The Pancharatra Agama

It was Vaikunta Ekadeshi  and it was just a few days back and hundreds of devotees had come to the Srinivasa Temple in LIC Colony, Jayanagar 3^rd Block, Bangalore on the occasion.

The temple officials and a large number of  volunteers were seen distributing Puliyogre and Laadu and scores of people were seen eating them on the temple premises itself right from early morning. A few devotees took away the Prasada home, saying that since it was Ekadeshi, they would consume it the next day.

Some others sought to know whether it would be appropriate to consume Theertha Prasada and Prasada in temples not run, operated and/or presided over by their community.

For them, I had one answer. The Pancharatra Agama, which is among the sacred texts for Vaishnavas and which have been extensively quoted in several works by Madhwacharya, has an answer to such queries.

I will quote a verse from the text which deals directly with the issue. The Smruthimanikya Sangraha, which is part of the Pancharatra Agama, in verse 1471 says:

“tasmAdeteshhu sthAneshhu naivedyaM na cha dushyati
chandaalaasyApi saMsparshe dUradeshAgupAgate
annAdyaM naiva dushTaM syAt.h madhusUdanashAsanAth

tIrthanirmalyapakvAnnaM pUrvaM yaddharisevitaM
venkaTAchalapUrve tu svayaM vyakte na dushyate”

This shloka makes it amply clear that the Prasada has to be or can be taken at pilgrim places, irrespective of who prepared it. More specifically, it mentions the Venkatachalapathy temple (first word of the last line) and also says in the line before that Theertha and Nirmalya can be taken at the temple.

Now the question is what is Pancharatras and how did Madhwacharya see it. The Pancharatra are Vaishnava Sanskrit texts, literally meaning five nights.

The term has also been attributed to the Shatapatha Brahamana  ( This is a prose texts describing the Vedic ritual, associated with the Shukla Yajurveda) wherein Narayana performed a sacrifice for five nights and became a transcendent and immanent.

Vaishnavas and Srivaishnavas adhere to the Pancharatra system of worship.

Madhwacharya has invested the Pancharatras with the status of Sadagamas and he has referred to them in many of his works. In Mundaka Upanishad, he says, “In Dwapara Yuga, Vishnu is worshipped as per the cannons of the Pancharatraw. In Kali Yuga, he is worshipped by the chanting of his name”.  

The Pancharatra Agamas are considered to be a continuation of the Vedic tradition and Madhwacharya considered them to be holy and valid as they emanated from Narayana himself.

What makes the Pancharatra Agamas so important is that the form and style of worship that we follow today is based on them. Moreover, different forms of Vasudeva or Vishnu are introduced here.

Infact, the Pancharatra derives its name from the discourse that Vasudeva gives to five seers over a period of five nights-Shandilya

Aupagayana, Maunjayana, Kaushika and Bharadwaja. Another legend says Vishnu revealed these holy texts to Garuda, Anantha, Rudra, Brahma and Vishvakasena.

Some of the important works that form the vast body of Pancharatra literature are Shandilya Samhita, Vishnu Samhita

Ahirbudhnya Samhita, Vishnu Tatwa Samhita, Sudarshana Samhita and Prakasha Samhita.

There are more than 200 such works in existence and Madhwacharya was perhaps the first Madhwa seer to quote extensively from them.

The Pancharatras are important for both Vaishnavas and Srivaishnavas as they contain a lot of information about Vishnu and the practice of the Vaishnava faith.

The Uttaradhi Matha says that “the dictates of the Pancharatra literature are followed in most South Indian Vaishnava temples”.

Some of the Pancharatra Agama texts known are: Shandilya Samhita, Vishnu Samhita, Ahirbudhnya Samhita, Vishnu Tatwva Samhita, Sudarshana Samhita and Prakasha Samhita.

The philosophy of the Pancharatras are beautifully expounded in the Jayakhya Samhita. Thus. The Agamas can be called as practical texts of Vishnu worship.

In general, the Pancharatra school of though and philosophy believes Hari manifests himself in or through five different forms. They are Para, Vyuha, Vaibhava, Antaratma and archa.

The stotra for a child

Several people have asked us at the post about a mantra, slokha or stotra for begetting children.

We have always advised such people to get in touch with doctors and undergo the treatment that is recommended for them. However, as the saying goes, “God only helps those who help themselves.” What this means is that we need the grace or blessings of God apart from medicine for achieving many things in life.

A calm and peaceful atmosphere and a stressfree environment at home would lead to greater efficiency of work at office. Harmony at home would translate to a better life.

Our shastras, puranas and even the Geetha lay stress on well-being and good physical and mental environment. Remembering God, even if it is for a moment, would suffice. No religion in the world preaches hatred or enemity. All religions talk of  devotion, faith and sincerity.

