nachiyar.

Saturday, May 11, 2024

P & P

Pápa & Puńya

Bali donating to Vamana Murty, while Guru Shukracharya asking Bali not to (Sadashiva temple Nuggehalli, Karnataka, India) (2015)

Paapa (pápa), though widely interpreted as sin, is explained in Sanātana Ḍharma literature as an experience of the Jīva as a result of dush:karmā, and Punya (puńya) as an experience as a result of sat:karmā. These concepts are inherent in Hinduism and Buddhism. This exploration is not to compare, but to delve into its fundamentals. In the form of pápa(m), the Jīva experiences dush:karmā through some sort of unavailability or suffering, and puńya through some sort of availability or happiness. Puńya(m) and pápa(m) both get exhausted over time. As and when suffering and happiness get exhausted, the Jīva tends to accumulate both based on its current actions, which is nothing but karmā, making it a never-ending cyclic loop called saṃsāra. So what is Karmā and its source? Karmā is a vital concept in Sanatan Ḍharma and means an action (Kriya) of a karta (person performing it) and its associated result (cause and effect). Understanding karmā and its source are vital to interpreting this concept (can be explored on this portal). A sloka from Śrīmad Bhagavād Gita, Chapter 9 of Rajavidya Rajaguhya Yoga, Sloka 21, wherein Gitacharya (Śrī Kṛṣṇa) says:

ते तं भुक्त्वा स्वर्गलोकं विशालं क्षीणे पुण्ये मर्त्यलोकं विशन्ति।

एव त्रयीधर्ममनुप्रपन्ना गतागतं कामकामा लभन्ते।।

Meaning, after spending a certain time in heaven (Swarga:loka) the Jīva depletes its karmāphala and falls back into other mortal lokas, and so the cycle (saṃsāra) of karmā (actions defined as per Vedā and the outcome of those actions) and janma (taking birth) continues as long as the life of desire (kama) continues.

Śiva (Nataraj) performing the cosmic dance with Parvati witnessing it. Snake and Evil under His feet. (n.d.)

Let us take a deeper look into the concept of pápa and puńya. Before that, please note that Sanātana Ḍharma literature refers to various related concepts like Iśvara, Karmā, and Guru. However, these concepts are not principles because this is not a philosophy, and since this explanation is in English (rendered from Sanskrit and other Vedic inherent languages), words like “principles” and “rules” should not be taken literally. Why? For this, we have to understand what Sanātana Ḍharma is all about, and this can be explored on this portal. Pápa can also be called the concept that cannot touch the one who is grateful and dwells in Jnana or the magnificence of Iśvara, but can throw the ignorant deep into the pits of Naraka:loka. This being one of the vital topics of Sanātana Ḍharma, let us dive deeper. Another way of defining pápa is an action when performed by a karta (person who is performing it) solely for fulfilling one’s desire, whether that desire is rāga (liking) or dveṣa (hatred). Even if karmā associated with an action is explained and encouraged by Śāstra, it doesn’t necessarily make it puńya. Let us say one seeks the desired outcome, either out of rāga (liking) or dveṣa (hatred), and so performs an action hoping to fulfill that desire, then it is called pápa. Now, before we jump to any conclusions, let us understand this thoroughly. Then what is puńya? At a high level, both puńya and pápa are the same because one is a “kree:needa” to the other, meaning one shadows the other. But why? Because puńya is something we enjoy through some sort of availability (say good health or mind and body, peace, materials of comfort, and more), but they get exhausted in kālá or kāláam (time), and what lies at the end of each puńya is pápa and vice versa. If we love something, there is always the dormant fear of losing it; so anything that can disturb what we desire automatically results in hate, but irrespective of what we like or dislike, kālá(m) (time) exhausts it no matter what. (Srichaganti. S.V.V, 2014., p.1., Srichaganti. K.D.S, n.d., p.5)

There are three means by which pápa and puńya can be committed. They are Mānas, Vaachika, and Śarīra, and each results in its respective phala (fruit/consequence).

Mānas is the thought process of a Jīva influenced by Vāsanā (inherent tendencies). Just an ill thought about others or their property, or about Iśvara or Śāstra itself is a pápa of mānas. The same applies to puńya. Just thinking about Iśvara or Ḍharma and hoping to perform Ḍharma:sādhanā (strive towards walking the path of Ḍharma) itself constitutes puńya. An honest thought of Ḍharma itself can uplift a human. One might not believe in Śāstra or Iśvara, but rather than claiming the unknown, if one imagines ill and schemes to undermine Śāstra or Iśvara, such thoughts result in pápa. Before a committed act, one must resolve that act as a thought and that thought can define as puńya or pápa. The thought is a very powerful thing and just a thought can trigger various chemical (rasayana) reactions within the body and can either throw one’s health out of balance or bring it to composure. The following is a sloka from Śāstra:

Paradravesya vidyanam| manasa:nista chintanam||

vithathabe:invechachya| Threevidham manasam smrutham||

परद्रवेस्या विद्यानं| मनस:निस्ट:चिन्तनम||

विठठाबी:निवेचस्का| थ्रीविधाम मानसं स्मृतं||

Meaning, fostering ill thoughts and ill feeling towards others or towards “Pāradravesya” (other’s possessions) is considered pápa of mānas as it results in dush:karmā, the fruit/consequence (karmā:phala) of which one will have to suffer with a deformity of mind or lack of content or peace of mind in future.

Vaachika means, that which is said through Vak (speech) using the indriya (mouth/tongue).

