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Srimate SrivanSatakopa Sri Vednta Desika Yatindra Mahadesikaya Nama:

 

The Song Celestial

 

Everybody loves a song. The baby in the cradle stops crying the moment it hears 
mother's lullaby. Lovers always have a song on their lips(if modern cinema is 
to be believed). Almost everybody likes a catchy tune, and either sings out 
aloud or hums it under his or her breath. Many of usare bathroom singers, 
irrespective of whether our voices are tuneful or not. Devotees burst into song 
at the least provocation, moved by the Lord's beauty and greatness. It is not 
only human beings who are musical- birds sing and so do bees. Music thus 
pervades our lives, and even in death, the lifeless body listens to a dirge. In 
this piece, adiyen would like to indicatehow music pervades our Sampradaya too.

  

Srimad Ramayana, the great itihAsA, has music running through the epic, right 
from the beginning. The pArAyaNa slokas (a prelude to Srimad Ramayana recital), 
begin with the following couplet-

"Koojantam Rama Rama iti madhuram madhura aksharam

Aruhya kavitA shAkhAm vande ValmIki kOkilam"

In this captivating couplet, Srimad Ramayana is likened to the incredibly sweet 
song of a cuckoo (Sri Valmiki), which, perched atop the tree of poetry, cries 
out "Rama, Rama" in tones full of moving melody. The next sloka toospeaks of 
"RAma kathA nAdam", or the honeyed, musical words of the story of Sri Rama, as 
told by Sri Valmiki. 

The same pArAyaNa slokAs say that wherever the hallowed story ofSri Rama is 
sung, Sri Maruti is present, with hands folded in supplicationand eyes 
overflowing with tears of joy-

"Yatra yatra RaghunAta keerthanam, tatra tatra krita mastakAnjalim

BAshpavAri paripoorNa lOchanam, Marutim namata rAkshasAntakam".

                  

Sri Bharata, meeting Sri Rama after the 14-year exile, requests the latter to 
assume the reins of Ayodhya, and, as its king, to awaken everyday to the music 
of the VeeNA, the flute, melodious voices and percussion instruments-

"toorya sanghAta nirghOshai: kAnchI noopura nissvanai:

madhurai: geeta sabdaischa pratibudhyasva Raghava!"

Sri Rama's coronation was a joyous occasion not only for theresidents of 
Ayodhya, but for the celestials too, who burst into song and dance, unable to 
contain their delight. Says Sri Valmiki,

"prajagu: dEva gandharvA; nanrutu; cha apsarOgaNA:

abhishEkE tat arhasya tatA Ramasya dheemata:".

We are told that the Ramayana was sung (not recited) by Sri Lava and Sri Kucha, 
sons of Sri Rama, in their father's presence, and the melodies so moved the 
King, that he left his throne and came closer and closer to the songsters. 
Recited or sung, Srimad Ramayana is always sweet -"pAtyE gEyE cha madhuram".

Even the villain of the piece, RavaNA, is said to have been an expert exponent 
of the VeeNA. There are thus any number of references to music and musical 
instruments in the Adi Kavya of Sri Valmiki. 

The TaittirIya Yajur BrAhmanam too contains references to the VeeNA, and to 
Brahmins singing and playing the VeenA-

"BrAhmaNou VeeNA vAdinou gAyEtAm".

It is no idle speculation to say that the Vedas, with the three swarAs 
(udAttam, anudAttam and svaritam) formed the basis for the present day music 
with the seven svarAs. The Sama Veda is almost entirely musical, and is most 
pleasing to hear-this Veda is sung and not recited, as is indicated by the 
usage, "SAma gAnam". The Taittiriya Upanishad attests to the fact that the 
Nitya Suris in Sri Vaikuntam please the Lord through melodious singing of SAma 
mantras-

"Etat SAma gAyan AstE".

 

The Bhagavat GeetA too, as the very name indicates, is a song- the Song 
Celestial. Sri Krishna's association with music is indeed close. The master 
exponent of the flute so moves even animals, that they forget their grazing and 
listen in rapt attention, motionless as a painting, without realizing the 
half-chewed grass slipping out of their mouths, says Sri PeriAzhwar-

"MaruNda MAn kaNangal mEygai marandu

Meynda pullum kadai vAi vazhi sOra-

Ezhuthu chitthirangal pOla nindranvE".

