Meditations on Transcendence

 In Krishna’s itihāsa arc, the slaying of demons unfolds not as random heroics but as a carefully ordered dharmic progression. Narakasura falls first, during Krishna’s Dvārakā phase, in a direct battlefield act that frees the imprisoned princesses and restores violated order. Next comes Jarasandha , whose power is more political than feral; Krishna does not strike him down personally but orchestrates his end through Bhīma , dissolving a systemic obstruction and clearing the path for Yudhiṣṭhira’s Rājasūya yajña. Finally, Shishupala is slain at the very altar of kingship itself, after exhausting his measure of offenses, when Krishna’s Sudarśana responds not to arms but to accumulated adharma. Read together, the sequence reveals a deep logic: Naraka represents gross tyranny cut down by force, Jarāsandha embodies entrenched oppression undone by strategy, and Śiśupāla signifies verbal and moral transgression resolved by cosmic sanction. The order is not merely chronological; it is pe...

ಖ್ಯಾತಿ ಅಂದರೆ ಅವನದ್ದು ಕಣ್ರಿ. ನಿಮಗ್ಯಾಕೆ ರಿ ಪರವಸ್ತು? ದಾಸನಾಗು, ವಿಶೇಷನಾಗು. ಪ್ರೇಮದಲ್ಲಿ ಸುಖಿಸು. ಖ್ಯಾತಿ ಅಂದರೆ ಹೊರಗೆ ತಿರುಗುವ ನೆರಳು. ಅದು ಯಾರದ್ದೋ, ಯಾರ ಕೈಯಲ್ಲೋ ಇರುತ್ತದೆ. ಇಂದು ಹೊಗಳಿಕೆ, ನಾಳೆ ಮೌನ. ಅದನ್ನು ಹಿಡಿಯಲು ಓಡುವವನು ತನ್ನೊಳಗಿನ ನೆಮ್ಮದಿಯನ್ನು ಕಳೆದುಕೊಳ್ಳುತ್ತಾನೆ. “ನಿಮಗ್ಯಾಕೆ ರಿ ಪರವಸ್ತು?” ಎಂಬ ಪ್ರಶ್ನೆ ಇಲ್ಲಿ ತೀಕ್ಷ್ಣ. ಪರದ್ರವ್ಯ, ಪರಕೀರ್ತಿ, ಪರಮತ ಎಲ್ಲವೂ ಮನಸ್ಸನ್ನು ಚೂರುಮೂರು ಮಾಡುವ ವಸ್ತುಗಳು. ಸ್ವಂತ ನೆಲವಿಲ್ಲದೆ ಮರ ಬೆಳೆದು ನಿಲ್ಲುವುದಿಲ್ಲ. ದಾಸನಾಗು ಎನ್ನುವುದು ಹೀನತೆ ಅಲ್ಲ; ಅದು ಅಹಂಕಾರದ ಭಾರ ಇಳಿಸುವ ಮಾರ್ಗ. ದಾಸತ್ವದಲ್ಲಿ ಸ್ವಾತಂತ್ರ್ಯ ಇದೆ. ಏಕೆಂದರೆ ಅಲ್ಲಿ ಹೊರೆ ಇಲ್ಲ, ಹೋಲಿಕೆ ಇಲ್ಲ. ವಿಶೇಷನಾಗು ಎನ್ನುವುದು ಬೇರೆವರಿಗಿಂತ ಮೇಲು ಎನ್ನುವುದಲ್ಲ; ತನ್ನ ಕರ್ತವ್ಯವನ್ನು ಪೂರ್ಣವಾಗಿ ಬದುಕುವುದು. ಕರ್ತವ್ಯ ನಿಷ್ಠೆಯಿಂದ ನೆರವೇರಿಸಿದಾಗ ಜೀವನವೇ ವಿಶೇಷವಾಗುತ್ತದೆ. ಪ್ರೇಮದಲ್ಲಿ ಸುಖಿಸು ಎಂಬುದು ಅಂತಿಮ ಉಪದೇಶ. ಪ್ರೇಮ ಇಲ್ಲಿ ಭಾವೋದ್ರೇಕವಲ್ಲ, ಅದು ಬದುಕಿನ ಸರಿಯಾದ ದೃಷ್ಠಿ. ಪ್ರೇಮವಿರುವಲ್ಲಿ ಲೆಕ್ಕಾಚಾರ ಇಲ್ಲ, ಅಲ್ಲಿ ಶಾಂತಿ ಇದೆ. ಖ್ಯಾತಿ ಹೊರಗೆ ಹೊಳೆಯುತ್ತದೆ; ಪ್ರೇಮ ಒಳಗೆ ಬೆಳಗುತ್ತದೆ. ಅದೇ ಶಾಶ್ವತ.

