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ivottaraatanmval

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With English commentary!

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by!

Trnandantha

ivottaraatanmval

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Introduction!

!
!

First of all I offer my heart as flowers at the feet of Lord Siva residing at Perunninakulam, who
sowed the seeds of this stotram in my mind and appeared in my dream on the night of the third day
when I completed this!!

This kvya which is called ivottaraatanmvali is considered to have been created by Lordess
tripurasundari at the behest of her Lord Siva. The kvya is in the form of Lalitsahasranma. A
great speciality of the Lalitsahasranma stotram is the poetry in it. It cannot be otherwise when
the creator are Vgdevat. Vgdevat do this with alankra, rpaka, upam, etc. Starting with her
form of Creation, Sustenance and Destruction briefly, it goes on to describe each weapon and what
it symbolically represents or actually is. Then it goes into a poetic description from head to toe. The
sahasranma of Devi then elaborates the different tntrik tatvas of devi in detail with different
names.!

Another special feature of Lalitsahasranma is that it does not have even one filler word like u
i ' etc. which are usually used to adjut the chandas or the metre. In Lalitsahasranma each
letter is part of a name of hers. The famous viusahasranma has many instances of this. eg.
* , , u / 1 i: | 4: u 6 : 9 9e < =/9 |
The one
ivottaraatanmvali which is currently popular also has such instances. eg. @: * E
H@ iIuJ: The feature of this current stotra which was created by Tripurasundar does not
have even one filler word. Each letter is part of a name of his. It has to be so, since vgdevats
who created the Lalitsahasranma is part of sundari herself.!

This kvya starts with a chat between Siva and Parvati (in the form of sundari here) as in many
stotras of Devi and Deva. She expresses a concern about the absence of names or list of names
praising him, comparable to her own sahasranma created by the vgdevat. So she requests him
to create his own names in the form of hers. With a smile he replies that he is happy with her
names themselves, but assures that he will not object if she so desires. Siva then goes on to ask
her to create his names. She happily agrees to the order and starts creation of his names and ends
it claiming that this will be known as the ivottaranmvali. Siva concludes the chat giving the
phalaruti of chanting these names daily.!

This is the first print of this book. Most of the names are not direct references as in many currently
available stotras of Siva. Therefore a commentary is needed and I have ventured into that effort
most humbly. Learned readers are requested to pardon the mistakes if any in the commentary and
bring them to my notice so that I can correct them in the next print.!

The help and support by my beloved Sanskrit Guru Sri. Dr. Gangadharan Nair are the reason why I
could compile this in this fashion so fast. When I sent this for his correction, he was at Doha with
his son and busy from 4.30 am till 11.30 pm, writing articles to be published in the U S, writing book
review for Journal of Sukrtindra Oriental Research Institute, Kochi and editing research papers for
publication at Sanskrit University, Kalady. It was in the middle of it that he did this small job for a
Sanskrit illiterate like me. He never asked me to go and learn some Sanskrit fundamentals; instead
cleared even silly grammatical mistakes like vibhakti, sandhi and samasa!! I bow my head at his
feet for this iya vtsalya which eminent gurus are famous for.!

!
I submit this at the feet of my Guru r. Ngnandantha along with his consort Dpmb!
!
!
Ernakulam,! !
20th May 2015

ivottaraatanmval

Trnandantha!

3 of 19

FOREWORD!

It is with the grace of God that we get the company of great men who, in spite of their busy schedule of
professional life in a high speed material world, pursue a path leading to spiritual satisfaction. In the Indian
spiritual tradition which is exemplified in the Hindu way of life, you are free to choose any one of the several
paths which appear before you, the only restriction being that ones actions should not violate Dharma.
Dharma is that which maintains the balance in Nature leading to the well being of all creatures, not merely of
human beings. No matter to which religion or which sect of a religion you belong, you are blessed if you
realize the laws of nature and observe them with sincerity. I feel myself blessed to have the company of
several personalities of enlightened souls who practice different spiritual means to enjoy themselves with
their intellectual engagements. Here I am pointing out a remarkable man who came into my contact recently
and elevated me to the position of his Sanskrit Guru. Calling himself my disciple, here is Shri. Nandakumar
Menon. He is a Sadhaka (practitioner) in Tantric tradition and, as such, an Upasaka (worshipper) of Mother
Goddess. In my tradition of "%) (lineage of preceptors and disciples) of Sanskrit Grammar, I
prefer to call him , (friend). I know that to be a teacher I need not to teach a person in an institution and
for a specified period. My friend who has another name in his Tantric tradition, Taranandanatha, used to ask
me some questions to clear his doubts and I am happy to note that he was quick to grasp the ideas in my
replies. He is keen and steadfast in the pursuit of knowledge. He surprised me when he asked me to correct
the Stotram he wrote in Sanskrit.

