Friday, December 15, 2017

shri sukta.

Mantra Lakshmi:

Hiranya varnam harinim
suvarna rajatasrajam
chandram hiranmayim lakshmim
jatavedo mama vaha

Who is resplendent like gold and is the spouse of Hari;
she wears garlands of flowers which are golden coloured or white.
Lakshmi the goddess of Beauty and fortune, abundant in the golden light who is delight
o knower of all things born, bring here to me.

Mantra Golden light:

Tam ma a vaha jatavedo
lakshmim anapagaminim
yasyam hiranyam vindeyam
gam ashvam purushan aham

O Agni Jataveda bring me
the Goddess Laksmi who never strays from me
may i obtain from her the golden light of the truth
the rays of knowledge, the steeds of life energies and the successors

Mantra Goddess of beauty:

Ashvapurvam rathaadhyam
hastinada prabhodinim
shriyam devim upahvaye
shrir ma devi jushatam

who is i  the middle of the chariot with the steeds of life energy in front
She is awakened by the sounds or call of those who are full of skill or by the call of the elephants
I invoke the presence of the Goddess of beautymay the goddess of wealth take delight in me.

Mantra Smiles Benevolently:

kam so smitam hiranya prakaram
ardram jvalantim trptam tarpayantim
padmesthitam padma varnam
tamihopa hvaye shriyam

who is the absolute who smiles benevolently and who is the form of golden light
who is compassionate, who beams brightly, who is content but satisfies the devotees
She is seated on the lotus and has the hue of the lotus
I invoke here the presence of the goddess Shri

Mantra May all bad qualities perish:

chandram prabhasam
yashasa jvalantim shriyam loke
devajushtam udaram
tam padma nemim sharanam pra padye
alakshmir me nashyatam
tvam vrnomi

she is delightful with her effulgence
and brightly renowned in the world of riches and felicities
she is generous and is beloved of the gods
I take refuge in her who has lotus in her hands
may all the qualities perish in me which hinder the presence of beauty and harmony.
I seek her as my refuge.

Mantra Dispel the ignorance:

adityavarne tapaso adhi jato
vanaspatis tava vrksho atha bilvah
tasya phalani tapasa nudantu
maya antara yashcha bahya alakshmih

O sun splendoured one, out of your tapas sprang forth
the bilva tree that is the king of delight
It was then by your grace that its fruits attained celebrity
may the veil of ignorance maya within and the bad qualities outside be dispelled.

Mantra Potent words and ecstasy:

upaitu mam devasakhah
kirtishcha manina saha
pradurbhuto asmi rashtre asmin
kirtim vrddhim dadatu me

may the friend of the gods approach me
along with the potent words and the ecstasy to give them to me
born am i into this kingdom
may he grant me progress and the capacity to laud you.

Mantra Absence of plenitude:

kshut pipasa malam jyeshtham
alakshmim nashayami aham
abhutim asamrddhim cha
sarvan nirnuda me grhat

in the shape of impurities of hunger and thirst, which manifest early
may i drive away the misfortune
all the thing which cause all ill happenings and the absence of plenitude
drive away from my house

Mantra Nourishes all:

gandha dvaram duradharsham
nityapusham karishinim
ishvarim sarvabhutanam
tam iha upa hvaye shriyam

whose grace enters us through all the subtle doors and is unassailable
she nourishes for ever with her abundance
she is the ruler of all creatures
I invoke here the presence of the Goddess Shri

Mantra Aspirations and truthful speech:

manasah kamam akutim
vachah satyam ashimahi
pashunam rupam annasya
mayi shrih shrayatam yashah

the powers of mind and the aspirations
may i obtain the truthful speech
may i have the abundance of food and the forms of varieties of knowledge
may the glory and the riches and felicities as your devotee settle in me.

