Are the things we imagine real? Galaxy Quest

After a class on philosophy and literature in which we looked at how Alison Lurie’s novel Imaginary Friends plays on the contrasts, and the interrelations, between the real and the imaginary, a student presented me with a video ofGalaxy Quest. This is a lightweight comedy, but it is as full of ontological twists and turns as Lurie’s book, and just as funny.

For the first few minutes, we’re watching a lame episode of a TV show of the Star Trek genre: the starship whooshing around the galaxy looks like something out of a cornflakes packet; its interior seems to be made of plywood and aluminium foil; the acting is terrible, and as for the dialogue ... This, we learn, is an excerpt from a long-cancelled series now being shown at a convention for science-fiction fans. But among all those human fans dressed as aliens is a band of real aliens, disguised as humans dressed as space-travellers. Mistaking the TV show for “historical documents”, they have come to Earth to beam up the courageous crew to their spaceship – a real, working version of the plywood-and-foil Protector – to help them fight off the evil Sarris.

And so a bunch of washed-up actors find themselves really in space, and really fighting aliens with, as the cover of the video puts it, “no script, no director, and no clue”. In a marvellously Platonic moment, Captain Taggart tries to explain to the Thermian leader that the TV series wasn’t a documentary, but entertainment: the crew members are actors, not astronauts, only pretending to be space travellers. The Thermians are nonplussed: they’ve heard of deception; is the captain telling him the TV show was lies? But somehow the TV “heroes” grow into their parts, save their alien friends from disaster and become real heroes.

What is the difference between the real and the imaginary? Isn’t that TV spaceship, after all, a real imagined spaceship, even though it’s not a real spaceship? Is fiction really just lies or, despite its literal falsity, something different? Sometimes, now, I use this movie as a way of prompting students to think about philosophical questions like these.

What is the enduring self? Memento

The film Memento is a philosophical exploration of the nature of the self, and the role of memory in the making and unmaking of identity. Its protagonist, Lenny Shelby, spends every waking hour on an all-consuming quest to find and kill the man who murdered his wife. He has suffered a severe head injury that has left him unable to transform his fleeting short-term experiences into new long-term memories. He can remember nothing that has happened since the murder. At each moment, he is beset with questions – questions that strike him as ever new and ever urgent. What am I doing here? How did I get here? What am I trying to achieve?

Part of the brilliance of the movie is not just that it raises questions about memory and the self, but that it forces us to wear Lenny’s shoes and to walk around in them for almost the entire movie. It weaves together two apparently separate, but eventually interlocking narratives – one moving backwards in time, the other moving forward. Like Lenny, we must somehow figure out, without the aid of memory, how we reached this puzzling present, what we are doing there, and why it matters.

It is only when the two narratives finally merge that we come to see the fuller “truth” about Lenny. It turns out that he actually tracked down his wife’s killer and exacted his revenge some time ago – though, of course, he forgot it instantly. We realise that it was Lenny who set himself up, without being fully aware, to successfully hunt down and kill another man. Lenny’s self-manipulation bespeaks a degree of autonomy that belies his brokenness. Though he is clearly not the sort of unbroken, autonomous, self-knowing being that we all naturally and easily assume our “selves” to be, he is clearly more than just a ruined and broken creature. The broken fragments of his identity are constantly seeking a kind of self-repair. Perhaps we should say that the enduring self is not, after all, a fixed and determined thing, achieved once and for all. Perhaps the self is always in the process of being made, unmade and remade. If so, then perhaps Lenny differs from the rest of us not so much in kind, but merely in degree.

How can we do the right thing.

How can we do the right thing?
Force Majeure

If you had lived in Germany in 1939, would you have helped protect Jews or gone along with their systematic extermination? If you had been an MP 10 years ago, would you have milked your expenses for what they were worth? And if you and your family faced a threat, would you protect them or save yourself?

