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Sri Hari
GURUJI SRI MURALIDHARA SWAMIGAL MISSION |
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NÃMA BHIKSHA KENDRA |
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Sri Hari
GURUJI SRI MURALIDHARA SWAMIGAL MISSION |
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SWAMIGAL SPEAKS |
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NÃMA BHIKSHA KENDRA |
VEDA PATASHALA |
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Premika Bhavanam, Chennai
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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!
"Rangesamãmpãhi! Rangesamãmpãhi! Rangesamãmpãhi! Rangapprabho! "HARE RÃMA HARE RÃMA RÃMA RÃMA HARE HARE
"
Yesterday’s pãsuram was
Click here for Thiruppãvai (19) in Tamil ‘Methenra panja sayanathin melerik’ - Nappinai has climbed on to the bed. The Vyãkyãnakartas draw a parallel between this and the way the jivas go to Bhagavãn in Sri Vaikunta. We have already seen how the jiva first climbs on to the bed on which Bhagavãn is lying. Then it gets on to His lap and is embraced by Bhagavãn (‘ãlingana prãpti’). This loka that we live is called ‘Lila vibhuti’. It appears and disappears alternately. Bhagavãn’s Loka is ‘Nitya Vibhuti’. It ever is and never disappears. ‘Pralaya’ (destruction) occurs on the completion of each day of Brahma. And on completion of every hundred years of age by Lord Brahma, ‘Mahã pralaya’ (the Great destruction) occurs. As per Vaishnava Siddhanta, Sri Vaikunta does not get destroyed either in ‘pralaya’ or ‘Mahã pralaya’. It is said to be ‘Sakãra Brahmam’. Thus, Sri Vaikunta is ‘Nitya Vibhuti’ and this world that we live -- bhuh and all other lokas, viz. bhuvah, suvah, pãtãla loka etc.-- this entire Universe is called ‘Lila Vibhuti’. Viraja Nadhi is the boundary line between Sri Vaikunta and this Lila Vibhuti. We have already seen how there are seven lokas below and seven lokas above. Beyond the seven lokas above are the saptha (seven) samudra followed by ‘moola prakriti’ and then is found the Viraja nadhi. Lila Vibhuti appears and disappears while Nitya Vibhuti is ever in existence. Lila Vibhuti forms quarter portion and Nitya Vibhuti three-quarters of the one whole (‘anda sarãsarangal’). Even to this day Bhagavãn remains a ‘nitya yuva’ (ever a youth) as Para Vãsudeva along with Sri Devi and Bhoo Devi in Nitya Vibhuti. We have also seen that once a jiva reaches Sri Vaikunta it is then only enjoying the Lord - ‘sadã pashyanti surayah’ i.e. they are ever experiencing/looking at the Lord - ‘anubhava!’ ‘anubhava!’ ‘anubhava!’ - Experience! Experience! Experience! - only experiencing the Lord and nothing else! ‘Kutthu villakeriya kottukkãl kattilmel’ - If we take up the literal meaning (‘padãrtam’), this line describes the bed: the material that it has been made of. It has been made of the tusk of an elephant. Nappinai and Bhagavãn are lying on this bed made of elephant’s tusk. What does a lady (‘stree’) enjoy? In an earlier Pãsuram we sang, ‘thooyomãi vandom’ (have come very purely) - “Oh! guard! We will not accept even a drum (‘parai’) from anyone else (except from Nanda’s son Krishna). ‘Koyil kãpãne’, ‘Vãyil kãpãne’ - be it ‘Dwãra pãlakãs’ or ‘Kshetra pãlakãs’.” This drum is not a great object but a trivial thing. Probably this may even be thrown away after being used for these 30 days. It is not some personal object of a lady (‘stree’). Even such an object will not be accepted from anyone else (even from another ‘stree’) other than her Krishna. Krishna and only from Krishna will they accept anything. Well! When it is so, wherefrom was this bed made from an elephant tusk obtained? Bhagavãn had killed (‘vadam’) the elephant by name Kuvalaya peedam. It was a very old elephant. How does one know that this elephant was old? Pearls are produced in the body of an old crocodile (‘makaram’), snake (‘pãmbu’) and elephant (‘gajam’). Nose ring (‘muthu pullakku’) is made out of the pearl obtained from an elephant (‘gaja muthu’). Necklace is made out of the gem from the snake (‘nãga rathnam’- considered the highest quality gem). And eardrops are made out of the pearl from the crocodile (‘makaram’). That is why it is called ‘makara kundalam’. While describing Bhagavãn we sing ‘makara kundaladhara madanagopala’. Bhagavãn wears, in his ears, only this ‘kundala’ made out of the pearl obtained from an old crocodile. The poison contained in the fangs of an old cobra turns into a ‘rathnam’ (high quality gem) just as coal turns into precious diamond (‘vairam’). So say the Shastras. The necklace made of ‘nãga rathnam’ is unparalleled. Nothing else can match the glitter of ‘nãga rathnam’. And likewise, the nose-ring made of elephant pearl (‘gaja muthu’) is considered the best. When Bhagavãn undertakes any job He has only Nappinai in mind. He carefully thinks about how Nappinai will benefit from that particular work undertaken. So when He killed this elephant He collected all the pearls (‘gaja muthu’) from its head (says Bhattadri - an ardent devotee of the Lord) and gave it to Sridhãma, instructing him, “Take this to Rãdhika (Radha - Nappinai)”. Bhagavãn wondered about the use of the elephant’s tusk. He then had a cot made out of it for Nappinai! Nappinai is now lying on this cot - ‘kottukãl kattilmel’ . Bhagavãn also killed the mahout along with the elephant. Kamsa had sent the elephant to kill Bhagavãn. Why then kill the mahout? Because this fellow was smart enough to bring the dead elephant back to life and continue the fight! Ãzhwãr explains that this was the reason that Bhagavãn killed the mahout, too. Bhagavãn collects all the pearls (‘muthu’) from the elephant’s head and gives it to Sridhãma to be taken to Rãdhika. And the tusk of course, He, turns it into a cot - ‘Kottukãl kattilmel methenra panja sayanathin meleri’!
‘Kottalar poonguzhal’
-- Nappinai’s hair is spread out on the bed. Wherefrom were the flowers that decorate her hair obtained? It has already been said that Her garden was filled with fragrant flowers. The cuckoos attracted by the fragrance sit on the trees and sing loudly. Bhagavãn had collected these flowers, strung them together and decorated Nappinai’s hair!
‘Nee un mannãlanai
The Swamy takes up ‘rãsa leela’ and writes his commentary (‘vyãkyãna’) on it to depict the great character of Nappinai. Bhagavãn plays ‘rãsam’. Bhagavãn disappears because the Gopis are afflicted with what is called ‘sowbhaga madam’. Radha suffers deep anguish and pain (‘viraha’) due to separation from Bhagavãn. However, Radha yearns to rejoin Bhagavãn, not alone, but along with all the Gopis! She calls out to the Gopis by their names. All of them come running to her and console her. They try to comfort her and offer solace to her ‘viraha’. All of them then sing ‘Gopika Geetham’ together and regain Bhagavãn. One should look at the attitude (‘manobhava’) of Nappinai. She does not nurture the desire to enjoy the Lord all alone but together with all the Gopis.
‘Nee un manãlanai
Today, we will take up the Pãsuram (20th)
Click here for Thiruppãvai (20) in Tamil
‘Muppattu moovar amararkku munchenru’
The Bhaktas (devotees) of the Lord are categorised into four groups - ‘Ãrti’, ‘jigyãsu’, ‘arthãrti’ and ‘jnãni’.
Once a Mahãtma went to Tirupati for darshan of Sri Srinivasa Perumal. He did not wish to stand in the long winding queue to go in and see Srinivasa Perumal. So he told Srinivasa Perumal, “I want to come directly to see you and not stand in this long line of people.” But Srinivasa Perumal explained, “This is the order of the place. All have to come in this line. This rule applies to you also.” This man was a great ‘upanyãsaka’ (one who discourses - on the Lord). So, he threatened Srinivasa Perumal, “Well! There is a vast crowd of people here. I will sit here in front of the temple and perform ‘upanyãsa’ (discourse). I will do ‘prachãra’ (propaganda) that Srinivasa Perumal here is filled with ‘ishwarya madam’ (greed of wealth) and does not care for anyone!” The frightened Lord gave his darshan to this man immediately! So, these ‘Jnãnis’ possess the smartness to threaten and hold Bhagavãn down. Bhagavãn is also scared of them! Being scared here means that Bhagavãn has permitted Himself to be bound by them - their Bhakti. They have attracted and tied down Bhagavãn through their bhakti (devotion). Sadhus are of such great glory! Amongst these Sadhus are also those who have done bhakti in all the four ways (‘reethi’) of ‘ãrti’, ‘arthãrti’, ‘jigyãsu’ and ‘jnãni’. Though there are 63 Nãyanmãrs (ardent devotees of Lord Siva), in Saiva Siddhanta (Saiva belief), only four are widely spoken of - Appar, Sundarar, Sambandar and Mãnickavãsagar. “Is it the ‘Padhigangal’ (songs) sung by them, on the Lord that has given them this status (‘yetrram’)?” “No, it cannot be so, because even Karaikkãl ammaiyar has sung ‘Padhigangal’. These four enjoy a high status because they represent the four different ways of bhakti (devotion) cited above. One is an ‘ãrti’ bhakta, one is ‘arthãrti’ bhakta, one is ‘jigyãsu’ bhakta and one is a ‘jnãni’. Therefore, it makes one wonder if it is only because of this that they are being spoken of in a special manner (‘viseshama pesappadugirãrgal’). The first kind of Bhakta - ‘Ãrti’ - Appar was born in Thiruvadihai (near Thiruppãdiripuliyur) that falls in between Panrutti and Vizhupuram. Panrutti and Vizhuppuram were just villages in those days and not towns, as they stand today. Thiruvadihai was a kingdom (‘Rãjadhãni’). Sendamangalm is situated close by. Sendamangalam was also known as ‘Chatur Veda’ mangalam. This area was ruled by the Chozhãs first, then by the Pallavãs and then again by the Chozhãs. Great Chozha Kings like Killi Vallavan have ruled this kingdom. During their period, Buddhism and Jainism had spread in these areas. The shadow of the Temple tower of Thiruvadihai located here does not fall on the ground just as in the Thanjavur (Big) temple. Since this is a small tower it is not spoken of as popularly. The Lord here is known as Veerattãneswarar. It is one of the ‘ashta veerattãnangal’ (8 Veerattãnams). Thirupura samhãram took place here. Thilakavathi lived here and served the Lord. Appar was Thilakavathi’s brother. The Raja of Thiruppãdiripuliyur (also known as Pãdalipuram) had embraced Samana madam (Jainism) and all the citizens had followed suit. Appar had also embraced Samana madam. Thilakavathi approached Lord Veerattãneswarar and prayed to Him, “Avaidika madam (a religion not founded on the basis of the Shastras) has spread and taken hold of everyone from the King to the citizens. Appar has also switched over. You must somehow get him back into your fold.” Thilakavathi had once been engaged to be married, when the betrothed suddenly died. She immediately took to celibacy and offered herself totally to the Lord in Thiruvadihai and served Him with unstinted devotion.
Appar suddenly developed stomach ailment and suffered intensely. The Lord appeared in his dream and commanded him to have darshan of Pãdaleeshwarar in Thiruppãdiripuliyur.
Even as Appar entered the temple he was cured of his ailment. It was then that he sang,
And he gets back to Lord Siva.
The Samana mada Raja (the Jain King) harasses Appar. The king tortures him in
various ways. The king ties him up with a big stone and throws him into the ocean.
But the stone floats and gets ashore! This incident took place in Devanãm pattinam.
Even Vãsudeva Thãthã used to do dhyãna (meditate) in this place.
‘Mãsil veenaiyum, mãlai madiyamum, veesu thendralum veengila venilum
‘NAMASIVAAYAM RAKSHIKKARADU’
The second kind of Bhakta - ‘jigyãsu’ - Manickavãsagar, who has sung “Thiruvãsagam” belonged to this category.
It is said
‘Thiruvãsagathirku urugãdãr oru vãsagathirkum urugãr.’
(One whose heart does not melt for ‘Thiruvãsagam’, will melt for none other).
This is because it is full of ‘virakti’ (dispassion). He was a ‘jigyãsu’.
He sings,
Rãmalinga Vallalãr, a great soul, sings on the ‘grantãs’ (writings) of Mãnickavãsagar as follows,
He describes Thiruvãsagam (writings of Mãnickavãsagar) as one that tastes very sweet as if mixed with honey, milk, fruits! As if the body and soul have all gone into it!” The most prominent writing in Thiruvãsagam is Siva Purãnam (life and play of Lord Siva). Bhagavãn played the lila of ‘Nariyai pariyãki’, ‘pariyai nariyãki’ (converted the foxes into horses and converted them back into foxes) in his life. Mãnickavãsagar who was of such greatness was a ‘jigyãsu’. He intensely desired for Bhagavat darshan (to see Bhagavãn). All his ‘padhigams’ are full of ‘virakti’ (dispassion). The third kind of Bhakta - ‘Arthãrti’ - Sundarar belonged to this category. His marriage was about to take place in Tiruvennainallur Kshetra, near Vizhupuram. He was a yuvarãja (a prince). It is the day of the young King’s wedding. (Once Lord Siva looked at Himself in the mirror and charmed by the beautiful reflection called, “Sundara vã!” (Come, oh! beautiful/handsome one!) and the reflection came out! This reflection was none other than Sundarar.)
