose worship generates delight And the fulfillment of all desires.

2

O Lak∑m¥, dwelling with Nåråyaâ In glorious Vaikuˆ†ha, Come into my presence. Cast upon me your benevolent glance.80

3

O Lak∑m¥, dwelling with Våsudeva In the Realm of Truth, Come into my presence. Be gracious and grant me a boon.

4

O Lak∑m¥, dwelling with Lord Vi∑û On the White Island, Come quickly into my presence. O Goddess, Virtuous One, Mother of the World, Show me your favor.

5

O Lak∑m¥, dwelling in the Ocean of Milk, Come into my presence. Ever shower me with the nectar That flows from your merciful glance.

6

O Lak∑m¥, dwelling in the bounteous sea, Come into my presence. Come, come, O Golden One! Become manifest before me.

7

O Mahålak∑m¥, be steadfast. O Flawless One, waver not. O gentle lotus goddess, Be gracious and favor me in your heart. O Abode of Good Fortune! O Great and Auspicious Prosperity! The supreme treasure lies within you.


201

Stir it up! Bring it quickly to the surface And let it be revealed!

8

O Source of Wealth, Receptacle of Wealth, Bestower of Wealth, O Ír¥ most comionate, Reveal to me quickly What is hidden within you.

9

O Auspicious One, Beloved of Vi∑û, You who bring all to successful fruition, Reveal! Bring forth the precious treasures Hidden deep within your womb.

10

O Lak∑m¥, reveal yourself here and now. Stand firmly, O Golden One. Be steadfast, O Delightful One. Be gracious and grant a boon.

11

O Lak∑m¥, O you who dwell in the palaces of kings, As I bow before you, Stroke my head with tender mercy, And establish a part of yourself in me.81

12

O Ír¥, as surely as you abide In the heavenly city of Vaikuˆ†ha Or deep in the Ocean of Milk, So may you, together with Vi∑û, Settle firmly in my home.82

13

O Primordial Mahålak∑m¥, Seated at the left side of Vi∑û, Reveal yourself to me. Protect me, for I come seeking refuge.

14

O Mahålak∑m¥, Abundant with wealth and grains,

202

15


Draw near! As I bow humbly before you, Look upon me with favor. O Ír¥, bestow upon me your merciful glance. O Ír¥, cover my home in a shower of gold.

16

By invoking Mahålak∑m¥ With the recitation of this secret and auspicious song On a night sacred to Bhårgav¥, One receives the blessing of a long and prosperous life.83 Here ends the glorious Sadya÷ Phaladå Lakƒm¥stava H®dayam.

EPILO GUE

The Goddess Returns Home

Invoking Lakshmi begins with the circumstances of a ceremony inviting the goddess to visit our human realm. Throughout this book we have considered how she is invoked and how she makes herself manifest. We have seen a fluidity in her manifestations: She fills the form that we provide for her through our capacities for perception. In the undifferentiated state of her source-essence, she has no form, for there is no form to be had—she is expansiveness itself. Is this not the very definition of abundance, of resplendence, of Ír¥? We have considered just a few of the infinite ways that the goddess presents herself; all of these are expressions of the vessels we have created for her to fill. Of course, in the highest sense, the goddess, as creator and mother of all, has provided the substance for even our own imaginations. As humans dwelling in the differentiated state of a time-space continuum, we construct vessels that fit the size of our own expectations and abilities to greet the goddess. How we invoke her, whether she arrives, and what we do to maintain our relationship with her all play a part in the continuous journey of spiritual exploration. What begins as a prayer for one type of wealth might evolve into yet another level of expanded awareness of the magnificent gifts that the goddess of prosperity is ready to bestow. As we consider the ever-changing nature of Lak∑m¥ and our abilities to perceive her on our and in our territories, we can’t help but wonder: What are the goddess’s and territories? We are reminded of a question posed at the beginning of this book: If the goddess has arrived, then where has she come from? In the Farewell (Namaskåra) section at the conclusion of the Lakƒm¥ P¶jå, the goddess is seen off, to return “home.” From our vantage point in our world, we don’t really know what that is, other than to envision it, somehow, as an undifferentiated state of pure, unlimited consciousness. However, the songs throughout this volume indicate

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that the goddess has quite a few other “homes.” There is more to the picture than her simply moving from a primordial state of pure expansiveness into the limited arena of name-and-form (nåma-r¶pa) that characterizes our worldly constructions of reality. We learn that the goddess inhabits each of the eleven cosmic directions—the eight cardinal directions on the earth plane, plus the central point, and then the various levels stretching “above” into the heavenly realms and “below” into the strata of the netherworlds. When she is not “here,” she might be in the heavenly abode of Vaikuˆ†ha, where she dwells with Vi∑û in his form as Nåråyaâ, or she could be in the paradisiacal Cow Realm (Goloka), where she dwells with Vi∑û in his form as K®∑â. So too may she be found on one of her sacred islands within the cosmic Ocean of Milk, such as the White Island (Ívetadv¥pa) or the Island of Gems (Maîdv¥pa). Even in Påtåla, the lowest level of the netherworlds, whose murky waters are home to poisonous snakes, Lak∑m¥ reigns as beneficent queen. All of the realms that Lak∑m¥ inhabits exceed the time-space matrix of our ordinary conceptual capacities. They may be visited, however, by those who can meet the specific dimensions of the consciousness prevalent in those realms. This is why the poets beseech the goddess to bring their own consciousness into resonance with hers. How amazing to bask in the exquisite presence of the goddess, having convinced her to arrive. How much more amazing might it be to follow her home, to experience the splendors of Vaikuˆ†ha or Maîdv¥pa or Ívetadv¥pa. Simply to experience the states of conscious that one would have to develop in order to prepare for such journeys would constitute a spiritual transformation of its own. From that state, the entire universe would call to us. Even the serpent-beings who dwell in Påtåla at the very root of the body of the universe might entice us to wonder: Are these not primordial forms of the Kuˆ∂alin¥ that dwells at the very root of our own human body? As the Tantric sources suggest, the realms of the goddess exist outward, beyond the earth, and they also exist within us. Accessing the heavenly states of the goddess’s supreme consciousness has as much to do with our own spiritual preparation as it does with a gracious invitation from the goddess. As we have seen in the songs in our collection, there are two basic types of prayers to the goddess of wealth: One is to ask for prosperity in any of its forms. The other is to ask for access to the source of that prosperity. For the first, the goddess comes to us, meets us in our place, on our , and works within our limitations. For the other, the goddess may meet us partway, but if we want access

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to the source, we need to be able to make that journey alongside her. Here, the roles become reversed. For the first type of prayer, we are the ones who do the invoking. For the other, it is the goddess who calls to us, inviting us to make a pilgrimage to experience her heavenly abodes, her exquisitely expansive state. In this book we have focused on Invoking Lakshmi, calling her into our realm. As marvelous as this has been, how much more exciting to anticipate the next great adventure, to be able to accept the challenge should the goddess, on departing from our glorious meeting, suggest, “Next time, my place.”

Transliterated Sanskrit Texts

Unless otherwise specified, all Sanskrit texts are from Ír¥ Lakƒm¥ Upåsanå, ed. Dixit.

Lakƒm¥ P¶jå Text Svasti-våcana oμ svasti na indro v®ddhaßrava± svasti na p¨∑å vißvavedå± / svastinastårk∑aryo ari∑†anemi± svastino b®haspatirdadhåtu // oμ paya± p®thivyåm paya± o∑adh¥∑u payo divyantarik∑e payodhå± / payasvat¥± pradißa± santu mahyam // [ ] oμ agnirdevatå våto devatå s¨ryo devatå candramå devatå vasavo devatå rudro devatå’dityådevatå marutodevatå vißvedevå devatå b®haspatirdevatendro devatå varuô devatå // oμ dhyau ßåntirantarik∑am ßånti± p®thiv¥ ßåntiråpa± ßåntiro∑adhaya± ßånti± vanaspataya± ßåntirvißvedevå± ßåntirbrahma ßånti± sarvam ßånti± ßåntireva ßånti± såmå ßåntiredhi/ [ ] ßånti± ßånti± ßåntirbhavatu // Pavitr¥kara£a oμ apavitra± pavitrovå sarvåvasthåμgato’pivå ya± smaretpuˆ∂ar¥kåk∑am sa båhyåbhyantara± ßuci± Bh¶ta-ßuddhi oμ apasarpantu te bh¨tå ye bh¨tå bhuvi saμsthitå ye bh¨tå vighnakartåraste naßyantu ßivåjñayå

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Sr¥ Ga£eßa Dhyåna Mantra oμ sumukhaßcaikadantaßca kapilo gajaka®naka± lambodaraßca vika†o vighnanåßo vinåyaka± dh¨mraketurgaˆådhyak∑o bhålacandro gajånana± dvådaßaitåni nåmåni ya± pa†hecch®ûyådapi vidhyårambhe vivåhe ca praveße nirgame tathå saμgråme saμka†e caiva vighnastasya na jåyate ßuklåmbaradharaμ devaμ ßaßivarâμ caturbhujam prasannavadanaμ dhyåyetsarvavighnopaßåntaye Saμkalpa-våkya Dhyåna

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namaste’stu mahåmaye ßr¥p¥†he surap¨jite ßa∫khacakragadåhaste mahålak∑mi namo’stute namaste garu∂årudhe kolåsura bhayaμkari sarvapåpa hare devi mahålak∑mi namo’stute påsanasthite devi parabrahmasvar¨piî parameßi jaganmåtarmahålak∑mi namo’stute ßvetåmbaradhare devi nånåla∫kårabh¨∑ite jagatsthite jaganmåtarmahålak∑mi namo’stute yå ßr¥± påsanasthåvipulaka†i ta†¥ papatråpatåk∑¥ gambh¥råvarttanåbhitanubharanamitå ßubhravastrottar¥yå yå lak∑m¥divyar¨pair maîgaâkhacitai± ståpitåμ hemakuμbhai± så nityam pahastå mama vasatug®he sarvamå∫galya yuktå ‹våhana

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oμ sarvalokasya janan¥ pahaståμ sulocanåm sarvadevamay¥m¥ßåμ dev¥måvåhayåmyaham tattakåñcanavarˆåbhåm muktåmaî viråjitam amalaμ kamalaμ divyamåsanaμ pratig®hyatåm sarvat¥rtha samudbhutaμ padyam gandhådibhiryutam mayådattaμ g®hånedaμ bhagavatibhaktavatsale a∑†agandha samåyuktaμ svarâpåtra prap¨ritam arghyam g®hånamaddattam mahålak∑myai namo’stute

T R A N S LI T ER A T ED S A N S K R IT T E X T S

sarvalokasya yå ßaktirbrahmavi∑ûßivådibhi± stutå dadåmyåcamanaμ mahålak∑myai namoharam pañcåm®ta samåyuktaμ jåhnav¥ salilaμ ßubham g®håna vißva janani snånårthaμ bhakta vatsale divyåmbaram n¨tanaμ hi k∑aumaμtvati manoharam d¥yamånam matå devi g®hana jagadambike kåpilam dadhi kundedudhabalaμmadhusaμyutam sva®âpåtrasthitaμ devi madhuparka g®håâ me ratna ka∫kaâvaid¨rya muktåhårådikåni ca suprasanne gamaâsådattåni sv¥kuru∑vame ßr¥khaˆ∂ågarukarp¨ram®ganåbhi samanvitam vilepanaμ g®håâtvaμ namo’stute bhaktavatsale raktacandana sammißraμ pårijåtasamudbhavam mayådattag®hånåßu candanaμ gandhasaμyutam sind¨ram raktavarâm ca sind¨ratilakam priye bhaktyådattammayå devi sind¨ram pratig®hyatåm kuμkumaμ kåmadam divyam kuμkumaμ kåmar¨piâm akhaˆ∂akåma saubhågyaμ kuμkumaμ pratig®hyatåm tailåni ca sugandh¥nidravyåî vividhåni ca mayådattåni lepårthaμ g®håâ parameßvari mandårapårijåtad¥npå†alaμ ketak¥μ tathå meruvåmogaraμ caiva g®håˆåßu namo’stute vi∑ˆvådi sarvadevånåμ priyåμ sarva sußobhanåm k∑¥rasågarasambh¨tåμ d¨rvå sv¥kuru sarvadå vanaspatirasodbh¨to gadhå∂hya± sumanohara± åghreya± sarvadevånåμ dh¨po’yaμ pratig®hyatåm karp¨ravarttisaμyuktaμ gh®tayuktaμ manoharam tamonåßakaraμ d¥pam g®håâ parameßvari naivedyaμ g®hyatåmdevi bhak∑yabhojya samanvitam ∑a∂rasairanvitaμ divyam lak∑mi devi namo’stute ß¥talam nirmalaμ toyam karp¨reâ suvåsitam åcamanyatåμ mama jalaμ pras¥da tvaμ maheßvari elålava∫ga karp¨ra någapatrådibhiryutam p¨g¥phalena saμyuktam tåmb¨laμ pratig®hayatåm phalena phalitaμ sarvam trailokyaμ sacaråcaram tasmåtphalapradånena p¨rˆå± santu manoratha± hiraˆyagarbha garbhasthaμ hemab¥jaμ vibhåvaso± anantapuˆya phaladam ata± ßånti prayaccha me caturdasarvalokånåμ timirasya nivåraâm årtikyaμ kalpitam bhaktyå g®håâ parameßvari

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yåni kåni ca påpåni brahmahatyåsamåni ca tåni tåni vinaßyanti pradak∑iˆåμ pade pade ketak¥jåti kusumairmallikå målat¥bhavai± pu∑pañjalirmayådattåtåvatprapyai namo’stute namaste sarvadevånåμ varadåsi hari±priye yågatistva prapannåmåμ såme bhÿåttvadarpanåt


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Vedic Texts Hymn to Ír¥ (Ír¥ S¶ktam)1 hiraˆyavarˆåm hariˆ¥m suvarâ-rajata-srajåm candråm hiraˆmay¥μ lak∑m¥m jåtavedo ma åvaha tåμ måvaha jåtavedo lak∑m¥μ-anapagåmin¥m yasyåμ hiraˆyam vindeyaμ gåmaßvam puru∑ånaham aßvapurvåμ rathamadhyåμ hastinåda prabodhin¥m ßriyaμ dev¥m upåhvaye ßr¥r må devi ju∑atåm kåm so’smitåm hiraˆya-pråkåråm årdråm jvalant¥m t®ptåm tarpayant¥m pe-sthitåm pa-varˆåm tåm ihopahvaye ßriyam candråm prabhåsåm yaßaså jvalant¥m ßriyaμ loke devaju∑†åm udåråm tåm panem¥m ßaraâm aham prapadye’alak∑m¥r me naßyatåm tvåm v®ê ådityavarê tapaso’dhijåto vanaspatis tava v®kso’tha bilva± tasya phalåni tapaså nudantu må yåntara yåß ca båhyå alak∑mi± upaitu måm devasakha± k¥rtiß ca maniˆå saha prådurbh¨to’smi rå∑†re’smin k¥rtim ®ddhim dadåtu me k∑utpipåsåmalåm jye∑†håm alak∑m¥m nåßayåmy’aham abh¨tim asam®ddhim ca sarvån nirûda me g®håt gandhadvåråm durådhar∑åμ nityapu∑†åm kar¥∑iˆ¥m ¥ßvar¥m sarva bh¨tånåm tåm ihopahvaye ßriyam manasa kåmam åkutim våcas satyam aß¥mahi paßunåμ r¨pam annasya mayi ßr¥± ßrayatåm yaßa± kardamena prajåbh¨tå mayi sambhava kardama ßriyam våsaya me kule måtaram pamålin¥m åpa± s®jantu snigdhåni cikl¥ta vasa me g®he ni ca dev¥m måtaraμ ßriyam våsaya me kule årdråm pu∑kariˆ¥m pu∑†im pi∫galåm pamålin¥m candråm hiraˆmay¥μ lak∑m¥m jåtavedo ma åvaha årdråm ya± kariˆ¥m ya∑†im suvarˆåm hemamålin¥m s¨ryåm hiraˆmay¥m lak∑m¥m jåtavedo ma åvaha 2 tåm ma åvaha jåtavedo lak∑m¥m anapagåmin¥m yasyåm hiraˆyaμ prabhutam gåvo dåsyo’ßvån vindeyam puru∑ån aham

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Hymn to Lakƒm¥ (Lakƒm¥ S¶ktam)3

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pånane pi papatre papriye padalåyatåk∑i vißvapriye vißvamano’nuk¨le tvatpådapam mayi sannidhatsva pånane pa ¨r¨ påk∑i pasaμbhave tanme bhajasi påk∑i yena saukhyaμ labhåmyaham aßvadayi godåyi dhanadåyi mahådhane dhanaμ me labhatåμ devi sarvakåmaμßva dehime putrapautradhanaμ dhånyaμ hastyaßvådi gave ratham prajånåμ bhavas¥ måtå åyu∑maμtam karotu me dhanamagnirdhanaμ våyurdhanaμ s¨ryo dhanam vasu± dhanamindro b®haspatirvaruâm dhanamaßvinau vainateya somaμ piba somam pibatu v®trahå somam dhanasya somino mahyaμ dadåtu somina± na krodho na ca måtsaryaμ na lobho nåßubhå mati± bhavanti k®tapuˆyånåμ bhaktånåμ ßr¥s¨ktaμ japet sarisijanilaye sarojahaste dhavalataråμßukagandhamålya ßobhe bhagavti harivallabhe manojñe tribhuvanabh¨tikari pras¥da mahyam vi∑ûpatn¥m k∑amåμ dev¥μ mådhav¥μ mådhavapriyåm vi∑ûpriyåm sakh¥μ dev¥m namåmyacyutavallabhåm oμ mahålak∑m¥m ca vidmahe vi∑ûpatn¥μ ca dh¥mahi tanno lak∑m¥± pracodayåt ånanda± kardama± ßr¥da± cikl¥ta iti vi∑rutå± ®∑ayaßca± ßriya± putrå mayi ßr¥rdev¥ devatå ®ârogådidåridryaμ påpañca apam®tyava± bhayaßokamanaståpå naßyantu mama saravadå ßr¥rvacasvamåyu∑yamårogyamåvidhåtpavåmanaμ mah¥yate dhanam dhånyam paßuμ bahuputralåbhaμ ßatasaμvatsaraμ d¥rghamåyu± iti lak∑m¥s¨ktaμ samåptam


