Parasara Bhatta.{DSP}

The pancaratra (sattvata) religion.
This is also known as Bhagavata system. It is one of the two main divisions of Srivaisnava religious texts, the other being the Vaikhanasa. Sattvatam patih the word sattavata is the sastra (scripture)orthe word karman or sattavan. (REF 514 SVB)
Also under the name jnanamuttamam it is interpreted to mean the pancharatra through which all other knowledge including the duties of a srivaisnava can be obtained. (455)
One of the important characteristics of the pancharatra religion is the vyuha theory. The supreme being has five aspects, Para, Vyuha, Vibhava, arca, and Antaryamin. The Para form is also known as Vasudeva. The vyuha aspect is four fold (chaturvyuha) as Vasudeva, Sankarshana,  Pradyumna and Aniruddha.
Chaturatma and chaturvyuha Parasara mentions the four vyuhas and explains how one and the same God can also be four fold. The Lord though one manifests himself as these four deities for carrying out different cosmic functions, arranging and distributing those functions among these four forms for the benefit of the devotees. Each of these four vyuhas has its own configuration, colour, ornaments weapons vehicles banner etc. In the work Srirangarajastava Parasara makes a detailed statement about the nature and function of the vyuha's. The six qualities in their totality make up the body of Vasudeva, which is within the reach of the Mukta's (Muktabhogya). Samkarshana in whom the qualities of jnana and bala are predominant is responsible for the destruction of the universe. The Pradyumna vyuha connected with aisvarya and virya carries out the teaching of religion. Anirudha connected with shakti and tejas protects the world and confers the knowledge of truth. Parasara states that these foru forms are meant for the contemplation of different aspirants and that they correspond to the four states of wakefulness (jagrat) dreaming (svapna) deep sleep (atyalasa or suspti) and the final stage (murcchaa) respectively.
There is a su btle difference between the Para Vasudeva and Vyuha Vasudeva. The Para Vasudeva who is also known as nityodita being the object of experience of the mukta's is the source of the three subsequent vyuha's.
His works.
1. Astasloki.
2. Kriyadipa.
3. The Bhagavadgunadarpana.
4. Srigunaratnakosa.
5. Sriranganatha stotra.
6. Srirangarajastava.
7. Tattvaratnakara.
8. Adhyatmakhandadvaya.
9. Nyayasiddhanjana.
10. Lakshmikalyana.
11. Commentaries on Subalopanishad, Muktas (Tirumanjana Kattiyangal, Tirumanjana Kavis, Kaishika purana, Varahapurana, Tiruneduntandakam. Ramayana, Gita, Kalidasa, Bhartrhari, and Bhattar Nirvaham.

In All Parasara Bhatta wrote 12 works 10 in Sanskrit and two in Tamil. He was a prolific writer of great distiction with a unquestionable comand of both the languages. He also wrote a number of stray verses in Sanskrit. He is also known for his original interesting elucidations and interpretation of some passages of Divya Prabhandam, which are popular in the learned traditional circles as nirvaha's.
Of the Sanskrit works only six are available in full. They are Astasloki, Kriyadipa, The Bhagvadgunadarpana, Srigunaratnakosa, sriranganatha stotra and Srirangaraja stavam. His three other sanskrit works Adhyatmakandadvaya-vivarna, Tattvaratnakara and Lakshmi Kalyana nataka are all available in few fragments only that too preserved in the quotations of Swami Vedanta Desika. His Subaloupanishad-vivarna is quoted by Narasimhadeva in his work Ananadadayini which is a commentry on Sarvarthasiddhi, which itself is an auto commentry by Vedanta desika on his Tattvamuktakalpa.

1. Astasloki.
The work is in eight verses, marked by brevity and clarity explaining the three important secrets of the Srivaishnava religion and philosophy, namely, the astaksara, the dvaya and the charma sloka. The Astaksara is an eight syllabled mantra OM NAMO NARAYANAYA, held in very high esteem by a srivaishnava. It is to be repeated every day. The Dvaya Mantra, SRIMANNARAYANA-CARANAU SARANAM PRAPADYE, SRIMATE NARAYANAYA NAMAHA, this expression brings out the total surrender of the devotee to the lotus feet of the Lord Narayana  who forms the supreme godhead along with his consort Sri. As for the Charma sloka the verse SARVADARMAN (BG 18 - 66) acording to Srivaishnavas it pinpoints whole hearted surrender as the effective means of salvation.
The astasloki is couched in long meters as Sikharini, Sardulavikridita and Sragdhara very effectively bring out the importance of these three secrets which form part of the daily recitation and routine of an orthodox Srivaishnava. The first four verses are devoted to explain the astaksara and next two for dvaya and the last two explaining the charma sloka.

2. Kriyadipa.
Vedanta desika in his Rahasyatrayasaram mentions rather quotes three verses from this Nitya grantham of Parasara. It appears as if every spiritual teacher of those days was obliged to compose one nitya grantham for the benefit of his disciples and followers.

3. The Bhagavadgunadarpana.
This is a masterly commentary on the Vishnusahasranama, which is a part of the anussasanaparvan of the Mahabharatha. This is his only work in Prose. In his introduction to the commentary Parasara stresses the efficacy and popularity of this stotra and then explains at length the tattva (Truth or reality) hita (means) and Purushartha (the Human end) according to the visistadvaita school. True to the Srivaishnava concept, the author brings out the glory of the supreme Lord as saguna (with Qualities). He also discusses other important tenets of the school such as the body soul relationship (sharira atma bhava) between the world and the Lord, the state of release, the supremacy of the Lord, and his inseperable relation with Sri His consort. There are ample quotes from the Upanishads, the epics,pancharatra texts (satvata and Pushkara samhita) and from Puranas like Vishnu, Bhagvata and Varaha.

4. Srigunaratnakosa.
This is an elegant hymn addressed to goddess Sri comprising sixty one stanzas. Parasara identifies Sri with Sita and again with Sriranganayaki the presiding deity at Srirangam. He describes Sri not as an elderly matron, not even as a maiden who has attained efflorescence but as an adolescent girl who is just in the confluence of childhood and fresh youth called by Parasara as Saisavayauvana-vyutikara.
Another striking feature of the hymn is that he views Lakshmi not only as a presiding deity of prosperity and plenty, but as one who can bless her devotees with remarkable powers of speech, the art of poesy in particular, through her mere glance. This is one of the finest devotional lyrics in the literature of Srivaishnava stotra kept in the tradition of daily chanting (parayana) of a devout Srivaishnava. Parasara traces the concept of Sri to the early vedic literature and tries to establish that even the glory of Lord Vishnu is dependent upon that of His consort. Rising to supreme heights of poetic charm the author describes Lakshmi as responsible even for the creation, sustenance and dissolution of the universe, inspiring her lord to carry out these cosmic functions. The graphic descriptions in which the poet excells in presenting the glorious picture of Lakshmi as the presiding deity of plenty, prosperity and exquisite charm are matched by a vivid portrayal of the same Goddess as the considerate and compassionate mother of all beings full of the milk of human kindness. Perhaps the concept of Lakshmi's mediacy (purusakara) between God and men owes much to this Picture of Lakshmi drawn by Parasara. He justifies the Motherhood of Lakshmi in what may be called the dramatic style of engaging her Lord in a lively and lovely conversation, pacifying the anger of Her Lord and assuaging the fear of the errant child.

5. Sriranganatha Stotra.
The stotra in six verses is yet another beautiful work. the printed version of this stotra has eight verses the last two being added from his stray (Muktaka) verses. all the eight are chanted among the traditional circles. Known for the candid and clear style the verse bring out the feelings of the poet (an ardent devotee) expressing his pangs when seperated from his chosen deity. Every verse describes the feelings of the poet yearning for his daily ablutions in the river Kaveri, for worshiping Lord Ranganatha, for repeating his holy names, and other such devotional activities. This stotra is in the tradition of daily repetition by an ardent Srivaishnava. probably written by the author when he was away from Srirangam due to the displeasure he incurred of the then chola king Virasundara.

