Srivaishnava Network

This is the month of Margazhi, with a pleasant chill in the air. Getting up in the morning, which is difficult even in normal times, is even more difficult as you feel like snuggling deeper into your bed, with the blanket covering you from head to foot. It takes a lot of will power to shake off sleep and lethargy and to rise and shine. If we at all get up, we must thank our Alarm Clock for the courtesy, for if it doesn’t shake us out of slumber with its shrill cry, we would probably sleep on and on. There are of course those ofus who religiously set the alarm to the desired time, and once it goes off, just silence it and sleep on. This is our fate when modern chronometric devices like the Alarm Clock are available. In the good old days, when time was measuredby the position of the Sun and the stars, what would people have done for waking up in time, especially before Sunrise?

For the most part, people seem tohave relied on their biological clock, which would jog them to wakefulness automatically at a particular time. Once the body is accustomed to doing certain things at fixed times, it gets into the groove and gets ready for them involuntarily, without any conscious effort on our part. However, such biological clocks do not work for everybody, and especially when you are tired, the body’s compensating mechanism lets you sleep longer to shake off fatigue. On such occasions, the biological clock is not much reliable.

Realising our difficulties, the Lord, in His infinite mercy, has created beings like birds and animals which come awake much before we do and give us a wake-up call too. These are extremely reliable and regular and don’t oversleep like us. A few of these find a mention in Tiruppavai and Tiruppalliezucchi.

“PuLLum silambina kAN” says Sri Andal, pointing out that the birds have begun their day, chirping merrily and waking up human beings deep in slumber, with their sweet warbling.

Though this is a thing of the past in the urbanised environment where all birds and animals have been banished to make room for the ubiquitous human being, even today, people in the villages wake up to the melodious twitter of our feathered friends. Coming awake to the accompaniment of this memorable music is an experience by itself, which only those who are familiar with it would be able to appreciate. To the untrained ear, the cheep-cheep of these birds might sound like unintelligible babble, but to the ardent devotee it would be amply clear that the birds are indeed uttering the Bhagavan nAma in their own tongue. If we listen keenly, we might find in it resemblance to several of the Lord’s haloed names. And even if we are unable to discern such exalted strains in these sounds, if we remember that all words and all sounds ultimately indicate the Lord and His gunAs, we would be convinced that the apparently meaningless gibberish that we hear from birds is indeed BhagavannAma. Even if we were to ignore birds prattling away in unknown tongues, we find parrots explicitly and succinctly uttering the Lord’s names, which they come to hear often or are taught. The author of Sri Venkatesa Suprabhatam describes how the parrots of Tirumala, immediately after waking up and fortifying themselves with a breakfast of leftover fruit, start chanting “Good Morning, Milord!’ (SrI VEnkatAchalapathE tava suprabhAtam”), much before the human devotees do.

“Koottil irundu KiLi eppOdum Govinda Govinda endru azhaikkum
oottakkodAdu seruppan Agil UlagalandAn endru uyara koovum”

Says

Sri Kodai in Nacchiar Tirumozhi, confirming the propensity of her parrots to chant the Lord’s names always, even when they are battling with hunger. The words “uyara koovum” indicate a ShastrArttha- while uttering the Lord’s names or reciting stotras, weshould do it loudly and not mumble. By a loud recitation, not only our tongue engagesin kainkaryam but our ears too, as they get to hear the chanted tirunamams. And it benefits not only ourselves, but also whoever is within hearing distance. Thus the manner of reciting stotras is to do it unabashedly, audibly and in ringing tones, as the conduct of Sri Andal’s parrots would show.

It is not merely the parrots that announce the daybreak, but a host of other birds too-for instance the “AnaicchAtthan” (“Keesu keesu endrengum AnaicchAtthan kalandu pEsina pEccharavam”), the Cuckoo (“Madhavi pandal mEl palkAl kuyilinangaL koovina kAN”) and hens and cocks (“ vandu engum kOzhi azhaitthana kAN”). Sri Tondaradippodi too confirms the chorus of birds at the crack of dawn -“Pulambina putkaLum poompozhilgaLin vAi”.

There are the hard-to-wake sleepers who are quite capable of sleeping through birdsong, for their snores would easily drown the reedy voices of birds. How to get through to such descendants of KumbhakarNa? Sri Andal says that Nandagokulam is equipped for this difficult task too. TiruvAippAdi is full of healthy buffaloes, which call their progeny to feed early in the morning. In their anxiety to wake their own calves, the buffaloes moo in stentorian voices, waking up everybody in the vicinity, willy-nilly.

All they do is to clear their throats noisily and the concerted effort of these hefty creatures creates a roar, which is difficult to sleep through-“Kanaitthu iLam kattrerumai”.

Adding to this racket is the raucous and shrill “music” issuing from the flutes of young cowherds taking their bovine charges out for grazing. Inspired by the delectable strains of Sri Krishna’s kuzhal, these cowherds too try their hands at it, with mixed results. The resultant din is enough by itself to wake upthe soundest sleeper.

As if all this were not enough, the early—rising Yadava ladies churning curds for butter with wooden implements fills the air with a clamour (“ Aycchiar matthinAl Osai paduttha tayir aravam kEttilayO”). One might think lightly of the noise of curds being churned. However, imagine this operation being carried out at all homes simultaneously at TiruvAippAdi, and you have a tremendous body of sound, to which the numerous bangles adorning the wrists of Gopis add their own music, forced to join the chorus due to the constant movement of their owners’ shapely hands. Women are generally not known for their reticence (with due apologies to the lady readers) and the Gopis are no exception. While their hands are busy with churning, they exchange pleasantries with one another and swap tales of Sri Krishna’s latest misdemeanour, all of which adds up to a tidy volume.According to one version, the cumulative uproar was enough to pervade Sri Vaikuntam—“ udgAyateenAm aravinda lOchanam vrajAnganAnAm dhivam asprusat dhvani:”

The moment we come awake, we are supposed to sit up gently in bed and chant the Hari nAma seven times, meditating on the Lord and His attributes. What a wonderful chorus this would make if hundreds of people, holy men that too, were to chant “Hari:” Hari:” simultaneously! Would this not be enough to enter the ears of even sound sleepers and wake them up instantly? This incredibly sweet and sanctifying BhagavannAma samkIrtanam enters not only the ears but the soul too and cures one of all maladies, says Sri Andal-

“munivargaLum YOgigaLum meLLa ezhundhu ari endra pEraravam uLLam pugundhu kuLirndu”. The reference to “KuLirundhu” indicates that Hari nAma samkIrtanam cures one of the three types of heats-“Tapatrayam”-AdhyAtmikam, Adhidaivikam and Adhibhoutikam.

The concerted boom of the conches being blown in various temples of the Lord, inviting the devout for morning prayers, ensure that any stragglers sticking to their beds despite all the aforesaid uproar leap out and get ready for Bhagavat kainkarya.

We really envy the inhabitants of Gokulam. What pleasant days they must have had, waking up day after day to the music of birds, bees, buffaloes, jingling bangles, devotional songs in the Lord’s praise, nAma samkIrtanam and conch-blowing! With all this auspicious beginning, it is little wonder that their days and lives were peaceful and prosperous, with disharmony and disgruntlement totally unknown to anyone. And after waking up, they could look forward to spending the day in the enthralling company of Sri Krishna, who was everything to everybody.

We do wish, with overwhelming wistfulness, that we didn’t have to wake-up tomorrow to the piercingly strident tones of the Alarm Clock.

Srimate Sri LakshmINrsimha divya paduka sevaka SrivanSatakopa Sri Narayana Yatindra Mahadesikaya Nama:

Dasan, sadagopan.

There was a recent discussion on the beautiful sloka from the captioned stotram of Swami Desikan, beginning with “tvayi pravrittE mama kim pryAsai:”. The sloka that precedes this is also extremely meaningful, and deserves elaboration. The following sloka forms the centrepiece of this stotram, physically ( it is the fifth among the nine slokas- the tenth being phala shruti) and figuratively too, due to its substantive nature.

“abheeti hEtO: anuvartaneeyam nAtha tvat anyam navibhAvayAmi
bhayam kuta: syAt tvayi sAnukampE, rakshA kuta: syAt tvayi jAta rOshE”

Swami Desikan , addressing this Emperuman, says, I shall not seek recourse to any other than You for eliminating my fears. Once You have mercy on me, who can cause me fear? On the other hand, if You are angry with me, who can protect me? In both the cases, I have no refuge other than You.