So if you have faith in a particular god or religion, it would help you successfully climb and overcome difficult phases of your life. Our shastras and puranas are our heritage. There is nothing wrong if e learn about them or if we are guided by them, There are many aspects of life that have been dealt with in our scriptures and they include respect to women, right living and right thinking, non-violence, sincerity and devotion to God and several other aspects.

Today, the cases of  delayed child birth and/or childlessness is on the increase. Stress, hectic life style, junk food, alcohol and smoking and of course a sedentary life have all contributed to this problem. Several decades ago, when there was no medicine or treatment to deal with such issues, elders in a family advised childless couples to visit a temple of Subramanya and perform Sarpa Dosha. The Ghati subramanya nead Doddaballapur and Kukke Subramanya near Dharmastala are well-known for performing such rituals.

Apart from getting rid of Sarpa Dosha, our elders always asked us to keep faith in god and perform pooje to certain gods and goddesses. Today, such seves are regularly performed at Mantralaya, Abbur, Sonde and at various pilgrim places, including Cheluva Narayanaswamy in Melkote, Sri Krishna in Udupi, Manjunatha in Dharmastala, Marikamba in Sirsi and other places.

In case, you are not able to visit the holy places and perform seve,  our scriptures have said performing pooje at home is adequate.  There are several mantras and slokhas that are believed to have divine powers to help couples who want to have children. Of course this does not mean that a couple would get a child as soon as such a mantra or slokha is recited. Such slokhas will aid in the process.

One such slokha is called the Go Savitri Stotra. The lyrics are in Kannada and English and it starts with a prayer to Narayana or Hari.         

ಗೋಸಾವಿತ್ರೀ ಸ್ತೋತ್ರ

ನಾರಾಯಣಂ ನಮಸ್ಕೃತ್ಯ ದೇವೀಂ ತ್ರಿಭುವನೇಶ್ವರೀಮ್|
ಗೋಸಾವಿತ್ರೀಂ ಪ್ರವಕ್ಷ್ಯಾಮಿ ವ್ಯಾಸೇನೋಕ್ತಾಂ ಸನಾತನೀಂ        ||೧||

ಯಸ್ಯ ಶ್ರವಣ ಮಾತ್ರೇಣ ಸರ್ವಪಾಪೈಃ ಪ್ರಮುಚ್ಯತೇ|
ಗವಾಂ ನಿಶ್ವಸಿತಂ ವೇದಾಃ ಸಷಡಂಗಪದಕ್ರಮಾಃ            ||೨||

ಶಿಕ್ಷಾ ವ್ಯಾಕರಣಂ ಛಂಧೋ ನಿರುಕ್ತಂ ಜ್ಯೌತಿಷಂ ತಥಾ|
ಏತಾಸಾಮಗ್ರಶೃಂಗೇಷು ಇಂದ್ರವಿಷ್ಣೂ ಸ್ವಯಂಸ್ಥಿತೌ            ||೩||

ಶಿರೋ ಬ್ರಹ್ಮಾ ಗುರುಃ ಸ್ಕಂಧೇ ಲಲಾಟೇ ವೃಷಭಧ್ವಜಃ |
ಕರ್ಣಯೋರಶ್ವಿನೌ ದೇವೌ ಚಕ್ಷುಷೋಃ ಶಶಿಭಾಸ್ಕರೌ            ||೪||

ದಂತೇಷು ಮರುತೋ ದೇವಾ ಜಿಹ್ವಾಯಾಂ ಚ ಸರಸ್ವತೀ|
ಕಂಠೇ ಚ ವರುಣೋ ದೇವೋ ಹೃದಯೇ ಹವ್ಯವಾಹನಃ            ||೫||

ಉದರೇ ಪೃಥಿವೀ ದೇವೀ ಸಶೈಲವನಕಾನನಾ|
ಕಕುದಿ ದ್ಯೌಃ ಸನಕ್ಷತ್ರಾ ಪೃಷ್ಠೇ ವೈವಸ್ವತೋ ಯಮಃ                    ||೬||

ಊರ್ವೋಸ್ತು ವಸವೋ ದೇವಾ ವಾಯುರ್ಜಂಘೇ ಸಮಾಶ್ರಿತಃ|
ಆದಿತ್ಯಸ್ತ್ವಾಶ್ರಿತೋ ವಾಲೇ ಸಾಧ್ಯಾಃ ಸರ್ವಾಂಗಸಂಧಿಷು               ||೭||

