Category Archives: gadhya thrayam

शरणागति गद्य – प्रवेश (परिचय खंड)

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श्री: श्रीमते शठकोपाय नमः श्रीमते रामानुजाय नमः श्रीमद्वरवरमुनये नमः

शरणागति गद्य

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namperumal-nachiar_serthiश्रीनम्पेरुमाल और श्रीरंगनाच्चियार – श्रीरंगम

श्रीपेरियवाच्चान पिल्लै के व्याख्यान का मुख्य आकर्षण

श्रीरामानुज स्वामीजी ने अपने प्रबंध श्रीभाष्य में मोक्ष (संसार से मुक्ति) प्राप्ति के लिए भक्ति योग की व्याख्या की है। श्रीभाष्य की रचना, कुदृष्टियों (वह जो वेदों का गलत अर्थ करते हैं) के तर्क का विरोध करने के लिए की गयी थी, जिनका मत था कि केवल ज्ञान योग से ही मोक्ष की प्राप्ति हो सकती है। श्रीरामानुज स्वामीजी इस बात से चिंतित थे कि श्रीभाष्य में वर्णित निर्णय से उनके अनुयायी और शिष्यजन यही विचार करेंगे कि मात्र भक्ति योग के द्वारा ही इस संसार से मुक्ति (मोक्ष) प्राप्त किया जा सकता है और वे मोक्ष प्राप्ति के लिए उसका ही अनुसरण करेंगे।

शरणागति गद्य में उन्होंने मोक्ष प्राप्ति के लिए शरणागति (भगवान श्रीमन्नारायण के आश्रित होना) के मार्ग पर विशेष ज़ोर दिया है। यहाँ एक प्रश्न मन में उठ सकता है कि जब शरणागति ही मोक्ष का मार्ग है, तब कूदृष्टियों के विरोध में “श्रीभाष्य” ग्रंथ में उन्होंने इस मार्ग की व्याख्या क्यों नहीं की? इसका कारण यह है कि जिस प्रकार एक ब्राह्मण चतुर्थ वर्ण के मनुष्य को वेद नहीं सिखा सकता, उसी प्रकार शरणागति के पवित्र रहस्य अर्थों को सर्वसामान्य में इस प्रकार प्रकट नहीं किया जा सकता।

मोक्ष प्राप्ति के लिए शरणागति, भक्ति योग से किस प्रकार से श्रेष्ठ है?

  • भक्ति, त्रयवर्णिकाओं तक ही सीमित है (प्रथम तीन वर्णों के लिए अर्थात- ब्राहमण, क्षत्रिय और वैश्य और इन तीन वर्णों में भी मात्र पुरुषों के लिए) परंतु शरणागति बिना किसी भेद के किसी भी प्राणी द्वारा की जा सकती है।
  • भक्ति का मार्ग कठिन है यद्यपि शरणागति का मार्ग अत्यंत सुलभ और सुगम है।
  • भक्ति के परिणाम, भक्त को तब प्राप्त होता है, जब उसके सभी प्रारब्ध कर्मों की समाप्ति होती है (कर्म दो प्रकार के होते हैं, संचित और प्रारब्ध :-
  • संचित कर्म उन सभी कर्मों का योग है, जो जीवात्मा ने अगणित जन्मों में उपार्जित किया है।
  • प्रारब्ध कर्म – संचित कर्म की गठरी से एक हिस्से के रूप में बाहर लेकर जीवात्मा को अपने कर्म के अनुसार पाप और पूण्य के रूप में इस संसार में बिताने की सुविधा दिया जाता है।
  • परंतु शरणागति का परिणाम उसी जन्म में प्राप्त होता है, जिस जन्म में आत्मा द्वारा शरणागति की जाती है।
  • भक्ति के मार्ग का अनुसरण करते हुए, भक्त को यह सावधानी रखनी चाहिए कि वेदों में कहे गए निर्देशों का उल्लंघन न हो। यद्यपि शरणागति के मार्ग में ऐसा नहीं है, क्यूंकि शरणागति करना तो अत्यंत सुगम है। भक्ति करने के लिए बहुत से प्रयास करने पड़ते हैं परंतु शरणागति सदा ही अभ्यास हेतु सहज है।
  • भक्ति का मार्ग आत्मा के स्वरुप के अनुरूप नहीं है, यद्यपि शरणागति स्वरुप अनुरूप है। अन्य शब्दों में, आत्मा का स्वरुप श्रीमन्नारायण भगवान के सेवक/ दास (शेषभूत) और उनके आश्रित (परतंत्र) बनकर रहना है और यह सभी शरणागति के मार्ग के अनुसरण से ही पूर्ण हो सकता है, जबकि भक्ति आत्मा द्वारा स्व-प्रयासों से की जाती है, जो आत्मा के स्वरुप के विपरीत है।
  • भक्ति मार्ग के माध्यम से जो परिणाम प्राप्त होता है ( मोक्ष अथवा भगवान के चरण कमल ) वो माध्यम इस परिणाम का लायक नहीं है किन्तु शरणागति माध्यम इस उच्च और श्रेष्ट परिणाम का यथोचित माध्यम है |

वेदांत में भी शरणागति का उल्लेख प्राप्त होता है। याग्निकीय उपनिषद् में, जीवात्मा के लिए द्वादश (१२) विशेष गुणों का उल्लेख किया गया है और उन सभी द्वादश गुणों में सबसे उंचा स्थान शरणागति को दिया गया है। शरणागति पूर्वाचार्यों द्वारा अनुसरण की गयी है और भगवान श्रीमन्नारायण को सबसे प्रिय है। इसलिए, वेदांत द्वारा स्वीकृत, जीवात्मा के स्वरुप के अनुरूप, आलवारों और पूर्वाचार्यों द्वारा अनुसरण की जाने वाली और भगवान श्रीमन्नारायण को प्रिय, शरणागति के इन गुणों को जानकार, श्रीरामानुज स्वामीजी ने शरणागति के विषय पर व्याख्या की, जिससे उनके अनुयायी भी शरणागति का लाभ ले सकें।

उन्होंने शरणागति के लिए उत्तर फाल्गुनी के दिन का चयन किया, जिस दिन श्रीनम्पेरुमाल और श्रीरंगनाच्चियार संग में विराजमान होकर दासों को दर्शन देते हैं। उनके मानस में संसार की सभी बाधाओं का सतत विचार चल रहा था और उनसे मुक्ति प्राप्त करने के लिए, उन्होंने दिव्य दंपत्ति के चरणों में शरणागति की। अपने आचार्य श्रीमहापूर्ण स्वामीजी द्वारा समाश्रयण प्राप्त करते हुए भी श्रीरामानुज स्वामीजी ने भगवान के चरणों में शरणागति की थी। जब शरणागति एक ही बार की जाती है, तब श्रीरामानुज स्वामीजी ने पुनः दिव्य दंपत्ति के चरणों में शरणागति क्यों की? संसार के भयानक रूप को जानकार और भगवान से शीघ्रातिशीघ्र मिलने की उत्कट चाहते हुए उन्होंने पुनः शरणागति की। यहाँ तक की आलवारों ने भी बारम्बार शरणागति की है (श्रीशठकोप स्वामीजी ने 5 बार और श्रीपरकाल स्वामीजी ने, 10 बार)। यही आचार्यों ने भी किया है। इसलिए इस संसार से मुक्ति प्राप्त करने के लिए और श्रीवैकुंठ में दिव्य दंपत्ति के कैंकर्य प्राप्ति हेतु, उन्होंने शरणागति की।

अब हम इस प्रबंध की प्रथम चूर्णिका की ओर अग्रसर होते हैं।

– अडियेन भगवती रामानुजदासी

आधार – http://divyaprabandham.koyil.org/index.php/2015/11/saranagathi-gadhyam-introduction/

प्रमेय (लक्ष्य) – http://koyil.org
प्रमाण (शास्त्र) – http://granthams.koyil.org
प्रमाता (आचार्य) – http://acharyas.koyil.org
श्रीवैष्णव शिक्षा/बालकों का पोर्टल – http://pillai.koyil.org

शरणागति गद्य- तनियन

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श्री:  श्रीमते शठकोपाय नमः  श्रीमते रामानुजाय नमः  श्रीमद्वरवरमुनये नमः

शरणागति गद्य
ramanujar-periyavachanpillai

श्रीरामानुज स्वामीजीश्रीपेरियवाच्चान पिल्लै

श्रीपेरियवाच्चान पिल्लै की तनियन (उनके अद्भुत व्याख्यान के प्रति कृतज्ञता प्रदर्शित करने के लिए यह तनियन प्रस्तुत की गयी है) –

श्रीमत कृष्ण समाह्वाय नमो यामुन शूनवे|
यत कटाक्षैक लक्ष्याणम् सुलभ: श्रीधरस्सदा ||

अर्थात: मैं श्रीपेरियवाच्चान पिल्लै स्वामीजी के चरणों की आराधना करता हूँ, जो श्रीयामुन के सुपुत्र है और जिनकी कृपाकटाक्ष से अत्यंत ही सुलभता से भगवान श्रीमन्नारायण की कृपा प्राप्त होती है।

शरणागति गद्य की तनियन –

वन्दे वेदांत कर्पूर चामीकर करंडकम
रामनुजार्यमार्याणाम चूड़ामणिमहर्निषम्

अर्थात: मैं, दिन-रात श्रीरामानुज स्वामीजी की आराधना करता हूँ, जो सभी आचार्यों के मुकुटमणि के समान है, और जो उस स्वर्णिम कोष के समान है- जो कपूर जैसी सुगंध वाले वेदांत की रक्षा करते है।

