darasa magana

 Hari darshan ki pyasi akhiyaan hari darshan ki pyasi 

dekhyo chahe kamal nayan ko nis din rahat udaasi 

akhiyaan hari darshan ki pyasi

kesar tilak motin ki maala vrindavana ke vaasi 

neh lagaai tyag gayen trin sam daal gayen gal phansi 

akhiyan hari darshan ki …… 

kahoo ke mana ki ko jaanat logan ke man haasi 

surdas prabhu tumhare daras bin leho karvat kashi ankhiyaan

hari darshan ki pyasi hari darshan ki……..

 Meaning-

Gopis after Krishnas departure from Gokul become very sad and at this they say – our eyes are thirsty for a glance of lord . they want to see  lotus eyes and so they remain sad each day. He has a mark of saffron on forehead and who wears the necklace of pearl and who is the resident of Vrindavan,  binding us in the bond of love has left like a straw and it seems that he has fastened us with the rope around our neck . The Gopis say  who knows the inside of anyone’s mind , people just keep on laughing in their mind about one’s situation .Surdas ji says that the gopi’s are saying that oh lord without your presence Kashi has also become restless ….then what about us ?

 

Abki maadhava mohi ubaar

 

Magan hau bhava ambunidhi mein kripa sindhu murar

Neer ati gambhir maaya lobh lahe tarang

Liye jaat agadh jal mein gahe grah anang

Kaam krodh samet trishna pavan ati jhakjhor

Nahi chitvan det tiya suta naam nauka ore

meen indriya atihi kaatat mot agh sir bhar

Pag na it ut dharan paavat urajhi moh sewar

Thakyo jaani behal bihwal sunhu karuna mool

Shyam bhuj gahi kadhi daaryo sur braj ke kool

 

Meaning –

 Oh Madhava Please drive me off this time .

Oh Ocean of mercy Murari ! I am lost in this “treasure of water ” like world.

Here there is the illusion which is extreme like lots of water in which the greed raises time to time like the waves of that water .This wave takes me away in the illusion of  deep water where the lust in the form of alligator is ready to ingulf .

The wind of lust and anger  together with greed is very strong .The wife and son does not let me look at the lord’s name in the form of fleet that can save me from this ocean of illusion .

The senses in the form of fish bite me lot and I have a heavy burden of sin due to which I cant put my legs anywhere and besides I have been trapped in this fascination in the form of  sea weeds .

Thinking that I am tired , in bad condition and fraught .O cause of mercy Listen to me .

Surdas ji says Oh dear one of Braj ,Shyam !take me out of this ocean by carrying my arms. 

 

 Bhajhoo re man

Bhajahoon re man sri nand nandan abhaya charan arvind hey

Durlabh manav janam satsange tar jaave bhav sindh re

Sheet Aatap Vatavariyat , ae din aavanijaani re

Biphale sevenu kripan durjan chapal sab sukh lagi re…

Sravan Kirtan Smaran Vandan Paadsevan Dasya re

Poojan Sakhijan Atmanivedan , Govind Das abhilashi re…

Hare Krishna Hare Krishna Krishna Krishna Hare Hare

Hare Rama Hare Rama Rama Rama Hare Hare . Meaning –

Meaning of this song –

 

O mind just worship the lotus feet of the son of Nanda, which make one fearless. Having obtained this rare human birth, cross over this ocean of worldly existence through the association of saintly persons.

 Both in the day and at night I remain sleepless, suffering the pains of the heat and cold, the wind and the rain. For a fraction of flickering happiness I have uselessly served wicked and miserly men.

 It is the desire and great longing of Govinda Dasa to engage himself in the nine processes of bhakti, namely hearing the glories of Lord Hari and chanting those glories, constantly remembering Him and offering prayers to Him, serving the Lord’s lotus feet, serving the Supreme Lord as a servant, worshiping Him with flowers and incense and so forth, serving Him as a friend, and completely offering the Lord one’s very self.

