DAKSHINAMURTHY

The Universal Guru:

Dakṣiṇāmurty is regarded as an aspect of Siva, as the universal teacher. He is the young and radiant Adi-Guru, Para-Guru, the Supreme Guru, imparting knowledge that liberates. He is the very personification of spiritual wisdom and eminence; and one who is immersed in Self. His teaching is through the subtlest form of speech- para vak – beyond the range of the physical ear, abiding in silence; the sort of silence that envelops within itself all other forms of expressions. It is the silence that underlines the limitations of rational knowledge, futilities of the blind alleys of metaphysical queries and the frailty hollowness of words. His teaching transcends speech and thought; it is experience. His listeners are learned and wise; ripe in intuitional understanding. The Guru’s language of silence dispels the doubts, the confusion and uncertainties in the minds of those around sitting in silence.

The Banyan Tree:

The banyan tree (vata vruksha) under which the Guru sits symbolizes creation as also the expanding universe, which regenerates itself. The tree known as Akshya vruksha with its unique growth pattern also represents the eternal principle, the Dharma. (Vata derived from the Sanskrit root “vat” means: to expand, to surround and to encompass). It is meant to suggest that Sri Dakṣiṇāmurty who sits under the vata tree presides over the cyclic processes of srishti (creation), sthiti (preservation), samhara (absorption or gathering up), tirobhava (suppression) and anugraha (revealing true knowledge).

The Iconography:

The iconographic descriptions of Sri Dakṣiṇāmurty are not uniform. In addition, there are several versions of his aspects and attributes. The following, in brief, is a summary position of Sri Dakṣiṇāmurty- iconography.

Sri Dakṣiṇāmurty is depicted as a young person with serene, tranquil and pleasing countenance; seated in a secluded spot in the Himalayas, under a banyan tree, upon a throne or a rock or an elevated platform covered with tiger-skin or deer-skin. Sri Dakṣiṇāmurty who is is always depicted singly.

He is usually depicted with four arms. In his upper right hand, he holds a rosary (aksha-maala) in kapittha-mudra, as if counting beads of japa-mala; or a snake (sarpa: symbol of tantric knowledge) or both. Sometimes, he is also shown holding a drum (damaru) with a snake coiling around it. The damaru, the srishti (creation) aspect of Shiva, represents the primeval sound and rhythm from which the universe emerges; and, into which it dissolves before re-emerging. The snake coiling around the damaru, symbolizes Kaala (time); it could either be the beginning or the end of time. In his upper-left-hand, he holds a flaming torch (Agni) symbolizing enlightenment or illumination, removing the darkness of ignorance. It also stands for his samhara (absorption or gathering back the created existence) aspect. His lower-left-hand resting on his left knee (the back of the hand touching the knee) gestures varada-mudra bestowing a boon (varadam vamahastam); and, it also holds a bunch of kusha grass or a palm-leaf manuscript symbolizing scriptural knowledge. The lower right-hand is depicted in a number of ways; and, the position of its palm, its fingers/gesture often defines the nature of a particular form of Sri Dakṣiṇāmurty.  The lower-right-hand:

  • either gestures grace (his anugraha aspect) or assurance (abhaya-mudra); or
  • gestures jnana-mudra (thumb and middle/index finger meet each other and touch the  heart  (jnana  mudram hrdi sthane); or
  • it faces inwards (abhyantara mukham karma) as in the temple at Ilambyankottur (conveying that knowledge comes from within); or
  • is held in chin-mudra (the index finger of his right hand is bent and touching the tip of his thumb – the other three fingers are stretched up) indicating identity of the Absolute and the individual; or
  • is held in Vykhyana-mudra (similar to chin-mudra)- but, facing the viewer as if imparting a teaching, while seated in a relaxed position; and so on

The Posture:

Sri Dakṣiṇāmurty is most usually depicted in a seated posture; and at times in standing, as in his Veena-dhara variation (holding a veena). But he is not depicted in reclining (shayana) postures. While seated in Virasana, his right leg is stretched down (lambaka padam); and, is stamping upon (samharaka) the dwarf (apasmara–puruṣaḥ : representing ignorance and delusion). This suppression (nirodha) of ignorance is described as the tirobhava aspect of Sri Dakshinamurti. And, his left foot bent at the knee is resting on his right knee or thigh (sayanam padakam or kunchita-paada). His sitting posture is relaxed; his body position and carriage is free from bends and rigidity. His general aspect is calm and meditative.

