swabhava.

In the Bhagavata Purana, there are many discussions on the ideals of the social system according to the Varna-ashrama dharma to help every individual attain his highest spiritual prospects. In the seventh canto, the narrative of the curse and redemption of the gatekeepers of Vaikunta, Jaya and Vijaya, is featured in the form of the conversation between Narada and Yudhishtira. Towards the end of this narration, Narada explains the many nuances of the Varna-ashrama dharma that have sustained and guided the moral and cultural aspects of society.

He also explains the general dharmas that are applicable to all, pointed out Sri R. Krishnamurthy Sastrigal in a discourse. He lists many virtues like truth, compassion, austerity, viveka, vairagya, control of mind, ahimsa, charity, integrity, contentment and service by which every individual regardless of his varna, birth, or ashrama, state in life, can obtain divine grace. For instance, though the brahmana is placed in the highest scale in society, it is in view of the high character ideal he is to set and the important part he has to play in the welfare of the society. His means of livelihood were primarily through teaching, officiating at sacrifices and receiving gifts from those whose earnings are righteous.

Though the individual’s varna is based on heredity, it is also determined by one’s qualities. As a general rule, it is held that in all Yugas, for welfare in this life and hereafter, the pursuit of one’s own duty, swadharma, is important. This is also determined by the dominance of the gunas of Prakriti, satva, rajas and tamas inherent in all. When everyone acts in line with one’s nature, he adheres to his swabhava. He will gradually rise above the influence of the gunas when jnana and bhakti are generated in him.

Diksha.

 By Chinnajeeyar swamy 14.3.22

People take on a di:ksha to build internal strength and help attain their goals. Some di:kshas are for a duration of 1 week, 15 days, 18 days, 27 days, or 40 days, etc. The most common duration for di:ksha is 40 days and is called mandala di:ksha.

If the duration is short-term, both the resulting strength and the attained goal live temporarily. If you are looking for an ever-lasting strength and ever fulfilling goal, then you need a di:ksha that is life-long.

It is called Vyshnava Di:ksha or Pancha Samska:ra Di:ksha where one is qualified through a guru to heartfully believe in Lord as Sri Maha Vishnu, the ultimate protector, bond with him in every way, identify himself as Lord’s belonging by imprinting sankha and chakra marks on the shoulders, chant Lord’s name, always meditate on His form in his heart.

The secret to leading a life-long di:ksha is revealed by our a:cha:ryas in their teachings in a very beautiful way that elevates a person’s thought allowing every activity to be completed in a much more balanced and better way.

One who takes on this di:ksha conducts a ya:ga called ma:nasa ya:ga throughout their life-time without having to disrupt any of their activities.

Any ya:ga has a few components such as kunda (fireplace for sacred offerings), agni (fire), ho:tha (one who is offering), ladles, ghee, manthra.

The activity can be anything including and not limited to taking care of your children or working or even entertainment. Offer it to Lord through this ma:nasa ya:ga and you have realised yourself to be a tool in the hands of God in His creation.

Until you take up this di:ksha, you will be doing something that does not meet your natural state and thus bind yourself to karma. You end up taking births in different bodies over and over in an ever-ending cycle. You can step out of this cycle only with the grace of Lord. The step that makes you ready for accepting His grace is called Vyshnava Di:ksha, a di:ksha that prepares you for the ultimate goal. Vyshnavas are therefore respected by Yama at the time of their death, i.e. leaving the current body in the path to God.

Hridaya

 

जिनके हृदय श्री राम बसे, तिन और का नाम लियो ना लियो ।

He in whose  heart Rama lives,

Whether  he chants or not chants  any other name,

He in whose  heart Rama lives,

Whether  he chants or not chants  any other name,

His   heart   is  Sri Rama

कोई मांगे कंचन सी काया, कोई मांग रहा प्रभु से माया ।

कोई पुण्य करे कोई दान करे, कोई दान का रोज बखान करे ।

जिन कन्या धन को दान दियो, उन और को दान दियो ना दियो ॥

Some one praises   charity

Some  one asks for a body  of gold,
Some one  asks  for Maya of the lord

Some one does blessed deeds , some one does charity

Some one praises  charity

those blessed people who do kanyadaan.