Nandakumar fancies that the Mother Goddess herself creates the Stotra ( hymn ) in praise of her consort
Lord Mahesvara, enumerating his one hundred and eight names. In the tradition of religious poetry in India,
there is a class of hymns compiling a specific number of names of a God or Goddess. Some hymns have one
hundred and eight names and some have one thousand names. Each name has its specific meaning. It is a
difficult task to select suitable names and to fit them in the metre. Though in his humility Nandakumar
mentions that his knowledge of Sanskrit is meagre, he has sufficient erudition and genius to fluently arrange
words in poetic style and decorum. I experience a thrill as if I am perceiving the goddess of words (/)
dancing on his tongue. His ease in versification reminds me of a few other friends of mine who have a
similar talent and who are engaged in similar poetic efforts to author beautiful hymns in praise of different
forms of the almighty. One of them is a busy doctor of modern medicine in Alppuzha who publishes a book
of religious poetry every year on Vijayadashami day. Another is a professor from Muvattupuzha who wrote
2346, 96, etc. One friend, a teacher, composed beautiful lyrics in Sanskrit on Lord
:<=. Yet another friend from Mutholapuram sings and dances with his own Sanskrit songs and poems in
Sanskrit and Malayalam metres and now engages himself in the Sanskrit translation of famous Jnanappana. I
am glad to add to this club of enthusiastic friends of poetic mind my dear friend Nandakumar. This man of
modern technology excels in Bhakti and Sanskrit poetry. I have ample reason to rejoice. Who would now
dare to say Sanskrit has no relevance at present and poetry is dying? Pointing out Nandakumar, I can chant
the words of the Rigvedic sage: >/ ? AB <9 (See the poem of the Shining One. It is not
dying. It is not ageing.)

I am sure that the hymn will be welcomed by scholars and devotees. I wish the author all the best and invoke
the blessings of Goddess Mother on him and me and on everyone.

Doha, Qatar,

Dr. G.Gangadharan Nair

18 May 2015.

International Sanskrit Consultant

Former Dean and Retired Professor, Sree Sankaracharya










University of Sanskrit, Kalady
Kulaguru, Visva Samskrita Pratishthanam ( Samskrita Bharati )

ivottaraatanmval

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.0!
LM4u!

78 : ie !
@A B #iC i: !
The Lordess said:!
Oh Mahevara, Mahdeva, my Lord, great sadness grows in my mind!

!Lu!

:i GH i i: !
K 4 :L iMN !
The Lord said:!
Alas, oh devi, greatly surprising is this! Sadness for you too? You did not say what is the reason
for this. Today, you tell me.!

!
!LM4u!

PQR S UL Q !
78 VWi !
uZK [K \:: i !
#B ^K _M_ !
_B R a @e !
i 3 A #8 !
/K M@N _R g ^.uK L !

hu_ _K R M_ !

The Lordess said:!

Pardon me. I did not tell due to my shyness. Now I will tell you. Dear Mahevara, one who enjoys
in mahtava at the time of mahpralaya. At the end of the great war, the deities of voice wrote
my thousand names so as to please me. It is you who propagated me from your inside so as to
propagate this ocean of universe. Even so there is not even one name of you comparable to the
thousand of mine. Therefore I am surely praying to you to create a garland of names for you too.!
Hearing such words from devi, he said with a smile.!

!
!Lu!

jK k A ile !
^VK a[K B/i e !
ivottaraatanmval

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[3 a p# i Q !
ur _B _@ usi B : !
The Lord said:!
Great inquisitiveness is born in my mind, hearing your request. The completeness of your
thousand names itself is sufficient to create joy in me. Even so, if you are so eager to create, then I
wont obstruct. You yourself should do it. That is my pleasure.!

!LM4u!

3u g e A Mu0K ui !
3A : Mi !
The Lordess said:!
Let it be so. As you ordain. I am starting most happily. I bow you oh Lord, God, the ruler or my
breath!

!
!

.0!
The garland of 108 names of Siva!

: Qu: 3Kj: K : K : !
yzu^: |#: !

1. iva: iva is the one formed by joining to ava, the corpse. arddhanrvara. Note the verse
iva: akty yukt yadi bhavati akta: prabhavitum from saundaryalahari. If the is not
there he is ava.!
2. ambhu: One who exists as pleasure, bliss.!
3. svayambh: One who was born on ones own. One who does not have a cause. One who is
effect-only!
4. am: One who is of the form of eternal bliss!
5. akra: The sound a. : 4N O O i: Q u/S LU WX:
(Y<). Therefore a is kanha. kanha is explained in viva as U e Y] ^
`. So it means one which makes sound. By the dictum L b1 from amaraka, is

6.
7.
8.
9.

