An Interview with PBA Swamy - 1979
Interview conducted by Sri K.A. Manavalan and Sri T.A. Bhashyam - published in
Geethacharyan, March 1979 Issue
Translated from Tamil by TCA Venkatesan
Q. How did you get the name "prativAdi bhayankarar"?
A. This is not my name. It is the title given to our ancestor. His divine name was Prativadi
Bhayankaram Annan. He lived at viLakkoLi sannidhi in Kanchipuram. He learned the general
sastras from NayanArAchAryar, son of Vedanta Desikar. Later, after hearing the greatness of
Manavala Mamunigal, he went to Srirangam and seeked Swami's divine feet. There, due to
Mamunigal's grace, he learnt the special sastras and became one of his ashta dikgajas.
Q. Why did he get the name "prativAdi bhayankarar"?
A. When he was the disciple of NayanArAchAryar, he defeated a advaitic pundit in a
philosophical debate. Upon which NayanArAchAryar celebrated him as "prativAdi
bhayankararE". From that day forward, he and his descendants came to be known by that name.
Q. Were you born in Kanchipuram itself?
A. Yes. I was born in Kanchipuram in the household of my grandfather (mother's father - Shashti
Jeeyar Swami).
Q. Can you tell us about your studies in youth?
A. My father's name was Annangaracharyar. During a very young age, I learned from him. I had
upanayanam done when I was six years old. My father taught me 3000 divyaprabandhams before
I was nine years old. Two years later, he performed samashrayanam for me and then taught me
the Thiruvaymozhi thousand. These were taught to me in Kanchipuram as well as in our village
of Chiththathoor Thiruvadi Rayapuram. In addition, I learned many works from my father's
uncle Kidaambi Krishnamacharyar.
Q. Did you learn Sanskrit works also from your grand uncle?
A. I learned some works from him first. Later, I learned many Sanskrit works, including Sri
Bhashyam, from Sri U Ve Jagadguru Gaadi Ananthacharyar Swami. When Swami went to North
India, upon his order, I learnt from Ilangaadu Rangaswamy Iyengar Swami and Pudhupper
Venkatacharyar Swami. In addition, I learned Bhagavad Vishaya Rahasyam, mUvAyira
vyAkhyAnam, Tamil grammar, ancient Tamil works, Ashta prabandhas and Kamba Ramayanam
from Shashti Jeeyar Swami.
Q. From whom did you learn the Vedas? When did you get the interest to learn them?
A. I learned some parts of the Vedas first from Narasimhacharyar. Later I stopped learning the
Vedas as they were in the way of my Sanskrit education. After the age of nineteen, I started
learning them again from Mamballam Sudarshanacharyar Swami. About 25 people learned with
me. I created a pAtashala for us to learn Vedas and purchased a building for it. We started
reciting the Vedas we learnt, in the divine streets around the temple. This was started in the year
1919 and stopped in 1964 when I had a heart attack.
Q. How many languages do you know? In how many languages have you written works?
A. I know Tamil, Telugu,, Hindi and Sanskrit. I have written works in all four languages. I have
also performed upanyasams in all four languages.
Q. Till now (1979), how many works have you authored?
A. In the four languages, I have written about 1207 books. This room in which I am seated has
many books - out of which only about 1/4th are not authored by me. The rest were written and
published by me.
Q. Can you group the books you have authored so far?
A. They can be separated into 16 groups. Most importantly, I have published pUrvAchArya
granthas. I published all of Ramanuja's granthas in a book called Ramanuja Granthamala; all of
Vedanta Desika's granthas in a book called Vedanta Desika Granthamala; and all of Manavala
Mamunigal's works in a book called Varavaramunindra Granthamala. In addition, I have
published books authored by me, in 15 groups. Starting at the age of 19, I have authored
extended meanings for the 4000 divyaprabandhams.
Q. In addition, you have also been publishing a journal, right?
A. Yes. I have been running journals in all four languages. I publish a journal called "Vaidika
Manohara" in Sanskrit and Hindi. In Telugu, I publish a journal called "Ramanuja Patrika" and
in Tamil "Sri Ramanujan".
Q. Are you the editor for all magazines or do you use representative for each of the magazine?
A. I am the editor for all magazines. I have not kept any assistant so far. These magazine have
been running for 32 years.
Q. You said you know four languages. Do you also know English?
A. When I was learning at the Vanamamalai Patashala, my mother wished me to learn English.
However, my father did not agree to it. Later, when my father was ill, a doctor came to see him.
At that time, my father himself asked that I learn English from the doctor. I learnt English from
him for about 1.5 years. I also learnt English for some time from a person called Venkataryan.
Even now, while I cannot speak well in English, I can still read and write. My hand- writing is
beautiful in all languages. Those who see my handwriting ask me if I am a B.A. I tell that I am a
P.B.A (laughs).
Q. What's the reason for your greater affinity for dEva perumAL's ghoshti than for dEva
perumAL Himself?
A. My father had ordered me that I should never give up ghoshti. It is due to his grace. I have
never missed iyal ghoshti once nor have I offered obeisance to it once.
Q. What do you mean you have not offered obeisance to the iyal ghoshti once?
A. If one is present in the ghoshti when it starts, then one does not have to offer obeisance to it.
Only if one joins it in the middle does one have to do that. I have never joined the ghoshti once
in the middle. I will always be ready before the ghoshti starts. All this is due to the grace of my
father.
Q. What is the reason for Divyaprabandha ghoshti to come in the front and Veda ghoshti to come
behind, when perumAL goes about in the streets?
A. The Divyaprabandhams which are the Tamil Vedas tell us all about the Lord's divine
auspicious qualities. However, the Sanskri Vedas which started telling about these qualities,
failed in its attempt and backed off ("yatO vAchO nivartante"). The same is stressed by Vedanta
Desikar, Kambar and others. This is the reason why aruLis seyals are in the front and vEda
pArAyaNam is in the back.
Q. Amongst all your works, which one do you consider is the best?
A. Amongst the works I have authored, I consider the work "Sri Bhashya Saram" in Thamzih, as
the best. Also, all my vyakhyanams in Sanskrit for the 4000 Divyaprabandhams are very good.
Q. Do you recall your first work?
A. I was about 15 years old at that time. A scholar speaking at the Hundred Pillar mandapam in
Kanchipuram stated that as the Divyaprabandhams were written in Tamil they cannot be
respected. I wrote a 30 page book in Sanskrit called "Divyaprabandha Vaibhava Viveka:"
rejecting his claim. That was my first book.
Q. Can you tell us when and where you gave your first discourse?
A. One time I had gone to Hyderabad (Sitarambag) for Udayavar Utsavam, along with my
acharya Sri U. Ve. Gaadi Ananthacharyar Swami. I was about 16 years at that time. There some
people requested Gaadi Swami to perform a discourse. Then, he ordered me to do a discourse.
That order is the source for all my upanyasams. I performed my first discourse there on
Udayavar Vaibhavam.
Q. Your voice is majestic till date. What is the reason behind that? Do you use any medicines to
protect your voice quality?
A. The Lord's grace is the reason for my voice being good. I do not use any medicine for that.
The Lord is the medicine.
Q. Even though you have helped the people of this world by performed many discourses, there is
a complaint that you have not created any disciples who can follow in your foot steps....
A. I have written thousands of works. Even today, many scholars who perform discourses write
to me saying that their discourses are based upon my writings. They all can be considered my
disciples. Even though I have not created a few disciples, I have written thousands of works that
will last hundreds of years. That is sufficient.
