среда, 18 сентября 2013 г.

"Shree Lakshmi-Tantra", the Anugraha of Shreemati Lakshmi-Devi and the notorious "Kaivalya-Mukti" mistake of Sanskrit-English translators


Actually, I am against the studying of the separate Chapters from "Shree Lakshmi-Tantra", because this Tantra must be studied from the First Chapter to the very Last Chapter, because if you study only the excerpts, you will be misguided. 

Nevertheless, I will quote Chapter 13 from the English edition, because it is the Chapter about Anugraha of Shreemati Maha Laksmi-Devi and because I have noticed the mistake in the Verse 13.14 (in English translation, of course). 

Wikipedia falsely tells, that "Shree Lakshmi-Tantra" has Advaitic influences, but it is not "Shree Lakshmi-Tantra", that has Advaitic influences, but the English translation of the Tantra. 

There is a classic and very notorious mistake of nearly all Sanskrit-English translations: 

in 90% of cases translators don't differentiate between the kinds of Mukti and just write something Advaitic like "and then jiva merges in Brahman", though actually in 90% of cases the translation must be rendered as:

"jiva obtains Mukti at the Abode of Bhagavan Shree Vishnu" or 

"jiva becomes Brahm-rup" (this right and very good translatiton is often used in the Books of Shree SwamiNarayan Sampradaya) or

"jiva reaches the Abode of Bhagavan Shree Vishnu". 

I have been noticing this kind of mistake in many English translations ("Shree Padma-Purana", "Shree Varaha-Purana" and etc.). 

If a translator has Advaitic background and Shankara-influenced, then sorrowfully nearly all the verses about Mukti will be out of step with Vaishnava-Siddhanta and will be replaced by something like "and then jiva merges in Brahman". 

See page 70 in this English edition of "Shree Lakshmi-Tantra" and the note of the translator about Mukti to rest assured of the written above by me. 

"Shree Lakshmi-Tantra", page 70 (wrong  translation of the Verse 14 and Advaitic remark to it,  not suitable for the translation of Vaishnava-Tantra)

The translator (Sanjukta Gupta) writes the following in the remark: "Emancipation (mukti) is being identical with Brahman, the supreme Essence, which is but a return of the part to its original whole", that is he writes about Kaivalya-Mukti.

In reality, none of the Vaishnava-Acharyas never support the idea of Kaivalya-Mukti, because this type of Mukti is considered to be fit only for the lowest type of jivas (mainly for demons, cheap Gyani-advaitins and atmarama-yogins). 

All the Vaishnava-Acharyas always tell only about such type of Mukti, which implies the Dasya to Bhagavan Shree Vishnu and Shreemati Lakshmi-Devi. And Prema-Bhakti, of course. 

And, of course, Shreemati Maha Lakshmi-Devi in Her Own "Shree Lakshmi-Tantra" spoke about "jiva reaching the Abode of Bhagavan Shree Narayana and Shreemati Maha Lakshmi-Devi", but not about "becoming one with Brahman". 

I will dwell on this more in my commentary to the verse 14 below. 

So, there are no Advaitic influences in the original "Shree Lakshmi-Tantra" in Sanskrit, the Advaitic influences occur only in English translations. 

Vaishnava-Sankhya-Yoga in the spirit of Bhagavan Shree Kapila, yes, it is inherent to "Shree Lakshmi-Tantra", but Vaishnava-Sankhya-Yoga differs from Shankara-Advaita at 10000000000000000 rate. 

My original wish was actually to write not about the mistakes in translation, but about The Anugraha of Shreemati Maha Lakshmi-Devi. 

"Tirobhava" is also very crucial notion to write about, because Shree Shreemad Vallabha-Acharya used this notion a lot for explaining His Vedanta and the Idea of Leelavada. 


"Shree Lakshmi-Tantra", Chapter 13 "The true form of jiva"


13.01. Shreemati Maha Lakshmi-Devi said: "Shakra, the Anugraha-Shakti is traditionally known as My Fifth (Shakti). My son, I am now going to describe Her True Nature to you.

13.02-03. These (jivas) are deluded by avidya, subjected to the (illusion) of asmita (false material ego) and overwhelmed by my Shakti called Tirodhana.

In general they fall from a higher to a lower position; (but) at the same time they also show a tendency to ascend from lower to higher positions. Such jivas are subjected to three types of bondage and move through the three states (regions).

13.04. Broiling in their own deeds, (they) are in the very centre of the hot coal that represents mundane life; they inveterately seek happiness but (instead), owing to ignorance, get crushed by misery.

13.05-08. As movable and immovable beings they continuously pass through an endless chain of births. 

Inextricably enmeshed in the miseries of body, senses, mind and intelligence through the results caused by certain deeds, (jivas) are ever subjected to recurrent birth and death, and undergo affliction through systematic exertion or its absence (i.e. attempts to avoid misery or to pursue happiness, as the case may be). 

