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4. Remember by Omkara

Remember by Omkara

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7. 'Remember' By Omkara

'Remember' By Omkara

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8. remember omkara

  • Published: 2017-06-30T20:03:17Z
  • By Jackie
remember omkara

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11. 15.Omkara - Remember

15.Omkara - Remember

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12. omkara remember

  • Published: 2016-05-23T21:07:09Z
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omkara remember

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15. Uplifting Only 188 (incl. Mhammed El Alami Guestmix) (Sept 15, 2016)

Uplifting Only 188 (incl. Mhammed El Alami Guestmix) (Sept 15, 2016)

All versions (with talking and without talking, mp3 and wav) available at www.uponly.net/episodes, which includes timed tracklists. This is the official version (with talking). This week we have a guestmix from the wonderful Mhammed El Alami, plus lots of vocal trance. Also, highlights from the September 2016 Uplifting Only Top 15 compilation released today, which you can get at https://abora.lnk.to/uomc1609! TRACKLIST: 1. [0:00:33]: BREAKDOWN OF THE WEEK: Darren Porter - To Feel Again [FSOE] 2. [0:04:26]: Jak Aggas & Victoria Shersick - Fly Away (Allen Watts Remix) [Amsterdam Trance Records] 3. [0:09:05]: Paul Miller feat. Angel Falls - Trust Me (Mike Squillo Remix) [Trance All-Stars] 4. [0:13:57]: Liuck & Neev Kennedy - Let This Go (The Cracken Remix) [Digital Society] 5. [0:18:31]: Rene Ablaze & Ian Buff featuring Diana Leah - I'll Find My Way (Davey Asprey Remix) [Rielism] 6. [0:22:42]: Gerome feat. Cassandra Grey - Into the Unknown [Emergent Skies] 7. [0:26:42]: Mhammed El Alami & Lucid Blue - Under The Sun [Suanda] MHAMMED EL ALAMI GUESTMIX: 8. [0:31:49]: Mhammed El Alami - Dawn [Abora Olé] 9. [0:34:47]: Armin van Buuren feat. Justine Suissa - Burned With Desire (LTN Sunrise Remix) [Armind] 10. [0:38:11]: Ahmed Romel - Himba [Abora Olé] 11. [0:42:28]: illitheas pres. Mavi - Sirius [Ennovate] 12. [0:46:12]: Ex-Driver - Emperor (Amir Hussain Remix) [Unique Sense] 13. [0:49:54]: Artisan & Kate Louise Smith - I Follow (F.G. Noise Remix) [Amsterdam Trance Records] 14. [0:55:03]: Gareth Emery feat. Alex Sierra - We Were Young (Mhammed El Alami Remix) [Garuda] 15. [0:58:33]: C-Systems - Victorious [Digital Society] 16. [1:02:29]: MHAMMED'S FLASHBACK: Mhammed El Alami Mehdi Belkadi Jeef B - Brothers [Vital Soho] 17. [1:06:26]: Roman Messer & Mhammed El Alami with Julia Lav - Memories (Ahmed Romel Remix) [Suanda] 18. [1:10:26]: Alex M.O.R.P.H. & Paul van Dyk - We Are [Vandit] 19. [1:15:06]: PRE-RELEASE PICK: Ronny K. feat. Claire Willis - I'll Never Know [Beyond the Stars] 20. [1:20:12]: Jeïtam Oshéen & Abdelrahman Nabil Feat Allam - Shores of Valhalla [D.MAX] 21. [1:24:26]: Syntouch & Magic Sense - Last Train To Home [State Control] BACK WITH ORI UPLIFT: 22. [1:29:47]: Cyre & DJ T.H. - Salida Del Sol (Derek Palmer Remix) [Levitated] [EXCLUSIVE PREMIERE] 23. [1:34:54]: Mike van Fabio & Elles de Graaf - As Fears Go By [Amsterdam Trance Records] 24. [1:40:11]: Manuel Rocca - Omkara [Silent Shore] [EXCLUSIVE PREMIERE] 25. [1:43:54]: FAN FAVORITE: MarioMoS - Resurge [Aurora Melodies] 26. [1:48:28]: Lucid Blue - Eyes Wide Open [Suanda Voice] 27. [1:54:03]: FAN FAVORITE 185 & SYMPHONIC SEND-OFF: InnerSync - Endless Beauty [Cinesphere] ----------------------- Remember to vote for your favorite songs! http://j.mp/uovote. Ori cares about what you think! Voting results for all episodes can be found on Facebook at http://j.mp/uoresults. To sign up for weekly tracklist emails, go to http://j.mp/uosignup. Each week, each Thursday, a new episode airs on DI.fm (Epic Trance channel) at 1200 EST/EDT, which usually corresponds to 1800 CET / 2130 IST. It is posted to Soundcloud, Mixcloud, & iTunes as a podcast soon thereafter.

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16. Uplifting Only 193 (incl. Manuel Rocca Guestmix) (October 20, 2016)

Uplifting Only 193 (incl. Manuel Rocca Guestmix) (October 20, 2016)

All versions (with talking and without talking, mp3 and wav) available at www.uponly.net/episodes, which includes timed tracklists. This is the official version (with talking). This is an all-instrumental episode, and we have a guestmix by Manuel Rocca, plus 4 exclusive world premieres from illitheas, Night Sky, Rebecca Louise Burch, & Nord Horizon! Remember, you can get the new October 2016 monthly comp at https://abora.lnk.to/uomc1610! TRACKLIST: 1. [0:00:33]: BREAKDOWN OF THE WEEK: Ahmed Romel - Enouement [Blue Soho] 2. [0:05:09]: PRE-RELEASE PICK: illitheas - Moments with You [Abora Skies] [EXCLUSIVE PREMIERE] MANUEL ROCCA GUESTMIX: 3. [0:10:57]: Edelways - Deep Blue (Extended Mix) [Always Alive] 4. [0:16:38]: Miroslav Vrlik & Martin Jurenka - Reach Me (Extended Mix) [Always Alive] 5. [0:22:40]: Attila Syah & Innerlight feat. Queenfireworks - Daylight (Instrumental Mix) [Abora] 6. [0:27:46]: Cyre & DJ T.H. - Salida Del Sol (Derek Palmer Remix) [Levitated] 7. [0:33:20]: Manuel Rocca - Against The Wind (Mhammed El Alami & Muhib Khan Remix) [Levitated] 8. [0:37:58]: PVR - Lost In A Fairy Tale (Alex Wright Remix) [Ennovate] 9. [0:43:34]: Manuel Rocca - Mochima [Alter Ego] 10. [0:48:47]: Tristan Armes - Dreamfall [Silent Shore White] 11. [0:53:53]: Dave Shifting & Robbie Seed pres Sky Motion - Hope [Alter Ego] 12. [0:59:27]: Moonsouls - Broken (Extended Mix) [Always Alive] 13. [1:04:33]: Manuel Rocca - Omkara [Silent Shore] BACK WITH ORI UPLIFT: 14. [1:09:25]: Amine Maxwell & Mhammed El Alami - Rolling Stones (Paul Shields Remix) [Sub.Mission] 15. [1:15:34]: Nord Horizon - Innocent Angel [Silent Shore White] [EXCLUSIVE PREMIERE] 16. [1:20:48]: Night Sky feat. Rebecca Louise Burch - This I Know (Dub Mix) [Abora Ascend] [EXCLUSIVE PREMIERE] 17. [1:25:47]: Rydex - Reflection (Rich Triphonic Remix) [TFB Records] 18. [1:30:53]: Perrelli & Mankoff vs. BluSkay - Catapult [Blue Soho] 19. [1:34:22]: Night Sky - Still Standing [Time Leap] [EXCLUSIVE PREMIERE] 20. [1:39:18]: Ryota Arai - Sunset Deck [Pulsar] 21. [1:43:56]: FAN FAVORITE: Type 41 - Heiwa [Abora] 22. [1:49:58]: Manuel Le Saux - Circles [Extrema] 23. [1:55:54]: FAN FAVORITE & SYMPHONIC SEND-OFF: Driftmoon - Dawn Of Mankind [Abora] ----------------------- Remember to vote for your favorite songs! http://j.mp/uovote. Ori cares about what you think! Voting results for all episodes can be found on Facebook at http://j.mp/uoresults. To sign up for weekly tracklist emails, go to http://j.mp/uosignup. Each week, each Thursday, a new episode airs on DI.fm (Epic Trance channel) at 1200 EST/EDT, which usually corresponds to 1800 CET / 2130 IST. It is posted to Soundcloud, Mixcloud, & iTunes as a podcast soon thereafter. © 2016 Abora Recordings LLC. Follow the Abora Recordings Soundcloud profile here: https://soundcloud.com/aborarecordings. Follow Ori Uplift's Facebook here: http://www.facebook.com/oriuplift

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17. Uplifting Only 193 [No Talking] (incl. Manuel Rocca Guestmix) (October 20, 2016)

Uplifting Only 193 [No Talking] (incl. Manuel Rocca Guestmix) (October 20, 2016)

All versions (with talking and without talking, mp3 and wav) available at www.uponly.net/episodes, which includes timed tracklists. This is the no-talking version. Vote for your favorite tunes from this episode here: bit.ly/uponlyvote In this all-instrumental episode, we have a guestmix by Manuel Rocca, and 4 exclusive world premieres from illitheas, Night Sky, Rebecca Louise Burch, and Nord Horizon! Remember, you can get the new October 2016 monthly comp at https://abora.lnk.to/uomc1610! TIMED TRACKLIST BELOW All tracklists & download links at http://www.uponly.net/episodes. Show information at www.upliftingonly.com. TRACKLIST: 1. [0:00:33]: BREAKDOWN OF THE WEEK: Ahmed Romel - Enouement [Blue Soho] 2. [0:05:09]: PRE-RELEASE PICK: illitheas - Moments with You [Abora Skies] [EXCLUSIVE PREMIERE] MANUEL ROCCA GUESTMIX: 3. [0:10:57]: Edelways - Deep Blue (Extended Mix) [Always Alive] 4. [0:16:38]: Miroslav Vrlik & Martin Jurenka - Reach Me (Extended Mix) [Always Alive] 5. [0:22:40]: Attila Syah & Innerlight feat. Queenfireworks - Daylight (Instrumental Mix) [Abora] 6. [0:27:46]: Cyre & DJ T.H. - Salida Del Sol (Derek Palmer Remix) [Levitated] 7. [0:33:20]: Manuel Rocca - Against The Wind (Mhammed El Alami & Muhib Khan Remix) [Levitated] 8. [0:37:58]: PVR - Lost In A Fairy Tale (Alex Wright Remix) [Ennovate] 9. [0:43:34]: Manuel Rocca - Mochima [Alter Ego] 10. [0:48:47]: Tristan Armes - Dreamfall [Silent Shore White] 11. [0:53:53]: Dave Shifting & Robbie Seed pres Sky Motion - Hope [Alter Ego] 12. [0:59:27]: Moonsouls - Broken (Extended Mix) [Always Alive] 13. [1:04:33]: Manuel Rocca - Omkara [Silent Shore] BACK WITH ORI UPLIFT: 14. [1:09:25]: Amine Maxwell & Mhammed El Alami - Rolling Stones (Paul Shields Remix) [Sub.Mission] 15. [1:15:34]: Nord Horizon - Innocent Angel [Silent Shore White] [EXCLUSIVE PREMIERE] 16. [1:20:48]: Night Sky feat. Rebecca Louise Burch - This I Know (Dub Mix) [Abora Ascend] [EXCLUSIVE PREMIERE] 17. [1:25:47]: Rydex - Reflection (Rich Triphonic Remix) [TFB Records] 18. [1:30:53]: Perrelli & Mankoff vs. BluSkay - Catapult [Blue Soho] 19. [1:34:22]: Night Sky - Still Standing [Time Leap] [EXCLUSIVE PREMIERE] 20. [1:39:18]: Ryota Arai - Sunset Deck [Pulsar] 21. [1:43:56]: FAN FAVORITE: Type 41 - Heiwa [Abora] 22. [1:49:58]: Manuel Le Saux - Circles [Extrema] 23. [1:55:54]: FAN FAVORITE & SYMPHONIC SEND-OFF: Driftmoon - Dawn Of Mankind [Abora] ----------------------- Remember to vote for your favorite songs! j.mp/uovote. Ori cares about what you think! To sign up for weekly tracklist emails, go to j.mp/uosignup. Each week, each Thursday, a new episode airs on DI.fm (Epic Trance channel) at 1200 EST/EDT, which usually corresponds to 1800 CET / 2130 IST. It is posted to Soundcloud, Mixcloud, & iTunes as a podcast soon thereafter. © 2016 Abora Recordings LLC. Follow the Abora Recordings Soundcloud profile here: https://soundcloud.com/aborarecordings. Follow Ori Uplift's Facebook here: www.facebook.com/oriuplift

