Saturday, July 3, 2021

Attainam

 This chapter explains how King Parīkṣit’s fear of death from the snake-bird Takṣaka was averted by Śukadeva Gosvāmī’s brief instructions on the Absolute Truth.

Having in the last chapter described the four processes of annihilation that act in this material world, Śrīla Śukadeva Gosvāmī now reminds Parīkṣit Mahārāja how he had previously, in the Third Canto, discussed the measurement of time and of the various millennia of universal history. During a single day of Lord Brahmā, constituting one thousand cycles of four ages, fourteen different Manus rule and die. Thus death is unavoidable for every embodied being, but the soul itself never dies, being entirely distinct from the material body. Śrī Śukadeva Gosvāmī then states that in Śrīmad-Bhāgavatam he has repeatedly chanted the glories of the Supreme Soul, Lord Śrī Hari, from whose satisfaction Brahmā takes birth and from whose anger Rudra is born. The idea “I will die” is simply the mentality of animals, because the soul does not undergo the bodily phases of previous nonexistence, birth, existence and death. When the body’s subtle mental covering is destroyed by transcendental knowledge, the soul within the body again exhibits his original identity. Just as the temporal existence of a lamp comes about by the combination of oil, the vessel, the wick and the fire, the material body comes about by the amalgamation of the three modes of nature. The material body appears at birth and displays life for some time. Finally, the combination of material modes dissolves, and the body undergoes death, a phenomenon similar to the extinguishing of a lamp. Śukadeva addresses the king, saying, “You should fix yourself in meditation upon Lord Vāsudeva, and thus the bite of the snake-bird will not affect you.”


This chapter describes Mahārāja Parīkṣit’s attainment of liberation, Mahārāja Janamejaya’s performance of sacrifice for killing all snakes, the origin of the Vedas, and Śrīla Vedavyāsa’s dividing of the Vedic literature.

After hearing the words of Śrī Śukadeva, Mahārāja Parīkṣit stated that by having listened to the Bhāgavatam, which is the compendium of the Purāṇas and which is full of the nectarean pastimes of the Supreme Personality of Godhead, Lord Uttamaḥśloka, Parīkṣit had attained the transcendental position of fearlessness and oneness with the Supreme. His ignorance had been dispelled, and by the mercy of Śrī Śukadeva he had gained sight of the supremely auspicious personal form of God, namely the Personality of Godhead, Śrī Hari. As a result, he had cast aside all fear of death. Śrī Parīkṣit Mahārāja then begged Śukadeva Gosvāmī to permit him to fix his heart upon the lotus feet of Lord Hari and give up his life. Granting this permission, Śrī Śukadeva rose and departed. Subsequently Mahārāja Parīkṣit, free of all doubts, sat down in yogic posture and merged himself in meditation upon the Supersoul. Then the snake-bird Takṣaka, arriving in the disguise of a brāhmaṇa, bit him, and the body of the saintly king immediately burned to ashes.

Janamejaya, the son of Parīkṣit, became very angry when he received news of his father’s death, and he began a sacrificial performance for the purpose of destroying all the snakes. Even though Takṣaka received protection from Indra, he nevertheless became attracted by the mantras and was about to fall into the fire. Seeing this, Bṛhaspati, the son of Aṅgirā Ṛṣi, came and advised Mahārāja Janamejaya that Takṣaka could not be killed because he had drunk the nectar of the demigods. Furthermore, Bṛhaspati said that all living entities must enjoy the fruits of their past activities. Therefore the king should give up this sacrifice. Janamejaya was thus convinced by the words of Bṛhaspati and stopped his sacrifice.

Thereafter Sūta Gosvāmī, in response to questions from Śrī Śaunaka, described the divisions of the Vedas. From the heart of the topmost demigod, Brahmā, came the subtle transcendental vibration, and from this subtle sound vibration arose the syllable om, greatly potent and self-luminous. Using this oṁkāra, Lord Brahmā created the original Vedas and taught them to his sons, Marīci and others, who were all saintly leaders of the brāhmaṇa community. This body of Vedic knowledge was handed down through the disciplic succession of spiritual masters until the end of Dvāpara-yuga, when Lord Vyāsadeva divided it into four parts and instructed various schools of sages in these four saṁhitās. When the sage Yājñavalkya was rejected by his spiritual master, he had to give up all the Vedic mantras he had received from him. To obtain new mantras of the Yajur Veda, Yājñavalkya worshiped the Supreme Lord in the form of the sun-god. Śrī Sūryadeva subsequently fulfilled his prayer.

