Wednesday, November 20, 2024

Aura.

 SankhacakrAgadapadma vanamalavibhusitam.

Nupurairvilasatpadam kaustubhaprabhaya yutam.

The verse describes a divine  Lord Vishnu in poetic Sanskrit.

1. SankhacakrAgadapadma

Sankha (शङ्ख): Conch (a symbol of victory and auspiciousness).

Chakra (चक्र): Disc or Sudarshana Chakra (symbolizing protection and order).

Gada (गदा): Mace or club (denoting power).

Padma (पद्म): Lotus (symbolizing purity and spiritual enlightenment).

These are the traditional four symbols held by Lord Vishnu in his hands.

2. Vanamalavibhusitam

Vanamala (वनमाला): Garland made of forest flowers .

Vibhusitam (विभूषितम्): Adorned with.

Together, it means "adorned with a garland of forest flowers."

3. Nupurairvilasatpadam

Nupurair (नूपुरैः): Anklets.

Vilasat (विलसत्): Shining or resplendent.

Padam (पदं): Feet.

This refers to the resplendent feet adorned with anklets.

4. Kaustubhaprabhaya yutam

Kaustubha (कौस्तुभ): A divine gem worn by Lord Vishnu on his chest.

Prabhaya (प्रभया): With the radiance or brilliance of.

Yutam (युतम्): Endowed with or accompanied by.

Together, it describes the figure as being adorned with the radiant Kaustubha gem.

The verse vividly describes the divine form of Lord Vishnu, emphasizing his attributes:

Holding the Shankha, Chakra, Gada, and Padma (conch, discus, mace, and lotus).

Adorned with a vanamala (garland of forest flowers).

Resplendent feet adorned with anklets.

His form shines with the brilliance of the Kaustubha gem.

This is a poetic tribute to the majestic and divine appearance of Lord Vishnu, capturing his ornaments, symbols, and divine aura.


Tuesday, November 19, 2024

The importance of T.

 The verse is a Sanskrit aphorism emphasizing the relationship between Sattva (purity, harmony), Dharma (righteousness), and devotion (Bhakti). Here's a breakdown of its meaning:


1. Sattvād dharma bhaved vrddhāt pumso madbhaktilakṣaṇah


"From Sattva (purity, goodness), Dharma arises, and as it grows in a person, it manifests as devotion (Bhakti) to Me."

2. Sāttvikopāsayā sattvam tato dharma pravartate

"Through Sattvic (pure, harmonious) worship, Sattva (purity) is enhanced, and from that, Dharma is further established."


1. Sattva and Dharma:


Sattva is one of the three Gunas (qualities of nature), representing purity, clarity, and harmony.


When a person cultivates Sattva through virtuous actions, self-discipline, and a focus on spiritual practices, Dharma (righteousness, moral law) naturally develops and strengthens.

2. Madbhaktilakṣaṇah (sign of devotion to Me):


The growth of Dharma is characterized by devotion to God. A pure, righteous heart naturally turns towards the divine as an expression of gratitude, love, and surrender.

3. Sāttvikopāsayā (Sattvic worship):


Worship performed in a Sattvic manner—without selfish motives, with purity, and in alignment with spiritual principles—further enhances the Sattvic quality within the individual.


This reinforcement of Sattva leads to a cycle: Sattva leads to Dharma, and Dharma, in turn, strengthens Sattva.

4. The verse highlights a spiritual process: cultivating Sattva leads to righteous living (Dharma), which culminates in devotion to the divine (Bhakti). This devotion is not merely ritualistic but the natural outcome of a life aligned with purity and virtue.


In essence, it portrays a holistic path where spiritual growth is a continuous refinement of character through purity, morality, and devotion.



Monday, November 18, 2024

Impermanance.

Vidyādhara-manuṣyāḥ vaiśyāḥ surāḥ striyo'nityajāḥ,

Rajaḥ-tamaḥ-prakṛtayas tasmim tasmim yuge'nagha.


