Daivadashakam, the prayer composed by the Karma as well as Jnana Yogi of the previous century for men of different faiths to chant in unison was last evening in Kodungallur visualised specially by a set of dancers. To be fair, let’s not dare understate the gathering as just a set, for the set simply comprised a thousand five hundred beautiful Mohiniyattom dancers! A correction there; it was 1536 to be precise. The person that visualised the treasure given to men by the great Guru, Shree Narayanan, is Kalamandalam Hymavathi and the person that led the army of elite artistes through this glorious experience was renowned danseuse Kalamandalam Dhanusha Sanyal.

It was a thrilling as well as touching moment for Indian sphere of philosophy too. Particularly for those that deemed Guru as the fulfillment of a divine promise given by the Lord sometime back that whenever Dharma declined and Adharma flourished He would manifest into the world Himself to re-establish Truth and Righteousness.

It is understood that this prayer assemble of ten verses was composed by Guru himself for placating the persons of different faiths that were not willing to recite the sacred terms of another faith as part of theirs, at the Aluva Adwaitha Ashramam in the beginning of the twentieth century. The specialty of the Daivadashakam is that it seldom has in it terms used to denote God from any faiths. Instead he has used just the term God to denote God alongside some neutral adjectives such as Mahadeva (The great God), Deena Awana Parayana (One who is interested in saving the downtrodden), Chidananda (the blissful soul) and Daya Sindhu (The ocean of mercy). The prayer form was easily and immediately accepted by the folk in waiting before him, despite having housed great disparity in thoughts just moments back.

Going for a thorough examination of the Daivadashakam, one finds that the words used by the Guru could be relatively simple but the philosophical wisdom emitted through those was profound immensely. Several layers spread the meaning of the whole matter. An essence of the wisdom of the Upanishads, it tends to present primarily the concept of a Universal Creator that is merciful as well as poised to guide humanity. The Guru has significantly written this elegant poem with unmitigated humility suiting a fervid devotee.

However, the fourth verse of the poem sets a different tone from the original one at the beginning; tending to rectify the thoughts of anyone that the Guru was a complete exponent of monotheism. His expressions such as ‘Oh God, sustain us you’ and ‘We here’ definitely point to the oneness of the supreme being as well as His unique existence as regards to that of the common man. But, it quite much seems that the Guru intended a clever rectification of this view in his poem’s fourth verse stating categorically, ‘You are the creation, creator as well as the magnitude of the creation besides being the material used for creation. This inclination of the great man toward pantheism is something that many expected the dancers to highlight through their enthralling gestures and steps at some point or other in the presentation. But this was not to happen.

Nevertheless, the performance by Dhanusha and her team was well enough organised with the intention of acquiring a record in the covetous Guinness Book of World Records and the prestigious Limca Book of Records. Arunachal Pradesh’s deputy chief minister, Chowna Mein inaugurated the event that was attended by many an eminent personality including the member of parliament from the constituency, Innocent.

Categories: Bhavalaya

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