Hayagreeva Jayanti

By Shri Kesava Rao & Smt.Meera Tadipatri
Rangoli by Smt.Padmini Rao,Coimbatore


Upakarma Significance
 Kritis on Shri Hayagreeva Devaru
Lyrics
Madhu Vidye by Smt.Meera Tadipatri
Shri Hayagreeva Rupa Chintane based on Shri Bannanje GovindAcharya's pravachanas.
jeeva- liMgani -- ruddha- sthoola ka- | LEva-ragaLali -- vishwa- turaga- |greeva- moolE -- shaacyu-ta traya -- haMsa-moortiga-La ||ee- vi-dha catuH -- sthaana-dali shaaM- | teeva-rana ee -- reraDu- roopadi |bhaavi-suvudE -- kOna- viMshati -- moorti- sarva-tra || 7-3 ||

 Hayagreeva in Dashavatara Stuti - audio by Shri Kesava Rao Tadipatri
Verse 2

खण्डीभ – वद्बहुळ – डिण्डीर - जृम्भण सु - चण्डीकृ - तोदधिम - हा ।
काण्डाति - चित्रगति - शौण्डाद्य - हैमरद – भाण्डाप्र - मेय चरि - त ।
चण्डाश्व - कण्ठमद - शुण्डाल - दुर्हृदय – गण्डाभि - खण्डकर - दोः।
चण्डाम - रेश हय – तुण्डाकृ - ते दृशम – खण्डाम - लं प्रदिश - मे ॥ २॥

ಖಂಡೀಭ - ವದ್ಬಹುಳ -- ಡಿಂಡೀರ - ಜೃಂಭಣ ಸು -- ಚಂಡೀಕೃ - ತೋದಧಿಮ -- ಹಾ |
ಕಾಂಡಾತಿ - ಚಿತ್ರಗತಿ -- ಶೌಂಡಾದ್ಯ - ಹೈಮರದ -- ಭಾಂಡಾಪ್ರ - ಮೇಯಚರಿ -- ತ |
ಚಂಡಾಶ್ವ - ಕಂಠಮದ -- ಶುಂಡಾಲ - ದುರ್ಹೃದಯ -- ಗಂಡಾಭಿ - ಖಂಡಕರ -- ದೊ\-
ಶ್ಚಂಡಾಮ - ರೇಶಹಯ -- ತುಂಡಾಕೃ - ತೆ ದೃಶಮ -- ಖಂಡಾಮ - ಲಂ ಪ್ರದಿಶ -- ಮೇ || 2||

khaNDIbha - vadbahuLa -- DiNDIra - jR^imbhaNa su -- chaNDIkR^i - todadhima -- hA  |
kANDAti - chitragati -- shauNDAdya - haimarada -- bhANDApra - meyachari -- ta  |
chaNDAshva - kaNThamada -- shuNDAla - durhR^idaya -- gaNDAbhi - khaNDakara --  do\-
shcaNDAma - resha haya -- tuNDAkR^i - te dR^ishama -- khaNDAma - laM pradisha -- me || 2||
The second verse describes Paramatma’s avatAra of Hayagriva, who takes the form of a horse to punish the demon HayagrivAsura.

The anvaya, or sentence structure, is as follows:
 khaNDIbhavad-bahuLa-DiNDIra-jR^imbhaNa-suchaNDIkR^ita-udadhi-mahAkANDa-ati-chitra-gati-shauNDa ! Adya !  haimarada bhANDa ! aprameya charita ! chaNDa-ashvakaNTha-mada-shuNDAla-durhR^idaya-gaNDa-abhikhaNDa-karadoH ! chaNDa ! amaresha ! haya-tuNDAkR^ite ! me akhaNDa-amalaM dR^isham pradisha.

 This structure shows how the sentences of the verse are formed, where the exclamation marks at the end of each sentence emphasize how Vadirajaru addresses Narayana in various ways throughout the stuti.
 The central verb of this verse comes at the end of the verse, “dR^ishamakhaNDAmalaM pradisha me,” which can be understood as “akhANDa amalam dR^isham me pradisha.”

