Swami Jayadevar - Page 2

Marriage now happened between Padmavathi and Jayadevar. They both now performed Krishna seva together. The ashram now became a griham. Sadhu seva, bhagavath kainkaryam was being done as this is the main activity of a grihasta. Like Kannan and Radhai, the ashram became filled with bhakthi rasam when until now it was just filled with bhakthi yogam. Only now Jayadevar started to understand what bhakthi fully was. 

Now as the bhakthi became like a rasam, Jayadevar started to like it very much and he started to appreciate Padmavathi's kainkaryam, he also started to like the various rasams described by padmavathi and his bhakthi started to blossom tenfold. While performing abhishekam, Jayadevar would pour out all of the abhishekam at once on top of the vighraham of Sri Krishna, but then Padmavathi would say “Why don't you pour slowly as Sri Krishna would become breathless and then Jayadevar would think, “Oh! Why did I not know this. When performing archanas with flowers, padmavathi would tell not to put the flowers all over the bhagavan at once and cover it but instead spread all around so that while doing the archana we could have the grace of the beauty of Kutti krishna and be able to see the thiruvadi of the bhagawan. 

Thus he started to like, to do and understand based upon the suggestions made by Padmavathi very much and he started learning the loving ways of performing kainkaryam to the bhagawan. Even so when tying vasthrams, Padmavathi would give some suggestions on how to tie the vastrams differently as she now said, "instead of the same blue black vastram, you can put the yellow one and the red one here on the top and see how nice it looks". At this point Sri Anna would joke to say that only school uniforms will be blue like that.

Jayadevar started to think, 'oh that's a very good idea, why did I not think of that before'. He felt that Padmavathi was showing the way to him to perform bhakthi as a rasam and as Padmavathi started singing, Jayadevar, himself being a poet, his poetic instincts started to flower. Now we ponder as to why Valmiki Ramayana is so good, it is because it came on its own, the kavyam should come on its own.

Because of his poetic instincts, krishna bhakthi and the recently gained rasam, Jayadevars heart started to pour kavyams. This kayvam in the form of the gita slokas started flowing and he started to teach Padmavathi how to dance. Thus, when performing krishna seva, bhakthi should not be publicized, as long as bhakthi is 'ekantham' and ('anyonyam') solitary, it will be as wonderful as it can be. So the young couple were more of prema bhakthas.

Jayadevar considered Padmavathi not as his better half but as a krishna dasi. Padmavathi in turn felt herself as Jaya and Jayadevar as padma and they were like two sakhis for the Lord Sri Krishna. Both of them dancing in front of Sri Krishna, their shringaram was like bhakthi shringaram. Not like the worldly shringaram. In all his Krishna leelas, Brindavanam prasidha leela, Kandithaa Varnanam leela is most prominent, "Maana leelai" is another name for it.

Sri Sri Anna described in the later part of the discourse that in the leelais described by Jayadevar, the leelai famous in Brindavanam is "Kanditha varnanam". This is called Maana Leelai. This leelai is well known in Tamil Nadu in Vishnu Alayam Temples called "Pranaya Kalaga Uthsavam (Mattayadi Utsavam)". This is a very rasamana uthsavam. Describing this uthsavam is the "Gita Govindam" which otherwise is called Maana Leelai.

In this uthsavam, it is said that generally Perumal would go often and come back without telling Thaayar about it or taking Thaayyar with him. Should Perumal not take Thaayyar? Thaayyar would always be left at home only as Perumal won't take Thayaar with him. But Thaayaar would come to know where Perumal went somehow or the other. Now when Perumal returned, Thaayaar would stop Perumal at the door itself and tell Perumal to stay outside and won't let him inside. But the way Thaayaar would say is described very nicely by Sri Anna. Thaayaar would not say "Don’t come in", she cant say like this, can she tell so? Instead Thaayar will say “Those who are outside, let them be outside, those inside let them be inside itself”. Finally when NammAzhwar to whom Thaayar would always listen, would tell Thayyar, 'how can you do this and let Perumal be outside, please do let him inside'. This is the uthsavam called as "Pranaya Kalaga Uthsavam (Mattayadi Utsavam)" conducted during "Phalguni Thirunal". 

Describing this Uthsavam in the Gita Govindam is otherwise called "Maana Leelai". Based on this foundation, in the mangala slokam of Gita Govindam, "Brahmavarthadi Brahmavaivarthadhi" which is in the puranas there is one Radha Krishna leelai told in a short manner. Purana leelais are not much liked by rasikas, they like the satsanghAnubhavam kind of leelais which they would most like to sing. This Purana Pramana told in a single sloka, is the very famous "Radha Kalyanam". This is "Puraanothammana" method.

