20 May 2013

Temple tour in North Madras

North Madras – The mere thought of this area conjures up the dusty and oldest part of “chennai” along with the flash of movies which makes gangsters and dadas in to heros;  the slums and fishing hamlets along the coast, the busy harbor, bad roads, rowdies from vannarapettai, kasimode kuppam, korukkupettai, royapuram “Arival” culture amongst many others!




 

Got to know that there are some amazing temples one should visit; The best way to travel in North Madras is take an auto or call taxi – Forget the bus or electric train or car if you’re visiting these temples – I took an auto, and the shortest route was taking a left at Ritherdon road, cruising through  the nerve centre of old madras – Vepery, Doveton, Basin bridge, Elephant gate, Choolai, Mint, Washermenpet, Kasimode, and finally Tiruvotriyur! And please go when the traffic is thin (Sunday 3.30 pm was fine). The 3 temples I visited today are Vadivudai Amman and Thyagaraja Swamy Temple, Medha
Dhakshinamoorthy temple and Pattinathar temple..

The Tiruvotriyur Shivan temple is a huge temple and will take about 45 minutes to one hour to cover; It dates back to 1300 years and construction for thiruppani is going on currently. Tiruvotriyur, interestlingly is trio completing the shiva sthalams of Tiruvanmiyur and Tirumayilai!


Facts : (l really like to note down these small facts /history for my own remembrance :))
  1. This Paadal petra Shiva stalam was the first temple ever on the face of the earth and was called ‘Adipuri’ (‘the primordial town’). In the same vein, the moolavar here is called Adipureeswarar.
  2. As you know, Shiva is worshipped as the embodiment of primary elements in Panchabhootha sthalams – as wind in Kalahasti, water in Jambukeswaram, fire in Thiruvannamalai, as earth in Kanchipuram and as space in Chidambaram – Here, He is present in 3 forms – As a swayambu lingam of earth, in the form of a snake pit facing east – (with form), as Agni (without form) and as a being with and without form (as Padampakka Nathar) – who was ordained as not to be touched by any hand, mortal or immortal.
  3. The moolavar structure is almost like a square box and not like a lingam – its open only for 3 days in a year – during Karthigai pournami when they offer “Pungu” and “Sambrani Thailam” and its closed rest of the year – Shiva also takes the form of a snake called Padampaka nathar as a backdrop to this structure. It is said that Vasuki worshipped Shiva here.
  4. The consort deity is the powerful “Vadivudai Amman” who attracts a large gathering of devotees on Fridays and full moon days. The Vadivudai Amman takes the form of Gnaana Sakthi amongst the trio of devis safeguarding chennai patnam – ( People have morning darshan of the Ichha Sakthi (Tiruvudai Amman at Melur), Gnana Sakthi at Tiruvotriyur and Kriya Sakthi in the evening at Tirumullaivoil, to complete the Shakthi Darshan.
  5. Ramalinga Swamigal, Pattinathar and Kambar are associated with this famous temple, apart from Appar, Sundarar and Thyagarajar. Vallalar has sung 101 verses in praise of the Devi in Vadiyudai Manikka Malai..
கடல் அமுதே செங்கரும்பே அருட் கற்பகக் கனியே
உடல் உயிரே உயிர்க்குள் உணர்வே உணர்வுள் ஒளியே
அடல் விடையார் ஒற்றியார் இடங் கொண்ட அருமருந்தே
மடல் அவிழ் ஞான மலரே வடிவுடை மாணிக்கமே – இராமலிங்க சுவாமிகள்

வாவியெல்லாம் தீர்த்தம்
மணல் எல்லாம் வெண்ணிறு
காவணங்கள் எல்லாம் கண நாதர்
பூவுலகில் இது சிவலோகம் – பட்டினத்தார்

 
Other facts :

  • In the side of Moolavar's shrine, is the Devi Vatta Parai amman. There is a circular stone alter before the Devi where Adi Sankarachariyar, worshiped and installed a Sri Chakram to pacify the once aggressive Kali Devi here (Just like the Sri chakram at Kanchi Kamakshi temple and Maha Meru at Mangadu temple)

  • Buy a special ticket for Rs.25/ - to have an amazing darshan near “Vadivudai Amman” – you can feel the power radiate! Kumkuma archanai is supposed to special and Kerala namboodris are the ones who do the actual pooja here. (Due to Adi Shankaracharya’s pooja vidhi)
  •  
  • Bhairavar has a separate shrine and the unique thing is the dog, (vahanam of Bhairava) is missing!

