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SrI:
SrimatE Raamaanujaaya Namaha //
SrimatE Nigamaanta Mahaa Desikaaya Namaha //
SrIman! SrI Ranga Sriyam anupadravam anudhinam Samvardhaya/
SrIman! SrI Ranga Sriyam anupadravam anudhinam Samvardhaya//
KAvEri VardhathAm kAlE, kAlE varshathu vAsava: /
SrI RanganAthO jayathu Sri Ranga Sri cha VardhathAm//
=========================================================
SRI RANGA SRI VOL.08 / ISSUE # 11 dated 23rd January 2007
==========================================================
EDITORIAL
Dear Bhaagavatas:

I am glad to inform you that I am now back in Atlanta. I wish to 
place on record my heartfelt thanks to Sri Madhava Kannan Swami for 
his excellent work of looking after the journal in my absence. He 
will continue to approve articles posted for moderation.

Hitherto, our membership was hovering around 5000. Now, as you can 
see, it has crossed this mark. This is in spite of the fact that we 
have been removing several members who were posting for moderation 
messages repeatedly which were not in conformity with 
our "Guidelines" for example, on political issues, glorifying "Non- 
Vedic" religions, cults etc. This again is a proof of the popularity 
of your favorite e - journal's high standards and your continued co-
operation.

I have been mandated by asmad Achaaryan His Holiness Srimad Andavan, 
ParavaakkoTtai Sri Gopala Desika Mahadesikan of Poundarikapuram 
Swami Asramam, Srirangam to give talks on Srimad Ramayanam. 

Besides the original of Srimad Valmiki Ramayanam in Sanskrit which I 
have gone through several times in Saptaaham, Navaaham etc 
Paaraayanams over the years), I have made use of the brilliant 
presentation by asmad Achaaryan in his books entitled "Ramapiraanai 
karpOm" (on Bala and AyOdhyaa khaaNdams) as also his series of 
articles on AaraNya khaaNDam that appeared in "Sri Kanchi 
PeraruLaalan" monthly journal. I am extremely grateful to His 
Holiness for his kind permission to use them. 

I have also drawn inspiration from the 3 volumes of translations of 
Srimad Valmiki Ramayanam in Tamil (plus 1 Volume of "Notes") and 2 
volumes in English by Sangeeta Bheeshma, Sangeeta Vimarsakaachaarya, 
Abhinava Thyaagabrahma, Keertnana Aachaarya Sri C.R. Srinivasa 
Iyengar (published by Lifco in 1984) and also what I have heard 
during Kaalakshepams at the feet of great Achaaryas while I was in 
India. 

Comparative references and quotations have also been included from 
Kamba Ramayanam, TuLasi Dasa's `Rama Charita Maanas", BhOja Champu 
etc. 

Most of the materials are based on the above sources.

 I have also consulted 2 Volumes of  "Sri Ramayana Tani slOkam" 
Vyaakhyaanams of Vyaakhyaana Chakravarthi Periyavaachaan PiLlai 
(published by Puttur Krishnaswami Iyengar between 1992 and 1996) as 
well as Ramayana in English by Sri C. Rajagopalachari (published by 
Bharatiya Vidya Bhavan in1990) and by the same author in Tamil (12th 
edition published by Vaanathi Pathippagam, Chennai 17  in 1996)

Bhaagavatas who arranged for my talks in The Hindu Temple of Atlanta 
have provided for Free Tele- Conference facility to help those who 
could not attend in person to listen from the comfort of their 
homes. They are also video-taping all the lectures and are intending 
to bring them out in DVD format.

Some Bhaagavatas suggested that the lectures should also be 
serialized in "Sri Ranga Sri" Journal. Accordingly, it is proposed 
to feature them. The first part is included in this issue. Hope you 
will enjoy reading. Kindly favor me with your feedback for helping 
me in improving the quality and content.