Friday, July 2, 2021

MM

 The depiction of Markandeya's vision is one of the most potent and mystical images found in the painting of the Panjab Hills. This event is recounted in the Mahabharata epic, and in many other texts written about the great Hindu god Vishnu. The story relates how the deathless sage Markandeya wandered through the immense Night of Brahma, the interval between cycles of creation, when all was contained within the sleeping body of the god Vishnu. To discover the truth, Markandeya entered the cosmic ocean of existence and swam there for countless time. Finally he saw a light emanating from the radiant body of a child floating on the sprig of a banyan tree. The child showed Markandeya the secrets of creation, explaining that he was Vishnu, father of the universe, giver of life who brought forth creation and took it back into himself.

Markandeya Discovers Krishna on the Peepal Leaf
Wandering the Ocean of Being between two cycles of time, the sage finds the baby Krishna-Vishnu, who will reveal the secret of the cosmos, The Deathless Sage Markandeya finds the baby Krishna-Vishnu.

The great sage Mirikandu rishi and his wife Marudmati worshipped Shiva and sought from him the boon of begetting a son. As a result, he was given the choice of either a righteous son, but with a short life on earth or a child of low intelligence but with a long life. Mrikandu rishi chose the former, and was blessed with Markandeya, an exemplary son, destined to die at the age of 16.

Markandeya grew up to be a great devotee of Shiva and on the day of his destined death he continued his worship of Shiva in his aniconic form of Shivalingam. The messengers of Yama, the god of death were unable to take away his life because of his great devotion and continual worship of Shiva. Yama then came in person to take away Markandeya's life, and sprung his noose around the young sage's neck. By accident or fate the noose mistakenly landed around the Shivalingam, and out of it, Shiva emerged in all his fury attacking Yama for his act of aggression. After defeating Yama in battle to the point of death, Shiva then revived him, under the condition that the devout youth would live forever. For this act, Shiva was thereafter also known as Kalantaka .
A tale from the Bhagvath Purana states that once sage Markandeya visited Narayana rishi and asked him for a boon. Markandeya prayed to the sage Narayana to show him his illusory power or Maya since sages Nara-Narayana are incarnation of Supreme Lord Narayana. To fulfil his wish, Lord Vishnu appeared in the form of a child floating on a leaf, and declared to the sage that he was Time and Death. Sage Markandeya entered into his mouth and saved himself from the surging water. Inside the boy's stomach Markandeya discovered all the worlds, the seven regions and the seven oceans. The mountains and the kingdoms were all there. So were all living beings. Markandeya did not know what to make of all this. He started to pray to Lord Vishnu. No sooner had he started, than he came out of the boy's mouth. Lord Vishnu now appeared before him and blessed him. The sage spent a thousand years with Lord Vishnu. He composed Bala Mukundastakam.

Bala Mukundashtakam - In sanskrit with meaning

श्रीबालमुकुन्दाष्टकम्: करारविन्देन पदारविन्दं
Sri Balamukundashtakam: Kararavindena Padaravindam

करारविन्देन पदारविन्दं
मुखारविन्दे विनिवेशयन्तम् ।
वटस्य पत्रस्य पुटे शयानं
बालं मुकुन्दं मनसा स्मरामि ॥१॥
Kara-Aravindena Pada-Aravindam
Mukha-Aravinde Vi-Niveshay-Antam |
Vattasya Patrasya Putte Shayaanam
Baalam Mukundam Manasaa Smaraami ||1||

Meaning:
1.1: (My Mind Remembers that Beautiful Bala Mukundam) Who with His Lotus like Hands holds His Lotus like Feet, ...
1.2: ... and Puts the Toe in His Lotus like Mouth,
1.3: He Rests on the Fold of the Banyan Leaf (Vata),
1.4: My Mind Remembers that Beautiful Bala Mukundam.
संहृत्य लोकान् वटपत्रमध्ये
शयानमाद्यन्तविहीनरूपम् ।
सर्वेश्वरं सर्वहितावतारं
बालं मुकुन्दं मनसा स्मरामि ॥२॥
Samhrtya Lokaan Vatta-Patra-Madhye
Shayaanam-Aady[i]-Anta-Vihiina-Ruupam |
Sarve[a-Ii]shvaram Sarva-Hita-Avataaram
Baalam Mukundam Manasaa Smaraami ||2||

