Srivaishnava Network

The December Music Season is on and all the SabhAs are reverberating with the recitals of eminent and not-so eminent musicians. It appears appropriate to participate, atleast by proxy, in the musical fervour that grips everyone, right from connoisseurs who hop from one hall to another in search of delectable fare, down to people like me who have no deep technical knowledge of music except an ear for a pleasing tune. It is indeed an enthralling experience to sit in the audience, with the lights dimmed, listening to one melodious exposition after another, expounded by maesteros intent not on displaying their virtuosity, but on losing themselves in the sublime svarAs finding _expression_ in emotion-laden sAhityAs of divine composers, transporting listeners to new heights of delight.

The hours pass as if in a trice and when the audience comes back to earth, it is time for the mangaLam, “PavamAna suthudu”.

Why does music hold such a sway over people? Why does a good verse evoke feelings of exultation in us when rendered as a song , rather than when read out as a mere piece of poetry? What indescribable magic grips us when we listen to a well-sung sAhitya as to keep us spell-bound, unaware of the passage of time? Why does music tug at the strings of the stoniest of hearts, which remain unmoved otherwise even by the strongest of emotions?

The answer to all these questions is not far to seek. Music, especially the uplifting variety, viz., classical music, has its origins in the Shruti. To keep the record straight, I would like to clarify at the outset that all references to music in this piece are to classical music and not to the ear-splitting and raucous variety that passes by the same name and which is favoured by film-makers as the ideal accompaniment for obscene gyrations. Coming back to the source of magnificent music, we find that the seven svarAs of which all rAgAs are comprised of, owe their origins to the three principal svarAs that characterise all Vedic intonation. The apparently sing-song fashion in which Vedas are recited conforms to three basic svarAs—the “udAtta” or the level-note, the “anudAtta” or lower-register and the “Svaritam” or the higher octave. It is from these three basic notes that all music, of whatever description, whether it be the English, Hindustani or Carnatic Classical Music, flows. Is it any wonder, therefore, that music is bewitching and is capable of holding us mesmerised?

People who have been fortunate enough to have heard Veda Parayanam would attest to its extremely uplifiting nature, especially when rendered in unison by learned vaidikAs. And more than the other three branches of the Shruti, the SAma VEda consists almost entirely of musical recitation, so much so that an unitiated listener would feel he is attending a concert, rather than a Veda parayanam.

It is not only to us mortals that the Shruti forms a feast for the ears—even the Paramapurusha in Srivaikunttam is forever lending His ears to SAma gAnam by the ensemble of nitya sUrIs. The TaittirIyOpanishad tells us that the inhabitants of Paramapadam perform kainkaryam not merely with their other organs, but their voices too, with mellifluous parayanam of SAma vEda, each syllable and song of which is after all an eulogy to the Ultimate—“Etat SAma gAyan AstE, HA u HA uHA u”. It would thus appear that the Lord is a connoisseur par excellence, listening always to the most magnificent of melodies, rendered by the most excellent of ensembles. It is perhaps from this that the adage, “Music is the speech of Angels” springs. Is it any wonder, therefore, that the Lord, describing Himself to be the best of all known things in each class of Creation, says that He is verily the SAma vEda among the Vedas!.

Though the brilliant countenance of the Paramapurusha wears a beatific and contented smile, we find the one playing upon the visage of arcchA moorthies at various divya desams to be slightly less satisfied. When we wonder why, the Lord seems to tell us that He misses very much the gAnam or music, which He is accustomed to at Paramapadam. He finds this so because the Tamizh Marai or the Divya Prabandas are just recited and not sung.

While intending absolutely no apachAram to the venerated adhyApaka ghOshttIs at various divya dEsams who are rendering such yeomen service to the Lord, it appears as though Emperuman would relish their recital of the Divya Prabandas, if it is musical. When the Samskrita Shruti has endeared itself to the Lord through its melodious recital, why should the Tamizh Marai lag behind? This must have been the thought uppermost in the mind of Sri Nathamuni, to whom the origins of our Sampradaya can be traced in this KaliyugA (“NAthOpagyam pravrittam”). Not content with reclaiming for posterity the Divine Four Thousand which had been lost, Sri Nathamuni also painstakingly set these beautiful pAsurams to music, choosing with loving care the particular rAgA appropriate for the mood and emotion expressed in the pAsuram and the best beat (“TALa”) to which it could be rendered. How splendorous would a diamond be, if it is cut and polished to the maximum brilliance? Setting to music thus imparted to the already emotive pAsurams a poignance capable of conveying both the reciter and the listener to new heights of ecstacy. The indescribable delight of Bhagavat anubhavam was considerably enhanced by the musical rendering of Azhwars’ outpourings. Music thus became a facile vehicle for carrying Bhakti to even the unlettered masses. Consider, for instance, the simple but extremely significant pAsurams of TirumAlai. Who wouldn’t be moved by a rendering of the pAsuram “oorilEn kANi illai, uravu mattru oruvar illai” in the TOdi rAgA? Or, Tirumangai Mannan’s “VAdinEn vAdi” in SankarAbharaNam or SahAnA? Or, “Chittram chiru kAlE” in YamunA KalyaNi?

Though the present style of rendering pasurams by adhyApakA swAmIs has a beauty and melody of its own, it appears as though it would afford Emperuman greater delight, if aruliccheyal is sung, rather than recited, in a more melodious style, in tune with the wishes of the Acharya who has been described as “aghAdha bhagavat bhakti sindhu”. Otherwise, “TALam vazhangi Tamizh marai innisai tanda vaLLal”, a tribute lovingly offered by Swami Desikan to Sri Nathamuni, would prove to be in vain and all the effort the Acharya has devoted to setting these divine outpourings to music would be reduced to a nought.

There is much internal evidence too in the Divya Prabandas to indicate that they were indeed intended to be sung and not merely recited. That these pasurams were to be sung in delightful tunes, is attested by Sri Nammazhwar’s sreesookti, “PANnAr pAdal in kavigaL”. And Azhwar seems to imply that these were tunes set originally by Emperuman Himself—“PaNNAr pAdal in kavigaL yAnAi tannai tAn pAdi, tennA ennum en ammAn”. Sri Kalian too tells us that his pasurams are to be sung—

“KAmaru seer kali kandri kaNdu uraittha Tamizh mAlai
NA maruvi pAda vinayAya naNNAvE”

“Kalian Tamizh ivai vizhumia isaiyinOdu oli solum adiyavar uru tuyar ilareE”

“innisayAl sonna senchol mAlai”

“PalEy Tamizhar isai kArar patthar paravum Ayiram”

In fact, Sri Nammazhwar is categorical that these pasurams should be sung—

“teedil andAdi Or AyirattuL ivayumOr patthu isayodum vallAr
Adum Or teedilarAgi ingum angum ellAm amaivArgaL tAmE”

It is interesting to note that the twenty-four thousand slOkAs of that great epic Srimad Ramayanam, were set to music and sung by Lava and Kusa, the young sons of Sri Rama, in His presence. It only adds credence to the belief that the Shruti took birth as Srimad Ramayana, when the Lord was born as Sri Raghava

(“VEda: PrAchEtasAt Aseet sAkshAt RamayanatmanA”), to continue its constant adulation of the Paramapurusha in His vibhava avatArA too. Just so that the Lord should not miss the SAma gAnam to which He is accustomed at Paramapadam, the Shruti too descended to the earth in the form of Ramayanam. We are told that this musical rendering was extraordinarily sweet and generated extreme ecstacy in the listeners—“”shrOtrUNAm harsha vardhanam” “madhuram gandharvam atimAnusham”. Sri Rama was so impressed with the recital that He convened an enormous gathering of experts in music and linguistics, vaidikAs, Rishis and others, to share with them the delight that He Himself had derived from the concert. The rendering was filled with the most captivating of melodies, the most lilting of beats and captured the hearts of all those fortunate listeners—“madhuram gEyam tantree laya samanvitam”. Sri Rama Himself was moved beyond words and filled with enormous delight at the extremely tuneful tribute—“bAlAbhyAm Raghava: shrutvA koutoohalaparO abhavat”.

The Bhagavat Gita too sounds wonderful, when sung. I had the good fortune to be a judge at a Gita chanting competition (some misguided soul not having ascertained my qualifications therefor) and I can tell you that it was indeed an enchanting experience to hear all those students sing the slokas of the Song Celestial.

There is thus no doubt that all works of devotion acquire an additional depth when sung, and are capable of transporting us to the rarefied heights of Bhakti more easily than through mere recitation. Those who have heard the Gadyatrayam both in prosaic recitation and as a musical rendering would be able to instantly appreciate the profound influence that the latter has, even on our (speaking for myself) stony hearts. DayA Satakam too, when sung in appropriate rAgAs, is extremely moving, as those who have heard the same would attest. Devotion, when packaged in melody, is incredibly effective in evoking in us all those uplifiting emotions which lead to an everlasting enchantment with Emperuman.

To cut a long recital short, it appears to be a good idea to “Say it with a Song”, for it pleases the reciter, the listener and, above all, the Lord.

Srimate Sri LakshmINrsimha divya paduka sevaka SrivanSatakopa Sri Narayana Yatindra Mahadesikaya nama:

Dasan, sadagopan

Which would you say is the best part of the day?

Some would plump for the morning, which generates uplifting emotions in us, being a time of the day when the Sattva guNa comes to the fore. It is this time of the day which is suited best for elevating emotions, when we feel most inclined to engage in prayer, worship, etc. You would definitely have felt the difference that a cleansing early morning bath makes —you feel clean, pure and nearer to God than otherwise. It is this feeling that prompts many to favour the Morning as the finest part of the day.

Diametrically opposite are those who prefer the Night, for the rest it affords to the body and mind, exhausted with a hard day’s toil. It is during night that we forget all the tensions of mundane existence and give ourselves up to blissful sleep, which enables us to wake up the next morning, well prepared to face the challenges of yet another day. Thus there is nothing like the night to wipe off both physical fatigue and mental ennui. Is there any wonder, therefore, that some consider this as the culminating glory of every day?

There is however one more part of the day, that is neither day nor night, but carries the best features of both, without the negative aspects of the two. This is the time of day when the blazing Sun that makes the mornings and afternoons torrid affairs, is on the wane. However, the gloom and murkiness of the night, that make it such an opportune time for nefarious activities, are yet to make their advent. A pleasant twilight envelops everything, imparting it a reddish-golden hue, the wind picks up the fragrance of flowers opening their petals to welcome the birds and bees who have rid themselves of the stupor induced by the hot day, the cheery chirping and tweeting of birds, returning to their nest for a reunion with their little ones after a day in search of food, adds music to the ambience—in short, to quote a kindred spirit, “God is in His heaven and everything appears to be all right “ with the world, in the evening. The Evening, therefore, appears to be the best part of the day, heralding, as it does, the dawn of peace and tranquillity vis-à-vis the fierce competition and turbulence of the day and the absolute inaction of the night.

