Sakaleshpura......in nature's lap!

Somewhere, midway between Bangalore and Mangalore is Sakaleshpura. Somewhere, midway between this work-a-day world and your make-believe, fairy-tale world is Sakaleshpura.  It is your proverbial Malgudi. How else will you describe it? Where else will you find a saloon which says "Decent Gents Beauty Parlor!"? It's as if you can enter the saloon only after a careful character assessment! Or the other hoarding at the main market which warns- "Girls teasing on road?". Yes, it appears to be a town with a difference- where boys may actually be at the receiving end or so it seems....at least unintentionally! What is Malgudi's River Sarayu is the River Hemavati at Sakaleshpura. It curls its way just outside the town.


The "Bee Keeper's Co-operative Society" is an interesting place, just off Sakaleshpura's main-market. Apart from the bottles and bottles of honey which are stashed away behind its cupboards, it stays arrested in a time-bubble. The wall has a full roll-call of owners in an unbroken list dating back to 1940! A black-and-white photograph fills up one wall- with folks in elaborate coats and turbans. It was the day it celebrated its Silver Jubilee. It was in 1967! Printed portraits by CN Row- of Gandhi, Nehru, Tilak, Shastri and Indira Gandhi peer at you intensely from one end of the hall. The overhead ledge at the other end is cluttered with files- all frayed at the edges, yellowed with age, gathering dust and seemingly untouched....since 1940! And not to be missed is one curious black-n-white photograph- a man in black-boggles and a full beard. Except....the beard is made up of a swarm of bees, all pasted to his face!
Eventually, we did buy the honey and carried off an entire boxful of bottles, enough to last a whole year, or at least till we make it back to Sakaleshpura!


We leave Sakaleshpura town and hit the hills. In 10 km, we've left civilization behind...and land in nature's lap. From now on, it's all about coffee and enchanted woods! The hills are gentle and covered in a full coat of green. A dusty trail takes us through the coffee-plantations- demarcated neatly with the year the coffee-trees were planted, the number of trees and the variety. It's either the "Arabica" or "Robusta" family of coffee. Coffee beans hang off in clusters- bright-red, resembling the Christmas Hollies! From here, these beans get picked, washed, the seeds separated from the pulp, and then cured and dried. They go off to Chikmanglur, where they will be roasted and powdered. That's the amount of human ingenuity required to bring that cup of filter-coffee to our hands!



The trail takes us deeper into the woods- a bison-skull hangs off a tree-trunk, spider and snake burrows dot the sandy mounds on either side. As for the path, we look closely for any animal-footprints. We don't find any- but this is wild animal terrain all right. If you are a bird-lover, there is enough to keep you interested- woodpeckers, orioles and cranes. From time to time, grilled-gates break the monotony of the landscape. They are from an earlier age. These estates date back to 1865! Our trek takes us by a hill-stream, over a wooden-bridge, up a little water-fall and by a lake....covered in a coat of mist with a lonesome house in the distance!


The nights are really cold at this time of the year. But the sky is clear and studded with more stars than you can imagine. It's like a diamond merchant, who in a moment of recklessness, has taken diamonds by the fistful and scattered them with abandon on a black-velvet drapery! Such is the bounty of the night sky! Through a clearing, we spot a couple of hills....their tops on fire- these are forest-fires!
The moon is half, but its beams slice through the trees and light up the trail. The shadows of the tree-trunks and twisted branches pave the path with such clarity....even in the dead of the night....that we need no other light to find our way!


As the head hits the pillow, it is all quiet. So quiet that even a snore is amplified many times over and jolts us out of bed! There is the occasional click of the Cricket. And drum-beats in the distance. Many hills away, the animals are on the move due to the forest fire. The drum-beats keep them away from straying into human-territory. But then, where are these animals headed? Towards us?
There is a "scratch" on the outside walls....muted initially....and slowly picking up both volume and frequency. What is it? A cat, a wild-boar or a wild elephant? No one wants to venture out. Imagination runs riot. And now, sound of footsteps on the roof. Is it a rat...or a disembodied spirit may be? The brooding is broken with the sound of a hoot. It's a train.....down below in the valley, many miles away....snaking its way through these hills and bound for the sea! A faint rattle of the coaches...their trailing sounds swallowed by silence...and all is quiet once more.
Someday, I want to be on that train....pass through these hills and halt awhile at each of these fairy-tale towns! The poet Rumi wrote "Somewhere beyond right and wrong, there is a garden. I will meet you there!"
I will meet *you* in these woods!

