In his introduction to Arunachala Aksharamanamalai, Dr T. M. P. Mahadevan writes the following: "In bridal mysticism, the devotee considers himself to be the bride of God. He employs the intimate language of love in conversing with his Lord. All the processes connected with carnal love are observed to take place between the devotee-soul and the bridegroom, except the carnality. The devotee pines for, cringes, cajoles, chides and quarrels with the Beloved. There are courtship, union, separation, and reunion. In that phase of mysticism which is known as bridal mysticism, the mystic revels in the love-play with the Divine. The culmination of this sadhana, however, is the Realisation of non-duality. Love is never satisfied so long as the dualistic consciousness lasts. Where twoness is, there is no true love. Love is oneness; ananda is Advaita; the Atman is rasa.In Sri Ramana's love-litany we have this clearly taught. ...In the first verse* of Arunachala Aksharamanamalai he speaks of the 'I am Arunachala' experience. When love matures and realises itself, there is nothing but Arunachala. Arunachala is all; all is Arunachala. This is the plenary experience which is advaita."
*O Arunachala! Thou dost root out the egoity of those who think 'I am, verily, Arunachala!'
(from Arunachala Siva - Translation and commentary by Dr T. M. P. Mahadevan, Tiruvannamalai; 2000)
In Srimad Bhagavatam, Skanda 10, Chapter 29, we find Sri Krsna remonstrating, in jest, with the Gopis of Vraja. He advises them that they must not abandon their husbands and families and embark on a relationship with a paramour such as Him, for that would put a serious stain on their reputation and would surely lead to a tremendous fall from Grace. He advises them it would be easier if they saved their reputations and simply returned to their homes and took to devotional practices such as hearing and singing about the Supreme Lord.'The Gopis retorted that they had abandoned all to serve Him, alone, and that, in any case, the blissful Self of all had already stolen their minds and removed any delight that they may have had in family life. In fact, they advised Sri Krsna that if He persisted in sending them away they would attain association with His Lotus Feet through their already constant meditation and thus their bodies would be consumed in the fire of tapas. Those Gopis who had been unable to attend on Sri Krsna personally, perhaps because they had been shut in their homes by their concerned families, gave up their bodies, all karma burnt up by the intense tapas of separation, and immediately attained Realisation of the Self.
Wednesday, February 13, 2008
Tuesday, February 12, 2008
Tips to Receive Your Monthly Google Adsense Check
This summary is not available. Please
click here to view the post.
Monday, February 11, 2008
Goda: Andal's Divine Union With Sri Narayana
By N N Subramanian
Andal's Divine Union With Sri Narayana
The Tiruppavai, a 1,000-year-old collection of 30 Tamil songs in praise of Krishna, was composed by Goda when she was barely 15 years of age. It is sung during the month of Margazhi in Tamil Nadu, between mid-December and mid-January. The Tiruppavai is also called Godopanishad because it contains the quintessence of the scriptures.
An incarnation of Bhudevi, Goddess Earth, the consort of Mahavishnu, Goda's appearance was to show us the pathway to God through bridal mysticism - looking upon God as the bridegroom.
One day, Vishnuchittar Periyalvar was gathering flowers for the daily puja at the temple when he found a child under a Tulsi bush in his garden. He took her home and brought her up as his own child. He named her Goda (or Kothai, in Tamil), meaning 'maiden' or 'song-girl'; also 'giver of cows, speech or light'.
Goda grew up listening to the sweet tales of Krishna her father narrated to her. Goda's dream was to marry the Lord. Daily, she would wear the garlands her father strung for the temple deity and peer into the well to admire her reflection in the water. One day, her father saw this and saddened by her impiety, he forbade her from ever touching the flowers meant for the Lord.
The next day Periyalvar took the garlands to the temple. That night the Lord appeared in his dream and said that only the garlands worn by his daughter were dear to Him. From then on, Goda would wear the garlands first and then send them to the temple. Soon she came to be known as Sudikkodutta Sudarkodi (the lady who offered garlands to God after first wearing them).