A ‘vriddha’ (ripe old man) Brahmin entered the place of marriage and declared, “You are my slave. I have come to claim you.” The astounded young King refuted it and demanded a proof for his claim. He questioned the old man, “Can one man be a slave to another (man)? I refuse to come with you.” But the old man produced a palm leaflet (‘olai chuvadi’) declaring the young King as the old man’s slave. When the young King said, “ Let the court decide this”, the old man pointed out, “You are the King here. Therefore, only your word will hold good here. Hence, come to my place.” The young King then followed the old man who entered the Siva temple in Tiruvennainallur. Here the old man disappeared. Sundarar went round the temple searching for him. He found the old man entering into the Siva Linga in the Sanctum Sanctorum of the temple. The King realized that it was none other than Lord Siva Himself (‘sãkshãth’ Parameswara) who had taken him unto Himself. “Oh! Lord! Why have you embraced me?” asked the King of the Lord. The Lord declared, “um sundara tamizh ketka allavo ummai taduttãt kondom?” (‘Is it not to listen to your sweet Tamizh that I drew you unto Myself?). When Sundarar wondered, “What and how do I sing?” The Lord instructed, “While arguing with me you called me a ‘Pitthã’ (madman). So, commence your singing with this word!”
So, Sundarar sang,
Thiruvennainallur is situated to the south of Pennai river - ‘Vaithãi pennai thenpãl - pennainallur’ Since Sundarar was a King, who had turned into a Mahãtma, he had great taste (‘suchi-ruchi’) for dressing up. Like Kulasekara Ãzhwãr, he always dressed up well. He always dressed up as would befit a King. He could never bear people suffering. He always prayed to the Lord to help people in suffering. Was it not the duty of the King to keep his people in comfort? He possessed a lot of wealth. He gave out a lot in charity. He desired to see everyone live in comfort. There is a Holy place (Kshetra) by name Vriddhãchalam where the Lord is known as Vriddhagiriiswarar and the consort Vridhãmbigai. A river by name Manimuthãru flows in Vriddhãchalam. Tiruvãrur was once struck with famine. Sundarar was grief stricken seeing the people suffer. He comes to Vriddhãchalam and prays to the Lord, “Oh! Lord! Bless me with lot of gold to appease the grief of the people suffering from famine.” Bhagavãn blesses him with huge gold pieces. Sundarar tells the Lord, “How can I carry all these gold pieces to Tiruvãrur? I will drop these down in river Manimuthãru. You must receive them in Kamalãlayam in Tiruvãrur and give them to me!” Sundarar drops the gold pieces in river Manimuthãru and they come up in Kamalãlayam in Tiruvãrur! In this temple (Kamalãlayam) is a sannidhi of Lord Ganesha. Sundarar asks Lord Ganesha to check up if they were the same gold that were dropped at Vriddhãchalam. Lord Ganesha confirms that it is the same gold. He is thus known as ‘Mãthuraitha Vinayaka’ - (one who tested gold). Muthuswami Dikshitar has sung on almost all Ganeshas in various temples. And he has sung on this Ganesha, too - “Swarna ãkarsha Ganapathiye….” ( the Ganesha who attracted gold). With this gold blessed by the Lord, Sundarar helps the people. So, here Sundarar sought the Lord for money - ‘panam kodu, panam kodu’ - ‘Give me money, give me money’. This is ‘arthãrthi’. The fourth kind is the ‘Jnãni’ - Jnãnasambandar was a Jnãni. Even as a child he was blessed with the milk of none other than Thirupurasundari, the consort of Lord Siva. He looks upon the divine couple as his parents. Once, when he was still a very small child, his father took him to Sirgãzhi temple. The father left the child near the pond while he went to bathe in it. The child cried out of hunger. Touched by the child’s plight, Goddess Thirupurasundari came down and lifted the child in her arms. She appeased the hunger of the child with milk from her breast. The child calmed down and she left the child where it had been. The father returned to find some drops of milk near the child’s lips. The child when questioned pointed, with his little hand, at Lord Siva and Thirupurasundari seated high up on the Temple gopuram. Blessed with the divine milk of Goddess Thirupurasundari, Jnãnasambandar became a Jnãni (One filled with knowledge) even as a child. He had nothing to seek of the Lord. In his ‘Padhigam’, he sings (tells the Lord) - “You and I are One!”. His ‘Padhingangal’ do not pray for anything else. Jnãnasambar was a ‘jnãni’. Thus there are four kinds of Nãyanmãrs for the four types of Bhakti. Bhagavãn thus, categorises his Bhaktãs into ‘Ãrti’, ‘Jigyãsu’, ‘Arthãrthi’ and ‘Jnãni’, but accepts all of them. " Page 1 Page 2
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.
Radhe Krishna |
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Thiruppãvai - Day Eighteen (PAGE 1) 
