Kurattazhwa rmy favorite indeed

Yasya viksya mukham tat ingita paradhinah vidhatthe akhilam. (Sri stavam)

The verse  is from the Śrī Stavam by Kureśa (Kurattazhwar), one of the greatest devotees and disciples of Ramanujacharya. This particular verse glorifies the divine supremacy and the captivating beauty of Goddess Lakshmi (Śrī). Here's a breakdown of its meaning:

"Yasya vīkṣya mukham tat ingita-parādhīnaḥ vidhatte akhilam"

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

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

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

Interpretation:

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

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

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

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


Yat bhru bhangah pramanam sthiracararacana taratamye.

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

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

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

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

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

Verse 23 Viveka chudamani. rare.

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

dialogue between King Viveka and queen Sumathi.

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

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

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

  

udhara bandham parabagha rasa

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

Manda smitha ; nava kusumam.

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

eyes and nose.

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

Haridas bhajan.

Jyu hi  jyu hi tum raakhat 

Jyu hi  jyu hi tum raakhat ho tyu hi tyu hi rahiyat hai ho hari

Aur achar che payi dharo su to kaho kaun ke paind bhari

Jadyapi hau apno bhayo kiyo chaho kaise kari sako jo tum rakho pakari

kahi haridas pinjara ke janawar lo tarpharai rahyo udibe ko kito ukari

Kahu ko bas nahi tumhari kripa te

Kahu ko bas nahi tumhari kripa te sab hoye bihari biharini

aur mithya prapanch kahe ko bhashiye so to hai haarani

Jahi tumso hit tahi tum hit karo ,sab sukh karini

shree haridas ke swami shyama kunj bihari ,pranani ke aadhaarani

Hit to kije kamal nain so

Hit to kije kamal nain so,ja hit aage aur hit lago phiko

kai hit kije sadhu sangati so jaave kalmash ji ko

hari ko hit aiso jaiso rang majeeth sansaarhit kasumbi din duti ko

kahi haridas hit kije bihari so aur na nibahu jaani ji ko

Tinka bayari ke bas

Tinka bayari ke bas

jyu bhave tyu udayi le jayi aapne ras

brahmalok shivlok aur lok as

kah haridas bichari dekhyo bina bihari nahi jas

Hari ke naam ko aalas kyu karat hai

Hari ke naam ko aalas kyu karat hai re kaal phirat sar saadhe

heera bahut jawahar sanche kaha bhayo hasti dar bandhe

ber kuber kachhu nahi jaanat chadhyo phirat hai kandhe

kahi haridas kachhu na chalat jab aawat ant ki aandhe

Man lagaye preeti kije 

Man lagaye preeti kije kar karwa so brajbithini dije sohini

brindaban so ban upwan so gunj maal kar pohini

go gosutan so mrig mrigsutan so aur tan nek na johini

shree haridas ke swami shyama kiunj bihari so chitta jyu sir par dohini

Hari ko aisoi sab khel

Hari ko aisoi sab khel

mrig trishna jag vyaap rahi hai kahu bijoro na bel

dhanmad jobanmad aur rajmad jyu panchhin mein del

kah haridas yahe jiya jano teerath so mel

Jau lo jive tau lo hari bhajo re

Jau lo jive tau lo hari bhajo re man aur baat sab baadi

diwas chari ko hala bhala tu kaha leigo laadi

maaya mad gun mad jobanmad bhulyo nagar bibadi

kahi haridas lobh charpat bhayo kahe ki lage phiradi

Prem samudra roopras gahire 

Prem samudra roopras gahire kaise laage ghaat

bekaryo de jani kahawat jaani panoki kaha pari baat

kahu ko sar pare na sudho maarat gaal gali gali haat

kahi haridas biharihi jano tako na aughat ghaat

Gaho man sab ras ko ras saar

Gaho man sab ras ko ras saar

lok bed kul karme tajiye bhajiye nitya bihar

grih kamini kanchan dhan tyago sumiro shyam udaar

kahi haridas reeti santan ki gadi ko adhikaar