Friday, November 17, 2017

meditation.

The Gita shows that there is no better path than devotion to God to overcome ahamkara and to gain His grace. The beauty of the Gita is that all types of seekers are included, and a variety of methods offered to practise meditation by which God can be attained, pointed out Swami Tejomayananda in a discourse.
Krishna makes it clear that meditation is crucial in spiritual pursuit and that there is no better way than yoga to keep the mind under check and to hold the senses under control. Vedic seers have shown the path to the attain the Akshara Brahman, the imperishable; and this is the path earnestly sought by those in whom all attachments are gone for good and who lead austere and disciplined lives.
The yogic practices such as yama, cultivating moral values, niyama, regular habits of study and worship, asana, postures for meditation, pranayama, practice of breath control, pratyahara, controlling the senses, dharana, concentration, dhyana, meditation, etc,are necessary for chitta suddhi. Only then is concentration and meditation possible, when the attention of the mind is held in one’s heart. Then the Lord extols the Pranava mantra, the Omkara as most suitable for meditation as it represents both the form and essence of the Supreme Brahman.
To those who may find these paths difficult, the Lord says that He is easily available to one who always remembers Him and forever thinks of Him. The Gopis never practised the yogic disciplines; they were only drawn to the form and presence of the Lord and always absorbed in God.
It is said that once when Narada visited Brindavan, he found a Gopi who told him that she was trying hard to divert her mind from Krishna since she is unable to do any other work. Such total absorption in God is what sages steeped in meditation strive to attain.


Thursday, November 16, 2017

jabala upanishad.

 The Jabala Upanishad  recommends that a person may renounce on the day he feels detached from the world, regardless of which stage of life he is in meaning the four varnas brahmacharya grihasta vanaprasta or sanyasa.

In the third chapter, the shortest in the Upanishad, the students of Brahman ask Yajnavalkya to recommend a hymn that guides someone to immortality. Yajnavalkya recommends the Satarudriya, the hymn with the hundred names of the god Rudra. This hymn is found in sections of the Vajasaneyi Samhita in Yajurveda,16.1 to 6.66 and is conceived as many epithets of Atman.

he saw god in everyone.

Thayumanavar was a minister in the court of the Nayak King Chokkanatha. One day, he crumbled a palm leaf manuscript that he had been reading. Those around him were shocked, because it was an important manuscript pertaining to administrative affairs. They asked him why he had crushed the manuscript. He said, “The garment of Goddess Akilandeswari in the Thiruvanaikka temple has caught fire. I wanted to put out the fire, and while trying to do so, I didn’t notice that I had crushed the palm leaf manuscript.” The men were puzzled. How could Thayumanavar know about a fire in the temple, when he was not there?
And even assuming he did know of a fire, how could he put out the fire when he was not present in the temple? How could a fire be put out by someone far away from the scene? The men did not believe Thayumanavar’s explanation, said Malayaman, in a discourse. They thought he had lost his sanity. They decided to inform the king about what had happened. When they reached the palace, a messenger came to the king with the news that the garment of the Goddess had caught fire, but had also miraculously died out on its own. The king guessed that Thayumanavar must have been responsible for the fire being put out. His respect for Thayumanavar increased.
In course of time, Thayumanavar renounced worldly life and became a sanyasi. He wore only a loin cloth. Even in winter, he did not use winter clothing. Moved by the sight of the sanyasi with no winter clothing, the king gave a shawl to Thayumanavar.
Some days later, the king noticed a woman wearing the shawl. “Why did you give that shawl to her?” he asked Thayumanavar. The saint replied, “I saw Goddess Akilandeswari shivering in the cold, and I presented the shawl to her,” showing that he saw God in everyone.
from web.....
Thayumanavar's key teaching is to discipline the mind, control desires and meditate peacefully. He went on to say that "it is easy to control an elephant, catch hold of the tiger's tail, grab the snake and dance, dictate the angels, transmigrate into another body, walk on water or sit on the sea; but it is more difficult to control the mind and remain quiet".
Thayumanavar was a respected scholar in both Sanskrit and Tamil and was a minister to the King in Trichinopoly in South India. His name hails from the name of the deity of the Rockfort Temple in Trichinopoly. When he became god-minded he quit his job and began roaming, preaching Shaiva-siddhanta philosophy and Shiva worship. His songs are full of the divine bliss which he enjoyed and transmitted in abundance. The songs on the theme of the Atman craving for the union with the Supreme, are famous for their authenticity, simplicity and easily remembered language. He is also known for his unceasing emphasis on the unity of all paths to God and of all religions, and, in particular, on the unity of Vedanta and the Shaiva siddhanta.

