song31pg47evrb innum parāmukameno umakkitu muṟai tāno -rare raga sreedhari-lakshana-lnotation evrb

 https://youtu.be/ngqPLWzZkTk

Ramayana –episodes – innumparamukhamthe kr̥tis of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar

innumparamukham rare ragasreedhari

5.sreedhari -rare rāga lnotation nnumparamukham evrb 

innum text sreedhari evrb.htm   

4.¾r§dhari -r¡m¡ya³a kriti pg 47

pallavi

i´´um par¡mukam£´µ umakkitu muºait¡´o £ªaiye´ m§tu

a´upallavi

pa´´aga ¾aya´a´£ para´t¡ma´£ p¡pavimoca´a´£ patampa³i´t£´

cara³am -1

mu´´am va´attiloru mu´iva´ v£©viyai k¡tt¡y

pi´´ava´u¿a´ ce´¿ru pe³³ava© c¡pam t§ºtt¡y

ma´´a´ ja´aka´ ma´am makiªave vil va©aittay

a´´ai c§tai kai pititt¡y aru©puriya

cara³am -2

ta´taicolmiku ma´tram tara³iyil illaiye´¿ru

ta³¿ak¡ra³yam ce´¿ru tapacika©kkaru© ta´t¡y

a´tarattµr makiªa arakkarka©aiye¿utt¡y

ayµti´akaril utitt¡y aracum pe¿º¡y

 

4.ramayana kriti text sreedhari   4.¾r§dhari -r¡m¡ya³a kriti pg 47

௪.ஶ்ரீத₄ரி -ராமாயண க்ரிதி ப்க்₃ ௪௭

பல்லவி

இன்னும் பராமுகமேனோ உமக்கிது முறைதானொ ஏழையென் மீது

அனுபல்லவி

பன்னக₃ ஶயனனே பரன்தாமனே பாபவிமொசனனே பதம்பணின்தேன்

சரணம் -௧

முன்னம் வனத்திலொரு முனிவன் வேள்வியை காத்தாய்

பின்னவனுடன் சென்ட்ரு பெண்ணவள் சாபம் தீற்த்தாய் 

மன்னன் ஜனகன் மனம் மகிழவெ வில் வளைத்தய்

அன்னை சீதை கை பிதித்தாய் அருள்புரிய

சரணம் -௨

தன்தைசொல்மிகு மன்த்ரம் தரணியில் இல்லையென்ட்ரு

தண்டகாரண்யம் சென்ட்ரு தபசிகள்க்கருள் தன்தாய்

அன்தரத்தோர் மகிழ அரக்கர்களையெடுத்தாய்

அயோதினகரில் உதித்தாய் அரசும் பெட்றாய்

MEANING :PER COURTESY- DR ALAMELU AND SRI RAMAKRISHNAN

Song number 31                          ( Innum paramukham eno)  (Why are You turning away from me?)

Ragam: Sridhari                              Talam: Adi

Kharaharapriya janyam

Arohanam: s r g m d n s

Avarohanam: s n d m g r p m g r s

Pallavi

Still why do You turn Your face (away from me)?

Why do You turn Your face away  (from me)?

Is this befitting You, at me who is helpless and hapless?

Anupallavi

(O!) One who has a couch of serpent! (One) who suppresses enemies!(One) who saves those who commit sins! I resort to and supplicate at Your feet. (innum)

Charanam 1

Earlier, You protected the sacrifice of a sage (Viswamitra) in the forest! Then, accompanying him (sage Viswamitra), You redeemed her (Ahalya) from her curse (of sage Gautama). Then, You bent the bow and gladdened the mind of king Janaka, You held the hand (married) of mother Sita. To bless me, (innum ---why are You still reluctant?)

Charanam 2

Considering that there is no word more sacred in the universe than that of (one’s) father, going to (the forest) Dandakaranya, You protected the sages there, who were engaged in penance and austerities. Gladdening the hearts of the celestials, You removed the weeds in the form of demons. You rose (like the Sun) in the city of Ayodhya and ascended the throne (Innum en)

 SRIDHARI --ADI   notation

pallavi

1.s×, ,, n ,   d, m ,  ,, g , r ,| rg mg m , ,,|  m, ,, d, n ,||

i´   ´um par¡      muka  m£      ´µ              umak

2.s× n r× s×  n , d , m , ,, g, r , | gmp, m , ,,| m, ,, ndn,||

i´   ´um par¡      muka  m£      ´µ              umak

 3.s× n r× s×  n ,d ,gmpm g, r , | mg p, m , ,,| m, ,, nddn||

i´   ´um par¡      muka  m£      ´µ              umak

 4.g× r s× n r× s× n d s× n d m pm g r| gm p, m ,,,| m, ,, mgmg||

ki´   ´um par¡      muka  m£      ´µ              umak

     m,n, d, n, s× n d, n, s×,| s× n r× s×  n, d ,| n d m, d, n ,||

    kki    tu    muºai t¡´o £               ªai  ye´  m§   tu

a:upallavi

1. , , n, d, n, s× , s×, s× , r× s× | s×, ,, s× , ,, | s× , ,,  r× , s× ,|| 

      pa´´aga¾aya´a´£ --------------------------

2. , , n, d, n, s× , s×, g× r× r× s× | n, s×, s× , ,, | s× , ,, ns× r× s×|| 

       pa´´aga¾aya´a´£  -----------------------------

   r× s× s× n  d, n , s× , s× , s× r× r× s× | ns×, g× , r× g× ,| s×, r× ,  g× r× s×,||

       pa´´aga¾aya´a´£    --   pa   ra´  t¡    ma´£

 

