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JAYA JAYA SHANKARA!! HARA HARA SHANKARA!! I welcome all of you to this blogspot which is dedicated in entireity to my JAGAT GURU. I pray to my Kanchi Mahan to shower the blessings for the successful creation of this blogspot. I am in the process of collecting all the available information, speeches, audios, videos, books from the ocean of WEB. I would like to extend my sincere gratitude to all the Original uploaders who provided the resources for me to gather and put the same in my blogspot. Please note that this site is regulary updated and request you to visit on regular basis to update on the happenings. I will leave you here...with Periavaa. JAYA JAYA SHANKARA!! HARA HARA SHANKARA!!
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PLEASE LISTEN TO THE NEWLY UPLOADED SONGS ON SHRI MAHAPERIAVAA BY SHRI UDAYALUR KALYANA RAMAN

Tuesday, January 31, 2012

பெரியவா ஓரிடத்தில் தங்கியிருந்தார்.அன்று ஏகாதசி
தண்ணீர் கூட சாப்பிடமாட்டார்.
அங்கே ஒருவர் மின்சாரம் பழுது பார்த்துக் கொண்டிருந்தார்.
மணி ஆகிக் கொண்டே இருந்தது. அதைப் பார்த்த பெரியவா,
... "இந்த ஆள் சாப்பிடவே போகாமல் வெலை செய்து
கொண்டிருக்கிறார்! சாப்பிட்டு விட்டு வரச்சொல்லுங்கள்."
என்கிறார். அதைக் கேட்டுவிட்டு அவர் ", இன்று ஏகாதசி, நான்
சாப்பிட மாட்டேன்" என்றார். அவர், மராட்டிக்காரர், மராட்டியர்
ஏகாதசி உபவாசங்களில் மிகவும் கண்டிப்பாக இருப்பார்கள்.
ஆச்சர்யப்பட்ட பெரியவா, "சரி சாப்பிட வேண்டாம்; டீயாவது
குடித்துவிட்டு வரச்சொல்லுங்கள்" என்றார். அவரோ, "நான்
தண்ணி கூடக் குடிக்க மாட்டேன்.நீங்க கவலைப்படவேண்டாம்"
என்றார். அதைக் கேட்டதும் அன்று முதல் ஏகாதசியில் குடித்த
வந்த பாலையும் பெரியவா விட்டுவிட்டார்.அந்த பழுது பார்க்க
வந்தவரிடமிருந்து ஓர் உபதேசம் பெற்றதாக நினைத்தாரோ
இந்த ஜகத்குரு! இப்படி ஏகாதசி தண்ணீர்கூட இல்லாமல்
கழிந்தது. மறுநாள் துவாதசி.
ஏகாதசியில் பட்டினி கிடக்காவிட்டால்கூட நாமெல்லாம்
துவாதசியில், 'பாரணை' என்று சொல்லிக்கொண்டு
சீக்கிரமாகச் சாப்பிட உட்கார்ந்துவிடுவோம்.
சாஸ்திரப்படி, துவாதசி ஸ்ரவண நட்சத்திரத்தில் வந்துவிட்டால்
ஏகாதசிக்கு பட்டினி கிடக்காவிட்டாலும் துவாதசியில் தண்ணீர்
கூடக் குடிக்கக் கூடாது என்பர். அப்படிப்பட்ட துவாதசியாக
அமைந்துவிட்டதால் பெரியவாளுக்கு அன்றும் உபவாசம்.
அடுத்த நாள் பிரதோஷம். அதில் பகலெல்லாம் விரதமிருந்து
இரவு சிவபூஜை பண்ணி, சிவ தரிசனமான பின்தான் உண்பது
வழக்கம். அதிலும் ஞாயிற்றுக்கிழமையில் பிரதோஷம்
வந்துவிட்டால் சூரியாஸ்தமனம் ஆன பிறகு சாப்பிடக் கூடாது.
நாலாம் நாள் மகாசிவராத்திரி.அன்றும் உபவாசம். தீர்த்தமாட
மட்டும்தான் சுவாமிகள் தண்ணீரைப் பார்த்தார்.அவ்வளவு
கடுமையாக உபவாசங்களைத் தொடர்ந்து அனுஷ்டித்தவர்
அவர்.அப்படிப்பட்டவர்தான் வேளாவேளைக்குப் பசியெடுக்காத
நிலை எனக்கு இன்னும் வரவில்லை என்கிறார்.

Monday, January 30, 2012

From kamakoti.org
A touching incident
A. Sundaram

... I used to visit Kancheepuram quite often for Darshan of His Holiness Sri Sankaracharya Swamigal of Kamakoti Math. On (Saturday) the 1st Jul 1989, I had been there with my wife and daughter at about 9.30 a.m.

At that time, one Muslim came there along with his son by name Gulam Dastagir. Both of them removed their shirts and prostrated in front of Sri Mahaperiaval. Alas! Gulam Dastagir was blind! He had brought a violin with him.
The father narrated the Mahaswamigal that his son Gulam Dastagir was to attend a violin recital competition and, therefore, wanted the blessing of the Acharya. He also asked permission to play the violin in the presence of the Acharya. Sri Mahaswamigal acceded to the request.

A happy Gulam Dastagir played the violin for sometime. Then Sri Mahaperiaval enquired the father about his native place, his children etc. The father replied that he had two sons and a daughter and that Gulam Dastagir was his eldest son. Sri Swamigal also enquired the name of the Guru under whom Gulam Dastagir was trained.

Sri Mahaswamigal then asked His sishya to bring two dhoties, touched them and instructed that they be given both to the father and the son. The Acharya also gave mango fruits to them.

Gulam Dastagir and his father were very much happy over the kindness shown by the Swamigal. The father further requested that the violin be blessed by the Acharya. Sri Mahaswamigal blessed them by touching the violin with his sacred hand.

Both of them again prostrated before the Acharya and took leave with His permission. I could see from the faces of both that they were overwhelmed with joy by the kindness shown and the blessing of the Acharya.

This incident was watched by all the devotees present at that time. Even now it remains green in my memory.
One cannot describe the compassion and benevolence of our Mahaperiaval who blesses all human beings irrespective of caste, creed of religion.

Sunday, January 29, 2012

Deivathin Kural Part#2 Continued…..

 

ÞòŸ¬è¬ò ñF‚°‹ Þ™ôø‹

ÉŒ¬ñ‚ °¬ø¾‚ªè™ô£‹ è£óíñ£ù¶ CŸP¡ð‹ â¡Á ñý£¡èª÷™ô£‹ 𣮠¬õˆF¼‰î£½‹, ÜF½‹ Ãì å¼ ªïP¬ò ãŸð´ˆF‚ ªè£´ˆ¶, ܬî«ò ݈ñ£¬õ ÉŒ¬ñŠð´ˆ¶Aø å¼ ú‹vè£óñ£‚A ïñ‚° «õî î˜ñ ê£vFóƒèœ ªè£´ˆF¼‚A¡øù. ê£î£óíñ£è å¼ põ¬ù, '裆´‚°Š «ð£; ú‰Gò£Rò£Œ Þ¼' â¡Á ªê£¡ù£™ Üõù£™ º®ò£¶. «ô£è õ£›‚¬èJ™ Ü®ð†´ˆî£¡ Üõ‚°Š ð‚°õ‹ à‡ì£è «õ‡´‹. H…ê£è‚ èê‚Aø è£ôˆF™ èꉶ, õ´õ£è ¶õ˜‚Aø 裙ˆF™ ¶õ˜ˆ¶, è£ò£èŠ ¹O‚Aø è£ôˆF™ ¹Oˆ¶, ÜŠ¹ø‹î£¡ ðöñ£èŠ 𿈶 ñ¶ó ̘Eñ£õ ú£ñ£Qò põ˜è÷£™ º®»‹. î£ù£è ð¿‚è£î¬îˆ î® ªè£‡´ Ü®ˆ¶Š ð¿‚èŠ ð‡í º®ò£¶! ÜŠð® ÞòŸ¬è «õ般î ePŠ ð‡Eù£™ ó£ñLƒè võ£Ièœ ªê£¡ùð® "ªõ‹H Mö" «õ‡®ò¶î£¡ â¡ð¶ KSèÀ‚°ˆ ªîK»‹. Üîù£™î£¡ Mõ£ýˆ¬î»‹ A¼ývî (Þ™ôø) î˜ñƒè¬÷»‹ ¬õˆF¼‚Aø£˜èœ. ܶ ñ†´I™ô£ñ™, ̘õ è˜ñ£¾‚è£è Ü«ïè põ˜èœ Hø‰î£è «õ‡´«ñ? ðˆFò‹ Þ™ô£ñ™ Þ¶ âŠð® º®»‹? A¼ývóñˆF™ Þõ¡ º¡¹ èŸÁ‚ªè£‡ì «õîˆ¬îˆ ªî£ì˜‰¶ åF»‹ Hø˜èÀ‚° å¶Mˆ¶‹ (èŸÁ‚ ªè£´ˆ¶‹) õó«õ‡´‹. Ü«ïè ò‚ëƒè¬÷»‹, å÷ð£ú¬ù¬ò»‹ Ü‚Qºèñ£èŠ ð‡í «õ‡´‹. Hó‹ñê˜òˆF™ 弈î¬ù„ «ê˜ˆî ú‰Fò£ õ‰îùº‹ A¼ývóñˆF™ ªî£ì˜Aø¶. 𣶠ñŸø ò‚룸wì£ù‹, «õòòù‹ Þó‡´«ñ ªó£‹ð ªó£‹ð‚ °¬ø‰¶ M†ì£½‹ ú‰Fò£õ‰îùº‹, ÜF™ º‚òñ£ù è£òˆg ü𺋠¶O Þ¼Šð ܬîŠðŸP„ ªê£™A«ø¡.

Saturday, January 28, 2012

ஸ்ரீ காஞ்சி காமகோடி ஸ்ரீமத் ஜகத்குரு ஸ்ரீசந்திரசேகரேந்திர
சரஸ்வதி ஸ்வாமிகளின் அருள்மொழிகள்.
ஒரு மாடு கண்ணாடியில் தன்னைப் பார்த்துவிட்டு இன்னொரு மாடு இருப்பதாக நினைத்து அதை முட்டப்போகிறது. ஒரு மனிதன் தன் பிரதி பிம்பத்தைப் பார்க்கிறான். இன்னொரு மனிதன் இருக்கிறான் என்று அவன் நினைக்கிறானா? இரண்டும் ஒரே பொருள் என்பது அவனுக்குத் தெரிந்து சாந்தமாக இருக்கிறான். இப்படியாக நாம் பார்க்கின்ற அனைத்துமே ஒன்றுதான். இரண்டாவது என்று எண்ணினால் ஆசை வரும். ஆசை வருவதனால் கோபம் வருகிறது. கோபம் வருவதனால் பாபங்களைச் செய்கிறோம். அதனால் ஜன்மம் உண்டாகிறது

Friday, January 27, 2012

Deivathin Kural Part#2 Continued…..

 

àðïòù àî£óí ¹¼û˜èœ

Þó‡´ ªîŒõ‚°ö‰¬îèœ ñ¸wò ÏðˆF™ Üõî£ó‹ ð‡Eù«ð£¶ àðïòù ú‹vè£ó M«êûˆî£«ô«ò îƒèœ Üõî£ó è£Kòˆ¬îŠ ð‡E‚ 裆®ù â¡Á  G¬ùŠð¶ õö‚è‹. «õî ñî‹ ïLõ¬ì‰î«ð£¶ Ü¬î ¹ˆ¶J˜ ªè£´ˆ¶ vî£Hˆî êƒèó¼‹ ë£ùú‹ð‰î¼‹î£¡ Ü‰î °ö‰¬îèœ. ú‹ð‰î ͘ˆF võ£IèÀ‚° ð£™òˆF«ô«ò àðïòùñ£ù¬îŠ ªðKò ¹ó£íˆF™ ªê£™LJ¼‚Aø¶. "ñ¬ø ëÝù ú‹ð‰î¡" â¡Á Üõ«ó õ˜Eˆ¶‚ ªè£‡®¼ŠðFL¼‰¶  «õîƒè¬÷»‹ Üõ˜ ܈òòù‹ ð‡Eù£˜ â¡Á ªîKAø¶. Ýê£Kò£À‚°‹, ë£ùú‹ð‰î¼‚°‹ å¼ îó‹ «è†ì£«ô ð£ìñ£Œ M´‹. 'ãè ú‰î‚ó£U' èœ. Üîù£™ åK¼ õ¼ûƒèÀ‚°œ ܈òòù‹ ̘ˆF ð‡EM†ì£˜èœ.

èŸÁ‚ªè£œ÷£ñ«ô, è÷£è úèô Mˆ¬îè¬÷»‹ ªîK‰¶ ªè£œ÷‚ îòõ˜. ܉î Þ¼õ¼œ å¼õ˜ (êƒèó˜) ðó«ñ„õó Üõî£ó‹; ñŸøõ˜ ((ú‹ð‰î˜) ú§Šóñ‡òK¡ Üõî£ó‹. ÜŠð®J¼‰¶‹ Üõ˜èœ àðïòù ú‹vè£óñ£A, è£òˆg ñ‰Fó àð«îê‹ ªðŸø H¡«ð Üõî£ó è£Kòˆ¬î M«êûñ£è„ ªêŒ¶ 裆®ù£˜èœ â¡ø£™, Þ¶ ܉î ú‹vè£óˆF¡ ÜõCòˆ¬î ú£î£óí ñ¸wò˜è÷£ù ïñ‚° Ü¿ˆîñ£èˆ ªîKMŠðˆî£¡. ó£üÅì£ñE bVîªó¡Á å¼ èM Þ¼‰î£˜. Üõ˜, "è£òˆg ⡬ù ܬ컺¡«ù úóvõF â¡Qì‹ õ‰¶ M†ì£œ" â¡Á å¼ „«ô£èˆF™ ªê£™LJ¼‚Aø£˜. è£òˆg àð«îê‹ ªðÁAø â†ì£õ¶ õò²‚° º¡«ð Üõ˜ èMð£ì Ýó‹Hˆ¶ M†ì£˜. ܬîˆî£¡ ފ𮄠ªê£™L‚ ªè£‡®¼‚Aø£˜! ë£ù ú‹ð‰î¼‹ Í¡ø£‹ õòC«ô«ò '«î£´¬ìò ªêMò¡' â¡Á ð£®ùõ˜î£¡. ÜŠ«ð£«î ÜŸ¹îƒè¬÷„ ªêŒò Ýó‹Hˆ¶ M†ì£˜. Ýù£½‹ ÌÈ™ «ð£†´‚ ªè£‡´ è£òˆg àð«îê‹ õ£ƒA‚ ªè£‡ì£˜; ܉î ðôˆFù£«ô«ò «ñŸªè£‡´ ªðKò ªðKò è£Kòƒè¬÷Š ð‡E ¬õFè î˜ñˆ¬î G¬ô®ùî£è‚ 裇Hˆî£˜ - â¡ðFL¼‰¶ ïñ‚ªè™ô£‹ àðïòù ú‹vè£óˆF½‹, ÜîŸèŠ¹ø‹ è£òˆg üð‹ ªêŒõF½‹ è‡¬íˆ Fø‰¶ M†®¼‚Aø£˜ â¡Á ªîKAø¶.

