ChithrabhAnu , Simha Maasam , AavaNi 25: AavaNi Chittra nakshathram , Chathurthi dinam shrIH shrImate vakuLabhUShaNa mahAdeshikAya namaH shrImate rAmAnujAya namaH shrImate nigamAnta mahAdeshiKAya namaH shrImad GopAlArya mahAdeshikaiH anugRihItam shrI deshika divya sahasranAma stotram shrImannigamAnta mahA deshika - divyasahasranAmAvaLiH(41-45) *********************************************************** (51)(PraNavam) ShrI RaamAnuja siddhAntha sTApanAchArya tallajAya nama: Salutations to that AchAryan , who established and reinforced SrI Bhagavad RaamAnuja siddhAntham ! Swamy AppuLLAr annointed his sishyar Swamy Desikan to nourish and grow SrI Bhagavad RaamAnuja siddhAntham. Swamy Desikan accepted his AchAryA's command and shone as a SadAchAryan par excellence after his AchAryan ascended to Parama Padham . Swamy stayed at Kaanchi and performed pancha samskArams and KaalakshEpams about the siddhAntham.He pointed out the authenticity of this siddhAntham with the observation" Maanyam yathIswara MahAnasa sampradhAyam " and " MadaipaLLi vantha maNam yengaL VaarthayuL manniyathE " . The reference here is to the direct sishyar of AchArya RaamAnujA , MadaipaLLi AacchAn . Latter served in the MadaipaLLI ( kitchen) of AchArya RaamAnujA at the request of two of the AchAryAs of RaamAnujA . Swamy Desikan belonged to the AchArya paramparai of MadaipaLLi AacchAn ( PraNathArTihara Swamy) and went on to establish and strengthen the Bhagavad RaamAnuja SidhAntham . (52)(PraNavam) DevanAyaka bhadrAsIrarTa ahIndhrapura sTithayE nama: Salutations to that great AchAryan , who stayed at ThiruvahIndhrapuram for performing MangaLAsAsanam of Lord DevanAthan of that dhivya dEsam! Swamy Desikan himself refers to the Lord's command to eulogize Him ( Yennai mangaLAsAsanam seyya ingEyE irum"). Swamy Desikan states at one SrI Sookthi that Lord Devanathan pulled him back to His sannidhi like the owner of a bird , who pulls at the string attached to the leg of that bird . Swamy Desikan created nine sthOthrams about Lord DevanAthan and placed them at the holy feet of the EmperumAn of ThiruvahIndhrapuram.He acknowledged the fruits of composing the sthOthrams arose from the Lord's command ("BhagavAnudaya niyamanatthai yERRu , nadatthiyathE nAnn peRRa payan " and " Munthai maRai moyyavazhi mozhi neeyenna , Mukundhan aruL tantha payan pERREn yaanE"). (53)(PraNavam) Taarkshya-manthra Japa-preetha Taarkshya-dattha varapriyAya nama: Salutations to that renowned AchAryan , who was blessed with the boon of Garuda BhagavAn as a result of making Garudan happy through Garuda Manthra japam! Swamy AppuLLAr had initiated Swamy Desikan with his kula dhanam , SrI Garuda Manthram. Swamy Desikan performed the Japam of this powerful manthram many times to realize the presence of Garuda BhagavAN in front of him. The immensely pleased Garuda BhagavAN initiated Swamy Desikan in to SrI HayagrIva Manthram at Oushada Giri, the hillock overlooking the temple of Lord DevanAthan at Ayindhai. (54)(PraNavam) Taarkshya dattha HayagrIvamanupreetha HayAnanAya nama: Salutations to that great AchAryan , who made Lord HayagrIva BhagavAN happy through the recitation of SrI HayagrIva manthram received from SrI Garuda BhagavAn.Lord HayagrIvan appeared before His dear devotee. (55)(PraNavam) VaagarTasiddhidha HayagrIvasthOthra vidhAyakAya nama: Salutations to that SadaachAryan who blessed us with SrI HayagrIva sthOthram , which confers the power of divine speech and the power of meaning in that speech on those , who recite it ! Vaak siddhi is the mastery over poetry (Kavi ThiRan); ArTa siddhi is the mastery over the meaning of words and Jn~Anam over them ( PoruLkaLi paRRiya JN~Anam ). In his Phala sruthi of SrI HayagrIva sthOthram , Swamy Desikan refers to the power of this sthOthram to confer the gifts of speech and meaning in one's statements. The