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Shyamala Navaratnamalika Meaning — Line by Line

श्यामलानवरत्नमालिका

Every verse and every word explained in English & Hindi

Meaning — Line by Line

Every verse of Shyamala Navaratnamalika with its English meaning. Tap any word to hear it, or ▶ to recite the verse.

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  1. Verse 1. oṅkāra-pañjara-śukīm upaniṣad-udyāna-keli-kalakaṇṭhīm |
  2. Verse 2. dayamāna-dīrgha-nayanāṃ deśika-rūpeṇa darśitābhyudayām |
  3. Verse 3. śyāmalima-saukumāryāṃ saundaryānanda-sampad-unmeṣām |
  4. Verse 4. nakha-mukha-mukharita-vīṇā-nāda-rasāsvādana-navanavollāsam |
  5. Verse 5. sa-ri-ga-ma-pa-dha-ni-ratāṃ tāṃ vīṇā-saṅkrānta-kānta-hastāntām |
  6. Verse 6. avaṭu-taṭa-ghaṭita-cūlī-tāḍita-tāḷī-palāśa-tāṭaṅkām |
  7. Verse 7. vīṇā-ravānuṣaṅgaṃ vikala-kacāmoda-mādhurī-bhṛṅgam |
  8. Verse 8. mecakam āsecanakaṃ mithyā-dṛṣṭānta-madhya-bhāgaṃ te |
  9. Verse 9. maṇi-bhaṅga-mecakāṅgīṃ mātaṅgīṃ naumi siddha-mātaṅgīm |
Verse 1#

oṅkāra-pañjara-śukīm upaniṣad-udyāna-keli-kalakaṇṭhīm |

ओङ्कारपञ्जरशुकीमुपनिषदुद्यानकेलिकलकण्ठीम् आगमविपिनमयूरीमार्यामन्तर्विभावये गौरीम् ॥१॥

oṅkāra-pañjara-śukīm upaniṣad-udyāna-keli-kalakaṇṭhīm | āgama-vipina-mayūrīm āryām antar vibhāvaye gaurīm || 1||

Meaning1. I meditate within my heart upon the noble fair Goddess Gauri — the parrot in the cage of Om, the sweet-voiced nightingale sporting in the garden of the Upanishads, the peahen roaming the forest of the Agamas.

Verse 2#

dayamāna-dīrgha-nayanāṃ deśika-rūpeṇa darśitābhyudayām |

दयमानदीर्घनयनां देशिकरूपेण दर्शिताभ्युदयाम् वामकुचनिहितवीणां वरदां सङ्गीतमातृकां वन्दे ॥२॥

dayamāna-dīrgha-nayanāṃ deśika-rūpeṇa darśitābhyudayām | vāma-kuca-nihita-vīṇāṃ varadāṃ saṅgīta-mātṛkāṃ vande || 2||

Meaning2. I bow to her, the Mother of all music, the bestower of boons — with long eyes streaming compassion, who reveals well-being to her devotees by taking the form of a guru, holding the veena against her left bosom.

Verse 3#

śyāmalima-saukumāryāṃ saundaryānanda-sampad-unmeṣām |

श्यामलिमसौकुमार्यां सौन्दर्यानन्दसम्पदुन्मेषाम् तरुणिमकरुणापूरां मदजलकल्लोललोचनां वन्दे ॥३॥

śyāmalima-saukumāryāṃ saundaryānanda-sampad-unmeṣām | taruṇima-karuṇā-pūrāṃ mada-jala-kallola-locanāṃ vande || 3||

Meaning3. I adore her — dark-hued and delicate, the very blossoming of the wealth of the bliss of beauty, a flood of youthful compassion, her eyes rippling like waves of intoxicating joy.

Verse 4#

nakha-mukha-mukharita-vīṇā-nāda-rasāsvādana-navanavollāsam |

नखमुखमुखरितवीणानादरसास्वादनवनवोल्लासम् मुखमम्ब मोदयतु मां मुक्ताताटङ्कमुग्धहसितं ते ॥४॥

nakha-mukha-mukharita-vīṇā-nāda-rasāsvādana-navanavollāsam | mukham amba modayatu māṃ muktā-tāṭaṅka-mugdha-hasitaṃ te || 4||

Meaning4. O Mother, may thy face delight me — ever freshly radiant with the savour of the music streaming from the veena played by thy fingertips, adorned with pearl earrings and a charming, innocent smile.

