Tuesday, May 31, 2022

Gopi G



https://youtu.be/0lZ9eUgQ8sE

gopīgītam ॥


gopya ūcuḥ ।

jayati te'dhikaṃ janmanā vrajaḥ

     śrayata indirā śaśvadatra hi ।

dayita dṛśyatāṃ dikṣu tāvakā-

     stvayi dhṛtāsavastvāṃ vicinvate ॥ 1॥


śaradudāśaye sādhujātasa-

     tsarasijodaraśrīmuṣā dṛśā ।

suratanātha te'śulkadāsikā

     varada nighnato neha kiṃ vadhaḥ ॥ 2॥


viṣajalāpyayādvyālarākṣasā-

     dvarṣamārutādvaidyutānalāt ।

vṛṣamayātmajādviśvatobhayā-

     dṛṣabha te vayaṃ rakṣitā muhuḥ ॥ 3॥


na khalu gopikānandano bhavā-

     nakhiladehināmantarātmadṛk ।

vikhanasārthito viśvaguptaye

     sakha udeyivānsātvatāṃ kule ॥ 4॥


viracitābhayaṃ vṛṣṇidhurya te

     caraṇamīyuṣāṃ saṃsṛterbhayāt ।

karasaroruhaṃ kānta kāmadaṃ

     śirasi dhehi naḥ śrīkaragraham ॥ 5॥


vrajajanārtihanvīra yoṣitāṃ

     nijajanasmayadhvaṃsanasmita ।

bhaja sakhe bhavatkiṅkarīḥ sma no

     jalaruhānanaṃ cāru darśaya ॥ 6॥


praṇatadehināṃ pāpakarśanaṃ

     tṛṇacarānugaṃ śrīniketanam ।

phaṇiphaṇārpitaṃ te padāṃbujaṃ

     kṛṇu kuceṣu naḥ kṛndhi hṛcchayam ॥ 7॥


madhurayā girā valguvākyayā

     budhamanojñayā puṣkarekṣaṇa ।

vidhikarīrimā vīra muhyatī-

     radharasīdhunā''pyāyayasva naḥ ॥ 8॥


tava kathāmṛtaṃ taptajīvanaṃ

     kavibhirīḍitaṃ kalmaṣāpaham ।

śravaṇamaṅgalaṃ śrīmadātataṃ

     bhuvi gṛṇanti te bhūridā janāḥ ॥ 9॥


prahasitaṃ priya premavīkṣaṇaṃ

     viharaṇaṃ ca te dhyānamaṅgalam ।

rahasi saṃvido yā hṛdispṛśaḥ

     kuhaka no manaḥ kṣobhayanti hi ॥ 10॥


calasi yadvrajāccārayanpaśūn

     nalinasundaraṃ nātha te padam ।

śilatṛṇāṅkuraiḥ sīdatīti naḥ

     kalilatāṃ manaḥ kānta gacchati ॥ 11॥


dinaparikṣaye nīlakuntalai-

     rvanaruhānanaṃ bibhradāvṛtam ।

ghanarajasvalaṃ darśayanmuhu-

     rmanasi naḥ smaraṃ vīra yacchasi ॥ 12॥

praṇatakāmadaṃ padmajārcitaṃ dharaṇimaṇḍanaṃ dhyeyamāpadi । caraṇapaṅkajaṃ śantamaṃ ca te ramaṇa naḥ staneṣvarpayādhihan ॥ 13॥ suratavardhanaṃ śokanāśanaṃ svaritaveṇunā suṣṭhu cumbitam । itararāgavismāraṇaṃ nṛṇāṃ vitara vīra naste'dharāmṛtam ॥ 14॥ aṭati yadbhavānahni kānanaṃ truṭiryugāyate tvāmapaśyatām । kuṭilakuntalaṃ śrīmukhaṃ ca te jaḍa udīkṣatāṃ pakṣmakṛddṛśām ॥ 15॥ patisutānvayabhrātṛbāndhavā- nativilaṅghya te'ntyacyutāgatāḥ । gatividastavodgītamohitāḥ kitava yoṣitaḥ kastyajenniśi ॥ 16॥ rahasi saṃvidaṃ hṛcchayodayaṃ prahasitānanaṃ premavīkṣaṇam । bṛhaduraḥ śriyo vīkṣya dhāma te muhuratispṛhā muhyate manaḥ ॥ 17॥ vrajavanaukasāṃ vyaktiraṅga te vṛjinahantryalaṃ viśvamaṅgalam । tyaja manāk ca nastvatspṛhātmanāṃ svajanahṛdrujāṃ yanniṣūdanam ॥ 18॥ yatte sujātacaraṇāmburuhaṃ staneṣa bhītāḥ śanaiḥ priya dadhīmahi karkaśeṣu । tenāṭavīmaṭasi tadvyathate na kiṃsvit kūrpādibhirbhramati dhīrbhavadāyuṣāṃ naḥ ॥ 19॥ 

iti śrīmadbhāgavata mahāpurāṇe pāramahaṃsyāṃ saṃhitāyāṃ daśamaskandhe pūrvārdhe rāsakrīḍāyāṃ gopīgītaṃ nāmaikatriṃśo'dhyāyaḥ ॥

The gopīs said: O beloved, Your birth in the land of Vraja has made it exceedingly glorious, and thus Indirā, the goddess of fortune, always resides here. It is only for Your sake that we, Your devoted servants, maintain our lives. We have been searching everywhere for You, so please show Yourself to us.


2) O Lord of love, in beauty Your glance excels the whorl of the finest, most perfectly formed lotus within the autumn pond. O bestower of benedictions, You are killing the maidservants who have given themselves to You freely, without any price. Isn't this murder?


3) O greatest of personalities, You have repeatedly saved us from all kinds of danger —from poisoned water, from the terrible man-eater Agha, from the great rains, from the wind demon, from the fiery thunderbolt of Indra, from the bull demon and from the son of Maya Dānava.


4) You are not actually the son of the gopī Yaśodā, O friend, but rather the indwelling witness in the hearts of all embodied souls. Because Lord Brahmā prayed for You to come and protect the universe, You have now appeared in the Sātvata dynasty.


5) O best of the Vṛṣṇis, Your lotuslike hand, which holds the hand of the goddess of fortune, grants fearlessness to those who approach Your feet out of fear of material existence. O lover, please place that wish-fulfilling lotus hand on our heads.


6) O You who destroy the suffering of Vraja's people, O hero of all women, Your smile shatters the false pride of Your devotees. Please, dear friend, accept us as Your maidservants and show us Your beautiful lotus face.


7) Your lotus feet destroy the past sins of all embodied souls who surrender to them. Those feet follow after the cows in the pastures and are the eternal abode of the goddess of fortune. Since You once put those feet on the hoods of the great serpent Kāliya, please place them upon our breasts and tear away the lust in our hearts.


8) O lotus-eyed one, Your sweet voice and charming words, which attract the minds of the intelligent, are bewildering us more and more. Our dear hero, please revive Your maidservants with the nectar of Your lips.


9) The nectar of Your words and the descriptions of Your activities are the life and soul of those suffering in this material world. These narrations, transmitted by learned sages, eradicate one's sinful reactions and bestow good fortune upon whoever hears them. These narrations are broadcast all over the world and are filled with spiritual power. Certainly those who spread the message of Godhead are most munificent.


10) Your smiles, Your sweet, loving glances, the intimate pastimes and confidential talks we enjoyed with You — all these are auspicious to meditate upon, and they touch our hearts. But at the same time, O deceiver, they very much agitate our minds.

11) Dear master, dear lover, when You leave the cowherd village to herd the cows, our minds are disturbed with the thought that Your feet, more beautiful than a lotus, will be pricked by the spiked husks of grain and the rough grass and plants.


12) At the end of the day You repeatedly show us Your lotus face, covered with dark blue locks ofhair and thickly powdered with dust. Thus, O hero, You arouse lusty desires in our minds.


13) Your lotus feet, which are worshiped by Lord Brahmā, fulfill the desires of all who bow down to them. They are the ornament of the earth, they give the highest satisfaction, and in times of danger they are the appropriate object of meditation. O lover, O destroyer of anxiety, please put those lotus feet upon our breasts.


14) O hero, kindly distribute to us the nectar of Your lips, which enhances conjugal pleasure and vanquishes grief. 

That nectar is thoroughly relished by Your vibrating flute and makes people forget any other attachment.


15) When You go off to the forest during the day, a tiny fraction of a second becomes like a millennium for us because we cannot see You. And even when we can eagerly look upon Your beautiful face, so lovely with its adornment of curly locks, our pleasure is hindered by our eyelids, which were fashioned by the foolish creator.


16) Dear Acyuta, You know very well why we have come here. Who but a cheater like You would abandon young women who come to see Him in the middle of the night, enchanted by the loud song of His flute? Just to see You, we have completely rejected our husbands, children, ancestors, brothers and other relatives.


17) Our minds are repeatedly bewildered as we think of the intimate conversations we had with You in secret, feel the rise of lust in our hearts and remember Your smiling face, Your loving glances and Your broad chest, the resting place of the goddess of fortune. Thus we experience the most severe hankering for You.


18) O beloved, Your all-auspicious appearance vanquishes the distress of those living in Vraja's forests. Our minds long for Your association. Please give to us just a bit of that medicine, which counteracts the disease in Your devotees' hearts.


19) O dearly beloved! Your lotus feet are so soft that we place them gently on our breasts, fearing that Your feet will be hurt. Our life rests only in You. Our minds, therefore, are filled with anxiety that Your tender feet might be wounded by pebbles as You roam about on the forest path.


Namdeo the great.