 3. r× s× r× s×  nd n, s× , s×, s× r× r× s× | n s× n g×  r× ,g× ,| r× s× r× ,  g× r× s×,||

       pa´´aga¾aya´a´£    --   pa   ra´  t¡    ma´£

    s× n r× s×  n , d  , m , ,, g,r ,| gmp, m , m , | mndn  npdn ||

    p¡        pa   vi  mo   ca´a  ´£         pa    dam pa³i´t£´

caraam -2

m g m ,  d, d,   n, d,  d, n , | s× , s× , n , d , | m , m, g , r,||

ta´  tai colmiku ma´tram   dara    ³iyil     il  lai  ye´¿ru

mg  m, d, m ,  gr g,      r, s, | m, m, d, d, | n, d,   nd n,||

ta³  ¿a      k¡  ra³yam ce´¿rutapasika©   kkaru© ta´t¡y

s×, n,   d, n,  s×, s× ,   s× , s× , | n , g× , r× , g× , |m× , g× , r× , s×, ||

a´ tara ttµr    makiªa   a  ra kkarka  ©ai  ye¿utt¡y

s× n r× s×  n, d,  m, m, g, r, | p , m ,  m, m, | n d n, dm dn ||

a   yµ   ti  ´a  karil uti       tt¡            y a   ra¾um pe¿º¡y

 https://youtu.be/ngqPLWzZkTk innum-sreedhari evrb - audio  

Melodic analysis  of    rare   raga  

¾r§dhari - rāga lakṣaṇa given by evrb

Janya of 22nd mela kharaharapriya*PG 47

¡rµha³a sa ri² ga² ma¹ dha² ni² saÇ  

avarµha³a

  a. saÇ  ni² dha² ma¹ ga² ri² pa  ma¹ ga² ri²  sa

b. saÇ  ni² dha² ma¹ ga² ma¹ pa  ma¹ ga² ri²  sa

Swararanjani : R R Iyengar Lists  Swararanjani  Under 22nd Mela 

Arohana Same  sa ri² ga² ma¹ dha² ni² saÇ 

Avarohana Different saÇ ni²  pa  ma¹ ga² ri²  sa

Not found in sang chud or gaana bhaskaram

Observation

Melody- seems to be sandwiched between Kharaharapriya and Sriranjani

Avarohan has dha² ma¹ ga² ri² pa  ma¹ ga² ri²  sa- 

To delebarately avoid dpmgr prayoga

n ,d ,gmpm g, r , | mg p, m , ,,| m, ,- m g m ,  d, d,   n, d,

s× n d m pm g r|-mndn  npdn|- s× n r× s×  n, d,  m, m, g, r, | p , m ,  m, m,

Observation-

different avarohana patterns both vakra

The vakra pattern limits avarohana prayogas. To be carefully manouvered with ndmp,,,mgr  gmd,, nn,S,ndm pp, mgr, rp, mgr, gmd,n,s

Limited scope though with occasional use of pa-,sreeranjani effect needs to be eschewed.

¾r§dhari -r¡m¡ya³a kriti  ādi for use in Harikatha.

i´´um par¡mukam£´µ umakkitu muºt¡´o £ªaiye´ m§til

and ref ksna cd audio

vatsav¡¢¡cara ¾r§kara v¡c¡magocara vara-ref-tankam cassette

Janya of 22^nd mela kharaharapriya*PG 47

¡rµha³a sa ri² ga² ma¹ dha² ni² saÇ 

avarµha³a

  a. saÇ  ni² dha² ma¹ ga² ri² pa  ma¹ ga² ri²  sa

b. saÇ  ni² dha² ma¹ ga² ma¹ pa  ma¹ ga² ri²  sa

Swararanjani : R R Iyengar Lists  Swararanjani  Under 22^nd Mela

Arohana Same  sa ri² ga² ma¹ dha² ni² saÇ

Avarohana Different saÇ ni²  pa  ma¹ ga² ri²  sa

Not found in sang chud or gaana bhaskaram

Observation

Melody- seems to be sandwiched between Kharaharapriya and Sriranjani

Avarohan has dha² ma¹ ga² ri² pa  ma¹ ga² ri²  sa-

To delebarately avoid dpmgr prayoga

n ,d ,gmpm g, r , | mg p, m , ,,| m, ,- m g m ,  d, d,   n, d,

s× n d m pm g r|-mndn  npdn|- s× n r× s×  n, d,  m, m, g, r, | p , m ,  m, m,

Observation-

different avarohana patterns both vakra

The vakra pattern limits avarohana prayogas. To be carefully manouvered with ndmp,,,mgr  gmd,, nn,S,ndm pp, mgr, rp, mgr, gmd,n,s

Limited scope though with occasional use of pa-,sreeranjani effect needs to be eschewed.

            ¾r§dhari -r¡m¡ya³a kriti  ādi for use in Harikatha.

i´´um par¡mukam£´µ umakkitu muºt¡´o £ªaiye´ m§til

and ref ksna cd audio

vatsav¡¢¡cara ¾r§kara v¡c¡magocara vara-ref-tankam cassette

structure and textual Analysis in Thesis

Ramayana  –episodes – in the kr̥tis of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar

Many a number of kritis of Tyagaraja narrate episodes from the Ramayana.  In some of the kritis of Tyagaraja, we find certain episodes to which we do not get any clue in any of the other Ramayanas written by others.

