SYNOPSIS OF SARVA MOOLA GRANTAS. ..2
kathAlakshaNa
"katha" ,in this context, means a philosophical debate. Sri Madhvacharya has defined 'katha' as of three types. they are called 'vada', 'jalpa' and 'vittanda'.
Vadakatha: It is a discussion between a 'guru' and a 'sishya' on any philosophical topic during or after a lesson. It is a healthy discussion intended for the benifit of the student. A student is free to discuss with the 'guru' and even argue if he differs from him , but has to accept the decision given by the ' guru', politeness and respect for the teacher being observed strictly.
jalpakatha: this is a discussion of a topic of philosopy between two scholars of different schools of thought, or betweeen any two persons who have divergent views. The discussion is held with a third party as the judge on a public platform. Srimadacharya has dealt with in detail the nature of such discussion, selection of judges etc.
vittanda: This is a discussion more like 'jalpa'. But when one of the parties is losing, if he resorts to talking without 'pramanas' or making personal comments other party and may make comments in a rough language the debate is called 'vittanda'.
These two works of Srimadacharya are unique in the field of shastraic thought.
' yO vipralambha viparItamatiprabhutAn vadAnnirasya nikhilAn bhuvi tattvavadam sarveshvarO Haririti pratipAdayantam Anandateertha munivaryamaham namAmi'
karmanirNaya
This work is said to have been composed by Srimadacharya in reply to the remark by some people that he is only propagating 'Tattvajnana' but is not versed in 'karmakanda' of Vedas. Being Sarvajnacharya, he had stated in his discourses that all vedic words have three meanings,the primary meaning being the praise of the Lord. Srimadacharya has illustrated this in this work. He has chosen a mantra in a 'chandas'(metre) called 'Mahanamni' which apparently praises Indra and explained its significance with reference to Vishnu.. This work illustrates the profoundity of his knowledge in Vedas. In fact ,while Shankaracharya has stated that only a few vedic statements are to be taken as stating real philosophy and the others are 'a-tattvavedaka' (not having any philosophic import), Sri Madhvacharya has upheld that all vedic statements are basically stating the philosophic truth of the supremacy of Vishnu. At the end of the work, Srimadacharya has quoted his favourite stanzas from ch 15 of the Gita starting with 'dvavimau purushauloke' to show that the ultimate truth is the supemacy of the Lord and the principle of 'bheda'.
With this we have concluded the ten works called 'DasaprakaranAs' by the grace of 'dasapramati' that is rimadanandatirthabhagavatpadacharya.
'asEshadOhadurAya gunapoornAyaVishnavE nama:h sriprAnanAthAya bhaktAbheeshtapradAdAyinE'
Note: From the archives,I have found that a fairly detailed , and clear notes on 'dasaprakaranas' are given by Sri GV Bindumadhavan which is worth studying..
SRIMADBHAGAVATA TATPARYA NIRNAYA
Srimadacharya, in "vishnu Tattvanirnaya', has defined the works that are to be treated as 'Shastras' (Agamas) as the four Vedas, Mularamayana, Mahabharata, Pacharatra ; Puranas and other works where the statements do not contradict these are also to be taken as 'pramana'. Of the 'puranas', Bhagavata is considered to be fully authoritative.Srimadacharya has written a commentary on Bhagavata called 'Bhagavata tatparya nirnaya'. In this work Srimadacharya has explained the meaning of several passages and the implications of several annecdotes. He has not commented on all the verses , and has given explanation of certain slokas in each chapter where there is particularly some philosophical import , profusely substantiating them with quotations.For example, the Uddhava gita in the 11th canto,which is somewhat parallel to the Bhagavadgita is expalined in detail. To put it in short,Srimadacharya has shown that the BhagavataPurana substantiates that Sriman Narayana is the supreme deity and all 'devatas' are subordinate to Him and devoted to Him and preach to others that devotion to Him is the means for salvation from the bondage of 'samsara'. (an example of this is the Rudragita taught to the Prachetatas by Shankara). The Bhagavata Tatparyanirnaya gives us the right approach with which we should study any 'purana' or other works, and that is we should look in any work for 'Vishnusarvottamatva' and treat anything opposed to it as false knowledge.
