shrI  vAdhirAja thErTha was a great poet in Kannada and brought down the philosophy and bhathi to common people through his magnificient works in Kannada. We are not fortunate enough to have all his works available to us. Many of his kannada works are still to be traced. Here is a brief sketch of some of the works .

Vaikunta VarNane :

In this work Sri Vadiraja Tiirtha explains the Srusti (creations), Stiti (present state) Laya (extintion) and Moksha (adobe) according to Madhwa Tatva. This composition has been done/written in kannada to convey the message of Madva Tattva for commoner or layman who doesnot know the sanskrit.

Vaikunta VarNane is in four sandis (chapters) comprising of 388 nudis (lines) and includes about 43 sholkas with examples and instances from Shruti, Smruti, etc. The ultimate goal of this work is to convey the meaning and ways to achieve liberation. Finally Sri Vadiraja Tiirtha explains that one has to take refuge with Sri Hari who is svatantra, sarvaguna paripurna, sarvottama, sarvavyaptha, sarvashaktata etc. to achieve the same.

Sri Vadiraja's aim is to describe four forms of Sri Hari viz. Vasudeva Muktiprada, Sankarshana layakari, Pradumnya Srustikartha, Anirudda Stitikartha and make you to understand that Sri Hari is Sarvottama.

Sri Vadiraja Tiirtah has narrated different lilas/avataras/plays from original Narayana form to different forms of Vasudeva in four chapters (sandis): ie Moksha Sandhi (liberation chapter), Laya sandhi (extintion chapter), Stiti Sandhi (present form) and Srusti Sandhi (creation chapter). The naration of these glories/ grandeur is TattvaSara.

In the first chapter ie Moksha sandhi he has explained the three incarnations Hanuma, Bhima & Madhva through avatara traya stuti, Mayavada Khandane, Praise of Sri Hari's qualities, Capabilities of Indriyas (organs), Necessity of Bhakti (devotion), Meaning of Vaikunta (adobe), Differences between Jiva and Brahma in Liberation, Explanation of Vaikunta, Form of Moksha (moksha swaroopa), Mukthas (liberated souls) who are different from Hari, Levels of Vaikunta, Taratamya, Viraja Snana (bath in the river of Viraja), Linga Bhanga, different forms of devotion by Mukthas and their plays, four types of Mukthi and explanation about the moksha.

Second Chapter ie Laya Sandhi (extintion) deals with Sri Hari's role of creation and extintion of the universe. This sandhi explains the act of extinction by Sri Hari, his role in playing(krida) extinction process, culmination of Brahma's role in extinction, Panchabutaadi tatvas and reasoning of these things in extinction, all orginal forms (prakruti) extinction, culmination of all jivas through Garuda Shesha's with Brahma and finally they will reach or amalgamates with Sri Hari's stomach, Sri Hari who will be in the form of new born kid will be sleeping on the leaf (vata pathra shayi), during extinction Sri Lakshmi Devi will preapre food (lunch) with the bowl of Brahmanda (universe) which will be swallowed by Sri Hari at one time (tuttu) mouthful, Sri Hari's omini charaters, Sri Hari's Tatva of Swaramana, explanation with reference to Vaikunta which will not be extinguished during extinction, Sri Lakshmi who will be in the form of Bhoo Durga praying Sri Hari to wake him up for the process of creation and initiates to do the creation work etc are given in this chapter.

In Srusti Sandhi (creation) of third chapter Sri Vadiraja explains that except Sri Narayana no one will be existent during extinction, though he may be sleeping with Rama Devi he will always be alert and know what is happening. Sri Hari's act of creation is one of his character and he will use this character only during this period, creation of three qualities (triguna), padartha (material) dharmas, 24 tatvas creations, respective conceited devataas, creation of Brahmanda (universe), creation of Brahma through his navel, Penance of Brahma and other responsibilities of managing the universe will be made known through this sandhi.

Last and final chapter explains the devine form of Sri Narayana, his qualities, Tapta Mudra Dharana, Vishnu Chakra (wheel) importance, and its ten names, importance of wearing chakrankana (wheel, conch etc) liberation to trivadi jivas, the condition (gathi) of Devas and Jivas at the end, Linga Bhanga for Trivadi Jivas, explanation of time and space, Sri Hari's time tatva etc. are explained in this sandhi with Jaya Gosha and Mangala.

The objective of this composition is to preach Madva tatva in simple language to make understand for the commoner. Sri Vadiraja Tiirtha has explained this dvaita philosophy by taking examples from Vedas, Upanishads., Bhagavatha, Bhalita Sukta, Brahma Sutra, Pancha Ratra, Bhagavad Gita, Sri Hari Vayu stuti, Sri Maha Bharatha Tataparya Nirnaya etc. By all these things this scholarly work Vaikunta Varnane stand high with its high quality and rich contents.
 