1. Vidyādhara-manuṣyāḥ: Vidyādharas (a class of celestial beings) and humans.

2. Vaiśyāḥ: The merchant class.

3. Surāḥ: Devas (gods).

4. Striyaḥ: Women.

5. Anitya-jāḥ: Not eternal, impermanent.

6. Rajaḥ-tamaḥ-prakṛtayah: Dominated by the qualities (gunas) of passion (rajas) and ignorance (tamas).

7. Tasmim tasmim yuge: In each respective age (yuga).

8. Anagha: O sinless one.


1. Impermanence: Beings like Vidyādharas, humans, gods (Devas), and women are not eternal; their existence is transient.

2. Dominance of Gunas: In different yugas (Satya, Treta, Dvapara, Kali), the beings are influenced by the gunas, specifically the rajasic (passionate) and tamasic (ignorant) qualities.

3. Spiritual Teaching: It subtly points to the cyclical nature of life and the importance of transcending these gunas to achieve liberation (moksha).

In Hindu philosophy, beings and objects are often described as being influenced by the three gunas—sattva (purity), rajas (passion), and tamas (ignorance)—which dictate their nature and behavior. This verse seems to highlight the predominance of rajas and tamas during certain yugas, signifying moral and spiritual decline over time.

1. Vidyādhara-manuṣyāḥ vaiśyāḥ surāḥ striyo'nityajāḥ


Vidyādhara: Celestial beings known for their knowledge, musical skills, and magical powers in Hindu  cosmology.


Manuṣyāḥ: Humans, referring to mortal beings on Earth.


Vaiśyāḥ: The merchant and trading class, one of the four Varnas in Vedic society.


Surāḥ: The gods or celestial beings, often seen as embodiments of virtues.


Striyaḥ: Women.


Anitya-jāḥ: Literally means "impermanent by nature" or "born for impermanence."



This line highlights that all these beings—whether celestial Vidyādharas, mortal humans, traders, gods, or women—are impermanent in their existence. Their lives and roles are subject to time and decay. It underscores the transient nature of worldly identities and forms, implying that no one in the material realm is eternal.


2. Rajaḥ-tamaḥ-prakṛtayas tasmim tasmim yuge'nagha


Rajaḥ-tamaḥ-prakṛtayas: Refers to the dominance of rajas (passion, activity, desire) and tamas (ignorance, darkness, inertia) in their nature or qualities (prakṛti).


Tasmim tasmim yuge: "In each respective yuga," meaning in every era or age of time.


Anagha: "O sinless one," often an epithet used for the listener (likely a sage or disciple).



This explains that in different yugas (ages of the cosmic cycle—Satya, Treta, Dvapara, Kali), beings tend to be influenced by varying levels of rajas and tamas. While sattva (purity and wisdom) dominates in the Satya Yuga, the prevalence of rajas and tamas increases progressively in later yugas, particularly in Kali Yuga, the current 


The verse serves as a reminder of the cyclic nature of existence and the inevitability of decay in the material world. It points out that beings, regardless of their status or form, are subject to the gunas, which shape their behavior and spiritual progression.


It also reflects on the moral and spiritual challenges of each yuga. For instance:


Satya Yuga: Dominated by sattva, beings are spiritually elevated.


Treta/Dvapara Yuga: Gradual rise of rajas (desire and ego).


Kali Yuga: Dominated by tamas and rajas, marked by ignorance, materialism, and decay of 


1. Impermanence: The shloka underscores the transient nature of all beings, no matter how divine or exalted they may seem.



2. Gunasic Influence: The nature and actions of beings are governed by the gunas, with rajas and tamas being more pronounced in worldly life.



3. Yuga Dharma: Each age (yuga) has its unique characteristics, impacting the behavior and spiritual condition of beings within it.


This serves as a call for detachment from material identities and a focus on transcending the influence of rajas and tamas by cultivating sattva and ultimately aiming for liberation (moksha).



Nothing but Bhakti.

