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 Pavamana is another name for Soma. Pavamana also means that which flows; That which purifies. Hence, the wind god Vayu is worshipped through this Suktam. The Pavamana Suktam is particularly sacred to followers of Shri Madhwacharya of Udipi. The Madhwas consider Vayu to be Jivottama, best among the Jivas (Vayu Jivottamaha | Hari Sarvottamaha ||).

Since Lord Hanuman is the son of Vayu Bhagavan, the Pavamana Suktam is also performed to propitiate Hanuman.

The homam is performed by offering materials which are specially sacred to Vayu, Soma and Hanuman while chanting the verses from the Pavamana Suktam.

The benefits of performing the Pavamana Suktam are long life, removal of all sins and pitrhu shapam (curse of ancestors), increase in prosperity and happiness of mind. It is auspicious to perform Pavamana Suktam on a Saturday to overcome the effects of Saturn Transits (Elre Sani / Sade Sathi / Ashtama Shani / Ardhashtama Sani / Kantaka Shani / Sani Dasa etc.)

The Pavaman Suktam itself described the following benefits:

"He who recites Pavamana Suktha,
Which is essence of Vedas collected by sages,
For him Saraswathi extracts,
The milk of knowledge, clarity and exhilarating Soma.

This Pavamani suktha leads to peaceful and indestructible life,
They can be easily understood and knowledge can be improved,
The sages understand the essence of Vedas from these,
And this is the nectar for the knower of God.

Those who are purified by Pavamana Suktham,
Get this world as well as the next,
Their wishes would be fulfilled,
And they would be united with gods and goddesses

This Pavamani suktha leads to peaceful and indestructible life,
They can be easily understood and mental clarity would be released,
The sages understand the essence of Vedas from these,
And this is the nectar for the knower of God."

ōm ॥ hira̍ṇyavarṇā̠-śśucha̍yaḥ pāva̠kā
yāsu̍ jā̠taḥ ka̠śyapō̠ yāsvindra̍ḥ ।
a̠gniṃ yā garbha̍ō dadhi̠rē virū̍pā̠stā
na̠ āpa̠śśagg syō̠nā bha̍vantu ॥

yāsā̠g̠ṃ rājā̠ varu̍ṇō̠ yāti̠ madhyē̍
satyānṛ̠tē a̍va̠paśya̠-ñjanā̍nām ।
ma̠dhu̠śchuta̠śśucha̍yō̠ yāḥ pā̍va̠kāstā
na̠ āpa̠śśagg syō̠nā bha̍vantu ॥

yāsā̎-ndē̠vā di̠vi kṛ̠ṇvanti̍ bha̠kṣaṃ
yā a̠ntari̍kṣē bahu̠dhā bhava̍nti ।
yāḥ pṛ̍thi̠vī-mpaya̍sō̠ndanti śu̠krāstā
na̠ āpa̠śśagg syō̠nā bha̍vantu ॥

śi̠vēna̍ mā̠ chakṣu̍ṣā paśyatāpaśśi̠vayā̍
ta̠nuvōpa̍ spṛśata̠ tvacha̍ō mē ।
sarvāg̍ō a̠gnīgṃ ra̍psu̠ṣadō̍ huvē vō̠ mayi̠
varchō̠ bala̠mōjō̠ nidha̍tta ॥

pava̍māna̠ssuva̠rjana̍ḥ । pa̠vitrē̍ṇa̠ vicha̍r​ṣaṇiḥ ।
yaḥ pōtā̠ sa pu̍nātu mā । pu̠nantu̍ mā dēvaja̠nāḥ ।
pu̠nantu̠ mana̍vō dhi̠yā । pu̠nantu̠ viśva̍ ā̠yava̍ḥ ।
jāta̍vēdaḥ pa̠vitra̍vat । pa̠vitrē̍ṇa punāhi mā ।
śu̠krēṇa̍ dēva̠dīdya̍t । agnē̠ kratvā̠ kratū̠g̠ṃ ranu̍ ।
yattē̍ pa̠vitra̍ma̠rchiṣi̍ । agnē̠ vita̍tamanta̠rā ।
brahma̠ tēna̍ punīmahē । u̠bhābhyā̎-ndēvasavitaḥ ।
pa̠vitrē̍ṇa sa̠vēna̍ cha । i̠da-mbrahma̍ punīmahē ।
vai̠śva̠dē̠vī pu̍na̠tī dē̠vyāgā̎t ।
yasyai̍ ba̠hvīsta̠nuvō̍ vī̠tapṛ̍ṣṭhāḥ ।
tayā̠ mada̍nta-ssadha̠mādyē̍ṣu ।
va̠yagg syā̍ma̠ pata̍yō rayī̠ṇām ।
vai̠śvā̠na̠rō ra̠śmibhi̍rmā punātu ।
vāta̍ḥ prā̠ṇēnē̍ṣi̠rō ma̍yō̠ bhūḥ ।
dyāvā̍pṛthi̠vī paya̍sā̠ payō̍bhiḥ ।
ṛ̠tāva̍rī ya̠jñiyē̍ mā punītām ॥