The Hair and Decorations:

His luxuriant hair of matted locks (jatabhara, jatabhandha, jatamandala or jatamakuta), said to represent his sthithi (preservation) aspect, is adorned and enriched with jewelry, the crescent moon, a snake and bunches of wild flowers such as durdhura (dhatura). The mass of the jatas is either disheveled or held together by a snake or a band (patta-bandha); and, is arranged in conical shapes to resemble a crown. In the middle of jatabhara, resides a small smiling face of the Ganga. Curly hair locks fall onto his shoulders and upper arms. On his forehead, he bears a vertical urna (third eye). It is said dhurdhura (dhatura – belonging to Solanaceae family) and other forest-flowers as well as the cobra must be positioned over the right of his head ; the skull and moon over the left ; and , Ganga in the middle. Sri Dakṣiṇāmurty is modestly adorned with rudraksha-mala; garlands of wild flowers; flowers above his ears (karna avathamsam). The yagnopavita (sacred cord) runs across his chest, which is adorned with sandal-paste, garlands and necklaces. He is ornamented with kati-bandha jewelled waist band; naga-bandha armlets; anklets with little bells; bracelets; kirti-mukha earring in his right ear and conch- shell earrings (shankha-patra) or an open circular earring (karnavali or vrutta-abharana) in his left earlobe.

The Complexion and the dress code

The nature of Sri Dakṣiṇāmurty is sattva, pure, blissful, bright and serene (shantha). His complexion is radiant like a clear crystal (shuddha spatikopama); or the pure silvery white pearl (spatika-rajatha-varna mauktikeem); or soothingly bright as the jasmine flower or the moon (kundendu dhavala prabha). He is also described as glowing like gold (hema prabha) or dark (shyamabha) . Some Tantric texts describe his complexion as white as milk (kshira-gaura) or snow-white (Kailasadri-nibha), absorbed in self (bhava shuddha). His countenance is free from even the slightest traces of disturbance (klesha vargitam). A soothing and gentle smile lights up his expression. His steady gaze is fixed upon the tip of his nose (nasagra drshti yuk) or on the tip of his toes (padagre drhsti patam). His eyes must be slightly open (kimchid unmiltair netraih), as in contemplation (yoga dhyana-anusarinam). He is dressed in white upper garments (sittottariya) and yajnopavita (sita-upavita). His lower garment is of tiger skin (vyagra charmambara) or silk (divyambara) , held in place by a serpent.

The Surroundings:

The great teacher-god is surrounded by many animals, particularly the deer and the Nandi bull. The Rishis eager to absorb the Guru’s teaching are at his feet. Their numbers and names are mentioned differently in different texts. For instance; Karanagama mentions four Rishis: Agasthya, Pulasthya, Vishwamitra and Angoras. The Kamikagama mentions seven Rishis : Kaushika, Kashyapa, Bharadwaja, Atri, Gautama and two others. And, the Amsumad-bhedagama mentions seven Rishis as Narada, Vashista, Jamadagni, Bhrighu, Bharadwaja, Sanaka, and Agasthya. The texts also mention that the number of sages depicted could either be one , two or even three (esham ekam dvayam vapi trayam vaparsvayor nyaseth). The aged sages must all be shown with matted hair coiled up (jata bhara); dressed in white; and, wearing rudraksha maala . Their height is prescribed not to reach above the chest of Sri Dakshinamurthi.

