Weather you are a man or a woman unless the feminine becomes alive in you you will never experience the finer aspects of life. sadguru.
Sunday, January 5, 2020
Nivritti or Pravritti does it matter?
Suka confesses that though he is a Brahma Nishta sage steeped in meditation of the Nirguna Brahman, he finds much joy and delight in singing the praises of the Lord’s excellences. This statement is made when Parikshit asks him the way to salvation. Quoting the Upanishad thought about what is really worthwhile, Suka says that each one has to know about the All-pervading and Omnipotent Lord, and to this end one has to hear His glories expounded, and then remember Him always, pointed out Sri R. Krishnamurthy Sastrigal in a discourse. The Bhagavata Purana is capable of leading people out of samsara by fostering devotion true and simple, regardless of whether they have opted for the spiritual path of renunciation, Nivritti, or the path of a householder, Pravritti.
There is a story about how the Lord wishes to enlighten Narada on the true devotion practised by even those in Pravritti. The Lord speaks highly of the devotion of a farmer in a village. Noticing that Narada feels disappointed that the Lord has not credited him as an ideal devotee, the Lord entrusts him with a simple task, to carry a bowl filled with oil around the world without spilling even a drop of it. Narada leaves with the oil bowl and proudly comes back to the Lord after carefully finishing the assignment. The Lord is pleased and as He takes back the bowl, asks Narada about the number of times he chanted His name when he was on the errand. Narada admits to the Lord that he had forgotten to chant the Lord’s name during his trip as he had to focus on not spilling the oil. After all, he was only doing the work allotted by God, argues Narada. The Lord points out that the farmer too does the work ordained for him, and in the midst of it takes care to remember Him.
There is a story about how the Lord wishes to enlighten Narada on the true devotion practised by even those in Pravritti. The Lord speaks highly of the devotion of a farmer in a village. Noticing that Narada feels disappointed that the Lord has not credited him as an ideal devotee, the Lord entrusts him with a simple task, to carry a bowl filled with oil around the world without spilling even a drop of it. Narada leaves with the oil bowl and proudly comes back to the Lord after carefully finishing the assignment. The Lord is pleased and as He takes back the bowl, asks Narada about the number of times he chanted His name when he was on the errand. Narada admits to the Lord that he had forgotten to chant the Lord’s name during his trip as he had to focus on not spilling the oil. After all, he was only doing the work allotted by God, argues Narada. The Lord points out that the farmer too does the work ordained for him, and in the midst of it takes care to remember Him.
Wednesday, January 1, 2020
Monday, December 30, 2019
Sunday, December 29, 2019
margam
Bharatanatyam Margam
Alarippu
The word ‘Alarippu’ means ‘blooming’ (root ‘alaru’ may be found in telugu, tamil and other Dravidian languages). Alarippu is short invocatory Nritta item. It’s meaning is paying obeisance or salutation to God, guru and audience. It opens performance and also opens dancer’s body – limbs are warmed up by simple movements, mind is focused by precise rhythm and emotions are activated by harmony and beauty of traditional choreography and inner joy of dance, so dear to each dancer.
Alarippu can be performed in different thalas and jatis, traditional alarrippu-s are rupaka, misra chapu and chaturasra eka thalam alarippu.
S Sharada Teacher explained Alarippu as follows:
'The Alarippu movements begin with the eyes and neck and move progressively downwards. This is essencially a dance dedicating each part of the body before commencing the actual program. Alarippu conveys happyness. 'Nanadanti anena devata - iti naandi.' That which makes the deva-s happy is naandi. Hence the Alarippu is like the naandi sloka.Hence the Alarippu is like the naandi sloka. Since this is dedicatory dance, it has to be simple, setting the stage for the more complicated dance to follow.'
Jathiswaram
This is pure Nritta item set to tune (ragam) in particular rhythm (thalam). Jathiswasram includes Jathi (sollukattu), Pallavi, Anupallavi and one or more Charanas. There is no any sahityam passages present her, the whole composition is sung by swaras.
The meaning of Nritta, pure dance, is using the God given body and limbs we create as many forms of beauty as possible through flow of poses and movements connected together by rhythm and music. Beauty and inner joy of dance is the only meaning of Nritta. It doesn’t have any particular mood or sentiment. It produces aesthetic pleasure.
