Monday, January 30, 2017

yajnavalkya

Women must be honored
Woman is to be respected by her husband,
brother, father, kindred, mother-in-law, father-in-law,
husband's younger brother, and the bandhus,
with ornaments, clothes and food.
— Yajnavalkya Smriti 3.82 [18]
The text is laid out as a frame story in which the sages of Mithila approach Yājñavalkya and ask him to teach them dharma.[13] The text opens its reply by reverentially mentioning ancient Dharma scholars, and asserting in verses 1.4-5 that the following each have written a Dharmasastra (most of these are lost to history) – Manu, Atri, Visnu, Harita, Yajnavalkya, Ushanas, Angiras, Yama, Apastamba, Samvarta, Katyayana, Brihaspati, Parashara, Vyasa, Samkha, Likhita, Daksha, Gautama, Shatatapa and Vashistha.[14][15] The rest of the text is Yājñavalkya's theories on dharma, presented under Ācāra (proper conduct), Vyavahāra (criminal law) and Prāyaścitta (expiation).

The Yajnavalkya Smriti extensively quotes the Manu Smriti and other Dharma-texts, sometimes directly paraphrasing passages from these, often reducing earlier views into a compendium and offering an alternate legal theory.[16] There are influential differences from the Manu Smriti and earlier Dharma texts, especially with regard to statecraft, the primary of attested documentary evidence in legal process, and in jurisprudence.

King Janaka performed a sacrifice. He assembled thousand cows, with gold tied to their horns. He said that the best Vedic scholar could take all the cows. Yajnavalkya asked his disciple to drive away the cows, said M.K. Srinivasan in a discourse. Asvala, a hotr priest in Janaka’s kingdom, asked Yajnavalkya if he were indeed the best Vedic scholar. Yajnavalkya taunted him, saying: “We salute you, the most learned of the Vedic scholars. I took the cows because I need them.” An angry Asvala then began to question Yajnavalkya. He asked how a sacrificer would be freed from death. What Asvala’s question meant was this: “Everything in the universe is pervaded by death. How then can a person who performs sacrifices with a view to attaining Brahma Vidya be liberated?” Yajnavalkya replied: “The hotr priest should be seen as Agni; speech as fire itself. When Karma is performed with this view, then when the sacrificer dies, he attains liberation.” Asvala then asked, “Everything is overtaken by day and night. So how can the sacrificer get beyond this?”Yajnavalkya replied: “The adhvaryu priest should be seen as the eye, and as presided over by Aditya.” Asvala had many more questions for Yajnavalkya, all of which the sage answered convincingly. Svetaketu then asked Yajnavalkya two questions: “By what are the three worlds strung together and who is the internal ruler, if any, of the Universe?” Yajnavalkya replied: “Vaayu brings together the three worlds.” Yajnavalkya listed as many as 21 items — sun, moon, the five elements, indriyas, mind and soul in each of which Brahman resides, and controls each of them without their knowledge. This passage is known as Antaryami Brahmana. It is the basis for Visishtadvaita, which propagates qualified non-dualism.

Sunday, January 29, 2017

How the wise ought to live

Son,
Since soon the days of mortals end
How ought the wise their lives to spend.
What course should I to duty true
My sire from youth to age pursue.

Father,
Begin the course with study score
The mind with holy vedic lore
That stage completed seek a wife
And gain the fruit of wedded life
A race of sons by rites to seal
When though art gone thy spirits weak
Then light the sacred fires and bring
The Gods a fitting offering
When age draws nigh the world forsake
Thy chosen home the forest make
And there a calm Acetic several
A war against thy passions wage
That cleansed from every earthly stain
Thou may,st supreme perfection gain.

Mangal Bhavan Amangal Haari lyrics

Mangal Bhavan Amangal Haari lyrics

Mangal Bhavan Amangal Haari
Drawahu Su Dashrath Ajar Bihari
Ram Sia Ram Sia Ram Jai Jai Ram - 2
Ho, Hoi Hai Wahi Jo Ram Rachi Rakha
Ko Kari Tarak Badhaye Sakha
Ram Sia Ram Sia Ram Jai Jai Ram
Ho Dheeraj Dharam Mitra Aru Nari
Aapad Kaal Parakhiye Chaari
Ram Sia Ram Sia Ram Jai Jai Ram
Ho Jehike Jehi Par Satya Sanehu
So Tehi Milay Na Kachhu Sandehu
Ram Sia Ram Sia Ram Jai Jai Ram
Ho Jaaki Rahi Bhawna Jaisi
Raghu Murati Dekhi Tin Taisi
Ram Sia Ram Sia Ram Jai Jai Ram
Ho Hari Anant Hari Katha Ananta
Kahahi Sunahi Bahuvidhi Sab Santa
Ram Sia Ram Sia Ram Jai Jai Ram.