Meaning:
2.1: (My Mind Remembers that Beautiful Bala Mukundam) Who Draws the Entire World in that Banyan Leaf (Vata), ...
2.2: ... on which He Rests with His Divine Form which is Beginningless and Endless,
2.3: He is the Lord of All, His Incarnation is for the Welfare of All,
2.4: My Mind Remembers that Beautiful Bala Mukundam.
इन्दीवरश्यामलकोमलाङ्गं
इन्द्रादिदेवार्चितपादपद्मम् ।
सन्तानकल्पद्रुममाश्रितानां
बालं मुकुन्दं मनसा स्मरामि ॥३॥
Indiivara-Shyaamala-Komala-Anggam
Indra-[A]adi-Deva-Arcita-Paada-Padmam |
Santaana-Kalpadrumam-Aashritaanaam
Baalam Mukundam Manasaa Smaraami ||3||

Meaning:
3.1: (My Mind Remembers that Beautiful Bala Mukundam) Who is like a Dark-Blue Lotus with Tender and Soft Body,
3.2: Whose Lotus Feet is Worshipped by Indra and Other Devas,
3.3: By taking Refuge in that Never Ending Wish Fulfilling Tree, ...
3.4: My Mind Remembers that Beautiful Bala Mukundam.
लंबालकं लंवितहारयष्टिं
शृङ्गारलीलाङ्कितदन्तपङ्क्तिम् 
बिंबाधरं चारुविशालनेत्रं
बालं मुकुन्दं मनसा स्मरामि ॥४॥
Lamba-Alakam Lamvita-Haara-Yassttim
Shrnggaara-Liila-Angkita-Danta-Pangktim |
Bimba-Adharam Caaru-Vishaala-Netram
Baalam Mukundam Manasaa Smaraami ||4||

Meaning:
4.1: (My Mind Remembers that Beautiful Bala Mukundam) Who has Long Curly Hair and Wears a Long Garland,
4.2: On Whose Rows of Teeth are Marked the Enchainting Smile of Love Play,
4.3: Whose Lips are like Bimba Fruits and Eyes are Wide and Lovely,
4.4: My Mind Remembers that Beautiful Bala Mukundam.

शिक्ये निधायाद्य पयोदधीनि
बहिर्गतायां व्रजनायिकायाम् ।
भुक्त्वा यथेष्टं कपटेन सुप्तं
बालं मुकुन्दं मनसा स्मरामि ॥५॥
Shikye Nidhaaya-Adya Payo-Dadhiini
Bahir-Gataayaam Vraja-Naayikaayaam |
Bhuktvaa Yathessttam Kapattena Suptam
Baalam Mukundam Manasaa Smaraami ||5||

Meaning:
5.1: (My Mind Remembers that Beautiful Bala Mukundam) Who Steals the Milk and Curd from the Pots Fixed on the Swing,...
5.2: ...when the Cowherd Girls of Vraja goes Out,
5.3: And having Eaten them according to His Wish, He Pretends to be Sleeping,
5.4: My Mind Remembers that Beautiful Bala Mukundam.
कलिन्दजान्तस्थितकालियस्य
फणाग्ररङ्गे नटनप्रियन्तम् ।
तत्पुच्छहस्तं शरदिन्दुवक्त्रं
बालं मुकुन्दं मनसा स्मरामि ॥६॥
Kalinda-Ja-Anta-Sthita-Kaaliyasya
Phanna-Agrar-Angge Nattana-Priyantam |
Tat-Puccha-Hastam Sharad-Indu-vaktram
Baalam Mukundam Manasaa Smaraami ||6||

Meaning:
6.1: (My Mind Remembers that Beautiful Bala Mukundam) Who on the Kaliya Snake situated inside river Yamuna, the river which originated from Mount Kalinda,...
6.2: ...Danced joyfully over the Top of Its Hood ...
6.3: ...holding Its Tail with His Hand; His Face Shining like the Autumn Moon,
6.4: My Mind Remembers that Beautiful Bala Mukundam.

उलुखले बद्धमुदारशौर्यं
उत्तुङ्गयुग्मार्जुनमङ्गलीलम् ।
उत्फुल्लपद्मायतचारुनेत्रं
बालं मुकुन्दं मनसा स्मरामि ॥७॥
Ulukhale Baddham-Udaara-Shauryam
Uttungga-Yugma-Arjunam-Angga-Liilam |
Utphulla-Padma-[A]ayata-Caaru-Netram
Baalam Mukundam Manasaa Smaraami ||7||

Meaning:
7.1: (My Mind Remembers that Beautiful Bala Mukundam) Who was Tied to the Mortar (by His Mother), but His Face radiating Unperplexed Heroism,...
7.2: ... He Played the Divine Play of uprooting the Pair of Lofty Arjuna Trees (Arjuna) with His Body,
7.3: He Looks out with Wide Open Eyes which Stretches like the Beautiful Lotus Petals,
7.4: My Mind Remembers that Beautiful Bala Mukundam.