– अडियेन भगवती रामानुजदासी

आधार – http://divyaprabandham.koyil.org/index.php/2015/11/saranagathi-gadyam-thaniyans/

प्रमेय (लक्ष्य) – http://koyil.org
प्रमाण (शास्त्र) – http://granthams.koyil.org
प्रमाता (आचार्य) – http://acharyas.koyil.org
श्रीवैष्णव शिक्षा/बालकों का पोर्टल – http://pillai.koyil.org

शरणागति गद्य

Published by:

श्री: श्रीमते शठकोपाय नमः श्रीमते रामानुजाय नमः श्रीमद्वरवरमुनये नमः

भगवद श्रीरामानुज स्वामीजी ने नौ उत्कृष्ट ग्रंथों की रचना की– श्रीभाष्य, वेदांत सारम, वेदांत दीपम, वेदार्थ संग्रहम, गीता भाष्यम, नित्य ग्रंथ, शरणागति गद्यम, श्रीरंग गद्यम और श्रीवैकुंठ गद्यम।

प्रथम तीन ग्रंथ, ब्रह्म सूत्र से सम्बंधित है, चतुर्थ ग्रंथ, वेदांत के कुछ विशिष्ट छंदों से संबंधित है, पंचम ग्रंथ, भगवद गीता पर रचित व्याख्यान है और नित्य ग्रंथ, श्रीवैष्णवों द्वारा किये जाने वाले दैनिक अनुष्ठानों (विशेषतः तिरुवाराधन) से संबंधित है।

अंतिम तीन ग्रंथ हमारे सिद्धांत की जीवनरेखा हैं– यह शरणागति के स्वरुप और उसे कैसे अनुसरण किया जाता है, उस विषय में अत्यंत सुंदर वर्णन प्रदान करता है। गद्य अर्थात छंदरहित और त्रय अर्थात तीन। क्यूंकि इस श्रृंखला में त्रय/ तीन गद्य हैं, इसलिए एक रूप में इसे गद्य त्रय भी कहा जाता है। हमारे पूर्वाचार्यों ने इन गद्य त्रय को अत्यधिक महत्त्व प्रदान किया है। यही कारण है कि जिनमें अन्य दिव्य संप्रदाय ग्रंथों के सार को आत्मसात करने का सामर्थ्य नहीं है, वे भी अपने आचार्य की कृपा से इन तीन ग्रंथों का ज्ञान प्राप्त कर सकते हैं। आज की अत्यंत तेज जीवनशैली में, कभी-कभी आचार्य के लिए अपने अनुयायियों को इनके समस्त अर्थों का ज्ञान प्रदान करना कठिन हो जाता है। इसलिए इन तीन गद्यों की विशेषता को लेखों की श्रृंखला द्वारा समझाने का यह एक छोटा सा प्रयास है।

namperumal-nachiyar-serthiश्रीरंगनाच्चियार और श्रीरंगनाथ भगवान– श्रीरंगमramanuja-srirangam श्रीरामानुज स्वामीजी – श्रीरंगम

श्रीरामानुज स्वामीजी ने श्रीरंगम में पेरिय पिराट्टियार के तिरुनक्षत्र दिवस, उत्तर-फाल्गुन का चयन कर, उस दिन दिव्य दंपत्ति के श्रीचरणों में शरणागति की और अपने अनुयायियों को भी अनुकरणीय मार्ग दर्शाया। इस दिन श्रीरंगम में श्रीरंगनाथ भगवान और श्रीरंगनाच्चियार दोनों एक ही सिंहासन पर विराजमान होकर अपने दासों पर कृपा करते हैं। यह वर्ष का एकमात्र दिवस है, जब दिव्य दंपत्ति एक साथ विराजते हैं। श्रीरंगनाच्चियार के साथ विराजे भगवान श्रीरंगनाथ अपना सख्त स्वरुप त्यागकर, अपने दासों पर दया करते हैं। इसलिए श्रीरामानुज स्वामीजी ने इस दिन का चयन किया।

सर्वप्रथम उन्होंने पेरिय पिराट्टीयार के श्रीचरणों में शरणागति की, और तद्पश्चात नम्पेरुमाल के श्रीचरणों में। शरणागति गद्य में इसी की व्याख्या की गयी है। फिर उन्होंने श्रीरंग गद्य की रचना की, जो विशेषतः श्रीरंगम में विराजे नम्पेरुमाल के प्रति समर्पित है। तृतीय गद्य (श्रीवैकुंठ गद्य) में श्रीरामानुज स्वामीजी, श्रीवैकुंठ की विशेषताओं का वर्णन करते हैं, जिससे प्रपन्न (वह प्राणी जो प्रपत्ति अथवा शरणागति करता है) उस स्थान के महत्त्व को समझ सके जहाँ मोक्ष (लौकिक संसार से, जन्म मरण के चक्र से मुक्ति) प्राप्ति पर उन्हें जाना है।

periyavachan-pillaiश्रीपेरियवाच्चान पिल्लै

इस गद्य के अर्थों का प्रयास, परमकरुणाकर श्रीपेरियवाच्चान पिल्लै के व्याख्यान पर आधारित है। शरणागति गद्य में 23 चूर्णिकायें हैं (एक चूर्णिका लगभग एक परिच्छेद के समान है)। सर्वप्रथम प्रत्येक चूर्णिका के शब्दों का अर्थ समझाया गया है और फिर श्रीपेरियवाच्चान पिल्लै के व्याख्यान के माध्यम से श्रीरामानुज स्वामीजी द्वारा प्रकट किये गए सार को समझाया गया है। हम श्रीवेलुक्कुड़ी श्री उ.वे. कृष्णन स्वामीजी के आभारी हैं, जिनके कालक्षेप के द्वारा श्रीपेरियवाच्चान पिल्लै के अद्भुत व्याख्यान को समझने में सहायता प्राप्त हुई।

अब हम इस अद्भुत ग्रंथ के हिंदी अनुवाद को प्रारंभ करेंगे।

– अडियेन भगवती रामानुजदासी

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SrIvaikuNta gadhyam 6th chUrNai

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paramapadhanathan

avathArikai (Introduction)

This chUrNai states that the jIvAthmA, after being blessed by bhagavAn, will always remain as king in the kingdom of kainkaryam and will stay in happiness for ever. Let us look at the chUrNai:

thathO bhagavathA svayamEva AthmasanjIvanEna
avalOkanEna avalOkya, sasmithamAhUya,
samastha klESApaham nirathiSaya sukhAvaham AthmIyam
SrImath pAdhAravindha yugalam Sirasikrutham dhyAthvA,
amrutha sAgarAnthar nimagna sarvAvayava: sukhamAsItha II

Explanatory Note

thatha: bhagavatha: svayam Eva AthmasanjIvanEna thatha: – after that; bhagavatha: – by bhagavAn; svayam Eva – by himself; Athma sanjIvanEna – for AthmA’s superior sustenance.

avalOkanEna avalOkyaavalOkanEna – through his eyes; avalOkya – having seen. bhagavAn with love in his eyes looks at the jIvAthmA and blesses him.

sasmitham AhUyasasmitham – with a smile; AhUya – beckoning. bhagavAn smiles at the jIvAthmA (the jIvAthmA was all along thinking that he is Isvaran and now he understands that he is a servitor; bhagavAn knows this and smiles at him for the awareness that has dawned on him)

samastha klESa apaham nirathiSaya sukhAvahamsamastha – all; klESam – troubles; apaham – removing; nirathiSaya – most wondrous; sukhAvaham – pleasant. bhagavAn‘s smile removes all the troubles of samsAram that the jIvAthmA had suffered earlier and creates a feeling of pleasantness in him.

AthmIyam SrImath pAda aravaindha yugalamAthmIyam – self (bhagavAn‘s); SrImath – most enjoyable; pAdha – exalted feet; aravindha – lotus-like; yugalam – two. The jIvAthmA takes the two exalted, most enjoyable feet of bhagavAn and …

Sirasikrutham dhyAthvASirasikrutham – keeping on the head; dhyAthvA – meditating. The jIvAthmA meditates that he is taking the two exalted feet of bhagavAn on his head.

amrutha sAgar anthar nimagnaamrutha – nectar; sAgar – ocean; anthar – deep inside; nimagna – immersed. Taking the exalted feet of bhagavAn on his head makes the jIvAthmA feel that he has immersed himself deeply in the ocean of bhagavAn’s auspicious qualities, and without any fear of coming out, enjoys the experience.

sarva avayava: sukham AsIthasarva – all; avayava: – parts; sukham – happy; AsItha – lives for ever. The jIvAthmA lives with such happiness for ever in SrIvaikuNtam, doing all kainkaryam to bhagavAn.

periyavAchchAn piLLai summarises what bhagavadh SrI rAmAnujar had said in gadhyathrayam in a few lines now:

jIvAthmA realises that pArathanthriyam (dependence on bhagavAn) is his svarUpam (basic nature). In line with that, he carries out SaraNAgathi to bhagavAn as the path for attaining bhagavAn. Then he leaves the prAkrutha maNdalam (materialistic realm) and reaches aprAkrutha maNdalam (SrIvaikuNtam). There he gets to have dharshan (audience) with bhagavAn who is worshipped constantly by the entire assemblage of nithyasUris (those who live permanently in SrIvaikuNtam, without any connection with materialistic realm, our samsAram). Then he prays for carrying out kainkaryam to bhagavAn and is granted kainkaryam. For ever after that, he stays happily in SrIvaikuNtam, never to return to samsAram.