“khaNDa” means “piece” so “akhANDa” means “the opposite of a piece,” or “something which is whole.” “akhANDa” also means “that which is unbreakable or irrefutable”. “malam” means “impurity” so “amalam” means “without impurity.”
“dRisham” means “knowledge” and “me” means “to me.” “disha” means “showing” so “pradisha” means “grant.” This is a plea to Narayana to grant us complete knowledge which is pure and can never be broken.
 The descriptors for Bhagavantha in this verse are as follows:

khaNDIbhavadbahuLaDiNDIrajR^imbhaNasuchaNDIkR^itodadhimahA kANDAti chitragati shauNDa (can also be separated as

“khaNDIbhavadbahuLaDiNDIrajR^imbhaNasuchaNDIkR^itodadhimahA kANDAti chitragati” and “shauNDa”)

haimarada bhANDaaprameya charita
chaNDAshvakaNThamada shuNDAla durhR^idaya gaNDAbhikhaNDakaradoH
chaNDaamaresha hayatuNDAkR^ite

 “khaNDa” means “piece” and “khaNDIbhavad” means “getting broken.” This word combined with “bahuLa” meaning “enormous amount of” refers to the froth formed from the many waves which are crashing against each other, crashing against the rocks, or crashing against the shore. The collision of these waves generates froth or foam (“DiNDIra”) and the waves are swelling and rising (“jRimbhaNa”) in the ocean (“udadhi”). This makes the ocean look very scary (suchaNDikR^itaH).

The ocean is further described as having great (“mahA”) depth (“kANDa”).  In this ocean Hayagriva has a gait (“gati”) which is very (“ati”) astonishing (“chitra”). All of this can be put together to form a bahuvrIhi samAsa which addresses Narayana.

 In Sanskrit, the case ending of words (vibhakti pratyeya) is often dropped but for the sake of explanation we can show these endings in the the vigrahavAkhya:

 DiNDIrasya jR^imbhaNena suchaNDikR^itaH (which becomes DiNDIrajR^imbhaNasuchaNDikR^itaH in the stuti)

 The first part (“DiNDIrasya jR^imbhaNa”) is shaShTItatpuruSha karmadhAraya samAsa, or the genitive/possessive case. This is used when a noun modifies another noun, as in the jR^imbhaNa of the DiNDIra. The whole line “DiNDIrasya jR^imbhaNena suchaNDikR^itaH” is tR^itIya tatpuruSha karmadhAraya samAsa, or instrumental case. This case is used for a noun that provides the means for a subject to complete an action, as in the DiNDIrasya jR^imbhaNa which makes the ocean suchaNDikR^itaH.

 The following words “udadhi mahAkANDa” can be seen as “udadheH mahAkANDa,” which will be ShaShTI tatpuruSha karmadhAraya samAsa (the mahAkANDa of the udadhi).

 The next portion of this descriptor for Narayana is “mahAkANDeShu chitragataiH” which becomes mahAkANDachitragatiH.  This is saptamI tatpuruSha karmadhAraya samAsa, or locative case. This is used to indicate a location, as in the chitragataiH in the mahAkANDa.

 Finally, we can say “chitragatiH asya asti iti” or “chitragatiH yasya saH” to create a bahuvrIhi samAsa, one who has “chitragatiH”

 Putting these pieces together we can create the complete vigrahavAkhya as below:
 khaNDIbhavad-bahuLa-DiNDIrasya jR^imbhaNena suchaNDikR^itasya udadheH mahAkANDeShu chitragatiH yasya saH

 This condenses to become “khaNDIbhavadbahuLaDiNDIrajR^imbhaNasuchaNDIkR^itodadhimahA kANDAtichitragati,” meaning “one who moves around astonishingly in the great depths of the ocean, which appears scary due to the enormous amount of froth generated from the swelling waves that break as they crash against each other, against rocks, or against the shore.”

The following word “shauNDa” means “expert” and can either be a separate descriptor for Narayana or can be combined with the previous expression to signify one who is an expert at moving around in the ocean. When combined with the prior expression, the full expression will no longer be a bahuvrIhi. In that case it will become saptamI tatpuruSha karmadhAraya samAsa, and instead of "chitragatiH yasya saH" it will become "chitragatau shauNDa." (a “shauNDa” in “chitragati”)
The vigrahavAkhya will then be as follows:

 khaNDIbhavad-bahuLa-DiNDIrasya jR^imbhaNena suchaNDikR^itasya udadheH mahAkANDeShu chitragatau shauNDa
 “Adya” means “beginning,” implying that Narayana is the beginning of everything and does not actually have a beginning Himself. The next expression for Paramatma is the bahuvrIhi “haimarada bhANDa.” “Hema” means “gold” so “haima” defines something which is made of gold. “haimarada” means “one who has golden teeth” and “bhANDa” means “structure or arrangement.” These two words combined describes Narayana as one who has well-arranged golden teeth.