 Saint Namdeo (29 October, 1270 - 1350) (Marathi: संत नामदेव) or Bhagat Namdeo was born on October 29, 1270 in the state of Maharashtra village of Narasi-Bamani, in Hingoli district (presently called Narsi Namdev).


His father, a calico printer/tailor (Bhavsar), was named Damshet and his mother's name was Gonabai. Most of the spiritual message of Bhagat Namdeo emphasized the importance of living the life of a householder (गृहस्थ जीवन) and that through marriage and having a family one could attain enlightenment.


Background :

The first biographer and auto-biographer in Marathi and the foremost proponent of Bhagawad-Dharma who propagated the religion right up to Punjab. Saint Namdev, a contemporary saint-poet of Saint Dnyaneshwar, is considered a prominent religious poet of Maharashtra. He was one the earliest writers who wrote in the Marathi language.


He is the foremost proponent of the Bhagwad-Dharma who reached beyond Maharashtra, right into Punjab. He also wrote some hymns in Hindi and Punjabi. His depth of devotion and talent in delivering Kirtan was of such a high standard that it is said even the Lord Pandurang swayed to his tune. Despite being a proponent of the Warkari sect, Saint Namdev established religious unity across the country.


Saint Namdeo was born in the year 1270 in the village of Narasi-Bamani, now located in the Hingoli District in Maharashtra. He was born to a tailor named Damasheti Relekar and his wife Gonai. Yadusheth, his ancestor in the seventh generation, was a devotee of Bhagawad-Dharma. Soon after his birth, his family moved to Pandharpur, where the prominent temple of Lord Vitthal (also called Vithoba) is located. Saint Namdev’s spent the better part of his life, spanning eighty years, at Pandharpur. His parents were devotees of Vithoba.


Namdev showed little interest in the family profession. Even as a child his devotion to Lord Vitthal was extraordinary - his sole occupation was to spend day and night in devotion to Vithoba. His devotion was so sincere that sometimes he would consider Vithoba to be his dearest brother or his play mate. According to a legend, when Namdev was five years old, his mother once gave him some food offerings for Vithoba and asked him to give it to Vithoba in the Pandharpur temple.


Namdev took the offerings and placed it before Vithoba's idol in the temple, asking Vithoba to accept the offerings. When he saw that his request was not being met, he told Vithoba that he would kill himself if Vithoba continued to ignore the offerings. Vithoba then appeared before him and ate the offerings in response to the utter devotion of young Namdev.


At the age of eleven, Namdev was married to Rajai. Namdev and Rajai had four sons namely Nara, Vitha, Gonda, Mahada and a daughter called Limbai. His elder sister, Aubai also lived with them. There were in all fifteen people in the household.


The year 1291 was a turning point in his life at the age of twenty-one when he met Saint Dnyaneshwar. Several records in various saint literatures have been found to the following event which is actually false but spread by some community to dominate Namdev -


Once, all the Saints like Dnyaneshwar, Nivruttinath, Sopandev, Muktabai, Namdeo, Chokhamela, Visoba Khechar, etc. had congregated at Saint Goroba’s house in Terdhoki. As instructed by Saint Dnyaneshwar, Saint Goroba tapped each saint’s pot (head) to find out who was spiritually mature.


The reference to the pot being tapped is because Saint Goroba was a potter and him being selected for the test shows his own spiritual maturity. On testing Saint Namdev, Saint Goroba expressed his opinion that Namdev was still immature, which was backed by Saint Muktabai. Miffed by this, Namdev complained to the Lord himself. But the Lord advised him to accept the 

But the Lord advised him to accept the guidance of Visoba Khechar and Namdev acquired a Guru.


He accepted Visoba Khechar as his ultimate Guru, through whom he actually saw the form of God.This Visoba Khechar was Brahmin actually.


His Kirtans have references to many holy books. This shows that he was well read and a great scholar. His Kirtans were so effective that it is said –


Namdev Kirtan kari, pudhe nache dev Panduranga (Namdev delivers his kirtan, in front of him dances the Lord Pandurang)


His goal in life was –


Nachu Kirtanache rangi, Dnyandeep lavu jagi (Will dance to the tune of Kirtan, light the lamp of knowledge the world over)


Namdev travelled through many parts of India, reciting his religious poems (Kirtans). In difficult times, he played the difficult role of uniting the people of Maharashtra spiritually. He is said to have lived for more than twenty years in the village of Ghuman in the Gurdaspur district of Punjab. The Sikh brethren in Punjab consider him one of their own, singing praises of him as Namdev Baba. Bahordas, Laddha, Vishnu Swami and Keshav Kaladhari were his disciples in Punjab.


He composed around 125 Abhangas in Hindi. Sixty-one of these came to be included in the Sikh Scripture, the Guru Granth Sahib as Namdevjiki Mukhbani (The holy songs of Namdev). There is an amazing similarity between the ShabdaKirtan of Punjab and the Warkari Kirtan of Maharashtra. A memorial in Ghuman, Punjab commemorates him. Temples in his memory have also been built in Rajasthan by the Sikhs.


In his early fifties, Namdev settled down at Pandharpur where he gathered around himself a group of devotees. His Abhangas became very popular and people thronged to listen to his Kirtans. Approximately 2500 of Namdev's Abhangas have been collected in NamdevVaachi Gaatha. The book also includes the long autobiographical poem Teerthaavali, talking about his travels in the company of Saint Dnyaneshwar.


This poem makes him the first auto-biographer in Marathi literature. He has also written a biography on Saint Dnyaneshwar through Aadi, Samadhi and Teerthavali, which makes him the first Marathi biographer. He continued to propagate the Bhagawad-Dharma for 50 years after the death of Saint Dnyaneshwar. Saint Namdev is regarded to have had a significant influence on Saint Tukaram.


He died in July, 1350 at the age of 80 in Pandharpur at the feet of the Lord at Pandharpur. He preferred to be a stepping stone at the temple in Pandharpur so that he would be forever blessed by the touch of innumerable saints and devotees stepping on him into the temple.


गोबिंद गोबिंद गोबिंद संगि नामदेउ मनु लीणा ॥ आढ दाम को छीपरो होइओ लाखीणा ॥


Gobindh Gobindh Gobindh Sang Namadhaeo Man Lena Aadt Dhaam Ko Shheparo Hoeiou Lakhena.


Naam Dayv's mind was absorbed into God Gobind Gobind, Gobind. The calico-printer, worth half a shell, became worth millions. - Sat Guru Arjan Dev Guru Granth Sahib (Page 487) Namdeo was married before he was eleven years of age to Rajabai, daughter of Govinda Sheti Sadavarte.


They had four sons and one daughter. Janabai, the family's maidservant and a devotee and poetess in her own right, records the tradition that Namdeo was born to Gonabai as a result of her worship of Vitthala in Pandharpur.


God's name was always on the lips of Namdeo. He was asked by the king to show miracles. He refused to do so and was thrown before a drunk elephant to be crushed to death. Under the influence of saint Jnanadeva, Namdev became part of

The  Bhakti Movement. Vitthala of Pandharpur was now the object of his devotion and he spent much of his time in worship and kirtan, chanting mostly verses of his own composition.


In the company of Jnanadeva and other saints, he roamed about the country and later came to the Punjab where he is said to have lived for more than twenty years at Ghuman, in Gurdaspur district, where a temple in the form of samadhi still preserves his memory.


In his early fifties, Namdev settled down at Pandharpur where he gathered around himself a group of devotees. His abhangas or devotional songs became very popular, and people thronged to listen to his kirtan. Namdeo's songs have been collected in Namdevachi Gatha which also includes the long autobiographical poem Tirathavah.


His Hindi verse and his extended visit to the Punjab carried his fame far beyond the borders of Maharashtra. Sixty-one of his hymns in fact came to be included in the Sikh Scripture, the Guru Granth Sahib. His hymns or shabads were very much a inspiration to the Sikh Gurus and they were able to identify the God in Namdeo's hymns with the Sikh version of the formless God.


Remembrance of God's Name central Namdeo is a pioneer of the Radical bhakti School. Though he appeared a century earlier than Kabir, his religious and social views are very much like those of Kabir. He unambiguously repudiates all the four fundamentals of Vaisnavism.


Though in his devotional approach, he is clearly a monotheist, he makes many pantheistic statements too, e.g., every thing is God; there is nothing but God; consider the world and God to be one; the foam and the water are not different. Chaturvedi writes: "Sant Namdeo seemed to believe both in transcendence and immanence, in pantheism and nondualism.


His devotion was purely of the non-attributional absolute. He also considers God to be immanent, everywhere, in all hearts, and the Creator of everything. Like Kabir and the Sufis, Namdeo is very other worldly. He says, "The strength of contempt of the world should be in the body an unchanging companion.


Message of Unity for All :

One should lay aside differences between oneself and others, and feel no anxiety for things of the world. Rānadé also writes: "He (Namdeo) tells us that it is impossible that the pursuit of God can be coupled with a life of Samsara. If it had been possible for a man to find God while he was pursuing Samsara, then Sanaka and others would not have grown mad about God.


If it had been possible for him to see God while carrying on the duties of a householder, the great Suka would not have gone to the forest to seek God. Had it been possible for people to find God in their homes, they would not have left them to find out. Nam Dev has left all these things, and is approaching God in utter submission."


Namdeo's cosmogenic views are also orthodox. He says that God created maya and "maya is the name of the power that placeth man in the womb." Indirectly, he is neither happy with the world, nor with human birth. To him, shop, shopkeeper, men and everything are unreal excepting God. Against this background, he sought release from the world and suggested renunciation: "Namdeo gave up trade, and devoted himself exclusively to the worship of God".


