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Pancha Veera Kshetram – The Eternal Glory of Parthasarathy Swamy Temple, Triplicane

In the bustling heart of Chennai, where the city’s pulse beats fast with modern life, there stands a timeless sanctuary – Sri Parthasarathy Swamy Temple at Triplicane. This sacred shrine is hailed as a Pancha Veera Kshetram, the only temple where five heroic forms of Lord Vishnu are worshipped together. More than stone and sculpture, it is a living river of tradition, poetry, and faith.

The Five Veeras – Guardians of Dharma

Inside the temple, the soul encounters five forms of the Lord:

Parthasarathy Perumal – Krishna as Arjuna’s divine charioteer. His face bears the scars of the Mahabharata war, a rare and moving portrayal of a Lord who chooses to share the burdens of His devotees. He is known for the veera with his mustache. 

Yoga Narasimha – The lion-man seated in yogic calm, ferocity contained in meditation.

Ranganatha (Venkatakrishnan) – Reclining on Adisesha, the cosmic protector who offers rest to the weary.

Rama – The ideal king, with Sita, Lakshmana, Bharata, Shatrughna, and Hanuman, making this a rare family shrine of the Ramayana.

Varadaraja Perumal – The granter of boons, embodying benevolence and grace.

Together, these five veeras are a spiritual panorama – courage, compassion, guidance, rest, and blessings, all under one sacred roof.

Āṇḍāḷ’s Shrine – The Soul of Devotion

No account of this temple is complete without Āṇḍāḷ, the only woman among the twelve Āḻvārs. Her shrine here glows with love and surrender, echoing her immortal Tiruppāvai. Each Margazhi dawn, her verses resound in the temple streets, awakening both city and soul. She reminds every devotee that devotion is not only heroic but also tender – the soul’s yearning for union with the Divine.

Poetry and Living Tradition

The temple is one of the 108 Divya Desams, celebrated in the Nālāyira Divya Prabandham by saints like Pey Āḻvār and Tirumangai Āḻvār. During festivals, the air fills with these hymns, woven into daily worship like a living necklace of song.

Festivals that Bind the City

The Brahmotsavam in April–May and the grand Vaikunta Ekadasi are the lifeblood of Triplicane. The temple car, pulled by countless hands along the Mada streets, becomes a symbol of Chennai’s unity in devotion. The temple tank, Kairavini Pushkarini, reflects gopurams and lamps, turning water into poetry.

To this day, the temple remains Chennai’s spiritual heart. The scent of jasmine garlands, the echo of conches, the glow of oil lamps, and the cadence of Tamil hymns turn every visit into an experience of eternity.

Sri Parthasarathy Swamy Temple

Location: Triplicane, Chennai, Tamil Nadu

Deities: Five forms of Vishnu – Parthasarathy, Yoga Narasimha, Ranganatha, Rama, Varadaraja

Special Shrine: Āṇḍāḷ, the only female Āḻvār

Built by: Pallavas (8th century CE), expanded by Cholas, Vijayanagar kings, Nayaks

Significance: One of the 108 Divya Desams, praised in the Divya Prabandham

Temple Tank: Kairavini Pushkarini

Major Festivals: Brahmotsavam (April–May), Vaikunta Ekadasi, Margazhi celebrations with Tiruppāvai

To stand before Parthasarathy Swamy is to feel the assurance of the Lord who guided Arjuna – still guiding every soul through the battles of life. With the Pancha Veeras as guardians, and Āṇḍāḷ as the tender voice of divine love, this temple is Chennai’s eternal jewel, where history, devotion, and poetry live forever.

Granthamala. Synopsis orderly.

 The Rāmānuja Granthamālā is a collection of the principal works of Śrī Rāmānuja (1017–1137 CE), the great Ācārya of the Śrī Vaiṣṇava tradition. These works collectively establish and explain Viśiṣṭādvaita Vedānta—its philosophy, theology, and practice. A synopsis of the main works is as follows:

1. Śrībhāṣya

Nature: Commentary on the Brahmasūtras of Bādarāyaṇa.

Content: Establishes Viśiṣṭādvaita Vedānta as a qualified non-dual system.

Highlights:

Refutes Advaita and other rival schools.

Proves Brahman as Nārāyaṇa with infinite auspicious attributes (kalyāṇa guṇas).

Stresses śeṣatva (servitude) and prapatti (surrender) as the means to liberation.

2. Gītābhāṣya

Nature: Commentary on the Bhagavad Gītā.

Content: Practical guide for spiritual life.

Highlights:

Reconciles karma, jñāna, and bhakti yogas.

Advocates prapatti as a simple, universal path for all.

Interprets Gītā as a dialogue of grace and surrender.

3. Vedārtha Saṅgraha

Nature: Independent treatise.

Content: A systematic exposition of Upaniṣadic philosophy.

Highlights:

Shows how the Upaniṣads consistently affirm a personal Brahman (Nārāyaṇa).

Resolves apparent contradictions in Vedāntic statements.

Lays foundation for Viśiṣṭādvaita hermeneutics.

4. Vedānta Saṅgraha / Vedānta Dīpa (attributed)

Shorter works explaining Vedāntic concepts in summary fashion.

5. Vedānta Sara

Nature: A concise manual.

Content: Abstract of Vedānta principles for beginners.

6. Śaraṇāgati Gadyam

Nature: Prose hymn.

Content: Rāmānuja’s direct prayer of surrender at Śrī Raṅgam.

Highlights: Models prapatti as heartfelt, unconditional surrender to Śrīman Nārāyaṇa and Śrī Mahālakṣmī.

7. Śrīraṅga Gadyam

Nature: Prose hymn.

Content: Prayer to Lord Raṅganātha for eternal service.

Highlights: Overflow of devotion and yearning for liberation.

8. Vaikuṇṭha Gadyam

Nature: Visionary hymn.

Content: Describes Vaikuṇṭha, the supreme abode, in great detail.

Highlights: A theological picture of the bliss of service to the Lord.

9. Nitya Grantham

Nature: Manual of daily worship.

Content: Prescribes the Śrī Vaiṣṇava nityakarma—pujā, prayers, and discipline.

Highlights: Ensures practical integration of philosophy into life.

10. Commentaries (Vārtikas / Glosses)

On minor Upaniṣads and stotras.

Clarify ritual and philosophical points for disciples.

Overall Themes

Philosophy: Viśiṣṭādvaita Vedānta—Brahman as Nārāyaṇa with body–soul relation to the universe.

Practice: Bhakti and Prapatti as soteriological paths.

Devotion: Loving surrender as the soul’s natural state.

Community: Integration of all seekers, regardless of caste or status, into the fold of Śrī Vaiṣṇava dharma.

In short, the Rāmānuja Granthamālā unites deep Vedāntic philosophy, devotional outpourings, and practical guidance into a complete system of spiritual life.

Householder.

 Yudhishthira tells the sages, who want to go to the forest with the Pandavas, that while he likes the company of learned men, he does not want them to suffer in the forest. In the Mahabharata, we find Vidura advising Dhritarashtra to always seek the company of the learned. Those with knowledge will give proper and timely advice to those they are with. Yudhishthira tells the sages that he does not desire wealth for himself, said Kidambi Narayanan in a discourse. But wealth is necessary if he is to take care of the interests of the sages, who want to accompany him to the forest. A householder has the important duty of having to provide for sanyasis. A sanyasi should always have darbha grass, good water and a proper place to carry out his duties. A householder must ensure that sages are given whatever they need.

In addition, a grihastha must provide water for the thirsty, a resting place for those who are tired, and food for the hungry. Unfortunately, Yudhishthira now has nothing. He has been stripped of all his possessions. How then can he take care of the sadhus, if they insist on following him? That is his worry. Every man should treat guests, relatives and members of his family with respect. Even when one cooks food, one must never do it with the thought that one is preparing food for oneself. One must think of how to share the food with those who lack the means to have a hearty meal. Suppose one comes across a man who is a total stranger. If one finds him tired after a long journey, one should immediately give him food. This too is the duty of a householder. Yudhishthira tells sage Saunaka that the highest dharma is for a man to carry out all the duties of a householder without fail. Although Yudhishthira is knowledgeable, he seeks Saunaka’s opinion on this.

Depth.

  A woman’s emotional life is not only defined by her relationships.

While relationships—such as with family, partners, children, and friends—can play a significant role in anyone’s emotional world, including women’s, they are not the sole defining factor. A woman’s emotional life is shaped by a wide range of experiences, such as:

Her sense of self, goals, values, and beliefs all contribute to emotional depth.

Careers, passions, creative pursuits, and accomplishments offer fulfillment, challenges, and pride.

Many women draw emotional strength and insight from spiritual practices, introspection, or philosophical reflection.

Emotional experiences are tied to the body, including physical health, hormonal shifts, and overall wellness.

Empathy, justice, and compassion often drive women to participate in community service or social movements, shaping emotional responses deeply.

Women, like all humans, undergo transformation through joy, trauma, aging, and resilience.

This question often arises from literature or cultural discussions where women’s roles have been historically portrayed through the lens of relationships—like wives, mothers, lovers. For instance, in Kate Chopin’s "The Story of an Hour", the protagonist’s brief emotional freedom after her husband’s death highlights how women’s inner lives have often been confined to relational identities.

But in reality, and increasingly in contemporary narratives, women’s emotional landscapes are vast, complex, and self-driven—defined not only by whom they love but also by who they are.

“The Story of an Hour” by Kate Chopin is a powerful short story written in 1894 that explores deep themes of freedom, identity, marriage, and the role of women in society. The true meaning of the story lies beneath its seemingly simple plot and is best understood through its symbolism and emotional complexity.

Mrs. Louise Mallard is told that her husband has died in a train accident. At first, she weeps with grief. But soon, alone in her room, she feels a profound sense of relief and freedom at the thought of living life on her own terms. However, her husband unexpectedly walks in alive—and the shock of losing that freedom kills her.

Freedom vs. Marriage (The Illusion of Liberation)

Louise’s initial grief turns into joy as she realizes she is now free to live for herself.

Her whispered words “Free, free, free!” express a deep longing that had been buried by societal expectations.

Chopin critiques the institution of marriage, not necessarily as abusive, but as something that can limit a woman’s individuality, even in a kind relationship.

The story is about self-discovery. For the first time, Louise sees herself as an individual, not just someone's wife.

The phrase “There would be no powerful will bending hers” shows her inner desire for autonomy.

Her awakening is brief but profound—she tastes freedom and realizes how much she had been suppressed.

The ending is a masterclass in dramatic irony: doctors say she died of “joy that kills,” but the reader knows it was the shock of lost freedom.

The story critiques how patriarchal society misunderstands women’s emotional lives, assuming they are only defined by their relationships.

Chopin was writing at a time when women had very few rights.

The story subtly suggests that even a well-meaning, loving marriage can feel like a prison to a woman who longs for independence.

It challenges the 19th-century belief that a woman's fulfillment could only come from domestic roles.

“The Story of an Hour” is not just about death or marriage—it's about a woman briefly touching the sky of freedom, only to have it snatched away. It reveals how fragile personal liberation can be in a world that doesn’t recognize a woman’s desire for independence as valid.