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Puråîc Texts Song for Lakƒm¥, Gracious Bestower of Blessings (Prasannavaradå Ír¥ Lakƒm¥ Stotram) jaya papalåßåk∑i jaya tvam ßr¥pati priye jaya måtarmahålak∑mi samsårårâva tåriî mahålak∑mi namastubhyaμ namastubhyaμ sureßvari haripriye namastubhyaμ namastubhyaμ dayånidhe pålaye namastubhyaμ namastubhyaμ ca sarvade sarvabh¨tahitårthaya vasuv®∑tim sadå kuru jaganmåtarnamastubhyaμ namastubhyaμ dayånidhe dayåvati namastubhyaμ vißveßvari namostu te nama± k∑irårâvasute namastrailokya dhåriî vastu∂®ste namastubhyaμ rak∑a måμ ßaraˆågatam rak∑a tvam devadeveßi devadevasya vallabhe daridryåttråhi måμ lak∑mi k®på kuru mamopari namastrailokya janani namastrailokya påvani brahmådaye namaste tvåμ jagadånanda dåyin¥m vi∑ûpriye namastubhyaμ namastubhyaμ jagaddhite årti hantri namastubhyaμ sam®ddhi kuru me sadå abjavåse namastubhyaμ capalåyai namo nama± caˆvalåyai namastubhyaμ lalitåyai namo nama± nama± pradyumna janani måtastubhyaμ namo nama± paripålaya bho måtarmåmμ tubhyaμ ßaraˆågatam ßaraˆya tvåm prapanno’smi kamale kamalålaye tråhi tråhi mahålak∑mi paritråâ paråyane påîtam ßobhate naiva na ßobhanti guˆå nare ß¥latvam naiva ßobheta mahålak∑mi tvayå vinå tåvadviråjate r¨pam tåvacch¥lam viråjate tåvad guˆå nåråyaˆåñca yåvallak∑mi pras¥date lak∑mi tvayå tvaμk®ta månavå ye påpairvimuktå n®pa lokamånya± guâirvih¥nå guîno bhavanti du±ß¥lina± ß¥lavatåμ vari∑†ha± lak∑m¥rbh¨∑ayate r¨paμ lak∑m¥rbh¨∑ayate kulam lak∑m¥rbh¨∑ayate vidyåμ sarvallak∑m¥rvißi∑yate lak∑mi tvadguâk¥rtanena kamalå bhÿåtyalaμ jihyatåm rudrådyå ravicandra devapatayo vaktuñca naiva k∑amå±

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asyåbhistava r¨pa lak∑aâ guˆåμ vaktuμ kathaμ ßakyate måtårmåμ paripåhi vißvajanani k®två mame∑†am dhruvam d¥nårtibh¥taμ bhavatåpa p¥∂itaμ dhanairvih¥nam tava parßvamågata± k®pånidhitvanmama lak∑mi satvaraμ dhana pradånåddhana nåyakam kuru måμ vilokya janani haripriye± nirdhanaμ tava sam¥pamågatam dehi me jha†iti lak∑mi karågraμ vastra kañcana varånna yadbhutam tvameva janan¥ lak∑mi p¥tå lak∑mi tvameva ca bhråtå tvaμ ca sakhå lak∑mi vidyå lak∑mi tvameva ca tråhi tråhi mahålak∑mi tråhi tråhi sureßvari tråhi tråhi jaganmåtardaridryåttråhi vegata± namastubhyaμ jagaddhåtri namastubhyaμ namo nama± dharmådhare namastubhyaμ nama± sampatti dåyin¥ daridrårâva magno’haμ nimagno’ham rasåtale majjantaμ måμ kare dh®två s¨ddhara tvaμ rame drutam kiμ lak∑mi bahunoktena jalpitena puna± puna± anyame ßaraâm nåsti satyaμ satyaμ haripriye etacchrutvå’gasti våkyaμ h®syamåˆya haripriyå uvåca madhurå våˆ¥μ tu∑†åhaμ tava sarvadå yattvayoktamidaμ stotraμ ya± pa†hi∑yati måâva± ß®noti ca mahåbhågastasyåha vaßavartin¥ nityam pa†hati yo bhaktyå lak∑m¥tasya na naßyati ®âßca naßyate t¥vraμ viyogam naiva paßyati ya± pa†hetpråtaruttåya ßraddhåbhakti samanvita± g®he tasya sadå sthåsye nityaμ ßr¥patinå saha sukha saubhågya sampanno manasv¥ buddhimån bhavet putravån guâvån ßre∑†ho bhoga bhoktå ca månava± idaμ stotram mahåpuˆyaμ lak∑myagasti prak¥rtitam vi∑û prasåda jananaμ caturvargaμ phalåpradam råjaddvåre jayaßcaiva ßatroßcaiva paråjaya± bh¨tapreta pißåcånåμ vyåghråˆåμ na bhayaμ tathå na ßastrånalato yaudyåd bhayaμ tasya prajåyate durv®ttånåm ca påpånåμ bahuhånikaraμ param mandaråkarißålåsu gavåμ go∑†he samåhita± pa†hettaddo∑a ßåntyartham mahåpåtaka nåßanam


sarva saukhyakaraμ n®ˆåmåyurarogyadaμ tathå agasti muninå proktaμ prajånåμ hitakåmyayå ityagasti viracitaμ lak∑m¥ stotraμ samåptam

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Song for the Glorious Lotus Goddess (Ír¥ Kamalå Stotram)

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nama± kamalavåsinyai nåråyanyai namo nama± k®∑â priyåyai satatamμ mahålak∑myai namo nama± papatrek∑anåyai ca påsyayai namo nama± påsanåyai pyai vai∑âvyai ca namo nama± sarvaμ sampatsvar¨pinyai sarvaråddhyai namo nama± haribhakti pradåtryai ca har∑adåtryai namo nama± kr®∑â vak∑a± sthitåyai ca k®ôßåyai namo nama± candraßobhå svar¨påyai ratnape ca ßobhane sampatyadhi∑†håt®devyai mahådevyai namo nama± namo v®ddhisvar¨påyai v®ddhidåyai namo nama± vaikuˆ†he yå mahålak∑m¥ryå lak∑m¥± k∑¥ra sågare svargalak∑m¥rindragehe råjalak∑m¥rn®pålaye g®halak∑m¥ßca g®hiˆ¥ gehe ca g®hadevatå surabhi± sågare jåtå dak∑iˆå yajña kåmin¥ aditirdeva måtå tvaμ kamalå kamalålayå svåhå tvaμ ca havirdåne kavyådane svadhåsm®tå tvaμhi vi∑ûsvar¨på ca sarvådhåra vasundharå ßuddhasatvasvar¨på tvaμ nåråyaâ paråyaâ krodhahiμsåvarjita ca varadå ßåradå ßubhå paramårtha pradå tvåμ ca haridåsya pradå parå yayå vinå jagatsarvam bhasm¥bh¨tamasårakam j¥vanm®tam ca vißvaμ ca ßåßvatsarvayayå vinå sarve∑åμ ca parå måtå sarvabåndhavar¨piˆ¥ dharmårtha kåmamok∑åˆåμ tvaμ ca kåraâ r¨piˆ¥ yathå måtå stanåμdhånåμ ßiß¨nåμ ßaißave sadå tathå tvaμ sarvadå måtå sarve∑åμ sarvar¨pata± måt®h¥na± stanåμdhastu sa ca j¥vati daivata± tvayåh¥no jana± ko’pi na j¥vatyena nißcitam suprasannasvar¨på tvaμ måμ prasannå bhavåmbike vairigrastaμ ca vi∑ayam dehi mahyaμ sanåtani ahaμ yåvattvayå h¥no bandhuh¥naßca bhik∑uka± sarvasaμpaddhih¥nåßca tåvadeva haripriye jñånaμ dehi ca dharmaμ ca sarvaμ saubhågyam¥psitam prabhåvaμ ca pratåpaμ ca sarvådhikårameva ca jayam paråkramaμ yuddhe paramaißvaryam eva ca ßr¥ nåråyaâ uvåca— ityuktvå ca mahendraßca sarve± suragaâu± saha praânåma såßrunetro m¨rdhna caiva puna± puna± brahmå ca ßa∫karaßcaiva ße∑o dharmaßca keßava±


sarve cakru± par¥håraμ surårthe ca puna± puna± devebhyaßca varaμ datvå pu∑pamålåμ manoharåm keßavåya dadau lak∑m¥± saμtu∑†å± surasaμsadi yayurdevåßca saμtu∑†å svaμ svaμ sthånaμ ca nårada dev¥ yayau hare sthånaμ h®∑†å k∑¥rodaßåyina± yayatußcaiva sva sva g®haμ brahmeßånau ca nårada datvå ßubhåßiyaμ tau ca devebhya± pr¥tip¨rvakam idaμ stotraμ mahåpuˆyaμ trisandhyaμ ya± pa†hennara± kuberatulya± sa bhavedråjaråjeßvaro mahån pañcalak∑a japenaiva stotrasiddhirbhavenn®ˆåm siddha stotraμ yadi pathenmåsamekaμ tu santatam mahåsukh¥ ca råjendro bhavi∑yati na saμßaya± iti ßr¥ kamalå stotraμ samåptam

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Lord Indra’s Song for Lakƒm¥ (Devaråja Indrak®ta Lakƒm¥ Stotram)4

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påråßara uvåca— siμhåsana gata± ßakra± saμpråpta tridivaμ pura± devaråjye sthitå dev¥μ tu∑†åvåbjakaråμ tata± indra uvåca— namaste sarvabh¨tånåμ janan¥mabdhi saμbhavåm ßr¥yakunnidrapåk∑¥ vi∑û vak∑asthalasthitåμ pålayåμ pakaråμ papatra nivek∑aˆåm vande pamukh¥μ dev¥μ panåbha priyåmaham tvaμ siddhistvaμ svadhå svåhå sudhåtvaμ lokapåvan¥ sandhyå råtri prabhå bh¨tirmedhå ßraddhå sarasvat¥ yajñavidyå mahåvidyå guhyavidyå ca ßobhane åtmavidyå ca devi tvaμ vimukti phaladåyin¥ ånvik∑ik¥ tray¥ vårtå daˆ∂an¥tistvameva ca saumyåsaumyair jagadr¨paistvayaitad devi p¨ritam kå tvanyå tvåm®te devi sarvayajñamayaμ vapu± adhyåste devadevasya yogicintyaμ gadåbh®ta± tvayådevi parityaktaμ sakalaμ bhuvanatrayam vina∑†apråpamabhavat tvayedån¥μ samedhitam dårå± putråstathå’gara suh®ddhånyu dhanådikaμ bhavatyetanmahåbhåge nityaμ tvadd¥k∑anånn®nån ßar¥rårogyamaißvaryamari pak∑a k∑aya± sukham devi tvadd®∑†id®∑†ånåμ puru∑ånåμ na durlabham tvamambå sarvabh¨tånåμ devadevo hari± pitå tvayaitadvi∑ûnå cåmba jagaddyåptaμ caråcaram må na± koßaμ tathå go∑†haμ må g®ham ma paricchadam må ßar¥ram kalatra ca tyajethå± sarvapåvani må putrånmå suh®dvargånmå paß¨nmå vibh¨∑aâm tyajethå mama devasyavi∑ôrvak∑a sthalåßraye satvena satyaßaucåbhyåμ tathå ß¥lådibhirguâi± tyajyaμte te narå± sadhya saμtyaktå ye tvayå’male tvayå’valokitå± sadya± ß¥låcyairakhilairguâi± kulaißvaryaßca yujyante puru∑å nirguˆå api sa ßlaghya± saguˆ¥ dhanya± sa kul¥na± sabhuddhimån sa s¨ra± sa ca vikrånto yastvayå devi vik∑ita± sadyo vaiguˆyamåyåμti ß¥lådya± sakalå guâ± paråñmukh¥ jagaddhåtr¥ yasya tvaμ vi∑ûvallabhe na te varâyitam ßaktå guˆån jihvåpi vedhasa± pras¥da devi påk∑i nåsmåμstyåk∑¥± kadåcana


påråsara uvåca— evaμ ßr¥ saμstutå saμyak pråha h®∑†hå ßatakratum ß®ˆvatåμ sarvadevånåμ sarvabh¨tasthitå dvija ßr¥ruvåca— paritu∑†åsmi deveßa stotreˆånena te hare varaμ v®ˆ¥∑va yo’bh¥∑†a± varadåhaμ tavågatå indra uvåca— varada yadi me devi varårho yadi våpyaham trailokyaμ na tvayå tyåjyame∑a me’stu vara± para± stotreâ yastavaitena tvåμ sto∑yatyabdhisambhave sa tvåμ na parityajyo [ ] dvit¥yostu varo mama ßr¥ruvåca— trailokyaμ tridaßa ßre∑†ha na saμtyak∑yåmi våsava dattå varo mayå’yaμ te stotrårådhana tu∑†ayå yaßca’åyam tathå pråta± stotreˆånena månava± måμ sto∑yati na tasyåhaμ bhavi∑yåmi parå∫mukh¥ pårasara uvåca— evam varaμ dadau dev¥ devaråjåya vai purå maitraya ßr¥rmahåbhåga stotrårådhana to∑itå bh®go± khyåtyåμ samutpannå ßr¥± p¨rvamudadhe± puna± devadånava yatnena prast¨tå’mata maμthane evaμ yathå jagatsvåm¥ devaråjo janårdana± avatåraμ karotye∑å tathå ßr¥statsahåyin¥ punaßca pasambh¨tå tathå’dityo’bhavaddhari yadå ca bhårgavo råmastadå’bh¨ddharaˆ¥ tviyam råghavatve’bhavass¥tå rukmiˆ¥ k®∑â janmani anye∑uravatåre∑u vi∑ôre∑å’napåyin¥ devatve devadeheyaμ månusatve ca månu∑¥ vi∑ô dehånur¨påμ vai karotye∑å’tmanastanum yaßcaittacch®ûyåjjanma lak∑mya yaßca pa†hennara± ßriyo na vicyutistasya g®he yåvatkulatrayam pa†hyate ve∑u caitre∑u g®ha∑u ßr¥stavo mane alak∑m¥ kalahådhårå na te∑våste kadåcana etatte kathitaμ brahman yanmåμ tvaμ parip®cchasi k∑¥råbdhau ßr¥ryathå jåtå p¨rvaμ bh®gusutå sat¥ iti sakala vibhutyavåpti hetu± stutiriyamindramukhodgatå hi lak∑mya± anudhinmiha pa†hyate nabhiyarvasati na te∑u kadåcidapyalak∑m¥±

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The Heavenly Gods’ Praise-Song for Lakƒm¥ (Ír¥ Daivak®ta Lakƒm¥ Stotram)5

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k∑amasva bhagavatyaμba k∑amåßile paråtpare ßuddha sattvasvar¨pe ca kopådiparivarjite upame sarvasådhv¥nåμ dev¥nåμ deva p¨jite tvayå vinå jagatsarva m®tatulyaμ ca ni∑phalam sarva sampatsvar¨på tvaμ sarveßåμ sarvar¨piˆ¥ råseßvaryadhidev¥ tvaμ tvatkalå± sarva yo∑ita± kailaße pårvat¥ tvaμ ca k∑¥rode sindhukanyakå svarge ca svargalak∑m¥stvaμ martya lak∑m¥ßcabh¨tale vaikuˆ†he ca mahålak∑m¥rdaivadev¥ sarasvat¥ ga∫gå ca tulas¥ tvam ca såvitr¥ brahmalokata± k®∑âprånådhidevi tvaμ goloke rådhikå svayam råse råseßvar¥ tvaμ ca v®ˆdåvana vane vane k®∑âpriyå tvaμ bhåˆdire candrå candana kånane virajå campaka vane ßataß®ˆge ca sundar¥ påvat¥ pavane målatå målat¥ vane kundadant¥ kundavane suß¥lå ketak¥ vane kadaμbamålå tvaμ dev¥ kadaμba kånane’pi ca råjalak∑m¥ råjagehe g®halak∑m¥ g®he g®he ityuktva devatå± sarve munayo manavastathå rurudurnamravadanå± ßu∑kakaˆ†ho∑†hatålukå iti lak∑m¥ stavaμ puˆyaμ sarvadevai± k®ta± ßubham ya± pa†hetpråtarutthåya sa vai sarva labheddhruvam abharyo labhate bhåryaμ vin¥tam ca sutåμ sat¥m suß¥lam sundar¥μ ramyåmatisupriya vådinåm putrapautravat¥μ ßuddhåμ kulajåμ komalåμ varam aputro labhate putraμ vai∑âvaμ ciraj¥vanam paramaißvaryayuktaμ ca vidyåvatam yaßasvinam bhra∑†aråjyo labhedråjyaμ bhra∑†a ßr¥rlabhate ßriyam hatabandhurlabhedbandhuμ dhanabhra∑†o dhanaμ labhet k¥rtih¥no labhetk¥rtiμ prati∑†håμ ca labheddhruvam sarva ma∫galadaμstotram ßoka santåpanåßanam har∑ånandakaraμ ßåßvaddharma mok∑a suh®tpradam iti ßr¥ lak∑m¥ stotram samåptam


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Eight Verses Praising Mahålakƒm¥ (Ír¥ Mahålakƒmyaƒ†akam Stotram)6 indra uvåca— namaste’stu mahåmaye ßr¥pithe surap¨jite ßa∫khacakragadåhaste mahålak∑m¥ namo’stute namaste garu∂år¨dhe kolåsura bhaya∫kari sarvapåpa hare devi mahålak∑mi namo’stute sarvajñe sarvavarade sarvadu∑†abhaya∫kari sarva du±kha hare devi mahålak∑mi namo’stute siddhi buddhiprade devi bhukti mukti prådayini mantram¨rte sadå devi mahålak∑mi namo’stute ådyantarahite devi ådyaßakti maheßvari yogaje yogasambh¨te mahålak∑mi namo’stute sth¨la s¨k∑ma mahåraudre mahåßakti mahodare mahåpåpa hare devi mahålak∑mi namo’stute påsana sthite devi parabrahma svar¨piî parameßi jaganmåtarmahålak∑mi namo’stute ßvetåmbaradhare devi nånåla∫kåra bh¨∑ite jagatsthite jaganmåtarmahålak∑mi namo’stute mahålak∑mya∑†akamstotram ya± pa†hedbhaktimånnara± sarvasiddhim avåpnoti råjyam pråpnoti sarvadå eka kale pa†hennityaμ mahåpåpa vinåßanam dvikålaμ ya± pa†hennityaμ dhanadhånya samanvita± trikålaμ ya± pa†hennityaμ mahåßatru vinåßanam mahålak∑m¥rbhavennityaμ prasannå varadå ßubhå iti ßr¥ indrak®ta mahålak∑mya∑†akam samåptam