The world being a play of maya and not being a worthwhile arena for spiritual endeavours, Namdeo's goal was to have union with God through devotion and singing His praises. He says, "I perform worship, sing God's praises and meditate on Him for eight prahar in a day i.e., round the clock. At the same time, he suggests good conduct and purity of life. For, God created all men alike. Though he holds every person responsible for his acts, he clearly does not believe in a world rigidly governed by karma. Because he says: If everything were determined by karma, who created karma originally?


Sant Namdeo not only claims union with God, but, like Kabir, also states that more than once, God miraculously intervened on his behalf to reveal Himself to him, or help him. Without doubt, Namdeo's approach remains otherworldly both before and after his achievement. At one time, he even gave up work so as to remain absorbed in his worship and meditations. He never initiated any religious institution or movement. His was a solitary search for God, without creating any social or religious organisation.


We find that in his repudiation of Vaisnava doctrines, in his metaphysical ideas, methodology and goal and more particularly in his otherworldly approach to the world and society, Namdeo's views are quite identical with those of Kabir.


There is a shabad about Bhagat Namdeo in the Siri Guru Granth Sahib according to which the temple rotated towards his direction as he was not allowed to sit inside the temple.


Gurdwara & Temple :

Ghoman is situated about 26 KM Southeast of Batala city and about 10 KM from Sri Hargobindpur. It is towards west side of Sri Hargobindpur. Ghoman is associated with Baba Namdeo (1270–1350). Baba Namdeo was the founder of this town and meditated here for 17 long years. Here he did miraculous deeds.There is a temple in Punjab of Saint Namdev.


The eastern entrance to this temple is known as the Namdeo gate (after the great 13th century Vaishnava saint). The sanctum enshrines the standing image of Vithoba also known as Panduranga, Pandhari or Vitthala. Stylistically the image dates back to the 5th century. There are inscriptions in this temple dating back to the 13th century which place origin of this shrine to the 6th century.

Sree Annapurna stotram

 https://youtu.be/UkT5eHWOIjQ



SREE ANNAPURNA STOTRAM


nityānandakarī varābhayakarī saundarya ratnākarī

nirdhūtākhila ghōra pāvanakarī pratyakṣa māhēśvarī .

prālēyāchala vaṃśa pāvanakarī kāśīpurādhīśvarī

bhikṣāṃ dēhi kṛpāvalambanakarī mātānnapūrṇēśvarī 1


nānā ratna vichitra bhūṣaṇakari hēmāmbarāḍambarī

muktāhāra vilambamāna vilasat-vakṣōja kumbhāntarī .

kāśmīrāgaru vāsitā ruchikarī kāśīpurādhīśvarī

bhikṣāṃ dēhi kṛpāvalambanakarī mātānnapūrṇēśvarī 2 .


yōgānandakarī ripukṣayakarī dharmaikya niṣṭhākarī

chandrārkānala bhāsamāna laharī trailōkya rakṣākarī .

sarvaiśvaryakar tapaḥ phalakarī kāśīpurādhīśvarī

bhikṣāṃ dēhi kṛpāvalambanakarī mātānnapūrṇēśvarī 3


kailāsāchala kandarālayakarī gaurī-hyumāśāṅkarī

kaumārī nigamārtha-gōcharakarī-hyōṅkāra-bījākṣarī.

mōkṣadvāra-kavāṭapāṭanakarī kāśīpurādhīśvarī

bhikṣāṃ dēhi kṛpāvalambanakarī mātānnapūrṇēśvarī 4


dṛśyādṛśya-vibhūti-vāhanakarī brahmāṇḍa-bhāṇḍōdarī

līlā-nāṭaka-sūtra-khēlanakarī vijñāna-dīpāṅkurī.

rīviśvēśamanaḥ-prasādanakarī kāśīpurādhīśvarī

bhikṣāṃ dēhi kṛpāvalambanakarī mātānnapūrṇēśvarī 5


urvīsarvajayēśvarī jayakarī mātā kṛpāsāgarī

vēṇī-nīlasamāna-kuntaladharī nityānna-dānēśvarī.

sākṣānmōkṣakarī sadā ubhakarī kāśīpurādhīśvarī

bhikṣāṃ dēhi kṛpāvalambanakarī mātānnapūrṇēśvarī 6


ādikṣānta-samastavarṇanakarī ambhōstribhāvākarī

kāśmīrā tripurēśvarī trinayani viśvēśvarī arvarī .

svargadvāra-kapāṭa-pāṭanakarī kāśīpurādhīśvarī

bhikṣāṃ dēhi kṛpāvalambanakarī mātānnapūrṇēśvarī 7


dēvī sarvavichitra-ratnaruchitā dākṣāyiṇī sundarī

vāmā-svādupayōdharā priyakarī saubhāgyamāhēśvarī.

bhaktābhīṣṭakarī sadā ubhakarī kāśīpurādhīśvarī

bhikṣāṃ dēhi kṛpāvalambanakarī mātānnapūrṇēśvarī 8


chandrārkānala-kōṭikōṭi-sadṛśī chandrāṃśu-bimbādharī

chandrārkāgni-samāna-kuṇḍala-dharī chandrārka-varṇēśvarī

mālā-pustaka-

pāśasāṅkuśadharī 9


kṣatratrāṇakarī mahābhayakarī mātā kṛpāsāgar

sarvānandakarī sadā ivakarī viśvēśvarī rīdharī .

dakṣākrandakarī nirāmayakarī kāśīpurādhīśvarī

bhikṣāṃ dēhi kṛpāvalambanakarī mātānnapūrṇēśvarī 10


annapūrṇē sādāpūrṇē aṅkara-prāṇavallabhē .

jñāna-vairāgya-siddhayarthaṃ bikbiṃ dēhi cha pārvatī 11


mātā cha pārvatīdēvī pitādēvō mahēśvaraḥ .

bāndhavā: ivabhaktāścha svadēśō bhuvanatrayam 12


sarva-maṅgala-māṅgalyē ivē sarvārtha-sādhikē.

araṇyē tryambakē gauri nārāyaṇi namō'stu tē 13


Monday, May 30, 2022

Jaganatha A

 

https://youtu.be/AaRyGJxpCqY

Shri Jagannath Ashtakam was composed by Adi Sankracharya in praise of Lord Jagannath on his visit to Puri. The most important of hymns of Lord Jagannath, the Ashtakam was recited by Sri Chaitanya Mahaprabhu on his visit to Jagannath temple. The merit of reciting the sacred Jagannath ashtakam carefully is such that, one becomes sinless and pure hearted and gains entrance to Vishnuloka.

कदाचित् कालिन्दी तट विपिन सङ्गीत तरलो

मुदाभीरी नारी वदन कमला स्वाद मधुपः

रमा शम्भु ब्रह्मामरपति गणेशार्चित पदो

जगन्नाथः स्वामी नयन पथ गामी भवतु मे ॥१॥


kadācit kālindī-taṭa-vipina-saṅgīta ta ralo

mudābhīrī-nārī-vadana-kamalāśvāda-madhupaḥ

ramā-śambhu-brahmāmara-pati-gaṇeśārcita-pado

jagannāthaḥ svāmī nayana-patha-gāmī bhavatu me (1)


Sometimes in great happiness Lord Jagannatha, with His flute, makes a loud concert in the groves on the banks of the Yamuna. He is like a bumblebee who tastes the beautiful lotus-like faces of the cowherd damsels of Vraja, and His lotus feet are worshiped by great personalities such as Lakshmi, Siva, Brahma, Indra and Ganesa. May that Jagannatha Swami be the object of my vision.


भुजे सव्ये वेणुं शिरसि शिखिपिच्छं कटितटे

दुकूलं नेत्रान्ते सहचर-कटाक्षं विदधते ।

सदा श्रीमद्‍-वृन्दावन-वसति-लीला-परिचयो

जगन्नाथः स्वामी नयन-पथ-गामी भवतु मे ॥२॥


bhuje savye veṇuṁ śirasi śikhi-picchaṁ kaṭitaṭe

dukūlaṁ netrānte sahacara-kaṭākṣaṁ ca vidadhat

sadā śrīmad-vṛndāvana-vasati-līlā-paricayo

jagannāthaḥ svāmī nayana-patha-gāmī bhavatu me (2)


In His left hand Lord Jagannatha holds a flute. On His head He wears the feathers of peacocks and on His hips He wears fine yellow silken cloth. Out of the corners of His eyes He bestows sidelong glances upon His loving devotees and He always reveals Himself through His pastimes in His divine abode of Vrindavana. May that Jagannatha Swami be the object of my vision.


महाम्भोधेस्तीरे कनक रुचिरे नील शिखरे

वसन् प्रासादान्तः सहज बलभद्रेण बलिना ।

सुभद्रा मध्यस्थः सकलसुर सेवावसरदो

जगन्नाथः स्वामी नयन-पथ-गामी भवतु मे ॥३॥


mahāmbhodhes tīre kanaka-rucire nīla-śikhare

vasan prāsādāntaḥ sahaja-balabhadreṇa balinā

subhadrā-madhya-sthaḥ sakala-sura-sevāvasara-do

jagannāthaḥ svāmī nayana-patha-gāmī bhavatu me (3)


Residing on the shore of the great ocean, within a large palace situated upon the crest of the brilliant, golden Nilacala Hill, along with His powerful brother Bala-bhadra, and in the middle of Them His sister Subhadra, Lord Jagannatha bestows the opportunity for devotional service upon all godly souls. May that Jagannatha Swami be the object of my vision.


