bhagavad dhyAna sopAnam - SlokAs 10 - 12(of 12)

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SrI:

SrI Lakshminrusimha ParabrahmaNE namaha

SrI Lakshminrusimha Divya PAdukA SEvaka SrIvaN SaThakOpa-

SrI nArAyaNa yateendra mahAdESikAya namaha

 

Dear Bhaktas,

As I was busy with academic exams, I could not finish the series of

bhagavad dhyAna sopAnam in time. I am nearly two weeks late in posting

the last 3 slokAs.Please excuse this untimely delay.

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slokA 10 :

pAdAmbhojam sprsati bhajate ranganAthasya janghA

mArudvandvevilagatisanairUrdhvambhyeti nAbhim |

vaksasyAste valatibhujayormAmikeyam manIsA

vaktrAbhikhyAmpibadtivahate vAsanAmoulibandhe || 10 ||

Translation (verse by verse);

Love-struck,dame mind does lord ranganAthA's _feet_ caress,

upwards moves she and worships his _ankels_ lovely(and thence)

crawls she up,only to get on his _laps_,strong and strudy,sunk;

gathering herself up,she moves via his _navel_ and rests

a while on his broad,winsome _chest_;

circles she around his _shoulders_ in their beauty lost,

palmfuls she drinks his _facial_ beauty,in spate

and dissolves in reverie of his _crown_,beaming bright

Notes:

Acharya vedanta desikar's mind having been calmed down and rendered

firm and steady (see slokA 9),he did not face the problems which confronted

pAn perumAl (tirupAn alwar).Acharya vedanta desikar could not only piece

together the complete picture of the lord,in reclining posture,feet to

crown(ApAda cUdam),but also present in this solkA,the overall picture,in

retrospect,a rapid survey. What more? acharya vedanta desikar presents,in

the next slokA,a compact picture of namperumAl,the utsava mUrthi,in front

of 'periya perumAl',in the midst of the divine consorts,seated majestically

on either side.

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slokA 11;

kAtodArairayamihabhujaih kankanajyAkinAkaih

lakshmI dhAmnah prthulaparighairlaksitAbhItihetih |

agrekincidbhujahasyanassvAtmanaivAtmanasan

madhye rangam mamaca hrdye cartate sArvarodhah || 11 ||

Translation;

"the beholder's heart the lovely arms of arangan do steal aplenty,they

dole out our needs,here and yonder,one and all;

on them are imprints of bowstrings of rAma and krishnA visible the

lovely weapons the sport do fears of the devout dispel,protective latches

they are for the mother,on his chest poised; his but another form of the

lord behind,in seet repose,majestically,seated on either side are his consorts

grand,poised for ever is the milieu grand in my(acharya vedanta desikar)

mind."

Notes;

The translation in self-explanatory.No elaboration is necessary.

But the special feature is the combined vision of lord rAma and

lord krshnA in nam-perumAl; the imprints of their bow-strings are perceived

on his shoulders as if he is wieding the bows,during his current (iconic)

manisfestation!

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slokA 12

rangAthAne rasikamahite ranjitA sesacitte

vidvarsevA vimalamanasa venkatesena kluptam |

aklesena pranihitadhiyA mAruksoh avasthAm

bhaktim gAdhAm disatu bhagavaddhyAna sopnAnametat || 12 ||

Translation;

Holy Arangam,the coveted resort of the devout,

does everyone enchant the spirit sanctify,

of those that learn at the feet of the savants lofty,

resident in the holy see,in their humble service bound,

as in venkatesa's case;this,his hymnal superfine

shall it's chanter devotion and mental state refine

Notes;

No further elucidation is required. But concentrating on the last verse

of the sloka 'bhagavaddhyAna sopnAnametat' acharya vedanta desikar

makes it clear that chanting the bhagavad dhyAna sopAnam stabilises a devotee's

devotion unto lord ranganAtha and remains firmly rooted in devotion.

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kavi-tAr-kika simhAya kalyAna guna shAline

srimathe venkatesAya vedanta gurave namaha: ||

rAmanuja daya patram jnAna vairagya bhooshanam

srimad venkata natharyam vande vedanta desikam ||

 

adiyEn mAlola narasimha dAsan,

Malolan Cadambi

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