Sri Nammazhwar's Tiruvaimozhi too is an extremely musical composition (being 
the essence of Sama Veda), as the Azhwar himself attests at more than oneplace-

"PaNNAr pAdal in kavigaL yAnAi tannai tAn pAdi"

The Lord Himself sings melodious songs of His own praises using me as an 
instrument, says Sri Nammazhwar. Naturally, these songs are sweeter than the 
music generated by a flute or other instrument-says Sri Nammazhwar," Kuzhalin 
malia sonna pAdal".

Even though the present day manner of recitation of Divya Prabandas is indeed 
good, the fact remains that these compositions were meant to be sung, and not 
merely recited, however resonantly. We should remember Sri Nathamuni with 
gratitude not merely for his recovering the lost treasure of the Divya 
Prabandas, but also for setting them to music. Swami Desikan acknowledges this 
by paying him this tribute-

"TALam vazhangi Tamizh marai innisai tanda vaLLal". Further, in Sri Prabanda 
Saram, Swami Desikan repeatedly refers to the divya prabandas by the 
term"pAttu", signifying that these were set to music and sung, during his times.

 

Sri Tondaradippodi Azhwar says that not only human beings, but also the birds 
and bees, especially the latter, sing the Lord's praise in the groves of 
Srirangam- "VaNdinam muralum sOlai, mayilinam Alum sOlai, koNdal meedu aNavum 
sOlai, Kuyilinam koovum sOlai" (TirumAlai).

 

Two of Emperuman's devotees have made it their profession to sing on the Lord's 
greatness- Sri TiruppAnAzhwar, who belonged to the group of devotees known as 
"PANar", or wandering minstrels. Perhaps to indicate that this sortof 
kainkaryam is the most pleasing to the Lord, Swami Desikan, while referring to 
this Azhwar, says "nam PANa nAthan", reflecting the closeness whichhe feels to 
the Divine Singer.

This Azhwar confirms Sri Tondaradippodi Azhwar's observation about the songand 
dance number by the bees and birds of Srirangam- "MamayilAda vaNdu pAda" 
(AmalanAdipirAn).

 

Sri AndAl tells us that singing the Lord's name and simultaneously fixing our 
thoughts on Him has the effect of destroying our past sins and saving usfrom 
sinning further-"VAyinAl pAdi manatthinAl chintikka, pOya pizhayum pugu taruvAn 
nindranavum, teeyinil doosAgum"

 

Another staunch devotee of the Lord, who emancipated not only himself but also 
a higher caste Brahmin, was NampAduvAn, born in the lowly community of eaters 
of dog-flesh. His pious life and worthy deeds are remembered even today, on the 
Kaisika EkAdasi/DvAdasi days. The power of his single song was such that it 
could relieve a BrhmaRAkshas (a Brahmin-turned Rakshasa due toprocedural lapses 
in the performance of YagAs) of his travails.

The VeeNA, perhaps the most complete musical instrument, figures in the Daya 
Satakam too, in a beautiful sloka, which follows:

 

"VedAnta Desika padE vinivEsya bAlam

dEvO DayA shatakam Etat avAdayan mAm

vaihArikENa vidhinA samayE griheetam

VeeNA visEsham iva VenkatasailanAtha:"

 

Says Swami Desikan-

I am but a child, in age, knowledge and devotion. The Lord, as part of His 
leelA, placed me on the high pedestal of VedAntAchArya, (Master of Vedanta). 
Not content with that, he created a beautiful stotram too, using me as 
aninstrument. He has put me in the place of a high-quality VeeNA, which 
produces melodies which gladden the heart and uplift the soul. Even though I 
am, by myself, (like the Veena), incapable of composing a stotram, the 
Lord,(like an expert musician who can produce soul-stirring music from the most 
ineffective of instruments), has composed this excellent poetical work of Daya 
Satakam, using me as but an instrument.

