ಶ್ರೀ #ಜಗನ್ನಾಥದಾಸ ವಿರಚಿತ ಶ್ರೀ #ಹರಿಕಥಾಮೃತಸಾರ CANTO 14 (Jeevana Prakriya Sandhi) ಸಂಧಿ 14 (ಜೀವನ ಪ್ರಕ್ರಿಯಾ ಸಂಧಿ)

ಶ್ರೀ #ಜಗನ್ನಾಥದಾಸ ವಿರಚಿತ ಶ್ರೀ #ಹರಿಕಥಾಮೃತಸಾರ

CANTO 14 (Jeevana Prakriya Sandhi)

ಸಂಧಿ 14 (ಜೀವನ ಪ್ರಕ್ರಿಯಾ ಸಂಧಿ)

416.     ತಂತುಪಟದಂದದಲಿ ಲಕ್ಷ್ಮೀ-

            ಕಾಂತ ಪಂಚಾತ್ಮಕನೆನಿಸಿ ವಸು-

            ಕಂತುಹರ ರವಿ ಕರ್ತೃಗಳೊಳಿರ್ದನವರತ ತನ್ನ|

            ಚಿಂತಿಸುವ ಸಂತರನು ಗುರುಮ-

            ಧ್ವಾಂತರಾತ್ಮಕ ಸಂತಯಿಸುವನು

            ಸಂತತಖಿಳಾರ್ಥಗಳ ಪಾಲಿಸಿ ಇಹಪರಂಗಳಲಿ||4||

            TantupaTadandadali Lakshmee-

            kAnta panchAtmakanenisi vasu-

            kantuhara ravi katrugaLoLirdanavarata tanna|

            chintisuva santaranu guruma-

            dhwAntarAtmaka santayisuvanu

            santatakhiLArthagaLa pAlici iyaparangaLali||4||

SUMMARY: Sri Hari, the beloved of Goddess Lakshmi and the Lord in the heart of Guru Madhwa, stays within the performers of Shraddha or death anniversary, Vasu, Rudra as well as Aditya, like a Tantupata – a heterogeneous whole or a solid made of small dots –in the name of Pancharoopatmaka, and always consoles the virtuous who think of him. Besides, he takes care of them in the world here and the hereafter.

Kantu means Kama or Lust and Kantuhara is one of the names of Lord Shiva, who burnt Manmatha, the God of Love and Lust.  

417.     ತಂದೆತಾಯ್ಗಳ ಪ್ರೀತಿಗೋಸುಗ

            ನಿಂದ್ಯಕರ್ಮವ ತೊರೆದು ವಿಹಿತಗ-

            ಳೊಂದು ಮೀರದೆ ಸಾಂಗ ಕರ್ಮಗಳಾಚರಿಸುವವರು|

            ವಂದನಿಯರಾಗಿಳೆಯೊಳಗೆ ದೈ-

            ನಂದಿನದಿ ದೈಶಿಕ ದಹಿಕ ಸುಖ-

            ದಿಂದ ಬಾಳ್ವರು ಬಹುದಿವಸದಲಿ ಕೀರ್ತಿಯುತರಾಗಿ||5||

            TandetAygaLa preetigOsuga

            Nindyakarmava toredu vihitaga-

            Londu meerade sAnga karmagaLAcharisuvavaru|

            VandaniyarAgiLeyoLage dai-

            Nandinadi daishika dahika sukha-

            Dinda bALwaru bahudivasadali keertiyutarAgi||5||

SUMMARY: Those discard insane or barred acts for the love and affection of their parents and go on indulging or carrying out the prescribed obeisance without crossing the limits of any of such acts will earn respects from all on earth. They will live for long years with all visual and physical happiness and popularity or fame and name.   

The significance and benefits of performing anniversaries of departed parents, grandparents and other ancestors are many and multiple. It is the duty of every son to perform the anniversary, year after year, in the prescribed manner, without committing mistakes in the chanting of hymns, without committing mistakes in the actions through hands and with all interest, positive spirits.

In Harivamsha, Bhagavata, Smrutis and Bhagavad Gita and various Smrutis the importance of tendering Rice Balls (Pinda) to deceased parents and grandparents in the right manner, strictly under the guidance of a well conversant priest has been explained. A few stanzas from Harivamsha are quoted hereunder.