6. Srirangarajastava.
This is the longest and most important stotra composed by Parasara. it consists of 232 verses, divided into two sections called Purvasataka and Uttara sataka (100) The first section deals with the glory of Lord Ranganatha whom the author calls Rangaraja, the emperor or ruler of Srirangam. The Srivaishnava agamas states that the supreme being should be honoured as an emperor. True to this tradition Parasara gives a grand description of Ranganatha the presiding deity  of srirangam whom he identifies with Lord Vishnu the supreme being sung in the sacred literature. Of special mention are the Lords innumerable perfections of which compassion is of utmost significance to the devotee. The author also provides a very beautiful description of the temple of Srirangam, its environs, the Kaveri the gardens surrounding the temple and so on.
In contradistiction to the Purvasataka, the Uttarasataka concerns itself with several issues such as the supremacy of the Lord, the claims of other schools of thought regarding the purport of the upanidashic texts, the nature of moksha and the like.
Parasara a reletless critic of other schools of thought can be seen in this piece of poetry as an uncompromising champion of the cause of the Srivaishnava school. He here is following his illustrous father Srivatsanka Mishra who also earlier composed his Panchastavi interspersing philosophical disquisitions and criticisma of other schools, while glorifying certain deities of his own choice. This practice was first started by Yamunacharya of clothing philosophical ideas and criticism of other schools in the grab of lyric poetry.

7. Other works of Parasara.
Of the lost works of Parasara the Tattvaratnakara is perhaps the most important. about 42 fragments of this masterly treatise on Tattva (reality) is available exclusively through the quotations by Vedanta Desika. it is a mix of Prose and verse. the Tattvaratnakara appears to be an ocean (ratnakara) of several philosophical concepts of the Visistadvaita school. a clear picture of the plan of this work is not possible because of its incomplete nature. it seems to be divided into chapters caled prakarana and sections called padas though.
the political conditions during the 12th century may have been one of the causes, another being earlier scholars like Yamuna and Ramanuja's works especially Sribhashya might have led to the comparative neglect of the Tattvaratnakara. another reason stated is that Parasaras theology foreshadowed the doctrine of the tenkalai school and so naturally was not favoured by the other group, the vadagalai school. It may just be the sheer ravages of time,accidents and lack of facilities for the preservation of manuscripts might have led to the loss of this monumental work.

topics of Tattvaratnakara are:
samasya, pramana, aprokshyam, samyoga, savikalpaka, nirvikalpika, anarvachina, vyapti, upadhi (this is in detail two fold etc) anumana, lakshana, kevalavyatirekin, anumana as svartha, syllogism (according to nyaya there are five members in an anumana vakya meant to enlighten another person they are pratijna (declaration) hetu (reason) udaharana ( example) upanaya (application) nigamana (conclusion) but visistadvaitins say they should be no hard and fast rule. he too concludes alike.)chala, jatis, hetavabhasa, anugrhaya, arthapatti, abhidha, anvitabhidhana, ahuscaivam abhiyuktah, sastra,(aikasastraya) dharmadhi, manabheda, anga,prayukti, karma, kartr,atidesa, visesa, uha, badha, tantra,prasakti, smriti,cestita, manas, pratyabhijana, tamas, svayamprakashtva, manasaprathyaksa, sanmatra, prakrti,pratyaya, and svara, sabda, siddhanta, anutva, samkhya, bheda,jati,karman and guna, kriya and dravya, sadrsya, apauruseyatva, vidhi, sasana.
The Adhyatmakhandadvaya Vivarna has been preserved only in the form of two quotations found in the Nyaya siddhanjana. The first quotation is concerned with the definition of Sarira given in the Sribhasya of Ramanuja. Vedanta desika while introducing this quotation says that some take Ramanuj's statement as forming a single definition while others hold it as comprising three definitions. Desika says that Parasara is of the view that it holds three definitions. That both the sentient and insentient beings form the body of the Lord by virtue of their being controlled by the Lord, being supported by Him and by virtue of their being subservient to the Lord.
Another quotation from the Adhyatmakhandadvaya vivarna found in the Nyayasiddhanjana mentions the similarity between aisvarya (lordship) and akasara (kaivalya) both of which are different from liberation (Moksa) which is the highest state of bliss.Aisvarya is only the joy of experiencing the material objects while aksara another name for kaivalya is the bliss resulting from experiencing ones own self. these two are two different degrees of joy. Moksa which constitutes the supreme bliss is therefore superior to both aksara and aisvarya.

Laksmikalyana, another work known only through three quotations is also known to tradition as a nataka. Only Vedanta desika has quoted a few lines from this work in his Sarasara which forms a part of his Chillarai rahasyangal (written for the women folk), his gita bhasya Tatparya chandrika and in his Rahasyatrayasara.

This could have been the Mangala Sloka of the Lakshmi kalyanam.

ananyadhimnakalyanam anyamangalakaranam
jagannidanamadvadvam dvandvam vandamahe vayam.

The sloka from sarasara runs 

svayam vastukurvan janamimam akasmat sarasija
prakarau padmayastava ca caranau nah saranayan.

The quote from Vedanta desikas Gitabhasyatatparyachandrika  where he says these lines from Lakshmi kalyana of Parasara.

dharme pramanam samayasyadiyo
vedasca tattvam ca tadistadaivam.
this in indravajra meter where he seems to be saying or listing the source of dharma.

The next work which is also lost to posterity is the commentary on the Subalopanishad which is generally refered to as Vakya or vivarna.
he Quotation being.
Yaduktam bhattaparasarapadair subalopanishad vivarne yadi bhutanamapi prakrititvam tarahi astau prakratyassodasa vikaraha iti sruteh ka gatiriti cet vedopabrmhananipunatara paramarsisandarshitaiva gatih nasmabhistadviruddhanirvahane bhinivesesta vyam.
He thus raises the question and answers it himself. the five organs of knowledge and the five organs of action with the five subtle forms of elements and the mind form the 16 vikaras.
Of the sanskrit works of Parasara which remains to be enumerated are the muktas or stray verses known as Tirumanjana Kattiyangal or Tirumanjana Kavis. these about 50 in number are recited even today at the Srirangam temple on occasions like ekadasi, amavasya, ayana, telugu and tamil newyear days and during Brahmotsavam. these are recited by the descendants of Parasara Bhatta.
The first of the stray verses is in the form of a dialogue between Lord and man. this is read when the icon of God is given a ceremonial bath, that is, when, to use the expression of the poet himself, the lord appears as a mrgyamadhyastha (one who is in search of a referee.)

Noticing the impurity and stubbornes of the jiva who thinks of himself as independent, the lord points out that the jiva - on the authority of sruti's, gita, and men of wisdom always belongs to the supreme, but the jiva enters into a debate with the Lord. the idol of the Lord, wet due to the abhiseka appears to our poet as though the Lord to prove his claim on the individual soul is taking an oath wearing wet clothes and a garland of the basil leaves. this practice is known as divya in the smrti texts. Parasara feels that in this particular context the Lord appears to be doing jala divya as well as tulsi divya. the dialogue  between the lord and jiva runs like this:

G for God M for Man.

G:  You are mine you belong to me.
M:  I belong to myself.
G:  (No) how is it possible.
M:  How about your own claim.
G:  This is on the authority of the Vedas.
M:  My statement is based on my experience which is beginningless in nature.
G:  But this is repudiated.
M:  Where and by whom is it repudiated?
G:  By me clearly in the Gita.
M:  Who is the witness?
G:  a man of wisdom.
M:  Well then he is partial to you.

