Guest guest Posted June 30, 2006 Report Share Posted June 30, 2006 Srimate SrivanSatakopa Sri Vedanta Desika Yatindra Mahadesikaya nama: The Fatal Attraction It is only last week that my wife and I visited this old gentleman, who is confined to bed. Yet, the desire to see him again grows every moment. It is not as if he is in the same town, so that we could visit him at will. He is located at a seven-hour journey from Coimbatore. During the last visit, we did have a long and extremely satisfying audience and thought that the experience would last us at least six months, till we met him again. However, from the moment of parting, the desire, nay, the yearning to see him again is growing by the minute and we have been reduced to the level of a junky, craving for a dose of his regular 'fix'. We keep telling ourselves that it is the same old gentleman whom we met just a week before and that he would look no different from the last time. Yet, our mind refuses to listen, prompting us to undertake a visit again, at considerable effort, expense and time. And we do not know whether if we did visit him again soon, it would be the end of it. In all probability, we would end up traveling all week- ends to make this seven-hour journey and back, and God knows where it is all going to end. He pulls us from this distance like a magnet and we end up dancing like mere puppets to his tunes, making visit after visit and yet returning only partially satisfied each time. You may wonder whether such a thing is at all possible and whether the companionship of a person, however close he is and however scintillating his company, would not pall after a length of time. For instance, when we meet a dear friend whom we have not seen for years, we exchange pleasantries with him and catch up on all the old gossip. However, after all this is done, there is a definite lull in the conversation and thereafter, we feel we have had enough of his company, at least for the nonce. Economists say that the more you have of a thing, the less you would want to have more of it (The Law of Diminishing Marginal Utility). This would definitely apply to human company too. Given the aforesaid law, you would wonder whether my wife and I are indeed correct in finding this old gentleman's company infinitely attractive, despite any number of visits to him. However, even the economists agree that there are a few honourable exceptions to the rule. It is in this exceptional group that our elderly and bed-ridden host would fall. If you analyse what exactly makes us bored with a particular thing or person, you would arrive at the conclusion that it is the sameness, the unchanging attitudes, words and opinions, that make a person's company less and less desirable, the more and more we have of it. If our friend were to be different every time we meet him, crack different jokes instead of repeating the vintage ones in his repertoire, look, feel and behave differently during every encounter, we would perhaps be constantly enamoured of his company. It would be as if we were meeting a new person every time and not merely the same old friend we have known for a long time. Thus, if a person were to be constantly new in all his facets, displaying different traits (all pleasant ones, of course-we do not want a Dr. Jekyll and Mr. Hyde syndrome) all the time, we would definitely crave his company and be sad at every parting, however brief. This, precisely, is what is happening to my wife and me. Obviously, we two are not the only ones to be mesmerized by this gentleman, for, much greater persons than us, infinitely wiser and more devout, have called Him "Aaraavamudan"-the nectar that one never feels satisfied with, however much and however frequently one imbibes it. Even the famed nectar (Amutham) that was obtained after much effort from the Milky Ocean, would pall and taste sour, but not this Amuthan, who is an "Aaraada Arul Amudam". Those who have visited Saarngapaani at Kumbakonam would swear to it that He appears ever new to them, during every visit. "Navo navo bhavati jaayamaana:" says the Shruti, telling us that Emperuman appears newer and newer during each of His sojourns on