Rahasya Padavi, Rahasya Navaneetham and Rahsya Sandesham.

Rahasya Padavi, Sri Rahasya Navaneetam and Sri Rahasya Sandesam?

A. The author of the three Rahasyas is Sri Vedanta Desika. He is one of the important Preceptors of Sri Vaishnavism. He has authored more than 120 works. His works can be broadly classified into five major groups. 1. Sahitya Granthas 2. Vedanta granthas 3. Stotras.4.Rahasya granthas 5. Tamil Prabandams.

The Rahasya granthas are in maniparvala style (Sanskrit and tamil fused together in a simple but fine rhythum) These are classified into three groups as Amrutharanjani Rahasyam, Amrutha swadhini rahasya and tani rahasyas.

The above three rahasya namely rahasya padavi, rahasya navanneta and rahasya Sandesam fall into amrutha ranjani group. Which have 17 rahasyas in it. Falling under sampradaya parisuddhi:-

Rahasya Padavi consists of three rahasya mantras. 1. Astaksara, @. Dwaya mantra and 3. Charma sloka.

Rahasya Navneetam:- A brief explanation of the three rahasya mantra, a quotation from Brahma sutras of Badrayana and Srimad Valmiki Ramayana, are the features delt with in this rahasya.

Rahasya Sandesa:- Here we find a brief description of the tirumantra of astaksara and an analysis of pranava, Nama sabdha and Narayana.i.e. Chit Achit and the Lord.

Thus the three are interlinked to form a beautiful garland.

The Single act of the performance of Prapathi is to be preceded by the four thoughts:-

1. The giving up of the thought that I am the doer.

2. The giving up of the thought of mine.

3. The giving up of the fruit of action.

4. The giving up of the thought that what one does is the means of the attainment of the fruit.

So the three secrets have three parts each connected to each other and again the three are interlinked.

The three Secrets:

1. The first and the most important is called Ashtaksara and this consists of 8 syllables and is the form of three words. The first word is a single syllable OM the second word is NAMAHA the third word is NARAYANAYA. So the astaksara is OM NAMO NARAYANAYA. This means salutations to NARAYANA but they have a deeper meaning to it.

2. The second secret is called DVYA. This is in two parts the first part is “ Sriman Narayana charanau saranam prapadye.” This means I seek refuge at the feet of sriman Narayana. The second part is “Srimate Narayanaya Namaha.” This means salutations to sriman Narayanaya. This too has a deeper meaning.

3. The third secret is Charma sloka which occurs in the last chapter of Bhagvad gita. The sloka says Having already given up dharmas as a means to attain moksa, surrender yourself fully to me. I will free you from all the sins, do not grieve.”

“OM Sarva Dharman Parityajya Mamekam sharanam vraja. I

OM Aham Tvam Sarva Papebhyo Om Moksa Isyami Masucha.”

This too has a deeper meaning.

1A. Astaksara OM NAMO NARAYANAYA

The Om has three letters A U and M.

A means Narayana or Vishnu. A is the beginning of all letters similarly Vishnu is the origin of all beings, hence A denotes Vishnu. The letter A is the shortened form of the verb “AVA” which means to protect. Since Vishnu is the protector of all the worlds the letter a menas Vishnu who is the protector. The letter U means Lakshmi it also means only. The letter M means the Soul or Jivatma. Secondly the letter M is derived from the verb which means to know it also means limit or measure.

Namo or Namaha has two meanings if it is taken as one word it means salutations or worshipping. The second meaning is got by splitting namaha. Na and Maha which then means not mine.

By adding jivatma to the context it explains

1. I am not mine. I am subservient to the Lord. I belong to the Lord.

2. Nothing is mine everything belongs to the Lord.

3. I am not independent. I am depending on the Lord.

4. Mastership is not mine, I am not master of myself including myself. Narayana is master of everybody.

Ra means to perish so ra denotes achetana which is perishable.

Nara means that which does not perish hence nara means chetana or Jivatma. Nara means the Lord also. So Nara means those belonging to Nara the Lord. If you take the meaning of ayana as upaya or means for attaining salvation then the word Narayana (NARA – AYANA) will mean that he the Lord VISHNU is the upaya or the means of attaining salvation for all jivatmas. Or if you take ayana to mean fruit. One that is to be obtained. It will mean He is the fruit or the end to be attained by all Jivatmas.

By the various combinations 10 meanings are possible.

1. Salutations and Pranams to Narayana.

2. I surrender myself to the lord as my existence is only for the pleasure of the lord. I surrender the protection of myself to the lord. I surrender the fruit of Purushartha to the Lord.

3. I am the servant only to the lord and lakshmi. I am not subservient to anybody else. I am not subservient to myself also. I do not have any independence. I am completely depended on the lord.

4. I Surrender myself to the lord even this surrender is by the grace of the lord. The lord alone is the protector. There is nobody else that can protect me. I cannot protect myself.

5. I will do service only to the Lord and Lakshmi. I will not do anything for my pleasure. What ever I do is for the pleasure of the Lord.

6. I will do service to the Lord and Lakshmi at all times. I will also do service to Bhagvatas.

7. I do not belong to myself I do not have anything as mine. Nothing is mine I belong to the Lord. Every thing that I have also belongs to the lord.

8. I am not able to do any upaya. The lord alone is upaya. He should bless me with salvation and permit me to do service to the lord.

9. My protection is the responsibility of the lord. The lord will free me from all sins the lord will bless me with eternal service to him.

10. I belong only to the lord I do prapati to him I will do eternal service to him.

When one reaches realization one simply believes in the above. He then does not need to explain or derive that everything is gods maya and he has to do deeds only to please god. SESHA SESHI bhava taken also proves the above. The lord is the only one capable of giving so we automatically approach him.

The Dvaya Mantra.

The word Sri has six meanings.

She is attained by chetanas.

She attains Narayana and pleads on behalf of chetanas.

She hears the prayers of chetanas.

She makes Narayana hear the prayers of chetanas

She destroys the karmas of chetanas which stand in the way of attaining salvation.

She makes ripe the qualities of chetanas so that they desire only moksha and nothing else.

One way is addressing Him as Sriman Narayana and then saying I seek refuge in the feet of sriman Narayana.

The feet are the most important of the lords form. We only fall at the feet of the lord for obtaining salvation.

The first part means seeking refuge at the Divine feet of Sriman Narayana. So it indicates upaya or means of attaining salvation. The second part denotes the fruit to be achieved namely service to the lord.

The second part of the dvaya reads Srimate Narayanaya Namaha.. Salutations to sriman Narayana.

The deeper meaning reads.

May I be for the service of sriman narayana. I am not for myself. Nothing is mine. Every thing belongs to the lord. I am the servant of the Lord. I do not do anything for myself. The lord only gets things done through me. What ever I do is for the pleasure of the lord only. The first part thus indicates upaya and the second upeya the means and the fruit to be attained.

The Charma Sloka.

The Charmasloka by itself is not a secret. It becomes a secret because of the hidden meaning of the various words in the sloka which are highly important. They have to be understood properly. Under a proper acharya. Hence it is called or reffered to as secret.

