IDU OR ARPUDAM KELEER - PART 14

[Guest guest]

Dear Sri Vaishnava perunthagaiyeer,

 

Sri lakshmi nrusimha divya paadukaa sEvaka SrivaN satakOpa Sri Vedaanta

desika yateendra mahaa dEsikaaya namah:

 

NOTE: OF COURSE I REMEMBER THE CONTROVERSY OVER NAARAAYANEEYAM AND ITS BAN

IN THE NET. BUT MY KRISHNA ANUBHAVAM CONNECTED WITH VENU GAANAM LEELAI

FORCES ME TO SHARE THIS WITH YOU ALL. FOR THOSE WHO DO NOT WANT TO READ

ABOUT NAARAAYANEEYAM MY HUMBLE REQUEST IS " PLEASE SKIP THIS PART 14 " .

 

In the previous postings, parts 1 to 13 on this topic, we saw

* How periyaazhvaar identified KaNNan with thirumaal,

* How he described the entire world was tied down by

his divine music thru the paasurams (without the meanings of the paasurams),

 

* Certain points on observations of bagavathaas.

* The meanings in detail for the first ten paasurams

and few others who relished the kuzhal oothal episode of krishna leelai

 

Now let us see how naaraayana bhattathri enjoyed krishnaa on this vENu

gaanam leelai in his magnum opus naaraayaNeeyam:

 

NirgathE Bhavathi dhaththa dhrushtaya sthvadh gathEna manasaa mrugEkshaNaa:!

VENu naadham upakarNya dhooratha sthvadh vilaasa kathayaa aBhirEmirE!! Canto

59- sloka 3

 

Meaning: The gopees who have beautiful eyes like deers, would watch you with

love, your starting out for grazing the cattle, Oh krishnaa. When you were

out of sight for them, then they listen to your flute music which comes in

the air. With the minds centered on you, they delight (aBhirEmirE)

themselves by recollecting your sporting activities (leelais).

 

[see how nicely the poet explain the minds of these gopees are always on

krishnaa, when he is there physically their joy has no bounds, and they

enjoy his physical presence. When he is not there, the thoughts of krishnaa

through the leelais - so krishnaa anusmaraNam always- blessed are the gopees

to remember him always]

 

MaarabaaNadhutha khechareekulam nirvikaara pasupakshi maNdalam!

DhraavaNam cha dhrushadhaamapi prabhO thaavakam vyajani vENu koojitham!!

59-5

 

Meaning: O my Lord krishnaa! Your vENu koojitham- the flute music better

than the cuckoo bird's calling- went like the manmathaa's flower arrows

[maara bhaaNam] into the minds of the apsara clan and made them fans of your

music. So they came down and started hovering in the sky. The creations

like cows, birds all went into a state of emotional stillness because of

your music. Your music melted even the rocks (dhrusadham) into liquid.

 

Reference: periyaazhvaar- birds- paravaiyin kaNangaL- 3-6-8

Cows- karavaiyin kaNangaL

Apsaras- vaaniLampadiyar- 3-6-3

 

The words vENu koojitham- is a beauty here- linked with cuckoo. Here the

poet says krishnaa's vENu koojitham is better than cuckoo calling. Perhaps

after enjoying about kaNNan' kuzhal Subramania Bharathi also says kaththum

kuilOsai ammaa saRRu kaathil vizha vENum in kaaNi nilam song- kuyil not

koovum but kaththum here for him- because already kaNNan's flute is there

lingering in the mind and ears of bharathi.

 

Another point on the vaaniLampadiyar- in one of the commentaries the urai

aasiriyar has mentioned vaaniLampadiyar as young and nicely shaped apsara

sthree -iLam -young, padiyar- uruvam udaiyavar. In the devaas apsaras

gantharvar and all there is no moopppu- jaraa- young and old is not there

for them - it is only for human beings here in this bhoolOkam. That is why

this meaning is not taken but taken as servants in the explanations in this

3-6-3.

 

nirvisanka bhavadhangadharsinee: khecharee:khagamrugaan pasoonapi!

ThvathpadhapraNaayi kaananam cha thaa dhanyadhanyamithi nanvamaanayan!!

59-7

 

meaning: Without any doubts the apsara woman, the birds, animals and cows

of brindaavan are fortunate because they have unrestricted opportunity of

seeing you Oh krishnaa, physically! The forest lands of vraj bhumi on which

you tread with your feet are also fortunate.

 

Why suddenly the poet has changed the track from enjoying the flute music to

vie with the luck of these apsaras birds etc. Is this not similar to

" sankaraiyaa un selvam saala azhagiyadhE " of aaNdaaL- a coomon practice of

bhakthaas to vie with things connected with the Lord.

 

See here another bhaktha oothukkadu venkatasubbaiyer, in the senchurutti

raaga krithi- may be this third time I am quoting him in this series- the

taste is so high and relevant to situation- that I cannot resist but use his

songs.