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Tantric Texts The Secret Heart of Lakƒm¥ (Ír¥ Mahålakƒm¥ H®dayam) Viniyoga ådyådi ßr¥ mahålak∑m¥ h®dayamålå mantrasya bhårgava ®∑i ådyådi ßr¥mahålak∑m¥rdevatå anu∑†ubådinåchandåμsi ßr¥μ b¥jaμ / hr¥μ ßakti± aiμ k¥lakaμådyådimahålak∑m¥prasådasiddhyartha jape viniyoga± / Nyåsa oμ bhårgava ®∑aye nama± ßirasi oμ anu∑†upådi nånåchandebhyonama± mukhe ådyådi mahålak∑myaidevatåyai namo h®daye ßr¥μ b¥jaya nama± guhye hr¥μ ßaktaye nama± padayo± aiμ k¥lakåya nama± sarvå∫ge Karanyåsa ßr¥μ a∫gu∑†håbhyåμ nama± hr¥μ tarjan¥bhyåμ nama± aiμ madhyamåbhyåμ nama± ßr¥μ anåmikåbhyåμ nama± hr¥μ kani∑†hikåbhyåμ nama± aiμ karatalakara p®∑†håbhyåμ nama± Sa†a‰ganyåsa ßr¥μ h®dayåya nama± hr¥μ ßirase nama± aiμ ßikhåyai va∑a† ßr¥μ kavacåya huμ hr¥μ netra trayåya vau∑a† aiμ astråya pha† ßr¥μ hr¥μ aiμ iti digbandha±


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Dhyåna hastadvayena kamale dhårayant¥μ sval¥layå håra n¨pura saμyuktåμ lak∑m¥μ dev¥ vicintaye ßa∫khacakra gadå haste ßubhravarge suvåsin¥ mama dehi varaμ lak∑mi sarvasiddhi pradåyini Mantra oμ ßr¥μ hr¥μ aiμ mahålak∑myai kamaladhåriˆyai siμhavåhinyai svåhå Stotra vande lak∑m¥μ paraßivamay¥μ ßuddhajåmb¨nadåbhåμ tejor¨påμ kanankavasanåμ sarvabh¨∑ojjvalång¥m b¥jåp¨raμ kanaka kalaßaμ hemapa dadhånåmådhyåμ ßakti sakala janan¥μ vi∑ûvåmå∫ga saμsthåm ßrimatsaubhågyajanan¥μ staumilak∑m¥μ sanåtan¥m sarvakåma phalåvåpti sådhanaika sukhåvahåm smaråmi nityaμ deveßi tvayå prerita månasa± tvadåjñåm ßiraså dh®tvåbhajåmi parameßvar¥m samasta sampatsukhadåμ mahåßriyam, samasta saubhågyakar¥m mahåßriyam samasta kalyåâkar¥μ mahåßriyam, bhajåmyahaμ jñånakar¥μ mahåßriyam vijñanasaμvatsukhadåμ sanåtan¥μ, vicitra vågbh¨tikar¥μ manoharåm ananta såmodasukha pradåyin¥μ, namåmyahaμ bh¨tikar¥m haripriyåm samasta bh¨tåntara saμsthitå tvaμ, samasta bhoktr¥ßvari vißvarupe tråsti yattadvayatiriktavasatu, tvatpådapaμ praâmåmyahaμ ßr¥± dåridryadu±khaudyatamoghahantri, tvatpådapa mayi sannidhatsva d¥nåtivicchedana hetubh¨tai±, k®påka†ak∑airabhi∑iñca måμ ßr¥± amba pras¥da karuˆåsudhayardra d®∑†yå, måμ tvatk®på dravitha gehamimnaμ kuru∑va

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ålokaya praâta h®dgataßoka hantri-, tvatpådapa yugalaμ praâmåmyahaμ ßr¥± ßåntyai namostu ßaraˆågatarak∑aˆåyai, kåntyai namostu kaman¥yaguˆåßrayåyai ßåntyai namostu durita k∑ayakåraˆåyai, dhåtryai namostu dhanadhånyasam®ddhidåyai ßaktyai namostu ßaßißekhara saμstutåyai, ratyai namo’stu rajakaμ rasodaråyai bhaktyai namostu bhavasågaratårakåyai, matyai namostu madhus¨dana vallabhåyai lak∑myai namostu ßubhalak∑aâ lak∑itåyai, siddhayai namostu ßivasiddhasup¨jitåyai dh®tyai namostvamita durgati bhañjanåyai, gatyai namostu varasadgati dåyakåyai devyai namostu divi devagaôrcitåyai, bh¨tyai namostu bhuvatåtivinåßanåyai dåtrayi namostu dharaˆ¥dhara vallabhåyai, pu∑†yai namostu puru∑ottama vallabhåyai sut¥vra dåridrya vidu±kha hantryai, namo’stu te sarvabhayåpahatryai ßr¥ vi∑û vak∑asthala saμsthitåyai, namo namassarva vibh¨tidåyai jayatu jayatu lak∑m¥rtya k∑aˆålaμ k®tång¥, jayatu jayatu på pasapåbhivandyå jayatu jayatu vidyå vi∑û våmå∫ka saμsthå, jayatu jayatu samyaksarva saμpatkar¥ ßr¥± jayatu jayatu devi devasa∫ghabhip¨jyå, jayatu jayatu bhadrå bhårgav¥ bhågyar¨på jayatu jayatu nityå nirmala jñånavedyå, jayatu jayatu satyå sarvabh¨tåntarasthå jayatu jayatu ramyå ratnagarbhåntarasthå, jayatu jayatu ßuddhå suddha jåmbunadåbhå jayatu jayatu kåntå kåntimadbhåsitå∫g¥, jayatu jayatu ßåntåß¥ghramågaccha saumye yasyå± kalådya± kamalodbhavådyå, rudråßca ßakra pramukhåßca devå± j¥vanti sarvå api ßaktayatå±, prabhutvamåptå± paramåyu∑aste lilekha ni†ile vidhirmama lipi vis®jyåntaram, vilikhitavyamediti tatphala pråptaye tadantaraphale sphu†am kamalavåsin¥ ßr¥rimåμ, samarpayasamudrikåμ sakalabhågyasaμs¨cikam


kalayå te yathå devi j¥vanti sacaråcaram tathå sampatkarelali sarvadå sampras¥dame yathå vi∑ûrdhruvenityaμ svakalåμ sannaya ßayat tathaiva svakalåμ lak∑mi mayi samyak samarpaya sarvasaukhya prade devi bhaktånåmabhayaprade acalåμ kuru yatnena kalåμ mayi niveßitåm gudåståμmadbhale paramapadalak∑m¥± sphu†akalå, sadå vaikuˆ†ha ßr¥nivåsatu kalå me nayanayo± vasetsatye loke mama vacasi lak∑m¥ varakalå, ßriyaßßvetadv¥pe nivasatu kalå me svakarayo± tavannityaμ mamå∫ge∑u k∑iråbdhau ßr¥kalåvaset s¨ryåcandramasau yåvadyåvallak∑m¥pati± ßriyå sarvama∫galasamp¨rnå sarvaißvarya samanvitå ådyådi ßr¥mahålak∑mi tvatkalå mayi ti∑†hatu ajñåna timiraμ hantuμ ßuddhajñåna prakåßikå sarvaißvaryapradåmestu tvatkalå mayi saμsthitå alak∑m¥μ haratu k∑ipraμ tama± s¨ryaprabhå yathå vitanotu mama ßreyastvatkalå mayi saμsthitå aißvarya ma∫galotpattisvatkalåyåμ nidh¥yate mayi tasmåtk®tårthe’sminpåtramasmi sthitestava bhavadåveßabhågyårho bhågyavånasmi bhårgavi tvatprasådåtpavitrohaμ lokamåtarnamostu te punåsi måμ tvaμ kalayaivayasmå [ ] datu± samågaccha mamågratastvam parampadaμ ßr¥rbhavatu prasannå, mayyacyutena pravißådi lak∑mi ßr¥vaikuˆ†hasthite lak∑mi samågaccha mamågrata± nåråyaneâ saha måμ k®påd®∑†yå vilokaya satyaloka sthite lak∑mi tvam mamågaccha sannidhim våsudevena sahitå pras¥da varadå bhava ßvetadv¥pasthite lak∑mi ß¥ghramågaccha suvrata vi∑ûnå sahite devi jaganmåta± pras¥da me ßr¥råmbudhisthite lak∑mi samågaccha samådhave tvatk®påd®∑†isudhayå satataμ måμ vilokaya ratnagarbhasthite lak∑mi parip¨râ hiraˆmayi samågaccha samågaccha sthitvåßu [?] purato mama sthiråbhava mahålak∑mi nißcalå bhava nirmale prasanne kamale devi prasanna h®daya bhava ßr¥dhare ßr¥mahåbhute tvadanta sthaμ mahånidhim ß¥ghramuddh®tya purata± pradarßaya samarpaya vasundhare ßr¥ vasudhe vasudogdhra k®påmayi tvatkuk∑igata sarvasvaμ ß¥ghram me sampradarßaye

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vi∑û priye ratnagarbhe samastaphalade ßive tvadgarbhagatahemadi¥n sampradarßaya darßaya rasåtalagate lak∑mi ß¥ghramågaccha me pura± na jåne paramaμ r¨paμ måtarme sampradarßaya åvirbhava manovegåcch¥ghramågaccha me pura± måvatsa bhairihetyuktyå kåmaμ gauriva rak∑amåm devi ß¥ghram samågaccha dharaˆ¥garbha saμsthite måtastvadbh®tyabh®tyohaμ m®gaye tvam kut¨halåm utti∑†ha jåg®hi tvam me samutti∑†ha sujåg®hi ak∑ayan hemakalaßån suvarêna sup¨ritam nik∑epan me samak®sya samuddhatya mamågrata± samunnåtånanå bh¨två samodhedhi dharåntaråt matsannidhi samågaccha madåhita k®pårasåt pras¥da ßreyasåndogdhri lak∑mi me nayanågrata± atropavißa lak∑mi tvaμ sthirå bhava hiraˆmayi susthiråbhava sampr¥tyå pras¥da varadå bhava ån¥ya tvaμ tathå devi nidh¥m me sampradarßaya adya k∑aêna sahaså datvå saμrak∑a måμ sadå mayi tis∑†ha tathå nityaμ yathendrådi∑u ti∑†hasi abhayaμ kuru me devi mahålak∑mi namo’stute samaågaccha mahålak∑mi ßuddhåjåmb¨nadaprabhe pras¥da purata± sthitva praâtam måμ vilokaya lak∑mi bhuvam gatå åsi yatra yatra hiraˆmay¥ tatra tatra sthitå tvaμ me tava r¨paμ pradarßaya kr¥∂ase bahudhå bh¨mau parip¨râhiranmay¥ samam¨rddhani te hastamavilambitamarpaya phalådbhagyodaye lak∑mi samastapura våsini pras¥da me mahålak∑mi parip¨râ manorathe ayodhyådi∑u sarve∑u nagare∑u samåsthite vaibhavairvividhairyuktå samågaccha balånvite samågaccha samågaccha mamågre bhava susthirå karuârasani∑yanda netra dvaya vilåsin¥ sannidhatsva mahålak∑mi tvatpåî mama mastake karuâßudhayå måμ tvamabhi∑iñca sthir¥ kuru sarvaråjag®he lak∑mi samågaccha mudånvite sthitavåßu purato me prasådenåbhayaμ kuru sådaram mastake hastaμ mama tvam k®payårpaya sarvaråjag®he laksmi tvatkalå mayi ti∑†hatu ådyådi ßr¥mahålak∑mi vi∑ûvåmå∫ka saμsthite pratyak∑am kuru me r¨paμ rak∑a måμ ßaraˆågatam pras¥da me mahålak∑mi supras¥da mahåßive acalå bhava sampr¥tyå susthirå bhava madg®he


yåvatti∑†hanti vedåßca yåvatvannåma ti∑†hati yåvadvis∑ûßca yåvattvaμ tåvatkuru k®på mayi cåndr¥ kalå yathå ßukle varddhate så dine dine tathå dayå te mayyeva varddhatåmabhivarddhatåm yathå vaikuˆ†ha nagare yathå vai k∑ira sågare tathå madbhavane ti∑†ha sthira ßr¥ vi∑ûnåμ saha yoginåμ h®daye nityaμ yathå ti∑†hasi vi∑ûnå tathå madvane ti∑†ha sthiraμ ßr¥ vi∑ûnå saha nåråyaâsya h®daye bhavati yathåste, nåråyaôpi tava h®tkamale yathåste nåråyaâstvamapi nityasubho tathaiva, tau ti∑†hatam h®di mamåpi dayåvati ßr¥± vijñåna v®ddhiμ h®daye kuru ßr¥±, saubhågya v®ddhiμ kuru me g®he ßr¥± dayå suv®ddhiμ kurutåm mayi ßr¥±, suvarâv®ddhiμ kuru me g®he ßr¥± mamåμ tyajethå± ßrita kalpavalli, sadbhakta citråmaî kåmadheno vißvasya måtarbhava suprasannå, g®he kalatre∑u ca putravarge ådyådi måye tvamajåˆ∂a b¥jaμ, tvameva såkåra niråk®ti stvam tvayå dh®tåßcåbjabhavåˆ∂a sa∫ghån, citraμ caritraμ tava devi vi∑ô± brahmarudrådayo devå vedåßcåpi na ßaknuyu± mahimånaμ tava stotuμ mando’haμ ßaknuyåμ katham ambatvadvatsa våkyåni s¨ktå s¨ktåni yåni ca tåni sv¥kuru sarvajñe dayålutvena sådaram bhavat¥m ßaraâμ gatvå k®tårthå± syu± puråtanå± iti sañcintya manaså tvåmahaμ ßaraâμ vraje anantå nityasukhinastvadbhaktåstvatparåyaˆå± iti veda pramåˆåddhi devi tvam ßaraâm vraje tava pratijñå madbhaktånanaßyant¥tyapi kvacit iti sañcintya sañcintya pråˆånsandhårayåmyaham tvadadh¥na stvahaμ måtastvak®på mayi vidyate yåvatsamp¨râkåma± syåttåvaddehi dayånidhe k∑anamåtram na ßaknomi j¥vitum tvatk®påμ vinå na j¥vant¥ha jalajå jalaμ tyaktvå jalågrahå± yathåhi putra våtsalyajjanan¥ prasnutastan¥ vatsaμ tvanaritamåtya sampr¥râyati vatsalå yadi syåntava putro’ham måtå tvam yadi måmak¥ dayå payodharastanya sudhåbhirabhi∑iñca måm

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m®gyo na guâleßopi mayi do∑aikamandare påμsunåμ v®∑†i bind¨nåμ do∑åˆåñca namemiti påpinåmahamevåggre dayålunåm tvamågraˆ¥± dayan¥yo madanyo’sti tava kotra jagattraye vidhi hanna s®∑†aßcennasyåttava dayålutå [ ] åmayo vå na s®∑†aßcedau∑adhasya v®thodaya± k®på madaguˆå kiμ te ahaμ kiμ vå tadagraja± vicårya dehi ye vittam tava devi dayånidhe måtå pitå tvaμ guru sadgati ßr¥stvameva sañj¥vana hetubh¨ta anyanna manye jagadeka nåthe, tvameva sarva mamadevi satye ådyådilak∑m¥rbhava suprasannå, vißuddha vijñåna sukhakaμdoghr¥ ajñånahantr¥ triguˆåtiriktå, prajñånanetr¥ bhava suprasannå aßep våg ja∂yamalåya hantr¥, navannavam spa∑†a suvåk pradåyin¥ mameha vihvågra sura∫ga narttak¥, bhava prasannå vadena ca me ßr¥± satasta sampatsu viråjamånå, samastatejaßca ya bhåsamånå vi∑û priye tvam bhava d¥pyamånå, vågdevatå me nayane prasannå sarva pradarße sakalårthade tvam prabhå sulåvanya dayå pradogdhr¥ suvarâde tvam sumukh¥ bhava ßr¥, hiraˆmay¥ me nayane prasannå sarvårthadå sarvajagats¨ti± sarveßvar¥ sarvabhayåya hantr¥ sarvonnatå tvaμ sumukh¥ bhava ßr¥rhiraˆmay¥me nayane prasannå samasta vighnaugha vinåßakåriˆ¥, samastabhaktoddharaô vicak∑anå ananta saubhagya sukha pradåyin¥, hiraˆmay¥ me nayane prasannå devi pras¥da dayan¥ya tamåya yahyan, devådhinåthabhava devagaâbhivandhye måtastathaiva sannihitå d®ßorye, patyå samam maya mukye bhava suprasannå må vatsa bhairabhayadåna karo’rpitaste, maulo mayeti mama d¥nadayånukampe


måtah± samarpaya mudå karuˆå ka†åk∑aμ, må∫galya b¥jamiha na± s®ja janmamåta± katåk∑a iha kåma bhuktava manastu cintåmaî± kara± surataru± sadå navanidhistvamevendire bhavettava dayårasomama rasåyanaμ cånvahaμ sukham tava kalånidhi vividha våñchatårthapradam yathå rasasparßana to’yasopi, suvarâtå syåtkamale tathå te ka†åk∑asaμsparßanato janåna, mama∫galånåmapi ma∫gala tvam deh¥ti nåst¥ti vaca± praveßåd, bh¥to rame tvåm ßaranaμ prapadye ata± sadåsminna bhayapradå tvaμ, sadaiva patyå mayi sannidhehi kalpadrumeâ maînå sahitå suramyå, ßr¥ste kalåmayi rasena rasåyanena åståμ yato mama ca hak ßirayånipåd, sp®∑tå± suvarâvapu∑a± sthiraja∫gamå syu± ådyådi vi∑ô± sthiradharmapatn¥, tvameya patyå mayi sannidhehi ådyådi lak∑m¥ tvadanugraheâ, pade pade me nidhi darßanaμsyåt ådyådi lak∑m¥ h®dayaμ pa†hedya±, sa råjya lak∑m¥macalaμ tanoti mahådaridropi bhaved dhanådhya±, tadanvaye ßr¥± sthiratåμ prayåti yasya smaraâmåtreâ tu∑†å syåd vi∑ûvallabhå tasyåbhi∑†aμ dadåtyåßu taμ pålayati putravat idaμ rahasyaμ h®dayaμ sarvakåma phala padam japa± pañcasahasraμ tu puraßcaraâmucyate trikålameka kålaμ vå naro bhakti samanvita± ya± pa†hecch®ûyådvåpi sa yåti paramåμ ßriyam mahålak∑m¥m samuddißya nißi bhårgavavåsare idaμ ßr¥ h®dayam japtvå pañcavaraμ dhan¥ bhavet anena h®dayenånnaμ garbhiˆyå abhimantritam dadåti tatkule putro jåyate ßr¥pati± svayam nareßa våthavå nåryå lak∑m¥μ h®daya mantrite jale p¥te ca tadvaμße mandabhågyo na jåyate ya aßvine måsi ca ßuklapak∑e, råmotsave sannihitaikabhaktyå pa†hettathaikottaravåra v®ddhayå, labhetsa sauvarâmay¥μ suv®∑tim