Verse 5#

sa-ri-ga-ma-pa-dha-ni-ratāṃ tāṃ vīṇā-saṅkrānta-kānta-hastāntām |

सरिगमपधनिरतां तां वीणासङ्क्रान्तकान्तहस्तान्ताम् शान्तां मृदुलस्वान्तां कुचभरतान्तां नमामि शिवकान्ताम् ॥५॥

sa-ri-ga-ma-pa-dha-ni-ratāṃ tāṃ vīṇā-saṅkrānta-kānta-hastāntām | śāntāṃ mṛdula-svāntāṃ kuca-bhara-tāntāṃ namāmi śiva-kāntām || 5||

Meaning5. I bow to the beloved of Shiva — ever absorbed in the seven musical notes, her lovely fingers moving over the veena, serene, tender of heart, languid with the weight of her bosom.

Verse 6#

avaṭu-taṭa-ghaṭita-cūlī-tāḍita-tāḷī-palāśa-tāṭaṅkām |

अवटुतटघटितचूलीताडितताळीपलाशताटङ्काम् वीणावादनलेशाकम्पितशीर्षां नमामि मातङ्गीम् ॥६॥

avaṭu-taṭa-ghaṭita-cūlī-tāḍita-tāḷī-palāśa-tāṭaṅkām | vīṇā-vādana-leśā-kampita-śīrṣāṃ namāmi mātaṅgīm || 6||

Meaning6. I bow to Matangi — her earrings of palmyra-leaf shape striking against the curls clustered at her cheeks, her head swaying ever so slightly with the playing of the veena.

Verse 7#

vīṇā-ravānuṣaṅgaṃ vikala-kacāmoda-mādhurī-bhṛṅgam |

वीणारवानुषङ्गं विकलकचामोदमाधुरीभृङ्गम् करुणापूरतरङ्गं कलये मातङ्गकन्यकापाङ्गम् ॥७॥

vīṇā-ravānuṣaṅgaṃ vikala-kacāmoda-mādhurī-bhṛṅgam | karuṇā-pūra-taraṅgaṃ kalaye mātaṅga-kanyakāpāṅgam || 7||

Meaning7. I contemplate the side-long glance of the daughter of Matanga — keeping company with the music of the veena, a bee drawn to the sweet fragrance of her loosened tresses, a wave in the flood of compassion.

Verse 8#

mecakam āsecanakaṃ mithyā-dṛṣṭānta-madhya-bhāgaṃ te |

मेचकमासेचनकं मिथ्यादृष्टान्तमध्यभागं ते मातस्तव स्वरूपं मङ्गलसङ्गीतसौरभं वन्दे ॥८॥

mecakam āsecanakaṃ mithyā-dṛṣṭānta-madhya-bhāgaṃ te | mātas tava svarūpaṃ maṅgala-saṅgīta-saurabhaṃ vande || 8||

Meaning8. O Mother, I adore thy form — dark and ever-delighting, never sating the eyes, its waist so slender that any comparison is but a false illusion, fragrant with auspicious music.

Verse 9#

maṇi-bhaṅga-mecakāṅgīṃ mātaṅgīṃ naumi siddha-mātaṅgīm |

मणिभङ्गमेचकाङ्गीं मातङ्गीं नौमि सिद्धमातङ्गीम् यौवनवनसारङ्गीं सङ्गीताम्भोरुहानुभवभृङ्गीम् ॥९॥

maṇi-bhaṅga-mecakāṅgīṃ mātaṅgīṃ naumi siddha-mātaṅgīm | yauvana-vana-sāraṅgīṃ saṅgītāmbhoruhānubhava-bhṛṅgīm || 9||

Meaning9. I praise Matangi, the Siddha-Matangi — her limbs dark as a sapphire freshly cut, the doe of the forest of youth, the bee that drinks the bliss of the lotus of music.

