16 ṣoḍaśadaśakaḥ - sudarśanavivāham
śrutvā vadhūvākyamaraṃ kumāro hṛṣṭo bharadvājamuniṃ praṇamya .
āpṛchya mātrā saha devi sa tvāṃ smaran rathenāpa puraṃ subāhoḥ .. 16-1..
svayaṃvarāhūtamahībhujāṃ sa sabhāṃ praviṣṭo hatabhīrniṣaṇṇaḥ .
kanyā kalā pūrṇaśaśī tvasāvityāhurjanāstāmabhivīkṣamāṇāḥ .. 16-2..
vadhūśca taddarśanavardhitānurāgā smarantī tava vākyasāram .
sabhāṃ nṛpāṇāmajitendriyāṇāṃ na prāviśatsā pitṛcoditā'pi .. 16-3..
śaṅkākulāste nṛvarā babhūvuruccairyudhājitkupito jagāda- .
mā dīyatāṃ lokahitānabhijñā vadhūraśaktāya sudarśanāya .. 16-4..
bālo'yamityeṣa mayā''śrame prāgupekṣitaḥ so'tra riputvameti .
mā'yaṃ ca vadhvā vriyatāṃ vṛtaśceddhanyāmimaṃ tāṃ ca hareyamāśu .. 16-5..
śrutvā yudhājidvacanaṃ nṛpālā hitaiṣiṇaḥ kecidupetya sarvam .
sudarśanaṃ procurathāpi dhīraḥ sa nirbhayo naiva cacāla devi .. 16-6..
ekatra putrī ca sudarśanaśca yudhājidanyatra balī sakopaḥ .
tanmadhyago maṃkṣu nṛpaḥ subāhurbaddhāñjaliḥ prāha nṛpān vinamraḥ .. 16-7..
nṛpā vaco me śṛṇuteha bālā nāyāti putrī mama maṇḍape'tra .
tatkṣamyatāṃ śvo'tra nayāmyahaṃ tāṃ yātādya vo viśramamandirāṇi .. 16-8..
gateṣu sarveṣu sudarśanastu tvāṃ saṃsmaran mātṛhitānusārī .
subāhunā tanniśi tena dattāṃ vadhūṃ yathāvidhyuduvāha devi 16-9
prātaryudhājitprabalo vivāhavārtāṃ niśamyāttaruṣā sasainyaḥ .
sudarśanaṃ mātṛvadhūsametaṃ yātronmukhaṃ bhīmaravo rurodha .. 16-10..
tato raṇe ghoratare subāhuḥ klīṃ klīmitīśāni samuccacāra .
tatrāvirāsīḥ samarāṅgaṇe tvaṃ siṃhādhirūḍhā svajanārtihantrī .. 16-11..
tvannāma gāyan kathayan guṇāṃste tvāṃ pūjayaṃścātra nayāmi kālam .
svapne'pi dṛṣṭā na mayā tvamambe kṛpāṃ kuru tvaṃ mayi te namo'stu .. 16-12..
16 shod'ashadashakah' - sudarshanavivaaham
श्रुत्वा वधूवाक्यमरं कुमारो
हृष्टो भरद्वाजमुन ं प्रणम्य ।
आपृछ्य मात्रा सह दे नव स त्वां
स्मर ् रथे ाप पुरं सुबाहोोः ॥ १६-१॥
shrutvaa vadhoovaakyamaram kumaaro
hri'sht'o bharadvaajamunim pranamya .
aapri'chhya maatraa saha devi sa tvaam
smaran rathenaapa puram subaahoh' .. 16-1..
1.Oh Goddess, with speed that young man (sudarshana),
hearing the words of his bride, full of happiness, along with
his mother, worshipped Bhardwaja muni and after bidding
him farewell, and remembering you (devi), in a chariot rode
to subahu’s city.