Now especially when the men have gone leaving her rich and especially qualified, people talk as if she has crossed boundaries. She is living for herself and doing what she likes best within a confinement really. Let her be respect her for that. 

Natakam.

 Rāmanāṭakam

The story of Rama, the ideal hero of Hindu tradition, has been retold in countless languages and forms across India. In Tamil literature, while Kamban’s Ramayanam (12th century) occupies the position of a classical poetic epic, the Rāmanāṭakam of Arunachala Kavi (1711–1779) represents a devotional and performative retelling of the Ramayana. More than a mere play, Rāmanāṭakam is a unique fusion of drama, music, and bhakti, which became an integral part of temple culture, Carnatic music, and popular devotion in Tamil Nadu.

The Author – Arunachala Kavi

Arunachala Kavi was born in Tillaiyadi near Mayiladuthurai in the 18th century. Though he had training in Tamil and Sanskrit, he was not primarily a poet or musician by profession. He is remembered as a bhakta whose compositions reflected a deep devotional surrender to Rama. Legend says that with divine grace he composed the Rāmanāṭakam almost spontaneously when encouraged by temple priests and musicians.

Unlike Kamban, who wrote a vast epic with lofty poetic grandeur, Arunachala Kavi chose a musical-drama format so that Rama’s story could be sung, enacted, and enjoyed by ordinary people in temple courtyards and village gatherings.

The work is divided into acts (aṅkams), corresponding to important episodes in the Ramayana:

1. Rama’s birth and early life

2. Marriage with Sita

3. Exile into the forest

4. Abduction of Sita by Ravana

5. Hanuman’s heroic journey to Lanka

6. The great war and Ravana’s defeat

7. Rama’s coronation

Instead of highly elaborate similes and long descriptions (as in Kamban), Arunachala Kavi uses direct, simple, and lyrical Tamil. His verses are usually set to Carnatic ragas, making them suitable for singing. Many of these compositions—such as En pallikondeer ayyā (in rāga Mohanam), Yarukagilum bhayama (in rāga Sahana), and Andhāro megalai (in rāga Surati)—have become immortal pieces in Carnatic music concerts.

Performance Tradition

The Rāmanāṭakam was not meant for reading alone—it was designed for stage and temple performance. A typical enactment involved:

A lead singer who recited the verses.

Musicians with instruments like the mridangam and nagaswaram.

Actors who gestured and enacted the dialogues.

Audience participation in the form of responses, clapping, and devotional fervor.

This made it closer to Bhajana Sampradāya traditions than to Sanskrit classical theatre. The audience was not passive; they experienced Rama’s life emotionally, with tears, laughter, and devotion.

Bhakti over Poetic Ornamentation: Kamban aimed to display poetic mastery; Arunachala Kavi sought to ignite devotion.

Accessibility: The language was simple Tamil, so even common folk could understand and join.

Moral and Spiritual Lessons: The work emphasized dharma, humility, devotion, and Rama’s compassion.

Integration with Music: Many songs from Rāmanāṭakam survive as standard Carnatic kritis, giving the work a permanent place in South Indian classical tradition.

Feature Kamban’s Ramayanam Arunachala Kavi’s Rāmanāṭakam

Period 12th century 18th century

Genre Epic poetry (kāvya) Musical drama (nāṭakam)

Language High Tamil with heavy use of similes and imagery Simple Tamil, direct and lyrical

Purpose Literary excellence, philosophical depth Popular devotion, music and performance

Influence Classical Tamil literature Carnatic music, bhajana traditions

The Rāmanāṭakam has had a lasting impact:

Its songs are performed even today in Carnatic concerts.

It contributed to the Rama Bhakti movement in Tamil Nadu.

It bridged the gap between temple rituals, art, and literature.

It influenced later devotional theatre forms, including Harikatha and Namasankeerthanam.

The Rāmanāṭakam of Arunachala Kavi stands as a shining example of how great epics like the Ramayana have been reshaped in different times and cultural contexts. While Kamban’s Ramayanam appealed to the scholar and the poet, Rāmanāṭakam touched the heart of the common devotee. By combining bhakti, drama, and music, it made the story of Rama a living experience. Even today, when a Carnatic musician sings one of Arunachala Kavi’s songs, the devotional spirit of Rāmanāṭakam lives on.

Famous Songs from Rāmanāṭakam and Their Rāgas

Arunachala Kavi’s Rāmanāṭakam is unique because its verses were set to Carnatic music, and many of them have survived as kritis sung even today in concerts. Some of the most famous include:

1. “En pallikondeer ayyā” – Rāga Mohanam

A song sung in praise of Lord Rama, asking why He reclines on a couch when the devotee’s heart longs for Him. This piece combines simplicity with musical beauty and is a staple in bhajan and concert traditions.

2. “Yārukagilum bhayama” – Rāga Sahana

Hanuman’s fearless proclamation that he has nothing to fear, as he carries Rama’s name in his heart. The gentle raga Sahana makes it both moving and devotional.

3. “Andhāro megalai” – Rāga Sūrati

Sung when Rama sets out for the forest. The song describes the atmosphere and emotions of Ayodhya, where the sky is filled with dark clouds, symbolizing sorrow.

4. “Indru poi nālai vāraai” – Rāga Kalyāṇi

Kaikeyi’s manipulative demand to Rama, urging him to leave immediately so that Bharata can ascend the throne. A dramatic piece filled with pathos and emotional power.

5. “Sītā kalyāna vaibhogamē” – Rāga Śaṅkarābharaṇam

Perhaps the most popular of all, this song celebrates the divine wedding of Rama and Sita. It is still sung at weddings across Tamil Nadu and Andhra Pradesh, carrying the blessings of the epic into family life.

6. “Kanden Seethaiyai” – Rāga Vasanta

Hanuman’s joyful declaration after finding Sita in Lanka. The raga Vasanta enhances the mood of relief and happiness.

7. “Ananda rama ananda” – Rāga Kambhoji

A jubilant composition sung after Rama’s coronation. The grandeur of Kambhoji elevates the celebratory spirit of the scene.

These songs have been performed by leading Carnatic musicians such as M. S. Subbulakshmi, D. K. Pattammal, and Sanjay Subrahmanyan.

They show how Rāmanāṭakam crossed from the stage into concert platforms, temples, and homes.

They embody the blending of literature, devotion, and music—a true hallmark of Arunachala Kavi’s genius.

Benefits.

 The Benefits of Reading Kamban’s Ramayanam

The Kamba Ramayanam, composed by the great Tamil poet Kamban in the 12th century, is more than a literary masterpiece. It is revered as both poetry and scripture, carrying not only the story of Lord Rama but also profound spiritual power. Just as Valmiki and Tulsidas offered phala-śruti (assurances of benefit) for their works, Kamban too concludes with verses that describe the fruits of reading, listening, and contemplating his epic.

1. Moral and Spiritual Uplift

Kamban’s Rama is dharma personified. His life teaches righteousness, compassion, humility, and courage. To read or hear the text is to absorb these virtues and to realign one’s own life with moral principles. Kamban himself declares that sins are burnt away like cotton in fire when Rama’s story is recited.

2. Protection from Suffering

The poet assures that those who listen to his verses will be shielded from fear, danger, and sorrow. Just as Rama protected the sages of the forest, his name and story act as a shield of divine grace.

 Tamil (Kamba Ramayanam – Phala-śruti):

"அரங்கமுடையானை ஆற்றலால் கூறினேன்;

திறம்பிலா நாவினோர் தீமை காணார்."

Meaning:

By singing the Lord of Srirangam (Rama, Narayana), I have composed this;

Those who recite it with faultless tongue will never meet with evil.

3. Worldly Prosperity and Well-being

The phala-śruti promises food, wealth, family harmony, and long life to devotees. The recitation is said to bring blessings to the household, just as Rama’s presence brought joy to Ayodhya.

4. Purification and Peace of Mind

Kamban assures that even the gravest sins are erased by reading his epic with devotion. Just as the Ganga purifies all who bathe in it, the verses of the Kamba Ramayanam purify the heart.

 Tamil Verse:

"இராமனது நாமமே யெல்லா வினையையும்

தீமையும் போக்கும் செல்வம் தரும்."

Meaning:

The very name of Rama destroys all sins and sorrows,

And bestows prosperity and joy.

5. Strength and Victory

By immersing oneself in the tale of Rama’s victory over Ravana, the devotee too gains courage to conquer obstacles in life—whether they are inner weaknesses or outer challenges.

6. Bhakti and Divine Grace

Above all, Kamban emphasizes bhakti. Listening to Rama’s story in sweet Tamil verse melts the heart, softens pride, and turns the soul toward the divine. The reward is the love of Rama and Sita, who shower grace upon the devotee.

7. The Ultimate Fruit – Liberation

Kamban does not stop at worldly benefits. His final assurance is lofty: those who recite his Ramayana with devotion will attain moksha, release from the cycle of birth and death, reaching the eternal abode of Rama.

Tamil Verse:

"எத்தனை யாயினும் இப்புகழ் கேட்பவர்

சித்தமலர் தூவிக் கைவினை தீர்வார்.

Whoever listens to this glorious tale, in whatever measure,

Their heart blossoms, their karmas are dissolved.

The Kamba Ramayanam is not only poetry of unparalleled beauty but also a living scripture. To read or hear it is to receive blessings both worldly and spiritual: freedom from sorrow, prosperity, purification of sins, courage, devotion, and finally liberation. That is why, even today, Tamil households and temples organize Kamba Ramayanam recitations, believing firmly in Kamban’s assurance that Rama’s story is a river of grace, carrying all who enter it toward peace and eternal joy.

O Rama, Lord of dharma, your name is light,

It burns away sorrow, it ends every night.

Who listens with love to your noble tale,

Finds blessings unending, and grace without fail.

It grants us long life, and food for our days,

It frees us from sin and leads us in ways.

It gives us the courage to conquer and stand,

With Sita’s compassion, and Lakshmana’s hand.

O Lord of Srirangam, protector and guide,

In your holy story all blessings abide.

May hearts become pure, may burdens all cease,

May every soul rise to eternal peace.

Purifies.

 

In a world filled with distractions and chaos, finding inner peace and spiritual growth can seem like an insurmountable task. However, the Bhagavad Gita offers a profound solution — divine knowledge, said Swami Mitranandaji.

The Gita states in Chapter IV, verse 38, “There is nothing as purifying as divine knowledge.” This knowledge is not just a means to acquire information, but also a powerful tool for spiritual transformation.

Through prolonged practice of yoga, one can attain purity of mind, allowing one to receive divine knowledge within one’s heart. This knowledge is an antidote to the impurities of the mind, purifying anyone who seeks it with sincerity. The transformative power of divine knowledge is evident from the lives of esteemed individuals like Ratnakar, Arunagiri and Angula Mala, who despite their troubled pasts, attained spiritual enlightenment, through their dedication to Brahma Vidya.

Yaarige.