Word-by-Word Breakdown

ओङ्कारपञ्जरशुकीम्
oṅkāra-pañjara-śukīm
the parrot (śukī) dwelling in the cage of the Om-syllable
उपनिषदुद्यानकेलिकलकण्ठीम्
upaniṣad-udyāna-keli-kalakaṇṭhīm
the sweet-voiced nightingale (kalakaṇṭhī) sporting in the garden of the Upanishads
आगमविपिनमयूरीम्
āgama-vipina-mayūrīm
the peahen (mayūrī) roaming in the forest of the Agamas (scriptures)
अन्तर् विभावये गौरीम्
antar vibhāvaye gaurīm
I meditate within (my heart) upon the noble fair Goddess Gauri
दयमानदीर्घनयनां
dayamāna-dīrgha-nayanāṃ
with long eyes brimming with compassion
वामकुचनिहितवीणां
vāma-kuca-nihita-vīṇāṃ
holding the veena rested against her left bosom
सङ्गीतमातृकां वन्दे
saṅgīta-mātṛkāṃ vande
I bow to her, the Mother (source) of all music
श्यामलिमसौकुमार्यां
śyāmalima-saukumāryāṃ
of dark (śyāma) hue and tender delicacy
मदजलकल्लोललोचनां
mada-jala-kallola-locanāṃ
with eyes rippling like waves of intoxicating bliss
मुखम् अम्ब मोदयतु माम्
mukham amba modayatu mām
O Mother, may thy face delight me
मुक्ताताटङ्कमुग्धहसितं
muktā-tāṭaṅka-mugdha-hasitaṃ
with pearl earrings and a charming, innocent smile
सरिगमपधनिरतां
sa-ri-ga-ma-pa-dha-ni-ratāṃ
ever delighting in the seven musical notes (sa ri ga ma pa dha ni)
वीणासङ्क्रान्तकान्तहस्तान्ताम्
vīṇā-saṅkrānta-kānta-hastāntām
whose lovely fingertips move over the veena
नमामि शिवकान्ताम्
namāmi śiva-kāntām
I bow to the beloved of Shiva
ताळीपलाशताटङ्काम्
tāḷī-palāśa-tāṭaṅkām
wearing earrings of palmyra-leaf (tāḷī) shape
नमामि मातङ्गीम्
namāmi mātaṅgīm
I bow to Matangi (the daughter of sage Matanga)
करुणापूरतरङ्गं
karuṇā-pūra-taraṅgaṃ
(her side-glance) a wave in the flood of compassion
मातङ्गकन्यकापाङ्गम्
mātaṅga-kanyakāpāṅgam
the side-long glance (apāṅga) of the daughter of Matanga
मेचकम् आसेचनकं
mecakam āsecanakaṃ
(thy form) dark and ever-delightful, never sating the gaze
मङ्गलसङ्गीतसौरभं वन्दे
maṅgala-saṅgīta-saurabhaṃ vande
I adore (thy form) fragrant with auspicious music
मातङ्गीं नौमि सिद्धमातङ्गीम्
mātaṅgīṃ naumi siddha-mātaṅgīm
I praise Matangi, the Siddha-Matangi (perfected Goddess of the Siddhas)
सङ्गीताम्भोरुहानुभवभृङ्गीम्
saṅgītāmbhoruhānubhava-bhṛṅgīm
the bee that drinks the experience of the lotus of music

Origin & History

Source: Devotional Sri Vidya / Shakta hymn, traditionally attributed to Adi Shankaracharya

Author: Adi Shankaracharya (traditional attribution)

Period: c. 8th century CE (traditional attribution)

Raja-Shyamala (Matangi) is the Goddess of music, speech and the arts in the Sri Vidya tradition, serving as the mantrini — minister and intimate companion — of Lalita Tripurasundari, who directs the celestial music and counsel of the Mother's court. This 'garland of nine gems' distils her worship into nine jewel-like verses overflowing with the imagery of the veena and the seven notes. Together with the longer Shyamala Dandakam, it is a favourite of devotees and of artists who seek her grace before they sing, play or compose.

Frequently Asked Questions

Who is Shyamala?
Shyamala — also called Raja-Shyamala, Matangi, and Shyamala Devi — is the Sri Vidya Goddess of music, speech, learning and the fine arts. Dark-hued and holding a veena, she is the mantrini (minister and dear companion) of Lalita Tripurasundari, and is counted among the ten Mahavidyas as Matangi.
What is the Shyamala Navaratnamalika?
It is a nine-verse hymn ('garland of nine gems') to Shyamala, traditionally attributed to Adi Shankaracharya. Each verse is a brief, lyrical meditation on her beauty, her veena, the seven musical notes and her gracious glance.
How is it related to the Shyamala Dandakam?
Both praise the same Goddess Shyamala/Matangi. The Shyamala Dandakam (beginning 'Manikya Veenam') is a longer rhythmic dandaka, while the Navaratnamalika is a concise nine-verse garland; the two are often recited together by devotees of the Goddess of music.
Who should chant it?
It is especially beloved by musicians, singers, dancers, writers and students who seek mastery of their art, eloquence and the grace of the Goddess of learning, but it may be chanted by any devotee for wisdom and devotion.

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