Part XVII — Nāmas 689–741 (Ślokas 135–142): The Royal Refuge, the Silent Guru, and the Substratum of the Dream
ॐ श्रीमात्रे नमः · oṃ śrīmātre namaḥ
The royal refuge, the silent Guru, and the substratum of the dream
Part XVII covers fifty-three names — eight ślokas — through some of the hymn's most beloved territory. It opens in royal mode: Rājya-lakṣmīḥ, treasure-lord, Empress of the fourfold army, ocean-girdled like the earth herself; then through the consecration-names to one of the great Vedāntic declarations — Saccidānanda-rūpiṇī, whose form is Being-Consciousness-Bliss. She is uncircumscribed by space and time, Sarasvatī herself, the cave's Mother and the form of the Secret. She is freed from every upādhi, the chaste Sadāśivā, Lady of the Tradition, the body of the lineage of teachers. Through marked Kaula territory (held within the parampara) the hymn rises to perhaps its most evocative image — Dakṣiṇāmūrti-rūpiṇī, Śiva as the silent southward-facing Guru beneath the banyan, whose teaching is silence and whose disciples are the eternal sages. Then the tenderest movement of the whole hymn: she is the spark of consciousness, the bud of bliss, Prema-rūpā — whose form is love. And a name that names the Advaita doctrine plainly — Mithyā-jagad-adhiṣṭhānā, the substratum upon which the false world is superimposed; giver of liberation and liberation itself. The movement closes with the lāsya-dancer, modesty embodied, worshipped by Rambhā and the celestial nymphs.
॥ श्रीललितासहस्रनामस्तोत्रम् ॥
The Thousand Names — Ślokas 135–142 (Nāmas 689–741)
Śloka 135
राज्यलक्ष्मीः कोशनाथा चतुरङ्ग-बलेश्वरी ।
साम्राज्य-दायिनी सत्यसन्धा सागरमेखला ॥ १३५॥
rājya-lakṣmīḥ kośa-nāthā catur-aṅga-baleśvarī |
sāmrājya-dāyinī satya-sandhā sāgara-mekhalā ǁ 135 ǁ
The royal “Rā-” garland continues from the close of Part XVI. She is the Lakṣmī of the kingdom, the Treasure-lord, the Empress of the fourfold army; she gives sovereign rule, is bound to truth, and wears the ocean as her girdle — the earth herself as goddess.
689. राज्यलक्ष्मीः — Rājya-lakṣmīḥ
Translation: The Lakṣmī (auspicious fortune) of the kingdom (rājya).
Adhyāropa–Apavāda: She is the “Lakṣmī of the realm.” The apavāda: as Rāja-rājeśvarī she is sovereign, and as Rājya-lakṣmīḥ she is the very prosperity by which the sovereign rules — the auspiciousness without which no kingdom flourishes (recall Vasudā). The fortune of every realm, outer and inner, is herself; the inner kingdom of the Self is sovereign by her grace, prosperous by her presence.
Śrī Vidyā: Rājya-lakṣmīḥ is the auspicious fortune of the kingdom; the outer realm's prosperity and the inner Self-kingdom's flourishing.
690. कोशनाथा — Kośa-nāthā
Translation: The lord (nāthā) of the treasury (kośa).
Adhyāropa–Apavāda: She is “lord of the treasury.” The apavāda: kośa is wealth-hoard outwardly, and (in the Taittirīya) the five kośas — the five sheaths of the self (annamaya, prāṇamaya, manomaya, vijñānamaya, ānandamaya); she is lord of both — the goddess of all stored wealth, and the indwelling Self of which the five sheaths are coverings (recall Pañca-kośāntara-sthitā). Lady of every treasury, body and goods alike.
Śrī Vidyā: Kośa-nāthā is the lord of treasuries; sovereign of outer wealth-hoards and of the five kośas — the indwelling Self within all sheaths.
691. चतुरङ्गबलेश्वरी — Catur-aṅga-baleśvarī
Translation: The Empress (īśvarī) of the fourfold army (elephants, chariots, cavalry, infantry).
Adhyāropa–Apavāda: She is “Empress of the four-limbed army.” The apavāda: as Bṛhat-senā commanded vast hosts, here she commands the classical fourfold force — outwardly the rightful war-power of the dharmic ruler, and inwardly the four powers of the seeker (the four antaḥkaraṇas — mind, intellect, ego, citta) marshalled in her service. Sovereign of every army worth commanding.
Śrī Vidyā: Catur-aṅga-baleśvarī is Empress of the fourfold army; sovereign of the classical war-host and of the inner four powers of the seeker.
692. साम्राज्यदायिनी — Sāmrājya-dāyinī
Translation: The giver (dāyinī) of empire (sāmrājya).
Adhyāropa–Apavāda: She is “the giver of empire” (recall Mahā-sāmrājya-śālinī). The apavāda: sāmrājya is rule not over one country but many; outwardly the grand dominion she may grant, and inwardly the supreme self-rule of the realised, sovereign over all the realms of one's own being. The Empress gives empires because empire is hers to give.
Śrī Vidyā: Sāmrājya-dāyinī is the giver of empire; outwardly grand dominion, inwardly the supreme self-rule of the realised.
693. सत्यसन्धा — Satya-sandhā
Translation: Satya-sandhā — true to her word, bound by truth.
Adhyāropa–Apavāda: She is “true-bound” — her word is truth, her promise unbreakable. The apavāda: satya-sandha is a great epithet (used also of Rāma and in the Viṣṇu-sahasranāma) — the unfailing pledge-keeper, whose word and being are one (recall Satyānanda-svarūpiṇī, Sarva-vedānta-saṃvedyā). For the supreme to be “bound by truth” is the meaning of truth itself: her word is what is. The pledge of grace to her devotee is unbreakable because she is truth itself.
Śrī Vidyā: Satya-sandhā is true to her word; the Goddess whose pledge is unbreakable — the great epithet shared with Rāma/Viṣṇu, truth itself.
694. सागरमेखला — Sāgara-mekhalā
Translation: Girdled by the ocean (sāgara); the earth-goddess wearing the seas as her belt.
Adhyāropa–Apavāda: She is “ocean-girdled” — wearing the seas as her girdle. The apavāda: an image of the earth as goddess — the cosmos as her body, with the seas as her decorative belt. As the Vedic Pṛthivī, she is the great earth, and her geography is her adornment; the oceans circle her as a girdle circles a queen.