õò² G˜íòˆ¶‚°‚ è£óí‹ úóvõF àœ«÷ ¹°‰îH¡ è£òˆg ¹°õ¶ Þ¼‚膴‹; Þ¶ ⃫è«ò£ Ü̘õñ£è ïì‚Aø êñ£ê£ó‹. è£ñ¡ àœ«÷ ¹°õ º¡ è£òˆg àœ«÷ ¹°‰¶Mì «õ‡´ªñ¡ð¶î£¡ º‚Aò‹. Üîù£™î£¡ ↴ õò² â¡Á ¬õˆî£˜èœ. è£ñˆF¡ Ý«õê‹ ãŸð†´M†ì£™ ܶ ñ‰Fó ê‚F ªðø º®ò£ñ™ Þ¿ˆ¶‚ ªè£‡´ «ð£°‹. 㟪èù«õ ªðŸø ê‚F¬ò‚Ãì p˜E‚Aø ê‚F Ü à‡´. Üîù£™î£¡ ðFù£Á õò²‚° «ñ™, ꣇ ãPù£™ ºö‹ êÁ‚°Aø G¬ô ãŸð´õ ªó£‹ð¾‹ º‰F«ò, è£òˆg¬ò ï¡ø£è üHˆ¶ ÜF™ RˆF ܬ쉶 M´‹ð®ò£è õò² G˜íò‹ ªêŒF¼‚Aø£˜èœ. ު¬ø»‹  nKòú£è â´ˆ¶‚ ªè£œõ«îJ™¬ô. î‡ìˆ¶‚°„ ªêŒA«ø£‹. Ü®«ò£´ M†´ M´õˆ ¶E„ê™ Þ™ô£îô«ò è£ô‹ îŠH, º¬ø ªè†´, ã«î£ ªêŒ«î£‹ â¡Aø ªð£Œˆ F¼ŠF‚è£èŠ ð‡μA«ø£‹. Þ¬îMì ¬îKòñ£è ï£vFèñ£è Þ¼‰¶M†ì£™Ãìˆ «îõ¬ô; Üõ‚° å¼ 'è¡Mþ'ù£õ¶ (ªè£œ¬è»ÁFò£õ¶) Þ¼‚Aøî™ôõ£ â¡ÁÃìˆ «î£¡ÁAø¶. ð£ôŠ Hó£òˆF«ô«ò è£òˆg¬ò üH‚è Ýó‹Hˆ¶ M†ì£™ ð²ñóˆî£Eò£è ܶ ðF»‹. è£òˆgò£ù¶ º‚Aòñ£è mental power (ñ«ù£ê‚F), «îüv, Ý«ó£‚ò‹ â™ô£õŸ¬ø»‹ ÜðKIîñ£èˆ îóõ™ô¶. Þ‰î üðˆî£«ô«ò °ö‰¬îèÀ‚° ï™ô concentration (Cˆî 弬ñŠð£´), ¹ˆF bþ‡ò‹, êgó ¹w® â™ô£º‹ à‡ì£°‹. HŸð£´ è£ñ‹ ªîK‰î£½‹ ܶ å«ó®ò®ò£è Þ¿ˆ¶‚ ªè£‡´ «ð£Œ, ¹ˆF °¬øM½‹ êgó ܲˆFJ½‹ Mì£îð® ªðKò 膴Šð£ì£è Þ¼‚°‹. Hó‹ñê˜ò Ý„óñˆF™ Þõ¡ i˜òˆ¬î Móò‹ ð‡í£ñ™, ï™ô Hó‹ñ «îü«ú£´, ÜPõ£Oò£è¾‹, °íê£Lò£è¾‹, Üì‚è‹ ºîô£ù ï¡ù숬îè«÷£´‹, ªîŒõ ð‚F«ò£´‹, ݈ñ ú‹ð‰îñ£ù MûòƒèO™ H®ñ£ùˆ«î£´‹ Þ¼Šð ð£™òˆF«ô«ò è£òˆg ܸú‰î£ù‹ ð‡μõ¶ ªðKò úý£ò‹ ªêŒ»‹.

îƒèœ °ö‰¬îèÀ‚° Þˆî¬ù ñè¬÷»‹ å¼ è£óíºI™ô£ñ™ Þ‚è£ôˆ¶Š ªðŸ«ø£˜èœ î´ˆ¶ ¬õˆ¶‚ ªè£‡®¼‚Aø£˜èœ. è£òˆg üð‹, «õî ܈òòù‹, Þîó «õèƒè¬÷Š ð®Šð¶, H¬þ â´Šð¶, °¼ ²²¼¬û, ï´«õ Hó‹ñêKò Ý„óñˆF™ ªêŒò«õ‡®ò Móîƒèœ ÞõŸ¬ø º®ˆ¶ ï™ô ªò÷õùˆ¬î ܬì‰îõ¡ úñ£õ˜ˆîùˆ«î£´ °¼°ó õ£úˆ¬îŠ ̘ˆF ð‡í «õ‡´‹. Hø° è£C‚° ò£ˆF¬ó ªê¡Á õó«õ‡´‹. è£C ò£ˆF¬ó º®‰¶ F¼‹Hò¾ì¡ è™ò£í‹ ð‡E‚ ªè£œ÷ «õ‡´‹. úñ£õ˜ˆîùˆ¶‚°Š Hø° Mõ£ý‹ õ¬óJ™ Üî£õ¶ å¼õ¡ è£C ò£ˆF¬ó «ð£Œ õ¼‹ è†ìˆF¡ «ð£¶ - Üõ‚° 'vï£îè¡' â¡Á ªðò˜. Þ‚è£ôˆF™ '裡õ«èû¡'  úñ£õ˜ˆîù‹! è™ò£íˆF™ è£C ò£ˆF¬ó â¡Á å¼ Ãˆ¶ ïì‚Aø¶! ÞîŸèŠ¹ø‹ Mõ£ý‹ â¡ð¶. ܶ¾‹ ð¶ ú‹vè£óƒèO™ å¡Á.

Thursday, January 26, 2012

தர்மம் பற்றி மகா பெரியவாள்.
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குருவானவர் இகம்-பரம் என்னும் இரண்டு
வித வாழ்க்கைக்கும் வழிகாட்டக் கூடியவர். பொருளில்லார்க்கு இவ்வுலகமில்லை என்பதுபோல இந்த உலக வாழ்க்கையில் அதுவும் வேண்டுமல்லவா? அது போலவே மேல் உலகம் செல்வதற்கு வேண்டிய அருள் பெறுவதற்கும் அவரே துணையாகிறார். ஒரு நாளில் பெரும்பாலும் பொன்னுக்கும், பொருளுக்கும் என்று உழைத்தாலும் சிறிது நேரமாவது அருள் செயல்களுக்காக  ஒதுக்க வேண்டாமா? அதுதான் நமது வாழ்க்கையைப் பயனுடையதாக அர்த்தமுள்ளதாக ஆக்கும் என்பதை மறக்கக்கூடாது.அர்த்தம்
என்பதே அதுதான். பொன்,பொருள் எல்லாவற்றையும் 'அர்த்தம்' என்று குறிப்பிட்டாலும், மற்றவர்களுக்காக பயன்படுத்தப்படும்போதுதான் அந்தச் சொல்லுக்கு இந்தப் பொருள் பொருந்தும்.
இல்லை என்றால் அனர்த்தம்தான்.
"நமக்கு இறைவனால் கொடுக்கப்படும் செல்வத்தை, மேல் உலகிலும் செல்லும்படியான கரன்சியாக மாற்றி வைத்துக் கொள்ள வேண்டும்" என்று பெரியவா சொல்லுவார். அதுதான் தர்மம் என்னும் கரன்ஸி.இதை வேறெவரும்
திருட முடியாது.வெள்ளத்தில் போகாது. வெந்தழலில் வேகாது, கொள்ளத்தான் குறையாது. அப்படி மாற்றத் தெரிந்தவர், சொல்லத் தெரிந்தவர் குருநாதர் ஒருவரே.அவருடைய திருஷ்டி பட்டாலே நமக்கு மனப்பக்குவம் வந்துவிடும். இதனால்தான் அருணகிரி,ஔவையார்
முதலிய எல்லோருமே தங்கள் இஷ்ட தெய்வங்களை குருவாய்,வருவாய் என்று வேண்டிக் கொள்கின்றனர்

Wednesday, January 25, 2012

Deivathin Kural Part#2 Continued…..

 

àðïòù è£ô‹

àðïòù‹, °¼°ôõ£ú‹ ÞõŸ¬øŠ ðŸP„ ªê£¡«ù¡. àðïòù‹ ªêŒò«õ‡®ò è£ô‹ Hó£‹ñí‚° 蘊ðˆ¬î‚ Æ® â†ì£õ¶ õò꣰‹; Üî£õ¶ Hø‰¶ ã¿ õòú§ Þó‡´ ñ£ú‹ Ýù¾ì¡ ð‡í «õ‡´‹. þˆKò˜èœ ð‡Eó‡´ õò¶ õ¬ó àðïòù‹ ªêŒòô£‹. ò¶ õ‹êˆF™ Hø‰î A¼wí ðóñ£ˆñ£¾‚° ÜŠð®ˆî£¡ ªêŒF¼‚Aø¶. ¬õ„ò˜èœ ðFù£Á õò² õ¬ó àðïòù‹ ð‡íô£‹. Hó£‹ñí˜èÀ‚°‹Ãì ↴ õò² lower limit (W› õó‹¹), ðFù£Á õò² upper limit (à„ê õó‹¹) â¡Á ê£vFóƒèœ, «ð£ù£™ «ð£Aøªî¡Á Üõè£ê‹ ªè£´ˆF¼‚A¡øù. ðFù£Á õò²‚° ÜŠ¹ø‹ ÌÈ™ «ð£ì£ñ™ å¼ Hó£‹ñíŠ Hœ¬÷¬ò ¬õˆF¼Šð¶ ñýˆî£ù «î£ûñ£°‹.

å¼õ‚° ÞŠð® õò²‚ è£ô‹ ªê£™LJ¼Šð«î£´, àðïòù ú‹vè£ó‹ â¡ð¬î„ ªêŒõè àˆîó£òí‹î£¡ àKò è£ô‹ â¡Á‹ ú¨Kò¡ ÌIJ¡ õì‚°Š ð£FJ™ ú…êK‚Aø ÝÁñ£úˆF«ô«ò àðïòù‹ ªêŒò«õ‡´‹. àðïòù‹ ñ†´I¡P Mõ£ýº‹ Þ‰î ÝÁñ£úˆF™î£¡ ªêŒòô£‹. ÞF½‹ õú‰î è£ô‹ (CˆF¬ó, ¬õè£C)  Mõ£ýˆ¶‚° ªó£‹ð¾‹ â´ˆî¶. Ü«î ñ£FK 'ñ£CŠ ÌÈ™ ð£C ð켋' â¡ðî£è ñ£C ñ£îˆF™ ÌÈ™ «ð£´õ¬î M«êûñ£ùî£è„ ªê£™LJ¼‚Aø¶. îVí£òùˆF™ (Ý®JL¼‰¶ ñ£˜èN º®ò) ÞõŸ¬ø„ ªêŒõ¶ ê£vFó ú‹ñîñ™ô. ÞŠ«ð£¶ ÞõŸÁ‚° âšõ÷¾ è£ô‹ èìˆîô£«ñ£ Üšõ÷¾ ®«ô ªêŒ¶M†´ è¬ìCJ«ô ñ£˜èN ñ£ú‹ å¡Á îMó «õÁ ⊫𣶠«õ‡´ñ£ù£½‹ ð‡íô£‹ â¡Á ð‡μAø£˜èœ. ðô‹ ÜèŸø ñ£FK Þ¼‚Aø¶.

èLò£í‹ â¡Á ã«î£ å¡Á ð‡EJ¼‚Aø£˜è«÷ â¡Á F¼ŠFŠð†´ Ü¬î «õ‡´ñ£ù£½‹ îVí£òùˆF™ ܸñF‚èô£‹. (Ã죶. Ýù£™ ªî£¬ôAø¶ â¡Á Mìô£‹.) àðïòùˆ¬î å¼è£ô‹ îVí£òùˆF™ ܸñFŠðîŸA™¬ô. 㟪èù«õ îVí£òùˆF™ àðïòù‹ ð‡EJ¼‰î£™Ãì ñÁð® àˆîó£òíˆF™ å¼ î¼‹ ð‡μƒèœ â¡Á ªê£™«õ¡. èLò£í‹, ÌÈ™ Þó‡¬ì»«ñ ðí‹ ê‹ð‰îŠð†ì è£Kòƒè÷£‚A M†´ Þó‡´ ªêô¾‹ å¡ø£èŠ «ð£è†´«ñ â¡ð îƒèœ ªð‡èO¡ è™ò£íˆ¶‚è£èŠ Hœ¬÷J¡ ÌȬô îœOŠ «ð£´Aø õö‚è‹ ÜFèI¼Šð Þ¬î„ ªê£™ô «ï˜‰î¶.

䉶 õòR«ô«ò àðïòù‹ ªêŒ»‹ å¼ õö‚躋 à‡´. 'ܶ 裋«ò£ðïòù‹' âùŠð´‹. '裋ò‹' â¡ø£™ å¼ Þw숬î àˆ«îCˆî¶ â¡Á ܘˆî‹. °ö‰¬î M«êû ÜHM¼ˆF ܬìò «õ‡´ªñ¡Á ݬêŠð†ì£™ ÞŠð® ªêŒò£î «î£ûI™¬ô. ãªù¡ø£™ ñ‰Fóƒèœ ï¡ø£è vðwìñ£è à„êK‚è õ¼Aø è£ôˆF™, ú‹v‚¼î ë£ù‹ Þó‡´ õ¼ûñ£õ¶ ãŸð†ì£ùŠ Hø° àðïòù‹ ð‡μõ«î «ð£¶‹. (ÞŠ«ð£¶ ºŠð¶, ºŠðˆ¬î‰¶ õò²‚°‚ è™ò£íñ£Aø«ð£¶ ÌȽ‹ «ð£´õ¶ â¡Á õ‰F¼‚°‹ î¬êJ™  '䉶 õòC™ ð‡í «õ‡´ªñ¡P™¬ô, ↮™ ð‡Eù£«ô «ð£¶‹ â¡Á ªê£™õ¶ âù‚«è ý£vòñ£èˆî£¡ Þ¼‚Aø¶! ý£vò‹ â¡Á ªê£¡ù£½‹ ¬õFèŠ Hó‚¬ë Þ¼‰î£™ õJÁ âKò«õ‡´‹!) ðèõˆð£î£À‚° ä‰î£õ¶ õòF«ô«ò àðïòùñ£è„ ªê£™LJ¼‚Aø¶. ð£™òˆF«ô Üô£F ¹ˆFê£Lˆîùº‹, ªîŒõ ð‚F»‹ ªîK‰¶, õ£‚° vðwìI¼‰î£™ ފ𮄠ªêŒòô£‹.

Tuesday, January 24, 2012

பெரியவா அணிவித்த சிவப்பு சால்வை!

ஒரு சமயம் அந்த ஓவியர் காஞ்சி மஹா சுவாமிகளை தரிசிக்கப் போயிருந்தார். அப்போது சிவப்பு நிற சால்வை ஒன்றை அவருக்கு அணிவிக்கச் செய்துவிட்டுச் சொன்னாராம்:
நீ இனிமே வெளியிலே எங்கேயும் போகாதே, உன் வீட்டில் இருந்தபடியே சித்திரம் வரை. உனக்கு எல்லாம் தானே தேடி வரும்.”
அந்த அருளாசியை அப்படியே ஏற்றுக் கொண்டார் அண்மையில் காலமான ஓவியர் ஜி.கே.மூர்த்தி. எந்தப் பொது நிகழ்ச்சியிலும் கலந்து கொள்ளப் போக மாட்டார். ஏதாவது விருதுகள், பரிசு பாராட்டு என்றால்கூடத் தன் சார்பாக யாரையாவது அனுப்பித்தான் பெற்றுக் கொள்வார்.
அபாரமான ஆன்மிக ஈடுபாடுள்ளவர் ஜி.கே.மூர்த்தி. ஆனால், ஒரு வித்தியாசம், எல்லோரும் வணங்கி வழிபடுகிற தெய்வ வழிபாட்டில் அவர் கூடுதலான நம்பிக்கை கொண்டிருந்தது சனி பகவான் மீதுதான். சனி பகவான் திரு உருவம் ஒன்றை பூஜைக்கு உரிய முறையில் வரைந்து பிரபலமாக்கினார். அதிலும் ஒரு வித்தியாசம் – பரவலாக நம்பப்படுகிற காக்கை வாகனத்துக்குப் பதிலாக, கருடனை, சனிபகவானின் வாகனமாக ஆக்கினார். அப்படி ஓர் ஆதாரம் பழைய நூல்களில் இருக்கிறது என்று சொன்னார். இதே கருத்தை ஓவிய மேதை எஸ்.ராஜமும் சொல்லிக் கேட்டிருக்கிறேன். சனி பகவானுக்கு ஒரு கோயில் கட்ட வேண்டும் என்பது அவருடைய நீண்ட நாளைய ஆசை, இடம் தர பலர் முன் வந்தும் ஏனோ அது கைகூடவில்லை. ‘சனி பகவான் அங்கீகாரம் கிடைக்கலே’ என்று சொன்னார்.
கும்பகோணம் ஓவியப் பள்ளியில் படித்த மூர்த்தி, முதலில் படங்களை வரைந்தது ‘கலாவல்லி’ மாத இதழுக்குத்தான். பிறகு சென்னை வந்தபிறகு அமுதசுரபி முதலிய இதழ்களுக்கு வரைந்தார்.
அவருடைய ஓவியப் பாணி வித்தியாசமானது. ஆங்கிலப்பாணி ஓவியம். துல்லியமாகவும், மிகைப்படுத்தப்படாத அநாடமியோடும் இருக்கும். சிற்ப நகாசு வேலை நுட்பங்கள் அதிகமிருக்கும்.
நோயே இல்லாமல் வாழ்ந்தவர். தமக்குத் தோன்றுகிற ஆன்மிகச் சிந்தனைகளை எல்லாம் கட்டுரைகளாக எழுதி, சிறு சிறு நூல்களாக வெளியிட்டு ஒவ்வொரு புத்தாண்டின் போதும் நண்பர்களுக்கு அனுப்பி வைத்துக் கொண்டிருந்தார்.
மகான்கள், தேவி, முருகன், மகாவிஷ்ணு போன்ற வண்ணப்படங்களை நிறைய வரைந்தார். நல்ல குடும்பம், திட்டமிட்ட வாழ்க்கை, தம்முடைய முப்பது வயது நிறைவதற்கு முன்னாலேயே, தியாகராய நகரில் தாமோதர ரெட்டித் தெருவில், சிறியதாக ஒரு வீட்டு மனையை வாங்கி, வீடும் கட்டிக் கொண்ட அவர், ஓவிய உலகிலும் அவரது திறமையின் மூலம் புகழ் வீட்டைக் கட்டிக் கொண்டார்.
(ஜி.கே.மூர்த்தியின் நினைவுகளைப் பகிர்ந்து கொண்டவர் ஓவியக் கவிஞர் ‘அமுதோன்’.)
–நன்றி கல்கி

