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,

" ‘Pullum silambina kãn’ - This is a sound. It can be taken as the chirping of the bird. ‘Silambina kãn’ refers to the sound ‘chala’! ‘chala’! that the birds produce with their wings. When do they produce such sounds? It is while they suffer from pangs of ‘viraha’ (seeking the company of a mate).

‘Pullaraiyan Kovil‘ - ‘Araiyan’ means king. Araiyar sevai is a type of service offered to the Lord in temples. The one who offers such service dresses up like a King adorning a crown as well as other ornaments. It was Nãdamunigal who set this practice of ‘Araiyar sevai’ in temples. He went to Kumbakonam Ãravamudan temple. He had just been blessed with a grandson whom he named as Yamunãchãriyan/Yamunaithuraivan as the child was born when he had been on a pilgrimage to Vrindãvan on the banks of the Yamuna. One cannot describe the beauty of Ãrãvamudan. ‘Ãrã amudan’ - ambrosia, which makes one seek more and more; never can you say ‘enough’- the Lord here is extremely beautiful - the charm that makes one yearn to drink in more and more! Ãrãvamudan is also called as Sãrngapãnni.

It was for the sake of Thirumazhisai Ãzhwãr that the Lord is in the awakened state! Amongst the Bhaktas who made the Lord move in His idol form (‘archãvatãr’) are Thirumazhisai Ãzhwãr and Kanakadãsa (who made Lord Krishna of Udipi turn towards his direction). When Thirumazhisai Ãzhwãr visited Thirupuliyur, near Kumbakonam, he could not go into the temple as the Brahmins were performing yaga. He, therefore, circumambulated the Lord outside on the streets. The Lord turned to every direction that his devotee moved! Here, the Lord is known by the name of Kripãsamudra! (Ocean of compassion)

During one of his visits to Lord Ãrã amudan, Nãdamunigal hears someone sing, “Ãra amudhe adiyen udalam” in this Sannidhi. Spellbound by the song Nãdamunigal asks whose writings they were and learns that they were the work of Nammãzhwãr. He also learns that there had been one thousand Pãsurams of Nammãzhwãr (‘Thiruvãimozhi’) that had all been lost but for this one Pãsuram. This person further informs that it has been deemed that one Nãdamunigal would come to revive them all. Nãdamunigal enquires, “How can it be revived?” He receives the reply that in the village of Ãzhwãrthirunagari on the banks of Tamraparani lives Parãngusadãsar who has the answer to his question. Nãdamunigal meets Parãngusadãsar and receives upadesa of ten pãsurams of Madhurakaviãzhwãr on Nammãzhwãr. He then sits on the banks of Tamraparani and chants them crores of times. Nammãzhwãr from his ‘archãvatãr’ blesses him with not only his own 1000 Pãsurams but also with the Pãsurams of all the other Ãzhwãrs. Thus the four thousand Pãsurams were revived to the world.

In this Sannidhi of Ãrã amudan the ‘archaka’ (priest) performs one ‘ashtothra’ which I like very much- ‘ Kãveri teera rasikãyai namah; dwãdasãkshara mantra nitya upãsikãyai namah (one who could be worshipped by one who does upãsana of Dwãdasãkshari Mahã Mantra everyday), Dravidaveda darshakãyai namah’ (one who has given the Dravida Veda). The ashtothra made for Mannargudi Rajagopalan and Ãrã Amudan are wonderful. Some Mahãn must have composed these.

Nãdamunigal desired to give the pasurams a musical shape. It is verily a sin to instruct Bhãgavats to perform dance the way we wish. So Nãdamunigal requested them to dance in the Sannidhi of Perumal while he observed them from outside. He helped them dress up for the occasion and he himself performed ‘anukarana’. The ‘Araiyar’ there performs ‘anukarana’ marvelously.

Once, Bashyakãra (Ramanuja) went over to Sri Rangam temple to witness the ‘anukarana’ of ‘pranayakalaga’ (lovelorn feud between the Divine Couple). The ‘Araiyar’ was possessed with the ‘bhãva’ of Ranganãyaki thãyãr (the consort of Lord Ranganatha). Parasarabhãtar then sings the praises of Ranganãyaki thãyãr. He feels that Ranganãyaki thãyãr is standing with her head bent down. The Bhattar had the ‘bhãva’ of a child towards Perumal and Thãyar. In his ‘bhãva’ the Bhattar asks Her, “Am I not your child? Am I your husband for you to stand with your head bent? Why be shy of me? Or is it because you have given me everything, including Moksha (‘Vaikunta’) and have nothing more to give that you feel bad and stand thus with a bent head? (!)’