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ya ekabhaktonvahameka var∑a, vißuddhadh¥± saptativårajåy¥ sa mandabhågyopi rayåka†åk∑åt, bhavadet sahasråk∑aßatådhika ßr¥± ßr¥ ßåμghri bhaktiμ haridasadåsyaμ, prasannamantrårtha d®∂haikani∑†håm guro± sm®tiμ nirmalabodhabuddhim, pradehi måta± paramaμ padaμ ßr¥± p®thv¥patitvaμ puru∑ottamatvaμ, vibh¨tivåsam vivadhårtha siddhim samp¨râ k¥rtiμ bahuvar∑a bhogaμ, pradehi me lak∑mi puna± punastvam vådårthasiddhiμ bahulokavaßyam, vaya± sthiratvaμ lalanåsubhogam pautrådi labdhiμ sakalårtha siddhiμ, pradehi me bhårgavi janma janmani suvarâv®ddhiμ kuru me g®he ßr¥, vibh¨tiv®ddhiμ kuru me g®he ßr¥± ßirob¥jam—oμ yaμ haμ kaμ laμ paμ ßr¥μ dhyåyellak∑m¥ prahasita mukh¥, ko†i bålårkam¥såμ vidyuddharˆåmbara paradharåμ, bh¨∑anådhyåμ sußobhåm b¥jåpuraμ sarasijayugaμ, vibhrat¥μ svarâpåtraμ bhartråyuktåμ muhurabhayadåμ, mahyamapyacyuta ßr¥± guhyåtiguhyagoptr¥ tvaμ, g®håˆåsmatk®taμ japam siddhirbhavatu me devi, tvatprasådånmayi sthitå iti ßr¥ atharvaârahasye ßr¥mahålak∑m¥h®dayastotraμ samåptam


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Praise-Song for the Bestower of Wealth (Dhanadå Stotram) nama± sarvasvar¨pe ca nama± kalyåâ dåyike mahåsampatprade devi dhanadåyai namo’stute mahåbhoga prade devi mahåkåma prap¨rite sukha mok∑aprade devi dhanadåyai namo’stute brahmar¨pe sadånande sadånanda svar¨piî drutasiddhi prade devi dhanadåyai namo’stute udyans¨rya prakåßåye udyadåditya maˆ∂ale ßiktatva [ ] prade devi dhanadåyai namo’stute vis∑û rupe vißvamate vißvapålana kåriî mahasattvaguˆåtrånte dhanadåyai namo’stute ßivarupe ßivånande kåraˆånanda vigrahe vißvasaμhåra r¨pe ca dhanadåyai namo’stute pañcatattva svar¨pe ca pañcåcåra sadårate sådhakåbhi∑†aye devi dhanadåyai namo’stute

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Song-Amulet of the Bestower of Wealth (Dhanadå Kavacam)

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dhanadå kavacasyåsya kubera ®∑ir¥riti pa∫ktißchando devatå ca dhanadå siddhidå sadå dharmårthakåma mok∑e∑u viniyoga± prak¥rttita± dhaμ bijaμ me ßira± påtu hr¥μ b¥jaμ me lalå†akam ßr¥μ b¥jaμ me mukhaμpåturakåra h®daya me’vatu tikåra påtu ja†haraμ prikåraμ p®∑†hato’vatu ye kåraμ ja∫ghayoryugme svåkåraμ påda m¨lake ß¥r∑ådi påda paryanta håkåraμ sarvato’vatu iti ßr¥ dhanadå kavacam samåptam


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Praise-Song for the Lotus Goddess (Kamalå Stotram)7 oμkårar¨piˆ¥ devi vißuddhasattvar¨piˆ¥ devånåμ janan¥ tvaμ hi prasannå bhava sundari tanmåtraμcaiva bh¨tåni tava vak∑a±sthalaμ sm®tam tvamevaμ vedagamyå tu prasannå bhava sundari devadånava gandharva yak∑a råk∑asa kinnarai± stÿate tvaμ sadå lak∑mi prasannå bhava sundari lokåt¥tå dvaitåtitå samastabh¨ta ve∑†itå vidyajjana k¥rtitå ca prasannå bhava sundari brahmar¨på ca såvitr¥ tvadd¥ptya bhåsate jagat vißvar¨på vareˆyå ca prasannå bhava sundari k∑ityaptejo marudvyoma pañcabh¨tasvar¨piˆ¥ bandhåde± kåraâμ tvaμ hi prasannå bhava sundari maheße tvaμ hemavat¥ kamalå keßave’pi ca bråhmana± preyas¥ tvaμ hi prasannå bhava sundari bålye ca bålikå tvaμhi yauvane yuvat¥ti ca sthåvire v®ddhar¨på ca prasannå bhava sundari guâmay¥ guˆåt¥tå ådya vidyå sanåtat¥ mahattattvådi saμyuktå prasannå bhava sundari tapasvin¥ tapa± siddhi± svargasiddhistadarthi∑u cinmay¥ prak®tistvaμ tu prasannå bhava sundari tvamådirjagatåμ devi tvameva sthiti kåraâm tvamante nidhana sthånaμ svecchåcårå tvameva hi caråcaråˆåμ bh¨tånåμ bahirantastvamevahi vyåpyåpaka r¨peâ tvaμ bhåsi bhaktavatsale tvanmåyåya h®tajñånå nå∑†åtmåno vicetasa± gatågataμ prapadyante påpapuˆya vaßåtsadå tåvansatyaμ jagadbhåti ßuktikårajataμ yathå yåvanna jñåyate jñånaμ cetasånånvagåmin¥ tvajjñånåttu sadå yukta± putradarag®hådi∑u ramante vi∑ayånsarvvånante du±kha pradån dhruvam tvadåjñayå tu deveßi gagane s¨ryama∫galam candraßcabhramate nityaμ prasannå bhava sundari brahmeßa vi∑ûjanan¥ brahmåkhyå brahmasaμßraya vyaktåvyaktå ca deveßi prasannå bhava sundari acalå sarvagå tvaμ hi måyåt¥tå maheßvari ßivåtmå ßåßvatå nityå prasannå bhava sundari sarvakåya niyantr¥ ca sarvabhuteßvareßvari anantå ni∑kalå tvaμ hi prasannå bhava sundari

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sarveßvar¥ sarvavandyå acintyå paramåtmikå bhukti muktipradå tvaμ hi prasannå bhava sundari brahmåˆ¥ brahmaloke tvaμ vaikunˆ†he sarvama∫galå indråî amaråvatyåm ambikå varuˆålaye yamålaye kålar¨på kuberabhavane ßubhå mahånandågnikoê ca prasannå bhava sundari nair®tyåμ raktadantå tvaμ våyavyåμ m®gavåhin¥ påtale vai∑âv¥r¨pa prasannå bhava sundari suraså tvaμ maîdv¥pe aißånyåμ ßuladhåriˆ¥ bhadrakål¥ ca la∫kåyåμ prasannå bhava sundari råmeßvar¥ setubandhe siμhale devamohin¥ vimalå tvaμ ca ßr¥ k∑etre prasannå bhava sundari kålikå tvamμ kåligha††e kåmåkhyå n¥la pårvate virajå o∫gadeße tvaμ prasannå bhava sundari bhadrakål¥ kuruk∑etre tvaμca kåtyåyan¥ vrate mahåmåyå dvårakåyåμ prasannå bhava sundari k∑udhå tvaμ sarvaj¥vånåμ velå ca sågarasyahi maheßvar¥ mathuråyåμ prasannå bhava sundari råmasya jånak¥ tvaμca ßivasya manamohin¥ dak∑asya duhitå caiva prasannå bhava sundari vis∑ûbhaktipradå tvaμ ca kåmsåsura vinåßin¥ råvaânåßin¥ caiva prasannå bhava sundari lak∑m¥stotramidaμ puˆyaμ ya± pa†hed bhaktisaμyuta± sarvajvarabhayaμ naßyetsarva vyådhi nivåraâm idaμ stotraμ mahåpuˆyamåpaduddhårakåraâm trisaμdhyamekasandhyaμ vå ya± pa†hetsatataμ nara± mucyate sarva påpebhyo tathå tu sarva sa∫ka†åt mucyate nåma sandeh¥ bhuvi svarge rasåtale samastaμ ca tathå caikaμ ya± pa†hedbhaktitatpara± sasarvaμ du∑karaμ t¥rtvå labhate paramåμ gatim sukhadaμ mok∑adaμ stotraμ ya± pa†hedbhakti saμyuta± sa tu ko†i t¥rtha phalaμ pråpnoti nåma saμßaya± ekå dev¥ tu kamalå yasmiμstu∑†å bhavetsadå tasyå’sådhyam tu deveßi nåsti kiμcijjagatraye pa†hanådapi stotrasya kiμ na siddhyati bh¨tale tasyåtstotravaraμ proktaμ satyaμ satyaμ hi pårvati iti ßr¥ kamalå stotraμ samåptam


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108 Names of the Glorious Lotus Goddess (Ír¥ Kamalå Aƒ†ottaraßatanåma Stotram) ßr¥ ßiva uvåca— ßatama∑†ottaram nåmnåμ kamalåyå varånane pravak∑åmyati guhyaμ hi na kadåpi prakåßayet mahåmåyå mahålak∑m¥rmahåvåˆ¥ maheßvar¥ mahådev¥ mahåråtrirmahi∑åsura mardin¥ kålaråtr¥± kuha± p¨rˆånandådyå bhadrikå nißå jayå riktå mahåßaktirdevamåtå k®ßodar¥ ßac¥ndråˆ¥ ßakranutå ßa∫karapriya vallabhå mahåvarahajanan¥ madanonmathin¥ mah¥ vaikuˆ†hanåtharamaˆ¥ vis∑ûvak∑a±sthala sthitå vißveßvar¥ vißvamåtå varadåbhayadå ßivå ß¨lin¥ cakriˆ¥ må ca påßin¥ ßa∫khadhåriˆ¥ gadin¥ muˆ∂amålå ca kamalå karuˆålayå påk∑adhåriˆ¥ hyambå mahåvi∑û priya∫kar¥ golokanåtharamaˆ¥ golokeßvara p¨jitå gayå ga∫gå ca yamunå gomat¥ garu∂åsanå gaˆ∂ak¥ saray¨ tåp¥ revå caiva payasvin¥ narmadå caiva kåver¥ kedårasthala våsin¥ kißor¥ keßavanutå mahendraparivanditå brahmådi deva nirmåâ kåriˆ¥ veda p¨jitå ko†i brahmåˆ∂amadhyasthå ko†i brahmåˆ∂a kåriˆ¥ ßrutir¨på ßrutikar¥ ßrutism®ti parå∑anå indirå sindhutanayå måta∫g¥ loka måt®kå trilokajanan¥ tantrå tantra mantra svar¨piˆ¥ taruˆ¥ ca tarohantr¥ ma∫galå ma∫galåyanå madhukaitabhamathan¥ ßumbhåsura vinåßin¥ nißumbhådiharå måtå harißa∫karap¨jitå sarvadevamay¥ sarvå ßaraˆågatapålin¥ ßaraˆyå ßambhuvanitå sindhut¥ra nivåsin¥ gandharvagåyarasikå g¥tå govinda vallabhå trailokyapålin¥ tattvar¨patåruˆyap¨ritå candråval¥ candramukh¥ candrikå candrap¨jitå candrå ßaßa∫ka bhagin¥ g¥tavådya paråyaˆå s®∑†ir¨på s®∑†ikar¥ s®∑†isaμhårakåraˆ¥ iti te kathitaμ devi samånåma ßata∑†akam trisandhyaμ prayatobh¨två pa†hedetatsamåhitam yaμ yaμ kåmayate kåmaμ taμ taμ pråpnotyasaμßayam

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imaμ stavaμ ya± pa†het¥ha martyo vaikuˆ†hapatnya paramådareâ dhanådhipadyai± parivandita± prayåsyati ßr¥padamanta kåle iti ßr¥ kamalåyå a∑†ottaraßatanåma stotraμ samåptam


237

Song-Amulet of the Lotus Goddess (Kamalåtmikå Kavacam)8 athavak∑ye maheßåni kavacaμ sarvvakåmadam yasya vijånamåtreâ bhavetsåk∑åtsadå ßiva± nårcyanantasya deveßi mantra måtrañjapennara± sabhavetpårvvat¥ putra± sarvvaßåstra vißårada± vidyårthinåμ sadå vidyå dhanadåt® viße∑ata± dhanårthibhissadåsevyå kamalå vi∑ûvallabhå

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[Viniyoga÷] asyåßcaturak∑ar¥ vi∑ûvallabhåyå± kavacasya bhagavån ®∑iranu∑†up chando vågbhav¥ ßaktiddevatå vågbhavaμ b¥jaμ lajjåramå k¥lakaμ kåmab¥jåtmaka∫kavacamasupåˆ∂itya kavitva sarvvasiddhi sam®ddhaye viniyoga [Kavacam] aiμkåroμ mastake påtu vågbhav¥ sarvvasiddhidå hr¥μ påtu cak∑u∑ormmadhye cak∑uyyugme ca ßå∫kar¥ jihvåyåmmukha v®tte ca karˆâyorddantayornnasi au∑†hådhare danta pa∫ktau taral¨m¨lehanaupuna± påtumåμ vvi∑û vanitå lak∑m¥± ßr¥vi∑ûr¨piˆ¥ karˆâyugme bhuja dvandve stanadvandve ca pårvvat¥ h®daye maîbandhe ca gr¥våyåmpårßßvayo± puna± p®∑†hadeße tathå guhye våme ca dak∑ine tathå upasthe ca nitambe ca nåbhauja∫ghadvayepuna± jånucakre padadvande ghu†ike guli m¨like svådhatupråˆåßktyåtma s¥mante mastake puna± vijayå påtu bhavane jayåpåtu sadåmama sarvå∫ge påtu kåmeß¥ mahådev¥ sarasvat¥ tu∑†i± påtu mahåmåyå utk®∑†i± sarvvadåvatu ®ddhi± påtu mahådev¥ sarvvatra ßambhuvallabhå vågbhav¥ sarvvadåpåtu påtu måμ haragehin¥ ramåpåtu sadådev¥ påtumåyå svarå†svayam sarvvå∫ge påtu måμllak∑m¥rvi∑ûmåyå sureßvar¥ ßivadut¥ sadåyåtu sundar¥ påtu sarvvadå bhairav¥ påtu månnitya bheruˆ∂å sarvvadåvatu tvaritå påtu månnitya mugutårå sadåvatu påtumå∫kålikånitya∫kåla råtri± sadåvatu navadurggå sadå påtu kåmåk∑¥ sarvvadåvatu

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yogitya± sarvvadå påntu mudrå± påntu sadå mama måtrå± påntu sadå devyaßcakrasthåyogin¥ gaˆå± sarvvatra sarvva kåryye∑u sarvva karmåsu sarvvadå patumåndeva dev¥ ca lak∑m¥± sarvva sam®ddhidå itite kathitaμ divya∫kavacaμ sarvva siddhaye yatra tatraμ na vaktavyaμyyad¥cchetåtmanohitam ßa†håya bhaktih¥nåya nindakåya maheßvar¥ nyunånge cåtiriktå∫ge darßayenna kadåcana nastavandarßßaye divyaμ sandarßßya ßivahåbhavet kul¥nåya maheccha ya durggåbhakti paråya ca vai∑âvåya vißuddhåya dadyåtkavacamuttamam nija ßi∑yåya ßåntåyadhanine jñånine tathå padyåt kavacamityuktaμ sarvatantra samanvitam ßanauma∫gala våreca raktacandana kaistathå yåvakena likhenmantraμ sarvvatantra samanvitam vilikhya kavacandivyaμ svayambhukusumai± subhai± svaßukra± para ßukrairvå nånågandha samanvitai± gauro canåku∫kumena rakta candanakena vå sutithau ßubhayoge vå ßråvaˆåyåμ raveddine aßvinyåk®ttikåyaμvvå phalgunyåvvåmadyåsu ca purvvabhådrapadåyoge svåtyåmma∫galavåsare vilikhetprapa†hetstotraμ ßubhayoge surålaye åyu∑matpr¥ti yoge ca brahmayoge viße∑ata± indrayoge ßubheyoge sukrayoge tathaiva ca kaulave bålave caiva vaîje caiva sattama± ß¨nyågora ßmaßåne ca vijane ca viße∑ata± kumår¥my¨jayitvådau yajeddev¥μ sanåtan¥m matsyair mmåsai± ßåka s¨pa± p¨jayetparadevatåm gh®tådyai± sopakaraâi± p¨pas¨pairvviße∑ata± brahmaˆånbhojanayitvå ca p¨jayetparameßvar¥m akhe†akam upåkhyånaμ tatra kuyyåddinatrayam tadådharenmahå vidyåμ ßa∫kareâ prabhå∑itåm måraâ dve∑aˆåd¥ni labhate nåtra saμßaya± sambhavetpårvat¥ putra± sarvaßåstra purask®ta± gururddevohara± såk∑åtpatn¥ tasya harapriyå abhedena bhajedyastu tasya siddhirad¨rata± pa†hati yaμ ihaμmartyo nityamaddråntaråtmå, japa phalam anumeyaμllapsyateya dvidheyam sa bhavati padamuccaissampadåpådanamra, k∑itipa mukuta lak∑m¥rllak∑aˆånåñciråya iti ßr¥ vißvasåra tantre kamalåtmikå kavacaμ samåttam