bṛ̠hadbhi̍-ssavita̠stṛbhi̍ḥ । var‍ṣi̍ṣṭhairdēva̠manma̍bhiḥ । agnē̠ dakṣai̎ḥ punāhi mā । yēna̍ dē̠vā apu̍nata । yēnāpō̍ di̠vyaṅkaśa̍ḥ । tēna̍ di̠vyēna̠ brahma̍ṇā । i̠da-mbrahma̍ punīmahē । yaḥ pā̍vamā̠nīra̠ddhyēti̍ । ṛṣi̍bhi̠ssambhṛ̍ta̠g̠ṃ rasam̎ । sarva̠g̠ṃ sa pū̠tama̍śnāti । sva̠di̠ta-mmā̍ta̠riśva̍nā । pā̠va̠mā̠nīryō a̠dhyēti̍ । ṛṣi̍bhi̠ssambhṛ̍ta̠g̠ṃ rasam̎ । tasmai̠ sara̍svatī duhē । kṣī̠ragṃ sa̠rpirmadhū̍da̠kam ॥

pā̠va̠mā̠nīssva̠styaya̍nīḥ । su̠dughā̠hi paya̍svatīḥ । ṛṣi̍bhi̠ssambhṛ̍tō̠ rasa̍ḥ । brā̠hma̠ṇēṣva̠mṛtag̍ō hi̠tam । pā̠va̠mā̠nīrdi̍śantu naḥ । i̠maṃ lō̠kamathō̍ a̠mum । kāmā̠n‍thsama̍rdhayantu naḥ । dē̠vī‍rdē̠vai-ssa̠mābhṛ̍tāḥ । pā̠va̠mā̠nīssva̠styaya̍nīḥ । su̠dughā̠hi ghṛ̍ta̠śchuta̍ḥ । ṛṣi̍bhi̠-ssambhṛ̍tō̠ rasa̍ḥ । brā̠hma̠ṇēṣva̠mṛtag̍ō hi̠tam । yēna̍ dē̠vāḥ pa̠vitrē̍ṇa । ā̠tmāna̍ō pu̠natē̠ sadā̎ । tēna̍ sa̠hasra̍dhārēṇa । pā̠va̠mā̠nyaḥ pu̍nantu mā । prā̠jā̠pa̠tya-mpa̠vitram̎ । śa̠tōdyā̍magṃ hira̠ṇmayam̎ । tēna̍ brahma̠ vidō̍ va̠yam । pū̠ta-mbrahma̍ punīmahē । indra̍ssunī̠tī sa̠hamā̍ punātu । sōma̍ssva̠styā va̍ruṇassa̠mīchyā̎ । ya̠mō rājā̎ pramṛ̠ṇābhi̍ḥ punātu mā । jā̠tavē̍dā mō̠rjaya̍ntyā punātu । bhūrbhuva̠ssuva̍ḥ ॥

ō-ntachCha̠ṃ yōrāvṛ̍ṇīmahē । gā̠tuṃ ya̠jñāya̍ । gā̠tuṃ ya̠jñapa̍tayē ।
daivī̎ssva̠stira̍stu naḥ । sva̠stirmānu̍ṣēbhyaḥ । ū̠rdhva-ñji̍gātu bhēṣa̠jam । śannō̍ astu dvi̠padē̎ । śa-ñchatu̍ṣpadē ॥
ōṃ śānti̠-śśānti̠-śśānti̍ḥ ॥

Quote

 

Eg.