आलोक्य मातुर्मुखमादेण
स्तन्यं पिबन्तं सरसीरुहाक्षम् 
सच्चिन्मयं देवमनन्तरूपं
बालं मुकुन्दं मनसा स्मरामि ॥८॥
Aalokya Maatur-Mukham-Aadenna
Stanyam Pibantam Sarasii-Ruha-Akssam |
Sac[t]-Cinmayam Devam-Ananta-Ruupam
Baalam Mukundam Manasaa Smaraami ||8||

Meaning:
8.1: (My Mind Remembers that Beautiful Bala Mukundam) Who Looks at the Face of His Mother while ...
8.2: ...Drinking Milk from her Breast, His Eyes like a Lotus Situated over a Lake,
8.3: His Divine Form Reflects the Infinite Pure Consciousness,
8.4: My Mind Remembers that Beautiful Bala Mukundam.


p


R

   https://youtu.be/ZGEqSrvdcbg

https://youtu.be/4qB4l-iymBo

https://youtu.be/2rWTIn-fXIs

Thursday, July 1, 2021

The Haṁsa-avatāra

 Lord Śrī Kṛṣṇa explains to Uddhava how human beings, overwhelmed by sense gratification, become bound by the three modes of nature, and how to renounce these modes. The Lord then describes how He appeared in His form of Haṁsa before Brahmā and the four sages headed by Sanaka and revealed to them various confidential truths.

The three modes — goodness, passion and ignorance — are related to material intelligence, not to the soul. One should conquer the lower modes of passion and ignorance by the mode of goodness, and then one must surpass the mode of goodness by acting in the transcendental mode of pure goodness. By associating with things in the mode of goodness, one becomes more fully situated in that mode. The three modes increase their different influences through various types of scripture, water, place, time, beneficiaries of activity, natures of activity, birth, meditation, mantras, purificatory rituals, and so on.

Lacking discrimination, one identifies with the material body, and consequently the mode of passion, which produces misery, takes over the mind, which is normally in the mode of goodness. As the mind evolves its function of decision and doubt, it creates intolerable hankerings for sense gratification. Unfortunate persons who are bewildered by the urges of the mode of passion become the slaves of their senses. Even though they know that the eventual result of their work will be suffering, they cannot avoid engaging in such fruitive work. A discriminating person, on the other hand, keeps himself detached from the objects of the senses and, by utilizing appropriate renunciation, takes shelter of unalloyed devotional service.

Lord Brahmā himself has no material cause. He is the cause of the creation of all living beings and is the greatest among all the demigods. Yet even Brahmā is always suffering agitation of the mind on account of the duties he has to perform; therefore, when he was questioned by his sons headed by Sanaka, who were born from his mind, about the means for driving away desires for sense gratification, he was incapable of giving them an answer. In order to receive some insight into this matter, he took shelter of the Supreme Personality of Godhead, whereupon the Supreme Lord appeared before him in the form of the swan incarnation, Lord Haṁsa. Lord Haṁsa proceeded to give instructions about the categorical identity of the self, the different states of consciousness (wakeful awareness, sleep and deep sleep) and the means for conquering over material existence. The sages headed by Sanaka became freed from all their doubts by hearing the words of the Lord and worshiped Him with pure devotion in mature love of God.


Bp

 Bhakta pootana was an Indian telugu poet best known for his translation of the Bhagavath purana from Sanskrit to Telugu. He was a Telugu and Sanskrit Scholar.His work, Sri Maha Bhagavatamu, is popularly called as Pothana Bhagavatam in Telugu.

an early age he wrote Bhogini Dhandakam, a poem written in the praise of king Sri Singa Bhoopala's concubine Bhogini. This was his first poetic venture which had the seeds of his great poetic talents. Bhogini Dhandakam is the earliest available Dhandaka (rhapsody which uses the same gana or foot all through) in Telugu.

His second work was Virabhadhra Vijayamu which describes the adventures of Lord Virabhadhra, element of Lord Shiva. The main theme was the destruction of 'Daksha Yagna' performed in the absence of Lord Siva by Daksha Prajapathi.

As a young man, he was a devotee of Lord Siva. Later, Pothana became a devotee of Lord Rama and more interested in salvation. In the view of Pothana, there is no difference between Siva and Vishnu and the same was reflected in his padyam "ChethuLAranga Sivuni Poojimpadeni Nooru Novvanga hari keerthi salupadeeni dhayanu satyamulonuga thalupadeni kaluganetiki thallula kadupuchetu". One early morning during a lunar eclipse, on the banks of river Godavari, Pothana was meditating on Lord Siva. At that auspicious moment, Supreme Lord Rama appeared dressed like a king and requested Pothana to translate Bhagavatam into Telugu (Andhramu) and dedicate it to Him. This inspired him to translate Vyasa's Sanskrit Bhagavatam into Telugu as Sri Maha Bhaagavatamu.