Q. Our sampradhayam is going down. In such a situation, who are you appointing as your heir?
A. When so many scholars such as Sadabishekam Govinda Narasimhachariar, Velukkudi
Varadachariar, Pillai Lokam Bhashyakachariar, S. Krishnaswami Iyengar (Sudarshanam
Publisher), Nallan Ramakrishna Iyengar, K.A. Manavalan and Sthalasayanaththuraivar are
building the sampradhayam, it is wrong to say that the sampradhayam is going down. Therefore,
it is not necessary for me to appoint someone as my heir.
Q. Can you say something about the Thenkalai and Vadakalai divisions within the Srivaishnava
Sampradhayam. What was Vedanta Desikar's role in this division?
A. During Vedanta Desikar's time, there was no division within the Srivaishnava
Sampradhayam. Why go that far? I will swear, wearing a Thulasi garland, that prior to 1800,
there was no Thenkalai Vadakalai division. Vedanta Desikar gained great knowledge through
upAsana. Therefore, he authored a great number of works. In these works, first he will reject a
notion of Pillai Lokacharyar. A few pages later, he would state that "this is the thought of such
and such". A little later, he would agree with what he himself had rejected earlier. A certain
group which came after his time, started following his earlier opinions. This is the cause for the
Thenkalai Vadakalai division.
Q. When and where did you get the title "mahA mahipOdhyAya"?
A. In 1972, at Allahabad, seven people were selected as Saptha Rishis. At that time, this title was
given to me by vice president Sri Pathak.
Q. We learn that you have gone on several divyadesa yatras. Have you been to all Sri Vaishnava
divyadesams?
A. So far, I have done North Indian divya desa yatras alone 23 times. Out of the 108 Sri
Vaishnava divyadesams, 106 are in this world. Out of them, excluding Salagramam and
Thiruppirithi, I have worshipped at 104 divya desams.
Q. Many people of our sampradhayam go to work early and return late. Being involved in
lowkika like this, they are unable to follow the Srivaishnava sampradhayam. Can you briefly tell
what they can do?
A. After waking up and performing sandhya- vandanam, they must recite all 30 verses of
Thiruppavai. If there is insufficient time even for that, then they must at least recite the "siRRam
siRukAlE" pasuram. If they do this much, they would have followed the Srivaishnava
sampradhayam.
Q. What do you consider as your greatest gift?
A. I consider the fact that I was born in Manavala Mamunigals' sampradhayam as my greatest
gift. Just as Dasaratha prayed that Rama be born as his son for seven (all) births ("ninnaiyE
maganAgap perRap peRuvEn EzhpiRappum nedunthOL vEndhE"), so too I pray every day that I
gain Manavala Mamunigal as my acharya for seven (all) births ("ninnaiyE guruvAgap peRap
peRuvEn EzhpiRappum yathIndhrap pravaNA").
Q. You have accomplished a great many things. Is there something that you feel you have not
done yet?
A. Whatever you consider that I have accomplished thus far, if they remain without any
problems, then that is sufficient.
Q. When you perform discourses, why do you ask questions toward the audience? Particularly,
when it appears that you are questioning some scholars, it is said that they are bothered.
A. I do not ask questions to bother any one. I ask them questions so that the audience realize
their knowledge. Also, if people who have knowledge of the Vedas and Divyaprabandhams
come to me, I take them with me to my upanyasams. I do this for the benefit of the audience only
- not to test them.
Q. As the editor of magazines, what is your wish for the magazine Geethacharyan (run by Sri
M.A. Venkatakrishnan)?
A. Geethacharyan must grow greatly. It must increase its pages more. As it grows, I would like
to stop my magazine "Sri Ramanujan" and take this as my magazine.
Tuesday, April 21, 2015
There is something more to all of this than meets the eye.
Usually it is pride that takes over a person who has learnt a little bit of the scriptures. though in reality he is supposed to be just the opposite. there are some attributes of the saints, that we have missed i feel. we are only looking at their works and analysing them but what of their souls how come they are able to have no pride at all. the more they know the more common plain they become. They did not follow the acharam which the forward classes followed. nothing mattered to them. how come such rules arose how come then some people called it the hymns for the drowning literally translating the word. if you study the grid as it were the background that one comes from plays such an important role to what one becomes. it sounds contradictory no wonder rules were formed. but in doing so some of them went way beyond the practical.
yeh its all very confusing it is.
An ignorant mans vision is gross and physical. hence he sees the several objects as so many different things. but a wise mans vision is subtle and he perceives the unity underlying the apparent diversity. this is what is called equal vision. Does the wise man then give the same or equal treatment to all. even the most casual observation will reveal that Nature means diversity and difference. In health wealth authority even in physical matters like colour, height weight sound etc. there is no equality even among children of same parents. So the idea of perfect equality is a myth. both of the physical and mental planes, inequality reigns supreme and it is the law of nature. Sadhana consists in eliminating mental inequalities and rising into an absolute plane of perfect equality and then the inequalities of the physical plane though always there do not make themselves felt. The doctrine of equality has often been misunderstood and even abused by interested parties. Many pose as philosophers and os such imposters it is usually made fun of saying philosophers are approaching take care of your possessions as they make no distinction between yours and mine. wise men therefore counsel to adopt equality only in bhava. In our dealings with others and our worldly possessions we cannot and should not enforce the doctrine of equality. A sadhaka however can, as far as he is subjectively concerned, exemplify the principle in his life and conduct without detriment to others interests. but he should not shelter himself under the doctrine of equality and try gratifying his selfish needs. All creatures are essentially divine, but the difference of their upadhis or bodies do count in the practical world. A tiger too is Narayana but bow to him from a distance.
yeh its all very confusing it is.
An ignorant mans vision is gross and physical. hence he sees the several objects as so many different things. but a wise mans vision is subtle and he perceives the unity underlying the apparent diversity. this is what is called equal vision. Does the wise man then give the same or equal treatment to all. even the most casual observation will reveal that Nature means diversity and difference. In health wealth authority even in physical matters like colour, height weight sound etc. there is no equality even among children of same parents. So the idea of perfect equality is a myth. both of the physical and mental planes, inequality reigns supreme and it is the law of nature. Sadhana consists in eliminating mental inequalities and rising into an absolute plane of perfect equality and then the inequalities of the physical plane though always there do not make themselves felt. The doctrine of equality has often been misunderstood and even abused by interested parties. Many pose as philosophers and os such imposters it is usually made fun of saying philosophers are approaching take care of your possessions as they make no distinction between yours and mine. wise men therefore counsel to adopt equality only in bhava. In our dealings with others and our worldly possessions we cannot and should not enforce the doctrine of equality. A sadhaka however can, as far as he is subjectively concerned, exemplify the principle in his life and conduct without detriment to others interests. but he should not shelter himself under the doctrine of equality and try gratifying his selfish needs. All creatures are essentially divine, but the difference of their upadhis or bodies do count in the practical world. A tiger too is Narayana but bow to him from a distance.
Saturday, April 18, 2015
What makes a life worth living? It’s a Wonderful Life
Many films explore the question, “What makes a human life good?” everybody’s favourite schmaltzy Christmas classic, takes on the task directly, with both predictable and unexpected results. Start with the predictable ones: the old question whether a life that is morally good is also good in the sense that it makes you happy is answered in the affirmative. The James Stewart character, George Bailey, achieves the title’s wonderful life by sacrificing his own plans and ambitions for the sake of his family and the poorer members of his community. According to the movie, what’s good about the morally good life is the way it connects you to people.