All this is from the outlook of a layperson. From that of the Vaidka too, the Evening easily triumphs over the other parts of the day. To mention but one reason, this was the time chosen by the Lord to manifest Himself as the magnificent man-lion Nrsimha. To this day, every evening is a glorious reminder to us of this spontaneous avatara that the Lord assumed, apparently without any premeditation. And apart from the avowed objectives of all avatAras, those of protecting the good and destroying evil (“SAdhu paritrANam and dushkrit vinAsanam”) the third and most endearing objective of this evening avatAra was validating the words of an ardent devotee—“Satyam vidhAtum nija bhritya bhAshitam”. It was to confirm Sri PrahlAdA’s golden words that Hari was present everywhere, be it a blade of grass or a pillar of stone, that Sri Nrsimha popped out of a column in Hiranyakasipu’s palace, of an evening. To honour the terms of the boon the asurA had obtained from an indiscriminately generous demigod, that he should face death neither in the day nor in the night, Sri Nrsimha manifested Himself in the evening, which is neither morning, afternoon, nor night. It is to commemorate this event that evenings are prescribed as an ideal period for the worship of this adhbuta KesarI. PradOsha kAla is therefore ideal for the ArAdhanam of Sri Nrihari, which is sanctified by the practice obtaining till date in Sri AhObila Mutt, with PAnaka ArAdhanam being performed to Sri MAlOla at every sundown.

If Speech is silver, Silence in golden, says the adage. The value of silence need not be overemphasised. When we come to think about it, our tongues are continually engaged in vocalisation of some thought or the other, with scarce consideration for whether or not the listener really wants to hear it all. Often what emanate from our mouth are words unpalatable to others, invective, innuendos and worthless gossip. What better atonement could there be for such offences, than to refrain absolutely from using this faculty, at least for some time? And the beneficial effects of absolute silence are to be experienced to be believed—if observed in all sincerity, it would result in a rejuvenation of the spirit and even a communion with the elusive Inner Dweller. If Mahatma Gandhi was an ardent votary of Silence and practiced it with regularity and earnestness, it is because of the glorious inner peace it brought him. When we cease to speak either with the tongue or the mind, it silences not only the external noise but also the inner clamour and clatter, enabling us to listen to the Inner Voice, which is otherwise lost in the din of speech and thought. It is with this in view that the Shruti enjoins upon us to devote the glorious Evening to absolute silence, to contemplation of the Ultimate in blissful quiet. The Vedas tell us to practice silence daily and with devotion, at sundown—“ativriksha SooryE vAcham visrujati”. Thus the Evening represents a welcome change from the constant racket and din of the day, being a time of hush and quietitude, to be spent in blissful contemplation of the Almighty, with all faculties focussing on Him, with the silence prescribed by the Shruti.

The evening belongs to the Lord of all Lords, as we saw from the NrisimhAvatAra. This is confirmed by the SAyam SandhyAvandana mantrAs too, which tell us to meditate upon GAyatri as a “VishNu dEvata”, with magnificently mature looks, astride on Sri VainatEya and holding the Sudarsana Chakra, reciting the glorious SAma VEda—

“SAyam SarasvatIm shyAmAm Ravi mandala madhyakAm
SAma VEdam vyAharantIm chakrAyudha dharAm shubhAm
DhyAyAmi VishNu daivatyAm vriddhAm Garuda vAhanAm”

While every evening is a time for silence, devotion and worship as aforesaid, there are Great Evenings that occur every fortnight (“MahA PradOsham”), which are characterised by the presence of the TrayOdasI tithi at sunset. Similarly, there are the CharutthI PradOsham and the SaptamI PradOsham too. During the MahA PradOsham, such emphasis is laid on silence that even VEda adhyayanam is prohibited.

The Shruti also tells us that asurAs battle with the Soorya every morning and evening and it is the waters of the arghya pradAnam, thrown at the Sun every evening during SandhyAvandanam, that act as a veritable VajrAyudha and bundle off these asurAs, comprehensively vanquished, to a God-forsaken island called the MandEhAruNa dveepam. One who contemplates on the ParamAtmA residing in the Soorya mandalam in the evening and morning attains everything auspicious, says the Shruti—“udyantam astamyantam Adityam abhi dhyAyan kurvan BrAhmaNo vidvAn sakalam bhadram asnutE”.

The Evening might be a time for rest, relaxation and rejoicing for us, but for Sri Nammazhwar, it is a time of torment and torture, as he describes graphically in all of ten pAsurams, collectively known as “MAlai poosal”. Though every moment of separation from Sri Krishna, the Divine Lover, is indeed an ordeal for Azhwar , the evening is especially cruel, with the threat of the impending, long night of separation looming large. The gentle evening breeze from the south carrying the intoxicating scent of the Jasmine (“Malligai kamazh tendral eerumAlO”) appears to him to be worse than the sharp winter wind, which chills you to the morrow. The bewitching music of Kurinji rAga that the breeze carries sounds little better than a raucous screech. The slanting rays of the setting Sun induce a stupor, not of bliss but of distress. Reddish clouds, instead of generating joy, cause only anguish. The mellifluous chime of bells adorning the necks of cows sounds to be an unbearable din, as does the incredibly sweet calling of the Koels. The rising Moon, normally a symbol of romance, with its soft and inviting luminescence, now appears to virtually blaze like a scorching Sun. While all the allurements of the golden evening are indeed enchanting in the company of Sri Krishna, the same sources of attraction turn into tormenting factors, in His absence. Azhwar, assuming the role of a GOpi weary with waiting for the wonderful cowherd, laments that the promised evening of reunion has arrived, in all its splendour, but there is no sign of Krishna turning up—

“MAlayum vandadu MAyan vArAn”.

On the other hand, the NArAyaNeeyam portrays the indescribable bliss of an evening with Sri Krishna, amidst the sands of Yamuna, with the rising Moon drenching those present with his soft beams, the balmy spring breeze bearing the intoxicating scent of innumerable blooms and the strains from Krishna’s flute transporting everyone to new heights of delight—“SAyam kAle vAnAntE kusumita samayE saikatE chandrikAyAm”.

Whenever we think of finer things like music, dance or uplifting lectures on Bhagavat KathA, we find that they are invariably associated with the evening. Music concerts or Hari KathA expositions are held mostly in the magical evening rather than the prosaic morning, for captivating the hearts of audiences. Even filmgoers appear to prefer the evening show to the matinee, if the crowds are any indication. So, looked at from the religious angle or the secular, readers would agree that the Evening is definitely the preferred portion of the day.

Srimate Sri LakshmINrsimha divya paduka sevaka SrivanSatakopa Sri Narayana Yatindra Mahadesikaya nama:

Dasan, sadagopan

The toddler at home is now a year old. His mobility hitherto had been somewhat restricted due to his crawl, but now that he has learned to walk, albeit unsteadily, there is no stopping him. And with the additional mobility appears to have arrived mischievousness too. You are no more able to find things at their allotted places, breakages and spillages are on the increase due to the kid’s constant activity and he keeps trying to get out into the wide world outside, rebelling against the confines of the home. If the main door is kept open for a second, he slips through with ease and is recaptured only after a long and anxious search. He doesn’t allow his mother to cook in peace, picking up and throwing down various ingredients like salt, sugar etc. and insisting on sticking his finger into the fire. What do you do with such an endearing but infuriating brat? I have seen several mothers resort to tying up the toddler, with a length of rope that permits him a radius of movement but keeps him out of mischief’s way. Bawl out he might, but he is set free only after the mother has finished her chores and is free to battle with his effervescence once more.

Where do you think the toddler learnt mischief? And where do you think the mother learnt the aforesaid way of keeping him out of monkey business?

There might be any number of tales of the Lord, for He has taken innumerable avatArAs, many times over. Each of His exploits is unique and endearing, conferring upon the listener/reader devotion and merit. However, the Krishnavatara remains the most popular, the one people generally identify with and are able to shower their love and affection upon. For, it is extremely difficult to love or be one with a fish, a boar, a lion or the Perfect Monarch who is fit only to be put on a pedestal and worshipped. The Krishnavatara, on the other hand, is all about a real, flesh and blood person who also appears to be so, who apparently has all the weaknessees and temptations that we ourselves had in childhood and whose exploits still enthrall us, millennia after they were enacted. Krishna is the neighbourhood boy with whom you can swap stories, have fun with, play truant from classes with, love and remonstrate with, in whose daredevil company you can steal neighbours’ jealously-gurarded fruits with impunity and escape retribution by a hair’s breadth. He is the one who can introduce you in full measure to the thrills of childhood, the minor pleasures forbidden by straightlaced parents. It is He who can tell you with precision which neighbour’s tree is ripe with fruit, who has gone out of station, leaving his grounds open for boisterous play and so on.

Among all the endearing exploits of the Krishna sisu, the one most eulogised and chronicled must indeed be the episode of His being tied up to the grindstone. Azhwars and Acharyas wax eloquent while recounting this tale, moved beyond measure by the thought of the Parabrahmam permitting itself to be bound hand and foot by a humble cowherdess. “etthiram uralinOdu iNaindu irundu Engiya eLivE!” marvels Sri Nammazhwar, painting a vivid picture of the tearful ParamAtmA tethered to the grindstone like cattle.

And why was the Lord tied to the stone? As was His wont, Emperuman had stolen all the milk, butter and curds that could possibly be stolen in a day, from all the households of Nandagokulam and consumed them all in the company of fellow urchins. Yasoda, who usually defended Her son vociferously against the constant litany of complaints that almost all the Gopis of Gokulam had against Her darling son, found herself silenced for once by the combined assault of the aggrieved YAdava damsels. Convinced at last of the truth in their complaints, Yasoda, in her desperation, decided to try out a novel punishment which she hoped would make Krishna cease and desist from His nefarious endeavours. She decided to restrict His movement, considering this to be perhaps the greatest penalty she could inflict on the brat, who loved to be on the move always, intent upon all types of mischief.

However, one aspect of the matter is indeed puzzling. Krishna was the darling of all the Gopis and had the run of their kitchens. He could have had all the milk and butter He desired, just for the asking. None in Gokulam could deny the boy his heart’s desire, for everyone was well and truly mesmerised by His looks, conduct and exploits—“MAlE seyyum MaNALaNai” says Sri Kodai Nacchiar, attesting to the infatuation the Gopis had for the Lord. Thus, there was absolutely no need for Sri Krishna to steal anything from anyone. Whoever would take by stealth something that is available for the asking!