            श्राद्धानि पुष्टिकामाश्च यॆ करिष्यन्ति मानवाः।

तॆभ्यः पुष्टिं प्रजाश्चैव दास्यन्ति पितरः सदा॥

श्राद्धॆ यॆ च प्रदास्यन्ति त्रीन् पिन्ढान् नामगॊत्रतः।

सर्वत्र वर्तमानाम्स्तान् पितरः सपितामहान्।

भावयिश्यन्ति सततं श्राध्धदानॆन् तर्पिताः॥हरिवंश 1/17/39-40॥

ShrAddhAni puShTikAmAshcha Ye kariShyanti mAnavAha|

TEbhyaha puShTim prajAshchaiva dAsyanti pitaraha sadA||

ShrAddhE YE cha pradAshyanti treen pinDAn nAmagOtrataha|

Sarvatra vartamAnamstAn pitaraha sapitAmahAn|

BhAvayiShyanti satatam shrAddhadAnEna tarpitAha||Harivamsha 1/17/39-40

पित्रून् प्रीणाति यॊ भक्त्या पितरः प्रीणयन्ति तम्।

यच्छन्ति पितरः पुष्टिं प्रजाश्च विपुलास्तथा॥

स्वर्गमारॊग्यमॆवाथ यदन्यदपि च्गॆश्टितम्।

दॆवकार्यादपि मुनॆ पितृकार्यं विशिष्यतॆ॥हरीवंश – 1/18/73, 74॥

            PitrUn preeNAti Yo bhaktyA pitaraha preeNayantE tam
|

            YachChanti pitaraha puShTim prajAshcha vipulAstathA||

            swargakArOgyamEvAtha yadanyadapi chEpsitam|

            dEvakAryAdapi munE pitrukAryam vishiShyatE||Harivamsha – 1/18/73,74||

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SRI #MADHWAVIJAYAHA – CHATURDASHAHA SARGAHA SHLOKAS 21, 22 and 23 (55)

ಶ್ರೀ #ಮಧ್ವವಿಜಯ – ಹದಿನಾಲ್ಕನೇ ಸರ್ಗದ 21, 22 ಹಾಗೂ 23ನೇ ಶ್ಲೋಕಗಳ ಅರ್ಥವಿವರಣೆ (55)

ಸಪದಿ ದದೃಶುರೇಕೇ ವಾಚನೀಯಾದಿಭಾಗಂ

ಪರಿಚಯಪಟುತಾಭ್ಯಾಂ ತಾವದೇಕೇ ಚಿರೇಣ|

ಹರಿಗುರುನಮನಂ ದ್ರಾಗ್ಯತ್ನತೋsಮೀ ವಿಧಾಯ

ಪ್ರಯಯುರಪರಸಾಮ್ಯಂ ಸಿದ್ಧಯೇ ಸ್ಯಾದ್ಧಿ ಯತ್ನಃ||21|| 

सपदि ददृशुरॆकॆ वाचनीयादिभागं परिचयपतुताभ्यां तावदॆकॆ चिरॆण।

हरिगुरुनमनं द्राग्यत्नतॊsमी विधाय प्रययुरपरसाम्यं सिद्धयॆ स्याद्धि यत्नः॥21॥

Sapadi dadrushurEkE vAchaneeyAdibhAgam

parichayapaTutAbhyAm tAvadEkE chirENa|

Harigurunamanam drAgyatnatO(s)mee vidhAya

prayayuraparasAmyam sidDhayE syAdDhi yatnaha||21||

SUMMARY: A few disciples, because of their studious skills, immediately went through the earlier portion of the textbooks; a few others did it a tad slowly. Still, even they could, due to special efforts, complete the salutations and obeisances to Hari and Guru, quite quickly and joined the other disciples. Is it not the practice and continuous efforts that are essential for any achievement?

 Sri Madhwacharyaru, in his Mahabharata TAtparya NirNaya, has clearly stated:

 “PrayatnamEkamagratO nidhAya bhUtimApnumaha” and “vinA yatnam na haThO nApi karma”| “na vyarthatA pauruShasya” and he had trained his disciples in the same manner. He had emphasised on the “interest” factor for all sorts of efforts.  

