kanha

 

Manmohana Kanha
Manmohan kanha vinati karoon din rain
Rah take mere nain
Ab to daras dedo kunj bihari
Manva hai bechain
Sneh ki dori tum sang jori
Humse to nahi jaavegi todi
Hey murali dhar krishna murari
Tanik na aave chain
Raah take mere nain ….

Ab to daras dedo kunj bihari…..

Mai mharo supanama
mai mharo supanama parnare deenanath
chappan kota jana padharaya dulho sri brijnath
supanama toran bandhya ri supanama gaya haath
supanama mhare paran gaya paya achal suhag
meera ro giridhar ni pyari purab janam ro haad

Matvaro baadal aayo re
matvaro baadal aayen re
hari ko sandeso kachu na layen re
daadur mor papeeha bole
koyel sabad sunave re
kali andhiyari bijali chamke
birahina ati darpaaye re

Man re parasi hari ke charan
Man re parasi hari ke charan
Subhag sheetal kamal komal
trividh jwala haran
Jin charan dhruva atal kinhi rakh apni shran
Jin charan brahmand bhedyo nakh shikha sir dharan
Jin charan prabhu parasi linhe kari gautam karan
Jin charan fani naag nathyo gop leela karan
Jin charan gobardhan dharyo garv madhawa haran
Dasi meera lal giridhar agam taaran taran

Meera magan bhai
Meera magan bhai hari ke gun gaaye
Saanp pitara rana bheja meera hath diyo jaye
Dhanya bhoya jab dekhan lagi Shaligram gayi paye
Zahar ka pyala rana bheja amrit diya banaye
Dhanya bhoya jab piban lagi ho gayi amar athay
Suli sez rana ne bheji dijyo meera suvaya
Sanjh bhai meera sovan lagi mano phool bichhaye
Meera ke prabhu sada sahai rakhe vighan hataye
Bhajan bhav mein mast dolti giridhar bali bali jaye

Milta jaiyo
milta jajyo guru gyani
hari surat dekhyo lubhani
mero naam bujhi tum lijo
main hoon birah deewani
raat diwas kal nahi parat hai
jaise min bin paani
daras bina mohe kachu na suhave
talap talap mar jani
meera to charnan ki cheri
sun lije sukhdani

Mhara re giridhar gopal
mhara re giridhar gopal doosara koya
sadha sakal lok joya doosara na dooja
bhaya chadya bandha chadya chadya saga soya
sadhu sang baith baith lok laaj khoya
bhagat dekhya raji hoya lagat dekh roya
dudh math ghrit kadh liya dar diya choya

Main virahini baithi jagoo
main virahini baithi jagoo jagat sab sove
birahini baithi rang mahal mein motiyan ki lar poye
ek birahini aisi dekhi asuvan ki mala poye
taara gin gin rain bihani sukh ki ghadi kab aave
meera ke prabhu giridhar nagar mil ke bichud na jaaven

Mhare Ghar aao pritam pyara
Mhare ghar aao pritam pyara
Tan man dhan sab bhent dharungi
Bhajan karungi tumhara
Tum gunwant susahib kahiye
Mome avagun sara
Main niguni kachu gun nahi jaano
Tum so bhagtan haara
Meera kahe prabhu kabre miloge
Tum bin nain dukhara

Mere to Giridhar Gopal

Mere to girdhar gopal dusaro na koi – 2

Jako sar mor mukat mere pati wohi

Mere to girdhar gopal dusro na koi

Koi kahe karo koi kahe goro – 2

Liyo hai anhkiyo khol

Koi kahe halko koi kahe bharo – 2

Hiyo hai taraju tol

Mere to girdhar gopal dusaro na koi

Koi kahe chhane koi kahe chayone

Miyo hai bajuanta dhol

Tan ka gahna sab kuch deena – 2

Diya hai bajuband khol

Mere to girdhar gopal dusaro na koi

Jake sar mor mukat mere pati sohi

Mere to girdhar gopal dusro na koi

Main bagiyan se phool ko chun ke
Main bagiyan se phool ko chun ke
Prabhu ke charan chadhaungi
Ab hari ke gun bas gaaungi
Bhor ki bela hari pad gaa ke
Unko nitya jagaungi
Saat suron ki maal gul ke
Kanth unhe pahinaungi
bhajan suna ke apne hari ka
Sundar roop niharungi
Ab hari ke gun bas gaungi
Main bagiyan se…
Woh hi sakha hain pritam mere
Nath sakal sansaar ke
kanth mein woh hain rom rom hari
Deeno ke oh pran mein
thakur ji ko bhog laga ke
pankha unhe jhelaungi
ab hari gun bas gaaungi
Main bagiyan se…

Hari charan hai charo teerath
Charnan sheesh jhukaungi
HAri naam mein sara sukh hai
unse neh lagaungi
shradha bhakti prem se prabhu mein
Darshan unka paaungi
Ab hari ke gun bas gaaungi
Main bagiyan se …

Bhor bhayi baji madhur muraliya by Chitra Singh

Bhor bhayi baji madhur muraliya
Kaise dhare jiya dheer re

Madhuban baji vrindavan baji
Tat jamuna ke teer
Baith kadamb pe bansi bajave
Thir bhayo jamuna neer re

Dard na jani peer na jani
Shyam bado bepeer
Meera ke prabhu giridhar nagar
Aakhir jaat ahir re

 

Ho Ramaiya bin neend na ave

Ho ramaiya bin neend na ave
neend na ave biraha satave prem ki aag lagave

bin piya jyot mandir andhiyaro deepak dayan ave
piya bin meri saz aluni jaagat rain bihave
piya kab ave . ramaiya bin ….

dadur mor papeeha bole koyel sabad sunave
ghumat ghata ular hui aayi damini damak darave
nain jhar lave . ramiya bin ….

ko hai meri sakhi saheli sajani piya ko aan milave
meera ke prabhu kare miloge manmohan mohe bhave
kab batlave . ramaiya bin ….