(These considerations) engender (in me) endless compassion for these jivas. 

I obliterate their sins and I, Shreemati Maha Lakshmi-Devi, ensure that (such) jivas escape beyond the clutches of misery.

(This act of compassion) is called Anugraha, which is also referred to as the 'descent' of the Supreme Shakti.

13.09. Having received My Grace, they are absolved from their karman (i.e. extinction of consequences). The jivas infused with My Grace possess only apascima 2 (non-phenomenal) bodies.

13.10. The precise moment of the descent of Anugraha is known only to Me. It cannot be brought about by human effort, or by any other means.

13.11. Solely through the arbitrary exercise of My own discretion do I sometimes look upon a certain individual with Favour. Thenceforward that individual (becomes) pure and his internal organ becomes cleansed.

13.12-14. And he, having reached the state of karmasamya (pacification of karman), then confines himself to performing good deeds, to attaining knowledge of the Vedanta, to following (the course of speculation and meditation laid down in) the Samkhya and Yoga and through a correct understanding of Sattvata (philosophy), becomes imbued with pure devotion for Bhagavan Shree Vishnu. 

Then (gradually) after lapse of time the yogin (the meditating adept), who has shaken off all accumulated afflictions (klesas) by freeing himself from every shackle, glows brightly (liberated) from all attachments
and (ultimately) becomes one with the supreme Brahman represented by Laksmi and Narayana.

Vishnudut1926: This is the Verse 14, I have talked above. Now let's turn to the original Sanskrit Variant of "Shree Lakshmi-Tantra". 

The Verse 14 is:

"Shree Lakshmi-Tantra", Verse 13.14 from Original Sanskrit Tantra

The last line is:


"prapnoti param brahma LakshmiNarayanatmakam". 


Thus, the translation must be either:


  • "this bhakti-yogin attains the Abode of Para-Brahman Shree Shree Lakshmi-Narayana"


or


  • "this bhakti-yogin attains the Loving Service to Para-Brahman Shree Shree Lakshmi-Narayana" 


or


  • "this bhakti-yogin attains the Para-Brahman which True Nature is  Shree Shree Lakshmi-Narayana" 


or


  • "this bhakti-yogin becomes brahm-rup (shuddha-sattva, free from bandha, only atma-state) and attains the Abode of Para-Brahman Shree Shree Lakshmi-Narayana)"


So, as you see, 4 translations are possible, none of them is Advaitic and all of them are only Vaishnava and Bhakti-influenced. 

13.15. This is My Fifth Shakti known as Anugraha. The reason for My engaging in activities such as Tirobhava etc. is purely a matter of My Own Choice.

13.16. Thus, O Shakra, understand My fivefold Divine functions, about which I have nothing further to add.

Sakra said: - I salute Thee, Who livest in the lotus, I salute Thee, who shelterest in Bhagavan Shree Narayana.

13.17-18. I salute Thee, Eternal and Flawless Goddess, Who art, as it were, the Ocean of all blessings. 

(Though) the great darkness (of my mind) has been dispelled by the flow of Thy nectar-like words, (yet),
I am eager to know more about the excellent form of Chit-Shakti.

13.18. Shreemati Maha Lakshmi-Devi said: "Bhagavan Shree Narayana is the Unique God, the Eternal Supreme Soul.

13.19. Bhagavan Shree Narayana is the Everlasting Embodiment of (all the attributes, viz.):

1) Jnana, 

2) Bala, 

3) Aishvarya, 

4) Veerya, 

5) Shakti and 

6) Ojas (i.e. Tejas). 

Bhagavan Shree Narayana is Beginningless and without limitation in space; time or form.

13.20. I, the Supreme Goddess, am His Sakti, consisting of His I-hood, resplendently displaying the Six (Divine) attributes; Omnipotent and Eternal.

13.21. My Unique Essential Form consists of Pure and Unlimited consciousness. All the successful (yogins) amongst all the jivas exist in Me.

13.22. Through My Sovereign Will, I manifest the whole of creation on Myself as the substratum. All the worlds dart (start) into existence on me, as birds dart on water.

13.23. Of My own choice I descend (through Limited Forms) in fulfilment of My five functions. This, My descending Self is called Chit-Shakti.

13.24. This is My Limited (Self) consisting of concentrated consciousness, which is Pure and at the same time Independent. 

Even in this (concentrated consciousness) the universe is manifest, similarly as the reflection of a mountain may be caught in a (small) mirror.

13.25. This (limited manifestation of Mine) is transparent and ever shining like a diamond. As pure brilliance is the quality of the sun, so is consciousness its quality.

13.26. Jiva is spontaneously manifested by her (Chit-Shakti) possessing similar traits and this jiva is also continuously occupied in performing the five daily duties.

13.27. The contact (of Chit-Shakti) with (objects such as) blue, yellow etc. is called by the wise "srshti". Attachment to such objects (of Chit-Shakti) is called "sthiti".