कृपा पारावारः सजल जलद श्रेणिरुचिरो

रमा वाणी रामः स्फुरद् अमल पङ्केरुहमुखः ।

सुरेन्द्रैर् आराध्यः श्रुतिगण शिखा गीत चरितो

जगन्नाथः स्वामी नयन पथ गामी भवतु मे ॥४॥


kṛpā-pārāvāraḥ sajala-jalada-śreṇi-ruciro

ramā-vāṇī-rāmaḥ sphurad-amala-paṅkeruha-mukhaḥ

surendrair ārādhyaḥ śruti-gaṇa-śikhā-gīta-carito

jagannāthaḥ svāmī nayana-patha-gāmī bhavatu me (4)


Lord Jagannatha is an ocean of mercy and He is beautiful like a row of blackish rain clouds. He is the storehouse of bliss for Lakshmi and Saraswati, and His face is like a spotless full-blown lotus. He is worshiped by the best of demigods and sages, and His glories are sung by the Upanishads. May that Jagannatha Swami be the object of my vision.


रथारूढो गच्छन् पथि मिलित भूदेव पटलैः

स्तुति प्रादुर्भावम् प्रतिपदमुपाकर्ण्य सदयः ।

दया सिन्धुर्बन्धुः सकल जगतां सिन्धु सुतया

जगन्नाथः स्वामी नयन पथ गामी भवतु मे ॥५॥


rathārūḍho gacchan pathi milita-bhūdeva-paṭalaiḥ

stuti-prādurbhāvam prati-padam upākarṇya sadayaḥ

dayā-sindhur bandhuḥ sakala jagatāṁ sindhu-sutayā

jagannāthah svāmī nayana-patha-gāmī bhavatu me (5)


When Lord Jagannatha is on His Ratha-yatra cart and is moving along the road, at every step there is a loud presentation of prayers and songs chanted by large assemblies of brahmanas. Hearing their hymns Lord Jagannatha is very favorably disposed towards them. He is the ocean of mercy and the true friend of all the worlds. May that Jagannatha Swami, along with His consort Lakshmi, who was born from the ocean of nectar, be the object of my vision.


परंब्रह्मापीड़ः कुवलय-दलोत्‍फुल्ल-नयनो

निवासी नीलाद्रौ निहित-चरणोऽनन्त-शिरसि ।

रसानन्दी राधा-सरस-वपुरालिङ्गन-सुखो

जगन्नाथः स्वामी नयन-पथगामी भवतु मे ॥६॥


paraṁ-brahmāpīḍaḥ kuvalaya-dalotphulla-nayano

nivāsī nīlādrau nihita-caraṇo 'nanta-śirasi

rasānandī rādhā-sarasa-vapur-āliṅgana-sukho

jagannāthaḥ svāmī nayana-patha-gāmī bhavatu me (6)


He is the ornament of the head of Lord Brahma and His eyes are like the full-blown petals of the lotus. He resides on the Nilacala Hill, and His lotus feet are placed on the heads of Ananta Deva. Lord Jagannatha is overwhelmed by the mellow of love and He becomes joyful in the embracing of the body of Sri Radharani, which is like a cool pond. May that Jagannatha Swami be the object of my vision.


न वै याचे राज्यं न च कनक माणिक्य विभवं

न याचेऽहं रम्यां सकल जन काम्यां वरवधूम् ।

सदा काले काले प्रमथ पतिना गीतचरितो

जगन्नाथः स्वामी नयन पथ गामी भवतु मे ॥७॥


na vai yāce rājyaṁ na ca kanaka-māṇikya-vibhavaṁ

na yāce 'haṁ ramyāṁ sakala jana-kāmyāṁ vara-vadhūm

sadā kāle kāle pramatha-patinā gīta-carito

jagannāthaḥ svāmī nayana-patha-gāmī bhavatu me (7)


I do not pray for a kingdom, nor for gold, rubies, and wealth. I do not ask for an excellent and beautiful wife as desired by all men. I simply pray that Jagannatha Swami, whose glories are always sung by Lord Siva, be the constant object of my vision.


हर त्वं संसारं द्रुततरम् असारं सुरपते

हर त्वं पापानां विततिम् अपरां यादवपते ।

अहो दीनेऽनाथे निहित चरणो निश्चितमिदं

जगन्नाथः स्वामी नयन पथ गामी भवतु मे ॥८॥


hara tvaṁ saṁsāraṁ druta-taram asāraṁ sura-pate

hara tvaṁ pāpānāṁ vitatiṁ aparāṁ yādava-pate

aho dīne 'nāthe nihita-caraṇo niścitam idaṁ

jagannāthaḥ svāmī nayana-patha-gāmī bhavatu me (8)


O Lord of the demigods, please quickly remove this useless material existence I am undergoing. O Lord of the Yadus, please destroy this vast ocean of sins which has no shore. Alas, this is certain that Lord Jagannatha’s lotus feet are bestowed upon those who feel themselves fallen and have no shelter in this world but Him. May that Jagannatha Swami be the object of my vision.


जगन्नाथाष्टकं पुन्यं यः पठेत् प्रयतः शुचिः ।

सर्वपाप विशुद्धात्मा विष्णुलोकं स गच्छति ॥९॥


jagannāthāṣṭakaṁ punyaṁ yaḥ paṭhet prayataḥ śuciḥ

sarva-pāpa-viśuddhātmā viṣṇu-lokaṁ sa gacchati


The self-retrained, virtuous soul who recites these eight verses glorifying Lord Jagannatha becomes cleansed of all sins and duly proceeds to Lord Visnu's abode.


॥ इति श्रीमत् शंकराचार्यविरचितं जगन्नाथाष्टकं संपूर्णम् ॥


iti śrimat śaṅkaracārya viracitaṁ jagannāthāṣṭakam saṁpūrṇam


Thus ends the eight stanza hymn Jagannāthāṣṭakam composed by Śrimat Śaṅkaracārya


Bhaje bhaje

 भजे व्रजैकमण्डनं (Bhaje Bhaje Vrajaika Mandanam) Krasnastakam


भजे व्रजैकमण्डनं समस्तपापखण्डनं

स्वभक्तचित्तरंजनं सदैव नन्दनन्दनम् |

सुपिच्छगुच्छमस्तकं सुनादवेणुहस्तकं

अनंगरंगसागरं नमामि कृष्णनागरम् || १ ||


मनोजगर्वमोचनं विशाललोललोचनं

विधूतगोपशोचनं नमामि पद्मलोचनम् |

करारविन्दभूधरं स्मितावलोकसुन्दरं

महेन्द्रमानदारणं नमामि कृष्णावारणम् || २ ||


कदम्बसूनकुण्डलं सुचारुगण्डमण्डलं

व्रजांगनैकवल्लभं नमामि कृष्णदुर्लभम् |

यशोदया समोदया सगोपया सनन्दया

युतं सुखैकदायकं नमामि गोपनायकम् || ३ ||


सदैव पादपंकजं मदीय मानसे निजं

दधानमुक्तमालकं नमामि नन्दबालकम् |

समस्तदोषशोषणं समस्तलोकपोषणं

समस्तगोपमानसं नमामि नन्दलालसम् || ४ ||


भुवो भरावतारकं भवाब्धिकर्णधारकं

यशोमतीकिशोरकं नमामि चित्तचोरकम् |

दृगन्तकान्तभंगिनं सदा सदालिसंगिनं

दिने दिने नवं नवं नमामि नन्दसम्भवम् || ५ ||


गुणाकरं सुखाकरं कृपाकरं कृपापरं

सुरद्विषन्निकन्दनं नमामि गोपनन्दनम् |

नवीनगोपनागरं नवीनकेलिलम्पटं

नमामि मेघसुन्दरं तडित्प्रभालसत्पटम् || ६ ||


समस्तगोपनन्दनं हृदम्बुजैकमोदनं

नमामि कुंजमध्यगं प्रसन्नभानुशोभनम् |

निकामकामदायकं दृगन्तचारुसायकं

रसालवेणुगायकं नमामि कुंजनायकम् || ७ ||


विदग्धगोपिकामनोमनोज्ञतल्पशायिनं

नमामि कुंजकानने प्रव्रद्धवन्हिपायिनम् |

किशोरकान्तिरंजितं दृअगंजनं सुशोभितं

गजेन्द्रमोक्षकारिणं नमामि श्रीविहारिणम् || ८ ||


यदा तदा यथा तथा तथैव कृष्णसत्कथा

मया सदैव गीयतां तथा कृपा विधीयताम् |

प्रमाणिकाष्टकद्वयं जपत्यधीत्य यः पुमान

भवेत्स नन्दनन्दने भवे भवे सुभक्तिमान || ९ ||


इति श्रीमद शंकराचार्यकृतं श्रीकृष्णाष्टकं सम्पूर्णम्


Eternally I worship Lord Krsna, who is Nanda’s son, who is Vraja’s sole ornament, who breaks all sins into pieces, and who delights the devotees’ hearts. I offer my respectful obeisances to the hero Lord Krsna, whose head is decorated with peacock feathers, whose hand holds a melodious flute, and who is an ocean of Kamadeva’s pastimes.


 


2) I offer my respectful obeisances to lotus-eyed Lord Krsna, who frees Kamadeva of his pride, whose large eyes are very restless, and who shakes away the gopas’ sadness. I offer my respectful obeisances to dark Lord Krsna, whose lotus hand lifted Govardhana Hill, whose smiling glance is charming, and who ripped Indra’s pride into shreds.


 


3) I offer my respectful obeisances to Lord Krsna, who is difficult to attain, who wears a kadamba-flower earring, the circle of whose cheeks is very charming, and who is the only beloved of Vraja’s girls. I offer my respectful obeisances to Lord Krsna, who is a playful cowherd boy, and who, in the company of Yasoda, Nanda, and the gopa people, enjoys pastimes that delight them all.


