Day 7

Our young ladies from RMT dressed as Warrior woman depicting the bold responsible great woman of earlier times. While they walked the ramp they also educated the children. They each contribute and donate a  fixed amount towards educating the challenged children supporting a great cause while they host the navarathri day 7 celebrsted today..they put a coin for each visitor who comes for haldi kumkum and totaling the foot falls then decide on the donation. Each group comes up with interesting themes all through the festival.

My grand daughter too walked in in the end depicting operation sindoor stealing the show with her army uniform. Her mother was velu nachiyar. 

Rani Laxmi Bai - Padmini

Rani Abbaka Chowta - Malathy

Rani Velu Nachiyar - Nandhini

Rani Ahalyabai Holkar - Sudha

Rani Rudramma Devi - Veena

Rani Kittur Chennama - Lalitha

Rani Durgavathi - Anu

Rani Mangammal - Krithika

Operation sindoor_ Kadambari

1. Krithika – Mangammal

"I am Rani Mangammal of Madurai, famed for my wisdom and statesmanship. I ruled as regent and ensured peace and prosperity in my land. I built roads, tanks, and temples that still stand as my legacy. I balanced diplomacy with valor, protecting my kingdom while fostering trade and culture. I am remembered as a just and visionary queen."

2. Nandhini – Velu Nachiyar

"I am Velu Nachiyar, the lioness of Sivaganga. Long before the Sepoy Mutiny, I raised arms against the British. I was the first Indian queen to wage war against colonial rule. With courage and strategy, I led my people, trained women warriors, and reclaimed my throne. I live forever as the Veeramangai – the brave woman of India."

3. Veena – Rudramadevi

"I am Rani Rudramadevi of the Kakatiya dynasty, one of the few women to ascend the throne in medieval India. I ruled with strength, dressed as a man in battle, and led my armies to victory. My reign was marked by prosperity, justice, and fearless leadership. I proved that power and wisdom are not bound by gender."

4. Padmini – Rani Lakshmibai

"I am Rani Lakshmibai of Jhansi, the symbol of resistance and freedom. With sword in hand and my son on my back, I fought valiantly against the British in 1857. I chose death over dishonor and became an immortal icon of courage. Jhansi ki Rani will always live on in the hearts of India."

5. Padma – Kittur Chennamma

"I am Rani Chennamma of Kittur, among the earliest to rebel against the British. I stood tall when they tried to annex my kingdom, leading my soldiers into battle. Though I was captured, my spirit never bowed. I lit the torch of freedom long before it became a movement, inspiring countless warriors after me."

6. Anu – Rani Durgavati

"I am Rani Durgavati, the warrior queen of Gondwana. Trained in archery and horseback, I defended my kingdom against the Mughals with unmatched valor. Even when outnumbered, I chose to fight till my last breath. My sacrifice became a beacon of bravery for generations of women warriors."

7. Krishma – Rani Tarabai

"I am Rani Tarabai of the Marathas, a queen who refused to surrender. After my husband’s death, I took charge of the empire, led armies, and challenged the mighty Mughals. I kept the Maratha spirit alive through my courage and sharp political acumen. I am remembered as the savior of Swaraj."

8. Malthy – Rani Abakka Chowta

"I am Rani Abakka Chowta, the fearless queen of Ullal. I fought against Portuguese colonizers with unmatched valor on land and sea. Known as the 'first woman freedom fighter of India,' I inspired my people to resist foreign domination. My name still echoes along the coasts as the warrior queen of the sea."

9. Sudha – Ahilyabai Holkar

"I am Ahilyabai Holkar, the philosopher queen of Malwa. I ruled with compassion, justice, and devotion. I built temples, ghats, and roads across India, nurturing both spirituality and prosperity. My reign was marked not by conquest, but by service to my people. History remembers me as the beloved queen who ruled like a mother."

Soldier Kadambari.

We salute Colonel Sofiya Qureshi and Wing Commander Vyomika Singh — the heroines of Operation Sindoor, who brought justice and victory with discipline, courage, and dignity, proving that the battlefield knows no gender."

Sweetest entry though. My pride.

Indian Warrior Women who fought the East India Company

When the East India Company (EIC) invaded the South Indian kingdom of Sivaganga in 1772, they met with opposition from Indian warrior women.  These women were a diverse group from different walks of life - royal household, rural areas, across all caste groups.  Although many of their names and stories have not found a place in history, they have survived in local folklore, songs, bharathanatyam performances, and have been immortalised as deities in the local temples.

Here is the story of three of these early female freedom fighters: Velu Nachiyar, Udaiyaal and Kuyili.  As the earliest women to rise against the EIC, their lives offer a glimpse into the beginnings of the anti-colonial movements, evoking an image of resilience and fortitude.

Rani Velu Nachiyar was a formidable Tamil Queen, who was both admired and vilified by the British for her valour and bravery in defending her kingdom.  She was born in 1730 to the Raja and Rani of the Ramnad kingdom. Skilled in the art of warfare and weaponry, Velu Nachiyar was also a scholar, and mastered several languages including English, French and Urdu.  At the age of 16, she married the prince of Sivaganga, Muthuvadugananthur Udaiyathevar. In 1750, Velu Nachiyar and her husband became monarchs of the Kingdom of Sivaganga.

In 1772, EIC troops, alongside the Nawab of Arcot’s son, invaded Sivaganga and marched towards the Kalaiyar Kovil Fort.  The Raja of Sivaganga was killed at the Battle of Kalaiyar Kovil on 25 June.  The kingdom fell under enemy control and the Kalaiyar Kovil Fort was plundered.  Rani Velu Nachiyar and her daughter Vellachi escaped capture through the sacrifice of Udaiyaal, a village woman who refused to reveal their secret hideout during interrogation and who was killed for her insubordination.  Rani Velu Nachiyar and Vellachi fled Sivaganga and sought refuge near Dindigul.

During her eight-year exile, Rani Velu Nachiyar acquired influential alliances with neighbouring rulers (e.g. Gopala Nayaker, Hyder Ali) who supported her preparations for battle against the EIC, providing additional soldiers, weapons, resources and training. Rani Nachiyar built an army of fierce female warriors that she named after Udaiyaal.

In 1780, Rani Velu Nachiyar and the Udaiyaal army skilfully infiltrated Sivaganga.  Aware of the superior military prowess of the British, Rani Nachiyar used her knowledge of the terrain and employed guerrilla warfare tactics - spies, sabotage, ambush.  Rani Nachiyar’s military advisor was Kuyili, a woman from a lower caste background.  As a spy for the royal household, she had protected the Rani’s life on multiple occasions and soon rose to the rank of commander-in-chief of the Udaiyaal women’s army.  At the Battle of Sivaganga, Kuyili devised a strategy to attack the EIC’s weapons storage.  Disguised as a rural woman, Kuyili entered the secure storehouse unnoticed and set herself ablaze, destroying the EIC’s weapons and ammunitions.  The EIC and the Nawab fled from Sivaganga in defeat and Rani Nachiyar regained her Kingdom.  The Tamil Queen ruled Sivaganga for another decade before handing the kingdom to her daughter.

In recent years India has honoured the memory of these women warriors through issuing commemorative stamps, installing monuments and memorials.

Rani Velu Nachiyar on Indian postage stamp 2008- Wikimedia Commons

The contribution of these women as warriors vanished at the intersection of colonialism and patriarchy, instead brown women were recast as helpless and in need of saving. I hope this blog post creates curiosity and the excavation of more stories of Warrior Women!

Ethos

Womb and Life Cycle: The word Garba comes from garbha (womb). Traditionally, a clay pot (garbha-deep) with a lamp inside is placed in the center. The lamp represents life, energy, and the divine feminine power within the womb of creation.

Circle of Existence: Dancers move in a circle around the lamp, symbolizing the endless cycle of life, birth, death, and rebirth. The center — Devi, the Shakti — remains unmoving, the eternal truth.

Spiritual Devotion: The ethos here is deeply devotional, meditative even, where rhythm and steps become a prayer. It emphasizes bhakti (devotion), shakti (power), and samsara (the cycle of life).

Battle of Good and Evil: Dandiya represents the raas leela of Krishna but in Navratri it takes on a Durga theme. The sticks (dandiyas) symbolize the swords of Durga in her fight against Mahishasura.

Joyful Combat: Each strike of the sticks is symbolic of that cosmic battle. It is playful, rhythmic, and martial — evoking courage, victory, and divine energy.

Community Energy: Unlike the inward devotion of Garba, Dandiya is more outward, vibrant, and dynamic. It expresses togetherness, coordination, and collective joy.

Garba → inward, meditative, centered around the divine feminine as life-giver.

Dandiya → outward, energetic, symbolic of the battle of good over evil.

Together they reflect the ethos of Navratri: worship, rhythm, energy, and the victory of Shakti.

Decide.

 Do not allow your mind to be too active and to live in a turmoil, 

do not jump to conclusions from a superficial view of things; 

always take your time, concentrate and decide only in quietness.

The Mother

Parakala.

 The word Parakālan (or Parakāla) is generally used as another name for Lord Narasimha, the fierce incarnation of Vishnu.

Para = Supreme, transcendent

Kāla = Time, death, destiny

So Parakāla means “He who is beyond Time (Kāla) and Death (Yama)”.

This title is especially associated with Sri Lakshmi Hayagriva and Parakāla Swamy Matha in Mysuru, where Narasimha is worshipped as Parakāla Swamy.

It is also sometimes used as a name/title for great saints or scholars connected with that tradition (e.g., Parakāla Jeeyar).

how the name Parakālan is used in different traditions:

1. As a name of Lord Narasimha

Narasimha is called Parakāla because He is the one who destroyed Kāla (death) in the form of Hiraṇyakaśipu.

The title highlights His power as the Supreme Being beyond Time and Death.

In temples and stotras, Narasimha is praised with this name.

2. As an epithet of Tirumaṅgai Āḻvār

Among the 12 Āḻvārs, Tirumaṅgai Āḻvār is often called Parakālan.

Why? Because he was fearless, bold, and fierce like Kāla (Time/Death) itself, especially when he took to robbing the rich for serving the Lord.

The meaning here is:

Para-kālan = “One who is a Kāla (death) to the enemies of the Lord” or “One who is terrible to the wicked.”

3. As a title for Āchāryas (Teachers)

The Parakāla Maṭha in Mysuru (established in the 14th century) is a Vadakalai Śrī Vaiṣṇava institution.

Its name comes from Parakāla Swamy (Narasimha).

The Jeeyars (pontiffs) of this maṭha are also known by the title Parakāla Jeeyar, keeping alive the association with the Lord.

Parakālan = primarily a title of Narasimha (beyond Time/Death).

Also the celebrated epithet of Tirumaṅgai Āḻvār for his fierce devotion.

Carried forward as a title for Parakāla Jeeyars of Mysuru maṭha.

Who is called Parakālan Why this name? Key Idea

Divine Lord Narasimha He destroyed Hiraṇyakaśipu (Death itself for the demon) and is beyond Kāla (time/death). Supreme beyond time and death

Āḻvār Tirumaṅgai Āḻvār His fearless, fierce nature made him like Kāla (death) to the enemies of the Lord. Fierce devotee, destroyer of ego and wickedness

Ācārya Parakāla Jeeyar (pontiffs of Mysuru Parakāla Maṭha) The maṭha is named after Parakāla Swamy (Narasimha). The Jeeyars bear this title. Custodians of Narasimha tradition

So, the single name Parakālan beautifully connects God (Narasimha), Devotee (Āḻvār), and Teacher (Jeeyar).

the Divya Prabandham explain Parakālan as Tirumaṅgai Āḻvār’s title.

