“Musical Mantra” Of Muthuswami Dikshita

Dear Readers,

I am very glad to present the article “Musical Mantra of Muthuswami Dikshita”, which covers the biography of one of the Carnatic Music Trinity Sri Muthuswami Dikshitar.

I first heard the compositions of Muthuswami Dikshitar through the music album titled “Guruguha Vani” sung by Smt. M. S. Subbulakshmi Ammal. Both the compositions and the voice are divine unparallel. Dikshitar’s songs bring in a mood of meditative devotion which transcends words and feelings. Dikshitar Kritis are fraught with details of mantras, tantras, chakras, description of the deities, details of the temple, specialties of the place and the list is huge. Dikshitar in his compositions have kept the Mudra “Guruguha” and also woven the name of the raga ingeniously in his compositions.

Dikshitar was a very learned and versatile. He had travelled wide to many temples and composed kritis on the deities. The devotion and bhakti is ever charged in his Kritis. The contribution of Dikshitar to the Carnatic music is immense.

The biography of Sri Muthuswami Dikshitar which is presented in this article helps us to know better about the period in which he lived.

Let us travel with Dikshitar to know his music!

Happy reading !

Warm Regards

AV Devan
4rd Oct 2011
Chennai

MUSICAL MANTRA of Muthuswami Dikshita – Biography of Sri Muthuswami Dikshitar

FAMILY HERITAGE

The ancient Tiruvarur town which is located near Thanjavur in Tamilnadu is so sacred that there is a saying i.e. “Jananat Kamalalaye Mukti” meaning any one who takes birth in Tiruvarur will obtain salvation. Tiruvarur was a Chola heartland and was the cultural head quarters for many centuries. Sri Muthuswami Dikshitar was born on March 24, 1775 A.D. to Sri Ramaswami Dikshitar and Smt Subbammal as the eldest son in Tiruvarur. Tiruvarur attained a special place in the annals of Carnatic Music by being the birth place of the all the three music trinity, the other two being Sri Tyagaraja and Sri Syama Sastri. The town hosts one of ancient temple dedicated to Lord Shiva known as Tyagaraja and is famous for the temple car festival celebrated in the Tamil month of Chitirai. Sri Muthuswami Dikshitar’s ancestors hailed from Virinchipuram near Vellore in the North Arcot District. The ancestors of Dikshitar were engaged in performing yagna and were also worshippers and followers of Devi Upasana. Muthuswami Dikshitar’s father Sri Ramaswami Dikshitar was a Brahmin born in the year 1735 AD belonged to Kashyapa Gotra and Apastambha Sutra. His father was Venkateshwara Dikshitar and mother was Bhagirathi.

When Ramaswami Dikshitar was seven years old i.e. in the year 1742, there was a political upheaval in the region. This incident refers to the murder of the Nawab of the Subedar Ali at Vellore by Murtaza Ali which resulted in a rebellion and the entire area was thrown into turmoil. The Kaveri delta which was under the administration of the enlightened Maratha Kings of Tanjore was comparatively peaceful and prosperous. As per the divine will of Ambal, the family of Dikshitar moved to Govindapuram near Thiruvidaimarudur.

By about 1753, Ramaswami Dikshitar lost both his parents leaving him to carve out his own future. Ramaswami Dikshitar had by then received extensive training in the Vedas and could able to sing very melodiously. Once Ramaswami Dikshitar was giving a discourse about the greatness of Mahalingaswami at Tiruvidaimarudur Shetra which is capable of redeeming the “Brahmahathi Dosha”, also performed the raga alapana on few slokas. The uncle of Veerabadrayya happened to listen this and took him to Veerabadrayya who was an eminent musician and also belongs to the sishya parampara of Venkatamakhin. Ramaswami Dikshitar accordingly went to Tanjore and stayed with Virabahadrayya an eminent musician who enjoyed royal patronage for two years and learnt kritis composed by him in Rakti and Desiya ragas. He also learnt to sing with knowledge of svaras, alapana, pallavi and svarakalpana and went to Mayavaram. Later he met Sri Venkata Vaidyanatha Dikshitar, who was the maternal grandson of the minister Venkatamakhin, at Thiruvidaimaruthur known as Madhyarjuna Shetra and learnt Veena and mastered Chaturdandi Prakasika, theory of music as Dikshitar believed that no music could be perfect unless it was based on a firm foundation of theory. Later he travelled to Tanjavur where he was respected and felicitated at the King’s court.

Ramaswami Dikshitar then went to Chidambaram and had darshan of Nataraja and played Veena in front of the Lord. At that time one Chidambaranatha Yati happened to listen to his music and took Ramaswami Dikshitar to his ashram and gave Srividya and Mahashodasakshari Mahamantra Deeksha and asked Dikshitr to go to Tiruvarur. Ramaswami Dikshitar then went to Tiruvarur when the celebration of Sri Tyagaraja’s festival was in progress and had the darshan of Lord Tyagaraja and his consort Kamalamba stayed there and worshipped them.

Once Lord Tyagaraja appeared in Ramaswami Dikshitar’s dream and instructed him regarding the sequence and order to be followed when the procession of the Lord is happening. The Lord instructed about when the deity is taken through the streets beginning with the dvaja mantapa and returned back there and details like on where, how and when Nagasvara vidvans should play. The same instructions are being followed even today, through the generations.

Ramaswami Dikshitar was childless till his 40th year. He and his wife Subbammal performed rigorous tapas known as ‘Bajanam’ at the Vaideswaran Kovil. They offerd ‘avarana’ poojas to ‘Sri Muthukumaraswami’ (Lord Skanda) for 45 days. Dikshitar’s wife had a dream wherein somebody tying coconut, banana and turmeric in her waist.

It is said that on the last day of the pooja the Devi appeared to Ramaswami Dikshitar in his dream and presented him with a Muktaharam (Pearl Necklace). He related the dream to the elders of the place who assured him that he will be blessed with children similar to Pearls. The year was ‘Manmatha’ and the star was ‘Krithika’ (Karthigai) and the month was Phalguna (Panguni). The annual Vasantotsava was being celebrated in the temple of Sri Tyagaraja Swami with great eclat. The entire town was resounding to the Vedic chanting and the music of the nagaswaram. It was in this divine atmosphere that Ramaswami Dikshitar was blessed with a baby boy whom he named as ‘Muthuswami’ named after the Lord Skanda of Vaitheeswaran Koil whose is known as “Muthukumaraswami”. The couple were later blessed with twins Chinnaswami and Balambal and finally Balaswami.

TIRUVARUR To MANALI

Muthuswami before he was sixteen years old , learnt the Vedas, intricacies of kavyas and natakas, alankara, vyakarna and mastered in playing Veena. He also obtained his preliminary musical education from his father Sri Ramaswami Dikshitar. Muthuswami also got married at a very early age. At that point in time one Sri Muthukrishna Mudaliar of Manali near Chennai visited Tiruvarur. Mudaliar was a Zamindar and a Dubash (Translator and Interpreter) to Governors Saunders and Pigot and was well connected with the East India Company. He was also a patron of art. He happened to listen to Sri Ramaswami Dikshitar singing at Tiruvarur and was so captivated that he invited him to Manali. Ramaswami Dikshitar accepted his invitation and went along with his family from Tiruvarur to Manali. Muthukrishna Mudliar died in 1792 and his son Venkatakrishna Mudaliar also known as Chinnayya Mudaliar, who succeeded his father was even more liberal in his patronage. He was also Dubash of the East India Company at Madras and in that capacity used to visit Fort Saint George quite often. He often took with him Muthuswami and his younger brothers to listen to the ‘Airs’ i.e. Western music played by Irish men in the British Band. The Bands played simple Celtic marching tunes, lilting melodies, easy on the violin, drums, bagpipes and flutes.

On the suggestion of Col Browne who was in the service of the East India Company, Dikshitar composed the text in Sanskrit for English tunes. Muthuswami and his younger brother Baluswami watched and listened and took it all in. They were not yet bound by the strictures of temple music and were for that period affected by melody, rhythm of these alien sounds. Since Muthuswami had already taken to the Veena, it was decided that Baluswami should learn playing on the Violin. By listening to Baluswami practice these basic tunes coupled with the band performances provided Muthuswami the base to set his earliest compositions. Baluswami’s experiments with the Violin on the other hand were even more pleasing and soon the Violin became a permanent feature of Carnatic music concerts. Thus the Celtic tunes were to affect Muthuswami prodding him to create a new genre called “Nottuswara” (Nottu being the tamil slang for notes) with Sanskrit Sahitya in the raga Sankarabharanam based on these British tunes. About 37 such compositions were considered to have been completed by Muthuswami Dikshitar. These were played by Baluswami Dikshitar on the Violin and was gradually introduced as an accompanying instrument in Kutcheris. Muthuswami’s parents after seeing somewhat Dikshitar detached attitude performed second marriage to him. Even after the second marriage also the attitude didn’t changed and his parents were very much worried at this juncture.

KASI YATRA

Chidambaranatha Yogi who had earlier initiated Ramaswami Dikshitar into the Sri Vidya Cult and taught him the tantric mode of worship was on a pilgrimage to Benares. On his way from the south he made a brief halt at Madras. Ramaswami Dikshitar invited the Guru for a biksha and Chidambaranatha yogi went to his house in Manali. Muthuswami and his brothers sang while the yogi performed the pooja. The yogi who visualised the eventful future ahead of Muthuswami asked Ramaswami Dikshitar to send Muthuswami along with him to Kasi. Ramaswami agreed though reluctantly to send Muthuswami with Chidambaranatha Yogi to Kasi. Muthuswami lived with the yogi for about six years in Kasi. This is the period that must be regarded as the most significant in moulding the personality of Muthuswami Dikshitar. The yogi gave him the upadesa of Shodashakshari Mantra and trained him further in the tantric form of worship. He taught him Yoga and Vedanta as propounded by Sri Adisankaracharya. This is the reason we find in Muthuswami Dikshitar a synthesis of Veda, Purana, Alankara, Jyotisha, Agama, Yoga, Mantra and Tantra which is abundantly reflected in his compositions. During his stay in Kasi Muthuswami had splendid opportunities of listening to Hindustani Music in all its purity. This had a profound influence on his creative genius which becomes apparent not only in his handling of Hindustani ragas but in the portrayal of ragas in general as well. Muthuswami was to leave for his home town and Chidambaranatha Yogi was offering worship to Goddess Annapoorneswari and Muthuswami was beside him.