Monday, January 23, 2012

Deivathin Kural Part#2 Continued……

 
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ݬèò£™ Þõ¡ ܈¬õî º‚F ܬìõF™¬ô. Ýù£½‹ ê£vFóˆ¬î ï‹H Üî¡ð®«ò è˜ñ£‚è¬÷Š ð‡E Cˆîˆ¬î ï¡ø£è ²ˆî‹ ð‡E, «ô£è «þñˆ¬î»‹ à‡ì£‚AJ¼‚Aø£ù™ôõ£?Üîù£™ Þõ¡ °íº‹ °P»I™ô£î ðóñ£ˆñ£¾ì¡ å¡ø£è£M†ì£½‹, Ü«î ðóñ£ˆñ£ °í‹ °Pè«÷£´Ãì «ô£èƒè¬÷ G˜õA‚Aø ß„õóù£è Þ¼‚Aø °í‹ °Pè«÷£´Ãì «ô£èƒè¬÷ G˜õA‚Aø ß„õóù£è Þ¼‚Aø ðóñ àˆîññ£ù ú‰Gî£ùˆ¬î ܬìAø£¡. Uó‡ò蘊ð vî£ù‹ â¡Á ܶ ªê£™ôŠð´Aø¶. Hó‹ñ «ô£è‹ â¡ð¶ ܶ. ðóñ£ˆñ£M«ô«ò è¬ó‰¶ å‰ø£AMì£ñ™, ªõO«ò Þ¼‰¶ ªè£‡®¼‰î£½‹Ãì, Üõ¬ó ú‹ ܸðMˆ¶‚ ªè£‡®¼Šð ܉î vî£ùˆF™Ãì ⊫𣶋 Ýù‰îñ£è«õ Þ¼‚°‹. å¼ °¬ø»‹ Þ¼‚裶. ÜŠð®ò£ù£™ ެ «ñ£†ê‹ â¡Á ªê£™ô «õ‡®ò¶î£¡. å¼ °¬øJ™¬ô, å¼ ¶‚è‹ Þ™¬ô, ⊫𣶋 ß„õó ú£‰Gˆò‹. Þ «ñ™ â¡ù «õ‡´‹? ÞŠð®Šð†ì G¬ô¬òˆî£¡ â™ô£ ú‹vè£óƒè¬÷»‹ ªêŒ¶M†´ ú‰Gò£Rò£è£ñ«ô Þø‰îõ¡ ܬìAø£¡. Üõ¡ Þ «ñ™ å¡Á‹ «è†è ñ£†ì£¡. Ýù£½‹ ܉î ß„õó¡ î£Â‹ å¼ è£ôˆF™ Þ‰î «ô£è Mò£ð£óƒè¬÷ªò™ô£‹ GÁˆFM†´, «ô£èƒè¬÷ªò™ô£‹ ñý£Š Hó÷òˆF™ è¬óˆ¶M†´, °í‹ °PJ™ô£î ðóñ£ˆñ úˆòñ£è ñ†´«ñ ÝAM´õ£¡. ÜŠ«ð£¶ ܶõ¬ó Üõ¬ìò ú‰Gî£ùˆFL¼‰î põ˜èÀ‹ Üõ«ù£´ÃìŠ ðóñ£ˆñ£«õ£´ ðóñ£ˆñ£õ£è ܈¬õî º‚F ܬ쉶 M´õ£˜èœ. ñý£Š Hó÷òˆF™ úèô põó£CèÀ‹î£¡ - ܸwì£ù«ñ ªêŒò£îõ˜èÀ‹, ¹¿ Ì„C»‹ Ãìˆî£¡ - ðóñ£ˆñ£«õ£´ «ê˜‰¶ M´õ£˜èœ. ÜŠð®J¼‚è Þˆî¬ù ܸwì£ùƒè¬÷„ ªêŒî Þõ‚°‹ ܉î G¬ô A¬ìˆîF™ M«êû‹ â¡ùªõ¡ø£™, å¼ M«êû‹ Þ¼‚Aø¶. ñÁð®»‹ Üè‡ì ªõOJL¼‰¶ ðóñ£ˆñ ú°í Ý„õóù£A «ô£èƒè¬÷ v¼w®ˆ¶, üèˆ Mò£ð£óƒè¬÷ Ýó‹Hˆ¶ M´õ£˜. ÜŠ«ð£¶ ܸwì£ù‹ ð‡í£î ñŸø põ˜èÀ‹, Þîó àJKùƒèÀ‹ ̘õ è˜ñ£Šð® ñÁð® Hø‰¶î£¡ Ýè«õ‡´‹. ܶõ¬ó ðóñ£ˆñ£M™ ܬõ Þó‡ìø è¬óò£ñ™ ôJˆ¶ˆî£¡ Þ¼‰F¼‚°‹. ÞŠ«ð£¶ ôò‹ MôA ñÁð® ü¡ñ£ à‡ì£AM´‹. ú‹vè£óƒè¬÷„ ªêš«õ«ù ªêŒ¶ ²ˆFò£ùõ«ù£ ÞŠð® ¹ùóH üùù‹ â¡Á ñÁ v¼w®J¡«ð£¶ ÌIJ™ õ‰¶ Mö£ñ™, ðóñ£ˆñ£«õ£´ ðóñ£ˆñ£õ£è Þó‡ìø‚ è¬ó‰î¶ è¬ó‰îð®«ò Þ¼Šð£¡.
Hó‹ñêKò‹ â¡ðFL¼‰¶ ªó£‹ð¾‹ ® º®õ£ù G¬ô‚° õ‰¶M†«ì¡. å¼ˆî¡ Hó‹ñê£Kò£è õ£›ï£œ Ìó£ Þ¼‚èô£ñ£?A¼ývóñ‹ õA‚è£ñ«ô å¼ Hó‹ñ„ê£K ú‰Gò£ú‹ õ£ƒA‚ ªè£œ÷ô£ñ£? â¡ø «èœMèœ â¿‰î ÜŠ ðF™ ªê£™ô Ýó‹Hˆ«î¡.

Sunday, January 22, 2012

"சிவசிவ' என்றால் பிறப்பில்லை
* ஒரு பிறவியில் செய்த பாவத்தை மற்றெரு பிறவியில் தீர்த்துக் கொள்ளட்டும் என்பதற்காக, ஈஸ்வரன் கருணையுடன் மறுபடியும் பிறவியைத் தருகிறான்.
* பகவானிடம் பக்தி உண்டாகவும், அவனது அருள் கிடைக்கவும் முதலில் பிறருக்கு உதவி செய். மனம் பக்குவமடைந்தால் உண்மையான பக்தியும், ஈஸ்வரனின் அருளும் கிடைக்கும்.
* தேசப்பணி, சமூகப் பணியில் ஈடுபடுவதற்கு முன் சமூக சேவையை, தெய்வப்பணியுடன் இணைத்து செய்ய வேண்டும். தெய்வ சம்மதத்துடன் தேசப்பணி செய்யவது நல்லது.
* கோபம், கெட்ட எண்ணம் போன்றவை இல்லாத சாந்தமாக இருக்கும் தட்சிணாமூர்த்தியைப் பார்க்கும் போது நமக்கு சாந்தம் ஏற்படுகிறது.
... * ஈஸ்வரனின் அருளைப் பரிபூரணமாகப் பெற்றவன் ஒருவன் இருந்தாலும், அவன் மூலமாகத் தேசம் நலமடையும். அப்போது எது வந்தாலும் பயமில்லை.
* "சிவ' என்ற இரண்டு எழுத்தை எப்போதும் உச்சரிக்க வேண்டும், எந்த பிறவி வந்தாலும் அதை மறக்காமல் கூறினால், பிறவியே இல்லாத அமைதியான நிலை ஏற்படும்.
- காஞ்சிப் பெரியவர்

Saturday, January 21, 2012

Deivathin Kural Part#2 Continued……

 

Hó‹ñ„ê£KJ¡ ôþí‹

嚪õ£¼ ï£À‹ Hó‹ñ„ê£Kèœ Ü‚Q è£Kò‹, Üî£õ¶ úIî£îù‹ (²œOè¬÷ ñ‰Fó̘õñ£è «ý£ñ‹) ð‡í «õ‡´‹. Hþ£ê˜ò‹ (H¬þ â´ˆî™) ªêŒò «õ‡´‹. Üôõíñ£è (àŠH™ô£ñ™) ꣊Hì «õ‡´‹. Hó‹ñê£KèO™ Hó£‹ñí¡ ðô£ê (¹óê) î‡ìº‹, þˆKòù Ü„õˆî (Üó²) î‡ìº‹, ¬õCò¡ ܈F î‡ìº‹ ¬õˆ¶‚ ªè£œ÷ «õ‡´‹. „¼î î£ó툶‚è£èˆ î‡ì‹ ¬õˆ¶‚ ªè£œ÷ «õ‡´‹. Üî£õ¶ â¬î ܈Fòòù‹ ð‡μAø£«ù£ Ü¬î‚ ªè†®ò£è Þ¼ˆF‚ ªè£œõ ܊𮄠ªêŒò «õ‡´‹. ޮA, ãKò™ ⡪ø™ô£‹ Þ™¬ôò£? ÜŠð® ñ¸wò‚è£ù¶ Þ‰î î‡ì‹. ޮA Scientific. «õîˆF½œ÷ â™ô£ ñ‰FóƒèÀ‹ ñøõ£ñ™ ñùF™ Þ¼‚°‹ð® ð£¶è£‚è î‡ì‹ «õ‡´‹. «õî ñ‰Fó ê‚F¬ò î£óí‹ ð‡μõ ܉î î‡ìˆFŸ° å¼ ê‚F Þ¼‚Aø¶. «õîGF Üèô£ñ™ Þ¼‚è Ü¬î ¬õˆ¶‚ ªè£œ÷ «õ‡´‹.

Hó‹ñ„ê£K «ñ«ô A¼wí£Tù‹ (ñ£¡«î£™) «ð£†´‚ ªè£œ÷ «õ‡´‹. «ñ™ «õw® «ð£†´‚ªè£œ÷‚ Ã죶. âªô‚†gSò¡ ñóˆF¡ «ñ™ GŸè«õ‡´‹; óŠð˜ Gloves «ð£†´‚ ªè£œ÷ «õ‡´‹ â¡Aø ñ£FK ݈Iè I¡ú£óˆ¶‚° ªðKòõ˜èœ Þ‰î MFè¬÷‚ ªè£´ˆF¼‚Aø£˜èœ. ÞŠªð£¿¶  å¼ ï£œ àð£è˜ñ£¬õˆ  ð‡μA«ø£‹. ÜŠ¹ø‹ ªî£ì˜‰¶ «õî‹ ð®ŠðF™¬ô. àˆú˜üùº‹ (å¼ «õîŠð°F¬òŠ 𮈶 º®Šð¶) ð‡μõF™¬ô. ܶ ð‡í£îŠ Hó£ò„Cˆîñ£è '裫ñ£è£˜oˆ' üð‹ ð‡μA«ø£‹; " ð£ð‹ ð‡íM™¬ô; è£ñ‹ ð‡Eò¶, «è£ð‹ ð‡Eò¶; â¡Qì‹ õó£«î; ïñvè£ó‹ ð‡μA«ø¡!" â¡Á ªê£™½A«ø£‹. ܉î ñ‰F󈶂° ܶ ܘˆî‹. àˆú˜üù‹ ð‡Eù£™ Þ‰î üð‹ ÜõCò‹ Þ™¬ô. è£ô Gòñ‹, Móî Gòñ‹, Ýý£ó Gòñ‹ ºîLò¬õè¬÷ ܸw®Šð¶ Hó‹ñ„êKò‹. ܈òòùˆF™ võó «ô£ð‹, õ˜í «ô£ð‹ ºîô£ù à„ê£óíˆ îŠ¹‚èœ ãŸðì‚ô‹. ÞŠ Hó£ò„Cˆîñ£è ÝõEòM†ìˆî¡Á âœÀ ñ£ˆFó‹ ꣊H†´ Ü¡Á º¿õ¶‹ ð†®Q Þ¼‰¶ ñÁ 1008 úIˆî£™ è£òˆK «ý£ñ‹ ð‡í «õ‡´‹. ÞŠªð£¿¶ «ý£ññ£è Hóîñ Có£õí‚è£ó˜èœ (î¬ôŠÌÈ™ ¬ðò¡èœ) ñ†´‹ ð‡μAø£˜èœ ñŸøõ˜èœ «ý£ñI¡P üð‹ ñ£ˆFó‹ ªêŒAø£˜èœ. ÞŠð®J¡P â™ô£¼«ñ «ý£ñ‹ ªêŒò «õ‡´‹. ªõÁ‹ üð‹ ð‡Eù£™ É‚è‹ õ¼Aø¶. Üîù£™ «ô£ð‹ õ¼Aø¶. å¼ è£Kò‹ Þ¼‰î£™ É‚è‹ õó£¶. ÜîŸè£èõ£õ¶ úIˆFù£™ «ý£ñ‹ ð‡íô£‹. ðô£ú úIˆî£™ ð‡í «õ‡´‹. Þ™ô£M†ì£™ Ü„õˆî úIˆî£™ ð‡í«õ‡´‹. è¬ìC ðþ‹ ¬ðJù£ô£õ¶ ð‡í «õ‡´‹.

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Friday, January 20, 2012

சந்திரமௌளி

 

பல வருடங்களுக்கு முன்… காஞ்சி மகா ஸ்வாமிகள், தன் பரிவாரங்களுடன் தஞ்சை மாவட்டப் பகுதிகளுக்கு விஜயம் செய்தார். அது, ஆனி மாதம். ஆடுதுறையில், பெரிய தர்மசத்திரம் ஒன்றில் முகாமிட்டிருந்த மகா பெரியவாளை, சுற்று வட்டார கிராமங்களைச் சேர்ந்த ஜனங்கள், வந்து தரிசித்துச் சென்றபடி இருந்தனர்.

ஆடுதுறையைச் சுற்றியுள்ள நடராஜபுரம், கோவிந்தபுரம், தியாகராஜபுரம், சாத்தனூர், திருமங்கலக்குடி ஆகிய ஊர்களைச் சேர்ந்த பிரமுகர்கள், தங்கள் ஊர் சார்பாக ஆச்சார்யாளுக்கு சமஷ்டி பிக்ஷா வந்தனம் (பல பேர் சேர்ந்து பிட்சை அளித்து வழிபடுவது) நடத்த ஏற்பாடு செய்திருந்தனர்.

ஆடுதுறையிலிருந்து தெற்கே சுமார் ஒரு கி.மீ. தொலைவில்தான் அடியேனின் சொந்த ஊரான மருத்துவக்குடி கிராமம் உள்ளது. என் தந்தையார் பிரம்ம சந்தான வாத்தியார், அப்போது அந்தப் பகுதியின் காஞ்சிமட முத்திராதிகாரியாக இருந்தார். எங்களது கிராமத்தின் சார்பாகவும் சமஷ்டி பிக்ஷா வந்தனம் நடத்த வேண்டும் என்று விரும்பினார் அவர். இதை, உள்ளூர் பிரமுகர்களும் ஏற்றுக் கொண்டனர்.

