kāvyakaṇṭha vāsiṣṭha śrī gaṇapati muni viracitam umāsahasram
Uma Sahasram
pañcadaśaḥ stabakaḥ - svāgatāvṛttam
The fifteenth Stabaka, entitled **Śakteḥ Svāgatam — “Welcoming the Divine Śakti”**, is a deeply experiential celebration of the Goddess awakening and manifesting within the yogic body. The verses describe Her as the subtle essence hidden in all beings, discoverable through inner refinement, tapas and the “churning” of prāṇa and awareness. Muni then traces the inner process through the **Mūlādhāra, the rising fire, the thousand-petalled lotus, the lunar nectar and the descending stream of bliss**, until the awakened Śakti fills the entire body with a current of *ānanda*. The title reaches its culmination in verses 374–375, where Muni explicitly cries **“svāgatam” — welcome!** to the universally worshipped Mother who has entered his own being and reached the Sahasrāra for Her divine play.
The Stabaka also gives an unusually profound interpretation of **inner yajña**. Ordinary breathing, movement and perception become forms of spiritual *manthana* when consciously observed; the fire in the *kula-kuṇḍa* becomes the yogin’s perpetual Agnihotra, while the nectar flowing from the crown becomes Soma. Muni asks whether the Goddess drinks this Soma, is Herself the Soma, or simultaneously becomes the drink, the drinker and the act of drinking—beautifully dissolving the distinction between experiencer and experience. He further identifies this blissful rasa with the **rasa spoken of in the Taittirīya tradition and the parāmṛta of Tantra**, thereby bringing Vedic, Upaniṣadic, Tantric and yogic teachings into a single experiential framework.
Muni’s writing here reveals not only scriptural expertise but the voice of a **practising yogin describing subtle experience with remarkable precision**. Images of smelting gold, churning fire from araṇis, pressing Soma, lunar clouds raining nectar, and a stream flowing through marrow give concrete poetic form to difficult yogic states. The **Svāgatā metre** is used with particular artistry: the name of the metre itself becomes the theme of the final welcome to Bhavānī. Thus metre, doctrine and personal realization converge—the poet does not merely describe Śakti from afar, but **welcomes Her awakened presence within his own body as consciousness, nectar and bliss**.
pañcadaśaḥ stabakaḥ - svāgatāvṛttam
śakteḥ svāgatam
āpadāmapaharantu tatiṃ naḥ sampadāmapi diśantu samṛddhim ।
dantakundarucidattabalāni vyomakeśasudṛśo hasitāni ॥ 351 ॥
alpamapyadhikaśaktisamṛddhaṃ mandamapyadhikasūkṣmavisāram ।
susmitaṃ smaravirodhiramaṇyāḥ kalpatāṃ mama kulasya śubhāya ॥ 352 ॥
puṣkarādravimato bhuvametāṃ bhūmitaśśaśadharaṃ kramamāṇā ।
naiva muñcati padaṃ bata pūrvaṃ nottaraṃ vrajati neśapurandhrī ॥ 353 ॥