The yogi told him that Annapoorneswari would not only grant his desires in this life but moksha thereafter and that he should worship her all his life he also instructed Muthuswami to visit Tiruttani one of the six abodes of Lord Skanda. The next day, while going to the Ganga for bathing, the Yogi said to Dikshitar “go down three steps in the Ganga and tell me what takes place”. Dikshitar stepped down the Ganga and to his great amazement a Veena with the sacred name of ‘Rama’ inscribed on it drifted into his arms. “This is the prasada of Ganga Devi. May you grow to become a great Vainika and celebrated Vaggeyakara” blessed the Guru. Later Chidambarana Yogi attained siddhi. Muthuswami then performed all the final rites for his Guru. The samadhi of Chidambaranatha Yogi is there at Hanumanghat at Kasi. Dikshitar then proceeded towards Manali.

While at Manali Muthuswami’s younger brother Chinnaswami lost his vision. Hence father Ramaswami Dikshitar took Chinnaswami to Tirupathi and observed vrata for one mandala. Ramaswami composed daily one song in one raga and composed about 48 songs in 48 ragas which start with “Manasa Vethi Tharulathalasaka”. Finally he sang a piece “Ingathaya Rakunnanu” in that he mentions that whether his son gets the vision or not I am moving to Kalahasthi and while he came out of the sannidhi and in the prakara two vaishnavas were conversing and in their conversation they said “everything will be visible”. While thinking about the same he reached his home and found Chinnaswami was restored vision by the divine grace of Lord Venktesa.

GRACE OF GURUGUHA

Muthuswami Dikshitar was born by the grace of Lord Muthukumaraswami of Vaitheeswaran Koil. Later when Muthuswami went to Tiruttani as per the advice of his Guru, the grace of the Lord continued. After having darshan at Muthuswami sat in the temple steps when suddenly appeared an old man from nowhere and asked him to open his mouth. Muthuswami felt that someone placing a sugar candy in his mouth. On opening his eyes, Dikshitar had a vision of Lord Subrahmanya, on his peacock, in the company of his two consorts. As the syrup trickled down his throat something stirred within him. The next moment Muthuswami Dishitar spontaneously and emotionally sang his maiden composition “Shri Naathaadi Guru Guho Jayati Jayati” in the raga Mayamalavagowla. Subsequently, he composed seven more Kritis. The eight kritis are in the eight vibhaktis or modes of address and are called the “Guruguha Vibhakti Kritis”. Each one of them is a gem in advaitic philosophy. While they are ostensibly in praise of Lord Subrahmanya, they in reality describe a great preceptor, who ever with his disciple’s well being at heart, goads them on the track of development, where Truth is the ultimate goal. As if acknowledging the grace of Lord Guha who had manifested as his Guru, Muthuswami Dikshitar wrote in all his compositions with the epithet “GURUGUHA”. This unique term, which was not ever used in any text or treatise previously, is of enormous significance. The word Guha means a cave and in philosophy connotes the mind, which is dark in ignorance, awaiting the realisation to illumine it. This realisation cannot come on its own except in the case of highly evolved souls. The process requires a Guru or preceptor, who shows the right path. The Guruguha’s grace is flowing even now to everyone who hears the compositions of Sri Muthuswami Dikshitar.

Muthuswami then went to Kanchipuram and stayed there with his brothers for four years. In the presence of Kamakshi, he practiced the Srividya Upasana and composed many kirtanas such as “Ekambranatham Bajeham”, “Neerajakshi Kamakshi”, “Kanjadalayatakshi”, “Kamakshi Varalakshmi” etc., adored with poetic words and popularized them through his younger brothers. He conducted philosophical dialogues with Upanishad Brahmam who lived there, and set ‘Rama Ashtapadis’ written by him to music including the Tala and Notation. He then went on a pilgrimage visiting and composing on temples at Arunachalam (Tiruvannamalai), Chidambaram, Tirupathi and Kalahasthi and then returned back to Tiruvarur. Muthuswami’s father Ramaswami Dikshitar used to observe Ekadasi by reciting the 12 cantos of Gitagovinda “Ashthapathi” with devotion and reverence. He also coined the raga “Hamsadhvani” and authored a prabandha in that raga. When Muthuswami Dikshitar was 42 he lost his mother and then after two months on a Maha Sivarathri day, lost his father Ramaswami Dikshitar who obtained the heavenly abode in the year 1817. When his younger brothers Chinnaswami and Balaswami who were learning Music from him, were invited by the patron kings, they went to Madurai and stayed there for some years.

DIVINE COMPOSITIONS

Under the new Ryotwari System of the British those who have the lands must cultivate and pay the tax to them. Muthuswami and his brothers could not cultivate and hence could not able to pay tax decided to gift the lands. They lost their properties and poverty touch them. Once the situation went to such a stage wherein they could not afford to offer neivedya to the Goddess. At that point in time one Kamalam in the dasi community decided to offer all her Gold however Dikshitar did not accepted it by asking whether you have money to offer neivedhya for the entire life and started singing “Tyagarajam Bhajare Thapathryam Tyajare”. Within few minutes someone came and offered few cart loads of things which can be used for years.

Muthuswami Dikshitar composed on every deity in the Tiruvarur temple complex including Tyagaraja the presiding deity known as Tyagaraja Vibhakti Kritis and Tiruvarur Panchalinga Kritis. On Nilothpalambal his consort he composed Nilotpalambal Vibhakti Kritis. Goddess Kamalambal an independent deity of high tantric significance in the same temple complex and Dikshitar composed the famous “Kamalamba Nava Varnams” filled with exemplary sahityams which proved to be the showcase of his compositions. These Navavarnams were in all the eight Vibhaktis and are being sung as a highlight of the Guruguha Jayanthi which is celebrated every year. He then went to Mayavaram and composed “Abayamba Navavarnam”, and on the Goddess Balambal composed “Bajare Rechitha’.

When he came back to Tiruvarur he came to know that his younger brother Chinnaswami Dikshitar attained the heavenly abode. He then went to Nagapatinnam and there he composed “Amba Neelayadakshi” in the Raga Nilambari, “Soundara Rajam Ashraye” in Brindavana Saranga. He then reached Kuzhikarai and composed “Annapoorne Vishalakshi”. Subsequently he proceeded to Mannargudi and composed “Sri Rajagopala” in Saveri, “Bala Gopala” in Bairavi, “Chetha Sri” in Dwijavanti.

AKSHAYA LINGA VIBO

Muthuswami Dikshitar then reached Kevalur. He had a desire to compose and sing in front of “Akshaya Linga” and walked fast to reach the temple which was about to close. While he entered the temple the temple Gurukkal closed the door of the sanctum sanctorum. Dikshitar requested the Gurukkal whether he can delay going with the desire to see the Lord the Gurukkul replied sarcastically, “that the Lord will allow the delay till tomorrow and hence go and come tomorrow”. Dikshitar then composed “Akshaya Linga Vibo” in Sankarabaranam upon hearing the song the Lord by his divine will opened the door which was closed and gave the divine darshan to Dikshitar. The Gurukkal who returned with a suspicion saw the miracle and fell at the feet of the Dikshitar requesting for pardon. Dikshitar then reached Tiruvarur and composed kritis on “Shodasa Ganapathi”. Then upon request from his sishyas Ponnayya, Vadivelu, Sivanantham reached Tanjore and composed several kritis on Lord Brahadeeswara.

One of his disciple was Tambiappa Pillai who suffered from stomach ailment. The reason for the suffering were traced to the bad influence of the planet Jupiter in his horoscope. Dikshitar composed the song “Brhaspate” in praise of Jupiter and taught it to his disciple who sang it every day and was subsequently cured of his illness. Subsequent to this, Dikshitar embarked on creating songs on six other principal celestial beings. As each of the seven songs composed by Dikshitar was for the presiding deity of one day of the week they came to be called as the “Vara Kritis”. Two other Kritis i.e. “Smaramyaham” and “Mahasuram” were added to the Vara Kritis and is now called as “Navagraha Kritis”.

He also composed “Pancha Linga Kshetra Kritis”, “Rama Vibhakti Kritis”, “Tiruvarur Panchalinga Kritis”, “Abhayamba Vibhakti Kritis”, “Madhuramba Vibhakti Kritis” etc. Muthuswami Dikshitar had composed about close to 480 Kritis which are very widely sung by musicians today in Carnatic Music concerts. Most of his compositions are in Sanskrit and in the Krithi form i.e. poetry set to music. Muthuswami Dikshitar traveled to many holy shrines throughout his life and composed krithis on the deities and temples he visited. Dikshitar is considered to have composed on the widest range of deities for any composer. Each of his compositions is unique and brilliantly crafted. The compositions are known for the depth and soulfulness of the melody. His visions of some of the ragas are still the final word on their structure. His Sanskrit lyrics are in praise of the temple deity but Muthuswami introduces the Advaita thought seamlessly into his songs resolving the inherent relationship between Advaita philosophy and worship of Gods. His songs contains much information about the history of the temple and its background thus preserving many customs followed in these old shrines.

Muthuswami also undertook the project of composing in all the 72 Melakartha ragas thereby providing a musical example for many rare and lost ragas. He is also a master of Tala and is the only composer to have kritis in all the seven basic talas of the Carnatic scheme. Dikshitar shows his skill in Sanskrit by composing in all the eight declensions. For richness of ragha bhava, sublimity of their philosophic contents and for the grandeur of the sahitya, the songs of Dikshitar stand unsurpassed. He was a pioneer in introducing the concept of Samashti Charanams (fusion of Anupallavi and Charana) in his Kritis.