!
!
!

that which is depended by all for shelter. The cause of sound is the thing which sounds and the
action of sounding. Since result is intrinsic to cause, sound and the thing which sounds are the
same. Therefore here that sound which all depend for shelter, abdabrahmam.!
amkara: One who does am. One who does, gives, distributes welfare and happiness.!
hara: one who takes away. He takes away everything at the time of total destruction the
mahpralaya.!
udyadbhnusahasrbha: One with the brilliance of a thousand (innumerable) suns.!
daabhusamanvita: One with ten hands.!

u.~iuj .iu !
uZiy iu8 !
ivottaraatanmval

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10. srtydigualhya: One who is richly endowed with the trident which is of the form of the
trigua and the three actions. trigua are, satva, rajas and tamas. He is qualified by all the
three qualities. They are causal in the three actions, sthity (sustenance), srti (creation) and
samhra (destruction) respectively. These three actions are also his. Therefore brahm, viu
and rudra: are intrinsic to him.!
11. dutanigrahavajadhrk: He holds the vaja (innumerable lightnings) which destroys evil.!
12. uddhavidykhagadhr: One who holds the sword of the form of uddhavidy, the pure
knowledge. It is contrast of avidy the illusion which creates the feeling that this world is real.
The sword of uddhavidy or pure knowledge destroys that illusion and gives the ultimate bliss.!
13. ripuvraparavadha: The axe which removes, destroys the enemies. In this samsa, it can
mean one who holds this weapon or the weapon itself. Here devi has not used any explicit
linguistic tools like hya, bhita, ujvala etc. to say, holds the axe. It is interesting that she
does not differentiate between the axe and its holder Lord Siva. sarvam khalvidam brahma all
this is but brahman only. Next name is also similar.!

!
!
!

MK uW: !
3: Wui: !

14. pralaygnibhayadhvas: pralaygni, the ultimate fire which unifies everything. Everyone fears
that fire. Have bhaya. HE is of the form of the abhaya mudra which gives safety from it.!
15. kualngabhita: He is embellished by nga the serpent. It is the kualin akti. kualin
is the devi in the skma form and is inseparable from iva.!
16. rgasvarpaphya: He is adorned by the rope of the form of rga. Here devi uses the male
form of her own name rgasvarpaphy!
17. ndaghasutoita: One who gets very happy with the sound of gha the bell. nda is
primordial. Lord Siva is said to have the body (tanu) of the form of nda (ndatanu).
ndagha in tatpurua means, gha of the form of nda. !

!
!

K uSS !
uZ3i : !

18. mahklgnisamobha: One who is resplendent with the glow of the great destructive fire, the
mahklgni. With the mahklgni, the whole universe is destroyed. klgni is a samsa of
kla and agni, which means agni (fire) which is the kla (time). klgni is not fire alone. Time
changes everything. As time passes things are born, live and die or disappear. mah is joined
here as an adjective to show the point in time when everything gets destroyed and disappears
in one go. !
19. kodhkrnkuojjvala: Devi who wanted at least one name for her Lord equivalent to any one
among her nmashasra, again seems to rejoice in creating as many names for him as
possible. This name again is the pullinga form of her on ninth name in sahasanma. He is
extremely radiant with the hook. !
20. uddhasphaikasaka: Equivalent to pure glass. Siva the unqualified, nirgua is bereft of
colour and form. The form that is attributed here with the organs and ornaments are explained
as something else, e.g. the rope pa is rga which ties the individual souls to the created
universe. He has no colour as a quality and therefore sphaikasaka, equivalent to glass.
uddha, that sphaika is again qualified as pure without any colour of its own too.!
21. bahvbharaaobhita: One who shines with many ornaments. bahu also means innumerable,
which cannot be measured or counted. Mostly like sarvbharaabhit, her own name.!

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With this the description of weapons are over. Now Lordess tipurasundar ventures into a
descriptive narration of the Lord from head to toe as she has in her shasa.!

!
!

ei7iSS:!
MQ3: !

