Guruvayur Ekadashi & Chembai Vaidyanatha Bhagavathar- Anecdotes

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Dear Guruvayurappan Devotees, Here are a few anecdotes about Sri Chembai Vaidyanatha Bhagavathar. Source- www.Chembai.com (This link no longer works. Perhaps, the website is being redesigned. I had saved it from the old website some time back). Memorable Life Incidents The following incidents were recounted by long-time friend P.A.Raman. Like A Bhagavatar We were

speeding towards Kollam [Quilon] when our car got held up at a railway crossing. A young boy who was tending cattle nearby came up to the car and asked Chembai who he was. Always playful, Chembai asked him: "What do I look like?" The boy replied smartly: "Like a bhagavatar." When Chembai conceded he was one, the boy asked: "Are you going to sing at Vadayattu Kottai? The concert will be a roaring one, eh?" Chembai had a hearty laugh and said that possibly Guruvayurappan himself had come to bless him. Sixth Sense There was an overflowing audience for the concert at Vadayattu Kotai. Chembai was in fine form. There was an intermission during which a curious thing happened. He took a letter from his pocket, waved it at a member of the audience and asked: "You wrote this anonymous letter, didn't you?" The man

shamefacedly admitted he had done so, whereupon Chembai admonished him not to write anonymous letters ever again. The Sage & The Singer Once Chembai sang in Kanchipuram after the Paramacharya, then the pontiff of the Math, had performed the long Chandramouleeswara pooja. The sage asked him whether he was not tired. Chembai replied: "No, not at all. How can anyone be fatigued watching your Holiness performing the pooja?" The pontiff presented him with a bracelet, a rudraksha necklace, a ponnadai [shawl] and prasada. Miracle Rain I was present at the concert given by Chembai at the wedding of the daughter of Postmaster Viswanatha lyer of Kalpathy which took place in Sekharipuram, Palakkad. This was around the

time S.C.Kittappa, K.B.Sundarambal and their drama troupe was giving performances in Palakkad and the song Evarani rendered by Kittappa with terrific impact was on everybody's lips. Some of the listeners at the wedding concert requested Chembai to sing this song which is in the Devamritavarshini raga. Chembai replied that although it was summer and it was as dry as it could be, it would rain if he sang any song in that raga. Probably no one believed it because the listeners persisted with the request. Chembai then rendered the song and, miracle of miracles, when he concluded, dark clouds appeared in the sky and there was a downpour. Question Of Seniority Chembai and I were travelling by the Mangalore Mail in a posh old-time second class compartment, from Madras to Palakkad. It was very late at night when the train stopped at Erode. I heard someone

knocking on the door and since there was an upper berth vacant, I opened it and there was Ariyakudi Ramanuja lyengar. We invited him in gladly. He was also going to Palakkad, to sing at the marriage of one of my relatives. Chembai began talking to Ariyakudi and, after a while, asked: "I know you are older than me, but which of us is senior in terms of performing experience?" lyengar admitted Chembai was, for he too remembered that even when he was giving only vocal support to his guru Poochi Srinivasa lyengar, Chembai was accompanying the latter on the violin. The exact words he spoke to Chembai, in broken English, which I remember vividly were: "You were fiddling then." All of us laughed. Footrule It was a time when tlie Railways used to issue "Travel As You Like" tickets costing seven and half rupees which could be used for three months throughout

the entire railway network in the South. On or about June 1940, Chembai and I were at the Shoranur railway station platform, waiting to board the Mangalore-Madras Mail. Desamangalam Namboodiripad, an advocate of Madras and a Member of the then Madras Legislative Council, came into view with members of his family. Desamangalam is close to Shoranur. Namboodiripad spoke to Chembai: "Bhagavatar, why are you sitting here? Only the third class compartments will be coming to where you are sitting. The first class and second class compartments will not come here. You will have to go still further up." Bhagavatar replied that he was travelling by third class only and he showed him the special season ticket. The advocate-admirer was greatly surprised and asked: "My dear Bhagavatar, you are a very popular musician with several engagements all over the country and in

the sphere of music you are an uncrowned king. Is it not below your stature to travel in third class?" Chembai replied: "My father and my grandfather used to travel by foot and give concerts but I have given up the usual family practice and travel by train. I really feel, though, that I too should go walking to the places where I give concerts." Desamangalam Nambudiripad had a hearty laugh at the insouciant reply of the great musician. Deference To Elder When the Bharatiya Music and Arts Society was founded in Bombay in 1953, I requested Chembai Vaidyanatha Bhagavatar to give the inaugural concert. But Chembai replied that it would be more appropriate to give the honour to Palakkad Rama Bhagavatar, who was senior to him. We took his advice; but were glad Chembai

also gave a concert later. His Wife He would tell a joke at the expense of his dear wife too, in the presence of others even. Meenakshi Ammal was her name but everyone at home called her Ammalu. One day he told me, as we were all chatting: "Rama lyer, she is the only daughter of Vasudeva Sastrigal, a rich man of my village. My father fixed our marriage without telling me. When I came to know of it, I resisted a little but my father gave me a slap on my face and made me agree. Anyway, she is beautiful and dutiful! [Turning to his wife] Aren't you, Ammalu?" At The Academy 'This happened during a Chembai concert at the Music Academy of Madras many years ago. The programme look place in a pandal in the compound of the P.S. High

School in Mylapore. As Bhagavatar was belting out a piece, he saw four other leading vidwans of the day entering and taking their seats. Stopping in mid-song momentarily, he recited a Sanskrit sloka of which the substance of which was that it is rare for four musicians to come together as it is for four dogs, and then added he considered himself most fortunate that four great vidwans had come together to attend his concert. (Source: P.N. SUNDARESAN) And this happened at another Academy concert. Chembai saw Musiri Subrahmania lyer and Semmangudi Srinivasa lyer, their heads covered possibly to hide their identities, slinking away quietly. He quipped, with that openness for which he was noted: "Oi, Sangeeta Kalanidhi's! You're welcome to go. There is no need to cover your heads!" (Source: T. SANKARAN) Mistaken Identity Chembai was singing in the Sree Ramanavami series of the Asthika Samajam in Madras. This was towards the end of his career when he sang 'topless', that is without wearing a shirt. Sporting, as he was, a tuft, stripes of vibhooti on his forehead, chest and arms, and a rudraksha necklace, he could be easily mistaken for a kalakshepam expert or a religious discourser, especially at the Samajam which was known for its presentation of religious programmes. And he was. A couple of artisans, who had been engaged in construction work nearby, came into the hall and sat down. At that time, the violinist was playing a raga alapana. When Chembai started singing the composition after the violin essay, one of the workers turned to a listener sitting next to him and asked what the 'periyavar' [the respected person] on the stage was doing. When the listener

explained the obvious, the worker turned to his mate and said: "It seems he is singing." Then the first worker asked the rasika another question: "When will he start talking?" When it was explained to him that Chembai would not be talking as the programme was a music kutcheri, the man turned to his mate again and exclaimed: "It is a kutcheri, it seems. Let's go." Promptly they got up and left. (Source: P.C. SUBRAMANIAN) The following have been translated by P.Orr from anecdotes recorded in Chembai Selvam, the biography of Bhagavatar written by ELLARVI [L.R. Viswaaatha Sarma]. Summons [1907] When Chembai was 11, he and his brother first sang at theSree Krishna temple in Guruvayur on Ekadasi day (on the 11th day