RAGA MUDRA

The adroitness with which he wove the Raga name into his compositions is astonishing. It is very difficult to use a Raga Mudra in a composition in such a way that it fits in properly in terms of the meaning, the flow of the song etc. Dikshitar has achieved a commendable feat by using Raga Mudras in almost all of his compositions. The way he has derived Raga Mudras out of multiple words is testimony to his vidwat. Please see below how he has woven the raga in his compositions :

“Samsara Bhityapahe” in the composition Shri Sarasvati Namostute (Raga - Arabhi)
“Pranamaya Koshanilakasha” in Shri Kalahastisha (Raga Huseni older name Oshani)
“Ati samipa Ruju marga darshitam” in Cintaye Mahalinga Murtim (Raga – paruju/paras)
“Mahakavya Natakadi priyam” in MahAgaNapatim (Raga - Nattai or Nata)
“Murddhanya shiva nigrahaya” in Mangaladevataya (Raga - dhanyashi)

His raga mudras had a meaning and were not just fit arbitrarily into the song. For example, in the case of “Kamakoti bilaharinuta kamale” in kamakshi varalakshmi (bilahari), bilam means a small pit which is there in all Kamakshi temples and Puja is done for the hari inside in the bilam.
Ironically for all the richness of his music he himself voluntarily lead a simple life. He was egalitarin in his outlook. This was reflected in the fat that he had disciples from all walks of life. Among them were the famous Tanjore Quartette whom he graciously referred to as Bharata Sreshtas in recognition of their ingenious musical skills. The disciples in turn venerated him and it is noteworthy that Ponniah (one among the Quartette) composed nine Kritis in praise of Dikshitar called the Navaratna Mala.

When his younger brothers Chinnaswami and Balaswami who were learning Music from him, were invited by the patron kings, they went to Madurai and stayed for some years. During that time Chinnaswami passed away.

AMRITA-VARSHINI

Balaswami was dejected and was affected by the sudden death of his brother. So along with a disciple he went to Setu (Ramesvaram) and from there went to Ettayapuram, where he was taken care by the Maharaja there. Muthuswami Dikshitar thought of his brother’s demise to be natural occurrence but as he considered his younger brother Balasvami as his own child, he was worried about his whereabouts and his dejection. Hence he along with his two wives and a disciple went to Sattur via Madurai. Dikshitar while he was on his way in search of his brother saw the dry condition of the land and fervently sang “Anandamritakarshini” in the raga “Amritavarshini”. By the sheer devotion of Dikshitar there was heavy downpour and the area received good spell thereafter. There at a Mantapa while he was performing prayers he heard a few vaishnava brahmins talking about the marriage that was to be celebrated the next day by the Maharaja of Ettayapuram for a musician called Balasvami of Tiruvarur. As soon as he heard this Muthuswami was overwhelmed and in the presence of the Lord composed “Venkatesvara Ettappa Bhupatimashrayeham” in the raga “Megharanji”. Later he reached Ettayapuram and met his brother and he felt happy and stayed there.

MEENALOCHANI PASA MOCHNAI

One day, one of the Elephant belonging to the King’s cavalry got wild and went havoc. It entered the town and then reached the cremation ground and finally lied there. The King called Dikshitar and asked the implication of this behaviour for his State and Dikshitar assured, “Nothing will happen to you, the public and for the Kingdom and not to worry over the incident”. The next day was Naraka Chaturdasi day (i.e. Deepavali) and the day was October 21, 1835. Muthuswami Dikshitar woke up in the early hours as was his practice and after yogic practices went to take his bath. He had a vision of Kasi Annapoorneswari. Even as he was gazing on it the vision vanished. Dikshitar remembered what Chidambayara Yogi his Guru had told him at Kasi “She will give you not merely feed in this life but moksha thereafter”. Dikshitar felt his end was nearing. He performed Navavarna pooja to the Devi and sang the Kriti “Ehi Annapoorne”. After the pooja, Dikshitar moved on to the drawing room where his disciples had assembled. “Today is Chaturdasi day sacred to the Devi. May you all sing Kirtana in her praise” said Dikshitar to his disciples. They began singing “Meenakshi Me Mudam Dehi” in raga “Gamakakriya”. “It looks as though the Devi is liberating me from the bonds of this world. Sing the Kirtana again” said Dikshitar. They did so. Even as they were singing the Sahitya of the Anupallavi “Meena Lochani Pasa Mochani” he cast off his mortal coil. A memorial was erected over the spot where he was cremated at Ettayapuram. The annual jayanti and aradhana are being celebrated at Ettayapuram at his memorial.

All those who reads or hears the divine life history of Sri Muthuswami Dikshitar no doubt will certainly obtain bountiful blessings of Goddess Kamalaambal.

• 
  
  
  Bibliography/Reference
  
  Sri Muthuswami Dikshitar Keerthanigal – Kallidaikurichi Vinika Vidvan – Sri A. Sundaram Iyer & Sri S. Venkatesan – Music Book Publishers, Mylapore, Chennai.




• 
  
  
  Sangita Sampradaya Pradarshini (Vaggeyakara Charitram) – Brahmashri Subbrama Dikshitar




• 
  
  
  Muthuswami Dikshitar – A creative genius – Chitravina N Ravikiran
  



• 
  
  
  Songs of Divine Splendor – Lakshmi Devanath – The Hindu 30th March 2001




• 
  
  
  Nottuswara – Muthuswami Dikshitar’s European Airs – Maddy06.blogspot.com




• 
  
  
  Biography of Muthuswami Dikshitar – Bharatdesam.com




• 
  
  
  On what Distinguishes Dikshitar – T.K. Govinda Rao – The Hindu




• 
  
  
  Muttuswami Dikshitar and the British Raj – V. Sriram – The Hindu Oct 23, 2010




• 
  
  
  Guruguha.org




• 
  
  
  Nadajyoti.org

Monk with a Midas Touch

Dear Readers,

I am glad to present the article “Monk with a Midas Touch” as part of the Endaro Mahanubavulu Series. The article dwells on Mahan Sri Seshadri Swamigal who was the contemporary of Bhagavan Sri Ramana Maharishi who lived during the period 1870 – 1929 A.D.
Thiruvannamalai is a holy abode wherein many yogis and siddhas have lived since ancient times. Saints like Arunagirinathar, Guhai Namashivaya, Guru Namashivaya, Isanya Desikar were lived in ancient times in Thiruvannamalai. In the 20th Century there were three great saints who lived in Thiruvannamalai i.e. Sri Seshadri Swamigal, Bagavan Sri Ramana Maharshi and Sri Yogi Ramsuratkumar.

I have heard of Sri Seshadri Swamigal on many occasions but didn’t know about the mahan. Recently while I was reading “Anbe Arule” book on Kanchi Mahaperiyava written by Baraneetharan in one of the episode Mahaperiyava asks Baraneetharan “Will I become like Seshadri Swamigal?”. This statement of Mahaperiyava kindled the interest in me to know about Sri Seshadri Swamigal.

The devotees of Sri Ramana Maharishi are indebted to Sri Seshadri Swamigal since he was instrumental in revealing the greatness of Sri Ramana Maharishi to the whole world. When young Ramana moved to Patalalinga to avoid the harassment of the urchins at Thiruvannamalai he was on continuous meditation without bodily consciousness at the Patala Linga. His body was bitten by ants, bees, wasps and other vermin. It was Sri Seshadri Swamigal who instructed one Venkatachala Mudali ‘to rescue Chinnaswami’ i.e. Ramana from the Patala Linga. People use to quote that there were three lingas in Thiruvannamalai One Lord Arunachaleshwara, another Sri Ramana Maharishi and the third Sri Seshadri Swamigal.

Sri Seshadri Swamigal was a Tapasvi of a very high order. He blessed his devotees and helped them cure their illnesses with his wonderful touch. He was considered having a Golden Hand i.e. "Thangak Kai" as whatever he touches it was destined to flourish.

Please read on the article to know more about Sri Seshadri Swamigal.

Happy reading!
Warm Regards,

AV Devan
7-Aug-2011
Chennai

Monk with a Midas Touch – Biography of Sri Seshadri Swamigal

Family & Childhood

Thondai Nadu is the region located north of Kaveri Basin. The region consists of the present day Kanchipuram, Tiruvallur, Vellore, Chengalpet, Tiruvannamalai, Vizhupuram, Cuddalore, Pondicherry and Chennai Districts of Tamilnadu and also includes the Chitoor and Nellore districts of Andhrapradesh. Thondai region was ruled by Chola and Pallava Kings with Kanchipuram as its Capital. It is said,

“Ayodhya Madhura Maya Kasi Kanchi Avantika!Puri Dwarakavathi Saiva Sapthaithate Mokshadaiyeka!”

The above poem reveals that the Holy India consists of Seven Mokshapuri i.e. “Ayodhya, Mathura, Maya, Kasi, Kanchi, Avantika, Dwaraka” and the only place which is located in South India is Kanchipuram. In this holy city the Goddess Kamakshi prevails in the form of Shakti. There are 51 Shakti Peetas across India and this one such Shakti Peeta. The great Saint Adi Sankarachyara when he visited Kanchipuram he felt the Goddess is in a ferocious mode that the entire Sanctorum was very hot. So to personify her and accomplish to the normal state the Saint sung in the praise of the Goddess named “Soundarya Lahari” and established Sri Chakra in front of her idol to keep her cool and personified. This Sri Chakram is visible to all and all the poojas are done to the Sri Chakram too. Sri Adi Sankaracharya established the cult of Sri Vidya for the welfare of the world. In this connection he went to Central India and brought about 30 families of Devi Upasakas to Kanchipuram. These families were called Kamakoti Vamsa and spread the Sri Vidya cult across the country and everyone of the Kamakoti family was like a Rishi. In 1790, Kamakoti Sastri was born into one of these families. Even though he had a daughter he also adopted one of his brother daughter a girl named Maragatham. At the appropriate time Kamkoti Sastri started to search for a husband for this beautiful and learned girl and selected Varadarajan one of his own students. The Couples were later blessed with a Son by the grace of Goddess Kamakshi who was born on 22nd January, 1870 on the Hastha Star. Since he was born on a Saturday, He was given the name of Seshadri in honor of Lord Srinivasa. Even from his earliest years the child Seshadri would perform pujas, sing prayers with concentrated devotion, sit in meditation and go off into spontaneous trances. He was neither interested in games nor displayed negative characteristics. Everyone regarded the boy as a Divine child.

Midas Touch!

A strange incident took place and the young Seshadri got the nickname ‘Golden Hand’ (Thangak Kai) . Every day Seshadri mother Maragatham took the young child to the temple. On their way one shopkeeper used to sell Lord Sri Krishna idols. One day the child got down on seeing the beautiful idols of Lord Krishna and told his mother that he would perform pooja to Lord Krishna. The shopkeeper was so happy and taking the radiant Child himself resembled the Lord Krishna gave the idol and refused to accept the payment. The next day when Margathammal went with the child to the temple, the shop keeper prostrated at her feet and took the child’s hand and saluted it saying “Golden Hand…Golden Hand” (Thangak Kai). All the bystanders were surprised at the attitude of the shop keeper. The shop keeper then told that his entire consignment of idols were sold out yesterday which never happened earlier and attributed the luck due to the Midas Touch of the young Seshadri and started addressing Seshadri as “Thangak Kai” Seshadri which means Seshadri with a Golden Hand. We can presume this is the beginning of the many miracles which Seshadri Swamigal performed later and even continues to do so even now.

