Premika Bhavanam, Chennai
27.12.2000 - Wednesday

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Sri Swamigal has been rendering ‘Upanyãsam’ (discourses), in Tamizh, in Premika Bhavanam. This is being brought to you here.

There may appear to be variations in the ‘tense’ of the language. This is due to the fact that great effort has been taken to maintain the original style of the ‘Upanyãsam’. Therefore, we request you to keep this in mind while reading the translated ‘words’ of Sri Swamigal.

Sri Swamigal,

"JAI JAI GOVINDA JAYA HARI GOVINDA!
JAI JAI GOVINDA JAYA HARI GOVINDA!"

"Rangesamãmpãhi! Rangesamãmpãhi! Rangesamãmpãhi! Rangapprabho!
Rangesamãmpãhi! Rangesamãmpãhi! Rangesamãmpãhi! Ranganãthã!"

"HARE RÃMA HARE RÃMA RÃMA RÃMA HARE HARE
HARE KRISHNA HARE KRISHNA KRISHNA KRISHNA HARE HARE"

" ‘Pullum silambina kãn’ - From this ‘Pãsuram’ Ãndãl wakes up the others one by one. First she speaks of the birds’ sound - ‘dwani’ (worldly sound).
Then ‘Vellai Villi sangin’- where she speaks of ‘Divya Vãni’ (divine sound); then about the Sadhus who, after their early morning ‘snãnam’ (bath), sing Nãma Sankirtan loudly. She asks the friend, ‘Don’t you hear this loud Nãma Sankirtan?’
Then ‘Keechu Keechu enru engum..’ - the male and female birds along with their children are chirping.
‘Ãnaicchãttãn pesina peccharavam ketilaiyo?’ - this bird ‘annaicchãatãn’ is also called ‘suvatrru kozhi’. From around 2.30/3.00 a.m. in the morning till around 5.00 a.m. they cry out incessantly. In Trichy and Sri Rangam, one can hear this on the banks of the Cauvery. Ãndãl asks the friend, ‘Can’t you hear this? In spite of this sound you have not woken up.’ ‘Nãrãyanan murthy, Kesavan, all these Names have been uttered. You are a girl of ‘tejas’(divine lustre). Don’t you care for Nãma Sankirtan?’
Then ‘Keezhvãnam vellenru erumai siruveedu’ - here she speaks of visuals (the scene that the eyes perceive). All the earlier ones denoted sounds.
‘Erumai siruveedu’ - the cattle are out grazing on the fields, pointing to daybreak. Now she speaks of things that can be perceived by the eyes.
‘Devãdi Devanai’ - “The Lord of all Lords. We should go to the Lord and not wait for Him to come to us. So, come out and join us.”
‘Thoobam kamazha’- this describes the sleeping state (‘avasthai’) of the Gopis.
‘Seerpãdi Chelva sirumeergãl’ - shows the richness of the ‘sayana graha’(the bed room). Everyday the lamp is lit and the room is filled with smoke and fragrance from the incense (‘Sãmbrãni’) powder.
‘manikadavam’ - the doors are made of ‘spatika’ (a kind of transparent gem) through which one can see clearly.
Then ‘oomaiyo, anri chevido, ananthalo?’ - As there is no response from within, she asks the gopi, ‘Are you dumb or deaf or are you in deep sleep?’

‘Notrrucchuvargam puguginra ammanãi!
Mãtrramum tãrãro, vãsal tiravãdãr?
Nãtrrat tuzhãimudi Nãrãyanan nammãl
Potrrapp paraitarum punniyanal;’

‘Devãdi Devanai’ - First, she says that we should go seeking God, referring to the ‘Markata kishora nyãyam’. In the next one she speaks of ‘Mãrjãra kishora nyãyam’ in the first line itself, which says that it is God who should take us in his fold.

In the next pãsuram, ‘Notrrucchuvargam puguginra ammanãi’ - (‘swargam’- heaven) finding that this Gopi is in bliss due to ‘Krishnãnubhava’ (experience of Krishna). “What worship (‘nonbu’) or fortune (‘bhãgyam’) or meritorious act (‘punya’) have you done for Bhagavãn to come and pet/love you (‘lãlanai’)? You are not responding to our call. Is He inside making sweet lovelorn talks to you? Would you not share your experiences with us?” ‘Nammãl potrrap paraitarum punniyanal’ - The praiseworthy Lord has come to your doors giving you His company. How blessed you are! This is how we would all feel about it. So, please come out and tell us your ‘Krishnãnubhava’. Is it because you spent the whole night with Krishna that you are asleep now? Or has Kumbakarna (brother of Rãvana, the King of Sri Lanka, who used to sleep soundly for six months of the year) given you his sleep that you have taken to it? Your sleep puts even Kumbakarna to shame! ‘Thetramãi vandu thiravelo rembãvãi’ - ‘Set your tousled dress, come up and open the doors for us.’