'Vasudevasutam devam Kamsa Chanura mardanam Devakiparamanandam Krishnam vande jagadgurum
SRIMAN MAHABHARATA TATPARYA NIRNAYA
Among the works of Srimadacharya, The Mahabharatatatparya nirnaya is biggest in volume,comprising of 32 chapters in about 5200 slokas. It encompasses the two Itihasas Ramayana and Mahabharata ,the latter incorporating parallelly the , story of Sri Krishna as in the Bhagavata. It is not just a narration of the stories but gives explanation for the actions of the Lord in both the avataras(Rama and Krishna) in cases like 'Vali vadha', 'sudra tapasvi samhara', 'putana vadha' etc. In the first chapter of this work called 'sarvashatrarthanirnaya',, Srimadacharya has ,with quotations from several works,established that Narayana is the supreme Lord of this world, that He is full of auspicious qualities and without any blemish (gunaparipurna and nirdosa); he has also stated the three avataras of Vayu quoting the Balitha sukta, and given the gradation among other 'devatas' and almost all tenets of the shastras as established by him. The work is so large that it is not possible to give even a very small fraction of the knowledge it encompasses in a small endeavour like this. And so, it is best to conclude this quoting from the same: 'nirnaya;h sarvashastrAnAm sadrishtantO hi BhAratE' -- In Bharata the import of all the shastras is decisively stated with suitable examples (annecdotes). This statement applies equally to this work of Srimadacharya, the 'Mahabharata tatparya nirnaya'.
Sri Madhvacharya visited Sri Vedavyasa in upper Badari twice. When he met him a second time ,he was instructed by SriVedavyasa that he should write a 'nirnaya' on the 'Mahabharata' . On retuning from there, Srimadacharya composed this work ,which has no parallel in the history of scriptural works.
Sri Raghavendraswamigalu has composed a summary of the thirtytwo chapters of this work in thirtytwo slokas called 'Mahabharata tatparyanirnaya Bhavasangraha'.
Sri Raghavendra gurvantargata Bharatiramana Mukhyapranantargata Sri Hari:h priyatam.
Rig Bhashshya
As stated in an earlier posting Srimadacharya has stated that the Vedas have three meanings. He has illustrated this by writing a commentary on about forty hymns or 'suktas' from the Rig veda , starting with 'AgnimeelE purOhitam... ', expaining how this Sukta is primarily a prayer to Lord Vishnu. As in the case of all his works, he has,in this commentary also ,shown that the Vedas uphold the supremacy of Lord Vishnu, and the dependence of all the gods (devatas) on Him. Srimadacharya has explained the importance of 'Rishi, Devata and Chandas" in reciting Vedas. This work should be treated as the guiding principle for interpreting Vedic hymns.
Nrisimha Nakhastuti
This stotra , in two stanzas, was composed by Sri Madhvacharya with instructions that it should be recited before and at the close of reciting "Hari Vayu stuti' of Sri Trivikrama panditacharya,composed by him when he had the darshan of the three avatars of Vayu worshipping the Lord as Rama,Krishna and Vedavyasa at the sametime is well known to all Madhvas. The stotra is in praise of the 'finger nails' of Lord Nrisimha killing Hiranyakasipu and protecting the Devatas (and Prahlada). In the second stanza Srimadacharya ,by starting with the word 'Laxmikantha' and ending with 'Bhasita Brahmesha shakrotkarah' has stated that Narasimha is superior to all the devatas including Laxmi and He can destroy the world at His will.I have not given the sloka or its meaning as it is already given by Sri Srisha Rao (lis08 in the postings). Sri (late) P. Vishnutirtha, a well known pandit, has written the meaning of this stotra in detail,and the book runs into a few hundred pages(kannada).
DVADASA STOTRA
There is hardly any Madhva who does not know 'Dvadasastotra'. It was composed by Srimadacharya when he brought the "krishna vigraha' which he got from some boat which he saved from drowning by hismiraculous powers. These metrical stotras are a feast to the ears and mind when sung with devotion. The stotras are mainly in praise of the Lord Sri Krishna ,and His manifestations as the ten avatars. Apart from it the stotras incorporate several points of philosophic import such as the Lord's powers of creation, and sustanance of the world. The import of the Bhagavadgita ,doing one's duty as service to God without any desire for fruit is stated in the song 'kurubhuxva cha karma nijam iyatam'.The last song with the lines 'Ananda Tirtha parananda varada' indicates the intense devotion of Srimadananda tirthabhagavatpadacharya for his beloved Lord who is 'Anandamaya' "
"PreenayamO VAsudEvam devatAkhanada mandanam PreenayamOVasudEvam'.
SADACHARASMRUTI
As the name indicates it is Srimadacharya's injunctions for the right procedures to followed in a day from morning to night by a Vaishnava. A Vaishnava should, as soon as he wakes up pray to Lord Vishnu, and at the close of the day, before retiring to bed, should pray to the Lord. In between ,he should observe austere practices. The procedure for washing the teeth, taking bath (preferably in a river or natural source of water) by reciting 'purusha sukta','Aghamarshana sukta' etc. have been clearly stated in this work. Then follows 'sandhyavandana', 'pooja' , taking food,study,teaching,rest,evening pooja etc. which have all been clearly stated for the guidance of his followers by Srimadacharya in simple language in about forty slokas.If anyone is fortunate to be able follow the procedures and ausreities stated in this work, he shall be following Srimadachaya's exhortation in the 'dvadasastotra'- SANTATAM CHINTAYET ANANTAM ANTAKALE VISHESHATAH, and that is the duty of a true Vaishnava.