The ‘anukarana’ is being held in Lord Ranganatha Sannidhi. Then the feud begins and Thãyãr rebukes Perumal (who has returned after His visit to ‘Uraiyur’ Nacchiar). The ‘Thãyãr’ throws question after question at the Lord. Ramanuja is unable to bear the Pirãtti scolding Ranganatha. He handles the situation very deftly. An Ascetic that he was, Ramanuja moved close to the ‘Thãyãr’ with his Staff (‘danda’) and taking up the ‘bhãva’ of a friend (‘sakhi’) says as if consoling her, “He is a Jagatpati, omnipotent. It is not right on your part to use such harsh words towards Him.” What a ‘rãsikya hridaya’ these Mahãns possess!

‘Pullaraiyan Kovilil’ - ‘Pull’ means ‘pakshi’ - a bird. ‘Araiyan’ means Raja - king. And ‘kovil’ is temple. It is Garudan (the divine vehicle of Lord Vishnu) who is Pakshi Raja. It is the temple of the Raja of the Raja of birds. That is Nãrãyana. Just as the birds wake us up this Pakshi Raja (Garuda) wakes up the Lord. Here the Swamy says, “Ellãr kanngallilum viralai vittu ãtum Kannanum kaikatti nirpãrpol Gokulathil oru Nãrãyanan Sannidhiyãm!” In Gokula is the Sanctum Sanctorum of Nãrãyana where the one who is a big trouble to all stands with folded hands.

‘Vellai villichangin peraravum keetilaiyo?’ - Initially Ãndãl spoke of ‘Pullaraiyan Kovilil’ referring to the worldly sound of the birds chirpings. ‘Nãdam’ is divine sound. Auspicious sounds such as ringing the bells or blowing the conch are made. ‘Dundubi’ is blown. Tharai, thambattam, (all different kinds of drums used in worship), etc. are used here in worship. These are all divine sounds. There are sixteen kinds of ‘upachãrãs’ (honour) that are known as ‘shodasa upachãra’. All these represent the sounds that are within us. When the sushumna rises from the mooladara and hits the head innumerable sounds are born. The sounds of a bell, a conch, and the Pranava are all born within. It is these sounds that are represented in the sounds made by various instruments in our Temples. A Temple represents the ‘tatva’ of the human body. In Ranganatha temple there are seven ‘prakãrãs’ (the corridors around the Sanctum Sanctorum) representing the six ‘Chakrãs’ and the ‘Sahasrãra’ situated on the head. The six ‘chakrãs’ in our body and Paramatma in the heart as the seventh are represented through these seven ‘Prakãrãs’. To one side of the Ranganatha Temple is the river Arasallar and on the other side is Cauvery representing the two ‘Idagala’ and ‘Pingala’ ‘nãdis’. Lord Ranganatha representing theYoga Tatva is in Yogic sleep (‘Yoga nidra’).

In Siva temples there are five ‘Prakãrãs’ representing the five ‘kosãs’ - ‘annamaya’, ‘prãnamaya’, ‘manomaya’, ‘vijnãnamaya’ and ‘ãnandamaya’. ‘Dwajasthamba’ (the big pole like structure at the entrance) is the ‘mooladãra’. Sushumna is the creeper that entwines it. The sounds made through various instruments in the Temple are the sounds that are produced when the Sushumna rises up. The sounds are precisely the same.

Ramana Maharishi’s devotee (‘Bhaktai’) Janaki Matha, was once in a high state of yoga and desired to see Bhagavan at once. As she was travelling in a car her husband who was with her heard the loud sound of a temple bell and wanted to stop the car to check where the temple was. But Janaki Matha said it was coming from within her body and not from any temple! Janaki Matha did ‘upãsana’ of Sri Vidya - Lalitha Parameswari.

From the life of Vasudeva Thatha we find that he leaves for Sri Vaikunta from Tirupati. He has been to Vaikunta in his physical body! While doing tapas in Tirukurungudi he lived on just lemon juice. He used to chant ‘Seete’! ‘Seete’! When Rama asked him what boon (‘vara’) he wanted he said ‘I want the name of the Pirãtti to play on my tongue always’. Rama, wrote on his tongue with his arrow, ‘S i t a’. From then onwards Thatha went on chanting ‘Seete! Seete!’ We question if Rama, Lakshmana did/do exist. They were to Vasudeva Thatha. He had no desire to travel anywhere. Every evening at sharp four’o clock he would do his japa of ‘Sri Ram Jaya Ram Jaya Jaya Ram!’ Even if he were to be traveling in a train he would alight at a station, bathe in a pond nearby and then he would perform his japa. He also used to chant Gãyatri, Shodasa Mantra, Dwãdasãkshari Mantra. He was a very short-tempered man whom everyone feared. Even the man who served him affectionately dared not go to his proximity! Only when Vasudeva Thatha called him did he go near him. Once he wanted to fix a padlock to a small box and a carpenter was brought in who made it differently and not as was desired. At once Thatha hit his head with both his hands saying, ‘inda bhoolokavãsigalode nãn padum pãdu!’ (The trouble I have to undergo with these people of earth!). It was not easy to move with Thatha.

