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26. Alvar Saints and Their Celestial Songs

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ĀĻVĀR SAINTS AND THEIR CELESTIAL SONGS. N. Rajagopalan I.R.A.S. (Rtd.) Ex-Financial Advisor, (I.R.). Published by N. Rajagopalan Apt.2-A, ‘SRINIDHI’, T.37 A & B, 16 th Cross Street, Besantnagar, Chennai – 600090. i Front Cover Image: Sri Ranganātha and Sri Ranga Nāchiār at Srirangam Temple. Back Cover Image: Sri NammāĮvār at ĀĮvār Tirunagari. Front Inside Cover Image: All twelve ĀĮvārs and Kumudha-Valli Nāchiār. Back Inside Cover Image: ‘ĀĮvārs’ Sannidhi at Richmond Hindu Temple, Toronto, Canada. ISBN 81-9012873-6. First Edition – 2016. Printed & Processed by: Vibhgyar Graphix Price: Rs 250 For Sales enquiries: Tele. 91 44 24915326. Email: [email protected]. ii Dedicated to the memory of my parents Sri T.R. Narasimhachariar And Smt. N. Jayalakshmi iii Abbreviations used in the Book Tiruvāimoļi T.V.M. Jitante Stotram J.S. MudhalTiruvandādhi M.T. Stotra Ratnam S.R. IrandāmTiruvandādhi I.T. NārāyanaUpanişad N.Up. MunrāmTiruvandādhi Mu.T. MahānārāyanaUpanişad Ma.Na.Up. Tiruneduntāndakam T.N.T. PuruşaSūktham P.S. PeriaTirumoļi P.T.M. VishnuSūktham V.S. Nānmukan Tiruvandādhi N.M.T./N.T. BrihadāranyaUpanişad Br.Up. Tirucchandaviruttam T.V.C. ĀchāryaHrudayam A.H. Tiruviruttam T.V. SriVachanaBhushanam S.V.B. PeriaTiruvandādhi P.T. SriVaradarājastavam S.V,Sta. PerumālTirumoļi PML.T.M. Harivamsam Ha.Vam. PeriāļvārTirumoļi P.A.T.M. SriRangarājastavan Pur.Sat. S.R.S.P.S./Pu.S. UpadesaRattinamālai U.R.M. SrimadVālmiki RāmānusaNūtrandādhi R.N. Rāmāyanam S.V.R/S.R. NācchiārTirumoļi N.T.M. Mahābhāratham Mah.Ba. Tirumālai T.M. Mukundamālai M.M. Tiruppalliyezhuchi T.P. UpadesaRattinamālai U.R.M. SiriaTirumadal S.T.M. VishnuPurānam V.P. YajurVeda Ya.Ved. Godāstuti G.S. TaiitriyaUpanişad Tait.Up./ MundakaUpanişad M.U. T.Up. Vishnudharmam V.D. ChāndogyaUpanişad Ch.Up. SriRangarājastavam Brahmavalli Br.Va. UttaraSatakam S.R.S.U.S. AdhikāraSangraham A.S. SrimadBhāgavatham S.Bha. DēhaleesaStuti D.S. Dramidopanişad Bhagavad Gita B.G. TātparyaRatnāvali Dr.Ta.Ra. iv TABLE OF CONTENTS. 1. ĀļvārsandtheoriginofDivyaPrabhandam 1-22 2. MudhalĀļvārs–Poygai,Putatt,andPey 23-40 3. TirumaļisaiĀļvār 41-64 4. Nammāļvār 65-106 5. MadhurakaviĀļvār 107-122 6. KulasekharaĀļvār 123-144 7. Periāļvār 145-168 8. Āndāl 169-224 9. TondaradippodiĀļvār 225-258 10. TiruppānĀļvār 259-278 11. TirumangaiĀļvār 279-350 ContributionofĀļvārstoSrivaishnava 12. 351-359 SampradāyaandViśiştādvaitaSiddhānta v Foreword TheSrivaishnavatraditionholdsontotheSanskritVedasand theNalayiraDivyaPrabandhamknownasDravidaVedam as the two authorities (Pramanam) for establishing the Siddhanta.AlltheAcharyasinthelineagewererigorously trainedandproficientinboththescripturesknownasthe UbhayaVedanta.ThetwoVedasareliketwoeyesthatenable us to get a whole, panoramic view of the Tatva, Hita and Purusharta.Themajordifferencesbetweenthetwobegin with their origin. The Vedas are ‘Apourusham’, meaning not created by anyone but the Nalayira Divya Prabandham hasthegloryofassociationwiththesacredtongueofthe Azhwar saints. The Vedas are vast and contain two parts namely the Karma Kandam and the Gnana Kandam. The former contain various prescriptions