Different people belonging to different philosophies have given various interpretations depending on the different contexts. Ramanuja himself gives two alternative meanings for the sloka. The first meaning given by Ramanuja A person who takes up the karma yoga or jnana yoga bhakti yoga should perform it with immense affection to god. At the same time he should give up the thought that he is actually doing the karma yoga. He should give up the fact that the fruit actually also belongs to him. He should give up the fact that he is the doer and that he is also reeping the benefit of the fruit. He must consider and understand that every thing is being done by god only and that it is for the pleasure of the lord.. The second meaning given by ramanuja is suppose while doing the bhakti yoga a person has committed several sins or papa. These act as hindrance in the proper performance of the bhakti yoga. So these things have to be properly attoned for before continuing the bhakti yoga. For the attonment of sins the shastras have laid down several prayaschittas a few examples like krichra, Chandrayana and kusumendrahoma etc. These expiation ceremonies take a long time and are difficult to perform. Krishna says give up the various prayaschitta ceremonies that are prescribed in the shastras. Seek refuge in me I will stand in the place of various expiation ceremonies so that the hindrances to the bhakti yoga are got rid off. So also says Ramanujacharya.

The meaning derived by treating the sloka as a secret is how the greatness of prapati is explained.

Dharman here means various kinds of vidyas mentioned in the Upanishads. Like sad vidyadoharavidya etc. Because of incompetence and because of the inability to do the same a person in the present world has already given up doing the vidyas, which come under bhakti yoga. Hence bhakti yoga has already been given up.

So having already given up the bhakti yoga due to sheer inability you seek refuge in god and do prapati.

Sri Vedanta desika says you have already given up bhakti yoga knowing that you are unable to do it. So do prapati to attain salvation. It is clear that prapati does not require any other accessories other than the five prerequisites. So give up the idea that the other dharmas namely rites and duties are required to be performed as accessories to prapati. It is well realized in the present day that bhakti yoga cannot be performed, as laid down in the shastras. So our efforts should not be wasted in something which is not possible. Even the desire to do bhakti yoga should be abandoned.

Prapati is complete by itself and does not require bhakti yoga.

The vedas and shastras cannot prescribe things that should be done and then ask us to give them up. The shastras prescribe the duties that various classes of people have to do. The various type of yagas a person has to perform and so on. It is not correct to say that after prescribing these at length the vedas and shastras ask us to give up every thing. If the idea is to give up all the karmas and duties then there was no need to prescribe them in detail earlier.

The gita says this is tamasatyaga. If a person gives up doing compulsory karmas like sandyavandana, due to wrong notion it is tamasatyaga. So these compulsory karmas should not be given up on any account.

It is also true that these duties are not required for prapati. But these duties have been prescribed by the vedas and shastras so these duties have to be performed till the end of life by everybody including one who has done prapati.

Paratathvam and Sowlabhyam of Enperuman.

Paratathvam and Sowlabhyam
Quoting from Agamas, Naanmuga Thiruvandathi, Thiruviruttam, Siriya Thirumadal, all works composed  by the alwars who have enjoyed the greatness of Emperuman, the Paratathvam and Sowlabhyam of Sarveshwara is explained in Saazhal form. Saazhal Pasurams are like two parties teasing each other as to who is greater. Your side or my side. While one side takes the Paratathvam supremacy of the Lord as their favourite, the other side enjoys his Sowlabhyam. "In order not to get scared of his paratathavam, sowlabhyam needs are to be thought of : in order not to belittle his greatness, paratathvam needs to be contemplated.
In Vaibhava avatharams one side extolls the greatness of Rama and Krishna, while the other side mocks at such celebration by questioning the greatness of the Lord in a playful way.

Sow: Side one: Look at the way he walked on those hard stones and lived in the forest with the most beautiful deer eyed sita.

Par: ide two: Know well clearly that the lotus feet are the flowers that adorn the Nitya sooris.

Sow: Side one: Oh! friend look at the way he grew as a small cowherd boy in Nandagopa's kulam in Ayarpadi, the one who appeared removing the shackles of his father, Vasudeva and grew at ayarpaadi.

Par: Side two: He, the one who grew at ayarpadi is the father of Chatumukha Brahma. The Birthless Lord took somany births for us can we have any grievance.

Sow: Side one: Look at the stomach that has eaten the curd kept in Ayarpadi. he stooped so low to steal the curd and ate.

Par: side two: Most wonderful thing. the stomach that you are talking about is the same stomach that had swallowed the seven worlds and still had lots and lots of space. He saved us during pralaya is there any grievance for us.

Sow: Side one: Look at him he got tied down by a small rope. that too by an illiterate dark haired cowherd woman.

Par: side two: He is incomprehensible and inaccessible for those who think they can see him with their own efforts.

Sow: Side one: Look at him walking such a small dwarf walking in the yagasaalai of Bali and begged him for three measures of earth.

Par: Side two: He is Vibhu.-- one who has manifested everywhere. He cannot be seen or understood by anyone in His fullest entirety.

The Agamas
The agamas are theological treaties and practical manuals of divine worship. Though the agamas do not derive their authority from the Vedas they are not antigonistic to them. they are all vedic in spirit and character and are regarded as authoritative. The agamas are divided into three sections. The Vaishnava, the Saiva and the Sakta. The Vaishnava agamas are of four kinds, the Vaikanasa, Pancharatra, Prathishthasara and vijananalalitha. the Lord Vishnu is the supreme Lord in the Pancharatra agama. they believe that the agamas were revealed by Lord Vishnu himself. Every thing from a blade of grass to Brahma is Lord Krishna himself. The commonest and the greatest is Lord Vishnu. How easy at the same time marvelously incomprehensible.


Naanmugan Thiruvandaadhi.
Andhaadhi means hymns composed in a particular style where the last word of one hymn becomes the begining word of the next hymn. Naanmugan Thiruvandhaadhi is the fourth in the series of Eyarpaa  having 96 poems. It was sung by Thirumalisai alwar. He in this prabhandham, beautifully narates the extra ordinary qualities of the Supreme Lord Sriman Narayana and establishes the Paratatva Nimayam
In several verses of the Nanmukha Thiruvanthadi we see thirumalisai alwar's absolute freedom and closeness with the Lord, and they seem to indicate that the Lord actually followed the alwar at his call.
In verse seven he says " O Lord Narayana, you may grace me today, or tomorrow, or some other time later, but your grace is definitely coming, I cannot be without you nor can you be without me.

In verse 51 he says "Who is my companion but the Lord, who is his own, without a peer or superior? O Kaya hued Lord, nobody knows you as I do. Can the whole sky be a price for my mind?

Again In verse 86 he says "See O Heart! The supreme Lord exists. Always he exists. In the heart of devotees he exists. The Lord appears before devotees like me on his own, Know it."
Speaking of the Venkatam hill, Thirumalisai alwar says Everywhere
to be continuedon the hill amid cool mountain springs, the Lord appears before his devotees who sit in the forest meditating on his feet. the Venkatam lord is a permanent fund for Gods and men alike..  is this not his sowlaabhya quality. Again the Lord is also the maya that keeps us deluded.

