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Sivananda Vijaya—An Inspiring Drama of 3 Acts 10 OCTOBER 2011 SIVANANDA VIJAYA—AN INSPIRING DRAMA OF 3 ACTS 10 SIVANANDA VIJAYA—AN INSPIRING DRAMA OF 3 ACTS (By Sri Sundar Shyam Mukut, Hindi) [ Trans lated into Eng lish by D. N. Jhingan, M.A., LL.B. ] The purpose of this play is to inspire, instruct and elevate. We have not the least doubt that it contains all the elements to serve this purpose with an appreciable measure of success. Moved deeply by the sin and sufferings in this world, the renowned South India Saivaite Saint Appayya Dikshitar invokes the Lord’s intervention. Lord Siva promises to be born among men and awaken Humanity to the sublime purpose of life and to hasten their spiritual evolution. Eighteen generations later, the birth of Kuppuswami (Sivananda, the hero of the play) marks the advent of the promised Saviour. Urged on by the Consciousness of his destined mission, Dr. Kuppuswami renounces a brilliant secular career and turning monk, works for and brings about a world-wide awakening, inspiration and spiritualisation. In Him, the modern world sees the fulfillment of the promise given by the Lord to Saint Appayya Dikshitar, centuries ago. We have made an earnest attempt in the present volume to provide an attractive and dramatic version of this modern saint’s inspiring life of lofty renunciation and Vishwa Seva. DRAMATIS PERSONATE Saint dedicating his life to the Appaya Dikshitar: An unequalled scholar in awakening of humanity. Sanskrit and renowned devotee of Lord Siva: Kailasapathy Bhagawan. Lord Siva. Kalua: Devoted servant of Dr. Kuppuswami Narayana Bhattar: Mahant or the Chief Priest Purnabhodha and Vishuddhananda: of the great Temple at Conjeevaram. Disciples of Sri Swami Sivanandaji Four Vaishnavas: Disciples of Narayana Swami Narayanananda and Swami Bhattar. Ramaswami: Two Sannyasins. Narada: Deva Rishi. Suresh, Rajesh, Om Prakash and Rajendra: Vengu Iyer: A worthy descendent of Appaya Students of Sivananda Ashram. Dikshitar. Swami Vishwanandaji: Guru of Sri. Swami Dr. Kuppuswami (Sri Swami Sivananda): The Sivanandaji and Paramahamsa Hero of this drama—Son of Vengu Sannyasi belonging to Sringeri Mutt Iyer, first a doctor and then a Great line. OCTOBER 2011 SIVANANDA VIJAYA—AN INSPIRING DRAMA OF 3 ACTS 11 (Also some children, two boys, two Prabho sharan mein jo aata hai citizens, sick patients, pilgrim, Nathua, woh man waanchit phal paatha hai Munshi, etc. etc). Kaun nahin phir gun gatha hai Parvathi Ammal: Mother of Sri. Swami dekh tumhen adhaar Sivanandaji (wife of Vengu Iyer). Jag ke palan haar Devi Parvathi: Consort of Lord Siva. Khade hue hain sab nar naari Savitri and Kamala : Students of dikhlawo he Krishna Murari Sivananda Ashram. Apni wah baanki chavi pyari jate hain balihaar ACT I Jag ke palan har Scene 1: Toot chuki pathwaar hamari Place: Gate of Conjeevaram Vishnu Temple toophaanon ka dar hai bhaari Time: Morning. Kewat ban aao Girdhari naiya hai majhadhaar Inside the temple, Arati is being Jag ke palan har. conducted. In sweet melodious notes devotees are singing the Lord’s Arati. All (Hail, Hail, Protector of the Universe! musical instruments, temple bell, conch, Leadest Thou Your own people