“Sree Subrahmanya Bhujangam” composed by Sree Aadisankara
(P.G.Krishnamoorthy, author of commentary In English on the composition)
The place and prominence assigned to Lord Kaartthikeya (Subrahmanya) in Hindu Mythology are unique and great. Ancient literature, both in Sanskrit and Tamil, on this deity is eloquent on this aspect. Skaanda puraanam, Kacchiappa Sivaachaaryar’s rendering of the epic in Tamil, Arunagirinaathar’s Thiruppugazh and a host of compositons (Sthalapuraanams) relating to the Lord who is the main deity in many temples in South exemplify this.
Aadi Sankara, though, he was the proponent of the Advaitha philosophy, and authored many commentaries on Upanishads and works of the highest order of philosophy, also encouraged the Bhakthi cult as the easiest way to approach and be close to the Almighty. He is acclaimed as the “Shanmatha sthaapaka” and has produced a large number of nectar-like sweet verses on various deities and even the rivers considered as sacred by Hindus, for the benefit of the common man. In this, probably he has followed Lord Krishna’s concise and clear advice to Arjuna through verse 55 of chapter 18 of Bhagavathgeetha – “Bhakthya maamanujaanathi yaaavan yaschaasmi thathvathah/ Thatho maam thathvatho gjnaathva visathe thadanantharam”. Appearing at the conclusion of fairly complicated dialogues and discourses on philosophical aspects, this verse is significant.
Sankara has also defined the term Bhakthi and given a classic example in verses 61 (“Ankolam Nijabeejasanthathi …… Sa bhakthirithyuchyathe”) and 63 (“Maargaavarthitha paaduka……Vanacharo Bhakthaavathamsaayathe”) of “Sivaanandalahari”.
“Sree Subrahmanya Bhujangam commands a special status among Sankara’s Bhakthi sthothras. It may be because Sankara himself experienced the power of alleviation of sufferings which this avathara manifested in his case. The legend is that when Sankara’s reputation as a scholar and debator par excellence was soaring, a rival’s black magic caused him unbearable pain and at Lord Gokarneswara’s direction, he worshipped Lord Subrahmanya at the temple at Tiruchendur on the sea shore in Tamil Naadu and got instant relief. Or it may be that Sankara desired to stress the fact that the Lord, taking Avathara as six sparks from Lord Siva’s eyes, represents the gross as well as the finest and most sublime principles and hence He is accessible to all strata of society, showering his benign blessings and protection equally on all those who approach Him, whether casually for removal of specific problems or as staunch devotees for the sole purpose of proximity to Him (verse 27 of Subrahmanya Bhujangam).
The 33 verses are exquisitely structured and flow from theme to theme effortlessly and elegantly, which Sankara attributes to the power of the effulgence that permeates his heart as he contemplates on the Lord. Rarely has Sankara commenced a composition with an invocation to Lord Ganesa as in this case. This itself shows the importance which Sankara attaches to this composition. The very first verse on Lord Subrahmanya (third verse seriatim) highlights the inner significance of Subrahmanya avathaara as the essence of “ Mahaavaakyas” namely “Pragjnaanam Brahma”, “Ayamaathma Brahma, “Thatthvamasi” and ”“Aham Brahmaasmi”, which identify the Aathma or soul with Brahman.
Description of the Lord’s beautiful form “Paadaadikesam” (from his feet to his crown) in verses 8 to 17 and the next verse on Lord Siva embracing Him affectionately, are both emotionally touching and philosophically lofty. Verse 19 gives the 11 names of the Lord, chanting of which takes one close to Him and ensures His unfailing and constant protection and alleviation of the threefold sufferings, namely, Aadhyathmika, Aadhibhouthika and Aadhideivika. This and verse 23 give the clue to control the mind ravaged by earthly sentiments, like anger, lust, greed, ego , while verse 26 spells out the method of concentrating one’s faculties on the Lord, for which one requires support from his family and freedom from disturbing pests and diseases -- again, factors that only the Lord can grant-vide verses 28 and 29. The concluding verses are prayers for forgiveness for all the sins committed, surrender to the Lord and praising His Glory as well as statement of the benefits arising from chanting the verses.
I have experienced the hand of Divinity guiding me while writing the commentary. The appreciation expressed by scholars should therefore legitimately go to the Lord Himself, who made me the instrument to write it.
Subrahmanyogm Subrahmanyogm Subramanyogm!! Om SaanthisSaanthisSaanthih!!!
(P.G.Krishnamoorthy, Retired Dy.Chief Officer, Reserve Bank of India, 8A/12, Brindavan, Thane West-400601, Maharashtara State)
(P.G.Krishnamoorthy, author of commentary In English on the composition)
The place and prominence assigned to Lord Kaartthikeya (Subrahmanya) in Hindu Mythology are unique and great. Ancient literature, both in Sanskrit and Tamil, on this deity is eloquent on this aspect. Skaanda puraanam, Kacchiappa Sivaachaaryar’s rendering of the epic in Tamil, Arunagirinaathar’s Thiruppugazh and a host of compositons (Sthalapuraanams) relating to the Lord who is the main deity in many temples in South exemplify this.