With this, we come to the end of SrIvaikuNta gadhyam (as a corollary, to the end of gadhya thrayam).

swAmy SrI rAmAnujar thiruvadigaLE SaraNam
parama kArunNIkar periyavAchchAn piLLai thiruvadigaLE SaraNam
viSadhavAk SikhAmaNi maNavALa mAmunigaL thiruvadigaLE SaraNam
kAnchi perundhEvith thAyAr dhEvapperumAL thiruvadigaLE SaraNam
dhivyadhampathi periya pirAttiyAr periya perumAL thiruvadigaLE Saranam

Translation by krishNa rAmAnuja dhAsan.

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SrIvaikuNta gadhyam 5th chUrNai

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srinivasa-served-by-all

avathArikai (Introduction)

With the love born out of experiencing bhagavAn, the jIvAthmA, now feeling extremely happy, will always have dharSan (having bhagavAn as his focus) without interest in any other thing.

thathaScha anubhUyamAna bhAvaviSEsha: nirathiSaya prIthyA anyath
kinchith karththum dhrashtum smarthum aSaktha: punarapi
SEshabhAvamEva yAchamAna: bhagavanthamEva avichchinna
srOthorUpENa avalOkanEna avalOkayan AsItha II

Explanatory Notes

thathaScha – After that (after being approved and allowed by bhagavAn to carry out kainkaryam);

anubhUyamAna bhAva viSEsha:anubhUyamAna – being experienced; bhAva – state; viSEsha: – special. The jIvAthmA experiences bhgavAn’s auspicious qualities.

nirathiSaya prIthyAnirathiSaya – nothing more wondrous than this; prIthyA – with love. After experiencing the auspicious qualities of bhagavAn, he feels that there can be nothing more wondrous than this, and with overflowing love….

anyath kinchith karthum dhrashtum smarthum aSaktha:anyath – anything else; kinchith – even a little bit; karthum – to do; dhrashtum – to see; smarthum – to think; aSaktha: – not capable. He is so overflowing with love after experiencing bhagavAn that he is incapable of doing or seeing or thinking, even a little bit, of anything other than bhagavAn.

punarapi SEshabhAvamEva yAchamAna:punarapi – again; SEshabhAvamEva – in the state of carrying out kainkaryam; yAchamAna: – requests and prays to bhagavAn. He has been granted kainkaryam by bhagavAn. Still, he is worried that this should last for ever and out of that worry, he prays repeatedly to bhagavAn that it should last for ever.

bhagavanthamEva – of SrIvaikuNtanAthan (bhagavAn).

avichchinna srOtha: rUpENa; avalOkanEnaavichchinna – without any interruption; srOtha – continuous flow (like a river); rUpENa – form; avalOkanEna – looking at. He looks at bhagavAn continuously, without any distraction.

avalOkayan AsIthaavalOkayan – look at; Asitha – let him for ever. Let the jIvAthmA keep looking at bhagavAn continuously without any interruption.

We shall now see the last chUrNai of this gadhyam in the next part.

Translation by krishNa rAmAnuja dhAsan.

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SrIvaikuNta gadhyam 3rd chUrNai part 4

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paramapadhanathan

In this final part of 3rd chUrNai, we shall see how the jIvAthmA approaches bhagavAn and submits himself unto him.

kadhAham bhagavantham nArAyaNam, mama kula nAtham, mama kula dhaivatham,
mama kula dhanam, mama bhOgyam, mama mAtharam,
mama pitharam, mama sarvam, sAkshAthkaravANi chakshushA:
kadhAham bhagavath pAdhAmbujadhvayam SirasA dhArayishyAmi;
kadhAham bhagavath pAdhAmbujadhvaya paricharyA karaNa yOgya:
(thadhEka bhOga:) thathpAdhau paricharishyAmi;
kadhAham  bhagavath pAdhambujadhvaya
paricharyASayA nirastha samsthEthara bhOgASa: apagatha samastha
sAmsArika svabhAva: thathpAdhAmbujadhvayam pravEkshyAmi;
kadhAmAm bhagavAn svakIyayA athiSIthalayA dhruSA
avalOkya snigdha gambhIra madhurayA girA paricharyAyAm
agyApayishyathi ithi bhagavath paricharyAyAm ASAm
varthdhayithvA thayaiva ASayA thathprasAdhOpabrumhithayA
bhagavantham upEthya dhUrAdhEva bhagavantham SEshabhOgE
SrIyA sahAsInam vainathEyAdhibhi sEvyamAnam
‘samastha parivArAya SrImathE nArAyaNAya nama:’
ithi praNamya uththAya uththAya, puna: puna: praNamya, athyantha sAdhvasa
vinayAvanathO bhUthvA, bhagavathpArishadha gaNanAyakai:
dhvArapAlai: krupayA snEha garbhayA dhruSA
avalOkitha: samyak abhivandhithai: thairEva anumathObhUthvA
bhagavantham upEthya SrImathA mUlamanthrENa
‘bhagavan! mAmaikAnthikAthyanthika paricharyA karaNaya parigruhNIshva’
ithi yAchamAna: praNamya AthmAnam bhagavathE nivEdhayEth II

Explanatory Note:

kadhA – when. He starts getting tensed for carrying out kainkaryam.

aham – I, who has no other path and who has attained bhagavAn and who is now feeling tensed about the fruit of attaining bhagavAn (i.e. who is delirious for carrying out kainkaryam)

bhagavantham nArAyaNam – he is so great and adiyEn is so small that adiyEn is unable to stay quiet after realising his auspicious and supreme qualities

mama nAtham – he is my Lord and master

mama kula dhaivatham – he is the prime worshipable deity for my family (here the term family refers to the group of ASrithars i.e. srIvaishNavas).

mama kula dhanam – he is the protector for my family. Just as money is viewed as offering protection, here bhagavAn is the greatest protector in times both good and bad for his ASrithars.

mama bhOgyam – He is the source of my enjoyment

mama mAtharam – He bears me and does good for me.

mama pitharam – he is the cause for my existence as well as one who does what is correct for me.

mama sarvam – he is everything to me.  He is whatever that has not been stated.

sAkshAth karavANi chakshushA? – when will I see him? It was only a few sentences back he had said that he has seen him (dhyAna yOgEna dhrushtvA – seen him through mind). Now he is longing to see him. Is there anything contradictory here? SrI rAmAnuja says that he wants to see him with his eyes (chakshushA) for ever (sadhA paSyanthi).

kadhAham bhagavath pAdhAmbuja dvayam SirasA dhArayishyAmi?kadhA – when; aham – I; bhagavathbhagavAn‘s; pAdha – exalted feet; ambuja – lotus-like; dhvayam – two of them; SirasA – through my head; dhArayishyAmi – will bear him. When will I bear his exalted feet on my head, asks SrI rAmAnuja.

kadhAham bhagavath pAdhAmbhujadhvaya paricharyA karaNa yOgya: (thadhEka bhOga:)thathpAdhau paricharishyAmi kadhAham – when I; bhagavath pAdhAmbujadvayabhagavAn‘s two lotus-like exalted feet; paricharyA karaNa yOgya: – be eligible to carry out kainkaryam; thadhEka bhOga – only that enjoyment; thath pAdhau – those exalted feet; paricharishyAmi – will get to do kainkaryam? First he wanted to take bhagavAn’s exalted feet on his head. Now he wants to know when he will be able to carry out kainkaryam to them.

kadhAham  bhagavath pAdhambujadhvaya paricharyASayA nirastha samsthEthara bhOgASa: apagatha samastha sAmsArika svabhAva: thathpAdhAmbujadhvayam pravEkshyAmikadhAham – when I; bhagavath pAdhAmbujadhvayabhagavAn‘s two lotus like exalted feet; paricharya – kainkaryam; ASayA – desire; nirastha – reject; samastha – all; ithara – other; bhOgASa: – desire in enjoyment; apagatha – gone; samastha – all; sAmsArika svabhAva: – the manner of dwellers of earth (samsAris); thathpAdhAmbujadhvayam – those two exalted lotus like feet; pravEkshyAmi – will attain?  He is now wondering when he will get to attain the exalted feet. What type of feet are they? They are such that the desire in him to carry out kainkaryam to those two exalted feet of bhagavAn makes him to reject the desire in all the other enjoyments which are sought after by samsAris (dwellers in materialistic realm) as their nature.

kadhAmAm bhagavAn svakIyayA athiSIthalayA dhruSA avalOkya snigdha gambhIra
madhurayA girA paricharyAyAm agyApayishyathikadhA – when; mAm – me; bhagavAnbhagavAn; svakIyayA – his own; athiSIthalayA – very cool (calm and gentle); dhruSa – eye; avalOkya – to look; snigdha – gentle; gambhIra – deep; madhurayA girA – mellifluous voice; paricharyAyAm – to do kainkaryam; AgyApayishyathi – will order? When will bhagavAn, with his merciful, cool eyes glance at me and in his thunderous, sweet voice order me to carry out kainkaryam to him?

ithi bhagavath paricharyAyAm ASAm varthdhayithvAithi – like this; bhagavathbhagavAn‘s; paricharyAyAm – to carry out kainkaryam; ASAm – desire; varthdhayithvA – to make it grow. He is praying to bhagavAn to make the desire to carry out kainkaryam to him to grow more and more.

thayaiva ASayA thath prasAdha upabrumhithayA bhagavantham upEthyathayaiva – with that; ASayA – desire; thath prasAdha – with bhagavAn‘s grace; upaburmhithayA – bring pushed; bhagavantham – bhagavAn; upEthya – near. With the desire (to carry out kainkaryam to bhagavAn) pushing him, with bhagavAn’s loving grace, he nears bhagavAn.