Significance of the name:

Let us now dwell on the name. Why is he called Dakṣiṇāmurty? It is mentioned repeatedly that he is called Dakṣiṇāmurty because he is facing south and also because the deity is placed in the southern quarter of the temple. Some say that the name of the deity may have been derived because of this practice. However, there are few other explanations too.

  • Yama, the Lord of Death, is in the southern direction. Usually this is considered inauspicious, for example, we are not advised to do Achamanam, japam or any mangala kaaryam facing south. Some people do not even sit facing south while eating. Since Yama, being the Lord of death is a dreaded one, Sri Dakṣiṇāmurty who liberates one from eternal death, saṃsāraḥ., is actually face-to-face with Death, challenging him. In other words, Jnana is the panacea for saṃsāraḥ., death. He who gains Jnana is never afraid of death. Death is kAla, and Shiva, Jnana, is kAla-kAla, or Shiva deals Death to that very Death. To signify this we have Sri Dakṣiṇāmurty facing south.
  • The south-orientation of Sri Dakṣiṇāmurty appears to be based on the notion that he is seated in the Himalayas looking towards the land-mass where the aspirants reside; that is towards south.
  • Another way of understanding it is; Suta –samhita describes the five faces or five aspects of Shiva which are turned towards four cardinal directions and the space above, as: on the West: Sadyojata (representing earth, and pervading ego); on the North: Vamadeva (water and manas); on the South: Aghora (fire and Buddhi); on the East: Tatpuruṣaḥ  (air and maya); and above all: Isana (akasha and soul). The South face of Shiva is Aghora. Aghora the benevolent is predominantly of sattva nature with minimal of rajas and tamas. It is a state of pure being and energy. It is pure knowledge (para-vidya); and, Sri Dakṣiṇāmurty represents that knowledge. Sri Dakṣiṇāmurty who corresponds to Aghora the south aspect of Shiva is therefore represented facing south.
  • The great seer Sri Ramana Maharishi who perhaps is closest to Sri Dakṣiṇāmurty in his ideals and in his teaching methods, explained the term as Dakshina + Amurthy, meaning a formless entity, one which is capable but is without form. Dakshina refers to He, who is competent to create, sustain, and dissolve this Universe; and, who, however, in reality, in his Absolute state, is A-murthy i.e. formless.
  • He is called Dakṣiṇāmurty because of his boundless compassion (Dakshinya) towards all creation. Dakshina , it is said , also means favourable (anukula ) to the devotee. Dakshina is also interpreted as grace. Sri Dakṣiṇāmurty is regarded the very embodiment of grace. It is explained that ‘grace’ (anugraha) is an act of unbound compassion releasing the individual from the coils of saṃsāraḥ.. As Guru, he is the sublime ideal of spiritual wisdom adorned with grace towards all aspirants. And, only through his grace can one attain liberation.
  • The term ‘daksha’ denotes one who is capable, skilful or an expert. Daksha also signifies the intelligent or competent. Dakṣiṇāmurty is the Daksha, the Master in music, arts and in all that is accomplished artistically; an exponent, an authority on scriptural learning; an adept in Tantra-vidya; a supreme Yogi; and, a teacher beyond compare who teaches the true knowledge that liberates.

Reference: Mr. Sreenivasa Rao’s Blogs – https://sreenivasaraos.com/

WHO AM I – The baby steps

As a kid nearly 60 years back, Visalakshi Ammman Kovil (Temple is more than 300 years old ) in Batlagundu (Vattlagundu), situated in Nilkottai Taluk of in Dindigul District in Tamilnadu, on the bank of HARIDHRA RIVER (MANJALARU – no idea if the river exists today!) was the only place which I used to go regularly for prayers, not because I understood what a prayer is and the need for one; but that used to be the mandate those days for boys at the “Agraharam (an ungated community!)” from the family. Visalakshi Amman & Lord Visvesvarar are the principal deities and the temple included several Deities such as Ganesha, Subramanya, Chandikeshwarar, Dakṣiṇāmurty etc. For each of the Gods, we used to recite a specific Sloka and when it came to Dakṣiṇāmurty, we used to recite as a routine. Here is a short video of the temple (Photo Courtesy – My friend Muthunarayanan alias Muthappa)

Guru Brahma, Guru Vishnu, Guru Devo Maheswara

Guru sakshath ParaBrahma tasmai Sri Guruve Namah.