1. Origin of the Title

The traditional life history (guruparamparā) of Tirumaṅgai Āḻvār says that he was once a warrior-chieftain named Kaliyan.

After receiving grace, he became a fierce and uncompromising servant of the Lord.

Because of this fiery temperament, he was called Parakālan.

2. Meaning in Commentaries

(a) Para + Kāla = Kāla to others

In Āchārya Hṛdayam and other commentaries, Āḻvār is described as a terror (kāla) to those who opposed bhakti or obstructed temple service.

Just as Time (Kāla) is inescapable, Āḻvār’s resolve in service to the Lord was unstoppable.

(b) Para + Kāla = Beyond Time

Some commentators also explain that his love for the Lord was so intense that he rose beyond worldly time (para = higher, transcendent).

In this sense, he was like the Lord Narasimha, who is Parakāla Swamy.

(c) Linked to Narasimha

In fact, the title intentionally connects him to Narasimha.

Just as Narasimha is fierce to enemies but kind to devotees, Tirumaṅgai Āḻvār was stern against arrogance but tender to bhaktas.

3. Illustrations from His Hymns

In Periya Tirumoḻi, Āḻvār sings with extraordinary intensity, sometimes scolding the Lord, sometimes demanding His presence. This fearless, bold speech earned him the title Parakālan.

In Periya Tirumadal, he challenges the Lord like a lover gone mad with passion. The commentators point out: only someone with Parakāla-svabhāva could dare such words.

The Divya Prabandham commentators explain Parakālan as Tirumaṅgai Āḻvār’s title because:

He was like Kāla (death) to the Lord’s enemies.

His devotion was beyond the limits of Time.

His nature resembled Narasimha’s ferocity.

few traditional references where Tirumaṅgai Āḻvār is explicitly called Parakālan, with short meanings:

1. Guruparamparā Prabhāvam (Piḷḷai Lokacharya’s lineage text)

 “parakālan ennum tirunāmattāl aḻakkiya kaliyan”

Meaning: Kaliyan (Tirumaṅgai Āḻvār) was adorned with the divine name Parakālan.

2. Periya Tirumoḻi Commentary (Nampiḷḷai’s Eedu)

On a verse where Āḻvār speaks fiercely to the Lord:

 “idhu parakālanukku eṉṟu porundum – avanukku tan śīlam ippadi”

Meaning: This expression suits Parakālan, for such fierce speech is natural to him.

3. Āchārya Hṛdayam (by Aḻagiya Maṇavāḷa Perumāḷ Nāyanār)

 “parakālan ennum peyar pērttu – avarudaiya āśaiyum ugramum kaṇḍu”

Meaning: Seeing his intense desire and fierceness, he was given the name Parakālan.

4. Divya Sūri Caritam (Garuda Vāhana Paṇḍita)

 “parakālaḥ khalu sa bhakta-kālaḥ”

Meaning (Sanskrit): Truly, he is Parakāla—a Kāla (death) to those opposed to the devotees.

 References to show how the title was firmly embedded in tradition:

Commentators use Parakālan not as a casual nickname, but as a mark of his unique bhakti-character—fearless, passionate, uncompromising.

Parakālan – The Fierce Lover of the Lord

They called him Kaliyan, a chieftain,

but the Lord’s glance burned his heart into flame.

From that day, he was no more a mere warrior—

he was Parakālan, Time’s very terror.

To the proud and arrogant, he was Kāla—

a shadow of death that spared no deceit.

To the humble devotee, he was tender,

a brother, a poet, a guardian of temples.

Like Narasimha, fierce yet merciful,

he roared through the hymns of Periya Tirumoḻi,

demanding the Lord’s presence,

scolding Him like a lover gone mad.

Commentators whisper:

“This bold speech suits Parakālan,

for his nature is fire,

and his love knows no restraint.”

Thus the name stuck,

carved in lineage, sung in maṭhas,

repeated by saints as honor and truth—

Tirumaṅgai Āḻvār, forever remembered,

as the Parakālan,

death to false

Vak S.

 Vāk Sūkta (Ṛg Veda 10.125)

This is one of the most beautiful hymns of the Ṛg Veda, spoken in the voice of the Goddess of Speech, Vāk.

It is composed by the seer Vāk Ambhṛṇī, a woman ṛṣi.

In it, the Goddess identifies herself with the cosmic speech and creative power of the universe.

1. I am the cosmic force

Vāk declares she is present in gods, humans, and nature — the one through whom everything breathes and lives.

2. Speech as creative power

Words are not just communication; in the Vedic vision, they are śakti (power) that sustains the cosmos.

3. Unity of inner and outer worlds

The hymn links the human act of speaking to the divine act of creation.

“I move among gods and men; I uphold them, I make them strong.”

Here, Vāk is both immanent (present in all beings) and transcendent (empowering them).

“I am the queen, the gatherer of treasures, first among the worshipped.”

She identifies as Śrī, Lakṣmī-like, provider of wealth and abundance.

“The one whom I love, I make powerful — a seer, a sage, a Brahman.”

Speech elevates humans to wisdom and leadership.

“I am in the waters, in the ocean, I pervade all worlds.”

Suggests the cosmic pervasiveness of sound, vibration, and divine order.

Vāk = Brahman’s expression: Just as thought becomes real through speech, the unmanifest Absolute becomes manifest through Vāk.

Link to Tantra and Vedānta: Later traditions identify Vāk with Sarasvatī, Pārvatī, or Śakti, the power of Brahman.

Levels of speech: In later Indian thought, speech is classified into four levels — parā (transcendental), paśyantī (visionary), madhyamā (mental), and vaikharī (spoken) — all foreshadowed in this sūkta.

 So, the Vāk Sūkta is a celebration of divine feminine power as cosmic speech, the force that creates, sustains, and inspires the world.

The Voice Divine

I am the Queen, the Mother of treasures,

The one the gods honor, the first among the worshipped.

Through me, the wise become wise,

Through me, the strong gain strength,

Through me, the seeker finds the path.

I move among gods, among humans,

I breathe in all beings, I give life to all.

The one whom I love, I raise up—

I make him a sage, a leader, a knower of truth.

I am in the waters, flowing and endless,

I am in the winds, restless and free,

I am in the Earth, steady and vast,

I am in the heavens, shining with light.

Without me, nothing can exist.

With me, all things are held together.

I am Speech—Vāk—

The power of creation,

The voice of the Eternal,

The song of the Infinite.

From Vāk Sūkta to Devī Mahatmya

1. In the Vāk Sūkta

The goddess speaks: “I am everywhere, sustaining all. I make whom I will into seer, sage, ruler.”

She identifies herself with cosmic power and speech.

2. In the Devī Māhātmya (part of Mārkaṇḍeya Purāṇa, c. 5th–6th century CE)

The same spirit evolves into Mahādevī, the Great Goddess.

She is addressed as Śakti who creates, preserves, and destroys the universe.

She declares: “I am the sole cause of creation and dissolution. All gods depend on me.”

Just like in Vāk Sūkta, she is both immanent (present in all beings) and transcendent (supreme source).

 In the hymn Ya Devī Sarvabhūteṣu, the goddess is said to dwell in every being as buddhi (intelligence), kṣudhā (hunger), chāyā (shadow), śakti (power), and vāk (speech).

This directly echoes the older Vāk Sūkta idea of pervasiveness.

Tantra systematizes the idea of Vāk (speech) into four levels:

1. Parā – transcendental, unspoken vibration, the root of all sound.

2. Paśyantī – subtle vision of sound before it forms.

3. Madhyamā – mental speech, inner thought.

4. Vaikharī – spoken words, ordinary sound.

This reflects the Vāk Sūkta’s suggestion that speech is not just sound but cosmic energy descending into expression.

In Tantra, this energy is Śakti, the dynamic force of Śiva.

Mantras are considered manifestations of this divine Vāk. Chanting them re-aligns the human voice with cosmic vibration.

Vāk Sūkta → Goddess as cosmic speech and creative power.

Devī Māhātmya → Goddess as Mahāśakti, supreme mother, immanent and transcendent.

Tantra → Goddess as Śabda-Brahman, sound as ultimate reality, with levels of Vāk unfolding creation.

The Vāk Sūkta planted the seed of seeing the Goddess as cosmic power manifest through sound. Later, this blossomed into Mahādevī of the Purāṇas and the Śakti of Tantras, who is not only speech but the total force of creation.

Senior life.

 How Should Life Be Lived in Senior Years?

When one reaches the senior stage of life, a quiet question often arises: Should I turn inward to know myself, or should I live outwardly, meeting people and embracing life without boundaries? The truth is, both paths are not opposites — they are companions, completing one another.

After decades of striving, building, raising families, and fulfilling duties, senior years offer a rare chance: the freedom to live on one’s own terms. This freedom can be expressed in two complementary ways.

The first is the inner journey. Reflection becomes natural at this stage. A senior citizen has lived through triumphs, failures, joys, and losses. To sit quietly and let those experiences reveal their meaning is a gift. One discovers that happiness was never in possessions or positions but in the strength of the heart, the warmth of relationships, and the peace of the soul. Searching within brings serenity — a calm river after the rapids.

The second is the outward embrace of life. Far from retreating, many elders find joy in living to the hilt — traveling, singing, celebrating festivals, learning new skills, or simply laughing with friends and grandchildren. Age should not become a prison of caution; rather, it can be a doorway to fearless living. The years of restraint and responsibility give way to the freedom to explore and delight.

Yet, the highest art lies in balancing the two. A day that begins in silence, with prayer, reading, or meditation, gathers strength from within. And a day that continues with engagement — conversations, walks, gatherings, acts of service, or creative pursuits — blossoms outward. Thus, the inner search gives depth, while the outer living gives joy.

In the end, to be a senior citizen is not to choose between two paths but to weave them together. The inward search teaches us who we truly are, while the outward living reminds us what a beautiful world we inhabit. When combined, they make the later years not a decline, but a flowering — of wisdom, joy, and freedom.

Are inward search and outward living conflicting?

Not really — they may appear conflicting, but in truth they nourish each other:

Inward search gives clarity, so you don’t chase meaningless things in the outer world. It makes your outward living more joyful, because you know what truly matters.

Outward living prevents inwardness from becoming isolation or rigidity. The laughter of friends, the warmth of family, or the excitement of discovery add color to inner peace.

So, they are not enemies — they are like day and night. Each has its own rhythm, and together they make life whole.

Life in the golden years is not a choice of roads,

It is a weaving of silence and song.

Look within — find the river of peace,

Look around — taste the dance of joy.

Inward search gives meaning,

Outward living gives color.

Together, they make the heart full,

And the years rich with freedom.

Boundaries of Freedom

In my later years I ask,

Where does life begin, where does it end?

Is it in silence, seeking the self?

Or in laughter, sharing with friends?

Boundaries are not prison walls,

They are soft lines drawn by care;

They keep my joy from spilling out,

They help my spirit stay aware.

My body whispers gentle truths,

Of rest, of rhythm, of slowing pace;

I listen, not with fear or loss,

But with gratitude for every grace.

My heart expands to those I love,

Yet keeps a chamber just for me;

In solitude, I find my strength,

In company, my melody.