Hari tum haro jan ki peer
Hari tum haro jan ki peer
Daupadi ki laaj rakhi
Tum badhyao cheer
Bhakt kaaran roop narhari
Dharyo aap sharir
Budhate gajraaj rakhyo
Kiyo bahar neer
Dasi meera laal Giridhar
Dukh taha jaha peer
Hare Krishna Hare Krishna Krishna Krishna Hare Hare
Hare Rama Hare Rama Rama Rama Hare Hare

Hey mero manmohana
hey mero manmohana aayo nahi nahi sakhi ri
kai kahun kaaj kiya santan ka
Kai kahun gail bhulavana ..
Kahan karoon kit jaaun sajani
lage hai birha satavana ..
Meera dasi darshan pyasi
hari charna chit laav na ..

Kenu sang khelu holi

kinu sang khelun holi
piya taj gayen hai akeli
manik moti sab hum chade
gale bich pehri seli
bhojan bhavan bhalo nahi lagyo
piya karan bhai akeli
mujhe doori kyu mili
ab tum preet avarasu so jodi
humse karoon kyu paheli
bahun din beete ajahoo na aayen
lag rahi tala beli
kinu dhilama ye heli

Kaho to joshi re

Kahu to joshi re shyam milan kab hoshi
Aao joshi mhare angane aao
ko batave thari pothi re
Paanch pakvaan joshi bhoj banayo re
Nyath demau thara goti re
Hari nazari joshi angiya siwana
Paanch pitambar doongi dhoti re
Paanch mohar joshi dikhna dikhaya re
Ratan jadaun thari pothi re
Meera ke prabhu giridhar nagar
Hari ke charan tajposhi re

Koi kahiyo re prabhu aawan ki
Koi kahiyo re prabhu aawan ki
Aawan ki man bhawan ki

Aap na aaven likh nahi bheje
Baan padi lalchavan ki
Ye dou naina kahyo nahi maane
Nadiya bahe jaise saawan ki

Kahan karun kachu nahi bas mero
Paankh nahi ud jaawan ki
Meera ke prabhu kabre miloge
Cheri bhayi hoon tere naaman ki

Kanha re teri jovat rah gayi baat

Kanha re tori jovat reh gayi baat
jovat jovat ek pal thadi kalindi ke ghat
Kapati preet kari manmohan ya kapati ki baat
Meera kahe prabhu giridhar naagar
de gayo brij ko chhant

Karuna suno shyam mori
karuna suno shyam mori mai to hoya rahi cheri teri

darsan kaaran bhayi baanwari birah byatha tan gheri

tere kaaran jogan hoongi dungi nagra bich pheri

kunj ban heri heri

ang bhabhut gale mrig chhala yo tan bhasma karu ri

ajahun na milya raam avinashi bana bana bich phiroon ri

rou nit teri teri

jan meera ku giridhar miliya dukh metan sukh bheri

room room sata bhayi ur mein mit gayi phera pheri

rahun charnan tar cheri

 

Sanwara re Mhari preet nibhajo

sanwara re ..
mhari preet nibhajo ji

he cho mharo gun ro saagar
avagun mha bisrajo ji

lok na sijaya manana patija
mukhada sabad sunajo ji

dasi thari janam janam ri
mhare aangan aajo ji

meera re prabhu giridhar nagar
beda paar lagajo ji

Sakhi mharo kanho lo kaleje ki kor

Sakhi mharo kanho lo kalege ki kor
mor mukut pitambar sohe kundal ki jhakjhor

vridavana ki kunjgalin mein
naachat nandkishor

meera ke prabhu giridhar nagar
charan kamal chit chitchor

Nandnandan

nand nandan dithu padiya mai saanvaro
darya sab lok laaj sudbud sab bisrai
mhor chandra ka kirit mugut jab suhai
kesar ra tilak bhal lochan sukhdai
kundal jhalka kapol alka lehrai
meena taj sarovar jaaun makar milan dhayi
natvar hari kesh dharya roop jag lubhayi
giridhar prabhu ang ang meera bali jaayi

Ud jaa re kaga

ud jaa re kaga ban ka
mera shyam gaya boha din kare
tere udasu ram milega doka bhave man ka
it gokul ut mathura nagari hari hai gadhe ban ka
aap to jaayen bindsa chaye hum vasi madhuban ka
meera ke prabhu hari avinasi charan keval hari jan ka