Of poets and poetry- "Once is enough!"

To compare between two texts, "consistency in content" is one aspect, examples of which we have seen in the previous posts. In this post, we look at an example of "consistency in style". "Shabda-alankaara" in Sanskrit is essentially a 'turn of phrase', a word-play that poets use to add relish (rasa).


Shankara uses this technique in both works- Shivanandalahari and Saundaryalahari. 
One idea he wants to convey is this - It is enough to surrender to the Lord just once.  If the surrender is total, once is enough!  For this, he uses the word "sakrid" meaning "once", in both texts. The beauty is in the arrangement of the word "sakrid" along with the rest of the words.


"Once is enough" in Saundaryalahari:


In Saundaryalahari, the line reads as follows: "sakrin natva natva sataam sannidhadatey". ('Sakrid' becomes 'sakrin' due to the word following it). Here, we see natva natva repeated as we chant the line. The first natva in the line is "natva"- to bow down, to prostrate. The second natva is actually "na tva" - "not you" and intentionally placed for word-play. The "na" (not) in the second natva should be connected with sannidhadatey (to bestow) so that it should actually read as "na sannidhadatey" ("not bestow"). What Shankara wants to convey is this- "bowing down to you  (O Devi), even once (sakrid), how will it not bestow?" Note the use of the negative for emphasis. And then, in the next line, he conveys the benefit of this surrender- "madhu ksheera draakshaa madhurima dhurinaa phanitayah"- It will bestow upon the devotee the gift of poetry, so sweet, that it is like relishing honey (madhu), milk (ksheera) and sweet-grape (draakshaa) all at once! On a side note, the gift-of-poetry may strike us as a strange result. Do we even want it? If we don't have a value for poetry, this result can be taken in a wider sense to convey the benefit of "effective communication". Whether it is Lord Dakshinamurti or Shankara, the highest teaching has come down to us through communication- silent or verbal! Hence, the benefit is of utmost importance.
The above lines in the text are used to describe Devi in her special form of Saraswati. The reader can look up the verse beginning with "sharad jyotsnaa shuddhaam..." (verse 15). Saraswati, being the embodiment of all knowledge and art, it is fitting that when we bow down to her, even once, she bestows us with knowledge, poetry, fine-arts and all else.


"Once is enough" in Shivanandalahari:


In Shivanandalahari, Shankara uses the same word "sakrid". Let's see how he arranges it here. The reader can look up verse 33. Shankara says- "sakrid eva deva bhavatas-seva natirva nutih". Here again, when we chant the line, we see the same repetition after "sakrid", so that it sounds like "sakri-deva deva". What sounded like "natva natva" in the other text, sounds like "deva deva" here, due to the peculiar arrangement of words! The first "deva" is actually "eva" (even) so that with "sakrid", it should mean "even once" (sakrid eva). The second "deva" is an address to Lord Shiva, as in "hey deva, O Lord". The line now means, "O Lord, even once, is it not enough ('naalam va' in the text) to do any of the following?" And then, Shankara gives a list of sadhanas- "nati" (to bow down, same as "natva" in the other text), "nuti" (to sing, to extol your glory), to do "pooja", "katha-shravanam" (listen to your stories), "smaranam" (think about you), "aalokanam" (see your form) etc.
What Shankara wants to say is- pick any one of these means, whatever we have an inclination for. If even one of them is done, even once effectively, that's enough! He follows up the rest of the verse with the benefit gained from this sadhana. Here, there is no gift of poetry specifically called out. He goes even higher and says that the fulfilment in the performance of these acts is verily moksha itself. Like in the other verse, the whole thing is again framed in the negative for emphasis- "kaa vaa mukti?" What is mukti, other than this? Shankara asks.


Thus, it is amply clear, that these two verses in the two texts are complementary verses. We find a striking similarity across both of them, in the content, and more so, in the style of presentation.