 There are no fetters like those of illusion (maya),

no strength like that which comes from discipline (yoga),

there is no friend higher than knowledge (jnana),

and no greater enemy than egoism (ahankara).

—Gheranda Samhita, 1.4

The Gheranda Samhita calls itself a book on ghatastha yoga, which literally means "vessel yoga", wherein the body and mind are depicted as vessels that carry and serve the soul (atman, purusha). It is generally considered a Hatha yoga text.The text teaches a seven limbed yoga, in contrast to the eight-limbed yoga in Patanjali's Yogasutras, the six-limbed yoga of the Goraksha Samhita, and the four-limbed yoga in the Hatha Yoga Pradipika. It declares its goal to be the perfection of an individual's body, mind and soul through a seven step lifelong continuous self-development. The means of this goal include self purification, thirty two asanas it details for building body strength, twenty five mudras to perfect body steadiness, five means to pratyahara, lessons on proper nutrition and lifestyle, ten types of breathing exercises, three stages of meditation and six types of samadhi.

The text reverentially invokes Hindu god Shiva as well as Vishnu, with verses such as 5.77 and 7.4 suggesting that the writer was also inspired by Advaita Vedanta ideas such as "I am Brahman [Supreme Soul] alone, and nothing else; my form is truth, consciousness and bliss (satcitananda); I am eternally free".

Gheranda Samhita is a step by step detailed manual of yoga taught by sage Gheranda to student Chanda. Unlike other hatha yoga texts, the Gheranda Samhita speaks of a sevenfold yoga.

Shatkarma for body cleansing Asana for body strengthening Mudra for body steadying Pratyahara for mind calming Pranayama for inner lightness Dhyana for inner perception Samādhi for self liberation and bliss.

The text itself follows this division in seven chapters, and has a focus upon the ṣaṭkarmas (shatkarma), thus this text is sometimes said to describe ghatastha yoga. For instance, the Yoga Sūtras of Patañjali describes an eightfold path (yama and niyama instead of shatkarma and mudra, and addition of dharana). The closing stanzas on samadhi teach different methods than those described by Patanjali.

The earliest translation of the text into English was by Srisa Chandra Vasu.

Yoga pradipika suggests that all other asanas are unnecessary once Siddhasana has been mastered.

Samadhi.

 What is quite fascinating about the way Yoga texts were written and compiled in medieval India is that they often provide systemised hierarchical methods for achieving a goal or series of goals. Not unlike the brief self improvement lists that circulate widely on social media today, such as '10 ways to authentic happiness' or '7 tips for staying young'.

The Gheraṇḍa Saṃhitā (early 18th century) is an example of such a text. It identifies seven means for achieving it's yoga, the 'Yoga of the Body' 

 "...it refers to the body, or rather the person, since the techniques taught works on both the body and mind."

The seven practices (saptasādhana) are outlined with descriptions of both the methods and the outcome produced once mastered:

1. PURIFICATION is achieved through Ṣaṭkarma (6 types of cleansing techniques)

2. STRENGTH is achieved through Āsana (32 types of postures)

3. STEADINESS is achieved through Mudrās (25 types of seals)

4. CALMNESS is achieved through Pratyāhāra (5 types of sensory withdrawal)

5. LIGHTNESS is achieved through Prāṇāyāmas (10 types of breathing exercises)

6. REALISATION OF SELF is achieved through Dhyāna (3 types of meditation)

7. STAINLESS PERFECTION is achieved through Samādhi (6 types of absorption)

The text focuses on the physical techniques that need to be practised in order to perfect both the body and mind to achieve it's goal, Rājayoga (a synonym for samādhi). Like most other Haṭhayoga systems, the seven practices in the Gheraṇḍa Saṃhitā do not contain ethical guidelines, such as those instructed in the yamas and niyamas of the Pātañjalayogaśāstra.

Interestingly, however, the Gheraṇḍa Saṃhitā does provide a unique set of six techniques for attaining particular types of samādhi, the state of meditative absorption that is liberation.

Vairagya.

 Vairāgya (वैराग्य) is a Sanskrit term used in Hindu as well as Jain philosophy that roughly translates as dispassion, detachment, or renunciation, in particular renunciation from the pains and pleasures in the temporary material world. The Hindu philosophers who advocated vairāgya told their followers that it is a means to achieve moksha.