 Kalala Nerchinaa in Deepaka Raga and Vachaama aghocharame in Raga Kaikavasi are good examples.^[1]

innum parāmukameno umakkitu muṟai tāno^[2]-raga sreedhari

 Valmikis epic i Ramayana’s 24000 verses is divided into 7 kanda s

The 7 Kandas of epic Ramayana are
1) Bala Kanda Rama’s boyhood life in Ayodhya
2) Ayodhya Kanda until his banishment
3) Aranya Kanda Rama’s life in forest and sita’s abduction by Ravana

4) Kishkindha Kanda Rama’s stay in Khishkinta-capital of his monkey ally Sugreeva
5) Sundara Kanda Ramas passage to Lanka with the help of Hanuman

6) Yuddha Kanda Rama’s battle  with Ravana,recovery of Sita, return to ayodhya

7) Uttara Kanda Raama Rajya- coronation and rule

Both charanams to be sung before linking to the pallavi.the complete Ramayana story used for harikatha rendering.

munnamvanattiloru muni vanveḷviyai kāttāy-Sage Viswamtra’s Sacrifice

Bala Kanda

pinnavan–uṭanśenṭru peṇṇavaḷśāpam tīrttāy-Ahalya rescued

mannan janakan manam makiḻave vilvaḷayttāy-King Janaka’sbow

Ayodhya Kanda

annai sītaikai piṭittāy aruḷpuriya-Suyamvara of Sita

.tantaiśolmiku mantramtaraṇiyil illaiyenṭru –King Dasaratha Ordrer

Aranya Kanda

taṇṭakāraṇyam śenṭru tapasikaḷkkaruḷtantāy-Danda karanya forest

Kishkindha Kanda

Sundara Kanda

antarattormakiḻa arakkar kaḷaiyeṭuttāy-anhillation of Ravana and others

 

Yuddha Kanda

ayotinakaril utittāy araśum peṭṭrāy..-Pattabhisheka-Coronation

atAyodhya

Uttara Kanda

For Ramayana Harikatha discourses bhagavatar’s songs do not have mudras.^[3]

---

[1] PROF SRJ.Miscelleny of essays

[2] num31 pg 47

 

[3] Telephonic Interview with Smt.Jayamani -

#அண்டர்பதி குடியேற #cosmosatsang #gambeeranaaTa #chandataala https://youtu.be/ek3tZB64OyE

 

NarasimhaMangalanavaratnamaalika @cosmosatsang geetanjaliglobalgurukulam

 

[This Mangala stotra is addressed to Narasimha, an incarnation of Lord Vishnu. These songs are recited after reciting prayers to the Lord or after performing worship. Wishing Mangalam means, wishing all that is good.]

Mangalam sthamba dimbhaya,
Mangalam mruthyu mruthyuve,
Mangalam Roudhra roopaya,
Narasimhaya Mangalam. 1

Mangalam to the one who was born from a pillar,
Mangalam to the lord of death to the lord of death,
Mangalam to him who is fierce looking,
Mangalam to the Lord who is lion man.

Hirani kasipum hathwa,
Daithyendram deva kandakam,
Jagat rakshana duryaya,
Jagat bheejaya Mangalam. 2

Mangalam to the seed of universe,
Who killed the Asura called Hiranya Kasipu,
Who was the lord of Rakshasas and killer of devas,
And the Lord who was interested in saving of the world.

Prahlada Sthuthi santhushta,
Prasanna nija moorthaye,
Varadabhaya hasthaya,
Varadaya cha Mangalam. 3

Mangalam to the giver of boons,
Who was happy with the prayer of Prahlada,
Who was really a God with pleasant mien,
And who shows protection and boons by his hands.

Karagrair vajra samsparsair,
Narair shathru dharine,
Theeshna damshtathanvaya,
Tharkshya vahaya Mangalam. 4

Mangalam to the one carried by Garuda,
Whose hands are as hard to touch like a diamond,
Who puts down the enemies of men,
And who has very sharp protruding teeth.

Nara kanteeravaakara vyakthaa,
Athyugra vibhoothaye,
Mrugendraya narendraya,
Daivathendraya Mangalam. 5

Mangalam to the Lord of Devas,
Who has the shape of the man and lion,
Who has fierce disposition,
And who is the lord of men and beasts.

Kireeta hara keyura,
Kundalalnkruthaya cha,
Koti Surya prakasaya,
Deva simhaya Mangalam. 6

Mangalam to the God lion,
Who decorates himself with,
Crown, garland, bracelet and ear studs,
And who had the brilliance of billon suns.

Triyugadhi triprushtaya,
Trigunaya trimurthaye,
Nara kesari roopaya,
Lakshmi lolaya Mangalam. 7

Mangalam to the lover of Lakshmi,
Who belongs to three ages,
Who has three type of back,
Who has three characteristics,
Who is the three Gods,
And who has a man lion form

Mathsya kachapa varaha,
Rama Vamana murthaye,
Ramakrishnathmane Boudha,
Kalki simhaya Mangalam. 8

Mangalam to the fish, turtle, boat.
Parasu Rama and Vamana incarnations,
Who is the soul of Rama and Krishna and Budha,
And Kalki as well as the lion.

Sarva bheejaya sathyaya,
SArvadheeshtana murthaye,
SArveswaraya Sarvasmai,
SAthwa simhaya Mangalam. 9

Mangalam to the lion of truth,
Who is the real root of everything,
Who can be approached by every one,
Who is god of all and himself is every one.

