DEIVATHIN KURAL #197 (Vol #4) Dated 30 May 2011

DEIVATHIN KURAL #197 (Vol #4) Dated 30 May 2011

(These e-mails are translations of talks given by PeriyavaaL of Kanchi Kaamakoti Peetam, over a period of some 60 years while he was the pontiff in the earlier part of the last century. These have been published by Vanadi Padippagam, Chennai, in seven volumes of a thousand pages each as Deivathin Kural. Today we are proceeding from the second para on page number 1,115 of Vol 4 of the Tamil original. The readers may note that herein 'man/he' includes 'woman/she' too mostly. These e-mails are all available at http://Advaitham.blogspot.com updated constantly)
111. Just think of the incident! However much you may be learned, good in administration and however high your status; how crude and uncivilized you must be, to be able to give orders for an innocent passerby to be given ‘ardha chandra upachaaram’ of ‘galta’!? Mahadeva Saastri thought for a flash of a second, “Who is this man? Seems to be rich and high in power and position! Seemingly well educated to give orders in very sophisticated language, that too in Sanskrit! But evidently a half cocked character!” Mahadeva Saastri responded with firmness and literary nicety to put this Deekshidar to instant shame!
112. The following sloka composed impromptu was the response! “soorye pranashte – sasi nihyatdrushte – taaraasu manda – dyutishu prakaasam I mahaandakaare (a)diviraajite hi gadhyaata gopyalpa ruchir – na chitram II” The meaning: ‘soorye pranashte’ = sun is gone; sasini hi adrushte = moon is not yet seen; taaraasu manda dyutishu prakaasam = the stars are dim; mahaandakaare = in this darkness; gadyodaka api = fire flies too; alpa ruchi: = by their meagre light; viraajate = making much of it; na chidram = not surprising!”
113. This under statement by Mahadeva Saastri was enough to tickle Deekshidar to senses. Is it not said in the pro verb that ‘for a good cow the light touch of the branding needle is good enough’? Deekshidar, who was an attained person in many respects, immediately thought of AmbaaL and the situation was crystal clear to him. He realized that the great learned Mahadeva Saastri whom he wished to meet all this time, is the one whom he had insultingly addressed as ‘thongal kaadar’ (the man with hanging ears)! He could also discern that it is the Goddess Alankaareswari to whom the Saastri prays to, is the one who had sent him here to Madurai to Deekshidar’s Ishta Deivam Meenaakshi!
114. Great people will also be great in accepting their faults, once they are aware of it! Deekshidar immediately jumped from the Sivika and ran to Mahadeva Saastri and with apparent love and respect, asked him if he is not the same Mahadeva Saastri whom Alankaareswari Amman had sent to have the darshan of Meenaakshi Amman? By this very question, Saastri also recognised the questioner to be the venerable Deekshidar! As per the wish of AmbaaL both her beloved children could meet mutually lovingly. Had it been us in their shoes we could have had ‘n’ number of reasons to continue nursing feelings of hate and distrust from either side! Deekshidar felt happy about being taught a lesson in Vinayam, just similar to the way KaaLidaasa felt when AmbaaL directed a drop of the nectar from the flower on her ears to be propelled and fall on the plate containing Bhavaboothi’s sloka, causing that side of the balance go down and win; making him feel, “Aho! may sowbhagyam!”
115. Despite being a highly honoured and revered poet, able administrator and the king’s right hand man, despite being roundly snapped at in front of all the town’s people with an impromptu rejoinder by the Saastri; with humility and due respect Deekshidar had accepted his short outburst as avoidably crass action and made amends for it! It just so happens that when such poets and scholars are bitten by the bug of pride and ego; it becomes a lesson for us all in nicety and civility!
116. Pushpadantar (possibly a title meaning that his teeth were like a row of flowers) in ‘Siva Mahimna Stotra’ says ‘vikaaro api slaaghya:’ meaning even oddity is worthy of appreciation! Siva drank the ‘Hala Hala poison’ which made an ultramarine blue gem like appearance on his pure white neck near the thymus! That is how even slightly errant behaviour by greats brings out their real worth and becomes a lesson for us all!
MANGALA AARTI
The Greatness of Maruthi
117. The mind is often compared with the monkey. ‘Kurangu Buddhi’ is the catch phrase! Never concentrating on any one subject, forever flitting from one to the other is the famous character of the Monkey. That is how our human mind also behaves! Our AachaaryaaL says in Sivananda Lahari (sloka 20), ‘hrudaya – kapim atyanta chapalam’! He says, “Parameswara! Catch hold of my mind which is extremely fickle with a rope and earn your livelihood by entertaining people as a handler of Monkys! This is better than begging with a skull as the begging bowl! If you do that, you will also make a good earning and I will also be saved from myself!”
118. Thus when he is having a dig at himself, our AachaaryaaL uses the phrase, ‘hrudaya kapi’. In English also ‘monkey mind’ is an often used phrase! To be without any control forever drifting, flitting and vacillating ‘monkey like’ is the correct comparison for our minds. The ever quite and contained cow and elephant are herbivores. That is nothing much surprising. Whereas the tiger which is constantly restless is a carnivore! Even when hungry the tiger will not eat grass. If ever the tiger eats grass that will be a shock!
119. Aanjaneya Swami’s surprising greatness is in this. Despite being a monkey famous for fickleness, despite being physically very strong, he has controlled his mind without any ‘monkey like behaviour’! Having brought his mind and senses under control, he has completely devoted his entire being in the service of Sri Ramachandra Murthy. That is his greatness. There is one more surprise. With complete control of the vacillating senses and mind, he did not give up all his duties and retire into some forest cave somewhere catching hold of his nose, like any other recluse! Aanjaneya is not like that. He is known as, ‘asaadhya saadhakar’, meaning the one who makes the impossible possible’!
120. He jumped across the ocean, lifted a mountain (Sanjeevi) and flew, destroyed a whole forest (Asoka Vanam) and set fire to a whole township (Lanka Puri)! He never gave up against whatever the odds, was never disheartened or disgruntled; with total focus he could concentrate his attention on Sri Ram’s lotus feet bringing his mind to a standstill; with a body that could run anywhere and everywhere in Sri Ram’s service! What is the fastest? Speed of air, speed of light or is it the speed of mind? In the gross, air is the fastest and in the subtle the mind. Arjuna is complaining in the Bhagawat Gita (Gita 6-34.) that this mind is running helter-skelter and is uncontrollable like the air: “chanchalam hi mana: Krishna!.....vaayoriva sudushkaram’! Bhagawan also has compared the steadiness of a Yogi’s mind to an oil lamp in a windless place, “yataa deepo nivaadasto nengathe sopamaa...” (Gita 6-19.). The word ‘nivaada’ means windless. By the words ‘vaada’ and ‘vaayu’ we mean the same thing, the air or wind.
121. Who is Aanjaneya Swami? He is born a monkey well known for its fickleness. He is the son of Vayu, the God of Air. Air again is famous for instability and dynamic random movements. He is known as Vayu Kumara and Vaataatmaja. Aatmaja means son. “vaataatmajam vaanara – yoota mukhyam sri rama dootam sirasaa namaami”. ‘Yootam’ means a ‘mass of people’. ‘Vaanara – yoota – mukhyam’ means, an officer of the army of monkeys. He has both the gross speed of air and the subtle speed of the mind which he achieves not by the mind but body! “mano – javam maaruta – tulya – vegam jitendriyam buddhi mataam varishtam”.
122. The phrase ‘mano javam’ means having the subtle speed of the mind. Javam means speed. Then, ‘maaruta tulya vegam’ means having the physical speed of air. ‘Maaruta’ means air. The pleasant southerly breeze is known as ‘manda maarutam’. As the son of ‘maarutam’ he is also known as ‘Maruti’. In bhajan they sing ‘veera maaruti, gambeera maruti’. As the mind-son he is ‘manojavar’ and we know that mind is ever vacillating. He is as fast as the air ‘maruta tulya vega’; and the son of air also. Then he is the head or chief of a monkey army! The surprising thing is that despite all this, he is “jitendriyam buddhimataam varishtam”; victorious over the five senses and foremost amongst the intelligentsia. He has won over the senses and so is ‘jitendriya’. Mind being the controller of the senses, ‘jitendriya’ also means that his mind is under control too. That is why he is foremost amongst the intelligentsia, ‘buddhimataam varishta:’! ‘Buddimaan’ itself is a word of praise for being brainy. Then amongst the brainy if you are amongst the first few, you are known as ‘buddhimataam vara’; higher than ‘vara’ is ‘vareeya’ relatively and ‘varishta’ superlatively. Even this is not enough to describe Maruti. There is no place for comparison when we talk about him.
123. Amongst Gnaanis also such words of comparison exist such as, Brhmavid (positive), Brhmavidvara (comparative) and Brhmavidvarishta (superlative). Like that Maruti is Buddimataam Varishta:. More than all this, his greatest value is as ‘Rama Daasa’, the servant of Sri Rama Chandra! He is the foremost amongst all devotees of God! Amongst the brainy he is tops; amongst the physically tough he is the toughest; and then amongst the servants of God he is the best! His most important duty was when he was sent as the messenger of Sri Rama to search and locate Sita and convey the message of encouragement with His Signet Ring! At various times throughout RamayaNa his words of wisdom are worthy of note to be memorised and absorbed! He gave hope and encouragement to Sita and Rama; Life to Lakshmana, counsel to Vibhishana, and saved Bharata from self immolation on completion of 14 years of Sri Rama Vana Vaasa! For all this and for our own hope and redemption, we should all be saying “Sri Rama dootam sirasa namaami” and do Saashtaanga Namaskaar!
“manojavam maaruta – tulya – vegam jitendriyam buddhimataam varishtam I vaataatmajam vaanara – yoota – mukhyam sri rama dootam sirasa namaami II”
(With that we come to an end of Volume 4 of Deivathin Kural. We will start with Volume 5 with effect from 01 June 2011.)
Sambhomahadeva.