22. anekakoihemdrisamakeajaojjvala: hemdri is same as mahmeru . c6: uc6de ,u:

u: (: Sf: ) surlaya: means the abode of Gods. It is an unimaginably huge
mountain. koihemdri, a crore of those mountains. anekakoi, innumerable crores. Therefore
innumerable crores of hemdri. sama, equivalent. kea, hair. ja, twisted hair like the roots of
a tree. ujjvala: splendidly blazing. The mount of twisted hair is like innumerable cores of
mahmeru, and he is blazing with that.!
23. palayrambhasamkagamgobhitamastaka: pralaya. laya is dissolution or disappearance.
parlaya is parakarea laya. prakara is absoluteness and definitiveness. The definite total
dissolution and disappearance of the universe is pralaya. parlaya is considered to be through
flood of fire or water. After parlaya there would be nothing but water and water everywhere.
gamga the sacred heavenly river. palayrambha, the beginning of pralaya. samka,
resembling. mastaka, head. gamgobhita shining with gamga . He whose head is radiant with
the river gamga who resembles the beginning of the final definite dissolution of the whole
universe. More than the ferociousness of such gamga, it describes the head of lord Siva.!

(iSS !
e4M: !

24. jalnanadphlabhramakttvaritojjvala: ja, already commented in 22nd name. jalna. lna,

attached, disappeared etc. disappeared into the twisted hair. nadphla. nad, river
representing Gag here. phla forehead. nadphla, the forehead of river Gag. bhramaja,
generating or creating confusion. tvaritojjvala. tvarit is the 8th nity among the 16 nity.
Represents aami tithi. ujjvala, shining, bright. Beautiful foreheads are compared to
aamcandra, the crescent on the 8th day between new and full moons. Here devi compares
the crescent in the ja of Siva to the beautiful forehead of Gag who has disappeared into
the ja. Therefore, he who shines with the 8th tithi- moon in his ja which creates confusion
that it is the forehead of Gag who disappeared into the ja.!
25. mahklgninkaphlanetrapraobhita: He shines with the eye on the forehead equivalent to
the great ultimate fire which destroyed the whole universe. !

uuB(j: !
i_#e4Gu#i !

!
26. mukhrkmujameghaktabhrcpaobhita: mukhrka, the sun which is his face. amu, rays.
jamegha, his ja which is megha. kta, created. bhrcpa, the bow which is the eyebrow.
obhita shining. devi equates his face to sun, which is apt because of the raging brightness of it
with the addition of just now described third eye of pralaygni. It radiates the rays which falls on
the twisted hair the ja. Equating ja to megha is again apt due to the darkness of it. It is also
like the twisted and mangled rain clouds. When the rays of sun falls on clouds the rain bow is
born. Likewise, when the rays of his face falls on the twisted hair it creates his eyebrows
equivalent to rainbow in its beauty.!

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27. dityacandramonetra: He who has two eyes which are Sun and Moon. With this the left and
right eyes are described, having earlier described the third forehead eye as fire.!
28. chacusannibhansika: chanchu, beak. sannibha, equivalent. nsik, nose. Therefore one who
has his nose which is like a beak.!

!
!

.#i3: !
ij: huiWj: !

29. aamcandrabibhrjadalikasthalaobhita: Again she is eager to create names equivalent to

hers. His forehead shines like the 8th day crescent. This is again the pullinga of her 15th name.!
30. naracihnanighoha: oha, lip. nigha, hidden. narachihna, moustache. His upper lips are
hidden by the thick moustache.!
31. marugopitagaabh: bh, place, earth etc. maru, beard. gopita, concealed. gaa,
cheek. His beard conceals the cheek which is the earth. Or, the breadth of cheek.!

!
!

u#eQ !
@@huuih !

32. sundarradanacchdapnecchkampitdhara: radanacchda is explained by Bhaskara Raya

as the covering of teeth (radana = teeth, cchda = covering). It could be upper, lower or both
lips. pnecch, the thirst to drink. kampita, vibrating. adhara, lips. He is one with his lips
vibrating with the thirst to drink the lips of sundar.!
33. durgammarmararvakutukodghtitarav: ravas, ear. udghtita, raised, opened up.
kutukodghtitarav, ears raised with expectation. durgam, her own 189th name. marmara,
whispering words. He has his ears raised in eagerness to hear the whisperings of his love,
sundar in the form of durgam!

!
!

iu@i@i: !
iQ@ii@i_#u: !

34. mohingnamdhuryamohitrdhanimlita: mohini, her own 562th name. Enchanting. The music
of an enchanter should be enchanting. gna, her song. mdhurya, sweetness. mohita
enchanted, mesmerised. ardhanimlita, with half closed eyes. He who has his eyes half closed
in the enchanting music of the enchanter devi.!
35. nijahsagmbhryavinirbhartsitatanyatu: nija, ones own. aahsa. loud laughter. This is one
synonym for Siva also. Since hsa means laughter and aa means very tall, aahsa means
very tall laughter, or very loud laughter. vinirbhartsita, defeated. gmbhrya, greatness.
tanyatu, thunder. The greatness of the loud laughter of Siva defeats the thunder of clouds.
Note, nijasallpamdhuryavinirbhartsitakacchap sweetness of her own chats, defeats
kacchap the veena of Saraswati.!

aiiKi3# !
WrZ4S !