What a beautiful conversation wherer God is ever eager to establish sesa sesi bhava
In the second verse Parasara fancies God to be a river (NADA) where man approaches with different activity anuvrtthi and so on for all the verses. where you see the stroke of the poets genius.

Of the Tamil compositions the commentary on the Kaisikapurana Mahatmya forming part of Varahapurana, held in high esteem by the Srivaishnavas. He explains the significance of singing the glory of the Lord at the Brahma Murhurta.
Parasara commentary on a particular stanza of Thirumangai alwars Tiruneduntandakam is an important landmark in the srivaishnava literature in Tamil. Every line of the commentary is replete with a varietyn of references and quotations from several sources Upanishad, ramayana Gita Kavyas etc.
We also have quite a few TamilNirvaha's which are interpretations of some of the expressions or passages found in the Divya Prabhandam eg Arayirappadi,Onpadinayirappadi and Muppattarayirappadi He was an authority on divya Prabhandam and used to give regular discourses on it in the course of which he used to explain in his own inimitable style several important and knotty passages much to the delight of his fortunate audience. these are traditionally known as Bhattar's nirvasham's.
A detailed study of Parasara can be employed under different headings
Literary estimates parasara's concept of poetry, the gun's present in the works/ hymns prasada, ojas, samata,kanti, susabdata, sabdhalankaras,arthalakaras, meters employed, his grammar and scholarly presentation his works and presentation so vast a life time is inadequate to read and imagine his love of God. no wonder then he is considered as an eminent poet writer after Ramanuja. Vedanta desika clarifies the contradictions that may arise from his works by amply quoting and explaining the meaning of parasara's works.
His Srigunaratnakosa has been commented upon by seven of his contempararies. His Astasloki has nearly 12 scholars who have admired the works and srirangaraja stava has four commentaries.
He definitely played and paved the basic concepts of Srivaishnava philosophy emphatically.