 Aarige vadhuvade ambujakshi

ksheerabdhi kannike shree mahalakumi || pa||

Sharadhi bandhana shree ramachandra murutigo
paramatma shree ananta padmanabhanigo
sarasijanabha shree janardhana  murutigo
eradu holeya shree ranga pattana vasago ||1||

Cheluva beluru shree chennigarayanigo
gelati  hElu  udupiya shree krishnarayanigo
ileyalu pandarapura vitaleshago
nalinakshi pelu badari shree narayaaago || 2||

Malaya jagandhi bindhu madhavarayago
sulabha devara deva purushotamago
phaladayaka nitya mangala nayakago
cheluve nachade pelu shri venkateshago || 3||

Vasavarchita kanchi shree varadarajanigo
asuradi shri mushna varahanigo
sheshashayiyada shriman narayanago
sasira namadodeya alagireeshago || 4||

Sharanagata poreva saranga panigo
varagala neeva shrinivasago
kurukulantaka namma raja gopalago
sthiravagi pelu shree purandara vittala rayanigo ||5||

Masterpiece.

Nammāḻvār (traditionally dated around the 9th century CE, though some scholars suggest earlier) is regarded as the foremost among the twelve Āḻvārs of the Śrīvaiṣṇava tradition. His work, the Tiruvāymoḻi (comprising 1,296 hymns), is celebrated as the “Tamil Veda.”

What makes Nammāḻvār unique is not only the spiritual depth of his insights but also the extraordinary poetic range with which he expresses them. His verses embody the Upaniṣadic Vedānta, the Sangam tradition of love poetry, and the theatrical voices of bhakti, blending them into a spiritual-literary masterpiece.

Poetics of Nammāḻvār

1. Personal Voice — His hymns are not abstract theology but first-person confessions of love, anguish, and surrender.

2. Imagery of Love — He often takes the role of a heroine yearning for her beloved (Viṣṇu), or speaks through the voice of her mother or friends.

3. Nature Symbolism — Bees, flowers, clouds, rivers, and landscapes reflect inner states of devotion.

4. Philosophical Depth — The most subtle truths of Vedānta appear not as doctrine but as lived experience.

5. Paradox and Contradiction — God is near yet distant, infinite yet intimate.

6. Musicality and Refrain — His verses are rhythmic, chant-like, intended to be sung and experienced collectively.

I. The Cosmic Poet (Tiruvāymoḻi 1.1 — “Uyarvara Uyar Nalam”)

The opening decad of the Tiruvāymoḻi is a cosmic proclamation of God’s supremacy.

Example: Verse 1.1.1

uyarvara uyar nalam udaiyavan evan avan

mayarvara madhi nalam aruḷinan evan avan

Meaning:

“He alone possesses unsurpassed greatness.

He alone grants clear, unclouded wisdom.”

Here, the refrain evan avan (“He alone”) rings like a mantra, emphasizing God’s singular supremacy.

Example: Verse 1.1.2

vayyam tagaliyā vāḷiyāṉa maḻaiyoḷi

veyya kaṭirōn vilakkāga

“The earth is the lamp, the rain its oil, the blazing sun its flame — all burn to glorify Him.”

Here, ritual imagery of a temple lamp is expanded into cosmic scale. The world itself is an offering.

This decad blends Vedic ideas (“light of lights,” the source of all gods) with Sangam imagery (lamp, sun, rain), announcing that God is both infinite Brahman and intimate Lord. The tone is majestic, philosophical, almost liturgical.

II. The Poet of Longing (Tiruvāymoḻi 5.8 — “Vaṇḍu Tiriyum”)

If 1.1 presents God as cosmic reality, 5.8 reveals Him as the absent Beloved, causing anguish and longing.

Example: Verse 5.8.1

vaṇḍu tiriyum taṇ pozhil sūḻ taḷaiyai

aṇḍam āyum aḻiyum aṇṇal tannai

eṇṇil enakkukku inidām 

“In the groves where bees hum around cool flowers dwells the Lord of all worlds.

He who creates, sustains, and dissolves the universe —

for me, when I think of Him, He is only sweetness.”

The shift is striking: the cosmic Lord of 1.1 is here described as the heroine’s intimate delight, remembered with longing in bee-filled groves.

Example: Verse 5.8.2

kaṇḍa kaṇ allāl kāṇbadhu eṉṛiṛkku

“My eyes, once they have seen Him, refuse to see anything else.”

The refrain of the eyes refusing other sights mirrors obsessive love. The soul cannot look away.

This decad borrows akam conventions (love-poetry of Sangam literature): heroine pining in separation, nature as witness, bees as messengers. Yet the Beloved is not a human lover but Viṣṇu Himself. Thus Nammāḻvār transforms secular Tamil aesthetics into divine love lyric.

III. The Dramatic Poet (Tiruvāymoḻi 6.7 — “Uḍaiyavar Vārā”)

Here, Nammāḻvār invents a dramatic device: the heroine’s mother speaks, describing her daughter’s madness in love for the Lord.

Example: 6.7 (summary)

The daughter has lost all sense of worldly duty.

She wanders, sings, and faints at the thought of Kṛṣṇa.

The mother laments: “What shall I do with her? She is consumed by Him.”

 Significance:

This is a voice-shift: Nammāḻvār speaks not as himself, not as heroine, but as the mother.

It adds dramatic realism — love is so overwhelming that even family becomes a witness to divine madness.

A masterstroke of poetic theatre: the stage of bhakti includes not just the lover and Beloved, but society, family, and nature.

1.1 (Vedānta): Cosmic, universal, philosophical; God as supreme Brahman.

5.8 (Love lyric): Emotional, personal, nature-rich; God as absent Beloved.

6.7 (Drama): Theatrical, multi-voiced; God as the overwhelming force disrupting social life.

Together, these reveal Nammāḻvār’s genius: he is not limited to one mode but moves seamlessly between Upaniṣadic seer, Sangam love-poet, and dramatist.

Nammāḻvār stands at the intersection of Tamil poetics and Sanskrit Vedānta.

In Tiruvāymoḻi 1.1, he is the philosopher-poet who proclaims God as light of lights.

In Tiruvāymoḻi 5.8, he is the love-poet who aches in separation.

In Tiruvāymoḻi 6.7, he is the dramatist who gives voice to the heroine’s mother.

His poetry spans the range of human experience: awe, longing, despair, and ecstasy. Through paradox, imagery, and musicality, Nammāḻvār transforms philosophy into poetry, and poetry into prayer.

For this reason, the Tiruvāymoḻi is revered not merely as literature but as revelation — the Tamil Veda, where the infinite Brahman is experienced as the intimate Beloved.

Nammāḻvār as a Poet: An Analysis

 Vedānta (1.1), Love (5.8), Drama (6.7)

Nammāḻvār’s Tiruvāymoḻi has had an enduring impact on South Indian devotional culture, theology, and literature.

1. Tamil Vedap

Later Śrīvaiṣṇava Ācāryas regarded his hymns as equal in authority to the Sanskrit Upaniṣads.

Rāmānuja himself is said to have revered the Tiruvāymoḻi as the essence of Vedānta in Tamil.

2. Temple Tradition

In major Viṣṇu temples of Tamil Nadu (Śrīraṅgam, Tirupati, Alvar Tirunagari), his hymns are sung daily as part of ritual worship.

The Ārāyirappaṭi (6000 verse commentary) and later commentaries (vyākhyānas) treat the Tiruvāymoḻi as revealed scripture, not just poetry.

3. Literary Influence

His blending of Sangam akam poetics with Vedāntic theology shaped the idiom of Tamil bhakti poetry for centuries.

Later saints like Andal, Manikkavācakar, and the Haridāsa poets of Karnataka drew upon this model of personal divine love.

4. Philosophical Impact

The Śrīvaiṣṇava doctrine of śeṣatva (soul’s eternal servitude to God) and prapatti (surrender) is embodied in Nammāḻvār’s verses.

His poetry became the experiential basis for Rāmānuja’s theology — philosophy lived through love.

Nammāḻvār is at once philosopher, poet, and dramatist.

In Tiruvāymoḻi 1.1, he is the cosmic seer, proclaiming God as light of lights.

In Tiruvāymoḻi 5.8, he is the love poet, aching in separation.

In Tiruvāymoḻi 6.7, he is the dramatist, giving voice to the mother of a love-mad heroine.

His genius lies in showing that the supreme Brahman of Vedānta is not a distant abstraction but the intimate Beloved of the soul. His verses are sung not only as literature but as prayer and revelation, forming the heartbeat of Śrīvaiṣṇava devotion.

Thus, Nammāḻvār remains one of the greatest poet-saints of India — a bridge between Sanskrit and Tamil, philosophy and poetry,intimacy and transcendence.

Essence.

When the heart is filled with Rama, every beat carries His name. The mind finds no room for sorrow, for joy itself takes the form of remembrance. To see with the eyes, to hear with the ears, to breathe each breath — all become sacred when infused with “Ram.”

Every moment is transformed: a whisper of the breeze feels like His touch, the silence of dawn becomes His song, and even the struggles of life seem softened when Rama is near. It is not just worship in temples; it is worship in the marketplace, in the home, in the very turning of day into night.

To say “Bas Ram hi Ram” is not escape from the world, but immersion into its essence. It is the realization that beneath all names, all forms, all times, there is only Rama — the eternal refuge, the unshaken peace.

Man me Ram,

Har kan me Ram,

Har kshan, har swas me Ram—

Bas Ram hi Ram.

Sookh aaye ya dukh ka samundar,

Har leher ka kinara Ram.

Andheron me jyoti ban kar,

Raste ka ujiyara Ram.

Naino ki jyoti,

Hriday ki shanti,

Jeevan ka saar hi Ram.

Shabd me geet,

Moun me pree  me,

Pran ka adhaar hi Ram.

Man me Ram,

Har kan me Ram,

Har kshan me Ram—

Bas Ram hi Ram.

Madi kol.

Madi Kol – Guardian of Purity and Dharma

In the traditional South Indian household, every act was bound by dharma and ritual discipline. Among the many customs that safeguarded the sanctity of the home, the madi kol stood as a humble yet powerful guardian of purity.

The word madi denotes ritual cleanliness – a state attained after bathing and wearing freshly dried garments, untouched by others. Only in this state was a person considered fit to enter the kitchen, cook, or perform puja. The kol or stick, usually placed across the threshold of the kitchen, marked the inner space as sacred – almost like the sanctum of a temple.

Cooking was not seen as an ordinary household chore, but as a sacred yajña. The food prepared was first offered to Bhagavan as naivedya before being partaken by the family. Thus, the kitchen was like a yajña-śālā, and the madi kol was its protective boundary, ensuring that only those who upheld ritual purity could enter.

Elders often narrated that crossing the madi kol without proper observance was like stepping into a sanctified altar with unclean feet. In agrahārams, grandmothers would sit near the kitchen entrance with the madi kol placed firmly across the doorway. Children returning from play would often dash inside in excitement, but the gentle tap of the madi kol on their shoulder reminded them, “Have you bathed? Are you in madi?” In this way, children learned from a young age that food and prayer demanded reverence and discipline.

The madi kol was not a barrier but a teacher – guiding the household in cleanliness, order, and respect for food. It upheld the invisible vibration of śuddhi in the home and reminded one that every meal was not merely for the body, but an offering sanctified by devotion.