In the next Pãsuram ‘Katrruk karavaigal’- all the cows are young. They have not become old because of Krishna ‘sparsam’ (touch), ‘lãlanai’ (petting) and drinking in the ‘Venu Gãnam’ (music from the divine flute). In the pãsuram ‘Siruviralgal thadavi parimãra’ (the caressing) it is described that they have forgotten to even flap their ears. They are in a state of forgetfulness. Cows never remain without flapping their ears. Can they be so? Elephants always keep flapping their ears. Even if not as restless as an elephant, that does it ceaselessly, the other animals also keep flapping their ears. Elephant’s ears are like the ‘muram’ (the wide palm plate used to remove husk from the grains).

Ãchãrya’s ‘grantas’ are very charming. Some Mahãtma’s writings, like Thiagaraja’s, contain only ‘bhãva’. These writings contain simple usage of words (‘sãmãnya pada prayoga’). Ãzhwãr’s Pãsuram - ‘Todarsangilikai chalãrpilãrena’ - ‘chalã pilã’ is a colloquial term. We ask, “Why do you make ‘chalã pilã’ noise?” Don’t we? Using such colloquial terms the Ãzhwãr has written a song with literary beauty (‘illakiya nayam’). Thiagaraja’s songs do not contain great ‘cholkattu’ (rhythm). However, there are very wonderful ‘santhas’. Astounded with Sabari’s bhakti for Lord Rama, Thiagaraja writes, ‘Abba! Rama Bhakti!’ ‘Abba’ is a colloquial term used in exclamation to denote something immense. Using such a term, Thiagaraja has composed a song. In another kriti, Thiagaraja sings, ‘Thãru mãru palukina Rama’ - Colloquially we say ‘thãru mãra pesara’ referring to gossips. ‘People are speaking ill of me, Rama!’ complains Thiagaraja to Rama, as one would speak to a friend. Thiagaraja’s songs possess ‘Bhãva pushti’ (imaginations soaked with devotion). In Upanyãs (on Thiagaraja) we have said about Thiagaraja’s song depicting the ‘dolotsav’ scene in the divine couple’s life. ‘Thãyar’ (Sita) gives milk to Ramachandra Prabhu during dolotsav. Rama drinks the milk and asks Sita, “Why does this milk taste so sweet? Have you mixed the sugar twice?” Thãyãr stands shyly with her head bent down, without answering and Thiagaraja waving his palms restlessly, whispers, “Rama, She does not know the reason for the sweetness of milk. I know it! I added (only) a spoon of sugar in it and gave it to Pirãtti. Due to her touch the milk has been sweetened further!” He has showed such innumerable ‘bhãvas’ in his songs. But they do not contain ‘cholkattu’ (rhythm) or ‘mantra prayoga’ (usage of mantras).

Dikshitar’s ( Muthuswamy Dikshitar) writings contain very little ‘bhãva’. One cannot say they contain extraordinary bhãvas but have ‘Mantra prayoga’. While visiting a temple, through Dikshitar’s Kriti in connection with it, one can learn what sort of Gopuram(the temple tower) the particular temple has, what is the ‘teertha’ there, what sort of a Deity rules there, what sort of a ‘yantra’ it has, what is the ‘Beejãkshara’ (the seed of the mantra). They contain all the intricate things. He sings on Meenakshi (Madurai, South India) as ‘Dwãdasãkshetra Nilaye’. No one is aware of this! Holding this ‘Bhoomi’ (Earth) as a ‘Purusha’ - some ‘sthãnas’ have been described for this ‘Bhoomi’. It describes Kanchi as the ‘Nãbi pradesa’ (Navel portion) of the earth; Chidambaram denotes the ‘hrudaya pradesa’ (heart) of ‘Bhoomi’ and that is the reason that Lord Nataraja (the Lord of Chidambaram) is ever dancing (the heart is ever pulsating). Likewise, different ‘sthãnãs’ are given to the ‘Bhoo mandala’. In this ‘Bhoo mandala’ are twelve little chakrãs in the place between the center of the brows and the Sahasrãra (top portion of the head). Those who know the Yoga secrets know this and this is Madurai Kshetra. So, Dikshitar sings Meenakshi as ‘Dwãdasakshetra Nilaye’. In the Kriti the ‘Beejãkshara’ is hidden. Thus in one Kriti, he sings Hiranmayam. In this Kriti the Beejãkshara of Lakshmi is hidden. If one chants this he/she will be blessed with wealth because it contains the Mantra Dwani (the sound of the Mantra). Dikshitar’s kritis are of this type.

