PRECEPTORS OF ADVAITHAM PART 10 10 24 CONTD KR IRS NISCHALADASA
*by* V. L. Sethuraman M.A. Niśchaladāsa, a veteran saint and Vedāntic scholar of the early period of the Nineteenth Century, has written a remarkable and beautiful treatise on Advaita philosophy, by name *Vichāra-sāgara.* This has been written by him in Hindi, the language of the place where he lived. This work deals with all the topics relevant to the realization of the real nature of Ātman. All the tenets of Advaita have been propounded in strict conformity to the texts on Advaita Vedānta, particularly the *Pañchadaśī.* The work has become popular not only because its exposition of difficult themes in Advaita is both lucid and facile; but also because it is useful to those who are not conversant with Sanskrit language, grammar, and literature and who know only Hindi. Its style is also elegant. Further one of the best ways of bringing home the truth of Vedānta, namely, the conversational method has been adopted by the author in this work. The work has seven divisions called *taraṅgas* or waves, appropriately to the title *Vichāra-sāgara.* Sādhu Niśchaladāsa composed the *Vichāra-sāgara* in verse form. It contains 527 *Kārikās or* verses divided into seven *taraṅgas.* Śrī Pītaṃbaraji has written a *ṭīkā,* being a commentary on the *Kārikās* of Śrī Niśchaladāsa. The *ṭīkākāra* himself has written detailed notes called *ṭippaṇa* on the *Vichāra-sāgara* along with the *ṭīkā.* The Lahore edition (1938) of the *Vichāra-sāgara* contains three parts. The first is the original work, namely the *Kārikās* of Śrī Niśchaladāsa. The second is the *ṭīkā* written on the original *Kārikās,* and the third, namely *ṭippaṇa* being the detailed notes on the original *Kārikās* of *Vichāra-sāgara* and its *ṭīkā* . True to his name, Niśchaladāsa wrote this monumental work out of a firm and unshakable conviction about the one and only reality of Brahman. Not many details are available of the life history of Niśchaladāsa. A short and beautiful account of him given in the Lahore edition of the text (1938) with its *ṭīkā and ṭippaṇa* reveals that he was a great saint and a sound scholar in Advaita Vedānta. He was well versed in the Vedas, and had a clear knowledge of *Vyākaraṇa, Nyāya, Sāṃkhya, Yoga,* and other philosophical systems. Niśchaladāsa has himself stated in this work that he composed it in Hindi to enable laymen who did not know Sanskrit to understand Advaita easily. He composed this work at Kihadouli, a village which is situated 18 *krośas* from Delhi. He is also the author of the great work called *Vṛtti-prabhākara.* Till his 70th year, he was said to be moving in all the nooks and comers of India and leading the life of a student, philosopher, teacher and expounder of the tenets of *Adhyātma Śāstra.* He died in 1864 A.D. in a village near Delhi. His family preceptor was the great Dādhuji.[1] <https://www.wisdomlib.org/hinduism/book/preceptors-of-advaita/d/doc62916.html#note-e-32945> The contents of the *Vichāra-sāgara* can be summed up as follows. The first *taraṅga* or wave, starts with the benedictory verse extolling the unity of *jīva* and Brahman. The greatness of the work, the four-fold essentials of a work, namely the *adhikāri* the *saṃbandha,* the *viṣaya* and the *prayojana,* the three means of realizing Ātman, namely *śravaṇa, manana,* and *nididhyāsana,* the indirect means to obtain the real knowledge, the direct means to know Brahman, are all dealt with in the first wave. The four-fold essentials which are mentioned in the first wave are once again established in the second wave, after meeting satisfactorily the incidental doubts. The pūrvapakṣin here raises an objection. Since each and every type of misery can be removed by a distinct means, there will be no necessity for the knowledge of Brahman to nullify miseries. Further the desire for an object comes to one only when the object is already known to him, and since Brahman is not at all known previously, one could not have any desire at all to know about it. The difference between *jīva* and Brahman is well-known, and so they are two distinct things. Bondage is true, since there are no valid reasons to admit the idea of superimposition, and bondage can be removed by *karma* alone. So what is the use of studying this Vedāntic text? This objection is answered thus: misery cannot be uprooted by anything except the knowledge of Brahman. Bondage is unreal, and this cannot at all be removed by any karma, but only by *Ātmajñāna.