Śrī Vidyā: Sāgara-mekhalā is girdled by the ocean; the Goddess as the great Earth herself (Pṛthivī), cosmos her body, seas her royal girdle.
Śloka 136
दीक्षिता दैत्यशमनी सर्वलोक-वशङ्करी ।
सर्वार्थदात्री सावित्री सच्चिदानन्द-रूपिणी ॥ १३६॥
dīkṣitā daitya-śamanī sarva-loka-vaśaṅkarī |
sarvārtha-dātrī sāvitrī sac-cid-ānanda-rūpiṇī ǁ 136 ǁ
This śloka rises from royal sovereignty to the Vedāntic summit. After the consecration-names, the demon-stilling, and the giver of all desired ends, the hymn names her in the three words the Vedānta uses for the Absolute itself: Sat-cit-ānanda-rūpiṇī — Being, Consciousness, Bliss. She is also Sāvitrī, the goddess of the Sāvitrī/Gāyatrī mantra and the creative power of the Veda.
695. दीक्षिता — Dīkṣitā
Translation: Dīkṣitā — initiated, consecrated; bound by holy vow.
Adhyāropa–Apavāda: She is “initiated,” consecrated. The apavāda: dīkṣā is the consecration that transforms the sacrificer into a being of the rite; she is herself consecrated — the paradigm of the sacred state, the Goddess in whom all dīkṣās find their meaning (recall Lopāmudrārcitā, the Śrī-Vidyā initiation). And as Guru-mūrtiḥ she bestows the dīkṣā she has taken.
Śrī Vidyā: Dīkṣitā is the initiated; the paradigm of the sacred state, and (as Guru-mūrtiḥ) the giver of dīkṣā in the Śrī-Vidyā parampara.
696. दैत्यशमनी — Daitya-śamanī
Translation: The stiller (śamanī) of the demons (daityas).
Adhyāropa–Apavāda: She “stills the demons.” The apavāda, deepening Daitya-hantrī: she quells the daitya-forces — outwardly the forces of unrighteousness, inwardly the disordered passions of the lower nature stilled by her grace into peace. She quiets, more than slays; pacification is her victory.
Śrī Vidyā: Daitya-śamanī is the stiller of the demons; pacifying both the daitya-hordes and the inner forces of unrighteousness, her victory peace.
697. सर्वलोकवशङ्करी — Sarva-loka-vaśaṅkarī
Translation: Who brings all worlds (sarva-loka) under her sway.
Adhyāropa–Apavāda: She brings every loka under sway. The apavāda: not by force but by the natural authority of the One — all worlds are already hers (recall Trijagad-vandyā), and to be “brought under sway” is to be brought into recognition of what is so. Inwardly, all the “worlds” of one's experience — waking, dream, sleep — come under the sway of her grace, ordered around her as their centre.
Śrī Vidyā: Sarva-loka-vaśaṅkarī brings all worlds under her sway; outwardly all lokas hers, inwardly all the worlds of experience ordered around her as centre.
698. सर्वार्थदात्री — Sarvārtha-dātrī
Translation: The giver of every desired end (sarva-artha) — of all the aims of life.
Adhyāropa–Apavāda: She is the “giver of every artha.” The apavāda: artha is the four-fold human aim of life — dharma, artha, kāma, mokṣa; she grants them all, the lower three by grace, and the fourth, mokṣa, by her own self-revealing. She withholds nothing the seeker truly needs; every artha reaches its giver in her.
Śrī Vidyā: Sarvārtha-dātrī is the giver of every desired end; granting the four aims of life — the lower three by grace, the fourth by self-revealing.
699. सावित्री — Sāvitrī
Translation: Sāvitrī — the goddess of the Sāvitrī (Gāyatrī) mantra; the daughter/consort of Savitṛ (the Sun).
Adhyāropa–Apavāda: She is Sāvitrī — the goddess of the Sāvitrī mantra (which is the Gāyatrī, recall Gāyatrī, Part XIII), the personified creative power of the Veda. The apavāda: as Vāg-adhīśvarī she is sovereign of speech; as Sāvitrī she is the supreme mantra of the Veda made deity — the primal solar-creative power; to chant the Gāyatrī is to invoke her. The Mother of the Veda, in her name as Mother of the Sun-mantra. (Sāvitrī is also the faithful wife of legend who won her husband back from Death.)
Śrī Vidyā: Sāvitrī is the goddess of the Gāyatrī (Sāvitrī) mantra; the supreme Vedic mantra personified, primal solar-creative power, Mother of the Veda.
700. सच्चिदानन्दरूपिणी — Sac-cid-ānanda-rūpiṇī
Translation: Whose form is sat-cit-ānanda — Being, Consciousness, Bliss; the very nature of the Absolute.
Adhyāropa–Apavāda: She is “of the form of Being-Consciousness-Bliss.” The apavāda: this is the supreme Vedāntic definition of Brahman, gathered in three words — sat (Being / Truth), cit (Consciousness / Knowing), ānanda (Bliss / Joy); the Taittirīya names brahman as satyaṃ jñānam anantam, and the chain of bliss-measurements rises to the unsurpassed joy of Brahman. She is named here, in a single word, as that entire Vedāntic Absolute — and, since she is also the Ātman (Part XVI, 617), this is to say one's own essential nature is Being-Consciousness-Bliss (recall Satyānanda-svarūpiṇī, Brahmātmaikya-svarūpiṇī, Brahmānandā). As the 700th name, this stands as a milestone summit-statement of the whole edition.
Śrī Vidyā: Sac-cid-ānanda-rūpiṇī is of the form of Being-Consciousness-Bliss; the supreme Vedāntic definition of Brahman (sat-cit-ānanda) gathered in one name — the Goddess as the Absolute, realisation of whom is realisation of one's own essential nature.
Śloka 137
देश-कालापरिच्छिन्ना सर्वगा सर्वमोहिनी ।
सरस्वती शास्त्रमयी गुहाम्बा गुह्यरूपिणी ॥ १३७॥
deśa-kālāparicchinnā sarvagā sarva-mohinī |
sarasvatī śāstra-mayī guhāmbā guhya-rūpiṇī ǁ 137 ǁ
701. देशकालापरिच्छिन्ना — Deśa-kālāparicchinnā
Translation: Uncircumscribed (aparicchinnā) by space (deśa) and time (kāla).
