Pictures are taken from various sources for spreading knowledge; this is a non- commercial blog. Thanks for your great pictures.
tamilandvedas.com, swamiindology.blogspot.com
சம்சாரம் தொட்டால் மின்சாரம் வரும்; இலவசம்!
உலகில் பல அற்புத மனிதர்கள் வாழ்கிறார்கள் ; சிலர் உடலில் காந்த சக்தி இருக்கிறது. இன்னும் சிலர் உடலில் மின்சார சக்தி இருக்கிறது.ஞானிகளுக்கு நம்மைச் சுற்றியுள்ள ஒளி (AURA) வட்டத்தைப் பார்க்க முடிகிறது. அவ்வப்போது பத்திரிகைகளில் வரும் செய்திகளை சேகரிப்பது என் வழக்கம் இதோ 23-2-2008-ல் லண்டன் டெய்லி மெயில்
(DAILY MAIL) பத்திரிகையில் வந்த செய்தி.
இந்தப் பெண்மணி யின் பெயர் மேவிஸ் ப்ரைஸ் MAVIS PRICE ; வயது 60. இவர் எ தைத் தொட்டாலும் அதில் அதி பயங்கர மின் சக்தி பாய்கிறது. இதனால் இவர் மின்சார கெட்டில் பக்கம் போகவே அஞ் சுகிறார். அம்மணி தொட்டால் வீடு முழுதும் எலெக்ட்ரிக் கட் (ELECTRICITY CUT) தான் . எல்லாம் பியூஸ் (FUSE) போய்விடும்.
இருடைய சாதனை — இவர் தொட்ட 15 மின்சார கெட்டில்கள், 20 அயன் பாக்ஸ்கள் (IRONS) , 10 வாக்வம் கிளீனர்கள் (VACUMN CLEANERS) எல்லாம் விளங்காமல் போய்விட்டது.
சிலர் தொட்டதெல்லாம் பொன் ஆகும்; அவ்வளவு அதிர்ஷ்டக் கை ; இவர் தொட்டதெல்லாம் பியூஸ் ஆகும்; அவ்வளவு துரதிருஷ்டக் கை!!
இவருக்கு 50 ஆண்டுகளாக இந்த அபூர்வ சக்தி இருக்கிறது.
மேவிஸ் ப்ரைஸ் சொல்கிறார் “சிறு வயதில் ஒரு முறை டெலிவிஷன பிளக்கை சாக்கெட்டில் சொருகப் போனேன். டெலிவிஷனும் இயங்காமல் போனது. என்னையும் தூக்கிப் போட்டது. அறையி ல் ஒரு மூலையில் போய் நன் விழுந்தேன். என் பேரக் குழந்தைகள் பக்கத்தில் வந்தால் பாட்டி, எனக்கு ‘ஷாக்’ அடிக்கிறது என்பர்”.
இவர் வசிப்பது இங்கிலாந்தில் ஷ்ராப்ஸைர் பகுதியில் உள்ள டெல்போர்ட் நகர்(TELFORD IN SHROPSHIRE, ENGLAND, UK)
இது போல டெப்பி உல்ப் ( DEBBIE WOLF OF TELLSCOMBE CLIFFS, NEAR BRIGHTON, ENGLAND, UK) என்னும் 38 வயது பெண்மணி இங்கிலாந்தில் பிரைட்டன் நகர் அருகில் வசிக்கிறார். அவர் உடலில் பாயும் மின்சார சக்தி மிகவும் வினோதமானது. அவர் தெருவில் நடந்து சென்றால் மின்சார விளக்குகள் எல்லாம் அணைந்துவிடும். இரவு நேரத்தில் இவர் நடந்தால் எல்லோருக்கும் திண்டாட்டம். எந்த மின்சார சாதனமும் இவர் வந்தால் அப்படியே அசந்து போய்விடும். அவ்வளவு ‘மின்சார அழகு’!!
பெண்களின் அன்ன நடையைக் கண்டால் நாம் மயங்குவோம். இவர் நம் அருகில் அன்ன நடை பயின்றால் நாம் மயங்கி விழுந்து விடுவோம். நம் கம்ப்யுட்டர் , மொபைல் போன் ஆகியன எல்லாம் இவர் மீது காதல் கொண்டுவிடும்.
சம்சாரம் என்பது மின்சாரம் மட்டுமா ; ஸம்ஹாரமும் கூட !!
சம்சாரம் = மனைவி; ஸம்ஹாரம் = அழிவு (மின்சாரப் பொருட்களுக்கு மட்டும்).
இது பற்றி விஞ்ஞானிகள் கூறுவது என்ன ?
நம் எல்லோருடைய உடலிலும் ஸ்டாடிக் எலெக்ட்ரிசிட்டி (STATIC ELECTRICITY) இருக்கிறது. சில நேரங்களில் உலோகப் பொருட்களைத் தொடும்போது நமக்கு இது தெரியும்; சிலருக்கு செயற்கை இழைகளால் ஆன நைலான் முதலிய உடைகளை அணியும்போது இது அதிகரிக்கிறது. இரண்டு பொருட்களை உராயும்போது இந்த வகை மின்சக்தி வரும். ஆயினும் மேவிஸ் ப்ரைஸ் போன்ற சிலரின் உடலில் இருக்கும் மின் சக்தியின் அளவு விஞ்ஞானிகளையும் திகைக்க வைக்கிறது என்கிறார்கள். அவர் வீட்டிலுள்ள கம்பளம், அவர் அணியும் உடை , அவரது நடை ஆகிய எல்லாவற்றையும் கவனித்தால்தான் விளக்க முடியும் என்றும் சொல்கிறார்கள்.
அறிவியல் அறிஞர்களுக்கு அதிசய விஷயங்களில் நம்பிக்கை வராது . அதை ஆராய்வதில் ஆர்வம் மட்டுமே பிறக்கும்.
Pictures are taken from various sources for spreading knowledge; this is a non- commercial blog. Thanks for your great pictures.