 

Pullaai piravi thara vENum kaNNaa

Punithamaana pala kOdi piravi thanthaalum brindhaavanamathil oru (pullaai)

 

Pullaagilum nedunaaL nilladhu aadhalinaal oru kallai

Kamala malar iNaigaL aNaiya enathu uLLam

PuLagithamuRRidum bhava maRRidum ena oru (pullaai)

 

Oru kaNam un padam padum enthan mElE

Maru kaNam naan uyarvEn mEnElE

ThirumEni en mElE amarnthidum oru kaalE

Un thirumagaL ena malaradi peyarnthu unai thodarntha raadhaikkum idam

tharuvEnE (pullaai)

 

Oh what a krishnaanubhavam. This is very similar to kulasekhara aazhvaar's

appeal to thiruvenkatam udaiyaan " padiyaai kidanthu un pavala vaai

kaaanbEnE " .

 

AapibhEya madhuraamrutham kadha vENumuktha rasasEshamEkadhaa!

DhoorathO batha krutham dhuraasayE thyaakulaa muhurimaa: samaamuhan!! 59-8

 

Meaning: " Shall we ever have the bliss of imbibing what is left of the honey

of his kiss, after the flute has enjoyed it to its full. Ah! Why crave for

the impossible " so thought the gopikaas again and again in utter distress

and despair.

 

Sammoorchanaabhirudhitha svaramaNdalaabhi: sammoorchayanthamakhilam

bhuvanaantharaalam! ThvadhvENunaadha mupakarNya viBhO tharuNya

sthaththaadhrusam kamapi chiththavimOhamaapu:!! 65-2

 

Meaning: As the clear and distinct strains of your flute with its ascending

and descending notes filled all space and absorbed the attention of all

young women of the vraj community, they were overcome by an unparallelled

and inexplicable fascination.

 

Thaa gEhakruthyanirathaa sthanayaprasakthaa: kaanthOpasEvanaparaascha

sarOruhaakshya:! Sarvam visrujya muralee ravamOhithaasthE

kaanthaaradhEsamayi kaanthathanO samEthaa:!! 65-3

 

Meaning: Captivated by the sound of the flute who were devoted to the

household chores or duties like caring the children, service to their

respective husbands etc, abandoned all these chores and rushed to the

forests (or woods) where krishna stationed himself and played flute.

 

 

KaaschinnijaangaparibhooshaNa maadhaDhaanaa vENupraNaadha mupakarNya

kruthaarDhabhushaa:! Thvaamaagathaa nanu thathaiva vibhooshithaabhyasthaa

Eva samruruchirE thava lOchanaaya!! 65-4

 

Meaning: Some of them had dressed and decorated themselves in full, some of

them had gone through the toilet only half way. But when they heard the

flute music they ran to you as they were. To you they were more attractive

with their devotion was so over powering as to make themselves forgetful of

their appearance.

 

Reference: See periyaazhvaar in kOvalar sirumiyar iLankongai kudhukalippa

udal uL avizhnthu engum kaavalum kadanthu kayiru maalaiyaagi vanthu

kavizhnthu ninRanarE. (Covered in part 3)

 

Kaachith kuchE punarasajjitha kanchuleekaa vyaamOhitha: paravadhoobhi

ralakshyamaaNaa! Thvaamaayayow nirupama praNayaathibhaara raajya abhishEka

vidhayE kalaseedharEva!! 65-6

 

Meaning: Another wearing ornaments but without any upper garment and

unnoticed by other women inspite of this oddity because of their own

excitement seemed with her exposed breasts, to be approaching thee with two

pots of water meant to bathe thee for thy coronation as the unrivalled

emperor of the land of love.

Reference same as 3-6-1 and 3-6-2 udai negizha

 

Kaaschith gruhaath kila nirEthu mapaarayanthya sthvaamEva dhEva hrudhayE

sudhrudam vibhaavya! DhEham vidhooya parachith sukharoopamEkam thvaamaavisan

paramimaa nanu dhanyadhanyaa:!! 65-7

 

Meaning: Some gopikaas being unable to come out of their homes owing to

restrictions imposed by their kith and kin abandoned their bodies in the

state of complete absorption in thee through meditation and got merged in

thee. These indeed were the most fortunate of all.

 

VaasudEva thava bhaasamaanamiha raasakElirasasowrabham

DhoorathO api khalu naaradhaagadhitha maakalayya kuthakaakulaa!

VEshabhooshNa vilaasapEsala vilaasinee sathasamaavruthaa

NaakathO yugapadhaagathaa viyathi vEgathO atha suramandalee!! 69 -3

 

Meaning: O vaasudEva- hearing from naaradha from afar about the sweetness

and glory of thy raasa dance devaas in the company of their women folk

distinguished for their expertise in personal decoration and amorous display

hurried in great joy from heavenly abode and stationed themselves in the

sky.

 

Reference: ambaram thiriyum kaanthappar and VaaniLampadiyar of

periyaazhvaar..

 

BaahudhvandhvEna rathnOjvala valaya bhruthaa soNapaaNi pravaalE

nOpaaththaam vENu naaleem prasrutha nkha mayookhaangulee sanga saaraam!