In answer to question asked by the sages, Bharata explained: “The dance is occasioned by no specific needs. It has come into use because it creates beauty.”
As a dance composition, jathiswaram includes jathi and several korvais set to Pallavi, Anupallavi and Charanas. Some korvais are intervened by Mai adavu (set of adavus characterized by elaborate body movement).
Famous Jatiswarams are composed in ragas Kalyani, Chakravakam, Arabi, Vasanta, Saveri, Kamas.
Shabdam
This is a song in praise of deity The other name of this musical composition is ‘Yasho geetam’ (song in praise). In olden days all Shabdams were composed in Kamboji ragam. Nowadays shabdams are sung in raga malika, but the first ragam of the sequence should be Kamboji. Majority of shabdams are set to Misra Chapu thalam.
Shabdam starts with short jathi. Each line of sahityam is repeated several times. Dancer should explain it through pada artha (word by word) and vachika artha (sanchari) abhinaya. Each line is concluded by short jathi when the dancer executes set of simple adavus.
Varnam
'In the Varnam, teermanam-s should be in proportion to the rest of the piece. Disproportionately lenghy teermenam-s spoil the continuity of the work. So do unnecessary long Sanchari-s. When Sanchari go beyond three or four avarta-s (rhythmical cycles), the dance turns into a drama or mono-acting. At one recital, I counted as many as 60 repetitions of a line, at which point I gave up counting. This kind of a thing distorts the form of the varnam. IT is possible to communicate what is necessary in the shortest span of time.'
'The kalapramanam (tempo) for a varnam should be moderate. This enhances the beauty of the presentation. In the older forms, tattu mettu was never done for the Pallavi and Anupallavi. Tattu mettu was done for the Chittaswara sahitya. The continuity of teermanam-s should also not be broken. Adavu-s should be in proportion to the teermanam-s.'
The stage space should be correctly used. Just as the delineation of adavu is important, so also are the lines created when covering the stage. A dancer should not wander on the stage; there are certain prescribed ways of moving which should be respected.'
'For the Sanchari-s in the varnam, the various subtle meanings of the song should be used within the context. This will make the presentation attractive.'
Padam
Padam may be described as musical monologue. To understand meaning of Padam it is very essential to comprehend relationship between the heroine (Nayaki) and the hero (Nayaka).
In Padam human soul is represented by female lover (Jeevatma) yearning for union with supreme being (Paramatma). This type of relationship is called ‘Sringara-bhakti’ (devotion through love of the highest, dignified kind).
In Padam human soul is represented by female lover (Jeevatma) yearning for union with supreme being (Paramatma). This type of relationship is called ‘Sringara-bhakti’ (devotion through love of the highest, dignified kind).
Padams give the widest scope for Abhinaya, expression of sentiments, emotions, feelings, moods including all the shades possible.
Before performing a padam, the one should visualize the hero and heroine, the previous history of their relationships, the current situation, the mood and intentions of the heroine (or hero, depends upon from whose name the padam is sung) and possible development of the situation between the lovers.
Before performing a padam, the one should visualize the hero and heroine, the previous history of their relationships, the current situation, the mood and intentions of the heroine (or hero, depends upon from whose name the padam is sung) and possible development of the situation between the lovers.
Padams are suggestive, they admit dual meaning – direct and indirect aspects. Padams are centered round theme of love, which is basic and underlying mood of Padam. Over this mood different emotions may be expressed, according to situation and character of the heroine and hero, but they should not break the main stream of tender affectionate feeling of love flowing underneath. Anger is often pretended, suffering is mingled with hope and indignation is softened by hidden affection.
'Care should be taken when selecting the theme for a padam which is a slow item and contains a lot of deep rasa bhava. The rasa is nearly always Sringara. An idea already presented in a sanchari should not be repeated. The best charana-s should be selected. The mood of the nayika should be correctly ascertained and portrayed.'
Padam includes Pallavi, Anupallavi and Charanas. For dance not all charanas may be selected, just one or two the most beautiful lines are enough. Padams are set to Rakti ragas such as Ananda Bhairavi, Shankarabaranam, Todi. Padams are sung in slow tempo.
Padams are mostly composed in Telugu and Tamil, but there are also Sanskrit, Kannada and Malayalam padams.