Paarushya amrutanchaiva| Paishunchapi sarvarsha:haa||

A:samvardha pralapascha| Vangmaschi dhurvidham||

पारुष्य अमृताञ्चैवा| पैशुनछापी सर्वशा:हां||

असंवर्ध प्रलापाश्चा| वंगमासची धुर्विधाम ||

Meaning, ill words, rudeness (Paarushya), or lies (amrutanchaiva) said using speech will result in Vachika pápam. People who say such things just for fun, personal pleasure, hate, or jealousy are evil (Paishunchapi) in nature. Such pápa also applies to those who talk carelessly just for the purpose of gossip (a:samvardha pralapascha), with no sense of truth or purpose, leading to a careless attitude and immoral character (again morality is not a concept of Sanātana Dharma, it is an illustrative reference), inadvertently spreading lies and confusion (Vangmaschi dhurvidham) or a false impression about themselves or others. Even if there exist facts in what one speaks, one should always consider the place and time to speak. One can’t attend a devotional ceremony and indulge in irrelevant gossip disturbing others, corrupting the environment, and lowering one’s own prospects of evolving in consciousness. This is the reason why Shastra (Śāstra) says, it is Ḍharma that a human being should follow four crucial characteristic traits.

A:himsa satyamasteyam|

soucham indriya:nigraha:ha||

अहिंसा सत्यमस्तेयं| शौचं:इन्द्रयाँनिग्रहं||

“A:himsa” meaning non-violence, “satyamasteyam” means to always be truthful and speak the truth, “soucham” means cleanliness and personal hygiene, and finally “indriya:nigraha:ha” means to be in control of our sense organs and not be a slave to their weaknesses.

Maharśi Vishvamitra made innumerable efforts to make King Harishchandra commit a lie; however, even after countless difficulties, the loss of his family, kingship, fame, and wealth, the king didn’t deviate from the path of truth. Such is the resolve of a man with a character who follows Ḍharma. It was his resolve that brought down heavens and Gods to stand in front of him ready to grant his wishes. Yet he didn’t succumb to selfishness or personal comfort, he chose the well-being of his entire kingdom as his wish.

In the same way, pious, soft, and well-spoken words, or Iśvara (Ishwara) nāma sankīrtana will result in Vaachika puńya.

Finally, Sharira means the physical body given by Prakruti (Prakṛti), and any act committed using the means of this body results in pápa or puńya. The one who performs an action is called Karta and the action itself is called kriya. Any kriya performed by a karta, together with its result, is called karmā. Any kriya performed in line with the Ḍharma of one’s ashram is called sat:karmā, else dush:karmā. Let us take an example from one of the Itihasa of Śrī Ramayanam, wherein Ravana kidnapped Sita Devi – which was an atrocious pápa and is considered as “muulagati”. Sita Devi was the Ḍharmapatni of someone else (Śrī Rama), and Shastra (Śāstra) says one must view and address all women other than one’s own Ḍharmapatni as a mother. Hence the sloka from Shastra (Śāstra):

Matruvat paradhareshu|

Paradravyani lostavat||

मातृवत परधारेषु| परद्रव्याणि लोसटावत||

“Pāradhareshu” (all women, other than your wife), should be viewed as “Matruvat” (mother-like). And “Pāradravyani”, or objects belonging to others, should be treated as stones and dirt with no significance; hence the word “lostavat”. This is the reason why in many Southern India languages words for relationships with women (except Ḍharmapatni) have “amma” or “talli” (mother) incorporated in them. Even women who are strangers are addressed with the title of mother.

Similarly, any kriya in line with the karta’s Ḍharma is considered as satkarmā and results in puńya. (Śrī Bharati Tirta Swamy. 2013. The Three Types of Paapa & Punya)

Now the real question, then how should one act devoid of puńya and pápa? We have an answer in the sloka from Śrīmad Bhagavat Gita, part of Śrī Maha:bharath(am), composed by Maharśi Vedā Vyāsa, chapter 16, sloka 24:

“तस्माच्छास्त्रं प्रमाणं ते कार्याकार्यव्यवस्थितौ।”

“Tasmaac Shastram pramaananche Karya karyou vyavasthitho.

What this means is, one should perform kriya (action) because Śāstra says so, and not because one likes the kriya (action) or likes its outcome. This type of performing Kriya without desire is called Nishkama Karmā. Desire should not be the basis for a kriya (action) or its associated karmā, and so when Śāstra is taken as the basis, then the Karmā that is associated with it gets nullified. This is the reason why a jñani (gyani) is not associated with an ashram and hence the Dharma of that ashram is not applicable to the jñani, and subsequently, the karmā associated with that Ḍharma gets neutralized. Now, why should Shastra be the basis, and what exactly is Shastra? Please read the topic of Sanātana Ḍharma to explore the meaning of Śāstra.

For a common man, new to Śāstra, is this really practical or possible? The answer is no, it is not. Then what is the answer? Manava or Manushya (human being) is a bundle of desires arising from the Vāsanā (habitual influence) carried by the inner dwelling Jīva, whose main reason for taking this existence (as a human) is to shed that Vāsanā and move into higher planes of consciousness. This very desire should be channeled and used as a ladder to uplift ourselves and walk towards becoming a jñani, with a lifestyle that fosters that upliftment as presented by Śāstra. Śāstra, like a parent, has our well-being in its message; and though one might face difficulty understanding it and implementing it, that doesn’t make it wrong. It might be tough to follow such a lifestyle, especially in Kali:yuga, but one needs to understand that our very existence as a human is an opportunity to shed our pápa and puńya and exit this reality through jñana. This only happens through devotion, by means of which humility and compassion bloom within our hearts.

The statement “pápa-puńya getting exhausted” can be rephrased as Śiva (Śiva) devouring pápa-puńya from a Jīva by giving it its appropriate suffering and happiness (which is known as karmā phala, or fruit of Karmā). Śiva(Śiva) doesn’t just devour lokas (worlds) in His “Laya” process but also devours our pápa-puńya. He, as a father, bears witness to His children’s actions and disciplines them for dush:karmā, and compliments karmā in line with Ḍharma, but doesn’t overwrite their will.