ಯತವಚಸಿ ಜನೇsಸ್ಮಿನ್ನಾನತೇ ಸನ್ನಿರಸ್ಯನ್

ಸಿಚಯಯವನಿಕಾಂ ತಾಂ ಸಾಂಧ್ಯಜೀಮೂತರಕ್ತಾಂ|

ರವಿರಿವ ರವಿಪೂಜ್ಯಾಂಘ್ರಿಃ ಸಮಾಜಾಂತರಿಕ್ಷೇ

ವ್ಯಲಸದತಿಶಯಾಲುಃ ಸನ್ ಸಹಸ್ರಪ್ರಕಾಶಃ||22||

यतवचसि जनॆsस्मिन्नानतॆ सन्निरस्यन् सिचययवनिकां तां सान्ध्यजीमूतरक्ताम्।

रविरिव रविबूज्यान्घ्रिः समाजान्तरिक्षॆ व्यलसदतिशयालुः सन् सहस्रप्रकाशः॥22॥

Yatavachasi janE(s)sminnAnatE sannirasyan

sichayayavaikAm tAm sAndhyajeemUtaraktAm|

Raviriva ravipUjyAnghrihi samAjAntarkShE

VyalasadatishayAluhu san sahasraprakAshaha||22||

SUMMARY: With those who had saluted him sitting quietly, Sri Poornaprajnaru, whose feet are saluted by Lord Sun too, whose brightness was sharper than the thousands of rays of Sun’s light, removed his shawl that was red like the red clouds during the dusk, sparkled in that sky-like assemblage like Sun.

JeemUta means Cloud and Sichaya means clothe.

ತ್ರಿಭುವನವರತೇಜೋವ್ಯಕ್ತವೇದಾರ್ಥಶುಕ್ಲ-

ತ್ರಿತಯರಸತಯಾ ಯೇ ವರ್ಣಿತಾ ವರ್ಣವರ್ಯಾಃ|

ಪೃಥುಮತಿರಥ ತೇಷಾಮೈಕ್ಯಮಾಪಾದ್ಯ ಸಮ್ಯಕ್

ಪ್ರವಚನಪರಿಶುದ್ಧ್ಯೈಸ್ಮಪ್ರಣೌತಿ ಪ್ರವೀಣಃ||23||

त्रिभुवनवरतॆजॊव्यक्तवॆदार्थशुक्लत्रितयरसतया यॆ वर्णिता वर्णवर्याः।

पृथुमतिरथ तॆषामैक्यमापाद्य सम्यक् प्रवचनपरिशुद्ध्यैस्मप्रणौति प्रवीणः॥23॥

TribhuvanavaratEjOvyaktavEdArthashukla-

TritayarasatayA yE varNitA varNavaryAha|

Pruthumatiratha tEShAmaikyamApAdya samyak

pravachanaparishuddhyaismapraNauti praveeNaha||23||

SUMMARY: Sri Poornaprajnaru pronounced the paradigm Omkara, which is the best among the three Castles or worlds such as Pruthwi (earth), AntarikSha (Sky) and Dyu; which gets presented through three spirits such as Agni (Fire), Vayu (Air) and Aditya (Sun); which consists of the meanings of three Vedas such as Ruk, Yajus and SAma, as expressed through BhUhu, Bhuvaha and Swaha and which is explained and described as the gist of three VyAhrutis or sounds of vowels such as “A”, “U” and “Ma”, together.

The meaning of this stanza can be briefly explained by saying that Sri Madhwacharyaru began his Class or Discourse with the sound of Paradigm, emphasising the fact that all holy chants should be begun and ended with the expression of OM or the paradigm or the OmkAra, without which the chants lose their value. Without the expression of paradigm at the beginning as well as the end of any chant, the knowledge just evaporates.