The famous composers of Padams are Kshetrayya, Sarangapani, Annamaya, Melattur Venkatarama Sastri, Kasturi Rajgaya, Swathi Tirunal, Iraiman Tambi.
Keertanam
Keertanas deal with glories of the Gods. It includes Pallavi, Anupallavi and Charana-s. Keertanas are set to lighter ragas. It is usually sung in Madhyama kalam (medium tempo). Sahityam narrates prayers and stories from Puranas, thus basic bhava of keertanam is Bhakti.
As a dance composition, Keertanam is abhinaya item, where lines of sahityam are intervened with jathis and swaras during which the dancer executes different korvais (sets of adavus).
'Keertanas are taken from other works should be authentically presented. There is a common misconception that the keertana 'Yaro ivar yaro' is Sita singing about Rama, while in reality it is Rama singing about Sita*. The kalapramanam should be moderate.
*This wonderful keertanam is sung in Bhairavi ragam, very deep, touching and rich of moods raga. In this keertanam Rama comes to garden along with Lakshmana and encounters Sita first time. He is stunned and taken by overwhelming feeling of attraction and admiration towards her. He asks 'Yaro ivar yaro? Enna pero narien?' - 'Who is she? What is her name?'
'The keertana is a form of single-minded devotional music. The Ramanataka keertanas or Nandanar keertanas and others of different authors are therefore steeped in bhakti and evoke devotional mood with little or no distraction or conflict. Hence the delineation of different moods as in Sringara rasa is not possible. So the expansion of ideas in those songs is only by elaborating on the episodes and stories found in the puranas about the God in whose praise the keertanas are composed.'
Javali
In contrast to Padams (songs of dignified love), Javali-s are songs reflecting very casual aspects of love, in light and playful manner. They emphasize amorous (and even erotic) nature of relationships between the lovers.
Javalis are set to lighter ragas. It is usually sung in Madhyama kalam (medium tempo) or faster. Language of sahityam is very simple, even colloquial. It is also suggestive but in playful sense, without deep philosophical insinuations.
Daru
This composition belongs to the sphere of applied music. It figures in dance dramas. It is the story told in form of a song. In Daru the principal character of dance drama is praised and his deeds are described. Daru is sung in Madhyama kala (medium tempo).
Thillana
Main feature if Thillana is brick and attractive music. Thillanas are sung in the end of either music or dance performance.
Thillana includes Pallavi, Anupallavi and Charanam. Is starts from eye movements, followed by several Mai Adavus (featuring elaborate body movements) set to Pallavi. After Mai adavu several korvais (sets of adavus) are performed set to Pallavi and Anupallavi.
Usi adavu is another feature of Thillana, when dancer covers the stage by quick and fast sequence of movements. Thillana is Nritta item, but there is always one-two line slokam in the end when dancer performs abhinaya (Addressing the deity last time before to conclude the program).
Sloka
Sometimes a recital concludes with a sloka (prayer). The sanchari-s in a sloka should be brief. This is an item without tala and provides felief after the earlier items. It also gives the musicians a chance to use their creativity.
swamiyai vara soladi.
1.Aneyu karadare, adhimoola bandanthe,
Ajamilanu karedhare Narayana bandanthe
2.Adaviyalli Dhruva raya karedare Vasudeva bandanthe,
SAbheyalli DRaupadi karedare Sri Krishna bandanthe
3.Ninna dasara dasanu na karadare,
Yenna palisa beku , Purndhara vittala
1.Like the primeval God coming when an elephant called,
Like The God Narayana came when Ajamila called.
2. Like the coming of Vasudeva when Druva called him in the forest
Like Sri Krishna coming when Draupadi called him in the court
3. If I your slave of slaves call you ,
You should protect me says Purandara Vittala
Pallavi
Ba ba ranga bhujanga shayana,
Komalanga krupanga abhanga
Anupallavi
Ba ba yenna antharanga mallara gaja singa,
Duritha bhava paanga
Charanam
1.Ubaya kaveriya madhya nivasa,
Abhaya dayaka , manda hasa,
SAbheyolu sathivala kaydha ullasa,
Ipraja varada , hey Srinivasa.