We all like to think that in such situations our basic decency would shine through, but we can never know. This is the central theme of Force Majeure, in which an avalanche suddenly threatens to engulf a Swedish family enjoying lunch on the terrace of a plush ski resort. The husband and father, Tomas, flunks his test. Instead of trying to shield his wife and children he runs away, not forgetting his precious smartphone.

In the aftermath, several characters try to excuse him. “In situations like these you’re not always aware of what you do,” says one. “You try to survive.” Aristotle would not have been satisfied by this or the other excuses offered in Tomas’s defence. He would have insisted that in those few seconds, Tomas revealed his character.

Aristotle’s insight was that we rarely have the time or opportunity to sit down and think about what the best thing to do is before acting. Indeed, a good person does not have to do this. To become good you have to practise being good by cultivating the habits of goodness. Only then will you find yourself doing the right thing almost automatically. If you practise thinking about what you want to be and doing what is necessary to become that person, when you are tested you will be able to do the right thing without thinking.

We can pretend that Tomas just had a moment of madness where his primal survival instinct took over, but his wife, Ebba, knows better, and so do we. He did what he did because he loves himself and his phone more than he loves his family. We can see this in the small details of daily life. For example, before the incident, Ebba asks him from the bathroom whether he is checking his phone and he lies and says no. This isn’t a terrible crime in itself, but Aristotle would have said it was just one more small contribution to a pattern of behaviour that made him the cowardly narcissist he is. Every time he chooses to lie rather than admit to himself and others that he is too obsessed with his phone he becomes that little bit more self-centred.

Force Majeure tells us what Aristotle knew: unpredictable events happen, random “acts of God” for which no one is responsible. But how we respond to them is not random, and responsibility for that lies squarely on our own shoulders.

This was seen very well in our Munar trip a few years ago. we were nearly 55 of us travelling , this was on our way  back. most of the men had gone ahead to reach thrisur with a friend who owned a five star hotel there to make arrangements  for our dinner and fellowship before we took the train to chennai. and low we were women and children were stranded in the middle of the forest as the bus could not take the u turn bend on the return trip. we were asked to get off the bus our cell phones did not work people panicked as we were in the middle of actually nowhere. and a large crowd of 48 people to be transported from that forest. we hailed a lorry and managed to get in a few oldies in the front with the driver they have a bench behind the drivers seat and the rest of us at the back. the agitation and the way people behaved was an experience few of us will remember for a life time. then the luggage which was left in the bus had to be hauled onto the lorry too as the bus was incapable of travelling the 45 minutes joirney all hell broke loose. what an experience it was. can well imagine poor thomas then. what he did was pure nature. so it is very important. to be in control. practice alone can save one.

I too firmly believe that one can not judge until the moment has arrived and one does things either it is force of habit or instinct. that is the moment to perform.

new approach.

Some times when at a loss to be able to view the direction your life is taking it is best to step out of your skin so to say and view things from outside. say like you are viewing your city from the aircraft just as you leave or about to enter it. you get a birds eye view. you realise how small and insignificant you are and there are millions of others very identical to you. it all depends on ones age how we react. we can see a canvas of life the board is spread out the coins are placed and we have to perform in our own little way with a set of people one is with. what do you do how do you improve. there is no winning or loosing just performing what one understands of the game and how one reacts. Its amazing this play is it not. no there is no feverish pitch to want to know beyond or to want to be outstanding just satisfied playing the role waiting for the next set of rules or just being you. does it feel stagnant. some times it is good to feel so then one enjoys the activity which is bound to follow trying to change the course or direction.
well taking a break would like and should are questions one can ask of the next six posts. annalise and arrive at .

Qualities 24 +

1.Colour
Colour is the quality apprehended only by the eye. It is again of seven kinds due to its division into white, blue yellow red green brown and variegated. it exists in earth, water and light. of these all seven varieties exist in the earth. In water pale white variety is found in light bright white variety resides.
Caksurmatragrahyah gunah rupam. tat ca sukla nila pita rakta harita kapisa citra bhedat, saptavidham. prthivi jala tejah vrtti.  tatra prthivyam saptavidham. a bhasvara suklam jale. bhasvara suklam tejasi. 