"Once is enough" in Bharati's composition:


Before we close, one more point comes to mind. "oru dharam shiva chidambaram endru sonnaal podhumey". The Carnatic music enthusiast will surely know this line. "Oru dharam"- "once" is enough (podhumey) to say "shiva chidambaram". This line is from the famous composition by Gopalakrishna Bharati, a contemporary of Tyagaraja. We have already seen the context behind this song in one of the previous blogs- how he met Tyagaraja, how Tyagaraja wanted him to sing Abhogi raga, how Gopalakrishna Bharati composed the song "sabhaapatikku veru daivam samaanam aagumaa" in Abhogi raga specially for this occasion.
In the charanam of this composition, we have the above line- "it is enough to say, even once, just the words "shiva-chidambaram". The reader can now easily see the relationship in this usage with the previous topic that we discussed. Interestingly, this Tamil composition seems like a paraphrase of verse 33 of Shivanandalahari. Shankara gives a range of sadhanas and says pick one. Bharati has already made the selection and says, just say "shiva" once! The similarity does not end here. In verse 33, Shankara moves on and asks a question. When Lord Shiva is so magnanimous, what will we get by extolling other fickle devatas (asthira devataa anusaarena aayaasena kim labhyatey)? Bharati begins with a similar question and asks, when Lord Shiva is such a krpaanidhi, can other devatas (veru daivam) equal him in any way(samaanam aagumaa)?
The more we look at verse 33 and the above composition, it looks as if Gopalakrishna Bharati has rendered Shankara's verse in Tamil and set it to Abhogi raga!


A final quote on this "once is enough" topic, this time in English! The quote is beautiful. It says "We live, but once. But if we live right, once is enough!"

Of poets and poetry- Shankara and the laharis-2

Poets have often compared the mind to a thief. It all starts as one fanciful thought. With repetition, the thought grows. And before long, it assumes such monstrous proportions, that fulfilling it becomes a necessity. Soon, it robs us of our peace of mind and even our sense of decorum. The thief that the mind is, its wayward ways are beautifully  captured by Krishna in the Geeta. These are the verses beginning from "dhyaayato vishayaan pumsah...." (chapter 2, verse 62). If the mind is a thief which operates in such a stealthy way, what hope do we have? How do we understand its ways and eventually capture the thief?


It is an eternal cat and mouse game between the thief and the police! The thief is so slippery that even the police are at a loss to keep pace with him! At times like these, to catch a thief, we take help from a bigger thief. He understands the tricks of the trade better! It is like using one thorn to remove another! We find this idea explored in many places. Krishna is often called "chitta chora"- if the mind is a thief, Krishna is such a trickster that he can rob the very thief!


The Veda says that the greatest thief is Lord Shiva! In the famous poem, Shri Rudram, Lord Shiva is called "taskara pati". He is the Lord of all thieves. In fact, an entire section (anuvaka 3) is dedicated to varieties of thieves- petty thieves, occasional thieves, pathological thieves, forest brigands, land-grabbers; you name it- Lord Shiva is the Lord of all of them! Of course, he is the greatest thief because even these local thieves get their eventual result, from whose unerring laws.


Adi Shankara in the Shivanandalahari takes up this idea. He despairs- "This thief of a mind, how do I put up with him? "imam chetash-choram katham iha sahey"? And whom does Shankara turn for help, in taming this tempestuous mind? Quoting Shri Rudram, Shankara in this verse (verse 22) calls upon the bigger thief- "hey taskara patey" to help him out! "Tava adheenam kritvaa mayi niraparaadhey kuru krpaam". Taking the mind under your control, may You, O taskara patey, help me remain fault-free! If Adi Shankara in the Shivanandalahari takes help from a bigger thief- Lord Shiva, he stays silent on revealing the biggest thief.


He has reserved that secret for his complementary work, the Soundaryalahari. Here, Shankara reveals the thief of all thieves- Devi herself! Shankara says that Shiva, in a moment of generosity, wanted to gift half of his body to Devi. He gave her his left-half (vaamey bhaagey) and stayed as Ardhanaareeshwara. Soon, Lord Shiva would be hoodwinked. Give her an inch, and she takes a mile! Shankara says that he went to have the darshana of Lord Shiva. But when he went there, he did not see Shiva at all, not even half of him, not even as Ardhanaareeshwara. She had taken over the whole of His body, so that, all that was there, was Devi! So complete was the theft! She managed to trick the "taskara pati" Himself! In utter surprise and bewilderment, Shankara explores this idea in the verse... "tvayaa hrtvaa vaamam vapur aparitrptena manasaa..." (Soundaryalahari verse 23)! The mind is a thief, a bigger thief is Lord Shiva, and the most supreme one, is Devi!


Thus, the more we look at these two works, the Shivanandalahari and the Soundaryalahari, and study them side-by-side, the more we find correlations like these. What is left as a suggestion in one text (verse 22), is completed in the other (verse 23)! Interestingly, even in terms of numbering between the two texts, we see the sequence maintained!

Of poets and poetry- Shankara and the "laharis"......

