2025

 The year 2025 has some unique mathematical properties and significance:

1. Perfect Square

2025 is a perfect square.

2025 = 45^2

2. Palindrome in Base 4

When written in base 4, 2025 becomes a palindrome:

2025_{10} = 13331_4

3. Sum of Consecutive Cubes

2025 is the sum of the cubes of the first six natural numbers:

2025 = 1^3 + 2^3 + 3^3 + 4^3 + 5^3 + 6^3

4. Divisors of 2025

2025 has several divisors:

2025 = 3^4 \times 5^2

5. Special Calendar Properties

2025 is not a leap year, meaning February will have 28 days.

The year starts on a Wednesday and ends on a Wednesday in the Gregorian calendar.

These properties make 2025 an interesting year from a mathematical perspective!

Alapa thaya

Day 6 of academic sessions at The Music Academy began with a lecture titled ‘An examination of Alapa and Thaya’, by Arati Rao. Both Alapa and Thaya have been described in the 17th century treatises, Sangita Sudha of Govinda Dikshitar and Chaturdandi Prakashika of Venkatamakhin. The former describes the rules of rendering Alapas in 50 ragas. The Sangita Ratnakara of Sarangadeva (13th century), discusses two improvisational forms of raga exposition: Alapas of Grama Ragas and Alaptis of Desi Ragas. The speaker compared these forms with the Alapas described in Sangita Sudha and Chaturdandi Prakashika, and with musical notations from the TMSSML library. By the 17th century, Alapa and Thaya had morphed into pre-composed musical forms. 

The speaker described how the connotation of technical terminologies change with time. Amsa svara in the Grama Raga period had the important function of defining the boundaries of the octave of a Jati. By the 17th century, Amsa svara referred to an important note in the raga.

Alapa-Chaturdandi Prakashika: The four major stages of Alapa - Introduction (akshiptika/ayittam), elaboration (ragavardhini), build-up (sthayi) and conclusion (vartani) were described. Ragavardhini and sthayi have multiple sections. Each sthayi consists of melodic phrases around a base note, touching another note. 

Alapa-Sangita Sudha: In the Sangita Sudha, every Alapa is preceded by the raga lakshana. The speaker noted that in some ragas, the graha svara is not shadja, which appears to be a remnant from earlier times when shadja was not the tonic note. Similar to today, every Alapa ends on shadja, raising a question regarding the role of the Nyasa Svara. 

The sthayi sections were named after the corresponding base note, e.g., Panchama sthayi refers to a section with base note Pa. Interestingly, no sthayi has dhaivata and nishada as base notes in the Sangita Sudha. Arati Rao conjectured that a high base note would necessitate going well into the next octave. She pointed out the sthayi structure which emerges in Syama Sastri’s Bhairavi svarajati.

Arati Rao played a recording of a Malahari Alapa, interpreted from TMSSML manuscripts. It consists of short phrases. The raga lakshana in Sangita Sudha and notations mostly agree, excluding graha svara which is listed as shaivata in Sangita Sudha, but is not reflected in the notation. Its flow differs from the format in Sangita Sudha,.

The speaker observed that the actual number of Alapa stages in notations is always less than in Sangita Sudha, conjecturing that the format in Sangita Sudha, might have represented the maximum possible scope of Alapa, and that it may not be necessary to traverse the full extent in practice. 

Thaya: First mentioned in the Sangita Samaya Sara of Parsvadeva (13th century), it refers to melodic phrases. Thayas in manuscripts follow Alapa notations, and are sometimes similar to Sthayi of Alapa, prompting the question of why both existed. Some scholars have described present-day Alapanas, independent of olden concepts. 

The experts committee discussed the possibility of comparing the Alapas of currently popular ragas in notations with treatises, and the challenges therein. Sangita Kalandhi designate T. M. Krishna also spoke about the possibility of evolution of Thaya from a vocal to instrumental composition. Krishna also discussed the tala-bound and non-tala bound forms

In all, the lecture consisted of a wealth of insights gained from painstaking study of notations and treatises, and raised many important questions for further research

Common thread.

 The most common factor among Lord Vishnu's greatest devotees, as highlighted in various scriptures and Puranas, is unwavering devotion (bhakti) characterized by complete surrender (śaraṇāgati) to the Lord. This devotion manifests in several ways, which unite these devotees despite their diverse circumstances, backgrounds, and actions. Some key aspects include:

1. Selfless Love for God

Devotees like Prahlada, Dhruva, and Gajendra displayed pure, selfless love toward Lord Vishnu. They worshipped Him without expecting anything in return, seeking only His divine presence and grace.

Prahlada, despite being born in a family of demons, placed Lord Vishnu above everything, even at the cost of his life.

Gajendra, the elephant king, called upon the Lord in utter helplessness, recognizing Him as the ultimate savior.

2. Unshakeable Faith

All great devotees had an unshakable faith in Lord Vishnu's power and mercy, even in the face of extreme adversities.

Prahlada believed in Lord Vishnu’s omnipresence and omnipotence, defying his father Hiranyakashipu.

Draupadi, during the disrobing incident in Mahabharata, called upon Krishna with complete faith, knowing He would protect her.

3. Surrender and Humility

A hallmark of Lord Vishnu's devotees is their complete surrender to His will and their humility in recognizing their dependence on Him.

Ahalya, after her curse was lifted by Lord Rama, exemplified the transformative power of surrender and repentance.

Vibhishana, though a rakshasa, renounced his brother Ravana and sought refuge in Lord Rama, embodying śaraṇāgati.

4. Service to the Lord and His Creation

The devotees of Lord Vishnu are often known for their eagerness to serve not only Him but also the greater good.

Hanuman, Lord Rama’s ardent devotee, exemplifies this through his ceaseless service to the Lord and His mission.

Sudama, despite his poverty, offered whatever little he had to Krishna out of pure love and devotion.

5. Detachment from Worldly Desires

True devotion to Lord Vishnu is often accompanied by detachment from material possessions and desires.

Dhruva, who initially sought worldly power, ultimately realized the futility of material desires in the presence of the Lord's divine love.

Bhakta Ambarisha, despite being a king, prioritized devotion over his royal duties, fasting and engaging in worship over indulgence.

6. Recognition of the Lord as the Supreme Reality

The devotees universally acknowledged Lord Vishnu as the ultimate reality, the protector of dharma, and the refuge of all beings. Their worship often transcended rituals, focusing on their direct relationship with Him.

7. Fearlessness and Courage

Great devotees like Prahlada and Vibhishana exhibited immense courage by standing against injustice and adharma, empowered by their devotion to Lord Vishnu.

In summary, the common factor among Lord Vishnu’s greatest devotees is their unconditional bhakti, which bridges the gap between the mortal and the divine, showcasing that God’s grace is available to anyone who surrenders to Him with a pure heart. Their lives inspire humanity to seek spiritual liberation through faith, surrender, and unwavering love for the divine.

The Alwars were indeed among the greatest devotees of Lord Vishnu and are highly revered in Vaishnavism. They were twelve saint-poets from South India who dedicated their lives to singing the glory of Vishnu (also known as Narayana) in heartfelt devotional hymns known as the Divya Prabandham. The Alwars played a pivotal role in spreading the principles of bhakti yoga and laid the foundation for the later development of Vaishnavism as a major tradition in Hinduism.

Why the Alwars are Exemplary Devotees

1. Unwavering Devotion (Bhakti):

The Alwars’ devotion to Lord Vishnu was absolute and transcended societal norms, caste, and rituals. They expressed their love through profound poetry that conveyed their spiritual ecstasy and longing for the divine.

2. Diverse Backgrounds:

The Alwars came from different walks of life—royalty (like Kulasekara Alwar), women (like Andal), and marginalized communities (like Tiruppan Alwar). This diversity reflects the inclusiveness of Vishnu’s grace and the universality of bhakti.

3. Recognition of Lord Vishnu as the Supreme:

The Alwars consistently emphasized Lord Vishnu as the Supreme Being and the ultimate refuge for all beings. Their hymns depict Vishnu as the protector of dharma, the savior of devotees, and the cause of all creation.

4. Śaraṇāgati (Total Surrender):

The concept of complete surrender to the Lord (śaraṇāgati) is central to the Alwars’ teachings. They saw themselves as helpless without Vishnu’s grace, emphasizing that salvation could only be achieved through total submission to Him.

5. Andal’s Bridal Mysticism:

Andal, the only female Alwar, expressed her devotion in the form of bridal mysticism, seeing herself as the bride of Lord Vishnu. Her Tiruppavai hymns are  sung during the Tamil month of Margazhi as a form of devotional offerings.

6. Visionary Experiences:

Many Alwars experienced direct visions of Lord Vishnu, which they described in their hymns. For example:

Nammazhwar depicted his mystical union with Vishnu, describing the indescribable beauty of the Lord and His abodes.

Periyalwar, Andal’s father, envisioned himself singing lullabies to the child Krishna.

7. Transformative Influence:

The Alwars’ hymns not only glorify Vishnu but also emphasize the importance of dharma, humility, and compassion. They inspired communities to live righteous lives centered on devotion to the divine.

On the contrary, the Alwars are celebrated as the epitome of Vishnu’s devotees. In fact:

Vaishnava traditions view the Alwars as divine incarnations, with each Alwar believed to be born out of Vishnu’s will to spread bhakti.