Thanking you
Dasoham
Anbil Ramaswamy
===================================================================
ISSUES RELEASED
With this issue, about 238 Regular issues of SRS have been released
so far, apart from numerous "Special Issues" as indicated below:
27 Issues of Vol. 1
15 Issues of Vol. 2
42 Issues of Vol. 3
35 Issues of Vol. 4
28 Issues of Vol. 5
30 Issues of Vol. 6
50 Issues of Vol. 7 and
11 Issues of Vol. 8 (including this)
---------------------------------------------------------------------
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==========================================================
IN THIS ISSUE
1.      IMPORTANT DAYS IN VYAYA-MAKARA- (THAI) MONTH
2.      RAMAYANAM ? AN INTRODUCTION- Part 1
(Sri Anbil Ramaswamy)
3.   MAAL UGANDHA AASIRIYAR- SRI MADHURAKAVI AAZHWAAR {V. 
Madhavakkannan
=================================================================== 
1. IMPORTANT DAYS IN VYAYA ?MAKARA - (THAI) MONTH
January 2007    Thai    Day
15              01      Monday          Uttarayana Punya Kaalam
18              04      Thursday        Amavasya
19              05      Friday          42nd Azhagiya Singhar
20              06      Saturday        Sravana vratam
29              15      Monday          Ekadasi
31              17      Wednesday       Embaar TN
February 2007
02              19      Friday          Pournami
03              20      Saturday        TIRUMAZHISAI AZHWAR TN
07              24      Wednesday       KOORATHAAZHWAAN TN
09              26      Friday          UTTAMUR SWAMI TN
10              27      Saturday        AshTakaa
11              28      Sunday  AnvashTakaa
===================================================================
2.      SRIMAD RAMAYANAM ? AN INTRODUCTION ? Part 1


1. INTRODUCTION
At the outset, let me beg you to pardon my temerity in seeking to 
talk on the insatiable nectar of an immortal epic, Srimad Ramayana - 
which numerous great poets and scholars have dealt with. When I went 
to Srirangam in connection with Tiru Anbil Dwajasthamaba Kainkaryam, 
H.H. enquired me about the Tiruppavai lectures that I gave last year 
and directed me to talk on Ramayanam. 

Though my attempt is akin to attempting to drink the waters of the 
ocean with a teaspoon, it is the command and blessings of Srimad 
Andavan, Poundarika Puram Swami Asramam, Srirangam (Asmad Acharyan) 
that has emboldened me to undertake this effort. In fact, most of 
the materials are based on the two volumes of his invaluable 
work "Ramapiraanai KarpOm My heartfelt gratitude is due to Swami for 
permitting me to use their contents. I am sure that he will guide me 
successfully through this effort. For everything presented 
correctly, the credit goes to Asmad Acharyan. I claim monopoly for 
all errors of commissions and omissions and I seek your forgiving me 
for the same.
Dasoham
Anbil Ramaswamy

2. ANARGHA RAGHAVAM
When the poet by name Muraari wanted to write his "Anargha 
Raaghavam", his friends asked him why he should write on the same 
subject on which several poets have already written a lot and 
suggested that he write on some other hero. He replied that though a 
lot had been written about Sri Rama, his auspicious qualities were 
infinite and none could do justice and therefore there was nothing 
wrong in his choosing Sri Rama's story and challenged them whether 
they could point out any other work that portrayed the ethical way 
of life as effectively as Srimad Ramayana.

3. VALMIKI AND KAMBAN
Valmiki depicted his Rama not as God but as a "human being"- a 
prince, a warrior, with impeccable track record of moral character, 
though the poet indicated here and there the divinity of his hero. 
Sri Rama himself has said "aatmaanam maanusham manyE" (I consider 
myself as a mere human being, a son of King Dasaratha) 

But, even during Valmiki's time, people had realized that Rama was 
no ordinary human but was an incarnation (Avatara) of the Lord. 
Several centuries later, when poets like Kambar, TuLasidas and 
others came on the scene, this belief had already crystallized into 
an unshakeable faith. Naturally, Kambar and TuLasidas could not 
venture to depict Sri Rama as a mere human being but verily as God 
and narrated their story with a deep devotional love.