How can Narayana, who is not made of matter, have golden teeth, and why would we use a description like this?
This is because we can only conceive matter, so it is easier for Vadirajaru to use a term like “gold” to help describe Narayana. Even though gold shines in a materialistic way, Paramatma has teeth that shine in a non-materialistic (aprAK^ita) way. When we mention “teeth” it does not mean that Paramatma has literal teeth, and certainly no one gave him that dental formation. Instead Paramatma creates this display as His Leela, as if He was putting on a play. This is signified by the very next expression - “aprameya.”
 “aprameya” means “immeasurable, unlimited, or beyond comprehension” and “charita” means “conduct.” Together this forms a bahuvrIhi for Paramatma, describing him as one whose conduct is inconceivable.

 “chaNDa” means “scary,” “ashva” means “horse,” and “kaNTha” means “neck,” though this implied the head. “Ashva kaNTha” describes Hayagriva, but combined with “chaNDA” this describes the scary form of Hayagriva, which is Hayagrivasura. Hayagrivasura is further described as an elephant (“shuNDAla”) that is intoxicated or arrogrant (“mada”). “durHRidaya” means “bad heart, or a heart for fighting.”

“gaNDa”(often referred to as “gaNDasthala”) refers to a specific area or pressure point on an elephant between the back of its head and its neck which is soft and is only covered by a thin layer of skin. Mahouts use the ankush or goad on the scruff of an elephant’s neck to control the elephant. Lions that hunt elephants will know to attack this weak spot of the elephant in order to defeat it. Similar to how a lion attacks the gaNDasthala of an elephant, Narayana breaks (“khaNDakara”) the heart of Hayagrivasura with his hands (“doH”).

The complete line “chaNDAshvakaNThamada shuNDAla durhR^idaya gaNDAbhikhaNDakaradoH” is a bahuvrIhi for Paramatma, signifying one who strategically breaks the bad heart of Hayagrivasura, whose name resembles Hayagriva but is actually more like a scary intoxicated elephant.

 The next word  “chaNDA” is an adjective for Narayana as One who strikes fear in his enemies. “amaresha” is the combination of “amara,” meaning “gods,” and “Isha,” meaning lord of the gods. This is an adjective for Bhagavantha as the God of all Gods. “haya” means “horse,” “tuNDA” means “mouth,” and “AkRiti” means “having Akara, or shape.”

The complete word “hayatuNDAKRiti” then becomes “one who has the mouth (which can be extended to mean “head”) of a horse,” or Hayagriva. hayatuNDAKRite is an addressing form for hayatuNDAKRiti (like "Hari" becomes "Hare").
The verse ends with “dR^ishamakhaNDAmalaM pradisha me,” which as explained earlier is a plea to Bhagavanta to grant us knowledge which is pure, whole, and unbreakable.

 Hayagreeva / Hayavadana in Shri HKS:

jeeva- liMgani -- ruddha- sthoola ka- |LEva-ragaLali -- vishwa- turaga- |greeva- moolE -- shaacyu-ta traya -- haMsa- moortiga-La ||ee- vi-dha catuH -- sthaana-dali shaaM- |teeva-rana ee -- reraDu- roopadi |bhaavi-suvudE -- kOna- viMshati -- moorti- sarva-tra || 7-3 ||

mooru- vidha ka -- rmagaLo-Lage kaM- | saari- bhaargava -- hayava-dana saM- | prEra-kanu taa -- naagi- navaroo -- paMga-Lane dhari-si || soori- maanava -- daana-varoLu vi- | kaara- shoonyanu -- maaDi- maaDisi | saara-bhOktanu -- sweeka-risi koDu -- tippa- jeevari-ge || 9-5 ||

vaasa-vaanuja -- rENu-kaatmaja |daasha-rathi vRuji -- naarda-namala ja- |laasha-yaalaya -- hayava-dana shree -- kapila- narasiM-ha ||eesu- roopada -- lavara-vara saM- |tOSha-baDisuta -- nitya- sukhamaya |vaasa-vaagiha -- hRutka-maladoLu -- biMba-neMdeni-si || 9-21 ||