Persecution

The Padma Nayaka king of Rachakonda (in present-day Nalgonda District) wanted Pothana to dedicate ‘Sri Maha Bhagavatam’ to him. The king himself is a scholar and wrote many works including Rudranavasudhakara, a well known Sanskrit drama. But, Pothana refused to obey the king's orders and dedicated the Bhagavatamu to Lord Rama, whom he worshiped with great devotion. It is said that Pothana remarked, ‘It is better to dedicate the work to the supreme Lord Vishnu than dedicate it to the mortal kings.’ He was of opinion that poetry was a divine gift and it should be utilized for salvation by devoting it to the God. It is known that Pothana was patronized by this king in his early career, Pothana dedicated his first great work to this king, the king himself was a scholar, his contemporary reputation was immense. It was common practice for many poets of the time to dedicate their devotional works to God himself and not necessarily to their patron-kings. The poem containing the derision against the "Karanata Kiraata Keechakulu" is a chatuvu (apocryphal) attributed to Pothana with no proof that he actually wrote it. Even if he did, it is unclear who the Karanata villains were, very likely the rulers of Karnaata Samrajyam (the contemporary term for the Vijayanagara empire) who were raiding Rachakonda at the time. The Rachakonda kingdom was under intense turmoil at the time, under attack by the Bahamanis from the west, Karanata (Vijayanagara) empire from the south and the Reddy Rajas from the east. Rachakonda and its king ceased to exist by the mid-15th century, absorbed into the Bahamani kingdom. There is yet another version about his birthplace. He indicated in one stanza that he belonged to 'Ekasila Nagaram', meaning single stone city which was also called as Orukallu later changed to Orugallu (Warangal) in usage, Orukallu meaning single stone.



He was quite fond of using rhythm and repetition of sounds giving a majestic grace to the style of writing. He was very skillful in using Alankaras (figures of speech) like similes and metaphors. Pothana imparted the knowledge of the divine to the Telugu people along with lessons in ethics and politics through Sri Maha Bhagavatamu. He lived for sixty years.

ala vaikuMThapuraMbulO nagarilo nAmUla soudhaMbu dApala......

This is a verse which describes the palace of Lord Vishnu in his divine abode (VAIKUNTHA), at the time the elephant king prayed for the Lord's kindness to deliver him out of the deadly grip of crocodile in a lake.

The story goes that Pothana wrote the first line of the verse, but could not continue (because he did not know how vaikuntha looks!). So he paused the writing at that point, and went to farm (he was a cultivator by profession). When he came back in the evening, he saw the verse completed.

He enquired his daughter about who wrote the other three lines. The daughter replied – "You yourself came in the afternoon and wrote some thing!". So Pothana understood that Lord Sri Rama himself came and completed the verse.

In fact, Pothana himself ascribed in the following poem, the purpose of his writing the Bhagavatam:

పలికెడిది భాగవతమట
పలికించెడి వాడు రామభధృండట నే
పలికిన భవహర మగునట
పలికెద వేరొండు గాథ పలుకగనేల
PalikeDidhi Bhagavatamata
Palikinchedivadu Ramabhadrundata Ne
Palikina Bhavaharamagunata
PalikedaVerondu Gaatha PalukagaNela

Translated it means : "That which is spoken is the Bhagavatam and the one who made me speak/chant this is Lord Rama. The result of chanting this (Bhagavatamata) is ultimate freedom, the Liberation of soul. So, let me sing it, since there is no other story better than this (Bhagavatam)."


This verse is Prahlada's reply to his father asking him to give up glorifying the One he hated bitterly, Sri Hari.

మందార మకరంద మాధుర్యమునఁ దేలు మధుపంబు వోవునే మదనములకు
నిర్మల మందాకినీ వీచికలఁ దూఁగు రాయంచ సనునె తరంగిణులకు
లలిత రసాలపల్లవ ఖాది యై చొక్కు కోయిల సేరునే కుటజములకు
బూర్ణేందు చంద్రికా స్ఫురిత చకోరక మరుగునే సాంద్ర నీహారములకు
అంబుజోదర దివ్య పాదారవింద
చింతనామృత పానవిశేష మత్త
చిత్త మేరీతి నితరంబు జేరనేర్చు
వినుతగుణశీల! మాటలు వేయునేల?
Approximate translation:
A honeybee reveling in the honey-sweetness of Hibiscus, would he seek grass flowers?
A royal swan swaying in the pure breezes of the Ganges, would he go to the oceans?
A nightingale relishing the juices of smooth young leaflets, will he approach rough leaves?
A chakora bird blossoming in the moonlight of a full moon, would he go to dark places with thick fog?
Minds attention on the lotus-wearer's (God's) divine lotus-feet, a heightened headiness brought on by that nectar-like contemplation
In what way will it learn to seek another? Listen good one, what is the point of discussing (it's obvious)?

