Sunday, September 14, 2025

The joy of SS.

Kainkaryam – The Joy of Selfless Service

In the spiritual tradition of Śrī Vaiṣṇavism and other bhakti movements, the word kainkaryam carries a deep and sacred meaning. Derived from the Tamil word kainkariyam (from kai = hand, and kariyam = work or deed), it literally means “service performed with one’s own hands.” But in its deeper sense, kainkaryam is not merely an act of duty—it is the expression of devotion, humility, and total surrender to the Divine.

The Essence of Kainkaryam

At its heart, kainkaryam is selfless service performed for the pleasure of the Lord, His devotees, and for the welfare of the community. Unlike service that is motivated by recognition, reward, or personal gain, kainkaryam is done in a spirit of pure love. It arises from the understanding that all actions, when dedicated to God, become sacred offerings.

In Śrī Vaiṣṇava philosophy, kainkaryam is seen as the natural expression (svarūpa) of the jīva. Just as it is natural for a spark to shine or for a river to flow towards the ocean, it is natural for the soul to serve the Supreme. This service can be small or large, visible or unseen, but its value lies in the spirit of surrender with which it is performed.

Forms of Kainkaryam

Kainkaryam takes many forms, from the simplest acts to the most exalted.

Temple Service: Sweeping the temple floor, making garlands, cooking prasadam, or assisting in festivals are all forms of kainkaryam. Every act, however humble, becomes holy when offered to the Lord.

Service to Devotees: Serving saints, teachers, and fellow devotees is considered even greater than serving God directly, for the Lord resides in their hearts.

Everyday Kainkaryam: Caring for family members, helping the needy, or performing one’s professional duties with sincerity can all become kainkaryam when done in the spirit of offering.

The beauty of kainkaryam lies in its inclusiveness—anyone, regardless of status, wealth, or ability, can perform it. What matters is not the scale but the intention.

Philosophical Significance

Śrī Rāmānuja, the great ācārya of the bhakti tradition, emphasized kainkaryam as the highest goal of human life. For him, liberation (mokṣa) was not simply freedom from worldly suffering, but the eternal opportunity to serve the Lord in His divine abode. Thus, kainkaryam is not a burden to be carried but a privilege to be cherished.

Kainkaryam also teaches humility. The one who serves recognizes that they are an instrument in the hands of the Divine. Instead of pride in action, there is gratitude for being given the chance to serve. This transforms ordinary work into spiritual practice, bridging the gap between the mundane and the sacred.

Kainkaryam in Daily Life

The modern world often equates success with personal achievement, wealth, or power. Kainkaryam, however, shifts the focus to giving rather than receiving. A small act—sharing food, offering comfort to someone in distress, or doing one’s work honestly—becomes kainkaryam when done with devotion.

In this way, kainkaryam provides a practical path for spiritual living. It reminds us that service is not confined to temples or rituals but can be woven into the very fabric of daily life.

Kainkaryam is more than service—it is love in action. It is the soul’s natural response to the grace of God, an expression of gratitude, and a path to union with the Divine. When performed with sincerity, even the simplest act becomes sublime.

To live a life of kainkaryam is to live a life of purpose, humility, and joy, seeing every moment as an opportunity to serve and glorify the Lord. It is this spirit of selfless service that sustains communities, sanctifies lives, and leads the devotee gently towards liberation.

Kainkaryam


Not duty, not burden, not task,

But love in action—nothing I ask.

A flower I string, a floor I sweep,

An offering quiet, a promise deep.


To serve the Lord with heart and hand,

To serve His children across the land,

Is joy that flows, a river’s song,

The soul’s own nature all along.


No crown I seek, no wealth, no fame,

Each act I do bears only His name.

In giving, I find myself set free,

Kainkaryam—my eternity.

Two voices of devotion.

Ślokam (श्लोकम्)

A metrical verse in Sanskrit.

Written according to strict rules of chandas (meter) like anuṣṭubh, triṣṭubh, jagatī, śārdūlavikrīḍita etc.

Has rhythm, symmetry, and is easy to recite and memorize.

Most of the Vedas, Itihāsas, Purāṇas, Bhagavad Gītā, Rāmāyaṇa, Mahābhārata are composed largely in ślokas.

