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

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

The Five Veeras – Guardians of Dharma

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

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

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

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

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

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

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

Āṇḍāḷ’s Shrine – The Soul of Devotion

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

Poetry and Living Tradition

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

Festivals that Bind the City

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

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

Sri Parthasarathy Swamy Temple

Location: Triplicane, Chennai, Tamil Nadu

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

Special Shrine: Āṇḍāḷ, the only female Āḻvār

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

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

Temple Tank: Kairavini Pushkarini

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

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

Granthamala. Synopsis orderly.

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

1. Śrībhāṣya

Nature: Commentary on the Brahmasūtras of Bādarāyaṇa.

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

Highlights:

Refutes Advaita and other rival schools.

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

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

2. Gītābhāṣya

Nature: Commentary on the Bhagavad Gītā.

Content: Practical guide for spiritual life.

Highlights:

Reconciles karma, jñāna, and bhakti yogas.

Advocates prapatti as a simple, universal path for all.

Interprets Gītā as a dialogue of grace and surrender.

3. Vedārtha Saṅgraha

Nature: Independent treatise.

Content: A systematic exposition of Upaniṣadic philosophy.

Highlights:

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

Resolves apparent contradictions in Vedāntic statements.

Lays foundation for Viśiṣṭādvaita hermeneutics.

4. Vedānta Saṅgraha / Vedānta Dīpa (attributed)

Shorter works explaining Vedāntic concepts in summary fashion.

5. Vedānta Sara

Nature: A concise manual.

Content: Abstract of Vedānta principles for beginners.

6. Śaraṇāgati Gadyam

Nature: Prose hymn.

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

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

7. Śrīraṅga Gadyam

Nature: Prose hymn.

Content: Prayer to Lord Raṅganātha for eternal service.

Highlights: Overflow of devotion and yearning for liberation.

8. Vaikuṇṭha Gadyam

Nature: Visionary hymn.

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

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

9. Nitya Grantham

Nature: Manual of daily worship.

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

Highlights: Ensures practical integration of philosophy into life.

10. Commentaries (Vārtikas / Glosses)

On minor Upaniṣads and stotras.

Clarify ritual and philosophical points for disciples.

Overall Themes

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

Practice: Bhakti and Prapatti as soteriological paths.

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

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

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

Householder.

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

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

Depth.

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

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

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

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

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

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

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

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

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

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

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

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

Freedom vs. Marriage (The Illusion of Liberation)

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

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

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

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

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

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

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

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

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

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

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

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

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

Natakam.

 Rāmanāṭakam

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

The Author – Arunachala Kavi

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

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

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

1. Rama’s birth and early life

2. Marriage with Sita

3. Exile into the forest

4. Abduction of Sita by Ravana

5. Hanuman’s heroic journey to Lanka

6. The great war and Ravana’s defeat

7. Rama’s coronation

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

Performance Tradition

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

A lead singer who recited the verses.

Musicians with instruments like the mridangam and nagaswaram.

Actors who gestured and enacted the dialogues.

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

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

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

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

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

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

Feature Kamban’s Ramayanam Arunachala Kavi’s Rāmanāṭakam

Period 12th century 18th century

Genre Epic poetry (kāvya) Musical drama (nāṭakam)

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

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

Influence Classical Tamil literature Carnatic music, bhajana traditions

The Rāmanāṭakam has had a lasting impact:

Its songs are performed even today in Carnatic concerts.

It contributed to the Rama Bhakti movement in Tamil Nadu.

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

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

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

Famous Songs from Rāmanāṭakam and Their Rāgas

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

1. “En pallikondeer ayyā” – Rāga Mohanam

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

2. “Yārukagilum bhayama” – Rāga Sahana

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

3. “Andhāro megalai” – Rāga Sūrati

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

4. “Indru poi nālai vāraai” – Rāga Kalyāṇi

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

5. “Sītā kalyāna vaibhogamē” – Rāga Śaṅkarābharaṇam

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

6. “Kanden Seethaiyai” – Rāga Vasanta

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

7. “Ananda rama ananda” – Rāga Kambhoji

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

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

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

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

Benefits.

 The Benefits of Reading Kamban’s Ramayanam

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

1. Moral and Spiritual Uplift

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

2. Protection from Suffering

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

 Tamil (Kamba Ramayanam – Phala-śruti):

"அரங்கமுடையானை ஆற்றலால் கூறினேன்;

திறம்பிலா நாவினோர் தீமை காணார்."

Meaning:

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

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

3. Worldly Prosperity and Well-being

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

4. Purification and Peace of Mind

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

 Tamil Verse:

"இராமனது நாமமே யெல்லா வினையையும்

தீமையும் போக்கும் செல்வம் தரும்."

Meaning:

The very name of Rama destroys all sins and sorrows,

And bestows prosperity and joy.

5. Strength and Victory

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

6. Bhakti and Divine Grace

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

7. The Ultimate Fruit – Liberation

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

Tamil Verse:

"எத்தனை யாயினும் இப்புகழ் கேட்பவர்

சித்தமலர் தூவிக் கைவினை தீர்வார்.

Whoever listens to this glorious tale, in whatever measure,

Their heart blossoms, their karmas are dissolved.

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

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

It burns away sorrow, it ends every night.

Who listens with love to your noble tale,

Finds blessings unending, and grace without fail.

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

It frees us from sin and leads us in ways.

It gives us the courage to conquer and stand,

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

O Lord of Srirangam, protector and guide,

In your holy story all blessings abide.

May hearts become pure, may burdens all cease,

May every soul rise to eternal peace.

Purifies.

 

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

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

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