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Song for the Lakƒm¥ of Spiritual Power (Ír¥ Siddhalakƒm¥ Stotram) Viniyoga oμ asya ßr¥siddhalak∑m¥ stotra mantrasya hiraˆyagarbha®∑i± anu∑†upchanda± ßr¥mahåkål¥ mahålak∑m¥ mahåsarasvatyo devatå± ßr¥μ b¥jaμ hr¥μ ßakti± kl¥μ k¥lakaμ mama sarvakleßap¥∂åparihårårtha sarva du±khadåridryanåßanårtha sarva kåryasiddhyartha ca ßr¥ siddhalak∑m¥ stotra på†he viniyoga± Rƒyådinyåsa hiraˆyagarbha ®∑aye nama± ßirasi anu∑†upchandase namo mukhe ßr¥ mahåkål¥ mahålak∑m¥ mahåsarasvat¥ devatåbhyo namo h®di ßr¥μ b¥jåya nama± guhye hr¥μ ßaktaye nama± pådayo± kl¥μ k¥lakåya namo nåbhau viniyogåya nama± sarvå∫ge Karanyåsa ßr¥μ siddha lak∑myai a∫gusthåbhyåμ nama± hr¥μ vi∑û teja± tarjan¥bhyåμ nama± kl¥μ am®tånandåyai madhyamåbhyåμ nama± ßr¥μ daityamålinyai anåmikåbhyåμ nama± hr¥μ teja± prakåßinyai kani∑†hikåbhyåμ nama± kl¥μ bråhmaâi vai∑âvyai rudråˆyai karatalakara p®∑†håbhyåμ nama± ßr¥μ siddhalak∑myai h®dayåya nama± hr¥μ vi∑ûtejase ßirase svåhå kl¥μ am®tånandåyai ßikhåyai va∑a† ßr¥μ daityamålinyai kavacåya huμ hr¥μ teja± prakåßinyai netratrayåya vau∑a† kl¥μ bråhmau vai∑âvyai rudråˆyai astråya pha† Digbandhana Mantra oμ ßr¥μ hr¥μ kl¥μ ßr¥μ siddhalak∑myai nama±


240 Dhyåna Mantra

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bråhm¥ ca vai∑âv¥μ bhadrå ∑a∂bhujåμ ca caturmukham trinetråm khadgatriß¨lam pacakragadådharåm p¥tåmbaradharåμ dev¥μ nånålaμkåra bh¨∑itåm teja± puñjadhar¥μ ßre∑t†håμ dhyåyed bålakumårikåm Stotra

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oμkåraμ lak∑m¥r¨paμ tu vi∑û h®dayamavyayam vi∑ûmånandamavyaktaμ hr¥μkåra våjar¨pin¥m kl¥μ am®tånandin¥μ bhadrå sadåtmånandadåyin¥m ßr¥μ daityaßaman¥μ ßaktiμ målin¥μ ßatrumardin¥m teja± prakåßin¥μ dev¥μ varadåμ ßubhakåriˆ¥m bråhm¥μ ca vai∑âv¥μraudr¥μ kålikår¨pa ßobhin¥m akåre lak∑m¥r¨paμ tu ukåre vi∑ûmavyayaμ makåra± puru∑o’vyakto dev¥praâva ucyate s¨rya ko†i prat¥kåßaμ candrako†i samåprabham tanmadhye nikaraμ s¨k∑maμ brahmar¨paμ vyavasthitam oμkåraμ paramånandaμ sadaiva sukha sundar¥m siddhalak∑mi mok∑alak∑mi ådyalak∑mi namo’stute sarvama∫gala må∫galye ßive sarvårtha sådhike ßaraˆye tryambake gauri nåråyaî namo’stute prathamaμ tryambakå gaur¥ dvit¥yaμ vai∑âv¥ tathå t®tiyaμ kamalå proktå caturthaμ sundar¥ tathå pañcamaμ vi∑ûßaktißca ∑a∑†haμ kåtyåyan¥ tathå våråh¥ saptamaμ caivaμ hya∑†amaμ harivallabhå navam¥ kha∂gin¥ proktå daßamaμ caiva devikå ekådaßaμ siddhalak∑m¥ dvådaßaμ haμsa våhin¥ etatstotravaraμ devyå ye pa†hanti± sadå nara± sarvåpadbhyo vimucyante nåtra kåryå vicåraˆå ekamåsaμ dvimåsaμ ca trimåsaμ ca catu∑†akam pañcamåsaμ ca ∑a†måsaμ trikålaμ ya± sadå pa†het bråhmaâ± kleßito du±kh¥ dåridryåmaya p¥∂ita± janmåntara sahasrarthamucyate sarva kilvi∑ai± daridro labhate lak∑m¥maputra± putravån bhavet dhanyo yaßasv¥ ßatrughno bahl¥ caurabhaye∑u ca ßåkin¥bh¨ta vetåla saμvavyåghra nipåtana råjadvare sabhå sthåne kåråg®ha nibandhane ¥ßvareâ k®taμ stotraμ pråînåμ hitakårakam


stuvantu bråhmaˆå nityam dåridryaμ na ca bådhate sarvapåpaharå lak∑m¥ sarvasiddhi pradåyin¥m iti ßri brahmapuråê ßr¥ siddha lak∑m¥ stotraμ samåptam

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Song for the Glorious “Eyes of Indra” (Ír¥ Indråkƒ¥ Stotram)9 oμ asya ßr¥ndråk∑¥ stotra mantrasya sahasråk∑a ®∑i± / indråk∑¥ devatå / anu∑†up chanda± / mahålak∑m¥ b¥jam / bhuvaneßvar¥ ßakti± / bhavån¥ti korakaμ oμ ßr¥μ hr¥μ kl¥μ iti b¥jåni mama sarvåbh¥∑†a siddhyarthe ßr¥madindråk∑¥ stotra jape viniyoga± / oμ oμ oμ oμ oμ oμ oμ oμ oμ oμ oμ

indråk∑¥ itya∫gu∑†håbhyåμ nama± mahålak∑m¥riti tarjan¥bhyåμ nama± maheßvar¥ti madhyamåbhyåμ nama± ambujåk∑¥tyanåmikåbhyåμ nama± kåtyåyan¥ti kani∑†hikåbhyåμ nama± kaumår¥ti karatalakarap®∑†håbhyåμ nama± indråk∑¥ti h®dayåya nama± mahålak∑m¥r¥ti ßirase svåhå maheßvar¥ti ßikhåyai vau∑a† ambujåk∑¥ti kavacåya hum kåtyåyan¥ti netratrayåya vau∑a†

oμ kaumår¥tyastråya pha† oμ bh¨rbhuva±svarom iti digbandhanam atha mantra± oμ aiμ hr¥μ ßr¥μ kl¥μ kl¨μ indråk∑yai nama±

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indra uvåca— indråk∑¥ nama± sa dev¥ daivatai± samudåh®tå gaur¥ ßa∫kabhar¥ dev¥ durgånåmn¥ti vißrutå kåtyåyan¥ mahådev¥ candraghaˆ†å mahåtapå såvitrå så ca gåyatr¥ brahmåˆ¥ brahmåvådin¥ nåråyaˆ¥ bhadrakål¥ rudråˆ¥ k®∑âpi∫galå agnijvålå raudramukh¥ kålaråtristapasvin¥ meghaßyåmå sahasråk∑¥ muktakeß¥ jalodar¥ mahådev¥ muktakeß¥ ghorar¨på mahåbalå ajitå bhadradå nandå rogahaμtr¥ ßivapriyå ßivad¨t¥ karål¥ ca pratyak∑å parameßvar¥ sadå sammohin¥ dev¥ sundar¥ bhuvaneßvar¥ indråk∑¥ indrar¨på ca indraßakti paråyaˆå mahi∑åsura saμhartr¥ cåmuˆ∂å garbhadevatå våråh¥ nårasiμh¥ ca bh¥må bhairava nådin¥


ßruti sm®ti dh®tirmedhå vidyå lak∑m¥± sarasvat¥ anantå vijayå p¨rˆå månastokå’paråjitå bhavån¥ pårvat¥ durgå haimavatyambikå ßivå etairnåmaßatairdivyai± stutå ßakreâ dh¥matå åyurårogyamaißvaryaμ vittaμ jñånaμ yaßobalam nåbhimåtrajale sthitvå sahasra parisaμkhyayå japetstotramidaμ mantraμ våcåμ siddhirbhavettata± anena vidhinå bhaktyå mantrasiddhißca jåyate santu∑†a ca bhaveddev¥ pratyak∑å samprajåyate ßatamavartayedyastu mucyate nåma saμßaya± åvartana sahasreâ labhyate våñchataμ phalam såyam ßataμ pa†hennityam ∑a∑måsåtsiddhirucyate coravyådhibhayasthåne manasåhyanucintayam saμvatsaram upåßritya sarvakåmårtha siddhaye råjånaμ vaßyamåpnoti ∑aˆmåsånnatra saμßaya± iti ßr¥ndråk∑¥ stotraμ samåptam

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Song-Formulary of the Glorious Mahålakƒm¥ (Ír¥ Mahålakƒm¥ Pañjara Stotram) Viniyoga oμ asya ßr¥ lak∑m¥ pañjara mahåmantrasya brahmå ®∑i± pa∫ktißchanda± ßr¥mahålak∑m¥rdevatå ßr¥μ b¥jaμ svåhå ßakti± ßriyai iti k¥lakaμ mama sarvåbh¥∑†a siddhyarthe lak∑m¥ pañjara stotra jape viniyoga± Karanyåsa oμ ßr¥μ hr¥μ vi∑uvallabhåyai a∫gu∑†håbhyåμ nama± oμ ßr¥μ hr¥μ jagajjananyai tarjan¥bhyåμ nama± oμ ßr¥μ hr¥μ siddhisevitåyai madhyamåbhyåμ nama± oμ ßr¥μ hr¥μ siddhidåtryai anåmikåbhyåμ nama± oμ ßr¥μ hr¥μ våñchitap¨ritåyai kani∑†hikåbhyåμ nama± oμ ßr¥μ hr¥μ ßr¥μ ßriyai nama± svåheti karatala karap®∑†håbhyåμ nama± S. a¿a‰ganyåsa oμ oμ oμ oμ oμ

ßr¥μ ßr¥μ ßr¥μ ßr¥μ ßr¥μ

hr¥μ hr¥μ hr¥μ hr¥μ hr¥μ

vi∑ûvallabhåyai h®dayåya nama± jagajjananyai ßirase svåhå siddhisevitåyai ßikhåyai va∑a† våñchitap¨rikåyai netråbhyåμ vau∑a† ßr¥μ ßriyai nama± svåhetyastråya pha†

Dhyåna

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oμ vandelak∑m¥μ paramaßivamay¥μ ßuddha jåμb¨nadåbhyåμ tejor¨påμ kanakavasanåμ sarva bh¨∑ojjvalång¥m b¥jåpuraμ kanaka kalaßaμ hemapaμ dadhånå mådhyåμßaktiμ sakala janan¥μ viûvåmå∫ka saμsthåm ßaraâμ tvåμ prapanno’smi mahålak∑mi haripriye prasådaμ kuru deveßi mayi du∑†e’parådhini ko†i kandarpa låvaˆyåμ saundaryyaika svar¨patåm sarvama∫gala må∫galyåμ ßr¥råmåμ ßaraâμ vraje


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M¶lamantra S. a†kam oμ ßr¥μ hriμ aiμ kl¥μ namo vi∑ûvallabhåyai mahåmåyåyai kaμ khaμ gaμ ghaμ ∫aμ namaste namaste måμ påhi påhi rak∑a rak∑a dhanaμ dhånyaμ ßriyaμ sam®ddhiμ dehi dehi ßr¥μ ßriyai nama± svåhå oμ ßr¥μ hr¥μ aiμ kl¥μ namo jagajjananyai våtsalyanidhaye caμ chaμ jaμ jhaμ ñaμ namaste namaste måμ påhi påhi rak∑a rak∑a ßriyaμ prati∑†håμ våksiddhiμ me dehi dehi ßr¥μ ßriyai nama± svåhå oμ ßr¥μ hr¥μ aiμ kl¥μ nama± siddhisevitåyai sakalåbhi∑†hadåna d¥k∑itåyai †aμ †haμ ∂aμ ∂haμ âμ namaste namaste måμ påhi påhi rak∑a rak∑a sarvato’bhayaμ dehi dehi ßr¥μ ßriyai nama± svåhå oμ ßr¥μ hr¥μ aiμ kl¥μ nama± siddhidåtryai mahå acintya ßaktikåyai taμ thaμ daμ dhaμ naμ namaste namaste måμ påhi påhi rak∑a rak∑a me sarvåbhi∑†asiddhi dehi dehi ßr¥μ ßriyai nama± svåhå oμ ßr¥μ hr¥μ aiμ kl¥μ nama± våñchita p¨ritåyai sarvasiddhim¨labh¨tåyai paμ phaμ baμ bhaμ maμ namaste namaste måμ påhi påhi rak∑a rak∑a me manovåñchitåμ sarvårthabh¨tåμ siddhiμ dehi dehi ßr¥μ ßriyai nama± svåhå [oμ] ßr¥μ hr¥μ aiμ kl¥μ kamale kamalålaye madyam pras¥da pras¥da mahålak∑mi tubhyaμ namo namaste jagaddhitåyai yaμ raμ laμ vaμ ßaμ ∑aμ saμ haμ k∑aμ namaste namaste måμ påhi påhi rak∑a me vaßyåkar∑aâ mohanastaμbhanoccå†anatå∂anåcintyaßakti vaibhavaμ dehi dehi ßr¥μ ßriyai nama± svåhå oμ ßr¥μ hr¥μ aiμ kl¥μ dhåtryai nama± svåhå oμ ßr¥μ hr¥μ aiμ kl¥μ ßr¥μ b¥jar¨påyai nama± svåhå [oμ] ßr¥μ hr¥μ aiμ kl¥μ vi∑ûvallabhåyai nama± svåhå [oμ] ßr¥μ hr¥μ aiμ kl¥μ siddhayai nama± svåhå oμ ßr¥μ hr¥μ aiμ kl¥μ buddhayai nama± svåhå oμ ßr¥μ hr¥μ aiμ kl¥μ dh®tyai nama± svåhå oμ ßr¥μ hr¥μ aiμ kl¥μ matyai nama± svåhå oμ ßr¥μ hr¥μ aiμ kl¥μ kåntyai nama± svåhå oμ ßr¥μ hr¥μ aiμ kl¥μ ßåntyai nama± svåhå oμ ßr¥μ hr¥μ aiμ kl¥μ sarvatobhadrar¨påyai nama± svåhå oμ ßr¥μ hr¥μ aiμ kl¥μ ßr¥μ ßriyai nama± svåhå

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oμ namo bhagavat¥ brahmådi vedamåtarvedodbhave vedagarbhe sarvaßakti ßiropaê ßr¥ harivallabhe mamåbhi∑†aμ p¨raya p¨raya måμ siddhibhåjanaμ kuru kuru am®taμ kuru kuru abhayaμ kuru kuru sarvaμ kårye∑u jvala jvala prajvala prajvala me sutaßaktiμ d¥paya d¥paya mamåhitån nåßaya nåßaya asådhya kåryaμ sådhaya sådhaya hr¥μ hr¥μ hr¥μ glauμ glauμ ßr¥μ ßriye nama± svåhå Lakƒm¥ Kavacam

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oμ ßiro me rak∑atåd dev¥ på pa∫kajadhåriˆ¥ bhålaμ påtu jaganmåtå lak∑m¥ pålayå ca me mukhaμ påpånmahåmåyå haßo me bh®gukanyakå gh®åâμ sindhi sutå påyånnetre me vi∑ûvallabhå kaˆ†ham rak∑atu kaumår¥ skandhau påtu haripriyå h®dayaμ me sadå rak∑et sarva ßakti vidhåyin¥ nabhiμ sarveßvar¥ påyåtsarvabh¨tålaya ca me ka†ißva kamalå påt¨ ¨r¨ brahmådi devatå ja∫ghe jaganmay¥ rak∑et pådau sarva sukhåvahå ßr¥ b¥ja våsa niratå sarvå∫ge janakåtmajå sarvatobhadrar¨på måmavyåd dik∑u vidik∑u ca vi∑ame sa∫ka†e durge påtu måμ vyoma våsin¥ it¥daμ pañjaraμ lak∑myå guhyåd guhyataraμ mahat gopaniyaμ prayatnena daßådyasya kasya ca ya± pa†hetprayato nityaμ phalåhåri jitendriya± dhyåyellak∑m¥padaμ pr¥tyå tatya kiñcanna durlabhaμ vi∑ôrnåmnå sahasreâ sampu†¥k®tya ya± pa†het pañcåyuta prayatnena sa siddhasyådyathå hari bilva p¥†he likhedyantraμ ∑a†koâμ mantra saμyutam tatra samp¨jayendev¥μ tadagre på†hamåcaret haridrå målayå samkhyåμ kurvannityamatadrita± sarvasiddhim avåpnoti yadyadvåñchati satvara iti ßr¥ atharvaâ rahasye lak∑m¥ pañjara stotraμ samåptam