மறு நாள் காலை. ஸ்வாமிகள் முகாமிட்டிருந்த சத்திரத்துக்குக் கிளம்பினார் என் தகப்பனார். என்னையும் உடன் அழைத்துச் சென்றார்.
அவரைக் கண்டதும் மடத்துக் காரியஸ்தர், ”சாஸ்திரிகளே… நீங்க மருத்துவக்குடி பகுதி மடத்து முத்திராதிகாரிதானே? ஒரு நாளைக்கி உங்க ஊர் பிக்ஷை வெச்சுக்க வேண்டாமோ? வர்ற ஞாயித்துக்கிழமை உங்க ஊருல வெச்சுக்கோங்களேன்!” என்றார்.

உடனே என் தந்தையார், ”நானும் அத கேட்டுண்டு போகத்தான் வந்தேன். ஞாயித்துக் கிழமையே வெச்சுண்டுடறோம். சுமாரா எவ்ளோ ரூவா செலவாகும்?” என்று அந்த காரியஸ்தரிடம் வினவினார்.

காரியஸ்தர் சிரித்தபடியே, ”சொல்றேன்… மடத்துக் காணிக்கையா இருநூத்தம்பது ரூவா கட்டிப்டணும். அப்புறம் தேங்கா, பழம், காய்கறிகள்னு நீங்க வாங்கிண்டு வர்ற செலவு. எல்லாம் முடிஞ்சு, ஆச்சார்யாள்ட்ட பிரசாதம் வாங்கிக்கறச்சே… உங்க கிராம வசதிப்படி பாத சமர்ப்பணை (காணிக்கை)… அப்டி இப்டினு ஐநூறு, அறுநூறு ரூவா செலவு புடிக்கும்! உங்க ஊர்ல வசூல் ஆயிடுமோல்லியோ?” என்று கேட்டார்.
சற்றும் தயங்காமல், ”பேஷா ஆயிடும்” என்ற என் தகப்பனார், ”அது சரி… மத்த ஊர்க்காராள்லாம் பாத சமர்ப்பணையா எவ்ளவு பண்றா?” என்று ஆவலுடன் கேட்டார்.

”ஐநூறுலேர்ந்து ஆயிரம் வரை பண்றா” என்றார் காரியஸ்தர். தகப்பனார் யோசனையில் ஆழ்ந்தார். சற்று நேரத்தில் ஆச்சார்யாளை தரிசித்த நாங்கள், அவரை நமஸ்கரித்து எழுந்தோம். என் தந்தையார் பிக்ஷா வந்தன விஷயத்தை ஸ்வாமிகளிடம் தெரிவித்தார்.

”பேஷா நடக்கட்டுமே” என்று அனுக்கிரகித்த ஸ்வாமிகள், ”ஏகதேசம் (தனியாக) பண்றாப்ல நம்மூர்ல நிறைய தனிகாள்லாம் (பணக்காரர்கள்) இருக்காளோ?” என்று வினவினார்.
உடனே என் தகப்பனார் குரலை தாழ்த்தி, ”மூணு நாலு பேர்வழிகள் இருக்கா. அவாள்ள ரெண்டு மூணு பேர், இப்போ மெட்ராஸ் போயிருக்கா. ஊர்ல எல்லாருமா சேர்ந்துதான் பெரியவாளுக்கு பிக்ஷா வந்தனம் பண்றதா உத்தேசம். ஆச்சார்யாள் அனுக்கிரகிக்கணும்” என வேண்டினார். புன்னகைத்தபடியே இரு கரங்களையும் தூக்கி ஆசீர்வதித்தார் ஸ்வாமிகள்.

ஞாயிற்றுக்கிழமைக்கு இன்னும் நான்கு நாட்களே இருந்தன. வசூலை ஆரம்பித்தார் தகப்பனார். மூன்று அக்ரஹாரத்திலும் சேர்த்து சுமார் 30 வீடுகள் இருக்கும். வியாழக்கிழமை மாலை வசூல் முடிந்தது. 400 ரூபாய் சேர்ந்தது. என் தகப்பனாரும்
ஊரிலுள்ள மற்ற வைதீகர்களும் சேர்ந்து நூறு ரூபாய் சமர்ப்பித்தனர். ஆக, மொத்த வசூல் 500 ரூபாய்! பிக்ஷா வந்தன செலவுக்கு இது போதும்.
இனி, பெரியவாளின் பாத சமர்ப்பணைக் குத்தான் பணம் வேண்டும். ‘ஐநூறு ரூபாயாவது பாத சமர்ப்பணை பண்ண வேண்டும்’ என்பது என் தந்தையின் ஆசை. ஆனால் பணமில்லை. அன்றிரவு அவர், சரியாகவே தூங்கவில்லை.

வெள்ளிக்கிழமை! ஆச்சார்யாளைத் தரிசிக்கச் சென்றோம். சத்திரத்து வாயிலில்- கீற்றுக் கொட்டகையில் அமர்ந்து தரிசனம் அளித்துக் கொண்டிருந்தார் ஸ்வாமிகள். கூட்டம் அலை மோதியது. நாங்கள், சற்றுத் தள்ளி ஓர் ஓரமாக… ஸ்வாமிகள் இருந்த இடத்தை நோக்கி கை கூப்பி நின்றிருந்தோம். நான் தகப்பனாரை பார்த்தேன். முகத்தில் கவலை தோய்ந்திருந்தது. ‘பாத சமர்ப்பணை ஐநூறுக்கு என்ன பண்ணப் போகிறோம்?!’ என்கிற கவலை அவருக்கு.
திடீரென்று ஒரு கருணைக் குரல்: ”சந்தானம்! கிட்ட வாயேன்… ஏன், அங்கேயே நின்னுண்டிருக்கே?” – சிரித்தபடி ஜாடை காண்பித்து, அருகில் அழைத்தார் ஆச்சார்யாள். இருவரும் சென்று, சாஷ்டாங்கமாக நமஸ்கரித்து எழுந்தோம்.

”என்ன சந்தானம்… நேத்திக்கு நீ கண்ணுல படவே இல்லியே! ஊர்ல ஏதாவது வைதீக ஜோலியோ?” என்று வினவினார் ஸ்வாமிகள்.

”அதெல்லாம் ஒண்ணுமில்லே பெரியவா. ஞாயித்துக் கிழமை எங்க ஊர் சார்பா பிக்ஷா வந்தனம் பண்றமோல்லியோ… அது விஷயமா ஏற்பாடுகள் பண்ணிண்டிருந்தேன். அதனாலதான்…” என்று என் தகப்பனார் முடிப்பதற்குள் இடைமறித்த ஸ்வாமிகள், ”அது சரி சந்தானம்… லௌகிகமெல்லாம் (வசூல்) எதிர்பார்த்தபடி பூர்த்தி ஆச்சோல்லியோ?!” என சிரித்தபடியே வினவினார். இதற்கு பதில் சொல்லத் தயங்கினார் என் தகப்பனார்.

அவர் ஏதோ சொல்ல வாயெடுப்பதற்குள்… ஸ்வாமிகள் எதையோ புரிந்து கொண்டவர் போல, ”ஒண்ணும் கவலைப்படாதே! சந்திரமௌலீஸ்வரர் கிருபையால எல்லாம் நீ நெனைச்சுண்டு இருக்கறபடியே நடக்கும்!” என வார்த்தைகளால் வருடிக் கொடுத்தார்.
திடீரென, ”ஏன் சந்தானம்… இந்த ஊர் காவிரி நதியிலே இப்போ நெறய ஜலம் போறதோ… தெரியுமோ ஒனக்கு?” என்று கேட்டார். ‘காவிரி ஜலத்தைப் பற்றி பெரியவா ஏன் விசாரிக்கிறார்?’ என்று அனைவரும் குழம்பினர்.

”போயிண்டிருக்கு பெரியவா” என்றார் தகப்பனார். பெரியவா விடவில்லை: ”அது சரி! நீ எப்ப காவிரி ஸ்நானத்துக்குப் போயிருந்தே?” ”ஒரு வாரம் முன்னாடி பெரியவா!”- என் தகப்பனார் பதில் சொன்னார். ”அதிருக்கட்டும்… இப்ப ஜலம் போயிண்டிருக்கோ… தெரியுமோ?” – இது பெரியவா. உடனே அருகிலிருந்த உள்ளூர் அன்பர் ஒருவர் பவ்வியமாக, ”இன்னிக்குக் காத்தால நான் காவிரி ஸ்நானத்துக்குப் போயிருந்தேன். சுமாரா ஜலம் போறது பெரியவா” என்றார்.

ஸ்வாமிகளுக்கு சமாதானம் ஏற்படவில்லை. ”சுமாரா போறதுன்னா… புரியலியே! அமிழ்ந்து ஸ்நானம் பண்றாப்ல போறதா, இல்லியானு எனக்குத் தெரியணும்” என்றவர், என் தகப்பனாரைப் பார்த்து, ”சந்தானம், நீ ஒரு காரியம் பண்ணு. நாளக்கி விடியக் காலம்பற காவிரி ஸ்நானத்துக்குப் போ. நன்னா முழுகி ஸ்நானம் பண்றாப்ல தீர்த்தம் போறதானு பாத்துண்டு வந்து சொல்லு!” என்று கூறிவிட்டு, ‘விசுக்’கென்று எழுந்து உள்ளே சென்று விட்டார்!

‘தான் காவிரியில் ஸ்நானம் பண்ணிவிட்டு வருவதற் காகத்தான், இவ்வளவு விவரங்களையும் பெரியவா கேட்கிறார் போலும்’ என்று எண்ணியபடியே ஊர் திரும்பினோம்.
சனிக்கிழமை! பொழுது விடிந்தது. மழை லேசாகத் தூறிக் கொண்டிருந்தது. பெரியவா ஆக்ஞைப்படி காவிரி ஸ்நானத்துக்குப் புறப்பட்டோம். அப்போது காலை ஏழு மணி. கரையில் என்னையும் தகப்பனாரையும் தவிர ஒரு ஈ, காக்கா கூட இல்லை. என் தகப்பனார் ஸ்நானம் பண்ணியபடியே சொன்னார்: ”நன்னா முழுகி ஸ்நானம் பண்றாப்லதான் ஜலம் போறது! பெரியவாகிட்ட போய் சொல்லணும்.”

தொடர்ந்து, உரத்தக் குரலில் காவிரி ஸ்நான சங்கல்பம் சொல்ல ஆரம்பித்தார் என் தந்தையார். திடீரென கரையிலிருந்து, ”சாஸ்திரிகளே! கொஞ்சம் இருங்கோ. நானும் வந்துடறேன். எனக்கும் கொஞ்சம் ஸ்நான சங்கல்பம் பண்ணி வையுங்கோ… புண்ணியமுண்டு!” என்றொரு கணீர்க் குரல் கேட்டது. இருவரும் திரும்பிப் பார்த்தோம். சுமார் 55 வயது மதிக்கத் தக்க ஒருவர், ஜலத்தில் இறங்கிக் கொண்டிருந்தார். முன்பின் பார்த்திராத முகம்!

சங்கல்ப ஸ்நானம் முடிந்து கரையேறினோம். உடை மாற்றிக் கொண்ட அந்த நபர், தகப்பனாருக்கு ஸ்நான சங்கல்ப தட்சணையாக ஐந்து ரூபாய் கொடுத்தார். அவரைப் பற்றி என் தகப்பனார் விசாரித்தார்.

அவர் சொல்ல ஆரம்பித்தார்: ”எனக்கும் பூர்வீகம் மருத்துவக்குடிதான். என் அம்மா வழித் தாத்தாவும் இந்த ஊர்தான். அப்பா வழி தாத்தா வெங்கடாசலம் ஐயருக்கு மருத்துவக்குடியிலே சொந்த வீடு இருந்தது. எங்க தாத்தாவுக்கு அப்புறம் இங்கே ஒருத்தரும் இல்லே. பம்பாய் போயிட் டோம். திருநீலக்குடிக்கு அருகில் இருக்கிற மேலூர் சந்திரமௌலீஸ்வர ஸ்வாமிதான் எங்க குலதெய்வம். ‘நீ எப்ப நம்மூர் பக்கம் போனாலும் ஆடுதுறை காவிரியில ஸ்நானம் பண்ணிட்டு வா’னு எங்கம்மா அடிக்கடி சொல்லுவா. அந்த பாக்கியம் இன்னிக்குக் கிடைச்சுது. குடும்ப கேஸ் விஷயமா தஞ்சாவூர் போயிண்டிருக்கேன். இப்போ சங்கல்பத்தோடு காவிரி ஸ்நானம் கிடைச்சுதுல ரொம்ப திருப்தி!” என்றவர், ”ஆமா சாஸ்திரிகளே! ரயிலை விட்டு எறங்கி வர்றச்சே பார்த்தேன். நிறையப் பேர் மடிசாரும் பஞ்சகச்சமுமா போயிண்டிருக்காளே… இங்கே என்ன விசேஷம்?” என்று கேட்டார்.

ஆச்சார்யாள் விஜயம் பற்றியும், கிராம பிக்ஷா வந்தனம் பற்றியும் தகப்பனார் அவரிடம் விவரித் தார். அவருக்கு பரம சந்தோஷம்.
”கேக்கவே சந்தோஷமா இருக்கு. நம்மூர் சார்பா லோக குருவுக்கு நடக்கிற பிக்ஷா வந்தனத்துல என்னால கலந்துக்க முடியாத நிர்ப்பந்தம். இருந்தாலும் எங்க குடும்ப காணிக்கையா பிக்ஷா வந்தனத்துல இதையும் சேர்த்துக்கோங்கோ” என்ற படி என் தகப்பனாரை நமஸ்கரித்து, அவரது கையில் ஒரு கவரைக் கொடுத்தார். தகப்பனாருக்கு ஒன்றும் புரியவில்லை. கவரைப் பிரித்துப் பார்த்தார். அதில் 500 ரூபாய்!

”நான் போயிட்டு வரேன் சாஸ்திரிகளே” என்று கிளம்பியவரைத் தடுத்து நிறுத்திய என் தகப்பனார், ”ஒங்க நாமதேயம் (பெயர்)?” என்று கேட்டார்.
அவர் சொன்ன பதில்: ”சந்திரமௌலீ!”
இருவரும் பிரமித்து நின்றோம்.
பின்னர், நேராக சத்திரத்துக்குச் சென்றோம். அங்கே பெரியவா இல்லை. கோவிந்தபுரம் போதேந்திராள் மடத்துக்குச் சென்றிருப்பதாகச் சொன்னார்கள்.

என் தகப்பனார் மடத்துக் காரியஸ்தரிடம் சென்று, ”பெரியவா, காவிரியில் அமிழ்ந்து ஸ்நானம் பண்றாப்ல, ஜலம் போறதானு பாத்துண்டு வரச் சொன்னா…” என்று முடிப்பதற்குள் அவர், ”பெரியவா விடியகாலம் நாலரை மணிக்கே காவேரில ஸ்நானம் பண்ணிட்டு வந்துட்டாளே” என முத்தாய்ப்பு வைத்தார். எங்களின் பிரமிப்பு அதிகரித்தது!
ஞாயிற்றுக்கிழமை. பிக்ஷாவந்தனம் முடிந்தது. கிராமத்தைச் சேர்ந்த அனைவரும் பெரியவாளை நமஸ்கரித்தோம். தகப்பனார், பழத் தட்டில் பாத காணிக்கையாக அந்த 500 ரூபாயை வைத்து சமர்ப்பித்தார்.

பழத் தட்டையே சற்று நேரம் உற்றுப் பார்த்த ஸ்வாமிகள் சிரித்துக் கொண்டே, ”என்ன சந்தானம்! சந்திரமௌலீஸ்வரர் கிருபையால உன் மன விருப்பம் பூர்த்தி ஆயிடுத்தோல்லியோ? காவிரி ஸ்நான பலனும் கெடச்சுடுத்தோல்லியோ” என்று வினவ, வியப்புடன் நின்ற அனைவரும் சாஷ்டாங்கமாக பெரியவா முன்னே விழுந்தோம்

Kanchi Paramacharya: A Virtual Darshan

 

PeriyavaaL and We
Author: Kamala Gurusankar (in Tamil)
Source: Maha PeriyavaL - Darisana AnubhavangaL vol. 1, pages 217-235
Publisher: Vanathi Padhippaham
(The author uses the second person singuar 'nee' in Tamil to refer to Paramacharya. She also switches back and forth in the three tenses in this wonderful narration of her experiences. I have tried to maintain the poetic flow of her thoughts and emotions as much as I can. -- saidevo)

jaya jaya shankara -- hara hara shankara
jaya jaya shankara -- hara hara shankara
kanchi shankara -- kamakshi shankara
kaladi shankara -- kamakoti shankara

These chantings are heard from some distance. Just the noise with no clear words or meanings initially. Going near, they become clear, and the tiny hairs of the body stand erect. There comes a large crowd, progressing slowly, like an army of ants. No pomp, no decorations, no shouts. People of different castes, speaking different languages, village folks, urbanites, men, women, children--everyone singing a bhajan in their familiar language; different namAvalis back and forth in the same procession.