Thus, in some Mahãtmas’ Kritis one finds Bhãva, in some Mahãtma’s kritis ‘Cholkattu’, in another Mahãtma’s kritis one finds extraordinary informations.

The specialty of Adi Sankara’s writings is that even if He composes a small sloka it contains all these. It contains extraordinary Bhãva, beautiful Cholkattu and Mantras will also be hidden. That is the surprising aspect of His writings. That is the charm of His writings. The Stuti ‘reeti’ (the way it is chanted) is also stunning. When Bhagavatpãda sings on Pillaiyar (Lord Ganesha - the elephant god) 'Nitãnta Kãnta danta Kãnti mantakãnta kãtmajam’, it has come to be a very rare ‘cholkattu’. It is very difficult to find such rhythm in Sanskrit. Lord Ganesha is sung as the son of Parameswara who is the antaka of the antakas. When it is chanted, the tune sways just as the ears of an elephant! Similarly, Ãchãrya sings Subrahmanya bhujangam. ‘Subrahmanya’ means snake. In Karnataka State is a Kshetra called Subrahmanya. There is no Deity there. There is only a ‘Nãga’ (snake) there. Subrahmanya is also called Sharavana Bhava. ‘Shara’ means ‘Darbai’ (a type of grass). This grass is very cool, so one finds snakes in darba vanam (forest of darba grass). In the story of Harishchandra, it is in a darba vanam (forest of Darba) that his son is bitten by a snake. Subrahmanya is ‘Nãga amsa’ (incarnation of the divine Snake). Snake is called Bhujangam. It has no separate shoulder. For the snake the whole body is bhujam - angam (Part). So, it is called ‘Bhujangam’. There is a metre in Sanskrit by name Bhujangam. So, when the Ãchãrya desired to sing in praise of Subrahmanya, He has done so in the metre called Bhujangam. The Chandas is like the wriggling movement of the Snake. Thus, the chanting of Subrahmanya Bhujangam - “Mayura dhirudãm Maha vãkya goodham Manohãri deham...” creates a feeling of the wriggling movement of a snake. Bhagavatpãdã possessed such ingenuity. Coming to Lord Ganesha, the stuti takes on the ‘chãmara’ (fan) ‘vruttam’ (metre)- ‘Mudãkarãta modakam sadãvimukti sãdakam’! This ‘vruttam’ is like the swaying of the elephant’s ears that are like two big fans. The ‘Chandas’ goes well with the fanning of the ‘Chãmaram’ (hand fan). In Sanskrit it is called ‘Chãmara Vruttam’. Ãchãraya was highly intelligent. His slokas contained Cholkattu, Chandas, rare Bhãvas and Beejãkshara were also hidden in them, viz. Sivananda Lahiri, Soundarya Lahiri or even in small slokas. In Sivãnanda lahiri, the Ãchãrya sings a beautiful sloka in His bhãva. In Chidambaram Nataraja temple Utsav there is a custom of the Lord taking on the act of a beggar (‘Bhikshãndãn’). He comes to the gates as a ‘Bhikshãndãn’ on one of the Utsav evenings. The Dikshitars go to every door and ask, “Offer alms to ‘Bhikshãndãn’. It means that the Lord Himself goes from door to door begging for food. Parameswara takes on such a form (of a beggar)! In Sivananda Lahiri the Ãchãrya tells Parameswara, “You are going to every doorstep seeking alms. Even if you beg, you do not appear to be one who needs to beg for food! You are so huge and lustrous. On seeing you everybody will wonder why you beg for food! Hence, take on some excuse/reason for begging. Take a monkey along with you and show some tricks.” Using monkey for tricks has been in vogue since time immemorial and is not a modern day thing. This is seen even in Ramãyana. Vãlmiki says Kooni had decked herself up having successfully accomplished her aspiration. Vãlmiki writes that she seemed like the dressed up monkey that is held by the man who begs by showing monkey tricks! So, this monkey trick is a very ancient one, indeed! Bhagavatpãda tells Siva, “You are so full of lustre (‘tejas’) and are well built and handsome (‘Ãjãnubhahu’) that none will mistake you for a beggar! None will fall for it! So take a monkey along with you. Make the monkey play some tricks. Then the people will offer you ‘bhiksha’. Are you wondering where to find a monkey? Here is my mind (‘manas’), Take it! - “Kapãlin Bhiksho Me Hrdayakapim Atyantachapalam Drudham Bhaktyã Baddhvã Siva Bhavadadheenam Kuru Vibho”. Ãchãrya possessed such great bhãvas.

