Elegant verses in praise of the Lord

PRAISE-POEMS TO VISHNU AND SRI: Nancy Ann Nayar; Ananthacharya Indological Research Institute, G.D. Somani School Building, Cuffe Parade, Bombay-400005. Price not mentioned.

THE FACT that Vaishnavism was widely prevalent even in ancient times is evidenced from the several laudatory references to it contained in sacred texts like the Mahabharata and the Vishnu Purana. The system received a great fillip from the holy outpourings of the God- intoxicated Azhwars, collectively called Nalayira Divya Prabandham and was further nurtured by Nathamunigal and Yamunacharya (Alavandar).

The credit of spreading Vaishnavism, however, goes to Ramanuja, who developed, synthesised, integrated and canvassed Vaishnavism and Visishtadvaita philosophy through his preachings and writings, and put the system on a firm, solid foundation.

Kuresa (or Kurattalwan, as he is popularly known) was Ramanuja's first and foremost disciple and Parasara Bhattar who was the illustrious son of the illustrious father, Kuresa, carried the torch of Vaishnavism further and contributed much to the growth and development of the religion and philosophy.

Kuresa wrote five stotras - lyrical poems of exquisite charm and beauty - collectively called Panchastava. Besides these, among many philosophical and poetic works of Parasara Bhattar, four stotras of exceedingly high lyrical beauty have been included in the present book under review.

These stotras of Kuresa and Bhattar combine in themselves the essence of the philosophy contained in the Vedas, the fervour of devotion of the Azhwars contained in the Nalayira Divya Prabandham and the Vaishnava religious thoughts found in the Agamas. Particularly the Azhwars' mellifluous outpourings find a sweet echo in these stotras, which can be appropriately called as a condensed Sanskrit version of the Tamil Prabandham.

The author of the book under review has translated in sweet English the above mentioned Panchastava of Kuresa and four stotras of Bhattar. In the first of the Pancha Stava viz., Sri Vaikunta Stava, Kuresa avers Narayana is the Supreme Deity, referring to passages from Vedas, and describes Sri Vaikunta, the Lord, His auspicious qualities and His divine form.

The next one, Atimanusha Stava is an interesting composition where Kuresa humorously teases the Lord, especially His Rama and Krishna Avataras, where, in spite of being the Supreme Lord, He had to suffer ordeals like an ordinary mortal and also indulged in pranks (as Krishna); and at the same time, also did super- human acts. Sundarabahu Stava is dedicated, as the name implies, to Lord Sundararaja of Alagarkoil, where the author stayed for some years, after leaving Srirangam due to troubled times. The highlight of this poem is Kuresa's painting the bewitching beauty of every holy limb of the Archa image of the deity in enchanting verses, heavily borrowing from the Azhwars.

The next one, as the tradition goes, was sung by the author in praise of Lord Varadaraja of Kanchipuram, at the behest of his guru, Ramanuja, to regain his eyesight that was lost due to the persecution by the Chola King of that time. The last one in the series is Sri Stava in praise of Mahalakshmi, a short and sweet stotra of 11 stanzas.

Turning to Parasara Bhattar, the longest and most important stotra of his is Srirangaraja Stava in two parts, containing 232 slokas. The first part contains a vivid and a charming description of the temple at Srirangam, its surroundings and the Kaveri river. The second part is concerned more with philosophy. Bhattar criticises other systems of philosophy and declares that Visishtadvaita is the only true system supported by Vedas and sastras.

Srigunaratnakosa is a fine devotional lyric in praise of Lakshmi, in 61 stanzas. The author goes ecstatic over the greatness of Lakshmi and claims that even the glory of the Lord is because of Her. He praises Her as the Empress of the universe and at the same time the affectionate Mother of humanity. Sriranganatha Stotra in eight verses (six according to some scholars) was sung by him when he was away from Srirangam (much against his will) due to differences with the local ruler and portrays his deep anguish and yearning to again reach Srirangam and worship Ranganatha.

Ashtasloki of eight verses (as the name indicates) gives the quintessence of the three secrets (rahasyas) held most sacred by Vaishnavas.

The author has translated these stotras in verse form in English - a laudable effort indeed - and it is perhaps for the first time that all these stotras have been translated into English in verse form. The translation is simple, elegant, delectable and delightful. Very easy to follow, it sustains the reader's interest throughout.

There are a few factual inaccuracies in the notes and glossary prepared by the author. The quotation in the notes under sloka 6 of the Ranganatha Stotra is wrongly ascribed to Thondaradippodi Azhwar instead of Kulasekhara Azhwar. Dhruva was the son of one of the wives of the king and was not born of an inferior mother, as stated. Hanuman did not rescue Sita from Her abduction, but only helped Rama in rescuing, by locating Her and then taking part in the war.

Kamsa was not the cousin of Krishna but His uncle. The explanation given for ``Sarabha'' in the glossary is incomplete. Yamuna was not Ramanuja's immediate predecessor in the line of acharyas, but Mahapurna was.

There are quite a few printing mistakes as well, like Maturakavi (for Madhurakavi), Antal (for Andal), Alakar (for Azhagar) and daharamakasam (for daharakasam).

This book of elegant verses is so facile and mellifluous that it looks like an original composition and not a translation. The book must be read for the sheer beauty of its poetry, apart from the fact that it portrays the true import of the devotional and soul-stirring verses of Kuresa and Bhattar.

V. N. GOPALA DESIKACHARIAR

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