' Prithvee manadalamadhyastA:h PoornabodhamatAnuga:h VaishnavA:h VishnuhridayA:h tAnnamasyE gurUn mama'
KRISHNAMRITAMAHARNAVA
The ocean of the nector called SriKrishna, that is what this work is about. Srimadacharaya,wrote this work by selecting verses from various authoritative works(Mahabharata,puranas etc.), as a kindly blessing to a devotee who aksed him for 'upadesa'. There are about 240 slokas in it. The importance of devotion to the Lord is stressed by quoting verses like
"srirAmarAmarAmEti manOrAmEmanOrAmE sahasranAmatattulyamRAmanAmavarAranE"
which was preached to Parvati by Shiva. The superiority of Sri Narayana over other gods is also thus established. One important part of this work is the stress on Ekadasi Vrata dealt with here in about 70 slokas. Following it is the efficacy of 'saligramatirtha', which ,the Acharya states, is more gratifying than taking bath in all the sacred rivers. Thus the work is devoted to extolling the greatness of the Lord whose incarnation as Krishna and his praise is in every breath of our Acharya and who leads us to take atleast a drop in the ocean of "krishnamrita' if we follow the path he has shown us.
'kallu sakkare kollirO neevellaru kallusakkare kollirO Khulla lOchana Sri KrishnananAmavemba Kallu sakkare kollirO'
JAYANTI NIRNAYA
This small work by Srimadacharya gives the procedure to be followed on Krishna jayanti((Krishnashtami) ,the rituals to be followed that day starting from taking bath repeating the mantra given here and the method of 'puja' to be done and other details such as 'tarpana' . Following these instructions with fasting on that day is a must for all Vaishnavas.
'KrishnAya VAsudEvAya dEvAya paramAtmane Pranatah klesha nashAya GovindAya namO nama:h'
TANTRASARASANGRAHA
This work contains information regarding some technically important procedures in the worship of the Lord. This work contains extracts from a larger work existing on the topics dealt with herein.The important things dealt with in this work include:
1. The procedure for the 'upadesa' and practice of important 'mantras' like 'Narayana Ashtakshara mantra, Krishna shadakshara mantra,Vasudeva dvdashakshara mantra, Shiva shadkshra mantra ' etc.(about 70 mantras are included).
2.procedure for construction of Temples, sizes of idols of dieties, charecteristics of temple architecture,size of the 'garbha griha'etc.
3.Procedure for construction of 'yagna kundas' etc. for purpose of conducting 'yagnas' .While it is a practice to include practice of sorcery etc. in tantra' 'granthas by other writers , Srimadacharya has exclude them from his work , and laid stress only on the aspects which please the Lord.
YAMAKABHARATA
This work is an exclusive piece of fine poetry. In a small work of only 75 to 80 slokas ,Srimadacharya has pleased 'Sattvikas' interested in good poetry full of 'alankaras',at the same time telling the story of Sri Krishna, as in the Bhagavata and his kindness towards the Pandavas(who represent all sattvic souls).. It is like a condensed version of the tenth canto of the Bhagavata. One should read through it to enjoy its sweetness.
YATIPRANAVAKALPA
The procedure for a person to take 'Sanyasa' is detailed in this work of about 30 slokas. The 'karmas' to be performed prior to taking 'sanyasa', the 'upadesa' to be given by a senior pontiff , the oath to be taken for protection of 'vaishnava dharma' are clearly explained by Srimadacharya in this work for the guidance of those who shall be placed as the protectors of the 'Vedic dharma'.
MADHVESHA KRISHNARPANAMASTU
With this I have completed writing short notes on twentyseven of the thirtyseven works of Sri Madhvacharya. The remaining ten are commentaries on ten upanishads which are given in my submission ''Sri Madhvacharya's Works- 1'' as 'upanishadprasthana'. I do not intend writing about them as it is not possible to write on any upanishad in a few lines. Also, I find that this work has already been done earlier under the title 'Essentials of Upanishads' and can be studied.
Other works
One stotra in praise of Sri Krishna called 'Kanduka stuti' in two stanzas is stated to have been written by Sri Madhvacharya as an young boy before taking 'sanyasa'. It is in a metre reciting which is adjusted to the beat of a ball played continuously on a floor( 'puta' in kannada). Apart from the thirty seven works given in the 'granthamalika stotra' of Sri Vyasaraja, two works have been mentioned in the introduction to Sri Sumadhvavijaya, translated by Sri V. Prabhanjanacharya.
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