Life History and contributions of

Śrī Muthuswāmi Dīkṣitar

and his
Kamalāmbā Navāvarṇa kṛtīs

Project by K. Shravan

Sign of the candidate: Sign of the teacher:

Introduction

Tiruvārūr is famous for its temple of Lord Thyāgarājā and

Goddess Kamalāmbā, the temple tank, Kamalālayam and
the huge temple chariot. It is also known as the Mūlādhāra
kṣētram, Kamalālayam, etc. All three members of the
Karnāṭik music trinity - Śrī Śyāmā Śāstrī, Śrī Thyāgarājā
and Śrī Muthuswāmi Dīkṣitar - were born here. These three
great composers have made immense contributions to the
field of Karnāṭik music.

Śrī Muthuswāmi Dīkṣitar, the youngest of the Trinity, was born in a

religious family with a musical background. His father, Śrī Rāmaswāmi
Dīkṣitar, was also a great composer. He was the creator of the Rāgā
Hamsadhvani, and is famous for his Rāgamālikās, especially the
Aṣṭōttara śata rāga tāḷa mālikā (108 Rāga-tāḷa-mālikā).
Śrī Muthuswāmi Dīkṣitar
Contents

i. Birth and early life

ii. Time in Kāśī
iii. The Great Composer
iv. Miracles he performed
v. Tañjāvūr and meeting Śrī Śyāmā Śāstri and Śrī Thyāgarājā
vi. A desperate search and a happy reunion
vii. Reaching home and deciding to settle in Eṭṭayapuram
viii. His last day

And with a section on the “Kamalāmbā Navāvarṇa kṛtīs”of Śrī

Muthuswāmi Dīkṣitar.
Life History and contributions of
Śrī Muthuswāmi Dīkṣitar

Birth and early life:

Śrī Rāmaswāmi Dīkṣitar, our composer’s father, belonged to
the Kāśyapa gōtrā, Āpastamba sūtrā and to the class of Tamiẕ
Smārtā Brāhmins called the Vaḍamās. Because of the
political conditions of those regions, Rāmaswāmi Dīkṣitar
moved to secure places like Gōvindapuram, Māyuram, and
finally to Tiruvārūr.
Sadly, Rāmaswāmi Dīkṣitar did not have children for a very
long time. So, he and his wife, Subbalakṣmi Ammā, went to
the Vaidīśwaran Temple of Lord Vaiyanāthaswāmi and
Goddess Thayyalnāyagi, in the district of Mayilāḍuthurai,
and prayed sincerely for a child. There, Lord
Muthukumāraswāmi (Lord Murugā of that temple), appeared in
Rāmaswāmi Dīkṣitar’s dream and blessed him that a great soul
would be born to him on the day of Paṅguni kṛttikā in the next
year. Just as told, on the day of the Vasantōtsavā in the Tiruvārūr
temple, in the month of Paṅguni, in the star of Kṛttikā during the
Jayā year (24th March 1775), a beautiful child was born to the
couple. As the infant was born due to the grace of Lord
Muthukumāraswāmi, they named him Muthuswāmi. In time,
they had three more children; Chinnaswāmi, Bāluswāmi and
a daughter named Bālāmbāḷ.
He wanted his children to follow in his footsteps and he had
high hopes on our composer, his eldest child. He had
arranged to get them all studied, and, by the age of 16,
Muthuswāmi Dīkṣitar had mastered music, Vēdās, Sanskrit,
Kāvyās, Nāṭakās, Śāstrās, Alaṅkārā, Upaniṣads, Āgamās,
Purāṇās, etc and knowledge of astrology and medicine. He
was also taught how to play the Vīṇā.
In the olden days, marriage at a young age was very common.
Dīkṣitar was married young too. But he wasn’t really
interested in worldly pleasures. Seeing he was more
interested in performing spiritual activities, his parents thought
that things would improve if they married him to a fair-
complexioned girl. But still, he remained the same.

Muthukṛṣṇa Mudaliyār was a zamindar (landowner) from

Maṇali, a town near Chennai. He and his son, Chinnayyā aka
Veṅkaṭakṛṣṇa Mudaliyār, went on frequent trips to Tiruvārūr.
On one such occasion, they found out about the Dīkṣitar
family and were awed at their musical prowess. They asked
the family to come to Maṇali with them. The family accepted
the invitation and went with them. There, under the patronage
of Veṅkaṭakṛṣṇa Mudaliyār, Rāmaswāmi Dīkṣitar had a great
time.

Once, they saw a descendant of Śrī Venkaṭamakhi, the author

of the Chaturdaṇḍīprakāśikā. Rāmaswāmi Dīkṣitar told his
patron to go and request the descendant the Rāga Lakṣaṇa
Granthās. The descendant was initially hesitant, but decided
to give it under a condition; they had to identify a rāgā with
the help of the hints given to them. For this, Rāmaswāmi
Dīkṣitar sang the padam ‘Nannu Parikṣiñcanēla’ in the Rāgā
Tanukīrti, which was the rāgā asked to be identified. After
this, the descendant finally gave it up.
Time in Kāśī:
One day, Śrī Chidambaranātha Yōgī, a sanyāsi from Kāśī
came as a guest to the Mudaliyārs. He spent a few months
with Rāmaswāmi Dīkṣitar. He was very much impressed by
Muthuswāmi Dīkṣitar, and asked the father to send him with
the Yōgī to Kāśī. He happily did so.

Our composer spent a deeply religious time in Kāśī. It is said

that he lived there for five years. The Yōgī gave him upadēsa
of the Śrīvidyā Mahāmantrā and was given the Dīkṣā name,
Chidānandanāthā. Dīkṣitar was constantly practicing the
Mahāmantrā during the time of his stay there. Dīkṣitar was
also influenced by the Dhrupad style in Hindustāni music
there. At the end of five years, the Yōgī told Muthuswāmi
Dīkṣitar that he had attained Mantrasiddhī, but he was not
convinced. So, Chidambaranātha Yōgī told him to stand in
the river Ganga, hip-deep, and think of any object. Dīkṣitar
did accordingly, and thought of a beautiful vīṇā. The next
moment, he found out he was holding the very instrument in
his hands. The specialty of this vīṇā is that unlike other
common vīṇās of its type, the Yāḷīmukhā (the head of a
mythological creature found on top of the daṇḍi, the stem of
the instrument) would be facing upwards, while it should be
facing downwards. Also, the word “Rāmā” would be
inscribed on the kuḍam (resonator) of the vīṇā.