for day to day living, ritualsandceremonieswhilethelatterpart,theUpanishads areexclusiveVedanta.TheversesoftheAzhwarsaintsare pure,distilledexperienceoftheAlmightyflowingfromthe Yogic vision of the Seers. The Tamizh verses are melodious, magical and enable us to peep into the rapturous flood of emotion in the hearts of these mystics. The Azhwars themselves spoke of their verses in words filled with awestruck joy and declared that the Almighty too was enamoured with their songs. Thondaradipodi Azhwar’s last verse of Thirumalai where he pronounced that his work was sweet to the Lord “Empirrakku iniyavare” is just one example. When the MudalAzhwarsspoke,theLordstoodamidstthemeagerto soak in the adoration; he followed Thirumazhisai Azhwar captivatedbyhisverses;hebeggedNammazhwartoconfer hisversesofadulationonhisArchaforms.UnliketheVedas whichissuecommandsandspeakcrypticallytheAzhwars appealtouswithanunderstandingofhuman natureand the inexorable compulsions of life. vi TheVedascanbetaughtonlytoaselectfew,theBrahmins, that too only the males among them. The hymns of the Azhwar’s are open to all who have the desire to learn. The Azhwar saints condensed the substance of the vast, inscrutable, tough Srutis into nectar like classic Tamizh verseswhichpackthewisdomofallscripturesintothem. TheDravidaVedaisIntamizh,SentamizhandGnanatamizh. Swami Desikan has summarized the importance of the Nalayira Divya Prabandham in his Tamizh composition PrabhandaSaaramVerse18thus. Andamila aarana naalagi ninra adan karuttai azhwargal aayndeduttu Seyya tamizhal arul seyda vagay togayyum sindamal ulagankalvaazhavenru Sandamigu tamizhmarayon toopul tonrum vedantaguru mozhinda prabhanda saaram Sindayinal anudinamum sindiporkku semamadam thirumaltankarunayale. Interestingly Swami Desikan’s Tamizh works collectively knownasDesikaPrabandhamconsistsof24compositions equalingthetotalnumberofworksintheNalayiram.The Vedantacharya whose scholarship in the Ubhaya Vedanta was legendary, reveals his partiality towards the Tamizh Vedasbydeclaringhimselfa“Sandamigu tamizhmarayon”. IntheVedicwayoflifeitiscustomarytointroduceoneself stating the Gothram, Veda branch to which the family belongs as in ‘Bharadhwaja Gothram yajus saka adhyayi’. SwamiDesikan,proudlyproclaimshimself,asbelongingto theclanofchantersoftheTamizhVedas.Thisdeclaration sums his devotion to the Nalayira Divya Prabandham. His Prabhanda Saram is a rich tribute to the divine hymns of thesaintswhereintheVedantacharyawithusualbrilliance captures the uniqueness of each of the Prabhandhams, the livesofthesaintswhosangthem,thenumberofversesin vii eachwork.Allthisisachievedwithintheeighteenverses whichcanbeeasilystoredinmemory. TheAcharyawasaprolificwriterandhasleftbehindawide rangeofworksinSanskrit,Tamizh,PrakritandManipravala. He is perhaps the first in the Guru Paramparai to have written in the Dravida language. (Though there are a few verses like Tanians to Prabhandas attributed to Acharyas before him including Ramanuja). The parallel quality of the compositions in both Sanskrit and Tamizh is striking and isthedelightofscholars.ThebeautyofhisSanskritcanbe compared to the Stotras of Koorathazhwan and Parasara Bhattar while the sweetness of his rich Tamizh verses makesuswonderifthepoetryisthatoftheMudalAzhwars