Mantra Mother with lotuses:

kardamena praja bhuta
mayi sam bhava kardama
shriyam vasaya me kule
mataram padmamalinim

the goddess had you for son
O kardama reside in me
in my abode establish the goddess of riches
the mother who wears the garland of lotuses

Mantra waters:

apah sravantu snigdhani
chiklita vasa me grhe
ni cha devim mataram shriyam
vasaya me kule

may the waters produce amiable effects
O chiklita come and dwell in my abode
and make thy mother the goddess of prosperity
abide in my household

Mantra Moist with compassion:

ardram pushkarinim  pushtim
pingalam padma malinim
chandram hiranmayim lakshmim
jatavedo mama vaha

who is moist with compassion, attended by elephants and ho nourishes the entire world
she is golden coloured and wears a garland of lotus flowers
she is bedecked with the golden lustre and she is delight herself
O Agni Jataveda, bring Lakshmi to me.

Mantra Shining like sun:

ardram yahkarinim yashtim
suvarnam hemamalnim
suryam hiranmayim lakshmim
jatavedo mama vaha 

she is compassionate and holds the staff of Dharma
she is radiant wearing the garlands and necklaces of gold
Lakshmi shining like the sun with the golden lustres
O Agni Jataveda bring to me

Mantra Lakshmi who strays not:

tam ma a vaha jatavedo
lakshmim anapagaminim
yasyam hirnyam prabhutam
gavo dasyo vindeyam purushan aham

O Agni Jataveda bring to me
Lakshmi who strays not from me
and the abundant wealth of gold / good
on her arrival by her grace may i obtain the cattle maids the men folk meaning of course good companions.

Wednesday, December 13, 2017

Maharaja Swathi Tirunal

Maharaja Swathi Tirunal a prolific composer brought vibrant music which expressed an idea where King and commoner unite in fervent expression of bhakti where the boundaries of expression and understanding are eternal and that is where God dwells. He is the only composer who has composed in all varieties and categories of musical form. his compositions range from simple jathisvarams to complicated pada varnams, kirtanas krithi ragamalika thillanas bhajans utsava prabhandas geya natkas upakhyanas. He adopted Padmanabha and its synonyms like Sarasanabha, Jalajanabha, Sarojanabha, Pankajanabha, Sarisajanabha in his compositions.
Like the Musical trinitie Swathi tirunal was initiated into music by Meruswamy who taught many intrinsic aspects of music just like Narada for Tyagaraja, Sangita swamy for /syama Sastri and Chidambarnatha Yogi for Dikshitar. 
He was a multi lingual composer and composed in many languages Sanskrit, Tamil, Malayalam, Telugu Kannada and Hindustani. His Padmanabha satakam in 100 verses is a devotional hymn dealing with the various facets of Bhakthi establishing Bhakthi as supreme to all. He has also composed Kuchelopakhyanam and Ajamila upakhyana excellent in literary and thematic content.
His keertanas can be grouped under two heads. the ones having one pallavi and a number of charanams and the other having Pallavi anupallavi charanams the charanas having the same dhatu or swara passages. usually one charana with karta mudra is sung. But the purpose of composing 3 charanas is noteworthy. the rendering of the three charanas have to be in different tempos. in several kirtanas decorative angas like chittaswara, solkettu and swara sahitya are introduced. he was adept in introducing swarakshara in kriti known for the originality. his compositions have a genuine grandeur, splendour and greatness. he died at the ripe age of 33.

pAhi pankaja nayana
raagam: Huseni


Aa:S R2 G3 M1 P N3 D2 M1 P N3 S
Av: S N3 S P D2 M1 P G3 R2 S

taaLam: Adi
Composer: Swaati TirunaaL
Language:
pallavi
pAhi pankaja nayana pAvana kIrtE sadA
anupallavi
dEhi bhaktim tvayi mama dInabandhO dEha kAntijita nIla nIrada shaurE dEha sukham guru pavana purAdhipa dEhi mE vibhO karuNa sindhO
caraNam 1

kim nA jAtA dayA gajarAja pAlanatava pannaga shayana harE padmanAbha khinna tarE
mayi krpAm tAvakInAm kuru karNa yugaLa shObhita bhUSa kuNDala varNanIya nija lIla suravara