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18. Sri Raghavendra Vijaya 1

Sri Raghavendra Vijaya 1

Listen ""Pandit Sri Narayanacharyavirachita Sri Raghavendra Vijaya Prathama Sarga""sung by Sri Vidyabushanaru. Narayanacahrya, an erudite Pandit and poet of high order, the son of the sister of Shri Raghavendraswami (in his Grahasthashrama) wrote this long narrative poem, in the style of Kalidasa’s Raghuvansha or Narayana Panditacharya’s MadhwaVijaya. This poem beautifully describes the wonderful life-history of Shri Raghavendra Swamiji, one of the national saints of India. It deals with his scholarly learning, his saintly piety, philosophical acumen and his unflinching devotion to Shri Hari in all the vicissitudes of his life. Thus, this poem inspires devotion to our Guru, which is quite essential for us to enter into the kingdom of God through the realization of the greatness and supremacy of Lord Shri Hari. This realization of Shri Hari’s greatness also leads us to self realization and release from this bondage through the visualization of Shri Hari. Thus, the reading of this poem ultimately leads to the final goal and Purushartha namely Moksha or enjoyment of one’s own essential Ananda. But, after all kavya or poetry is one of the fine arts, which have kept in view only physical joy or delight as the ultimate purpose and an earnest spiritual seeker shuns physical delight. So, it is rightly said that one should avoid such cheap entertainments in spiritual realization. Naturally, those who are bent upon the highest Purushartha or Moksha may not appreciate the efforts of Narayanacharya.But there is no scope for this sort of doubt. For good poetry conduces to the realization of spiritual delight. The Veda is poetry and takes us high into noble thoughts and deep feelings about Brahman the highest abode of Rasa or spiritual delight. Relying upon this truth, Narayanacharya ventured into this realm of gold and affords us facilities to realize the greatness and significance of Shri Raghavendra Swamiji’s life, which stands a monument to the efforts of the human soul, winning the grace of Hari and Vayu and ascending the pinnacle of saintly hood. The real greatness of his life lies in the fact that he has devoted his realized life for the benefit of mankind of mankind by the order of Shri Hari. So Narayanacharya fully confident that his attempt of writing “Raghavendra Vijaya” leads to the good of the writer and the reader, boldly proceeds to the begin the composition. But before that, he invokes the blessing of Shri Hari, so that his efforts, through his grace might be crowned with success. For, good and honest efforts are often vitiated by unexpected hindrances, which lose all strength when Hari stands at our back. So, Narayanacharya begins the poem thus by seeking the blessing of Shri Hari. PART 1: Sloka : श्रीमल्ल्क्ष्मीनृसिंहस्य श्रियं दिशतु मे नखः। स्वभक्ताभीष्टदानाय समुपात्तदशाकृतेः ॥ १ ॥Transliteration: Shree mallakshmee Nrisinhasya Shriyam Dishatu Me Nakhah| Svabhaktaabheeshta danaay Samupattadashaa kritehe || 1 || Translation: May the nail of Shri Lakshmee Nrisimha, who assumed ten forms to bestow the desired objects of his devotees, lead me to my prosperity. Notes: This is called Mangalaacharana, which is nothing but salutations by the poet to his accepted deity with the object of getting strength and moral courage to surmount the difficulties through his grace, so that the work on hand might be finished.The reader might find it strange that the poet seeks blessings by invoking the nail of Shri Narasimha and not Narasimha himself. There is some meaning and truth in it. The first truth is that any part of Shri Hari is the whole of Him. Shri Hari, the ultimo ate Reality of this universe is an integrated homogeneity, in which every part bristles with perfectness of the whole. So, the nail of Narasimha is the whole of tween the part and the whole as in physical reality. In order to convey this truth, the poet salutes the nail of Narasimha. The second truth is that the nail has played an important role in the Avatara work of Narasimha. He tore the belly of Hiranayakashipu with his nail and ended his wicked life. Sloka : वस्तु स्तुतं सुरस्तोमॆरस्तु शस्तं मया स्तुतं । मस्तुहस्तं प्रस्तुताय् श्रुतिमस्तकविश्रुतम् ॥ २ ॥Transliteration : Vastu stutam surastomairastu Shastam Mayaa stutam|M astuhastam prastutaaya shruthi mastaka vishrutam || 2 || Translation: That praise- worthy reality, praised highly by the hosts of deities , having churned butter in his hand, whose eulogy is predominantly found in the greatest of the Upanishads that reality (Shri Krishna) when praised by me might help to finish the present work. Notes: The word ‘Mastu’ is explained by commentators as ‘something floating on milk when heated that is, cream. Or it may be ‘churned butter’ Raghavendra Swami’s Aaradhya Devata is Venu Gopal Krishna. This work being devoted to his life history should have at the beginning of the poet’s salutations toLordKrishna.Next in order comes Shri Madhwacharya for the salutations of the poet. He is reffered to here as The Moon. Sloka : श्रीमदानन्दतीर्थेन्दुभासनं मम् मानसे । आशासे साधुशब्दार्थसरिदीशाभिवृद्धये ॥ ३ ॥Transliteration:Shree madananada Teerthendu bhasanam mama Maanase| Aashaase sadhu shabdaartha sarideeshaabhi Vridhaye || 3 || Translation: May I pray that in my mind the moon in the form of Shri Madhva may rise to inspire the tidal waves of the ocean of good words with their happy meanings. Notes: In this poem, we see the poet with his great power of raising beautiful images. The image of ocean rising in tides at the influence of the moon is full of significance and suggestion in this context. Words and meanings are the expressions of the inner spirit of thought or feeling of the poet. Constant practice and vast study are the sources of happy expressions which pour down at the inspiration of somebody, who can influence the mind of the poet. Just as the moon influence the ocean and agitates it into tidal waves so also Shri Madhva and his works are a great source of inspiration to the poet, under whose influence there is spontaneous out pouring of beautiful expressions with a world of suggested meaning behind them. The poet suggests that by dint of study he has stored words and their meanings; but they are all submerged in the mind. He wants Madhva to cause some stirring in the mind so that the happy words and their meanings might rush to the surface to be used in this work. Now the poet prays to Sarswathi. Sloka :श्रीराघवेन्द्ररत्नानां रसना रंगनर्तकी । शब्दाम्बुधिशरज्योत्स्ना शरणं मम् शारदा ॥ ४ ॥Transliteration: Shree raghavendra ratnanaam rasanaranga nartake| Shabdambudhi Sharajyotsna sharanam mama Sharadaa || 4 || Translation: May goddesses Saraswathi afford me protection. She is the dancer on the stage of the tongue of Shree Raghavendra, who is gem (among saints) and she is autumnal moonlight to the ocean of words. Notes: Sharada is Sarswathi, who is invoked to stir up the sleeping words to activity, so that they may come out one after another for use in the composition. Another charming image of a dancing girl dancing on the tongue represents the action of words, coming one after another in an unbroken chain. Utterance of words in swift sequence takes place on the tongue. Hence, it is said to be the stage for the activity of words. Sarswathi is the presiding deity over words and their meanings. So, she is invoked to dance on the tongue of the poet pouring happy words with their meanings incessantly. Sloka : कठिनापि कविशलाघ्या त्रिविक्रमसरस्वती । सुवर्णयॊगसंध्र्शया वरा वज्रमणिर्यथा ॥ ५ ॥Transliteration: Kathinaapi Kavishlaghyaa Trivikrama Saraswathi| Suvarna-Yoga samdrishya varaa vajramaniryatha || 5 || Translation: The composition (speech) of Trivikrama Panditacharya, though difficult to understand is praised by great poets as it is rendered happy and charming by the use of apt expressions, just as jewel though hard looks best, when set in gold and is praised by the learned or the well versed in jewels. Notes: Here we find a beautiful simile. This figure occurs when we express similarity between two objects. A difficult poem, yet full of poetic qualities on account of suggestive expressions, is found as much appealing to the sense of beauty as a hard jewel set in gold, which shines with extra ordinary brilliance on account of the golden setting would do. The simile has become all the more attractive as one adjective with double meaning is applicable to both the standard of comparison and the object of comparison. One difficulty seemed to crop up in the usage of expression. Usually, the gender of the standard of comparison viz. Vajramanih is the same as that of the object of comparision Trivikrama Saraswathi, which is feminine. But is mostly used in masculine gender. This would have spoiled the beauty of the simile. But on some authority in Kosha. s said to be a word used in both genders. So Mani feminine here. Hence, there is no breach of usage. The poet praises the musical qualities of narayana Panditacharya’s poetry.PART 2: Sloka: वाणीपाणिअतलासक्त् वीणारव् विडम्बिनी नाना प्रबंध् चतुरा भाति नारायणार्यगीः ॥ ६ ॥ Transliteration:Vanee Paanitalaasakta veenarava vidambinee | Naanaa prabhandha chatura bhati Narayanaryageehi || 6 || Translation:The literary genius of Narayana Panditacharya(the composer of Madhva Vijaya) shines bright, well vered in different literary forms, successfully imitating the musical qualities of the sweet sound of Veena in the hands of Sarswathi. Now the poet expresses his appreciation of the great genius of Vyasa Teertha of Chandrika fame- Sloka: वूंदार् वनमंदार् मकरंद् सहोदरी। विश्रुता विजयं दधादव्यासतीर्थार्य् भारती ॥ ७ ॥ Transliteration:Vrindaara vana mandaara makaranda sahodaree| Vishrutaa vijayam dadyadvyaasa teerthaarya bharatee || 7 ||Translation: May the famous words of Shri Vyasateertha ensure success (in my undertaking). For, they are similar in their sweetness to that of the celestial Kalpa Vriksha flower. Notes: “Vrindaara” means ‘god’. And in that forest (of the gods). And in that forest there is the Mandaar Vriksha or Kalpa Vriksha (famous as yielding in the desired objects of all). Now, this KalpaVriksha has flowers.These flowers have the sweer juice. The works of Shri Vyasateertha are as sweet in their ‘Rasa’as the juice of the flower of Mandaar Vriksha. This line indirectly suggests that Shri Vyasraraja is the author of Mandara manajaree.The poet continues the praise of Shri Vyasateertha- Sloka: व्याससूत्र् पदार्थोपन्यासमाकणर्य् मान्यपि । व्यासराजस्य् भजते दासतां को न् कोविदः ॥ ८ ॥ Transliteration:Vyaasa sutra padaarthapanyasa makarnya manyapi| Vyaasa rarjasya bhajate daasataam kona kovidah || 8 || Translation: What learned man, even if he be haughty, hearing the elucidation of the terms in the aphorisms composed by Vedavyasa, will not be ready to be the disciple of Vyaasateertha?Notes : This question means, ‘every learned man accepts the discipleship of etc. ‘Here, the poet refers to ‘Brahma Sutraas’ composed by Vedavyaasa, which put forth cogent arguments to settle the seemingly contradictory meanings of different lines from Vedas. Again these Sutras are explained by Shri Madhwa in his ‘Bhashya’. On this Bhashya and commentary of Jayateertha runs the elucidation known as ‘Chandrika’ written by Vyasateertha. It is accepted by all as a standard and authoritative elucidation. This work reveals the deep scholarship, critical acumen and coherence in arguments, impartiality and generosity in the estimate of others. A learned man knows the value of Chandrika and readily accepts the superiority of Vyasateertha’s judgement and thinks it a privilege to sit at the feet of Shri Vyasateertha. Now, in the series of salutations comes the salutation to Vijayeendra Teertha- Sloka: चतुःषाष्ठि कलाविधाजुषे विधुन्महोजुषे। जयीन्द्र् ज्योतिषे कुर्यां वन्दनानि यशोजुषे ॥ ९ ॥" Transliteration:Chatuh Shashti kalaavidyaajushe vidyunmahojushe | Jayeendra jyotishe kuryam vandanani yoshojushe || 9 | | Translation: I shall offer my salutations to the lustrous light of Vijayeendra Teertha, who possesses proficiency in sixty-four arts, who dazzles with the brightness of lightning and who enjoys wide fame.Notes: Vijayeendra had a great rival in Appayya Dixita. But Vijayeendra eclipsed him completely by his scholarship, skill in dialectics and by his severe penances. He had the saintly halo round his head. That is why the poet describes him as Light of great brilliance or luster. In the great galaxy of saintly writers, the star of Sudheendra is being described- Sloka: सुधीन्द्र् यॊगिनं सेवे साधुसात्कृत् संपदम्। स् गधपधनिर्माण् विधायाः प्रथमं पदम् ॥ १० ॥ Transliteration: Sudheendra yoginam seve saadhusaatkrita sampadam | Sa gadya padyanirmana vidyaayaah prathamam padam || 10 || Translation:I salute Sudheendra, the ascetic, who spent all money to help the righteous and who was quite an adept in creating literature both in the form of prose and poetry.PART 3: Now the poet gives respects to Shri Raghavendra Swami, who is the hero of this narrative poem- Sloka: श्रीमतो राघवेन्द्रस्य् नमामि पदपंकजे । कामिताशिषकल्याण् कलना कल्पपादपी ॥ ११ ॥ Transliteration:Shreemato Raghavendrasya namaami Padapankaje | Kaamitasesha Kalyaana kalanaa kalpa Paadapau || 11 || Translation:Translation: I bow to the lotus like feet of Shree Raghavendra. These feet yield all our desired good things like the Kalpa Vriksha of the heaven.Frequent remembrance of Hari and Guru has great value in spiritual adventure.Hence, the poet again and again remembers Shri Raghavendra- Sloka: मुहुः स्मारित् वाल्मीकिं पुनस्तं नीमि देशिकम् । यो विस्तीर्णां रामकथां स्रगधराभिः समग्रहीत् ॥ १२ ॥