13.28. The cessation of (the jiva's) attachment to objects, caused by the desire to seize another, is referred to by the learned in the science of the principles, as "samhrti".

13.29. The impression (vasana) left by them (i.e. objects) is tirobhava and the eradication of that impression is Anugraha. 

This destruction has the propensity, like fire, to destroy everything within reach.

13.30. This jiva is sustained by merely an infinitesimal part of Myself. I have previously explained to you My illusory Form in association with its relevant objects.

13.31. When in consequence of (the advent of) pure knowledge, the jiva discards its limitations, then freed from every shackle it becomes illuminated (with knowledge).

13.32. In consequence of (the advent of the Divine Attributes) jnana and kriya, it (then) becomes omniscient and omnipotent; and since all fetters have been removed, in acquiring my nature it even becomes non-molecular (in size, i.e. infinite).

13.33. As long as it is unnoticed by Me, who am moved by pity, its knowledge continues to be restricted and it (continues) to experience the universe through its senses (lit. instruments of knowledge).

13.34. Observing objects with the eye (i.e. a sense organ), using the mind to form notions, attributing ego-consciousness by virtue of ahamkara, it finally uses intelligence to determine (an object).

13.35. Thus from having lived in the waking state, it enters the dream state by relying then solely on its internal senses. From that state, in a state of profound sleep, it reverts to its own true nature.

13.36-39. These three states actually belong to prakrti, and not to the jiva. 

Even the state of turya, entered during the jiva's meditative trance, does not properly belong to it. 

The jiva does indeed consist of pure transcendental substance (Shuddha-Sattva).

It is independent of all states, is unaffected by any attributes belonging to prakrti, is unlimited by the conditions (upadhis) and is indivisible. 

In fact the jiva incorporates (pure) consciousness.

But although that is its essence, it becomes blinded by avidya and hence does not see Me, who am (however) clearly visible and am identical with its own self.

Shakra said: "O Goddess, how can You say that You are clearly visible, when You are beyond the reach of all senses? O Ambuja, even the Vedanta (Upanisad) fails to clarify your true nature.

Vishnudut1926: "Ambuja" (अम्बुज) translates as "born from the water". Shreemati Lakshmi-Devi is Ambuja (अम्बुज), because She has manifested from the Ocean (see the famous Verse 8.8.8 of "Shreemad Bhagavatam"). 

13.40. Shreemati Maha Lakshmi-Devi said: "Shakra, consider Me to be intuitively realizable by all embodied beings. Now hear with attention My (True) Nature".

"Maha Lakshmi Karuna Rasa" - The Power of the Lady, who stole the mind of Maadhavaa


"Maha Lakshmi Karuna Rasa" is of my most favourite Krithis and it is included in my everyday Dhyana and Listening List.






You can see and  listen to this Krithi on Shangu Chakra Gadha Padmam Channel - https://www.youtube.com/watch?v=GU-li9iEpOQ

I have downloaded the Krithi from Shangu Chakra Gadha Padmam Channel and now it is my folders too:


The meaning of "Maha Lakshmi Karuna Rasa" is incredible.

See how wonderfully and beautifully Shreemati Lakshmi Devi connected to "MADHAVA" name of Bhagavan Shree Vishnu and you will be amazed too!



Excerpt from the Krithi and explanation from "Dikshitar's MahaLakshmi Kritis" (see AV049 at sadangopan.org)

"adiyEn  will  now  cover  the  Krithi  set  in  the  Uphanga  Rakthi ragam known as Madhava Manohari (MahaaLakshmi Karunaa rasa Lahari).

The fourth of the seven Krithis composed by Dikshitar on Mahaalakshmi is inragam  Madhava  Manohari,  a  Janya  ragam  of  the  Melam  Hari  Hara  Priyaa (Karaharapriyaa).

The name of this rakthi ragam itself has sacred connotations. 
It is a feminine raga  devatha  symbolizing  the  Mangala  Devathaa,  who  charmed  the  mind  of Maadhavaa.
It  is  instructive  to  understand  the  significance  of  the  name Maadhavaa, so that one can understand the power of the Lady, who stole the mind of Maadhavaa.

The  name  Maadhavaa  is  the  169th  Sahasra  Namam  of  Vishnu  (http://www.ahobilavalli.org/ebooks_s4.htm).

There  are  two  explanations  for  this Name.  

1.  First,  Niruktham  says:  

He  is  Maadhava  since  He  propounds  the  true knowledge about Himself as the supreme being.

The knowledge of Hari is called "Maa".

Thou art the master of that knowledge.

Therefore Thou art known as Maadhavaa. "Dhavah" means Lord.

2.  The  second  explanation  is  given  in  Mahaa  Bharata  to  Arjuna:  

"O Bharata!  Know  that  He  is  called  Maadhavaa  since  He  is  endowed  with Mauna (Maa), Dhyanaa (Dha) and Yoga (Va). He is thus the embodiment of Silence, meditation and practice (Maadhavan).
MahaaLakshmi,  who  allures  the  Lord Maadhavaa's  mind  (Manohari)  is  hence known as Maadhava Manohari.
There are no other krithis known in this ragaa.