After his divine vision of the devi, Sudarshana who had
become devoted to Shashikala, was waiting for an
opportunity. It was at this time that the brahmana came gave
the bride’s message to him. Hearing this sudarshana became
extremely happy. At almost the same time, there arrived in
bhardwaja muni’s ashrama, a sage, who predicted that
without much delay sudarshana would get back his kingdom
(kosala desh). At the same time the nishada king of
shringivela had gifted sudarshana with a chariot. Because of
all these good omens, sudarshana confirmed that something
good was going to happen to him. Along with his mother he
went near bharadwaja muni and took his blessings, bidding
him adieu, and remembering devi, climbed onto the chariot
and reached the city of kashi raja.
स्वयंवराहूतमहीभुजां स
सभां प्रनवष्टो हतभीन िषण्णोः ।
कन्या कला पूणिशशी त्वसानव
त्याहुजि ास्तामनभवीक्षमाणाोः ॥ १६-२॥
svayamvaraahootamaheebhujaam sa
sabhaam pravisht'o hatabheernishannah' .
kanyaa kalaa poornashashee tvasaavi
tyaahurjanaastaamabhiveekshamaanaah' .. 16-2..
2. he who had conquered all fear, entered the hall where the
kings who were invited for the swayamvara were seated and
sat along with them. People who saw them started saying
that the girl was a work of art and the boy was equivalent to
a full moon.
Sudarshana went into an assembly of strong princes who had
been invited for the swayamvara. He was fearless. Ordinary
people who had come to attend the swayamvara repeatedly
watched sudarshana, Shashikala and the other princes. They
all felt sudarshana was the most eligible groom for
Shashikala. People started to say ’sudarshana was like a full
moon and Shashikala was the piece of art in that’. The moon
and art cannot be separate-like that.
वधूश्च तद्दशि वनधि ता ु -
रागा स्मरन्ती तव वाक्यसारम् ।
सभां ृपाणामनजतेन्द्रियाणां
प्रानवशत्सा नपतृ चोनदताऽनप ॥ १६-३॥
vadhooshcha taddarshanavardhitaanu-
raagaa smarantee tava vaakyasaaram .
sabhaam nri'paanaamajitendriyaanaam
na praavishatsaa pitri'choditaa'pi .. 16-3..
3. may it be the bride who developed a passion towards him
(sudarshana), remembering your (devi’s) words, did not enter
the hall where the kings who could not control their senses
were seated, inspite of being ordered by her father,.
Shashikala recognised sudarshana who was seated in
assembly. At this time she remembered Devi’s words.[please
check 15th dashaka 5th shloka]. Sudarshan is more
handsome than what she had imagined. She developed a
passionate liking for sudarshana. Because of that she did not
go to rajya sabha. Compared to sudarshana all the other
princes were dull. Her father subahu, forced her to go to
assembly hall. She persisted that he invite sudarshana to the
marriage stage and donate her to him(Sudarshana). She had
already drawn a picture of a man mentally. She also
reiterated that there was no need for her to go and display
her beauty in front of unknown men.
शङ्काकुलास्ते ृवरा बभूवु-
रुच्चैयुिधानजत्कुनपतो जगाद- ।
मा दीयतां लोकनहता नभज्ञा
वधूरशक्ताय सु दशि ाय ॥ १६-४॥
shankaakulaaste nri'varaa babhoovu
ruchchairyudhaajitkupito jagaada- .
maa deeyataam lokahitaanabhijnyaa
vadhoorashaktaaya sudarshanaaya .. 16-4..
4.Those kings were filled with doubt. The hot-blooded
Yudhajith who was very angry said in a loud voice, “This bride
who does not have knowledge of the world, should not be
given to a weak-hearted Sudarsana.”
The other princes guessed that the bride might be devoted
to sudarshana. Somewhere something was wrong they all
understood. Yudhajith, who was the strongest amongst all
who had gathered there said in a loud voice, ’the bride
should not be given to sudarshana’. The bride is not worldly
wise and sudarshana is very weak.