Theto palak ughado deenanath

theto palak ugadho deena nath
main hazir nazir kad ki khadi
sajaniya dushman hoya bathya
sabne lagoon kadi
din nahi chain raat nahi nindra
sukhun khadi khadi
baan biraha ke laga hirdaya mein

bhuloon na ek ghadi
pathar ki ahilya tari
banke beech pari
kaha bojh meera mein kahiye
sau par ek ghadi

Tum bin mori Kaun khabar le
Tum bin mori kaun khabar le
gobardhan giridhari..
Mor mukut sir chhatra viraje
kundal ki gati nyari
Vrindavan mein dhenu charave
bansi bajave giridhari
Meera ke prabhu giridhar naagar
charan kamal pe balihari

Aisi lagi lagan

aisi lagi lagan meera hogayi magan
woh to gali gali hari gun gaane lagi
mehlon mein mein pali ban ke jogan chali
meera rani deewani kahane lagi
koi roke nahi koi toke nahi
meera govind gopal gaane lagi
baithi santo ke sang rangi mohan ke rang
meera premi pritam ko manane lagi
rana ne vish diya mano amrit piya
meera sagar mein sarita samane lagi
dukh laakhon sahe mukh se govind kahe
meera govind gopal gaane lagi

Ab radhe rani de daro
Ab radhe rani
De daro bansi mori
Jo bansi mere pran basat hai
Woh bansi gayi chori
Kaise main gaun radhe kaise bajaun
Kaise bulaon gaiya bheri
Mukh se tum gao kanha
Mukh se bajao
Mukh se bulao gaiya bheri
Meera ke prabhu giridhar nagar
Bansi le kari chori

Bala main bairagan hoongi

Bala main bairagan hoongi

jin bheshya mharo sahab rijhe , sohi bhesh dharungi

 

K A.

 

Introduction

This stotram is about SrI nṛsimha mūrti in the divya kshetram in kā~nci by name vēḷukkai or veḷ irukkai. vēḷ in tamizh means “by One’s own will”; irukkai means to be seated or to be located. Since perumāḷ made this His place by His own will, the place is called tiru vēḷ irukkai. The samskṛt name of this stotram echoes the same meaning - kāma - by His own will, āsikā - being seated, ashṭakam - consisting of 8 Sloka-s. Perumāḷ’s name here is kāmāsikā narasimhan. svāmi deśikan refers to this emperumān as kāmāsikā hariḥ and kāmāsikā kesariḥ in this stotram.

In tiruvēḷukkai, bhagavān is in the yoga narasimha form and is seated in the yogic posture of parya~nka bandha. He has three eyes in His narasimha form in this kshetra. svāmi deśikan points out that His being seated in the yogic posture of parya~nka bandham suggests that He is seated with the determination to help all His devotees (Slokam 4), and chose this posture in order to give live instruction to all of us on how to perform yoga in order to attain Him (Slokam 5 - प्रायेण प्रणिपेदुषां प्रभुरसौ योगं निजं शिक्षयन् ).

Concepts

Even though the point should have been obvious, it is worth pointing out that the ācārya’s stotra-s, in addition to praising bhagavān and giving us an easy way of chanting His guṇa-s, seem to have as one of their objectives the propagation of the basic tenets of śrīvaishṇavism by repeatedly re-emphasizing and re-stating them in storam after stotram. Thus we see in this storam also svāmi deśikan bring out out several basic aspects of his and our pūrvācāryas’ teachings. These are:

• He is the object of the uttara bhāga (final part) of the veda-s, viz. the upanishad-s (Slokam 1).
• bhagavān is the only one who can remove our tāpa-traya-s. These tāpa-s are referred to by svāmi deśikan in śaraṇāgati dīpikā Slokam 23 - तापत्रयेण विहतिं न भजन्ति सन्तः , etc. In the current Slokam, svāmi deśikan prays to kāmāsikā harih, the perumāḷ of this kshetram, to burn the three tāpas-s that result from samsāra with his three eyes (the sun, the moon, and agni). The tāpa-s are: a) ādhyātmikam - belonging to to the individual, such as headache, cold, anger, desire, fear, etc. b) Adhi bhaudikam —those resulting from other bhūta-s such as the birds, animals, other people etc., and c) Adhi daivikam - those resulting from devatā-s such as from the wind, sun, rain, etc.
• He appears in His arcā mūrti form in many of these divya-kshetra-s out of His sheer Mercy towards us, just so that He is easily accessible to us. It is as if bhagavān gave up the great regard for SrI viakuṇṭha vāsam (vimukta vaikuṇṭha bahumatim) so that He can be a nitya vāsi in this beautiful kshetram and be accessible to all of us (Slokam 3). His vibhava incarnations are for the purpose of destroying His enemies and protecting His devotees. Thus, in His narasimha incarnation, He came to protect prhalāda and other devotees from hiraṇyakaśipu. This is one of the rahasya-s of His incarnations. This is explained by svāmi deśikan in śaraṇāgati dīpikā Slokam 17 (आत्मीय रक्षण, विपक्ष विनाशनार्थैः ). In the current stotram, he praises this aspect of bhagavān and seeks His protection. He has the anubhavam of kāmāsikā narasimhan’s hands fighting with each other in their desire to perform this function (अहं प्रथमिका मिथः प्रकटित आहवाः बाहवः - Slokam 6).
• bhagavān is the only true relative we all have (bandhum akhilasya jantoh). All the other relatives such as father, mother, etc. are only transient relatives, and are related this way purely because of our mutual karma-s (Slokam 4).
• bhagavān is the one who assigns functions to, and controls, all the other devatā-s so that they perform their assigned duties without violation (स्व-स्थानेषु मरुद-गणान् नियमयन् - Slokam 5). This has been referred by svāmi deśikan in abhīti stavam Slokam 4 also (मरुत् तरणि पावक त्रिदश नाथ कालादयः वकृत्यम् अधिकुर्वते तदपराधतो बिभ्यतः ). bhagavān is also the One who controls all our indriya-s (svādhīna sarvendriyaḥ). His nāma of hṛshīkeśa signifies this.
• bhagavān’s anger knows no limits when anyone commits apacāram towards His devotee. The narasimha incarnation is a typical example of this. svāmi deśikan describes through almost identical Sloka-s in dayā Satakam Slokam 84 and Slokam 7 in the current stotra, His making His appearance reflect His intense anger towards His devotee’s enemy. However, the wonder of bhagavān’s leelā is that at the same time His appearance reflects intense anger towards hiraṇyakaśipu, He makes His appearance to prahlāda one of intense Mercy and kindness reflecting that of a mother feeding her young child (दत्त स्तना सरोज सदृशा दृशा समुदित आकृतिरदृश्यते - dayā Satakam, दत्त स्तना सरोज सदृशा दृशा व्यतिभिषज्य ते व्यज्यते in the current stotram). Such is the nature of His kṛpā or dayā to His devotees.
• bhagavān is the only one who can protect us. If He does not protect us no one else can protect us, and if He decides to protect us, we don’t need anyone else’s protection. This concept is conveyed in Slokam 8 - त्वयि रक्षति रक्षकैः किम् अन्यैः, त्वयि च अरक्षति रक्षकैः किम् अन्यैः . The same idea was conveyed in SrI ashṭabhujāshṭakam Sloka-s 5 and 6: भयं कुतः स्यात् त्वयि सानुकम्पे, रक्षा कुतः स्यात् त्वयि जातरोषे (Slokam 5), and त्वयि प्रवृत्ते मम किं प्रयासैः, त्वय्यप्रवृत्ते मम किं प्रयासैः (Slokam 6). This is the basis of goptṛtva varaṇam (the deliberate choice of bhagavān as the Sole Protector) which is one of the a~nga-s of prapatti.
• In the ninth and final Slokam of SrI kāmāsikāshṭakam svāmi deśikan reminds us that if one chants this stotram even once with faith and with devotion, bhagavān will forgive their sins even if they be huge like elephants, and will bestow any benefits that the devotee seeks. It appears svāmi deśikan intentionally chose to compare our sins to huge ‘elephants’, since it is the kāmāsikā kesari (lion) who is going to eliminate the sins.

— dāsan kṛshṇamācāryan

SRUTEENAAM UTTARAM BHAGAM VEGAVATHYAASCCHA DAKSHINAM I
KAAMAATH ADHIVASAN JEEYAATH KASCCHITH ADHBHUTA KESAREE II

TAPANENDHI AGNI NAYANA: TAAPAAN APACHINOTHU NA: I
TAAPANEEYA RAHASYAANAAM SAARA: KAAMAASIKAA HARI: II

AAKANTAM AADHI PURUSHAM KANTIRAVAM UPARI KUNTITHA AARAADHITAM I
VEGAA UPAKANTA SANGHATH VIMUKTHA VAIKUNTA BAHUMATHIM UPAASEH II

BHANTHUM AKILASYA JANTHOH: BHANDHURA PARYANKA BHANDHA RAMANEEYAM I
VISHAMA VILOCHANAM EEDEH VEGAVATHEE PULINA KELI NARASIMHAM II

SVASTHAANESHU MARUT GANAAN NIYAMAYAN SVAADHINA SARVENDRIYA:
PARYANGA STIRA DHARANAA PRAKATITHA PRATYANGH MUKHAAVASTHITHI:
PRAAYENA PRANIPEDHUSHAAM PRABHURASAOU YOGAM NIJAM SIKSHAYAN
KAAMAA NATHANUTAAT ASESHAA JAGATHAAM KAAMAASIKAA KESARI:

VIKASWARA NAKA SVARUKSHATHA HIRANYA VAKSHASTHALEE--
NIRARGALA VINIRGALATH RUDIRA SINDHU SANDHYAAYITAA: I
AVANTHU MADA NAASIKAA MANUJA PANCHA VAKTHRASYA MAAM
AHAMPRATAMIKAA MITA: PRATITAAHAVAA BAAHAVA: II

SATAA PATALA BHEESHANEH SARABHASAATTAHAASOTHBHATEH
SPURATH KRUTHI PARISPUTATH BRUGUTIKEPI VAKTREH KRTEH I
KRUPAA KAPATA KESARIN DHANUJA DIMBHA DHATTA STHANAA
SAROJA SADHRUSAA DRUSAA VYATHIBISHAJYA TEH VYAJYATEH II

TVAYI RAKSHATHI RAKSHAKAI: KIM ANYAI: TVAYI CHAARAKSHATI RAKSHAKAI: KIM ANYAI: I
ITHI NISCHITA DHEE: SRAYAAMI NITYAM NRUHAREH: VEGAVATHEE TATAASRAYAM TVAAM II