Dikshitar chose an appropriate Ragam with such powerful meaning for saluting Mahaaa Lakshmi."

воскресенье, 15 сентября 2013 г.

Selected Images from the previous 95 ones

Actually all the Images are being extremely liked by me, but the following 15 Paintings are especially significant. 

Shreemati Lakshmi-Devi, very unusual pallette is used in this picture

After reading the "Venkatesha Mahatmyam" I was very eager to find the most beatiful Images of the Foot of  The Husband (Bhagavan Shree Krishna)

Incredibly romantic Image. This week Moscow is plagued by rains, so this Image has interwined with reality. Its mood is very romantic: Krishna so tenderly provides a shelter for His Most Beloved Girl - Shreemati Radhika-Devi. 

The Marriage of Shreemati Parvati-Devi and Shiva. Shreemati Parvati-Devi is very beautiful and modest in this Image. 

Vishva-Rupa of Bhagavan Shree Krishna. Very unusual Image. 

I fell in love with this picture. It is very girlish and all about girlish daydreaming.  

Very unusual Image in Chinese Ink style!!!!!

Krishna loves to be surrounded by Dasis and as you know during the day a lot of  Dasis  surround Shree Krishna with  Warm, Love and Care: some Dasis brush His Hair, others prepare the most Beautiful Garments for Abhisars, other Girls are joking with Him and entertain Krishna with songs and a lot of things, which a Girl in Love can grant to Her Most Precious Beloved. 

I love dark green pallettes very much. Shreemati Radharani-Devi  transfers the very complicated  mix of emotions in this Image: She is very glad of being with Krishna, but it is can be seen, that Praneshvari is also joking at her Sakhis. Shreemati Radhika also holds Her Hand in this picture in such way, as if the very next moment She turns to Krishna and  start to kiss Him, because She can't hold Her Feelings anymore! 

Gopikas swoon because of Bhagavan Shree Krishna playing the Flute.  I wish, everyone could feel that hypnotic  warm and very lovely sensation which arouses from hearing the Flute of Krishna. Actually, there is no distinction between states of mind in the Spiritual World (there is no sleep and etc.), there are only the sequence of Bhavas and Leelas with Krishna, but imagine what Gopis feel, when they suddenly shift from one Bhava to another one. Imagine, that you were sitting with Sakhis and talked about Your Beloved Krishna, but the very next moment you heard His Flute and the Sound suddenly immersed you in very distinct Bhavas, for example, in Bhava of Being with Krishna in Several Love Leelas simaltenously. 


This Image of Shreemati Radharani-Devi is an Ideal Image for Dhyana-Yoga.  Today, in the night, I am going to listen to the Hymns, devoted to Shreemati Lakshmi-Devi, but during the listening I will lovingly look just on this Image. 

Shreemati Lakshmi-Devi. I love all the Images of Shreemati Lakshmi-Devi in red pallette, because Shreemati Veera-Lakshmi is One of my favourite Ashta-Lakshmis. I will devote the special post to Shreemati Veera Lakshmi-Devi in this week. 

Bhagavan Shree Krishna and Shreemati Rukmini-Devi. Yesterday, I have been reading Rukmini-Sandesh,  which is more precious than all the Vedas for me. Actually, Rukmini-Sandesh is the Most Precious Part of "Shreemad-Bhagavatam". 


Krishna plays Love Serenade for Shreemati Radharani-Devi. 

Rasas, Colours and Presiding Avatars of Bhagavan Shree Vishnu and why Gopis never suffer when Krishna leaves Vrindavan


Recently there was a question on one of the Russian forums dedicated to Krishna: "Why Bhagavan Shree Krishna leaves Vrindavan, when He knows, that Gopis will suffer from Vipralambha?". 

I have replied with the point of view of Mukta-Jivas and Shuddha-Advaita. Actually, there is no such notion as Krishna-Vipralambha as Bhagavan Shree Krishna is All-Pervading and Krishna is Everywhere and His Bhaktas perfectly knows that Krishna never leaves His Bhaktas. 

Besides, Mukta-Jivas can create a certain number of siddha-dehas. It means, that if they are not with Krishna in One Universe, They are with Krishna in some other Universe. 

It is an ordinary life of Mukta-Jiva: you can create one Siddha-Deha, which will participate in Vipralambha-Leela and the other Siddha-Deha, which will participate in Rati-Keli with Bhagavan Shree Krishna. 

But I forgot to note in my answer, that with the Pure Bhakti point of view, Karuna-Rasa never pose a threat for Raganuga and Ragatmika-Bhaktas. Shree Shreemad Rupa Goswami writes about this Siddhanta from the Verse 2.5.123 in "Shree Bhakti-Rasamrita-Sindhu". 