They are regarded as the spiritual predecessors of later Vaishnava acharyas like Ramanujacharya, who institutionalized their teachings.

The Alwars are among the greatest devotees of Lord Vishnu. Their devotional works transcend time and space, continuing to inspire millions. Their lives and compositions are a testament to the power of bhakti and the inclusiveness of Vishnu's grace, proving that devotion, not birth or status, determines one’s relationship with the divine.

Unique bond.

 Hanuman's first encounter with Lord Rama, as narrated in the Ramayana, marks a profound turning point in his life and highlights the very essence of pure, unconditional devotion. This encounter is not merely an introduction of two characters but the divine unfolding of bhakti (devotion) and dharma (righteousness). It is a moment where Hanuman, the perfect devotee, discovers his eternal Lord and purpose.

The Meeting

The meeting takes place in the forest of Kishkindha, where Lord Rama and Lakshmana are searching for Sita. Sugriva, the exiled Vanara king, has been observing these two valiant figures and is unsure of their intentions. To discern their purpose, he sends his minister, Hanuman, in the guise of an ascetic.

As Hanuman approaches Rama and Lakshmana, he is immediately captivated by their divine presence. In a humble and eloquent manner, Hanuman introduces himself, seeking to understand their identity and mission. His words, though outwardly diplomatic, reveal the depth of his wisdom and purity of heart.

When Lord Rama responds and reveals his identity, Hanuman is struck by a surge of recognition. This is no ordinary prince but the very embodiment of divinity he has unknowingly been awaiting. In that moment, his soul is awakened to its true calling—to serve Rama with unwavering devotion.

The Awakening of Bhakti

The upsurge of devotion in Hanuman is unparalleled because it is not merely emotional; it is spiritual and transformative. As Rama speaks, Hanuman feels a profound connection that transcends words. His humility deepens, and his entire being becomes attuned to the service of Rama. It is as though his latent devotion, hidden beneath layers of duty and identity, bursts forth like a river breaking through a dam.

Hanuman's devotion is unique because it is immediate and absolute. He does not question his newfound allegiance nor seek anything in return. His surrender is total, driven by the recognition that serving Rama is his ultimate purpose.

Complete and Unparalleled Devotion

Hanuman's devotion to Rama is extraordinary because it is selfless and all-encompassing. He embodies the ideal devotee, whose love for the Lord is free from ego and attachment. Several aspects make Hanuman's devotion unparalleled:

1. Selflessness: Hanuman never seeks personal gain. His every thought, word, and action is directed toward Rama's welfare and mission.

2. Courage and Strength: His devotion empowers him to perform extraordinary feats, such as leaping across the ocean, burning Lanka, and uprooting mountains. His strength is fueled by his unwavering faith in Rama.

3. Wisdom and Humility: Despite his immense power and knowledge, Hanuman remains humble. He always credits his achievements to Rama's grace, exemplifying the true spirit of surrender.

4. Eternal Loyalty: Hanuman's devotion does not waver even after Rama's earthly life ends. He remains forever dedicated, vowing to keep chanting Rama's name and serving his devotees.

Significance of the Encounter

The first meeting between Hanuman and Rama is not just a historical or mythological event but a symbolic representation of the soul's journey toward the divine. Hanuman represents the ideal seeker who, upon encountering the divine, sheds all illusions and dedicates himself entirely to God.

This moment also establishes the foundation of the relationship between Rama and Hanuman—a bond of mutual love, trust, and respect. While Hanuman sees Rama as his Lord and master, Rama sees in Hanuman the epitome of devotion and service.

Legacy of Hanuman’s Bhakti

Hanuman’s complete and unparalleled devotion continues to inspire millions. His life teaches that true devotion lies in surrendering the ego and dedicating oneself to a higher purpose. It shows that devotion is not passive but dynamic, requiring courage, humility, and unwavering faith.

The first encounter with Rama transforms Hanuman into a divine instrument, demonstrating the power of grace and the potential for every soul to achieve its highest purpose. Through Hanuman, we learn that the ultimate goal of life is to discover and serve the divine within and around us.

Thus, the meeting of Hanuman and Rama is not just the beginning of a great alliance but a timeless reminder of the beauty and power of true devotion.

Devotee devotion.

 Lord Hanuman: The Embodiment of Devotion and Strength

Lord Hanuman, one of the most revered figures in Hinduism, is celebrated for his unwavering devotion, unparalleled strength, and selfless service. Known as the greatest devotee of Lord Rama, Hanuman's life and deeds symbolize the ultimate expression of bhakti (devotion), courage, and humility. His story, primarily chronicled in the Ramayana and other scriptures like the Hanuman Chalisa, inspires millions across generations.

Divine Birth and Origins

Hanuman was born to Anjana, an apsara turned into a monkey, and Kesari, a Vanara chieftain. His birth was divinely ordained, as Vayu, the wind god, infused his essence into Anjana, making Hanuman a partial incarnation of Lord Shiva. This divine connection endowed Hanuman with immense strength, agility, and spiritual wisdom.

As a child, Hanuman’s curiosity and boundless energy led him to mistake the sun for a fruit, prompting him to leap toward it. While he was stopped by Lord Indra’s thunderbolt, which injured his jaw (hanu), this event earned him the name "Hanuman." To appease Vayu, the devas granted Hanuman various boons, including invincibility, immense strength, and the ability to shape-shift.

Philosophical Insight: Hanuman’s divine birth signifies that every soul is born with a purpose, and even seemingly adverse events contribute to one’s spiritual growth.

Hanuman’s Role in the Ramayana

1. Meeting Lord Rama: Hanuman’s destiny intertwined with Lord Rama’s during His exile. Disguised as a mendicant, Hanuman introduced Himself to Rama and Lakshmana. This meeting marked the beginning of an eternal bond, with Hanuman dedicating Himself entirely to Rama’s service.

2. Search for Sita: Hanuman played a pivotal role in locating Sita. Crossing the ocean to Lanka, He leaped with unmatched confidence, embodying the power of faith and determination.

3. Burning of Lanka: Captured by Ravana, Hanuman used the opportunity to showcase his might and devotion. He set Lanka ablaze, sending a clear message of Rama’s impending victory.

4. Participation in the War: During the battle in Lanka, Hanuman’s strength and courage were unmatched. His act of bringing the Sanjeevani herb to save Lakshmana demonstrated his resourcefulness and devotion.

Philosophical Insight: Hanuman’s unwavering commitment to Lord Rama highlights the power of surrender and selflessness in achieving greatness.

Hanuman’s Divine Attributes

1. Unwavering Devotion: Hanuman’s life revolves around Rama. His heart beats with Rama’s name, symbolizing the ultimate surrender of ego and desires.

2. Immense Strength: Beyond physical strength, Hanuman’s true power lies in his mental resilience and spiritual conviction.

3. Wisdom and Humility: Despite his extraordinary abilities, Hanuman remains humble, always crediting his achievements to Rama’s grace.

4. Protector and Healer: Hanuman is venerated as a protector from evil and diseases. His association with the Sanjeevani herb underscores his role as a healer.

Philosophical Insight: Hanuman’s qualities teach us that true strength lies in humility, and devotion transcends physical and material limitations.

Hanuman in the Hanuman Chalisa

The Hanuman Chalisa, composed by Tulsidas, encapsulates Hanuman’s virtues and deeds in 40 verses. Chanting it is believed to invoke Hanuman’s blessings, instilling courage and devotion in devotees. The text emphasizes His role as a protector, a source of knowledge, and an ideal devotee.

Philosophical Insight: The Chalisa serves as a spiritual guide, reminding us of the transformative power of faith and devotion.

Symbolism of Lord Hanuman

1. Devotion: Hanuman represents the perfect devotee, whose life is a testament to the transformative power of bhakti.

2. Courage: His fearlessness in the face of adversity inspires us to confront challenges with faith and resolve.

3. Selflessness: Hanuman’s actions are driven by service to others, embodying the spirit of karma yoga (selfless action).

4. Unity of Strength and Wisdom: Hanuman demonstrates that true strength arises from wisdom and humility.

Philosophical Insight: Hanuman’s character reminds us that the greatest victories are achieved through faith, courage, and selfless service.

Hanuman’s Relevance Today

In today’s world, Lord Hanuman’s qualities resonate deeply:

Inspiration for Devotion: Hanuman’s single-minded focus on Rama teaches us to remain steadfast in our spiritual pursuits.

Overcoming Challenges: His fearlessness inspires us to face life’s obstacles with determination and grace.

Unity and Service: Hanuman’s life exemplifies the power of unity and the joy of serving others selflessly.

 The Eternal Relevance of Lord Hanuman

Lord Hanuman is more than a mythological figure; He is a symbol of the highest virtues a human can aspire to. His life reminds us of the power of devotion, the importance of humility, and the strength that comes from faith. As the embodiment of service and selflessness, Hanuman continues to inspire humanity to live a life of purpose and spiritual fulfillment.

Divine philosophy.

 The Divine Journey of Lord Rama: A Philosophical Reflection

Lord Rama, the seventh incarnation of Vishnu, is not just a hero of the Ramayana but a symbol of dharma (righteousness) in its highest form. His life demonstrates the delicate balance between personal desires and universal duties, serving as a guide for humanity to navigate the complexities of life. Below is a deeper exploration of His journey, enriched with philosophical insights.