At the age of five young Seshadri was initiated with scared thread (Upanayanam) at an auspicious ceremony attended by many scholars and on the same day started to attend Patasala in Kanchipuram. Quickly he showed an almost superhuman intellect and memory and exhibited extraordinary debating skills. In this way years went until the time Sri Seshadri reached his fourteenth year and his father Sri Varadarajan died unexpectedly. His grandfather Sri Kamakoti Sastrigal arrived to pacify the bereaved family and took them to live at Vazhur. It was here Seshadri Swamigal completed his education and mastered various texts in Sanskrit and Tamil.

He mastered the whole Vedanta with three primary texts i.e. Gita, Upanishads and Brahma Sutras besides Vedas, Nyaya and Vyakarana. He had also mastered music and astrology. With his education now complete Seshadri’s mother tried to arrange a marriage between her 17 year old son and the daughter of a relative but when it was discovered by examining Seshadri’s horoscope that he was destined to become a Sannyasi and Yogi the marriage plans were swiftly cancelled. His mother becoming more self absorbed started to lose interest in worldly affairs and became increasingly weak ignoring food and medical treatment. One day she called her son to her and predicted her death the next day. The next day at her bed she called her child to her and repeated a sloka from Adi Sankara’s Baja Govindam then together they sang the song ‘Ambasive’ after which keeping her hand on his chest she called out “Arunachala.. Arunachala…Arunachala……” and laid herself on his lap and died. Later Seshadri drew a picture of Arunachala by instinct and worshipped this picture.

Austerities as a young man

After both his parents had passed away Seshadri’s uncle gladly took charge of Seshadri and the younger brother Narasimha Josiar. In his room Seshadri did numerous pujas and continuous japa to pictures of Goddess Kamakshi, Lord Ram and to one of his own drawings of Arunachala Hill. He would lock himself up in his room at five in the morning and refuse to come out before noon. He regularly fasted and could often be heard shouting Arunachala, Shonadrinatha or reciting Vedic hymns late at night. His uncle and aunt were frightened by his strange worship and begged him to stop. But Seshadri would not listen.

He was seen in Chakrath-Azhwar and Kamakshi temples for several hours chanting mantras, slokas, etc. His rigorous and exacting religious practices were viewed with concern by his foster-parents who were taking care of him. He got immersed in Sri Kamakshi's divine form and regarded himself as Goddess Parvathi (Sakthi aspect of Brahmam). He began doing his meditations in Rudrabhoomi (cremation ground) which was resented and questioned by his people. He was wandering in the streets of Kanchipuram, when he met a Gouda Sanyasi, Sri Balaji Paramahamsa, who finding him worthy and fit, gave him sanyasa (the fourth stage of asrama in one's life).

On the due date, Séshadri's father's annual ceremony was performed. To give him his father's blessings, he was brought home forcibly and kept locked in a room. At a stage, when the room was opened his relatives noticed that Séshadri had disappeared from the locked room and then only realized his greatness and attainment. He was 19 years of age then.

After sometime he was noticed in the temple precincts of Sri Mukteswara at Kaveripakkam, 20 miles away from Kanchipuram. One day, in the temple, a big serpent came out; Seshadri beckoned it and it came and coiled over his body and held its hood over his head. Those who witnessed were awe-struck. Seshadri now "Seshadri Swami" was unperturbed. His act showed that all creations of Almighty are alike and is all pervasive. Shortly after Seshadri started to travel to various spots in Tamil Nadu eventually ending up at Tiruvannamalai. Seshadri Swamigal reached Tiruvannamalai in the year 1889 AD at the age of 19 and stayed there for next 40 years till he dropped his mortal coil.

Miracles of Seshadri Swamigal.

Many devotees have experienced miracles through Mahan Seshadri Swamigal. Here we can see few of them :

One Vitoba Swamigal was at Polur which is about 10 miles away from Thiruvannamalai. One day Sesahdri Swamigal was running in the streets of Thiruvannamalai shouting that Vitoba Swamigal was ascending to Heaven. Later the news about Vitoba Swamigal attained Mukti on that day reached Tiruvannamalai and every one were astonished to note the siddhi or the spiritual power of Sri Seshadri Swamigal.

The Post Master General, Mr. F.T. Peters' brother-in-law, an English man, was a Station Master in M.S.M. Railways. He and his sister (wife of P.M.G) were great devotees of Sri Seshadri Swamigal. There was a complaint against him. A wealthy Gujarathi had filed a lawsuit against the railways, claiming damages to an amount of nearly a lakh. It looked like Mr. Peters’ brother-in-law, would lose his job and would have to pay a penalty of Rs.10,000. To protect himself from such an eventuality he had submitted the relevant records of accounts to the court. Due to unforeseen circumstances, those records did not reach the court on time. This increased the suspicion against him, and threatened his career. He immediately sent a telegram to his brother-in-law to seek Swami’s blessings. The PMG sent Postmaster Shri Govinda Swamy Iyer to meet Sri Seshadri Swamigal in Thiruvannamalai. The whole day he could not locate Swami. At 8 pm in the evening, he met the Swami. Swami looked at him saying, “Bus, bus, bus, gup, gup, Ooh! Ooh! It went that way and came this way.” Shri Govinda Swamy inferred that Swami referred to the Railway by His initial words and from the subsequent words that the records have been found and sent a message accordingly to the PMG. When the later received the telegram, there came another telegram to the effect that the records had been located. He was happy with that and the danger to his brother-in-law was averted.

All merchants, traders and workers of Thiruvannamalai look forward to the arrival of Swami in bazaar streets. His arrival was considered the visitation of Gods! On most of the days, Swami used to make a trip to the shopping street. Even when Swami was at a distance every shop-keeper used to get down from his shop and stand with folded hands and entreat Him to come to his shop; because Swami’s visit would mean enormous boosting of business. The one shop where Swami would drop in even without being so invited, was that of Muthiyalu Chettiar. It was no wonder then that his shop was frequently visited by Swami, who would scatter and play with rice, sugar and candy etc. He would open the cash box and throw the coins around. Chettiar would be quietly watching such pranks (Leelas) and worshipping Him.

Siva Prakasa Mudaliar was an ardent devotee of Sri Seshadri Swamigal. His salary was Rs.70/- per month. One day he was proceeding to his senior officer’s house. On the way he encountered Swami who asked, if he was willing to accept Rs.10/- if He gave him. Mudaliar replied that his boss was angry with him and, therefore, would not give him promotion. Swami said, “Never mind if your boss will not give you promotion; I am offering you promotion and you accept it.” Swami removed Mudaliar’s headgear and put it on His head and garlanded him with His shoulder cloth. Both of them proceeded to the Circe Inspector’s house. The Inspector’s wife told Mudaliar, “From today your good days have come. Your salary will be raised.” Avathar Sri Seshadri Swamigal laughed. Mudaliar got his increment of Rs.10/- over his salary of Rs.70.Later on it came to light that even though Mudaliar’s DSP had vehemently argued against his promotion, the ASP had strongly supported his promotion and this argument had taken place on the same day that Swami had asked him if he was willing to accept Rs.10.

Ramana Maharshi and Seshadri Swamigal

Ramana Maharshi came to Thiruvannamalai seven years after Seshadri Swamigal’s arrival. Seshadri Swamigal was immediately aware of the young Swami’s state of Self-abidance and he felt a motherly love for him. Sri Ramana spent his time then immersed in the bliss of the Self in the Thousand Pillared hall of Arunachaleswara Temple. Urchins not understanding his state pelted him with stones. Sri Seshadri Swamigal tried to protect the young Ramana who seemed quite unaware of his body and surroundings. To avoid this unwanted attention Sri Ramana then moved into the Patala Lingam an underground vault in the temple. He remained there in deep meditation for many days oblivious to the ants, vermin and mosquitoes who were feasting on him. Sri Seshadri Swamigal found him there and asked his devotee Venkatachala Mudaliar to lift his child out. Later when Ramana was lifted from Patala Linga his body was affected with wounds caused due to insect bites and it was Sri Seshadri Swamigal who instructed his disciple to clean the Ramana’s blood oozing wounds and later revealed the Greatness of the Ramana as a Saint to the whole world. Locals used to call Sri Seshadri as Mother Parvathi and Sri Ramana as Skanda.

Sometimes people used to Call Seshadri as Anna i.e. Elder Seshadri and Sri Ramana as Thambi i.e. Younger Seshadri. Once a devotee of Ramana told Sri Ramana that everyone called Seshadri a mad man. Ramana smilingly replied that there were three mad men in Arunachala. One was Seshadri, the second was Arunachaleswarar and the third was himself.

Sri Ramana said of Seshadri Swamigal that ‘Seshadri Swamigal does not allow people to come near him here all are coming’. There were instances when devotees have experienced that Seshadri was Ramana and Ramana was Seshadri. They were contemporaries and each knew the greatness of the other. Sri Ramana's presence, when Sri Seshadri's body was interred and Sri Ramana's personal reading and approval of script of Seshadri's Biography showed Ramana's reverence for this great Mahaan.

Siddha Purusha Sri Seshadri Swamigal

He was an ascetic with a total disregard for either name or form. He had no home, dependents, property or any fixed habit or system. His acts were dramatic and deeply impressive. He would avoid rich food from wealthy persons but beg for cold gruel at a poor man’s house. Sometimes he would take no food at all and on other occasions consume enough for ten people. He would eat and drink like one swallowing medicine or one being forcibly fed. Although he did not accept money he would sometimes receive expensive clothes but immediately transfer them to a poor person or tear the clothes into pieces and garland the tail and horns of a calf. He will enter any shop on the roads and pull out anything from them. The shopkeepers at Thiruvannamalai revered him and considered his visit and touch as a great blessing. If he was given plain new clothes, within a couple of hours, they would reach the state of his original clothes. He wore only a dhoti which would cover his toes and another piece of cloth swathed over his back and shoulders. He would squat anywhere regardless whether it was slush, dirt or refuse. When sitting, it was always in his favorite swastika asana.