In another verse Thirumalisai Alwar says "pursuing through my countless births, the lord has caught up with me now, The lotus lord of cloud like hue, has come to stay within my heart. He revealed his glory form, so now my soul indeed is blest. The karmic bonds are cut away, the soul has found its joyous home."

Though the Alwar has always pleaded for the lord's grace, here we find the lord has all along been the hound of heaven, in pursuit of the Alwar.  CAN THIS BE EXPLAINED? its so magical. one wants to be in the place of the alwar, oh! what? Oh! how would it feel !!!!!

(The correction has verses 82, 85,88,89 and 96)

Thiruviruttam.

Thiruviruttam is a poem of a hundred and four lined stanzas. This constitutes the essence of the Rig Veda. Thiru means Sri. Viruttam literally means an event. "The event of falling in love with the supreme being" is narrated poetically, bridal mysticism is symbolized in a fluent way.

To save us from false knowledge.
From evil ways and the dirt of the body
To save us from coming again and again,
to all these,
And to give us life
Thou Lord of the Immortals
comest down here,
Taking birth in many a womb,
And accepting many a form,
harken, Lord to by submission true.

O my poor heart, you went alone,
After the fiery bird that he rides
He who wears the cool tulasi
and the flaming discus,
Will you come back to me?
or will you stand there gazing in wonder
At Lakshmi and the Goddess of the earth.
And the lovely haired maid of the cowherds
a triple glory, clinging shadow like to him?

(correction says stanza 30 and 31Kannan Vaikunthanodu must look up)

Winter comes, the dark rain clouds gather in the sky, or is it winter?

Massed and blown by the wind,
Flinging the good rain,
Are they fierce dark bulls
Battling it out in the sky?
Or, has winter come to torment me,
Winter, dark, bearing His loveliness
Seemingly cool, flowery
But cruel probing my wounds,
The agony of being away from Him?

Tell me clouds,
How did you acquire the Yogic, powers
To look my Lord?
Is it through the penance you have
done through his grace,
wandering far and wide, your hearts in pain
Bearing your heavy bountiful burden of rain
to save all life here?
How comes it?
That these water lilies are dark blue like my Lord
Is it because they forshook the forest and the earth
And took to the water
Standing there, legs unflinching in penance?
The passion grows and whereever she turns
she sees the witchery of her lovers eyes.

Like lotus pools, wide stretching
on the broad brow of a dark hill,
Whereever I turn
His eyes weave beauty.
The eyes of my Lord dark and lovely
Lord of the good of the heavens
And of the world girt by the swelling waters,
Oh, but they are lotuses, she cries, His eyes,
His hands, His feet all are lotuses, lotuses.
Then a sudden mis giving assails her,
Could she so ill equipped, speak in mere
Words of His beauty?
Who can conceive of it.
The lovely dark of my Lord?
Is it within the reach
Even of those whose thought
crosses the sky and beyond.
To the world eternal?
No it is not possible, she concludes, with a touch
of elation over her lovers infinitude and a sense
of sadness at her own inadequacy:
Who can speak to them,
His colour, beauty, His name, His form?
They would talk however,
As though they know,
Those men who pursue jnana and dharma,
But however far they go,
Whereever they reach
In the blaze of light that He is,
May be they learn a little,
But how could they ever attain to it,
My Lord's Greatness?
The implication is that knowledge and righteousness
will fall short of realisation, and that only love can reach him.

She loves, of course, but the lover has not come,
and the pain of being alone grows.
The west darkens, the cresent moon shows itself
and the night wind stirs,
It is night,
With the cresent moon,
That milk mouthed child,
clinging to her waist,
The west is lamenting
Her loss of the sun.
here is the cool wind stirring
Searching seeking to steal from us
What he has given us,
the yearning for his tulasi.

Yes, but the wind is no longer cool,
says the woman in love,
it is the cruel wind and it burns,
It is invisible we know not its form,
nor can we trace its footsteps.
It goes about whispering scandals
and tormenting me ceaselessly.

The night darkens and lengthens
into an age as though, bent
on destroying her,
The young moon rises
has it come to save her
to break the unshrinking darkness
encircling night?
let it, but it burns too.

The loud unceasing lament of the bird Anvil,
from the grove and the voice of the restless sea
stealing into the land through a hundred creeks
torture her throughout the night.
Does the sea call to me to give up my poor bangles of conch shell.
She wonders in pain, unable to get back the amrita that it yielded
when the Lord churned it?
when morning comes and the sun rises over the hill,
it seams as though her lover is before her
and she rejoices that all evil and suffering are at an end.
But that is for a moment,
the sense of being away from him breaks in, and she cries out
When When will I reach Him
and adds heavily.
O Lord of the discus
that destroyed the asuras.

Thus in a number of stanzas in the poem, Nammalvar speaks of his passion for God, the love lorn woman in the poem is Nammalvar himself.
There are a few other characters in this drama of love that the poem presents. namallavar does not mention them specifically, but the context and the words given to them reveal their identity. If we call the chief character the woman in love, as nayaki or talaivi as is generally done. the other characters are nayaki's maid and friend, her mother, and her foster mother, the lover himself and his friend and a kattuvichi, a woman whose advice is sought on the supposition that the nayaki is possessed. the function of the nayaki's friend is to sympathise with and console her and also to comment on her forlorn condition.
Towards the end one cannot help feeling that the simple original symbolism of bridal mysticism the soul in love with God and longing to be united with Him, has become complicated if not confused, by the introduction of the other characters, the situation devised for them, and the words given to them. But here Nammalvar discards the symbolism and says,
to be born to die,
Age after age, age afer age,
to die and to be born,
those who can see
And laugh at this futility
surely they will long to end it
By turning in love to him the origin,
round whom the immortals gather to worship,
How can there be any sleep for them.

He also gives up the symbol of the lover and calls God Father and Mother.

entering the body
being wedged it it, being unwedged
thus the soul struggles endlessly
so betimes some how I will turn
to Him who is my Mother and My Father
And the Lord of Liberation.

But the mixing up of symbols and what is symbolised, the extension of symbols beyond the limits of logic. the coming in of other symbols and direct utterances are all characters that mark mystical poetry and Thiruviruttam illustrates them. Bewilderment is intution, thus Thiruviruttam is the poetry of intution.