earth, displaying forms, traits and exploits hitherto unseen and unheard of. Positive proof of this statement is to be found at Tirukkudandai, where Aaraavamudan reigns supreme, regaling His visitors with His unblemished and unfading beauty that puts different facets on display, every time we visit Him. Without in any way intending any offence to Emperumans at other divya desams, we could safely declare that there is none as beautiful, none as appealing, none as enchanting and endearing, as Aaraavamudan. Even a brief look at His sparkling visage would reveal to us the truth of this statement. His countenance is brilliant, totally without blemish, with cheeks that have a slight hint of chubbiness about them. On His coral lips plays a half-smile ("Punmuruval") indicating His pleasure at seeing us. The broad forehead is adorned by a scintillating green gem, triangular in shape and fitting perfectly. The face, hands and feet are awash with brilliance, putting beaten gold to shame. This is what prompts Sri Nammazhwar to exclaim "Aani sem pon meni Endaai". His complexion is slightly reddish, the colour of red gold, the sort you might not have witnessed at any other abode of the Lord. Unlike the other Emperumans who hold two, three or at best four weapons on their hands, Aaraavamudan holds all the Panchaayudhaas-the Divine Discus, the Cosmic Conch, the Magnificent Mace, the Sword Nandakam and the Beautiful Bow Saarngam-in His hands. It is the Saarngam that gives Him His tirunaamam at this divyadesam and which He sports stylishly in His hand. On His glorious head is a tall and diamond-studded Kireetam, with a glowing green gem as its centerpiece, declaring to all that here is the Supreme Lord, the Parabrahmam from which all beings emanate, by which they are sustained and to which they return at the time of the cosmic deluge. The eyes are broad and beautiful, filled with mercy and tolerance. One palm is held out in the "Abhaya Mudra", extending an assurance of absolute protection to all. In tune with the rest of His tirumeni, the feet too are a glorious pair, resembling glowing golden lotuses ("Swarnaamboja pratimam"), providing asylum to all those who surrender. It is these feet that capture the imagination of Tirumazhisai Piran, whose heart cries out at the pain the divine tiruvadi must have tolerated when they walked thousands of miles from Ayodhya to Lanka during Ramavataram, all over forest, hill and dale, going behind cows during Krishnavataram and in measuring the entire worlds during Trivikramaavataram. And Aaraavamudan adorns Himself head to foot with a plethora of gold and diamond ornaments, adding to His natural effulgence, dazzling viewers like a huge heap of lustrous gems, which prompts Kalian to call Him "Kudandai meya kuru mani tiral". And the combined effect of it all takes your breath away, rivets your attention to the glorious Lord before your eyes and affords you infinite pleasure that makes you wish never to take your eyes away-"drishtvaa drishtvaa bhajati na cha me lochanam tripti lesam" as Sri Tirukkudandai Desikan says. The Moola Moorthy reclines regally on a soft snake bed. Unlike other sayana moorthies elsewhere, this Lord appears as though He is about to get up-"Utthaana Sayanam.". Proving yet again that He loves to be ordered about by His devotees, Saarngapaani almost rose up from His bed in response to Sri Tirumazhisai Azhwar's command, "Kidandavaaru ezhundirundu pesu vaazhi Kesane!" (Do rise and shine and do speak to me). His long thighs and legs, resembling the trunk of a magnificent tusker, are encased in soft and supple silk, while the broad and beautiful chest sports several strands of gold and pearls, apart from its regular and constant adornment, Sri Mahalakshmi. Sri Devi and Bhoodevi are to be seen on either side of the Lord, in postures of devotion. River Gods are also seen paying obeisance to Saarngapani. Sri Komalavalli, the Lord's Consort, is predictably no less glorious and enchanting. It is this boundless beauty that makes devotees swear that if it is exquisiteness that they are looking for in the Lord, they would find it only at Kumbaghonam-"Kalaikan attraarai urukkum maadhuryam Kudamookkile