Yet, if Sri Krishna did steal dairy products, it was only out of His desire to display the trump card with which He ensnares everyone, viz., His Soulabhyam and Souseelyam. It was out of a desire to subject Himself to the mock chastisement meted out by unlettered cowherdesses, whose hearts were full of love, affection and devotion for Him. It was indeed out of a desire to be tied-up hand and foot and even be beaten by these simple but loving souls—“Ayar kozhundAi avarAl pudayuNNum en MAya pirAn” enthuses Sri Nammazhwar, marvelling at the endless accessibility and Souseelyam of the mighty Parabrahmam, normally beyond the grasp of the most powerful of men (“agrAhya:” says Sri Vishnu Sahasranamam), which consented to be immobilised by a mere rope wielded by a simple cowherdess. Finding such traits impossible of display in Paramapadam (where none would even dream of tying up the Lord, leave alone of beating Him), Emperuman decided to make the most of His sojourn on earth by indulging in all sort of horseplay, moving as one with cows and their masters. Tired of the constant paeons of praise showered upon Him by the nitya sooris of Sri Vaikuntam, the Lord made up His mind to listen to choice words of abuse, for a change—“VeNnai unNdAn ivan endru Esa nindra Emperuman”. And tired of meting out punishment to all according to their misdeeds, He decided to undergo some of it Himself, for a change. It was all this that was behind the Lord’s constant theiving expeditions—“Muhu: pravrittam navaneeta chouryE” says Swami Desikan in YadavAbhyudayam.

It was not as if the brat could be tied up at will. Many were the occasions when the infuriated Yasoda failed miserably to catch Him, even after chasing Him across half of Gokulam, sweat pouring from her brow and breasts heaving with the exertion of running after the spirited brat. “ThAi eduttha siru kOlukku uLaindu Odi” says Azhwar, recounting with glee the ease with which kutti Krishnan gave the slip to His mother, pursuing Him with a small stick, in the fond hope of spanking Him.

At His playful best, Sri Krishna would allow Himself at times to be caught by Yasoda and dragged back home, for being tied up to the grindstone. And when the victorious Yasoda tried to truss Him up, He would make it impossible for her to do so by cutting all the ropes at home into small pieces, in advance. As a result, Yasoda would search in vain for something to bind Him with and would have to release Him, admitting failure. At other times, not to be defeated by His machinations, Yasoda would tie together various pieces of rope and manufacture one long enough to go round Krishna’s slender waist. However, Krishna would make Himself suddenly and incredibly fat, making the rope length extremely inadequate to tie Him with.

Yasoda thus found it impossible to bind the brat, whatever strategy she adopted. And in desperation, as is the wont of simple women, she sat down to have a good cry. When Krishna saw tears streaming out of his mother’s eyes, He couldn’t bear the sight for even a second and contracted His waist, so that even the smallest of ropes could pass several times around His midriff. It was thus that Yasoda was able tie Him up. Though several Azhwars recount this episode with relish, it was left to Sri Madhurakavi to reveal the secret that it was not Yasoda who tied the Lord up, but the Emperuman who permitted Himself to be bound by the smallest of ropes which would normally be inadequate to tie even a little hand—“kaNNi nuN siru thAmbinAl kattuNNa paNNiya peru MAyan”. The Lord, whom the Upanishad credits with a mammoth figure, larger than the largest imaginable (“mahatO maheeyAn”) made Himself smaller than the smallest, permitting His perspiring mother to tie Him up with ease, affording her victory which had eluded her for long.

Here is the beautiful sloka from YAdavAbhyudayam, with a bewitching pen- portrait of this endearing episode—

“Aneetam agrE nija bandanArttham dAmAkhilam samhitamapi apoorNam
vilOkya nirviNna dhiyO jananyA: sankOcha shaktyA sa babhoova badhya:”

The last two words, “babhoova badhya:” are extremely significant– Rather than giving Yasoda the credit for tying Him up, Swami Desikan highlights His soulabhyam, with the indication that He permitted Himself to be tied-up. It was Emperuman’s idea in the first place to get tied up and thereby display His susceptibility to the Bonds of Love, says Sri Madhurakavi—“KattuNNa PaNNiya Peru MAyan”.

It is from this episode that Emperuman derived the tirunAmam “DAmOdara:” and it is said that the Lord wears with relish the marks of the rope which passed around His midriff, as indelible evidence of His Bhakta parAdheenatvam. The irrepressible Parabrahmam could be tied and trussed up like a hen, because the bonds were made not out of mere cord, but of the stronger-than-steel strings of love and devotion. Sri Nammazhwar has a special fascination for DAmOdaran and calls Him the Primordial Cause—“DAmOdaranai tani mudalvanai”. Azhwar marvels at the size of the rope that must have been required to tie up the Lord’s belly, swollen with accomodating all the worlds—“DAmOdaranai tani mudalvanai gyAlam uNdavanai”. And yet because the rope was fashioned out of pure maternal love, despite being very small (“nuN thAmbu”), it acquired the required degree of elasticity to go round His monstrous midriff.

Scriptures tell us that blissful contemplation of this episode, of the Lord willingly accepting bondage, can unfailingly lead to our own release from the eternal bondage of Karma. This is akin to Swami Desikan’s assertion that one who delights in the Lord’s exploit in sucking PoothanA’s breast, would never have occasion to feed on a mother’s breast again, having been released from the interminable cycle of births and deaths.

Srimate Sri LakshmINrisimha divya paduka sevaka SrivanSatakopa Sri Narayana Yatindra Mahadesikaya nama:

Dasan, sadagopan

The Lord tells us in the Gita that it is He who forms the profound purport of the Shruti and that it is He who is to be found in every syllable, word and sentence of the glorious VEdAs—“VEdaischa sarvam ahamEva vEdya:”. Tiruppavai is acclaimed to be the very seed of the Vedas—“VEdam anaittukum vitthu”. Hence it follows that Sri Andal’s outpouring too has for its content only the Paramapurusha. It is a garland of thirty eternal and evergreen verses strung together with boundless affection by a passionate devotee.

Sri Andal might speak of several avatArAs of the Lord in Tiruppavai—She talks about the “Ongi ulagaLanda Uttaman” (Trivikraman), “ManatthukkiniyAn” (Sri Rama), “NandagOpan

Kumaran” (Sri Krishna). It would appear, from a superficial study, that the Hero of the Prabandam is indeed KaNNa PirAn, the darling of YasOda, the apple of NandagOpA’s eye, the heartthrob of all the girls of Gokulam and the undisputed leader of all its urchins. It would also appear that every alternate line of these pAsurams bears a mention of Sri Krishna, attesting to their mission of eulogising Him. Tiruppavai would thus seem to be an elaboration of the obsession with Krishna that characterised Sri Nammazhwar’s existence, to the exclusion of all else—“uNNum sOru, parugum neer, tinnum vettrilai yAvum KaNNan Emperuman”.

However, if we go in for a deeper and discerning analysis, we would find that Sri Andal’s real intent is to adulate not Sri Krishna alone, but, in the guise of that, to direct Her praise to yet another entity. Her words might appear on the surface to eulogise the son of YasOda, but the spirit behind those words indicates quite a different person. While She might hold the garland in Her hand and stare at Sri Krishna, Her real intent appears to be to adorn someone else’s neck with it. Who could that be, who is exalted enough to steal Sri Andal’s affections, while Sri Krishna looks on in disappointment?

Poets normally give an indication of what lies in their mind, in the very beginning of their composition as well as in the final verse, providing a clue to what undercurrent of emotion runs through the entire work. Thus “upakramam” (the beginning) and “upasamhAram” (the conclusion) provide a definite indication as to what the work is all about. Adopting this rule, we find a leonine motif dominating the broad canvass of Tiruppavai. We may therefore safely conclude that the secret lover Sri Andal had enshrined in Her heart was Sri Nrisimha and none else. To those supporters of Sri Krishna who rise up in arms against this statement, my request is to read on and find for themselves the irrefutable evidence in favour of Andal’s infatuation with Nrisimha mUrthy.

In the very first pasuram, Kodai Naachiar speaks about the glorious lion—“iLam singam”. To the superficial reader, this may appear to be a reference to the irrepressible lion cub that the young KaNNan was. However, if we care to look beyond the obvious, we find that it is indeed an allusion to Sri Nrisimha, who alone is the undisputed owner of the brand name, “Simham”. There might be any number of contenders to the throne of “Simham” like the RAghava Simha and the YasOdai’s Simham—but the genuine article, the original and magnificent lion, is only our Nrisimha. If anything, the words “iLam singam” would emphasise the immaturity of the toddler Krishna, when compared to the splendorous, mature and majestic Lion that Sri Nrisimha was. The further reference to “SenkaN”, a reddish eye, would suit Sri Nrisimha to a T, as His eyes were veritable orbs of fire, blazing with rage at Hiranyakasipu.

“Kadir madiyam pOl mugatthAn” is also very much an allusion to Sri Nrisimha, whose one eye, directed at Hiranya, resembled the scorching Sun, while the other, looking with love at Sri Prahlada, was cool as the Moon. And the word “Narayanan” in this pasuram must indeed refer only to Sri Nrisimha, for it was He who resided as antaryAmi in all beings and objects, ready to spring out of whichever place or being Hiranyakasipu smote with his mace. Thus Sri Nrisimha fits the definition of the Narayana Sabdam (“NArA: yasya ayanam, sa Narayana:”), as all sentient beings and non-sentient objects had Him inside them—“TrailOkyam Etat akhilam Narasimha garbham”.

The “Ongi ulagaLanda Uttaman” too is Sri Nrisimha only, for during this unprecedented avatAram, the Lord’s tirumEni was huge beyond measure, tall and broad enough to pervade the entire universe.

“Azhi mazhai KannA!” too is a call to Nrisimha, whose eye showered benevolence on Sri Prahlada like a veritable torrent of rain, drenching the latter in a deluge of Mercy, as sought by Sri Tirukkacchi Nambi—“KAruNya mAruta Aneetai: sheetalai: abhishincha mAm”.

“MAyan” has to be Sri Nrisimha. The name denotes the ability to perform the impossible—“aghatita ghatanA sAmarthyam”. Sri Nrisimha’s glorious avatAra, springing out of Hiranyakasipu’s palace pillar the moment it was smitten by the asurA, in a form which was neither lion nor man (“na mrigam na mAnusham”) but a mixture of both, totally devoid of any serious weapon with which to slay the demon, is indeed a splendid demonstration of making Mission Impossible come true and of the display of unprecedented prowess. Hence this “adbhuta KEsari” is indeed the “MAyan” of the fifth pasuram.