Before you enter this Shivan temple, you cannot miss this the Dakshina Murthy temple on the left – The unique thing about this temple is the Lord faces north (and called Vada Gurusthalam) - in meditating form under the banyan tree (the tree is almost like a snake with a padam in the backdrop). Its said that the Vadivudai amman takes the knowledge from this Dakshina murthy!


The greatest of the saints, Pattinathar who said that காதற்ற ஊசியும் வாராது காண் கடைவழிக்கே – meaning “Not even an eyeless needle will accompany you in the final journey of life” has a Jeeva Samadhi here facing the beach – From the temple, its just 5 minutes by auto, on the other side of the road.

A very simple structure, with people silently meditating provides a powerful ambience – It is here where he attained Mukthi ( The place where he found the wild sugar cane – Pey Karambu to be sweet and chose his place of samadhi); Pattinathar took the form of a shiva lingam after his salvation and the lingam is currently kept closed in a huge box, due to construction activities (The nagarathar community is undertaking the construction thiruppani)..
 
And to close this blog, citing Pattinathar's songs and seeking his blessings... And make a visit to these temples!

 "பிறந்தன இறக்கும், இறந்தன பிறக்கும்;
தோன்றின மறையும், மறைந்தன தோன்றும்;
பெருத்தன சிறுக்கும், சிறுத்தன பெருக்கும்;
உணர்ந்தன மறக்கும், மறந்தன உணரும்;
புணர்ந்தன பிரியும், பிரிந்தன புணரும்;
நினைமின் மனனே ! நினைமின் மனனே
சிவபெரு மானைச் செம்பொனம் பலவனை
நினைமின் மனனே ! நினைமின் மனனே !
அலகைத் தேரின் அலமரு காலின்
உலகப்பொய் வாழ்க்கையை உடலை ஓம்பற்க !"

 "கையொன்று செய்ய விழியொன்று நாட
கருத்தொன்று எண்ண பொய்யொன்று வஞ்சக
நாவோன்று பேச புலால கமழும் மெய்யொன்று
சார செவியொன்று கேட்க விரும்பியான் செய்கின்ற
பூசை எவ்வாறு கொள்வாய் வினை தீர்த்தவனே " .....பட்டினத்தார்


 

01 April 2013

Aikya 2013 - Ra Ga concert

Aikya 2013 - Today's concert by Ra Ga was mindblowing - the theme outlined a music dialogue inspired by the Krishna- Samvada in The Bhagavad Gita.
 
The attention to detail was showcased everywhere - be it the magnificient chariot with Krishna and Arjuna as a backdrop (including a real peacock feather adorning Lord Krishna's crown in the backdrop) and also the choice of songs..
 
Today's theme pointed out the fact that we human beings live in a state of perpetual conflict - be it in simple choice of decisions in our lives or a major decision of how to lead our lives. Our interests, needs and values focus on the material things in life - What is the take away for us humans who crave for intangible things - Identity of our souls, path to Moksha?
 
The solution to these answers come through slokams of Gita and songs of notable composers in carnatic music; 9 gem of songs, in 6 languages!
 