pravahikkum". Most of the Lord's forms in wood, stone and metal at various divya desams have been established by Devas, Siddhas, Rishis and great men-these are respectively known as Daivam, Saiddham, Aarsham and Maanusham. Unlike these, at Kumbhaghonam, the Lord, as well as His Consort, manifested on their own, making it a Swayam Vyakta kshetram, on par with Srirangam, SriMushnam, Tiruvenkatam, Badarikaashramam, etc. It is not only the Lord who is enchanting here-even His abode is extremely beautiful and artistic. The Gopuram is tall, imposing and magnificent, packed closely with beautiful figurines. The sanctum is shaped like a huge chariot with wheels, drawn by life-like elephants and horses, all apparently in motion, with sculptures of the ten principal avataras carved in panels all round. Another distinguishing feature of this beautiful temple is that the sanctum sanctorum has two entrances, each with nine steps-one used during Dakshinaayanam and the other during Uttaraaayanam-a feature you may not find at any other divya desam. The canopy under which the Lord rests is known as the "Vaidika Vimaanam", while the temple tank is called "Hema Pushkarini" or the Pottraamarai Kulam. As at Srirangam, the Kaveri and its tributary, Arasalaaru, form a grand garland by flowing on either side of the town. And the town where the Lord has made His wonderful abode, Kumbhaghonam, has its own glory. It is called "Bhaaskara Kshetram", the place where the Sun god regained his brilliance after long penance directed at Sri Saarngapaani. Puranas tell us that sins committed at other places can be washed off by residing at and performing good deeds at holy places. What if we are hardy enough to commit sins at holy places? Then it is to Varaanasi (Kaasi) we must go, for residence and a dip in the Ganga, to wash off our baggage. For those incorrigible souls who commit sins even at Varanasi, a residence at Kumbhaghonam is prescribed for atonement and propitiatory rites. You can imagine how holy this kshetram is considered to be, if it is capable of destroying sins contracted at even a centre of spirituality like Kaasi. What if you commit sins even at this holiest of holies, Kumbhaghonam? You don't need to go anywhere else for expiation, but residence at Kumbhaghonam, a bath in the Kaveri and worship of Aaraavamudan would cleanse you of all impurities and confer eligibility for emancipation. Here is the slokam from Sesha Dharmam, which highlights the sanctity of this sacred abode of Saarngapaani- "Anya kshetre kritam paapam punya kshetre vinasyati Punya kshetre kritam paapam Vaaraanasyaam vinasyati Vaaranasyaam kritam paapam Kumbhaghone vinasyati Kumbhaghone kritam paapam Kumbhaghone vinasyati" Even you search the three worlds, you would be unable to find a place holier and more sacred than Kumbaghonam, we are told-"Tasya vai sadrusam naasti trishu lokeshu saampratam". The place is not only holy, it is prosperous too, in all senses of the word, says Sri Tirumangai Mannan-"Selvam malgu ten tiru Kudandai". Just like "Seer malgum Aayppaadi attained its glory due to association with Sri Krishna, Kumbaghonam too prospers because of the presence of Aaraavamudan. Not only is Kumbhaghonam holy, its residents too are endowed with goodness and fame, as can be made out from Sri Nammazhwar's words, "nalatthaar mikkaar Kudandai:, "vaazh tol pugazhaar Kudandai" etc. `From two of Sri Kalian's pasurams, we get the impression that it is only repeat only Tirukkudandai and Aaraavamudan whom we should worship-"Soozh punal Kudandaye tozhumin". The "ye" after the word Kudandai indicates an exclusive emphasis and points to Kalian's conviction that it is the Lord of Kudandai and none other, whom we should adore and adulate. Sri Parakala places similar emphasis while telling us how and where he obtained the priceless treasure of the Ashtaakshara Mantram-" Kudandaye tozhudu naavinaal uyya naan kandu konden Narayana ennum naamam". And it is extremely significant that Tirukkudandai is the very first divya desam to be venerated in Periya Tirumozhi, in the ten pasurams beginning with "Vaadinen vaadi". It is only the traditional devotees of Aaraavamudan who receive