The Birth of Rama: Divine Purpose Manifested

Rama's birth in Ayodhya as the son of King Dasharatha and Queen Kausalya marked the beginning of His divine mission to restore cosmic order. The narrative of His descent signifies that the divine intervenes when adharma (unrighteousness) overwhelms the world, reaffirming the concept of avatar (incarnation).

Philosophical Insight: Rama's life emphasizes that higher purposes often supersede personal comforts. His birth reminds us that each soul has a unique dharma to fulfill.

Childhood and Marriage: The Ideal Persona

Even in His youth, Rama exhibited unparalleled virtues. His marriage to Sita, an incarnation of Lakshmi, reflects the harmonious union of dharma and shakti (spiritual energy). Their relationship was built on mutual respect, devotion, and shared values.

Philosophical Insight: Relationships thrive when rooted in equality, spiritual alignment, and a shared commitment to higher ideals. Rama and Sita symbolize the perfect partnership, one that is resilient even in trials.

The Exile: A Test of Dharma

Rama’s exile to the forest, prompted by Queen Kaikeyi’s demands, is a defining moment in His life. Despite the injustice, Rama embraced the situation with grace, prioritizing His father’s promise over personal ambition. Accompanied by Sita and Lakshmana, He faced the hardships of forest life with unwavering composure.

Philosophical Insight: Dharma often demands sacrifices that challenge personal desires. Rama teaches us that true greatness lies in upholding one’s principles, even at great personal cost.

Sita’s Abduction and Ravana’s Downfall

Ravana’s abduction of Sita represents the clash between dharma and adharma. Rama’s quest to rescue her highlights the importance of perseverance and the strength derived from alliances, such as His partnership with Hanuman and the vanaras. The battle in Lanka symbolizes the ultimate triumph of good over evil.

Philosophical Insight: Ravana’s fall serves as a reminder that unchecked desires and arrogance lead to self-destruction. Rama’s victory underscores that dharma is invincible when pursued with sincerity and humility.

Return to Ayodhya: The Ideal Ruler

Rama’s return to Ayodhya and His coronation marked the beginning of Rama Rajya, an era of justice, prosperity, and harmony. His governance prioritized the welfare of His subjects over personal attachments, making Him an archetype of the ideal king.

Philosophical Insight: Leadership rooted in selflessness and compassion fosters societal well-being. Rama Rajya remains a model for ethical governance, where the ruler serves as a steward for the people.

Sita’s Trial and Exile: A Higher Perspective

Sita’s Agni Pariksha (trial by fire) and subsequent exile reflect the painful intersection of personal duty and societal expectations. While these events are often debated, they highlight the complexities of dharma in real-world scenarios. Rama’s decision, though heartbreaking, was driven by His role as a king committed to upholding societal harmony.

Philosophical Insight: Dharma is not always straightforward; it often involves choosing the greater good over personal emotions. Rama teaches us that true adherence to dharma requires immense inner strength and detachment.

Eternal Lessons from Lord Rama’s Life

1. Dharma as the Guiding Force: Rama exemplifies living a life of principle, where every action aligns with dharma.

2. Balancing Roles: As a son, husband, warrior, and king, Rama balanced His responsibilities, reminding us to honor every role we play.

3. Triumph of Good over Evil: His victory over Ravana assures us that no matter how powerful adharma appears, it will ultimately be defeated.

4. Compassion and Leadership: Rama’s governance reflects that true leadership lies in service and empathy.

Conclusion: The Eternal Relevance of Rama’s Narrative

Lord Rama’s life transcends its historical context, offering timeless wisdom for personal and societal transformation. His journey inspires us to rise above personal grievances, prioritize collective welfare, and uphold righteousness in thought, word, and deed.

In a world often clouded by moral ambiguities, the story of Lord Rama illuminates the path of virtue, showing that while the path of dharma may be challenging, it leads to ultimate peace and fulfillment.

S B overview.

 Srimad Bhagavatam: overview.

Srimad Bhagavatam, also known as the Bhagavata Purana, is a revered text in Hinduism. It consists of 12 cantos (skandhas) with 335 chapters, each rich in philosophy, stories, and devotion. Below is a chapter-wise summary approach to writing essays on Srimad Bhagavatam.

Canto 1: Adhyatma and Foundation of Devotion

1. Introduction: Explores the purpose of the Bhagavatam and the significance of dharma.

2. Narada's Teachings to Vyasa: Narada inspires Vyasa to compose Bhagavatam for spiritual liberation.

3. Sarga and Visarga: Creation and secondary creation by Brahma and Vishnu.

4. Birth of Parikshit: The protection of King Parikshit in the womb by Lord Krishna.

5. Departure of Krishna: Krishna’s return to His abode and the grief of the Pandavas.

6. Kunti Stuti: Queen Kunti’s heartfelt prayers.

Essay Theme: Devotion, the role of divine grace, and the path of bhakti (devotion).

Canto 2: Cosmic Manifestation

1. Universal Form: Description of the Lord’s cosmic form (Virat Purusha).

2. Process of Creation: Brahma learns the creative process from Vishnu.

3. Meditation and Liberation: Practices for liberation described.

Essay Theme: Understanding the universe as the Lord's manifestation and the means to realize it.

Canto 3: Creation and Vidura's Inquiry

1. Creation Narratives: Details of creation by Brahma.

2. Vidura’s Questions: Vidura's spiritual inquiry to Maitreya.

3. Kapila's Teachings: Kapila Muni instructs Devahuti on Sankhya philosophy.

Essay Theme: Knowledge, inquiry, and the Sankhya philosophy for liberation.

Canto 4: Dynasties of Dhruva and Prithu

1. Dhruva’s Devotion: Dhruva’s determination to achieve the Lord’s vision.

2. Prithu Maharaja: The ideal king and his spiritual leadership.

3. Churning of the Earth: Symbolizing perseverance and divine grace.

Essay Theme: Dhruva’s steadfastness and Prithu’s righteousness as ideals for spiritual seekers.

Canto 5: Cosmic Geography and Jada Bharata

1. Rishabhadeva’s Teachings: Discourse on detachment and devotion.

2. Jada Bharata: The story of an enlightened soul appearing as an ordinary person.

3. Cosmic Geography: Detailed explanation of the universe.

Essay Theme: Detachment, self-realization, and the vastness of cosmic order.

Canto 6: Ajamila and the Power of Bhakti

1. Ajamila’s Redemption: Salvation through the chanting of Lord’s name.

2. Duties of Devotees: Instructions for leading a virtuous life.

Essay Theme: The transformative power of chanting the divine name.

Canto 7: Prahlada and Narasimha

1. Prahlada’s Bhakti: Prahlada’s unwavering devotion amidst persecution.

2. Narasimha Avatar: The Lord’s incarnation to protect His devotee.

Essay Theme: Lessons from Prahlada’s devotion and Lord Narasimha’s divine protection.

Canto 8: Churning of the Ocean

1. Amrita Manthan: The collaboration of devas and asuras.the 

2. Incarnations: Stories of Lord Vamana and Lord Kurma.

Essay Theme: Cooperation for a higher purpose and the Lord’s support.

Canto 9: Dynasties of Kings

1. King Ambarisha: His dedication to Ekadashi vrata.

2. Rama’s Story: A condensed narrative of Lord Rama.

Essay Theme: Righteous kingship and dharma in action.

Canto 10: Krishna’s Leelas

1. Krishna’s Birth: The advent of the Supreme Being.

2. Childhood Pastimes: Stories of Krishna as a child.

3. Rasa Leela: The divine dance with the Gopis.

Essay Theme: The sweetness of Krishna’s pastimes as a path to devotion.

Canto 11: Uddhava Gita

1. Teachings to Uddhava: Krishna’s instructions on renunciation.

2. Final Moments: Krishna’s departure from the world.

Essay Theme: Liberation through Krishna’s teachings.

Canto 12: Conclusion

1. Kali Yuga Symptoms: Description of the deteriorating age.

2. Glories of Bhagavatam: The eternal relevance of the text.

Essay Theme: The enduring power of devotion and knowledge for spiritual upliftment.

C H

 The split between Carnatic and Hindustani music in Indian classical tradition is deeply tied to historical, cultural, and geographical factors that unfolded over centuries.

1. Historical Context

The division became pronounced around the 13th century, during the Delhi Sultanate and subsequent Mughal Empire. The north of India came under significant Persian and Central Asian cultural influence due to Islamic conquests.

The South, governed by empires like the Cholas, Pandyas, Vijayanagara, and Nayakas, remained relatively insulated from these influences and retained its indigenous traditions.

2. Geographical Separation

Northern India developed a distinct musical style under Persian and Mughal patronage, blending Indian traditions with Persian and Central Asian music. This evolved into Hindustani music.

Southern India, unaffected by this cultural integration, preserved the older, purer forms of Indian music, leading to the evolution of Carnatic music.

3. Philosophical and Religious Differences

Hindustani music absorbed Persian and Islamic influences, incorporating instruments like the sitar and tabla and adopting forms like ghazals and qawwalis. The focus often shifted to secular themes like love and mysticism alongside devotional music.

