Śrī Rāja Śyāmālā Navaratri: Mantras, Stotras, Namavalis
Śrī Rāja Śyāmālā Navaratri: Mantras, Stotras, Namavalis
Śrī Rāja Śyāmālā Navaratri: Mantras, Stotras, Namavalis
Table of Contents
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Disclaimer .....................................................................................................................................3
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Devipuram Śrī Rāja Śyāmālā Navaratri February 12-21, 2021
Disclaimer
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This publication and the content provided herein is the
work of our volunteers and shared for educational
purposes.
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mātaṅgīṁ bhūṣitāṅgīṁ madhumada muditāṁ nīpamālāḍhyaveṇīṁ
sadvīṇāṁ śoṇacelāṁ mṛgamadatilakāṁ indurekhā-vataṁsāṁ |
karṇodyacchaṅkhapatrāṁ smita madhuradṛśā sādhakasyeṣṭadhātrīṁ
dhyāyeddevīṁ śukābhāṁ śukamakhila kalārūpaṁ asyāśca pārśve ||
mātaṅgīṃ = Mātaṅgī Devī; bhūṣitāṅgīṃ = adorned with jewels; madhumada+
muditāṃ = (with) sweet intoxicated smile (in Her lips); nīpa+mālāḍhya+veṇīṃ =
wearing a garland of nipa (Kadamba) flowers in Her tresses (hair); sadvīṇāṃ =
holding the stringed instrument (vīṇa); śoṇa+celāṃ = wearing red coloured
garments; mṛgamada+tilakāṃ = having a musk mark on Her forehead;
indurekhā+vataṃsāṃ = a mooncrescent (in Her crown); karṇodyat + śaṅkha +
patrāṃ = (wearing) bright conch shell as earrings; smita+ madhura+dṛśā = with Her
sweet glances; sādhakasya iṣṭa+dhātrīṃ = bestowing upon the sādhaka his wishes;
dhyāyet devīṃ = I meditate on Devī; śukābhāṃ = in the colour of parrot (green);
śukamakhila kalā+rūpaṃ = (and also) a parrot which represents all arts; asyāśca
pārśve = on Her side.
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Mātaṅgī is the ninth of the 10 great vidyās. Mātaṅgī is greenish in color, dark in
complexion (thus another of her names, Śyāmalā), and luscious in shape. Her tender
limbs have the glow of sapphire. She is a cāṇḍāla kanyā. The sage Mātaṅga was a
cāṇḍāla by birth, and the Goddess of Speech manifested as his daughter—so she is
sometimes known as the “Outcaste Goddess.” Caste, creed and color are no bar to her
upāsanā—Mātaṅgī leads one to cut through all such barriers. (Note that the word
cāṇḍāla is also a symbol for the suṣumṇā in the sandhyābhāṣā of the Tantras. So by
cāṇḍāla kanyā is meant the Kundalini, besides whatever else the name implies.)
“Mātaṅgī is the māntriṇi of Lalitā. She is also the ākarṣaṇa and vaśya pradhāna
dēvatā. Her main purpose is to bring people to Lalitā upāsanā. Lalitā uses her mantras
to attract devotees to her while the devotees think they are attracting Lalitā to
themselves. That is the secret of Mātaṅgī.
Indeed, as with Tripura-Bhairavī, the only way to please Mātaṅgī and get her blessings
is by attracting people and enjoyments. But her mantra is generally given only by a
dīkṣā guru, because—though attraction is generally a desirable thing—its
indiscriminate use can create complications. So it will not be revealed here.
–§§§–
Mātaṅgī is Saraswati. Her upāsanā gives us desires (kāma) as well as fulfilling them.
But even though one is involved in these sensory games, one knows they are games
and is not bound by them. She leads one naturally to the mandala of the Sri Chakra.
When one has systematically eliminated all notions of multiplicity, then duality alone
remains—and this, too, she demolishes in the end. One learns that, in identity, all
relations co-exist. So God is your father, mother, brother, sister, wife, husband, lover,
friend, enemy, son, daughter, grandsons—all in one, one in all. Thus in approaching
the divine, you can use any relationship that is convenient to you; whatever you are
comfortable with. Two of the best relationships are identity and as lover—reflecting
jñāna and bhakti yoga, respectively.