2.Yelu prakarada malike manayolage , kaliya deyvara deva,
Sola sasira gopiya ralida ereyalu lokada janaranu kava.
3.Sampraripita dambara hitha mana ,
Ambhujadha lagipa nethra,
Shanka Chakra dara purandara vittala,
Thumburu Narada grutha stotra,
Pallavi
Come, Come Ranga who sleeps on a snake,
Who is pretty, shows mercy and is sung about.
Anupallavi
Come come, Oh lion like wrestler to the elephant,
Oh God who quickly ends miseries of life.
Charanam
1. God who lives between two branches of Cauvery,
God who gives protection, God who smiles prettily,
Oh pleasant God waited for girls in the crowd,
Oh God who blesses all, Oh God in whom Lakshmi lives.
2. Oh Black god who lived in the house,
Surrounded by seven enclosures,
Oh god who is with sixteen thousand Gopis making sound,
Please protect the people of the world.
3. Oh God who has the good of devotes who offer their mind to you,
Oh God who has eyes like lotus flowers,
Oh Purandara Vittala holding a conch and a wheel,
Oh God who is praised by Dumburu and Narada.
Pallavi
Samiyai vara Cholladi , sakhiye,
Kumara bhumi pugazhum Shivakami magizhum balan
Anupallavi
Thamadam sheyalagumo , idhu samyam ,
Kaman kanai thoduthu kalanga cheigiraridi
Charanam
Sholladi manam kallodi jalam chevadhu yenadi
1.Ma mathi mukhattai kana vendum yendru
2. Kalla thanamum kondu , mella nadandhu vandhu,
Thalladi thalladi valli mel vizhundavarukku
3.Vanna mamayil yeri ingu vara yennama, yemathama,
Indha mannum vinum yeno chuzaluthadi,
Kannum urangathu kathu mirppen yendru
4.Oru naal yen kanavinil vanthanadi , perum vinai thanadi,
Karunai ullam arul puriyum endru thavam irundum oru payan illayadi,
Ilam paruva kalam thirumba varumodi ,
Manam urugi vazhum nilai arumodi,
Ithu tharum thiru pazhani malayil uraibhavanai ,
Maruvidave iru karam thudikkuthadi.
Pallavi
Oh friend, Please request the God to come,
The God who is praised in land of Muruga,
Who is the lad who makes Goddess Shivakami happy,
Anupallavi
Should you cause delay, for at this time,
He makes me confused by sending arrows of god of love,
Charanam
Tell me, is his heart stone , Why is he doing these tricks
1.With a desire to see the full moon like face
2.The one with deceit in his mind , he walked and came slowly,
And tottered and tottered and fell on Goddess Valli
3.Is he thinking of coming here riding on the coloured peacock, is it deceit,
Somehow this earth and sky seem to rotate .
And the eyes tell that they will wait without sleeping.
4. One day he came in my dream , it was a great event,
There was no use of doing penance thinking that ,
His merciful mind will one day shower his grace,
Will the time of early youth come again?
Will the state of living with a melted mind cease?
And my hands are shivering to hug,
The one living on Pazhani mountain and is giving me this.
Pallavi
Deva Banda, Namma Swami Bandano
Devara deva Shikhamani Bandano
Deva Banda Namma Swami
Anupallavi
Uraga Sayana Banda
Garuda Gamana Banda
Naragolidava Banda
Narayana Banda
Chararanam
1.Mandarodhara Banda,
Mamanohara Banda,
Brindavana pathi Govinda bandano,
Nakraharanu banda, Chakradharanu Banda,
Akrooragolida Trivikrama bandhano
2.Pakshi vahana Banda
Lakshmanagraja Banda
Akshaya phalada sri Lakshmi Ramana Banda
Nigama kochara Banda
Nithya Trupathanu Banda
Nagemuka purandara vittala Bandhano
Pallavi
God came , our Lord has come
The greatest god of gods came
The crest jewel has come
God came, our Lord has come
Anupallavi
He who sleeps on the snake has come
He who travels on Garuda has come
The one who blessed nara(Arjuna) has come
Narayana has come
Charanam
1.He who lifted the Mandara mountain has come,
He who stole the mind of Lakshmi has come,
The Govinda who is the Lord of Brindavana has come,
The killer of the crocodile has come,
The holder of the divine Chakra has come,
The one who blessed Akroora has come,
The God Trivikrama has come.
