kāvyakaṇṭha vāsiṣṭha śrī gaṇapati muni viracitam umāsahasram
Uma Sahasram
dvitīyaḥ stabakaḥ - pañcacāmaravṛttam
The second Stabaka, entitled **Sargādi-varṇanam — “Description of Creation and its successive manifestations”**, develops the cosmological vision introduced in the first Stabaka. Śrī Gaṇapati Muni begins with devotional praise of Umā as the hidden, compassionate and all-powerful Śakti who creates, sustains and dissolves the three worlds. He then proceeds to describe how the universe unfolds from the Supreme through Śakti: from the subtle state of divine consciousness and will, through space, luminous particles, solar systems, planets, the earth and moon, and finally into embodied beings. The title is therefore fully justified, because the central portion of the Stabaka presents a sustained account of **sarga — the emanation and ordering of the cosmos — together with the divine principles operating within it**.
The verses also reveal Muni's extraordinary ability to bring **Tantric, Vedic, philosophical and cosmological systems into a single coherent vision**. Bhava and Sat, Bhavānī and Satī, Cit, Kāmanā, Kriyā and Mati are shown as different expressions of one supreme Consciousness-Power. He then interprets familiar theological systems—Trimūrti, Hiraṇyagarbha, Virāj, Soma, Indra, Agni, Rudra and Sadāśiva—not as mutually exclusive doctrines, but as different names and standpoints for manifestations of the same divine Reality in space, the sun, the human being and the subtle universe. In this way, the Stabaka becomes much more than a creation narrative: it is a map connecting **cosmos, deity, consciousness and the human microcosm**.
Muni's literary mastery is equally striking. In the vigorous **Pañcacāmara metre**, he moves with ease from lyrical devotion and philosophical argument to highly condensed cosmological description. His characteristic skill lies in taking difficult metaphysical ideas and expressing them through vivid images of fire, smoke, rays, particles, spheres and luminous bodies, while simultaneously weaving together śāstric terminology from several traditions. The concluding verse beautifully turns the metre itself into an offering: these *pañcacāmaras*, composed of delicate words, are imagined as forming a precious couch for the lotus feet of the Divine Mother. Thus philosophy, cosmology, devotion and poetic craftsmanship are seamlessly united.
dvitīyaḥ stabakaḥ - pañcacāmaravṛttam
sargādivarṇanam
sahādareṇa yo valakṣapārijātamālayā
galasthalīvibhūṣayā dhvaniṃ vinaiva bhāṣate ।
maheśapuṇyayoṣito manojñahāsa eṣa me
vibhūtaye prakalpatāṃ vidhūtaye ca pāpmanām ॥ 26 ॥
nirantaraśrite sadā kṛpārasapravāhinī
vilāsinītanurvibhoḥ pumākṛtervimohinī ।
sudhātaraṅgakalpahāsabhāsurānanā śivā
padābjalambino dhunotu pāpmanaḥ phalaṃ mama ॥ 27 ॥
karoti yā bibharti yā nihanti yā jagattrayaṃ
samantato vibhāti yā na dṛśyate kvacicca yā ।
atīva guptarūpiṇī gurūpadeśamantarā
na śakyate budhaiśca boddhamandhakārisundarī ॥ 28 ॥
mahāndhakārabandhurasya bhūtasañcayasya yā
vinidritasya sarvabījadhāgni maunamudrite ।
samantato vijṛmbhaṇāya bhāsanāya cābhavan
mahadvidhāya ceṣṭitaṃ mameyamiṣṭadevatā ॥ 29 ॥
maheśagarbhataḥ samastabhūtabījakośataḥ
kirantyaśeṣaviśvamapyapāradivyavaibhavā ।
vicitraceṣṭayā''dyayā vidhūtanāthanidrayā
jagannutā jayatyasāvanādiśaktiradbhutā ॥ 30 ॥
bhavaṃ bhaṇanti tāntrikāstvadāśrayaṃ tamavyayaṃ
samāmananti vaidikāḥ sadarcite sadāhvayam ।
na kaścidarthabheda etadākhyayordvayorbhave-