“ari endra pEraravam”—It is this lion-god whom Rishis and Sages have in their mind when they wake up from sleep, for “ari” in Tamizh refers to the lion. If you have any doubt, listen to Sri PeriyAzhwar telling us that this “ari” is indeed Sri Nrisimha- “ari uruvAgi ariyayi azhittavanai bandahnai teera pallANdu pallAyiratthAndendru pAdudumE”. Another Azhwar confirms that “ari” is indeed Sri Nrisimha—“azhagiyAn tAnE, ari uruvan tAnE”. Immediately after waking up, these Sages chant the name of Sri Nrisimha with devotional fervour, filling the air with Nrisimha nAmam—“ari endra pEraravam”. And why should the wise think of such a terrifying form as Nrisimha, first thing in the morning after waking up? Because He is auspiciousness personified—“Bhadram”.

In the next pasuram, “Keesu Keesu” too, we have evidence of Sri Andal’s secret love. When She says, “Kesavanai pAdavum nee kEttE kidatthiyO”, She obviously refers to the Leonine Lord with His beautiful mane. If Kesava: is taken to mean one with beautiful hair, then it is Nrisimha who is alluded to here.

The three hallowed names that find a mention in the eighth pasuram, “MAmAyan, MAdhavan and Vaikunttan” refer to the lion god. The “MAya” sabdam’s connection with Nrisimha was indicated in the context of the fifth pasuram. MAdhavan refers to Sri LakshmINrisimha, who is forever in the company of His Consort—“MAlOlan”, whom Sri Kalian adulates as “alli mAdar pulga nindra Ayiram tOLan”. The irrepressible Lord is also known as “Vaikuntta:”, which word has a special connotation to Sri Nrisimha, as can be seen from the DasAvatAra Stotram—“Vaikuntta kanteerava:”.

“PuLLin vAi keeNdAn” refers to the exploit of Sri Nrisimha in subjugating the “Sarabha” pakshi, which dared to confront Him immediately after the slaying of Hiranyakasipu, which episode is indicated by “pollA arakkanai kiLLi kaLaindAnai”.

“Sangodu chakkaram Endum tada kaiyan” too is Sri Nrisimha only. During this avatara, in which the Lord could not use weapons for destroying the asura due to the special boons the latter managed to obtain, the inseparable Sudarsana Chakram transformed itself into the deadly nails the Lord sported, we are told. “Pangaya kANNAn”—The Lord did not forsake His lotus eyes even during this terrifying avatara and they remained as lotus-like as ever, says an Acharya, who addresses Sri Nrisimha as “VArija vilOchana!” (“VArija vilOchana! mad antima dasAyAm, klEsa vivaseekrita samasta karaNAyAm—Ehi RamayA saha sharanya! VihagAnAm nAtham adhiruhya Narasimha! Narasimha!”

The boundless infatuation the Lord has for Piraatti and the pleasure He derives from Her company, are described in the pasuram “kutthu viLakkeriya”. This must doubtless refer to Sri Nrisimha, who is always to be found in the embrace of His Consort—“LakshmyA samAlingitha vAma bhAgham”.

All the thirty-three crore and odd celestials were paying tribute to Hiranyakasipu, who had them all under his thumb. By liberating them from the dreaded asurA, Sri Nrisimha became the “Muppatthu moovar amararku mun chendru kappam tavirkkum kali”. As the whole world witnessed His prowess in slaying the asura with His bare hands, He is indeed the “Tiral udayAi”. And, as Hiranya found out to his chagrin, Lord Nrisimha is indeed a terror to His foes—“SettrArkku veppam kodukkum Vimalan”.

The next pasuram, “Ettra kalangaL” too contains several references to this Lion God. “PeriyAi”—Sri Nrisimha’s was a mammoth figure, striking terror with His very form. And He shone with the brilliance of a thousand rising Suns—“tOttramAi nindra sudar”.

Fearing the blazing orbs that the Lord sported during His encounter with the asurA, Sri Andal prays to Him to look at Her with merciful glances out of pleasant, lotus-like eyes, one like the Sun to destroy all the gloom of ignorance in our hearts and the other cool and consoling like the Moon, to provide us the instant bliss of Bhagavat anubhavam—“TAmarai poo pOlE sengaN siru siridE emmEl vizhiyAvo, TingaLum Adityanum ezhundAr pOl angaN irandum koNdu engaL mEl nOkkudi”.

It is the next pasuram, “MAri malai muzhainjil” that speaks graphically about Sri NrisimhA’s fragrant and bountiful mane (“VEri mayir”), His majestic gait (“pOtharumApOlE”), His stentorian voice (“muzhangi”) which is enough to strike terror in the heart of His foes, etc. The beautiful allusion to “Seeriya Singam” identifies beyond doubt the real Hero of this Prabandam, for the word “Seeriya” speaks volumes about Andal’s admiration for this loftiest of Lords. And the word “SimhAsanam” can refer only to the seat of Sri Nrisimha, as it can be construed as “Simhasya Asanam”. As befits a “Seeriya Singam”, His throne too is a “Seeriya SingAsanam”.

It is Sri Nrisimha who triumphs over His detractors with ease—“KoodArai vellum seer Govindan”.

It is He who has as His profession, the Creation, Sustenance and Destruction of the myriad varieties of life, which is symbolised as cows (“pettram”), in the pasuram, “Chittram siru kAlE”. And it is to Him that Sri Andal offers eternal service. It is with this Nrisimha that She professes eternal bondage and desires everlasting kainkaryam to—“ettraikkum EzhEzh piravikkum un tannOdu uttrOmE AvOm, unakkE nAm AtcheyvOm”.

In the final pasuram, “Vanga kadal” too, Sri Andal refers to Sri Nrisimha with the epithets, “MAdhavan”,”Kesavan” etc. The words “SengaN Tirumukham” indicate conclusively that is Sri Nrisimha who is Her Hero, for it was during this avatara that the Lord’s eyes blazed with the reddishness of anger against the unrepentant asurA. “Selva TirumAl” is indeed the lion god, who is forever in the embrace of the Goddess of Wealth and who has incredible and unfading infatuation for Her, despite innumerable millennia of married life. And it is the worship of Sri Nrisimha, which would confer upon us all types of auspiciousness and ultimately the endless bliss of Bhgavata anubhavam—

“engum tiruvaruL pettru inburuvar”.

To those who are inclined to scoff at the aforesaid as being far-fetched,

I would recommend a visit to Srivilliputtur, where, till date, the shrine of a majestic Nrisimha greets everyone and whom we have to worship before passing on to the sannidhi of Sri VatapatrasAyee, as Sri Andal must have done too, in Her times.

Srimate Sri LakshmINrisimha divya paduka sevaka SrivanSatakopa Sri Narayana Yatindra Mahadesikaya nama:

Dasan, sadagopan

Many of us have cars, especially those living abroad, for whom the four-wheeler is not a luxury, but a dire necessity. And some of the car-owners have chauffeurs, to whom they entrust the safety of not only their vehicles, but also of themselves and their precious families. It is the considered opinion of some car-owners that it is as providential to land a good driver, as it is to wed a good woman. Not only marriages, but also the owner-chauffeur relationship too would appear to be made in heaven, for, as many would attest, drivers are a lackadaisical lot. They have a penchant for reporting sick or just not turning up, especially when you require them the most. They have a short memory for favours received and the niggling notion that they are grossly underpaid, however handsome be their wages. MahAkavi BhArati refers perhaps to drivers, when he says in “KaNnan en SEvakan”—

“Kooli miga kEpAr, koduttadellAm tAm marappAr
Velai miga irundAl veettilE tangiduvAr
PAattiyAr setthu vitta pannirandAm nAL enbAr
PAnayilE tEL irundu pallAl kadittadu enbAr”

And woe betide the master who dares to discuss family matters while travelling in the car with his wife or others—in no time they would be dutifully communicated to jealous and gossip-mongering neighbours.

This piece is not a diatribe against the worthy profession of drivers—the object is entirely different, viz., to extol the praises of a member of the same profession, who, despite His exalted stature, comported Himself so excellently as an obliging chauffeur to a demanding master, that the whole world sings His praises till date.

There might be any number of instances of the Lord’s extreme accessibility (Soulabhyam) and His readiness to mingle as one with lowly mortals (Souseelyam)—but there is no other single act of His which demonstrates the aforesaid traits explicitly, than His role as a charioteer to Arjuna. When DuryOdana and Arjuna both seek the support of Sri Krishna in their battle royal, the former is content with material assistance in the form of the vast YAdava force, all of them fierce warriors of exceptional calibre. Arjuna, on the other hand, asks Krishna for the rather strange favour of having Him (Krishna) as a simple charioteer, one who would wield no weapons, but would merely pilot the chariot wherever required at His master’s command. One knows not what made the PANdava ask this of Sri Krishna, but the former, in hindsight, appears to have displayed admirable perspicacity in doing so.

Thus begins a relationship, which would last the duration of the battle between the PANdavAs and the KouravAs at KurukshEtra. From day one of the battle, Lord Krishna transformed Himself from the omnipresent, omniscient and omnipotent ParamAtmA, into a humble charioteer implicitly obeying the dictates of his royal master. Gone were the Divine Discus and the Cosmic Conch from His handsome hands, to be replaced by the reins of the horses and a stick with which to goad them on. Gone were the urbane appearance and debonair demeanour, with attire and ornaments better than the best royalty could afford, to be replaced by the humble clothes of a driver, His face and torso coated with the grime and dust of the battlefield, His benign countenance (normally resembling a blooming lotus) covered with pockmarks from arrows which were aimed at the master, but which the chauffeur thought fit to intercept bodily, saving the master from certain death on many occasions. The normally broad, beautiful and lotus-like eyes were now red-lined and half-closed with fatigue and battle-wearines. The curly, jet-black hair, the envy of even women, was not coated with dust and grime. While the overhead canopy provided shade and comfort to the master Arjuna, the SArathy had no such advantage, with His already dark visage made the more so due to constant exposure to the blazing Sun. His entire body was covered by a fine film of sweat, as He manoeuvred the horses and the chariot in appropriate directions, weaving between the vehicles of opponents with expertise and expedition, confounding enemy warriors with the speed and dexterity of movement.