!
36. dharmriviasarodhajsitasvakandhara: dharma, righteousness, piety. ari, enemy. via,
venom. sarodha, stopping totally. jta, born. asita, black. svakandhara, own neck. The
9 of 19
ivottaraatanmval

venom referred here is the deadly one emanated from vsuki during the krasgara churning.
One who has black neck by blocking the deadly venom hlhala, which was trying to destroy
piety in the world.!
37. kaharuddhagaracchdatraplajjitaleliha: kaharuddha, blocked by/at the throat. gara,
venom. cchda, hide. trap, shame. lajjita ashamed. leliha: serpent. Trying to conceal the
shame of the venom stopped at the throat of Siva, the serpent coiling around the throat of him
is getting ashamed himself. Lord Siva is adorned by that snake.!

3i: !
Br3# u: !

38. gajamastakroabhradharaacchilakajara: gajamasta, the projection on the head of an

elephant. kroa, bosom, chest. gajamastakroa, bosom equivalent to the projection on the
head of elephant. bhra, weight. gajamastakroabhra, the weight of such bosom. dhara,
bearing. acchila, six stones, six-pack (in modern terms). kajara, belly. One who has six
stone like muscles on the belly which is holding the weight of the two bosoms which are
equivalent to the forehead of an elephant. Note her own name similarly
stanabhradalanmadhyapattabandhavalitray.!
39. mahmerusamaskandha: skandha, shoulder, the part between neck and bhuja.
mahmerusama, equivalent to the mahmeru. mahmeru, is explained earlier in this. One who
has the shoulders equivalent to mahmeru.!
40. mgarjakataa: mgarja lion. kataa the portion of hip. Lions hip is famous for the
narrowness compared to the chest. Broad chest and narrow hip is famous for male beauty. His
hip is like that of the lion famous for the narrowness of hip.!

a e_ !
i8eZhM !

!
41. durgjtavajralingacchdannekapatvaca: durg, her own 190th name. The commentary by
Bhaskara Raya talks about why she decided to adopt this name etc. Etymologically it means
difficult of access or approach, impassable. jta, known. vajra, the weapon of Indra the
thunderbolt. linga male genital. cchdana, conceal, hide. anekapa, elephant. tvacha, with the
skin. Famous is the copulation of Siva and Lalita which created the universe. durg as such is
difficult to access leave alone any god copulating with her. Therefore she only knows the
strength of his male genitals. The lord wears the skin of elephant which conceals his genitals.
Note here own 39th name kmeajtasaubhgyamrddavorudvaynvit.!
42. koivetbhraraanbaddharoipraobhita: koi, innumerable, maximum etc. vetbhra, white
cloud. raan, strap. baddha, tied. roi, hip. praobhita, eminently brilliant. He is eminently
brilliant with his hip shining with the strap made of a crore (innumerable) white clouds.!

!
!

uKi.rQM:!
(#Ki.PrMi: !

43. gnalolupasamviavmorusampraobhita: gnalolup, her own 857th name. samvia, seated

completely, throughly. vmoru, left thigh. sampraobhita, verily, eminently glittering. By adding
the prefixes pra-prakarsha height and sam-samyak all-encompassing respectively are
denoted. He who has all encompassing, highest glittering with her, who is indulged in gna
music, seated on his left thigh.!
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44. bhadraktddantisamviadakinorupramodita: After describing his left thigh on which she herself
is seated, she goes on to describe his right thigh. bhadrakt muruka, skanda their second son.
danti, gaea their elder son. dakinorupramodita. dakina, right. ru, thigh. pramodita,
extremely happy. He who is extremely happy with his right thigh depended by the two sons,
muruka and gaea. The left thigh of a man is reserved for the wife and the right for the
children.!

!
!

u.u#!
Q@ui3ui: !

45. kadrujkakaliabhujapdasamanvita: kadruj, the daughter of kadru, snake. Snakes are

the children of kadru, the sister of vinata. kakaa, bangle. lia, embraced. bhujapda,
upper arm and feet. By bhuja and pda, she describes the whole arm and legs. samanvita, well
joined. He whose hands and legs are well joined by the bangles formed by snakes.!
46. krmaprhbhiangisvajnudvayavirjita: krmaprha, the high back of a tortoise. abhiangi,
defeating. svajnudvaya, own two knees. virjita, vi + rjita. rjita is illuminated , resplendent ,
brilliant etc. The addition of vi which expands into vieea, meaning specially, the illumination
or brilliance is further made elegant. He is specially illuminated with the knees which defeat the
back of tortoise.!