Nandagopan is getting ready to tend to the cows. Chinna Kannan was the favorite of his father. Kannan would say, "I also want to come with you" to his father. But Nandagopan would say, "Do stay at home and be good. It looks its going to rain a lot". But Chinna Kannan would not listen and start to cry. He would come crawling and sit on his fathers lap. Then Nandagopan would carry him in his shoulders and start to tend the cows with kutti kannan holding onto the turban of Nandagopan. 

The cows are now grazing. Suddenly Brinda devi with her Maya power opens the clouds. Small drops of rain also start to fall immediately. Now there is thunder too. There are lots of "Thamaala Marams" and then small pellets of rain start to fall and then accompanied with loud thunders, rain starts to pour down heavily and the sky is growing dark. There were lots of Thamaala marams present there, usually Thamaala maram will always be black and it will give a lot of shade. But underneath it, it will be very dark, this tree grows only on the banks of Yamuna and Brindavanam. There are lots of Thamaala Maram and now due to clouds it became dark as well as being shrouded with the presence of these many Thamaala Marams. 

Nandagopan starts to worry that little krishnan will become afraid. As he starts to think that he can go away home quickly with the cows, the cows start to run helter-skelter. Nandagopan is not able to herd them together as he is carrying little krishnan. He asks Kanna lovingly, "can you sit here for sometime, I will go and get the cows -  "Go Kuttis" together and come back. Be a good boy".

Opening his turban and spreading it, he makes little kannan sit on it and he goes away to tend to the cows. Before he could drive the cows together, rain starts to splatter very heavily now. As the thunder and rain starts to pour heavily, little krishna began to cry and called out to his father. Suddenly there was a bolt of lightning and a 12 year old Radha in "Avirbhoota swaroopam" appeared. As Krishna in Rasa-Leelai appeared, in the same manner Radha appeared now. She took Kannan in her arms and putting him on her hips started to go. 

Nandagopan sees this from afar. But when he sees Radha taking away Krishna he is quite relieved. "Radhe Griham Prapaye! Radhe Griham Prapaye! Radhe! Please take the child and leave him home", says Nandagopan. As Radha was walking on the banks of River Yamuna, a beautiful nikuncham and watching the child krishna, Radhe says "Kanna! Give me a Divya Mangala roopadarshanam suited to myself as the present child roopam is the loved roopam of Yashodha. 

As soon as Radha says that, SAKSHAN MANMATHA MANMATHAHA!!!. Sri Krishna now stands before Radhe as a 16 Year old Krishna. Seizing this opportunity, Brahmadevan looking at this divya dampathi roopams, thought then and there to perform a "Thirukalyanam" and then purana story continues. Brahma came there, Go loka sakhis came, kamadhenu, kalpakavriksham came, devathas and devatha sthris came there. "Radhakalyanam", if its wished to be performed in an yEthoTTHamma way, then an "yEthoTTHamana Vivaham (kalyanam)" happened as is told in the puranas. But its told in the purana reethi way also. yEthoTTHamma way is performed by Brahma devan which is a Vivaha Uthsavam. 

Notwithstanding this leelai alone, many many leelais of this kind were performed on the banks of River Yamuna. What bhagyam has River Yamuna done? On this basis Jayadevar started to write a beautiful story....

Krishnan did not have a single nayaki, there were many gopikas. Single = Rama, Many = Krishna. Thus there were potential for many disagreements, disappointments due to being pulled from so many, as Krishnan belonged to many. Krishna had this difficulty. Radha wanted to come and see Krishna but who came in between. All the Mahans themselves could not say "Radha" name itself and how can we say the name of it. Sukacharya doesn't mention the name of the "Ashta Sakis" or the "Gopikas" at all. Did not mention anyone's name. Atleast Vyasa mentioned in the puranas "Radha" once where one Gopi is mentioned as the name. Even that is too much said 'Hitaharivamasar'. Apart from Brindavanam nowhere else it should be mentioned. 