NARAYANEEYAM DASAKAM - 25 - NARASIMHA AVATHARAM

 

NARAYANEEYAM DASAKAM - 25 - NARASIMHA AVATHARAM

Dasakam - 25 - Narasimha Avatharam

Hiranyakashipu angered at Prahlad's reply that God is omnipresent, struck the pillar hard and the Lord appeared with a big roar that the entire universe trembled and even Brahma was shaken off his throne. 

From the pillar, emerged, Lord in a form, which looked partly a beast, partly a human being, expanding in to a shining body, white in colour, with stiff hair all over the body, eyes shining like gold, wide opened mouth like a cave, sword like tongue rolling out, with Man-lion form, fierce looking jaws, pointed claws in hands and roaring loud.

Hiranyakashipu realised it to be lord who has come to kill him, rushed towards the him to kill it with his mighty mace. Lord held Hiranyakashipu's hands tightly by his stout arms, he slipped himself from the grip and came back rushing towards Lord with the sword and armour with valour to kill all the three worlds.

Lord in form of Narasimha, half man and half lion, held him by his hand, supported him on his thighs at the doorway, on twilight and tore his chest with his claws and drank the blood oozing out of his body, fiercely roaring strong enough to shatter the universe.

Pushing away the dead body, Lord Narasimha sprang up with body smeared in blood, wearing the intestine of Hirnyakashipu as garland, started to eat the other asuras, roaring loudly that caused mountains tremble, oceans turbulent, stars and other celestial objects scatter, causing an utter chaos in the universe.

Sitting on the thrown amidst the assembly, Lord roared again and again, casting fear to Brahma, Shiva and other Gods, Godesses and devas. No one dared to go near and kept singing hymns in praise to pacify the Lord.

Brahma instructed Prahlada to go near and prostrate before the Lord. On seeing his devotee, his anger reduced, and now becoming soft and kind, touched and blessed the boy with deep compassion. With Lord's touch, Prahlada started to sing hymns in praise of Lord and received boon in favour of the world.

Bhattathiri praised the lord who enacted this fierce drama to slay an asura and protect his prime devotee and requests him to cure him of his ailments.

PS: At the end of Narasimha Avatharam, when Bhattathiri sang Prahlada Priya he! Marutpurapathe!, Lord Guruvayoorappan who approves and acknowledges every dasakam, did not approve or nod his head. While Bhattathiri was wondering, what the reason could be, there came a divine voice from the sanctum of Lord Guruvayoorappan. Lord said that each and every devotee is dear to him, not only Prahlad. Hearing it, Bhattathiri was overwhelmed by Lord's mercy. - From the explanatory notes of Sengalipuram Brahmasri Anantharama Dikshithar.

Lyrics of Dasakam 25

स्तंभे घट्टयतो हिरण्यकशिपो: कर्णौ समाचूर्णयन्

आघूर्णज्  जगदण्ड कुण्ड कुहरो घोरस्तवाभूद्रव: ।

श्रुत्वा यं किल दैत्यराज हृदये पूर्वं कदाप्यश्रुतं

कम्प: कश्चन संपपात चलितोऽपि अम्भोजभू: विष्टरात् ॥१॥

stambhe ghaTTayatO hiraNyakashipO: karNau samaachuurNayan

aaghuurNaj jagadaNDa kuNDa kuharO ghOrastavaabhuudrava: |

shrutvaa yaM kila daityaraaja hR^idaye puurvaM kadaa(a)pyashrutaM

kampa: kashchana sampapaata chalitO(a)pi ambhOjabhuu: viShTaraat || 1 ||

दैत्ये दिक्षु विसृष्ट चक्षुषि महासंरम्भिणि स्तम्भत:

सम्भूतं न मृगात्मकं न मनुजाकारं वपुस्ते विभो ।

किं किं भीषणमेत-दद्भुतमिति व्युद्भ्रान्त चित्तेऽसुरे

विस्फूर्जत् धवलोग्र रोमविकसत् वर्ष्मा समाजृम्भथा: ॥२॥

daitye dikshu visR^iShTa chakshuShi mahaasanrambhiNi stambhata:

sambhuutaM na mR^igaatmakaM na manujaakaaraM vapuste vibhO |

kiM kiM bhiiShaNameta-dadbhutamiti vyudbhraanta chitte(a)sure

visphuurjat dhavalOgra rOmavikasat varShmaa samaajR^imbhathaa: || 2 ||

तप्तस्वर्ण सवर्ण घूर्णदतिरूक्षाक्षं सटाकेसर-

प्रोत्कम्प प्रनिकुम्बितांबरमहो जीयात्तवेदं वपु: ।

व्यात्त व्याप्त महादरीसख मुखं खड्गोग्र वल्गन्महा-

जिह्वा निर्गम दृश्यमान सुमहा दंष्ट्रायुगोड्डामरम् ॥३॥

taptasvarNa savarNa ghuurNa datiruukshaakshaM saTaakesara

prOtkampa pranikumbitaambaramahO jiiyaattavedaM vapu: |

vyaatta vyaapta mahaadariisakha mukhaM khaDgOgra valganmahaa

jihvaa nirgama dR^ishyamaana sumahaa danShTraayu-gODDaamaram || 3 ||

उत्सर्पत्-वलिभङ्ग भीषण-हनु ह्रस्व स्थवीयस्तर-

ग्रीवं पीवर दोश्शतोद्गत नख क्रूरांशु दूरोल्बणम् ।

व्योमोल्लङ्घि घनाघनोपमघन प्रध्वान निर्धावित-

स्पर्धालुप्रकरं नमामि भवत: तन्नारसिंहं वपु: ॥४॥

utsarpat valibhanga bhiiShaNa-hanuM hrasvasthaviiyastara

griivam piivaradOshshatOdgata nakha kruuraamshu duurOlbaNam |

vyOmOllanghi ghanaaghanOpamaghana pradhvaana nirdhaavita-

sparddhaaluprakaraM namaami bhavatastaM naarasinhaM vapu: || 4 ||

नूनं विष्णुरयं निहन्मि-अमुमिति भ्राम्यत्-गदा-भीषणं

दैत्येन्द्रं समुपाद्रवन्तम् अधृथा दोर्भ्यां पृथुभ्याममुम् ।

वीरो निर्गलितोऽथ खड्ग फलके गृह्ण विचित्रश्रमान्

व्यावृण्वन् पुनरापपात भुवनग्रासोद्यतं त्वामहो ॥५॥

nuunaM viShNurayaM nihanmi-amumiti bhraamyat-gadaa-bhiiShaNaM

daityendraM samupaadravantam adhR^ithaa dOrbhyaaM pR^ithubhyaamamum |

viirO nirgalitO(a)tha khaDga phalake gR^ihNan vichitrashramaan

vyaavR^iNvan punaraapapaata bhuvanagraasOdyataM tvaamahO || 5 ||

भ्राम्यन्तं दितिजाधमं पुनरपि प्रोद्गृह्य दोर्भ्यां जवात्

द्वारेऽथोरुयुगे निपात्य नखरान् व्युत्खाय वक्षोभुवि: ।

निर्भिन्दन्-अधि-गर्भ-निर्भर-गलत् रक्ताम्बु बद्धोत्सवं

पायं पायं उदैरयो बहुजगत् संहारि सिंहारवान् ॥६॥

bhraamyantaM ditijaadhamaM punarapi prOdgR^ihya dOrbhyaaM javaat

dvaare(a)thOruyuge nipaatya nakharaan vyutkhaaya vakshObhuvi: |

nirbhindann adhi-garbha-nirbhara-galat raktaambu baddhOtsavaM

paayaM paayam udairayO bahujagat sanhaari sinhaaravaan || 6 ||

त्यक्त्वा तं हतमाशु रक्तलहरी सिक्तोन्नमत् वर्ष्मणि

प्रत्युत्पत्य समस्त दैत्यपटलीं चाखाद्यमाने त्वयि ।

भ्राम्यद्भूमि विकम्पिताम्बुधिकुलं व्यालोल शैलोत्करं

प्रोत्स्रर्पत्-खचरं चराचरमहो दु:स्थामवस्थां दधौ ॥७॥

tyaktvaa taM hatamaashu raktalaharii siktOnnamat varShmaNi

pratyutpatya samasta daityapaTaliiM chaakhaadyamaane tvayi |

bhraamyadbhuumi vikampitaam budhikulaM vyaalOla shailOtkaraM

prOtsarpat khacharaM charaacharamahO duHsthaamavasthaaM dadhau || 7 ||

तावन्मांस वपाकराल वपुषं घोरान्त्र मालाधरं

त्वां मध्येसभं इद्ध-रोषमुषितं दुर्वार गुर्वारवम् ।

अभ्येतुं न शशाक कोपि भुवने दूरे स्थिता भीरव:

सर्वे शर्व विरिञ्च वासवमुखा: प्रत्येकं-अस्तोषत ॥८॥

taavanmaamsa vapaakaraala vapuShaM ghOraantra maalaadharaM

tvaaM madhyesabham iddha-roShaamuShitaM durvaara gurvaaravam |

abhyetuM na shashaaka kO(a)pi bhuvane duure sthitaa bhiirava:

sarve sharva viri~ncha vaasava mukhaa: pratyekam-astOShata || 8 ||

भूयोऽप्यक्षत रोषधाम्नि भवति ब्रह्माज्ञया बालके

प्रह्लादे पदयो: नमति अपभये कारुण्य भाराकुल: ।

शान्तस्त्वं करमस्य मूर्ध्नि समधा: स्तोत्रै: अथोद्गायत:

तस्या-कामधियोऽपि तेनिथ वरं लोकाय चानुग्रहम् ॥९॥

bhuuyO(a)pyakshata rOShadhaamni bhavati brahmaaj~nayaa baalake

prahlaade padayO: namati apabhaye kaaruNya bhaaraakula: |

shaantastvaM karamasya muurdhni samadhaa: stOtrai: athOdgaayata:

tasyaa-kaamadhiyO(a)pi tenitha varaM lOkaaya chaanugraham || 9 ||

एवं नाटित रौद्रचेष्टित विभो श्रीतापनीयाभिध-

श्रुत्यन्त स्फ़ुटगीत सर्वमहिमन् अत्यन्त शुद्धाकृते ।

तत्तादृङ्निखिलोत्तरं पुनरहो कस्त्वां परो लङ्घयेत्

प्रह्लादप्रिय हे मरुत्पुरपते सर्वामयात् पाहिमाम् ॥१०॥

evaM naaTita raudracheShTita vibhO shriitaapaniiyaabhidha

shrutyanta sphuTagiita sarvamahimann atyanta shuddhaakR^ite |

tattaadR^iN nikhilOttaraM punarahO kastvaaM parO langhayet

prahlaada priya he marutpurapate sarvaamayaat paahimaam || 10 ||

-------Sri Krishnarpanam---

NARAYANEEYAM DASAKAM - 26 - GAJENDRA MOKSHAM

Indradyumna, King of Paandya region, once engrossed in his devotion to Lord, missed to welcome Sage Agastya on his arrival. Sage Agasthya cursed the king to become an elephant. Indradyumna got the form of an elephant immediately but was fortunate to remember his devotion to Lord.