or Thirumazhisai piran. The Vedantacharya’s scholarship in each of the languages seems to add to the felicity of expression in the other. Every one of his compositions, as short as a Nyasa Dasakam or long as Paduka Sahasram flowfromcontemplationofthedivine,aresurchargedwith emotionandtaketheformofUpadesaforourwelfare.Inhis Prabhanda Saram, the Acharya issues a command repeating ittwice,withtheintentionofdrillingthemessageintous. The crux of the edict issued by him is “Studying the Nalayira Divya Prabandham should be a lifetime preoccupation”. “Eththisayum vazha ivar padi vaitta nalayiramum engal vaazhve!” “Tuyya tamizh irubattu nangin pattin togai nalayiramum adiyongal vaazhve!” All the Acharyas in the illustrious Guru parampara have, like Swami Desikan, reveled in the boundless, mystical depths of the Arulicheyal. Acharya Nathamuni the foremost intheAcharyaParamparaiafterSwamiNammazhwar,was fascinated by the melody of the verses and is credited to have brought back the hymns which were lost over time by Yogic contemplation. The classification of the twenty fourprabhandasintofourpartsastheyareusedtodaywas viii donebyNathamuni.WhatSageVyasadidtopreservethe VedaswasdonebythisAcharyatotheTamizhVedas.The ceremonial recital of Thiruvaimozhi started by Thirumangai AzhwaratSriRangamwasrevivedandexpandedtoinclude theworksofallAzhwarsbyNathamuni.TheNalayiramwas alsotunedtobesungintheLord’spresencewithtalamas these verses are not only chaste, classic Tamizh but are Isai Tamizh too! It was the melody of the decad ‘Aaravamude’ which ends with the line ‘Kuzhalin maliyach chonna orraayirattul ippattum’ that charmed Nathamuni. Anecdotes in the commentaries speak of the ecstatic anubhavam of Sri Alavandar, Thirumalai Nambi, Embar, Anantazhwan, Koorathazhwan, Bhattar, Nanjeeyar while dwelling on the versesoftheAzhwarsaints. Bhagavad Ramanuja is revered as the Thirupavai Jeer as he chantedThiruppavaiwithoutfailduringBhiksha.Ramanuja revived the ceremonial chanting of Nalayiram in temple worshipandtheartoftheAraiyars.Hewashailedasthe fostermothertoNammazhwar’sThiruvaimozhibyParasara Bhattar. “Eendra mudal tai sadagopan moympal valartta idaththai iramanusan”. The Acharya breathed life into the Tamizh Vedas by initiating the Vyakhyana tradition withPillan’sAarayirappadicommentarytoThiruvaimozhi. Ramanuja’s ability to reconcile the Bheda, Abheda and Ghataka shrutis can be directly traced to the profound understanding of Thiruvaimozhi says Azhagiya Manavala Perumal Nayanar in his Acharya Hrudayam “Bhashyakarar idu kondu sutra vakyangal orungaviduvar”. ThiruvarangathAmudanar’sRamanujaNootrandadispeaks of Ramanuja’s admiration and understanding of the verses of the Azhwars’ particularly Thiruvaimozhi in glowing words. “Pantarum maran pasuntamizh aanandam pai madamai vindida engal iramanusa muni vezham”, “Thiruvaimozhiyin innisai mannum idantarum …. Pukku nirkum ramanusan” are a few verses which capture this adoration. ix ThuswelearnfromthelivesandworksofourAcharyasthat a thorough study and uninterrupted contemplation of the Divya Prabandham is the surest means of understanding the Sidhanta. It is an enriching mystical experience and a medicineforallthatailsusinworldlylife.Theseworksare