Once even while his wife and children were being teased by some ‘gundãs’ on a railway platform, he did not stop his japa but only kept watching silently carrying on with his japa. After the completion of his japa he asked them to leave saying that he was awaiting a horse cart that would come to receive them. It was said only to send the ‘gundãs’ away. But a horse cart ridden by two young men did arrive and take him and his family. They were none other than Lord Rama and Lakshmana. Such is the glory of Mãhans. This incident was not the only one of its kind. Countless were his experiences.

He stayed in Mysore for a while. At that time there lived a Vaishanava in Mysore who used to perform Ramayana Pãrayana for the welfare of people. Once, a boy fell seriously ill. So this Vaishanva went to their house and offered to read Ramayana to help their son recover from the illness. His condition only worsened and the child was hospitalized. The doctors declared that there was no hope. The child had gone into coma. This Vaishanva was a great devotee of Rama and was a truthful man (‘satya santa’). So he rushed home to Rama and cried out “Rama if this child does not recover the world will criticize You and Ramayana. It is difficult for me to bear this.’ Rama appeared before him and informed that a Siddha Purusha was in the Parakãla Mutt in Mysore. Rama also showed the form of Vasudeva Thatha to him and that he could help him. This Vaishnava rushed to Vasudeva Thatha and confided everything to him. He then requested him to come to help the child recover. At first Thatha refused but after a while went as he realized that it was Rama’s order. He went to that house and lighting camphor chanted ‘Om Sri Ram Jaya Ram Jaya Jaya Ram’ for an hour. And the Child recovered and started walking about normally! The Name of the Lord has such ‘swabhãva’ - Such is the Nature of the Lord’s Name!

The sound of the conch (‘Shanka dwani’) is a divine sound (‘divya dwani’). Do you not hear the sound of the birds? Well! do you at least hear the divine sound of the Conch? ‘Shanka dwani’ wakes up people. God wakes some people up from within them. Has not the Lord subtly woken you up from within?

‘Keechu Keechu enru’ - Here Periavãchãn pillai writes- The birds call out ‘Kichha’! ‘Kichha’! (Krishna! Krishna!). He further explains that here the call of the birds is not the call of woe of separation because all of them are together. There is no ‘viraha’ when being together. Early morning all the birds get together and speak with each other ‘keecchu keecchu’. What do they speak? - ‘When we go out today in search of food we know not which hunter’s target we will become We do not know if we will return this evening. So let us all be together happily for a while!’ So, here Ãndãl says, “All these days we were kept imprisoned, forbidden from seeing or meeting Krishna. But now with the excuse of the ‘nonbu’ we have managed to come out. Do not be a fool to miss this opportunity. Now that we are out we can get together and enjoy Krishna. Once we return home we will be locked up again. We are also like these birds. But you do not possess the knowledge (‘jnãna’) of these birds. They have all got together and are joyfully chatting away. Should we not use this opportunity to get together and speak about our Beloved? ‘Tava kathãmrutham Krishna tapta jeevanam’ - ‘Oh! Krishna speaking/singing Your glory is our very life (breath)!’ ” So, ‘Peipenne’!

Click here for Thiruppãvai (7) in Tamil

‘Kãsum pirappum kalakalappa kaiperndu’ - The ‘ãicchiis’ (the Yadava women) wear two ‘thãliis’ (the auspicious mark worn by married women in a chain around the neck). One made of thread and the other of gold (‘Kãsum pirappum’). They wear glass bangles and with their hands churn the curd with the ‘mathu’ (wooden rod used to churn curd). Every sound possesses a power. Every ‘dwani’ (sound) is like a ‘Mantra’. One is forbidden to draw ‘kolam’ with charcoal piece because it is believed the house will be burgled. The lines drawn are like the Yantar. The ‘kolam’ lines drawn in this manner draws burglars. When we draw ‘kolam’ we should not do it on water. It attracts bad spirits. We should always speak only good, positive things. Utter such words as - ‘sowkyamã’, ‘santhoshamã’ That is, always speak positively - ‘I am comfortable; I am happy.’

Once I saw Yogiramsuratkumar with many letters in his hand, which he tore up after going through them, uttering, ‘nalla sedi vandirukku’, ‘nalla sedi vandirukku’! (Good news has been received! Good news has been received!). Words have power (‘Vãrthaigalukku oru shakti irukku!’).