Goda became lovelorn. Long before dawn, she would go door-to-door, rousing her friends. Singing loudly the praises of Krishna, they would arrive at the palace of Nandagopa, and wake up everyone there, including Krishna. They would appeal to the Lord to provide them with conches, drums, lamps, flags and festoons. They also wanted Him to reward them for singing His praises. Finally, Goda would disclose to Krishna the true purpose of their visit - to be granted one boon that they could be with Him always.
Goda's Nacciyar Tirumozhi (poems of the Lord's bride) is a longer composition of 143 verses in which she expresses her love for Krishna in moods ranging from the agony caused by the pangs of separation from Him to the ecstasy born of union with Him.
As Periyalvar watched with grave anxiety his daughter's boundless love for Krishna grow, he was perplexed; how could he arrange a marriage between a mere human being and the Supreme Lord of the Universe? Krishna announced to Periyalvar in a dream that He would take care of that. Krishna spoke to the temple priests of Srirangam and told them to go to Srivilliputtur and escort His bride-elect to Him.
On the appointed day, Goda, in bridal finery, was taken in a palanquin from Srivilliputtur to Srirangam right into the sanctum sanctorum. Softly stepping down from the palanquin and proceeding with a swan-like gait towards the deity reclining on Adisesha, Goda climbed onto the serpent-bed. Then she just disappeared, getting absorbed into Him.
At Periyalvar's request, the Lord agreed to a traditional marriage ceremony which was performed on the panguni uthiram at Srivilliputtur. Every Vaishnavite temple in Tamil Nadu has a shrine for Goda who came to be known as Andal, 'she who rules', because she rules over the heart of Lord Narayana Himself; and Andal's divine marriage is celebrated to this day, every year, on the panguni uthiram day.
Article Source : http://www.experiencefestival.com/a/Goda/id/50285
Andal's Divine Union With Sri Narayana
The Tiruppavai, a 1,000-year-old collection of 30 Tamil songs in praise of Krishna, was composed by Goda when she was barely 15 years of age. It is sung during the month of Margazhi in Tamil Nadu, between mid-December and mid-January. The Tiruppavai is also called Godopanishad because it contains the quintessence of the scriptures.
An incarnation of Bhudevi, Goddess Earth, the consort of Mahavishnu, Goda's appearance was to show us the pathway to God through bridal mysticism - looking upon God as the bridegroom.
One day, Vishnuchittar Periyalvar was gathering flowers for the daily puja at the temple when he found a child under a Tulsi bush in his garden. He took her home and brought her up as his own child. He named her Goda (or Kothai, in Tamil), meaning 'maiden' or 'song-girl'; also 'giver of cows, speech or light'.
Goda grew up listening to the sweet tales of Krishna her father narrated to her. Goda's dream was to marry the Lord. Daily, she would wear the garlands her father strung for the temple deity and peer into the well to admire her reflection in the water. One day, her father saw this and saddened by her impiety, he forbade her from ever touching the flowers meant for the Lord.
The next day Periyalvar took the garlands to the temple. That night the Lord appeared in his dream and said that only the garlands worn by his daughter were dear to Him. From then on, Goda would wear the garlands first and then send them to the temple. Soon she came to be known as Sudikkodutta Sudarkodi (the lady who offered garlands to God after first wearing them).
Goda became lovelorn. Long before dawn, she would go door-to-door, rousing her friends. Singing loudly the praises of Krishna, they would arrive at the palace of Nandagopa, and wake up everyone there, including Krishna. They would appeal to the Lord to provide them with conches, drums, lamps, flags and festoons. They also wanted Him to reward them for singing His praises. Finally, Goda would disclose to Krishna the true purpose of their visit - to be granted one boon that they could be with Him always.
Goda's Nacciyar Tirumozhi (poems of the Lord's bride) is a longer composition of 143 verses in which she expresses her love for Krishna in moods ranging from the agony caused by the pangs of separation from Him to the ecstasy born of union with Him.
As Periyalvar watched with grave anxiety his daughter's boundless love for Krishna grow, he was perplexed; how could he arrange a marriage between a mere human being and the Supreme Lord of the Universe? Krishna announced to Periyalvar in a dream that He would take care of that. Krishna spoke to the temple priests of Srirangam and told them to go to Srivilliputtur and escort His bride-elect to Him.