It is said that Kamban heard Valmiki Ramayanam and composed his 
version in Tamil.

naaraNan viLayaaTTu ellaam Naarada munivan koora
aaraNak kavitai seidaan arinda vaalmiki enbaan
seer aNi chOzha naaTTu TiruvazhunduruL vaazhvOn
kaar aNi koDaiyaan kamban Tamizhinaal kavitai seidaan.
(kaappum Kamban pugazhum)

4. A TRIBUTE TO HIS MENTOR
Kamban started the epic after giving glorious tributes to his mentor 
mETTerumai vaavi puga muTTu varaal kanru enru
veeTTaLavum paal soriyum veNNaiyE naaTTil
aDaiyaa neDum kadavum anjal enra sollum
uDaiyaan VeNNai nallur saDaiyappan oor/

Buffaloes entering the ponds being tickled by fish imagine them to 
be their own calves and instantly start yielding milk non stop all 
the way till they reached home. The doors of the palace of the Lord 
of TituvENNai nallur were open ajar always and his offer of refuge 
to one and all became proverbial. Such was his munificence. 
We will see in this series some casual references to Kamba 
Ramayanam, TuLasi Dasa's "Rama Charita Maanas", Mahakavi 
KaLidaasa's "Raghu Vamsam", BhOja's "Champu Ramayanam", Swami 
Desika's "Mahaveera Vaibhavam" and many others that are generally 
faithful to the original without resorting to twists and 
misrepresentations abounding in certain other narrations.

5. VALMIKI AND BHOJA 
We have an interesting story of how BhOja's Champu RamayaNam came 
into being. And, here it is!

A poor poet went to the Court of King BhOja of Dhaaraapuram for 
submitting a slOka that he had composed. But, he could complete only 
half of it. However hard he tried, he could not complete the other 
half. 
The first half read: Bhojanam dEhi raajEndra grita soopa samanvitam/
        
"Oh! King! Please provide me with meal mixed with ghee and dhal"

On the way, he met Mahakavi KaaLidaasa to whom he explained his 
predicament. KaaLidaasa immediately completed the latter half with 
the following words:

"Maahisham cha Sarat Chandra chandrikaa davaLam dadhi: //"

"Please give the yogurt made of buffalo milk, which is as white as 
the shining full moon in the month of Saratkaalam (Aippasi-
Kaartigai)"

When the King came to know of the author of the second half so well 
crafted, he sought and met with KaaLidaasa and both became thick 
friends.

One day the King was seized of a strange thought. If and when, in 
due course, he died many poets would compose odes in his memory and 
that the one that would be composed by KaaLIdaasa would be 
especially beautiful. And, because being dead, he wouldn't be alive 
to hear it, he requested KaaLidaasa to compose one in advance and 
submit it. KaaLidaasa was hesitant because, if he did so, the King 
was sure to die instantly as a result of a boon he had received from 
Goddess KaaLi. And, he did not want to lose his bosom friend. When 
he refused to compose one, the King banished him from his kingdom. 
KaaLidaasa went in exile and was a wandering minstrel begging for 
his food.

The King soon realized his mistake in banishing his friend and could 
not bear separation from his friend. The kings of yore used to go 
out incognito and mix with common folk to know first hand what the 
subjects thought about the state of the State. BhOja also disguised 
himself and was roaming in the country side when he chanced to meet 
with a Bikshu and started a conversation in poetic language. The 
Bikshu answered him in the same language. 

The King asked whether it was proper for the mendicant to eat meat. 
The Bikshu answered what is the use of meat if it does not go with a 
peg of beer. Taken aback, the King asked whether he liked beer. The 
Bikshu replied that he ingested beer only in the company of a 
harlot. Shocked, the king asked how being so poor, how a Bikshu 
could afford the wherewithal to pay for the favors of the harlot. 
The Bikshu replied that he would somehow find money through gambling 
and thieving. The King enquired whether his conscience permitted him 
to indulge in such heinous acts. The Bikshu answered what else an 
orphan like him could do and the question of conscience became 
irrelevant. The King interpreted this to mean that for a person 
banished to exile there was no way to cling to his conscience and 
asked to which country the Bikshu belonged. The Bikshu replied that 
he hailed from Dhaaraapuram and expressed his desire to meet with 
the King. The King broke the news "How sad! The King died 6 days 
ago" On hearing this, the Bikshu swooned and when he gained 
consciousness immediately composed a slOka as follows:          

adhya dhaaraa niraadhaaraa niraalambaa saraswatee/
 paNDitaa: khanditaa: sarvE bhOja raajE divam gate//