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    www.mahavishnugoswami.com SB Saptah Day 1A - Significance of Purushottama Masa Verse: BG 9.30 Location: Sydney [Maharaj speaking] Hare Krsna Hare Krsna Krsna Krsna Hare Hare / Hare Rama Hare Rama Rama Rama Hare Hare It was not loud enough…. Hare Krsna Hare Krsna Krsna Krsna Hare Hare / Hare Rama Hare Rama Rama Rama Hare Hare Jai, Srila Prabhupada ki Jai… Krsna mercy, <> came to glorify Him. [Maharaj singing, audience repeating] Jaya Radha Madhava Jaya Kunja Bihari (2) Jaya Gopi Jana Vallabha Jaya Girivara Dhari, Jaya Girivara Dhari (2) Jaya Yashoda Nandana Jaya Braja Jana Ranjana, Jaya Braja Jana Ranjana (1) Jaya Jamuna Tiravana Chari, Jaya Kunja Bihari (5) Hare Krsna Hare Krsna Krsna Krsna Hare Hare / Hare Rama Hare Rama Rama Rama Hare Hare (5-7) Krsna Krsna Krsna Krsna Krsna Krsna Krsna Hey (2) Krsna Krsna Krsna Krsna Krsna Krsna Krsna Pahimaam (2) Krsna Krsna Krsna Krsna Krsna Krsna Rashamaam (1) Krsna Keshava Krsna Keshava Krsna Keshava Rashamaam Raam Raghava Raam Raghava Raam Raghava Pahimaam Raam Raghava Raam Raghava Raam Raghava Rashamaam Krsna Krsna Krsna Krsna Krsna Krsna Krsna Hey (4) Hare Krsna Hare Krsna Krsna Krsna Hare Hare / Hare Rama Hare Rama Rama Rama Hare Hare (9-10) Raghupati Raghava Raja Raam Patita Pavana Sita Raam (2) Sita Raam Sita Raam Bhaja Pyare too Sita Rama (1) Raghupati Raghava Raja Raam Patita Pavana Sita Raam (1) Sri Raam Jai Raam Jai Jai Raam Sri Raam Jai Raam Jai Jai Raam (2) Raghupati Raghava Raja Raam Patita Pavana Sita Raam (2) Hare Krsna Hare Krsna Krsna Krsna Hare Hare / Hare Rama Hare Rama Rama
  • Bhajan Blast 9 Lyrics

    Bhajan Blast 9 Lyrics

    Bhajan Blast 9 Sunday, September 15, 2013 7 - 8 pm Pacific Prayers Divine Light Invocation Mantra I am created by Divine Light I am sustained by Divine Light I am protected by Divine Light I am surrounded by Divine Light I am ever growing into Divine Light Divine Mother Prayer O Divine Mother, May all my speech and idle talk be Mantra, All actions of my hands be Mudra, All eating and drinking be the offering of oblations unto thee, All lying down prostrations before Thee; May all pleasures be as dedicating my entire self unto Thee, May everything I do be taken as Thy worship. Lyrics 1. BHAJA GOVINDA Bhaja Govinda Govinda Gopala (2X) Sri Krishna Kanaya Tuma Nanda Lala (2X) Seek the Rescuer of the Earth, Gopala the Cowherd, Baby Krishna, the son of Nanda. 1 2. NANDALALA YADU NANDALALA Nandalala Yadu Nandalala Brindavana Govinda-lala (2X) Radha Lola Nandalala (2X) Radha Madhava Nandalala (2X) Son of Nanda, Child of the Yadavas, Govinda of Brindavan, Lord of Radha. O Madhava, Son of Nanda (Krishna). 3. NANDALALA Nandalala Nandalala Nanda Kilala Prabu Radha Lola (2x) Gopi Lola Gopa Bala Chitta Lila Vilasa Lola (2x) Hare Radha Hare Radha, Radha Radha, Hare Hare (2X) Hare Krisna Hare Krisna, Krisna Krisna, Hare Hare (2X) Beloved Son of Nanda, Radha finds joy in Her devotion to You. Ever compassionate, our hearts long for Your Divine Play. 4. AARTI BLUE LOTUS FEET Engrossed is the bee of my mind On the blue lotus feet of my Divine Mother Repeat above two lines Divine Mother, my Divine Mother, Divine Mother, my Divine Mother Divine Mother, my Divine Mother, Divine Mother, my Divine Mother 5.