ITTAM STHUTHA: SAKRUTHIHAASHTABHIRESHA PADHYAI:
SRI VENKATESA RACHITHAI: TRIDHASENDRA VANDHYA: I
DHURDHAANTA GORA DHURITA DVIRADHENDRA BHEDEE
KAAMAASIKAA NARAHARI: VITANOTHU KAAMAAN II

Kamasikashtakam

Swami Desikan’s
Kaamaasikashtakam

ANNOTATED COMMENTARY IN ENGLISH BY:
OPPILIAPPAN KOIL SRI VARADACHARI SATHAKOPAN

A half mile away in the South Easterly direction of Thuppul (the birth place of Swami
Desikan), lies the Divya Desam of ThiruvELukkai, where Kama Aasikaa Narasimhan
is the presiding deity. He is also known as Mukunda Nayakan.
Swami Desikan composed a beautiful Ashtakam in honor of this Narasimhan, who is
sitting in a Yogic posture on the southern side of Vegavathi River. This Archa Murthy
has been the object of earlier Mangalasaasanam by Pey Azhwaar through three
pasurams of the Third Thiruvanthadhi and one pasuram line of Thirumangai in his
“SrI Kaamaasika Nrusimhan – ThiruvELukkai”
At ThiruvELukkai, the Moolavar sits in the middle of the temple tank known as
Kanaka Pushkarini. He is not easily approachable for worship. The Uthsavar and His
Piratti (ThiruvELukkai Valli) are standing under the Kanaka Vimanam. The
Moolavar (Kaamaasikaa Narasimhan) is seated in the Yoga Pose known as Paryanga
Bhandham. The Lord of this Divya Desam got his name Kamaasikaa Narasimhan
because he chose the banks of Vegavathi out of his own desire/sankalpam (Kama) to
be seated (Aasikaa) on the banks of the Vegavathi river. The Tamil name of
ThiruvELukkai follows this Sanskritic nomenclature. The shorter name of vELukkai
stands for vEL Veeru Irukkai. The word VeL relates to the Kama or svath Sankalpam
aspect of the Lord's own desire to sit (Veeru Irukkai) at this Divya Desam. Swami
Desikan says that Narasimhan left Sri Vaikuntam out of His own will and chose to sit
on the sandy banks of Vegavathi at ThiruvELukkai Kshetram.
sadagopan.org

VERSE 1: PLACE OF RESIDENCE OF THE WONDOROUS
NARASIMHAN

SRUTEENAAM UTTARAM BHAGAM VEGAVATHYAASCCHA DAKSHINAM I
KAAMAATH ADHIVASAN JEEYAATH KASCCHITH ADHBHUTA KESAREE II

“Adbhuta Kesari – Ahobilam”
Here Swami Desikan describes the Bhagavaan as “Kascchit Adhbhuta Kesari”.
This incomparable form of the Lord with a Lion's face and human body is indeed
awesome and full of wonders. Hence it is a Adbhuta Kesari (Lion). It is neither Lion
nor man. This Adhbhuta Kesari is celebrated in the last section of the Vedas (i.e) in
the Upanishads as suggested by Swami Desikan through the Choice of Words,
“Srutheenaam Uttaram Bhagam”.

He chose out of his own volition the site of ThiruvELukkai and resides there on the southern bank of Vegavathi river as indicated by the stotra Vaakyams (Kaamaath Vegavathyaa: Dakshinam cha Adhivasan). Swami offers his Mangalaasaasanam to this Adbhuta Kesari and hails him to thrive there (Jeeyaath) in His supreme glory. May this Kamaasika Narasimhan known for his infallibility in protecting his devotees thrive at ThiruvELukkai is the prayer of the Acharya.

VERSE 2: PRAYER FOR THE REMOVAL OF THE THREE
KINDS OF AFFLICTIONS
TAPANENDHI AGNI NAYANA: TAAPAAN APACHINOTHU NA: I
TAAPANEEYA RAHASYAANAAM SAARA: KAAMAASIKAA HARI: II

Swami Desikan reveals to us that Kaamaasikaa Narasimhan has three eyes, which are
in the form of the Sun, Moon and Agni. “mukkaNNappan..”

He says that the Lord of this Divya Desam is the essence of the secrets revealed by
Nrusimha Taapaneeya Upanishad. Swami prays for the Lord to banish the three
kinds of Taapas (afflictions) of all of us with His three eyes. The three afflictions are
Aadhyaatmikam (physical ills, fear, anger, desire et al), Aadhi Bhowdikham (Ills
caused by animals and humans) and Aadhi Daivikam (Cold, heat, storms, rains et
al ).

VERSE 3 : SALUTATIONS TO KANTIRAVAN
AAKANTAM AADHI PURUSHAM KANTIRAVAM UPARI KUNTITHA AARAADHITAM I
VEGAA UPAKANTA SANGHATH VIMUKTHA VAIKUNTA BAHUMATHIM UPAASEH II
“Nara-singam, after HiraNya vadham”

The Lord of ThiruvELukkai has the face of the Lion above his neck and the form of
the ancient Purusha below the neck. I salute that extraordinary form of Kaamaasikaaa Narasimhan, who destroyed Hiranyan and chose the region on the banks of Vegavathi for his permanent residence and in that process skipped over the established glories of Sri Vaikuntam.