"Today, the subjects of Dhaaraapuram have lost their support on the 
death of the King. Saraswati, the Goddess of learning finds herself 
bereft of art and the artists"

The moment he uttered these words, the life of the King who was in 
disguise departed leaving his dead body in the hands of the Bikshu. 
KaaLidaasa was beside with grief and wondered as to why the King 
should have invited his own death by acting in disguise and 
conveying the false news of his own demise. He prayed to his IshTa 
dEvata, KaaLi who appeared before him and asked him to repeat his 
Slokam with slight alteration and said that the King would come back 
to life but for a brief 3 ¼  naazhigai (about 1 ½ hours) only. 
KaaLidaasa sang a slightly revised version:

adhya dhaaraa sadaadhaaraa sadaalambaa saraswatee /
paNDitaa: maNDitaa: sarvE bhOja raajE bhuvam gate//

 "Today, the citizens of Dhaaraapuram got back their good governing 
King BhOja, and Saraswati's again became filled with great poets and 
other artists who lived happily ever after"

The King came back to life as if waking from a slumber and the duo 
became closer still. Time was short and they had to accomplish 
something before the 1 ½ hours of life granted to the King. 
Together, they decided to compose "RamayaNam" that we now know 
as "BhOja Champu" after the name of the renowned King.
===========================================================
3.MAAL UGANDHA AASIRIYAR- Madhurakavi AzhwAr
V. Madhavakkannan

SrI:
SrImathE Gopaladesika Mahadesikaya nama:
Continuing on our AzhwAr life history and works ?series, we now 
enjoy Sri Madhurakavi AzhwAr's life and work. 
AzhwAr Madhurakavi is the one who helped us by compiling the 
outpourings of NammazhwAr; 

Not just that, he also sang 11 beautiful "andhadhi" style pAsurams 
starting with "kaNNinun siRutthAmbhu..." which do not have any 
parallel to any other pAsuram/slOka for Acharya Bhakti. He sang 
these pasurams only in praise of his Acharya "nammAzhwAr" and 
claimed, in the end, that one can attain mOkshA certainly and 
definitely after reciting just these 11 pAsurams. It is also told 
that Nathamuni, who compiled 4000 pAsurams of AzhwArs, was blessed 
with a darshan of nammAzhwAr and was given a set of all 12 AzhwArs' 
pAsurams (by NammAzhwAr himself) after he recited Madhurakavi's 11 
bhakti-laden pAsurams on nammAzhwAr 12000 times. (Brothers, that is 
the dynamite packed power of Madhurakavi's pAsurams). Let us ber 
blessed by the biography of this mahan. 
Madhurakavi (meaning in sanskrit the sweet poet), a vainathEya 
(divine bird) incarnate, was born in the year Easwara, chitrai month 
and in chitrai nakshatram at ThirukkOLoor. He learnt Tamizh and 
sanskrit and became a great scholar in both the languages. He was a 
great BhaktA of Sriman Narayana and had an excellent conduct. He was 
on visits to the North India and obtained divya Darshans of Ayodhya, 
gaya, Badri, Dwaraka etc., and He chose to stay at Ayodhya as he 
could not resist being attracted by the Holiness of Sri RAMA's birth 
place. From there, he was dragged by an unconrolled desire to follow 
the new Southern BRIGHT Star/Light appeared in the sky (as seen only 
by his eyes at night) and found himself at the feet of the Greatest 
AzhwAr "NammAzhwAr". 