Elaborating the concept of ananya gatitvam, Sri Tooppul Pillai points out, with irrefutable logic, that the Lord is indeed supreme. Hence if we become the target of His anger due to our numerous heinous acts of omission and commission, notably due to BhAgavata apachArA or asahya apachArA, nobody, but nobody at all can save us. We should remember here that the Lord is an ocean of mercy, and irrespective of the serious nature of our crimes, never thinks of punishing us commensurately. Sri Piratti is the utimate repository of compassion, and intercedes with the Lord on our behalf, when He is inclined to be punitive. Therefore it is highly unlikely, nay, impossible, that She would complain to the Lord about any sinning soul. However, in the unlikely event of Piratti airing Her grievance against a devotee, Emperuman would say, “My devotee would never be guilty of such a sin; even if he is, it is probably for a good cause.” So says Periazhwar-

” TamarayAl Agilum tam adiyAr tirattu sidagu uraikkumEl
en adiyAr adu seyyAr : seidAlum nandrE seidAr enbarpolum”

(The word “pOlum” denotes that this is all in the realm of speculation, as Piratti is never, but never likely to compalain to the Lord agaist any devotee, as She plays a diametrically opposite role-that of pleading with Him to pardon even our most grievous follies.)

This pasuram highlights Emperuman”s highly compassionate nature, and His lack of anger towards us for our infringements. Most of the time, He doesn’t even take cognisance of our follies, and is blind to them, as the tirunAmam “aviggyAtA” in Sri Vishnu SahasranAmam would indicate. And he always tempers His justice with compassion, so that even when He metes out just punishment, it turns out to be a blessing in disguise (nigraha anugraham). However, even such a KaruNA moorti does have occasions to display His anger. While He can tolerate innumerable acts against Himself, He cannot bear even a single act of atrocity towards His devotees and those near and dear to Him. And when this happens, His anger is unstoppable, and no force on earth or heaven can counter the same. No one can protect us if we become the target of His anger (RakshA kuta: syAt tvayi jAta rOshE?).

Let us consider an instance where the Lord had a rare occasion to vent His anger. Everyone knows how KakAsurA (alias Jayanta, son of Indra) committed an unpardonable sin towards Piratti, when She and Sri Rama were relaxing in DandakAraNyam. Piratti’s divine beauty gave rise to vile thoughts in his filthy mind, and he pecked at her breast with his beak, drawing blood. While she bore it patiently as would a mother, Sri Rama, when he found Her bleeding, was beside Himself with anger, and plucking a blade of grass from nearby, fortified it with the BrahmAstra mantra, and threw it at the retreating crow.(This is perhaps the source for the Tamil adage,”vallavanukku pullum Ayudham”). The BrahmAstra pursued the crow with alacrity, and flee as the crow might, it was unable to escape from the chasing astrA. The crow knocked at the doors of all those who are normally considered in the world as saviours-his own father Indra, the Creator Brahma and the destroyer Rudra. Not even Maharshis, who are normally more powerful and more merciful than even kings, would offer a word of assurance and refuge (“sa pitrA cha parityakta: suraischa sa Maharshibhi:”). None of them could provide succour to the fugitive crow, and turned it away, pleading their inability to save somebody whom Sri Rama had decided to punish. Sri Valmiki puts this beautifully in the following sloka-

“BrahmA: svayambhoo: chaturAnanO vA
Rudra: trinEtra :tripurAntakO vA
Indra: SurEndra : sura nAyakO vA
TrAtum na sakta yudhi Raghavadhyam »

Neither the four-headed Brahma who creates the whole world, nor the three-eyed Rudra feared the world over as the destroyer, nor even Indra, the chief of all the devAs would be able to save somebody Sri Rama has made up His mind to destroy. The crow flew around the world (with the Brahmastra in hot pursuit) not once but several times, seeking a saviour, but failing to find anyone, decided to seek refuge in Sri Rama Himself. And Chakravartthi Tirumagan, true to His reputation of saving SaraNAgatAs (“vidita: sa hi dharmagya: SaranAgata vatsala:” says Sri Janaka Nandini), afforded refuge to the crow, which deserved a sure death for its heinous crime.

Here is how Sri Valmiki describes the episode-

” Treen lOkAn samparikramya tamEva saranam gata:
sa tam nipatitam bhoomou sharanya: sharanAgata:
VadhArham api KAkutsttha: kripayA paryapAlayat”.

This is proof enough, if proof were needed, that targets of Emperuman’s anger can hope for little succour elsewhere. We shall consider the other part of the sloka,(“Bhayam kuta: syAt tvayi sAnukampE”) in the next instalment.

Srimate Sri LakshmiNrisimha divya paduka sevaka SrivanSatakopa Sri Narayana Yatindra Mahadesikaya Nama:

——-to be continued—— dasan, sadagopan.

We saw that Emperuman’s anger is unstoppable, and the target of this rare anger cannot find refuge anywhere.(“RakshA kuta: syAt tvai jAta rOshE”). The first half of the sloka tells us that once Emperuman has decided to save us, nobody’s anger can affect us. “Bhayam kuta; syAt tvayi sa anukampE” says Swami Desikan, emphasising that the Lord’s devotee has nothing to fear from any source. This bhayam or fear can be of several kinds and emanate from diverse sources. We see in the world that almost all people are plagued by fear of some sort or the other- the young fear the uncertain future, the old fear approaching end, the wealthy are afraid of penury and the penniless of continuing suffering. The strong fear contracting disease, while the sick are afraid of getting sicker. The student fears examinations and later, the results, while politicians fear elections. If we look deep enough, we would find everyone fearing something or the other at some time or the other. The JitantA StOtra voices the plaintive cry of the JeevAtmA that he is plagued by great fear from all sides at all times-

” SarvEshu api cha kAlEshu dikshu sarvAsu cha Achyuta!
SareerE cha gatou chApi vartatE mE mahat bhayam”

The same stOtrA identifies the source of this overwhelming fear as SamsAra, (“aham bheetOsmi DevEsa, samsArEsmin bhayAvahE”) or this mundane world of births and deaths, which shackles us with unshakeable fetters. However, even in this fearful Samsara, it is possible for us to live without fear, provided we perform the duties that are laid down for us, based on varNa and Ashrama. The GitAchArya says that performing duties that are not meant for us generates fear-

“SwadharmE nidhanam shrEya: ParadharmO bhayAvaha:”

The Lord is verily the creator of fear (“Bhayakrit”) and its destroyer too (“Bhaya nAsana:”). Since all entities who are considered powerful derive their power from the Lord, they live in mortal fear of Him- the Sun, the Wind, the Fire, Death- all perform their respective functions out of fear of retribution from the Lord, says the Taittiriya Upanishad-

“BhIshAsmAt Vata: pavatE BhIshOdEti Soorya:
BhIshAsmAt Agnischa Indrascha Mrityu: dhAvati panchama iti”

Coming back to the subject, fear of all types vanishes like dew at sunrise, once the Lord makes up His mind to protect us. The best example that strikes us in this regard is that of Sri PrahlAda. The trials and tribulations that this young and ardent devotee of the Lord went through were legion. For categorically declaring the supremacy of Sri Hari, Hiranyakasipu put his son through a variety of ordeals. The tender boy was pushed down from a precipitous mountain- but the Lord broke his fall and ensured that he landed as if on a bed of roses. Sri Prahlada was pushed into a pit swarming with deadly snakes, but the Lord who reclines on the king of all snakes ensured that his devotee came to no harm. The deadliest of poisons administered to the young boy could do him no harm, again due to the Lord’s intervention. All known methods of torture and all available weapons of destruction were of no avail against the apparently defenceless child, who stood staunch in his conviction that Sri Hari was supreme. And why? Because the Lord had decided to save His ardent devotee. Is this not a classic case of “Bhayam kuta: syAt tvayi sa anukampe”?

Again, as one of our learned members had pointed out, the curse of the notorious DurvAsa Maharshi could not touch even a hair on the head of the pious King AmbarIshA, as the Lord was on his side. And it was the Lord who saved Sri MArkandEya from the deadliest of all fears, the fear of death. Sri SugreevA could get over his fear of the mighty Vali, Sri Gajendra was saved from the fear of ignominy and certain death, Draupati from the fear of humiliation, etc. One could perhaps go on chronicling instances of the Lord’s devotees being rid of fear, for the Scripture is full of such examples. Emperuman is in a state of high alert always, and never lays down any of His five weapons, so that He could rush to the rescue of a devotee in distress at the first call from the latter, says the following sloka-

“PAtu praNata rakshAyAm viLambam asahan iva
sadA PanchAyudhI bibhrat sa na Sri RanganAyaka : »

He could protect by mere will (Samkalpam) and need not go down to the scene of action: nor does He need any weapons to destroy- the same Samkalpam would do. However, in His infinite mercy, the Lord rushes personally to the rescue of His devotee in distress, just as the mother of a child, which has fallen into the well. The mother would never think of sending a servant or any other, but would much prefer to act herself.