–§§§–
Mātaṅgī is also similar to Tārā. The difference is, with Tārā the focus is on unmanifest
sound. With Mātaṅgī, it is on intelligible, manifest sound. The primordial throb (ādya
spanda)—which originates by the self-volition of the Supreme—starts a series of
vibrations that take the “form of nāda (sound). This is the Eternal Word, the source of
all manifestation.
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This manifestation takes place in the four steps of sound evolution, which Tantrics
locate in the nervous system:
1. Parā. The first and supreme source, it is still unmanifest, but turned toward
manifestation (Tārā). It is the mahā-kāraṇa (great cause) seated at the Mūlādhāra
Chakra.
2. Paśyanti. The word that perceives. This is the kāraṇa located at the Maṇipūra
Chakra.
3. Madhyamā. The word in the middle, subtle region between the navel and the
throat; i.e., the Anāhata Chakra.
Mati is the thinking mind; mātā is thought. The unmanifest word perceives itself for
manifestation and then reaches the thinking mind for expression (mātaṅga). When
the word—fashioned by the heart and formulated by the mind—is expressed, it is
Mātaṅgī. As the unmanifest word of pristine purity descends from the Supreme
Source, its purity is sullied; its gross expression (varaṇa) preserves only part of its
original glory—hence the name Ucchiṣṭa Cāṇḍālī.
But by catching the tail end of the word (the articulated speech), one can still get to
the source. The worship of Mātaṅgī leads one to the realization of the “residual above”;
that is, Lalitā herself.
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hayagrīva uvāca
4. MANTRANĀYIKĀ: The word mantra means that which transports the person into a
realm of a mindless state. Nayikā means a “Queen.” As such, She’s the Queen of
Mantras and is skilful in getting a person into that mindless state.
6. SACIVESĀNĪ: Saciva means “minister" and Isāni - “the head”, so She is the prime
minister in the court of Śrī Lalitāmbikā.
7. PRADHĀNESĪ: Pradhāna means “important”, Iśi means “the head”. The prime
minister is an important head in the court, acting as an advisor to the Empress.
That’s why Śrī Bhargava Rāma in Kalpasutra says: ’rājadarsanāt hi nyāyah’ with
regards to the importance of Śyāmalā upāsana.
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8. ŚUKAPRIYĀ: Śuka means “parrot” and priya means “fond of ”. This points to the
parrot loving nature of this Deity. Parrot signifies the Vedas/all arts, which
denote repetition of what is heard. Hence we may conclude that this Deity is the
Queen of all Art Forms. From the Kaṭapayādi secret code we find ‘śuka’ is ‘5’ and
‘1’, resulting in ’15’, which points to Śrī Lalitāmbikā. Since Śyāmāla is adored by
Śrī Lalitā, this name is thus interpreted.
10. VAIṆIKĪ: Her skill in playing the vīṇa is stressed here. This relates to the
nādānusandhāna (meditation on the sound), which implies Kuṇḍalinī sadhana.
11. MUDRIṆĪ: Mudrā is the ring of royal authority. Lalitā Sahasranāma (name #786)
says ‘mantriṇī-nyasta-rājyadhūḥ’ (who has entrusted her prime minister with all
Her regal authority). Śyāmāla rules Lalita’s empire, bearing the royal sign of
authority, given to her by Śrī Lalitāmbikā. All gestures which cause bliss are
called mudrā, it also points to the Devī being the embodiment of Divine Bliss.
13. NĪPAPRIYĀ: She’s fond of the nīpa flower. In Śyāmāla’s meditative verse we find a
reference to the nīpa flowers being present in Her braided hair.
14. KADAMBEŚĪ: Kadamba - “a special tree”, Iśi - “Queen”. She’s the Queen of the
Kadamba tree.
16. SADĀMADĀ: Sadā - “always”, madā - “intoxicated”. This indicates that the state of
consciousness of the Devī and her aspirants are different from the ordinary.