Lakshmi Shobhane
When we look into the composition and Haridasa literature of Sri Vadiraja Tiirtha he has always given ancient and historic touch to worldly or mundane practices. This work is one such effort where Sri Lakshmi Devi wedding takes place with Sri Hari and it is called Sri Lakshmi Shabhana Song (auspicious wedding song). In Southern India singing a Shobhana song on the occassion of wedding ceremony is very common and it is the practice of ancient folklore. Even to-day any initiative towards marriage or wedding starts with Shobhana song and continues till the end.

As the name stands the theme of this work is Sri Lakshmi Devi's swayamvara ie elelction of husband. The story starts with Sri Lakshmi Devi who appeared in Milky ocean (kshirasagaradi Lakshmi uddarisidalu..). The other explanations goes like this: one who has conch-shpaed (kambu kanta) neck with shining Mangalasutra (marriage badge worn around the neck by wife), making sound from kalungura (ring worn on the second toe) stepped in to the Swaymvara mantapa (stage). Sri Vadiraja also says that Sri Lakshmi Devi is not born and she has only incarnated (lakshmige idu janmavalla; avatara mathra). For Lakshmi except Sri Hari all others are like her children.

In this composition Sri Vadiraja explains the incidences of wedding of Sri Hari with Sri Lakshmi. Few of the incidences goes like this Sri Lakshmi Devi herself doing 'uruTane' ie a play of newly married couple where in the bride will rub the sandal powder to the body of her husband. (lakshmiramananige madidalu uruTAne), Krishna being tied up to the door by Bhama (bhurinigamava kadda chorana daitana gedda) and complete dashavatara is explained in arathi ie ceremony of waving coloured water or burning lamp.

Sri Vadiraja Tiirtha also explains very nicely when Sri Lakshmi walks through the rows of Devataas who were sitting for the wedding reception. When she puts forward each step and sees devataas sitting and she recollects one is son and another is grand son (obnavana maga mattobnanva momma obbana vanige shanAha obbanva horuva..) like this all Brahma, Vayu, Rudra, Shesha Garuda hierarchy which is being narrated according Madva's taratamya and finally she remembers Sri Hari (ku.ndellsttillada mUku.ndane tatage.ndu In.dere pathiya nEnEdalu..). She selected Sri Lakshmi Narayana's incarnation because of his omini good attributes attached to him and Sarvottamatatva (avana.ngusttava toleda gan.ga devi pAvanalEnisi mErEyale jivana sErida pApava kalEyolu yI vAsudEvage yeNeyu.nte).

Sri Swamiji explains that on putting the flower necklace to Sri Hari, Sri Lakshmi Devi became Sri Hari's bride. Then Veda Manthra's (hymns) and auspicious sound were made through the instruments like bells, Jagate, Drums etc. are made in this occassion. All devataas are feeling happy and showing their pleasure by getting the tears in their eyes. Sri Narada with his tambura gave his concert and near 'hase' (place where bride and bride groom were made to sit) and for arathi all muthaide's (woman whose husband is alive) were running around.

All auspicious womens (muthaide) brought Sri Hari to the place of wedding called 'hasemane' (wooden plaque) by singing and prasing Sri Hari as Sheshashai (one who is sleeping on the top of Shesha), doshararahita (one who doesnot have any flaws) etc. Ganga, Yamuna, Saraswathi, Bhagirathi were waving the pearl (muttu) arathi by telling davala (conch) song.

In the normal circumstances all newly weds will bow to elders and teachers but in Sri Lakshmi's wedding all devataas who have come to the occassion were bowing to Sri Hari and Sri Lakshmi and taking their blessing by giving presents. Sindhu Raja who is the father-in-law of Sri Hari and Sri Lakshmi's father has arranged auspicious lunch with Amrutha for all devataas and invitees. At this time Sri Krishna who has incarnated as Sri Hari expecting trouble from Asuras/daitayas has shown his Mohini incarnation to them. This is very rare and humourous moments (because beautiful women marrying another beautiful women) which Sri Vadiraja has narrated very well and Sri Lakshmi Devi was surprised and astonished to see Sri Hari's Mohini's character (tanna sU.ndaryadi.dunna.tha mayavada lA avnYandi mereva nijapathiya hennu rOpava ka.ndu kanyE mahalakshmi yiva ganyrYake.ndu beragadalu..).

On completing the marriage all devataas and invitees started proceeding to their destination and Sindhu raja has given all of them respective presents for coming and attending the wedding. He has given his own palace to his son-in-law ie Sri Hari and asked him to stay as for ever as house hold son-in-law.

Though Sri Vadiraja ends the explanation of Sri Lakshmi Devi's wedding in 107th stanza he continues another 5 songs explaining about the composers name, benefits out of hearing and singing this song etc.