Adhyāropa–Apavāda: She is “uncircumscribed by space and time” — beyond the two great limits within which all manifest things live. The apavāda: every finite thing is bound to a place and a moment; she, the infinite, is not so bound (recall Aparicchedyā). What is at every place is at none; what is at every time is at none — she is the boundless that has no “here” because it is everywhere, and no “then” because it is always.
Śrī Vidyā: Deśa-kālāparicchinnā is uncircumscribed by space and time; the boundless Goddess transcending the two great limits of the finite — place-less and time-less because boundless.
702. सर्वगा — Sarvagā
Translation: Sarvagā — all-pervading; present in everything.
Adhyāropa–Apavāda: She is Sarvagā — “all-going,” all-pervading. The apavāda: she pervades all — not as a substance fills a space, but as awareness pervades its own field; she is in everything because everything is in her (recall Viśva-garbhā). There is no spot she is not, no being she is not the being of.
Śrī Vidyā: Sarvagā is all-pervading; present in everything as awareness pervades its own field — the all in her, she in the all.
703. सर्वमोहिनी — Sarva-mohinī
Translation: The bewitcher of all; she who enchants the entire world.
Adhyāropa–Apavāda: She is “the bewitcher of all,” the great enchantress. The apavāda, deepening Mohinī (śloka 114): she casts the spell of māyā on all — the One appears as the bewitching many; every creature, gods included, is held in her enchantment (recall Viṣṇu-māyā). As Aja-jaitrī she masters ajā/māyā; the same power that bewitches into the world can be turned to draw the heart out of it.
Śrī Vidyā: Sarva-mohinī is the bewitcher of all; the great enchantress of māyā, the same power that, turned around, draws the heart home.
704. सरस्वती — Sarasvatī
Translation: Sarasvatī — the goddess of learning, wisdom, speech, and the arts.
Adhyāropa–Apavāda: She is Sarasvatī — the great Goddess of wisdom and speech, named again under her most beloved name (recall Vāg-adhīśvarī, Brāhmī). The apavāda: as with Pārvatī/Umā/Kālī, the one Lalitā is here under another great Goddess's name — Sarasvatī, the river-goddess of inspiration, consort of Brahmā, source of every śāstra and song, attended her with the cāmara in śloka 123; here she is Sarasvatī herself.
Śrī Vidyā: Sarasvatī is the Goddess of learning and speech; the one Lalitā under the name of the great Vāg-devī (who attended her in śloka 123) — here named as Sarasvatī herself.
705. शास्त्रमयी — Śāstra-mayī
Translation: Whose substance is the śāstras (the sacred sciences and treatises).
Adhyāropa–Apavāda: She is “made of śāstra” — her substance the sacred sciences. The apavāda: every legitimate śāstra (Veda, Vedānta, the six darśanas, the āgamas, kāvya, Āyurveda, Jyotiṣa, all the arts) is her form; the whole corpus of revealed knowledge made deity (recall Sarva-tantra-rūpā, Sarva-vedānta-saṃvedyā). To study true śāstra is, in the end, to come to her.
Śrī Vidyā: Śāstra-mayī is made of the śāstras; the corpus of sacred sciences (Veda, Vedānta, darśanas, āgamas, kāvya, Āyurveda, Jyotiṣa, all arts) as her body.
706. गुहाम्बा — Guhāmbā
Translation: Mother (ambā) of Guha (Skanda); and Mother of the Cave (guhā).
Adhyāropa–Apavāda: She is “Mother of Guha” (Skanda; recall Guha-janma-bhūḥ); and guha = “cave,” so also “Mother of the Cave.” The apavāda: as Mother of the divine son born in the reed-thicket/cave; and as Mother of the guhā, the heart-cavity in which the Self is found (Daharākāśa-rūpiṇī). The two senses converge: she is mother of the indwelling secret, and her abode is the cave.
Śrī Vidyā: Guhāmbā is Mother of Guha (Skanda) and of the cave (guhā); Mother of both the divine son and the heart-cave (Daharākāśa) where the Self dwells.
707. गुह्यरूपिणी — Guhya-rūpiṇī
Translation: Whose form is the Secret (guhya); the hidden mystery embodied.
Adhyāropa–Apavāda: She is “of the form of the Secret.” The apavāda, deepening Guhyā: she is the very form of guhya — the hidden reality that is hidden by being too near, too inward (recall Sulabhā-gatiḥ, the easy goal). The Śrī-Vidyā is the guhya-vidyā; she is its very subject, and the secret is the open one: that she is the Self.
Śrī Vidyā: Guhya-rūpiṇī is of the form of the Secret; the guhya-vidyā of the Śrī-Vidyā parampara — the open secret of the Self.
Śloka 138
सर्वोपाधि-विनिर्मुक्ता सदाशिवा पतिव्रता ।
सम्प्रदायेश्वरी साध्वी गुरुमण्डल-रूपिणी ॥ १३८॥
sarvopādhi-vinirmuktā sadāśivā pati-vratā |
sampradāyeśvarī sādhvī guru-maṇḍala-rūpiṇī ǁ 138 ǁ
This śloka opens with a great Vedāntic name: she is freed of every upādhi, every limiting condition. The classic Advaita doctrine — the Self is one and unconditioned, but appears as the many by the imposition of upādhis (body, mind, role, name); she is what remains when every upādhi is removed. The Bhāskararāya canonical division reads the next words as Sadāśivā + Pativratā (two nāmas): she who is Sadāśiva himself in feminine form, and the chaste consort. Then the names of teaching-lineage: Lady of the Tradition, the Pure, the body of the guru-circle.
708. सर्वोपाधिविनिर्मुक्ता — Sarvopādhi-vinirmuktā
Translation: Wholly freed (vinirmuktā) from every limiting condition (sarva-upādhi).
Adhyāropa–Apavāda: She is “utterly free of every upādhi.” The apavāda: upādhi is the classic Advaita term for the limiting condition (or “adjunct”) by which the unconditioned Self appears as conditioned — body, sense, mind, ego, role, name, place, time; the rope appears as a snake by the upādhi of dim light. She is sarva-upādhi-vinirmuktā: free of every upādhi whatsoever, the Self in its unconditioned purity (recall Nirupādhi, śloka 46; Aparicchedyā). To know her is to know what remains when every upādhi is set aside — the unconditioned “I am,” which is she. (One of the hymn's purest Vedāntic names — the very definition of nirviśeṣa, attribute-less Brahman.)