dhUrAdhEva bhagavantham SEshabhOgE SrIyA saha AsInam vainathEyAdhibhi sEvyamAnam  dhUrAdhEva  – from a distance; bhagavanthambhagavAn; SEshabhOgE – sitting on AdhiSEshan (serpent bed), SrIyAmahAlakshmi (it is inferred that bhUdhEvi and neelAdhEvi are also there); saha – with; AsInam – sitting by the side; vainathEya – garudan; Adhibhi – and others; sEvyamAnam – worshipped by. From a distance, he sees bhagavAn, sitting on the 1000 hooded serpent bed, with SrI, bhU and neelA dhEvis, surrounded by nithyasUris such as vainathEyan and others, worshipping them.

samastha parivArAya SrImathE nArAyaNAya nama:  ithi praNamya uththAya uththAya, puna: puna: praNamya samastha – all; parivArAyA – surrounded by ASrithars; SrimAthE – with SrI mahAlakshmi; nArAyaNAya nama: – salutations to nArAyaNan; ithi – saying this; praNamya – prostrating; uththAya uththAya puna: puna: praNamya– standing at the place where the head touched earlier and prostrating again, standing up again at the place where the head touched earlier and prostrating again (doing this repeatedly till he reached bhagavAn). From a distance he sees bhagavAn surrounded by ASrithars. He offers salutation to bhagavAn along with his consorts and prostrates himself repeatedly till he reaches bhagavAn.

athyantha sAdhvasa vinayAvanathO bhUthvA bhagavathpArishadha gaNanAyakai: dhvArapAlai: krupayA snEha garbhayA dhruSA avalOkitha: –  athyantha – without an end; sAdhvasa – timidly; vinaya – with humility; avanathO – head bowed; bhUthva – being; bhagavathbhagavAn‘s; pArishadha – attendants; gaNanAyakai: – his chieftains; dhvArapAlai: – his guards at the entrance (loosely, door-keepers); krupayA snEha garbhayA – with grace and friendliness; dhruSA – with their eyes; avalOkitha – viewed by. As he approaches bhagavAn by repeatedly prostrating in front of bhagavAn and takes a few steps with humility, head bowed, the nithyasUris near bhagavAn (his attendants, his chieftains and the guards at the entrance) look at him with grace and friendliness.

samyak abhivandhithai: thairEva anumatha; bhUthvA bhagavantham upEthya SrImathA mUlamanthrENa ‘bhagavan! mAm aikAnthikAthyanthika paricharyA karaNaya parigruhNIshva;’ ithi yAchamAna: praNamya AthmAnam bhagavathE nivEdhayEth – samyak – very well; abhivandhithai: – saluted respectfully; thairEva – only with their; anumatha: bhUthva – permission; bhagavanthambhagavAn; upEthya – nearing; SrImathA mUlamanthrENa – reciting thirumanthram; bhagavAn – hE (oh) bhagavAn!; mAm – me; aikAnthika – with single focus; Athyanthika – till the end; paricharyA – to carry out kainkaryam; karaNaya – as an implement for kainkaryam; praigruhNIshva: – accept; ithi – like this; yAchamAna: – praying; praNamya – prostrating; AthmAnam – self; bhagavathE – to bhagavAn; nivEdhayEth – offers. The jIvAthmA now takes permission from bhagavAn’s ASrithars and reciting thirumantham, approaches bhagavAn and beseeches him to accept him as an implement for carrying out kainkaryam (could be as a lamp or as a vessel used in thiruvArAdhanam or any such implement) till the end. So saying, he prostrates himself before bhagavAn and offers himself to bhagavAn.

This brings us to the end of 3rd chUrNai. We shall now move on to the 4th chUrNai.

Translation by krishNa rAmAnuja dhAsan.

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SrIvaikuNta gadhyam 3rd chUrNai Part 3

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paramapadhanathan

In the previous part we had seen how the jIvAthmA, who has been liberated from samsAram (materialistic realm) enters SrIvaikuNtam and views the grace and splendour of the place, the central maNdapam (hall) in which on the bed of AdhiSEshan (thousand hooded serpent), bhagavaAn gives audience with his consorts. We had seen the minute details of SrIvaikuNtanAthan’s (lord of SrIvaikuNtam) features. SrI rAmAnuja now starts describing the ornaments and weapons that adorn bhagavAn and ends with how the jIvAthmA gets to have dharSan of bhagavAn and offers himself to bhagavAn. First let us go through that part of the chUrNai which we will be seeing here:

athimanOhara kirIta makuta chUdAvathamsa
makarakuNdala graivEyaka hAra kEyUra kataka SrIvathsa
kausthubha mukthAdhAma udharabandhana pIthAmbara kAnchIguNa nUpurAdhdibhi:
athyantha sukhasparSai: dhivya gandhai: bhUshaNai: bhUshitham,
SrImathya vaijayanthyA vanamAlayA virAjitham,
Sanka chakra gadhAsi SArngAdhi dhivyAyudhai: sEvyamAnam,
svasankalpa mAthrAvakluptha jagaj janma sthithi dhvamsAdhikE
SrImathi vishvaksEnE nyastha samsthAthmaiSvaryam,
vainathEyAdhibhi: svabhAvatho nirastha samastha sAmsArika svabhAvai:
bhagavath parichryAkaraNa yOgyai: bhagavath paricharyaika bhOgai: nithya sidhdhai:
ananthai: yathAyOgam sEvyamAnam,
Athma bhOgEna anusamhitha parAdhikAla dhivyAmala kOmalAvalOkanEna viSvam AhlAdhayantham,
Ishadh unmeelitha mukhAmbhuja adhara vinirgathEna dhivyAnanAravindha,
SObhA janakEna dhivya gAmbhIrya audhArya saundharya mAdhuryAdhi
anavadhika guNagaNa vibhUshithEna athimanOhara
dhivya bhAvagarbhEna dhivya leelAlApAmruthEna
akhila jana hrudhayAntharANi ApUrayantham,
bhagavantham nArAyaNam dhyAna yOgEna dhrushtvA,
thathO bhagavatha: nithya svAmyam Athmana: nithya dhAsyam cha yathAvasthitham anusandhAya

Explanatory Note:

athimanOhara kirIta makutaathi – very; manOhara – captivating the heart; kirIta – the round ornament worn over the head; makuta – the long crown worn over kirItam. The head gears that bhagavAn wears are capable of capturing the hearts of those who happen to have their dharshan (view).

chUdA avathamsachUdA – a pendant worn on the head, coming upto the top of the forehead. avathamsa – worn on the top portion of the ears.

makara kuNdalamakara – fish; kuNdala – ear drops.

graivEyaka – ornament worn around the neck (neck-band, does not come below the neck).

hAra – chains which hang upto the stomach or further below.

kEyUra – bracelet  worn on the upper arm (armlet)

kataka – bracelet worn on the wrist.

SrIvathsa – the captivating mole on the chest

kausthubha – the ornament adorning his chest, representing all jIvAthmAs

mukthAdhAma – pearl necklace

udhara bandhana – waist band around his stomach

pIthAmbara – gold laced, silk vEshti (clothe worn around the waist, covering the lower part of his divine form)

kAnchIguNa – a golden cord worn around the waist.

nUpura – anklet

Adhibhi: – many other such ornaments which have not been stated

athyantha sukha Sparsai:athyantha – without an end; sukha – comfortable; Sparsai – touch. With so many ornaments on his divine form, will they not cause him discomfort or irritation? No, on the other hand, they would be like touching him with flowers, so soft they would be. These ornaments are nithyasUris. Will they cause him any discomfort?

dhivyagandhaidhivyaaprAkrutha (divine); gandhai: – smell. They are ornaments only, but even they would emit a sweet fragrance.

bhUshaNair bhUshithambhUshaNair – with such ornaments; bhUshitham – decorated. He is adorned with such divine ornaments.

SrImathyA vaijayanthyA vanamAlayA virAjithamSrImathya – beautiful; vaijayanthyA vanamAlayA – an ornamental garland made with 5 stones which is an identity for SrIman nArAyaNan similar to his conch, discus, AdhiSEshan paryankam (serpent bed) etc; virAjitham – adorned.

Sanka chakra gadhASi SArngAdhi dhivyAyudhai: sEvyamAnamSanka – conch (pAnchajanyam); chakra – discus (sudharSan); gadhA – mace (kaumOdhaki); aSi – sword (kadgam); SArnga – bow; Adhi – various weapons like these. dhivya – divine; Ayudhai: – weapons; sEvyamAnam – worshipped by. Why should he have weapons in SrIvaikuNtam where no enemy can ever approach? It is perfectly understandable if he has these weapons in our bhUlOkam (earth) as people like rAvaNa, kumbhakarNa, SiSupAla et al keep coming. But why there? Two reasons are given – one is that they are also there as ornaments to decorate him. The other reason is that his ASrithars there (such as AzhwArs) are always worried that something terrible would happen to him even at a place such as SrIvaikuNtam. Hence to pacify them he wears these.

After describing bhagavAn‘s ornaments and armaments, SrI rAmAnuja now turns to nithyasUris (those who dwell permanently in SrIvaikuNtam, carrying out endless service to bhagavAn).

sankalpamAthrAvakluptha jagaj janma sthithi dhvamsAdhikEsankalpa – will; mAthra – only; avakluptha – administered; jagaj – universe; janma – creation; sthithi – protection; dhvamsa – destruction. Possessing to a high degree the ability to create plant, animal, human species in the world merely at his will. Who is this nithyasUri?