A good sunshine of a four-o'-clock sun. Does the sun play a hide and seek game? A little cloudiness, seen here and there. A small cycle rickshaw in the middle of the crowd. As if it's from a circus. Torn jute blankets on and above it; a mat, an umbrella made of screw pine flowers; plus some sundry items.

With someone dragging the vehicle, behind it, holding the vehicle--You! (Nee!--the author uses a singular form of address throughout). As we see you nearby, we fall down and prostrate on the road itself, our hands and body shaking. You do not stop or wait, but bless with your eyes, as you continue to walk. Are they your eyes? No no, they are oceans of mercy!

I was thinking for countless years to see you, to have your darshan. That yearning in the heart, whenever I hear about you, or read about you. It occurred to look for what is written about you, whichever magazine is taken. An apprehension that perhaps it may not be possible to see you. In those times, you were near Kanchi. Countless number of times we have come to Madras. I have requested to come over to Kanchi and see you at least once. I have begged. We are all ordinary people. Trifles. Thinking that only food, sleep, unnecessary pomp and gossip are the primary things. We will go wherever we like to go, spend whatever we like to spend. But then it is not possible to come over and see you.

Every day, when I light the Swami lamp and look at your portrait, I would feel the twirl of distress in the mind that it would not be possible to see you with human efforts, unless you called. I never spoke my wish in words. Did you hear it, anyhow? If the child gets hungry, it need not cry to show its hunger The mother would understand it herself. Like that, my pain has been understood by you.

Is it because of my yearning that I couldn't see you that you are coming all the way to see me? What do you have, a car or a railway coach? You come walking on this tar road, your feet aching. Worn on those feet, torn rubber slippers, repaired with manji naar.

Was it a mile, or two? How long you have walked! Appa! You are coming walking all the way, over thousands of miles. This place we live in, this Hubli city, whatever puNyam it had accumulated, to have your footprints. We never thought even in dream that you would come. But then you are coming, it's a reality. Torn saffron vastram. Some covering over it, made of the fibres of a tree-bark. Rudrakshas on your neck and head.

A minute's doubt when we look at you. Is it a human figure? No, no. It is only that Lord Parameswara who is walking on, wearing a tiger-skin! A moment's satisfaction of having had darshan of bhagavan. bhagavan is appearing to us in your figure!

That day you took bath several times for your Ashrama dharma. With the result, you had intense cold and fever, people who were with you tell us. If it is just a human body primarily meant to take food, it would necessitate in seeking treatments, care and comforts, lying down.

But then in your 86th year of age, without proper food or any sort of comforts, you are walking on with fever. That is the strength of your tapas. Solid power. You appear as a mixture of man and God. Human body, divine energy. Goddess Shakti is residing in you. That is why you appear as God, as Shiva. People say that on that day you had already walked for eighteen kilometers, so you should not strain further. It is only we who strain you. We invite you to come here and there and everywhere.

As the sun had started going down, you are received in a roadside village, to a garden, near a cattle shed, in a small hut, its roof woven with straw. Like a small child, sometimes you too listen to everybody and give your consent.

Did not you feel tired, walking so much distance? Did not you have thirst and hunger? At this hour, when the light is fading, you are sitting in a small hut, not knowing any fatigue, giving darshan to thousands of people; isn't it a great thing? Only when a king is sitting in his palace, he has thousands of worries. Here, before a pauper, is sitting on the sand and dust, the Maharaja of Sandur, with his family--and so much joy in his mind!

On the next day, since you wanted to go on pattina prevesam, we prostrate and take leave of you and unwillingly leave you at the village border and get back. My husband is given the responsibility to repair the crystal garland of yours that got severed. What puNyam did we do, to have in our hands the garland that adorned your body? We repeatedly touch and see it with excitement.

You won't eat anything. You have no hunger or thirst. No fatigue. But then aren't your assistants just ordinary people? They have their hunger and thirst. On that night they say that they do not have the strength even to prepare their food. But you wouldn't let them go to sleep with hunger and thirst. You would demand to be shown at least some uppuma (kitchadi) or rava porridge. I say that I will send them some food. And they say that they would prepare a little of uppuma and show it to you. What to do? To satisfy you, they need to sometimes deceive you.

It was a Saturday. The entire city is abuzz, since you are arriving there on the next day. We know that you wouldn't enter houses. Still, festoons in every house; Kolam designs on the floor, made with flour. We have decorated everything with flowers. The look and feel of a wedding ceremony everywhere. Everyone is excited. Happy. Immense joy in everybody's heart. Our home is full of holy articles and grocery.

Why so much joy and happiness on your arrival? Are you a king, or a big politician? A millionaire? Or a cinema or drama actor? You are just a pauper with nothing on hand. A sanyAsin. A sanyAsin of sanyAsins. At least a sanyAsin will have a maTham. You don't have even that. Such a bhAgyaM for us?

We were considering where to house you when you consented to visit us. The worry was that we did not have a river bed, a pond or a well that is required for you. By chance, we had dug a well in our garden, and it was full of water. The remaining work on the well was completed in haste and a holy worship was performed to it. A small hut was built, touching the fence of our house and a shed was erected near it. Vacating the outhouses of our home, it was arranged to house your people and facilitate their cooking.

Henceforth, no mention as 'you'; only 'Periyavaa'!

On the next day, a Sunday, on 13-5-79, it is the 86th jayanti of PeriyavaaL. We have the fortune to celebrate it in Hubli. Under his (Gurusankar, my husband) leadership a committee comprising the people of Dharwar assembled. The VIPs held counsel among them and collected money from the people. Everyone was given a specific job in the arrangements to receive PeriyavaaL and celebrate his jayanti. The arrangements were made under the supervision of Sri Balachandra Sastri, a vedic pundit in Dharwar. Whenever we think about the name mentioned above, we remember what PeriyavaaL said: "You shoud pronounce the name as Phalachandra, not Balachandra. It means one with a forehead that resembled the moon."

On the Sunday morning, after having our bath, with pUrna kumbhA and holy music we all go at the time of dawn, to the place where PeriyavaaL was staying, to receive him and get his blessings. PeriyavaaL is brought into the city in a procession along the Gadag Road, with bhajans, namAvalis and nAdaswara music. Some of us leave the procession, come back home and wait at the gate to receive PeriyavaaL with Arati. The cottage meant for PeriyavaaL has been erected in the golf course near our compound wall. Green grounds as far as eye can see. A railway line on the opposite side of the cottage. Beyond that the Udipi Krishnan temple and the Raghavendra Brindavan. Since it was a large ground we thought we could manage the crowd, but we faced much difficulties as the crowd that assembled was far larger.

At some distance from our home, say about three kilometers away, the jayanti arrangements have been made in a Hanuman temple. AyuSya Homa, Navagraha Homa and many others, done by 121 brahmins with the chanting of mantras was a sight that eyes could not accommodate. As requested by the city notables, my husband and I acted as kArya kartAs, maintaining ceremonial purity (madi) and observing the dharmic and vaidik regulations, and went to the Hanuman temple to honour PerivaaL. We haven't seen such arrangements and divine presence so far. Shastrokta puja and vaidik acts are begun. Vaidikas from different parts of the South have assembled.

The homas begun in the morning go up to nearly three in the afternoon. PeriyavaaL is brought in a procession to the Hanuman temple. A heavy rush of people. PeriyavaaL is sitting on a small stage opposite the homa gundam. The buzz of people everywhere.

In the vasodara homam performed, my husband and I pour ghee during pUrNAhutI. PeriyavaaL sitting opposite us. After the homa is completed, we take the prasAda and tIrtha, go to PeriyavaaL, and prostrate, with the rush of people surging behind us. PeriyavaaL accepts the prasAda. Somebody gives a bilva garland to my husband asking him to offer it to PeriyavaaL, who accepts the garland taking it from my husband's hands and wearing it himself. This same garland is given back to us as prasAda. I could not control the tears of joy and my body is shaking. Such a bhAgyaM for us! Whose puNya is this? Ordinarily, one gets countless fortunes in life. But then the bhAgyaM of honourng a mahAn to whose feet the world prostrates--how can I term it? Only the fruits of earlier births. It only occurs to us to pray 'Hey bhagavan! Make us the best people in this life and give us this same fortune, birth after birth!'

As soon as we got PeriyavaaL's prasAda, the women there touched our feet and said one after another we were so much fortunate. I went very emotional and cried. And then, saris and blouses were distributed to 27 sumangalis, and skirts to spinster girls who sat for the kanyA girls' puja. It was nearly five o' clock when everything was over and we took our food. By then PeriyavaaL had started from there, and walking a dirty way we thought he should not happen to walk through, reached his cottage.

Thursday, January 19, 2012

Deivathin Kural Part#2 Continued……

 

Íô£î£ó‹ ií£è‚Ã죶

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Wednesday, January 18, 2012

Kanchi Paramacharya: A Virtual Darshan

 

Disclaimer for my Translated Materials
These English translations done by Shri Saidevo of Paramacharya darshan and experiences of devotees from their original presentations in print and other media are posted here with the sole intention of carrying the divine message of Paramachaya to the members of this blog. I have no commercial interests or financial considerations in spreading Paramacharya's message and darshan experiences, and have no claims of copyright for the translations.I have duly quoted the source of these translations, and I hereby acknowledge the credits to the publications, authors, devotees and any other people concerned. Since Paramacharya is the real source, I understand that the original credit of these materials accrues to SriMatam, Kanchipuram followed by the other people involved in spreading Paramacharya's message.If anyone involved with these publications has any reservations on the implicit consents and permissions assumed in these translations, for the spiritual benefit of mankind, the same may be brought to my notice for necessary changes or removal of the material presented.

Shambhu's Murti
Author: Sri JanaardanAnanda Saraswathi (in Sanskrit)
Translated by: SriMaTham R. Balakrishna shastri (in Tamil)
Source: Maha PeriyavaL - Darisana AnubhavangaL vol. 2, page 221
Publisher: Vanathi Padhippaham

('There is no sAdhu like an avadhAni' thus was praised by Sri Maha SwamigaL, a mahAn who had the title Sri JanaardanAnanda Saraswathi. Shambhor Murti is a very wonderful literary work he wrote in Sanskrit. Periyavaa's biography is totally written in an adhyAtmika point of view. SriMaTham Balakrishna ShastrigaL has translated in Tamil this work which flows like a stream in Sanskrit. Some passages of the interesting work titled Shambhuvin Murti are given below.)
*** *** ***
In order to teach AtmavidyA and save the people who are trapped in the jungle of ignorance, and suffering from the intense heat of mundane existence, Shambhu's figure in the form of Sri Sankaracharya passes through this world, renouncing its silence and starting from the base of the banyan tree.
*** *** ***
It is a regulation that for the mUrtis to which puja is done traditionally at SriMaTham, only a person who takes the title pIThAdhipati can do the puja.When the pundit who knew the regulations of SriMaTham explained to the young ascetic that 'this one was Sri Chandramouleesvara and this Sri Tripura Sundari', they did not seem new to the lad who took over as pIThAdhipati in his twelfth year. It seemed to him that he had a longtime connection with them.


When doing an arcanA, the feeling should be 'I remain as God'; there should no such thought as the self being different from the God that is worshipped. -- This was explained by the authorized pundit of SriMaTham.

Bala Swami got into some serious thought. 'Is it not that this knowledge of unity should be present ever? If it is said 'at the time of performing a worship' does it mean that the jiva brahma abheda buddhi should be present only at that time?' With this idea in mind he simply asked, "only when doing an arcanA?"

SriMaTham disciples were very happy at the revelation that SwamigaL was a jnana vruddha, though he was a lad.
*** *** ***
Tiruvanaikkaval Akhilandeswari temple maha kumbhAbhiSekam with tATangakah pratiSTA. The right to conduct this temple ceremony rested with Sri Kamakoti pIThAdhipatis from the ancient times. But then, now Sri Sringeri pIThAdhipatis contended this right.

The case went to the court. The judgment that was given was 'only Sri Kamakoti pIThAdhipatis have the right in this matter, Sri Sringeri pIThAdhipatis should not stay in the place, they should go elsewhere.'

The news of the judgment was informed to Bala Swami. Sri SwamigaL said: "In the court judgment a feature that is not relevant to the case is told. It was not needed to say it. Isn't it the case about the right of kumbhAbhiSekam? The court should have given judgment that was relevant only to that subject."

Sri Sringeri SwamigaL appreciated Sri Kamakoti pIThAdhipati SwamigaL for speaking frankly and clearly on a complicated subject.
*** *** ***
Looking at his divya rUpam, some people think that he has conquered manmatha by his figure. Listening to the expertise of his words, some people think that he is the sarvajhna who is wearing kalAnidhi on his head as an ornament. Looking at the enticing movements of his limbs, some people, experiencing the amrita rasam-dripping looks that float from the corner of his eye, are happy considering him as Sri Kamakshi, the Lady of the City of Sri Kanchi and the beloved of Ekambaranatha. Since Sri Acharya remains a sarvAtmaka, it is only appropriate that different people are delighted with him in different ways.
*** *** ***
The actions of men are of two kinds: doing as pleased, doing as decreed in Shastras.
The pravrutti of doing as it pleases is seen the most among people. That does not result in lofty puruSArthas. Only the conduct according to Shastras is capable of giving the four puruSArtha (dharma, artha, kAma, mokSa). But then it has declined. Which is why Arjuna thought that the para dharma shanti was better for him than his own dharma?

Bhagavan, who wished his welfare, however, made a person like him stand upright in the conduct as decreed in Shastras.

Just as Sri Krishna did, with the intent of obviating the indulgent actions throughout the Bharata Bhumi and establishing the Shastra-decreed actions, and with a purpose to make the people remain in dharmic conduct, yativara (Sri Chandrasekhara Saraswathi SwamigaL) undertook his vijaya yAtra from Rama Sethu to Kasi, the capital of Visveshwara.
*** *** ***
Just as the terms sarvajhna, Ishvara used with Parameshvara, are not formal usages, (gauNa prayoga), but words that denote the truth, the shabda, jagatguru used to denote Sri Chandrasekhara Saraswathi, the yati shreSTa, is also not a gauNa prayoga, but a satya prayoga.
(Calling a courageous person a line cub or a wealthy man a raja are examples of gauNa prayogas or upacAra prayogas.)

To call Paramesvaran the One who knows everything, and the One who rules over everything is not a formal usage, but a true usage. In the same way, to call Sri SwamigaL jagatguru is also a satya vacas and not a upacAra prayoga.
*** *** ***
Upanishads as the end of the Vedas teach many paths--advaita, samkhya, yoga, pasupada, vaishnava. People follow a path they choose.

'Just as the rain that falls on different mountains, gush through differently named rivers and reach the ocean, people who follow different paths all reach You, who is the ultimate destination!' (says the bhakta kavi Pushpadanta in his Shivamahimna Stotram).

Sri CaraNar decided to highlight the truth 'All darshans have a determined goal. There is no hostility about that goal'. Therefore, in the city of Chennai, he arranged for a sammelana called shanmadAcharya parishad. From all over the country sAkta, gANapatya, saura, vaishnava, kaumara, saiva pIThAdhipatis came together, discussed and associated among themselves. This parishad proved that Sri CaraNar was equal to everyone and that he did not like the arguments of separation.
*** *** ***
Sri CaraNar, who was devoted to the Veda and Vedanta paths, established many sabhas such as Veda Dharma Shastra Paripalana Sabha, Advaita Sabha, and NiyamAdhyayana Parishad. He motivated the Veda adhyApaka and vidyArthin in all places of the Bharata Bhumi, honouring them in many ways and rewarding them.
In West Bengal, there were numerous people who belonged to the gautama shAkhA of the Sama Veda, but there was not single person who studied and practiced it. When he came to know this, he established a pAThashAlA in Kolkatta that taught three Vedas, chiefly Sama Veda. He raised the status of the Sama-Shukla Yajur Vedic School in Varanasi city, Uttarpradesh to a Shastra school that also taught NyAya and Vedanta. He founded two schools in Utkala (Orissa) Sri Jagannatha kSetram and arranged for teaching the pippala shAkhA of Atava Veda, and Shukla Yajur Veda. He also founded a large school in Hospet, Karnataka that had facilities to study all the Vedas with their angAs and upAngAs and the Veda bhASyas. In the same manner, he established several schools in the Tamil and Telegu regions.

