(I-Discourse by N.R. Srinivasan, Nashville, TN)
Lord Siva narrates the significance and glory of this vrata (ritual) to Parvati in Skanda purana. This religious observance is observed as a Vrata in the Hindu calendar month of Sraavana Shukla Sukravaaram (Friday) in many parts of India particularly in Maharashtra, Southern states of Karntaka, Andhra and Tamilnadu. Though Goddess Lakshmi is propitiated in it in her eight emanations of Sri (Prosperity), Bhu (Earth-solidity), Saraswati (learning), Preeti (love), Shanti (Peace), Keerti (fame), Tushti (Satisfaction) and Pushti (nourishment), this Vrata is more popular with the followers of Saiva and Sakta form of worshipers. Lakshmi is worshiped as Ashtalakshmis—Aadyalakshmi, Vidyaa-lakshmi, Santaana-lakshmi, Saubhaagya-lakshmi, Dhana-lakshmi, Veerya-lakshmi, Vijaya-lakshmi and Mahaa-lakshmi.
Sometimes this Vrata is also observed as Vara Mahaalakshmi Vratam. Mahaalakshmi is the most popularly worshiped form of Lakshmi. We also find Mahaalakshmi Sampradaaya (tradition) in Kolhapur. Visvakarma Saastra asserts that the real form of Mahaalakshmi can be seen only in Kolhapur. In this concept Mahaalakshmi is not to be considered as the consort of Vishnu but as the primordial energy manifesting herself as Mahaasarasvati (Satva aspect), Mahaalakshmi (Rajasic aspect), and Mahaakaali (Taamasic aspect) from whom the three gods Brahma, Vishnu and Rudra took shape to create, preserve and dissolve the Universe. Mahaalakshmi was the first to appear as Aadiparaasakti before everything and was of the nature of Trigunas (Satvaguna, Rajoguna and Taamoguna). She is both manifest and non-manifest. Mahaalakshmi is in all things and governs all things.
Vrata is a special vow observed to ensure the prosperity and security of one's household. Unlike homas and rituals guided by a priest, this ritual worship is open to women and does not need the intervention of priests. The Vrata aims at the simple joys of domestic life and happiness and rejects the austere life-style of world renouncing monks. The aim of the Vrata is Artha and Kaama but not Moksha. The performer of Vrata seeks material prosperity and sensual joy. Young girls pray for good husbands and married woman for the health and happiness of the household and long life for their husbands. This Vrata is particularly observed by married women living with their husbands.
After a purifying bath, the lady of the house living with her husband puts on fresh clothes and prepares the ground for conducting the worship. She makes Kolam or Rangoli in a mandala form (circular), with a lotus petal spread out design. Then a kalasam (pot) filled with water with some sacred rice (Aksahata) is kept at the center. It is topped with mango leaves and a cocoanut.
A common representation of the Goddess is a pot. A pot is likened to womb. It holds food and water which sustain life. It forms the body as it were, of the deity invoked for worship. It is decorated with colors and geometric patterns made of dots, triangles, and spirals. It is filled with water or fresh grain or sprouts representing life. It is topped with a cocoanut symbolizing prosperity. It represents the head of goddess. Sometimes her lips and eyes are painted using turmeric, vermillion and kohl. It is surrounded by mango leaves. These are sacred to Kaama, the son of Devi. Kaama is the Lord of Love and Fertility. On sanctification, the pot is called Poorna Khumba, the container of life's energies. It is also called Poorna Kalasa or Poorna Ghata. Its presence is believed to attract the benevolent powers of Nature and usher in prosperity. [One of the important methods of conferring great honor on a guest is to receive him with a Poornakhumbha.]
Dots or Bindis on the pot are dimensionless and represent un-manifest unlimited potential energy, as explained under Srichakra. Triangles pointing downwards represent female energy. Triangles pointing upwards indicate male energy. When two such triangles intersect to form a six cornered star it represents Creation. When two triangles meet at a point it shows destruction. Spiral markings represent never-ending time, winding and un-winding as the world evolves and dissolves. A square represents infinite space, the cradle of life. Three parallel lines or three dots represent the three Gunas—Tamas (inertia), Rajas (agitation) and Sattva (balance). Swastika represents benevolent rays of Sun pointing to the four cardinal directions. Su+asti=Swasti, meaning let good things happen. It represents the world-wheel, the eternally changing world, round a fixed, unchanging center of God. [Svastika marks depicted on doors or walls of buildings or on animals are believed to protect the wrath of evil spirits or furies of nature]. Palm prints represent blessings of Goddess and footprints pointing towards the direction of the house represent arrival of divine grace.