manthra moorthy of SrI HayagrIva sthOthram is SrI LakshmI HayagrIvan , who is the conferer of VaagarTa siddhi. He is Vaag dEvathai as stated by Swamy Desikan : " ThiruvurayAi ThAmm poruLAi niRpAr vanthAr" . VishNu purANam also refers to SrI Lakshmi HayagrIvan being the source of Vaag and arTam (" ArTO VishNuriyam VaaNi" in VishNu PurANam). Here VishNu is recognized as the meaning and LakshmI as the speech(Vaag). (56)(PraNavamm HayAsyadattha lAlAmruthAsvAdhana SupOshithAya nama: Salutations to that MahAchAryan ,who was nourished well with Jn~Anam through the partaking of the laalAmrutham of Lord HayagrIvan ! LaalAmrutham is the nectar that originated from the lips of Lord HayagrIvan. Sambhandham with that divine nectar developed the srEshta Jn~Anam of Swamy Desikan and established him as a celebrated AchAryan. The illustrious power of that anugraham is saluted this way: "Turagavadhana- tEjO brumhithAsccharya sakthi:". (57)(PraNavam) TaarkshAj~nA-krutha Taarkshyaika-panchASath- preetha TaarkshayakAya nama: Salutations to that SadAcharyan , who created the Garuda PanchAsath and pleased Garuda BhagavAn with that sthOthram! This sthuthi has 51 slOkams in praise of Garuda BhagavAn and in the 52nd slOkam of this panchAsath , Swamy Desikan refers to the fact that he composed this sthuthi due to the command of Garuda BhagavAn and to please Him, who is dear to His Mother Vinathai : "SaikAm panchAsathamyAmm athanutha VinathA-nandanam nandhayishyan kruthvA mouLau tadhAj~nAm kavi- kaTakagaDA kEsarI VenkatEsa:" (58)(Pranavam) DevanAyaka PanchAsath sthuthi sampanna sathyavAchE nama: Salutations to that Great AchAryan , who composed the SrI DevanAyaka PanchAsath and became enriched with sathyavAk ! At the end of SrI DevanAyaka PanchAsath , Swamy Desikan acknowledges the gains he realized by composing this sthOthram:"sthuthipadham adhigacchan sObhathE SatyavAdhi". Here, Swamy states that he became sathyavAdhI as a result of eulogizing the Lord , who is saluted by the Upanishads as "Sathyan " ( Sathyam Jna~nam Anantham BrahmA ).He became the one , who speaks about that Sathya Svaroopi , who is worshipped as Natha Sathyan at ThiruvahIndhrapuram. (59)(PraNavam) PrAkruthOkthya-Achyutha Satha-aprAkrutAnantha samsthuthutayE nama: Salutations to that Illustrious AchAryan , who chose Prakrutha bhAshai to eulogize the AprAkrutha Svaroopan, through the 101 slOkam s of SrI Achyutha sathakam ! The language is PrAkrutham used by children and women of Swamy Desikan's time. it is a lilting (Mazhalai) language. Swamy Desikan took on the role of SrI Venkata- Naayaki and addressed the Lord as Her consort just as Swamy NammAzhwAr and Kaliyan assumed the roles of ParAnkusa and ParakAla Naayakis to display their longing for the Lord . Swamy Desikan chose the prAkrutha bhAshai to praise the AprAkrutha BhagavAn ( one who has no admixture with Prakruthi) , who has limitless auspicious attributes ( anantha kalyANa guNsms). (60)(Pranavam) SrImath ThrimaNi-samprOtha gATAsara vidhAyakAya nama: Salutations to that ParamAchAryan , who bequeathed to us the Tamil prabhandham of MummaNikkOvai! There were 30 poems in the Prabhandham known as MummaNikkOvai. Today , we have access to only ten of the thirty paasurams. Swamy Desikan used three different metres and strung them together to form a gem necklace fit for the Lord of Ayindhai. In the first Paasuram , Swamy eulogized the Vaibhavam of SrI HemAbhjavalli ThAyAr of this dhivya desam and in this context this sahasra nAmam begins with the "SrImath" sabdham. ( A three strand pearl garland with ruby bridges was presented to SrI HemAbhjavalli ThAyAr during the 2001 PurattAsi SravaNam by the DevanAtha BhakthAs ). (61)(Pranavam) kruthakanthuka gATAya nama: Salutations to that Great AchAryan, who composed the Panthu prabhandham in Tamil at ThiruvahIndrapuram ! This