ஸ்ரீமத் ராகவேந்த்ர ஸ்தோத்ரம்

RADHE KRISHNA 26-11-2011 ஸ்ரீமத் ராகவேந்த்ர ஸ்தோத்ரம் ஸ்ரீமத் ராகவேந்த்ர ஸ்தோத்ரம் ஸ்ரீமத் ராகவேந்த்ர ஸ்தோத்ரம் 1. ஸ்ரீபூர்ணபோத குருதீர்த்த பயோப்திபாரா காமாரிமாக்ஷ விஷமாக்ஷ சிர: ஸ்ப்ருசந்தீ பூர்வோத்ராமித தரங்க ச்ரத் ஸுஹம்ஸா தேவாளி ஸேவித பராங்க்ரி பயோஜ லக்நா 2. ஜீவேச பேத குணபூர்த்தி ஜகத்ஸுஸத்வ நீசோச்சபாவ முக நக்ர கணைஸ் ஸமேதா துர்வாத்ய ஜாபதிகிலைர் குருராகவேந்த்ர வாசுதேவதா ஸரிதமும் வமலீகரோது 3. ஸ்ரீராகவேந்த்ரஸ் ஸகலப்ரதாதா ஸ்வபாத கஞ்ஜத்வய பக்திமத்ப்ய: அகாத்ரி ஸம்பேதந த்ருஷ்டி வஜ்ர: க்ஷமாஸுரேந்த்ரோவது மாம் ஸதாஸ்யம் 4. ஸ்ரீராகவேந்த்ரோ ஹரிபாத கஞ்ஜ நிஷேவணால் லப்த ஸமஸ்த ஸம்பத் தேவஸ்வபாவோ த்விஜ த்ருமோய மிஷ்டப்ரதோ மே ஸததம் ஸ பூயாத் 5. பவ்ய ஸ்வரூபோ பவது: க தூல ஸங்காக்நி சர்ய: ஸுகதைர்ய சா லீ ஸமஸ்த்த துஷ்டக்ரஹ நிக்ரஹோ சோ துரத்ய யேபப்லவ ஸிந்து ஸேது: 6. நிரஸ்த தோ÷ஷா நிரவத்ய வேஷ: ப்ரத்யர்த்தி மூகத்வ நிதாநபாஷ : வித்வத் பரிஜ்ஞேய மஹாவிசே ÷ஷா வாக்வைகரீ நிர்ஜித பவ்யசே ஷ 7. ஸந்தாந ஸம்பத் பரிசூத்த பக்தி விஜ்ஞாந வாக்தேஹ ஸுபாட வாதீந் தத்வா சரீரோத்த ஸமஸ்த தோஷாந் ஹத்வா ஸ நோஸ்வ்யாத் குருராகவேந்த்ர: 8. யத்பா தோதக ஸஞ்சயஸ் ஸுரநதீமுக்யாபகா ஸாதிதா (அ)ஸங்க்யாநுத்தம புண்ய ஸங்க விலஸத் ப்ரக்யாத புண்யாவஹ துஸ்தாபத்ரய நாசநோ புவி மஹாவந்த்யா ஸுபுத்ரப்ரதோ வ்யங்கஸ்வங்க ஸம்ருத்திதோ க்ரஹமஹா பாபாபஹஸ்தம் ச்ரயே 9. யத்பாதகஞ்ஜ ரஜஸா பரிபூஷிதாங்கா யத்பாதபத்ம மதுபாயித மாநஸாயே யத்பாதபத்ம பரிகீர்த்தந ஜீர்ண வாசஸ் தத்தர்ச நம் துரிதகாநந தாவபூதம் 10. ஸர்வ கந்த்ர ஸ்வதந்த் ரோஸஸெள ஸ்ரீமத்வமத வர்தந: விஜயீந்த்ர கராப்ஜோத்த ஸுதீந்த்ர வரபுத்ரக: 11. ஸ்ரீராகவேந்த்ரோ யதிராட் குருர் மே ஸ்யாத் பயா பஹ: ஜ்ஞாநபக்தி ஸூபுத்ராயுர் யச: ஸ்ரீ புண்ய வர்தந: 12. ப்ரதிவாதி ஜயஸ்வாந்த பேதசிந்யாதரோ குரு: ஸர்வவித்யா ப்ரவீணோந்யோ ராகவேந்த்ராந் ந வித்யதே 13. அபரோக்ஷீக்ருத ஸ்ரீச: ஸமுபேக்ஷித பாவஜ: அபேக்ஷித ப்ரதாதந்யோ ராகவேந்த்ராந்ந வித்யதே 14. தயா தாக்ஷிண்ய வைராக்ய வாக்பாடவமுகாங்கித: சா பாநுகரஹச க்தோந்யோ ராகவேந்த்ராந்ந வித்யதே 15. அக்ஞாந விஸ்ம்ருதி ப்ராந்தி ஸம்ச யாபஸ்ம்ருதி க்ஷயா: தந்த்ரா கம்பவச: கௌண்ட்ய முகா யே சேந்த்ரியோத்பவா: தோஷஸ்தே நாஸமாயந்தி ராகவேந்த்ர ப்ரஸாதத: 16. ஓம் ஸ்ரீ ராகவேந்த்ராய நம: இத்யஷ்டாக்ஷர மந்த்ரத: ஜபிதாத் பாவிதாந் நித்ய மிஷ்டார்த்தாஸ் ஸ்யுர் ந ஸம்சய 17. ஹந்து ந: காயஜாந் தோஷாநாத்மாத்மீய ஸமுத் பவாந் ஸர்வாநபி புமர்த்தாம்ச ச ததாது குருராத்மவித் 18. இதி காலத்ரயே நித்யம் ப்ரார்த்தநாம் ய: கரோதி ஸ: இஹாமுத்ராப்த ஸர்வேஷ்டோ மோததே நாத்ர ஸம்ஸய: 19. அகம்ய மஹிமா லோகே ராகவேந்த்ரோ மஹாயசா ஸ்ரீமத்வமத துக்தாப்தி சந்த்ரோஸ்வது ஸதாநக: 20. ஸர்வயாத்ரா பலாவா ப்த்யை யதாச க்தி ப்ரதக்ஷிணம் கரோமி தவ ஸித்தஸ்ய ப்ருந்தாவந கதம் ஜலம் சிரஸா தாரயாம்யத்ய ஸர்வதீர்த்த பலாப்தயே 21. ஸர்வபீஷ்டார்த்த ஸித்யார்த்தம் நமஸ்காரம் கரோம்யஹம் தவ ஸங்கீர்த்தநம் வேதசா ரஸ்த்ரார்த்தஜ்ஞாந ஸித்தயே 22. ஸம்ஸாரே க்ஷயஸாகரே ப்ரக்ருதிதோ காதே ஸதா துஸ்தரே ஸர்வாவத்ய ஜலக்ரஹை ரநுபமை: காமாதி பங்காகுலே 23. நாநாவிப்ரம துர்ப்ர மேஸ்மிதபய ஸ்தோமாதி பேநோத்கடே து : கோத்க்ருஷ்ட விஷேஸே முத்தர குரோ மாம் மக்நரூபம் ஸதா 24. ராகவேந்த்ர குருஸ்தோத்ரம் ய: படேத் பக்தி பூர்வகம் தஸ்ய குஷ்டாதிரோ காணாம் நிவ்ருத்திஸ் த்வரயா பவேத் 25. ய: பிபேத் ஜலமேதந ஸ்தோத்ரேணைவாபி மந்த்ரிதம் தஸ்ய குக்ஷிகதா தோஷா: ஸர்வே நச் யந்தி தத்க்ஷணாத் 26. யத்ப்ருப்தாவந மாஸாத்ய பங்கு: கஞ்ஜோபி வ ஜந: ஸ்தோத்ரேணாநேந ய : சூர்யாத் ப்ரதக்ஷிண நமஸ்யக்ருதீ 27. ஸ ஜங்காலோ பவேதேவ குருராஜ் ப்ரஸாதத: ஸோம ஸுர்யோ பராகே சு புஷ்யார்காதி 28. யோநுத்தம மிதம் ஸ்தோத்ர மஷ்டோத்தரச தம் ஜபேத் பூதப்ரேத பிசா சாதி பீடா தஸ்ய ந ஜாயதே 29. ஏதத்ஸ்தோத்ரம் ஸமுச்சார்ய குரோர் ப்ருந்தாவநாந்திகே தீ பஸம் யோஜ நாத் ஜ்ஞாநம் புத்ரலாபோ பவேத் த்ருவம் 30. பரவாதிஜயோ திவ்ய ஜ்ஞாந பக்த்யாதி வர்த்தநம் ஸர்வாபீஷ்ட ப்ரவ்ருத்தி : ஸ்யாத் நாத்ர கார்யா விசாரணா 31. ராஜசோர மஹாவ்யாக்ர ஸர்ப்ப நக்ராதி பீடநம் ந ஜாய தேஜஸ்ய ஸ்தோத்ரஸ்ய ப்ரபாவாந் நாத்ரஸம்ச ய: 32. யோ பக்த்யா குருராகவேந்த்ர சரணத்வந்த்வம் ஸம்ரந் ய: படேத் ஸ்தோத்ரம் திவ்யமிதம் ஸதா ந ஹி பவேத் தஸ்யாஸுகம் கிஞ்சந கிம்த்விஷ்டார்த்த ஸம்ருத்தி ரேவ கமலாநாதப்ரஸாதோ தயாத் கீர்த்திர் திக்விததா விபூதி ரதுலா ஸாக்ஷீ ஹயாஸ்யோஸ்த்ர ஹி இதி ஸ்ரீ ராகவேந்த்ரார்ய குருராஜப்ரஸாதத: க்ருதம் ஸ்தோத்ரமிதம் புண்யம் ஸ்ரீமத்பிர் ஹ்யப்பணா பிதை: ஸ்ரீ அணு ராகவேந்த்ர ஸ்தோத்ரம் 1. பூஜ்யாய ராகவேந்த்ராய ஸத்யதர்ம ரதாய ச பஜதாம் கல்பவ்ருக்ஷõய நமதாம் காமதேநவே 2. துர்வாதி த்வாந்ரவயே வைஷ்ணவேந்தீவரேந்தவே ஸ்ரீ ராகவேந்த்ரகுரவே நமோஸ்த்யந்த தயாளவே 3. ஸ்ரீஸுதீந்த்ராப்தி ஸம்பூதாந் ராகவேந்த்ர கலாநீதிந் ஸேவே ஸத்ஜ்ஞாந ஸெளக்யார்த்தம் ஸந்தாபத்ரய சாந்தயே 4. அகம் த்ராவயதே யஸ்மாத் வேங்காரோ வாஞ்சிதப்ரத: ராகவேந்த்ர யதிஸ் தஸ்மாத் லோகே க்யாதோ சாந்தயே 5. வ்யாஸேந வ்யுப்த பீஜ: ஸ்ருதிபுவி பகவத்பாத ஸ்தாங்குரஸ்ரீ ப்ரத்நைரீஷத் ப்ரபிந்நோஜ நி ஜயமுநிநா ஸம்யகுத்பிந்நசா க: 6. மௌநீச வ்யாஸராஜதுதித கிஸலய: புஷ்பிதோஸ்யம் ஜயீந்த்ரா தஸ்ய ஸ்ரீ ராகவேந்த்ராத் விலஸதி பலிதோ மத்வ ஸித்தாந்தசா கீ 7. மூகோபி யத்ப்ரஸாதேந முகுந்த ச யநாயதே ராஜராஜாயதே ரிக்தோ ராகவேந்த்ரம் தமாச் ரயே ஸ்ரீ ராகவேந்த்ர குரு கீர்த்தனம் ராகம் : மத்யமாவதி - சாப் பாரோ குரு ராகவேந்த்ரா - பாரய்யா பாபா பாரோ குரு ராகவேந்த்ரா ஹிந்து முந்தெல்லெனகே நீ கதி யந்து பொந்திதே நின்ன பரதவ பந்தனவ பிடிசென்ன கரபிடி நந்த கந்த முகுந்த பந்தோ - (பாரோ) ஸேவகெலோ நானு நின்னய பாதாஸேவே நீ டெலோ நீனு ஸேவகன ஸேவேயனு ஸேவிசி ஸேவ்ய ஸேவக பாவவீயுது டாவுகரணி சிபொரெவத ரெயொளு, பாவனாத்மக காவு கருணிசி கரதரே பகுவியந்து ஸாருவதுடங்குர த்வரிததீ வதகுபந்து ஜரியப் யாடவோ பரதே நின்ன விரஹ நாளதே மனதிகரகுவே ஹரியஸ் மரணே நிருதலெனக, ஹருஷதலிநீ நிருத கொடுதலீ நரஹரி ப்ரியனே பாகுரு ஸ்ரீ ச விட்டலன, கருணா பாத்ரனே வேகபா குருவரனே பரதோஷி ஸியன்னனு, மரியதே தவசரண கோடிய விருசி சரணாம்பு ஜத தோருத த்வரிததலி ஒடோடி பாபா. ஸ்ரீ ராகவேந்த்ர மங்களாஷ்டகம் 1. ஸ்ரீமத்ராம பதாரவிந்த மதுப: ஸ்ரீமத்வ வம்சா திப: ஸச்சிஷ்யோடு கணோடுப: ச் ரிதஜகத் கீ ர்வாண ஸத் பாதப: அத் யார்த்தம் மநஸா க்ருதாச்யுதஜப: பாபாந்த காராதப: ஸ்ரீமத் ஸத்குரு ராகவேந்த்ர யதிராட் குர்யாத் த்ருவம் மங்களம் 2. கர்மந்தீந்த்ர ஸுதீந்த்ர ஸத்குரு கராம்போஜோத்பவ : ஸந்ததம் ப்ராஜ்ய த்யாந வசீ க்ருதாகிலஜகத் வாஸ்தவ்ய லக்ஷ்மீதவ: ஸச்சாஸ்த்ராதி விதூஷகாகில ம்ருஷா வாதீப கண்டீரவ: ஸ்ரீமத் ஸத்குரு ராகவேந்த்ர யதிராட் குர்யாத் த்ருவம் மங்களம் 3. ஸாலங்காரக காவ்ய நாடக கலா காணாத பாதஞ்ஜல த்ரய்யர்த்த ஸ்ம்ருதி ஜைமிநீய கவிதா ஸங்கீத பாரங்கத: விப்ர க்ஷத்ர விடங்க்ரிஜாத முகரா நேகப்ரஜா ஸேவித: ஸ்ரீமத் ஸத்குரு ராகவேந்த்ர யதிராட் சூர்யாத் த்ருவம் மங்களம் 4. ரங்கோத்துங்க தரங்க மங்களகர ஸ்ரீ துங்கபத்ராதட ப்ரத்யக்ஸ்த த்விஜ புங்கவாலய லஸந் மந்த்ராலயக்யே புரே நவ் யேந்த்ரோபல நீலபவ்ய கரஸத் ப்ருந்தாவநாந்தர்கத: ஸ்ரீமத் ஸத்குரு ராகவேந்த்ர யதிராட் சூர்யாத் த்ருவம் மங்களம் 5. வித்வத்ராஜ சிரகீரிட கசிதா நர்க்யோரு ரத்நப்ரபா ராகாகௌகஹ பாதுகாத்வயசர: பத்மா க்ஷ மாலாதர: பாஸ்வத்தண்ட கமண்ட லூஜ் வலகரோ ரக்தாம்பரா டம்பர: ஸ்ரீமத் ஸத்குரு ராகவேந்த்ர யதிராட் சூர்யாத் த்ருவம் மங்களம் 6. யத்ப்ருந்தாவந ஸப்ரதக்ஷிண நமஸ்காராபிஷேக ஸ்துதி த்யாநாராதந ம்ருத்வி லேபந முகாநேகோபசாராந் ஸதா காரம்கார மபிப்மரயாந்தி சதுரோ லோகா: புமர்த்தாந் ஸதா ஸ்ரீமத் ஸத்குரு ராகவேந்த்ர யதிராட் சூர்யத் த்ருவம் மங்களம் 7. வேதவ்யாஸ முநீச மத்வ யதிராட் டீகார்ய வாக்யாம் ருதம் க்ஞாத் வாஸ்த் வைதமதம் ஹலாஹலஸமம் த்யக்த்வா ஸமாக்யாப்தயே ஸங்க்யாவத்ஸுகதாம் தசோ பநிஷதாம் வ்யாக்யாம் ஸமாக்யாந் முதா ஸ்ரீமத் ஸத்குரு ராகவேந்த்ர யதிராட் சூர்யாத் த்ருவம் மங்களம் 8. ஸ்ரீமத் வைஷ்ணவ லோக ஜாலக குரு: ஸ்ரீமத் பரிவாட் பரு: சஸ் த்ரே தேவ்குரு: ச்ரிதாமரதரு ப்ரத்யூஹ கோத்ர ஸ்வரு: சேதோஸ்தீதசிருஸ் ததா ஜிதவரு ஸ்ஸத் ஸெளக்ய ஸம்பத்கரு: ஸ்ரீமத் ஸத்குரு ராகவேந்த்ர யதிராட் சூர்யத் த்ருவம் மங்களம் 9. யஸ்ஸந்த்யா ஸ்வநிசம் குரோர் வ்ரதிபதே: ஸந்மங்களஸ் யாஷ்டகம் ஸத்ய: பாபஹரம் ஸ்வஸேவி விதூஷாம் பக்த்யைத தாபாஷிதம் பக்த்யா வக்தி ஸுஸம்பதம் சுபபதம் தீர்க்காயுரா ரோக்யகம் கீர்த்திம் புத்ர களத்ர பாந்தவ ஸுஹ்ருந் மூர்த்தி: ப்ரயாதி த்ருவம் இதி ஸ்ரீமதப் பணாசார்யக்ருதம் ராகவேந்த்ர மங்களாஷ்டகம் ஸம்பூர்ணம் ஸ்ரீ கிருஷ்ணார்ப்பணமஸ்த்து ஸ்ரீ ராகவேந்த்ர அஷ்டாக்ஷர மந்த்ர ஜப விதானம் (தினமும் 108 முறை அல்லது அதிகமும் ஜபிக்க ஸகல காரியமும் ஸித்திக்கும். பெண்கள் ஓம் ஸ்ரீராகவேந்த்ராய நம: ஸ்ரீம் என்று ஜபிக்க வேண்டும்.) அஸ்ய ஸ்ரீ ராகவேந்த்ர அஷ்டாக்ஷர மஹா மந்த்ரஸ்ய அப்பண்ணாசார்ய ருஷி: (சிரசில் வலது கையால் தொடவும்) ஸ்ரீராகவேந்த்ர குர்வந்தர்கத பார தீரமண முக்ய ப்ராணந்தர்கத ஸ்ரீராமச்சந்த்ரோ தேவதா (ஹ்ருதயத்தை வலது கையால் தொட்டுக் கொள்ளவும்) காயத்ரீச் சந்த : (மூக்கின் கீழ் வலது கையை மடித்து வைக்கவும்) ஸ்ரீ ராகவேந்த்ர குர்வந்தர்கத பாரதீரமண முக்ய ப்ராணாந்தர்கத ஸ்ரீ ராமச்சந்த்ர ப்ரீத் யர்த்தே ஜபே விநியோக: ந்யாஸங்கள் ஓம் ஸ்ரீம் அங்குஷ்டாப்யாம் நம: (கட்டை விரலை ஸ்பரிசித்துக் கொள்ள வேண்டும்.) ஓம் ராகவேந்த்ராய தர்ஜனீப் யாம் நம: (ஆள்காட்டி விரலை ஸ்பரிசித்துக் கொள்ள வேண்டும்.) ஓம் நம: மத்யமாப்யாம் நம: (நடுவிரலை ஸ்பரிசித்துக் கொள்ள வேண்டும்.) ஓம் ஸ்ரீம் அனாமிகாப்யாம் நம: (மோதிர விரலை ஸ்பரிசித்துக் கொள்ள வேண்டும்.) ஓம் ராகவேந்த்ராய கனிஷ்டி காப்யாம் நம: (சுண்டு விரலை ஸ்பரிசித்துக் கொள்ள வேண்டும்.) ஓம் நம: கரதலகர ப்ருஷ்டாப்யாம் நம: (ஒரு கையால் மற்றொரு கையை ஸ்பரிசித்துக் கொள்ள வேண்டும்.) ஓம் ஸ்ரீம் ஹ்ருதயாய நம: (வலது கையால் ஹ்ருதயத்தைத் தொடவும்) ஓம் ராகவேந்த்ராய சிரஸே ஸ்வாஹா (தலையைத் தொடவும்) ஓம் நம: சிகாயை வஷட் (பின் தலையைத் தொடவும்) ஓம் ஸ்ரீம் கவசாய ஹும் (வலது கையால் இடது புஜத்தையும், இடது கையால் வலது புஜத்தையும் தொடவும்) ஓம் ராகவேந்த்ராய நேத்ர த்ரயாய வெளஷட் (ப்ருமத்தியைத் தொடவும்) ஓம் நம: அஸ்த்ராய பட் (வலது கைவிரலால் இடது உள்ளங்கையில் தட்டவும்) இதி திக் பந்த: (வலது கையால் தலையைச் சுற்றவும்) த்யானம் தப்த காஞ்சன ஸங்காசம் அக்ஷயலா கமண்டலூ தோப்யாம் ததானம் காஷாய வஸனம் ராம மானஸம் யோகீந்த்ர தீர்த்த வந்த்யங்கிஸ் துளஸிதாம பூஷிதம் ஜ்ஞான பக்தி தப: பூர்ணம் த்யாயேத் ஸர்வார்த்த ஸித்தயே மூல மந்த்ரம் ஓம் ஸ்ரீ ராகவேந்த்ராய நம: ஓம். 