drums, cymbals, etc. are being played To the other shore of Immortality together, which produce an all absorbing He who seeks refuge in Thee sound. Gets the cherished boon; Knowing you his own support (All Sing) Everyone sings thy praise ! ARATI Hail, Hail, Protector of the Universe! Hare Rama Hare Rama Rama Rama Hare All Thy Bhaktas beseech Thee Hare! Pray show us Thy Charming Face Hare Krishna Hare Krishna Krishna Krishna And on those who do surrender Hare Hare! Bestow Thy Divine Grace Hail, Hail, Protector of the Universe! Jeya Jeya aarati Venu Gopala Venu Gopala Venu Lola Let adrift in the stormy sea Papa vidura Navanita Chora This frail boat is well nigh sunk Jeya Jeya aarati Venkataramana Come Thou, O Pilot of life, Venkataramana sankata harana Steer it safe to heaven of Bliss Sita Rama Radhe Shyama Hail, Hail, Protector of the Universe!) Jeya Jeya aarati Venu Gopala (Enter Appayya Dikshitar—with bhasma Jag ke paalan haar besmeared on the forehead and Rudraksha Apne jan ko bhava saagar se mala around his neck. His face is kar dete ho par awe-inspiring and lustrous ). OCTOBER 2011 SIVANANDA VIJAYA—AN INSPIRING DRAMA OF 3 ACTS 12 APPAYYA DIKSHITA:- Oh! Arati is over. Am I late? I shall have “Sivaya Namah Om, Sivaya Namah the Lord’s Darshan, then. Sivaya Namah Om, Nama Sivaya (A voice from behind the screen ): Where are Siva Siva Siva Siva Sivaya Namah Om you going? Hara Hara Hara Hara Namah Sivaya Siva Siva Siva Siva Sivaya Namah Om (Enter - four Vaishnavas ) Bum Bum Bum Bum Namasivaya KRISHNA IYENGAR: Look here! This is Siva Samba Sadasiva Samba Sadasiva Vishnu Temple and not a Siva Samba Sadasiva Samba Siva Temple. Siva Siva Sankara Hara Hara Sankara SRINIVASACHAR: Have you wandered Jeya Jeya Sankara Namami Sankara astray, please? Om Namasivaya, Om Namasivaya Om Namasivaya, Om Namasivaya RAGHAVACHARY: Saivas have no business to come here. Sambho Mahadeva Deva–Siva VENU GOPALAN: Please go back without Sambho Mahadeva Devesa Sambho demur. (Sambho) APPAYYA DIKSHITAR: This is the Lord’s Palavanam Ratnakritam–Pala Temple. Let me have the Lord’s Netrarchishadhagta Panceeshukeetam darshan . Why do you stop me? Shoolashataratikootam–Shuddha Mardendhuchoodam Bhaje Margabandum KRISH: Do you all hear what he says? (Sambho) SRINI: We have heard everything. He cannot Ange Virajadbhujangam–Abhra have darshan . Gangaatarangaabhiraamottamangam RAGHA: Pray, direct him to some Siva Sringaaravatikurangam–Shuddha Temple. Then he will walk away. Samsevitanghrim Bhaje Margabandhum APPA: What is the harm, gentlemen? I simply (Sambho) desire to have the Lord’s darshan . Nityam Chidanandarupam–Ninhu KRISH: ( laughing ) What else could thou wish Taasesha Lokesa vairi prataapam —the Lord’s gold ornaments? The Kartaswara gendrachaapam–Kritti temple gets desecrated by the mere Vasam Bhaje Divya Sanmargabandum entry of Saivas . (Sambho) APPA: Are Saivas so despicable? Kandarpadarpagnameesam–Kala Kantam Mahesam Maha Vyoma Kesam SRINI: ( with a cynical smile ) They are Kundaabhadantam Suresam–Koti adorable, are they? There can be no Suryaprakasam Bhaje Margabandhum comparison between Lord Vishnu (Sambho) and Siva. Mandaarabhooterudhaaram–Manda RAGHA: One is the storehouse of beauty and Ragendrasaaram Mahagowryadhooram the other