caraNam 2

lIlA lAlita gO gOpi jAla kEshava bahu lAlasita cakra gadA rAnga pankaja lOla tara mAlikAncita
gala bAla gOpa madhu mathana dEva druta shaila sharaNamayi bhava mama bhagavan

sEvE shrIkAntam
raagam: Mohanakalyani
Aa:S R2 G3 P D2 S
Av: S N3 D2 P M2 G3 R2 S
taaLam: Adi
Composer: Swaati TirunaaL
Language:
pallavi
sEvE shrIkAntam varadam
anupallavi
dEvArAdi samUh krtAntam dIna pAlanaparam smarakAntam

caraNam 1

kundAtyuj-jvala tAtaha hAsam kOpa rUpamakhilArti nirAsam
brndAraNya krtAtma nivAsam vItamalam tilasUnasunAsam

caraNam 2

nAgArAti varENya turangam nAradAdi hrdayAmbuja bhrngam
bhOgIndrAdbhUta manjamapangam pUrNa shObha pada nih-shrta gangam

caraNam 3

syAnandUra purAmala dIpam sArasAkSamaka cAlidurApam
bhAnu shashAngadhrsham vasudhApam padmanAbhamavitArya sudhApam

bhAvayAmi raghurAmam
raagam: Ragamalika
taaLam: rUpaka
Composer: Swaati TirunaaL
Language:
pallavi
(rAgA: sAvEri)

bhAvayAmi raghurAmam bhavya suguNA rAmam
anupallavi
bhAvuka vitaraNa parA pAngalIlA lasitam (rAga: nATakuranji)
caraNam 1

dinakarAnvaya tilakam divyagAdhi suta savanA vana racita subAhu mukha vadam ahalyA pAvanam
AnaghamIsha cApabhangam janakasutA prANEsham ghana kupita bhrgu rAma garva haramita sAkEtam

caraNam 2

(rAgA: dhanyAsi)
Aa:S G2 M1 P N2 S
Av: S N2 D1 P M1 G2 R1 S

vihatAbhiSEkamatha vipinagatamAryavAcA sahita sItA saumitrim shAnta tamasHilam
guha nilayagatam citrakUTA bharata dattamahita ratnamaya pAdukam madana sundarAngam

caraNam 3

(rAgA: mOhana)
Aa:S R2 G3 P D2 S
Av: S D2 P G3 R2 S

vidata daNDakAraNya gata gatavirAdadaLanam sucira ghataja dattAnupamita vaiSnavAsam
pataga vara jaTAyunutam pancavaTI vihitavAsam ati gHora sUrpaNakA vacanAgata kharAdiharam

caraNam 4

(rAgA: mukhAri)
Aa:S R2 M1 P N2 D2 S
Av: S N2 D1 P M1 G2 R2 S

kanakamaya rUpadhara khala mArIca haramiha sujana vimata dashAsyahrta janakajAnvESaNam
anagham pampA tIra sangatAnjanEya nabhOmaNi tanuja sakhya varam vAlitanudalanamIsham

caraNam 5

(rAgA: pUrvikalyANi)
Aa:S R1 G3 M2 P D2 P S
Av: S N3 D2 P M2 G3 R1 S

vAnarOttama mahita vAyusUna karArpita bhAnu shata bhAsvara bhavya ratnAngulIyam
tEna punarAni tAnyUna cUDAmaNI darshanam shrInidhi-mudadhitIrE shrta vibhISaNamiLitam

caraNam 6

(rAgA: madhyamAvati)
Aa:S R2 M1 P N2 S
Av: S N2 P M1 R2 S

kalitavara sEtubandham khala nissImapisitAshana daLanamuru dashakaNTha vitAraNamati dhIram
jvalana pUta janaka sutA sahitam yAta sAkEtam vilasita paTTAbhiSEkam vishvapAlam padmanAbham