Swamiji was handsome of medium height and fair countenance. His hair hung in short ringlets to the nape of his neck. His voice was soft and his smile was as sweet and sunny as a child. His body would not be at rest for a moment. He walked fast and those following had to run to keep up with him. He loved music, delighting his devotees with songs. If one asked, he would break forth into melodious song often drumming rhythms on nearby surfaces. Sometimes he would place his hands on his hips and dance.

He was a tapasvi of a very high order. One result of the mantras and sadhanas he practiced from his earliest years was the development of various siddhis and psychic powers. He could tell about the past and the future and read minds with ease. With this power, he fulfilled the desires of people by showing visions they wanted to see, both in dreams and while being awake. His miraculous touch is said to have cured many of those who came to him with devotion. Often when people saw him in the streets they would prostrate before him and he would get near to enable them to touch his feet.

Sri Seshadri Swamigal had deep devotion to God especially in the form of the Goddess Kamakshi, Lord Ram and Arunachala. In the practice of concentration (for days in his boyhood at Tindivanam and at Tiruvannamalai), he sat steeped in samadhi, oblivious of his body. He loved service and by his own example showed it as a noble ideal to live up to. People would say, ‘He is a talking God,’ ‘A divine incarnation, a great yogi, a great siddha’. Others would say there were three lingas in Tiruvannamalai: One, Lord Arunachala, another Ramana Maharshi and the third Seshadri Swamigal. Speaking and walking among People, he was Sanchara-Dakshinamurthi (God as man on the move).

His biography vividly shows that he was a Jivan-mukta (a realized soul while in body). He did not have body-consciousness and was in ever communion with his Atman (Soul). He saw atman in everything-animate and inanimate. He was seen going round and round a stone pillar and doing pranams (offering his worship) and saying that he was seeing God in it. Similarly he used to worship animals-buffalo, donkeys seeing God in them.

Last Days

Having lived at Arunachala continuously for forty years and helping all kinds of people Sri Seshadri decided to finally shed his body. One day in 1928 during the month of Karthigai, he asked a devotee, ‘Shall I build a new house and go away?’ Meaning, ‘I have completed my task, shall I now depart?’ At first the devotee thought the question a prank but finally after many days and constant repetition of the question, she answered, that, ‘He should construct a new house and practise yoga’. Sri Seshadri accepted Subbalakshmi’s words as representative of Parasakthi’s approval and satisfied he replied, ‘Yes, yes, it shall be done!’. Some days later his devotees, who wanted to photograph him, gave him an oil bath and then bathed, dressed, scented, garlanded and photographed him. Immediately Seshadri caught a fever. For forty days his condition worsened and on the forty-first day he found the strength to visit Arunachaleswara one last time. On returning from the temple he sat down in a puddle of water and refused to change his wet clothes when he got back to the house. Within days, on January 4, 1929, Sri Seshadri Swamigal left his body and Tiruvannamalai was engulfed in sorrow. After preparation his body was brought out in procession which is said to have been so splendid that the entire stock of camphor in the shops of Tiruvannamalai was exhausted and all incoming buses were full and over crowded. The streets were jammed with devotees and the night seemed like bright day as it was so brilliantly illuminated by the burning camphor.

The air was filled with group-singing, devotional songs and the music of instrument players. It was at Agni Theertham that Sri Ramana Maharshi joined the procession.

Further on a samadhi was constructed and Sri Swamigal’s body interred. That samadhi tomb is now enshrined within the grounds of Sri Seshadri Ashram on Chengam Road, Tiruvannamalai. The Seshadri Swamigal Ashram is located next to Sri Ramanasramam between the Second and Third Lingam on the Circumabulation route. Regular pujas are performed at the Samadhi of Sri Seshadri Swamigal.

Although Sri Seshadri Swamigal has shed his mortal coil, He is ever present helping, blessing and guiding his devotees to everlasting bliss. His own search brought him to Arunachala and it is to the sacred Hill that Swamigal tells all to look to, to fulfill life’s highest goal.


Bibliography/Reference

Sri Seshadri Swamigal – SSSS-Sangam.Org
Sri Seshadri Swamigal – http://www.swamigal.com/
Sri Seshadri Swamigal – wikipedia


Contact Us :

eMail : anand.vasudevan1@gmail.com
Web : http://www.avdevantimes.blogspot.com/

MAHAN SRI APPAYYA DIKSHITAR

Dear Readers,

I am glad to present the article on the Great Scholar, Saint, Yogi, Bhakta Mahan Sri Appayya Dikshitar.

I have heard about Appayya Dikshitar in some of the forums but was not aware of him till I read the story about him in the Ramakrishna Mission publication “Kathai Malar” which I had bought for my son. The “Kathai Malar” which contains life history of many mahans has come out so far with 20 odd issues which is worth buying and can be taught to the kids as the same is presented nicely in pictorial forms. Mahan Appayya Dikshitar who lived in the 16th Century is considered as an Avatar of Lord Shiva. In the words of Swami Sivananda He is a Genius a Yogi, Bhakta and a Scholar. If you go through his life history you will find he has written many works on Siva-Advaita mainly to counter the negative attacks on Saivaism. Even though his works are based on advaita he is very catholic in his approach and sees both Lord Shiva and Vishnu as one and the same. This is very much felt in his work Hari Hara Stuti. He has also written the Varadaraja Stavam a stotra on Lord Varadaraja of Kanchipuram. He also admired Vedanta Desikan. He has also written in his works about all the schools of thought i.e. Dvaita, Vishisdadvaita, Sivadvaita and Advaita.

The various stotras of Sri Appayya Dikshitar are very powerful. The Margabandhu Stotram composed by Sri Appayya Dikshitar if recited before going on any travel will ward off the evils and dangers associated with the travel and our travel mission will be successful. Similarly the Apitakuchambastava which is composed on the presiding Goddess at Thiruvannamalai if recited with devotion will cure all the illness. Once Dikshitar swallowed some dhattura juice and got into a state of semi conscious state to check whether he still remembers the Lord even in that state. He wrote Unmattapanchasa or Athmarpanastuti in that state surrendering himself to Lord Shiva with sincere prayer that he should be freed from the cycle of births and deaths. Such is the greatness of his devotion.

I hope this article will be an eye opener about Sri Appayya Dikshitar to many of us.

Let us worship Mahan Appayya and seek his blessings to obtain devotion towards the Lord.

Happy Reading

Warm Regards
AV Devan
Chennai
17-6-2011

Mahan Sri Appayya Dikshitar

Birth & Education

The forefathers of Appaya Dikshitar were great Shiva bhaktas and great scholars well versed in all the shastras and smrithis. Appaya Dikshitar’s great grandfather was Sri Achan Dikshitar who was a great scholar patronized by Sri Krishnadeva Raya, the famous King of Vijayanagar Empire. In order to save a young Vaishnavite girl named Thotamba from being married to an old man he had to marry her as his second wife. She bore him a son named Rengarajadhwari. He was a symbol of Unity of a Vaishnavite and Saivite family. Sri Rengarajadhwari had no issues for a long time. On the advice of elders and relatives he went to Chidambaram and led a life of penance and prayer for a period of six years. Pleased with his devotion, Lord Nataraja, the presiding deity of Chidambaram Temple blessed him with a son who was named Vinayakasubramanya Sarma but was affectionately called as “Appa” or “Appaya” which name struck to him later. Appaya was born in Adayapalam a village near Arani in the North Arcot district in the year 1554 A.D. He was born in the Krishna Paksha of Kanya month of Pramateecha Varsha under the “Uttara Proushthapada” constellation. He had a brother named Achan Dikshitar who was none other than the Grandfather of Palamadai Nilakanta Dikshitar, who was minister to the Madurai King Tirumalai Nayyakkar and a sister named Gnanambika born after him. Endowed with the qualities of devotion, erudition and quick learning Appaya studied the holy scriptures from his father who was a great scholar patronised by the Vellore hamlet King Chinna Bomma Nayakkar. Appayya also studied the holy scriptures under Guru Rama Kavi. It is believed that Appaya had a spark of divinity in him from his very birth. He mastered all the shastras within a short span and completed the study of fourteen Vidyas while he was quite young which itself was a great marvel. The King of Vellore invited Appaya and his brother Achan to his capital after the death of their father Rengarajadhwari, who was the Chief Pundit of the State. Srinivasa Thathachari, the Dewan had great dislike for the worshippers of Lord Shiva. Appaya praised the Siva Lilas and the glory of Lord Shiva. Appayya was very intelligent. He was a master logician. He was well versed in grammar, metaphysics and other sciences. He was a master in all branches of learning. His exposition of Vedanta was unique. He cleared the doubts of all. His name and fame spread far and wide. The Rajas of Thanjavur, Kalahasti and Tirupathi invited him.

Marriage

Ratnaketa Srinivasa Dikshitar an erudite scholar in Sanskrit a devotee of Goddess Kamakshi of Kanchipuram was the Chief Pundit of the Court in the Chola Kingdom. Ratnaketa Dikshitar came to know that Sri Appaya Dikshitar was a great scholar. He wanted to defeat him. He proceeded to Kanchipuram to propitiate Kamakshi Devi in order to get her blessings. He did severe tapas. The devi appeared before him and said “O Bhakta choose your boons from Me”. Thereupon Ratnaketa said, “Kindly bestow me all the powers to defeat Appayya”. The devi replied “O Bhakta, Appayya is not an ordinary human being. He is verily the incarnation of Lord Shiva. Please do not enter into a controversy rather give your daughter in marriage to him”. At the same time Lord Siva appeared in Appayya’s dream and said, “O child go to Kancheepuram. Ratnaketa will give his daughter Mangalambika in marriage to you”. Appayya went to Kancheepuram immediately and lived there. Ratnaketa took his daughter and reached Appayya’s residence. Appayya honored Sri Ratnaketa Dikshitar duly with Arghya (offering of special hospitality by way of respectful libations and glorification), Padya (washing of the feet), Asana (offering of an elevated seat), etc. Ratnaketa Dikshitar said, "The Devi has ordered me to give my daughter in marriage to you. O Appayya, please marry her and attain fame, prosperity and tranquility". Appayya then married Mangalambika. He led the life of a householder. He gave education to all the students who came to him from different parts of the land. He disseminated Siva Bhakti and sang the praise of Lord Siva. The king learnt Dharma from Appayya. Appayya spread Sanskrit learning far and wide. Appayya had two daughters.

