Blossoms of Experiences!
author:..... Poet Subbu Arumugam, Chennai-600078
compiler:... T.S. Kothandarama Sarma
book:......... Maha PeriyavaL - Darisana AnubhavangaL vol. 2, pages 70-76
publisher:.. Vanathi Padhippaham (May 2005 Edition)
translator.. saidevo
Pages 70-73
Mankind would ask the yearning: "God hasn't come in person?" But if God does come in person, the mankind would be doubtful if that is really God! Going beyond these two stages, it is the general lakShya (target) of everyone belonging to Sri Sankara Mandalam to feel the 'Sarveshvara' who came in person as that Parameshvara, adore him and offer flowers to his lotus feet. I get the AnmIka sukham (spiritual comfort) in speaking about it with humility.
In the last thirty-five years, the pERu (fortune) I received from the Walking God Sri Kanchi Maha SwamigaL, I share with this world--with this thought, my head bows on the holy feet of Lokamata Sri Kanchi Kamakshi AmbaaL!
The first incident when Sri Paramacharya Deivam blessed me with his grace:
Turning the story of Mahatma Gandhi into a villisai that was broadcase by the AIR, Chennai, and then into a book, I offered the book to his holy presence when I next went for darshan of Sri Mahaswamy. Place: Tenambakkam. SwamigaL to my eyes appearing as Sarveshvara, gave me the orders, "In the forthcoming Agama shilpa satas, you sing the life story of Tirunavukkarasar as villuppATTu!"*
There were hardly two days for the event. I started writing the story keeping in mind Mahaswamy in dhyAnam. In a single night, I was able to write 63 paNs (tunes) and complete the villuppATTu! On the day of the event I kept the manuscript before Mahaswamy's holy presence, and as I conducted the concert in the satas, PeriyavargaL himself attended and blessed, while I, who sat on the stage at a little distance, raised my hands and joined my palms as one worships a temple gopuram (tower). The villisai that started on that day is being heard loudly till today in our and foreign countries.
In the concert on that day I sang a song praying to Goddess Kamakshi thus: "O Mother! Kamakshi Mother! I have brought an article for you, one that you don't have, only I have! And that is 'kavalai' (worry). Whereas you are the svarUpam of nimmadi (embodiment of peace). I write 'kavalai' on paper and keep it before your holy presence. With the big toe of your left foot, you rub the middle letter 'va' from among the three letters of that word! After that I shall read it again--and it would be 'kalai (art)! Give me your blessings to foster that art!"
Sri Maha SwamigaL who keenly observed this song, called me, asked his people to honour me with a silk cloth, raised both his hands and gave his words of blessings: "Kamakshi has rubbed that 'va'! Only 'kalai' from now on! You foster it well!" I was thrilled that Mother Kamakshi herself opened her holy mouth and talked to me!
A new turning in my life from that day onwards! And that a holy turn! Many chances of performing the villuppATTu concert in Kanchi under the sponsorship of SriMaTham! I wouldn't say that this art was fostered because I sang; as the villisai is being heard by the holy ears of Sri Maha SwamigaL, the art sprouted leaves, branches and prop roots (vizhudu) and is growing now in mahonnatam (in a grand manner)!
*** *** ***
The flute and the music of the bow
On these occasions of my villisai concerts going on in Sri Sankara Mandapam of Sri Mahaswamy and doing its work (of spreading dharma), at the end of a concert, in the scene of my receiving prasAdam from SwamigaL, he would give me a sethi (advice); in that advice, panmukha medhA vilAsam (his many-faceted display of knowledge) would shine brilliantly!
Once he asked me: "Is playing a flute there in your villuppATTu concerts?"
The reply I submitted for this question with great humility: "Isn't this an art from Tirunelveli? Since the people of our area have an opinion that the flute is an North Indian instrument, we don't have it played in our troupe, so I don't add the flute."
For this, Maha SwamigaL gave a pithy response: "Yes, yes! That is only the vAdyam of Sri Krishna Paramatma!"
The spark struck me as I heard these words! We labour under the illusion of directions North and South; whereas Maha SwamigaL is immersed in it as the vAdyam of Sri Krishna!
This is the difference between us and him. Pure thoughts of the Dvapara Yuga he has; only Kali Kala thoughts for us!