jaya ja-ya jayaa -- kaaMta- dattaa- |traya ka-pila mahi -- daasa- bhakta- |priya pu-raatana -- puruSha-poorNaa --naMda- j~jaana gha-na || hayava-dana hari -- haMsa- lOka- |traya vi-lakShaNa -- nikhiLa- jagadaa- |shraya ni-raamaya -- dayadi-saMtai-- seMdu- praarthipu-du ||14-8||

 shashi di-vaakara -- paava-karoLiha | asita- sita lO -- hitaga-Lali shiva | shwasana- bhaargavi-- moova-roLu shree-- kRuShNa- hayavada-na || vasudhi-paardana -- trivRutu- enisI- | vasuma-tiyoLa -- nnOda-kaanala | pesari-niMdali -- sarva-jeevara -- salahu-vanu karu-Ni || 15-11 ||

 meena- koorma -- krODa- narahari maaNa-vaka bhRugu -- raama- dasharatha | soonu- yaadava -- buddha- kalkI -- kapila- vaikuM-Tha || shreeni-vaasa -- vyaasa- RuShabha ha- | yaana-naa naa -- raaya-NI haM- | saani-ruddha tri -- vikra-ma shree -- dhara hRu-ShIkE-sha || 23-1 ||

This site has dasarapadagaLu with audio , & lyrics in Kannada & English on each page. Click on "change script" on the top right of the page for the desired language. It will remember your choice too. Devanagari, Tamil, Telugu and other Indian languages are avble. 

Stotras :
Hayagreeva Sampada Stotram-Dev
hayagreeva hayagreeva hayagreevEti vAdinam |
naraM mu~jchaMti pApAni daridramiva yOShita: ||1||
hayagreeva hayagreeva hayagreevEti yo vadEt
tasya nissarate vANI jahnukanyA pravAhavat ||2||
hayagreeva hayagreeva hayagreevEti yo dhvani: |
vishObhate sa vaikuMTha kavATOdghATanakShama: ||3||
shlOkatrayamidaM puNyaM hayagreeva padA~gkitam |
vAdirAja yati prOktaM paThatAM sampadAM padam ||4||
|| iti shrI vAdiraja pUjya charaNa virachita hayagreeva sampadA stOtraM saMpUrNam ||
 ||shrI kRuShNArpaNamastu ||

ಹಯಗ್ರೀವ ಹಯಗ್ರೀವ ಹಯಗ್ರೀವೇತಿ ವಾದಿನಮ್ |
ನರಂ ಮುಞ್ಚಂತಿ ಪಾಪಾನಿ ದರಿದ್ರಮಿವ ಯೋಷಿತ: ||೧||

 ಹಯಗ್ರೀವ ಹಯಗ್ರೀವ ಹಯಗ್ರೀವೇತಿ ಯೊ ವದೇತ್ 
ತಸ್ಯ ನಿಸ್ಸರತೆ ವಾಣೀ ಜಹ್ನುಕನ್ಯಾ ಪ್ರವಾಹವತ್ ||೨||

 ಹಯಗ್ರೀವ ಹಯಗ್ರೀವ ಹಯಗ್ರೀವೇತಿ ಯೊ ಧ್ವನಿ: |
ವಿಶೋಭತೆ ಸ ವೈಕುಂಠ ಕವಾಟೋದ್ಘಾಟನಕ್ಷಮ: ||೩||

 ಶ್ಲೋಕತ್ರಯಮಿದಂ ಪುಣ್ಯಂ ಹಯಗ್ರೀವ ಪದಾಙ್ಕಿತಮ್ |
ವಾದಿರಾಜ ಯತಿ ಪ್ರೋಕ್ತಂ ಪಠತಾಂ ಸಮ್ಪದಾಂ ಪದಮ್ ||೪||

 || ಇತಿ ಶ್ರೀ ವಾದಿರಜ ಪೂಜ್ಯ ಚರಣ ವಿರಚಿತ ಹಯಗ್ರೀವ ಸಮ್ಪದಾ ಸ್ತೋತ್ರಂ ಸಂಪೂರ್ಣಮ್ ||
 ||ಶ್ರೀ ಕೃಷ್ಣಾರ್ಪಣಮಸ್ತು ||




Shri KriShNArpaNamastu !

Bhagavat Rupa Dhyana




Comments

Post a Comment