Transliteration: Muhuh smaarita valmikim punastam naumideshikam | Yo visteernaam Raamakathaamsragdharabhih samagraheet || 12 ||Translation: I again bow down to him (Raghavendra), who was our Guru, who reminds us of Valmeeki, by abridging the long story of Rama in afew verses of Sragdharaa metre.Notes: Shri Raghavendra composed “Raama Chaaritrya Manjari” in eleven Sragdhaara verses.This shows his great power of succinct narration of a long story in verse form. The name Vaalmeeki has some meaning and has biographical interest. Vaalmeeki is derived from the word ‘Valmeeka’,which means ‘ant hill’. This great poet sage performed long penance, during which time ant-hill grew round him. After receiving light, he came out of that ant-hill and hence he was called Vaalmeeki.The poet continues the eulogy of Shri Raghavendra-Sloka: मूकॊपि यत्प्रसादेन् मुकुन्द् शयनायते । राजराजायते रिक्तो राघवेन्द्रं तमाश्रये ॥ १३ ॥Transliteration: Muukopi yatprasaadena mukunda shayanaayate| Raajaraajayate rikto Raghavendram tamaashraye || 13 ||Translation: A dumb man becomes a Shesha, or he will have the gift of the gab and pauper becomes a Kubera by his blessing. Therefore, I take resort to him.Notes: this is a very popular verse, expressing the miraculous powers, with which Raghavendra Swami was credited. A dumb and deaf man, by his grace, may become an expert in speaking like Aadishesh, who is ever repeating the panegyric verses of Shri Narayana. Even a pennyless pauper may be made a prince by the blessings of Shri Raghavendra Swami. These are the great miracles attributed to Shri Raghavendra Swami. Mukunda Shayana is ‘Aadishesha’ being the bed of Narayana,on which he sleeps.Raaja raajan is the name of Kubera.At last, the poet pays his respect to his father-Sloka: प्रसाध्य् नरपन्चास्यं प्राप्तं वैदुष्यमद्भुतम् । येन् लक्ष्मीनृसिंहेन् तातपादम् तमाश्रये ॥ १४ ॥Transliteration: Prasaadya narapanchasyam praaptam na vaidushyamadbhutam| Yena Lakshmeenrisinhena taatap adam tamasraye || 14 ||Translation: My father was Lakshmee Nrishinha charya. By devoted services to Nrishinhadeva, he had acquired wonderful knowledge and learning. I now offer my respectful salutations to him.Notes: Lakshmee Narasimhacharya was the father of the poet and the mother, as we already know, is the sister of Shri Raghavendra Swamiji(in his Grahasthashrama).This is of great biographical interest , while narrating the life of the poet. Besides, the father repeated the Mantra of Narashinha and had his knowledge widened. Panchasya and Panchanana is alion. So, Nara Panchasya means Narashinha.He presents a personal intention in saluting the saints of high order-Sloka: प्राप्तान्य् नुतिपापॊघरसनां पावयाम्यहम् । गुर्वन्तर्यामि भगवत् स्तुति गंगाम्बुमज्जनात् ॥ १५ ॥ Transliteration: Praptaanya nuti paapaugharasanaam paavayaamyaham| Gurvantaryami Bhagavat stuti gangambu majjanaat || 15 ||Translation: Many sins have accrued to my tongue from praising others so long. Now I shall clean it by dipping it in waters of the Ganga in the form of eulogy of Bhagavaan residing in the heart of my Guru-Raghavendra.Notes: Indulging in flattery of human beings for petty benefits is considered a great sin;for it is almost selling one’s soul for temporary pleasures. So, the poet derives a personal gain by writing’Raaghavendra Vijaya’. All such sins are washed away by now praising the extraordinary qualities of Bhagavan Narayana, who is imminent in Guru Raghavendra .The truth is everybody should be praised as the abode of Lord Naryana; and we worship Bhagavan through our Guru. For our efforts of worshipping him independently are frustrated by evil spirits like kali.But our Guru is a strong fortification against the invasions of evil spirits.So,our worship of Bhagavan through our Guru bears fruit.Another truth is that praise of Bhagavan is the only specific antidote against the sins of all kinds. PART 4: The poet suppresses his feelings of vanity thus- कलये कवनं किंचित् कवीनां सहवासतः ।पाटीर गिरि सान्निध्यान्निम्बद्रुरिव सॊरभम् ॥१६॥ Kalaye kavanam kinchitt kaveenaam sahavaasatah |Paateera giri saannidhyannimbadruriva saurabham ||16||Translation : I have learnt a little art of poetry, in the company of learned poets. A neem tree, coming in contact with sandal wood trees on the Malaya Mountain gets their sweet fragrance. Notes: The poet renounces his entire claim to poetic merit and attributes it to the company of great poets, whom he has assiduously studied and followed. Kalidas is a poet of this type. He says he knows very little and he expects to be put to ridicule, when he writes the life of the Raghus. But Bhavabhuti is a poet, who has a very high idea of himself. He says that Saraswathi follows him as maid servant. Vanity is resented and modesty is appreciated. So, we appreciate the humble nature of the poet. The poet now tells us that his work is peculiar as it yields both visible and invisible fruit-हृष्टं गुरु प्रसदनमहृषटं च फलं कृतेः ।यथा स्विष्टकृतो बह्मसूत्राघप्रणवस्य च ॥१७॥Drishtam Guruprasadanama drishtam chapalam kriteh|Yatha swishtakrito Brahma sutraadya pranavasya cha ||17||Translation: The writing of this work has a perceptible purpose to serve namely the satisfaction of my Guru; and it has of course the invisible purpose (of helping me in my life after death). (While others have only one purpose).Just as the sacrifice svistakrit has some enjoyable pleasure in this life as well as merit useful in the next, and the first Omkara prefixed to the first aphorism of Brahma Sutras, bears some fruit both in this world and in the next. Notes: The present work "Raghavendra Vijaya" is very strange because it is helpful in this life and in the life to come, just as some works are useful both in this life and in the next world. The writing of ragahvendra Vijaya is useful both in this life and in the life after death, like the Svistakrid or the first Omkara of the first Sutra. The poet now tells us that it is the blessing of Guru alone that ensures success in life. श्रीयांसि श्रयते को वा प्रसादेन विना गुरोः ।कैवल्यमिव गोविन्द कारुणयेन विना जनः ॥१८॥Shreyamsi shrayate kovaaprasaadena vinaa Guroh |Kaivalyamiva Govinda kaarunyena vinaa janah ||18|| Translation: Just as no one gets Mukti without the grace of Govinda, so also no one realizes the highest aims in life without blessings from Guru. Notes: In Brahma sutras, in 3-3-45 aphorism, it is discussed if man is able to get Moksha by his own efforts without the blessings from Guru and it is decided that Guru's blessings are more powerful and effective than one's own efforts, though our efforts are made effective only by the blessings of Guru. Now the poet places the foremopst aim of Kaavya or poetry- कविता फलमन्यत्किं गुरुणां गुणवर्णनात् ।अपवर्गं विनान्यत्किं ब्रह्मजिज्ञासने फलम् ॥१९॥ Kavitaa phalamanyatkim Guruunaam guna varnanaat |Apavargamvinaanyatkim Brahmajijnaasane Phalam ||19||Translation : What other better purpose there can be for poetry to fulfill than a full throated panegyric of our Guru? What better aim can be for discourse on Brahma than the final beatitude? Notes: It is at the initiation of Guru that we enter into the field of poetry. It is this sense of gratitude, which impels us to declare that poetic gift is fulfilled, when we use that art to describe the noble life of the Guru. This is very well illustrated by another activity of man. Man is engaged often in reasoning is used to find out the cause from effect. The visible universe leads us to invisible Brahman. Its only purpose is to get freedom from this Samsara. So, for Brahma Jijnasaa, there can be no better purpose than Apavarga or Moksha. His Poetry gets purity from the treament of the holy subject- गुरुपादरजः संगाद्विमलं कवनं मम ।कलुषं वारि कतकरजसाकिं न निर्मलम् ॥२०॥ Gurupaadarajahsangaadvimalam kavanam mama |Kalusham vaari katakarajasaa kim na nirmalam ||20|| Translation : Just as muddy water has its sediment settled down at the bottom, with the contact of the dust of Kataka fruit, so also my poetry loses its turbidity( gets lucid and holy) with the contact of the dust on the feet of my Guru. Notes: The subject matter lends dignity and beauty to poetry. The poem becomes sublime and beautiful when it delineates the noble character and describes the holy personality of the Guru. PART 5: If poetry is prostitued by describing a Villian, now ever charming it may be as a literary piece of art, it is not accepted as good poetry-रमणीयापि कविता न ह्रुध्या यधसत्परा ।निसर्गामधुरा द्रुष्टजिह्वासक्तेव शर्करा ॥२१॥Ramaneeyapi kavita na hridyaa yadyasatparaa|Nisarga madhuraa dushta jihvaasaktena sharkaraa ||21||Translation: Though poetry fulfills the demands of poesy by creating emotional surges, still it cannot appeal to the heart as its subject matter is unholy, just as Sugar though sweet by nature, when tasted by a tongue of a diseased person, is found bitter.Notes : The soul of poetry is given more importance than its expression. In politicaldisputes, in olden days, poetry was used as a weapon to attack the opposit party .In such cases, injustice was upheld and justice wascried down. this is the prostitution of poetry. In spite of good literary qualities,impartial critics wont accept such as good poetry.Again the poet tells us the importance of the subject matter in poetry-अभव्यमपि मे काव्यं सेव्यं गुरुगुणाश्रयम् ।घनाघनगातं वारि यथा लवण वारिधेः ॥२२॥Abhavyamapi me kavyam sevyam Gurugunaaashrayam |Ghanaaghana gatam vari yatha lavana varidheh ||22||Translation : Though my poetry is devoid of sublimity yet it deserves appreciation as it describes the noble qualities of my Guru,just as the water of the slaty ocean becomes acceptable when it falls down from the pouring clouds.Notes : In the previous verses it was said that the subject matter made the poem sublime and beautiful;in this verse, the other alternative that the poem is not made sublime is accepted. Even then , the poet contends that for the holy life of the Guru himself, the poem becomes respectable.Lovers of poetry should not reject my poetry which though devoid of defects has no intrinsic merits-अदोषाप्यगुणो त्युक्तिस्त्यक्तुं युक्तानमे बुधैः ।पतिव्रतागुंणोत्येव पत्या किं त्यज्यते प्रिया ॥२३॥Adoshaapyagune tyuktistyaktum yuktaa na me Budhaih |Pativrataa gunetyeva patyaakim tyajyate priyaa ||23||Translation : Thinking that my poetry has no intrinisc qualities, though it has no defects, it is not proper for the learned critics and readers to reject it. Is adevoted and beloved wife abonded by her husband on the ground that she has ni intrinisic merits with her?Notes : Here the poet makes a destinction between absence of defects and presence of Positive merits. A man may not be telling lies. Still it does not mean that he is telling the truth. Virtue is something positive and is not merely the absence of its opposite vice.So, poetry is expected to have no defects as well as to have positive virtues. But is is rarely taht we find such poetry. Human creation, after all, is found to have some virtues mixed with certain drawbacks.Critics must be generous enough to appreciate virtues, even in the midst of defects.He makes this very point clear by teh next verseअदोषं गुणावद्द्रूशयं सर्वार्थदायकम् ।परं ब्रह्मोव यात्काव्यं श्रुत्युत्क्तं तत्तु दुर्लभम्, ॥२४॥Adosham gunavaddrishyam sarvaih sarvartha daayakam |Param Brahmeva yatkavyam shrutyuktam tattu durlabham ||24||Translation : Poetry should have no(glaring) defects and should have merits, mentioned in poetics,Such poetry alone should be accepted by all as serving all purposes. But poetry, which is like Parabrahma, described in the Vedas as having no defects and having all the qualities, is rarely to be found.Notes : The poet contends that critics should make allowance for human limitations.Complete perfection is an ideal to be reached and not a real fact of life. When thus seen, sometimes the veery blemishes that surround the poetic flashes glow into merits.All that, he pleads, is that criticism should be softened with humanization.He presses this very point in the next verseकाव्ये गवेषते कशिचद्दोषमेव गुणं परः ।पिचुमंदं यथा काकं पिकशचूतलतां यथा ॥२५॥Kavye gaveshate kashchiddosha meva gunam parah |Pichumandam yatha kaakah pikashchuutala taam yatha ||25||Translation : Some ( mean critics are after errors and defects in poetry, while ( noble critics) others are after merits, just as the crow is after neem fruits, while the cuckoo is after mango fruits.Notes : It is low mentality to be always in search for draw-backs ; it is nobility of mind, which enjoy merits in others. The crow represents low mentality while the cuckoo represents nobility of out-look. PART6:It is not possible to describe fully the greatness of his Guru,says the poet in the following verseअस्म्द्गुरुणामाधिक्यं कविः को वानु वर्णयेत् ।तथापि तत्प्रसादेन भक्त्या किंचिद्वदाम्यहम् ॥२६॥Asmadguruunaamaadhikyamkavih kovaanu varnayet |Tathapitatprasaadena Bhaktyaa kinchiddvadaamyaham ||26||Translation : What poet can fully describe the greatness of my Guru? Still, by his blessings I shall describe a little with great devotion to him.Notes : Kalidasa too confesses his littleness and the greatness of those, who came dowm from the Sun. These were the Raghus, whose family history he was going to describe. He feared that he would be jerred at, as if he were attempting to cross the ocean on araft. We find similar sentiments expressed in this verse.From this verse, the poet praises Shri Raghavendra in fourteen verses-देवानामिव देवेन्द्रो यो दत्त इव योगिनाम् ।दुग्धाब्धिरिव सिन्धूनां गुरुणामिव पूर्णधिः ॥२७॥Devaanaamiva devendro yo datta iva yoginaam |Dugdhabdiriya sindhuunaam guruunaamiva puurnadheeh ||27||Translation : He is Indra among gods; He is Dattatreya among the Yogis, among the seas he is the ocean of milk and he is Shri Madhwa among Gurus.Notes : The full fledged similarity can be expressed thus- Raghavendra can be compared with Devendra.Just as Devendra as is the best of his class. So no question arises whether Raghavendra is equal in the rank with Devendra. The point of similarity is being to be best in one's class. In Geeta, Bhagvan is said to be Margasheersha among the months. In the class of months , margasheersha is the best; so also Bhagavan is the best among gods. In Geeta, we find Bhagavan lending his own Shakti or power to Margasheersha to be the best in the class. Hear the poet does not imply any such contribution on our part of Raghavendra is the best among his class as Devendra is the best in his class. Really speaking Devendra is far superior to Raghavendra in essential rank.तिगमांशुरिव तेजस्वी शीतांशुरिव शीतलः ।