"Bhagavathi Geetha"

[Guest guest]

Dear Bhagavatas

 

On this auspicious Vaikunta Ekadasi day, hailed as "Geetha Jayanthi"

celebrating "Bhagavad Geetha"- the "Song celestial", I felt it appropriate to

celebrate another Geetha - "Bhagavathi Geetha" -the "Song bridal" of Bhoomi

Devi incarnated as NAchiyAr. If Bhagavad Geetha is called "GeethOpanishad",

Andal's Tiruppavai is "GOdhOpanishad".

 

There can be no better time than this because we are in the midst of

celebrating the Tiru AdhyayaNOtsaam of Lord Ranganatha at our very own

"Srirangam of USA" - the "Bhooloka Vaikuntam at Pomona, New York as a humble

dedication to "GOdhA SamEtha Sri RanganAtha".

 

If Sri Andal merged with Lord Sri Ranganatha at Srirangam, let us at least

enjoy immersing ourselves in the great Utsavam held as a prelude to the grand

Samprokshanam of the Sri Ranganatha Temple slated in the first year of the

new millennium.

 

In another sense also, it is appropriate because both the Upanishads proclaim

the secret and efficacy of "SaraNAgathi"- the former in BhagavAn's words and

the latter in Bhagavathi's words.

 

As Swami Desikan has mentioned. "mounAn mukharayanthi GuNAs TvadheeyAh", the

perenniel spring of Anubhavams that gushes forth when we experience the

profound esoteric content of Andal's Tiruppavai , even a mute person like me

feels compelled to place before you a few ramblings on the subject!

 

Though I desired to be a silent reader of the bhAvam filled scholarly and

emotion laden outpourings of our esteemed Sriman Sampath Rangarajan, it is

in deference to his prompting that I venture to offer this series. My

heartfelt thanks to him and also other Bhagavatas who have encouraged me on

this project. Hope you will enjoy.

 

Anything that is correctly stated is due to the grace of my AchAryas, HH.

Srimad Gopala Desika Maha Desikan Swami of Poundarikapuram Andavan Ashramam

and Prakritam HH. Azhagiya Singhar of AhObila Mutt who initiated me into

these studies. All errors of commission and omission are entirely mine and I

seek your indulgence in forgiving me for the same.

 

Dasoham

Anbil Ramaswamy

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An Introduction

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As I commenced writing about Andal, I was so daunted by the explosion of

informational, inspirational and interpretational material gathered over a

whole lifetime

 

(i) from the 'in-camera closed circuit' KAlakshEpams from our AchAryas like

H.H. the Jeeyar, Ahobila Mutt, Srirangam Srimad Andavan (Tirukkudantai) and

Andavan Swami of Paundarika puram Ashramam (both in their Purva ashramam and

after their Sannyasa Sweekaranam ) explaining the inner meanings ,

(ii) from the religious Pravachanams of scholars like Abhinava Desika

Uttamur Swami, Srivtasaangaachar, Santhana gopalachar, Tirukkallam Swami,

Prathivaadi Bhayankaram Swami, Velukkudi Swami and

(iii)) through the more open - ended Hari Katha Kalakshepams of Srirangam

Sada gopachar, Embar, Annaswami Bhaga vatar (with Chapplaakattai, Jalra,

Harmonium / Tamboor, Assistant singer - Pinnpaattukkaarar et al ).

 

It is impossible to cover all of the above due to the vastness of resource

and absolute lack of my capacity, it is proposed to bring to light some of

the nectarine Nirvahams of Poorva and Prakritam Acharyas on the nuances

contained in this masterpiece of spiritual outpouring.

 

While Tiruppavai can be recited in full or on the "One-a-day" basis, it is

difficult to stick to this schedule in a write up like this and may spill

over several postings, may be far beyond Margazhi.

 

Diwali and Holi may be the time for revelry and merriment but the whole of

Margazhi is surcharged with an aura- sober and serene, and an era of

spiritual awakening and awareness.

 

Come Margazhi! In almost all temples in every county of every town or city in

the whole of the Tamil speaking world, the morning air is filled with a

spiritual resurgence, what with the recitation of Tiruppavai (and as a late

and perhaps an 'after- thought addition', of Tiruvembavai also) reverberate

through loudspeakers, broadcasts and telecasts and Bhajans by groups of

devotees moving from street to street in the neighborhood.

 

Regarded as a ' Sunya Maasam' when routine study of scriptures is suspended,

only Tiruppavai is exceptionally allowed. Breathtaking expositions of the

esoteric meanings of the work explained by experts fill the day deep into the

late hours. Students of our religious classes would form into groups to

attend these discourses in various locations and overlapping timings with

tape recorders, notebooks etc (like news reporters), pool the materials and

compare the information in joint studies. That is real and fruitful

utilzation of one's time - REAL Kala Kshepam.

O! How we miss the thrill and joy of these experiences?

 

Tamil literature bristles with love lores employing techniques such as Thoodu

and Madal. Mutholl Aayiram and Sanga literature which depict the

distinguishing feminine aspects as Acham (fear), Naanam (shyness), Madamai

(Innocence) and Payirpu (Exclusive single minded devotion), the physical

changes wrought by the joys of union with and the pangs of separation from

the beloved etc and even Srimad Valmiki's Ramayanam take a back stage in

relation to the portrayal in the Divya Prabandhams which exalt love and

ennoble the soul, combining linguistic, scenic and sense effects and blending

the mundane with the divine.

 

Devotional poetry spontaneously emerging from a God- infatuated heart like

that of GOdha, the sweetheart of Krishna, is sure to contain much more than

what appears on the surface .In Tiruppavai and Nachiar Tirumozhi, generations

of Acharyas and other scholors have been and still are seeing new meanings

and fresh beauties. And, the two provide an inexhaustible goldmine of such

delectable material and an incomparably rich fare.

 

What is said of Valmiki applies with equal force to Godha -.

"Tad Upagatha Samaasa Sandhi Yogam, Sama Madhuropana Artha Vaakhya badham"-

For her, the words fall in place so inimitably, that you cannot alter even a

comma or a semicolon without damaging the beauty and style of poetry or the

depth and sense of the sentiments expressed.

 

We are simply carried away by the torrential flow of Nachiyar's expressions

into the unfathomable depths of her love; She not only loved but she also

wedded the Lord. Nachiyar sways our emotions so much that -

- - when her heart throbs, our hearts throb too in unison!;

- - when her mind melts, our minds melt with empathy!;

- - when she entreats the Lord, we entreat too!;

- - When she enjoys the Lord, we share the enjoyment equally!

Here was an Andal; Where comes such another?

 

Godha indeed stands out as the outstanding exponent of bridal mysticism and

in this is regarded as setting a model for the Alwars themselves. Unlike the

other Alwars who were all males and had to simulate a ' Nayaki bhava' (the

role of a lady love), since she was herself a woman, the bhava came to her

naturally. Her only ambition was to marry Lord Ranganatha.

 

While Nammalwar's four works are said to be the essence of the four Vedas,

these 30 verses of Andal constitute the very seed of ALL the Vedas (vEdam

anaithukkum vithu Aagum)

What it does?

It can destroy all our sins (pAthakangal Theerkkum);

It can show us the way to Moksham (Paraman aDi kATTum) -

all in simple, chaste, Tamil.

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To Continue

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