It is mentioned in Smrutis as “sravatyanOnkrutam Brahma parastAchcha visheeryatE”| and further it is mentioned in Anuvyakhyana: “Tatra tArAthamUlatwam sarvashAstrasya chEShyatE”|

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Sri #Jagannathadasa virachita SRI #HARIKATHAMRUTASARA ಶ್ರೀ #ಜಗನ್ನಾಥದಾಸ ವಿರಚಿತ ಶ್ರೀ #ಹರಿಕಥಾಮೃತಸಾರ CANTO 14 (Jeevana Prakriya Sandhi) ಸಂಧಿ 14 (ಜೀವನ ಪ್ರಕ್ರಿಯಾ ಸಂಧಿ)

Sri #Jagannathadasa virachita SRI #HARIKATHAMRUTASARA

ಶ್ರೀ #ಜಗನ್ನಾಥದಾಸ ವಿರಚಿತ ಶ್ರೀ #ಹರಿಕಥಾಮೃತಸಾರ

CANTO 14 (Jeevana Prakriya Sandhi)

ಸಂಧಿ 14 (ಜೀವನ ಪ್ರಕ್ರಿಯಾ ಸಂಧಿ)

Jeevana means life, Prakriya means manner. This Canto focusses on the way of life. It lays down certain principles to be followed in life, as explained in Shrutis and Smrutis.

413.     ಕೃತಿರಮಣಪ್ರದ್ಯುಮ್ನ ವಸುದೇ-

            ವತೆಗಳಾಹಂಕಾರತ್ರಯದೊಳು

            ಚತುರವಿಂಶತಿ
            ರೂಪದಿಂದಲಿ ಭೋಜ್ಯನೆನಿಸುವನು|

            ಹುತವಹಾಕ್ಷಾಂತರ್ಗತ ಜಯಾ-

            ಪತಿಯು ತಾನೇ ಮೂರಧಿಕ ತ್ರಿಂ-

            ಶತಿ ಸುರೂಪದಿ ಬೋಕ್ತೃ ಎನಿಸುವ ಭೋಕ್ತೃಗಳೊಳಿರ್ದು||1||

`           KrutiramaNapradyumna vasudE-

            vategaLAhankAratrayadoLu

            chaturavimshati rUpadindali bhOjyanenisuvanu|

            HutavahAkShAntargata jayA-

            Patiyu tAnE mUradhika trim-

            Shati surUpadi bhOktru yenisuva bhOktrugaLoLirdu||1||

SUMMARY: Sri Hari, who is always fond of creating, recreating and acting, in his form of Pradyumna, stays within the Vasudevatas and in pride/vanity forms in twenty-four forms and gets called as BhOjya or consumable. Lord Jayapati Sankarshana, the God within Lord Shiva, who has   Agninetra or fire-like eyes, in thirty-three pleasant forms, and within the consumers or enjoyers, and gets called as Bhoktru, one who enjoys.

There are three types of vanity or pride or Ahankar called Vaikarika, Taijasa and Tamasa.

The twenty-four Rupas or forms, which have been explained earlier, refer to four forms in each of the six Rasas or juices namely Suruchi, Ruchira, Sugandha and Shuchi, which means good taste (delicious), durable taste, odorous and pure, respectively.

The thirty-three forms refer to the original form called Amshi, Amsha or forms taken during incarnations and Jeevantaryami or the form intrinsic in the Jeeva or life. Since all these three forms are in the YEkAdhasha Rudras, separately, they make up for thirty-three forms.    

