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The poet praises the goddess in many forms — as Vidya (knowledge), Katyayani, Kali, Kamakoti, Bharati, Bhairavi, Bhadra, Shakini, Shambhavi, and Shiva...
The goddess is addressed with a string of epithets: Malini (garlanded), Maheshachalini (consort of Mahesha), Kanchi-khelini (sporting in Kanchi), Vipa...
The poet wonders if the radiant blossoming of youth in Kamakshi is the true initiation into the sacred Kama-agama, under the guardianship of Shula-pan...
The poet envisions the goddess with full and heavy breasts likened to a grand vessel, exuding a richness compared to the Vaitandika vessel. Her body g...
The poet describes seeing a most splendid Kanchi adorned with superior jewels and gold, more resplendent than any other. This Kanchi is none other tha...
On the familiar banks of the Kampa river, the goddess stands as the armor of the Mountain King’s virtues (daughter of Himavan). By the grace of the su...
The goddess’s youthful beauty and charm overpower even the great ascetic Shiva, who once burnt Kama (the god of love). Her mastery over the art of div...
The verse shifts to a tribal setting where a Pulinda maiden plays, dressed in Tamala-leaf garments and wearing a snake as an ornament. She is adorned ...
The goddess sits with a parrot on her lap, singing joyfully, while in her vicinity musicians perform. She is Bhairava-mandalini, dwelling near Bhairav...
The goddess is hailed as the liberator of her devotees (“Tapa-varga”), the creator of many worlds, associated with lions, full of joyous splendor, and...
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