  1. Saranam Saranam Endrane in Sourashtram; a song of the famous tamizh trinity, Arunachala Kavirayar in his Raamanaataka kirtanai, depicting the conflicting moment Lord Rama faces when Vibheeshana comes to him seeking refuge.
  2. Pag ghungaroo baandh meera nachi re - A famous meera bhajan and the distinct evergreen rendition of MSS (http://www.youtube.com/watch?v=jJQkGn5gf78)  comes to our mind..
  3. The third amazing song was - Nidhi chala Sukama? (Kalyani ragam) -  (Does wealth bring happiness?) which was composed by Sri Thyagaraja, when the King of Tanjore offers an invitation with rich gifts to adorn his court as his musician. The conflict of Thyagaraja and his stern decision to do seva only to His Rama was an apt song for this evening..
  4.  
    • "nidhi chAla sukhamA? rAmuni sannidhi sEva sukhamA? nijamuga balku manasA !"(Tell the real truth my mind, Is becoming more wealthy pleasurable, Or is it serving Rama in his temple?)
    • "Dama samamunu Ganga snanamu sukhama, Kardhama durvishaya  kupa snanamu sukhama? Mamatha bandhana  yutha nara Sthuthi sukhama, Sumathi Thyagaraja  nuthani keerthana sukhama? (Is it more pleasant to take bath in Ganges with a calm mind, Or a turbulent bath in the well with lot of dirt?) ( Is the singing praises of a man which is full of praise and flattery,More pleasant than singing new songs in praise of Lord Thyagaraja? )
  5. The thematic slokams from Gita highlighted the confluence of thoughts, music of the chosen theme - Ra Ga showed how they were gifted not only as vocalists, but also as Violinists par excellence. (Pinnitanga!)
  6. Then came our evergreen tamizh composer Mahakavi Bharathiar's medley of songs :-
    • நல்லதோர் வீணைசெய்தே-அதை
      நலங்கெடப் புழுதியில் எறிவதுண்டோ?
      சொல்லடி, சிவசக்தி;-எனைச்
      சுடர்மிகும் அறிவுடன் படைத்துவிட்டாய்,
      வல்லமை தாராயோ,-இந்த
      மாநிலம் பயனுற வாழ்வதற்கே?
      சொல்லடி,சிவசக்தி!-நிலச்
      சுமையென வாழ்ந்திடப் புரிகுவையோ?-
      • The song roughly translates as " (I)made a noble veena, Would (I) throw it in the garbage?.. Solladi sivasakthi (Answer me Goddess); ennai suDar migum arivudan padaithu vittai (Why create me with a sparkling wisdom?)
      • Vallamai thaaraayo - intha maanilam payanura vaazhvatharke? ( Wont you give skill and brilliance to make this society lead a purposeful life?)
    • பல கற்றும் பல கேட்டும்... எங்கள் மாரியம்மா - A folk song in ragamalika - kavadi chindu, Punnaga varali..(the first time i am ever listening to this song)
    • பகைவனுக்கு அருள்வாய் நன்நெஞ்சே - the famous song in Kannan pattu of Bharathi where he prays "Show kindness to the enemy, Oh good heart" -
      • Ra Ga took these stanzas : வாழ்வை நினைத்தபின் தாழ்வை நினைப்பது வாழ்வுக்கு நேராமோ?-நன்னெஞ்சே! தாழ்வு பிறர்க்கெண்ணத் தானழிவா னென்ற சாதிரங் கேளாயோ?-நன்னெஞ்சே! (After thinking of life, if we think of low state, Is it proper for life, Oh good heart? If we think of low state for others, Sastras tell, That we would get destroyed, Oh Good heart)..
      • தின்ன வரும்புலி தன்னையும அன்பொடு சிந்தையிற் போற்றிடுவாய்-நன்னெஞ்சே!..அன்னை பராசக்தி யவ்வுரு வாயினள் - அவளைக் கும்பிடுவாய்-நன்னெஞ்சே (In your heart think along with loveabout, Even the tiger which comes to eat you, Oh good heart, For our mother the primeval power took that form, Worship and salute her, Oh good heart
  7. Je ka ranjale ganjale- Another amazing tukharam abhang, which was translated by Gandhiji in 1930s when he was in Yerwada Central jail:
    • "Know him to be a true man who takes to his bosom those who are in distress. Know that God resides in the heart of such a one. His heart is saturated with gentleness through and through. He receives as his only those who are forsaken. He bestows on his man servants and maid servants the same affection he shows to his children. Tukaram says: What need is there to describe him further? He is the very incarnation of divinity"
  8. A string of Kulasekara Azhwar’s viruthams & Raskhan’s Krishna poems to set a backdrop for another amazing song of Purandaradasar's "nArAyaNA ninna nAmada smaraNeya sArAmrtavenna nAligege barali" in Suddha Dhanyasi - emphasizing the value of reciting God's nama - Om Namo Narayana - especially during "last moments" - "ento purandara viṭhala rāyana antya kāladalli cintisohāge.."
  9. Adi Shankaracharya's sloka summary of Advaita vedantam in "Nirvana shatakam", musically tuned by the sisters.
    • Mano-Buddhy-Ahangkaara Cittaani Naaham, Na Ca Shrotra-Jihve Na Ca Ghraanna-Netre |Na Ca Vyoma Bhuumir-Na Tejo Na Vaayuh Cid-Aananda-Ruupah Shivoham Shivoham  (Neither am I the Mind nor Intelligence or Ego, Neither am I the organs of Hearing (Ears), nor that of Tasting (Tongue), Smelling (Nose) or Seeing (Eyes), Neither am I the Sky, nor the Earth, Neither the Fire nor the Air, I am the Ever Pure Blissful Consciousness; I am Shiva, I am Shiva, The Ever Pure Blissful Consciousness.)
  10. The last gem was another famous abhang of Sant Tukaram - "Bolawa vitthal pahava vitthal" - with the audience chanting vittal vittal along..(http://www.youtube.com/watch?v=FiT7Hqk_uwg)

All in all a great Sunday.. They sang from the heart, everything fell into place - And they have a set a huge benchmark for the future Aikya musicians..