 

There are melodies galore spread throughout the Scriptures and the Sampradaya. 
The ones mentioned above are but the opening notes of a Grand Symphony,and 
connoisseurs would surely find ways to listen to the whole captivatingconcert.

 

Srimate Sri LakshmiNrsimha divya paduka sevaka SrivanSatakopa Sri Narayana 
Yatindra Mahadesikaya Nama:

 

---------dasan, sadagopan.


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<DIV><FONT face=Arial size=2>&nbsp;
<P class=MsoBlockText>Srimate SrivanSatakopa Sri Vednta Desika Yatindra 
Mahadesikaya Nama:</P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 11pt; mso-bidi-font-size: 12.0pt">&nbsp;<?xml:namespaceprefix 
= o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 11pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: 
yes">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
 
</SPAN></SPAN><U><SPAN style="FONT-SIZE: 14pt; mso-bidi-font-size: 12.0pt">The 
Song Celestial</SPAN></U><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">&nbsp;<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: 
yes">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 
</SPAN>Everybody loves a song. The baby in the cradle stops crying the moment 
it 
hears mother&#8217;s lullaby. Lovers always have a song on their lips (if 
modern 
cinema is to be believed). Almost everybody likes a catchy tune, and either 
sings out aloud or hums it under his or her breath. Many of us are bathroom 
singers, irrespective of whether our voices are tuneful or not. Devotees burst 
into song at the least provocation, moved by the Lord&#8217;s beauty and 
greatness. It 
is not only human beings who are musical- birds sing and so do bees. Music thus 
pervades our lives, and even in death, the lifeless body listens to a dirge. In 
this piece, adiyen would like to indicate how music pervades our Sampradaya 
too.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: yes">&nbsp; </SPAN><o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: 
yes">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
 
</SPAN>Srimad Ramayana, the great itihAsA, has music running through the epic, 
right from the beginning. The pArAyaNa slokas (a prelude to Srimad Ramayana 
recital), begin with the following couplet-<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: yes">&nbsp;&nbsp;&nbsp; </SPAN>&#8220;Koojantam RamaRama 
iti 
madhuram madhura aksharam<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: yes">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </SPAN>Aruhya 
kavitA shAkhAm vande ValmIki kOkilam&#8221;<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">In this captivating 
couplet, 
Srimad Ramayana is likened to the incredibly sweet song of a cuckoo (Sri 
Valmiki), which, perched atop the tree of poetry, cries out &#8220;Rama, 
Rama&#8221; in 
tones full of moving melody. The next sloka too speaks of &#8220;RAma 
kathAnAdam&#8221;, or 
the honeyed, musical words of the story of Sri Rama, as told by Sri Valmiki. 
<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: 
yes">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 
</SPAN>The same pArAyaNa slokAs say that wherever the hallowed story of SriRama 
is sung, Sri Maruti is present, with hands folded in supplication and eyes 
overflowing with tears of joy-<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: 
yes">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 
</SPAN>&#8220;Yatra yatra RaghunAta keerthanam, tatra tatra krita 
mastakAnjalim<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: 
yes">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
 
</SPAN>BAshpavAri paripoorNa lOchanam, Marutim namata 
rAkshasAntakam&#8221;.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: 
yes">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
 
</SPAN><o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: 
yes">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
 
</SPAN>Sri Bharata, meeting Sri Rama after the 14-year exile, requests the 
latter to assume the reins of Ayodhya, and, as its king, to awaken everydayto 
the music of the VeeNA, the flute, melodious voices and percussion 
instruments-<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: 
yes">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
 
</SPAN>&#8220;toorya sanghAta nirghOshai: kAnchI noopura 
nissvanai:<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: 
yes">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
 
</SPAN>madhurai: geeta sabdaischa pratibudhyasva 
Raghava!&#8221;<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: 
yes">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
 
</SPAN>Sri Rama&#8217;s coronation was a joyous occasion not only for the 
residents of 
Ayodhya, but for the celestials too, who burst into song and dance, unable to 
contain their delight.<SPAN style="mso-spacerun: yes">&nbsp; </SPAN>Says Sri 
Valmiki,<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: 
yes">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
 