of the lunar cycle). When, shortly afterwards, the father and the sons were coming out of the temple, a couple of policemen met them and said they were wanted by the inspector. Chembai asked what wrong they had committed and why they should accompany the policemen. The latter replied they did not know why. At that point, Ananta Bhagavatar said there should be no harm in going with the policemen and finding out what it was all about. In the event, the Inspector welcomed them with respect and speaking with affection, told the father: "On Sunday, your boy must sing here!" The concert took place and Chembai received 115 rupees for it" the highest yet. At his father's suggestion, he earmarked the money received for conducting worship at the temple every year. A Bitter Experience [1913] Chembai and

his brother Subrahmaniam, still in their twenties, were glad to have the opportunity of listening to this musician of maturity. Captivated by a particular kriti they heard him sing, Chembai memorised the pallavi and anupallavi even as he listened but the lyric of the charanam did not register well. This was frustrating but he had no chance to ask the performer. Some days later, when the vidwan was due to perform again in that area, Chembai called on him before the concert and, after a while, asked him for the text of the charanam. The vidwan pretended not to know which song the youngster was talking about. Chembai thought this was a genuine case of puzzlement. So he sang the pallavi and anupallavi of the song but now, while congratulating him, the vidwan said he could not remember the charanam. He then excused himself. A surprise was in store for Chembai when, later during the

performance, the vidwan started singing the song he had said he could not remember fully. Innocent yet, Chembai was worried that the vidwan was going to stumble when he reached the charanam. But Chembai need not have worried. The vidwan sang the charanam all right and this time Chembai quickly grasped the words. But, he realised too that vidwan had not levelled with him earlier. Then and there he took a vow he would never refuse to teach anyone what he knew. Conflict In Chettinad [1936] The place - Kottaiyur in Chettinad. The occasion - a wedding. Chembai was giving a performance with Mysore T. Chowdiah (violin), Palakkad Mani lyer (mridanga) and Pudukkotai Dakshinamurthy Pillai (kanjeera) as his sidemen. When there was a pause in the proceedings, a prominent person stood up and said the guests assembled desired to hear Chowdiah play solo. The

violinist could not find any reaction on Chembai's face. He continued to sing and the sidemen performed with him. There was another interruption soon. Now there was a chorus demanding a solo performance from the Mysorean. Chembai and his cohorts continued to ignore the clamour. In the event, there was confusion and many of the guests began leaving, while some came near the platform and shouted. Chembai now stopped singing and, with an air of insouciance, asked: "What is it you want, please?" The common response was: "We want Chowdiah to play the English Note!" Whereupon, Chembai said: "That's all! Okay, I will conclude my concert in a few minutes and after that you can ask him to play for you what you want". The chorus sang: "No! we want him to play now!" Chembai spoke again now, quietly but firmly. He explained the tradition followed in music concerts and said that it was not the done thing for an accompanist to play a piece which the main musician had not taken up. The angry audience was not mollified; if anything, the lecture seemed to have irritated them further. Some said other musicians had heeded similar requests made by them. Chembai said that he could not oblige simply because others had done so. "I will now conclude the concert by singing the mangalam. You can then do what you want." An angry man shouted Chembai would not ever again be invited to perform in the town. Chembai replied that he was not born to sing only for the people of Kottaiyur and that he was not very earnest to perform there. The news spread Chembai had antagonised

the people of Chettinad. But, when tempers cooled, good sense prevailed. Members of the community soon decided to invite Chembai to sing at another function in the town. Bhagavatar again performed with the same set. It had ended well; and all was well. A Matter Of Priorities [1937] It was the tradition of the Mysore court to honour prominent artists by inviting them to give performances in the royal presence and to accept the title of asthana vidwan. In 1937 Maharaja Krishnarajendra Wodeyar extended an invitation to Chembai Vaidyanatha Bhagavatar to perform. Chembai accepted the invitation and gave a performance which was hailed as excellent by the king as well as by his courtiers. Next day Wodeyar presented the vidwan with a ponnadai (shawl) and other tokens of appreciation. Leading court musician Muthiah

Bhagavatar also honoured Chembai and a photograph showing the two bhagavatars together is still on display at the Mysore palace. The maharaja then expressed his wish to have Chembai enlisted as an asthana vidwan. Chembai was pleased to learn this but responded by saying that he would not be able to discharge the obligations of a court musician which would require his attendance at the court frequently and especially during Dussera. The vidwan was already committed, since many years before, to perform Navaratri pooja privately at home and therefore he was not available for any public engagements during that holiday period. His sense of priorities was such that he did not wish to break this commitment. Accordingly he explained his inability to accept the royal invitation to serve as the asthana vidwan of the Mysore court. Far from being upset, the maharaja appreciated Chembai's sense of

priorities. The courtiers too were struck by the character of Vaidyanatha Bhagavatar. In subsequent years, Chembai gave performances at the court several times at the invitation of the maharaja. Power of Faith [1939] Chembai was about to start a performance at the palace in Kallikotai. Suddenly he discovered that his voice was 'frozen'. He was puzzled since he had no problem of any kind earlier that day. The sound of the tambura sruti seemed to gain in volume as Chembai pondered the reason. Suddenly, a question arose in his mind. He asked someone seated nearby whether it was 'sukla paksham', after the new moon. This was the month of Kartika and it was Chembai's practice to offer musical prayers at the Sree Krishna temple in Guruvayur on tlie Ekadasi day of the 'sukla paksham' in the month of Kartika every

year. When a reference to an almanac confirmed that it was 'sukla paksham' Ekadasi, Chembai explained the matter to the host and requested permission and help to go to Guruvayur and fulfill his commitment. The host obliged. Chembai speeded to Guruvayur in a car, offered his apologies and prayers to Sree Krishna. He had no problem singing; he had recovered his voice fully. He sang many songs and long until he was satisfied that the Lord had forgiven his lapse. He sang at Kallikkotai the next evening, without any problem. A Blow For Equality [1941] Chembai was due to give a performance at the Singaravelan temple in Nagapattinam, as part of the Kanda Shashthi festivities. It was past the time when the concert was to start

and still none had come from the office of the temple's trustees to fetch him. Unwilling to wait any longer, he proceeded to the temple, accompanied by his sidemen. As he reached the temple, he realised there was some galatta or noisy disturbance going on. When he inquired about it, he was told that common people had occupied seats reserved for VIPs in the mandapa where the concert was to take place; that a representative of the trustees had more than once asked them to clear out of the space but in vain; that the representative had said the trustees would rather shift the venue of the concert to some place else than allow their stipulations to be transgressed; and that this had precipitated the galatta. Chembai arrived at the mandapam, pacified the crowd and said that, as far as he was concerned, all were equal before god and music. He also explained he attached more importance to performing in the temple's precincts than to

pleasing the organisers by singing elsewhere. "I was invited to perform at the sannidhi [presence] of the deity and that is what I propose to do, even if I am not paid" he added. Then he proceeded to give the performance without waiting for the trustees and other VIPs A Tribute In Diamond [1942] Chembai was returning by train to Madras from Karaikudi where he had given a concert. During the journey, he got acquainted with a fellow passenger, a wealthy, middle-aged businessman named Valliappa Chettiar. Noticing that Chettiar was undergoing some kind of stress, he openly asked the latter what was bothering him. Chettiar was taken aback by the directness of the query but responded nonetheless by disclosing the source of his worry. Chembai then told him that the deity of the Parthasarathy temple in