On the appointed day, Goda, in bridal finery, was taken in a palanquin from Srivilliputtur to Srirangam right into the sanctum sanctorum. Softly stepping down from the palanquin and proceeding with a swan-like gait towards the deity reclining on Adisesha, Goda climbed onto the serpent-bed. Then she just disappeared, getting absorbed into Him.
At Periyalvar's request, the Lord agreed to a traditional marriage ceremony which was performed on the panguni uthiram at Srivilliputtur. Every Vaishnavite temple in Tamil Nadu has a shrine for Goda who came to be known as Andal, 'she who rules', because she rules over the heart of Lord Narayana Himself; and Andal's divine marriage is celebrated to this day, every year, on the panguni uthiram day.
Article Source : http://www.experiencefestival.com/a/Goda/id/50285
Bridal Mysticism: Story of Meerabai
by Jyotsna Kamat
Page Last Updated: December 21,2007
Saint Mirabai (1547-1614 A.D.)
As the more famous (than Andal or Akkamadadevi) of the female saints of India, Bhakti Mira or Mirabai can be considered as one of the foremost mystics of the world. Worldly comforts never attracted these mystics. They have left beautiful songs and hymns to posterity which are sung to this day.
To Andal, Akkamahadevi and Mira, the soul was the eternal bride and the Lord their eternal Bridegroom the eternal Bridegroom . All the three excelled in the life of renunciation and divine realization. They lived in entirely different regions, wrote in their respective language in different age and Milieu, but became legends in their lifetime itself, by the austere life and single purpose of pursuit of God and finally divine attainment. This life is extremely difficult irrespective of gender to practice and attain salvation.
Mirabai was a princess of Rathod clan and belonged to Medath of Rajasthan. Rana Ratan Simh was her father. (Rana is the word for "Raja"). Even from childhood she exhibited spiritual traits. She was passionately attached to the idol of Giridhar Gopal, a form of Lord Krishna.
Refusal to Commit Sati and Marriage to Krishna
She was married to crown prince of Chittore. But shortly after, her husband Bhojraj and father-in-law Rana Sangh died. Mira refused to commit Sati, as was the practice among Rajputs. She was by conviction wedded to Giridhar Gopal, and death of "earthly" husband had no meaning to her. She spent all her time in praying, meditation, singing and dancing before her beloved idol, installed in the palace premises. The place started attracting many devotees, wandering saints and spiritual seekers. Mira found great solace in their company.
But this strange behavior was not acceptable to royal household and the ruling king, her brother-in-law. They thought of various modes of diverting her attention and save the glare of public. (Rajput women then and even now (year 2001) observe strict purdah) .Some songs of Mira reflect the agony and persecution she had to undergo. But her Giridhar Gopal always proved her savior.
"The Rana sent Mira a basketful of flowers with a snake inside. Mira absorbed in worship, put her hand into the basket to take flowers. Oh God! The snake had changed into a Saligrama! (Saligrama is a small round shaped black stone from the Gandaki river in Himalayas and is worshipped as a symbol of Vishnu).
Determined to kill Mira, the Rana sent a cup of poison. She prayed to Gopal and drank it. The poison turned into nectar. The Rana got a bed of sharp nails and Mira was made to lay down on it. But the nails turned to flowers. Mira was saved from all these dangers by none other than her Lord. Now intoxicated with immense love, she wanders all over in search of her Lord, dedicating herself to him entirely" she sang.
When many plots failed to kill Mira, it is said that Rana, the new king, cursed her "Why shouldn't this ignoble woman drown herself and die?"
Mira came to know about this wish and thought it would be a great relief to her royal relations if she put amend to life by jumping into the river. But in the nick of time divine voice addressed her. "It is a great sin to kill oneself... go to Brindavan."
So she undertook pilgrimage to Brindavan. It is considered sport field of Lord Krishna. Brindavan, a sacred place, was abode to several holy men. Jeeva Goswami had taken a vow never to see a woman--even her shadow! So, disciple of Goswami stopped her. "The Swamiji will not see any woman."
