Tuesday, August 26, 2014

vaishampayana said (Siva as Vishnu and Vishnu as Siva)

Vaisampayana said, "After all those illustrious ascetics had gone away, that wielder of the Pinaka and cleanser of all sins--the illustrious Hara--assuming the form of a Kirata resplendent as a golden tree, and with a huge and stalwart form like a second Meru, and taking up a hand some bow and a number of arrows resembling snakes of virulent poison, and looking like an embodiment of fire, came quickly down on the breast of Himavat. And the handsome god of gods was accompanied by Uma in the guise of a Kirata woman, and also by a swarm of merry spirits of various forms and attire, and by thousands of women in the form and attire of Kiratas. And, O king, that region suddenly blazed up in beauty, in consequence of the arrival of the god of gods in such company. And soon enough a solemn stillness pervaded the place. The sounds of springs, and water-courses, and of birds suddenly ceased. And as the god of gods approached Pritha's son of blameless deeds, he beheld a wonderful sight, even that of a Danava named Muka, seeking, in the form of a boar, to slay Arjuna. Phalguna, at the sight of the enemy seeking to slay him, took up the Gandiva and a number of arrows resembling snakes of virulent poison. And stringing his bow and filling the air with its twang, he addressed the boar and said, 'I have come here but done thee no injury. As thou seekest to slay me, I shall certainly send thee to the abode of Yama.' And beholding that firm wielder of the bow--Phalguna--about to slay the boar, Sankara in the guise of a Kirata suddenly bade him stop saying, 'The boar like the mountain of Indrakila in hue hath been aimed at by me first'; Phalguna, however, disregarding these words, struck the boar. The Kirata also blazing splendour, let fly an arrow like flaming fire and resembling the thunderbolt at the same object. And the arrows thus shot by both fell at the same instant of time upon the wide body of Muka, hard as adamant. And the two shafts fell upon the boar with a loud sound, even like that of Indra's thunderbolt and the thunder of the clouds falling together upon the breast of a mountain. And Muka, thus struck by two shafts which produced numerous arrows resembling snakes of blazing mouths, yielded up his life, assuming once more his terrible Rakshasa form. Jishnu--that slayer of foes--then beheld before him that person, of form blazing as god, and attired in the dress of a Kirata and accompanied by many women. And beholding him, the son of Kunti with a joyous heart addressed him smilingly and said,
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[paragraph continues] 'Who art thou that thus wanderest in these solitary woods, surrounded by women? thou of the splendour of gold, art thou not afraid of this terrible forest? Why, again, didst thou shoot the boar that was first aimed at by me? This Rakshasa that came hither, listlessly or with the object, of slaying me, had been first aimed at by me. Thou shalt not, therefore, escape from me with life. Thy behaviour towards me is not consistent with the customs of the chase. Therefore, O mountaineer, I will take thy life.' Thus addressed by the son of Pandu, the Kirata, smiling replied unto his capable of wielding the bow with his left hand, in soft words, saying, 'O hero, thou needst not be anxious on my account. This forest land is proper abode for us who always dwell in the woods. Respecting thyself, however, I may inquire, why thou hast selected thy abode here amid such difficulties. We, O ascetic, have our habitation in these woods abounding in animals of all kinds. Why dost thou, so delicate and brought up in luxury and possessed of the splendour of fire, dwell alone in such a solitary region?' Arjuna said, 'Depending on the Gandiva and arrows blazing like fire, I live in this great forest, like a second Pavaki. Thou hast seen how this monster--this terrible Rakshasa--that came hither in the form of an animal, hath been slain by me.' The Kirata replied, 'This Rakshasa, first struck with the shot from my bow, was killed and sent to the regions of Yama by me. He was first aimed at by me. And it is with my shot that he has been deprived of life. Proud of thy strength, it behoveth thee not to impute thy own fault to others. Thou art thyself in fault, O wretch, and, therefore, shalt not escape from me with life. Stay thou: I will shoot at thee shafts like thunderbolts. Strive thou also and shoot, to the best of thy power, thy arrows at me.' Hearing these words of the Kirata, Arjuna became angry, and attacked him with arrows. The Kirata, however, with a glad heart received all those shafts upon himself, repeatedly saying, 'Wretch, wretch, shoot thou best arrows capable of piercing into the very vitals.' Thus addressed, Arjuna, began to shower his arrows on him. Both of them then became angry and, engaging in fierce conflict, began to shoot at each other showers of arrows, each resembling a snake of virulent poison. And Arjuna rained a perfect shower of arrows on the Kirata, Sankara, however, bore that downpour on him with a cheerful heart. But the wielder of the Pinaka, having borne that shower of arrows for a moment, stood unwounded, immovable like a hill. Dhananjaya, beholding his arrowy shower become futile, wondered exceedingly, repeatedly saying, 'Excellent! Excellent! Alas, this mountaineer of delicate limbs, dwelling on the heights of the Himavat, beareth, without wavering, the shafts shot from the Gandiva! Who is he? Is he Rudra himself, or some other god, or a Yaksha, or an Asura? The gods sometimes do descend on the heights of the Himavat. Except the god who wieldeth the Pinaka, there is none rise that can bear the impetuosity of the thousands of arrows shot by