In Sanātana Ḍharma, Śrī Viṣṇu/Iśvara is the one who devours both pápa and puńya. Neither while giving happiness (by devouring puńya) does Iśvara feel happy nor does He feel sad when giving suffering. He is “Karmā-A:karmā phala pradata”, meaning He gives the fruits of both karmā and A:karmā. In the form (or concept) of Ghora, He punishes, as Aghora He gives happiness. Hence, in Sanātana Ḍharma, there are no two separate entities, one to punish and the other to give happiness. In sloka 89 of the Viṣṇusahasranāma Stotram from Śrī Maha:bharatam – composed by Maharśi Vedā Vyāsa – Bhisma Pitha:maha, during the final hours of his life, says:

“भयकृत्-भयनाशनः”

“Bhaya-kruth Bhaya-Nashana”

(Srichaganti. K.D.S, n.d., p.1-19, Indian Hindu Pooja. S.V.S.S. n.d.)

Meaning He who both frightens us and also takes away our fears.

Now, from the yogic standpoint, pápa is nothing but ignorance (avidya), which is a result of failed efforts in the past. If one doesn’t strive on the path of Yoga and in self-inquiry, and in the company of enlightened beings, this avidya continues and roots deeper. This Avidya itself is termed as pápa (in English it is translated as Sin). In the profound composition of his Yoga, Maharśi Vasista explains to Śrī Rama that:

“Sin is only ignorance and it is destroyed by enquiry; hence one should never abandon enquiry”

(Swami Venkatesananda.

Śrī Chaganti Koteshwar Rao (Orator). (n.d.). Kanaka Dhara Stotram [Audio Part 1-19, Recorded by Srichaganti.net]. Guntur, Andhra Pradesh, India. Retrieved from http://www.english.srichaganti.net/KanakaDharaStrotram.aspx

Sri Bharati Tirta Swamy (Orator). (May 30, 2013). The Three Types of Paapa & Punya . Gajwal, Andhra Pradesh, India. Retrieved from https://youtu.be/m5LLuGjQE2Q

Indian Hindu Pooja. (n.d.). Śrī Vishnu Sahasranama Stotram. Retrieved from https://www.indianhindupuja.com/blank-p9ugf.

All Glory to Śrī Śrī Guru and Gauranga. (Nov 27, 2005). Srimad Bhagavad Gita. Retrieved from http://www.bhagavad-gita.org/Gita/verse-07-16.html

Gita Supersite. (n.d.). Developed and Maintained by IIT Kanpur. Retrieved from https://www.gitasupersite.iitk.ac.in

Shiva as Nataraj performing the cosmic dance as Parvati witnessing it.(n.d.). Pininterest, Śiva Nataraja – Lord of the Dance Sculpture Hindu Art statue. Retrieved from: https://goo.gl/images/4EkcgC

Bali donating to Vamana Murty, while Guru Shukracharya asking Bali not to (Sadhashiva temple Nuggehalli, Karnataka, India).(Dec 7, 2015). A rain-soaked trip to Nuggehalli. File: img_9606.jpg. Retrieved from: https://sujnaturelover.wordpress.com/tag/sadhashiva-temple/

Swami Venkatesananda. (1993). Vaśiṣṭha’s Yoga. New York, Albany: State University of New York Press

Samsara: Often misinterpreted as a person entering gruhastu ashram(am) (married state of life), actually refers to the never ending loop of jiva performing kriya (action) with an associated karma and gaining its respective karma:phala (fruit of karma) and exhausting this karma:phala thought another actions which is also a karma with its own karma:phala. In this way a jiva hops through various upadhi (forms of existence) trying to exhaust its karma:phala, but, in-return gaining more. Since gruhastu ashram(am) involves various karma associated towards taking care of not just the self, but the entire family, created the notion that gruhastu ashram(am) posses a challenge towards walking towards gyana(m), which is not true. The only way this cycle is broken is to move towards gyana(m) though devotion and reach moksha. Its only in the path towards gyana(m) that human reaches a state of viragyam, at which point the ashram(am) and its associated karma are no more applicable. A jiva in such state, through its atma, realizes oneself to be an extension of Para:matma and detaches itself from its host body, yet operates through it treating it like a disposable shell or a cloth.

Friday, May 10, 2024

P & P

very existence as a human is an opportunity to shed our pápa and puńya and exit this reality through jñana. This only happens through devotion, by means of which humility and compassion bloom within our hearts.

“भयकृत्-भयनाशनः”

“Bhaya-kruth Bhaya-Nashana”

(Srichaganti. K.D.S, n.d., p.1-19, Indian Hindu Pooja. S.V.S.S. n.d.)

Meaning He who both frightens us and also takes away our fears.

“Sin is only ignorance and it is destroyed by enquiry; hence one should never abandon enquiry”

2 songs.

Song: smara sadA mAnasa

smara sadA mAnasa

raagam: bilahari

Aa:S R2 G3 P D2 S

Av: S N3 D2 P M1 G3 R2 S

taaLam: Adi

Composer: Swaati TirunaaL

Language:

pallavi

smara sadA mAnasa bAlagOpAlam

anupallavi

duritamaya dAruNa girikulisham

caraNam 1

yadukula tilakam yamijana vinutam parama gua vasatim vAridhi shayanam

caraNam 2

sarasija nayanam sAmaja varadam madana janakamiha madhumura daLanam

caraNam 3

garuDa turangam kanaka sucElamparama puruSam shrI pankaja nAbham

Oh mind! always meditate upon Balagopala.

You are like a battle ae in destroying the mountain like miseries.

You are the gem of the Yadu dynasty; worshiped by those who controlled themself; the embodiment of great virtues and reclining on the ocean.

You have lotus-like eyes; protected the king elephant; progenitor of Cupid and annihilator of the demons like Madhu and Mura.

You have Garuda as your vehicle. You are adorned with golden attires; oh the supreme one! You are Sri Pankjanabjha.