The Soma Yajna sacrifice

Sri Appayya Dikshitar known also as Dikshitendra, performed Soma Yajna to propitiate Chandramauleswara. He performed the Vajapeya sacrifice in Kanchipuram. Several kings came to pay homage to Appayya and to receive his blessings, but Chinnabomma, Raja of Vellore, who was deluded by the evil counsel of his minister Thathacharya, did not come. He later on repented very much for not attending the grand Vajapeya Yajna. Chinnabomma came to know of the extraordinary merits and remarkable spiritual glory of Appayya. He wanted to bring Appayya to his State. He sent several scholars to invite Appayya. Appayya accepted the invitation and went to Vellore. Chinnabomma honored Appayya. He constructed a hermitage called "Sarvato Bhadram" for Appayya. Appayya became the Premier. Thathacharya became very, very jealous of Appayya.

Appayya and Ayyappa

Thathacharya an aggressive propagator of Vaishnavism became jealous of the fame and Royal Patronage of Sri Appaya Dikshitar and gave him lot of pinpricks and troubles. This story about how the ruler of a small kingdom in the South India, invited both Shri. Appaya Dikshita and Thathacharya for the Kumbhabhishekam ( Consecration ) of a Shastha (Lord Ayyappa) temple. While going round the temple with the great two scholars, the King was puzzled to note that the Ayyappa’s idol standing with its index finger on its nose – a posture indicating a mood of serious doubt. The King asked the priest why it was so. The priest said that he had heard from his predecessor, that The Shastha would remove his finger, the moment some great man explained the reason for its doubt. The King looked at Thathacharya and Thathacharya explained the reason in a verse: "Vishnosutoham Vidhinaa Somoham Dhanyastatoham Surasevitoham ! Thatapi Bhutesa Sutohamethair Bhutairrvtas Chintayatee Shastaa.", meaning: "I am the son of Lord Vishnu and blessed I am, saluted by the Gods. Yet , I am the son of the Lord of the Demons (Lord Siva) – so thinks Shastha surrounded by a group of demons." The finger remained on the nose of Shastha. Then the King turned towards Shri. Appaya Dikshita, who sung in all humility : “Ambeti Gaureem Aham Aahvayaami Patnaya; Pitur Mataraa Yeva Sarva Kathannu Lakshmeem Iti Chintayantam Shastaram Ide Sakalarrhasiddhyai " – meaning : "I call Gowri ( Goddess Parvathi ) mother for all the wives of the father are mothers. But how am I to call Lakshmi !(Meaning Vishnu being the mother, and Lakshmi becoming mother’s wife?!!). May Shastha who is steeped in this thoughts give me all prosperity." (Shastha according to Puranic version, is the off-spring of Lord Shiva and Lord Vishnu , in his manifestation as Mohini.) The King and all those around saw a miracle happen, the Shastha idol removed its index finger from its nose!.

Prolific Writings & Magnificent Works

A prolific writer, Shri. Appaya Dikshita produced 104 works (Chaturadhikasataprabandha Karta) 25 works on Vedanta, 26 on Sivadvaida, 7 on Mimamsa, 26 on Devotional nature, 3 on Alamkara, 1 on Kavya Vyakhyana , 1 on Vyakarna Vyakhyana and 15 on other subjects. There is no branch of literature or philosophy, which he did not touch and embellish with his contributions. Some of his works are :

· Sivarkamani Dipika

Srikantacharya wrote a great commentary on the Brahma Sutras of Badarayana, seeking to derive from it the sivadvaita doctrine. It is generally believed that Srikanta lived after Sri Sankara and before Sri Ramanuja. The present work of Sri Appayya Dikshita is an elaborate commentary on the Srikanta bhashya. The Srikanta doctrine is generally called also as the Saiva visishtadvaita. There is a close resemblance between the advaita of Sri Sankara and the Sivadvaita of Srikanta. Sri Appayya Dikshita very graphically describes dvaita as the lowest step, visishtadvaita as the middle step and sivadvaita and advaita which are very close to each other as the highest steps. Sri Appayya Dikshita calls himself again and again in this work as a follower of the advaita doctrine, but the followers of sivadvaita also claim him as one of their great Acharyas. The Sivarka mani dipika displays the most thorough-going knowledge of mimamsa, vyakarana, nyaya, rhetoric, and in fact of the whole field of Sanskrit literature. What Vachaspati, Sudarsana and Jayatirtha have done for the Bhashyas of Sankara, Ramanuja and Madhva, Sri Appayya Dikshita has done for the Bhashyas of Srikanta.

In many places the book is more an original discussion than a commentary. As an intellectual treat, there is not a more learned and well reasoned and interesting work than the Sivarka mani dipika. To the Siva bhakta, the book is a priceless treasure. The author pronounces Srikanta to have been a practioner of the Dahara Vidya. He detects this fact by a critical examination of Srikanta’s references to the different vidyas. On the completion of his magnum opus "Sivarkamani Dipika", he was honored with a "Kanakabhishega" (showered with gold flowers & coins) by his patron King Chinna Bomma Nayakkar. With that gold, Appayya built the Kaalakanteshwara Temple at Adayapalam. He so much loved and revered him, that he created endowments for the maintenance of a college of 500 scholars who studied the "Sivarkamani Dipika" under the author himself (Referred in the Adayapalam epigraph) they were trained to do propaganda for the Sivadvaita philosophy to meet the Vaishnavite arguments. Appayya Dikshitar gave a new life and orientation to Saivism in South India. He made people tread the path of devotion. By his own exemplary life he converted atheists, created a strong faith in them in the Vedic injunctions and in devotion to Lord Siva. He did not stop there. He went a step further and proclaimed in his work Sivarkamani Dipika that through the grace of the personal God alone could men get a taste for the study of the Vedanta philosophy.

· Parimalam

Bhagavadpada Adi Sri Sankaracharya wrote a classic commentary on the Brahmasutras of Badarayans. For this commentary or Bhashya of Sri Sankara, a great advaitic teacher, by name Sri Vachaspati Misra wrote another commentary called Bhamati. For this work Bhamati, another subsequent advaitic teacher by name Amalananda wrote an abstruse and difficult commentary called kalpataru. The kalpataru is an extremely difficult piece of work, which would require extensive scholarship to understand. For this work kalpataru, Sri Appayya Dikshita wrote an extensive and easily understandable detailed commentary called the Parimala. He also wrote "Parimalam" which deals with Advaithic interpretation. This magnificent work brought him the title "Advaita Sthapanacharya". Kanchi Paramacharya says Vedanta Shastra means Brahma Sootram by Veda Vyasa, Bhashyam or commentary on it by Sri Sankara Bhagavatpada, Commentary on that called Parimalam by Vachaspati Mishra, Commentary on that called Bhaamati by Amalananda and Appaya Dikshitar’s commentary Parimalam on Kalpataru these five works together are called Veda Shastram.

"Nyayarakshakamani" and "Siddhantalesa" are other noteworthy works in this line. His "Durga-Chandrakala Stuti", "Chitramimamsa" , "Varadharaja Sthava", "Kuvalayananda" are all literary classics and speak of his poetic ability. No student of Sanskirt literature , can afford to miss these excellent works.


· The Varadarajastava and its commentary

Sri Appayya Dikshita, though he was by conviction an advaitin had no differences with regard to worship of Lord Siva or Lord Vishnu. Moreover, he and his ancestors had all along lived in Kanchipuram and hence they were highly devoted to Lord Varadaraja, the presiding deity of that place. It is said that Sri Acharya Dikshita had written a work called Varadaraja Vasantotsava Varnana. Sri Appayya Dikshita in his Varadarajastava describes the divine beauty of the Lord in 106 verses of exquisite beauty and charm. It is as if he has adorned the beautiful form of the Lord with a garland as it were of 106 verses. He has himself written a commentary on this. In it he explains in great detail the Lakshanas of the various alankaras handled by him in the main work. For every great work of composition what is indispensable is not so much the mere technical skill as the inner shining beauty called the pratibha. This pratibha consists of five elements,namely, Atisayokti, Vakrokti, Slesha, Pada Saushtava and Sabda Madhurya. A kavya is said to be a great one only if it contains all these elements. The varadarajastava is full of these and is forever shining as an ornament of beauty to the Lord of Kanchipuram.

· Atmarpanastuti Or Unmatta Panchasati

His "Unmattapanchasa" also known as "Athmarpanastuti" is unique. It is a work of 50 verses composed in a state of semi-consciousness. Once Sri Appaya Dikshita wanted to test his sincerity and devotion to God. So he swallowed a cup of dhattura juice and got into a state of inarticulate stage. He had instructed his disciples to observe his behavior and write down whatever he prattled. It was during this semi-conscious state that he uttered these 50 slokas ( verses) surrendering himself to Lord Shiva with sincere prayer that he should be freed from the cycle of births and deaths. Sri Appayya Dikshita who demonstrated his complete mastery over descriptive verses in his Varadarajastava has in the Atmarpanastuti dealt with equal facility with mystic poetry and makes the inner self melt as it were by his exquisite poetry. In this work, we see the profound maturity of the true devotion to the Supreme Lord. The Atmarpana or surrender of oneself, is the very acme or end in the various stages of devotion to the Lord. There cannot be a greater stage in one’s evolution than this. This work seeks moksha or release as a final end. This reflects the inner mental state of a great devotee, in whom the ego has become fully extinct. The state of one who surrenders himself to the Lord is a stage of complete detachment. What he wants is eternal happiness. What he aims at is only release from the bondage of the never-ending cycle of births and deaths. The disjointed prattle of Sri Appayya Dikshita in a stage of intoxication became this stutikavya which is generally known as Unmatta Panchasati, because all the fifty verses in this work, were composed at a stage when Sri Appayya Dikshita had no control over his mental faculties. From this work the fact that Sri Appayya Dikshita had completely identified himself with the ninth stage of self-surrender or atma samarpana in bhakti yoga became very clear. In this work, Sri Appayya Dikshita has totally surrendered himself to Lord Siva with a deep prayer that he should be given complete freedom from the cycle of births and deaths and be identified in the advaitic state of oneness with Lord Siva. Sri Sivananda Yogi, a biographer of Sri Appayya Dikshita has written a commentary on this work.

· Apitakuchambastava

Once Sri Appayya Dikshita had gone to Tiruvannamalai for darshan of Lord Arunachaleswara there. There he was laid with a severe fever. At that stage he prayed to the Goddess of that place, Apitakuchamba for relief from his suffering and this work composed in that context is now known as Apitakuchambastava. If this sloka is recited sincerely is capable of relieving one from illness.