R. Nanjappa
Sri Ramakrishna and Bhagavan Ramana
The life and teachings of Bhagwan Sri Ramana Maharshi differ from those of Sri Ramakrishna, in their outer aspects though ultimately they are like two sides of the same coin. In fact, many devotees came to Sri Ramana after studying the Gospel of Sri Ramakrishna.
Sri Ramakrishna’s childhood was soaked in mystic light. His noble parents were very pious, though very poor. His youth was spent in intense Sadhana for over 14 years; different Gurus came to him to instruct on various paths. His mission of teaching lasted another 14 years. [The Gospel covers only the last four and a half years of his life and teachings.] It so happened that he had to leave the place where had lived for 30 years- the Dakshineswar Kali temple precincts- in the last 10 months of his life due to his illness. The young devotees desired to bring him back to Dakshineswar, but the temple management did not allow him to come back.
Sri Ramana reached Tiruvannamalai as a lad of 17 on 1 Sep, 1896 and did not leave the place even for a single day for 54 years, till he attained Maha Nirvana on 14 April, 1950. By the time he reached there, he was already a Jnani, a Realised Being. There was no further Sadhana, no tapas, no anything. There was no human Guru. He just remained as he was.
Sri Ramana’s name was Venkataraman. His life is well chronicled, so we need not concern ourselves with those details.
Now, what about his teaching?
He had not studied any religious or spiritual book, other than the Bible he was taught at the Missionary school, and the lives of the 63 Tamil Saivite saints. He had not received any instruction in religious matters and did not know any scriptures. He had no knowledge of Sanskrit.
But he had encountered Death and Realised what was life first hand some six weeks before he came to Tiruvannamalai, whose other name “Arunachala” had had a mystic hold on him even as a youngster. He was only interested in remaining in his natural state, a state of natural silence, with the mind completely annihilated. He did not feel inclined to talk or teach, certainly not to expound any theory or philosophy. Most people naturally fell silent in his presence, and experienced a sense of peace. Even animals remained calm and inactive in his presence.
However, some people kept approaching him for instructions from his earliest days, even when he was not talking. While he would not answer idle curiosity, or respond to mere learning, he was naturally inclined to help sincere sadhakas, whatever may be their path. So, he would answer their questions raised on the basis of the practical difficulties encountered by them, in writing in the days of silence. He was only interested in teaching a practical way to realise Truth. “What is Truth, and what is the way to attain it.” But this he did as a “silent influence on the heart”, in the words of Arthur Osborne. For those who were not able to respond to that, he explained in words:
Mind is a bundle of thoughts. The thought ‘I’ is the basic thought. If one questioned where this thought arose from, the mind would be absorbed in that source. Then one remained as one ever was. This questioning is not verbal, repetition of any formula, but paying attention to the source of one’s being. This he called “Self-enquiry” or finding out “Who Am I”. For those unable to follow this, he prescribed “Surrender”.
Enquire or Surrender- this is his only teaching. It has to be practiced, not studied.
Over the years, as his name spread, visitors, Indian and foreign, started pouring in, raised questions in the light of their spiritual practices or difficulties and he had to answer. Then, in response to devotees’ requests he had to write something, in prose and verse, all in his mother tongue, Tamil. These have been collected and published as his ‘Collected Works’. These have been translated into English and other languages. Like the original works in any language, his words in Tamil are his own, based on his experience, and do not employ any jargon. Something of the beauty, and accuracy (and Power?) is lost in any translation, however competent. Lucky are those who can read the original.
There is precise history behind and reason for everything that Bhagavan Ramana wrote. (Though he was named Ramana Maharshi, it was usual for devotees to address him as “Bhagavan”. So, we will also follow that practice!) It is important to know this.
1.SELF-ENQUIRY:
This is the first work that Bhagavan wrote. Around 1901 one devotee Gambhiram Seshayya submitted to him a few questions. Since those days he was not inclined to speak, Bhagavan wrote out his answers. Seshayya had copied them in his diary. After many years, the diary was recovered, the material was edited by a devotee and published under this heading. It is available both in essay and original question -answer forms.
2. WHO AM I
Around the same time, one Sivaprakasam Pillai turned up. He had studied philosophy at the university, but was vexed by the question of one’s true identity ie ‘Who Am I’. He raised this and some related questions. Bhagavan’s answers were collected and later published under this heading. This too is both in the essay and question-answer forms.
Sivaprakasam Pillai is a very lucky devotee, and we are lucky too because of him. He raised the one question for which Bhagavan had already found the original answer! Later, on the advice of Bhagavan he went to his village and settled to a quiet life of sadhana. When he passed away years later, Bhagavan remarked: “Sivaprakasam has become Siva’s effulgence” (“Sivaprakasam Sivaprakasam aanaar”, “சிவப்ரகாசம்சிவப்ரகாசமானார்“in Tamil). This is high praise indeed, coming from Bhagavan! This teaching is the most characteristic of Bhagavan, though it had to be couched in conventional language to suit the questioner.
3.SPIRITUAL INSTRUCTION
This contains a record of conversations which took place on one of the early days between Bhagavan and devotees. They were noted down by a devotee, expanded and arranged and submitted to Bhagavan who appreciated them. We may however note that they were not the spontaneous teachings of Bhagavan, but his reaction to the discussions initiated by others.
4. FIVE HYMNS TO ARUNACHALA
These are the supreme devotional outpourings of a perfect Jnani, spontaneous expression of devotional exuberance in sublime poetry in the classical mould. Obviously devotional in tone, they distill perfect Jnana, and move heart and soul as nothing else. One simply melts.
1. The Marital Garland of Letters.
This is a hymn of 108 verses, sung in the nayaki-nayaka bhava ( bridal mysticism) showing the sublime union of the soul with God, where the individual merges completely with the object of devotion.
This was written about the year 1914. The devotees were then going round the town to beg their food and they wanted Bhagavan to compose something distinct for them to chant as they went about. But Bhagavan was not inclined, saying there were already many hymns written by saints. But one day as Bhagavan started going round the Hill, as was his wont, a devotee followed him with paper and pencil in hand. The verses started welling up and Bhagavan wrote them down, with profuse tears flowing down his eyes and obscuring his vision. By the time the round was over, the poem was completed.