Chembai would help solve the problem if Chettiar would pray to him and, if the problem were solved, Chettiar could show his gratitude to the Lord in some way. Chettiar agreed to abide by the suggestion and then saw a smile playing on the lips of Bhagavatar. "What are you smiling about?", he asked and Chembai said that the act of gratitude should not be like fulfilment of a trade transaction and that he should in advance decide what offering he would make, in line with his capacity. In the conversation that followed, he explained he had already provided the temple with a gold kavacham [ornamental covering] for the deity and it would be nice if Chettiar could take a vow to present a namam [Vaishnavite mark] made of diamonds. Chettiar agreed to do so. Subsequently, Chettiar came to the village of Chembai, his problem solved, and made his offering to Lord Parthasarathy. None could have been

more pleased than Chembai. On The Razor's Edge [1952] One morning when Chembai was standing in the verandah of his house in Santhome, Madras, lost in thought, a barber carrying his equipment made his appearance and saluted him. Chembai had never seen him before nor had he the need for a shave. Yet, using sign language, he invited him to sit down and himself sat down to have a shave. The barber, an elderly fellow, spoke volubly as he passed the razor back and forth on Chembai's face. He let it be known that he was not fond of barbering and that his real vocation was healing the sick, like it had been the vocation of his forefathers. Bhagavatar did not respond in any manner to any of this talk. The barber thereupon sought to provoke him by asking

questions. Chembai finally blurted out that he was unable to speak. It was obvious he had a very bad throat, the way he croaked out the words. The barber said he was very sorry to notice the difficulty Chembai was experiencing, especially since he had heard his golden voice many a time while passing his house. And he asked how long the vidwan had been suffering this. Chembai stuck out a single finger to indicate 'one month'. The barber asked: "Haven't you been receiving any treatment?" Chembai conveyed by signs that the treatment had been in vain. The barber finished his job and received payment. Then he said he would bring a herbal medicine if Chembai would trust him to treat his ailment. Speaking with difficulty, Chembai said he had been offered a concert engagement a week hence and asked if he could rely on the barber's treatment and accept it. "Praise the Lord and accept it," replied the man with the razor. And then he left. Next evening, the barber brought the medicine and gave instructions to Bhagavatar on how he should take it. Chembai paid him two rupees and promised to pay a total of 20 if the treatment proved to be successful. The treatment worked, Chembai regained his voice and the concert he had accepted was a grand success. What had cured him? The medicine? Faith? A combination of both? Whatever, Chembai, try as he might to find the barber and repay his debt, never saw the barber-physician again. It must have been Guruvayurappan again to

his rescue. Extracts from an article in The Hindu Newspaper: No one could have had a greater sense of humour than Chembai. His concerts were lively with his interjections, "Vasidaa Vilvaadri" etc. Once, when he sang a Tamil viruttam "Orumaiyodu Ninadu Thiruvadi" in Hamsanandi, he pointed to Chowdiah, who was accompanying him, as he sang "Unnai maravaadirukka Vendum".His rendering of Tamil songs had traces of a Malayalam accent. There was a Tamil number in Mohanam he used to sing often. It went "Idhiname Shuba dinam" and Chembai sang it as "Ee diname Shuba dinam". Once, one of his disciples, keen on the right pronunciation, sang "Idhiname..." almost chewing and spitting out the first few letters, hoping his guru would notice and render the song with the

right pronunciation. Chembai must have noticed, for he decided to have some fun. The more the sishya emphasised the first few letters, the more Chembai drew out his "Eee diname". The Malayalam versus Tamil match continued for almost three minutes much to the delight of the audience. At a concert at Shanmugananda Hall in Bombay, a member of the audience asked Chembai if he could sing a song on Bombay. Chembai, with a mischievous twinkle in his eye, said he could. He went on to sing "Aadu paambae, vilayadu paambae". In another concert, Chembai wanted the organisers to keep the microphone nearer. Finding that the microphone cable (wire) was too short, he said "Namma Vayaru than perisa irukku" [Only my vayaru (belly) is big]. Rama Ninne (Useni) Chembai was singing a Thyagaraja Kriti in Useni which went "Rama Ninne Nammi Nanu Nijamuka Sita..... Rama Ninne...". His accompanists for the day were Lalgudi Jayaraman on the violin and Umayalapuram Sivaraman on the mridangam. In a flash Chembai substituted the word "Sita" with "Jaya" and repeated the line again with "Siva", thus Jayaraman and Sivaraman had their names mentioned. The predominantly malayali audience were highly amused when they realised the import of the whole sentence ("Jayarama and Sivarama, I depend on you"). You can listen to Agre Pashyami in his divine voice at- http://www.esnips.com/doc/4eb49365-9506-4cc0-b11e-73ef24f5d6b2/Agrepashyami-by-CVB and Karuna Cheyvan at http://www.esnips.com/doc/a9c4f633-ed05-4747-9579-478cbf9cf8e8/Karuna-Cheyvan-CVB With Prayers, Krishnapriya. SRIRAM SUBRAMANIAN <abheri wrote: Hare Krishna Guruvayurappa ! Chembai is the most under-rated devotee of Sri Guruvayurappan. Even though he has such a popular music festival under his name, not many are seriously aware of his devotion to Guruvayurappan.I only wish to mention one point to highlight his bhakti:Chembai Bhagavathar is the only person to have offered Udayasthamana Pooja at Guruvayur temple once every year for as many as 40 years ! Can you imagine - 40 Udayasthamana poojas at Guruvayur! - here people are booking for the pooja and simply waiting for years and years - > 40 years ?!! for a date for the pooja - but Chembai - he conducted 40 such poojas for

Guruvayurappan in his lifetime.Even during those times, this was a costly offering and hence was beyond the means of common folks.In fact, Chembai would go for music concerts and keep an account of the earnings - the moment the amount was found sufficient to sponsor an Udayasthamana Pooja, he would rush to Guruvayur for the pooja! Are there such people living now on earth?!!!another thing told about him is that he would ask for more money from the organizers of his concert, if he felt that he was running short of money for offering Udayasthamana Pooja in a particular year!! He somehow HAD to offer the pooja every year!and what great fortune, to receive a super excellent voice thanks to Sri Guruvayurappan's kaarunyam. I once heard the violin Maestro M.S.Gopalakrishnan (who frequently accompanied Chembai on the violin) mention on TV that Chembai Bhagavathar's voice could be heard clearly by 10,000 (TEN THOUSAND) people without the

need for a Microphone! I was stunned totally! He went on to say that the person sitting in front would not be irritated by the powerful voice - and even the person sitting in the back row could hear him clearly... what should we call this - other than Guruvayurappan's anugraham?!Stopping here or more knowledgeable members to add on / comment!Regards,-sriram===============================Syamala Nair <syamalaraghunath > wrote: Jai Sreekrishna Dear Krishna Prasadji Thank you for sharing the article. I have also heard about the story of Chemabai Shri Vaidyanatha Bhagavathar. It is said KANNAN gave him voice thorugh his "shanku". You have mentioned