Siriya Thirumadal

Siriya thirumadal is a special style of poem where our Alwar assumes the role of the Nayaki, madly in love with the Perumal. thirumangai alwar portrayed himself as Parakaala Nayaki, a female performing Madal Oordal as an expression of intense and insatiable love for the Lord. He threatens the Lord that if he will not present His darshan to him, he will do madal erudhal. he openly confesses his love for the Lord.
Here the nayaki sends her heart as a messenger to perumal. As the heart continues to stay with perumal and not come back all the consequences are imagined and sung.
Though Thirumangai alwar makes references to many temples in the madal this madal Oordhal is meant for Thirunarayoor Naachiyaar koil. since thiruNaraiyoor is the kshetram where thirumangai alwar got his panch samskaram done by the Lord himself.
To show his gratitude for emperuman he dedicated the madals to the Lord there.
there is an interesting story about these thiru madals. Thirumangai alwar built temple walls (Madhil) for Srirangam. Pleased by such service, Lord Ranganatha presented Alwar with the honour of teertham, Parivattam and Sri satakopam, and asked him alwar wo'nt you present the thirumadal prabhandam for me also. i.e. in Tamil "Thirumadal prabhandangal namakku arulicheyyal aagaatho".
Alwar wonderfully replied with "Mathil inge, madal ange" i.e. walls i have built for Srirangam, madal I have sung for Thiru Naraiyoor.
Thus endless discussions and examples of gods parathavam and Sowlabya can be given, if we understand just a few our lives can be worth.

Araiyar Sevai preperation for performance.

The performance of Araiyar Sevai requires immense concentration and inner control, perfect co-ordination of feeling music and bodily movement is required and a total switching off of the rational mind to allow the creative mood to come into effect. the Araiyar tradition prescribes fasting for a day and evacuation of the bowels with castor oil before a scheduled temple performance. The performer must observe a vow of silence and contemplate on the devotion of Lakshmana who would carry out Rama's command in spirit and of Bharatha who would carry out Rama's command in letter, to be true to the letter and spirit of the Alwar;s works. There is no room for personal or capracious interpretation of the Alwar by the performer. He must empty himself  and allow the Alwar to occupy his being Aspat of the yoga or total process. The artist must practice cheerfulness of mind through contemplation of Vishnu. Firmness of mind through devotion to his Guru. Alertness of memory through Japa, Tapa, dhyana and Pranayama. contemplation of Hyagriva and disiterestedness in the fruits of his labour through contemplation of Gita Krishna.He must control his diet to maintain lightness of body and freedom from all bodily demands during performance. Actually the physical preperation starts of months in advance. mentally he undergoes a rigorous discipline ( One araiyar from Srivilliputtur who is in the eight decad of his service who started performing when he was 13 is very entusiastic and unwilling to give up performing since 1943  The learning process that spanned 18 long years included singing the paasuram in a special tune with the relevant raga, practising abhinaya and presenting the Vyakyanam every morning at 4 and again in the evening at 9. The entire process involved not just acquiring knowledge of the 4,000 divine songs of the Azhwars but also the monumental task of capturing the meaning of each of these Paasurams and then reaching out the essence of these verses to the audience. The Vyakyanam for the Thiru Pallandu verses alone runs into 70 pages.

Araiyar Srinivasachariyar has fond memories of his Arangetram in 1943 “I really felt honoured to be led by a music band with ‘melam and thaalam’ and the temple elephant with an umbrella over me and a sacred chamaram (to fan me) around the streets of Srivilliputhur and then into the Andal Sannidhi, Vadabadrasayee Sannidhi and the Peri Azhwar Sannidhi. I was presented with the ‘Kreedam, Parivattam and Peetambaram.’ That was a divine moment.”

In the same year, he presented his first ever Araiyar Sevai in front of Tirukurungudi Nambi, his Kula Deivam, performing the abhinaya for Thirumangai Azhwar’s Periya Thirumozhi verse ‘Akkum Puliyum’ and Nammazhwar’s Tiruvoimozhi paasuram ‘Enganeyo’. Since then, for decades, he has been presenting these two verses at the Thirukurungudi Divya Desam on Kaisika Ekadasi.

His selfless service and devotion assume greater significance as many Araiyars even within these three Divya Desams where Araiyar Sevai is being performed have looked for financially ‘greener’ pastures (corporate world). He has had the unique honour of being invited to present Araiyar Sevai in over 30 Divya Desams in the State, including Sarangapani Koil, Nachiyar Koil, Thiruchcherai, Azhagar Koil and Thiru Nagai. He particularly remembers his first such presentation at the Sri Parthasarathy Swami temple in Triplicane, exactly fifty years ago in 1963, in front of a big audience.

Cherishing those special moments, Araiyar Srinivasachariyar says, ‘It was a privilege to travel to these to renowned Divya Desams and present Araiyar Sevai for long hours. Devotees used to gather in thousands and would watch in pin drop silence the presentation that would sometimes go late into the night.”

All through this 70-year service he has been presenting Araiyar Sevai at Srivilliputhur on all festive occasions such as Aadi Pooram, Panguni Uthiram and the 20-day Adhyayana Utsavam.

Through his story telling, Araiyar Srinivasachariyar transports listeners to a different world peopled by gods, goddesses and demons. Andal grows into a beautiful young girl, Lord Vishnu demolishes the evil forces - Kamsa and Hiranya - Lord Naryana retrieves the nectar and hands it back to the Devas and Lord Rama’s triumphs over Ravana as he sings the verses of Azhwars with appropriate abhinaya.

In the Himalayas

The most memorable experience of his life was his trip in 1978 to the Himalayas, where he presented Araiyar Sevai in front of Lord Badri Narayanan at the Badrinath Divya Desam. His eyes light up as he recounts that trip. “I was sitting outside my house in Srivilliputhur when an astrologer passed that way. I told him I wanted to go North. He suggested that I leave for my trip that same day. I left immediately for Madras and from there I went to Hyderabad and met Sriman Narayana Jeer. From Secunderabad, I went to Badrinath and stayed in the Himalayas for nine days.”

Tears well in his eyes as he continues: “It was God’s grace that I was able to present Araiyar Sevai at 3. 30 a.m. in front of the Lord. Almost everyone was shivering as it was extremely cold. But I was out there presenting Araiyar Sevai. My entire thought centred on Badri Narayana Perumal and I was oblivious of the temperature that must have been several degrees below zero.” Moved by his dedication, Sriman Narayana Jeer honoured him with the title ‘Bhagavad Vishaya Vidwan’.

His two other favourite presentations which he savours are Thirumangai Azhwar’s ‘Thooviriya Malar Uzhakki’ Periya Thirumozhi verse praising the Lord of Thiruvali Divya Desam presented in Deva Mukhari Ragam and the Thiru Nedunthaandagam verses – both during the Pagal Pathu Utsavam in Margazhi.