ಅಪಾನೇ ಸರ್ವತೀರ್ಥಾನಿ ಗೋಮುತ್ರೇ ಜಾಹ್ನವೀ ಸ್ವಯಮ್|
ಧೃತಿಃ ಪುಷ್ಟಿರ್ಮಹಾಲಕ್ಷ್ಮೀರ್ಗೋಮಯೇ ಸಂಸ್ಥಿತಾಃ ಸದಾ              ||೮||

ನಾಸಿಕಾಯಾಂ ಚ ಶ್ರೀದೇವೀ ಜ್ಯೇಷ್ಠಾ ವಸತಿ ಭಾಮಿನೀ|
ಚತ್ವಾರಃ  ಸಾಗರಾಃ ಪೂರ್ಣಾ ಗವಾಂ ಹ್ಯೇವ ಪಯೋಧರೇ            ||೯||

ಖುರಮಧ್ಯೇಷು ಗಂಧರ್ವಾಃ ಖುರಾಗ್ರೇ ಪನ್ನಗಾಃ ಶ್ರಿತಾಃ|
ಖುರಾಣಾಂ ಪಶ್ಚಿಮೇ  ಭಾಗೇ ಹ್ಯಪ್ಸರಾಣಾಂ ಗಣಾಃ ಸ್ಮೃತಾಃ        ||೧೦||

ಶ್ರೋಣೀತಟೇಷು ಪಿತರೋ ರೋಮಲಾಂಗೂಲಮಾಶ್ರಿತಾಃ|
ಋಷಯೋ ರೋಮಕೂಪೇಷು ಚರ್ಮಣ್ಯೇವ ಪ್ರಜಾಪತಿಃ             ||೧೧||

ಹುಂಕಾರೇ ಚತುರೋ ವೇದಾ ಹುಂಶಬ್ದೇ ಚ ಪ್ರಜಾಪತಿಃ|
ಏವಂ ವೀಷ್ಣುಮಯಂ ಗಾತ್ರಂ ತಾಸಾಂ ಗೋಪ್ತಾ ಸ ಕೇಶವಃ        ||೧೨||

ಗವಾಂ ದೃಷ್ಟ್ವಾ ನಮಸ್ಕೃತ್ಯ ಕೃತ್ವಾ ಚೈವ ಪ್ರದಕ್ಷಿಣಮ್|
ಪ್ರದಕ್ಷಿಣೀಕೃತಾ ತೇನ ಸಪ್ತದ್ವೀಪಾ ವಸುಂಧರಾ                      ||೧೩||

ಕಾಮದೋಗ್ಧ್ರೀ ಸ್ವಯಂ ಕಾಮದೋಗ್ಧಾ ಸನ್ನಿಹಿತಾ ಮಮ|
ಗೋಗ್ರಾಸಸ್ಯ ವಿಶೇಷೋ ಅಸ್ತಿ ಹಸ್ತಸಂಪೂರ್ಣ ಮಾತ್ರತಃ          ||೧೪||

ಶತಬ್ರಾಹ್ಮಣ ಭುಕ್ತೇನ ಸಮಮಾಹುರ್ಯುಧಿಷ್ಠರ |
ಯ ಇದಂ ಪಠತೇ ನಿತ್ಯಂ ಶೃಣುಯಾದ್ವಾ ಸಮಾಹಿತಃ              ||೧೫||

ಬ್ರಾಹ್ಮಣೋ ಲಭತೇ ವಿದ್ಯಾಂ ಕ್ಷತ್ರೀಯೋ ರಾಜ್ಯಮಶ್ನುತೇ|
ವೈಶ್ಯೋ ಧನಸಮೃದ್ಧಃ ಸ್ಯಾಚ್ಛೂದ್ರಃ ಪಾಪಾತ್ ಪ್ರಮುಚ್ಯತೇ        ||೧೬||

ಗರ್ಭೀಣೀ ಜನಯೇತ್ ಪುತ್ರಂ ಕನ್ಯಾ ಭರ್ತಾರಮಾಪ್ನುಯಾತ್|
ಸಾಯಂ ಪ್ರಾತಸ್ತು ಪಠತಾಂ ಶಾಂತಿಸ್ವಸ್ತ್ಯಯನಂ ಮಹತ್          ||೧೭||

ಅಹೋರಾತ್ರಕೃತೈಃ ಪಾಪೈಸ್ತತ್ಕ್ಷಣಾತ್ ಪರಿಮುಚ್ಯತೇ|
ಫಲಂ ತು ಗೋಸಹಸ್ರಸ್ಯೇತ್ಯುಕ್ತಂ ಹಿ ಬ್ರಹ್ಮಣಾ ಪುರಾ               ||೧೮||