The madi kol was also put to practical use in maintaining purity. Freshly washed clothes, especially those meant for ritual use, were dried on clotheslines strung high above, beyond the reach of human hands. To hang them or retrieve them without defiling their madi, the long madi kol was used as an extension of one’s hands. In this way, garments remained untouched, clean, and fit for sacred use. Thus, the stick was not just a symbol of discipline but a tool ensuring ritual śuddhi in every aspect of life.

Though today the strict observance of madi kol has declined, its essence still lives on. It symbolizes discipline, mindfulness, and the protection of what is sacred in everyday life. The simple stick thus carries the weight of a profound message: purity in body and mind is the first step towards purity in action and devotion.

As the scriptures remind us:

“शुद्धिः परमं बलम्”

Śuddhiḥ paramam balam

(Purity is the highest strength.)

Our house madi kol. 

In our home, the madi kol was not only a symbol of discipline but also a part of cherished everyday artistry. My mother would use it to dry her sarees in such a way that they hardly ever needed ironing. With practiced hands she would pleat and fold the saree  and fold it twice pat it neatly, then lift it high to the clothesline  so that it was exactly at the center fold then positioned on the stick to uphost to fall exactly into half on both sides beyond anyone’s reach. Once it was positioned just right, she would fit the madi kol at the correct fold and stretch the saree out perfectly. To us children watching from below, this was no less than a miracle – the saree would hang straight, smooth, and flawless, as though touched by magic. That simple act of precision and grace, performed with the aid of the madi kol, remains etched in memory as a quiet wonder of our childhood.

Bakshanam.

In Paati’s hands, the magic begins,

Rice and dal, all sieved through tins,

Butter melts in the waiting flour,

The kitchen hums this festive flow.

Press the murukku, spiral neat,

Golden curls that smell so sweet,

Drop the thattai, flat and round,

It sizzles, sings, in oil sound.

Omappodi like threads of gold,

Ribbon pakoda — firm, yet bold,

Seedai dancing, tiny spheres,

Boondi raining like festival cheers.

Steel dabbas click, the treasures hide,

Yet children creep and peer inside,

For every crunch is joy untold,

A taste of love in Paati’s hold.

So when the lamps of Jayanthi glow,

It’s not just cradle that steal the show —

It’s the bakshanam, crisp and warm,

That makes the heart feel safe from harm.

Paati’s pan turns amber bright,

Paagu rises, threads of light;

Touch and roll—one-string fine,

Adhirasam blooms, a jaggery sun.

Boondi rains through ladle holes,

Cardamom drifts, a secret told;

Warm palms round the gold to stay—

Laddus set like little moons of May.

Ghee rivers in a copper tray,

Besan whispers, bubbles play;

Knife through clouds—Mysore pak,

Crumbles soft, yet holds its spark.

Urad swirls in sugar seas,

Jangiri wheels with saffron breeze;

Lift and drip, a glazed embrace,

Festival halos stacked with grace.

Nei appam hums, banana-sweet,

Somas sighs with flaky pleat;

Therattipal, slow-milk dream—

White lightning in a silver seam.

Steel tins click; outside, shop bells call,

Pink boxes boast through gilded stall—

But Paati’s sweets, still warm within,

Outshine the market with memory’s grin.

Bakshanam: The Festive Art of Traditional South Indian Snacks

In South Indian households, Bakshanam is more than food—it is a tradition, a craft, and a celebration of taste. The word Bakshanam in Tamil and Telugu loosely translates to “special prepared eatables,” often referring to the crispy, aromatic snacks made for festivals, weddings, and auspicious occasions. These treats are not everyday fare; they are culinary expressions of joy, hospitality, and devotion.

The Meaning and Significance

Bakshanam is typically made in advance for occasions such as Deepavali, Janmashtami, Navaratri, and weddings. In the olden days, guests visiting for functions were welcomed with a platter of bakshanam alongside sweets, symbolizing abundance and care. These snacks also served as travel food, staying fresh for days or even weeks without refrigeration.

Varieties of Bakshanam

Every region and community has its signature items, but common staples include:

Murukku – A spiral-shaped crispy snack made from rice flour and urad dal flour.

Thattai / Nippattu – Flat, crunchy discs seasoned with spices and lentils.

Seedai – Tiny, deep-fried rice flour balls made for Krishna Jayanthi.

Ribbon Pakoda – Wide, ribbon-like strips fried to perfection.

Omapodi – Fine strands flavored with ajwain (omam).

Mixture – A combination of sev, boondi, fried curry leaves, and peanuts.

Each has its own charm, texture, and method of preparation.

The Process.

1. Preparation of Ingredients – Flours are sieved to remove lumps, spices are ground fresh, and lentils are roasted and powdered for aroma.

2. Kneading the Dough/Batter – Ingredients are mixed with butter, ghee, or oil and kneaded into a smooth dough. The consistency is crucial—too soft, and the bakshanam soaks oil; too hard, and it turns brittle.

3. Shaping – Using brass or steel nazhi (press), the dough is shaped into spirals, ribbons, or strands.

4. Frying – The shaped dough is deep-fried in batches over medium heat to ensure even cooking. The sizzling sound and golden hue are signs of perfection.

5. Cooling and Storing – Once cooled, the snacks are stored in airtight tins to retain crispness.

Making bakshanam is a family activity, often done in large batches. Women of the household come together, chatting and laughing as they press, fry, and taste-test the items. In joint families, bakshanam making was a ritual that bonded generations. During weddings, professional cooks (brahmin cooks in Tamil tradition) would prepare enormous quantities, filling the house with a festival-like aroma.

Adaptations

Today, while some prefer store-bought versions for convenience, many still swear by the homemade taste. Health-conscious adaptations include baking instead of frying, using millets instead of rice, and reducing oil without compromising flavor.

Adhirasam: jaggery one-string (oru kambi) paagu, dough rests overnight for a soft, puffed disc.

Boondi laddu: tiny, even pearls; bind while warm with a hint of ghee.

Mysore pak: keep ghee hot and flowing; add in stages till the batter “burps” and turns porous.

Jangiri: thick, well-aerated urad batter; pipe tight coils, soak hot-into-hot syrup.

Somas/Karanji: rub fat into flour till sandy; rest dough so the shell fries flaky, not hard.

Bakshanam making is an art that blends culinary skill, patience, and cultural memory. The crisp murukku, the spicy thattai, the delicate omapodi—each piece carries with it the joy of the occasion it was made for. More than a snack, bakshanam is a bite of tradition, a taste of togetherness, and a reminder that festivals are celebrated not just in temples and halls, but in the kitchen too.

Liberal.

The main argument of the Bhagavad Gita is often seen as unassailable. Proponents of various Hindu sub-religions interpret it as illuminating their perspectives, partly because the Gita explains Karma yoga, Jnana yoga, and Bhakti yoga as interconnected paths. The Vedas align with this, encouraging devotion and worship to focus the mind on God. Acharya Vedanta Desika captures human fallibility with the analogy of an elephant repeating errors despite guidance, just as people often repeat mistakes. He prays for divine grace, drawing a parallel to Lord Krishna guiding and blessing Arjuna through His grace.

Valayappettai Sri Ramachariar emphasised that Lord Krishna’s advice to Arjuna centres on the Charama sloka: Sarva Dharman Parityajya (Chapter 18 — Verse 66): “Completely relinquish all dharmas and seek Me as refuge; I will free you from all sins.” Acharya Ramanuja clarifies that authentic relinquishment means letting go of control, ownership, and attachment to outcomes, not abandoning devotional practices. The core teaching is to dedicate one’s actions to God, with the individual acting as His instrument. Any rewards belong to God, not the agent. Krishna assured Arjuna that He would free him from all obstacles incompatible with the path, such as doing what should not be done and neglecting what should be done. When Arjuna doubted whether he could begin Bhakti yoga, the Lord instructed him to renounce all dharmas. Here, dharmas means expiatory duties. The Lord said He is always compassionate to those who depend on Him.

We are all born to render service to Him. But our sins prevent us from rendering the same. Moksha will eventually come if sins are removed. Through a mere surrender, a person can derive the blessings of God and attain liberation.

Grand Guruvayur.

 Narayaneeyam is a stotra composed by Narayana Bhattathiri. Stotra means explaining and highlighting the prevailing good characteristics in someone. Vedas say Devas love it when yagnas are conducted, while pitrus are pleased when their descendants pray to them. It is human nature to revel in being praised as a good person. However, not everyone remains good constantly. God alone has that unique trait, which is why He is celebrated by staunch devotees such as Bhattathiri, said B. Damodhara Deekshithar.

We love to listen to scriptural discourses because we believe that God will come to our aid, as He has done for countless others. It is not possible to see God, only experience Him. Why so? The first sloka of Narayaneeyam offers an answer. The Supreme Reality, the Brahma Tatwa, which is not easy to grasp in the beginning, (we cannot see this God through our human eyes), but the realisation of which is the highest purushartha, shines right in (concrete form) as Sri Krishna at the Guruvayur temple. Wonderful indeed is the good fortune of those who seek His Grace, says Bhattathiri. If God chooses, He will appear to His true devotee, as He did to Arjuna. Chapter XII of the Bhagavad Gita says that having decided to show His Viswaroopam to Arjuna, Krishna says, “Let me empower you to see My form,” after which Arjuna is able to behold the Divine Form.

One may wonder why if He is the Brahma Tatwa, the deity at Guruvayur has such a defined form: glistening like sunrise, with long eyes that stretch nearly to the ears, reeking of kindness, teeth like pearls, neck adorned with precious garlands and necklaces, with Mahalakshmi gracing His chest. This form of the idol is said to have been in worship and when Krishna was ready to depart, He instructed Guru and Vayu to carry the idol and install it at a sacred spot. As they journeyed with the idol, Lord Siva, whose form was installed at the very place where Sri Krishna now stands in Guruvayur, instructed Guru and Vayu to leave the idol there as it was the purest place He Himself decided to move His sojourn a few metres away, in order to help devotees pray to Krishna in peace.

Time free zone.

 Sommarøy, also known as “Summer Island” in northern Norway—an enchanting fishing village embraced by pristine white beaches, turquoise waters, and the surreal beauty of Arctic light.

Sommarøy, Norway 

Sommarøy is a small fishing village situated approximately 36 km west of Tromsø in Troms County, Northern Norway. It spans the island of Store Sommarøya and parts of the neighboring Hillesøya and nearby islets, connected to Kvaløya and Hillesøya via scenic bridges .

Covering just 0.41 km², Sommarøy is home to around 304 residents as of 2023, making it a tightly-knit community surrounded by dramatic landscapes . Its charm lies in its ocean-moderated subarctic climate—with mild temperatures even above the Arctic Circle—pristine beaches, and a striking view of islands like Håja rising sharply from the sea .

Fishing remains Sommarøy’s backbone, with a vibrant local fleet and associated fish-processing operations . Tourism has blossomed alongside, with offerings including a local hotel, cozy cabins, a small museum, and a church whose design echoes the silhouette of Håja .