!
!

z[3ui !
@i\e: j@_ur: !

47. manjrainjitodbhtasaptasvarasumodita: manjra, anklet. injitodbhta, born from the tinkling

sound of the anklet. saptasvara, the seven musical notes sa, ri, ga, ma, pa, dha and ni.
sumodita, completely happy. He who is happy about the 7 musical notes generated by the
tinkling of his anklets.!
48. rddhvadigvadanena: rddhvadik, the spacial direction facing up. vadana, face. na, he
who has na as the face looking in the upward direction. With the 23rd verse above she
completes the description of pdacavarana, the head to toe description. Now she starts
his description on the other forms in detail. The five faces from na to sadyojta are
described here. !
49. prvatatpurunana: He has his tatpuruha face, looking towards East (forward).!

!
!

P u\g!
yM_3 Qu# !

50. dakivadanghora: aghora is the face facing South (right).!

51. vmadgvmadaivata: Towards North (left) is the vmadeva!
52. sadyojtapratyagsya: sya, Face. pratyak, West (back). sadyojta is the face towards back.!
53. pacmnyamukhnvita: pacmnya, the five mnya, viz. prva, dakina, pacima, uttara
and prva. pacabhi: mukhai: pacmnyn praanya (kalpastra) With five faces he
created the five mnya.!

78 VWi:!
j M !
ivottaraatanmval

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54. Mahevara: Bhaskara Raya in his commentary to her 208th name mahevar writes thus
{Quote} The ruti (mahnrayaopaniat Up.II,8), referring to Mahevara says, It is the svara
(omkra) which is proclaimed in the beginning of the Veda and also established at the end and
which is involved in its own nature (on syllables) indicates him who is supreme Mahevara.
Here the Sruti declares, Mahevara as transcending the three gunas. The Linga purna. says,
In his dark quality (Tamas) he is called Rudra, the destroyer; in his passionate quality (Rajas)
the one born from the holder egg (Brahma); in his pure quality (sattva) he is the all-pervading
Vishnu; devoid of the three qualities (nirgua) he is Mahevara. He is Mahevara whose
emblem ( the linga) is worshipped by persons possessing purity of mind and practising
celibacy. The bhrata also says, he is the lord of all creation and the lord of (human)
greatness. The vtulauddha (gama) speaks of Mahevara as the aggregate of twenty- five
tattvas {end quote} !
55. mahkalpamahtavamodita: He is delighted in the great dance in the great cycle.
mahkalpa, the great dissolution (pralaya); Great dance is caused by the fact that the Self
alone remaining and having become bliss after the universe has been drawn into it;and
witnessing the dance of the axe-bearing Parabhairava (Siva in his aspect of destruction)
started at the time of his drawing the universe (into himself) (Lalita Sahasra Nama .232
Bhaskara Raya). There itself, {Quote} Having a garland on his breast, having the wings of an
eagle as his head-ornaments, filled with red liquor, holding in his hand the great horn of the
buffalo of Yama (Death), dancing to the sounds of his music, such as dimba, dimba, sudimba,
sudimba, paca, paca, jhamya, jhamya, prajhamya, bhairava{End Quote} explains the
ferociousness of his dance. He is delighted in that (modita)!
56. mahbhtagadha: mah, great, mighty, strong, abundant. bhta that which is or exists,
any living being (divine, human, animal, and even vegetable), the world (in these senses also),
a spirit (good or evil). vidydharopsaroyaka rakogandharva kinnar; pico guhyakssiddho
bhto/m devayonaya: (amara. 1. svarga. 11). All the divine beings. gaa, a flock, troop,
multitude, tribe, series, body of followers or attendants. According to vmanapura, there are
eleven crore bhtas. rudra created them from sati. adha, lord or master. He is the master of
the multitude of living beings. The master of the tribe of the spirits. In mahohnysa it is
narrated thus: asitnga and mangalantha bhairavas, who themselves are the siva, along with
mangalmb and bhrahmyamb respectively are along with the bhtakula (bhtakulasahita)!
57. mahpralayakraka: He creates the great extreme flood. The flood could be of water or fire. He
manifests in his tamogua at the time of pralaya. He then in his raja form creates the bhava
again.!

!
!
!

i #u u3_.!
BMe B !

