SrI deSika stotram - 4. abhIti stavam.
From the Bhakti List Archives
• March 2, 1998
SrI deSika stotra-s - 4. AbhIti stavam. BhIti is fear. AbhIti is fearlessness. stavam means praise. abhIti stavam is the stotram that has been composed by Sri deSika in praise of Lord RanganAtha's guNa of removing the fear in the hearts of His devotees. There are three main aspects of this stotra that I will emphasize below: 1. The plea to Lord ranganAtha by svAmi deSikan to protect the SrIvaishNava-s from the muslim invasion of Srirangam and other SrIvaishNava kshetra-s during svAmi deSikan's lifetime. 2. The expression of several aspects of SaraNAgati by svAmi deSikan in this stotram. 3. Other interesting aspects of the stotram. Disruption of worship to Lord ranganAtha in SrIrangam: The main reason that svAmi deSikan composed this stotram was because he was dismayed at the disruption to the orderly kainkaryam that had been done by him and his disciples to the Lord at SrIrangam because of the muslim invasion to plunder the temple properties, ornaments, idols, etc. On receipt of the news that the muslim army was approaching, the utsavamUrti was hastily taken to a hill near tirupati by a few SrIvaishNavaite devotees and hidden there, while SrI deSika left SrIrangam and stayed in a small village in Mysore State for several years and observed his daily rites at the foot of an aSvattha tree near a rivulet. It is during his stay here that he composed the abhItistavam praying to Lord ranganAtha to drive away the muslim infidels from SrIrangam and become reinstalled there so that the shrine will regain its ancient glory and SrIvaishNava-s can live in peace there. The immensity of the feeling of sadness in SrI deSika's heart is striking when one goes through this stotram. It is not the fear for himself that motivates him to pray to the Lord, but it is the harm that has been done to the activities of the Lord's temple, and the disruption that has occurred in the daily worship to the Lord that drives SrI deSika's heart to sadness. It is evident that a true devotee cannot bear to see any harm to His tiru-mEni. Without directly referring to the muslim invasion or to the harm facing the SrIranga divya kshetram, Sri deSika sings the glory of the Lord in eliminating the fears of all kinds, including the samsAra bhayam, in the first 19 Sloka-s of this stotram. Until Slokam 19 of the stotra, SrI deSika does not refer to the muslim invasion on Srirangam or the harm and disruption caused in the worship of the Lord except for a brief reference in Slokam 9. In Slokam 9, he praises the Lord's guNa-s which will offer protection to those who "desire the elimination of the enemies who come in the way of performing worship to the Lord" - dvishat-pramathana arthinAm kAtarI-haraNa jAgarUkAh kara-grahaNa dIkshitAh prabho". But starting in Slokam 20 and in every Sloka up to 27, the AcArya explicitly expresses to the Lord his mind's concern. He refers to the fear that has been caused to the SrIvaishNava-s in SrIrangam who desire nothing else other than His sevA, prays for the elimination of those who caused this situation (Srita vipaksham unmUlaya - eliminate the enemies of the devotees right down to their roots - so they will never rise again), and prays to Lord ranganAtha to enable His devotees to once again resume the worship of His svayambhU svarUpam and derive in SrIrangam itself the delight that the nityasUri-s derive in SrIvaikunTham. In Slokam 21 his anxiety grows and he pleads to the Lord to use His divine Ayudha-s to re-establish His natural rule in places like SrIrangam. In the next Slokam, svAmi deSikan's anxiety reaches the height of expression, and he prays to the Lord to use brute force if necessary, and use all his five Ayudha-s and eliminate the fear to the devotees that is growing from the buddhists, the materialists, the muslims, the other foreigners, etc., who are like the army accompanying the kali-purusha. In Slokam 23 he prays that the cakra of the Lord should take over and re-establish dharma in His own abode of SrIranga-kshetram. In Slokam 24, he asks the Lord, SrIdevi and BhUdevi to protect the SrIranga vimAnam that has been worshipped by the likes of Manu, and that is now being threatened by the enemies who are worse than the asura-s. Then he seeks the Lord's blessing to ananta, garuda, vishvaksena, kumuda, the gate-keepers of the temple, the authorities in charge of the maintenance of SrI rangam etc., so that they can protect the divya-kshetram from the enemies. In Slokam 26and 27 he continues his appeals to the Lord once more to control the enemies who are destroying the peaceful worship of Him at Srirangam and other kshetra-s soon (ma~nkshu). A discussion of abhIti stavam will be incomplete if we do not mention the fact that within svAmi deSikan's lifetime, (after a gap of about 40 years when the deity was kept away from SrIrangam), Lord ranganAtha heeded his prayers, and the muslim invaders were driven out by a Hindu chieftain by name goppaNArya, and the Lord was re-established in SrIrangam, the daily worship resumed, and svAmi deSikan returned to SrIrangam and got his