</SPAN>&#8220;prajagu: dEva gandharvA; nanrutu; cha 
apsarOgaNA:<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: 
yes">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
 
</SPAN>abhishEkE tat arhasya tatA Ramasya 
dheemata:&#8221;.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">We are told that the 
Ramayana was sung (not recited) by Sri Lava and Sri Kucha, sons of Sri Rama, in 
their father&#8217;s presence, and the melodies so moved the King, that he left 
his 
throne and came closer and closer to the songsters. Recited or sung, Srimad 
Ramayana is always sweet &#8211;&#8220;pAtyE gEyE cha 
madhuram&#8221;.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: 
yes">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 
</SPAN>Even the villain of the piece, RavaNA, is said to have been an expert 
exponent of the VeeNA. There are thus any number of references to music and 
musical instruments in the Adi Kavya of Sri Valmiki. <o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: 
yes">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 
</SPAN>The TaittirIya Yajur BrAhmanam too contains references to the VeeNA,and 
to Brahmins singing and playing the VeenA-<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: 
yes">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 
</SPAN>&#8220;BrAhmaNou VeeNA vAdinou gAyEtAm&#8221;.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: 
yes">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
 
</SPAN>It is no idle speculation to say that the Vedas, with the three swarAs 
(udAttam, anudAttam and svaritam) formed the basis for the present day music 
with the seven svarAs. The Sama Veda is almost entirely musical, and is most 
pleasing to hear-this Veda is sung and not recited, as is indicated by the 
usage, &#8220;SAma gAnam&#8221;. The Taittiriya Upanishad attests to the fact 
that the Nitya 
Suris in Sri Vaikuntam please the Lord through melodious singing of SAma 
mantras-<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: yes">&nbsp;&nbsp; </SPAN>&#8220;Etat SAma gAyan 
AstE&#8221;.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">&nbsp;<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 11pt; mso-bidi-font-size: 12.0pt">The Bhagavat GeetA too, as 
the very name </SPAN><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">indicates, is a song-the 
Song Celestial. Sri Krishna&#8217;s association with music is indeed close.The 
master 
exponent of the flute so moves even animals, that they forget their grazingand 
listen in rapt attention, motionless as a painting, without realizing the 
half-chewed grass slipping out of their mouths, says Sri 
PeriAzhwar-<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: yes">&nbsp;</SPAN>&#8220;MaruNda MAn kaNangal mEygai 
marandu<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: yes">&nbsp;&nbsp;&nbsp; </SPAN>Meynda pullum kadai vAi 
vazhi sOra&#8212;<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: yes">&nbsp;&nbsp;&nbsp; </SPAN>Ezhuthu chitthirangalpOla 
nindranvE&#8221;.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">Sri Nammazhwar&#8217;s 
Tiruvaimozhi too is an extremely musical composition (being the essence of Sama 
Veda), as the Azhwar himself attests at more than one 
place-<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: yes">&nbsp; </SPAN>&#8220;PaNNAr pAdal in kavigaL yAnAi 
tannai 
tAn pAdi&#8221;<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">The Lord Himself sings 
melodious songs of His own praises using me as an instrument, says Sri 
Nammazhwar. Naturally, these songs are sweeter than the music generated by a 
flute or other instrument-says Sri Nammazhwar," Kuzhalin malia sonna 
pAdal".<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: yes">&nbsp; </SPAN>Even though the present day manner of 
recitation of Divya Prabandas is indeed good, the fact remains that these 
compositions were meant to be sung, and not merely recited, however resonantly. 
We should remember Sri Nathamuni with gratitude not merely for his recovering 
the lost treasure of the Divya Prabandas, but also for setting them to music. 
Swami Desikan acknowledges this by paying him this 
tribute-<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">&#8220;TALam vazhangiTamizh 
marai 
innisai tanda vaLLal&#8221;. Further, in Sri Prabanda Saram, Swami Desikan 
repeatedly 
refers to the divya prabandas by the term &#8220;pAttu&#8221;, signifying that 
these were 
set to music and sung, during his times.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">&nbsp;<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: yes">&nbsp;</SPAN>Sri Tondaradippodi Azhwar says that not 