there is another simple reason for sharing this article. Only a devotee who has surrendered hmself to KANNAN can say this because this is the time where people become panic for silly reasons . Your faith in HIM is such that HE has to come to your help first in the way of NARAYANEEYAM and then making you know about Viadyamadom. Incidents like this make our belief in the Bhaktavalsalyam of our KANNAN stronger and stronger. Thank you for furnishing the full address and contact details Vaidyamadom Vaidyasala which is a new information to me I am eagerly awaiting for the poem from Savitriji as announced Humbly Syamala Savitri Puram <savitriopuram > wrote: Dear Krishna Prasdaji,I have heard before about Bhagavathar's story. But my eyes becamemoist to read your story. Just like Guruvayurappan appeared asMangattachan to Poonthanam, he appeard as Vaidyammadhom cheriyaNarayanan Nambuthiri to you and He is appearing as different livingpeople to many of us. But your blessings is not even in getting curedor better, but in realizing that it was only purely Guruvayurappan'sgrace behind that. Very few realizes that. Also Cheriya NarayananNambudiri is a great devotee of Guruvayurappan. So how can He notappear as Nambuthiri to such an ardent devotee like you! " NjaanBhaktha paraadheenan aanennu " paranjittundallo. These anubhavakathakal which are your own stories undoubtedly helps to increase thefaith of all of us. Thank you very mych.Krishnapriya sent me the Varamozhi font and we installed it today.When I

become a little proficient in that, I will try to type a poemby Cheriya Narayanan Nambuthiri and share with all of you. I havebyhearted that and reciting every day. Those lines are so meaningfuland touching. The only uncertainity is my mastering the Varamozhi. Butagain, Mookam karothi Vaachalam ennanallo. So He can make me learn andshare and only He can. I am trying.Regards and prayersSavitriOn Thu, Apr 3, 2008 at 11:40 AM, adidaiveekam <no_reply > wrote:>>>>>>> Hari OM!>> Dear Narayanas in Masks,>> This article I want to share with you all.>> By T. V. Neelakantan, Kochi:>>> Auspicious occasion of Guruvayoor Ekadasi falls on the month of December.> Many devotees observe this day with complete fasting and a visit to the> Lord. It is

believed that Lord Krishna instructed his great teaching the> Bhagavad Gita to Arjuna on this day. Many devotees of the Lord come to> Guruvayoor on the day from far of places. Being the season of the Sabarimala> pilgrimage the temple will see vast number of devotees on this day.>> There are a number of incidents connected with Guruvayoor Ekadasi and the> one happened a few years ago is an indication of how the Lord plays his> Leela on the devotees.>> The great Chembai Vaidhyanatha Bhavathar was an ardent devotee of Guruvayoor> appan and he never missed an ekadasi without visiting Guruvayoor and singing> before the Lord. It so happened on one occasion that he was engaged for a> concert and he had already received the consideration for the same. It> dawned on him later that the particular day happened to be Guruvayoor> Ekadasi. Having received the money for the concert he was

obliged to perform> the concert and dutyfully went to perform.>> Having sung one kirthanam, he could not proceed further and completely lost> his voice. He rushed back to Guruvayoor and was in front of the Lord in> tears. He was there for a few days praying. There is a famous family of> Ayurvedic Vaidyans called "Vaidyamadom" near Guruvayoor at a place Trithala.> The vaidyan of this institution happened to see the Bhagavathar standing> befor the Lord in tears one day and he immediately recognized him. He came> to know of the problem faced by Vaidyanatha Bhagavathar and took him to his> house and treated him.>> In a few weeks time Vaidyanatha Bhagavathar started his concerts again and> it is said that he never missed another Guruvayoor Ekadasi. In honour of the> Bhagavathar the Chembai Sangeethaolsavam is going on still in Guruvayoor and> almost all great singers come to

perform there.>> Thee is another small reason for narrating this. I lost my speaking power> about 10 years back. It was a gradual process and I consulted many leading> E. N. T doctors. Some of them suggested operation of the vocal cord. Luckily> I did not go for that. When I consulted a Chinese doctor he said that my> vocal cord is perfectly o. k. and my problem is with the muscles at the back> of my neck and that there is no treatment for this. I started getting> frustrated and started avoiding seeing people.>> A few years afterwards I happened to hear "Narayaneeyam" prabashanam by> Brahmasree Sundarakumar and thought that I can start reading "Narayaneyam"> Within a few days I happened to hear about the "Vaidyamadom" and wrote a> letter to them though I was not sure of their address. The letter was,by> God's grasce, received by them.>> My treatment was started

by their chief physician Ashatavaidyan Cheriya> Narayanan Nambootiri. Since by that time the problem had become acute, he> said 100% cure may not be possible. The treatment went on for 4 years with> "sirovasti" for a week every year. There is considerable improvement and now> I do not shun seeing> people.>> There is a nursing home run by this family called. Vaidyamadom Vaidyasala> and Nursing Home., Mezhatoor. P. O. Vis Trithala, Palghat District. The> telephone number is 0492 6272044.>> Om Sri Dhanwanthari Murthiye.. Guruvayurappa Saranam!>>>> With Love & OM!>> Krishna Prasad>> You rock. That's why Blockbuster's offering you one month of Blockbuster Total

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Very nice of you to post such a lot of info about the great Chembai.I will include some more info on the great soul:Please visit:http://rasikas.org/chembai/chembailastday.html Poozhikunnam temple is situated on the banks of the Nila river, with a song of nature created by the serene flow of the river, the green fields waiting for the pre-winter harvest, and the distant blue hills providing the backdrop. A small shrine of Krishna is like a gamaka in between. The rain of the previous night had made the narrow pathway slippery, and though it was short, O.M.V. had arranged a manchal, a country-palanquin, to carry Chembai. At first he refused to get into it. "I have not travelled in one so far," said he and asked: "Do you want me to cut a sorry figure at the end of my life." But then he relented. When he reached the temple, there was a slight delay in helping him to get up from the manchal. Chembai quipped to P.K.G.Nambiar, the Koodiyattam artist, and Chithali Rama Marar, the percussion exponent, who were on hand to welcome him, "Are you planning to make me lie here for ever? Well, it does not matter even if that is so. It is time for that sort of thing." He had darshan of the deity at the temple, and proceeded to the stage where two girls, disciples of Soolapani, were singing. Sitting on the side, he encouraged them, exclaiming 'Besh'. When they finished the kriti and prostrated, he raised them up and made them sit on his lap. Last

Concert Many had come early to hear the concert, including Poomulli Neelakantan Namboodiripad, an expert in the martial art of Kalaripayattu and in hypnotism and elephant therapy, in addition to being a Sanskrit scholar. Chembai, in a buoyant mood, cracked jokes with all of them. When we reached the venue, the concert was about to begin, with T.K.Ramachandran on the violin, Trissoor R. Mohan on the mridanga and Alangudi Ramachandran on the ghata. There was one more violinist on the stage; we do not remember his name. There were also about 10 to 15 disciples on the stage, including O.M.V., Rama Poduval and O.M.V.'s son and young sishya, Babu from Madras. The audience was small, but most of the listeners were rasikas. As the concert