SrImathi vishvaksEnESrImathi – with kainkarya as wealth; vishvaksEnE – to SrI vishvaksEnar, who is the head of bhagavAn‘s army.

nyastha samastha Athma aiSvaryamnyastha – placed; samastha – all; Athma aiSvaryam – controlling all AthmAs. bhagavAn has given the role of creating, protecting and destroying all worlds to his principal nithyasUri, vishvaksEnar.

vainathEyAdhibhi: –  Starting with vainathEya (garuda, bhagavAn‘s vehicle), included in this list are bhagavAn’s bodyguards and chieftains. There are guards for protecting entrance to SrIvaikuNtam in each of the 4 directions. There are also armies in all directions and for each of these units there are heads (chieftains).

svabhAvatha: nirastha samastha sAmsArika svabhAvai:svabhAvatha: – as their nature; nirastha – removed; samastha – all; sAmsArika – of samsAris (those who dwell in bhUlOkam, earth); svabhAvai: – their basic traits and nature. These nithyasUris do not have any connection with the nature of jIvAthmAs who dwell in materialistic realm, samsAram.

bhagavath paricharyA karaNa yOgyai:bhagavathbhagavAn‘s; paricharyA – kainkaryam; karaNa – to carry out; yOgyai: – have the capability. These nithyasUris have the right and capability to carry out kainkaryam to bhagavAn always.

bhagavath paricharyaika bhOgai:bhagavathbhagavAn‘s; paricharya – kainkaryam; Eka bhOgai: – only sustenance. These nithyasUris have only kainkaryam to bhagavAn as their sustenance.

nithya sidhdhai: – they are always present.

ananthai: – endless – there is no count to their numbers.

yathA yOgam sEvayamAnamyatha – whatever; yOgam – kainkaryam that the nithyasUris have been blessed with; sEvyamAnam – worshipped by. bhagavAn is worshipped by these nithyasUris who are blessed with appropriate kainkaryam each day.

Athma bhOgEna anusamhitha parAdhikAla dhivya amala kOmala avalOkanEnaAthma – self; bhOgEna – enjoyment; anusamhitha – protect; parAdhikAla – for ever; dhivya – divine; amala – pure; kOmala – beautiful; avalOkanEna – graceful glance. bhagavAn enjoys these kainkaryams from nithyasUris, for his own enjoyment. He looks at with divine, faultless, divine eyes. Looks at whom?

viSvam AhlAdhayanthamviSvam – entire world, with all its living entities. AhlAdhayantham – making them happy and comfortable.

Ishadh unmeelitha mukhAmbuja adhara vinirgathEnaIsadh – a little bit; unmeelitha – just blossomed;  mukha – face; ambuja – lotus; adhara – lips; vinirgathEAna – coming out from . Starting with this, until akhilajana hrudhAyAntharAni Apurayantham, SrI rAmAnuja describes the sweetness in the words and the beautiful way that bhagavAn speaks. Here he says that his lips are parted just a little, like a just blossoming lotus, and out of these opened lips come out the sweet words.

dhivya Anana aravindha SObhAjanakEnadhivya – divine; Anana – mouth; aravindha – lotus; SObhA – splendour; janakEna – producing; His divine words have the effect of producing an effect which is like adding an ornament to his lotus-like lips.

dhivya gAmbhIrya audhArya mAdhurya Adhi anavadhika guNa gaNa vibhUshithEnadhivya – divine; gAmbhIrya – depth; audhArya – generous; mAdhurya – sweet (honey-like); Adhi – similar qualities; anavadhika – countless; guNa – qualities; gaNa – cluster of; vibhUshithEna – decorated. His divine words are decorated with qualities such as being deep (like thunderous sound), generous (giving lot of meanings to whatever he says), sweet etc which are all divine.

athi manOhara dhivya bhAvagarbhENaathi – very; manOhara – captivating the minds of listeners; dhivya – divine; bhAvagarbhENa – emotional content. His divine words are capable of captivating minds with their emotional (having lot of meanings) content.

dhivya leelA AlApa amruthEnadhivya – divine; leelA – elegance; AlApa – sweet words; amruthEna – like nectar. His divine elegant words are sweet and full of nectar.

akhila jana hrudhya antharAnya apUrayanthamakhila – all; jana – living species; hrudhaya – hearts; antharAnya – inner space; apUrayantham – filled with.  He fills up the inner spaces in the hearts of all living beings with his sweet words.

bhagavantham nArAyaNambhagavantham – one who has all auspicious qualities, which are opposite of all faults; nArAyaNam – the personification of such an entitiy, SrIman nArAyaNan.

dhyAna yOgEna dhrushtvAdhyAna yOgEna – through meditation; dhrushtvA –  able to see. The jIvAthmA who has got liberated and reached SrIvaikuNtam is able to have dharshan (vision) of bhagavAn through meditation. This is called as mAnasa sAkshAthkAram (ability to see through the mind). Normally, this mAnasa sAkshAthkAram is acquired by a person who reaches bhagavAn through bhakthi yOgam (devotional path), which is a very tough path to wade through. The same effect is reached by a prapannan (one who carries out prapaththi or SaraNAgathi). This is the end result of repeatedly thinking about bhagavAn every day (we had seen this in the 2nd chUrNai, prathyaham Athma ujjIvanAya Evam anusmarEth).

bhagavatha: nithya swAmyam Athmana: nithya dhAsyam cha yathA avasthitham anusandhAyabhagavatha:bhagavAn; nithya – always; swAmyam – master; Athmana:jIvAthmA; nithya dhAsyam – always servant; cha – and; yathA – whatever; avasthitham – situation or position. anushandhAya – to repeat. Once the true positions of the two entities (bhagavAn and jIvAthmA) are realised (that he is swAmy or owner and jIvAthmA is dhAsan or servant or owned), mind immediately starts desiring for kainkaryam.

We shall now see the remaining portion of this chUrNai in part 4.

Translation by krishNa rAmAnuja dhAsan.

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SrIvaikuNta gadhyam – 3rd chUrNai Part 2

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 In this part, we shall look at the meanings of the following, which forms part of chUrNai 3

sarvadhA anubhUyamAnairabi apUrvavath
AScharyam Avahadhbhi: krIdASailaSatha
sahasrair alankruthai:, kaiSchin nArAyaNa dhivyaleelA asAdhAraNai:,
kaiSchith padhmavanAlayA dhivyaleelA asAdhAraNai:,
sAdhAraNaischa kaiSchith Suka SArikA mayUra kOkilAdhibhi:, kOmalakUjithai:, Akulai:
dhivyOdhyAna Satha sahasrairAvruthE, maNimukthA pravAlakrutha sOpAnai:
dhivyAmala – amrutha rasOdhakai: dhivyANdajavarai: athiramaNIya dharSanai:
athimanOhara madhura svarai: Akulai:
anthastha mukthAmaya dhivya krIdA sthAna upaSObhithai:,
dhivya saugandhika vApI Satha sahasrai: dhivya rAjahamsAvalee virAjithai: AvruthE,
nirasthAthiSaya Anandhaika rasathayA cha
AnanthyAchcha pravishtAn unmAdhayadhbhi: krIdOdhdhESai: virajithE,
thathra thathra krutha dhivya pushpa paryanka upaSObhithE,
nAnA pushpa Asava AsvAdha maththa brungAvaleebhi:
udhgeeyamAna dhivya gAndharvENa ApUrithE,
chandhanAgaru karpUra dhivya pushpa avagAhi mandha anilAsEvyamAnE,
madhyE (dhivya) pushpa sanchaya vichithrithE,
mahathi dhivya yOga paryankE anantha bhOgini,
SrImath vaikuNta aiSvaryAdhi dhivyalOkam Athma kAnthyA viSvam ApyAyayanthyA,
SEsha SEshASana Adhi sarva parijanam bhagavatha:
thath thath avasthOchitha paricharyAyAm AgyApayanthyA, Seela rUpa
guNa vilAsAdhibhi: Athma anurUpaya, SriyA saha Asinam,
prathyagra unmeelitha saraSija sadhruSa nayana yugalam,
svachcha neela jImUtha sankASam, athyujjvala bItha vAsasam,
svayA prabhayA athinirmalayA athiSIthalayA svachchayA mANikyAbhayA
kruthsnam jagath bhAsayantham, achinthya dhivyAdhbhutha nithya yauvana
svabhAva lAvaNyamaya – amrutha sAgaram
athisaukumAryAth Ishath prasvinnavath AlakshyamANa
lalAtapalaka dhivyAlakAvalee virAjitham,
prabhudhdha muktha ambhuja chArulOchanam, savibhrama bhrUlatham ujjvalAdharam,
Suchismitham, kOmala gaNdam, unnasam,
udhagrapInAmsa vilambi kuNdala alakAvalee bandhura kambu kandharam,
priyAvathamsa uthpala karNabhUshaNa
SlathAlakAbandha vimardha Samsibhi: chathurbhI:
AjAnu vilabibhi: bhujai: virAjitham, athikOmala dhivyarEkhAlankrutha
AthAmra karathalam, dhivyAnguleeyaka virAjitham,
athikOmala nakAvalee virAjitham, athirakthAnguleebhi: alankrutham,
thathkshaNOnmileetha puNdarIka sadhruSa charaNayugalam

sarvadhA anubhUyamAnairabi apUrvavath AScharyam Avahadhbhi: – sarvadhA – always; anubhUyamAnairabi – even if experienced; apUrvavath – incomparable; AScharyam – wondrous; Even if these are experienced on a daily basis, the novelty in them is incomparable. The happiness derived out of each moment is different from the previous moment.

krIdASailaSatha sahasrair alankruthai: krIdA – for playing; Saila – mountains; Satha – hundreds; sahasrair – thousands; alankruthai: – decorated. There are hundreds and thousands of mountains for indulgence.

kaiSchin nArAyaNa dhivya leelA asAdhAraNai:kaiSchith – some; nArAyaNa dhivya leelA – for the pastime of nArAyaNa; asAdhAraNai: – special. There are some special orchards which are exclusively for the use of nArAyaNa.

kaiSchith padhmavanAlayA dhivyaleelA asAdhAraNai: padhmavanAlayA – one who has lotus orchards as dwelling place (SrI mahAlakshmi). Similarly there are exclusive orchards for the pastime of SrI mahAlakshmi.

sAdhAraNaischa kaiSchithThere are some orchards which are common to both mahAlakshmi and nArAyaNa.