ಗಾವೋ ಮೇ ಹ್ಯಗ್ರತಃ ಸಂತು ಗಾವೋ ಮೇ ಸಂತು ಪೃಷ್ಠತಃ|
ಗಾವೋ ಮೇ ಹೃದಯೇ ಸಂತು ಗವಾಂ ಮಧ್ಯೇ ವಸಾಮ್ಯಹಮ್    ||೧೯||

ಸುರಭಿರ್ವೈಷ್ಣವೀ ಮಾತಾ ನಿತ್ಯಂ ವಿಷ್ಣುಪದೇ ಸ್ಥಿತಾ|
ಗೋಗ್ರಾಸಂ ತು ಮಯಾ ದತ್ತಂ ಸುರಭಿಃ ಪ್ರತಿಗೃಹ್ಯತಾಮ್        ||೨೦||

ಗಾವೋ ಮೇ ಮಾತರಃ ಸರ್ವಾಃ ಸರ್ವೇ ಮೇ ಪಿತರೋ ವೃಷಾಃ|
ಗ್ರಾಸಮುಷ್ಠಿಂ ಮಯಾ ದತ್ತಂ ಸುರಭಿಃ ಪ್ರತಿಗೃಹ್ಯತಾಮ್           ||೨೧||

ಫಲಾನಾಂ ಗೋಸಹಸ್ರಸ್ಯ ಪ್ರದದ್ಯಾದ್ಬ್ರಾಹ್ಮಣೋತ್ತಮೇ|
ಸರ್ವತೀರ್ಥಾಧಿಕಂ ಪುಣ್ಯಮಿತ್ಯುಕ್ತಂ ಬ್ರಹ್ಮಣಾ ಪುರಾ               ||೨೨||

The lyrics in English are as follows:

nArAyaNaM namaskRutya dEvIM triBuvanESvarIm |

gOsAvitrIM pravakShyAmi vyAsEnOktAM sanAtanIm || 1 ||

yasya SravaNamAtrENa sarvapApaiH pramuchyatE |

gavAM niSvasitaM vEdAH saShaDaMgapadakramAH || 2 ||

SikShA vyAkaraNaM CaMdO niruktaM jyoutiShaM tathA |

EtAsAmagraSRuMgEShu iMdraviShNU svayaMsthitou || 3 ||

SirO brahmA guruH skaMdhE lalATE vRuShaBadhvajaH |

karNayOraSvinou dEvou chakShuShOH SaSiBAskarou || 4 ||

daMtEShu marutO dEvA jihvAyAM cha sarasvatI |

kaMThE cha varuNO dEvO hRudayE havyavAhanaH || 5 ||

udarE pRuthivI dEvI saSailavanakAnanA |

kakudi dyouH sanakShatrA pRuShThE vaivasvatO yamaH || 6 ||

UrvOstu vasavO dEvA vAyurjaMGE samASritaH |

AdityastvASritO vAlE sAdhyAH sarvAMgasaMdhiShu || 7 ||

apAnE sarvatIrthAni gOmUtrE jAhnavI svayam |

dhRutiH puShTirmahAlakShmIrgOmayE saMsthitAH sadA || 8 ||

nAsikAyAM cha SrIdEvI jyEShThA vasati BAminI |

chatvAraH sAgarAH pUrNA gavAM hyEva payOdharE || 9 ||

KuramadhyEShu gaMdharvAH KurAgrE pannagAH SritAH |

KurANAM paSchimE BAgE hyapsarANAM gaNAH smRutAH ||

10 ||

SrONItaTEShu pitarO rOmalAMgUlamASritAH |

RuShayO rOmakUpEShu carmaNyEva prajApatiH || 11 ||

huMkArE chaturO vEdA huMSabdE cha prajApatiH |

EvaM viShNumayaM gAtraM tAsAM gOptA sa kESavaH || 12 ||

gavAM dRuShTvA namaskRutya kRutvA chaiva pradakShiNam |

pradakShiNIkRutA tEna saptadvIpA vasuMdharA || 13 ||

kAmadOgdhrI svayaM kAmadOgdhA sannihitA matA |

gOgrAsasya viSEShO&sti hastasaMpUrNamAtrataH || 14 ||

SatabrAhmaNaBuktEna samamAhuryudhiShThira |

 ya idaM paThatE nityaM SRuNuyAdvA samAhitaH || 15 ||

brAhmaNO laBatE vidyAM kShatriyO rAjyamaSnutE |

vaiSyO dhanasamRuddhaH syAcCUdraH pApAt pramuchyatE || 16 ||

garBiNI janayEt putraM kanyA BartAramApnuyAt |

sAyaM prAtastu paThatAM SAMtisvastyayanaM mahat || 17 ||

ahOrAtrakRutaiH pApaistatkShaNAt parimuchyatE |

phalaM tu gOsahasrasyEtyuktaM hi brahmaNA purA || 18 ||

gAvO mE hyagrataH saMtu gAvO mE saMtu pRuShThataH |

gAvO mE hRudayE saMtu gavAM madhyE vasAmyaham || 19 ||

suraBirvaiShNavI mAtA nityaM viShNupadE sthitA |

gOgrAsaM tu mayA dattaM suraBiH pratigRuhyatAm || 20 ||

gAvO mE mAtaraH sarvAH sarvE mE pitarO vRuShAH |

grAsamuShTiM mayA dattaM suraBiH pratigRuhyatAm || 21 ||

phalAnAM gOsahasrasya pradadyAdbrAhmaNOttamE |

sarvatIrthAdhikaM puNyamityuktaM brahmaNA purA || 22 ||

|| iti SrImanmahABAratE BIShmayudhiShThirasaMvAdE

gOsAvitrIstOtram ||

This is one of the many stotras on begetting a child. There are several other stotras and slokas. As you can see, it will take three minutes or less to recite the entire slokha. If we can spend thousands of rupees on medicine and on doctors, can’t we spend only a few minutes remembering God. After all, there is no money for reciting these mantras and slokhas. All that is needed is devotion, faith and sincerity.

Just as medical intervention too takes time, our faith and devotion too takes time for the Gods to accede to our prayer. Never lose faith and you will always be rewarded.   

The incomparable Haridasa

He is widely regarded as the pioneer of Carnatic music and among the first of the Dasa Koota founded by Vyasa Theertha (1447-1539). A trader and businessman by profession, he took deekshe from Vyasa Theertha and from one of the richest merchants of the Vijayanagar Kingdom, he took to begging for food.

This change in his lifestyle was because he became a Haridasa. In all his trials and tribulations, his wife and children never uttered a word of protest. His wife too was a composer of note and so were his three sons.

He has to his credit 4,75,000 compositions and this is gleaned from one of his own compositions which goes as, “Vasudevana nomavaliya”.

When his wife, Saraswati died, this Haridasa composed and sang, “giNuyu (giLiyu) panjaradoLLilla”, and continued his life as a wandering mendicant. This Dasa is none other than Purandara Dasa who compares his wife to a parrot which was taken away by a cat, leaving behind its family.

“giLiyu panjaradoLilla

shrI rAma rAma baridE panjaravAitalla

akka ninna mAta kELi cikkadondu GiLiya sAkide akka nAnillada vELeyalli bekku koDu hOyitayyo

artigondu giLiya sAkide muttina hArava hAkide muttukoNDu giLiyu tAnu ettalODi hOyitayyO

hasuru baNNada giLiyu kushala buddhiya giLiyu asuva kundi giLiyu tAnu hasana geDisi hOyitayyO

muppAga beNNeyannu tappade nA hAki sAkide oppadinda giLiyu Iga teppane hArihOyitayyO

rAma rAma embO giLi kOmala kAyada giLi prEmadi sAkida giLi Ommege summanayitallo.

ombhattu bAgila maneyalli tumbi tumbi mandi iralu kamba muridu bimba biDu ambarakke  hAritayya

angayyalli ADuva giLi mungay mEle kuniyo giLi ranga purandara viTTalana sangaviralu hoyitayyo”.

In an earlier composition, Aadaddella Valiye Aayitu, he had sung,

“gOpALa buTTi hiDiyuvudakke bhUpatiyante garvisutidde
patni kula sAviravAgali gOpLa buTTi hiDisidaLayya”,

Whereby he had credited his wife for reforming him.

He preached as he composed and he was an ardent devotee, disciple , follower and faithful companion of  Vyasa Raja. He went around the length and breath of the Vijayanagar Empire, singing the glory of Hari and propagating Dwaitha Siddantha.

He says he is more than satisfied after having accepted deekshe and sings,

“haridAsara sanga dorakitu enagIga innEninnEnu

varaguru upadEsha neravAitu enage innEninnEnu”.

He then pleads with Hari to take care of his family. In

“Enna kaDehAyisuvuda ninna bhAra”

Purandara Dasa says,  

“Enna kaDehAyisuvudu ninna bhAra

 ninna neneyutihude enna vyApArara

Enna sathi sutarige nIne gati

ninnanoppisuvudu enna nIti

Enna oDala porevudu ninna dharma

ninna aDigeraguvudu enna karma

hari nInallade Ara moreyiDuve

siri purandara viTTala ninna pADuve”.

Here, we see Purandara telling Hari that it is his job to take care of his family and feed them, while he (Purandara) continues pleasing the lord by singing.

He always exhorted people to follow God and lead a path of righteousness. He asked people not to lay stress on money which, he said, is a double edged weapon.