 

Sandeso devaki so kahiyo

Sandeso devaki so kahiyo

Hau to dhai tihare sut ki maya karat nit rahiyo

Yadapi tev tum jaanat unki tau mohi kahi aave

Prat hot mero laal ladaiti maakhan roti bhaave

Tel ubatano aru tato jal tahi dekhi bhagi jaave

Joi joi mangat soi soi deti kram kram kari nahave

Sur pathik suni mohe rain din bado rahat dar soch

Mero alak ladaito mohan hwaihe karat sankoch

Meaning –  Here Surdas ji have illustrared the moment when udhavji came to Yashoda ji in gokul and Yashoda ji expressed all his love for her beloved son and said these words to udhav ji to be sent as message to Dewaki ji in Mathura .  Yashoda ji says ..Say my this message to Dewaki  I am a maid of your son so I keep on fascinating for him . Though you know his obstinacy yet I speak to you  Just as it becomes morning my dear likes to eat butter and bread . Seeing the oil , unction and  water he just runs away  whatever he wants ,I give him then gradually  takes bath . Surdas ji says that yashoda ji says to udhava ji , oh passanger listen !I get afraid day and night  thinking  that my most darling Mohan must be hesitating saying all this to Devaki ji .

 

Suni ri maine nirbal ke balram

suni ri maine nirbal ke balram

pichhali saakh dharun santan ki ade sawaren kaam

jab lag gaja bal aapno bartyo nek saryo tah kaam

nirbal hoi balram pukaro aayen aadhe naam

drupad suta nirbal bhai ta din taj aayen nij dhaam

duhshashan ki bhuja thakit bhai basan roop bhayen shyam

ap-bal tap-bal aur bahu-bal chautha bal hai bal-dam

sur kishor kripa se sab bal haare ko hari naam

 

Meaning –

 Surdas ji says that I have heard that the power of weak is Ram .

If I take an account of the saints in the past He has made all aggravated tasks .Till the gajraaj used up his strength he wasnt able to do anything but as he got weak and called up Ram ,the Lord reached there so fast that even gajraj had just narrated half of Lord’s name .The day when daughter of Drupad got weak ,He came leaving his abode .He took the form of saaree and the hands of Duhshashan got tired while winding it off .The power of enchanting , the power of penance and the power of arms and the fourth power is of lord .Surdas ji says all powers are due to grace of “Kishore” so those who have become loosers should only remember the name of “Hari”.

 

 

Sabse oonchi prem sagai

sabse unchi prem sagaai

duryodhana ko meva tyagyo saag vidur ghar khai

juthe phal sabri ke khaaye

bahu vidi swada batayi

prem ke bas arjun rath hakyo

bhool gaye thakurai

aisi preet barhi vrindavana

gopin naach nachaai

sur kroor is laayak nahi

kah lag karehu badhai

hare krishna hare krishna krishna krishna hare hare

hare rama hare rama rama rama hare hare Meaning –

Supreme is the bond of love .for love … lord left the high defined food (full of dry fruits)of duryodhana and ate simple food (herbs) at Vidur’s home .The lord ate already tasted food of mata Sabari and said it to be the tastiest .Under the effect of love drove the chariot of Arjun he forgot his supremity .such a love arose in Vrindavan that he danced with the gopis .Sur das ji says that he is harsh enough to praise the lord . 

 

Nis din barsat nain humare

 

Nis din barsat nain humare

Sada rehat paavas ritu humpe

jabse shyam sidhare

Anjan thir na rahe akhiyan mein

Kar kapol rahen kale

Kannchuki pat sukhat nahi kabahu

Ur bich bahat panare

Ansoo salil bhaye pag thake

Bahe jaat chitkare

Surdas ab dubat hai braj

Kahen na let ubare

 

Meaning – 

The gopis say –

 It (tears) rains daily from our eyes Always their remains monsoon to us

since Shyam departed from here  Assumed here that the tears are flowing in the way that …..

 black powder of eyes does not stay stable in the eyes they make the cheeks black 

the blouse never dries it drains in between the breast the tears have become giddy and legs have gone tired

its screaming here Surdas ji says that the Gopis says that the Braj is drowning 

why dont He saves it . 

 

Charan kamal bandau hari rai

 

Charan Kamal bando hari rai Jaki kripa pangu giri langhey Andhare ko sab kachhu darsai Bahiro sune mook puni bole Rank chale sir chhatra dharai Surdas swami karunamaya Barambar namo sir naayi Charan kamal bando hari rai Meaning – I pray to the lotus feet of shree hari  by whose grace the lame crosses the mountain  the blind could see everything  the deaf can hear , the dumb can speak again  and the beggar moves with a royal canopy over his head  Surdas ji says Oh mecryful Lord  I felicitate you by bringing my heads down over and over again. 