In Soundarya Lahiri, Ãchãrya says, ‘Ambãl is sitting in a Court. (This is a Kshetra in the State of Tamizh Nadu, S.India, where Goddess Saraswati - The Goddess of Learning does not have Veena in her hand.). Saraswati plays the veena in Court where even Ambãl is also present. Listening to the melody of the Veena, Ambãl exclaims, ‘Shabãsh! (Awesome!)’ Immediately Saraswathy keeps her Veena aside saying, “The melody of my Veena has waned under the melody of the voice of Ambãl!” So, here Saraswati remains without the Veena. In this Kshetra the Ambãl has a special name - ‘Osai nãyaki'. Bhagavatpãda’s ‘Bhãvas‘ and Cholkattu’ are very charming. His writings also have hidden ‘Beejakshara mantras’. This is the reason that Soundarya Lahiri bestows various blessings viz. wealth, health, intelligence, etc. when chanted. ‘Mantra dwani’ (the sound of Mantras) is hidden in it. This is an astounding factor in it.

The fruit of a dharma varies according to time (‘Kãla’), place (‘desa’) and person (‘vyakti’). All do not bestow the same kind and degree of ‘phala’ (fruit). The other day while speaking on ‘Poya pizhaiyum pugutharuvãn ninranavum’, I spoke on the term ‘Theeyinul thoosãgum’. One cannot generalize good and bad merits. Punyas as also pãpas are varied. For each kind of punya and pãpa the ‘phalan’ (fruit) is different. I have also pointed out that this is the reason that a person who enjoys fame may not enjoy wealth; one who enjoys a high rank may not be learned; One who has all these may not enjoy good family atmosphere. There may not be proper understanding amongst the family members. The spouse may not be good; the ‘putran’ (son) may not be good; one who has long life may not enjoy good health; one who enjoys good health may not have long life, so on and so forth. Sorrow is as per the particular pãpas committed and happiness as per the punyas.

So, how is Dharma? The (‘palã phalans’) effect varies as per time, place and person.
Time - Suppose we read Srimad Bhãgavatam. It is good to read it every day. Our Shastras speak of great benefit arising out of reading Bhãgavatam. But when it is read on Krishna Jayanti the effect is far more (‘anantamãna phalan’). This is ‘kãla visesham’, the speciality of time - That is the birthday of the Lord (‘Avatãra kãlam’). Likewise Thiruppãvai can be chanted any day but if it is chanted in ‘Mãrgazhi’ the ‘phalan’ is vast. That is because it is the time of worship. It is the ‘kãla’ when Ãndãl sang Thiruppãvai. We desire meritorious acts (dharma). Charity (‘dãna’) brings good results. But when they are done at the time of ‘grahana’ (eclipse) the effect is great. ‘Grahana’ is the best time for japa, dhyãna, offerings, etc. The effect of any action - religious or spiritual or sinful, done during ‘grahana’ (eclipse) is vast.
Desam (place)- When we give offerings in a holy place like Kasi the effect is far higher. Thus, if Thiruppãvai is chanted in Margazhi in a temple or in a holy place or in Krishna Sannidhi, in Sadhu’s company, the ‘phalan’ is vast. When japa, dhyãna, etc. are done in ‘Guru Sannidhi’ (presence of the Guru), in ‘ Kshetra’ (holy place), the effect is truly vast.
‘Vyakti’ (person) - The person to receive our offerings should not be decided as per our whims and fancies. Our minds are faulty (‘paksha pãtam’). The mind is limited. We cannot decide the merit of a person based on the fancy of our minds. Our minds are limited by ‘paksha pãtam’. Why do we believe that charity earns punya? Because Shastras say so. So we should do ‘dãna’ as prescribed by the Shastras. If even in day-to-day affairs we are unable to decide then what to say of spiritual matters? Let’s say we wish to visit some place. Since the distance to the place of visit is long we feel we cannot walk and so decide to take a rickshaw. We step out of the house and find an old man with his rickshaw. Seeing the old rickshaw puller we feel very sympathetic, ‘Oh! This man is so old. How can I make him pull the rickshaw for my sake? It will be a veritable sin to do so.’ So we choose another rickshaw to take us to our destination. Now is this right? Is feeling sympathetic towards this old man right? If everyone felt this way then how will the old man earn his living? So, here, we are unable to decide on even such a simple ordinary affair. ('Kevalam loukika anushtãnam’) - just a simple worldly matter. Dharma is thus very subtle. What appears as Dharma from one angle appears as adharma from another! Manu takes up the following case - Suppose one has been pushed into a circumstance where he has to choose between killing a cow or taking liquor. Both are verily sins. It may appear to us that drinking the liquor is better than killing the cow. But Manu has written that in such a case killing the cow is dharma. Why choose to kill the cow, which is a worse sin? If you choose to take the liquor, in that drunken state you will not only kill the cow but also commit innumerable other sins! ‘Tasmãt shãstram pramãnante’ (Shastras are the proof). So, how should one go about doing ‘dãna’? In a kshetra to the proper person - a good ‘agni hotri’, one who has done Veda adyayana, one who leads his life as ordained by the Shastras, a Sadhu, a Bhãgavata, a Mahãn. When done to such persons the fruit attained is vast.