* So the *prayojana* or the usefulness of the work is established. And, thus *anubandha-chatuṣṭaya* is established fully in the second wave. The qualifications and characteristics of preceptor and pupil are given in the third wave. A student must go in search of the preceptor, obey his commands, do the utmost service to him, and propitiate him by all means. This alone will be the means of getting the true knowledge of the Ātman. The methods of propitiating the preceptor are laid down in this chapter. The knowledge of Ātman may also come from the Vedas and works based upon them, even though they are not real. These are all dealt with in this wave. The best and the most commendable method of infusing the difficult tenets of philosophy into the minds of the pupils is to convey them in the form of dialogue set in the background of a story. This method has been adopted in the succeeding waves. For example, knowledge of Brahman is imparted through the following story. A king by name Śubhaśānti, desirous of seeking the knowledge of the Ātman, wanted to entrust the kingdom to his three sons, Tattvadṛṣṭi, Tarkadṛṣṭi and Adṛṣṭi, and go to the forest. When the three sons came to know about his intention, they themselves started first in quest of real learning. They roamed in several places and finally came to the vicinity of a great sage who was teaching his disciples on the banks of the Ganges, and became his disciples. Thereupon they obtained the true knowledge from their preceptor. In the fourth wave, the *Uttamādhikāri,* Tattvadriṣṭi, got his doubts cleared by the preceptor. There is a detailed exposition of the identity between *jiva* and Brahman, the knowledge of which is the destroyer of sorrow and the cause of the attainment of bliss. The world is not real just like the serpent appearing in a rope. How does a rope appear as snake? This has been clearly explained in this wave. The theory of error *(khyātivāda)* also has been explained here. As regards the non-difference of *jīva* and Brahman several objections have been raised and answered. The author finally establishes in this wave that the knowledge of Brahman can be attained directly from the Vedas and the instructions of a teacher. The fifth wave starts with the conversation between the *Madhyamādhikāri* by name Adṛṣṭi and the preceptor. He starts by raising this point that the teach *i* ngs of the preceptor and Vedas are false, and by means of these false things, how will the universe disappear? This has been answered thus. A person who has been seemingly affected by poison in his dream or obsession which is not real, really feels pain and gets also the aftereffects. From letters which are not real, we get the real knowledge. >From the reflection of the image which is not real, the knowledge of the real object i.e. the original is obtained. In the same way we can get the real knowledge of Brahman from the Vedas even though they are not real. Further, a good dream as well as a bad one, even though they are not real come true at times.[2] <https://www.wisdomlib.org/hinduism/book/preceptors-of-advaita/d/doc62916.html#note-e-32946> So the knowledge of Brahman can be got from the Vedas and the teachings of the, preceptor. The nature of *jīva*, *Īśvara,* and *māyā, sūkṣma dṛṣṭi, sthūla dṛṣṭi,* the nature of the five *kośas,* the creation and destruction of the universe, *praṇavopasānā,* etc., are all dealt with in this wave. In the next wave Tarkadṛṣṭi, the *kaniṣṭādhikāri* raises objections regarding the identity of the two states, namely, the waking state and the state of dream. The preceptor establishes the similarity of the two states. The other points that are dealt with in this wave are: the individual soul is identical with Brahman which is free from birth and death and which is of the nature of existence, consciousness, and