In each and every aspect of the song Sri Vadiraja has explained and narrated Sri Krishna's divine nature, Sri Hari's Sarvottama nature, Sri Hari's lilas/plays in all incarnations etc. He also gives the explanations of Madhva Tattva within the framework of Sri Lakshmi Devi's wedding which can be understood by a commoner or layman. Sri Vadiraja has also shown his devotion in explaining Sri Lakshmi's high view about Sri Hari and Muthaide's blessing Sri Hari while waving arathi.

In Madhva community this song is very auspicious on all wedding occassions. If any body sings this song on Shravana Masa especially on Fridays it is considered to be very sacred.

There is story behind this composition by Sri Vadiraja. Arasappa Naika is devotee of Sri Vadiraja and his son-in-law was died on the wedding day in the marraige hall. To bless his devotee Sri Vadiraja has composed this song and sung on this occassion. After that devotee son-in-law was alive and his daughter attained valebhagya (jewel which is weared by the ladies in ears) and managalyya bhagya. Based on these assumption also all Madhvas sung this song before and during the wedding time. It is also assumed that all bride and bride grooms are in the form of Lakshmi and Narayana to bless them, to wish them and to protect them this song is sung. There were words like rakshisale namma vadhuvarara, salahali nammma vadhuvarara, palisale namma vadhuvarara.

It is also presumed that by singing this song on the occassion of wedding bride and bride grooms life will increase and they will live happily and peacefully. This composition of Sri Vadiraja has become very popular because of the above reasons and also stands high as for as the conveying the message and understanding the things in a better way.   Click here to  see the song in Kannada

Avataratraya Madhva suvali

There is restriction to read 'Sri Sumadhva Vijaya' by ladies. For that reason or to make understand the Madhva's liila Sri Vadiraja Tiirtha has written Avataratraya Madhva Suvali meaning three incarnations of Madhva. It is also said that Sri Vadiraja Tiirtha has composed Dashavatara Stuti in Tulu (Dakshina Kannada's language) to reach and promote Sri Hari's message to those people and like the same he must have composed this song to make understand the meaning of Madhva's incarnations.

On hearing the complaint/lamentation from Devataas Sri Vishnu incarnated as Sri Rama, Bharatisha incarnated as Hanuma. Here Sri Vadiraja explains the complete Sundara Kanda 144 lines. First 72 lines are devoted to Hanuma's mission to Lanka. Hanuma's discussion with Sita, Hanuma and Ravana's heated exchanges. Discussion and narration between Sita and Hanuma when the latter handed over the Rama's mudra, Ravana's heated exchanges with Hanuma about his tail which he has burnt the parts of Lanka later.

Next part explains the Sri Rama who has incarnated as Krishna, Hanuma who incarnated as Bhima and his powers. Different plays of Bhima like huge rock which has fallen were called shatashrunga, Duryodana and his followers who have thrown Bhima to poison pool, make him to eat poison, try to kill in wax house, killing Hidimba in Hidimbe, getting Ghotodgaja, killing of Bakasura, getting Drupadi along with his brothers, coming to Hastinavati along with Drupadi and doing Raja Suya Yaga (burnt offer) and many other incidences has been narrated. Again loosing everything by wrongful play with Duryadhanas like kingdom, treasury etc. including Drupadi and going to forest living. Spending 14 years in forest and one year in disguise meantime killing Kichaka and finally entering the war field when Duryodhana and his group rejected giving meager 5 villages to Pandavas. Killing Duryodhana in his Gadha (weapon) and taking his blood to Drupadi is well narrated here. Here Sri Vadiraja Tiirtha explains entire Mahabharatha in just 179 lines.

Third and final part covers Madhva's incarnation. When the Kaliyuga started and there were lot of blind beliefs about the existence of Sri Hari, Bhimasena incarnated as Madva on the direction of Sri Narayana. Sri Vadiraja Tiirtha narrates the incidences before the birth of Madva like standing on top of Garuda Gamba (pillar in front of the temple) and propogating that sarvagna will be born soon, then Vasudeva was born in Madya Geha Bhatta family, eating bengal gram by the newly born kid, settling the parental obligation by giving the tamarind seeds and installing Krishna idol in Udupi which are explained in Sumadhwa Vijaya are brought here in simple language. Other than the above incidences Acharya who performed Danda Tiirtha, in the pitch dark (night) crossing the ocean without getting rinsed in the water, stood like a rock when robbers attacked him are the some of the incidences which are explained in this section.

Finally the composition ended with note about Sri Madhwa going to Badari Kashrama and became Sri Vyaasa's disciple.

Sri Vadiraja Tiirtha has explained all the above incidences, narrations etc in 229 lines and the language, quality is not considered to be very good compared to his other compositions. Because this work has been identified with this ankita 'Hayavadana' it is been credited to his name, but explanations and meaning are well carried from Sumadhwa Vijaya.

 (We are thankful to Shri Madhusudhan Rao for providing this material from Haridasa page)