Summary
In this vachana, Basavanna presents longing through three natural images. The chakora, a legendary bird traditionally believed to live in yearning for moonlight, longs for moonlight, the lotus for sunrise, and the bee for fragrance and nectar.
These images show attraction that belongs to the nature of the being itself. The chakora is drawn to the moon, the lotus opens by the sun, and the bee seeks the flower’s fragrance.
Basavanna then turns the same movement inward. His own longing is for the remembrance of the Sharanas of Kudalasangama. The teaching is that true devotion becomes natural longing: the heart moves toward the living presence in which remembrance is kept alive.
Imagery & Symbolic Relevance
The chakora and moonlight form the first image. The bird is defined by its longing for the moon’s light. This shows a movement toward what nourishes and fulfills its own nature.
The lotus and sunrise form the second image. The lotus waits for the sun’s rising. Its opening depends on light. Basavanna uses this image to show that hidden life opens when the right presence appears.
The bee and fragrance form the third image. The bee is drawn to the flower’s fragrance and sweetness. Its movement is not forced; it arises from inward attraction.
The three images together show natural orientation. Bird, lotus, and bee do not act from argument or instruction. Each turns toward what completes its own condition.
Basavanna then names his own longing. For him, the object of longing is the remembrance of Kudalasangama Deva’s Sharanas. Their remembrance becomes the living field toward which his awareness naturally moves.
Lingayoga
In Lingayoga, this vachana teaches purified longing. The seeker’s movement is no longer scattered among many desires. It becomes gathered toward the Sharanas of Kudalasangama.
The remembrance of the Sharanas is not merely memory of persons. It is inward orientation toward those who embody living nearness to the Lord. Through such remembrance, the seeker’s longing becomes steady and sacred.
For Pranalingi Sthala, the teaching is that longing itself can become a sign of inward alignment. When the heart naturally turns toward realized presence, remembrance is no longer imposed from outside; it has begun to arise from within.
Editorial Commentary
The three natural images: chakora to moonlight, lotus to sunrise, bee to fragrance. Each image shows longing as natural attraction.
The final line is decisive. Basavanna does not end with longing for an abstract state. He longs for remembrance of Kudalasangama’s Sharanas. The movement of the vachana therefore joins inward longing with Sharana-sanga.
Related Vachana
Supporting Vachana
Prasadi Sthala Vachana 24 — The Question of Fruitful Desire
Prasadi Vachana 24 supports this vachana by showing longing awakened through seeing devotees. There, Basavanna sees those who have devotion and longs for that condition, while also asking whether such longing can bear fruit without Kudalasangama Deva’s grace.
Vachana 365 carries that longing into a more natural and settled form. The chakora, lotus, and bee show longing as inner orientation; Basavanna’s own longing is for remembrance of the Sharanas. Thus the Prasadi question of fruitful longing supports the Pranalingi state where longing becomes purified remembrance.
Advancing Vachana
Sharana Sthala Vachana 461 — The Servant at the Threshold
Sharana Vachana 461 advances this teaching by carrying longing into lived placement within the house of the Sharanas. In Vachana 365, Basavanna longs for the remembrance of Kudalasangama’s Sharanas. In Vachana 461, he no longer remains only in longing; he places himself as a servant at the threshold of the Sharana household.
Thus the Pranalingi longing for remembrance advances into Sharana Sthala as humble belonging. The heart that naturally turns toward the Sharanas becomes the servant who lives by Kayaka, Dasoha, and surrender in their house before Kudalasangama Deva.