After all the happenings, Chidambaranātha Yōgī told

Dīkṣitar to return to Maṇali as the Yōgī was about to attain
samādhi in mere minutes. But the disciple wanted to perform
the last rites of his Guru and then leave. But he forced him to
leave and told him to go to Thirutthaṇi. With a heavy heart,
Muthuswāmi Dīkṣitar left Kāśī for Thirutthaṇi.
The Great Composer:
Upon reaching the Thirutthaṇi temple of Lord
Subramaṇyaswāmi, Muthuswāmi Dīkṣitar meditated in front
of the shrine of the Lord for 45 days. On the 45th day, the
Lord appeared to him in the guise of an old man and put
some sugar candies in Dīkṣitar’s mouth and vanished. As the
candies started melting in his mouth, he realized the person
was none other than Lord Murugā himself, and instantly sang
his first composition, Śrī Nāthādi Guruguhō jayathi jayathi in
the rāgā Māyāmāḷavagauḷa, Ādi tāḷā. This composition is
part of the Guruguha Vibhakti Kṛtīs, which he then composed
after that one. As Lord Guhā (Another name for Lord
Murugā) himself initiated him into being a composer, he
considered Him as his Guru, and hence used the Vāggēyakāra
Mudrā (Signature of the composer) ‘Guruguha’ in all his
compositions.
On their way from Maṇali to Tiruvārūr, the family visited
many important shrines and cities. They visited Kāñcīpuram
and stayed there for 4 years. Some of Dīkṣitar’s famous songs
there are Chintaya mākanda in the rāgā Bhairavi on Lord
Ēkāmbaranāthā (This is the Pañchabhūta sthala liṅga kṛtī on
the Pṛthvi liṅgā), Ēkāmranātham bajēham in Gamakakriyā,
Ēkāmranāthāya namastē in Mukhāri, Ēkāmranāthāya namastē
ēkānēka phaladayā in Vīravasantā, Ēkāmranāthēśvarēṇa
samrakṣitōham in Chaturaṅgiṇi, Kañjadaḷāyatākṣi in
Manōhari on Goddess Kāmākṣī, Nīrajākṣī Kāmākṣī in
Hindōḷam, Ēkāmrēśanāyikē śivē in Śuddha Sāvēri,
Ēkāmrēśanāyakīm īśvarīm in Chāmaram, Varadarājam
upāsmahē in Sārangā on Lord Varadarājā, etc. There, he also
met a musician called Upaniṣad Brahmēndra Yōgi and
Muthuswāmi Dīkṣitar helped tune the lyrics of his
Rāmāṣṭapadi.
In Tiruvaṇṇāmalai, he composed Aruṇāchalanātham in the
rāgā Sārangā on Lord Aruṇāchalēśwarā (The Pañchabhūta
sthala liṅga kṛtī on the Agni liṅgā). In Chidambaram, he has
composed Ānandanaṭana prakāśam in the rāgā Kēdāram (The
Pañchabhūta sthala liṅga kṛtī on the Akāśa liṅgā),
Chidambara Naṭarāja mūrthim in the rāgā Tanukīrti,
Chidambarēśwaram chintayāmi in Bhinnaṣaḍjam,
Chidambara Naṭarājam āśrayēham in Kēdāram,
Gōvindarājam upāsmahē in Mukhāri on Lord Gōvindarājā
and Gōvindarājēṇa in Mēcha Bauḷi. In the Vaidīśwaran temple,
he has composed Bhajarērē chitta Bālāmbikām in the rāgā
Kalyāṇi.
Muthuswāmi Dīkṣitar’s parents passed away sometime after
his return to Tiruvārūr in 1817. After this, Muthuswāmi
Dīkṣitar considered Lord Thyāgarājā and Goddess
Kamalāmbā as his parents and was deeply devoted to them.
Every night, he would sit at the North Gate of the Tiruvārūr
Temple where Goddess Kamalāmbā could be seen clearly and
compose songs there. His group kṛtīs composed in Tiruvārūr are the
Thyāgarāja Vibhakti kṛtīs, Kamalāmbā Navāvarṇa kṛtīs (which we
will see in detail about), Nīlōtpalāmbā Vibhakti kṛtīs, Tiruvārūr
Pañchaliṅga kṛtīs on the five liṅgās of the Gods Valmīkēśwarā,
Ānandēśwarā, Siddhīśwarā, Hāṭakēśwarā and Achalēśwarā and
kṛtīs on the 16 forms of Lord Gaṇapatī present in the temple. Other
songs are Sundaramūthim Āśrayāmi in the rāgā Takka on Sundarar
(One of the Tēvāra mūvar, the Śaivā saint-composers of the Tēvāram
hymns), Dakṣiṇāmūrtē in the rāgā Śaṅkarābharaṇam on Lord
Dakṣiṇāmūrtī, Śrī Dum Durgē in the rāgā Śrīrañjani, and other
songs on Lord Thyāgarājā like Thyāgarāja pālayāśu mām in Gauḷa,
Thyāgarāja yōga vaibhavam in Ānandabhairavi, Thyāgarāja
mahadhvajārōha in Śrī and Thyāgarājam bajēham in Nīlāmbari,
Thyāgarājam bajēham satatamaham in Nīlāmbari etc.
Miracles he performed:
1. Muthuswāmi Dīkṣitar had taken a vow not to enter any
palace or sing praises of any King. So, in a time of
poverty, he couldn’t go to a King and sing in praise of
him expecting a reward. Once, his family couldn’t even
afford the naivēdhyā which was to be offered to the Lord.
One of Dīkṣitar’s disciples, Kamalam, the dancer,
offered some of her jewels for selling. But he prevented
her from doing so and sang the song Thyāgarājam
bhajarē in the rāgā Yadukula Kāmbhōji, saying to
worship Lord Thyāgarājā and leave all sufferings.
Miraculously, two cartloads of provision came to his
house. On enquiry, an official from Tañjāvūr had
proposed to visit that day, but canceled his visit. So, the
local officer sent all the provisions meant for him to the
next most deserving person in the city; Śrī Muthuswāmi
Dīkṣitar. As he was pleased with Kamalam with her act,
Dīkṣitar composed Rūpamu jūci (Tāna Varṇā) on Lord
Thyāgarājā in Tōḍi and Nī Sāṭi daivamu (Dāru) on Lord
Valmīkēśvarā in Śrīrañjani.
2. Dīkṣitar once went to the temple in Kīvalūr near
Tiruvārūr. But as it was night, the temple priest wouldn’t
let him in. He humbly requested the priest again, but he
told the disappointed composer to come the next day.
With a heavy heart, Dīkṣitar composed the song Akṣaya
liṅga vibhō in the rāgā Śaṅkarābharaṇam, after which
the temple doors opened by themselves. When the priest
saw this, he felt deep remorse for his act and apologized
for it.
3. Once, Dīkṣitar’s second wife wanted to own expensive
jewellery. But the husband showed no interest in her
desire. As she was very stubborn and adamant, he
prayed to Goddess Lakṣmī and composed the song
 Hiraṇmayīm Lakṣmīm in the rāgā Lalitā. The very night,
the Goddess, fully dressed in beautiful jewels, came in
the dream of the wife. Seeing the Goddess of Wealth
herself in that dazzling form, she gave up her desire of
owning jewels.
4. One of Dīkṣitar’s disciples, Thambiappan, who played
the Suddha Maddaḷam, once suffered from a severe
stomachache for many days. He went to his Guru and
asked him for a solution. Dīkṣitar, being very proficient
in astrology, found out that the pain was caused as the
planets Jupiter and Saturn were afflicted in the student’s
horoscope. To cure his pain, Dīkṣitar composed two
kṛtīs on the planets; Bṛhaspathē on Jupiter and Divākara
tanujam on Saturn, and asked Thambiappan to sing
those songs regularly. The disciple did just as instructed,
and lo! His pain got cured after constant singing of the
songs. Later, Dīkṣitar composed kṛtīs on the rest of the
planets and all of them together are known as the
Navagraha kṛtīs.
5. There was one person named Vaidyaliṅga Mudaliyār in
Tiruvārūr who was very close to Muthuswāmi Dīkṣitar.
Once, he took our composer to the temple of Lord
Viśwanāthā and Goddess Annapūrṇā in his hometown,
where the annual festival of the temple was going on.
Here, Dīkṣitar composed the song Ēhi Annapūrṇē in the
rāgā Punnāgavarāḷi and this was where he composed
his Rāgamālikā ‘Śrī Viśwanātham bajēham’ in 14 rāgās
(Chaturdaśa Rāgamālikā). His other Rāgamālikās are
Mādhavō mām pātu in 10 rāgās (Daśa Rāgamālikā),
Simhāsanasthithē in 4 rāgās (Maṅgaḷa Rāgamālikā) and
Pūrṇachandra bimba in 6 rāgās (Ṣaṭ Rāgamālikā).
Tañjāvūr and meeting Śrī Śyāmā Śāstri and Śrī
Thyāgarājā:
Muthuswāmi Dīkṣitar had now come to Tañjāvūr. It was
where the eldest of the Trinity, Śrī Śyāmā Śāstri, lived.
Dīkṣitar was welcomed with much reverence by Subbarāya
Naṭṭuvanār, the dance teacher in the Tanjore Palace.
Overwhelmed by their hospitality, Dīkṣitar decided to stay
there itself for sometime.
Tañjāvūr was a hub of music. It attracted many singers and
composers. There, Muthuswāmi Dīkṣitar gained a lot of
students, including the Tanjore Quartette (Chinnaiyyā,
Ponnaiyyā, Śivānandam and Vaḍivēlu).

Śyāmā Śāstri lived only a few steps from where Dīkṣitar was
staying (West Main Street). Both their fathers were good
friends in Tiruvārūr, and Dīkṣitar definitely wanted to meet
his elder contemporary. They both met, and as they were both
Dēvi upāsakās, they used to do pūjā to the Goddess every
day. After the pūjā, Dīkṣitar would ask his brothers to sing
his compositions and so will Śyāmā Śāstri ask his son,
Subbarāya Śāstri, to sing his compositions. Once, Śyāmā
Śāstri asked his son to sing his song Sarōjadaḷanētri in the
rāgā Śaṅkarābharaṇam from his Navaratnamālikā. Also
knowing that Dīkṣitar liked songs in vilamba kālā (slow
tempo), Śyāmā Śāstri asked his son to sing another one of his
songs, Dēvi Mīnanētri, which was in the very same rāgā and
group. Dīkṣitar was very pleased to hear both songs.
Knowing that it was the right time, the elder contemporary
asked our composer to accept Subbarāya Śāstri as his disciple.
Muthuswāmi Dīkṣitar was glad to do so. The influence of
Dīkṣitar can be seen in Subbarāya Śāstrī’s compositions like
Veṅkaṭaśaila vihāra in Hamīr Kalyāṇi, Intanuchu varṇimpa
in Śaṅkarābharaṇam and Śrī Kāmākṣi in Vasantā.
Once, Rāmaswāmi Dīkṣitar had started to compose a varṇam
in Śrīrañjani, but left it incomplete by composing only one
chiṭṭai swarā. Muthuswāmi Dīkṣitar asked Śyāmā Śāstrī’s
help in completing the uttarāṅgā. So, the 2nd Chiṭṭai swarā
was composed by Śyāmā Śāstri, the 3rd by Chinnaswāmi
Dīkṣitar and the 4th and final one by Muthuswāmi Dīkṣitar
himself.

In Tañjāvūr, Dīkṣitar visited the huge temple of Lord

Bṛhadīśwarā and Goddess Bṛhannāyaki and composed songs
there like Bṛhadīśwarāya namastē in the rāgā
Śaṅkarābharaṇam, Bṛhannāyaki varadāyaki in Āndāḷi,
Bṛhadīśwaram bhajarērē chitta in Nāgadhwani, Bṛhadambā
madambā in Bhānumati, Pāmarajanapālinī Bṛhannāyaki in
Sumadyuti, Pālayamām Bṛhadīśwarā.

Under the guidance of Dīkṣitar, the Tanjore Quartette had

gotten very well trained and their Guru was satisfied with
their progress and hence gave them permission to do their
araṅgēṭram. The concert took place in the Tanjore Palace in
front of permanent Vidvāns in the court like Pallavi
Gōpālaiyyar, Sonṭi Veṅkaṭaramaṇaiyyā, Vīṇai Subbukuṭṭy
Iyer, Tōḍi Sītārāmayyar, Śaṅkarābharaṇam Narasaiyyar and
Reṭṭai Pallavi Śivarāmayyar. It is generally hard to get
approved by these musicians. But the Tanjore Quartette easily
did, and were appointed as court musicians by the King.

Chinnaswāmi Dīkṣitar and Bāluswāmi Dīkṣitar were duet

singers and mostly sang songs of their brother in their
concerts and popularized them. Once, some Vidvāns from
Madurai came to Tañjāvūr. They listened to songs of
Muthuswāmi Dīkṣitar being sung in the court and wanted to
learn them. So, they asked Dīkṣitar to come with them to
Madurai and teach them his compositions. But as our
composer wanted to stay in Tañjāvūr a little longer, he sent
his brothers with them to Madurai.
In the very same Tañjāvūr district, there is a town called
Thiruvaiyāru. This town is where Śrī Thyāgarājā lived.
Present in this town is the temple of Lord Pañchanadīśwarā
aka Praṇathārthiharā and Goddess Dharmasamvardhinī. In
this kṣētrā, Dīkṣitar composed a few songs like
Praṇathārthiharam in the rāgā Nāyaki, Praṇathārthiharāya
in Sāmantā and Dharmasamvardhinī in Madhyamāvati.