 

Hari darshan ki pyasi

 

 Hari darshan ki pyasi akhiyaan hari darshan ki pyasi

dekhyo chahe kamal nayan ko nis din rahat udaasi

kesar tilak motin ki maala vrindavana ke vaasi

neh lagaai tyag gayen trin sam daal gayen gal phansi

kahoo ke mana ki ko jaanat logan ke man haasi

surdas prabhu tumhare daras bin leho karvat kashi ankhiyaan

 

 

Tum meri rakho laaj hari

 

 

Tum meri rakho laaj hari

 Tum jaanat sab antaryami

karani kachhu na kari

Avaguna mose bichudat nahi

Pal chhin ghadi ghadi

Sab prapanch ki pot bandhi kari

Apne sheesh dhari

Dara sut dhan moh liye hain

Sud bud sab bicchadi

Sur patit ko begi ubaro

Ab mori naav bhari

 

Meaning –

  Oh hari! keep my pudency 

you know everything the work doesnt decide anything

I am not able to deliver my demerits the time passes out each while

Wife, son and the wealth have deluded me I have lost my reminiscence .

Surdas ji says please relieve me soon Now my life (here expressed as boat )has fiiled

( Sense :and there is no more space for anything .)

 

 

Deenan dukh haran dev

 

deenan dukh haran dev santan hitkari

ajamil geedh byadh inme kah kaun saadh

panchhi ko pad padhaat ganika si taari

dhruva ke sar chhatra det prahalad ko ubari det

bhakta hetu bandhyo setu lankpuri jaayi

gaj ko jab grah grasyo

duhshashan cheer khasyo

sabha beech krishna krishna draupati pukari

itne hari aaye gaye basnan aaroorh bhaye

surdas dware khado aanadhro bhikhari

Meaning  –

The Lord who removes the pain of the poor and is well doer of the saintsAzamil , the vulture , the hunter ,, say who was perfect among them ,Who gave a higher destination to a bird and made the Ganika to move accross this bhavasagar…Who versed Druva’s head with canopy, and saved PrahaladFor the sake of devotee who constructed the bridge by going to Lanka puri .When the alligator grabbed the Gajraj (the elephant) in his jaws …who came to save him ..When Duhshashan unwinded the clothes (of Draupadi) ,Draupadi called up “Krihsna Krishna ” in the Hall ..Just then ,( you) Hari reached there and adjointed Himself in the clothes .Surdas , a blind begger , is standing on Your doorsteps –When You can do so much and show your grace upon these people ,Please be kind towards me too .

 

Nis din barsat nain humare 

Nis din nain humare 

sada rahat paawas ritu humpar 

jab te shyam sidhare 

 anjan thir rahe na akhiyan mein

kar kapol bhaye kale 

kanchiki pat sokhati nahi kabahu 

ur bich bahe panare 

aansu salil bhaye pad thake 

thake jaat sital kaya 

surdas ab doobat braj mein 

kahen na let ubare  

 

 Lal Gopal 

 

Lal Gopal gulal humari

akhiyan mein jin daro ju

Badan chandrama nain chakori 

In bich antar paro ju 

 Gayo raag basant paraspar 

Atpat khel nivaro ju 

 Kumkum rang so bhari pichkari 

taki nainan jin maaro ju 

 Bank bilokan dukh mochan 

Lochan bhari drishti niharo ju 

 naagari nagar bhav sagar se

Krishnadas ko taaro ju 

 

 

 

 

shor bhayo

 

Hey Govind hey Gopal
Hey Govind rakho sharan
Aab to jivan hari --(2)
Neer pivan heytu gayo (went there with intetion to get water)
Sindhu ke kinare (at the river bank)
Sindhu beech basat grah (in the river resides a crocodile)
Charan dhari pachhare (caught by the leg and thrown)
Hey Govind hey Gopal
Chaar prahar yudha bhayo(fought for four Prahars (1 prahar= 3hrs?))
Ley gayo mazdhare (took (me) to mid stream)
Naak Kaan Dooban lagey (Nose and ear started to submerge)
Krishna ko pukare (asking Lord Krishna to help)
Hey Govind Hey Gopal
Dwarika me Sabd gayo(message went to Dwarika)
Shor bhayo bhare ( caused comotion)
Shankh Chakra Gada Padma, Garud ley sidhare
Sur kahe shyam suno sharan hai tihare
(Surdas says Shyam we are at your mercy)
Aab ki bar paar karo, Nand ke dulare
(please help this time, o' beloved son of Nand)
Hey Govin Hey Gopal

A fair exchange.