VERSE 4: EULOGY TO NARASIMHAN
BHANTHUM AKILASYA JANTHOH: BHANDHURA PARYANKA BHANDHA RAMANEEYAM I
VISHAMA VILOCHANAM EEDEH VEGAVATHEE PULINA KELI NARASIMHAM II
“Paryanga bhandam – akkArakkani Emperumaan of Sholingur”

Swami Desikan praises Narasimhan of this Kshethram, who loves to play on the sand
banks of the river Vegavathi. He recognizes the Lord as the kith and kin of all living
beings. He visualizes the Lord as sitting firmly in the Yoga Posture known as
Parynga Bhandham. He also pays his tribute to the Vishama Vilochanam of the Lord.
Vishama Vilochanam can mean both odd numbered eyes (Three here) and the eyes,
which are distinctly different in their attributes (Hot Sun, Cool Moon and resplendent
Agni).
Sadagopan

VERSE 5: PRAYER FOR BLESSINGS TO THE WORLD
SVASTHAANESHU MARUT GANAAN NIYAMAYAN SVAADHINA SARVENDRIYA:
PARYANGA STIRA DHARANAA PRAKATITHA PRATYANGH MUKHAAVASTHITHI:
PRAAYENA PRANIPEDHUSHAAM PRABHURASAOU YOGAM NIJAM SIKSHAYAN
KAAMAA NATHANUTAAT ASESHAA JAGATHAAM KAAMAASIKAA KESARI:

In this verse set in the majestic Sarthoola Vikriditham meter to remind one of the
powerful movements of the fast lion chasing Hiranya, Swami Desikan prays to
Kaamaasikaa Narasimhan to bless the people of the world and grant them all their
desired boons (Asaou. Kaamaasikaa Kesari: Asesha Jagathaam kaaman
aatanuthaath). Swami describes the Lord facing west. He sits in Paryangaasanam at
ThiruvELukkai and appears in his Yogic posture giving the impression that He is
ready to teach His devotees the secrets of Yoga that require knowledge about the
firm control of the five vayus (Praanan, Apaanam, Samaanam, Udhaanam and
Vyaanam). He also appears to indicate to them the firm way to control the five
Karmendriyaas and the five Jnanendriyaas as the prerequisite to meditate on Him.
One of the names for Lord Narasimhan is Hrishikesan or the one who has full
control over his Indriyaas. Kamasikaa Narasimhan’s Paryangaasanam (Yoga Pattai
with a belt over his crossed legs and knees) reminds of His Yogaacharya role in
teaching his disciples such as Prahlaada the secrets of Yoga to attain His blessings.

VERSE 6: PRAYER TO THE LORD'S HANDS FOR
PROTECTION
VIKASWARA NAKA SVARUKSHATHA HIRANYA VAKSHASTHALEE--
NIRARGALA VINIRGALATH RUDIRA SINDHU SANDHYAAYITAA: I
AVANTHU MADA NAASIKAA MANUJA PANCHA VAKTHRASYA MAAM
AHAMPRATAMIKAA MITA: PRATITAAHAVAA BAAHAVA: II

May the Kaamaasikaa Narasimhan’s hands having the red lustre of the dusk protect
me. Those hands compete with one another to protect the devotee and to destroy the
enemies of the devotee. The shining fingernails of those hands tore apart the chest of
Hiranyan like the ferocious Vajra weapon. At that time, the blood from the heart of
Hiranyan gushed forth and covered the hands of the Lord and gave them the red hue
of the sun at dusk. Those hands were competing with one another to destroy
Hiranyan as well as to comfort the child Bhagavatha Prahlada. May those powerful
hands protect me always!
“His hands compete with one another to protect devotees-


VERSE 7: MERCY OF THE LORD EVEN DURING HIS
FEROCIOUS STATE
SATAA PATALA BHEESHANEH SARABHASAATTAHAASOTHBHATEH
SPURATH KRUTHI PARISPUTATH BRUGUTIKEPI VAKTREH KRTEH I
KRUPAA KAPATA KESARIN DHANUJA DIMBHA DHATTA STHANAA
SAROJA SADHRUSAA DRUSAA VYATHIBISHAJYA TEH VYAJYATEH II

Oh Kapata Narasimha! Oh Lord, who did not swerve away from the boons given to
Hiranya and yet hoodwinked him through your avatara features! When You
appeared out of the Pillar in his palace with the frightening swirl of your manes and
ear-shattering roars, your brows were twittering with your mighty anger at Hiranya
for the injustices that he did to your devotee. Even in that state of fury, your lotus
eyes fell with mercy on Prahlaada. Those merciful glances were like the feedings of
divine and invigorating milk to the child Prahlaada. Your limitless compassion to
your devotees became evident then.


VERSE 8: SARANAGATHI AT THE FEET OF NARASIMHAN
TVAYI RAKSHATHI RAKSHAKAI: KIM ANYAI: TVAYI CHAARAKSHATI RAKSHAKAI: KIM ANYAI: I
ITHI NISCHITA DHEE: SRAYAAMI NITYAM NRUHAREH: VEGAVATHEE TATAASRAYAM TVAAM II

O kaamaasikaa Narasimhaa! You are sarva sakthan. When You are resolved to protect some one, where is the need to seek the protection of other Gods? When You are resolved NOT to protect some one, which other God is capable of protecting us? There is no one. Knowing this fundamental truth, I have resolved to offer my
saranaagathi at your lotus feet alone that rest at the banks of Vegavathi river.