DEIVATHIN KURAL #196 (Vol #4) Dated 28 May 2011

DEIVATHIN KURAL #196 (Vol #4) Dated 28 May 2011

(These e-mails are translations of talks given by Periyaval of Kanchi Kamakoti Peetam, over a period of some 60 years while he was the pontiff in the earlier part of the last century. These have been published by Vanadi Padippagam, Chennai, in seven volumes of a thousand pages each as Deivathin Kural. Today we are proceeding from the second para on page number 1,109 of Vol 4 of the Tamil original. The readers may note that herein 'man/he' includes 'woman/she' too mostly. These e-mails are all available at http://Advaitham.blogspot.com updated constantly)
KAMBAR AND AVVAIYAAR
100. Then KaaLidaasa was well chagrined and imbibed humility as an asset. You can make out this fact from his slokas. For example, at the start of his Magnum Opus Raghuvamsam, he says that his effort to write about the whole of Raghuvamsam, that is the Raghu Dynasty, was like trying to cross the vast expanse of the ocean with the help of a small dinghy boat! He goes on to say that his attempt was like a shorty trying to pluck a fruit hanging high above him.
101. You might have heard about how, when Kambar’s ego was on the ascendant, he was dealt with a snub by Avvaiyaar, who is known to be an Avatara of Saraswathi Devi the Goddess of wisdom, as far as Tamilnadu is concerned! Kambar happened to see the ‘Aarai Keerai’ plant which gives out four leaves for every stem. He wished to compose a puzzle without telling the name of the plant. He posed the puzzle to Avvaiyaar in these words, “oru kaalil naalu ilai pandal adee”, which means, ‘on one leg a thatch of four leaves adee’! The last word ‘adee’ is a slightly discourteous word, normally used by elders when they are addressing much younger girls. Avvaiyaar was intelligent beyond compare! So to be tested for knowledge was itself an affront on the part of Kambar! Then, Avvaiyaar being an old spinster to be addressed as ‘adee’ was insulting enough for her to get sufficiently annoyed. So she gave him a mouthful and a tit for tat!
102. She said, “ette kalava lakshaname emanerum pathiye kuttichchuvare koozhaangkalle aarai adaa sonnaai adhu?” Having given him a mouthful, she says, ‘aarai adhaa sonnai?’ This means ‘whom are you telling?’ It also means, ‘Are you talking about the plant, ‘Aarai’, that is ’Aarai Keerai’? Since he used a not so very respectful ‘adee’, she counters with an equal rejoinder, ‘adhaa’, a word used in addressing tiny toddlers. I hope you understand, ‘ette kaalava lakshaname’! In Tamil intigers, ‘a’ represents figure 8 and ‘va’ is 1/4th. So, ‘a va’ should mean 8 into ¼ = 2. That would mean, ‘you two legged character’! It also means, “ava lkshanam” means ‘you ugly specimen’! Then she says ‘eman erum pathiye’ means the buffalo which Yama the God of death rides. ‘Kutti chuvare’ means ruins of a broken wall, and ‘koozhaang kalle’ means, the rounded stones of a moraine! That is what I meant a mouthful!
103. After this incident Kambar also became quite humble devoid of conceit. Similar to KaaLidaasaa’s humility, Kambar also shows how he had become devoid of self conceit. Kambar says at the start of his Magnum Opus RamayaNa that his effort to write the epic of Ramayana was like that of a pussy cat which decided to drink off the whole of Ksheera Saagara the Milky Ocean and started licking it in all earnestness! O K! Similarly Avvaiyaar’s ego was also sorted out by none other than Lord SubrahmaNya. This incident may be known to you.
104. One a hot day in a semi desert terrain, Avvaiyaar happened to halt under a tree for some shade. She was tired and thirsty. As she rested on the ground, she heard a voice from atop the tree. “Hi! Pattee (grandma), are you tired? Do you want some fruits to eat? Do you want it hot or cold? What should I drop from the tree?” She looked up and saw a young boy dressed like a shepherd. She was wondering as to how a fresh fruit from the tree can be hot or cold! She said, “Please give me some not so very hot fruits”. Lord SubrahmaNya shook the tree and some Naval (berries) fruits fell. Automatically only the ripe ones fell. She picked some and blew away the sand particles sticking to it, before eating them. The boy laughed sounding like tinkling bells and asked, “So Pattee, did you get hot fruits? Is that why you are blowing on them?” Avvaiyaar felt surprised and slightly chagrined that though she is thinking of herself as a great ‘know all’, she has had to face a small boy who could have one up on her! She put her feelings into a poem immediately. “karungaalik kattaikku naaNaakkodaali irunkadalit thandukku naaNum”, meaning that, ‘the axe that would not hesitate in chopping a strong (oak like) black wood will fail with shame, when it has to chop a plantain tree!’ From that day she considered humility as a blessing from the Lord and as a direction to improve her attitude in to sweetness and maturity! At once the taunting boy took his Swaroopa of true form as Lord SubrahmaNya and gave her many boons. Then he asked her to answer all his questions as to what is cruel, sweet, big and rare? For each one of these questions, she entertained the Lord with a beautiful poem in answer!
Villiputhuraar and AruNagirinaathar
105. Villiputhuraar was a great poet having written the whole of Maha Bharatham in Tamil poetical form. We hear that he had the heinous habit of calling other poets to compete with his self in debate, defeat them and then cut their ears! ArNagirinaathar it was, who defeated him by singing the Kandar Andaadi. He did not cut his ears for his crimes but, advised him to be more kind and humble. That is why ArNagirinaathar is famous as an epitome of compassion and liberal mindedness, that the epithet, “karuNaikku AruNagiri” became famous!
Neelakanta and Mahadeva
106. Neelakanta Deekshidar was a great man in many respects. From the family angle, he was the grandson of Appayya Deekshidar’s brother. Appayya Deekshidar as you know was considered as an ‘amsam’ of Lord Siva! This Neelakanta was very good in study of the Vedas and observing strictly all his Anushtaanaas. He was well known as a great Pundit, a good devotee and a man of high standing as the Chief Minister under Thirumalai Naicker, who renovated the Saraswathi Mahal and Meenakshi Amman Temple in Madurai. He was also the repository of wonderful character qualities of humaneness and kindness. Such a man however did suffer from a bit of a head weight, at some point in time as being too good!
107. At the time of Deekshidar, that is end 16th and early 17th century, in Tanjavur in Pazhamaarneri village, there was one Mahadeva Saastri. Though well knowledgeable in all Vedas and Saastraas, he was not as famous as Appayya Deekshidar. The world of pundits knew about him and his erudition. In Pazhamaarneri there is Airaavatheswarar Koil (Temple). The AmbaaL there is known as Alankaareswari. It is this AmbaaL to whom Mahadeva Saastri was highly devoted. Deeply soaked in devotion over time, he started getting Her directions and orders! As he was not having any issues, he got a direction from AmbaaL to proceed to Madurai and get the blessings of Madurai Meenaakshi Amman, who was known to be with total ‘Chaitanya Vilaasam’ of AmbaaL Parasakti. So he went to Madurai and prayed to Madurai Meenaakshi Amman in all seriousness.
108. Deekshidar had already heard about this Mahadeva Saastri. He wished to meet him. However great you may be on occasions, position and status does go to one’s head. You know how power corrupts! He wished to meet Saastri without any blemish to his position and status. He waited for a suitable opportunity and was hoping that Saastri may one day come to meet him on his own! But after Saastri had the Darshan of AmbaaL Meenakshi Amman, he was not aware of anything else but his devotion to Her! So, there was no thought or wish of meeting anybody else.
109. The all knowing AmbaaL intended that Deekshidar should become aware that with Vidya, Vinayam is an important asset and through him the world should also learn a lesson in Vinayam, I suppose. So She created the suitable series of events. One day Deekshidar was proceeding with all the pomp and show as appropriate to his status, in a Pallakku (ceremonial carriage) that is lifted by four persons on their shoulders. Mahadeva Saastri at that moment was returning home after a Darshan of AmbaaL without any other thoughts than her lotus feet in his mind! As every bystander was exhibiting their difference and respect to the Minister passing by, here was one Brahmin who walked across uncaring for anything other than AmbaaL’s lotus feet, lost in his own world! Deekshidar saw this. He wrongly assumed this to be an affront! He said, “Who is this character with the hanging ears crossing my path, even after seeing the great Sri Neelakanta seated on a Sivika! Give him the ‘Ardha Chandra’ treatment”, he told his servants.
110. I hope you understand as to what is ‘Ardha Chandra’ treatment. It is nothing but being propelled from the path by the scruff of your neck known as ‘galtha’ in the colloquial slang! (KTSV adds: I am not quoting the whole slokam. People interested may see it in page 1114 of Vol 4 of Deivathin Kural in Tamil.) But what is interesting is the last line in the sloka and the reply given promptly by Mahadeva Saastri!) The fourth line says, “tat = that (what Deekshidar said); aakarNya = having heard; Saastri = Mahadeva Saastri; gnaana lavaadya moodam tam deekshitam = that idiot deekshita who was bloated with pride despite his limited knowledge; jarit yuvaacha = quickly replied.’ He said, “The Sun has gone down, the moon is not yet out and only a few stars are hazily seen. In this dim light it is but natural that the fire flies should think of themselves to be too powerfully brilliant!”
(To be continued.)
Sambhomahadeva.