  • Mangal Bhavan Amangal Hari
    Means "The one who brings good and removes evil, he is Dashrath Nandan Shri Ram, may he bless me". 
  • Hoihi Soi Jo Ram Rachi Rakha
    Means "Whatever God Shri Ram has already planned will happen, it cannot be changed by our actions". 
  • Ho, Dheeraj Dharam Mitra Aru Nari
    Means "In times of trouble, these four things are always tested: patience, friend, wife, and religion". 
  • Jehike Jehi Par Satya Snehhu
    Means "Truth cannot be hidden, the sun of truth will definitely rise". 
  • Ho, Jaki Rahi Bhavana Jaisi
    Means "People see the Lord in the form of their own feelings for the Lord". 
  • Rghukul Rीत Sदा चली आई
    Means "In the tradition of Rघुकुल, words have always been given more importance than life". 
  • Hari Anant Hari Katha Ananta
    Means "Lord Shri Ram is also infinite and his glory is also boundless, there is no end to it". 

Daata Ek Ram Bhikhari Saari Duniya lyrics

Daata Ek Ram Bhikhari Saari Duniya lyrics

Data ek Ram bhikari sari duniya - 2
Ram ek devta pujari sari duniya
Pujari saari duniya
Data ek Ram bhikari sari duniya
Data ek raam
Dware pe uske jaake koi bhi pukarta - 2
Param kripa de apni bhav se ubharata - 2
Aise deena nath pe
Balihari sari duniya
Data ek Ram bhikhari sari duniya
Data ek Ram
Do din ka jeevan prani kar le vichar tu
Kar le vichar tu
Pyare prabhu ko apne man mai nihar tu - 2
Man mai nihar tu
Bina hari naam ke dukhiyari saari duniya
Data ek Ram bhikhari sari duniya
Data ek raam
Naam ka prakash jab ander jagayega
Pyare shri Ram ka tu darshan payega -2
Jyoti se jiski hai
Ujyari saari duniya
Data ek Ram bhikhari sari duniya
Data ek Ram bhikhari sari duniya

Tera Ramji Karenge Beda Paar lyrics

Tera Ramji Karenge Beda Paar lyrics

Ram naam sohi janiye
Jo ramta sakal chaha

Ghat ghat mein jo jam raha
Usko ram pehchaan
Tera ram ji kareinge beda paar re
Beda paar re beda paar
Tera ram ji kareinge beda paar
Udasi man kahe ko kare - 2
Kahe ko dare re kahe ko dare
Kahe ko dare
Naiiya teri ram hawaale
Leher leher hari aap sambhale - 2
Hari aap hi uthawe tera bhaar
Udasi man kahe ko kare
Tera ram ji kareinge beda paar
Udasi man kahe ko kare
Kahe ko dare re kahe ko dare
Kahe ko dare
Kabu mein majdhaar usike
Haatho mein pathwaar usike - 2
Teri haar bhi nahin hai teri haar
Udasi man kahe ko kare
Tera ram ji kareinge beda paar
Udasi man kahe ko kare
Kahe ko dare re kahe ko dare
Kahe ko dare
Sahaj kinara mil jaegaa re
Mil jaega mil jaega
Param sahara mil jaega
Sahaj kinara mil jaega
Param sahara mil jaega
Dori saup ke tu dekh ek baar
Udasi man kahe ko kare
Tera ram ji karenge beda paar
Udasi man kahe ko kare
Kahe ko dare re kahe ko dare
Kahe ko dare

Jag Mein Sundar Hain Do Naam lyrics

Jag Mein Sundar Hain Do Naam lyrics

Jag mein sundar hain do naam, Chaahe krishna kaho ya ram
Bolo ram ram ram, Bolo shyam shyam shyam
Makhan brij mein ek churaave, Ek ber bhilni ke khaave
Prembhav se bhare anokhe, Donon ke hain kaam
Chaahe krishna kaho ya ram
Jag mein sundar hain do naam, Chaahe krishna kaho ya ram
Bolo ram ram ram, Bolo shyam shyam shyam
Ek kans paapi ko mare, Ek dusht ravan samhare
Donon deen ke dukh harat hain, Donon bal ke dhaam
Chaahe krishna kaho ya ram
Jag mein sundar hain do naam, Chaahe krishna kaho ya ram
Bolo ram ram ram, Bolo shyam shyam shyam
Ek radhika ke sang raaje, Ek janaki sang biraaje
Chaahe sita-ram kaho, Ya bolo radhe-shyam
Jag mein sundar hain do naam, Chaahe krishna kaho ya ram
Bolo ram ram ram, Bolo shyam shyam shyam
Ek hriday mein prem badhaave, Ek taap santap mitaave
Donon sukh ke sagar hain, Aur donon pooran kaam
Chaahe krishna kaho ya ram
Jag mein sundar hain do naam, Chaahe krishna kaho ya ram
Bolo ram ram ram, Bolo shyam shyam shyam