 

Author: Sura Dasa

https://youtu.be/8F7H_RNmWSs

Language: Braja Bhasa

LYRICS:

(refrain)

śyāma tori murali nek bajāuń

johi johi tān bharo murali, sohi sohi gāna sunāwuń

 

(1)

hamāri bindiyā tumko lagāwuń, maiń sīra mukuṭa lagāwuń

hamārī cunariyā tumhi pahano śyāma, maiń pitāmbara odhuń

 

(2)

hamārī kańganiyā tum pahano śyāma, maiń tumhāri saba pāuń

hamari bushan tum sab pahiro

 3. tumre sir makhan ki mataki, mai mili gwal lutau

tum dadhi bechane jao vridavan, mai maga rokan avu

manini hokar man karo tum , mai tohe aan manau

sūra śyāma tum bano rādhikā maiń nanda lāla kahalāuń

TRANSLATION

(Refrain) Oh Syama! I shall play Your flute. As you filled the flute with the melodic phrases (tanas in Indian music), I shall play songs on it.

 

1) I will put my bindi  and put it on Your forehead. I will wear Your auspicious peacock-feathered crown on my head. Please wear my chunari , Oh Syama. I shall wear Your pitambara 

 

2) Please wear my kangan , as I will attain Your possessions. Suradas's Syama, you become Radhika! I shall be called Nanda lala.

 Raga Sivaranjani.

12

 The 12 Azhwars, (the Main authors of Naalayira Divya Prabandam – 4000 poetic Rhymes) are known as Nityasuris or Divyasuris; those who reside permanently with the Lord in His Heavenly abode. They have incarnated as Azhwars -Vasihnavite Saints – to propagate Bhakthi Marga, devotion to Lord Vishnu. The Twelve Azhwars and thier birth details are.

POIGAI AZHWAR Period 7th Century AD,  Birth place:  Kanchipuram

Other Names: Saro yogi, Kaasara yogi, Poigai piran, Padma muni,

Kavinyaporeyer

Year/Month: Sidharthi / Aippisi

Birth Star: Tiruvonam

Amsam : Panchajanya (Conch)

TIRUPPAN AZHWAR 8th Century AD Birth Place: Uraiyur

Other Names: Paanar, Muni vaahanar, Yogi vaahanar, Kaveeswarar

Year/Month: Dhurmathi/Karthigai

Birth Star: Rohini

Amsam: Srivatsam

BHOOTHATH AZHWAR Period 7th Century AD Birth Place: Mahabalipuram (Mamallapuram)

Year/Month: Sidharthi / Aippisi

Birth Star: Avittam

Amsam: Kaumodakee (Mace)

KULASEKHARA AZHWAR 8th Century AD

Birth place: Thirvanjikkolam

Other Names: Kollikkaavalan, Koodal Naayagan, Koyikone,

Villavar Kone, Cheyralar Kone

Year/Month: Prabhava/Maasi

Birth Star: Punar Poosam

Amsam: Kaustubham (Gem Necklace)

PEI AZHWAR Period 7th Century AD Birth place: Mylapore – Chennai

Other Names:… Kairava Muni, Mahadaahvayaae

Year/Month: Sidharthi /Aippasi

Birth Star: Sadayam

Amsam: Nandhagam (Sword)

PERIYAAZHWAR 9th Century AD Birth place: Sri Villiputhur

Other Names: Vishnu Chittar, Patta Naadan, Bhattar Piraan,

Sri Villiputthooraar, Sriranganaatha Svasoorar

Year/Month: Krodhana/Aani

Birth Star: Swathi

Amsam: Garuda (Chariot/Vehicle)

TIRUMAZHISAI AZHWAR 7th Century ADBirth place: Thirumazhisai

Other Names: Bhakthi Sarar, Magisaarapuriswarar, Mazhisai piraan

Year/ Month: Sidharthi / Thai

Birth Star: Maham

Amsam: Sudarsanam (Discus)

SRI ANDAAL 9th Century ADBirth place: Sri Villiputhur

Other Names: Soodi Kodutha Naachiyaar, Kodai, Kodai Piraatti

Year/Month: Nala/Aadi

Birth Star: Pooram

Amsam: Bhoodevi

TIRUMANGAI AZHWAR 8th Century ADBirth place: Thiru Kurayalur

Other Names: Kaliyan, Aalinaadan, Naalu Kavi perumal,

Parakaalan, Mangaiyarkone

Year/ Month: Nala/ Karthigai

Birth Star: Krithigai

Amsam: Sarnga (Bow)