Srimate Sri LakshmINrisimha divya paduka sevaka SrivanSatakopa Sri Narayana Yatindra Mahadesikaya Nama:

————dasan,sadagopan———————–

Everybody loves a song. The baby in the cradle stops crying the moment it hears mother’s lullaby. Lovers always have a song on their lips(if modern cinema is to be believed). Almost everybody likes a catchy tune, and either sings out aloud or hums it under his or her breath. Many of usare bathroom singers, irrespective of whether our voices are tuneful or not. Devotees burst into song at the least provocation, moved by the Lord’s beauty and greatness. It is not only human beings who are musical- birds sing and so do bees. Music thus pervades our lives, and even in death, the lifeless body listens to a dirge. In this piece, adiyen would like to indicatehow music pervades our Sampradaya too.

Srimad Ramayana, the great itihAsA, has music running through the epic, right from the beginning. The pArAyaNa slokas (a prelude to Srimad Ramayana recital), begin with the following couplet-

“Koojantam Rama Rama iti madhuram madhura aksharam
Aruhya kavitA shAkhAm vande ValmIki kOkilam”

In this captivating couplet, Srimad Ramayana is likened to the incredibly sweet song of a cuckoo (Sri Valmiki), which, perched atop the tree of poetry, cries out “Rama, Rama” in tones full of moving melody. The next sloka toospeaks of “RAma kathA nAdam”, or the honeyed, musical words of the story of Sri Rama, as told by Sri Valmiki.

The same pArAyaNa slokAs say that wherever the hallowed story ofSri Rama is sung, Sri Maruti is present, with hands folded in supplicationand eyes overflowing with tears of joy-

“Yatra yatra RaghunAta keerthanam, tatra tatra krita mastakAnjalim
BAshpavAri paripoorNa lOchanam, Marutim namata rAkshasAntakam”.

Sri Bharata, meeting Sri Rama after the 14-year exile, requests the latter to assume the reins of Ayodhya, and, as its king, to awaken everyday to the music of the VeeNA, the flute, melodious voices and percussion instruments-

“toorya sanghAta nirghOshai: kAnchI noopura nissvanai:
madhurai: geeta sabdaischa pratibudhyasva Raghava!”

Sri Rama’s coronation was a joyous occasion not only for theresidents of Ayodhya, but for the celestials too, who burst into song and dance, unable to contain their delight. Says Sri Valmiki,

“prajagu: dEva gandharvA; nanrutu; cha apsarOgaNA:
abhishEkE tat arhasya tatA Ramasya dheemata:”.

We are told that the Ramayana was sung (not recited) by Sri Lava and Sri Kucha, sons of Sri Rama, in their father’s presence, and the melodies so moved the King, that he left his throne and came closer and closer to the songsters. Recited or sung, Srimad Ramayana is always sweet -”pAtyE gEyE cha madhuram”.

Even the villain of the piece, RavaNA, is said to have been an expert exponent of the VeeNA. There are thus any number of references to music and musical instruments in the Adi Kavya of Sri Valmiki.

The TaittirIya Yajur BrAhmanam too contains references to the VeeNA, and to Brahmins singing and playing the VeenA-

“BrAhmaNou VeeNA vAdinou gAyEtAm”.

It is no idle speculation to say that the Vedas, with the three swarAs (udAttam, anudAttam and svaritam) formed the basis for the present day music with the seven svarAs. The Sama Veda is almost entirely musical, and is most pleasing to hear-this Veda is sung and not recited, as is indicated by the usage, “SAma gAnam”. The Taittiriya Upanishad attests to the fact that the Nitya Suris in Sri Vaikuntam please the Lord through melodious singing of SAma mantras-

“Etat SAma gAyan AstE”.

The Bhagavat GeetA too, as the very name indicates, is a song- the Song Celestial. Sri Krishna’s association with music is indeed close. The master exponent of the flute so moves even animals, that they forget their grazing and listen in rapt attention, motionless as a painting, without realizing the half-chewed grass slipping out of their mouths, says Sri PeriAzhwar-

“MaruNda MAn kaNangal mEygai marandu
Meynda pullum kadai vAi vazhi sOra-
Ezhuthu chitthirangal pOla nindranvE”.

Sri Nammazhwar’s Tiruvaimozhi too is an extremely musical composition (being the essence of Sama Veda), as the Azhwar himself attests at more than oneplace- “PaNNAr pAdal in kavigaL yAnAi tannai tAn pAdi”

The Lord Himself sings melodious songs of His own praises using me as an instrument, says Sri Nammazhwar. Naturally, these songs are sweeter than the music generated by a flute or other instrument-says Sri Nammazhwar,” Kuzhalin malia sonna pAdal”.

Even though the present day manner of recitation of Divya Prabandas is indeed good, the fact remains that these compositions were meant to be sung, and not merely recited, however resonantly. We should remember Sri Nathamuni with gratitude not merely for his recovering the lost treasure of the Divya Prabandas, but also for setting them to music. Swami Desikan acknowledges this by paying him this tribute-

“TALam vazhangi Tamizh marai innisai tanda vaLLal”. Further, in Sri Prabanda Saram, Swami Desikan repeatedly refers to the divya prabandas by the term”pAttu”, signifying that these were set to music and sung, during his times.

Sri Tondaradippodi Azhwar says that not only human beings, but also the birds and bees, especially the latter, sing the Lord’s praise in the groves of
Srirangam- “VaNdinam muralum sOlai, mayilinam Alum sOlai, koNdal meedu aNavum sOlai, Kuyilinam koovum sOlai” (TirumAlai).

Two of Emperuman’s devotees have made it their profession to sing on the Lord’s greatness- Sri TiruppAnAzhwar, who belonged to the group of devotees known as “PANar”, or wandering minstrels. Perhaps to indicate that this sortof kainkaryam is the most pleasing to the Lord, Swami Desikan, while referring to this Azhwar, says “nam PANa nAthan”, reflecting the closeness whichhe feels to the Divine Singer.

This Azhwar confirms Sri Tondaradippodi Azhwar’s observation about the songand dance number by the bees and birds of Srirangam- “MamayilAda vaNdu pAda” (AmalanAdipirAn).

Sri AndAl tells us that singing the Lord’s name and simultaneously fixing our thoughts on Him has the effect of destroying our past sins and saving usfrom sinning further-”VAyinAl pAdi manatthinAl chintikka, pOya pizhayum pugu taruvAn nindranavum, teeyinil doosAgum”

Another staunch devotee of the Lord, who emancipated not only himself but also a higher caste Brahmin, was NampAduvAn, born in the lowly community of eaters of dog-flesh. His pious life and worthy deeds are remembered even today, on the Kaisika EkAdasi/DvAdasi days. The power of his single song was such that it could relieve a BrhmaRAkshas (a Brahmin-turned Rakshasa due toprocedural lapses in the performance of YagAs) of his travails.

The VeeNA, perhaps the most complete musical instrument, figures in the Daya Satakam too, in a beautiful sloka, which follows:

“VedAnta Desika padE vinivEsya bAlam
dEvO DayA shatakam Etat avAdayan mAm
vaihArikENa vidhinA samayE griheetam
VeeNA visEsham iva VenkatasailanAtha:”

Says Swami Desikan-

I am but a child, in age, knowledge and devotion. The Lord, as part of His leelA, placed me on the high pedestal of VedAntAchArya, (Master of Vedanta). Not content with that, he created a beautiful stotram too, using me as aninstrument. He has put me in the place of a high-quality VeeNA, which produces melodies which gladden the heart and uplift the soul. Even though I am, by myself, (like the Veena), incapable of composing a stotram, the Lord,(like an expert musician who can produce soul-stirring music from the most ineffective of instruments), has composed this excellent poetical work of Daya Satakam, using me as but an instrument.

There are melodies galore spread throughout the Scriptures and the Sampradaya. The ones mentioned above are but the opening notes of a Grand Symphony,and connoisseurs would surely find ways to listen to the whole captivatingconcert.

Srimate Sri LakshmiNrsimha divya paduka sevaka SrivanSatakopa Sri Narayana
Yatindra Mahadesikaya Nama:

———dasan, sadagopan.

The world is full of philanthropists. Many of the tall temple towers,sprawling hospitals, educational institutions, etc, owe their existence tonoble, generous souls, who wanted to put their money to good use. Every day, we come across appeals for some worthy cause or the other, and sometimeswonder whether all of them would succeed: however, much to our surprise, we find most of them able to garner the funds they need, sooner or later. This strengthens our belief in humanity- despite the numerous factors workingagainst them, charity and generosity are still very much alive. To give, without any expectation of getting anything in return, is indeed a great trait. In this piece, adiyen would like to write about some of the great givers, and the way giving should be done.

The TaittirIyOpanishad SIkshAvalli is full of sound instructions. Amongthe numerous dicta are to be found guidelines on how to Give.

“ShraddhayA dEyam, ashraddhayA dEyam, ShriyA dEyam, HriyA dEyam, BhiyA dEyam, samvidA dEyam” says the Upainishad, enumerating the characteristics of charity.