 

18 March 2013

Kshetra Krithis of Muthuswamy Dikshithar

Muthuswamy Dikshithar's birthday falls in the tamil month of Panguni in Krithikai Nakshathram - It happened to be yesterday (March 17, 2012) , and there was a thematic concert of his Kshetra Krithis by Mrs. Seetha Rajan and her disciples, at the Music Academy Mini Hall.
 
The concert was packed with 22 sahityams and chosen with great care and variety.. It simply left me stunned and amazed, as I learnt more and more about the great composer. It was a whirlwind of temple darshanam throughout 3 hours; Brilliant and concise details about each Kshetra, its just a glimpse for now to learn more and more later!
 
What is awesome about the Kshetra Kritis or any of his Kritis is that the compositions are comprehensive - it offers you all the details - about the temple, dieties, pooja, methods or customs followed in the temple, its architecture, in some cases dress and jewellery, temple vimanam, background about the history in addition to the name of ragam and his "Guru guha" mudra!  A capsule in sanskrit - The depth and soulfulness of each composition is so deep that we can learn only as we evolve in music.
 
Muthuswami Dikshitar was born in Thiruvarur and his parents prayed for a child in Vaitheeswarn Kovil and was named after Lord Murugan of the temple called as "Muthukumaraswamy". He had learnt sanskrit, vedas and preliminary musical education from his father; he went on a pilgrimage to Kasi with his guru Chidambaranatha yogi and while bathing in the Ganges river, it is said that Sarawathi herself blessed and gave a Veena to Dikshitar.
 
His guru asked him to visit Tiruttani, and while he was immersed deep in meditation in the temple, an old man appeared before him and dropped a "Karkandu" in his mouth - It was none other than Lord Subramanya himself and the very first krithi he composed was in the  praise of the same deity -  “ShrI nathAdi guruguho jayati” in the  rAgam Mayamalava gaula. Dikhsithar incorporated the phrase  “guruguha” as a  mudra (signature) in all his compositions..

Here's the list of Sahityams sung yesterday:

  1. Sri Nathadi Guruguho Jayati jayati - Ragam Mayamalava Gowla
  2. Narasimha Agacha para-brahma puccha- Ragam Mohanam ( When he visited the famous Yoga Narsimha Swamy temple temple at Katikachalam - what we know as Sholingur today)
  3. Cintaya mA kanda mUla kandaM- -cEtaH SrI sa-umA-skandam in  - Ragam Bhairavi ( He then vists kanchi and composed songs on Ekambareshwarar and Kamakshi; Here, Lord Shiva was worshipped as "Prithvi Lingam" - in the form of earth by Parvathi ; This is one of the Pancha Bhuta Krithis and this composition describes Shiva as "Somaskandar" (along with Parvathy and Skanda) under a mango tree.
  4. Ananda Natana Prakasham - Ragam Kedaram (From Kanchi, Dikshitar visits Chidambaram, enroute Tiruvarur. Chidambaram is the shrine where Lord Nataraja is worshipped as the Lord of space and performs cosmic dance (ananda thandavam) along with his consort Sivagamavalli; He is referred as "Kedara" meaning Kedaranatha and also as the name of this ragam)
  5. Sri Kumara Swaminam - Ragam Asaveri (He visits Vaideeswaran kovil and this song is composed on Muthukumara swamy himself and mentions that he "bows to the lotus like feet of Kumara Swami the Guruguha)
  6. Sankaram abhirāmī manōharam, śaśi dharamm amruta ghatēśvaramm bhajēham- Ragam Manohari (He then visits Thirukadaiyur, where sings about Amruta Gateshwarar and Markandeya, and this song is very similar to his other famous composition "kanchadalayadakshi kamakshi" in Kamala manohari)
  7. DAkSAyaNi abhayAmbikE, varadAbhayahastE namastE - Ragam Thodi  (Next he visits Mayavaram, and this song is a part of 8 Krithis composed in praise of Goddess abhayAmbA)
  8. ShrI bAlasubrahmaNyA agacchAgragaNya ( Ragam Bilahari) - on the Lord of Swamimalai.
  9. Shri Maha Ganapathy Ravathumam, Siddhi vinayagam - Ragam Gaulai (This was composed on Lord Ganesha, who adorns a corner of the Kamalalayam pond, and Muthuswamy Dikshitar used to have a first glimpse of this Pillayar on his daily visits to the temple; Since Lord Ganesha appeared to testify the purity of the gold to Sundarar here he is known as "Mattru Uraitha Pillayar" and is referred in the song as "kamalalaya Thada NivasO" and "suvarNAkarSaNa vighnarAjO "
  10. TyAgarAja mahadhvajArOha - Ragam Shri (This  composition serves as a comprehensive guide to Tiruvarur temple, and gives details about the Vasantothsavam and Rathothsavam – what all to see in a Kshetram, what is the significance, description of temple festivals in great detail - it talks about the pooja methods, darshanam method (pada darshanam)
  11. KamalAmbAM bhajarE rE mAnasa  - (Ragam Kalyani) - (Dikshitar was also a Sri Vidya Upasakar and composed krithis called "Kamalamba Nava Varanams" on the adhi-devatha Kamalamba, consort of Thyagarajaswami of Tiruvarur.These 9 kritis are treasures which embodies the technical brilliance of Dikshitar combined with bhakti, gnAna and vidwat.
  12. Shri Viswanatham Bhajeham - (a master piece of caturdasha rAgamAlika consisting of  14 ragams - shrI, Arabhi, gauri, nATa, gauLa, mOhanam, sAma, lalita, bhairavaM, sAraHNga, shaHNkarAbharaNam, kAmbhOji, dEvakriya, bhUpALaM)
    •  The sequence of fourteen Ragas that appear in this Ragamalika are Sriragam, Arabhi, Gowri, Nata, Gowla, Mohanam, followed by viloma swaras (rendering of swaras in the reverse order of Ragas).
    • The second half contains Sama, Lalita, Bhairavam, Saranga, Sankarabharanam, Kambhoji, Devakriya, Bhoopalam, followed again by viloma swaras, and finally ending in the commencing Raga, Sriragam) -  This composition is in praise of Lord Viswanathar of Kuzhikarai temple (Dakshina Kasi) located near Tiruvarur
  13. shRHNgAra shaktyAyudha dhara sharavaNasya -  -Ragam Rama Manohari (This is composed on Sikkal Singaravelar)
  14.  bRhadIshvarO rakSatu mAm hari - Ragam  gAnasAmavarALi (Dikshitar composed this song for the Lord of Thanjavur temple, Brihadeeswara, on the request of his disciples, the Thanjavur Quatret)
  15. ShrI mAtRbhUtam trishiragri nAtham- Ragam Kannada  (Dikshitar composed this song when he visits Trichy Malaikottai - Shri Thayumanava Swamy and gives the gist of the story of the temple in just a line "vaishya jAti strIvESa dharaNam" -
  16. shrI raHNganAthAya namastE - Ragam Dhanyasi - (This composition is on Lord Ranganathar of Srirangam, who has a pranava roopa vimanam)
  17. JambUpatE mAm pAhi nijAnandAmRta bOdham dEhii - Ragam Yamuna Kalyani - ( This kriti is a part of the Pancha Bhuta Kritis and describes "Jambu nathar" who is the Appu lingam in the Thiruvanakaval temple and this song flows like the river yamuna.)
  18. Pahimam Ratnachala Nayaka - Raga Mukhari - (This was composed when he visits  Rathnachalam also called as Iyer Malai, near Kulithalai. This kriti gives details about the Lord's consort, Aralakeshi and also describes the old customs, which are still followed in the temple - like "The one whose form is bathed in the waters of the Kaveri, brought by the brahmanas"..
  19. MAmava meenakshi rAjamAtaHNgi - Raga Varali - (In this composition on Madurai Meenakshi, who was his dear deity of Srividya upasana, Dikshitar says "mAmava mInAkSI rAjamAtaHNgi mANikyavallakIpANi madhuravANi varALivENi"
    • Goddess Meenakshi is referred to as "Raja Mathangi" - who has a dark complexion and resides in the vishuddhi chakra at the throat - who is invoked for command over speech and knowledge and holds an emerald studded veena.
    • He describes the Goddess as "The one possessing an emerald studded vINa ("mANikyavallakI") in Her hands. The one with a mellifluous voice ("madhuravANi") and the one with dark hued hair ("vENi") that resembles a swarm of bees ("varALi")."
  20. MAmava raghuvIra - Ragam Mahuri - (After this, he goes via Rameswaram to meet his brother Baluswami Dikshitar at Ettayapuram (Sattur). In Rameswaram he composes a rare krithi in the ragam Mahuri - " MAmava raghuvIra " for Ramanathaswami.
  21. AnandAmRtAkarshiNi - Ragam  amRta varshiNi - (A popular anecdote about this raga is that while visiting Ettayapuram, Muthuswamy Dikshitar was anguished to see the drought-hit land and people facing severe water shortage. Moved by their plight, Dikshitar looked up to the sky and burst forth in praise of the goddess in this raga. He requests Devi to bring rain and alleviate the plight of the drought-hit people, and addresses Her as 'Anandamritakarshini, Amritavarshini'. When he sang 'Salilam Varshaya Varshaya', meaning 'let the rain pour', it is said the sky opened up. There was such a torrential rain that the place got flooded. He had then to plead 'Sthambhaya Sthambhaya', meaning 'stop, stop'.
  22. MInAkSi mE mudaM dEhi- Ragam gamakakriyA - (The final song was about Dikshitar's final moments - and a moving one, could see tears rolling down from mine and fellow rasikas, wiping their eyes discreetly, both while listening to the story and the song.. Dikshitar attained samadhi at Ettayapuram on Naraka chaturdashi (Deepavali day, 1835) - He did pooja and has his Ganga Snanam on Deepavali day and asked his students to sing the song "Meenakshi Me Mudam" in the raga Poorvikalyani. As his students sang the lines along with Veena, "Meena lochani pasa mochani" he raised his hands and saying "Sive Pahi" and left his mortal coil..
  

