Venkateshwara Suprabhatam 2

 

Venkateshwara Suprabhatam 2

Divine Benefits of Chanting the Venkatesa Suprabhatam

1) Enhances spiritual awareness and devotion
2) Purifies the aura and removes negative energy
3) Boosts mental clarity and emotional balance
4) Invokes divine protection and good fortune
5) Strengthens faith in Lord Vishnu’s grace

Vishnu mantras and Stotras confer spiritual boons over material benedictions. Hence, Vaishnavas attain a distaste for sense-enjoyment and instead, treasure the dust left by the lotus feet of Bhagavan. We donate unnecessary baggage and give up our unrealistic ambitions.

Thus, there are negligible chances of contracting mental disorders such as depression and schizophrenia. We stop blaming others for our misfortunes. Our mood in the morning determines the quality of our entire day.

Here, the Suprabhatam boosts our productivity and helps us focus on work, ridding our minds of all distractions. We see the hand of Lord Vishnu in both favourable and unfavourable situations of life. Breath control and proficiency in yoga come with repeated recitation since we rouse the Lord from his yoga Nidra. The voice of the conscience becomes loudly audible.

One abstains from sin and executes his social responsibilities as a service to Bhagavan. Every segment of the day carries a vibration with it. For instance, nighttime is Tamasik, triggering base animalistic tendencies and sinful indulgence. We can feel ghosts and evil energies at night. Morning time is conducive to spiritual activities, where one subconsciously imbibes the mood of Dharma.

One overcomes the vice of lust effortlessly and imbibes noble virtues of humility, truthfulness and forbearance. The sacred vibrations of the Suprabhatam drive away negativity, the evil shadow of spirits and black magic.

There is a tremendous shift in our overall energy, making us more positive, work-oriented and self-satisfied. The restlessness and ruffle caused by unfulfilled desires dies away, and we savour the present moment. Lord Narayana consumes our fear of the future and worries concerning our survival.

The chants regulate the heartbeat and brain waves, bringing harmony in our physiology.

It elevates our moods and promotes Sattvik thinking. As a result, we get inclined to perform our Dharmic duties such as serving cows, praying in temples, feeding food to Sadhus, meditating in solitude and studying the scriptures.

Venkateshwara Suprabhatam Part 1

 

Venkateshwara Suprabhatam

The Tirumala hills that are presided over by Lord Balaji comprise seven peaks or Shikharas, which have the following names.

Seshachala
Vedachala
Garudachala
Anjanachala
Vrishabachala
Narayanachala
Venkatachala

These hills in course of time came to be known as Tirumala, while the town at the foot of the hills is known as Tirupati. The place where the Lord actually abides in the hills is Venkatachala. It is also called Venkatadri.

Suprabhatam Hymn

This hymn, consisting of 70 verses, was written in Sanskrit by Prativadi Bhayankara Annan. It consists of four parts as per the details given below.

Suprabhatam
Stotram
Prapatti
Mangalaasaasanam

Significance of the Hymn

PART – I

In this Part, which is called Suprabhatam, the first verse is addressed to Rama, the auspicious son of Kausalya. beseeching Him to wake up as the day has dawned and the daily ablutions and rituals are to be performed. Then He is addressed as Govinda, as one who has having Garuda Dhwaja (one who has the Garuda, the Lord of birds, as insignia in His flag) and as the consort of Goddess Lakshmi. The third and fourth verses are addressed to Sri Lakshmi as the consort of the Lord, describing Her as the Divine Mother of the Universe whose beauty and qualities of head and heart are beyond words.

Then follows the description of the Lord by several names, such as the King of. Seshadri Hills, Vrishabhachala, etc. His devotees are calling Him by various names such as Vasudeva, Madhava, Govinda, Janardhana, Chakrapani and await His commands. He is referred to as a granter of boons to His devotees, a supreme friend of the world, the very abode of righteousness, the ocean of mercy for all the worlds and as the One who has a very handsome form wherein Sri Lakshmi sits enthroned. He is referred to as The Lord in ten incarnations (Dasavatara). His other myriad qualities are explained in the prayer stating that all the others like Gods, sages, planets, devotees, scholars, the humblest and the mightiest are all awaiting for His worship with sacred and auspicious puja materials in their hands while the sun is rising in the east and lotus flowers are blossoming in the lakes and all around the sweet sounds of chirping birds fill the air.

This section is concluded with praising the Lord as a bridge to cross the ocean of Samsara and eulogising Him as the quintessence of all knowledge of the Upanishads and a source of joy and bliss to all.

It may be observed that every stanza of the poem in this section ends with the words ‘tava suprabhatam’, meaning thereby “may it be an auspicious dawn to You”. Whoever recites this hymn with devotion in the mornings, Sri Venkateswara endows him with excellent knowledge of the Supreme Truth that leads to Salvation.

PART – II

In the next part, ‘Stotram’, the devotee submits himself to the shelter of Venkatesa and states that he sinned heavily violating all limits and hence he seeks His protection, compassion, generosity and mercy. He cries that he knows no other God than Venkateswara, on whom he always meditates and begs for his grace and favour. He is prayed to as Krishna, Rama and the best among all in the Raghu dynasty. He concludes his solicitation by uttering, “I have come from a long distance with an ardent desire to serve at Your Lotus Feet. Grant me the opportunity for a day’s service at Your feet, a reward which you confer on Your devotees for worshipping You daily”. He craves the pardon of the Lord for all the wrongs committed by him in his ignorance.