 The verse "Na rodhayati mam yoga na sankhyam dharma eva ca. Na svadhyayastapastyago nestapurtam na daksina" comes from the Bhagavata Purana (11.12.1). It expresses the idea that none of the formal practices or disciplines prescribed in the scriptures are sufficient to bind or fully attain the Lord.


Explanation:


The Lord (Krishna) declares to Uddhava that neither:


Yoga (the path of meditation or union),


Sankhya (philosophical knowledge or analytical study),


Dharma (righteous actions or moral duties),


Svadhyaya (recitation or study of scriptures),


Tapas (austerities or penance),


Tyaga (renunciation of worldly attachments),


Ishta-purta (performance of sacrifices or public works),


Dakshina (offering of gifts or donations)



are capable of compelling Him (the Supreme Being).


Deeper meaning:


Krishna emphasizes that while these practices have their value, they are insufficient on their own to achieve the highest spiritual goal: a direct relationship with the Lord. What truly connects with the Supreme is pure devotion (bhakti), free from ego and material motives. Devotion rooted in love and surrender surpasses even the most rigorous disciplines and rituals.


This verse underscores the supremacy of bhakti-yoga (the path of devotion) over other paths like karma-yoga (action), jnana-yoga (knowledge), and dhyana-yoga (meditation). It invites seekers to cultivate love for God above all else.


Thursday, November 14, 2024

3.3.19.

 Context of the Sri Bhashyam

Revision.

The Sri Bhashyam is the most famous and authoritative commentary by Ramanujacharya on the Brahma Sutras of Badarayana (Vyasa). The Brahma Sutras are one of the three foundational texts (along with the Upanishads and the Bhagavad Gita) for Vedantic philosophy, and they seek to systematize the teachings of the Upanishads regarding Brahman (the ultimate reality).


In the Sri Bhashyam, Ramanujacharya presents the Vishishtadvaita (qualified non-dualism) interpretation of these texts. He argues that Brahman is not a formless, impersonal entity (as in Shankara's Advaita Vedanta) but rather has a divine, personal form as Narayana (or Vishnu), who possesses countless auspicious qualities and attributes. Vishishtadvaita emphasizes that the individual soul and the universe are real, distinct from Brahman, yet inseparably united with Brahman in the relationship of sarira-sariri bhava (the body-soul relationship).


Focus of the Adhikarana: Lingabhuyastvat Adhikaranam (Brahma Sutra 3.3.19)


In this particular section, Adhyaya 3 (Chapter 3), Pada 3 (Section 3), and Adhikarana 19, the Sri Bhashyam is discussing the topic of Dahara Vidya and the position of Narayana as Supreme Brahman. Let's break down the components and elaborate on the significance:


1. Sahasrishirsha Anuvaka: The Sahasrishirsha Anuvaka refers to a section in the Vedas (especially the Purusha Sukta in the Rig Veda) that begins with "Sahasrishirsha Purushaḥ..." (meaning "The Purusha has a thousand heads..."). In Vedic cosmology, the Purusha represents the universal cosmic being, and this hymn glorifies the Supreme Person (Purusha) as the source of all creation, who pervades everything and is immanent in all.


According to the Vishishtadvaita interpretation, this hymn is specifically about Lord Narayana, who is identified with the Supreme Brahman, the ultimate cause of the universe. The Sahasrishirsha hymn serves as a key textual proof for Ramanujacharya that Brahman is not formless but a divine, all-powerful, and personal being.



2. Dahara Vidya: Dahara Vidya refers to a meditative practice found in the Chandogya Upanishad (8.1-3), where one is instructed to meditate on Brahman as residing in the small space (Dahara) within the heart. This Vidya emphasizes Brahman’s immanence—the fact that the ultimate reality resides within each individual.


While some commentators might limit this meditation to a specific aspect or form of Brahman, Ramanuja argues in this Adhikarana that Dahara Vidya should not be seen as referring to a lesser or localized form of Brahman. Instead, it points to Narayana as the Supreme Brahman who, while residing in the heart, is still the ultimate, infinite, and transcendent reality.