2.The Necklet of Nine Gems.
One day, a learned Dikshitar of Chidambaram came to Bhagavan and requested him to visit that holy place, as it represented the Akasha tatva, which was superior to the other four elements. Bhagavan wrote the first verse in reply, showing how Arunachala was superior to all; the other verses were written afterwards. 3. Eleven Verses to Sri Arunachala
4. Eight Stanzas to Sri Arunachala.
About these, Bhagavan himself said:
“The only poems that came to me spontaneously and compelled me, as it were, to write them without anyone urging me to do so are the Eleven Verses to Sri Arunachala and the Eight Stanzas to Sri Arunachala. The opening words of the Eleven Verses came to me one morning and even though I tried to suppress them saying, ‘What have I to do with these words?’, they would not be suppressed till I composed a song bringing them in; and all the words flowed easily, without any effort. The remaining stanzas except two were also composed the same way.”
The last two were composed just before a devotee took them away for printing.
5.Arunachala Pancharatna (Five Stanzas)
These were composed by Bhagavan in Sanskrit at the urging of a devotee who was also a Sanskrit scholar. Bhagavan did not know Sanskrit but on composition, this was found to be flawless.
These Five Hymns are preceded by a verse written by Muruganar on the significance of Arunachala. This is followed by a verse by Bhagavan on the significance of the Deepa that is lit on the Hill every year. Then follow some verses on the glory of Arunachala rendered in Tamil from Skandapurana. In a court case involving the Temple and the Forest Dept. Bhagavan’s views were sought on the status of the Hill and Bhagavan then pointed out these verses, which he later rendered in Tamil.
5. VERSES WRITTEN AT THE URGING OF MURUGANAR.
The coming of Muruganar marks a glorious new chapter in the chronicles of Bhagavan. Muruganar was an acknowledged Tamil Scholar of standing, and a poet, working as a Tamil pandit, and was a member of the Tamil Lexicon committee. [His name was C.K.Subramanya Iyer, which he had rendered as ‘Muruganar’ due to his love of Tamil.] Coming to Bhagavan, he left everything and stayed with him permanently, outliving Bhagavan by 23 years. Bhagavan was the only God he knew. He has crucial role in Ramana Leela and Literature.
The Essence of Instruction: Upadesa Undiyar.
Once, he composed hymns in praise of Bhagavan, which have been collected together under the name Ramana Sannidhi Murai. In one part, he described all the Avatars as Bhagavan’s. There is one episode in the divine play of Lord Siva. The Rishis of Daruka forest became attached to the performance of karma, to the extent of even disregarding God. Lord Siva wanted to teach them a lesson. Muruganar recorded the episode but when it came to the teaching, he felt unequal to the task, and urged Bhagavan to write out that portion. The result is thirty verses, capturing the very essence of all sadhana, giving a gist of the whole spiritual path . These have been published separately under the title Upadesa Undiyar, translated in English as ‘The Essence of Instruction’. In verses of stunning beauty and brevity, Bhagavan shows how Self-enquiry constitutes the best path. Bhagavan himself later rendered it in Telugu, Malayalam and Sanskrit. The Sanskrit version is chanted daily at the Samadhi shrine along with other Sanskrit scriptures.
Reality in Forty Verses: Ulladu Naarpadu.
Bhagavan used to write stray verses occasionally on the urging of some devotee or other, or translate from Sanskrit; these contained or reflected his own teachings. Once there were 20 such verses. Muruganar who was a great scholar of ancient Tamil literature felt that like some ancient Tamil collections which had forty verses as standard , Bhagavan should also write forty verses, containing his teachings.” Please tell us the nature of truth and the way to attain it so that we may be saved: Maiyin iyalbum atai mevum tiranum uyyumpadi emakkarulga”, he used to urge Bhagavan. மெய்யின்இயல்பும்அதைமேவும்திறனும்உய்யும்படிஎமக்கருள்க“.
As Bhagavan composed , Muruganar started compiling them in some order, discarded some, and urged Bhagavan to write something more. Like this, he got a treasure of 40 original compositions from Bhagavan. He put them together under the name Reality in Forty Verses. The Tamil name derives from the first word of the first verse, which was later adopted as the benedictory verse. Bhagavan calls Truth : ULLADU- உள்ளது THAT WHICH IS- avoiding all jargon. This single verse conveys the essence of Bhagavan’s teaching: to find out the source of one’s Being or Self which always Is and abide as That! There is no other way!
3. Supplement to the Forty Verses:
This contains the verses excluded from the original Forty and contains many translations, but all having unity of subject. Here verse 39 is important. It instructs: Keep Advaita (bhava) at heart; never carry it out in action. Even if you practice it in the three worlds, it is never to be adopted with respect to the Guru. Nowadays, there is a kind of popular advaita which is tom-tomed, as if it can be easily done . Such people should remember the above verse.
Translations
Apart from the above, the Collected Works contain Bhagavan’s translations from Sanskrit sources: 2 pieces from Agama in verse; Atma Bodha and Dakshinamurti Stotram in verse, and Viveka Chudamani and Drik Drisya Viveka in prose from Acharya Sankara. He also extracted some portions from an earlier translation of a Hindi work Vichara Sagara, rendered in Tamil as Vichara Mani Mala
Bhagavad Gita
Devotees used to urge Bhagavan to indicate some important verses from Bhagavad Gita as they felt it was difficult to recite all the 700 verses daily. Bhagavan used to say all verses were important, and pointed to verse 20, Chapter X as significant. But on further urging, he selected 42 verses, rendered them in Tamil, rearranged them and wrote an invocatory verse.
பார்த்தன் தேரில் நல் வார்த்தையாலவன்
ஆர்த்தி போக்கருள் மூர்த்தி காக்கவே,
May that Murti, who removed, by his auspicious words, the distress of Arjuna in the chariot, , protect us.
This was published as Bhagavad Gita Saram, ‘Song Celestial’ in English.
There are some stray verses also included in the collected works.
The Significance of the Collected Works.
