Kulasekhara Alwar

KULASEKHARA ALWAR


Among the twelve Alwars, the great Vaishnavite Tamil poets who have embellished devotional literature in praise of Lord Vishnu, Kulasekhara occupies a prominent place. Devotees worship him as the manifestation of Kaustubam. In the temple of Ranganathaswamy in Srirangam, soon after entering the temple is a sannidhi dedicated to this alwar. (Photo on left shows the entrance to the main temple.)He is the author of “Mukunda Mala” a garland of Hymns to Mukunda, a Sanskrit poem composed in praise of Shri Mahavishnu. From the line “Ragyna Krita Kritiriyam Kulasekharena” in the last stanza of `Mukunde mala’ it is clear that he is the author of “Mukunda Mala”, whose focus is `Bhakti Rasa’. In the same stanza, he acknowledges with gratitude his two friends dear to him – one a noble twice-born and the other a Parasava - who were both poets of a high calibre with capacity to retain and remember what they learnt. According to Tritiya Brahmatantra Swami’s `Guru Parampara Prabhavam’ he is the same Kulasekhara who composed `Perumal Tirumozhi’ in Tamil, which forms part of 4000 `Pasurams’ of verses in Divya Prabhandam, the compilation of immortal verses by Alwar saints in which their feelings and inner-most thoughts find expression. That should set at rest the controversy as to whether Kulasekhara, the Philospher King is the same as Kulasekhara Alwar. He is believed to have been the ruler of Kozhikode about fifteen centuries ago.

According to the foklore, Kulasekhara, the King was intensely listening to a Sangita Nama Kirtanam on Lord Rama rendered by a Kirtankar, who was waxing eloquent on how Lord Rama was feeling thoroughly depressed, helpless and pathetic after Sita was abducted by Ravana. Kulasekhara, the King, was moved to tears after listening to this episode. A great Bhatka of Lord Rama, how could he remain a mute spectator when the Lord himself was in deep trouble? He got up from his seat, summoned his Minister and Senapati and instructed them to give marching orders to the Army to invade Ravana’s kingdom, defeat Ravana in the battle and bring Sita back to Shri Rama’s custody. The King had indentified himself so much with the story of Lord Rama that he forgot that the episode had taken place long years back. Sensing quickly that the atmosphere was charged with tension, especially after the entire audience rose as one man chanting loudly `Ramchandra ki Jai’, the Kirtankar hastily wound up the story by narrating in one sentence how Lord Rama, assisted by Sugriva, Hanuman and other monkeys crossed the Ocean, fought a fierce battle against Ravana, killed him and was united with Sita. The tension eased and King Kulasekhara felt elated by the happy ending.

The golden thread that runs through Mukunda Mala is the profound truth that life on this planet is transitory and it is only through intense devotion that is Bhakti, human beings can hope to attain salvation “Tvat Padam Bhoruha Yugagata Nischala Bhaktirastu” Hey Mukunda, in every `janma’ I should be blessed to remember for ever your lotus feet. In the very beginning of the poem he goes into raptures over Lord Krishna “Jayatu Jayatu Devaki Nandano Ayam” (Here is Devaki’s son) as though He had assumed “Saakshatkaar Roop” in his heart. Again he says “Nana Gyaanamapasaya; Chetasi Namo Narayana Yeti Amum; Mantram Sapranavam Pranamasahitam Pravartayadhvam Muhuhu” which means “Setting aside varied and different kinds of knowledge start repeating in your mind continuously this sacred mantra `Narayana’ with `pranava’ fixed to it.” Taunting those foolish persons who take recourse to medicines, Kulasekhara says that instead of perpetuating through medicines this body, which is bound to age one day and will disintegrate gradually by its very nature “Niramayam Krishnarasayanam Pibha” that is drink the deep at the fountain of the nectar of Srikrishna’s name which is the panacea for all ills and maladies. In one stanza he vows to it that “even at the point of death my mind meditates on your hallowed feet”. However, not being sure about what would happen at the time of death when one is gasping for breath with the respiratory passage blocked up with “Kapha Vaata Pittai” (phlegm, wind and bile) in a subsequent stanza, the poet prays that his mind should resort to His Lotus feet now itself, because where is the guarantee of remembering Him at the time of death? In yet another verse he describes himself as the most insignificant servant of the Lord and for seven generations he and his ancestors had been in His service

In three stanzas in Mukundamala dealing with Mani (gems), Mantram (Mantra) and Aushadham(Medicine), the poet exhorts the Bhaktas to seek the blessings of the peerless Gem Sri Krishna, chant the Mantra of Sri Krishna to attain the fruition of life and take the Medicine in the form of the divine name of Shri Krishna to annihilate fear arising from mundane existence. There is a stanza on “Shath Sakshinaha” six devotees who stand witness to the fact that Sripati, the Lord of Lakshmi is the bestower of affection, the guard of protection, the remover of anguish, the embodiment of magnanimity, the destroyer of sins and giver of boundless prosperity. The six devotees are Prahlada, Vibhishana, Gajendra, Draupadi, Ahalya and Dhurva. This powerful sloka inspired Swami Desika to compose Narayana Ashtakam or Anthathrana Parayanashtakam comprising eight slokas that elaborate on the blessings showered by the Lord on each of the aforesaid six devotees.

The devotional depth and appeal of the inspiring slokas in Mukanda Mala ennoble our souls and enliven our minds.

Through ten verses in the Tamil composition `Perumal Tirumozhi he expresses his desire for close and constant association with Tirumala hills and its presiding deity Lord Venkateswara. The Alwar who aspired to be a bird, a fish, a sevadar, a tall stone, a forest rivulet or the first stone step near the `garba griha’ concludes his prayer by saying “Oh Lord ! Let me not tie up your hands by referring to be a specific object. Let me be anything but it should be associated with the holy temple.

These soul stirring compositions deservedly earned him the following tribute.

“Ghushyate Yasya Nagare Rangayatra Dine Dine
Tamaham Shirasa Vande Rajanam Kulasekharam”

I bow my head with reverence to the King Kulasekhara, in whose kingdom every day people are exhorted to go to Srirangam the foremost of the 108 Teerthasthanams”.
(Photo on the left:Rajagopuram of Sri Ranganathaswamy temple, Srirangam)