Song: raama bhakti saamraajyam -

raamabhakti saamrajya

raagam: sudda bangaaLa

22 kharaharapriya janya

Aa: S R2 M1 P D2 S

Av: S D2 P M1 R2 G2 R2 S

taaLam: aadi

Composer: Tyaagaraajaa

Language: Telugu

pallavi

rAma bhakti sAmrAjyam EmAnavula kabbenO manasA

anupallavi

AmAnavula sandarshana matyanta brahmANDamE

caraNam

ilAgani vivarimpa lEnu cAla svAnubhava vEdyamE

lIlA shrSTa jagatrayamE kOlAhala tyAgarAja nutuDaku

Meaning:s

O Mind! Who are the blessed souls who have attained the Kingdom of devotion for SrI RAma? The mere sight of those sublime souls who have been blessed with the kingdom of devotion to RAma is capable of conferring Supreme Bliss, here and hereafter. This Bliss is beyond words. It can only be experienced by those who endear themselves to Him by unswerving devotion to Him. He has created the three worlds for His diversion.

Banke bihari B.

म्हारो प्रणाम बांके बिहारी कोMharo Pranam Banke Bihari Ko

म्हारो प्रणाम बांके बिहारी को।

1. मोर मुकुट माथे तिलक बिराजे।

कुण्डल अलका कारीको म्हारो प्रणाम

2. अधर मधुर कर बंसी बजावै।

रीझ रीझौ राधाप्यारीको म्हारो प्रणाम

3. यह छबि देख मगन भई मीरा।

मोहन गिरवरधारीको म्हारो प्रणाम

Mhaaro pranaam baanke bihaaree ko

1. Mor mukut maathe tilak biraaje

Kundal alakaa kaareeko mhaaro pranaam

2. Adhar madhur kar bansee bajaavai

Reejh reejhau radhapyareko mhaaro pranaam

3. Yeh chhabi dekh magan bhaee meera

Mohan giravaradhariko mhaaro pranaam

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साजन घर आओनी मीठा बोलाSaajan Ghar Aaoni Meetha Bola

साजन घर आओनी मीठा बोला॥

1. कदकी ऊभी मैं पंथ निहारूं थारो, आयां होसी मेला॥

2. आओ निसंक, संक मत मानो, आयां ही सुक्ख रहेला॥

3. तन मन वार करूं न्यौछावर, दीज्यो स्याम मोय हेला॥

4. आतुर बहुत बिलम मत कीज्यो, आयां हो रंग रहेला॥

5. तुमरे कारण सब रंग त्याग्या, काजल तिलक तमोला॥

6. तुम देख्या बिन कल न पड़त है, कर धर रही कपोला॥

7. मीरा दासी जनम जनम की, दिल की घुंडी खोला॥

Saajan Ghar Aaoni Meetha Bola

1. Kadakee oobhee main panth nihaaroon thaaro, aayaan hosee melaa

2. aao nisank, sank mat maano, aayaan hee sukkh rahelaa

3. Tan man vaar karoon nyauchhaavar, deejyo syaam moy helaa

4. Aatur bahut bilam mat keejyo, aayaan ho rang rahelaa

5. Tumare kaaran sab rang tyaagyaa, kaajal tilak tamolaa

6. Tum dekhyaa bin kal na padat hai, kar dhar rahee kapolaa

7. Meera daasee janam janam kee, dil kee ghundee kholaa

man re tan kaagad kaa putlaa .

Laage boond binasi jaay chhin mein, garv kare kyaa itnaa .

maaṭee khod ke bheet usaare, andh kahe ghar meraa .

Aavai talab baandhi le chaale, bahuri na karihain feraa . 1

khoṭ kapaṭ kari bahu dhan jode, le dhartee mein gaade .

Ruke ghaṭ shvaas nahi jab nikase, ṭhaur ṭhaur sab chhaade . 2

kahain kabeer naṭ naaṭik thaake, madlaa kaun bajaavai .

Gaye paṣhaniyaa ujharee baajee, ko kaahoo ko aavai . 3

इक जोगी अलख जगायेEk Jogi Alakh Jagaaye

इक जोगी अलख जगाये इक जोगी, नाम प्रभु का गाये रे।

सुन लो सुन लो दुनिया वालो सच्ची राह बताये रे।।

1. जग में आ के जागो रे प्राणी, मोह ममता में न खोना,

शुभ कर्मों में लागो रे प्राणी, कभी यह अवसर न खोना,

सच्ची राह दिखाये रे।

2. साँझ-सवेरे राम जो बोले, अंतर पावन होये रे,

भव सागर से पार तरे वो, उसको कौन डुबोये रे,

सबको यह समझाये रे।

3. कोई विकार तुझे न छुये, तू रहना अविकारी,

जल में जैसे कमल रहे, तू बन वैसा संसारी,

शरण होये चित लाये रे।

"Ek jogi alakh jagaaye ek jogi, naam prabhu ka gaaye re

Sun lo sun lo duniya waalo sacchi raah bataye re

Jag mein aake jaago re prani, moh mamta mein na khona

Shubh karmon mein laago re prani, kabhi yeh avsar na khona

Sacchi raah dikhaye re

Saanjh-savere raam jo bole, antar paavan hoye re

Bhav saagar se paar tare wo, usko kaun duboye re

sabko yeh samjhaye re

Koi vikaar tujhe na chhuye, tu rehna avikaari

Jal mein jaise kamal rahe, tu ban vaisa sansaari

Sharan hoye chit laaye re"

ऐसी ही शक्ति मुझे देनाAisi Hii Shakti Mujhe Dena

ऐसी ही शक्ति मुझे देना हे दाता।

चलती रहूँ तेरी राहों पे दाता।

जीवन धारा तू है किनारा, बहती जाऊँ ले तेरा सहारा,

डूबने का क्यों डर हो दाता।

सुख की छाया तेरी ही माया, दुख की बदली में मन भरमाया,

रंग दोनों में तेरा ही पाया।

जाने कैसा खेल रचाया, मन मेरा कुछ समझ न पाया,

कौन तुझको समझ पाया।

ज्ञान की लौ का हुआ उजाला, सतगुरू मेरे ये क्या कर डाला,

मस्ती का रंग ऐसा डाला।

Aisi hii shakti mujhe dena he daata

Chalti rahun teri raahon pe daata

Jeevan dhaara tu hai kinaara, behti jaun le tera sahaara

Doobne ka kyon darr ho daata

Sukh ki chhaya teri hi maaya, dukh ki badli mein man bharmaya

Rang dono mein tera hi paaya

Jaane kaisa khel rachaaya, mann mera kuch samajh na paaya

Kaun tujhko samajh paaya

Gyaan ki lau ka hua ujala, satguru mere ye kya kar daala

Masti ka rang aisa daala

Thursday, May 9, 2024

Narada.