a hero's welcome at the gates of Sri Vaikunttam, according to Sri Nammazhwar, who too resorts to such emphatic words to denote the primacy of this Emperuman-"Kudandai em Kovalan kudi adiyaarkke"-readers may note the"e" at the end of the sentence, which again is for emphasis, indicating that if one wants to be welcomed into Paradise, then it is Sri Saarngapani they must pay obeisance to and none other. And when you do reach Sri Vaikunttam, what can you look forward to attaining there? It is Aaraavamudan again whom we would find at the ultimate destination, affording us infinite bliss, says Sri Tirumangai Mannan-"Teraar nirai kadiron mandalatthai keendu pukku, Aaraavamudam angu eidi" A mere glimpse of the Lord reclining here in His supple snake bed is enough to rid of the gravest of sins, says the Sesha Dharmam- "Brahmahatyaadaya: ghoraa: mahaa paataka raasaya: Kumbhaghone sayaanasya Vishno: nasyanti darsanaat" This is what Sri Nammazhwar refers to, when he declares, "Teeraa vinaikal teera ennai aatkondaai Tirukkudandai ooraa!" A unique feature of this Emperuman is His names. He is adulated as the Nectar that never palls, the Amudam of which you can never have enough. The more you drink Him in, the greater is the yearning for more of Him. He is hence known as "Aparyaapta Amrita:", a Sanksrit equivalent of Aaraavamudan. None has been known to say, "I have had enough of this Lord", the desire to see Him and be with Him increasing with every encounter. Another beautiful name, unique to Aaraavamudan and with which no other Emperuman is favoured, is "Aazhwan"-He is affectionately called "Aaraavamudaazhwaan". We wonder why the Lord, who is the object of adulation of all Azhwars, should be called by the sobriquet commonly bestowed on His devotees. It is not without reason that Emperuman became an Azhwaan too. Due to their antiquity and due to the negligence of Vaishnavas, the Divya Prabandas, lovingly composed by various Azhwars as verbal garlands for the Lord at various divyadesams, had all but disappeared from popular usage. Things had come to such a pass that by the time of Sri Nathamuni, the principal protagonist of our Sampradayam in this era, most Vaishnavas were not even aware of the existence of the Divine Four Thousand. One day, when Sri Nathamuni went from his village Kaattu Mannaar Koil to Tirukkudandai for worshipping Sri Aaraavamudan, he found a group of Sri Vaishnavas reciting eleven beautiful Tamizh verses, sweet beyond measure and extremely profound in purport. The paasurams began with an extremely evocative call to "Aaraavamude!", concluding with "Kuzhalin malia sonna Or aayiratthul ippatthu"-ten verses out of a melodious thousand. Reaching the height of rapture at the sound of these paasurams, Sri Nathamuni found from the concluding verse that these were not the only ten, but were only part of a huge compendium of a thousand verses. Blissful at the thought of having found a treasure trove of eulogies, when Sri Nathamuni enquired from the visitors about the verses, their number and where the rest could be located, they pleaded ignorance as to the rest of the 990 songs. Driven by a consuming desire to unearth these lovely lyrics, Nathamuni traveled far and wide in his quest for the thousand verses. And when he arrived at Tirukkurugoor, the birth place of Sri Nammazhwar, he was told by a descendant of Madhurakavi Azhwar that Sri Nammazhwar could be propitiated by the recital of "Kanni nun Sirutthaambu", a poem dedicated to Satakopa Muni. Sri Nathamuni sat in penance under a great tamarind tree (which was reputed to have been the abode of Sri Nammazhwar when he inhabited this earth briefly) and recited Madhurakavi's composition 12000 times with great devotional fervour. Pleased at the devotee's perseverance and penance, Sri Nammazhwar appeared before Nathamuni and gave him the invaluable treasure of four thousand verses comprising the outpourings of all Azhwars. Receiving these with gratitude, Sri Nathamuni returned to Kaattu Mannar Koil and spent the rest of his pious life in setting the verses to music and propagating them through his disciples, Melayagatthu Azhwan and Keezhayagatthu Azhwan. Since it was