17 January 2013

Yaksha Prashna - Gems of wisdom

Acquisition of knowledge is always through the asking of questions, especially in Hinduism. In the spiritual spheres too, it is questions which have revealed to seers the esoteric truths about themselves and their Maker. An entire Upanishad, the Kenopanishad, is in the form of questions and answers thereto, which teach us all that we need to know about the Lord and His attributes. "Keno" means "to ask"...
 
This story of Yaksha Prashna is from Mahabharatha's Aranya Kanda - Toward the end their 12 year exile, in the quest of mysterious circumstances, the Pancha Pandavas venture to fetch water from a lake. The lake was devoid of any living creature except a crane (Baka) and the crane tells Pandavas that if anyone consumes water without answering its questions, the water will turn into poision killing them - Sahadeva, Nakula, Arjuna and Bheema do not heed and die - Yudishtra, in search of his brothers, answers these questions and finally the Crane reveals itself as Dharmaraj (Yama) in the form of a Yaksha - These are the 18 questions which are a store house of knowledge and termed as Yaksha Prashna..
 
This question and answer session are gems of wisdom which lay framework for Bhagavad Gita, and which have guided the lives of Hindus for a thousand and more years.. May these questions and answers inspire our children to shape their lives too.. Read on...
 
Question No. 1:

Yaksha : Who makes the sun to rise and ascend in the skies? Who moves around the Sun? Who makes the sun set in the horizons? What is the true nature of the Sun and where is the sun established?

Yudhisthira answered: Brahma makes the sun rise and ascend. The Gods perambulate about the Sun. The Dharm sets the Sun. Truth is the actual Sun and the Sun is established in truth only.


 
Question No. 2:

Yaksha : What instills 'divinity' in Brahmins? What is the quality of virtuousity in a Brahmin? What is the humanlike quality of a Brahmin? What is the conduct akin to a non-virtuous person in a Brahmin?

Yudhisthira replied: The self-study (Swadhyana) of the Vedas is divinity in a Brahmin. Penance is the quality like a virtuous person in a Brahhmin. Death is human-like quality in a Brahmin. Criticising others is conduct in a Brahmin like a non-virtuous person.

Question No. 3:


Yaksha asked: What instills 'divinity' in Kshatriyas? What is the quality of virtuousity in a Kshatriya? What is the humanlike quality of a Kshatriya? What is the conduct akin to a non-virtuous person in a Kshatriya?