Adi Shankara has composed two works which are very popular- Shivanandalahari on Lord Shiva and Soundaryalahari on Devi. Both are made up of exactly 100 verses and brilliant in content, style and ideas. Often, we wonder whether the texts were written by Shankara or whether they could have been written at different times, by different people. It does not really matter! The texts would be just as great.


Still, when we look at the texts side-by-side, we do find many similarities, suggesting that the same mind must have composed both the works. In a little essay like this, we cannot cover all points. But the attempt here, is to present one idea. There are many more; they can be fleshed out in separate essays later.


There is a popular verse in Shivanandalahari which talks about the "degrees of closeness" in bhakti. In ascending order, these states would- "saalokya", "saameepya", "saaroopya" and "saayujya". In "saalokya", the devotee feels the closeness in inhabiting the same loka as the Lord. In "saameepya", in addition to being in the same loka, there is "physical proximity" to the Lord too. In "saaroopya", the devotee is even closer, to the extent that the Lord's qualities rubs off on him, and he becomes a mini-Lord as though! And in "saayujya", there is total union, where even that division between the devotee and the Lord does not exist.
The verse is the following:


saalokyam tava pujaney shiva mahaadeveti sankeertaney
sameepyam cha shiva bhakti dhurya janataa saangatya sambhaashaney
saaroopyam cha charaa charaatmaka tanu dhyaaney bhavaani patey
saayujyam mam siddhim atra bhavati swaamin krtaarthosmyaham


Now, in the above verse, when it comes to addressing Lord Shiva for granting the final goal of total union, saayujyam, Shankara uses the expression "bhavaani patey"- "O Lord of Bhavaani (Devi)". We pause at this point and dive into the other text.


Interestingly, the concept of saayujyam is mentioned in the Soundaryalahari too. The verse is the following:


bhavaani tvam daasey mayi vitara drishtim sakarunaam
iti stotum vaanchan kathayati bhavaani tvam iti yah
tadeva tvam tasmai dishasi nija saayujya padaveem
mukunda brahmendra sputa makuta neeraajita padaam


In this verse, Shankara plays on the word "bhavaani". All that the devotee wants to do is address the Mother as "hey bhavaani" and follow it up with other requests. But Devi does not listen beyond the first couple of words! She takes the very address, the sambodhana of  "bhavaani tvam" as the devotee's plea to say- "may I become one with you (bhavaanitvam)" and immediately grants him "saayujyam" (total union)! In fact, that is not the devotee's intent at all! It is the Mother's impatience....that she grants him the biggest boon of total union (saayujyam)....when that was not even asked for! Such is her magnanimity! Thus, Shankara puns on the words "bhavaani tvam" and gives it a totally different meaning in this verse!


Now, we find the correlation between the two texts. The suggestion is subtle, but the usage of bhavaani patey and saayujyam in Shivanandalahari is to gently remind us of this verse in Soundaryalahari where they are used in a similar connotation.


It cannot be an arbitrary coincidence! Both the texts have been crafted by the same hand, by the same Master! 

Of poets and poetry - Tulsidas

In the Ram Charit Maanas, Tulsidas composes a set of introductory verses. These verses are at the start of each "kaanda". They are in Sanskrit, unlike the main-body of the text, which is of course in Avadhi, a dialect close to Hindi.
Our focus is mainly on these Sanskrit verses. The verses don't exactly talk about the content of the kaanda following these verses. They are essentially free-style- with the verses dedicated to Gods like Shiva, Saraswati, Ganesha and others.
One such verse talks about Lord Shiva in the Ram Charit Maanas. It says:


vande bodhamayam nityam gurum shankara rupinam
yam aashritohi vakropi chandra sarvatra vandyatey


It says...I bow down to my guru, who is saakshaat Lord Shankara Himself. And what is His nature? He is bodhamayam- of the nature of "consciousness", He is nitya, eternal. And what is the specialty of Lord Shankara? Tulsidas says- Shankara is so great that even if something is "defective", when it becomes associated with Him, the defect itself becomes an ornament! As an example, Tulsidas takes the moon. The poet says- the moon is vakra, crooked. Typically, the cresent moon adorns Shiva's head, as opposed to a full-moon. The "vakratvam" can be attributed to the crescent-nature of the moon, to the waning of the moon and to a moon which is pocked with craters! Such a moon, with so many obvious defects, Tulsidas says, becomes an object of admiration (sarvatra vandyatey) because of its association with the Lord.