Daylight Extremes & the "Time-Free" Myth

From May 18 to July 26, Sommarøy experiences 69 consecutive days of midnight sun—unbroken daylight—followed by long polar nights from November to January . In 2019, a publicity campaign famously claimed that the residents wished to eliminate clocks and civil time altogether—declaring Sommarøy the world’s first "time-free zone." Though earnest in tone, it was later revealed to be a clever PR effort by Innovation Norway aimed at drawing global attention to the island’s extraordinary conditions 

Sommarøy offers immersive Arctic experiences—kayaking under the midnight sun, wildlife and RIB boat tours, hiking (like the trail up Ørnfløya), and breathtaking beach strolls on coral-sand shores . Travelers can also unwind in saunas and hot tubs with sweeping ocean views . Reviewers share that even in high season, the island retains a tranquil, almost otherworldly calm .

Why Sommarøy Stands Out

1. Ethereal Light: The interplay of midnight sun and polar night gives your sense of time a brand-new meaning.

2. Raw Beauty in Solitude: Untouched beaches and crystal-clear water envelop a peaceful, nature-first lifestyle.

3. Authentic Community: A resilient fishing community with thoughtful tourism—less commercial, more character.

4. A Symbol of Time No More: The "time-free island" myth—though orchestrated—reflects a deeper truth about Sommarøy’s surreal relationship with time and light.

Whether as a poetic metaphor or a literal campaign gambit, Sommarøy has captured imaginations worldwide—and invites travelers to experience a place where time itself seems to lose its grip.

Avahan

 Gange cha Yamune chaiva

Godavari Saraswati

Narmade Sindhu Kaveri

Jalesmin sannidhim kuru

Kaveri Yamune chaiva

Goda Krishna Saraswati

Bhagirathi Alakananda

Jalesmin sannidhim kuru

Tungabhadre cha Bhimarathi

Varada Venya cha Mandakini

Payasvini Tamraparni

Jalesmin sannidhim kuru

Kapila Vedavati chaiva

Malapaharini Tatha

Phalgu Gandaki chaiva

Jalesmin sannidhim kuru

Sarayu cha Mahanadi cha

Kshipra Bahuda Pushpavati

Kumudvati Maharnava cha

Jalesmin sannidhim kuru

Six in a row.

 The Planetary Parade Has Begun! 🌌

The rare alignment of six planets is already gracing skies in parts of the world — and now, as the Earth turns, morning is approaching in other regions too. Soon, skywatchers across the globe will have their chance to see Mercury, Venus, Jupiter, Saturn, Uranus, and Neptune lined up in a dazzling arc before sunrise.

From Asia to Europe to the Americas, this cosmic spectacle will march westward with the dawn. If it’s still night where you are, look toward the eastern horizon about an hour before sunrise — the brighter planets will shine to the naked eye, while binoculars reveal the fainter ones.

A reminder: the next time such a parade returns will be years away. If you can see the pre-dawn sky, now is your moment.

4 for salvation.

Yamunacharya’s Chatushloki (“Four Verses”) is a short but profound Sanskrit hymn composed in praise of Goddess Lakshmi, the divine consort of Lord Vishnu.

It consists of only four ślokas, yet each one distills deep Sri Vaishnava philosophy. Yamunacharya (also called Ālavandār) focuses entirely on Lakshmi’s divine nature, her inseparable union with the Lord, and her boundless compassion for devotees.

Core ideas in the four verses:

1. Inseparability from the Lord – Lakshmi is always united with Vishnu, like fragrance in a flower or light in the sun, never apart from Him in any state—past, present, or future.

2. Mediatrix for grace – She is the merciful mediator who intercedes for the devotee, making the Lord’s grace accessible.

3. All-pervading and eternal – Though dwelling with Vishnu, she pervades all worlds, sustaining and nurturing beings.

4. Refuge and protector – She is the ultimate refuge; even the unworthy find shelter in her motherly compassion.

In Sri Vaishnava tradition, the Chatushloki is treasured because it beautifully blends devotion (bhakti) with Vedantic understanding, affirming that Lakshmi is not merely the Lord’s consort but an equal, eternal, divine principle in salvation.

Verse 1 (आलम्बना: Divine Attributes & Majesty)

कान्तस्ते पुरुषोत्तमः फणिपतिः शय्यासनं वाहनं

वेदात्मा विहगेश्वरः यवनीका माया जगन्मोहिनी ।

ब्रह्मेशादिसुरव्रजः सदयितस्त्वद्दासदासीगणः

श्रीरित्येव च नाम ते भगवति ! ब्रूमः कथं त्वां वयम् ॥१॥

O Goddess Sri (Lakṣmī), Your consort is the Supreme (Puruṣottama), whose bed is the serpent (Shesha) and whose chariot is Garuda, the embodiment of the Vedas. Maya—Your veil—enchants the cosmos. The gods and their attendants (like Brahmā and others) are charmed and lovingly serve at Your feet. Your name “Sri” itself is auspicious; how can mere words do justice to praising You? 

Oh Sri, Your beloved is the Supreme Being (Puruṣottama), resting on the serpent Adiśeṣa, and riding upon Garuḍa—the Lord of Vedas. Your veil is Māyā that enchants all creation. Even the gods, from Brahmā onward, are lovingly bound as Your attendants. Your name Sri itself embodies auspiciousness—yet how can mere words ever truly praise You?

Verse 2: Highlights her unmatched brilliance—radiance so divine that even celestial beings cannot fully grasp it. She is sovereign in her own right, not just secondary to Vishṇu.

Your brilliance outshines all—beyond the grasp of even gods. You are the sovereign of Lakṣmī, unrivaled and peerless. Your glory radiates in all realms, and none can match the splendor of Your being. Even the Lord Himself delights in Your majesty.

Insight: This verse paints a picture of supreme beauty and dignity—not as equals in a hierarchy, but as counterparts in brilliance.

Verse 3 (श्री-कृपा – Infinite Mercy and Graciousness)

The third stanza extols Lakṣmī’s boundless grace and compassion—how she showers infinite mercy on her devotees, guiding and protecting them with motherly love .

As the cherished consort of Lord Viṣṇu, You stand as the supreme embodiment of auspiciousness. You oversee the cosmos with infinite compassion, guiding devotees with motherly grace. You are the gracious intermediary, who bridges the gap between mortals and the divine.

Insight: This reflects Sri’s role as the compassionate mediator—she hears the devotee’s plea and brings it to the Lord, ensuring that grace flows through her.

Verse 4 (रूप – Her Resplendent Form & Unity with Vishṇu)

This final verse speaks of her resplendent, divine form—immeasurable beauty inseparable from Lord Viṣṇu, affirming her equally supreme and eternal nature .

I bow endlessly to You, O Sri, seeking Your boundless mercy. You and Your Lord alone are the source of compassion—none else can match the depth of Your kindness. In You alone do the helpless find absolute refuge.

Insight: The concluding verse affirms absolute surrender (prapatti) and reliance on Sri’s nurturing compassion as the pathway to divine grace.

1 Majesty, attributes, and cosmic presence of Lakṣmī

2 Her incomparable glory, beyond praise

3 Her infinite grace and compassion

4 Her divine form and inseparable unity with the Lord

Yamunacharya’s Chatushloki (“Four Verses”) is a short but profound Sanskrit hymn composed in praise of Goddess Lakshmi, the divine consort of Lord Vishnu.

It consists of only four ślokas, yet each one distills 

Yamunāchārya’s Chatuḥślokī Vyākhyānam (commentary) by Periyavachchan Pillai and insights from Śrī Vedānta Deśika’s Bhashya:

Periyavachchan Pillai (in Manipravalam)

Periyavachchan Pillai’s classic commentary bridges Sanskrit precision with Tamil literary elegance (Manipravalam). Key insights include:

Verse 1: Emphasizes Lakṣmī’s cosmic sovereignty—not just as Vishṇu’s beloved but as the foundational source of auspiciousness (Sri), who commands devotion even from deities. The imagery—from her serpent-throne to Garuḍa-chariot—symbolizes her omnipresence in cosmic hierarchy. 

Verse 2: Highlights her unmatched brilliance—radiance so divine that even celestial beings cannot fully grasp it. She is sovereign in her own right, not just secondary to Vishṇu.

Verse 3: Positions Sri as the compassionate mediator. She embodies mercy, motherly care, and serves as the conduit for divine grace, taking devotees’ pleas to Vishṇu and returning with grace.

Verse 4: Underscores absolute surrender (śaraṇāgati). Sri alone, alongside her Lord, offers the sole refuge; no other entity matches her compassion and salvific power.

Commentary by Śrī Vedānta Deśika (Rahāṣya Rakṣā Bhashya)

Śrī Vedānta Deśika’s Sanskrit exegesis elevates the theological depth of the Chatuḥślokī:

He meticulously explores the symbolism—how Lakṣmī’s attributes (serpent-bed, Garuḍa, veil of Māyā) reflect her as the cosmic mediator between the seen and the unseen.

Deśika elaborates on the intimate unity of Sri and Supreme Reality: she is both distinct in personality and yet non-different in essence—integral to the Visistādvaita vision.

He reinforces that devotees attain liberation not just through surrender to Vishṇu, but through Sri’s intercession—she is the very grace that beautifully intertwines devotion and salvation. 

Why These Commentaries Shine

Periyavachchan Pillai Rich, poetic Manipravalam insights; focus on devotion, cosmology

Śrī Vedānta Deśika Philosophical depth; symbolic layers and metaphysical unity.

Together, they illuminate how Sri is not merely Vishṇu's consort—but the living essence of grace, beauty, mercy, and the devotee's ultimate refuge.

Raksha.

 The story of Rani Karnavati and the Rakhi is one of those popular tales that blends a kernel of historical fact with layers of legend, especially tied to the festival of Raksha Bandhan.

In the early 16th century, the kingdom of Mewar in Rajasthan was ruled by Rana Sanga. After his death in battle, his widow Rani Karnavati became regent for their young son, Vikramaditya Singh. Mewar was proud but vulnerable—surrounded by powerful sultanates and the rising power of the Mughal Empire.

Among Mewar’s enemies was Bahadur Shah, the Sultan of Gujarat. He had long held an eye on Chittorgarh Fort and now prepared to attack. Rani Karnavati knew her forces were brave but far smaller than the Sultan’s army. In that desperate hour, she turned to an unusual hope—an appeal for brotherly protection.

Far away, in Agra, Mughal Emperor Humayun ruled. Though the Mughals and Rajputs had often clashed, Rani Karnavati sent him a rakhi—a simple thread symbolizing sibling bond—and a plea for help. The gesture was more than ceremonial; it was a leap of faith in an age of politics and war.

When Humayun received the rakhi, he was deeply moved. Honour bound him to respond—not as an emperor to a queen, but as a brother to a sister in distress. He immediately set out with his army to aid her.

Fate, however, was cruel. Humayun’s forces were far away, and by the time they reached Mewar, Bahadur Shah had already breached Chittorgarh’s defences. Faced with certain capture, Rani Karnavati chose the Rajput path of honour—jauhar—entering the flames with the women of the fort rather than fall into enemy hands. The men rode out to their deaths in the final battle.

Humayun arrived too late to save her, but he drove Bahadur Shah’s forces out and restored the fort to her son.