3. The Key Argument: The Adhikarana (or thematic section) builds upon a Sutra (3.3.19) that deals with the Lingabhuyastva or the “preponderance of indicatory marks.” Essentially, the Sutra states that since many Vedic hymns refer to Brahman as possessing many attributes and powers, this Brahman must be the Supreme Being, Narayana. The indication here is that the attributes associated with Brahman in various texts (e.g., Sahasrishirsha, Purusha Sukta) point towards a Supreme Being who should be worshipped in all Brahma Vidyas, including Dahara Vidya.


"Lingabhuyastvat" means that the preponderance of indicators (the lingas or signs) in the scriptures point to Brahman being Narayana. The text is clear that Narayana is not just a part of a specific vidya (meditation or knowledge) but is to be worshipped and meditated upon in all forms of Brahma Vidya.


The purpose of this section is to establish that the Supreme Brahman being referred to in various Upanishadic Vidyas (such as Dahara Vidya) is none other than Lord Narayana. He is the one who should be meditated upon universally, as Vishnu or Narayana possesses all the attributes and powers described in the Sahasrishirsha Anuvaka.




4. Ramanuja's Interpretation: Ramanuja's commentary emphasizes the personal nature of Brahman. According to his Vishishtadvaita philosophy, Narayana is not a formless entity. Instead, he is the supreme cosmic being with innumerable auspicious qualities—omniscient, omnipotent, and infinitely merciful. This is a direct counter to Shankara’s Advaita Vedanta, where the formless, attributeless Nirguna Brahman is considered the highest reality.


Ramanuja insists that the preponderance of evidence in the Vedic texts points to Narayana as the highest, most complete form of Brahman, encompassing both transcendence (beyond the world) and immanence (within the world and individual hearts). This Supreme Brahman is to be worshipped in all Vidyas, not just Dahara Vidya, because he is the object of all forms of meditation that aim toward liberation.



5. Connection to Previous Adhikaranas:


In the previous Adhikaranas (particularly the Dahara Vidya Adhikarana), there was a discussion about the Dahara Akasha—the small space within the heart that contains the Supreme Being. This section continues that discussion, stating that the Being referred to in the Dahara Vidya and similar meditations is Narayana, who is the same Supreme Brahman described in other Vidyas as well.


The current Adhikarana takes this further by explicitly connecting the Sahasrishirsha Anuvaka and Purusha Sukta as further proof that Narayana is the Supreme Being worshipped in all contexts, whether it’s in meditative practices like Dahara Vidya or in rituals and hymns like the Sahasrishirsha Anuvaka.

In this Adhikarana, Ramanuja establishes that Narayana (the Supreme Brahman) is the object of worship and meditation in all Brahma Vidyas. The Sahasrishirsha Anuvaka, with its glorification of the cosmic being with a thousand heads, refers to Narayana and reinforces his supremacy. This Adhikarana continues the discussion from the Dahara Vidya, emphasizing that all forms of worship and meditation in the Upanishads point toward Narayana as the Supreme Brahman.


This section is significant in the broader framework of the Sri Bhashyam because it supports Ramanuja’s view that Brahman is not just an abstract, impersonal force but a personal, compassionate, and worship-worthy being who is both immanent and transcendent. By establishing Narayana as the Supreme Brahman, Ramanuja reinforces the core tenets of Vishishtadvaita, where devotion and meditation are centered around a personal God.