Ever-permanent, without any blemish, without any ignorance, without support, ever-full, undecayingly pure, far as well as near, like the Light beyond the three luminaries (Sun, Moon and Fire), the One Charm that includes all, overflowing with Bliss, undiscernible to mind or speech, standing as the Colossus of Consciousness—on that vastness of the beginning of Infinite Bliss, let us meditate.

Tuesday, November 14, 2017

oneness.

"Yasmin Sarvani Bhoothanyatmaivabhoodvijanatah;
Tatra ko, Moha ka, Shokah ekatva manupashyatah:"

Where is the question of sorrow in one who sees everything as one.

Monday, November 13, 2017

Arayirappadi

Arayirappadi (6000)
Periya Tirumalai Nambi's son Tirukkurukaippiram pillai who was entrusted to the care and service of Sri Ramanujar by his parents is the author of the six thousand verses. This is the commentary on Nammalwar's Tiruvoymozhi.
All the commentaries on the Thiruvoimolzi are collectively called Bhagvad Vishayam meaning attributes of Alagiya Manavalan. this name he seems to have got after the Lord was found posing as the disciple of Acharya Manavala Mamunigal and was seen enjoying the discourse given by the Acharya while he was explaining Nammalwars Thiruvoimolzi.
It was Ramanuja who entrusted Pillai to write a commentary on Thiruvoimolzi as he found his literary abilities of very high order.
Arayirapadi is in maniparvala and each of the 6000 verses consists of 32 syllables. this is said to be equivalent to Vishun Purana by the help of which this Purana was written.
The characteristic feature of this commentary is that it gives four Sanskrit words to two Tamil words per verse. The Sanskrit words usually end with Tamil language endings, there are some sanskrit words with Sanskrit declensions but you cannot find Sanskrit verbs with Sanskrit endings. The beauty of Maniparvala style is when lengthy Sanskrit compound sentences are used they are given Tamil endings.
to be continued.

Sunday, November 12, 2017

ksheeraabdhi

Ksheeraabdhi kanyakaku sree mahaalakshmikini
neerajaalayamunaku neeraajanam
neeraajanam..neeraajanam..

Jalajaakshi momunaku jakkava kuchambulaku
nelakonna kappurapu neeraajanam
aliveni turumunaku hastakamalambulaku
niluvumaanikyamula neeraajanam
neeraajanam..neeraajanam..

Charana kisalayamulaku sakiyarambhorulaku
nirathamagu muttela neeraajanam
aridi jaghanambunaku athivanijanaabhikini
nirathi naanaavarna neeraajanam
neeraajanam..neeraajanam..

Pagatu Srei Venkateshu pattapuraaniyai
negadu sathikaLalakunu neeraajanam
jagathi nalamelmanga chakkadanamulakella
nigudu nija sobhanapu neeraajanam
neeraajanam..neeraajanam..

Ksheeraabdhi kanyakaku sree mahaalakshmikini
neerajaalayamunaku neeraajanam
neeraajanam..neeraajanam..

Friday, November 10, 2017

G V

Vande Vrundavana Charam vallavee Jana Vallabham,

Jayanthi Sambhavam dhama vaijayanthi bhooshanam.        1

Salutations to him, who wanders in Vrundavana,
Who is the darling of the Gopis there,
Who was born on the day of the  Sri Jayanthi,
And who wears the garland called Vaijayanthi.

Vacham nijangarasikam prasmeekshamano,
Vakthraravinda vinivesitha pancha janya,
Varna trikona ruchire varapundarike,
Badhasano jayathi vallava chakravarthi.                             2

Victory to the emperor of  the Gopis,
Who looks at Saraswathi sitting on his lap,
Who keeps his conch Pancha Janya close to his lips,
Who sits in the middle of a triangle placed,
In the middle of the holy lotus.

Amnaya gandha ruchiru chira sphurithhadharoshta,
Masravilekshana manukshana mandhahasam,
Gopaladimbhavapusham kuhana janannya,
Pranasthanandhayamavaimi param pumaamsam.                      3

I see that divine gentleman,
Whose breath wafted the fragrance of the Vedas,
Whose pretty lips quivered,
When he cried and laughed,
With his form of a cow herd baby,
And smiled in between the bouts of cry,
At the approach of the deceitful mother*,
And drank her life force and blessed her.
      *Poothana the ogress sent to kill him


Aavirbhavathvanibruthabharanam purasthaat,
Aakunchithaika Charanam nibrudhanyapadam,
Dadhnaa nimanthamukurena nibhaddhatalam,
Nathaasya nanda bhavaneh nava neeta natyam               4