During Navarãthri we should not perform the work of separating husks from grains and pound grains. (‘pudaikakoodadu, idikkakoodadu’) as these sounds are not appreciated by Devi. When we churn curd Devas are pleased. Metals have the power to attract (‘ãkarshana thanmai’). If we give iron in charity our sins are wiped off. The leader (‘adhipathi’) of silver is ‘Sukra’. That is why we use silver vessels in homes and not for pomp and show. The rays of Sukra bring prosperity. Don’t we say ‘sukra dasa’ for propitious period? Every act in our daily routine has a meaning. The Mahatmas have set these for us through their divine vision. Cleaning the front yard of the house with cow dung water keeps the bacteria away. The bacteria will not cross the yard. ‘Kãsum pirappum kalakalappak kaiperthu’ - How is it that you have not woken up even after listening to the sounds of the ‘thaliis’ of the women, their bangle sound and the sound of the churning of curd with the ‘mathu’?

‘Nãyaga penn pillãi’ - Now, we conduct ‘adhyayana utsava’ here in the evenings. What will everyone do if we do not? Sit at home and watch television. A boy behaves himself when alone but in a group he behaves very badly. There has to be someone to instigate (‘pravartaka’) one into doing something, good or bad. Ãndal tells this gopi, “You are an enthusiastic leader who creates eagerness in us. Krishna Bhakti swells up in your company. So please come, join us and kindle our Krishna bhakti.” One should seek that company which will heighten our devotion. If one joins a bad company then the belief is lost. So never seek the company that will wipe away your bhakti. Flee from such a company as if fleeing from a house on fire! Seek that company which will give you Bhakti, unflinching faith (‘drida vishwãsa’) and trust (‘nambikkai’). She calls the friend, “Come and speak to us in your ‘gala, gala’ ( a figure of speech for joyful chattering) style”. Ãndãl sings, “Nãyagapp penpillãi! Nãrãyana Murti Kesavanai”- referring to the three names of the Lord - Nãrãyana, Murti, Kesava.

Bhagavan is also known as Kesavan because he killed the asura named Kesi who attacked Bhagavãn in the form of a horse. The Swamy says, “The donkey and the horse have one thing in common. Both of them bite you if you approach them from the front and kick you when you approach from behind!” When we visited Vrindãvan we have seen ‘Kesi Ghat’ where Krishna killed the asura Kesi. ‘Pãdavum nee kette kidathiyo? - Ãndãl calls out, “Hey friend! Don’t you hear the praises of the Lord in the Nãma sankirtana? Should you not sing the Praise of such a glorious Lord? How are you able to be in bed even after the sound of Nãma Sankirtana has fallen in your ears? ‘Thesa mudaiyãi’ - She is one with Bhagavat bhakti. There is no doubt on that score. It also means one who has bolted the door from within. Here the Swamy explains that all those who live in close physical proximity of Mahãtmas need not necessarily possess ‘jnãna’ (knowledge). One may wonder, “How is it that those who live in close contact with the Mahãtma and have received His ‘upadesa’ still remain worldly?” That is because you who are close to Him should first of all entertain such a desire - (a desire to gain knowledge). Even if all the three and thirty crore Devas and all the ‘archãvatãra’gods in the world bless you unless you entertain such a desire you cannot/will not gain Knowledge. You should yearn for Bhagavãn; you should yearn for liberation. Without deep yearning from your side no amount of Grace will work. So, you are the one who has bolted the door from within.

Guru initiates you into a Mantra but who has to practise the japa? You, of course! If you have the yearning you will definitely do incessant japa of the Mantra given to you by the Guru. It is only the ‘lakshiyavãdi’ (one whose mind is set on the goal) who labours. When one studies in an engineering college he labours for four years to get his degree! Only then can he earn money. He then goes abroad. Likewise one studies to become a doctor. But in Bhagavat vishaya we expect everything to be given to us on a silver platter! Do not expect to be fed. Sri Ramakrishna Paramahamsa used to say, “Do you expect me to skin the banana and push it down your throat?” You must exert effort. If you try you are sure to receive the Grace. In Bhagavat Bhakti if one labours sincerely then he will definitely receive the fruit. There is no doubt on this account. Mantra is like a fire. Guru throws it to you. ‘Indanam’ is the ‘ãvarti’ that you perform. As you do incessant japa of the Mantra it adds up to the fire and makes it a ‘Tapo Agni’ which leads you to Jnãna/Bhagavãn’s Lotus Feet. ‘Thesa mudaiyãi’ - Are you the one who has bolted the door from within? Open the door - ‘Thiravelo rembãvãi’ . We will all go to enjoy Bhagavãn. "

"GOPIKÃ JEEVANASMARANAM
GOVINDA! GOVINDA!"

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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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