Sri Narasimha Chaturdashi 2011 ISKON Bangalore

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International Divine Centre (Thennangur)

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Srimad Bhagavatam

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Shri Raghothama thirtha

RADHE KRISHNA 12-11-2011 Shri Raghothama thirtha http://youtu.be/GXcZY4MAUB4

jaya jaya raghavendra

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Sri Raghavendra stotra with lyrics

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Ramayanam

Radhe Krishna 12-11-2011



RAMAYANAM SUMMARY | RAMAYANAM CHARACTERS | RAMAYANAM VIDEOS | ADHYATMA RAMAYANAM





The Ramayana is undoubtedly the most popular and timeless Indian epic read and loved by all. The term 'Ramayana', literally means "the march (ayana) of Rama" in search of human values. As a literary work, it combines "the inner bliss of Vedic literature with the outer richness of delightfully profound story telling."
This story of Sri Rama by the great sage Valmiki is referred to as the Adi Kavya or the first epic poem. About the Valmiki Ramayana, Swami Vivekananda has said: "No language can be purer, none chaster, none more beautiful, and at the same time simpler, than the language in which the great poet has depicted the life of Sri Rama."

The characters and incidents in Ramayana provide the ideals and wisdom of common life, and help to bind the people of India. Universally regarded as one of the world's important literary works, Ramayana has had a profound impact on the art, culture, family relations, gender, politics and nationalism in the Indian sub continent. The everlasting value of this epic tale has been extolled through the centuries, and it has helped in molding the Hindu character largely.


RAMAYANAM SUMMARY as retold by Rajaji
1. THE CONCEPTION
2. SAGE VISWAMITRA
3. TRISANKU
4. RAMA LEAVES HOME
5. RAMA SLAYS THE MONSTERS
6. SITA
7. BHAGIRATHA AND THE STORY OF GANGA
8. AHALYA
9. THE DIVINE MARRIAGE OF RAMA AND SITA
10. PARASURAMA HUMBLED
11. FESTIVE PREPARATIONS
12. MANTHARA'S EVIL COUNSEL
13. KAIKEYI SUCCUMBS
14. WIFE OR DEMON?
15. BEHOLD A WONDER!
16. STORM AND CALM
17. SITA'S RESOLVE
18. TO THE FOREST
19. ALONE BY THEMSELVES
20. CHITRAKUTA
21. A MOTHER'S GRIEF
22. IDLE SPORT AND TERRIBLE RESULT
23. LAST MOMENTS OF DASARATHA
24. BHARATA ARRIVES
25. INTRIGUE WASTED
26. BHARATA SUSPECTED
27. THE BROTHERS MEET
28. BHARATA BECOMES RAMA'S DEPUTY
29. VIRADHA'S END
30. TEN YEARS PASS
31. THE SURPANAKHA EPISODE
32. KAMBAN'S SURPANAKHA
33. KHARA AND HIS ARMY LIQUIDATED
34. THE PATH OF RUIN
35. THE GOLDEN STAG
36. THE GOOD BIRD JATAYU
37. CLOSELY GUARDED
38. RAMA DISCONSOLATE
39. A SECOND FATHER DIES
40. LEFT EYELIDS THROB
41. HE SEES HER JEWELS
42. SUGRIVA'S DOUBTS CLEARED
43. THE SLAYING OF VALI
44. TARA'S GRIEF
45. ANGER AND RECONCILIATION
46. THE SEARCH BEGINS
47. SON OF VAYU
48. THE SEARCH IN LANKA
49. SITA IN THE ASOKA PARK
50. RAVANA'S SOLICITATION
51. FIRST AMONG THE ASTUTE
52. SITA COMFORTED
53. SITA AND HANUMAN
54. INVITING BATTLE
55. THE TERRIBLE ENVOY
56. HANUMAN BOUND
57. LANKA IN FLAMES
58. A CARNIVAL
59. THE TIDINGS CONVEYED
60. THE ARMY MOVES FORWARD
61. ANXIETY IN LANKA
62. RAVANA CALLS A COUNCIL AGAIN
63. VIBHISHANA
64. THE VANARA'S DOUBT
65. THE DOCTRINE OF SURRENDER AND GRACE
66. THE GREAT CAUSEWAY
67. THE BATTLE BEGINS
68. SITA'S JOY
69. SERPENT DARTS
70. RAVANA'S DEFEAT
71. THE GIANT IS ROUSED
72. IS THIS NARAYANA HIMSELF?
73. THE DEATH OF INDRAJIT
74. END OF RAVANA
75. THE END
76. EPILOGUE

Mahabharata, The Greatest Indian Epic

Radhe krishna 12-11-2011

RADHE KRISHNA 12-11-2011 Mahabharata, The Greatest Indian Epic Mahabharata, The Greatest Indian Epic The Mahābhārata, is the greatest, longest and one of the two major Sanskrit epics of ancient India, the other being the Rāmāyana. With more than 74,000 verses, plus long prose passages, or some 1.8 million words in total, it is one of the longest epic poems in the world. It contains eighteen Parvas or sections viz., Adi Parva, Sabha Parva, Vana Parva, Virata Parva, Udyoga Parva, Bhishma Parva, Drona Parva, Karna Parva, Shalya Parva, Sauptika Parva, Stree Parva, Shanti Parva, Anushasana Parva, Asvamedha Parva, Ashramavasika Parva, Mausala Parva, Mahaprasthanika Parva and Swargarohanika Parva. Each Parva contains many sub-Parvas or subsections. This wonderful book was composed by Sri Vyasa (Krishna Dvaipayana) who was the grandfather of the heroes of the epic. He taught this epic to his son Suka and his disciples Vaisampayana and others. King Janamejaya, son of Parikshit, the grandson of the heroes of the epic, performed a great sacrifice. The epic was recited by Vaisampayana to Janamejaya at the command of Vyasa. Later on, Suta recited the Mahabharata as was done by Vaisampayana to Janamejaya, to Saunaka and others, during a sacrifice performed by Saunaka in Naimisaranya, which is near Sitapur in Uttar Pradesh. It is very interesting to remember the opening and closing lines of this great epic. It begins with: "Vyasa sang of the ineffable greatness and splendour of Lord Vasudeva, who is the source and support for everything, who is eternal, unchanging, self-luminous, who is the Indweller in all beings, and the truthfulness and righteousness of the Pandavas." It ends with: "With raised hands, I shout at the top of my voice; but alas, no one hears my words which can give them Supreme Peace, Joy and Eternal Bliss. One can attain wealth and all objects of desire through Dharma (righteousness). Why do not people practise Dharma? One should not abandon Dharma at any cost, even at the risk of his life. One should not relinquish Dharma out of passion or fear or covetousness or for the sake of preserving one’s life. This is the Bharata Gayatri. Meditate on this daily, O man! when you retire to sleep and when you rise from your bed every morning. You will attain everything. You will attain fame, prosperity, long life, eternal bliss, everlasting peace and immortality." parva title sub-parvas contents 1 Adi-parva 1-19 Introduction, birth and upbringing of the princes. 2 Sabha-parva 20-28 Life at the court, the game of dice, and the exile of the Pandavas. Maya Danava erects the palace and court (sabha), at Indraprastha. 3 Vana-Parva 29-44 The twelve years in exile in the forest (aranya). 4 Virata-parva 45-48 The year in exile spent at the court of Virata. 5 Udyoga-parva 49-59 Preparations for war. 6 Bhishma-parva 60-64 The first part of the great battle, with Bhishma as commander for the Kauravas. 7 Drona-parva 65-72 The battle continues, with Drona as commander. 8 Karna-parva 73 The battle again, with Karna as commander. 9 Shalya-parva 74-77 The last part of the battle, with Shalya as commander. 10 Sauptika-parva 78-80 How Ashvattama and the remaining Kauravas killed the Pandava army in their sleep (Sauptika). 11 Stri-parva 81-85 Gandhari and the other women (stri) lament the dead. 12 Shanti-parva 86-88 The crowning of Yudhisthira, and his instructions from Bhishma 13 Anusasana-parva 89-90 The final instructions (anusasana) from Bhishma. 14 Ashvamedhika-parva 91-92 The royal ceremony of the ashvamedha conducted by Yudhisthira. 15 Ashramavasika-parva 93-95 Dhritarashtra, Gandhari and Kunti leave for an ashram, and eventual death in the forest. 16 Mausala-parva 96 The infighting between the Yadavas with maces (mausala). 17 Mahaprasthanika-parva 97 The first part of the path to death (mahaprasthana "great journey") of Yudhisthira and his brothers. 18 Svargarohana-parva 98 The Pandavas return to the spiritual world (svarga).

MGR Movies – Complete List (1936-1978)

Radhe Krishna 11-11-11

MGR Movies – Complete List (1936-1978)
Thirties...
1 1936 Sathi Leelavathi /Manorama Films, Ellis R.Dungan
2 1936 Iru Sahothararkal / Parameswari Sound Pictures, Ellis R.Dungan
3 1938 Thadcha Yagnam / Metropolitan Pictures, Raja Chandrasekhar
4 1938 Veera Jegatheesh / V.S.Talkies, TP.Kailasam-R.Prakash
5 1939 Maaya Machendrar / Metropolitan Pictures, Raja Chandrasekha
6 1939 Prahalaatha / Salem Sankar Films, B.N.Rao
Forties..
7 1941 Ashokumar / Murugan Talkies Film Company, Raja Chandrasekhar
8 1941 Vethawathi or Seetha Jananam / Shyamala Pictures, T.R.Ragunath
9 1942 Thamil Ariyum Perumal / Uma Pictures, T.R.Ragunath
10 1943 Thaasi Penn or Jothi Malar/ Puvaneswari Pictures, Ellis R.Dungan
11 1943 Arichandra / Sri Rajarajeswari Film Company, Nagapushanam
12 1945 Meera / Chandraprabha Cinetone, Ellis R.Dungan
13 1945 Saalivaahanan / Bhaskar Pictures, B.N.Rao
14 1946 Sri Murugan / Jupiter, M.Somasundaram-V.S.Narayan
15 1947 Paithiyakaaran / N.S.K.Films, Krishnan-Panju
16 1947 Rajakumari / Jupiter, A.S.A.Sami
17 1948 Abhimanyu / Jupiter, A.S.A.Sami
18 1948 Mohini / Jupiter, Lanka Sathyam
19 1948 Raja Mukthi / Narendra Pictures, Raja Chandrasekhar
20 1949 Ratnakumar / Murugan Talkies Film Company, Krishnan-Panju
Fifties...
21 1950 Manthiri Kumari / Modern Theatres, T.R.Sundaram- Ellis R.Dungan
22 1950 Marutha Naatu Ilavarasi / G.Govindan and Co
23 1951 Marma Yogi /Jupiter, K.Ramnath
24 1951 Ektha Raaja in Hindi/dubbed
25 1951 Sarvaadhikaari / Modern Theatres
26 1951 Sarvaadhikaari in Telugu/dubbed
27 1952 Andamaan Kaithi / Radhakrishna Films, V.Krishnan
28 1952 En Thangai / Asoka Pictures, C.L.Narayanamurthy-M.K.R.Nambiar
29 1952 Kumaari / R.Padmanabhan-Rajeswari, R.Padmanabhan
30 1953 Genoa / Chandra Pictures, F.Nagoor
31 1953 Genoa ; in Malayalam/dubbed
32 1953 Naam / Jupiter-Mekala, A.Kasilingam
33 1953 Panakkaari / Uma Pictures, K.S.Gopalakrishnan
34 1954 Koondu Kili (1954)/ R.R.Pictures, T.R.Ramanna
35 1954 Malai Kallan (1954)/ Pakshiraja, S.M.Sriramulu Naidu
36 1955 Guleba Kaavali (1955)/ R.R.Pictures, T.R..Ramanna
37 1956 Alibaabavum Naarpathu Thirudarkalum / Modern Theatres, T.R.Sundaram - video Part1 - Part2 - Part3
38 1956 Madurai Veeran / Krishna Pictures, Yoganand
39 1956 Thaaiku Pin Thaaram / Devar Films, M.A.Thirumugam
40 1957 Sakravarthi Thirumagal / Uma Pictures, P.Neelakandan video
41 1957 Maha Devi / Sri Ganesh Movietone, Sundar Rao Nadkarni
42 1957 Puthumai Piththan / Sivakami Pictures, T.R.Ramanna
43 1957 Raja Rajan / Neela Productions, T.V.Sundaram
44 1958 Nadodi Mannan / M.G..R.Pictures, MGR video Part 1 - Part 2 - Part 3
45 1959 Thaai Magalukku Kattiya Thaali / Kalpana Kala Mandhir, R.R.Chandran
Sixties...
46 1960 Baghdad Thirudan / Southern Movies, T.P.Sundaram video Part 1 - Part 2 - Part 3
47 1960 Mannaathi Mannan / Nadesh Art Pictures, M.Nadesan
48 1960 Raja Desingu / Krishna Pictures, T.R.Ragunath
49 1961 Arasilankumari / Jupiter, A.S.A.Sami
50 1961 Nallavan Vaalvaan / Arasu Pictures, P.Neelakandan
51 1961 Sabash Maapillai / Ragavan Productions, S.Ragavan
52 1961 Thaai Sollai Thattathey / Devar Films, M.A.Thirumugam
53 1961 Thirudathey / A.L.S.., P.Neelakandan video
54 1962 Kudumba Thalaivan / Devar Films, M.A.Thirumugam
55 1962 Maada Pura / P.V.N.Productions, S.A.Subburaman
56 1962 Paasam / R.R.Pictures, T.R.Ramanna
57 1962 Rani Samyukthaa / Saraswathy Pictures, Yoganand
58 1962 Thaayai Kaatha Thanayan / Devar Films, M.A.Thirumugam
59 1962 Vikramaadhithan / Bharat Productions, T.R.Ragunath-N.S.Ramdhas
60 1963 Anantha Jothi / Hariharan Films (P.S..V.), V.N.Reddy video Part 1 - Part 2 - Part 3
62 1963 Tharmam Thalai Kaakum / Devar Films, M.A.Thirumugam
63 1963 Kalai Arasi / Sarodi Brothers, A.Kasilingam
64 1963 Kaanchi Thalaivan / Mekala Pictures, A.Kasilingam
65 1963 Koduthu Vaithaval / E.V.R.Pictures, P.Neelakandan
66 1963 Neethiku Pin Paasam / Devar Films, M.A.Thirumugam
67 1963 Pana Thottam / Saravana Films, K.Sankar
68 1963 Parisu / Gowri Pictures, Yoganand
69 1963 Periya Idathu Penn / R.R.Pictures, T.R.Ramanna
70 1964 Theiva Thaai / Sathya Movies, P.Madhavan
70 1964 En Kadamai / Nadesh Art Pictures, M.Nadesan video Part 1 - Part 2 - Part 3
71 1964 Padahotti / Saravana Films, T.Prakash Rao
72 1964 Panakkara Kudumbam / R.R.Pictures, T.R.Ramanna video Part 1 - Part 2 - Part 3
73 1964 Thaayin Madiyil / Annai Films, Adurthi Subba Rao
74 1964 Tholilaali / Devar Films, M.A.Thirumugam
75 1964 Vettaikkaaran / Devar Films, M.A..Thirumugam video Part1 - Part 2 - Part 3
76 1964 Aasai Mugam / Mohan Productions, P.Pulliah
77 1965 Aayirathil Oruvan / Padmini Pictures, B.RPanthulu
78 1965 Enga Veetu Pillai / Vijaya Combines Productions, Sanakya video Part1 - Part2
79 1965 Kalankarai Vilakkam / Saravana Films, K.Sankar
80 1965 Kanni Thaai / Devar Films, M.A.Thirumugam
81 1965 Panam Padaithavan / R.R.Pictures, T.R.Ramanna
82 1965 Thaalam Poo / Sri Bala Murugan Films, S.Ramadas
83 1966 Anbe Vaa / AVM, A.C.Tirulokachandar
84 1966 Naan Aanaiyittaal / Sathya Movies, Sanakya
85 1966 Muharaasi / Devar Films, M.A.Thirumugam
86 1966 Naadodi / Padmini Pictures, B.R.Panthulu video
87 1966 Chandrothayam / Saravana Films, K.Sankar
88 1966 Parakkum Paavai / R.R.Pictures, T.R.Ramanna
89 1966 Petraal Thaan Pillaiyaa? / Sri Muthukumaran Pictures, Krishnan-Panchu
90 1966 Thaali Paakiyam / Varalakshmy Pictures, K.B.Nagabhushanam
91 1966 Thani Piravi / Devar Films, N.S.Varma
92 1967 Arasa Kattalai / Satyaraja Pictures, M.G.Chakrapani
93 1967 Kaavalkaaran / Sathya Movies, P.Neelakandan video Part 1 - Part 2 - Part 3
94 1967 Thaaiku Thalaimagan / Devar Films, M.A.Thirumugam
95 1967 Vivasaayi / Devar Films, M.A.Thirumugam
96 1967 Rahasiya Police 115 / Padmini Pictures, B.R.Panthulu
97 1968 Ther Thiruvizah / Devar Films, M.A.Thirumugam
98 1968 Kudiyiruntha Koyil / Saravana Screens, K.Sankar
99 1968 Kannan En Kaathalan / Sathya Movies, P..Neelakandan
100 1968 Oli Vilakku / Gemini, Sanakya
101 1968 Kanavan / Valli Films, P.Neelakandan
102 1968 Puthiya Bhoomi / J.R.Movies, Sanakya
103 1968 Kaathal Vaahanam / Devar Films, M.A.Thirumugam
104 1969 Adimai Penn / M.G.R.Pictures, K.Sankar Video: Part 1 - Part 2
105 1969 Nam Naadu / Vijaya International, Jambu Video: Part1 - Part3 - Part4 - Part5
Seventies...
106 1970 Maatukaara Velan / Jayanthi Films, P.Neelakandan
107 1970 En Annan / Venus Pictures, P.Neelakandan
108 1970 Thalaivan / Thomas Pictures, P.A.Thomas
109 1970 Thedi Vanda Maapillai / Padmini Pictures, B.R.Panthulu
110 1970 Engal Thangam / Mekala Pictures, Krishnan-Panchu
111 1971 Kumari Kottam / Kay Cey Films, P.Neelakandan
112 1971 Rikshawkaran / Sathya Movies, M.Krishnan Nayar video Part 1 - Part 2 - Part 3
113 1971 Neerum Neruppum / New Mani J.Cine Productions, P.Neelakandan
114 1971 Oru Thaai Makkal / Nanjil Productions, P.Neelakandan
115 1972 Sange Muzhangu / Valli Films, P.Neelakandan
116 1972 Nalla Neram / Devar Films, M.A.Thirumugam
117 1972 Raman Thediya Seethai / Jeyanthi Films, P.Neelakandan
118 1972 Annamidda Kai / Ramachandra Productions, M.Krishnan
119 1972 Naan Een Piranthaen? / Kamatchi Agencies, M.Krishnan
120 1972 Ithaya Veenai / Uthayam Productions, Krishnan-Panchu
121 1973 Ulagam Suttrum Vaalipan / M.G.R.Pictures, MGR video Part 1 - Part 2 - Part 3
122 1973 Paddikaatu Ponnaiah / Vasanth Pictures, B.S.Ranga
123 1974 Netru Inru Naalai/ Amalraj Films, P.Neelakandan
124 1974 Urimai Kural/ Chitrayuka, C.V.Sridhar
125 1974 Siriththu Vaazhavendum / Uthayam Productions, S.S.Balan
126 1974 Ninaithathai Mudippavan / Oriental Pictures, P.Neelakandan
127 1975 Naalai Namathe / Gajendra Films, K.S.Sedhumadavan video Part 1 - Part 2 - Part 3 - Part 4 - Part 5
128 1975 Pallaandu Vaazhha / Uthayam Productions, K.Sankar
129 1975 Ithaya Kani / Sathya Movies, A.Jeganathan
130 1976 Neethikku Thalai Vanangu / Sri Umaiyambikai Productions, P.Neelakandan
131 1976 Uzhaikkum Karangal / Kay Cey Films, K.Sankar
132 1976 Oorukku Uzhaippavan / Venus Pictures, M.Krishnan
133 1977 Inru Pola Enrum Vaazhha / Subbu Productions, K.Sankar
134 1977 Navarathnam / C.N.V.Movies, A.P.Nagarajan
135 1977 Meenava Nanban / Muthu Enterprise, C.V.Sridhar
136 1977 Maduraiyai Meedda Sundara Paandiyan (1978)/ Soleeswar Combines, P.Neelakandan