But at a slightly deeper level, the movie raises the question whether Socrates’ famous claim – that the unexamined life is not worth living – might be true. For what saves Bailey from suicide is the chance to examine his life, by the philosophical device of a thought experiment: “You’ve been given a great gift, George. A chance to see what the world would be like without you.” The movie suggests that if he had not been given that chance, he might well have killed himself. But if he had done so, believing it would have been better if he had never been born, would we, the audience, still judge that he had a wonderful life? And if we would not, then does the movie show us that a human life cannot be good unless the person who lives it thinks about it and knows that it is good?
Can anything really be justified? Ida
Her lover has asked her to come away with him. “Then,” he says, “we’ll buy a dog, get married, have children, get a house.” But Ida’s question, again, is, “And then?” To this, all he can say is: “The usual. Life.”
Ida is a novice nun. Before taking her vows, she has been sent into the world to meet her aunt, her only surviving relative. During the film, she learns that she is Jewish and discovers how her parents were murdered during the war. The aunt is a worldly state prosecutor who urges Ida to abandon the convent and live life to the full, but who is herself burdened by her own past. When the aunt commits suicide, Ida tries out cigarettes, vodka, high-heels, jazz and finally sex with a young saxophonist she has befriended. But as the film ends, we see her back in her nun’s habit, returning to the convent.
The saxophonist offers love, domesticity, contentment. With her repeated “and then?” Ida pushes to its limits the question: “what would make such a life worth living?”
Her lover is stymied. And indeed, it is unclear what answer can be given when the demand for justification is pushed this far. We see Ida reject a life of worldly engagement and choose instead a different kind of commitment. She does not explain this choice. Her lover’s answer: “Life” is the last word in the film, followed only by the music of Bach, as Ida trudges back to the convent, against the traffic. We are left wondering whether any ultimate choice of this kind can be fully explained or justified. Can there be an ultimate answer to Ida’s question, “and then?”, and if so, what form could such an answer take?
Is there more to us than biology? Gattaca
When Gattaca was released in 1997, Dolly, the most highly publicised sheep in history and the first mammal to be cloned from an adult cell, was one year old. The human genome project, hailed as the biological equivalent of putting an astronaut on the moon, was progressing at an accelerating pace towards its goal of mapping and sequencing the entire human genome. These developments triggered widespread ethical debates about genetic determinism.
Would clones of a famous scientist or successful athlete be able to live up to the expectation that they would achieve as much as the person whose genetic material they had inherited, or would those very expectations be a crushing psychological burden? Would sequencing the human genome enable us to identify the genes that contribute to higher intelligence or other desirable traits and would that in turn lead to discrimination against those who do not have them?
Into this highly-charged debate came a film that took its name from the initial letters of the four building blocks of DNA. Gattaca portrays a future in which parents can select from their genes to produce the child that has the best genes that any child of theirs could have. These offspring, known as “valids”, get the best positions in society. The film’s plot focuses on the attempt of Vincent, an ambitious “in-valid” conceived in the old-fashioned way, to escape his genetic destiny of being a cleaner and instead become an astronaut.
Vincent triumphs through sheer strength of will. In one scene he challenges his genetically superior brother Anton to see who can swim farther out into the ocean. Vincent wins, because he leaves nothing in reserve for the swim back. Presumably many of the audience come away assenting to the film’s tagline that “there is no gene for the human spirit”.
That tagline needs critical scrutiny. If “the human spirit” is a reference to the hero’s guts and determination, then presumably there are genes for that, and if we knew enough about our genes, they would be part of one’s genetic profile. If that isn’t what is meant by “the human spirit” then what is it, and how do we come to have a characteristic that does not have a genetic basis?
Are the things we imagine real? Galaxy Quest
After a class on philosophy and literature in which we looked at how Alison Lurie’s novel Imaginary Friends plays on the contrasts, and the interrelations, between the real and the imaginary, a student presented me with a video ofGalaxy Quest. This is a lightweight comedy, but it is as full of ontological twists and turns as Lurie’s book, and just as funny.
For the first few minutes, we’re watching a lame episode of a TV show of the Star Trek genre: the starship whooshing around the galaxy looks like something out of a cornflakes packet; its interior seems to be made of plywood and aluminium foil; the acting is terrible, and as for the dialogue ... This, we learn, is an excerpt from a long-cancelled series now being shown at a convention for science-fiction fans. But among all those human fans dressed as aliens is a band of real aliens, disguised as humans dressed as space-travellers. Mistaking the TV show for “historical documents”, they have come to Earth to beam up the courageous crew to their spaceship – a real, working version of the plywood-and-foil Protector – to help them fight off the evil Sarris.
And so a bunch of washed-up actors find themselves really in space, and really fighting aliens with, as the cover of the video puts it, “no script, no director, and no clue”. In a marvellously Platonic moment, Captain Taggart tries to explain to the Thermian leader that the TV series wasn’t a documentary, but entertainment: the crew members are actors, not astronauts, only pretending to be space travellers. The Thermians are nonplussed: they’ve heard of deception; is the captain telling him the TV show was lies? But somehow the TV “heroes” grow into their parts, save their alien friends from disaster and become real heroes.
What is the difference between the real and the imaginary? Isn’t that TV spaceship, after all, a real imagined spaceship, even though it’s not a real spaceship? Is fiction really just lies or, despite its literal falsity, something different? Sometimes, now, I use this movie as a way of prompting students to think about philosophical questions like these.
What is the enduring self? Memento
The film Memento is a philosophical exploration of the nature of the self, and the role of memory in the making and unmaking of identity. Its protagonist, Lenny Shelby, spends every waking hour on an all-consuming quest to find and kill the man who murdered his wife. He has suffered a severe head injury that has left him unable to transform his fleeting short-term experiences into new long-term memories. He can remember nothing that has happened since the murder. At each moment, he is beset with questions – questions that strike him as ever new and ever urgent. What am I doing here? How did I get here? What am I trying to achieve?
Part of the brilliance of the movie is not just that it raises questions about memory and the self, but that it forces us to wear Lenny’s shoes and to walk around in them for almost the entire movie. It weaves together two apparently separate, but eventually interlocking narratives – one moving backwards in time, the other moving forward. Like Lenny, we must somehow figure out, without the aid of memory, how we reached this puzzling present, what we are doing there, and why it matters.
It is only when the two narratives finally merge that we come to see the fuller “truth” about Lenny. It turns out that he actually tracked down his wife’s killer and exacted his revenge some time ago – though, of course, he forgot it instantly. We realise that it was Lenny who set himself up, without being fully aware, to successfully hunt down and kill another man. Lenny’s self-manipulation bespeaks a degree of autonomy that belies his brokenness. Though he is clearly not the sort of unbroken, autonomous, self-knowing being that we all naturally and easily assume our “selves” to be, he is clearly more than just a ruined and broken creature. The broken fragments of his identity are constantly seeking a kind of self-repair. Perhaps we should say that the enduring self is not, after all, a fixed and determined thing, achieved once and for all. Perhaps the self is always in the process of being made, unmade and remade. If so, then perhaps Lenny differs from the rest of us not so much in kind, but merely in degree.
How can we do the right thing.
How can we do the right thing?
Force Majeure
If you had lived in Germany in 1939, would you have helped protect Jews or gone along with their systematic extermination? If you had been an MP 10 years ago, would you have milked your expenses for what they were worth? And if you and your family faced a threat, would you protect them or save yourself?
We all like to think that in such situations our basic decency would shine through, but we can never know. This is the central theme of Force Majeure, in which an avalanche suddenly threatens to engulf a Swedish family enjoying lunch on the terrace of a plush ski resort. The husband and father, Tomas, flunks his test. Instead of trying to shield his wife and children he runs away, not forgetting his precious smartphone.