17
Orissa Review
July - 2003
Jagannatha-Puri - which is simply called Puri
is well-known throughout India as a place of
pilgrimage from the days of yore.1 An attempt
has been made in this paper to
show how this place was also a
chief centre of learning in Orissa
through the ages.
In ancient India religion
and learning were very closely
inter-mingled and each Tirtha or
holy place was also a centre of
learning and culture. Puri was no
exception to this general rule.
Though Puri as a Tirtha first finds
mention in the Vanaparva of the
Mahabharata, and its sanctity and
glory are elaborately described in
the Kurma Purana, Narada Purana,
Padma Purana, and the Vishnu
Khanda of the Skanda Purana, still
its cultural history can be definitely traced from
the 7th century of the Christian era, when
Indrabhuti the founder of the Vajrayana sect of
Buddhism flourished in Oddiyana or Orissa.
Indrabhuti and his sister Lakshminkara, were
closely associated with this place, which was
then a centre of Vajrayana in Eastern India.
Indrabhuti begins his famous work
'Jnanasiddhi'2 after offering his prayer to
Jagannatha, the manifestation of the Buddha in
its Mangalacharana.
Pranipatya Jagannatha Sarbajinabararchitam.
Sarbabuddhamayam Siddhibyapinam Gaganopamam.
(First verse of Chapter I)
There are also
references to Jagannatha in
four other verses of this
work.3 The influence of the
writings of Indrabhuti, who
was an author of a lot of
books on Vajrayana, was so
great and deep-rooted in
this land of his birth that
traditions regarding the
Buddhist incarnation of
Jagannatha have been
current in Orissa for
centuries and found
expression in the Oriya
literature of the fifteenth,
sixteenth and seventeenth centuries.
Next we come to the age of the great
Sankaracharya (788-820 A.D.) who in course
of his spiritual conquest of the whole of India,
stayed at Puri, which was well-known by his
time as a chief centre of religion and culture,
and founded one of his four Pithas called
'Goavardhana Pitha' here which has remained
in existence till today. Sri Padmapadacharya,
one of his four disciples, who was also a
Nambudiri Brahmana like his Guru was placed
Jagannatha Puri as a Centre of Culture
Through the Ages
Kedar Nath Mahapatra
18 July - 2003
Orissa Review
as the first Jagatguru or spiritual head of this
Pitha. According to tradition Sankara defeated
the Buddist Pandits of this place by his vast
learning and irrefutable arguments, converted
most of them to his own faith and proclaimed
Jagannatha Buddha as identical with the great
Brahmanical god Purushottama of the Gita.
This peaceful process of assimilation of a great
Buddhist deity into the patheon of Brahmanism,
strengthened its influence at Jagannatha-Puri,
which was a strong centre of Buddhism before
his days. In commemoration of this great event,
the images of Sri Sankara and Sri Padmapada
were installed on the Ratnasimhasana of
Jagannatha for worship. It is known from
Madalapanji, the chronicle of the Jagannatha
temple written in Oriya language that their
images were removed from that place during
the reign of Divyasimha Deva II (1793-1798)
Raja of Puri.4
Establishment of a Pitha by Sankara at
Jagannatha-Puri forms a landmark in the history
of Orissa, as it was followed by the revival of
Sanskrit learning and literature in this area. In
this age of revival just after a few years of
Sankara's visit to Puri, we find that the famous
drama 'Anargha Raghava Natakam' by Murari
was staged at Puri before an audience of
learned people at the time of a festival (Yatra)
of god Purushottama, the consort of Kamala,
who was being worshipped in the Tamala
forest on the sea shore, as will be evident from
the speech of the Sutradhara quoted below :
Nandyate Sutradharah. - Alamati Bistarena. Bho Bho
Labanoda-bela-banali - Tamalataru - kandalasya
Tribhuvana - moulimandana - mahanilamaneh
kamalakucha - kalasakole - kasturikapatrankurasya
Bhagabatah Purusottamasya Jatraya Mapasthaniya
Sabhasadah.
In this connection it may be stated that
all the three dramas of Bhavabhuti namely
Malati madhava, Mahavira Charita and Uttara
Rama-Charita were staged in festival times of
god Kalapriya Natha, who has rightly been
identified with the Siva of that name, whose
temple existed in Kanyakubja, the capital of
his patron Yasovarman.6 Similarly Murari who
wrote Anargha Raghava in imitation of
'Mahavira Charita' of Bhavabhuti, got it
performed at the time of the Car festival of
god Purushottama or Jagannatha, who must
have been the family-deity of his royal patron,
whose name remains yet to be traced.
Nothing definite is known about the
cultural history of Puri for a period of two
hundred years after Murari (850-1050) except
the description of the temple of Purushottama-
Jagannatha in the "Probadha Chandrodaya
Natakam"7 of Krishna Mishra (1050-1070) who
is traditionally assigned to Orissa, but definite
evidence is still lacking to prove the truth of
this tradition.
The darkness that shrouds the cultural
history of this place for a period of two
hundred years suddenly disappears, when we
come to Satananda, the famous astronomer,
who clearly states in the last verses of his
known and published work 'Bhasvati' that he
belonged to Purushottama, Purusottamasya was
the some of Samkara and Sarasvati and finished
his work in the Kaliyuga year 4200 or 1099
A.D. Another work on astronomy by Satanada
called 'Ratnamala' which is not yet published,
begins with benediction to Purushottama
Tasmei Namah Sri Purusottamaya,8 It is
referred to by famous Smriti writers of Orissa
like Vidyakara Vajapeyi, Narasimha Vajapeyi
and Visvanatha Misra as Ratnamalayam or
Satanandarathamalayam. The manuscripts of
this work are found in different parts of Orissa.
It may be noted here that Satananda who lived
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Orissa Review
July - 2003
in Puri is said by his commentator to have based
his calculation on the meridian of his native
city.9
The construction of the present
Jagannatha temple in place of the small old
dilapidated temple, some time after the
conquest and annexation of Orissa by
Cholaganga Deva in 1112 A.D. was an epochmaking
event in the history of Orissa. From
this time Orissa steadily became a very
powerful state, and it could not only retain its
independence and power, when the whole of
Northern India came under the Muslim
subjugation by 1200 A.D. but the invading
Muslim army of Bengal was repeatedly
defeated by its military strength.
From the Chatesvar inscription, it is
known that there was great revival of Hindu
religion and Sanskrit literature during the reign
of Anangabhima Deva III (1211-1238) by
whose efforts recensions of Puranas were
made and Vedic literature was properly
studied.10 It was during the reign of Cholaganga
Deva over the whole of Utkal (1112-1147) that
Sri Ramanuja in course of his Journey from
Melukote to Delhi and back between 1107 to
1117 A.D. visited and stayed at Puri for some
time. The effect of his visit was the change of
religious faith of Cholaganga Deva who
became a 'Parama Vaishnava' since 1112 A.D.,
though he at first as well as his fore-fathers
were 'Parama Mahesvara' for about 600 years
in commemoration of his visit to Puri, Sri
Ramanuja established a Matha there, which
still goes by his name. His disciple Govinda
established the 'Emar Matha' at Puri, which is
the greatest Matha in Orissa at present. It may
be noted here that the Oriya word 'Emar' is the
shortened form of the original Tamil word 'Emperu-
man-ar'. The existence of the Alvarnatha
Temple 16 miles to the south of Puri and a
village named Alwarpur (Oriya Alarpur) three
miles to the east of Bhubaneswar are also
reminiscent of the visit of Ramanuja, the last
of Alwars to Puri.
Vishnu Svami, another famous
Vaishnava preacher of Southern India, also
visited Puri in the second half of the twelfth
century and established a Matha here near the
markandesvara tank which is still called
'Vishnusvami Matha' after his name. There are
also two other small Mathas of his sect in this
sacred place. Nimbarka, another Vaishnava
reformer of the South also came to Puri to
establish Mathas of his religious faith here. Of
the five Mathas of this sect at Puri, the 'Radhaballava
Matha' standing just to the east of the
Lion's Gate of the Jagannatha temple is noteworthy.
Madhava Acharya or Ananda Tirtha,
the last of the four famous Vaishnava reformers
of Southern India also visited Puri in the last
part of the twelfth century. A lot of epigraphic
records about the activities of his famous
disciple Narahari Tirtha are still found in the
Srikurma and Simhachala temples.11 The
coming of these four famous reformers of the
South to Puri within a century (circa 1112-1212
A.D.) greatly stimulated the cultural activities
of this holy place.
Research on this period of the history
of Orissa has proved that Govardhana
Acharya, the author of "Arya Saptasati"
flourished near about Puri. The fact that he is
mentioned in the 'Gitagovinda' of Jayadeva
along with Umapati Dhara, Sarana and Dhoyi,
the three great poets of Bengal, does not prove
either he belonged to Bengal, or he adorned
the court of Lakshmana Sena. On the contrary,
there is definite proof that the poet Udayana,
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Orissa Review
the younger brother of Gobardhana Acharya
mentioned in the last part of Saptasati belonged
to the district of Puri as the two inscriptions
belonging to the Meghesvara temple of
Bhubaneswar12 and the Sobhanesvara temple
in the Brahmin village Niali, on the famous
Prachi river of the Puri district13 were
composed by poet Udayana. By these two
records it is proved that he was patronised by
the vassals of the Ganga Emperors, Rajaraja
Deva II (1170-1190 A.D.) and Anangabhima
Deva II (1191-1198 A.D.). So Udayana lived
in the Puri district in the last quarter of the
twelfth century. So the tradition stating that
Gobardhana lived in the Jagannatha Puri is
supported by two contemporary epigraphic
records referred to above.
The very names 'Gobardhana' and
'Balabhadra' (his younger brother) most
probably indicate their association with Puri,
where 'Gobardhana Matha' is one of the oldest
living institutions, and Balabhadra a greatest
deity of the locality.
Similarly many eminent scholars are of
opinion that the great poet Jayadeva, author of
the 'Gitagovinda' belonged to Bengal and
adorned the court of Laksmana Sena as he
mentions the names of three poets of Bengal
named above in his work. But I beg to point
out that none of these two theories seems
tenable in view of the few facts stated below.
The village 'Kenduvilva' unanimously
accepted to have been the birth place of
Jayadeva can satisfactorily be identified with
the present Kenduli Shasana (Brahmin village)
on the river Prachi in the district of Puri. One
will simply be astonished to find a large
number of four-armed Vishnu images belonging
to a period from (circa 800-1200 A.D.) in
every important villages on both the banks of
the Prachi. In the compound of the Sobhanesvara
temple alone ten such images can be seen by
any visitor, which are called 'Madhaba' by the
people. The existence of so many Vishnu
temples near 'Kenduvilva' must have deeply
impressed the poet, who consequently became
a devotee of Vishnu. Secondly Jayadeva who
is said to be a follower of Nimbarka depicted
the Lila of Sri Radha and Sri Krishna in his
work and the influence of Jayadeva on the
people of this region is marked by the existence
of a lot of Vamsidhari Krishna images in
different villages of the Puri district which can
be assigned to a period ranging from 1200-
1350 A.D.
But the village 'Kenduli' or its
adjoining area in the district of Birbhum in
Bengal, which is claimed as the birth place of
Jayadeva, does not contain any antiquity which
can be placed before the 17th century. In this