After placing the Kalasa or pot on the Mandala (circle) Lord Ganesha is invoked for the success of the Vrata. Usually the performer observes fast till the completion of the ritual. Then goddess Lakshmi is invoked by offering fresh flowers and grains praying for growth and prosperity. It is usual to chant Lakshmi Ashtottaram (108 names of Devi) or Sahasranaamam (1008 names of Devi). If a priest is employed he will do the customary Sankalpa, invoke the seven sacred rivers to sanctify the water in the Kalasa, invoke Lord Ganesha by special pooja and then invoke Devi with Archana with flowers on behalf of the performer.
Invoking the seven sacred rivers:
Gange cha yamune chaiva godaavari saraswati |
Narmade sindhu kaaveri jale-asmin sannidhim kuru ||
Oh! Gangaa, Yamunaa, Godaavari, Saraswati, Narmadaa, Sindhu and Kaaveri. Please grace your presence in these waters!
Imam may gange yamune saraswati sutudristoma(ga)m sachataa purushniyaa |
Asikniyaa marudvridhe vitsyaarjikeeye srinuhyaa sushomayaa ||
Oh! Ganga, Yamuna, Saraswati, Shutudri, Marud-vridha along with the river Purushni, Aarjikeeye, along with Ashikni, please come here along with Vitastaa and Sushomaa rivers. Having come upon here, please listen to this prayer offered by me.
[This is a prayer addressed to the rivers such as Ganga and others. The holy waters are prayed to make their presence in the waters to purify and fit for worship.]
Then the Tora or the nine stranded threads with nine knots is tied to the pot and again prayers are offered to sanctify the thread. Then Naivedyam (offering of food) and Aarati (waving of the lamp) are done. Then the sanctified thread is tied on to the right hand of the performer. Then an elderly married woman living with her husband is offered presents paying obeisance and receive her blessings for a happy and prosperous life and longevity of the husband. The Vrata ends with a prayer to the Devi asking her pardon for any acts of omission or commission. In the evening married ladies are invited for Haldi-Kumkum (offering of auspicious materials) as is the normal practice in Hindu worships by ladies to receive the blessings of elders and well wishers. The sacred thread is also called Raksha (protective sacred arm band). The above description is a general description but the worship itself differs from region to region based on family traditions.
There are many legends about this Vrata which are available in various Puranas and in Sri Ganesha Temple, Nashville, Bhajan Book. These are broadly:
- Skanda Puraana says that Lord Siva recommended this Vrata to Parvati after elaborately describing to her the merits of the Vrata which she observed first.
- Lord Siva narrated the story of Charumati, a pativrata (One who is devoted to her husband) of Kuntinapura in the Marathwada region to Parvati. Charumati was blessed with bountiful and prosperity after observing the Vrata.
- Chintamani was cursed by Parvati for showing partiality in the game to Siva while acting as a judge. As a result of the curse he became a victim of leprosy. He was however relieved of this after watching the Varalakshmi Vrata performed by pious ladies on the advice of Parvati.
- Suka conveyed the importance and glory of this Vrata to Saunaka from whom humanity got the message and reaping the benefit by its observance.
Famous Carnatic singers from South, Purandara Dasa, Paapanasam Sivan, Mutthusami Deekshitar, Bhimsen Joshi and Tiger Varadchar have composed songs in praise of Varalakshmi which are sung on this day in all South Indian houses observing this glorious Vrata.