Before I cite these Verses very interesting Chart with Rasas is published, because this article was implied just as the comparison of charts by Shree Shreemad Bihari and Shree Shreemad Rupa Goswami. 

But now it is article about the NON-sufferings of Gopis. HAHAHAHAHAHAHA!!!!!!!!!!!!!

The comparison of Shree Shree Bihari and Shree Shreemad Rupa Goswami are intended only for the Happiness of Study. I warn you against judging which chart is better. Both Acharyas were Geniuses and the comparison will be a sin and an offense to Them. 



Shree Shreemad Bihari discusses the relation "Rasa - Avatar of Bhagavan Shree Vishnu" in Satsai.

Shree Shreemad Rupa Goswami writes about this relation in "Bhakti-Rasamrita-Sindhu".

The version of Shree Shreemad Bihari (the also can be seen at dropbox and minus):


And this is the version of Shree Shreemad Rupa Goswami from "Bhakti-Rasamrita-Sindhu".


tatra mukhyaḥ — 
mukhyas tu pañcadhā śāntaḥ prītaḥ preyāṁś ca vatsalaḥ | 
madhuraś cety amī jñeyā yathā-pūrvam anuttamāḥ ||2.5.115||

Mukhya-rasa (primary rasa):
“The primary bhakti-rasas are five: śānta, prīti, preyo, vatsala and madhurya. The order of excellence is from first to last.”

atha gauṇaḥ — 
hāsyo’dbhutas tathā vīraḥ karuṇo raudra ity api | 
bhayānakaḥ sa bībhatsa iti gauṇaś ca saptadhā ||2.5.116||

Gauṇa-rasa (secondary rasa):
“There are seven secondary rasas: hāsya (humor), adbhuta (astonishment), vīra (enthuiasm), karuṇa (lamentation), raudra (anger), bhanāyaka (fear) and bībhatsa (disgust).”

evaṁ bhakti-raso bhedād dvayor dvādaśadhocyate | 
vastutas tu purāṇādau pañcadhaiva vilokyate ||2.5.117||

“Thus there are a total of twelve primary and secondary rasas, but only five are mentioned in the Purāṇas.”

śvetaś citro’ruṇaḥ śoṇaḥ śyāmaḥ pāṇḍura-piṅgalau | 
gauro dhūmras tathā raktaḥ kālo nītaḥ kramād amī ||2.5.118|| 

The twelve rasas have twelve colors as follows: white (śānta), multicolored (prīti), saffron (preyān or sakhya), crimson (vatsala), indigo (madhura), light yellow (hāsya), yellow-green (adbhuta), gold (vīra), purple (karuṇa), red (raudra), black (bhayānaka) and blue (bībhatsa).

kapilo mādhavopendrau nṛsiṁho nanda-nandanaḥ | 
balaḥ kūrmas tathā kalkī rāghavo bhārgavaḥ kiriḥ | 
mīna ity eṣu kathitāḥ kramād dvādaśa devatāḥ ||2.5.119|| 

“There are twelve Deities assigned to the twelve rasas as follows: 

Kapila (śānta), 

Mādhava (prīti), 

Upendra (preyān or sakhya), 

Nṛsiṁha (vatsala), 

Kṛṣṇa (madhura), 

Balarāma (hāsya), 

Kūrma (adbhuta), 

Kalkī (vīra), 

Rāma 
(karuṇa), 

Prāśurāma (raudra), 

Varāha (bhayānaka) and 

Mīna (bībhatsa).” 

(note by Vishnudut 1926: "Mīna = Matsya-Avatara of Bhagavan Shree Vishnu")

pūrter vikāra-vistāra-vikṣepa-kṣobhas tathā | 
sarva-bhakti-rasāsvādaḥ pañcadhā parikīrtitaḥ ||2.5.120||

“There are five tastes in the bhakti-rasas: pūrti, vikāśa, vistāra, vikśepa and kṣobha.”

pūrtiḥ śānte vikāśas tu prītādiṣv api pañcasu | 
vīre’dbhute ca vistāro vikṣepaḥ karuṇograyoḥ | 
bhayānake’tha bībhatse kṣobho dhīrair udāhṛtaḥ ||2.5.121|| 

“The learned say that pūrti (satisfaction) is manifested in śānta-rasa, vikāśa (brightness) is manifested in all the rasas from prīti to hāsya, vistāra (expansion) is manifested in vīra-rasa and adbhuta-rasa, vikṣepa (distraction) is manifest in karuṇa-rasa and raudra-rasa, and kṣobha (disturbance) is manifest in bhayānaka-rasa and bībhatsa-rasa.”

akhaṇḍa-sukha-rūpatve’py eṣām asti kvacit kvacit | 
raseṣu gahanāsvāda-viśeṣaḥ ko’py anuttamaḥ ||2.5.122|| 

“Though all the bhakti-rasas are the embodiment of pure happiness, among the rasas there is sometimes a special deep incomparable taste.”