An milO
raagam: Bhiravi

Aa:S R2 G2 M1 P D2 N2 S
Av: S N2 D1 P M1 G2 R2 S

taaLam: Adi
Composer: Swaati TirunaaL
Language:
pallavi
An milO mehabUb hamArO
caraNam 1

hO un tOri dAsi lAlA nandakuvar pyAro

caraNam 2

cun cun kaliyAm mai sEj banaun sEj palang rangmahal tumhArO

caraNam 3

atar abir gulAb lagAun prEm kaTAri sE mOkU nahi mArO

caraNam 4

padmanAbh prabhu phaNipara shAyi kabahun nahi mOkU nAth bisArO

pAlaya mAm shrI
raagam: Nayaki

Aa:S R2 M1 P D2 N2 D2 P S
Av: S N2 D2 P M1 R2 G2 R2 S

taaLam: rUpaka
Composer: Swaati TirunaaL
Language:
pallavi
pAlaya mAm shrI pankajanAbha dayAsudhanidhE
anupallavi
bAlatapana nibhacEla shrIlOla gOpAla
caraNam

ghananIla su-sharIra mInAdi dashAvatAra syAnandUra purEshvara sAdhu hrdaya nijAkAra


nAma sudhAmayi
raagam: Kamboji.

Aa:S R2 G3 M1 P D2 S
Av: S N2 D2 P M1 G3 R2 S N3 P D2 S

taaLam: Adi
Composer: Swaati TirunaaL
Language:
pallavi
nAma sudhAmayi piba mama rasanE
caraNam 1

yAmiha pibatA sAdhu kulEna triptiravApta nO bhuvanE

caraNam 2

yadi hari nAma parAtvamivahaikA bhavati yamAnnahi bhayamapi svapnE

caraNam 3

sarasijanAbha vibhO nArAyaNa mAdhavEti nigada sukhEpi ca kadanE

bhagvad dhyana sopanam.

shrImAn ve~nkaTanAthAryaH   kavi-tArkika-kesarI
    vedAntAcArya-varyo me       saMnidhattAm sadA hR^idi
antarjyotiH kimapi yaminAm a~njanaM yoga-dR^iShTeH
        cintA-ratnaM sulabham iha naH siddhi-mokShAnurUpam
    dInAnAtha vyasana-shamanaM daivataM daivatAnAM
        divyaM cakShuH shruti-pariShadAM dR^iShyate ra~Nga-madhye
velAtIta-shruti-parimaLaM vedhasAM mauLi-sevyaM
        prAdurbhUtaM kanaka-saritaH saikate haMsa-juShTe
    lakShmI-bhUmyoH kara-sarasijairlAlitaM ra~Nga-bhartuH
        pAdAmbhojaM pratiphalati me bhAvanA-dIrghikAyAm
  citrAkArAM kaTaka-rucibhishcAru vR^ittAnupUrvAM
        kAle dUtya drutataragatiM kAnti lIlA kalAcIm
    jAnucchAyA dviguNa-subhagAM ra~Nga-bharturmadAtmA
        ja~NghAM dR^iShTvA janana-padavI jA~NghikatvaM jahAti
  kAmArAma-sthira-kadalikA-stambha-saMbhAvanIyaM
      kShaumAshliShTaM kimapi kamalA-bhUmi-nILopadhAnam
    nya~ncatkA~ncI-kiraNa-ruciraM nirvishatyUru-yugmaM
      lAvaNyaugha-dvayam iva matirmAmikA ra~Nga-yUnaH
saMprINAti pratikalam asau mAnasaM me sujAtA
      gambhIratvAt kvacana samaye gUDha-nikShipta-vishvA
    nAlIkena-sphurita-rajasA vedhaso nirmimANA
      ramyAvarta-dyuti-sahacarI ra~NganAthasya nAbhiH
    