bhūṣaṇeṣviva savitri suvarṇaṃ mṛttikāmiva ghaṭeṣvakhileṣu ।
viśvavastuṣu nirastaviśeṣāṃ devi paśyati satīṃ vibudhastvām ॥ 354 ॥
kiṭṭabhūtamakhileśvarajāye dṛśyajātamakhilaṃ nijapāke ।
prāṇabuddhimanasāmiha vargaḥ sārabhūta iti sūrijanoktiḥ ॥ 355 ॥
sāramīśvari tileṣviva tailaṃ vigraheṣu nikhileṣu nigūḍham ।
ye dhiyā mathanato vidurekaṃ te bhavanti vibudhāstvayi līnāḥ ॥ 356 ॥
āyasaṃ tribhuvaneśvari piṇḍaṃ vahnineva tapasā tanupiṇḍam ।
yasya cijjvalanajālamayaṃ syāt taptamamba sa tavālayabhūtaḥ ॥ 357 ॥
yo'raṇermathanato'tipavitraṃ vītihotramiva vītakalaṅkaḥ ।
prāṇamujjvalayati svaśarīrāt tvāmasāvabhayade'rhati yaṣṭum ॥ 358 ॥
prāṇatā śvasitameva vicāryaṃ kurvatā karaṇameva nibhālyam ।
gacchatā gamanameva viśodhyaṃ tattanau mathanamāgamabodhyam ॥ 359 ॥
yo rasaṃ pibati mūrdhasarojāt somapo'yamanaghaḥ prayatātmā ।
agnihotramakhileśvari nityaṃ mūlakuṇḍadahanasthitirasya ॥ 360 ॥
cinmayī pibasi somamimaṃ kiṃ soma eva kimasāvasi mātaḥ ।
pīyase pibasi ca svayamekā peyapātṛyugalaṃ kimu bhūtvā ॥ 361 ॥
taijasaṃ kanakamagnivitaptaṃ teja eva kanakāṅgi yathā syāt ।
modarūpakalayā tava taptaṃ tanmayaṃ bhavati modajapiṇḍam ॥ 362 ॥
kā'pi modalaharī tava vīcirnirgatā daśaśatārasudhābdheḥ ।
pūrayatyakhilamamba śarīraṃ neha vedmi parame jaḍabhāgam ॥ 363 ॥
seyamuttamatamā nipatantī śītalāddaśaśatārapayodāt ।
preritādakhilarājñi bhavatyā buddhisasyamavatādrasavṛṣṭiḥ ॥ 364 ॥
dugdhasindhumathanādamṛtaṃ vā śabdasindhumathanātpraṇavo vā ।
labhyate sukṛtibhistava vīcirmūrdhakañjamathanādrasa eṣaḥ ॥ 365 ॥
asthiṣu pravahati prativegaṃ majjasāramamṛtaṃ vidadhānā ।
bibhrati madamanuṣṇamadoṣaṃ mūrdhakañjanilaye tava dhārā ॥ 366 ॥
taittirīyakathito rasalābhaḥ so'yameva sakalāgamavaṇye ।
etadeva śaśimaṇḍalanāthe tantrabhāṣitaparāmṛtapānam ॥ 367 ॥
mūrdhasomamajarāmararūpe yuktavīkṣaṇakareṇa nipīḍya ।
śambhusundari sunomi dhinomi tvāṃ pradīptakulakuṇḍaniśāntām ॥ 368 ॥
dṛṣṭireva ravidīdhitirugrā śīrṣakañjaśaśinaṃ praviśantī ।
śītalāmṛtamayī khalu bhūtvā yogino dravati modakalā te ॥ 369 ॥
mūrdhani dravasi yogayutānāṃ cakṣuṣi jvalasi śaṅkarabhāme ।
tiṣṭhasi sthirapadā kulakuṇḍe bāhyataḥ skhalasi naiva kadā'pi ॥ 370 ॥
sā yadi dravati modakalā syāt sā yadi jvalati citkalikā syāt ।
sā parā sthirapadā yadi tiṣṭhatyakṣarā bhavati kācana sattā ॥ 371 ॥
paśyatā nayanamaṇḍalavṛttiṃ gṛhyase tvamacalādhipakanye ।
jānatā daśaśatāravilāsaṃ spṛśyase viditamamba rahasyam ॥ 372 ॥
vyāptaśaktyasubalena lasantī bhānubimbanayanena tapantī ।
candrabimbamanasā viharantī sā punarjayati mūrdhni vasantī ॥ 373 ॥
svāgataṃ sakalalokanutāyai svāgataṃ bhuvanarājamahiṣyai ।
svāgataṃ mayi bhṛśaṃ sadayāyai svāgataṃ daśaśatāramitāyai ॥ 374 ॥
satkavikṣitibhujo lalitābhiḥ svāgatābhiranaghābhirimābhiḥ ।
svāgataṃ bhaṇitamastu bhavānyai khelanāya śira etaditāyai ॥ 375 ॥