Following is the first verse in his Sri Maha Bhagavatam- The book that explains the nature of the God.

This is the beginning Verse of SriMahabhagavatamu

శ్రీకైవల్య పదంబు జేరుటకునై చింతించదన్ లోకర
క్షైకారంభకు భక్తపాలన కళా సంరంభకున్ దానవో
ద్రేకస్థంభకు కేళిలోల విలసద్ద్రుగ్జాల సంభూత నా
నాకంజాత భవాండకుంభకు మహా నందాంగనా డింభకున్
Approximate translation:
I pray for kaivalya (proximity to god) which is the ultimate wealth, to the God (Krishna),
the one who saves all the universe,
the one who has lot of skill or art in taking care of his devotees,
the one who destroys the anger of the evil people (Daanava),
the one who creates all the universes just by his playful sight,
the one who is the son of (Yasoda) wife of Nanda.

Another verse of Pothana

చేతులారంగ శివుని పూజింపడేని
నోరునోవ్వంగ హరి కీర్తి నుడువడేని
దయను సత్యము లోనుగా తలుప డేని
కలుగ నేటికీ తల్లుల కడుపుచేటు.

Approximation translation in English

Persons who do not Worship Lord Shiva with their hands,
praise Lord Vishnu with their Mouth,
do not have Mercy and do not talks truth,
have no meaning to their birth and vow bad name to their mothers.

ఎవ్వనిచే జనించు జగమెవ్వని లోపల నుండు లీనమై ఎవ్వడియందుడిందుపరమేశ్వరుడెవ్వడు మూలకారణం బెవ్వడనాదిమధ్యలయుడెవ్వడు సర్వముతానైనవా డెవ్వడు వానినాత్మభవు ఈశ్వరునినే శరణంబువేడెదన్

Potana was very unique. While other great poets started their works with prayers for God for the welfare of society "లోకకళ్యాణము" or fulfillment of their desires"ఆభీష్టసిద్ధి", Potana asked for deliverance from the cycles of birth and death. "శ్రీకైవల్యపదంబుజేరుటకునై చింతించెదన్." Elsewhere, he stated that the main purpose of human life is not to have another life. "మజ్జననంబున్ సఫలంబుజేసెద పునర్జన్మంబులేకుండగన్."

There is no way to simplify the brilliance of Potana. One has to read and read Bhagavatamu. But Here are a couple of examples of Potana's brilliance. To achieve a desired result, total absorption in what humans do is necessary, including transcendance, like Prahlada's absorption in Narayana.

పానీయంబులుతాగుచున్ కుడుచుచున్ భాషించుచున్ హాస లీ లానిద్రాదులుజేయుచున్ తిరుగుచున్ భాషించుచున్ సంతత శ్రీనారాయణపాదపద్మయుగళీ చింతామృతాస్వాదసం ధానుండైమరచెన్ సురారిసుతుడేతద్విశ్వమున్ భూవరా

Rd

रामधारी सिंह दिनकर हिन्दी साहित्य के प्रमुख हस्ताक्षरों में से एक हैं, उनकी कविताएं ओज का रस भी लिए रहती हैं और श्रृंगार भी। पेश हैं दिनकर की कविताओं की कुछ चुनिंदा पंक्तियां 


श्वानों को मिलता दूध-वस्त्र, भूखे बालक अकुलाते हैं
माँ की हड्डी से चिपक ठिठुर जाड़ों की रात बिताते हैं
युवती के लज्जा वसन बेच जब ब्याज चुकाए जाते हैं
मालिक जब तेल-फुलेलों पर पानी-सा द्रव्य बहाते हैं
पापी महलों का अहंकार देता तब मुझको आमन्त्रण

आग की भीख

आँसू-भरे दृगों में चिनगारियाँ सजा दे
मेरे श्मशान में आ श्रृंगी जरा बजा दे
फिर एक तीर सीनों के आर-पार कर दे
हिमशीत प्राण में फिर अंगार स्वच्छ भर दे