When he was singing these compositions in the shrine, a few

disciples of Śrī Thyāgarājā asked about him. When they came
to know it was none other than Śrī Muthuswāmi Dīkṣitar, they
fell at his feet and asked him to come with them to the place
of their Guru. Interestingly, that day happened to be Rāma
Navami. During this time, some narrate the great epic
‘Rāmāyaṇā’ and conclude it on the day of Rāma Navami with
Lord Rāmā’s coronation (Rāma Paṭṭābhiśēkam), technically
the end of the epic according to most versions. Thyāgarājā
asked Dīkṣitar to stay and watch the pūjā done after the
completion of the Rāmāyaṇā reading. After it was done, the
elder contemporary asked his students to sing his rāgā
Bhairavi song, Koluvaiyunnāḍē. Then, Thyāgarājā asked
Muthuswāmi Dīkṣitar to compose a song on his Rāmā (The
idol of Paṭṭābhi Rāmā, Sītā Dēvi, Bharatā, Lakṣmaṇā and
Śatrughnā which Thyāgarājā worshiped). So, adhering to his
request, Dīkṣitar composed the song Māmava Paṭṭābhi Rāmā
in the rāgā Maṇiraṅgu.

Contended, Dīkṣitar bid good-bye to Thyāgarājā and came

back to Tañjāvūr. Then, in 1822, he came back to his beloved
Lord Thyāgarājā and Goddess Kamalāmbā.
A desperate search and a happy reunion:
In 1823, Muthuswāmi Dīkṣitar found out that Chinnaswāmi
Dīkṣitar had, sadly, passed away and that Bāluswāmi Dīkṣitar,
unable to break out the news to our composer, ran away
somewhere. To find out if the news was true, Dīkṣitar set out
for Madurai with his wives and a disciple called Tēvūr
Subramaṇyam. Upon reaching, he inquired a lot of people,
but couldn’t get clear answers. So, desperately, he went to the
temple of Lord Sundarēśwarā and Goddess Mīnākṣī, and
prayed very much to the Goddess. There, a priest told him
that the sad news was true and that Bāluswāmi Dīkṣitar had
gone to Rāmēśwaram. Dīkṣitar was very eager to find out
about his brother. He thanked the priest, and set out for
Rāmēśwaram.

On the way to Rāmēśwaram, there is a temple of Lord Rāmā

in a place called Darbhaśayanam where he composed the
song Śrī Rāmam Ravikulābdhi sōmam in the rāgā
Nārāyaṇagauḷa.

When he reached Rāmēśwaram, he went to the temple of

Lord Rāmanāthaswāmi and Goddess Parvatavardhinī and
composed the songs Rāmanātham bajēham in Rāmakriyā and
Parvatavardhinī in Sāmā there. He heard from an old man
that Bāluswāmi Dīkṣitar was indeed there a few days ago and
was singing a composition of Muthuswāmi Dīkṣitar. That
apparently attracted the King of Eṭṭayapuram, Veṅkaṭēśwara
Eṭṭappa Mahārājā. He offered Bāluswāmi Dīkṣitar the
position of court musician. With respect, he was taken by the
King to Eṭṭayapuram. Now, a bit more relieved, Muthuswāmi
Dīkṣitar set off for Eṭṭayapuram.

On the way to Eṭṭayapuram, he stopped in a village called

Sāttūr. He visited the various temples present there. He
noticed that the entire village was affected by a drought. He
felt very sad for the citizens of that place. He prayed to the
Goddess, and composed the song Ānandāmṛtakarṣiṇi in the
rāgā Amṛtavarṣiṇī, the rāgā that he had created at that
moment itself. After that composition was sung, there was an
immediate downpour, and Dīkṣitar couldn’t continue to
Eṭṭayapuram. While he was waiting, he heard some Vaiṣṇavā
Brahmins saying that a marriage was being arranged for
Bāluswāmi Dīkṣitar by the King of Eṭṭayapuram. Then,
Dīkṣitar asked the help of the Brahmins to go to Eṭṭayapuram,
and they were gladly willing to serve the divine personage
that had brought them rain.

By morning, Muthuswāmi Dīkṣitar had reached Eṭṭayapuram.

He directly went to see his brother. When he was about to
take a step inside the palace, he prayed for forgiveness as he
had to break his vow. He had no other choice; he had to see
his only surviving brother. When he came in, Bāluswāmi
Dīkṣitar immediately spotted his brother and came running to
our composer. When the King found out that Śrī
Muthuswāmi Dīkṣitar himself had come, he too rushed out
and prostrated to him. Then, Dīkṣitar composed the song
Veṅkaṭēśwara Eṭṭappa Bhūpatim in the rāgā Mēgharañjani,
and it is not clear whether this song was composed on Lord
Veṅkaṭēśwarā of Sāttūr or the King. The marriage took place
very well and after everything was over, Dīkṣitar left his two
wives with his brother and bid good-bye to them all and left
for Tiruvārūr.
On the way to Tiruvārūr, he stopped at Madurai again and
went to the temple of Lord Sundarēśwarā and Goddess
Mīnākṣī and worshiped them. On Goddess Mīnākṣī, he
composed the Madhurāmbā Vibhakti kṛtīs and other songs
like Mīnākṣī mēmudam dēhi in the rāgā Gamakakriyā and
Māmava Mīnākṣī in Varāḷi. On Lord Sundarēśwarā, he has
composed Sōmasundarēśwaram in the rāgā Śuddha Vasantā.
On Lord Sundararājā of the Aẕagar Kōil, he has composed
Śrī Sundararājam in the rāgā Kāśirāmakriyā. In
Tirupparaṅkunḍram, he composed Gajāmbā Nāyakō in
Jhanjūṭi and Gajādīśādanyam in Nāṭṭakuriñji. In Paẕanī, on
Lord Daṇḍāyudhapāṇi, he has composed Daṇḍāyudhapāṇīm
in the rāgā Ānandabhairavi.
Reaching home and deciding to settle in
Eṭṭayapuram:
After a long trip, Muthuswāmi Dīkṣitar finally reached
Tiruvārūr in 1825. He started to spend his life as usual there.
During the same period, Bāluswāmi Dīkṣitar came to visit. He
stayed for some time and learned many of his brother’s
compositions there. He also told Dīkṣitar that Veṅkaṭēśwara
Eṭṭappa Mahārājā had invited him to settle in Eṭṭayapuram.
But Dīkṣitar stayed on in Tiruvārūr. He just went on,
composing and teaching. He gained many new students, and
the last one of them was Pañchanādaiyyar.

In 1827, Muthuswāmi Dīkṣitar was very much upset when he

heard the news of Śrī Śyāmā Śāstri’s passing away. He also
found out using his knowledge of astrology that he would
leave the Earth in the age of 60, and he had only about eight
more years. Soon, his two wives passed away, one after the
other. He now started to consider the invitation of the King of
Eṭṭayapuram. Considering his situation, staying near his only
surviving brother did seem best. He went to his beloved Lord
Thyāgarājā and Goddess Kamalāmbā, and conveyed his byes
to them, as he was going to be separated from them forever.
Blessing all his disciples and taking only his senior-most
students with him, Dīkṣitar left for good to Eṭṭayapuram.
Upon reaching Eṭṭayapuram, Muthuswāmi Dīkṣitar was
welcomed grandly there. The King gave him a house close to
the Palace. The King considered Dīkṣitar as his Guru in
musical and spiritual matters and would visit him everyday.
The King himself was a composer and was a great patron to
the Dīkṣitar Family. Later, a son was born to the King and
was named ‘Muthuswāmi’ out of respect for the great
composer. The King had also arranged the marriage of his
eldest son, and it was conducted grandly with the blessings of
Dīkṣitar.
His last day:
It was 21st October 1835. It was the auspicious day of the
Dīpāvaḷī festival. Muthuswāmi Dīkṣitar had reached the age
of 60. He was very satisfied with his accomplishments and
knew his end was near. As per tradition, he woke up early,
had Gaṅgā snānam, and sat down for his pūjā. Veṅkaṭēśwara
Eṭṭappa Mahārājā suddenly came rushing in, with worry in his
face. He told Dīkṣitar that one of the Royal Elephants named
Gāṅgēyan had broken its chains, started running amok town
and settled down in the cremation ground, allowing nobody to
come near it. Generally, these signs meant that there was
going to be suffering for the King or his kingdom. The King
asked if anything like that was really going to occur. Dīkṣitar,
realizing that it signified his death, calmly assured the King
that nothing was going to happen to the King or his kingdom.
Greatly relieved, the King left.
Dīkṣitar performed the Navāvarṇa Pūjā and played some of
his compositions with his Vīṇā. Then, he asked his disciples,
including Bāluswāmi Dīkṣitar, to sing his compositions. After
sometime, he asked them to sing his song, Mīnākṣī mēmudam
dēhi. When the line Mīnalōchanī Pāśamōchanī (Mīnalōchanī
- One whose eyes are like fish; Pāśamōchanī - One who
liberates from bondage) from the Anupallavi was sung,
Dīkṣitar asked them to sing it again. This went on for
sometime. After a particular number of times, Muthuswāmi
Dīkṣitar raised his hands high and uttering the words ‘Śivē
pāhi’, breathed his last.
Everybody present were incredibly shocked. This was just all
too sudden for them; their Guru gone, just like that! The King
came rushing to the house as soon as he heard the news. He
finally understood; what greater loss could befall him or his
kingdom than the loss of the legendary composer?
Thus, in such a manner, Śrī Muthuswāmi Dīkṣitar left his
mortal self and had attained the feet of the Goddess. He was
built a samādhi on which there is a statue of the great
composer.
Kamalāmbā Navāvarṇa kṛtīs

Śrī Muthuswāmi Dīkṣitar has composed the “Kamalāmbā

Navāvarṇa Kṛtīs” on Goddess Kamalāmbā of Tiruvārūr.
These compositions are also mainly based on the Śrī Chakrā
or Yantrā. Goddess Kamalāmbā is seated on the Śrī Chakrā in
a peculiar posture, and Muthuswāmi Dīkṣitar chose Her for
describing the Śrī Chakrā and its Navāvarṇās, singing her
praise. Some mistake the Abhayāmbā Vibhakti Kṛtīs to be
Navāvarṇa kṛtīs, but they are not. There are only two
composers who have composed Navāvarṇa kṛtīs; Our
composer and Ūttukāḍu Śrī Veṅkaṭa Subbaiyyar. But
Muthuswāmi Dīkṣitar’s one is more technically perfect.
Navāvarṇā is meant to be the nine enclosures of the Śrī
Chakrā, and Dīkṣitar has given all the details of each
enclosure. But as it is necessary to have initiation into the
worship of the Śrī Chakrā, detailed information about them
cannot be given, and there is no such need to know them.