the pasurams on Aaraavamudan that led to the rediscovery of the lost treasure of Tamizh marai, He is afforded a status equal to that of the original composers (Azhwars) and called affectionately as Aaraavamudaazhwaan. This is no mere old wives' tale-in commemoration of this episode, the naamaavali of Aaraavamudan used during archana includes a beautiful name-"Draavida Shruti Darsakaaya nama:", indicating that it was indeed Saarngapaani who enticed Sri Nathamuni to Tirukkudandai, for the express purpose of inspiring him to recover and propagate the Divya Prabandas. Another reason too is ascribed for Emperuman bearing the name "Aazhwaan". The Lord's relationship with Tirumazhisai Azhwar was so close that it was difficult to discern at times as to who between them was the master and who the devotee. "Aazhwar" is a name to given to those who are immersed in the Lord and His attributes. Since Aaraavamudan of Kumbhaghonam appeared immersed, nay drowned, in the enchanting attributes of Sri Tirumazhisai Azhwar, Emperuman came to be known as Aazhwan, and paradoxically, Tirumazhisai Azhwar was given the sobriquet, "Piraan" (an appellation normally referring to the Lord) indicating supremacy. Thus the actual Piran became Azhwar and the real Azhwar became Piran. It is indicative of His soulabhyam and devotees' absolute control over Him that He is not even called "Azhwar" honorifically, but merely as "Azhwan", with an endearing informality. Seven Azhwars out of twelve have lost themselves in the boundless beauty of Aaraavamudan and devoted around 51 nectarine verses to this Emperuman. Sri Nammazhwar has devoted an entire lot of 10 pasurams, beginning appropriately with "Aaraavamude!". More than any other, it is these ten verses that can be acclaimed as a guidebook for surrendered souls. First and foremost, "Ananya gatitvam" or the indispensable characteristic, of seeking relief and refuge from none other than Sriman Narayana, is emphasized in these pasurams. "Unnaal allaal yaavaraalum ondrum kurai venden" says Sri Nammazhwar, spurning succour and safety from any source other than the Lord. He reiterates this in another verse too-"Kalaivaai tunbam, kalayaadu ozhivaai, kalaikan mattrilen". Azhwar declares to Aaraavamudan-"I have been appealing to You for long, for relief from my mundane travails: You, however, have so far turned a deaf ear to my pleas. Whether or not You decide to help me out of this samsaara, I shall seek solace from none other than You. Like a chaste wife, who knows none other than her husband, even if he is indifferent to her, I too am wedded to you forever and shall look only to You for relief, support and liberation." However, having declared his intention thus, Azhwar is overwhelmed by desire for Aaraavamudan and demands immediate reunification with Him, not prepared to tarry even a moment more in his mortal coils-"tariyen ini, un charanam tandu en janmam kalayaaye". This nectarine Lord is sweet not only to our external senses like the eye, ear and the nose, but provides an incomparably pleasurable sensation all over, inside and out and in the soul too-"Aaraavamudaai adiyen aavi agame tittippaai". And the mere sight of this Emperuman is enough to make even stone-hearted specimens like us melt down, we are told-"Neeraai alaindu karaya urukkugindra Nedumaale!". It is only the Lord's holy feet that form an eternal refuge for us mortals, declares Azhwar-"Peycchi mulayoodu avalai uyir undaan kazhalgal avaye sharanaaga konda Kurugur Satakopan". During his blissful interaction with Aaraavamudan, Azhwar reserves some of his choicest sobriquets for this Lord: for instance, against the norm of Emperuman being black, here is a Lord who is sparklingly white, says Azhwar-"En Vellai Moorthy!" He is a mighty and magnificent bull, handsomeness personified-"Ezhilere!". His tirumeni is effulgent as fire-"Eriye!" and as beautiful as a mountain of coral-"Pavala kundre!". He is capable of acts considered impossible for others and wears a shroud of mystery, hiding Himself from those who lack devotion-"Maamaaya!" He is the undisputed chief of all celestials-- "Amarar talaivar talaiva!" and the primordial cause-"Aadi peru moorthi". If