Values light the path I walk,

Compassion, dignity, faith, or song;

They hold me steady when I roam,

They guide me when the days feel long.

So boundaries are not endings here,

They are circles keeping me whole;

They let me live without restraint,

Yet guard the sanctity of my soul.

Looking to feed back from my soul.

My Soul Speaks

You ask me, Where are the boundaries of life?

And I whisper:

Boundaries are not chains,

they are the curves of a river

that let your waters flow without losing depth.

You wonder, Should I turn inward, or go outward?

And I reply:

Both are me.

When you sit in silence, you meet my roots.

When you laugh with others, you spread my branches.

Root and branch together make the tree whole.

You fear, Will I be limited by age?

And I tell you:

Your body may slow, but I remain vast.

The rhythm of your breath is my song,

and every wrinkle is a doorway to wisdom.

You search, Where is my freedom?

And I say:

Your freedom is not in running without end,

but in walking with awareness.

Freedom is not in scattering everywhere,

but in shining fully where you stand.

So live gently, yet boldly.

Meet the world, yet keep your quiet.

Care for the vessel, yet flow beyond it.

For I, your soul,

am both the silence and the song.

Ritual for ten not 9

Daily Household Puja Method for Navaratri

1. Preparation (Day 1 – Ghatasthapana / Kalasha Sthapana)

Cleaning the house: Homes are thoroughly cleaned before Navaratri begins.

Kalasha setup:

Take a copper/bronze pot (kalasha). Fill it with water, turmeric, and a few grains of rice.

Place mango leaves around its neck.

Keep a coconut smeared with turmeric and kumkum on top.

Decorate the kalasha with flowers and a red cloth.

Place it on rice or grains on a tray.

This represents the goddess’s presence for 10 days.

Lighting the lamp: A lamp (akhand deepa) is lit and kept burning continuously for the 9 nights.

2. Daily Puja Routine

Morning and evening pujas are performed. Women usually lead the rituals.

Steps:

1. Dhyana (Meditation): Invoke the goddess with mental prayers.

2. Avahana (Invocation): Invite the goddess into the kalasha.

3. Pushpa Puja (Flowers): Offer flowers while chanting “Ya Devi Sarvabhuteshu…” or the day’s specific mantra.

4. Naivedya (Offering food): Fresh prasadam is made daily—often sundal, payasam, fruits, coconuts, jaggery sweets.

5. Arati: Camphor or oil lamp is waved, accompanied by clapping, singing, and ringing of bells.

6. Distribution: Prasadam is shared with family, neighbors, and guests.

The 10 Days and Their Focus

Day 1–3: Durga

Slokas: Recite verses from Durga Saptashati (Devi Mahatmya).

Colors: Yellow, green, grey.

Naivedya: spicy items, jaggery-based dishes.

Significance: Destroying negative tendencies.

Day 4–6: Lakshmi

Slokas: Sri Suktam, chanting of “Om Shreem Mahalakshmyai Namah”.

Colors: Orange, white, red.

Naivedya: sweets, milk-based payasam, puffed rice.

Significance: Invoking prosperity and well-being.

Day 7–9: Saraswathy

Slokas: Saraswathy Ashtottara, Saraswati Vandana.

Colors: Blue, pink, purple.

Naivedya: fruits, honey, ghee.

Ritual: Ayudha Puja (9th day): Books, musical instruments, and tools are cleaned, decorated, and placed before the goddess.

Vidyarambham (10th day): Children write their first letters in rice/sand, guided by elders.

Day 10: Vijayadashami

Special puja for success and victory.

People start new ventures, buy new tools/books, and teachers are honored.

Young girls (Kanya Puja) are invited, worshipped, and offered gifts.

Women’s Involvement

Daily offerings are prepared by women, not priests.

Decorations: Women decorate the kalasha, lamps, kolam/rangoli, and Golu displays.

Social aspect: Women visit each other’s houses, exchange gifts of turmeric, kumkum, and betel leaves (Vettalai-Pakku).

Community singing: Groups of women gather for bhajans, chanting the goddess’s names.

This contrasts with regular household poojas (like Satyanarayana puja, or daily Sandhya rituals), where men often chant Vedic mantras and lead offerings. In Navaratri, the home becomes a temple of Shakti, with women as the main ritual leaders.

The step-by-step method of daily puja,

The division of days and their goddesses,

The colors, chants, and naivedya,

The role of women vs. other household poojas.

Short mantras/slokas (easy to recite)

Step sequence (morning/evening puja)

A mix of Sanskrit and English meaning (so even beginners can connect).

Daily Prayer Script for Navaratri at Home

1. Sankalpa (Intention)

Sit before the kalasha or lamp, fold hands and pray:

“O Mother Divine, I invoke You to reside in this kalasha and bless my family with strength, prosperity, and wisdom during these nine nights.”

2. Dhyana (Meditation Sloka)

Chant once to invite the Goddess:

Sarva-mangala-mangalye  

Shive sarvārtha-sādhike ।  

Sharanye tryambake Gauri  

Nārāyaṇi namo’stu te ॥

Meaning: Salutations to the supreme auspicious one, Gauri, the three-eyed Mother, who grants refuge and fulfils all desires.

3. Pushpa Archana (Flower Offering)

While offering flowers:

Ya Devi sarva-bhūteṣu  

Śakti-rūpeṇa saṁsthitā ।  

Namastasyai namastasyai  

Namastasyai namo namah ॥

Meaning: To that Goddess who resides in all beings as power, we bow again and again.

(Repeat with other forms: Durga, Lakshmi, Saraswathy.)

4. Day-Specific Mantras

Durga days (1–3):

“Om Dum Durgāyai Namah” (108 times or as much as possible).

Lakshmi days (4–6):

“Om Shreem Mahālakshmyai Namah” (108 times).

Saraswathy days (7–9):

“Om Aim Sarasvatyai Namah” (108 times).

5. Naivedya (Offering Food)

Place prasadam before the kalasha (sundal, fruits, payasam, or sweets) and pray:

“Idam naivedyam Om!”

(“I offer this food to You, O Mother.”)

6. Arati (Lamp Waving)

Sing a simple arati like:

Om Jaya Jaya Devi, Charachara Shareere,

Kuchayuga Shobhita, Mukta Hara ।

(Any regional Devi arati may be sung.)

Wave the lamp in circular motion, then bow down.

7. Closing Prayer

Tvameva mātā ca pitā tvameva  

Tvameva bandhuś ca sakhā tvameva ।  

Tvameva vidyā draviṇam tvameva  

Tvameva sarvam mama Devī Deva ॥

Meaning: You alone are my mother, my father, my friend, my wisdom, my wealth, and my everything.

Special Notes for Each Day:

Wear the color of the day.

Offer fresh flowers (marigold, jasmine, lotus, hibiscus).

Involve little girls in puja—let them place flowers or light lamps.

In the evening, invite women and exchange kumkum, turmeric, and betel leaves.

This script is short enough for household use, yet powerful. It keeps the essence of Navaratri puja accessible to all, especially women and children, without depending on priests.

nine but 10.

India is a land of festivals, and among the most vibrant of them is Navrātri, which culminates in Dussehra. This festival, observed for nine nights and ten days, is not just a religious occasion but also a cultural celebration that unites devotion, tradition, and community life.

The Celebration of Navrātri

The word Navrātri literally means “nine nights.” It is dedicated to the worship of the Divine Mother in her various forms – Durga, Lakshmi, and Saraswati. Each set of three days honors one aspect of Shakti:

The first three days are devoted to Goddess Durga, symbolizing strength and the destruction of evil.

The next three days are for Goddess Lakshmi, the giver of prosperity, peace, and spiritual wealth.

The last three days honor Goddess Saraswati, representing wisdom, learning, and enlightenment.

Across India, the celebrations vary. In Gujarat, people perform garba and dandiya raas dances every night. In Bengal, Navrātri merges with Durga Puja, where grand idols of Durga slaying Mahishasura are worshipped with great devotion. In South India, households arrange Golu (Bommai Kolu) – artistic displays of dolls depicting gods, saints, and daily life.

The Culmination: Dussehra

On the tenth day, Dussehra (also called Vijayadashami) is celebrated. It symbolizes the victory of good over evil. Two major legends are associated with this day:

1. The victory of Lord Rama over Ravana – signifying the triumph of righteousness and dharma. In many parts of India, effigies of Ravana are burnt to remind people that arrogance and evil eventually fall.

2. The victory of Goddess Durga over Mahishasura – symbolizing the power of the feminine divine to overcome negative forces.

Why the Celebration Matter

Navrātri and Dussehra are more than mythological commemorations; they carry deep life lessons:

They remind us that evil, no matter how strong, can never withstand truth and virtue.

The worship of Durga, Lakshmi, and Saraswati teaches that life requires a balance of strength, prosperity, and knowledge.

The community gatherings, dances, and rituals strengthen social bonds and preserve cultural traditions.

Spiritually, the nine days are also seen as a time for self-purification, discipline, and renewal, with many people fasting, meditating, or engaging in devotional practices.

Navrātri and Dussehra together form a festival that celebrates life in all its dimensions – the spiritual, the cultural, and the moral. They remind us to conquer the “Ravana” within – the evils of ego, greed, and anger – and to let the divine qualities of courage, wisdom, and compassion guide our lives. That is why this festival continues to shine across centuries, filling hearts with joy and hope.

Navaratri: The 10-Day Festival of Durga, Lakshmi and Saraswathy

The Structure of the Ten Days

The worship of the divine feminine during Navaratri lasts for nine nights and ten days, culminating in Vijayadashami. Each set of three days is dedicated to one goddess:

1. First three days – Durga: invoked as the destroyer of evil, granting strength and courage.

2. Middle three days – Lakshmi: worshipped for prosperity and well-being.

3. Last three days – Saraswathy: honored for knowledge, wisdom, and arts.

The tenth day, Vijayadashami, signifies victory over ignorance and evil, and is considered auspicious for beginning new ventures or initiating children into education (Vidyarambham).

Colors and Symbolism

Each day of Navaratri is associated with a particular color, and devotees, especially women, observe the practice of wearing sarees or dresses of that day’s hue. Though the colors vary slightly by tradition, the most common pattern includes:

Day 1: Yellow (joy and energy)

Day 2: Green (prosperity)

Day 3: Grey (destruction of evil)

Day 4: Orange (courage)

Day 5: White (purity)

Day 6: Red (power)

Day 7: Royal Blue (richness)

Day 8: Pink (love and compassion)

Day 9: Purple (spiritual awakening)

This observance creates a sense of unity and collective celebration, particularly among women who gather daily in households or temples.

Slokas and Chants

During Durga’s days, verses from the Durga Saptashati / Devi Mahatmyam are recited: “Ya Devi Sarva Bhuteshu…” invoking the goddess in her many forms.

For Lakshmi, hymns like the Sri Suktam and Lakshmi Ashtottara Shatanamavali are chanted.

For Saraswathy, devotees recite the Saraswati Stotram or chant “Saraswati Namastubhyam, Varade Kaamaroopini”.

These recitations are often done collectively by women in the evenings, creating a spiritual community atmosphere.

Ritual Methods and Household Involvement

Unlike many Vedic rituals traditionally conducted by male priests, Navaratri puja is deeply rooted in the household sphere, often led by women. Some of the key practices include:

Kalasha Sthapana (Ghata Sthapana): On the first day, a pot filled with water and adorned with mango leaves and coconut is installed as a symbol of Shakti. Women decorate it with turmeric, kumkum, and flowers.