This collection itself reveals an important point. As the book was being readied for the press, in 1929, devotees desired that it should contain a preface, as was the convention. People kept discussing, but no one was prepared to write a preface to a work containing Bhagvan’s words. It was nearing midnight and they were still talking. Bhagavan called a devotee, T.K Sundaresa Iyer and told him why could he not write it himself. Saying he could do only with Bhagavan’s blessings, TKS sat down and wrote something and showed it to Bhagavan around 2 a.m. Bhagavan read it and gave it back with his approval. TKS took the paper away and had gone a few steps when Bhagavan called him again, took back the sheet and changed one word. TKS had concluded that it was “hoped” (Nambukiren நம்புகிறேன்) that this book containing the grace of Bhagavan would enable struggling souls to get rid of misery and attain bliss. Bhagavan scored out the word ‘hoped’ and wrote “CERTAIN” (TINNAM, திண்ணம் in Tamil) in his own hand and returned the sheet. This shows the importance of the work.
Pictures are taken from various sources for spreading knowledge; this is a non- commercial blog. Thanks for your great pictures.
ஆமை பற்றிய 4 பழமொழிகள் – கண்டுபிடியுங்கள்
ஒரே சொல் மீண்டும் மீண்டும் வந்தால் ஓரிரு இடங்களில் மட்டுமே கட்டத்தில் இருக்கும். கொண்டு கூட்டி பொருள் கொள்க . விடை கீழே உள்ளது . சில நேரங்களில் படங்களைப் பார்த்தாலும் விடை காண உதவலாம்.
Pictures are taken from various sources for spreading knowledge; this is a non- commercial blog. Thanks for your great pictures.
ஹிந்தி படப் பாட்டுகள் – 67 – இரு மணிகள் – வடக்கு நோக்கி!
R. Nanjappa
வடக்கு நோக்கி!
பல ஹிந்திப் பாட்டுக்களின் மெட்டுக்கள் தமிழ்ப் படங்களில் எடுத்தாளப்பட்டிருக்கின்றன. இங்கிருந்து அங்கு போனது அனேகமாக இல்லை என்றே சொல்லலாம்.
சாஸ்திரிய இசையில் நிலை வேறு. அடிப்படை ஸ்வரங்கள் ஹிந்துஸ்தானி, கர்னாடகம் இரண்டு முறைகளிலும் ஒன்றுதான், ஆனால் கையாளும் முறை வித்தியாசப்படும். பல ராகங்கள் ஒன்றாக இருந்தாலும் முற்றிலும் வேறான ராகங்களும் உண்டு.
ஹிந்துஸ்தானி இசையிலிருந்து நமக்கு வந்த ராகம் ‘த்விஜாவன்தி’. ஜெய்ஜெய்வன்தி என்ற ராகத்தை இப்பெயரில் நமக்கு அறிமுகப் படுத்தியவர் ஸ்ரீ முத்துஸ்வாமி தீக்ஷிதர். அவர் தந்தை ஸ்ரீ ராமஸ்வாமி தீக்ஷிதர் உருவாக்கிய ராகம் ஹம்ஸத்வனி. இது இங்கிருந்து ஹிந்துஸ்தானிக்குப் போனது! அது அங்கு மிகவும் விரும்பத்தக்க ராகமாகிவிட்டது!
இப்படி நம்மிடமிருந்து வடக்கே போன இரு ராகங்களில் அமைந்த பாடல்களைப் பார்க்கலாம்
ஹம்ஸ்த்வனி ராகத்தில் அமைந்த அருமையான பாட்டு. எளிய நாட்டியப் பாடலாக அமைந்தது. ஷைலேந்த்ராவின் சாஹித்யம் எளியது- இது ராதா-க்ருஷ்ணரின் ஊடலைப் பற்றியது.
‘க்ருஷ்ணா, நீ போ, நான் உன்னுடன் பேசமாட்டேன், நீ என் கையைப் பிடித்தால் தான் என்ன, நான் பேச மாட்டேன்’ என்கிறாள் ராதை. கிருஷ்ணரின் குழலோ, குரலோ வேலை செய்யவில்லை. முதலில் ராதை அவற்றைக் கண்டுகொள்வதில்லை ( மானத் நஹி ராதா) பிறகு வழிக்கு வருகிறாள் ( மான் கயீ ராதா). டான்ஸ் பாட்டானதால் அதற்கே உரிய சொல் கட்டுக்கள் வருகின்றன. நாம் இந்த ராகத்தை வட இந்திய பாணியில் கேட்டு ரசிப்போம்!
இது ஹிந்துஸ்தானியில் ஜனரஞ்சகமான ராகமாகிவிட்டது இதோ சில சாஸ்திரீய ரிகார்டுகள்:
கேட்டு மகிழலாம். நம்மைவிட நிதானமாகப் பாடுகிறார்கள்!
கலாவதி
நம்மிடமிருந்து வடக்கே போன இன்னொரு ராகம் “கலாவதி” இதை நம்மவர்கள் ‘வலஜி / வலசி’ என்பார்கள். இந்த ராகத்தில் ஒரு அருமையான கவ்வாலியை அமைத்திருக்கிறார் ரோஷன். ‘பர்ஸாத் கீ ராத்” என்ற படத்தில் (1960) வரும் 12 நிமிட கவ்வாலி இது. இன்றுவரை நமது திரை இசையில் கவ்வாலிப் பாடல்களின் சிகரமாகக் கருதப்படுகிறது இது. முதலில் இந்த ராகத்தில் தொடங்கினாலும் பின்னர் வேறு ராகங்கள் கலந்துவிடுகின்றன இந்தக் கவ்வாலியை எழுதியது ஸாஹிர் லுதியான்வி. இதற்குப் பொருள் சொல்வது கடினம்- அதிலுள்ள நயங்கள் மறைந்துவிடும். பாட்டை ரசிப்போம்.இது மிக நீண்ட பாட்டு.
Song: Na to karwan ki talash hai Film: Barsat Ki Raat 1960 Lyrics: Sahir Ludhianvi
Music : Roshan Singers: Manna Dey, Mohammad Rafi, S.D.Batish, Asha Bhonsle, Sudha Malhotra
Hum Kisi Se Kum Nahin படத்திலும் ஒரு கவ்வாலி “ஹை அகர் துஷ்மன் ஃஜமானா- ஹம் கிஸீசே கம் நஹீ” இதே ராகத்தில் ஆர்.டி பர்மன் அமைத்திருக்கிறார்.