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asya śrī mātaṅgī kavaca mantrasya mahāyogīśvara ṛṣiḥ
anuṣṭup chandaḥ śrī rājamātaṅgīśvarī
śrī manaṅgī prasāda siddhyarthe jape viniyogaḥ ||
nīlotpalapratīkāśāmañjanādrisamaprabhām
vīṇāhastāṃ gānaratāṃ madhupātraṃ ca bibhratīm || 1 ||
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sarvavidyānidhirayaṃ bhavedvāgīśvareśvaraḥ
brahmarākṣasavetālabhūtapreta piśācakaiḥ || 15 ||
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mātaṅgīṃ navayāvakārdra caraṇāmullāsi kṛṣṇāṃśukāṃ
vīṇāpustaka dhāriṇīṃ natakucāṃ muktāpravālāvalim |
śyāmāṅgīṃ śaśiśaṅkhakuṇḍaladharāṃ dantaprabhāsusmitāṃ
ākarṇālaka-veṇi-kañja-nayanāṃ dhyāyecchuka śyāmalām || 1 ||
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nīlāṃśukābaddhanitambabimbāṃ nālīdalenānatakarṇabhūṣām |
madhye madāghūrṇita netrapadmāṃ mātaṅginīṃ śambhuvadhūṃ namāmi || 11 ||
abdhauyāti sarojacāmaramaruddodhūyamānālakā
cūlīcumbita cārucampaka dalāgaurī madollāsinī |
nālī bāla palāśa karṇavilasatkallola kālicchaṭā
kālī sācalakanyakā vijayate maccitta padmāsanā || 15 ||
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nityānupātrārpitasatkalābhāṃ nīlāmbarodbhāsinitambabimbām |
bhaktoparinyastakṛpāvalambāṃ bālāṃ bhaje bhavyaguṇāṃ madambām || 27 ||
kalodañcadveṇīṃ kanakadalatāṭaṅkamahitāṃ
stanābhyāmānamrāṃ taruṇamihirāṃ raktavasanām |
mahākalyāṇīṃ tanmadhumadabharāṃ tāmranayanāṃ
tamālaśyāmāṃ nastavakayatu saukhyānisatatam || 30 ||
karāñcitavipañcikāṃ kalitacandracūḍāmaṇiṃ
kapolavilasanmahākanakapatra tāṭaṅkinīm |
tapaḥ phalamihāśritāṃ taruṇabhāsaraktāmbarāṃ
tamāladalamecakāṃ taruṇalocanāmāśraye || 31 ||
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unmīlidyāvakādyānniviḍamadabharodvignabhālālakāśāṃ
ratnagaiveyahārāṅgada kaṭilasatsūtra mañjīraghoṣām |
ānīyārthānabhīṣṭān smitamadhuradṛśā sādhikaṃ tarpayantīṃ
dhyāyeddevīṃ śukābhāṃśukamakhilakalārūpamasyāścapārśve || 40 ||
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tālīdalollasitakomalakarṇapālīṃ phālāntarācikurāmatinīlaveṇīm |
vakṣojapīṭhanihitojvalacāruvīṇāṃ śyāmāṃ namāmi madirāruṇanetrayugmām || 43 ||
madhyebaddhamayūkhapicchanikarāṃ śyāmāmprabālādharāṃ
bhṛṅgīvādanatatparāṃ sunayanāṃ mūrdhālakairbarbarām |
guñjāhāradharāṃ samunnatakucāṃ candrānanāṃ śāmbhavīṃ
bhillī veṣadharāṃ namāmi śabarī tāmekavīrāṃ parām || 44 ||
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divyahālāmadonmattāṃ divyabhūṣaṇabhūṣitām |
divyagandharvakanyābhissamārādhitapādukām || 55 ||
divyasiṃhāsanāsīnāṃ śukavīṇālasatkarām |
saṅgīta mātṛkāṃ vande varadāṃ susmitānanām || 56 ||
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jaya mātarviśālākṣi jaya saṅgītamātṛkē |
jaya mātaṅgi caṇḍāli gṛhītamadhupātrakē || 1 ||
jātismaratvamāpnōti brahmajñānamanuttamaṁ |
sadāśivatvamāpnōti sōntē nātra vicāraṇā || 24 ||
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vandēhaṁ vanajēkṣaṇāṁ vasumatīṁ vāgdēvi tāṁ vaiṣṇavīṁ
śabda brahmamayīṁ śaśāṅkavadanāṁ śātōdarīṁ śāṅkarīm |
ṣaḍbījāṁ saśivāṁ samañcitapadāmādhāracakrē sthitāṁ
cidrūpāṁ sakalēpsitārthavaradāṁ bālāṁ bhajē śyāmalām || 1 ||
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|| atha śyāmalā daṇḍakam ||
|| dhyānam ||
māṇikyavīṇāmupalālayantīṃ
madālasāṃ mañjulavāgvilāsām
māhendranīladyutikomalāṅgīṃ
mātaṅgakanyāṃ manasā smarāmi
I meditate upon The Daughter of Matanga,
Who plays the veena made of precious gems,
Who has become lazy due to Her exuberance,
Who is blessed with very sweet words,
Who has a beautiful mien which shines like the blue gem.
