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

October 16, 2009

|| Sri Rama Krishna VedavyAsAya namaha ||

|| Sri Hanuma Bheema Madhwa MunibhyO namaha ||

namaste all,

Please find a brief on sarga #14, 3rd Part today.

You can refer to previous sarga at:

Sarga 14/1 - MadhwaYuvaParishat/message/12002

Sarga 14/2 - MadhwaYuvaParishat/message/12173

|| shrI hari vAyu gurubhyO namaH ||

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

Sarga 14, Part 3 by Sri C.K. Vasantharama Rao, Delhi

Book edited by Srimushnam V Nagaraja Rao

SRI MADHVA A PRACTICAL PHILOSOPHER AND A WORLD TEACHER

SRI HARI PRASADA

Sri Madhva, an adept in Veda, Pravachana & the foremost Bhaktha of the Lord Narayana, always thinking â€œMay the Lord be pleased.â€ Partakes the Paramaanaa the consecrated food offered to the Lord as Naivedya. (verse 39).

parabhatha paramAnnaM prAptamevAprayAsaM

prabhuriha bubhuje.asau veda vAda pravINaH |

ajita parama bhaktaH santataM manyamAnaH

sakala jagadadhIshaH prIyatAM sauririttham.h || 39 ||

The following words of Sri Madhva seem to ring in our ears here :

bhu~njIta hR^idgataM viShNuM smaran.h tadgatamAnasaHâ€

After Mahapuja, Sri Madhva would adorn a seat in the assembly of the poets & revel in discussions in the realm of Veda Shastra, giving answers as pleasingly as in sport. The word nAnAhR^idya vidyA vilAsa in shloka 40 also means the poetic flight in ecstacy in the exposition of the varied aspects of Sri Hari Leela the cherished thing to Sri Madhva. The words of Sri Madhva in the Sadachara smriti are crisp to the point in this regard.

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vedashAstravunidena prINayan.h puruShottamam.h |

ahashsheShaM nayetasaMdhyAmupAsItAtha pUrvavat.h |

sadAchArasmR^itiH

A pet Shishya eagerly looking at the brow of the Acharya for command & understanding him would with bright face & open eyes, whisper into his ears with hands in front of his mouth (verse 41).

In that assembly, many householders eagerly competing for his Dharshan & grace would crowd together to offer their pranamas ( verse 42).

Several persons having heard about the greatness of Madhva would gather together in curiosity & see for themselves with hands shutting their mouths in wonder, the abiding qualities thousand fold more than what they heard before his dharshan & Sri Madhva would request them to e seated. (verse 43). A leading Shishya would call attention of all the others to stop their literary exercises (anuvAda & chethana) as the â€˜Vishwa Guru would now be giving his discourses (verse 44).

The people with eyes fixed on the Poornapragna & hearing him, would feel as though the GnyAnisreshtha Lord Veda Vyasa, the son of Satyavathidevi was speaking to them & would not notice the passing of time (verse 45). Like the glowing disc of the sun remaining unchanged both in the morning & in the evening & like the developed souls (Atmaprakashi ) to whom the Lotus feet of the Lord are the refuge & who remain unruffled in moments of happiness or difficulty, Sri Madhva was ever shining in the assembly of saints, scholars & poets (verse 46).

A PEN PICTURE OF THE SUN SET

In shloka 47, we get a fine poetic imagery of Sunset which is superb in quality & life like & bears the touch of a Mahakavi (verse 37 ).

marakata maNi varNe bhUta dhAtrI purandhradya

lasati jaladhi vAsa syardha lInaH xaNArdham.h |

aruNa taraNi bimbachChadmanA padmarAgaH

kapisha karakalApo llAsya bhUt.h prexaNIyaH || 47 ||

The earth (Prithvi) full of jewels like a lady looking blue, like the Indra Neelamani & half clad with the sea around reflecting the sun with his reddish disc of rays like the Padmaragamani is a magnificent & beautiful description. (verse 47).

Sri Madhva, being Poornapragnya would in Samadhi Avastha, meditate on the Lord, who is the embodiment of the Kalyana gunas, devoid of all blemishes, & who is Gnananandamaya (all knowledge & all Ananda) as the Supreme Being & different from the five elements (Panchabhutas) namely, Earth (pR^ithvI), Water (ap), Agni, Air (vayu), Space (Akasha), different from the Ego (ahaMkAratva) & the Mahat Tatva, the triple gunas of the jadaprakR^iti) namely the Satva, Rajas & Tamas & pervading the Universe in & out (avyaktAkAsa vyApta) as yet the one in all his manifestations (vyaktAvyakta bimba vibhUtyAdi rUpANi) & totally different from the world of the Sentients (chetana) & the achetana or jaDa (verse 48). This in fact is the essence of the philosophy of Sri Madhva which

he declares in Tatvasankhyana: -

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svatantramasvatantraM cha dvividhaM tatvamiShyate |

svatantro bhagavAn.h viShNuH bhAvAbhAvau dvidhetarat.h ||

tatvasaMkhyAna

Gita also says:

bhUmirApo.analo vAyuH khaM mano buddhireva cha |

ahaMkAra itIyaM me bhinnA prakR^itiraShTadhA || 7-4

etadyonIni bhUtAni sarvANItyupadhAraya | 7- 6

mayAdhyaxeNa prakR^itiH sUyate sacharAcharaM || 9- 10

THE SANDHYAA KAALA

Brahmanas who are also the masters of Dharmashastras would, during the SandhyakAla,(just before sun-set & the appearance of the stars) perform their obligatory prayers to the Lord Suryanarayana, the protector of the three worlds (verse 49). The Dhyana shloka runs as follows & is enjoined for all the Vaishnavas.