இந்த ராகத்தில் அவரோஹணத்தில் ஒரு சிறு மாற்றம் வந்தால் அது ‘ஜனசம்மோஹினி’ என்ற ராகமாக மாறிவிடுகிறது. இதில் அமைந்த பாடல்களில் பிரசித்தமான ஒரு பாடல் ரஃபி பாடியது.
படத்தை ஒட்டிய பாடல். இங்கே அவர் ‘கடல்’ என்று சொல்வது வேறு சமாசாரம்!
இது நௌஷத்-ஷகீல்- ரஃபி அணியின் பாடல்களில் ஒன்று. ஓஹோ என்று சொல்லும் படி எதுவும் இல்லை, எனினும் இந்த கலாவதி-ஜனசம்மோஹினி ராகங்களின் தொடர்பைக் காட்டும் நல்ல பாடல்களில் ஒன்று..
இந்தத் தலங்களின் பெருமை, பெயர்க்காரணம், இங்கு நடந்துள்ள திருவிளையாடல்கள், மகான்களின் அற்புதங்கள், இந்தத் தலங்களில் பாடப்பட்ட பாடல்கள் உள்ளிட்ட ஏராளமான சுவையான செய்திகளைப் படித்து உணர்வதற்கு ஒரு வாழ்நாள் போதாது.
Pictures are taken from various sources for spreading knowledge; this is a non- commercial blog. Thanks for your great pictures.
tamilandvedas.com, swamiindology.blogspot.com
ஒரே சொல் மீண்டும் மீண்டும் வந்தால் ஓரிரு இடங்களில் மட்டுமே கட்டத்தில் இருக்கும். கொண்டு கூட்டி பொருள் கொள்க . விடை கீழே உள்ளது . சில நேரங்களில் படங்களைப் பார்த்தாலும் விடை காண உதவலாம்.
விடை
1.முதலைக் கண்ணீர் வடிக்கிறான்
2.முதலையும் மூ ர்க்கனும் கொண்டது விடா
3.முதலை தன் இடத்து மலை ஒத்த யானையையும் இழுத்துச் செல்லும்
4.முதலை நரியின் காலை விட்டு புங்க மரத்தின் வேரைப் பிடித்தது போல
Source book :–
பயன்படுத்திய நூல்- கழகப் பழமொழி அகர வரிசை, கழக வெளியீடு
மண்ணுண்ட கண்ண பிரானை நாம் அறிவோம். செங்கல் உண்ணும் பக்கிரப்பா செய்வதைக் கேட்டால் நமக்கு பகீர் என்ற உணர்ச்சி ஏற்படும். ஒரு நாளைக்கு மூன்று கிலோ செங்கல் சாப்பிடுகிறார். அதுவும் 20 வயது முதல். இப்போது வயது 30 என்று 2014ல் வெளியான லண்டன் மெட்ரோ நியூஸ் பேப்பர் எழுதுகிறது . ஆக 2020ல் அவருக்கு 36 வயது என்று சொல்லலாம். இந்த ‘பகீர்’ அப்பா கர்நாடகத்தில் வசிக்கிறார். முழுப் பெயர் ‘பக்கிரப்பா ஹுனகண்டி’ (Pakkirappa hunagundi) .
இது போன்று மயிர், மட்டை, கல், புல் ஆகியவற்றைத் தின்பதை மருத்துவர்கள் ‘பைகா’ (Pica) என்பர். சிறு குழந்தைகள் இதை அதிகம் செய்யும். தாய்மார்கள் தடுத்தவுடன் அந்த வழக்கம் அறுபட்டுப் போகும். சிலருக்கு வயதானபோதும் நீடிக்கும்.
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தீ உண்ணும் அக்கினி குமாரன்
அக்கினியை அல்வா போல அள்ளி , அள்ளிச் சாப்பிடும் ஒரு மனிதர்
பற்றி தின மலர் வெளியிட்ட செய்தியையும் இணைத்துள்ளேன் .
பெயர் பொன்னரசன்; தொழில் கூலி வேலை ;
ஊர் – கார்த்திகேயபுரம், குடியாத்தம், வேலூர் மாவட்டம்
பிரிட்டிஷ் அசுரன்- அரசன் ஹென்றி
.500 ஆண்டுகளுக்கு முன்னர் இங்கிலாந்தை ஆண்ட Henry VIII எட்டாம் ஹென்றி ஒரு பன்றி. ஆறு பேரைக் கல்யாணம் செய்து 2 பேரைக் கொன்று மற்ற இரண்டு பேரை டைவர்ஸ் Divorce /விவாக ரத்து செய்த அபகீர்த்தி உடையவன் . ஐந்தாம் மனைவி குழந்தை பிறந்தவுடன் செத்தாள் . ஆறாம் மனைவியை விழுத்தா ட்டுவதற்குள் அவரே ( எட்டாம் ஹென்றி) நோயால் செத்தார்.அப்போது அவருக்கு வயது 56. அவரைக் கிண்டல் செய்யும் படம் இது . தலை கீழாகத் திருப்பிப் பார்த்தாலும் அதே குரங்கு மூஞ்சி தெரியும்.
tags — மிஸ்டர் செங்கல்வராயன்,அசுரன்- அரசன் ஹென்றி, தீ உண்ணும், அக்கினி குமாரன்
Pictures are taken from various sources for spreading knowledge; this is a non- commercial blog. Thanks for your great pictures.
THANKS TO MR NANJAPPA FOR HIS INFORMATIVE ARTICLES ON SRI TYAGARAJA.
MR NANJAPPA CONCLUDES HIS SERIES ON SRI TYAGARAJA TODAY WITH THIS PART 34.