PART – III

The third part of this hymn is Prapatti. It starts with offering salutations to Sri Lakshmi, the eternal resident in the bosom of Vishnu, and then the devotee goes on offering his surrender to Venkatesa, describing elaborately His supremacy over the universe. The gist of this part of the hymn is that Sri Venkateswara will certainly save the devotee who has implicit faith in Him and surrenders himself to Him. The preliminary praise and invocation to Sri Lakshmi implies Her compassionate nature and the devotee’s inner desire for Her mediation and recommendation of him to the Lord.

PART – IV

The last part of this poem is Mangalasasanam, by repeating in every stanza the words meaning “May auspiciousness be unto Sri Venkatesa, Sri Srinivasa”. This is a sort of closing offer of salutations and reverential felicitations to The Lord of the Seven Hills, describing His extraordinary, unblemished glories and exquisite physical form.

He is the ultimate cause of all, the causeless cause and yet easily attainable. He is the essence of all that is pure and the ultimate refuge for humanity. He is the repository of peace and tranquillity in this strife-ridden world. It proclaims that as long as the TIME lasts (practically forever) those who had the darshan of Sri Venkateswara will never be satisfied with His nectarine form (atrupti amruta roopaaya); it suggests that the devotees would wish to stand in His presence for all the time gazing at His handsome and attractive form, mysteriously feeding themselves with Divine Bliss.

After this recital, the doors of the sanctum sanctorum are opened by the persons meant for the purpose by tradition, and then the general public is allowed entry inside.

In this way, the day’s first prayer, called the Suprabhata Seva, is being offered to Sri Venkateswara on the Tirumala Hills since the dawn of history..

.. To Be Contd...

Madhurashtakam

The Madhurasthakam, composed by Sri Vallabhacharya (1478 A.D), is a unique stotra, describing the Sweetness of Lord Sri Krishna.

Madhurashtakam was originally written in Sanskrit and is easily understood. Only one word, madhuram, is repeated seven times each in this ashtakam (poem with eight verses)!

The Madhurasthakam uses just one adjective, "madhuram", meaning sweet or beautiful etc., to describe the lovely attributes of Lord Sri Krishna's beautiful form, who is the master of Sweetness and Sweetness personified.

It is evident from the ashtakam that the devotee is fascinated to have a look at not only the beautiful divine sweet form [sarvanga sundara rupam] of Lord Krishna but also the very existence of the Lord -- by way of His moves, plays, pastimes, etc.

Thus says the devotee: "The Lord of Mathura, Krishna, is sweet, sweet and nothing but sweet! Even ambrosia and nectar may satiate after some time, but concerning the sweetness of the Divine Lord, one cannot have enough of it. Krishna's lips are very sweet, his beautiful face is sweet, his beautiful black eyes with sidelong glances are sweet, his enchanting smile is even sweeter, his love-sports are sweet and his three-fold bend form is very sweet. O Lord of sweetness, everything about You is completely sweet, You are sweetness personified."

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"Krishna is the sweetest honey we could ever taste, the sweetest laddu we could ever enjoy, and the sweetest icing on the cake we’ve ever craved for. In short, He is sweetness personified in that we sometimes become selfish not to share Him with others. Sri Vallabhacharya thus describes in this unique stotra, the Sweetness of Lord Sri Krishna."

"The Gopi's minds are always engaged in relishing the sweetness of Krishna's Body. He is the Ocean of beauty, and His beautiful Face, His beautiful Smile, and the luster of His Body are always attractive to Gopi's mind. In the Krishna Karnamrita, these three things have been described as sweet, sweeter, and sweetest. When there are three kinds of contamination in the constitutional body, it is called convulsion. So, similarly, a perfect devotee of Krishna attains a stage of convulsion when he is so overwhelmed by seeing the beauty of Krishna's Body, His Face, and the beauty of Krishna's Smile, This ocean of transcendental convulsion before Krishna's beauty sometimes continues without any treatment, just as with ordinary convulsions a physician does not allow one to drink water for relief.

The devotee increasingly feels the absence of Krishna, because without Him one cannot drink the nectar of His beauty. When there is the transcendental sound of Krishna's flute, the devotee's anxiety to hear that flute penetrates the covering of this material world and enters into the Spiritual Sky, and the transcendental sound of the flute enters into the ears of the followers of the Gop is. The sound of Krishna's flute always resides within the ear of the Gopis and increases their ecstasy. At the time when it is heard no other sound can enter into the ear, and in their family activities they are not able to reply properly because all these beautiful sounds are vibrating."

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Madhurashtakam Benefits

Madhurashtakam is composed by Sri Vallabhacharya, the Madhurashtakam is a stotra that depicts the pleasantness of the incomparable Lord Krishna whose impact is spread across the world.

As per the Hindu folklore, presenting the sacred Madhurashtakam stotram consistently is a strong and compelling method for satisfying Lord Krishna and get his endowments.

Assuming a lover drones the stotram every day in the early morning subsequent to washing up and before the image or symbol of Lord Krishna, he can anticipate the best outcomes. It is vital that you comprehend the elocution and importance of each section prior to beginning the recitation to amplify the impact.

