Chaturmasya jnAnArjane saraNi - Madhwa Vijaya (a Gist in English) by Eminent scholars - Sarga 14 Part 2 of 3

October 15, 2009

|| Sri Rama Krishna VedavyAsAya namaha ||

|| Sri Hanuma Bheema Madhwa MunibhyO namaha ||

namaste all,

Please find a brief on sarga #14, 2nd Part today.

You can refer to previous sarga at:

Sarga 14/1 - MadhwaYuvaParishat/message/12002

|| shrI hari vAyu gurubhyO namaH ||

Madhwa Vijaya (a Gist in English) by sixteen Eminent scholars

Sarga 14, Part 2 by Sri C.K. Vasantharama Rao, Delhi

Book edited by Srimushnam V Nagaraja Rao

SRI MADHVA A PRACTICAL PHILOSOPHER AND A WORLD TEACHER

The poetic imagery here is supreme & full of adhyatic namely, seeing the oneness of the Supreme in all His manifestations; inside, outside & everywhere.

Sri Madhva would then partake the Vishnu pAdodaka from the Salagrama with rigor & reference & likewise the other ascetics around, as if abstracting the Punya that would accrue to them after a strenuous twelve year regulated life of abstinence & penance (verse 29). Sri Narayana Panditacharya says in his Bhavaprakashika as follows:

trirAtraphaladA nadyo yAH kAshchidasamudragAH |

samudragAstu paxasya mAsasya saritAM patiH ||

ShaNmAsaphaladA godA vatsarasya tu jAhnavI |

dvAdashAbhdopavAsasya viShNupAdodasevanaM ||

yAni kAni cha tIrthAni brahmANDAMtargatAni cha |

viShNupAdodakasyaite kalAM nArhaMti ShoDashIm.h ||

A charming personality himself, would shine more colorfully with the twelve sacred Namas & the Mudras (mudrA of the Sudarshana Chakra & the Shanka Panchajanya of Lord Narayana on his body, as if proclaiming protection to the good & the wise & causing fear in the wicked, like the twelve blazing suns at the time of the destruction of the world (verse 30).

The mass of people around attracted by his natural grace & saintly qualities would in reverence & with folded hands even before asking , leave the way to the moving column of disciples leading the Acharya to his Ashrama. It is said that DharA Devi the presiding deity of the Earth would bear on her head the waters dripping from Sri Madhva with forbearance (xamA), reverence & pleasure (verse 31, 32).

Sme of the disciples would carry the clean clear & cool water in pots (kamaNDalu) covered with cloth to prevent dust & contamination from the dust & the touch of the hands as the water was to be used by the Acharya for offering Arghyodaka to the Lord (verse 33) . Sri Madhva, the idol of worship of the Devas for his fullness of authoritative knowledge, would then fill the white & clean conch (shanka) with water consecrated with the Parimala dravya, the Tulasi & flowers (as the presiding deitiesSurabha & others would fill the Amritha Kala into moon growing to the full digit & perform Abhisheka to the Saligramas (verse 34).

ABHISHEKA TO SALIGRAMAS

The smooth & black shining surface of the Saligrama would reflect the white conch & the image of Sri Madhva as if giving the appearance of the Lord Sankhapani, the Lord Narayana Himself immanent in the Saligrama (verse 28 )

aparimita manISha syollasat.h sha~NkhabAho ratha charaNi shilAnAM tanvato.atrAbhiShekam.h |

prati tanava udArA stAsvalaM sannidhAtuH tanava iva virejuH pA~ncha janya priyasya || 28 ||

Therefore he would besmear the idol (prathima) of the Lord with pure & pleasing fragrant Chandana & then perform the archana with fresh & tender Tulasi & flowers of varied kind, hue & fragrance; making a real feast for the eyes. The words (vijayalaxmyA mUrtayeveMdideshaM) in stanza 35 appears to suggest that Sri Madhva was doing the puja with or through Sri Mahalakshmi & worshipped Her too as the eternal consort of the Lord Narayana. According to satsampradaya one ought to beg permission of the Nityaaviyogini rama to show him to Lord & to the archana as if she does it through him- a rare aspect of Pooja open to a Vishnu Bhaktha, who is the Daasanu dAsa & acts as prompted by the presiding deity within him (verse 35).

