Srimate SrivanSatakopa Sri Vednta Desika Yatindra Mahadesikaya Nama:
The Song Celestial
Everybody loves a song. The baby in the cradle stops crying the moment it hears
mother's lullaby. Lovers always have a song on their lips(if modern cinema is
to be believed). Almost everybody likes a catchy tune, and either sings out
aloud or hums it under his or her breath. Many of usare bathroom singers,
irrespective of whether our voices are tuneful or not. Devotees burst into song
at the least provocation, moved by the Lord's beauty and greatness. It is not
only human beings who are musical- birds sing and so do bees. Music thus
pervades our lives, and even in death, the lifeless body listens to a dirge. In
this piece, adiyen would like to indicatehow music pervades our Sampradaya too.
Srimad Ramayana, the great itihAsA, has music running through the epic, right
from the beginning. The pArAyaNa slokas (a prelude to Srimad Ramayana recital),
begin with the following couplet-
"Koojantam Rama Rama iti madhuram madhura aksharam
Aruhya kavitA shAkhAm vande ValmIki kOkilam"
In this captivating couplet, Srimad Ramayana is likened to the incredibly sweet
song of a cuckoo (Sri Valmiki), which, perched atop the tree of poetry, cries
out "Rama, Rama" in tones full of moving melody. The next sloka toospeaks of
"RAma kathA nAdam", or the honeyed, musical words of the story of Sri Rama, as
told by Sri Valmiki.
The same pArAyaNa slokAs say that wherever the hallowed story ofSri Rama is
sung, Sri Maruti is present, with hands folded in supplicationand eyes
overflowing with tears of joy-
"Yatra yatra RaghunAta keerthanam, tatra tatra krita mastakAnjalim
BAshpavAri paripoorNa lOchanam, Marutim namata rAkshasAntakam".
Sri Bharata, meeting Sri Rama after the 14-year exile, requests the latter to
assume the reins of Ayodhya, and, as its king, to awaken everyday to the music
of the VeeNA, the flute, melodious voices and percussion instruments-
"toorya sanghAta nirghOshai: kAnchI noopura nissvanai:
madhurai: geeta sabdaischa pratibudhyasva Raghava!"
Sri Rama's coronation was a joyous occasion not only for theresidents of
Ayodhya, but for the celestials too, who burst into song and dance, unable to
contain their delight. Says Sri Valmiki,
"prajagu: dEva gandharvA; nanrutu; cha apsarOgaNA:
abhishEkE tat arhasya tatA Ramasya dheemata:".
We are told that the Ramayana was sung (not recited) by Sri Lava and Sri Kucha,
sons of Sri Rama, in their father's presence, and the melodies so moved the
King, that he left his throne and came closer and closer to the songsters.
Recited or sung, Srimad Ramayana is always sweet -"pAtyE gEyE cha madhuram".
Even the villain of the piece, RavaNA, is said to have been an expert exponent
of the VeeNA. There are thus any number of references to music and musical
instruments in the Adi Kavya of Sri Valmiki.
The TaittirIya Yajur BrAhmanam too contains references to the VeeNA, and to
Brahmins singing and playing the VeenA-
"BrAhmaNou VeeNA vAdinou gAyEtAm".
It is no idle speculation to say that the Vedas, with the three swarAs
(udAttam, anudAttam and svaritam) formed the basis for the present day music
with the seven svarAs. The Sama Veda is almost entirely musical, and is most
pleasing to hear-this Veda is sung and not recited, as is indicated by the
usage, "SAma gAnam". The Taittiriya Upanishad attests to the fact that the
Nitya Suris in Sri Vaikuntam please the Lord through melodious singing of SAma
mantras-
"Etat SAma gAyan AstE".
The Bhagavat GeetA too, as the very name indicates, is a song- the Song
Celestial. Sri Krishna's association with music is indeed close. The master
exponent of the flute so moves even animals, that they forget their grazing and
listen in rapt attention, motionless as a painting, without realizing the
half-chewed grass slipping out of their mouths, says Sri PeriAzhwar-
"MaruNda MAn kaNangal mEygai marandu
Meynda pullum kadai vAi vazhi sOra-
Ezhuthu chitthirangal pOla nindranvE".
Sri Nammazhwar's Tiruvaimozhi too is an extremely musical composition (being
the essence of Sama Veda), as the Azhwar himself attests at more than oneplace-
"PaNNAr pAdal in kavigaL yAnAi tannai tAn pAdi"
The Lord Himself sings melodious songs of His own praises using me as an
instrument, says Sri Nammazhwar. Naturally, these songs are sweeter than the
music generated by a flute or other instrument-says Sri Nammazhwar," Kuzhalin
malia sonna pAdal".