2.Taste rasa.
Savour is the quality apprehended by the gustatory organ. it is of six varieties sweet, acid, saline, pungent, astringent and bitter. Taste subsists in earth and water. of these earth has all the six varieties while water has only the sweet variety.
Rasanagrahyah gunah rasah. sa ca madhura amla lavana katu kasya tikta bhedat sadvidhah. prthivi jala vrttih. tatra prthivyam sadvidhah. jale madhura eva.

3.Odour gandha
Odour is the quality perceived by the olfactory organ, it is two fold fragrant and foul. It subsists in earth alone.
Ghranagrahyah gunah gandhah. sa dvividhah.
Surabhih asurabhih ca prthivimatra vrttih.

4.Touch Sparsa
Touch is the quality perceived  by the tactile organ alone. it is threefold cool hot and lukewarm. it resides in water earth light and air. Of these cool touch resides in water,hot touch in light and luke warm in earth and air.
tvagindriyamatragrahyah gunah sparsah. sa ca trividhah sita usna anusna sita bhedat. prthivi ap tejah vayu vrttih. tatra sitajale. usnah tejas. anusnasitah prthivivayvoh.

5.The theory of Paka.
The four qualities beginning with colour are produced in earth through the application of heat, and are non eternal. In other substances i.e. in water light and air they are not produced by the application of heat natural and are eternal and also non eternal. In eternal i.e. in atom they are eternal and in non eternal i.e. in product they are non eternal.
rupa adi catustayam prthivyam pakajam anityam ca. anyatra apakajam nityam anityam ca. nityagatam nityam anityagatam anityam.

6.Number sankhya.
Number is the cause of common usage of enumerative expressions like one, two etc. It is found in all the nine substances. It starts from one and ends with parardha. Oneness is eternal and non eternal i.e. eternal in atom and non eternal in products. eternal in eternal substances and non eternal in non eternals. number two and higher nos are only non eternals everywhere.
Ekatva adi vyavaharahetuh samkhya. sa navadravyavrttih ekatva adi parardhaparyanta parardha. ekatvam nityam anityam ca. nityagatam nityam. anityagatam anityam. dvitva adikam tu sarvatra anityam eva.

7.Dimension parimanam.
Dimension is the special cause of the common usage of words pertaining to measurement. It is found in all the nine substances. and it is of four varieties. atomic, large, long and short.
Manavyavaharasadharanakaranam parimanam. navadravya vrttih. tat caturvidham. anu mahat dirgham hrsvam ca iti.

8.Distinctness prthaktvam.
Distinctness is the special cause of conventional expressions such as this is distinct from that. It is found in all the nine substances.
Prthagvyavahara asadharanakaranam prthaktvam. sarvadravyavrttih.

9.Conjunction samyoga.
Conjunction is the special cause of conventonal expressions of contact between two objects. It exists in all the substances.
Samyuktavyavaharahetuh samyogah. sarvadravyavrttih.

10.Dis junction Vibhaga.
Disjunction is the quality which destroys conjunction. It resides in all the nine substances.
Samyoganasakah gunah vibhagah. sarvadravyavrttih.

11.RemotenessParatva and Proximity aparatva.
Remoteness and proximity are the special causes of common usage of words expressing remoteness and proximity. They reside in four substances beginning with earth and also in mind. Each of them is of two varieties spatial and temporal. In things existing at a distance spatial remoteness is found; in things near spatial proximity is found; in an elderly person, temporal remoteness is found. in a younger person temporal proximity is found.
Para apara vyavahara asadharana karana paratvaparatve. prthivi adi catustayamano vrttini. te dvividhedikkrte kalakrte ca. durasthe dikkrtam paratvam. samipasthe dikkrtam aparatvam. jyesthe kalakrtam, paratvam. kanisthe kalakrtam aparatvam.