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dhyeyaH sadA savitR^i maNDala madhyavartI nArAyaNaH sarasijAsana sanniviShTaH | keyUravAn.h makarakuNDalavAn.h kirITI hArI hiraNmaya vapuH dhR^ita sha~NkhachakraH | prodyadAditya varNAbhaH sUryamaNDala madhyagaH | chakra sha~Nkha dharoMkastha dordvayo dhyeya eva cha ||

saMdhyopAsanavidhiH

The Agnihotriâ€™s (those who give oblations to the Supreme Lord & the sixteen Devataas commencing with Rudra & ending with Indra) would also perform their homas in the sacred fire with the Gayatri mantras in propitiation of the devatas, for the attainment of the Gayatri Loka of the Lord & eventually through dedication to the Lord, the final liberation (moksha) verse 50.

THE CALM AND PEACEFUL NIGHT

Then the full moon the object of Ananda to the consorts of devatas moving in the skies would rise with his disc like the beautiful face of blemishless Sri Lakshmi (verse 51). In the night, the Chakravaaka (a bird) & the Padma (lotus) would feel sorry for the separation from the Sun & the Chakora (a bird) & the Kunda (blue flowers) although having been scorched by the heat of the day, would feel pleasant by the touch of the cool rays of the moon. The ways of destiny are such that they are not always pleasing to one & all. This Shloka (verse 52) embodies a subtle idea of the difference in the living entities & their reactions to surroundings which are perpetual like the night & day. (verse 52).

In the next three stanzas (53 to 55) forming a kulaka, a type of poetic composition common to Mahakavyas, the poet Narayana Panditacharya seems as if to give a finish to the Sarga with his praise of Sri Madhva & of Lord Sri Krishna. The poetic imagery & comparisons are superb for the Sahitya rasikas to enjoy. Both the Moon & Sri Madhva are said to be resplendent but with a difference. The Moon would reveal the sky, but Sri Madhva the Purnapragnya, would reveal the (sat.h chi.t ananda) Hari the giver of Gnyana & Moksha.

Sri Madhva, like a moon showing the blue sky bedecked with the shining stars (naxatrANi) would in the nights illumine through his expositions of the Bhagavatha, the infinite subtle & Supreme Lord. Lord Krishna who shines like the (indranIlamaNi) & a face shining with the rows of white & sparkling teeth & adorned with the garland of Parijata flowers spreading the fragrance all round, like the forest of trees in blossom on the top of a hill, & whose lotus feet the Devatas & their consorts engrossed in deep ecstasy & love praise, not conscious of themselves. There is the Slesha on the word (AkAsha) manaing both the (AkAsha) & the AkAshanAmaka & introduces the subtle meaning of viShNupada. Similarly vimAna has a deep significance in the context.

The fragrance of the flowers is symbolic of the showering of grace on the Bhaktas (verse 53-55). I would end this chapter with the immortal words of Sri Madhva: -

kuru bhuMxva cha karma nijaM niyataM haripAdavinamradhiyA satataM | dvAdashastotraM

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archite deva deveshe sha~Nkha chakra gadA dhare |

architAssarvadevAH syuH yatassarvagato hariH || 9 ||

samasta loka nAthasya deva devasya shArgiNaH |

sAxAdbhagavato viShNoH pUjanaM janmanaH phalaM || 13 ||

dharmArtha kAma moxaNAM nAnyopAyastu vidyate |

satyaM bravImi devesha hR^iShIkeshArchanAdR^ite || 21 ||

vAsudevAt.h paraM nAsti iti vedAnta nishchayaH |

vAsudevaM praviShTAnAM punarAvartanaM kutaH ? || 31 ||

niShkAmaM j~nAnapUrvaM tu nivR^ittamiha chochyate |

nivR^ittaM sevamAnastu brahmAbhyeti sanAtanam.h || 235 ||

kR^iShNAmR^itamahaarNave

dheerana nOdirai karuNApoorana pAdirai

vAridavadanana sameeraja kapi nrupana dwijana bhAvi ajana |

muddu mukhava nOdi tiddi mAdida mysiriya innomme doreya

oddakshakuvarana guddhi bisuta hontha kAriya bhArati doreya

shuddhAnanda samudra Shiri Krishnage kiriya, mikka jagakke hiriya

adwaitha shAstrada saddadagisida Arya, namma madhwAchArya ||

- Sri Vyasarajaru

bharatIramaNa mukhyapraNAntargata shrI kR^iShNArpanamastu

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

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