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Stotras of Vedanta Desika
by Sri D. Ramaswamy Ayyangar
Page 12
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18. Bhagavad Dhyana Sopanam
This is a Stotra patterned upon a
Prabandham (Alvar's work in
Tamil). It is in praise of
Lord Ranganatha of Srirangam.
Tiruppaan Alvar was vouchsafed a vision of that great
God, and he has sung about what he then saw, in ten
verses. Vedanta Desika enjoys the same Tirumeni (Sacred Body) of
the same Sleeping Beauty in the same manner, i.e., from the Feet
to the Head; but the enjoyment here is mental dhyaanam or
contemplation.
Sopaanam means steps -- the several stages from the Feet
to the Head (slokas 2 to 9). Sloka 10 recapitulates those eight
angas (parts of the body) and incidentally gives a new meaning to
Ashtaanga-yogam. Sloka 11 refers to the utsava murti -- the Smiling
Beauty standing in front of the Moola-Viraat reclining on
the Adisesha (Serpent Couch). The last one of course is the
phalasruti.
In all the twelve slokas of the Stotra, there is
reference to the mind, chinta, maneeshaa and so on. Is not
dhyaanam a mental process? That the dhyaanam (contemplation) has
been fruitful is indicated by slokas 1 and 11. What was seen
in Rangam in sloka 1 is said to reside in Desika's heart
(11).
More details -
Devanagari Text
19. Sri Stuti
This is Vedanta Desika's Kanaka-dhaara-stavam. Lakshmi
or Sri is reputedly the Goddess of Wealth. Sloka 16 refers to
how She can shower wealth on Her votaries.
That apart, the importance of this Stotra lies in the
emphasis it lays on the concept of Divya-Dampati (Divine
Couple). Narayana and Sri together as a dvandvam (couple)
are the ultimate Tattva or Reality, the most potent Upaaya or
Means, and the Goal, or Purushartha, to be attained. Thus
Divya-Dampati is the Tattva; Saranya-Dampati is the Hita; and
Seshi-Dampati is the Purushartha. Sloka 9 posits this truth that
not Narayana by Himself, nor Lakshmi by Herself, is to be sought
after, but the two of them together (yuvAm dampatI nah
daivatam). As many as seven slokas out of the 25 refer to the two
of them together (slokas 5, 6, 7, 9, 16, 19, and 13). Where
earlier acharyas who sung the praise of Lakshmi were inclined to
put Lakshmi above the Lord or the Lord above Lakshmi, Desika
studiedly maintains absolute equality among them.
Sloka 13, the central sloka in the stotra, celebrates the
coronation of Lakshmi in the presence of the Lord. Only
thereafter the devas and their chiefs together with their wives
regained the rulership (which they had lost by curse) (14), by
being the recipients of Lakshmi's kataaksha-s (glances). All
riches and wealth will vie with one another to go and stay
where Lakshmi-kataaksha goes and settles (15)
The reference to the Lord at the beginning and at the end
(1 and 24) as Madhuvijayi, a term by which Desika indicates
Lord Srinivasa in the Hamsa Sandesa, and the name
sarasija-nilayaa for Lakshmi are pointers to Padmavati
Thayar of Tiruchanur (Tirupati) being praised in, and by this
stotra. The opening words 'maanaateeta' meaning "exceeding
bounds" will befit only Padmavati Thayar, who alone goes out in
procession outside the temple precincts. This stotra, it is said
here (25), has emerged out of guru bhakti. Without that the
supremacy of Sri Tattva cannot be visualised.
Devanagari Text
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