The Navāvarṇa kṛtīs are only 9 in number, but there are two
additions to the group; a Dhyāna kṛti in the beginning and a
Maṅgaḷa kṛti in the end, totally making the group consist of
11 songs. Some also sing another two kṛtīs before the group;
Śrī Mahāgaṇapati ravatu mām in Gauḷa on Lord Gaṇapati
and Bālasubramaṇyam bajēham in Suraṭi on Lord Murugā.
The vāggēyakāra mudrā of Dīkṣitar, ‘Guruguha’, appears in
all the compositions. The rāga mudrā is not found in the
Dhyāna kṛtī and the Seventh Āvarṇam, partially in the first
and third and disguised in the fourth and the ninth. All other
kṛtīs have the Rāga mudrā properly.
No. Vibhakti Name Rāgā Tāḷā

1 Sambōdhana Kamalāmbikē Tōḍi Rūpakam

Prathamā (Dhyāna kṛti)

2 Prathamā Kamalāmbā Ānandabhairavi Tripuṭa

Samrakṣatu

3 Dvitiyā Kamalāmbām Kalyāṇī Ādi

Bhajarē

4 Tṛtiyā Śrī Śaṅkarābharaṇam Rūpakam

Kamalāmbikayā

5 Chaturthī Kamalāmbikāyai Kāmbhōji Aṭa

6 Pañchamī Śrī Bhairavi Jhampa

Kamalāmbikāyāḥ

7 Ṣaṣṭhī Kamalāmbikāyāḥ Punnāgavarāḷi Rūpakam

tava

8 Saptamī Śrī Sahānā Tripuṭa

Kamalāmbikāyām

9 Sambōdhana Śrī Kamalāmbikē Ghaṇṭā Ādi

Prathamā Avāva

10 All Śrī Kamalāmbā Āhiri Rūpakam

jayati

11 Sambōdhana Śrī Kamalāmbikē Śrī Khaṇḍa Ēkam

Prathamā (Maṅgaḷa kṛti)
 Kamalāmbikē
Rāgā:Tōḍi / Tāḷā:Rūpakam

The first composition, the Dhyāna kṛti, is in the rāgā Tōḍi, Rūpaka tāḷā
and the Sambōdhana Prathamā Vibhakti. It doesn’t have the Rāga Mudrā.
In the Dhyāna kṛti, Dīkṣitar basically talks about the Goddess Kamalāmbā.
He uses the word ‘Kamalā’ many times, to highlight her abode as
Kamalālayā, her feet as lotus feet - Kamalapadē, and her being worshiped
by Lord Brahmā and other Gods as Kamalāsanādi pūjita. Our composer
also mentions her as one who enjoys music and as one who bestows
poetic qualities to those singing her praise - Saṅgīta rasikē
sukavitvapradāyikē. He also describes Her as the embodiment of all
letters - Akacaṭatapādi varṇē. In this composition, the Goddess’ sitting
posture is also described as Vinōda charaṇē (enchanting feet).

Lyrics

Pallavi
Kamalāmbikē āśrita kalpa latikē chaṇḍikē
Kamanīyāruṇāmśukē kara vidhṛta śukē māmava

Anupallavi
Kamalāsanādi pūjita kamala padē bahuvaradē
Kamalālaya tīrtha vaibhavē śivē karuṇārṇavē

Charaṇam
Sakala lōka nāyikē saṅgīta rasikē
sukavitva pradāyikē sundari gatamāyikē
vikaḷēbara mukti dāna nipuṇe agha haraṇē
viyadādi bhūta kiraṇē vinōda charaṇē aruṇē
sakaḷē guruguha karaṇē sadāśivāntaḥkaraṇē
akacaṭatapādi varṇē akhaṇḍaika rasa pūrṇē
Word Meaning

Pallavi
 Kamalāmbikē - Oh Goddess Kamalāmbikā.
 Āśrita kalpa latikē - who is like a Kalpaka creeper (that grants all
boons) to those who seek refuge in you.
 Chaṇḍikē - fierce one, one of the ten aspects of Śakti.
 Kamanīyāruṇāmśukē - wearing the attractive red robe.
 Kara vidṛta śukē - holding a parrot in one hand.
 Mām - me.
 Ava - protect.

Anupallavi
 Kamalāsanādi pūjita kamalapadē - whose lotus feet are worshiped
by Brahmā, who has lotus seat, and other Gods.
 Bahu varadē - showering plenty of boons.
 Kamalālaya tīrtha vaibhavē - one who is the glory of the tank
Kamalālayā.
 Śivē - auspicious one.
 Karuṇārṇavē - ocean of mercy.

Charaṇam
 Sakala lōka nāyikē - ruler of all worlds.
 Saṅgīta rasikē - delighting in music.
 Sukavitva pradāyikē - granting the boon of poetic genius.
 Sundari - beautiful one.
 Gatamāyikē - who helps transcend illusion.
 Vikaḷēbara mukti dāna nipuṇē - adept in granting salvation without
body.
 Agha haraṇē - one who dispels all sins.
 Viyadādi bhūta kiraṇē - who enlightens the five elements.
 Vinōda charaṇē - with enchanting feet.
 Aruṇē - reddish.
 Sakaḷē - complete, embedded with lunar digits.
 Guruguha karaṇē - Mother of Guruguha.
 Sadāśivāntaḥkaraṇē - inhabiting the heart of Lord Śivā.
 Akacaṭatapādi varṇē - the embodiment of all letters, A, Ka, Ca, Ṭa,
Ta, Pa etc.
 Akhaṇḍaika rasa pūrṇē - filled with complete bliss.

Summary

Pallavi
Oh Goddess Kamalāmbikā, Chaṇḍikā, the fierce one, protect
me. You wear the attractive red robe and hold a parrot in your
hands. You are like the Kalpaka creeper, who grants all boons
to those who seek refuge in you.

Anupallavi
Oh auspicious one, you are the ocean of mercy.You have lotus
feet and are worshiped by Brahmā and other gods. You are the
glory of the tank Kamalālayā, showering plenty of boons.

Charaṇam
Oh beautiful one, you are the ruler of allworlds, you delight
in music and grant the boon of poetic genius. You help
transcend illusion and are adept in granting salvation without
body. You enlighten the five elements and are the
embodiment of all letters, A, Ka, Ca, Ṭa, Ta, Pa etc. Oh
mother of Guruguha, you inhabit the heart of Lord Śivā and
are filled with complete bliss.
 Kamalāmbā Samrakṣatu
Rāgā:Ānandabhairavi / Tāḷā:Tripuṭa

The first āvaraṇa kṛti is in the rāgā Ānandabhairavi, Tripuṭa

tāḷā and the Prathamā Vibhakti. In this composition, the
Rāga Mudrā is found partially in the Anupallavi as “Ānanda”.
All the attributes of the enclosure are embedded in the
composition.

Lyrics

Pallavi
Kamalāmbā samrakṣatu mām
hṛtkamalānagara nivāsinī

Anupallavi
Sumanasārādhitābja mukhī sundaramanaḥ priyakara sakhī
kamalajānanda bōdha sukhī kāntātāra pañjara śukī

Charaṇam
Tripurādi chakrēśvarī aṇimādi siddhīśvarī nitya kāmēśvarī
kṣitipura trailōkya mōhana chakra vartinī prakaṭa yōginī
suraripu mahiṣāsurādi mardinī nigama purāṇādi samvēdinī
tripurēśī guruguha jananī tripura bhañjana rañjani
madhuripu sahōdarī talōdarī tripurasundarī mahēśvarī
Word Meaning

Pallavi
 Kamalāmbā - Goddess Kamalāmbā.
 Samrakṣatu - protect.
 Mām - me.
 Hṛtkamalānagara nivāsini - who resides in the lotus city of
the (human) heart.

Anupallavi
 Sumanasārādhitā - worshiped by pure minded devotees
(also means Gods).
 Abjamukhī - lotus faced.
 Sundaramanaḥ priyakara sakhī - delighting the mind of
Sundarēśwarā i.e. Śivā as friend.
 Kamalajānanda bōdha sukhī - one who enjoys the ultimate
knowledge, the bliss of Brahman.
 Kāntātāra pañjara śukī - (one who is) the beautiful parrot
residing in the cage of the sound of Om.

Charaṇam
 Tripurādi cakrēśwarī - The Goddess who rules over the
nine Chakrās beginning with Tripurā.
 Aṇimādi siddhīśwarī - The Goddess who rules over
superhuman powers such as Aṇimā etc.
 Nitya kāmēśwarī - who is the Nitya Kāmēśwarī (Also nitya
+ kāma + īśwarī: one who always fulfills desires).
 Kṣitipura trailōkya mōhana cakra vartini - who is inherent
in the entire Earth (Kṣitipura - the name of the outermost
enclosure) and in the Trailōkya Mōhana Chakrā, the first
Chakrā, enchanter of all three worlds.
 Prakaṭa yōgini - the manifest Yōgini.
 Sura ripu mahiṣāsurādi mardini - slayer of the enemies of
Gods such as the demon Mahiṣāsurā, the buffalo-faced one
 etc. (the animal instinct).
 Nigama purāṇādi samvēdini - one with the knowledge of
the Vēdās, the sacred scriptures and Purāṇās, epics etc.
 Tripurēśi - Goddess of the three cities.
 Guruguha jananī - Mother of Lord Subraḥmaṇyā.
 Tripura bhañjana rañjani - who enchants Śivā, the
destroyer of the three cities.
 Madu ripu sahōdari - sister of Viṣṇu, the enemy of Madhu.
 Talōdari - with abdomen as slender as the palm of the hand.
 Tripurasundarī - Goddess Tripurasundarī.
 Mahēśwarī - the great Goddess.

Summary

Pallavi
May the Goddess Kamalāmbā, who resides inthe lotus city of
human heart, protect me.

Anupallavi
The lotus faced goddess, who delights the mind of Sundarēśwarā,
is worshiped by pure-minded devotees. She is the beautiful parrot
residing in the cage ofthe primordial sound of om, enjoying the
ultimate knowledge, the bliss of Brahman.