Adigo adigo badragiri

Adigo adigo badragiri...

om om sri ramachandra parabrahmani namaha
adigo adigo badragiri,
andhra jaathikidi ayodhyaapuri
ye valmiki raayani kadagaa,
sita ramulu thanapai odhaga
ramadasa krutha rama padaamrutha
aakeyaswara sampadagaa,
velasina dakshina saankethapuri
adigo adigo badragiri
andhra jaathikidi ayodhyaapuri

ram ram ram ram
rama naama jeevanani nirthrudu
punardarshanamu korina bhakthudu
sita ramula darshanaanikai
gorathapassunu chesinappudu
thapamunu mechi
dharaniki vachi
darshanamichenu mahaa vishnuvu.

sa sa sa ni da ni sa ni da ni ga ma pa da ni da ni ma pa

threthaa yugamuna rama roopame
thrikarana suddiga korenu badrudu
aadarshaalaku agrapeetamau
aa darshaname korenappudu

darani pathiye daraku alludai
shanka chakramulu atu itu kaaga
dhanur bhanamulu thanuvai pogaa
sithaa lakshmana samithudai
koluvu theere kondantha devudu
shilagaa malli malachi,
siramu neeve nilachi
badragiriga nanu piliche
baagyamunimmani kore badrudu

vaamaanka sthitha jaanaki parilasa kodanda dandam kare,
chakram shorba karena baahulu gane, shankam saram dakshine,
vibraanam jala jaatha pathra nayanam badraadri murthistitham,
veyuradhi vidurtitham ragupathim, soumitri yuktham bajeh.

adigo adigo badragiri , andhra jaathikidi ayodhyaapuri.

Charanamule Nammithee

Charanamule Nammithee...

charanamule nammithee…
nee dhivya charanamule nammithee…

charanamule nammithee…
nee dhivya charanamule nammithee…
charanamule nammithee… - chorus

vaaradhi kattina varabhadrachala varadhaa… varadhaa…
varadhaa nee dhivya charanamule nammithee…
charanamule nammithee… - chorus

paavana raama naama sudhaarasa paanamu chesedhennatiko…
sevincheyu sree hari paadambhulu chithamu nunchedhennatiko…
rama rama… jaya seetharaama… raghukula soma ranabheemaa…
rama rama… jaya seetharaama… jagadhabhi raama… jaya raamaa…

chanchala gunamulu maani sadhaa nischalamadhi nundedhennatiko…
pancha thatwamulu thaaraka naamamu pattiyinchuta naa kennatiko…
rama rama… jaya seetharaama… raghukula soma ranabheemaa…
rama rama… jaya seetharaama… jagadhabhi raama… jaya raamaa…

(nandha baalam bhajare nandha baalam…
bhrundaavana vaasudheva vrundhalolam…) – 2
jalaja sambhavaadhi vinutha…
jalaja sambhavaadhi vinutha… - chorus
jalaja sambha…vaadhi vinutha…
jalajasambha…vaadhi vinutha… - chorus
jalajasambhavaadhi vinutha…
jalaja sambhavaadhi vinutha… - chorus
jalaja sambha…vaadhi vinutha…
jalaja sambha…vaadhi vinutha… - chorus
charanaaravindham krishnaa lalithaa mohana raagaa
vadanaa nalinaamelindham…
nandha baalam bhajare nandha baalam… - chorus
bhrundaavana vaasudheva vrundhalolam…

(nandha baalam bhajare nandha baalam…
bhrundaavana vaasudheva vrundhalolam…) - chorus

sreerama naamam maruvaam… maruvaam…
sidhamu yemudiki veruvaam… veruvaam…
(sreerama naamam maruvaam… maruvaam…
sidhamu yemudiki veruvaam… veruvaam…) – 2
govindhunevela koludhaam…
govindhunevela koludhaam… - chorus
dhevuni gunamulu thaludham… thaludham…
dhevuni gunamulu thaludham… thaludham… - chorus
(sreerama naamam maruvaam… maruvaam…
sidhamu yemudiki veruvaam… veruvaam…) – 2
vishnu kadhalu chevula vindhaam… vindhaam…
vishnu kadhalu chevula vindhaam… vindhaam… - chorus
melukadhalu chevula maandhaam… maandhaam…
melukadhalu chevula maandhaam… maandhaam… - chorus
(sreerama naamam maruvaam… maruvaam…
sidhamu yemudiki veruvaam… veruvaam…) - chorus
(jai jai raama
jaanakhi raamaa) - chorus - 2
(paavana naama
pattabhi raamaa) - chorus - 2
(nithyamu nine
kolicheda raamaa) - chorus - 2
(ahaa… raamaa
ayodhya raama) - chorus - 2
(raamaa… raamaa…
ravikula soma…) – 2
jai jai raama… jaanakhi raamaa – (8) chorus 