bliss; Brahman associated with *avidyā* is the source of the universe; the intuitive knowledge of Brahman alone is the means to liberation. In the seventh wave, the characteristics of a person who has obtained the knowledge of Brahman are described. The eight limbs of *yoga,* namely, *yama, myoma, āsana, prāṇāyāma, pratyāhāra, dhāraṇā, dhyāna* and *samādhi* are all defined and described in detail. The Vedas and Purāṇas are the means of realising the one and only reality, namely, Brahman. The Vedas, the Upavedas, the Purāṇas, the Upapurāṇas, the ṣaḍaṅgas, and other śāstraic texts have non-dualism as their main theme, and these works are mentioned so that they may be treated as authority in establishing this system of philosophy. In this wave, Tarkadṛṣṭi after having asked a number of questions, comes to the conclusion that all Śāstraic texts are the means to obtain the intuitive knowledge. Finally he becomes the preceptor of his father Śubhaśānti and clears his doubts. Thus all of them attain to the supreme human end. Thus the tenets of Advaita philosophy are conveyed in these seven waves of this work with charm and elegance. This work has been translated into Sanskrit and Tamil, and it is indeed very useful to the students of Advaita philosophy. Zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz TANDAVARAYAR *by* T. P. Meenakṣisundaram M.A., B.L., M.O.L. Tāṇḍavarāya Svāmikal is very popular among the Advaitins of Tamil land whether literate or illiterate. His famous work in Tamil *Kaivalya-navanītam* (Butter of Kaivalya-Mokṣa) is so named as the author himself explains, because he has taken the cream of wisdom from the various pots of milk of jñāna entrusted to succeeding generations by the great sages and seers of this sacred land. Its language is so simple and its exposition is so concrete and full of homely illustrations, that it is so popular amongst even the illiterate men and women of Tamil land. Many a widow and many an old man forget the miseries of this world and immerse themselves in the joy of this knowledge. It is popular in the Kerala country and also on the borders of the Andhra deśa. In addition, there is a popular translation in Malayalam almost echoing the words and phrases of the original. When in the last century somewhere in 1865, Murdock published for the first' time a classified catalogue of Tamil printed books he assured us that this book was one of the highest authorities on Śaṅkara’s Vedānta in the Tamil land. There is also a translation in Sanskrit with the same name by one Śaṅku Kavi. This Śaṅku Kavi states that he is a disciple of Kriṣṇānanda whom some identify with Kriṣṇānanda the author of *Siddhānta-siddhāñjana.* The German Missionary Dr. Graul considered this so very important as to be translated into German language. The Ramaṇāśrama has sponsored a translation into English thus placing this book before the International audience. Tāṇḍavarāya Svāmikal was called Tāṇḍava or Tāṇḍavamūrti by his parents as is made clear by himself. He speaks of Venkaṭeśa Mukundan as his Guru. But this refers to Viṣṇu, the lord of Venkata hills. At the end of the book he speaks of Niraṇaguru of Nannilam, a place in the Tanjore district. In the first verse of his work he uses Nannilam as referring to the highest of *Sapta bhūmis* in the spiritual ascent. In another verse the poet tells us that this Nārāyaṇa or Nāraṇa had come to reveal to the author the truth in the latter’s yogic state. The Malayalam translation will explain it as the Guru revealing in the dream of the student. The author has described how he has himself through the teachings of his Guru attained to the state of jīvan-mukta. The book consists of two parts, one *tattvaviḷakkappaṭalaṃ* where the Vedānta truth is expounded and the second *sandeham telidal paṭalam* where various doubts which arise are cleared. He states that this book is intended for those who were not so intelligent as to be able to read the Śāstras. This book starts with a person who has achieved the *sādhana chatuṣṭaya* and who thereafter rushes away from the world to his Guru who welcomes him with joy. The Guru tells him that as soon as he knows himself he will be a free man. Naturally the disciple raises tbe question “Do not I know myself?” The Guru begins to explain the difference between the body and the one who has the body. Through various examples the Guru convinces the student that the latter is not the body and proceeds to explain in a gross way by speaking of *ārōpa* which is the real *bandha* where one sees something else. *Apavāda* is the removal of this *āropa* and is therefore really *mokṣa.