Sunday, August 31, 2025

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. 



Thursday, August 28, 2025

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.




Wednesday, August 27, 2025

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.



Tuesday, August 26, 2025

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.






Friday, August 22, 2025

Yaarige.

 Aarige vadhuvade ambujakshi

ksheerabdhi kannike shree mahalakumi || pa||

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

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

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

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

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

Tuesday, August 19, 2025

Masterpiece.

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

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

Poetics of Nammāḻvār

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

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

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

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

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

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

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

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

Example: Verse 1.1.1

uyarvara uyar nalam udaiyavan evan avan

mayarvara madhi nalam aruḷinan evan avan

Meaning:

“He alone possesses unsurpassed greatness.

He alone grants clear, unclouded wisdom.”

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

Example: Verse 1.1.2

vayyam tagaliyā vāḷiyāṉa maḻaiyoḷi

veyya kaṭirōn vilakkāga

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

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

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

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

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

Example: Verse 5.8.1

vaṇḍu tiriyum taṇ pozhil sūḻ taḷaiyai

aṇḍam āyum aḻiyum aṇṇal tannai

eṇṇil enakkukku inidām 

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

He who creates, sustains, and dissolves the universe —

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

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

Example: Verse 5.8.2

kaṇḍa kaṇ allāl kāṇbadhu eṉṛiṛkku

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

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

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

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

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

Example: 6.7 (summary)

The daughter has lost all sense of worldly duty.

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

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

 Significance:

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

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

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

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

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

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

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

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

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

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

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

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

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

Nammāḻvār as a Poet: An Analysis

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

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

1. Tamil Vedap

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

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

2. Temple Tradition

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

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

3. Literary Influence

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

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

4. Philosophical Impact

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

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

Nammāḻvār is at once philosopher, poet, and dramatist.

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

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

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

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

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


Essence.

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

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

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

Man me Ram,

Har kan me Ram,

Har kshan, har swas me Ram—

Bas Ram hi Ram.


Sookh aaye ya dukh ka samundar,

Har leher ka kinara Ram.

Andheron me jyoti ban kar,

Raste ka ujiyara Ram.


Naino ki jyoti,

Hriday ki shanti,

Jeevan ka saar hi Ram.

Shabd me geet,

Moun me pree  me,

Pran ka adhaar hi Ram.


Man me Ram,

Har kan me Ram,

Har kshan me Ram—

Bas Ram hi Ram.