“ShraddhayA dEyam- All charity is to be done with sincerity and good intention, the underlying motive being an urge to be of help to the receiver. Thus giving, with the aim of receiving something in return, is not charity. Giving is also to be done with grace, and in a way that is not embarrassing or insulting to the receiver. The giver should not flaunt his wealth, nor should he remind the recipient of his poverty. Usually, the act of giving puts the giver’s hand uppermost and the receiver’s, on a lower plane. However,it is said that KarNA, to save the receiver the ignominy of stretching hishand lower, held his palms joined together, and requested the recipient totake the gold coins therein, thus ceding the upper position to the receiver.

“ashraddhayA dEyam”-Once we decide to give away a particular article, its value or magnificence should not bother us, and we should give whole-heartedly, having scant regard to the item’s worth. Parting with a possession withreluctance does not qualify as charity. This mantra is also interpreted differently-”ashraddhayA adEyam”- do not give without shraddha or sincerity and good intention.

“ShriyA dEyam” In a miser, the very thought of charity would induce sorrow, dismay and distress. One should give with a benign disposition, with a smile on one’s face, with happiness induced by the opportunity to be of use to a fellow human being.

“HriyA dEyam” Keeping in mind the conduct of the great philanthropists of the past, the inadequacy of one’s own aid and the greatness of the receiver, one should be ashamed of one’s attempts at charity. This is prescribed so that one doesn’t tend to think too much of oneself for the act of kindness.

“BhiyA dEyam” If the act of charity is not done in the prescribed fashion, and is contaminated by either insincerity, pride or highhandedness, then it is likely to prove counter-productive. A healthy apprehension of counter-productivity due to incorrect attitude or procedure, should characterize an act of charity, so that the giver would always be on guard against attitudes incompatible with giving. Hence the Upanishad says, “Give with fear”.

“SamvidA dEyam” The act of giving should be preceded by a resolution to give. Such resolution makes the mind determined in the act, and preventslast-minute reversal of attitude due to attachment in the article proposedto be given away. And once we resolve to give, it should be implemented immediately, for, the mind is fickle. And given the time and chance to think logically, we would probably come to the conclusion that the amount proposed to be donated is too high or the cause unworthy. So, once we decide to give, we must give immediately. MahAbali Chakravarty is a shining example in this regard. The Lord had assumed the garb and demeanour of a short and enchanting brahmachAri, with a knee-length dhoti around His small waist, a kamandalu in Hisright hand, and an umbrella in the left, radiating the aura of one who haslearnt the Vedas and Vedanta with their true purport. (In this case, therewas the additional factor of the scholar being Himself the knowledge sought after- “VEdaischa sarvam aham Eva vEdya:”) A sparklingly white YagyOpaveetam adorned His chest, the small feet were encased in wooden slippers, and He held a palAsa dandam (stick), as should all brahmachAris.

As Sri Piratti refused to leave His chest (true to Her resolution not to beseparated from Him even for a second-(“agalakillEn irayum endru alarmEl mangai urai marba”), He had to hide Her with the small deerskin He wore on His chest, as Her presence would have been incompatible with His bachelor appearance, and would have instantly shown Him in His true colours, as the Lord Mahavishnu.

Everybody would agree that children (with rare exceptions) are captivating, and young BrahmachAris more so. And when the Lord Himself chose to assumethis disguise, He was indeed a feast to the eyes. Everyone who saw Him coming had eyes for nothing else, and kept staring at the bewitching boy wonder, forgetting whatever they were busy with. And MahAbali was no exception-though in the midst of a Yaga, he rose immediately and showed due courtesiesto the BrahmchAri.

Welcoming the short Brahmin to the Yaga, Mahabali enquired as to how he might be of use to Him. In His piping voice, the youngster replied that all that He required was three feet of land, measured with His own feet. Amused at the apparent naivette of the Brahmin boy, who did not even know what to ask of a great Emperor, Mahabali tried to persuade Him to accept sumptuous riches, in the form of houses, cows, gold, etc. Surprisingly, however, the boy was firm in His request, and would accept nothing more than a mere three feet of land, measured that too, with his tiny feet.

Mahabali, who knew the true meaning of hospitality as the satisfaction of the guest’s requirements,( however simple or absurd they might sound), immediately acceded to the BrahamachAri’s request, and prepared to pour water on the latter’s hands, as a token of having given away the three feet of land. The king’s Guru SukrAchArya, who instantly saw through the Lord’s garb, alerted Mahabali that the Brahmachari was indeed the Lord Himself, and thatHe had an agenda much deeper than was apparent. And the request for a merethree feet of land was extremely suspicious, for, who would be satisfied with such a trivial item, when the Emperor was capable of giving away the whole of the earth? SukrAcharya hence advised Mahabali not to proceed with the donation, as it was probably a subterfuge to undermine the King’s position as the Emperor of the three worlds.

Here is where Mahabali set a shining example to all donors- knowing full well that he might probably lose quite a lot, indeed the whole of his empire through this simple-looking charity, Mahabali was undaunted in his resolution to give. He told his Guru that he had decided to give, and was not prepared to go back on his words. He reminded the Acharya that to promise someone something and not to honour the promise was a cardinal sin, unworthy of an Emperor of his standing. And, above all, if it was indeed the Lord who had come in the guise of the Vamana BrahmachAri, it did him (Mahabali) proud to be giving the Lord what He wanted. Hence, looked at from all angles, Mahabali told his Guru, the proposed donation was admirable. And ahead went Mahabali and poured water into the hands of the patiently waiting Brahmachari, with the active support of his Empress Vindyavali.

What happened next is a matter of record, of which the Vedas never tire of recounting. The Lord assumed His true Visvaroopic proportions, and , with His huge Tiruvadis, measured all the world and the ones above with the two feet, and looked inquiringly at the Emperor for the third measure of land.

The point to note here is that once the King had resolved to give, he did not resile from his decision, knowing full well of the tragic personal consequences that may follow. It is because of this that to this day, Mahabali is held in reverence. Nor did he allow himself to be persuaded by even his Acharya, who tried his utmost to block the donation of land.

Yet another example of the Classic Giver is Emperuman Himself. He is so generous that even after giving everything He has to the seeker, He feels guilty that He hasn’t given enough. There is a pAta bhEdam in the Adaikkala Patthu of Swami Desikan, which, while not being widely-accepted, is interesting nevertheless-

“umadu adigaL adaigindrEn endru oru kAl uraitthavarai
amayum ini enbavar pOl anjal ena karam vaitthu
tamadu anaitthum avar tamakku vazhangium tAm miga VELGUM
amaivudaya aruLAlar adi iNayai adaindEnE”

The third line in the above pasuram indicates that the Lord is fond of giving all that He has to the prapannA, and even after doing that, feels shameful that He has hardly given anything.

If the Lord is like this, would Piratti be outdone? After all, it is She who is endowed with the motherly qualities of mercy and charity, much more than Her husband. Sri Parasara Bhattar voices similar sentiments about the Divine Consort- he says that Piratti is never satisfied with showering upon her devotees all purushArtthAs. She wants to give them more and more, and is often ashamed that whatever She has given is hardly commensurate with thedevotee’s ardour. “Tvam lajjasE amba kOyam udAra bhAva:?” wonders Sri Bhattar at Piratti’s boundless generosity.

However, there is another class of Givers who outshine the Divine Couple ingenerosity- the Acharyas. It is they who give us the invaluable treasure that is the Sampradaya, and help us in attaining the qualifications for Bhagavat Kainkaryam. Irrespective of how bad we are, (“payan andru Agilum , pAngalar Agilum seyal nandrAga tirutthi paNi koLvAn) they persevere, in theirinfinite mercy, to make good prapannAs of us. It is they who give us the Lord, in all His splendour, through mantrOpadEsam and Prapatti anushttAnam. Could there be a greater act of generosity or charity than that of an Acharya?

Srimate SriLakshmINrsimha divya paduka sevaka SrivanSatakopa Sri Narayana
Yatindra Mahadesikaya Nama:

The world would indeed be a dull place, if everything were to be in black and white. It is colours that add spice to our lives- we feel elated when we see a rainbow, a garden alight with bright blooms, a meadow of green grass topped with sparkling dew, a bright blue sky with the Sun shining as a yellow ball of fire, and so on. The rising and setting Sun is indeed beautiful to watch, for its sheer colourfulness. Can you imagine a world bereft of cheerful colours? It would be as dull and dreary as ditchwater, and make our lives mere drudgery. It is interesting to find from our scriptures that the Creator of all colours is Himself extremely colourful. Let’s see some of the hues that He is said to sport on various occasions. To start our colourful journey with the Vedas, the Purusha SUkta describes the Lord as being the colour of the Sun- “Aditya varNam tamasa: parastAt”. The reference to Sun-colour is significant. Just as the Sun is the antithesis of all darkness or evil, so too the Paramatma is verily the abode of all good qualities, and the antithesis of all that is inauspicious (“akhila hEya pratyanIka, kalyAnaikatAna”).