In the aftermath, several characters try to excuse him. “In situations like these you’re not always aware of what you do,” says one. “You try to survive.” Aristotle would not have been satisfied by this or the other excuses offered in Tomas’s defence. He would have insisted that in those few seconds, Tomas revealed his character.
Aristotle’s insight was that we rarely have the time or opportunity to sit down and think about what the best thing to do is before acting. Indeed, a good person does not have to do this. To become good you have to practise being good by cultivating the habits of goodness. Only then will you find yourself doing the right thing almost automatically. If you practise thinking about what you want to be and doing what is necessary to become that person, when you are tested you will be able to do the right thing without thinking.
We can pretend that Tomas just had a moment of madness where his primal survival instinct took over, but his wife, Ebba, knows better, and so do we. He did what he did because he loves himself and his phone more than he loves his family. We can see this in the small details of daily life. For example, before the incident, Ebba asks him from the bathroom whether he is checking his phone and he lies and says no. This isn’t a terrible crime in itself, but Aristotle would have said it was just one more small contribution to a pattern of behaviour that made him the cowardly narcissist he is. Every time he chooses to lie rather than admit to himself and others that he is too obsessed with his phone he becomes that little bit more self-centred.
Force Majeure tells us what Aristotle knew: unpredictable events happen, random “acts of God” for which no one is responsible. But how we respond to them is not random, and responsibility for that lies squarely on our own shoulders.
This was seen very well in our Munar trip a few years ago. we were nearly 55 of us travelling , this was on our way back. most of the men had gone ahead to reach thrisur with a friend who owned a five star hotel there to make arrangements for our dinner and fellowship before we took the train to chennai. and low we were women and children were stranded in the middle of the forest as the bus could not take the u turn bend on the return trip. we were asked to get off the bus our cell phones did not work people panicked as we were in the middle of actually nowhere. and a large crowd of 48 people to be transported from that forest. we hailed a lorry and managed to get in a few oldies in the front with the driver they have a bench behind the drivers seat and the rest of us at the back. the agitation and the way people behaved was an experience few of us will remember for a life time. then the luggage which was left in the bus had to be hauled onto the lorry too as the bus was incapable of travelling the 45 minutes joirney all hell broke loose. what an experience it was. can well imagine poor thomas then. what he did was pure nature. so it is very important. to be in control. practice alone can save one.
I too firmly believe that one can not judge until the moment has arrived and one does things either it is force of habit or instinct. that is the moment to perform.
new approach.
Some times when at a loss to be able to view the direction your life is taking it is best to step out of your skin so to say and view things from outside. say like you are viewing your city from the aircraft just as you leave or about to enter it. you get a birds eye view. you realise how small and insignificant you are and there are millions of others very identical to you. it all depends on ones age how we react. we can see a canvas of life the board is spread out the coins are placed and we have to perform in our own little way with a set of people one is with. what do you do how do you improve. there is no winning or loosing just performing what one understands of the game and how one reacts. Its amazing this play is it not. no there is no feverish pitch to want to know beyond or to want to be outstanding just satisfied playing the role waiting for the next set of rules or just being you. does it feel stagnant. some times it is good to feel so then one enjoys the activity which is bound to follow trying to change the course or direction.
well taking a break would like and should are questions one can ask of the next six posts. annalise and arrive at .
well taking a break would like and should are questions one can ask of the next six posts. annalise and arrive at .
Friday, April 17, 2015
Qualities 24 +
1.Colour
Colour is the quality apprehended only by the eye. It is again of seven kinds due to its division into white, blue yellow red green brown and variegated. it exists in earth, water and light. of these all seven varieties exist in the earth. In water pale white variety is found in light bright white variety resides.
Caksurmatragrahyah gunah rupam. tat ca sukla nila pita rakta harita kapisa citra bhedat, saptavidham. prthivi jala tejah vrtti. tatra prthivyam saptavidham. a bhasvara suklam jale. bhasvara suklam tejasi.
2.Taste rasa.
Savour is the quality apprehended by the gustatory organ. it is of six varieties sweet, acid, saline, pungent, astringent and bitter. Taste subsists in earth and water. of these earth has all the six varieties while water has only the sweet variety.
Rasanagrahyah gunah rasah. sa ca madhura amla lavana katu kasya tikta bhedat sadvidhah. prthivi jala vrttih. tatra prthivyam sadvidhah. jale madhura eva.
3.Odour gandha
Odour is the quality perceived by the olfactory organ, it is two fold fragrant and foul. It subsists in earth alone.
Ghranagrahyah gunah gandhah. sa dvividhah.
Surabhih asurabhih ca prthivimatra vrttih.
4.Touch Sparsa
Touch is the quality perceived by the tactile organ alone. it is threefold cool hot and lukewarm. it resides in water earth light and air. Of these cool touch resides in water,hot touch in light and luke warm in earth and air.
tvagindriyamatragrahyah gunah sparsah. sa ca trividhah sita usna anusna sita bhedat. prthivi ap tejah vayu vrttih. tatra sitajale. usnah tejas. anusnasitah prthivivayvoh.
5.The theory of Paka.
The four qualities beginning with colour are produced in earth through the application of heat, and are non eternal. In other substances i.e. in water light and air they are not produced by the application of heat natural and are eternal and also non eternal. In eternal i.e. in atom they are eternal and in non eternal i.e. in product they are non eternal.
rupa adi catustayam prthivyam pakajam anityam ca. anyatra apakajam nityam anityam ca. nityagatam nityam anityagatam anityam.
6.Number sankhya.
Number is the cause of common usage of enumerative expressions like one, two etc. It is found in all the nine substances. It starts from one and ends with parardha. Oneness is eternal and non eternal i.e. eternal in atom and non eternal in products. eternal in eternal substances and non eternal in non eternals. number two and higher nos are only non eternals everywhere.
Ekatva adi vyavaharahetuh samkhya. sa navadravyavrttih ekatva adi parardhaparyanta parardha. ekatvam nityam anityam ca. nityagatam nityam. anityagatam anityam. dvitva adikam tu sarvatra anityam eva.
7.Dimension parimanam.
Dimension is the special cause of the common usage of words pertaining to measurement. It is found in all the nine substances. and it is of four varieties. atomic, large, long and short.
Manavyavaharasadharanakaranam parimanam. navadravya vrttih. tat caturvidham. anu mahat dirgham hrsvam ca iti.
8.Distinctness prthaktvam.
Distinctness is the special cause of conventional expressions such as this is distinct from that. It is found in all the nine substances.
Prthagvyavahara asadharanakaranam prthaktvam. sarvadravyavrttih.
9.Conjunction samyoga.
Conjunction is the special cause of conventonal expressions of contact between two objects. It exists in all the substances.
Samyuktavyavaharahetuh samyogah. sarvadravyavrttih.
10.Dis junction Vibhaga.
Disjunction is the quality which destroys conjunction. It resides in all the nine substances.
Samyoganasakah gunah vibhagah. sarvadravyavrttih.
11.RemotenessParatva and Proximity aparatva.
Remoteness and proximity are the special causes of common usage of words expressing remoteness and proximity. They reside in four substances beginning with earth and also in mind. Each of them is of two varieties spatial and temporal. In things existing at a distance spatial remoteness is found; in things near spatial proximity is found; in an elderly person, temporal remoteness is found. in a younger person temporal proximity is found.
Para apara vyavahara asadharana karana paratvaparatve. prthivi adi catustayamano vrttini. te dvividhedikkrte kalakrte ca. durasthe dikkrtam paratvam. samipasthe dikkrtam aparatvam. jyesthe kalakrtam, paratvam. kanisthe kalakrtam aparatvam.
12.Heaviness Gurutvam.