Carnatic music remained deeply tied to Hindu religious traditions and is predominantly devotional, with compositions focusing on gods and scriptures.

4. Theoretical Differences

Raga and Tala Systems: Both traditions use the raga (melodic framework) and tala (rhythmic cycles) systems, but their execution differs.

Hindustani music often emphasizes improvisation and the exploration of a raga's mood over an extended period.

Carnatic music is more structured, with an emphasis on compositions and kritis (songs).

Theoretical treatises like the Brihaddeshi by Matanga (6th–8th century) and the Sangeeta Ratnakara by Sarangadeva (13th century) are common to both styles. However, later works like the Chaturdandi Prakasika (Carnatic) and Raga Darpan (Hindustani) diverged.

5. Key Figures

In Hindustani music, notable figures include Tansen (a court musician of Akbar) and his successors, who shaped the gharana system.

In Carnatic music, composers like Purandara Dasa (the "Father of Carnatic Music") and the Trinity of Carnatic Music—Tyagaraja, Muthuswami Dikshitar, and Shyama Sastri—codified the tradition.

6. Instruments

Hindustani music features instruments like the sitar, sarod, tabla, and harmonium.

Carnatic music uses instruments like the veena, mridangam, violin, and flute.

7. Performance Styles

Hindustani concerts often include long alap sections (slow introductions to a raga), followed by compositions and improvisations.

Carnatic concerts are more structured, starting with a varnam (introductory piece) and progressing through kritis, ragam-tanam-pallavi, and devotional songs.

The split between Hindustani and Carnatic music reflects the broader cultural and historical divergence between northern and southern India. Despite their differences, both traditions share common roots and have contributed immensely to the diversity and richness of Indian classical music.

Sri Vishnu Gayatri

 The Sri Vishnu Gayatri is a sacred mantra dedicated to Lord Vishnu, the preserver and protector in Hinduism. Like the traditional Gayatri mantra, the Vishnu Gayatri is a prayer for enlightenment, spiritual growth, and divine blessings. It seeks Lord Vishnu's grace to guide the devotee towards righteousness and eternal truth.

Sri Vishnu Gayatri Mantra:

"Om Narayanaya Vidmahe

Vasudevaya Dhimahi

Tanno Vishnuh Prachodayat"

Meaning:

Om Narayanaya Vidmahe: I meditate upon Lord Narayana (the all-pervading one).

Vasudevaya Dhimahi: I focus on Vasudeva (another name for Vishnu, signifying the one who resides in all beings).

Tanno Vishnuh Prachodayat: May Lord Vishnu illuminate and inspire our intellect.

Benefits of Chanting:

1. Invokes the blessings of Lord Vishnu for peace, prosperity, and spiritual growth.

2. Helps in overcoming obstacles and gaining mental clarity.

3. Promotes harmony and balance in life by aligning with Vishnu's qualities of preservation and sustenance.

4. Assists in attaining higher states of consciousness and self-realization.

This mantra can be chanted during daily prayers, meditation, or Vishnu-related festivals like Vaikuntha Ekadashi or Sri Krishna Janmashtami. Devotees often recite it with faith and devotion to experience the divine presence and protection of Lord Vishnu.

Patience.

 Patience: A Steadfast Companion in the Journey of Life

Life, often described as a gift, is an intricate journey filled with opportunities, challenges, joys, and trials. To navigate this gift successfully, one essential virtue stands out: patience. Patience is not merely the ability to wait; it is the art of maintaining composure, hope, and perseverance while facing the unpredictable tides of life.

Understanding Patience

Patience is often perceived as passive endurance, but it is, in reality, an active force. It is the strength to stay steady when the winds of uncertainty blow, the courage to face delays without frustration, and the wisdom to recognize that life unfolds at its own divine pace. It is the silent yet powerful acknowledgment that every challenge is a lesson and every delay a blessing in disguise.

The Role of Patience in Life

1. Navigating Challenges:

Life is replete with obstacles that test our resolve. Whether it is a career setback, a strained relationship, or a personal loss, patience allows us to pause, reflect, and act wisely rather than react impulsively. It helps us transform hardships into stepping stones for growth.

2. Fostering Relationships:

Human connections thrive on understanding and forgiveness, both of which are rooted in patience. In a world of differing opinions and conflicts, patience allows us to listen, empathize, and nurture bonds. It teaches us to appreciate people for who they are, not who we expect them to be.

3. Achieving Goals:

Dreams and aspirations require time and effort. Patience acts as the bridge between hard work and success. It keeps us persistent when immediate results seem elusive, reminding us that the fruit of labor ripens with time.

4. Spiritual Growth:

Many spiritual traditions extol patience as a pathway to enlightenment. It deepens faith, enabling us to trust the process of life and the higher power guiding it. Through patience, we learn to let go of the need for instant gratification and align ourselves with the rhythm of the universe.

Cultivating Patience

Patience, like any virtue, can be nurtured with conscious effort.

Practice Mindfulness: Living in the present moment reduces anxiety about the future and helps us deal with situations calmly.

Embrace Delays: Viewing delays as opportunities for introspection and growth transforms frustration into gratitude.

Develop Resilience: Facing difficulties with determination strengthens our capacity for patience.

Seek Inspiration: Stories of great leaders and saints who embodied patience can motivate us to adopt the same.

Patience: A Gateway to Joy

While the world often glorifies speed and instant results, patience reminds us to slow down and savor the journey. It allows us to appreciate the beauty of life’s unfolding, fostering a sense of contentment. As the saying goes, "Good things come to those who wait." Patience is not merely about waiting but about maintaining faith that life’s best moments often arrive unannounced and at the perfect time.

Patience is not a passive resignation to life’s circumstances but an active embrace of its rhythm. It is the steady heartbeat that carries us through the highs and lows, teaching us resilience, humility, and hope. By practicing patience, we honor the gift of life and ensure that we cross its path with grace, wisdom, and a heart full of peace.

R&M

 Radha and Meera are two iconic figures in Indian spiritual and cultural tradition, revered for their devotion to Lord Krishna. Though both are celebrated for their deep and unconditional love for Krishna, their lives, circumstances, and expressions of devotion differ significantly. Here is a detailed comparison:

1. Historical Context

Radha:

Radha is a legendary figure mentioned primarily in Hindu scriptures, particularly the Bhagavata Purana, Gita Govinda by Jayadeva, and Vaishnavite traditions. She is considered an eternal consort of Krishna and is often depicted as a symbol of the soul’s longing for union with the Divine. Her existence is more mythical and allegorical, with limited historical evidence.

Meera (Meerabai):

Meera was a historical figure, born in 1498 in Rajasthan, India, as a Rajput princess. She lived during the Bhakti movement and is renowned as a saint-poet and devotee of Krishna. Her life is well-documented, and her poems and songs are a part of the Indian spiritual and literary heritage.

2. Relationship with Krishna

Radha:

Radha is portrayed as Krishna’s beloved and represents the ideal devotee. Their relationship is often seen as a divine love that transcends worldly norms, symbolizing the union of the individual soul (Radha) with the Supreme Soul (Krishna). Radha’s love is both romantic and spiritual, epitomizing surrender and longing.

Meera:

Meera considered Krishna her husband and sole purpose in life, despite being married to a mortal king. Her devotion was one of complete surrender, characterized by an intense personal connection to Krishna. For Meera, Krishna was her eternal lover, friend, and master.

3. Expression of Devotion

Radha:

Radha’s devotion is often silent and intense, expressed through her emotions and actions in stories where she pines for Krishna. Her love is a metaphor for divine longing, and her devotion is celebrated in poetry, dance, and art, especially in classical forms like Kathak.

Meera:

Meera expressed her devotion openly through songs, dance, and poetry. She composed numerous bhajans (devotional songs) in Braj Bhasha, Rajasthani, and Hindi, many of which are still sung today. Her devotion defied societal norms, and she lived a life of renunciation to remain united with Krishna.

4. Societal and Familial Context

Radha:

Radha was a gopi (cowherd girl) in Vrindavan, and her relationship with Krishna is often depicted as transcending the constraints of marital and societal norms. She is sometimes shown as a married woman, which adds layers of complexity to her divine love for Krishna.

Meera:

Meera was born into a royal family and married into another. Her devotion to Krishna clashed with societal and familial expectations. She faced persecution, criticism, and even attempts on her life by her in-laws due to her unwavering devotion.

5. Symbolism

Radha:

Radha symbolizes divine love, surrender, and the eternal bond between the soul and God. She represents the ideal devotee, whose love for Krishna is selfless and all-consuming.

Meera:

Meera symbolizes devotion that transcends societal boundaries. Her life is an example of courage, faith, and the power of bhakti (devotion) to overcome worldly obstacles.

6. Legacy and Influence

Radha:

Radha’s love for Krishna is central to many traditions of Vaishnavism and has inspired countless works of art, music, and literature. She is often worshipped alongside Krishna in temples.

Meera:

Meera’s bhajans continue to be sung across India, transcending religious and linguistic barriers. She is regarded as a saint and an icon of the Bhakti movement, inspiring generations to embrace devotion and spiritual freedom.