बालोऽयनमत्येष मयाऽऽश्रमे प्रा-
गुपेनक्षतोः सोऽत्र ररपुत्वमेनत ।
माऽयं च वध्वा नियतां वृतश्चेद्धन्यानममं
तां च हरे यमाशु ॥ १६-५॥
baalo'yamityesha mayaa''shrame praa-
gupekshitah' so'tra riputvameti .
maa'yam cha vadhvaa vriyataam vri'tashcheddhanyaamimam
taam cha hareyamaashu .. 16-5..
5.I had left him alive at the hermitage because he was a mere
boy; He has come here as my enemy; The bride should not
marry him. If she does I will kill him. I will also abduct her.
Earlier yudhajith was prepared to take Manorama and
sudarshana from bhardwaja’s ashrama by force. Not taking
them that day was a mistake. That boy who was a mere
refugee that day has become my competitor today-thinking
like this only increased yudhajith’s want for revenge from
sudarshana. he told subahu that he should give the bride to
sudarshana. Suppose she insists that she will marry only
sudarshana, then I will kill him and runaway with the bride.
The Shashikala swayamvara episode is one of the most
dynamic and dramatic episode in devi bhagvatham (check
devi bhagavatham book 3 chapter 22).
श्रुत्वा युधानजद्वच ं ृपाला
नहतैनषणोः केनचदु पेत्य सविम् ।
सुदशि ं प्रोचुरथानप धीरोः
स न भियो ैव चचाल दे नव ॥ १६-६॥
shrutvaa yudhaajidvachanam nri'paalaa
hitaishinah' kechidupetya sarvam .
sudarshanam prochurathaapi dheerah'
sa nirbhayo naiva chachaala devi .. 16-6..
6. Oh Goddess, some kings who desired good for all,
hearing the words of Yudhajit, approached Sudarsana and
told him everything. But the fearless and brave Sudarsana
did not budge from his position.
Those who wish that only good should happen to us are our
well-wishers. Some of the princes who were the well-wishers
of sudarshana and Shashikala, did not want them to face the
dangers from yudhajith, went to sudarshana and gave him all
the information. ‘whatever has to come will come. Then why
fear?’-sudarshana was of this view point. He did not have any
anger nor was he vindictive towards yudhajith. Everything is
Devi’s wish. Sudarshana was of the firm belief that all who
are under Devi’s protection will be safe.
एकत्र पुत्री च सु दशि श्च
युधानजदन्यत्र बली सकोपोः ।
तन्मध्यगो मंक्षु ृपोः सुबाहुर्
बद्धाञ्जनलोः प्राह ृ पा ् नव म्रोः ॥ १६-७॥
ekatra putree cha sudarshanashcha
yudhaajidanyatra balee sakopah' .
tanmadhyago mankshu nri'pah' subaahur
baddhaanjalih' praaha nri'paan vinamrah' .. 16-7..
7.Subahu who was caught in between his daughter and
Sudarashana on one side; and the strong and angry
Yudhajith on the other side; standing in between them, with
humility saluted the kings, started talking quickly to them.
Sudarshana did not come to take the girl by force. He has
not committed any crime. However, telling sudarshana to
leave from there was also not the right thing to do. Also
Shashikala refused to look at any other man except
sudarshana. And if she marries sudarshana-definitely
yudhajith will rebel. He is strong also. Thinking of all this,
subahu came to the assembly hall and said.
ृपा वचो मे शृणुतेह बाला
ायानत पुत्री मम मण्डपेऽत्र ।
तत्क्षम्यतां श्वोऽत्र याम्यहं तां
याताद्य वो नवश्रममन्द्रिरानण ॥ १६-८॥
nri'paa vacho me shri'nuteha baalaa
naayaati putree mama mand'ape'tra .
tatkshamyataam shvo'tra nayaamyaham taam
yaataadya vo vishramamandiraani .. 16-8..
