Abhayamba Vibhakti

shambarAriharishashikuberapramukhopAsitanavayoginyAH
sAMkhyatArakamanaskarAjayoginyAH shivabhoginyAH
bimbapratibimbarUpiNyAH
bindumaNDalavAsinyAH svarUpiNyAH

caraNam

yamaniyamAdyaSTAN^gayogaviSayAdinigrahakaraNa
mUlAdhAramaNipUrakAdyabjabhedanasphurakuNDalinI
sahasradaLabrahmarandhrasthakamalAntargatashivasammeLana
gaLitaparamAm.rtabindusecanasamujj.rmbhita
nADImukhavikAsakaraNanijAnubhUtiyoginyAH
amoghavarashivasArUpyAnandAnubhavapradAyinyAH
aprameyaguruguhAdijananyAH brahmAdipa~ncakakAriNyAH

Meaning

This k.rti is set is "ShaShThi vibhakti" - abhayAmbikAyAH.
The basic word order is - ahaM abhayambikAyAH (tava) dAsaH (asmi).
All the phrases ending in "yAH" are in the genitive case, and are indicated below by the pronoun "who" (to be utilized as genitive case)

pallavi

I am the servant of ambikA, the one who grants shelter (abhayAmbika) , the primordial mother of the universe, abhayAmbika, the ancient one.

anupallavi

who has the nine yoginis (nava yogini), worshipped by the great ones like cupid (the enemy of shiva), viShNu, the moon, and kubera.
who transcends the sAMkhya yoga, and is established in the rAja yoga;
who delights lord shiva,
who is of the form of image and reflection;
who dwells in bindu maNDala and
who manifests with the form of herself.

caraNaM

who is the yogini, who is realized by contemplating on the eight fold yoga such as
yama, niyama, and so forth; invoking the blossoming of the kuNDalini shakti transcending the lotuses of the mUlAdhAra , maNipUraka etc, all the way to the thousand-petaled brahmarandhra at the sahsrAra, and joining in harmonious union with shiva causing the flow of ambrosia which enervates the nerves;
who bestows on her devotees the inestimable experience of bliss of total identity of the soul with Lord shiva;
who is the mother of exceptionally great guruguha;
who is the cause of the doers of the five-fold actions commencing with brahma.

NOTES

This k.rti gives the very essence of kuNDAlini yoga. First five lines of the caraNam features a very lengthy line consisting of just one word (the longest I have seen in dIkSitar compositions - consists of 98 syllables!)

which together with another line "amoghavarashivasArUpyAnandAnubhavapradAyinyAH" describes the awakening of the kuNDalini, which normally sleeps dormant in the lower centre, mUlAdhAra . To begin with, one has to control all senses by the rigorous practice of the eight fold path (aStAN^ga yoga), namely, yama (restraint), niyama (observences), Asana (postures) prANAyAma (breath control), pratyAhAra (withdrawing of all senses), dharaNa (concentration), dhyAna (contemplation), and samAdhi (undifferentiated beingness). Then, discarding all interest in worldly objects, concentrating the mind, and controlling the vital forces, the aspirant projects them toward the mulAdhAra, the first psychic centre - which results in the awakening of the kuNDalini shakti, that is dormant with a three and a half coil (spiraled like a serpent); the yogi then makes it climb through the lotuses of the six cakras, mUlAdhAra, maNipUraka, svAdhiStAna, anAhata, vishuddhi, Aj~nA, and finally pierce the knot at the base of the brain, the thousand-petalled brahmarandhra at the sahasAara, merging with the Lord. Ultimate liberation is the union of shakti with shiva in the sahasrAra.

Adi shaN^kara's "saundarya lahari" gives the following description:

mahIm mUlAdhAre kamapi maNipUrE hutavaham
sthitaM svAdhiSThAne h.rdi marutamAkAshamupari |
manOpi bhrUmadhye sakalamapi bhitvA kulapatham
sahasrarE padme saha rahasi patyA viharase ||
(saundaryalaharI 9)

See:
http://www.comparativereligion.com/Yoga.html for more details on kuNDalini shakti.

rAgam kEdAram

A vakra audava - SADava rAgam placed under meLam 29 dhIrashaN^karAbharaNam.
ArohaNam: sa ma ga ma pa ni sa
AvarohaNam: sa ni pa ma ga ri sa
Notes taken: catushruti ri, antara ga, shuddha ma, kAkaLi ni, and the note dha is absent. It is a ragam that belongs to the dvitIya ghana pa~ncaka group. The chAyA svarams are ma and ni; it is a morning rAgam, and is a tristhAyi rAgam that evokes vIra rasam. It is capable of creating a musical atmosphere when sung at the beginning of a concert. Kedara of Hindusthani music is entirely different, and is placed under kalyAN thATh. Tyagaraja's rAmA nIpai, maracuvadana, dikSitar's AnandanatanaprakAsham, cidambara naTarAjam, ambikAyAH abhayAmbikAyaH, svAti tirunAL's "paramAnanda naTanam" and Patna Subrahmanya Iyer's samayamide are popular songs in kEdAram.

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