Sri Ramanuja is so enchanted with this endearing portrayal by the Lord that he devotes quite a few majestic phrases to its depiction—

“GnAna shakti bala ishvarya veerya shakti tEjasAm nidhim, sva sankalpa krita jagat udaya vibhava laya leelam, HrishIkEsam, parAvara nikhila jana antara bAhya karaNAnAm sarva prakAra niyamanE avastthitham”

Marvels Sri Bhashyakara—“It is this exalted Parabrahmam, the repository of innumerable auspicious attributes, having for its sport the creation, sustenance and destruction of this entire universe of sentient beings and non-sentient objects, the Supreme Controller of all the faculties (external and internal) of all beings in this vast world—it is this ParamAtma who stood as a humble charioteer, in front of Arjuna’s chariot.” Adducing reasons for this apparently impossible role-change, Sri Ramanuja says, “Asrita vAtsalya vivasa tayA”, chronicling the glory of the Lord who permits Himself to be ordered about like the lowliest of underlings, all due to His overwhelming love and affection for His devotees. Unable to shake off his wonderment, Sri Ramanuja exclaims, “Ratham stthApaya iti achOdayat” (Arjuna ordered the chariot to be parked between the two armies ready for battle), moved beyond measure by the ParamAtmA, the Supreme Lord of all Universes, being ordered about by a mere mortal and, on top of it, carrying out the orders meekly. Supplements Swami Desikan, “Sarva prashAsitA niyOjya: abhavat iti Ashcharyam iti bhAva:”

When ordered by Arjuna to place the chariot amidst the two armies, the Lord obeys instantly and with alacrity, with all the world watching His menial demeanour, says Sri Ramanuja, still unable to shake off his wonderment at the Almighty’s greatness in putting Himself at the beck and call of a human master—“Sa cha tEna chOdita: tat kshaNAt Eva BhIshma DrONAdInAm sarvEshAmEva mahIkshitAm pasyatAm yathA chOditam akarOt”.

Sri Tirumangai Mannan too is extremely moved by the SArathI’s role assumed by the Lord—“Indiran siruvan tEr mun nindrAnai TiruvallikkENi kaNdEnE”. Indra, the chief of all celestials, is himself a non-entity vis-à-vis the ParamAtmA: his son Arjuna, being a mortal, is more so. Despite all this, the Lord consented to be SArathy of this PANdava prince, who did not have a bit of land to call his own, solely out of love and affection. And while Arjuna was ensconced comfortably on the chariot’s cushioned seat, with a canopy to protect him from rain and shine, the Lord stood on the ground (“tEr mun nindrAnai”), the personification of servility and submissiveness, holding the horses’ reins and the goad (“KOl kaiyil koNdu PArtthan tan tEr mun nindrAnai”) in His beautiful hand.

Sri Kalian’s emotion is all the more understandable, when we consider that the Azhwar enshrined the Lord in a glorious chariot, made up of the glorious verses of Tiruvezhukoottrirukkai.

Arjuna might have been attired in princely robes and presented a picture of virility and might, but the real adornment to the chariot was the Lord, who, despite His humble habit and meek demeanour, shone like a thousand Suns despite the coating of grime and grist of the battlefield, says Swami Desikan, in VairAgya Panchakam—“Dhananjaya syandana bhooshaNam dhanam”. And because of its Distinguished Driver, the Chariot itself acquired glory, which is evident from the descriptions of Sri Kalian (“PArtthan selva tEr Eru SArathiyAi”) and of Sri Ramanuja (“Mahati syandanE”).

We know only too well that the Lord adapts Himself admirably to the role He chooses from time to time. He delivers a stellar performance, whether as a Magnificent Monarch, an angry young Rishi bent upon annihilating the ruling classes, a diminutive bachelor come to beg for an insignificant three feet of land from an Emperor or a ferocious Man-Lion materialising out of a palace pillar to put paid to one of the vilest of asurAs. He puts His life and soul into the performance, so to say, to emerge as a player worthy of a million Oscars.

In His role as a chauffeur too, the Lord excels, as is His wont. We are struck with wonder as to how Emperuman is able to play diametrically opposite roles, as the Prince of Ayodhya, used only to riding in chariots driven by the best of charioteers, to that of a lowly chauffeur, piloting the carriage to the directions of a perishable human master. Listen to Sumantra, the exalted minister of Dasaratha and a charioteer par excellence, praying to Sri Rama to ascend the chariot for a quick drive to wherever He might wish—

“Ratham ArOha bhadram tE Rajaputra! MahAyasha:
Kshipram prApayishyAmi yatra mAm Rama! vakshyasi”

We are told too that Sri Rama’s chariot was magnificent, glittering with a golden body studded with precious stones, verily like the Sun—“tam ratham Soorya sankAsam”

“athO jvalana sankAsam chAmIkara vibhooshitam
tam Aruruhatu: toorNam bhrAtarou RAma LakshmaNou”.

It is not only the Lord who is accustomed only to riding in a chariot, when but His constant Consort too is accustomed to ride with splendour in a glorious chariot (“ashva poorvAm, Ratha madhyAm”—Sri Suktam), which appears irreconcilable with the Lord’s occupation during the Kurukshetra war. Despite all these, if Emperuman could turn in a commendable performance as a charioteer to Arjuna, executed with admirable aplomb and effortless ease, it is no mean tribute to His histrionic talents.

When He takes up something, the Lord does it perfectly. As a charioteer, He tended to the horses with the high degree of love, affection and commitment, which prompted them to turn out their best on the battlefield. He never ate before ensuring that the animals had their belly-full and ensured that they were always well-fed and cared for, with their strong, white bodies gleaming in the Sun, their heads held high with the pride of performance. At the end of each day of battle, the Lord washed down the horses, cleansing them of the dust and grime of the day and applied soothing salve to their wounds, before having a wash Himself.

Once, in the midst of raging war, sensing the horses slowing down due to dehydration, the Lord even arranged for an impromptu spring on the battlefield, from which the horses drank their fill and were fit and rearing to go once more. This is not mere canard, but well-chronicled history, to which the following pasuram of Sri PeriyAzhwar bears testimony—

“Mannar maruga maitthunanmArkku oru tErin mEl
mun angu nindru mOzhai ezhuvittavan”

Swami Desikan’s Acharya, Sri KidAmbi AppuLLAr, sees Arjuna’s chariot and the Lord’s own position therein, as representative of Emperuman’s role as the Universal Saviour. The picture of Sri Krishna seated ahead of Arjuna at the front of the chariot, protecting Arjuna from all possible dangers, is reminiscent of the “akAra” (the letter “a”) in the PraNava mantra depicting the Lord’s role as the Saviour, and ArjunA’s own position at the rear of the chariot, of the last letter, the “makAra” (the letter “im” in the Pranava) representing the JeevAtma—

“abhirakshitum agrata: stitham tvAm PraNavE PArttha rathE cha bhAvayanta:”

When we stand before Sri Parthasarathy Swami at TiruvallikkEni and throw our thoughts back to that battlefield of Kurukshetra, we find our eyes brimming with tears at the sight of the Lord, whose handsome visage sports innumerable pock-marks, bearing testimony to His boundless love for his bhaktAs and His readiness to do anything, but anything, to please His devotee. The word “infra dig” appears not to figure in His lexicon, as far as doing the bidding of His bhaktAs is concerned. If we perform Prapatti and entrust to Him the job of piloting the vehicle of our lives, He would surely guide us unerringly to the Promised Land, steering us with care amidst the minefield of SamsAra. All that we have to do is to hand over the reins of our lives to Him and relax, with absolutely no care in the world, saying with Swami Desikan—“nirbharO nirbhayOsmi”.

Srimate Sri LakshmINrisimha divya paduka sevaka SrivanSatakopa Sri Narayana Yatindra Mahadesikaya nama:

Dasan, sadagopan

“An Apple a day keeps the Doctor away” goes the adage, emphasising the importance of fruits to our health. No dinner table is complete without an assortment of seasonal fruits, which form the ideal dessert. It is perhaps with this in view that the Shastras too tell us to conclude our meal with a sweet (fruit)-“madhurENa samApayEt”. There is a wide variety of fruits in God’s creation, to suit every taste, palate and purse. If the rich man has a basket of Alphonso mangoes, the not-so-well-to-do can have bananas, which are cheaper and more nutritious. The Fruit thus occupies an important place in our everyday lives and represents the culmination of the tree or shrub’s creative endeavour. Here are a few ripe ones, for the connoisseur’s sampling.

The Lord might have created any number of fruits for human consumption, but devotees consider Him to be a tastier and more fulfilling fruit than any other. He is the “KOdil in kani” of Sri Kalian (“Vizhumia munivar vizhungum kOdil in kani”). Other fruits may have blemishes such as over ripeness or immaturity, but this Divine Fruit has the perfect degree of “pakvam” and is ever ready for consumption by the devout. Mangoes, apples, oranges, pomegranates or guavas–most of the fruits are seasonal and are available only during the respective season: in comparison, the Divine Fruit is always available, throughout the year, 24 hours a day, to all those who seek it sincerely. This is thus a Fruit with absolutely no shortcoming or blemish (“kOdilin kani”). This is no “forbidden fruit” denied to mankind, but a fruit which welcomes everybody to have a bite. While ordinary fruits are the result of a process of evolution from flower to fruit, this Fruit Extraordinaire doesn’t undergo any change or “vikAra”.

Fruits which have already been tasted by birds and bees are extremely sweet, we are told. By this standard, the Lord too should indeed be delicious, tasted as He has been by the most pious of devotees like Azhwars, Acharyas and MaharshIs, who have dedicated their thought, word and action solely to Him (“vizhumia munivar vizhungum kOdil in kani”).

If the Vedas are to be described as a giant tree with branches spread far and wide, then the Lord is verily its ultimate result, the raison-de-etre, the Fruit-

“VEdattin suvai payan”.

If this is what Sri Kalian has to say, then Sri Nammazhwar must have already said it, for Sri Parakala’s poems are but products of Sri Parankusa’s outpourings.

Predictably, we find a reflection of the aforesaid verse in Tiruvaimozhi, with but negligible variation-

“ mikkAr vEda vimalar vizhungum en akkAra kaniyE”

Here too, the Lord is described as a delectable fruit, so sweet that it could be made of sugar candy- “akkAra kani”. This akkAra kani is consumed with delight by no less than the Celestials-“vEda vimalar”.

Sri Nammazhwar seems to consider the Lord to be a “fruity” person, for there are several related references-‘nei suvai tEral engO kani engO pAl engEnO”, “kattiai tEnai amudai nan pAlai kaniyai karumbu tannai” etc.

The lips of the Lord resemble a beautiful red fruit, say all the Azhwars—

“kani irundu anaya sevvAi KaNNanai kaNda kaNgaL”

“kovvai chevvAi”

If Sri Parankusa and Sri Parakala consider the Lord to be a “Kani”, can Swami Desikan be far behind? For his part, the Acharya too likens the Lord to a fruit-bearing tree. However, this is a fruit with a difference. Tall people can pluck fruits from trees without much effort, while short ones may have to take recourse to ladders etc. This, however, is a tree that yields fruits to tall ones and short ones alike, but only to those who bend down to it, irrespective of their height. Whether you are tall or short, you can reach the fruit only if you bend down. Irrespective of one’s stature in the academic, social or economic spheres, the Lord bestows Moksha only on those who “bend down” or perform Sharanagati to Him. Here is the beautiful sloka from Sri ParamArttha Stuti-

“SrImat Gridhra saras teera pArijAtam upAsmahE
yatra tungai: atungaicha praNatai: grihyatE phalam”.