Narada muni went to Vishnu’s abode at Vaikuntha and asked, “Why is Garuda’s (Vishnu’s eagle) statue outside your temple? Am I not your biggest devotee?”

Right then, they heard a loud crash outside. Vishnu said, “Narada, I’ve sent Garuda on an errand. Can you check what happened?”

Eager to prove himself, Narada rushed out. He returned and said, “A milkmaid slipped and fell and broke her pots.”

“What was her name?” Vishnu asked.

Narada went out, returned and said, “Sharada.”

“What caused her to fall?” Vishnu asked.

Narada started getting irritated. But he went out, returned and said, “A snake crossed her path.”

“Did she break all her pots?”

“Go find out yourself!” Narada snapped.

“Find out, Narada,” Vishnu said patiently.

“Why?” Narada asked.

“I might want to buy some milk,” Vishnu said.

Narada went out reluctantly. On returning, he said, “She broke two pots. But she’s willing to sell you milk from the others.”

“And the price of the milk?”

“Oh, I forgot to ask,” Narada said, rushing out.

Right then, Garuda swooped in, oblivious to what happened.

Vishnu stopped Narada and said to Garuda, “There was a crashing noise outside. Could you go and check what happened?”

Then Vishnu whispered to Narada, “Let’s see how he does.”

After a few minutes, Garuda returned and said, “A milkmaid named Sharada got startled by a snake and fell down. She broke two pots of milk and is wondering what to do. I suggested she sell some milk to you. You are the husband of the Goddess of Wealth, after all.”

“And the price of the milk?”

“Four copper coins,” Garuda responded immediately.

Vishnu laughed and his eyes met Narada’s, who realized why Garuda’s statue always stands outside a Vishnu temple.

Real value gets created when you anticipate what people need and give it to them. When you create value for others, you put yourself in a position to receive it too.

Narada or Narada Muni, is a sage-divinity, famous in Hindu traditions as a travelling musician and storyteller, who carries news and enlightening wisdom. He is one of the mind-created children of Brahma, the creator god. He appears in a number of Hindu texts, notably the Mahabharata, telling Yudhishthira the story of Prahalada, and he also appears in the Ramayana and the Puranas. A common theme in Vaishnavism is the accompaniment of a number of deities such as Narada to offer aid to Vishnu upon his descent to earth to combat the forces of evil, or to enjoy a close view of epochal events. He is also referred to as Rishiraja, meaning the king of all sages. He was gifted with the boon of knowledge regarding the past, present, and the future.

In Indian texts, Narada travels to distant worlds and realms (Sanskrit: lokas). He is depicted carrying a khartal (musical instrument) and the veena, and is generally regarded as one of the great masters of the ancient musical instrument. This instrument is also known by the name "mahathi", and he uses it to accompany his singing of hymns, prayers, and mantras. In the Vaishnava tradition, he is presented as a sage with devotion to the preserver deity Vishnu. Narada is described as both wise and mischievous in some humorous tales. He is notorious for being meddlesome, provoking conflict between both the gods and the demons for the sake of their wisdom as well as for his own entertainment. Vaishnavas depict him as a pure, elevated soul who glorifies Vishnu through his devotional songs, singing the names Hari and Narayana, and therein demonstrating bhakti yoga. The Narada Bhakti Sutra is attributed to him. He would usually make his presence known by vocally chanting "Narayana, Narayana" before appearing in a scene.

Other texts named after Narada include the Narada Purana and the Nāradasmṛti (pre 6th century CE text), the latter called the "juridical text par excellence" and representing the only Dharmaśāstra text that deals solely with juridical matters while ignoring those of righteous conduct and penance.

The name "Narada," referring to many different persons, appears in many Hindu legends. It appears as an earlier birth of Sariputta in the Jataka tales of Buddhism, as well as among names of medieval Buddhist scholars, and in Jainism.

Mahabharata

In the Mahabharata, Narada is portrayed as being conversant with the Vedas and the Upanishads and as acquainted with history and Puranas. He has a mastery of the six Angas (limbs of knowledge): pronunciation, grammar, prosody, terms, religious rites and astronomy. All celestial beings worship him for his knowledge - he is supposed to be well-versed in all that occurred in ancient kalpas (time cycles) and is termed to be conversant with Nyaya (justice) and the truth of moral science. He is a perfect master in reconciliatory texts and good at differentiating in applying general principles to particular cases. He can swiftly interpret contraries by references to differences in situations. He is eloquent, resolute, intelligent and a possessor of powerful memory. He knows the science of morals, politics; he is skilled in drawing inferences from evidence and very proficient in distinguishing inferior things from superior ones. He is competent in judging the correctness and incorrectness of complex syllogistic statements consisting of 5 proponents. He is capable of arriving at definite conclusions about religion, wealth, pleasure and salvation. He possesses knowledge of this whole universe and everything surrounding it. He is capable of successfully answering Brihaspati himself while arguing. He is a master of the Sankhya and Yoga systems of philosophy, conversant with sciences of war and treaties and proficient in drawing conclusions by judging things, not within direct knowledge. He knows about the six sciences of a treaty, war, military campaigns, maintenance of posts against the enemy and strategies of ambushes and reserves. He is a thorough master of every branch of learning. He is fond of war and music and incapable of being repulsed by any science or any course of action.

The Bhagavata Purana describes the story of Narada's spiritual enlightenment: He was the primary source of information among the devas, and is believed to be the first cosmic messenger upon the earth. In his previous birth, Narada was a gandharva (a musical being) who had been cursed to be born on earth for singing glories to the "demigods" instead of Vishnu. He was born as the son of a maidservant of some particularly saintly priests. The priests, being pleased with both his and his mother's service, blessed him by allowing him to eat some of their food (prasada), previously offered to their deity, Vishnu.