Slokas for Prayer:
prasannaa bhava sarvadaa \\
prasannaa bhava sarvadaa \\
Varaankusau paasam-abheeta-mudraam karair-vahanteem kamalaasansthaam |
Baalaarka-koeti-pratibhaam trinetraam bhajehamaadyaam jagadeesvareem taam ||
Sarvamangala-maangalye sive sarvaartha saadhike |
Saranye trayambake devi naaraayani namostu te ||
Mahaadevyai cha vidmahe vishnupatnyai cha dheemahi |
Tannoe lakshmee prachoedayaat ||
You manifest as Siddhalakshmi, Mokshlakshmi, Jaylakshmi, Sarasvati, Sreelakshmi and Varalakshmi. Kindly be
pleasant to us always.
pleasant to us always.
You carry on your hand the noose and the goad but at the same time show benevolence and protection revealed by signs (mudras) of your hands; you are the Primordial energy, you shine like millions of morning sun; you are seated on taintless lotus; you are having three eyes--to you Devi, my obeisance!
You are the auspiciousness in all auspicious things; you are the benefactor of all good things; you are the one who fulfills all our desires; you are the one to whom we can totally surrender; you are the one with three eyes—Oh Naaraayanee! Our obeisance to you!
We feel the presence of the Great Divine Goddess guided by our spiritual education; Let us meditate on the consort of Vishnu; May She inspire us as well as invigorate our thinking power towards the same!- (extracted from Sree Sooktam)
Sri Svarna Mahalakshmi Trishati Namavali
(K. Muralidharan (email@example.com)
Though there are innumerable stutis on Devi in purans, specific stutis on Lakshmi and Sarasvati are not that many as most of the don't differentiate among the Devi forms of the Trinity and treat them as one. The classic example is Durga Saptashati where Devi is praised on all 3 forms. This message is confirmed by Trinity themselves in countless number of places across all Puranas and I had endeavored to cite these in my postings over the last few years. At the surface level, some of the message are seemingly contradictory - for example, Pradhaneeka Rahasyam mentions that Lakshmi is the origin of universe and everything else originated from her, in some purans, Shiva or Vishnu or Brahma are claimed to be the origin. But they always conclude that these are not different entities - just forms of the same and one and only Entity, the Brahman.
We have seen that Varaha Purana, though considered a Vaishnavite Purana, confirms that Shiva indeed is Vishnu and Lakshmi indeed is Gauri. In Padma Purana, Vishnu himself claims that Vishnu is one of the 4 forms of Shakti (we have seen that before). In Gayatri Stotram in Devi Bhagavatam, Lord Narayana describes Gayatri as the Adishakti which is called in different names as consort of different forms (Durga, Lakshmi, Sarasvati, etc). Innumerable are such citations - and it does not matter what color the Purana is painted with (Brahmite, Vaishnavite, Shaivite). Let us see another one from Skanda Purana, Prabhasa Khanda, Chapter 3, Verses 54-86 where Lord Shiva explains Goddess Parvati how they assume different names in different contexts:
ahaM te hRRidaye gaurI tvaM ca me hRRidi saMsthitA | ahaM bhrAtA ca putrashca bandhur bhartA tathaiva ca ||
tvaM tu me bhaginI bhAryA druhitA bAndhavI snuShA | ahaM yaGYapatir yajvA tvaM ca Shraddha sadaxiNA ||
puruSho.ahaM varArohe prakRRitis tvaM vigadyase | ahaM viShNur mahAvIryas tvaM laxmIr loka-bhAvinI ||
ahaM indro mahAtejAH prAcI tvaM parameshvarI | prajApatInAM rUpeNa sarvamAhaM vyavasthitaH ||
krIDami krIDayA devI tvayA sArddhaM varAnane | tvaM dhRRitir dhAriNI laxmIH kAntA mat prakRRitir dhruvam ||
(Essence : I am the heart and you (Devi) are seated in the heart. I am indeed brother, son, relative, husband etc. and you are sister, wife, etc. .. I am the Purusha and you are Prakriti. I am Vishnu and you are Lakshmi. I pervade everything in the form of Prajapati. With you I play this game ....)