· Margabhandu Stothra

This stotra is written in praise of the Lord Margabandhu of Virinchipuram, near Vellore of South Arcot district of Tamil Nadu. People who undertake any journey should recite it before traveling, on the days when they are traveling and after the completion of travel. Lord Shiva as Margabandhu would always be with them and protect them.

· Hari Hara stuti

In the great kshetra, Chidambaram, the temple to Sri Govindaraja, the Vishnava Lord, which was closed for worship was thrown open again for worship during the time of Ramaraya, the regent of Vijayanagar, through the good offices of one vaishnavite teacher Doddacharya. Sri Appayya Dikshita who had no distinction between Siva and Vishnu, fully welcomed this. In honor of that great event he wrote the Harihara Stuti. This contains ten verses. In each both Siva and Vishnu are praised alternatively. It is well-known that in Chidambaram one can have darshan of both the Lords at the same time.
Catholicity

Sri Appaya Dikshitar was a firm believer in the unity and oneness of God. Yet the age in which he lived made him extol Lord Shiva as the supreme in the Trinity. During 16th century, South India witnessed sectarian disputes between Vaishanvism and Saivism, which had taken deep roots during the days of Sri Appaya Dikshitar. Thathacharya, did everything in his power to propagate Vaishnavism. It was to project the Saivite point of view and to strengthen its hold that Sri Appaya Dikshita had to write a series of books like "Sivarkamani Dipika", "Sikharinimala", "Sivatatva Viveka" , "Sivakarnamratha", "Sivamahimakalastuti", "Sivadvaidanirnaya" – all extolling Lord Shiva and Advaita. In these tasks, he received the support and patronage of King Chinna Bomma Nayyakkar. Yet he was not a bigot. He himself says that it was due to the circumstances he had to do so. In a verse he says, "It is not important if Vishnu or Shiva is considered as the Supreme God by the Upanishads; for we belong to the Advaita School. But when men with crooked ideas and narrow outlook proclaim in abusive language their hatred towards Shiva, we cannot keep quite. To refute this , I had to produce these works. This in no way means that I am not a worshipper of Vishnu". That Sri Appaya Dikshitar was catholic can be seen from the fact that he wrote a commentary on the "Yadavabhyudaya" of Sri Vedanta Desika, whom he admired very much.

Great Reconciler

He praised Lord Varadaraja of Kanchi in hymn. In the "Kuvalayananda" he prays to Lord Mukunda for his blessings. When the worship of Lord Govindaraja was revived at the Chidambaram Temple at the instances of the Vijayanagara King, he welcomed it wholeheartedly and wrote "Hariharastuti", praising both Hari (Vishnu) and Hara (Shiva). He proclaimed his catholic outlook through his "Chaturmatasara", which elucidate the philosophical basis of the four important school of Indian Vedantic system. This work has been acclaimed as a masterly and impartial exposition of the respective schools, even by the aggressive proponents of these schools. To him, all schools of Vedanta and all deities were the same, leading to the same goal. He was for reconciliation and not for quarrel, for harmony and not for hatred for tolerance and not ill-will, for mutual understanding and not cantankerous bickering, among the various sects. His name and fame spread far and wide. Kings vied with one another to honor him and get honored by his presence in their courts. His sons and disciples mastered his works and were considered great scholars. His life’s mission was accomplished, yet Sri Appaya Dikshitar led a simple, unostentatious life in his village.


His Last Days

Sri Appaya Dikshitar spent his last days in Chidambaram. He was running 73rd year. One day the priests of Lord Nataraja temple saw Sri Appaya Dikshitar pass over the "Panchakshara Steps" and vanish into the deity of Lord Nataraja. It was at the same time that he breathed his last in his house uttering a half completed sloka meaning, "The splendor of the lotus feet of Lord Nataraja flashes before me as if the sun has risen in the sky". His grandson (Brother Achan Dikshita’s grandson Shri. Nilakanta Dikshita of Palamadai) who was nearby completed the unfinished verse declaring "since the suryodaya has occurred, it is certain that the great soul has reached the final beatitude after leaving the darkness of night of Samsara".
Thus lived a Great Vedantin, an un-biased philosopher, a true devotee, a versatile scholar, a prolific writer, a polymath of learning, a Maha Yogi, who indelibly stamped his personality and teachings on all and gave Saivism and Advita Vedanta, a new life and direction.
Lets us remember and worship Sri Appayya Dikshitar and get the blessings of Hari and Hara!

Bibliography/Reference

Appayya Dikshitar by Sri Swami Sivananda
Shri Appaya Dikshita by Sri U. Vaidyanathan (The Indian Review October 1976)
Srimad Appaya Dikshitar’s greatness by Sri Kanchi Mahaperiyava
Appayya Dikshitar articles - http://www.genealogy.com/
Appayya Dikshitar – Shaivam.org


Contact Us :

eMail : anand.vasudevan1@gmail.com
Web : http://www.avdevantimes.blogspot.com/

From SOKA To SLOKA

Dear Readers/Seekers,

I am glad to present the article “From Soka (Sorrow) to Sloka (Divine Hymn)”. It is about a poet named Poonthanam. The soka i.e. sorrow which attended him changed him to become a great devotee and by corollary a great poet composing Sloka (divine hymn).

The poet hailed from Kerala, the God’s Own Country. Outside Kerala, many people may not be aware of this great poet whose poems have inspired scores in to the realm of Bhakti towards Lord Guruvayurappan, the presiding deity of Guruvayur. In modern parlance, it is a romance of love between the Lord and his devout Bhaktha.

Guruvayur is an abode with scores of devotees experienced miracles like Poonthanam, Bhattathiri, Kruramma, Manjula, Chembai Vaidyanatha Bhagavathar, Sengalipuram Anantharama Deekshitar etc., even an elephant (Guruvayur Kesavan) expressed bhakti towards the Lord. Such is the greatness of Guruvayur. The offering to the Lord of this temple is unique which you cannot find elsewhere and yes that is the chanting of divine Srimad Bhagavatham. If one can visit this temple and sincerely prays all their wishes will be granted and more than that they will be elevated in their devotion.

I have heard in my child hood song with the refrain

“Krishna Krishna Mukunda Janarthana Krishna Govinda Narayana Hare…” But I didn’t know that it is sung at the end of Poonthanam’s famous poem “Jnaanapaana” or “Njaanapaana” which oozes with pure bhakthi, wisdom and knowledge. I hereby thanks Sri V. Ramachandran of Mumbai who was instrumental in writing this article about Poonthanam. Myself and Ramachandran are friends since our school days and we used to visit Guruvayur often when we were in Coimbatore which are still memorable. I also take this opportunity to thank Sri Ramachandran’s parents Sri Venkataraman and Smt Lakshmi Venkataraman who are ardent devotees of Lord Guruvayurappan and who inculcates bhakti to many through Guruvayurappa Bhakta Samajam in Coimbatore.

My sincere thanks to Major Sri V. Venkat Narayanan whose continued support in doing the necessary corrections and adding the necessary rangoli work wherever required despite his pre-occupation.

I also happened to have a brief chat with Dr. U. R. Giridharan who had carried out the colossal translation of Jnaanapaana to Tamil christened aptly as “Gnaana Virutham”. Dr. Giritharan who hails from Kerala was raised in Tamilnadu and is endowed with a sublime knowledge of Sanskrit, Malayalam and Tamil. He has translated many masterpieces in Sanskrit and Malayalam in to the regional languages. You can read his translated works in the following portal which is a treasure trove.

http://urgiridharan.wordpress.com/

The Jnaanapana or Njaanapana song is available in the youtube and I sincerely recommend all readers to hear the Jnaana-paana song by going through the following link or you can buy music CDs which you can get in any leading music store.

http://www.youtube.com/watch?v=rZuEETj1lPM

Let me not stand in the way of your enjoying Poonthanam and the legend behind his Jnaana-Paana. Happy reading and hearing ! Warm Regards AV Devan 31-3-2011 Chennai

From SOKA to SLOKA

Poonthanam Nambudri (1547 – 1640 AD) Poonthanam Nambudri was born in a village called Keezhattoor near Perinthalmanna, in the Malappuram District of Kerala State. He was a contemporary of Melpathur Narayana Bhattahiri and Ezhuthachan, two glorious poets of Kerala. In Kerala a person is referred to by his family name first, then the actual name followed by the caste / title. Thus Poonthanam was the family name. His actual name is not known. Since he was born in the Nambudri Brahmin community he is known as Poonthanam Nambudiri or simply Poonthanam. The house where he lived, known as “Poonthanam Illam” at Keezhattor is still preserved by the Guruvayur Devaswom Board.

Poonthanam married an heiress at the age of twenty. As they were issueless, they prayed to Lord Guruvayurappan for progency. Finally their prayers were answered and a son was born to them in the year 1586. Poonthanam did the initial samskaras for his son like Jathakarma [purifactory rites done upon birth of the Child], and Naama Karana [Naming of the Child]. When the Child was six months old Poonthanam decided to celebrate the Child’s Annaprasanam i.e. first feeding of cooked rice. He fixed an auspicious date and invited all his friends and relatives. But on the day of the ceremony the Child died miraculously. There are two version as to how the child died. One due to accidental suffocation caused by the clothes strewn over the babyand another one was that the child fell in the boiling rice and died. Whatever may be the reason, Poonthanam and his wife were thoroughly shattered as they had begot the Child after many years of penance.

The grief-stricken Poonthanam sought refuge at Guruvayur and started praying with the puranic story of Kumaraharanam. By stoically absorbing the tragedy with a sense of reality, Poonthanam submitted himself to the will of the Lord. He was at once blessed with a vision of the divine child Krishna, inspiring him to sing “Jnanappana”, a devotional and philosophical treatise. Poonthanam did not know Sanskrit and so decided to express his innate feelings in chaste Malayalam.

In one of the verses he says

“Unni Krishnan Manasil Kalikkumbol Unnikal Mattoru Venamo Makkalai?” "When the divine child Krishna dances in my heart, Is there any need to have another Child?” Works of Poonthanam

Poonthanam’s popular poems apart from his famous ‘Jnanappaana’ are ‘Bhasha Karnamrutham’, ‘Kumara Haranam’ or ‘Santhanagopala pana’, ‘Noortettu Hari’, ‘Kuchela Virutham’ and a divine series of melodious songs in praise of Lord Krishna and other deities. These are devotional works in Malayalam laced with Krishna Bhakti and his works stand apart as they are very simple, easy to understand with fast paced verses making them very attractive to the layman. Poonthanam’s mission also turned out to be a historical necessity for the revival of the Bhakti movement in Kerala. Consequent to Portugese rule in Kerala, to combat moral and social degradation coupled with political violence the poet founded a new plank on the doctrine of Bhakti as the best means of attaining salvation.