prabhandham along with four more referred to next ( Kazhal, AmmAnai, Oosal, yEsal) are no longer available to us. Panthu prabhnadham deals with the song used by girls while juggling/playing with three balls in one's hand. (62)(PraNavam) KuBErAkshi gIthikArakAya nama: Salutations to that srEshta AchAryan , who composed the Tamil Prabhandham known as Kazhal that uses the KuBErakshi seeds (KocchukkAi)! This is also another game , where the singing accompanies the play . (63)(PraNavam) dhyuDikA gIthikruthE nama: Salutations to that SadachAryan and Kavi Simham , who presented the dhivya dampathis of ThiruvahIndhrapuram with the AmmAnai Paattu! AmmAnai style singing is playing AmmAnai, while the participants clap their hands to keep the rhythm. (64)(Pranavam) DOlA gAthA kruthi visAradhAya nama: Salutations to that Great AchAryan , who presented the Oonjal Paatu for the dOlOthsavam of the dhivya dampathis of ThiruvahIndhrapuram ! Enjoyment of the beauty of the Dhivya dampathis as they sit on a swing (Oonjal/Dolai) provides the occasion for this style of singing .The swing is rocked gently to the auspicious sound of mangala vaadhyams , while these songs are sung. (65)(PraNavam) upAlambhAhvaya SrImad gATAkruthi vichakshaNAya nama: Salutations to the MahAchAryan , who composed the yEsal Paattu (nindhA Sthuthi) for the divine couple of ThiruvahIndhrapuram ! yEsal has the theme of ihazhthal , when the devotee is disappointed over the tardiness of the Lord not responding promptly to appear before him . IndhaLUr paasurams of Thirumangai are examples of yEsal paattu. (66)(Pranavam) navarathna-srag-vidhAthrE nama: Salutations to the ParamAchAryan , who presented a garland of songs with nine different chandha virutthams that resemble a necklace made up of nine different gems ! (During the last PurattAsi SravaNam , a nava maNi maalai made up of nine different gems was presented to Uthsavar of ThiruvahIndhrapuram by BhakthAs from all over the world). Swamy Desikan named it Navarathna Maalai conforming to the grammar of Tamil poetry.In the final paasuram of NavamaNi Maalai, Swamy Desikan reminds us that he created nine Sthothrams on Lord DevanAthan ( One in Sanskrit , One in PrAkrutham and seven in Tamil ): anthamil seer Ayindhainakar amarntha nAthan adiyiNaimEl adi urayAl Iympathu yEtthi chinthai-kavar pirAkritha nooRu kooRic- chezhum Tamizh mummaNikkOvai seRiya sErtthup- panthu kazhal AmmAnai Oosal yEsal paravu navamaNi maalai ivayum sonnEn munthai maRai mozhiya vazhi mozhi Nee YenRu Mukundhan aruL tantha payan peRREnAnE (meaning): The Lord of matchless glory , SrI DevanAthan of ThiruvahIndhrapuram commanded adiyEn to compose sthOthrams which contain the essence of the VedAs . AdiyEn placed His command on my head and composed One in Sanskrit , the Mother of all languages , one in PrAkrutham , the mazhali of Sarasvathi and five in the fertile language of Tamizh ( NavamaNi Maalai, MummaNikkOvai, Panthu, Kazhal, AmmAnai, Oosal and yEsal). adiyEn has now earned the rewards of performing this Kaimmkaryam ordered by Mukundhan. (67)(Pranavam) Paradarsana-bhanga kruthE nama: Salutations to that AchAryan , who blessed us with the profound SrI Sookthi named Para Matha Bhangam ! This is a complex MaNipravALa grantham , which evaluates the deficiencies of other systems of philosophy and establishes the soundness of Bhagavad RaamAnuja Darsanam.This master piece of a work --composed in front of Lord DevanAthan on the banks of Garuda Nadhi-- refutes the theories of sixteen rival system. It is in the form of 54 verses and has the last verse eulogizing the sixteen weapons of Lord Sudarshana . vAzhi vyAkhyAmuddirak kai !!! VedAnthasUri charaNau sharaNam prapadye !!! SrI LakshmI HayagrIva ParabrahmaNE nama: Daasan , Oppiliappan Koil VaradAchAri SaThakOpan
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