M.N.Nambiar

RADHE KRISHNA 09-11-2011 M.N.Nambiar M.N.Nambiar M.N.Nambiar with long time friend and actor-politician M.G. Ramachandran Born Manjeri Narayanan Nambiar 7 March 1919 Kannur, Kerala, India Died 19 November 2008 (aged 89) Chennai, Tamil Nadu, India Spouse Rukmani M. N. Nambiar M. N. Nambiar ( (Tamil: எம். என். நம்பியார்)(Malayalam: എം എന്‍ നമ്പ്യാര്‍‍‍)(born Manjeri Narayanan Nambiar 7 March 1919 — 19 November 2008) was a film actor in Tamil cinema and had been in the film industry for more than 50 years. Contents 1 Biography 2 filmography 3 Death 4 Filmactors told about him 5 Facts 6 References 7 External links Biography Born on 7 March 1919 in Cherukunnu, Kannur in a Nambiar family of Uthara Malabar, he moved to live with his sister in Ooty. He became interested in acting when he was 13 and he joined Nawab Rajamanikkam's troupe. From then on acting became the only thing that occupied him. His first film was 'Bhaktha Ramadoss', shot in 1935 in Hindi and Tamil, where he played a villain. Though he started as a hero but started donning the role of a villain - so much so that today his name is almost eponymous with the Kollywood villain. Nambiar has worked with seven generations of actors from Balaiyah to Manoj (Bharathiraaja's son). His first pay was Rs.3 in the "Boys Company." He would retain Re 1 and send Rs.2 to his mother. A man of very limited needs, he has not eaten outside of his house. He is extremely health conscious. He made quite a statement in the early 50s with his portrayal of 11 roles in ‘Digambara Samiyar.’ His arresting performance in films such as ‘Manthiri Kumari,’ ‘Velaikkari,’ ‘Ayirathil Oruvan,’ ‘Thillana Mohanambal,’ ‘Missiamma’ and ‘Nenjam Marappadillai’ paved way for a very successful career that spanned over five decades.[1] A majority of the more than 1000 films that he has done is in Tamil, though he has acted in Telugu, Malayalam and Hindi, besides an English film `Jungle' (with Rod Cameron, the film's hero, directed by William Burke) in which he appears in a few brief scenes. The film was released in 1952. The Hindi film he acted in was a remake of the Tamil `Kanavane Kankanda Deivam.' After becoming popular in Tamil films he started his own drama troupe called Nambiar Nataka Mandram. They staged two plays — `Kaviyin Kanavu' and a comedy play `Kalyana Supermarket.' M.N. Nambiar is an ardent devotee of Sabarimala Sri Ayyappan. He has had a long association with the temple, and visited the shrine more than 65 years over the last half a century; this has led to him being called Maha Guruswamy.[2] His favourite films remain `Aayirathil Oruvan' with MGR, `Ambikapathi' with Sivaji Ganesan, `Missiyamma' with Gemini Ganesan, `Nenjam Marappathillai' directed by Sridhar and `Thooral Ninu Pochu' with Bhagyaraj. This was the film that made him do character roles, something that he continued to do till his death. He also acted as hero in two films `Kalyani' and `Kavitha' produced by Modern Theatres. He has done stage, films and also serials such as `Velan.' When it comes to acting, he supposedly likes all the actors; but of special mention are M. R. Radha and Savitri. Both, in his opinion, were brilliant in their own way. He died in Chennai on 19 November 2008. filmography This is complete list of his films. . Year Film Language Notes 1935 Bhaktha Ramadas Tamil Debut film 1948 Abhimanyu Tamil 1949 Velaikaari Tamil 1950 Manthiri Kumari Tamil Rajaguru 1951 Marmayogi Tamil 1951 Sarvadhikari Tamil Remake of The Gallant Blade[3] 1952 Jungle English 1953 Petrathai Tamil 1953 Kanna Talli Telugu Sankar 1956 Amara Deepam Tamil 1961 Pasamalar Tamil 1963 Enga Veetu Pillai 1964 Uthama Puthiran 1965 Aayirathil Oruvan Tamil 1966 Thali Bhagyam Tamil 1976 Satyam Tamil 1981 Garjanai 1982 Thooral Ninnu Pochu 1983 Thai Veedu Tamil 1984 Naan Mahaan Alla Tamil 1986 Mella Thirandhathu Kadhavu Tamil 1993 Gentleman Tamil 1993 Paasamalargal Tamil 1993 Yejaman Tamil 1996 Poove Unakkaga Tamil 1997 Vallal 1999 Rojavanam Tamil 2001 Vinnukkum Mannukkum Varushellam Vasantham 2002 Baba Tamil 2003 Winner Tamil 2004 Arasatchi Tamil 2006 Sudesi posthumous film Uthama Puthiran Ambikapathy (1957) Enga Veetu Pillai Mannavan vandhanadi Thooral ninnu pochu Pallandu vaazhga Swamy ayyappan Ninaithadai mudippavan Ulagam sutrum vaaliban Savale samali Raja Raja Cholan Nenjam marappadhillai En thambi Anbe vaa Makkalai petra magaraasi Velaikari (1949) Kanjan (1947) Rajakumari (1947) Thigambara Samiyar (1950) Kalyani (1952) Vidyapathi (1946) Kaviyin Kanavu Garjanai (1981) Avasara Police 100(1991) Bhaktha Ramadass (1935) Vinnukum Mannukum (2001) Arasilankumari Varushamellam Vasantham (2002) Death Nambiar was suffering from age-related ailments for the past four months and breathed his last at his residence, family sources said. He is survived by his wife, 2 sons - one a senior BJP leader Sukumaran Nambiar, and the other, Mohan Nambiar, is a prominent businessman based in Coimbatore. His only daughter, Sneha is married to actor Sarath Babu Filmactors told about him P. Vasu (Director) : “If there was anyone who could act with both the top heroes [Sivaji Ganesan and MGR] of Tamil cinema then, it was Nambiar. At one point, directors could not think of anyone else but him to play villain.” Srikanth (Actor) : “This is a very big loss…you cannot find a human being like him easily.” Manorama (Actress) : “He was a villain only when the camera got rolling…otherwise, he’d always keep us laughing with his ready wit,” K. Raman (Make-up man) : “In ‘Nenjam Marappadillai,’ he plays a really old man…the makeup would take hours together, but he would be extremely patient. His skin was flawless and almost pink…he took great care of his health.” Sundaram (Dance master) : “Nambiar sami was responsible for taking most of us in the industry to Sabarimalai” Sarath Babu (Actor) : “He had great regard for all his contemporaries. One could see the genuine affection he had for actors,” J. Jayalalithaa (Politician) : “I have acted with him in several films. He would be very jovial and enthusiastic on the sets. When one worked with him, one forgot the burden of work. He was very fond of me and I always had great regard and respect for him. His passing away is a great loss indeed.” Actor M.N.Nambiar Name: M.N.Nambiar Date of Birth: 07/03/1919 Place of Birth: Kannur, Kerala, India No of Movies acted: 123 First Movie: Bhakta Ramadoss

Kavignar Kannadasan

RADHEKRISHNA 09-11-2011 Kannadasan Kannadasan "Kaviarasu" Kannadasan Born A. L. Muthiah June 24, 1927 Sirukudalpatti, Tamil Nadu, India Died October 17, 1981 (aged 54) Chicago, Illinois, United States Pen name Karaimuthu Pulavar, Vanangamudi, Kamakappriya, Parvathi Nathan, Arokkiya Saamy Occupation poet, novelist, lyricist, politician, film producer, editor Nationality Indian Citizenship Indian Notable award(s) National Film Award for Best Lyrics 1961 Kuzhanthaikkaga Sahitya Akademi Award 1980 Cheraman Kadali Spouse(s) Ponnazhagi Parvathi Valliammai Children 13 Kannadasan From Wikipedia, the free encyclopedia This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2010) "Kaviarasu" Kannadasan Born A. L. Muthiah June 24, 1927 Sirukudalpatti, Tamil Nadu, India Died October 17, 1981 (aged 54) Chicago, Illinois, United States Pen name Karaimuthu Pulavar, Vanangamudi, Kamakappriya, Parvathi Nathan, Arokkiya Saamy Occupation poet, novelist, lyricist, politician, film producer, editor Nationality Indian Citizenship Indian Notable award(s) National Film Award for Best Lyrics 1961 Kuzhanthaikkaga Sahitya Akademi Award 1980 Cheraman Kadali Spouse(s) Ponnazhagi Parvathi Valliammai Children 13 Kannadasan (Tamil: கண்ணதாசன்) (24 June 1927 – 17 October 1981) was a Tamil poet and lyricist, heralded as one of the greatest and most important writer in the Tamil language. Frequently called Kaviarasu (English: King of Poets), Kannadasan was most familiar for his song lyrics in Tamil films and contributed around 5000 lyrics besides 6000 poems and 232 books,[1] including novels, epics, plays, essays, his most popular being the 10-part religious essay on Hinduism, captioned Arthamulla Indhumatham (English: Meaningful Hinduism). He won the Sahitya Akademi Award for his novel Cheraman Kadali in the year 1980 and was the first ever to receive the National Film Award for Best Lyrics, given in 1969 for the film Kuzhanthaikkaga. Kaviyarasu Kannadasan's with Chief Minister Dr.MG Ramachandran Kaviyarasu Kannadasan's Mortal remains ....Late Dr.MGR consoling the family members Contents 1 Poet laureate 2 Death 3 References 4 External links Poet laureate Kannadasan was the poet Laureate of the Tamil Nadu Government at the time of his death.[citation needed] He wrote an autobiography, titled Vanavasam. Death Kannadasan died on 17 October 1981 in Chicago, United States, where he had gone from India to attend a Tamil conference organised by the Tamil Association of Chicago. A house in Sirukootalpatti is now a memorial for the Tamil film music's evergreen favourites. The Kannadasan memorial museum was inaugurated on October 21, 1992.[2] References ^ About Us ^ http://www.tn.gov.in/tamiltngov/memorial/kannadasan.htm [hide]v · d · eSahitya Akademi Award for Tamil language 1955-1975 R. P. Sethu Pillai (1955) · Kalki Krishnamurthy (1956) · C. Rajagopalachari (1958) · Mu. Varadarajan (1961) · Mi. Pa. Somasundaram (1962) · Akilan (1963) · P. Sri Acharya (1965) · Ma. Po. Si. (1966) · K. V. Jagannathan (1967) · A. Srinivasa Raghavan (1968) · Bharatidasan (1969) · Ku. Alagirisami (1970) · Na. Parthasarathy (1971) · D. Jayakanthan (1972) · Rajam Krishnan (1973) · K. D. Thirunavukkarasu (1974) · R. Dhandayudham (1975) · 1976-2000 Indira Parthasarathy (1977) · Vallikannan (1978) · Thi.Janakiraman (1979) · Kannadasan (1980) · M. Ramalingam (1981) · B. S. Ramaiya (1982) · T. M. Chidambara Ragunathan (1983) · Lakshmi Thiripurasundari (1984) · A. S. Gnanasambandan (1985) · Ka. Naa. Subramaniam (1986) · Aadhavan Sundaram (1987) · V. C. Kulandaiswamy (1988) · La Sa Ra (1989) · Su. Samuthiram (1990) · Ki. Rajanarayanan (1991) · Kovi. Manisekaran (1992) · M. V. Venkatram (1993) · Ponneelan (1994) · Prapanchan (1995) · Ashoka Mitran (1996) · Thoppil Mohamed Meeran (1997) · Sa. Kandasamy (1998) · S. Abdul Rahman (1999) · Thi. Ka. Sivasankaran (2000) 2001-present C. S. Chellappa (2001) · Sirpi Balasubramaniam (2002) · Vairamuthu (2003) · Tamilanban (2004) · G. Thilakavathi (2005) · Mu. Metha (2006) · Neela Padmanabhan (2007) Melanmai Ponnusamy (2008) · Puviarasu (2009) · Nanjil Nadan (2010) · KAVIYARASU KANNADASAN Kaaviyathayin Illaya magan Kadhal Pengalin Perun thalaivan Paamara jaadiyil thani manidan – naan Padaippadhanal yen per Iraivan Naan Manida jaadiyai aati vaipen – avar Maandu vital adhai paadi vaipen NAAN NIRANDARAM AANAVAN AZHIVADILAI ENDA NILAYILUM ENAKKU MARANAM ILLAI These are the great lines of Kaviyarasu Kannadasan in the movie Ratha Thilakam where he acts in the movie singing these lines. ( Song.. Oru Koopayilae yen kudiyiruppu) What a visionary he was ? Indeed, he is NIRANDARAMAANAVAN. I share some of my observations about Kavingyar. I want all the fans of HIM to join this discussion and add more quality material in praise of his great works. This is the only way we pay tributes to this GENIUS. a) Raga Gyanam of Kavingyar In the file ‘ Thiruvarutchelvar’, no one can forget the great song ‘ Mannan Vandhanadi’. This song was penned by Kannadasan and music by legendary KVM and sung by P.Suseela. I do not think we can ever get a better song in the Raga Kalyani in our tamil movies when compared to this song . This song has all the nuances of Kalyani in a capsule form. In the Charanam, look at these lines, Viraivinil Nee… Ni Mana malar Tha .. tha Thiru Marbaa… Pa Thamadhama… Ma Mayil ennai Ka… Ga Ni.. tha.. Pa.. Ma.. Ga…. The words end in the avorahanam of Kalyani ( descending order of the musical notes) Similarly, there is one stanza which will have the first letters in the arohanam ( ascending order).. I do not recollect the exact lines.. Sa… Ri.. ri ga ma pa da ni sa.. Ka.. karunaiyin Thalaiva Ma.. Madhi migu Mudhalva.. Do we have any such poet today ? b) Kannadasan’s command over Language Also, can any one forget the ‘Then’ song in Veera Abhimanu.. This duet is again a KVM song in Raga Sahana by PBS and PS. Paarthen Rasithen pakkam vara thudithen Unai then ena naan ninethen – andha Malai then idhu ena malaithen What about the ‘voor’ song in the file Oorkkaval.. PBS is the singer Endha voor endravanae Irundha voorai chollava Andha voor neeyum kooda Arindha voor allava The great ‘ Kai’ Song ‘ Athhikkai Kaai kaai’ in Balae Paandiya.—About this song, I will dwell in detail subsequently. c) Kannadasan’s knowledge of Litreature: (i) There is one tamil poem in ‘Pura Nanooru’, the old tamil literature. To know the meaning of this poem, you also need to know about the philanthrophist tamil King Paari. He was so noble and kind hearted that on one occasion, when he found a jasmine creeper without a support, he let his chariot as the support for the creeper so that it could grow. His fame and wealth was an eyesore to cheera , choola and Paandya kings and they waged a war against him and killed him. They also want to marry his daughters who were too young and the marriage proposal was stopped by Tamil Sage Avvaiyar. The poem is written to a situation where, the daughters of Paari, on a full moon day, recalls that their father was with them on the last full moon day and he is now more now and they were grieving for his death. The poem in chaste tamil starts as Attrai thingal Auv Vennilavil… Kannadasan has taken this incidence to write his song ‘Androru Naal Idhe Nilavil Avar irundar en arugil’ in the film ‘Nadodi ‘ ( wagabond) (ii) In Kamba Ramayanam, the poem which describes Kaiykeye seeking two boons from Dasaratha starts as ‘Aazhi sooz ulagelam Bharathanae Aaala’ and ends as ‘ Theeyavai yaavinum Sirandha Teeyal’ whereby kambar describes Kaiykeye as the worst of the worst for her act . I think Kannadesan must have been inspired by these lines and in the movie ‘ Karnan’, there is a song by SG, Tirchy Lokanathan, PBS, TMS which is penned to the situation of Karnan performing pooja to his father Suryan ( the Sun God). There the stanza Mannavar porulgalai Kai kondu…. Ends with ‘ VARUMAIKKU VARUMAIYAI VAITHTHOR MAAMANNAN VAZHGAVE…VAZGHA VAZGHA. Here, he used two negatives ‘ Varumaikku Varumai’ to elate Karnan’s noble charity that there was no poverty because of his abundant charity. Also, I feel vairamuthu must have been inspired by Kannadasan’s lines that he had sai ‘ maanatthin Maanathai vaangi vittan’ in the song ‘Poo Malai Vaangi Vanthan’ in Sindhu Bhairavi. (iii) In one of the Sirappu Then Kinnam ( remember the yester years in Radio… Chennai Vaanoli Nilayam !!), Kannadasan himself had said that he wrote the song Thookkamum Kankalai Thazuvattume Amaithiyum Nenjinil Nilavattume Since he was inspired by the lines of shakesphere in ‘Macbeth’ (iii) The famous song in ‘Vaazhkai Padagu’ ‘ Neetru varai nee yaroo naan yaroo Indru mudhal nee vaero naan vaero’ Is based on the ‘Pura Naanooru’ padal ‘ Yanum neeyum yaaraa giyaro yendaiym numadiyum evan kollo Sembulap peyar neer pola Anbudai Nenjangal Tham Kalandaduvae’ (iv).. One Sanga kaala illakkiya padal was the inspiration for Kavingyar to write the famous song in “Balae Paandiya’ – ‘ Atthikkai Kai Kai’ One newly wed bride is separated from her husband since he need to be in the battle field shortly after the wedding. On the full moon day, the lady, is thinking about her husband and feeling lonely without him on a romantic night. She requests moon ‘ I am always remembering him but not sure about how he feels.. Already I am sore without him… you also do not add to my suffering with your full radiance.. instead of glowing here, you shower your moon light on the direction where my husband is so that he also gets romantic mood and gets back to me’ This is what the song ‘Athikkaai kaai kaai Aalangai Vennilavae’ Athikkai is fig. Also it means glow in that direction ( thikku in tamil means direction / side). What a great song.. full of name of various vegetables. At the same time, has got a different meaning in chaste tamil. d) Ability to convey his message through his songs. (i) Kavingyar came out of Congress but had great admiration for Kamaraj. He wanted to convey his respect and desire for an ever lasting association with Kamaraj. Hence ‘Andha sivagami maganidam sedhi solladi – yennai serum naal parka solladi’ came in the movie ‘Pattanathil Bhoodam’. In the movie , the song was set as it to praise Lord Muruga.. Kamaraj’s Mother’s name is Sivagami !! (ii) Similarly Nalandana … Nalandana… Udalum Ullamum Nalandana.. Nalam Pera vendum nee Yendru Naalum Yen Nenjil Ninaivundu Ilai marai kaai pol porul kondu Yevarum ariyaamal sol indru…. Was written in ‘Thillana Moganaambal’ for as the meeting song between Sivaji and Padmini after sivaji’s injury. But, this song is actually written with C.N. Annadurai in mind when he was ailing in the hospital and kavingyar was away from him . One more great song by KVM in the raag Sivaranjani. WILL WE EVER GET BACK A KAVINGYAR LIKE KANNADASAN ??