Charaṇam
The great Goddess Tripura Sundarī, the one with knowledge
of the sacred scriptures and epics, and ruling over the nine
Chakrās beginning with Tripurā, controls the super human
powers such as Aṇimā etc. She is the Nitya Kāmēśwarī, who
always fulfills desires. She is the manifest Yōginī who is
inherent in the entire Earth and in the Trailōkya Mōhana
Chakrā. The goddess of the three cities slays demons such as
Mahiṣāsurā. She is the sister of Viṣṇu and enchants Śivā.
 Kamalāmbām bhaja rē rē
Rāgā:Kalyāṇi / Tāḷā:Ādi

The second Āvaraṇa kṛti is in the rāgā Kalyāṇi,

Ādi tāḷā and the Dvitiyā Vibhakti. The Rāga
Mudrā is found properly in the Charaṇam.

Lyrics

Pallavi
Kamalāmbām bhaja rē rē mānasa kalpita
māyākāryam tyajarē

Anupallavi
Kamalāvāṇī sēvita pārśvām kambujaya
grīvām nata dēvām kamalāpura sadanām
mṛdu gadanām kamanīyaradanām
kamalavadanām

Charaṇam
Sarvāśā paripūraka chakra svāminīm parama śivakāminīm
dūrvāsārcita gupta yōginīm duḥkha dhvamsinīm hamsinīm
nirvāṇa nija sukha pradāyinīm nitya kalyāṇīm kātyāyaṇīm
śarvāṇīm madhupa vijaya vēṇīm sad guruguha jananīm
nirañjanīm garvita bhaṇḍāsura bhañjanīm kāmākarṣiṇyādi
rañjanīm nirviśēṣa chaitanya rūpiṇīm ūrvī tattvādi
svarūpiṇīm
Word Meaning

Pallavi
 Kamalāmbām - the goddess Kamalāmbā.
 Bhaja - worship.
 Rē rē mānasa - Oh mind!
 Kalpita māyākāryam - attachment to worldly desires which are
illusory.
 Thyaja rē - abandon.

Anupallavi
 Kamalā vāṇī sēvita pārśvām - she who is flanked by Lakṣmī and
Sarasvatī on both sides.
 Kambujaya grīvām - with neck that surpasses the beauty of the conch
shell.
 Nata dēvām - one who received Gods bowed down.
 Kamalāpura sadanām - who resides in the lotus city.
 Mṛdu gadanām - whose speech is tender.
 Kamanīya radanām - who has charming teeth.
 Kamalavadanām - who has face like lotus.

Charaṇam
 Sarvāśā paripūraka chakra svāminīm - the Goddess of the Sarvāśā
Paripūraka Chakrā (fulfiller of all wishes) (16 Dēvatās)
 Parama śiva kāminīm - beloved of the supreme Lord Śivā.
 Durvāsārchita gupta yōginīm - the secret Yōginī, worshiped by Sage
Durvāsā.
 Duḥkha dhvamsinīm - who destroys all sufferings.
 Hamsinīm - who rides the swan.
 Nirvāṇa nija sukha pradāyinīm - who grants salvation, which is the
bliss of one’s own self.
 Nitya kalyāṇīm - who is ever auspicious.
 Kātyāyaṇīm - the daughter of sage Kātyāyaṇā.
 Śarvāṇīm - who is Śarvāṇī, the consort of Śarvā (Lord Śivā).
 Madhupa vijaya vēṇīm - whose hair conquers the blackness of honey
bees.
 Sadguru guha jananīm - who is the mother of Lord Guruguha.
 Nirañjanīm - who is unblemished, unattached.
 Garvita bhaṇḍāsura bhañjanīm - who destroyed the arrogant demon
Bhaṇḍā.
 Kāmākarṣiṇyādi rañjanīm - who delights Dēvatās such as
Kāmākarṣiṇī and others.
 Nirviśēṣa chaitanya rūpinīm - who is the embodiment of unqualified
consciousness.
 Urvī tattvādi svarūpiṇīm - who is manifest in the elements such as
Earth etc. (five elements).

Summary

Pallavi
Oh mind, worship the Goddess Kamalāmbā, and abandon
attachment to illusory worldly desires.

Anupallavi
She is worshiped by gods and is flanked by Lakṣmī and
Sarasvatī. Her neck surpasses the beauty of the conch shell,
her speech is tender and her teeth are charming.

Charaṇam
She is attended by the secret Yōginīs, worshiped by Sage
Durvāsā, is the goddess of Sarvāśā Paripūraka Chakrā, and is
the beloved of the supreme Lord Śivā. The goddess riding on
the swan destroys all the sufferings and grants salvation. She is
ever auspicious, the daughterof the Sage Kātyāyaṇā, the consort
of Śarva and the mother of Guruguha. She destroyed the demon
Bhaṇḍa, and delights the Dēvatās such as Kāmākarṣiṇī and
others. She is unblemished, the embodiment of unqualified
consciousness, and manifest in the elements.
 Śrī Kamalāmbikayā
Rāgā:Śaṅkarābharaṇam / Tāḷā:Rūpakam

The third āvaraṇa kṛti is in the rāgā Śaṅkarābharaṇam, Rūpaka tāḷā and
the Tṛtiyā Vibhakti. The Rāga Mudrā is found partially in the Charaṇam
as “Śaṅkara”.

Lyrics

Pallavi
Śrī kamalāmbikayā kaṭākṣitōham
saccidānanda paripūrṇa brahmāsmi

Anupallavi
pākaśāsanādi sakala dēvatā sēvitayā
paṅkajāsanādi pañca kṛtya kṛt bhāvitayā śōkahara catura
padayā mūka mukhya vākpradayā kōkanada vijaya padayā
guruguhatatraipadayā

Charaṇam
anaṅga kusumādyaṣṭa śaktyākārayā
aruṇavarṇa samkṣōbhaṇa cakrākārayā
anantakōṭyaṇḍanāyaka śaṅkara nāyikayā
aṣṭa vargātmaka gupta tarayā varayā
anaṅgādyupāsitayā aṣṭadaḷābjasthitayā
dhanur bāṇadhara karayā dayā sudhā sāgarayā
Word Meaning

Pallavi
 Śrī Kamalāmbikayā - by the auspicious Kamalāmbikā.
 Kaṭākṣitaḥ - graced, protected.
 Aham - I.
 Sacchidānanda paripūrṇa brahma - the Brahman, the ultimate
reality, full with the consciousness and bliss.
 Asmi - I am.

Anupallavi
 Pākaśāsanādi sakala dēvita sēvitayā - by the one who is worshiped
by Indrā and all Gods.
 Paṅkajāsanādi pañchakṛtya kṛtbhāvitayā - who is contemplated by
Lord Brahmā and others who perform the five cosmic acts.
 Śōka hara chatura padayā - whose feet are adept in removing grief.
 Mūka mukhya vākpradayā - who restores speech even to the dumb.
 Kōkanda vijaya padayā - whose feet conquer the beauty of a red
lotus.
 Guru guhatatraipadayā - who is the three worded sentence, which is
Guruguha himself.

Charaṇam
 Anaṅga kusumādyāṣṭa śaktyākārayā - who is embodied as Anaṅga
Kusumā, and the rest of the Śaktīs.
 Aruṇa varṇa samkṣōbhaṇa cakrākārayā - who is enshrined in the
reddish Samkṣōbhaṇa Chakrā.
 Ananta kōṭyāṇḍa nāyaka śaṅkara nāyikayā - who is the beloved of
Lord Śivā, the master of millions of universes.
 Aṣṭa vargātmaka guptatarayā - who is attended by more secret
yōginīs and the form of the alphabet grouped in eight sections.
 Varayā - who is superb.
 Anaṅgādyupāsitayā - who is worshiped by mānmathra and others.
 Aṣṭa daḷābja sthitayā - who resides in the eight petaled lotus.
 Dhanurbāṇa dhara karayā - who carries a bow and arrow in her
hands.
 Dayā sudhā sāgarayā - who is the ocean of the nectar of compassion.

Summary

Pallavi
I am the Brahman, the ultimate reality, the ever existent
consciousness and bliss, graced by the auspicious
Kamalāmbikā.

Anupallavi
She is worshiped by Indrā and all gods and is contemplated by
Lord Brahmā and others. Her feet conquer the beauty of a red
lotus and are adept in removing grief. She herself is the three
worded sentence, which is Guruguha himself, and restores
speech to the dumb.

Charaṇam
She is embodied as Anaṅga-Kusuma, and the rest of the Śaktīs,
and is enshrined in the reddish Samkṣōbhaṇa Chakrā.The
goddess carrying a bow and arrow in her hands and residing in
the eight- petaled lotus, is attended by Yōginīs, more secret
being the form of alphabet grouped in eight sections. She is
the ocean of the nectar of compassion and is worshiped by
mānmathra and others.
 Kamalāmbikāyai
Rāgā:Kāmbhōji / Tāḷā:Aṭa

The fourth āvaraṇa kṛti is in the rāgā Kāmbhōji, Aṭa tāḷā

and the Caturthī Vibhakti. The Rāga Mudrā is found
disguised in the Charaṇam as“Kāmbhōja”.

Lyrics

Pallavi
kamalāmbikāyai kanakāmśukāyai
karpūra vīṭikāyai namastē namastē

Anupallavi
Kamalākāntānujāyai kāmēśvaryai ajāyai himagiritanujāyai
hrīmkāra pūjyāyai kamalānagara vihāriṇyai khalasamūha
samhāriṇyai kamanīya ratna hāriṇyai kali kalmaṣa
parihāriṇyai

Charaṇam
sakala saubhāgya dāyakāmbhōja caraṇāyai
samkṣōbhiṇyādi śaktiyuta caturthyāvaraṇāyai prakaṭa
caturdaśa bhuvana bharaṇāyai prabala guruguha
sampradāyāntaḥkaraṇāyai akaḷaṅkarūpa varṇāyai
aparṇāyai suparṇāyai sukara dhṛta cāpa bāṇāyai
śōbhanakara manukōṇāyai sakuṅkumādi lēpanāyai
carācarādi kalpanāyai cikura vijita nīlaghanāyai cidānanda
pūrṇa ghanāyai
Word Meaning

Pallavi
 Kamalāmbikāyai - to Kamalāmbikā.
 Kanakāmśukāyai - who is clad in golden robe.
 Karpūra vīṭikāyai - who chews betel leaves flavored with camphor.
 Namastē namastē - I offer my salutations, again and again.