Selections from Bagwad Gita

1.  dharma ksetre  kuru ksetre samaveta yuyutsavah
     mamakah pandavas caiva kimkurvata sanjaya.
dharmaksetre the field of religions, Kuruksetre at Kuruksetre, samaveta gathered together, yuyutsavah desirous to fight, mamakah my people, pandavas the sons of Pandu, ca and, eva also, kim what, akurvata did do, Sanjaya O Sanjayah.
Gathered together at Kurukshetra, the field of religious activities, what, O Sanjaya, did my war inclined sons and those of Pandu do?
Sanjaya is the name of Dhrtarashtra's minister. Literally the word Sanjaya means: he whose victory is decisive. True to his name, this minister had mastery over his mind and senses. He was not given to partiality or predisposition. Truthfulness and straightforwardness were his characteristics. Because of these virtues the sage Vyasa temporarily bestowed on him, the power to cognize intutively all that took place at the war-front and he communicated them faithfully to his blind monarch. This was why Dhrtarashtra put this question to Sanjaya.
The conflict between the contending cousin groups was too sharp to be squared up. One stood for righteousness and possessed legitimate claim to the kingdom. The other was out to usurp it,  the rights of the rival, by foul means. In this circumstance war became inevitable. Dhrtarashtra knew this but blind as he was physically, in mind also he was such. He, therefore, resorted to wishful thinking. The field of Kurukshetra has had many holy sacrifices performed on it. It was therefore saturated with a spiritual atmosphere; and so there was the posibility of Yudhishthira the eldest of the Pandava brothers, being influenced by this divine atmosphere and beating a retreat into the forest in preferance to a sanguine warfare. in that case the odium of usurping the kingdom and waging an unrighteous war would not fall on his covetous and deceitful sons. this was the mental climate in which this fond question was raised by Dhrtarashtra, the embodiment of indiscrimination.

However long a stone may remain immersed in a river, it does not allow even a small particle of water to percolate into it. Even so the man steeped in worldliness does not permit any ethical or spiritual feeling gain access to his heart.


2. Karpanya dosopahata svabhavah
    prcchami tvam dharma sammudha cetah
    yacchreyah syan niscitam bruhitanme
   sisyaste ham sadhi mam tvam prapannam.

Karpanyadosopahatasvabhavah with nature overpowered by the taint of pity, prcchami I ask, tvam thee, dharma sammudhacetah with a mind in confusion about duty, yah which, sreyah good, syat may be, niscitam decisively, bruhi say, tat that, me for me, sisyah disciple, te thy, aham I sadhi teach, mam me, tvam to thee, prapannam taken refuge.
My nature is weighed down with the taint of feeble mindedness; my understanding is confused as to duty. I entreat you, say definitely what is good for me. I am your disciple. Do instruct me who have taken refuge in you.
Arjuna confesses that this crisis has driven him on to the position of a Kripana. It means that he is inclined to grieve; he has become feeble and an object of pity; it also indicates niggardliness. The Upanishad says that he who does not strive for spiritual enlightenment is a kripana. the man's  here Arjuna's confession is correct.
Referring to man's strivings the Upanishad declares.
"One thing is the good and quiet another, the pleasant; being of different requisitions, they both bind man. Holy becomes he who pursues the good, but falls the man from the goal, who chooses the pleasant."
Arjuna finds himself now at the cross-roads between the pleasant and the good. It is Preyas the pleasant, that has been blessed with in plenty all along. Learning and culture, wealth, wives, progeny, kingdom - gifts of this kind add to enjoyment. They come under the category of preyas. Arjuna comes to know now of the fact that they are of no avail to allay the agony caused by a catastrophe. He who was all along the kinsman and comrade of Sri Krishna, now becomes a disciple and supplicates for the gift of Sreyas the good. He surrenders himself to the Lord. this frame of mind is the prerequisite to the attainment of spiritual enlightenment. it is a turning point in life. The Lord takes note of it, sympathizes with him and infuses courage into him which is the dire need of the hour. The grace of the Lord is unfailing in its descent on the devotee in the hour of need. What came as Preyas to Arjuna till this critical juncture now chooses to come as Sreyas.

He who seeks to make a sacred study of the Bhagvad Gita and he who desires to translate its tenets into action will do well to chant this verse every time and to evoke in himself the attitude of self surrender seen here in Arjuna. It is a prayer complete in itself.

3. Karmanyy evadhikaraste ma phalesu kadacana
    ma karmaphala hetur bhur ma te sango stu akarmani.

Karmani in work, eva only, adhikarah right, te thy, ma not phalesu in the fruits, kadacana at any time, ma not, karma phala hetuh bhuh let not the fruits of action be the motive, ma not, te thy, sangah attachment, astu let there be, akarmani in inaction.
Seek to perform your duty; but lay not claim to its fruits. Be you not the producer of the fruits of karma; neither shall you lean towards inaction.
there seems to be an anomaly and defeat of purpose in this injunction of the Lord. Not an atom moves without a motive. Beings are all busy either to gain something or to ward off something unwanted. In the absence of such a motive no action needs be performed. But the Lord induces Arjuna not to be motivated and at the same time to be intensely active. Yes, herein lies the turning point in life from Preyas to Sreyas. Good accrues from detachment and never from attachment. Karma in itself is no evil; but it becomes so when mixed up with desire. Desire tainted karma gives continuity to the wheel of birth and death. the seekers after heavenly enjoyments are also slaves to desire. conquerors of desire are they who care not for the fruits of Karma. Freedom from desire is the real freedom. When duty is discharged untanished by desire, clarity of understanding ensues. In addition to it, efficiency increases. Karma therefore has to be performed perfectly by the aspirant unmindful of the fruits therreof.

A boat may be floating on water, but no water should be allowed to get into it. Man may live in the world, but no worldly desires ought to take possession of him.

4.  Yada yada hi dharmasya glanir bhavati bharata
    abhyuttanam adharmasys tadatmanam sr jamyaham.

Yada yada whenever, hi surely, dharmasya of righteousness, glanih decline, bhavati is, bharata O Bharata, abhyutthanam rise, adharmasya of unrighteousness, tada then, atmanam myself, srjami manifest, aham I.
Whenever there is decay of dharma and rise of adharma, then I embody Myself, O Bharata.
Dharma is verily the karma that is conducive to man's growth and progress; what impedes them is adharma. at every time adharma prevails and prevents man's evolution, the Cosmic Intelligence embodies Itself, as a matter of course.
Having personified Himself, what does the Lord do? He proclaims:-
5. Paritranaya sadhunam vinasayaca duskrtam
    dharma samsthapanarthaya sambhavami yuge yuge.
Paritranaya for the protection, sadhunam of the good, vinasaya for the destruction, ca and, duskrtam of the wicked, dharma samsthapanarthaya for the firm establishment of righteousness, sambhavami I am born, yuge yuge in every age.
For the protection of the good for the destruction of the wicked and for the establishment of dharma I am born age after age.
Purgation is an unfailing process of Nature. The cleansing takes place at all levels in various ways. In the agriculture field it goes on as weeding and manuring. when the wicked become more in number in the world dharma would not thrive in their midst. war, pestilence, famine and such like forces inevitabaly come in both to strike a balance of the population and to set aright the perverts.
amoung the three gunas the predominance of Rajas and Tamas aggravates adharma which threatens to topple down the social fabric. The function of the Incarnation is to induce Sattva, the chief and foremost of the three gunas into society. And along with it Dharma begins to thrive. A balance of power among the three gunas is necessary for social order to work on right lines.

A viceroy is deputed by the monarch to quell lawlessness and disorder in a distant dominion. Similarly an Incarnation is the man of authority sent by Iswara into society. he comes to put in order all lapses and deviations in the practice of dharma.