Alankara (Decoration): Women arrange Navaratri Golu (doll displays) in Tamil Nadu, Andhra Pradesh, and Karnataka, creating steps filled with deities, mythological scenes, and everyday village life figures.

Fasting and Offerings: Women observe fasts, prepare sundal (lentil dish), payasam, and prasadam to distribute among neighbors and visitors.

Inviting Little Girls (Kanya Puja): On the eighth or ninth day, young girls are worshipped as embodiments of the goddess, offered food, gifts, and respect.

Ayudha Puja: Tools, books, and instruments are cleaned, decorated, and placed before the goddess, symbolizing gratitude for livelihood and learning.

Women’s Central Role

Navaratri stands apart because it is largely women-centered in both performance and participation. Unlike daily household poojas—where men often take the role of chanting mantras or performing homas—here women are the leaders. They:

Organize the rituals and guest gatherings.

Take charge of arranging the Golu, decorating the kalasha, and cooking offerings.

Conduct devotional singing (bhajans) and storytelling (Harikatha, Devi Mahatmya reading).

Act as transmitters of tradition, teaching younger girls the customs and songs.

Men participate too, but as supporters: helping with decoration, singing, or attending processions. The sacred feminine space of Navaratri contrasts with the male-dominated yajnas and Vedic fire rituals.

Variations Across India

Bengal & East: Men build pandals, but women dominate household pujas with alpona (rangoli), preparing bhog, and singing ululu (auspicious sounds).

South India: Women exchange gifts (kumkum, bangles, turmeric) in a practice called Vettalai Pakku, reinforcing sisterhood.

Maharashtra & Gujarat: Women wear nine different sarees during the nine nights and lead Garba and Dandiya Raas dances around the goddess.

North India: The Kanya Puja ritual gives the highest reverence to little girls, again centering women’s sacredness.

A Unique Celebration of Shakti in the Home

Thus, Navaratri is not only about rituals but about restoring balance in household spirituality, where the feminine principle is honored not only in the goddess but also in women themselves. Unlike many rituals where men take precedence, Navaratri showcases women as the keepers of devotion, culture, and creativity.

Trinity.

Festivals of Durga, Lakshmi and Saraswathy: Celebrations Across India

India is a land of festivals, where religion and culture blend to create vibrant traditions. Among the most widely celebrated are the festivals dedicated to Durga, Lakshmi, and Saraswathy—the divine trinity symbolizing power, wealth, and knowledge. While each of these goddesses has her own special occasion, their worship often overlaps during the grand festival of Navaratri, celebrated across the country with regional variations.

Durga Puja: The Triumph of Good Over Evil

The worship of Durga is especially prominent in West Bengal, Assam, Odisha, Tripura, and Bihar. Here, the festival of Durga Puja marks the victory of the goddess over the buffalo demon Mahishasura. For Bengalis, Durga Puja is more than a religious observance; it is a cultural extravaganza. Gigantic artistic pandals (temporary shrines) house beautifully crafted idols of Durga with her children—Lakshmi, Saraswathy, Kartikeya, and Ganesha. Rituals such as pushpanjali, sandhi puja, and dhunuchi dance create a devotional yet joyous atmosphere. The festival concludes with immersion of the idols (visarjan) amidst processions, music, and chants of “Durga Ma ki jai!”

In northern India, Durga is worshipped during Navaratri as Durga Ashtami and Navami, often combined with Ramlila performances and Dussehra, which depicts the burning of Ravana’s effigy, symbolizing the triumph of righteousness. In Himachal Pradesh, the famous Kullu Dussehra brings together thousands to celebrate the goddess with local deities carried in procession.

In southern states like Tamil Nadu, Karnataka, and Andhra Pradesh, Durga is honored in the form of Navaratri Golu or Bommai Kolu, where households arrange artistic displays of dolls and idols, including scenes from mythology. Special pujas, music, dance, and community feasts accompany the worship of the goddess.

Lakshmi Puja: The Festival of Prosperity

Lakshmi, the goddess of wealth and prosperity, is worshipped in almost every Indian household. Her grandest festival is Diwali, particularly in north and western India. People clean and decorate their homes with rangoli, lamps (diyas), and flowers, believing that Lakshmi visits the cleanest and brightest house to bestow her blessings. Business communities perform Chopda Pujan or account book worship, marking the new financial year.

In Bengal, however, Lakshmi Puja is celebrated a few days after Durga Puja, on the full moon (Kojagari Purnima). Devotees stay awake all night, singing hymns and praying to the goddess for abundance and protection. In Odisha and Assam, Lakshmi Puja is also a major event, with rituals involving community gatherings, folk songs, and offerings of rice, coconuts, and sweets.

In south India, especially Tamil Nadu, Lakshmi is worshipped as part of the Varalakshmi Vratam (usually in August), when married women pray for the well-being of their families. Houses are decorated, kalashas (sacred pots) are adorned as symbols of Lakshmi, and elaborate feasts are prepared.

Saraswathy Puja: The Festival of Learning and Wisdom

Saraswathy, the goddess of learning, arts, and wisdom, is revered during the last days of Navaratri. In Tamil Nadu, Kerala, and Karnataka, the ninth day of Navaratri, known as Ayudha Puja, is dedicated to Saraswathy. Books, musical instruments, and tools are placed before the goddess and worshipped, symbolizing respect for knowledge and work. On the tenth day, Vijayadashami, children are initiated into learning through the ritual of Vidyarambham, where they write their first letters on rice or sand under the guidance of elders.

In West Bengal and eastern India, Saraswati Puja is celebrated separately during Vasant Panchami (January-February). Yellow flowers, sweets, and fruits are offered, and students pray to excel in studies. Schools and colleges organize special events, and people wear yellow as it is considered auspicious.

In northern states, Saraswathy is also worshipped during Vasant Panchami, with kites flying high in the sky symbolizing joy and new beginnings.

A Pan-Indian Celebration of Shakti

Though celebrated differently in various states, the worship of Durga, Lakshmi, and Saraswathy conveys a common message: the importance of strength, prosperity, and wisdom in human life. The regional diversity in rituals—be it Bengal’s artistic Durga Puja, Gujarat’s vibrant Garba dances, Tamil Nadu’s Navaratri Golu, Kerala’s Vidyarambham, or North India’s Diwali Lakshmi Puja—together weave a colorful cultural fabric that unites India in devotion.

The festivals of Durga, Lakshmi, and Saraswathy are not only religious events but also reflections of India’s social, cultural, and artistic spirit. They symbolize the eternal values of courage, abundance, and knowledge, which guide people in their everyday lives. The unique regional practices show India’s diversity, while the shared reverence for these goddesses reveals its unity. Truly, these celebrations stand as shining examples of how faith, art, and community life merge seamlessly in Indian tradition.

Seven s padathi.

 The Indrāṇī Saptaśatī is a relatively less-known but deeply revered work in the Śākta tradition of Hinduism. Let me give you a clear picture of it:

1. What the title means

Indrāṇī is another name of Goddess Śacī, the consort of Indra (the king of the devas). However, in this text, Indrāṇī is taken more broadly as a name of the Divine Mother in her supreme form of Śakti.

Saptaśatī literally means “seven hundred.” The name suggests a work of 700 verses, modeled after the Devī Mahātmyam (also known as the Durgā Saptaśatī or Caṇḍī Saptaśatī), which has 700 verses in 13 chapters.

2. Nature of the work

It is a Tantric text belonging to the Śākta āgama literature.

It is structured as a stotra-stuti (hymnal) in praise of the Goddess, combining elements of mantra, yantra, and kavaca (protective invocations).

Like the Devī Mahātmyam, it is recited for protection, prosperity, removal of misfortunes, and ultimately for attaining grace of the Divine Mother.

3. Philosophical context

While the Durgā Saptaśatī is part of the Mārkaṇḍeya Purāṇa, the Indrāṇī Saptaśatī is more closely connected to the Tantric paddhatis (ritual manuals).

The Goddess is invoked as Mahāmāyā, Parāśakti, and also in her Śacī/Indrāṇī aspect, showing her power even above Indra, Brahmā, and Viṣṇu.

The text emphasizes the unity of all forms of Devī—Durgā, Lakṣmī, Sarasvatī, Kālī, Bhuvaneśvarī—under the supreme Śakti.

4. Usage in practice

Recited especially in Śākta temples and homas where Devi is worshipped as Mahāmāyā or Indrāṇī.

Believed to give śānti (peace), rakṣā (protection), and puṣṭi (prosperity).

Used during Navarātri in some traditions as a complement to or substitute for the Durgā Saptaśatī.

Specific nyāsas (assignments of mantras on the body), kavacas (armour hymns), and hṛdaya stotras (core prayers) are embedded in the work, making it a prayoga grantha (practical manual for ritualists).

5. Comparisons

Durgā Saptaśatī (Caṇḍī Pāṭha): canonical, purāṇic, mythic narration (Mārkaṇḍeya Purāṇa).

Indrāṇī Saptaśatī: tantric, esoteric, more focused on mantric and ritual power rather than narrative.

Both are considered saptaśatīs, and both are chanted for Devi’s grace.

6. Availability

The text survives in tantric paddhati collections like Śākta Prakriyā, Tantrasāra, etc.

Printed editions exist in Sanskrit with commentaries, though they are rare and usually circulated in Śākta circles in Bengal, Assam, and Odisha.

It is not as widely available or recited in the mainstream as the Caṇḍī Saptaśatī, which is part of the purāṇic corpus.

In short: the Indrāṇī Saptaśatī is a Tantric śākta stotra text of 700 verses, invoking the Supreme Goddess in her Indrāṇī/Śakti aspect. It is parallel in form to the Devī Mahātmyam (Durgā Saptaśatī), but its purpose is more ritual-esoteric, widely used in specialized Śākta traditions rather than in general pūjā practice.

 a chapter-wise outline of the Indrāṇī Saptaśatī as preserved in the Śākta paddhati traditions. Since it is modeled after the Caṇḍī Saptaśatī, its divisions are familiar, but the focus is esoteric, tantric, and mantric rather than purāṇic narrative.

Indrāṇī Saptaśatī – Structure and Chapter-wise Summary

Preliminaries

Āvāhana (invocation): Nyāsas (assigning mantras on different parts of the body), dhyāna-śloka (visualizing the Goddess), and kavaca (protective armour verses).

Goddess invoked as Indrāṇī – Mahāmāyā – Parāśakti, resplendent beyond the devas.

Chapter 1–3: Māhātmya & Stuti

These introduce the Goddess as the supreme śakti who empowers even Brahmā, Viṣṇu, and Śiva.

The devas led by Indra are shown surrendering to Indrāṇī in times of crisis.

Contains praises (stutis) glorifying her as:

Mother of the universe (jagat-jananī)

Source of all mantras

Protector of dharma

The one who wields māyā and grants mokṣa

Chapter 4–6: Kavaca, Hṛdaya, Stotra

Indrāṇī Kavaca: protective verses that shield devotees from fear, disease, enemies, and planetary afflictions.

Indrāṇī Hṛdaya: secret bija-mantra essence of the Goddess, meant for japa and meditation.

Stotras: poetic hymns that describe her lotus-face, her weapons, her lion-vāhana, and her compassion to devotees.

Chapter 7–9: Mantric Core

Lists of bīja-mantras of different forms of Indrāṇī.

Association with cakras (mystic diagrams).