Indradyumna became the leader of elephants, now known as Gajendra, sported with female elephants on the trikuta mountains and was living happily. One day Gajendra while roaming in the mountains, felt thirsty due to heat and went to a lake nearby, to drink water along with his female elephants.

In that lake, there was a gandarva named Huhu, who had turned in to a crocodile, cursed by sage Devala. He caught the leg of Gajendra. Indeed Lord gives difficulties to his devotees, only to bless later.

Gajendra fought with all his might for more than thousand years but still crocodile did not leave him. The time Gajendra became tired, he started singing hymns in praise of Parathman or Brahmam which he had learnt in his past life. He plucked the white lotus in the lake and offered it to the Lord.

On hearing the hymns, Brahma and Shiva did not venture to help as the sloka was addressed to Lord Hari, the nirguna Brahman . Lord immediately in his unlimited mercy, mounted on Garuda and appeared before Gajendra.

Lord held Gajendra with his lotus hands and released him from the clutches of the crocodile by severing it with the discus. The crocodile got released from  the sage Devala's curse and turned back to the beautiful Gandarva form. Gajendra got the divine form similar to the Lord himself by his divine grace.

Whoever sings this Gajendra moksham or listens to this story, or thinks of Gajendran or the Parabrahmam with focused mind, especially in the dawn, will be blessed with prosperity. Whoever remembers this story at the time of death, Lord declared that he will give them pure mind.

Lord departed to Vaikunta along with Gajendra after giving the benefits of reading or singing or hearing the Gajendra moksham. Bhattathiri requests Lord who saved Gajendra from jaws of death and blessed him, to protect all devotees including him in the same way.

PS: Only in this Gajendra Moksham, Lord himself has given the Phalasruthi, the benefits of reciting, singing or listening to this charithram. - from the explanatory notes of Sengalipuram Brahmasri Anantharama Deekshithar

Lyrics of Dasakam 26

इन्द्रद्युम्न: पाण्ड्य खण्डाधिराज:

त्वत्-भक्तात्मा चन्दनाद्रौ कदाचित् ।

त्वत् सेवायां मग्नधी: आलुलोके

नैवागस्त्यं प्राप्तं आतिथ्य कामम् ॥१॥

indradyumna: paaNDya khaNDaadhiraaja:

tvadbhaktaatmaa chandanaadrau kadaachit |

tvatsevaayaaM magnadhii: aalulOke 

naivaagastyaM praaptam aatithya kaamam || 1 ||

कुम्भोद्भूति: संभृत क्रोध भार:

स्तब्धात्मा त्वं हस्तिभूयं भजेति ।

शप्त्वाऽथैनं प्रत्यगात् सोऽपि लेभे

हस्तीन्द्रत्वं त्वत् स्मृति व्यक्ति धन्यम् ॥२॥

kumbhOdbhuuti: sambhR^ita krOdha bhaara:

stabdhaatmaa tvaM hasti bhuuyaM bhajeti |

shaptvaa(a)thainaM pratyagaat sO(a)pi lebhe

hastiindratvaM tvat smR^iti vyakti dhanyam || 2 ||

दुग्धाम्भोधे:-मध्य भाजि त्रिकूटे

क्रीडञ्छैले यूथपोऽयं वशाभि: ।

सर्वान् जन्तून्-अत्यवर्तिष्ट शक्त्या

त्वत्-भक्तानां कुत्र नोत्कर्षलाभ: ॥३॥

dugdhaambhOdhe: madhya bhaaji trikuuTe

kriiDan shaile yuuthapO(a)yaM vashaabhi: |

sarvaan jantuun-atyavartiShTa shaktyaa

tvat-bhaktaanaaM kutra nOtkarSha laabha: || 3 ||

स्वेन स्थेम्ना दिव्य देह्त्व शक्त्या

सोऽयं खेदान्-अप्रजानन् कदाचित् ।

शैलप्रान्ते घर्मतान्त: सरस्यां

यूथै:-साधं त्वत्-प्रणुन्नोऽभिरेमे ॥४॥

svena sthemnaa divya dehatva shaktyaa 

sO(a)yaM khedaan aprajaanan kadaachit |

shailapraante gharmataanta: sarasyaaM

yuuthai: saardhaM tvat-praNunnO(a)bhireme || 4 ||

हूहू:-तावत्-देवलस्यापि शापात्

ग्राहीभूत: तज्जले बर्तमान: ।

जग्राहैनं हस्तिनं पाददेशे

शान्त्यर्थं हि श्रान्तिदोऽसि स्वकानाम् ॥५॥

huuhuu: taavat-devalasyaapi shaapaat

graahiibhuuta: tajjale vartamaana: |

jagraahainaM hastinaM paadadeshe

shaantyarthaM hi shraantidO(a)si svakaanaam || 5 ||

त्वत्-सेवाया: वैभवात् दुर्निरोधं

युध्यन्तं तं वत्सराणां सहस्रम् ।

प्राप्ते काले त्वत्-पदैकाग्र्य सिध्यै

नक्राक्रान्तं हस्तिवर्यं व्यधास्त्वम् ॥६॥

tvat-sevaayaa: vaibhavaat durnirOdhaM

yuddhyantaM taM vatsaraaNaaM sahasram |

praapte kaale tvat-padaikaagrya siddhyai

nakraakraantaM hastivaryaM vyadhaastvam || 6 ||

आर्तिव्यक्त प्राक्तन ज्ञानभक्ति:

शुण्डोत्क्षिप्तै: पुण्डरीकै: समर्चन् ।

पूर्वाभ्यस्तं निर्विशेषात्म निष्ठं

स्तोत्रं श्रेष्ठं सोऽन्वगादीत् परात्मन् ॥७॥

aartivyakta praaktana j~naanabhakti:

shuNDOtkshiptai: puNDariikai: samarchan |

puurvaabhyastam nirvisheShaatma niShThaM

stOtra shreShThaM sO(a)nvagaadiit paraatman || 7 ||

श्रुत्वा स्तोत्रं निर्गुणस्थं समस्तं

ब्रह्मेशाद्यै: नाहमित्य-प्रयाते ।

सर्वात्मा त्वं भूरि कारुण्य वेगात्

तार्क्ष्यारूढ: प्रेक्षितोऽभू: पुरस्तात् ॥८॥

shrR^itvaa stOtraM nirguNasthaM samastaM

brahmeshaadyai: naahamitya-prayaate |

sarvaatmaa tvaM bhuuri kaaruNya vegaat

taarkshyaaruuDha: prekshitObhuu: purastaat || 8 ||

हस्तीन्द्रं तं हस्त पद्मेन धृत्वा

चक्रेण त्वं नक्रवर्यं व्यदारी: ।

गन्धर्वेऽस्मिन् मुक्त शापे स हस्ती

त्वत्-सारूप्यं प्राप्य देदीप्यते स्म ॥९॥

hastiindraM taM hastapadmena dhR^itvaa

chakreNa tvaM nakravaryaM vyadaarii: |

gandharve(a)smin muktashaape sa hastii

tvat-saaruupyaM praapya dediipyate sma || 9 ||

एतत्-वृत्तं त्वां च मां च प्रगे यो

गायेत्सोऽयं भूयसे श्रेयसे स्यात् ।

इत्युक्त्वैनं तेन सार्धं गतस्त्वं

धिष्ण्यं विष्णो पाहि वातालयेश ॥१०॥

etat-vR^ittaM tvaaM cha maaM cha prageyO 

gaayetsO(a)yaM bhuuyase shreyase syaat |

ityuktvainaM tena saardhaM gatastvam

dhiShNyaM viShNO paahi vaataalayesha || 10 ||

------Sri Krishnarpanam------

 

goddesslakshmidevi #lakshmi #lakshmipuja #adisankara #adisankaracharya #shloka #shlok #shlokam #kanakadharastotram #kanakadhara

 