Heaviness is the non intimate cause of the first down ward motion in a falling substance. It resides in earth and water.
Adyapatana asamavayikaranam gurutvam. prthivi jala vritti.
13.Fluidity dravatvam.
Fluidity is the non intimate cause of the first flow of a liquid substance. It resides in earth water and light. It is of two varieties; natural and artificial. In water natural fluidity is found. In earth and light artificial fluidity is found. In earth artificial fluidity is generated through the contact of fire with ghee. artificial fluidity is found in gold etc belonging to light.
adyasyandana asamavayikaranam, dravatvam. prthivi, ap tejo vrtti. tad dvividham, samsiddhikam, naimittikam ca. samsiddhikam jale. naimittikam, prthivitejasoh. prthivyam ghradau agnisamyogajam dravatam. tejasi suvarnadau.
14. Viscidity Snehah.
Viscidity is the quality which causes the agglutination of power etc. It exists in water only.
Curna adi pindibhavahetuh gunah snehah. jalamatravrttih.
15. Sound sabdah.
Sound is the quality apprehended by the organ of hearing. it subsists in ether alone. It is two fold of the nature of inarticulate sound and of the nature of the alphabetic sound. Inarticulate sound is found in the sound produced by drums etc. The alphabetic sound is found in the form of language like Sanskrit etc.
Srotragrahyah gunah sabdah akasamatravrttih. sa dvividhah dhvanyatmakah varnatmakasca. tatra dhvanyatmakah bheryadau.Varnatmakah samskrtabhasadirupah.
16. Cognition Jnanam.
Cognition is the quality which is the cause of all kinds of communications; and it is knowledge. It is two fold remembrance and apprehension.
Sarvavyavaharaheturgunah buddhih jnanam. sa dvividha smrtih anubhavah ca.
17. Cognition is two fold 1. Remembrance Smrti
2. Apprehension anubhava.
Remembrance Smrti
Remembrance is the knowledge born of mental impressions alone.
Samskaramatrajanyam jnanam smrtih.
18. Apprehension anubhava.
Knowledge other than recollection is apprehension. It is two fold: comfortable to the object and not comfortable to the object.
Tadbhinnam Jnanam anubhavah. sa dvividhah yatharthah, ayatharthasca.
19. Valid Apprehension Yathartha anubhava.
A valid apprehension is that in which an object is known as possessing attributes which it really possesses eg. the apprehension of silver arising in an object where there is silverness. This is known as valid knowledge.
Tadvati tatprakarakah anubhavah yatharthah yatha rajate idam rajatam iti jnanam. saiva prama ityucyate.
20.Erroneous Apprehension ayathartha anubhava.
That is not valid apprehension in which an object is known as having an attribute which it does not have in reality. eg. silver arising in the piece of mother of pearl. this is false cognition.
Refer video.M A Alwar's lecture in Ramanuja .org.
tadabhavavati tatprakarakah anubhavah ayathartha yatha suktau idam rajatamiti jnanam. saiva aprama ityucyate.
21. Valid apprehension is fourfold.
Valid apprehension is four fold due to the division into perception, inference, analytical knowledge and verbal testimony.
yatharthanubhavah caturvidhah pratyaksa anumiti upamiti sabda bhedat.
22. The instrument of valid apprehension.
Their instruments too are fourfold due to division into the instrument of perception, instrument of inference, instrument of comparative knowledge and the instrument of verbal testimony.
Tat karanamapi caturvidham pratyaksa anumana upamana sabda bhedat.
23. Definition of special cause.
The uncommon cause instrumental or efficient is the special cause.
Asadharanam karanam karanam.
24. Definition of cause.
That which invariably precedes its effect is its cause.
Karya niyata purvavrtti karanam.
25. Definition of effect:
Effect is the counter correlative of its own antecedent non existence in its inherent cause.
Karyam pragabhava pratiyogi.
26. Cause Karanam
Cause is of three kinds inherent, non inherent and occasioning instrumental or efficient.
Karanam trividham samavayi asamavayi nimitta bhedat.
27. The inherent cause samavayi karanam.
The inherent cause is that which is in inseparable union with the effect eg. sa the yarn are of the effect cloth and the cloth is of the colour on it.
Yat samavetam karayam utpadyate tat samavayi karanam yatha tantavah patasya patah ca svagatarupadeh.
28. The non inherent cause. asamavayi karanam,
The non inherent cause is one which is inseparably united in the same object either with the effect, or with the cause, as the conjunction of yarns in relation to the effect cloth or the colour of the yarns in relation to the effect the colour of the cloth.
karyena karanena va saha ekasmin arthe samavetatve sati yat karanam tad asamavayikaranam yatha tantusamyogah patasya tanturupam patarupasya.
29. Occasioning cause nimitta karanam.
The cause which is different from both these causes is the occasioning cause instrumental or efficient such as the shuttle loom etc. eg. in case of production of a piece of cloth.
Tadubhayabhinnam karanam nimittakaranam yatha turi vema adikam patasya.
30. Special cause asadharanam karannam.
That alone which is the uncommon cause among the three varieties of causes mentioned above is the special cause.
Tadetat trividhakaranamadhye asadharanam karanam tadeva karanam.
Colour is the quality apprehended only by the eye. It is again of seven kinds due to its division into white, blue yellow red green brown and variegated. it exists in earth, water and light. of these all seven varieties exist in the earth. In water pale white variety is found in light bright white variety resides.
Caksurmatragrahyah gunah rupam. tat ca sukla nila pita rakta harita kapisa citra bhedat, saptavidham. prthivi jala tejah vrtti. tatra prthivyam saptavidham. a bhasvara suklam jale. bhasvara suklam tejasi.
2.Taste rasa.
Savour is the quality apprehended by the gustatory organ. it is of six varieties sweet, acid, saline, pungent, astringent and bitter. Taste subsists in earth and water. of these earth has all the six varieties while water has only the sweet variety.
Rasanagrahyah gunah rasah. sa ca madhura amla lavana katu kasya tikta bhedat sadvidhah. prthivi jala vrttih. tatra prthivyam sadvidhah. jale madhura eva.
3.Odour gandha
Odour is the quality perceived by the olfactory organ, it is two fold fragrant and foul. It subsists in earth alone.
Ghranagrahyah gunah gandhah. sa dvividhah.
Surabhih asurabhih ca prthivimatra vrttih.
4.Touch Sparsa
Touch is the quality perceived by the tactile organ alone. it is threefold cool hot and lukewarm. it resides in water earth light and air. Of these cool touch resides in water,hot touch in light and luke warm in earth and air.
tvagindriyamatragrahyah gunah sparsah. sa ca trividhah sita usna anusna sita bhedat. prthivi ap tejah vayu vrttih. tatra sitajale. usnah tejas. anusnasitah prthivivayvoh.
5.The theory of Paka.
The four qualities beginning with colour are produced in earth through the application of heat, and are non eternal. In other substances i.e. in water light and air they are not produced by the application of heat natural and are eternal and also non eternal. In eternal i.e. in atom they are eternal and in non eternal i.e. in product they are non eternal.
rupa adi catustayam prthivyam pakajam anityam ca. anyatra apakajam nityam anityam ca. nityagatam nityam anityagatam anityam.
6.Number sankhya.
Number is the cause of common usage of enumerative expressions like one, two etc. It is found in all the nine substances. It starts from one and ends with parardha. Oneness is eternal and non eternal i.e. eternal in atom and non eternal in products. eternal in eternal substances and non eternal in non eternals. number two and higher nos are only non eternals everywhere.
Ekatva adi vyavaharahetuh samkhya. sa navadravyavrttih ekatva adi parardhaparyanta parardha. ekatvam nityam anityam ca. nityagatam nityam. anityagatam anityam. dvitva adikam tu sarvatra anityam eva.