After a brief encounter (Please read the post on NammAzhwAr for 
details), he prayed to NammAzhwAr requesting him to protect and 
accept him as his disciple. From then on, he stayed with NammAzhwAr 
and complied all pAsurams of NammAzhwAr. Madhurakavi was so much 
devoted to NammAzhwAr, his Acharya, that he held him equal to 
(higher than) Lord Sri Narayana (You will agree that the Lord asks 
for that Bhagavatha Bhakti more than Bhagavadh Bhakti). 
After NammAzhwAr departed from this earthly world, he was blessed 
with a Golden vigraham of NammAzhwAr which he consecrated and 
performed ThiruvarAdhanA and uthsavams in his honour. He was 
impressed by nammAzhwAr's works so much that wanted to stage 
NammAzhwAr's works in front of other scholars. the sangam poets 
objected to such claims and praises NammazhwAr who had no connection 
with Sangam ( a big deal!). Madhurakavi, it seems was saddened by 
this protest and was weeping literally. 

NammAzhwar, appeared as an old Brahmin and consoled him saying " Do 
not woory about these petty issues, my child, You just place this 
pasuram of "Kannan kazhaliNai..." on a boat (sangap palagai) and 
watch the fun" and disappeared. Madhurakavi did the same and the 
boat, it is told capsized throwing out all the jealous, haughty 
poets while it retained only the leaf containing "Kannan 
kazhaliNai.." 

It is also told that each one of those poets struggled to reach the 
shore and composed a verse dedicating to NammAzhwAr. And when they 
were about to publish their verses, they were simply AMAZED to find 
that each one wrote the same verse in same words; (What a marvel! 
what a divine AzhwAr and Divine Disciple ! - simply made for each 
other) 

The sangam chief says " NammAzhwAr's works are superior and other 
poets are like flies compared to Garudan (that is NammAzhwAr); fire 
flies (minmini) in the presence of sun; dogs in front of the 
ferrocious tiger; wolf before the Lord Narasimha, ugly clumsy dwarfs 
dancing before the havenly beautiful Oorvasi- All their works are 
not equal to even one utterance of nammAzhwAr." 

Madhurakavi's eyes were full of tears for his (his Acharya's) 
success; The eleven pAsurams are counted as part of 4000 verses 
simply because the whole of 4000 pasurams is claimed to be Bhagavadh 
vishayam while Madhurakavi's is on his Acharya which is the central 
gem that sheds lustre on the other jems of the garland (so says 
Manavala mamunigal). It is the work that holds the key to the 
treasure of other pAsurams. 

Needless to say, Nathamuni's thaniyans (Thaniyan means dedicated 
verse) on this AzhwAr depict the glory of AzhwAr and it is necessary 
for us to be blessed by such Great Bhaktals; Before we conclude 
about this mahan who performed Acharya Nishtai and attained the feet 
of mOksham, let us get benefitted by the rich two thaniyans of 
Nathamuni (in sanskrit): 

Aviditha Vishaya Antharas / 
Sataarer Upanishadam Upagaana Matra Bogah / 
Abhi Saguna Vasaath Tad Eka Seshee / 
Madhura Kavir Hridhaye Mamaavirastu / 

" Here is one who knew none other than Nammalwar; the one who made 
it his mission in life to sing the Tamizh upanishadam of Nammalwar; 
The one being overwhelmed by Nammalwar held him as his very God; Let 
such Madhurakavi fill my heart" (our hearts, too) 

VERonRum Naan aRiyEn Vedam Tamizh Seitha / 
Maaran Sadakopan VaN Kurugur - YeRu EngaL / 
Vaazhvaam EnRu Ethum Madhura Kaviyaar Emmai / 
AaLwaar Avare SaraN / 

Madhurakavi said -" I do not know anything other than Nammalwar also 
known as Maaran(original name of NammAzhwAr) who rendered in Tamil 
the essence of the Vedas and who is the head of Tirukkurugur. This 
Madhurakavi is our master. He is the guardian of the group of 
Prapannaas. 

MadhurakaviAzhwAr thiruvadigaLE saraNam 
Swami Nathamuni ThiruvadigaLe saraNam 
Regards
Namo narayana
dasan
==========================================================

To Continue
==========================================================




 
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