Śrī Vidyā: Sarvopādhi-vinirmuktā is freed from every limiting condition; the Goddess as the unconditioned Brahman, the Self in its nirviśeṣa purity — beyond every upādhi (body, mind, role, name, place, time).
709. सदाशिवा — Sadāśivā
Translation: Sadāśivā — she who is Sadāśiva himself in feminine form; the “ever-auspicious.”
Adhyāropa–Apavāda: She is Sadāśivā — the feminine form of Sadāśiva, “the ever-auspicious,” the highest of the five faces of Śiva. The apavāda: as Mṛḍānī is the feminine of Mṛḍa and Bhavānī of Bhava, so Sadāśivā is the feminine of Sadāśiva — she and he, named as one being from her side. The name affirms the non-difference of Śakti and Śiva: the auspicious-eternal Lord is the auspicious-eternal Lady.
Śrī Vidyā: Sadāśivā is Sadāśiva himself in feminine form (the ever-auspicious); Śakti and Śiva non-different — the highest manifest Śiva named from her side (cf. Mṛḍānī, Bhavānī).
710. पतिव्रता — Pati-vratā
Translation: The chaste, faithful consort; bound by vow to her Lord.
Adhyāropa–Apavāda: She is Pati-vratā — “consecrated to her Lord,” the faithful wife. The apavāda: in human terms the most honoured of marital virtues; here, the supreme Śakti's faithfulness to Śiva — they not two who must be bound but one whose oneness the wifely vow honours. And inwardly, the pati is the Lord-Self; the seeker becomes a pati-vratā by consecrating all to the inner Lord. Faithfulness to the Real is the wifely vow that liberates.
Śrī Vidyā: Pati-vratā is the chaste consort bound by vow to her Lord; the Goddess's faithfulness to Śiva (they not two), and the inner devotion to the Lord-Self that liberates.
711. सम्प्रदायेश्वरी — Sampradāyeśvarī
Translation: The sovereign Lady of the Sampradāya (the lineage of traditional transmission).
Adhyāropa–Apavāda: She is “sovereign of the sampradāya.” The apavāda: sampradāya is the unbroken line of transmission from teacher to disciple by which the true teaching is conveyed; she is its sovereign — every authentic line of the Śrī-Vidyā traces its authority to her (recall Lopāmudrārcitā, the lineage-founder). The teaching descends from her, by her authority, in unbroken line.
Śrī Vidyā: Sampradāyeśvarī is the sovereign of the Sampradāya; the source of every authentic line of transmission — the Śrī-Vidyā paramparā descending from Lopāmudrā and the other founders.
712. साध्वी — Sādhvī
Translation: The chaste/virtuous one; (also) the accomplished, the perfected.
Adhyāropa–Apavāda: She is Sādhvī — “virtuous, chaste,” and also “well-accomplished, perfected” (from the same root as sādhana and siddha). The apavāda: she is the perfect — virtuous as the consort, perfected as the supreme; sādhvī gathers both senses, and reads also as “she who accomplishes (the goal of the seeker).” Virtue and perfection in one name.
Śrī Vidyā: Sādhvī is the chaste and the perfected; virtuous consort, accomplished — and the perfection that all sādhana seeks.
713. गुरुमण्डलरूपिणी — Guru-maṇḍala-rūpiṇī
Translation: Whose form is the circle (maṇḍala) of teachers (guru) — the entire lineage of Gurus.
Adhyāropa–Apavāda: She is “of the form of the guru-circle” — her body the whole maṇḍala of teachers. The apavāda: every sampradāya has its guru-paramparā, the line of teachers from the supreme Śiva down to one's own initiating teacher; she is the whole of this lineage — from the divine source through Dakṣiṇāmūrti, the founder-seers, Lopāmudrā, to today's living teacher (recall Guru-mūrtiḥ). The light passed through the line is her own; every authentic teacher is a face of her. To honour the Guru is to honour her.
Śrī Vidyā: Guru-maṇḍala-rūpiṇī is of the form of the guru-circle; the whole guru-paramparā from the supreme Śiva down through the lineage — every authentic teacher a face of her.
Śloka 139
कुलोत्तीर्णा भगाराध्या माया मधुमती मही ।
गणाम्बा गुह्यकाराध्या कोमलाङ्गी गुरुप्रिया ॥ १३९॥
kulottīrṇā bhagārādhyā māyā madhumatī mahī |
gaṇāmbā guhyakārādhyā komalāṅgī guru-priyā ǁ 139 ǁ
This śloka contains some of the more overtly Tantric / Kaula names in the hymn (Kulottīrṇā, Bhagārādhyā, worship by the Guhyakas), territory whose precise ritual meaning is properly held within the parampara. The open Vedāntic reading remains plain: she who transcends every kula, the Honey-rich, the Earth herself, the Mother of celestial throngs, of tender form, dear to the Guru.
714. कुलोत्तीर्णा — Kulottīrṇā
Translation: Gone beyond (uttīrṇā) all kula (family / lineage / category); transcendent of the Kaula.
Adhyāropa–Apavāda: She is “gone beyond kula” — transcendent of every kula (lineage, group, category). The apavāda: kula in Tantric usage names the system of categorisation, the kaula tradition's structures (recall Kaulinī, Akulā, Kulayoginī, Samaya, Part II); she is uttīrṇā, gone beyond — the Goddess in the Kula systems and beyond them. The supreme is in no kula because she is beyond all of them. (The precise relation of kula/akula/kulottīrṇā in the Kaula-Samaya parlance belongs to the initiate.)
Śrī Vidyā: Kulottīrṇā is gone beyond all kula; transcendent of every category and lineage-structure (cf. Akulā, Samayāntasthā) — the inner detail held in the parampara.
715. भगाराध्या — Bhagārādhyā
Translation: To be worshipped through bhaga (auspiciousness, fortune, share); (esoteric Tantric meanings held in the parampara).
Adhyāropa–Apavāda: She is “worshipped through bhaga.” The apavāda: bhaga has many meanings — auspiciousness, fortune, share, prosperity, the dignity that makes one a bhagavān (and other esoteric meanings in the Kaula tradition); she is worshipped by means of bhaga, the great share — outwardly the offering of one's fortune in worship, the auspicious sharing with the Goddess of the gifts she has given. The esoteric Kaula meanings of bhaga belong to the initiate.