I did not know anything about either God or the Sloka except that I had to recite it at that particular spot where Lord Dakṣiṇāmurty was situated. All I knew was that He was a form of Siva. Never in my life subsequent to that period and even in my dreams did I imagine once, that one day I will be writing about the Sthothram on Lord Dakṣiṇāmurty by Adi Śankarācārya. Blessed I am indeed to even think of consolidating what is written and explained by legends and doyens of Spirituality and Vedāntaḥ.

But strange is the nature and power of “the Ultimate Reality”. Study of Vedāntaḥ and listening to Spirituality oriented Discourses is the most familiar route for spending time after retirement for most of us and I am no exception to this. One such lecture by Prof. Mahadevan of IIM, Bangalore was the spark I needed to dive into the Ocean of Vedāntaḥ Concepts brought out in Dakṣiṇāmurty Stotram.  Realizing that I am getting old and spending time on spirituality, my son presented me with a book titled “The Upanishads” by Sri. Eknath Easwaran. This added fuel to the fire. As I was exploring these two topics, I learnt that I can’t do either if I don’t know Tattva Bodha. Now this is the third dimension to my time management. My preoccupation with these three books and commentaries by Swami Paramarthananda, Swami Omkaranada and Swami Sravapriyananda drove my grandchildren (my daughter’s young boys) to the conclusion that their “Thatha” (grandfather) who used to spend lot of time playing cricket and organizing/fixing the place rendered as a “mess” by them is not doing it anymore and is lost. They even declared my room as “Thatha’s Corner “– The lost and found room. The fact is that as a “Thatha” I am lost; but I am trying to find out as to who I am instead of where I am. 

How can I find out the answer to the question “Who am I”? The legendary Tamil Saint Thirumoolar comes to my rescue in his epic Thirumandiram

“நரருஞ் சுரரும் பசுபாசம் நண்ணிக்

கருமங்க ளாலே கழித்தலிற் கண்டு

குருஎன் பவன்ஞானி கோதில னானால்

பரமென்ற லன்றிப் பகர்வொன்று மின்றே”.

மனிதர்களும்,தேவர்களும் பாசத்தில் அகப்பட்டு பல்வேறு வினைகளைச் செய்து அதனால் அழிந்து போகின்றனர். இதைக் கண்ட பின்பு ஒருவன் செய்ய வேண்டியது என்ன? ஒரு குற்றமற்ற ஞானியைத் தன் குருவாகப் பற்றிக் கொண்டாலே போதும். “பரத்துடன் கூடி நீயும் பரம் ஆவாய்” என்று உபதேசம் செய்வதன்றி அந்த குரு செய்ய வேண்டியது எதுவும் இல்லை.

As mortals like me, get trapped by “attachment” and perform actions which lead us nowhere, one has to look for a Guru who will make him understand that “You are That”. Fine; I need a Guru. How do I look for Guru at this Old age? Thirumoolar gives a response to my query.

“ஆட்கொண்ட வர்தனி நாயகன் அன்புற

மேற்கொண்ட வர்வினை போயற நாடொறும்

நிற்கின்ற செஞ்சடை நீளன் உருவத்தின்

மேற்கொண்ட வாறலை வீவித் துளானே”.