7.Dimension parimanam.
Dimension is the special cause of the common usage of words pertaining to measurement. It is found in all the nine substances. and it is of four varieties. atomic, large, long and short.
Manavyavaharasadharanakaranam parimanam. navadravya vrttih. tat caturvidham. anu mahat dirgham hrsvam ca iti.
8.Distinctness prthaktvam.
Distinctness is the special cause of conventional expressions such as this is distinct from that. It is found in all the nine substances.
Prthagvyavahara asadharanakaranam prthaktvam. sarvadravyavrttih.
9.Conjunction samyoga.
Conjunction is the special cause of conventonal expressions of contact between two objects. It exists in all the substances.
Samyuktavyavaharahetuh samyogah. sarvadravyavrttih.
10.Dis junction Vibhaga.
Disjunction is the quality which destroys conjunction. It resides in all the nine substances.
Samyoganasakah gunah vibhagah. sarvadravyavrttih.
11.RemotenessParatva and Proximity aparatva.
Remoteness and proximity are the special causes of common usage of words expressing remoteness and proximity. They reside in four substances beginning with earth and also in mind. Each of them is of two varieties spatial and temporal. In things existing at a distance spatial remoteness is found; in things near spatial proximity is found; in an elderly person, temporal remoteness is found. in a younger person temporal proximity is found.
Para apara vyavahara asadharana karana paratvaparatve. prthivi adi catustayamano vrttini. te dvividhedikkrte kalakrte ca. durasthe dikkrtam paratvam. samipasthe dikkrtam aparatvam. jyesthe kalakrtam, paratvam. kanisthe kalakrtam aparatvam.
12.Heaviness Gurutvam.
Heaviness is the non intimate cause of the first down ward motion in a falling substance. It resides in earth and water.
Adyapatana asamavayikaranam gurutvam. prthivi jala vritti.
13.Fluidity dravatvam.
Fluidity is the non intimate cause of the first flow of a liquid substance. It resides in earth water and light. It is of two varieties; natural and artificial. In water natural fluidity is found. In earth and light artificial fluidity is found. In earth artificial fluidity is generated through the contact of fire with ghee. artificial fluidity is found in gold etc belonging to light.
adyasyandana asamavayikaranam, dravatvam. prthivi, ap tejo vrtti. tad dvividham, samsiddhikam, naimittikam ca. samsiddhikam jale. naimittikam, prthivitejasoh. prthivyam ghradau agnisamyogajam dravatam. tejasi suvarnadau.
14. Viscidity Snehah.
Viscidity is the quality which causes the agglutination of power etc. It exists in water only.
Curna adi pindibhavahetuh gunah snehah. jalamatravrttih.
15. Sound sabdah.
Sound is the quality apprehended by the organ of hearing. it subsists in ether alone. It is two fold of the nature of inarticulate sound and of the nature of the alphabetic sound. Inarticulate sound is found in the sound produced by drums etc. The alphabetic sound is found in the form of language like Sanskrit etc.
Srotragrahyah gunah sabdah akasamatravrttih. sa dvividhah dhvanyatmakah varnatmakasca. tatra dhvanyatmakah bheryadau.Varnatmakah samskrtabhasadirupah.
16. Cognition Jnanam.
Cognition is the quality which is the cause of all kinds of communications; and it is knowledge. It is two fold remembrance and apprehension.
Sarvavyavaharaheturgunah buddhih jnanam. sa dvividha smrtih anubhavah ca.
17. Cognition is two fold 1. Remembrance Smrti
2. Apprehension anubhava.
Remembrance Smrti
Remembrance is the knowledge born of mental impressions alone.
Samskaramatrajanyam jnanam smrtih.
18. Apprehension anubhava.
Knowledge other than recollection is apprehension. It is two fold: comfortable to the object and not comfortable to the object.
Tadbhinnam Jnanam anubhavah. sa dvividhah yatharthah, ayatharthasca.
19. Valid Apprehension Yathartha anubhava.
A valid apprehension is that in which an object is known as possessing attributes which it really possesses eg. the apprehension of silver arising in an object where there is silverness. This is known as valid knowledge.
Tadvati tatprakarakah anubhavah yatharthah yatha rajate idam rajatam iti jnanam. saiva prama ityucyate.
20.Erroneous Apprehension ayathartha anubhava.
That is not valid apprehension in which an object is known as having an attribute which it does not have in reality. eg. silver arising in the piece of mother of pearl. this is false cognition.
Refer video.M A Alwar's lecture in Ramanuja .org.
tadabhavavati tatprakarakah anubhavah ayathartha yatha suktau idam rajatamiti jnanam. saiva aprama ityucyate.
21. Valid apprehension is fourfold.
Valid apprehension is four fold due to the division into perception, inference, analytical knowledge and verbal testimony.
yatharthanubhavah caturvidhah pratyaksa anumiti upamiti sabda bhedat.
22. The instrument of valid apprehension.
Their instruments too are fourfold due to division into the instrument of perception, instrument of inference, instrument of comparative knowledge and the instrument of verbal testimony.
Tat karanamapi caturvidham pratyaksa anumana upamana sabda bhedat.
23. Definition of special cause.
The uncommon cause instrumental or efficient is the special cause.
Asadharanam karanam karanam.
24. Definition of cause.
That which invariably precedes its effect is its cause.
Karya niyata purvavrtti karanam.
25. Definition of effect:
Effect is the counter correlative of its own antecedent non existence in its inherent cause.
Karyam pragabhava pratiyogi.
26. Cause Karanam
Cause is of three kinds inherent, non inherent and occasioning instrumental or efficient.
Karanam trividham samavayi asamavayi nimitta bhedat.
27. The inherent cause samavayi karanam.
The inherent cause is that which is in inseparable union with the effect eg. sa the yarn are of the effect cloth and the cloth is of the colour on it.
Yat samavetam karayam utpadyate tat samavayi karanam yatha tantavah patasya patah ca svagatarupadeh.
28. The non inherent cause. asamavayi karanam,
The non inherent cause is one which is inseparably united in the same object either with the effect, or with the cause, as the conjunction of yarns in relation to the effect cloth or the colour of the yarns in relation to the effect the colour of the cloth.
karyena karanena va saha ekasmin arthe samavetatve sati yat karanam tad asamavayikaranam yatha tantusamyogah patasya tanturupam patarupasya.
29. Occasioning cause nimitta karanam.
The cause which is different from both these causes is the occasioning cause instrumental or efficient such as the shuttle loom etc. eg. in case of production of a piece of cloth.
Tadubhayabhinnam karanam nimittakaranam yatha turi vema adikam patasya.
30. Special cause asadharanam karannam.
That alone which is the uncommon cause among the three varieties of causes mentioned above is the special cause.
Tadetat trividhakaranamadhye asadharanam karanam tadeva karanam.