connection the attention of the scholars is drawn
to the following remarks of late R.D. Banerjee.
"No image of Krishna by himself earlier than
the 15th century has been discovered anywhere
in Bengal or Bihar."14 The complete absence
of Krishna images in Bengal prior to the advent
of Sri Chaitanya may lead one to conclude that
Jayadeva did not belong to Bengal.
Thirdly in the Hindi 'Bhaktamala'
Nabhaji (C.16th century), Sanskrit Bhaktamala
by Chandra Dutta of Mithila,15 it is clearly
stated that Jayadeva belonged to a Brahmana
village near Puri; composed his Gitagovinda
at Puri where he used to recite it daily in the
Jagannatha temple with his wife Padmavati.
The very name of the work signifies
that it was a hymn to god Govinda, which was
meant to be sung before the God of his
aboration, and not in a court to gain the
patronate of any ruler.
21
Orissa Review
July - 2003
Fourthly the first & second
commentaries of the Gitagovinda were written
in Orissa; the first known as 'Bhavavibhavini'
was written by poet Udayana Acharya (C.1220
A.D.) who is said to have been an intimate
friend of Jayadeva and the second called
'Sarvanga-sundari' was written by Kaviraja,
who adorned the court of Narasimha Deva III,
king of Utkala, rulling (1278-1307 A.D.). All
other commentaries that have been written on
Gitagovinda during the life time of its poet by
Udayana, also supports the theory that Jayadeva
belonged to the district of Puri.
Another important point which
deserves mention here is that only in the
Jagannath temple of Puri recitation of the
Gitagovinda before the deity, was introduced
as a daily 'seva' of the God, during the reign of
Narasimha II long before the advent of Sri
Chaitanya. Gajapati Purusottama Deva of
Orissa (1466-1496) tried to replace it by his
own work 'Abhinava Gitagovinda' composed
in C.1490 A.D. But due to the opposition of
the devotees of the God, recitation of the
Gitagovinda was again made compulsory by a
proclamation of Prataparudra Deva, recorded
in a stone inscription of the jagannatha temple.16
So the scholars are requested to examine the
question afresh, in the light of the facts stated
above, in order to ascertain the tenability of
my theory about Jayadeva's belonging to the
district of Puri.
The glorious period in the cultural
history of Puri begins from the time of
Anangabhima III (1211-1238 A.D.) who was
a great devotee of the God Purushottama and
ruled the empire in his name, "Sri Purushottama
samarajye" as recorded in his Lingaraja-temple
inscription.17 The period of renaissance in
Orissa which continued for more than three
centuries begins from his reign.
In the first part of his period there
flourished Sridhara Swami (1350-1450) who
is well known throughout India as the
commentator of the Bhagavata, Bhagavadgita,
'Visnu-purana' and other works. He was the
Svami or Spiritual head of the Govardhana
matha at Puri,18 where he wrote most of his
works. He was born in the village called
maraigaon near 'Remuna' a sacred place of the
Vaishnavas in the district of Balasore in Orissa.
There he led family life before he became a
sannyasi, and his descendants are still living
in that village. He spent some part of his
sannyasi life in the Sankarananda Matha of
Bhubaneswar also.
Another equally famous scholar, and
sannyasi was Anandagiri, who was also the
Mahanta of the Sankara matha at Puri. It is
clearly stated in his commentary on
'Nyaryaratna Dipvali' that he wrote this work
under the patronage of Narasimha Deva, king
of Kalinga e.g.
Kalingadesadhipatou Narendre
Bhubam Prasasatyamarendratulye
Nrusinghadebe Jagadeka Bire
Narottamekari Maya Nibandhah Tarka Vibeka.
Anandagiri who is generally assigned
to the thirteenth century may be taken as a
contemporary of either Narasimha Deva I
(1238-1264) or Narasimha Deva II (1279-
1306 A.D.) and lived at Puri, and not at
Dvaraka as asserted in the preface of
'Tarkasangraha' of Anandagiri.
In another work called Atmajnyanopadesha
Tika the manuscript of which is
preserved in the Sankara Matha at Puri,
Anandagiri prays to God Purushottama or
Jagannatha and his Guru Suddhananda.
Bidhuta Bibidhalamba Kalpanam Kalpana ...
ntananda Sandahe tam Bande Purosottamam.
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Orissa Review
Jasya Prasadamasadya Sa .. ti Bahabo Gatah.
Tamaham Pratyaha Bande Suddhanandaparam Gurum.
God Purushottama, is also refered to
in the last verse of this tika :
Samsara Garalabbamsi Sudhadharabhibarpini
Atmajnyananuga Tika Thikatam Purusottamam.
Iti Srimat Paramahamsa Paribrajakacharya
Suddhananda Pujyapadasisya Srimat
Paramahamsa Paribrajakacharyabhagabata
Nandagiri Krutabatmajnyanopadesa Tika Samapta.
This quotation made above suggests
that he wrote this work, while living in the
Sankara Matha at Puri.
In the same Matha is also preserved
Tripuri Tika by Anandagiri in which the
colophon quoted above is also found.
Anandagiri is a voracious writer on Vendanta.
Among his works the following :
Tripurari Bibarna, Upasadana Byakhya, Atmajnyana
Byakhya, Harimedebyakhya, Upadhikhandana
are also available.
In the period ranging from 1250 to 1550
A.D. the Dharmashastra literature was greatly
developed by the Smriti-writers of Orissa.19
Of these 'Samkhadhara' the author of 'Smriti-
Samuchchaya' who may tentatively be assigned
to the thirteenth century was the pioneer.
'Sambhukara Vajapeyi', an ardent Smriti-writer
of Orissa flourished during the reign of
Narasimbha II (1279-1305) A.D. His son
'vidyakara Vajapeyi' one of the greatest Smritiwriters
of India lived in the middle of the 14th
century.20 Only one part of his monumental
work "Nityachara Paddhati" has yet been
published while his other works are still found
in manuscripts in different parts of Orissa. He
was regarded as an authority by the later
Smriti-writers of Orissa. His disciple
'Ramachandra Vajapeyi' left Orissa and lived
in Naimisharanya, where he wrote a lot of
works on Smriti. Less renowned Smriti-writers
of this period were 'Kalidasa Chayani' author
of Suddhi Chandrika, 'Yogisvara Patra' C.1400-
1450 A.D. author of Dana Dipavali, 'Vipra
Misra' author of 'Achara Pradipa' and
'Visvanatha Mishra' author of 'Smriti-
Sarasamgraha,' which was a very popular work
in Orissa.
The greatest Smriti-writer of this
period was Narasimha Misra Vajapeyi, who
was patronised by Gajapati Mukunda Deva,
(1559-1568 A.D.) the last independent Hindu
Emperor of Orissa.21 He is reputed to have
written 18 works on Smriti, each ending which
the word 'Pradipa,' out of which the names of
the following ten are definitely known e.g.
Varsha-Pradipa, Prayascita-Pradipa. Sraddha-
Pradipa, Pratistha-Pradipa, Shabarabhashya-
Pradipa, Samaya-Pradipa, Bhakti-Pradipa,
Chayana-Pradipa, Vyabastha-Pradipa, &
Nityachara-Pradipa.
The family of Visvanatha Kaviraja
came to the forefront during the life time of
Kaviraja Naayana Dasa, who adorned the court
of Narasimha Deva II (1278-1307 A.D.). He
wrote the 'Sarvangasundari' tika on the
Gitagovinda. His grandson Chandi Dasa wrote
a commentary on the 'Kavyaprakasha' of
Mammata. Poet Chandrashekhara, father of
Visvanatha was the author of 'Pushpamala
Kavya' and 'Bhasharnava' in Prakrita.
Visvanatha had written 'Kuvalayasvacharitam',
'Chandrakala Natika', 'Prabhabatiparinaya
Nataka', 'Raghava-vilasa Mahakavya',
'Varasimhavijaya Kavya' and
'Prashastiratnavali' before he completed the
Sahitya Darpana during the reign of Gajapati
Nisanka Bhanu Deva (1407-1435 A.D.). His
son Ananta Dasa wrote the Lochana Tika on
Sahitya Darpana. Krishnananda Mahapatra
who belonged to the family of Visvanatha, was
23
Orissa Review
July - 2003
the author of 'Sahrudayananda Makhakavya.'
His name is found in the Puri plates of
Narasimha IV dated 23.11.1395 A.D.22 and he
is assigned to the last quarter of the 14th century.
Another family of scholars which
settled near Puri was that of Mantrivara
Rajaguru Godavara Misra. Of his ancestors,
one whose name is not known wrote of work
named 'Satsamaya.' Mrityunjaya Misra
complied 'Shuddhimuktavali', Narayana Misra
wrote two comentaries on the two Mimamsa,
Jaladevara Misra was the author of 'Jalesvara
Paddhati.' This family rose to prominence,
during the life time of Nrusimha Misra, who
was a justice under the famous Gajapati
Kapilesvara Deva (1435-1466 A.D.). He was
the author of two works named 'Samkshepa-
Sharirakavarttika' and 'Kasimimamsa'. His son
Balabhadra Misra was the Rajaguru of
Gajapatis Purushottama Deva and Prataparudra
Deva. He wrote two works named
'Advaitachintamani' and 'Sharirakasara
Purushottamastuti.' Godavara the son of
Balabhadra was a versatile scholar. He was
at first the Rajaguru of Prataparudra Deva from
1510 A.D. and then became his prime-minister
for some years. Of the many works written by
him, the names of the following are definitely
known e.g., Tantra-Chintamani,
Yogachintamani, Niti-chintamani,
Acharachintamani, Jayachintamani, Advaita
Darpana, Adhikarana Darpana, Niti-Kalpalata,
Patanjali Dipaka, Samudrika Kamadhenu,
Harihar-chaturanga & Saradarchana Paddhati.
Of these Yogachintamani was first noticed by
Dr. P.K. Gode23 and Harichara Chaturanga has
been published by the Government of Madras.
The last named work has been noticed by me.24
The history of the family of
'Kavidindima' Jivadeva Acharya has been
given by the poet himself in his unpublished
work 'Bhaktibhagabata Mahakavya'25 written
during the reign of Prataparudra Deva.
His two dramas 'Utsahavati' and
'Bhaktivarbhava'26 were staged in the
compound of the Jagannath temple, in the spring
season & on Dolayatra day respectively. His
son "Jayadeva" wrote two dramas named
Vaishnavamritam' and Piyushalahari27 which
were also staged in the Puri temple. His second
son Vardhamana Mahapatra, wrote Vardhamana
Karika (Grammar) and Durgotsava Chandrika.
The period of rule of the Suryavamsi
Gajapatis, lasting for about a century (1435-
1533 A.D.) was the golden age in the history
of Orissa, when Puri became the cultural centre
of the whole of Hindu India. Kapilesvara
Gajapati who was also a writer composed
'Parasuramavijaya natakam' which was staged
in the time of a festival of Jagannatha. The
authorship of the works like 'Abhinava
Venisamhara', 'Abhinava Gitagovinda,'
'Namamalika', 'Gopalapujapaddhati' is
attributed to Purushottam Deva, (1466-1496).
His court poet Kavichandra Raya Divakara
Mishra, who was the real author of Abhinava
Gitagovinda wrote some other works like
Bharatamrta Mahakavya, a 'Bhana' named
'Dhurtacharita', Rasamanjari, Parijataharana
Nataka, Devi Shataka, haricharita Champu.28
Other poets and scholars of the reign
of Prataparudra was Raya Ramananda, author
of 'Jagannatha ballava natakam', Markandeya
Kavichandra, author of 'Dasagrivabadha
Mahakavya' and Prakruta-sarvasva, kaviraja
Visvanatha Sena author of 'Chikitsarnava' and
Pathyapathya-vinischaya', Kanhai Khuntia
author of 'Mahabhava Prakasa', and Madhavi
Devi, author of 'Purushottama Deva natakam.'
Prataparudra who was a great lover of
learning extended his patronage to outside
scholars like Lolla lakshmidhar of the Andhra
24 July - 2003
Orissa Review
country, author of 'Sarasvati Vilasa', Vasudeva
Sarvabhauma of the Gouda country, author of
a commentary on 'Advaitamakaranda' and
Ramakrishna Bhatta of Kasi, who compiled
'Pratapa Martanda', and 'Tirtha Ratnakara' at
Puri.
Due to the stay of Sri Chaitanya of about
24 years (1509-1533) till his death at Puri,
most of the famous poets and scholars of
Bengal, flocked round the great master and
enriched the Sanskrit literature by their
contributions.
With the death of Prataparudra, there
was ebb in the fortune of Orissa which came
under the Muslim sway since 1568 A.D. and
Puri being repeatedly invaded by the Muslim
rulers of Bengal and Mughal army lost much
of its splendour and glory. Still it continued as
the cultural centre of Orissa till the advent of
the British in 1803.