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Secret Lakƒm¥ Incantation That Yields Immediate Results (Sadya÷ Phaladå Lakƒmistava H®dayam) ßr¥matsaubhågya janan¥μ staumi lak∑m¥ sanåtan¥m sarvakåma phalåvåpti sådhanaika sukhåvahåm ßr¥ vaikuˆ†hasthite lak∑mi samågaccha mamaågrata± nåråyaneâ saha måμ k®på d®∑†åvalokaya satyalokasthite lak∑mi tvaμ samågaccha sannidhim våsudevena sahitå pras¥da varadå bhava ßvetadv¥pa sthite lak∑mi ßighramågaccha suvrate vi∑ûnå sahitedevi jaganmåta± pras¥da me k∑¥råbdhi saμsthite lak∑mi samågaccha samådhave tvatk®påd®∑†i sudhayå satataμ måμ vilokaya ratnagarbhasthite lak∑mi parip¨râ hiraˆmayi samågaccha samågaccha sthtivå sapurato mama sthiråbhava mahalak∑mi nißcalåbhava nirmale prasanno kamale devi prasannå varadå bhava ßr¥dhare ßr¥mahåbh¨me tvadantastha mahånidhim s¥ghramuddh®tya purata± pradarßaya samåpaya vasundhare ßr¥vasudhe vasudogdhe k®påmayi tvatkuk∑igataμ sarvasvaμ ß¥ghram me pradarßaya vi∑û priye ratnagarbhe samasta phalade ßive tvadgarbhagata hemådan sampradarßaya darßaye atropavißya lak∑mi tvaμ sthiråbhava hiraˆmayi susthiråbhava sapr¥tyå prasannå varadå bhava sådare mastake hasta mama tava k®pårpaya sarva råjag®he lak∑mi tvatkalå mayi ti∑†hatu yathå vaikuˆ†hanagare yathaiva k∑¥rasågare tathå madbhavanati∑†hasthiraμ ßr¥vi∑ûnåsaha ådyådi mahålak∑mi vi∑ûvåmå∫ga saμsthite pratyak∑am kuru me r¨paμ rak∑aμ måμ ßaraˆågatam samågaccha mahålak∑mi dhanadhånya samanvite pras¥da purata± sthitvå praâtaμ måμ vilokaya dayå sud®∑†iμ kurutåμ mayi ßr¥± suvarâ v®∑†iμ kuru me g®he ßr¥± mahålak∑m¥ samuddhißya nißibhårgava våsare idaμ ßr¥h®dayaμ japtvå ßatavåraμdhan¥ bhavet iti ßr¥ sadya± phaladå lak∑m¥stava h®dayam samåptam

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Notes Introduction 1. Íåradå is the Sanskrit word for autumn and is also a name of the goddess. 2. D¥vål¥ is the vernacular name for D¥påval¥, a Sanskrit name meaning “rows” (åval¥) of “lamps” (d¥pa). 3. Ghee is clarified butter. 4. For a fascinating study of popular worship of Hanumån that includes paddhatis, see Lutgendorf, “Five Heads and No Tale.” 5. For further discussion of this feature of Sanskrit texts, particularly in the Ír¥ S¶ktam and in the Dev¥ Måhåtmyam, see Coburn, Dev¥ Måhåtmya: Crystallization of the Goddess Tradition, 1–86.

Chapter 1 1. Detailed discussions of the early iconography of the Indian lotus goddess may be found in a number of excellent sources, such as (listed alphabetically): Coomaraswamy, Yakƒas, 155–160; Gupta, Elephant in Indian Art and Mythology, 19–24; Kinsley, Goddesses’ Mirror, 53–70; Kinsley, Hindu Goddesses, 19–22; Maury, Folk Origins of Indian Art, 101–126; Shaw, Buddhist Goddesses of India, 94–109; Våstu Íåstra, ed. Shukla, 311–312; Singh, Iconography of Gaja-Lakshm¥, 24–58; Sircar, Studies, 94–104; and Zimmer, Myths and Symbols, 90–102. 2. Hymn to Lakƒm¥ (Lakƒm¥ S¶ktam) 1. 3. Qtd. in Slocum and Robinson, Water Gardening: Water Lilies and Lotuses, 13. 4. One of the first Europeans to master Sanskrit, British scholar Sir William Jones (1746–1794) was a key figure in advancing the academic study of Sanskrit in the West. 5. It has generally been held that the §g, Såma, and Yåjur Vedas date from 1500 to 1200 BCE, and that the Athårva Veda dates from 1200 to 1000 BCE, though these have not been determined with certainty. Recent investigations argue for much earlier dates for all four Vedas. For a richly detailed study

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of this debate, see Bryant, Quest for the Origins of Vedic Culture. 6. For details of the independent identities of the two goddesses in the Vedic period, see Gonda, Aspects of Early Viƒ£uism, 176–225. 7. This linguistic factor may inform the concepts of “polytheism” and “kathenotheism” (or “henotheism”) in fascinating new ways that are beyond the scope of our present discussion. 8. Gonda, Aspects of Early Viƒ£uism, 186–87. 9. Kane, History of Dharmaßåstra, Vol. II, Part II, 1215, and Vol. III, 79.

Chapter 2 1. Most s list eighteen classical Puråâs, although there is also an expanded list of 108 Puråâs, which includes works on yoga and other esoteric topics. 2. B®hadåra£yaka Upa£iƒad 3.9.1–9. 3. The term Vaiƒ£ava refers to a worshiper or system of worship recognizing Vi∑û as the Supreme Reality; dozens of rich and varied traditions (sampradåya) of Vai∑âvism have developed over the centuries. Those who recognize Íiva as the Supreme Reality are called Íaiva, and those who recognize the Goddess (Íakti) as the Supreme Reality are called Íåkta. These categories, however, are not necessarily mutually exclusive. 4. The earliest and most complete version of this story occurs in Viƒ£u Purå£a. It also appears in various other Puråâs and in the Mahåbhårata. 5. The Sanskrit word am®ta and the English word immortal are close cognates. 6. The long-a grammatical endings on the nouns på, tulas¥, ketak¥, and målat¥, for example, reiterate their feminine designations, as do the names of rivers. 7. Song for the Glorious Lotus Goddess (Ír¥ Kamalå Stotram) 12. 8. The Heavenly Gods’ Praise-Song for Lakƒm¥ (Ír¥ Daivak®ta Lakƒm¥ Stotram) 3. “Emanation” is kalå, that is, an extension or a ray, as in the rays of the sun. 9. Praise-Song for the Lotus Goddess (Kamalå Stotram) 8. Though this song has been placed with the Tantric texts in our volume, it illustrates the same point. 10. The Heavenly Gods’ Praise-Song for Lakƒm¥ (Ír¥ Daivak®ta Lakƒm¥ Stotram) 9. These designations are reiterated elsewhere. 11. For further discussion, see Bailly, “Ír¥-Lak∑m¥: Majesty of the Hindu King.” 12. For brief overview, see Bailly, “Devadås¥s.” For detailed study, see Marglin, Wives of the God-King. 13. Song for the Glorious Lotus Goddess (Ír¥ Kamalå Stotram) 7. 14. Women’s vratas (vows and fasts) vary in length and complexity. For women’s vows in Bengal (including some for Lak∑m¥), see McDaniel, Making


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Virtuous Daughters and Wives. For various contexts and applications of vows, see Raj and Harman, eds., Dealing with Deities, and Pearson, “Because It Gives Me Peace of Mind.” 15. The four traditional stages of life are that of the student (brahmåcårya), householder (g®hastha), forest-dweller (vånaprastha), and renunciant (samnyåsa). The “householder stage” begins with the rite of marriage and ends with the death of the spouse or when the next generation is ready to take on the responsibilities of ing and managing the household. 16. For extended discussion of Hestia and contemporary women, see Paris, Pagan Meditations: The Worlds of Aphrodite, Artemis, and Hestia, 168–169. 17. Qtd. in Eller, Living in the Lap of the Goddess, 108–109. 18. Song for the Glorious Lotus Goddess (Ír¥ Kamalå Stotram) 12. 19. Each of these broad categories has its own collection of literatures: The Kåma Íåstra (which includes Vatsyåyana’s Kåma S¶tra) focuses on pleasure; Kautilya’s Artha Íåstra focuses on material wealth; and Manu’s Dharma Íåstra focuses on law and virtuous conduct. The literatures on mokƒa, or spiritual liberation, are by far the most extensive and constitute entire schools unto themselves. 20. Song for Lakƒm¥, Gracious Bestower of Blessings (Prasannavaradå Ír¥ Lakƒm¥ Stotram) 10. Pradyumna is an incarnation of Kåmadeva, born to Lak∑m¥ and Vi∑û in their forms as Rukmiˆ¥ and K®∑â. 21. The Heavenly Gods’ Praise-Song for Lakƒm¥ (Ír¥ Daivak®ta Lakƒm¥ Stotram) 6, 7. 22. Pattanaik, Lakshmi, 59. 23. Gonda, Aspects of Early Viƒ£uism, 190. 24. Song for Lakƒm¥, Gracious Bestower of Blessings (Prasannavaradå Ír¥ Lakƒm¥ Stotram) 17. 25. Ponder, Dynamic Laws of Prosperity, 142–143. 26. Orman, Women and Money, 45. 27. Ibid., 45–55. 28. Festival of India, University of South Florida, Tampa, Florida, October 1999. 29. Atulå and other aspects of Alak∑m¥ will be discussed later. 30. See, for example, Song for Lakƒm¥, Gracious Bestower of Blessings (Prasannavaradå Ír¥ Lakƒm¥ Stotram) 21, where Lak∑m¥ is invoked as dharmådhare (Upholder of Dharma). 31. Lord Indra’s Song for Lakƒm¥ (Devaråja Indrak®ta Lakƒm¥ Stotram) 9. 32. See, for example, Eight Verses Praising Mahålakƒm¥ (Mahålakƒmyaƒ†akam Stotram) 4. 33. Lord Indra’s Song for Lakƒm¥ (Devaråja Indrak®ta Lakƒm¥ Stotram) 5, 6. 34. Ibid., 24. 35. Coomaraswamy, “Early Indian Iconography,” 177. 36. Gautam¥-måhåtmya 67, 2–3 (part IV of the Brahmå Purå£a). 37. Li‰ga Purå£a 6. 1–7, 15–18. 38. It is clear that Jye∑†hå’s (i.e., Alak∑m¥’s) inauspicious nature is not conducive to the auspicious state of marriage. However, Lak∑m¥’s own marriage

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cannot take place as long as her elder sister remains without a spouse, and therefore a match is arranged between Jye∑†hå and the sage Du±saha (whose name means “Unbearable”). See Li‰ga Purå£a 6.8–18. 39. Li‰ga Purå£a 6.8–14. 40. Ibid., 6.38–42. See verses 43–75 for a more extensive list. 41. Ibid., 6.69b–75. 42. Lord Indra’s Song for Lakƒm¥ (Devaråja Indrak®ta Lakƒm¥ Stotram) 31, 32.

Chapter 3 1. Song for the Lakƒm¥ of Spiritual Power (Siddhalakƒm¥ Stotram) 15, 16. 2. I provide here only the briefest overview of Kuˆ∂alin¥ as it serves the discussion of the Tantric Lak∑m¥, for there is a rich literature available on the topic. See, for example, Kripananda, Sacred Power; or Brooks and Bailly, “Kuˆ∂alin¥,” in Meditation Revolution, ed. Brooks et al., 445–496. 3. Seven is the standard recognized number, though various systems designate more, some of these existing in the auric field surrounding the physical body. 4. For discussion of på as a lotus seat or foundation, see discussion in ch. 1. 5. Lakƒm¥ Tantra 26.15 ff. 6. The Secret Heart of Lakƒm¥ (Ír¥ Mahålakƒm¥ H®dayam) 22. 7. In the concluding ma‰gala (benediction) of his cycle of nine songs praising Kamalå, seventeenth-century South Indian poet Muttusvami Diksitar, for example, describes Kamalå as “flanked by Lak∑m¥ and Sarasvat¥” and as “a friend of Lak∑m¥ and Sarasvat¥” (Muttusvami Diksitar’s Kamalåmbikå Navavara£a K¥rtana, second åvara£a, in Te Nijenhuis and Gupta, trans., 190). 8. Song-Amulet of the Lotus Goddess (Kamalåtmikå Kavacam) 6–9. For discussion of Íiva’s association with the mahåvidyås, see Kinsley, Tantric Visions, 117 and im. 9. We make the distinction regarding the householder, for it may be argued that Chinnamastå appears to be the most fearsome, least “worldly” of the group. However, Chinnamastå belongs to the category of goddesses who are to be worshiped solely by world-renunciants. Her image is forbidden from display in the homes of householders, for its marvelous and frightening power could well initiate the decay of the household, drawing the inhabitants’ interests prematurely toward complete renunciation and abnegation of dharmic responsibilities. A more mundane interpretation, of course, is that householders of any culture might think twice before displaying such explicitly violent and sexual images in the home; these potent images, boldly illuminating the confluence of sex and death at its sacred core, necessarily deserve a domain separate from the realm of the “ordinary.” 10. See, for example, Kinsley’s reports of his varied informants (Tantric Visions, 232 ff.). 11. Praise-Song for the Lotus Goddess (Kamalå Stotram) 13–15.


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12. The Secret Heart of Lakƒm¥ (Ír¥ Mahålakƒm¥ H®dayam) 13. 13. Ibid., 91. 14. Classical texts and Kashmiri ritual texts identify this goddess as Siddhalak∑m¥, whereas Nepali ritual texts and contemporary priests call her Siddhilak∑m¥ (Timalsina, “Terrifying Beauty,” 59). 15. Song for the Lakƒm¥ of Spiritual Power (Ír¥ Siddhalakƒm¥ Stotram) 1, 2. 16. Ibid., Meditation for Visualization of the Deity. 17. Timalsina, “Terrifying Beauty,” 64. 18. The Secret Heart of Lakƒm¥ (Ír¥ Mahålakƒm¥ H®dayam) 88.

Chapter 4 1. Hymn to Ír¥ (Ír¥ S¶ktam) 1. 2. Ibid., 4. 3. Ibid., 6. 4. Ibid. 4, 9. 5. Ibid., 2, 15. 6. Dhal, Goddess Lakƒm¥, 57–58. 7. Note that the addressing of the inauspicious goddess by the name Jye∑†hå (rather than, for example, Nir®ti or Påp¥-lak∑m¥) indicates the language of the late Vedic period. 8. Addressing the goddess as Mahålak∑m¥ and as the consort of Vi∑û also indicates a later, perhaps post-Vedic designation of the goddess. 9. Dhal, Goddess Lakƒm¥, 56–57. 10. §g Vidhåna 2, 19, 3; qtd. in Dhal, Goddess Lakƒm¥, 56–57.

Chapter 5 1. Over the centuries, some practitioners have questioned the relevancy of chanting in—or listening to—a language that they do not comprehend discursively, and thus their primary focus in the songs of praise is with their instrumentality as emotionally prayerful communications with the goddess. For discussion of this and related issues of women’s involvement with worship of the goddess and devotional poetry in Sanskrit as well as translation into vernacular languages, see Humes, “Glorifying the Great Goddess or Great Woman?” 2. See, for example, Song for Lakƒm¥, Gracious Bestower of Blessings (Prasannavaradå Ír¥ Lakƒm¥ Stotram) 24–27.

Chapter 6 1. The Secret Heart of Lakƒm¥ (Ír¥ Mahålakƒm¥ H®dayam) 92. Hak! is an onomatopoetic exclamation, used as a secret term among initiates as the sacred energy is being awakened.

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2. Ibid., 89, 90. 3. Ibid., 108. 4. Ibid., 107. 5. Consider, for example, the words of the tenth-century Kashmiri siddha Utpaladeva: O Lord of the Universe! How lucky are your devotees, Worthy of being adored by you. For them, this turbulent ocean of the world Is like a great pleasure-lake For their amusement. (Íivastotråval¥ 3.15, trans. Bailly) 6. Song-Formulary of the Glorious Mahålakƒm¥ (Ír¥ Mahålakƒm¥ Pañjara Stotram), verses 1 and 6 of the Six Verses on the Root Mantra (M¶lamantra S.a†kam). 7. Song-Amulet of the Bestower of Wealth (Dhanadå Kavacam) 3, 4. 8. The Secret Heart of Lakƒm¥ (Ír¥ Mahålakƒm¥ H®dayam) 99, 100. 9. B®hann¥la Tantra 7.188–189; qtd. in Biernacki, Renowned Goddess of Desire, 46. Later in that volume (111–130), Biernacki provides detailed and fascinating discussion of how the goddess N¥lasarasvat¥ (Blue Goddess of Speech) gives birth to seed mantras, and how this action relates to the inherent power of women’s speech. 10. Song-Amulet of the Lotus Goddess (Kamalåtmikå Kavacam) 3–5. 11. For a rich discussion of the multivalent connotations of mudrå, see Muller-Ortega, “On the ‘Seal of Íambhu,’ ” especially 576–580. 12. See, for example, Song-Amulet of the Lotus Goddess (Kamalåtmikå Kavacam) 3–5, as well as the discussion in the section on “The Potency of a Woman’s Recitations.”

Introduction to Part Three 1. Bühnemann, P¶jå, 137. 2. This explains why some versions of the Ír¥ S¶ktam contain sixteen verses.

Lak∑m¥ P¶jå Text 1. In estoteric p¶jå, there is a form of preparatory meditation also called bh¶ta-ßuddhi that entails visualizing the progressive dissolution (ßuddhi) of the elements (bh¶ta) within one’s body. 2. Ír¥ Lakƒm¥ Upåsanå, ed. Dixit, 15. 3. Keshavadas, Gåyatr¥, 111.