HIS ARTICLES WERE WELL RRECEIVED BY OUR READERS. HERE IS A VRY BRIEF PROFILE OF THIS SCHOLAR
Mr R Nanjappa is a learned man. He could write on various subjects with some authority. When he sent us meaningful and informative comments on our posts, we requested him to contribute to our blog regularly. He wholeheartedly agreed and bombarded us with scholarly articles. Y0u will see more of his contributions in coming days.
Mr R. Nanjappa has passed BA Economics (with history and political science) in 1962 and passed MA Economics in 1964- both from Madras University.
He joined a leading Bank in 1965 and voluntarily retired in 1998.
He worked in New Delhi, Nagpur, Ahmedabad, Bombay, Madras, Bangalore and Hyderabad offices in his career.
He is very much interested in literature, comparative religion and philosophy, sustainable or steady state economics, education and of course in music. In music his main interest is in Sahitya.
Over the years he has thoroughly studied the Collected Works of Mahatma Gandhi, the Complete Works of Vivekananda, complete works of Sri Aurobindo, literature relating to Sri Ramakrishna and Sri Ramana.
He has also read all the available works of Dr. Radhakrishnan.
He has read a fair selection of English poets, Shakespeare and Plato.
He has also read old Tamil literature but discursively.
In Management science, his favourite author is Peter Drucker.
He had studied the works of Arunagirinatha, and the Tevaram of the three and Tiruvachakam, and Kamba Ramayanam
Sanskrit classics and Gita are his favourites.
His favourite English novelists are Dickens and Hardy and of modern writers he likes only A.J.Cronin and Nevil Shute..
He is a collector of books!.
For the last twenty years, he along with his family is residing in Bangalore.
Tamilandvedas.com and swamiindology.blogspot.com thank him for his contribution.
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PART 34 OF SRI TYAGARAJA
Constant divine Consciousness
Sri Tyagaraja was in constant communion with his Ishtadevata, who is also the Paramatma, the Parama Purusha through all means prescribed in the scriptures- japa, puja, dhyana, kirtana, sravana, manana,etc. He experienced His presence in various ways, and in many moods., through all the faculties: tan, man ,vak. Though the bliss he enjoyed is incommunicable in words, and has to be felt by the aspirant -devotee by personal experience ( swanubhava vedhyame), yet he conveys it in His kritis. This is the greatness of great souls- they share their fortune with us.
Is Tyagaraja Sadguru?
How does Tyagaraja become the Sadguru?
Tyagaraja shows a clear, straight, uncomplicated path to Truth or Sat, which can be followed by any sincere aspirant in any or all situations, in the conditions of modern life.. There is no mystery or hidden element here. It is the open highway- the Kingsway- Rajamargam! It is the path of pure devotion to our chosen Deity.
Hinduism is like the modern multiplex Mall or departmental store. It contains everything. There are many levels. This variety and profusion of contents may itself be baffling! Many things are attractive and tempting. They are packaged and presented well. We may want or desire many of them. But do we need them all?
This is where a guide or mentor or senior may help us. Why have we entered the store? What do we need? What can we afford?
It is the job of the Guru to clarify matters. The Sadguru is like the specialist doctor. He is there not to please us, by saying the pleasant things, but for doing what is necessary to save us, cure us of our illness.
Tyagarja has diagnosed our illness: we are immersed in Samsara, the dark unfathomed ocean, the thick forest. This is the result of our own past karma.The ocean is deep, the forest is dark. But we have a boat to cross the ocean, we have a light to show us the way. The light is bhakti-devotion, the boat is the divine name. The Sadguru is the boatman.
The Sadguru is not only a verbal teacher- he communicates a subtle power, conveys a ray of supreme consciousness.The Sadguru is the concentrated essence of an entire tradition- giving us what is relevant for the times, what is suitable for us, what works here and now.
Distilled Wisdom
Hinduism abounds in scriptures, abounds in methods of Sadhana. But the scriptures were written at various times, by persons at different stages of realisation, and meant for people of different temperaments. It is like a huge drug store. We cannot simply enter it and take what appeals to us- like the old Wincarnis or Ferradol tonic bottles. All the Sadhanas found in the scriptures are not meant for everyone. It is the function of the Guru to tell us what the individual needs. It is the function of the Sadguru to tell us what suits an age – what works under the given/emerging circumstances.
Tyagaraja as the Sadguru has distilled the wisdom of ageless Hinduism and offers us what works in this part of the Kali Age.
Prescribes What Works
All the traditional methods of Sadhana can be grouped under the three or four broad heads of Yoga: Karma, Jnana/Raja, Bhakti. There is endless variety under each.But at the present state of the Kali Age, most of them do not work- they cannot be practised- the conditions are not propitious. Worship of Murtis at temples is one of the standard expressions of Bhakti. But are our temples so good now ? Are they even physically clean? Are the rituals performed scrupulously to maintain the sanctity of the place? Are the materials used pure? Above all, our temples are controlled by a secular government, whose only intention is to make money. Can we do anything to alter or improve matters?
But we can keep our hearts pure and clean, and make it the altar for the Deity we adore. This is a very personal expression of devotion. This is what Tyagaraja prescribes. Unless one realises Atmarama, he cannot find Ayodhya Rama!
Tyagaraja Upholds Tradition
Tyagaraja does not contradict our hoary tradition in any way. He has drawn from each main strand or element.
– He teaches us the ultimate Truth, effortlessly.. The Truth is that God alone is Real, ie Eternal, Permanent ;all else is transient phenomena.Thus his kritis are like Brahmavidya.
– He takes us near this Truth, by subtle teachings along the way, leading us by the hand, step by step. In this, his Kritis are like the Upanishads.
– He teaches us the definite method to reach the goal- total devotion and surrender to our Ishta Devata , by all that we do through our body, mind and speech. Thus this is the supreme Yoga Shastra that he imparts.
In other words, the Kritis of Tyagaraja are a restatement of the Gita!
In this, he has combined the teachings of our Veda-Upanishads, the Itihasas, the Puranas. He particularly resorts to Ramayana and Bhagavatam repeatedly.
We notice this characteristic in the talks of Sri Ramakrishna ,half a century later. In fact, Tyagaraja anticipates Sri Ramakrishna completely.