Ramanuja being blessed.

1. Lord Ranganatha handed over both nitya and leela vibhootis to Sri Ramanuja, on which he came to be known as the Qwner (Udaiyavar)
2. Lord Venkatesa accepted the Conch and the Discus while discarding other ornaments and decorations of another deity.
3. Lord Varadaraja guided Sri Ramanuja from the dense Vindhya forests back to Kanchipuram. He began accepting the water brought by Sri Ramanuja for His ablutions. He also declared in six unequivocal sentences the outlines of the philosophy for Sri ramanuja to propound.
4. Lord Tirunarayana appeared in Sri Ramanujas dream and pointed out the spot where His immage was lying underground. Then He assisted in the instelation of His Utsava image and also arranged for worship at His shrine by all devotees irrespective of caste and other distinctions.
5. Lord Kodandarama at Madhurantakam arranged for the meeting of Sri Ramanuja with his future preceptor at His temple.
6. Lord Tirumala Nambi at Tirukkurungudi cautioned that the three esoteric mantras should not be taught to non srivaishnavas.
7. Lord Sundarabahu at Tirumaliruncholai enabled Sri Ramanuja to fulfill Sri Andal,s vow to offer 100 Bushels of sweet rice to him as promised by Her in the Nachiyar Thirumolzhi.


Acharyas blessings.

Sri Alavandar offered surrender to Lord Vardaraja for releasing Sri Ramanuja chrya and his three wishes were fulfilled by Ramanuja charya later.
Sri Thirumalai Nambi had blessed him at birth
Sri Mahapurana initiated Ramanuja into the Vaishnava fold and ensured he received full education from other preceptors like Goshtipurna and Maladhara as well.

Gita Bhashyam Pro Alwarji.

GITA BHASYA

Sri Ramanuja's commentary on the Gita is a Bhasya, not a Vyakhyana or Vrtti for it gives a connection from verse to verse, from chapter to chapter and from satka to satka.
From times immemorial generations of men and women have turned to the Gita for the solution to their personal dilemmas. The gita affirms the psycological paths of Karma Jnana and Bhakti for the solutions of the problem of life
Gita is a part of the Epic Mahabharata.

 paaraaSaryavachassarojam amalam geethaarThaganDhOthkatam

   naanaakhyaanaka kesaram harikaThaa samboDhanaaboDhitham

   loke sajjanashatpadhaiH aharahaH pepeeyamaanam mudhaa

   bhooyaath bhaarathapankajam kalimalpraDhvamsinaSSreyase

Here in this sloka we have another beautiful allegory comaparing mahbharatha to a full blossomed lotus. It is the lotus which has risen from the lake of the words of Vyasa. Its fragrance  is the Gita. It has several filaments in the form of various stories. It opend up into full blossom by the story of Lord Hari. The good are the bees that drink the honey of the lotus and it will be effective in destroying the ills of kali and bring welfare.

Ramanuja propounds in a comprehensive sentence what he conceives to be the situation in which the Gita emerged into being and its principal theme.

The fundamental factor in the situation is God and He is the Supreme reality and attaining Him is the supreme goal. The nature of the supreme reality is brought out in a systematic array of significant adjectives. That the infinite reality is the object of all spiritual aspiration and endeavour is brought out in the very statement of the nature of God. God in his fundamental nature is beyond the reach of souls caught up in the meshes of Maya. This theory of maya itself is to be elucitated in the Gita itself in the sequel. To resolve this crisis, God descends to the realm of mortals out of His compassion and by His own initiative and reveals himself in numberless incarnations. The motive behind such self disclosure is to sustain the souls in the agony of search for Him by furnishing them with the object of their adoration. The unknown and inaccessible Deity presents itself before its seekers and nourishers their devotion by setting before them the object of their devotion. It is a self gift on Gods part. He is the active principal in the resulting communion and worship. The fundamental theme of the message is the doctrine of  bhakti directed towards attaining Him. Bhakti is to be developed through Jnana and Karma.
The eighteen chapters of the work are divided into 3 groups, each group consists of six chapters. the first six chapters ramanuja says is devoted to the method of self realisation on the part of the individual self. the proper order of progression in this process consists of the intelectual understanding of the nature of the self, the persuit of karma yoga and then Janana yoga leading to immediate and direct apprehension or vision of the nature of the self. the second grop of six chapters deals with Bhakti Yoga. As the object of this bhakti is God, his glory nature and attributes are delt with. the first group being preperatory and instrumental to this second group. the third group of six chapters accomplishes an intellectual clarification of the matter thus far propounded. it clarifies the nature of Prakriti, Purusha and Purushothama.