Why the story is remembered:

It is often told as a symbol of Raksha Bandhan’s meaning—that the rakhi is not merely a ritual between blood siblings but a sacred bond of protection.

Historically, records suggest there was indeed correspondence between Rani Karnavati and Humayun, though the exact details of the rakhi are debated. The legend remains powerful because it turns politics into a human tale of trust, honour, and brotherhood.

P P flower.

Prapanna Parijata is a compact, classical Sri-Vaiṣṇava treatise that sets out the theory and practice of prapatti — total, trusting surrender to God as the sure means of liberation in Kali-yuga. The work is attributed to Śrīguru Vatsya Varadāchārya (often called Nadadur Ammal), a medieval teacher in the Ramanuja tradition whose disciples form an important link in the lineage leading to Vedanta Desika. Because it is deliberately focused and devotional in tone, the text became widely regarded as one of the earliest single-topic expositions on the doctrine of surrender in Śrī Vaiṣṇavism. 

Structurally the Prapanna Parijata is short but systematic. It treats the scriptural and authoritative bases for seeking refuge in God, explains what genuine prapatti consists of, describes who is eligible to practise it, lists the attendant duties and forms of worship for the surrendered soul, and warns against actions that contradict the spirit of surrender. The book therefore reads both as a devotional manual for a practitioner and as a theological defence of prapatti against rival interpretations. Summaries and chapter lists of these topics appear in modern scans and notes of the work. 

Thematically the text balances bhakti (devotion) and dharma/practical discipline. While its central insistence is on wholehearted reliance on the Lord’s grace, the author nonetheless emphasises duties and attitudes that show sincerity of surrender: devotion expressed in worship and service, humility, avoidance of hypocrisy, and trust in the Lord’s salvific role. This combination — surrender as both inner state and lived commitment — is part of what has made Prapanna Parijata influential in later Sri-Vaishnava teaching. 

 The work is important because it appears early as a single-topic manual on prapatti within the Ramanuja orbit; later acharyas and commentators frequently referred to or were shaped by its presentation. Several modern editions, translations and scans are available (including archive copies and PDFs), so readers today can consult both the Sanskrit original and English renderings or summaries to explore the text’s argument and devotional appeal. 

In sum, Prapanna Parijata by Vatsya Varadāchārya is a concise, focused exploration of surrender as the practical and theological heart of Sri-Vaishnava devotion — a short manual that aims to convert an abstract doctrine into a lived path: trust the Lord fully, live the signs of that trust, and rest the soul in divine grace. For anyone interested in prapatti or medieval Sri-Vaishnava thought, it’s a felicitous starting point.

A summary of Prapanna Parijata by Vatsya Varadāchārya .

Structure

The text begins with five verses of invocation, then unfolds in 10 chapters (paddhatis):

1. Pramāṇa Paddhati – On scriptural authorities for prapatti (surrender) .

2. Svarūpa Paddhati – Explores the nature of prapatti, also known as nyāsa, śaraṇāgati, tyāga, sannyāsa .

3. Adhikāra Paddhati – Conditions for who is eligible; all sincere souls—ignorant, wise, or devoted—may adopt it .

4. Guru-Upāsana Paddhati – Emphasises service and devotion to the Guru.

5. Bhagavat Paricarya Paddhati – Describes God’s salvific role and attributes.

6. Bhagavat Parijana Upāsana Paddhati – On worship of God’s attendants and divine order.

7. Bhagavad Upāsana Paddhati – Serving virtuous souls/devotees (bhagavatas).

8. Vihita-Vyavasthāna Paddhati – Determination of one’s duties as per sacred law.

9. Varjaniya Paddhati – Actions one must renounce in the spirit of surrender.

10. Phalodaya Paddhati – The dawn of fruition—the spiritual result or liberation that follows sincere surrender .

This layout shows the text is both systematic and devotional—mapping surrender from its basis in scripture through eligibility, devotional acts, internal discipline, and culminating in the liberating fruit.

One standout verse from Chapter 5 reflects the essence of prapatti:

अहिंसा प्रथमं पुष्पं … सत्यमष्टविधं पुष्पं विष्णोः प्रीतिकरं भवेत् (5.28)

ahiṃsā prathamaṃ puṣpaṃ … satyamaṣṭavidhaṃ puṣpaṃ viṣṇoḥ prītikaraṃ bhavet

“Non-violence is the first flower, control over the senses is a flower, compassion for all beings—especially forbearance—is a flower; knowledge is a flower, penance is a flower, peace is a flower, and truth, being the eighth flower—they are the flowers dearest to Viṣṇu.” 

This metaphor beautifully encapsulates the internal virtues—ethical conduct, restraint, compassion, truth, etc.—as offerings more precious to the Divine than ritual trappings. In the context of prapatti, it underscores that surrender is lived through inner purity and heartfelt virtues—not mere externals. These “flowers” are the natural expressions of a surrendered heart.

3 to 5.

 Sadhguru: Say THIS Prayer Between 3AM–5AM and Watch What Happens | Powerful Morning Prayer

https://youtu.be/DLBAzKRQTl4?si=Kg53pyWp1YKjCYny

In the stillness of early morning, between 3AM and 5AM, lies a window of profound spiritual potential. This video explores the sacred essence of that time and how a simple yet conscious prayer, spoken with awareness and presence, can create deep internal shifts. It is not about religion or rituals — it is about tuning into the silence where true transformation begins.

You’ll discover why this specific time has been revered by ancient wisdom traditions for centuries and how your words, when spoken in alignment, carry an energy that transcends thought. Through powerful insights and practical reflections, you are invited to awaken the part of yourself that has been waiting in silence — not for answers, but for presence.

This isn’t just about speaking a prayer — it’s about becoming it. If you’re on a journey of healing, awareness, or deeper connection with your inner self, this is the message your soul may have been longing for. Watch, feel, and experience the shift that happens when you align with the sacred hour before dawn.

#spiritualawakening​ #innerpeace​ #earlymorningritual​ #sacredhour​ #meditationtime​

 DISCLAIMER: Supreme Mindset provides educational content for motivational purposes only. We are not licensed therapists, financial advisors, or medical professionals.

Reflect.

 Reflect.

In the Kamyaka forest. The five brothers and Draupadī sit in silence. The fire crackles. The pain of exile hangs heavy.

YUDHIṢṬHIRA (quietly, to himself):

"I played with dice, knowing it was ruinous.

Blinded by pride, I staked all—myself, my brothers, and her.

What have I done? Righteousness has bound me like a deer caught in a snare."

Vana Parva, Adhyaya 30

DRAUPADĪ (rising, voice trembling):

"O King, you are learned in Dharma, yet you let adharma pass unchallenged.

Am I but a possession, a stake upon the board?

Where was Dharma when the wicked laughed and I stood shamed?

If silence is virtue, then I curse such virtue!"*

Vana Parva, Adhyaya 28

ARJUNA (fist clenched):

"My Gandiva wept in silence that day.

I could have burned that hall with my wrath,

But I was bound by your command, my elder's word.

Now I ask myself—was silence my sin?"*

 Vana Parva, Adhyaya 31

BHĪMA (striking his thigh):

 "Had you permitted, I would have crushed Duryodhana's skull on the palace floor!

My arms were eager, my heart ablaze—yet I stood restrained.

You let Dharma guide you, brother,

But what Dharma lets evil thrive and virtue starve?"*

 Vana Parva, Adhyaya 29

YUDHIṢṬHIRA( sorrowful)

"I do not know what is Dharma anymore.

That which I thought was virtue led us here.

I did not speak, nor strike, nor rage.

I bore it all—for peace, for elders, for truth."

 Vana Parva, Adhyaya 33

DRAUPADĪ (tears streaming):

"Peace built on injustice is poison.

You call it Dharma, but it left me naked in that court.

Even the gods must weep at such restraint!"

Vana Parva, Adhyaya 28

ARJUNA (softly):

"Perhaps we must rise beyond mere Dharma,

And see that justice too has its bow.

I vow—when time comes, my Gandiva shall not rest."

Vana Parva, Adhyaya 31

BHĪMA (thundering):

"I have counted the bones in Duryodhana’s thigh.

I shall crush them. This I swear by my strength and sorrow!"

Vana Parva, Adhyaya 29

YUDHIṢṬHIRA (closing his eyes):

"Perhaps this exile is a fire to burn away illusion.

Dharma is subtle—perhaps beyond reason.

Let time be the judge of our choices.

Until then—we walk this forest path with heads held high."

Vana Parva, Adhyaya 34

[The fire crackles. They sit together—wounded, but united. The silence of the forest holds their vows.]

The verses reflect chapters: Adhyayas 28–34 in the Vana Parva.

Dharma vs. Kshatra, fate vs. free will, restraint vs. justice, shame, vow, and hope.

Quest.

 In the Aranyaka Parva (Vana Parva) of the Mahābhārata, there is a poignant episode where Draupadi questions Yudhishthira about the injustice of life, especially the apparent prosperity of the wicked and the suffering of the virtuous.

This scene takes place during the Pandavas' exile in the forest. Draupadi, deeply aggrieved by their humiliations—especially the dice game and her own public insult—speaks her mind, unable to accept Yudhishthira's quiet forbearance and commitment to dharma.

Draupadi asks Yudhishthira:

“Why do the wicked flourish, while the virtuous suffer?

Why are you, the righteous king, suffering in the forest, while Duryodhana, who has broken dharma, enjoys the kingdom?

Why do you cling to dharma, when it seems dharma has abandoned you?”

She even questions:

“What use is virtue if it leads only to humiliation and loss? Should not power be seized when injustice prevails?”

Yudhishthira’s Response:

Yudhishthira answers with calmness, reinforcing his unwavering faith in dharma (righteousness):

 "Dharma is very subtle and not always immediately visible in its fruits."

 "What we face is not just the result of present actions but of past karma. The wicked may enjoy briefly, but they are already sowing their downfall."

 "Time governs the rise and fall of all. Even Duryodhana’s seeming victory is only temporary."

 "The world does not run because of weapons or wealth, but because virtuous people continue to uphold it even in suffering."

"We will fight, but when the time is right. Our patience is not weakness, it is preparation."

This exchange is one of the most philosophically intense in the Mahābhārata. It reflects the inner turmoil of the human spirit, torn between:

the ideal of righteousness, and

the reality of suffering in an unjust world.

Draupadi embodies the voice of justified outrage, while Yudhishthira stands for stoic endurance and faith in divine justice.

“He who suffers in silence despite injustice, and yet does not forsake virtue—

shines like the sun through clouds, when the time comes.”

 “Even when dharma yields no fruit in sight, abandon it not—

for dharma abandoned, will abandon you when you need it most.”

Matali.

 “Matali” most commonly refers to the divine charioteer in Hindu mythology:

In Hindu sacred texts such as the Vāmana Purāṇa, Mahābhārata and Rāmāyaṇa, Mātali (also Matāli) is the skilled celestial charioteer of Indra, king of the gods .

Born to sage Shamika and Tapasvini, his twin appeared during an earthquake and flew directly to Indra to serve as his divine charioteer .

In the Rāmāyaṇa: Indra sent Matali to offer his chariot, bow, and weapons to Rāma during the battle against Rāvaṇa, significantly aiding the hero .