DEIVATHIN KURAL #195 (Vol #4) Dated 26 May 2011

DEIVATHIN KURAL #195 (Vol #4) Dated 26 May 2011

(These e-mails are translations of talks given by Periyaval of Kanchi Kamakoti Peetam, over a period of some 60 years while he was the pontiff in the earlier part of the last century. These have been published by Vanadi Padippagam, Chennai, in seven volumes of a thousand pages each as Deivathin Kural. Today we are proceeding from the second para on page number 1,101 of Vol 4 of the Tamil original. The readers may note that herein 'man/he' includes 'woman/she' too mostly. These e-mails are all available at http://Advaitham.blogspot.com updated constantly)
88. When there is competition between poets and they are not able to decide as to who is the winner, then it used to be the custom for the King to leave it to the divine decision. The King will go to the Temple with all the poets and pundits, when a simple procedure is used to decide as to which poet was better and had the divine sanction. The procedure was to tie some strings of flowers of equal length that had been adorning the God’s form till then. Normally one would expect that the set with more poems and or palm leaves would be heavier. But in an ambient atmosphere in which people had trust and faith without being corrupted by devious mind sets of agnosticism, the works of superior literary merit will be seen to outweigh others! When ThirukkuraL was kept on the Sangap Palagai, all the poets seated on it till then, slided down and when the board regained its balance, only ThrukkuraL was seen to be on it! As we have seen (early in this 4th Volume of Deivathin Kural), Thiru Gnaana Sambandar won over the Jains through ‘Anal (fire) Vaadam’ and ‘Punal (flood) Vaadam’, as I have described some time back. Basically the idea is to leave it to divine force when a decision is beyond human capabilities!
89. KaaLidaasa and AmbaaL. There was an occasion when they had to decide as to who is a greater poet, between KaaLidaasa, Bhavaboothi and Dhandi. No decision could be arrived at by way discussions and debates. So Bhoja Raja decided to seek divine interference. So they all went to the Sanctum Sanctorum of AmbaaL nearby. AmbaaL gave her decision by a bodiless voice known as ‘asareeri’ heard by all the assembled. The ‘asareeri’ went like this, “kavir dhandi – kavir dhandi bhavaboothisthu pandita: I”. That means, ‘Dhandi is a poet, I repeat Dhandi is a poet while Bhavaboothi is a pundit’.
90. To be a pundit means a person with vast amount of knowledge about many subjects, languages and grammer. But that is different from poetic ability and literary acumen. To be able to go deep into an idea or concept and say it with beauty of expression with decorative language using rhyme and rhythm is poetical expertise. That may not mean a vast knowledge base. If both these abilities are there in the same person, that would be a special endowment. So some are poets and some are scholars. Here Dhandi was declared as having poetical ability and Bhavaboothi was declared as a great Pundit! There was no mention of KaaLidaasa in that declaration by ‘asareeri’!
91. “So, what does it mean? Am I supposed to be neither a poet nor a Pundit, is it?” KaaLidaasa wondered thus. That is when, KaaLidaasa posed a question to all the people assembled as well as addressed it to AmbaaL, the Presiding Deity! He said, “Then what do you mean? Ko aham”, to mean, “Who am I?” He just jumped the gun so to say! AmbaaL’s judgement was not yet over. Before completion of the ‘asareeri’ pronouncement, he had just interjected. Having heard that one is a poet and the other a Pundit, without even giving time for the ‘asareeri’ declaration to be over, he had asked about himself in a flippant manner. But, AmbaaL did not get angry!
92. When we are busy preparing some nice eats for the child, we may fail to listen to what the child has to say. The child may get annoyed assuming itself as being ignored. Later we go to the child and offer the eats and the child may blurt out, “I do not want anything from you!” or some such complaint. Do we get annoyed with it? We only end up saying, “Is the baby so annoyed? Here, soundly beat this Mother of yours who has ignored you like this”, do we not? AmbaaL did not feel bad with this baby KaaLidaasaa’s violent outburst. For his question, “Then, who am I?” she gave a reply, “tvamevaaham, tvamevaaham, tvamevaaham na samsaya:”, meaning, “You are myself only, without a doubt”, the first phrase repeated three times!
93. Had he not interjected, we do not know as to what AmbaaL would have said. May be, after having said, “Dhandi is a real poet, Bhavaboothi is a scholar”, then may be, She could have added that “KaaLidaasa is poet’s scholar and a scholar among poets” or words to that effect! But, as he had interjected in anger, She lifted him to the pinnacle of glory to total identity with Herself!
94. All the knowledge, all the worthwhile knowable is all in her. She is the ultimate of all knowledge. She is ‘Gnaanadaa’ the giver of Gnaana, ‘Gnaana Vigraha’ the very form of knowledge. She is the root of poetic essence. She is ‘Rasagna’ the knower of the essence and ‘Rasa Sevadhi:’ the appreciator of the essence of the sweetness; says the Lalitha Sahasranaama. Thus to be the knowledge, knower and the subject worthy of knowing is She and her equal She says is KaaLidaasa!
95. By this praise instead of some occasional pride, the risk was for KaaLidaasa to get imbued with haughtiness! So as to avoid her favourite baby from such a risk, on another occasion AmbaaL deflated his ego. On this occasion the comparison was between KaaLidaasa and Bhavaboothi only. Bhoja Raja told both the poets to write on a particular matter and no one could decide as to whose work was superior of the two. So the consensus was for a divine decision and accordingly everybody assembled before the sanctum sanctorum of AmbaaL’s Aalayam. Bhoja Raja himself wrote the poems on palm leaves of equal weight.
96. At the first look it seemed as though KaaLidaasaa’s side of the balance was going down and Bhavaboothi’s was going up. That is, KaaLidaasa was about to win. A simple judgement purely based on the relative value of the two poems could lead to injustice in another plane, AmbaaL thought. I suppose AmbaaL’s analysis could have been on the following lines. “If KaaLidaasa wins again he may get too much pride and become intolerable. Similarly this Bhavaboothi with much worth may be feeling the hurt already, as he has had to remain content with being called only a scholar in comparison to a poet and a further loss of face may lead to disappointment and mental depression,” AmbaaL feared. All this analysis could have been only like a flash I suppose! So, she decided to do something to correct the imbalance.
97. She is the one who adds beauty to the sense of beautifulness! She is the one ever decorated all over with fragrant flowers of all colours and hues. There would be a flower inserted just above her ear too on either side. There is a description of this in Lalitha Sahasranaama. In Her hair she has ‘champakam, asokam, punnaagam, sowgandikam etc.’, ‘champakaa – asoka – punnaaga – sowgandika – lasat – kachaa’. Then most endearingly she is having the ‘kadamba’ flower adorning her ears: ‘kadamba – manjari – klupta – karNa poora – manohara’! At the time of the incident being described, she was having ‘kalhaaram’ on her ears.
98. When Bhavaboothi’s plate came up, as though to adjust the decoration on her ears, (a gesture that women often do after all), she pressed the flower ever so slightly. She caused a drop of honey from the flower to shoot out and fall on the plate in the balance containing the palm leaf of Bhavaboothi’s poem. That was enough to tilt the balance in his favour. When we say ‘Kavita Rasam’ we mean the essence of poetical sweetness. When that one drop of nectar from the flower on the ears of this personification of sweetness AmbaaL, made up for the difference, causing the plate containing Bhavaboothi’s poem to become heavier and so, go down and win!
99. KaaLidaasa was quick to catch this trick and at once composed another poem describing this event, since all said and done AmbaaL Herself had said that he is none other than Herself! He did not feel the least perturbed. Even had he become ever so slightly irritated, he could not have been faulted! Instead he said, “How lucky I am, that I am witness to what AmbaaL did!” This is the full poem:-
“aho! me soubhaagyam mama cha bhavaboothechch paNitam
tadaayaam aarobhya pratipalati tasyaam laghimani I
giraam devi satya: sruti – kalita – kalhaara – kalikaa
maadooli – maaduryam kshipati paripoortyai bhagavati II
100. As KaaLidaasa could look at it with equanimity devoid of jealousy, he realised that AmbaaL was intending to save him from his pride and conceit. So, he considered the event as his great luck. Bhavaboothi responded with, “Oh! Is that how it happened? My Namaskaarams to you”! KaaLidaasa recommended that Bhavaboothi may be presented with 100 elephants, it seems. It is pleasing to note that two great poets who were competing with each other with ‘one-up-man-ship’ suddenly became friendly after this incident!
(To be continued.)
Sambhomahadeva.

DEIVATHIN KURAL #194 (Vol #4) Dated 24 May 2011

DEIVATHIN KURAL #194 (Vol #4) Dated 24 May 2011

(These e-mails are translations of talks given by Periyaval of Kanchi Kamakoti Peetam, over a period of some 60 years while he was the pontiff in the earlier part of the last century. These have been published by Vanadi Padippagam, Chennai, in seven volumes of a thousand pages each as Deivathin Kural. Today we are proceeding from the second para on page number 1,095 of Vol 4 of the Tamil original. The readers may note that herein 'man/he' includes 'woman/she' too mostly. These e-mails are all available at http://Advaitham.blogspot.com updated constantly)
78. Kutty Saasthriyar having displayed his independence and fearlessness had an opportunity to clearly prove his love and loyalty to Srimant. Those were the days when the British were still in the process of establishing their hegemony over India, trying all sorts of mischief of creating cleavages within the local rulers exploiting their differences by hook or crook including open warfare. Srimant fought two major battles joining with other smaller leaders. Finally in 1818 he lost the battle to the Britishers irrevocably. With that the Peshwa dynasty was ended. They removed the title of Srimant. As a sop they gave the title of Maharaj that they gave to all and sundry. Giving them a pension they settled them far away from their places of power. In this case Pajirao was settled at far away Bithur near Kanpur in North India. Instead of keeping them in jail, they would virtually quarantine the person in some Bungalow located in a far away town of different language and local customs, keeping control through some locals of a different religion as guards! Instead of being branded as killers, they could get away with many devious ways of dealing with the situation!
79. When Kutty Saastri came to know that Pajirao has been arrested and that he was to be sent to some place near Kanpur. He rushed to meet him even as he was already under the custody of the British. He told him, “I thrived when you were well off. Now I am not going to give you up in your difficulties. I am coming with you to wherever they are sending you off. However much Pajirao tried to stop him, it was of no avail! En-route he begged for food the entire way to Kanpur. Finally he found some place to stay on the banks of river Ganges near where Pajirao was being kept. That was the level of love and loyalty.
80. Then after about a year, he came to Kaasi. Saraboji Maharaj was also visiting Kanpur those days to collect rare copies of palm-leaf manuscripts. When he met Kutty Saastri, he expressed much regret for his past behaviour and requested Kutty Saastri to come back to Tanjavur. Pajirao also did not like the idea of continued incarceration of Kutty Saastri because of his being attached with himself. So, he also sincerely begged the Saastri to go with Saraboji Maharaj. Finally before returning to Tanjavur however, he utilised the balance few days to learn Vedanta Saastras from one Ahobila Panditar living in Kaasi those days.
81. Then he undertook the journey back to his home via Maharashtra and Karnataka. On the way he was met by Krishna Raja Udaiyar, the King of Mysore, who wished that Kutty Saastri should be a part of his own Royal Assembly and honour him. Acceding to his request Kutty Saastri agreed to stay on in Mysore. The King also honoured him in many ways. Even in Mysore, there was an occasion for Saastri to establish and prove his independent mentality and attitude!
82. While in Mysore, Saastri conducted the Soma Yagna and became a ‘Yajwa’! Having come to know about the conduct of this Soma Yagna, the Udaiyar requested the Saastri that as per procedure, if he conducts a Vajpayee Yagnam, the King himself is supposed to hold the ceremonial umbrella for the person conducting the Yagnam. So, desirous of doing so, he requested the Saastri to conduct a Vajpayee Yagnam. But Kutty Saastri refused on the grounds that, in the conditions existing in the country when it is under foreign yoke, it is well neigh impossible to foresee as to what can go wrong in the strictness and severity of procedures required to be adopted. He said, “I am finding it difficult to even maintain the rules and regulations that I am supposed to follow as an individual Brahmin! Conduct of a Vaajpeyam can lead to many complications that cannot be foreseen and obviated! Only to make amends for my possible mistakes and errors in conduct of my duties as a Brahmin, with trepidation I undertook the conduct of Soma Yagna. So, Your Royal Highness may please be kind enough to bear with my reluctance to conduct a Vaajapeyam!” He neither felt the compulsion to obey to the King’s wishes nor did he feel greedy about the name and fame that accrues with the conduct of a Vaajapeyam!
82. Kutty Saastri is like a relative of ours since his father Nrisimha Saastri and his grand-father Madhava Saastri have been Vidwaans of this Matam sometime or the other in the past. Kutty Saastri, who refused the King’s holding of umbrella over his head, has sent many decorative and ceremonial umbrellas to this Matam.
83. I told the stories of two Maha Poets and two Kutty Laureates who among learned poets, valued and cherished the qualities of universal love of all living things, retention of independence and self respect; caring for other’s well being as well. There are many such greats who have been responsible for giving shape and substance to the value systems of this great Indian culture and Kalaa Aachaaram. As Thyagaraja SwaamigaL said, “entaro mahaanubhavulu anthariki vandanamu”, meaning, ‘I bow my head in respect to all those countless greats of the past’!
Beauty in Poets’ and Learned People’s Self Pride
84. Self respect can be bordering on pride and when we are not careful can seem like haughtiness! On such occasions one may end up talking disrespectfully to others with arrogance! It is on those occasions we may cause hurt to others’ sense of self respect. Well knowledgeable and normally well behaved people, who care for other’s feelings, rarely have misbehaved like that. There are some such stories about KaaLidaasa and Kambar. Since there is some literary value in these stories too, I am describing a few of them.
85. We should not be taking these stories too seriously and assess them by these. They are to be assessed if at all, by the quantity and quality of their literary output! These behaviours should be thought of only as aberrant and out of the ordinary. If they are reservoirs of excellent high qualities, there could be some dirty froth on the surface sidelined by the winds and waves like we find on a lake shore! If we are talking with pride about ourselves it is like a small utensil making noise. Because of the fact that these poet Laureates were conscious of their superior power of expression as though having a divine license, led to many anecdotes or snippets when they have spoken quite flippantly with other poets or patrons.
86. Normally it is wrong to have jealousy and competitiveness. But in the field of knowledge (Vidya) it helps in continued efforts towards greater refinement and excellence. Like in sports it helps in greater efforts. A student in education has to try and improve his rank in tests and examination. The best is to compete without hate and jealousy. In the case of great scholars and poets, competition without giving way to hate, certainly adds to the power of the poets imagination and expression. When they tend to cross the limits they have been imparted a light knock on their heads (kuttu) and subdued.
87. Do you know whom did KaaLidaasa talk insolently with? He did not speak insultingly with other poets or his patrons. He showed off his verbosity with AmbaaL, Para Sakti Herself! It is Her ‘uchchishta taamboolam’ (‘uchchishta’ means half bitten and stained by ones saliva), that gave him such wonderful command over the language, power of imagination and power of expression to match! He used to think of himself as a slave of AmbaaL. Out of all Stotras on AmbaaL the most famous is ‘Syamala Dandakam’; and that is from KaaLidaasa’s mind and mouth only.
(To be continued.)
Sambhomahadeva.