Whether he gives charity  to others or not does not matter.

कोई घर में बैठा नमन करे, कोई हरि मंदिर में भजन करे ।

कोई गंगा यमुना स्नान करे, कोई काशी जाके ध्यान धरे ।

जिन मात पिता की सेवा की, उन तीरथ स्नान किओ ना किओ ॥

some pray at home, some pray at the temple,

some bathe in ganga yamuna, some go to kashi and meditate,

but those who serve their parents weather they have a dip in holy river does not matter.

जिन के द्वारे पर गंग बहे, तिन कूप का नीर पीया ना पीया

जिन काम किया परमार्थ का, तिन हाथ से दान दिया ना दिया ।

जिन के घर एक सपूत भयो, तिन लाख भया ना भया ॥

Pachai

 Pacchaima malaipol meni pavalvayk kamalac chengan

Acchuta amarar ere ayartam kozhunde ennum 

Icchuvai Tavira yanpoy Indira lokam alum

Acchuvai perineum venden arangama nagarulane.

T A( Tirumaai )

O Acyuta, lord of celestials. Beloved of the cowherds, if I were to give up the joy of singing about You as having divine body likened to the splendid green mountain, lips like coral, and eyes like the red lotus, and were to get a taste of indras power to rule over the celestials, Israel not cherish it, O Lord of Srirangam.

Pachai Mamalai Pol Meni Pavalvai Kamala Chenkan

Achuta Mararere Ayar Tham Kozhute Ennum

Echsuvai Thavir Yan PoiIndiralogam Alum

Echsuvai Thavir Yan Poi Indiralogam Alum

Achsuvai Perinum Vendean Arangama Nagarulanea

Oorile Kaani Illai Uravu Martoruvar Illai 

Paaril Nin Paadhamoolam Patrine Paramamoorthy 

Oorile Kaani Illai Uravu Martoruvar Illai 

Paaril Nin Paadhamoolam Patrine Paramamoorthy 

Karolee Vannnane

Kannnane Kadaarugindren

Karolee Vannnane

Kannnane Kadaarugindren

Aarular Kalaigal Amma 

Arangama Nagarulanen.

Pachai mamalai pol meni pavalvai kamala chenkan

Achuta mararere ayar tham kozhute ennum

Echsuvai thavir yan poi indiralogam alum

Achsuvai perinum vendean arangama nagarulanea

Azhwar describes the lord's body as a green mountain with beautiful red lips like the ruby.

HIS eyes are red and broad like a lotus.. When the AzhvAr has the fortune to rejoice the Lord in this way, he considers even the mOksHA as inferior to this. He ignores that completely any of worldly joys. He wants to live with his lord ,living in Sri Rangam and chanting his name that he does not want indira lokha even if he were the ruler of it.

Oorile kaani illai uravu martoruvar illai

Paaril nin paadhamoolam patrine paramamoorthy

Karolee vannnane en kannnane kadaarugindren

Aarular kalaigal amma arangama nagarulanen

I have no place; no properties; no relatves; none other than you .I have gotton hold of your lotus feet o Lord of the universe. O Krishna (the Lord who is blue sky color ) you are my only refuge, I am crying for salvation at your feet. Is there any one else to save me except you other than Sri Rangan.

very often to describe the physique of a man, their shoulders, chest are compared to mountain. There are lots of references to this. In periya thirumozhi 7'th paththu "thaaraaLum varaimaarbaNn thaNchERai" 8'th paththu "varaimaarbaNn' eNnkiNn RaaLaal," (varai = malai = mountain), His chest is compared to the mountain. In perumAL thirumozhi "mallaNaintha varaitthOLaa valvinaiyEn" "thaararntha thadavaraitthOL thayarathanRaan" His Shoulders are compared to mountains...