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me from the Gandiva. Whether he is a god or a Yaksha, in fact, anybody except Rudra, I shall soon send him, with my shafts, to the regions of Yama.' Thus thinking, Arjuna, with a cheerful heart, began, O king, to shoot arrows by hundreds, resembling in splendour the rays of the sun. That downpour of shafts, however, the illustrious Creator of the worlds--the wielder of the trident--bore with a glad heart, like a mountain bearing a shower of rocks. Soon, however, the arrows of Phalguna were exhausted. And noticing this fact, Arjuna became greatly alarmed. And the son of Pandu then began to think of the illustrious god Agni who had before, during the burning of the Khandava, given him a couple of inexhaustible quivers. And he began to think, 'Alas, my arrows are all exhausted. What shall I shoot now from my bow? Who is this person that swalloweth my arrows? Slaying him with the end of my bow, as elephants are killed with lances, I shall send him to the domains of the mace-bearing Yama.' The illustrious Arjuna then, taking up his bow and dragging the Kirata with his bow-string, struck him some fierce blows that descended like thunderbolts. When, however, that slayer of hostile heroes--the son of Kunti--commenced the conflict with the end of the bow, the mountaineer snatched from his hands that celestial bow. And beholding his bow snatched from him, Arjuna took up his sword, and wishing to end the conflict, rushed at his foe. And then the Kuru prince, with the whole might of his arms, struck that sharp weapon upon the head of the Kirata, a weapon that was incapable of being resisted even by solid rocks. But that first of swords, at touch of the Kirata's crown, broke into pieces. Phalguna then commenced the conflict with trees and stones. The illustrious god in the form of the huge-bodied Kirata, however, bore that shower of trees and rocks with patience. The mighty son of Pritha then, his mouth smoking with wrath, struck the invincible god in the form of a Kirata, with hi clenched fists, blows that descended like thunderbolts. The god in the Kirata form returned Phalguna's blows with fierce blows resembling the thunderbolts of Indra. And in consequence of that conflict of blows between the son of Pandu and the Kirata, there arose in that place loud and frightful sounds. That terrible conflict of blows, resembling the conflict of yore between Vritra and Vasava, lasted but for a moment. The mighty Jishnu clasping the Kirata began to press him with his breast, but the Kirata, possessed of great strength pressed the insensible son of Pandu with force. And in consequence of the pressure of their arms and of their breasts, their bodies began to emit smoke like charcoal in fire. The great god then, smiting the already smitten son of Pandu, and attacking him in anger with his full might, deprived him of his senses. Then, O Bharata, Phalguna, thus pressed by the god of the gods, with limbs, besides, bruised and mangled, became incapable of motion and was almost reduced to a ball of flesh. And struck by the
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illustrious god, he became breathless and, falling down on earth without power of moving, looked like one that was dead. Soon, however, he regained consciousness, and, rising from his prostrate position, with body covered with blood, became filled with grief. Mentally prostrating himself before the gracious god of gods, and making a clay image of that deity, he worshipped it, with offerings of floral garlands. Beholding, however, the garland that he had offered to the clay image of Bhava, decking the crown of the Kirata, that best of Pandu's sons became filled with joy and regained his ease. And he prostrated himself thereupon at the feet of Bhava, and the god also was pleased with him. And Hara, beholding the wonder of Arjuna and seeing that his body had been emaciated with ascetic austerities, spake unto him in a voice deep as the roaring of the clouds, saying, 'O Phalguna, I have been pleased with thee for thy act is without a parallel. There is no Kshatriya who is equal to thee in courage, and patience. And, O sinless one, thy strength and prowess are almost equal to mine. O mighty-armed one, I have been pleased with thee. Behold me, O bull of the Bharata race! O large-eyed one! I will grant thee eyes (to see me in my true form). Thou wert a Rishi before. Thou wilt vanquish all thy foes, even the dwellers of heaven; I will as I have been pleased with thee, grant thee an irresistible weapon. Soon shall thou be able to wield that weapon of mine."
Vaisampayana continued, "Phalguna then beheld him--Mahadeva--that god of blazing splendour-that wielder of the Pinaka-that one who had his abode on the mountains (of Kailasa)--accompanied by Uma. Bending down on his knee and bowing with his head, that conqueror of hostile cities-the son of Pritha-worshipped Hara and inclined him to grace. And Arjuna said, 'O Kapardin, O chief of all gods, O destroyer of the eyes of Bhaga, O god of gods, O Mahadeva, O thou of blue throat, O thou of matted locks, I know thee as the Cause of all causes. O thou of three eyes, O lord of all! Thou art the refuge of all the gods! This universe hath sprung from thee. Thou art incapable of being vanquished by the three worlds of the celestials, the Asuras, and men. Thou art Siva in the form of Vishnu, and Vishnu in the form of Siva. Thou destroyedest of old the great sacrifice of Daksha. O Hari, O Rudra, I bow to thee. Thou hast an eye on thy forehead. O Sarva, O thou that rainest objects of desire, O bearer of the trident, O wielder of the Pinaka, O Surya, O thou of pure body, O Creator of all, I bow to thee. O lord of all created things, I worship thee to obtain thy grace. Thou art the lord of the Ganas, the source of universal blessing, the Cause of the causes of the universe. Thou art beyond the foremost of male beings, thou art the highest, thou art the subtlest, O Hara! O illustrious Sankara, it behoveth thee to pardon my fault. It was even to obtain a sight of thyself that I came to this great mountain, which is dear to thee and which is the excellent abode of ascetics. Thou art worshipped of all
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worlds. O lord, I worship thee to obtain thy grace. Let not this rashness of mine be regarded as a fault--this combat in which I was engaged with thee from ignorance. O Sankara, I seek thy protection. Pardon me all I have done."