Thus, speaking of Thiruppãvai, if such Bhagavat vishaya is heard/learnt through the Guru (Guru mukhena’) the punya for the listener is multifold. It is the same when learnt through the lips of a Sadhu. Why does Bhagavãn make the Guru incarnate in this samsara? Why does He send so many Mahãtmas into this world? Because we are living in the gutter of ‘samsara’ (worldly life). We are leading a mundane existence. We pray for worldly things from Bhagavãn and Mahãtmas. This is well illustrated by the following - We have fallen in a gutter and someone comes up and offers help, “Stretch out your hand and I will lift you out of the gutter that you have fallen into.” What do we ask him? “No! I don’t need this help! I have been in this gutter for the past four days. I am very hungry. Would you please buy some eats and drop it in here? I will eat it sitting here in the gutter!” There is no joy (‘sukha’) but only sorrow (‘Dukha’) in such existence. But this is what we ignorant fools seek. If we were smart what would we pray for? We would ask to be pulled out; pulled out of the stinking gutter! A smart fellow prays for escape from the gutter of ‘samsara’. The Mahãtma says, “Child! Come, I will pull you out of the gutter”. The one in the pit questions, “What if you fall into it while trying to pull me out? (!)” People suspect the offer of help - “This person offers to take me to Moksha but has he attained Moksha? Will he go to Moksha?”

There are two big mountains. There are many flies in those mountains. There are also lions in those mountains. The flies cannot jump from one mountain to the other nor can they cover that distance by the themselves because they lack the strength in their wings. They are able to fly only upto a certain height or distance. Birds can fly away to the other mountain. Whereas, a lion can take a long leap from this mountain to the other. So the flies sit on the lion’s mane. When this lion, in just one jump, crosses the distance and lands on the other mountain all the flies on its mane also reach the other mountain. Similarly, if we place ourselves at the Lotus Feet of the Guru, we will all be liberated. The Mahãtma calls out to the one in the gutter of ‘ Samsara’, “Come, catch hold of the rope that I throw in and I will help you ashore.” And the fellow in the gutter, what does he question? ‘What happens if you fall into it while attempting to pull me out?' (!) The Mahãtma smiles and tells the ignorant one, “Do you think that I am not interested in my life? I possess the smartness to pull you out and at the same time safeguard my own position, too!” The fellow in the gutter questions further, “What about the quality of the rope? Suppose it is unable to take my weight?” The Mahãtma assures him, “Don’t you worry, my friend. Did you not notice its trademark? It bears the trademark of ‘NÃMA SANKIRTAN’!” Still in doubt the fellow in the gutter asks, “Well! If you do manage to pull me up (!), would you not demand some price for it? (!)” But the Mahãtma answers him patiently, “No, my dear fellow, the happiness born out of having helped you ashore is enough!”

MAHAATMAS COME ONLY FOR HELPING THE WORLD.
(‘LOKA UPAKÃRA SANCHAARAM’)

So, listening to ‘Sat vishaya’ (divine matters) through Mahãtmas is a fortune, indeed.

‘Katrruk karavaik kanangal palakarandu’ - One should take the two consecutive Pãsurams together to comprehend the underlying message in them. Yesterday we saw the two pãsurams of ‘Thoomani mãdathu’ and ‘Notrrucchuvargam’ depicting the two philosophies of ‘Markata kishora nyãya’ and ‘Mãrjãra kishora nyãya’. Here, it has been said that Bhagavãn Himself has come searching like the cat taking care of its kittens. "

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NOTE: Any discrepancy/lapse in the translated version of the Upanyasam is the sole responsibility of the person/s who translated the work from Tamizh into English.

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