Gradually, he received further blessings from these sages and heard them discussing many spiritual topics. During the four months of rainy seasons when the sages did not leave their hermitage and stayed together, they used to recite various deeds of Vishnu, and from there Narada used to hear these stories. After his mother died, he decided to roam the forest in search of enlightenment in understanding the 'Supreme Absolute Truth'.

Reaching a tranquil forest location, after quenching his thirst from a nearby stream, he sat under a tree in meditation (yoga), concentrating on the paramatma form of Vishnu within his heart as he had been taught by the priests he had served. After some time Narada experienced a vision wherein Narayana (Vishnu) appeared before him, smiling, and spoke: "that despite having the blessing of seeing Him at that very moment, Narada would not be able to see His (Vishnu's) divine form again until he died". Narayana further explained that the reason he had been given a chance to see his form was that his beauty and love would be a source of inspiration and would fuel his dormant desire to be with Vishnu again. After instructing Narada in this manner, Vishnu then disappeared from his sight. The boy awoke from his meditation, both thrilled and disappointed.

For the rest of his life, Narada focused on his devotion, meditation upon and worship to Vishnu. After his death, Vishnu then blessed him with the spiritual form of "Narada" as he eventually became known. In many Hindu scriptures, Narada is considered a shaktyavesha-avatara or partial-manifestation (avatar) of God, empowered to perform miraculous tasks on Vishnu's behalf.

The Shiva Purana describes a legend in which Narada's penance alarmed Indra, who sent Kamadeva to disturb his austerities. Due to the fact that the sage was meditating in the Himalayas and under Shiva's favour, he was protected by the deity's maya (illusory power) and hence remained undisturbed. When Narada learnt of this, still confounded by Shiva's maya, he falsely attributed this event to his own mental prowess and grew proud of his achievement. Heeding Shiva's suggestion to break the pride of the sage, Vishnu praised the qualities of Narada, but also warned him to not be delusional. The sage turned a deaf ear to this warning. Vishnu extended Shiva's maya to create a great and prosperous city in Narada's path. The king of the city, Shilanidhi, introduced his beautiful daughter, Shrimati (an incarnation of Lakshmi), to the sage, who grew desirous of marrying her. He travelled to Vaikuntha, requesting Vishnu to grant him the deity's form so that Shrimati would choose the sage as her husband during her svayamvara ceremony. Vishnu promised to grant Narada what would be beneficial for him, granting him his own form, but the face of a monkey. Believing his wish had been granted, Narada grew assured that Shrimati would choose him, but soon realised what had transpired. Vishnu attended the ceremony in the form of a king, and Shrimati chose him as her husband instead. Enraged, Narada cursed Vishnu to also be separated from the woman he loved and would only be saved by one with a monkey-face. When his maya was dispelled, Narada begged forgiveness from Vishnu. The deity instructed the sage to visit the abodes and praise the qualities of Shiva, and the latter journeyed to the deity's abode in Kashi.

In the Devi Bhagavata Purana and some other texts, Narada enquired Vishnu about the nature and greatness of maya. The deity guided him towards a lake, in which the sage took a bath. The sage was transformed into a woman. She married a king named Taladhvaja and was a mother to his many sons. After some time, Vishnu dispelled the illusion and restored Narada to his true male form. Narada came to understand the concept better, but concluded it was still mysterious to him.

Worship

Narada temples are few, most prominent being Sri Narada Muni Temple at Chigateri, Karnataka.

Some adherents believe that it was Narada who was reborn as Purandara Dasa as a Haridasa (servant of Vishnu). He emphasised his works on Vithala, another form of Vishnu and the presiding deity of the temple in Pandharpur.

In Jainism, there are a total of 9 Naradas in every cycle of Jain Cosmology; current cycle's Naradas were Bhima, Mahabhima, Rudra, Maharudra, Kala, Mahakala, Durmukha, Narakamukha and Adhomukha.

The Naradiya Purana (Sanskrit: नारदीय पुराण, Naradiya Purana) or Narada Purana (Sanskrit: नारद पुराण), are two Vaishnavism texts written in Sanskrit language. One of the texts is termed as a Major Purana, also called a Mahapurana, while the other is termed as a Minor Purana (Upapurana), also referred as Brihannaradiya Purana.

Unlike most Puranas that are encyclopedic, the Brihannaradiya text is focussed almost entirely on Vishnu worship, while the Naradiya text is a compilation of 41 chapters (20%) on Vishnu-worship and rest of the chapters (80%) cover a wide range of topics including a large compilation of Mahatmya (travel guides) to temples and places along the river Ganges and neighbouring regions.

The Naradiya Purana is notable for dedicating eighteen chapters on other Puranas, one entire chapter summarizing each Major Purana. It is also notable for its verses extolling Buddha in chapter

Manuscripts of nearly all the major puranas acknowledge the existence of a major purana named either Narada or Naradiya, suggesting it was an important text in Hindu history. Yet, unlike other Puranas which either appear in the major or minor purana lists, the Naradiya text appears in both lists. This caused significant confusion to 19th and early 20th century Indologists. The confusion was compounded by the fact that the content of the text manuscripts they found seemed to follow similar scope and focus, except that the Brihannaradiya Purana text with about 3,500 verses was slightly bigger than the other with about 3,000 verses.

Later discovered manuscripts and scholarship established that the Narada or Naradiya is the major purana, Brihannaradiya is the Upapurana. The Naradiya Purana consists of two bhagas (parts), with the first called Purvabhaga and second called Uttarabhaga. The Purvabhaga has four padas with the total of 125 chapters. The Uttarabhaga has 82 chapters, which embeds the Rukmangada-carita.

The Brihannaradiya Purana has no parts or padas, and a total of 38 adhyayas (chapters).