414.     ಆರಧಿಕಮೂವತ್ತು ರೂಪದಿಂದಲಿ       

            ವಾರಿಜಾಪ್ತನೊಳಿರುತಿಹನು ಮಾ-

            ಯಾರಮಣ ಶ್ರೀವಾಸುದೇವನು ಕಾಲನಾಮದಲಿ|

            ಮೂರುವಿಧ ಪಿತೃಗಳೊಳು ವಸು ತ್ರಿಪು-

            ರಾರಿಯಾದಿತ್ಯಗನಿರುದ್ಧನು

            ತೋರಿಕೊಳ್ಳದೆ ಕರ್ತೃ ಕರ್ಮ ಕ್ರಿಯನೆನಿಸಿಕೊಂಬ||2||

            Aaradhikamoovattu roopadindali

            VArijAptanoLirutihanu mA-

            yAramaNa SreevAsudEvanu kAlanAmadali|

            MUruvidha pitrugaLoLu vasu tripu-

            rAriyAdityaganiruddhanu

            tOrikoLLade kartru karma kriyanenisikomba||2||

SUMMARY: Sri Hari, who is Mayaramana or one who loves mystic and magical powers, is present in Lord Sun in a form called Kala or time in thirty-three forms. In the three forms of ancestors namely Vasu, Rudra and Aditya, he stays in them as Aniruddha, remains invisible and gets called as Kartru or the performer, Karma or deed or action and Kriye or physical movements. There are Dwadasha or twelve Adityas or Suns; hence, his presence in the twelve Suns in three forms namely Amshi, Amsha and Antaryami, become thirty-six forms.

415,     ಸ್ವವಶ ನಾರಾಯಣನು ತಾ ಷ-

            ಣ್ಣವತಿ ನಾಮದಿ ಕರೆಸುತಲಿ ವಸು-

            ಶಿವ ದಿವಾಕರ ಕರ್ತೃ ಕರ್ಮ ಕ್ರಿಯೆಗಳೊಳಗಿರ್ದು|

            ನೆವವಿಲ್ಲದೆ ನಿತ್ಯದಲಿ ತ-

            ನ್ನವರು ಮಾಡುವ ಸೇವೆ ಕೈಕೊಂ-

            ಡವರ ಪಿತೃಗಳಿಗೀವನಂತಾನಂತ ಸುಖಗಳನು||3||

            Swavasha NArAyaNanu taa Sha-

            NNavati nAmadi karesutali vasu-

            Shiva DivAkara kartru karma kriyegaLoLagirdu|

            Nevavillade nityadali ta-

            nnavaru mADuva sEve kaikon-

            Davara pitrugaLigeevanantAnanta sukhagaLanu||3||

SUMMARY: The ever-independent Lord Narayana exists within Vasu, Rudra, Divakara, Kartru, Karma and Kriya in the name of ShaNNavati, enjoys the services rendered to him by the devotees without any desires for other things and provides the ancestors with eternal bliss, peace and pleasure.

There are eight Vasus; eleven Rudras and twelve Suns and the total of these deities comes to thirty-one. In each of these thirty-one forms, Lord Narayana exists in three forms each, which comes to ninety-three and by adding Kartru, Karma and Kriye – the other three forms, the total number of forms comes to ninety-six.    

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SRI #MADHWAVIJAYAHA – CHATURDASHAHA SARGAHA SHLOKAS 18, 19 and 20 (55) ಶ್ರೀ #ಮಧ್ವವಿಜಯ – ಹದಿನಾಲ್ಕನೇ ಸರ್ಗದ 14, 15, 16 ಹಾಗೂ 17ನೇ ಶ್ಲೋಕಗಳ ಅರ್ಥವಿವರಣೆ (55)

SRI #MADHWAVIJAYAHA – CHATURDASHAHA SARGAHA SHLOKAS 18, 19 and 20 (55)

ಶ್ರೀ #ಮಧ್ವವಿಜಯ – ಹದಿನಾಲ್ಕನೇ ಸರ್ಗದ 18, 19 ಹಾಗೂ 20ನೇ ಶ್ಲೋಕಗಳ ಅರ್ಥವಿವರಣೆ (55)