Anupallavi
 Kamalā kāntānujāyai - who is the younger sister of the husband of
Lakṣmī.
 Kāmēśwaryai - who is Goddess Kāmeśwarī.
 Ajāyai - who is unborn.
 Himagiritanujāyai - who is the daughter of the mountain Himagiri.
 Hrīm kārapūjyāyai - who is worshiped by the mystic sound Hrīm.
 Kamalā nagara vihāriṇyai - who dwells in the city of the lotus.
 Khala samūha samhāriṇyai - who destroys the evil people.
 Kamanīya ratna hāriṇyai - who wears a garland of beautiful jewels.
 Kali kalmaṣa parihāriṇyai - who dispels the sins of Kali.

Charaṇam
 Sakala saubhāgya dāyakāmbhōja charaṇāyai - who possesses lotus
feet which grant all auspiciousness.
 Samkṣōbhiṇyādi śakti yuta chaturthāvaraṇāyai - who residews in the
fourth enclosure containing the Śaktīs such as “Samkṣōbhiṇī” and
others.
 Prakaṭa chaturdaśa bhuvana bharaṇāyai - who sustains the fourteen
manifest worlds.
 Prabala guruguha sampradāyāntaḥkaraṇāyai - who is at the heart of
the well-known tradition to which Guruguha belongs.
 Akaḷaṅka rūpa varṇāyai - who possesses flawless beauty and
complexion.
 Aparṇāyai - who is Aparṇā.
 Suparṇāyai - who is the mythical swan.
 Sukara dhṛta cāpa bāṇāyai - whose hands hold the bow and arrow.
 Śōbhana kara manukōṇāyai - who resides in the effulgent Chakrā
consisting of fourteen angles.
 Sakuṅkumādi lēpanāyai - who is besmeared with red Kuṅkuma
(saffron powder).
 Carācarādi kalpanāyai - who is the cause of both moving and inert
objects.
 Cikura vijita nīla ghanāyai - whose black hair triumphs over the dark
clouds.
 Cidānanda pūrṇa ghanāyai - who is the full essence of
consciousness and bliss.

Summary

Pallavi
I offer my salutations to you, the lotus faced goddess who is
clad in golden robe, and who chews betel leaves flavoured with
camphor.

Anupallavi
You are the goddess Kāmēśwarī, theyounger sister of Viṣṇu.
The daughter of the mountain Himagiri worshiped by him in
the city of the lotus and wears a garland of beautiful jewels.
The unborn goddess destroys dishonest people and dispels
the sins caused by the poison of the Kali Yugā.

Charaṇam
Your lotus feet grant all auspiciousness. You reside in the
fourth enclosure containing the Śaktīs such as Samkṣōbhiṇī
and so forth and sustain the fourteen manifest worlds. You are
at the heart of the well-known tradition to which Guruguha
belongs.You, possessing flawless beauty and complexion are
known as Aparṇā. You hold the bow and arrow in your hands
and reside in the effulgent Chakrā consisting of fourteen
angles. You are besmeared withred Kuṅkumā. You are the
cause of both moving and unmoving objects and are the full
essence of consciousness and bliss.
 Śrī Kamalāmbāyāḥ
Rāgā: Bhairavi / Tāḷā:Jhampa

The fifth āvaraṇa kṛti is in the rāgā Bhairavi, Jhampa tāḷā

and the Pañcamī Vibhakti. The Rāga Mudrā is properly
found in the Anupallavi.

Lyrics

Pallavi
Śrī kamalāmbāyāḥ param nahirē re
citta kṣityādi śivānta tatva svarūpiṇyāḥ

Anupallavi
Śrīkaṇṭha viṣṇu viriñcādi janayitryāḥ śivātmaka
viśvakartryāḥ kārayitryāḥ śrīkara bahirdaśāra cakra
sthityāḥ sēvita bhairavī bhārgavī bhāratyāḥ

Charaṇam
Nādamaya sūkṣmarūpa sarva siddhipradādi daśa śaktyārādhita mūrthē
śrōtrādi daśakaraṇātmaka kuḷa kauḷikādi bahuvidhōpāsita kīrtē abhēda
nitya śuddha buddha mukta saccidānandamaya paramādvaita sphūrtē ādi
madhyānta rahitāpramēya guruguha mōdita sarvārtthasādhaka sphūrtē
mūlādi navādhāra vyāvṛtta daśadhvani bhedajña yōgivṛnda samrakṣaṇyā
anādi māyā vidyākārya kāraṇa vinōda karaṇa paṭutara kaṭākṣa
vīkṣaṇyāḥ
Word Meaning

Pallavi
 Śrī kamalāmbāyāḥ param - greater than Goddess Kamalāmbā
 Na hi - there is nothing else
 Rē rē citta - Oh mind!
 Kṣityādi śivānta tattva svarūpiṇyāḥ - the one who is the quintessence
of all the principles, from the Earth to the ultimate Lord Śivā.

Anupallavi
 Śrīkaṇṭha viṣṇu viriñcādi janayitryāḥ - who is the mother of Śivā,
Viṣṇu and Brahmā.
 Śivātmaka viśva kartryāḥ - who is the creator of the universe which
is Śivā in essence.
 Kārayitryāḥ - who is the agent of all actions.
 Śrī kara bahirdaśāra chakra sthityāḥ - who resides in the auspicious
Chakrā of the outer ten triangles.
 Sēvita bhairavī bhārgavī bhāratyāḥ - who is served by Bhairavī,
Bhārgavī and Bhāratī (Pārvatī, Lakṣmī and Sarasvatī)

Charaṇam
 Nādamaya sūkṣma rūpa sarva siddhi pradādi daśa
śaktyārāditamūrthē - who subtle form is that of sound (Nādā)
propitiated by the ten Śaktīs, Sarvasiddhipradā and others.
 Śrōtrādi daśakaraṇātmaka kuḷa kauḷikādi bahuvidhōpāsita kīrtē -
who is famous for being worshiped in various modes such as Kuḷa,
Kauḷa, as the power identical with the ten sense and motor organs.
 Abhēda nitya śuddha buddha mukta saccidānandamaya
paramādvaita sphūrtē - who manifests the supreme eternal, pure,
enlightened and free self, who is the supreme non-dual Brahman,
characterized by existence, consciousness and bliss.
 Ādi madhyānta rahitāpramēya guruguha mōdita sarvārttha sādhaka
sphūrtē - who is without beginning, middle and end, who is
unknowable, who is entertained by Guruguha, who is the manifest of
 the Sarvārtthasādhaka Chakrā.
 Mūlādi navādhāra vyāvṛtta daśa dhavani bhedajña yōgi vṛnda
samrakṣaṇyāḥ - who protects the Yōgīs who reside in the nine
centers of the astral body (Mūlādhāra etc), and who are adept at
piercing through them, by the knowledge of the ten sounds.
 Anādi māyā vidyā kārya kāraṇa vinōda karaṇa paṭutara kaṭākṣa
vīkṣaṇyāḥ - who with her mere glance is capable of dispelling the
beginning-less delusion and ignorance and the laws of cause and
effect.

Summary

Pallavi
Oh mind! There is nothing greater than Goddess Kamalāmbā, the one
who is the quintessence of all the principles, from the earth to the ultimate
Lord Śivā.

Anupallavi
She is the mother of Śivā, Viṣṇū and Brahmā. She is the agent of all
actions, the creator of the universe which is Śivā in essence, and resides in
the auspicious Chakrā of the outer ten triangles. She is served by Bhairavī,
Bhārgavī and Bhāratī.

Charaṇam
Her subtle form is that of sound (Nādā) and she is propitiated by the ten
Śaktīs, Sarvasiddhipradā, and so forth. She is famous for being worshiped
in various modes such as Kuḷa, Kauḷa etc. She manifests the supreme,
enlightened and free self, who is the supreme non-dual Brahman,
characterized by existence, consciousness and bliss. She is without
beginning, middle and end, she is unknowable, is entertained by
Guruguha, and is the manifest of the Sarvārtthasādhaka Chakrā. She
protects the Yōgīs who reside in the nine centers of the astral body, and
who are adept at piercing through them, by the knowledge of the ten
sounds. Her mere glance is capable of dispelling the beginning-less
delusion and ignorance and the laws of cause and effect.
 Kamalāmbikāyāḥ tava
Rāgā:Punnāgavarāḷi / Tāḷa:Rūpakam

The sixth āvaraṇa kṛti is in the rāgā Punnāgavarāḷi, Rūpaka tāḷā and the
Ṣaṣṭhī Vibhakti. The Rāga Mudrā is found properly in the Anupallavi.

Lyrics

Pallavi
kamalāmbikāyāstava bhaktōham
śrī śaṅkaryāḥ śrīkaryā saṅgītarasikāyāh śrī

Anupallavi
sumaśarēkṣu kōdaṇḍa pāśāṅkuśa pāṇyāḥ
atimadhurataravāṇyāḥ śarvāṇyāḥ kalyāṇyāḥ
ramaṇīya punnāgavarāḷi vijita vēṇyāḥ śrī

Charaṇam
daśakalātmaka vaḥni svarūpa prakāśāntardaśāra
sarva rakṣākara cakrēśvaryāḥ tridaśādinuta kacavarga dvaya maya
sarvajñādi daśaśaktisamēta mālinī cakrēśvaryāḥ tridaśavimśadvarṇa
garbhiṇī kuṇḍalinyāḥ daśamudrā samārādhita kauḷinyāḥ daśarathādinuta
guruguha janaka śiva bōdhinyāḥ daśakaraṇa vṛtti marīci nigarbha
yōginyāḥ śrī
Word Meaning

Pallavi
 Kamalāmbikāyāḥ - of Kamalāmbikā
 Tava - your
 Bhaktaḥ - devotee
 Aham - I (am)
 Śaṅkaryāḥ - of the one who bestows auspiciousness
 Śrīkaryāḥ - of the one who bestows prosperity
 Saṅgīta rasikāyāḥ - of the one who enjoys music
 Śrī - auspicious

Anupallavi
 Suma śarekṣu kōdaṇḍapāśāṅkuśa pāṇyāḥ - of the one who holds in
her hands the flower arrows, sugarcane, the noose and the goad.
 Atimadhura vāṇyāḥ - of the one whose speech is excessively sweet.
 Śarvāṇyāḥ - of the wife of Śarvā (Śivā)
 Kalyāṇyāḥ - of Kalyāṇī, the ever auspicious one
 Ramaṇīya punnāgavarāḷi vijita veṇyāḥ - whose braided hair
conquers the lovely black bees swarming around the Punnāga tree.
 Śrī - auspicious.