7. Literary Contributions

Radha:

Radha herself did not contribute directly to literature, but her story has inspired poets like Jayadeva, Surdas, and others to compose devotional works glorifying her love for Krishna.

Meera:

Meera’s poetry is her legacy, expressing her love, longing, and union with Krishna. Her works are a cornerstone of devotional literature and are celebrated for their simplicity and emotional depth.

While Radha represents the mystical and allegorical aspect of devotion, Meera embodies its practical and historical dimensions. Both figures continue to inspire devotion and spiritual growth, albeit in different ways—Radha as the eternal consort of Krishna and Meera as the ardent devotee who lived and breathed Krishna in every aspect of her life. Together, they form complementary pillars of Krishna bhakti in Indian spiritual tradition.

Gadadhara.

 Gadadhara: The Beloved Companion of Lord Chaitanya

Gadadhara Pandita is a revered figure in the Gaudiya Vaishnava tradition, known for his deep devotion, humility, and close association with Lord Chaitanya Mahaprabhu. He is celebrated as one of the Panchatattva, the five manifestations of the Supreme Absolute Truth in Chaitanya Vaishnavism, and plays a significant role in the propagation of bhakti (devotion) to Lord Krishna.

Early Life and Association with Lord Chaitanya

Gadadhara Pandita was born in the village of Beleti in modern-day Bangladesh, to Madhava Mishra and Ratnavati Devi, a pious Brahmin couple. From an early age, Gadadhara exhibited a deep inclination toward spirituality and detachment from worldly affairs. He was known for his serene nature and exceptional intelligence.

He grew up in Navadvipa, where he became a close companion of Nimai (the youthful Lord Chaitanya). Their bond was unique, as Gadadhara often acted as a calming influence on the exuberant and scholarly Nimai. Over time, as Nimai revealed his divine identity and embarked on the mission of spreading the chanting of the holy names of Krishna, Gadadhara became one of his most dedicated followers.

Gadadhara and Sri Tota Gopinatha

After Lord Chaitanya accepted sannyasa and moved to Jagannath Puri, Gadadhara Pandita accompanied him and served as the caretaker of Sri Tota Gopinatha, a deity of Lord Krishna. It is believed that Lord Gopinatha appeared to Gadadhara in a vision and asked him to establish a temple for worship. Gadadhara spent his days in Jagannath Puri performing deity worship and engaging in deep meditation on Krishna.

The Tota Gopinatha deity holds a special place in the Gaudiya Vaishnava tradition. According to tradition, Gadadhara’s devotion was so pure that Lord Gopinatha, out of compassion, seated himself to facilitate his worship as Gadadhara aged. To this day, Tota Gopinatha remains an important pilgrimage site.

Role in the Gaudiya Vaishnava Mission.

Gadadhara Pandita exemplified the mood of submissive devotion (bhava) that is central to Lord Chaitanya's teachings. His life was marked by unwavering loyalty to Chaitanya Mahaprabhu and his mission. He is often described as the personification of the internal potency of the Lord, embodying the devotional mood of Radharani.

Gadadhara's humility was unparalleled. He often stayed in the background, quietly supporting the Lord’s activities. Despite his profound knowledge of scriptures and deep spirituality, he avoided fame and recognition, focusing solely on serving Lord Chaitanya.

Gadadhara Pandita is remembered as an ideal devotee whose life was entirely dedicated to the service of Lord Krishna and his devotees. His unwavering faith, selflessness, and compassion continue to inspire followers of Gaudiya Vaishnavism around the world.

His association with Lord Chaitanya and his role as a teacher, friend, and servant highlight the importance of humility and surrender in the path of bhakti. His contribution to the devotional movement, particularly through his exemplary worship of Tota Gopinatha, remains an integral part of Vaishnava history and spirituality.

In honoring Gadadhara Pandita, devotees reflect on the transformative power of pure devotion and the grace of associating with saintly personalities. His life is a testament to the eternal bond between the devotee and the Divine.

award due.

 Pure music is a shared experience. It needs an unselfconscious performer and the unselfconscious listener to be in sync. Once I happened to be present when Sangeeta Kalanidhi TK Govindarao rendered, in a chamber concert, an unblemished alapanai of Brindavana Saranga. Afterwards, he said: Oru idathila unna ariyama thalai asaicha. Andha idathula daan pure music irukku. It reminded him, he said of the renowned Nadhaswara Vidwan T N Rajarathinam Pillai recalling that the best ever compliment he received was when playing a todi alapanai in the procession of a temple deity, the man ahead of him with a petromax light on his head, unmindful of its weight, lifted it and said aha. What is it about music that stirs the deepest emotions? Sergiu Celibidache, the much admired conductor of western classical music, maintains that sound has a non-interpretable relation to our emotional world.

Music transcends religion. Bismillah Khan was a great devotee of Goddess Saraswati, our dear Sangeetha Kalanidhi Sheikh Chinna Moulana Saheb offered a moving nadaswaram tribute every morning in Srirangam to his favourite Lord Ranganatha. In Sabarimalai, accompanying the closing event everyday is Harivarasanam sung by Padma Vibhushan and Ganagandharvan Kattassery Joseph Yesudas. Dasettan performs Sangeetharchanai every year to Kollur Mookambikai. A favourite composition of mine is Samuel Vedanayagam Pillai’s Chittam Eppadiyo in Nadanamakriya. In Orissa I was fascinated to learn of the devotional songs on Lord Jagannath of Puri by his Muslim devotee Salabega. In our generation we have been fortunate to have in our midst Ilayaraja who has found his spiritual calling through music. And yet, there have been, and there certainly are, amidst us, wonderful exponents of the purest classical music who are atheists. Believe me, they can move you to tears with their versions of the slokams and viruttams.

Music can lay bare human hypocrisies and shatter false moralities. Its purest forms emanated from the voices of many a haveli singer behind the purdahs. ‘Gramophone girl’ Gauhar Jaan, coming from the world of tawaifs and India’s first recording superstar, recorded more than 600 songs in 10 languages between 1902 and 1920. She popularised the thumri, the kajri, the dadra, the taraana, the chaiti and the bhajan. Abrilliant exponent of the purab ang thumri and the tappa was Rasoolan bai of the Benaras gharana, whom Bismillah Khan acknowledged as his inspiration. The subtle eroticism in the Ashtapadis of Jayadeva, or in the nayakibhava longing of the lost lover in Amir Khusro’s poems movingly essayed by Nusrat Fateh Ali Khan saheb and Begum Abida Parveen, or the sensuality portrayed in the padams and javalis so flawlessly rendered by Brindamma or the sensuousness of the songs of Bharatiyar or Ambujam Krishna have only enhanced the purity of the music, not diminished it. Indian music tells us who we really are as Indians. It defines our core selves.

Music can heal and can bring warring worlds together. The musical wizard Daniel Barenbhoim and the Palestinian academic Edward Said brought together in 1999 Israeli, Arab and Palestinian musicians in a West-Eastern Divan Orchestra, which has since been institutionalised in Seville in Spain with musicians from many more countries joining. In 2016 it was designated as a UN Global Advocate for Cultural Understanding. While Barenbhoim may have limited his ambition to creating “a platform where the two sides can disagree and not resort to knives”, an Israeli musician there saw it as “a political statement by both sides”. It was “a human laboratory that can express to the whole world how to cope with the other”. Music and politics are not as separate as some of us may believe. Wagner’s music cannot be played in Israel, as his music was played at Nazi rallies.

Music could be a form of protest. The emergence of jazz, hip hop, rap, Rastafarian music was as much a political statement by the repressed African Americans as it was artistic. The antiwar and civil rights movement in the US used the songs of Bob Dylan [Blowin in the Wind; The Times They Are A-Changin] as anthems. Woodstock, a music festival organised in a New York suburb, in August 1969, had 460,000 people attend and was a symbol of the counterculture of the 60s. Boycotts of events, return of awards, calling out institutions for their structural and systemic biases, are all not new to the field of art or of music. The politics in academies, not just of music, is another story altogether.

Music is a tried and tested vehicle for the expression and transmission of culture across continents and generations. Beginning with the 50s India has had many cultural ambassadors, including our own MS Amma and Pandit Ravi Shankar, who very early on took our music to the western world. Bollywood music has been a rage in the Soviet Union since the 50s. The Beatles have launched many an adrenaline rush since they arrived on the scene in the 60s. I couldn’t believe, till I actually saw on YouTube the multitude of cover versions, across countries and cultures, of the Tamizh film song Balleilakka. Clearly, Rahman’s music appeals to audiences worldwide. These days, subaltern culture is conveyed through B Pop, break-dancing, and rap music. Thanks to the internet, these myriad forms of music are able to be appreciated by a global audience.