Śrī Vidyā: Bhagārādhyā is worshipped through bhaga (auspiciousness, fortune, share); the open meaning is the offering of one's fortune to its source — the esoteric Kaula meanings held in the parampara.
716. माया — Māyā
Translation: Māyā — the great power of cosmic appearance.
Adhyāropa–Apavāda: She is Māyā — the great power by which the One appears as the many. The apavāda: māyā is the central term of Vedāntic and Tantric cosmology — the inscrutable power by which Brahman, without ceasing to be one, appears as the manifold (recall Mūla-prakṛti, Avyaktā; Viṣṇu-māyā; Aja-jaitrī; Sarva-mohinī). She is Māyā itself — and (as Aja-jaitrī) the wielder of Māyā, never bound by it. To know her is to see Māyā as the dance of the Goddess. (The two-śakti reading of Māyā as āvaraṇa + vikṣepa belongs to the post-Śaṅkara tradition — Vedāntasāra, Pañcadaśī.)
Śrī Vidyā: Māyā is the great power of cosmic appearance; the Goddess as māyā itself (the One appearing as the many) and, as Aja-jaitrī, its wielder — the two-śakti schema (āvaraṇa + vikṣepa) per the post-Śaṅkara Vedāntasāra / Pañcadaśī.
717. मधुमती — Madhumatī
Translation: Possessed of honey (madhu); the honey-rich; the honeyed.
Adhyāropa–Apavāda: She is “honey-rich” — sweet as honey, possessed of madhu. The apavāda: madhu is the supreme sweetness — outwardly the honey, inwardly the bliss of the Self (the madhu-vidyā of the Bṛhadāraṇyaka: “all this is honey for all beings”); she is rich in this sweetness, the honeyed reality. The Vedic Madhu-vidyā names the entire cosmos as madhu, with the Self as the honey-eater and the honey alike — and she is that.
Śrī Vidyā: Madhumatī is the honey-rich; the supreme sweetness (the madhu-vidyā of the Bṛhadāraṇyaka — all this is honey for all beings), the inward bliss of the Self.
718. मही — Mahī
Translation: Mahī — the Earth; and the Great (the feminine of mahat).
Adhyāropa–Apavāda: She is Mahī — “the Earth,” and (by the same root) “the Great.” The apavāda: as Sāgara-mekhalā she wore the seas; here she is named simply Earth — Pṛthivī, the great supporter of all that lives (recall Bṛhatī). And as the feminine of mahat, she is the cosmic Mahat, the first principle of manifestation in Sāṃkhya — the great intelligence-tattva from which the world unfolds. The Earth and the Great, by name's coincidence one.
Śrī Vidyā: Mahī is the Earth and the Great; Pṛthivī (great supporter of life) and the cosmic Mahat (first tattva of Sāṃkhya, the great intelligence-principle).
719. गणाम्बा — Gaṇāmbā
Translation: Mother (ambā) of Gaṇa (the celestial throngs); especially of Gaṇeśa.
Adhyāropa–Apavāda: She is “Mother of Gaṇa” — of the celestial throngs of Śiva's attendants, and especially of Gaṇeśa (the “lord of the gaṇa-host,” her elder son). The apavāda, parallel to Guha-janma-bhūḥ and Kumāra-gaṇanāthāmbā: she is mother of the elephant-headed Gaṇeśa, remover of obstacles, and of all the gaṇas under his lordship.
Śrī Vidyā: Gaṇāmbā is Mother of the gaṇas and of Gaṇeśa their lord; Mother of the divine throngs and of the Remover of Obstacles.
720. गुह्यकाराध्या — Guhyakārādhyā
Translation: Worshipped by the Guhyakas (semi-divine attendants of Kubera).
Adhyāropa–Apavāda: She is “worshipped by the Guhyakas” — the semi-divine attendants of Kubera, lord of wealth (associated with the Yakṣas). The apavāda: even the secret/hidden orders of beings (the very name guhyaka derives from guhya, “secret”) worship her — her worshippers are not only gods and great seers but also the lesser hidden ones; she is honoured by every order of being. (And by the play of guhya, the name links to Guhya-rūpiṇī: she who is the Secret is worshipped by the secret-ones.)
Śrī Vidyā: Guhyakārādhyā is worshipped by the Guhyakas (Kubera's secret semi-divine attendants); honoured by every order of being — the secret-ones worshipping her who is the Secret.
721. कोमलाङ्गी — Komalāṅgī
Translation: Of tender (komala) limbs (aṅga); soft and delicate of body.
Adhyāropa–Apavāda: She is “of tender limbs” — her body soft and delicate (recall Mṛṇāla-mṛdu-dorlatā). The apavāda: even amid the loftiest metaphysical names, the loveliness of the form is remembered — her limbs are tender, as is fitting for the supreme Mother in her dearest form. Beauty as gentleness; the gentlest body bearing the highest reality.
Śrī Vidyā: Komalāṅgī is of tender limbs; the Goddess's delicate, soft-bodied beauty — gentleness as the bodily face of grace.
722. गुरुप्रिया — Guru-priyā
Translation: Dear (priyā) to the Guru; (and) she to whom the Guru is dear.
Adhyāropa–Apavāda: She is “dear to the Guru” — and the Guru is dear to her. The apavāda: the relation runs both ways — the true Guru loves her (as the Goddess is the Guru's deity and the Guru's own deeper Self), and she loves the Guru (as the channel of her grace to the disciple). Recall Guru-mūrtiḥ, Guru-maṇḍala-rūpiṇī. Goddess and Guru are dear to one another because, finally, they are one.
Śrī Vidyā: Guru-priyā is dear to the Guru (and the Guru dear to her); Goddess and Guru mutually beloved — finally one (cf. Guru-mūrtiḥ, Guru-maṇḍala-rūpiṇī).
Śloka 140
स्वतन्त्रा सर्वतन्त्रेशी दक्षिणामूर्ति-रूपिणी ।
सनकादि-समाराध्या शिवज्ञान-प्रदायिनी ॥ १४०॥
svatantrā sarva-tantreśī dakṣiṇāmūrti-rūpiṇī |
sanakādi-samārādhyā śiva-jñāna-pradāyinī ǁ 140 ǁ
At the heart of this śloka is one of the most evocative names of the whole hymn — Dakṣiṇāmūrti-rūpiṇī, “whose form is Dakṣiṇāmūrti,” Śiva as the silent southward-facing Guru. In the great Advaita image, the young Dakṣiṇāmūrti sits beneath the banyan teaching the four eternal sages — Sanaka, Sanandana, Sanātana, Sanat-kumāra — and his teaching is wordless: the silence itself is the highest commentary, before which all doubt dissolves. She is that very form.