Even though the present day manner of recitation of Divya Prabandas is indeed
good, the fact remains that these compositions were meant to be sung, and not
merely recited, however resonantly. We should remember Sri Nathamuni with
gratitude not merely for his recovering the lost treasure of the Divya
Prabandas, but also for setting them to music. Swami Desikan acknowledges this
by paying him this tribute-
"TALam vazhangi Tamizh marai innisai tanda vaLLal". Further, in Sri Prabanda
Saram, Swami Desikan repeatedly refers to the divya prabandas by the
term"pAttu", signifying that these were set to music and sung, during his times.
Sri Tondaradippodi Azhwar says that not only human beings, but also the birds
and bees, especially the latter, sing the Lord's praise in the groves of
Srirangam- "VaNdinam muralum sOlai, mayilinam Alum sOlai, koNdal meedu aNavum
sOlai, Kuyilinam koovum sOlai" (TirumAlai).
Two of Emperuman's devotees have made it their profession to sing on the Lord's
greatness- Sri TiruppAnAzhwar, who belonged to the group of devotees known as
"PANar", or wandering minstrels. Perhaps to indicate that this sortof
kainkaryam is the most pleasing to the Lord, Swami Desikan, while referring to
this Azhwar, says "nam PANa nAthan", reflecting the closeness whichhe feels to
the Divine Singer.
This Azhwar confirms Sri Tondaradippodi Azhwar's observation about the songand
dance number by the bees and birds of Srirangam- "MamayilAda vaNdu pAda"
(AmalanAdipirAn).
Sri AndAl tells us that singing the Lord's name and simultaneously fixing our
thoughts on Him has the effect of destroying our past sins and saving usfrom
sinning further-"VAyinAl pAdi manatthinAl chintikka, pOya pizhayum pugu taruvAn
nindranavum, teeyinil doosAgum"
Another staunch devotee of the Lord, who emancipated not only himself but also
a higher caste Brahmin, was NampAduvAn, born in the lowly community of eaters
of dog-flesh. His pious life and worthy deeds are remembered even today, on the
Kaisika EkAdasi/DvAdasi days. The power of his single song was such that it
could relieve a BrhmaRAkshas (a Brahmin-turned Rakshasa due toprocedural lapses
in the performance of YagAs) of his travails.
The VeeNA, perhaps the most complete musical instrument, figures in the Daya
Satakam too, in a beautiful sloka, which follows:
"VedAnta Desika padE vinivEsya bAlam
dEvO DayA shatakam Etat avAdayan mAm
vaihArikENa vidhinA samayE griheetam
VeeNA visEsham iva VenkatasailanAtha:"
Says Swami Desikan-
I am but a child, in age, knowledge and devotion. The Lord, as part of His
leelA, placed me on the high pedestal of VedAntAchArya, (Master of Vedanta).
Not content with that, he created a beautiful stotram too, using me as
aninstrument. He has put me in the place of a high-quality VeeNA, which
produces melodies which gladden the heart and uplift the soul. Even though I
am, by myself, (like the Veena), incapable of composing a stotram, the
Lord,(like an expert musician who can produce soul-stirring music from the most
ineffective of instruments), has composed this excellent poetical work of Daya
Satakam, using me as but an instrument.
There are melodies galore spread throughout the Scriptures and the Sampradaya.
The ones mentioned above are but the opening notes of a Grand Symphony,and
connoisseurs would surely find ways to listen to the whole captivatingconcert.
Srimate Sri LakshmiNrsimha divya paduka sevaka SrivanSatakopa Sri Narayana
Yatindra Mahadesikaya Nama:
---------dasan, sadagopan.
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<P class=MsoBlockText>Srimate SrivanSatakopa Sri Vednta Desika Yatindra
Mahadesikaya Nama:</P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 11pt; mso-bidi-font-size: 12.0pt"> <?xml:namespaceprefix
= o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 11pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun:
yes">
</SPAN></SPAN><U><SPAN style="FONT-SIZE: 14pt; mso-bidi-font-size: 12.0pt">The
Song Celestial</SPAN></U><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"> <o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun:
yes">
</SPAN>Everybody loves a song. The baby in the cradle stops crying the moment
it
hears mother’s lullaby. Lovers always have a song on their lips (if
modern
cinema is to be believed). Almost everybody likes a catchy tune, and either
sings out aloud or hums it under his or her breath. Many of us are bathroom
singers, irrespective of whether our voices are tuneful or not. Devotees burst
into song at the least provocation, moved by the Lord’s beauty and
greatness. It
is not only human beings who are musical- birds sing and so do bees. Music thus
pervades our lives, and even in death, the lifeless body listens to a dirge. In
this piece, adiyen would like to indicate how music pervades our Sampradaya
too.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun: yes"> </SPAN><o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun:
yes">
</SPAN>Srimad Ramayana, the great itihAsA, has music running through the epic,
right from the beginning. The pArAyaNa slokas (a prelude to Srimad Ramayana
recital), begin with the following couplet-<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun: yes"> </SPAN>“Koojantam RamaRama
iti
madhuram madhura aksharam<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun: yes"> </SPAN>Aruhya
kavitA shAkhAm vande ValmIki kOkilam”<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">In this captivating
couplet,
Srimad Ramayana is likened to the incredibly sweet song of a cuckoo (Sri
Valmiki), which, perched atop the tree of poetry, cries out “Rama,
Rama” in
tones full of moving melody. The next sloka too speaks of “RAma
kathAnAdam”, or
the honeyed, musical words of the story of Sri Rama, as told by Sri Valmiki.