आमर्ष को जगाने वाली शिखा नई दे
अनुभूतियाँ हृदय में दाता, अनलमयी दे
विष का सदा लहू में संचार माँगता हूँ
बेचैन ज़िन्दगी का मैं प्यार माँगता हूँ

आशा का दीपक

चिन्गारी बन गयी लहू की बून्द गिरी जो पग से
चमक रहे पीछे मुड देखो चरण-चिनह जगमग से
शुरू हुई आराध्य भूमि यह क्लांत नहीं रे राही;
और नहीं तो पाँव लगे हैं क्यों पड़ने डगमग से
बाकी होश तभी तक, जब तक जलता तूर नहीं है
थक कर बैठ गये क्या भाई मन्जिल दूर नहीं है

कलम, आज उनकी जय बोल

जला अस्थियाँ बारी-बारी
चिटकाई जिनमें चिंगारी,
जो चढ़ गये पुण्यवेदी पर
लिए बिना गर्दन का मोल
कलम, आज उनकी जय बोल

समर शेष है

तिमिर पुत्र ये दस्यु कहीं कोई दुष्काण्ड रचें ना 
सावधान हो खडी देश भर में गाँधी की सेना 
बलि देकर भी बलि! स्नेह का यह मृदु व्रत साधो रे 
मंदिर औ' मस्जिद दोनों पर एक तार बाँधो रे 

समर शेष है, नहीं पाप का भागी केवल व्याध 
जो तटस्थ हैं, समय लिखेगा उनके भी अपराध

रात यों कहने लगा मुझसे गगन का चाँद

रात यों कहने लगा मुझसे गगन का चाँद
आदमी भी क्या अनोखा जीव होता है
उलझनें अपनी बनाकर आप ही फँसता
और फिर बेचैन हो जगता, न सोता है

स्वर्ग के सम्राट को जाकर खबर कर दे
"रोज ही आकाश चढ़ते जा रहे हैं वे
रोकिये, जैसे बने इन स्वप्नवालों को
स्वर्ग की ही ओर बढ़ते आ रहे हैं वे" 

Natkat

  नंद गोपाल के अलग-अलग रूपो की पूजा की जा रही है। लेकिन कृष्ण के साथ सभी राधा की भी पूजा करते हैं। वो राधा जो बाल गोपाल के साथ बड़ी हुईं, उनके साथ खेला, कूदा, रास रचाए, इतना ही नहीं कृष्ण ने सबसे ज्यादा बंसी राधा के कहने पर बजाए। राधा-कृष्ण का प्रेम ऐसा था जिसकी आज भी मिसाल दी जाती है। लेकिन सबसे दिलचस्प बात ये है कि इतने प्रेम के बाद भी कृष्ण राधा की मिलन नहीं हुआ, उनकी शादी नहीं हुई। तो जब शादी नहीं हुई तो कहां बिता राधा का पूरा जिवन, क्यों कृष्ण ने छोड़ दिया राधा का साथ, क्या कृष्ण या राधा को नहीं आई एक-दूसरे की याद, राधा जी की मृत्यु कैसे हुई? शायद आप नहीं जानते होंगे… इसलिए आज हम इस रहस्य की गाथा को आपके साथ साझा कर रहे हैं।

बचपन से साथ रहे राधा-कृष्ण-

जब भी संसार में प्रेम और त्याग की बात होती है, तो सभी की जुबा पर बस एक ही नाम आता है- श्री कृष्ण और राधा। राधा-कृष्ण का प्यार सभी आसक्तियों से परे था। अगर कृष्ण राधा के साथ नहीं होते थे फिर भी एक-दूसरे से जुदा नहीं थे। यही वजह है कि आज भी हम जब भी कृष्ण का नाम लेते हैं तो राधा के नाम के साथ ही लेते हैं... राधा-कृष्ण।

राधा-कृष्ण का बचपन साथ बीता लेकिन एक कृष्ण पहली बार राधा से तब अलग हुए जब मामा कंस ने बलराम और कृष्ण को आमंत्रित किया। तब कृष्ण जी ने कंस का वध कर अपने मांता-पिता को कारागार से रिहा कराया था। लेकिन उसके बाद उन्हें वापस वृंदावन जाने का मौका नहीं मिला।

 

radha krishna

कंस का वध करने के लिए पहली बार अलग हुए-

हालाकि वृंदावन से अलग होते हुए कृष्ण ने राधा से वादा किया था की वो वापस जरूर आएंगे। लेकिन विधि का विधान कुछ और ही था। राधा ने कई सालों तक अपने प्रेम का रास्ता निहारा लेकिन कृष्ण वापस नहीं लौट सके। कहा जाता है कि कुछ सालों बाद राधा का विवाद हो गया। उधर कृष्ण की शादी रुक्मिनी से हो गई। लेकिन दोनों भले ही साथ नहीं रहे, लेकिन उनके पवित्र प्यार आज भी जिंदा है।