The following is a rare 300 names on Goddess Svarna Mahalakshmi. The source of this hymn is not known.
|| viniyogaḥ ||
Hariḥ om | asya śrīsvarṇa-mahālakṣmī triśatī stotra mahāmantrasya |
śrīhayagrīvo bhagavān ṛṣiḥ | anuṣṭup chandaḥ | śrīsvarṇa-mahālakṣmī śakti-traya-rūpā devatā | śrīsvarṇa-mahālakṣmī prasāda siddhyarthe jape viniyogaḥ ||
|| kara-nyāsaḥ ||
om aiṁ aṅguṣṭhābhyāṁ namaḥ | om klīṁ tarjanībhyāṁ namaḥ | om sauḥ madhyamābhyāṁ namaḥ | om aiṁ anāmikābhyāṁ namaḥ | om klīṁ kaniṣṭhikābhyāṁ namaḥ | om sauḥ kara-tala-kara-pṛṣṭhābhyāṁ namaḥ ||
|| aṅga nyāsaḥ ||
Om aiṁ hṛdayāya namaḥ | om klīṁ śirase svāhā | om sauḥ śikhāyai vaṣaṭ | om aiṁ kavacāya hum | om klīṁ netra-trayāya vauṣaṭ | om sauḥ astrāya phaṭ | om bhūrbhuvassuvaroṁ iti digbandhaḥ |||| dhyānam ||
dhyāyec caturbhujaṁ devaṁ pāñcajanya gadādharam | śāntākāraṁ lakṣmī-sahitaṁ hayagrīvaṁ upāsmahe || om mahāpuruṣāya vidmahe | ātma-jyotī ca dhīmahi | tanno viṣṇuḥ pracodayāt ||
Srīlakṣmī-hayagrīvaṁ dhyāyāmi ||
padmākṣī padma-priya-vāsinī padmanābha-paṭṭ-mahiṣī | trailokya dharma-saṁvarddhanī mahālakṣmī namo'stu te ||
lakṣmī ca viṣṇu-patnī ca śakti-trayāya rūpiṇī | samudra-rāja-sutāyai ca santuṣṭāyai namo namaḥ || śānta-svarūpiṇī devī saṅkaṭa-nigraha-kāriṇī | sarva-jana-saukhya-pradāyinī mahālakṣmī namo'stu te || candra-bimba-svarūpiṇī devī mahāpātaka-nāśinī | cāru-hāsa-vadanī ambā svarṇa-lakṣmī namo'stu te || om śrīsvarṇalakṣmīṁ dhyāyāmi ||
|| pañca pūjā ||
laṁ pṛthivyātmikāyai gandhaṁ samarpayāmi | haṁ ākāśātmikāyai puṣpaiḥ pūjayāmi | yaṁ vāyvātmikāyai dhūpaṁ āghrāpayāmi | raṁ vahnyātmikāyai dīpaṁ darśayāmi | vaṁ amṛtātmikāyai amṛtaṁ-mahā-naivedyaṁ nivedayāmi | saṁ sarvātmikāyai sarvopacāra-pūjāṁ samarpayāmi ||
|| śrīsvarṇa-mahālakṣmī-triśatī - nāmāvaliḥ || om hraiṁ hrīṁ śrīṁ om svarṇa-mahālakṣmyai namaḥ | svarṇa-maṅgala-devatāyai | svarṇa-mantrāyai | svarṇa-maṇḍapa-nilayāyai | svarṇa-mahāmantra-rahasyāyai | svarṇa-mahāyantrāyai | svarṇa-māṇikya-makuṭa-dhāriṇyai | svarṇa-māṅgalya-dhāriṇyai | svarṇa-makara-kuṇḍala-dhāriṇyai | svarṇa-māṅgalya-rakṣaṇāyai | aṣṭādaśa-dala-sthitāyai | aṣṭalakṣmī-svarūpīṇyai | ādilakṣmyai | ādhāra-nilayāyai | ādi-śaktī-svarūpiṇyai | ādi-śaṅkara-yati-śreṣṭha-sevitāyai | indrāṇyai | iha-para-sukha-vara-prasādinyai | icchā-śaktyai | śrīmannandāyai | om hraiṁ hrīṁ śrīṁ kṛta nārada saṅgīta-priyāyai namaḥ ||20||