BHAJANA SAMPRADAAYAM

RADHE KRISHNA 06-11-2011 BHAJANA SAMPRADAAYAM BHAJANA SAMPRADAAYAM http://www.achalam.com/bhajanasampradaayam/sampradaayam.htm Even though chanting or singing the Lord's name without following any order of performance will suffice (Deveotional Songs), systematic performance will always benefit. Even for our worldly activities, we list out the steps to be followed to achieve anything. A Samprdaayam is the established practice or custom or method of doing any act in a prescribed manner Thus came the Sampradaayam in Bhajan also. Our Gurus have evolved a method for doing Bhajan, which we have to follow meticulously, if we have to derive the benefit. The Songs, Lyrics, Raagaas and the method of singing them etc. should be strictly followed as each of these elements have a definite meaning and purpose. The Raagaas chosen have a direct relationship with the lyrics and the lyrics have a definite meaning, which is in praise of the Lord or will be a prayer from the Bhaktha to the Lord. If we try to change the lyrics or raagaas, the entire purpose or objective of the songs is lost. Moreover, we are not competent to correct or change what is given by our Gurus, who have prepared them with self-experience and after going through the Bhava Rasa. Moreover, the Sampradaayam was evolved to the shape what it is today by our Gurus after a great amount of reasearch and analysis and the present Sampradaayam is a comprehensive system encompassing various practices followed by many bhakthaas in all over India. Our Gurus have travelled throughout India and collected the great works of Bhakthaas and Sanths and have given a well codified systematic Sampradaayam, which we have no right to alter. For different topics, please click on the above links and read them as you choose. For knowing about different Paddhathis, please click on the links given below and go to the respective sections. May you flourish in Bhakthi by following the Sampradaayam strictly as given by our Gurus. RADHEY KRISHNA Origin As there are Trinities in Carnatic Music (Thyaagaraaja Swamigal, Muthuswami Deekshithar & Shyama Sasthrigal), so also in Dakshina Bhajan Sampradaayam field, there are three Gurus (Govindapuram Bodhendra Swamigal, Thiruvisanallur Shridhara Venkateswara Iyyavaal and Marudaanallur Sadguru Swamigal), who have prescribed Naama Japam and Bhajan as the only source for Mukthi in Kaliyuga. They knew that in Kaliyuga people will not be able to engage themselves in Dhyana, Yaaga, Yajna, Tapas, Pooja etc. etc. as done in Krita, Thretha and Dwapara Yugaas, which are too time consuming and needs more spending. They have evolved a method which is so easy to follow and is definite in results. Bodhendra Swaamigal was the 59th Pontiff of the Kanchi Kaaamakoti Peettam, who came in the lineage of Aadi Sankara Bhagawat Paada. He propagated RAAMA NAAMA Japam as the way to achieve salvation. Being a Sanyasi, he had to restrict himself by giving out upadesa. He preached that Naama is superior to Naami, i.e. the name is first and then the roopam. The name Raama has an origin prior to the birth of Raama and was selected by Rishi Vasista. The sanctity of RAAMA Naama is that when we utter "RAA", the mouth opens which allows all our sins to go out and when we utter "MA", the mouth closes so that no more evil speech or though will enter into us. He stated that the name Raama denotes "always in Bliss", which is not pleasure that we enjoy at our Body, Mind and Intellectual level. Shreedhara Venkateswara Iyyavaa was a contemporary to Sri Bodhendra Swamigal, was a Siva Bhaktha and he has rendered many kritis in praise of Siva as also in praise of Krishna. He was propagating Siva Bhakthi through his Naama Prachaarams. Shreedhara Iyyavaal was a Gruhastha and moved, leaving his wealth and belongings, from one place to another with his mother and wife, but following his Nithya Karma as a Bhagavatha (including daily Bhajans and Unchavruthi). Finally he settled in the village Thiruvisanallur. He is said to be the incarnation of Siva Once, while performing Shraadha for his father, Shreedhara Iyyavaal offered the food prepared for the Brahmins to a Bhikshaka, who was hungry and who was an outcaste. This shows that Shree Sridhara Iyyaaval was so deep rooted in Bhakthi and compassion towards the sufferings of others irrespective of what comes to him, even a sin. At the behest of the Purohits assembled there, he was to take bath in ganges and re-prepare the food and do shradha again. Though to show his devotion and spiritual power, it is said that through his song, composed and sung by him with deep rooted Bhakthi, he could bring Ganges into the well at his residence, which occasion is being celebrated even today once in a year. The Priests and Bhagawathaas in the village complained to the King that Shreedhara Iyyavaal is converting everyone sas Shaivites and wanted to punich him. While the procession of Sri Krishna was taken out in the village and when it came to the door steps of the house of Shreedhara Iyyaval, he came out and offered prasaadam to Lord and took Aarati. Thus he proved that there is no diffrerence in Shivites and Vaishnavites and both Gods are the same. He has composed songs in various gods, which are being sung today in our Sampradaayams. It is the Maruthanallur Satguru Swamigal who gave us the original Sampradaayam, which is being followed by the present day Bhajanists, though with additions made by later Bhagavathaas. arudaanallur Sri Sadguru Swamigal, born to Venkata- subramania dampathis after about 100 years of Bodhendra Swamigal's Samaadhi and originally named as Venkata- ramana, was said to be the re-incarnation of Sri Raama. He was duly initiated into Brahmacharya and Gruhastha Ashramaas, being married to Janaki. Sadguru Swamigal was engaged in Bhakthi Maarga by singing the names of God. He was the one who identified the Samaadhisthal of Bhagavan Naama Bodhendra Swamigal in the Cauveri river bed in Govindhapuram (Kumbakonam), which was earlier washed away by flood waters and people did not care for it. Ordained by fate, he decided to discover the Samaadhi by tying his legs (nay he may stamp on the samaadhi) and rolling on the river bed. He heard the chanting of "Raama Raama" at one particular location and decided that it should be the samaadhisthal of Sri Bodhendraal, which he wished to re-build surrounded by a beautiful Brindaavan. However, Sadguru Swamigal, being a gruhastha with no financial backing, approached the then Maratta King Sri Sarabhoji Mahaaraja (the ardent disciple of Samartha Raamadaas - a Raama Bhaktha), who financed the project of diverting the flow of the river a little away and to build an Adhishtaanam at the spot where he Samaadhi was found. Sri Sadguru Swamigal followed the Bhagavatha Dharmaanushtanam meticulously and travelled throughout India and observed and collected the songs composed and sung regularly by various Bhakthaas/Sants in their own languages such as Hindi, Maratti, Thelugu, Kannada, Tamizh,Malayalam and Sanskrit, the Saptha Bhaasha. The Bhakthaas who have rendered/sung songs/slokaas can be classified as: Thukkaraam, Naamdev, Gorakkumbha, Santh Gnaneswar, Gnaanaabai, etc. in Maharashtra; Purandaradas, Kanakadas etc. in Karnataka; Meerabai in Rajasthan; Kabirdas, Thulsidas etc.in Uttar Pradesh; Jayadevar in Orissa, Chaithanya Mahaa Prabhu in Bengal; Raamadas, Annamaacharyar, Narayana Theerthar etc. in Andhra; Sri Narsi Mehta in Gujarath; Aazhvaargal, Naayanmaargal, Bondhendraal, Sridhara Ayyavaal,Sadhasiva Brahmendral, Thyaagaraaja, Gopalakrishna Bharathi etc.in Thamil Naadu, and many others. He felt that to involve people in Bhakthi Marga, there must be unity and he compiled the songs sung by the above Bhakthaas in various languages, codified them into a Paddhathi and made it his daily routine. What a herculean task! This brings out the theory of Unity in Diversity. What a best method of National Integration. Marudaaanallur Sadguru Swaamigal was the one who provided us the basic Dakshina Sampradaaya Bhajan paddhathi by incorporating songs in different languages, which came to stay as the basic Paddhathi Krama that are in use today.The Sampradaayam prescribed by Sadguru Swaamigal is found in original Ola Chuvadi in the Mattam and at Bodhendral Mattam and about 60 years ago it was publshed in Grandhaksharam by Thillai Sthanam Narasimha Bhagavathar under the title : BHAJANOTHSAVA PADDHATHI. Later, in Chennai Sri Kothandarama Swamigal published an elaborate Paddhathi in Thelugu. Again, Thiruvayaar Nagaraja Bhagavathar brought out a short publication of this in Thamizh for the first time. Later Udumalaipettai Ramakrishna Bhagavathar has brought out a somewhat elaborate Paddhathi in Thamizh, which used to be followed widely all over India. Thus, Sri Maruthanallur Satguru Swamigal is the one who has given us the Basic Bhajana Sampradaaya Paddhathi, though added and developed by the later Bhagavathaas as said above. Even today, there is his Mattam in Maruthanallur Village, which is administered by his lineage, who are spreading the fame of Satguru Swamigal. Even today, to show our indebtedness to these Bhajan Trinities, we sing in praise of these three Gurus (a must) at the beginning of our Bhajan Paddhathi (Guru Keethanam). Normally, the Guru Keerthanams should be in praise of these Gurus and not the songs sung by them. However, if such keerthans in praise of them are not available or not known to us, it is perfect if we sing the songs rendered by them in Guru Keethanam. Growth Pudukkottai Sri Gopalakrishna Bhagavatha Swamy, born on Friday 04.10.1892 (Nandana Varuzham Purattasi Maadham 30th day Krishna Paksha Navami in Aashlesha Nakshathram) to Smt.Meenakshi Ammal and Sri Sundaresa Ayya staying in Vallavari Village (Aranthangi Taluka, Trichy Dist., Tamil Nadu) and he was named as Venkata Gopalakrishnan. In his early age itself he learnt Thelugu, Sankrit, Thamizh languages, Music and had Manthropadesam from his brother-in-law. He attained the Lord's feet on Friday, 30/04/1971 Virodikruthu Varzham Chithirai month 17th day). Appa strictly followed the Bhagavatha Dharma literally by doing Nithyavrutthi, Raama Naama Japam, Unchavrutthi, Bhajan and Dolothsavam on a daily basis.. He was a staunch Narasimhopaasaka & was conducting till his niryaana, Narasimha Jyanthi every year in Pudukkottai, which he chose as his abode. His compassion, Daya, Daakshinya, Egoless status, Samabhaava, Santha Swabhaava etc. established him as a real Santh. After Sri Maruthanallur Satguru Swamigal, in recent times, Pudukkottai Sri Gopalakrishna Bhagavatha Swamy (fondly known as Appa) has done an yeoman service to the world of Bhajan by addiding to and propagating the original Sampradaayam prescribed by the trinities of Bhajan. He used to visit various bhajan programmes of learned Bhagavathaas of his time and got involved in it. Later he travelled all over India and participated in many Bhajans. The additions and changes made by him to the original Pddhathi is praiseworthy. He added more songs composed by Bhagavathaas & Sanths of his time all over India in various languages and expanded the original Paddhathi. A few Kruthis of Oothukkadu Venkatasubbayyar, which are famous for their bhava & Bhakthi were added as they are also best suited for Abhinaya. Sri He excelled in these activities through total involvent with Bhaava and Bhakthi and with Dance and Abhinaya in the Bharata Naatya method, which he had learnt. This has attraced many Bhakthaas and followers towards him, because even those who are not able to follow the verses sung or not knowing the meaning of them could involve themselves fully while attending his Bhajans. Because of his total involvement and Bhakthi/ Bhaava, his abhinaya conveyed the meanings of these songs. Today, visual education is easier than vocal and this method is followed in almost all walks of life. Sri Appa achieved this objective very efficiently in his Bhajans. His eyes had a tremendous Vasya (attraction) power, which poured anugraha to Bhakthaas. After Kanchi Mahaa Periyavaal and Sri Ramana Maharshi, I have seen the powerful eyes only with Sri Appa. As he followed the Bhagavatha Dharma, he imbided certian occult powers(Tapo Phalam) which he never propagated. But those blessed ones who are destined to be cured/blessed by Sri Appa, automatically got it. Sri Appa has revolutionised the Dolothsava Paddhathi of Saint Thyaagaraaja by adding important and apt songs from Pawwalimbu Uthsavam to it, in order to enjoy the essense of it on a daily basis, instead of on Kalyaanams or after finishing 24 Ashtapadi songs. Many of the songs from Pawwalimbu do fit in well in the Dolotsavam,. Knowing the import of these songs, and the Bhakthirasam in them, he enacted it and enjoyed the essence of it in the philosophical sense. This is indeed a treasure for bhakthaas who excel in Bhakthi and enjoy the essence of Lord's Leela. He had initiated a few deserving Bhajnists into Suthropadesam and I am one of those lucky ones. The Sampradaayam: Today there are a few Bhajana Sampradaayams in existence, like (Bodhendra) Madatthu Sampradayam Thiruvisa Nallur Sampradaayam, Marudaanallur Sampradaayam, Pudukkottai Sampradaayam, Krishna Premi Sampradaayam etc. Though there are slight differences in these Sampradayams, all of them have the same main theme as provided by Sri Sadguru Swamigal. Whichever Sampradaayam we follow, we should do justification by following the tenets prescribed by that Sampradaayam. We should not indulge in grading these Sampradaayams. The authors of these Sampradaayams were following them strictly as per rules on a daily basis. In my opinion, a real Bhagawatha has to perform, apart from his Nithyavrutthis, the Unchavrutthi, Paddhathi Bhajan and, Dolothsavam on a daily basis. The entire Bhajana Sampradaayam is grouped into various Paddhathis. However, in the present day situation, due to time factor and lack of knowledge, the full paddhathi could not be/are not being followed in toto but parts of which are performed at different times. Based on the present state of affairs, the various parts can be grouped under two major Groups: I have based the following Padhdhathi mainly based on Sri Appa's Paddhathi. PADDHATHI BHAJAN:(Basic) THODAYA MANGALAM Ist Part GURUDHYAANAM ) GEETHA GOVINDAM ) 2nd part THARANGINI ) OTHER GURUS ) POOJOPACHAARAM 3rd part DHYAANAM 4th part SPECIAL BHAJAN: DIVYANAAMAM 5th Part DOLOTHSAVAM 6th Part UNCHAVRUTTHI ) KALYAANA UTHSAVAM ) VASANTHOTHSAVAM ) 7th Part Poorna Ashtapathi Paddhathi is prescribed to be peformed before Kalyana Utsavam. Significance of Sampradaayam: Our Hindu culture prescribes Seven main Samskaaraas: Jasthakaranam & Jaathakaranam, Chowlam, Upanayanam, Marriage, Seemantham, Shashtiabhdha Poorthy, Sathabhishekam. although the Samskaraas prescribed by Sanatana Dharma vary from 16, 24 or 42 etc. as per various schools of thoughts. Even in our marriages, there is an Angam as SAPTHAPADI", which is the proof of marriage, apart from Kanyaka Daanam and Panigrahanam. (Unless Sapthapadi is conducted, it is not considered as a valid marriage even by the Hindu Law). Spiritual evolution (if proper spiritual evolution is considered to be taking place) should pass through these stages: Baalyam, Kawmaaram, Brahmacharyam, Gruhastham, Vaanaprastham, Sanyaasam, Samaadhi, which in Kaliyuga, is not attainable, as the Dharmaas in each stage cannot be observed and the samskaaraas are not being followed stictly. Namasamkeerthana is said to be the Maarga for salvation in Kaliyuga, which is simple to follow, easy to observe and definite in its result. What is required is sincereity in approach, concntration and Bhakthi Bhaava, total surrender to the Lord without Ego and with minimum Nithya Karmaanushtaanams prescribed for Kaliyuga Dharma. As there are seven main samskaras (minimum), so also I view the Sampradaaya Bhajan Paddhathi grouped into seven parts as above, for attaining salvation. This sampradaayam is a conglomoration of Slokams & Keethanams composed ands ung by various Bhakthaas/Sanths/Bhagavathaas with a definite meaning and purpose. If we want to follow them, naturally we have to adhere to the rules set therein. Vedantic view of of the Paddhathi: As I see it, having perfected ourselves with Sathwic Vichaar, enabled by the Pooja Paddhathi & Dhyaanam, we qualify for a vision of the Lord. By performing Deepa Pradakshinam, we get the vision of the Lord, go close to the Lord by enacting His leelaas and by being in company with Him through Bhakthi Bhaava. Through Gopikaa Geetham, we enjoy the Madhura Bhaava, suffer the pangs of separation due to our Ego, practice Bhakthi and total surrender and get the knowledge that Jeevaathma and Paramaathma are one and without Paramaathma, nothing exists. Through Dolothsavam, we merge with the Lord in the form of Nidhidhyaasan and get established in the Paramaathma Tathwa. This is possible only if we grasp the Philosophical meaning of these paddhathis and put them into practice. Let me hasten to add that while externally we may, through singing/abhinaya/dance, depict the various bhaavaas, inwardly we should be able to keep the above Vedantic stature for a full experience of spiritual anubhavam. While we cannot avoid doing work to earn our livelihood and do our Dharma as a Gruhastha, we should always bear in mind that our(Jeevaathmaas') origin is Paramaathma Thathwa and we should always aim at spiritual evolution by doing our karma in the world with pure mind, unattached, without Ego, with Daya towards others, serving humanity in whatever way we can and singing in praise of God always, lead a pious and simple life, so that our real AIM is ever shining in our mind and we try to achieve it before casting away this body in this birth. The only way for this is NAAMA SANKEERTHANAM as prescribed by elders. Propagation/Pracharam The Sampradaayam was propagated in the 19th/20th centuries by a few Bhagavathaas like Maruthanallur Venkatrama Bhagavathar, Pudukkottai Gopalakrishna Bhagavathar (lovingly known as APPA by his followers), T.V.Narayana Sasthri, T.M.Ramakrishna Iyengar, Abhedananda etc., to mention only a few, who have published Sampradaaya Bhajan Padhathi books with a few additions of songs rendered by other Bhaagavathaas of their time, according to the time change. These Bhagavathaas followed the Bhagavatha Dharma strictly. They have spread Sampradaaya Bhajans throughout India. Late Sri Pudukkottai Sanjeevi Bhagavathar (son of Sri Gopaala Krishna Bhagavathar), followed his father's footsteps in spreading Nama Sankeerthan with daily Upaasana till the end of his lifetime. Sri Haridas Giri also strived to spread the Bhajana Sampradaayam by his Bhajans and Upanyaasams in India & Abroad during his lifetime. He established various samajams called "Gnananada Samaajams". Apart from the above Bhagavathaas, there are many Bhagavathaas and Samajams, who are propagating the Dakshina Sampradaaya Bhajan Paddhathi in the present days. I would like to name a few of them with whom I have come in contact with. Delhi Subbarama Bhagavathar, Bhopal A.L. Krishnamoorthy Bhagavathar, Sethu Madhava Rao, Kanpur Mahadeva Bhagavathar, Sathalapathy Govindaraaja Bhagavathar, Thiruvisanallur Ramakrishna Bhagavathar, Naamananda Giri, Sri O.S.Sundar, Erode Rajamani, Odayalur Kalyaana Raaman,Thanjavur Thyaagaraajan, Srivanchiyam Murali, Kovai Jayaraman are engaged in the promotion of Sampradaaya Bhajan thoroughout India or/and abroad. Sri Manjapra Mohan, Melarkodu Vaithy , Jayan & Vijayan and a few others are spreading devotion through their Naamasankeerthanams. Sri Jaikrishna Dikshithar Avargal is promoting Nama Sankeerthan through his discourses on Bhaktha Vijayam and Bhajans.Sri Thukaraam Ganapathy Avargal is spreading Naama Bhakthi through his Abhang songs with Upanyaasam on Bhakta Vijayam. In Mumbai, Sri Nurani Chuppamani Avargal (instrumental in spreading Deepa Pradakshinam in Mumbay), Late Sri Rangnathan Avargal of Hariharaputhra Bhajan Samaj, Bombay Hari Avargal, BorivliI Srinivasan Avargal, Bombay Murthy,Late Kalina Ramamurthy, Mulund Bhajan Samaj, Sri Pudukkottai Narasimha Jayanthi Kainkarya Samithi, Gnanananda Mandali, SriSri Anna Bhajana Mandalis, Gharodianagar Bhajan Samaj, to mention a few, have been involved