caturbhuje candrakalāvataṃse
kuconnate kuṅkumarāgaśoṇe
puṇḍrekṣupāśāṅkuśapuṣpabāṇa-
haste namaste jagadekamātaḥ
My salutations to that Mother of the Universe,
Who has four hands,
Who wears the crescent moon as ornament,
Who has very high breasts,
Who is of the colour of saffron,
And who holds flower, sugar cane, rope, arrow,
The goad and pundareeka in Her hands.
|| viniyogaḥ ||
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|| stuti ||
|| daṇḍakam ||
sādarārabdhasaṃgītasaṃbhāvanāsaṃbhramālola-
nīpasragābaddhacūlīsanāthatrike sānumatputrike
Whose curvaceous golden bosom is decorated by Her dancing hair which has been freed by the
raising crescendo of a soulful music,
Who is The Daughter of the Mountain,
śekharībhūtaśītāṃśurekhāmayūkhāvalībaddha-
susnigdhanīlālakaśreṇiśṛṅgārite lokasaṃbhāvite
kāmalīlādhanussannibhabhrūlatāpuṣpasandohasandehakṛllocane
vāksudhāsecane cārugorocanāpaṅkakelīlalāmābhirāme surāme rame
Who is extremely beautiful with her bluish black hair curls which shine due to the light
emanating from the cold crescent moon she wears on Her head,
Who is respected by the whole world,
Who has eye lashes looking like the flower arrows coming from the playful bow of the God of love,
Who cools down the universe with nectar for words,
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prollasaddhvālikāmauktikaśreṇikācandrikāmaṇḍalodbhāsi
lāvaṇyagaṇḍasthalanyastakastūrikāpatrarekhāsamudbhūtasaurabhya-
saṃbhrāntabhṛṅgāṅganāgītasāndrībhavanmandratantrīsvare
susvare bhāsvare
Who comes with the charming sound of the Veena mixed with appropriate beats, strengthened by
the sound of several bees rushing towards the incenses exhaling from the marks of musk made on
Her beautiful neck and towards the light emanating from the ornaments She wears on Her ears
made of very precious gems which put to shame the light of the Universe and the light of the
Moon,
Who has a very enchanting musical voice,
Who shines with Her magnificent features,
vallakīvādanaprakriyālolatālīdalābaddha-
tāṭaṅkabhūṣāviśeṣānvite siddhasammānite
Who wears ear ornaments made of palm leaves when She plays the musical instrument called
Vallaki, Who is recognized by great sages,
divyahālāmadodvelahelālasaccakṣurāndolanaśrīsamākṣiptakarṇaika-
nīlotpale śyāmale pūritāśeṣalokābhivāñchāphale śrīphale
Who wears ear studs made of neelothphala flowers,
Whose lustre is shiner than the light of Her divine glances that emanate from Her splendid eyes
red coloured by the divine intoxicating beverage She has drunk,
Who grants all wishes for all the people of the world,
Who grants Wealth and Happiness
svedabindūllasadphālalāvaṇya niṣyandasandohasandehakṛnnāsikāmauktike
sarvaviśvātmike sarva-siddhyātmike kālike mugddhamandasmitodāravaktra-
sphurat pūga-tāmbūla-karpūra-khaṇḍotkare jñāna-mudrā-kare sarva-sampat-
kare padmabhāsvatkare śrīkare
Who wears a nose ring which makes one’s wonder if it could be made by the perspiration on Her
gorgeous forehead which would have flown down from there and crystallized on Her nose,
Who is the soul of the whole world,
Who also assumes the form of Kali,