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4. Verses for Meditation on Lakƒm¥ 1, 2, 3, and 4 correspond with Eight Verses Praising Mahålakƒm¥ (Mahålakƒmyaƒ†akam Stotram) 1, 2, 7, and 8. 5. Kane notes that one may offer water for sipping (åcamana) after the end of each instance of bathing (snåna), clothing (vastra), and feeding (naivedya). History of Dharmaßåstra, Vol. II, Part II, 730. 6. P¶jåprakåßa, p. 34; qtd. in Kane, History of Dharmaßåstra, Vol. II, Part II, 731. 7. Aitareya Bråhma£a 8.20.1; qtd. in Bühnemann, P¶jå, 140. 8. For example, a bride’s father welcomes the bridegroom to his home by offering madhuparka. 9. For further discussion of adornment and auspiciousness, see Bailly, “Ornamentation,” 750–751. 10. Although some early texts suggest that, like their brothers, young girls received the sacrament of investiture, this is not widely known and in any case seems to have been discontinued well before the worship of Lak∑m¥ was expressed in the form of the p¶jå. 11. Viƒ£udharmaßåstra 66.4 maintains that any ornaments of gold and precious gems offered should be authentic and not imitation (Kane, History of Dharmaßåstra, Vol. II, Part II, 729–731). Some texts acknowledge that if a person cannot afford to offer clothing or ornaments, he may perform a p¶jå of ten, rather than sixteen, ritual attendances (ibid., 732). 12. Lakƒm¥ Tantra 48.15–17. 13. White, Alchemical Body, 247. 14. In the esoteric Buddhist and Taoist traditions of China, where it is called (in Mandarin) ju-sha, cinnabar carries the same significance as in India. 15. White, Alchemical Body, 194–197. 16. Some scholars identify kumkuma as saffron. See, for example, MonierWilliams, Sanskrit-English Dictionary; Apte, Student’s Sanskrit-English Dictionary; Chaturvedi and Tiwari, Practical Hindi-English Dictionary. Others identify it as red turmeric. See, for example, Flood, Introduction to Hinduism, 208. 17. Hymn to Ír¥ (Ír¥ S¶ktam) 9. 18. Viƒ£udharmaßåstra 66.2; qtd. in Kane, History of Dharmaßåstra, Vol. II, Part II, 732. 19. Ibid. 20. Monier-Williams, Sanskrit-English Dictionary. Sub voce. 21. Narrative cited in Courtright, “On This Holy Day in My Humble Way,” 45. 22. The lord of the forest (vanaspati) is a type of tree. 23. As noted in the Introduction, D¥påval¥ is also known by its Indic vernacular name, D¥vål¥. 24. Various texts cite as many as thirteen necessary ingredients of tambula. See Kane, History of Dharmaßåstra, Vol. II, Part II, 734–735. 25. Brahmanicide (brahmahatya) is considered the most heinous crime, incurring terrible karmic repercussions.

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26. This being said, it should be noted that other texts cite yet other slight variations from this list. 27. According to several texts and worship manuals, circumambulation (pradakƒinå) and farewell (namaskåra) are often included together. For list of these, see Kane, Vol. II, Part II, 729.

Vedic Hymns to Lak∑m¥ 1. Kubera, a god of wealth, is lord of the yakƒas, a type of nature spirit. 2. Alak∑m¥ is also known as Jye∑†hå, the inauspicious “elder sister” of Lak∑m¥. 3. Kardama and Cikl¥ta are Vedic sages who were recognized as sons of Ír¥ and whose original embodiments were as the earth’s fertile, primordial wetlands. 4. Mådhava and “imperishable lord” both refer to Vi∑û. 5. Verse 10 constitutes the Lakƒm¥ Gåyatr¥ mantra, as discussed in ch. 4.

Puråîc Songs to Lak∑m¥ 1. According to the sacred histories, Agastya was born to a Vedic god and a celestial nymph. He is known for his performance of lengthy austerities, which, according to legend, he carries on to this day. He is recognized as the celestial author of various works, particularly in the Påñcaråtra tradition, which acknowledges Ír¥-Lak∑m¥ as the Supreme Reality. 2. The God of Love here is Pradyumna, born to K®∑â and Lak∑m¥ in her form as Rukmiˆ¥. 3. Rudra, an early form of Íiva, is an embodiment of storms and thunder; Ravi is the sun; Candra is the moon; and the Lord of the Gods is Indra. 4. Horses are a symbol of Lak∑m¥’s auspiciousness, particularly in the aspect of aißvarya, which is majesty or royal sovereignty. Cows are also highly auspicious, as these gentle creatures have long been recognized as embodiments of Lak∑m¥. 5. This song is said to have been composed and performed by Lord Indra to win back the favor of the goddess. It appears in the Ír¥mad Dev¥ Bhågavata Purå£a. 6. Nåråyaâ, a form of Vi∑û, is always depicted with Lak∑m¥ by his side. 7. Living death: j¥vanm®tam. 8. Dharma (virtuous conduct), artha (material wealth), kåma (pleasure), and mokƒa (liberation) are four cardinal “wealths,” or goals; see discussion in ch. 2.

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9. Áßana is an early name of Rudra-Íiva. 10. The three twilights are dawn, noon, and dusk. 11. At the conclusion of the Churning of the Ocean story, Indra, lord of the gods, sings this song to the goddess in gratitude for her restoring his kingdom and for harmony among the three worlds. This rendition of the song is from the Viƒ£u Purå£a, considered to be the earliest version of the narrative. 12. The sage Paråßara is the narrator of the story. The Mighty One (ßakra) is Indra. 13. This verse does not appear in either the Viƒ£u Purå£a or the Agni Purå£a. 14. Janårdana is Vi∑û, who, like Indra, is also called lord of the gods. With the Churning of the Ocean story, Vi∑û supersedes Indra in that role. 15. Son of Aditi: that is, as the dwarf. 16. Goloka, literally, “Cow Realm,” is a heavenly realm where K®∑â reigns. The rasa dance is enjoyed by K®∑â and the gop¥s (milkmaids) in the V®ˆda forest (V®ˆdåvana). 17. “Single” (abhåryo) is masculine and literally means “uned.” “Spouse” (bhåryå) is feminine and literally means “.”

Tantric Songs to Lak∑m¥ 1. Top back of the head: This is the ßikha, a term that refers both to the top back of the head and to the “topknot,” or tuft of long hair that grows on that spot, when the surrounding hair is shaved. The armor (kavaca) refers to the torso. The weapon (astra) refers to the hands. The preparatory securing of the cardinal directions (digbandhana) here is shifted from points on the earth and atmosphere to points on the body, thereby rendering the human form a cosmos unto itself. 2. This verse is identical to verse 1 of the dhyåna section of the SongFormulary of the Glorious Mahålakƒm¥ (Ír¥ Mahålakƒm¥ Pañjara Stotram). 3. Madhu’s foe is an epithet of Vi∑û, who vanquished the demon Madhu. 4. The Thunder Beings (rudrå) are Vedic deities embodied as storms, thunder, and lightening. The Mighty One (ßakra) is an epithet of Indra, lord of the Vedic gods. 5. Vaikuˆ†ha is the heavenly abode of Lak∑m¥ and Vi∑û. The White Island is located in the heavenly Ocean of Milk. 6. Ayodhyå is renowned as the home of S¥tå, an incarnation of Lak∑m¥. 7. The three qualities of nature are rajas (ion), tamas (lethargy), and sattva (equipoise). 8. Hak! is an onomatopoetic expression used by the spiritual masters of some esoteric traditions as a verbal confirmation of the disciple’s interior state, especially when the sacred energy is being awakened.

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9. The Secret Heart of Primordial Lakƒm¥, Source of All Sources: This is simply an alternate title for the Ír¥ Mahålakƒm¥ H®dayam, also referred to as the Ír¥ Mahålakƒm¥h®daya Stotram and the Lakƒm¥ H®dayam. The names vary so as to comply with the metrical cadence of the verses. 10. Puraßcara£a is a preliminary ceremony in which the power within the mantras is awakened and made ready for use. 11. Bhårgav¥ translates as “Daughter of Bh®gu,” that is, Lak∑m¥. Her sacred day (or night) may occur at various times throughout the lunar year. During the solar week it is on Friday, also the day sacred to Íukra, the constellation (and goddess) Venus. 12. The festival of Råma refers to the Råm L¥lå, celebrated during the bright half (i.e., waxing) of the lunar month of ≈ßvina (September–October). 13. Hari is a name of Vi∑û. 14. Most Excellent of Men (puruƒottama) is an epithet of Vi∑û. 15. Magical attainment: siddhi. 16. Atharva£a is emended from Athayarva£a. 17. Of all the songs compiled in his worship manual for Lak∑m¥, this is the only one for which Pandit Dixit offers commentary. It reads almost as a disclaimer, and its words are most likely paraphrases of the song’s original phala verses. The commentary is as follows: “This ‘Praise-Song for the Bestower of Wealth’ is said to bear the desired fruit for the seeker. Whoever recites this song every day at the three twilights will acquire its power [siddhi] very quickly. It should not, therefore, be taken lightly. An extremely rare secret is embedded in this hymn. For this reason it should be held in utmost secrecy” (Dixit, 73; my translation from Hindi). Many Tantric texts include similar advisories, and though the potency of their mantras is indisputable, it is also true that the texts themselves have been made public without compromising the tradition, for the real power of their mantras is considered to be unleashed only when they have become caitanya (conscious or awakened). 18. The “five essential elements” (pañcatattva) and the “five practices” (pañcåcåra) refer to a feature of left-handed Tantra most often called the “five m’s” (pañcamakåra), that is, a ritualized engagement with five transgressive elements beginning with the Sanksrit letter m: madya (wine), måμsa (meat), matsya (fish), mudrå (fermented parched grain, according to some; ritual hand gestures, according to others), and maithuna (sexual union). “Spiritual practitioner”: sådhaka, a term used mostly in the Tantric traditions. 19. For explication of the linguistic puzzles embedded in this song, see Ch. 6. 20. In a stylistic departure from most other Tantric songs, the initial verses here are presented in verse, rather than prose. The translation reflects this structure. 21. Virtue (dharma), wealth (artha), pleasure (kåma), and spiritual liberation (mokƒa) are known collectively as the four “wealths” or “goals” of a harmonious life. See discussion in ch. 2. 22. The Sm®ti are the sacred narratives, such as in the Puråâs.


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23. Higher Self: åtman. 24. Heart: cetas, a faculty of consciousness seated in the heart. 25. Áßa, literally meaning “lord,” refers to Lord Íiva. 26. In verses 21–24, the central sector plus ten directions refer to the cardinal directions, moving across the earth plane and then connecting upward to the heavens and downward to the netherworlds. In this text they are delineated as follows: the center; the space above [Vaikuˆ†ha heaven]; the east; the west; the south; the north; the southeast; the southwest; the northwest; the space below [the netherworlds]; and the northeast. Våstu Íåstra, the science of architecture and auspicious placement, reflects this cosmic configuration on a microcosmic level, dividing a building’s floor-plan into sectors, each corresponding to a realm presided over by a deity (and consort). Students of feng shui will recognize similarities between the ba-gua and the nine lateral sectors of våstu. 27. Beneath the earth are seven levels of netherworlds or hells, the lowest of which is Påtåla. 28. The Island of Gems (Maîdv¥pa) belongs to the goddess and is located in the Ocean of Milk. Áßana refers to Íiva as lord of the northeast. 29. The bridge leading toward Lanka: This is Setubandha, the causeway at Råmeßvaram, the southernmost tip of India. Siμhala is Sri Lanka. 30. Kalighatta is Kolkata (Calcutta). The Blue Hill, located in Assam, is the most powerful of the ßakti p¥thas (power-spots containing parts of the goddess’s body), for it is here that the goddess’s yoni, or vulva, fell to earth and became a cleft rock that periodically emits iron-laden, reddish secretions. 31. Vraja is a region in northeastern India well known as the location of the magnificent stories of Rådhå and K®∑â. Kuruk∑etra and Dvåraka are also locations associated with K®∑â in his various forms. In verse 27, as in verse 24, the goddess is called Bhadrakål¥, though the associated locations are different; this may be an erroneous duplication. 32. In a netherworld: rasåtala, the sixth of the seven realms of the netherworlds. 33. One Goddess: ekå dev¥. This epithet usually describes Durgå. 34. This is true, O Pårvat¥: Pårvat¥ is the consort of Íiva. Tantric texts known as ≈gamas are structured as a dialogue in which Pårvat¥ poses questions about esoteric worship, and Íiva’s responses constitute the core of the text. Texts known as Nigamas reverse this, where Íiva asks the questions and Pårvat¥ provides the discourse. 35. “O Lovely One” (varånane) refers to Pårvat¥, whom Íiva addresses in sacred dialogue. See footnote to Praise-Song for the Lotus Goddess (Kamalå Stotram) 37. 36. Mother of the Great Boar: mahåvarahajanan¥. The great boar is Mahåvaråha, an avatåra of Vi∑û. 37. The Lord of Vaikuˆ†ha is Vi∑û. 38. The Lord of the Cow Realm (Goloka) is K®∑â, an avatåra of Vi∑û. 39. Rider of the Eagle: garu¿åsanå. Garu∂a is a majestic, heavenly bird who serves as a seat (åsana) or vehicle for Vi∑û and Lak∑m¥. Although he

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has no exact earthly equivalent, Garu∂a is most closely associated with the eagle. 40. The Beautiful-Haired One is K®∑â. 41. Madhu, Kaitabha, Íumbha, and Nißumbha are among the asuras defeated by the goddess as described in the Dev¥måhåtmyam. Hari and Ía∫kara are names of Vis¸û and Íiva, respectively. 42. Íambhu is a name of Íiva. 43. “Moon-faced” (candramukh¥) suggests a round-shaped face, lauded as a sign of beauty in a woman. 44. Kamalåtmikå, meaning “essence of the lotus,” is a variant name of Kamalå as one of the Ten Great Wisdom Goddesses (mahåvidyås). 45. “O Great Lady” (maheßåni) refers to Pårvat¥, whom Íiva addresses in sacred dialogue; see footnote to Praise-Song for the Lotus Goddess (Kamalå Stotram) 37. 46. Feminine private parts: guhye. 47. Life-breath: prå£a. Constituent elements: dhåtu. Hair-part: s¥mante. 48. This song invokes a large group of goddesses who are emanations of Lak∑m¥. They express both the gentle and fierce forms of the goddess. In most cases I have retained their names rather than translating these names as epithets. 49. Hara is a name of Íiva. 50. Vi∑û’s mysterious creative power: viƒ£umåyå. 51. Legions of Divine Mothers: protective goddess-energies who emanate from eight core “mothers” (måt®s): (1) Vai∑âv¥, (2) Bråhm¥ or Bråhmaˆ¥, (3) Kårttikey¥ or Måyur¥, (4) Indråˆ¥, (5) Yam¥, (6) Våråh¥, (7) Áßån¥ or Dev¥, and (8) Lak∑m¥. Female spirits of the sacred seals: mudrå÷. These are formulations of the energies that seal and protect a sacred endeavor, and they are embodied as female spirits. 52. The onition that a person with certain physical imperfections or other distinguishing characteristics be denied access to a sacred text also occurs elsewhere in the Hindu tradition. 53. “Kula” means “family” and it refers to a Tantric lineage of initiation. 54. The ritual use of sexual fluids is a feature of left-handed Tantra. Íråvaâ is the lunar month July–August, ≈ßvina is September–October, Kårttika is October–November, and Phålguâ is February–March. 55. Bhådrapada is the lunar month August–September. This verse and the next few verses contain references to certain of the twenty-seven constellations (nakƒatras) designated in Jyoti∑a, or the science of Vedic astrology. 56. Spiritual master: gurudeva. 57. Siddhalak∑m¥ is a form of the goddess embodying any type of success, mastery, prosperity, accomplishment, attainment, perfection, or power—whether spiritual or magical. The Song for the Lakƒm¥ of Spiritual Power (Ír¥ Siddhalaks¸m¥ Stotram) demonstrates the crossing of categories between the “Puråîc” and the “Tantric” songs in our collection. Technically, we might place it among the Puråîc songs, for it shares certain qualities with the other


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songs in that chapter: It is said to have been composed by the gods; it places thematic emphasis on royalty, brahmans, and material prosperity; the three aspects of the goddess who preside over the song—Mahåkål¥, Mahålak∑m¥, and Mahåsarasvat¥—are lauded in other Puråâs; and, finally, the colophon places this work within the Brahmå Purå£a (although I have not been able to locate this song within that text). It should be noted that it is not uncommon to encounter such discrepancies between what the colophon designates as the source of a text and whether the excerpt actually appears in that text. I include this song in our Tantric chapter because of its emphasis on the mantric form of the goddess and on the ritual instructions that accompany the text, both being significant features of the Tantric works. Clearly, this is a work reflecting a Íåkta worldview, for it recognizes the goddess as supreme reality, and as such, both its thematic content and its ritual application demonstrate that it cannot be contained by only one category. Most important, this aspect of the goddess is sought for siddhi, or spiritual power, the quintessential aspect of the Tantric goddess. For further discussion of the goddess Siddhalak∑m¥, see ch. 3. 58. Bråhmaˆ¥, Vai∑âv¥, and Rudråˆ¥ are Mahåsarasvat¥, Mahålak∑m¥, and Mahåkål¥, respectively. Bråhmaˆ¥ is the feminine aspect/consort of Brahmå, the creator; Vai∑âv¥ is the feminine aspect/consort of Vi∑û, the preserver; and Rudråˆ¥ is the feminine aspect/consort of Rudra-Íiva, the destroyer. 59. Securing the directions: digbandhana mantra. 60. Primordial sound (pra£ava) refers to oμ, whose actual transliteration is a-u-m or a-u-μ. 61. This verse refers to the written ligature of oμ. The anusvåra, or aftertone, is written as a dot (thus, s¶ryako†i, the disk of the sun) and is nested within a crescent (thus, candrako†i, or moon crescent). Other texts have called this t ligature the candrabindu, that is, the “moon” [and] the “drop.” 62. Siddhalak∑m¥ is the Lak∑m¥ of spiritual and magical power; Mok∑alak∑m¥ is the Lak∑m¥ of spiritual liberation; and ≈dyalak∑m¥ is the primordial Lak∑m¥. 63. The pronunciations of the next twelve syllables refer to recitations of the three mantras that preside over this text. 64. The rider of the swan is Sarasvat¥. 65. Within the palace gates: This may be a literal reference to the use of this text for the protection of the royal court. As well, it may refer to the “gates,” or apertures, of the practitioner’s body. 66. Indråk∑¥ (“Eyes of Indra”) is an epithet of Lak∑m¥. 67. The Lord of the Thousand Eyes is Indra. 68. This is the first part of the sacred Gåyatr¥ Mantra, addressing the great spirit of Reality as it exists on the earth, in the atmosphere, and across space. 69. Here, the term hundred (ßatam) is not meant literally but figuratively, to indicate many. In contrast, when an enumeration of the sacred number 108 is intended, the amount is specific. Compare, for example, the 108 Names of the Glorious Lotus Goddess (Ír¥ Kamalå Aƒ†ottaraßatanåma Stotram).