Talking of Moksham, the Lord appears to have bestowed the ultimate reward on some people, just because they offered Him fruits. And these were not gourmet items to be found in rare lands or of exceptional taste. They were fruits of a mere common garden variety, to be found aplenty without much effort in the forest. The person who could wangle out liberation from the Lord in return for a few fruits, is none other than Sri Sabhari, whose offering the Lord accepted with great gusto, because it was accompanied by exceptional devotion and love. The Ramayana Mangala sloka records this for posterity-

“SAdaram SabharI datta phala moolAbhilAshiNE
Soulabhya paripoorNAya sattvOdriktAya mangalam”

In accepting Sri Sabhari’s humble offering, the Lord appears to have been guided by the dictum He Himself was to enunciate later in Sri Krishnavatara-that it is not the preciousness or price of the offering that matters, but the degree of piety and love that accompanies it-

“Patram pushpam phalam tOyam yO mE bhaktyA prayacchati
tadaham bhakti upahritam asnAmi prayatAtmana:”

However, is it true that Sri Sabhari, out of her anxiety to offer Sri Rama only the best, tasted the fruits first and offered the half-eaten ones to the Prince of Ayodhya, as is depicted in some versions and in popular television serials? The answer appears to be No, for there is no mention in Srimad Ramayana of this happening. While Sri Valmiki does speak of Sri Sabhari’s offering of fruits and roots (“mayA tu vividham vanyam sanchitam Purusharshabha!—tavArtthE Purusha VyAghra! PampAyA: teera sambhavam”), nowhere does he speak of the devotee savouring them first to ascertain their tastiness. In fact, to the contrary, Sri Valmiki tells us that all of Sri Sabhari’s offerings were “proper” and as per ShAstrAs—“PAdyam Achamaneeyam cha sarvam prAdAd yathA vidhi”.

Srimad Bhagavatam too recounts the tale of the Lord offering the priceless jewels adorning His infantile tirumEni to an itinerant fruit-seller, in return for a handful of “nAval pazham”. Sri Yasoda tries to tempt the elusive Krishna to come and be dressed up decently, with an offer of fruits, and, in particular, “nAval pazham” and Jack fruit—“uNNa kanigaL taruvan”, “nAvar pazham koNdu vaitthEn” “inia palA pazham tandu” etc.

Imparting an interesting twist to the fruity tale, Sri Periazhwar tells us that the jewels that the mischievous Lord offered to the fruit-vendor were not His own, but confiscated from an unresisting Gopi and when summoned to account for His misdemeanour, the Lord just laughed away the accusation—

“illam pugundu en magaLai koovi, kayyil vaLayai kazhattri koNdu
kollaiyinindrum koNarndu vittra angorutthikku av vaLai kodutthu
nalla nAval pazhangaL koNdu nAn allEn endru sirikkindrAnE”

The Lord’s weakness for fruits is thus well demonstrated and chronicled. It would appear therefore that if you need some favour from Him, all you have to do is to offer Him some fruits: however, the catch lies in the phrases, “bhakti upahritam” and “prayatAtmana:”-the fruits, however humble or cheap, have to be offered to Him with impeccable devotion and love. Otherwise, He doesn’t even touch, leave alone accept, costly offerings, if they are bereft of piety and sincerity. During TiruvArAdhanam, while submitting fruits for the Lord’s consumption, it is customary to offer them duly cleaned, peeled and ready for use, and not just as they are available in nature.

Speaking of peeling fruits, there is the tale of a devotee, whom the Lord had honoured with a visit to his (devotee’s) home, who, unable to take his eyes off the Lord’s bewitching countenance and tirumEni, ended up offering all the banana skins to the Lord and throwing away the fruits inside, mixed up in his preoccupation with bhagavat anubhavam. This was none other than Sri VidhurA, who was so taken up with Emperuman’s beauty that he offered the Lord what was to be thrown away and dutifully threw away the sweet bananas that were to be offered for consumption. However, since the banana peels were offered with the best of bhakti and piety, though by mistake, the Lord consumed them with all relish, without once drawing VidhurA’s attention to the mix up.

Though the Lord appears to be quite fond of fruits, there are some that He looks askance at and doesn’t partake of. The MundakOpanishad talks of a tree, which is inhabited by two beautiful birds, of which one eats the tree’s fruits while the other doesn’t.

“DvA suparNA sayujA sakhAyA samAnam vriksham parishasvajAtE
tayO: anya: pippalam svAdu atti, anasnan anya: abhichAkaseeti”

This beautiful allegory refers to the human body as the tree and the JeevAtma and Paramatma, who inhabit this shareeram, as the pretty-winged birds perched on the tree. The fruits of the tree represent “Karma phalam” or the results flowing from our accumulated baggage of merits and demerits, which the Jeevatma continues to enjoy or suffer, while the Paramatma, as the antaryAmi, just watches the Jeevatma’s antics, without partaking of and being tainted by the fruits of the former’s action or inaction.

We have seen the immense benefits that fruits, ordinary or otherwise, can confer upon us. However, there are instances of fruits proving fatal. We are told that ParIkshit Maharaja, who was told that he had only seven days to live and would meet his death through a snake, barricaded himself in a specially constructed enclosure with airtight security to prevent access to serpents. The wise King failed to reckon with the long arm of fate, which presented itself in the form of a Brahmin come to bless the monarch, carrying a citrus fruit in his hand as a token of respect. Daksha, the King of Serpents, who had hid himself in the fruit in the form of a tiny worm, came out hissing, at his venomous best, and struck the King dead.

Depiction of nature, in all its enticing beauty, comes automatically to Azhwars, who see the same as yet another manifestation of the Lord’s Creation in all its myriad variety. Here is a sample of the same from the Third TiruvandAdi, in which fruits play an important role–

’PArttha kaduvan sunai neer nizhal kaNdu
PErtthOr kaduvan ena pErndu—kArttha
KaLam kanikku kai neettum VenkatamE- mEl nAL
ViLam kanikku kandru erindAn verppu”

A monkey, looking down into a well and finding its reflection, imagines the same to be another of its species and beseeches the latter to give it the black but delicious kaLA pazham. And where does this happen? At TiruvEnkatam, the abode of the Lord who, in His Krishnavatara, felled two mangoes in one stone, so to say, by dashing an asurA, who had come in the garb of a calf (VatsAsura), against another asura, who had transformed himself into a ViLA tree(KapittAsura). The moment the calf was flung with force at the tree, all the ViLA fruits rained down due the force and the tree itself was totally destroyed, along with the calf.

Azhwars appear to be enamoured of this “fruitful” episode, for it receives their repeated attention and recording—

“kattru kuNilai ViLam kanikku kandru erindAn”,

“kandru kuNilA erindAi kazhal pOttri”

“MElAl ViLavin kAi kandrinAl veezhttavan!”

“tAzhnda viLam kanikku kandrerindu vEttruruvAi”

“kandrinai vAlOlai mAtti manigaL udira erindu”) etc.

It is perhaps to commemorate this event that even today, the offerings to the Lord on the SrI Jayanti day include KaLA pazham, ViLAm pazham etc.

Another instance where the innovative Krishna used fruits as ammunition for destroying an asura is recounted by Sri Tirumazhisai PirAn. DhEnukAsura was one more messenger of death dispatched by Kamsa to eliminate the apple of Yasoda’s eye. The asura came in the form of a mule. Instantly identifying the marauder for what he was, the Lord caught him by his four legs and threw him against a sturdy palm tree ripe with fruit. The asura dashed against the fruits with such force that he was blown to smithereens. Says Sri Tirumazhisai PirAn—

“VAsiyAgi nEsam indri vandu edirnda DhEnukan
nAsamAgi nAL ulappa nanmai sEr panam kanikku
veesi mEl nimirnda tOLin illai AkkinAi kazharkku
AsayAm avarkkalAl amarar Agal AgumE?”

To bring the “fruity” tale to an end, all of us like fruits, but do fruits like us? What a silly question, you might feel. However, fruits do have likes and dislikes. There are instances of fruits appearing suddenly on branches of trees, quite out of season. Even in these days of hybrid crop varieties and genetically treated seeds, it would be difficult to find mangoes on tree branches in November or December. We are told, however, that prompted by the joyous occasion of Sri Rama’s homecoming after fourteen long years of exile in the jungle, fruits appeared on their own on all trees, quite out of season, even on those which had stopped bearing fruit years back—

“Bhoomi: sasyavatI chaiva phalavantascha pAdapA:”

Contrast this with the sudden disappearance of flowers, fruits et al from all trees, when Raghunandana left for his jungle sojourn—

“api vrikshA: parimlAnA: sa pushpAnkura kOrakA:—RAma vyasana karsitA:”

Therefore it appears to be indeed true that the affinity between the Lord and fruits is mutual: He likes them and they too love Him.

Srimate Sri LakshmINrisimha divya paduka sevaka SrivanSatakopa Sri Narayana Yatindra Mahadesikaya nama:

Dasan, sadagopan

What would you say is the least valuable and most insignificant item in the Lord’s Creation? There are supposed to be 8.4 million types of beings in the world, belonging to various species, classes and races. Lower in ranking than the humblest of these are the inanimate objects, due to their not having been blessed with faculties of cognizance or speech and lacking life in general. Even among such non-living things, some items like veins of gold, silver and other minerals and metals command good value and are deemed precious, as are diamonds extracted from their rocky settings. Even if they do not rate such high value, other things too are of great utility to mankind, such as plants and trees, which provide us with precious food, fruits and shelter. Among other types of plants, there are those shrubs which provide us with beautiful, fragrant flowers and those with enchanting leaves and shoots, while yet others have a medicinal value as herbs, used in various potions for curing the sick. However, if you think of it, a single blade of grass appears to be most insignificant and least glamorous item in the entire gamut of God’s creation, looked at from any angle. Grass may be used for landscaping and as fodder for cattle, but notwithstanding these minor applications, it is the oft-used simile, while a worthless being or object is compared. We often hear people complaining that they were treated as little better than blades of grass (“pullukku samAnam”), thus demonstrating the contempt or indifference this item raises in the minds of people. The term “Pulliyar” used to denote people of despicable conduct and character, appears to have had its origins in the lowly status of the “Pull” or grass. However, when we look into the Scripture, it provides us with abundant contexts where the ubiquitous but unassuming blade of grass has figured with distinction.