Dasaradi Karuna

Dasaradi Karuna ....

dasaradhi karuna payonidhi
nuvve dhikkani namadamaa
nii alayamunu nirminchadama
nirathamu ninnu bhajiyenchadama
raama koti rachi inchadama
seetha ramaswamy nee chesina neramadheni
nii daya chuupava demi nii dharsana meeyavidemi
dasaradhi karunapayonidhi

guhudu neeku chutama gundelaku hathukunnavu
sebari neeku thobuttuva yengili pallanu thinnavu
nii rajyamu raasimmantina nee dharsaname immantini kaani
yella raava nannelaraava nannela yela ravvaa
(seetha ramaswamy)-2 nee chesina neramadheni
nii daya chuupava demi nii dharsana meeyavidemi
dasaradhi karunapayonidhi

rama rasaramyadhama, ramaneeya naama
raghuvamsa soma ,ranaranga bheema
rakshasa virama
kamaneeyadhamma soundarya seema
neerajashyama nirakulodhama
bhojanala rama paahi bhadradri rama paahii

thakshana rakshana viswavilakshana dharma vichakshana
godarina kalisenemi raa daan da da danda danda ninadhamula
jandamuninda matha vedhandamu nikkine pogadu nii abhayavrathamethiraaa
prema rasaanataranga hrudayangama
sungashubhanga ranga bahurangada
bhanga tunga sugunika taranaga
susanga sathya saaranga susruthivihanga
paapa mrudu sanga vibhangaa
bhutala patanga madhu mangala ropamau chuupavemi raa
garudagamana raa raa 

Paluke bangaramaayena.

paluke bangaramaayaena kodandapani paluke bangaramaayaena
paluke bangaramaye pilachina palukavemi
kalalo nee naama smarana maruva chakkani tandri
paluke bangaramaayaena paluke bangaramaayaena


kalalo nee naama smarana maruva chakkani tandri
kalalo nee naama smarana maruva chakkani tandri
pilichina palukavemi paluke bangaramaayaena
paluke bangaramaayaena
paluke bangaramaayaena
paluke bangaramaye pilachina palukavemi
kalalo nee naama smarana maruva chakkani tandri
paluke….
paluke bangaramaayaena kodandapani
paluke bangaramaayaena

iravooga isukalona poraleena vudutha bhaktiki
iravooga isukalona poraleena vudutha bhaktiki
karuninchi brochitivani neranammitini tandri
paluke bangaramaayaena
paluke bangaramaayaena paluke bangaramaayaena

sharanagatatrana birudaamkitudavu kava
sharanagatatrana birudaamkitudavu gava
karuninchu bhadhraachala vara ramadasaposha
paluke bangaramaayaena
paluke bangaramaayaena paluke bangaramaayaena

paluke bangaramaayaena kodandapani paluke bangaramaayaena
paluke bangaramaye pilachina palukavemi
kalalo nee naama smarana maruva chakkani tandri
paluke bangaramaayaena paluke bangaramaayaena

Thursday, January 26, 2017

Brahma introduces the groom.

Kakudmi was blessed with a daughter Revati. The father took her to Brahmaloka for advice regarding her marriage. On reaching there they found Haha and Huhu the Gandharvas were singing the music of Atidana. The music went on through the three methods of Chitra, Dakshina and Kartika. the musicians kept elaborating for quiet a few aeons! Kakudmi was lost in the music and remained listening to it. He never felt the passage of time. When the music concluded he went close to Brahma and prayed to him to choose a suitable groom for his girl. Brahma asked him O! King who are the men you have found to be suitable? Kakudmi recited a list and asked Brahma to choose one of them.
Brahma bent his head a little and smiled. King! even the boys of the succeeding generations of the people you have mentioned are not available. while you were lost in the music several aeons have flashed by on the earth. it is almost the end of Vaivasvata Manvantara. Only you are alive to give away the girl only you two have escaped death by tarrying here.All your sons, friends, ministers servants wives relatives army and treasury are all gone. but the King was not worried of the loss he was only worried about a suitable groom for his girl. O Lord! to whom then can i Gift this girl?
Brahma thought that the person worthy of such a bride was the Lord and no other. He held his hands together in salutation and said. "Sri Vishnu has incarnated on the earth as a portion of Himself. He has no beginning middle or end. Time has no effect on his form nature fame and strength e is not subject to decay...... You had been ruling over Kusasthali which has now become Dwaraka. the Yadava kings rule over it. The Lords portion as Adisesha has incarnated here as Balarama. You should get your daughter married to him as this would be appropriate."
Kukudmi hurried to the earth. e found men but they were all dwarfs and lacked strength. he went to Dwaraka and found the place totally transformed. earlier Kusasthali was on the seashore. now it was an island in the ocean. Balarama lived here. He held a plough, appeared as white as a crystalline mountain, tall and hefty. Kakudmi happily gave Revati in marriage to Balarama who accepted her willingly.
 but she belonged to earlier aeon where the people were very tall. Balarama was short in accordance to the present times. Balarama placed his plough on Revati's head and pressed her down till she reached a height suitable to him. the marriage took place and thereafter king Kukudmi went away to the Himalayas to perform Tapas.