58. mahn: Great. Deserving to be worshiped. It is one of the breaths part of rddhvan the last
breath. siva as the destroyer manifests in the rddhvavyu. mahn is one of the eleven dity.
dvdaditya were born by splitting the male form of rudra into eleven. The male and female
rudra forms were born from the anger of brahma. The other 10 forms are mahinasa, manyu,
manu, iva, rtudhvaja, ugraretas, bhava, kma, vmadeva, dhrtavratha.!
59. mahinasa: One of dvdaditya!
60. manyu: One of dvdaditya!
61. manu: One of dvdaditya!
62. tva: The primordial form of vivakarma. triira is the son of tva.!
63. aparjita: One who is never defeated. aparjita is one of the dvdaditya viz. hara, bahurpa,
tryambaka, aparjita, vrkapi, ambhu, kaparddi, raivata, mgavydha, sarppa, kapli
(agnipura: chapter 18)!

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!
!
!
!

64. kmepremakedra: kme and kmea are at the bindu of srcakra. Their union creates the
world. kedra, the basin or place of holding. She calls him as the holding place of her own love.!
65. kmea: Her husband kmea.!
66. kmanaka: The destroyer of kma. The story is that he opened his third eye and destroyed
kma.!

!
!

i!
3B3i: u.3i_u !

67. kltta: He is beyond kla. At the time of creation kla surges from him, which is the 10th tatva
from iva in 36 tatva.!
68. kalkra: kal is the 8th tatva. iva after splitting into himself and akti, proceeds to emanate
into multiple tatvas. He is the creator of 64 kala, the ancient science of bhratavara. He is the
artist who creates the whole universe.!
69. kla: He himself is time the destroyer of everything.!
70. klavinaka: He destroys time also at the time of pralaya. He destroyed kla (yama) who tried
to take mrkaeya his best bhakta.!
71. svayamevasvanilaya: He cannot reside anywhere else since he is the whole. Therefore he is
his own nilaya house, of himself.!
72. sristhitilayotsuka: utsuka, zealously active in creation, sustenance and destruction. Without
rest he continues to do these.!

!
!
!

Myeai#i: !
KgGWg #0g !

73. praavdyekavardioayantdhidevat. Each mantra has its devat. But all that devat are
him. In mantranysa of mahohnysa, all mantras are referenced from the one syllabled
OM till the 16 syllabled oai.!
74. samhrabhairava: One amongst the nine bhairavas. From here onwards she describes him as
the bhairavas ending with the 30th verse. They are samhrabhairava, caabhairava,
unmattabhairava, kaplabhairava, krodhabhairava, rudrabhairava, asitngabhairava,
bhaabhairava and bhairava. bhaira according to vcaspatyam is bhroridam a. That which
concerns fear. Bhaira is one who creates fear and one who is accessed for dispelling fear too.
bhairava is one who splits anything (6e i<u medin).!

g g rg!
ig gg: !
UPP PPP!

|K 3 3/ : !
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83. bhaktaraksaddaka: bhakti M] jWjkM (vcaspatyam). bhakta, one who has bhakti.
rak, protection. sad, always. daksha, expert, dexterous etc. 9e u u`: u, IE
(amara. 2. dravarga). He is always efficient in protecting those who are efficient in having
their mind fixed on him.!
84. dakasatrakayakama: im quotes daka as 9:n. daka here is prajpati, father of sati
sivas wife. satra, sacrifice by oblations to deities. kaya destruction. kama, competent, able.
dakasatra is the sacrifice that dakaprajpati performed for which iva was not invited. iva
destroyed the sacrifice after sati jumped into the fire killing herself. He is well competent in
destroying the sacrifice of dakaprajpati.!
85. hum, pha, svh, vaha, vaua, svadh: From this onwards the five names she gave him are
the five of aanga. They are hum, pha, svh, vaha and vaua. The sixth one nama is not
used here. These aanga mantras are classified as male, female and transgender. The use of
them in vaya, uccana, rodhana, khudra, ruj, mraa and bhichra are explained
according to the gender. !

upqup: n/ qi u:' !
Y: YE u1 : SW: !
SY o vpY up: !
wxeu u1: iy: !
9uef61 z qY<: {iy: !
} SW: / p ~ q (nityotsava:) !
These mantras were used in Vedic rites to offer havis to the deities. S Mi]
L S (amara: 3.avyaya.8). svah and svadh are used in renouncing the
homadravya.!