  shrIvatsena prathita-vibhavaM shrI-pada-nyAsa-dhanyaM
      madhyaM bAhvormaNivara-rucA ra~njitaM ra~Nga-dhAmnaH
    sAndracchAyaM taruNa-tulasI-citrayA vaijayantyA
      santApaM me shamayati dhiyashcandrikodAra-hAram
  ekaM lIlopahitam itaraM bAhum AjAnu-lambaM
      prAptA ra~Nge-shayiturakhila-prArthanA-pArijAtam
    dR^iptA seyaM dR^iDha-niyamitA rashmibhirbhUShaNAnAM
      cintA-hastinyanubhavati me citram AlAna-yantram
sAbhiprAya-smita-vikasitaM cAru-bimbAdharoShThaM
      duHkhApAya-praNayini jane dUra-dattAbhimukhyam
    kAntaM vaktraM kanaka-tilakAla~NkR^itaM ra~Nga-bhartuH
      svAnte gADhaM mama vilagati svAgatodAra-netram
mAlyairantaH sthira-parimaLairvallabhA-sparsha-mAnyaiH
        kupyaccoLI vacana-kuTilaiH kuntalaiH shliShta-mUle
    ratnApIDa dyuti shabaLite ra~Nga-bhartuH kirITe
        rAjanvatyaH sthitim adhigatA vR^ittayashcetaso me




    pAdAmbhojaM spR^ishati bhajate ra~NganAthasya ja~NghAM
        Urudvandve vilagati-shanair Urdhvam abhyeti nAbhim
    vakShasyAste valati bhujayormAmikeyaM manIShA
        vaktrAbhikhyAM pibati vahate vAsanAM mauLi-bandhe
kAntodArairayam iha bhujaiH ka~NkaNajyA kiNA~NkaiH
        lakShmI-dhAmnaH pR^ithula-paridhairlakShitAbhIti-hetiH
    agre kiMcit-bhujaga-shayanaH svAtmanaivAtmanaH san
        madhye ra~NgaM mama ca hR^idaye vartate sAvarodhaH
ra~NgAsthAne rasika-mahite ra~njitAsheSha-citte
        vidvatsevA vimala-manasA ve~NkaTeshena-kL^iptam
    akleshena-praNihita-dhiyAm ArurukShoravasthAM
        bhaktiM gADhAM dishatu bhagavad-dhyAna-sopAnam etat
kavi-tArkika-simhAya        kalyANa-guNa-shAline
    shrImate ve~nkaTeshAya      vedAnta-gurave namaH


Sunday, December 10, 2017

Taittiriya Upanisad.

The Taittiriya Upanishad belongs to the Yajur Veda. This has been handed down to us in two recensions the Taittiriya and the Vajasaneyi. The Taittiriya recension is the older and the more important of the two. It contains the Samhita, a Brahmana and an Aranyaka. The seventh eighth and the ninth chapter of the Taittiriya Aranyaka constitute this Upanishad and they are respectively known under the titles Sikshavalli, Anandavalli and Bhrguvalli. This Upanishad is very popular among those who learn the vedic chanting in a strictly traditional manner. to be noted The Mahanarayana Upanishad is the concluding part of the Taittiriya Upanishad.
The first chapter Siksavalli concludes with an exhortation by the Vedic teacher to his students on the eve of their returning home as satakas after completion of their studies instructing them as to how to conduct themselves in the world.
The second chapter Anandavalli opens with a profound declaration;"He who realizes Brahman attains the Supreme  Brahman is truth, knowledge and infinite" the key statement reveals in a flash, with aphoristic brevity the quintessence of the entire philosophy of the Upaishads. Further it proclaims that the supreme Reality is the origin, ground, and goal of the world of experience, thus establishing the fundamental identity of this intimate world with the ultimate reality. a gradation of higher and higher stages of happiness and bliss is presented towards the end of this chapter, taking a worthy human being a noble youth, in the prime of his age, most swift and alert, perfectly whole and resolute, most vigorous in health, laden with all riches, and a good learning as a basic unit in this calculus. THE ACME is reached in Brahman, the source of bliss, beyond which there is nothing higher to aspire after.
The third chapter Bhruvalli unfolds a touching scene, in which the son Bhrgu approaches the father Varuna time and again in quest of truth and knowledge. The father with all the parental care love and understanding leads the son step by step through a throughgoing study of the human personality, which according to the Upanisad is made up of five sheaths kosas the material the vital the physical the intellectual and the intuitive. in the innermost core of which resides the self of man the atman the source of all bliss nay it is bliss itself the bliss of Brahman - Atman is perceivable on the perfection of desirelessness akamahata It is enjoined and experienced by one who realizes Brahman. that is the only real bliss from which all this bliss that we experience in the world has seperated from sprays in the sea and with which it gets united again. this is the uniqueness of this Upanisad. it shines in a class by itself.