The Shloka was written in the 8th century AD by Adi Sankara. One day, as a young boy, he was on bhiksha for alms to prepare his lunch and happened upon the doorstep of a very poor Brahmin lady. Having nothing edible in her home, the lady frantically searched her house, only to find a single amla (gooseberry) fruit which she then hesitantly offered to Sankara. Sankara was so moved by the incredible kindness and selflessness of this woman that he burst forth into poetry and sang 21 stanzas in praise of Goddess Lakshmi. Pleased by the beauty and power of the hymn, the Goddess appeared before him and asked him why he had remembered her. Sankara pleaded with the Goddess to reverse the fortunes of this lady's family by granting her riches. At first, Goddess Lakshmi refused to do so, saying that the lady had not been charitable in her previous birth and was bound by the laws of karma to have a fate bound to poverty in her current birth. Sankara implored the Goddess that the lady's act of absolute selflessness should absolve her of her sins of the past and that Lakshmi was the only one capable of changing the fate of someone by erasing or changing the writings of the future made by Lord Brahma. Goddess Lakshmi was so pleased that she instantly showered the lady's house with goose berries made of pure gold. Jyotirlakshmi Decoration - Courtesy Meera The Ragas in this shlokha are Bhoopalam , Malayamarutham, and Dharmavathi Kanakadhara stotram Ragam - Bhoopalam S.S. RG.. RGG. R.SS SḌR. S.S. || R.S. RG.G RGP. DPP. DP.P .... || D.P. DP.. DPP. P.PG RSR. G.G. || G.G. G.P. G.RG R.SS SḌR.S.S.|||| 1 || P.P. D.P. DPDP DPG. PD.. D... || Ṡ.D. DP.. PDPG .G. . RG.G P.P. || P.D. Ṡ.Ṡ. DṠDP .PG RS.R G.G. || S.R. GG.. RGP. PGPD DPD. Ṡ.Ṡ. |||| 2 || S.S. RG.G RGR. RSS. RG.. G... || P.G. G.RG R.S. SD.. R. S. S... || S.D. DD.. DDPD PG.. G.P. D.D. || Ġ.Ṙ. ṠD.. DD.D P. PG P..G D .P.. || || 3 || P.P. DP.. PDPG .GG. G.PD ..D. || S.D.S.D. D.PD PG.G RS.. RG.G || R..R RG.. RGRS .SS. D..S D.P. || D.G. GG.. RSRG . DPG. PD.P .... |||| 4 || Ṡ.Ṡ. ṘṠ.Ṡ DṠD. PGP. DṠ.. Ṡ... || Ṙ.Ṙ. ṘṠ.Ṡ ṘṠD. DPG. PD.. P... || P.P. DP.P DPG. GRS. .RG. G... || G.G. PG.R GRS. SDD. SR.. S... || || 5 || D.D. DP.P DPP. DPG. PD.. D... || Ṡ.D. DP.P PDP. PGR. GP.. P... || R.R. RG.. GRGR SSD, SR.. S... || P̣.R. RR.R RGR. RSR. GR.. S... ||‖ 6 ‖ S.S. RG.G RGP. PGG. PD.. P... || D.D. DD.D DPG. PGP. DD.. D... || PDṠ. ṘṠ.Ṙ ṠṘṠ. ṘṠD. ṠD.. P... || G.D. PP.P GPG. RRSḌ R... S... || ‖ 7 ‖ SD.. DD.D DṠD. DPG. PD.D D.D.|| ṠD.Ṡ DPP. GPG. RS.. RG.. G... || G.G. PG.. GGPG .RSḌ .SḌ. P̣... || P̣.R. RR.R RGR. SḌḌ. SR.. PS...|| ‖ 8 ‖ S.S. RG.G RGP. DPG. PD.. D... || D.P. DP.D PGG. GRS. RG.. G... || Ṡ.Ṡ. ṘṠ.. ṠṘṠD .DD. P.DṠ . . Ṡ. || ṘṠṠ. ṘĠ.Ṙ ṠṘĠ. ṘĠṘ. ṠṘ.. Ġ... ||‖ 9 ‖ Ṡ.Ṡ. ṘṠ.Ṡ ṘṠD. DPP. DṠ.. Ṡ... || Ṡ.Ṡ. ṠṘ.Ṙ ṠṘṠ. ṠṠṠ. ṘĠ.. Ġ... || Ṙ.Ṡ. ṘṠ.Ṙ Ṡ.Ṡ. Ṡ.DP G..P D.P. || G.P. DṠ.Ṡ ṘṠṠ. ṘṠDP DṠ.. Ṡ... || ‖ 10 ‖ Ragam - Malayamarutham A - S R₁ G₃ P D₂ N₂ Ṡ Av -Ṡ N₂ D₂ P G₃ R₁ S P.D. NṠ.Ṙ ṠĠṘ. ṠND. N.Ṡ. Ṡ... Ṙ.Ṙ. ṘṠ.Ṡ DṠN. DPG. PN.. D... D.P. GR.S SRG. GGR. GP.. P... G.P. ND.D NDP. P.P. G..P GRS. || 11 RS.R G.G. GRS. RG.G .... .... GR.G P.P. D1PGR GP.. P... .... GP.P D.D. NDPG PN.. D... .... GD.P GPG. RSṆḌ ṆS.. S... .... ॥ 12 ॥ G.G. GRS. RG.G GRSR G.G. .... GP.D D.D. ND.D .PN. D... .... DD.N DPDG PPGR SSRG .... .... GD.P PGDP GRṆḌ Ṇ.S. S... .... ॥ 13 ॥ DP.D N.N. NDPG PN.N .... .... ND.N Ṡ.Ṡ. NDN. NṘ.. Ṡ... .... ṘṠ.Ṙ Ġ.Ġ. ṘṠṠ. Ṙ.Ġ. Ġ... .... Ġ.Ṙ. Ṡ.Ṡ. Ṡ.ṘṠ NDN Ṡ.Ṡ. .... ॥ 14 ॥ ND.N .P.D G.GP D.N. Ṡ.Ṡ. .... ṘṠ.Ṙ Ġ.Ġ. ĠṘṠ. Ṙ.ṠṘ ṠṘĠ. .... ĠṘ.Ṡ .Ṡ.Ṡ .NDD ṘṠND D... .... PGD. PPGD .PGR Ḍ.Ṇ. S.S. .... ॥ 15 ॥ Ragam Dharmavathi A- S R₂ G₂ M₂ P D₂ N₃ Ṡ Av- Ṡ N₃ D₂ P M₂ G₂ R₂ S SRG. MP.P .DPP MGRS ṆSR. R... S.S. RS.S SRSṆ SṆS. SR.. R... RR.. GR.R RRG. SSR. G.R. R... N.N. NṠ.Ṡ ṠṘĠ. ṘṠND PGRS .... ||16|| P.PP .PDP P.DP .DPP .... .... D.DD .DPD PMGR RS.R R.R. .... S..R SṆḌ. ḌṆS. SSṆS R.R. .... R... SR.R SS.S ND.N S.R. S... ||17|| SRGM P.P. P.D. D..D PMP. .... ṠNDP MGRS SRGM .PD. D... .... PMPD .NDP MGG. ND.D .... .... ṠṘṠN DPGR SṠ.Ṡ Ṙ.Ṙ. .... .... REPEAT bhagavati harivallabhē manōjñē tribhuvanabhūtikari prasīda mahyam ṠNṠṘ ..ṠN Ġ..Ġ Ġ... ṀĠ.Ṙ .... ṠṘṠN D.PM G.PG .MP. P... .... ||18|| SRG. MPND PPMG RS.R SS.. CONTD svarvaa S.S. ṆḌ.. ḌṆSḌ ṆS.S Ṇ.S. R.R. .... SRG. MM.M PPP. DDD. DṠṠN .... Ṡ.ṠN (LOKHADI} D.DN Ṡ.Ṡ. NṠṘ. Ṡ.Ṡ. ṠND. NṠ.Ṡ .... ||19|| NNN. DDD. PPMD P... D... .... PMD. P.MG R.SR .SR. R... .... S.S. SṆḌ. ḌSR. SR.G M.M. .... PMD. P.PP PP.P .GM. P... .... ||20|| NṠ.Ṡ Ṙ.ṖṀ ĠṘṠ. ṠD.N Ṡ... .... DṘ.. ṠD.. ṠNDP G.MP .MP. .... PD.. NṠ.. PDNṠ Ṙ.Ṙ. ṠNṠṠ .... ĠṘ.Ṡ Ṡ.PM DPṠ. Ṙ.Ṡ. Ṡ.NṠ .... ||21|