pratīyamānā apy ajñair grāmyaiḥ sapadi duḥkhavat | 
karuṇādyā rasāḥ prājñaiḥ prauḍhānanda-mayā matāḥ ||2.5.123|| 

“Though the completely ignorant people and those with mistaken knowledge immediately think that rasas such as karuṇa are full of grief, those persons with knowledge of rasa say that these rasas are full of profound bliss.”

alaukika-vibhāvatvaṁ nītebhyo rati-līlayā | 
sad-uktyā ca sukhaṁ tebhyaḥ syāt suvyaktam iti sthitiḥ ||2.5.124||

“It is well-established by the knowers of rasa that, by the speeches of the devotees and by the nature of rati itself, karuṇa, bhayanaka and bībhatsa will produce happiness, since those rasas have the nature of manifesting vibhāva (Kṛṣṇa) and other elements that produce extraordinary, astonishing bliss.”

tathā ca nāṭyādau — 
karuṇādāv api rase jāyate yat paraṁ sukham | 
sucetasām anubhavaḥ pramāṇaṁ tatra kevalam ||2.5.125||

This is confirmed in the statement of the Nātya-śāstra:

“The absolute proof that karuṇa and the other ‘negative’ rasas produce happiness is the experience of the soft-hearted devotees.”

sarvatra karuṇākhyasya rasasyaivopapādanāt | 
bhaved rāmāyaṇādīnām anyathā duḥkha-hetutā ||2.5.126||

“If karuṇa-rasa did not give rise to happiness, then Rāmāyaṇa would be a cause of grief for the bhāvaka-bhaktas, since that and other works reveal karuṇa-rasa throughout.”

tathātve rāma-pādābja-prema-kallola-vāridhiḥ | 
prītyā rāmāyaṇaṁ nityaṁ hanumān śṛṇuyāt katham ||2.5.127|| 

“If Rāmāyaṇa were a cause of grief, why should Hanumān, who is an ocean filled with the waves of Rāma’s lotus feet, continually hear Rāmāyaṇa with  pleasure?”

New Flickr Images (95 IMAGES)


I have added 95 Images to Flickr today, so I invite you to visit my Flickr Photostream - http://www.flickr.com/photos/98170374@N03/

New Images also can be found at DROPBOX - https://www.dropbox.com/sh/l2cnwf6kid8hl5q/GV30lZVfh5

SATSAIYA SATSAI OF BIHARI with Lala-Chandrika by Lallu Lal Kavi Calcutta 1896


DOWNLOAD:

Yandex  Cubby  Box  Google  Skydrive  Ge.tt  Dropbox  Copy

English annotation by Vishnudut1926: Sorrowfully, but only the first part of the Book is English, the second part is the Original in Braj Bhash, but the first part is superb.

The matter is that it repeats the main Rasik Aesthetic concepts. Bhavas, Sthayi-Bhava, Vybhicari-Bhavas, Alambanas and Uddipanas are discussed.

Besides, a lot of techiques, inherenent to Sanskrit Kavya are being discussed in the book (similes, word meanings and etc.) and this part of the book resembles the concepts of Dhvani School of Sanskrit Kavya.

If you read "Bhakti-Rasamrita-Sindhu" by Shree Shreemad Rupa Goswami or the Chapters 26-40 of "Jaiva-Dharma" by Shree Shreemad Bhaktivinoda Thakur (in these Chapters Shree Shreemad Bhaktivinoda Thakur discusses Rasa-Tattva) you will find all the notions very familiar.

The Character of Krishna


This story reminded me about Krishna and I laughed. Yes, it is very much in the character of Krishna to be so carried away by a new Kanya in Harem, that even the Kingdom is cast away entirely.

The story is very beautiful and lovely. If you belong to Rasika-Bhaktas, the story will entail the enormous number of Bhavas in your soul!


From http://allpoetry.com/Bihari

There is an interesting story behind the origin of Bihari's Sat Sai, which finally consisted of 700 couplets. 

The Raja of Amber married a young girl and was so enamoured with her that for a year he did not bother with court affairs till the affairs of the kingdom fell into confusion, this worried the prime minister and the Raja's head wife, who summoned Bihari and asked for his help.

Bihari wrote down the famous verse of the Sat Sai commencing with nahin paraga, which, ostensibly praising the beauty of the young queen, alludes to her age and gave a clear hint as to the state of affairs. 

"There is no pollen; there is no sweet honey;

nor yet has the blossom opened. 

If the bee is enamoured of the bud, 

who can tell what will happen 

when she is a full-blown flower." 

This verse was concealed amongst the flower petals which were sent each day to the harem, to form the bed of the happy spouses. 

In the morning the paper remained stiff amidst the withered petals, and bruised the king's body. He drew it out, read it, and at once returned to a sense of his responsibilities. 

He went outside, held a public court, and summoned the ingenious writer of the verse. 

