Majhe

 

 

Majhe Maher Pandhari

Majhe Maher Pandhari |

Aahe Bhivarechya Tiri || 1 ||

Baap Aani Aai |

Majhi Vitthal Rakhumai || 2 ||

Majhe Maher Pandhari…

Pundalik Rahe Bandhu |

Tyachi Khyati Kay Sangu || 3 ||

Majhe Maher Pandhari…

Majhi Bahin Chandrabhaga |

Karitase Papbhanga || 4 ||

Majhe Maher Pandhari…

Eka Janardani Sharan |

Kari Maherchi Aathavan || 5 ||

Majhe Maher Pandhari…

Lyrics By: Sant Eknath

Abhang of Sant Eknath “Majhe Maher Pandhari”.

In this is famous Abhang Sant Eknath refers to Pandharpur as his “maher” or “Mother’s Home,” (For Indian women Mother’s Home always has a special place in her heart). Vittal is his Father and Rakhumaaye is his Mother, Pundaleeka is his Brother, the River Chandra Bhaga (Bheema) which washes away the sins and purifies is his Sister. He further says he is surrendered to Lord Vittala and he is unable to utter the greatness of this sacred and Holy place.

 https://youtu.be/PYPL-EnmSYQ

https://youtu.be/OPUy6f_UV0M

Giving lessons.

 

Tulisdas came to know about the strange manner in which Rahim, a muslim by birth but a devotee of Lord Krishna who wrote poetry dedicated to Krishna, was well known for giving alms to the poor. He never looked at the person he was giving alms to, keeping his gaze downwards towards the earth, in extreme humility, rather than look towards the face of alms seekers. Tulsidas, a great poet himself – author of Hindu scripture Ramayana in popular language of Northern India and Hanuman Chalisa, promptly wrote the following couplet and sent it to Rahim.

“ऐसी देनी देंन ज्यूँ, कित सीखे हो सैन

ज्यों ज्यों कर ऊंच्यो करो, त्यों त्यों निचे नैन”

“Sir, Where have you learn that peculiar way of giving alms (Why give alms like this)?

As your hands go up (to give alms to others), your eyes start going low staring down)”

Rahim knew Tulsidas well and realized that he is well aware of the reasons and is merely giving him an opportunity to explain it to others who may have the same question in their mind. In today’s highly social media context, we could say that Tulsidas we ribbing/ trolling Rahim in a friendly manner. He replied to Tulsidas in extreme humility, completing the couplet which Tulsidas wrote with the following words:

“देनहार कोई और है, भेजत जो दिन रैन

लोग भरम हम पर करे, तासो निचे नैन”

“The Giver is someone else (the God almighty), giving day and night.

But the world gives me the credit, unnecessarily, so I lower my eyes in embarrassment.”

MQ.

 What you are made for will always exceed who you currently are, but inside of you lies the potential and capacity to become all that you are destined to be.

You carry a seed of greatness inside of you, the world can't wait to eat of your fruits, but they will never get to experience what you are made of, if you choose to remain as a seed.

A seed will have to go through changes, get dropped into the dirt, covered in darkness, struggle for the light, then spring forth out of the dirt, and grow and become a tree, full of fruits, a blessing to the world.

Change will never come if you keep waiting for someday or some time, you are the change you've been waiting for, you are the change you seek. 

Get to work, build yourself, leave your comfort zone, come out of your shell, face your fears, pursue your dreams, what better time than now to live fully.

Boomai

 Pallavi

Naan oru vilayattu bommaiya,

Nayagiye umaye naan undanukku

Anupallavi

Naanilathil pala piravi eduthu,

Thindadinathu podathaa, Devi undanakku

Charanam

Arul amudai paruga amma , amma endru,

Alaruvathai ketpadhu ananadama?

Oru pugal indri un thiruvadi adainthene,

Thiruvulam irangadha? Devi undanukku.

English translation

Pallavi

Am I a toy for playing to you?

Oh Goddess , Oh Uma , am I to you

Anupallavi

Is it not sufficient for having undergone sufferings,

After Having taken several births in this earth, Oh Goddess for you

Charanam

Is it a joy for you to hear me crying mother, mother,

For drinking the nectar of your grace

Having no place to go I reached your holy feet,

Does not your divine mind melt? Oh Goddess for you.