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70. Note that the names Lak∑m¥ and Mahålak∑m¥ are used interchangeably. 71. Spiritual Power: Siddhi. The goddess of the sacred flame: Svåhå, personification of the sacred flame (svåhå) and the animating power (ßakti) of this song. 72. This verse is identical to verse 1 of the Song of Praise section of the The Secret Heart of Lakƒm¥ (Ír¥ Mahålakƒm¥ H®dayam). 73. For discussion of how these six verses progress through the six vargas, or linguistic categories of the Sanskrit alphabet, see ch. 6. 74. The magical power of speech: våksiddhi. 75. The one who sures all thought is Íiva. 76. Core essence: m¶labh¶tåyai. 77. Yantra: a sacred geometric diagram. Bilva pedestal: The bilva, or wood-apple, is a tree sacred to Lak∑m¥. 78. Rosary of turmeric: The golden-colored spice turmeric is sacred to Lak∑m¥. 79. This song of praise in sixteen verses appears to have been abridged from a longer work and constructed to accompany worship using the sixteen upacåras, or ritual attendances (see previous section on ceremony). Eleven of its sixteen verses also appear in The Secret Heart of Lakƒm¥ (Ír¥ Mahålakƒm¥ H®dayam). Just as we have opened this chapter with The Secret Heart of Lakƒm¥, we close with the Secret Lakƒm¥ Incantation That Yields Immediate Results as a reprise—a brief song that, as its title suggests, recapitulates the core essence of the longer, opening piece. 80. Verses 2–10 are identical to The Secret Heart of Lakƒm¥ (Ír¥ Mahålakƒm¥ H®dayam) 30–38. 81. Verse 12 is identical to the The Secret Heart of Lakƒm¥ (Ír¥ Mahålakƒm¥ H®dayam) 56. 82. Verse 13 is identical to the The Secret Heart of Lakƒm¥ (Ír¥ Mahålakƒm¥ H®dayam) 61. 83. Night sacred to Bhårgav¥: Friday. See also note to The Secret Heart of Lakƒm¥ (Ír¥ Mahålakƒm¥ H®dayam) 98.

Transliterated Sanskrit Texts 1. Text from Ír¥ S¶kta: Text with Translation and Explanation, ed. Rao. 2. Rao’s edition transposes some of the phrases in his Sanskrit rendering of verses 13 and 14; however, his romanized version adheres to the text as published in various other sources, and this is what I use here. 3. Text from Pañcas¶ktam: Edited with the ‘Siddhånta D¥pika’ Sanskrit and Hindi Commentaries, ed. Nåråyaâdåsa Íåstr¥. 4. I have added the verse numbers. 5. Text from Ír¥ Lakƒm¥ Upåsanå, ed. Dixit; it also appears in B®hatstotraratnåkara÷, ed. Mißra Íåstr¥.

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6. Text from Ír¥ Lakƒm¥ Upåsanå, ed. Dixit. It also appears in B®hatstotraratnåkara÷ (Sarvavidhadevånåμ Stotrasaμgra÷a), ed. Mißra Íåstr¥; B®hatstotraratnåkara÷ (Stotrasaμkhyå 464), ed. Påˆ∂ey; and numerous other sources. 7. I have added the verse numbers. 8. I have inserted verse numbers and section titles. Note that this text is in a nonstandard form of Sanskrit particular to Tantric texts of the Eastern transmission (as in Assam or Bengal). Most variations appear simply as minor idiosyncrasies, such as doubling of consonants to replace consonant clusters (samåttam for samåptam); or doubling of v (sarvva for sarva, purvva for purva, pårvvat¥ for pårvat¥). 9. The viniyoga and the stotra are from Ír¥ Lakƒm¥ Upåsanå, ed. Pandit Rajesh Dixit. The nyåsa section has been inserted from the version in B®hatstotraratnåkara÷ (Stotrasaμkhyå 464), ed. Paˆ∂it Råmateja Påˆ∂ey.

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Index Page numbers for definitions are in boldface. abundance, as expression of Lak∑m¥, 2, 17–19, 28, 34–37, 68; Lak∑m¥ as source of, 4–5, 16, 71 aißvarya (majesty), as quality of Lak∑m¥, 27, 29 Alak∑m¥ (the inauspicious), 20–21; as Akirt¥ (Ill Repute), 44; as Atulå (Unbalanced), 44; as Daridrå (Poverty), 44; as Jye∑†hå (Elder Sister), 44, 65; in Puråîc literature, 43–45; in Tantric literature, 55–56; in Vedic literature, 65; kept from Lak∑m¥ ceremonies, 20, 94 alchemy, 71, 74–76 Ambujå, 16 Aphrodite, 32 årat¥ (ceremonial waving of lights), 115 artha (material wealth), 7, 27, 31, 41; as expression of Lak∑m¥, 33–39, 40 asuras (demigods, antigods), 25, 34, 260n41 Atharva Veda, 74, 75, 249n5 auspiciousness, 7, 15, 24, 29, 42, 60; invocation of, 4–5, 94; power of, 15–21, 93 Bali (lord of the underworld), 24, 25 beauty, as expression of Lak∑m¥, 1, 5, 17–18, 29, 43, 49, 52, 95; auspicious power of, 108

bhukti-mukti pradåyin¥ (bestower of worldly enjoyment and spiritual liberation), epithet of Lak∑m¥, 4–5, 40, 48 Biernacki, Loriliai, 81, 254n9 b¥ja mantras, 76–77, 78, 80. See also mantras Bollywood, 10 boon (vara), 8, 43, 68, 70, 82, 86 Brooks, Douglas, 252n2 cakras (energy vortexes in subtle body), 50–52; See also under lotus cardinal directions, 204, 259n26 chanting, 18, 44, 78, 84, 97, 253n1; devotional mood in, 69–70, 74; to awaken divine consciousness, 49 Chinnamastå, 53, 252n9 Churning of the Ocean, 25, 43, 257n11; See also Ocean of Milk Chutes and Ladders, 24 circumambulation (pradakƒi£å), 115, 117, 256n27 clay lamps, 1–2, 112, 114, 117 cobras, in iconography of Lak∑m¥, 47 consciousness, awakening of, 49–51, 71–74; goddess’s divine, 17, 51, 58–60, 64, 74; integration of, 54–56; pervaded by the goddess, 34–35, 47, 51, 73–74; revelation of the goddess through, 68–69;

275

276

I N DEX

consciousness (continued) transformation of, 7–8, 10, 72–73; undifferentiated state of pure, 203 cows, as embodiments of Lak∑m¥, 17, 95, 106, 115, 256n4 (Puråîc Hymns to Lak∑m¥) Daßamahåvidyås (Ten Great Wisdom Goddesses), 52–55, 58 devadås¥ (“servant of the gods,” sacred courtesan), 27, 29 devanågar¥ script, 19 devas (deities), 5, 25 dev¥ (goddess), 5, 19 devotional texts, origins of, 9–10 Dhanadå (Bestower of Wealth), 34, 36–38 dharma (virtuous conduct), 7, 27, 31, 74; as expression of Lak∑m¥, 38–41; neglect of, 44 Dh¨måvat¥, 55–56 D¥vål¥ (Festival of Lights), 1, 2, 33 Dixit, Pandit Rajesh, 8, 97, 116, 207, 254n2 (Lak∑m¥ P¶jå Text), 258n17, 262n5, 263n6, 263n9 elephants, in iconography of Lak∑m¥, 15–16, 33, 47, 63 elixir, of immortality, 25–26, 76, 111; the goddess’s marvelous, 74–76, 78 favor (prasannå) of the goddess, 8, 64, 68, 69, 75 flower offerings, 59, 110–111, 115–116, 117 fruit offerings, 59, 113–114 Gaêßa, 5, 94, 101–102 gaur¥ (“bright,” beneficent goddess), 41, 52 ghee (clarified butter), 1, 2, 106, 112, 114, 115 “god-posters,” 37 goddess of prosperity, 1–4, 15, 17, 31, 68, 203–204

gold coins, as forms of Lak∑m¥, 17; in iconography of Lak∑m¥, 33, 37; in Lak∑m¥ p¶jå, 95, 114, 117 golden urn, as respository of immortal nectar, 111; as repository of seed-syllables, 76, 81; as symbol of woman’s body, 81 Gonda, Jan, 35, 250n6, 250n8, 251n23 G®hya Lak∑m¥ (Lak∑m¥ of the Home), 27–30 Hestia, 30 horses, in iconography of Lak∑m¥, 63, 256n4 h®dayam, 82–83 incense, 2, 44, 65, 95, 111–112, 117 Indra (lord of heaven), 24–26, 43, 99; as composer of praise-songs for Lak∑m¥, 7, 26, 42, 133, 137, 146–147, 190–192 invoking Lak∑m¥, as yogic discipline, 94; consistency of, 21, 36; for spiritual and material blessings, 7, 40, 80; study of, 3–5; to attract prosperity and auspiciousness, 3–5, 7–8, 43, 76, 68, 89; to awaken consciousness within, 27, 35–36, 79; to repel inauspiciousness, 20, 44, 65. See also chanting; mantras Jones, Sir William, 16 Kål¥, 41, 52–53 kåma (pleasure), 7, 27, 31, 41; as expression of Lak∑m¥, 32–33, 39, 40 Kamalå, 16; as Tantric form of Lak∑m¥, 52–55, 58, 70 karma, 23, 24; reversing the effects of, 67 Kashmir, worship of Lak∑m¥ in, 59, 253n14

I N DEX

kavacam (amulet), 83, 87, as songamulet, 83 Kubera, 64, 256n1 Kuˆ∂alin¥, 47–48, 252n2; as expression of Lak∑m¥, 49–52, 75–76, 204 Lady Luck, 21, 33, 42, 43 lakƒm¥ (sign, embodied expression), 18, 19 Lak∑m¥, and Mahålak∑m¥, 40–41; as caturartha (four “wealths” or “goals”), 30–42; as mother of the god of love, 32; as source of wealth, 33, 73, 77, 83, 205; awakening the essence of, 8, 61, 71–73; capricious nature of, 42–44; divine personalities of, 6, 13, 47, 54; drawing down from heaven, 8, 93; expansive nature of, 37, 43, 59, 203; gracious nature of, 32, 39, 56–58, 67, 75, 78; luminous arrival and departure of, 2–4, 203–205; propitious glance of, 68–69, 75; prosperous essence of, 27, 36–37, 40, 48, 80; steadfastness of, 17, 21, 26, 43, 74; vibratory essence of, 76–80 Lakƒm¥ Gåyatr¥, 65 Lak∑m¥ p¶jå, and auspicious actions, 94; and Gaêßa, 94; and Vedic deities, 99; description of domestic, 1–3; establishing mood of, 93–96; preliminary purification for, 100–101; purpose of, 3–5, 93–94; text and invocatory verses of, 99–117; textual sources of, 97–98. See also p¶jå l¥lå (divine play), 23 lotus, 15–17, 37, 47; and subtle body, 50–52; as body of Lak∑m¥, 11, 16–19, 25–26, 49–51; as pedestal, 17, 37; as symbol of abundance, 29; used for brushing the body to repel inauspiciousness, 65

277

lotus goddess, 7, 15–16, 17, 47, 49, 54, 58. See also Kamalå; lotus; På; Piˆ¥ luminious beings, 5 Mahådev¥, 41 Mahåkålå, 41 Mahålak∑m¥, 40, 41, 48, 73 Mahåmåyå, 31, 41, 48 mantras, 49, 61, 70, 80; as components of Tantric texts, 88–89; as sonic bodies of the goddess, 61; as vibratory essence of the goddess, 76–78; efficacy of, 65, 66, 69–70; in p¶jå, 101; power of women’s recitations of, 81–82; vibratory level of, 70; See also b¥ja mantras matrix (time-space construct), 24, 77–79, 203–205. See also måt®kå ßakti måt®kå ßakti (matrix of cosmic energy), as expression of Lak∑m¥, 77–80 måt®s (divine “mothers,” or goddess–energies), 260n51 Måyå, 41, 48 meditation (dhyåna), 10, 35, 65; intuitive perception of subtle bodies in, 50–51; visualization of the deity in, 59, 88, 101, 102–103 mokƒa (spiritual liberation), 7, 31, 41; as expression of Lak∑m¥, 40–42 Muller-Ortega, Paul, 254n11 nåmastotram, 83 Nir®t¥, 20, 43 nyåsa (ritual placement of mantras on the body), 78; instructions for, 86–88 Ocean of Milk, 25, 74, 204 Orman, Suze, 36, 251n26 ornamentation, as auspicious action, 29, 107–108, 255n9

278

I N DEX

paddhati (worship manual), 8–9 På, 16, 17, 26, 44 Piˆ¥, 16 pañcak®tyas (five eternal functions of the goddess), 57–58 pañcamakåra (five “m-words” denoting transgressive substances and practices), 258n18 pañcåμ®ta (five nectars or auspicious substances), 106 Pañcaråtra tradition, 10, 98 pañjaram, 83 Påp¥-lak∑m¥, 20 Paris, Ginette, 30, 251n16 Pattanaik, Devdutt, 34, 251n22 phala (fruits or results) verses, 69–70, 93 plants, as forms of Lak∑m¥, 15, 17, 26, 95, 106 Ponder, Catherine, 35, 251n25 prasåda (“favor”; sanctified gifts received at conclusion of ceremony), 95 prosperity consciousness, 35–38, 72 P®thv¥, 26 p¶jå (ceremonial worship), 93–94; and art of hospitality, 96–97, 104–105; and sacred space, 93–97; experience of, 2–3, 97; smårta, 97; structure of, 97–98, 117; yogic discipline of, 94. See also Lak∑m¥ p¶jå; upacåras (ritual attendances) Puråâs, 23–26, 39, 47; invocation of Lak∑m¥ in, 67–70 Rådhå: 26, 32; and K®∑â, 33 råjas¶ya (royal coronation), 20 Råjya Lak∑m¥ (Royal Lak∑m¥), 27–29 rasas, (savors), 32 raudr¥ (“ruddy,” raging, destructive goddess), 41, 52 §g Veda, 10, 63, 249n5 ®ta (cosmic order), 18 Rukmiˆ¥, 26

sådhana (spiritual practice), 53, 54, 71, 79; perfection of, 72–73 ßakti (cosmic energy), 77–78 Íakti (personification as goddess), 47, 56 Íåkta traditions, 9, 56, 250n3, 260–261n57 saμsåra (world of cyclical existence), 24, 50, 78; soul’s journey in, 30, 33 sandalwood, 108–109, 110 såndhya bhåƒa (twilight language), 78–80 Sanskrit texts, issues in the study of, 5, 8–11; how English constricts translation of, 19–20; indigenous categories for selection of, 8 serpent-beings, 204. See also under Kuˆ∂alin¥. Shaw, Miranda, 249n1 (chap. 1) Siddhalak∑m¥, 58–60, 260–261n57, 261n62; Frontspiece siddhi (magical attainment, spiritual power), 8, 48, 50, 58, 73, 75, 82, 260–261n57; as expression of Lak∑m¥, 58–60. See also Siddhalak∑m¥ S¥tå, 26, 74 Íiva, and Tantric forms of Lak∑m¥, 53, 58–59; p¶jå (ceremonial worship) of, 94 sonic bodies of the goddess, 61, 70. See also måt®kå ßakti spiritual seekers, 6. See also sådhana ßr¥ (glory, auspiciousness), 18, 19, 35, 94 Ír¥ (personification as goddess), 18–19, 66, 203 Ír¥ Lakƒm¥ Upåsanå [Adoration of the Glorious Lakƒm¥], 97, 98, 116 Ír¥ Vidyå tradition, 10, 98 stotra (sacred praise-song), 67–68, 83, 89; as vehicle of communion, 67–70; categories of, 82–83; Lak∑m¥’s pleasure in hearing, 68–70, 93

I N DEX

s¶kta (Vedic hymn of praise), 63 svar¶pa (own true form), 23 sweetgrass (d¶rvå), 101, 111, 117 Tantra, 48–49; and adage about secrecy of worship, 54; and awakening the goddess within, 71–73; and integration of the “worldly” and “spiritual,” 47–49; and Tantric forms of Lak∑m¥, 49– 60; and the goddess’s “marvelous elixir,” 74–76 Tantric songs, esoteric invocation of Lak∑m¥ in, 71–82; literary genres of, 82–83; structural components of, 83–86. See also mantras; b¥ja mantras Teish, Luisah, 30 Timalsina, Sthaneshwar, 59, 253n14, 253n17 triloka (three worlds or realms), 23, 34, 73; Lak∑m¥ and the lords of, 24–26 Tulas¥, 26 upacåras (ritual attendances), 97–98; outline of, 117. See also p¶jå. Utpaladeva, 254n5 Vaikuˆ†ha (heavenly realm of Lak∑m¥ and Vi∑û), 25, 74, 204 vargas (linguistic categories), 77, 79 Våstu Íåstra, 174n26

279

Vasudhå (Yielder of Wealth), 34 Vedic fire sacrifice, 63, 66 Vedic hymns, 18–19, 23, 32, 47; and invocation of Lak∑m¥, 63–66 vermilion (sind¶ra), 2, 95, 109–110, 117; as distinguished from kumkuma, 110, 255n16 visarjana (sending [the deity] forth), as conclusion of ceremony, 116, 117 Vi∑û, 7, 24–25; and Lak∑m¥, 28, 39, 52, 64, 204, 257n14 wealth, and comparison of artha and dhana, 36–38; and display of, 34–35; eight qualities of in a woman, 36; Lak∑m¥ as source of, 33, 73, 77, 83, 205; of harmonious relationships, 38–40; of material prosperity, 33–38; of pleasure, 32–33; of spiritual growth, 37; of spiritual liberation, 40–42. See also abundance women, and divine power of prosperity, 30, 35–36; and home ritual, 27–30; and Lak∑m¥ incantantions exclusive to, 82; as having special powers in mantra recitation, 81–82; as embodiments of Lak∑m¥, 26–30; as “extensions” or “emanations” (kalå) of Lak∑m¥, 26, 81–82, 250n8 (chap. 2)

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