Glimpses of LalitOpakhyana through Lalitha sahasranama

Hail the lineage of Guru’s from the Primordial creator,

the architects of the path of knowledge leading us from the forest of darkness

LalithOpakhyana forms the last part of Brahmanda purana, has thirty-two chapters and is
recorded as a conversation between Lord Hayagriva (Horse faced avatar of Vishnu) and
sage Agastya. The introduction chapter (PurvabhagA) of Rahasya nama sahasra known
also as Lalitha sahasranama says that it was sung by the vak devatas on Sri Lalita Devi’s
command at a great gathering in her court. Though we find the colophon describing this
as a part of the chapters of praise (stotra khanada) of LalitOpakyAna, it is not found in
the present editions. This sahasranama has much distinctness, which are:

a. exactly a thousand names

b. no rhythm filling letter like ‘ca’, ‘tu’ etc.
c. no repetition of the names
d. Complete description of the Devi Lalita
e. The story of her valour in battle is described
f. Complete manual of the sadhana
g. Six charkas in the body are described
h. Various paths to reach the universal experience are extolled
i. Identity with all devatas is established.

We will try to expand her description and valour in the battle from the references found
in Lalita sahasranama and as narrated in LalitOpakhyana.

“Cidagnikunda sambhUta” to “svAdhIna vallabhA”: Siva reduced manmatha(Lord of

love) to ashes in his attempt to unite Parvati with Siva. An attendant of Siva, citrasena
fashioned a form from the ashes and breathed life into it. This was Bhandasura, who
obtained boons on penance from Lord Siva and harassed the devas. (devakarya
samudyuda)
The Devas performed a huge sacrifice called Maha yaga and finally in an act of total
surrender jumped into fire. A halo of light emerged from the fire pit (cidagnikunda
sambhuta) with a chariot in the middle. On the chariot a four armed Devi was seen
(catur bahusamanvita), holding the goad, noose, sugarcane bow and the five flowery
arrows ( rAga svarUpa….sAyakA), follows the description of the Devi from head to toe.
(nijAruna….sarvAbharanabhUshitA) Usually female deities are described from toe to
head; the reverse here is due the view of Devi as emerging from the fire pit. She
resurrects the devas, marriage with Lord Kamesvara, seat and the grandeur are described.
(sivaakamesvaramkasthA……svadhInavallabhA).

We find an address in the following names. (sumerumadhya…. kAmAkshi). Consider

the aspirant being led by the vak devatas to meet Devi Lalita. Initially on leaving the
mundane world we approach her abode in the golden mountain (sumeru). We are directed
to seek her in the middle peak (sumerumadhysrngasthA). This is like “State” in an
address. On reaching this middle peak we find many cities, our attention is directed to the
auspicious city (Sri mannagaranayikA). This is like “City” in an address. Inside the city
are many houses, we are directed to seek her in the ‘wish fulfilling gem studded’ house
(cintAmanigrhAntasthA). This is like “House Number” in an address. On entering the
house we encounter many deities. We are directed to identify the main lady of the house
as seated on the five Brahman seat. (panca brahmAsanasthithA). While approaching her
we find a deity who is described as residing in a big lotus trench
(MahApadmAtavIsamsthA). Padmatavi –the lotus trench is the Agna cakra as well as
jambukesvara kshetra whose presiding deity is Devi AkhilAndesvari or Sri MahAvArahi.
Enroute we meet another deity portrayed as residing in middle of kadamba forest
(Kadamba vana vAsini). Kadamba vana is the heart centre as well as Madura whose
presiding deity is Devi MInakshi or Raja matangi. These indicates the upasana of
Matangi and Varahi prior to the Sri Lalita upasana are essential, since Lord Parasurama
has said in his Kaplasutras“ Pleasing courtiers before meeting the King / Queen “. Now
we find the addressee. “SudhA sAgaramadhyasthA kAmAkshi”. .Her attributes are being
in middle of the ocean of nectar, i.e. immersed in bliss, and bestower of boons with a
glance.
Now the battle is described from “Deva rshigana…to ...kamasanjIvanaushadhih”.
Sri Lalita Devi creates sampatkari – chief of the elephant army from her goad, asvaruda –
the chief of the horse army from her noose, syamala- the prime minister from her
sugarcane bow, Varahi- the commander-in-chief from her five flowery arrows, an army
of sakthis from her breath and bestows vehicles for them. When the army moves forward
Varahi, Matangi and Lalita are praised by the gods, saints by 12, 16 and 25 names
respectively. They are found in the ritual manual (puja paddadhi). “Devarshigana
sanghada stUyamAnAtmavaibhavA”.