NAMMAAZHWAR 9th Century AD

Birth Place: Azhwar Thirunagari (Kurugoor)

Other Names: Sadagopan, Paraankusan, Sadaari, Maaran,

Vakulaaa Baranan, Kurugaiyar Kone

Year/Month: Pramaadhi/Vaikasi

Birth Star: Visakham

Amsam: Viswaksenar (Commander of Army)

TONDARADIPODI AZHWAR 8th Century AD

Birth place: Thirumandangudi

Other Names: Vipra Narayanar, Thiru Mandangudiyaar,

Bhakthangirirenu, Palliunartthiya Piraan

Year/Month: Prabhava/Margazhi

Birth Star: Kettai

Amsam: Vanamaalai (garland)

MADHURAKAVI AZHWAR 9th Century AD

Birth place: Thirukollur

Other Names: Inkaviyaar, Azhwaarukku Adiyaan

Year/Month: Eeswara / Chittirai

Birth Star: Chittirai

Amsam: Vainatheya (Garuda)

He responds to any name.

 हरि मैं तो लाख यतन कर हारी।

महलन ढूंढा, गिरिबन ढूंढा, ढूंढी दुनिया सारी॥

गोलुक कुंज गली में ढूंढा, ढूंढा वृन्दावन में।

डाल डाल से, फूल पात से, जा पूछा कुंजन में।

बीती की सब कहे हरि ना अब की कहे बनवारी॥

कोई कहे श्री राम है क्या या गौरी काली मैया।

मैं कहू नहीं गोपाल हैं वो एक बन में चरावे गैया॥

उमापति परमेश्वर नहीं, ना नारायण भयहारी।

मीरा का हृदय विहारी, मीरा का हृदय विहारी॥

अंग पीताम्बर मोरे मुकुट, सर माला गले सुहावे।

बहुरूपी बड़े रूप धरे, जिस नाम बुलावो आवे॥

मीरा कहे अब लाज रखो प्रभु आवो मुरली धारी॥

Tiruchinam

 Part of Brahmotsavam at all Vaishnava temples, it has special significance in Kanchipuram

Alavandar celebrates Garuda as the embodiment of the Vedas — Vedatma Vihageshwaro. Parasara Bhattar sings paeans to the speed with which the Lord mounted Garuda and sped to rescue elephant Gajendra. Nammazhwar paid his tribute to Garuda’s speed by referring to him as ‘vega paravai.’

‘Attiyooraan pullai oorvaan,’ said Bhoothathazhwar, referring to Varadaraja of Hastigiri as the deity on His bird mount (Garuda), showing that this utsava of Varadaraja is iconic. There are Garuda sevais in all temples, but it was in Kanchi that the Lord came to the rescue of Gajendra, as the sthala Purana says. Among the three Garudotsavams in the temple, the one during the Brahmotsavam is the most famous.

There are many verses of Nammazhwar, where he sees himself as Parankusa Nayaki, a young girl who yearns for the Lord. In one such verse, Parankusa Nayaki says that if she can see the Lord on Garuda through the window of her house, as He passes by on the street (avar veedhi), then it will be a great boost to her sagging spirit. Considering the importance attached to the Kanchi Garuda sevai, surely this can be taken as a reference to Varadaraja’s Garuda utsavam.

In Kanchipuram, the first prakaram into which the Garuda vahanam steps in, is the Azhwar prakaram. Although this prakaram houses all the Azhwars, the name Azhwar prakaram must have come because of Nammazhwar’s avar veedhi reference, for when we say Azhwar, without a prefix, it means Nammazhwar.

Vedanta Desika, in his Tiruchinnamalai, gives us an eyewitness account of Varadaraja’s utsavams, singling out three vahanams for special attention — elephant, horse and chariot — ‘Anai, pari, therin mel Azhagar vandaar.’ The sixth utsavam is the Anai (elephant) vahana utsavam, which takes place in the evening. For sheer size Varadaraja’s elephant vahanam perhaps remains unmatched. Usually, two umbrellas accompany Him, but during the Anai vahana utsavam, only one umbrella is used. The spectacle of Varada on the elephant reminds us of the desire of the citizens of Ayodhya, who wanted to see Rama on a huge elephant (Gajena mahataa), with a white umbrella shading Him (chhatraavritaananam). Their desire was thwarted by Kaikeyi’s plans, but the citizens of Kanchi are blessed to see what those of Ayodhya could not.