Suka SArikA mayUra kOkilAdhibhi: Suka – parrots; SArika – a sub-species of parrots; mayUra – peacocks; kOkila – cuckoo; Adhibhi: – many others such as swans etc. There are many species of birds in these orchards.

kOmalakUjithai:, Akulai: kOmala – sweet; kUjithai – cooing (making sounds); Akulai: filled with. The entire place is filled with the sweet calls and cooing of these birds.

dhivyOdhyAna Satha sahasrairAvruthE dhivya – divine; udhyAna – gardens; Satha sahasrai: – hundreds and thousands; AvruthE – surrounded. The ponds and lakes are surrounded by hundreds of thousands of divine gardens

maNimukthA pravAlakrutha sOpAnai: maNi mukthA pravAla – ruby, pearl, coral; krutha – made of; sOpAnai: – steps to tank or lake or river. Inside the gardens and orchards are tanks/lakes with steps made of gems such as ruby, pearl, coral etc.

dhivyAmala  amrutha rasOdhakai: dhivya – aprAkrutha (divine); amala – without any fault; amrutha – nectar like; rasOdhakai: – taste of water body. The divine water bodies inside the orchards have the taste of faultless nectar.

dhivyANdaja varai:dhivya – divine; aNdaja – born from egg (birds); varai: – different species. Around the water bodies are trees which have many species of divine birds.

athi ramaNiya dharSanai:athi – very; ramaNIya – pleasant; dharSanai: – to see. These birds are very pleasant to look at.

athi manOhara madhura svarai: Akulai: athi – very; manOhara – enchanting; madhura – mellifluous; svarai: – voice or sound. Akulai: – filled with. Their voices are very enchanting and honey-like and the place is filled with such birds.

anthastha mukthAmaya dhivya krIdAsthAna upaSObhithai: anthastha – inside; mukthAmaya – made of pearls; dhivya – divine; krIdAsthAna – locations for playing; upaSObhithai: – adorned with. Inside the orchards are places which are made of pearls.

dhivya saugandhika vApi Satha sahasrai:dhivya – divine; saugandhika – sweet smelling (white or blue lily); vApi – lake ; Satha sahasrai: – hundreds of thousands of. There are hundreds of thousands of lakes or ponds with sweet smelling divine flowers.

dhivya rAjahmasa Avalee virAjithai: AvruthEdhivya – divine; rAjahamsa – royal swan; Avalee – row of; virajithai: – adorned; AvruthE – surrounded with. The ponds are beautified by the flock of sudhdha sathva, royal swans.

nirasthAthiSaya Anandhaika rasathayA cha – incomparable, wondrous, joyful pleasure

ananthyAchcha – unlimited

pravishtAn unmAdhayathbhi:pravishtAn – one who entered; unmAdhayatha – mad. Making those who enter such places (orchards, lakes etc), go mad (make them excited, losing their senses)

krIdOdhdhESai: virAjithEkrIda – play; dhESai: – location; virAjithE – adorned. Adorned with such locations for playing

thathra thathra krutha dhivya pushpa paryanka upaSObhithEthathra thathra – here and there; krutha – carried out; dhivya – divine; pushpa – flower; paryanka – bed; upaSObhithE – adorned. Decorated with aprAkrutha (divine) flowery beds, here and there.

nAnA pushpa Asava AsvAdha maththa brunga Avaleebhi: udhgeeyamAna dhivya gAndharvENa ApUrithEnAnA – different types; pushpa – flowers; Asava – nectar (honey) of flowers; AsvAdha – drink; maththa – drunken (overjoyed); brunga – bee or wasp; Avalee–  a collection of wasps; udhgeeyamAna – singing (humming); dhivya – divine; gAndharvENa – like divine singers; ApUrithE – filled with. Wasps drink nectar dropping from different types of flowers and in an over-joyous mood sing like gandharvas (celestial singers) and the entire place is filled with their music.

chandhana agaru karpUra dhivya pushpa avagAhi mandha anila sEvyamAnEchandhana – sandal; agaru – kind of sweet smelling grass; karpUra – camphor; dhivya pushpa – divine flowers; avagAhi – immersed; mandha – gentle; anila – breeze; sEvyamAnE – worshipped. Gentle breeze wades through different types of sweet smelling materials (such as sandalwood, agaru (a kind of grass), camphor and divine flowers) and worships…

madhyE pushpa sanchaya vichithrithEmadhyE – in the centre; pushpa sanchaya – cluster of loose flowers; vichithrithE – like an art work.

mahathi dhivya yOga paryankEmahathi – huge; dhivya – divine; yOga – total; paryankE – on the bed.

anantha bhOginiananthathivananthAzhvAn (AdhiSEshan, 1000 hooded serpent) bhOgini – serpent.

Till now, SrI rAmAnuja has described various parts of SrIvaikuNtam, starting with hundreds of thousands of lakes, ponds, tanks, how these are decorated with steps made of precious stones such as ruby, sapphire, pearl, coral etc, different types of trees that surround these lakes, the types of flowers that grow on the orchards, the pillars in the garden studded with precious stones, the floor made with precious stones, the bees and wasps that drink the nectar from the flowers, the gentle breeze that wades through several sweet smelling substances, how in the midst of all these, on a serpent bed, bedecked with flowery arrangement – emperumAn, along with his consorts, is giving audience to his ASrithars, as described below.

SrImath vaikuNta aiSvaryAdhi dhivyalOkamSrImath – filled with kainkarya SrI (serving bhagavAn) , vaikuNtaSrIvaikuNtam (nithya vibhUthi) aiSvarya – wealth; Adhi – starting with this; dhivyalOkam – divine realm. in the divine realm called SrImath vaikuNtam, with all its wealth

Athma kAnthyAAthma – self (refers to pirAtti here); kAnthyA – radiance. With her radiance

viSvam ApyAyayanthyAviSvam – entire realm; ApyAyayanthyA – relaxed; gladden. Keeping the entire realm in a relaxed, peaceful state

SEsha SEshASana Adhi sarva parijanamSesha – AdhiSEshan; SEshASanavishvaksEnar (head of emperumAn’s army); Adhi – and many others following them; sarva – all; parijanam – servitors.

bhagavatha: thath thadhavasthOchitha paricharyAyAm AgyApayanthyAbhagavatha: – for  bhagavAn; thath thath avastha uchitha – appropriate to various states; paricharyAyAm – for carrying out service;  AgyA payanthyA -issue order. pirAtti appoints all the servitors for carrying out appropriate kainkaryam (service) to emperumAn (bhagavAn) in various states

Seela rUpa guNa vilAsAdhibhi: Athma anurUpayA – she is appropriate to emperumAn in her Athma guNa (qualities of her AthmA, soul) as well as in her rUpa guNa (qualities of her physical form)

SrIya saha Asinam – seated with such a SrI (pirAtti) by his side (even though reference is only to SrIdhEvi, we have to infer that bhUdhEvi and neeLAdhEvi, his other consorts are also indicated here)

prathyagra unmeelitha saraSija sadhruSa nayana ugalamprathyagra – just then; unmeelitha – blossomed; saraSija – born in pond (lotus); sadhruSa – equivalent; nayana – eye; ugalam – two. bhagavAn‘s two divine eyes are like lotus flowers which have just blossomed.

svachcha neela jImUtha sankASamsvachcha – clear;  neela – bluish black; jImUtha – cloud; sankASam – appearance. His appearance is like the dark clouds.

athyujjvala pIthavAsasamathi – very; ujjvala – bright/luminous; pItha – yellow; vAsasam – clothed in. He is dressed in an extremely bright yellow vasthram (clothe).

svayA prabhayAsvayam – self; prabhayA – radiant. He emits from his form, a brilliant radiance.

athinirmalayAathi -very; nirmalayA – without any dOsham (fault). He is absolutely faultless.

athiSeethalayAathi – very; SeethalayA – cold. He is very gentle and calm.

mANikyAbhayA – mAnikka – ruby; bhayA – radiance. He has brilliance like ruby.

kruthsnam jagath bhAsayanthamkruthsnam – without leaving out anything; jagath – world; bhAsayantham – illuminate. bhagavAn illuminates the entire world with the radiance from his physical form.

achinthya dhivya adhbhuthaachinthya – beyond thoughts; dhivyaaprAkrutha (divine); adhbhutha – wonderful. His form is beyond one’s imagination, it is divine and wonderful.

nithya yauvana svabhAva lAvaNyamaya amrutha sAgaramnithya – without any time-limit (always); yauvana – youthful (he is always 16 years old, irrespective of the number of years that have passed. He is that young, always); svabhAva – as his nature; lAvaNyamaya – full of beauty, taken as a whole (as opposed to soundharyam which means beauty of specific feature such as nose or eyes or face etc), amrutha -nectar, sAgaram – ocean.