proceeded, an admirer who had a dairy brought Chembai a glass of milk. He sipped a little, and asked, "Is this milk with water added, or water with milk added?" The audience laughed. The favourite kritis of Bhagavatar started flowing out. He was in form, and it was a first-class concert. He sang Viriboni in Bhairavi, Vatapi Ganapatim in Hamsadhwani, Pavana guru in Hamsanandi and Rakshamam saranagatam in Nata with his usual verve and gusto. Then he took up Sree Subrahmanyaya in Kambhoji, and elaborated the raga, to be followed later by a sizzling niraval and swaraprastara. Power mingled with visranti in his alapana. The bell-metal voice was practically intact. The sruti suddham and accuracy of tala were there unravaged by old age. The enunciation of sahitya was as usual clear, though he never used artificial dentures. The speciality of Chembai, kattiri swara - combination of scissored swaras" also was there. And above all there was soulful bhava. We heard this last concert with bated breath, never suspecting the imminent end for a moment. Bhagavatar took up many items not usually sung by him: Bruhi Mukundeti of Sadasiva Brahmendra was among them. Then, of course, he sang Karuna cheyvanendu tamasam by Irayimrnan Tampi, his favourite and a virtually indispensable song in all his concerts. Tears rolled down his cheeks as he sang it, and he raised his hands high above the head and joined his palms in prayer. Then he rendered a sloka, ‘Vandemataram Ambikam Bhagavatim’, the supplication of the child going to the mother's lap. When

the concert ended, O.M.V. asked me to speak a few words. Being a poet, I could speak only lyrically about the recital. When that ended, Chembai announced over the mike, "Oh, the speech of this chap is also a type of music!" When he was helped to get up, he said: "Please take me to the sanctum sanctorum" Chithali Rama Marar and P.K.G. Nambiar held his hands and led him to the door of the sanctum. He sat down on the floor, shut his eyes, and prayed for a few minutes. Then he called out to the deity in a supplicating tone: "Krishna! Guruvayurappa! I am 80. You have fulfilled all my desires. Why do you still make me go about with this body? Why don't you call me [to you]?" The Final

Adieu When he got up, after receiving the prasada, and giving dakshina to the priest, Rama Marar said: "Bhagavatar will live for the full span of 125 years." Chembai laughed aloud and retorted: "You don't poke your head in it. All is settled between me and Guruvayurappan." He returned in the manchal itself to O.M.V.'s residence. He washed his feet and face, and sat down for prayers in the verandah. After a few minutes, it was noticed that his head was sliding to one side. Somebody supported him, and slowly eased him down to lie on the floor. He was perspiring profusely. Neelakantan Namboodiripad, who

knows 'marana lakshana' [signs of death] went near to examine him. He looked only for a few seconds, and called out: "Everything is over for Bhagavatar." Centuries ago, Hazrat Amir Khusro said: "The music of Hindustan is divine." As the funeral pyre burnt and died down on the banks of the river the next day, this passage came back to mind and I thought Chembai's music had once again conveyed the message to all those who love the saptaswaras.===================================================Krishnapriya <skandapotri wrote: Dear Guruvayurappan Devotees, Here are a few anecdotes about Sri Chembai Vaidyanatha Bhagavathar. Source- www.Chembai.com (This link no longer works. Perhaps, the website is being redesigned. I had saved it from the old website some time back). Memorable Life Incidents The following incidents were recounted by long-time friend P.A.Raman. Like A Bhagavatar We were speeding towards Kollam [Quilon] when our car got held up at a railway crossing. A young boy who was tending cattle nearby came up to the car and asked Chembai who he was. Always playful, Chembai asked him: "What do I look like?" The boy replied smartly: "Like a bhagavatar." When Chembai conceded he was one, the boy asked: "Are you going to sing at Vadayattu Kottai? The concert will be a roaring one, eh?" Chembai had a hearty laugh and said that possibly Guruvayurappan himself had come to bless him. Sixth Sense There was an overflowing audience for the concert at

Vadayattu Kotai. Chembai was in fine form. There was an intermission during which a curious thing happened. He took a letter from his pocket, waved it at a member of the audience and asked: "You wrote this anonymous letter, didn't you?" The man shamefacedly admitted he had done so, whereupon Chembai admonished him not to write anonymous letters ever again. The Sage & The Singer Once Chembai sang in Kanchipuram after the Paramacharya, then the pontiff of the Math, had performed the long Chandramouleeswara pooja. The sage asked him whether he was not tired. Chembai replied: "No, not at all. How can anyone be fatigued watching your Holiness performing the pooja?" The pontiff presented him with a bracelet, a rudraksha necklace, a ponnadai [shawl] and prasada. Miracle Rain I was present at the concert given by Chembai at the wedding of the daughter of Postmaster Viswanatha lyer of Kalpathy which took place in Sekharipuram, Palakkad. This was around the time S.C.Kittappa, K.B.Sundarambal and their drama troupe was giving performances in Palakkad and the song Evarani rendered by Kittappa with terrific impact was on everybody's lips. Some of the listeners at the wedding concert requested Chembai to sing this song which is in the Devamritavarshini raga. Chembai replied that although it was summer and it was as dry as it could be, it would rain if he sang any song in that raga. Probably no one believed it because the listeners persisted with the request. Chembai then rendered the song and, miracle of miracles, when he concluded, dark clouds appeared in the sky and there was a downpour. Question Of Seniority Chembai and I were travelling by the Mangalore Mail in a posh old-time second class compartment, from Madras to Palakkad. It was very late at night when the train stopped at Erode. I heard someone knocking on the door and since there was an upper berth vacant, I opened it and there was Ariyakudi Ramanuja lyengar. We invited him in gladly. He was also going to Palakkad, to sing at the marriage of one of my relatives. Chembai began talking to Ariyakudi and, after a while, asked: "I know you are older than me, but which of us is senior in terms of performing experience?" lyengar admitted Chembai was, for he too remembered that even when he was giving only vocal support to his guru Poochi Srinivasa lyengar, Chembai was accompanying the latter on the violin. The exact words he spoke to Chembai, in broken English, which I remember vividly were: "You were fiddling then." All of us

laughed. Footrule It was a time when tlie Railways used to issue "Travel As You Like" tickets costing seven and half rupees which could be used for three months throughout the entire railway network in the South. On or about June 1940, Chembai and I were at the Shoranur railway station platform, waiting to board the Mangalore-Madras Mail. Desamangalam Namboodiripad, an advocate of Madras and a Member of the then Madras Legislative Council, came into view with members of his family. Desamangalam is close to Shoranur. Namboodiripad spoke to Chembai: "Bhagavatar, why are you sitting here? Only the third class compartments will be coming to where you are sitting. The first class and second class compartments will

not come here. You will have to go still further up." Bhagavatar replied that he was travelling by third class only and he showed him the special season ticket. The advocate-admirer was greatly surprised and asked: "My dear Bhagavatar, you are a very popular musician with several engagements all over the country and in the sphere of music you are an uncrowned king. Is it not below your stature to travel in third class?" Chembai replied: "My father and my grandfather used to travel by foot and give concerts but I have given up the usual family practice and travel by train. I really feel, though, that I too should go walking to the places where I give concerts." Desamangalam Nambudiripad had a hearty laugh at the insouciant reply of the great musician. Deference To Elder When the Bharatiya Music and Arts Society was founded in Bombay in 1953, I requested Chembai Vaidyanatha Bhagavatar to give the inaugural concert. But Chembai replied that it would be more appropriate to give the honour to Palakkad Rama Bhagavatar, who was senior to him. We took his advice; but were glad Chembai also gave a concert later. His Wife He would tell a joke at the expense of his dear wife too, in the presence of others even. Meenakshi Ammal was her name but everyone at home called her Ammalu. One day he told me, as we were all chatting: "Rama lyer, she is the only daughter of Vasudeva Sastrigal, a rich man of my village. My father fixed our marriage without telling me. When I came to know of it, I resisted a little but my father gave me a slap on my face and made me agree. Anyway, she is

beautiful and dutiful! [Turning to his wife] Aren't you, Ammalu?" At The Academy 'This happened during a Chembai concert at the Music Academy of Madras many years ago. The programme look place in a pandal in the compound of the P.S. High School in Mylapore. As Bhagavatar was belting out a piece, he saw four other leading vidwans of the day entering and taking their seats. Stopping in mid-song momentarily, he recited a Sanskrit sloka of which the substance of which was that it is rare for four musicians to come together as it is for four dogs, and then added he considered himself most fortunate that four great vidwans had come together to attend his concert. (Source: P.N. SUNDARESAN) And this happened at another Academy concert. Chembai saw Musiri Subrahmania lyer and Semmangudi