If we study the life and teachings of Sri Ramakrishana, , we will find that he said in his talks all that Sri Tyagaraja sang in his Kritis! For both, the practical path to Liberation in this Kali Age is the Royal path of Devotion, as shown by Sri Narada! The way of Vedic karma was not relevant or effective for this age, though it still had elements that could be followed. For them the primary base for practical religion and spirituual practice is the Itihasa-Purana.
Thus Sri Tyagaraja is the Forerunner of Sri Ramakrishna.
[ Sri Aurobindo has shown how every facet of Indian religion, including the Itihasa-Purana, Avatara vada, the bhakti cult has its origin and source in the Veda.]
Test the Guru!
How can we identify a Sadguru? How can we know whether he is our Guru?
We have to test him, we have to examine his life, not merely his words. Sri Ramakrishana used to say that one should test the guru ,by day and by night, as the jewellers test the coins. So testing, we find that Tyagaraja did not teach anything which he himself did not practise. At all times there was complete concordance between his thoughts , words and action.
How do we know whether he is our Guru?
There are two tests.
One is whether we derive Shanti by following his teaching. Does it give peace of mind? Does it enable us to face life’s problems? Sri Ramana Maharshi used to say that he is our Guru in whose presence we feel Shanti. Sri Arunagirinatha says: மனது துயரற, வினைகள் சிதறிட, மனது பதமுற = the teaching should remove or mitigate our mental anguish, enable us to deal with our karmic situation, and so mould our mental frame that we are reconciled to life. Apply this rule to Tyagraja’s teachings and see how they fare.
Second, does invoking his Grace help us in times of need, when we face difficulties? Most of us visit temples or holy men when we are particularly vexed by a problem, and desperately need a solution. A true Saint or Sage does help us. “Saints will aid if men will call, for the blue sky bends over all” sang Coleridge. A genuine saint is connected to the power of the Cosmos, and that power flows through him, even unconsciously. Fire cannot help burn; a true Saint cannot help helping! Sri Ramana Maharshi called it “Automatic Divine Activity”. True Saints/Sadguru is a channel for such power and blessing.
Contemporaries may not know!
We do not know how his contemporaries looked at Tyagaraja. That he was a devotee was recognised; that he was a musician was well known. But was he known as a Saint or a Guru?
This question does not really concern us. It is said that only twelve Rishis knew that Rama was an avatar in his time. Krishna says in the Gita that people take him to be a mere mortal and ridicule him. So it is no wonder if people of the time did not recognise Tyagaraja as guru. Even today, most people view Tyagaraja as a musical master..
But we have his whole life before us- revealed to us through his kritis. If we are not distracted by the admirable musical mode in which they are conveyed , but look at the message they contain, we cannot but marvel at the way they reflect the whole Hindu spiritual heritage down the ages .
Krishna did such a synthesis five thousand years ago: summarised the whole Vedic tradition and conveyed the message relevant for the times, in a non-partisan way! He said surrender to Bhagavan completely unreservedly by all means- He will save you! This is the same message conveyed by Tyagaraja in his kritis , five thousand years later. Both Gita and Tyagaraja kritis are not philosophical treatises but practical spiritual manuals. If this is clearly understood, there can be no doubt that Tyagaraja is a Guru and Sadguru of our times. Has anyone turned to Tyagaraja in distress, with faith and failed to find relief?
Tyagaraja-for musicians and non-musicians
Those who are musically gifted, can sing his kritis and soak themselves in their musical essence, and the rasa.. Those who cannot sing can study the kritis as sacred literature and soak themselves in their religious spread and spiritual depth. They can enjoy how effortlessly he connects us to our great past and the pastimes of Rama and Krishna and the galaxy of our great spiritual luminaries! In both cases it is amrut!
Sri Tyagaraja was not a mere musical phenomenon. He is not wholly for the musicians. Sri Tyagaraja is a spiritual light for the modern age, the most complete and non-partisan statement of practical Hindu wisdom for all earnest spiritual seekers, cutting across sectarian divisions and prejudices, bridging theological differences and philosophical divides. Sri Tyagaraja is the complete Sadguru for all spiritual aspirants in these confusing times, coming in the parampara of Narada and Vyasa, who merge the three hoary Hindu traditions of holy music, (Nada vidya) Adhyatmic wisdom (Veda vidya) and devotion distilled into the Divine Name ( Nama vidya)!
Tyagaraja’s music is but the medium- his message is devotion as the basic discipline of a truly spiritual life. We should not obscure the message in the medium! Tyagaraja himself sang:
Sangita jnanamu bhakti vina
Sanmargamu galade. manasa
Bhringi natesa samiraj ghataja
matanga naradalu upaasinche
Nyaya anyamu delusunu jagamulu
mayamayamane delusunu durguna
kayajati sahtripula jayinche
karyamu delusu tyakarajanike
Knowledge of Sangita bereft of devotion is valueless and cannot secure salvation.
The music practised by bhaktas like Bhringi, Natesa, Anjaneya, Agastya, Matanga and Narada
can alone secure it.
Tyagaraja who is able to distinguish between Nyaya and Anyaya, who knows that the world is Maya and who knows
also how to conquer the six inward enemies of man, Kama etc, knows this matter well.
[Translation by C.Ramanujachari]
Let us not forget the message in our love of the medium!
Vande Guru Paramparam!
Vande Sadgurum Sri Tyagarajam!
Nee Nama Rupa mulaku Nitya Jaya Mangalam
Om Tat Sat.
Acknowlegements:
:
By the grace of God, and the blessings of Sadguru Sri Tyagaraja, I had this great pleasure and fortune of sharing some thoughts on some Tyagaraja kritis and the light they throw on Tyagaraja as the Sadguru. I am not a scholar or musician.
Sri Tyagaraja is considered a composer, the foremost among the Carnatic Trinity. I always felt that Tyagaraja’s musical expression was the result of his spiritual experience and accomplishments. I kept studying his kritis as literature and found them to be the essence of our Vedanta, Itihasa, Puranas. The kritis are very deep in import and have extensive allusions to our scriptures. Not being a scholar or musician, I cannot do justice to either aspect. I have shared some ideas in his kritis that have given me both light and delight. I am happy to have been able to share them , in the thought that it may inspire others. Surely, there are other aspects of his Kritis which need exploring.