DEIVATHIN KURAL #193 (Vol #4) Dated 22 May 2011

DEIVATHIN KURAL #193 (Vol #4) Dated 22 May 2011

(These e-mails are translations of talks given by Periyaval of Kanchi Kamakoti Peetam, over a period of some 60 years while he was the pontiff in the earlier part of the last century. These have been published by Vanadi Padippagam, Chennai, in seven volumes of a thousand pages each as Deivathin Kural. Today we are proceeding from the last para on page number 1,089 of Vol 4 of the Tamil original. The readers may note that herein 'man/he' includes 'woman/she' too mostly. These e-mails are all available at http://Advaitham.blogspot.com updated constantly)
ERUMAI STUTI – IN APPRECIATION OF A BUFFALO
65. That stuti is available even now. Containing 100 slokas, it is known as ‘Mahisha Sadakam’. Any queen has a name as ‘Mahishi’ in our languages while the king is not known as ‘Mahisha’. Otherwise the meaning of the word ‘Mahisha’ is simply the buffalo. ‘Mahi’ means the earth and ‘Mahi + Eesha’ or ‘Mahi + Pathi’ would mean the ruler of the land. Kutty Kavi started writing poems on the Buffalo / the King. We do not know as to whether he intended to write 100 or a thousand songs but, as he wrote he kept sending them to the King.
66. In short the subject matter of the songs was, instead of being subservient to a King who is keeping good for nothing characters in ones royal assembly, listening to them for advices and nodding one’s head every time; it is better to be subservient to a buffalo which helps in tilling the land for agriculture. So these slokas are devotional songs addressed to the Buffalo! Amongst them let me explain the meaning of just two songs.
67. “The learned pundit Sridhara is selling his knowledge. Ambu Deekshidar who has learnt ‘Shad – Darshanam’ is finding it difficult to make ends meet. Even the famous Kutty Kavi has gone to sleep at the door steps of wealthy shop keepers tired of waiting for their attention. All this has happened due to not being in the good books of Mahisheswar the Buffalo God!” This is the meaning of one sloka.
68. In another sloka he says, “My Dear Buffalo, why are you troubling yourself tilling the land, day and night? You could join the people in the King’s Court these days and enjoy life comfortably. You do not have to feel bad unnecessarily that you are not brainy or not educated. Compared with the people who are now in the King’s Court, you are as good as the sage Bruhaspathi, the Guru of all Devas!” As he kept sending the slokas to the King who was after all a good natured chap, the King realized his mistakes and started correcting them.
69. Instead of standing too much on formalities, Pratapa Simha went to the Kutty Kavi and promised to get rid of all the selfish dullards from amongst his ministerial staff. Kutty Kavi was happy about the action taken by him in improving the situation in the administration. With that he put a full stop to his critical poems of satire, happily. By that time there were 100 slokas and so he named them ‘Mahisha Sadakam’ and called it quits. You may wonder as to why those poems should be preserved when they have served their purpose! That Sadakam is a living proof that a poet has the power to control and correct a King who rules over a country! So he kept them for use if and when required as a note of caution for future generation of Kings! We have to take note of the fact that the King also did not confiscate and destroy or proscribe the poems. Thus a poet’s courage was beneficial for the welfare of a whole nation!
70. Kutty Kavi’s great grandson was also of the same name. Name in Tamil is ‘Peyar’ and since the grandson is given the grand father’s name, the child with the same ‘peyar’ used to be known as ‘peyaran’! This particular Vanchyeswara had a suffix as ‘Yajwa’ as someone who had done the ‘Soma Yagna’. Like his great grandfather this great grandson also had a vast knowledge base, fluent expression and courage. As he was almost a copy of his great grandfather, he came to be known as ‘Kutty Saastriyaar’!
71. He first exhibited his courage of convictions not to a king but to another scholar of high standing. At that time he was only 18 years of age. In Bengal there is an island known as ‘Nava Dweep’ or Naadia, where they specialise in ‘Tarka Saastra’ of Logic and Reasoning governing Oration and Debate. One learned scholar from Naadia came to Thiruvidai Maruthoor and conducted a debate in the presence of Amarasimha Maharaja. Since there was no one to match him, the whole gathering was speechless with awe! Then the small Kutty Saastriyaar mumbled something in a low tone. The Pundit from Bengal did not consider the mumbling worthy of a response from him. This was too much of an insult for Kutty Saastriyaar, who started roaring like a Lion! He started discussing the subject under 64 different headings as Vaada and Prati Vaada (as arguments and counter arguments). At the end of his presentation, the Bengali Pundit was so aghast that he could not even mumble, let alone raise his voice! Thus Kutty Saastriyaar saved the honour for whole of the society of Pundits of Tamil Land!
72. Now let me tell you the story of how Kutty Saastriyaar saved his own name and reputation by putting it all in stake with the Saraboji Maharaja! Kutty Saastriyaar by then was not young anymore but old. Saraboji Maharaja was ruling from Tanjore. Everyday his messenger will go to Orathanaadu on horse and collect the ‘Akshadai Prasadam’ from the Brahmins settled by the Maharaja there and bring the prasadam back to the King. Having put it on his head only he would partake of his morning food. Among those Brahmins Kutty Saastriyaar was also one.
73. He would do his Nitya Karma Anushtaana without any hurry at a leisured pace. Just because the Kings rep was there, he would not hurry. Slowly deliberately he would complete all his actions. Thus on many occasions the Kings rep would be delayed and his food in the bargain was also delayed. Once Saraboji Maharaja happened to have come for receiving the Prasadams himself and commented, “Why Saastri! Anushtaanam seems to go at a very slow pace?”
74. Saraboji was a very respectable man. He had done much for Arts and Religion. Saraswathy Mahal Library is a huge collection of ancient literature of all varieties on each and every subject you can think of, accumulated from every part of the Earth far and wide. That one evidence is good enough to prove Saraboji Maharaja’s yeomen contribution to Indian Literature, Arts and Crafts! But Kings as a lot generally go off their mouth at a tangent often! So he happened to comment on Saastriyaar’s so called tardiness in doing his Nitya Karma Anushtaana.
75. That was good enough to needle our Kutty Saastriyaar, well advanced in age, at the time of this incident. He felt extremely bad that for the sake of a King, a Brahmin has to set aside or hurry up the duties to be performed and mantras to be chanted as ordained in the Vedas and Saastraas! Is it correct to relax these rules and regulations, just so as to accommodate every whims and fancies of these rulers? Are they not treating us like servants on their pay, despite making a big show of waiting for Akshadai that we send as Prasadams at the end of our rituals? To be so subservient is just pathetic, to say the least, he thought!
76. That night, he vacated the house and left the town and reached Thiruvaiyaaru beyond mid-night with his wife. He prostrated at the feet of AmbaaL Dharma Samvardhani, crying and complaining that there was a dire threat for the conduct of his Swadharma! He did not stop at that. In the next few days, he with his wife went away to a distant place in the State of Maharashtra.
77. Kutty Saastriyaar had to face untold difficulties and finally got a place under the patronage of Srimanta Pajirao Peshwa and became a Vidwan in his Royal Assembly. The Peshwa was the Chief Minister in the State of Maharashtra. He had much authority and power and Srimanta was his official Title. Learned Pundits of those days will leave ill behaved and uncouth leaders and shift their loyalties to such, who would give due importance and benign support in honour of their erudition and knowledge. Thus he became very close to that Srimanta.
(To be continued.)
Sambhomahadeva.