Describing the TirumEni of the ParamaPurusha, the ChAndOgya Upanishad has the following to say-

“Ya EshOntar AdityE hiraNmaya:Purusha:drisyatE
HiraNmaya:smashru:hiranya kEsa:AprNakhAt sarva Eva suvarNa:”

The Lord is seen in golden splendour amidst the Solar System, adorned by golden hair with a golden moustache and facial hair to match. From head to toe, he is all glitter like the Yellow metal. It is perhaps this wonderful tirumEni that Sri PeyAzhwar was able to witness at TirukkOilUr on that stormy night, which is evident from his exclamation,

“Tiru kaNdEn, PonmEni kandEn, tigazhum arukkan aNi
niramum kandEn”.

Though Sri Nammazhwar too endows the Lord with the colour of red gold,(“Sem ponnE tigazhum tiru moortthiyai”, “ANi sempon mEni endAi” etc.), he himself turns around later and takes objection to the Lord’s colour being compared to that of a mere metal, and says that the purest gold cannot match the glitter of the Lord’s tirumEni- “sutturaittha nan pon un tirumEni oLi ovvAdu”.

At the other end of the spectrum, Emperuman sports a jet-black colour too, as opposed to the sparkling golden hue indicated in the Vedas. Especially in Sri KrishnAvatAra, He is a blackie, as almost all the Azhwars testify-

“KaNNan enum karum deivam”
“Karia mEni misai veLia neeru siridE idum peria kola
tadam kaNNan”
“karu mAmugil pOl vaNNan KaNNan”
“kAnagam ellAm tirindu un karia tirumEni vAda”
“kAr tiraL anaya mEni KaNNane unnai” etc.

Thus the Lord is credited with the colour of clouds and the black sea- “kArAr kadal vaNNan pin pOna nenjamum”(Siriya Tirumadal) It is significant to note that the very name Krishna denotes one who is black. Perhaps He was christened with this name, looking to His colour at birth. He is indeed a Black Diamond, says Sri Nammazhwar- “KaiyAr chakkaratthu en Karu mANickkamE”.

Sri Andal goes a step further and, in a damaging expose, reveals that Sri Krishna’s heart is as black as His body- “puram pOl uLLum kariyAnai”. That the Lord sports the colour of blue-black clouds is evident from Sri Vishnu Sahasranamam too, the prelude to which says, “MEgha shyAmam peetha kousEya vAsam”. On this black body, the attire of yellow silk sits well. Not only Sri Krishna, but Sri Rama too sported the colour of black clouds-”RAmam indIvara syAmam”.

Another colour that the Lord sports is green-a green that is restful to the eyes,says Sri Tondaradippodi Azhwar- “Pacchai mA malai pOl mEni”. Sri Nammazhwar concurs in TiruvAsiriam, “Pacchai mEni miga pagaippa”. Maragatam is a precious stone with a green hue, and several Azhwars have indicated that Emperuman is of this colour- “VAmanan en maragata vaNNan” says Sri Nammazhwar. His colour is compared to that of other gems too-like “Mani”. Azwars are fond of calling the Lord “MaNivaNNA”-(” MarutthuvanAi nindra MAmaNivaNNA”, “VaikundA MaNivaNNanE en pollA tirukkuraLA”, etc.).

Sri Tirumangai Mannan is so perplexed by the galaxy of colours that the Lord sports from time to time, that he seeks elucidation from Emperuman Himself as to what His true colours are-

“Munnai vaNNam Palin vaNNam- muzhudum nilai nindra
Pinnai vaNnam koNdal vaNNam- vaNNam eNNum kAl
Ponnin vaNNam maNiyin vaNNam puraiyum tirumEni
Inna vaNnam endru kAttIr IndaLooreerE”.

Addressing Lord ParimaLa Ranga at Tiruvindalur, Azhwar says,

“You were the colour of milk in Kritha Yuga, You acquired the hues of pure red gold in the TrEtha Yuga, and in DwApara Yuga You were the colour of a Blue Diamond: Shastras tell us that your real colour is that of the rain-bearing clouds. I am confused by all these changing colours- do tell me what your true colours are!”.

Each part of the Lord’s divya mangaLa vigraham is a different colour- His hair is jet black (“Mai vaNNa narum kunji”), His eyes too black with reddish lines (“KariavAgi pudai parandu miLirndu sevvariOdi neeNda apperiavAya kaNgaL”), His lips red (“Kovvai sevvAi”, “SenganivAi”), the Discus He sports is the colour of the blazing Sun, the Conch Panchajanya a milky white, His palms and feet red like the lotus (“Minnum sudar malaikku kaN pAdam kai kamalam” “SenthAmarai adigaL”). Around His waist, He sports a beautiful cloth in Yellow or Red ( “Peethaga Adai PirAnAr”, “PeethAmbara dhara sragvI” “arai sivanda Adayin mEl chendradAm en sindayE”). Taken together, with so many colours competing to adorn His divine form, the Lord is indeed a riot of colours, and looks like a heavenly garden in full bloom.

Not to be outdone, PirAtti is also colourful. It is noteworthy that Sri Piratti and the Lord are compatible with each other not only in qualities, divine beauty and powers, (“yat dharmai: iha dharmiNI viharatE nAnAkrithi: nAyikA”), but also in colour. While the Purusha Sukta describes Emperuman to be the colour of the Sun (“Aditya varnam tamasa: parastAt”), the Sri Sukta says that His Consort too is of the same colour (“Aditya varNE “). While the Lord’s is “pon mEni”, Piratti is also credited with the colour of beaten gold (“HiraNya varNAm”). A connoisseur would however note that Piratti , with Her eminently feminine sense of colour, doesn’t take on blue or black hues that the Lord sports in His avatArAs. It is perhaps a reflection of our society’s predilections for fair-complexioned females even to this date. Tempting as it is to continue the saga of colours, adiyen would like to conclude this piece here, for fear of testing the readers’ patience.

Srimate Sri LakshmINrsimha divya paduka sevaka SrivanSatakopa Sri Narayana Yatindra Mahadesikaya Nama:

——dasan, sadagopan.

This is perhaps not quite the correct time to write about Bulls, when the Stock Markets the world over are in the grip of Bears. However, adiyen might be excused for this infringement, as we would be seeing quite different types of bulls in this piece.

The very mention of the animal’s name brings to our mind a majestic, virile creature of phenomenal strength, with a magnificent gait and threateningly sharp horns. The animal is also renowned for its tenacity- the capacity to see things through, without getting disheartened midway, for whatever reason. Perhaps the best people to attest to the bull’s qualities indicated above would be the Matadors of Spain and elsewhere, who try to control these powerful animals with the ultimate aim of vanquishing them. Many of them have lost their limbs, if not lives, in the attempt. This mighty bull finds many a mention in our SAmpradAyic literature, a few of which are narrated below.

All through the Scriptures, the Bull is held up as an example of virility, superhuman strength, majesty of comport, etc. Sri Valmiki is extremely fond of the word “Purusharshabha:”(a veritable bull among men) and whenever he describes a person of strength, vitality and bravery, he invariably employs this word with telling effect. When Sri Janaka has his first sight of Sri Rama and Sri Lakshmana in the company of Sage VisvAmitra, he queries the Rishi as to who these captivating youth might be-

“Gaja simha gatI veerou, shArdoola vrishabhOpamou
Padma patra visAlAkshou khadga tooNee dhanur dharou”

Sri Janaka wonders-who might these youth be, who resemble mighty bulls in stature, strength and virility? Their gait resembles that of an elephant or lion in majesty, their eyes are as beautiful and broad as lotus leaves and they carry knives, bows and arrows unsuitable for their youthful appearance. A rasAnubhavam here for the connoisseurs:- Sri Janaka is referring to Sri Rama and Sri Lakshmana when he pours out these similes, and it is significant that he compares the divine youth to a pair of animals- elephant and lion in gait, tiger and bull in appearance and demeanour. It is thus logical to presume that each comparison refers to one of the youth. For example, presuming that Sri Rama is referred to first, the first simile regarding gait, the comparison to an elephant, would apply to Him, while Sri Lakshmana would be the person with the lion-like walk. Similarly, in appearance and demeanour too, the first-mentioned tiger (“Sardoolam”) would refer to Sri Rama and the second, the Bull (“Vrishabham”) to Sri Lakshmana. In other words, Sri Rama has the majestic, slow gait of an elephant, and displays ferocity towards his enemies like a tiger, while Sri Lakshmana moves like a lion and is mighty as a bull.