Example: “yadā yadā hi dharmasya…” (Gītā 4.7)

Gadyam (गद्यम्)

Prose composition in Sanskrit.

Not bound by meter or rhythm, but still highly refined and ornamented.

Can be very elaborate, with long compounds (samāsa), flowing expressions, and deep bhakti or philosophical content.

Famous examples: Śrī Rāmānuja’s three gadya-trayas (Śaraṇāgati Gadyam, Śrīraṅga Gadyam, Vaikuṇṭha Gadyam).

Gadyams are often used for prayers, philosophical prose, and emotional outpourings because they allow free expression without metrical restriction.

Ślokam → Verse form, rhythmic, structured like poetry.

Gadyam → Prose form, free-flowing, like elevated speech or prayer.

So, a ślokam is like a song in rhythm, while a gadyam is like a prayerful speech.

Example 

Example of a Ślokam (metrical verse)

From the Bhagavad Gītā (2.47):

 karmaṇy-evādhikāras te mā phaleṣu kadācana

mā karma-phala-hetur bhūr mā te saṅgo ’stv akarmaṇi

This is in anuṣṭubh chandas (4 lines of 8 syllables each).

Has rhythm and balance.

Easy to chant musically.

Meaning (simple): “You have a right only to action, never to its fruits. Do not be attached to the fruits of actions, nor be attached to inaction.”

Example of a Gadyam (prose prayer)

From Śrī Rāmānuja’s Śaraṇāgati Gadyam:

akhila-bhuvana-janma-sthemaṅgati-niyati-anugraha-paripālana-sāmarthyaika-nidhi

aparimita-ascharya-ananta-kalyāṇa-guṇa-gaṇaugha-mahodadhi

śrīmannārāyaṇa! śaraṇam aham prapadye

Long flowing sentence, not bound by meter.

Rich in samāsa (compounds) and ornamentation.

Meaning (simple): “O Śrīman Nārāyaṇa! You are the ocean of infinite wondrous and auspicious qualities, the sole treasure of the power to create, sustain, control, and bless all the worlds. To You I surrender.”

The Feel

Ślokam → short, measured, rhythmic like poetry.

Gadyam → long, flowing, emotional, like a heartfelt prayer or philosophical .

 As a śloka (in simple anuṣṭubh meter), and one as a gadyam (flowing prose) — on the theme of śaraṇāgati (surrender to God).

Ślokam (metrical verse)

tvameva śaraṇaṃ nātha dīna-bandho dayānidhe ।

pāhi māṃ karuṇā-sindho rakṣa rakṣa janārdana ॥

“You alone are my refuge, O Lord, friend of the helpless, treasure of compassion. Protect me, O ocean of mercy! Protect me, Janārdana.”

Gadyam (prose prayer)

anādi-kāla-pravṛtta-ananta-karma-bandhena baddho’ham, aśaktaḥ svātma-rakṣaṇe, sarva-doṣa-bhājanaḥ, akṛta-kṛtyaḥ, kṛta-niṣiddhaḥ, tvām eva dīna-bandhum, dayānidhim, karuṇā-sāgaraṃ, śaraṇam prapadye ।

“Bound by the endless chain of karma from time without beginning, unable to protect myself, full of faults, failing in duties and doing what should not be done — I take refuge in You alone, O friend of the helpless, treasure of compassion, ocean of mercy.”

The śloka is short, rhythmic, easy to sing.

The gadyam is long, detailed, pouring out helplessness and devotion.

How such śloka-gadyam pairs were historically used by teachers like Rāmānuja — why sometimes he chose verse, and sometimes prose?

Ślokam in Tradition

Ślokas are metrical verses.

Purpose:

Easy to memorize and chant daily.

Suitable for public recitation in temples or gatherings.

Condensed teaching in a musical, rhythmic form.

Rāmānuja composed Gadyatrayam (prose), but his predecessors like Āḻvārs poured their devotion in pāsurams (metrical Tamil verses), which function like ślokas in Sanskrit.

Even in Śrībhāṣya, ślokas from Upaniṣads and Gītā are quoted for authority.

Gadyam in Tradition

Gadya is free prose, without metrical rules.