Tuesday, November 12, 2024

8&10

 

Iyengar - Varavu ettana,

              selavu pathana,

        adhigam rendanaa,

     kadasiyil, thundhana

  thundhaa, thundhanaa


Kids : Varavu ettana 

        Selavu pathana 

  Adhigam rendanaa 

  Kadasiyil thundhana 

  Thundhana thundhaa


Iyengar : One, two, three,

           four, five, six seven

           eight hmmmmm


Kids : Varavu ettana 

           Selavu pathana 

           Adhigam rendanaa 

         Kadasiyil thundhana 

       Thundhana thundhaa


 Thiramaiku mele ninaipu

Vandhal nimmadhi irukaadhu Aiya nimmadhi irukaadhu 

Alavuku mele aasai vandhal ulladhum nilaikadhu Amma ulladhum nilaikadhu 


Female 1: vayasuku mele

    ulagathil ulla nalladhu

     Pidikaadhu, mama

     nalladhu pidikaadhu


Female chorus : Vayasuku mele ulagathil ulla nalladhu pidikaadhu mama nalladhu pidikaadhu 


Male: Vayasu pillaigal

          Pudhusa, perisa      

  vazvadhu porukadhu

  appa vazvadhu         

  porukadhu 


Male Chorus : Vayasu

          pillaigal pudhusa,

          perisa vazvadhu 

          porukadhu, appa

          vazvadhu

          porukadhu 


Male 1 : Vaadagai soba

Male 2 : Iruvadhu rooba

Male 1 : Vilaiku vaangina

Male 2 : Mupadhe rooba


Kids : Vaadagai soba 

           Iruvadhu rooba 

         Vilaiku vaangina 

          Mupadhe rooba 


Varavu ettana selavu pathana, adhigam rendanaa, kadasiyil thundhana thundhaa thundhanaa 


Iyengar : Adanga manavi

              Adimai purushan

     kudumbathukaagadhu



Kids : Adanga manavi 

           admai purushan kudumbathukaagadhu

Aiyaa kudumbathukaagaadhu.


Yaanayai pole poonayum thinna jeeranam aagadhu , Aiya jeeranam aagadhu ( 2 )


Male 1 : Pacchai kiligai

         parapadhai partha       

    parundhuku aagadhu 

    appa parundhuku

    aagadhu 


Male Chorus: Pacchai kiligai parapadhai partha 

Parundhuku aagadhu appa parundhuku aagadhu 


Female 1 : Panathai

     partha gowravam

     yenbadhu

     marundhukum

     Irukaadhu mama

     marundhukum

     irukaadhu


Female Chorus : Panathai partha gowravam yenbadhu marundhukum irukaadhu

Mama marundhukum irukaadhu 


Iyengar: Thanga changil

  iraval vaanguna thavari

  pochuna thakita

  thandhana


Male Chorus: Ho Ho Ho

    Appa Haan haan haan


Iyengar: Bhama vijayam

     krishnanukaaga, inge

     yedhukaaga


Kids: Bhama vijayam 

 krishnanukaaga inge 

 yedhukaga Amma inge

 yedhukaga 


Male Chorus: Maadhargal yellam kannigalaaga maaranum adhukaaga appa maaranum adhukaaga 


Iyengar : Kannigalaaga vazhanum yendral pillaigal yedhukaga, Aiya pillaigal yedhukaga 


Male Chorus: Kaadhal seidha paavathulaaga vere yedhukaaga 


Iyengar : Pattal theriyum pazhasum pudhusum

Kettal theriyum, kelviyum badhilum


Kids : Varavu ettana selavu pathana adhigam rendanaa kadasiyil thundhana thundhaa thundhanaa aaa aaa aaa


Male Chorus and Kids :


Varavu ettana selavu pathana adhigam rendanaa kadasiyil thundhana thundhaa thundhanaa.

Please give the meaning of this Tamil song in English.



This Tamil song revolves around the theme of income and expenses, and it humorously illustrates the struggles of managing finances, desires, and expectations in life. Here’s a breakdown of the song’s meaning:



---


Iyengar:

"How much is the income? How much are the expenses?

The excess is just two,

And in the end, what remains?

Nothing remains."


Kids:

(Repeated):

"How much is the income? How much are the expenses?

The excess is just two,

In the end, nothing remains."


Iyengar:

"One, two, three, four, five, six, seven, eight... hmmm."

(Reflecting on counting money and realizing there's nothing left.)