Usage for japa, pūjā, homa, and prayoga (applied ritual).

Here she is identified with Durgā, Kālī, Bhuvaneśvarī, Lakṣmī, Sarasvatī, Śacī, showing her unity as Parāśakti.

Chapter 10–12: Saptaśatī Verses Proper

The central 700 verses of praise appear in this segment.

Structured in the form of nāma-stotras (hundreds of names and attributes strung together in verse).

Some verses praise her cosmic roles (creator, sustainer, destroyer), others her protective power (removing graha-doṣa, curing ailments, granting progeny).

Includes refrains like “Jaya Jaya Indrāṇi, Jaya Mahāmāye” that echo the refrain “Ya devī sarvabhūteṣu” of the Caṇḍī.

Chapter 13: Phalaśruti

Concluding section describing the benefits of reciting the text.

Daily recitation ensures:

Protection from untimely death, disease, and enemies

Fulfillment of desires (wealth, progeny, fame)

Spiritual upliftment and final union with the Goddess

Declares the text equal in merit to reciting the Vedas and performing great yajñas.

Key Differences from the Caṇḍī Saptaśatī

Caṇḍī: narrative form (mythological episodes of Mahiṣāsura, Śumbha-Niśumbha, etc.).

Indrāṇī: non-narrative, purely stotra-mantric, more suited for ritual recitation.

Caṇḍī: purāṇic origin (Mārkaṇḍeya Purāṇa).

Indrāṇī: tantric paddhati origin (Śākta Āgama literature).

Caṇḍī: more popular, public Navarātri use.

Indrāṇī: more esoteric, temple and initiate use.

L To sum up: the Indrāṇī Saptaśatī is structured like a devotional-ritual manual of 13 chapters, starting with kavaca and nyāsa, leading into the 700-verse praise, and ending with phalaśruti. It is more mantric and esoteric than the purāṇic Caṇḍī.

The picture.

The story of the picture. Awe inspiring. 

 This picture has been posted by me before.

Posting again today because of a request received a lady from Bangladesh,  who wanted to see the picture but could not find it.

This is after my 15 year old mother ran into Gurudev's (Rabindranath Tagore) room to tell him that she has passed the matriculation exam. At which Rabindranath Tagore's first reaction was "

ওরে বাবা, তুই তো আমার চেয়েও বড় পন্ডিত হয়ে গেলি". Meaning 'ohh boy. You became a bigger pundit than even myself.'

She then requested Rabindranath Tagore to please agree to come out for a group photo, since a lot of people are waiting outside for a chance to have a picture taken with him, perhaps for the last time, since he was ailing and might not survive the rest of the year.

The were barred from approaching Tagore. His grand daughter used to control the access to his home in Uttarayan.

It usually did not prevent my mother, since she was tom boyish, could dodge the sentries and the grand daughter, and Tagore himself liked her to visit him any time.

So, the elders congregated outside and requested my mother to not just tell him about her passing the mayric exam, but also to request him to come out for a last picture with the elders, who will be waiting outside.

So my mother asked her 'Gurudev' if he would please come out once for a group picture with the elders, who were waiting outside.

Gurudev immediately agreed, although he was not keeping well. His grand daughter could not go against gurudev. He slowly walked outside, supported by helpers, and sat down in a chair placed for him.

He asked my mother to sit at his feet.

And thus, this picture was taken. The real group picture has many people. But my mother asked me to crop and enlarge this cutout from the original.

I hope the lady from Bangladesh finds this post.

The seed.

 Like all Sri shankaracharya stotras this is magical too. It creates a flow that captivates the mind to want to learn it. The seed of knowledge so to say. 

The Vedasāra Śiva Stotram, attributed to Ādi Śaṅkarācārya, is a hymn that celebrates Lord Śiva as the supreme reality, the source of creation, the sustainer of the world, and the ultimate refuge of all beings.

The stotram begins by portraying Śiva in his majestic, awe-inspiring form: the Lord of beings, destroyer of sins, clothed in an elephant’s hide, with the sacred river Gaṅgā flowing from his matted locks. He is the five-faced Lord, the three-eyed one whose eyes are the sun, moon, and fire, radiating eternal bliss. Adorned with sacred ash, riding the bull, and accompanied by Bhavānī (Pārvatī), Śiva is beyond all material qualities, yet present in every aspect of creation.

The hymn then shifts from describing Śiva’s external form to his inner essence. He is the supreme Self, the primal seed of the universe, beyond desire, beyond form, and realized through the sacred syllable Om. From him the world arises, by him it is sustained, and in him it dissolves. He is beyond the five elements and the three states of experience—waking, dreaming, and deep sleep—residing in the “fourth” state (turīya), which is pure consciousness and bliss.

The devotee offers repeated salutations to this cosmic Lord whose nature is knowledge, bliss, and pure existence. Śiva is both the personal God, wielding the trident and protecting his devotees, and the impersonal Absolute, beyond duality, the light of all lights. He alone creates, sustains, and dissolves the universe.

Finally, the stotram concludes with the recognition that everything—moving and unmoving, all beings and all worlds—arises from Śiva, rests in him, and merges back into him. He is the Liṅga-svarūpa, the eternal symbol of the Supreme, embodying both the manifest and the unmanifest universe.

In essence: The Vedasāra Śiva Stotram is both a devotional prayer and a philosophical declaration. It praises Lord Śiva not just as a deity with divine attributes, but as the very ground of existence—timeless, formless, infinite, and yet accessible to the devotee’s love and surrender.

The Essence of Vedasāra Śiva Stotram

Lord Śiva is remembered in the Vedasāra Śiva Stotram not only as a divine figure, but as the very heart of existence itself. The hymn begins with vivid images—the Lord of all beings, clothed in the skin of an elephant, crowned with flowing Gaṅgā, his matted locks radiant with moonlight. His five faces watch over the directions, his three eyes shine as the sun, moon, and fire, and his body is adorned with holy ash. Here is the great God—majestic, yet compassionate—riding the bull, with Bhavānī by his side.

But the stotram does not stop at outer forms. It leads us deeper. Śiva is the seed of the universe, the source from which everything springs, the one who sustains all, and the final refuge into which all returns. He is beyond qualities, beyond time, beyond the five elements, beyond even the states of waking, dreaming, and deep sleep. He is the “fourth,” the state of pure awareness, blissful and unchanging.

As the hymn unfolds, the devotee bows again and again—namaste, namaste—to the one who is the light of all lights, the cause of all causes, the eternal and unborn. Śiva is not limited to form or image; he is the boundless reality pervading the cosmos. Yet, he is also the personal Lord, carrying the trident, dwelling with Pārvatī, destroying the bondage of his devotees, and showering his endless compassion.

Finally, the stotram reminds us: all that we see—moving and unmoving, high and low, vast and subtle—comes from Śiva, lives in him, and merges back into him. He is the Liṅga-svarūpa, the eternal principle behind creation and dissolution, the symbol of the infinite hidden in the finite.

Thus, the Vedasāra Śiva Stotram is both devotion and philosophy. It teaches us to see in Śiva not only the Lord who protects and blesses, but also the absolute truth—timeless, formless, beyond duality. To remember him is to rise above fear, to rest in peace, and to know the eternal joy of the Self.

 In short: This stotram is a gentle path—from worship of Śiva’s outer beauty to realization of his inner essence. It invites us to bow, to surrender, and finally to awaken to the truth that Śiva is not separate from us—he is the Self shining within.

वेदसार शिव स्तोत्रम्

(Vedasāra Shiva Stotram)

---

Devanāgarī:

पशूनां पतिं पापनाशं परेशं

गजेन्द्रस्य कृत्तिं वसानं वरेण्यम् ।

जटाजूटमध्ये स्फुरद्गाङ्गवारिं

महादेवमेकं स्मरामि स्मरारिम् ॥

महेशं सुरेशं सुरारातिनाशं

विभुं विश्वनाथं विभूत्यङ्गभूषम् ।

विरूपाक्षमिन्द्वर्क वह्नित्रिनेत्रं

सदानन्दमीडे प्रभुं पञ्चवक्त्रम् ॥

गिरीशं गणेशं गले नीलवर्णं

गवेन्द्राधिरूढं गुणातीतरूपम् ।

भवं भास्वरं भस्मना भूषिताङ्गं

भवानीकलत्रं भजे पञ्चवक्त्रम् ॥

शिवाकान्त शंभो शशाङ्कार्धमौले

महेशान शूलिन् जटाजूटधारिन् ।

त्वमेको जगद्व्यापको विश्वरूपः

प्रसीद प्रसीद प्रभो पूर्णरूप ॥

परात्मानमेकं जगद्बीजमाद्यं

निरीहं निराकारमोङ्कारवेद्यम् ।

यतो जायते पाल्यते येन विश्वं

तमीशं भजे लीयते यत्र विश्वम् ॥

न भूमिर्न चापो न वह्निर्न वायुर्

न चाकाश आस्ते न तन्द्रा न निद्रा ।

न चोष्णं न शीतं न देशो न वेषो

न यस्यास्ति मूर्तिस्त्रिमूर्ति तमीडे ॥

अजं शाश्वतं कारणं कारणानां

शिवं केवलं भासकं भासकानाम् ।

तुरीयं तमःपारमाद्यन्तहीनं

प्रपद्ये परम् पावनं द्वैतहीनम् ॥

नमस्ते नमस्ते विभो विश्वमूर्ते

नमस्ते नमस्ते चिदानन्दमूर्ते ।

नमस्ते नमस्ते तपोयोगगम्य

नमस्ते नमस्ते श्रुतिज्ञानगम्य ॥

प्रभो शूलपाणे विभो विश्वनाथ

महादेव शम्भो महेश त्रिनेत्र ।

शिवाकान्त शान्त स्मरारे पुरारे

त्वदन्यो वरेण्यो न मान्यो न गण्यः ॥

शम्भो महेश करुणामय शूलपाणे

गौरीपते पशुपते पशुपाशनाशिन् ।

काशीपते करुणया जगदेतदेक-

स्त्वं हंसि पासि विदधासि महेश्वरोऽसि ॥

त्वत्तो जगद्भवति देव भव स्मरारे

त्वय्येव तिष्ठति जगन्मृड विश्वनाथ ।

त्वय्येव गच्छति लयं जगदेतदीश

लिङ्गात्मकं हर चराचरविश्वरूपिन् ॥

---

IAST / Transliteration:

paśūnāṃ patiṃ pāpanāśaṃ pareśaṃ

gajendrasya kṛttiṃ vasānaṃ vareṇyam |

jaṭājūṭamadhye sphuradgāṅgavāriṃ

mahādevamekaṃ smarāmi smarārim ||1||

maheśaṃ sureśaṃ surārārtināśaṃ

vibhuṃ viśvanāthaṃ vibhūtyaṅgabhūṣam |

virūpākṣamindvarkavahnitrinetraṃ

sadānandamīḍe prabhuṃ pañcavaktram ||2||

girīśaṃ gaṇeśaṃ gale nīlavarṇaṃ

gavendrādhirūḍhaṃ guṇātītarūpam |

bhavaṃ bhāsvaraṃ bhasmanā bhūṣitāṅgaṃ

bhavānīkalatraṃ bhaje pañcavaktram ||3||

śivākānta śambho śaśāṅkārdhamaule

maheśāna śūlin jaṭājūṭadhārin |

tvameko jagadvyāpako viśvarūpaḥ

prasīda prasīda prabho pūrṇarūpa ||4||

parātmānamekaṃ jagadbījamādyaṃ

nirīhaṃ nirākāramoṅkāravedyam |

yato jāyate pālyate yena viśvaṃ

tamīśaṃ bhaje līyate yatra viśvam ||5||

na bhūmirna cāpo na vahnirna vāyur

na cākāśamāste na tandrā na nidrā |

na cōṣṇaṃ na śītaṃ na deśo na veṣo

na yasyāsti mūrtistrimūrti tamīḍe ||6||

ajaṃ śāśvataṃ kāraṇaṃ kāraṇānāṃ

śivaṃ kevalaṃ bhāsakaṃ bhāsakānām |

turīyaṃ tamaḥpāramādyantahīnaṃ

prapadye paraṃ pāvanaṃ dvaita hīnam ||7||

namaste namaste vibho viśvamūrte

namaste namaste cidānandamūrte |

namaste namaste tapoyogagamya

namaste namaste śrutijñānagamya ||8||

prabho śūlapāṇe vibho viśvanātha

mahādeva śambho maheśa trinētra |

śivākānta śānta smarāre purāre

tvadanyo vareṇyo na mānyo na gaṇyaḥ ||9||

śambho maheśa karuṇāmaya śūlapāṇe

gaurīpate paśupate paśupāśanāśin |

kāśīpate karuṇayā jagadetadekastvaṃ

haṃsi pāsi vidadhāsi maheśvaro’si ||10||

tvatto jagadbhavati deva bhava smarāre

tvayy eva tiṣṭhati jaganmṛḍa viśvanātha |

tvayy eva gacchati layaṃ jagadetadīśa

liṅgātmakam hara carācaraviśvarūpin ||11||

O Lord of beings, crowned with Gaṅgā’s stream,

Your matted locks hold the moon’s cool gleam.

With eyes of fire, of sun, of night,

You guard the worlds with endless light.

O rider of the bull so strong,

Destroyer of sorrow, to You I belong.

Clothed in ash, beyond all form,

You are the stillness, the eye of the storm.

From You the stars and rivers rise,

In You they rest, to You they fly.

Beyond all time, beyond all name,

The seed, the source, the deathless flame.

O Śambhu, tender, fierce, and kind,

You dwell within the seeker’s mind.

To You I bow, to You I call,

O Self of selves, O Lord of all.

Joy of uriyadi.

 Uriyadi Utsavam – A Festival of Joy and Devotio

Uriyadi Utsavam is a unique and joyous festival celebrated in many parts of South India, particularly in Tamil Nadu, during Krishna Jayanthi (the birthday of Lord Krishna). The word Uriyadi literally means “breaking the pot tied on a rope,” and the festival is a delightful combination of devotion, tradition, and play.

The central ritual involves hanging an earthen pot (uri) high up, filled with butter, curd, milk, jaggery, or other delicacies that Lord Krishna loved. Groups of young men and children try to break the pot using a stick while others swing it up and down or smear the players with water and colors. The scene beautifully recreates the childhood pranks of Krishna, who, along with his friends, used to steal butter from pots in Gokulam.

The Uriyadi Utsavam is not just a playful event but also a symbolic act of devotion. It reminds devotees of Krishna’s simplicity, innocence, and his mischievous love for butter. Breaking the pot represents the breaking of the ego and reaching the divine sweetness hidden within. It also emphasizes teamwork, unity, and the joy of collective effort, much like Krishna and his cowherd friends.

The utsavam is usually accompanied by folk songs, drums, and temple festivities. Streets come alive with processions of Krishna idols, decorated with flowers and ornaments. In villages, the entire community gathers to watch the Uriyadi, cheering the participants with enthusiasm. In some places, traditional martial arts, dances, and dramas depicting episodes from Krishna’s life are also performed, turning the festival into a cultural extravaganza.

Uriyadi Utsavam is more than a festival—it is a celebration of togetherness. It brings people of all ages to the same place, blurring differences of class or background. Children learn stories of Krishna’s childhood, elders recall their own participation in Uriyadi, and the younger generation continues the tradition with renewed energy.

Uriyadi Utsavam is a vibrant expression of devotion, joy, and cultural heritage. It preserves the playful spirit of Krishna while reminding devotees of deeper spiritual lessons. The clapping, cheering, and laughter that fill the air during Uriyadi echo the timeless message that divinity is not only in solemn rituals but also in play, joy, and shared happiness.

 Kesara chandan tilak viraje, mukut viraje sheesh

2. Murali bajave bansuri madhur, sabko mohne wale

3. Pitambar peet vastra sobhit, vanmala tan pyari

4. Shyam sundar gopala nandlala, gopangan ke praan

5. Mor mukut banmaali dharata, nainan mein prem umange

6. Vrindavan mein ras rachata, sab bhakta mann harata

Krishna’s forehead glows with saffron–sandal paste tilak, and a shining crown adorns His head.

He plays the sweet flute, enchanting the hearts of all beings.

Dressed in yellow garments, with a forest garland on His chest, His form shines with graceThe dark-hued beautiful Gopala, darling son of Nanda, is the very life of the Gopis.

A peacock feather decorates His crown; in His eyes overflows divine love and playfulness.

In Vrindavan He enacts divine sports (rasa lila), stealing the minds of all devotees.

Blend.

 By the river’s song the temple stands,

Where flowing waters wash the lands.

Purity streams from wave to wave,

A holy bath the soul does crave.

The tank, the pond, the river wide,

Hold heaven’s grace on earth beside.

For gods are near where waters flow,

Life and worship together grow.

So temples rise where rivers bend,

Where pilgrim’s path and prayers blend.

Water and worship, hand in hand,

Sacred union across the land.

Limits.

 let’s trace how Dravidian and Tamilian identities have overlapped and diverged through history.

Historical Evolution of Dravidian vs. Tamilian Identity

1. Prehistoric & Protohistoric Period

Dravidian Identity:

Scholars suggest that Dravidian-speaking people might have been linked to the Indus Valley Civilization (2600–1900 BCE). Some argue the Harappans spoke a proto-Dravidian language.

Archaeological evidence in South India (Megalithic culture) shows shared practices like rice cultivation, black-and-red pottery, and ancestor worship.

Identity at this stage was linguistic-cultural, not political.

Tamilian Identity:

Proto-Tamil culture developed distinctly in the Tamil regions of the South.

Early Sangam literature (from ~500 BCE to 200 CE) reflects a self-aware Tamil community with its own kings, poets, and ethics (akam and puram poetry).

Already in Sangam texts, the pride in Tamil as a unique tongue is visible.

2. Sangam Age (500 BCE – 300 CE)

Dravidian:

The word Dravida was not yet a unifying identity. Other South Indian groups (Telugu, Kannada regions) also had flourishing cultures but were not bound under one label.

Tamilian:

Strongly self-defined cultural identity.

Sangam poems glorify Tamil land (Tamilakam), Tamil kings (Chera, Chola, Pandya), and the Tamil language as eternal.

A clear divergence: Tamilian identity was already distinct, while Dravidian was still an outsider’s classification.

3. Early Medieval Period (400–1000 CE)

Dravidian:

Slowly, the idea of South Indian unity under shared cultural features began to emerge (temple culture, bhakti movements).

Tamilian:

Bhakti saints (Alvars & Nayanmars) composed hymns in Tamil, elevating it to a sacred status.

The Chola Empire spread Tamil culture to Sri Lanka and Southeast Asia.

Tamilian identity grew imperial and international, while “Dravidian” was still not a political identity.

4. Medieval & Early Colonial (1000–1800 CE)

Dravidian:

“Dravida” appears in Sanskrit texts to describe southern lands and peoples.

Shared cultural forms (temple architecture, Carnatic music, Sanskritic influence) created a South Indian commonality.

Tamilian:

Tamil continued to assert distinctiveness through literature (Kamban’s Ramayanam, devotional poetry, Shaiva-Siddhanta philosophy).

A tension arose between Sanskritization (Pan-Indian culture) and Tamil pride.

5. Colonial Period (1800–1947)

Dravidian Identity:

European scholars classified Indian languages scientifically; identified Dravidian as a separate family (Robert Caldwell, 1856).

This gave South Indians a linguistic unity, distinct from Indo-Aryan North Indians.

The seeds of Dravidian consciousness were sown.

Tamilian Identity:

Tamil scholars and nationalists (like U. V. Swaminatha Iyer, Maraimalai Adigal) revived classical Tamil literature.

The idea of Tamil as the world’s oldest, purest language grew strong.

Tamil pride and Dravidian solidarity began to overlap, but Tamil identity remained more ancient and sharper.

6. Modern Period (1947–present)

Dravidian:

Became a political ideology in Tamil Nadu through Periyar’s Self-Respect Movement and the rise of DMK/AIADMK.

Emphasized: anti-caste, anti-Brahmin dominance, social justice, opposition to Hindi imposition, regional autonomy.

In broader South India, however, the Dravidian political identity did not unite all Dravidian-speaking peoples (e.g., Andhra, Karnataka, Kerala developed their own politics).

Tamilian:

Tamil nationalism sometimes went beyond Dravidianism, e.g.:

Anti-Hindi agitations (1930s–1960s).

Assertion of Tamil Eelam in Sri Lanka (1970s–2000s).

Global Tamil diaspora continues to reinforce Tamil cultural pride.

Today, Tamil identity is transnational, while Dravidian identity is largely regional-political within Tamil Nadu.

Overlap & Divergence

Overlap:

Shared Dravidian heritage (languages, temple culture, art, social reform).

Dravidianism in Tamil Nadu drew heavily from Tamil heritage.

Divergence:

Tamil identity is older, sharper, and global, centered on language and literature.

Dravidian identity is broader, newer, and political, centered on South Indian unity against northern domination.

In essence:

Tamil identity existed long before “Dravidian” was even a concept.

Dravidian identity gave Tamils a political platform, but Tamilian identity gave them a cultural soul.

Dravidian Identity and Sanātana Dharma: Two Worlds, One Heritage

The debate between Dravidian identity and Sanātana Dharma is one of the most intriguing in Indian history. At first glance, they may appear to be in conflict—one linguistic and political, the other religious and philosophical. But a closer look reveals a story of interaction, overlap, and shared heritage.

What Is Dravidian Identity?

The term Dravidian began as a linguistic label. Scholars in the 19th century grouped Tamil, Telugu, Kannada, and Malayalam into the Dravidian family of languages, distinct from Sanskrit and the Indo-Aryan family.

In the 20th century, however, Dravidian identity became a political movement. Leaders like Periyar E.V. Ramasamy redefined it as:

A celebration of Tamil and other Dravidian languages.

A call for social justice and opposition to caste hierarchy.

A rejection of Sanskrit dominance and Hindi imposition.

A shift towards rationalism and self-respect.

In short, Dravidian identity became a cultural and social assertion against what was seen as Brahminical hegemony.

What Is Sanātana Dharma?

Sanātana Dharma, more commonly known today as Hinduism, literally means “eternal law.” It is a religious and philosophical framework, not bound by ethnicity or geography.

It is rooted in:

Texts: The Vedas, Upaniṣads, Epics, and Purāṇas.

Philosophy: Dharma (duty), Karma (action), Mokṣa (liberation).

Diversity: Rituals, devotion (bhakti), ascetic paths, and philosophy.

Language: Sanskrit as its sacred medium, though it flourished in local tongues too.