in spreading Sampradaaya Bhajan. Nama Sankeerthana Sangh (Chandran & Party) is striving to spread Naama Sankeerthana through their devotional songs programms. Abhang Ratna Sri Ganesh Kumar Avargal of Mumbai is engaged in Naama sankeethana prachaaram through his Abhang Bhajans. Late Kalyan Krishnamoorthy Avargal had strived to unite many samaajams and individuals in spreadding the Pudukkottai Paddhathi. There are many other samaajams conducting regular Bhajans in their Samajam premises. Sri Krishna Premi Maharaj's (lovingly called ANNA), contribution to the propagation of Bhajans Sampradaayam through his Bhagavatam discourses and Bhajans, Deepa Pradakshinams and Raadha Kalyaanams embracing all the Sampradaayams need a special mention. The books written by him on our culture are innumerable, the translations provided for many Grandhaas are immeasurable, the Bhajana songs composed by him in different languages are uncountable and the discourses rendered by him are incalculable. He has composed innumerable books on Puranic/Philosophical topics and has brought out a Unique Bhajan Paddhathi followed by his followers today, mainly in Sanskrit. He is engaged in Puranuddhaaranam work of Govindapuram, Thiruvisanallur and Marudanallur mattams, which have been neglected and are in a bad shape. He has also collected books containing Raamanaamas writen by devotees and have deposited in the Raama Naama Banks at Nasik, Pandarpur, Brindawan, Chitrakud, Govindapuram etc., which goes into Crores of Raama Naamas. He has recently - in April 2003 - found out the Adhishtaanam of Sri Vijayagopaala Swamigal, who sung various songs in divyanaama sankeerthanam and particularly the song "Devesa gana Araadhitha divyaambhuja paadhaa" in thodaya mangalam. It exists in Polagam, which is a small village in Nagapattinam Taluk near Thirupugazhur and ThiruKannapuram. It is gathered that fifty years back the Aradhana of Sri Vijaya Gopala swamy used to take place in Polagam and the Adhishtanam used to exist in the banks of river Thirumalrayan in Polagam. Really a great achievement in a life time of Sri Sri Anna. Thus he is rendering yeoman service to the Bhajana Sampradaaya and Naama Prachaara. There are many others, who are not left out purposely but with whom I have not been directly associated with and/or about whom I do not have full details or direct knowledge and hence not listed individually. I acknowledge all such individuals and Samajams for their service in spreading the Sampradaayam/Naama Sankeerthanam. PADDHATHI BHAJAN PADDHATHI BHAJAN The Paddhathi Bhajan: From the Paddhathi Kramam given in the Sampradaaya Bhajan section, we notice that though the entire sampradaaya is included in the above Paddhathi Krama, we normally refer to Paddathi (Basic) as the Paddhathi Bhajan and Divyanaamam onwards as Special Bhajan Paddhathis. This is because Poorna Ashtapadi, Deepa Pradakshinam, Unchavrutthi, Kalyaanams, Vasanthothsavam etc. necessarily are preceded by Thodaya Mangalam, Guru Keerthans and Daasarvaal Krithis (including Ashtapadi and Tharangam ). Hence this has stayed as PADDATHI BHAJAN.. Dhyaana Bhajan may be performed without the Paddathi Bhajan (Basic). Importance of PADDHATHI BHAJAN (Basic): Why Paddhathi and what is the importance of performing Bhajan in the given order? Every activity is preceded by a planning of the objective, how to approach the goal, the method, the steps to go through, etc. There is a discipline to be followed in each of such activities. Even in serving food or the method of intake, there is a step by step process - what to serve first, what next and what last etc. The taste of food, if all the dishes are mixed together and taken, is different from tasting each dish separately. We enjoy more by tasting each dish separately. Are we not following these in our daily life? What do we do when we want some great personality to visit us? First we praise him and invite him to our house. He may not agree as we are strangers. So we go through someone best known to both of us, who prevails upon him to accept the invitation. When he comes, we receive him with pomp and show and make him comfortable. After washing his feet, we make him seated and host him by offering fruits and other eatables and something to drink or eat. Then we mix with him and chat, be friendly with him, enjoying his company. We pray to him for his blessings/seek from him what we want. Then we make him rest for a while and wake him up and then he leaves. When we seek someone's favour, we have to go through these formalities to please him first.Similarly, in Bhajan Sampradaaya, we have an order of performance for proper enjoyment. First we think of God by praising his qualities and gunaas and do vandanam (Thodaya Mangalam). To get him with us, we seek the grace and help of Guru for which we sing in praise of Guru (Guru Keerthanam). Guru preaches the attainments of Daasarvaals like Jayadeva, Naaraayana Theertha, Badraachala Ramadaas, Purandaradasa etc. etc. who have got the grace of God through Naama Sankeerthanam and we follow their method by singing their keerthans (Daasarvaal Keerthanams). This is because, it is easy to approach God through the footsteps of Gurus and Bhakthaas. Then, we invite him to come to us and on his appearance, we perform Pooja and Archana (Pooja Paddhathi and Upachaara Keerthanam). We cannot stand the site of formless, nameless, omnipotent and omniscient God and we need Divya Chakshus to visualise the vision of God. Our Guru teaches us as to how to prepare for it. He prepares us to do meditation on Swaroopa Dhyaana (seeing God in different roopaas). As we fondle a child by bedecking it with different costumes and make-ups and enjoy its varied appearances, so we venture to get God's vision in the form of Ganapathy, Saraswathi, Subramanya, Ayyappa, Siva, Parvathy, Rama, Krishna, Vittal, Govinda, Hanumaan etc. etc. by singing in praise of them (Dhyaanaam). This is because Swaroopa Dhyaana is easier compared to Aroopa Dhyaanam (formless). Paddhathi Bhajan thus is the first stepping stone for spiritual evolution through Bhakthi Marga. Paddhathi Bhajan can be equated to Swaroopa Dhyaanam of the Vedantic method, since through Paddhathi Bhajan, we are meditating on various forms of God (Swaroopa Dhyaanam) through songs, which give us more opportunity to go near the God. Paddhathi Bhajan, if performed well, with the right bent of mind, following the given order, will lead to perfection and higher heights in Bhakthi marga. Attavanai: Though the songs to be taken up in this padhathi are not given in full, an attavanai, containing the title of the songs to be taken up and the order of performance has been given in separate attavanais in downloadable PDF formats, so that it may be handy for those who would like to use the same. Click here to go to the Attavanai section. :SAMASTHA SANMANGALAANI SANTHU : DEEPA PRADAKSHINA PADDHATHI DEEPA PRADAKSHINA PADDHATHI The Process of Deepa Pradakshinam: Deepa Pradakshinam is widely spoken as Divyanaamam. As the entire Paddhathi is full of Lord's Divya Naamam, it is preferable to call this Paddhathi as Deepa Pradakshinam instead of Divyanaamam. Therefore, wherever the word Divyanaamam appers hereafter, please read it as Deepa Pradakshinam. Once we have the vision of God (through Paddhathi Bhajan), our philosophical knowledge gets ripened and then we are able to go near God and make friendship by dancing in ecstasy, enacting God's Leela and be in his company (Deepa Pradakshinam). Once we are fixed thus in our Bhakthi, we forget our worldly self and enjoy full bliss but our Ego does not get annihilated. It only gets converted from Rajasic Ego (based on our materialistic attachments) to Saathwic Ego (possessiveness of God - based on our philosophical attachment). Now God helps us to cast away this Positive Ego also by disappearing for a while to make us realise the importance of His presence. Then when we lament, realising the truth (Gopikaa Geetham), and totally surrender to Him (Saranaagathi song), Lord appears and mingles with us in (Raasa Kreeda songs), whereby he makes us realise that God is present in every human being unattached and unbound and He again shines separately as the center of activity. Finally we try to merge with God (Dolothsavam).The process prescribed by our scriptures for attaianing this is beautifully brought out by the following sloka: SRAVANAM KEERTHANAM VISHNO: SMARANAM PAADA SEVANAM ARCHANAM VANDANAM DAASYAM SAKHYAM AATHMANIVEDANAM Meaning: The process of repeatedly hearing the deeds of God (SRAVANAM), doing Japam or singing in praise of HIM (KEERTHANAM), dwelling in His Leelaas (SMARANAM) Pouring Bhakthi onto His feet and serving him (PAADA SEVANAM), performing pooja (ARCHANAM), prostrating before him (VANDANAM), Serving him without Ego (DAASYAM), gaining his friendship (SAKHYAM), surrendering totally unto HIM (AATHMA NIVEDANAM) is aimed at the culmination of human evolution (Mukthi). While in Paddhathi Bhajan, Bhagavathaas sit and sing the bhajan , in Deepa Pradakshinam, there is also an additional element, where Bhakthaas dance (Nrithya) and enact the leelaas of the Lord (Abhinaya) around the lit Brass lamp (five faceted). In the present day situations, Deepa Pradakshinam is performed on Saturdays, special occasions like Saturdays of Purattasi month, Gokulashtami, Ramanavami etc. The Lord from Sanctum is brought to the lamp in the form of Jyothi (by Aavaahana Manthram). We do Deepa Pooja and place the lamp in the center of the hall and sing in praise of Him. Bhakthaas, along with the songs, enact the leelaas of God by dancing around the Pancha Mukha Deepam (placed in the center of the hall), in tune with the meaning of the song. This is to enable one to concentrate on the theme and forget one's self during Deepa Pradkshinam and try to tune up with the Godly principle. It is also necessary to precede special Bhajan with Paddhathi Bhajan, which is the basic Paddhathi for all other systems. DEEPA PRADAKSHINAM, compared to Paddhathi Bhajan, gives more chance for participation by one and all either in singing, dancing, abhinaya etc. , wherein we forget ourselves and feel the presence of the Lord amongst us and prepares us to have Samabhaavana as we are able to mix up with other Bhakthaas/Bhagavathaas without ego. Importance of Panchmukha Deepam: The lamp (made of brass) used for Deepa Pradakshinam contains a great thathwa. Symbolically the round bowl shaped top portion of the lamp (Agal) represents our Mind, the five facets with five pairs of Wicks represent our Indriyaas (5 Gnaanendriyaas and 5 Karmendriyaas), the Ghee poured in the bowl represents our Bhakthi, the stoopa shaped short portion (Naaraayam) pointing upwards and emanating from the center of the bowl represents Guru. The bowl is supported by a stand with artistic moulds (Body) and this stand gets the support of a big round shaped bottom plate (World), holding the body and the top portion. Guru shows the way UP for salvation. Finally when we light the lamp on all five facets, the Jyothi representing God is considered as the object of meditation. How? All thoughts are emanating in the mind and the thoughts are generated by the Vishayaas that are brought by Gnaanendriyaas from the world outside. The thought process culminates in directions addressed to the Karmendriyaas, which perform the actions in the world outside. Each action depends on the quality of our thoughts and the results again on the quality of our actions. So if the thoughts are pure and Saathwic, the actions are also Saathwic and vice-a-versa . Our Indriyaas (away from worldly thoughts - vishayaaspathi) are directed inwards and get Knowledge through Bhakthi due to constant vision of God in Jyothi swaroopa. Thus, our mind becomes thoughtless, is purified and is empty to receive the Grace of God. Origin of Deepa Pradakshinam: The Deepa Pradakshinam was introduced first by Bhadrachala Raamadaas. There is another story behind it: Thaalappakkam Chinnayya, a devotee of Lord Venkateswara, used to go round the Thirupathi hills on Saturdays and have Darshan of the Lord in the evening after which only he used to take food. Due to old age, he was unable one day to do Giri Pradakshinam and could not climb the hills for the Lord's Darshan. He lamented and went without food that night. Lord Venkateswara came in his dream and pacified him saying that he need not feel sorry for his inability to do the Giri Pradakshinam and come to the hills for His darsan. The Lord explained further that If he places a Pancha Mukha Deepam (a lamp lit on five sides with Ghee as the fuel) and comes around it, chanting/singing in praise of Him, it amounts to Bhoo Pradakshinam and the Lord would give him Darshan in the Bhaktaa's house itself. Chinnayya did so on every Saturday and could have Lord's Darshan there. This happened in Purattasi month. Thus, came the importance of Deepa Pradakshinam Bhajan on Saturdays and particularly on Purattasi month. Deepa Pradakshina Mahima: In the Pudukkottai Paddhathi, the slokaas before the Abhang: DHANYA DHANYA HO PRADAKSHINA, explain the importance of doing Deepa Pradakshinam: (In other Paddhathis, these slokaas precede Krishna Raama Govinda Hare and which do not have this Abhang). VISRUJJA LAJJAAM YOTHEETHE MANNAAMAANI NIRANTHARAM KULAKOTI SAMAAYUKTHA: LABHATHE MAAMAKAM PADAM Through the above sloka, the Lord declares to the Bhakthaas thus: "I safeguard all the Kulam of that Bhaktha who, discarding Lajja (shyness) fixes his undivided attention on me and chants (sings) my fame". VISHNORGAANAMCHA NRUTHAMCHA NADANAMCHA VISHESHATHA: BRAHMAN BRAAHMANA JAATHEENAAM KARTHAVYAM NITHYA KARMAVATHU. What is the value of doing Bhajan: As a Brahmin attains Brahmathwa by his Nithyakarmaanushtaanam, so also the one who sings and dances in praise of God attains the same stage. KAALAKSHEPO NA KARTHAVYA: KSHEENAM AAYUHU KSHANE KSHANE YAMASYA KARUNAA NAATHI: KARTHAVYAM HARI KEERTHANAM Do not waste your life by involving in daily (material) activities alone. Do perform Hari Bhajan/Keerthan, for Yamah (the God of death) will not have any compassion towards you once your lifespan ends - he will have to take you away. One may have a doubt. How are we sure that if we do Bhajan, God will see it and reward us. The lord has made an unshakable statement to Naarada, who is the embodiment of Pure Bhakthi, thus: NAAHAM VASAAMI VAIKUNTE NA YOGI HRIDAYE RAVOW MATHBHAKTHAA: YATHRA GAAYANTHI THATHRA THISHTAAMI NAARADA Hey Naarada ! I do not reside (only) in Vaikunta Loka, nor in the hearts of the Great Rishis (Tapaswins), but I am ever present at the place where my Bhakthaas are singing my names with Bhakthi. God says he would rather prefer to be present in a Bhajan than in other places. If God comes to us when we sing, are we not elevated, are we not becoming Mukthaas? The importance of doing Divyanaama Bhajan is well brought out in the Daasa Charanu portion of the Paddhathi, thus: BHAKTHA: SANGAMYACHA ANYONYAM DEEPAM MADHYE NIDHAYACHA JYOTHIR MAYAM MAAM DHYAANTHA: KEERTHAYANTHASCHA MADGUNANU PRADAKSHINAM PRAKURVANTHA: BHOO: PRADAKSHINAJAM PHALAM LABHANTHE NA ATHRA SANDEHA: VINATHAANANDA VARDHANA When bhakthaas as a group in unity & Bhakthi sings in praise of me and dances around a Deepam kept in the center, which is adorned with flame, it amounts to coming round the earth and they are rewarded with punya equal to the punya gained by those going around the earth. The Lord is promising this adding "Don't doubt about this". (By going round the earth we come across many temples & punya kshethras and get the opportunity to have a darshan of great Mahaathmaas and thus gain punya. This is called Kshethraadanam). In Deepa Pradakshinam we sing the songs rendered by Sri Bhadraachala Ramadas, Purandaradaas, Vijaya Gopaalar, Naraayana Theerthar, Sri Thyaaga Raaja, Brahmendraal, Kabirdas, Meerabai, Thukkaram, Uthukkadu etc., followed by GOPIKAA GEETHAM, which is dealt with in deatil in a separate article, in view of its philosophical importance. Gopikaa Geetham is followed by Kolaattam, Snake Dance, Siddhar Songs, Abhang, Shivan, Dasaavathaara Krithi: "DARO JAGANNATHA DARO HARE" etc. Then Naamaghoshams like: "KIMTHATHA VEDAGAMA SASTHRA VISTHARAI:" onwards are made. At the end of every religious work, there is a Phalasruthi given, explaining the benefits that will be derived by the doers. This is like a promise given by the authors. There is an important sloka at the end of Divya Naama Sankeerthanam as Bhalasruti : Yey! nruthyanthi Hare: pura: prathidinam Premnaarudando Muhu: Gaayanthya: Mudithaanuraaga Hrudhayaa: Raamethi Krishnethi cha Theshaam Paada Sarojadhoolimamalaam Dhruthwa Mahesho Ganai: Preethyaa Nruthyathi Naaradaadi Sahitha: Kailaasa Bhoomow Swayam. This explains that Lord Parameswara, along with his Ganaas and Naarada, do dance in Kailasam by carrying the Paadadhooli of Hari Bhakthaas who daily sing the naama of Raama and Krishna and dance with prema Bhakthi and aananda bhaspam. This brings out the value of Bhakthi. Even Lord Parameswara is bound by Bhakthi and Bhaktha Paada Dhooli has that much importance as Parameswara himself is dancing, carrying. What other pramaanaas are required or promises are looked at by us for the fine results of doing Bhajan with para Bhakthi? The God Himself has given promises and statements as above to his devotees at one time or other, which have been taught to us. Why not we practice and try for the promised results instead of arguing about the authenticity of these statements. Every scientific theory is put to action before proving its efficacy. If it is so, is it not prudent to act according to the Sastras to reap the benefit. What are we going to get by arguing and challenging the statements without trying to prove or disprove it by involving ourselves into the actions, as prescribed by Sastras? This is followed by the song "GAJAANANA PAAHI PAARVATHI BAALA HEY", when Bhakthaas do angapradakshinam around the Deepam and hug each other with the stanza : "PREMA AALINGANA", indicating that God is in everyone and all are one. Then Deepa Avarohana Pooja with the song : "KSHEERA SAAGARAANTHA", and song explaining Hari Paada Theertha mahima: "HARI PAADA THEERTHAMU JEDILO MANCHI".This is followed by Slokam: "VASANTHE VAASANTHI" and Ashtapadi song "LALITHA LAVANGA LATHAA PARISEELANA" (in Aananda Bhairavi), when the same person who brought the lit lamp from the sanctum takes it back (dancing) to the Sanctum . With the Song: "DEHI MANGALAM VAIDEHI MANGALAM", someone lights camphor from this Deepam and takes haarathi to the Lord at the Sanctum and the Deepam is then placed back at its original place at Sanctum. Sumnolically the Lord is taken back to his original place (Sanctum Sanctorium). Thus we attain the Knowledge of Self and thereafter we remain in Adwaitha Bhaava. Finally, Prarthana Song : "RATNA JADITHA SIMHAASANA" is sung. If not followed by Dolothsavam (which is optional), Poorna Mangalam song and slokams are recited and concluded with Pundareekams. In view of the elaborate description required, the Gopikaa Geetham (though part of Deepa Pradakshinam) and also Dolothsavam are explained separately. Attavanai: Though the songs to be taken up in this padhathi are not given in full, an attavanai, containing the title of the songs to be taken up and the order of performance has been given in separate attavanais in downloadable PDF formats, so that it may be handy for those who would like to use the same. Click here to go to the Attavanai section. : SAMPOORNAMASTHU : GOPIKAA GEETHAM PADDHATHI GOPIKAA GEETHAM PADDHATHI Gopikaa Geetham is the celestial song sung by Vruja Gopis in praise of Lord Krishna. This projects the depth of Viraha Thaapam suffered by Gopis when Krishna diappears and their pure Prema Bhakthi and the highest spiritual heights attained by them. This song also brings out the Sringaara Rasam of Gopis with Krishna. This finds its place in the midst of DEEPA PRADKSHINAM, .The same tathwa is given in the form of RAASAKREEDA in the Tenth Skantham(middle) of Bhaagavatham. This is to be sung with devotion, in rapt attention and reverence without any Thaala or sounds. Tears should flow from the eyes in Bhakthi. Normally this is sung in CHENCHURUTTI & PUNNAGAVARAALI raagaas which are so touching