12.Heaviness Gurutvam.
Heaviness is the non intimate cause of the first down ward motion in a falling substance. It resides in earth and water.
Adyapatana asamavayikaranam gurutvam. prthivi jala vritti.

13.Fluidity dravatvam.
Fluidity is the non intimate cause of the first flow of a liquid substance. It resides in earth water and light. It is of two varieties; natural and artificial. In water natural fluidity is found. In earth and light artificial fluidity is found. In earth artificial fluidity is generated through the contact of fire with ghee. artificial fluidity is found in gold etc belonging to light.
adyasyandana asamavayikaranam, dravatvam. prthivi, ap tejo vrtti. tad dvividham, samsiddhikam, naimittikam ca. samsiddhikam jale. naimittikam, prthivitejasoh. prthivyam ghradau agnisamyogajam dravatam. tejasi suvarnadau.

14. Viscidity Snehah.
Viscidity is the quality which causes the agglutination of power etc. It exists in water only.
Curna adi pindibhavahetuh gunah snehah. jalamatravrttih.

15. Sound sabdah.
Sound is the quality apprehended by the organ of hearing. it subsists in ether alone. It is two fold of the nature of inarticulate sound and of the nature of the alphabetic sound. Inarticulate sound is found in the sound produced by drums etc. The alphabetic sound is found in the form of language like Sanskrit etc.
Srotragrahyah gunah sabdah akasamatravrttih. sa dvividhah dhvanyatmakah varnatmakasca. tatra dhvanyatmakah bheryadau.Varnatmakah samskrtabhasadirupah.

16. Cognition Jnanam.
Cognition is the quality which is the cause of all kinds of communications; and it is knowledge. It is two fold remembrance and apprehension.
Sarvavyavaharaheturgunah buddhih jnanam. sa dvividha smrtih anubhavah ca.

17. Cognition is two fold 1. Remembrance Smrti
                                         2. Apprehension anubhava.
Remembrance Smrti

Remembrance is the knowledge born of mental impressions alone.
Samskaramatrajanyam jnanam smrtih.

18. Apprehension anubhava.
Knowledge other than recollection is apprehension. It is two fold: comfortable to the object and not comfortable to the object.
Tadbhinnam Jnanam anubhavah. sa dvividhah yatharthah, ayatharthasca.

19. Valid Apprehension Yathartha anubhava.
A valid apprehension is that in which an object is known as possessing attributes which it really possesses eg. the apprehension of silver arising in an object where there is silverness. This is known as valid knowledge.
Tadvati tatprakarakah anubhavah yatharthah yatha rajate idam rajatam iti jnanam. saiva prama ityucyate.

20.Erroneous Apprehension ayathartha anubhava.
That is not valid apprehension in which an object is known as having an attribute which it does not have in reality. eg. silver arising in the piece of mother of pearl. this is false cognition. 
Refer video.M A Alwar's lecture in Ramanuja .org.
tadabhavavati tatprakarakah anubhavah ayathartha yatha suktau idam rajatamiti jnanam. saiva aprama ityucyate.

21. Valid apprehension is fourfold.
Valid apprehension is four fold due to the division into perception, inference, analytical knowledge and verbal testimony.
yatharthanubhavah caturvidhah pratyaksa anumiti upamiti sabda bhedat.

22. The instrument of valid apprehension.
Their instruments too are fourfold due to division into the instrument of perception, instrument of inference, instrument of comparative knowledge and the instrument of verbal testimony.
Tat karanamapi caturvidham pratyaksa anumana upamana sabda bhedat.

23. Definition of special cause.
The uncommon cause instrumental or efficient is the special cause.
Asadharanam karanam karanam.

24. Definition of cause.
That which invariably precedes its effect is its cause.
Karya niyata purvavrtti karanam.

25. Definition of effect:
Effect is the counter correlative of its own antecedent non existence in its inherent cause.
Karyam pragabhava pratiyogi.