 


4) I offer my respectful obeisances to Lord Krsna, who is Nanda’s small boy, and who eternally places His kunkuma-anointed lotus-feet in my heart. I offer my respectful obeisances to cheerful Lord Krsna, who dries up all faults, makes all worlds prosper, and stays in the thoughts of all the gopa people.


 


5) I offer my respectful obeisances to the milk-thief Lord Krsna, who removed the earth’s burden, who is the captain of the ship to cross the ocean of birth and death, and who is Yasoda’s teenage son. I offer my respectful obeisances to Lord Krsna, who is Nanda’s son, who casts crooked glances from the corners of His eyes, who always stays with the gopis, and who day after day enjoys newer and newer pastimes.


 


6) I offer my respectful obeisances to Lord Krsna, who is a jewel-mine of transcendental qualities, a jewel-mine of transcendental bliss, a jewel-mine of mercy, who defeats the demigods’ enemies, and who delights the cowherd people. I offer my respectful obeisances to Lord Krsna, who is a young hero of the cowherd people, who is a playful young rake, who is handsome and dark like a monsoon cloud, and whose yellow garments glisten like lightning.


 


7) I offer my respectful obeisances to Lord Krsna, who delights all the cowherd people, who charms the devotees’ lotus-hearts, who stays in forest groves, and who is splendid like a glistening sun. I offer my respectful obeisances to Lord Krsna, who fulfills all desires, whose sidelong glances are charming arrows, whose flute music is nectar, and who is the amorous hero of the forest groves.


 


8) I offer my respectful obeisances to Lord Krsna, who reclines on the charming couch of the wise gopis’ hearts, and who drank up a forest fire in Munjatavi forest. I pray that whenever and however I sing His glories, Lord Krsna will be merciful to me.


 


9) I pray that whoever reads or recites these eight prayers will be fervently devoted to Nanda’s son, devoted birth after birth.


Saturday, May 28, 2022

B j d

 


Bhagat Jaidev whose 2 hymns are found in the Guru Granth Sahib is the celebrated Sanskrit poet who wrote the "Gitgovind". His father was Bhoidev, a Brahman of Kanauj, and his mother Bamdevi. He was born at Kenduli, about twenty miles from Suri, in the modern district of Birbhum in Lower Bengal, India. He became the most famous of the five distinguished poets who lived at the court of Lakshman Sen, King of Bengal, who dates from the year 1170. The five poets were called the five jewels of Lakshman Sen’s court, and so proud was the King of them that he erected a monument to preserve their names to succeeding ages.


Very little is known of Jaidev’s early life. It is certain that from his youth he was a diligent student of Sanskrit literature, and developed rare poetical talents. He is described by the author of the "Bhagat Mal" as an incarnation and treasury of melody on which, however, he owing to his ascetic habits, long preferred to feast his own soul rather than communicate to the world the splendid gifts he possessed. He wandered in several countries, with only a water-pot and the patched coat of a mendicant. Even pens, ink, and paper, generally so indispensable to literary men, were luxuries which he did not allow himself. Such was his determination to love nothing but God, that he would not sleep for two nights in succession under the same tree, lest he should conceive an undue preference for it and forget his Creator.






B R K

 

Badraacala Raamadaas - Popularly known as Bhakta Raamadaas, he was born Gopanna to Linganna Mantri (a surname he kept as a result of one of his forebears being a minister at the court of a king) & Kadamba (sister of Madanna, a brahmin minister to TaniShah), in 1620 in Nelakondapalli, a small village in Khammam district, Andhra Pradesh. Since childhood, he imbibed his family's interest in spirituality and composed several keertanas on Raama. His devotion to Vaikunta Rama at the temple at Bhadrachalam, a small village in the middle of the jungle on the northern banks of the holy river Godhavary, earned him his name Bhadraacala Raamadaas. His guru was Raghunatha Bhattacharya.

During the reign of Abdul Hasan Tana Shah,(the nawab of the Qutub Shahi Dynasty at Golconda), Ramadas (Gopanna), thanks to his uncle Madanna, was appointed as a Tahsildar at Bhadrachalam, a pretty and picturesquely situated temple town on the Godavari river. Ramadas was always distracted and his intense love for Lord Rama compelled him to build a temple at Bhadrachalam. He collected money for the construction from the citizens, but didn't have enough. So he borrowed from the tax revenue of the nawab and gave his god a worthy abode, vowing to return the money. The nawab was furious and sentenced Ramadas to 12 years in prison. Raamadaas thus earned the name Bandekhana Raamadaas. Frustated at god's indifference to his pleadings, Ramadas composed some of the finest keertanas in his prison cell (reminding Raama of his services in Ishvaku Kula Tilaka).

It is said that Raama & Lakshmana in the guise of two youngsters paid up his dues and got his release papers. The golden coins paid by Raama are known as Ram Tanka coins .They can be seen even today. These coins have the Pattabhishekam scene on one side and the picture of another Rama Bhaktha, Hanuman, on the other side. The nawab was moved and recognized the greatness of Raamadaas and released him immediately and gave him land around Bhadraacalam to continue his dedicated service to Bhadraacala Raamamoorty. Raamadaas spent the rest of his life on these lands and composed further moving poems that were to inspire Tyaagaraaja: in ksheera saagara sayana in dEvagaandhaari, he says "Dhirudau Ramadasuni Bandhamu dirchinadi Vinnanura Rama?" (O Rama! I have heard how You obtained the release of the bold Ramadas from his prison life) ; in brindaavanalOla in tODi, in kaligiyundE gada in keeravaaNi, in Emi dova balkuma in saaranga and in Prahlaada Bhakti Vijayam he says "kaliyugamuna vara bhadra calamuna nelakonna raamacandruni pada bhaktula kella varudanandagi velasina shree raamadaasu vinutintu madin" (I praise Sri Raamadaas, who shines in this world as the supreme devotee of Sri Raamacandra, who shines forth from his seat at Bhadraacalam in this kali Yuga).

Other compositions are positive invocations, favored by traveling minstrels, including the Tondaiman rulers of PudukoTTai in Tamil Nadu, who popularized his songs. Among his other accomplishments is the creation of the whole Ramayana story in the form of a prose-poem, a Choornika. Ramadas described himself in this way in the last verse of his Dasarathi Satakam: "Allana Linga Mantri Suthudu(son), Atreya Gothrudu, Adi Sakha , Kancherla Kulothbhavudu, Gopakavindrudu." Bhadraacala Raamadaas lived for 68 years.