Ordinary recitation of Madhurashtakam gives the chanter true serenity and gets all the evil far from his life. The individual becomes sound, well-off, and prosperous.

This psalm sings the brilliance and embodiment of the excellence of Lord Krishna and portrays his symbol and attributes as a kid.

Madhurashtakam means to clarify that a lover is intrigued by the presence of the Lord in addition to his excellent structure. His moves, interests, plays, and different elements are depicted and embodied in this psalm.

Ardhanarishvara

Ardhanarishvara

The Ardhanarishvara is a composite androgynous form of Shiva and Parvati. Ardhanarishvara is depicted as half-male and half-female, equally split down the middle. The right half is usually the male Shiva, illustrating his traditional attributes. The earliest Ardhanarishvara images are dated to the Kushan period, starting from the first century CE. Its iconography evolved and was perfected in the Gupta era. The Puranas and various iconographic treatises write about the mythology and iconography of Ardhanarishvara. Ardhanarishvara remains a popular iconographic form found in most Shiva temples throughout India, though very few temples are dedicated to this deity.

Ardhanarishvara represents the synthesis of masculine and feminine energies of the universe (Purusha and Prakriti) and illustrates how Shakti, the female principle of God, is inseparable from (or the same as, according to some interpretations) Shiva, the male principle of God. The union of these principles is exalted as the root and womb of all creation. Another view is that Ardhanarishvara is a symbol of Shiva's all-pervasive nature.

The name Ardhanarishvara means "the Lord Who is a half-woman." Ardhanarishvara is also known by other names like Ardhanaranari ("the half man-woman"), Ardhanarisha ("the Lord who is half woman"), Ardhanarinateshvara ("the Lord of Dance Who is half-woman"), Parangada, Naranari ("man-woman"), Ammiappan (a Tamil Name meaning "Mother-Father"), and Ardhayuvatishvara (in Assam, "the Lord whose half is a young woman or girl"). The Gupta-era writer Pushpadanta in his Mahimnastava refers to this form as dehardhaghatana ("Thou and She art each the half of one body"). Utpala, commenting on the Brihat Samhita, calls this form Ardha-Gaurishvara ("the Lord whose half is the fair one"; the fair one – Gauri – is an attribute of Parvati). The Vishnudharmottara Purana simply calls this form Gaurishvara ("The Lord/husband of Gauri).

The conception of Ardhanarishvara may have been inspired by Vedic literature's composite figure of Yama-Yami, the Vedic descriptions of the primordial Creator Vishvarupa or Prajapati and the fire-god Agni as "bull who is also a cow, "the Brihadaranyaka Upanishad's Atman ("soul") in the form of the androgynous cosmic man Purusha,.The Brihadaranyaka Upanishad says that Purusha splits himself into two parts, male and female, and the two halves copulate, producing all life – a theme concurrent in Ardhanarishvara's tales. The Shvetashvatara Upanishad sows the seed of the Puranic Ardhanarishvara. It declares Rudra – the antecedent of the Puranic Shiva – the maker of all and the root of Purusha (the male principle) and Prakriti (the female principle), adhering to Samkhya philosophy. It hints at his androgynous nature, describing him both as male and female.

Ardhanarishvara is interpreted as an attempt to syncretize the two principal Hindu sects, Shaivism and Shaktism, dedicated to Shiva and the Great Goddess. A similar syncretic image is Harihara, a composite form of Shiva and Vishnu, the supreme deity of the Vaishnava sect

Male half

The male half wears a jata-mukuta (a headdress formed of piled, matted hair) on his head, adorned with a crescent moon. Sometimes the jata-mukuta is adorned with serpents and the river goddess Ganga flowing through the hair. The right ear wears a nakra-kundala, sarpa-kundala ("serpent-earring") or ordinary kundala ("earring"). Sometimes, the male eye is depicted smaller than the female one and a half-mustache is also seen. A half third eye (trinetra) is prescribed on the male side of the forehead in the canons; a full eye may also be depicted in the middle of the forehead separated by both sides or a half-eye may be shown above or below Parvati's round dot. A common elliptical halo (prabhamandala/prabhavali) may be depicted behind the head; sometimes the shape of the halo may differ on either side.

In the four-armed form, a right-hand holds a parashu (axe) and another makes an abhaya mudra (gesture of reassurance), or one of the right arms is slightly bent and rests on the head of Shiva's bull mount, Nandi, while the other is held in the abhaya mudra gesture. Another configuration suggests that a right hand holds a trishula (trident) and another makes a varada mudra (gesture of blessing). Another scripture prescribes that a trishula and akshamala (rosary) is held in the two right hands. In the two-armed form, the right-hand holds a kapala (skull cup) or gestures in a varada mudra. He may also hold a skull.

The Shiva half has a flat masculine chest, a straight vertical chest, broader shoulder, a wider waist, and a muscular thigh. He wears a yagnopavita (sacred thread) across the chest, which is sometimes represented as a naga-yagnopavita (a snake worn as a yagnopavita) or a string of pearls or gems. The yajnopavita may also divide the torso into it's male and female halves. He wears ornaments characteristic of Shiva's iconography, including serpent ornaments.

