DEIVATHIN KURAL # 03 (Vol # 7)
Dated 29 June 2013
(These e-mails are
translations of talks given by PeriyavãL 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 going ahead
from page No 14 of Volume 7 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 continually)
20. Maha Vishnu has more
than a thousand names vide Vishnu Sahasranãma and Purusha Suktam which says
that God has thousands of heads, eyes and feet – 'sahasra seershã purusha:
sahasrãksha sahara paat, sa bhoomim visvato vruthva atyadishtat dwashãngulam' –
'सहस्र शीर्षा पुरुष: सहस्राक्ष सहस्र पात स भूमिं
विश्वतोव्रुत्वा अत्यदिष्टत द्वशान्गुलम्'. Purusha Suktam further says that he is
omnipresent in that, he is in every part of the space from the earth to all
Universe as well as present in ten inches! You can take it as an enormously huge being
like some of the animated and digitalised characters that roam about the
screens of cinema / TV / laptops and so many of the electronic gadgets or as the in-dweller in all human beings and
living things. Till that idol was being
venerated as the family deity by the Ikshvaku Royal Dynasty, it must have been
referred as Maha Vishnu or Sesha Sayee.
How did the name Ranga Sayee come about?
21. The word 'Ranga' in Sanskrit and so in Tamil also, could
mean colour as well as an amphitheatre or stage or platform. You might have heard of the word 'Arangam' –
meaning a stage and the hall in
which people are assembled. The one
running the World Drama has to do so in a theatre isn't it? When he does so as Parameswara, the place
where he does it as a dance-presentation is in Chidambaram. His Arangam or Sabha is known as 'Chit
Sabha'. As it is a golden arena, it is
also known as the 'Kanaka Sabha'. All
the organizations and associations, that run music / dance / drama events on
stage in the city, call themselves as 'Sabha' only, isn't it? Here Chit Sabha and Sri Rangam match each
other as the respective arenas of Siva and Vishnu.
22. Making use of the words as they are generally understood I
said 'music / dance / drama' events. In
Bharatha's reference book of 'Nãtya Sãstrã' this word 'Nãtyam' includes all
these three mediums of music, dance and drama.
The Sanskrit 'nata' – 'नट' is
the root word for, Natanam, Nãtyam, and the Tamil word 'nadappadu' – 'நடப்பது'
indicating walking or any movement or event.
For the dancing father when there is a Temple, Arangam, Stage, Kanaka
Sabha and Kovil – 'all in one'; PiLLaiyar's uncle, this creator of this drama
of a dream like world in his dreams, there had to be an arena or stage. Hence he named this island as 'Rangam'. The
CEO of this world, (that is his dream, of which he is the master creator and
administrator) as the King of the Arena, was titled by PiLLaiyar as the – Ranga
Raja. Since he is in the reclining
position, doing all this in his 'Yoga Nidra', he came to be known as Sri Ranga
PiLLaiyar's Leela and its Aptness
23. I do
not know what the Sthala PurãNam says, as I do not remember clearly. May be the idol was already known as Ranga
and possibly the Vimana of the statue was known as Sri Rangam. I do remember however that, it is a VaishNava
Sthala PurãNa, and that there was no mention of Vinãyaka there. The
Sozha King at the time of Sri Rama was Dharma Varma, as till date the outer
periphery of that temple is known as 'Dharma Varman Surtru'. This Sozha King did tapasya for a long period
to get the family deity of Ikshvaku Vamsam, visit his kingdom, So, when the idol was brought here, once put
down on the ground it got established permanently, as per the Sthala PurãNam. But what is more widely known is the prank
played by PiLLaiyar, and as the story goes on, it only confirms the Saiva –
VaishNava balance and Samarasam.
24. How did the
story progress? PiLLaiyar ran and ran to
the top of the hillock in Trichy.
Vibhishana chased him. Finally
PiLLaiyar condescended enough to be captured by Vibhishana who had his
satisfaction by giving Kuttu on his head and as evidence of that the 'Uchchi
PiLLaiyar' has three marks or dents in his pate. Normally PiLLaiyar is to be seen in easily
accessible places like where roads meet or the village squire under a huge tree
like Arasa / Aala Maram, on the banks of river / lake / wells where people are
likely to assemble or come to collect water.
It is very rare for him to be seen on hill tops unlike his younger
brother SubrahmaNya who prefers hill tops!
This further confirms PiLLaiyar's running away and being cornered there
that he had to condescend to come in to the clutches of Vibhishana and get the
three 'Kuttu' on his head. In this
itself there is also the 'Tatva Artha' of connecting the Moola Ãdhãra and
Sahasrãra, which I shall not elaborate now.
25. In this connection between Sri Ranganatha and Vigneshwara,
there is one more link. You remember
that the very person who toppled Agasthya's Kamandalu and let the River Cauvery
flow is PiLLaiyar, in the form of a crow as I told you. Like Vibhishana in this story, Agasthya also
ran after him with folded fists. The
crow became a Brhmachari boy like in this story. There even before getting the Kuttu on the
head, PiLLaiyar displayed his real Roopa.
"Oh God!" said Agasthya, "What a mistake I was going to
commit. For this I should punish myself
in redemption", and did 'Dobir karaNam and gave himself three
Kuttu-s. This act became a tradition to
be followed by all devotees of Ganapathy.
These two stories while complementing each other further connect up Maha
26. This place where toppling of Agasthya's Kamandalu occurred
was under a goose berry tree in the Sahayadri Mountains and that is the
starting point of the Cauvery River.