Near Nasik, Maharashtra, there was only one person who had studied the maitrAyaNIya shAkhA of the Yajur Veda. No one came to learn and practice that branch of Veda from him. Similarly, it came to be known that there were no students in Kerala to practice the rANayaNI shAkhA of the Sama Veda. As he came to know this, Sri CaraNar immediately sent suitable students to those regions and gave a new lease of life to the declining shAkhAs.
*** *** ***
Although there was always a crowd around him, Sri CaraNar, who always kept his mind engaged in Chandramouleesvara puja and meditation, did never have any anxiety or worry of mind. No paleness of body; no cloudiness or change of color of face; no harshness or anaucitya of speech; though redness was found in his eye, it was not due to anger, but only the mark of maha purushas. With apparently no sankalpa to do anything, he looked like the sky where the autumnal moon (sharad candra) was shining,
*** *** ***
Although he involves the people in the good things that are to be done, and involves himself in them, he remains with a controlled mind as one who has never smelled the fruits of an action. No worry such as 'Oh it needs to be done' in any matter; no attachment to anything; no grief or confusion in anything.
*** *** ***
Like Sri Ramachandra Prabhu, he acts with the purpose of setting an example in the path of dharma that he wants to establish in the world. (It is said in Ramatapani Upanishad, dharma margam caritreNa, jnana margam ca nAmadaH)
*** *** ***
Since the last four or five years, Sri CaraNar's state looks very different. What strict niyamas were observed in snAna, pAnam, sharira shuddhi, pUjA, dhyAna earlier, were now seen to be indifferent to. It is said in Gita that this is a state of brAhmI sthiti (the state of remaining as parabrahman).
*** *** ***
Just as in Kailash with all its aishvaryas, surrounded by the adhipati of the army of devas and the adhipati of pramada gaNas (viz. Kumaraswamy and GaNanathan), the adhipati of all vidyAs Sri Parameswara is shining, here, in Sri Kamakoti pITham pujya pada Sri Chandrasekhara Saraswathi SwamigaL is shining in the Kanchi kSetra, surrounded by the two yatIndras Sri Jayendra Sarawathi and Sri Vijayendra Sarawathi.
*** *** ***

Tuesday, January 17, 2012

Deivathin Kural Part#2 Continued……

 

Hó‹ñ„êKò‹

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Hó‹ñ„êKò ÝCóñ‹.

àð-êeðˆF™, ïòù‹-ܬöˆ¶‚ ªè£‡´ «ð£Aø¶. ò£¼‚° úeðˆF™ ܬöˆ¶‚ ªè£‡´ «ð£Aø¶?å¼õ¬ù °¼¾‚° úeðˆF™ ܬöˆ¶‚ ªè£‡´ «ð£Aø¶î£¡ àðïòù‹. °¼ ò£˜? «õîMˆ¶‚èœ. ºî™ ÝCóññ£ù Hó‹ñ„êKòˆ¶‚° å¼ °¼; è¬ìC ÝCóññ£ù ú‰Gò£êˆ¶‚° å¼ °¼. «õî «õî£ƒè‹ ÜP‰îõ˜èœ ºî™ ÝCóñˆ¶‚° °¼. «õî‹ àœðì â™ô£õŸ¬ø»‹ M†´ Hó‹ñ ë£ù‹ ܬì‰îõ˜èœ è¬ìC ÝCóñˆ¶‚° °¼. Mˆ¬î¬òˆ ªîK‰¶ ªè£œõ¶ ºî™ ÝCóñ‹. ë£ùˆ¬îˆ ªîK‰¶ ªè£œõ¶ è¬ìC ÝCóñ‹. àðïòù‹ Hó‹ñ„êKòˆ¶‚° Ýó‹ð‹. Üî¡ º®¾ 'úñ£õ˜ˆîù‹', àðïòù‹ ºî™ úñ£õ˜ˆîù‹ õ¬óJ™ Þ¼Šð¶ Šóyñ„êKò‹. úñ£õ˜ˆîù‹ â¡ø£™ F¼‹H õ¼Aø¶ â¡Á ܘˆî‹. å¼ Þ숶‚°Š «ð£ù£™î£¡ «ð£ù ÞìˆFL¼‰¶ F¼‹H õ¼õ¶ â¡ð¶ º®»‹. ÜèˆFL¼‰¶ °¼°ôˆ¶‚°Š «ð£Œ «õî ܈òòùˆ¬îŠ ̘ˆF ð‡EM†´ ÜèˆFŸ°ˆ F¼‹H õ¼õ¶î£¡ úñ£õ˜ˆîù‹.

àðïòù‹ ̘õ£ƒè‹. Üƒè‹ â¡ø£™ Hóî£ù‹ å¡Á «õ‡´‹. Hóî£ùˆFŸ° ܃A â¡Á å¼ ªðò¼‡´. àðïòù‹ â¡ø ܃舶‚° ܃Aò£è Þ¼Šð¶ Hóyñ„ê˜ò‹. Šóyñ„ê˜ò‹ â¡ø ÞìˆF™ Šóyñ â¡ð «õî‹ â¡ð¶ ܘˆî‹. «õî ñùŠð£ìñ£è‚ èŸÁ võ£bùŠð´ˆî«õ å¼ ÝCóñ‹ ãŸð†®¼‚Aø¶. ܶ Šóyñ„ê˜ò‹. Ü ̘õ£ƒè‹ àðïòù‹. ܉î ÝCóñˆ¶‚° è¬ìC ðþñ£è ãŸð†ì è£ô‹ ð¡Qó‡´ õ¼ûƒèœ. å¼ «õî ú£ƒ«è£ð£ƒèñ£è ܈Fòòù‹ ð‡μõŠ ð¡Qó‡´ õ¼ûƒèœ «õ‡´‹. Hó‹ñ â¡ð ÝÁ ܘˆîƒèœ à‡ªì¡Á ªê£¡«ù¡. Hó‹ñ â¡ð¶ Mwμ¾‚° å¼ ªðò˜. ðóñCõ‚°‹ å¼ ªðò˜. Hó£‹ñí ü£F, îðv, ðóñ£ˆñ võÏð‹ â¡ð¬õèÀ‚°‹ Ü‰îŠ ªðò¼‡´. Hó‹ñ£ â¡Á c†®ù£™ 궘ºè‚°Š ªðòó£Aø¶. Hó‹ñ„êKò‹ â¡ð¶ «õFòòù‹ ð‡μõîŸè£è ãŸð†ì å¼ b¬þ. ÜŠ ̘õ£ƒèñ£è ãŸð†ì å¼ è£Kò‹ àðïòù‹. ðK«ûêù‹ â¡Á üôˆî£™ ê£îˆ¬îˆ ªîOŠð¶ â?ܶ «ð£üùˆFŸ° ܃è‹. ê£îˆ¬î ÜŠð®«ò ꣊H†´ Mì‚Ã죶. ß„õóŠ Hóú£îñ£‚A„ ꣊Hì «õ‡´‹ â¡«ø ºîL™ Üî¡ «ñ™ üô‹ ªîO‚A«ø£‹. ފ𮄠ªêŒ¶M†´ ꣊Hì£ñ™ Þ¼‰î£™ âˆî¬ù Üꆴˆîù‹? àðïòù‹ ð‡EM†´ «õFòòù‹ ð‡í£ñL¼Šð¶ ðK«êûù‹ ð‡EM†´ ꣊Hì£ñL¼Šð¬îŠ «ð£¡ø¶. ÞŠ«ð£¶ ܈î¬ù «ð¼‹ ÞŠð® Üê´è÷£è Þ¼‰¶ õ¼A«ø£‹. àðïòù‹ â¡ø ̘õ£ƒèˆFŸ°‹ úñ£õ˜ˆîù‹ â¡Aø àˆîó£ƒèˆFŸ°‹ ï´M™ ° šóîƒèœ ãŸð†®¼‚A¡øù. ¬ìò îVí «îêˆF™ ªð¼‹ð£½‹ ܸwì£ùˆF½œ÷ ‚¼wí òü§˜ «õî â´ˆ¶‚ ªè£‡ì£™, ܬõ Hó£üðˆò‹, ªúù‹ò‹, Ý‚«ùò‹, ¬õ„õ«îõ‹ â¡ð¬õ. â‰î ñ‰Fó RˆF‚°‹ Gòñ‹ ÜõCò‹ «õ‡´‹. ݈ñ£ è¬ìˆ«îÁõ ñ‰Fóñòñ£ù «õî‹ Þ¼‚Aø¶. Ü¬îŠ ð£ì‹ ð‡μõ å¼ Gòñ‹ «õ‡´‹. «õî úÍý‹ º¿õ‹ ãŸð†ì Þ‰î Gòñ«ñ Hó‹ñ„êKòñ£°‹. Þ¶ îMó, «õî ð£è‹ 嚪õ£¡Á‚°‹ îQˆîQ Gòñƒèœ Þ¼‚A¡øù. Üšõ÷¾‚°‹ «ê˜ˆ¶ ªñ£ˆî Móî‹ Hó‹ñ„êKòñ£°‹. îQˆîQ Móîƒèœ Þ¼‚A¡øù.

«õî ° 裇ìñ£è HKˆF¼‚Aø£˜èœ. ܬõè¬÷  ñýKSèœ Hóõ˜ˆFŠHˆF¼‚Aø£˜èœ. ܉î ñýKKSè¬÷ àˆ«îCˆ¶ Hó‹ñ ò‚ë‹ ð‡íŠð´Aø¶. (Hó‹ñò‚ë‹ â¡ð «õî ò‚ë‹ â¡ð¶î£¡ ܘˆî‹). 嚪õ£¼ 裇ìˆFŸ°‹ îQˆîQò£è å¼ Móî‹ à‡´. Hó‹ñ„êKò ÝCóñˆF¡«ð£¶ 嚪õ£¼ 裇숬î ܈Fòòù‹ ð‡μAø«ð£¶ Ü ãŸð†ì Móî»ñ ð‡í«õ‡´‹. Hóü£ðˆò 裇ìˆFŸ° å¼ Móî‹ ãŸð†®¼‚Aø¶. ܶ Hóü£ðˆò‹. ÜŠ¹ø‹ ªúù‹ò Móî‹, H¡¹ Ý‚«ïò Móî‹, ÜŠ¹ø‹ ¬õ„õ«îõ Móî‹ ªêŒò «õ‡´‹. ° 裇ìƒèÀ‹ º®‰îH¡¹ °¼M¬ìò ÜÂx¬ë (ÜÂñF)J¡ «ñ™ úñ£õ˜ˆîù‹ ð‡E‚ ªè£œ÷ «õ‡´‹. (i†´‚°ˆ F¼‹H„ ªê™½‹ ú‹vè£óˆ¬î ð‡E‚ ªè£œ÷ «õ‡´‹.). º¡¹ ªê£¡ù ° 裇ì MóîƒèÀ‹ A¼wí òü§˜ «õ‚° ãŸð†ì¬õ.

K‚«õ‚° ñý£ Q Móî‹, àðGûˆ Móî‹, «è£î£ù Móî‹ ÝAò ° Móîƒèœ à‡´. ÞŠð® 嚪õ£¼ «õ‚°‹ îQˆîQ Móîƒèœ Þ¼‚A¡øù. A¼wí òü§˜ «õî«ñ ÜFè‹ Hóê£óˆF¼Šð Ü¬î ºîL™ ªê£¡«ù¡. °¼°ô õ£úˆ¬î º®‚°‹«ð£¶ ªêŒ»‹ úñ£õ˜ˆîùˆFŸ° vï£ù‹ â¡Á‹ å¼ ªðò˜ à‡´. Ü¬î„ ªêŒ¶ ªè£‡ìõ‚° vï£îè¡ â¡Á ªðò˜. â™ô£¼‹ î‹ î‹ «õ Mˆ¬îè¬÷»‹ ܈Fòòù‹ ð‡í «õ‡´‹.

ÝõE ÜM†ì‹ õ¼Aø¶. Ü¡Á àð£è˜ñ£ ð‡μA«ø£‹. Ü¡Á «õîˆF™ ¹¶ ð£è‹ Ýó‹Hˆ¶‚ ªè£œ÷ «õ‡´‹. ¬î ñ£ú‹ ̘E¬ñJ™ àˆú˜üù‹ (º®ˆî™) ð‡í «õ‡´‹. ÝõE ñ£îˆF™ Ýó‹Hˆ¶ˆ ¬î ñ£îˆF™ M†´Mì «õ‡´‹. Üî£õ¶ ãø‚°¬øò îVí£òù ÝÁ ñ£îˆF™ «õFòòù‹ ð‡í«õ‡´‹. ñŸø ÝÁ ñ£îƒèO™ «õîˆF¡ ÝÁ ܃èƒè¬÷ˆ ªîK‰¶ ªè£œ÷ «õ‡´‹. «õòòù‹ ªêŒ»‹ªð£¿¶ ܉î Ü‰î‚ è£‡ìˆ¶‚° ãŸð†ì îQ Gòñˆ«î£´‹ Hó‹ñ„êKòˆ¶‚° ãŸð†ì îQ Gòñ£ˆ«î£´‹ ð‡Eù£™  ñ‰Fó RˆF à‡ì£°‹.  å¡Á‹ ð‡μõF™¬ô. "àð«ò£è‹ Þ™¬ô" â¡Á ñ†´‹ ªê£™½A«ø£‹. è™ò£íˆ¶‚° º¡¹ 'šóî‹' â¡Á å¼ ªðò˜ ¬õˆ¶ å¼ ñE «ï󈶂°œ â™ô£ ú‹vè£óƒè¬÷»‹ ²¼‚A ܘˆî«ñ ªîKò£ñ™ A´A´ â¡Á ð‡μA«ø£‹. ܶõ£õ¶ Þ¼Šðîù£™ Þ‰î àð‰Gò£ú‹ ð‡í «ïK†ì¶. «õî vièKŠð 弈î¬ù ܘýù£‚A (ܼè¬î àœ÷õù£‚A) Üî¡ Íô‹ «ô£è‹ º¿õ‹ ï™ô Fšò ê‚Fè¬÷Š ðóŠ¹Aø ðóñ „«ówìñ£ù è˜ñ£õ£ù àðïòùˆF¡ ªð¼¬ñ¬ò ÜP‰¶ ܬî àKò è£ôˆF™ ð‡í «õ‡´‹. ˆM-ü¡-Þ¼HøŠð£÷¡-âùŠð´‹ Hó£‹ñí, þˆKò, ¬õ„ò˜èœ «ô£«è£ðè£óñ£ù Þó‡ì£õ¶ HøŠ¬ð ܬìõ¶ Üõ˜èœ ⊫𣶠«õîˆ¬î‚ èŸèˆ î°F ªðÁAø£˜è«÷£ ÜŠ«ð£¶î£¡. Þ‰îˆ î°F¬ò Üõ˜èœ ªðÁõ¶ àðïòù ú‹vè£óˆF™î£¡. Þ¬î‚ è£ôˆF™ ªêŒò «õ‡®ò¶ ªðŸ«ø£˜ èì¬ñ. ÞŠ«ð£¶ Þ‹ñ£FK MûòƒèO™ ê£vFóƒèœ ªó£‹ð¾‹ Üï£îó¾ ªêŒòŠð´A¡øù. 嚪õ£¡Á‚°‹ ê£vFóˆ¬îŠ 𣘈¶„ ªêŒ¶ õ‰î ï‹ «îêˆF™ ÞŠ«ð£¶ G¬ô¬ñ Ü®«ò£´ ñ£PM†ì¶. ê£vFó MF»‹ ªð£¶ õö‚°‹ ÞF«ô å¼ «õ®‚¬è, Ü™ô¶ ªðKò èwì‹, î˜ñ ê£vFóƒèO™, ú¨ˆóƒèO™ ªê£™L»œ÷ Ï™è¬÷ ñù‹ «ð£ùð® eÁAø«ð£«î, ܃胫è âŠð®«ò£ ðö‚èˆF™ õ‰¶M†ì Cô Mûòƒè¬÷Š ªðKò ê£vFó Ï™ ñ£FK G¬ùˆ¶‚ ªè£‡´ ܸúKˆ¶ õ¼Aø£˜èœ. àî£óíñ£è ܂補 è™ò£íˆ¶‚° Þ¼‚°‹ «ð£¶ î‹H‚°Š ÌÈ™ «ð£ì‚Ã죶; å«ó úñòˆF™ Í¡Á Hó‹ñ„ê£Kèœ å¼ i†®™ Þ¼‚è‚ Ã죶 â¡Aø¶. «ð£¡ø è£óíƒè¬÷„ ªê£™L‚ ªè£‡´, Hœ¬÷èÀ‚° àKò è£ôˆF™ àðïòù ú‹vè£ó‹ ªêŒM‚è£ñ™ Þ¼‚Aø£˜èœ. Ýî£óñ£ù î˜ñ ê£vFóƒèO™ MF‚èŠð†®¼‚Aø õò² õó‹¬ð Þ‹ñ£FK ªôùAèñ£ù õö‚èƒè¬÷ º¡Q†´ eÁõ¶ úKò™ô. Þ‹ñ£FK õö‚èƒèœ ªôùAèñ£ù ªúùèKòˆ¬î º¡Q†«ì£, ªú¡®ªñ¡† â¡Aø£˜è«÷, ܉î ñù à현C¬ò º¡Q†«ì£  ãŸð†®¼‚è‚ Ã´‹. î˜ñ ê£vFóˆ¬î eø£ñ™ ÞõŸ¬ø»‹ è¬ìŠH®ŠðF™ îõP™¬ô. Ýù£™ Ýî£óñ£ù Ϭô eP ÞõŸ¬ø«ò ªðKò ê£vFóñ£è G¬ùˆ¶ ÜÂúKŠð¶ Ü»‚îñ£ù¶.