Who has a beautiful face which easily showers smiles and which beauty is enhanced by the areca
nut, Thamboola and camphor in Her mouth,
Who shows the symbol of Jnana(Wisdom)
Who has all types of wealth,
Who holds the lotus flower in Her hand,
Who grants good blessings,
kundapuṣpadyutisnigdhadantāvalīnirmalālolakallolasammelana
smeraśoṇādhare cāruvīṇādhare pakvabiṃbādhare
Who is having a soft sweet vermilion smile which comes in waves from the astonishing set of
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white teeth shining bright like a garland made of white jasmine buds,
Who holds in Her hand the great Veena,
Who is having bright-red lips like the Bimba fruits,
sulalita navayauvanāraṃbhacandrodayodvelalāvaṇyadugdhārṇavāvirbhavat
kambubimbokabhṛtkanthare satkalāmandire manthare
Whose neck is luminescent and white like the conch which has arisen from the ocean of milk at
the time of high tide, also bright as the moonrise of the delightful new youth,
Who is the personification of all arts,
Who is voluptuous,
divyaratnaprabhābandhuracchannahārādibhūṣāsamudyotamānānavadyāṅga-
śobhe śubhe
Who is having a perfect lustre created by each part of Her shining body decorated by several
garlands and ornaments made of holy gems,
Who is the personification of all that is good,
ratnakeyūraraśmicchaṭāpallavaprollasaddollatārājite yogibhiḥ
pūjite viśvadiṅmaṇḍalavyāptamāṇikyatejassphuratkaṅkaṇālaṃkṛte
vibhramālaṃkṛte sādhubhiḥ pūjite vāsarāraṃbhavelāsamujjṛmbha
māṇāravindapratidvandvipāṇidvaye santatodyaddaye advaye
divyaratnormikādīdhitistomasandhyāyamānāṅgulīpallavodya
nnakhenduprabhāmaṇḍale sannutākhaṇḍale citprabhāmaṇḍale prollasatkuṇḍale
Who is sumptuous because of Her two arms shining like young tendrils decorated by the bright
armlets made of umpteen rathnas (gems),
Who is being worshipped by sages,
Who wears bangles whose gems spread light all over the world,
Who is also gorgeous because of all that She wears,
Who is worshipped by holy people,
Who has two hands which challenge in beauty the radiance of newly opened lotus flowers at
sunrise,
Who always rains the shower of Mercy,
Who is the One in whom there is no two,
Who has very cute fingers with glowing nails which are decorated by several rings studded with
very precious jewels similar in intensity with the shining moon,
Who is worshipped by lord Indra, King of the Devas,
Who is surrounded by the holy light of God emanating from the cit,
Who wears ear studs which have great emanation,
tārakārājinīkāśahārāvalismera cārustanābhogabhārānamanmadhya-
vallīvaliccheda vīcīsamudyatsamullāsasandarśitākārasaundaryaratnākare
vallakībhṛtkare kiṅkaraśrīkare
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Who is an ocean of Beauty which waves are the three lines in Her middle body formed by the
slight bent of Her charming and heavy breasts, happy and pretty breasts with the lustre of
several chains She wears like a bevy of stars,
Who plays the sacred Veena,
Who blesses Her devotees with Wealth,
Who shines due to astounding black and emerald hair which appears to be like the thin row of
water plants surrounding the lake of Her deep, round and attractive belly button.