Aadi Sankara, though, he was the proponent of the Advaitha philosophy, and authored many commentaries on Upanishads and works of the highest order of philosophy, also encouraged the Bhakthi cult as the easiest way to approach and be close to the Almighty. He is acclaimed as the “Shanmatha sthaapaka” and has produced a large number of nectar-like sweet verses on various deities and even the rivers considered as sacred by Hindus, for the benefit of the common man. In this, probably he has followed Lord Krishna’s concise and clear advice to Arjuna through verse 55 of chapter 18 of Bhagavathgeetha – “Bhakthya maamanujaanathi yaaavan yaschaasmi thathvathah/ Thatho maam thathvatho gjnaathva visathe thadanantharam”. Appearing at the conclusion of fairly complicated dialogues and discourses on philosophical aspects, this verse is significant.
Sankara has also defined the term Bhakthi and given a classic example in verses 61 (“Ankolam Nijabeejasanthathi …… Sa bhakthirithyuchyathe”) and 63 (“Maargaavarthitha paaduka……Vanacharo Bhakthaavathamsaayathe”) of “Sivaanandalahari”.
“Sree Subrahmanya Bhujangam commands a special status among Sankara’s Bhakthi sthothras. It may be because Sankara himself experienced the power of alleviation of sufferings which this avathara manifested in his case. The legend is that when Sankara’s reputation as a scholar and debator par excellence was soaring, a rival’s black magic caused him unbearable pain and at Lord Gokarneswara’s direction, he worshipped Lord Subrahmanya at the temple at Tiruchendur on the sea shore in Tamil Naadu and got instant relief. Or it may be that Sankara desired to stress the fact that the Lord, taking Avathara as six sparks from Lord Siva’s eyes, represents the gross as well as the finest and most sublime principles and hence He is accessible to all strata of society, showering his benign blessings and protection equally on all those who approach Him, whether casually for removal of specific problems or as staunch devotees for the sole purpose of proximity to Him (verse 27 of Subrahmanya Bhujangam).
The 33 verses are exquisitely structured and flow from theme to theme effortlessly and elegantly, which Sankara attributes to the power of the effulgence that permeates his heart as he contemplates on the Lord. Rarely has Sankara commenced a composition with an invocation to Lord Ganesa as in this case. This itself shows the importance which Sankara attaches to this composition. The very first verse on Lord Subrahmanya (third verse seriatim) highlights the inner significance of Subrahmanya avathaara as the essence of “ Mahaavaakyas” namely “Pragjnaanam Brahma”, “Ayamaathma Brahma, “Thatthvamasi” and ”“Aham Brahmaasmi”, which identify the Aathma or soul with Brahman.
Description of the Lord’s beautiful form “Paadaadikesam” (from his feet to his crown) in verses 8 to 17 and the next verse on Lord Siva embracing Him affectionately, are both emotionally touching and philosophically lofty. Verse 19 gives the 11 names of the Lord, chanting of which takes one close to Him and ensures His unfailing and constant protection and alleviation of the threefold sufferings, namely, Aadhyathmika, Aadhibhouthika and Aadhideivika. This and verse 23 give the clue to control the mind ravaged by earthly sentiments, like anger, lust, greed, ego , while verse 26 spells out the method of concentrating one’s faculties on the Lord, for which one requires support from his family and freedom from disturbing pests and diseases -- again, factors that only the Lord can grant-vide verses 28 and 29. The concluding verses are prayers for forgiveness for all the sins committed, surrender to the Lord and praising His Glory as well as statement of the benefits arising from chanting the verses.
I have experienced the hand of Divinity guiding me while writing the commentary. The appreciation expressed by scholars should therefore legitimately go to the Lord Himself, who made me the instrument to write it.
Subrahmanyogm Subrahmanyogm Subramanyogm!! Om SaanthisSaanthisSaanthih!!!
(P.G.Krishnamoorthy, Retired Dy.Chief Officer, Reserve Bank of India, 8A/12, Brindavan, Thane West-400601, Maharashtara State)
Thank you sir for the great post !!
ReplyDeletethank you very much Sir! for your valuable guidance
ReplyDeleteSir, humbly request you to not use the word mythology, instead use scripture. Regds
ReplyDeleteThank you for your guidance to read this sloka.
ReplyDeleteNamaskaram, thank you kindly for posting the excerpt from your commentary. Kindly provide more information on on the Bhakti and Sharanagati to Lord Muruga from the verses of Subramanya Bujangam.
ReplyDelete