is a mendicant besmeared Sindhooradhooraprataapam–Sindhu with ashes. Rajaadhidheeram Bhaje Margabandhum VENU: Friend of Ghosts! Snake-Charmer (Sambho playing with cobras and serpents (Continued on the page No. 17) OCTOBER 2011 SIVANANDA VIJAYA—AN INSPIRING DRAMA OF 3 ACTS 15 (Continued from the page No. 15) knob. He wears a pair of wooden APPA: Please do not speak of the Lord thus. sandals ) VENU: Why not? We do not fear anybody. BHAT: Why are you standing here, Children? KRISH: Why should we fear? We do not take Have you received the Lord’s bhang . We take cups of ambrosia. Prasada ? SRINI: It is your lot, sir, to take poison. ALL FOUR: ( after salutations ) Yes, Gurudeva! We have taken it. KRISH: There can be no comparison between the flute and the damroo . KRISH: This Saiva has entered the temple. RAGHA: And the trident is no weapon before BHAT: ( Looking at Appayya Dikshitar ) the sudarshan . Narayan! Narayan! How does he come here? KRISH: Please go back, dear Sir, these are the orders. SRINI: We know nothing, Guruji. We saw him enter the temple while we were APPA: Whose orders? returning after taking prasad . SRINI: Those of our Bhattar. RAGHA: He is so adamant in his resolve to APPA: Who is your Bhattar? have the Lord’s darshan that he pays RAGHA: He is the Mahant of this temple. no heed at all to what we told him. VENU: He is very ill-tempered. All are afraid VENU: We were about to call you, Maharaj. of his anger. BHAT: Hark ye. Saiva ! Do not dream of KRISH: Beware! lest you should be the victim entering the temple. You can go back. of his wrath. The gate-way is open. SRINI: So get thee gone, my dear Sir! APPA: ( Saluting the Bhattar ) I shall go away APPA: ( firmly ) I shall not move without the when I have got the Lord’s darshan . Lord’s darshan ( sits down ). Pray, permit me to go in. KRISH: See, how he sits here. BHAT: ( gazing fiercely ) You and darshan ? SRINI: Shall I call the Bhattar? (emphatically ) im...pos...sible! RAGHA: Pray, call him Srinivas! He alone APPA: Why, Sir? can remove this Saiva. BHAT: I need not tell you why? You cannot SRINI: ( Looking in front ) Lo, here comes the have darshan ( with raised voice ). Bhattar himself. These are my orders. VENU: Now shall our friend come to his APPA: Your orders and in Lord’s Temple. senses. What do you mean, Sir? (Enter Narayana Bhattar —Vaishnava Tilaka BHAT: You are getting insolent. Behave on forehead, a golden rosary round yourself, ( to vaishnavas ) Turn him out the neck and a silk dhoti. A man of instantly. Narayan! Narayan!! stout build, impressive face and a Narayan!!! ( Goes in swiftly ). large tuft of hair tied up on the head. KRISH: Do you follow now what orders we He holds a thick cudgel with silver top have got to carry out? 16 THE DIVINE LIFE OCTOBER 2011 SRINI: Pray, Sir, how would you like to be today. What else shall I ask of Thee, turned out? O Lord! Pray, let me ever be devoted RAGHA: Drag him out! to Thee! (All prepare to catch hold of Appayya SIVA: This I have already bestowed on you. Dikshitar. A loud noise is heard. Idol of Vishnu Ask for something else. changes into that of Siva. All the four APPA: My Lord....... Vaishnavas begin to tremble with fear and SIVA: ( Looks with love and mercy ) run away.