Vaisampayana continued, "Endued with great might, the god whose sign was the bull, taking into his the handsome hands of Arjuna, smilingly replied unto him, saying, 'I have pardoned thee. And the illustrious Hara, cheerfully clasping Arjuna with his arms, once more consoling Arjuna."

A brief synopsis of the Stotras of Sri Vedanta Desikar.(MSL & MN)

Sri Vedanta Desikar a veritable lion among the poets and Logicians A colossus in philosophy and a prolific author of Sri Vaishnavism. His 28 very well known Stotras are recited by Sri Vaishnavas all over the world. He has authored plays dramas moral stories and rahasya granthas besides he is an author who has written works in Pali Sanskrit and Tamil.
1.Sri Hayagriva Stotra in 33 verses here Sri Desika prays for all round proficiency in sastras and art of poesy. all of his stotras ends with a phala stuthi a reward promised on rendering the stotras with faith and devotion.
Traditionally it is known that he was initiated into the Hyagriva mantra by Pakshi raja Garudar himself the vahanam of Vishnu. after mastering siddhi (acquiring perfection) he had the direct vision of Lord Hayagriva at Tiruvahindrapuram at the age of 20 years.
Lord Hayagriva is worshiped by all who are keen on acquiring proficiency in knowledge both spiritual and secular. 
Lord Hayagriva is known to be the benefactor of Dakshinamurthy, Brihaspati and Vyasa all known for their profound knowledge.  
A fleeting reference is made of the Lord's Consort Lakshmi in verse 32 refering to her as Amalanasrih. thus Lakshmi Hayagrivar is prayed.

2.The Sri Dasavatara Stotra in 13 verses composed after worshiping at the Dasavatara Sannidhi in Srirangam. He praises Lord Ranganatha as the Supreme Brahman and of having taken 10 avataras or manifestation to bless us. 
Here the opening verse there is a pun in the word Ranga meaning Srirangam and the stage. The Lord and his consorts appear as Nayaka and Nayaki in ten different roles to enamor and delight the audience bringing auspiciousness to the one who recites this Stotra. 

3. Sri Bhagavaddhyanasopanam. in 12 verses Vedanta Desikar describes the Lord from Foot to Crown leading a devotee step by step (sopanam) to ultimately create the Form of Ranganatha mulavar image before our eyes. verse 11 describes the utsava form also of the lord of Sri Rangam. It is said that the author was inspired by Tiruppanalwar's  Amalanadipiran.
Is it the beauty of Sanskrit language or the Authorship of Vedanta Desikar who gives the verses such sweet sounding flow that one can memorise the verses for repetition and to visulize the Lord before us to attain steadfast devotion.

4. Abhitistava in 29 verses this hymn written at Melkote by Sri Vedanta Desikar has a ardent appeal to the Lord of Sri Rangam to make use of his Astram to deal with the vadalist muslim invassion in the south in the year 1327 by mallik Kafur and Alauddin Khillji. 
this stotra is uttered to overcome fear. He appeals to the lord to keep him in Srirangam where people desire the welfare of each other. it is said Sri Vedanta desikar was nearly 60 years when he composed this stotra.

5. Sri Dayasatakam in 108 verses here the Lord is personified as Daya devi the foremost quality (compassion)of god . it abounds with poetic excellences and is divided into 10 sets of ten verses each set to different meter. Prapatti whole hearted surrender is the theme of this stotra. For Vedanta desikar there was no difference between Sri Ranganatha and Sri Venkateswara. So it should be for us too. there is only one Lord of the entire Universe.

6. Sri Varadaraja Panchasat. in 51 verses Sri Vedanta desikar describes the glory of Lord Varadaraja of kanchipuram. This hillock on which the temple is situated is said to be the very same place where Brahma performed the Horse sacrifice desiring to have a direct vision of the Lord. The rare feature of this stotra is the verse 46 where the Lord's divine body, of the colour of emerald rendered darker by the application of Kasturi is described where no ornaments or armour is present.In verse 49 he says As  I continuously enjoy your incomprehensible and indescribable beauty i have no desire to reside in vaikunta also .

7. Vairagya Panchakam. in five verses here Sri Vedanta Desikar expresses his utter contempt for worldly riches, those who seek them. It is said that the boyhood friend of Vedanta Desikar who was employed by the Vijayanagar emperors met Vedanta Desikar who was living a simpleton's life in Kanchi and sent him an invitation to come to adorn the court of the Vijayanagar emperors as court poet and live a life of comfort. Here he makes it absolutely clear that he was not interested and that he had inherited the Paitamaham dhanam Lord Varadaraja who was brought by Brahma. he also says Lord Krishna turned his friend Kuchela into Kubera overnight.and that he had the ultimate wealth of all in the Lord of Hastigiri.