Moordhaanam patyuh aaroha. May you climb on your husbands head.

Moordhaanam patyuh aaroha. May you climb on your husbands head.

Strange but this is the blessing that young girls receive at their marriage. ha ha ha no no bad thoughts here.........


paadaambhojam sprisati bhajate ranganaathasya janghaam
oorudvandve vilagati sanairoordhvamabhyeti naabhim,
vakshasyaaste valati bhujaor maamikeyam maneesha
vaktraabhikhyaam pibati vahate vaasanaam muli bandhe.
(10 BDS by VD.)
My mind in deep love with Ranganatha touches His lotus Feet, worshis His shanks divine, ently rests on his stable thighs, hovers around his deep navel, lightly trends on His bejeweled chest, goes round and entwines his arms, drinks deep of the brilliance of His face and finally blends with His shining crown which emits dazzling rays all around..
The above verse must be recited every night before going to bed t o keep the mind focussed on the tirumeni of the Lord.

Thinking out of the box.

Of late we see a new generation of children or more apt thinkers who want to do things differently.
A young boy wants to grow hair to donate to cancer patients. is that now what a wonderful thought he did grow his hair for two years to be able to donate.
A Young girl wants to teach music to poor children free of cost.
A group of youngsters want to give free lessons daily to poor children who have missed going to school.
How do such thoughts spring in little ones what are they bread on. wonder and great souls do exist this attitude must be encouraged. each must give without expecting reward.
A poor boy the other day at the beach was teaching the others and

to be continued.

24 teachers.

Sarvesvapi padaartheshu grihneeyaat saaramuttamam
saaragraahee vishnubhaktah brahmaanandam samasnute.

Lord Krishna lists 24 objects that impart important knowledge to us hence they are like acharya says he to Uddhava one of his dearest devotee.
EARTH: the value of Patience, forbearance and selfless service.
The COOL BREEZE teaches equality.
The SKY being unchanged.
WATER teaches cleansing everything irrespective the object.
FIRE teaches acceptance.
The MOON shares pleasure in spite of its own change.
The SUN teaches steady in duty powerful yet sublime.
The OCEAN teaches us gifting.
All the above are all similar to all in their attitude.
The Pigeon who live in pairs teach loyalty, love, sharing and co-operation.
The python remains in its place and waits for the food to come to it it teaches faith. 
The ocean bed gives gifts to the deserved seeker.
The moth teaches undivided attention irrespective of the consequences.
The honey bee seeks only the good from others and absorbs only the good. 
The Butterfly seeks selective seeking so should scholars be selected as teachers.
The House fly lives in the present not worrying of the future.
The Male elephant teaches the mightiest too can fall pray to uncontrolled desire.
The gentle deer is drawn to sweet music teaching us to gather where the devout sing the Lords praise.
Fish teach us not be enslaved by free tasty food.
The noble swan lives only in clear fragrant water teaching us to live among saints and radiate peace and tranquility.
The Cobra teaches us to live secluded with a nature of its own.
The Spider weaves a temporary web so to our life on this earth is temporary.
A dancer who entertains with charm realizes how futile such existence on fame and money is. 
A Child knows no ego or arrogance.
A Spouse teaches devotion.An Archer teaches focus and undivided attention.
Basically the good in what we observe should be taken to improve oneself and live a meaningful life.

Friday, January 20, 2017

Kurattazhwa rmy favorite indeed

Yasya viksya mukham tat ingita paradhinah vidhatthe akhilam. (Sri stavam)
The verse  is from the Śrī Stavam by Kureśa (Kurattazhwar), one of the greatest devotees and disciples of Ramanujacharya. This particular verse glorifies the divine supremacy and the captivating beauty of Goddess Lakshmi (Śrī). Here's a breakdown of its meaning:

"Yasya vīkṣya mukham tat ingita-parādhīnaḥ vidhatte akhilam"

Yasya vīkṣya mukham: "Upon seeing whose face"—refers to Lord Narayana (Vishnu), who becomes captivated by the mere glance of Goddess Lakshmi’s beautiful and auspicious face. Her face radiates divine compassion, grace, and beauty.

