PRANAM
Bhagavad Gita is so simple to understand but never in the first strike of
finishing 700+ slokas and commentary of chinmaya etc IN ONE SHOT; I had
never seen any other , other than B G and Tirukkural answering all our
questions of life , while hardship strikes us, solving them, so easily,
where the enemies, say, this guy is different. Each time one reads , it
connects chap 1 to 6 to 2 to 13 to 18 ( 18 is usually the summing up of
1-17 chapters. Tirukkural leads the Vedas in Tamil with each verse of 7
words. I happen to see an old treatise by a lady,  Indian abroad of
yesteryear English, travelling across B G as she saw then. So I thought I
shall share. What she had spoken with may additions, in between , may run
through. KR IRS 11 2 23

*The Analytical Interpretation of Bhagavad Gita*

*ATMA, PRAKRITI AND PURUSHA SOUL, MATTER AND PURUSHA*

The Hindu epic, *Mahabharata by* sage Vyasa records a large-scale family
feud involving many nations wherein the God-incarnate, Krishna sides with
the rightful Pandavas. *Bhagavad Gita *situates itself as a lengthy
discourse between the Pandu prince Arjuna and his charioteer, Lord Krishna
on the battlefield of Kurukshetra, the greatest lived example of the
victory of righteousness (*dharma) *over unrighteousness (*adharma). *The
developments of the events in the narrative make the war seem inevitable;
preparations have been done and emotions run high in both the camps.
However, at the peak of this heightened scenario, the star warrior Arjuna,
after surveying both the armies consisting of his kinsmen, suffers a
nervous breakdown and like a conscientious objector, refuses to fight his
own people and incur sin of fratricide. It is at this point that Lord
Krishna makes him realise the paramount importance and justification of his
duty of being a warrior (*Kshatri- ya*), by gradually unmasking the
associated dilemmas, doubts and complexities.

2   And He does that by bringing home the idea of the imperishability,
immutability, eternality of soul or being. His initial response to Arjuna’s
dejection regarding killing his own relatives is to mark the difference
between the destructible material body and indestructible spark of the
Divine, the embodied soul: He is not born, nor doth he dies: nor having
been ceased he any more to be; unborn, perpetual, eternal and ancient, he
is not slain when the body is slaughtered.  There may seem nothing new in
the idea of the soul being immortal, as majority of people believe it to be
so through their respective religions or personal inklings. However, what
is unique about the soul theory of *Bhaga- vad Gita *is its synthesizing
proposition about cosmic reality. Krishna affirms the eternal reality of
the cyclic creation and dissolution of the universe consisting of the
sentient/non-sentient, living/non-living entities. Starting off with the
Ancient Vedic scriptural descriptions regarding the dual nature of
existences comprising of the material and the spiritual nature, this text
takes this concept on a level which is both abstract as well as concrete.
When Krishna talks of Nature (*Prakriti*), he is not just talking about the
material reality of and around us, he is talking of the whole scheme of the
cosmic reality wherein the Supreme Lord (*Parmeshawara  / Purushottama*)
manifests Himself in the creation in a twofold way: through His lower,
material, transient, physically manifest nature (*Kshra / Apara Prakriti*)
consisting of the five basic elements of earth, water fire, air, ether
(corresponding to the five outer senses), mind, reason/intellect, and ego;
and his higher nature (*Akshra  /  Para Prakriti*), the consciousness,
being, soul (*Atma  / Jiva  / Purusha*), the life giving energy or .the
life element.