Pallavi :

Vellai thAmarai poovil iruppAL

veeNai seiyum oliyil iruppal

kollai inbam kulavu kavidai

kurum pavalar ullathilruppal (veLLai)

Anupallavi

ulladhaam poruL thEdiyunarndhE

Odhum vEdhaTHin Ul nin trolirval

kaLLamatra munivargaL koorum

karunai vaSagaTHutporuLAvAL (veLLai)

Charanam 1

mAdhar theengural paattil iruppal

makkaL pESum mazhalaiyil uLLAL

geetham pAdum kuyilin kuralai

kiLiyin naavai iruppidum kondAL

CharaNam 2:

kOdhangandra thozhiludaiTHAgi

kulavu chiTHiram gOpuram koyil

eedhanaiTHin ezhilida iyutrAL

inbamE vadi vagida petraL (veLLai)

English translation

Pallavi

She will be on the white lotus flower,

She would be in the sound emanating from Veena,

She would be in the heart  of great poets,

Who write poems giving great pleasure.

Anupallavi

She  would shine inside the chant of Vedas,

Which is being chanted knowing its true meaning,

She would be  the inner meaning of the  merciful words,

Told by sages   who do not have any deceit.

Charanam

1.She would be in the songs sung by ladies with sweet voice,

She would be in the lisping words of  little babies.

She would be sitting on the toungue of the koel singing songs,

And  also in the   toungue  of the birds.

2.Making  the prettiness , her own,

Of the  job   which  is done with love,

And  that of pretty pictures and temple towers,

She would remain  with the personification of sweetness.

This now for me  

She is dancing  in my heart to a melodious music of the flute player. 

mangalam

Mangalam Lakshmi devige. 

maMgaLArati taMdu beLagire

aMbujAsana rANige

aMbege jagadAMbege mUkAMbege

Sashi biMbege ||

Suddha snaanava mADi nadiyali

vajrapIThadi nelesire

tiddi tilakava teeDidaMtha

muddu maMgaLa gaurige || 1 ||

eredu peetAMbaravanuDisi

sarvaabharaNava racisida

haraLinOle vajramooguti

varamahAlakShmi dEvige || 2 ||

nigama vEdyaLe ninna guNagaLa

bagebageyali varNipe

tegedu BAgyava neeDu Enuta

jagadoDeyana maDadige || 3 ||

huTTubaDaveya kaShTakaLedu

koTTaLarasana siriyanu

hetta kumarana tOridaMtha

SukravArada lakShmige || 4 ||

Harige vandisi karaviradolu bharadi sthiravagiruvale,

Karedu bhaktarige varavakoduva bheemeshakrishnana madadiye.

Mangalam Lord Venkateswara.

jaya maMgaLaM nitya SuBa maMgaLaM ||pa||

vasudEva tanayanige vaikuMTha nilayanige |

kusumanABanige kOmalarUpage |

yaSOde naMdanage vasudheya ramaNanige |

nasunageyoLoppuva narasiMhage ||1||

kanakakirITanige kastUri tilakanige |

kanakakuMDalanige kaustuBahArage |

kanakAMbaranige kAruNyarUpanige |

sanakAdivaMdyanige narasiMhage ||2||

paMkaja nABanige pAMcAli

rakShakage |

laMkeyanu viBIShaNa nigittavage |

kuMkumAMkitanige kuvalaya nEtranige |

biMkadiMdali mereva narasiMhage ||3||

pakShivAhananige paramapAvananige |

kukShiyoLu jagavaniMbiTTavanige |

lakShumI kAMtanige lakShaNavaMtanige |

lakShaNa doLoppuva narasiMhage ||4||

Baktavatsalanige Bavadu:KadUranige |

muktidAyakage cinmaya rUpage |

mitre rukmiNige satyaBAme yarasanige |

nitya kalyANa SrIhayavadanage ||5||

Aaruthi Belagire Nariyaru Bega

Aadi Kolhapura Mahalakshmige

Haadutha Janeyarellaru

Aadi Narayana Priyalige || pa||

Pille Kalungura Luulu Paijanaruli

Gillu Gillendu Hejjeyanidutha

Ullasadindali Naduvigodyana

Pullanabhana Priyalige ||1||

Jarada Pithambara Nirigegalaleyootha

JhagaJhageyinda Holeyuthali

Thota Kanchukavanu Itta Vankiya Thode

Betthada Venkobana Madadige ||2||

Chowri Raguta Gonde Heralu Bhangara

Buggudi valigalu Holeyuthali.

