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Click
here for a recording of this k.rti by Smt. Kalpagam Swaminathan (vINa) and
Smt. Mangalam Shankar (Vocal)
ArOhaNaM: S R2 G3 M1 P D2 N3 S
avarOhaNaM: S N3 D2 P M1 G3 R2 S
pallavi
girijayA ajayA abhayAmbikayA
girIshajAyayA rakSito.aham
anupallavi
harihayAdidevatArAdhitayA
AtmasvarUpaprabodhitayA
hariharaguruguhasammoditayA
AdikSAntavarNaveditayA
caraNam
samayavisheSaniryANamukhabIjanirbIjadIkSAviSayakaraNa
samayAcaraNopayogapUjAsAmagrIsaMgrahAntaHkaraNa
samayamatapratipAdyAnusaraNasAmAnyavisheSaprajAcaraNa
mamatvanirAkaraNakriyAyutasadbhaktAnAM dharmArtharUpa
samatvav.rttivitaraNanipuNatarasAmrAjyapradAruNacaraNayA
Meaning
This k.rti is in "t.rtIyA vibhakti"
abhayAmbikayA
The basic anvayam (word order) is - ahaM abhayAmbikayA rakSitaH (asmi),
and all instances of the pronoun who/whose below refers to the t.rtIyA
form (instrumental case) "abhayAmbikayA".
pallavi
I am protected by abhayAmbika,
Who is the daughter of the mountain himavAn.
Who is birthless, and
who is the spouse of shiva, the Lord of kailAsa mountain.
anupallavi
who is worshipped by vishNu, indra and
other devas;
who displays the form of the supreme self;
who is made happy by vishNu. shiva, and guruguha;
who is the form of all letters of the alphabet, from "A" to
"kSa".
caraNaM
who endows on her devotees the power of
casting off one's
life when desired, and initiates them in "mukhabIja" (with japa),
and "nirbIja" (without bIja - contemplative);
who has the samaya doctrine, where the pUja vessels are construed as being
within the aspirant;
who follows the samaya doctrine;
who has the sAmAnya (regular) and visheSa (special) codes of conduct.
whose reddish feet are ready to bestow on her noble devotees who are
engaged in the act of removing egoism and possess a uniformity of thought
(the power of envisaging the virtues and material pleasure alike), thereby
conferring on them the "sAmrAjya" (salvation).
NOTES
As in the case of the previous song, here
too we find very lengthy and winding word constructions, which is typical
of dIkSitar. The caraNam line:
samayavisheSaniryANamukhabIjanirbIjadIkSAviSayakaraNa
samayAcaraNopayogapUjAsAmagrIsaMgrahAntaHkaraNa-
samayamatapratipAdyAnusaraNasAmAnyavisheSaprajAcaraNa-
mamatvanirAkaraNakriyAyutasadbhaktAnAM dharmArtharUpa-
samatvav.rttivitaraNanipuNatarasAmrAjyapradAruNacaraNayA
is just two long words, making a proper
English translation very difficult. The first word is one of the longest
single words that I have found in dIkSitar vocabulary (consists of 86
syllables!).
No rAgamudra is found in this k.rti just
like almost all shaN^karAbharana compositions of dIkSitar. The only place
where dIkSitar has imbedded a rAga mudra for shaN^karAbharaNam is in the
caturdasha rAgamalika "shrI vishvanAthaM bhajeham", in the line
"sadAshrayAmi shaN^karAbharaNam".
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