  1. aalOla tulasi - shankaraabharaNam
  2. abbabba debbalaku nOrvalEnurA - asAvEri
  3. abbabba debbalaku tALalEnurA - asAvEri
  4. abbabba rAma nAmadi - dhanyAsi
  5. abbabba rAma nAmam - dhanyAsi
  6. AdaraNalEni rAma mantrapaThana - kalyANi
  7. aDugu daaTi - mOhanam
  8. akkaDa uNDE - nAdanAmakriyA
  9. AlOla tulasi - shankarAbharaNa
  10. amalAshayanuta kamalA - kAmbhOji
  11. amma nannubrOvavE - saavEri
  12. Ana beTTinani rAgA: - kAmbhOji/bhairavi
  13. Anandam AnandamAyenu shrI - pUrvIkalyANi
  14. ani yiTlu rAmadAsu - bEgaDa
  15. anni kalgiyu mIrUrakunna nE nevari - kalyANi
  16. antA rAmamayam - Anandabhairavi/kAmavardhani
  17. antaa raamamayam - aananda bhairavi
  18. Asha puTTene - Anandabhairavi
  19. AvumE hamara - asAvEi
  20. ayyayyO nE - sAvEri
  21. ayyayyO nEDella I jIvunaku sukha - varALi
  22. ayyayyO nIvaNTi - mukhAri
  23. bhadrAdripuramuna - mOhana
  24. bhajarE mAnasa rAmam - navarOj
  25. bhajarE shreeraamam - kalyaaNi
  26. bhajata prEma - tODi
  27. bhaLi vairAgyambentO bAgai yunnadi - cakravAka
  28. bhAramulanniTiki nIveyanucu nirbhayuNDanai - Anandabhairavi
  29. bhAvayE pavamAna vandanam - bilahari/yamunakalyANi
  30. biDiyamEla nika - kEdragauLa
  31. bUcivAni piluvabOdunA O gOpAla - kAmavardhani
  32. caraNamulE nammiti - kaapi
  33. daivamani mIralEka yinta - simhEndramadhyam
  34. dakaSiNAcAsyam - aThaNA
  35. dakSiNAmUrtE namastE - bilahari
  36. darikAce shabari - rAgamAlikA
  37. darishana mAyEnu - bauLi
  38. dasharatha raama - shankaraabharaNam
  39. dasharatha rAma - shankarAbharaNa/kApi
  40. deena dayaaLO - bhairavi
  41. dIna dayALO - bhairavi/kApi
  42. dinamE sudinamu - kaapi
  43. dinamE sudinamu sItArAma smaraNE - kApi
  44. dorikene bhadracala - kAmbhOji
  45. E dEshamu mIdi - madhyamAvati
  46. E teeruga - naadanaamakriyaa
  47. EDanunnaaDO - naaTTai kurinji
  48. EDanunnADO nApAli rAmu - varALi
  49. ee vELa nannu - kamaas
  50. ekkaDi karmamulaDDupaDenO Emi - kAmbhOji
  51. Ela dayarAdO - punnAgavarALi
  52. elAgu tALudu - bEgaDa
  53. Emayya raama - kaambhOji
  54. Emayya rAma - kAmbhOji
  55. Emira rAmA - nAdanAmakriyA
  56. EmiTiki dayarAdu - Anandabhairavi
  57. enduku krparAdu - Anandabhairavi
  58. ennagaanu raama bhajana - kaamavardhani
  59. ennenni janmamu - varALi/kAmavardhani
  60. EnnOvidhamula - kAmbhOji
  61. enta pani jEsitivi - nAdanAmakriyA
  62. entakentaku - dhanyAsi
  63. entO mahaanubhaavuDavu - shankaraabharaNam
  64. Etiki dayaraaduraa - mukhaari
  65. ETiki dayarAdu shrIrAmulu - Anandabhairavi
  66. ETiki dayarAdurA - mukhAri
  67. eTubOtivO rAma yeTu brOtuvO - Anandabhairavi
  68. evaru dooshincinanEmi - aananda bhairavi
  69. garuDagamana raaraa - shuruTTi
  70. garuDagamana rArA - suraTi/kAmavardhani
  71. ghOra bhavArNava - Arabhi
  72. gOpAla rAma - darbAr
  73. gOvinda rAma harE - dEshikatODi
  74. gOvinda sundara mOhana - dvIjavanti
  75. hari hari raama raama - dhanyaasi
  76. I vELa nannu - khamAs
  77. idigO bhadrAdri - varALi
  78. idigO ranDi paikamu - varALi
  79. ikSvAku kula - yadukulakAmbhOji
  80. inakula tilaka - bilahari
  81. inni galgi meIUrakunna - kalyANi
  82. itaDEnA I lOkamulO gala - shankarAbharaNa
  83. itaramu leruganayyA - shankarAbharaNa/nAdanAmakriyA
  84. itaramu leruganayyaa - shankaraabharaNam
  85. iTula cEtuvaTarA - mukhAri
  86. jai jai sItArAm - punnAgavarALi
  87. janaka tanaya nAdu manavigaikoni - shahAnA
  88. jAnakI ramaNa kalyANa - madhyamAvati
  89. jAnaki ramaNa kalyANa guNa sajjana - kApi
  90. jAnakI ramaNa kalyANa guNa(another version) - madhyamAvati
  91. janani bhAvayE vaidEhi - jOg
  92. jaya jAnaki ramaNa - bAgEshrI/gambhIranATa
  93. kaakutstha tilakuDu - asaavEri
  94. kalanijamAyE - kannaDa
  95. kalaye gOpAlam kastUri - sAvEri
  96. kaliki yI kala vinavE - mOhana
  97. kaliyuga vaikuNThamu bhadrAcala - Anandabhairavi
  98. kamala vallabha - kEdAra
  99. kamaladaLa nayana - darbAr
  100. kamalanayana vaasudEva - shenjuruTTi
  101. kaNTi mA rAmulanu kanugoNTi nEnu - mEcabauLi/kAmbhOji
  102. kantinEDu mA rAmula - nAdanAmakriyA
  103. karuNa jUDavE O yamma - saurASTra
  104. karuNa nIku - vasanta
  105. karuNincu daivalalrAma ahO - saurASTra
  106. kaTa kaTa nIdu sankalpa - kAmbhOji
  107. kOdaNDa rAmulu - dhanyAsi
  108. kOdaNDarAma kOdaNDa - Anandabhairavi
  109. kOmaLa gAtruniki - shankarAbharaNa
  110. krSNa krSNa - kuntalavarALi
  111. mAmava gOpAla - dhanyAsi
  112. mAnasamA nIvu maruvakumI - mOhana
  113. mantramulaku - shankarAbharaNa
  114. mArutE namOstutE - bhairavi
  115. maruvakanu nI divyanAma smaraNa - suraTi
  116. mElaina cITikena - Anandabhairavi
  117. mElaina ciTikenavrElu - Anandabhairavi
  118. mithilEsha tanaya - kaambhOji
  119. muccaTaina naaDavEmiraa - husEni
  120. muccaTaina nADavEmirA - husEni/nAdanAmakriyA
  121. murahara nagadhara - shankarAbharaNa
  122. nA tappulanni kSamiyincumI - asAvEri
  123. naa moraalakimpa - vasantaa
  124. naaraayaNa naaraayaNa - shankaraabharaNam
  125. namma valEnayya ayyA - tODi
  126. nammina vaarini - dhanyaasi
  127. nanda bAlam - maNirangu
  128. nandAtmajAnanda - Anandabhairavi
  129. nannu brOvumani - kalyaaNi
  130. narahari dEvA - yamunAkalyANi
  131. nArAyaNa harE - Anandabhairavi
  132. nArAyaNa yanarAdA mI - nAdanAmakriya
  133. nArAyaNam bhajE - mAyAmAlavagauLa
  134. narulaara cEDi - shankaraabharaNam
  135. nI sankalpam ETuvaNTidO - pUrvikalyani
  136. nigama giri - bhairavi
  137. ninu nammi yunnavADanu rAgA: mAyAmALavagauLa - tripuTa
  138. ninu ponicedanA - khamAs/madhyamAvati
  139. O raama nee - yamunaa kalyaaNi
  140. O raghunandanA - madyamaavati
  141. O raghuvIrA yani - kalyANi
  142. O rAma rAma iTula - mukhAri
  143. paahi maam raamaayaNTE - yadukula kaambhOji
  144. paahi raama prabhO - madyamaavati
  145. paalayamaam shree - madyamaavati
  146. paavana raama - dhanyaasi
  147. pAhi mAm shrI paTTAbhi - saurASTra
  148. pAlayamAm jaya rAma jaya - mukhAri
  149. pAlayamAm shrI rukmiNI - shrI
  150. palukE bangaaramaayenaa - aananda bhairavi
  151. pAvana rAma - dhanyAsi
  152. poyyETappuDu veNTarAdugA - nAdanAmakriyA
  153. pUla ceNDLADanE - navarOj
  154. raama daivashikhaamaNee - tODi
  155. raama raama bhadraacala - neelaambari
  156. raama raama raama - mukhaari
  157. raama raama seetaaraama - aananda bhairavi
  158. raama raama shreeraama - dhanyaasi
  159. raama sudhaambudi - saavEri
  160. raamaa naa manavi - aananda bhairavi
  161. raamabhadra raaraa - shankaraabharaNam
  162. raamajOgi mandu - vasantaa
  163. raamakrshNa gOvinda - dhanyaasi
  164. raaraa naavenna - kaambhOji
  165. rakshincamanu mrokkeda - sahaanaa
  166. rakSimpu midi yEmi rAcakAryamu - shankarAbharaNa
  167. rakSinca doravani - bilahari
  168. rakSincamanu mrokkeda - shahAnA
  169. rakSincu dInuni rAma - punnAgavarALi
  170. rakSincu rakSincu - kAmbhOji
  171. rAmA dayajUDavE - kalyANi/dhanyAsi
  172. rAma dayayuncavE - punnAgavarALi
  173. rAma hO raghurAma hO hE sItA - saurASTra
  174. rAma jOgi mandu - vasantA
  175. rAma lAli - madhyamAvati
  176. rAmA nA manavini - Anandabhairavi/asAvEri
  177. rAma nAmamE jIvanamu anyamEmirA - Anandabhairavi
  178. rAma nAmamu balkavE pApapu jihva - kAmavardhani
  179. rAmA nanu brOvagarAdA - madhyamAvati
  180. rAmA nI cEtEmigAdugA - mukhAri
  181. rAma nI daya rAdugA - shahAnA/varALi
  182. rAma nI daya rAdugA patita pAvana - shahAnA
  183. rAma ninnu koniccedarA - madhyAmavati
  184. rAma parAku raghurAma parAku - nAdanAmakriya
  185. rAma rAma nIvEgatigada samrakSaNambu sEya - mukhAri
  186. rAma rAma rAma rAma - kurinji
  187. rAma rAma rAma shrI raghu - yamunAkalyANi
  188. rAma rAma sItArAma - Adi
  189. rAma rAma sItArAma rAma - dEvagAndhAri
  190. rAma rAma yani nOTa ravvanta - kalyANi
  191. rAma rArA - khamAs
  192. rAma rArA bhadrAcala - nIlAmbari/Ahiri
  193. rAma sudhAmbudi - sAvEri/madhyamAvati
  194. rAmacandrA nannu rakSimpavadEmO - husEni
  195. rAmacandrAya janaka rAjajA - kurinji/navarOj
  196. rAmacandrulu nApai - asAvEri
  197. rAmadAsugAru raNDi - Adi
  198. rAmahO sItA rAmahO - kEdAragauLa
  199. rAmakrSNa gOvinda - dhanyAsi/yamunAkalyANi
  200. ramaNirO rAmuni - not
  201. rAmuni divyanAma - sAvEri
  202. rAmuni vAramainAmu - yadukulakAmbhOji
  203. rAmuni vAramu mAkEmi - Anandabhairavi
  204. rArA nAvenna - kAmbhOji
  205. rArA rAma sItA rAma rArA - Anandabhairavi
  206. rAvayya abhayamu - nIlAmbari
  207. rAvayya bhadrAcala - Anandabhairavi
  208. sakalEndriyamulAra samayamugAdu - bEgaDA
  209. samAnyula centa cEramu - mOhana
  210. sAtulAra mIruraNDi - yadukulakAmbhOji
  211. seetaaraama seetarama - husEni
  212. selava mAku selava - pIlu
  213. sharaNAgata rakSaNa - yamunAkalyANi
  214. shree raama naamamu - naadanaamakriyaa
  215. shree raamula - saavEri
  216. shrI mincu kausalya - bhUpALa
  217. shrI rAma nAmamE - aThANA
  218. shrI rAma nAmamu - nAdanAmakriyA
  219. shrI rAma nI nAmamenta - gauLipantu
  220. shrI rAmula divyanama - sAvEri
  221. sItArAma sItArAma - husEni
  222. sItArAma svAmI - asAvEri
  223. svAmi nanu - suraTi
  224. swaami nanu - shuruTTi
  225. taaraka mantramu - dhanyaasi
  226. tagunayya dasharatha - shankaraabharaNam
  227. takkuvEmi manaku - sUryakAntA
  228. taluputiyyayya - gauLipantu
  229. tammuDu tA villammulu dAlci - nAdanAmakriyA
  230. tArakAvatArAya - sAvEri
  231. taralipOdAmu cAlA dayayuncaNDi - Anandabhairavi
  232. unnADO lEDO - asAvEri
  233. vaccEvO rAvO mA iNTiki - shrI
  234. vancana sEyaka nannu - sAvEri
  235. vandanamu shrI raghunAyaka Anandamu - khamAs
  236. vandE raghurAmA - mOhana
  237. vErE yOcanalETikE mummATiki - Ahiri
  238. vinarayya tAnIshAgAru - nAdanAmakriyA
  239. voccEvO rAvO - darbAr


Friday, May 27, 2022

prahrada

 Prahlāda Mahārāja said: 


One who is sufficiently intelligent should use the human form of body from the very beginning of life—in other words, from the tender age of childhood—to practice the activities of devotional service, giving up all other engagements. The human body is most rarely achieved, and although temporary like other bodies, it is meaningful because in human life one can perform devotional service. Even a slight amount of sincere devotional service can give one complete perfection.