SrI rAmAnuja now describes bhagavAn‘s physical features.

athisaukumAryAth Ishath prasvinnavath AlakshyamANa lalAta palaka dhivya alakAvalee virAjithamathi – very; saukumAryath – delicate (thin); Ishath – a little bit; prasvinnavath – spread out ; AlakshayamAna – visible; lalAta – forehead; palaka – flat part; dhivya – divine; alakAvalee – bundle of curled lock; virAjitham – adorned. bhagavAn‘s curled lock are soft, thin, a little spread out, and come upto the flat surface of his forehead.

prabhudhdha mukthAmbhuja chArulOchanamprabhudhdha – blossomed; muktha – fresh; ambhuja – lotus; chAru – pleasant; lOchanam – divine eyes. He is extremely happy on seeing his ASrithars due to which his eyes blossom like a lotus. Lotus is taken here as a simile. However, unlike the eyes, lotus (i) is not broad, (ii) does not secrete love and friendliness, (iii) does not blossom on seeing ASrithars, (iv) does not steal the hearts of those who come to have dharshan (vision) of it.

savibhrama bhrUlathamsavibhrama – knit; bhrUlatham – arched eye-brows. His eye brows are like the curved sugar-cane bow of manmathan (most handsome person).

ujjvalAdharam – ujjvala – luminous; adharam – lips. Lips are like coral and are bright.

SuchismithamSuchi – pure; smitham – smile. There is no falseness in his smile. He is genuinely happy on seeing his ASrithars and it shows in his smile.

kOmala gaNdamkOmala – pleasing; gaNdam – cheeks. His cheeks attract the ASrithars towards them with their beauty and well rounded nature.

unnasam – long (prominent) nose; like kaRpaga creeper (a type of plant) which grows only in celestial worlds.

udhagra pIna amsa vilambi kuNdala  alakAvalee bandhura kambukandharamudhagra – tall; pIna – large; amSa – shoulder; vilambi – hanging; kuNdala – ear-ring; alaka – curled lock; Avalee – bundle; bandhura – charming ; kambu – three lines or marks in the neck; kandharam -neck. Earlier SrI rAmAnuja had mentioned about the curly lock on his forehead. Now he describes bhagavAn‘s neck. The neck goes well with his shoulders. His curled locks hang upto the neck, which has three lines, signifying the identity of purushOththaman (highest among all AthmAs). His ear rings are also adding beauty to his neck.

priyAvathamsa uthpala karNabhUshaNa priyAvatha – beautiful; amsa – shoulder; uthpala – like a water lily; karNa – for the ears; bhUshaNa – ornament. The ornaments for the ears are coming upto the shoulder. One wonders whether they are ornaments for the ears or for the shoulder or for the locks which also fall on to the shoulder.

SlathAlakAbandha vimardha Samsibhi: chathurbhI: AjAnu vilambibhi: bhujai: virAjitham – Thus the four shoulders on which the ear rings hang loosely, extend upto the knee (as an extension through the arms) and adorn emperumAn.

athikOmala dhivyarEkhAlankrutha AthAmra karathalam – athikOmala – very beautiful; dhivya rekhA – divine lines; alankrutha – decorated with; AthAmra – several others starting from this; karathalam – palm. bhagavAn‘s palms are decorated with special marks such as lotus, conch (Sankam), disc (SudharSana chakram) etc.

dhivyAnguleeyaka virAjitham – dhivya – divine; anguleeyaka – rings on fingers; virAjitham – adorned. His fingers are adorned with divine rings.

athikOmala nakAvalee virAjithamathikOmala – very beautiful; nakAvalee – row of nails; virAjitham – adorned with. It is said that chandran (moon) took 20 forms and presented himself as nails on the fingers and toes of bhagavAn to carry out kainkaryam.

athirakthAnguleebhi: alankrutham –  athi – very; raktha – reddish; anguleebhi: – fingers; alankrutham – decorated with. His divine fingers are deep reddish in colour.

thathkshaNOnmileetha puNdarIka sadhruSa charaNa  yugalamthath – that; kshaNa – moment; unmeelitha – blossomed; puNdarIka – lotus; sadhruSa – equivalent; charaNa – divine feet; yugalam – two. His divine feet are like lotus that has just blossomed.

Until now, SrI rAmAnuja has described various angams (physical features) of bhagavAn. Next he describes the ornaments and weapons that decorate his physical form. We shall see these and the remainder of this chUrNai in the next part.

Translation by krishNa rAmAnuja dhAsan.

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SrIvaikuNta gadhyam – 3rd chUrNai Part 1

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going-to-paramapadham

avathArikai (Introduction)

This chUrNai describes the archirAdhi mArga (the path which starts with archis, light) through which a  jIvAthmA, who has thus surrendered to bhagavAn and gets liberated from samsAram (materialistic realm) travels and attains SrIvaikuNtam. It also describes the many-splendoured facets of SrIvaikuNtam. This is a very lengthy chUrNai and we shall see it in several parts.

chUrNai

chathurdhaSa bhuvanAthmakam aNdam dhaSaguNitha uththarancha
AvaraNasapthakam samastham kArya kAraNa jAtham athIthya varthamAnE,
paramavyOma SabdhAbhidhEyE, brahmAdhInAm vAngmansAgOcharE,
SrImathi vaikuNtE dhivyalOkE, sanaka vidhi SivAdhibhirapi achinthya svabhAva aiSvaryai:
nithya sidhdhai: ananthai: bhagavath AnukUlyaika bhOgai: dhivya purushai: mahAthmabhi: ApUrithE,
thEshAmapi iyath parimANam iyath aiSvaryam IdhruSa svabhAvam ithi parichchEththum ayOgyE,
dhivya AvaraNa Satha sahasrair AvruthE dhivya kalpakatharu upaSObhithE,dhivyOdhyAna Satha sahasra kOtibhirAvruthE, athipramANE,
dhivya AyathanE kasmimSchith vichithra dhivya rathnamayE dhivyAsthAna maNdapE,
dhivya rathna sthambha Satha sahasra kOtibhirupaSObhithE,
dhivya nAnA rathna krutha sthala vichithrithE,
dhivyAlankAra alankruthE, paritha: pathithai: pathamAnai: pAdhapasthaiScha
nAnA gandha varNai: dhivya pushpai: SObhamAnai:
dhivya pushpa upavanai: upaSObhithE,
sankIrNa pArijAthAdhi kalpadhruma upaSObhithai:,
asankIrNaiScha kaISchith anthastha pushpa rathnAdhi nirmitha
dhivya leela maNdapa Satha sahasrair upaSObhithai:

Explanatory Notes

chathurdhaSa bhuvanAthmakamchathurdaSa – fourteen; bhuvanam – world; Athmakam – composed of. There are 7 worlds including bhU: (earth) (bhU;, bhuva:, suva:, maha:, jana:, thapa: sathyam) which are above, and 7 worlds starting with athala (athala, suthala, vithala, nithala, rasAthala, thalAthala, pAthala) below. What is it that these 14 worlds constitute?

aNdam – These 14 worlds taken together form an egg-shaped assembly of worlds called aNdam (egg). It has an end-to-end spread of 50 crore yOjana (one yOjana is 10 miles or 16 kms in our parlance).

dhaSaguNitha uththarancha AvaraNa sapthakamdhaSa – ten; guNitha – times; uththaram – above; cha – also; AvaraNa – wrapper or cover; sapthakam – collection or aggregate of 7. Around each such egg (aNdam, that we have seen above) are 7 covers, with each succeeding cover being 10 times bigger than the previous cover. What are these 7 covers made of? They are prithvi (14 worlds in the centre), vAri (water), vahni (fire), anila (air or wind), AkASa (open or empty space), ahankAra (ego, third source of creation), mahAn (great, the 2nd source of creation) and avyaktham (prakruthi or primordial matter, primary source of creation ).

samastham – all. All the above mentioned entities put together form one aNdam. SrIvishNu purANam says that there are thousands and ten thousands of such aNdam and hundreds of crores of such entities.

kArya kAraNa jAtham – effect and causative factors (those that are produced by and those that produce). For example, avyaktham (prakruthi or primordial matter) that we have seen above is the causative factor for mahAn. mahAn produces ahankAram which in turn gives rise to the five elements sky, wind, fire, water and earth. Thus avyaktham is kAraNam while mahAn is both kAraNam (as it gives rise to ahankAram) and kAryam (as it came from avyaktham).

athIthya – crossing. The liberated jIvAthmA crosses all these entities. The crossing is done once and he does not come back to samsAram.  In bhagavadh gIthA, krishNa says that the AthmA who reaches upto sathya lOkam (brahmA‘s world) returns to samsAram. But the AthmA who has spent all his karma (both pApa and puNya, sin and virtue) crosses sathya lOkam too and does not return to samsAram. What sort of a place does such an AthmA reach?

parama – superior. That which does not have anything  higher than itself.

vyOma SabdhAbhidhEyEvyOma – sky or ether; Sabdha – word; abhidhEyE – expressed as. The AthmA crosses all the earlier mentioned worlds and reaches the entity that  is called as parama vyOma (superior sky). Unlike karmabhUmi (earth, the place where we take a physical form in line with our karma to get rid of prArabdha karma) this place does not limit our knowledge, but clears our thoughts. Is this place limited?

brahmA AdhInAm vAngmanasa agOcharE – Unlike simple people such as ourselves who have limited knowledge and power, this place is beyond the reach of highly knowledgeable people such as brahmA, Siva and other celestial beings. It is beyond their speech and thought. Does this place have a name?

SrImathi vaikuNtE dhivyalOkE – it is called as SrIvaikuNtam. Unlike karmabhUmi where there are impediments while carrying our kainkaryam, this is permanent and free from any hurdle.