8. Saranagati Dipika this stotra in 59 verses brings forth the greatness of saranagathi or Prapatti as the means of salvation representing the tradition of ramanuja's Kitchen because One Pranatarthihara (Madaippalliyaccan) who was the cook of Ramanujacharya is said to have learnt the entire Srivaishnava sampradaya from Sri Ramanujacharya, this was inherited by Kidambi ramanujacharya and there after by Kidambi Appullar who was the maternal uncle of Vedanta Desikar.
The deity to whom this stotra is addressed is Dipaprakasa  (Vilakkoil enberuman) this temple is situated in tirruttanka where Sri Vedanta Desikar was born close to the river Vegavathy a tributary of the great river Cauvery.
the significane of this hymn is that it sums up the whole teaching about Saranagathi its supremacy, its accessories, the post prapatti life of a prapanna, the Pancharata and the Vaikhanasa ways of worshipping the Lord, the path of light (Archiradi Marga) by which the liberated soul reaches Vaikunta, then his blissful state of loving service to the Lord there etc. the ignorance dispeller ultimately.

9. Sri Vegasetu Stotra. a hymn of 10 verses addresses the Lord Vegasetu literal meaning is one who becomes a dam across the river Vega. The sthalapurana narrates a story that the four faced Brahma wanted to perform a sacrifice and his wife being angry with him wanted to disrupt the sacrifice, she had assumed the form of a swift river vega began to innundate the sacrificial place. As Brahma prayed Lord Vishnu became a dam setu across the vega and helped Brahma complete his sacrifice. This place is refered by the Alwars as Thiruvehka which is situated about a mile from Varadaraja Temple and is known as little conjeevaram. it is also known as Yathoktakari one who does as commanded. the incident traced to the life of Thirumalisai Alwar and the King Kani Kannan. Vedanta Desikar calls the Lord Kanchi Bhagyam the good fortune of Kanchi.

10. Sri Astabhujashtakam.
This stotra is in 10 verses. addressed to Adikesava Perumal who assumed 8 hands and punished demons who wanted to disrupt the sacrifice being performed by the four faced Brahma at Kanchi. The Lord carries in his hands the usual five weapons and an arrow, spear and a lotus. the alwars name this place Attabuyakaram. Vedanta desika says that the Lord who originally had only four arms assumed 8 arms in his anxiety to come to the succour of those who surrender to him. The mulavar has eight hands but the Utsavar murthy has four arms.
Vedanta desikar in the 9th verse says. the eight verses on Lord Astabuja are the food for the traveller meaning for those who have surrendered to the Lord and are on their journey to moksha; its a tonic to those who desire to surrender. and these verses ensure the welfare of the world.

11. Sri Kamasikashtakam
This stotra in 9 verses is addressed to Lord Narasimha at a place called Velukkai located to the south of the vegavathi at Kanchi. The sanskrit equivalent of this name is Kamasika (Kama + asika) the lord motivated by his own will. he graces here to fulfill the desire of his devotees. 

12. Sri Paramarthastuti.
The word Paramartha means the ultimate purpose or goal of human life. This work in 10 verses describes Lord Rama at thirupputkuzhi which is situated 7 miles west of kanchi. IT is said that Sri rama Performed the last rites of the vulture King Jatayu here.  words such as Poreru, Ranapungava, Aahavapungava and Samarapungava all meaning the supreme hero in the battle field. Sri desika says Lord Rama offers Abhaya fearlessness to those who do saranagathi to him even once.

13. Sri Devanayakapanchasat.
This hymn in 53 verses describes Lord Devanayaka. He is the presiding deity at the sacred shrine at Thiruvahindrapuram near Cuddalore. Swami desika lived here and was greatly attached to this deity. The house where he lived and the well dug up by him can be seen here. Here Desika has described the lord from Head/ crown to foot (Kesadipadantam) verses 16 to 45.

14. Sri Achyutasatakam 
This beautiful poem in Prakrit with 101 verses is addressed to Lord Nata Satya the same Devanayaka.
Prakrit is one of the dialects spoken in North India in olden days. Many of the Sanskrit Dramas employ different types of Prakritis such as Maharashtri, Sauraseni and Ardhamagadhi for women of lower characters like servants and the court jesters (Vidushaka)  Vedanta Desika's intention in composing this poem in prakrit is to suggest his mood of Nayika (Bride or beloved) in relation to the Lord the Nayaka. This is an important dimension of the Madhura Bhakti which assumed greater proportions in the works of Nammalvar and Thirumangai alwar. The North Indians today follow this system of relation to the lord extensively. Available in prakrit too besides sanskrit.

15. Sri Mahaviravaibhavam
This is a beautiful poetic prose in praise of Sri Rama, the Great Hero composed by Desika, recalling the activities as described by Valmiki in his immortal epic The Ramayana in several kandas including the Uttara kanda. Swami Desika exhibits his skill in composing prose, ranging from simple chiselled short sentences to long and majestic compounds, achieving a rare sound effect of alliteration and rhythm. It is sometimes simple and sometimes difficult as stated by Desika himself at the end of the stotra by the expression "kathora-sukumara-gumbhagambhiram" This stotra is also known as Raghuvira Gadya. Swami Desika wrote this prose piece in honour of Sri Rama as found in a shrine located in the main temple at Thivahindrapuram.

16. Sri Gopalavimsati.
This stotra in 21 verses describes Lord Sri Krishna as a cowherd and supreme deity, found in the shrine at Thiruvahindrapuram. The second verse is said to describe the Lord as situated in a Yantra motif drawn according to the Gopalamantra. Swami Desika's superb artistry in presenting beautiful pen pictures of SriKrishna as a child and a youth is highly absorbing for its poetic charm fancy and devotional fervour. In the last verse, Desika asserts that those who read this hymn with one pointed  love will have the direct vision of Lord Krishna himself.