Music can also, sadly, incite violence as Dalits periodically find in our country. In many parts of western and northern India, a Dalit groom riding a horse on his wedding to the celebratory music of Disc Jockeys very often invites extreme violence at the hands of the upper castes. It is routine for Dalits, if they have to celebrate in public, to seek police protection and avoid main roads to escape the upper caste wrath. This has however not deterred the braver among them to find newer forms and platforms to express themselves not just to domestic but to international audiences. Amar Singh Chamkila was killed for his songs. Today they are among the most popular in Punjab and among the Punjabi diaspora. Arivu and Dhee created history with their Enjaai enjaami, becoming a social media smash hit. It had an international resonance. Dalit rap has a wide following. The parai which was associated earlier with the dirge is now a common percussion accompaniment in many a successful cinema song. Among the Chennai platforms that showcase subaltern music is the Urur Olcott Kuppam festival. It hosts performances of villu paattu, parai aattam, amba paattu by the marathukkaarar fisherfolk, gaana paattu and even mottai madi music. Elsewhere in the country, the songs of Dalit poets played by Dalit music groups, including the Kabir Kala Manch, have faced brutal police action and suppression. They continue, undeterred though. Music has given the Dalits the freedom of expression that society denies to them. Hopefully, they no longer have to fretfully ask, as Gopalakrishna Bharathi’s Nandanar did, in the evocative Manji raagam, Varugalamo Ayya?

That brings me to the musician that the Music Academy honours today. Krishna has made clear choices – musically and politically. He is prepared to face the consequences of such choices. He has a precedent. Madurai Shanmugavadivu Subbulakshmi, MS Amma to many of us, also made clear choices, and courageous ones at that. Her opting, very early on in her musical career, to sing Tamizh Isai landed her a five year ban from this Academy. Thankfully, it made amends and honoured her with the Sangita Kalanidhi in 1968. Krishna may have ruffled feathers here but has won the admiration of many across the country who, like him, have chosen to be guided by constitutional values. Krishna unshackled himself when he stood with those protesting against the CAA at Shaheen Bagh and sang Faiz Ahmed Faiz’s immortal poem Hum Dekhenge. Krishna left the trodden path for the less travelled one when he lent his voice to the protests against the state and corporate capture of the commons at the Ennore Creek, setting to tune Kaber Vasuki’s song Poromboke unakku illai, proromboke enakku illai, poromboke oorukku, poromboke bhumikku. He is among those that make the Urur Olcott Kuppam festival happen. When I read his book Sebastian & Sons I was struck at his attention to, and caring for, what surrounds him. He was basically asking who creates the instruments that produce wonderful music? Also, he was reminding us that the creation of music is not an individual act, but a collective effort. Kutcheriyila Kala kattaradu he has learnt from his guru Semmangudi Mama. From all accounts he encourages his disciples, two of whom are already frontline performers, to chart their own course.

Krishna knows well, as we do too, that political choices and going against the grain come with a price. Mozart’s genius was not enough to avoid the wrath of the establishment he took on. He died a pauper. The McCarthy era persecution of Hollywood actors and film makers is only too well known. The comical genius Charlie Chaplin, whose films entertained millions over generations, and continue to do till this day, was not honoured by the Academy of Motion Pictures in the US till 1972 in the 7th decade of this long career as a frontline entertainer. We should compliment the Academy for not adding Krishna’s name to the list of those stalwarts who ought to have been honoured by it in their lifetime: Veena Dhanammal, T N Rajarathinam Pillai, Flute Mali, M D Ramanathan, Lalgudi Jayaraman, S Balachander, and so on. If Krishna makes his detractors uncomfortable, and even angry, it speaks well for our democracy.

A music festival such as this, and these days the city is bustling with a plentiful of them, undoubtedly showcases talent. The best in the field and those that are aspiring to be. And inevitably causes heartbreaks to those yet to be acknowledged. There is something for everyone. For the connoisseur looking for something more than a performance, seeking to understand the science and the grammar behind the art.  For those wanting to know more about the performers behind the performances. For those diligently attending the lec dems in the mornings. For musicians of all ages who want to know what works and what doesn’t and the myriad ways of presenting the difficult krithis. For the critics who call out both good and not so good performances, spot the stars on the horizon and tell us whether the good are getting better. And the multitudes of Rasikas, from far and wide, who don’t seem to have had enough, and the newbies basking in it all, including the gourmet delights from the canteens. I never somehow fail to notice the anxiety of the listeners around me in a kutcheri nervous about making a mistake when the opening phrase of a raagam is sung or played: Is it pantuvarali or gamakakriya; Nayaki or durbar; sriranjini or abogi; khamas or harikamboji; Husseini or Bhairavi. And the glee in telling your friend that she missed the best ever concert by a top form artiste. One can’t help also notice the display of power and status, the latest in the traditional dress and in wealth, the disapproval, the disappointments, the joys of meeting a long lost friend or relative, and of course, the gossip.

The performances on this stage for the next 15 days might help us discover the art within each of us. But for that to happen we must be prepared to let the music unpeel the layers below which it lies hidden and allow our artistic self to introduce itself to us. It can happen if the music is listened to, not just heard or watched. And it can happen if we don’t let our knowledge of music come in the way of our enjoying it in the present moment. I have to end by agreeing with John Williams when he says there is music enough for a lifetime but a lifetime is not enough for music. As the musical exemplars of the past knew, and those present will acknowledge, music is greater than the musician.

Thank you Academy, for this opportunity. And to the star of the occasion let me say Sabaash Krishna.

AVS

 The Śrībhaṣyakāra Avayava Viśeṣa Ślokam is a devotional verse dedicated to the great Vedāntic philosopher Śrī Rāmānuja, often referred to as Śrībhaṣyakāra because of his commentary on the Brahma Sūtras, the Śrībhāṣya. This verse poetically describes the attributes of Śrī Rāmānuja and his divine form. Below is the slokam and its meaning:

Śloka:

Mūrdhnā bhāti divākarasya kiraṇair muktāphalair nirmitaṁ

kesaiḥ kāñcana-varṇatāmṛta-mayair lāvaṇya-pīyūṣadam।

pārśve pārijatodbhavaḥ pratimahaḥ śobhā-bharaiḥ saṁyutaṁ

yat tac chṛībhāṣyakārasya mahatāṁ vandyam vapus taṁ bhaje॥

Meaning:

1. Mūrdhnā bhāti divākarasya kiraṇair muktāphalair nirmitaṁ

The head of Śrībhaṣyakāra shines brilliantly like the radiant sun, adorned with pearls that enhance its divine charm.

2. Kesaiḥ kāñcana-varṇatāmṛta-mayair lāvaṇya-pīyūṣadam

His golden-colored hair radiates a nectar-like beauty, offering the essence of supreme grace.

3. Pārśve pārijatodbhavaḥ pratimahaḥ śobhā-bharaiḥ saṁyutaṁ

By his side, the splendor of divine virtues blooms like a celestial Pārijāta tree, filling the surroundings with unparalleled beauty.

4. Yat tac chṛībhāṣyakārasya mahatāṁ vandyam vapus taṁ bhaje

I bow to that venerable divine form of Śrībhaṣyakāra, which is worthy of reverence by the great.

This śloka is a poetic tribute to the unparalleled greatness of Śrī Rāmānuja, whose divine form and spiritual accomplishments are exalted in this verse. It captures his divinity, physical beauty, and the impact of his teachings.

Astaksari.

 Astakshari: A Spiritual Essence in Eight Letters

The term Astakshari refers to a sacred eight-letter mantra, which is most commonly associated with the Ashtakshara Mantra of Lord Vishnu: "Om Namo Narayanaya". It is revered as a powerful and transformative invocation in Hindu tradition, symbolizing complete surrender and devotion to the Supreme Being. This mantra holds profound spiritual significance in Vaishnavism and is often recited by devotees to seek divine blessings, inner peace, and liberation from the cycle of birth and death.

Meaning and Structure

The eight syllables of the mantra—Om, Na, Mo, Na, Ra, Ya, Na, and Ya—carry a deep symbolic meaning. The initial Om represents the primordial sound of creation and the ultimate reality, while the remaining syllables collectively express surrender (Namah) to Narayana, the eternal and all-pervading Lord. Together, they encapsulate the essence of devotion and the unity of the soul with the divine.

Spiritual Practice

Chanting the Astakshari mantra is considered a potent spiritual practice (japa) that purifies the mind and fosters a direct connection with the divine. Many devotees use rosary beads (japa mala) to count repetitions, aiming to immerse themselves in a meditative state. The mantra’s rhythmic sound vibration calms the mind, dispels negativity, and instills a sense of divine protection. It is believed that regular chanting not only brings spiritual progress but also aids in achieving moksha (liberation).

Role in Vaishnavism

In the Vaishnava tradition, the Astakshari mantra is more than a prayer; it is an initiation into a spiritual lineage. Saints like Ramanujacharya emphasized its importance, teaching that the mantra’s recitation and understanding reveal the path of bhakti (devotion) and service. The mantra signifies humility, as the devotee acknowledges their dependence on God.

Universal Relevance

Though rooted in Vaishnavism, the principles underlying the Astakshari mantra transcend religious boundaries. It promotes virtues like surrender, faith, and mindfulness, resonating with seekers from all walks of life. The mantra's simplicity and depth make it an accessible yet profound tool for spiritual awakening.

In conclusion, the Astakshari mantra serves as a beacon of light for those on the path of devotion. Its eight syllables carry the power to transform lives, guiding individuals toward spiritual harmony and eternal bliss. Through its recitation, one embarks on a journey of self-realization and divine communion, experiencing the boundless grace of Lord Narayana.

Sokhapanai.