Special features.
Truth is the intrinsic and spontaneous character of all apprehensions; coherence theoritical and pragmatic only serves to reinforce the intrinsic claim to truth of cognitions, by removing doubts and contarary conceptions. Among the three fundamental sources of knowledge (Pratyaksh, Anumana and sabda) revelation constituted of the vedas and in particular the Upanishads is our sole authority for the knowledge of ultimate reality. But revelation must be interpreted according to rational canons of interpretation and must be demonstrated to be non contradictory of other sources of knowledge and be itself self consistent. It should also be of such character as to supply knowledge not accessible through other sources. thus it must fill a genuine gap in our empirical and inferential acquired knowledge. Further the attempt to workout a satisfactory conception of reality excluding the insight furnished by revelation must be demonstrated to break down hopelessly. it is under such severe logical reservation that reservation must be adopted. It would be unphilosophical to discredit it when it satisfies these tests. such scepticism if honestly persued, would demolish all knowledge and would eventually cancel itself also. Intelectual progress ultimately consists of advance from partial knowledge to fuller knowledge and the later wholly incorporates itself into the former.
The guiding principle in this process is the criterion of coherence theoretical and practical. the incoherence is the incomplete and the achievement of coherence marks the gaining of fuller insight into reality. This impluse to self completion on the part of human understanding propelled by the criterion of coherence reaches its fullness of satisfaction in the knowledge acquired from vedantic revelations. revelation is neither an alternative, nor an antithesis, nor is it a mere supplement to emperical knowledge gained through perceptual and inferential processes. It is completion and fulfilment of it. Its claim to validity ultimately rests upon this characteristic of completeness. Upanishads are the primary repository of revelation, but they are suplemented by the works of sages and saints, in the smritis, itihasas, puranas and agamas. among these supplementary texts, judged from every point of view the Gita  stands supreme.

Contributions to Visistadvaita.
The standard mode of characterizing visitadvaitic theory of reality is to say that it upholds a doctrine of three realities which are the phisical nature in its totality, the individual and infinite souls in all grades of development and the infinite spirit of brahman. The physical nature is real and is genuine part of the total structure of reality is a cardinal principle of the school. Assimilating the traditional classification of the goals of life as Dharma, Artha, Kama and Moksha the school offers a scheme of three goals. They are material prosperity or Aiswarya, Kaivalya or the realisation of the intrinsic greatness of the self and Moksa or realisation of God.  The first one signifies mundane and physical happiness it includes wordly pleasures also hevenly pleasures after death. the ideal means only trasitory hapiness is repeatedly brought out. The second goal (little difficult to concieve) means the realisation of the self of its own essential and intrinsic nature as transcending the body and as consisting of pure knowledge or consciousness. it is recovery by the self of its own innate greatness as a spiritual principle. this too is  transitory and inferior to the third ideal. the third ideal signifies the release from the entanglement with matter which suppresses the natural power of the self. it means the gaining and maintaining a direct apprehension of god. this being the proper and ideal exercise of the natural excellence of the self, the apprehension grows into an unlimited and uninterupted joy. infinite joy a joy so overwhelming as to induce and bring about the surrender of the subject of experience to the object in total self dedication. Thus the experience of Moksha consists of the experential knowledge of God, love of God and the final offering of oneself to the eternal service of god. this union with god and its fullness of experience is the essence of perfection.

Contributions to Srivaishnavism. 
Ramanuja says that Jnana or knowledge as against karma or action is the ultimate means of release. through meditating knowledge lies the road to liberation. But here again the Grace of the lord is the essential factor.

The Fabric of faith prayer and grace is central to the good life for they all relate to the man god relationship. according to the theist by virtue of his being embodied man is alienated (relatively) from God, who is his destiny. The alienation is due ultimately to a fundamental defect say sin, or a beginningless nescience. Hence the goal of man is to seek and find his lost identity in the kingdom of God.

This implies that human existence is not merely a bondage, but an opportunity to overcome the defect in  question and to regain the lost identity. In this enterprise, however partly because the defect to be remedied is mysterious or beginningless, man cannot succeed wholly on his own, god has therefore to intervene positively with his grace. As God's noticeable operation in human life, grace is his quiet call and aid to salvation. Faith and prayer are our manifest response to this call.

The nature of the self is such that though it is distinct entity it forms an organismic unity with the Lord. when however it comes under the delusive influence of the begginningless nescience permiating karma, it looses hold of its identity as the sesa of the lord and builds up an emperical and particularized ego (abhimana) and begins its existence of karmic bondage. its being enveloped by ignorance in the form of karma marks its entry into the continuous surge of samsara.  the prestine purity of his personality as in God now disappears. Only grace can redeem him from this depersonalization, In the process of recovery so to speak man is to co operate with His grace by way of his own faith and prayer. both of which aim at making him realize his essential dependence on God and live in accordance with this realisation. In both faith and prayer the element of feeling is pronounced.

Equivalent of Faith is Bhakti, Upasana, sraddha, nistha etc. 

Meditation of the nature of loving conteplation is bhakti.

To conclude.

The order of progression is clear Karma Yoga paves the way for jnana yoga and jnana yoga through its fruition in self realization brings about bhakti yoga. Bhakti yoga is the immediate pathway to the ultimate goal of life.

For Example Ramanuja's explanation of the four stanzas of the second chapter describing the nature of the stita prajana is unique. the four satages of Jnana Nista or steadfastness in knowledge are related to these four verses of the gita.
55 to 58 of the second chapter. The vashikaara samjna ekendriya samajna, vyathireka samjana and yaatamana samjana are signified by these four stanzas respectively. This interpretation of Ramanuja is unique and no other comentator has related these four stages to the concept of Yoga namely Yatamaana samjna 2-58 is a stage when the aspirant makes a stout attempt to withdraw his sense organs from the objects and to place his mind firmly in the atman. In the second stage namely vyatireka samjna the aspirant tries to wear out raaga and dwesha through audaseenya and anabhinandana. in the third stage of ekendriya samjna the aspirant tries to get rid of the snare of reminiscent impressions regarding the external objects slowly by showing the blissful nature of the atman. In the fourth stage of vashikaara samjana all vasanas will have been completely destroyed and the aspirant achieves supreme dispassion or pramana vairaagya. This stage leads the aspirant to the realisation of the Atman.
another example.
The four stanzas in the sixth chapter 29 to 32 describe the state of self realisation. here too the interpretation Ramanuja gives is very significant. he says they expound Saamya Darshana. verse 29 he says that all jeevaatmas are similar in nature in the aspect of being of the sole nature of consciousness or jnaanaikaakaaraas being different from matter but there is similarity in the pure nature of Atman. all diversity is due to matter.
stanza 30 all jeevaatmans are similar in nature to the paramaatman when they become divested of the differences of punya and paapa.
stanza 31 relates to higher state of realisation where the aspirant realiazes unity of divinity in all souls as the supreme paraamatma is imment inall as the inner self.
stanza 32.  ramanuja describes this as asambanda samya.
the aspirant is taught here to realize that sukha and dhuka that happen to him as well as others are never related to the essential nature of the atman. Ramanuja is unique in the comparison of these four verses to the four stages of perfected yoga.
The celebrated stanza of sarva darman is explained by ramanuja as the obstacles on the way of the commencement of bhakti yoga can be easily overcome by surrender unto the lord. no arduous courses of praayashcittaas is needed for getting over the obstacles. with out surrender unto the lord man cannot achieve any thing.
Ramanuja's interpretation does full justice to the text and tenor of the gita and is a trustworthy guide for humanity to progress towardsmdivinity.

Bibliography.

1.  Sri Ramanuja on the Gita by s.s.Raghavachar. u of mysore.

 2. Article written by Dr. N S Anantarangacharya swami..

2.  Faith Prayer and grace a comparative study in Ramanuja and Kierkegaard by Cassian R Agera. 

R own words.