8.Oh Kings, please hear what I have to say. My daughter is
but a kid; she is now refusing to come to the marriage hall.
Hope all will pardon her. Tomorrow, I will bring her here.
Today all of you please go to your resting rooms.
Today the marriage will not take place. It has been shifted to
the next day. So no one need wait at the marriage hall. All of
you please go to your respective resting places-this is the
gist of what subahu told the princes. He said like this
knowing very well that he will not be bringing his daughter
to the marriage hall. To escape from the current situation
there was no other way. The father did not know that his
daughter’s liking for sudarshana was this strong, so he did
not think.
गतेषु सवेषु सुदशि स्तु
त्वां संस्मर ् मातृनहता ुसारी ।
सुबाहु ा तनिनश ते दत्ां
वधूं यथानवध्युदुवाह दे नव ॥ १६-९॥
gateshu sarveshu sudarshanastu
tvaam samsmaran maatri'hitaanusaaree .
subaahunaa tannishi tena dattaam
vadhoom yathaavidhyuduvaaha devi .. 16-9..
9. oh goddess! after everybody went away, Sudarsana, as per
his mother’s wish, following the rituals, praying to and
meditating on you, got married that night, to the bride given
by Subahu,
After hearing subahu’s request all the princes went to their
respective resting places. People like yudhajith thought that
there was something amiss. Still they went to the resting
place and passed their time. At night subahu invited
sudarshana to his inner chamber. He gave his daughter to
him over there. With the permission of his mother and the
blessings of the devi he got married to Shashikala. Like this
their marriage took place peacefully.
प्रातयुिधानजत्प्रबलो नववाह-
वाताां न शम्यात्रुषा ससैन्योः ।
सुदशि ं मातृवधूसमेतं
यात्रोन्मुखं भीमरवो रुरोध ॥ १६-१०॥
praataryudhaajitprabalo vivaaha-
vaartaam nishamyaattarushaa sasainyah' .
sudarshanam maatri'vadhoosametam
yaatronmukham bheemaravo rurodha .. 16-10..
10.The very strong Yudhajit, on hearing the news of the
marriage in the morning, with great anger, along with his
army and shouting with a loud voice, stopped Sudarsana , his
wife and his mother, who were making arrangements to go.
Subahu and all his supporters understood everything in the
morning. They felt that they had been ditched. Along with
the army they waited at the entrance door. Sudarshana along
with his mother and bride got onto a chariot and started
their journey. When they reached the entrance gate,
yudhajith and his army roaring loudly obstructed them.
ततो रणे घोरतरे सु बाहुोः
क्ीं क्ीनमतीशान समुच्चचार ।
तत्रानवरासीोः समराङ्गणे त्वं
नसंहानधरूढा स्वज ानतिहन्त्री ॥ १६-११॥
tato rane ghoratare subaahuh'
kleem kleemiteeshaani samuchchachaara .
tatraaviraaseeh' samaraangane tvam
simhaadhirood'haa svajanaartihantree .. 16-11..
11.When the war became very intense, Subahu chanted
“Kleem, kleem” and you who removes the sorrows of your
devotees appeared in the battle field riding on a lion.
At the entrance gate a war took place between yudhajith and
supporters of sudarshana. Around this time subahu started
to chant the devi’s kamaraja mantra. Without any delay devi
appeared on the battlefield riding on a lion. On seeing a lady
on the battlefield yudhajith and his supporters burst out
laughing. Devi and yudhajith fought against each other.
त्विाम गाय ् कथय ् गुणां स्ते
त्वां पूजयंश्चात्र यानम कालम् ।
स्वप्नेऽनप दृष्टा मया त्वमम्बे
कृपां कुरु त्वं मनय ते मोऽस्तु ॥ १६-१२॥
tvannaama gaayan kathayan gunaamste
tvaam poojayamshchaatra nayaami kaalam .
svapne'pi dri'sht'aa na mayaa tvamambe
kri'paam kuru tvam mayi te namo'stu .. 16-12.