  • Devotional Practices (Part -1)

    Devotional Practices (Part -1)

    Devotional Practices (Part -1) Hare Krishna Sunday School International Society for Krishna Consciousness Founder Acarya : His Divine Grace AC. Bhaktivedanta Swami Prabhupada Price : $4 Name _ Class _ Devotional Practices ( Part - 1) Compiled By : Tapasvini devi dasi Vasantaranjani devi dasi Vishnu das Art Work By: Mahahari das & Jay Baldeva das Hare Krishna Sunday School , , ,-:: . :', . • '> ,'';- ',' "j",.v'. "'.~~ " ""'... ,. A." \'" , ."" ~ .. This book is dedicated to His Divine Grace A.C. Bhaktivedanta Swami Prabhupada, the founder acarya ofthe Hare Krishna Movement. He taught /IS how to perform pure devotional service unto the lotus feet of Sri Sri Radha & Krishna. Contents Lesson Page No. l. Chanting Hare Krishna 1 2. Wearing Tilak 13 3. Vaisnava Dress and Appearance 28 4. Deity Worship 32 5. Offering Arati 41 6. Offering Obeisances 46 Lesson 1 Chanting Hare Krishna A. Introduction Lord Caitanya Mahaprabhu, an incarnation ofKrishna who appeared 500 years ago, taught the easiest method for self-realization - chanting the Hare Krishna Maha-mantra. Hare Krishna Hare Krishna '. Krishna Krishna Hare Hare Hare Rama Hare Rams Rams Rama Hare Hare if' ,. These sixteen words make up the Maha-mantra. Maha means "great." Mantra means "a sound vibration that relieves the mind of all anxieties". We chant this mantra every day, but why? B. Chanting is the recommended process for this age. As you know, there are four different ages: Satya-yuga, Treta-yuga, Dvapara-yuga and Kali-yuga. People in Satya­ yuga lived for almost 100,000 years whereas in Kali-yuga they live for 100 years at best. In each age there is a different process for self­ realization or understanding God .
  • The Twelve Alwars

    The Twelve Alwars

    The Twelve Alwars Paige Alvar Bhoothathalvar Peyalvar Thirumalisai Alvar Nammalvar Madhurakavi Alvar Kulashekhara Azhwar Periyalvar Andal Thondaradippodi Alvar Thiruppaan Alvar Thirumangai Alvar In the Sri Vaishnavite tradition in their history of their lineage, they list some outstanding devotees. There were twelve Alvars who appeared in South India. Not all at the same time, but over a period of several centuries. They established the basis of the Krsna bhakti cult in the Kaliyuga. The appearance of such great devotees in the Kaliyuga is predicted in the SrimadBhagavatam. Srimad- Bhagavatam was spoken at the beginning of the Kaliyuga, and when Krsna left this planet then he took with Him dharma. The Vedic dharma at that point disappeared, or became invalid, and spiritual knowledge was also obscured. But it says in the same verse that Lord Krsna left the Srimad Bhagavatam for the people in Kaliyuga to get light out of. Now still, the book Bhagavata was there but they also needed the person Bhagavata, or one who lives the SrimadBhagavatam. In other words, they needed the spiritual master. So in the initial stage of Kaliyuga, the first few centuries, these twelve Alvars appeared in South India, and actually established the basis of what would later on become the four Vaisnava sampradayas. The four sampradayas all had their origin in South India, and the founders of these sampradayas each in their own way drew, to a greater or lesser extent, from this tradition of the Alvars, especially in the Laksmi sampradaya, but it is also there in our sampradaya too, and in the others.