VERSE 9: PHALA SRUTHI OF THIS ASHTAKAM
ITTAM STHUTHA: SAKRUTHIHAASHTABHIRESHA PADHYAI:
SRI VENKATESA RACHITHAI: TRIDHASENDRA VANDHYA: I
DHURDHAANTA GORA DHURITA DVIRADHENDRA BHEDEE
KAAMAASIKAA NARAHARI: VITANOTHU KAAMAAN II

May Kaamaasikaa Narasimhan, who is worshipped by the Devaas and who tears
apart the gigantic heap of sins, as if they are opposing elephants, grant all the desired
boons to devotees, who recite these eight slokas on Him composed by Venkatesa
Kavi!

sankalpa padathi.

dancing on buttermilk.

 

शेष महेश गणेश दिनेश , सुरेश जाहि निरंतर गावे ।

शेष महेश गणेश दिनेश , सुरेश जाहि निरंतर गावे । जाहि अनादि अनंत अखंड , अछेद अभेद सुवेद बतावे ।। नारद से शुक व्यास रटे , पवि हारे तऊ पुनि पार ना पावे ।। ताहि अहीर की छोहरिया ,छछिया भर छाछ पे नाच नचावे ।। - रसखान, एक मुस्लिम कवि

अर्थ

शेष यानी शेषनाग, महेश यानी भगवान् शिवजी, दिनेश यानी सूर्यदेव, सुरेश यानी इंद्रदेव यह सब देवता गण जिसकी पूजा करते हैं जिसको अनादि यानी जिसका उद्भव ना अंत पता है, जिसके खंड नही किए जा सकते हैं जिस में छेद ना किए जा सकते हो, भेदना संभव नहीं है ऐसा वेद बताते हैं ।नारद शुक व्यास जैसे ऋषि मुनि इनके बारे में जानने का प्रयत्न करते हैं पर हार जाते हैं । ऐसे श्री कृष्ण जी को अहीरों की लड़कियां थोड़ा-थोड़ा मक्खन दिखाकर नाचने को कहती हैं वह नाचते भी है. ॐ ॐ ॐ

शेष महेश गणेश दिनेश , सुरेश जाहि निरंतर गावे ।

शेष महेश गणेश दिनेश , सुरेश जाहि निरंतर गावे । जाहि अनादि अनंत अखंड , अछेद अभेद सुवेद बतावे ।। नारद से शुक व्यास रटे , पवि हारे तऊ पुनि पार ना पावे ।। ताहि अहीर की छोहरिया ,छछिया भर छाछ पे नाच नचावे ।। - अर्थ : शेष यानी शेषनाग महेश यानी शिवजी दिनेश यानी सूर्यदेव, सुरेश यानी इंद्रदेव यह सब देवता गण जिसकी पूजा करते हैं जिसको अनादि यानी जिसका उद्भव ना अंत पता है, जिसके खंड नही किए जा सकते हैं जिस में छेद ना किए जा सकते हो, भेदना संभव नहीं है ऐसा वेद बताते हैं ।नारद शुक व्यास जैसे ऋषि मुनि इनके बारे में जानने का प्रयत्न करते हैं पर हार जाते हैं । ऐसे श्री कृष्ण जी को अहीरों की लड़कियां थोड़ा-थोड़ा मक्खन दिखाकर नाचने को कहती हैं वह नाचते भी है. ॐ ॐ ॐ