2.He who rides the bird has come,
He who is the elder brother of Lakshmana has come,
The giver of endless benefits who pleases Lakshmi has come
He came for making a conclusion
He who cannot be seen even by Vedas has come
The ever cheerful Purandara Vittala has come.
Ajamilanu karedhare Narayana bandanthe
2.Adaviyalli Dhruva raya karedare Vasudeva bandanthe,
SAbheyalli DRaupadi karedare Sri Krishna bandanthe
3.Ninna dasara dasanu na karadare,
Yenna palisa beku , Purndhara vittala
1.Like the primeval God coming when an elephant called,
Like The God Narayana came when Ajamila called.
2. Like the coming of Vasudeva when Druva called him in the forest
Like Sri Krishna coming when Draupadi called him in the court
3. If I your slave of slaves call you ,
You should protect me says Purandara Vittala
Pallavi
Ba ba ranga bhujanga shayana,
Komalanga krupanga abhanga
Anupallavi
Ba ba yenna antharanga mallara gaja singa,
Duritha bhava paanga
Charanam
1.Ubaya kaveriya madhya nivasa,
Abhaya dayaka , manda hasa,
SAbheyolu sathivala kaydha ullasa,
Ipraja varada , hey Srinivasa.
2.Yelu prakarada malike manayolage , kaliya deyvara deva,
Sola sasira gopiya ralida ereyalu lokada janaranu kava.
3.Sampraripita dambara hitha mana ,
Ambhujadha lagipa nethra,
Shanka Chakra dara purandara vittala,
Thumburu Narada grutha stotra,
Pallavi
Come, Come Ranga who sleeps on a snake,
Who is pretty, shows mercy and is sung about.
Anupallavi
Come come, Oh lion like wrestler to the elephant,
Oh God who quickly ends miseries of life.
Charanam
1. God who lives between two branches of Cauvery,
God who gives protection, God who smiles prettily,
Oh pleasant God waited for girls in the crowd,
Oh God who blesses all, Oh God in whom Lakshmi lives.
2. Oh Black god who lived in the house,
Surrounded by seven enclosures,
Oh god who is with sixteen thousand Gopis making sound,
Please protect the people of the world.
3. Oh God who has the good of devotes who offer their mind to you,
Oh God who has eyes like lotus flowers,
Oh Purandara Vittala holding a conch and a wheel,
Oh God who is praised by Dumburu and Narada.
Pallavi
Samiyai vara Cholladi , sakhiye,
Kumara bhumi pugazhum Shivakami magizhum balan
Anupallavi
Thamadam sheyalagumo , idhu samyam ,
Kaman kanai thoduthu kalanga cheigiraridi
Charanam
Sholladi manam kallodi jalam chevadhu yenadi
1.Ma mathi mukhattai kana vendum yendru
2. Kalla thanamum kondu , mella nadandhu vandhu,
Thalladi thalladi valli mel vizhundavarukku
3.Vanna mamayil yeri ingu vara yennama, yemathama,
Indha mannum vinum yeno chuzaluthadi,
Kannum urangathu kathu mirppen yendru
4.Oru naal yen kanavinil vanthanadi , perum vinai thanadi,
Karunai ullam arul puriyum endru thavam irundum oru payan illayadi,
Ilam paruva kalam thirumba varumodi ,
Manam urugi vazhum nilai arumodi,
Ithu tharum thiru pazhani malayil uraibhavanai ,
Maruvidave iru karam thudikkuthadi.
Pallavi
Oh friend, Please request the God to come,
The God who is praised in land of Muruga,
Who is the lad who makes Goddess Shivakami happy,
Anupallavi
Should you cause delay, for at this time,
He makes me confused by sending arrows of god of love,
Charanam
Tell me, is his heart stone , Why is he doing these tricks
1.With a desire to see the full moon like face
2.The one with deceit in his mind , he walked and came slowly,
And tottered and tottered and fell on Goddess Valli
3.Is he thinking of coming here riding on the coloured peacock, is it deceit,
Somehow this earth and sky seem to rotate .
And the eyes tell that they will wait without sleeping.