26. Cause Karanam
Cause is of three kinds inherent, non inherent and occasioning instrumental or efficient.
Karanam trividham samavayi asamavayi nimitta bhedat.

27. The inherent cause samavayi karanam.
The inherent cause is that which is in inseparable union with the effect eg. sa the yarn are of the effect cloth and the cloth is of the colour on it.
Yat samavetam karayam utpadyate tat samavayi karanam yatha tantavah patasya patah ca svagatarupadeh.

28. The non inherent cause. asamavayi karanam,
The non inherent cause is one which is inseparably united in the same object either with the effect, or with the cause, as the conjunction of yarns in relation to the effect cloth or the colour of the yarns in relation to the effect the colour of the cloth.
karyena karanena va saha ekasmin arthe samavetatve sati yat karanam tad asamavayikaranam yatha tantusamyogah patasya tanturupam patarupasya.

29. Occasioning cause nimitta karanam.
The cause which is different from both these causes is the occasioning cause instrumental or efficient such as the shuttle loom etc. eg. in case of production of a piece of cloth.
Tadubhayabhinnam karanam nimittakaranam yatha turi vema adikam patasya.

30. Special cause asadharanam karannam.
That alone which is the uncommon cause among the three varieties of causes mentioned above is the special cause.
Tadetat trividhakaranamadhye asadharanam karanam tadeva karanam.