Yudhisthira replied: The art of archery is the divinity in a Kshatriya. Oblation is Kshatriya's quality of virtuousity in Kshatriya. Fear is his humanly quality. Abandoning people under protection of the Kshatriya is conduct like a non-virtuous person in the Kshatriya.

Question No. 4


Yaksha asked: What is that thing which is like a Mantra in the performance of oblations (Yajnya)? Who is the performer of rites and ceremonies during Yajnya? Who accepts the offerings and oblations of a Yajnya? What is that which even a Yajnya can not transgress?

Yudhisthira replied: 'Breath' is like a Mantra in the performance of rites. 'Mind' is the performer of all rites in the course of Yajnya. Only Shlokas of the Vedas, termed rucha or the richa accept oblation. The Yajnya can not surpass nor transgress the richas.

Question No. 5


Yaksha asked: What is heavier than earth, higher than heavens, faster than the wind and more numerous than straws?

Yudhishthira: One's mother is heavier than the earth; one's father is higher than the mountains. The mind is faster than wind and our worries are more numerous than straws.

Question No. 6


Yaksha asked: Who is the friend of a traveler? Who is the friend of one who is ill and one who is dying?

Yudhishthira: The friend of a traveler is his companion. The physician is the friend of one who is sick and a dying man's friend is charity.

Question No. 7 t


Yaksha asked: What is that which, when renounced, makes one lovable? What is that which is renounced makes happy and wealthy?

Yudhishthira: Pride, if renounced makes one lovable; by renouncing desire one becomes wealthy; and to renounce avarice is to obtain happiness.

Question No. 8


Yaksha asked: What enemy is invincible? What constitutes an incurable disease? What sort of man is noble and what sort is ignoble?

Yudhishthira: Anger is the invincible enemy. Covetousness constitutes a disease that is incurable. He is noble who desires the well-being of all creatures, and he is ignoble who is without mercy.

Question No. 9


Yaksha asked: Who is truly happy? What is the greatest wonder? What is the path? And what is the news?

Yudhishthira: He who has no debts is truly happy. Day after day countless people die. Yet the living wish to live forever. O Lord, what can be a greater wonder? Argument leads to no certain conclusion, the Srutis are different from one another; there is not even one Rishi whose opinion can be accepted by all; the truth about Dharma and duty is hid in caves of our heart: therefore, that alone is the path along which the great have trod. This world full of ignorance is like a pan. The sun is fire, the days and nights are fuel. The months and the seasons constitute the wooden ladle. Time is the cook that is cooking all creatures in that pan (with such aids); this is the news..



11 January 2013

Tulsidas and Hanuman Chalisa

Hanuman Chalisa - "Forty chaupais on Hanuman", a devotional song on Lord Hanuman as the model devotee is one of the most recited slokams in Indian households.

Tulsidas, who was acclaimed in his lifetime as an reincarnation of Valmiki, was the composer of this great slokam. He is best known for the great epic Ramcharitmanas and Hanuman Chalisa amongst other great literary works - Both were composed in the vernacular Awadhi.
 
Legend goes that Tulsidas was born after staying in the womb for twelve months, he had all thirty two teeth in his mouth at birth, his health and looks were like that of a five-year old boy, and he did not cry at the time of his birth but uttered "Rama" instead. He was named "Rambola" - literally, who uttered Rama, as Tulsidas himself states in Vinayapatrika. Tulsidas wrote twelve books and the most famous one is his Ramayan "Ram-charit-manas" —in Hindi. He wrote this book under the directions of Hanuman and this is read and worshipped with great reverence in every Hindu home in North India.The greatest of poets in Hindi and Indian literature, hints at several places in his works, that he had met Hanuman and Rama face to face.

According to this reference, Tulsidas used to visit the woods outside Varanasi for his morning ablutions with a water pot. On the way back, he used to splash the remaining water to a certain tree, which quenched the thrist of a "Preta" or a ghost in that tree, thristy for water! The ghost offered a boon to Tulsidas and he said that he wished to see Rama with his eyes.. The Preta guided Tulsidas to Hanuman, who could grant the boon he asked for. The Preta told that Hanuman comes everyday disguised as a leper to listen to Ramayana in the spot - where the famous "Sankat Mochan" temple at Varanasi stands today. At the beginning of the Ramcharitmanas, Tulsidas bows down to this particular Preta and asks for his grace  in Doha 1.7!