Bihari Lal appeared, and the king, to show his satisfaction, promised him a gold mohur for every doha he might bring him in this way. 

Bihari Lal wrote two or three dohas, and received on each occasion the promised reward, till some seven hundred in all had been composed. These were collected and made into a book. 

The verses of the Sat Sai are rich in poetic flavour, elegance, and subtlety of feeling. They have the quality of miniature painting for vividness. 

Brevity of expression is combined with richness of content and a power to elicit spiritual sentiment. They excel in refinement and grace. 

The dramatic personae in these poems are Radha and Krishna, who are the Nayika and the Nayaka, and the sakhis, the maids of Radha. 

The sakhis carry messages between the Lovers, they conciliate them when they quarrel, and among themselves they keep up a running commentary on the course of love. 

Prince Azam Shah, third son of the Emperor Aurangzeb, who was a lover of Hindi poetry, called an assembly of poets and had the verses of the Sat Sai arranged.

This was entitled the Azam Shahi.

пятница, 13 сентября 2013 г.

SWAMI VEDANTA DESIKA DASHA AVATARA STOTRAM (WITH MP3)


ORIGINAL STOTRAM + MP3

BOX  DROPBOX  COPY  CUBBY GE.TT GOOGLE SKYDRIVE

Dashavatara-Stuti by Shree Shreemad Vadiraja-Acharya




Youtube link - http://www.youtube.com/watch?v=uNKiQXYd4aE

REMEMBER THAT THIS STUTI "is set to Ashvadhaati  and   sounds like a horse dancing". 

Background of 'dashAvatAra stuti'

Sri Vadiraja on his regular periodic victory travel (digvijaya) visited famous Pandarapura. During that time, one fine morning when he opened his box of worshipping idols (devara pettige, which contains worshipping idols and saligramas) he could not see his diety Sri Hayagriva idol, but through his vision he could realise what has happened and started walking towards the Bhimarathi River. 

At the same time one farmer (krishivala, one who does the farming of land) came running towards him and told him that swamiji's horse has eaten his nursery plants of Bengal gram (khadale) resulted him huge loss and look to be depressed about the happening. 

Then Sri Vadiraja told him not to worry about the happening and not get wild about it and assured him that he will compensate the loss. And also told him to show the place where his horse has eaten his plants in the morning.

On telling this the saint started walking towards the farmers farm. On seeing the swamiji's coolness the farmer also accompanied him. 

While going towards the farm Sri Vadiraja started composing Sri Dashavatara Stotra in Ashwa Dhati (raga of horse footsteps) with utmost devotion. 

During that time one white horse came near to them with dancing, laughing and putting the footsteps according to the swamiji's stotra's tune. 

On seeing the horse the farmer pointed swamiji towards the horse and told the swamiji it is the same horse which has eaten his farm plants.

Then Swamiji assured him that he will take care of the horse and started going near to the horse, suddenly the horse disappeared from the scene. 

The farmer was surprised and astonished about the happening, then the farmer and swamiji went and saw the place where the horse has eaten the bengal gram plants, there they could see where ever the horse has eaten the plants they saw golden bengal grams. 

The farmer was very surprised about it and recollected that the horse which he could see for the second time also disappeared and he could see the golden bengal grams in his farm, made him very astonished, then swamiji told him that the horse which he saw was none other than God and it is not normal horse and he has been blessed with the wealth and he can take those and live happily. 

Then farmer has decided to take the golden wealth which was blessed by the God and give all his lands as donation to the temple.

Since that time this Stotra is considered to be initative to get love from Sri Hari and it has been a custom among the devotees to pray or worship through this stotra while concluding daily pujas or devara pooja. 

This practice is continuing in all vaishnas groups, temples, mutts etc. even today. 

OM mathsyAya namaH:

proshhThIsha vigraha sunishhThiiva noddhata vishishhTAMbuchAri jaladhe  |
koshhTha.ntarAhita vicheshhTAgamaugha parameshhThIDitattvamavamAm.h  |
preshhThArkasUnumanu jeshhThArthamAtmavidatIshhTo yugA.nta samaye  |
stheshhThAtma shR^iN^gadhR^ita kAshhThAmbuvAhana varAshhTA padaprabha tano  ||
1||

Sri Vadiraja started praising Sri Hari's different manifestation with mathsyavatara (fish form) and

Dasavatar Vrat (Dashavatara Vratam) - 14 SEPTEMBER, 2013


http://hindupad.com/vratas-pujas/dasavatar-vrat-dashavatara-vratam/

Dasavatar Vrat or Dashavatara Puja is an observance dedicated to all the Dasavataras, Ten Supreme incarnations of Lord Vishnu. 

In 2013, Dasavatara Vratham date is September 14. Dashavatar Vratha is observed on the tenth day of Shukla Paksha in Bhadrapad month.