Sunday, April 12, 2015
gadyam SRINIVASA
Sri Srinivasa Gadyam Lyrics (Slokas) In English
Sreemadakhilamaheemamdalamamdanadharaneedhara Mamdalaakhamdalasya, Nikhilasuraasuravamdita Varaahakshetra Vibhooshanasya, Seshaacala Garudaacala Simhaacala Vrushabhaacala Naaraayanaacalaamjanaacalaadi Sikharimaalaakulasya, Naathamukha Bodhanidhiveethigunasaabharana Sattvanidhi Tattvanidhi Bhaktigunapoorna Sreesailapoorna Gunavasamvada Paramapurushakrupaapoora Vibhramadatumgasrumga Galadgaganagamgaasamaalimgitasya, Seemaatiga Guna Raamaanujamuni Naamaamkita Bahu Bhoomaasraya Suradhaamaalaya Vanaraamaayata Vanaseemaaparivruta Visamkatatata Niramtara Vijrumbhita Bhaktirasa Nirgharaanamtaaryaahaarya Prasravanadhaaraapoora Vibhramada Salilabharabharita Mahaatataaka Mamditasya, Kalikardama Malamardana Kalitodyama Vilasadyama Niyamaadima Munigananishevyamaana Pratyaksheebhavannijasalila Samajjana Namajjana Nikhilapaapanaasanaa Paapanaasana Teerthaadhyaasitasya, Muraarisevaka Jaraadipeedita Niraartijeevana Niraasa Bhoosura Varaatisumdara Suraamganaarati Karaamgasaushthava Kumaarataakruti Kumaarataaraka Samaapanodaya Danoonapaataka Mahaapadaamaya Vihaapanodita Sakalabhuvana Vidita Kumaaradhaaraabhidhaana Teerthaadhishthitasya, Dharanitala Gatasakala Hatakalila Subhasalila Gatabahula Vividhamala Haticatura Ruciratara Vilokanamaatra Vidalita Vividha Mahaapaataka Svaamipushkarinee Sametasya, Bahusamkata Narakaavata Patadutkata Kalikamkata Kalushodbhata Janapaataka Vinipaataka Rucinaataka Karahaataka Kalasaahruta Kamalaarata Subhamamjana Jalasajjana Bharabharita Nijadurita Hatinirata Janasatata Nirastanirargala Pepeeyamaana Salila Sambhruta Visamkata Kataahateertha Vibhooshitasya, Evamaadima Bhoorimamjima Sarvapaataka Garvahaapaka Sindhudambara Haarisambara Vividhavipula Punyateerthanivaha Nivaasasya, Sreemato Vemkataacalasya Sikharasekharamahaakalpasaakhee, Kharveebhavadati Garveekruta Gurumerveesagiri Mukhorveedhara Kuladarveekara Dayitorveedhara Sikharorvee Satata Sadoorveekruti Caranaghana Garvacarvananipuna Tanukiranamasrunita Girisikhara Sekharatarunikara Timirah, Vaaneepatisarvaanee Dayitendraanisvara Mukha Naaneeyorasavenee Nibhasubhavaanee Nutamahimaanee Ya Stana Konee Bhavadakhila Bhuvanabhavanodarah, Vaimaanikaguru Bhoomaadhika Guna Raamaanuja Krutadhaamaakara Karadhaamaari Daralalaamaaccakanaka Daamaayita Nijaraamaalaya Navakisalayamaya Toranamaalaayita Vanamaalaadharah, Kaalaambuda Maalaanibha Neelaalaka Jaalaavruta Baalaabja Saleelaamala Phaalaamkasamoolaamruta Dhaaraadvayaavadheerana Dheeralalitatara Visadatara Ghana Ghanasaara Mayordhvapumdra Rekhaadvayarucirah, Suvikasvara Dalabhaasvara Kamalodara Gatamedura Navakesara Tatibhaasura Paripimjara Kanakaambara Kalitaadara Lalitodara Tadaalamba Jambharipu Manistambha Gambheerimadambhastambha Samujjrumbhamaana Peevaroruyugala Tadaalamba Pruthula Kadalee Mukula Madaharanajamghaala Jamghaayugalah, Navyadala Bhavyamala Peetamala Sonimalasanmrudula Satkisalayaasrujalakaari Bala Sonatala Padakamala Nijaasraya Balabamdeekruta Saradimdumamdalee Vibhramadaadabhra Subhra Punarbhavaadhishthitaamguleegaadha Nipeedita Padmaavanah, Jaanutalaavadhi Lamba Vidambita Vaarana Sumdaadamda Vijrumbhita Neelamanimaya Kalpakasaakhaa Vibhramadaayi Mrunaalalataayita Samujjvalatara Kanakavalaya Vellitaikatara Baahudamdayugalah, Yugapadudita Koti Kharakara Himakara Mamdala Jaajvalyamaana Sudarsana Paamcajanya Samuttumgita Srumgaapara Baahuyugalah, Abhinavasaana Samuttejita Mahaamahaa Neelakhamda Madakhamdana Nipuna Naveena Paritapta Kaartasvara Kavacita Mahaneeya Pruthula Saalagraama Paramparaa Gumbhita Naabhimamdala Paryamta Lambamaana Praalambadeepti Samaalambita Visaala Vakshahsthalah, Gamgaajhara Tumgaakruti Bhamgaavali Bhamgaavaha Saudhaavali Baadhaavaha Dhaaraanibha Haaraavali Dooraahata Gehaamtara Mohaavaha Mahima Masrunita Mahaatimirah, Pimgaakruti Bhrumgaara Nibhaamgaara Dalaamgaamala Nishkaasita Dushkaaryagha Nishkaavali Deepaprabha Neepaccavi Taapaprada Kanakamaalikaa Pisamgita Sarvaamgah, Navadalita Dalavalita Mrudulalita Kamalatati Madavihati Caturatara Pruthulatara Sarasatara Kanakasaramaya Rucirakamthikaa Kamaneeyakamthah, Vaataasanaadhipati Sayana Kamana Paricarana Ratisametaakhila Phanadharatati Matikaravara Kanakamaya Naagaabharana Pariveetaakhilaamgaa Vagamita Sayana Bhootaahiraaja Jaataatisayah, Ravikotee Paripaatee Dharakotee Ravaraatee Kitaveetee Rasadhaatee Dharamaniganakirana Visarana Satatavidhuta Timiramoha Gaarbhagehah, Aparimita Vividhabhuvana Bharitaakhamda Brahmaamdamamdala Picamdilah, Aaryadhuryaanamtaarya Pavitra Khanitrapaata Paatreekruta Nijacubuka Gatavranakina Vibhooshana Vahanasoocita Sritajana Vatsalataatisayah, Maddudimdima Dhamaru Jarghara Kaahalee Patahaavalee Mrudumaddalaadi Mrudamga Dumdubhi Dhakkikaamukha Hrudya Vaadyaka Madhuramamgala Naadamedura Naataarabhi Bhoopaala Bilahari Maayaamaalava Gaula Asaaveree Saaveree Suddhasaaveree Devagaamdhaaree Dhanyaasee Begada Himdustaanee Kaapee Todi Naatakurumjee Sreeraaga Sahana Athaana Saaramgee Darbaaru Pamtuvaraalee Varaalee Kalyaanee Bhoorikalyaanee Yamunaakalyaanee Husenee Jamjhothee Kaumaaree Kannada Kharaharapriyaa Kalahamsa Naadanaamakriyaa Mukhaaree Todee Punnaagavaraalee Kaambhojee Bhairavee Yadukulakaambhojee Aanamdabhairavee Samkaraabharana Mohana Reguptee Sauraashtree Neelaambaree Gunakriyaa Meghagarjanee Hamsadhvani Sokavaraalee Madhyamaavatee Jemjurutee Suratee Dvijaavamtee Malayaambaree Kaapeeparasu Dhanaasiree Desikatodee Aahiree Vasamtagaulee Samtu Kedaaragaula Kanakaamgee Ratnaamgee Gaanamoortee Vanaspatee Vaacaspatee Daanavatee Maanaroopee Senaapatee Hanumattodee Dhenukaa Naatakapriyaa Kokilapriyaa Roopavatee Gaayakapriyaa Vakulaabharana Cakravaaka Sooryakaamta Haatakaambaree Jhamkaaradhvanee Natabhairavee Keeravaanee Harikaambhodee Dheerasamkaraabharana Naagaanamdinee Yaagapriyaadi Visrumara Sarasa Gaanarucira Samtata Samtanyamaana Nityotsava Pakshotsava Maasotsava Samvatsarotsavaadi Vividhotsava Krutaanamdah Sreemadaanamdanilaya Vimaanavaasah, Satata Padmaalayaa Padapadmarenu Samcitavakshastala Patavaasah, Sreesreenivaasah Suprasanno Vijayataam. Sree^^Alarmelmamgaa Naayikaasametah Sreesreenivaasa Svaamee Supreetah Suprasanno Varado Bhootvaa, Pavana Paatalee Paalaasa Bilva Punnaaga