ஒரு குருவாக வந்து மாணவனை ஆட்கொள்பவர் ஒப்பற்ற ஈசனே ஆவார். அவர் தன் மாணவனின் வினைகள் அழியும் வண்ணம் நாள்தோறும் உபதேசிக்கிறார். அவர் நீர்மலிந்த நீள் சடையை உடைய சிவனே அன்றி வேறு எவரும் அல்ல. சிவனே மனம் இரங்கியும் கீழே இறங்கியும் வந்து மாணவனின் வருத்துகின்ற வல்வினைகளை அழித்து விடுகின்றார்.

Thirumoolar further states Lord Siva Himself comes in the form of a Guru to help us understand ourselves. It is with this confidence, that I am undertaking this journey, with Lord Dakṣiṇāmurty as my Guru and Adi Śankarācārya’ Stotramon on the Lord as the first leg of my journey.

To be honest, nothing that I will be writing in the months to come is mine, except the attempt to focus my understanding and in that process try to express the Sanskrit Slokas in my mother tongue – Tamil; it is only my limited understanding of the vast literature available in public domain. The purpose of documenting my understanding is with the hope that someday someone as ignorant as me (hopefully not when they become “the lost Thatha”), will take baby steps as a novice like me, into this delightful field of spirituality holding this piece of document as the helping hand. If that happens, that will be the biggest gift that I would be automatically passing on (without holding back) to all the people in the public domain whose works I have used extensively. There is no commercial interest whatsoever.

A word of caution here – Millions of pages have been written over centuries by “Subject” – “Matter” – Specialists to provide commentaries for the Slokas in these books. Summing them up into few lines is absolutely immature and childish; yet as a child I have started my baby steps on Vedāntaḥ. Pardon me for that. But Children have the right to enquire and ask questions. The child I am, I am asking questions to myself with the fond hope that someday I will find answers as to who I am.

Seeking your Blessings and wishes as I commence my journey. You are most welcome to join me in my journey. Looking forward to your wonderful and valued company. A broad based schedule for April & May will be posted in the next blog.

Narayaneeyam – Dasakam 1 – Conclusion

With very little knowledge of Sanskrit and abysmally poor idea about Vedanta and Spirituality, on January 4th of this year , I commenced my journey to try and get a feeling of the first Dasakam of Narayaneeyam. No need to emphasise the very low confidence that I had in this journey. It was akin to the journey by foot undertaken from the erstwhile State of Madras to Kasi (Varanasi) in the previous centuries, with the traveller not really sure if he will ever reach the destination; leave alone the chances of studying there.

As a beginner and a self-learner, like the Kasi traveller, I take lot of time to understand the sentence in Sanskrit (In Tamil we call it எழுத்துக்கூட்டி படிப்பது). Then look for help in splitting the long words into simple and understandable words (பதம் பிரித்து) and then refer to the dictionaries for meaning; come to some conclusion and then refine it with respect to the context. Many times I had lost hopes of me understanding the context and the concepts that are propounded by Bhattathri. But as I started the journey, I had an invisible hand holding mine after I finished studying each sloka – I can only guess that it was indeed the Lord of Guruvayur Himself.

So here I am; at the end of 75 days plus around 25 days of preparation , have just completed the first round of my study of 10 Slokas . I need to study this again and again till I get an understanding, as I feel that this Daskam brings out Vedantic concepts in describing Lord Guruvayurappan. I will do that as my next project. In the meantime, here is a consolidation of my learning.

Pl bear with me if you find my understanding and translation as inadequate. Please feel free to let me know through your comments.

The Fairy “I” can’t fathom – She, the Big M

“It is an oft-quoted saying that philosophy begins in wonder. The mystery of the world with all its changes strikes the reflective temper. The Vedic philosophy grew out of a demand for the explanation of actual experience. Philosophy bade men seek beneath all change, which is the law of life, unity and persistency. All things are passing; what remains? Anything or nothing? The Vedic age raised the problem of philosophy and offered a solution. It was then that attempts to reflect upon the world of experience were made for the first time. When we reflect upon the world of experience, the word illusion (“Maya”) comes to the foreground.