Charaṇam
 Daśa kalātmaka vaḥni svarūpa prakāśāntardaśāra sarva rakṣākara
cakreśvaryāḥ - whose essential nature is the light of the ten-fold fire,
and who is manifest in the Sarvarakṣākara Chakrā.
 Tridaśādi nuta kachavarga dvaya maya sarvajñādi daśa śakti samēta
mālinī cakrēśvaryāḥ - the Goddess, who is worshiped by Gods in the
Chakrā of Mālinī, which has ten Śaktīs, Sarvajñā etc, who are the ten
letters of the alphabet that belong to the “Ka” and “Ca” groups.
 Tridaśa vimśadvarṇa garbhinī kuṇḍalinyāḥ - who is the Kuṇḍalinī
encompassing 50 letters of the alphabet.
 Daśa mudrā samārādhita kauḷinyāḥ - who is the Goddess Kauḷinī
worshiped by the ten Mudrās.
 Daśarathādi nuta guruguha janaka śivabōdhinyāḥ - who is
worshiped by Daśarathā and others, and who teaches Śivā, the father
of Guruguha.
 Daśa karaṇa vṛtti marīci nigarbha yōginyāḥ - who is attended by
unmanifest Yōginīs which are the functions of the ten senses and the
motor organs (five Karmēndriyās, and five Jñānēndriyās)
 Śrī - auspicious.

Summary

Pallavi
I am thy devotee, the devotee of the lotus faced goddess, bestowing
auspiciousness and prosperity, and enjoying the divine music.

Anupallavi
You hold in your hands the flower arrows, sugarcane, noose and the goad.
You are the wife of Śarvā. Your speech is excessively sweet. You are the
ever auspicious one, whose braided hair conquers the lovely black bees
swarming around the Punnāgā tree.

Charaṇam
Your essential nature is the light of the ten-fold fire, and you are manifest
in the Sarvarakṣākara Chakrā. You are worshiped by the thirty deities in
the Chakrā of Mālinī, which has ten Śaktīs, Sarvajñā etc, who are the
letters of the alphabet that belong to the “Ka” and “Ca” groups. You are
the Kuṇḍalinī encompassing 50 letters of the alphabet. You are the
Goddess Kauḷinī propitiated by the ten Mudrās. You are worshiped by
Daśarathā and others, and teaches Śivā, the father of Guruguha. You are
attended by unmanifest Yōginīs which are the functions of the ten senses
and the motor organs.
 Śrī Kamalāmbikāyām
Rāgā: Sahānā / Tāḷā: Tripuṭa

The seventh āvaraṇa kṛti is in the rāgā Sahānā, Tripuṭa tāḷā and the
Saptamī Vibhakti. The Rāga Mudrā is found disguised in the Charaṇam
as “śāna”.

Lyrics

Pallavi
Śrī Kamalāmbikāyām bhaktim karōmi śritakalpa vāṭikāyām caṇḍikāyām
jagadambikāyām

Anupallavi
rākācandra vadanāyām rājīvanayanāyām pākārinuta caraṇāyām ākāśādi
kiraṇāyām hrīmkāra vipinahariṇyām hrīmkāra suśarīriṇyām hrīmkāra
taru mañjaryām hrīmkārēśvaryām gauryām

Charaṇam
śarīratraya vilakṣaṇa sukhatara svātmānu bhōginyām viriñci harīśāna
harihaya vēdita rahasyayōginyām parādi vāgdēvatārūpavaśinyādi
vibhāginyām carātmaka sarvarōgahara nirāmaya rājayōginyām
karadhṛta vīṇā vādinyām kamalānagara vinōdinyām suranaramunijana
mōdinyām guruguha varaprasādinyām
Word Meaning

Pallavi
 Śrī kamalāmbikāyām - (in) Kamalāmbikā, the auspicious one.
 Bhaktim - devotion.
 Karōmi - I do.
 Śrita kalpa vāṭikāyām - who grants all desires to those devotees who
take refuge in her.
 Chaṇḍikāyām - Chaṇḍikā, the fierce one.
 Jagadambikāyām - the mother of all the universe.

Anupallavi
 Rākā candra vadanāyām - whose face is like a full moon.
 Rājīva nayanāyām - whose eyes are like lotuses.
 Pākāri nuta charaṇāyām - whose feet are worshiped by Indrā.
 Ākāśādi kiraṇāyām - who radiates out of the sky etc.
 Hrīmkāra vipina hariṇyām - who is the deer in the forest of the Hrīm
sound.
 Hrīmkāra suśāriṇyām - who is the embodiment of Hrīm.
 Hrīmkāra taru mañjaryām - who is the beautiful bunch of flowers of
the Hrīm sound.
 Hrīmkāraiśvaryām - who is the goddess of Hrīm.
 Gauryām - who is Gaurī, the fair one.

Charaṇam
 Śarīra traya vilakṣaṇa sukhatara svātmānubhōginyām - who rejoices
in the highest bliss of her own self, which transcends the three bodies;
gross, subtle and causal.
 Viriñci harīśāna hari haya vēdita rahasya yōginyām - who is
attended by the secret Yōginīs known to Brahmā, Viṣṇu, Śivā and
Indrā.
 Parādi vāgdēvatā rūpa vaśinyādi vibhāginyām - who is the Goddess
of pure speech and its forms, differentiated as the Śaktis Vaśinī etc.
 Carātmaka sarva rōga hara nirāmaya rāja yōginyām - who is the
 healing Rājayōgā that removes all transient illnesses.
 Karadhṛta vīṇāvādinyām - who holds a Vīṇā in her hand.
 Kamalānagara vinōdinyām - who resides in the lotus city.
 Sura nara muni jana mōdinyām - who charms the Gods, men and
sages.
 Guruguha vara prasādinyām - who grants boons to Guruguha.

Summary

Pallavi
I offer my devotion to Kamalāmbikā, the auspicious one. The Goddess
Caṇḍikā is the mother of all the universe and grants all desires to those
devotees who take refuge in her.

Anupallavi
Her face is like a full moon and her eyes are like the lotus bud. Her feet
are worshiped by Indrā. She radiates out the five elements. She is the
embodiment of Hrīm.

Charaṇam
She rejoices in the highest bliss of her own self, which transcends the
three bodies; gross, subtle and causal. She is attended by the secret
Yōginīs known to Brahmā, Viṣṇu, Śivā and Indrā. She is the goddess of
pure speech and its forms, differentiated Śaktis Vaśinī etc. She is the
healing Rājayōga that removes all transient illnesses. She holds a Vīṇā in
her hand and charms the gods, men and sages. She grants Guruguha the
boon of her grace.
 Śrī Kamalāmbikē avāva
Rāgā: Ghaṇṭā / Tāḷā: Ādi

The eighth āvaraṇa kṛti is in the rāgā Ghaṇṭā, Ādi tāḷā and the
Sambōdhana Prathamā Vibhakti. The Rāga Mudrā is found properly in
the Charaṇam.

Lyrics

Pallavi
śrī kamalāmbikē avāva śivē karadhṛta śuka śārikē

Anupallavi
lōkapālini kapālini śūlini lōkajanani bhagamālini sakṛdā lōkaya mām
sarva siddhipradāyikē tripurāmbikē bālāmbikē

Charaṇam
santapta hēma sannibha dēhē sadākhaṇḍaikarasa pravāhē santāpahara
trikōṇagēhē sakāmēśvari śaktisamūhē santatam mukti ghaṇṭāmaṇi
ghōṣāyamāna kavāṭadvārē ananta guruguha viditē karāṅguli nakhōdaya
viṣṇu daśāvatārē antaḥkaraṇēkṣu kārmuka śabdādi pañca tanmātra
viśikhātyanta rāgapāśa dvēṣāṅkuśa dharakarē atirahasya yōginīparē
Word Meaning

Pallavi
 Śrī kamalāmbikē - Oh Śrī Kamalāmikā!
 Ava ava - protect (me) protect (me)
 Śivē - the auspicious one.
 Kara dhṛta śuka śarikē - holding a parrot and a myna in her hands.

Anupallavi
 Lōka pālini - protector of the worlds!
 Kapālini - carrying a skull!
 Śūlini - carrying a trident!
 Lōka janani - the mother of the worlds!
 Bhagamālinī - you are Bhagamālinī.
 Sakṛṭ - just once
 Ālōkaya - glance at
 Mām - me
 Sarva siddhi pradāyikē - Oh giver of all powers!
 Tripurāmbikē - Oh Mother, Tripurā
 Bālāmbikē - Bālāmbikā!

Charaṇam
 Santapta hēma sannibha dēhē - with body effulgent like molten gold!
 Sadākhaṇḍaika rasa pravāhē - you are the eternal flow of
uninterrupted bliss!
 santāpa hara trikōṇa gēhē - you reside in the triangle that removes
all sorrows!
 Sakāmēśwari śakti samūhē - you are accompanied by three Śaktīs;
Kāmēśvari, Vajrēśvari and Bhagamālini!
 Santatam - ever
 Mukti ghaṇṭā maṇi ghōṣāyamāna kavāṭa dvārē - you are the door,
announced by the jeweled bell of the way to liberation!
 Ananta guruguha viditē - you are known to Ananta and Guruguha!
 Karāṅguli nakhōdaya viṣṇu daśāvatārē - the nails of your ten fingers
 are the source of the ten incarnations of Lord Viṣṇu!
 Antaḥkaraṇēkṣu kārmuka śabdādi pañca tanmātra viśikhā’tyanta
rāga pāśa dvēśāṅkuśa dhara karē - you hold the sugarcane bow
symbolizing the mind, the five arrows symbolizing the objects of the
five senses, the nooses of attachment and the goad of repulsion
 Atirahasya yōginīparē - you are attended by the most secret Yōginīs.