Female half

The female half has karanda-mukuta (a basket-shaped crown) on her head or well-combed knotted hair or both. The left ear wears a valika-kundala (a type of earring). A tilaka or bindu (a round red dot) adorns her forehead, matching Shiva's third eye. The left eye is painted with black eyeliner. While the male neck is sometimes adorned with a jeweled hooded serpent, the female neck has a blue lotus matching it.

In the four-armed form, one of the left arms rests on Nandi's head, while the other is bent in kataka pose and holds a nilotpala (blue lotus) or hangs loosely at her side. In the three-armed representation, the left-hand holds a flower, a mirror or a parrot. In the case of two-armed icons, the left-hand rests on Nandi's head hang loose or hold either a flower, a mirror or a parrot. The parrot may be also perched on Parvati's wrist. Her hand(s) is/are adorned with ornaments like a keyura (anklet) or kankana (bangles)

Parvati has a well-developed, round bosom and a narrow feminine waist embellished with various haras (religious bracelets) and other ornaments, made of diamonds and other gems. She has a fuller thigh and a curvier body and hip than the male part of the icon. The torso, hip, and pelvis of the female is exaggerated to emphasize the anatomical differences between the halves. Though the male private parts may be depicted, the female genitalia are never depicted and the loins are always draped She wears a multi-colored or white silken garment down to her ankle and one or three girdles around her waist. The left half wears an anklet and her foot is painted red with Mehendika. The left leg may be somewhat bent or straight, resting on a lotus pedestal. In contrast to the Shiva half, the Parvati half – smeared with saffron – is described as calm and gentle, fair in color. Very rarely, Parvati is shown with parrot-green skin, this represents how she is the daughter of the mountains but mostly she is shown as Gauri (the fair one). She may be draped in a sari covering her torso and legs.

Postures and Vahana.

The posture of Ardhanarishvara may be tribhanga – bent in three parts: head (leaning to the left), torso (to the right) and right leg or in the sthanamudra position (straight), sometimes standing on a lotus pedestal, whereupon it is called samapada. Seated images of Ardhanarishvara are missing in iconographic treatises, but are still found in sculpture and painting. Though the canons often depict the Nandi bull as the common vahana (mount) of Ardhanarishvara, some depictions have Shiva's bull vahana seated or standing near or behind his foot, while the goddess's lion vahana is near her foot

Symbolism
Ardhanarishvara symbolizes that the male and female principles are inseparable. The composite form conveys the unity of opposites (coniunctio oppositorum) in the universe. The male half of Ardhanarishvara stands for Purusha and the female half is Prakriti. Purusha is the male principle and passive force of the universe, while Prakriti is the female active force; both are "constantly drawn to embrace and fuse with each other, though... separated by the intervening axis". The union of Purusha (Shiva) and Prakriti (Shiva's energy, Shakti) generates the universe, an idea also manifested in the union of the Linga of Shiva and Yoni of Devi creating the cosmos. The Mahabharata lauds this form as the source of creation. Ardhanarishvara also suggests the element of Kama or Lust, which leads to creation.

Ardhanarishvara signifies "totality that lies beyond duality", "bi-unity of male and female in God" and "the bisexuality and therefore the non-duality" of the Supreme Being. It conveys that God is both Shiva and Parvati, "both male and female, both father and mother, both aloof and active, both fearsome and gentle, both destructive and constructive" and unifies all other dichotomies of the universe. While Shiva's rosary in the Ardhanarishvara iconography associates him with asceticism and spirituality, Parvati's mirror associates her to the material illusory world. Ardhanarishvara reconciles and harmonizes the two conflicting ways of life: the spiritual way of the ascetic as represented by Shiva, and the materialistic way of the householder as symbolized by Parvati, who invites the ascetic Shiva into marriage and the wider circle of worldly affairs. The interdependence of Shiva on his power (Shakti) as embodied in Parvati is also manifested in this form. Ardhanarishvara conveys that Shiva and Shakti are one and the same. The Vishnudharmottara Purana also emphasizes the identity and sameness of the male Purusha and female Prakriti, manifested in the image of Ardhanarishvara. Ardhanarishvara signifies that the great Shiva is "All, inseparable from His energy" (i.e. his Shakti) and is beyond gender.

Across cultures, hermaphrodite figures like Ardhanarishvara have traditionally been associated with fertility and abundant growth. In this form, Shiva in his eternal embrace with Prakriti represents the eternal reproductive power of Nature, whom he regenerates after she loses her fertility. "It is a duality in unity, the underlying principle being a sexual dualism". The dual unity of Ardhanarishvara is considered "a model of conjugal inseparability".

Often, the right half of Ardhanarishvara is male and the left is female. The left side is the location of the heart and is associated with feminine characteristics like intuition and creativity, while the right is associated with the brain and masculine traits – logic, valor and systematic thought. The female is often not equal in the Ardhanarishvara, the male god who is half female; she remains a dependent entity.

Ardhanarishvara "is in essence Shiva, not Parvati". This is also reflected in Puranas, where Parvati becomes a part of Shiva. It is likewise reflected in iconography: Shiva often has two supernatural arms and Parvati has just one earthly arm, and his bull vahana – not her lion vahana – typically accompanies them.