The doctrine of Maya is consideredby many thinkers,to be an integral part of the Vedanta philosophy. The Vedanta system is supposed to be an acosmic pantheism, holding that the Absolute called Brahman alone is real and the finite manifestations are illusory. There is one absolute undifferentiated reality, the nature of which is constitutedby knowledge. The entire empirical world, with its distinction of finite minds and the objects of their thought,is an illusion. Subjects and objects are like the fleeting images which encompass the dreaming soul and melt away into nothingness at the momentof waking.

The term Maya signifies the illusory character of the finite world.” ( Dr. S. Radhakrishnan, Eminent Indian Philosopher)

Wait a minute; does this statement strike a chord in us – in today’s COVID-19 environment?

It looks like it happened “just recently”. A year and a quarter has passed since the virus silently spread across the world. Millions of lives lost. Inter and intra relationships & transactions among and within individuals and society have been completely turned around leaving one to wonder whether it is all a dream and whether we all are waking up to a new state after a deep sleep. Yes, all the three basic states of our Consciousness (awake, dream and deep sleep) have come to play in this crucial time in each one of us thanks to Maya (She, The Big M,I call it).

Well, to me it appears like that; so I woke up after my second vaccination, with a new found determination to explore Maya and her origin, the Vedanta. True to its nature, the Big M treated me like a kid (which I am) and presented me with an exclusive giant Mall with infinite toy stores. No wonder I am lost. Not to disappoint me, the Big M presented me with three books titled Tattva Bodha, Isavasya Upanishad and Dakshinamurthy Stothram.

The last 2 weeks have been fairly severe in terms of the weather; temperatures dropping to single digits (deg F) and snow storms lashing cities forcing kids like me to seek the comfort of our cozy home – that means the Big M has given me an opportunity to deep dive into the books that I got from Her. Each Sloka (Verse) and each word in the three books, is sending me into “space walks” in search of the Self . Holding each Sloka as my life line, I venture into the space of contemplation. Whenever I return back to my home base, I stare through the window at the vast white carpet of snow all around and tried to relate my space walk with the “ground reality”.

In one such “stare” in the early morning after I went on my 18th space walk (corresponding to the 18th Sloka of the Isavasya Upanishad) , the day after the snow storm I did have a direct response from the principal character of that Sloka. Here is that Sloka, its meaning in English and Tamil and the response of the character .

A word of caution here – Millions of pages have been written over centuries by “Subject” – “Matter” – Specialists to provide commentaries for the Slokas in these books. Summing them up into few lines is absolutely immature and childish; yet as a child I have started by scribblings on Vedanta. Pardon me for that.

But Children have the right to enquire and ask questions. The child I am, I am asking questions to myself with the fond hope that someday I will find answers.

The Sloka

अग्ने नय सुपथा राये अस्मान्विश्वानि देव वयुनानि विद्वान् ।

युयोध्यस्मज्जुहुराणमेनो भूयिष्ठां ते नम उक्तिं विधेम ॥ १८ ॥

English Transliteration

agne naya supathā rāye asmānviśvāni deva vayunāni vidvān |

yuyodhyasmajjuhurāṇameno bhūyiṣṭhāṃ te nama uktiṃ vidhema || 18 ||

Meaning in Tamil

அழல் தெய்வமே ! புரிவினை யாவுமறிந்திட்டுயாம்

நல்வினைப் பயனை துய்த்திட நல்வழியே நடத்திடு

உள் உறை தீவினை வஞ்சம்தனை விடுத்திடு

அளித்திட்டேன் பக்தியுடன் எம் வணங்குதலை

Meaning in English

O god of fire, lead us by the good path

To eternal joy. You know all our deeds.

Deliver us from evil, we who bow

And pray again and again.

(From The Upanishads by Eknath Easwaran)

The response

Music Courtesy: Jagruthi an awakening by Music India. (No commercial interests for me).