6. Ananyas cintayantomam ye janah paryupasate
    tesam nityabhyuktanam yoga ksemam vahamyaham.
ananyah without others, cintayantah thinking, mam me, ye who, janah men, paryupasate worship, nitya abhiyuktanam of the ever united, yoga ksemam the supply of what is not already possessed, and the preservation of what is already possessed, vahami carry, aham I.
to those men who worship me alone, thinking of no other, who are ever devout, I provide gain and security.
This is a sublime statement revealing the law of life at the spiritual level. In the economy of Nature the distribution of labour is benignly meted out. It is all right for the body-bound man to toil for food and clothing. But he who has completely attuned himself to the Divine loses in calibre when he brings his mind down to the mundane level. The grace of the Lord works in such a way that this downfall does not take place. In every respect the spirituality of the spiritual man is promoted.
It is ananyabhakti when the love of the jivatman for the paramatman takes away all distictions between the two.
Yoga in the context of this stanza means the provision of the means required for the devotees bodily maintenance; and kshema means the protection of what has been provided.
The baby in the womb gets its nourishment from the mother because of the state of non-seperation between the two. the boon of ananyabhakti is even greater and more consequential than this. while the mother and the baby will be seperated by time, this jivathma and paramathma will be united for eternity. the grace of the Lord unfailingly facilitates this union. While the seekers of heaven chase the phantom, the genuine devotee of the Lord gains Him, the Incomparable.
When the devotee takes one stride towards the Lord, He takes ten strides towards that devotee. Such is his grace.

7.  Sarvasya caham hrdi sannivistho
    mattah smrtir jnanam apohanamca
    vedaisca sarvair aham eva vedyo
    vedanta krd vedo vid eva caham.
sarvasya of all, ca and, aham I, hrdi in the heart, samnivistah seated mattah from me, smrtih memory, jnanam knowledge, apohanam their absence, ca and, vedaih by the Vedas, ca and, sarvaih by all, aham I, eva even, vedyah to be known, vedanta krt the author of Vedanta, vedavit the knower of Veda, eva even, ca and, aham I.
And I am seated in the hearts of all; from Me are memory, knowledge, as well as their loss; I am verily that which has to be known by all the Vedas; I am indeed the author of the Vedanta as well as the knower of the Vedas.
The Lord resides as consciousness in the hearts of all. Memory of what has been done before is possible because of this consciousness. knowledge or the faculty of understanding as to how to react to the changing circumstances - this power also comes from consciousness. as the unwanted old records are destroyed, the purposeless retention in memory and the aimless fostering of unwanted knowledge -- these are all done away with because of proximity of consciousness.
the various cosmic functions and the knowledge pertaining to them put together, are called the Vedas. It is the Paramathman revealing himself as nature. Everything in nature is in its own way expressing the glory of iswara. through the things impermanent His permanency is posited. His omniscience is evinced everywhere in nature  by the things sentient and insentient. Anandam Brahman that He is Bliss. is testified by the entire Nature. His omnipotence is also attested by the Cosmos. beauty is all His,  is borne testimony to by anything and everything in the universe. To know all these verities is to know the vedas. Iswara is the knower of the Vedas. But he does not exhaust Himself in the manifest universe. A speck in Him has become all these. The truth of His being infinitely beyond Nature is Vedanta.

8. Sarva dharman parityajya
    mam ekam saranam vraja\
    aham tvam sarva papebhyo
    moksayisyami ma sucah.
Sarva dharman all duties; parityajya having abandoned; mam to me; ekam alone; saranam refuge; vraja take; aham i; tva thee; sarva papebhyo from all sins; moksayisyami will liberate; ma not; sucha grieve;
Renounce all dharmas and take refuge in me alone. I shall liberate you from all sins; grieve not.
An embodied being is also an embodiment of karma. That karma is called dharma which proves helpful to the jivathma in his godward progress. On attainment of godhood that helpful dharma itself has to be renounced, its purpose being fully served. Surrendering himself to the Lord is the culmination of all the endeavours of the Jivathma. The import of self surrender requires to be truly understood. It is not the confession of ones inability to discharge one's duty oneself. It is not a supplication for an additional help from the Lord after the mode of a troop being replenished. Self surrender is like a stream joining a rivulet, the rivulet having ita confluence with the river and the river making itself to the ocean. Self surrender is verily self fulfilment. the will of the jivathma merges in the will of the Paramathma. Karma yoga raises the sadaka to the realization of this position. this is the result of self surrender.
9.  Yatra yogesvarah krsno
    yatra partho dhanur dharah
    tatra srir vijayo bhutir 
dhruva nitir matir mama.
yatra whereever; yogesvarah the Lord of Yoga; krsnah Krishna; yatra wherever; partha Partha; dhanurdharah the archer; tatra there; rih prosperity; vijayah victory; bhuthih happiness; dhruva firm; nitih policy; matih conviction; mama my;
Wherever is Krishna the Lord of yoga, wherever is Partha the wielderof the bow, there are prosperity, victory, expansion and sound policy; such is my conviction.
this statement is one of then governing principles of Bhagvad gita here stated by Sanjaya. Moksha is the goal of Yoga and it is to be attained by the grace of the Lord. The yoga power of the Lord with the excellent manliness of Arjuna would make the impossible possible. all human effort endeavour ought to be in tune with the will of the divine.

to be continued.

MAHALAKSHMI

The four famous stotras in praise of goddess Lakshmi are Saint Yamunacharya's Chatussloki, Kurattalwar's  Sristava, Parasara Bhatta's Sri Gunaratnakosa and the Sristuti by Vedanta desikar. others too like Sri suktam and Kanakadhara Stotra too give us the Picture of the Thayar through the eyes of great seers and sages.
The first and the foremost description of Thayar is what is given by the three alvars who were blessed with the vision of the divine couple. Two of them lit lamps the third alwar Pey alwar saw the divine vision. He began to describe what he saw as

Thiru kanden ponmeni kanden tigazhum
Arutkanni niranmum kanden - serukkilirum
Ponnazhi kanden - parisangam kaikanden
Yennazhi vannan pal inru

Thiru kanden ponmeni kanden means I saw Thiru. Thiru in Tamil stands for Lakshmi or Sri.
the alwars first saw  Lakshmi and then only the Lord.
The word SRI has been interpreted in six ways in Bhagavat sastras (Pancha ratra) etimologically.
S'riyate      (is resorted to)
S'rayate     (resorts to)
S'rnoti       (listens)
S'ravayati  (makes listen)
S'rnati       (removes)
S'rinati      (makes ripe)

Mahalakshmi personifies the concept of a life of health happiness and prosperity. She is the goddess of fortune and prosperity and bestower of wellbeing and wealth. She was one of the fourteen precious items emerging from the ocean of milk with a lotus in her hand during Amritamanthana.
She is regarded as the goddess of wealth, fortune, love, beauty, Māyā, Yoga Maya, joy and prosperity. She is both the wife and divine energy (shakti) of Vishnu, one of the principal deities of Hinduism and the Supreme Being in the Vaishnava tradition. Lakshmi is often depicted with Saraswati and Parvati as forming the trinity (Tridevi). It is described that for mankind, 8 types of goals (lakshmi) are necessary according to Hinduism: spiritual enlightenment, food, knowledge, resources, progeny, abundance, patience, and success. Hence there are Ashta Lakshmis ('Eight Lakshmis'): Ādi ('primeval'), Dhānya ('grain'), Vidya ('knowledge'), Dhana ('money'), Santāna ('progeny'), Gaja ('elephant'), Dhairya ('courage'), and Vijaya ('victorious') Lakshmi.