Mira laughed. "I though the only Man in Brindavan is Shri Krishan. now I see, there is a rival to him!"
In the Bhakti cult the love of the wife for her husband is said to be the best form of devotion. Hence all devotees in this world are women and God is the only man. In Brindavan the only man was supposed to be Krishna and other men and women were gopis, as gender distinction did not exist among real Bhaktas. If a devotee really felt as a gopi, he could never refuse to see another woman devotee. If anybody thinks himself a man it amounts to being a rival to god.
Mirabai's words stung Goswami and he at once understood the hidden meaning. He came out from cottage, bowed to the great lady and escorted to the hermitage.
From Brindavan she went to Dwaraka singing and praying. "I discovered the great secret in uttering the name and learnt it was quintessence of sastras. I reached my Giridhar through prayers and tears."
She gave many helpful suggestions to spiritual aspirants. "Oh my mind! You must do spiritual practice and worship.
"To love and live for Him" was the central theme of her songs. "Without pure love, the darling son of Nanda cannot be attained."
It is said that Mira got merged into the idol of Krishna in the temple of Ranchod at Dwaraka.
More than 400 songs ascribed to Mira known as Padas (lyrics) have been collected. She herself set tune to her songs and sang in soul-stirring divinely sweet voice. "Rag Govind" and "Rag Mira Malhar" are her creations. All her songs could be set to music easily and have become immensely popular throughout India, an indication to national solidarity established through Bhakti and through music.
Article Source : http://www.kamat.com/indica/faiths/bhakti/mirabai.htm
Page Last Updated: December 21,2007
Saint Mirabai (1547-1614 A.D.)
As the more famous (than Andal or Akkamadadevi) of the female saints of India, Bhakti Mira or Mirabai can be considered as one of the foremost mystics of the world. Worldly comforts never attracted these mystics. They have left beautiful songs and hymns to posterity which are sung to this day.
To Andal, Akkamahadevi and Mira, the soul was the eternal bride and the Lord their eternal Bridegroom the eternal Bridegroom . All the three excelled in the life of renunciation and divine realization. They lived in entirely different regions, wrote in their respective language in different age and Milieu, but became legends in their lifetime itself, by the austere life and single purpose of pursuit of God and finally divine attainment. This life is extremely difficult irrespective of gender to practice and attain salvation.
Mirabai was a princess of Rathod clan and belonged to Medath of Rajasthan. Rana Ratan Simh was her father. (Rana is the word for "Raja"). Even from childhood she exhibited spiritual traits. She was passionately attached to the idol of Giridhar Gopal, a form of Lord Krishna.
Refusal to Commit Sati and Marriage to Krishna
She was married to crown prince of Chittore. But shortly after, her husband Bhojraj and father-in-law Rana Sangh died. Mira refused to commit Sati, as was the practice among Rajputs. She was by conviction wedded to Giridhar Gopal, and death of "earthly" husband had no meaning to her. She spent all her time in praying, meditation, singing and dancing before her beloved idol, installed in the palace premises. The place started attracting many devotees, wandering saints and spiritual seekers. Mira found great solace in their company.
But this strange behavior was not acceptable to royal household and the ruling king, her brother-in-law. They thought of various modes of diverting her attention and save the glare of public. (Rajput women then and even now (year 2001) observe strict purdah) .Some songs of Mira reflect the agony and persecution she had to undergo. But her Giridhar Gopal always proved her savior.
"The Rana sent Mira a basketful of flowers with a snake inside. Mira absorbed in worship, put her hand into the basket to take flowers. Oh God! The snake had changed into a Saligrama! (Saligrama is a small round shaped black stone from the Gandaki river in Himalayas and is worshipped as a symbol of Vishnu).
Determined to kill Mira, the Rana sent a cup of poison. She prayed to Gopal and drank it. The poison turned into nectar. The Rana got a bed of sharp nails and Mira was made to lay down on it. But the nails turned to flowers. Mira was saved from all these dangers by none other than her Lord. Now intoxicated with immense love, she wanders all over in search of her Lord, dedicating herself to him entirely" she sang.