यः सिन्धुरिव गम्भीरो धराधरा इव स्थिरः ॥२८॥Tigmanshuriva tejaswee sheetaamshuriva sheetalah |Yah sindhuriva gambheero dharaadhara iva sthirah ||28||Translation : He is brightly shining as the sun and cool as the moon; he is solemn as the sea and steady as the mountain.Notes : The poet expresses similarity, not with implied point of similarity as in the previous verse, but with expressed point of similarity. The standard of comparision with the point of similarity makes the simile or Upamaa here. Suurya is the standard of comparision and brightness or Tejaswita is the point of similarity. शारदाया दयामेव शास्त्राणां परिशीलने ।विविध ग्रन्थ करणे यः साहाय्यं समाश्रितः ॥२९॥Shaaradaayaa dayaameva shaastranaam parisheelane |Vividha granthakarane yah saha yyam samaashritah ||29||Translation : He got the help and blessings of Saraswatee in the study of the Shaastraas and in writing many works.Notes : In addition to his personal efforts, Raghavendra sought the blessings of Sarasvatee. She does not help idlers. It is the accepted principle of Shri Madhva that three things are essential for progress in life, native or innate capacity(yogyatta),self-effort(sva-prayatna) and then the blessings of Shri Hari(Hareranugraha). Raghavendra Sweami was a staunch follower of Madhva. So, after self-efforts in order that they should be fruitful, he sought the blessings of Saraswathi.वेदव्रजावनोधुक्तं विध्यादेवी विलोक्य यम् ।व्यस्मरद्वहुरुपेण त्पस्यन्तं समीरणम् ॥३०॥Vedavrajaavanodyuktam vidyaa devee vilokyayam|Vyasmaradbahu rupena tapasyantam sameeranam ||30||Translation : the goddess of learning , seeing him engaged in preserving the Vedaas( by writing elucidations) remebered Vayudev who, taking many Avataras was performing penance.Notes : Next to Shri Madhva, who made many Avatars to preserve and continue Vedic study Raghavendra took great trouble to write elucidations on the Vedas and Upanishads. So, the goddess of learning thought that Shri Madhva himself had come back to continue the study of the Vedas but the work on the Vedas is not available;PART 7:कलि काल कला लून मूल जाल कला लता ।यद्वागमृतसेकेन पुनस्संजात पल्लवा ॥३१॥ Kali kaala kalaa luuna muula jaala kalaa lataa |Yadvagamrita sekena punassanjaata pallava ||31|| Translation : The creeper of Vedis learing, which had its web of roots cut by the influence of kali age, had sprouted again with tender leaves being sprinkled over by the nectar like speech of Shri Raghavendra. Notes : Kali is said to have evil influence and affects the intentions of men. They leave off Vedic study so that the tradition is lost in the long run. When Raghavendra took up the work of the revival of Vedic studies, all people took to Vedic studies under his benign influence and the tradition was revived by his elucidations. All this is expressed in a sustained metaphor of a creeper. ललाटरेखा दम्भेन बिरुदाक्षर शलिनः ।जयस्तम्भायिता यस्य प्रतिधीराः पराजिताः ॥३२॥ Lalaata rekhaa dambhena birudakshara shaalinah |Jayasthambhayitaa yasya pratidheeraah paraajitaah ||32|| Translation : His adverseries being defeated by him in dialectical bouts, became themselves his victory column bearing his titles in th form of lines on their foreheads. Notes : His opponents were defeated by him. In anxiety and humilition they raised their foreheads,which immediately formed lines. it was a custom in those days to erect a Jayastambha or victory-column to commemorate the victory, one has won over others.Then, this column would bear the titles of the winner. Here, the poet is highly imaginative and tells us that when Raghavendra defeated many Pundits in polemical discussions by superior intelligence and study there was no other Jayasthambha than the Pandits themselves. These human columns bore the titles of Raghavendra on their foreheads in the form of lines. It was as it were written, " We are defeated by the Guru" on the foreheads. the simple meaning is the adverseries were stupefied at the easy victory won by Raghavendra over them. श्रोतृणां श्रवणान्यासन्यद्वागामृत सेवया ।नित्यानि तदयोगयत्वान्न तथा हीन्द्रियान्तरम् ॥३३॥ Shrotranaam shravanaanyaasam yadvagamrita sevayaa |Nityaani tadayogyatvaanna tathaa heendriyaantaram ||33|| Translation : The ears of the hearers had become indestructible(perhaps) by driniking in the nectar of his speech and the other senses being in capable ( to hear his words) were otherwise( indestructible). Notes : This is a statement made according to the belief of other system like Nyaya. They believe that teh auditory sense alone is Nitya or eternal by nature being made of Aakaasha(which is Nitya or eternal). But other senses like sight and others are not eternal by nature. But this natural fact is supposed to have some poetic reason. The ear everyday had the nectar in the form of his discourse, which poured into his ears daily. the poet supposses this to be the cause of his ear's eternal nature. For, nectar renders everything deathless by its touch, while other senses like eyes and nose and others being unaable to hear his nectar like discourses remianed destructible. the poet makes this poetic supposition or Utpreksha. but we must note that in our Siddhaanta all physical senses are destructible. प्रतीप विद्वत्पाथोधिमथनोत्सव चुन्चुना ।वादमन्दरशोलेन येनावापि यशोमृतम् ॥३४॥ Prateepa vidvatpaathodhi mathanotsuva chanchunaa |Vaada mandarashailena yenaavaapi yashomritam ||34|| Translation : Nectar-like fame was won, by him who was famous ( or skilful) in the art of the celebration of churning the ocean of opponent Pandits, with himself as the churning mountain of Mandara( as the churning handle) in the polemical discussions. Notes : Formerly gods and demons churned the ocean with the churning handle of Mandaara mountain and as a result of churning got nectar. Now, Raghavendra churned the ocean of opponent Pandits in polemical discussion. He tired them out in the bouts of dialectics just as there was nectar as the result of the churning of gods and demons, here Raghavendra got fame out of these discussions.Pratipa is a very interesting word as it is formed of Prathi and Appu it means originally against water of current. Then, it means opponents, " Pothidhi" means ocean like "Varidhi"( Paathas - water Dhi- collection) ."Chachu" famous or skilful. The simple meaning is that he conquerred his opponents in Vaada and got fame-| हिरणय गर्भ मूर्तिस्थ पुरुषस्येव यध्यशः ।ततो बहिः प्रसृमरं राजते रौप्य सम्पुटम् ॥३५॥ Hiranya garbha murtistha purushashaiva yadyashah |Tato bahih prasrimaram raajate roupya samputam ||35|| Translation : His fame, like that of Naaraayana , who is abiding in the body of Hiranya garbha or Brahma(four faced) has spread in and out of Brahmanda like a silver casket round the Shaligraama. Notes : Just as the silver casket covers beautifully the Sakligrama, so also his fame spread in and out of Brahmanda. गुरुराधः स्वसिद्धान्त प्रतिष्ठापन पंडितम् । श्रुत्वायं व्यासनिकटे निश्चिंत इव वर्तते ॥३६॥ Gururaadyah svasidhaanta pratishataapana panditam | Shrutvaayam vyasnikate nischinta iva vartate ||36|| Translation : The original propounder of Dwaita Sidhanta Shri Madhwacharya is now residing with Vedavyasa at Badari, free from anxiety, as he found Raghavendra an able advocate of his system. Notes : Shri Madhva was anxious if he would get an able supporter of his system among the laymen and Pandits. he thought himself blessed, when he found a Pandit protagonist for his newly started system(though originally as old as time itself). गोपायति दृढं यसिमन्नवनी देवता कुलम् । शयानः शोष शय्यायां निद्रातीव ह्ररिश्चिरम् ॥३७॥ Gopaayati dridham yasminnavanee devataa kulam | Shayaanah shesha shayyaayaam nidraateeya Harischiram ||37|| Translation : When Raghavendra has imposed upon himself the responsible task (of Shri Hari) of protecting the Brahmins, Lord Hari (with his burden of responsibility made light ) has been sleeping soundly (in Svetadveepa) on his snake-bed)for a long time). Notes : It is the bounden duty of Narayana to protect the Brahmins on the Earth. but when he found a good Substitute to do his duty he enjoys as it were a long and sound sleep. Now the poet tells that Raghavendra bestows wealth upon you just when you remember him- पदे पदे प्रपन्नानां संपदः स्मृति संभवाः । परीभावप्रदे यस्मिन् शैले शोते तु शंकरः ॥३८॥ Pade pade prapannaanaam sampadah smriti sambhavaah | pareebhaava prade yesmin shaile shetenu shankarah ||38|| Translation : Perhaps Shankara takes to sleeping on the Himavat mountain, when Raghavendra proves himself to be a source of humiliation to Shankara. For Raghavendra bestows wealt often and often, immediately you remember him ( while Shankara bestows only once). Notes : Shankara is known to grant boons omly once to those who perform penance for a long period of time. While Raghavendra granted boons as many times as you rememberes him. This put Shankara to shame and he avoided public contact and retired to the cold mountains of Himalaya to save his face. A man put to shame avoids publicity and retires public haunt and seeks solitude. thus the greatness of Raghavendra guru is being established beyond doubt. व्याखयां प्रखयाप्य व्रिखयातौ संखयावत्सु यदीरिताम् । सुरलोके सुरगुरुः पाताले फणिनां पतिः ॥३९॥ Vyaakhyaam prakhyaapya vikhyaatau samkhyaavatsu yadeeritaam | suraloke suraguruh paataale phaninaam patih ||39|| Translation : In the celestial heaven, Brahaspati and in the nether world, Shesha ( the lord of Serpents) are known as learned persons among Pandits, only because they both could explain the works of Raghavendra. Notes : Raghavendra's works were the acid tests to know depth of study of Pandits. this was not only o rule in this world ; but it was a rule in all the three wolds. They were considered to be standars worksto test the study and intelligence of the Pandits. Now the poet describes his erudition, charity, tenderness of heart, which are qute extra-ordinary with him- चित्ते चेन्मृदुता शिरीषसद्रिशो हैय्यंगावीनं शिला । गाम्भीर्यं यादि यस्य सोन्धुरुदधीः शास्त्रोषु चेत् पांडिती ॥ आचार्या विबुधेशितुः कलयते विध्यर्थितामादरात् । औदार्यं यदि कल्प पादप मुखाः सम्भावयन्तेर्थिताम् ॥४०॥ Chitte chenmriduta shireeshsadrishe haiyyanaga veenam shila- gaambheeryam yadi yashya sondhurudadhih shaastreshu chet paanditee | Aachaaryo vibudheshutuh kalayate vidyaarthi taamaadaraat | Audaaryam yadi kalpa paadapa mukhaah sambhaavayanterthitaam ||40|| Translation : Before his heart, which was as tender as Shireesha flower even (easily melting) butter was a hard stone. In point off sublimity, before him even the ocean dwindled into a small well. In point of learning, even the preceptor of Indra seeks with effort to behis student. In point of charity, even Kalpavriksha and others( well known for their generosity) came to beg of him. Notes : In this verse, the thing that is compared, Upameya, is said to excel Upamaana the standard of comparision. His tender heart is Upameya and its softness is said to be greater than the softness of butter, which is Upamaana standard of comparision. This figure is known as Vyatireka in which Upameya excels Upamaana. Now the poet concludes- तस्मान्म्हामहिम्नेस्मै मनः स्पृहयते मम । तद्गौरवेण मत्काव्यमंगी कुर्वन्तु सज्जनाः ॥४१॥ Tasmaanmahaa mahimnesmai manah sprihayate mama | Tadgauravena matkavya mangeekurvantu sajjanaah ||41|| Translation : Hence,a s he is wndowed with extra-ordinary greatness, my mind eagerly yearns for him. Men with good tastes, should appreciate my poetry to give respect to him. Notes : From verse 27 to this it is one kulaka complex sentence with so many adjective clauses begining with यः who यस्य whose येन by whom and others. For the sake of easy understanding, I have split this big complex sentence and treated each verse as an independent sentence. But the readers are expected to take these sentences forming one idea of teh extra-ordinary greatness of Raghavendra. All these adjective clauses suggest a reason for the poet to expect generous treatment at the hands of the lovers of poetry. The burden of his soft repeated request is that a poem is hounoured and appreciated for the noble qualities of the hero of thepoem. Really speaking, this is a lame excuse. For no one calls it good poetry only because it deals witha noble subject. Good treatment of the subject also is expected . The poet only expresses his modesty and pleads that he has no merit and it is only the Guru that lends all charm to his work. The canto first now ends in a शर्दुल विक्रीडितम्- श्रीमत् कशयपवंशवार्धिशशिनः षड् दर्शनी वल्लभ । श्रीलक्ष्मीनरसिंह वित्तविदुषः श्रीवेंकटाम्बामणौ । जातेनार्य दया सुधामय गिरा नारायणेनोदिते । काव्ये चारुणि राघवेन्द्र विजये सर्गो जयत्यादिम ॥४२॥ Shreemat kaashyapa vanshavaardhi shashinah shaddarshanee vallabha | Shree Lakshmee Narasimha vittavidushaa shreevankataambaamanou | jaatenaarya dayaa sudhaamaya giraa Naarayanenodite | Kaavye chaaruni Raghavendra vijaye sargo jayatyaadimah ||42|| Translation : The first canto of the interesting poem Raghavendra Vijaya successfully comes to an end. This poem was written by Narayana, the son of Lakshmi Naarayanaacharya well known as the master of six systems of philosophy and the moon to the ocean of the Kashyapa family, and of the mother Venkatambamani, the poet had won mastery over sweet and graceful expression by teh blessings of his father. Notes : Thus, ends the first canto Raghavendra vijaya ,written by Narayanacharya, who is as it were the sacred mark, Tilaka on the forehead great poets. We get here some history about the poet himself . He was the son of Lakshmi Narasimhacharya and Venkataamaba. Lakshmi narasimhacharya was teh husband of Venkataamaba, the sister of raghavendra in his Grihasthashrama. This first chapter opens with salutationsa nd devotional eulogy of Shri Raghavendra invoking his blessings for the interrupted finishing of the work undertaken. He claims no poetical gifts and attributes his success to the gracious blessings of Shri Raghavendra. the poem in this canto is mostly written in Anustup Vritta or metre. At the end, there is the change in metre and this is a conversion in Indian poetry. Source: Smt Gowri (http://www.raghavendramutt.org/articles/ragahvendra-vijaya) || Sri Krishnarpanamasthu ||