3      The further reality of existence reveals that the highest immutable
Self, the Supreme Lord, invested with the plenary powers effects the
constant creation, preservation and dissolution of the universe. And that
too happens on two levels: One, He pervades the entire phenomenal creation
and governs it; two, He lends a spark, a touch, an infinitesimal part of
his divinity (individual soul, *Jiva / Atma*) to all the beings which then,
get embodied and act according to the dominating tendencies among Purity,
Passion and Darkness (*Sattva, Rajas, and Tamas*; *Triguna *in* Apara
Prakriti*) of the physical bodies. It is with the union of the material and
spiritual essence that starts a life in which, interestingly and
surprisingly both, the presence of the soul effects the process but it
still remains immutable; it is only the lower nature that acts: All actions
are wrought by the qualities of nature only. The self, deluded by egoism,
thinketh: I am the     doer. 3.27). Moreover, it is not like a one-act play
which will come to an end with the end of a body; the soul goes on and on
transmigrating from one body to another until it, either supported by
Intellect, the discriminatory power or by some outer agency like a
scripture or a spiritual teacher, recognises its truth and starts detaching
from the desires which bind it with the chain of action-reaction (*karma).*

4      However, what pulls the rug from under the feet and completely
unsettles a reader is the revelation regarding the single but powerful
letter” I”. The “I” and the words “My”, “mine”, “me” which we invariably
associate with our physical bodies and personalities are at once, with a
jerk, redefined and diverted to our consciousness i.e., our soul which has
a veil of illusion drawn before it by the senses, mind and ego, making it
superimpose the physical reality upon itself, which is not its
quintessence. And instead of meeting the Opulent One of its kind, it is led
away by the force of the differently combined three elements (*Triguna*) of
material nature, worse so if the dominant elements of a body is the Dark (
*Tamas*) one. And thus subjecting itself to a complete identification with
the body, it starts owning everything the body goes through: the experience
of the pairs of opposites such as good and bad, pleasure and pain, joy and
sorrow, success and failure etc. How this happens is explained by Krishna
thus. man, musing on the objects of sense, conceiveth an attachment to
these; from attachment ariseth desire; from desire anger cometh forth; from
anger proceedeth delusion; from delusion confused memory; from confused
memory the destruction of Reason; from destruction of Reason he perishes.
Perishing. here implies the inability to scale the spiritual heights of
self-realisation and attain the real supreme bliss which can only be
attained by acquiring the stage of inner renunciation of attachment to
sense-objects and the desire for the fruit of action and resignation of
thus purified individual consciousness to the cosmic consciousness, the
Supreme Divine Self. Krishna, as the Supreme Lord of beings in his
essential unmanifested form, explains this communion of the two spiritual
principles of the triad of living creation i.e. individual soul (*Jivatma*)
material nature (*Prakriti*) and Supersoul/ God (*Parmeshvara*): Abandoning
without reserve all desires born of the imagination, by the mind curbing in
the aggregate of all the senses from every side, little by little let him
gain tranquillity by means of reason controlled by steadiness, having made
the mind abide in the self, let him not think of anything. Supreme joy is
for this yogi whose mind is peaceful, whose passion-nature is calmed, who
is sinless and of the nature of the Eternal (6.24-25, 27).

$A   *TEXT 24: <https://vedabase.io/en/library/bg/6/24/>* One should engage
oneself in the practice of yoga with determination and faith and not be
deviated from the path. One should abandon, without exception, all material
desires born of mental speculation and thus control all the senses on all
sides by the mind.

sa niścayena yoktavyo yogo ’nirviṇṇa-cetasā  saṅkalpa-prabhavān kāmāṁs
tyaktvā sarvān aśeṣataḥ manasaivendriya-grāmaṁ
viniyamya samantataḥ

*TEXT 25: <https://vedabase.io/en/library/bg/6/25/>* Gradually, step by
step, one should become situated in trance by means of intelligence
sustained by full conviction, and thus the mind should be fixed on the Self
alone and should think of nothing else.