12.Oh mother, I am spending my time singing your names,
telling about your glories and worshipping you, but you have
not appeared before me even in my dreams. Oh mother
please show mercy to me
Devi appeared in front of sudarshana, subahu and Shashikala
while they were awake, and in their dreams. Inspite of
praying to the devi for so many years not once has she
appeared before him-the poet is very unhappy about the fact
that not even once has devi appeared before him. He prays
to the devi for her compassion and salutes her.
Thus ends chapter 16
Note:
Kamaraja Beeja Mantra
Another important beeja in mantra sastra, is Kama raja or Manmatha beeja –
“Kleem”. This pervades many vidyas and maha vidyas in all the major religions
in Sanatana Dharma – Sakta, Vaishnava…
It has four matrikas, “ka” “la” “ee” and “m”. “ka” is kama. “la” is prithvi beeja, it
also thus stands for creation. As seen, “ee” is Maya and “m” is anusvara. One
attains fulfillment of all desires with the siddhi of this beeja. Among the yogini
ganas or matrikas, those like “ka” are called asuddha or impure ones. Usually
“ka” is appended with some Suddha beeja. The suddha-asuddha nature of the
beeja determines whether the Devata is worshiped in a pleasant or terrible
form – whether adorned with gold and beautiful jewels, dressed well and
pleasant, seated on a throne in a beautiful city, or whether adorned with skulls,
naked and roaming in burials. It has nothing to do with the beauty or mercy or
the capability to give moksha or approachability of the devata.
“Ka” when appended with “la” or prithvi beeja, becomes Kama raja beeja. If in
the same sequence Agni beeja “ra” is used instead of prithvi, it becomes
“Kreem” – the Kali beeja. And it makes all the difference between a beautiful
form and a terrible form. And the preparations, dhyana, nyasa, everything one
does preparing for a pleasant devata, end up inviting a different force
altogether – leading him in a different direction in mantra yoga and even
harming him. This is the reason why, even one matrika should not be messed
with in the mantra. And this is why extreme care is needed in mantra yoga. In
kamya, one’s expectation can be reversed with errors in chanting. Even in para
vidya sadhana, the qualities he thinks he is invoking and what he invokes differ
altogether. And without proper redirection from guru, the seeker will end up in
a different place.
Manmatha is another concept, after taraka, which is very similar between Sakta
and Vaishnava. Manmatha is Vishnu’s son. He occupies important position
in Saiva-Sakta stories. He is turned into ashes by Siva. Then Bhandasura
emerges from the ash, who is killed by Lalita. Subsequently he is made the
king of Kama, and Isvara allows Himself to be defeated by Kama, thereby
uniting with Devi (this is how Kumara swamy is born).
The essence of all this is that Kamaraja beeja has significant place in both
Vidyas. It is the middle beeja in Bala Tripura Sundari Vidya. Bala is the
“daughter” of Lalita, the way Manmatha is the “son” of Vishnu. Bala is Maha
Tripura Sundari Herself too. Vaishnava Vidyas have Kamaraja beeja too. In fact
it is the primary and central beeja of Sri Krishna mula mantra – “Kleem Sri
Krishnaya Gopi Jana Vallabhaya swaha”. The various names of Krishna, such as
Syama Sundara and Madana Mohana, indicate the importance of the kama
raja beeja in Krishna Vidya.
Kama or desire – iccha has primary role to play in entire creation. The cycle of
universe is said to start from the desire of the Lord and the Mother’s cosmic
play to please Him. This is the reason why, love for God, His creation and
cosmic play, have more important role to play in Sakta and Vaishnava
traditions, than Vairagya. The upasana of Suddha Tatva of Vishnu, or Nishkala
Siva involve more Vairagya than bhakti.
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