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19. Uplifting Only 188 [No Talking] (incl. Mhammed El Alami Guestmix) (Sept. 15, 2016)

Uplifting Only 188 [No Talking] (incl. Mhammed El Alami Guestmix) (Sept. 15, 2016)

All versions (with talking and without talking, mp3 and wav) available at www.uponly.net/episodes, which includes timed tracklists. This is the official version (with talking). This week we have a guestmix from the wonderful Mhammed El Alami, plus lots of vocal trance. Also, highlights from the September 2016 Uplifting Only Top 15 compilation released today, which you can get at https://abora.lnk.to/uomc1609! TRACKLIST: 1. [0:00:33]: BREAKDOWN OF THE WEEK: Darren Porter - To Feel Again [FSOE] 2. [0:04:26]: Jak Aggas & Victoria Shersick - Fly Away (Allen Watts Remix) [Amsterdam Trance Records] 3. [0:09:05]: Paul Miller feat. Angel Falls - Trust Me (Mike Squillo Remix) [Trance All-Stars] 4. [0:13:57]: Liuck & Neev Kennedy - Let This Go (The Cracken Remix) [Digital Society] 5. [0:18:31]: Rene Ablaze & Ian Buff featuring Diana Leah - I'll Find My Way (Davey Asprey Remix) [Rielism] 6. [0:22:42]: Gerome feat. Cassandra Grey - Into the Unknown [Emergent Skies] 7. [0:26:42]: Mhammed El Alami & Lucid Blue - Under The Sun [Suanda] MHAMMED EL ALAMI GUESTMIX: 8. [0:31:49]: Mhammed El Alami - Dawn [Abora Olé] 9. [0:34:47]: Armin van Buuren feat. Justine Suissa - Burned With Desire (LTN Sunrise Remix) [Armind] 10. [0:38:11]: Ahmed Romel - Himba [Abora Olé] 11. [0:42:28]: illitheas pres. Mavi - Sirius [Ennovate] 12. [0:46:12]: Ex-Driver - Emperor (Amir Hussain Remix) [Unique Sense] 13. [0:49:54]: Artisan & Kate Louise Smith - I Follow (F.G. Noise Remix) [Amsterdam Trance Records] 14. [0:55:03]: Gareth Emery feat. Alex Sierra - We Were Young (Mhammed El Alami Remix) [Garuda] 15. [0:58:33]: C-Systems - Victorious [Digital Society] 16. [1:02:29]: MHAMMED'S FLASHBACK: Mhammed El Alami Mehdi Belkadi Jeef B - Brothers [Vital Soho] 17. [1:06:26]: Roman Messer & Mhammed El Alami with Julia Lav - Memories (Ahmed Romel Remix) [Suanda] 18. [1:10:26]: Alex M.O.R.P.H. & Paul van Dyk - We Are [Vandit] 19. [1:15:06]: PRE-RELEASE PICK: Ronny K. feat. Claire Willis - I'll Never Know [Beyond the Stars] 20. [1:20:12]: Jeïtam Oshéen & Abdelrahman Nabil Feat Allam - Shores of Valhalla [D.MAX] 21. [1:24:26]: Syntouch & Magic Sense - Last Train To Home [State Control] BACK WITH ORI UPLIFT: 22. [1:29:47]: Cyre & DJ T.H. - Salida Del Sol (Derek Palmer Remix) [Levitated] [EXCLUSIVE PREMIERE] 23. [1:34:54]: Mike van Fabio & Elles de Graaf - As Fears Go By [Amsterdam Trance Records] 24. [1:40:11]: Manuel Rocca - Omkara [Silent Shore] [EXCLUSIVE PREMIERE] 25. [1:43:54]: FAN FAVORITE: MarioMoS - Resurge [Aurora Melodies] 26. [1:48:28]: Lucid Blue - Eyes Wide Open [Suanda Voice] 27. [1:54:03]: FAN FAVORITE 185 & SYMPHONIC SEND-OFF: InnerSync - Endless Beauty [Cinesphere] ----------------------- Remember to vote for your favorite songs! http://j.mp/uovote. Ori cares about what you think! Voting results for all episodes can be found on Facebook at http://j.mp/uoresults. To sign up for weekly tracklist emails, go to http://j.mp/uosignup. Each week, each Thursday, a new episode airs on DI.fm (Epic Trance channel) at 1200 EST/EDT, which usually corresponds to 1800 CET / 2130 IST. It is posted to Soundcloud, Mixcloud, & iTunes as a podcast soon thereafter.

