Tag Archives: Muthiswami Dikshitir

Sri Varalakshmi

Sri Varamahalakshmi festival falls on the friday just before the full-moon in the month of Shravan.

Vaikunta and Sri Lakshmi Narayana: In Vaikunta, Lord Vishnu is depicted as lying down in yoga-nidra on the coiled Adisesha in the milk-ocean. Sri Lakshmi is seated at his feet and constantly serving him, but her gaze is completely focused on the Lord’s beautiful face. Vaikunta means ‘without any defects or limitations or conditionings’ and therefore it represents the State of Enlightenment. The milk-ocean represents a ‘pure and conducive spiritual environment within oneself’. Adisesha lies coiled with its hood turned inward which represents a ‘mind completely under self-control and turned within’. Lord Vishnu in yoga-nidra represents a ‘Man of Realisation (Jeevanmukta) who is completely relaxed and revelling in his State of self-realization’. Lakshmi serving at Narayana’s feet with total attention rivetted on the Lord represents a ‘Master rooted in his true inner nature within and simultaneously engaged in selfless activities of guiding the generation to walk the path of spirituality’.

Sri Laksmi Narayana – the Path and Goal: To a seeker, Narayana represents the Spiritual GOAL and Lakshmi represents Knowledge and Values. Her constant and consistent service to the Lord indicates the PATH – materialistic and spiritual activities undertaken by a devoted seeker in total dedication to the Lord. 

The great musician-saint, Sri Muthuswami Dikshitar has composed a kriti exclusively for the auspicious occasion of Varamahalakshmi Vrata – “Sri Varalakshmi namasthubyam…..”: “Salutations to Sri Varalakshmi, the Bestower of Fortune! One with lotus like feet, graceful at every step, protect me. An embodiment of all virtues, shining like molten gold and with effulgence that surpasses a crore of suns, she is easily accessible to those who worship her and she bestows her choicest blessings upon them. Lakshmi resides in the heart of Lord Kesava and is worshipped by all the sumangalis on FRIDAY PRIOR TO THE FULL MOON OF SRAVANA. Adorning a gem-studded garland offered by GURU-GUHA (Karthikeya), worshipped by Bharati (Saraswati), she bestows materialistic wealth and kaivalya-pada (moksha) on her devotees.”

There is a beautiful and very significant line in this kriti: “sarasapade..rasapade…sapade…..pade……pade”.

The padartha or word-meaning is very simple. It means: “One with lotus like feet (sarasa pade), who is graceful at every step (rasa pade), slowly but surely (sapade), step by step (pade…pade)” — protect me.
Significance of this line: PADA means ‘State’. SARA means ‘Essence’, the Supreme Essence, the Unmanifest Parabrahma Tattva. SARASA (Lotus) signifies Truth, Knowledge, Beauty and Bliss. SARASAPADE: Lakshmi represents the Supreme Parabrahma State, the State of Sachidananda (Existence-Knowledge-Bliss), the Nameless, Formless and Attributeless. RASA is the opposite of SARA, and therefore it represents the Manifest Deity with Name, Form and Attributes. RASAPADE: represents the Mother of the Universe in her manifest form – the Supreme GOAL. SA means ‘sahitha’ or ‘along with’.   SAPADE: Lakshmi is an embodiment of moral and ethical values which a seeker needs to walk the path of spirituality, and therefore, she represents the PATH to be taken by the seeker. PADE…..PADE: to ‘walk step by step’.  The prayer to Goddess Lakshmi is that, “O Mother, you represent the Highest Goal and also the Path to reach the Goal. As my preceptor walk along with me, guide me, slowly but surely, step by step to ultimately reach the All-perfect State of Enlightenment”.

Hold on to Narayana; Lakshmi can never be far away. Wealth with character alone can bring joy, peace and prosperity. When one is kind and sincere, alert and consistent, he attracts to himself wealth and glory. - Swami Chinmayananda

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Sri Vidya Upasaka: Dikshitar

Muthuswami Dikshitar (1775 – 1835) was one of the greatest Musician-Saints and is one among the Carnatic Music Trinity, the other two being Saint Thyagaraja and Shyama Sastri.

Dikshitar’s father was Ramaswami Dikshitar who was a Sanskrit scholar and an accomplished musician living in Tiruvarur in Tamilnadu. When Dikshitar turned twenty five, the great Chidambaranatha Yogi of Varanasi visited their house and requested Ramaswami to send Dikshitar with him for further education. His father agreed and Dikshitar went to Varanasi. He was initiated into “Sri Vidya Upasana”, and his Guru told him to constantly worship Sri Annapurneswari, the Bestower of material needs (Bhukti) as well as liberation (Mukti). He mastered the scriptures, the science of mantras, astrology, music, and was an expert in playing the veena. He came under the influence of Hindustani classical music and Western band music.

After a few years, the teacher told him that it was time for him to go back home because he had learnt all that had to be learnt. The young disciple asked the teacher what was the proof that he had learnt everything. The teacher asked him to go to Mother Ganges and take a dip. If his learning was complete, She would reward him. He went to the Ganges, took a dip and invoked Her. Mother Ganges was there in front of him with a beautiful veena in Her hand. She handed it over to him. It had “RAMA” inscribed on it and was different from the normal veenas. The tail end of the veena which is called ‘yaalimukha’ is turned upwards. In normal veenas it is turned downwards. This veena that Dikshitar used is even now preserved in their ancestral home.

With the blessings of his teacher and with this unique veena gifted to him by the Mother of Knowledge, Dikshitar travelled back. He arrived at Tiruttani, one of the famous six abodes of Kartikeya in Tamilnadu. Dikshitar was sitting and meditating on the Lord on the steps of the temple, when Lord Kartikeya came in the disguise of an elderly man, asked him to open his mouth and put sugar candy into his mouth and disappeared. At that very moment, he composed a beautiful kriti on Kartikeya with the mudra (signature) GURU-GUHA. Kartikeya also known as GUHA had come to him as his GURU.

He has composed songs on almost all deities, all pilgrimage centres and brought into the kritis the uniqueness and speciality of them all. Along with Sangeeta sastra, he incorporated the “mantra sastra” into his songs and therefore to render them with correct pronunciation and bhava, with a little understanding of its meaning will bring all prosperity to the singer as well as the listener – singing of his keerthans is equivalent to chanting the mantras.

Instances of Dikshitar bringing relief and solace to individuals as well as to the community through his keerthans are many. With a Kriti in raga Amruthavarshini, he brought the rains down on the parched land of Ettayyapuram (Tamil Nadu). He also brought health back to his disciple Tambiyappan by warding off the evil effects (graha dosha) of Jupiter, by composing a kriti on that planet. 

On the eve of Deepavali in 1835, after he had finished Devi Puja, he had a vision of Sri Annapurneswari and sang “Ehi Annapurne” – his last kriti. He remembered what his Guru had told him and knew it was time for him to leave his body. He asked his disciples who had gathered there to sing his composition “Meenakshi me mudam dehi” (Meenakshi bestow upon me Your grace) in the Raga Gamakakriya. When they sang the lines: “meena lochani pasha mochani” (O! Fish-eyed One, who cuts asunder the knots of bondage), he asked them to repeat these phrases once more. As they were repeating them, Dikshitar uttered “Shive pahi, Shive pahi, Shive pahi” and left his physical body to merge eternally with the Mother of the Universe whom he invoked and worshipped all his life. 
His compositions called “Kamalamba Nava-avarana” Krithis which are full of mystic significance are rendered even today with great religious fervour during the Navaratri festival.

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