Temple of bliss bhoga in Tirumantra.
Temple of flowers Pushpa in Charma.
Temple of duty Tyaga in Dvaya.
A ripening grain stalk bends as it receives more substance
Lords and friends and riches, companions, cattle, horses, possessions become hateful objects to him who has tasted Thy service.
First. Gratitude should be shown to the memory of Krishnavyasa and Parasara.
Second. A tribute of love should be paid to Nammalwar.
Third. Vyasasutras or Brahmasutras must be commented on to bring out the real Visistadvaita sense contained in them.
Answers revealed by Lord Varada to Kanchipurna to be communicated to Ramanuja.
1. Ahameva Param Tatva (I am the Supreme Truth)
2. Darsanam bhedamevacs (My view is distinction)
3. Upayesu Prapattissyat (By faith shall men reach Me, their salvation.
4. Antima Smriti Varjanam (Thought of me at time of death is not compulsory.
5. Dehavasane Moksanca (Release from bondage follows immediately on death of the body)
6. Mahapurnam Samasraya (Choose Mahapurna for your Acharya)

Mantra Ratna 
Mahapurna initiated Ramanuja charya into the gem of Mantras and solemnly ordained him thus "I abjure thee holy son, most solemnly, to deem thyself as the appointed to succeed Yamuna. I am but an instrument of my Acharya in ordaining you."

Yasya Atma Sariram, Yasya Prthivi Sariram, Nityo Nityanam Cetanascetananam.
"Akhila Bhuvana Janma Sthema bhangadilile
Vinata Vividha bhuta vrata raksaika dikse,
Sruti sirasi Vidipte Brahmani Srinivase
Bhavatu mama parasmin semusi bhaktirupa."
"May knowledge transformed into intense love directed to Srinivasa, the highest Brahman, become mine, the Being to whom the creation, preservation and dissolution of the universe is mere play, whose main resolve is to offer protection to all those who approach Him in all humility and sincerity, and who shine out like a beacon light out of the pages of the scripture."
This strikes the key note of the entire work. It refers to the knowledge of the supreme being which the author wishes should ripen into love. It is known as the doctrine of " BHAKTI RUPAPANNA JNANA" of Ramanuja very much akin to what Spinoza calls 'Amor Intellectualis Dei' (Intelectual love of God) In this are fused Wisdom and Devotion (Jnana and Bhakti) both of which coalesce in God who is the abode of all excellence.
Pramana Theory of Knowledge.
Every darsana begins with a determination of pramanas - instruments of right knowledge. Pramana means that by which things can be measured by mind or known. every philosopher begins with determining their scope before he embarks on the nature of objects known called prameya. Max Muller in his six systems of Indian Philosophy says."Such an examination of authorities of Human Knowledge (pramanas) ought of course to form the introduction to every system of philosophy and to have clearly seen this is, as seems to me, the high distinction of Indian Philosophy." a theory of Knowledge or epistemology therefore precedes ontology or the theory of Reality or Being. Ramanuja follows this time honoured method and makes a careful analysis of the three important means of knowing which he, along with other teachers of Vedanta, recognize. Perception (Pratyaksa) Inference (Anumana) and Sabda (verbal testimony)
The Nature of Perception.
All apprehension by consciousness takes place by means of some distinction. If perception made us apprehend only pure Being judgments clearly referring to different objects... such as here is a jar, there is a piece of cloth etc would be devoid of all meaning. and if through perception we did not apprehend difference -- as marked by genetic character etc constituting the structure or make of a thing then why should a man searching for a horse not be satisfied on finding a cow. Ramanuja points out that perception will not enable us to obtain the knowledge of Brahman he quotes the Kathopanishad (II.6.9) His form is not to be seen, No one beholds him with the eye. Ramanuja says perception is two fold being based either on sense organs or on extraordinary concentration of mind (Yoga) Of the perception of the former kind there are again two sub-species, according as perception takes place either through the outer sense organs or the internal organ manas. The outer sense organs produce knowledge of their respective objects, insofar as the latter are in actual contact with the organs, but are quiet unable to give rise to knowledge of the special object constituted by the supreme self that is capable of being conscious of and creating the whole aggregate of things. Nor can internal perception give rise to such knowledge: for only purely internal things such as pleasure and pain fall within its cognisance and it is incapable of relating itself to external objects apart from sense organs. nor can perception be based on Yoga. for although such perception springs from intense imagination implies a vivid presentation of things, which are of objects perceived earlier and do not rank as an instrument of knowledge rather is a source of error.
Inference: Anumana.
Inference takes us over from what is perceived to what is not perceived on the basis of what is perceived. thus inference like perception can never reveal to us knowledge of things which are quality less. inference depends on knowledge obtained through perception it too cannot give us knowledge of Brahman.
Testimony (Sabda)
This source of knowledge has been called Sabdha Pramana. the spoken word the written word. With regard to super sensuous matter, scripture alone is authoritative and reasoning is to be applied duly to support the scriptures.
Dharma bhuta jnana. Attributive consciousness. 
The nature of consciousness is self luminosity. so it manifests itself.
Theory of  Judgement.
Theory of Truth and error
Nature of Brahman
Nature of Jagat
Nature of Jiva / reality
Nature of Hita
Nature of Purushartha.
The gist of Sri Bhasyam in Ramanuja's own words.
Sri Bhasya mangala sloka
Sri Bhasya Pratijna
Jijnasa sutra
Atha sabdartha and ata sabdartha
Brahmajnana after karmajnana
The meaning of Brahmajijnasa
Brahma Sabdartha
The Oneness of Karma Mimamsa and Brahma Mimamsa
Adhyayana
Karma phala and Brahmajnanaphala
Laghu Purvapaksa
Laghu Siddhanta Vakyartha jnana khandana
Dhyana Svarupam

Bhakti
Karma and Bhakti
Vivekadi Sadhana Saptka
Vidya and Avidya
Punya and Papa
Maha Purvapaksa
Maha Siddhanta
Nirvisesa Vastu
Sabdha Pramana
Pratyaksa Pramana
Bhedabheda Khandana
Anumana Pramana
Experience and Object of experience are not identical
Svayamprakasatva of Anubhuti
The meaning of Aham I
Susuptadau Ahamartha Sphurana Samarthanam
Mukatvahamarthanuvrtti samarthanam
Sastra Pratyaksa Virodhe. Sastra Prabalya nirasah.
Meaning of Ekamevadvitiyam
Meaning of Nirguna Vakya
commentary on Taittiriya text.
Meaning of Yasyamatam Text
Meaning of Anando Brahma Text.
Meaning of Yatra hi Dvaitamiha bhavati Text and Neha nanasti kincana.
Nature of Brahman Summed up.
Meaning of the term Maya
Meaning of Tatvamasi.
Meaning of the verse 'Jyotimsi Visnuh
The reconciliation of distinction between cit and acit and karyakaranayorananyatva.
Meaning of Sastra Yonitvat.
Upanisadic authority for the existence of Brahman
Anandamayah Paramatma
Summary of the first pada in the first chapter of Sri Bhasya.
Concept of antaryamin
The Chariot Simile in the Upanishad and its significance.

Interpretation of Atmanastu Kamaya passage of the Brhadaranyaka Upanishad.
The world is leela of Iswara.
Ramanuja's summary of the first chapter of Sri Bhasya
Karanat Karyasya Ananyatvam
Isvara's sarvatmatva and sakaletara vilaksanatvam
Acceptable elements in other Darsanas summarsied.
Interpretation of Sutra Karta Sastrarthatvat.
Jiva as amsa of Brahman
A retrospect 
Ubhayalingadhikarana
Visesana Visesya Bhava
Interpretation of Phalamataupapatteh Sutra.
Purusarthadhikarana
The Asrama ideal
The practice of Sama and Dama
Realisation of Brahman by Dhyana and Upasana.
Interpretation of Svena rupena Abhinispadyate
Interpretation of the sutra Jagadvyaparavarjam
Interpretation of Anavrttissabdat Sutra.