DEIVATHIN KURAL #192 (Vol #4) Dated 20 May 2011

DEIVATHIN KURAL #192 (Vol #4) Dated 20 May 2011

(These e-mails are translations of talks given by Periyaval of Kanchi Kamakoti Peetam, over a period of some 60 years while he was the pontiff in the earlier part of the last century. These have been published by Vanadi Padippagam, Chennai, in seven volumes of a thousand pages each as Deivathin Kural. Today we are proceeding from the last para on page number 1,083 of Vol 4 of the Tamil original. The readers may note that herein 'man/he' includes 'woman/she' too mostly. These e-mails are all available at http://Advaitham.blogspot.com updated constantly)
55. Since he ended the poem that the Lord Varadaraja is looking at his ‘vakshasthalam’, that is the chest; KrishNa Deva Raya named him, ‘Vakshasthala’ as a Title. He was already known as Aachaarya and so his name came to be known as ‘Vakshasthalaachaaryaa’. Similarly there is one incident bringing out as to how KaaLidaasa praised Bhoja Raja in an over exaggerated way. KrishNa Paramaatma having grown up in Gokulam as a child, when he finished his Avatara, was said to be living in the world of cows, calves and bulls, known as Golokam.
56. One day he was supposed to have been going from the Golokam to the Bhulokam that is the Earth. Narada met him on the way and asked him as to where he is going and what for? Sri KrishNa told him, “My Dear Devarishi! You know that Kamadenu is the most important animal here. Its milk has dried up that it is not able to feed its calf. The reason for such drying up seems to be that it has come to know of the reputation of this Bhoja Raja, who bestows so much largesse on all the laureates and poets that Kamadenu feels jealous of Bhoja Raja as to ‘How can there be anyone superior to her in having such a big heart?!’ Thinking on such lines, her udders have dried up. So I am going to the earth to bring some grass for the calf!” Narada replied, “I am sorry Swami! You will not find any grass on earth either because so many kings have lost to Bhoja Raja in bravery, knowledge and philanthropy that they have all been grabbing the earth with their mouth in defeat!”
57. Sometime the world praises you and sometimes it roundly criticizes you also. The same KaaLidaasa, who praised Bhoja Raja to high heavens like this, virtually deserted him when Bhoja Raja forcibly tried to pry a ‘Sarama Kavi’ from him while still alive! Similarly, Kambar who asked, “Mannavanum neeyo VaLanaadum unnaduvo”, celebrated the same Kulothungan with, “tanneerum kaaviriye; taarvendan sozhane; maNNaavaduvum Sozha mandalame!” But these poets praised when the target richly deserved and not for grinding their own axes. They criticized also when it was due and not for any sustained hate. If the kings showed large heartedness in their liberality, the poets were more than equal in their encomiums of praise heaped upon the donor. While describing the Pattabhishekam (coronation ceremony) of Sri Rama, Kambar says that, it was one of the forefathers of his own patron Sadaiyappa VaLLal, from whose hands the Sage Vasishta received the Crown and did the Crowning for Sri Rama!
58. King and Child – Mutual Admiration. (Now let us come back to the Kutty Kavi’s story.) Shahji had come to Madurai to have the Darshan of Meenaakshi Amman. He was accompanied by many of the poets and other followers with their families. Amongst them there was this Kutty Kavi and his father having Meenaambikai Amman’s Darshan. The moment Shahji saw the AmbaaL, his poetic heart knew no bounds. The poem that sprung on the occasion was this: “purimaduram kirimaduram garimadurandara nitamba paaraadyam I sthoola kucham neela kacham balaka chandraangitam bhaje teja: II Twice there is the word ‘maduram’ as puri maduram and ‘kiri maduram’ repeated as a ‘praasam’ in ‘garima – durandara’ as underlined. AmbaaL lives in the sweet ‘madura – puri’ that is Madurai. Her speech or voice is also sweet. Then her sweet physical body is described as ‘sthoola kucham’ and ‘neela kacham’, meaning ‘massive breast’ and ‘long middle’ (or it may mean blue cloth around the hip); on Her head She is sporting the small young crescent moon; such a beautiful effulgence is what is AmbaaL; finishes the poem! (KTSV adds: Readers may please bear with this translation as the original Sanskrit words are not available, I have had to rely on the Tamil transliteration only and so, there may be some errors in my translation.)
59. This sweet out pouring of poetical brilliance was enjoyed by the child Vanchyeswaran standing nearby. He responded with a poem of his own, praising the king’s expression. He went one step higher with the play of words. “kaviloke naviloke bhuvi lokesya shaahaje roopamaam I hrudi tarasaa (a)vidhitarasaa – tat ititarasaahitya – vaa – na – me – lagathi II” The first line means, “To compare with this ruler of the lands, this king Shaahji, I have not seen anyone (comparable) in this earth and in all the poetical world.” The words ‘kaviloke’, ‘naviloke’ and ‘bhuviloke’ rhyme in sound; ‘kaviloke’ means ‘in the world of poetry’ and ‘bhuviloke’ means ‘in the earth world’; while the word ‘naviloke’ will separate as ‘na viloke’ to mean, ‘not seen’!
60. The second line, the first word is ‘hrudi tarasaa’ and the second word is ‘(a)vidhi tarasaa’. While these two words rhyme, the second word actually separates as ‘(a)vidhita rasaa’ (of various tastes). Then ‘tat – etara – saahitya’ also there is a ‘tarasaa’ as underlined. In the second line Vanchyeswaran is saying, as there is not such literary beauty anywhere else in the whole of literature as to be seen as in this King’s words, they have not got so suddenly attached to my heart, as his!” While giving a certificate of merit to the King, the child is also giving himself a pat on the back that he is capable of recognising literary beauty as what cannot be seen in any other poem! Only Shahji’s words he says, had the power to attach itself to this child’s heart, ‘tarasa’ = suddenly; ‘lagathi’ = adheres!
61. If you have to have certain amount of courage to speak ignoring the King, for a child to be able to give a certificate of merit to the King, he needs double that courage! In the forecourt of AmbaaL’s sanctum sanctorum, when the King brought out an outpouring of devotion, all the others were just hearing humbly, respectfully. At that time for the child poet to come out with a certificate of merit for the King, that too in the form of an impromptu poem of excellence; clearly brings out the higher position or status that a poet naturally held over that of a king, those days! It was at this time that the King gave the title of ‘Kutty Kavi’ to this child poet Vanchyeswaran! The Kutty Kavi that praised the King to high heavens did not hold back when the King erred in his behaviour. But that was not the same King Shahji.
62. Pratapa Simha and Kutty Kavi. After Shahji, his son Pratapa Simha became the King. The special officers of the King such as Nanaji Prabhu, Chandra Banu, Ananda Raya and such others who had effectively looked after the governance had died with the passage of time and as luck would have it, Pratapa Simha had employed some not so well qualified persons as officers. In the bargain the administration of the State suffered seriously. The learned pundits had no more royal patronage.
63. This was the time when Kutty Kavi came forward to write a piece of Kaavyam to nudge the King to become aware of his failure in governance! By then, instead of being a Kutty Kavi he had grown up to maturity. He did not write just to exhibit his dislike and hate. He intended to shake the King Pratapa Simha back to senses through his words. He was after all a good man, but proving to be a tyrant due to being advised by unworthy characters.
64. Kutty Kavi thought deeply over the situation. He decided to opt for satire and irony, to indirectly point out to Pratapa Simha about his offences of omission and commission in governance. Such writing is known as ‘saalokti’ to mean ‘advisory counselling’! He also used implied nudging known as ‘anyopadesam’ like the political cartoons of these days. There they make people look like so many animals. Kutty Kavi painted a political cartoon with words only!
(To be continued.)
Sambhomahadeva.

DEIVATHIN KURAL #191 (Vol #4) Dated 16 May 2011

DEIVATHIN KURAL #191 (Vol #4) Dated 16 May 2011

(These e-mails are translations of talks given by Periyaval of Kanchi Kamakoti Peetam, over a period of some 60 years while he was the pontiff in the earlier part of the last century. These have been published by Vanadi Padippagam, Chennai, in seven volumes of a thousand pages each as Deivathin Kural. Today we are proceeding from the last para on page number 1,075 of Vol 4 of the Tamil original. The readers may note that herein 'man/he' includes 'woman/she' too mostly. These e-mails are all available at http://Advaitham.blogspot.com updated constantly)
43. When Kambar returned to Sozha’s court, Kulothungan welcomed him with open arms and reinstalled him as the Poet Laureate of his Royal Court. But after a few days, he happened to hint that Kambar had not lived up to his challenge of making the Chera King function as his ‘adaippakkaaran’! Kambar now considered that the time has come for the ‘unless critically inescapable’ situation has come about, that he had told the Chera King earlier! So, he sent a message to the Chera King. He promptly presented himself in the guise of an ‘adaippakkaaran’, after a few days.
44. At that time the Kulothungan and Kambar were conversing. Kambar noticed the Chera King in the guise of an Adaippakkaaran! He felt very bad about that. But it came to his mind that he had been kind enough to respond so promptly and so willingly. Then it also came to his mind that it was better to obviate Sozha King from having a dig at him once again! So he did not even acknowledge the presence of the Chera King. The Sozha King and his security staff had no idea that it was the King of Chera. They all took him to be one of Kambar’s servants! Kambar did some nice play acting now.
45. With a slight pause in his conversion, he extended his hand towards the ‘adaippakkaaran’ and he promptly folded a fresh ‘paan’ and offered it to Kambar, who took it without a second look at the man. He did not put it in his mouth. He was holding it between his fingers at the back of his hand while, continuing the conversation. The drama was repeated thrice. After the third time, while still holding the ‘paans’ between the fingers at the back of his hand, he disposed off the ‘adaippakkaaran’ with a wave of his hand, who promptly went out jumped on his horse and rode away in a flash. It was then that this Sozha King realised that ‘he had been taken for a ride’ literally! In that nonchalant act of his getaway, the Chera King had also let drop a ‘signet’ ring of his with the royal emblem!
46. “Oh! Kambar, what is this? Why did you not tell me that it is the Chera King? He is so good a rider that we just cannot catch him!” said the Kulothungan! Kambar’s reply was this. “My Dear Sir, the Chera King came here on my personal invitation and not as your visitor! When he has come to save my respect, he has to protect his life also is it not so? We were not very certain as to what would have been your response and reception had you known his identity. As he had come for my sake and I wanted my job to be done, I did not introduce him to you.” Can you see as to how careful, diplomatic and civil that Kambar had been from this incident? “OK! It is all right!” said Kulothungan and continued. “But, tell me as to why you are still holding on to those ‘paans’ inserted between your fingers? Why do not you eat them?” Kambar’s answer to this question is more revealing and takes him to the pinnacle of decency and decorum!
47. Kambar gave this reply. “When a King offers to act as someone’s assistant, it shows the Kings greatness and humility. The one in receipt of such respect and service is not to get too haughty! He should also respond with ‘quid pro quo’ of equal vinayam, is it not so? Somehow the time was bad I suppose that, in the past what was light banter between you and me unnecessarily led us to avoidable confrontations and acrimony. Just to keep up my end of the challenge, I had to request one of the Kings amongst the triumvirate of Chera, Sozha and Pandya; to do the adaippakkaaran’s role. Then I had to ensure that his identity was not revealed while I had to play act as though I am his lord! That is why I took those paans from him so flippantly. But to eat those paans is a different matter. It behoves on me also that I should not start thinking too much of myself, is it not so?”
48. He continued his reply. “Had I eaten those paans, it would be as though I am accepting my Lordship over that King. That was neither my challenge nor my intention. Even when I said that ‘you are under my control’, it was more as a friendly banter that was not to have been taken too seriously. Even this substantiation of my challenge, you may note was necessitated by your reminding me about it indirectly after I had returned back to you forgetting the past! Accepting the paan from the Chera King was part of play acting to prove the challenge; eating the paan would have meant an acceptance of Lordship over the Chera King that would have been an unpardonable transgression of decency on my part!” Thus not only did Kambar take care of his own self respect but also that of the Chera King. Ottakkoothar and Pugazhendi were the official Poet Laureates of the King’s Court. But, Kambar remained loyal to the patronage of Sadaiyappa VaLLal, a regional chief. From this fact we can make out that he was too keen about retaining his freedom and independence!
TWO KUTTIES
49 Not only such world famous poets like Kambar and KaaLidaasa were keen on retaining their independence, many poets have been there who would not be afraid of the authorities of kings and chiefs. For them freedom of expression was paramount! Having spoken about two great poets let me talk about the shorter versions known by the name of ‘Kutty Kavi and Kutty Saastry’! (Kutty in Tamil means the shorty or mini.) The first Kutty Kavi I am going to talk about was known as Vanchyeswaran. As his forefathers were from Sri Vanchiyam, they named him with the name of the Presiding Deity of that place. As his poetical acumen was identified at a young age itself, he got famous as the ‘Kutty Kavi’.
50. The Shahji Mannar. At the end of the 17th century the Tanjore Rajyam got transferred from the Naickars to descendents of the Shivaji Dynasty of Maharashtra origin. One of the first Kings of that lineage was Shahji. He was well versed in all fine arts. He took good care of the Vidwaans, Pundits and Artists. He was soaked in devotion in Siva Bhakti. Like Jayadeva eulogised Sri KrishNa and wrote the Ashtapadi, this Shahji himself had written and composed 24 Ashtapadi Slokas on Thyagaraja Swami of Thiruvaroor. He wished to develop a whole township in which very learned Pundits would be given houses and lands to settle. So what he did was to establish a Sarva Maanya (Sarva means all and Maanya means respectfully awarded) Agrahaaram by the name of Thiru Visai Nallur, on the southern banks of the Cauvery River. (Agrahaaram is the first line of houses around a temple like a garland. Agra means first and Haaram means a garland. This Thru Visai Nallur is referred in Tevaram songs as Thiruviyalur.)
51. There he settled learned pundits of varied attributes from, Gujarat (known as Koorjaram those days), Maharashtra, Andhra, and Karnataka and also from other parts of Tamil Land. Each was granted a house with landed properties of agricultural lands for their living and sustenance. One of the pundits so settled was from Sri Vanchiyam, the father of our Kutty Kavi. I started talking about the poets who did not care to be subservient to royalty. But, first let me talk a little about how from his childhood the Kutty Kavi composed and sang Paamaalai and Pugazh Maalai in honour of Shahji.
52. Those days when the kings were connoisseurs of literature and arts as well great philanthropists, so as to further encourage them to do more such liberal contributions and appreciate their large heartedness, and in the bargain enhance the productivity of such good works of art; to sing their praise was quite normal. Such praises used to be sort of exaggerations quite often. In literature itself such praises were quite the in thing, known as, ‘adisayokti’, ‘migaipada kooral’, ‘uyarvu navirtchi’ and ‘chaadu kavitai’, all synonyms for high praise! When you praise the king, you find it more profitable to praise the King’s Consort! That reminds me of another episode.
53. Appayya Deekshidar’s grandfather was known as ‘Aachaarya Deekshidar’. He was also known as ‘Vaktshasthala Aachaaryaar’. He got this name by praising KrishNa Devaraya’s Queen in an impromptu poem! It came about like this. KrishNa Devaraya had come to Kanchipuram to have darshan of Varadaraja PerumaaL. At that time accompanying him was his Asthaana Pundit Aachaan Deekshidar. (The word Aachaan is a variation of Aachaarya only.) The Bhattar of the temple showed Mangala Aarathi with burning camphor held aloft in a plate as was done. While doing so the King noticed that it looked as though God Varadaraja PerumaaL seemed to have lowered his eyes, as though looking down on his own chest. He told the Deekshidar about what he had observed and asked him if he knew of any precedent for such happening.
54. Deekshidar promptly replied with a sloka created on the spot! “Oh that? As we are looking at God He was looking at all of us. When He observed the Queen standing next to you shining in golden effulgence, He thought that she looked like Maha Lakshmi. For a second wondering if His Consort had slipped out of her normal place, He checked his own chest if Maha Lakshmi is still there or not! (Siva is said to have given his left side of his own body to His Consort Parvathi and thus is known as Ardha Naareeswara. VishNu is supposed to have let His Consort be on his chest as per belief.) “kaanchit kaanchana gowraangeem veekshya saakshaad iva sriyam I varada: samsayaapanno vakshasthalam avekshate II”
(To be continued. We will come back to the Kutty Kavi shortly, wait.)
Sambhomahadeva.