We are reminded of a few aside points that the poet must have kept in mind. We have the expression- "manaso devata chandramaa" -that is, the presiding deity of the "mind" is the "moon". Between the lunar-moon and the lunatic-mind, there is a connection! That being the case, the moon in this verse, can very well be taken as our mind. And how is our mind? Vakra! Crooked! In fact, we use expressions like "vakra buddhi" and "kurukku-buddhi (in Tamil) for the crooked mind.
Essentially, what Tulsidas wants to say is- our crooked mind, when it is dedicated to Shiva (yam aashrito hi), even this mind, with its innate defects, will have an added glory, an added vibhuti and will become an object of admiration (sarvatra vandyatey)!


Interestingly, Tulsidas uses the expression "vakropi" (vakra api)...."even though crooked" in the above verse. It reminds us of other texts. The Shiva Mahimna Stotra is a popular text especially in North India. It is composed by Pushpadanta and predates Tulsidas by several centuries. In that text, we come across a similar phrase "vikaaropi" (vikaara api), "even though defective/unsightly/ugly". This expression is used in one of the verses (verse 14) which describes Lord Shiva's glory as follows- Shiva's throat was discolored upon swallowing the haalaa-hala poison. But the beauty is, even the discoloration has become an ornament for him- "vikaaropi shlaaghya", Pushpadanta says.


It is not coincidental that Tulsidas uses "vakropi" and Pushpadanta has used "vikaaropi"- both so similar in sound and meaning. It is evident that between these two verses, across texts, there is a consistency in theme. Tulsidas wants us to do the homework and connect the dots between these two verses, by leaving this suggestion in his verse.


It's as if- any defect, whether natural (as in Shiva's throat) or adorned (as in the defective moon on His head), the mere association, converts even defects into an ornament! That is His glory, His mahima!

Ganpati Bappa Morya!!!

Ganpati this year....on the sitar...with mooshik on pakhawaj!

At Ahobilam

Ahobila- the name itself conjures up the euphoria upon the sudden and unexpected discovery of a cave (bila). Aho! Ahoy! It's a cave! It's a cave! It's a bila...aho! bila! And what if....what if... it's not an empty cave, but a cave where you stumble upon the most fascinating idol of the Lord? How heightened the excitement would be! That's Ahobilam- a set of shrines where Lord Narasimha is found in the recess of a cave, dotting the hills of the Eastern Ghats. These hills are compared to a serpent- a serpent with Srisailam as the tail, Ahobilam as its coils and Tirupati as its hood.


Lord Narasimha, as Hari..as Nara-hari....sits nestled in these caves at Ahobilam. Can I see Him only at Ahobilam? Doesn't He exist everywhere- even in my own heart?
The heart is often compared to a cave, a guhaa, a bila. And in the cave of the heart, lighting up each thought, is the Self. "Yo veda nihitam guhaayaam"- Recognize Him, the Self, the Narasimha....in the cave (guha) of your own heart- says the Upanishad. That discovery is verily Ahobila, a subjective Ahobila! That the Lord  is present like a lion, like Narasimha, in the cave of the heart is seen in the Shivananda Lahari too - "kuharey pancha mukhah asti". In the kuhara (cave) of my heart, He resides as pancha-mukhah (pancha-mukha has two readings- five-faced shiva as well as a lion!).


And now for a little quiz question. What raga is most appropriate to be sung for Narahari at Ahobila? Think! Think! Think! It has to be Bilahari! In the name of the raga, we find the connection.....Hari found in a cave...is Bilahari! Interestingly, in Hindustani music, raga Bilahari is called Alaiya Bilaval! It's as if, the more we look, the more patterns we find centered on bila! And one of the well known compositions in raga Bilahari is Tyagraja's composition called "Narasimha"! Thus, bila, hari, bilahari, narahari, ahobila and narasimha are all intertwined inseparably with each other!

Adi Shankara and Ahobilam:


Ahobilam is well known as a prominent Vaishnava Kshetra. Not so well known are incidents from another point in time- involving Adi Shankara and Ahobilam. As we read the Shankara Vijayam, we find that from Srisailam, Adi Shankara definitely visited Ahobilam. His "Lakshmi Nrsimha karaavalamba stotram" is well known. Each verse has the refrain - "Lakshmi Nrsimha mama dehi karaavalambam" - Let me hold on to Him; may that Lakshmi-Nrsimha be my helping hand, my  karaavalamba so that I can find security in an insecure world!