When many plots failed to kill Mira, it is said that Rana, the new king, cursed her "Why shouldn't this ignoble woman drown herself and die?"
Mira came to know about this wish and thought it would be a great relief to her royal relations if she put amend to life by jumping into the river. But in the nick of time divine voice addressed her. "It is a great sin to kill oneself... go to Brindavan."
So she undertook pilgrimage to Brindavan. It is considered sport field of Lord Krishna. Brindavan, a sacred place, was abode to several holy men. Jeeva Goswami had taken a vow never to see a woman--even her shadow! So, disciple of Goswami stopped her. "The Swamiji will not see any woman."
Mira laughed. "I though the only Man in Brindavan is Shri Krishan. now I see, there is a rival to him!"
In the Bhakti cult the love of the wife for her husband is said to be the best form of devotion. Hence all devotees in this world are women and God is the only man. In Brindavan the only man was supposed to be Krishna and other men and women were gopis, as gender distinction did not exist among real Bhaktas. If a devotee really felt as a gopi, he could never refuse to see another woman devotee. If anybody thinks himself a man it amounts to being a rival to god.
Mirabai's words stung Goswami and he at once understood the hidden meaning. He came out from cottage, bowed to the great lady and escorted to the hermitage.
From Brindavan she went to Dwaraka singing and praying. "I discovered the great secret in uttering the name and learnt it was quintessence of sastras. I reached my Giridhar through prayers and tears."
She gave many helpful suggestions to spiritual aspirants. "Oh my mind! You must do spiritual practice and worship.
"To love and live for Him" was the central theme of her songs. "Without pure love, the darling son of Nanda cannot be attained."
It is said that Mira got merged into the idol of Krishna in the temple of Ranchod at Dwaraka.
More than 400 songs ascribed to Mira known as Padas (lyrics) have been collected. She herself set tune to her songs and sang in soul-stirring divinely sweet voice. "Rag Govind" and "Rag Mira Malhar" are her creations. All her songs could be set to music easily and have become immensely popular throughout India, an indication to national solidarity established through Bhakti and through music.
Article Source : http://www.kamat.com/indica/faiths/bhakti/mirabai.htm
Bridal mysticism at its poetic best
WHEN THE Bhakti Movement initiated by Poygaiazhwar, Bhoodathazhwar and Peyazhwar had begun to sustain the common man who had been confounded by many religions all of which pampered the priestly middlemen and indulged in soulless ritualism, Tamil literature grew wings as well. The Azhwars experimented with many prosodic variations. Equally rich was the Azhwars' contribution to the genres. Dandakams, Madal, Thoothu and Tiru-palli-ezhuchi are some of them. The most important was their use of bridal mysticism.
Though prayers are aplenty in Vedic Sanskrit literature and the literature of the classical age, no one had tried to approach the Lord as the Eternal Bridegroom, conceiving the individual soul as the bride. When the Azhwars began writing mystic prayers to the Supreme in "Illuminating Tamil" (Gnana-Tamizh), they absorbed the genres of ancient Tamil literature with effortless ease. Sangham poetry used the love between man and woman as the appropriate metaphor for what happens in the inner recesses of the mind.
The Azhwars borrowed the idea to explain to their listeners the aspirations of the individual soul eager to join the Supreme, the mystic moments of togetherness between man and God and the unbearable consequences of separation that torture the individual. Nature is also drawn in, to help in this process. The gift of such bridal mysticism by Tamil Azhwars spread all over India, and even the stately Sanskrit language has been tuned to the wavy movements of a creeper in Jayadeva's "Gita Govindam".
Though Tirumangai Azhwar and Nammazhwar have made sure approaches to God taking on the voice of a young girl, it is Goda Devi's poems that are cited as the height of bridal mysticism. Peria Achan Pillai says that because Goda Devi was a woman, such longing for her Lord gushed forth. Born under the Pooram star in the month of Adi, and raised in the house of the great devotional poet, Periazhwar, devotional diction became almost second nature to her. She sang, and the thoughts swirled around in perfect prosody. Hence, her poems mark the beginning of bridal mysticism in India's sacred literature.