Who has a very compelling speech,
cāruśiñcatkaṭīsūtranirbhatsitānaṅgalīladhanuśśiñcinīḍaṃbare
divyaratnāmbare
Who defeats the love sugarcane bow which belongs to the God of love Himself by arousing
passionate love just with the slight shake of Her golden belt,
Who wears silk studded with gems,
padmarāgollasa nmekhalāmauktikaśroṇiśobhājitasvarṇabhūbhṛttale
candrikāśītale vikasitanavakiṃśukātāmradivyāṃśukacchanna
cārūruśobhāparābhūtasindūraśoṇāyamānendramātaṅga
hasmārggale vaibhavānarggale śyāmale komalasnigddha
nīlotpalotpāditānaṅgatūṇīraśaṅkākarodāra
jaṃghālate cārulīlāgate namradikpālasīmantinī
kuntalasnigddhanīlaprabhāpuñcasañjātadurvāṅkurāśaṅka
sāraṃgasaṃyogariṃkhannakhendūjjvale projjvale
nirmale prahva deveśa lakṣmīśa bhūteśa toyeśa vāṇīśa kīnāśa
daityeśa yakṣeśa vāyvagnikoṭīramāṇikya saṃhṛṣṭabālātapoddāma--
lākṣārasāruṇyatāruṇya lakṣmīgṛhitāṅghripadmme supadme ume
Who lessens the beauty of the green valley of the Mount Meru by the shine of the diamond
studded bells which are tied to Her golden belt,
Who is as cool as the moon light,
Who has impressive thighs hidden by the holy cloth which is as red as the fully open flowers of
palas tree, thighs that defeat the dainty beauty of Iravatha’s trunk which has the pasting colour
of a saffron coat,
Who has the ever flowing grace without hindrance emanating from Her,
Who is a dark beauty,
Who has elegant kneecaps shaped as the quiver of the God of love, which is glistening with beauty
and made of dark flowers,
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Who has glowing nails bright as the moonbeam which are curved and saluted by the eight Lord
of directions’ wives whose flowing hair is attracting the deer who think it to be a luscious grass,
Who has a wholly iridescent manner,
Who is holy and pure,
Who has lotus like feet which shine in the brilliance emanating from the crowns of the bent heads
of Indra, Vishnu, Shiva, Varuna, Brahma, Yama Niryathi, Vaisravana (God of wealth), Vayu,
and Agni, Whose Lotus like feet are painted red by the plant extracts so they shine like the
reddish rising sun and which are the treasure house of youthful beauty,
Who holds lotus flower in Her hands,
Who has the form of Parvati,
suruciranavaratnapīṭhasthite susthite
ratnapadmāsane ratnasimhāsane śaṅkhapadmadvayopāśrite viśrute
Who sits in the seat made of the nine precious gems,
Who sits gloriously,
Who sits on the jewelled lotus flower,
Who sits on the jewelled throne,
Who is being sought by the Conch and the Lotus Flower,
Who is very famous,
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Who pets and plays with that parrot which is the personification of all knowledge, which keeps
on singing remarkable songs, which wear the radiant three lines on its neck in three different
colours, which shines with two wings of green colour, which has shimmering beaks which are
more resplendent than the Kimsuka flowers,
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oṁ
|| iti śyāmalā daṇḍakam sampūrṇam ||
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❁
mātaṅgīstotraṃ ca
oṅkārapañjaraśukīmupaniṣadudyānakelikalakaṇṭhīm
āgamavipinamayūrīmāryāmantarvibhāvaye gaurīm || 1 ||
dayamānadīrghanayanāṃ deśikarūpeṇadarśitābhyudayām
vāmakucanihitavīṇāṃ varadāṃ saṅgītamātṛkāṃ vande || 2 ||
śyāmalimasaukumāryāṃ saundaryānandasampadunmeṣām
taruṇimakaruṇāpūrāṃ madajalakallolalocanāṃ vande || 3 ||
nakhamukhamukharitavīṇānādarasāsvādanavanavollāsam
mukhamamba modayatu māṃ muktātāṭaṅkamugdhahasitaṃ te || 4 ||
avaṭutaṭaghaṭitacūlītāḍitatālīpalāśatāṭaṅkām
vīṇāvādanavelā'kampitaśirasāṃ namāmi mātaṅgīm || 6 ||
vīṇāravānuṣaṅgaṃ vikacamukhāmbhojamādhurībhṛṅgam
karuṇāpūrataraṅgaṃ kalaye mātaṅgakanyakāpāṅgam || 7 ||
mecakamāsecanakaṃ mithyādṛṣṭāntamadhyabhāgaṃ te
mātasvarūpamaniśaṃ maṅgala saṅgīta saurabhaṃ vande || 9 ||
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