gadyam SRINIVASA

Sri Srinivasa Gadyam Lyrics (Slokas) In English

Sreemadakhilamaheemamdalamamdanadharaneedhara Mamdalaakhamdalasya, Nikhilasuraasuravamdita Varaahakshetra Vibhooshanasya, Seshaacala Garudaacala Simhaacala Vrushabhaacala Naaraayanaacalaamjanaacalaadi Sikharimaalaakulasya, Naathamukha Bodhanidhiveethigunasaabharana Sattvanidhi Tattvanidhi Bhaktigunapoorna Sreesailapoorna Gunavasamvada Paramapurushakrupaapoora Vibhramadatumgasrumga Galadgaganagamgaasamaalimgitasya, Seemaatiga Guna Raamaanujamuni Naamaamkita Bahu Bhoomaasraya Suradhaamaalaya Vanaraamaayata Vanaseemaaparivruta Visamkatatata Niramtara Vijrumbhita Bhaktirasa Nirgharaanamtaaryaahaarya Prasravanadhaaraapoora Vibhramada Salilabharabharita Mahaatataaka Mamditasya, Kalikardama Malamardana Kalitodyama Vilasadyama Niyamaadima Munigananishevyamaana Pratyaksheebhavannijasalila Samajjana Namajjana Nikhilapaapanaasanaa Paapanaasana Teerthaadhyaasitasya, Muraarisevaka Jaraadipeedita Niraartijeevana Niraasa Bhoosura Varaatisumdara Suraamganaarati Karaamgasaushthava Kumaarataakruti Kumaarataaraka Samaapanodaya Danoonapaataka Mahaapadaamaya Vihaapanodita Sakalabhuvana Vidita Kumaaradhaaraabhidhaana Teerthaadhishthitasya, Dharanitala Gatasakala Hatakalila Subhasalila Gatabahula Vividhamala Haticatura Ruciratara Vilokanamaatra Vidalita Vividha Mahaapaataka Svaamipushkarinee Sametasya, Bahusamkata Narakaavata Patadutkata Kalikamkata Kalushodbhata Janapaataka Vinipaataka Rucinaataka Karahaataka Kalasaahruta Kamalaarata Subhamamjana Jalasajjana Bharabharita Nijadurita Hatinirata Janasatata Nirastanirargala Pepeeyamaana Salila Sambhruta Visamkata Kataahateertha Vibhooshitasya, Evamaadima Bhoorimamjima Sarvapaataka Garvahaapaka Sindhudambara Haarisambara Vividhavipula Punyateerthanivaha Nivaasasya, Sreemato Vemkataacalasya Sikharasekharamahaakalpasaakhee, Kharveebhavadati Garveekruta Gurumerveesagiri Mukhorveedhara Kuladarveekara Dayitorveedhara Sikharorvee Satata Sadoorveekruti Caranaghana Garvacarvananipuna Tanukiranamasrunita Girisikhara Sekharatarunikara Timirah, Vaaneepatisarvaanee Dayitendraanisvara Mukha Naaneeyorasavenee Nibhasubhavaanee Nutamahimaanee Ya Stana Konee Bhavadakhila Bhuvanabhavanodarah, Vaimaanikaguru Bhoomaadhika Guna Raamaanuja Krutadhaamaakara Karadhaamaari Daralalaamaaccakanaka Daamaayita Nijaraamaalaya Navakisalayamaya Toranamaalaayita Vanamaalaadharah, Kaalaambuda Maalaanibha Neelaalaka Jaalaavruta Baalaabja Saleelaamala Phaalaamkasamoolaamruta Dhaaraadvayaavadheerana Dheeralalitatara Visadatara Ghana Ghanasaara Mayordhvapumdra Rekhaadvayarucirah, Suvikasvara Dalabhaasvara Kamalodara Gatamedura Navakesara Tatibhaasura Paripimjara Kanakaambara Kalitaadara Lalitodara Tadaalamba Jambharipu Manistambha Gambheerimadambhastambha Samujjrumbhamaana Peevaroruyugala Tadaalamba Pruthula Kadalee Mukula Madaharanajamghaala Jamghaayugalah, Navyadala Bhavyamala Peetamala Sonimalasanmrudula Satkisalayaasrujalakaari Bala Sonatala Padakamala Nijaasraya Balabamdeekruta Saradimdumamdalee Vibhramadaadabhra Subhra Punarbhavaadhishthitaamguleegaadha Nipeedita Padmaavanah, Jaanutalaavadhi Lamba Vidambita Vaarana Sumdaadamda Vijrumbhita Neelamanimaya Kalpakasaakhaa Vibhramadaayi Mrunaalalataayita Samujjvalatara Kanakavalaya Vellitaikatara Baahudamdayugalah, Yugapadudita Koti Kharakara Himakara Mamdala Jaajvalyamaana Sudarsana Paamcajanya Samuttumgita Srumgaapara Baahuyugalah, Abhinavasaana Samuttejita Mahaamahaa Neelakhamda Madakhamdana Nipuna Naveena Paritapta Kaartasvara Kavacita Mahaneeya Pruthula Saalagraama Paramparaa Gumbhita Naabhimamdala Paryamta Lambamaana Praalambadeepti Samaalambita Visaala Vakshahsthalah, Gamgaajhara Tumgaakruti Bhamgaavali Bhamgaavaha Saudhaavali Baadhaavaha Dhaaraanibha Haaraavali Dooraahata Gehaamtara Mohaavaha Mahima Masrunita Mahaatimirah, Pimgaakruti Bhrumgaara Nibhaamgaara Dalaamgaamala Nishkaasita Dushkaaryagha Nishkaavali Deepaprabha Neepaccavi Taapaprada Kanakamaalikaa Pisamgita Sarvaamgah, Navadalita Dalavalita Mrudulalita Kamalatati Madavihati Caturatara Pruthulatara Sarasatara Kanakasaramaya