The Naradiya Purana texts, like other Puranas, exist in numerous versions, but with less variation than other Puranas. Wilson states that both texts are of likely recent composition, probably 16th or 17th century, because the five manuscripts he reviewed had verses mentioning certain events after Islamic invasion and control of the Indian subcontinent. The other unusual part of the manuscripts he examined, states Wilson, is that the descriptions of ritual worship of Vishnu in the text are "puerile inventions, wholly foreign to the more ancient" ideas in the Purana genre of Hindu texts.

Rajendra Hazra, in contrast, states that the core verses of the texts were likely first composed over various centuries, as follows: he dates the Vishnu-bhakti focussed text Brihannaradiya Purana to the 9th-century; he places the first 41 chapters of Purvabhaga and the first 37 chapters of Uttarabhaga to have been composed before the 11th century; and, the rest he states is of likely a comparatively later origin. The Naradiya Purana, states Hazra, was likely composed after the Brihannaradiya Purana. It is unknown, adds Hazra, whether the extant manuscripts of the Naradiya Puranas are same as the 9th and 10th-century originals, but we know that the verses quoted in medieval Hindu Smriti texts with these texts cited as source, are missing from the currently surviving manuscripts.

Rocher states that the composition date of each Purana remains unclear. Dimmitt and van Buitenen state that it is difficult to ascertain when, where, why and by whom the major and minor Puranas were written:

As They Exist Today, The Puranas Are A Stratified Literature. Each Titled Work Consists Of Material That Has Grown By Numerous Accretions In Successive Historical Eras. Thus, No Purana Has A Single Date Of Composition. It Is As If They Were Libraries To Which New Volumes Have Been Continuously Added, Not Necessarily At The End Of The Shelf, But Randomly.

The Padma Purana categorizes Naradiya Purana as a Sattva Purana (which represents goodness and purity). Scholars consider the Sattva-Rajas-Tamas classification as "entirely fanciful" and there is nothing in this text that actually justifies this classification.

The Brihannaradiya Purana (also Brihannarada Purana) is focussed on bhakti (devotion) towards Vishnu. It describes the festivals and ritual ceremonies of Vaishnavism. Many chapters of the text are part of the Mahatmya, glorifying the river Ganges, pilgrimage and travel centers such as the Prayāga (the confluence of the rivers Yamuna and Ganges), and Kashi (a sacred city). The text also includes chapters on ethics and duties of members of various varnas and ashramas, vratas, and summaries on the samskaras.

Naradiya Purana

The Narada Purana (also Naradiya Purana) follows the style of the Brihannaradiya Purana in the first 41 chapters of Purvabhaga, but the rest of the first part and second part are encyclopedic covering a diverse range of topics. The encyclopedic sections discuss subjects such as the six Vedangas, moksha, dharma, adhyatma-jnana (monastic life), Pashupata philosophy, a secular guide with methods of worship of Ganesha, Narasimha, Hayagriva, Rama, Krishna, Hanuman, Shiva, and Lakshmi. The text also glorifies goddess Radha as the mulaprakriti, one whose soul and love manifests all other Hindu goddesses.

The text's secular description and verse of praises are not limited to different traditions of Hinduism, but also other traditions. For example, chapter 1.2 extols Buddha. This contrasts with Kurma Purana which is disdainful of Buddhism without mentioning Buddha, but similar to the praise of Buddha in other major Puranas such as chapter 49 of the Agni Purana, chapter 2.5.16 of the Shiva Purana, chapter 54 of the Matsya Purana and various minor Puranas.

Chapters 92 through 109 of Purvabhaga are notable for summarizing the 18 major Puranas, one entire chapter dedicated to each.This has been an important benchmark in comparison studies, and as evidence that the Puranas were revised after the composition of Naradiya Purana, since the summary in these 18 chapters is significantly different from the extant manuscripts of the major Puranas. Other topics covered in the verses of Uttarabhaga include flora and fauna, food, music, dance, dress, jewellery, weapons, and theories on war.

The Naradiya Purana also contains Rukmangadacarita, a legend of king named Rukmangada, whose belief in Vishnu is repeatedly tested by an enchantress in the form of an apsara named Mohini, one that became subject of plays and dance arts in Indian culture. After Rukmangadacarita, the text predominantly is a compilation of geographic Mahatmyas or travel guides for pilgrimage along river Ganges starting with Haridwar, through Banaras (Kashi) towards Bengal, and nearby regions such as Gaya in Bihar and Nepal.

Tuesday, May 7, 2024

G A P

Beautifully presented.

https://youtu.be/Q3T2s9Iv8FI?si=9NA5DATxpnJ3RAYx

Ping

Are you alarmed by the number of corona cases in the country?

More alarmed at the predictions of numbers in future?

How do they predict the number of infections? How did the lockdown help?

These numbers are predicted by a Mathematical principle of Binary expansion. Before we go into details of the theory, let me tell you a story. We Indians are clever storytellers teaching so much, so varied through a story.

There is this old Indian legend about a King who was challenged to a game of chess by a visiting Sage. The King asked, "What is the prize if you win?”

The Sage said he would simply like some grains of rice: one on the first square, two on the second, four on the third and so on, doubling on each square. The King was surprised by this humble request. Well, the Sage won the game. So, how many grains of rice should he receive?

446

744

073

709

551

615

grains (460 billion tonnes of rice).

Much more rice than what was produced in his entire kingdom or the world for the next 2000 years!

Ancient Picture

In the legend the Sage reveals himself to be Lord Krishna and tells the King that he doesn't have to pay the debt at once, but can pay him over time, just serve rice to pilgrims every day until the debt is paid off). This story reveals the magic of numbers – Binary exponential expansion along with an essential life skill, humility. The story doesn’t quite end here. The discovery of Binary numbers was also quite by accident.

Who is Pingala?

Binary numbers

Acharya Pingala discovered the immense possibilities of Binary numbers quite by accident. He was working on the meter or Chandah of Vedas. Our Vedas were composed in meters or Chandah. Most Indian Languages have the dheerga or long swar and the laghu or short swar. This combination of long and short sounds is the basis of Sanskrit prosody or meter or chandah. In

rd BCE, a work called Chandahsastra was authored by Pingala, the Mathematician. Chandaḥśāstra means the science of meters as used in poetry/ music in which it is recited. While studying chandah, he stumbled on the concept of the Binary number system.