Ardhanarishwara Stotram

Shri Ardhanarishwara Stotram was composed by Sri Adi Shankara bhagavatpada. Creator and Creation are One ~ Ardhanarishwara, composite of Shiva and Shakti together in one body. This form reminds us that Shiva is beyond gender, yet encompasses both genders. Shiva represents the unmanifest and Shakti the manifest; Shiva the formless and Shakti the formed; Shiva consciousness and Shakti energy, not only in the cosmos as a whole but in each and every individual. Ardhanarishwara form also illustrates how the female principle of God, Shakti, is inseparable from the male principle of God, Shiva. Ardhanarishwara in iconography is depicted as half-male and half-female, split down the middle. 

'Ardhanarishwara` is a combination of three words `Ardha`, `Nari` and `Ishwara` means `half`, `woman` and `lord` respectively, which when combined means the lord whose half is a woman. The Ardhanarishwara represents a constructive and generative power. God is beyond the concept of any sex. God can be male, female, and even neuter too. So god existing in this intrinsic condition is referred to as Ardhanarishwara. Shiva and Shakti are one and the same supreme power. One should chant Shri Ardhanarishwara Stotram for happy and prosperous family life.

Champeya gowrardha sareerakayai,
Karpoora gourardha sareerakaya,
Dhamillakayai cha jatadaraya,
Nama Shivayai cha namashivaya.

My salutations to both Parvathi and Shiva
To Her whose body shines similar to molten gold,
To Him whose body shines like the burning camphor,
To Her who has a well made up hair,
And to Him who has the matted lock.

Kasthurika kumkuma charchithayai,
Chitharaja puncha vicharchithayai,
Kruthasmarayai vikrutha smaraya,
Nama Shivayai cha namashivaya

My salutations to both Parvathi and Shiva,
To Her whose body is smeared with musk and saffron,
To Him whose body is smeared with ashes of a burning ghat,
To Her whose prettiness radiates love, And to Him who destroyed the God of love.

Jhanath kvanath kankana noopurayai,
Padabja Rajat phani noopuraya,
Hemangadhayai bhujagangadhaya,
Nama Shivayai cha namashivaya.

My salutations to both Parvathi and Shiva,
To Her who has tinkling pretty anklets,
To Him who has the king of snakes as an anklet,
To Her who shines with golden anklets,
And to Him who has snakes as anklets.

Visala nilothphala lochanayai,
Vikasi pangeruha lochanaya,
Samekshanayai vishamekshanaya,
Nama Shivayai cha namashivaya.

My salutations to both Parvathi and Shiva,
To Her who has eyes as wide as the blue lotus,
To Him who has eyes as wide as a fully opened lotus,
To Her who has even number of eyes,
And to Him who has the odd number of eyes.

Mandhara mala kalithalakayai,
Kapalamalankitha kandharaya,
Divyambarayai cha Digambaraya,
Nama Shivayai cha namashivaya.

My salutations to both Parvathi and Shiva,
To Her whose hair is decorated with divine flowers,
To Him who wears a garland of skulls,
To Her who dresses in great silks,
And to Him wearing the eight directions.

Ambhodara syamala kunthalayai,
Thadithprabha thamra jatadharaya,
Nireeswarayai nikhileeswaraya,
Nama Shivayai cha namashivaya.

My salutations to both Parvathi and Shiva,
To Her who has black hair like the swollen cloud,
To Him who has copper matted locks like lightning,
To Her who is the goddess of the mountains,
And to Him who is the Lord of the universe.

Prapancha srushtyun muka lasyakayai,
Samastha samharaka thandavaya,
Jagat jananyai Jagatheka pithre,
Nama Shivayai cha namashivaya.

My salutations to both Parvathi and Shiva,
To Her whose dance marks the creation of the world,
To Him whose dance destroys everything,
To Her who is the mother of the universe,
To Him who is the father of the universe.

Pradeeptha rathnojjwala kundalaayai,
Sphuran mahapannaga bhooshanayai,
Shivanvithaayai cha Shivanvithaya,
Nama Shivayai cha namashivaya.

My salutations to both Parvathi and Shiva,
To Her with glittering earrings of gems,
To Him who wears a great serpent as an ornament,
To Her who is divinely merged with Shiva,
And to Him who is divinely merged with

Parvathi..Ethath pateth astaka mistatham yo,
Bhakthyaa sa maanyo bhuvi deerghajeevi,
Praapnothi saubhagyam ananthakaalam,
Bhooyaath sadha thasya samastha sidhdhi

Those who chant this Ardhanarishwara Stotram with bhakti will be blessed long respectful life and will be blessed with all they wish to have in their lifetime.

Iti Shri Adishankara bhagavatpada virachitam Ardhanarishwara stotram Sampooranam ||
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Here ends Sri Adi Shankara bhagavatpada composed Ardhanarishwara stotram.

Gopkia Geetham Part2

Thava kadamrutham, thaptha jeevanam,  

Kavebhheereeditham kalmashapaham,

Sravanamangalam sree madhathatha,

Bhuvi grunwanthi, they booritha jana. 9

The nectar of your story, Oh Krishna,

Is the antidote for misery, Oh Krishna,

It is sung by very wise people, Oh Krishna,

It solves all their problems, Oh Krishna,

It blesses with all that is good, Oh Krishna,

And those great ones, Oh Krishna,

Who can tell your story in detail, Oh Krishna,

Are really blessed ones, Oh Krishna.