Prahrāda (प्रह्राद).—

1) Great joy, pleasure, delight, happiness.

2) Sound.

3) A species of rice.

4) Name of a son of the demon Hiraṇya-Kaśipu.

Lalita Vistara.


  • Chapter 1: In the first chapter of the sutra, the Buddha is staying at Jetavana with a large gathering of disciples. One evening, a group of divine beings visit the Buddha and request him to tell the story of his awakening for the benefit of all beings. The Buddha consents.
  • Chapter 2: The following morning, the Buddha tells his story to the gathered disciples. He begins the story by telling of his previous life, in which the future Buddha was living in the heavenly realms surrounded by divine pleasures. In this previous life, he was known as the Bodhisattva. The Bodhisattva is enjoying the immense pleasures of his heavenly life, but due to his past aspirations, one day the musical instruments of the heavenly palace call out to him, reminding him of his prior commitment to attain awakening.
  • Chapter 3: Upon being reminded of his previous commitments, the Bodhisattva announces, to the despair of the gods in this realm, that he will abandon his divine pleasures in order to take birth in the human realm and there attain complete awakening.
  • Chapter 4: Before leaving the heavenly realms, the Bodhisattva delivers one final teaching to the gods.
  • Chapter 5: The Bodhisattva installs Maitreya as his regent in the heavenly realms and sets out for the human realm accompanied by great displays of divine offerings and auspicious signs.
  • Chapter 6: The Bodhisattva enters into the human world via the womb of Queen Māyā, where he resides for the duration of the pregnancy within a beautiful temple, enjoying the happiness of absorption.
  • Chapter 7: The Bodhisattva takes birth at the grove in Lumbinī and declares his intention to attain complete awakening.
  • Chapter 8: The infant Bodhisattva visits a temple where the stone statues rise up to greet him.
  • Chapter 9: His father, Śuddhodana, commissions marvelous jewelry for him.
  • Chapter 10: The Bodhisattva attends his first day at school, where he far surpasses even the most senior tutors. This chapter is notable in that it contains a list of scripts known to the Bodhisattva which has been of great importance in the history of Indic scripts, particularly through the comparison of various surviving versions of the text.[2]
  • Chapter 11: On a visit to the countryside as a young boy, he attains the highest levels of samadhi.
  • Chapter 12: As a young man, he demonstrates prowess in the traditional worldly arts, and wins the hand of Gopā, a Śākya girl whose father requires proof of the Bodhisattva’s qualities as a proper husband.
  • Chapter 13: The Bodhisattva reaches maturity and enjoys life in the palace, where he is surrounded by all types of pleasure, including a large harem to entertain him. Seeing this, the gods gently remind him of his vows to awaken.
  • Chapter 14: The Bodhisattva takes a trip outside the palace walls to visit the royal parks. On this trip, he encounters a sick person, an old man, a corpse, and a religious mendicant. Deeply affected by these sights, the Bodhisattva renounces his royal pleasures.
  • Chapter 15: The Bodhisattva departs from the palace to begin the life of a religious seeker on a spiritual journey.
  • Chapter 16: The Bodhisattva seeks out the foremost spiritual teachers of his day, and he quickly surpasses each of his teachers in understanding and meditative concentration. His extraordinary charisma also attracts many beings, such as the king of Magadhā, who requests the Bodhisattva to take up residence in his kingdom, but without success.
  • Chapter 17: The Bodhisattva follows Rudraka, a renowned spiritual teacher. He quickly masters the prescribed trainings, but once again he is disappointed with the teachings. The Bodhisattva concludes that he must discover awakening on his own, and he sets out on a six-year journey of extreme asceticism. These practices take him to the brink of death.
  • Chapter 18: The Bodhisattva concludes that the austere practices do not lead to awakening and, encouraged by some protective gods, he begins to eat a normal diet once again, and regains his health.
  • Chapter 19: Sensing that he is on the verge of attaining his goal, the Bodhisattva sets out for the bodhimaṇḍa, the sacred place where all bodhisattvas in their last existence attain full and complete awakening.
  • Chapter 20: He arrives at the seat of awakening, and the gods perform a variety of miraculous displays, transforming the area so that it resembles a divine realm, fit for the epic achievement that awaits the Bodhisattva.
  • Chapter 21: Māra, the most powerful demon in the desire realm, arrives with the aim of preventing the Bodhisattva from attaining his goal. Māra attempts to terrify the Bodhisattva with his powerful army, and to seduce him with his seductive daughters, but he is unable to divert the Bodhisattva from his goal. Māra gives up, defeated.
  • Chapter 22: Now the stage is set for the Bodhisattva to attain awakening under the Bodhi Tree, a gradual process that unfolds throughout the night until he fully and perfectly awakens at dawn to become the Buddha ("awakened") or Tathāgata, as he is known subsequent to his awakening.
  • Chapter 23: Recognizing his epic achievement, the entire pantheon of divine beings visits the Thus-Gone One, making offerings and singing his praise.
  • Chapter 24: For seven weeks following his awakening, the Buddha remains alone in the forest and does not teach. He is concerned that the truth he has discovered might be too profound for others to comprehend. Sensing this dilemma, the demon Māra tries to trick the Buddha one last time. Māra visits the Buddha and suggests that perhaps this would be a suitable time to pass into parinirvāṇa! The Buddha rejects Māra’s advice, and finally Māra retreats. During these first seven weeks, the Buddha also encounters some local passersby, but no teaching is given.
  • Chapter 25: BrahmāŚakra, and the other gods sense the Buddha’s hesitation. They visit the Buddha and formally request him to teach the Dharma. They repeat the request four times before the Buddha eventually consents. Upon his consent to teach, the Buddha says, “O Brahmā, the gates of nectar are opened”.
  • Chapter 26: The Buddha determines that the most suitable students for his first teaching are his five former companions from the days when he was practicing austerities. The Buddha travels to Deer Park outside of Varanasi, to meet his former companions. Initially, the companions are suspicious of the Buddha for having given up their austerity practices, but they are soon rendered helpless by his majestic presence and request teachings from him. The five companions instantly receive ordination and, in a seminal moment, the Buddha teaches them the Four Noble Truths: suffering, the origin of suffering, the cessation of suffering, and the path that leads to the cessation of suffering. Thus this occasion constitutes the birth of the Three Jewels: the Buddha, the Dharma, and the Saṅgha.
  • Chapter 27: This marks the end of the teaching proper. Finally, in the epilogue, the Buddha encourages his retinue of gods and humans to take this sūtra as their practice and propagate it to the best of their abilities.

The story ends at the very moment when the Buddha has finally manifested all the qualities of awakening and is fully equipped to influence the world, as he did over the next forty-five years by continuously teaching the Dharma and establishing his community of followers.

Mangala ujjvala

 https://youtu.be/1JogRXOn_yA


1.Sritha Kamala , kucha mandala, Dhritha kundala hey,

Kalitha vana mala jaya jaya deva hare,


Glories glories to Lord Hari, the supreme personality of Godhead, who is bedecked with jeweled earrings and a garland of forest flowers and whoes feet are marked with a lotus.

Victory to God Jaya deva and to Lord Hari.



2.Dina mani mandala mandana , bhava khandana hey ,

Muni jana manasa Hamsa jaya jayadeva hare.


Your face shines like the disc of Sun ,

Oh destroyer of the ties of birth and death,

Oh swan in the hearts of great sages,

Victory to God Jaya deva and to Lord Hari.


3.Kaaliya visha dhara ganjana jana ranjana hey,

Yadu kula nalini dinesa , jaya jaya deva hare


You who defeated the poison bearing Kaliya ,

Oh God who entertains lots of people,

And who is the lotus of the clan of Yadus,

Victory to God Jaya deva and to Lord Hari.


4.Madhu mura naraka vinasana , Garudasana hey,

Sura kula kelee nidhana, jaya jaya deva hare.


You who killed Madhu, Mura and Narakasura,

Oh God who sits on Garuda,

And who entertains devas by his sports,

Victory to God Jaya deva and to Lord Hari.


5.Amala, kamala dala lochana, bhava mochana hey,

Tribhuvana bhuvana nidhana, jaya jaya deva hare


You are having holy lotus flower like eyes,

Oh God who frees us from ties of birth,

And whose home is all the three worlds,

Victory to God Jaya deva and to Lord Hari.