SadagaraDhinda Kudiya Kumkuma Hacchi

Vadeya Venkobana Madadige ||3||

Aaruthi Belagire Nariyaru Bega

Aadi Kolhapura Mahalakshmige

Haadutha Janeyarellaru

Aadi Narayana Priyalige || pa||

Dashavatara  aarthy.

chalisuva jaladali matsyanige

giriya bennali potta kUrmanige

dhareyanuddharisida varaahavataarage

taraLana kaayda shrI narasiMhage

maMgalaM jaya maMgalaM ||

bhUmiya daanava bEDidage

aa mahaakShatriyara gelidavage

raamachaMdraneMba dasharathasutanige

bhaameyarasa gOpaalakRuShNage

maMgalaM jaya maMgalaM ||

battale niMtiha bouddhanige

uttama hayavErida kalkige

hattavataaradi bhaktara salahuva

kartRu shrI puraMdara viThalanige

maMgalaM jaya maMgalaM ||

maMgalaM jaya maMgalaM

mukuTake maMgala matsyAvatArage

muKake maMgala muddu kUrmanige

sukaMThake maMgala sUkara roopage

naKake maMgala narasiMhage || 1 ||

vakShake maMgala vaTu vAmanage

pakShake maMgala paraSurAmanige

kakShake maMgala kAkustha rAmage

kukShige maMgala SreekRuShNage || 2 ||

UrugaLige maMgala uttama buddhage

caraNake maMgala celuva kalkige

paripari roopage paramAnaMdage

puraMdaraviThalage jaya maMgala || 3 ||

Seshadri kondapai vilasillu Swamiki 

Jaya mangalam nitya shubh mangalam.

Shri Venkatesha Shri Srinivasa 

Jaya mangalam nitya shubh mangalam.

Seshdrivaasuniki Shri Bhumi nathuniki 

Jaya mangalam nitya shubh mangalam.

Kausalya tanayuniki Vaikunta vaasuniki 

Jaya mangalam nitya shubh mangalam.

Shri Venkatesha Shri Srinivasa 

Jaya mangalam nitya shubh mangalam.

Kasturi tilakuniki kodanda Ramuniki 

Jaya mangalam nitya shubh mangalam.

Advaita moorthiki, asamaana keertiki 

Jaya mangalam nitya shubh mangalam.

Shri Venkatesha Shri Srinivasa 

Jaya mangalam nitya shubh mangalam.

Nikhila lokesuniki  Vakulavara putruniki 

Jaya mangalam nitya shubh mangalam.

Adhyanta rahituniki Ananda roopuniki 

Jaya mangalam nitya shubh mangalam.

ÙM samvada.

 Anushasana Parva continues the theme of Shanti Parva, a discussion of duties of a ruler, the rule of law, instructions on dharma for those close to the leader. The dialogue is between Yudhishthira, Bhishma and other sages. The book debates the duties, behaviors and habits of individuals, with chapters dedicated to men and to women. Various types of marriages are mentioned and their merits compared. The parva also recites many symbolic tales and legends such as the legend of Nachiketa, as well as the death and last rites of Bhishma, the eldest member of the Kuru family.

This is a controversial book in the Mahabharata. In the 2nd-century CE Spitzer Manuscript found in Kizil Caves, China, which includes a table of contents of the Mahabharata, there is no mention of the Virata Parva and Anushasana Parva.Similarly, the old Mahabharata manuscripts in Sarada script discovered in Kashmir do not include this parva. This has led scholars such as Indologist Dieter Schlingloff to the proposal that the Anushasana Parva was a later interpolation into the epic. Others scholars disagree and suggest that the other parva titles as mentioned in the Spitzer Manuscript table of contents may have included most of the chapters now in Anushasana Parva. These and other evidence strongly support the thesis that the epic was expanded and that it evolved in the early centuries of the common era, but such minimalist evidence in old manuscripts must be taken with caution rather than summary dismissal of an entire Parva.