Rucirakamthikaa Kamaneeyakamthah, Vaataasanaadhipati Sayana Kamana Paricarana Ratisametaakhila Phanadharatati Matikaravara Kanakamaya Naagaabharana Pariveetaakhilaamgaa Vagamita Sayana Bhootaahiraaja Jaataatisayah, Ravikotee Paripaatee Dharakotee Ravaraatee Kitaveetee Rasadhaatee Dharamaniganakirana Visarana Satatavidhuta Timiramoha Gaarbhagehah, Aparimita Vividhabhuvana Bharitaakhamda Brahmaamdamamdala Picamdilah, Aaryadhuryaanamtaarya Pavitra Khanitrapaata Paatreekruta Nijacubuka Gatavranakina Vibhooshana Vahanasoocita Sritajana Vatsalataatisayah, Maddudimdima Dhamaru Jarghara Kaahalee Patahaavalee Mrudumaddalaadi Mrudamga Dumdubhi Dhakkikaamukha Hrudya Vaadyaka Madhuramamgala Naadamedura Naataarabhi Bhoopaala Bilahari Maayaamaalava Gaula Asaaveree Saaveree Suddhasaaveree Devagaamdhaaree Dhanyaasee Begada Himdustaanee Kaapee Todi Naatakurumjee Sreeraaga Sahana Athaana Saaramgee Darbaaru Pamtuvaraalee Varaalee Kalyaanee Bhoorikalyaanee Yamunaakalyaanee Husenee Jamjhothee Kaumaaree Kannada Kharaharapriyaa Kalahamsa Naadanaamakriyaa Mukhaaree Todee Punnaagavaraalee Kaambhojee Bhairavee Yadukulakaambhojee Aanamdabhairavee Samkaraabharana Mohana Reguptee Sauraashtree Neelaambaree Gunakriyaa Meghagarjanee Hamsadhvani Sokavaraalee Madhyamaavatee Jemjurutee Suratee Dvijaavamtee Malayaambaree Kaapeeparasu Dhanaasiree Desikatodee Aahiree Vasamtagaulee Samtu Kedaaragaula Kanakaamgee Ratnaamgee Gaanamoortee Vanaspatee Vaacaspatee Daanavatee Maanaroopee Senaapatee Hanumattodee Dhenukaa Naatakapriyaa Kokilapriyaa Roopavatee Gaayakapriyaa Vakulaabharana Cakravaaka Sooryakaamta Haatakaambaree Jhamkaaradhvanee Natabhairavee Keeravaanee Harikaambhodee Dheerasamkaraabharana Naagaanamdinee Yaagapriyaadi Visrumara Sarasa Gaanarucira Samtata Samtanyamaana Nityotsava Pakshotsava Maasotsava Samvatsarotsavaadi Vividhotsava Krutaanamdah Sreemadaanamdanilaya Vimaanavaasah, Satata Padmaalayaa Padapadmarenu Samcitavakshastala Patavaasah, Sreesreenivaasah Suprasanno Vijayataam. Sree^^Alarmelmamgaa Naayikaasametah Sreesreenivaasa Svaamee Supreetah Suprasanno Varado Bhootvaa, Pavana Paatalee Paalaasa Bilva Punnaaga Coota Kadalee Camdana Campaka Mamjula Mamdaara Himjulaadi Tilaka Maatulumga Naarikela Kraumcaasoka Maadhookaamalaka Himduka Naagaketaka Poornakumda Poornagamdha Rasa Kamda Vana Vamjula Kharjoora Saala Kovidaara Himtaala Panasa Vikata Vaikasavaruna Tarughamarana Viculamkaasvattha Yaksha Vasudha Varmaadha Mantrinee Tintrinee Bodha Nyagrodha Ghatavatala Jamboomatallee Veeratacullee Vasati Vaasatee Jeevanee Poshanee Pramukha Nikhila Samdoha Tamaala Maalaa Mahita Viraajamaana Cashaka Mayoora Hamsa Bhaaradvaaja Kokila Cakravaaka Kapota Garuda Naaraayana Naanaavidha Pakshijaati Samooha Brahma Kshatriya Vaisya Soodra Naanaajaatyudbhava Devataa Nirmaana Maanikya Vajra Vaidhoorya Gomedhika Pushyaraaga Padmaraagemdra Neela Pravaalamauktika Sphatika Hema Ratnakhacita Dhagaddhagaayamaana Ratha Gaja Turaga Padaati Senaa Samooha Bheree Maddala Muravaka Jhallaree Samkha Kaahala Nrutyageeta Taalavaadya Kumbhavaadya Pamcamukhavaadya Ahameemaargannateevaadya Kitikumtalavaadya Surateecaumdovaadya Timilakavitaalavaadya Takkaraagravaadya Ghamtaataadana Brahmataala Samataala Kottareetaala Dhakkareetaala Ekkaala Dhaaraavaadya Patahakaamsyavaadya Bharatanaatyaalamkaara Kinnera Kimpurusha Rudraveenaa Mukhaveenaa Vaayuveenaa Tumburuveenaa Gaamdharvaveenaa Naaradaveenaa Svaramamdala Raavanahastaveenaastakriyaalamkriyaalamkrutaanekavidhavaadya Vaapeekoopatataakaadi Gamgaayamunaa Revaavarunaa
Sonanadeesobhanadee Suvarnamukhee Vegavatee Vetravatee Ksheeranadee Baahunadee Garudanadee Kaaveree Taamraparnee Pramukhaah Mahaapunyanadyah Sajalateerthaih Sahobhayakoolamgata Sadaapravaaha Rugyajussaamaatharvana Vedasaastretihaasa Puraana Sakalavidyaaghosha Bhaanukotiprakaasa Camdrakoti Samaana Nityakalyaana Paramparottarottaraabhivruddhirbhooyaaditi Bhavamto Mahaamtoznugruhnamtu, Brahmanyo Raajaa Dhaarmikozstu, Desoyam Nirupadravozstu, Sarve Saadhujanaassukhino Vilasamtu, Samastasanmamgalaani Samtu, Uttarottaraabhivruddhirastu, Sakalakalyaana Samruddhirastu ||