* The real Brahman is mistaken for this world of the body in the *āropa* state. The Guru thereafter described the evolution of the world emphasising at every step the *jīva* in tha body and Īśvara in the Universe. The *samaṣṭi* outlook leads us to Īśvara: *vyaṣti* outlook leads us to *jīva.* If this *āropa* of evolution is analysed according to the śāstras, *mokṣa* will result. But one who cannot realise this is advised, to reduce the series of effects into the series of causes. This *āropa* consists of two śaktis, one which creates illusion *—vikṣepa śakti* and the other *āvaraṇa śakti* which hides the real truth. The *ādhāra* or the basis, consists of two parts, what is common to all and what is special. What is common is the meaning of what we denote by the usage of the word “this”. This never disappears. What is predicated of this is what is special and this will certainly disappear at the dawn of knowledge. What really is, is the Brahman. When this is hidden *jīvātmā* appears. When this disappears then Brahman will be realised. The various illusions may even lead to salvation and then disappear along with others. You burn a corpse with a burning stick, but finally the burning stick is also reduced to ashes. Therefore the *vikṣepa* is not so bad as *āvaraṇa* which hides the truth. *Māyā* has to be removed by *māyā* itself. The Guru continues to describe the five avasthas and gives us the story of the *daśaman* or the tenth man found out after crossing a river. Then begins the discussion about the meaning of mahāvākya. The identity of *jīva* with Brahman is asserted through *bhāgatyāga*-*lakṣaṇā.* Thus the student realises the ānanda of this unity. Tāṇḍavarāya follows Vidyāraṇya’s exposition. We are told that this book has really helped many a thirsting soul to drink deep of the Advaita truth. If Kṛṣṇānanda belongs to the eighteenth century Tāṇḍavarāyar must be earlier and people see a reference to this book in Tāyumānavar’s verses. Tāyumānavar belongs to the seventeenth century and if the above assumption is correct this book could not be later than the early half of the sixteenth century. Zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz POTANA *by* D. Ramalinga Reddiar M.A, B.L. In the history of Telugu literature, old and medieval, we find several great poets who have enriched the language with their works. But there are only a few poets who are remembered by a grateful public even to-day. Among them, Bammera Potana is perhaps the most outstanding poet. Bammera is his surname and this is the village in which he was born. Though some scholars may not agree, it may be said that this village is located near Warangal in Telengana (Hyderabad area). Warangal is also known as Orugallu in Telugu and Ekasilānagara in Sanskrit. Bammera Potana is said to have flourished in the 15th century A.D. We do not know much about the details of his life; but several interesting stories dealing with his life and work are current in the Telugu country. However, the following details can be given with an amount of certainly. Potana was not rich. He led a humble and pious life. His parents were Kesana and Lakkamaṃbā. It is said he lived on agriculture, rejecting the riches offered by the kings. As a result, Potana had to face the wrath of a king by name Sarvajña Singabhūpāla. The King wanted Potana to dedicate his *Bhāgavata* to him; but Potana refused to do so and he dedicated the work to his favourite God, Śrī Rāma. This clearly brings out the great quality in him. Even though he was poor, he never cared for the riches or the patronage of the kings. It is also unfortunate that we do not know much about his educational attainments. He has called himself ‘*Sahaja Paṇḍita*’ which means ‘one who has self-acquired scholarship’. In the colophon, it is mentioned as follows: *sahaja pāṇḍitya pōtanāmātya praṇītambaina.