only human beings, but also the birds and bees, especially the latter, singthe 
Lord&#8217;s praise in the groves of Srirangam- &#8220;VaNdinam muralum sOlai, 
mayilinam 
Alum sOlai, koNdal meedu aNavum sOlai, Kuyilinam koovum sOlai&#8221; 
(TirumAlai).<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">&nbsp;<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">Two of Emperuman&#8217;s 
devotees 
have made it their profession to sing on the Lord&#8217;s greatness- Sri 
TiruppAnAzhwar, who belonged to the group of devotees known as 
&#8220;PANar&#8221;, or 
wandering minstrels. Perhaps to indicate that this sort of kainkaryam is the 
most pleasing to the Lord, Swami Desikan, while referring to this Azhwar, says 
&#8220;nam PANa nAthan&#8221;, reflecting the closeness which he feels to the 
Divine 
Singer.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">This Azhwar confirms Sri 
Tondaradippodi Azhwar&#8217;s observation about the song and dance number by 
the bees 
and birds of Srirangam- &#8220;MamayilAda vaNdu pAda&#8221; 
(AmalanAdipirAn).<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">&nbsp;<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">Sri AndAl tells us that 
singing the Lord&#8217;s name and simultaneously fixing our thoughts on Himhas 
the 
effect of destroying our past sins and saving us from sinning 
further&#8212;&#8220;VAyinAl 
pAdi manatthinAl chintikka, pOya pizhayum pugu taruvAn nindranavum, teeyinil 
doosAgum&#8221;<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">&nbsp;<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">Another staunch devotee of 
the Lord, who emancipated not only himself but also a higher caste Brahmin,was 
NampAduvAn, born in the lowly community of eaters of dog-flesh. His pious life 
and worthy deeds are remembered even today, on the Kaisika EkAdasi/DvAdasi 
days. 
The power of his single song was such that it could relieve a BrhmaRAkshas (a 
Brahmin-turned Rakshasa due to procedural lapses in the performance of YagAs) 
of 
his travails.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">The VeeNA, perhaps the most 
complete musical instrument, figures in the Daya Satakam too, in a beautiful 
sloka, which follows:<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">&nbsp;<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">&#8220;VedAnta DesikapadE 
vinivEsya bAlam<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: yes">&nbsp;&nbsp; </SPAN>dEvO DayA shatakam Etat avAdayan 
mAm<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: yes">&nbsp; </SPAN>vaihArikENa vidhinA samayE 
griheetam<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: yes">&nbsp;&nbsp; </SPAN>VeeNA visEsham iva 
VenkatasailanAtha:&#8221;<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">&nbsp;<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">Says Swami 
Desikan-<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">I am but a child, in age, 
knowledge and devotion. The Lord, as part of His leelA, placed me on the high 
pedestal of VedAntAchArya, (Master of Vedanta). Not content with that, he 
created a beautiful stotram too, using me as an instrument. He has put me in 
the 
place of a high-quality VeeNA, which produces melodies which gladden the heart 
and uplift the soul. Even though I am, by myself, (like the Veena), incapable 
of 
composing a stotram, the Lord,( like an expert musician who can produce 
soul-stirring music from the most ineffective of instruments), has composedthis 
excellent poetical work of Daya Satakam, using me as but an 
instrument.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN 
style="mso-spacerun: yes">&nbsp;</SPAN><o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">There are melodies galore 
spread throughout the Scriptures and the Sampradaya. The ones mentioned above 
are but the opening notes of a Grand Symphony, and connoisseurs would surely 
find ways to listen to the whole captivating concert.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">&nbsp;<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">Srimate Sri LakshmiNrsimha 
divya paduka sevaka SrivanSatakopa Sri Narayana Yatindra Mahadesikaya 
Nama:<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">&nbsp;<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN 
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">---------dasan, 
sadagopan.<o:p></o:p></SPAN></P></FONT></DIV></BODY></HTML>

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