Friday, December 8, 2017

available publications

Tamil Publications of the Saraswathi Mahal Library: 
  • atirupavati kalyanam, V. Venugopalan (editor) 
  • arunaachalesar meedu vannamumn dadu varushattu karippukkummiyam, N. Srinivasan (editor) 
  • arichndran ammanai, Y. Manikandan (editor) 
  • athicudi puranam, V. Chockalingam (editor), in press 
  • athiriyar ammanai, B. Sam Daniel (editor) 
  • aravan kalappali natakam, G. Sethuraman (editor), in press 
  • asiriya nikandu, V. Chockalingam (editor), in press 
  • civaka cinthamani- ammanai, V. Chockalingam (editor) 
  • chittaputhra ammanai, K. Kothandaramn (editor) 
  • dasabhodam, part I & II,S. Ganapathi Rao (editor) 
  • dharmaneri neetigal, V. Chockalingam (editor) 
  • daheesi puranam, V. Chockalingam (editor) 
  • illakanavilakkam-porul agathinai iyal, ParI, II, T.V. Gopala Iyer (editor) 
  • illakanavilakkam-porul seiyuliyal, T.V. Gopala Iyer (editor) 
  • illakanavilakkam-porul aniyiyal, T.V. Gopala Iyer (editor) 
  • illakanavilakkam-porul pattiyal, T.V. Gopala Iyer (editor) 
  • illakkana kothu, T.V. Gopala Iyer (editor) 
  • harichandra natakam, S. Thilagam (editor) 
  • kumbakona puranam, M. Satagopa Ramanujam (editor) 
  • kurma puranam, Part I ⅈ Rama Govindasamy Pillai (editor) 
  • kusa lava kathai, S. Thilagam (editor) 
  • kanjanammanai, K. Kothandapani (editor) 
  • kulothungan pillaiththamizh, T.S. Gangadharan (editor) 
  • kudanthai anthathi, Ramalingam Pillai (editor) 
  • kamatchi thavasu, S. Thilagam (editor) 
  • markandeyan ammanai, B. Srinivasan (editor) 
  • narayana satakam, R. Kothandapani (editor) 
  • neetinool, K. Kothandapani (editor) 
  • nallur puranam, C. Balasundaram (editor) 
  • nasiketu puranam, M. Seeralan (editor) 
  • tamilaga kovil kalai marabu, M. Balasubramanian (editor) 
  • palajatikam- vikatam, C.G. Deivanayagam (editor) 
  • parasamayakolariyar Pillaithamizh, V. Chockalingam (editor) 
  • parswanathar ammanai, V. Chockalingam (editor) 
  • pullai anthathi, K. Kothandapani (editor) 
  • prayoga vivekam, T.V. Gopala Iyer (editor) 
  • prabhota chandrodayam, V. Venugopalan (editor) 
  • ramar ammanai, A.M. Parimanam (editor) 
  • ramaiyyan ammanai, C.M. Ramachandra Chettiar (editor) 
  • samadhilinga pratishtai vilakkam, V. Chockalingam (editor) 
  • sankarpa nirakaranam, R.Govindaswami Pillai (editor) 
  • sivayoganayaki pillaithamizh, Muthuratha Mudaliar(editor) 
  • sivaprakasa vikasam, Adikalasiriyar (editor) 
  • sivakama sundari parinaya natakam, S. Sita (editor) 
  • somayaga perunkavyam, V. Chockalingam (editor) 
  • saraswathi mahal vazhikatti, A. Panchanathan (editor) 
  • thiruperunthurai puranam, C. Balasundaram, editor 
  • thamizhisai padalkalum natya padangalum, N.Srinivasan, editor 
  • draupathi ammanai, V. Chockalingam, editor 
  • viralividu thoothu, V. Chockalingam, editor 
  • vannaththirattu, T.V. Gopala Iyer, editor 
  • veeragama, C.G. Deivanayagam, editor 
  • neethi thirattu, C. Balasundaram, editor 
  • vadivel sathakam, V.Chockalingam, editor 
  • siva pooja paddathi, Swarna Kaliswaran, editor 
  • gnana saram, Rama Govindaswamy, editor 
  • thiruvaiyaru puranam,C. Govindarasanar, editor 
  • narkaviraya nambi agapporul vilakkam, C. Govindarasanar, editor 
  • marudur anthathi, C. Govidarasanar,editor 
  • periapuranam vasana kavyam,C. Elangovan, editor 
  • bharatha ammanai, A.M. Parimanam, editor 
  • mannanar Serfoji aaivukkovai, M. sadasivam, editor 
  • alam nabi kadaippathu, Nazeer Ali, editor 
  • rayar appachi kadaigal, Y. Manikandam, editor 
  • padartha sarama, S. Rajalakshmi, editor 
  • raja gopala malai, Y. Manikandam, editor 
  • thirvettainallur iyanar pallu, P.v. Nagarajan, editor 
  • sivagnanadeepam, Adigalasiriyar, editor 
  • sivabharatha charittiram 
  • siddantha nichayam 
  • tatva vilakkam 
  • vaidyanathasami thiruvilayaidal