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20. The Gopala Mantra

  • Published: 2012-07-30T22:02:08Z
  • By sonicdust
The Gopala Mantra

Identity and Importance "It is stated in the Brahma-samhita that Lord Brahma was initiated into the eighteen letter Gopala-mantra, which is generally accepted by all the devotees of Lord Krishna. We follow the same principle because we belong to the Brahma-sampradaya; directly in the disciplic chain from Brahma to Narada, from Narada to Vyasa, from Vyasa to Madhva Muni, from Madhva Muni to Madhavendra Puri, from Madhavendra Puri to Isvara Puri, from Isvara Puri to Lord Chaitanya and gradually to His Divine Grace Bhaktisiddhanta Sarasvati, our divine master. The chanting of this holy Gopala-mantra is the only shelter of the desireless pure devotee of the Lord." (SB 2.9.6 p.) Of all the diksa mantras mentioned in the sastras, the Gopala-mantra (or Krishna-mantra) is the most important. Shri Krishna is the svayam-bhagavan and the sarva-avatari (original Personality of Godhead, the source of all other avataras), and His vraja-lila displays the greatest amount of beauty and sweetness. Similarly, the Gopala-mantra, which manifests Krishna and induces that unique vraja-madhurya-rasa to flow in the heart, is the greatest of all diksa mantras. The mantra is called the Krishna-mantra or Gopala-mantra because it describes Krishna in Gokula, the abode of cows, wherein the Lord plays as Gopala, the eternal lover of the gopis and the protector of the cows. Nevertheless, one should always remember that the Hare Krishna mantra is called the maha-mantra because it is more powerful than any other mantra in bestowing Krishna-prema. The eighteen syllable Gopala-mantra is described in the Gopala-tapani Upanisad and Hari-bhakti-vilasa. It is one of the most important mantras in the Gaudiya-sampradaya. Shri Chaitanya Mahaprabhu was initiated into the ten-syllable Gopala-mantra (gopijanavallabhaya svaha) by His guru, Shripad Isvara Puri. The mantra means, "I offer oblations unto Krishna, Gopijanavallabha, the beloved of the gopis." Since the gopis are Krishna's most intimate associates, the Gopala-mantra is one of the most confidential mantras. The Pancaratra also mentions a siddha Gopala-mantra that has an extra tantric syllable orh shrim. The Gopala-mantra is also mentioned in the Gautamiya-tantra and in the Narada-pancaratra which describes how Lord Brahma gave the eighteen-syllable Gopala-mantra to Lord Siva who then gave it to Narada Muni Although the Gopala-mantra is the same, it can be formulated differently with eighteen, twelve, ten (as used by Lord Chaitanya) or eight syllables. In chanting the ten-syllable Gopala-mantra, Shri Chaitanya Mahaprabhu tasted one aspect of the gopis' prayojana, or pure love for Krishna. By the mercy of Sanatana Gosvami and other exalted Vaishnavas, the Gopala-mantra is now prevalent in the sampradaya. Before the appearance of Shri Chaitanya Mahaprabhu this mantra was not made available to everyone. It was only given to qualified persons with substantial piety. The Gopala-mantra is cintamani, the sweetest of the secret mantras. As described in the Brahma-samhita, the primary purpose of the Gopala-mantra is to make the soul chase after Krishna, the all-attractive Lord of the gopis. However, because it contains the kama-bija (the seed of desire) the Gopala-mantra can also satisfy material or spiritual desires. In Goloka Vrndavana or for a pure devotee the kama-bija fulfills spiritual desires for Krishna's loving service. When the same kama-bija is pervertedly reflected in the material world, it satisfies material desires. Lord Brahma fulfilled his material desire for creation by chanting the Gopala-mantra. One should pray to Krishna to become pure, totally free of all material desires. Through the mercy of Gopala one may realize the true meaning of the mantra and then run after Krishna to serve His lotus feet. Gopala-mantra and Sambandha The Gopala-mantra is a direct glorification and meditation on Krishna's form, qualities and pastimes. This mantra establishes sambandha, abhidheya, and prayojana. Although the eighteen-syllable Gopala-mantra progresses through sambandha, abhidheya, and prayojana, it mainly emphasizes sambandha-jnana and abhidheya. Madana-mohan, the Lord of sambandha-tattva is represented in the Gopala-mantra. The Kama-gayatri, however, represents prayojana. This mantra is the complete means to develop one's love for Krishna. It will give darsana of Radha and Krishna, Gopijanavallabha surrounded by Lalita, Visakha and the sakhis. The sadhaka will be given a chance to serve Them. The general meaning of the mantra is that anyone desiring to enter the pastimes of Krishna will have to practice his transcendental service along with the culture of devotional knowledge in relationship to Krishna (sambandha-jnana). There are six aspects of sambandha-jnana denoted in the Gopala-mantra: 1) Krishna svarupa—knowledge of the personal form of Krishna. 2) Krishnasya cin-maya-vraja-Ula-vilasa-svarupa— true knowledge of Krishna's blissful transcendental pastimes in Vraja (Vrndavana). 3) Tat-parikara-gopijana-svarupa—knowledge about Krishna's vraja-gopis and His eternal associates in Vrndavana. 4) Tad-vallabha—knowledge of self surrender to Krishna in the footsteps of the Vraja gopis. 5) Suddha-jivasya-cid (jnana)-svarupa—knowledge of the spiritual form of the pure, unalloyed soul. 6) Cit-prakrtir arthat krishna-seva-svabhava—knowledge of transcendental service to Krishna which is established with the awakening of one's pure cognition. Both the Brahma-gayatri and the Gopala-mantra reveal the three aspects of transcendence: sambandha, abhidheya, and prayojana. However, Gaudiyas emphasize the aspect of abhidheya, transcendental loving service to Govinda Deva, which is indicated by the word Govindaya in the Gopala-mantra. Actually the central point of love and attraction for the Lord is expressed through service. Govindaji, the beloved Deity installed by Shri Rupa Gosvami, is the inspirational Deity of devotional service for the entire Gaudiya Sampradaya. Moreover, both as a sadhaka and a siddha one is always under the shelter of Govindaji and Shri Rupa Gosvami. As a sadhaka one serves Shri Rupa Gosvami, and as a realized soul one serves Shri Rupa Manjari and her maidservants. The word gopijanavallabhaya indicates the prayojana aspect displayed in the intimate loving exchanges between Radha and Krishna. On this level Shri Radha serves alone as Ananga (the embodiment of amorous love)and the maidservants watch in appreciation. The Gopala-mantra reveals three manifestations of Krishna as three presiding Deities with different moods and effects. Krishnaya refers to Krishna as Madan-mohana, the supreme enchanter presiding over sambandha-tattva. Govindaya refers to Govindaji, the supreme engager, who oversees abhidheya-tattva. Gopijanavallabhaya refers to Gopinatha, the beloved Lord of the gopis who directs and distributes the prayojana-tattva. What the Gopal-mantr? awakens ic fully revenlerl in the K"arna gayatri, which reveals Radha and Krishna's pastimes in the divine realm of Vraja. These two mantras work together to bring the devotee closer to perfection. All these truths are found within the bija-mantras, but in a seed-like or unmanifested form. The bija-mantra Orh, for example, which some acaryas say represents Radha-Krishna, Their blissful pastimes and the living entity, contains this sweet reality in a hidden way, whereas, in the bija-mantra klith these truths are significantly more manifest. Gopala-mantra —Svarasiki and Mantra Upasana There are two methods for internally visualizing the unmanifested pastimes of Radha and Krishna known as svarasiki and mantra upasana (mantra-mayi). 1) Mantra upasana—chanting or meditating upon a particular mantra that causes the manifestation of only one pastime of Krishna. In mantra upasana the sadhaka meditates on a particular form of Krishna (rupa-dhyana) or a scene from His transcendental pastimes as depicted in a sastric sloka or a mantra given by the guru. The most common form of mantra upasana is meditation on the Vrndavana Yogapitha at Govindasthali. Radha-Govinda are sitting on a gem-studded, golden throne surrounded by the asta-sakhis and manjaris who sing blissfully while Lalita-sakhi offers arati. The following verse, which acaryas claim to be the "best sloka in the entire Shrimad Bhagavatam for remembering Krishna" can be used for the process of mantra upasana. barhdpidarh nata'Vara-vapuh karnayoh kamikararh bibhrad vasah kanaka-kapisarh vaijayantirh ca rndldrn randhran venor adhara-sudhayapurayan gopa'vrndair vrndaranyarh sva-pada-rarnanarh pravisad gita-klrtih "Wearing a peacock feather upon His head, yellow karnikara flowers on His ears, a glittering golden yellow garment, and the VaijayantI garland, Krishna exhibited His supremely captivating form, just like the best of dramatic dancers as He entered the charming forest of Vrndavana, beautifying it with the marks of His lotus feet. He filled the holes of His flute with the nectar of His lips. The cowherd boys followed behind Him singing His glories which purify the entire world." (SB 10.19.5) The transcendental words contained in the Gopala-mantra make a manifestation of only one pastime of Krishna T nrd Brahma himself was doing mantra upasana as mentioned in the Chaitanya-charitamrita:ydhra dhydna nija-loke kare padmdsana, astddasdksara-mantre kare upasana, "Lord Brahma, sitting on his lotus seat in his own abode, always meditates on Him, (Govinda surrounded by Radharani and the gopis as mentioned in verse 22), and worships Him with the mantra consisting of eighteen-syllables." (Cc.Adi 5.221 p.) "In his own planet, Lord Brahma, with the inhabitants of that planet, worships the form of Lord Govinda, Krishna, by the mantra of eighteen-syllables, klim krsndya govinddya gopi-jana-vailabhdya svdha. Those who are initiated by a bona fide spiritual master and who chant the Gayatri-mantra three times a day know this astddasaksara (eighteen-syllable) mantra. The inhabitants of Brahmaloka and the planets below Brahmaloka worship Lord Govinda by meditating with this mantra. There is no difference between meditating and chanting, but in the present age medication is not possible on this planet. Therefore loud chanting of a mantra like the maha-mantra, Hare Krishna, with soft chanting of the astddasaksara, the mantra of eighteen syllables, is recommended." (Cc. Adi 5.22lp.) In his purport to the Brahma-samhita text three, Shrila Bhaktisiddhanta Sarasvati defines mantra as "inaudibly recited, liberating, self-dedicatory, transcendental sound." In transcendence there is no duality; consequently the distinction between an object and its name cease to exist in the spiritual world. Thus a mantra consisting of Krishna's holy names is nondifferent from the person Krishna. This transcendental phenomenon is experienced when "worshiping through the channel of the mantra,'" which is known as mantra upasana. Shrila Bhaktisiddhanta Sarasvati further states that the "transcendental words contained in the said mantra being differently placed make a manifestation of only one Ida." In other words, the specific arrangement of the mantra's component words in relationship to each other determines its meaning. The twenty-four syllable Kama-gayatri mantra, for example, reveals Radha and Krishna's transcendental pastimes. The conjugal mood predominates in Krishna's transcendental abode with all the other rasas playing supporting roles. In the eighteen-syllable Gopala-mantra, Krishna, Govinda, is being worshiped as the lover of the gopis. Yet based upon one's sthayi bhava (eternal loving mood), one will meditate upon the mantra according to his specific corresponding emotion. 