wish fulfilled. So great was svAmi deSikan's feeling of gratitude at this event that he composed two Slokams in praise of goppaNArya, which are even now displayed in the walls outside the Sanctum Sanctorum. This is very significant given that our AcArya-s do not sing the praise of man even at the cost of hardship and suffering to them. In one Slokam, SrI deSikan refers to goppaNARya as the "mirror of fame" - yaSodarpaNo goppaNARyah. In the second Slokam, he refers goppaNARya's re-establishment of the Lord and his worship to the Lord as comparable to the ArAdhanA done by brahma in the kr*ta-yuga (sarojodbhava iva). This shows the greatness of the kainkaryam of goppaNArya to the SrIvaishNava cause. SaraNAgati tattva-s: An important aspect of this stotra is that we see different aspects of SaraNAgati expressed in the Sloka-s by svAmi deSikan. This is only natural since the total removal of fearlessness from the ocean of samsAra results for one who completely surrenders to the Lord, and the tile of the stotram itself is "A Hymn for Fearlessness". 1. goptr*tva varaNam - The deliberate choice of mahAvishNu as the sole protector: The stotram starts with a statement that Lord ranganAtha along with mahAlakshmi is the sole protector who is above all the other gods such as rudra, indra, brahma etc. Slokam 4 again reiterates the concept that rudra, indira, yama, and all other gods perform their assigned functions under His direction. 2. kArpaNya or absolute humility bordering on lowliness and honest awareness of one's own ignorance and powerlessness - In Slokam 3 SrI deSika says to the Lord that his mind, body, actions and words are being torn and kicked around by the three qualities of sattva, rajas and tamas and he can't think any more of what is good and what is bad - guNa grathita kAya vA~ngmanasa vr*tti vaicitryatah, atarkika hita ahita krama viSesham). He considers himself of small or limited intellect (mita buddhinA), bahuLa moha bhAjA mayA (one who is abundant in aj~nAna), and says he is praying to Him all the same, whether it is right or not. In Slokam 14 again he talks about his being completely helpless - "if You don't take pity on me, who else can help me; also, who else can deserve your help more than me?"- ka itthamanukampitA tvadanukampanIyaSca kah? 3. mahA-viSvAsa - irrepressible and great faith that His compassion is always readily available, and that He will not fail us: In Slokam 10 he points out that the Lord's dayA takes over to protect the devotees at the time of need irrespective of their repeated refusal to follow His path. 4. Atma-nikshepaNa - placing oneself completely and directly in God's care - In Slokam 17, svAmi deSikan says that he is full of pApam - vr*jinottarah, and it is His responsibility to protect him well as Lord ranganAtha has been designated as SrI deSika's nAtha or Lord - mayA niyata nAthavAn. Other interesting aspects of the stotram: An interesting observation made by SrI D. Ramaswamy Iyengar in his commentary on this stotram is the reference to Lord ranganAtha as "kimapi" mahah - an "indefinable" effulgence, in the first Sloka. The reason He is an indefinable effulgence is because this great effulgence is comforting unlike the lesser effulgences of the Sun, fire etc., which will burn and hurt or kill. The same word "kimapi" is used by SrI deSika in the first Sloka of bhagavad-dhyAna sopAnam also, where again he describes the Lord as "jyoti" - antarjyotih kimapi...". Slokam 7 is interesting in that it is a "daSa-nAma stotram" on mahA-vishNu. In the first two lines of this Slokam, SrI deSika has composed a "daSa-nAma arcana" for the Lord - "ramA-dayita ra~nga-bhU-ramaNa kr*shNa vishNo hare tri-vikrama janArdana tri-yuga nAtha nArAyaNa | "Lord of ramA or Lakshmi! One who happily dwells in SrIrangam! Kr*shNa! One who pervades everything! One who removes all sins! One who measured worlds in three steps! One who removes us from birth cycle! One who is full of the six qualities! One who is the SeshI or Lord of all! nArAyaNa!" In the last two lines of this Sloka, SrI deSika gives the "phala Sruti" for chanting the first two lines of this Sloka! "itIva SubhadAni yah paThati nAmadheyAni te na tasya yamavaSyatA naraka-pAta-bhItih kutah || "The mere chanting of these names of the Lord is sufficient to remove the fear of yama, leave alone the issue of going to narakam". The last Slokam is the phala-Sruti where SrI deSika points out that praying to Lord ranganAtha by chanting this Sloka will remove any and all fears to the devotee. Slokam 5 of this stotram is also a very appealing "phala Sruti" Slokam in this context. Here SrI deSika points to the efficacy of meditating on bhagavAn's nAma or guNa in any way or form. "bhavantam iha yah panAyati namasyati smarati vakti paryeti vA, gunam kamapi vetti vA, kadAcana kutaScana kvacana tasya na syAt bhayam - There is no fear at any time, from anywhere, at any place, for one who praises You, worships You, meditates on You, says your name, does pradakshiNa to You, or just gets the knowledge of even one of Your guNa-s". -dAsan kr*shNamAcAryan
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