such is the delight of the sober Sri Nammazhwar, the more flamboyant Sri Tirumangai Mannan is no less infatuated with the Lord of Kudandai. His enchantment finds expression in a unique composition known as Tiruvezhukoottrirukkai, in which the numbers one to seven are used in straight and reverse order, in a formation resembling a beautiful pyramidical chariot. This is an extraordinary type of Prabandam, involving the drawing of a Chariot-like figure with a top half and a bottom one, both triangular. The resulting structure is somewhat akin to the "Pascal's Triangle" that mathematicians are fond of speaking of airily. Here is a small sample of the beautiful arrangement of words in Tiruvezhukootrirukkai-- "oru perundi-iru malar tavisil-oru murai Ayanai eendranai 1 2 1 oru murai-iru sudar meedinil iyangaa-mum madhiL ilangai---irukaal valaya-oru silai 1 2 1 2 3 2 1 ondriya--eereyettru azhal vaai--moovadi--naanilam vendi--muppuri noolodu--iru pirappu 2 3 4 3 2 oru Maan aagi 1 oru murai-eer adi-moovulagu alandanai-naal disai nadunga-anchirai paravai eri- 1 2 3 4 5 naalvaai mum madattu-iru sevi-oru tani vezhatthu arandayai" and so on. 4 3 2 1 Readers would observe how cleverly the Divine Poet has effortlessly employed words representing numbers, either in purport or in sound, and woven all these into an enthralling garland of words, that is at once lilting in metre, profound in purport, brimming over with Bhakti and matchlessly magnificent in composition. This Tiruvezhukoottrirukkai belongs to a poetical form known as "Chitra Kavi", refreshingly different from run-of-the-mill verses and appealing to the intellect as well as the heart. Not surprisingly, this Prabandam is recited during the Rathotsavam at several divyadesams. And the beauty of this paasuram is to be heard to be believed, especially when intoned in unison in the at once melodious and stentorian voices of the venerable Ghoshtti. Even the most reticent of Azhwars, Sri Tiruppaanaazhwar, with just ten paasurams to his credit, has sung Aaraavamudan, swear the devotees of Saarngapaani. "En Amudinai kanda kangal mattrondrinai kaanaave" definitely refers to Aaraavamudan, say these bhaktas, notwithstanding the preceding phrase, "Andar kon ani Arangan". Azhwar, having had an extremely fulfilling and glorious glimpse of Aaraavamudan, has eyes for none else, attesting to the boundless and bewitching beauty of this Emperuman. Azhwars have reserved some extremely evocative sobriquets for this Emperuman- "Kudandai em Kovalan, Tan Kudandai kidanda Maal, Kudandai meya kuru mani tiral, Kudandai kidanda Kudamaadi" etc. Given the fact that all Azhwars have enthused over Amudan, is it not strange that none of the Poorvaachaaryas have composed any eulogy on this Emperuman? Sri Ramanuja, Sri Koorattazhwan, Sri Bhattar, Swami Desikan-all these Acharyas have authored innumerable and prolific paens of praise on Sri Rangaraja, Sri Varadan, Sri Tirumalayappan and Lords at other divya desams, but not on Aaraavamudan. Perhaps they felt they could not add a single word to what the Azhwars had poured out in all their devotional eloquence. Perhaps they felt so overwhelmed by Amudan's enchanting tirumeni and auspicious attributes, that they were rendered speechless when standing before Him, unable to pour out their hearts as they did before other Emperumans. Whatever the reason, the fact remains (I am subject to correction here) that none of the Poorvacharyas aapear to have eulogised this glorious Empruman. This apparent omission must have rankled in the devout mind of Srimad Azhagiasingar (30th Pontiff of Sri Ahobila Matham), who graced the Peetham almost two centuries ago. This Yati was extremely devoted to Aaraavamudan and submitted to Him a pair of golden covers for His holy feet, that adorn Amudan's tirumeni till date. Not satisfied with offerings of mere gold, Srimad Azhagiasingar also submitted to Amudan a more sparkling and scintillating garland in the form of a verbal tribute titled "Aaraavamudan Mangalaasaasanam", consisting of 11 beautiful verses. Another great Acharya who has composed stotras on Amudan is Tirukkudandai Sri Gopaalaarya Mahadesikan, whose verses drip with devotion