That goose berry tree was Sãkshãt Maha Vishnu himself! One Amsam of Vishnu's Mahã Mãyã became a
woman as Lopãmudra, who became Agasthya's wife and who was in his Kamandalu as
Teertam, water in the Kamandalu. It is
this Lopãmudra who became Cauvery River!
Then Vishnu Bhagawan told her, "Like the Ganges, you have had the
'pãda sparsanam' – 'touch of my feet' now.
Later you will have 'sarvãnga sparsanam' when you flow as the River
Cauvery you will be able hug me with both your arms as Ubaya Cauvery", He
said. To give such a boon that day, it
was PiLLaiyar who had initiated the process with a 'PiLLaiyar Suzhi' to let her
flow through the roots of that Goose Berry Tree, that enabled the establishment
of Sri Ranga Sayee's temple to come up in this island between the two arms of
Cauvery. So it is in the fitness of
things, that in the language of poets it is fit to be called, 'sãla poruttam'
The Earlier Anecdote
of PiLLaiyar's Meeting with RavaNa
27. I will tell you one more thing to further balance between
Saivam and Vaishnavam, the story about the elder brother of Vibhishana and
PiLLaiyar. If Vibhishana got the
Ranganatha Vigraha from Sri Rama, on an earlier occasion his elder brother
RavaNa also got the 'Ãtma Lingam' from Siva himself in Kailãsa. That was the time when RavaNa was roaming
about on top of the earth showing off his mighty prowess to the whole
world. He had gone to the Himalayas and
wanted to shake up the Kailãsa Mountain with his bare hands. Siva knew as to what was happening. He nudged the mountain with his right toe and
RavaNa was stuck like a wedge. He was a
great Siva Bhakta. Slowly he started
singing the ancient rhymes of 'Sãma Gãna'.
Then slowly he extricated himself and started playing on the VeeNa, for
the hearing pleasure of Siva. Having
punished him for the mischief of trying to move the mountain, in appreciation
of his singing and playing on the VeeNa, Siva presented him with an idol of
Siva Lingam known as 'Ãtma Lingam' after warning him that till ceremoniously
installed where required, the idol was not to be placed on the ground.
28. Situation is very similar to the Vibhishana's story. PiLLaiyar was noticing the events and was
looking for a suitable opportunity and place to come in! This place was Gokarna, an island like
Dwaraka of the west coast of the mainland, a little south of Goa. When RavaNa was thinking of morning ablutions,
PiLLaiyar came in front of him as a young Brhmachari and obediently accepted
with a similar promise that if required, he would call for RavaNa three times. Without any need for further elaboration,
RavaNa also fell for the ruse and the Ãtma Lingam was established permanently
at Gokarna. The three dents on the head
is very clearly seen as whosoever was the sculptor had done it so realistically
without giving too much importance to the normal identification marks in a
statue of PiLLaiyar, (such as his prominent head, the noticeable trunk, huge
tummy and the ivory tusks,) but the three dents on the top of the head with the
hands hanging as though resigned to his fate, that the onlooker virtually
sympathises with the poor boy! Despite
his well-known power and prowess, RavaNa could not move the Ãtma Lingam. As even the 'balam' or power of RavaNa had
been annulled, the Siva Lingam there is famous as 'Mahã Baleshwar'! PiLLaiyar was equality personified in dealing
with both elder and younger brothers and equally so in safe-guarding Ãtma
Lingam and Ranganatha idols; at par between Saivam and VaishNavam! Having prevented the elder brother from
taking away the Siva Ling, would he let the younger brother take away the Ranga
Sayee idol? The earlier incident proves
the veracity of our story of Sri Ranga!
The Uniqueness of
Bharat Desh – that is India
29. OK Swami! So, it all
means that PiLLaiyar did not wish to let the divine statues go out of this
country of India, You say. What does it
mean? Is it reasonable and should
PiLLaiyar be partial to one country like this?
I answer such questions with a counter question. When you water the plants, where do you put
the water, on the leaves or flowers or the roots? Sprinkling of water on the leaves and the
body of the plant may be required at times, on a hot summer evening to make it
feel cool. But normally if you water the
base, from the root the water reaches every part of the plant, as required isn't
it? If you think of the world as a
plant, Bharat Desh is the root. If you
think of the world as a living entity, India is the heart for all divine and
spiritual matters. So, if we do the
religious activities here, the salubrious and salutary effect will reach every
part of the globe.
30. In the way that God has created this world, some places
have excellent climate all through the year, some are moderate and some are
extremes. Some are snow bound and some
are full of green forests. Some get
rains, some are seasonal and some are dry mostly. So there is trade and commerce in almost all
materials produced by man and naturally occurring materials. In such a set-up, India is meant to be the
power-house, the spiritual power-house.
Like the heart supplies and receives blood from all parts of the body,
India is the Heart of the world for all divine and spiritual matters. If you take the world and even Universe as
the Viswa-Virãt Roopa of God, this Bharat Desh – this India is the producer,
supplier of the divine force to the rest of the world. Like the doctor may apply a medicine or
bandage or a tourniquet to any part of the body, if and when required,
religious processes may go on, on any part of the world, some times. But here it must go on for the sake of every
body-part, all the time! Religious
discourses, Pooja-s, Dhyãna, PãrãyaNa, conduct of festivals, celebrations,
Yagas and such things must go on forever, for the world to continue to benefit
as our message has always been, "lokã: samasthã: sukhino bhavantu – sarve
janã: sukhino bhavantu" – "लोका: समस्ता: सुखिनो
भवन्तु – सर्वे जना:सुखिनो भवन्तु" meaning, 'Let
all the worlds be comfortable and happy – let all the people be comfortable and
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