The other interpretation would be that both the sons of Dasaratha display the qualities of both the animals referred to above, as circumstances warrant. Just as Sri Valmiki is fond of the usage “Purusharshabha:” the GitAchArya is enamoured of the word “Bharatarshabha” ( a bull among the descendants of Bharata), and often addresses Arjuna with this sobriquet. Talking of Sri Krishna, His association with bulls is quite close. As vIrya shulkam for marrying Sri Nappinnai, Sri Krishna is reputed to have conquered not one but seven ferocious bulls. Taming of bulls thus seems to be an ancient sport, as common in the Orient as in the West. Several Azhwars have recorded this feat of Sri Krishna (of taming seven wild bulls). Says Sri BhootattAzhwAr- ” Eruttiruttha nal Ayar Eru” Recounting KaNNA’s exploit with the untameable bulls, the Azwar calls Sri Krishna Himself a bull-”Eru”, certifying to His virility, bravery and strength. Unsatisfied with this brief reference to this masterful act, the Azhwar mentions this in the next pasuram also-”Eru Ezhum vendru adarttha endai”.

Not to be left behind, Sri PeyAzwar too records this thus-

” PinnaikkAi mutral muri Etrin mun nindru moimbu ozhitthAi”.

It is customary for those engaged in taming bulls not to confront them, but to try approaching them sideways or from behind, strategically. It is a testimony to Sri Krishna’s bravery that He approached the bulls squarely from the front-” mun nindru moimbu ozhittAi”- and made mincemeat of them. Listing some of the Lord’s acts of bravery, Sri Nammazhwar recalls His encounter with the seven bulls- “KOvai vAyAL poruttu Etrin eruttam irutthAi” While as Sri Rama, he demonstrated His virility by lifting ther Shiva Dhanus for gaining Sri Sita’s hand, the later act of taming the bulls was done again for another girl, Sri Nappinnai.

Sri Andal too calls Sri Krishna a bull-”patti mEyndu Or kAr Eru”- this is a bull with a difference-it is pitch black- true to His name, Sri Krishna is dark-complexioned, and combining His strength, bravery, etc. with His colour, Sri Andal calls Him “KarEru”. However, the wild black bull that is Sri Krishna becomes docile and meek in the presence of Sri Balarama., out of deference- “BaladEvarku Or keezh kandrAi” The Bull is also famous as the vehicle of ShivA- “Eranai” says Sri Nammazhwar, referring to Shiva. More explicitly, comparing Emperuman with Shiva, one of the mudalAzhwars says that while Emperuman has the venerated VainatEya as His vehicle, Shiva has a bull as his. “Aan vidai puL oordi”. Similarly, Sri Gayatri Devi too has the Bull as one of her vAhanAs- the MadhyAhnika sandhyAvandana mantra exhorts us to meditate on her thus- “dhyAyAmi vrisha vAhanAm”.

The bull finds a prominent place in our ceremonies, auspicious and otherwise. On the day of the SeemanthOnnayanam(popularly known as “Seemantham”), the pregnant lady is supposed to pet a bull calf, as part of the ceremony. In funeral rites too, the bull figures in the eleventh day ceremonies, known as “VrishabhOtsarjanam”.

“Enough of the bull” adiyen hears you saying. The next time we see this fine animal, it would surely kindle in us not merely thoughts of our stockbroker, but also the numerous contexts in which the mighty creature figures in our Sampradaya.

Srimate Sri LakshmiNrisimha divya paduka sevaka SrivanSatakopa Sri Narayana Yatindra Mahadesikaya Nama:
dasan, sadagopan.

There are looks that heal, looks that wither and looks that even kill. There are looks of anger, of compassion, of love and of laughter. Lovers often long for a look of endearment from their beloved. Such a look or the absence of it can make or mar the day of an ardent suitor. It is said that Sri DhanurdAsa, before he became a devoted disciple of Sri Ramanuja, was extremely enamoured of a loving look from his paramour PonnAcchi. It was only after Sri Ramanjua introduced him to the incomparable delights of a glance from Sri Ranganatha’s bewitching eyes that he realised that the Lord’s look is more captivating than any other.

Emperuman’s look or His “KatAksham” destroys all evil and bestows all that is auspicious: this is brought out by the Tiruppavai lines “angaN irandum kondu engaL mEl nOkkudiyEl engaL mEl sApam izhindElOr empAvAi”.

It is significant that Sri Andal likens the Lord’s eyes to the Sun and the Moon (“tingaLum Adityanum ezhundAr pOl”). It is a fact of nature that the Sun and the Moon are never seen together in the skies, as they reign over the day and night respectively. However, in the case of the Lord, it appears as though they are present simultaneously, as one eye, resembling the Sun, shines out brightly to destroy all sin in the minds of the devotees, while the other eye, cool and pleasing as the moon, brings them ever-lasting happiness and restfulness. When Sri Andal compares the Lord’s look to the glittering Sun, She obviously has in mind the Purusha Sukta vAkya “ChakshO: SuryO ajayata” ascribing the Sun’s origins to the Lord’s eyes. The Lord’s look not only destroys evil, but also instils in the devotee all the auspicious attributes essential in an aspirant to Liberation. Once Emperuman’s kataksham falls on a bhakta even at birth, it turns him into a SAtvika, a repository of all that is good and an antithesis to all that is not. Sri Mahabharata (ShAnti Parva) bears testimony to this;

“JayamAnam hi purusham yam pasyet MadhusUdhana:
SAtvika: sa tu vigyEya: sa vai MokshArttha chintaka:”

On the other hand, if one comes under the sway and look of other dEvatAs at birth, he becomes susceptible to RAjasic or Tamasic influences.

“PasyatEnam jAyamAnam brahma rudro atava puna:
RajasA tamasA chAsya mAnasam samabhiplutam”-

Sri Tondaradippodi Azhwar cries out for a look of vAtsalyam from Aranganagarappan-

“Mazhaikku andru varai mun Endum maindanE madhura ArE
uzhaikkandrE pOla nOkkam udayavar valayuL pattu
uzhaikkindrErkku ennai nOkkadu ozhivadE
unnai andrO azhaikkindrEn Adimoorti
ArangamAnagaruLAnE”

Says Azhwar- “Sri Ranganatha! You know full well that I have fallen a slave to ephemeral pleasures and am ensnared by females with mercenary intent. Even so, is it fair for You to deny me a look of compassion from Your lotus eyes” All the world knows that for protecting cows, calves and cowherds, You undertook the arduous task of holding up with Your little finger the mighty Govardhana Giri for seven days, amidst raging storm and pelting rain. My requirement is nowhere as demanding or troublesome- I just want a glance from your eyes. Even if your look were to be one of contempt for my present travails, I wouldn’t mind, as long as You do look at me! You know too that like GajEndra of yore, I have no one else to turn to for succour. So I beseech You- do look at me!”

Even a fleeting glance from the Lord’s bewitching lotus eyes can enslave one for life. The scholarly Rishis of the SvEtadveepa are no more proof to His irresistible charm than the unlettered Gopis of NandagOkulam, and gladly concede defeat:

“JitamtE PundareekAksha!”
(“Oh Lord of the lotus eyes! Despite ourselves, we have been won over by You!”).

Sri Nammazhwar echoes this in Tiruvaimozhi-

“ThOtrOm mada nenjam Emperuman NAraNarku”.

“Tvat eekshaNa sudha sindhu veechi vikshEpa seekarai:
KaruNya mAruta Aneetai: seetalai: abhishincha mAm”

Prays Sri Tirukkacchi Nambi, beseeching Sri Varadaraja to drench him (Nambi) with the nectarine waves of His looks, made cooler by the winds of compassion blowing constantly in His presence.

Sri Ramanuja, prompted by boundless devotion brimming over, and unable to bear the Lord’s separation, wonders in the Sri Vaikunta Gadyam- “When will I reach Sri Vaikuntam and be the object of the Lord’s look of love and compassion!?”

“KadA mAm BhagavAn svakeeyayA atiseetalaya drisA mAm
avalOkya ”

We have seen so far the high pedestal on which those who are the object of the Lord’s glances are placed. At the other end of the spectrum are those who are not so fortunate. Sri Valmiki says that such people, whom Sri Rama did not make the subject of His sacred look, and those who were not fortunate enough to have a glance at the Prince of Ayodhya, were universally detested, and were unable to live with themselves: ‘Yascha Ramam na pasyEt tu yancha RamO na pasyati nindita: sa vasEt lOke svAtmapi Enam vigarhatE’. However high a person’s social status, and however blessed he is otherwise, if Sri Rama does not see him at least once in his life, his entire sojourn on this earth would be a waste, and he need not have been born at all. Similar is the fate of a person who is not blessed enough to see Sri DAsarati’s divya mangala vigraha at least once.

If the Lord’s looks are so uplifting, what about those of His Consort?

But for Sri Mahalakshmi’s looks of compassion, the Universe would never have been created and countless jeevAtmAs would have lost the opportunity for liberation, says Sri Alavandar-

“eeshat tvat karuNA nireekshaNa sudha sandhukshaNat
rakshyatE, nashtam prAk tat alAbhata:tribhuvanam
sampratyanantOdayam”

Swami Desikan voices the same feelings in a different fashion. After pralayam or the cosmic wind -down, Jeevatmas, in their sublime state, are inextricably mixed up with inanimate souls. Sri Daya Devi, casting a glance of compassion at these inert souls, is filled with sorrow at their plight, and initiates the process of Creation, so that the unfortunate souls, shackled by karma, could take birth and attempt redemption. Here is the beautiful sloka from Sri Daya Satakam-

“achit avisishtAn pralayE jantoon avalOkya jAta nirvEda
karaNa kaLEbara yOgam vitarasi VrishasailanAtha KaruNE tvam”.