Now Viraha tapam is mentioned in great detail by Sri Sri Anna.

yahi madhava yahi keshava ma vada kaitavavadam
tamanusara sarasiruhalochana ya tava harati vishadam
kajjalamalinavilochanachumbanavirachitanilimarupam
dashanavasanamarunam tava kriishna tanoti tanoranurupam

As soon as Yahi Madhava was said, Krishnan will go away. Thus Radhai sends off Krishna and then she feels ('Kalahantharitha'- the quarrelsome maiden unable to come to terms with her beloved bhagavan) she should not have told Krishna to go away. Now the Sakhi says,

snigdhe yat paruShAsi praNamati stabdhAsi yad rAgiNi
dveShasthAsi yad unmukhe vimukhatAM yAtAsi tasmin priye
tad yuktaM viparIta-kAriNi tava shrI-khaNDa-charchA viShaM
shItAMshus tapano himaM hutavahaH krIDA-mudo yAtanAH

viparIta - Everything now being Viparitam. Radhai quarreled so isn't it, so everything became viparitham. Nature itself turned to be Viparitam now, But did not Viparitam become Anukulam for Prahlada. Bhakthi is Vichitram.

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Thirumangaiazhwar was one of the famous azhwars. He went to Nacchiar koil and started performing kainkaryam there. Perumal was waiting for thirumangaiazhwar to visit at his abode saranatha perumal, thirucherai. But thirumangaiazhwar continued to do the kainkaryam at nacchiar koil itelf. Perumal was waiting in the hope that thirumangaiazhwar being so close in nachhiar koil would come and see him. Perumal so much loved his devotee that he could not wait anymore and appeared in thitumangaiazhwars dream and requested him to visit his abode at tirucherai. But azhwar said he would come and visit him some time. perumal waited with hope. One day azhwar came to visit perumal at tirucherrai. But as soon as thirumangaiazhwar set foot on tirucherai, he was shocked to see all the very ground - pebbles, sand and stones all around tirucherai was completly transformed into salagramams. He could now only keep his foot on the salagramams and was perplexed and asked perumal why this has happened and how could he. Saranatha perumal then said, 'I was waiting for your thiruvadi sparsham all along and hence this transformation into salagramams'. This was similar to what Lord Krishna felt for Radhai (tvamasi mama jeevanam, tvamasi mama bhushanam, tvamasi mama bhava jalathi rathnam) in 19th Ashtapathi (Smarakarala kandanam mama sirasi mandanam - 19th Ashtapathi Vadasi Yathi).

Completed Transcriptions

yAhi mAdhava 17th Ashtapathi - pranayakalagha utsavam

rajani janita guru jagara ragakashayita
malasa nimesham

vahati nayanam anurAgAmivasputam
udita rasAbhinivesam.

yAhi mAdhava yAhi keshava
mAdhava kaitava vAdam

tAmanusara sarasIruhalochana
yAdava harati vIshadam

8 Flowers (Pushpam) to be offered as said by Sri Sri Anna

1 - Ahimsa Paramodharmaha
2 - Sarva Bhoota Daya Pushpam
3 - Kshama Visheshathaha Pushpam
4 - GnAnam Pushpam
5 - Tapas Pushpam
6 - DhyAnam Pushpam
7 - Atma Samarpanam
8 - Sathyam Pushpam

Lyrics of Ashtapadi 08

1. nindati candanamindu kiraNamanu vindati khEdamadhIramvyAla nilayamilanEna garalamiva kalayati malaya samIramsA virahE tava dInAmAdhava manasija vishikha bhayAdiva bhAvanayA tvayi lInA

2. aravilani patita madana sharAdiva bhavadavanAya vishAlamsahrdaya marmaNi varma karOti sajala nalinIdala jAlam(sA virahE)

3. kusuma vishikha sharatalpam analpa vilAsa kalA kamanIyamvratamiva tava parirambha sukhAya karOti kusuma shayanIyam(sA virahE)

4. vahati ca galita vilOcana jaladharam Anana kamalam udAramvidhumiva vikaTa vidhuntudadanta dalana galitAmrta dhAram(sA virahE)

5. vilikhati rahasi kurangamadEna bhavantam asamashara bhUtampraNamati makaramadhO vinidhAya karE ca sharam navacUtam(sA virahE)

6. pratipadam idamapi nigadati mAdhava tava caraNE patitA ahamtvayi vimukhE mayi sapadi sudhAnidhirapi tanutE tanudAham(sA virahE)

7. dhyAnalayEna puraha parikalpya bhavantam atIva durApamvilapati hasati viSidati rOdati cancati muncati tApam(sA virahE)

8 . ShrI jayadEva bhaNitam idam adhikam yadi manasA naTanIyamhari virahAkula vallava yuvati sakHi vacanam paTanIyam(sA virahE tava dIna)

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