Ýðvî‹ð KS ¬ìò î˜ñ ê£vFóˆF¡ º®M™  ÞF™ ªê£¡ù«î£´ â™ô£ MFèÀ‹ º®‰¶M†ìù â¡Á ܘˆî‹ Þ™¬ô. Þ¡ù‹ Ü«ïè‹ àœ÷ù. ܬõ °ôŠ ðö‚èˆî£½‹, Hó«îêŠ ðö‚èˆî£½‹ («îê£î£óˆî£½‹) ãŸð†®¼Šð¬õ. ÞõŸ¬ø vFgèOìI¼‰¶‹, ï£ô£‹ õ˜íŠ ªð£¶ üùƒèOìI¼‰¶‹ «è†´ˆ ªîK‰¶ ªè£‡´ ܸw®»ƒèœ â¡Á ªê£™LJ¼Šð¶ õ£vîõ‹î£¡, Ýù£™ ފ𮠪꣡ù¬õ, Üõ˜ î˜ñ ê£vFóˆF™ ªê£¡ù ÜFèŠð®ò£è (additional-Ýè) üùƒèO¡ ðö‚èˆF™ õ‰îõŸ¬øˆî£¡ °PŠH´«ñ åNò, Üõ˜ ªê£¡ù ºóí£è (contrary-Ýè) àœ÷ ðö‚èƒè¬÷ò™ô. Üî£õ¶ ê£vFóˆF™ Þ¼ŠðùõŸ«ø£´Ãì, ÜõŸÁ‚° ºóE™ô£î °ô£ê£ó, «îê£ê£óƒè¬÷»‹ H¡ðŸø «õ‡´«ñ åNò, ê£vFóŠ Hóñ£íˆ¬î M†´M†´, Ü ñ£Áîô£è ãŸð†´ M†ì ðö‚èƒè¬÷‚ è¬ìH®Šð¶ â¡Á ¬õˆ¶‚ ªè£œ÷‚ Ã죶.

àðïòù ú‹vè£óˆ¬î â‰î‚ è£óíˆ¬î º¡Q†´‹ îœOŠ «ð£ì«õ Ã죶. è™ò£íˆF«ô ðí ú‹ð‰îˆ¬î‚ ªè£‡´ M†´ ÜîŸè£è è£ô î£ñú‹ ð‡μõ¶ , ê£vFó M«ó£îñ£ù¶ â¡ð¶ å¼ ð‚è‹ Þ¼‚膴‹. ܬîŠðŸP H¡ù£™ Mõ£ý ú‹vè£óˆF™ ªê£™½A«ø¡. è™ò£íˆFô£õ¶ îM˜‚è º®ò£ñ™ '«û£'Ü‹êƒèœ «ê˜‰¶M†ìù â¡èô£‹.  «õ‡ì£ªñ¡ø£½‹ Hœ¬÷òèˆî£˜ «õ‡´‹ â¡ø£™ Þ‰î Ýì‹ðóƒè¬÷Š ð‡Eˆî£¡ Ýè«õ‡´‹. ÞŠ ðí‹ «ê˜‚è «õ‡´‹. ÞîŸè£è‚ è£ô î£ñú‹ ð‡í «õ‡®J¼‚Aø¶. ܫ Ãì‚ è™ò£í‹ â¡ðF™ õó¡ â¡Á 弈î¬ùˆ «î®Š H®ˆ¶, ïñ‚° Üõ¬ùŠ H®ˆ¶, Üõ¡ i†ì£¼‚°‹ ï‹ ú‹ð‰î‹ H®‚è «õ‡®òî£è Þ¼‚Aø¶. õó¡ «õ†¬ìJ™ è£ô‹ ªêôMì «õ‡®òî£Aø¶. ÌÈ™ Mûò‹ ÞŠð®J™¬ô. Þ¬î ã¡ Ýì‹ðóñ£èŠ ð‡íM™¬ô â¡Á â‰î ú‹ð‰F»‹ ñ G˜ð‰F‚èŠ «ð£õF™¬ô. ñ£ŠHœ¬÷ «î´Aø¶«ð£™ ÞF™ ªõO«ò ò£¬ó«ò£ «î®Š«ð£Œ ðóvðó ú‹ñîˆ¬îŠ ªðø«õ‡®»‹ Þ¼‚èM™¬ô. Ýîô£™ àKò è£ôˆF™ å¼ Hœ¬÷‚°Š ÌÈ™ «ð£ì£ñL¼Šð â‰î úñ£ùî£ùº‹ ªê£™õîŸA™¬ô. ܬî â‰î MîˆF½‹ ñ¡QŠðèJ™¬ô.

Monday, January 16, 2012


அருள் வாக்கு [ப்ரியப்பட்டு மூக்கணாங்கயிறு போட்டுக்கோ!] கல்கி
15-01-2012
[ஒரு பகுதி]
நிஜமான மநுஷ்யர்களாக நல்லபடி வளர்ச்சி பெறாமல், தாங்கள்
வீணாகப் போய்விடக்கூடாது என்ற கவலை,தாபம்,விசாரம் மட்டும்
வாலிபர்களுக்கு இருந்துவிட்டால் போதும்:ப்ரியப்பட்டு மூக்கணாங்கயிறு போட்டுக்கொண்டு விடுவார்கள்: மற்றவர்கள் போடுவதற்கும் இஷ்டப்பட்டு விட்டுவிடுவார்கள். அவர்களுக்கு இந்த கவலையை எப்படி உண்டு பண்ணுவதூ?

பெரியவர்கள்தான் விடாமல் பிரியத்துடனும்,பொறுமையுடனும் எடுத்துச் சொல்லிக்கொண்டேயிருக்கவேண்டும்.அப்படிச் சொல்ல வேண்டுமானால் சொல்பவர்களும் கட்டுப்பாடான வாழ்க்கை நடத்துபவர்களாக இருக்க வேண்டும்.இல்லாவிட்டால் அவர்களுடைய வாயுபதேசத்துக்கு என்ன மதிப்பு இருக்கும்? அதற்கு யார் காது கொடுப்பார்கள்? அதுவும் GENERATION GAP என்று நன்றாகவே ஊறிப் போய்விட்ட இளந்தலைமுறைக்காரர்கள் கேட்பார்களா?அவர்களுக்காகவே GAP தெரியாவிட்டாலும், இக்காலச் சிநதனையாளர்களும்,மனோதத்வ ஆராய்ச்சியாளர்களும், நவநாகரிகர்களும் சொல்லிக் கொடுத்தாவது இப்படி ஒரு GAP-ஐ
தெரிந்துகொண்டு விட்ட இளந் தலைமுறைக்காரர்கள் கேட்பார்களா?
[காஞ்சி ஸ்வாமிகள்]

Sunday, January 15, 2012

Deivathin Kural Part#2 Continued……

 

Cô¼‚° ã¡ Þ™¬ô ?

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Saturday, January 14, 2012

Kanchi Paramacharya’s Bhasyamrutham-MadhurASTakam


'saidevo', as translator of the materials presented.
---------------------------------------------
Composer: Vallabhacharya
Book: Sollin Selvar Sri Kanchi Munivar (Tamil) (pages 1-20)
Author: Raa. Ganapathi
Publisher: Divya Vidhya Trust