DEIVATHIN KURAL #190 (Vol #4) Dated 14 May 2011

DEIVATHIN KURAL #190 (Vol #4) Dated 14 May 2011

(These e-mails are translations of talks given by Periyaval of Kanchi Kamakoti Peetam, over a period of some 60 years while he was the pontiff in the earlier part of the last century. These have been published by Vanadi Padippagam, Chennai, in seven volumes of a thousand pages each as Deivathin Kural. Today we are proceeding from the last para on page number 1,071 of Vol 4 of the Tamil original. The readers may note that herein 'man/he' includes 'woman/she' too mostly. These e-mails are all available at http://Advaitham.blogspot.com updated constantly)
33. The Subtlety of Friendship Turning into Enmity. When people not well acquainted interact, when something untoward is said or done, our own minds imagines an explanation for this. We cannot expect this man to understand our views and so he may or may not respond appropriately. We cannot take offence to their behaviour. Or when the other person is talking something against our stand point on various issues, we may get annoyed but not so much. It will not look too huge an offence and we will not exhibit our anger or dislike. But when the other person is well acquainted with our views, we feel, “Despite knowing our mind on the subject, why is he talking like this?” This anger grows as the persistence on the other side continues.
34. It was thus that the Sozha king felt not properly respected by Kambar and in turn Kambar felt that the king did not take his words in the right spirit! Like KaaLidaasa, Kambar too had to face a similar insult when the King told him to get out of his kingdom. “When I said that a huge empire is under my control, you had the gumption to say that I am under your control, is it not so? So, now as my subject, you have to get out of the limits of the Sozha Kingdom! Get out!” he said.
35. For such a royal command, others would have crawled and begged for mercy. Anybody else in the position of ‘Poet Laureate’ would have quickly backtracked and apologised, so as not to lose their position and status! But do you know what Kambar did? He felt badly insulted and said, “Mannavanum neeyo? VaLanaadum unnado? Unnai arindo “Tamizhai odinen?”* That means, “Are You the King? Is your country a fertile land? Did I become a poet just after having come to know you?” He said something more. “How does it matter if you are not there to support me? There are many kings who would love to be my patrons willingly. The king of lands is always secondary to the king of poetry! The one man about whom you are scared, the Chera King, him I will make my lackey and demonstrate in front of you”, he challenged. (*The second part of the SeyyuL he composed was like this: “yennai viraindu ertrukkoLLaada vendundo? Undo kurangu ertrukkoLLaada kombu?” This means, ‘Is there a king who does not accept me? Is there a stick not acceptable to a monkey?’ The allusion is to the fact that any monkey will dance to the slightest shake of a stick. So he is asking, is there a stick unacceptable to a monkey. Kambar here is the stick and the King is the monkey!*)
36. He further told him that he will make the Chera King into an ‘adaippakkaaran’! In those bygone days, when people of high standing go about, a coterie of followers would accompany. Amongst them there will be a man who will be carrying a small box like thing, that was known as ‘kaLaainji’ in which betel leaves and areca nut powder with some 64 other ingredients that are added to what was known as Taamboolam in Sanskrit, Vetrilai Pakku in Tamil and Paan in Hindi. Whenever looked at askance from the VIP, with a quick nod of his head this man known as ‘adaippakkaaran’ will respond with a mouth watering ‘Paan’ to be chewed on by the VIP! Kambar claimed that the King of Chera would willingly play that role to perfection and the King of Sozha will be witness to this display!
A Comparison of Kambar & KaaLidaasa
37. Having been Bhoja Raja’s bosom friend as known to all and sundry till that day and even after having been banished from his kingdom, Kaalidaasa was not ready to reveal this break to the whole world, whereas Kambar wanted to make a display of the rift between himself and the Sozha King. One may wonder as to whose action is right or wrong. I would say that both KaLidaasaa’s and Kambar’s reactions were both right and appropriate in their own way.
38. What was the point on which there was a difference of opinion between KaaLidaasa and Bhoja Raja? On his being asked to sing a Sarama Kavi as though Bhoja Raja is dead, KaaLidaasa refused. Why did the Bhoja Raja ask for it? He did so, because he had so much attachment for Kaalidaasaa’s power and artistry over words that, he sincerely wished to hear what he could never have heard, Kaalidaasaa’s outpouring of grief over his friend Bhoja Raja’s death! So, though there was a difference of opinion, it was basically due to Bhoja Raja’s love of KaaLidaasaa’s poetry, which was strong enough to overcome what everyone in the world is afraid about, the fear of one’s own death! After leaving such a ‘die – hard’ fan, how can a man like KaaLidaasa ever think of going to another patron? So he decided that what poetry cannot be heard and enjoyed by Bhoja Raja may not be available to anybody else in the world, he decided to become a mad Sanyaasi and vanish from the scene! In his state Kambar also would have done almost the same thing!
39. Now, what was Kambar’s case? What he said in the freedom of his familiarity with the Sozha King should have been taken by the King also in the same spirit, is it not so? Or instead of becoming too serious, he should have taken it as in a lighter vein. At the least he could have had the decency to say, “Listen, my dear Kambar! All said and done, as a King, I should be seen to safe guard my position, status and protocol. At least for that sake, do not make a display of your hold over me. If you take too many liberties, that will be tantamount to lessening of my power and hold. So, watch out what you say and how you behave in public!” That would have been a light rebuke serving the purpose. Instead when the King over reacted with a, “Ha Ha and Hoo Hoo! Let us see who is under whose control.....! It is the King’s Royal Command”, Kambar also got thoroughly disconcerted! In a similar situation KaaLidaasa also would have reacted the same way! Later in the story we are also made aware of Kambar’s large heartedness!
Kambar’s Visit to Chera Kingdom and Chera King’s Attitude
40. As promised Kambar went to the Chera Kingdom. He won over the King’s heart by his literary abilities and got encomiums of praise, awards, name and fame. Here the Sozha King was in doldrums. He was also a lover of arts and crafts. He also had real royal qualities. That a man who was recognized as the ‘Kavi Chakravarty’, Emperor of The World of Literature, who used to be a decorative jewel of his Royal Assembly, is missing from that assembly; was a loss unbearable for him. So, he was keeping track of any news about Kambar by sending his ambassadors, spies and investigative reporters in all directions! Finally he got wind of the fact that Kambar was with the Chera King, much supported by him. He sent his envoy there also. He also sent written messages to Kambar to forget the past and come back to his rightful place in the assembly. The old affections did grab the heart of Kambar too.
41. He took leave of the Chera King with a heavy heart and was returning back. The Chera King knew the past stories. He reminded Kambar about that part of the challenge as per which he was to accompany Kambar as the ‘adaippakkaaran’ stooge carrying the ‘kaLaainji’ in his hands. He insisted that he must play his part of the role in the drama and so, told Kambar to wait for a few minutes by which he will get dressed up for his role in the arrangement. Here we can see the nobility of the Chera King’s character. He had that much control over his own pride that he was ready to give up his reliance on pomp and show, even if only for a short period. The same story while describing the hot tempered nature of one King brings out the humility the other was capable of! That is why, though these stories are such that their veracity cannot be ascertained, we should still study them for the lessons learnt!
42. Kambar’s reply at this juncture is classic indeed. “It is alright, Your Highness the King; in the heat of the moment, he might have said something, I could have said something in retaliation. It is not for me to keep remembering my past challenges. It would be in the rightness of things for me to be magnanimous enough to forget the past and humble enough to correctly identify my place in relation to that of a king in the society. You are an active King in command of a country. It is your greatness that you have offered to act as an ‘adaippakkaaran’, that too in your opponent’s court! I should not make use of your offer unless it was inescapably necessary.” Having said so, he started out on his journey! His own character was shown more brightly later in the episode!
(To be continued.)
Sambhomahadeva.