In the Mahābhārata: Matali drives Indra’s chariot for Arjuna, conveying him to Svarga and assisting in battles against powerful foes like the nivatakavāchas and kalakeyas with strategy and counsel .

He also acts for Indra as messenger—bringing King Dushyanta to assist in the war against the asuras in Kālidāsa’s Abhijñānaśākuntalam, and engaging in philosophical dialogue with King Yayāti about life and the soul .

Matali often symbolizes divine guidance, loyalty, and the bridge between gods and mortals in mythology .

Bridge.

In the vast universe of Indian classical music, there exists a magical thread that binds the soul to sound, the silence to rhythm, and the mind to emotion. This thread is called the rāga. More than a melodic framework or scale, a rāga is a living spirit that communicates directly with the mind and heart. It is not merely heard—it is felt, absorbed, and experienced. A rāga, in its essence, is something that connects your mind.

Each rāga carries a rasa—an emotional essence. Some rāgas are soaked in devotion (bhakti), others brim with longing (viraha), some speak of joy (ananda), while others echo silence, introspection, or even sorrow. For instance, Raga Yaman evokes peace and divinity when played in the quiet of the evening. Raga Bhairavi is a morning rāga but often used to end a concert, symbolizing completion and return to inner calm. The mind, ever racing, slows down to listen, respond, and reflect in the presence of such music.

Unlike Western musical compositions, which are often fixed, a rāga provides a structure that invites exploration. It gives an artist freedom within discipline. The ascending and descending notes (aroha and avaroha), the dominant and subdominant tones (vadi, samvadi), and the ornamentation (gamakas)—all come together to form an emotional map. As the artist journeys through this map, the listener’s mind travels too—through memories, moods, and meditative silence.

To truly listen to a rāga is to practice mindfulness. Each note (swar) is a breath, each pause is silence pregnant with emotion. The mind, when exposed to such purity, sheds its clutter. Like a mantra, a rāga has the power to quiet the inner noise. Neuroscience even supports this: listening to classical music, especially rāgas, can reduce stress, improve concentration, and even aid in healing.

In moments of solitude, a rāga can be a friend. In celebration, it becomes a dance. In grief, it offers comfort. It enters your mind not like a guest but like a familiar presence, echoing your innermost thoughts. Many saints—Meera, Kabir, Tyagaraja—used rāga as a medium to converse with the divine. Their songs still resonate centuries later, not because of complexity, but because of this deep mental and emotional connection.

In a world overwhelmed by distraction, the rāga remains an anchor. It connects your mind not only to music but to your own self. It teaches you to listen—not just with ears, but with awareness. A rāga is not entertainment; it is engagement. It is not just melody; it is mindfulness in motion. Whether you are a musician or a seeker, a listener or a lover of silence, the rāga will always find a way to connect—to calm, to awaken, and to carry your mind into deeper realms of experience.

In the shadows

 The story of Mileva Marić and Albert Einstein is one of brilliance, ambition, love, and mystery. It traces the path of two young intellectuals at the dawn of the 20th century who found in each other not just affection, but also a rare meeting of minds. However, history has not treated both with equal fairness. While Einstein’s name became synonymous with genius, Marić’s legacy remains clouded in speculation and silence.

Mileva Marić was born in 1875 in Titel, Serbia, part of the Austro-Hungarian Empire. Exceptionally bright and passionate about science, she overcame the prejudices of her time to become one of the few women studying physics and mathematics in Europe. She enrolled at the Swiss Federal Polytechnic in Zurich in 1896 — the same year Albert Einstein began his studies there.

It was here that the two met and began a bond that was as intellectual as it was romantic. They discussed physics deeply, studied together, and challenged each other’s thoughts. Letters exchanged between them show not just affection but a collaborative spirit. Einstein often wrote about “our work,” and “our theory,” suggesting a possible shared intellectual journey.

The most debated chapter in their relationship is whether Mileva contributed to Einstein’s early groundbreaking work, including the 1905 “Annus Mirabilis” papers that revolutionized modern physics. Some researchers argue that she helped with calculations and may have even co-developed ideas, especially since she had strong academic capabilities and was a peer in scientific discussions. Others, however, maintain that Einstein was the sole author of these theories and that the couple’s relationship, though intellectually intimate, did not amount to formal collaboration.

The truth remains elusive due to the lack of formal records, destroyed letters, and Mileva's own silence. But the fact that she gave up her scientific career after marriage — as was often expected of women then — cannot be overlooked. Einstein went on to global fame, while Mileva receded into the shadows.

Their marriage in 1903 was marked by challenges — poverty, societal pressure, and eventually personal strain. They had two sons, Hans Albert and Eduard, and a daughter, Lieserl, whose fate remains a mystery. By the 1910s, the relationship had become strained. Einstein’s increasing fame and emotional distance, along with Marić’s depression and the burden of managing the family, widened the rift. They formally separated in 1914 and divorced in 1919.

In a surprising clause, Einstein promised to give Marić the prize money if he ever won the Nobel Prize — a promise he fulfilled in 1921. This may have been a gesture of compensation or a quiet acknowledgment of her sacrifice.

Mileva Marić lived out her life in Zurich, caring for their son Eduard, who suffered from schizophrenia. She died in 1948, largely unrecognized in the scientific world.

In recent decades, there has been a resurgence of interest in her life, with scholars, feminists, and historians seeking to reclaim her story. Whether or not she co-authored Einstein’s theories, she undeniably represents the countless women whose talents were dimmed by the constraints of their time.

The tale of Mileva Marić and Albert Einstein is not just about one of history’s greatest scientific minds, but also about a brilliant woman who lived in his shadow. It compels us to ask how many voices and ideas history has forgotten. And it urges us to ensure that today’s Milevas are seen, heard, and remembered — not as footnotes in the lives of great men, but as thinkers and pioneers in their own right.

भावार्थ

भावार्थ

सगुण और निर्गुण रूप! हे अनुपम रूप-लावण्ययुक्त! 

छन्द

जय सगुन निर्गुन रूप रूप अनूप भूप सिरोमने।

दसकंधरादि प्रचंड निसिचर प्रबल खल भुज बल हने॥

अवतार नर संसार भार बिभंजि दारुन दु:ख दहे।

जय प्रनतपाल दयाल प्रभु संजुक्त 

भावार्थ

सगुण और निर्गुण रूप! हे अनुपम रूप-लावण्ययुक्त! हे राजाओं के शिरोमणि! आपकी जय हो। आपने रावण आदि प्रचण्ड, प्रबल और दुष्ट निशाचरों को अपनी भुजाओं के बल से मार डाला। आपने मनुष्य अवतार लेकर संसार के भार को नष्ट करके अत्यंत कठोर दुःखों को भस्म कर दिया। हे दयालु! हे शरणागत की रक्षा करने वाले प्रभो! आपकी जय हो। मैं शक्ति (सीता जी) सहित शक्तिमान आपको नमस्कार करता हूँ॥1॥

छन्द

जय सगुन निर्गुन रूप रूप अनूप भूप सिरोमने।

दसकंधरादि प्रचंड निसिचर प्रबल खल भुज बल हने॥

अवतार नर संसार भार बिभंजि दारुन दु:ख दहे।

जय प्रनतपाल दयाल प्रभु संजुक्त सक्ति नमामहे॥1॥

Tav bisham maya bas surasura naag nar ag jag hare.

Bhava panth bhramat amit day nisi kaal karma gunani bhare.

Je Nath Kari Karuna Biloki Tribidhi, free from sorrow.

Bhava khed chhedan dachch hum kahun rachch Ram namamahe॥2॥

gist

Hey Hare ! Due to being under the influence of your evil Maya, the gods , demons , snakes , human beings and all the moving and immovable people are wandering day and night in the path of eternal life (movement) , filled with time, deeds and qualities (under their influence) . Hey Nath! Of these, those whom you looked at with kindness (kindness) were freed from all three types of sorrows (born of illusion). O Shri Ram who is skilled in cutting off the labor of birth and death ! Protect us. We salute you॥2॥

भावार्थ

सगुण और निर्गुण रूप! हे अनुपम रूप-लावण्ययुक्त! हे राजाओं के शिरोमणि! आपकी जय हो। आपने रावण आदि प्रचण्ड, प्रबल और दुष्ट निशाचरों को अपनी भुजाओं के बल से मार डाला। आपने मनुष्य अवतार लेकर संसार के भार को नष्ट करके अत्यंत कठोर दुःखों को भस्म कर दिया। हे दयालु! हे शरणागत की रक्षा करने वाले प्रभो! आपकी जय हो। मैं शक्ति (सीता जी) सहित शक्तिमान आपको नमस्कार करता हूँ॥1

Chhand - The word is made from the root 'Chhad' which means 'to delight', 'to make happy'. This ahlad arises from the arrangement of regular numbers of letters or matras. Thus, the definition of verse would be 'If a rhythm is created by the arrangement of a regular number of letters or matras, then it is called verse'. The first mention of chhanda is found in ' Rigveda '. Just as the regulator of prose is grammar , similarly the prosody of poetry is the scriptures.

छन्द

भावार्थ

जिन्होंने मिथ्या ज्ञान के अभिमान में विशेष रूप से मतवाले होकर जन्म-मृत्यु (के भय) को हरने वाली आपकी भक्ति का आदर नहीं किया, हे हरि! उन्हें देव-दुर्लभ (देवताओं को भी बड़ी कठिनता से प्राप्त होने वाले, ब्रह्मा आदि के ) पद को पाकर भी हम उस पद से नीचे गिरते देखते हैं (परंतु), जो सब आशाओं को छोड़कर आप पर विश्वास करके आपके दास हो रहते हैं, वे केवल आपका नाम ही जपकर बिना ही परिश्रम भवसागर से तर जाते हैं। हे नाथ! ऐसे आपका हम स्मरण करते हैं॥3॥

Je charan siv aj pujya raj subh parsi munipatini tari.

Nakh Nirgata Muni Bandita Trailok Pavani Sursari.

Dhwaj Kulis Ankus Kanj Jut Ban Firat Kantak Kin Lahe.

Pad Kanj Dwand Mukund Ram Rames Nitya Bhajamahe॥4॥

gist

Those feet which are worshiped by Lord Shiva and Lord Brahma , and whose feet, after getting the touch of the auspicious Raj (made of stone), the wife of Rishi Gautam became immortal , whose feet are worshiped by the sages , the Devnadi Gangaji, who purifies the world, is worshiped by the nails of whose feet. She came out with the flag, thunderbolt handle and lotus , whose feet were covered with calluses due to being pricked by thorns while wandering in the forest, O Mukund! Hey Ram ! O Ramapati! We keep worshiping those two lotus feet of yours daily.॥4॥

अब्यक्तमूलमनादि तरु त्वच चारि निगमागम भने।

षट कंध साखा पंच बीस अनेक पर्न सुमन घने॥

फल जुगल बिधि कटु मधुर बेलि अकेलि जेहि आश्रित रहे।

पल्लवत फूलत नवल नित संसार बिटप नमामहे॥5॥

भावार्थ

वेद शास्त्रों ने कहा है कि जिसका मूल अव्यक्त (प्रकृति) है, जो (प्रवाह रूप से) अनादि है, जिसके चार त्वचाएँ, छह तने, पच्चीस शाखाएँ और अनेकों पत्ते और बहुत से फूल हैं, जिसमें कड़वे और मीठे दो प्रकार के फल लगे हैं, जिस पर एक ही बेल है, जो उसी के आश्रित रहती है, जिसमें नित्य नए पत्ते और फूल निकलते रहते हैं, ऐसे संसार वृक्ष स्वरूप (विश्व रूप में प्रकट) आपको हम नमस्कार करते हैं॥5॥

Je Brahma Ajmadvaitamanubhavgamya Manpar Dhyavahi.