There was an
old priest in Srirangam. He had always wanted to go to thiruvEn^katam
but could never make it. He was getting old.  One day he went to the
perumAL and told him his wish and asks for permission. PerumAL couldn't
bear the absence of his beloved bhAgavatha for such a long time. He
tries His best to retain the priest in Srirangam itself. But the priest
was steadfast in his plan.

So PerumAL asks him to do one last kaimkaryam before he leaves. He asks
him to recite amalanAdhipirAn. The priest happily starts the recital.
while reciting third stanza,
"man^dhi pAy vada vEN^kata mA malai
 vAnavargaL san^dhi seyya n^inRAn araN^gath tharavinaNaiyAn..."
the priest realizes there is no other dhivya dhEsam that could match the
thiruvaraN^gam and decides to stay there...

Paley Tamizhar.

 

They were all not old but in their 20,s or so.

 Once Poygai azhvar went to Tirukkovalur, a sacred place situated near the Pennai river, Sri Vishnu is known by the name Ulagalanda Perumal in this place. The Sudarshana Chakra which is usually seen held in the right hand is seen held in the left hand here. Bhakta Prahalada and Namuchi the son of Mahabali are seen at the lotus feet of Sri Ulagalanda Peruman.

Poygai azhvar reached the holy place when it was raining very heavily, fortunately he saw the ashram of Mrkandu rishi he rushed inside and laid down in the front pial (the raised platform) thinking of Lord Vishnu. A little later Bhutatt azhvar reached the same place trembling in the chilly rainy weather he knocked on the door, Poygai azhvar enquired of the stranger, Bhutatt azhvar replied he was a devotee of Sri Vishnu, Since the place inside was small both of them sat down and discussed the greatness of Our Lord. Not before Long another devotee approached the ashram and knocked on the door, he too was let in and when they discovered that he too was the devotee of the Lord, what joy they three stood and decided to talk about the dear Lord till dawn. there was practically no more room. But How our Lord liked to hear his praise especially by these great devotees who were independently wandering around the place visiting various temples unknown to each other, when they decided to spend the night talking about the Lord how could he our own miss such a great opportunity. he our Lord stealthily entered there without their knowledge, they were now unable to stand comfortably nor breath, unable to understand this strange presence. to remove the darkness that was making them uncomfortable poygai alwar sang praying to God for light:

VAIYAM TAGALIYA VAR KADALE NEY AGA

VEYYA KADIRON VILAKKU AGA - SEYYA

CUDAR AZHIYAN ADIKKE CUTTINEN SOLMALAI

IDAR AZHI NINGUGAVE ENDRU.

Bhutatt  azhvar next sang a hymn in praise of the Lord to remove the inner darkness to light the lamp of jnana:

ANBE TAGALIYA ARVAME NEY AGA

INBU URUGU SINDHAI IDU TIRIYA - NANBURUGI

JNANAC CUDAR VILAKKU ETRINEN NARANARKU

JNANAT TAMIZH PURINDA NAN

both the outer and inner darkness were spontaneously removed by the holy lamp lit by Poygai Azhvar and Bhutatt Azhvar immediately all the three had a wonderful darshan of Sri Vishnu in all his majesty and splendor it was now that Pey Azhvar sang:

TIRUKKANDEN PONMENI KANDEN TIGAZHUM

ARUKKAN ANI NIRAMUM KANDEN - CERUKKILARUM

PON AZHI KANDEN PURISANGAM KAIK KANDEN

EN AZHI VANNANBAL INDRU.

Sri Vishnu appearing in a luminous form holding conch, discus, mace, sword and bow in the hands and said, "I enacted this holy play only to bring all three of you together" he showered his blessings upon them and disappeared. full of joy the three together visited many temples and finally reached Tirumazhisai where they were met by a fourth great devotee Tirumazhisai alwar.

the three are called mudal azhvargal or even Paley Tamizhar.