DEIVATHIN KURAL #189 (Vol #4) Dated 12 May 2011

DEIVATHIN KURAL #189 (Vol #4) Dated 12 May 2011

(These e-mails are translations of talks given by Periyaval of Kanchi Kamakoti Peetam, over a period of some 60 years while he was the pontiff in the earlier part of the last century. These have been published by Vanadi Padippagam, Chennai, in seven volumes of a thousand pages each as Deivathin Kural. Today we are proceeding from the last para on page number 1,065 of Vol 4 of the Tamil original. The readers may note that herein 'man/he' includes 'woman/she' too mostly. These e-mails are all available at http://Advaitham.blogspot.com updated constantly)
22. Wherever KaaLidaasa would have run, the world would certainly have recognised him and start celebrating. He did not want such recognition and being celebrated. He wished to hide incognito. So, he went to a small place Dhar which was within 50 miles to the south of Ujjain and tried to hide his identity with a guise. Having been forsaken by his closest friend, he did not wish to have the patronage of anybody else anymore. Seeking such a support, he considered as an act of disloyalty to his old friendship. If sometime in the future there was to be a chance for the old friendship to revive, he did not wish to do anything contrary to such possibility. He assumed the guise of a mad Sanyaasi!
23. After he had left the town, a few days later Bhoja Raja could not bear the pangs of separation anymore. So he started out in search of KaaLidaasa in the guise of a ‘Guduguduppaandi’, that is a crude artist who lives on alms given by the general public after some entertainment with a colourfully decorated bull which nods his head or refuses to nod, to whatever the man says, the whole thing made to look as though the bull is divinely endowed with omniscience and capable of predicting the future! His guise was absolutely befitting as KaaLidaasa was a different type of a bull! How they met and found out about each other is yet another story. May be I will cover that some other time. All that I intended to say here is that, instead of nodding their heads to whatever the King had to say, there were people with a clear conscience and lived by the courage of convictions and self respect.
Traditional Stories and Research
24. I mentioned the names of two towns Dhar and Ujjaini. Dhar was the capital of Malva kingdom from where Bhoja Raja ruled. Ujjaini was adjoining Dhar towards west as the capital of Avanti. Between Krishna and Godavari Rivers is what is now known as Berar, earlier known as ‘Vidarba’ kingdom. North of this Vidarba were located both Malva and Avanti kingdoms. The capital Ujjaini itself was also known as Avanti. The King of that place Vikramaditya was actually the patron of Kaalidaasa and not Bhoja Raja. Someone by the name of PallaaLan collected some stories and anecdotes from the common folks, that are spread by word of mouth and put them together as ‘Bhoja Prabhandam’ which contains this story, without any authenticity as opined by scholars of history. Then who was that Vikramaaditya? Was he the one who is said to have defeated ‘Sagars’; established the Vikram Sahabdam and calendar; and ruled as an emperor from Ujjaini by name of Chandra Gupta or the Chandra Gupta II who ruled from Pataliputra? There are many differences of opinion on such things amongst the scholars too!
25. Not only about KaaLidaasa and the language of Sanskrit, about other poets also and in other languages too there are many versions about the place, historical time and the characters involved. For example about William Shakespeare I have heard, in a lighter vein a claim that, ‘the dramas that he had written were not actually his but written by somebody else with the pseudonym of William Shakespeare’! For example in Tamil itself, one story goes that ThiruvaLLuvar and Avvaiyar were brother and sister; another story says that Avvaiyar, Kambar, Ottakkoothar and Pugazhendi are all contemporaries. All such stories are said to be only fictions and not true historically.
26. Whether they are facts or fiction or whatever, I feel that we should study them and learn the right lessons. The stars of literature about whom such stories are prevalent themselves created their characters adding imagination and colour sustaining the interest of the readers. You look at how one RamayaNa has been written by Vaalmeeki, Kambar, Thulasidas and Kruttivaas in so many different ways! Why? Each as per their own imagination, experience, taste and style has made changes as per their own aim in writing. If fact has a certain element of truth in it, imagination and aim of the author also has the important ingredient of truth in it! We also benefit variously in reading them.
27. As those poets created various characters, similarly others have used their imagination to spin stories about them. We should appreciate the fact and fiction thereby learning our own lessons. Even when the stories have been the creation of the society at large instead of the poets themselves, they have a weightage of their own as outputs of tradition and culture and so cannot be ignored either! There is a proverb that, ‘there can be no smoke without fire’. Even when apparently without basis, these stories cannot be discarded out of hand. Despite the location, names and the dates being at variance, there will be some truth in the incidents and character qualities of the poets involved.
28. I must make a mention of one discordant aspect however. Whether it is imagination or not, the stories connecting the poets and women of low virtues, is what I am talking about. However much their works may be expounding and inculcating devotion to divinity, or reflecting the philosophy of spiritualism and bringing out the high ideals of culture of those days, just because the poet had a fertile imagination and intelligence; to depict them as debauches is simply not acceptable! Here if you ask me as to, ‘how can there be smoke without fire only here’, for this smoke also we can identify a fire. In classic literature there will always be some descriptions of ‘Sringaara Rasa’ that is eroticism. That is the fire behind the smoke. If they can describe such incidents in detail, the natural conclusion is that they must have been keen on self indulgence.
29. In later days, actors and poets have been rather ‘happy go lucky’ types. In the past the kings and luminaries of the royal assemblage were rather concerned about their personal behaviour being above boards, strictly as per the Saastraas! They cared for their names and reputation more than these days. So, we are not to think that they were all debauches of various hues. There might have been one or two like that. Except for this one point, all stories have to be taken on face value and appreciated.
30. Kambar and Kulothungan. Let me come to Kambar. We need not get into a discussion as to whether his period was 10th or 11th century AD. We need not get into tussle about whether the king those days was Vikrama Sozha or Kulothungan and if it was the latter, was it the first or second? We are more concerned about the stories and noble character qualities that the stories bear out. Like Bhoja and KaaLidaasa, Kambar and Kulothungan were intimate friends. So, Kambar had all the freedom to have his say on any subject. One day Kulothungan was boasting with pride that he had a huge empire under his control. Out of his license, Kambar said, “That is alright, but despite having a great empire under your control, you yourself are under my control”! Out of love and freedom of expression without any pride only he said this.
31. Easwara the God Himself is said to be ‘bhakta paraadeenan’ meaning subservient to the devotee. In Tamil it is said that, ‘easwararo thondar uLLathu adakkam’ (meaning the God is confined in the hearts of the devotee) and that is God’s greatness, is it not so? Thus the King of the Land is under the control of the King of Literature, to mean that he is such a fan of the poet! So, Kambar thought that his statement will be taken in that spirit. People in power, unless they are careful, the power of the position will go to their head. That is why it is said that, ‘power corrupts and absolute power corrupts absolutely’! This is what went to the head of Kulothungan now.
32. He thought, “Look at this poet. He has the temerity to say that I am under his control! What is this? For a simple poet to claim suzerainty over the King is just not on!” He got thoroughly annoyed and irritated. I told you earlier as to how, close friendship can turn into utter hate!
(To be continued.) Sambhomahadeva.

DEIVATHIN KURAL #188 (Vol #4) Dated 10 May 2011

DEIVATHIN KURAL #188 (Vol #4) Dated 10 May 2011

(These e-mails are translations of talks given by Periyaval of Kanchi Kamakoti Peetam, over a period of some 60 years while he was the pontiff in the earlier part of the last century. These have been published by Vanadi Padippagam, Chennai, in seven volumes of a thousand pages each as Deivathin Kural. Today we are proceeding from the middle of page number 1,058 of Vol 4 of the Tamil original. The readers may note that herein 'man/he' includes 'woman/she' too mostly. These e-mails are all available at http://Advaitham.blogspot.com updated constantly)
11. We hear similar stories about Vedanta Desikar too. VidyaraNya SwamigaL was responsible for the establishment of the dynasty of Vijaya Nagara Samrajya! His disciples Harihara and Bukka, two brothers who energised the locals to unite and rise against the tyranny of the Delhi Nawabs and install the ‘Vidya Nagara’, which came to be morphed in to the ‘Vijaya Nagara Empire’. This VidyaraNya SwamigaL was a pure Adwaitin and an AachaaryaaL of Sankara Mata Peetam at Sringeri. He was a man of letters of erudition beyond compare! He had genuine love and respect for Vedanta Desikar, as only the very learned people could have for their own lot. Vedanta Desikar for that matter was a virulent critique of the Adwaita Philosophy as a staunch follower of the Ramanuja AachaaryaaL’s cult of Visishtaadwaitam. However VidyaraNya was the type of person who believed in respecting all learned Pundits despite their beliefs and faith. As the Raja Guru of Vijaya Nagara Saamrajya, he sent an invitation to Vedanta Desikar to come join as the Aasthaana Vidwaan. Desikar refused that he did not need such esteem and recognition. His reply he sent became a famous sloka known as, ‘Vairaagya Panchagam’, a declaration of dispassion in five stanzas.
12. Such greats worthy of being included in the list of Mahaans – who could not care less for – titles, status, awards and such despite being acts of courage; are not something so extra ordinarily out of the way! To note that even poets who were trying to make ends meet as normal house holders, did refuse such recognition as “Aasthaana Kavi”, just so as not to give up their freedom of expression; is to be appreciated as awesome! Mahaans refused such awards on the principle of dispassion. Poets did so, on a simple matter of self – respect!
Dispassion and Self Respect
13. Mahaans had gone above the need for self respect. Others who considered their self respect as priority one, thought it to be below their dignity to strive for name and fame despite the insults in such a way of life. Such people were rare and so, all the more worthy of appreciation. Looking at it from the point of view of his position of poverty and penury, such acts need our special attention. We should be learning a lesson that in a similar situation, we should also persevere not to lose our self respect. Amongst them I have already told you the names of KaaLidaasa and Kambar. So I will tell you their stories also!
14. KaaLidaasa and Bhoja Raja. VaLLal is a special name for such Kings who had a natural bent for being magnanimously liberal in heaping largesse on poets, artists and craftsmen. Bhoja Raja was one such King famous for his philanthropy whose capital was located in a place known as Dhar near Ujjain in Madhya Pradesh in Central India. KaaLidaasa was an ‘Aasthaana Kavi’ in his royal assembly. Bhoja Raja’s cabinet of ministers were world famous as ‘Nava Ratna’ or the Nine Gems! Bhoja Raja had good understanding of the nuances of the poets and was a poet himself of some standing. So instead of being a championing King and the supported Poet, they treated each other on equal footing. By dint of habit they had become very fond of each other as friends. Human nature is such that when the friendship breaks after becoming thick and thin, it turns into intolerance. When the fruit becomes over ripe it becomes rank smelling. Pure ghee starts stinking when it goes bad! Pure milk with a small drop of acid can become unusable! Extreme love easily turns in to hate. That is what happened in their friendship.
15. Bhoja Raja Asked for ‘Sarama Kavi’ for Himself! Some bad period I suppose. As though people were jealous of their friendship, suddenly Bhoja Raja got a peculiar desire. There is a type of poetry in India known as ‘Sarama Kavi’, in which eulogies of praise are heaped on a departed soul and read out as part of the obsequies at the ceremony after a person’s death. While still alive, Bhoja Raja wanted to hear ‘Sarama Kavi’ written by KaaLidaasa. He thought on these lines. “We have enjoyed our friend KaaLidaasaa’s literary abilities in so many ways! Still there is one wish that would remain unfulfilled as I will be no more, to be able to hear a ‘Sarama Kavi’ on myself, that too written by KaaLidaasa.” He started wondering as to how to make KaaLidaasa sing a ‘Sarama Kavi’ even while being alive!
16. So he asked for KaaLidaasa’s to be called to his presence. He told KaaLidaasa, “Imagine that I am dead. After all, you have a fertile imagination. So, imagining myself to be dead, sing before me the ‘Sarama Kavi’ that you will sing in all the intensity of sorrow that you would go through on my death. You never know as to who can live for how long! What is the use of your singing such a song after I am no more? I wish to hear it now!” Even when KaaLidaasa refused to accede to such an odd request from his King, still Bhoja was adamant enough to give him a royal command.
17. Anybody else could have thought, “Why should I cross the King’s path? Just because we should not be singing about his leaving the world, why should we leave our house and properties and be banished from our own land and suffer in some foreign land? It is better that we sing the ‘Sarama Kavi’ as he is asking and gain plenty of wealth in the bargain”! KaaLidaasa did not think on those lines. He neither feared the King’s wrath nor was he greedy enough to take advantage of the peculiar situation. Not giving into the King’s wish, he continued to argue against that. Finally he opted to leave the country on his own and simply walked out of the scene.
18. I came to talk about the principled stand on self respect that the poets of those days had. In the case of KaaLidaasa, in addition to self respect, there are many more character qualities that we get an insight by this incident. As our minds will not permit us to sing a song, assuming one of our kith and kin to be dead when alive, KaaLidaasaa’s love for his friend was too deep rooted to accept his loss and exploit the same! Whatever his capacity for imagination, he was just not prepared to even imagine the death of his friend.
19. There is another reason for his not being able to imagine his friend’s death and sing a ‘Sarama Kavi’. Bhavaboothi through the mouth of Sri Ramachandra brings out a truth about Rishis and the power of their speech. “Other people talk of what has happened. But Rishis when they talk, what they say becomes the truth. If others talk about real incidents that happened in the past, what Rishis say is grabbed by the elements of existence to make it happen. The meaning runs after the words uttered by Rishis to cause it to happen!” Rama is talking about Vasishta thus, “vaacham artho anudhaavati”, as written by Bhavaboothi in ‘Uttara Rama Charitam’!
20. If Rishi’s words are so powerful, poets who have abundant Grace of God flowing through their words, have similar power. That is, whatever they say will become the truth. Their imagined scene becomes the reality. So, even though it would have been a ‘Sarama Kavi’ for an imagined death, Bhoja Raja would have had to pay for it through his death! KaaLidaasa told Bhoja Raja about this likelihood. But the King’s ego came in the way. “I am a King and he is only a Praja, a citizen. How can a simple Praja refuse an order of a King? Am I to listen to him and cancel my own order? No, it is he who has to obey.” He was adamant in his stand. KaaLidaasa was more adamant that he walked away from the situation. Here we can perceive KaaLidaasa’s sense of sacrifice and care of other poor poets! If you ask me how, let me explain.
21. Either giving in to Bhoja Raja’s persistence or in appreciation of a fan’s uncommon wish that he was ready to die so as to be able listen to a song on his own imaginary death; had he sung a ‘Sarama Kavi’, what would have happened? Bhoja Raja would have died. That would not have made much damage to KaaLidaasaa’s reputation as a poet. His market value would have remained high not only as one amongst the ‘Nava Ratna’ but also as poet whose words have the power of reality! He was not thinking about himself. Other younger poets would have missed the patronage of such a great King who was a poet himself and also a liberal minded connoisseur of arts and literature! That would have been the greater loss for the fraternity of poets and the world of poetry, literature and arts! So, instead of being selfish and greedy; instead of depriving a friend of continued existence and causing loss to the world of arts and culture; he agreed to banish himself from his Mother Land!
(To be continued.)
Sambhomahadeva.