Goda Devi's verses in this genre are utterly natural. The 10 verses in the Ninth decad located in Tirumaliruncholai (near Madurai) are enough to show the fire of aspiration is burning in the depths of Goda Devi's heart. Yet she is consumed by this fire of divine love. It is the rainy season on the hills which has made the atmosphere cool but the aspirant's heart continues to be a burning brazier. The instinctive love for all creations is turned into Nature poetry by Goda Devi.
There are subtle changes in the thought-currents of Goda Devi. "Isn't there a certain friendliness in the smile of dark ironwood blossoms and Kuruvilai flowers? For these are dark-skinned, like the Lord's complexion." So she speaks to them. "The Lord has as good as stolen her bangles. She has grown thin pining for his presence, and the wrists can retain the bangles no more. Perhaps these friendly flowers can suggest a way to arrest this rapid decline." There is no answer except that the flowers are dancing in the breeze. How can they be so cruel?
There is a direct prayer — an attempt to make a personal approach — a familiar ploy of taking a vow for the flow of Grace. So Goda Devi spells out a promise:
"A hundred pots of butter; A hundred pitchers of sweet pudding;
Such is my promise to Tirumaliruncholai Lord; Will he come and accept this offering of mine? If only the Lord comes here today; Receives my gift and enters my heart; I promise lakhs of such pitchers; And eternal servitude at his feet."
The promise of eternal servitude (aahum seyyan) is an indication of the symbolic significance of the offering. It is not Moksha that Goda Devi wants. Her goal is Kainkarya, an unbroken closeness to the Lord. It is the same ideal that prompted Lakshmana to give up the comforts of regal living, and his bride Urmila. Eternal servitude to the Lord is symbolised by Adisesha who is a throne, a bed and an umbrella to Narayana. It is said that Sri Ramanuja (considered an avatar of Adisesha-Lakshmana) recognised the aspiration behind these two verses of Goda Devi. Of course she had had no time to fulfil her vow as she merged with the Lord the moment she came face to face with Him in the Srirangam temple. On her behalf, Ramanuja offered hundreds of pots of butter and sweet pudding to the Lord. Hagiology assures us that the next time he went to Srivilliputtur, Goda Devi's voice called out to him. "Come, come, elder brother." Since then, devotees have always considered her to be the younger sister of Sri Ramanuja.
PREMA NANDAKUMAR
Article Source : http://www.hinduonnet.com/thehindu/fr/2003/08/01/stories/2003080101480600.htm
Though prayers are aplenty in Vedic Sanskrit literature and the literature of the classical age, no one had tried to approach the Lord as the Eternal Bridegroom, conceiving the individual soul as the bride. When the Azhwars began writing mystic prayers to the Supreme in "Illuminating Tamil" (Gnana-Tamizh), they absorbed the genres of ancient Tamil literature with effortless ease. Sangham poetry used the love between man and woman as the appropriate metaphor for what happens in the inner recesses of the mind.
The Azhwars borrowed the idea to explain to their listeners the aspirations of the individual soul eager to join the Supreme, the mystic moments of togetherness between man and God and the unbearable consequences of separation that torture the individual. Nature is also drawn in, to help in this process. The gift of such bridal mysticism by Tamil Azhwars spread all over India, and even the stately Sanskrit language has been tuned to the wavy movements of a creeper in Jayadeva's "Gita Govindam".
Though Tirumangai Azhwar and Nammazhwar have made sure approaches to God taking on the voice of a young girl, it is Goda Devi's poems that are cited as the height of bridal mysticism. Peria Achan Pillai says that because Goda Devi was a woman, such longing for her Lord gushed forth. Born under the Pooram star in the month of Adi, and raised in the house of the great devotional poet, Periazhwar, devotional diction became almost second nature to her. She sang, and the thoughts swirled around in perfect prosody. Hence, her poems mark the beginning of bridal mysticism in India's sacred literature.
Goda Devi's verses in this genre are utterly natural. The 10 verses in the Ninth decad located in Tirumaliruncholai (near Madurai) are enough to show the fire of aspiration is burning in the depths of Goda Devi's heart. Yet she is consumed by this fire of divine love. It is the rainy season on the hills which has made the atmosphere cool but the aspirant's heart continues to be a burning brazier. The instinctive love for all creations is turned into Nature poetry by Goda Devi.