17. Sri Dehalisastuti.
This hymn in 28 verses is addressed to Lord Trivikrama / Aayanar in Tamil the presiding deity of Tirukkovalur Gopapura in Sanskrit situated on the banks of the river Pennar. The temple is three miles south of Thirukkoilur railway station located between Katpadi and Villipuram junctions. This is the place where the first three alwars Poygai, Pey and Bhootam met and sang the earliest of the Divya Prabandham called the first three Tiruvandadis. 
Dehali is the front portion of a house called Idaikazhi in Tamil leading to the main house. It is usually small in villages. According to tradition the first three alwars took shelter in the Dehali of a house at Tirukkovalur on a rainy night one after another. The place was so small and congested that one could lie down or two could sit or three just stand. suddenly the three mystic saints felt the presence of a fourth person trying to squeeze into that place pressing them very closely. The saints realised that the person was none other than the Supreme Person Himself, they were overjoyed and burst into rapturous songs describing the glory of the Lord.
Sthala Purana ascribes that The Lord appeared before Sage Mrikandu and as per his request, manifested Himself there bearing the Conch and Discus in his right and left hand respectively contarary to the usual practice. another unusual aspect is that the Lord here raises his right foot to the sky instead of the left one.
Sri Desika also points out that those who bear the Chakra and Shanka emblems of Vishnu on their shoulders forming part of pancha samskara rite will have all their desires fulfilled.

18. Sristuti.9(favourite)
Comprising 25 verses, the Sristuti is a very popular stotra composed by Desika. Addressed to Sri, the chief consort of Lord Vishnu who is inseparably associated with Him. this hymn highlights Her position according to the Vadagalai school represented by our author. According to this , Sri and Vishnu, although represented as two deities notionally, are functionally unitary. They both constitute the Godhead together. Sri is equal to Vishnu in all aspects, including perversion and lordship (verse 5, 6, and 19.) In verse 9 Desika describes the attempts of some who speak of Sri and Vishnu separately. in verse 12 he says that Goddesses like Saraswathi, Parvathi and Sachi are but small portions of Lakshmi's unbounded glory and prowess. 


19. Bhustuti.
The Hymn in 33 verses is addressed to Mother Earth glorified in the scriptures as Vishnupatni, second only in importance to Sri (Lakshmi). Lord Vishnu took the form of Yajna-Varaha, killed Hiranyaksha and rescued Earth from the nether world where she was arrested by the demon, according to the Puranic episodes. She is said to pacify the Lord when he is angry with the erring souls, a role which is usually attributed to Sri. rather it is the motherly affection of all the consorts of the Lord that makes them speak on behalf of the souls. In verse 23 the poet describes the Earth in two forms as a Goddess and as a planet earth. in verse 24 he states that even yogins contemplate on this Deity. She bound by loving devotion can grant all the four human ends. Verse 32 describes Bhudevi for purpose of devout meditation.

20.Sri Godastuti.
The hymn comprising 29 verses glorifies "Goda" popularly known as Andal and Chudi-kodutha-nachiyar, who occupies a unique place in the galaxy of Srivaishnava mystic saints called Alwars. Her foster father Sri Vishnuchitta, known as Perialvar was rendering mala kainkarya to the Lord Vatapatrasayin in Srivilliputhur. He knew that his daughter was set on marrying Lord Ranganatha at Srirangam. It is said that she ultimately went to Srirangam and entered the sanctum sanctorum, she merged in the image of Lord Ranganatha.
Goda's tamil compositions, the Tiruppavai in 30 stanzas and Nachiyar Tirumozhi in 143 verses are known for their devotional fevour and lyrical beauty. Unlike Nammalvar and Tirumangai alwar whose bridal mysticism imagining oneself as the bride of the Lord was unnatural, being men,(although it is said god is the only purusha all else are women so true no body can be a perfect man its no wonder). Andals experience of and the stages of viraha in a natural way are impressive. The tiruppavai is chanted in all the temples and srivaishnava homes daily during the dhanur masam culminating in the wedding kalyanam between Andal and Sri Ranganatha.
tradition believes that Goda devi was an aspect of mother earth. verse 24 points out her role to save the erring humanity from the Lord's wrath by her mere presence besides him.

21. Nyasa Dasakam
The hymn in 10 verses summarizes the things to be done by one who surrenders himself to God. Nyasa is synonymous with Prapatti, Saranagathy,Nikshepa, Tyaga, Bharasamarpana, whole hearted surrender at the feet of the Lord is said to be more efficacious than bhakti loving devotion. One has to entrust his entire responsibility with the Lord through one's preceptor. this act is also figuratively described as the marriage between the individual soul and the God, effected by the preceptor. Vedanta Desika composed this hymn as his surrender to the lord Vardaraja at Kanchi.

22. Nyasa Vimsati.
This work in 22 verses just like Nyasadasaka and Nyasatilaka is concerned with Prapatti. The unfailing means of liberation according to the Sri Vaishnava school. Vedanta Desika himself wrote a commentary on this which goes to show the importance he attached to this work. The doctrine of surrender has been clearly established dispelling any doubt about its practicability and efficacy. He also says Nyasa is one of the brahma vidyas recommended in the scriptures. He has also given several references such as the charma sloka of the Bhagvad gita chapter 18 verse 66. Sarva dharman. he has also given the post prapatti conduct of a person and how he should live the remainder of his life and the duties to be performed.