The Chandahsastra or the study of composing poetry based on long and short syllables, i.e. Two syllables is the first known description of a binary numeral system.Pingala

Along with this, the discussion of the combinatorics of meter corresponds to the binomial theorem as well.

Though Pingala knew Binary numbers, he did not know the use of zero(

) Later mathematicians represented using 0 and 1 in, but Pingala used light (laghu) and heavy (guru) rather than

and

to describe syllables.

The Binary system of Pingala, starting at one (four short syllables—binary "

0000

"—is the first pattern) going to the nth pattern. It can be represented as

−

(with increasing positional values).

Acharya Pingala, by working on the algorithm of different possibilities of laghu and guru swar, unwittingly discovered the different patterns of Binary numbers; a notation similar to Morse code.

Works of Pingala

A verse in classical Sanskrit literature has a verse or a pada. The meter of a verse or pada is determined by the arrangement of the long and short swaras. The last syllable of a foot of a meter is taken to be a dheergha or Guru swara. So, let us refer to the long/ dheergha swara as Guru.

E.g., Let us look at the second stanza of Bhavani Ashtakam composed by Adi Shankaracharya

Na Taato Na Maataa Na Bandhur-Na Daataa

Na Putro Na Putrii Na Bhrtyo Na Bhartaa |

Na Jaayaa Na Vidyaa Na Vrttir-Mama-Iva

Gatis-Tvam Gatis-Tvam Tvam-Ekaa Bhavaani ||1||

This quarter has

letters. The arrangement of these letters are in the pattern:

Laghu+ Guru+ Guru or LGG. The pattern is LGG+ LGG+ LGG+ LGG….

This meter is called Bhujangaprayatam (like a snake advancing)

This stanza with

letters can be arranged in many different ways. How many different ways?

With just Laghu/ short and Guru/ long swar, and

letters we can calculate the number of arrangements as

4096.

This means you can arrange the letters in

4096

ways to create a stanza.

So, Pingala, the Mathematician began to index, analyse and repair the chandahs in the Vedas. He developed a technique of Pratyay or an algorithm, Prastaar for all possible combinations of a syllable for a quarter with “n” letters. In other words, he generated difference combinations of sequences

Let us try and recreate how Pingala, the Mathematician might have gone about it:

For 1 syllable

For 2 syllable:

For 3 syllable

Let us compare decimal numbers with the Pingala, the Mathematician’s Binary system and Modern Binary system.

Decimal

Pingala’s Binary system

*Observe that the Pingala’s Binary system is a mirror image of the Binary system

The Chandahsastra, written by Pingala, the Mathematician, has eight chapters, and these mathematical combinations and sequences are mentioned in the 8th chapter.

References to Pingala

‘Vrittaratnakara‘ by Kedara in the 8th century has references to

In the 12th Century AD, Trivikrama referred to Chandahsastra in, ‘Tatparyatika.‘

12th century AD and ‘Mritasanjivani‘ by Halayudha carries a commentary on Commentaries. It was Halayudha who used zero in the place of laghu. By this time, the use of zero was common in India and had travelled to many other parts of the world.

There is little historical reference available on Pingala; the Mathematician indicates that he was the younger brother of Pāṇini (4th century BCE), or of Patañjali, the author of the Mahabhashya (2nd century BCE).

It took many more centuries for this knowledge to reach Europe. In the town of Pisa in Italy, Leonardo, better known as Fibonacci, learnt the use of Binary numbers from Arabs. He was particular to mention that the Arabs had brought it from India. But his successors chose to call it as Arabic numerals.

Pingala Series

While exploring the number of possibilities of various combinations of the laghu and the guru, Pingala hit upon a series:

…

This was later called Fibonacci series.

This sequence is seen abundantly in nature: branching in trees, the arrangement of leaves on a stem etc.

The Fibonacci number was initially called mātrāmeru, by Pingala, the Mathematician. Now it is also known as the Gopala–Hemachandra number. Pingala is also credited with the binomial theorem for the index 2, i.e. for

(

)

, like his contemporary Greek Euclid.

Summary

The ancient Vedic system in India depended on experiential learning and oral transmission. The rules of language, i.e. Sanskrit, was such that poetry became an easy medium to express and propagate learning. So, even the most complicated learnings and observations were written as verse or sutras, making it easy to memorise and propagate. So, elaborate learning went into the organising of the verse. The Sanskrit Language was much more than aesthetics.

The combination of syllables had to be in a definite pattern or meter so that it became easy to recite and repeat. That is how Pingala, the Mathematician stumbled on the Binary numbers with its unlimited possibilities. So, when we wonder with awe at the huge leaps made by digital technology, let us pause for a moment and think of Pingala who imagined and recorded the unlimited possibilities of using combinations of just two swars - laghu and guru and from a grammarian became Pingala, the Mathematician!

Frequently Asked Questions (FAQs)

When was Pingala born?

He is said to have lived around 400-200 BC, maybe earlier.

When did Pingala die?

No clear documented information exists about the birth and death of Pingala, but it is believed that he lived around 400-200 BC.

Where was the Fibonacci sequence discovered?

While Fibonacci himself did not discover Fibonacci numbers (they were named after him), he did use them in Liber Abaci. The numbers originate back to ancient India and are credited to the Indian Mathematician Pingala.

Who is credited for the Binary System used by Computers?

While the modern binary number system goes back to Gottfried Leibniz, it can be noted that Chandahsastra presents the first known description of a binary numeral system which is credited to an Indian mathematician, Pingala.

What were the names that Pingala used for the binary numerals

and

Pingala used light (laghu) and heavy (guru) rather than 0 and 1 to describe syllables.

nachiyar.

Saturday, May 11, 2024

P & P

Friday, May 10, 2024

P & P

2 songs.

Banke bihari B.

Thursday, May 9, 2024

Narada.

Tuesday, May 7, 2024

G A P

Ping

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