<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun:
yes">
</SPAN>The same pArAyaNa slokAs say that wherever the hallowed story of SriRama
is sung, Sri Maruti is present, with hands folded in supplication and eyes
overflowing with tears of joy-<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun:
yes">
</SPAN>“Yatra yatra RaghunAta keerthanam, tatra tatra krita
mastakAnjalim<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun:
yes">
</SPAN>BAshpavAri paripoorNa lOchanam, Marutim namata
rAkshasAntakam”.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun:
yes">
</SPAN><o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun:
yes">
</SPAN>Sri Bharata, meeting Sri Rama after the 14-year exile, requests the
latter to assume the reins of Ayodhya, and, as its king, to awaken everydayto
the music of the VeeNA, the flute, melodious voices and percussion
instruments-<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun:
yes">
</SPAN>“toorya sanghAta nirghOshai: kAnchI noopura
nissvanai:<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun:
yes">
</SPAN>madhurai: geeta sabdaischa pratibudhyasva
Raghava!”<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun:
yes">
</SPAN>Sri Rama’s coronation was a joyous occasion not only for the
residents of
Ayodhya, but for the celestials too, who burst into song and dance, unable to
contain their delight.<SPAN style="mso-spacerun: yes"> </SPAN>Says Sri
Valmiki,<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun:
yes">
</SPAN>“prajagu: dEva gandharvA; nanrutu; cha
apsarOgaNA:<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun:
yes">
</SPAN>abhishEkE tat arhasya tatA Ramasya
dheemata:”.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">We are told that the
Ramayana was sung (not recited) by Sri Lava and Sri Kucha, sons of Sri Rama, in
their father’s presence, and the melodies so moved the King, that he left
his
throne and came closer and closer to the songsters. Recited or sung, Srimad
Ramayana is always sweet –“pAtyE gEyE cha
madhuram”.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun:
yes">
</SPAN>Even the villain of the piece, RavaNA, is said to have been an expert
exponent of the VeeNA. There are thus any number of references to music and
musical instruments in the Adi Kavya of Sri Valmiki. <o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun:
yes">
</SPAN>The TaittirIya Yajur BrAhmanam too contains references to the VeeNA,and
to Brahmins singing and playing the VeenA-<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun:
yes">
</SPAN>“BrAhmaNou VeeNA vAdinou gAyEtAm”.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun:
yes">
</SPAN>It is no idle speculation to say that the Vedas, with the three swarAs
(udAttam, anudAttam and svaritam) formed the basis for the present day music
with the seven svarAs. The Sama Veda is almost entirely musical, and is most
pleasing to hear-this Veda is sung and not recited, as is indicated by the
usage, “SAma gAnam”. The Taittiriya Upanishad attests to the fact
that the Nitya
Suris in Sri Vaikuntam please the Lord through melodious singing of SAma
mantras-<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun: yes"> </SPAN>“Etat SAma gAyan
AstE”.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"> <o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 11pt; mso-bidi-font-size: 12.0pt">The Bhagavat GeetA too, as
the very name </SPAN><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">indicates, is a song-the
Song Celestial. Sri Krishna’s association with music is indeed close.The
master
exponent of the flute so moves even animals, that they forget their grazingand
listen in rapt attention, motionless as a painting, without realizing the
half-chewed grass slipping out of their mouths, says Sri
PeriAzhwar-<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun: yes"> </SPAN>“MaruNda MAn kaNangal mEygai
marandu<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun: yes"> </SPAN>Meynda pullum kadai vAi
vazhi sOra—<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun: yes"> </SPAN>Ezhuthu chitthirangalpOla
nindranvE”.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">Sri Nammazhwar’s
Tiruvaimozhi too is an extremely musical composition (being the essence of Sama
Veda), as the Azhwar himself attests at more than one
place-<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun: yes"> </SPAN>“PaNNAr pAdal in kavigaL yAnAi
tannai
tAn pAdi”<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">The Lord Himself sings
melodious songs of His own praises using me as an instrument, says Sri
Nammazhwar. Naturally, these songs are sweeter than the music generated by a
flute or other instrument-says Sri Nammazhwar," Kuzhalin malia sonna
pAdal".<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun: yes"> </SPAN>Even though the present day manner of
recitation of Divya Prabandas is indeed good, the fact remains that these
compositions were meant to be sung, and not merely recited, however resonantly.