and are sweet to the tongue and the soul. His "Aparyaaptaamruta Dhyaana Sopaanam" (modelled closely on Swami Desikan's Bhagavat Dhyaana Sopaanam) giving a glorious head-to-foot description of this Emperuman and the equally beautiful "Aparyaaptaamruta Mangalaasaasanam" are a delight to the discerning devotee. There is also a Aparyaaptaamrita Suprabhaatam, while another enchanting composition is the "Komala Dandakam", eulogising the Divine Mother and Consort of Sri Saarngapaani. We have heard of Emperuman doing so many things for His devotees. But what we hear of at Kudandai tops it all. We are told that Sri Aaraavamudan performs Shraaddham annually to one Lakshmi Narayana, on the Deepavali Amavasya day. This Lakshmi Narayana was no ordinary person-not merely was he an ardent admirer of Aaraavamudan: the grand and majestic tower gracing the temple's entrance is his contribution, truly reflecting the height, breadth and depth of his devotion. When he died without issue, the Lord took it upon Himself to perform the last rites of His devotee, through an archaka. And ever mindful of His duties, He continues to perform the annual shraaddham for this sincere votary, to this day. Sri Lakshmi Narayana's sculpture with folded hands adorns one of the pillars in the praakaaram. One more unique feature about this sannidhi is that on a particular day in Margazhi, the Lord dons female attire and ornaments, while His Consort sports a masculine garb. It is a treat to witness this reversal of roles and one must admit that the Divine Duo very much looks the part they play. Apart from all the beauty and bounties you find at Kumbhaghonam and at the Saarngapaani Sannidhi, one thing that appeals most to you is the absolute peace and serenity that you experience, while standing before Amudan. Though situtated plumb in the middle of the congested town, Aaraavamudan's abode is somehow insulated from all the hustle and bustle-once you enter the temple, you feel transported to a haven of tranquility and quietude. There is no pushing and jostling among devotees, nor repeated appeals from the temple staff to move on. You can stand for as long as you please before the Lord, have your eye-fill of Him, store His snapshot in your mind's eye for leisurely contemplation and converse with Him all you want. I warn you, however: if you go once, you are hooked and would be unable to resist repeat visits. He does something to you that makes you wish to return again and again, whatever be your station and priorities in life. "Ennai en seigindraai"-"What are you trying to do to me!" is Sri Nammazhwar's plaintive cry, for he too has not been proof to Aaraavamudan's attractions. If you think about it and study the expression on Amudan's face deeply, you find that it is not only you who are sad at the parting and mad after reunion-He too feels the same way. He is extremely glad to see us all and is esctatic in our company. However, when it is time to part, you can really see a wistful look in His eyes, as if wishing we would stay longer and visit more often. Well, it is time to end this piece, as my wife and I are preparing to leave for Kumbhaghonam. Srimte SriLakhsmi Nrisimha divya paduka sevaka SrivanSatakopa Sri Narayana Yatindra Mahadesikaya nama: dasan, sadagopan Quote Link to comment Share on other sites More sharing options...
Guest guest Posted July 2, 2006 Report Share Posted July 2, 2006 > - > "rajalakshmij2000" <rajalakshmij2000 > > <Oppiliappan> > Saturday, July 01, 2006 5:32 PM > Re: The Fatal Attraction > > > Srimate SrivanSatagopa SriVedanta Desika Yatindra Mahadesikaya Namaha > > 'Kumbukone kritam papam Kumbukone vinasyathi' > How about the person born in Kumukonam ? > Are they absolved of all sins too ?! > > You are right about the tranquility inside the temple . > You can feel the 'cool'ness even as you enter . > ' ennai AtkonDa ThirukuDandhai OorAa' > Dasosmi Rajalakshmi J > Oppiliappan, sadagopaniyengar wrote: >> >> Srimate SrivanSatakopa Sri Vedanta Desika Yatindra Mahadesikaya > nama: >> >> >> >> The Fatal Attraction >> Quote Link to comment Share on other sites More sharing options...
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