and denotes devotion. The mythological story goes like this:- Gopis who enthralled in the presence of Krishna with ecstasy during the Raasa Leela, thoughtless about their worldly duties, relations and existence and always longed for Krishna's company, had developed an EGO, i.e. each Gopi claiming that Krishna is hers and hers alone and He likes/loves her only. This possessiveness is Saathwic Ego as it relates to Possessiveness towards Lord. Krishna considers it the right time to help Gopis caste away this EGO too and give them the Knowledge (i.e. make them realise the real nature). He disappears temporarily from there midst and made Himself not reachable by them. At this time, Gopis felt loneliness and could not concentrate on their work and grieved over the absence of Krishna. They realised that without Krishna, nothing moves, nor is it possible to do anything. And it is the presence of Krishna that made them happy and active. Even Living became a torture without Krishna. Having realised this, they started wandering in the Kaalindhi River bank, where they used to be in the company of Krishna and craved for his appearance by admitting all their ignorance and egotism. The opening sloka brings out the import: THANMANASKAA:THADAALAAPAA: THATVICHESHTAA: THADAATHMIKAA: THADGUNAAN EVA GAAYANTHYA: NA AATHMAAKAARAANI SASMARU PUNA: PULINAM AAGATHYA KAALINDYAA: KRISHNA BHAAVANAA: SAMAVETHA JAGU: KRISHNAM THADAAGAMANA KAANSHITHAA: Meaning: Thinking about THAT, Singing about the Gunaas of THAT, Remembering about the Leelaas (Playfulness) of THAT, Concentrating on THAT, Singing in praise of THAT, without a bit of self-feeling (loss of EGO), (Gopis) kept on visiting Kaalindhi river banks again and again (repeatedly) always in the memory of Krishna and finding in every Sthaavara Jangama Vasthus Krishna's figure only, longing for the return (appearance) of Krishna, of course by singing the Gopikaa Geetham song. The word 'THAT' used here refers to Paramaathma Thathwa, i.e. in the form of KRISHNA here. The Song : JAYATHI THEDIKAM KRISHNA JANMANAA VRUJA: is to be sung in full, in raaga Chenchurutti & Punnagavaraali by sitting around the Deepam. Despite their cry, Krishna did not appear. YETHESUJAATHA CHARANAAMBRUHAM STHANESHU BHEETHA: SANAI: PRIYA DADHEE MAHI KARKASESHU THENAAADAVEEM ATASI THAD VYATTHATHE NA KIMSWITHU KOORPADIBHI: BHRAMATHI DHEE: BHAVADAAYUSHAM NA: Then Gopikaas sung the song of Saranaagathi (total surrender) - (to be sung in raaga Sinhendra Mahyamam): THWAM EVA MAMA SARANAM KRISHNA THWAAM VINAA ANYAM NA JAANE Philosophical Import of Gopikaa Geetham: Though Mythology projected Gopikaa Geetham as the song sung by Gopis, there is a message for all of us. Gopis are the embodiment of Bhakthi towards Krishna.All of us, the Jeevaathmaas, must become Gopis to attain Paramaathma (Krishna). Jeevaathma is a spark coming out of the Paramaatma (self-willed leela of Paramaathma) but having got entangled in the Samsaara Chakra by Maaya, forgot about the real nature and is sunk in the materialistic pleasures which are impermanent. Jeevathma should realise the real nature and try to attain Mukthi, i.e. the knowledge of the Brahman and ultimately should reach the abode of Paramaathma. This should be our aim while singing Gopikaa Geetham. The Poorva Sloka before Gopikaa Geetham is full of philosophical import and conveys as to how the Bhaktha should address the Lord and what Bhaava one should have while singing Gopikaa Geetham. Every human being entangled by the worldly pleasures possesses Ego, a basic negative quality, which hinders the human evolutionary process. A Bhaktha may cast away all worldly pleasures and relationship with the materialistic world and live an ascetic life but cannot discard the EGO, which the Lord alone can help to discard. The Gopikaa Geetham song is the way by which God helps Gopis (Jeevaathma) to cast away the EGO. The Lord helps Bhakthaas only when they, in total surrender, calls for His help, without AATHMA ABHIMAANA, i.e. without identification with Deha, Manas, Chittham, Buddhi, Ahamkaar. Pleased with the Bhakthi and total surrender of Gopis, Krishna appears before them.The following slokas, detail the reappearance of the Lord: ITHI GOPYA: PRAGAAYANTHYA: PRALAPANDYASCHA CHITHRADHAA RURUDU: SUSWARAM RAAJAN KRISHNA DARSANA LAALASAA: THAASAAM AAVEERA BHOOCCHOWRI: SMAYAMAANA MUKHAMBUJA: PEETHAAMBARADHARA: SRAGVEE SAKSHAATH MANMATTHA MANMATTHA: Meaning: When Gopis lamented thus by singing in praise of Him in touching raaga and laya, without Ego and in total surrender, they visualised the Lord, who appeared before them with a most beautiful figure, with a smiling face, wearing Peethambaram, conquering Manmattha (the Lord of Love) in beauty. THAM VILOKYA AAGATHAM PRESHTTAM PREETHUTHPHULLA DHRUSO ABALAA: UTTHASTTHU: YUGAPATH SARVAA: THANWA: PRAANAM IVAAGATHAM Meaning:,p> On getting the darshan of the Lord, who appeared before them (Self-willed), the Gopis got up in a jerk as if their bodies were inert (dead) and suddenly as though the Praana entered their body again. KRISHNASYA MUKHA LAAVANYA- SUDHAAM NAYANA BHAAJANAI: APEEYA APEEYA NA ATHRUPYAN SANTHA: THATHCHARANAM YETTHA Meaning: Looking at the beauty of Krishna's face and the moving eyes in smile, they enjoyed the scene again and again, as though they are ever unsatisfied and wanted more and more of it. They never wanted to come out of that Ecstasy and remained in His presence in total BLISS. Then Krishna through Raasakreeda, makes them realise that each one is of Krishna Swaroopa, i.e. He is in every one and also stays alone (in Fullness) as unattached and unbound. This is clearly brought out in the song after Gopikaa Geetham: ANGANAAM ANGANAAM ANDHARE MAADHAVA: MAADHAVAM MAADHAVAM CHA ANDHARENA ANGANAA ITTHAM AAKALPITHE MANDALE MADHYAGA: SANJAGOW VENUNAA DEVAKI NANDANA: This is the description of RAASAKREEDA Scene in Brindhaavan wherein Krishna formed a circle by placing in between two Gopis (Anganaam) One Krishna and in between two Krishnaas one Gopi (Angana) and finally in the Center of the circle Krishna again and made them all feel the one-ness and enjoy total BLISS. This shows that Paramaathma is present (unattached and unbound) in every Jeevaathma and at the same time the Paramaathma, in fullness, is also in the center of all activities. This is the greatest Philosophical Thathwa we should learn from this celestial song. In our scriptures, there is a mantra, bringing out this theory clearly: POORNAMATHA: POORNAMIDAM POORNAATH POORNAM UTHASCHYATHE POORNASYA POORNAM AADAAYA POORNAMEVA AVASISHYATHE Brahman, the Poorna Swaroopa is here and there (but unbound and unattached) in Poornathwa and when thus divided, the divisions are all Poornam and what is left behind also remains as Poornam. Meaning: God is everywhere in fullness (unbound and unattached) and also stays as the center of activities in fullness. The songs that follow are all explained in Deepa Pradakshina Paddhathi, which is concluded with the other sampradaaya songs. Then we perform Dolothsavam, the Union with God (Aatma Nivedhanam). Full description of Dolothsavam is handled in a separate article. The Divyanaamam Attavanai (in PDF format) given as downloadable in Divyanaamam Section, contains the slokas and songs to be taken up for Gopika Geetham. Attavanai: As Gopika Geetham is part of Deepa Pradakishinam, separate attvanai is not given. It is already included in Deepa Pradakshinam Attavanai. : SWASTHIRASTHU : Dolotsavam Dolotsavam DOLOTHSAVA BHAJAN PADDHATHI Dola means Cradle/OOnjal. Dolothsavam, literally means keeping God in the Cradle/Oonjal and swinging it. If we consider Sri Raama as a child, then Dola has the meaning of Cradle. We imagine putting Sri Raama (in the form of a child) in the Cradle and make him sleep. Sri Thyaagaraja Swamigal has rendered a set of songs for this Uthsavam wherein he used to invite Sri Raama to come to his house with Seetha, Lakshmana, Bharatha, Sathrugna and Hanumaan and stay in the Mani Mandapam placed in his house so that he can have His darshan and perform pooja to Him. Through his songs he imagined that Raama has thus come and he did Paada Prushtaalanam and made him seat on the peettam and offered Milk, Fruits, various Madhura Palahaarams etc. etc. and Betal Leaves and Nut. He did haarathi to Him and requested sri Raama to go to Sayanam with Seetha Piraatti. While They thus were in Sayana Gruham, Thyaagaraja Swaamigal rendered songs to please them and to make them comfortable. Next day he used to wake up early and sing Prabhodhana Song in Bhoopaalam to wake up the couple in the Pooja room. This was his daily practice. That shows his nearness to God and the depth of his Bhakthi. In Dhakshina Sampradaaya Bhajan, The Dolothsavam got little widened with more songs added by Sri Appa (Pudukkottai Gopalakrishna Bhagavatha Swami), who added important and befitting songs from Pawwalimbu. While the theme is same as in Sri Thyaagaraja Swamigal's Dollotsavam, here there are more opportunities to involve oneself more deeply and by enacting the entire episode according to one's own understanding. As in Pooja Paddhathi, here also, through the set songs, we receive God, do Pooja and pray to him for our upliftment. Normally, this is interpreted as making newly wed dampathis (God with Goddess) enter Sayana Gruha in seclusion and enjoy themselves. This is the worldly way of seeing it and is the materialistic way of perception. Let us look at it with a philosophical bent of mind: It has been stated earlier hereinabove that Jeevaathma, having realised the origin remains in Adwaitha Bhaava. To remain permanently in Sachidhaananda, we must practice Nidhidhyaasanam. Even in the Dhyaana state, there is coming back into the world periodically, since with the body we have to perform certain natural duties and till we caste away the body, we have to live in the world. To go into Dhyaanam we have to purify our mind, arrest the activities of the Dasendriyaas, and never entertain Ego and be always in the smarana of the Lord. This requires Bhakthi & total Surrender to the Lord within. Then we can receive the Lord within our pure Mind in the lotus shaped Peettam, offer Him Milk, Fruits, Madhura Palahaarams, Thaamboolam (Betal Leaves wand betal nut) etc. This indicates that we pour all our material possessions, pleasures and pains unto the Lord (Casting away our materialistic pursuits and making ourselves Saathwic like the colour of the Milk). The meaning of offering Thaamboolam is that we surrender to the one to whom it is offered. Then we do Mangala Haarathi to indicate our readiness to be one with Him. The first song,: "HECCHAREEKA RAA RAA RAA", is the invocation song praying to Lord to come into ourselves. This is the preparatory stage for our evolution. The next song "AARAKIMBAVE PAAL" is offering our purified mind (Saatwic state indicated by the whiteness of the milk) as a Peettam for Him to be seated. as also all our materialistic pursuits, pleasure and pains in the form of Maddhura Palahaarams and request Him to accept them as though they are offered by Seetha Devi. By the song "VIDAMU SAAYAVE", we offer Thaamboolam along with Jaathikkai, Elakkai, Jaapathri etc. to make the thaamboolam more digestive. Here I would like to state an interesting explanation given by Sri Embaar Vijayaraghavchariyar in his Harikatha. Through this song, he explained: fearing that Lord may leave early before blessing him, he rushed into the sampradaya of Nischithaamboolam - exchanging fruits, flowers, Betal leaves and nuts, Kismiss, Kalkandu etc. - as a mark of mutual agreement (not to leave one another). This gives us the importance of this song and the manobhaava we should possess at this time. In our Hindu sampradayam there is a customs where the bride gives thamboolam to the groom, whereby the groom is said to be attracted by the bride and he becomes hers totally. Whatever be the bhaava, the Bhaktha here shows his wish to possess God with him always. The song : SADAA YENNA HRUDAYADALLI VAASAMAADO SRIHARE is a prayer requesting the Lord to always stay in the Hrudaya of the Bhaktha, filled with pure knowledge and Bhakthi, which is the pure seat offered by the Bhaktha. At this time, a mangala Haarathi, depicting Bhakthi and purity, is taken to the Lord. The stanza: NINNA NAANU BIDUVANALLA YENNA NEENU BIDALUBALLI indicates the steadfastness of Bhaktha and total surrender state. The Bhaktha affirms that he will not leave him at all and He should also not think of leaving the Bhaktha. One has to experience this state and cannot be explained in words. The following songs: SEETHA KALYAANA VAIBHAVAME SREERAAMA JAYARAAMA NAGUMOMU GALAVAANI RAA RAA RAAJAKUMAARA are the Nalangu songs, showing the Bhaava of the Bhaktha (Seetha) doing everything the beloved would do to Her partner. This is the state where Jeevaathma enjoys through beautification of Lord and serving Him in many ways. The pathyam: SARANAMBU KARIRAAJA PARIRAKSHNODDHARA praising about the Lord's daya to His Bhakthaas like the Elephant caught by the Crocodile, Prahlaada, Akroora etc. etc. and seeking similar Daya towards the Bhaktha, is to offer Betal Leaves with Betal Nut, meaning total surrender. Then comes the Poopandu Vilayaattu(a bundle of flowers): POOLA CHENDLADENE SRI RAAMUDU PUSHPA CHENDLADENE One Bhaktha puts the bundle on each audience who should immediately put back the bundle to the Bhaktha. Literally, It is indicating the Pooppandu Vilayaattu of Lord and Devi. This reiterates the importance of madhura bhava (sneha) during this time. Looking at it with a philosophical view, this indicates that the Jeevaathma (Flower Bundle) is sent back by the Lord to Bhooloka again and again and the Jeevaathma bounces back to God again and again saying, "whatever number of births and deaths I have, I must always be in your company and come back to you after every Jeeva Kaala." The Bhaktha has to be so stead-fast that every time he takes birth, his aim will be to reach God ultimately and he should always work for this aim. This attitude should be maintained while playhing Poochendu. and not throw it with force on others. Hence, the Pooppandu sent from one Bhaktha to another should reach the first Bhaktha only and not thrown into the crowd. Then the Oonchal: "GODDHOOLI DHOOSARITHA" etc. and Laali song : "LAALI LAALI YENI" depict the upachaaram to God by the Bhaktha keeping Him in the Oonchal. The next "NEELA GHANA NEELA JO JO" and "JO JO JO RAAMA" etc. are Thaalaattu songs describing the Dasa Avathaaram of the Lord, exclaiming the deeds done by Him during each of the Ten Avathaarams. The songs "ENTHALETHU VAIBHAVAMBU", pleading to the Lord to go for Sayanam and "KAASU KONNAADATHU GO", requesting Devi to do Panividai to the Lord in sayanagruha, and "POOLA PANPU MAINI BHAGA" detailing sayanopachaaram to be sung. Then the song : SHOBHANE and JAYA MANGALAM with Haarathi to the Lord and Devi in Sayana Gruha. Then, the Praarthana Slokams :'VANDE SHOWNAKA", "MAJJENMA", "SANKARASYA" etc. prayaing for His Paadaaravinda Bhakthi in all Jenmaas and to become the Daasaanu Daasan of the Lord (Adiyaarkku Adiyaarkku Adiyaan), to serve the Bhaktas' Bhaktas' Bhakta of the Lord. A Pattu or Koti Vasthram is held as therai in front of the Sanctum Sanctorum by singing the song : "DHRISHTI THAAKU MAAYAYYAKU", to show that the Sayanagruha door is closed. This is followed by the song MANJUTHARA KUNJATALA KELI SADANEpleading to Raadha Devi to enter the sayana Griha. The song: "ANTHA KOYAM NEELA KALEBARA" depicts the anthapura Raadha Madhava sallapam, imagined by the Bhaktha. Then Sayanarasam slokaas like: "SACHITHA SAAYEE", "DWARAKAA NAGARAVARE", "ANGANAA MANIBHARANA", "SANAKAADHI MUNIDHEYA", "BHUJAGESA THALPAVARA", "VITHURUNDINIKI POYI" etc. are sung pleading to Lord to take rest. Then by the song: SAMAYAME ME SWAMI SAMAYAME, the Bhaktha is trying to enquire and make sure from those paricharakaas who are nearer the sayana gruha than him, about how the Lord is taking rest and whether everything is OK. Now comes the Praakaara Rakshanam, where literally speaking we are trying to close the four Gopura Doors with the four songs, requesting the guards, in the four doorsteps, to ensure that Lord's Ekaanthatha in his YOGA NIDRA is not hindered and no one enters to disturb him. We request the people in praakaara to observe full silence. The wrong interpretation that Lord and Devi are sleeping should be avoided. They never sleep, if so the word will come to an end. They go into YOGA NIDRA, meaning they are in MEDITATION. That is the Bhava one should have. KAAVERI THEERE KAMANEEYA GEHE INDU BIMBATHARA SUNDARA VADANA SANAKAATI YOGEENDRA THUMBURU NAARADA KUMKUMA CHANDANA PANKILA HRUDAYA If we view this philosophically, it is nothing but our preparation for Nidhidhyaasanam. i.e. We should dwell deep in Bhakthi (Raadha), in total faith and surrender, so that Lord will accept us. For this, first of all we should purify our Mind with Saathwic Bhaavanaas by blocking the four doors called Manas, Chittam, Budhi and Ahamkaara, through which we receive and respond to the stimuli from the world outside. This is a stupendous task for which we have to have strong & experienced guards. We are praying to Bhakthaas like Jaya, Vijaya, Chanda, Prachanda, Sanaka, Sananthana, Kumuda, Kumudekshana, Prahlaada, Dhruva, Bhala Prbhalaadya to help us in guarding against these Vishaaspathis by giving their grace to safeguard against these vishayaaspathi, so that we can dwell in the Sachithaananda state for ever. As stated earlier, it is easy to reach Lord through the grace & help of experienced Gurus/Bhakthaas and hence this request to those Bhakthaas who are always remaining at the abode of the Lord. Philosophically speaking, we go in the One-ness with the Lord. This is called athmanivedhanam. Once we have lost our worldly knowledge, we dwell in Satchidaananda state. One Bhaktha, ringing the handbell, goes round the Mandapam to warn everybody that the Lord is in YOGA NIDRA with Devi and all should keep silence and pray for the well being and do Raama Japa/sing Prarthana Abhang. Through the songs : KOUSALYA SUPRAJA RAAMA and RANGA NAYAKA RAJEEVA LOCHANA etc. we are literally waking up the Lord with Piraatti. Then conclusion with Mangala Haarathi with the praarthana song: "POORAYA MAMA KAAMAM". Conclusion: This can be equatted to remaining in the awakened state of Sachidaananda. To sum-up, JEEVAATHMA PARAMAATHMA AIYKYAM is the ultimate aim of all of us and we should follow the path of Pure Bhakthi in total surrender to the Paramaatma by grooming ourselves like Gopis (embodiment of Pure Bhakthi). Attavanai: Though the songs to be taken up in this padhathi are not given in full, an attavanai, containing the title of the songs to be taken up and the order of performance has been given in separate attavanais in downloadable PDF formats, so that it may be handy for those who would like to use the same. Click here to go to the Attavanai section. SARVE BHANVANTHU SUKHINA: SARVE SANTHU NIRAAMAYAA: SARVE BHADHRANI PASYANTHU: MAA KASCHIT DHUKHAMAAPNUYAATHU OM SANTHI: SANTHI: SANTHI: POORNA ASHTAPATHI PADDATHI(GEETHA GOVINDAM) POORNA ASHTAPATHI PADDATHI(GEETHA GOVINDAM) Gist of Raadha Maadhava Sallapam: Ashtapthi is the divya Kaavyam: "GEETHA GOVINDAM", which describes the Raadha Maadhava Sallapam with Sringaara Rasam. I use the word Ashtapathi everywhere since this has come to stay among the Bhagavathaas and is understood in that term easily. The Bhagawatham in 10th skandam describes Raasa Kreeda,where at one place, it only states that Sri Krishna enjoys with one particular Gopi in seclusion to all other Gopis and this Gopi becomes too Egoistic and to bring her ego down Sri Krishna goes away from her and mingles with all other Gopis. Then this Gopi gets angry and blames Krishna for such acts.Her sakkhi pacifies her and unites them through her advice to both. The Bhaagavatham never states about Raadhika. No other puranam explains about Raadhika, except the Brahma Vaivartha Puraanam. In the 10th Skandam, there is a description about Golokam where the Lord in the form of Maadhava ever exists with Raadhika Devi as his consort.Due to a curse from Sudhaama, one of the body guards of Sri Maadhava (Sri Krishna), Sri Raadhika Devi had to take birth in the