We should remember Sri Nathamuni with gratitude not merely for his recovering
the lost treasure of the Divya Prabandas, but also for setting them to music.
Swami Desikan acknowledges this by paying him this
tribute-<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">“TALam vazhangiTamizh
marai
innisai tanda vaLLal”. Further, in Sri Prabanda Saram, Swami Desikan
repeatedly
refers to the divya prabandas by the term “pAttu”, signifying that
these were
set to music and sung, during his times.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"> <o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun: yes"> </SPAN>Sri Tondaradippodi Azhwar says that not
only human beings, but also the birds and bees, especially the latter, singthe
Lord’s praise in the groves of Srirangam- “VaNdinam muralum sOlai,
mayilinam
Alum sOlai, koNdal meedu aNavum sOlai, Kuyilinam koovum sOlai”
(TirumAlai).<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"> <o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">Two of Emperuman’s
devotees
have made it their profession to sing on the Lord’s greatness- Sri
TiruppAnAzhwar, who belonged to the group of devotees known as
“PANar”, or
wandering minstrels. Perhaps to indicate that this sort of kainkaryam is the
most pleasing to the Lord, Swami Desikan, while referring to this Azhwar, says
“nam PANa nAthan”, reflecting the closeness which he feels to the
Divine
Singer.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">This Azhwar confirms Sri
Tondaradippodi Azhwar’s observation about the song and dance number by
the bees
and birds of Srirangam- “MamayilAda vaNdu pAda”
(AmalanAdipirAn).<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"> <o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">Sri AndAl tells us that
singing the Lord’s name and simultaneously fixing our thoughts on Himhas
the
effect of destroying our past sins and saving us from sinning
further—“VAyinAl
pAdi manatthinAl chintikka, pOya pizhayum pugu taruvAn nindranavum, teeyinil
doosAgum”<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"> <o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">Another staunch devotee of
the Lord, who emancipated not only himself but also a higher caste Brahmin,was
NampAduvAn, born in the lowly community of eaters of dog-flesh. His pious life
and worthy deeds are remembered even today, on the Kaisika EkAdasi/DvAdasi
days.
The power of his single song was such that it could relieve a BrhmaRAkshas (a
Brahmin-turned Rakshasa due to procedural lapses in the performance of YagAs)
of
his travails.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">The VeeNA, perhaps the most
complete musical instrument, figures in the Daya Satakam too, in a beautiful
sloka, which follows:<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"> <o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">“VedAnta DesikapadE
vinivEsya bAlam<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun: yes"> </SPAN>dEvO DayA shatakam Etat avAdayan
mAm<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun: yes"> </SPAN>vaihArikENa vidhinA samayE
griheetam<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun: yes"> </SPAN>VeeNA visEsham iva
VenkatasailanAtha:”<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"> <o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">Says Swami
Desikan-<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">I am but a child, in age,
knowledge and devotion. The Lord, as part of His leelA, placed me on the high
pedestal of VedAntAchArya, (Master of Vedanta). Not content with that, he
created a beautiful stotram too, using me as an instrument. He has put me in
the
place of a high-quality VeeNA, which produces melodies which gladden the heart
and uplift the soul. Even though I am, by myself, (like the Veena), incapable
of
composing a stotram, the Lord,( like an expert musician who can produce
soul-stirring music from the most ineffective of instruments), has composedthis
excellent poetical work of Daya Satakam, using me as but an
instrument.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"><SPAN
style="mso-spacerun: yes"> </SPAN><o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">There are melodies galore
spread throughout the Scriptures and the Sampradaya. The ones mentioned above
are but the opening notes of a Grand Symphony, and connoisseurs would surely
find ways to listen to the whole captivating concert.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"> <o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">Srimate Sri LakshmiNrsimha
divya paduka sevaka SrivanSatakopa Sri Narayana Yatindra Mahadesikaya
Nama:<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt"> <o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 1in 0pt"><SPAN
style="FONT-SIZE: 10pt; mso-bidi-font-size: 12.0pt">---------dasan,
sadagopan.<o:p></o:p></SPAN></P></FONT></DIV></BODY></HTML>
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