On Dashavathar Puja day, all the ten incarnations of Lord Vishnu are worshipped. Bhadrapad Dashami is very fruitful for the worship of Lord Vishnu and his ten incarnations because during the month two avatars or incarnations of Lord Vishnu – Varaha and Vamana – are appeared. 

The next day of Dashavtar Vrata is observed as Padma Parivarthana Ekadashi or Vishnu Parivarthana Ekadasi.

During Dashavthar Pooja, ten avatars – Matsya, Kurma, Varaha, Narasimha, Vamana, Parasurama, Sri Rama, Balarama, Sri Krishna, Kalki avatars – are worshipped. 

In Bhadrapad month, Varaha Jayanthi and Vamana Jayanti are celebrated.

What so special in the Chapter 9 of the First Book of "Shree Vishnu-Purana"?


This Chapter contains the Prayer devoted to Shreemati Laksmi-Devi. 

Shreemati Lakshmi Devi loves very much the jivas, who repeat this Prayer in the morning and in the evening. 

This Chapter also contains very crucial Siddhantic part in which it is confirmed that Shreemati Lakshmi-Devi never leaves the Breast of Bhagavan Shree Vishnu and always descends with Bhagavan Shree Vishnu, whenever He arranges the New Leelas in this Triloka. 

The Most Favourite Mantra of Shreemati Lakshmi-Devi is "OM VISHNU VAKSHAS STHALA STHITAYAI NAMAH". This Great Mantra is my favourite too and this Mantra translates as "All my reverence and obeisance to Goddess Shreemati Lakshmi-Devi, Who always stays on the Breast of Bhagavan Shree Vishnu". 

Thence Bhagavan Shree Vishnu and Shreemati Lakshmi Devi are always Together:

when Bhagavan Shree Vishnu is Parashurama, then Shreemati Lakshmi Devi is Shreemati Prithvi-Devi
when Bhagavan Shree Vishnu is Bhagavan Shree Ramachandra, then Shreemati Lakshmi Devi is Shreemati Sita-Devi
when Bhagavan Shree Vishnu is Shree Krishna-Avatar, then Shreemati Lakshmi Devi is Shreemati Radharani-Devi and Shreemati Rukmini-Devi

There are 3 famous and very beautiful Verses in this Chapter of "Shree Vishnu-Purana", which underline this tender Siddhanta. 

"Prayer devoted to Shreemati Lakshmi-Devi" ("Shree Vishnu-Purana", Book 01, Chapter 09, from page 51 in the new Sanskrit-Hindi Scan)

The Prayer can also be found in box, dropbox, ge.tt, cubby and copy.






Shangu Chakra Gadha Padmam - YOUTUBE CHANNEL


This channel is incredible - https://www.youtube.com/user/vchak66?feature=watch

Later I will publish a lot of Hymns, dedicated to Shreemati Maha Lakshmi-Devi and all the Hymns are really from this channel!!!!!!



NARASIMH METHA 99 POEMS translated by Sachin Ketkar

DOWNLOAD:
Yandex   Box  Dropbox  Google  Ge.tt  

English annotation by Vishnudut1926: 

ONLY FOR SADHAKAS IN GOPI-BHAVA!


The Lyrics by Shree Shreemad Narasimh Metha (and the English translation) is masterpiece!

The Love Lyrics  by Shree Shreemad Narasimh Metha is something extraordinary among Vaishnava Bhakti Lyrics.

Nearly all the Verses are composed in Gopi-Bhava and the Mood mainly of Kanya-Gopi.

If you love the Poems (there is no way of escaping from falling in love in these Lyrics), don't miss the article by the translator (Sachin Ketkar) - http://vishnudut1926.blogspot.ru/2013/09/translation-of-bhakti-poetry-into.html

In this article Sachin Ketkar dwells on the crucial ideas regarding this translation.

The Marriages of Bhagavan Shree Krishna in Dwaraka

Yes, the Marriages of Our Husband in Dwaraka! HAHAHAHAHA!

This is the excerpt from Puranic Encyclopedia (1921).

Interesting, but the author of Encyclopedia starts the list of Bhagavan Shree Krishna's Marriages from Shreemati Revati-Devi and Bhagavan Shree Balarama Marriage.

The list is of especial interest for those of us, who love to repeat the Mantras of the Princesses of Shree Dwaraka-Dhama. Usually, we repeat 8 Mantras:

1) Shreemati Rukmini-Devi

2) Shreemati Satyabhama-Devi

3) Shreemati Nagnajiti-Devi

4) Shreemati Kalindi-Devi

5) Shreemati Mitravinda-Devi

6) Shreemati Sulakshana-Devi

7) Shreemati Jambavati-Devi

8) Shreemati Sushila-Devi

Nevertheless, as you can see the Mantra of Shreemati Revati-Devi and Bhagavan Shree Balarama can also be inlcluded in the List (under the Number 9)!!!!

Puranic Encyclopedia (1921), page 425 (the image can also be found at box, dropbox, minus, ge.tt and copy)