723. स्वतन्त्रा — Svatantrā
Translation: Perfectly free, self-dependent; not subject to any other.
Adhyāropa–Apavāda: She is Svatantrā — “of her own thread,” perfectly free. The apavāda: tantra here is in its root sense (thread, system, dependency); sva-tantra is “following one's own thread,” independent. She depends on nothing; she is not the effect of any cause, the subject of any other — the One on whom all depends, depending on none (recall Sarvādhārā). Absolute freedom is her very nature — and she gives this freedom (kaivalya) to those who reach her.
Śrī Vidyā: Svatantrā is perfectly free, self-dependent; absolute freedom — depending on nothing, source on which all depends — and the giver of this freedom to those who reach her.
724. सर्वतन्त्रेशी — Sarva-tantreśī
Translation: The sovereign (īśī) of all the tantras; ruler of every śāstric system.
Adhyāropa–Apavāda: She is “sovereign of all tantras” (echoing Sarva-tantra-rūpā, śloka 53). The apavāda: tantra here means every authoritative system of teaching and practice — Vedic, tantric, scientific, artistic; she rules them all (recall Śāstra-mayī). Held together with Svatantrā: she is utterly free, and sovereign of all systems — free of all tantras in the dependency sense, and ruler of all tantras in the śāstric sense.
Śrī Vidyā: Sarva-tantreśī is the sovereign of all tantras; the Goddess ruling every authoritative system — paired with Svatantrā: utterly free, and ruler of all systems.
725. दक्षिणामूर्तिरूपिणी — Dakṣiṇāmūrti-rūpiṇī
Translation: Whose form is Dakṣiṇāmūrti — Śiva as the silent, southward-facing Guru.
Adhyāropa–Apavāda: She is “of the form of Dakṣiṇāmūrti.” The apavāda: Dakṣiṇāmūrti is one of the loveliest and deepest of all images — Śiva seated under the banyan tree, ever-young, facing south (the direction of death and so of liberation from death), one hand in cin-mudrā (consciousness-gesture), teaching the eternal sages Sanaka, Sanandana, Sanātana, and Sanat-kumāra. His teaching is mauna — silence; in his silence the disciples' doubts dissolve. The Śaṅkara tradition holds him as the supreme teacher of Advaita: the Guru of all Gurus, whose vyākhyā (commentary) is silence. She is named here as that very form — the silent Teacher is herself; the wordless teaching by which the Self is known is her own grace (recall Guru-mūrtiḥ). The highest teacher is silence, and the silence is the Goddess.
Śrī Vidyā: Dakṣiṇāmūrti-rūpiṇī is of the form of Dakṣiṇāmūrti (Śiva as the silent southward-facing Guru, teacher of the eternal sages by silence under the banyan); the Goddess as the supreme silent Guru of Advaita — the Guru of all Gurus, whose vyākhyā is mauna.
726. सनकादिसमाराध्या — Sanakādi-samārādhyā
Translation: Worshipped by Sanaka and his brothers (Sanaka, Sanandana, Sanātana, Sanat-kumāra).
Adhyāropa–Apavāda: She is “worshipped by Sanaka and the rest” — by the four kumāras, the eternal sages, mind-born sons of Brahmā, whom Dakṣiṇāmūrti taught beneath the banyan. The apavāda: the very disciples of the silent Guru are her worshippers; the highest teaching, given in silence, is yet honoured with worship. The supreme disciples worship her; their teacher is her form.
Śrī Vidyā: Sanakādi-samārādhyā is worshipped by Sanaka and his brothers (the four eternal kumāra-sages of the Dakṣiṇāmūrti teaching); the supreme disciples adoring her whose form their silent teacher is.
727. शिवज्ञानप्रदायिनी — Śiva-jñāna-pradāyinī
Translation: The giver of Śiva-knowledge (śiva-jñāna) — the knowledge of/that is Śiva.
Adhyāropa–Apavāda: She is “the giver of Śiva-knowledge.” The apavāda: Śiva-jñāna reads two ways — the knowledge of Śiva (knowing the supreme Lord), and the knowledge that is Śiva (the realisation that one's Self is Śiva, the auspicious supreme). She gives both — for as Dakṣiṇāmūrti-rūpiṇī she is the silent Guru, and as Jñāna-dā the giver of knowledge; what she gives is finally Śiva-knowledge in the highest sense, the recognition śivo'ham, “I am Śiva” (recall Brahmātmaikya). The supreme gift, in the supreme form. (Fittingly placed beside Dakṣiṇāmūrti: the silent Guru's gift is Śiva-knowledge.)
Śrī Vidyā: Śiva-jñāna-pradāyinī is the giver of Śiva-knowledge (both the knowledge of Śiva and the knowledge that is Śiva: śivo'ham); the supreme gift — paired with Dakṣiṇāmūrti-rūpiṇī, the silent Guru whose silence imparts this very knowledge.
Śloka 141
चित्कलाऽऽनन्द-कलिका प्रेमरूपा प्रियङ्करी ।
नामपारायण-प्रीता नन्दिविद्या नटेश्वरी ॥ १४१॥
cit-kalā''nanda-kalikā prema-rūpā priyaṅkarī |
nāma-pārāyaṇa-prītā nandi-vidyā naṭeśvarī ǁ 141 ǁ
After the silent Guru, the hymn turns to tenderness. She is the spark of consciousness, the bud of bliss, and — perhaps the gentlest of all the names — Prema-rūpā, “whose form is love.” She is the maker of dearness, delighted by the recitation of her names (a self-referential and beloved touch), the Nandi-vidyā, the Goddess of the cosmic dance.
728. चित्कला — Cit-kalā
Translation: The kalā (digit / phase / fraction) of consciousness (cit); the spark of awareness.
Adhyāropa–Apavāda: She is “the digit of consciousness” — the kalā, the fine phase or spark, of pure cit. The apavāda: kalā is the smallest measured part (recall Kalātmikā); cit-kalā is the very spark of consciousness — the indivisible point of awareness from which awareness as such proceeds, the kalā that is itself cit. The whole of consciousness in the smallest measure, like the moon's first digit holding the full moon's nature.