Sri KoorattAzhwan shares a secret with us in his SriStavam-All of us are under the impression that Emperuman is an independent agent and performs His jobs of Creation, Protection and Destruction of His own volition. Not so, says Sri Azhwan. It is from Piratti’s dictates, conveyed through Her captivating glances out of the corner of Her eyes, that the Lord takes the cue for going about His onerous tasks. Whichever way Piratti turns, and whichever place Her beatific glances fall on, riches of all kinds compete with one another to fill that place. Says Swami Desikan in Sristuti-

“yasyAm yasyAm disi viharatE Devi ! drishti: tvadeeyA:
tasyAm tasyAm aham ahamikAm tanvatE sampadOghA:”

However, there are looks from another source, which are more purifying and uplifting than Bhagavat KatAksham and LakshmI KatAksham. “Could such a thing be possible?” adiyen hears you wonder. Yes it is, and it is none other than Acharya KatAksham or BhAgavata katAksham. The moment the Acharya’s benign glances, full of love and compassion, fall upon a person, the recipient’s whole life changes for the better. Acharya bhakti leads to devotion to the Lord, and in stages, culminates in liberation through an appropriate upAya, as shown by the Acharya. As adiyen can feel the bhAgavatAs’ looks of exasperation at the length of this piece boring through me, adiyen shall conclude here with apologies.

SrimateSri LakshmINrsimha divya paduka sevaka SrivanSatakopa Sri Narayana Yatindra Mahadesikaya Nama:

Dasan,sadagopan.

“You do choose the weirdest topics! Whoever would write about stones, of all things!” commented adiyen’s daughter, glancing at the title. Wistfully recollecting the good old days when children were supposed to be seen and not heard, adiyen resolved to prove to her that writing about stones was not “weird”-offbeat, maybe, but definitely not “weird”. However, even after severely racking adiyen’s brains, not a single complimentary phrase or idiom in Queen’s English came to adiyen’s mind, concerning stones. ” Heart of Stone”, “Stony stare” and other unappealing phrases leapt to the mind but not something pleasing. The Scriptures came to adiyen’s rescue and saved adiyen from the ignominy of my daughter being proved right.

There are quite a few references to stones in the Vedas. The Mantra Prasna, dealing with Veda mantras used in various rituals, auspicious and otherwise, refers to stones twice. During the Upanayanam ceremony, the boy is made to stand on a stone, while his father recites the mantra “AtishttEmam asmAnam asmEva tvam stthirO bhava” (“May the Gods make you as strong and unshakeable as the stone you are standing on!”). With a minor variation for gender difference, the same mantra is used to bless the bride in the marriage, (popularly known in Tamil as “ammi miditthal”) wishing her to be stone-like in firmness. Elsewhere too, there is a blessing to be strong as a stone-”asmA bhava, pasrasur bhava, hiranyam astrutham bhava”. It is noteworthy that this mantra mentions the stone ahead of gold among objects of comparison. Similarly, the Chamaka Prasna in the Fourth Kanda of the Yajus Samhita, which is a prayer to bless one with all the good things on earth, seeks to be endowed with stone too-”asmA cha mE”.

Turning to Valmiki’s great epic, a moment’s unwitting indiscretion results in Ahalya being cursed by her husband Goutama Rishi to turn into a stone for thousand long years. The moment Sri Chakravartthi Tirumagan enters the Goutama Ashrama, Ahalya is retransformed into the beautiful lady she originally was. Here, though the popular version has it that it was the touch of Sri Rama’s holy feet that was responsible for this miracle, there is no mention of this in Sri Valmiki Ramayana, and all that the Maharshi mentions is that Ahalya regained her original splendour the moment Sri Rama entered the Ashram. This version must indeed be true, for Chakravarthi Tirumagan would never have shown disrespect to a Rishipatni by touching her with His feet, even when she was in a stony shell.

In Sri KrishnAvatAra too, the Lord’s association with stones is indeed close. It couldn’t be closer, for He is tied inseparably to one. Sri Krishna’s weakness for dairy products, His inability to distinguish between “meum and tuum” in this regard, and His annoying habit of leading hordes of young cowherds on a raid of homes for milk, butter and curds, land Him in trouble, with the long-suffering Gopis presenting a memorandum to Yasoda on her son’s misdemeanours. The usually placid Yasoda is inflamed with anger (“mAtaram jAta rOshAm”), as any mother would, whose ward has been the subject of repeated and factual complaints (“veNNai undAn ivan endru Esa nindra Emperuman”) from outsiders. She drags the protesting Krishna to the courtyard and ties Him up to a handy grindstone, telling Him, ” Let me see how you continue your mischief!” Little does she know that it is no ordinary kid whom she has tied up, and the tie-up was possible only because He willed it (“sirutthAmbinAl kattuNNa paNNiya perumAyan”).

Sri Nammazhwar marvels at the soulabhyam, which prompts the Almighty to permit Himself to be tied-up to a simple stone, by a simple housewife, with a simple rope. He marvels too at the mock fear and yearning for freedom exhibited by the captive Emperuman-”et tiram uralinOdu iNaindu irundu Engia eLivE”. It appears that every time the securely bound Krishna whimpered, Yasoda would silence Him with a withering look. Krishna tries to regain freedom by looking at His mother with appealing eyes full of fear, tears and whatnot, but His attempts are rebuffed by His unmoved mother, who finally removes herself from the scene, for fear of being unable to preserve her composure any longer. She is clear that Krishna deserves punishment, but being a doting mother, is unable to sustain the posture of the strict disciplinarian, in the face of Krishna’s apparently pitiful state. Left to His own devices, the Lord is on the roll, dragging the grindstone with him, and passes between two trees (“PuNarA nindra maram irandin naduvE pOna mudalvAvO”), bringing them down crashing, in the process. The trees turn into gandharvas, now free from the curse that turned them into trees. Yasoda and others, who come rushing out of the house, are confronted by the bewildering scene of the crashed trees around the apparently frightened Krishna, still securely bound to the grindstone. Krishna is then untied and taken home, with Yasoda too frightened to think of what could have happened if the trees had come down on her beloved son.

She still doesn’t realise that what she has been blessed with is no ordinary cowherd boy (“Ayar puttiran allan, arun deivam”).

In Sri NrsimhAvatAra too, it is a stone pillar that the Lord chose for His dramatic entrance into Hiranyakasipu’s Darbar. The latter is so confident that Vishnu would not dare to come anywhere near his palace, that he challenges his son Sri Prahlada to prove the existence of Hari in one of the pillars of his own palace. Since the stone pillar “gave birth” to Sri Nrsimha, who in turn is the Creator of all divine beings, Swami Desikan humorously calls the pillar the Grandmother of dEvAs (“mahAsura grihastooNA pitAmahi abhoot”).

However, it is in the Kali Yuga that the stone has acquired prominence. Almost all the Emperumans have chosen the medium of the stone for their arcchAvatAra, and we find the Lord in most of the divya desams (with a few notable exceptions) inhabiting images of stone lovingly sculpted by ardent devotees. With its divine inhabitant, the stone miraculously comes alive, but only for those who tend to see in it the omnipresent, omnipotent Lord, who, in His unmatched soulabhyam, has contracted His divya mangala vigraha to human proportions, and makes do with the hot, humid atmosphere of the sanctum sanctorum of temples, forsaking His comfortable abode at SriVaikuntam. Another form of stone the Lord patronises with His eternal presence is the SALagrAma shilA, which is a fossilised stone with an insect called “Vajrakeetam” sculpting the Lord’s signs of chakram, shankha, flag, etc. In this form, Emperuman resides in every SriVaishnavite home, sharing the inconveniences of the householder, and partaking of the latter’s food, often unworthy of the Lord. This is His simplicity, Asrita vAtsalyam and soulabhyam at play again. Incidentally, the Bhagavata says that it is only the immature who are able to see the Lord in images, of stone or otherwise: the wise see Him everywhere (“PratimAsu aprabhuddhAnAm, sarvatra sama dharsinAm”). After reading this piece, Adiyen’s daughter has developed a healthy respect for stone, and gracefully withdrawn her “weird” remark.

Srimate Sri LakshmiNrsimha divya paduka sevaka SrivanSatakopa Sri Narayana Yatindra Mahadesikaya nama:
dasan, sadagopan.