There are subtle changes in the thought-currents of Goda Devi. "Isn't there a certain friendliness in the smile of dark ironwood blossoms and Kuruvilai flowers? For these are dark-skinned, like the Lord's complexion." So she speaks to them. "The Lord has as good as stolen her bangles. She has grown thin pining for his presence, and the wrists can retain the bangles no more. Perhaps these friendly flowers can suggest a way to arrest this rapid decline." There is no answer except that the flowers are dancing in the breeze. How can they be so cruel?
There is a direct prayer — an attempt to make a personal approach — a familiar ploy of taking a vow for the flow of Grace. So Goda Devi spells out a promise:
"A hundred pots of butter; A hundred pitchers of sweet pudding;
Such is my promise to Tirumaliruncholai Lord; Will he come and accept this offering of mine? If only the Lord comes here today; Receives my gift and enters my heart; I promise lakhs of such pitchers; And eternal servitude at his feet."
The promise of eternal servitude (aahum seyyan) is an indication of the symbolic significance of the offering. It is not Moksha that Goda Devi wants. Her goal is Kainkarya, an unbroken closeness to the Lord. It is the same ideal that prompted Lakshmana to give up the comforts of regal living, and his bride Urmila. Eternal servitude to the Lord is symbolised by Adisesha who is a throne, a bed and an umbrella to Narayana. It is said that Sri Ramanuja (considered an avatar of Adisesha-Lakshmana) recognised the aspiration behind these two verses of Goda Devi. Of course she had had no time to fulfil her vow as she merged with the Lord the moment she came face to face with Him in the Srirangam temple. On her behalf, Ramanuja offered hundreds of pots of butter and sweet pudding to the Lord. Hagiology assures us that the next time he went to Srivilliputtur, Goda Devi's voice called out to him. "Come, come, elder brother." Since then, devotees have always considered her to be the younger sister of Sri Ramanuja.
PREMA NANDAKUMAR
Article Source : http://www.hinduonnet.com/thehindu/fr/2003/08/01/stories/2003080101480600.htm
Meera Bai, fine exemplar of Bridal Mysticism
CHENNAI, JULY 4. Many are the paths open before devotees to reach their goal. They can choose any one of them, to have their objective fulfilled depending on what is best suited to them. For some, service to God may be preferable, some treated God as their child, while others held Him as their master. Yet to some, He was their ``beloved''. Some considered Him as their friend. But one thing is commonly available in all of us and we can always make use of it, that too very effortlessly. That is ``Divine Love''.
This pure love for the Divine implies detachment from worldly life. Such devotees felt that God exists in them and they in turn were altogether His. Meera Bai was one such devotee who dedicated herself to Lord Krishna in the name of ``Giridhara Gopala'' as His spouse and exemplified the way of Bhakti. She sang her agony of separation from Him giving expression to bridal mysticism. She dedicated herself as the bride of God and translated her burning love for Him in the form of songs filled with messages for all others who seek Him. Even as a three-year-old girl, she developed an intense liking to an idol of Krishna. A casual remark, in jest, that her bridegroom (when she grew) would be Sri Krishna as ``Giridhara Gopala'' made a deep impression on her and from then on she started worshipping the Lord, adoring Him through songs and spending her time in the midst of godly souls.
In his lecture, Swami Mitrananda said Meera even after her marriage to a prince of the Rajput clan, continued her deep faith and love towards her ``Divine Spouse''. She was given freedom to worship and a shrine was erected for Lord Krishna. Listening to reports about her religious fervour and her lilting Bhajans and devotional congregations, Emperor Akbar, with Tansen, attended incognito, one such gatherings and moved by the scene there, revealed his identity and presented a necklace which was used by Meera to decorate her idol. Later furious at her conduct attempts were made to torture her and even to do away with her but the Lord saved her and she ultimately reached the feet of God. One among her numerous devotional outpourings refers to the power of the holy name of God and how chanting it with faith will help a devotee to cross the ocean of transmigration itself acting as a boat. ``Among all types of valuable possessions, God's name is the greatest wealth.'' No doubt, the mind cannot be controlled so easily but even as Lord Krishna states in the Gita, constant practice will surely make the recitation of Lord's name purposeful.