Śrī Vidyā: Cit-kalā is the digit/spark of consciousness; the indivisible kalā of pure cit — the whole of awareness in the smallest measure.
729. आनन्दकलिका — Ānanda-kalikā
Translation: The bud (kalikā) of bliss (ānanda); the unopened blossom of joy.
Adhyāropa–Apavāda: She is “the bud of bliss” — ānanda as a flower-bud, on the point of opening. The apavāda: deepening Cit-kalā, she is the spark of cit and the bud of ānanda — the supreme reality as consciousness and bliss in their most concentrated, just-about-to-flower form (recall Yogānandā, Brahmānandā). The bud holds the whole flower; the smallest ānanda holds all bliss. A delicate metaphor: the highest reality named as a flower-bud about to open into fullness.
Śrī Vidyā: Ānanda-kalikā is the bud of bliss; ānanda in its concentrated, just-about-to-flower form — the bud holding the whole flower.
730. प्रेमरूपा — Prema-rūpā
Translation: Whose form is love (prema).
Adhyāropa–Apavāda: She is “of the form of love” — prema itself made deity. The apavāda: prema is the supreme love, the love that asks nothing in return — the love of the devotee for the Divine, of the Divine for the devotee, of the Self for itself (the deeper Vedāntic reading); she is that love, not its object only but its very nature (recall Karuṇā-rasa-sāgarā; Dayā-mūrtiḥ). The supreme reality is love — perhaps the tenderest of all the hymn's names, sounded amid the lofty metaphysical names. To love truly is to participate in her; love itself is her form.
Śrī Vidyā: Prema-rūpā is of the form of love; the Goddess as prema itself (the love that asks nothing in return) — the supreme reality is love, and to love truly is to participate in her.
731. प्रियङ्करी — Priyaṅ-karī
Translation: The maker (karī) of dearness/love (priya); she who makes things and beings dear to one another.
Adhyāropa–Apavāda: She is “the maker of dearness.” The apavāda: every dearness in the world draws its dearness from her — “not for the sake of the husband is the husband dear, but for the sake of the Self is the husband dear” (Yājñavalkya to Maitreyī in the Bṛhadāraṇyaka). Every priya is dear because, behind it, the Self (which is she) is the truly dear; she is the maker of every dearness, the Self by whose presence all is loved (paired with Prema-rūpā). The dearest of all is she, and through her every dearness is.
Śrī Vidyā: Priyaṅ-karī is the maker of dearness; the Goddess from whom all love draws its loving — the Self by whose presence all is dear (Bṛhadāraṇyaka, Yājñavalkya–Maitreyī).
732. नामपारायणप्रीता — Nāma-pārāyaṇa-prītā
Translation: Delighted (prītā) by the recitation (pārāyaṇa) of her names (nāma).
Adhyāropa–Apavāda: She is “delighted by the chanting of her names.” The apavāda: a self-referential name of supreme tenderness — the very nāma-pārāyaṇa, the recitation of the Sahasranāma, is what pleases her (recall Puṇya-śravaṇa-kīrtanā, her hearing and singing meritorious). The hymn we are reading praises itself, gently — those who recite her names please her, and she gives herself to those whom her names have purified. A loving wink within the hymn: she enjoys this remembrance.
Śrī Vidyā: Nāma-pārāyaṇa-prītā is delighted by the recitation of her names; the Goddess pleased by the very devotional act of nāma-pārāyaṇa — a self-referential tenderness of the Sahasranāma itself.
733. नन्दिविद्या — Nandi-vidyā
Translation: The Vidyā of/imparted to Nandi (Śiva's bull-vehicle and great devotee); a recension of her mantra.
Adhyāropa–Apavāda: She is the “Nandi-vidyā” — the form of her Vidyā imparted to or associated with Nandi (Śiva's great devotee and bull-mount, accounted a sage in his own right). The apavāda: as the Hādi-vidyā is Lopāmudrā's, so other recensions of the Śrī-Vidyā mantra are named for their founders — Nandi is among them. The precise detail of the Nandi-vidyā, like Lopāmudrā's, belongs to the initiate.
Śrī Vidyā: Nandi-vidyā is the Vidyā associated with Nandi (Śiva's great devotee-mount); one recension of the Śrī-Vidyā mantra (parallel to Lopāmudrā's Hādi-vidyā) — its precise form held in the parampara.
734. नटेश्वरी — Naṭeśvarī
Translation: The Lady (īśvarī) of the Dancer (naṭa); consort of Naṭa-rāja, the dancing Śiva.
Adhyāropa–Apavāda: She is Naṭeśvarī — “Lady of the Dancer,” consort of Naṭa-rāja, the dancing Śiva. The apavāda: as Śiva dances the cosmic dance (the tāṇḍava, by which worlds are created, sustained, and dissolved — the five acts of Pañca-kṛtya), she is his consort, presiding (recall Mahā-tāṇḍava-sākṣiṇī; Lāsya-priyā to come). At Cidambaram, the great Naṭa-rāja temple, Śiva and Śivakāmasundarī dance together — the cosmic dance has two halves, his tāṇḍava and her lāsya.
Śrī Vidyā: Naṭeśvarī is the Lady of the Dancer (Naṭa-rāja); consort of the cosmic dancer whose tāṇḍava performs the five acts — the gentle lāsya to his fierce dance.
Śloka 142
मिथ्या-जगदधिष्ठाना मुक्तिदा मुक्तिरूपिणी ।
लास्यप्रिया लयकरी लज्जा रम्भादि-वन्दिता ॥ १४२॥
mithyā-jagad-adhiṣṭhānā muktidā mukti-rūpiṇī |
lāsya-priyā laya-karī lajjā rambhādi-vanditā ǁ 142 ǁ
At the opening of this śloka stands one of the most direct Vedāntic names in the whole hymn — Mithyā-jagad-adhiṣṭhānā, “the substratum upon which the false world is superimposed.” The technical Advaita vocabulary is exact: jagat is mithyā, neither real nor unreal (Śaṅkara's anirvacanīya); and the mithyā world requires an adhiṣṭhāna, a real substratum on which its appearance hangs — like the rope on which the snake-illusion is superimposed. She is named here as that substratum: the One Real on which the dream of the world appears. Then the liberation-names and the close of the movement.
735. मिथ्याजगदधिष्ठाना — Mithyā-jagad-adhiṣṭhānā
Translation: The substratum (adhiṣṭhāna) upon which the false (mithyā) world (jagat) is superimposed.