Now we can see from “bhandaasura vadOtyukta…sakthi vikramaharshitaa”

Sakthi Vehicle Asura slain

sampatkarI Elephant called raNakolAhala durmada

(Chaos in the battlefield) purusheNa

asvArUdA Horse called aprAjitA kurunda

(Undefeated) ulUkajit

nakulI Eagle visheNa

sarpiNI
Five commanders
- Karanga
- KAkavasita
- Vajrradanta
- Vajramukha
- Vajraloma

tiraskariNI chariot called tamoliptA kuntisheNa

(Painted with darkness) seven commanders
-valAhaka
-sUchimukha
-phAlamukha
-vikarNa
-vikatAnana
-karAlAksha
-karataka

Unmattabhairavi Lion malada

(Laghu vArAhi)
Sakthi Vehicle Asura slain

Laghu syamala chariot krUca

Svapnesi Horse Mangala

VakvAdinI swan trukaNa

CandakAli vetAla kollata

Sri BalAmbikA Chariot called kirNi thirty sons of

Drawn by swans BhandAsurA

Sri Raja syamala Chariot called geya vishanga(**)

(Song)
Charioteer: hasanti syamala

Sri MahAvArAhi(*) Chariot called kiri ( power) visukra(**)

Charioteer: Stambhini
Lion called simhaghoshA
Buffalo
Antelope

Sri Lalitha Chariot called Sricakra Bhanda & other

Charioteers: Iradevi, tripura asuras created by
Bhairavi,samharabhairava him
Raktayoginivallbha,sarasa
and camunda (six)

(*) Devi Varahi being the commander-in-chief had many vehicles

(**) The Lalithopakhyana describes the opposite; visukra is slain by Syamala Devi and
vishanga by vArAhi. This may in tune with the idea in battle in the days of yore, when
equals fight. The narration in Lalithopakhyana is by Lord Hayagriva, who took part in the
battle. He was placed in the forefront; behind him was sthambini with the rest of the
army. Recitation of Lalitha sahasranama is by vasini vag devis who were on the seventh
tier of the SriCakra raja chariot, flanked with the chariots of syamala and mantrini. Hence
the difference in the narration in lalithopakhyana and sahasranama is evident from the
placement of the narrators as above, we may accept the vasini vag Devi’s view as clear
rather than Lord Hayagriva who might have over looked or narrated within accepted
principles.
“nityaaparaakrama…sukhaa”:

Nitya Devi Asura slain

Kamesvari damana
Bhagamalini dIrghajihva
Nityaklinna humbeka
Bherundaa hulumulla
Vahnivaasini kalkasa
Mahaavajresvari kalkivaahana
Sivaduuti pulkasa
Tvaritaa pundraketu
Kulasundari candabhAhu
Nityaa kukkura
nIlapatAkA jambukAksha
vijayA jambha
sarvamangala tIkshNasrnga
jvAlAmAlini trikaNdaka
citra candragupta

“bhandAsurendra nirmukta….varshinI”