śanaiḥ śanair uparamed  buddhyā dhṛti-gṛhītayā  ātma-saṁsthaṁ manaḥ kṛtvā  na
kiñcid api cintayet

*TEXT 26: <https://vedabase.io/en/library/bg/6/26/>* From wherever the mind
wanders due to its flickering and unsteady nature, one must certainly
withdraw it and bring it back under the control of the Self.

yato yato niścalati  manaś cañcalam asthiram  tatas tato niyamyaitad
ātmany eva vaśaṁ nayet

*TEXT 27: <https://vedabase.io/en/library/bg/6/27/>* The yogī whose mind is
fixed on Me verily attains the highest perfection of transcendental
happiness. He is beyond the mode of passion, he realizes his qualitative
identity with the Supreme, and thus he is freed from all reactions to past
deeds.

praśānta-manasaṁ hy enaṁ yoginaṁ sukham uttamam upaiti śānta-rajasaṁ
brahma-bhūtam akalmaṣam

The terminology used in Sanskrit against the words “I” etc, are, 1
“Sanair, Sanare, 2 Bhudya, 3 drihiti grihitaya, 4 atma samsthanam, 5 mana
krtva, 6 Yato Yato nicalaati manas, 7 Prasanta manasam==enam yoginam;
qualities of a yogi.

xxxxxxxxxxxxxxxxPart 1 dated 11/2/23  KR IRS xxxxxxxxxxxxxxxxx

On Sat, 11 Feb 2023 at 16:45, Jambunathan Iyer <[email protected]>
wrote:

> Namaskaram
> N Jambunathan Rengarajapuram-Kodambakkam-Chennai-Mob:9176159004
>
> *" What you get by achieving your goals is not as important as what you
> become by achieving your goals. If you want to live a happy life, tie it to
> a goal, not to people or things "*
>
>
>
> On Sat, Feb 11, 2023 at 8:33 AM K S S vasan <[email protected]> wrote:
>
>> Yes my mind always making me to remember to be a young boy . My moth is
>> 97 living with my widows sister both are widows taken care by my Maru man
>> bachelor stron devotee of Sri Satya Sai baba
>> Namaskarams
>>
>> Sent from my iPhone
>>
>> On Feb 10, 2023, at 10:45 AM, Rajaram Krishnamurthy <
>> [email protected]> wrote:
>>
>> 
>> Dear KSS
>> Good and wishing the best of all for the pilgrimage. If you are
>> comfortable in your car with the driver, then a car trip in April is the
>> bestOne can take Chennai Trichy road to pudukkottai and Mannaergudi to
>> Thirunallar while returning back, and take the sea road via pondy ecr to
>> chennai.
>> 2   In all cases all the three places comforted to take bath including
>> Railways is a matter of uncertainty. However if you intend to take the
>> train chennai Trichy is the best; stop at your choice hotel 3 to 5 star;
>> food of your choice even trichy kavitha hotel is good for food and stay
>> near the bus stand. Trichy pudukkottai is a one hour drive. Can leave and
>> come back for the night. The next day, Trichy  Mannargudi is a 1 1/2 hours
>> ride and can be back in the night. 3rd day can leave for Thirunallar <3
>> hour drive; I have done it in 2 hrs and 15 minutes self drive. suppose
>> leave at 6 0r7 after break fast (in Trichy early morning idlis fresh in
>> kavitha is available. ) . can touch the temple before 10. Have a fine
>> darshan if you catch a good gurukkal giving 3 to 500.  And can reach
>> chennai after lunch if you leave before 6 or 7 PM. There are also trains
>> between Trichy and thirunallar. If taking a car from home, you can cover
>> some more temples in another 2 or 3 days stay. Stauy at those places in
>> corona is ill advised. You may have your plans. KR IRS 10223
>>
>> On Fri, 10 Feb 2023 at 07:58, APS Mani <[email protected]> wrote:
>>
>>> Wishing you a divine trip, Mr Srinivasan.  Your age is much younger for
>>> the pilgrimage.  God Bless,    Mani
>>>
>>>
>>> On Fri, Feb 10, 2023 at 9:20 PM K S S vasan <[email protected]>
>>> wrote:
>>>
>>>> Sir,
>>>> I visited Shri Bhuvana Eswari temple and made myself to visit again in
>>>> Pudukottai.
>>>> I have planned to visit second week of April by bus /train to reach
>>>> PUDHUKOTTAI , have darshan Sri Bhuvaneswari Amman, mariamman then proceed
>>>> to Mannargudi, have darshan at Sri Rajagopala swami temple then proceed to
>>>> Tirunallar to seek blessings from Saneeswara bagawan and back to Chennai
>>>> Being aged 80, with blessings , to cover all four temples in one day.
>>>> May be I go by train Pudukottai and from Tirunallar back by train.
>>>>
>>>> Thank you all with my Namaskarams  Bhagavathar upanysam few versions
>>>> still in my mind .
>>>>
>>>> If possible guide me in Pudukottai , Mannargudi, Tirunallar hotels for
>>>> veg food.
>>>>
>>>> Members- my request:- Is it possible to have head bath at railway
>>>> station retiring room  in early morning 4.00
>>>> A m at Pudukottai  or in bus stand. stand.
>>>>
>>>> K S Srinivasan
>>>>
>>>> Sent from my iPhone
>>>>
>>>> On Feb 9, 2023, at 10:53 AM, Rajaram Krishnamurthy <
>>>> [email protected]> wrote:
>>>>
>>>> 
>>>> ARR reviving the memories is fine. He could also add a Sanaathana group
>>>> where others may also know your work. The "Kanjira pillai" by which
>>>> name he was known, and Harikesanallur Muthaihaa Bhagavathar, ( an
>>>> upanyasaka) my wife side great grandparent  accompanied by Pillai had
>>>> given, many Harikesa nallur Bhagavathar keerthanai ,own composition.
>>>> The *kanjira*,  a South Indian
>>>> <https://en.wikipedia.org/wiki/South_India> frame drum
>>>> <https://en.wikipedia.org/wiki/Frame_drum>, is an instrument of the
>>>> tambourine <https://en.wikipedia.org/wiki/Tambourine> family. As a
>>>> folk and bhajan <https://en.wikipedia.org/wiki/Bhajan> instrument,(
>>>> where he was with HKNM Bhagavathar)  it has been used in India for
>>>> many centuries. The kanjira's emergence in South Indian Carnatic music, as
>>>> well as the development of the modern form of the instrument, is credited
>>>> to Manpoondia Pillai. In the 1880s, Manpoondia Pillai was a temple
>>>> lantern-bearer who sought to study drumming. He modified it to a frame
>>>> drum with a single pair of jingles and brought the instrument to a
>>>> classical stage. It is used primarily in concerts of Carnatic music