Purpose:

Ideal for personal surrender and emotional outpouring.

Allows long compounds (samāsa), bringing majesty and depth.

Used when the soul directly addresses God in a flood of bhakti.

Śaraṇāgati Gadyam: Rāmānuja stands before Śrī Ranganātha and pours out his helplessness.

Vaikuṇṭha Gadyam: Describes in prose the splendor of Vaikuṇṭha in such detail that meter could not contain it.

Why Both Were Needed

Ślokam is like a song — sweet, brief, memorable.

Gadyam is like a speech or conversation — expansive, direct, overwhelming.

Rāmānuja chose gadyam at moments of total surrender, because the heart overflows and cannot be confined to the discipline of meter.

He left behind ślokas (through tradition and citations) for structured teaching, but gadyas for personal, living prayer.

Simple Analogy

Ślokam = a hymn you can sing daily in a group.

Gadyam = a heartfelt confession spoken alone before God.





Monday, September 8, 2025

Melody

https://youtu.be/9QxAer2ahGo?si=cuSMbS2cNF2TbBLa https://youtu.be/Bjsimv4fxII?si=_-US_qljU7cex6rB

Sri vraja raja sut astakam.

Sri Vraja-Raja-Sutastakam Eight Prayers Glorifying the Son of the King of Vraja (1) nava-nIrada-nindita-kAnti-dharaM rasa-sAgara-nAgara-bhUpa-varam zubha-vaGkima-cAru-zikhaNDa-zikhaM bhaja kRSNa-nidhiM vraja-rAja-sutam (2) bhru-vizaGkita-vaGkima-zakru-dhanuM mukha-candra-vinindita-koTi-vidhum mRdu-manda-suhAsya-subhASya-yutaM bhaja kRSNa-nidhiM vraja-rAja-sutam (3) suvikampad-anaGga-sad-aGga-dharaM vraja-vAsI-manohara-veza-karam bhRza-lAJchita-nIla-saroja-dRzaM bhaja kRSNa-nidhiM vraja-rAja-sutam (4) alakAvali-maNDita-bhAla-taTaM zruti-dolita-mAkara-kuNDalakam kaTi-veSTita-pIta-paTaM sudhaTaM bhaja kRSNa-nidhiM vraja-rAja-sutam (5) kala-nUpura-rAjita-cAru-padaM maNi-raJjita-gaJjita-bhRGga-madam dhvaja-vajra-jhaSAGkita-pAda-yugaM bhaja kRSNa-nidhiM vraja-rAja-sutam (6) bhRza-candana-carcita-cAru-tanuM maNi-kaustubha-garhita-bhAnu-tanum vrAja-bAla-ziromaNi-rUpa-dhRtaM bhaja kRSNa-nidhiM vraja-rAja-sutam (7) sura-vRnda-suvandya-mukunda-hariM sura-nAtha-ziromaNi-sarva-gurum giridhAri-murAri-purAri-paraM bhaja kRSNa-nidhiM vraja-rAja-sutam (8) vRSabhAnu-sutA-vara-keli paraM rasa-rAja-ziromaNi-veza-dharam jagadIzvaram-Izvaram-IDya-varaM bhaja kRSNa-nidhiM vraja-rAja-sutam (1) He Whose complexion conquers that of a fresh new raincloud Who is the best King of Paramours, the ocean of ecstatic mellows Whose crown is adorned with a lovely peacock feather and is auspiciously tilted to one side�Just worship KRSNa, the Dark Jewel, the son of the King of Vraja (2) He Whose broadly-bending eyebrows appear like arched rainbows Whose pure moonlike face belittles millions of ordinary moons Who is endowed with sweet gentle smiles and pleasant speech�Just worship KRSNa, the Dark Jewel, the son of the King of Vraja (3) He Whose divine bodily limbs tremble profusely with Cupid�s agitations Who dresses enchantingly just to fascinate the Vraja-vAsIs Who is decorated with extraordinary eyes like blue lotus blossoms�Just worship KRSNa, the Dark Jewel, the son of the King of Vraja (4) He Whose forehead is surrounded by a fringe of wavy locks Whose earlobes are embellished with swaying shark-shaped earrings Who is adorned with yellow silk embracing His charming hips�Just worship KRSNa, the Dark Jewel, the son of the King of Vraja (5) He Whose beautiful feet resound with softly tinkling anklebells that madden all the bees with their vibration of swinging gemstones Whose soles are marked with the flag, thunderbolt, fish, and more�Just worship KRSNa, the Dark Jewel, the son of the King of Vraja (6) He Whose graceful form is smeared with profuse sandalwood paste Whose body glows with the Kaustubha gem, eclipsing the sun Whose personal beauty represents the topmost zenith of Vraja-youths�Just worship KRSNa, the Dark Jewel, the son of the King of Vraja (7) He Who is Mukunda and Hari, worshipable for all the demigods and sages Who is the guru of all created beings, the crest jewel of all Lords Who is known as GiridhAri and MurAri, more exalted even than Lord ziva�Just worship KRSNa, the Dark Jewel, the son of the King of Vraja (8) He Who is most fond of sporting with the Daughter of VrishabhAnu Who dresses impeccably as the Crown Prince of Mellow-Relishers Who is the most praiseworthy Lord of Lords in the entire universe�Just worship KRSNa, the Dark Jewel, the son of the King of Vraja