Harih OM ||

pooja benefits at Kanchi

Poojas, Benefits

Poojas

Thirumanjanam to Perumal (Moolavar) on every Friday and on Hustha star Days.  Ekantha Thirumanjanam  at  Thayar Sannadhi – on every Friday.

Chakrath Alwar             Thirumanjanam are also performed at the shrines of  Chakrath Alwar, Thiruvananth Alwar  and Anjeneyar Sannadhi at Thiruvadi Koil. Not more  than 5  donors  will be registered for   Thirumanjanam   in   all   shrines.   Thirumanjanam   are performed  jointly for administrative convenience.

Daily Pooja

Poojas are performed five times a day.

1. Bringing Thirumanjanam   6.00 A.M               & Vishwaroopa darsan 2. First Thiruvaradhanam  6.30 - 7.30 A.M  & 7.30 - 9.00 A.M      Second  Nivedanam 10.00 - 11.00 A.M 3. Thirukkapu Sathudal (Closing of Sannidhi)  12.30 - 3.30 P.M 4. Sarva darshan  3.30 - 6.00 P.M 5. Third Thirumalai Sathupadi & Nivedanam  6.00 - 6.30 P.M 6. Fourth Thiruvaradanam  7.00 - 8.00 P.M 7. Manna Senai Theermanam 8.00 - 8.30 P.M

Darshan  Morning :  6.00 – 12.30 P.M                          Evening : 3.30 – 8.30 P.M.

Thirumajanam Timings

1. Thirumanjanam is performed to Abisheka deity using Panjaper  Pooja method. This is Ekanda Pooja.

2. Thirumanjanam to  Urchavar  (Procession Deity)   is performed five times a day and during special festival occasions

3. Thirumanjanam  to  Varadaraja Perumal (Moolavar) is performed every Friday & during Hustha Star.   Darshan is available

4. Thirumanjanam to Perundevi  Thayar (Moolavar) is performed every  Friday  &  during  Uthiram Star.  This is Ekantha Thirumanjanam.

5. Thirumanjanam to  Chakrath Alwar (Moolavar)  is  performed  every Saturday  - Based on the requests of Public and devotees .  Thirumanjanam in these shrines can be performed even on other days also.