The day after vaccination

The dark days of COVID-19 combined with the cold winter could force anyone to be tugged under the comforter and lie down on the bed even when awake particularly on a Sunday. Well, I have a different story to tell.

Sunday 24th January 2021 – It was the day after I got “moderna-ized”. Wondering about the new English word coined here ! Yes, the previous day I got the first doze of the much anticipated COVID vaccine from Moderna, making me feel that sometimes getting old is helpful (Got the appointment because I was more than 65 years old – physically).

As typical of an old timer, I got up at 0600 hrs on a cold and frigid Sunday morning with temperature smoothly gliding down to 12 deg F (Remember that I am guy who spent all his life at around 32 deg C. !). I had a choice to make – a choice about how I feel.

In my life, whenever I had to make choices, I had the luck of having someone close to me to lean my shoulders on and pause before making the choice. This Sunday is no exception. As my “close someone” unfolded himself to me, I made my choice.

THERE IS HOPE; THERE IS A BRIGHTER SIDE TO LIFE. LOOK AT THAT AND START THE DAY.

I did. Here is what I looked at from my windows.

ஆறு மனமே ஆறு – The six tenets of Sankara

Atma Shatakam known as Nirvana Shatakam written by Adi Sankaracharya is the core of the Advaita (Non duality) philosophy. My earlier blogs on this, provided the meanjng of the Sanskrit words and the translations in Tamil. Here is a consolidation of the same in a video form.

November Dedications

In the Tamil calendar (Solar based) of Kartigai (around mid November – mid December), the full moon day is divinely important. Two important events – the arrival of Lord Katikeya (Subramanya/Arumugam) and the manifestation of Lord Siva as an endless flame of light (even Lord Vishnu and Lord Brahma couldn’t find the start and the end of it in the three worlds). The lighting of the famous Deepam at the famous Hill at Thiruvannamalai happens on this day.

Today being that day, I decided to refine and rededicate two of my earlier blogs through an audio visual in the social media. Here are the links to the two videos.

அம்புலி கங்கை அணிந்த

அடிமுடி காணா இறைவனை,

அன்பர் மனங்கவர் அண்ணாமலையோனை,

அன்றே கண்டு ஆனந்தமதனை

அலை அலையாய்ப் பெற்ற,

ஆதி சங்கரனின் சிவ

ஆனந்த லகரி எனும் அருள் மறையும்,

ஆர்க்கும் அலைகள் ஆழ்கடல் தோன்றி அழிவதொப்ப,

அன்பரின் மாளா துயர் அழியும் அவனை அடைந்தால் என

அலைவாயிலில் ஆதி சங்கரன், அருளிய

சுற்றும் அரவு என பதம் அமைந்த சுபரமணிய புஜங்கம் தனையும்,

அடியேன் அறிய இயன்று, திருக்

கார்த்திகை தீப நன்நாளின்று,

ஒலி ஒளி வடிவாய் வளைதளத்தில்

ஓங்கார நாதன் திருவடியில்

உளமுருகி பணித்திட்டேன்

ஒன்றுமில்லை இவ்வுலகில்

உனையன்று வேறெதுவும்

சிரம் தாழ்த்தி வணங்கிடுவேன்

திருவண்ணாமலை அருணனே

திருச்செந்தூர் குமரனே

திருக்கார்த்திகை தீப நாள் வாழ்த்துக்கள்

Hanuman Chalisa – அனுமன் நாற்பது

Starting from Tuesday the 8th September 2020 for the next 5 weeks , on every Tuesday I will try and upload the meaning and Tamil Translation for 8 verses each of the divine work by Saint Tulsidas on Lord Hanuman, Anjaneya as He is called. Hanuman Chalisa the devotional hymn has 40 verses excluding the introduction and the end piece. There are several texts, lyrics, translations and meanings available in the internet. Hence my focus has been only to understand the hymn and express it in the language I am comfortable with. Of course this comes with the rider that this may not be called as Tamil Poetry from the purist perspective.