Unlike Dravidian identity, Sanātana Dharma claims to be universal and timeless, open to all who walk its paths.

Dravidian vs. Sanātana Dharma: The Differences

Aspect Dravidian Identity Sanātana Dharma

Nature Cultural, linguistic, political Spiritual, religious, philosophical

Region Rooted in South India Pan-Indian, global

Focus Language pride, social reform Dharma, rituals, liberation

View of Caste Anti-Brahminical, egalitarian Historically tied to varṇa-jāti system

View of Sanskrit Seen as imposition Revered as sacred

Identity Source Tamil/Dravidian languages Dharma, philosophy

Far from being isolated, the two have deeply influenced one another:

Sangam Age (500 BCE–300 CE): Tamil texts celebrated Murugan, Vishnu, and Shiva, showing early blending of local and pan-Indian traditions.

Bhakti Movement (6th–9th century CE): Tamil Āḻvārs and Nāyaṉmārs composed hymns in Tamil that became central to Hindu worship.

Medieval Acharyas: Thinkers like Rāmānuja and Madhva rooted profound Hindu philosophy in Dravidian cultural soil.

Colonial Era: Missionaries and Orientalists sharpened distinctions between “Dravidian” and “Hindu.”

Modern Politics: Dravidian parties emphasized separation, opposing what they saw as “Brahminical Hinduism.”

Overlaps and Shared Heritage

Despite political differences, everyday life in South India reveals harmony:

The grand temples of Tamil Nadu—Srirangam, Madurai, Chidambaram—are both Dravidian architectural marvels and Sanātana Dharma’s sacred spaces.

Tamil bhakti poetry unites linguistic pride with universal devotion.

Millions of Tamil-speaking Hindus live comfortably as both Dravidian in culture and Sanātani in faith.

Two Identities, One Soul

Dravidian identity and Sanātana Dharma are not enemies—they are two layers of South Indian life. One expresses the cultural pride of language, region, and social justice. The other expresses the timeless search for dharma, devotion, and liberation.

Seen together, they show the richness of South India, where the eternal dharma found its voice in the ancient and beautiful Dravidian tongues.

1. Anti-Brahminical ≠ Anti-Brahmin

When Dravidian thinkers (especially Periyar and later political leaders) used the term “anti-Brahminical,” they were not always referring to individuals who were Brahmins. Instead, they were critiquing the “Brahminical order”—meaning the social dominance and hierarchical privileges that they felt were upheld through religion and caste.

So:

Anti-Brahminical = opposition to the system of caste hierarchy and priestly monopoly.

It is not necessarily hostility to Brahmin people as a community, though in practice it sometimes spilled over into social tensions.

2. Anti-Varṇāśrama = Anti-Caste Order

Sanātana Dharma in its classical form included Varṇāśrama Dharma—the four-fold division of society (brāhmaṇa, kṣatriya, vaiśya, śūdra) combined with four stages of life (student, householder, forest-dweller, renunciate).

In theory, this was meant to be based on guna (qualities) and karma (action), not birth.

In practice, it hardened into a birth-based caste system with social restrictions.

The Dravidian movement strongly rejected this, hence the anti-varṇāśrama stance. It was less about denying spirituality and more about dismantling inherited inequality.

3. Is That “Wrong”?

It depends on perspective:

From a Sanātana Dharma perspective, rejecting varṇāśrama altogether can be seen as rejecting an ancient framework of social and spiritual order. Reformers within Hinduism (like Swami Vivekananda, Dayananda Saraswati, Gandhi) also criticized caste by birth but tried to reinterpret varṇāśrama instead of discarding it.

From a Dravidian perspective, the system was oppressive in lived experience, especially for non-Brahmin communities. So opposing it was seen as a moral duty and a path toward equality.

4. The Nuanced Reality

It’s important to note that South Indian Hindu traditions themselves had powerful anti-caste voices even before Periyar:

The Nāyaṉmārs and Āḻvārs often came from non-Brahmin backgrounds and composed verses rejecting caste superiority.

Saints like Tiruppāṇ Āḻvār (a devotee from a marginalized community) were venerated within temple traditions.

Philosophers like Rāmānuja worked to make temple worship accessible beyond caste barriers.

This shows that critique of caste was not necessarily anti-Sanātana Dharma—it often arose within it.

So in summary:

Anti-Brahminical / Anti-varṇāśrama in the Dravidian sense was a call for social equality, not always a rejection of dharma itself.

Whether it is “wrong” depends on one’s standpoint—traditional dharmic or modern egalitarian.

In lived practice, South India shows a spectrum, where Dravidian pride and Sanātana Dharma often continue side by side in the same communities.

Paairam.

 "Paairam" (பாயிரம்) is a Tamil literary term. It usually means a prefatory verse or an introductory benediction at the beginning of a poem, epic, or literary work.

In classical Tamil works, the Paayiram (also spelled Paayiram, Pāyiram, Pāyiram) is like a prologue, sometimes in the form of a few verses.

It sets the stage for the main work, explaining the subject, purpose, and often offering invocation to God, teacher, or patron.

It also asks for blessings so that the composition may be fruitful and the reader/listener may benefit.

For example:

Tirukkural has a Paayiram of 4 verses written by later commentators introducing Valluvar and the work.

Periyapuranam, Kamba Ramayanam, and other epics begin with such Paayiram verses.

Kamban begins his work with a Paayiram (introductory verses). The very first verse is an invocation to Lord Ganesha:

Example Paayiram (from Kamba Ramayanam)

Tamil (in transliteration):

"Ainthu karatthaanai aindhu pozhudhum

Ainthu padaiththaanai aindhu padaikkum

Ainthu uzhudhaanai aindhu ozhukkum

Ainthu avanaiththaan adiyen padaikken."

Meaning in English:

"I worship the One with five arms (Lord Ganesha),

Who created the five great elements,

Who rules the five senses,

Who moves the five vital airs —

To Him, I bow and begin my song."

Purpose of this Paayiram

1. Invocation: Kamban invokes Lord Ganesha so his work may proceed without obstacles.

2. Blessing: By starting with the divine, the poet asks for blessings on both the poet and the listener.

3. Setting the Tone: It tells the audience: “This is no ordinary story — it begins with the sacred.”

4. Literary Convention: Almost all great Tamil works begin with a Paayiram.

 In short, the Paayiram is not part of the story proper but an auspicious and respectful opening.

Tirukkural itself (1330 couplets by Valluvar) has no Paayiram, but later commentators such as Parimelazhagar and others composed four Paayiram verses as an introduction to praise Valluvar and his work.

Here are the four Paayiram verses, with translation and meaning:

Paayiram 1

Tamil (transliteration):

"Thiruvalluvar ennum thirunāmattāl

Peruvalluvar peṛṛa pirapanchamum ēṭṛṛu."

Meaning:

By the sacred name “Tiruvalluvar,”

The world itself has gained greatness.

Praises the poet Valluvar: his very name brings honor to humanity.

Paayiram 2

Tamil (transliteration):

"Thiruvalluvane pōl oruvar uḷarē?

Piraviyil thān pugazhum pāthippināl."

Meaning:

Is there anyone equal to Tiruvalluvar?

His glory shines by the merit of his birth itself.

Declares that no other poet or sage can be compared to him.

Paayiram 3

Tamil (transliteration):

"Thamizh nāṭṭu ulaginil vāzhum

Valluvane pōl oruvar uḷarē?"

Meaning:

In the Tamil land and in the wide world,

Is there another like Valluvar?

 Universalizes Valluvar’s greatness, saying his wisdom transcends Tamil Nadu and belongs to all.

Paayiram 4

Tamil (transliteration):

"Thiruvalluvar oruvar ulaginil ēnṛāl

Ulagam aṟiyum uḷaṅgu."

Meaning:

If one says “there is Tiruvalluvar in this world,”

That alone explains the glory of the world.

 The very existence of Valluvar is proof that the world is blessed.

These four Paayiram verses are not part of the Kural itself, but serve as a floral garland of praise (mangala verses) tied to the front of the book, so readers approach the text with reverence.

The Paayiram of Periyapuranam (12th century, by Sekkizhar).

Unlike Kamban’s Ramayanam or the Tirukkural Paayiram, here the Paayiram does three things at once:

1. Invokes Lord Siva (to sanctify the work)

2. Praises the Nayanmars (the 63 Saiva saints whose lives the book narrates)

3. Explains the purpose of the text

Periyapuranam – Opening Paayiram

Tamil (transliteration):

"Ulagellām uyya oruvar aruḷāl

Maṟaiyōdum oḻukkamum vayiṅgu

Thiruvēṇi thannul thiruvaruḷ seydhān

Periyapurāṇam ivvulagam aṛiya.

Meaning in English:

By the grace of the One Lord (Siva),

The Vedas and right conduct flourish together,

In Thiruvarur, He showered His divine grace,

And thus was born this Periyapuranam,

So that the whole world may know (the greatness of His devotees).

Purpose of this Paayiram

Divine sanction: The work is not just poetry — it is granted by Lord Siva Himself.

Sacred intent: It teaches both Vedic wisdom and ethical life.

Introduction: Tells the reader what the text is about: the lives of the saints who lived for Siva.

Universal vision: The word “ivvulagam aṛiya” (so the whole world may know) shows Sekkizhar’s confidence that Periyapuranam is timeless and meant for everyone.

So, compared to Tirukkural’s Paayiram (which is mostly praise of the author), the Periyapuranam Paayiram is more like a sacred preface, placing the whole work under divine light and stating its aim.

The joy of SS.

Kainkaryam – The Joy of Selfless Service

In the spiritual tradition of Śrī Vaiṣṇavism and other bhakti movements, the word kainkaryam carries a deep and sacred meaning. Derived from the Tamil word kainkariyam (from kai = hand, and kariyam = work or deed), it literally means “service performed with one’s own hands.” But in its deeper sense, kainkaryam is not merely an act of duty—it is the expression of devotion, humility, and total surrender to the Divine.

The Essence of Kainkaryam

At its heart, kainkaryam is selfless service performed for the pleasure of the Lord, His devotees, and for the welfare of the community. Unlike service that is motivated by recognition, reward, or personal gain, kainkaryam is done in a spirit of pure love. It arises from the understanding that all actions, when dedicated to God, become sacred offerings.

In Śrī Vaiṣṇava philosophy, kainkaryam is seen as the natural expression (svarūpa) of the jīva. Just as it is natural for a spark to shine or for a river to flow towards the ocean, it is natural for the soul to serve the Supreme. This service can be small or large, visible or unseen, but its value lies in the spirit of surrender with which it is performed.

Forms of Kainkaryam

Kainkaryam takes many forms, from the simplest acts to the most exalted.

Temple Service: Sweeping the temple floor, making garlands, cooking prasadam, or assisting in festivals are all forms of kainkaryam. Every act, however humble, becomes holy when offered to the Lord.

Service to Devotees: Serving saints, teachers, and fellow devotees is considered even greater than serving God directly, for the Lord resides in their hearts.

Everyday Kainkaryam: Caring for family members, helping the needy, or performing one’s professional duties with sincerity can all become kainkaryam when done in the spirit of offering.

The beauty of kainkaryam lies in its inclusiveness—anyone, regardless of status, wealth, or ability, can perform it. What matters is not the scale but the intention.

Philosophical Significance

Śrī Rāmānuja, the great ācārya of the bhakti tradition, emphasized kainkaryam as the highest goal of human life. For him, liberation (mokṣa) was not simply freedom from worldly suffering, but the eternal opportunity to serve the Lord in His divine abode. Thus, kainkaryam is not a burden to be carried but a privilege to be cherished.