Bhoolokam as a girl. Sri Krishna assures Raadhika that He would take birth as Krishna in Bhoolokam, where she would take birth as the girl child of Vrushabhanu Maharaaja and then both can enjoy the life in Bhoolokam. This is the basic story of Raadha Krishna Jananam. The poorva slokaas of Ashtapathi paddhathi starting with "Meghair Medhuram Ambaram"is nothing but the Kalyaana Choornikai in a summary form. This describes the scenerey where Nanda Gopa, carrying the child Krishna to the carttle's gracing field, finds the sky becoming dark with clouds and the arrival of thunder storm and rain. He feels that the child may get afraid and searches for someone to fetch him home. There comes Sri Raadhika Devi, who is handed over with the child when Nanda Gopa asks her to take Krishna Home. She fondly hugs the child and goes. Sri Krishna Bhagawan thought it the right time to remind Radhika Devi about her status and wishes to show her their earlier abode, i.e. Golokam. He brings before her the scenery of Golokam which reminds her of her original nature and all of a sudden in ectasy she tries to hug the Lord (seen in Golakam) with both her hands open wide and she rushes towards Madhava (Krishna in Bhoolakam).At that time, the child disappears and Krishna thought that before accepting Radhika, the usual Vivaaha Karma should be performed and as the eagerness of Raadhika cannot be controlled he orders Sri Brahma Deva to perform the marriage, which he does with Pravaram, Lagnashtakam, Kanyaka Daanam, Panigrahanam, Laja Homam etc. Raadha Kalyaanam is said to have taken place in Brahma Muhurtham, that around 3.30 a.m. or so. This is the meaning of this slokam which is elaborately stated in Raadha Kalyaanam as Choornikai. This shows that performing Poorna Ashtapadi is equal to performing Raadha Kalyaanam. The theme in Ashtapathi and the Author: The Ashtapathi songs are called "GEETHA GOVINDA MAHAA KAAVYAM", which is said to be the ancient form of Sringaara Kaavyams. These are full of Sringaara Rasapravaaham. In short, These songs describe the celestial love between Raadhika Devi and Krishna, The Egoistic nature of Raadhika, Her Anger towards Krishna, Her viraha thaapam (sorrow in separation), reunion and their Sallapam. This Kaavyam is composed by Sri Jayadeva Swamigal, from self experience of the Godly principle within. Sri Jayadeva was said to be living in the 12th century in the village "Kindu Bilwam" near Puri Jagannath in the present Orissa State, born to the saahtwic brahmin couple known as Sri Narayana Sashtri (also called Bhojadevan) and Smt.Kamala Devi (also called Radha Devi). In his early age Sri Jayadeva lost his parents and was staying in a Kutir in the forest, composing songs and singing them with music in praise of Sri Krishna. Sri Jayadeva is said to be the avathar of Sri Puri Jagannath. Padmaavathi was born to a devoute Brahmin Deva Sarma, who,during his prayers longed for a child and promised to present the child after growth to the Lord Jagannath Himself. When she became of marriageable age, Sri Deva Sarma, in fulfilment of his promise, offered her to Lord Jagannath, who ordered the chief priest in his dreams to take the child to Sri Jayadeva and get her married to him. Lord Jagannath informed the priest that Jayadeva is none other than Himself. Thus, the girl was left at the Kutir of Sri Jayadeva, against his wish, who refused to enter into Gruhasthaasrama. Due to the stead fastness of Padmaavathi & her Bhakthi and service to him, he considered it as God's will and ultimately married her in the normal way. Sri Jayadeva enacted the scenes of this Kaavyam while composing it along with Padmavathi dancing to the tunes. Thus, this Kaavyam is a living monument of Srigaara Rasa Bhaava. The summary of contents of Ashtapathi: Like Bhagawatham describing Krishna Leela and Raasakreeda in 12 Skandams, Ashtapathi also has 12 Sargams, containing 24 Ashtapathi songs. Each song comprises mostly of Eight stanzaas with the exception ofone or two Ashtapadis which are less or more than 8 stanzaas. (This kaavyam was placed before the Raja Sadas and this has been named as Ashtap0adi by the Pandits and Raja. The contents of Sargams, in short, are: 1. Picturisation of Dasaavathaarams of Krishna and the prabhaavams of the Lord in various avathaars are described in priase of Lord in the first two Ashtapadis. The third & fourth Ashtapadis are the description of Vasantha Kaala Varnanai & Raasa Leela of Krishna with other Gopis in Brindaavan described by the Sakkhi.(1 to 4 Ashtapadis- 1st Sargam called: "Samoda Damodarah") 2. Raadhikaa's grief as Krishna is enjoying with other Gopis, ignoring her totally and getting herself annoyed, being too possessive of Krishna and staying alone in the kutir made of plants and requesting Sakkhi to go and explain to Krishna Her plight and to fetch him to Her to accept Her. (5th and 6th Ashtapadi - 2nd Sargam called: "Aklesa Kesavah"). 3. Krishna's realisation of his mistake of ignoring Raadhika & spending his time with other Gopis.(7th Ashtapadi-3rd Sargam called: "Mugddha Madhusudhanah"). 4. Sakkhi explaining the Viraha Thaapam suffered by Raadhika and pleading to God to please Raadhika by His presence before Her.(8th & 9th Ashtapadi - 4th Sargam called: "Snigddha Madhusudhanah"). 5. Sri Krishna asking Sakkhi to pacify Raadhika & fetch Her to Him. (10th & 11th Ashtapadis - 5th Sargam called: "Abhisaarikaa Varnane Saakaamksha Pundareekakshah"). 6. Sakkhi explaining the aweful condition of Raadhika due to Viraha Thaapam and Her inability to move & requesting Lord to go to Her.(12th Ashtapadi - 6th Sargam called: "Sothkkhantta Vaikunttah"). 7. Shri Raadhika's plight of suffering due to Viraha Thaapam and started blabbering like a mad person in imagination of Krishna being in company of other Gopis.(13th, 14th, 15th and 16th Ashtapadis - 7th Sargam called: "Vipralabhdha Varnane Naagareeka Naaraayana"). 8. In the dawn Sri Krishna arriving at Raadhika's Kutir and Raadhika, in anger, drives away Krishna saying 'YAAHI MAADHAVA".(17th Ashtapadi - 8th Sargam called:"Kkhanditha Varnane Vilaksha Lakshmipadi:"). 9. Sakkhi, criticising about Raadhika's angry mood which mades Krishna disappear. The Sakkhi advices Her to behave well when He comes next. Raadhika realises Her faults and repents.(18th Ashtapadi - 9th Sargam called:"Kalahaantharitha Varnane Mugddha Mukundah"). 10. Sri Krishna reappearing before Raadhika and pacifying Her with His sweet words like: you are my Jeeva, you are my ornament, you are my Pearl etc. and pleads for Her forgiveness and goes away.(19th Ashtapadi - 10th Sargam called : "Radha Varnane Mugddha Maadhavah"). 11. Sakkhi, pointing out to Raadhika about the kindness of Krishna and His behaviour and that She should now go to Krishna's place and unite with Him & please Him. Raadhika visits Krishna Mandir(where Krishna was waiting to receive Her) and gets thrilled in his darshan. (20th, 21st and 22nd Ashtapadis - 11th Sargam called: "Saanada Govindah"). 12. Both enter the house & become united.Krishna does alankaaram to Raadhika, whose dresses were crumbled and displaced during the Union.Thus ends the Sringaara Rasa Kaavyam.(23rd and 24th Ashtapadis - 12th Sargam called: "Swadheena Barthrukaa Varnane Supreetha Peethaambarah"). The sanctity of Ashtapathi: It is said that the Ashtapathi Kaavyam of Sri Jayadeva has been blessed by the Lord Himself, about which the 19th Ashtapthi vouchsafes. In this 19th Ashtapathi, in the seventh stanza, he wrote as if Lord has suffered from Kaamam (passion) & only Raadhikaa's feet kept on His head will bring down the Thaapam and the Lord pleading to Raadhika to place Her feet onto His head. Suddently, Jayadeva realises his mistake and feels how he could think of a lady's feet being kept on the Lord. He repented and erased the stanza and tried to re-write it. Having no ideas to pour he thought he could do later and gave the Kaavyam to Padmavathi to keep it safe and that he would go for oilbath. After some time, he came and called to Padmaavathi to bring the Kaavyam as he had some good idea and wanted to fill up where he left the song. With the oil soaked hand he wrote some lines and gave back the Kaavyam to her and went for bath. After meals while taking rest, he opned the Kaavyam and saw, to his surprise, the seventh stanza having got filled up with what ever he originally wrote. He got wild and scolded Padvaavathy for being negligent, for someone else has come and written what he did not want to write. Padmaavathy in sheer surprise, narrated what happened when he went for bath. Jayadeva realised that God has come in Jayadeva's form and filled up the unfinished stanza with the same idea that occured to him originally. This means that Lord himself has accepted the stanza, and finally the Kaavyam itself.After this, the final Charanam of some Ashtapadis are all ending with "Jayathu Padmaavathi Ramana Jayadeva Kavi" because Jayadeva considered her as the blessed Bhaktha of the Lord & he wanted to be known through her, since Padmaavathy got the Darshana of Lord and not Jayadeva. Thus, this Ashtapadi has its acceptance by the Lord Himself. The 22nd Ashtapadi is said to be the Kalyaana Ashtapadi, since it is here that Raadhika comes to Krishna and Krishna accepts her and makes her happy. To indicate the reunion, this is called Kalyaana Ashtapadi. Philosophical Improt of Ashtrapathi: Our scriptures declare that for every Manthra/Sloka/Song, there is an inner import, which should be taken up as the guide by evey Jeeva. Our seers have all given the Brahma Thathwaas in the form of prayer songs,slokaas,Puraanaas, scriptures, Srutis, Smritis and various bashyams for them. Everything relates to the behaviour of human beings, their relations with nature and God. They prescribe various methods to regain our lost status, i.e. reunion with the Ultimate Truth. For instance, take tha Puranam: Raamaayana. What is the moral we have to learn from there? PITHRU VAAKYA PARIPAALANAM, EKA PATHNI VRUTHAM, SAHODARA SNEHAM, SADHU SAMRAKSHANAM, DHARMA STHAAPANAM, BHAKTHA PARIPAALANAM, DUSHTA NIGRAHAM, PATHIVRUTHA DHARMAM, SARANAAGATHI THATWAM, BHAKTHA LAKSHNAM etc. etc. Let us consider Krishnavathaaram. What is conveyed through Bhaagawatham & Bhaaratham? DHARMA PARIPAALANAM, SHARING WITH OTHERS, SARANAAGATHI THATWAM, AHANKAARA DAMANAM, KARMA YOGAM, BHAKTHI YOGAM, GNANA YOGAM, HATA YOGAM, BHAKTHA LAKSHNAM, BHAGAVATH KRUPA, DUSHTA NIGRAHAM, SISHTA PARIPAALANAM, JEEVAATHA PARAMAATHMA BANDHAM, MAAYA, STUDY OF NATURE, UNITY IN DIVERSITY etc. etc. We have learnt the principles one should adopt in leading a Dharmic life. We are handed over with the practices one should adopt in leading a Saahtwic life. We are also taught that we have the right to work and the result is left to the Super Power, which is already fixed according to the equations pre-determined depending on the quality and characteristics of each action. We call this as VIDHI. Similarly,through Ashtapathi songs and slokaas,we have been shown practically ( 1) the value of relationships, ( 2) the falsehood of Ahamkaar and Mamaakar, ( 3) the existence of Truth in all forms, ( 4) Jeevaathma Paramaathma relationship, ( 5) God's Krupa towards Bhakthaas, ( 6) Secrets and purpose of Avathaars, ( 7) Bhaktha Lakshnam, ( 8) one-ness of all, ( 9) Principles of Bhakthi Maarga for salvation, (10) Guru Sishya Bhaavam, (11) Paraa Bhakthi, (12) community living principles, (13) strength of Unity, (14) value of collective prayer, (15) limitations of wordly relationships, (16) Godly principle etc. etc. Instead of the Sringaara Rasa in Ashtapathi, we must see Bhakthi Laya Bhava in this Kaavyam. Raadhika representing all the Jeevaathmaas, Sri Krishna the Paramaathma and Sakkhi the Guru. All of us (Jeevaas), having separated from the Paramaathma, have come to this world of matter & got ourselves entangled in Maaya (Ignorance) and forgot about our origin - the Permanant Bliss form of ours, we must feel the pangs of separation as suffered by Raadhika,we must follow the advice of our Gurus, we must curse our status, we must cast away our Ego, we must crave for the presence of Lord and ultimately reunite with the Paramaathma, we should realise the beauty and power of Nature, we must enjoy the happiness within and not outside,we must enact the Leelaas of God like Jayadeva and Padmaavathi did and follow the principles therein, we must be aware of the Bhagawath Krupa when it flows and keep ourselves fit for receiving it. All the Puraanaas and Kaavyaas are trying to project the way of life one should lead in order to get re-united with the God. The essence, thus, of this Amara Kaavyam is the sorry state of affairs of Jeevathmaas and the way to re-unite with Paramaathma through Prema Bhakthi & total surrender to Lord as adviced by Sakkhi (who has played the role of a Guru). The best bhaava we should possess while doing Ashtapathi is "NAAYIKA NAAYAKA BHAAVAM" or "GOPIKAA BHAAVAM",which depicts the Bhakthi Layam.We have stated earlier that Raadhakalyaanam took place in Brahma Muhoortham. As per the Vendanthic explanations, the best time for Dhyaanam is Brahma Muhoortham. Thus, Raadhakalyaanam is the Union of Jeevaathma with Paramaathma & the best time for it, is the Brahma Muhoortham. Performing Poorna Ashtapathi Bhajan is considered equivalent to having performed Radha Kalyaanam. The Paddhathi: Before a Kalyaana Paddhathi, it is customary to sing all the Ashtapathis,which itself form a special Paddhathi called "POORNA ASHTAPATHI PADDHATHI".The paddhathi starts with RaamaNaama, Hari Naaraayana Song,Thodaya Mangalam, Guru Keerthanams and then the three Poorva Slokams of Ashtapadi: "Yadgopi Vadanendu Mandanam Aboodu ....." "Raadha Manorama Ramaavara Raasaleela ..." "Sree Gopaala Vilaasini Valayasadrathnaadi..." The third one is normally sung in Poorvi Kalyaani Raagam as it is followed by a song "PADMAAVATHI RAMANAM - JAYA DEVA KAVI RAAJA" in the same raagam, giving short history of Jayadeva and Padmavathi & about the origin of this Kaavyam. Then the slokams:- "Meghair Medhuram Ambaram", "Vaakdevatha Charitha Chithritha Chittha Sadma", "Yathi Harismarane Sarasam Mana:" etc. are sung. Now starts first Ashtapadi with poorva sloka "Vaacha:pallava Yathyumaapathidhara:" . Both Poorva Slokaas and Uthara Slokaas of each Ashtapasi must be sung. Naamavali may be taken up, time permitting, after each Ashtapasi (after Uthara sloka) or atleast at the end of each Sargam. After the 24th Ashtapathi, Paartha Saarathi Geetham "Bhajatha Prema Krupaanidhi Maadhavam" in Thodi to be sung after the slokam: "Nakkhaniyamida Khandoon". This is followed by:- Kalyaana Tharangam:"Aaalokaye Rukmini Kalyaana Gopaalam" Daasarvaal Kruthis Pooja Paddhathi Kramam Upachaara Keerthanam. If Poorna Ashtapadi is done before Kalyaanam, then you can stop at any end of Sargam, as per time permitting and continue the balance during Paddhathi Bhajan, Dolothsavam and 22nd, 23rd and 24th on Kalyaanam day.In such case, the Parthasaarathi Geetham and Kalyaana Tharangam should be sung after the Maangalya Dhaaranam, but before Anjaneya. After Poorna Ashtapathi, it is customary to recite the first starting sloka at the end, to indicate that this is a continuous process and does not end with this programme. There is a practice of offering different palahaarams (total 24) at the end of each Ashtapadi. This is possible only for some people. However, two Kela Fruits and Betal Leaves & nut Nivedhyam is a must after each Ashtapadi. Conclusion: As the entire Ashtapathi has to be sung without leaving any sloka or song, I have not given the Attavanai for this as given for other paddhathis. However, if anyone wants the Sankrit version of the Ashtapathi songs, slokaas etc., they may contact me with a request and I shall forward by email the same along with the necessary fonts to read them. Attavanai: Ashtapathi has been dealt with in the main book in detai and the order in which to be taken up, As there is no question of shortening this paddhathi, no separate Attavanai is given. Follow the book. SADSANGATHWE NISSANGATHWAM NISSANGATHWE NIRMOHATHWAM NIRMOHATHWE NISCHALA THATHWAM NISCHALA THATHWE JEEVANMUKHTHI: KALYANOTSAVA PADDATHI KALYANOTSAVA PADDATHI FOREWORD As the basic padhdhathi for all Kalyaanams is same except some of the slokaas or songs, I would like to dwell upon the Kalyana Utsavam in common, bringing out the differences of each Kalyanam at appropriate places. The following structure is common in all kalyaanams with, of course, the variations stated at different stages. There may be some difference in some parts of this Utsavam handled by different Bhagavathaas or at different places, depending on the customs prevailing there and/or based on the school of bhajan to which a bhagavatha belongs. We should not criticise any padhdhathi followed by any Bhagawatha, for it is nothing but the Bhaava and customs which decide the type of padhdhathi followed. However, I must reinterate that on the whole the following is the general padhdhathi every one adopts with necessary variations. Prelude As a continuation of Dakshina Sampradaaya Bhajan, which has various sections like Thodaya Mangalam, Gurudhyaanams, Ashapathi, Dasarvaal Kritis, Poojopachaaram, Dhyanam, Deepa Pradakshinam and Dolotsavam, Kalyanotsavams like Radha Kalyanam, Rukmini Kalyaanam and Seetha Kalyanam, are widely spread in all over South India. Though there are other Kalyana padhathis like Meenakshi Kalyanam, Ayyappa Kalyanam, Ganapathy Kalyanam, Valli Kalyanam etc. in vogue, the above three are commonly and widely conducted as they are the traditional ones. All the Bhajan gurus having come from Telugu desam, have given us these Kalyana Padhathis according to the Telugu customs and with telugu songs. Bhakthaas are enacting the Kalyanoysavams of Lord Krishna and Raama to prepare themselves towards Bhagavat Darsan. Customs have diluted it to certain extent as some deviations are practiced to suit the local customs and, therefore from place to place and from Bhagavatha to Bhagavatha some changes may be seen in the paddhathi. However, the theme behind these Utsavams is the same. Here more than tradition, bhava is important. We should feel that Krishna and Rama are our children and they are being united with their better halves. There should be no pomp and show but only Bhakthi and Bhava that should prevail while conducting these Kalyanams. Just like the Bhajana Padhdhathis, Kalyanams are to be conducted in the traditional manner according to the procedure laid down by our Gurus. I would like to share with you my view about these Kalyanotsavams. This is nothing but the Jeevatma longing to join with Paramatma. For this, we must first be pure at heart, clear in thoughts, unassuming in nature and with pure Bhakthi Bhava and complete surrender to the Lord perform this utsavam in the traditional method given to us by our gurus. We are offering ourselves unto Him in the form of a bride, since the bride is supposed to be loyal, service minded with full faith on Him and with total surrender unto Him who approaches Him for union with Him. Only with unselfish service and pure Bhakthi one can go near God, who will cut asunder the last trace of Maya Bandan, i.e. positive Ego in us and relieve us of our worldly duties and obligations and take us unto Him. The Bliss that we enjoy during the Kalyanotsavam is immeasureable and unexplainable. It has to be felt. Radha Kalyanam is performed throughout the year but Margazhi month is the right season to perform Radhakalyanam as it coincides with Andaal's Vrutham, who is the embodiment of Goddess in the human form and who through pure Bhakthi and determination approaches the Lord and gets united. What other apt example can be sighted for the Bhakthi Bhava. Rukmini Kalyanam is conducted during Gokulashtami and Seetha Kalyanam during Ram Navami. The Paddhathi for all are same except, the Choornikai, Pravaram and Mangalasshtaka slokams, which vary according to the Kulam, Gothram and Ancestral followings of the Brides and Bridegrooms. Normally, in Seetha Kalyaanam and Rukmini Kalyanam, Nischithamboolam song is sung and the Vang Nischaya (Nischithamboolam) function is performed while in Radha Kalyanam, it is omitted as it is believed that on Sri Krishna's instructions, Sri