The world is full of sorrows and the salvation of all such sorrows is to hear the holy story of the Lord; it is done by the wisest (the chosen one were actually blessed - either spend their time in reading the holy texts or talk about His deeds if there are no one to hear His stories they keep reading holy texts or recite thy stories if there are others to hear same Oh! what a past time they have). In this way, Gopits teach us how to tread upon the holy path of devotion to Lord Krishna and how to make best us of available time in Sathsang only .

Prahasitham priya, Prema veekshanam,

Viharanam cha they dhyana mangalam,

Rahasi samvidho, ya hrudhi sparsa,

Kuhaka, no mana kshobhayanthi he. 10

Your look of Love, Oh Krishna,

Gives us pleasure, Oh Sweetheart,

Your playfulness towards us, Oh Krishna,

Your secret gestures, Oh Krishna,

Turn our thoughts into ecstasy, Oh Krishna,

And turns our mind wildly, Oh Deceiver!

Oh Lord, your very look is the nectar of our lives and all your deeds full of foreplay and play and your gestures of secret nature give us the ecstasies of our lives and help us to focus inwardly. The apanga veekshanam of the Lord is the granter of boons of the beloved ones for which they are indebted for their entire lives.

Chalasi yadi vrujaath charayan pasoon,

Nalina sundaram, Natha they padam,

Shila thrunangurai: seedhatheethi, na:

Kalilatham mana: kantha gachathi. 11

When you accompany the cattle of Vruja, Oh Krishna,

Your lotus feet which are pretty and delicate, Oh Lord,

Treads over stones and thorns, Oh Krishna,

And gives you great pain, Oh Krishna,

And this makes our mind, Oh Krishna,

Restless and worried, Oh Krishna.

The moment you leave for the day for grazing the cowherd is the moment our heart stops its function and regains its life back only on seeing you back in the evening after your duty. All-day through you were wandering here and there often on thorns and stones and thy delicate – mrudu pallava like feet – is put to untold hardship – the very thought of which puts us in pain.

Deenapareekshaye neela kuntalai:
Vanaruhananam bhibrad aavrutham,
Ghanarajaswalam darsayan muhu:
Manasi na smaram veera yachasi. 12

To test poor people like us oh Krishna,
You come with cloud-like hair, Oh Krishna,
While coming from the forest, Oh Krishna,
And also face coated with dust, Oh Krishna,
On seeing you like that, oh Krishna,
Our minds become darkly passionate, Oh Krishna,
But you don’t bother about us, Oh Krishna.

Everything that is associated with the Lord is beauty; even the dust of the cows that sits on the face of the Lord adds beauty to Him especially when he returns in the evening amidst cow herds. This drushya adds fuel to fire and increases the pain of thy separation.

Pranadha kaamadham padmajarchidham,
Dharani mandanam dhyeyamapadhi,
Charana pankajam santhamam cha they,
Ramana nasthaneshu arpayadhihan. 13

Please keep your lotus like feet, Oh darling,
Which grants all the wants of devotees, Oh Krishna,
Which is worshipped by Lord Brahma, Oh Krishna,
Which is the ornament to the world, Oh Krishna,
Which is to be worshipped at times of peril, Oh Krishna,
And which grants pleasure even when it is served, Oh Krishna,
On our breasts dearly and tenderly, Oh Krishna.

The pada sparsha of the Lord is the panacea for all the sufferings of the Gopis and grant them all their wants ; the very holy feet is being worshiped by Brahma and the same is the Jewel of the Universe and worshiped at times of need by devotees and grants the pleasure of its association with our bossoms; i.e. the right place to keep them in safe custody is ours. If the feet of the lord is allowed to wander on its own it will go even to Satyaloka or other such places and should be safeguarded as it is the benefactor of all boons sought for by keeping them safely tight to our chest. 

Suratha vardhanam, soka nashanam,
Swaritha venuna, sushtu chumbitham,
Ithra raga vimaaranam nrunaam,
Vithara veera na: they adharamrutham. 14

Oh heroic one, Please give us, Oh Krishna,
The nectar of your lips, Oh Krishna,
Which increases passion, Oh Krishna,
Which destroys sorrows, Oh Krishna,
Which is being enjoyed, Oh Krishna,
By the flute of yours, Oh Krishna,
And which puts an end, Oh Krishna,
Of the other longings in men, Oh Krishna.

Atathi yath bhavan annh kananam Thrutiryu gayathe thwamapasyatham,
Kutila kunthalam, Sri mukham cha they,
Jada udeekshatham, pakshma krudrusham. 15

You're going away to the forest, oh Krishna,
During the day time, Oh Krishna,
Makes us feel that every second, Oh Krishna,
Like a never-ending age, Oh Krishna,
And seeing you back, Oh Krishna,
Through your flowing frontal curls, Oh Krishna,
Makes us feel that Lord Brahma, Oh Krishna,
Is a very slow-witted one, Oh Krishna.