Tears are an involuntary physical reaction, and an outlet for emotions, whether joyous or sorrowful. They are also a powerful weapon in the hands of the fair sex, as many a hapless husband would confirm. When all appeals to the male’s reason fail, ladies and children are said to resort to tears as the ultimate weapon in their arsenal for achieving their ends. Be that as it may, tears do move the onlooker, for they project a picture of a helpless person in need of succour and support. Tears are born not only of sorrow, but also of uncontrollable joy, devotion, affection and even anger. Physicians claim that tears cleanse the eye of dirt and grime particles. Let us have a look at the various contexts in which tears figure in the Scriptures.

Could you imagine the virile, brave Anjaneya, the personification of toughness and a terror to his foes, shedding tears? This is an indeed difficult picture to conjure up. However, the fact is that Maruti does shed tears, and this is attested by the Ramayana pArayaNa sloka:

“Yatra yatra RaghunAta kIrtanam, tatra tatra krita mastakAnjalim
BAshpavAri paripoorNa lOchanam, Marutim namata rAkshasAntakam”

Wherever and whenever Sri Rama’s story is told, heard or sung, Siriya Tiruvadi is instantly present there to listen with rapt attention. Rama kathA so moves VAyu Putra that tears of devotion spring to his eyes. The sloka says that Maruti’s tears are copious (“bAshpavAri paripoorNa lOchanam”), attesting to the depth of emotion Rama katha can cause in him. The word “RAkshasAntakam” seems to make fun of Siriya Tiruvadi, by implying that the great warrior, at whose bare hands hordes of asurAs met with their end, is soft enough to be moved to tears, when it comes to Sri Rama and His story. And Sri Anjaneya listens with his hands folded on his head, paying obeisance to his Master. So staunch is devotees? belief in Sri Maruti’s presence at the place of Srimad Ramayana pArayanam, that before the recitation of the epic, an “Asanam” or symbolic seat is provided for him. Even today we occasionally hear of monkeys marking attendance at discourses on Srimad Ramayana.

Sri Hanuman’s conduct is quite in tune with the picture Sri KulasekharAzhwar’s paints of the model devotee. Azhwar prays the Lord to keep him in the company of bhaktas, who relish the constant thought of the Lord’s lotus feet. Such devotees are characterised by palms folded in supplication, heads bowed in devotion, hair ends of the body standing upright in joy, tones shaky with emotion, and eyes filled with tears- all tell tale signs of their boundless bhakti brimming over. Here is the beautiful sloka from Sri Mukunda MalA:

“BaddhEna anjalinA natEna sirasA gAtraischa rOmOdgamai:
kaNttEna svara gadgadEna nayanEna utkeerNa bAshpAmbunA
nityam tvat charaNAravinda yugaLa dhyAnamrita AsvAdinAm
asmAkam SarasIruhAksha satatam sampadyatAm jeevitam”.

According to Sri Nammazhwar, such conduct is only to be expected of devotees, and those who do not conform to these standards are to be condemned. Those who fail to be moved to tears at the Saulabhyam of Sri Krishna (in coming to the rescue of the PandavAs and destroying the Kaurava sEna, etc.) are not worthy of their lives, says Azhwar in the following pasuram:

“neermayil nootruvar veeya iyvarkku aruL seidu nindru
pAr malgu sEnai avittha Paramanai Param sOdiyai
neer malgu kaNNinar Agi nenjam kuzhaindu naiyAdE
oon malgi mOdu paruppAr uttamargatku en seivArE”.

Sri Ramanuja too shed tears, though these were occasioned not by joy, but from his anguish at hearing his Guru Yadavaprakasa misinterpret a Shruti vakya to compare the Lord’s beautiful red lotus eyes to the backside of a monkey. (“tasya yatA kapyAsam pundarIkam Eva akshiNee”). At the time Sri Ramanuja was applying oil to his Guru’s head for a massage, and his tears fell hot on the Guru’s thigh. These tears marked a turning point in Emperumanar’s life and in due course, he gained relief from the clutches of MAyAvAdis like Yadavaprakasa and came under the benign influence of Sri Alavandar and his distinguished disciples, though he never had an occasion to learn personally from Sri Yamuna Muni.

Sri Ramanuja’s tears were hot, as seen above, perhaps due to his anguish at the unseemly comparison the Lord was subjected to. Could tears be cold too? Yes, says Sri Vishnu Tattvam-

“AhlAda seeta nEtrAmbu: pulakIkrita gAtravAn”

The sight or the mere thought of the Lord makes one’s eyes fill with cool tears of joy, and the entire body awash with bliss, says the above sloka. We thus deduce that tears could be hot or cold, perhaps even salty or sweet, depending upon their cause.

For Sri Tirumangai Azhwar, it is the recitation of Emperuman’s tirunAmam, especially the Narayana nAma, that brings tears to his eyes.

“udambeLam kaNNa neer sOra naLLirul aLavum pagalum nAn azhaippan
Narayana ennum nAmam”.

The flow of tears from his eyes is so profuse, that the optic secretion covers the entire body. To Sri PeriavAcchAn Pillai, this flood of tears enveloping the Azhwar’s body resembles a five-strand pearl necklace, each teardrop standing out independently as a pearl.

Poignant songs and dance, especially if they relate to the Lord, bring tears to the eyes, invariably. Many of us would have shared this experience. Sri Nammazwar too is moved to tears by these, as he testifies in the following pasuram..

“Adi Adi aham karaindu, isai
pAdi pAdi kaNNeer malgi
engum nAdi nAdi NarasingA endru
vAdi vAdum ivvAl nudalE”

Just as the Narayana nAma caused the tears of Sri Kalian, it is the Nrsimha nAma in Sri Nammazhwar’s case. Are these then tears of fear at the awesome man-lion appearance sported by the Lord in this avatara? Not at all, for these are tears occasioned by the Lord’s endearing concern for proving his young devotee Sri PrahlAda right (“satyam vidhAtum nija bhritya bhAshitam”) in his assertion to his father Hiranyakasipu that Sri Vishnu pervaded everything (“engum uLan KaNNan”).

We have all been overcome by tears of separation (temporary or permanent) from a loved one, sometime or the other in our lives. These are tears prompted by the recollection of good times spent in the company of the friend or relative, the moments of closeness enjoyed with them, and the thought that all these would no more be available to us. Azwars too, in their nAyikA roles, suffer from such separation from the Lord and shed tears. Here is Sri Nammazhwar in one such state:

“Kangulum pagalum kaN tuyil ariyAl
kaNNa neer kaigalAl iraikkum”

Here too, the intensity of feeling prompts a veritable flood of tears. Even the Lord is not proof from tears of separation, as demonstrated by Sri Rama, at the sight of the ornaments relinquished by VaidEhi while being carried away by Ravana. At the mere sight of Piratti’s jewels and upper cloth, Sri Rama’s eyes fill with plentiful tears,

“tata: griheetvA tad vAsa: shubhAni AbharaNAni cha
abhavat bhAshpa samruddha: neehArENEva Chandrama:”

Sri Valmiki, the Master of Similes that he is, compares the sight of Chakravartthi Tirumagan enveloped by tears to a Moon masked by clouds. Sri Rama’s tears and His display of the very basic human emotion of sorrow, raise an important question. Is the Lord really bereft of all inauspicious qualities (“akhila hEya pratyanIka:”) and the sole repository of all that is good (“kalyAnaikatAna:”)? If sorrow and sadness at the separation of a dear one could hit Him so hard and reduce Him to tears, it doesn’t say much for His superiority. How then is He better than an ordinary mortal? How does one reconcile the conduct of one who is susceptible to human frailties with that of the all-powerful Lord, who is unshaken by anything and is characterised by eternal, everlasting bliss? Could we really call Him “Anandamaya:”, when He does have patches of sorrow, albeit only during His avatArAs? Swami Desikan says that such emotions displayed by the Lord during his avatArAs are mere “abhinaya”, or put on, and not for real. For, the Lord, by His very nature, is incapable of being affected by sorrow under any circumstances. The Sun can never be anything but hot and luminous, and so too the Lord can never be anything but auspicious and blissful. We must remember that Ramavatara was a very special avatara, in which the Lord conducted Himself as an ordinary human being (“AtmAnam mAnusham manyE, Ramam DasaratAtmajam”) throughout His sojourn on this earth. Every one of His words and deeds were to demonstrate to humanity how a model man should conduct himself in various situations and in the face of severe adversity. By this standard, display of sorrow at the apparent loss of the extremely beloved spouse would be nothing abnormal: in fact, any other emotion under the circumstances would be inappropriate. Had He remained stoic in the face of such loss, we would definitely have castigated Him as stonehearted. Thus Sri Rama’s tears, far from detracting from His greatness, endear Him to us all the more, as we are able to identify ourselves with a Lord who shows Himself to be as susceptible to emotions as we are.

Lest this should bring tears of boredom to your eyes, adiyen shall conclude here.

Srimate SriLakshmINrsimha divya paduka sevaka SrivanSatakopa Sri Narayana Yatindra Mahadesikaya Nama;
Dasan, sadagopan.