Article Source : http://www.hinduonnet.com/2001/07/04/stories/10040906.htm
This pure love for the Divine implies detachment from worldly life. Such devotees felt that God exists in them and they in turn were altogether His. Meera Bai was one such devotee who dedicated herself to Lord Krishna in the name of ``Giridhara Gopala'' as His spouse and exemplified the way of Bhakti. She sang her agony of separation from Him giving expression to bridal mysticism. She dedicated herself as the bride of God and translated her burning love for Him in the form of songs filled with messages for all others who seek Him. Even as a three-year-old girl, she developed an intense liking to an idol of Krishna. A casual remark, in jest, that her bridegroom (when she grew) would be Sri Krishna as ``Giridhara Gopala'' made a deep impression on her and from then on she started worshipping the Lord, adoring Him through songs and spending her time in the midst of godly souls.
In his lecture, Swami Mitrananda said Meera even after her marriage to a prince of the Rajput clan, continued her deep faith and love towards her ``Divine Spouse''. She was given freedom to worship and a shrine was erected for Lord Krishna. Listening to reports about her religious fervour and her lilting Bhajans and devotional congregations, Emperor Akbar, with Tansen, attended incognito, one such gatherings and moved by the scene there, revealed his identity and presented a necklace which was used by Meera to decorate her idol. Later furious at her conduct attempts were made to torture her and even to do away with her but the Lord saved her and she ultimately reached the feet of God. One among her numerous devotional outpourings refers to the power of the holy name of God and how chanting it with faith will help a devotee to cross the ocean of transmigration itself acting as a boat. ``Among all types of valuable possessions, God's name is the greatest wealth.'' No doubt, the mind cannot be controlled so easily but even as Lord Krishna states in the Gita, constant practice will surely make the recitation of Lord's name purposeful.
Article Source : http://www.hinduonnet.com/2001/07/04/stories/10040906.htm
The Bridal Mysticism
by Jyotsna Kamat
Page Last Updated: December 22,2007
Bridal mysticism is a form of Bhakti as practiced by Andal and Akkamahadevi, wherein the devotee looks upon herself as a bride and the Lord as bridegroom. It is an example of sublimating all mental powers through power of imagination. The Lord, soul of all souls, is invoked for internal bliss and the craving for the Lord is evinced in the soul-stirring poetry written by these two proponents of the Bhakti movement.
The bridal mysticism gave way to yet another form of devotion in India where the women (abused, unmarried, or even married) could address God as their savior, and supreme lover.
I love the Handsome One:
He has no death
decay nor form
no place or side
no end nor birthmarks.
I love Him O mother. Listen.
I love the Beautiful One
with no bond nor fear
no clan no land
no landmarks
So my Lord, white as jasmine, is my husband.
by Akkamahadevi
Translated by A. K. Ramanujan
Article Source : http://www.kamat.com/indica/faiths/bhakti/bridal_bhakti.htm
Page Last Updated: December 22,2007
Bridal mysticism is a form of Bhakti as practiced by Andal and Akkamahadevi, wherein the devotee looks upon herself as a bride and the Lord as bridegroom. It is an example of sublimating all mental powers through power of imagination. The Lord, soul of all souls, is invoked for internal bliss and the craving for the Lord is evinced in the soul-stirring poetry written by these two proponents of the Bhakti movement.
The bridal mysticism gave way to yet another form of devotion in India where the women (abused, unmarried, or even married) could address God as their savior, and supreme lover.
I love the Handsome One:
He has no death
decay nor form
no place or side
no end nor birthmarks.
I love Him O mother. Listen.
I love the Beautiful One
with no bond nor fear
no clan no land
no landmarks
So my Lord, white as jasmine, is my husband.
by Akkamahadevi
Translated by A. K. Ramanujan
Article Source : http://www.kamat.com/indica/faiths/bhakti/bridal_bhakti.htm
Subscribe to:
Posts (Atom)