 Sokhapanai is a traditional celebration observed in Tamil Nadu, particularly during Karthigai Deepam, the festival of lights that usually occurs in the Tamil month of Karthigai (November-December). This ritual is deeply rooted in Tamil culture and rural traditions. Here's what it entails:

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1. Sokhapanai Meaning:

The term "Sokhapanai" refers to a tall dried palmyra or palm tree trunk that is used during the celebration. "Sokku" implies dry, and "panai" means palm tree.

2. Lighting the Panai:

A dried palm tree or its parts are erected in temple courtyards or open spaces, and it is set ablaze after rituals. The sight of the blazing Sokhapanai symbolizes the dispelling of darkness and negativity, much like the Karthigai Deepam lamps.

3. Cultural and Religious Significance:

The burning of the Sokhapanai is often associated with offerings to Agni (the fire god) and represents purifying one's soul and surroundings.

It is also seen as a symbolic act of worshiping Shiva, as Karthigai Deepam is closely linked to Lord Shiva's manifestation as an infinite pillar of fire (Annamalai Deepam).

4. Community Involvement:

Villages come together for this event, making it a social and religious gathering that strengthens communal ties. Devotees participate by lighting lamps, offering prayers, and witnessing the ritual.

5. Link to Deepam:

Sokhapanai is celebrated alongside Karthigai Deepam festivities, emphasizing the victory of light over darkness, much like the lighting of oil lamps in homes and temples.

The fiery spectacle of Sokhapanai is a visual reminder of Tamil Nadu's rich heritage and the spiritual essence of Karthigai Deepam.

Not everyone can

 Āpatsanyāsa (आपत्संन्यास) refers to the special form of sannyāsa (renunciation) taken during a dire or critical situation, such as imminent danger, war, or life-threatening circumstances, where an individual feels compelled to renounce worldly life and dedicate themselves entirely to spiritual pursuits. This concept is recognized in Hindu dharma, particularly in the context of the four stages of life (āśramas): brahmacharya, gṛhastha, vānaprastha, and sannyāsa.

Key Features of Āpatsanyāsa

1. Immediate Renunciation: Unlike the traditional process of transitioning to sannyāsa, which usually follows a gradual withdrawal from worldly life after vānaprastha, āpatsanyāsa allows a person to renounce instantly due to unforeseen or critical circumstances.

2. Eligibility: Open to individuals who face extreme situations that compel them to renounce without completing the earlier stages of life.

3. Spiritual Focus: The focus is entirely on attaining liberation (moksha) and detaching from material life due to the realization of life's impermanence or an urgent inner calling.

4. Examples in Scriptures: The idea is rooted in Hindu texts, which acknowledge the need for flexibility in spiritual practices based on circumstances. For instance, warriors who renounce their role on the battlefield due to spiritual awakening could be considered an example of this.

In contemporary times, āpatsanyāsa is not commonly practiced but may still serve as inspiration for those seeking a spiritual path in extraordinary situations. It emphasizes the adaptability of spiritual practices to life's unpredictability.

The concept of Āpatsanyāsa can be understood through historical and spiritual figures who took sudden renunciation due to extraordinary circumstances or spiritual awakenings.

1. Tyagaraja (1767–1847)

Saint Tyagaraja, one of the greatest composers of Carnatic music, is a classic example of a spiritual seeker whose life reflected the essence of detachment and renunciation, though not formally āpatsanyāsa.

Life and Renunciation: Despite being a householder (gṛhastha), Tyagaraja demonstrated a deep renunciation of material life. When offered wealth and royal patronage, he famously declined, prioritizing devotion to Lord Rama. He symbolically embodied sannyāsa through his complete dedication to spirituality and music as a form of worship.

While not a formal āpatsanyāsin, Tyagaraja’s rejection of worldly allurements to embrace a higher spiritual calling is akin to the spirit of āpatsanyāsa.

2. Adi Shankaracharya’s Mother

Adi Shankaracharya is known to have taken sannyāsa at a young age. The critical situation in his case involved convincing his mother that he needed to renounce the world for a higher purpose.

A crocodile episode is often cited, where Shankaracharya, while bathing in a river, convinced his mother that he would renounce the world if he survived the crocodile attack. Though dramatized, this story reflects the immediacy and determination in renouncing due to extraordinary inner calling or external danger.

3. Chaitanya Mahaprabhu (1486–1534)

Chaitanya Mahaprabhu, the founder of the Gaudiya Vaishnavism movement, renounced worldly life suddenly in his early twenties.

Impetus for Renunciation: The untimely death of his wife and intense devotion to Krishna led to his abrupt renunciation. His spiritual awakening created a path for millions to follow bhakti (devotion).

4. Bhartrhari

Bhartrhari, an ancient poet and philosopher, took sudden renunciation after being disillusioned by worldly relationships.

Life Event: The realization of life's transient nature, particularly the deceit in personal relationships, pushed him toward sannyāsa. His poetic works, like Vairāgya Śataka, express profound renunciation and the realization of higher truths.

Common Elements in Such Cases

Turning Point: A critical event, often tied to death, betrayal, or deep spiritual insight, triggers immediate detachment from worldly life.

Spiritual Awakening: There is an intense inner calling or divine experience that compels the person to renounce.

Legacy: These individuals often contribute significantly to spiritual literature, practices, or movements, inspiring future generations.

elaborate 

1. Tyagaraja

Context of Renunciation:

Tyagaraja, despite being a householder, lived like a renunciate. His life is a testament to the path of devotion (bhakti) as a form of renunciation. When the king of Tanjore invited him to become a royal court musician, offering wealth and fame, Tyagaraja rejected the offer with the famous kriti:

“Nidhi chāla sukhama? Rāmuni sannidhi seva sukhama?”

(Is wealth greater than the joy of serving Lord Rama?)

Significance:

Though not formally taking sannyāsa, his disinterest in material life, complete surrender to Lord Rama, and life of simplicity resonate with the spirit of āpatsanyāsa, where renunciation arises from an inner calling rather than a structured ritual. His kritis reflect profound vairāgya (detachment) and bhakti, embodying a sannyāsin’s mindset.

2. Adi Shankaracharya’s Crocodile Episode

Incident:

Young Shankara, born in a Nambudiri Brahmin family in Kerala, wished to renounce worldly life and embrace sannyāsa. His mother, Aryamba, was initially against it.

According to legend, while Shankara was bathing in the river, a crocodile caught his leg. He shouted to his mother that the crocodile would release him only if she permitted him to renounce. She consented out of fear for his life, and the crocodile let him go.

Symbolism:

The crocodile represents the grip of samsara (worldly existence). Shankara's renunciation was not out of fear of death but as a realization of life’s impermanence and his mission to revive Advaita Vedanta.

Āpatsanyāsa Connection:

Though not a life-threatening emergency, the situation symbolized a critical moment, compelling an immediate spiritual shift. This story highlights how extraordinary circumstances can lead to renunciation.

3. Chaitanya Mahaprabhu

Renunciation Story:

Born as Vishvambhar in a Bengali Brahmin family, Chaitanya showed profound devotion to Krishna. Tragedy struck when his wife passed away at a young age, which became a turning point. He abruptly renounced family life and became a sannyāsin at the age of 24, wandering as a preacher of bhakti.

Legacy:

Chaitanya’s sudden renunciation was driven by intense devotion and disinterest in worldly life after personal loss. He initiated the Gaudiya Vaishnavism tradition, focusing on Harinam Sankirtan (chanting the holy name of the Lord) as a path to liberation.

Āpatsanyāsa Connection:

His renunciation embodies the spirit of āpatsanyāsa, where a life-changing event propels an individual toward a divine mission.

4. Bhartrhari

Turning Point:

Bhartrhari was a king who initially indulged in material pleasures. His disillusionment came when he discovered betrayal in personal relationships—particularly the infidelity of his beloved queen. This realization of the fleeting and unreliable nature of worldly life led him to renounce the throne and take sannyāsa.

Contribution:

Bhartrhari’s works, especially Vairāgya Śataka (100 Verses on Renunciation), express the essence of renunciation and the pursuit of higher truths. These verses deeply resonate with āpatsanyāsa, emphasizing how disillusionment with material life leads to spiritual awakening.

General Scriptural Basis for Āpatsanyāsa

Dharmaśāstras and Āpastamba Sūtras:

The texts mention that in extreme situations, an individual can bypass the earlier stages of life (vānaprastha or even gṛhastha) and directly take sannyāsa, provided they have the maturity and intent for spiritual growth.

Bhagavad Gita’s Perspective:

Krishna emphasizes vairāgya (detachment) and śaraṇāgati (surrender) as essential, irrespective of life’s stage or formal rituals, suggesting that the essence of renunciation lies in the inner transformation.

Devotee.

Humbled indeed. 

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hymns for KD.

 Devotional Hymns and Verses for Kaishika Dvadasi

Singing or reciting hymns in praise of Lord Vishnu is central to Kaishika Dvadasi. These hymns are believed to bring immense spiritual merit. Below are some key hymns and verses traditionally recited on this sacred day:

1. Vishnu Sahasranamam

The Vishnu Sahasranamam (Thousand Names of Lord Vishnu) is an integral part of Kaishika Dvadasi celebrations. It glorifies the Lord through His divine attributes and deeds.