Adhyāropa–Apavāda: She is “the substratum of the false world.” The apavāda: this is one of the hymn's most precise Advaita names, naming the technical structure of adhyāropa-apavāda itself. The jagat, the world, is mithyā — not unreal (asat) like a rabbit's horn, nor real (sat) like Brahman, but “neither real nor unreal” (sad-asad-anirvacanīya), the way the dream is to the dreamer, the snake to the rope. And every mithyā appearance has an adhiṣṭhāna, the real ground without which the false couldn't appear: the rope is the adhiṣṭhāna of the snake, the gold the adhiṣṭhāna of the ring. The world's adhiṣṭhāna, the Real on which the world's appearance rests, is Brahman — and she is named here as that. To know her is to know the rope behind every snake, the gold within every ring, the Real on which every appearance hangs. (Plainly stated, this name contains the whole Advaita doctrine: the world's appearance is real as her, false as a separate something.)
Śrī Vidyā: Mithyā-jagad-adhiṣṭhānā is the substratum on which the false world is superimposed; the Goddess as Brahman, the one Real on which the whole appearance of the world depends — the rope behind every snake, the gold within every ring.
736. मुक्तिदा — Muktidā
Translation: The giver of liberation (mukti).
Adhyāropa–Apavāda: She is “the giver of liberation.” The apavāda: of the four puruṣārthas (dharma, artha, kāma, mokṣa), mukti/mokṣa is the supreme; she who is the giver of every aim (Sarvārtha-dātrī) gives also the highest (recall Kaivalya-pada-dāyinī). The mukti she gives is no separate gift but the gift of herself — the realisation that one is and was always already free, hidden only by the superimposition just named. To know the Real on which the world rests is itself mukti.
Śrī Vidyā: Muktidā is the giver of liberation; bestowing mukti/mokṣa, the supreme of the four puruṣārthas — the gift of herself, the realisation that one is already free.
737. मुक्तिरूपिणी — Mukti-rūpiṇī
Translation: Whose form is liberation (mukti) itself.
Adhyāropa–Apavāda: She is “of the form of liberation.” The apavāda: deepening Muktidā — she does not merely give mukti, she is it; mukti is her form, her very nature (recall Cic-chakti, Jñāna-vigrahā). To attain her is therefore to be liberated; the goal, the means, and the giver are one. The supreme gift is no separate thing from the giver: she is the freedom she bestows.
Śrī Vidyā: Mukti-rūpiṇī is of the form of liberation; mukti itself, her very nature — the gift, the giver, and the goal one.
738. लास्यप्रिया — Lāsya-priyā
Translation: Fond of the lāsya (the gentle, feminine, graceful dance, complement of the tāṇḍava).
Adhyāropa–Apavāda: She is “fond of the lāsya” — the gentle, graceful, lyrical dance, the feminine complement of Śiva's vigorous tāṇḍava. The apavāda: as Mahā-tāṇḍava-sākṣiṇī she witnesses Śiva's great cosmic dance; here she delights in the lāsya, the soft dance attributed to Pārvatī — the dance of grace, beauty, and feminine play. The cosmic dance has two halves: tāṇḍava (Śiva's, vigorous) and lāsya (Pārvatī's, graceful); she enjoys the latter as her own. Inwardly, the play of bliss in consciousness is lāsya — the gentle dance of awareness in its own beatitude.
Śrī Vidyā: Lāsya-priyā is fond of the lāsya (the gentle feminine dance, complement of Śiva's tāṇḍava); the Goddess delighting in her own dance of grace, the inner play of bliss in consciousness.
739. लयकरी — Laya-karī
Translation: The maker of dissolution (laya); she who effects the cosmic absorption/withdrawal.
Adhyāropa–Apavāda: She is “the maker of laya” — the cause of cosmic dissolution. The apavāda: laya is the absorption-and-dissolution that ends a cosmic cycle (recall Saṃhāriṇī; Mahā-pralaya-sākṣiṇī); she performs this laya as her third great function. Inwardly, laya-yoga is the path of dissolution — the merging of mind back into source; she effects that inner laya too, drawing the seeker's awareness home. The dissolver of worlds and of the seeker's separate self.
Śrī Vidyā: Laya-karī is the maker of dissolution; effecting both cosmic laya (the third function) and the inner laya-yoga of the seeker — drawing all back to source.
740. लज्जा — Lajjā
Translation: Lajjā — Modesty; the bashfulness/reverent shame personified as goddess.
Adhyāropa–Apavāda: She is Lajjā — “Modesty,” the bashfulness or reverent shame personified as goddess. The apavāda: lajjā is among the natural feminine qualities revered in the dharma tradition (and one of the Mātṛkās in some lists) — the modesty that adorns; she is that very quality. Esoterically, lajjā is a name of the seed-syllable hrīṃ (her central bīja), called lajjā-bīja; she is the Goddess as hrīṃ (recall Hrīṅkārī). Two senses: the virtue, and the bīja. (The esoteric hrīṃ-reading is held with the initiate.)
Śrī Vidyā: Lajjā is Modesty (the reverent shame personified), and a name of the seed-syllable hrīṃ (the lajjā-bīja); Modesty-virtue and the hrīṃ bīja (recall Hrīṅkārī) — the esoteric reading held in the parampara.
741. रम्भादिवन्दिता — Rambhādi-vanditā
Translation: Worshipped (vanditā) by Rambhā and the other celestial nymphs (apsaras).
Adhyāropa–Apavāda: She is “worshipped by Rambhā and the others” — by Rambhā (the foremost apsaras) and her companions Urvaśī, Menakā, and the rest. The apavāda: the most beautiful and accomplished dancers of heaven worship her; the apsarases, whose art is dance and song, adore the Goddess of the lāsya — the supreme dancer honoured by the great dancers. Beauty's celestial mistresses are her devotees, fittingly closing this stretch.
Śrī Vidyā: Rambhādi-vanditā is worshipped by Rambhā and the celestial nymphs; the Goddess of the lāsya honoured by the great heavenly dancers (Rambhā, Urvaśī, Menakā…).
Devanagari per the sanskritdocuments.org recension (Brahmāṇḍa Purāṇa, Uttarakhaṇḍa; Hayagrīva–Agastya saṃvāda); numbering per the arunachala / Bhāskararāya canonical 1000-count. Transliteration, translation, and commentary original to this edition. — End of Part XVII.