Tyagaraja is certainly a musical genius, but he is not primarily a musician, though this view may sound unusual. Tyagaraja was commissioned by God to show the confused people of the Kali Age, at a particularly difficult phase, the path of bhakti as the sure way to Liberation. He did this by the way he lived. He used his music as the means to convey this message, as a doctor gives sweetened medicines to fearful children. As he himself declares, his kritis, taught by Rama Himself, remove the fear of samsara- the greatest fear we have- Mahato bhayat, as the Gita describes it. For is not Rama Nama the Taraka Mantra?
The ant is not the elephant, obviously, but it too can carry a mouthful of sugar- its own mouth! It may be but a tiny bit by world’s standards, but it is the best it can deliver! ! I hope you enjoyed the bits here!
In the early 70s, I listened to Sri T.S.Balakrishna Sastrigal in Ahmedabad on the life and music of Tyagaraja ; I also attended some lectures of T.S.Parthasarathy, B.Madhavan and Dr.Krishnaswamy, all ardent devotees and scholars of Tyagaraja, in Madras in the late 80s. I was also fortunate to listen to one lecture by Sri Nookala Chinna Satyanarayana at Music Academy in 1987 or 88, on how the pancharatna kriti ‘Jagadanandakaraka’ contains 108 names of Rama!I have had the benefit of reading the books of Prof.P. Sambamoorthy, S.Y.Krishnaswamy, Rangaramanuja Iyengar, Dr.V.Raghavan, and William J.Jackson. I gratefully acknowledge the light I have derived from them all. Any faults here are entirely mine.
Pictures are taken from various sources for spreading knowledge; this is a non- commercial blog. Thanks for your great pictures.
tamilandvedas.com, swamiindology.blogspot.com
பறவை அதிசயம்
மெக்சிகோவில் யோகத்தான் பகுதியில் ஒரு அதிசயக் காட்சி கிடைத்தது பறவைகளே பறவை உருவத்தில் சற்று நேரம் நின்றன. நாம் வானத்தை அண்ணாந்து பார்க்கிறோம். சில நேரங்களில் மேகங்கள் யானை போல், சிங்கம் போல், அரசியல் தலைவர்கள் போல், சன்யாசிகள் போல் காட்சி தருகின்றன. நம்முடைய நண்பர்களைக் கூப்பிட்டுக் காட்டுவதற்குள் அவை கலை ந்து விடுகின்றன. . இந்தப் பறவைக் காட்சி நவம்பர் 23, 2010 மெட்ரோ பத்திரிகையில் வந்தது . இவை ப்ளமிங்கோ (Flamingo) எனப்படும் செங்கால் வண்ண நாரைகள் ஆகும்.
XXXX
ஒரு கிலோ புதையல் விலை 75 000 பவுன்; சாப்பிடலாம் !!
பிரிட்டனிலும் ஐரோப்பாவிலும் பலர் காடு மேடுகளில் புதையல் தேடி அலைகின்றனர் . அவை நிலத்துக்கு அடியில் விளைகின்றன. அவைகளை எடுத்து சாப்பிடலாம் ; மற்ற புதையல் போல பீரோவுக்குள் அல்லது பொருட்ககாட்சியில் வைக்கப்படுவதல்ல இவை.
இவைகளை ட்ரபிள்ஸ் (Truffles) என்று அழைப்பர்.இவை நிலத்துக்கு அடியில் வளரும் காளான் (Fungus) வகைத் தாவரங்கள். இவற்றுக்கு தனி மனமும் குணமும் உண்டு. இதன் அபூர்வத்தன்மையும் இதன் விலையை ஏற்றிவிடுகின்றன. சிறு கிழங்குகள் போல இருக்கும் ; இவைகளைப் பல வகைகளில் சமைத்து உண்பர். சமையல் அறை வைரங்கள் (Diamonds of Kitchen) என்றும் பெயர். ஐரோப்பாவில் அதிகமாகவும், அமெரிக்கா , ஆஸ்திரேலியாவில் குறைவாகவும் பயன்படுகிறது. நூற்றுக் கணக்கான வகைகள் இருந்தாலும் சிலவற்றுக்கு அதிக விலை மதிப்பு.
இதன் விலை சுமார் ஒரு கிலோ (950 கிராம்) 75,000 பவுன் (சுமார் 75,000 X நூறு ரூ பாய் = 7,50,0000). ஆல்பா (White Alba Truffles) வகை ட்ரபிள்களை ஹாங்காங் மனிதர் ஒருவர் இந்த விலைக்கு வாங்கினார் என்று 11-11-2013 மெட்ரோ நியூஸ் பேப்பர் செய்தி கூறுகிறது.
பன்றி நாய் முதலியன இவற்றை முகர்ந்து கண்டுபிடித்து நிலத்தைத் தோ ண்டி எடுத்து உண்கின்றன. இதனால் இவைகளை பழக்கி புதையல் வேட்டை நடத்துகின்றனர். தற்போது இந்த நிலத்தடி காளான் வகைகளை பயிர் செய்யும் உத்திகளையும் கண்டு பிடித்துவிட்டனர்
மரங்களின் வேர்களுக்கு அருகில் பூமிக்குள் வளரும் இந்த காளான் வகை, மரத்திலிருந்து கார்போ ஹை ட்ரேட்டைப் பெற்றுக்கொண்டு சிலவகை சத்துக்களை மரங்களுக்கு அளிக்கின்றன ; இது ஒரு வினோதமான கூட்டுறவு. நாய்களும் பன்றிகளும் தோண்டி எடுக்கும் காளான் வகைகளில் டை மெத்தைல் ஸல்பைட் (Dimethyl Sulphide) இருப்பது கண்டுபிடிக்கப்பட்டுள்ளது. நீங்களும் நிலத்தைப் பிறாண்டுங்கள் ; புதையல் கிடைத்தாலும் கிடைக்கலாம் .
tags –புதையல், ட்ரபிள்ஸ் (Truffles) , பறவை அதிசயம்