Om hraiṁ hrīṁ śrīṁ om karuṇā-kaṭākṣāyai namaḥ | karuṇā-mūrtyai | kalyāṇyai | kalyāṇa-guṇa-śālinyai | garuḍārūḍha-nārāyaṇa-samanvitāyai | kanaka-dhāriṇyai | kātyāyanyai | kāruṇya-vīkṣiṇyai | kāntimatyai | kāśmīra bhrūmadhyasthāyai | gāna-rūpiṇyai | gāna-priyāyai | kāla-rūpiṇyai | kālakaṇṭhī-svarūpiṇyai | cārumatyai | samudra-rāja-tanayāyai | samudra-rāja-vaṁśa-pāvanāyai | saṅkaṭa-nivāriṇyai | sakala-sampad-dhāriṇyai | om hraiṁ hrīṁ śrīṁ om sakala-sampat-karyai namaḥ || 40 ||
Om hraiṁ hrīṁ śrīṁ om sakala-saubhāgya-dāyinyai namaḥ | sakala-śakti-svarūpiṇyai | sarvālaṅkāra-bhūṣitāyai | sakala-kalā-valyai | suvāsinyai | suvāsinyarcana-priyāyai | sugandha-priyāyai | sukha-priyāyai | sugandha-puṣpa-priyāyai | sugandha-tāmbūla-priyāyai | sugandhāyai | suvarloka-nivāsinyai | sukunda-kundalāyai | caturveda-svarūpiṇyai | santāna-lakṣmyai | caturveda-gāna-priyāyai | campakāraṇya-vāsinyai | caturbhujāyai | śānta-svarūpiṇyai | om hraiṁ hrīṁ śrīṁ om cāru-hāsa-vadanāyai namaḥ || 60 ||
Om hraiṁ hrīṁ śrīṁ om sādhivīka-guṇa-śālinyai namaḥ | sāma-gāna-priyāyai | śyāmalāyai | śrīcakra-nilayāyai | śrīdhara-baddha-māṅgalya-kaṇṭhasthāyai | śrīmannārāyaṇa-nāyakhyai | śrīmādhava-vakṣa-sthala-vāsinyai | śrīsvarṇa-kamala-varṣiṇyai | śrīvidyā-svarūpiṇyai | śrīvaikuṇṭha-vāsinyai | śriyai | kṣīra-sāgarodbhavāyai | śrīsāgara-nilayāyai | sindūra-tilakāñcitāyai | sindhu-bhairavyai | cintāmaṇi-śyamantamaṇi-dhariṇyai | cūḍāmaṇi-cūlāmaṇi-dhariṇyai | kaustubhamaṇi-mālā-dhariṇyai | kaumāryai | om hraiṁ hrīṁ śrīṁ om gauryai namaḥ || 80 ||
Om hraiṁ hrīṁ śrīṁ om ūrdhvakeśinyai namaḥ | svarṇa-kiṅkiṇī-dhāriṇyai | svarṇa-navābharaṇa-bhūṣitāyai | svarṇa-ratna-pīṭha-sthitāyai | svarṇa-tāṭaṅga-dhāriṇyai | svarṇa-dhāriṇyai | svarṇa-devyai | svarṇa-pūrṇa-kumbha-svarūpiṇyai | svarṇa-pūrṇāyai | svarṇa-sundaryai | svarṇa-dvija-hastāyai | svarṇa-padmākṣyai | svarṇa-teja-svarūpiṇyai | svarṇā'karṣiṇyai | svarṇa-kusumārcana-priyāyai | kailāsa-nātha-sodaryai | koṭīśvaryai | go-priyāyai | mahāpātaka-nāśinyai | om hraiṁ hrīṁ śrīṁ om madhura-gāna-priyāyai namaḥ||100 ||
Om hraiṁ hrīṁ śrīṁ om madhura-vāgadhīśvaryai namaḥ | makara-kuṇḍala-dhāriṇyai | madhura-puṣpa-mālā-dhariṇyai | maṅgala-vigraha-svarūpiṇyai | mahonnatāyai | manda-hāsa-vadanāyai | mamākāra-svarūpiṇyai | madhurāṇyai | manorañjita-priyāyai | manonmaṇyai | manoharyai | tulasī-patrārcana-santuṣṭāyai | rakta-varṇādharāyai | rakta-vastra-dhāriṇyai | haridrā-kuṅkumārcana-priyāyai | viṣṇu-patnyai | jagajjananyai | hṛdaya-kamala-vāsinyai | ādi-lakṣmyai | om hraiṁ hrīṁ śrīṁ om dhana-lakṣmyai namaḥ || 120 ||