 world is ranga - play of emotions with Ranganatha at the center  relate with emotions, grow beyond concept  always be on stage,  universe is a drama  this is how to deal with Vishnu the all pervading Purport: The World as Ranga The world is ranga , not a problem to be solved but a drama to be lived. Emotions rise, collide, soften, and fade. At the center of this moving stage stands Ranganatha , unmoving amid motion. To see life only as concept is to remain a spectator; to feel it fully and yet not be bound is to become wise. The Gita does not ask us to escape the stage, but to stand rightly upon it. मात्रास्पर्शास्तु कौन्तेय शीतोष्णसुखदुःखदाः । आगमापायिनोऽनित्यास्तांस्तितिक्षस्व भारत ॥ (Gita 2.14) Sense contacts give rise to pleasure and pain; they come and go, endure them. This verse reframes emotion not as enemy but as passing scene. One who knows this remains present, yet free. Vishnu, the all-pervading, is not met by withdrawal but by right particip...

  Hosa Varsha Eve. New Year Eve. Enu hosaadu? The clock changes its hat. The calendar flips its moustache. But the stage remains the same. Ade pañca-bhūta . Ade kāla . Earth does not update its software. Fire does not download a new patch. Water flows with the same old confidence it had yesterday. So haagadare… enu hosaadu? Not the universe. Not time. Not even our problems, which are loyal enough to RSVP every year. What becomes new is something subtler. Bhāva. Dr̥ṣṭikoṇa. Vision. A year becomes hosa only when the lens through which we look becomes nava-naveena . Otherwise it is just the same old wheel doing polite rotations, like a bored bull at a village oil press. The Gītā whispers this politely in Chapter 15. The universe exists in layers , like a cosmic mille-feuille. What we see is not all that is. “tataḥ padam parimārga-tavyam” — seek that further step, the higher footing. New Year, then, is not about fireworks. It is about climbing vision , one rung higher. From surface s...

  Purport to Saint Vādirāja’s Hitōpadēśa (Ṣaṭślōkī) The opening command is uncompromising: “Smara Kṛṣṇaṁ, bhaja Hariṁ, nama Viṣṇuṁ, śrayācyutam.” Once one has entered Bhāvālaya , the inner abode of devotion, there remains only one duty: tyaja kāma, jahi krodha, jahi moha. Nothing more, nothing less. Why is this necessary? Because we quietly trade our svadharma for money, position, and imagined security. This trade happens due to moha , mistaken identity. Planning the future on the false notion of “I am this body and its ambitions” is moha. Future expectations born from this false self create further bondage. Real intelligence asks a different question: How will this enable my service to Vāsudeva? Thus the instruction turns inward. Increase japa , deepen kathā , and see the world not as bhogya but as havis . The body itself is yajña-huta , meant for offering. The primary havis we handle daily is sound, ideas, and thoughts . Even rasa, like cooking, becomes sacred when offered to ...

 https://madhwafestivals.com/2016/11/04/venunada-priya-gopalakrushna/ Purport to “Venunāda Priya Gopāla Kṛṣṇa” The song begins with Venunāda-priya , establishing the primary quality of the Lord. Sound comes first. In the order of perception, śabda (sound) precedes sparśa (touch), rūpa (form), rasa (taste), and gandha (smell) . Therefore nāda is the doorway to devotion. Before one can appreciate the Lord’s feet, one must hear. The flute sound awakens faith, and that faith carries the consciousness toward the lotus feet. Pastimes follow later; first comes attraction through transcendental vibration. Pallavi – Nāda The pallavi rests on nāda. Kṛṣṇa is not merely a form-holder; He is sound itself. The venunāda is non-different from Oṁkāra. By hearing, the conditioned soul begins its return journey. First Para – Pada and Kara The song then moves to the feet : caraṇa-vandita-caraṇa . Feet signify shelter. After sound awakens faith, the devotee bows. Next comes the hand , therefore Mandar...