Everything about Him is only madhuraM!
The place where he was born is Mathura. Not the Madura(i) of our Pandya Desam. Here (in Madurai) also is AmbaL in madhura mayam. sangItam was born only from her... Yes. She is the devata known as Matangi and Shyamala. Meenakshi's sangItam itself would be madhuraM (right)? This is south Madura(i).
What I referred to was what we call Vada Madurai. In the Yamuna tIram of U.P. For whatever reason, they call it Mathura instead of Madhura. If Telegu people make 'tha' into 'dha', here the North Indian people have made 'dha' into 'tha'. The White-men have made it Muttara. Bhagavan took avatar only there. Avatara in jail! He who has the great honour as parama padanathan taking birth in a jail is because of his madhuraM; the guna mAdhuryam of doing uttAraNaM to the people by taking avatar and living amongst them. That madhura gunam has the name parama kRupA; referred to as parangkaruNai (in Tamil). Since he was born in Mathura, AndaL has sung 'vada madurai maindhane' (you the son of north Mathura).
Immediately after he was born there, appAkkArar (his father) Vasudeva(r), took the child away from there and left it in Gokulam. Mathura is on the western bank of Yamuna. Gokulam, Brindavan(am) are all on the eastern bank. Wading in the waters, Vasudeva crossed the river, left the child near Yasoda, took the female child that had just born to her and went back to the jail.
Everything here is full of thievery! (Paramacharya laughed loudly).
There he came out of the jail stealthily without the guards knowing it. Not only that. Here in Gokulam too, the one who gave birth and all the other people around never knew that the one that was born was a female child and that Vasudeva had left a male child in its place. Here too he came stealthily, finished his work and went back in stealth.
kRSNa means all theft; he stole the butter, he also stole the mind --navanIta chora, citta chora -- we say. If you ask how did he get the buddhi to steal, it seems that it came to him as piturArjitam from the theft that his father committed immediately after he was born.
But then it is not proper to think that way. I just made fun. Vasudeva, poor man, was sAdhu. He never knew even a little of thievery or disloyalty. Only the child made him commit the theft! When it was born the guards passed out, which was how he escaped from the jail. The jail locks also opened of their own accord! In the same way, since everyone was asleep in Gokulam also, he was able to complete his work with ease and comfort. Did that appAvi manushya do all these things? He who came as his son, that appan, only he did all these things out of the power of his maya! It is this that AndaL has referred to with veiled beauty, in a way that tells more than it (actually) says, beginning with the term 'mAyanai' and continuing with 'vada Madurai maindhanai'; as mAyanai mannu vada Madurai maindhanai. If you ask what is that 'mannu', it means 'established and renowned for a very long time'. There is also a pAsuram 'mannu pugazh kosalaitan manivayiru vAitthavane!' (he who was born of the jewel of a womb of the renowned Kausalya). That was sung by Kulasekhara Perumal on Sri Ramachandra Murthy.
In this song of AndaL too there is a mention about kRSNa Paramatma's mother, as 'thAyaik kudal viLakkam seitha dAmodara'. It means that by residing in his mother's womb, he gave it all purity and brightness; the words have fallen in very beautifully. Before that she says 'Ayar kulatthinil thondrum aNiviLakke'. yatukula dIpam, it is said. Not just ordinary dIpam, but alaMkAra dIpam, 'aNiviLakku'. In that way, himself remaining as a light, he purified his mother's womb.
kacmalam, that is dirt, filth--the illiterates also use the word kasumAlam; we call the oil that cleans up all the filth in the stomach, viLakkeNnai. Not the oil applied to the lamp, but the oil that cleans up and purifies the stomach. This is external filth. The reference 'thAyaik kudal viLakkam' is to her inner filth that the Swami removed by residing in her womb and giving the light of jnana. Devaki by her very nature is pure. Which is why Swami resided in her jaTaram. By that act he made her purer than she already was.
Without referring to him as her son, the janma kSetra has been glorified in the beginning of the song as vada Madurai maindhan. It is customary to say that the mother who gave the janma and the janmabhUmi are greater than even the heavens. janani janma bhUmiccha svargAdapi garIyasi. Here, the reference is first to the mother and then the motherland, which could also be the place of birth. But AndaL first refers to the place and then only the mother! This is because that Mathura has such greatness! The greatness is that, it is that kSetra where the birthless Swami took birth, which serves as the mokSapuri that grants janma vimocanam to us who are repeatedly born in a mother's womb as the saying punarabi janani jatare sayanam goes. Of the seven sapta mokSapuris, the first is the Rama-born Ayodhya. The second is this kRSNa-born Vada Mathura.
In addition, what seems to me as the principal reason is that the very name of the place was the svabhAva of Swami! What is 'kRSNa'? Nothing but madhuraM! The sweetness of sweetnesses, he is such sweetness!
One thing special about that mAdhuryam is that even though he did several things that were to the external sight not sweet, they too are pickled sweetly in the hearts of his devotees! Not great devotees like AndaL, Suka, Lila Suka, Meera! Even for those like us who have somewhat a little bhakti, whatever that kRSNa does is only madhura! 'I have that mAdhuryam; therefore I will do whatever that is improper, deceitful, thievery or disloyal'--as if saying this, he had been doing all such things all through his life.
If you ask how can it be that with him even amadhuraM becomes madhuraM: suppose there are many dolls made of sugar; and suppose that some of these dolls are in such froms as a chilli, bitter gourd, and a lump of salt, appearing natural with suitable colours given. In that case, even the chilli, bitter gourd and salt lump would be sweet because the appearances are only external (right)? Everything inside is nothing but that suger which is sweet. It is the same with kRSNa.
There are books in Tamil, among the nIthi nUlkaL (books of moral instructions), with forty verses each, bearing the names iniyavai nArpadu, innA nArpadu. innA is that which gives harm. iniyavai are those that are good. These two books are there to teach the good and bad. With kRSNa paramatma, however, all that is connected with him are only iniyavai (sweet and good). It can be sung on him as 'iniyavai anantam'! Only with that conviction he did several things in that avatar that can be termed innathavai (not good and sweet)! All that innA is only for the external appearance; inside (him) even all those are sweetness!
inimai is the equivalent Tamil for madhuraM. Colloquially, we use the term thitthippu; the literary word is inimai. Some words are distinctively beautiful in Tamil. In those words, the sound is set to match the meaning. inimai is one such word. Of the three letters that occur in the word, every letter is soft, none being harsh.
They term madhuraM is 'sweet' in English. Although the beginning with 'swee' is soft, the 't' sits at the end in the form of a 'takara' as a harsh sound. As somebody said jocularly, when the line 'kuzhalinithu, yazhinithu', which sounds sweet and soft in speech, is translated as 'flute sweet, lute sweet' with the lottu, lottu sound... (without finishing the sentence, Paramacharya gracefully gestures and closes his ears with his palms!)
Even in Sanskrit, when we say madhuraM that 'dhu' sounds a bit harsh. There is another, softer word svAdu. The 'du' here is not the hard 'dhu' that occurs in madhuraM, but a softer 'du'. The English (term) 'sweet' came only from svAdu, changing the lighter 'du' into a harder 't'.
There are many words in English that are beautiful. With distinctions of sound and meaning, and with different words to indictate subtle variations of a common thing or object, that language also has a lot to talk about. As dRSTAnta, to take the word pani (ice): if the wet leakage of 'moisure' becomes a chill drop of water, it becomes 'dew'; if it is misty, it is 'fog'; and then the 'smog' that is the mixture of 'smoke' and 'fog'! If the dew drop solidifies it is 'frost'; if it freezes from previously being water, it is 'ice'; if the steam becomes ice straight from the atmosphere, it is 'snow'. If that steam condenses and while falling as rain hardens, (we call it Alangatti) it is 'hail'. Like these, there are many words that indicate the many shades of the same thing. What we say with a single word uNarcchi, they classify into two as 'felling' and 'emotion'.
Except that in the discussion of madhuraM as sweetness, the speech digressed a little and I said something amadhuraM, I did not proceed to make comparisons of the greatness or smallness of any language.
(After smiling to himself thinking of something, Paramacharya continues.)
Now I tried to pacify something, feeling a bit apologetic, is it not? kRSNa would have done no such thing. There are no two classifications of right and not right in his deeds. Those words would never reach his dictionary! All that he does is madhuraM, and only madhuraM! Even those things that would not be right when others do, would be madhuraM if he does them.
It is only with these thoughts in mind, a parama bhakta (of kRSNa) has given us the song madhurAdhipaterakhilaM madhuraM--madhurAdhipateH akhilaM madhuraM (everything about the Mathura king kRSNa is sweet).
It is a stotra called madhurASTakam with eight shlokas. The concluding foot (line) of each shloka in that composition is madhurAdhipaterakhilaM madhuraM. In the three remaining feet (lines) of each shloka, two things such as Swami's guna, rupa, kArya would have been told.
For example, I shall recite the first shloka. In that, the first line is adharaM madhuraM vadanaM madhuraM; Swami's lip is madhuraM, face is madhuraM--two things, two madhuraMs are said.
The reason why he spoke about the lip to start with is that, it is the sangItam that is mainly referred to as madhuraM (right)? madhura gAnam, madhura kaNTam, iniya kural, 'sweet voice'--in this way it is referred to, whatever the language used. I said earlier that Meenakshi of the south Madurai is the atidevata of sangItam! Her co-born in Vada Mathura is also the gAnalola. If she is vINA gAna priya, he is veNu gAna lola! Like (the words) kuyazh, yAzh, the words vINA, veNu themselves sound sweet. In the hands of other Swamis, there would be weapons. Even in the hand of the Ramachandra Murti who is a karuNAmUrti, (there is) a dhanus. Only kRSNa has a flute. Venugopalan, Muralidharan are his very names. He blows on that veNu by pressing it to his lip (right)? Because he filters through that flute the pavitra wind that issues through his divya sharIraM, that veNu gAnam casts a spell of such sweetness on the listeners and makes them go mad (isn't it)?
To show parama priyam, a kiss is given. The gopikA strIs are said to be envious of the flute, seeing it always pressed to his lips and thinking that he actually kisses it! Will it be sweet only if he plays the flute? Even if he talks, it would be music and feel very sweet. And this is referred to as vacanaM madhuraM in another shloka (the beginning of the second verse).
Ordinarily, if it is a jnanopadesham, it would be boring! But when kRSNa does it, it would also be madhura gItam! Yes, we ascribe the name Gita to it! He who did gAnam as a child playing his flute, when he uttered jnana, after attaining sufficient age, even that sounded sweet as Gita!
All these have come from their connection to the lip (right)? That is why he said adharaM madhuraM, giving the first place to the lip.
In this way, with a count of six madhuraMs at two each in each of the three lines except the last of a shloka, he has sung of a total of six-eights or forty-eight madhuraMs and has composed a wonderful aSTakam.
He who did this (composition) is Vallabhacharya. One who developed a philosophy named shuddhAdvaita having BalakRSNa as the first and only God. It is a siddhAnta like the vishiSTAdvaita. In the North, specially in the Gujarat region, there are people who follow it. If it is a philosophy, there would be fisticuffs with arguments and counterarguments. Let it go anyway. Unlike it, whoever it is, if it is a bhakti stotra, it would touch the heart. In that way, to make everyone happy, he has sung the madhurASTakam. Even though madhuraM anantam can be sung, the way he has chosen forty-eight madhuraMs and sung on them, is very blissful (Periyavaa said 'Ananda...mAyirukku') to listen to.
(Running his eyes over the madhurASTakam pamphlet in his holy hands, Paramacharya continues).
Bhagavan's adharaM, vadanaM, nayanaM, hasitaM--that is laughter; his hRudayaM, gamanaM--that is walk; his vacanaM, caritaM, vasanaM--that is the pItAmbara he is wearing; or vasanaM can also be associated with the Gokulam where he did vAsam; piling up like this, he says that each one of them is madhuraM.
These things being sweet is not a speciality. The speciality is that he also talks about things that ordinarily cannot occur in the madhura list, but have become madhuraM because of their kRSNa sambandham. He speaks of certain things that are like this, such as valitaM, haraNaM, vamitaM. valitaM is to stand bent and askew. Normally it won't look sweet. But Bhagavan in his pose of playing the flute, leans his face to the left, bends that portion of his body from the neck to the waist to the right side, and again bends the rest of his body to the left and stands, keeping left right foot across the left. And the entire world celebrates this pose of standing bent in three different angles, revering it as the beautiful tribhanga!
koNal pervazhi! (a crooked man!) (Paramacharya laughs.) Alwar has also sung koNai peridhudaitthe. Even that is a beauty with him. That is, only a madhuraM.
What is madhuraM after all? It means only beauty, goodness. Goodness is madhuraM.
It's funny. There are many people who do not like sweets. Only in the North, all are fond of sweets. Whereas in the South, most people would like it only kAra sAram (with the essence of hotness). Some people would never touch sweet dishes. And there are people who like it a little more astringent (thuvarupu), a little more bitter or a little more sour. But all of them, when talking about good people, don't say that these good people are bitter or sour or salty! And to say that they are people of 'madhura guna', 'sweet nature', 'iniya iyalbu' (Tamil) is not just the custom here, but the world over! When someone says something in anger and impatience, we say 'he spoke hotly'. If someone said something with disappointment, we say he said it with a bitter heart. If somebody bores us we say that we are sour with his repetitions. If something is said in dishonour, we ask him not to pour out his words with so much saltiness in them--(karicchu kottathe). Being saline is the nature of the salt. In this way, when the six kinds of tastes are attributed to human characteristics, people, including those who do not like sweet dishes, attribute only madhuraM or sweetness to the good and kind nature in man!
With Bhagavan, all things are good; (it is) spoken as ananta kalyAna gunam. So all things (with him) are madhuraM.
Is that not his mellow state? (Paramachaya says pazhut...tha nilaiyonno?, admires it within himself and then continues happily.) He is the seed and root and everything. He is also the resultant fruit. When it becomes a fruit it automatically gets a sweetness. Even with the neem fruit, it is sweeter than the unripe, raw neem fruit (veppangai) (right)?
He says, haraNaM madhuraM. haraNaM means only apaharaNaM!; to say plainly, thiruttu (theft). kRSNa's theft--the theft of butter and the theft he does as uLLam kavar kaLvan (the thief who steals the heart)--both, how sweet are they! Rather than eating the butter, losing it to him is what is sweet! Eating it is sweet only to the tongue; whereas giving it in theft to him--not to any other--is sweet to the heart!
And he (the poet) says, vamitaM madhuraM, what is that? It was vamitaM that became (the English) 'vomit'. Just as doing samanam is known as shAnti (in Tamil), doing vamanam is (the Tamil) vAndhi. Ordinarily, even looking at someone vomitting would stir the feeling of spewing up within us. But then when kRSNa does it? Even that would be sweet. Seems he would do it just to prove that it is sweet! Or you may take vamitaM to mean 'gargle'. Suppose he stealthily fills a mouthful of the Yamuna water and sprays it on the face of a Gopika, how sweet would it be for her! To read about or listen to all such naughty things that he did tastes sweet like honey, even today!
The phrase bhuk^taM madhuraM occurs in two places. Its meaning should be decided on the context. In the first place, it occurs as pItaM madhuraM, bhuk^taM madhuraM. pItaM is to do pAna or drink. BalakRSNa tasting and sipping milk (Paramacharya says in Tamil 'rucchi...chu, seep...pik kudikkarathu') would be a sweet sight. Since bhuk^taM is added to that, as with anna-pAnam, here it would refer to eating. The Great Giver who feeds all the living beings, himself dining would be very sweet! Secondly, it occurs in the phrase yuk^taM madhuraM, bhuK^taM madhuraM. There are two things called bhoga and yoga; ihaloka inbum (enjoyment in this world) and atmaloka inbam (enjoyment in the world of the soul). bhuk^taM is to do bhoga and yuk^taM is to do yoga. This is how it should be understood here. Remaining as the Maha Mayavi and Parama Jnani in his kRSNAvatara life, he had been doing both (bhoga and yoga)! Yes, he did only that way! (Paramacharya, who would have known the avatara rahasya says this with a bright face).
Narrating many other madhuraMs, he has concluded the aSTakam with the phrase dalitaM madhuraM, phalitaM madhuraM. dalitaM means bursting. We say, poLandhu thaLLittan! (Tamil for 'he did it with expertise!') True to that saying, everything that he did, he did with an expertise. Actually in his childhood he ruptured the asuras! Later, remaining only as an instrument to his sankalpa shakti, he made Arjuna and his brothers rupture the armies of their enemy. Is he not the one who made Arjuna tremble with his declaration in Gita that he is kAlosmi (the very Kaalan or Yama)? Even in that shiver, he would have given Arjuna some hidden sweetness! His dealing death as Kaalan is also sweet! It is sweet also for the one who gets killed! Because dying in his hands ensures liberation! The feminine gender for Kaala is Kaali, pronounced as KaaLi; which is why she is there in Tiruvachur as Madhura Kaali!
It can also be taken to mean, 'rupturing the mind, instead of the body'. In that way, he ruptured the minds of the Gopis in their viraha tApam (agony of separation). Who are these Gopika women? They include all the devotees who are filled to the brim with love in mind! They would feel a sweetness when their minds are getting ruptured! Because, the memory of the beloved will be deeper in parting than in being together. Is not the memory about kRSNa a sweetness?
After dalitaM, as its the direct opposit, phalitaM! To attain the desired fruit is phalitaM. In other words, fulfilment of a mental desire. The Swami who is himself a ripe fruit is the phaladada of all living beings (right)?
Specifically here, the way it occurs as dalitaM-phalitaM should be treated respectively as the rupture of separation and the fulfilment of the devotees' wish to get united with him.
It is the pUrti sthAnam (state of fulfilment) of the ripened fruit of the principle that to unite with him is the sweetness!
Just like giving a fruit at the end of a feast, he has concluded the feast of the aSTaka giving this fruit of fulfilment and ended his composition in a most prosperous manner.
(Paramacharya remained absorbed in silence for sometime. Then with sudden enthusiasm that he recollected something, continues.) Before the last (verse), he has said, yaS^Tir madhurA sR^iS^Tir madhurA. A yashti is a stick or rod. Like all other cowherd boys, Swami would also be having a stick in his hand to drive the cows and calfs calling 'hey, hey!' sAkSAt vaikuNTAdhipati to come like this, what simplicity! And with what saulabhyam (ease) has he done it! He who holds the sceptre to rule the three worlds, now holding the stick to regulate the cows and calfs--how sweet is that simplicity! Even that slender and short cane stick would seem sweet. Not only the stick, being poked by it too would be sweet!
In the same breadth that he mentioned yaSTi, he also mentions sRuSti. It is mentioned in Bhagavatam that the same BalakRSNa who took the appearance of a cowherd boy also did the creation on one occasion. Without understanding his avatara rahasya, Brahma once took away all the cows and calfs and the young boys who tended them. Swami challenged Brahma with what he did thereafter. Had he wanted, he would have brought all the cows and boys taken away by Brahma to the earth in a second. Is he not the origin of maya? AndaL has also started (a song) with 'mAyanai' (right)? But then thinking that his prestige would not admit imitating the very little maya that his own son learned from him, Swami did a completely different thing. He created a duplicate of all that Brahma took! This is where the avatara kRSNa also did creation!
Though the Root of this avatar kept administration as his direct portfolio and handed over creation to his son, he is capable of creation himself. He could also do saMharam. In his kRSNAvatara, he showed his power of creation here. What we know from the kAlosmi I spoke about earlier is that he could also do saMharam. Shiva is also like that. But then Brahma is not capable of doing the kRutyas other than creation. Therefore Brahma was a fix as to the maintenance of all that he took away! Understanding that it was a punishment for having tested his father, he came running back to the earth with all that he took and sought the pardon (kSamApaNa) of the child who was his father. The karunAmUrti that he is, Swami also pardoned him and took back his duplicate creations within him, allowing the originals to remain on earth.
Within the short time that Brahma was in a fix and came running to kRSNa, one year had elapsed on the earth. During that one year's time, the pasangaL and pasukkaL (boys and cows) that were kRSNa sRuSti, were living the normal life in the houses of their parents, no one having known any difference.
But then the absence of any difference was only external. Inside them, the parents of the newly created children felt a surge of special affinity for their children, which was not there earlier! The cows also had the special affinity swelling up towards their calfs. It is said that only the young Yadavas who came of age tended the cows; small boys like kRSNa tended only the calfs. I did not mention this properly earlier; let me have the corrigendum here!
You know the reason for the atIta vAtsalya that swelled in the hearts of the parents? This creation was not done by Brahma! It was done by the Bhagavan whose svarUpam is madhuram! It was only that madhuram that made this vAtsalya swell. This is the sRiSTir madhurA he has spoken of.
It seems to me that in the yaSTi also which was mentioned earlier, there is an inner meaning. Magicians hold a stick in their hands and do the magic by swirling it and saying 'soo mantra kaaLi!' The White-men also call it a magic wand. The word (yaSTi) has settled here as if to show that kRSNa swirled his stick and created his duplicates! His mere sankalpa is enough for Swami. But to show some instrument for his lIla is Bhagavan's custom. It is one of his lila vinodas to show his lila as if it happened by the instrument he employed for it! He might have done the same thing here also.
All in all, as that Periyavar said it is only madhurAdhipaterakhilaM madhuraM! AndaL called him the son of Mathura. This man says he is the ruler of Mathura. This title came to Bhagavan after he killed Kamsa. In reality, kRSNa gave the right to rule to Kamsa's father Ugrasena, instead of himself ruling Mathura. At a later time, when he established the city of Dvaraka, he did the rAjya bharam (the burden of ruling) along with his elder brother Balarama and that in his brother's name. For the Swami who revelled in all sorts of lila vinoda which included his shRingAra ceSTtita, he had such an intense sannyAsa manas! vairAgya madhuram! The madhuram of a yogi that was described as yuktaM madhuraM!
The term madhurAdhipati is very apt in another respect too! Is he not the adhipati of the very tatvam of madhuram? Therefore madhurAdhipati.
That madhuram of his should spread throughout the world and also dribble within us.
(Paramacharya's palms close; his eyes too. A divine scene of a flower that is full of nectar closing itself!)
Glossary:
apaharaNa - taking away, robbing, stealing
atIta - going beyond, surpassing, transcending, past, dead, gone away
bhaN^gaH - broken, shortened, lessened, demolished, destroyed, defeated
ceSTa - moving of limbs, gesture, behaviour, prank
corayati - to steal, rob
dhanus - bow or bow's length, a fiddlestick
divya - divine, heavenly, celestial
dRSTAnta - "the end or aim of what is seen", example, paragon, standard, allegory, type, instance
gAna - singing, song
jaTaram - belly
kaNTam - throat, neck, tone, voice, sound
kRtya - act, deed, action, performance
kSamApaNa - the act of begging pardon
lIla - sport or play, mere appearance
lola - moving hither and thither, shaking, rolling, tossing, dangling, swinging, agitated, unsteady, restless
madhura - sweet, pleasant, charming, delightful
navanIta - fresh butter
pAsuram - sacred hymn
pavitra - a means of purification, filter, strainer
pItAmbara - yellow clothes, yellow garments
piturArjitam - that which was acquired from the father
sAdhu - good, virtuous, righteous, noble, a holyman, saint, sage
samana - meeting, assembly, concourse, intercourse, amorous union
saMhara - destrucion, bringing together
sayana - binding
sharIraM - body
shud^dha - pure, clear, faultless, sacred, holy, stainless, white, bright, shining, upright, honest
siddhAnta - doctrine, dogma, axiom, final end or aim or purpose
svAdu - sweet, tasty, relishing
saulabh^yaM - easiness of acquisition, feasibility, facility, ease
shR^iN^gAraH - love, passion, garb, appare;
tIra - a shore, bank
uttAraNaM - the act of landing, delivering or rescuing
vinoda - entertainment, diversion, amusement
vishiS^Ta - extraordinary, special, excellent, superior


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