4. One day he came in my dream , it was a great event,
There was no use of doing penance thinking that ,
His merciful mind will one day shower his grace,
Will the time of early youth come again?
Will the state of living with a melted mind cease?
And my hands are shivering to hug,
The one living on Pazhani mountain and is giving me this.
Pallavi
Deva Banda, Namma Swami Bandano
Devara deva Shikhamani Bandano
Deva Banda Namma Swami
Anupallavi
Uraga Sayana Banda
Garuda Gamana Banda
Naragolidava Banda
Narayana Banda
Chararanam
1.Mandarodhara Banda,
Mamanohara Banda,
Brindavana pathi Govinda bandano,
Nakraharanu banda, Chakradharanu Banda,
Akrooragolida Trivikrama bandhano
2.Pakshi vahana Banda
Lakshmanagraja Banda
Akshaya phalada sri Lakshmi Ramana Banda
Nigama kochara Banda
Nithya Trupathanu Banda
Nagemuka purandara vittala Bandhano
Pallavi
God came , our Lord has come
The greatest god of gods came
The crest jewel has come
God came, our Lord has come
Anupallavi
He who sleeps on the snake has come
He who travels on Garuda has come
The one who blessed nara(Arjuna) has come
Narayana has come
Charanam
1.He who lifted the Mandara mountain has come,
He who stole the mind of Lakshmi has come,
The Govinda who is the Lord of Brindavana has come,
The killer of the crocodile has come,
The holder of the divine Chakra has come,
The one who blessed Akroora has come,
The God Trivikrama has come.
2.He who rides the bird has come,
He who is the elder brother of Lakshmana has come,
The giver of endless benefits who pleases Lakshmi has come
He came for making a conclusion
He who cannot be seen even by Vedas has come
The ever cheerful Purandara Vittala has come.
kelathi mama hrudahye
Two saints....separated by more than a thousand years, two completely different works and yet, the more we look at them, the more alike they seem...both in content and in wording.
Adi Shankara has a written a prakarana grantha (preliminary text) on Vedanta called Atma Bodha. In this work of 68 verses, there is one verse (verse 50) where he has used the metaphor of the Ramayana.
Sadashiva Brahmendra was a saint and composer who lived in the 18th century. One of his famous compositions, which is often sung in Carnatic music concerts is the piece "khelati mama hridaye". This composition too uses the analogy of the Ramayana.
I
khelati mama hridaye raamah,
khelati mama hridaye.......
moha mahaarnava taaraka kaari
raaga-dvesha mukhaasura maari
shaanti videha suta sahachaari
daharaayodhya nagara vihaari
paramahamsa saamraajyodhaari
satya gnyaanaananda shareeri
khelati mama hridaye.......
Rama dances (khelati) in my heart (mama hridaye).
He is the one who helps me cross (taaraka kaari) the huge ocean of delusion (moha mahaarnava).
He is the one who helps to destroy asuras in the form of my own raaga-dveshas.
With this, I regain peace (shaanti). Here, Sita is equated with peace. A special epithet is used for her- She is Vaidehi, "videha suta", princess of the Kingdom of Videha. (Sita's father Janaka was well known as a grihastha gnyaani. And as videha suta, Sita is an inheritor of that peace.)
There after, I shall live happily (vihaari) in Ayodhya, that city which can never be destroyed (yoddhum ashakyaa ayodhya). Where is this Ayodhya? It is in my own heart/mind (hence, dahara ayodhya).
And what kind of place is this Ayodhya? It is a heart/mind where dharma flourishes. An empire (saamraajya) where noble people (paramahamsas/sanyasis/noble thoughts) are protected.
Finally, Rama, who helps me accomplish all this, and who dances in my heart, what is his nature? How does he look? He is "satya-gnyaana-aananda shareeri". That Rama is my own Self, my Higher Nature, Atma whose swarupa is "satyam-gnyaanam-anantam" as the Upanishads declare.
Teertvaa moha mahaarnavam
hatva raaga-dveshaadi raakshasaan
yogi shaanti samaayuktah
Aatmaaraamo viraajatey
This verse presents the journey of a spiritual aspirant using the metaphor of the Ramayana.