Sunday, September 7, 2025

Chitha shudhi.

 “सदा तव पादारविन्दे स्मरामि।”

Keep me simple in heart,

Sincere in thought,

And graceful in deed.

Let me walk with You always—

In silence, in speech, in service,

Breath by breath, moment by moment.

May my life be a gentle offering

At Your holy feet.

हे भगवन् ।

हृदि सरलतां देहि,

चित्ते सत्यतां देहि,

कर्मणि माधुर्यं देहि ।

त्वया सह सर्वदा सञ्चरामि—

मौनम्, वचनम्, सेवा च।

प्रत्येकश्वासे, प्रत्येकक्षणे ।

मम जीवनम् भवतु

तव पादयोः समर्पणम् ॥

To be simple, sincere, and graceful is really the essence of staying close to the Lord always:

Simple – keeping the heart uncluttered, free from pride, complications, or unnecessary pretenses.

Sincere – letting devotion flow naturally, whether in prayer, service, or daily actions, without show or expectation.

Graceful – allowing the Lord’s presence to reflect in our words, conduct, and compassion, making life itself a gentle offering.

Such a life becomes a constant companionship with the Divine, not just in temples or rituals, but in every moment—breath by breath.

Friday, September 5, 2025

Chita shudhi.



 

Teachers day.



Sri Muralidhara Swamigal said in a discourse that Srimad Bhagavatam shares the teachings of the Gurus throughout its narrative. These teachings appear in order by Skanda (chapter). In the first Skanda, sage Narada teaches Veda Vyasa. In the second Skanda, sage Suka teaches King Parikshit. Here, Suka notes that a person should think of God at least during his last moment. In the third Skanda, God as Kapila teaches his mother. Kapila explains how the fetus in the womb cries, remembers previous births, and prays for a noble Guru in this birth for liberation. The fourth Skanda shares sage Narada’s teachings to Dhruva. The fifth Skanda features Rishabhayogeeswara. He teaches that a guru cannot be called so if he fails to show the way to reach God. In the sixth Skanda, Yama, the God of death, instructs his subordinates. He tells them not to disturb or approach the devotees of God as explained in the story of Ajamila.

In the seventh Skanda, child devotee Prahlada acts as a guru and tries to explain nine types of devotion. In the eighth Skanda, Sukracharya, the preceptor of the Asuras, tries to stop King Mahabali from giving charity. However, he fails. Meanwhile, King Mahabali becomes a guru and advises Sukracharya. King Ambarisha, as a guru, demonstrates the essential features of surrender to the world. The tenth Skanda contains the Gopikas teaching Uddhava “Bhramara Geetham.” In the eleventh Skanda, the Navayogis provide a detailed explanation of Srimad Bhagavatam. Lord Krishna tells Uddhava that his devotees are more dear to him like Mahalakshmi, His divine consort, who never separates from him. In the twelfth Skanda, it is said that if a person cannot follow any other path of bhakti, he can choose the simplest way: chanting the names of God. This will wipe out all his sins (Nama Sankeerthanam yasya Sarva Papa Pranasanam).