Kainkaryam also teaches humility. The one who serves recognizes that they are an instrument in the hands of the Divine. Instead of pride in action, there is gratitude for being given the chance to serve. This transforms ordinary work into spiritual practice, bridging the gap between the mundane and the sacred.

Kainkaryam in Daily Life

The modern world often equates success with personal achievement, wealth, or power. Kainkaryam, however, shifts the focus to giving rather than receiving. A small act—sharing food, offering comfort to someone in distress, or doing one’s work honestly—becomes kainkaryam when done with devotion.

In this way, kainkaryam provides a practical path for spiritual living. It reminds us that service is not confined to temples or rituals but can be woven into the very fabric of daily life.

Kainkaryam is more than service—it is love in action. It is the soul’s natural response to the grace of God, an expression of gratitude, and a path to union with the Divine. When performed with sincerity, even the simplest act becomes sublime.

To live a life of kainkaryam is to live a life of purpose, humility, and joy, seeing every moment as an opportunity to serve and glorify the Lord. It is this spirit of selfless service that sustains communities, sanctifies lives, and leads the devotee gently towards liberation.

Kainkaryam

Not duty, not burden, not task,

But love in action—nothing I ask.

A flower I string, a floor I sweep,

An offering quiet, a promise deep.

To serve the Lord with heart and hand,

To serve His children across the land,

Is joy that flows, a river’s song,

The soul’s own nature all along.

No crown I seek, no wealth, no fame,

Each act I do bears only His name.

In giving, I find myself set free,

Kainkaryam—my eternity.

Two voices of devotion.

Ślokam (श्लोकम्)

A metrical verse in Sanskrit.

Written according to strict rules of chandas (meter) like anuṣṭubh, triṣṭubh, jagatī, śārdūlavikrīḍita etc.

Has rhythm, symmetry, and is easy to recite and memorize.

Most of the Vedas, Itihāsas, Purāṇas, Bhagavad Gītā, Rāmāyaṇa, Mahābhārata are composed largely in ślokas.

Example: “yadā yadā hi dharmasya…” (Gītā 4.7)

Gadyam (गद्यम्)

Prose composition in Sanskrit.

Not bound by meter or rhythm, but still highly refined and ornamented.

Can be very elaborate, with long compounds (samāsa), flowing expressions, and deep bhakti or philosophical content.

Famous examples: Śrī Rāmānuja’s three gadya-trayas (Śaraṇāgati Gadyam, Śrīraṅga Gadyam, Vaikuṇṭha Gadyam).

Gadyams are often used for prayers, philosophical prose, and emotional outpourings because they allow free expression without metrical restriction.

Ślokam → Verse form, rhythmic, structured like poetry.

Gadyam → Prose form, free-flowing, like elevated speech or prayer.

So, a ślokam is like a song in rhythm, while a gadyam is like a prayerful speech.

Example 

Example of a Ślokam (metrical verse)

From the Bhagavad Gītā (2.47):

 karmaṇy-evādhikāras te mā phaleṣu kadācana

mā karma-phala-hetur bhūr mā te saṅgo ’stv akarmaṇi

This is in anuṣṭubh chandas (4 lines of 8 syllables each).

Has rhythm and balance.

Easy to chant musically.

Meaning (simple): “You have a right only to action, never to its fruits. Do not be attached to the fruits of actions, nor be attached to inaction.”

Example of a Gadyam (prose prayer)

From Śrī Rāmānuja’s Śaraṇāgati Gadyam:

akhila-bhuvana-janma-sthemaṅgati-niyati-anugraha-paripālana-sāmarthyaika-nidhi

aparimita-ascharya-ananta-kalyāṇa-guṇa-gaṇaugha-mahodadhi

śrīmannārāyaṇa! śaraṇam aham prapadye

Long flowing sentence, not bound by meter.

Rich in samāsa (compounds) and ornamentation.

Meaning (simple): “O Śrīman Nārāyaṇa! You are the ocean of infinite wondrous and auspicious qualities, the sole treasure of the power to create, sustain, control, and bless all the worlds. To You I surrender.”

The Feel

Ślokam → short, measured, rhythmic like poetry.

Gadyam → long, flowing, emotional, like a heartfelt prayer or philosophical .

 As a śloka (in simple anuṣṭubh meter), and one as a gadyam (flowing prose) — on the theme of śaraṇāgati (surrender to God).

Ślokam (metrical verse)

tvameva śaraṇaṃ nātha dīna-bandho dayānidhe ।

pāhi māṃ karuṇā-sindho rakṣa rakṣa janārdana ॥

“You alone are my refuge, O Lord, friend of the helpless, treasure of compassion. Protect me, O ocean of mercy! Protect me, Janārdana.”

Gadyam (prose prayer)

anādi-kāla-pravṛtta-ananta-karma-bandhena baddho’ham, aśaktaḥ svātma-rakṣaṇe, sarva-doṣa-bhājanaḥ, akṛta-kṛtyaḥ, kṛta-niṣiddhaḥ, tvām eva dīna-bandhum, dayānidhim, karuṇā-sāgaraṃ, śaraṇam prapadye ।

“Bound by the endless chain of karma from time without beginning, unable to protect myself, full of faults, failing in duties and doing what should not be done — I take refuge in You alone, O friend of the helpless, treasure of compassion, ocean of mercy.”

The śloka is short, rhythmic, easy to sing.

The gadyam is long, detailed, pouring out helplessness and devotion.

How such śloka-gadyam pairs were historically used by teachers like Rāmānuja — why sometimes he chose verse, and sometimes prose?

Ślokam in Tradition

Ślokas are metrical verses.

Purpose:

Easy to memorize and chant daily.

Suitable for public recitation in temples or gatherings.

Condensed teaching in a musical, rhythmic form.

Rāmānuja composed Gadyatrayam (prose), but his predecessors like Āḻvārs poured their devotion in pāsurams (metrical Tamil verses), which function like ślokas in Sanskrit.

Even in Śrībhāṣya, ślokas from Upaniṣads and Gītā are quoted for authority.

Gadyam in Tradition

Gadya is free prose, without metrical rules.

Purpose:

Ideal for personal surrender and emotional outpouring.

Allows long compounds (samāsa), bringing majesty and depth.

Used when the soul directly addresses God in a flood of bhakti.

Śaraṇāgati Gadyam: Rāmānuja stands before Śrī Ranganātha and pours out his helplessness.

Vaikuṇṭha Gadyam: Describes in prose the splendor of Vaikuṇṭha in such detail that meter could not contain it.

Why Both Were Needed

Ślokam is like a song — sweet, brief, memorable.

Gadyam is like a speech or conversation — expansive, direct, overwhelming.

Rāmānuja chose gadyam at moments of total surrender, because the heart overflows and cannot be confined to the discipline of meter.

He left behind ślokas (through tradition and citations) for structured teaching, but gadyas for personal, living prayer.

Simple Analogy

Ślokam = a hymn you can sing daily in a group.

Gadyam = a heartfelt confession spoken alone before God.

Melody

https://youtu.be/9QxAer2ahGo?si=cuSMbS2cNF2TbBLa https://youtu.be/Bjsimv4fxII?si=_-US_qljU7cex6rB

Sri vraja raja sut astakam.

Sri Vraja-Raja-Sutastakam Eight Prayers Glorifying the Son of the King of Vraja (1) nava-nIrada-nindita-kAnti-dharaM rasa-sAgara-nAgara-bhUpa-varam zubha-vaGkima-cAru-zikhaNDa-zikhaM bhaja kRSNa-nidhiM vraja-rAja-sutam (2) bhru-vizaGkita-vaGkima-zakru-dhanuM mukha-candra-vinindita-koTi-vidhum mRdu-manda-suhAsya-subhASya-yutaM bhaja kRSNa-nidhiM vraja-rAja-sutam (3) suvikampad-anaGga-sad-aGga-dharaM vraja-vAsI-manohara-veza-karam bhRza-lAJchita-nIla-saroja-dRzaM bhaja kRSNa-nidhiM vraja-rAja-sutam (4) alakAvali-maNDita-bhAla-taTaM zruti-dolita-mAkara-kuNDalakam kaTi-veSTita-pIta-paTaM sudhaTaM bhaja kRSNa-nidhiM vraja-rAja-sutam (5) kala-nUpura-rAjita-cAru-padaM maNi-raJjita-gaJjita-bhRGga-madam dhvaja-vajra-jhaSAGkita-pAda-yugaM bhaja kRSNa-nidhiM vraja-rAja-sutam (6) bhRza-candana-carcita-cAru-tanuM maNi-kaustubha-garhita-bhAnu-tanum vrAja-bAla-ziromaNi-rUpa-dhRtaM bhaja kRSNa-nidhiM vraja-rAja-sutam (7) sura-vRnda-suvandya-mukunda-hariM sura-nAtha-ziromaNi-sarva-gurum giridhAri-murAri-purAri-paraM bhaja kRSNa-nidhiM vraja-rAja-sutam (8) vRSabhAnu-sutA-vara-keli paraM rasa-rAja-ziromaNi-veza-dharam jagadIzvaram-Izvaram-IDya-varaM bhaja kRSNa-nidhiM vraja-rAja-sutam (1) He Whose complexion conquers that of a fresh new raincloud Who is the best King of Paramours, the ocean of ecstatic mellows Whose crown is adorned with a lovely peacock feather and is auspiciously tilted to one side�Just worship KRSNa, the Dark Jewel, the son of the King of Vraja (2) He Whose broadly-bending eyebrows appear like arched rainbows Whose pure moonlike face belittles millions of ordinary moons Who is endowed with sweet gentle smiles and pleasant speech�Just worship KRSNa, the Dark Jewel, the son of the King of Vraja (3) He Whose divine bodily limbs tremble profusely with Cupid�s agitations Who dresses enchantingly just to fascinate the Vraja-vAsIs Who is decorated with extraordinary eyes like blue lotus blossoms�Just worship KRSNa, the Dark Jewel, the son of the King of Vraja (4) He Whose forehead is surrounded by a fringe of wavy locks Whose earlobes are embellished with swaying shark-shaped earrings Who is adorned with yellow silk embracing His charming hips�Just worship KRSNa, the Dark Jewel, the son of the King of Vraja (5) He Whose beautiful feet resound with softly tinkling anklebells that madden all the bees with their vibration of swinging gemstones Whose soles are marked with the flag, thunderbolt, fish, and more�Just worship KRSNa, the Dark Jewel, the son of the King of Vraja (6) He Whose graceful form is smeared with profuse sandalwood paste Whose body glows with the Kaustubha gem, eclipsing the sun Whose personal beauty represents the topmost zenith of Vraja-youths�Just worship KRSNa, the Dark Jewel, the son of the King of Vraja (7) He Who is Mukunda and Hari, worshipable for all the demigods and sages Who is the guru of all created beings, the crest jewel of all Lords Who is known as GiridhAri and MurAri, more exalted even than Lord ziva�Just worship KRSNa, the Dark Jewel, the son of the King of Vraja (8) He Who is most fond of sporting with the Daughter of VrishabhAnu Who dresses impeccably as the Crown Prince of Mellow-Relishers Who is the most praiseworthy Lord of Lords in the entire universe�Just worship KRSNa, the Dark Jewel, the son of the King of Vraja