Let that form with the several ornaments,
Appear before my mind,
In which he folds one leg and,
Holds the other leg straight,
In which he produced musical sounds,
And dancing steps in line with,
The sound of churning of curds,
Produced by his mother,
For getting freshly made butter                   

(Another version of the same:-

Aavirbhavathya nibhruthabaranam purastha,
Dakunchidaika charanam nihithannypadam,
Radha nibadhamookurena nibadha thalam,
Nadhasya nanda bhavane nava neethanatyam.          4

That form with the several ornaments,
Appears before my mind,
In which he folds one leg and,
Holds the other leg straight,
In which he keeps time with,
The jingling sound of  anklets,
Which were tied on him by Radha,
And in which he jumps and trots ,
For getting butter in the house of Nanda. )         


Harthum Kumbhe vinihathikara swaduhaingaveenam,
Drushtwa dhama grahana chatulam matharam jatha rosham,
Payadheeshath prachalitha pado napagachchanna thishtan,
Mithyagopa sapadhi nayane meelayan viswagoptha.                           5

Let me protected by the protector of the universe,
Who extended his hand to steal  the sweet butter from the pot,
And seeing his very angry and clever mother with a rope,
Moved slightly his leg  but not moving hither or thither,
Closed tightly both his eyes and waited  for her.

Vraja yoshidha  panga vedaneeyam 
Madhura bhagya mannanya bhagya meede,
Vasudeva vadhoosthanandayam  thath,
Kimapi brahma kisora bhava drusyam.                                6

I meditate on that Brahmam,
Who is understood by the Gopis,
Just by  a slight look on him by them,
Who is the luck of Mathura,
Who is the greatest luck to,
The unmatchable souls every where,
Who drank milk out of the wife of Vasudeva,
And who always looks like a handsome lad.

Parivarthitha kandaram bhayena,
Smitha phulladhara sambhavam  smarami,
Vitapithwanirasakam kayoschid,
Vipololukala karshakam kumaram.                                         7

I remember the lad smiling with lips,
Resembling the rosy leaf buds,
Who had turned his neck out of fear,
And who dragged the big mortar,
In between the two trees and,
Freed both of them of  their,
Tree form forever.


Nikuteshu nisamayami nithyam,
Nigamanthairadhunapi mrugyamanam,
Yamalarjuna  drusha bala keleem ,
Yamuna sakshika  youvanam yuvaanam.              8

I see him daily near me,
Who is being searched  by Vedas,
Who broke the two Arjuna trees,
And who is with young maidens,
Near the Yamuna with it as a witness

Padavee madaveeyasim vimukther
Atavi sambada mambu  vahayantheem,
Arunadhara sabilasha vamsam,
Karunam   karuna manusham  bhajami.                           9

I sing about that man who is the cause,
Who is the way which is near salvation,
Who  is the great wealth of the forests,
Who is as gross as the rain bearing clouds,
Who has red lips fond of  keeping the flute,
And who exists as the state of mercy.

Animesha nisheva neeya makshnor,
Jahadhyouvana ma virasthu chithe,
Kala hayitha kunthalam kalapai,
Karunanmadha vigraham  vibho may.                         10

May He, whose form maddened with mercy,
Appear  and remain in my mind
Who has an ever youthful pretty form,
Which does not allow our eyes to close for a second,
And who has pretty hair decorated by peacock feather,

Anuyayi manogna  vamsa naalai,
Ravathu  sparsitha vallavee vimoghai,
Anaghasmitha  sheethalai rasou maam,
Anukampasaritham  ambujai pangai.                              11

May I be protected by His sight,
Which resemble the lotus flowers,
Of his mind resembling the  pond of mercy,
Cooled by his pleasant smile,
And which always falls on the flute with him,
And which makes the Gopis extremely happy,

Adharahitha chharu vamsa nalaa,
Mukutalambhi mayoora pincha mala,
Hari neelashila vihanga leela,
Prathibhasanthu mamanthima prayane.                          12

I should be able to see Him,
With flute kept close to his lips,
With blue peacock feather adorning his hair,
And with his pranks shining like the blue gem,
During the last procession of my life.

Akhilanavalokayami kaalan,
Mahila leena bhujantharasya yoona,
Abhilasha padam vrujanganana,
Abhilapakrama dhooramaabhi roopyam.                      13

I see him always and all times,
With a chest carrying his Lady,
And also see him  as prettiness,
That can never ever be described,
And which is the acme of desire of the gopis.

Hrudhi Mugdha sikanda mandana
LIkhitha kena mamaisha shilpana,
Madhanadhura vallavangana,
Vadhambhoja divakaro Yuva.                                   14

I salute Him who is like a Sun.
To the lotus faces of lovelorn gopis,
Who are infatuated by his face,
Shining because of the peacock feather,
Worn by him in his head.
And who has etched his pretty face,
In their minds always.