23. Nyasatilaka.
This work in 32 verses forms an excellent treatise on the concept of Nyasa. This is an address by Vedanta Desika to Lord Ranganatha at Srirangam. In accordance to the Vadagalai Sect of which Vedanta Desika is the leader,  he states that the Divine  Couple Sri and Narayana constitute the Godhead.(verse 1-7) The relation between them is like the one between an attribute and its substantive. Although they are notionally different from each other functionally they are a single personality. They both are the rulers of the universe. In his other works like the commentary on Yamunacharya's Catussloki Sri desika points out that although they are both rulers of the world, there is no fear of dvairajya (there being two rulers at a time) since one of them willfully and voluntarily subordinates oneself to the other. There is no difficulty in this as being a husband and wife couple between whom such a willful subordination of one to the other is quiet common.
In verse 9 Vedanta Desika states that the tradition of Sharanagathi was inherited by him from his uncle Kidambi Appullar (Atreya Ramanuja) his maternal uncle, who was the great grandson of Pranatarthihara popularly known as Madaippalliyaccan or Mahanasika (pautraja) who was the personal cook of Sri Ramanuja.
Swami Desika also refers to the work Faith in the spiritual teacher called Acharyanishtha, which is effacious in bringing us within the reach of Gods Grace (verse 21) he also refers to the dialogue supposed to have taken place between the Lord and Sri Ramanuja towards the end of Saranagathy gadya where the Lord confirms that Prapatti would certainly procure liberation.

24. Sudarsanastakam.
This hymn in 8 verses composed by Sri Desika in praise of Sudarshana (The discus of Lord Vishnu) is very popular, being chanted by Srivaishnavas in the course of their daily worship. Sudarshana conceived as the foremost and most powerful and important  weapon of all the weapons of Lord Vishnu. It receives special worship in separate shrines in the most leading Vaishnava temples. The Ahirbudhnya samhita, one of the early Pancharatra agamas, has several chapters devoted to the glorification of Sudarshana.
Sri Desika is said to have composed this beautiful stotra known for its lyrical beauty and powerful expression, to relieve the inhabitants of Tirupputkuzhi near Kanchi from the grip of a terrible fever they were suffering from. another view is that Sri Desika composed it before he entered into a fierce debate with advocates of other schools whom he vanquished in the end. 

25. Sodasayudha Stotra.
This stotra in 19 verses was composed by Swami desika to cure the fever the inhabitants of Tirupputkuzhi were suffering. The Ayudhesha hetisa Lord of the weapons the Sudarshana is said to be in control of the 16 weapons mentioned in the hymn. The first eight weapons are in the right hand and the next eight weapons in the left hand. The Sudarshana itself being the foremost weapon held by Sudharshana. He goes on to say the Sudharshana protects the world.

26. Sri Garuda Dandaka.
Written in what is called the dandaka meter the poem rather poetic prose highlights the glory of Garuda, the vehicle of Lord Vishnu. Know as one of the Nitya suris eternally waiting upon him in Vaikunta. this hymn opens with one verse and has two verses in the end.
Garuda is hailed in the Vedas. He is said to have two wives, Rudra and Sukirthi. He is believed to be an aspect of Sankarshana, one of the vyuha forms of the Lord.

According to traditional accounts once a snake charmer challenged Sri Desika to control the serpent he was going to let loose, so as to prove his title "Sarvatantra Svatantra". Sri Desika chanted the Garuda mantra and invoked the grace of Garuda. It is said that Garuda at once swooped and took away the cobra. The startled and repentant snake charmer requested Sri Desika to pardon him and secure his cobra back to him, since it was his only means of livelihood. Our Compassionate Desika is said to have composed the present dandaka, whereupon Garuda came back,dropped the cobra down alive and flew away.
Sri Desika in the penultimate verse of this hymn points out that the Dandaka has four padas (quarters) of 36 ganas each. Normally gana is a group of three letters. Here the first two Ganas are na consisting of three short syllables represented as l l l and ra consisting of one long one short and another long represented as the U l U. it is melodious to listen to. Five types of breath are mentioned here prana, apana,samana, udana, and vyana. he also prays for steadfast knowledge of the truth and the desire yielding cow of bhakti for Mukunda who is the main source of the universe, which Bhakti milks great bliss, is unique and free from base desires. in the end he says This dandaka on Garuda consists of 36 ganas in each quarter which open with two na-ganas and a series of ra-ganas is a novel composition full of merits. May it break the arrangements of arrays of the enemy. This garuda dandaka bestower of wonderful powers is sung  by the erudite Venkatesa for the delight of the Lord (Vishnu )who has Garuda as His banner.

27. Sri Garuda Panchasat.
This stotra has 52 verses and it is devoted to the description of Garuda, the vehicle of Lord Vishnu. Vedanta Desikar after meditation on Garuda had a direct vision and was given the Hayagriva mantra by Garuda.
This beautiful hymn is know for its powerful style excellent imagery and grand construction has five sections called Varnakas in keeping with the five syllables of the Garuda Mantra. The first section is called Para vyuha varnaka, the second the Amirtaharana varnaka the third the Nagadamana Varnaka the fourth the Parishkara Varnaka and the fifth Adbhuta Varnaka. These sections deal with the Glory of Garuda in the Para and Vyuha aspects. His fetching nectar from the heavens, his crushing the serpants, his being decorated with serpants, and the wonderful exploits of his respectively. In verse four and seven Swami Desika equals Garuda to the Lord itself in several aspects. this can be taken as reference that the liberated soul attains with the Lord in the highest abode. In verse 27 Lord Vishnu requests Garuda not to harm his own bed Adi Sesha.
Daily chanting of this stotra is said to ward off problems caused by poisonous creatures and terrible diseases.