In, “DuggaNi embudu durjana sangha”, he warns people about the tarp of falling into love with money.  

  

“DuggaNi embodu Durjana sangha Duggani balu keTTadaNNa

Achara helodu Duggani bahu nichara maDodu Duggani

Nachike illade mane mane tirugi chi chi ennodu duggani

nentatana helodu Duggani Bahu nentara nudisodu Duggani

Onte hange more melakke selakondu kunta nenisuvudu Duggnianna

manava gelisuvudu Duggani mana hadagedisuvudu Duggani

Bahumananidhi shri purandaravittalana kanisadiruvudu Dugganianna”.

He was against superstition and blind beliefs. He was also among the first Haridasas to preach against untouchability, blind belief  and caste system and this is beautifully brought out in “Holeya horagihane urolagillave Sri  Hariyasmaraneyanu ballavaru.”

In another composition, he says:

“Madi madi madi endu adigadi haruve madi mAduva bage bEruntu

podavi pAlakana pAda dhyanavanu bidade mAduvudu adu madiyu

batteya neeroLagaddi moLagisi uttukondare adu madiyalla

hotteyoLagina kAma krodhavanu bittu nadedare adu madiyu

hiriyara gurugaLa haridAsarugala charana keragi bhakutiyali

paripAlisu endu purandaravithalana iruLu hagalu nenevudu adu madiyu”

He then goes on to say that all days and all dates are auspicious and no day is inauspicious.

 “ಇಂದಿನ ದಿನವೇ ಶುಭದಿನವು
ಇಂದಿನ ವಾರ ಶುಭವಾರ
ಇಂದಿನ ತಾರೆ ಶುಭತಾರೆ
ಇಂದಿನ ಯೋಗ ಶುಭಯೋಗ
ಇಂದಿನ ಕರಣ ಶುಭ ಕರಣ
ಇಂದು ಪುರಂದರ ವಿಟ್ಠಲ ರಾಯನ
ಸಂದರ್ಶನ ಫಲವೆಮಗಾಯಿತು”

Though these beautiful lines were written more than five centuries ago, they attest to this Haridasa’s faith against blind superstition and they are valid even today. In this composition, Purandara says all days are the same and there is no such thing as a good day or a bad day.

This is one of his Ughabhogas where he has moulded the language in his inimitable style to make a philosophical statement.  

A prolific composer, he has written on a wide spectrum of topics covering philosophical musings to deeply religious, historical, spiritual and even mundane everyday activities.

His name is known all over India and certainly across nations too. He is known for formalising Carnatic music and also for carrying forward the Haridasa tradition conceptualised by Vyasa Raja or Vyasa Theertha.

He is also believed to be an amsha of Narada Muni and one of the favourite disciples of Vyasa Raja or Vyasa Theertha (1447-1539).Yet, mush of his life and times are shrouded in mystery and the only source of his life are his own compositions and of his disciple, Vijaya Dasa.

Though he lived during the Vijayanagar period and he is popular for his compositions, many aspects of his life and his family are still unknown. Infact, not much is known about the place of his birth and even his family.

The general belief is that his birth place is Purandaragad near Pune. But recent research and epigraphical evidences in Karnataka have zeroed in on the fact that Purandara Dasa was born in Theerthalli  near Sagar in Shimoga district in Karnataka.

However, researchers and scholars of Maharashtra still maintain that Purandara Dasa was born in Maharashtra. He is given a high place  in the Santhamalike of Maharashtra. Besides this, Marathi scholar Ajagavker in his book “Maharashtra Kavicharitre:, says that the 18th century saint, Sant Vittoba Anna Daphtardar of Karad,  claimed to be an amsha of Purandara Dasa and that he had taken responsibility to compose 25000 songs.

On the other hand, the inscription found at Sagar in Shimoga district says that Kshemapura here is the Purandarapur where the dasa was born. This place, during the Vijayanagar period, was a thriving business and trading centre.

Purandara, as he himself acknowledges, belonged to Nayaka family involved in trade and business. An inscription discovered at Teerthahalli and another found in 1400 claim that the nomenclature of  Nayaka was the surname of  Brahmins of Teerthahalli.

Moreover, the name of one of the sons of Purandara was Hebanna. Even today, these type of names are common to residents of towns in and around Teerthahalli.

Historians Dr. R. S. Panchamukhi and S. R. Rao both have researched on this aspect. Others historians like Dr. P.B. Desai and Kapartal Krishna Rao debunk the theory that Purandara was born at Purandaragad near Pune. The Dwaitha scholar BNK Shara too argues against Purandaragad as being the birthplace of Purandara Dasa.