Tat ingita-parādhīnaḥ: "Being completely subservient to her gestures"—Lord Narayana, though the supreme ruler of the universe, lovingly surrenders to her wishes and directions, responding to her mere glance or subtle gesture.

Vidhatte akhilam: "Manages everything in the cosmos"—Even while overseeing and controlling the entire universe, He places Himself under her will. The Lord’s actions are influenced by Lakshmi’s compassionate intercession for her devotees.


Interpretation:

This verse emphasizes the unparalleled glory of Goddess Lakshmi and her intimate relationship with Lord Narayana. Although Lord Narayana is the omnipotent ruler of the cosmos, His will is lovingly influenced by Lakshmi, who is the embodiment of compassion, beauty, and grace. She plays the crucial role of interceding on behalf of devotees, ensuring that the Lord bestows His blessings upon them. This highlights Lakshmi’s role as the universal mother and mediator, who softens the Lord’s justice with her mercy.

The verse also portrays the divine couple as inseparable and complementary, symbolizing the perfect balance of power (Narayana) and compassion (Lakshmi). Devotees often meditate on their union as the ultimate source of grace and salvation.

The Lord awaits the green signal from his consort before embarking on his job of Creation:

so complete is the lady's authority that she deigns to convey consent not by word, but only through expression, through an upwardor downward movement of Her beautiful brows.


Yat bhru bhangah pramanam sthiracararacana taratamye.
This verse is the glorification of Lord Narayana and Goddess Lakshmi,  found in Śrī Stavam. Here's a detailed breakdown of the phrase so far:

"Yat bhrū-bhaṅgaḥ pramāṇam sthira-cara-racanā-tāratamye"

Yat bhrū-bhaṅgaḥ pramāṇam: "Whose eyebrow movements are the standard (authority)." This refers to the fact that even the slightest movement of the Lord's eyebrows determines the functioning of the entire universe. His will is expressed effortlessly, and His subtle gestures govern creation, sustenance, and dissolution.

Sthira-cara-racanā-tāratamye: "In establishing the hierarchy and order of movable and immovable beings." This line signifies that the Lord’s glance or expression determines the cosmic structure and the differentiation among all entities, including plants, animals, humans, and celestial beings. The hierarchy, diversity, and roles of all living and non-living things are established by His divine will.


This  verse underscores Lord Narayana's supreme authority over the universe. His mere glance or subtle movement of the eyebrows suffices to create, regulate, and organize the intricate hierarchy of all beings, from the immovable (like mountains and trees) to the movable (like humans and animals). It showcases the effortless nature of His power and the precision with which He orchestrates the cosmos.




Verse 23 Viveka chudamani. rare.

There are three rare things in this world:
they are a Human Birth; A longing for Liberation; and the protection of an acharya;
Human beings should consider themselves lucky they have to just look forward to liberation from this world, by taking quick steps to enlist the guidance of an acharya who will render help in the process of liberation

dialogue between King Viveka and queen Sumathi.

Sankalpa suryodaya.
Queen: How did the soul, who is ever eternal, blissful, spotless and radiant, get thrown into the ocean of misery and sorrow by elements like delusion, conceit, pride and hatred? How is it that the Supreme compassionate Bhagavan has overlooked the sufferings of his dear soul?
King: The soul got into the unholy mess due to the adverse effects of ignorance avidya and selfish actions karma which are beginningless. But when the occasion comes, he will be saved by the Lord.
Queen: But why has the Lord not taken action for so long?