28 Sri Yathiraja Saptati.
This hymn in 74 verses is in praise of Sri Ramanuja. This is set in a variety of meters. In the first 9 versesSwami Desika refers to all the teachers . celestial and divine who form the Guruparampara of the Srivaishnavas. It opens with Lord Vishnu and ends with Mahapurna the perceptor of Sri Ramanuja. He brings out the greatness of Ramanuja as the unique systematizer of the Upanishadic Pilosophy closely following the ancient philosophers like Bodayana, Tanaka, Dramida and Guhadeva. Ramanujas work though limited are unmatched in value and significance. (43) he also refers to the greatness of Sri Bhashya and calls it an upanyaso on saririka which is in tune with the Bodayana Vritti. He refers to Ramanuja as the incarnation of the five weapons of Vishnu,   finally he refers to his own amazing all round proficiency in several systems of thought and that of Ramanuja's system in particular. 
These stotras are treasured by the Sri Vaishnava's all over the world. Knowing even one of them by rote is considered as learned gifted blessed person.

Sunday, August 24, 2014

Prahelika. Riddles.

Prahelika is a riddle or an enigma. In it words are coined to present a meaning outwardly hiding its original meaning. there are 16 kinds of prahelikas.
example
1. Pratardhuta prasangena, madhyane striprasangathaha.
   ratri chaurya prasangena kalo gachati dhimatham.
the time of wise men passes by discussing about the gambling in the morning, about women in the afternoon and about theft at night.
to be noted. Here gambling refers to the story of Mahabaratha, the women refers to the story of Ramayana and the theft refers to the story of Bhagavata.
2. Vruksha gravasi na cha paksi raja.
    trinetra dhari na cha shoolapani /
  tvagvastra dhari na cha sindhu yogi
  Jalamcha bhibrana ghato na medha //
It lives on the top of the tree but not the king of birds;
the possessor of three eyes but not the trident bearer.
The wearer of skin garments but not the ascetic.
It contains water but not the pot or the cloud.

Answer Coconut.

3.seemanthi nishu ka shantha.
  raja ko bhuta gunothama
 Vidhusham ka sada vandhya
 atraivoktam na bhudyate.

Among chaste women who is quiet?
Who was the most noble king?
Who is always adored by the scholars?
It is answered here but not understood.
The answer is got by combining the first and last syllable of each Sanskrit line. Sita Rama and Vidya.

Friday, August 22, 2014

Guru

Guru Stotram
1. Akhanda mandalaakaaram
Vyaaptam Yena Charaacharam
Tatpadam Darsitam Yena
Tasmai Shri Gurave Namah.

Prostrations to that noble teacher by whom that state is indicated which pervades the entire cosmos, everything animate and inanimate.

2. Ajnaana Timiraandhasya
Jnaanaanjana shalaakayaa
Chakshurunmeelitam Yena
Tasmai Shri Gurave Namah

Salutations to that noble teacher who with the collyrium stick of knowledge has opened the eyes of one blinded by the darkness of ignorance.

3. Gurur Brahmaa Gurur Vishnuh
Gurur Devo Maheshwarah
Gurureva Param Brahma
Tasmai Shri Gurave Namah

Salutations to that noble Teacher who is Brahma, Vishnu and Parameshwara; and who is verily the supreme Brahman.

4. Sthaavaram Jangamam Vyaaptam
Yatkinchit sa charaacharam
Tatpadam Darshitam Yena
Tasmai Shri Gurave Namah.

Salutations to that noble Guru who has made it possible to realise Him, by whom all that is sentient and insentient, movable and immovable and everything is pervaded.

5. Chinmayam Vyaapi Yatsarvam
Trailokya sa charaacharam
Tatpadam Darsitam Yena
Tasmai Shri Gurave Namah.

Prostrations to that noble Teacher who has made it possible to realise Him who pervades everything in all the three worlds.

6. Sarva Sruti shiro ratna
Viraajita padaambujah
Vedaantaambujah Suryo yah
Tasmai Shri Gurave Namah

Prostrations to that noble Teacher whose lotus feet are radiant with the lustre of the crest jewel of all Srutis and who is the Sun that causes the Knowledge to blossom forth. 

7. Chaitanyah shaashvatah Shaanto
Vyomaateeto Niranjanah
Bindunaada Kalaateetah
Tasmai Shri Gurave Namah

Salutations to that noble teacher who is the ever effulgent eternal peaceful beyond space, immaculate and beyond the manifest and unmanifest.

8. Jnaana Shakti Samaaroodhah
Tattwamaalaa Vibhooshitah
Bhukti Mukti pradaataa cha
Tasmai Shri Gurave Namah

Prostrations to that Teacher who is established in the mighty knowledge and power adorned by the garland of various principles and who is the bestower of prosperity and liberation.

9. Aneka janma Sampraapta
karma bandha vidaahine
Atma jnaana pradaanena
Tasmai Shri Gurave Namah.

Salutations to that noble Guru who by bestowing the knowledge of the Self burns up the bondage created by accumulated actions of innumerable births.