Coota Kadalee Camdana Campaka Mamjula Mamdaara Himjulaadi Tilaka Maatulumga Naarikela Kraumcaasoka Maadhookaamalaka Himduka Naagaketaka Poornakumda Poornagamdha Rasa Kamda Vana Vamjula Kharjoora Saala Kovidaara Himtaala Panasa Vikata Vaikasavaruna Tarughamarana Viculamkaasvattha Yaksha Vasudha Varmaadha Mantrinee Tintrinee Bodha Nyagrodha Ghatavatala Jamboomatallee Veeratacullee Vasati Vaasatee Jeevanee Poshanee Pramukha Nikhila Samdoha Tamaala Maalaa Mahita Viraajamaana Cashaka Mayoora Hamsa Bhaaradvaaja Kokila Cakravaaka Kapota Garuda Naaraayana Naanaavidha Pakshijaati Samooha Brahma Kshatriya Vaisya Soodra Naanaajaatyudbhava Devataa Nirmaana Maanikya Vajra Vaidhoorya Gomedhika Pushyaraaga Padmaraagemdra Neela Pravaalamauktika Sphatika Hema Ratnakhacita Dhagaddhagaayamaana Ratha Gaja Turaga Padaati Senaa Samooha Bheree Maddala Muravaka Jhallaree Samkha Kaahala Nrutyageeta Taalavaadya Kumbhavaadya Pamcamukhavaadya Ahameemaargannateevaadya Kitikumtalavaadya Surateecaumdovaadya Timilakavitaalavaadya Takkaraagravaadya Ghamtaataadana Brahmataala Samataala Kottareetaala Dhakkareetaala Ekkaala Dhaaraavaadya Patahakaamsyavaadya Bharatanaatyaalamkaara Kinnera Kimpurusha Rudraveenaa Mukhaveenaa Vaayuveenaa Tumburuveenaa Gaamdharvaveenaa Naaradaveenaa Svaramamdala Raavanahastaveenaastakriyaalamkriyaalamkrutaanekavidhavaadya Vaapeekoopatataakaadi Gamgaayamunaa Revaavarunaa
Sonanadeesobhanadee Suvarnamukhee Vegavatee Vetravatee Ksheeranadee Baahunadee Garudanadee Kaaveree Taamraparnee Pramukhaah Mahaapunyanadyah Sajalateerthaih Sahobhayakoolamgata Sadaapravaaha Rugyajussaamaatharvana Vedasaastretihaasa Puraana Sakalavidyaaghosha Bhaanukotiprakaasa Camdrakoti Samaana Nityakalyaana Paramparottarottaraabhivruddhirbhooyaaditi Bhavamto Mahaamtoznugruhnamtu, Brahmanyo Raajaa Dhaarmikozstu, Desoyam Nirupadravozstu, Sarve Saadhujanaassukhino Vilasamtu, Samastasanmamgalaani Samtu, Uttarottaraabhivruddhirastu, Sakalakalyaana Samruddhirastu ||
Sonanadeesobhanadee Suvarnamukhee Vegavatee Vetravatee Ksheeranadee Baahunadee Garudanadee Kaaveree Taamraparnee Pramukhaah Mahaapunyanadyah Sajalateerthaih Sahobhayakoolamgata Sadaapravaaha Rugyajussaamaatharvana Vedasaastretihaasa Puraana Sakalavidyaaghosha Bhaanukotiprakaasa Camdrakoti Samaana Nityakalyaana Paramparottarottaraabhivruddhirbhooyaaditi Bhavamto Mahaamtoznugruhnamtu, Brahmanyo Raajaa Dhaarmikozstu, Desoyam Nirupadravozstu, Sarve Saadhujanaassukhino Vilasamtu, Samastasanmamgalaani Samtu, Uttarottaraabhivruddhirastu, Sakalakalyaana Samruddhirastu ||
Harih OM ||
Tuesday, April 7, 2015
pooja benefits at Kanchi
Poojas, Benefits
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Poojas
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Daily Pooja
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Poojas are performed five times a day.
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Darshan Morning : 6.00 – 12.30 P.M
Evening : 3.30 – 8.30 P.M.
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Thirumajanam Timings
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1. Thirumanjanam is performed to Abisheka deity using Panjaper Pooja method. This is Ekanda Pooja.
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2. Thirumanjanam to Urchavar (Procession Deity) is performed five times a day and during special festival occasions
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3. Thirumanjanam to Varadaraja Perumal (Moolavar) is performed every Friday & during Hustha Star. Darshan is available
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4. Thirumanjanam to Perundevi Thayar (Moolavar) is performed every Friday & during Uthiram Star. This is Ekantha Thirumanjanam.
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5. Thirumanjanam to Chakrath Alwar (Moolavar) is performed every Saturday - Based on the requests of Public and devotees . Thirumanjanam in these shrines can be performed even on other days also.
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pillars and arts of Kanchi temple.(web)
Art, Archeology, Literature | |||||||
Art, Archeology
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Garuda Seva a speciality of Kanchi (web)
Garuda Seva
Seeing Garuda in the sky and hearing his voice are considered auspicious. Garuda Bhagavan was born on a Swathi Star Day in the month of Aavani, Sukkila Panchami. Periyalwar, the incarnation of Sri Garuda was also born on the same Swathi Star. This is also the birth star of Lord Narasimhar. The blessings of Garudalwar will help the girls to get married quiclkly. The father of Garuda is Kasiyabar (Son of Mareeshi ) and mother Vinathai (Daughter of Dhakshan). It is customery to look for Sri Garuda during ‘Kumbabishegam’. ‘ Periya Thiruvadi ‘ is the name of Sri Garuda
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The Garuda Seva celebrated in Kancheepuram at Arulmigu Devarajaswamy Temple. Brahmotchavam during Vaikasi Vishaka festival is world famous. Lakhs of people throng the Temple. On that day Lord Varadarajar who leaves the temple on Garuda Vahanam (Mount) at 4 ‘o clock in the early morning returns to the temple at noon after giving darshan to devotees.
It was Garuda Seva time in Kancheepuram and the temple priest received a divine message that He would disappear from their midst for a few minutes to appear before Doddacharya in Sholingar and He did so. To commemorate this unique event, the Lord's idol, during the Garuda Sevai, is hidden from public view with umbrellas for a few minutes and they are removed after camphor is lit and Harathi is performed to the Lord. Today the prabhada ghosti sang moonRaam thiruvanthaathiand the following pasuram so apt for today's Garuda vahan purappadu. Varadharaja Perumal Kancheepuram Garuda SevaiWow awesome Varadharaja Perumal Kancheepuram Garuda Sevai watch online now this is very nice video, Before it I was watch Top 5 NBA Plays: April 6thTop 5 NBA Plays: April 6th and very awesome with Varadharaja Perumal Kancheepuram Garuda Sevai video I very like this and this video and free online it is very recomanded I love it. watch online now contest competition tournament movie video clip and much more |
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