I say, I know, O Lord, I am always the same as the village.

Karunayatan Prabhu, by multiplying the good deeds, God asked for this boon.

Our mind, speech and actions are spoiled and our feet are full of love. ॥6॥

gist

Brahma is unborn, non-dual, known only through experience and is beyond the mind - (Those who meditate on Brahma by saying this, let them say so and know), but O Lord! We always sing your pure praises. O Lord, the abode of compassion! O mine of virtues! Hey, God! We ask for this boon to give up vices in mind, words and deeds and love at your feet only.॥6॥

Praise.

 https://youtu.be/_xDYHxCmO3k?si=s5BqBRjokuSpuffU

Lord Siva praising and singing on Sri Rama return to ayodhya. 

How to.

 When an employee chooses to move roles, departments, or even organizations to better contribute—be it through growth, alignment of purpose, or skill utilization—it reflects ambition and clarity. The way they are treated during and after this transition speaks volumes about a leader’s or institution’s maturity.

Here are key norms and principles on how to treat such an employee:

1. Respect the Decision

Acknowledge that the move is for personal or professional betterment.

Avoid guilt-tripping or emotional manipulation.

Treat the decision as a sign of growth, not betrayal.

"Every tree seeks more light; don’t resent the branch that leans outward."

2. Maintain Open Communication

Offer space for a respectful exit or transition.

Encourage honest dialogue about what inspired the move—this may bring valuable insights.

3. Celebrate the Contribution

Publicly acknowledge and appreciate the employee's past work.

A thank-you note, farewell message, or even a small celebration can go a long way in preserving goodwill.

Gratitude nurtures loyalty, even beyond tenure.

 4. Avoid Hostility or Coldness

Don’t cut off communication, exclude, or bad-mouth them.

Leaders who act small diminish their own dignity.

5. Support the Transition

Help in a smooth handover.

Offer a letter of recommendation, reference, or mentoring if requested.

Treat it as a long-term relationship, not a transaction.

"An employee is not leaving you. They’re stepping into a new orbit of their potential."

6. Foster Alumni Relations

Create a culture where former employees can still engage with the organization in knowledge-sharing, networking, or future collaborations.

Goodwill spreads through them.

7. Self-Reflection for the Employer

Ask: Why did the person feel the need to move?

Use the moment to assess growth opportunities, culture, and leadership style.

Let go with grace, not with grudge,

For every soul must shift and trudge.

They walked with you, gave heart and hand—

Bless their step to a newer land.

a professional and inspiring workplace speech that sets the tone for a policy on how to treat employees who move roles to better their contribution—either within or outside the organization:

 Speech: A Culture of Respectful Transitions

Good morning, everyone,

Today, I want to speak about something that affects every organization—not just in terms of structure, but in terms of spirit:

How we treat employees who choose to move forward in their journey to contribute better.

Whether someone shifts departments, seeks a new role elsewhere, or steps into a fresh challenge, we must remember one thing:

Growth is not abandonment. Movement is not disloyalty.

We are a team that values purpose, self-awareness, and impact. So when one of us chooses a path that aligns more closely with their talents, passion, or timing, our job is not to judge. Our job is to support—with dignity, grace, and gratitude.

Our Policy Going Forward:

1. We respect the decision.

No employee will be made to feel guilt or shame for choosing growth.

2. We celebrate their contribution.

Their time here, their work, and their effort matter. We will recognize it properly.

3. We support the transition.

Be it handovers, recommendations, or simply an open door—our help continues even as paths part.

4. We avoid hostility or exclusion.

No gossip. No silent treatment. No pettiness.

Our workplace is a reflection of who we are—and we choose maturity.

5. We stay open to the future.

People return. People refer. People respect us when we treat them right.

The true test of a workplace’s culture is not just how it welcomes someone in—but how it lets them go.

As the poet said:

“Let go with grace, not with grudge,

For every soul must shift and trudge.

They walked with us, gave heart and hand—

Let’s bless their step to a newer land.”

Let us be an organization that people leave with pride—and remember with warmth.

Thank you.

The blessing.

 Importance of Rituals Dedicated to the Dead in Hinduism

Pitru Paksh Shraddh, Tarpanam, Vavu Bali, Pinda Danam, Bali Tharpanam or Shraddham are the various names used to describe the rituals performed for the dead parents, relatives and ancestors in Hinduism. Shradh holds an important place in rituals associated with Hindu religion and it is performed without fail by most Hindus. Apart from the immediate rituals after a death, there are also annual rituals like Pitru Paksh Shradh in North India west and East India, Aadi Amavasai in Tamil Nadu, Karikadaka Vavu Bali in Kerala, Basant Panchami in Eastern parts of India and Amavasya rituals in other places. 

Upanishads and Bhagavad Gita talks about the journey of the dead and about the importance of the rituals dedicated to them. Annual Shraddh is usually performed during the Dakshinayana period (July to December).

Prashna Upanishad indicates that the rituals performed on the first Krishna Paksha Amavasya during Dakshinayana period directly reach the Dead. In South India, the first Amavasi after Dakshinayana is considered highly favorable for performing the Shraddham.

Shraddh should be performed with a pious mind. The person who performs the Shraddh should realize that for his birth, body, knowledge, wealth and sanskar he/she is indebted to the ancestors. All that is there was given by the ancestors. So the rituals performed is accepting this fact and is sort of thanksgiving. Both male and female relatives of the dead can perform the rituals. 

The rituals including the ‘pind dhan’ that are performed reach the dead ancestors through the rays of Surya (Sun.) It is said that a year of humans is a day for the dead and therefore the ancestors enjoy the fruits of the annual Shraddh throughout the year. 

Another belief is that the souls of dead remain in peace in Pitru Loka as a result of the rituals performed by their children or relatives. It is also said that the dead bless them for this and it helps the children and relatives to lead a good life on earth. 

Equally important is feeding the poor on the day. Whenever rituals dedicated to the dead are performed, people distribute food and clothes among the poor. 

Usually the rituals are performed on a riverbank or on seashore. There are also temples in India where the rituals can be performed like the famous Vishnupad Temple in Gaya, Bihar. In some places crows are invited to feed on the rice cake that is prepared for the ritual.

The method of performing the rituals slightly varies from region to region. But the essence of the ritual is the same. 

It is the duty of all Hindus to perform Shradh for their dead ancestors.

Origin of Pindadaan – Worship of Pinda in Shradh

Origin of Pindadaan, or worship of Pinda, which is part of Shradh rituals is found in the Shantiparva of Mahabharat. The Varaha incarnation of Lord Vishnu introduced the concept of Pinda to the world. Pinda means a rice bowl.

Legend has it that he created three Pindas from his molar tooth and placed it on darbha grass facing south direction.

The three pindas are representatives of father, grandfather and great grandfather.

He then performed ritualistic worship of Pindas with sesame or til seeds.

The worship of Pinda for deceased ancestors began under the guidance of Varaha.

Pindadaan is mentioned in the Yajurveda and Gruhya Sutra.

Tilodaka – Water Charged with Til or Sesame Seeds in Shradh Rituals

Tilodaka in Shradh rituals is water mixed with Til or sesame or ellu. The water containing sesame seeds is charged with mantras and is of special significance in the Shradh ritual.

It is believed that the water charged with sesame helps in attracting the attention of ancestors in the pitru world. An energy whirlpool is created inside the vessel and the pitrus are attracted to it. This helps the pitrus to enter the earth world quickly.

In Shradh ceremony, panchabuthas which form the body is also represented through Til.

Importance of Darbha in Shradh Rituals

Darbha, also known as Kusa or Darbhai or Durva, is of great importance is Shradh rituals dedicated to ancestors. It plays an important role in all death related rituals in Hinduism because it generates positive radiance. When darbha is used, the positive radiance emitted from it helps sattvic particles to prosper and it also negates the rajasvic and tamasic particles. The deceased soul is thus able to absorb only sattvic energy.

As Darbha creates a positive atmosphere, the shradh ritual becomes effective in lesser time.

If any component is missing during Shradh ritual, it can be filled by placing the grass with root.

The darbha for Shradh ritual should be plucked from clean ground. Darbha for shradh should be plucked along with the root. Darbha with root helps pitrus in attaining victory in Pitruloka.

Use of Akshat or Akshata in Shradh and Tarpan Rituals

Akshat or Akshata is the unbroken rice used in Shradh and Tarpan Rituals dedicated to dead ancestors in Hinduism. Akshat is widely used in numerous other Hindu ceremonies.

In Shradh ritual, it is used by the priest to bless the person or group that conducted the Shradh rituals.

The priest blesses the hosts by sprinkling unbroken rice.

Only unbroken rice or barley is used for the purpose.

Performance.

 https://youtu.be/R67k9KBY7so?si=sLEyiAP1ajvcsdXP

Performance during the visit of the p.m. sounds at Gangaikonda cholapuram.

Another superb rendition.

 #bhagavadgita​ #bhagavadgitaintamil​ #bhaktimusic​ #chinmayamission​ #gitaintamil​ #gitachanting​ #ilayaraja​ #ilayarajamusic​ #sacredverses​ Chinmaya Mission’s heartfelt gift to the global Tamil diaspora – the Bhagavad Gita in Tamil.

Must watch.surely the best use of A1 utility. God bless all who were instrumental in this superb display of bhagvad Gita. 

https://youtu.be/wcdboLG542k?si=yRhT6EbYM61exs1a

As we celebrate 75 glorious years of Chinmaya Mission, we proudly present the timeless wisdom of the Gita in the world’s oldest language.

Select verses have been enriched with the divine music of Maestro Ilaiyaraaja, while all 18 chapters are also available in their traditional chanting style in Chinmaya Mission Chennai YouTube channel, offering a complete spiritual experience.

This sacred offering was released by Hon’ble Prime Minister Thiru Narendra Modi avargal on 27th July 2025, at the historic Gangaikondacholapuram temple, a moment that blends devotion, culture, and history.

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To make this treasure accessible for today’s generation, the entire video has been created using advanced AI technology – seamlessly weaving together verses, visuals, and music into a unique digital experience.

This is our humble tribute to Gitacharya, Pujya Gurudev Swami Chinmayananda, whose vision continues to guide seekers across the world.

Immerse yourself in this dynamic manual of life, now in Tamil – timeless wisdom for every age.

#BhagavadGita​ #GitaInTamil​ #Ilaiyaraaja​ #ChinmayaMission​ #75YearsChinmayaMission​ #PMModi​ #AIExperience​ #Vedanta​ #TamilLanguage​