K. Krishnarao identifies Kshemapura as the birthplace of Purandara. Incidentally, the copper plate inscription of 1526 at Kamalapur near Hampi proves that Purandara Dasa belonged to Vasishta Gothra and Yajushaka. The same inscription also explains that the three sons of Dasa were Lakshmana Dasa, Hebanna Dasa and Madhwapathi Dasa. They received a grant from Vyasa Raja, the Rajaguru of Vijayanagar, in 1526.

BNK Sharma says the word Purandara has nothing to do with the place of birth of the Dasa. He argues that Purandara was only the ankita and that his full name was Purandara Vittala Dasa. No Dasa, he says, has been recognized by the place of his birth.

However, we know that Purandara Dasa obtained Deekshe and ankita from Vyasa Raja and that he was his constant companion for several years.  Researcher and musicologist Prof. P. Sambamoorthy, says it was sometime in 1525 that Srinivasa Nayaka was initiated as Purandara by Vyasa Raja. He was then 40 years of age.

Purandara was also a close associate and friend of Belur Vaikunta Dasa and Kanaka Dasa. All of them were very well acquainted with Vadiraja Theertha (1480-1600) and other disciples of Vyasa Raja. 

Purandara Dasa was patronised by Krishna Deva Raya (1509-1529) and his brother, Achuta Deva Raya (1529-1542). However, after the passing away of  Vyasa Raja in 1539, royal patronage to Purandara declined and it was almost non-existent during the reign of Aliya Rama Raya.

Purandara was anguished and deeply pained by the epicurean lifestyle of Aliya Ramaraya and the residents of  Vijayanagar and he warned them against such excesses. In “Nechhadiree bhagya”, he cautioned the people against going after material pleasures and neglecting god.

He asked people to chant the name of God and remember God till their tongues could speak. He sang:

“Narajanma Bandaga Nalige Iruvaga Krishna Endare”

Unfortunately, Purandara Dasa passed way in Hampi in 1564 and with him died the Haridasa Sahitya only for Vijaya Dasa to revive it several decades later.

Today, a little more than 800 compositions of Purandara Dasa are available. Many are autobiographical in nature and we get the information from them that Purandara was a wealthy merchant.

In Ana Lae Kara, which is generally regarded as among his first compositions, he laments how he has wasted several decades of his early life in indulgence and in worldly matters. . 

Coming back to his compositions, Purandara Dasa himself says,

“ವ್ಯಾಪಾರ ನಮಗಾಯಿತು
ಶ್ರೀಪತಿಯ ಪಾದಾರವಿಂದ ಸೇವೆಯೆಂಬೋ |p|

ಹರಿಕರುಣವೆ ಅಂಗಿ ಗುರುಕರುಣವೆ ಮುಂಡಾಸು
ಹರಿದಾಸರ ದಯವೆಂಬೋ ವಲ್ಲಿ
ಪರಮಪಾಪಿ ಕಲಿಯೆಂಬೋ ಪಾಪೋಸು ಮೆಟ್ಟಿ
ದುರಾತ್ಮರಾದವರ ಎದೆಮೇಲೆ ನಡೆವಂಥ || ವ್ಯಾಪಾರ ನಮಗಾಯಿತು||

ಬಿಳಿಯಕಾಗದ ಹೃದಯ ಬಾಯಿ ಕಲಮದಾನಿ
ನಾಲಿಗೆಯೆಂಬೋದೇ ಲೇಖನಿಯು
ಲೋಲನ ಕಥೆ ನಾಮಂಗಳ
ಶೀಲಮನವಿ ಬರೆದು ಹರಿಗೆ ಒಪ್ಪಿಸುವಂಥ || ವ್ಯಾಪಾರ ನಮಗಾಯಿತು||
 

Here, ವ್ಯಾಪಾರ means trade or business. Purandara Dasa describes in this composition the dress worn by a trader. He also lets us know how he became a Haridasa. He says he has been tasked with the job of helping people fight evil.

In another composition, Purandara Dasa himself says:

ಎನ್ನ ಕಡೆಹಾಯಿಸಿರುವುದು ನಿನ್ನ ಭಾರ
ನಿನ್ನ ನಂಬಿ ಬದುಕುವುದು ಎನ್ನ ವ್ಯಾಪಾರ

It is your responsibility to take me to the other side. It is my business to have faith in you. Here again, we see the word Vyapara or business used allegorically.
Apart from these compositions, there are several suladis where Purandara Dasa is autobiographical. However, the references are so cleverly concealed and they form an integral part of the composition, that we can coreleate some of the words and lines to his life only after we go through the composition several times. 

Just as we can come to know about his life, we can also zero in on the exact day and date on which Purandara Dasa died. This is so as one of his sons, Madhwapathi Dasa, who was later reborn as Vijaya Dasa, has written about it. 