2) Svarasiki—the spontaneous outflow of the heart's spiritual love for Krishna, which reveals variegated pastimes performed in different moods and planes. Meditation on rasa-lila, which moves through many moods and scenes, is an example of svarasiki. Mantra upasana is compared to a placid lake existing alongside a rushing river. Svarasiki meditation is that constantly moving river of dynamic visualization. Purpose of the Gopala-mantra "Then the goddess of learning Sarasvati, the divine consort of the Supreme Lord, said thus to Brahma who saw nothing but gloom in all directions, "O Brahma, this mantra, viz., klim krsndya govinddya gopi-jana-vallabhdya svdha, will assuredly fulfill your heart's desire." (BS v. 24) The purpose of the Gopala-mantra is to direct one toward Radha and Krishna in Gokula. It will fulfill the spiritual desire to love Krishna, and draw the devotee toward the lotus feet of Radha and Krishna. As the spiritual world is reflected in the material world, so also the Gopala-mantra is reflected on the sea of material desires. Kama bija has a two-fold aspect: one fulfills material desires, the other satisfies spiritual desires. When the chanting of the Gopala-mantra is not pure, it is a reflection and therefore not transcendental. It is like the chanting of the Hare Krishna maha-mantra in the abhasa state. Until one attains pure devotion, the vibration of the Gopala-mantra is impure. The pure mantra is being reflected in the mundane world within the materially contaminated mind in such a way that it fulfills one's material desires. The Gopala-mantra is the source of all other divine mantras. Pure-minded devotees chant this wonderful mantra with unalloyed devotion; free from any material desire. The demigods also chant this mantra, but their motive is tinged with selfish desires. In the next entry Lord Brahma shows the example for all sincere devotees. "Not only I (Brahma), but Lord Siva and King Candradvaja received this wonderful klim mantra, and by chanting it we became free from ignorance, received a vision of the Lord, and realized that Shri Krishna is the final goal of life. Therefore, a dedicated, unalloyed devotee who chants this mantra will surelv attain realization of the Supreme Lord Krishna as the final resort." (GU 1.29-32) The Gopala-mantra, consisting of Krishna's names (Krishna, Govinda, Gopijanavallabha) is non-different from the Supreme Lord. The process of chanting and attentively meditating upon such a mantra is called mantra-upasana, or worship through the channel of the mantra. As one chants the Gopala-mantra, he progressively realizes Krishna's form, qualities and pastimes. He also realizes his own spiritual form and becomes established in his eternal service to Krishna. Mantra-upasana meditation must be accompanied by service to Krishna. Under the direction of Sarasvati, Lord Brahma, the head of our sampradaya, performed mantra-upasana meditation. After thousands of years of meditating upon Gopijanavallabha, Brahma attained perfection. As mentioned in Chapter one, each mantra has a particular ista-deva or ruling Deity. The Deity of the Gopala-mantra is Gopala Krishna. The particular form of Gopala depends on the individual sentiments of a devotee. For those in sakhya-bhava Gopala takes the cows out for grazing. Gopala sits on Yasoda's lap for those with parental love. Devotees in madhurya-rasa see Him as Kisora Gopala pleasing the senses of His beloved Kishori. The Gopala-mantra is used primarily for arcana and the Kama-gayatri is for sandhya meditation. Similarly, the Gaura-mantra is for worship and the Gaura-gayatri is for sandhya meditation. It appears that the same results can be had from either the Gopala-mantra or the Kama-gayatri, but the Brahma-samhita indicates that the Kama-gayatri, being given later to Lord Brahma, gave more complete realization of Krishna. "This mystic eighteen-syllable Gopala-mantra conveys the svayam-rupa Shri Krishna with Shrimati Radhika on an emerald-studded golden throne sitting in the center of a thousand petaled lotus flower under a wish-fulfilling tree at the yogapitha in Vrndavana. They are being attended by thousands of vraja-gopis. The constant remembrance of this pastime at the stage ofsadhana ultimately leads to the attainment oivastu-siddhi, the final goal." (GU) Meaning of Klim Kllm is the bija-mantra of the Gopala-mantra and Kama-gayatri. Klim is non-different from Omkara. It is the seed of all desires, or the seed that tultills all desires. When added to the Gopala-mantra, klim is the transcendental seed of love of Godhead. Klim is the bija-mantra for worshiping Krishna {klim krishnaya), and it also represents Radha and Krishna. "The word klim represents the seed of desire or aspiration. The Gopala-mantra has two aspects: It impels the soul toward the supreme enchanter of the heart, Krishna, the Lord of Gokula and the Lord of the gopis. When the devotee sadhaka becomes free from selfish desire, he can attain the perfection of divine love of God, prema. But if the sadhaka still harbors some personal individual desires, this supreme Gopala-mantra will fulfill those desires too." (BS v.24 p.) Chanting the Gopala-mantra impels or makes one think of the form of Krishna as Madana-mohana, the supreme enchanter of Cupid who captivates the entire creation. The Rasollasa Tantra describes that klim is nondifferent from Radha and Krishna. It says that Krishna is the very kama-bija Himself, and Radha is the very rati-bija Herself. By performing sankirtana of both these bijas, Radha and Krishna become very pleased. Kama (desire) is the name of the transcendental Krishna, Cupid, the God of love in Vrndavana. Rati (amorous affection) is the name of Cupid's wife, but in this reference Rati means Shri Radha. "The kama-bija klim (the seed of desire) is the very seed which—is one's own desire or aspiration, stimulates one's desire, and is fullfilled by one's desires." (MD) This word klim can fulfill all desires, either material or spiritual. It will reward the result of one's prayers. Klim represents divine lust; the gopis' selfless love to satisfy Krishna's desires. The kama-bija klim contains all the elements of the love between Radha and Krishna. The kama bija (klim) is the main mantra for achieving the service of Radha and Krishna in Vrndavana. The kama bija mantra acts as the transcendental seed of love of Godhead. The ever-fresh Krishna Cupid is worshiped by uttering the klim mantra. The word kllm, which is the kama-bija or the seed of desire, contains the syllables ka and la which can be taken to mean Kalavati (Radha) and Kalanidhi (Krishna). In verse forty-four of Vilapa-kusumanjali, Shrila Raghunatha Dasa Gosvami prays to the Divine Couple with these two names: "O Devi, when Krishna, the enemy of Mura, touches Your lowered shoulders in the rasa dance, He looks like a full moon (Kalanidhi), shining with an abundance of lust. O Kalavati! (artful girl) When will this maidservant joyfully place a sweei jasmine garland, surrounded by humming bees, on those shoulders?" Shrila Ramananda Raya extols the unique position of Shrimati Radharani; sata-koti-gopite nahe kama-nirvapana, tahatei anumani shri-radhikara guna, "Out of millions of gopis, only Shrimati Radhika (Kalavati) can extinguish the blazing fire of Krishna's lusty desires. So we can just imagine how transcendentally qualified She is." (Cc. Madhya 8.116) The word kllm is the seed of desire that grows into the Kama-gayatri of twenty-four and one-half syllables. Each of these syllables is like a shining full moon of lust (Kalanidhi) on each limb of Krishna's gorgeous body. Even though Kalanidhi Krishna's moonlike splendor fills the whole world with desire, still His desires increase unlimitedly when He sees the splendid moonlike face of Kalavati Radha. One should think of the word kllm as the seed of desire referring to Kalanidhi Krishna and Kalavati Radha who alone fulfills all His desires, and whose service the sadhaka desires to attain. In Shri Radha-sahasra-nama stotra, Narada Muni says, kama-blja-pradayini: "Shrimati Radhika gives the seed of desire to attain Shri Krishna." Meaning of Krishnaya Krishnaya means Krishna, the Supreme Personality of Godhead, who delivers us from sin (papa-karsana), and the Deity who establishes our relationship (sambandha)with the Lord. He liberates the demons He kills, and attracts the minds and hearts of the fallen with His blissful transcendental pastimes. The word Krishnaya is based on two Sanskrit roots: krs which means existence or to draw near, and na which means ananda, bliss, or to renounce. Thus Krishnaya indicates Krishna, the ultimate existence of bliss and beauty, who attracts or draws everyone to His lotus feet with His incomparably sweet form, flute, love, and play. Such sweet love and enchanting attraction causes one to renounce the misery of material attachment. "The very name Krishna means that He attracts even Cupid. He is therefore attractive to everyone—male and female, moving and inert living entities. Indeed, Krishna is known as the all-attractive one." (Cc. Madhya 8.139) Meaning of Govindaya Govindaya means Govinda who pleases the cows, land, senses, gopas, and gopis. Govinda is the transcendental Deity form of Krishna who establishes our service (abhidheya)to the Lord. The name Govinda comes from the words 'go' and 'indate.' Go means cows, gopas, gopis and the five senses. Indate means 'master or lord.' So the word govindaya means the lord of the five senses. Krishna Govinda is all-attractive, and there is no one more attracted to Him than Shrimati Radhika. While meditating on the word govindaya, one can remember the following description of the enchanting nature of Govinda's transcendental senses. Shrimati Radhika said, "Hey Visakhe! Govinda's bodily effulgence is more beautiful than a new monsoon cloud, and His gorgeous garments resemble lightning. Krishna's captivating flute enhances His elegance, and His face outshines the autumn moon. A peacock-feathered crown rests upon His head, and the necklaces of pearls and jewels adorning His broad chest look like a row of stars. O sakhil The sight of Krishna's incomparable beauty is saturating My eyes with bliss. "Krishna's deep voice resounds like a rumbling cloud and His tinkling ornaments allure the ears. Krishna's joking has seductive hidden meanings, and His charming flute playing steals the hearts of all chaste women. Oh Visakhe! My ears are totally captivated by Krishna. "The fragrance of Govinda's body conquers the aroma of musk to enslave all women. The eight richly scented lotuses of His body are more fragrant than a mixture of lotus flowers and camphor. His body is anointed with the finest quality aguru, camphor, candana and musk. Needless to say, these wonderful fragrances are continually thrilling My nose. "Hey sakhil I am intensely eager to touch Krishna's broad chest, which is as enticing as a sapphire pillar. His strong arms bolt the door of the gopis' hearts from the attack of Cupid's arrows. Govinda's body is more soothing than moonbeams, candana, camphor and a lotus combined. "The nectar of Krishna's sweet lips removes the desire for any other taste. However, that nectar is attainable only for one possessing heaps of pious assets. The remnants of Krishna's pan conquer the sweetness of nectar. Oh Visakhe! My tongue is becoming mad to relish the sweet taste of Krishna." (Govinda-lilamrta) Meaning of Gopijanavallabhaya Gopijanavallabhaya means Gopinatha, who sports with the gopis, and the Deity who helps one attain pure love of God, the ultimate goal of life (prayojana). Gopijanavallabhaya denotes Krishna, the beloved of the gopis, who enchants them with His sweetness and gives them ecstatic love. Gopijana—go means jnana, knowledge. It also means one who is realized by knowledge of Govinda, or one who knows all the inner feelings of the devotees. Go means Govinda, Shri Krishna, who always pastures and tends the cows in the valleys beside Govardhana Hill. The word gopi means the cosmic preserving force, or the women of Vraja. Krishna is the vallabha, the Lord of that force and the Lord of the women of Vraja. The word gopijanavallabha, therefore, means, "The lover of the gopis is preserving the force of my devotion and pervading all of my senses {govinda)." Vallabha—Shri Krishna, the blissful Supreme Personality of Godhead, is the dearmost life of the gopis and all janas (living entities), and He pervades them all. Vallabha also means a dense mass of bliss. "Lord Sadasiva told Narada Muni, 'Anyone who meditates upon Radha and Krishna's beautiful bodily features and ornaments while chanting the following prayers will attain the eternal abode of Krishna and the gopis:' gopijana-vallabha-caranau saranam prapadye, "I take shelter of He who is the beloved of the gopis." Namo gopljanavallabhdbhyam, "I offer my respectful obeisances to the Divine Couple who are very dear to the gopis." (SKS) "I surrender to Radha and Krishna. Whatever is mine is in truth, Their property. Everything is for Their sake. Everything is for Their enjoyment. It is not for me." ________________ Gopijanavallabhaya—"Krishna wears yellow clothing and a long garland of fragrant wild flowers. He has a beautiful swarthy complexion the color of a dark rain cloud. His head is bedecked with a peacock feather. His face is radiant like a million moons and His eyes are rolling. Yellow karnikara flowers are tucked above His ears, and golden makara earrings as effulgent as the rising sun hang below His ears. His forehead is adorned with a circle of sandalwood containing a dot of kunkuma in its center. "Syama's face is beautified by tiny pearl-like drops of perspiration. His eyebrows playfully dance as He casts a sidelong glance at the face of His beloved Radhika. A pearl dangles from the tip of His nose, His radiant teeth glisten like moonlight, and His attractive lips are as red as ripe bimba fruit. His hands are adorned with bracelets and a jeweled seal ring. He holds the murali in His left hand and a lotus in His right. A sash of small jingling bells ornaments His beautiful waist, and splendid anklebells adorn His lotus feet." (SKS) Meaning of Svaha Svaha represents the potency of the Lord. It is usually chanted while offering oblations into the fire. The word has both outer and inner meanings. "Sva" can mean, "one who is conversant with the inner self." It can also mean, "I am a maidservant of the gopis." "Ha" can refer to, "the transcendental nature." It can also mean, "to sacrifice and give everything to Krishna just as the gopis do." "The word svaha means the jivatma is surrendered wholly to the light of the Paramatma, the supreme spirit, Shri Krishna, who is one without a second, the Supreme Lord, and the cause of all causes."