Sri Madhva also Poornapragnya, would perform a faultless pooja comprising the sixteen modes of propitiating the Lord (ShoDashopachAra) & bereft of the so called 32 doshas or aparaadhas (verse 36).

sa dadat.h adhikabodhaH ShoDashA tropachArAn.h vyarahayadaguNAn.h dvatriMsha dAgaH purogAn.h |

agaNita guNamuchchaiH toShayan.h shAr~Nga pANiM ShaDapi parama bhaktyA.anUpachArAn.h didesha || 36 ||

The author of Mandopa kArini draws attention to the sixteen modes in the following words:

SHODASHA UPACHARAH

arghyaM pAdyaM cha AchamanaM madhuparkaM tathaiva cha |

punarAchamanaM snAnaM vasanaM bhUShaNaM tathA || T.S 59 ||

upavItAsane gandhapuShpe vai dhUpa dIpakau |

naivedyaM namanaM chaite upachArAshcha ShoDasha || T.S 60 ||

mukhavAsashcha tAMbUlaM darpaNaM Chatra chAmare |

Shaduke cheti ShaDime.anUpachArAH pare matAH || T. S. 66 ||

The above verses are based on the words of Sri Acharya as found in Tantra Sara Sangraha, Adhyaya 1.

bhuktvA pItvArchanaM daMtakAShThA bhaxyupasarpaNam.h |

maithunAnaMtaraM chArchA shavaM spR^iShTvopasarpaNam.h ||

archAMtare mUtraviShThaviMsargau sAsra bhAShaNam.h |

nIlavastrA vR^itasyAptiH rAjAnnAttirupAga (ha) tiH ||

upa spR^ishyA vidhAnaistu shushrUShorapi ruShTatA |

akarmaNya prasUnArchA rakta kaupIna vastratA ||

nIla vastrairhareH karmavidhiH spR^iShTistamasyapi |

kAmAnusAritA kR^iShNa vastrasya paridhUnanam.h ||

shva spR^iShTiH kola mAMsAttirjAla pAdAshanaM tathA |

upasarpaH pa~Nkile cha chitiM spR^iShvopasarpaNam.h ||

piNyAkAttishchopasartu potrimAMsopapAdanam.h |

upayAturmadyapAnaM kusumbhadala bhaxaNam.h ||

paraprAvaraNagrAha tvaMjanAderakalpanam.h |

puShpAdAne dhUpadAnaM harivoDhurupAnahau ||

abherIhaMturabhyApti rajIrNAnnasya pUjanam.h |

dvAtriMshadaparAdhAstu kathitA gurudoShadAH |

vasuMdharAyai kolena viShNunA prabhaviShNunA ||

ARCHANA WITH BHAAVA PUSHPAS

The worship of the Lord by Sri Madhva was of the highest significance in every respect. Being an adhyAtmavidya adhigata AtmavidyAdhuraMdhara, Sri Acharya would meditate within the temple of his body on Lord Narayana, radiant like the Padma ragamani (aruNa â€“maNivarNaH) seated in the inner recess of the lotus seat of his heart, & perform the Abhisheka with pure Chitta as the waters flowing like a river of Sraddhan (unruffled & unmindful of the outer world) and then adorn the Lord with Bhaava Pushpas (verse 37).

tamaruNa maNi varNaM divya dehAkhya gehe

snapita mati pR^ithu shraddhAnadI chitta vArbhiH |

nanu sa yajati nityaM hR^it.h sarojA sanasthaM

na tu sakR^iditi puShpaiH aShTabhir bhAva puShpaiH || 37 ||

ahiMsA, satyaM, asteyaM brahmacharyA aparigrahaH sauchaM, tuShTiH sarvasamarpaNam.h iti aShTa bhAvapuShpANi ||

ahiMsA prathamaM puShpaM puShpamiMdriya nigrahaH |

sarvabhUta dayA puShpaM xamA puShpaM vishiShyate ||

j~nAna puShpaM tapaH puShpaM dhyAna puShpaM tu saptamam.h |

satyaM chaivAShTamaM puShpamebhistuShyati keshavaH ||

|| iti bhavaprakAshikAyAm.h ||

In this context, the words of the valiant Bheemasena may also be recalled from Mahabharata wherein he says:

ArAdhayAmi maNi sannibha mAtmabiMbaM

mAyApure hR^idaya pa~Nkaja sanniviShTam.h |

shraddhA nadi vimala chitta jalAbhiShekaM

bhAvAShTa puShpa vidhinA harimarchayAmi (mahabhArate)

Thus in Shloka 37, Sri Narayana Panditacharya clearly means as if suggesting the parallel of thought & identify of Sri Madhva & Sri Bheema as it were (verse 37).

Having perfomed the worship of the Lord, Sri Madhva would be applying a layer of pure Hari Chandana on his body & shoulders. After nAma & Akshata, Sri Acharya with his smiling moonlike face & clad in cloth, woven of grass like weeds, would shine as an ornament & an object of pleasure to the Devataas, Munis & men. (verse 38).

Avavanu dEhadoLagiralu hari nelesihanu

Avavanu tholage hari thA tholaguva

Avavanu dEhadA oLa horage niyAmakanu

A vAyu namma kula gururAyanu

- Madhwanama by Sri Sripadarajaru

bhAratIramaNa mukhyapraNAntargata shrI kR^iShNArpanamastu

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