Kruthvaa vakthraaravindhE sumadhura vikasadh raagamudh bhaavya maanai:

Sabdha brahmaamruthaisthvam sisisritha bhuvanai: sincha mE karNaveetham

100 -5

 

(This is part of the kesa paadhaadhi varnanam part of naaraayaneeyam - this

is like amalan aadhi piraan).

 

Meaning: O krishnaa please soak my ears with your nectarial flow of flute

music which is the veritable brahman embodied as sound. This music also

cools all wolds with its sweet and expanding notes as they flow out of the

flute touching your lotus lips, the two shoulders having rathnam bedecked

rings the red hands gleaming finger nails all are a beauty treat for my

eyes.

 

This sentence has a parallel in thyaagaraaja calling krishnaa " vENu

veritable brahman embodied as sound gaana moorthE " in nowka charithram

already quoted in part 4 " veritable brahman embodied as sound "

 

Now let us see another song [from sadaasiva brahmendra an avadhootha who

sang many philosophical except a few on bhakthi. This one on krishna vENu

gaanam is a special and famous]

 

Gaayathi vanamaalee madhuram (gaayathi)

 

Pushpasuganthitha malaya sameerE

Punithana sEvitha yamunaa theerE (gaayathi)

 

Thulasi dhaama bhooshaNa dhaari

Jalaja Bhahruda sathguNa sowrE

Paramahamsa yogsabhavaarE

Pari bhooritha muraLee rava kaarE

 

This song is sung in many raagas by many artists.

 

Dasan Vasudevan M.G.

[Guest guest]

Sri:

Sri Lakshmi nrisimha parabrahmaNE nama:

Sri Lakshmi nrisimha divya paduka sevaka

srivan satakopa sri narayana yatindra mahadesikaya nama:

 

 

>

> L & T-ECCG-Buildings & Factories [bAF-ECC]

> Monday, September 06, 1999 7:31 AM

> 'MALOLAN_NET (AT) EGROUPS (DOT) COM'

> IDU OR ARPUDAM KELEER - PART 14

>

>

> NOTE: OF COURSE I REMEMBER THE CONTROVERSY OVER NAARAAYANEEYAM

> AND ITS BAN IN THE NET. BUT MY KRISHNA ANUBHAVAM CONNECTED WITH

> VENU GAANAM LEELAI FORCES ME TO SHARE THIS WITH YOU ALL. FOR

> THOSE WHO DO NOT WANT TO READ ABOUT NAARAAYANEEYAM MY HUMBLE

> REQUEST IS " PLEASE SKIP THIS PART 14 " .

 

 

The guidelines for this divine net were drafted in

consultation with the founders and was approved by

the board of Sri Ahobila Muth. It is not a matter

that can be simply made light of. If an author is

not sure whether something is appropriate, then it

is incumbent upon him/her, due to the fact that

he/she has agreed to follow the guidelines, to

seek clarification. He/she cannot unilaterally

decide to post the article with a warning, " please

skip the post. " If this is the standard then

anything can be posted with a similar warning.

adiyEn has already referred this matter to the

monitoring committee. For future, adiyEn requests

all members to please consult with the committee

if you are not sure about the appropriateness of

your article.

 

 

Is nArAyaNIyam banned here?

---------------------------

To my knowledge there is no ban on nArAyaNIyam.

The points of contention were, whether nArAyaNIyam

can be equated to Bhagavatham, whether Narayana

Bhattaadri's praise of Sri Krishna can be

characterized by a Sri Vaishnava as a genuine

praise of the " saguNa aspect " of the Lord, whether

any Sri Vaishnava Acharya has recommended daily

recitation, etc. These were the points that

were raised. It was then concluded that such

interpretations are not warranted and must not

be made. There was nothing against simply enjoying

Sri Krishna in NarayaNIyam. Let me quote Sri Anand

Karalappakam:

 

" adiyEn is not against someone who is

presenting the bhagavad anubhavam

of someone not belonging to SrI Vaishnavam.

But, one should talk " spade as a spade " and

should not make hyperboles and mislead others.

The information has to be presented in an

unbiassed manner and in strict accordance

with the thiru uLLam of our AchAryAs and

one should not indulge in one's own free

interpretation and ideas contradicting

the sampradAyam. "

 

Thus, let me submit to the bhagavathas here in

this divine net, there is no blanket ban against

anubhavam of PerumaaL from any source. All that

was asked was to do it in the proper context.

 

Then what is the fuss?

----------------------

The fuss is about Sri Vasudevan's justification

for posting something that he thought would be

inappropriate for this divine net. As adiyEn

stated earlier, if that justification is left

uncorrected then there is nothing to prevent

someone from posting any nonsense with a warning

" please do not read if you do not like what I

have written below. " The fuss is also about

the intent, the intent to subvert the guidelines.

 

srimad azhagiya singar thiruvadigaLE saraNam

 

-- adiyEn ramanuja dasan