dbhidaeyamādimaṃ padaṃ pumānparaṃ napuṃsakam ॥ 31 ॥
sa cedbhavo'bhidhānato bhavānyasi tvamavyaye
samīryate sa sadyadi tvamamba bhaṇyase satī ।
na te'sti bhāvatā na śaktirūpiṇī hi vidyase
na vedmi kālike kathaṃ sato'sataśca bhidyase ॥ 32 ॥
jagadvidhānakāryataḥ purā surāsurastute
tvamamba jīvitaṃ bhavasyabhāvamūlavādinām ।
vikalpavarjitā matiḥ prabodhamūlavādināṃ
raso'napekṣa uttamaḥ pramodamūlavādinām ॥ 33 ॥
bhavatyasāvato bhavānyanādirantavarjitā
jaganti māti nityamorasau tadabhyadhāyyumā ।
rasātmikośyate'khilairasau tataḥ śivocyate
paraivamīśituścitisridhā budhairudīryate ॥ 34 ॥
citiḥ paraiva kāmanā rasena kenacidyutā
citiḥ paraiva sarvadā'pyanantyajasya tu kriyā ।
citiḥ paraiva gocarāvabhāsikā matiḥ smṛtā
tritaivamanyathā citeścirantanairudīryate ॥ 35 ॥
cikīrṣati prabhau jvalattvadīyakīlasantate
vikīrṇadhūmajālametadambarasthalaṃ tatam ।
visṛ ṣṭitaḥ purā'si yā śivaprabhutvarūpiṇī
pṛthakprabhuśca lakṣitā'si sā savitri puṣkare ॥ 36 ॥
punarvipākato ghanībhavadbhirakṣigocarai-
statastataḥ samujjvalaiḥ khasūkṣmareṇugolakaiḥ ।
ajāṇḍavṛkṣakoṭikandabṛndavadvayadhāḥ purā
maheśadṛṣṭimayyume'mba maṇḍalāni bhāsvatām ॥ 37 ॥
tapo'gnidhūmajālake bhavanti taijasāṇavo
bhavanti jīvanāṇavo bhavanti pārthivāṇavaḥ ।
krameṇa tadvisṛṣṭirīśaśaktipākavaibhave
sahasrabhānumaṇḍalaṃ tu gocarādi gṛhyatām ॥ 38 ॥
mayūkhamālimaṇḍale nidhāya pādamugrayā
mayūkhaśaktirūpayā tvayā'mba ceṣṭamānayā ।
khakośataḥ samāhṛtaiḥ punastrirūpareṇubhir-
vyadhāyi maṅgalādibhiḥ saha grahairiyaṃ mahī ॥ 39 ॥
visarjanena bhūyasā'pi devyatṛptayeyatā
viceṣṭitaṃ vilakṣaṇaṃ punarvyadhīyata tvayā ।
ihāntare vasundharāmayūkhamālibimbayor-
amuṣya karmaṇaḥ savitri candramaṇḍalaṃ phalam ॥ 40 ॥
vadhūpumākṛtī tato babhūvathuryuvāṃ śive
tvamīśvaraśca līlayā vihartumatra viṣṭape ।
aho prabhuṃ nabhastanuṃ tvadīyagarbhasambhavād-
bhaṇanti kāli tatra citrabhāṣaṇāstvadātmajam ॥ 41 ॥
pumāmatho sa bimbato hiraṇmayo divākare
dhiyā'pi naiva kevalaṃ hiraṇmayena varmmaṇā ।
idaṃ tu kāryarūpamanyaducyate budhaiḥ prabho-
rihāntare nṛṇāṃ punarvapustadamba bimbitam ॥ 42 ॥
svayaṃ ca kāñcanaprakāśavarṣmaṇā prabhākare
tathā'ntare nṛṇāṃ ca tasya bimbitā'si sannidhau ।
rasasya devatā'si devi puṣkare divākare
mayūkhadevatā'si bhogadevatā'si dehiṣu ॥ 43 ॥
visarjanena bhūyasā nabhasyamutra bhāskare
mahīṣu cāmbike yuvāṃ vidhāya dehino bahūn ।
kṣiteḥ sudhākaraṃ gatān pitṝn vinetumavyaye
tanū ca tatra babhrathuḥ prapañcarājñi māyayā ॥ 44 ॥
nabho'ntare hiraṇmayaṃ vibhuṃ pracakṣate haraṃ
dineśabimbabimbitaṃ bhaṇanti paṅkajāsanam ।
ihāsmadantarālayaṃ vadanti viṣṇumacyutaṃ
savitri janmināmiyaṃ trimūrtivādidhoraṇī ॥ 45 ॥
nabho'ntare pracakṣate hiraṇmayāṅgamīśvaraṃ
dineśabimbapūruṣaṃ hiraṇyagarbhamākhyayā ।
virājamānamakṣaraṃ virājamantare nṛṇāṃ
savitri tattvavedināmiyaṃ tu nāmakalpanā ॥ 46 ॥
hiraṇmayāṅgamambare vadanti somamambike
divākarasya maṇḍale tu bimbitaṃ purandaram ।
śarīriṇāmihāntare'gnimālapanti bhāsuraṃ
cirantanoktidarśināmiyaṃ śive praṇālikā ॥ 47 ॥
saroruhākṣavāgvadhūmanoharau tu pūrvava-
tsudhāṃśubimbapūruṣastu rudrasaṃjñakaḥ śive ।
hiraṇmayo'ntarikṣajāta īśvaraḥ sadāśivaḥ
sadeva vastu kāñcanāṅgi pañcamūrtivādinām ॥ 48 ॥
prabhoḥ pramā''ditastataḥ pramāvatī svayaṃ pṛthag
vihāyasā śarīriṇī prabhau tato hiraṇmaye ।
hiraṇmayāṅganākṛtirnabho'ntare ca bhāskare
tathā'ntareṣu dehināṃ maheśvarī jayatyumā ॥ 49 ॥
madīyamambikā'khilasya viṣṭapasya duṣṭadhī
daviṣṭhapādapaṅkajā dhunotu kaṣṭajālakam ।
ime ca komalaiḥ padairamūlyatalpaśālina-
stadīyamañcarūpatāṃ bhajantu pañcacāmarāḥ ॥ 50 ॥