king: Look, Bhagavan takes delight in the diverse and opposite activities of His two consorts, Liladevi and Daya devi, who are always quarrelling with each other. But He is ever looking for an opportunity to save the soul and grabs it whenever the soul begins an act which is even just apparently virtuous, just like the worm eating into a palm leaf creates a hole in the leaf which turns out to appear like a sacred alphabet, thus getting credit for doing a sacred job.
Queen: Maharaja I am still nervous. How can this embattled soul, weakened by countless assults on his nature from beginningless time, even get the strength to stand up and pray for release? For is it not said that one should openly seek salvation and then only it will be granted?
King: Beloved why do you entertain such doubts? Though great sages have been arguing whether it is time, action or chance or any other cause which is responsible for liberation. It is certain that in the revolution of samsara, the Lord chooses a time to bless the soul and redeem him. Did he not, in his Incarnation of Sri Rama rush Hanuman the acharya to Sitadevi, who was pining for him in far away Lanka, and offer His solace and later, bring about Her release? Likewise, the Lord will make available an acharya to the soul to help him out of his present distressing circumstances.
Queen: I still have two doubts, my Lord! First - why the soul does not try to save himself when he is surrounded by evil forces and is living in a house set on fire: second - why the souls intimate spouse, Intellect buddhi does not make him realise the perils he is facing and make him get out?
King: two very plausible doubts indeed. I have the answers to them. First, the soul is surrounded by three kinds of desire -- for wealth, for land and for children .. which gnaw at him all the time. He does not have even a moments respite from them, with his will weakened by succumbing to them long, long ages. As for the second doubt, the answer is simple. Like the Lotus which goes to sleep when her Lord the sun disappears into yonder horizon. Intellect also dozes off whenever her husband, the soul, acquiesces in its lot.
Queen: Is there no way out for the soul to get over his stupor?
King: Why not? As I have already said, the acarya designated by Bhagavan to redeem the soul will shower him with his benign glances and the soul will wake up, as if from a dream. He will loose all interest exercising his own whims and fancies. There will spring in his heart a great urge to reunite with his Master the Bhagavan. But for that he will have to perform a sacrifice.
Queen: what sacrifice is that please?
King: He must offer to Bhagavan, his most valuable possessioni.e. his own self in a solemn sacrifice. It is called atma samarpana or prapatti. this sacrifice lasts for a few seconds only. The acharya who is already blessed the soul, will see him through. When that is done Bhagavan will divert His attention from having lila with the soul, will take the soul's hand in His, and guide him through a series of steps upwards leading to Srivaikuntha from where there is no return.
Queen: Lord! this seems too good to be true! It looks like cajoling little children!
King: No my dear! It is all in the shastras. Have they been controverted by anything so far? Have you not heard the story of Gajendra being rescued from the jaws of the crocodile byu the Lord's instant apperance, on hearing the elephants cry for help? Have you not heard the episode of Visvamitra, Raghu of Ikshvaku dynasty, Bhagvan Sri Rama Himself, a mere pigeon and the crane Nalijanga? Believe me, the redemption of the soul is shortly at hand for one who has done prapatti.

{ The King and Queen  then hear a incorporeal voice saying, "Like UGRASENA IMPRISONED BY kAMSA WHO WAS FREED BY MERCIFUL kRISHNA  WITH THE AID OF bALRAMA, THE SOUL TOO WILL SOON OBTAIN RELEASE AT THE HANDS OF bHAGAVAN WITH THE HELP OF kING vIVEKA; THE SOUL TOO WILL EARN ITS WELL DESERVED REST AND ENJOY TOTAL BLISS.}

  

Sunday, January 15, 2017

udhara bandham parabagha rasa

The nithyas and mukthars are all lost in contemplation of this divine ethereal beauty of His Udhara bandham yes waist band. His nabhi looks like a whirl pool center in the over flowing ocean of His beauty like soundarya sagara. this middle part is also compared to the udukkai drum a small drum which is held in the middle by hand and twirled to make jingling noise when the beads tied on a string alternately strike the two flat surfaces of the drum, this drum is usually used in the temple of the goddess. the waist also looks like the sandhya ragaham the golden glow of the setting sun during the evening. this is the parabagha where the orange cloth used to tie the waist sets a dazzling contrast to the dark colour of the Lord giving the effect.

Manda smitha ; nava kusumam.

Each part of the face is captivatingly beautiful, the serene beautiful smile playing on His lips enslaves us. It is like a freshly blossomed scented flower. The smilemakes the face shine and glow as if the full moon has lent all its effulgent brightness to the face. The enigmatic smile enhances the beauty of the face of the Lord.
further its even beautiful how does one concentrate on the sweet words the lord speaks when we are captivated by the beauty of his coral like mouth. only he can waylay our wandering thoughts and grant us supreme bliss the Kalva mozhi sweet enchanting words which captivate our minds and make us His humble subjects.
The Makara kundala ear drops which adorns His ears is studded with precious stones. When he moves his head, they create a gentle musical sound. What is more the bright shining glow of the precious stones in the kundala get deflected by the ashta disas nd rebounds on the face of the Perumal enhancing His tejas. it is as if the makara kundala are dancing with joy at the sight of the lavanya sundaram of the divine beautiful face.
The Mukham radiates TEJAS, bright effulgence, SAITHYAM cool MARDAVAM softness SOWRABHYAM delicate fragrance. it has all great qualities sakala kaligal. the face confers happiness on all, it is so beautiful as to surpass even the ravishing beauty of the blemishless chandramandala and that of a freshly blossomed lotus flower. it makes the devotee who near him become unconrolabally mad with a craving to attain him PICHHU UTTRI. the neck is like a beautiful conch. the bhoga kala description; the jewels worn by the nachiars have left a delicate imprint on his neck. besides the {sevi poo and karana bhooshanam the ornaments worn o the ear lobes} gentle blowing of their hair on His neck add to His beauty.
The strong majestic shoulders look like emerald hills they signify that the Lord protects his devotes the astras add to the ensurance of the ambit of protection.
The chest is Anthauram the cosy inner palace for Mahalakshmi, the red colour of the red flower juice worn by the thayar on her feet and the kumkumam of hers leaves a red clolour on perumals chest.
{agala killane iraiyam enru alarmel mangai urai marba} Mahalakshmi is not willing to leave the sacred chest of the Lord even for a moment. the vyjayanti mala and the other garlands of precious stones worn by the Lord form a protective fortress for the thayar. the koustubhamala adds lustre to the chest. the yagnopaveetham worn by the Lord looks like a dam bunding the flood of his beauty.