True vairāgya refers to an internal state of mind rather than to external lifestyle and can be practiced equally well by one engaged in family life and career as it can be by a renunciate. Vairāgya does not mean suppression of or developing repulsion for material objects. By the application of vivek (spiritual discrimination or discernment) to life experience, the aspirant gradually develops a strong attraction for the inner spiritual source of fulfillment and happiness and limited attachments fall away naturally. Balance is maintained between the inner spiritual state and one's external life through the practice of seeing all limited entities as expressions of the one Cosmic consciousness of Brahman.

The concept of Vairāgya is found in the Yoga Sūtras of Patañjali, where it along with practice (abhyāsa), is the key to restraint of the modifications of the mind (YS 1.12, "abhyāsa-vairāgyabhyāṃ tannirodhaḥ"). The term vairāgya appears three times in the Bhagavad Gita (6.35, 13.8, 18.52) where it is recommended as a key means for bringing control to the restless mind. It is also the main topic of Mokṣopāya or Yoga Vasistha. Another important text on renunciation is Vairāgya shataka or "100 verses of Renunciation", a part of the Śatakatraya collection by Bhartṛhari.

Etymology: Vairāgya is an abstract noun derived from the word virāga (joining vi meaning "without" + rāga meaning "passion, feeling, emotion, interest"). This gives vairāgya a general meaning of ascetic disinterest in things that would cause attachment in most people. It is a "dis-passionate" stance on life. An ascetic who has subdued all passions and desires is called a vairāgika.

Starts with: Vairagyabijamantra, Vairagyacandrika, Vairagyamala, Vairagyanashin, Vairagyanashini, Vairagyapancaka, Vairagyapancashiti, Vairagyapradipa, Vairagyaprakarana, Vairagyaratna, Vairagyashataka, Vairagyata.

Ends with: Abhavavairagya, Akshivairagya, Aparavairagya, Avairagya, Jnanavairagya, Koradem Vairagya, Koradem-vairagya, Maithunavairagya, Manasavairagya, Prasutivairagya, Puranavairagya, Shmashanavairagya, Svabhavavairagya, Udaravairagya.

Vairagyata, Vairaga, Pratyapatti, Maithunavairagya, Vairagyashataka, Vairagin, Shmashanavairagya, Bhartrihari, Vairagyapancashiti, Vairagyapradipa, Vairagyaratna, Vairagyacandrika, Vairagyapancaka, Vairagyaprakarana, Bairag, Aparavairagya, Bairaga, Pancagataya, Paramartha, Asamgama

Faith purest.

 Please read this post without fail. 

It's very inspiring:-

A rich man was once interviewed on an American TV program. He was a billionaire.

He was asked if he had ever been surprised by anything. He said yes, on one of his many trips around the world, a Krishna devotee shocked him with his belief.

So he began:

In the Kunj Gali (Street) of Vrindavan, one day, I went to Shri Krishna Temple out of curiosity and saw a man extending his clenched palms towards heaven.

It was immediately after the afternoon Raj Bhog Aarti. Everyone else had finished Aarti darshan and gone, but he remained there, praying.

Curious, I went closer to see the man's face and I saw him in tears as he was praying fervently.

I waited patiently until he was done with his prayer. Then I asked him; what the problem was?

He said he urgently needed ₹ 20,000 for his wife, who was in the hospital.

I said, "is this why you are praying so fervently?" He said yes.

Coincidentally, I had exactly ₹ 20,000 in my pocket. So I counted the money and gave it to him.

Without waiting to thank me first, he prostrated instantly to thank GOD SHRI KRISHNA. Then he stood up and thanked me too.

Impressed by his attitude, I told him how happy I was to help him. So, I extended my personal card containing my direct number and email address.

"I'm impressed by you, anytime you need anything, money.... any amount, call me directly and you shall have it."

✔️ This man shocked me !!  

He refused my offer.

The TV host was surprised too. "Why did he reject your offer?"

"His reason made me a changed man" answered the young billionaire.

"What was his reason?" The obviously impatient TV host asked.

Well, in his words, he said, "No, thanks. I won't call you when I need money or anything else. I WILL ALWAYS CALL THE ONE WHO SENT YOU."