10. Shoshanam Bhava Sindhoscha
Jnaapanam Saara Sampadah
Guroh Paadadakam Samyak
Tasmai Shri Gurave Namah.

Salutations to that noble Guru whose grace with which whose feet are washed dries up completely the ocean of transmigration the endless sorrows of this Samsara, and reveals the
Supreme Wealth.


11. Na Guroradhikam tattwam
Na Guroradhikam Tapah
Tattwa jnaanat Param Naasti
Tasmai Shri Gurave Namah.

Salutations to that Guru, than whom there is no higher truth, there is no higher Penance than service to the Guru and there is nothing higher attainable than the true knowledge.

12. Man Naathah Shri Jagannaathah
Madguruh Shri Jagadguruh
Madatmaa Sarva Bhootatmaa
Tasmai Shri Gurave Namah

Prostrations to that noble Guru who is my Lord and the noble Lord of the universe, my Teacher and the Teacher of the universe, who is the self in me, the self in all beings.

13. Gururaadiranaadischa
Guruh Parama Daivatam
Guroh Parataram Naasti
Tasmai Shri gurave Namah.

Salutations to that noble Guru who is the beginning and the beginningless, who is the supreme Deity than whom there is none Superior.

14. Twameva Mataa cha Pitaa Twameva
Twameva Bandhuscha Sakhaa Twameva
Twameva Vidyaa Dravinam twameva
Twameva Sarvam Mama Deva Deva.

Oh Guru! You alone are my Mother, Father, Brother, friend, the Knowledge and Wealth. You are to me everything and God of all Gods.


Puranas

The Puranas are eighteen in no andthere are as many upapuranas or subsidiary puranas.
 Kurma Purana, Garuda purana, brhan-naradiya purana, Padma purana, Brahma purana, Brahavaivarta purana, Brahmanda purana, Bhavisya purana, Bhagavata Purana, Matsya purana, Markandeya purana, Linga purana, Vamana purana, Varaha purana, Vishnu purana, Shiva purana and Skanda Purana.
These puranas are classified under three heads as Sattvika purana, Rajasa purana and Tamasa purana. Sri Vishnu Purana and Sri Bhagavata purana are said to be Sattvika Purana and they are accepted as authoritative in total.In the Sankhya and Yoga systems propounded by Kapila and Hirnyagarbha only such parts that are in consonance with the vedas and Vedic thought are taken as valid. the other parts are rejected as being unauthoritative.
How does one determine which are Sattvik which Rajasic etc. After a through and dispassionate study of all the Puranas our Ancient seers have rules to determine the nature of the purana.
Sri Sudarshana Suri the author of the famous work Srutaprakasika   a commentary on Sri Bhashyam has discussed the point in great detail in his work and gives his conclusions which are indisputable.
Authoritativeness of Vishnu Purana. Firstly he says the puranas themselves declare or give a clue about the nature of the Purana. Eg Matsya purana says as follows:
Agneh sivasya mahatmyam tamasesu prakiryate,
Rajasesu ca mahatmyam adhikam brahmano viduh,
Sattvikesvatha kalpesu mahatmyam adhikam hareh,
Tasveva yogasamsiddhah gamisyanti param gatim,
Yasmin kalpe tu yat proktam puranam Brahmana pura,
Tasya tasya tu mahatmyam tat svarupena varnyate.

The greatness of Vishnu is described in all the Sattvika puranas with out exception.

Sattvikesu ca sarvesu visnor mahtmyam isyate.

to be continued.

Wednesday, August 20, 2014

chapter 2 ; 46 verse.

The vedas are universal in their benevolence and are more affectionate and beneficent than say a thousand mothers or fathers put together. they prescribe methods for realising the varied ends of the different classes of people governed by their inherent nature in accordance with the preponderance of one or other of the three qualities Sattva Rajas and Tamas. Each one may choose whatever he likes according to his taste and ability. But a wise man must think and find out what is good for him amongst those that are prescribed. he must not indiscriminately run after all things that are found in the vedas.
Lord Krishna's words to Arjuna.
Yavan artha udapane sarvatas- samplutodake,
Tatva sarvesu vedesu brahmanasya vijanatah.
The vedas in toto are authoritative, all the rules are not meant for all.
A man uses only as much water as he needs out of a reservoir abounding in water far beyond his demand and not more. In the same way a man of discrimination choose from the Vedas only those that pertain to him and are conducive to his objective.

True Nature of DREAMS. and the CREATOR.

From Brihadaranyaka Upanisad.
[Na tatra ratha na rathayoga na panthano bhavanti, atha rathan rathayogan pathah srjate. Na tatra ananda mudah pramudo bhavanti, atha anandan mudah pramudah srjate, Na tatra vesantah puskarinyah sravantyo bhavanti. atha vesantah puskarinyah sravantyah srjate sa hi karta]
meaning in the condition of dream, there are no chariots, no horses to be yoked and the roads (to travel) But he creates the chariots the horses to be yoked and the roads. There is no pleasure, no joy and no happiness; but He creates pleasure, joy and happiness. (pleasure comes from the sight of a desirable thing, joy from its possession and happiness from its use.) there there are no puddles no lakes and no rivers. But He creates the puddles, the lakes and the rivers. Indeed he is the creator.