That same day, I gave a debut to this thought in in the Kanchi Stage in my concert!
author:..... Poet Subbu Arumugam, Chennai-600078
compiler:... T.S. Kothandarama Sarma
book:......... Maha PeriyavaL - Darisana AnubhavangaL vol. 2, pages 70-76
publisher:.. Vanathi Padhippaham (May 2005 Edition)
translator.. saidevo
Pages 70-73
Mankind would ask the yearning: "God hasn't come in person?" But if God does come in person, the mankind would be doubtful if that is really God! Going beyond these two stages, it is the general lakShya (target) of everyone belonging to Sri Sankara Mandalam to feel the 'Sarveshvara' who came in person as that Parameshvara, adore him and offer flowers to his lotus feet. I get the AnmIka sukham (spiritual comfort) in speaking about it with humility.
In the last thirty-five years, the pERu (fortune) I received from the Walking God Sri Kanchi Maha SwamigaL, I share with this world--with this thought, my head bows on the holy feet of Lokamata Sri Kanchi Kamakshi AmbaaL!
The first incident when Sri Paramacharya Deivam blessed me with his grace:
Turning the story of Mahatma Gandhi into a villisai that was broadcase by the AIR, Chennai, and then into a book, I offered the book to his holy presence when I next went for darshan of Sri Mahaswamy. Place: Tenambakkam. SwamigaL to my eyes appearing as Sarveshvara, gave me the orders, "In the forthcoming Agama shilpa satas, you sing the life story of Tirunavukkarasar as villuppATTu!"*
There were hardly two days for the event. I started writing the story keeping in mind Mahaswamy in dhyAnam. In a single night, I was able to write 63 paNs (tunes) and complete the villuppATTu! On the day of the event I kept the manuscript before Mahaswamy's holy presence, and as I conducted the concert in the satas, PeriyavargaL himself attended and blessed, while I, who sat on the stage at a little distance, raised my hands and joined my palms as one worships a temple gopuram (tower). The villisai that started on that day is being heard loudly till today in our and foreign countries.
In the concert on that day I sang a song praying to Goddess Kamakshi thus: "O Mother! Kamakshi Mother! I have brought an article for you, one that you don't have, only I have! And that is 'kavalai' (worry). Whereas you are the svarUpam of nimmadi (embodiment of peace). I write 'kavalai' on paper and keep it before your holy presence. With the big toe of your left foot, you rub the middle letter 'va' from among the three letters of that word! After that I shall read it again--and it would be 'kalai (art)! Give me your blessings to foster that art!"
Sri Maha SwamigaL who keenly observed this song, called me, asked his people to honour me with a silk cloth, raised both his hands and gave his words of blessings: "Kamakshi has rubbed that 'va'! Only 'kalai' from now on! You foster it well!" I was thrilled that Mother Kamakshi herself opened her holy mouth and talked to me!
A new turning in my life from that day onwards! And that a holy turn! Many chances of performing the villuppATTu concert in Kanchi under the sponsorship of SriMaTham! I wouldn't say that this art was fostered because I sang; as the villisai is being heard by the holy ears of Sri Maha SwamigaL, the art sprouted leaves, branches and prop roots (vizhudu) and is growing now in mahonnatam (in a grand manner)!
*** *** ***
The flute and the music of the bow
On these occasions of my villisai concerts going on in Sri Sankara Mandapam of Sri Mahaswamy and doing its work (of spreading dharma), at the end of a concert, in the scene of my receiving prasAdam from SwamigaL, he would give me a sethi (advice); in that advice, panmukha medhA vilAsam (his many-faceted display of knowledge) would shine brilliantly!
Once he asked me: "Is playing a flute there in your villuppATTu concerts?"
The reply I submitted for this question with great humility: "Isn't this an art from Tirunelveli? Since the people of our area have an opinion that the flute is an North Indian instrument, we don't have it played in our troupe, so I don't add the flute."
For this, Maha SwamigaL gave a pithy response: "Yes, yes! That is only the vAdyam of Sri Krishna Paramatma!"
The spark struck me as I heard these words! We labour under the illusion of directions North and South; whereas Maha SwamigaL is immersed in it as the vAdyam of Sri Krishna!
This is the difference between us and him. Pure thoughts of the Dvapara Yuga he has; only Kali Kala thoughts for us!
That same day, I gave a debut to this thought in in the Kanchi Stage in my concert!
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