Mahase mahithaya moulina,
Vinathenanjali manjana twishe,
Kalyami vidagdhavallavee
Valaya bhashitha manju venave.                                 15

I salute with folded hands,
Him who is black in colour,
And who plays his pretty flute,
In the midst of those gopis,
Who are intelligent and experts.

Jayathu lalitha kruthyam sikshatho valveenaam,
Sidhila valaya sinja seethalair  hastha thaalai,
Akhila bhuvana  raksha gopa veshasya vishnor,
Adharamani sudhaya vamsavan vamsa nala.                16

Victory to that flute which partakes the nectar,
Flowing from the lips of Vishnu,
Who has taken the form of a gopa lad,
For protecting all the world,
And to him who is being taught,
The dancing steps along with the ,
Beats created by the tingling sound,
Created by their bangles by the gopis.


Chithrakalpa sravasi kalayan langalee karna pooram,
Barhothamsa sphuritha chikaro bandhu jeevam dadhana,
Gunjam badhamurasi lalitham darayan harayashteem,
Gopasthreenam jayathi kithavo gopikamapahari.             17

Victory to Him who cures,
The passion of  Gopi maidens,
By  prettily dressing himself,
With flower from coconut sheaf in the ear,
With peacock feathers and the flower,
Of red hibiscus tied to his pretty tresses,
And  the garland made of the black red
Seeds of Gunja* tree decorating his chest.

              * Called Kundhumani in tamil, these seeds are used to weigh gold.

Leelayashtim karakisalaye dakshinenyasya dhanyam,
Amse devya pulakanibide sannivishatanya bahu,
Meghasyamo jayathi lalitham  mekhala datha venur,
Gunja  peeda sphuritha chikuro  gopa kanya bhujanga.                            18

Victory to him who keeps his flute,
Tucked in his golden waist band ,
Who keeps his right hand on a stick,
Used to mind the herds of cow,
Who keeps his left hand on the shoulder,
Of  the lady* shivering with joy,
Who is of the black colour of the cloud,
And who ties his tresses with a chain of Gunja seeds.

 *Sri Sadagopan in his commentary says this Lady is Nappinnai(neela Devi) a special  sweet heart of Krishna. I saw another reference that this lady is Yasodha his mother. It could be Radha also but Radha is rarely mentioned in the work of disciples of Ramanuja.

Prathyaleeda smruthi gaham praptha gadangapaalim,
Paschadeeshayilitha nayanam  preyasim prekshamana,
Bhasthrayanthra pranihithakaro  bhaktha jeevathuravya,
Dwaree kreeda nibida vasano  vallavee vallabho na.                     19

May that Lord who is the Lord of the gopis,
Who swept his sweet heart gopi in to a tight embrace,
Along with his wet cloths made wet,
During the love play inside the water,
Who gave a loving glance to the gopi who,
Was keeping her eyes partially closed,
Who held in his hand a water gun,
And who is the savior of his devotees,
Save me from the ills of domestic life.

Vasoo hruthwa dinakara sutha sannidhou vallaveenaam,
Leelasmero jayathi lalithamasthitha kunda shakhaam,
Sa vreedabhisthadhanu vasanam thabhir abhyarthamana,
Kamee kaschid kara kamalayor anjalim yachamana.                           20

Victory to the playful one  who ,
Sat daintily on the branch of the kunda tree,
And took away all the cloths left by Gopis,
Who were taking their bath in the river that is ,
The daughter of the sun god,
And when requested for their cloths,
Requested them to come out ,
And seek  for the cloths with raised folded hands.
Phala Sruthi

Ithyan anya manasaa vinirmitham,
Venkatesa kavina sthuthim padan,
Divya venu rasikam sameekshathe ,
Daivatham kimapi yowatha priyam.                  

He who reads this poem written,
By the poet Venkatesa* with no one,
Else appearing in his mind,
Would go near the God who likes,
The holy flute , who is the God,
Who is the darling of all gopis.
       * The name of Vedantha desika was Venkatesa.
                           ------------------------------------------------------
Note:
In a book published from Kerala, the following Stanza is given as Stanza Number 5.But this is absent from many of the versions that I saw:-

Kunda prasoona visadairdasanai chathurbhi,
Sandhasya mathranisam kucha choochukagram,
Nandasya  vakthramavalokayatho murarer,
Mandasmithm mama maneeshitha mathanothu.                   


Let my desires be fulfilled by that ,
By the killer of  Mura,
Who with his front four teeth,
Which are like the buds of Jasmine,
Bites the aureole of the busts of his mother,
 And smiling looks at the face of Nanda.