Srinivasa lyer, their heads covered possibly to hide their identities, slinking away quietly. He quipped, with that openness for which he was noted: "Oi, Sangeeta Kalanidhi's! You're welcome to go. There is no need to cover your heads!" (Source: T. SANKARAN) Mistaken Identity Chembai was singing in the Sree Ramanavami series of the Asthika Samajam in Madras. This was towards the end of his career when he sang 'topless', that is without wearing a shirt. Sporting, as he was, a tuft, stripes of vibhooti on his forehead, chest and arms, and a rudraksha necklace, he could be easily mistaken for a kalakshepam expert or a religious discourser, especially at the Samajam which was known for its presentation of religious programmes. And he was. A

couple of artisans, who had been engaged in construction work nearby, came into the hall and sat down. At that time, the violinist was playing a raga alapana. When Chembai started singing the composition after the violin essay, one of the workers turned to a listener sitting next to him and asked what the 'periyavar' [the respected person] on the stage was doing. When the listener explained the obvious, the worker turned to his mate and said: "It seems he is singing." Then the first worker asked the rasika another question: "When will he start talking?" When it was explained to him that Chembai would not be talking as the programme was a music kutcheri, the man turned to his mate again and exclaimed: "It is a kutcheri, it seems. Let's go." Promptly they got up and left. (Source: P.C. SUBRAMANIAN) The following have been translated by P.Orr from

anecdotes recorded in Chembai Selvam, the biography of Bhagavatar written by ELLARVI [L.R. Viswaaatha Sarma]. Summons [1907] When Chembai was 11, he and his brother first sang at theSree Krishna temple in Guruvayur on Ekadasi day (on the 11th day of the lunar cycle). When, shortly afterwards, the father and the sons were coming out of the temple, a couple of policemen met them and said they were wanted by the inspector. Chembai asked what wrong they had committed and why they should accompany the policemen. The latter replied they did not know why. At that point, Ananta Bhagavatar said there should be no harm in going with the policemen and finding out what it was all about. In the event, the Inspector welcomed them with respect and speaking with affection, told the

father: "On Sunday, your boy must sing here!" The concert took place and Chembai received 115 rupees for it" the highest yet. At his father's suggestion, he earmarked the money received for conducting worship at the temple every year. A Bitter Experience [1913] Chembai and his brother Subrahmaniam, still in their twenties, were glad to have the opportunity of listening to this musician of maturity. Captivated by a particular kriti they heard him sing, Chembai memorised the pallavi and anupallavi even as he listened but the lyric of the charanam did not register well. This was frustrating but he had no chance to ask the performer. Some days later, when the vidwan was due to perform again in that area, Chembai called on him before the concert and, after a while, asked him for the

text of the charanam. The vidwan pretended not to know which song the youngster was talking about. Chembai thought this was a genuine case of puzzlement. So he sang the pallavi and anupallavi of the song but now, while congratulating him, the vidwan said he could not remember the charanam. He then excused himself. A surprise was in store for Chembai when, later during the performance, the vidwan started singing the song he had said he could not remember fully. Innocent yet, Chembai was worried that the vidwan was going to stumble when he reached the charanam. But Chembai need not have worried. The vidwan sang the charanam all right and this time Chembai quickly grasped the words. But, he realised too that vidwan had not levelled with him earlier. Then and there he took a vow he would never refuse to teach anyone what he knew. Conflict In Chettinad

[1936] The place - Kottaiyur in Chettinad. The occasion - a wedding. Chembai was giving a performance with Mysore T. Chowdiah (violin), Palakkad Mani lyer (mridanga) and Pudukkotai Dakshinamurthy Pillai (kanjeera) as his sidemen. When there was a pause in the proceedings, a prominent person stood up and said the guests assembled desired to hear Chowdiah play solo. The violinist could not find any reaction on Chembai's face. He continued to sing and the sidemen performed with him. There was another interruption soon. Now there was a chorus demanding a solo performance from the Mysorean. Chembai and his cohorts continued to ignore the clamour. In the event, there was confusion and many of the guests began leaving, while some came near the platform and shouted. Chembai now stopped singing and, with an air of insouciance,

asked: "What is it you want, please?" The common response was: "We want Chowdiah to play the English Note!" Whereupon, Chembai said: "That's all! Okay, I will conclude my concert in a few minutes and after that you can ask him to play for you what you want". The chorus sang: "No! we want him to play now!" Chembai spoke again now, quietly but firmly. He explained the tradition followed in music concerts and said that it was not the done thing for an accompanist to play a piece which the main musician had not taken up. The angry audience was not mollified; if anything, the lecture seemed to have irritated them further. Some said other musicians had heeded similar requests made by them. Chembai said that he could not oblige simply because

others had done so. "I will now conclude the concert by singing the mangalam. You can then do what you want." An angry man shouted Chembai would not ever again be invited to perform in the town. Chembai replied that he was not born to sing only for the people of Kottaiyur and that he was not very earnest to perform there. The news spread Chembai had antagonised the people of Chettinad. But, when tempers cooled, good sense prevailed. Members of the community soon decided to invite Chembai to sing at another function in the town. Bhagavatar again performed with the same set. It had ended well; and all was well. A Matter Of Priorities [1937] It was the tradition of the Mysore court to honour prominent

artists by inviting them to give performances in the royal presence and to accept the title of asthana vidwan. In 1937 Maharaja Krishnarajendra Wodeyar extended an invitation to Chembai Vaidyanatha Bhagavatar to perform. Chembai accepted the invitation and gave a performance which was hailed as excellent by the king as well as by his courtiers. Next day Wodeyar presented the vidwan with a ponnadai (shawl) and other tokens of appreciation. Leading court musician Muthiah Bhagavatar also honoured Chembai and a photograph showing the two bhagavatars together is still on display at the Mysore palace. The maharaja then expressed his wish to have Chembai enlisted as an asthana vidwan. Chembai was pleased to learn this but responded by saying that he would not be able to discharge the obligations of a court musician which would require his attendance at the court frequently and especially during Dussera. The vidwan was already

committed, since many years before, to perform Navaratri pooja privately at home and therefore he was not available for any public engagements during that holiday period. His sense of priorities was such that he did not wish to break this commitment. Accordingly he explained his inability to accept the royal invitation to serve as the asthana vidwan of the Mysore court. Far from being upset, the maharaja appreciated Chembai's sense of priorities. The courtiers too were struck by the character of Vaidyanatha Bhagavatar. In subsequent years, Chembai gave performances at the court several times at the invitation of the maharaja. Power of Faith [1939] Chembai was about to start a performance at the palace in Kallikotai. Suddenly he discovered that