Sangappalagai

 The rapidity with which Nammazvars hymns was gaining popularity among the people, the sangham poets demanded that the epithets adorn the Sangappalagai. meaning the test.

Sangappalagai was a sort of divine bench which would float on the potramarai tank  poets used to sit on it and render their compositions. The bench would expand or contract automatically to provide enough space for any no of poets. If there were no mistakes in their compositions the bench would support the poets. If there were mistakes it would tilt and push the poets into the water.

Madhurakavi then placed on the sacred bench the palm leaf containing the following hymn of Nammazhvar.

KANNAN KAZHALINAI NANNUM MANAMUDAIYIR

ENNUM TIRUNAMAM TINNAM NARANAME.

all the 300 poets sat on the bench along with the palm leaf and all of them were pushed off the bench except for the palm leaf. Thereafter the hymns of Nammazvar were accepted wholeheartedly, and even composed eulogistic poems like;

Semam kurugaiyo seyya tirupparkadalo

Namam parankusamo naranamo Daman

Tulavo vagulamo tolerance Mangum

Ulavo peruman unakku.

Iyaduvado garudarku edited iravikkedir min mini aduvado

Nay oduvado urumip Pullman nari kesari mun nadaiyaduvado

Pey aduvado azhagu urvasimun peruman vagulabharanan arul kurndu

Oduvadu urai ayiramamariyinoru sorpeumo ulagil kaviye.

Meaning

Like a small fly trying to fly in front of the king of birds Garuda, like a firefly trying to show its light in front of the rays of the sun, like a dog trying to bark in front of the fierce tiger, like a fox trying to walk in front of the lion, like a ghost trying to dance in front t of the beautiful celestial dancer urvasi, our songs too remain so in comparison with a word too of the vakulabaranar.

v r mangalam.

 sriviraraghavamangalam

srikingrha puradhisam svarnavalli samanvitam,

salihotramunervandyam viraraghavamasraye. - 1

mangalam raghavendraya madhukaitabhaharine,

viraraghava vaidyaya tubhyam bhavatu mangalam -2

salihotrasadavandya caranadvayasobhine,

sritanamartinasaya raghusresthaya mangalam - 3

vijayakhya vimanetra viharamupajagmuse,

sarngine sesatalpaya sundarayastu mangalam - 4

gambhira vipulamsaya visalottungavaksase,

ajanubahave tubhyam dhirodattaya mangalam - 5

salihotra sironyasta daksinasrikaraya te,

bhaktavatsalaramaya citralilaya mangalam - 6

nabhinalinasanjata vanihrdayaharinah,

pranavarthopadestre te svamine mama mangalam - 7

divyacandana karpura kunkumalankrtaya te,

divyapsaroganairnityam sevitayastu mangalam - 8

indivaradalasyamasukumara suvarsmane,

tunganasalasadganda bhruvilasaya mangalam - 9

vilasaccandrikatulya smitasobhisubhanana,

vasumatyasametaya tubhyam bhavatu mangalam - 10

kandarpakotilavanya jaganmohanarupine,

vedavedanta vedyaya sada bhavatu mangalam -11

pratarudyatsahasramsusadrsa svena tejasa,

kingehamandanayastu maharajaya mangalam - 12

nityairmuktaissadabhaktaihsevyamanapadabja te,

viksaranya nivasasridvirephayastu mangalam - 13

srivaikuntham parityajya hrttapadhvamsinitate,

sraddhaya ramamanaya mahadhiraya mangalam -14

parakalamahisara divyasuri nutaya te,

pumsam mohanarupaya kingrhesaya mangalam - 15

adivansathakopadiyativaryastutaya te,

viraraghava vaidyaya nityasrirnitya mangalam - 16

iti narayanakhyena sathajidyogina krtam,

mangalam kingrhesasya pathatamastu mangalam - 17

|| iti sriviraraghavamangalam samaptam ||