We have another stotra from Adi Shankara  called the Lakshmi-Nrsimha Pancharatnam where we find a beautiful reference to the subjective Ahobila we talked about earlier. If you want to decorate your reflected face in a mirror, Shankara says, with a mark on the forehead, you don't have to apply the decoration on the mirror! It will serve no purpose and will spoil the mirror too! All you have to do is tackle the original face; with that, the reflection takes care of itself automatically! Shankara, the master-poet that he is, deftly blends devotion with the highest philosophy in this work.
These hymns are dedicated to Lord Narasimha on these hills.


Sanandana and Lord Narasimha:

Shankara's prominent disciple was Padmapada, who was believed to be Narasimha's amsha-avatara. In his purvashrama, Padmapada was called Sanandana. Sanandana was initiated into a Narasimha mantra. He sat in the jungle and was engaged in intense upasana. A hunter was curious about what Sanandana was up to. Sanandana was in no mood to engage the hunter. He flippantly replied that he was meditating on an animal which was to be found in the jungle and had a lion's head and a man's body. The hunter was naïve and actually went in search of the animal. For two days, he searched everywhere. Pleased with his single-pointed zeal, Lord Narasimha revealed Himself to the hunter and allowed the hunter to capture him. The hunter led the Lord to Sanandana. But Sanandana could not see the Lord. Sanandana was distraught that the Lord had chosen to reveal Himself to the hunter but not to him. But the Lord made a promise which was heard by Sanandana- that the Lord will come to his help when he needed it most!


Lord Narasimha saves Shankara:

Later, Sanandana met Shankara and became his disciple. Renamed Padmapada, he followed Shankara as he walked the length and breadth of the country. Soon, they were in the hills around Ahobilam. A kapalika accosted Shankara and asked permission so that he could offer Shankara as a human sacrifice! Shankara acceded to the request. As the kapalika was on the verge of decapitating Shankara, something stirred within Padmapada. He was transformed into Narasimha murti and tore the kapalika to shreds. Thus, Lord Narasimha, through Padmapada protected Shankara. This incident is found in the Shankara Vijayam. It does not explicitly mention Ahobilam. However, considering the chronology of this incident, just after Shankara's stay at Srisailam and its association with Lord Narasimha, it is most likely that the setting should have definitely been Ahobilam.


Lakshmi Narasimha and Ugra Narasimha:

Nine Narasimha shrines dot these hills. We covered two- "Lakshmi Narasimha" and "Ugra Narasimha".
The Lakshmi Narasimha Temple is at the base of the hills. The Lakshmi-Narasimha idol is immensely captivating and "alive"! We gaze at the deity for long and even catch the sparkle in the eye! Such beauty! We are told the deity also bears the name "Venkata Narasimha" since the Lord of Tirupati Himself visited the place. Amritavalli thaayaar is grace personified.


A little drive up the hills takes us to the Ugra Narasimha Temple. It is scenic with mountains on either side...their tops covered in a tuft of green and their sides embedded with boulders. The temple is set at a spot where the two mountain ranges meet- atop a rock-façade which appears to have been cut with precision- like a fresh-cut chocolate-cake slice! The rock is scooped out at the center revealing an enormous V-shaped cleft, through which a little stream of water trickles down.
Surely, it has to be Lord Narasimha's handicraft! Ugra Narasimha, austere and impressive, sits inside a cave with a shallow, rugged roof. Outside the cave, we strain our eyes to peer into a little shrine with a shiva-linga. The Goddess is Chenchu Lakshmi- supremely beautiful.
Beyond the Ugra Narasimha shrine...the trek begins to other hill-top shrines. But we go no further. The blessing of "punar-darshana" at the temple strengthens us.


We hope to return to these hills another day. We hope to visit that cave on the topmost hill and exclaim in excitement..."Aho! bila! Ahobila!! We hope to discover Him in the cave of our heart and exult in triumph....just like that sage in the Taittirya Upanishad..."Aho! Aho! Aho!"- "I've found It! I've found It! I've found It!!"


Notes:


1. The Taittiriya Upanishad actually uses the expression "Haavu! haavu! haavu!". It is the same as "Aho! Aho! Aho!" The exclamation "Aho" becomes "Haavu" in "saama-gaana". The reader can look up this verse in the Bhrigu Valli of the Upanishad.


2. Chenchu Lakshmi- "Chenchu" is apparently a tribe found in these parts. We are reminded of the raga "Chenchu kambhoji" and Tyagaraja's composition "vara raaga laya". May be, the raga was borrowed from this tribe much like "yadukula kambhoji". It is likely that the folk-raga commonly pronounced as "Senjurutti" is in fact "Chenchurutti" and owes its origin to this Chenchu tribe.