Kids (Repeated):

"How much is the income? How much are the expenses?

The excess is just two,

In the end, nothing remains."



---


Iyengar:

"If there’s too much thought about fame, there will be no peace. Sir, there will be no peace.

If desire exceeds the limit, whatever you have will not remain. Madam, it will not remain."



---


Female Singer:

"In old age, the good things in the world don't appeal to you anymore, Uncle, they just don't appeal."


Female Chorus:

"In old age, the good things in the world don't appeal to you anymore, Uncle, they just don't appeal."



---


Male Singer:

"For the young generation, the new way of living is unbearable. Father, the way they live now is unbearable."


Male Chorus:

"For the young generation, the new way of living is unbearable, Father. The way they live now is unbearable."



---


Male Singers 1 & 2:

"The rent for a sofa is twenty rupees,

But buying it costs thirty rupees."


Kids:

"The rent for a sofa is twenty rupees,

But buying it costs thirty rupees."


Iyengar & Kids:

"How much is the income? How much are the expenses? The excess is just two,

In the end, nothing remains."



---


Iyengar:

"A submissive wife, a servant-like husband—what’s the point of such a family life?"


Kids:

"A submissive wife, a servant-like husband—what’s the point of such a family life?"


Iyengar:

"A cat can’t digest food like an elephant, sir, it just can’t digest it."



---


Male Singer:

"A green parrot, even if it sees the sky, can’t become a hawk, Father, it just can’t become one."


Male Chorus:

"A green parrot, even if it sees the sky, can’t become a hawk, Father, it just can’t become one."



Female Singer:

"The respect that comes with money doesn’t last with medicine, Uncle, it doesn’t last with medicine."


Female Chorus:

"The respect that comes with money doesn’t last with medicine, Uncle, it doesn’t last with medicine."



---


Iyengar:

"If you borrow gold chains and lose them, it’s a disaster! Thakita thandhana!"

(Referring to the trouble caused by borrowing and losing wealth.)



---


Male Chorus:

"Ho Ho Ho, Father, Haan haan haan!"

(Laughing at the absurdity of the situation.)



---


Iyengar:

"Bhama’s victory is for Krishna. But here, for whom is it?"

(Referring to the purpose behind struggles and desires in life.)


Kids:

"Bhama’s victory is for Krishna. But here, for whom is it, Mother? For whom?"



---


Male Chorus:

"All women should live as virgins, and for that, Father, they should live that way."

(An ironic comment on societal expectations.)


Iyengar:

"If women live as virgins, why are there children, Sir? Why are there children?"


Male Chorus:

"It’s because of the sins of love, what else?"



---


Iyengar:

"If you experience it, you’ll understand the difference between old and new.

If you ask, you’ll know the question and the answer."

(Reflecting on learning through experience.)



---


Kids & Chorus:

"How much is the income? How much are the expenses?

The excess is just two,

In the end, nothing remains."



---


The song uses humor, irony, and a bit of philosophy to address the complexities of life, such as financial struggles, generational differences, societal norms, and the desires that shape human life. The repetitive refrain emphasizes the futility of excess desires and the difficulty of balancing income and expenses.


Saturday, November 9, 2024

Ucchaihshravas

 In the 10th chapter of the Bhagavad Gita, known as the Vibhuti Yoga (The Yoga of Divine Glories), Lord Krishna reveals his divine manifestations, describing how he represents the best or most significant of various beings and phenomena. When referring to horses, Krishna says:


"Aśvattamaham", meaning "Among horses, I am Ucchaihshravas."


Here, Krishna identifies himself with Ucchaihshravas, the celestial horse that emerged during the churning of the ocean of milk (Samudra Manthan). Ucchaihshravas is considered the king of horses and is known for its exceptional speed, beauty, and strength. This horse is often depicted as white and divine, symbolizing majesty and power.


In this way, Krishna emphasizes that among all horses, Ucchaihshravas best represents his divine power and magnificence.