Astra by BhandAsura Sri Lalitha’s pratyastra

AndhatAmisra(complete darkness) MahAtariNi astra

pAshANdAstra(atheism) gAyatriyastra

andhAstra (Blindness) cakshushmatYastra

sakthinAshAstra (Impotency) gandharvarAja visvAvasu

astra

andhakAstra ( death) mrtyunjayAstra

sarvasmrtinAsAstra (forgetfulness) srututAraNAstra

bhayAstra abhuankara AindrAsatra

mahArOgAstra (diseases) nAmatrayAstra

Astra by BhandAsura Sri Lalitha’s pratyastra

AyurnAsAstra (shortening of life) kAlasamkarshinyastra

mahAsurAstra MahAdurgAstra
(Many demons like madhu, kaitabha (the eighteen armed
mahishAsura,sumbha, nishumbha, MahAlakshmi emerged
raktabeeja emerged) and destroyed the demons)

mUkAstra ( causing dumbness) vagvAdinyastra

“karAnguli nakhOtpanna….kruti:”

BhandAsura created ausras by Sri Lalitha vanquished them by

creating

Vedataskara sOmakAstra MastyAvatAra murti from her

(Theft of Vedas) Right thumb nail

arNavAstra (deluge) KUrmAvatAra murti from her

right index finger nail

hiranyAkshAstra VarahavatAra murti from her

right middle finger nail

hiranyakasipuvastra NrshimhAvatAra murti from her

right ring finger nail

mahAbalIndrAstra VAmanAvatAra murti from her

right small finger nail

haihayAstra ParasurAmavatAra murti from her

left thumb nail

BhandAsura knit his eyebrows and SriRAmAvatAra murti with

roared a syllable “hum”, out Sri Lakshmana from her left index
of which rAvana, kumbhakarna, finger nail
indrajit and other demons
emerged
BhandAsura created ausras by Sri Lalitha vanquished them by
creating

dvividAstra ( a host of monkeys emerged) BalarAmAvatAra murti from her

left middle finger nail

rAjAsurAstra ( a group of evil kings krshNAvatAra murti from her

like KamsA emerged) left ring finger nail

kalyAstra SrikalkyavatAra murti from her

left small finger nail

Having done these heroic deeds the ten avatramurtis were commanded by Sri Lalitha to
reside in SriVaikunta and re-enact them every Yuga.

‘MahApAsupatAstra…sUnyakA’:

Then Bhandasura sent a mahAmOhakAstra (causing delusion) which was countered by

Sri Lalitha’s shAMbhavAstra.

Sri Lalitha sent the NArAyaNAstrA and destroyed the armies and with the PAsupatAstra
the forty commanders. BhaNdAsura, who was alone, was now consumed by the
MahAkAmesvarAstra sent by Sri Lalitha; the fire from this astrA also reduced to ashes
the city of Bhanda, SUnyakA.

All the subtle forms of the above astra mantras are found in the rasmi mala chanted by
the Sri VidyOpAsakAs in the bedside early morning ritual.

‘HaranetrAgni..naushadhi:”

Sri Lalitha with kAmesvara glanced at the ashes with compassion. By the grace and
power of this compassionate glance Manmatha was resurrected with an infinitely lustrous
body.

Thus we find the whole Lalithopakhyana with the battle episode and the description of
the Sri Nagara condensed in the sahasranama.
Sakthi created Sri Lalitha’s body part Philosophical
/weapon Understanding

Sampatkari Goad Yoga

AsvArUdhA Noose subjugation of

External senses

RajasyAmalA Sugarcane bow/ Manana

Mind (reflection of
Thoughts)

MahAvArAhi Five flowery arrows NidhidhyAsanA

Supreme Ego (uninterrupted
Awareness)

MahAgaNapaty smile Happiness

BalA playfulness Starting of spiritual

Enquiry

nakulI upper palate Sravana (learn by

hearing/enquiry)

parA Heart Compassion

Supreme identity with
Sri Lalitha

RasmimAlA devatas Six cakras from the recipient of the

Muladhara inputs from senses
Causing good/bad
Feelings

Let us offer these thoughts to

The guru Lord Hayagriva and pupil Sage Agastya
Like flowers from our heart