Srimathi here refers to kainkaryam. vaikuNtE – there is no shortage for gyAna (knowledge) and Sakthi (energy or strength) here as there is no concealment of these by karmA. dhivyalOkE – not mAnushalOkam (world inhabited by human beings). Different from it. dhivya also means aprAkrutha (not prAkrutha, not composed of sathva/rajas/thamas, but only Sudhdha sathva). Having mentioned about the place, the next few words describe about the people who are in it.

sanaka vidhi Sivadhibhir achinthya svabhAva aiSvaryai:sanaka – one of the four mAnasa puthrars of brahmA (the four sons created by brahmA through his thoughts); vidhi – brahmA; Siva – rudhran; Adhibi – many other celestial entities, starting from these; achinthya – beyond their thoughts; svabhAva – as its nature; aiSvaryai: – having plenty of wealth. Even highly knowledgeable persons such as brahmA, Siva, sanaka and others can not fathom about the glory and type of persons who are inhabiting SrivaikuNtam and the wealth of SrIvaikuNtam.

nithya sidhdhai: – unlike mukthAthmAs who are devoted to bhagavAn, only from the time that they reach SrIvaikuNtam after being liberated, the inhabitants of SrIvaikuNtam (nithyasUris) have been there always and have been permanently carrying out kainkaryam to bhagavAn.

ananthai: – The nithyasUris are not limited in number. They are countless.

bhagavath AnukUlya bhOgai: – their only purpose is to act the way bhagavAn wants them to; i.e. not acting independently. They are enjoyed by bhagavAn the way he likes and they enjoy his auspicious qualities.

dhivya purushai: – divine people. aprAkrutha (composed of only sudhdha sathva, pure good) people.

mahAthmabhi: – great people. Their greatness is such that bhagavAn will not tolerate if they are separated from him.

ApUrithE – filled up. SrivaikuNtam is filled up with such people. It is not that only a few nithyasUris are there.

thEshAmapi – even they. Their svabhAvam (nature) is such that others such as brahmA, Siva et al can not think or talk about them and their greatness or about SrIvaikuNtam. Are such nithyasUris able to give details about SrIvaikuNtam that they inhabit?

iyath parimANam – these are its dimensions

iyath aiSvaryam – this is the value of its wealth

IdhruSa svabhAvam – this is its nature or type

ithi parichchEththum ayOgyE – even these nithyasUris do not have the ability to define these characteristics of SrIvaikuNtam.

dhivya AvaraNa Satha sahasra AvruthEdhivya – aprAkrutha (pure good); AvaraNa – cover (like a compound wall); Satha – hundreds; sahasra – thousands; AvruthE – filled with.  SrIvaikuNtam has hundreds of thousands of compounds walls which, unlike what we see in leelA vinbhUthi (our materialistic realm), are made of pure good entity (sudhdha sathvam). Who has the courage to wage a war against him? Why then should there be so many compound walls in SrIvaikuNtam? The answer to this is that it is like the capital of a country. Here bhagavAn is the king of the country. Hence it should have all the qualifications of a capital. Thus there are many compound walls. Moreover the inhabitants of this country worry about the safety of their king even at places where such fear is misplaced (similar to periyAzhwAr singing pallANdu pallANdu on emperumAn) and this leads to the roles getting reversed. Thus the protector is protected (nithyasUris protect bhagavAn). To fulfill this role, compound walls have been constructed. Will the place be one of granting protection only, without anything for enjoyment?

dhivya kalpakatharu upaSObhithEdhivyaaprAkrutha (sudhdha sathva); kalpaka tharu – a tree which fulfills the wishes of those who wish for something while standing under it; upaSObhithE – adorned with.  Unlike the kalpakatharu in lowly swargam (heaven, ruled by indhra) which is prAkrutha tree, the kalpakatharu in SrivaikuNtam is dhivya or aprAkrutham. The kalpakatharu in SrIvaikuNtam is not just one tree but it is a grove or garden of such trees. This is a source of enjoyment there.

dhivya udhyAna Satha sahasra kOtibhi: AvruthE – dhivya – divine; udhyAna – garden; Satha – hundred; sahasra – thousand; kOtibhi: – crore; AvruthE – filled with. There are hundreds of thousands of crores of gardens in SrivaikuNtam for SrIvaikuNtanAthan (emperumAn or bhagavAn) and nAchimArs (his consorts) for spending their time in an enjoyable way.

athipramANE – beyond measure. It is not possible to define its length and breadth.

dhivya AyathanE – divine temple; SrivaikuNtam itself is like a divine temple whose dimensions are beyond measurement.

kasmimSchith – at some place, which is beyond our thought or imagination or grasp.

vichithra rathnamayEvichithra – of many types; rathnamayE – full of gems.

dhivya AshthAna maNdapEdhivya – divine; AsthAna – assembly; maNdapa – hall. Here the reference is to the court which bhagavAn holds in SrIvaikuNtam when he gives dharshan (audience) to all nithyasUris and mukthAthmAs.

dhivya rathna sthambha Satha sahasra kOtibhi: upaSObithE – the maNdapam (hall) is adorned with hundreds of thousands of pillars (sthamba)made of ruby and such gems.

dhivya nAnA rathna krutha sthala vichithrithE – the sthala (floor) is made of different types of divine, wonderful rubies.

dhivya alankAra alankruthE – the roof of the hall, the screen held in front of emperumAn (bhagavAn) and his pirAttis (consorts) etc have been decorated in an artful way.

paritha: pathithai:paritha – surround; pathitha – fallen. Surrounding the mandapam  (bhagavAn‘s court-hall) are plants and trees from which flowers have fallen on to the ground.

pathamAnai: – flowers are just dropping from the plants and trees.

pAdhapasthaiScha – flowers that are also (still) on the plants and trees. Thus we have flowers that have dropped, that are dropping and that are still blooming. This may be confusing but we should understand that there is no factor called kAla (time) in SrivaikuNtam and hence all these events take place simultaneously for the enjoyment of its inhabitants and bhagavAn and his pirAttis.

nAnA gandha varNai:nAnA – different; gandha – smell; varNa – colour. These flowers are of different scents and colours.

dhivya pushpa SObhamAnai:dhivya – divine; pushpa – flowers; SObhamAna – adorned with. The hall is adorned with various types of flowers having different smells (scents) and different hues of colours.

dhivya pushpa upavanai: upaSObhithE – the place is adorned with such orchards and gardens.

sankIrNa pArijAtha Adhi kalpadhruma upaSObhithai:sankIrNa – mixed. Adorned with trees such as pArijAtham (a type of tree that gives rise to sweet smelling flower (night-flowering coral jasmine)), sandalwood, harichandanam (type of sandal tree) mixed with kalpaka trees.

asankIrNaiScha kaiSchith – also adorned with stand-alone trees (trees that are not mixed with other types).

anthastha pushpa rathna Adhi nirmitha dhivya leelA maNdapa Satha sahaasra upaSObhiththai: – inside the groves, there are different types of maNdapams (halls) such as pushpa maNdapa (flower hall), rathna maNdapa (ruby hall) and which are present in hundreds of thousands of numbers for the divine play of bhagavAn and his consorts.

 We shall continue from where we left in the next part of this chUrNai.

 Translation by krishNa rAmAnuja dhAsan.

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SrIvaikuNta gadhyam – 2nd chUrNai

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vishnu-lakshmi

avathArikai (Introduction)

Is it that we have to surrender once to bhagavAn and then forget about it? For getting the benefit (whether it is attaining mOksham (SrIvaikuNtam) or carrying out kainkaryam to pirAtti and bhagavAn), it is enough to do surrender once. However, since we continue to live in this samsAram (materialistic realm), we need to remind ourselves that we have surrendered to bhagavAn as the fear of samsAram will continue until we leave it.

This is a one-line chUrNai:

thathaScha prathyaham AthmOjjIvanAya Evam anusmarEth II

Explanatory Note

thathaScha – dhvaya upanishadh says thadhdhvayam sakruthuchchArO bhavathi (this is dvayam; it is said once). SrI rAma in his charama SlOkam (ultimate SlOkam) says sakrudhEva prapannAya (surrendering only once). It is enough if it is recited once as upAyam (the path for reaching bhagavAn). But it demands to be repeated many times over. What is the limit for this?

prathyahamprathi – every; ahas – day. It has to be recited every day. Is repeating this every day being done because of any inadequacy in fulfilment of our effort?

Athma ujjIvanAyaSarIra jIvanam – living in this world for the sake of physical body. Athma jIvanam – living in this world, doing only good things and not indulging in anything not mentioned in SAsthras. Athma ujjIvanam – leaving this world and attaining SrivaikuNtam. For this, AthmA has to constantly keep thinking of bhagavAn. In gAruda purANam, it says that if in a muhUrtham (equivalent of 48 minutes) a person does not think of vAsudhEvan (SrIman nArAyaNan) even for a moment, it will entail terrible harm, great danger, utter confusion. In effect, it means total emaciation of the soul. Can this repetition be done with less effort?

Evam – thus. It should be recited with the same dedication and belief with which it was recited the first time when the person carried out SaraNAgathi (surrendering).

anusmarEth (prathyaham) – We have seen that we should recite this every day. Is it enough if we recite once every day? anusmarEth – keep remembering through the day. Keep remembering without any break as we had seen in SaraNAgathi gadhyam (dhvayam artha anusandhAnena saha sadhA Evam vakthA – keep repeating dhvayam knowing its meaning, all the time). It is to be remembered all 365 days, until we leave this world.

Hence, in order to stick to the path of righteousness and to remind ourselves that we are living in this dreadful samsAram, we have to keep reciting and thinking about SaraNAgathi all the time, every day.

We shall now move on to the 3rd chUrNai.

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Translation by krishNa rAmAnuja dhAsan.

archived in http://divyaprabandham.koyil.org

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