All of us are aware of the Tamizh saying, “Vallavanukku pullum Ayudham”, describing how even the humblest and most harmless of things like a blade of grass could be turned into a weapon of destruction, in the hands of an accomplished person. Adages such as these, we find, originate from an actual happening, from which the saying gains popular currency. It doesn’t need much research to discover from which particular event this particular saying emanated, for it immediately draws our attention to the KAkAsura episode in Srimad Ramayana, where Sri Rama, enraged at the insufferable insult and physical injury inflicted upon the Divine Mother by the misguided son of Indra, just plucked a nearby blade of grass (dharbham) and flung it at the cursed crow, uttering the BrahmAstra mantra.—

“Sa darbham samstarAt grihya BrAhmENAstrENa yOjayat
Sa tam pradeeptam chikshEpa darbham vAyasam prati”

This simple blade of grass turned into an extremely potent weapon and hounded the KAkAsura wherever he flew, all over the three worlds. The renowned Creator BrahmA, the dreaded Destroyer Rudra and the Chief of Celestials Indra, the father of the crow—none of these worthies could save the fugitive from the pursuing BrahmAstra. After flying in vain several times around the three worlds, the crow fell at the feet of Sri Rama, displaying utter helplessness and remorse—“threen lOkAn samparikramya tamEvam sharanam gata:” and was saved by the KaruNA KAkuttsttha, even though he (the crow) deserved the most stringent of sentences, viz., death—“vadhArham api KAkuttsttha: kripayA paryapAlayat”.

This, then, is what a blade of grass of capable of, when handled by a person of attainment.

And we are told that when the Lord returned to Sri Vaikuntam on completion of His mission as Sri Rama, He afforded emancipation to even the last blade of grass in Ayodhya—“purpA mudalA narpAlukku uyttanan”.

In the TrivikramAvatAra too, the Lord used a Darbham to evict ShukrAchArya, who, assuming the form of an insect, obstructed the passage of water from the vessel of MahAbali, who was about to grant the boon of three feet of land sought by the wily VAmana BrahmachAri.

We might talk lightly of a blade of grass, but can you think of a single vaidika karma, a single solitary ritual or deed, which can be performed without adorning oneself with a “Pavitram” made of kusa grass (Darbham)? Darbham imparts purity to the wearer and makes him eligible for the performance of the Karma. The Shruti tells us that this type of grass is the embodiment of purity and sanctity-

“SAkshAt pavitram darbhA:”. Whether the entities to be propitiated are DEvatAs or one’s forefathers, it is Darbham which is used as a medium for conveying the offerings to them and in which their presence is ensured, with appropriate AvAhana mantrAs. The specific mantra which has to be uttered at the time of plucking Darbha grass for use, glorifies this apparently insignificant object thus—

”VirinchEna sahOtpanna! ParamEshtti nisargaja!
nuda sarvANi pApAni Darbha! SvastikarO bhava”

This grass is so ancient that it was born along with the Creator BrahmA himself and is capable of relieving us of all sins through appropriate prAyaschitta karmAs, says the aforesaid sloka. This grass is so potent, we are told, that VaidikAs used it for sprinkling holy water, accompanied by the chanting of Veda mantrAs, to protect the toddler Sri Krishna from evil influences—

“ViprA: hutvA archayAns chakru: dadhi akshata kusAmbubhi:”

says Srimad Bhagavata Purana.

Shastras enjoin BrahmachAris to wear around their waist a belt made of “Mounji” grass, to act as a protecting and purifying agent.

Srimad Ramayana is a veritable grassy knoll, dotted with accounts of this holy grass Darbham. When Sri Rama decides to propitiate Samudra RAja, He lies down on a bed of Darbham—

“tata: sAgara vElAyAm darbhAn Asteerya RAghava:
anjalim prAngmukha: kritvA pratisisyE mahOdadhim”

Thus these blades of grass were as fortunate as AdisEsha himself, as the Lord used them as His bed. To this day, the place this event was enacted stands glorious testimony to perhaps the one and only Saranagati that the Lord Himself performed, lying down on a bed of grass. TiruppullANai (or TiruppuLLANi as it is known today) or Darbhasayanam boasts of a beautiful temple, where Sri Rama can be seen in a rare reclining posture, sung with verve by Sri Tirumangai Mannan in all of 20 pAsurams, depicting the beauty of “azhagAna PullANi”.

If grass is thus dear to Emperuman, could it be otherwise to PirAtti? We find Sri Janaki too using a blade of grass as a medium through which to communicate with RAvaNa, when he threatens Her with dire consequences if She doesn’t cooperate with his nefarious designs—

“TriNam antarata: kritvA pratyuvAcha suchismitA”.

Rather than communicate directly with the vile asurA, Piraatti plucks a blade of grass, throws it between Herself and Her abductor and addresses only the grass, without looking up at the asurA’s face. By doing this, She signifies several things:

1) It is not the “done thing” for chaste women to even look at other males.

2) RAvaNa was little better than the blade of grass, in view of his absolute lack of righteous thoughts.

3) Being the distinguished daughter of the venerated Rajarshi Janaka, the daughter-in-law of Dasarata of great renown and the beloved wife of Sri Rama of undoubted prowess, it doesn’t behove the lOkamAta to speak directly to such a “neecha” as Ravana: hence She communicates with him indirectly, addressing only the blade of grass.

4) She was conveying indirectly to Ravana that when Rama reached Lanka and by the time He was done with Ravana, the latter would be trampled beneath the former’s foot like an impotent blade of grass.

This sloka is considered so significant by Sri PeriavAcchAn PiLlai that he finds in it and furnishes to us a wealth of purport.

We are told that Sri Ramanuja was so attached to the Lord that he regarded everything else in this mundane world as mere worthless blades of grass—

“YO nityam achyuta padAmbuja yugma rugma
vyAmOhata: tat itarANi triNAya mEnE”.

Of what use is grass to anyone, except as fodder for cattle? Similar was Sri Ramanuja’s disenchantment with worldly relationships and possessions.

If such is the Bhashyakara’s VairAgyam, can Swami Desikan’s be far behind?

The Acharya expresses his resolve not to waste words of praise on mortal kings for material considerations, when he has been blessed with the ultimate wealth represented by the All –powerful Lord, who adorned the chariot of Arjuna. Swami Desikan says he would neither seek nor accept even a worthless blade of grass from such sovereigns—

“TriNam api vayam sAyam samphulla malli matallikA
parimaLa muchA vAchA na yAchAmahE maheesvarAn”

A meadow of fine, green grass is what constitutes the dream of every herbivorous four-legged creature. Cows, calves, deer and other cattle relish a meal of succulent grass and deem it a delicacy. However, if they were to pause in the midst of grazing, abandon their favourite gourmet dish and stand transfixed with even the imbibed, half-chewn grass sliding out of their mouths, the diverting attraction must indeed be of considerable magnetism. This is the effect the sweet and mesmerising strains from Sri Krishna’s flute had on these dumb animals, says Sri Periazhwar—

“Surundu irundu kuzhal tAzhnda mukhattAn
Oodugindra kuzhal Osai vazhiyE
MaruNdu mAn kaNangaL mEygai marandu
mEynda pullum kadai vAi vazhi sOra
irandu pAduntulungA pudai peyarA
ezhudu chittirangaL pOla nindaranavE”

The BhAgavata Purana too describes the same scene thus-

“VrindashO vraja vrishA mriga gAvO vENu vAdya hrita chEtasa ArAt
danta dashta kabalA dhrita karNA nidritA likhita chitram iva Asan”

A blade of grass might be insignificant in several respects: however, when we see the potency and sanctity some of its varieties command, we are forced to revise our unfllattering opinion about grass. So much so that a modern poet seeks a birth as one of the humble blades of grass growing in the meadows of BrindAvanam, so that Sri Krishna’s tiruvadi would sanctify it sometime or the other and, even if this doesn’t happen, it would be trodden on at least by the hooves of cows and calves made holy by their association with the Lord—“oru PullAi piravi tara vENum- punithamAna pala kOti piravi tandAlum, BrindAvanam adil oru pullAi piravi tara vENum” beseeches this poet, placing a birth as a blade of grass much ahead of that as an exalted, erudite and devout paragon of human virtues.

Srimate Sri LakshmINrismha divya paduka sevaka SrivanSatakopa Sri Narayana Yatindra Mahadesikaya nama:

Dasan, sadagopan

When are we the most comfortable—while standing, lying down or sitting down? Standing, as a posture, is one adopted preparatory to some form of energetic activity like walking or running. A reclining posture, on the other hand, is what we adopt prior to giving ourselves up to NidrA dEvi, the goddess of sleep, whose embrace is so tight that we become oblivious to everything else in the world. Thus, while standing up or lying down, we can’t claim ourselves to be consciously comfortable. It is while sitting down, whether on earth or in a chair, that we can claim to be truly comfortable and be aware of it too. Sitting is the posture ideally suited to the pursuit of most of our academic, aesthetic or spiritual activities, be they reading, studying, music or Veda parayanam. It is the PadmAsanam which most of our Maharshis adopted for performing penance, certifying to the efficacy of the seated posture for contemplation of the Divine. Indian cultural mores, laying stress on hospitality, prompt us till date to offer the guest a seat, immediately after he enters our home—we don’t ask him to just stand or to lie down. The seated posture thus appears to be the preferred one for all restful forms of human activity.

The arcchAvatAra is the form taken by the Supreme Lord residing in innumerable temples across the globe, to entice us with His beauty beyond compare, to entrap us with His countless auspicious attributes and ultimately emancipate us through the adoption of an appropriate strategy for liberation, through a merciful Acharya. Of all His forms, this is the most accessible to us mortals, forming the object of even our impaired vision.

We would hence expect the Lord to adopt the sitting posture in these sannidhis, for He has nowhere to rush to. Contrary to our suppositions, we find a major number of His moorties in the temples to be either on His holy feet or supine, apparently in deep slumber. It is only at a few temples that we come across the Lord adopting a seated posture. Does this mean that He prefers only to stand or to lie down, eschewing the sitting posture as far as possible? At the holiest of holies, the BhoolOka Vaikunttam, Srirangam, we find Him lying down, while at the other principal divya desams like Tirumala, KAnchi and YAdavAdri (TirunArAyanapuram), we find Him standing. Does this reveal a marked bias on the part of the Lord against the seated posture?

No, says the DhyAna slOkam to the sacred ashtAkshara Mantra—

“Savyam pAdam prasArya srita durita haram dakshiNam kunchayitvA
jAnunyAdAya savyEtram itara bhujam nAga bhOgE nidhAya”

The Lord may stand or lie down as He pleases on earth, but His permanent posture, the one He adopts eternally in His glorious and natural abode of Sri Vaikunttam, is that of being seated. And the way He sits is also extremely captivating, with His left leg stretched, the right one slightly bent, leaning back regally, with one of His lower hands placed on His beautiful knee and the other on the supple snake bed, with the Divine Discus and the Cosmic Conch adorning His upper arms. As a Sovereign holding court in Paradise with an adulating audience consisting of celestials, the Lord prefers to sit splendorously on His throne of AdisEsha (“irundAl simhAsamAm”).