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    1 ´ÉÏqÉSmmÉrrÉSÏͤÉiÉålSìÌuÉUÍcÉiÉÉ AÉiqÉÉmÉïhÉxiÉÑÌiÉÈ || 2 AtmArpaNastuti of shrImad Appayya Dikshitendra 3 (With translation by S.N.Sastri) 4 Srimad Appayya Dikshitendra was one of the greatest 5 exponents of advaita. He is said to have lived from 1520 to 6 1593 AD. One of his numerous works is AtmArpaNastuti. It is a 7 very moving work. The story is that once he wanted to test the 8 intensity of his devotion. For that purpose he consumed a 9 datura seed which produces intoxication and asked his 10 disciples to write down all that he said during that state. This 11 turned out to be the beautiful AtmArpaNastuti in praise of Lord 12 Shiva. 13 In this work he has praised Lord Shiva as the highest 14 among the Trinity. This should not be understood to mean that 15 he was a shaivite with a bias against viShNu. He was an 16 advaitin and so made no distinction between shiva and viShNu. 17 He says this clearly in the following shloka:-- 18 ÌuÉwhÉÑuÉÉï zɃ¡ûUÉå uÉÉ ´ÉÑÌiÉÍzÉZÉUÌaÉUÉqÉxiÉÑ iÉÉimÉrÉïpÉÔÍqÉÈ 19 lÉÉxqÉÉMÇü iÉ§É uÉÉSÈ mÉëxÉUÌiÉ ÌMüqÉÌmÉ xmɹqɲæiÉpÉÉeÉÉqÉç | 20 ÌMÇüiuÉÏzɲåwÉaÉÉRûÉlÉsÉMüÍsÉiÉ™SÉÇ SÒqÉïiÉÏlÉÉÇ SÒ£üÏ- 21 pÉïXèû£ÑÇü rɦÉÉå qÉqÉÉrÉÇ lÉ ÌWû pÉuÉiÉÑ iÉiÉÉå ÌuÉwhÉÑÌuɲåwÉzɃ¡ûÉ || 22 Meaning—Let viShNu or shankara be the purport of the words 23 of the upaniShads. We advaitins have no dispute whatsoever 24 on that point. My attempt is only to counter the biased 25 statements of the evil-minded persons whose hearts are 26 burning with the fire of hatred of Shiva.
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  • Bibliography
    Bibliography 1 Primary Texts in Prakrit, Sanskrit and Tamil Abhītistava of Veṅkaṭanātha. Edited with English translation and commentary by D. Ramaswamy Ayyangar. Madras: Visishtadvaita Pracharini Sabha, 1987. Āgamaprāmāṇya of Yāmunācārya. Edited by M. Narasimhachary. Baroda: Oriental Institute, 1976. Alaṃkārasarvasva of Ruyyaka. With the commentary of Vidyācakravartin. Edited by S.S. Janaki. Delhi: Meharcand Lachhmanadās, 1965. Arthaśāstra of Kauṭalya. Edited by R.P. Kangle. New Delhi: Motilal Barnasidass, 2000 (reprint). Atharvaśiras-upaniṣad. Edited by Timothy Lubin. Groningen: Egbert Forsten, forth- coming. Saptaśatīsāra with the Bhāvadīpikā of Vemabhūpāla. Edited with the Chappaṇṇaya- gāhāo by A.N. Upadhye. Kolhapur: Śivāji University, 1970. Bhāvaprakāśana of Śāradātanaya. Edited by Yadugiri Yatiraj Swami and K.S. Rama- swami Sastri. Baroda: Oriental Institute, 1968. Cidgaganacandrikā of Śrīvatsa. Edited by Swami Trivikrama Tirtha. Tantrik Texts Vol. 20. Calcutta: Sanskrit Book Depot. Also edited by Raghunātha Miśra. Vārāṇasī: Sampūrṇānandaviśvavidyālaya, 1980. Cilappatikāram of Iḷaṅko aṭikaḷ. With the anonymous arumpatavurai and the commen- tary of Aṭiyārkkunallār. Edited by U.Ve. Cāminātaiyar. Cĕṉṉai: Doctor U.Ve. Cāminā- taiyar Nūlnilaiyam, 2001 (reprint). Daśarūpaka of Dhanaṃjaya with the Avaloka commentary by Dhanika, and the sub- commentary Laghuṭīkā by Bhaṭṭanṛsiṃha. Edited with introduction and notes by T. Venkatacharya. Madras: Adyar Library, 1969. Deśīnāmamālā of Hemacandra. Edited by Richard Pischel, revised by P.V. Ramanu- jaswami. Bombay: Dept. of Public Instruction, 1938. Dhvanyāloka of Ānandavardhana, with the Locana commentary of Abhinavagupta. Edited by Durgāprasād and K.P. Parab. Bombay: Nirnaya Sagara Press, 1891. Dhvanyālokalocanakaumudī of Uttuṅgodaya. Edited by S. Kuppuswami Sastri. Madras: Kuppuswami Sastri Research Institute, 1944. Dhātupāṭha. Vārāṇasī: Chowkambha, n.d. Dramiḍopaniṣattātparyaratnāvalī of Veṅkaṭanātha. Edited along with the Dramiḍo- paniṣatsāra by Uttamūr Vīrarāghavācārya.
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