his voice was 'frozen'. He was puzzled since he had no problem of any kind earlier that day. The sound of the tambura sruti seemed to gain in volume as Chembai pondered the reason. Suddenly, a question arose in his mind. He asked someone seated nearby whether it was 'sukla paksham', after the new moon. This was the month of Kartika and it was Chembai's practice to offer musical prayers at the Sree Krishna temple in Guruvayur on tlie Ekadasi day of the 'sukla paksham' in the month of Kartika every year. When a reference to an almanac confirmed that it was 'sukla paksham' Ekadasi, Chembai explained the matter to the host and requested permission and help to go to Guruvayur and fulfill his commitment. The host obliged. Chembai speeded to Guruvayur in a car, offered his apologies and prayers to Sree Krishna. He had no problem singing; he had recovered his voice fully. He sang many

songs and long until he was satisfied that the Lord had forgiven his lapse. He sang at Kallikkotai the next evening, without any problem. A Blow For Equality [1941] Chembai was due to give a performance at the Singaravelan temple in Nagapattinam, as part of the Kanda Shashthi festivities. It was past the time when the concert was to start and still none had come from the office of the temple's trustees to fetch him. Unwilling to wait any longer, he proceeded to the temple, accompanied by his sidemen. As he reached the temple, he realised there was some galatta or noisy disturbance going on. When he inquired about it, he was told that common people had occupied seats reserved for VIPs in the mandapa where the concert was to take place; that a representative of the trustees had more than once

asked them to clear out of the space but in vain; that the representative had said the trustees would rather shift the venue of the concert to some place else than allow their stipulations to be transgressed; and that this had precipitated the galatta. Chembai arrived at the mandapam, pacified the crowd and said that, as far as he was concerned, all were equal before god and music. He also explained he attached more importance to performing in the temple's precincts than to pleasing the organisers by singing elsewhere. "I was invited to perform at the sannidhi [presence] of the deity and that is what I propose to do, even if I am not paid" he added. Then he proceeded to give the performance without waiting for the trustees and other VIPs A Tribute In Diamond [1942] Chembai was returning by train to Madras from Karaikudi where he had given a concert. During the journey, he got acquainted with a fellow passenger, a wealthy, middle-aged businessman named Valliappa Chettiar. Noticing that Chettiar was undergoing some kind of stress, he openly asked the latter what was bothering him. Chettiar was taken aback by the directness of the query but responded nonetheless by disclosing the source of his worry. Chembai then told him that the deity of the Parthasarathy temple in Chembai would help solve the problem if Chettiar would pray to him and, if the problem were solved, Chettiar could show his gratitude to the Lord in some way. Chettiar agreed to abide by the suggestion and then saw a smile playing on the lips of Bhagavatar. "What are you smiling about?", he asked and Chembai said that the act of gratitude should not be like fulfilment of a trade transaction

and that he should in advance decide what offering he would make, in line with his capacity. In the conversation that followed, he explained he had already provided the temple with a gold kavacham [ornamental covering] for the deity and it would be nice if Chettiar could take a vow to present a namam [Vaishnavite mark] made of diamonds. Chettiar agreed to do so. Subsequently, Chettiar came to the village of Chembai, his problem solved, and made his offering to Lord Parthasarathy. None could have been more pleased than Chembai. On The Razor's Edge [1952] One morning when Chembai was standing in the verandah of his house in Santhome, Madras, lost in thought, a barber carrying his equipment made his appearance and saluted him. Chembai had never seen him before nor had he the need for a shave.

Yet, using sign language, he invited him to sit down and himself sat down to have a shave. The barber, an elderly fellow, spoke volubly as he passed the razor back and forth on Chembai's face. He let it be known that he was not fond of barbering and that his real vocation was healing the sick, like it had been the vocation of his forefathers. Bhagavatar did not respond in any manner to any of this talk. The barber thereupon sought to provoke him by asking questions. Chembai finally blurted out that he was unable to speak. It was obvious he had a very bad throat, the way he croaked out the words. The barber said he was very sorry to notice the difficulty Chembai was experiencing, especially since he had heard his golden voice many a time while passing his house. And he asked how long

the vidwan had been suffering this. Chembai stuck out a single finger to indicate 'one month'. The barber asked: "Haven't you been receiving any treatment?" Chembai conveyed by signs that the treatment had been in vain. The barber finished his job and received payment. Then he said he would bring a herbal medicine if Chembai would trust him to treat his ailment. Speaking with difficulty, Chembai said he had been offered a concert engagement a week hence and asked if he could rely on the barber's treatment and accept it. "Praise the Lord and accept it," replied the man with the razor. And then he left. Next evening, the barber brought the

medicine and gave instructions to Bhagavatar on how he should take it. Chembai paid him two rupees and promised to pay a total of 20 if the treatment proved to be successful. The treatment worked, Chembai regained his voice and the concert he had accepted was a grand success. What had cured him? The medicine? Faith? A combination of both? Whatever, Chembai, try as he might to find the barber and repay his debt, never saw the barber-physician again. It must have been Guruvayurappan again to his rescue. Extracts from an article in The Hindu Newspaper: No one could have had a greater sense of humour than Chembai. His concerts were lively with

his interjections, "Vasidaa Vilvaadri" etc. Once, when he sang a Tamil viruttam "Orumaiyodu Ninadu Thiruvadi" in Hamsanandi, he pointed to Chowdiah, who was accompanying him, as he sang "Unnai maravaadirukka Vendum".His rendering of Tamil songs had traces of a Malayalam accent. There was a Tamil number in Mohanam he used to sing often. It went "Idhiname Shuba dinam" and Chembai sang it as "Ee diname Shuba dinam". Once, one of his disciples, keen on the right pronunciation, sang "Idhiname..." almost chewing and spitting out the first few letters, hoping his guru would notice and render the song with the right pronunciation. Chembai must have noticed, for he decided to have some fun. The more the sishya emphasised the first few letters, the more Chembai drew out his "Eee diname". The Malayalam versus Tamil match continued for almost three minutes much to the delight of the audience. At a concert at Shanmugananda Hall in Bombay, a member of the audience

asked Chembai if he could sing a song on Bombay. Chembai, with a mischievous twinkle in his eye, said he could. He went on to sing "Aadu paambae, vilayadu paambae". In another concert, Chembai wanted the organisers to keep the microphone nearer. Finding that the microphone cable (wire) was too short, he said "Namma Vayaru than perisa irukku" [Only my vayaru (belly) is big]. Rama Ninne (Useni) Chembai was singing a Thyagaraja Kriti in Useni which went "Rama Ninne Nammi