Om hraiṁ hrīṁ śrīṁ om dhānya-lakṣmyai namaḥ | vijaya-lakṣmyai | vīra-lakṣmyai | vidyā-lakṣmyai | gaja-lakṣmyai | aṣṭa-lakṣmyai | saubhāgya-lakṣmyai | amṛta-lakṣmyai | bhoga-lakṣmyai | oṁkāriṇyai | oṁkāra-praṇava-svarūpiṇyai | hrīṅkāriṇyai | hraimyāyai | hrīmyāyai | śrīmyāyai | śrīvidyā-svarūpiṇyai | adbhutāyai | cetanāyai | acetanāyai | om hraiṁ hrīṁ śrīṁ om sthūlāyai namaḥ || 140 ||
Om hraiṁ hrīṁ śrīṁ om sthūla-śarīrāyai namaḥ | sthūla-sūkṣma-śarīriṇyai | pañca-prāṇa-svarūpiṇyai | jīva-laya-nilayāyai | vikalpāyai | nirvikalpāyai | jaṭārkanyai | jagajjananyai | trailokya-dharma-varddhinyai | prapañca-rakṣaṇāyai | pāpa-vimocinyai | vyāpakāyai | gomatyai | durgā-lakṣmyai | śītalāyai | kālyai | nīlāyai | triśūlinyai | kātyāyinyai | om hraiṁ hrīṁ śrīṁ om bhagavatyai namaḥ || 160 ||Om hraiṁ hrīṁ śrīṁ om bhavānyai namaḥ | kaṭhūra-ghora-svarūpiṇyai | kapāla-hāriṇyai | rudra-priyāyai | kṣema-saukhya-vara-prasādinyai | duḥkha-nivāriṇyai | duṣṭa-devatā-nigrahāyai | tuṣṭāyai | auṣadhyai | bhava-roga-nivāriṇyai | pañca-bhūta-svarūpiṇyai | pañcākṣaryai | icchā-śaktyai | kriyā-śaktyai | jñāna-śaktyai | jñāna-svarūpiṇyai | vahni-maṇḍala-vāsinyai | sahasra-dalā'kṣyai | bindu-nilayāyai | om hraiṁ hrīṁ śrīṁ om bindu-ākarṣaṇa-devyai namaḥ || ||180 ||
Om hraiṁ hrīṁ śrīṁ om prakṛti-śaktyai namaḥ | mūla-prakṛtyai | kuṇḍalinyai | bhujaṅgī-śaktyai | prāṇa-śaktyai | mātṛkā-śaktyai | īśvaryai | kuṭilaṅgī-śaktyai | svādhiṣṭhāna-nilayāyai | maṇipūrakāyai | anāhata-nāyakhyai | viśuddhi-nilayāyai | ājñā-śaktyai | sahasra-nilayāyai | svādhiṣṭhāna-nilaya-vāsinyai | aṁ-svarūpiṇyai | ṣaḍ-dala-padma-vāsinyai | svarṇa-svarūpiṇyai | kākinyambā-svarūpiṇyai | om hraiṁ hrīṁ śrīṁ om caturmukhāyai namaḥ || 200 ||
Om hraiṁ hrīṁ śrīṁ om śūla-pālinyai namaḥ | pāśa-varada-hastāyai | māṁsa-priyāyai | akṣara-śaktyai | bhadrakālyai | patnī-devyai | mahāmāyā-devyai | yaśasvinyai | raktāyai | lamborvyai | maṇipūraka-nilaya-vāsinyai | agni-svarūpiṇyai | daśa-dala-sthitāyai | mukha-traya-svarūpiṇyai | bījāpūra-phala-varṇāyai | lākinyambā-svarūpiṇyai | vajrāyudha-hastāyai | ḍāmaryāyai | ṭaṅkāriṇyai | om hraiṁ hrīṁ śrīṁ om nūrṇā-devyai namaḥ || 220 ||