The composition by Madhwapathi Dasa is matter of fact and there is no unnecessary glorirfication of death or lament of a father. The lines of the composition show that death was expected. Purandara Dasa died in 1564, an year before Hampi or Vijayanagar was sacked by the Muslim forces and he probably breathed his last at the Purandara pavillion.

The Mantapa which stands in the Tungabhadra even today. If we visit Hampi, we can see the Mantapa.

We get information on the death of Purandara in a composition by Madhwapathi Dasa.

Madhwapathi Dasa says his father died on Pushya amavasye in the Raktakshi samvatsara:

He says: 

ತೆರಳಿದರು ಹರಿಪುರಕಿಂದು || ಪಲ್ಲವಿ ||
ಪುರಂದರದಾಸರಾಯರು ದೀನಬಂಧು || ಅನುಪಲ್ಲವಿ ||

ರಕ್ತಾಕ್ಷಿವತ್ಸರ ಪುಷ್ಯಾಂತ ರವಿವಾರ
ಮುಕ್ತಿಗೈದಿದರು ಕೇಳಿ ಬುಧಜನರು || ೧ ||

ವಿರೂಪಾಕ್ಷ ಕ್ಷೇತ್ರದಿ ವಿಠಲನ್ನ ಸನ್ನಿಧಿಯಲ್ಲಿ
ಶರೀರವನಿರಿಸಿ ಅನಾಥರನು ಹರಸಿ || ೨ ||

Both the pallavi and anupallavi in the composition amply makes it clear that it was written on the day Purandara Dasa passed away. The first says that it was on amavasye, Pushya masa, Sunday when the death occurred.  

In Kannada, Ravivara means Sunday and Pushya is one of the masa or month that Madhwapathi Dasa refers to. The second charana mentions Virupaksha Kshetra and this nothing but Hampi or Vijayanagar. Hampi was well-known for the temple of Virupaksha and it was the family diety of the Vijayanagars. The temple of Virupaksha still stands in Hampi today and it was known as Virupaksha Kshetra.

The composition only hints that Purandara Dasa died somewhere in the vicinity of the Vijaya Vittala temple and this was probably at the  Purandara Mantapa where the he spent several years and composed thousands of songs.
Incidentally, even many of the compositions of Vijaya Dasa sheds light on the life and times of Purandara Dasa.

Vijaya Dasa considered Purandara Dasa to be his guru and he has collected several compositions of Purandara Dasa.

In Guru Purandara, he says,

“Asare nimma charaNakamalava nambide||

garuvarahitana mADi ennanu poreva bhAravu nimmade||1

ondu ariyada mandamati nAnindu nimmanu vandipe|

indireshana tandu tOrisi tande mADelo satkRupe||2

purandaragaDadolage nindu niruta dravyava galiside|

paramapuruShanu vipranandadi karava nIDi yAchise||3

parama nirguNavanavanaritu harige sUreya nIDuta|

aritu manadOlu haridu bhavagala taruni sahitA horaTane||4

mArajanakana sannidhAnadi sAragAnava mADuva|

nAradare I rUpadindali chArudarushana tOrida||5

ajabhavAdigalarasanAda vijayaviThalana dyAnipa|

nija su~JAnava koDisabEkendu bhajipenO kEl guruvara||6

A musician and a composer, he took giant strides towards systemising Carnatic music in many of his Suladis, Ughaboghas, Padas and Padyas. He fused Kannada with sangeetha and the result was the Haridasa sahitya.

Apart from biological references, there are nearly 30 compositions where he refers to music, musical instruments and the qualification of a musician. In “Keleno Hari Taaleno, Taalamelagaliddu”, he talks of tambura, Kombu, flute.

In the Suladi “Govindanaadidaatagalanu”, Purandara speaks of  swara, nada, murchana, jati, geeta and prabandha. He also refers to the ragas that were in vogue in many of his compositions.

He also introduced raga Thodi to Carnatic music and laid down certain other rules. He introduced Mayamalavagowla as the first scale in Carnatic music to be learnt by a beginner.

All his compositions were composed in Kannada and they were in the Bathisi raga that he had stressed. Purandara took pains to introduce the basic lessons of Carnatic music by structuring Swaravalis (graded exercises) and Alankaras (exercises based on the Sapta talas).  He also ensured that there was pallavi, anupallivi and charana in all his compositions.

Thus, though we have amass of information on the kritis and devaranamas of  Purandara Dasa, we do not have clear and undisputed information on his life. It appears that everyone today known Purandara only through his compositions. Even among his compositions, a majority of them appear to have been lost. Not much is known about his life and his family and of course his 4,75,000 compositions. What a pity.