Famous verses from Vishnu Sahasranamam:

Verse 1:

Om Vishvam Vishnur Vashatkaro Bhuta Bhavya Bhavat Prabhu |

Bhutakrud Bhutabhrud Bhavo Bhutatma Bhutabhavanah ||

Meaning: Lord Vishnu is the universal soul, the creator, protector, and sustainer of all beings.

Verse 2:

Shantakaram Bhujagashayanam Padmanabham Suresham |

Vishvadharam Gagan Sadrusham Meghavarnam Shubhangam ||

Meaning: Lord Vishnu rests peacefully on Adisesha, holding the entire universe, appearing serene and radiant.

2. Nalayira Divya Prabandham

The Nalayira Divya Prabandham is a collection of 4,000 Tamil hymns composed by the Alwars, who were ardent devotees of Vishnu. On Kaishika Dvadasi, these hymns are recited with devotion.

Key Pasurams (Verses):

From Thiruvaymozhi by Nammazhwar:

Pasuram 1.1.1:

Uyarntha ulagil uyarntha tani mudhalvan,

Niyanan nediyane nedumaale! |

ThuyarangaL tigu marundhe surungathi,

KettaruL seythathu vittayayane ||

Meaning: Lord Vishnu, the eternal supreme being, is the refuge for those seeking salvation. His blessings remove all suffering.

From Periyalwar Thirumozhi:

Pasuram 1.6.10:

Pallandu Pallandu Pallayirathandu,

Palakodi Noorayiram |

Mallanda thinn thol manivanna, un

Senkazhal sevithirukkae ||

Meaning: May the glory of Lord Vishnu last forever. Worshipping His divine lotus feet is eternal bliss.

3. Kaishika Mahatmiyam Verses

In many temples, the Kaishika Mahatmiyam is recited in Sanskrit or Tamil. These verses narrate the encounter of Nampaduvan and the Rakshasa, highlighting the significance of Kaishika Vrata.

Key Verse from Kaishika Mahatmiyam:

Rakshasa’s Redemption:

Yasya Nama Japath Punyam, Sarva Papapranashanam |

Vishnu Bhakta Jana Sevaya, Shapam Mukto Bhavishyati ||

Meaning: Singing or hearing Lord Vishnu's names destroys all sins. Even a sinner is redeemed by serving Vishnu’s devotees.

4. Thiruppavai (Andal’s Hymns)

The Thiruppavai, composed by Andal, a female saint and devotee of Vishnu, is also recited on Kaishika Dvadasi for its devotional and poetic charm.

Pasuram 1:

Margazhi Thingal Mathi Nirainda Nannalaal |

Neerada Podhuveer! Podhumin O' Nero! |

Naaraayanane Namakke Parai Tharuvan |

Paaror Pugazha Padindelorempaavaai ||

Meaning: Andal invites devotees to worship Lord Narayana, whose grace ensures eternal bliss and liberation.

5. Bhagavad Gita Verses

Selected verses from the Bhagavad Gita, especially from Chapter 10 (Vibhuti Yoga) and Chapter 12 (Bhakti Yoga), are recited for their emphasis on devotion.

Bhagavad Gita 12.6-7:

Ye Tu Sarvani Karmani Mayi Sannyasya Matparah |

Ananyenaiva Yogena Maam Dhyaayanta Upasate ||

Teshaam Aham Samuddharta Mrityu Samsara Sagarat |

Bhavami Na Chirat Partha Mayyaveshita Chetasam ||

Meaning: Those who dedicate their actions to Me and meditate upon Me with undivided devotion, I swiftly deliver from the cycle of birth and death.

6. Thirunedunthandagam by Thirumangai Alwar

The Thirunedunthandagam, another work from the Nalayira Divya Prabandham, is also sung, focusing on the majesty of Lord Ranganatha.

Pasuram:

Anni Nnum Payanennum Tharu Marundhe |

Enna Indru Pidiyodu Ithai Ariyeer |

Nanninna Pangaye Nee Malarkanan Thannai |

Nanninam Thol Mikka Thondar Adaikkalam ||

Meaning: The Lord’s divine form is the ultimate refuge for His devotees, and His name is the eternal cure for worldly suffering.

7. Sundarakanda of Ramayana

Some devotees recite sections from the Sundarakanda, which highlights Lord Rama’s compassion and Hanuman’s unwavering devotion.

Cultural Practice in Srirangam

During the recitation of these hymns

1. Devotees sit in groups in the temple corridors and chant in unison.

2. The temple priests lead the recitation of Sanskrit and Tamil verses, alternating between scripture and hymns.

3. The entire atmosphere is filled with the sound of Vedic chants, Divya Prabandham, and bhajans, making it a deeply immersive devotional experience.

1. Vishnu Sahasranamam 

Verse 1:

Om Vishvam Vishnur Vashatkaro Bhuta Bhavya Bhavat Prabhu |

Bhutakrud Bhutabhrud Bhavo Bhutatma Bhutabhavanah ||

Vishvam: He is the Universe itself, all-pervading.

Vishnu: He pervades everything.

Vashatkaro: He is worshipped through Vedic rituals.

Bhuta Bhavya Bhavat Prabhu: He is the Lord of past, present, and future.

Bhutakrud: He creates all beings.

Bhutabhrud: He supports all beings.

Bhavo: He is existence itself.

Bhutatma: He is the soul of all beings.

Bhutabhavanah: He nourishes and sustains all beings.

Verse 2:

Shantakaram Bhujagashayanam Padmanabham Suresham |

Vishvadharam Gagan Sadrusham Meghavarnam Shubhangam ||

He is calm and serene (Shantakaram), reclining on the divine serpent.

He has a lotus emerging from His navel (Padmanabham), and He is the Lord of all celestials (Suresham).

He is the support of the entire universe (Vishvadharam), vast like the sky (Gagan Sadrusham).

His complexion resembles a dark rain cloud (Meghavarnam), and His form is auspicious and beautiful (Shubhangam).

2. Thiruvaymozhi by Nammazhwar (Pasuram 1.1.1)

Uyarntha ulagil uyarntha tani mudhalvan,  

Niyanan nediyane nedumaale!  

ThuyarangaL tigu marundhe surungathi,  

KettaruL seythathu vittayayane ||

The Supreme Being, exalted above all in this vast universe, is the singular origin of everything.

He is eternal and omnipresent (Nediyane Nedumaale).

He is the remedy for all sorrows (Thuyarangal Tigu Marundhe).

He grants liberation (Surungathi) by His grace when we surrender to Him.

3. Periyalwar Thirumozhi (Pasuram 1.6.10)

Pallandu Pallandu Pallayirathandu,  

Palakodi Noorayiram!  

Mallanda thinn thol manivanna, un  

Senkazhal sevithirukkae ||

"I sing 'Pallandu' (eternal blessings) to the Lord for many, many years, thousands, and millions of eons.

O Lord with mighty shoulders (Mallanda Thinn Thol), who possesses a radiant gem-like complexion (Manivanna), may Your divine lotus feet (Senkazhal) always be revered and worshipped!"

4. Kaishika Mahatmiyam Verse (Rakshasa’s Redemption)

Yasya Nama Japath Punyam, Sarva Papapranashanam |  

Vishnu Bhakta Jana Sevaya, Shapam Mukto Bhavishyati ||

Chanting the holy names of the Lord generates immense merit (Punyam) and destroys all sins (Sarva Papapranashanam).

Even one cursed is freed (Shapam Mukto) by serving Vishnu’s devotees (Bhakta Jana Sevaya).

5. Thiruppavai by Andal (Pasuram 1)

Margazhi Thingal Mathi Nirainda Nannalaal |

Neerada Podhuveer! Podhumin O' Nero! |

Naaraayanane Namakke Parai Tharuvan |

Paaror Pugazha Padindelorempaavaai ||

During the auspicious month of Margazhi, with full-moon-lit days, let us bathe in the sacred waters (Neerada Podhuveer).

Lord Narayana, the ultimate refuge (Naaraayanane), will bless us and grant all our needs (Parai Tharuvan).

Let us join together and sing His glory, praised by all (Paaror Pugazha).

6. Bhagavad Gita (Chapter 12: Verse 6-7)

Ye Tu Sarvani Karmani Mayi Sannyasya Matparah |  

Ananyenaiva Yogena Maam Dhyaayanta Upasate ||  

Teshaam Aham Samuddharta Mrityu Samsara Sagarat |  

Bhavami Na Chirat Partha Mayyaveshita Chetasam ||

Those who dedicate all their actions to Me (Sarvani Karmani Mayi Sannyasya), and meditate upon Me with unwavering devotion (Ananyena Yogena),

I deliver them swiftly (Na Chirat) from the ocean of birth and death (Mrityu Samsara Sagarat), O Arjuna, for their minds are fixed on Me (Mayyaveshita Chetasam).

7. Thirunedunthandagam by Thirumangai Alwar (Pasuram)

Anni Nnum Payanennum Tharu Marundhe |  

Enna Indru Pidiyodu Ithai Ariyeer |  

Nanninna Pangaye Nee Malarkanan Thannai |  

Nanninam Thol Mikka Thondar Adaikkalam ||

"The Lord is the divine remedy (Tharu Marundhe) for all worldly attachments.

Seek refuge (Adaikkalam) in Him, the lotus-eyed one (Malarkanan), surrounded by His devoted followers (Thol Mikka Thondar)