During day time you wander in forest with the herd and friends to follow you, we your followers, feel that every second that we spend here in your absence is like a never-ending yuga and only on seeing you back with flue in your mouth and the sweet flowing music from lotus-like lips of yours fills our heart with nectar – the nectar which gives life back to our bodies with our souls once you return back. In this stanza the Gopis teach us that a sadhaka or a true baktha should have a longing as if his very breath stops if Prathyakshanubhava is not to happen the very next second. This was well explained by Swami Ramakrishna to a devotee when he asked Guru Maharaj about his longing for Goddess Kaali Ma and how he feels for it. Guru Maharaj took him to Holy Ganges and asked him to bathe and kept him inside water for few minutes and the disciple started to gasp for breath. Finally, when he got out of the water, he asked disciple how he felt – he had no words to explain except saying that he was immensely long to gasp for a while. Such should be the true intention and longing expected of a Sadaka or a true devotee. as has been explained in this verse.

Pathi suthaanwaya brathru bandhawan

athi vilangyathenthyaachyuthaga,

Gathi vidasthaveth geetha mohitha:

Kitava, yoshitha ka sthyajen nishi 16

We have left our husbands and son, Oh Achyutha,

And also our families and brothers, Oh, Krishna,

And have come near you, Oh Krishna,

You who know even the path of the dead, Oh Krishna,

Have neglected us at night, Oh Krishna,

Who have come attracted by your song, Oh deceiver.

Here Gopis ascertain the Lord that they have come at the beckon the Lord leaving aside their family members for His sake Oh Achutha (one who is known for not leaving those who have faith in him) keep this in mind that we have come at this dark part of the night only on your call and how can we be neglected after having been called upon by your gestures and secret call. Such a cruel joke should never be played upon on us. 

Rahasi samvidam hruchayodhayam,
Prahasi thananam prema veekshanam,
Bruha dura sreeyo, veekshya dhama they,
Muhurathi spruha, muhyathey mana:17

Your secret glances, Oh Krishna,
Your face that increases passion, Oh Krishna,
With an ever pretty smile, Oh Krishna,
Your look with love, Oh Krishna,
Your broad chest where Lakshmi resides, Oh Krishna,
Makes us long to attain you, Oh Krishna,
And our mind also gets enchanted, Oh Krishna.

Oh lord you very secret glances and gestures make us elated and your very smile enhances our uncontrolled passion for you and we long to have your broad chest – the residence of the Goddess Mahalakshmi – embraced by us. Lakshmi’s vasasthaanam – dwelling place of the Goddess- belongs to His devotees for which they long for.

Vrujava noukasam vyakthi ranga they,
Vrajina hanthryalam viswa mangalam,
Thyaja manak cha na:thwath spruharthmanam,
Swajana hrudrujam, yanishudhanam. 18

You who is the friend of people of Vraja, Oh Krishna,
Are capable of destroying all their sins, Oh Krishna,
And also you do good to the entire universe, Oh Krishna,
So give us that medicine, to cure our aching heart, Oh Krishna,
To us who are in love with you, Oh Krishna.

Oh Krishna! You are the friend of the Vrujavasees and capable of destroying since of those who are devoted to you and you have been the benefactor of the entire Universe; if that be the case how can you neglect us ; give us the boon of curing the pain in our heart – of those who long for you forever. If the lord can cure the pain of the entire Universe why not we the true lover of thy lotus feet by giving us the much-cherished wish of having union with you.

Yathe sujatha charanamburuham sthaneshu,
Bheetha sanai: priya dadimahi karkaseshu,
Thenataveem atasi thadwyada thena kimswith.
Koorpathibhi:bramathi dhee: bhavadhayusham na:19

We keep your lotus-like tender feet, Oh darling,
Very tenderly on our very hard breasts, Oh Krishna,
With a lot of care so that they do not pain, Oh Krishna,
But you travel with those tender feet, Oh Krishna,
In forests over sharp thorns and stones, oh Krishna,
And thinking of the pain those feet would suffer, Oh Krishna,
The brain of ours who have given our life to you, Oh Krishna,
Gets rattled and worried, Oh Krishna.

Oh Lord we intend to keep your lotus feet on our hard chests so that they are taken care of and get rid of their pain and also grant us the boon to get relief of the pain of your separation as they have all along been wandering in sun in thorns and stones and the very thought of their pain boils our brain and make us worried. The best place of rest for the ever-wandering feet of the Lord is to keep them intact – in a lock on the chest of the Gopis - in lock nearer to their heart. 

Sri Shuka Uvacha:
Ithi gopya pragayanthya:Pralapanthyascha chithradha,
Rurudhu:suswaram Rajan,Krishna darshana lalasa: 20

Sage Shuka said:-
Oh king thus did sing, the gopis 
With great desire and wailing voice,
In a pretty tone and in several ways,
And then they wept out loudly.

The greater the devotion or longing for union with the Lord the greater will be the pain of their heart longing for it. It is a state of mind that a Sadaka or true devotee should aspire for it. Ashru, Kampa, Pramodham etc. are the signs which occur on the body of the sadhak or a true devotee which is explained here as the Gopis.

Thasaamavira bhochowri:Smayamana mukhambuja:
Peethambaradhara sragwee
Saakhanmanmadhamanmadha:21

Then appeared before them, Lord Krishna,
Wearing yellow silk,
Wearing several garlands,
And with a smile on his face,
Who is capable of making,
The god of love yearns for his love.