Om hraiṁ hrīṁ śrīṁ om tāmasyai namaḥ | sthāṇvyai | dākṣāyiṇyai | kākinī-devyai | nāryai | pārvatyai | phaṭkāriṇyai | anāhata-nilaya-vāsinyai | vāyu-svarūpiṇyai | dvādaśa-dala-sthitāyai | sphaṭika-varṇāyai | rākiṇyambā-svarūpiṇyai | dvimukha-svarūpiṇyai | akṣa-mālā-dhāriṇyai | śūla-kapālinyai | ḍamara-hastāyai | akṣara-śaktyai | kālarātryai | ghaṇṭākarṣiṇyai | om hraiṁ hrīṁ śrīṁ om nārṇā-devyai namaḥ || 240 ||
Om hraiṁ hrīṁ śrīṁ om caṇḍā-devyai namaḥ | chāyā-rūpiṇyai | jayāyai | jhṅkāriṇyai | jñāna-rūpāyai | ṭaṅka-hastāyai | śabda-brahma-svarūpiṇyai | ākāśa-nilayāyai | ṣoḍaśa-dala-sthitāyai | marakata-varṇāyai | ḍākinyambā-svarūpiṇyai | eka-mukha-svarūpiṇyai | khaḍga-kheṭaka-śūla-hastāyai | rasa-priyāyai | amṛtāyai | ākarṣiṇyai | indrāṇyai | īśānyai | om hraiṁ hrīṁ śrīṁ om umāyai namaḥ || 260 ||
Om hraiṁ hrīṁ śrīṁ om ūrdhva-keśinyai namaḥ | rudrāyai | ṝkārāyai | lṛkārāyai | ekapadāyai | aiśvaryātmikāyai | kārāyai | auṣadhyai | ambikāyai | akṣarāyai | ājñā-nilaya-vāsinyai | dvi-dala-sthitāyai | pañca-bhūta-svarūpiṇyai | hākinyambā-svarūpiṇyai | dvimukhāyai | caturmukhāyai | jñāna-mudrāyai | akṣa-mālā-dharāyai | ḍamaru-kapāla-hastāyai | om hraiṁ hrīṁ śrīṁ om haṁsavatyai namaḥ || 280 ||
Om hraiṁ hrīṁ śrīṁ om kṣamāvatyai namaḥ | yākinyambā-svarūpiṇyai | sarasvatyai | haṁsa-vāhinyai | vāg-vilāsinyai | vīṇā-gāna-rūpiṇyai | hemamālinyai | navagraha-maṇḍala-nāyakhyai | navaśakti-svarūpiṇyai | nakṣatra-devatā-sevitāyai | prasanna-dāsa-priyāyai | prasanna-dāsa-pūjitāyai | mahāyoga-pīṭha-vāsinyai | koṭi-sūrya-prakāśa-svarṇa-lakṣmyai | śrīprasanna-veṅkaṭeśa-priyāyai | śrīdurgālakṣmyai | ātma-svarūpiṇyai | ātma-jyoti-aikya-svarūpiṇyai | ātma-jyotiṣe | om hraiṁ hrīṁ śrīṁ om svarṇa-lakṣmyai namaḥ || 300 ||
|| iti śrīsvarṇa-mahālakṣmī-triśatī nāmāvaliḥ sampūrṇam ||
This discourse is prepared by taking considerable assistance from the following Publications:
- Swami Sivananda, Hindu Fasts and Festivals, Divine Life Society, Shivanandanagar, India.
- S. K. Ramachndra Rao, Vishnu Kosha, Kalpataru Research academy, Bangalore, India.
- Swami Harshananda, Hindu Gods and Goddesses, Ramakrishna Math, Mylapore, Chennai, India.
- Devdutt Pattnaik, Devi, Vakil, Feffer and Simons ltd, New Delhi, India.
- Sreesooktam from Mantrapushpam, Ramakrishna Math, Mylapore, Chennai, India.
- Swami Harshananda, Hindu Symbols, Ramakrishna Math, Bengaluru, India.