Nanu Nijamuka Sita..... Rama Ninne...". His accompanists for the day were Lalgudi Jayaraman on the violin and Umayalapuram Sivaraman on the mridangam. In a flash Chembai substituted the word "Sita" with "Jaya" and repeated the line again with "Siva", thus Jayaraman and Sivaraman had their names mentioned. The predominantly malayali audience were highly amused when they realised the import of the whole sentence ("Jayarama and Sivarama, I depend on you"). You can listen to Agre Pashyami in his divine voice at- http://www.esnips.com/doc/4eb49365-9506-4cc0-b11e-73ef24f5d6b2/Agrepashyami-by-CVB and Karuna Cheyvan at http://www.esnips.com/doc/a9c4f633-ed05-4747-9579-478cbf9cf8e8/Karuna-Cheyvan-CVB With Prayers, Krishnapriya. SRIRAM SUBRAMANIAN <abheri > wrote: Hare Krishna Guruvayurappa ! Chembai is the most under-rated

devotee of Sri Guruvayurappan. Even though he has such a popular music festival under his name, not many are seriously aware of his devotion to Guruvayurappan.I only wish to mention one point to highlight his bhakti:Chembai Bhagavathar is the only person to have offered Udayasthamana Pooja at Guruvayur temple once every year for as many as 40 years ! Can you imagine - 40 Udayasthamana poojas at Guruvayur! - here people are booking for the pooja and simply waiting for years and years - > 40 years ?!! for a date for the pooja - but Chembai - he conducted 40 such poojas for Guruvayurappan in his lifetime.Even during those times, this was a costly offering and hence was beyond the means of common folks.In fact, Chembai would go for music concerts and keep an account of the earnings - the moment the amount was found sufficient to sponsor an Udayasthamana Pooja, he would rush to Guruvayur for the pooja! Are there such people living now on

earth?!!!another thing told about him is that he would ask for more money from the organizers of his concert, if he felt that he was running short of money for offering Udayasthamana Pooja in a particular year!! He somehow HAD to offer the pooja every year!and what great fortune, to receive a super excellent voice thanks to Sri Guruvayurappan's kaarunyam. I once heard the violin Maestro M.S.Gopalakrishnan (who frequently accompanied Chembai on the violin) mention on TV that Chembai Bhagavathar's voice could be heard clearly by 10,000 (TEN THOUSAND) people without the need for a Microphone! I was stunned totally! He went on to say that the person sitting in front would not be irritated by the powerful voice - and even the person sitting in the back row could hear him clearly... what should we call this - other than Guruvayurappan's anugraham?!Stopping here or more knowledgeable members to add on /

comment!Regards,-sriram===============================Syamala Nair <syamalaraghunath > wrote: Jai Sreekrishna Dear Krishna Prasadji Thank you for sharing the article. I have also heard about the story of Chemabai Shri Vaidyanatha Bhagavathar. It is said KANNAN gave him voice thorugh his "shanku". You have mentioned there is another simple reason for sharing this article. Only a devotee who has surrendered hmself to KANNAN can say this because this is the time where people become panic for silly reasons . Your faith in HIM is such that HE has to come to your help first in the way of NARAYANEEYAM and then making you know about

Viadyamadom. Incidents like this make our belief in the Bhaktavalsalyam of our KANNAN stronger and stronger. Thank you for furnishing the full address and contact details Vaidyamadom Vaidyasala which is a new information to me I am eagerly awaiting for the poem from Savitriji as announced Humbly Syamala Savitri Puram <savitriopuram > wrote: Dear Krishna Prasdaji,I have heard before about Bhagavathar's story. But my eyes becamemoist to read your story. Just like Guruvayurappan appeared asMangattachan to Poonthanam, he appeard as Vaidyammadhom cheriyaNarayanan Nambuthiri to you and He is appearing

as different livingpeople to many of us. But your blessings is not even in getting curedor better, but in realizing that it was only purely Guruvayurappan'sgrace behind that. Very few realizes that. Also Cheriya NarayananNambudiri is a great devotee of Guruvayurappan. So how can He notappear as Nambuthiri to such an ardent devotee like you! " NjaanBhaktha paraadheenan aanennu " paranjittundallo. These anubhavakathakal which are your own stories undoubtedly helps to increase thefaith of all of us. Thank you very mych.Krishnapriya sent me the Varamozhi font and we installed it today.When I become a little proficient in that, I will try to type a poemby Cheriya Narayanan Nambuthiri and share with all of you. I havebyhearted that and reciting every day. Those lines are so meaningfuland touching. The only uncertainity is my mastering the Varamozhi. Butagain, Mookam karothi Vaachalam ennanallo. So He can make me

learn andshare and only He can. I am trying.Regards and prayersSavitriOn Thu, Apr 3, 2008 at 11:40 AM, adidaiveekam <no_reply > wrote:>>>>>>> Hari OM!>> Dear Narayanas in Masks,>> This article I want to share with you all.>> By T. V. Neelakantan, Kochi:>>> Auspicious occasion of Guruvayoor Ekadasi falls on the month of December.> Many devotees observe this day with complete fasting and a visit to the> Lord. It is believed that Lord Krishna instructed his great teaching the> Bhagavad Gita to Arjuna on this day. Many devotees of the Lord come to> Guruvayoor on the day from far of places. Being the season of the Sabarimala> pilgrimage the temple will see vast number of devotees on this day.>> There are a number of

incidents connected with Guruvayoor Ekadasi and the> one happened a few years ago is an indication of how the Lord plays his> Leela on the devotees.>> The great Chembai Vaidhyanatha Bhavathar was an ardent devotee of Guruvayoor> appan and he never missed an ekadasi without visiting Guruvayoor and singing> before the Lord. It so happened on one occasion that he was engaged for a> concert and he had already received the consideration for the same. It> dawned on him later that the particular day happened to be Guruvayoor> Ekadasi. Having received the money for the concert he was obliged to perform> the concert and dutyfully went to perform.>> Having sung one kirthanam, he could not proceed further and completely lost> his voice. He rushed back to Guruvayoor and was in front of the Lord in> tears. He was there for a few days praying. There is a famous family of> Ayurvedic

Vaidyans called "Vaidyamadom" near Guruvayoor at a place Trithala.> The vaidyan of this institution happened to see the Bhagavathar standing> befor the Lord in tears one day and he immediately recognized him. He came> to know of the problem faced by Vaidyanatha Bhagavathar and took him to his> house and treated him.>> In a few weeks time Vaidyanatha Bhagavathar started his concerts again and> it is said that he never missed another Guruvayoor Ekadasi. In honour of the> Bhagavathar the Chembai Sangeethaolsavam is going on still in Guruvayoor and> almost all great singers come to perform there.>> Thee is another small reason for narrating this. I lost my speaking power> about 10 years back. It was a gradual process and I consulted many leading> E. N. T doctors. Some of them suggested operation of the vocal cord. Luckily> I did not go for that. When I consulted a Chinese doctor

he said that my> vocal cord is perfectly o. k. and my problem is with the muscles at the back> of my neck and that there is no treatment for this. I started getting> frustrated and started avoiding seeing people.>> A few years afterwards I happened to hear "Narayaneeyam" prabashanam by> Brahmasree Sundarakumar and thought that I can start reading "Narayaneyam"> Within a few days I happened to hear about the "Vaidyamadom" and wrote a> letter to them though I was not sure of their address. The letter was,by> God's grasce, received by them.>> My treatment was started by their chief physician Ashatavaidyan Cheriya> Narayanan Nambootiri. Since by that time the problem had become acute, he> said 100% cure may not be possible. The treatment went on for 4 years with> "sirovasti" for a week every year. There is considerable improvement and now> I do not shun seeing>

people.>> There is a nursing home run by this family called. Vaidyamadom Vaidyasala> and Nursing Home., Mezhatoor. P. O. Vis Trithala, Palghat District. The> telephone number is 0492 6272044.>> Om Sri Dhanwanthari Murthiye.. Guruvayurappa Saranam!>>>> With Love & OM!>> Krishna Prasad>> You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost.

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