The intention of the Gopis for union with the Lord, the longing of the Gopis were so fierce that a situation arose that they cannot bear the separation anymore and the Lord who was totally pleased with their true devotion appeared from nowhere wearing the ever-shining golden silk, wearing several wonderful fragrant gaRlands, with a face full of smile as ever it would be as if to prove that he was the father of the Cupid himself. 

At the beginning of the Gopika Geethatm itself, Sri Sukdhevjee mentioned that “PRASHAMAAYA PRASHAANTHAYA THATRAIVA ANTARADEEYATA” i.e. in order to rectify his true devotees – THE GOPIS – lord disappeared there itself so that he could see how they behave in their despair and how intense their love for Him. Now having heard their hue & cry he could not remain in silence hence appeared like a full bloom lotus with a vibrant golden silken cloth as his attire added with it some fragrant flower garlands and ever bright shining face full of glee and grandeur so as to please the Gopis longing for his Darshan. THEN STARTED RASA MAHOTSAV, a pleasurable sight to the entire Universe, all the Sidda, Charana, Gandharva, Muni ganas made an assemblage in the sky to witness the Gods’ Rasa with the GOPIS. 

Tham vilokhyaagatham presttam preethyutpulla drushobhala:
Uttasthu: yugapath sarvaa: tanva: praanamiva agatha:
Krishnasya mukha lavanya sudhaam nayana bhaajanai:
Aapeeya aapeeya naatrupyan santha: thaccharanam yata:

THEN STARTED RASOTSAVA which was never heard before and witnessed by all the Gods who were fortunate enough to have a glimpse of the same and showered the Lord with celestial flowers and danced from there with all types of instruments they could probably get a hand in. FLOWERS, FRAGRANCE, GRACE, GRANDEUR COMPASSION, LOVE, AND EVERLASTING PREMA took the form of RASA and in the UTSAVA that followed all the Gopis could see one Krishna by their side and did whatever they wanted to with Him as if he was her own prized possession. Lord Shiva & Parvathi, Brammaji with Saraswathi and host of other Gods with Rishis enjoyed the DANCE of the Yuga and there stood the Lord won over Cupid by his Dance with Radha and the Gopis who evinced intense love with Him. It is not that one night alone the Rasa was celebrated but all nights that followed.

It is NITHYA RASA UTSAVA and every true devotee should pray Goddess Radha Devi by saying “SAMYOJAYA MAAM RADHE THAVA RASA LEELAYAM” Oh Devi please allow us to participate in your Rasa Leela and let us be the recipient of thy Grace so as to serve the Lord in any possible manner that he might wish us to be worthy of it. The message of the Gopika Geetham is as under:

BE SIMPLE AND HUMBLE IN YOUR DAILY LIFE //

ALWAYS REMEMBER THE GRACE THAT HE HAS SHOWERED ON US AT EVER MOMENT OF YOUR LIFE //

ALWAYS REMEMBER HIS NAME CONSTANTLY AND SPEND YOUR VALUABLE TIME ONLY WITH TRUE KRISHNA BAKTHAS (THOSE WHO CAN SHARE THE THOUGHTS OF RENOWNED SOULS OF KRISHNA CONSCIOUSNESS) AND AVOID THE INTRUDERS IN YOUR HOLY PATH (THEY ARE ACTUAL THIEVES – THIEVES WHO STEAL YOUR VALUABLE TIME) // 

DWELL ON THOUGHTS OF HIS SERVICE BY WORDS AND DEEDS //
KEEP HIS NAME ALWAYS IN YOUR LIPS AND FROM BOTTOM OF YOUR HEART// LET FLOWERS OF BAKTHI - THE FRAGRANCE OF DEVOTION – BLOOM AND REACH THE EVERYTHING LOTUS FEET OF THE LORD //

NEVER GIVE UP YOUR SADHANA AT ANY POINT OF TIME IN YOUR LIFE EVEN AFTER HAVING ACHIEVE THE VERY GOAL OF IT I.E. A GLIMPSE OF GOD (LIKE PUNDARIKA WHO CONTINUED SERVICE TO HIS PARENTS EVEN THOUGH DWARAKADIPATHI AND HIS CONCERT WERE WAITING TO GIVE DARSHAN TO HIM AT HIS DOORSTEP) SIMILARLY EVEN AFTER ACHIVING SADHYA SADHANA SHOULD NOT BE GIVEN UP AT ANY COST; AS A SADAKHAS HE CLIMBS IN HIS SPIRITUAL LADDER GETS NAME, FAME, MONEY AND WHAT NOT (LIKE PUNDARIKA DAYANADHI WHO WAS RICH BUT HIS MIND WAS STEADFAST WITH TRUE DEVOTION TO LORD KRISHNA’S LOTUS FEET THAT COMPELLED KRISHNA CHAITANYA MAHA PRABHU ONE DAY AND INVITED HIM TO HAVE HIS DARSHAN) ONE SHOULD NOT FORGET HIS GURU WHO IS THE VERY CAUSE OF ALL THESEACHIEVEMENTS AND ALSO NEVER FORGET THE WAYS OF WORSHIP TAUGHT BY HIM EVEN AFTER ACHINVING THE CHERISHED GOAL OF THE SADAHANA TILL OUR LAST BREATH (AS YOU ARE BORN TO DO SADHANA)