* >From this, it is evident that he did not study under any great scholar of the day. He might have acquired scholarship by self-study. Whatever the truth might be, it can be said that Potana was a great scholar well-versed in both Sanskrit and Telugu. He had such a mastery over the Telugu language that he used several expressions with consummate skill. Potana is said to have written the following works in Telugu: 1. *Vīrabhadra-vijayamu* 2. *Nārāyaṇa-śatakamu* 3. *Bhoginī-daṇḍakamu* 4. *Mahābhāgavatamu* Of die above, *Bhāgavatam* is definitely the most celebrated work. *Vīrabhadra-vijayam* is a poem of four cantos containing 1046 verses and prose passages. This deals with the well-known story of Dakṣayajña. It is believed that this poem must have been composed by the poet in his teenage. Still it does not lack vigour, or poetic beauty. Potana is famous for his sweet and melodious poetry. Though he has used a considerable number of Sanskrit compounds, they are at once sweet and pleasing to the ear. His style, though at some places appears to be flamboyant, arrests the attention of the reader. He is quite popular with the pandit and peasant as well. This is evident from the fact that even the unlettered recite some of the stanzas from his works. Potana is a people’s poet. Among all the works of Potana, his *Mahābhāgavatam* deserves special mention. It is due to this immortal work, that he is remembered with great respect even to-day. It is interesting to note that several later poets had paid their profound respects to Potana. It is also worthy to note that only in Telugu country *Mahābhāgavatam* is read with interest and reverence. Even in Telugu, *Mahābhāgavatam* would not have attracted the reader had it been written by some one other than Potana. This is enough to prove that Potana was a great poet. Besides, he was a true devotee of Rāma. His sincere devotion to God, his sweet poetry, and above all his pious, humble, and independent life are also responsible for the popularity of the *Mahābhāgavatam.* It is really astonishing to find in one and the same person, namely Potana, true devotion and genuine poetry. Let me quote a stanza from his *Bhāgavatam* to indicate his style: *mandāra makaranda mādhuryamunodelu madhupaṃbhu pobhun madanamulaku nirmala-mandākini nelakalādhāgu rayam cha chanuntaraṃginalaku lalitarasāla pallavikādi yai choku koyila seruṇe kuṭajamulaku, pūrṇendu chandrikā sphuritā chakoraka inaruguṇe saṃdṛṇi hāramulaku* In the introductory verses in the *Mahābhāgavatam,* he says as follows: *palikeḍidi bhāgavatamaṭa palikumbeduvāḍu rāmabhadruḍaṭa ne palikina bhavahara magunaṭa* ‘It is Rāma who prompts me to write the *Bhāgavatam*. I shall not write anything other than this story’. In the colophon also, he says: “*Śrī Paramēśvara karuṇākalitakavitā. . . .* ” Such was the humility and true devotion of Potana! Though *Bhāgavatam* is generally regarded as Potana’s work, he is not the author of the entire work. He was helped by three other poets — Gaṅgana, Siṅgana and Nāraya. Of these, Nāraya seems to be the disciple of Potana. It should be remembered that the major portion of the work was written by Potana himself and that it is the best part of the poem. Potana’s *Bhāgavatam* is not a mere translation of the original Sanskrit *Bhāgavata.* The size of the Telugu version is almost the double of the original. Besides following the original, Potana drew from the commentaries also whatever that could be given to the reader. Further, he included the different stories relating to Śrī Kṛṣṇa as found in *Harivaṃśa, Viṣṇu Purāṇa,* and other works. Whenever he got an opportunity, Potana, out of his abundant devotion to the Almighty, composed several verses in His praise. Thus the Telugu version contains several additions which are not found in the original As already mentioned, Potana’s *Bhāgavatam* is very popular in the Telugu country. Especially, stories like *Kuchelopākhyānam, Gajendramokṣam* and *Rukmiṇī Kalyāṇam* are very popular and are being widely read. Some of the beautiful verses like ‘*ala vaikuṇṭhapurambulō*’; ‘*śirikiñjeppaḍu* . . .’ ‘*lāvokkintayuledu* . . .’ ‘*Ghanuḍābhūsuruḍegeno* . . .’ can be easily compared with the best pieces written in any language. The above stories as depicted by Potana can be recommended for translation into other languages. The popularity of the *Bhāgavatam* can be well gauged from the fact that more than three hundred manuscripts are available in the libraries like Govt. Oriental Manuscripts Library, Madras, Tanjore Sarasvatī Mahal library and the library of the Telugu Academy, Kākināḍa. *Bhāgavatam* has been printed several times; the first edition was brought out in 1840 by Vedam Vekatachala Sastri; the latest being that of Andhra Pradesh Sahitya Akademi, Hyderabad. The National Book Trust has brought out a book in Telugu on Potana by Śrī N. Venkata Rao. Several well-known writers, past and modem, have written and published valuable articles on various aspects of the *Bhāgavatam.* All these will clearly show that this classic has attracted the writers and the readers alike. Though we find the element of Bhakti in almost all stanzas in the *Bhāgavatam,* we find at some places the elaborate description of a particular type of Bhakti, namely *dāsya-bhakti* or m *adhura-bhakti.* For instance, *madhura-bhakti* can be well seen and appreciated in the *Bhramara Gītalu* or *jala krīḍā* in the Tenth Canto. The passages relating to the Gopikas searching for Lord Kṛṣṇa are at once poetic and beautiful. One cannot but quote this verse in this connection. *punnāga kāṇave punnāgavaṃditu dhilakaṃba kāṇave dhilakanitula ghanasāra kāṇave ghanasāra śobhitu bandhuka kāṇave bandhumitra manmata kāṇave manmatā kāruni vaṃsaṃba kaṇave vaṃsadharuni* In the story of *Rukmiṇī Kalyāṇam* Potana describes in detail the two sentiments — *śṛṅgāra* and *bhakti.* To a casual reader, it would appear that in the hands of Potana *śṛṅgāra* got the upper hand. But a careful study of the story would reveal the fact that *bhakti* is the end of *śṛṅgāra* and that Potana has proved this in unmistakable terms. Rukmiṇī writes a beautiful letter to Kṛṣṇa wherein she sought the Lord’s help in fulfilling her desire. At one place, she says ‘What use is there of these ears if I could not hear your sweet words?’ This can be interpreted as a devotee’s prayer to the Almighty. We also find in some places the Advaitic approach. Without referring to Rāma or Kṛṣṇa, Potana addresses the Almighty in some verses. The following stanza may be quoted in this connection: *yavvaniche janiñchu jagame’vvani lapolanunḍu līnamai(?) yavvaniyundu ḍindu parameśvaruḍevvado.* This can be regarded as the universal prayer. Potana believes in the existence of one God, Īśvara, though Rāma is his personal and favourite God. This has been well illustrated in the story of Gajendra. Gajendra, the mighty elephant, was caught by the cruel crocodile and he suffered a lot. The elephant tried his best to get to the shore; but he could not. Potana compares this state of helplessness of the elephant to that of a man *(dehī)* who is encircled by the illusion *(moha)* and is unable t'o get rid of it Naturally, he then turns his eyes to the Almighty, the most powerful, and seeks His help. Potana in the following stanza describes the state of helplessness of the man and his complete surrender *(śaranā-gati)* to God. *lāvokkintayu lēdu dhairyamu vilolaṃbaiyye, Prānambulun ṭhāvul dappenu, mūrccha-vacce tanuvunḍassen śramaṃbayyaḍin nīvetappa itaḥ paraṃ beruga mannimpan dagundīnunin rāve īśvara, kāvave varada saṃrakṣiñcu bhadrātmakā.* In conclusion, it may be said that Potana, through his immortal work, has popularised the Bhakti movement and the Advaitic thought among the devotees, particularly the Andhras. k Rajaram IRS XXXXIV Zzzzzzzzzzzzzzzzzzzzzzzzz -- You received this message because you are subscribed to the Google Groups "Thatha_Patty" group. To unsubscribe from this group and stop receiving emails from it, send an email to [email protected]. To view this discussion on the web visit https://groups.google.com/d/msgid/thatha_patty/CAL5XZoqBUOYQAgBiU%3DsTQxtOm-tpN_0tknqt2z56%3DxUqcXq69Q%40mail.gmail.com.