DEIVATHIN KURAL #187 (Vol #4) Dated 08 May 2011

DEIVATHIN KURAL #187 (Vol #4) Dated 08 May 2011

(These e-mails are translations of talks given by Periyaval of Kanchi Kamakoti Peetam, over a period of some 60 years while he was the pontiff in the earlier part of the last century. These have been published by Vanadi Padippagam, Chennai, in seven volumes of a thousand pages each as Deivathin Kural. Today we are proceeding from the middle of page number 1,053 of Vol 4 of the Tamil original. The readers may note that herein 'man/he' includes 'woman/she' too mostly. These e-mails are all available at http://Advaitham.blogspot.com updated constantly)
‘PANPAADU’ THAT IS CULTURE
(Note: We have reached almost the end of Volume 4 of Deivathin Kural. For the next 12 or 13 e-mails, we will be covering interesting issues under the general heading of ‘PaNpaadu’ that is Culture’. PaNpaadu in Tamil means ‘Culture’, that is the refined way of life, attitude and behaviour of Indians, especially South Indians and amongst them too, more especially the Tamilians. It is further interesting to note that the word ‘PaNpaadu’ itself is a combination of two words, ‘PaN and Paadu’. PaN in Tamil (with the N stressed) is a generic term for all poetry. Paadu means ‘to sing’. So, put together, they mean a refined way of expression, as poetry is more refined compared to spoken or written prose; as the sound of the cuckoo is over the barking of a dog or the braying of a donkey, ‘PaNpaadu’ means a Gentleman’s Way of Life!)
POETS’ SELF RESPECT

1. Avvai Patti has said, “Mannarkku tan Desam allaal sirappillai: kartravarku senra idam ellaam sirappu”, which means that, “The Kings command respect only in their own land; while the learned command respect wherever they go”! She had every right to say so as she had experienced such adulation and respect wherever she went and she did visit every nook and corner of Tamil Nadu including parts of the present Andhra Pradesh, Karnataka and Kerala! Her flag was flying much above that of the Chera, Sozha and PaNdya Kings, who all deferred to her every wish and word! Her wishes were their commands!
2. Paari VaLLal (a benefactor and philanthropist) who took special care of poets had died. His two daughters Angavai and Sangavai had been orphaned. At that time it was Avvaiyaar who with an immense sense of gratitude searched for suitable eligible bachelors and got them married. At that time when they got the invitation to attend their marriage, all the three Kings of Chera, Sozha and Paandya Kingdoms had arrived to attend the marriage. Though they were normally at logger heads with each other, it was her invitation which had to be respected amicably. Seeing all three of them under one roof or Pandal, Avvaiyaar was thrilled to comment that, “In this one occasion, like the three ritual fires in the households of the twice – born Brahmins’ namely Garhapatyam, Aahavaneeyam and DakshiNaagni; you three are shimmering effulgently here”! This poem is there in ‘Pura Naanooru’ 367, I quote:-
“onru purindu adangiya iru pirappaaLar
muththee puraiyak kaaNdaga irunda
kortra veN kudaik kodith ther vendar”.
(Please note that the Brahmins used to be called the ‘twice – born’. That is, once at the time of their arrival biologically in this world and the second time when they are given the PooNool in the Upanayana Samskaara, from which time onwards they are considered to be crossing the threshold between childhood and Brhmacharya and entitled to do their duties of Learning and Teaching the Vedas; Conducting Yagnas for oneself and for others; Accepting and Giving Daanam that is Charity. The human teeth is also said to be ‘twice – born’, as the initial set falls off at the age of five or six and is born a second time!)
3. That woman Avvaiyaar, that too an old woman who used to live on alms earned through her singing, having no house or wealth or property, had that sort of a hold on all the three emperors of South India, those days of yore! Still they obeyed her promptly with extreme humility, because of her literacy, mastery over the language, fairness and firmness of diction, which they all respected! Those literarily accomplished poets known as Kavis and Paa VaaNargal were kept at a pedestal of genuine respect, much above even Royalty. They knew about their position in the social order and persevered to maintain their status through continued learning, courage of convictions and being fearless in making their views heard! With rightful pride in their learning, they called a spade, ‘a spade’ as evidenced by that old woman Avvaiyaar, who could say with conviction that, “Kings are respected in their own land while the learned are respected wherever they went”!
4. When you are a great devotee or Gnaani, you should not be nurturing pride and be quick to take offence. But these Poets cannot be bracketed with such devotees and or Gnaanis. These poets do stand apart from the common run of the mill lot! They are greater than people who may be having high status, power, assets and other possessions of grandeur. But they cannot be equated with the devotees and ascetics who have disassociated themselves from this worldly life.
5. When I am saying this, I am aware of the fact that, Gnaanis can be poets also and so can be devotees of God. Starting from the time of Rishis and Brhma Gnaanis, they have all been highly learned poets by their own rights. Starting from Vaalmeeki, Veda Vyaasa, to our AachaaryaaL, the 63 Nayanmaars, the 12 Aazhvaars, Vedanta Desikar, Gnaana Deva, Purandara Daasa to Pothana, people well advanced in the spiritual path and highly erudite scholars were all great poets also. There is a proverb to the effect that ‘unless he is a Rishi, he cannot be composing epic poems’. In Vedas the word ‘Kavi’ means a ‘Rishi’. While defining ‘Kavi’ it says that he is a “kraanta darshee”, meaning that he is ‘capable of discerning the truth’! So I am not talking about the Itihasa and Purana period of yore but later periods of recorded history.
6. In those days, the poet or ‘Kavi’ is the one who had made writing his profession as Sahitya Karta. Then the Kings were the patrons of arts and literature. So to get recognition in the King’s assembly used to be the ambition of every writer worth his name. They could hope to get honoured for their labour to the tune of ‘Akshara Laksham’, that is a Lac of rupees for every word of his work! In the bargain there were many who would praise their Kings to high heavens ‘at the drop of a hat’ so to say. But contrary to this, when it was found to be below their dignity, if the King was not intelligent enough to appreciate their work, there have been poets who could walk out of such company of a King and his coterie, despite years of acquaintance! In the life of the foremost poets of Sanskrit and Tamil, that is Kalidasa and Kambar respectively, such incidents have happened.
7. Greats Who Could Not Care Less for Kings! It is nothing surprising for a recluse Sanyaasi to be uncaring for the Royalty. But we have to appreciate the fact that there were some who did not fall for the attraction of pelf and prestige, despite living in utter penury! One of the three greats of Karnatic Classical Music Thyagaraja SwamigaL, when urged to go and sing in the presence of Saraboji Maharaj of Tanjavur, composed the poem with the question, “Is it the Kings ‘nidhi’ (award or bounty) the greater source of comfort or is it the ‘sannidhi’ (presence and proximity) of Sri Rama?”
8. Similarly there have been some great devotees who have clearly said, “appanai paadum vaayaal aandi suppanai paaduveno?” That means, ‘with this mouth that sings of the Father of the whole Universe, will I ever sing the praise of mere mortal leaders? No Never!’ Nammazhvaar says in the Ninth song of Ninth Thirumozhi, “vaay kondu maanidam paada vanda kaviyen allen”, to mean, ‘I have not come here as a poet to sing the praise of mere mortals’. Sundara Murthy SwamigaL addressing the poets of his time, “Why are you singing the eulogies of this and that man? If you have to sing, sing about our God Siva only,” in Thiruppugalur Tevaaram that starts with ‘Thammaiye pugazhndu ichchai pesinum”.
9. Appar SwamigaL who had studied earlier in Jain religious institutions and then returned back to Hinduism, was spreading the Saivam in a big way. When King Mahendra Pallava sent his emissaries to punish him, he sang the famous Thevaaram, “yaamaarkkum kudiyallom namanai anjom!” That is to say, “We are nobody’s subjects and we do not fear even Yama the God of Death!” There can no other more suitable example for our saints who were utterly fearless!
10. Like these examples of people far advanced in devotion, gnaanam and literary expertise, there have been many cases of those who having been the ‘Aasthaana Vidwaans’, (that is well established and recognised laureates), who have simply resigned from their well entrenched position, when their integrity was doubted. Neelakanta Deekshidar is one such example. He was not only the Poet Laureate but also the Mukhya Mantri in the Thirumalai Naickar’s cabinet. There was a time when his integrity was under a cloud. Later the King apologised for his having doubted Deekshidar’s veracity. Still Deekshidar had the courage of his convictions when he said, “Enough is enough to continued Governmental Service” and returned to his Brahmin’s way of life in a village. Then he instructed that no one from his family should ever opt for a life of public service, in the future too! Finally he took Sanyaasa.
(To be continued.)
Sambhomahadeva.