Elsewhere (vcaspatyam), v ie (ci) hum is used in removal. uM S

i e4izS ,fi Yu9], e <9], f *u9e,
Y9i, ii9ee, YuI1 ], fe u6], @Yb,
'n9e, e: 41,, ], ,iu f
u Y<eu i: !
svh and svadh are her own names 435 and 436. She indicates her unity with him. iva
and akti are the same. She has mentioned in the initial discussion of this stotra where she
mentiones that you only created me from yourself. Bhaskara Raya in his commentary
saubhgyabhskara explains these two names in detail while referring to the other. !
91. aja: One who is not born. That does not mean he does not exist. He exists always.
Yi,: Also in mahbhrata i p iI 9e<=:f*1
SSW: In saubhgyabhskara, when he comments on her name aj' the feminine of
aja: p i W,u4p S i u W,uufp Y WS i i
O4i6y^ nf !
92. vraa: uttarmnya has this story. Once iva, prvat, nandi etc. were playing in the form of
monkeys on himlaya. Then rvaa who came in his pupakavimna ridiculed them. nandi the
vehicle of iva put a curse on rvaa who ridiculed them, that he will be destroyed by monkeys.
It was then that rvaa lifted himlaya.!
93. bhava: One amongst 11 rudras. bhava also means all that is created. Lord Siva himself
transformed into all that exists. 4X : S* 6e i: (amara: 1. svarga. 41) states
that he is rudra. He is the one who is approached by all, the cause of everything, one who
enjoys the world as jvtm. !

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P ul 33: u. iM!

u.i # !

94. pakirja: he incarnated as a bird to subdue narasimha as arabha. King of all birds.!
95. luvea: Another name of him as arabha.!
96. svastida: One who does (gives) prosperity.!
97. puida: One who gives growth in all dimensions.!
98. priya: One who makes happy.!
99. vajramuivarbhtikara: One who has the thunder, clenched fist, boon and security in his
hands as the symbols.!
100.klbhrasannibha: klbhra, black thunder clouds. sannibha, resembling. He resembles the
the black thunderclouds. Thunder clouds contain heavy water drops, ready to pour down as
rain. iva contains the prapaca just to be created. !

!
!
!

Uji3 M: !
P i: UPiM: !

101.aktilakaplsihasta: akti, strength. la a weapon with multiple piercing needle-points.

kapla, skull. asi, sword. hasta, hand. One who has all the four in his four hands.!
102.saudminprabha: saudmin lightining. prabha, glow. One who is radiant as the lightning.!
103.panckara: He is of the form of 5 letters. His mantra is famous as ivapanckar.!
104.divastra: di, the ten directions. The cloths that he is wearing are the directions. He is
naked. He cannot be covered by any regular cloths, because then they would be beyond him.
Since he is the whole, this is not possible.!
105.aktipanckarpriya: He loves the mantra famous as aktipanckar which is a mix of her
bja hrm and his five letter mantra.!

zM#Vji:!

i# @:: !

106.makrapancakodbhtapraudhntollsaprita: makrapancaka, the five components used for

worship of devi on srcakra. All of them start with the letter ma and hence the name. udbhta,
produced by. praudhnta, dense, complete in all sense. ullsaprita, filled with pleasure.
Worship with the 5 components is described in paraurmakalpastra, as Yp Op x
Md 4Sp S4: N: 'fp u,, nY: ( * ) This kind of worship
should be learned from a competent Guru.!
107.dindnandantha: The first amongst nandantha. nandantha is a lineage of disciples
starting from Lord Siva, each having a name ending nandantha with a specific prefix. eg.
bhsurnandantha, yognandantha etc. !
108.sarvadeikadeika: deika guru, master. He is the master of all masters.!

.0R A QR 34K u !
3A : @i !
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With the above name 108 names are over. In this line She says that this stotra of 108 names of
you is concluded. I bow before you. Oh bhagavan, lord, the presiding ruler of all the worlds. It is
interesting to note that she called him bhagavan, in the concluding verse, because bhagavn is
defined as ,ij np ' *i i j ii1 x ii He is the one who
knows the rise and total destruction, appearance and disappearance of all that exists, ignorance
and ultimate knowledge, who can be called bhagavn.!

Lu -!

u# |g _ !
V u#i y A i: !
a 3g !
sN3u VN !

_ MG e (_ j_ i !

!
!
!
Lord Siva said:!
!

[_ K PK - : S !

The garland written by you is very beautiful (uY). Oh beautiful one (uYi), my consort, your
sadness is gone. She (this garland of names) is very secret. Never to be given to the nondeserving. Only to be given to right (deserving) disciples. By chanting (this) desires are achieved.
Good people remains happy, by gaining worldly needs and salvation, by way of chanting this in the
morning and evening, after bath and after smearing with ashes,!

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.0!

!
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ivottaraatanmval

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!!
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ivottaraatanmval

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p ' :

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ivottaraatanmval

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