Brahma conducted the marriage proceedings in a hurry without anyone on both sides. It is believed that Radha Kalyanam represents the union of Jeevatma with Paramatma and has no paraphernalias that are attached to a marriage function. Radha is considered to be the embodiment of Bhakthi and Krishna the Paramatma. Radhakalyanam shows the way to the Jeevas to get united with the Lord throgh Bhakthi Marga. The other Kalyanams, though represents the same theme, are considered to be lowkeekam. To me, what is required is Pure Bhakthi and total surrender to Lord and if one has this Bhava, there is no difference in these three marriages. Also Radha Kalyanam used to be performed and has to be, in Brahma Muhurtham, i.e. 3.30 am and should be over before dawn. This shows that it is not a normal Kalyanam but it is the way for Jeeva Brahma Iykyam, since Brahma Muhurtham is the auspicious time for Meditation. Secondly, Radha has come to the world from her original from as Radhika from Golokam and Krishna has taken avatar from his original position as Madhava in Golokam. The details are dealt with in Radha Kalyanam section. And Radha has come to the world bnefore Krishna and whe was the maid servant - and the mosgt liked Gopi by Krishna = of Krishna and she was rearing him up. Thus, this is nothing but a re-union of Radhika with Madhava and we should really name it as Radha Madhava Kalyanam. The Padhdhathi: Let me now try to enumerate the procedure followed in these Kalyanotsavams: It is customary to hold full-fledged Ashtapathi padhdhathi before the Kalyanotsavam. This will be followed by Dasarvaal Krithis, Poojopacharam, Dhyanam, Deepa Pradakshinam and Dolotsavam. Normally these will be held a day prior to the Kalyanam day. Some do conduct divyanaamam after the marriage or prior to the marriage on the same day. These are variations that have crept in recently.The idea in conducting these padhdhathis prior to Kalyanam is to fully prepare onself mentally for the occasion. Through these padhdhathis, one gets immersed in para bhakthi and looses one's individuality and is ready with Satwic Vicharams to perform the function. On the marriage day, usually the function starts with Unchavruththi, followed by 22nd Ashtapathi, which is considered as the Kalyana Ashtapathi. When Full-fleged Ashtapathi precedes the Kalyanotsavam, it is customary to sing upto 19 ashtapathis, whereas the 20th is sung during Padhdhathi Bhajan at night and the 21st during Dolotsavam. In that case, on Kalyanam day the 22nd, 23rd and 24th Ashtapathis are sung before entering into Kalyana padhdhathi so as to complete the Ashtapathi Padhdhathi. If all 24 ashtapathis were taken up during Ashtapathi Bhajan, then only 22nd ashtapathi is to be sung during Kalyanotsava Padhdhathi. This is followed by Kalyana Azhaippu Song, i.e. Gowri Kalyaana Vaibhogame, Radha Kalyaana Vaibhogame, Seetha Kalyaana Vaibhogame Though, Kalyaana Padhdhathi usually is preceded with Thodaya Malgalam, Guru Keerthanam, as the function is continuous and as these are already taken up in Unchavruththi, Kalyanam can be started with one invocation song and one guru keethanam and then directly go to Gowri Kalyaanam song. Nischithaamboolam: Except in Radhakalyanam, The Nischithaamboolam (Vangnischayam) function is held. There is a special song and little Vaideekam method also is added, in which Vigneswara Pooja and Nischithaamboola Sangalpam is performed and the two sides respect each other by exchanging Chandan, Kumkum, Panneer, Flower, Fruits, Palahaarams, Parupputhengai kutty, with some Dakshinai. There is a special "Chollukkattu" where the details of the two sides and Vadhu Varan are given and a Kalyana Azhaippu is given to Boy's side by Girl's side.just like what is done in our normal marriages. In Radhakalyanam this need not be done because of its special nature explained in the Radhkalyanam section. Even if it is done, there is nothing wrong so far as you do it with Bhakthi Bhaava,/ Maalai Matruthal, Oonjal and Pachchappidi: In the books no special songs are given. But I have composed songs for these functions, wherein the idol of Lord is brought from boy's house with Bhajan after performing there Vigneswara Pooja and Mahasankalpam by the Boy's side immediately after the Ashtapathis and Devi idol is brought from the sanctum sanctorium. Maalai Maatral, Oonjal and Pachchappidi Chuthal are performed. Usually pachchappidi chuthal is performed by elderly ladies in the customary style. Then the two idols are brought to the roshtrum and placed together. This is purely a lowkeeka function performed to enable ladies also to participate. This need not be performed in Radha Kalyanam for obvious reaswons. Kotnotsavam (Muthukkuthal and Muthu Samarpanam): It is believed that as the Kalyanams are composed by Telegu Gurus, they have prescribed the usual method followed in normal Telugu Kalyaanams, where this Muthukkuthal and Muthu samarpanam are performed. In Telugu sampradaayam, Akshathai is put on Ural and with Ulakkai it is crushed and the nice power sprinkled on the couple and then they were given oil bath. Then they are bedecked with dresses and ornaments. Here, as it is the Lord and Goddess, it is presumed that Muthu, Vairam, Vaidooryam etc. are put in ural and crushed with ulakkai and the nice power is sprinkled on the couple. Then Thalandu Shobhanam (oil bath) given and alankaram. Akshathai is poured into the Ural by five Kanyakaas upto the age of 10 and Bhagavathaas and then crushed with Ulakkai to the tune of appropriate songs composed by our gurus. Then the akshathai (supposed to be powdered) is collected from ural into a thaambaalam and covered with another thambaalam and pattu with the manhjal thengai and ulakkai kept inside and taken to roshtrum and poured into another thaambalam there to the tune of speific songs. There are two opinions about the need for Kotnotsavam. Some opine that it is done in other kalyanams and not in Radhakalyanam as it is said to be a Gandharva Vivaaham or performed only by Brahma and that too in Brahma muhoortham. Others say that it is to be performed in all kalyanams as the main part. Some Bhagavathaas from South do not perform this. It is after all the custom that counts and we cannot lay any hard and fast rule. Everything depends upon the custom prevailing at a given place.There is nothing wrong in performing Kotnotsavam in all Kalyanams. According to me, it is required, since I attach philosophical importance to this function, i.e. Philosophical import in Kotnotsavam: To realise God we have to do meditation, in which process the mind has to subside. For the mind to subside, the Gnanendriyas should stop bringing out stimuli from world outside and the Kalrmendriyas should stop performing worldly activities guided by intellect. And the intellect should stop analysing things in the materialistic fashion. Thus, there should be a co-ordination between these organs in us. The Ural is considered to be the Mind; the five kanyakaas are symbolic of the five Gnanendriyaas and the five bhagavathaas are considered to be the Kalmendriyaas, thus involving the Mind, and Dasa Indriyas in the process of meditation. The akshthai (normally with dusk) is poured into the Ural by the Kanyakaas (Gnanedriyas). This shows that Gnanendriyaas are co-operating by depositing the Jeeva into the Mind. The Bhagawathaas (Karmendriyaas) are performing Karma by crushing the Jeeva into the mind with the help of Ulakkai (Omkaara Naadam). Then, the crushed akshthai is sieved to remove the covering (Umi) supposed to be Maya and make the Jeeva pure with white colour (here it is Mangalaakshthai) and pour unto the God's feet. This is called Samarpanam (I call it Atma Samarpanam). This Bhava should be maintained while performing Kotnotsavam. Then we will anot argue that it is required in one Kalyanam and not in another etc. This is normally done thrice - three Muthukkuthal and 3 Muthu Samarpanam with special songs for it. (Even if three kuthal and one samarpanam is enough if time does not permit). Then as it is considered to be Jeeva having surrendered to the Lord and merged with, there is not separate entity and to mark this, a Harathi is taken with "Chithajuni Kannayaku Jaya Mangalam" song. Musala Narthanam: Bhakthaas holding the Ulakkai dance to the tune of Ashtapathi being sung. This is symbolic of the Jeevatma having merged with Paramaatma, there is no separate entity as Jeeva, Brahma, Omkara etc. and all have become one. Hence, to show that Omkara and Jeeva have become one with the Brahman, Bhagavathaas perform this dance. Choornikai: This is a descriptive slokams describing the Kalyana Mandapam, who have all come, what are all there in the sannidhi, how the Vadhu and Varan are dressed, description of the scene etc. etc. This is so in Seetha Kalyanam and Rukmini Kalyanam. But in Radha Kalyanam, the Choornikai explains the Goloka vruthantham and the scene created by Krishna to invoke Radha to her real Swaroppa and bringing out the scene of Golokam before her and Radha trying to rush and unite with Krishna, when Krishna calls Brahma to perform the reunion as a marriage with all normal Kalyana chadangu. Pravaram: Just as we perform in our marriages, there is Pravaram, describing the three-layer lineage of the Varan and Vadhu with Kulam, Gothram, Soothram,Shakha, Pravara bhagam, great-grand father, grand father and father and finally the names of the Vadhu and Varan are spoken three times with the concluding words "Vruneemahe". Kanyakaa Dhaanam & Paanigrahanam: This is a most important part of all marriages. The Vadhu's father hands-over the hand of Vashu to the Varan with specific Manthraas symbolically with a Manjal Thengai, Beter Leaves and Nut and Dakshina kept in the hand of Vadhu which is handed over to Varan (including her hand) with the girl's mother pouring continuously theertham into the hands and Varan holds her hand and leads her to the roshtrum. Here, as it is Lords marriage, Girl's side representative holds the manjal thengai with other things on hand and the boy's representative receives them and places them on the roshtrum. This is also called "Dharavaarthu Kodukkal". This is the Muhurtha Thengai, which is considered to be auspicious and mangalakaram and taken and kept in pooja room and pooja performed every day. This does not get rotton as in the usal case. This is my experience. I have the Muhurtha thengai given to me in one Kalyaanam 14 years' back which is still decorating my pooja room without getting rotton. It still retains the Kudumi and has no cracks. This is a wonder one should see and experience. This function is performed with usual Kanyakaa Dhanam and Panigrahana Manthraas as in the normal case. Mangalaashtakam: Eight slokaas sung in eight raagaas, invoking the nature to be calm and quite and to give aplenty to the Lord during the marriage, praying to all Mountains, Rivers, Sthavara Jangama Vashthus to help nature perform its duties, praying to Tapaswins, Rivers, Pathivruthaas etc. to offer unto the Lord all their Tapa Bhalaas to make it mangalakaram for Lord, seeking the blessings of Navagrahaas to be placed in exhalted positions and do all good effects to the couple, beholding all Ashtadik Paalakaas and Devathaas to perform their duties for the good of the mankind etc. There are different slokaas composed for different kalyaanams and the sloaakaas may vary from once place to another and from one Bhagavatha to another. The theme in all is the same that during the marriage of the Lord, let the nature perform well and confer aplenty for the people and let all Tapaswings, and Bhakthaas pray for the world peace. At the end of each of the eight slokaas, the mangalaakshthai is offered into the Therai that is kept in front of the roshtrum by elders with these prayers and collected and distributed after the Kalyaanam to the audience as prasaadam. This is offered to the public symbolically the aasheervam of Lord and Goddess to the audience for peace and happiness. Some schools used to take up the Mangalaashtakams before Pravaram or Choornikai. This is due to the customs and nothing to criticise. Praying for well-being during marraige of Lord can be done any time. Maangalya Dhaaranam: Here as well as in our Lowkeeka Kalyaanams, this is purely a Lowkeeka function, not in scriptures. This has come into custom by practice. This is a licence to the Vadhu, declaring her as married and a sign in her neck so that others seeing it will understand that she is already married. Pravaram, Kanyaka Dhaanam & Panigrahanam are a must but this is only an additional mark in Kalyanams. The Varan is tying the Mangala Suthram around the neck of the Vadhu with these words: I am tying my life in the form of this Mangala Suthram tied in a thread around your neck. May you live with it for hundrends of years. This shows that fall or rise of man is in the hands of his lady. A Lady can make or mar a life. Our scriptures declare that the lady is the Shakthi and the Man is Purusha and only when the Pursha and Shakthi are together generations will flourish. The union of Purusha and Shakthi alone will produce materialistic pleasures. Aananda Kalippu: The Bhaktha now rejoices with the union of Purusha and Shakthi or otherwise Jeevaatma with Paramaatma, after which he remains in the One-ness BLISS SUPREME. This is the culmination of hyuman evolution. After this it is nothing but Bliss supreme. Symbolically, the Bhaktha dances in pure Bliss around the roshtrum to the tune of the special song. Kalyana Tharangam: If Poorna Ashtapathi was performed, it is customary to end it with Kalyana Tharangam and as the Poorna Ashtapathi gets concluded only in Kalyanam here as said earlier, the Tharangam is taken up here titled "Aaalokaye Rukmini Kalyana Vaibhogam". If all 24 Ashtapathis were sung and concluded before Kalyanam, then this song would be sung there itself. Poojopachaaram: Some groups perform Poojopachaaram and some others feel it is not required. Only perform naivedhyam and take Mangala Harathi as a sign of rejoicing. Either way it is fine. Nalangu: In our marriages, we have an item called Nalangu. This is just to make the Vadhu bedeck her husband with all ornaments, haarams, scents, tilak etc. etc. and enjoy the presence of her beloved and play Poo Pandu, Oonjal, Laali etc. This is to show the ecstacy of the Vadhu having united with her beloved. Finally she takes Harathi to her Husband and shows her surrender to him through Namaskaaram. Paartha Saarathy Geetham: If Poorna Ashtapathy gets concluded with Kalyanam as said above, then Paartha Saarathy Geetham "Bhajatha Prema Krupaanidhi Maadhavam" is sung. If all 24 Ashtapathis were concluded prior to Kalyaanam, then this song is taken up then itself. Bhathopachaaram: Obviously, it is essential to think and thank the Bhakthaas like Pundaleeka, Thukkaram, Eknath and other Sanths and Saadhus, with whose blessings only we could reach this stage of union with the Almighty. An abhang or songs in praise of or sung by such Bhakthaas are taken up here as a part of thanks-giving (Kruthaarthatha). Aanjaneya being parama Bhaktha is now remembered by a song on him. It is customary to end any Bhajana Utsavam with "Aanjaneya Utsavam", normally done elaborately in the evening of the Kalyanam day. Here after the usual invocation song, sangraha Thodaya Mangalam, Gurukeerthanam, and Ganesaadhi Dhyaanams, the Slokam "Hey Vaayu Nandana......" is sung followed by five Keerthanaas in five languages and suitable Naamaavalis, where someone plays the part of Aanjaneya. Due to time constraint in Kalyanam, it is customary to sing atleast one or two songs, if separate Aanjaneya Utsavam is not performed in the night. Konangi is a parama Bhaktha, who comes for the Darsan of Lord and Devi in Kalyaana Kolam and in ectasy dances with the Vasantha Maadhava Kumbam on head and sprinkles it all over and pulls out the Pandal to mark the end of the Utsavam. If Vasantha Kelikkai and Pavvalimbu Utsavam is performed in the evening, this is avoided now. This is the concluding session of the Utsavam. Vasantha Kelikkai and Pavvalimbu: Kalyaanam is to be concluded by Vasantha Kelikkai and Pavvalimbu Utsavam in the evening. Starting with Invocation song, sangraha Thodaya Mangalam, Guru Keerthanam, the Vasantha Kelikkai Songs are taken up, wherein Alamelu Mangaal feels the absence of Venkateswara and sends her maid to fetch him. She prepares for his welcome by collecting various types of flowers from the garden, keeps scents, chandanam, kumkum etc. ready to receive him. Maid brings the Lord to her and in ectasy she spinkles the flowers and scents on to him and does upachaaram and joins him. Then 24 Pavvalimbu Songs are taken up one by one with 24 different Naivedhyams. Here Alamelu Mangal and Venkateswara enjoy the preasence of each other in various ways and they are taken to Sayana Gruham. Most of the present day Dolotsava Songs are taken up from here and added in Dolotsavam by Pudukkottai Gopalakrishna Bhagawathar to enjoy the essence of these songs every day in his Dolotsavam. Finally, a bhaktha called Konagi comes for the darsan of Lord and Devi and Lord gives Darshan to him first while coming out of Sayana Gruham. Then Konagi dances in joy and pulls out the Pandal and disappears. This marks the conclusion of the entire Utsavam. Mangalam: If the function concludes without evening functions as stated above, then only the final mangala song titled "Pavamaana Sudhathu Pattupaadha aravindhamulaku" is sung and with Mangala Slokams "Nithyotsavo Bhavedh Theshaam Nithya Shree Nithya Mangalam" is sung and with Pundareekams the entire Utsavam concludes. View and Download links of Attavanais for three Kalyanams given below. You need Acrobat Reader Version 5 or above for reading the Attavanais which are in PDF form (zip). Radhakalyanam View Downloads Rukminikalyanam Under preparation Seethakalyanam Under preparation ELLORUM NANDRAI IRUKKAVENDUM ATHARKKU ESAN GANESAN ARULAL VENDUM OM SHANTHI! SHANTHI! SHANTHI! PADDHATHI ATTAVANAI PADDHATHI ATTAVANAI -: FOREWORD :- This Attavanai is shaped up by me, at the instance of some of my very close Bhajan friends, to provide amateur Bhaagavathaas/Bhaktas with a systematic method of doing Saturday Bhajans with time constraint, so that this will lead to proper co-ordination and time management by all Bhagavathaas attending the Bhajans. The attavanais are based on the padhathi krama followed invariably by most of the Bhajanists. There may be slight variations in the order in which they are taken up according to certain schools. I do not claim that this is the only way in which the padhathis are to be handled. For instance, Ayyappa is taken up after Murugan in Kerala whereas Tamil Nadu Bhagavathas have now added this but at the end. Pudukkottai Padhathi has an additional Narasimha and Lakshmi Dhyanams before Rama. Marutha Nallur, Thiruvidamaruthur, Thiruvisanallur, Madathu Padhathi etc. may take up Guru Keerthans very elaborately by adding Dakshina Murthy, Sankaracharya, Daththreya and so on. Time permitting, any additions can be done. The attavanai aims at providing the minimum necessary songs and the order in which they should be taken up particularly with a time constraint. I appeal to all Bhagavathas to advise me if they find any need to improve upon this, so that other Bhajan groups can take this as a guide. Links to four Attavanais view and downloads given below. Attavanai download is in PDF format (ZIP). Click the View link to see or click Download link to directly download the attavanais. Even from the the attvanai itself while on view, you can download it . Then click on the downloaded file to open it. You need an Acrobat Reader Version 5 or above and Winzip software for reading the Attavanai files. No separate attvanai is given for Poorna Ashtapathi as it is to be taken up in full. Refer the book for the order. No separate attavanai is given for Gopika Geetham as it is part of Deepa Pradakshinam and covered in DS attvanai. These Attavanais are based mainly on the Paddhathi Krama given by my guru Pudukkottai Brahmashree Gopalakrishna Bhagawatha Swamy, though time constraint is taken in view. May you cherish by following these Paddhathis. Gopalakrishna Satguru Paadaaravinde Samarpidham LOKA: SAMATHA: SUKHINO BHAVANTHU