"Crossing (teertvaa) the ocean of delusion (moha mahaarnavam), and having destroyed (hatva) the raakshasaas in the form of binding likes and dislikes (raaga dvesha), the yogi (the qualified spiritual aspirant) gets united (samaayuktah) with peace (shaanti) and shines/enjoys (viraajatey) as the Self (aatma raama)".
The imagery is self explanatory. The jeeva (the individual) is the Self in reality (atma-rama). Peace (shanti) is his very nature, his better-half (Sita), as it were. Ravana comes in the form of binding likes and dislikes (raaga-dvesha) and loots this peace away. Peace recedes even further...and lies imprisoned beyond an ocean of delusion (moha mahaarnavam). Alas! The individual gropes for peace in the forest of samsara.
How must he regain his exalted, pristine status? Every seeker has to go through the story of the Ramayana as a personal, subjective journey.
It is easy to see how similar these two poems are. Sadashiva Brahmendra seems to have had this Atma Bodha verse in mind and he has embellished it with a few more ideas. In keeping with this presentation of the Ramayana as a personal journey.
Adi Shankara has a written a prakarana grantha (preliminary text) on Vedanta called Atma Bodha. In this work of 68 verses, there is one verse (verse 50) where he has used the metaphor of the Ramayana.
Sadashiva Brahmendra was a saint and composer who lived in the 18th century. One of his famous compositions, which is often sung in Carnatic music concerts is the piece "khelati mama hridaye". This composition too uses the analogy of the Ramayana.
I
khelati mama hridaye raamah,
khelati mama hridaye.......
moha mahaarnava taaraka kaari
raaga-dvesha mukhaasura maari
shaanti videha suta sahachaari
daharaayodhya nagara vihaari
paramahamsa saamraajyodhaari
satya gnyaanaananda shareeri
khelati mama hridaye.......
Rama dances (khelati) in my heart (mama hridaye).
He is the one who helps me cross (taaraka kaari) the huge ocean of delusion (moha mahaarnava).
He is the one who helps to destroy asuras in the form of my own raaga-dveshas.
With this, I regain peace (shaanti). Here, Sita is equated with peace. A special epithet is used for her- She is Vaidehi, "videha suta", princess of the Kingdom of Videha. (Sita's father Janaka was well known as a grihastha gnyaani. And as videha suta, Sita is an inheritor of that peace.)
There after, I shall live happily (vihaari) in Ayodhya, that city which can never be destroyed (yoddhum ashakyaa ayodhya). Where is this Ayodhya? It is in my own heart/mind (hence, dahara ayodhya).
And what kind of place is this Ayodhya? It is a heart/mind where dharma flourishes. An empire (saamraajya) where noble people (paramahamsas/sanyasis/noble thoughts) are protected.
Finally, Rama, who helps me accomplish all this, and who dances in my heart, what is his nature? How does he look? He is "satya-gnyaana-aananda shareeri". That Rama is my own Self, my Higher Nature, Atma whose swarupa is "satyam-gnyaanam-anantam" as the Upanishads declare.
Teertvaa moha mahaarnavam
hatva raaga-dveshaadi raakshasaan
yogi shaanti samaayuktah
Aatmaaraamo viraajatey
This verse presents the journey of a spiritual aspirant using the metaphor of the Ramayana.
"Crossing (teertvaa) the ocean of delusion (moha mahaarnavam), and having destroyed (hatva) the raakshasaas in the form of binding likes and dislikes (raaga dvesha), the yogi (the qualified spiritual aspirant) gets united (samaayuktah) with peace (shaanti) and shines/enjoys (viraajatey) as the Self (aatma raama)".
The imagery is self explanatory. The jeeva (the individual) is the Self in reality (atma-rama). Peace (shanti) is his very nature, his better-half (Sita), as it were. Ravana comes in the form of binding likes and dislikes (raaga-dvesha) and loots this peace away. Peace recedes even further...and lies imprisoned beyond an ocean of delusion (moha mahaarnavam). Alas! The individual gropes for peace in the forest of samsara.
How must he regain his exalted, pristine status? Every seeker has to go through the story of the Ramayana as a personal, subjective journey.
It is easy to see how similar these two poems are. Sadashiva Brahmendra seems to have had this Atma Bodha verse in mind and he has embellished it with a few more ideas. In keeping with this presentation of the Ramayana as a personal journey.
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