Lakshmi is depicted in Indian art as an elegantly dressed, prosperity-showering golden-coloured woman with an owl as her vehicle, signifying the importance of economic activity in maintenance of life, her ability to move, work and prevail in confusing darkness. She typically stands or sits like a yogin on a lotus pedestal, while holding a lotus in her hand, symbolizing fortune, self-knowledge, and spiritual liberation. Her iconography shows her with four hands, which represent the four aspects of human life important to Hindu culture: dharma, kāma, artha, and moksha.

Archaeological discoveries and ancient coins suggest the recognition and reverence for Lakshmi existing by the 1st millennium BCE. Lakshmi's iconography and statues have also been found in Hindu temples throughout Southeast Asia, estimated to be from the second half of the 1st millennium CE.The festivals of Diwali and Sharad Purnima (Kojagiri Purnima) are celebrated in her honor.

भद्रैषां लक्ष्मीर्निहिताधि वाचि bhadraiṣāṁ lakṣmīrnihitādhi vāci

"an auspicious fortune is attached to their words"

Karagre Vasute Lakshmi, karamadhye Saraswati,
Karamule tu govindaha prabhate karadarshanam.

One tells this sloka on waking up and it is symbolic of seeing Lakshmi first thing in the morning making each day an auspicious beginining.

Sri or Lakshmi occupies a pivotal position in the Srivaishnava system. We have the srisuktam where Lakshmi is refered to as Sri, and addressed as the goddess of plenty, prosperity, charm and golden complexion. She is always associated with Vishnu. Yamunacharya in Chatussloki, describes her as the goddess of plenty, prosperity, compassion and supreme authority. She is so great that even the lord does not know her in full. (so too what man can comprehend a Woman). Without her grace no one can aspire for any welfare, even liberation. Other great poets who have written about her glory are Kuresa, Parasara and Vedanta desikar.
However the two school of Srivaishnavism, the Vadagalai (Nothern) and Tengalai (Southern) are sharply divided regarding the exact status and nature of Lakshmi.

Vadagalai (Vedanta Desikar.)view.                       Tengalai (Pillai Lokacarya's.) view
Sri is the mother of all jivas.                                 Sri is the mother of all jivas.
Sri is all pervasive like God.                                 Sri is atomic in size.
Sri is "isvari"(belongs to category of God)             Sri belongs to category of Jivas but she is
                                                                         superior to all jivas.
Sri is the mediator.                                              Sri is the mediator.
Sri can grant Moksha.                                         Sri cannot grant Moksha.
Sri forms the goal of human life.                          Sri forms the goal of human life.

Sri Ramanujacharya refers to Lakshmi in his Saranagathi gadya as the mother of all, the consort of Lord Narayana. "sriyam devim nityanapayinim ............ saranam aham prapadye".
She tells Hanuman;
"papanam va subhanam va vadharhanam plavangama,
karyam karunam aryena na kaschit na aparadhyati."
"A noble person must be kind even to the most abominable sinners. there is none in this world who does not err."
The concept of Sri or Lakshmi or Periya Piratti (as she is called in Tamil) is unique to Srivaishnavism and has no parallel in any other religion or philosophy in the world. Right from the Vedic times to the present days there are innumerable texts extolling her Glory her constant presence and total unity with the Lord. She being the Upaya, Upeya and also the Mediatrix (Purusakara interceding between the souls and the Supreme being.
A few extracts from the vedas and puranas to understand Goddess Lakshmi's all pervading attributes.

Laksmya saha Hrsikeso divya karunya rupaya,
Raksakassarva siddhante Vedante api ca giyate.
Hrsikesa along with lakshmi with their divine merciful forms are the protectors of the entire cosmos. From Lakshmi Tantra.

Deva tiryanmanusyesu punnama Bhagavan Harih,
Strinami Lakshmih Maitreya nanayorvidyate param.
O Maitreya! among celestials, human beings and animals there are none greater than Lord Hari among males and Goddess Lakshmi among females. Sage Parasara.
Raghavatve abhavat Sita Rukmini Krsnajanmani,
Anyesu cavataresu Visnoresa anapayini.
Sita appeared along Lord Raghava while rukmini came with Krishna so also in all other advents also she appears when he does)
Nityamesa Jaganmata Visnosriranapayini.
Yatha sarvagato Vishustadaivayam dvijottama.
Just like Visnu, she is pervading all never leaving him. she is the universal mother, O highest among Brahmins.
Sri Parasara in Sri vishnu Purana.

Ananya Raghavenaham Bhaskarena prabha yatha..   (Sri Sita in Sundarakandam)
I am to Lord Raghava what lustre is to the Sun.

From Tiruvoimoli.
Veri marada pumeliruppal vinaitirkkume.
Nin tiruvarulum Pangayattan tiruvarulum kondu nin koil siyttu.
Ahalahilleniraiyum enralarmel mangai yurai marba.
Unakkerkum kola malarppavai.
Yanyanyani yatha sukham viharato rupani sarvanitan,'
Ahnsvairanurupa rupa vibhavai ghadhopa gudha yate.
Sada tavaivocitaya tavasriya.

Yamaambhya sukhenemam dustaramhi gunodadhim,
Niscarantyacirenaiva vyakta dhyana parayanah. 
The wise sages cross the ocean of senses and human existences by clinging to Her alone( Sri Satvata samhita)

Sakrtvibhata Sarvarthi samudra parisosini,
Bhavapankapaharini,
Paranirvana dayini.
She removes the sorrows of human existence and grants eternal bliss. (Brahma Purana)

Sarvakamapradam ramyam samsararnava tarinim,
ksipraprasadinim devim saranyam anucintayet.
those who seek to surrender should constantly meditate on goddess Lakshmi who gratifies all desires and helps to cross the ocean of life and grants prayers instantaneously.( Lord Brahma.)

Vacah param prarthayita prapadyennityatah sriyam.
those who wish to reach Godhead should worship goddess Sri in a disciplined and appropriate manner. sage Saunaka.