(NP) Additional definitions of svaha are given in Chapter eight. Gopala-mantra Word Meanings The Gopala-tapani Upanisad describes how the four Kumaras once asked their father Brahma, "Who is the Supreme Personality of Godhead? Whom does death fear? By knowing whom does everything else become known? Who created this world?' "Brahma replied by giving them the eighteen-syllable Gopala-mantra and said, 'Krishna is the Supreme Personality of Godhead. Death fears Govinda. Everything becomes known by understanding Gopijanavallabha. The Personality of Godhead created the world by pronouncing the word svaha.' " (GU) Shrila Visvanatha Cakravarti Thakura comments on these verses: "The statement that death fears Govinda means that Krishna rescues the living entities from the hands of death. The name Gopijanavallabha means Krishna, who is very dear to the gopis. By knowing Krishna the entire spiritual and material worlds become known." "The four Kumaras were not yet satisfied for they wished to have a more elaborate description of Krishna's transcendental qualities. So they asked Lord Brahma, 'Who is Krishna? Who is Govinda? Who is Gopijanavallabha? What is svahaV "Brahma replied, 'Krishna means He who delivers one from sin. Govinda means He who is famous on the earth, in the Vedas, and among the surabhi cows. Gopijanavallabha means He who enchants the gopis. Svaha means the potency of the Supreme. All these names refer to the Supreme Personality of Godhead.' "(GU) Shrila Visvanatha Cakravarti Thakura further explains, "The name papa-karsana (which Brahma used to describe Krishna) conveys two ideas: 1) Krishna—whose transcendental pastimes attract the minds of even the sinful, conditioned souls. 2) Krishna— the merciful Supreme Person who liberated Putana, Agha, Kesi, and the other demons He killed. "The name Govinda means the Supreme Lord who is famous among the surabhi cows of Vraja. Govinda is glorified in the verses of the Vedas, and He is famous on the earth because He removed the burden of demoniac kings. Govinda also means He who protects the cows, land and Vedas. Govinda is the supreme protector who rescues the living entities from the cruel hands of death. "Gopijanavallabha means He who enraptures the gopis, who are all manifestations of His hladini-sakti. Gopijanavallabha enchants the gopis with His sweet beauty and other transcendental qualities. He removes their materialism, and gives them ecstatic love for Him. Thus He has become very dear (vallabha)to them. "The word "svaha" means the Lord's potency by which everything is manifested." (Shri Gopala-tapani-vivrtti) In the preceding commentary, Shrila Visvanatha Cakravarti Thakura has shown the significance of each word of the Gopala-mantra, and how the mantra itself is a complete means to cultivate Krishna-prema. He says the word krishnaya denotes Madana-mohana, the merciful Deity of sambandha-tattva who establishes our eternal relationship with Krishna. Govindaji, as the abode of abhidheya-tattva, inspires, enthuses and accepts our devotional service. The ultimate goal (prayojana) of bhakti is the pure loving service of Gopinatha, also known as Gopijanavallabha, the darling beloved who pleases all the vraja-gopis. The syllable Sva denotes the knower of the inner self, and the syllable ha means to offer or to give. The word svaha generally refers to offering oblations to the wife of Agnideva in ayajna. In the Gopala-mantra, however, svaha means, T am a servant of the gopis.' In other words, T want to give everything I have to Krishna just as the gopis are doing.' "The Kumaras further asked Lord Brahma, 'What is Krishna's form? How is He glorified? How is He worshiped?' Brahmaji answered them with verses suitable for mantra upasana. 'You should meditate with all your heart and soul on Shri Krishna. His eyes are beautiful lotus flowers, His complexion is a glistening monsoon cloud, His garments are lightning, and He has two arms. Shri Krishna is full of transcendental knowledge. He wears a garland of forest flowers, and He is the supreme controller. Krishna is surrounded by gopas, gopis and surabhi cows, and resting under a kadamba tree. Decorated with splendid ornaments, He stands in the middle of a red lotus flower while being served by breezes cooled by the touch of Kalindi's waves. By this meditation you will become free from repeated birth and death.' " (GU) Finally Brahma instructed the Kumaras to repeatedly chant the eighteen-syllable Gopala-mantra. Anyone who purely chants this mantra even once will quickly attain Krishna's blissful association. Meaning of Gopala-mantra "I offer oblations unto Lord Krishna, who is Govinda the lover of the gopis." While chanting the Gopala-marc/ra, absorb the mind and heart in the following meditations: 1) "I worship Govinda, whose beautiful complexion resembles a fully blossomed blue lotus. He has a moonlike face, and is very fond of wearing a peacock feather in His hair. He bears the golden shrivatsa line of hairs on His chest along with the splendid kaustubha gem. Wearing yellow cloth, Krishna is indescribably beautiful. The gopis worship His body with their lotus eyes. He is adorned with celestial ornaments and surrounded by the cows and His gopa friends. He loves to play his sweet sounding flute." (Gautamiya-tantra) 2) "Meditate on Krishna going out behind the cows for go-carana Ma. The honey-sweet sound of Krishna's flute is dancing through the air. Being attracted, the vraja gopis hide in the kunjas along the pathway. Some curious innocent deer also join them. With their side-long glances the gopis bid farewell to Krishna and communicate their hearts desire to meet later on." 3) "Krishna is standing under the rays of the full moon on the banks of the Yamuna. With His enchanting flute music He is attracting all the beautiful doe-eyed gopis to come join Him for a rasa dance. In the same way, the sweet and beautiful features of Syamasundara should attract me. In my sadhaka-rupa all of my senses should be attracted to Govindaji." Some acaryas indicate that a sadhaka should meditate on Shri Radha while chanting the Gopala-wan/ra, because this mantra directly refers to Her. Krishnaya means Krishna is attracting Radhika. The word govindaya refers to Krishna who is called Govinda because Shrimati Radhika pleases all of His senses. Krishna's five senses are always absorbed in Shri Radha's form, taste, sound, touch, and smell. The word govindaya can also mean that Govinda is pleasing all of Radhika's senses. Shrila Krishna dasa Kaviraja explains how Govinda pleases the senses of His beloved gopis: "One day Shri Radha said to Visakha, 'O my dear friend! Syama enchants the eyes, and inundates the mountain-like minds of the vraja gopis with the ocean of His nectarean beauty. He gives joy to their ears with His pleasant joking words. He pleases the sense of touch with His body, which is cooler than millions of moons. Syamasundara fills the world with His ambrosial fragrance and with the nectar of His lips. In this way He forcibly attracts all My five senses.' " (Govinda-lilamrta) The word gopijanavallabha means that Gopijanavallabha (Krishna) is Radhika's lover. _______________ How to Chant Gopala-mantra In the Bhakti Sandarbha, Shrila Jiva Gosvami says that while meditating on the mantra some devotees conceive of the various emotions one experiences upon being attracted to Krishna's flute at the time of milking the cows. Other devotees may meditate thus: "Although I myself am personally residing in Vraja, I am so unfortunate that I am deprived of the direct worship of Radha and Krishna. Shri Gurudeva, therefore, has instructed me in this Gopala-mantra. And as a result, my devotional aspirations have reached perfection, and now I am personally rendering service to Shri Vrajendranandana." In one sense chanting the Gopala-mantra is useless if one does not receive the darsana of Krishna in his meditation. One should chant with a heart full of eagerness, "When will that day come? When will I see Radhika and Syama in my heart of hearts?" Mindless, mechanical chanting will not help. If one chants from the heart, the mantra will bestow His direct darsana. One will not get the full result of the mantra if he is sleepy, inattentive, discouraged, or in anxiety while chanting. Giridhari will appear before us, or as Shrila Prabhupada used to say, "We will see Krishna dancing on the tip of our tongues." This will definitely happen by chanting exactly according to the gum's instructions. Chanting the mantra with firm faith, humility, exclusive sentiment, tear-filled eyes, and a steady, concentrated mind devoid of all desires for sense gratification will give one direct darsana of Krishna Himself. Benefits of Gopala-mantra Of the many Vishnu mantras giving liberation, the Gopala-mantra (Krishna-mawfra) is the best because it invokes Krishna-prema upon its chanter and reveals Krishna's Vrndavana Ma. By chanting the Gopala-mantra, the mantra-raja (king of mantras), one propitiates Radha-Govinda in madhurya-rasa. "Do execute penance while contemplating upon this mantra, and you will attain to all perfection." (BS v. 25) The Gopala-mantra has the power to gratify any desire the chanter may possess. When Divya Sarasvati gave the Gopala-mantra to Lord Brahma, she told him it would fulfill all his desires. The Brhad-bhagavatamrta describes how the young cowherd boy Gopa-kumara satisfied his desires one after another by continually chanting the ten-syllable Gopala-mantra. His chanting of the Gopala-mantra carried him throughout universe and placed him in various positions of mastership. Finally it awarded him the perfection of Shri Krishna's eternal loving embrace which he sought for so long. Shrila Vyasadeva said, "The ten-syllable Gopala-mantra is the highest mantra This mantra stops samsara, dispels sins and ignorance, gives victory in battles, fearlessness in forests, and safety in floods. It gives wealth and all types of prosperity to the devotees. The Gopala-mantra bestows strength, vigor, heroic valor, a beautiful celestial body, and the eight mystic powers. This mantra increases bhakti to the lotus feet of Shri Krishna. Narada Muni is the rsi of the Gopala-mantra, which is chanted in the virat-chanda. Shri Krishna, the son of Nanda Maharaja and the benefactor of the whole world, is the mantra devata." (NP) Shri Chaitanya Mahaprabhu achieved darsana of Krishna through chanting the Gopala-mantra. He saw a gorgeous young boy standing in a three-fold bending form playing on a flute. His hair was crested with a peacock feather, His belly was marked with three lines, and His voice was sweet. Overwhelmed in ecstatic love, Mahaprabhu ran after that mischievous boy who disappeared within a forest bower. Collapsing on the ground, Mahaprabhu began rolling about and crying out in intense separation, "O Krishna! Where are You? Where are You?" In Raga-vartma-candrika, Shrila Visvanatha Cakravarti Thakura explains that as an item of bhajana, chanting the Gopala-mantra is bhava sambandhi, or related to the desired feeling, and thus acts as a direct cause for attaining the goal of Krishna-prema. "A person of disciplined mind who chants the Gopala-mantra day and night will definitely see the Lord in His gopa form." (Gautamiya-tantra) Gopala-mantra and Chanting Hare Krishna In summary, one sees that in Treta-yuga the Dandakaranya sages attained sambandha-jnana and then realized their sthayi-bhava (permanent devotional sentiment) by chanting the Gopala-mantra. They reached the limit of this world, and in their next lives by the arrangement of Yogamaya they took birth from the wombs of gopis in Bhauma Vrndavana. At this stage of svarupa siddhi there is no more need of chanting the Gopala-mantra. By directly associating with Gopal Himself and His eternal associates like the gopis, and by hearing and chanting about His pastimes they attained vastu-siddhi, and entered Krishna's eternal pastimes in Goloka Vrndavana. The Gopala-mantra is needed in the stage of sadhana but not in the stage of perfection. Gopala-mantra and Kama-gayatri help the sadhaka to chant suddha-nama, the pure name of Krishna. Chanting these mantras brings sambandha-jnana, the feeling of a particular sentiment or bhava, and finally manifests one's eternal svr

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