Summary

Pallavi
Oh Śrī Kamalāmbikā, holding in hands aparrot and a myna bird, protect
me!

Anupallavi
You are the protector of the worlds.You carry a skull and a trident and
carry all the powers.

Charaṇam
Your body is effulgent like molten gold! You are eternal flow of
uninterrupted bliss! You reside in a triangle that removes all sorrows! You
are accompanied by the three Śaktīs Kāmēśwarī, Vajrēśwarī and
Bhagamālinī. You are the door, announced by the jeweled bell as the way
to liberation. You are known to Ananta and Guruguha. The source of your
ten fingers are the source of the ten incarnation of Lord Viṣṇu. You hold
the sugarcane bow symbolizing the mind, the five arrows symbolizing the
objects of the five senses, the noose of attachment and the goad of
repulsion.
 Śrī Kamalāmbā jayati
Rāgā: Āhiri / Tāḷā: Rūpakam

The ninth āvaraṇa kṛti, the final one, is in the rāgā Āhiri, Tiśra Jāti Ēka
tāḷā, but now sung in Rūpaka tāḷā and it is in all the Vibhaktīs. The Rāga
Mudrā is found disguised in the Charaṇam as “āharī”.

Lyrics

Pallavi
Śrī kamalāmbā jayati ambā śrī kamalāmbā jayati jagadambā
śrī kamalāmbā jayati śṛṅgāra rasa kadambā madambā śrī kamalāmbā
jayati cidbimbā pratibimbēndu bimbā śrī kamalāmbā jayati śrīpura bindu
madhyastha cintāmaṇi mandirastha śivākāra mañcasthita
śivakāmēśāṅkasthā

Anupallavi
sūkarānanādyarccita mahātripurasundarīm rājarājēśvarīm śrīkara
sarvānandamaya cakra vāsinīm suvāsinīm cintayēham divākara
śītakiraṇa pāvakādi vikāsakarayā bhīkara tāpatrayādi bhēdana
dhurīṇatarayā pākaripu pramukhādi prārthitasukaḷēvarayā prākaṭya
parāparayā pālitō dayākarayā

Charaṇam
śrīmātrē namastē cinmātrē sēvitaramāharīśavidhātrē
vāmādi śaktipūjita paradēvatāyāḥ sakalam jātam kāmādi
dvādaśabhirupāsita kādi hādi sādi mantrarūpiṇyāḥ prēmāspada śiva
guruguha jananyām prītiyukta maccittam vilayatu brahmamaya
prakāśinī nāmarūpa vimarśinī kāmakalā pradarśinī sāmarasya nidarśinī
Word Meaning

Pallavi
 Śrī kamalāmbā - Goddess Kamalāmbā
 Jayati - is victorious
 Ambā - mother
 Jagadambā - the Mother of the universe
 Śṛṅgāra rasa kadambā - a flower of the Kadamba plant (the essence)
of the pleasure of love
 Madambā - my Mother
 Cidbimba pratibimbēndu bimbā - who is the form of pure
consciousness, and who is the reflection of the original pure
consciousness in the Bindu.
 Śrī pura bindu madhyastha cintāmaṇi mandirastha śivākāra mañca
sthitha śiva kāmeśāṅkasthā - who is seated on the throne which is the
form of Śivā, in the embrace of Śivā, the lord of desire, in the wish-
fulfilling (Cintāmaṇi) temple which is in the Bindu Chakrā, the
abode of auspiciousness (Śrī)

Anupallavi
 Sūkarānanādyarcita mahātripurasundarīm - Mahātripurasundarī,
who is propitiated by the Goddess Vārāhī (who has a boar’s face)
and others.
 Rājarājēśvarīm - who is the ruler of all rulers.
 Śrī kara sarvānandamaya cakra vāsinīm - who dwells in the
auspicious Sarvānandamaya Chakrā.
 Suvāsinīm - the auspicious one.
 Cintayē aham - I meditate upon
 Divākara śītakiraṇa pāvakādi vikāsa karayā - the one who causes
the manifestation of the sun, moon and fire (sources of energy)
 Bhīkara tāpatrayādi bhēdana dhurīṇatarayā - who is adept at
removing the three sufferings; physical, mental and supernatural.
 Rāka ripu pramukhādi prārthita sukaḷēvarayā - who possesses a
beautiful form grants the prayers of Indrā and other Gods.
 Prākaṭyaparāparayā - who is manifest both as the supreme and the
empirical objects
 Pālitō - I am protected
 Dayākarayā - by the compassionate one.

Charaṇam
 Śrīmātrē - to the auspicious mother
 Namastē - I prostrate
 Cinmātrē - you are the pure consciousness!
 Sēvita ramāharīśavidhātre - worshiped by Lakṣmī (Ramā), Viṣṇu
(Hari), and Brahmā (Vidhātṛ)
 Vāmādi śakti pūjita paradēvatāyāḥ - (from) the supreme deity who is
worshiped by Vāmā and other Śaktīs
 Sakalam - everything
 Jātam - is born.
 Kāmādi dvādaśabhirupāsita kādi hādi sādi mantra rūpiṇyāḥ - the
form of the Mantra which begins with the letters Ka, Ha or Sa - the
Mantra that is meditated upon by the twelve upāsakās beginning
with Kāmā etc.
 Prēmāspada śiva guruguha jananyām - whose beloved is Śivā, and
who is Guruguhā’s mother.
 prīti yukta maccittam - (let) my mind, with pleasing grace
 Vilayatu - be dissolved
 Brahmamayaprakāśinī - she embodies the light that is Brahman
 Nāma rūpa vimarśinī - she reveals all forms and names
 Kāmakalā pradarśinī - who reveals the Kāma-Kalā.
 Sāmarasya nidarśinī - who reveals the perfect unity.
Summary

Pallavi
Goddess Kamalāmbā, the mother of the universe, is victorious. She is my
mother, a flower of the Kadambā plant which is the essence of the
pleasure of love. She is the form of pure consciousness, the reflection of
the original pure consciousness in the Bindu. She is seated on the throne
which is in the form of Śivā, in the embrace of Śivā, the lord of desire, in
the wish fulfilling temple which is in the Bindu Chakrā, the abode of
auspiciousness.

Anupallavi
I meditate upon Goddess Mahātripurasundarī, who is propitiated by the
Goddess Vārāhī and others and is the ruler of all rulers. She dwells in the
auspicious Sarvānandamaya Chakrā. I am protected by the ever
compassionate Goddess. She causes the manifestation of the Sun, the
Moon and fire. She is adept at removing the three sufferings; physical,
mental and supernatural. She possesses a beautiful form and grants the
prayers of Indrā and the other gods. She is manifest both as the supreme
and empirical objects.

Charaṇam
I prostrate to the auspicious mother! You are the pure consciousness and
are worshiped by Lakṣmī, Viṣṇu and Brahmā. Everything is born from the
supreme deity who is worshiped by Vāmā and other Śaktīs. Let my mind,
with pleasing grace, be dissolved in Guruguhā’s mother, who is the
beloved of Śivā. She has the form of the Mantrā which begins with the
letters Ka, Ha or Sa - the Mantrā that is meditated upon by the twelve
beginning with Kāma etc.
 Śrī Kamalāmbikē śivē
Rāgā: Śrī / Tāḷā: Khaṇḍa ēka

The Maṅgaḷa kṛti is in the rāgā Śrī, tāḷā Khaṇḍa Ēka and the
Sambōdhana Prathamā Vibhakti. The Rāgā Mudrā is found properly
thrice in the composition. The first ‘śrī’ in the song is not counted as it is
just for paying the composer’s salutations to the Goddess.

Lyrics

Pallavi
śrī kamalāmbikē śivē pāhimām lalitē śrīpativinutē sitāsitē śiva sahitē

Samaṣṭi Charaṇam
rākācandramukhī rakṣitakōlamukhī ramāvāṇīsakhī rājayōga sukhī
śākambari śātōdari candrakalādhari śaṅkari śaṅkara guruguha bhakta
vaśaṅkari ēkākṣari bhuvanēśvari īśapriyakari śrīkari sukhakari śrī
mahātripurasundari
Word Meaning

Pallavi
 Śrī kamalāmbikē - Oh Kamalāmbikā!
 Śivē - the auspicious one!
 Pāhi - protect
 Mām - me
 Lalitē - Lalitā
 Śrī pati vinutē - worshiped by Viṣṇu, the husband of Lakṣmī
 Sitāsitē - who is both fair and dark
 Śiva sahitē - who is accompanied by Śivā

Samaṣṭi Charaṇam
 Rākāchandramukhī - whose face resembles the full moon
 Rakṣita kōlamukhī - who protects Kōlamukhī (the boar-faced
Goddess Vārāhī)
 Ramāvāṇīsakhī - who is the friend of Lakṣmī and Sarasvatī
 Rājayōga sukhī - who enjoys the bliss of Rājayōgā
 Śakambari - who is dressed in lush vegetation (the earth goddess)
 Śātōdari - whose waist is slim and tender
 Chandrakaḷādharī - who wears the crescent moon
 Śaṅkarī - who grants auspiciousness
 Śaṅkara guruguha bhakta vaśaṅkari - who cherishes the devotees of
Śivā and Guruguha
 Ēkākṣari - who is the single syllable (Om)
 Bhuvanēśwarī - who is the ruler of the universe
 Īśa priyakari - who is the beloved of Śivā
 Śrīkari - who bestows auspiciousness
 Sukhakari - who brings happiness
 Śrī mahātripurasundarī - the supreme Tripurasundarī
Summary

Pallavi
Oh Kamalāmbikā, Lalitā, the auspicious one, protect me! You are both
fair and dark. You are worshiped by Viṣṇu and are accompanied by Śivā.

Samaṣṭi Charaṇam
Oh, the supreme Tripurasundarī! Your face resembles the full moon. You
protect Kōlamukhī (The boar-faced Goddess Vārāhī) and are the friend of
Lakṣmī and Saraswatī. You enjoy the bliss of Rājayōgā. You are dressed
in lush vegetation. Your waist is slim and tender and you wear the
crescent moon. You grant auspiciousness and cherish the devotees of Śivā
and Guruguha. You are the single syllable (om), the ruler of the universe,
and the beloved of Śivā. You bestow auspiciousness and bring happiness.