As a ‘Basha Kavi’ or ‘Vernacular Poet’ Poonthanam succeeded in elevating Malayalam as a popular medium of devotional literature. He defied the tradition and used the vernacular at a time when Sanskrit and Manipravalam were dominant in the literary horizon of Kerala.

JNANAPPAANA – The Song of Wisdom

‘Jnana’ means wisdom and ‘Paana’ means a pattern of folk poem. ‘Jnanappana’ was composed by Poonthanam in a literary style called ‘Panapattu’. It consists of about 360 short lines in verse form clothed in very simple Malayalam. It is musical at the least and rich in meaning at best being steeped in philosophical wisdom. The poem is a veritable treatise on ‘Nama Sankirtan’ or devotional worship through chanting the names of Lord Krishna. In chorus every phrase is repeated at the end with the refrain of

Krishna Krishna Mukunda Janardhana Krishna Govinda Narayana Hare Achuthananda Govinda madhava Sachithanda Narayana hare. The immediate effect of chanting this is one of long lasting joy and warmth of feelings. No wonder, Poonthanam’s Jnanappana is a household name in Kerala. The poet emphasizes the ephemeral nature of human life, the unending cycle of birth and death, Karma, spiritual vacuum of modern civilization and delusions of materialistic life. Poonthanam urges men to sing the glory of the Lord by giving up ill will and hatred. Covetousness for wealth and attachment keep men away from God says Poonthanam and he pleads men to guard against the lure of money. ‘Jnanappana’ eulogises Bharatavarsha as a ‘Karma Bhoomi’ and he laments that men of other countries were not fortunate enough to be born even as a grass in India. Drops of Wisdom – from Jnaanapaana

The following are few drops from Jnaanapaana.:

Guru-naathan Thuna Cheiga Santhatham Thiru-Naamangal Navin Mel Eppozhum Priyiyathe Irikkanam Nammude Nara Janmam Saphala Makkeduvan Let my Guru help us all the time So that the Divine Name is always present in the tongue And continue to be there with us forever So that this human birth becomes most fruitful Innale-yolam Enthaanu Arinjeela Ini Naleyum Enthaanu Arinjeela Ini Kanda Thadikku Vinsasamum Inna Neram Enthu Arinjeela We don’t know what happened till yesterday We don’t know what is going to happen tommorrow The material body which is visible to us We don’t know when this is going to end Chuzhaneedunna Samsara Chakrathil Uzhaneedum Namakku Aringheeduvan Arivulla Mahathukal Undoru Paramarthangal Chey Thirikkunnu Eluthayittu Mukthi Labhippanai Chevi Thannethu Kelpin Ellavarum In this rotating wheel of life of birth and rebirths To teach us who are entangled in this wheel Those Great Sages who have realized Have showered on us many a truth with their divine grace To easily attain Salvation So every one please listen with care POONTHANAM & BHATTATHIRI

Poonthanam was a Contemporary of Melpathur Sri Narayana Bhattahiri who was one of the greatest poets of that time in Kerala. Bhattathiri a great devotee of Lord Guruvayurappan wrote the famous master piece “Narayaneeyam” in Sanskrit. There are several legends associated with Poonthanam & Bhattathiri.

· Padmanabho ‘Mara Prabhu’ or ‘Amara Prabhu’?

Once Poonthanam was reciting Vishnu Sahasranamam. In one of the verses he read “Padmanabho Mara Prabhu”. Hearing this Bhattathiri laughed at him and pointed the mistake that it is not ‘Mara Pranbhu’ rather he should be read as “Amara Prabhu”. Immediately there was a celestial voice stating “Am not only Amara Prabhu (Lord of Devas) but also Mara Prabhu (Lord of Trees).

· Bhakti Vs Vibhakti

Once Poonthanam sought the help of Bhattathiri in editing his poetic work “Sri Krishna Karnamrutham”. However Melpathur refused saying that he never read works in Malayalam which hurt Poonthanam. The next day when Melpathur arrived at the Guruvayur Sannidhanam to compose his dasaka (Narayaneeyam) he could not proceed as there was an Asareere or celestial voice stating that “Poonthanam’s Bhakti is more pleasing to me than Melpathur’s Vibhakti (learning or knowledge in Sanskrit Grammar)”. Melpathur realized his mistake and requested Poonthanam to pardon him and then agreed to review the works of Poonthanam. · Aa Mothiram – (That Ring)

Poonthanam used to wear a ring gifted by Bhattathiri and used to walk nearly 100 kilometers to have darshan of Guruvayurappan. He had to across the forest on his journey. Once when Poonthanam was crossing the forest some robbers attacked him. He gave everything to the robbers along with the Ring gifted by Bhattathiri except a small bag which he clung to as it which contained the invaluable Srimad Bhagavatam. When he told the thieves that it was only a book they tried to snatch it and he cried “Guruvayurappa” clinging to it. At ths same time, the minister of the Zamorin King named “Mangattachhan” was passing through that area who rushed, chased the robbers and retrieved the money and ring and gave it back to Poonthanam. Mangattachan also escorted Poonthanam upto Guruvayoor who gifted the ring to Mangattachan. The same day night the Melsanthi (Chief Priest) of Guruvayur Temple had a dream wherin he saw a Unni Namboodiri telling him that “you will find a ring on the idol and give it to Poonthanam who will come tomorrow.” When Melsanthi went to the Sanctom-Sanctorum he was surprised to find a ring on the deity’s finger. Melsanthi turned and saw Poonthanam waiting to have the Nirmalya Darshan of the Lord. Melsanthi then explained his dream to Poonthanam and handed over the ring. Poonthanam was thrown out of surprise as it was his own Ring which he had gifted the day before to Mangattachan. Poontham then realized it was the divine play of Guruvayurappan who came in the guise of Mangattachan and saved him. This episode has been immortialized in “Aa Mothiram” a Malayalam poem by Vallathol, a famous poet. Book Mark in Srimad Bhagavatham

Poonthanam’s bond with Srimad Bhagavatham is very special which we have seen in the last episode that while he could spare his ring he couldn’t spare Bhagavatham to the robbers. There is a famous Shiva temple at Kottiyoor in North Kerala. This temple is kept open only for a brief period during the year. It is believed that Daksha Yaga was performed in this temple. Once Poonthanam reached Kottiyoor temple and had a bath in the Holy River. He then worshipped Lord Shiva, felt happy and stayed there for a few days. He recited Bhagavatham every day in front of the deity. There is an interesting portion called “KARHICHITH” in Bhagavatham in the tenth chapter wherein Krishna asks his wife Rukmini “Why did you get married to me though I am just a shepherd? You would have had much better life if you had married the King Sishupala.” Hearing this Rukmini faints and the Lord consoles her. This part is described very well in Bhagavatham with profound meaning. Poonthanam finished reading this part of the Chapter and kept the Bookmark at the end. The next day he found the bookmark at beginning of the same chapter. So Poonthanam read it for the second time. Miraculously the Bookmark was found at the beginning of this Chapter eventhough he had kept it at the end of the Chapter everday. It happened to be the last day of the year when the temple was getting closed. Poonthanam some how left his Bhagavatham inside the temple which he realized it later and rushed to the temple to take it back. The door was closed but he could hear some body chanting the Bhagavatham Tenth Chapter where his Bookmark was kept. Curious he was and peeped through the Key Hole and saw Lord Shiva himself chanting Srimad Bhagavatham with Goddess Parvathi listening. Tears flowed from their eyes out of devotion. Poonthanam stood there outside and listened the entire chapter being read aloud by Lord Shiva himself. At the end Lord Shiva asked Parvathi “was my reading as good as that of Poonthanam’s?”. Parvathi promptly replied that it was not on par with that of Poonthanam’s recitation. This episode shows the love with which Poonthanam read Srimad Bhagavatham. Journey to Vaikuntam Poonthanam was getting old and he could not travel much. Hence he remained at home and was spending most of his time in reading Bhagavatham. One day Poonthanam said “Guruvayurappan is visiting us tomorrow and hence the whole house needs to be decorated.” Saying so he got on to prepare himself for receiving the Lord of Guruvayur. The family members felt that he had gone crazy. The next day he could see a plane coming towards his home. He was agog with joy and went out to welcome Guruvayurappan. The family members thought that he had gone berserk. He then told his wife to get ready to go to Vaikuntam. His wife did not took it seriously and told him that she had to do a some more things in the kitchen. A maid who was listening to their conversation asked Poonthanam whether she could join him. Poontham gladly agreed. After a few minutes Poonthanm’s wife finished her chores and came out to find that Poonthanam was missing and the maid dead!. Yes Poonthanam was personally taken by Lord Guruvayurappan to his eternal abode Vaikunta. Such is the kind of devotion of Poonthanam.

Let’s all worship poonthanam, read Jnaanapana and get the divine blessings of Lord Guruvayurappan.

Thiru-Naamangal Navin Mel Eppozhum Priyiyathe Irikkanam Nammude Krishna Krishna Mukunda Janardhana Krishna Govinda Narayana Hare Achuthananda Govinda madhava Sachithanda Narayana hare. Acknowledgements

[Major] Sri V. Venkat Narayanan – For making this article colorful by doing the necessary rangoli work.

Sri V. Ramachandran - Whose was instrumental in writing this article about Poonthanam. Bibliography/Reference

Vaishnava Samhita – Sri Sri Krishna Premi Swamigal Kathai Malar - Sri Ramakrishna Publications Soaked in Bhakti – Sulochana Pattabhiraman – The Hindu Article Poonthanam in Tamil – The Hindu Article Bhakti poet of the masses – C.S. Krishnadas – The Hindu Article Jnana Pana – Sri P. R. Ramachander www.celextal.org Poonthanam Nampoothiri – Sri Gopala Krishnan – www.keralaiyers.com Poonthanam – http://www.wordlingo.com/ // Poonthanam - http://www.wikipedia.com/ Melpathur Narayana Bhattathiri - http://www.wikipedia.com/ http://www.guruvayurdevaswom.org/ // Hindu Devotional Blog