पशूनां पतिं पापनाशं परेशं गजेन्द्रस्य कृत्तिं वसानं वरेण्यम।

जटाजूटमध्ये स्फुरद्गाङ्गवारिं महादेवमेकं स्मरामि स्मरारिम।।

महेशं सुरेशं सुरारातिनाशं विभुं विश्वनाथं विभूत्यङ्गभूषम्।

विरूपाक्षमिन्द्वर्कवह्नित्रिनेत्रं सदानन्दमीडे प्रभुं पञ्चवक्त्रम्।।

गिरीशं गणेशं गले नीलवर्णं गवेन्द्राधिरूढं गुणातीतरूपम्।

भवं भास्वरं भस्मना भूषिताङ्गं भवानीकलत्रं भजे पञ्चवक्त्रम्।।

शिवाकान्त शंभो शशाङ्कार्धमौले महेशान शूलिञ्जटाजूटधारिन्।

त्वमेको जगद्व्यापको विश्वरूप: प्रसीद प्रसीद प्रभो पूर्णरूप।।

परात्मानमेकं जगद्बीजमाद्यं निरीहं निराकारमोंकारवेद्यम्।

यतो जायते पाल्यते येन विश्वं तमीशं भजे लीयते यत्र विश्वम्।।

न भूमिर्नं चापो न वह्निर्न वायुर्न चाकाशमास्ते न तन्द्रा न निद्रा।

न गृष्मो न शीतं न देशो न वेषो न यस्यास्ति मूर्तिस्त्रिमूर्तिं तमीड।।

अजं शाश्वतं कारणं कारणानां शिवं केवलं भासकं भासकानाम्।

तुरीयं तम:पारमाद्यन्तहीनं प्रपद्ये परं पावनं द्वैतहीनम।।

नमस्ते नमस्ते विभो विश्वमूर्ते नमस्ते नमस्ते चिदानन्दमूर्ते।

नमस्ते नमस्ते तपोयोगगम्य नमस्ते नमस्ते श्रुतिज्ञानगम्।।

प्रभो शूलपाणे विभो विश्वनाथ महादेव शंभो महेश त्रिनेत्।

शिवाकान्त शान्त स्मरारे पुरारे त्वदन्यो वरेण्यो न मान्यो न गण्य:।।

शंभो महेश करुणामय शूलपाणे गौरीपते पशुपते पशुपाशनाशिन्।

काशीपते करुणया जगदेतदेक-स्त्वंहंसि पासि विदधासि महेश्वरोऽसि।।

त्वत्तो जगद्भवति देव भव स्मरारे त्वय्येव तिष्ठति जगन्मृड विश्वनाथ।

त्वय्येव गच्छति लयं जगदेतदीश लिङ्गात्मके हर चराचरविश्वरूपिन।।

इति श्रीमच्छंकराचार्यविरचितो वेदसारशिवस्तवः संपूर्णः ॥

 

शिव पंचाक्षर स्तोत्र अर्थ सहित 

नागेंद्रहाराय त्रिलोचनाय भस्मांग रागाय महेश्वराय। नित्याय शुद्धाय दिगंबराय तस्मै न काराय नमः शिवायः॥

अर्थ- जिनके कंठ मे सांपों का हार है, जिनके तीन नेत्र हैं, भस्म ही जिनका अनुलेपन हुआ है और दिशांए ही जिनके वस्त्र हैं, उन अविनाशी महेश्वर 'न' कार स्वरूप शिव को नमस्कार है।

श्लोक- मंदाकिनी सलिल चंदन चर्चिताय नंदीश्वर प्रमथनाथ महेश्वराय। मंदारपुष्प बहुपुष्प सुपूजिताय तस्मै म काराय नमः शिवायः॥

 

अर्थ- गंगाजल और चंदन से जिनकी अर्चना हुई है, मन्दार के फूल और अन्य पुष्पों से जिनकी सुंदर पूजा हुई है, उन नंदी के अधिपति और प्रमथगणों के स्वामी महेश्वर 'म' कार स्वरूप शिव को नमस्कार है।

श्लोक- शिवाय गौरी वदनाब्जवृंद सूर्याय दक्षाध्वरनाशकाय। श्री नीलकंठाय वृषभद्धजाय तस्मै शि काराय नमः शिवायः॥

अर्थ- जो कल्याण स्वरूप हैं, पार्वती जी के मुख कमल को प्रसन्न करने के लिए जो सूर्य स्वरूप हैं, जो राजा दक्ष के यज्ञ का नाश करने वाले हैं, जिनकी ध्वजा में बैल का चिन्ह है, उन शोभाशाली श्री नीलकण्ठ 'शि' कार स्वरूप शिव को नमस्कार है।

श्लोक- वसिष्ठ कुंभोद्भव गौतमार्य मुनींद्र देवार्चित शेखराय। चंद्रार्क वैश्वानर लोचनाय तस्मै व काराय नमः शिवायः॥

अर्थ- वशिष्ठ, अगस्त्य और गौतम आदि श्रेष्ठ ऋषि मुनियों ने तथा इंद्र आदि देवताओं ने, जिनके मस्तक की पूजा की है। चंद्रमा, सूर्य और अग्नि जिनके नेत्र हैं, उन 'व' कार स्वरूप शिव को नमस्कार है।

श्लोक- यक्षस्वरूपाय जटाधराय पिनाकहस्ताय सनातनाय। दिव्याय देवाय दिगंबराय तस्मै य काराय नमः शिवायः॥

अर्थ- यक्षरूप धारण करने वाले, जटाधारी, जिनके हाथ में उनका पिनाक नाम का धनुष है, जो दिव्य सनातन पुरुष हैं, उन दिगम्बर देव 'य' कार स्वरूप शिव को नमस्कार है।

 

पंचाक्षरमिदं पुण्यं यः पठेत् शिव सन्निधौ। शिवलोकमवाप्नोति शिवेन सह मोदते॥

||इति श्रीशिवपञ्चाक्षरस्तोत्रं सम्पूर्णम्||

what prize confusion

 https://youtu.be/X37QIo_b8Z4

two I

 When Nammalvar was ready to go to vaikunta loka (attaing Salvation), Madhurakavi asked Nammalvar with full of tears what to do next. Nammalvar advised Madhurakavi to boil the waters of Tamraparni and he said that an idol will form during boiling of the water. Madhurakavi did as per Nammalvar's advice. When he had boiled the waters of Tamraparni, He got an idol of Bhagavad Ramanuja. He was surprised to see that the idol was different from what he had expected. He went to Nammalvar with the idol and the latter told him that this idol was Bhavishyadhacharya (Future Guru) and that he will be born 4000 years from then. He again advised to boil the waters of Tamraparni. Madhurakavi once again boiled the waters of Tamraparni and finally got the idol of Nammalvar.