A King would have a caparisoned royal elephant, horse and chariot. And Kanchi Varadan is a rajan, whether we see Him as Varadarajan — the merciful 

One — or stand in awe of Him as Devadirajan. So naturally, His elephant, horse and chariot assume importance.

On the ninth day of the Brahmotsavam, Varadaraja is taken round in a palanquin, known as Andolikai. He is alone in the palanquin, without His Nachimars. Usually people have an interesting interpretation for this trip of the Lord — during His outing the previous night on the asva vahana, with His Consorts, He lost a ring and is now going out to look for it, without telling anyone, not even His Consorts. But this seems too superficial an explanation. The Lord is not looking for something as trivial as a ring. He is looking for lost cetanas, wrote scholar D. Ramaswamy Iyengar. He hides His Supremacy, so as not to frighten people, and this is shown symbolically by the shawl covering Him. As people approach Him without fear of His Supremacy, He reveals Himself fully, and wins them over. Andolikai is mentioned by Desikar in his Varadaraja Panchasat.

Integral part

Thiruchinnam is a wind instrument made of brass, and is an integral part of all utsavams in the Varadaraja temple. Before Varadaraja takes off in a vahana, thiruchinnam is played. In his Meivrata Manmiyam , Desika talks of the kaalam and conch being played in the temple. Kaalam is also a wind instrument. But the peculiarity of the Thiruchinnam is that two tiruchinnams are blown by the same person at the same time. But in Kanchi, only one Thiruchinnam is played. The hagiography about Desika says that Varadaraja gifted one of his Thiruchinnams to Desika, and from then on, only one is being played for the deity. Perhaps Desika named his Tamil work, Thiruchinnamalai, to show his gratitude to the Lord he adored.

(Based on various Tamil and English works of scholar and Varada devotee D. Ramaswamy Iyengar)

bhakti contd.

 The distinction between jnana and vijnana. He explains that vijnana happens in perhaps one jivatma among those many thousands who struggle for perfection. Even among those, maybe one really achieves perfection. Even among those who have come to this level, maybe one is able to really know God. But along with this claim He also reveals His boundless compassion when He states that though realising God appears to be a distant dream to many of us, it is possible through pure devotion. He knows fully well that not all who seek Him are keen to realise Him, there being plenty of constraints for many of us caught in samsara.

He classifies those who seek Him on the basis of their specific desires into four broad categories. Some seek relief from distress, some seek wealth and prosperity, and some others knowledge, spiritual or worldly. But some want to remain devoted to Him at all times and seek Him for His sake. But to Him, all those who approach Him, whatever be the goal they seek, are fortunate and are dear to Him. He considers them as His bhaktas. But devotees such as Prahlada and Dhruva though young in age, realise Him through sheer devotion. He too willingly becomes accessible to their true devotion. So the bhakti of sincere devotees is sure to remove the hurdles to their God realisation.

The greatness of worship with tulsi leaves is borne out by a story,  A king used to worship Lord Padmanabha, the deity in the Tiruvanthapuram temple using gold flowers. A poor man worshipped using tulsi leaves. The king was annoyed with the poor man because the tulsi leaves he used covered up the gold flowers that the king had offered. He scolded the devotee, who said that the king had not realised how important tulsi leaves were in the worship of Lord Vishnu. The king then challenged the devotee and said, “Summon Lord Narayana, if you can. I’m going to try to do so too. Let us see which of us succeeds.”

The king undertook many yagas to make the Lord appear before him. The poor devotee continued to do his worship with tulsi leaves. One day, the rice he had kept for offering to the Lord was stolen. Upset that he had no food to offer to the Lord, the devotee decided to forego his meal. The next day, again the rice intended as offering for the Lord disappeared and so again the devotee went without food. This continued for a week. On the eighth day, the devotee decided to find out who was stealing the rice. He noticed a man stealing the rice and running away. He gave chase and found that the man was skin and bones. The devotee was sorry for him. When he found the man about to eat plain rice, he brought vegetables and ghee for the man. But the hungry man fainted. The bhakta then fanned him and tried to revive him. Suddenly, the man disappeared and the Lord appeared before the devotee. He said to the bhakta, “You have the qualities of patience and kindness, because you used tulsi in your puja.” The king realised that gold flowers and yagas were not equal to tulsi archana.