Thursday, January 12, 2017

eyes and nose.

Perumals two eyes look like two lotus flowers. The two eyeballs look like two beetles, the eye brow is bow shaped and keeps the eye under control. The eyes shower an affectionate kindness, vatsalya on the devotees. Those who look at the eyes are devoured by the desire to be continuously looking at it. to see those eyes even once creates an unquenchable thirst to be eternally looking at them. Not to see them causes unbearable pangs of separation. those are the eyes that are all the time looking at Mahalakshmi. it controls the Aishwarya of the ubhaya vibhootis. The vedas say that he is "Pathin Visvaya" but when one sees him, one does not have to read the vedas, to realize that he is the Lokanatha and Jagatrakshaka. A mere look at the Perumal confirms beyond doubt that He is the master of the entire world, a sootradhari, it becomes evident that the Aravindhalochana is the  Sarveshvara. it acts as a compelling magnet, it radiates calmness the compelling beauty effortlessly commands the entire worlds.
The eyes are dark in color, they are wide and broad, the eyelashes are beautiful, the red veins of the eye can also be seen, they are eloquent speaking eyes they are Matsya dwandhvam (gamboling fishes.
He has a fine chiseled nose too, it has a delicate beauty and is pointed and long.

Wednesday, January 11, 2017

Haridas bhajan.

Jyu hi  jyu hi tum raakhat 

Jyu hi  jyu hi tum raakhat ho tyu hi tyu hi rahiyat hai ho hari
Aur achar che payi dharo su to kaho kaun ke paind bhari
Jadyapi hau apno bhayo kiyo chaho kaise kari sako jo tum rakho pakari
kahi haridas pinjara ke janawar lo tarpharai rahyo udibe ko kito ukari

Kahu ko bas nahi tumhari kripa te

Kahu ko bas nahi tumhari kripa te sab hoye bihari biharini
aur mithya prapanch kahe ko bhashiye so to hai haarani
Jahi tumso hit tahi tum hit karo ,sab sukh karini
shree haridas ke swami shyama kunj bihari ,pranani ke aadhaarani

Hit to kije kamal nain so

Hit to kije kamal nain so,ja hit aage aur hit lago phiko
kai hit kije sadhu sangati so jaave kalmash ji ko
hari ko hit aiso jaiso rang majeeth sansaarhit kasumbi din duti ko
kahi haridas hit kije bihari so aur na nibahu jaani ji ko

Tinka bayari ke bas

Tinka bayari ke bas
jyu bhave tyu udayi le jayi aapne ras
brahmalok shivlok aur lok as
kah haridas bichari dekhyo bina bihari nahi jas

Hari ke naam ko aalas kyu karat hai

Hari ke naam ko aalas kyu karat hai re kaal phirat sar saadhe
heera bahut jawahar sanche kaha bhayo hasti dar bandhe
ber kuber kachhu nahi jaanat chadhyo phirat hai kandhe
kahi haridas kachhu na chalat jab aawat ant ki aandhe

Man lagaye preeti kije 

Man lagaye preeti kije kar karwa so brajbithini dije sohini
brindaban so ban upwan so gunj maal kar pohini
go gosutan so mrig mrigsutan so aur tan nek na johini
shree haridas ke swami shyama kiunj bihari so chitta jyu sir par dohini

Hari ko aisoi sab khel

Hari ko aisoi sab khel
mrig trishna jag vyaap rahi hai kahu bijoro na bel
dhanmad jobanmad aur rajmad jyu panchhin mein del
kah haridas yahe jiya jano teerath so mel

Jau lo jive tau lo hari bhajo re

Jau lo jive tau lo hari bhajo re man aur baat sab baadi
diwas chari ko hala bhala tu kaha leigo laadi
maaya mad gun mad jobanmad bhulyo nagar bibadi
kahi haridas lobh charpat bhayo kahe ki lage phiradi

Prem samudra roopras gahire 

Prem samudra roopras gahire kaise laage ghaat
bekaryo de jani kahawat jaani panoki kaha pari baat
kahu ko sar pare na sudho maarat gaal gali gali haat
kahi haridas biharihi jano tako na aughat ghaat

Gaho man sab ras ko ras saar

Gaho man sab ras ko ras saar
lok bed kul karme tajiye bhajiye nitya bihar
grih kamini kanchan dhan tyago sumiro shyam udaar
kahi haridas reeti santan ki gadi ko adhikaar