>>>> <https://en.wikipedia.org/wiki/Carnatic_music> (South Indian classical
>>>> music) as a supporting instrument for the *mridangam
>>>> <https://en.wikipedia.org/wiki/Mridangam>*.. Similar to the Western
>>>> tambourine, it consists of a circular frame made of the wood of the
>>>> jackfruit <https://en.wikipedia.org/wiki/Jackfruit> tree, between 7
>>>> and 9 inches in width and 2 to 4 inches in depth. It is covered on one side
>>>> with a drumhead <https://en.wikipedia.org/wiki/Drumhead> made of monitor
>>>> lizard <https://en.wikipedia.org/wiki/Monitor_lizard> skin
>>>> (specifically the Bengal monitor
>>>> <https://en.wikipedia.org/wiki/Bengal_monitor> *Varanus bengalensis*,
>>>> now an endangered species in India), while the other side is left open. The
>>>> traditional lizard skin is prohibited worldwide due to protection of
>>>> species regulations. Even well-known Kanjira players, however, attest to
>>>> the great advantages of using goat skin as an alternative. After playing
>>>> for a while, the goat skin gets more and more flexible and offers a wider
>>>> range of possible modulations. The frame has a single slit which
>>>> contains three to four small metal discs (often old coins) that jingle when
>>>> the kanjira is played.  { a tit bit} Khanjadi bhajan (खैंजडी भजन),
>>>> hymns sung in the Chhetri <https://en.wikipedia.org/wiki/Chhetri>-
>>>> Brahmin <https://en.wikipedia.org/wiki/Brahmin> society. It is
>>>> customary to sing this khanjadi { Kanjadi in nepal means kanjira here}.
>>>> bhajan in the Kathmandu Valley as well as in most parts of the eastern
>>>> hills. Most of the performers are from the regional Brahmin community, but
>>>> all castes are entertained as spectators and listeners. The event includes
>>>> dancers dancing in pairs while Chudka hymns are sung by the musicians and
>>>> audience. The event uses Puranic Hindu
>>>> <https://en.wikipedia.org/wiki/Puranic_Hinduism> scriptures. This type
>>>> of hymn uses a mixture of both verse and prose. At the beginning, part of
>>>> the story is presented in prose. Then the lyrical hymn begins. To sing a
>>>> hymn, one has to study the religious texts extensively and be able to give
>>>> it its original form. The voice of the psalmist should also be such that it
>>>> can attract everyone. In the same way, there should be singers who can play
>>>> the khanjadi used in the psalms skillfully and know how to dance.  KR  IRS
>>>> 9223
>>>>
>>>> On Thu, 9 Feb 2023 at 03:53, ARR <[email protected]> wrote:
>>>>
>>>>> <86A2D676-B589-4583-9F93-AA8318612D68.jpeg>
>>>>>
>>>>>
>>>>>
>>>>> Puthukottai Manpoondia Pillai- Legend-Khanjira Wizard
>>>>>
>>>>> Pudukottai Manpoondia Pillai (1857-1922)
>>>>>
>>>>> The renowned percussionist Manpoondia Pillai was colloquially known as
>>>>> Mamundia Pillai. Born in 1857, Manpoondi seems to have been a simple,
>>>>> listless lad in his youth. He is reported to have had an encounter with a
>>>>> yogi named Brahmananda Paradesi, after which he blossomed in music. His
>>>>> tutor was Mariappa Tavilkarar, a competent tavil vidwan.
>>>>>
>>>>> Manpoondia Pillai introduced the one-sided, sruti-less khanjira on the
>>>>> classical music stage and evolved a technique to bring out a variety of
>>>>> sounds from this instrument, so that in time, the khanjira could hold its
>>>>> own against the tonally much superior mridangam. In his time, he played 
>>>>> the
>>>>> khanjira in tandem with the leading mridanga vidwans of the day. Inspired
>>>>> by tavil artistry, a strong content of vyavaharam or rhythmic complexity
>>>>> characterised his style and the laya tradition he founded. It blended
>>>>> uniquely with the aesthetic aspect of music.
>>>>>
>>>>> Many of his disciples were adept at playing a wide variety of
>>>>> percussion instruments, such as the tavil, the mridangam, the ghatam and,
>>>>> of course, the khanjira.
>>>>>
>>>>> Manpoondia Pillai was a contemporary of many great musicians like
>>>>> Ramanathapuram ‘Poochi’ Srinivasa Iyengar, Narayanaswami Appa and
>>>>> Tirukodikaval Krishna Iyer. Kallidaikurichi The younger Vedanta 
>>>>> Bhagavatar,
>>>>> Harikesanallur Muthiah Bhagavatar, Malaikottai Govindaswamy Pillai and
>>>>> Konerirajapuram Vaidyanatha Iyer were also his contemporaries. According 
>>>>> to
>>>>> legend, Konerirajapuram Vaitha, as he was popularly known, began to strike
>>>>> terror in the hearts of his accompanying artists after he learnt laya
>>>>> intricacies from Pillai. Tirukodikaval Krishna Iyer is said to have
>>>>> persuaded him to cut down the pyrotechnics and concentrate on the gentler
>>>>> side of music.
>>>>>
>>>>> Manpoondia Pillai died in January 1922.
>>>>>
>>>>> A R Ranganathan
>>>>>
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