Don't let any man play God in your life.

TRULY, GOD IS THE PROVIDER, THE BESTOWER AND THE CONTROLLER OF ALL THE UNIVERSES. HOLD ON UNTO HIM IN FULL FAITH & TRUST.

Jai Shri Krishna🙏

Hare Krishna🙏

3 interesting articles.

 Bio of alwar.

Genius that he was, Vedanta Desika wrote in Sanskrit, Tamil, Prakrit and Manipravala (mixture of Sanskrit and Tamil). The works of the Azhvars and Ramanuja Nootrandadi in praise of Ramanujacharya are collectively known as Divya Prabandham. The total number of prabandhams in the Divya Prabandham is 24. Vedanta Desika’s Tamil works also number 24, said Koothapakkam Chakravarthi Ranganathachariar in a discourse. Of these, the following are lost to us: Pandhu, Kazhal, Ammaanai, Oosal and Yesal. Of the ones available, the following are considered the most important: Adaikkalapathu, Adhikara Sangraham, Prabandha Saaram and Pillai Andadi.

Pillai Andadi was composed by Desika’s son Kumara Varadacharya, but is included in the Desika Prabandhams. In Prabandha Saaram, which has 18 verses, Desika gives details about the birthplace and the star of every Azhvar, the number of works to the credit of each Azhvar, and the number of pasurams each of them composed. Each verse gives us such details about an Azhvar. Prabandha Saaram, therefore, is like a biography of the Azhvars in condensed form, making it a unique work. Desika composed this work so that we would have a clear idea about the Azhvars and their pasurams.

In the case of many Sanskrit poets, biographical details have to be inferred from their usage of words or descriptions. For example, in the case of Kalidasa, we guess he could have been from Ujjain, because of his descriptions of Ujjain. But nothing about him can be established beyond doubt. When palm leaf manuscripts are copied, mistakes can occur due to oversight or even if the copier omits or adds a detail. It was to avoid any such possibility in the case of the Azhvars, that Desika composed Prabandha Saaram.

God captive of affection.

The legendary King Paari is said to have taken pity on a trailing vine and offered his royal chariot as a support for the creeper. Vallalar’s love for flora and fauna was just as immense as this. Vallalar said that he shed tears whenever he saw crops wilting because of lack of water. It is one thing to melt for human beings, or even animals, for even the latter are capable of expressing their emotions through gestures. Thus a dog shows its affection by wagging its tail. Plants, however, are silent sufferers, when there is a drought or a flood. So sensitive was Vallalar that tears came automatically to him when he saw plants suffer. He was always in tune with Nature.

In his Vairagya Panchaka, Vedanta Desika shows us the need to spurn opulence and the need to seek Lord Narayana instead. In the very first verse, which is in the metre known as Saardoola Vikreeditha, Desika mentions Kuchela, the poverty stricken friend of Krishna, said V.K.S.N. Raghavan, in a discourse.

Desika says that there are many petty kings, rulers of small kingdoms, who are always surrounded by sycophants. These men sing the king’s praises, for a few rewards from him. On receiving these rewards, they consider themselves to be very fortunate indeed. But to Desika, this is totally undesirable. He sees no need to praise any king. What is the need to do so for one who worships the Supreme One — Lord Narayana? He then talks of Kuchela and refers to him as a muni. Kuchela was a childhood friend of Krishna. Hoping to get some financial help from Krishna, Kuchela went to meet Him. He had nothing to offer Krishna, except a few rice flakes. He was ashamed of his humble offering. But Krishna took the rice flakes from Kuchela and ate them with relish. That very instant, Kuchela’s poverty vanished. When such a One as Krishna was being worshipped by Desika, would he care to praise a mortal? But Kuchela was not a sage. Why then did Desika use the word ‘muni’ for him? That is because anyone who focuses on the Lord and meditates on Him is fit to be called so.

Sage Agastya is called a great and noble sage, because when he was about to sip ocean water, in the tiny drop of water in his right palm, the Lord showed him two of His avataras. The two avataras Agastya saw were the Matshya and Kurma avataras. Thus, by seeing the Lord’s avataras, Agastya became great. Kuchela became great through his bhakti towards Krishna,, and so deserved to be called a muni.