6.Janaka suthaa krutha bhooshana, jitha dhooshana hey,

Samara samitha dasa kanta, jaya jaya deva hare


You who made Goddess Sita wear ornaments,

Oh defeater of bad ones,

Who in the war killed the ten headed Ravana,

Victory to God Jaya deva and to Lord Hari.


7.Abhjinava jala dhara Sundara, Dhrutha mandara hey,

Sri Mukha chandra chakora, jaya jaya deva hare


You who are as pretty as the rich new cloud,

Oh God who lifted the mountain,

And whose face is like the moon loved by Chakora* birds,

Victory to God Jaya deva and to Lord Hari.

*Birds who live by drinking moon light


8.Thava Charanam pranatha vayam , ithi bhavaya hey,

Kuru kusalam pranatheshu , jaya jaya deva hare


We salute at your feet ,

Oh God who gives prosperity,

Please look after the good of all beings,

Victory to God Jaya deva and to Lord Hari.


9.Sri Jaya deva kaver idham krutha mudam hey,

Mangala ujjwala githam , jaya jaya deva hare


Oh darling God , this shining and auspicious song ,

Written by poet Jayadeva,

Is being offered to you ,

Victory to God Jaya deva and to Lord Hari


Thursday, May 26, 2022

In all our eyes. Especially the lady,s

 https://youtu.be/hUzuvsgvwTc

Interesting. 

A class apart we are. For he can be seen in all our eyes.

Butter bhutter same name.

All the m,s.

Like the monkey brain. 

How to stay focused.

Sea aaar.

Plenty. Can be listened to again and again.


Wednesday, May 25, 2022

Meeth

Best part of our house in the peek of summer you don't even need A fan


0

 When a 6 year old teaches you life's lessons.

How well she handled the situation. Bless her pretty child.

Nothing can be better. Care free I will not let the situation or someone else's bad behaviour affect me. In spite of giving the best it is so beautiful instead of being great full if people are unhappy I should notcare. I will live my life as per my   attitude why let a situation spoil my being. 

Reminded of this beautiful old song.

Lyrics

Aaha rim jhim ke

Ye pyare pyare git liye

Aai raat suhani

Dekho prit liye

Mit mere suno zara

Hawa kahe kya aa

Suno toh zara jhingar

Bole chikimiki chikimiki

Aaha rim jhim ke ye

Pyare pyare git liye


Aaha rim jhim ke ye

Pyare pyare git liye

Aai raat suhani

Dekho prit liye

Mit mere suno zara

Hawa kahe kya aa

Suno toh zara jhingar

Bole chikimiki chikimiki

Rim jhim ke ye

Pyare pyare git liye


Khoi si bhigi bhigi raat jhume

Aankho mein sapno ki barat jhume

Khoi si bhigi bhigi raat jhume

Aankho mein sapno ki barat jhume

Dil ki yeh duniya aaj

Badalo ke saath jhume


Aaha rim jhim ke ye

Pyare pyare git liye

Aai raat suhani

Dekho prit liye

Mit mere suno zara

Hawa kahe kya aa

Suno toh zara jhingar

Bole chikimiki chikimiki

Rim jhim ke ye

Pyare pyare git liye


Aa jao dil mein basa lu tumhe

Aankhon ka kazara bana lu tumhe

Aa jao dil mein basa lu tumhe

Aankhon ka kazara bana lu tumhe

Jalim jamane ki nigaho

Se chhupalu tumhe


Aaha rim jhim ke ye

Pyare pyare git liye

Aai raat suhani dekho prit liye

Mit mere suno zara

Hawa kahe kya aa

Suno toh zara jhingar

Bole chikimiki chikimiki

Rim jhim ke ye

Pyare pyare git liye


Haatho mein tere mera hath rahe

Dil se jo nikali hai woh baat rahe

Haatho mein tere mera hath rahe

Dil se jo nikali hai woh baat rahe

Mera tumhara sari

Zindagi ka saath rahe


Aaha rim jhim ke ye

Pyare pyare git liye

Aai raat suhani

Dekho prit liye

Mit mere suno zara

Hawa kahe kya aa

Suno toh zara jhingar

Bole chikimiki chikimiki

Rim jhim ke ye

Pyare pyare git liye.

Monday, May 23, 2022

Teachers pride.

 





A student in University of Madras, India in 1948 with his pony tail tied to a nail so that he doesn’t fall asleep while studying.
Notice the chair has no back rest too. Lest his head should rest on the table.

4


Manasam budhi ahankaram chitam. Four divisions of the brain.

manas.the rational faculty of the mind.


Budhi 

the faculty of intuitive discernment or direct spiritual awareness in



ARROGANCE OR EGO. Someone's ego is their sense of self- importance .


Chitam The part of the mind that stores these impressions is also known as the “chitta"


To be continued.

Sunday, May 22, 2022

3 more.

 

Nammazhvar’s four works are considered the Tamil equivalent of the four Vedas, The Vedas have six angas, and the six works of Thirumangai Azhvar are the angas of Nammazhvar’s works. Thirumangai Azhvar not only expresses thoughts similar to those of Nammazhvar, but we find in some pasurams that he expresses them in the same manner. In one of Nammazhvar’s pasurams on the Lord of Thirumala, he says of himself — neesanaen , niraivondrumilaen. Here Nammazhvar describes himself as a sinner. The same naichya bhava is seen in Thirumangai Azhvar’s pasurams on Lord Srinivasa, said Koothapakkam Chakravarthi Ranganathachariar, in a discourse.

Thirumangai Azhvar refers to himself as a dog, and laments that he has wasted his life serving others. He had valued familial ties. Only later did he realise that there is only one permanent relative that anyone can have, and that is the Lord Himself. Thirumangai Azhvar composed verses in praise of the deities of more than 80 of the 108 special kshetras, revered by Sri Vaishnavas as Divya Desams. Of his many pasurams on the deities of various temples, the ones on Lord Srinivasa are among the most moving. While having darshan of Lord Narasimha of Ahobila, Thirumangai Azhvar was seized by a desire to worship the Lord of the Seven Hills. But travel takes time. So he first bid his manas to make haste and reach Tirumala. He would follow later.

Thirumangai Azhvar’s verses on Lord Srinivasa are not only steeped in bhakthi and love for the Lord, but they are also descriptive verses. They give us an idea of the beauty of the environment in which the temple is located. Thirumangai Azhvar marvels at the variety of flowers on the hills, and records that red fish abounded in the water bodies of Tirumala.

 

parasara bhattars inteligence.

When a scholar called Sarvajna came to Srirangam to debate with Ramanujacharya’s disciples, Parasara Bhatta asked him a question. He said, “Can you guess how much sand there is in my closed palm?” Sarvajna was puzzled, for no one can count grains of sand and arrive at an accurate conclusion. Parasara Bhatta said that all that was required was a simple reply. Sarvajna should have said that Bhatta had a fistful of sand. Instead Sarvajna had said he did not know the answer. Could such a person debate with Ramanuaja’s disciples, Bhatta asked. Humbled by the experience, Sarvajna asked Bhatta who his father was, said Thenthirupperai Aravindalochanan in a discourse. When Bhatta replied that Kooraatzhvan was his father, Sarvajna said, “No wonder you are brilliant. Will a baby bird crawl, when its parents soar in the sky?” He then visited Kooratazhvan’s residence, and told Andal, Bhatta’s mother, that her son was so intelligent, that she would have to take care to ward off evil eyes.

Ramanujacharya had appointed Embar as Bhatta’s acharya and Bhatta had been initiated into Sri Vaishnavism by Embar. One day Kooratazhvan was explaining a verse from Thiruvaimozhi, and said that only those who had been initiated by Kooratazhvan into Vaishnavism must stay to be instructed. Bhatta, therefore, prepared to leave. But Kooratazhvan stopped him and said, “It is true that I said only my disciples should listen to my lessons. Your Acharya Embar’s house is close by. But in human life, nothing is certain. What if something unfortunate happens before you reach his place? Sacred texts must be learned without delay, because of the sudden twists in life.” So devoted was Kooratazhvan to the Sri Vaishnava sampradaya, that he was keen to teach Bhatta the verses of the Azhvars at once.

 

v d wealth

 

Vedanta Desika’s indifference to wealth is evident in his Vairagya Panchaka. He was not tempted by its attractions. He saw no need to accumulate wealth, or to be attached to it. We think that without wealth, we cannot meet even our basic needs. But Desika shows us that these needs can be met easily, said V.K.S.N. Raghavan in a discourse on Vairagya Panchaka.

Can we not eat the grains scattered in a field to satisfy our hunger? Can we not just take a fistful of water from a pond to quench our thirst? Can a small piece of cloth not serve as loincloth? When our daily needs can be met thus, what is the need to praise kings to get gifts from them? To do so is a miserable state of affairs. There is a fire in the stomach called Jataragni. This fire causes hunger. Desika does not care if this fire of hunger were to burn intensely. That is no reason to praise kings for their rewards. He says his speech has the fragrance of a flower, and will not be used to praise mortals. It is intended only to sing the praises of Lord Narayana. The practice of waiting on the pyol of a rich man’s house, hoping to gain material benefits from him, is disagreeable.

Desika has a huge wealth, namely, the One who gave the world the Bhagavad Gita. When Lord Krishna, the charioteer of Arjuna, is with Desika, will he desire any other wealth? Krishna, the One who lifted the Govardhana hill to protect the Gopas, Gopikas and their cattle, is the Lord who is permanently in Desika’s heart. All wealth is perishable. But the Supreme One worshipped by Desika is an imperishable wealth. And so, Desika shuns the pursuit of wealth. In the fifth verse of Vairagya Panchaka, Desika uses the word ‘ dhanam’, meaning wealth, 11 times, to show that true wealth is the Lord.