Akarasyatu vignanam akarajnana purvakam,
Tenakaram Sriyam jnatva tnatavya bhagavan harih.
It is only after realising Goddess Sri that one could understand Lord Hari.
sreyo nahyaravinda locanamanah kanta prasadadrte,
Samsrtyaksara vaisnavadhvasu nrnam sambhavyate karhicit.
For without the grace of the darling of the heart of the Lotus eyed Narayana bliss is never possible for the souls anywhere, in this world, in the kaivalya and in moksa samrajya. (Sri alavandar in Catuhksloki)

Alamesa paritratum raksasyo mahato bhayat,
Alamasmat paritratum Raghavat raksasi Ganam.
Sita alone can protect the demonesses from destruction as well as Sri Raghava's anger. (trijata in sundarakanda)

Atma vidya ca devi tvam vimukti phala dayini.
O goddess you are the one to grant knowledge of the soul as well as the fruits of liberation. (Indra in Vishnupurana)

Sriyam loke devajustam udaram.
She grants boons bounteously and is worshipped by Gods, for getting their ends accomplished.
Aisvaryamaksaragatim paramam padam va
Kasmaicit anjalibharam vahate vitirya
Asmai na kincit ucitam krtamitya thamba
Tvam lajjase kathaya koayamudara bhavah.
Should a man merely raise his joined hands in obeisance, you are pleased to grant him wealth, eternal soul knowledge and also salvation; yet you feel you have given very little and therefore feel ashamed, what magnanimity is this pray tell me? (Sri Guna Ratnakosa)

yace kim tvamahamiha yatah sitalodara sila
Bhuyo bhuyo disasi mahatam mangalanam prabandhan.
what more should I ask? You shower, without limit or obligation, blessings aplenty, lasting, cool and auspicious! You are so generous indeed! (Sri Stuti)

Yatassatvam tato laksmih.
Where Lakshmi is there exists auspiciousness and goodness. (VishnuPurana)

Yasyaste mahimanamatmana iva tvadvallabhoapi prabhuh
Nalammatumiyattaya niravadhim nityanukulam svatah.
Your greatness is limitless, eternal and full of  bliss. Though your loving consort is omnipotent and omniscient he cannot comprehend it in entrety even as He does not know his own greatness.

Yasyah kataksa viksa ksana laksam laksita Mahesasyuh,
Sri Rangaraja Mahisisa mamapi viksatam Laksmih.
May She, Laksmi, whose single glance brings ordinary mortals prosperity true, Direct Her looks, even a mere askance, towards me and bless me too.

Pillai Lokacharya.

Once Pillai Lokacharya (1203-1311) was given a boon by the Lord, who was extremely pleased with him, that anyone connected with the Acharya would attain salvation. Pillai Lokacharya's compassion was so great that thereafter he would touch even the ants and gaze for a long time at the trees in order to gain salvation for them.

Ratha Bandha

Ratha Bandha is a type of poem known as chitra kavi. The poem written in the squares comes out in the form of a chariot. The words which are filled in each square has got a relationship with the number indicated in the square. There are only four such Ratha bandha poems. Two are in Saivite literature and two in Vaishnavite literature. The Vaishnavite Ratha Bandha poems are authored by Thirumangai alwar and Thirukurukai Perumal Kavirayar. The later has written about Nammalvar and thirumangai alwar has written about God at Thirukkudanthai. The Saivite Ratha Bandhas are written by Gnana Sambandar and Nakkirar.

The Ratha Bandha poem is in the form of a chariot. Parallel lines are drawn with the squares formed. In the squares, the words in the poem are fitted in following the number method using the numbers 1 to 7 only. Hence this type of poetry is also known as Elukurrikkai. It contains seven graded parts. In this structure the ratha is divided into two halves upper and lower. In each half there are seven rectangles cut into squares. When cutting the squares, the first part, the top has one square only. the second three squares and the third five, the fourth seven, the fifth nine, the sixth eleven and the seventh thirteen. In the upper half of the chariot each row therefore has two chambers of squares more than the preceding part as we go down from the top. The same is repeated in the lower half of the ratha the difference that the top starts with thirteen chambers and ends with a baso of only one chamber. thus the top and the bottom of the rathas have the squares in the ascending and descending orders respectively.
If you fill in the numbers in the upper half we get the following picture

1

1 2 1

1 2 3 2 1

1 2 3 4 3 2 1

1 2 3 4 5 4 3 2 1 

1 2 3 4 5 6 5 4 3 2 1

1 2 3 4 5 6 7 6 5 4 3 2 1

The numbers are written in such a manner that when read horizontally the ascending order and the descending order is maintained in the pattern. As for example in the fourth row the numbers that are written are 1 2 3 4. In the ascending order and the second half of that row is the descending order viz 4 3 2 1. similar is the position with reference to each row. thus the last row has numbers in the ascending order upto 7 and then descending from 7 to 1. It will be seen that the outer wings of this triangle has consistently no 1. similarly each row read downwards also has the numbers arranged in the ascending order. a closer look will make it evident that the topmost step is 1 to the power of 2, second step is 11 to the power of 2, the third is 111 to the power of 2 , fourth step is 1111 to the power of 2 and the fifth step is 11111 to the power of 2, sixth is 111111 to the power of 2 and the seventh is 1111111 to the power of 2. both in the arohana and avarohana gradations. also when the number in the steps are added they present the following pattern: 1 (1 to the power of2), 4 (2 to the power of 2), 9 ( 3 to the power of 2), 16 (4 to the power of 2), 25 ( 5 to the power of 2), 36 (6 to the power of 2) and 49 ( 7 to the power of2). In addition when we read the numbers in the outer fringe and go inwards reading the subsequent numbers in each square, it is seen that the same number is arranged almost in the form of a garland. The outer fringe has no 1 all over, the immediate inner row has number 2 arranged in the form of a garland. subsequently 3 4 5 and 6 thus giving the impression of having arranged rows of garlands. thus we see the mathamatical beauty in the structure of the poem.

1

1 2 1

1 2 3 2 1

1 2 3 4 3 2 1

1 2 3 4 5 4 3 2 1 

1 2 3 4 5 6 5 4 3 2 1

1 2 3 4 5 6 7 6 5 4 3 2 1

1 2 3 4 5 6 7 6 5 4 3 2 1

1 2 3 4 5 6 5 4 3 2 1 

1 2 3 4 5 4 3 2 1

1 2 3 4 3 2 1 

1 2 3 2 1

1 2 1

1

It cannot be dipicted here but squares drawn or vertical and horizontaal lines drawn will give an idea of the ratha. 

This is the Ratha bandha diagram filled with the pasuram. the arrows indicate the maner in which it is to be read.

The unique poem written extolling the perumal of Sarangapani koil is in brief.

O Perumal! It is you who created Lord Brahma who was seated on a lotus and emerged from your naval, It is you who destroyed Lanka even at the sight of which teritory the sun god and the moon god tembled with fear etc.

Olipadaitha Kanninaai va va va
Uruthi kond nenchinaai va va va
Kalipadaitha moliyeenaai va va va
Kadumai konda tholinaai va va va
Thelivu petra mathiyeenaai va va va
Sirumai kandu ponguvaai va va va
Elimai kandu ponguvaai va va va
Erupol nadayeenaai va va va
Elaiya bharathathinaai va va va
Ethirilava lathinaai va va va
Oliyilantha nattiley ninrerum
Uthaya Gnayeeru opavey va va va