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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