    Tamil Descriptive Catalogue 
  • volume 1, Literature and philosophy
  • volume II,Literature and Philosophy
  • volume III, Medical works
  • volume Iv, Medical works
  • volume V, medical works
  • volume VI, Literature
  • volume VII, Literature
  • volume VIII, Medical works
  • volume IX, medical works
  • volume X, Literature
  • volume XI, Medical works
  • volume XII, Medical works
  • volume XIII, Medical works
  • volume XIV, Medical works

The Naladiyar.

The Naladiyar is among the few original works that exist in Tamil.
It contains altogether 40 chapters of ten stanza each on moral subjects.
It is said that eight thousand poets visited the country of a certain prince who being a lover of muses treated them with kindness and received them into favor. This excited the envy of the existing bards who were already enjoying the royal patronage. They succeeded in their attempt to prejudice their master against the new comers.  The later for their safety took flight without taking leave of their host decamped in the dead of the night. Previous to their departure each poet wrote a vemba on a scroll which he deposited under his pillow.
The king on learning of this from the envious poets ordered that the collection be thrown into the river. however 400 of them were found to surface for the space of four feet NALADI against the stream. The king moved by this occurrence directed that these scrolls should be preserved. They were accordingly formed into a work which got the name Naladiyar.
Chapter wise classification:
Unstable wealth 
Unstable youth
Unstable bodt
The source of the power of virtue.
The impure body
Asceticism
Placidity
Patience
Conduct
Liberality. 

Monday, December 4, 2017

Time out. character builder..

Time builds character. it has been a quiet lesson life has taught us by our seniors parents teachers. yes Time out has been in practice ever since times immemorial. at first it is small decisions we make and as life unfolds the more time out you take the better your life becomes. when one is not comfortable in a situation is when we have to take time out. you do two things basically in time out first you settle down and get control second you make a plan to avoid getting into the same situation again. chance to build character is now.
focus on your best qualities.be honest be sincere;
build self awareness by trying to understand how your ideas and reactions are shaped.
gain self control by being disciplined.
practice integrity its how your decisions fall in line with your beliefs.
practice to be patient. every thing happens for a good cause.
time out should become a place for character building then.