राधा का किसी और से हो गया विवाह-

धार्मिक धर्म ग्रंथों में कृष्ण के वंदावन छोड़ने के बाद से ही राधा का वर्णन कम हो जाता है। राधा जहां पत्नी के तौर पर अपने सारे कर्तव्य पूरे किए वहीं दूसरी तरफ श्रीकृष्ण ने अपने संसारिक कल्याण के लिए कर्तव्य निभाए। रुक्मिनी से विवाह के बाद कृष्ण काफी समय तक द्वारका रहे और प्रजा की रक्षा की इसी वजह से कृष्ण द्वारकाधीश के नाम से लोकप्रिय हुए।

जब द्वारका में कृष्ण से मिली राधा-

लेकिन विधि के विधान को कौन बदल पाया है। एक वक्त ऐसा आया जब राधा एक बार फिर श्री कृष्ण से मिलीं। राधा कृष्ण की नगरी द्वारिका जा पहुंची और वहां उन्होंने कृष्ण की रुक्मिनी और सत्यभामा से विवाह के बारे में सुना लेकिन वह दुखी नहीं हुईं क्योंकि उन्हें पता था उनके कृष्ण ने अपना कर्तव्य निभाया है। राधा के पहुंचने पर जब कृष्ण ने देखा तो दोनों बहुत प्रसन्न हुए। लेकिन उनके पास एक दूसरे का कुशल पूछने के लिए शब्द नहीं था।

कृष्ण को छोड़ कर जाने को मजबूर हो गई राधा-

दोनों संकेतों की भाषा में एक दूसरे से काफी देर तक बातें करते रहे। शास्त्रों में वर्णित है कि राधा जी को कान्हा की नगरी द्वारिका में कोई नहीं पहचानता था। राधा के अनुरोध पर कृष्ण ने उन्हें महल में एक देविका के रूप में नियुक्त किया। राधा दिन भर महल में रहती थीं और महल से जुड़े कार्य देखती थीं। मौका मिलते ही वह कृष्ण के दर्शन कर लेती थीं। लेकिन राधा को वहां वो आध्यात्मिक जुड़ाव नहीं हो पा रहा था। इसलिए वह कृष्ण से दूर जाने पर मजबूर हो गयीं और एक दिन वह महल से चुपके से निकल गयीं।

 

radha krishna

आखिरी समय में राधा से मिलने पहुंचे जब कृष्ण-

राधा निकल तो पड़ी थीं लेकिन उन्हें नहीं पता था कि वह कहां जा रही हैं, लेकिन भगवान श्री कृष्ण भली भांती जानते थे। धीरे-धीरे समय बीता और राधा अपने अंतिम समय में अकेली जीवन गुजार रही थीं। उस वक्त उन्हें भगवान श्री कृष्ण की आवश्यकता पड़ी। राधा किसी भी तरह भगवान कृष्ण को देखना चाहती थीं। भगवान कृष्ण को जैसे ही ये ज्ञात हुआ वह उनकी उनके सामने आ गए।

कृष्ण ने तब तोड़ दी अपनी बांसुरी और उसके बाद नहीं बजाया कभी -

कृष्ण को अपने सामने देखकर राधा प्रसन्न हो गयीं। लेकिन वो राधा का आखिरी समय था अपने प्राण त्याग कर दुनिया को अलविदा कहना था। राधा के अंतिम समय से कृष्ण अच्छी तरह वाकिफ थे उनका मन उदास था फिर भी उन्होंने राधा से कहा कि वह उनसे कुछ मांगे, लेकिन राधा ने मना कर दिया। कृष्ण के दोबारा अनुरोध करने पर राधा ने कहा कि वह आखरी बार उन्हें बांसुरी बजाते देखना चाहती हैं। श्री कृष्ण ने बेहद सुरीली धुन में बांसुरी बजाने लगे। बांसुरी की धुन सुनते-सुनते राधा ने अपने शरीर का त्याग दिया। लेकिन भगवान होते हुए भी राधा के प्राण त्यागते ही भगवान श्री कृष्ण बेहद दुखी हो गए और उन्होंने बांसुरी तोड़कर कोसों दूर फेंक दी। जिस जगह पर राधा ने कृष्ण जी का मरने तक इंतज़ार किया उसे आज ‘राधारानी मंदिर’ के नाम से जाना जाता है। यह मंदिर महाराष्ट्र में है।