ನಿಹಿತಮುಚಿತಮುಚ್ಚಂ ಯೋಗಪೀಠಂ ಪ್ರವಕ್ತುಃ

ಪರಿಷದಿ ಪರಿತೋsಮೀ ಸತ್ವರಾಃ ಸತ್ತ್ವಭಾಜಃ|

ದ್ರುತಮವಸಿತಕೃತ್ಯೈರ್ಧನ್ಯಸಂನ್ಯಾಸಿವರ್ಗೈಃ

ಶ್ರವಣಪರಮಕೃತ್ಯಾಯೋಪತಸ್ಥುಃ ಸಮೇತಾಃ||18||

निहितमुचितमुच्चं यॊगपीठं प्रवक्तुः परिषदि परितॊमी सत्वराः सत्त्वभाजः।

द्रुतमवसितकृत्यैर्धन्यसन्यासिवर्गैः श्रवणपरमकृत्यायॊपतस्थुः समॆताः॥18॥

Nihitamuchitamuchcham yOgapeeTham pravaktuhu

pariShadi paritO(s)mee satwarAha sattwabhAjaha|

DrutamavasitakrutyairdhanyasanyAsivargaihi

shravaNaparamakrutyAyOpatasthuhu samEtAha||18||

SUMMARY: The hurriedly moving, Satwik pupils quickly completed their routine duties and assembled around the specially arranged elevated seat that had been set in the discourse Mantap, along with groups of great saints for the most important work of listening to the philosophical lessons of Sri Madhwacharya, the distinguished Instructor.

The pupils and saints were getting ready quickly to hear the lessons of eloquent master Sri Madhwacharyaru, after finishing their routine early morning duties. 

ಬಭುರಮಲಗುಣಾನಾಂ ಶೋಭನಾಚ್ಛಾದನಾನಾಂ

ಮುರರಿಪುನಿಲಯಾನಾಂ ಹಂತ ವೈದಾಂತಿಕೀನಾಂ|

ಸಪದಿ ಸುವಿವೃತಾನಾಮಂತರರ್ಥಾ ಧಿಯಾಂ ವಾ

ವಿವಿಧಕವಲಿಕಾನಾಂ ಸಂಚಯಾಃ ಪತ್ರಿಕಾಣಾಂ||19||

बभुरमलगुणानां शॊभनाच्छादनानां मुररिपुनिलयानां हन्त वैदान्तिकीनाम्।

सपदि सुविवृतानामन्तरर्था धियां वा विविधकवलिकानां सन्चयाः पत्रिकाणाम्॥19॥

BabhuramalaguNAnAm shObhanAchChAdanAnAm|

Sapadi suvivrutAnAmantararthA dhiyAm vA

vividhakavalikAnAm sanchayAha patrikANAm||19||

SUMMARY: Various volumes of Talapatra, which are the places where Lord Krishna always resides, tied into pure bundles that are covered with beautiful clothes; they are opened during the listening sessions that are focussed on Vedanta and Shastras, are shining as though they are the intrinsic meanings that start glowing within the mind.

In this stanza, the existence of Lord Vedavyasa in the books of Vedas, Shastras has been explained. It also mentions that every word and each syllable is in praise of the Lord.

Kavalikas means the pages within a book on one hand and a place specially meant for keeping books on the other hand. In other words, it means book racks.  

ಅನತಿವಿರಲಭಾವಾ ಅಪ್ಯನನ್ಯೋನ್ಯಸಂಗಾ

ಋಜುತರತತನಾನಾಪಂಕ್ತಿಸಾಮ್ಯಾಪ್ತಶೋಭಾಃ|

ದ್ವಿರದತುರಗದೇಶ್ಯಾ ದೂರತೋ ವರ್ಜಿತಾಂತಾಃ

ಕುಶಲಲಿಖಿತರೂಪಾ ರೇಜಿರೇ ತೇಷು ವರ್ಣಾಃ||20||

अनतिविरलभावा अप्यनन्यॊन्यसन्गा ऋजुतरततनानापन्क्तिसाम्याप्तशॊभाः।

द्विरदतुरगदॆश्या दूरतॊ वर्जितान्ताः कुशललिखितरूपा रॆजिरॆ तॆषु वर्णाः॥20॥

AnativiralabhAvA apyaanyOnyasangA

RujutaratatanAnApangtisAmyAptashObhAha|

DwiradaturagadEshyA dUratO varjitAntAha

kushalalikhitarUpA rEjirE tEShu varNAha||20||

SUMMARY: The letters written beautifully by expert calligraphers in those papers (made with a special specie of Date Tree) were shining brightly; the writing was specially sparkling with several lines that were not closely knit nor spread awkwardly, were straight, long and included Ashwalipi and Gajalipi, allowing adequate space on all sides.

This stanza explains how any writing should be. The lines should not be intertwined; there should be healthy space between lines and between words. Lines should be straight, of equal size or length and lengthy too.   

TuragadEshyA means Ashwalipi, which refers to small letters and Gajalipi means large letters.

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