It is this glorious posture of the Universal Sovereign that comes in for admiration from Sri Nammazhwar—

“Veetrirundu Ezhulagum tanik kOl sella veevil seer
Attral mikku ALum ammAnai”

With all the worlds, galaxies and universes under His undisputed control and command, the Lord reigns as the Magnificent Monarch, seated in splendour on the soft snake bed, all His glory, power and majesty reflected in all their bounty in the regal way He is seated.

As behoves the Supreme Ruler, the Lord is accompanied on His eternal and inimitable seat by His Divine Consorts, says Sri Alavandar—“tayA sahAseenam annta bhOgini”.

If the occasion is one of pomp and splendour and is momentous, the Lord prefers a seated posture, we find. Thus, on the occasion of His coronation as the undisputed monarch of Ayodhya, we find Vasishtta and other worthies requesting Sri Rama to sit on the diamond-studded throne of IkshvAkUs—“RAmam ratna mayE peethE saha Seetam nyavEsayat”.

We are told by Sri Valmiki that the seat was in every way befitting the exalted occupants—made of the purest of gold and studded with unimaginably precious stones of a bewildering variety, with a profusion of them adding brilliance to the glittering regal seat—

“Ratnai: nana vidaischaiva chitritAyAm sushObhanai:
nAnA ratna mayE peethE kalpayitvA yathAvidhi”.

Another occasion on which the Prince of Ayodhya affected a seated posture was when He was about to perform the last rites of the magnificent bird, which gave up its life while battling with Ravana to free Sri Janaki. We can see this till date at Tirupputkuzhi, where the Lord is reported to have afforded MOsham to JatAyu.

We are able to discern a sort of pattern to the Lord’s postures—whenever He is accompanied by His Consorts and whenever the occasion is formal, He prefers to sit, rather than stand, perhaps out of consideration for His MahishIs. We thus find Him sitting splendorously on a magnificent golden throne, under the cool and comforting shade of the PArijAta tree, apparently enjoying Himself in the company of His Consorts Sri RugmiNi and Sri SatyabhAmA, dressed in all His finery and apparently posing for a family snapshot—

“CchAyAyAm PArijAtasya hEma simhAsanOpari
Aseenam ambuda syAmam AyatAksham alankritam
ChandrAnanam chatur bAhum SrivatsAnkita vakshasam
RugmiNI SatyabhAmAbhyAm sahitam Sri Krishnam AshrayE”.

Whatever be the seat and however comfortable it be, we see that children prefer to sit on the laps of their parents—Shri Dhruva is an example. The Lord too, as a toddler, prefers to ride on the hips of Sri Yasoda. We have this on the authority of Sri Periazhwar, the conscientious chronicler of all the Lord’s deeds, who describes the Lord demanding the Moon in the sky, from His perch on Sri Yasoda’s hips—

“Chakkara kaiyan tadam kaNNAl malara vizhittu
okkalai mEl irundu unnayE chutti kAttum kAN”.

And though His mother’s hips are His preferred seat, the mischievous toddler Krishna never sits still, but moves constantly, jumping up and down, causing irritation and pain to His mother—“edutthu koLLil marungai irutthidum”.

Those who offer a seat to the Lord with malicious intent never live to tell the tale. This is demonstrated by PoothanA, KamsA’s messenger of death, who arrives at Nandagopa’s palace disguised as a beautiful damsel. When she seats Sri Krishna on her hips and offers Him a poisonous breast, the Lord sucks out her life along with the milk, making her fall down lifeless, while remaining unharmed Himself.

The huge tirumEni of the PANdava Dootan at Kancheepuram makes us wonder, with other Azhwars, whether the Lord is seated due to the cumulative weariness of measuring all the worlds with His tiruvadi (“andru ivvulagam aLanda asavE kol!”), the fatigue occasioned by constantly standing before Arjuna’s chariot in the Kurukshetra battlefield (“Indiran siruvan tEr mun nindrAn”), the strain of traversing long and unending jungle paths barefoot during the Ramavatara (“nadanda kAlgaL nondavO”) or that of performing the role of a menial messenger, bearing an epistle of peace from Pandavas to the Kauravas.

It goes without saying that the Lord is entitled to the best of AsanAs, which is to be offered to Him with devotion and love. This is the spirit behind the various AsanAs offered to the Lord during our daily worship, TiruvAradhanam. However, what would you call someone who deliberately submits to Him a seat with the malicious intent of causing Him bodily harm, as did Poothana?

Sri MahAbharata narrates the episode of the dastardly DuryOdhana preparing a glittering diamond throne for the Lord in the royal court hall, but placing it on light bamboo sticks, so that the moment someone sat on it, the sticks would give away and plunge the throne, along with its unsuspecting occupant, into a cellar below, where wrestlers with bulging biceps waited to finish off the poor victim. Fully aware of all this, the Lord sat on the throne and when it gave away, He descended into the cellar, and assuming a gigantic form which filled the four directions, made short work of the wrestlers, emerging victorious and unscathed, making DuryOdhana look foolish in the eyes of the astounded and august luminaries adorning the court of HastinApura. This episode is chronicled by Sri Tirumangai Mannan thus—

“aravu neeL kodiyOn avayuL Asanatthai anjidAdE ida, adarkku
periya mA mEni aNdam ooduruva perum disai adangida nimirndOn”

The Lord demonstrates that for penance too, the ideal posture is to sit. This can be found at BadarikAshramam, where He sits in eternal contemplation, apparently fulfilling the criteria He Himself laid down for the performance of Yoga—

“Suchou dEsE prathisthApya stthiram Asanam Atmana:
nAti ucchritam nAti neecham sailAjina kusOttaram”

The seat chosen for Yoga or tapas should be neither too high nor too low, should be stable and comfortable and spread with holy darbha grass or the purifying skin of a deer, and the Asana should be in clean and spiritually uplifting environs, all of which are conducive for contemplation. This is what Sri BadarInArAyana’s posture tells those of us who are inclined towards spiritual sAdhana.

When we come to think of it, one Emperuman who is always to be found in the sitting posture, with rare exceptions, is Sri Nrisimha. We find Him always seated, in the close embrace of His constant Consort. Of the nine Nrisimha moorties at Ahobilam, we find only one (perhaps two) in the standing posture, demonstrating His preference for being seated, this being the position at other sannidhis too, whether it is ChOlasimhapuram, TiruvallikkENi or PAtalAdri (SingapperumAL kOil).

Again, with rare exceptions, we find the Divine Consort too always seated, with Her feet decorously covered by the folds of Her apparel. The Lord may stand or lie down, but His Empress never stands, if She can help it.

And She always prefers soft seats like the lotus (“aravinda nivAsinIm”, “PadmAsinI”) or AdisEsha (“tayA sahAseenam anata bhOgini”).

While mortals like us are able to see Him in all His glory, seated at PAdagam (Pandava dootan sannidhi), the Lord seats Himself resplendently and permanently in the heart of the pious devotee, finding the same to be much more pleasurable than the best of thrones fashioned out of the most precious of gold and gems. Sri Tirumazhisai Piran tells us that once we realise the inalienable relationship subsisting between the Lord and ourselves, Emperuman takes up permanent residence in our hearts, seating Himself comfortably, never to leave—

“nindradu endai ooragatthu, irundadu endai PAdagatthu
andru Vekkanai kidandadu ennilAda munnelAm
andru nAn pirandilEn pirandapin marandilEn
nindradum irundadum kidandadum en nenjuLE”

Whatever glorious seats we may offer Him, the Lord prefers to seat Himself in our lotus hearts, if only we invite Him in. He stands at our doors, constantly knocking, seeking to be let into our homes and hearts. As it is, our heart can at best be a “hot seat”, filled with innumerable impurities like anger, intolerance, hypocrisy and arrogance.

To offer Him a seat in our hearts, we must first make it a place fit for His residence, by making our mind large and receptive, by ridding it of all unholy thoughts and filling it with the fragrance of devotion and piety and fashioning a throne fit for Him out of unalloyed adoration and the purest of love. The Lord has been standing at our heart’s entrance for quite long now, knocking till His knuckles hurt, loathe to giving up despite our unpromising attitudes. Now is the time to let Him into ourselves and seat Him in all the splendour that He deserves. For, more than the soft, snaky bed, more than the holy sannidhis constructed for His residence by Maharshis and Sages, more than any magnificent throne fashioned out of glittering gold and glorious gems, it is our hearts that He prefers for a seat.

When are we going to tell Him, “Please come in and do be seated”?

Srimate Sri LakshmInrisimha divya paduka sevaka SrivanSatakopa Sri Narayana Yatindra Mahadesikaya nama:

Dasan, sadagopan

Those who peruse the matrimonial columns in newspapers and magazines would be familiar with the phrase, “A Suitable Bride wanted”. This is what every eligible bachelor seeks “an ideal soul mate, suited in every way to harmonious matrimony. It is thus every man’s dream (and every woman’s too) to wed his perfect match in physique, temperament and demeanour. How blissful would life be, if one is able to link up with a life partner who is in every way one’s alter ego!

However, this appears to remain a distant dream, as far as most of the couples are concerned. Whoever in heaven fixes up these marriages, doesn’t appear to be very particular about pairing off matching individuals, with the result that discord and disharmony often (and in some cases, permanently) plague marital relationships. Right from trivial matters like difference in tastes (whether in food, dress or reading) to major ones in arriving at decisions in crucial family matters, lead to differences cropping up between couples, with the result that their lives, including those of their children, are affected adversely. While in normal couples such differences are resolved or at least glossed over with mutual give and take and tolerance, in many cases they assume irreconcilable proportions, with disastrous consequences.

The point, therefore, is that it is extremely difficult, if not impossible, to find perfectly matched couples.

The Lord is a model of everything we aspire to be. We look up to Him for inspiration, guidance and advice because He is the Perfect Person, a veritable paragon of virtues, the repository of all auspicious attributes and the antithesis of all that is bad. It is therefore no surprise to us that He is the Perfect Husband too, a partner every woman dreams of landing, but alas! perhaps never does. However, to be fair to the fairer sex, it is to be recorded that Piraatti is in every way eminently suitable to the Lord, whether it be in physical beauty, auspicious attributes or freedom from blemish of any sort.

Acharyas tell us that the Divine Consort is a Perfect Match for the Lord in all respects. Says Sri Ramanuja in the Sharanagati Gadyam, addressing Piraatti–

“Bhagavan Narayana abhimata anuroopa svaroopa roopa guNa vibhava iyshvarya sheelAdi anavadhika asankhyEya kalyANa guNa gaNAm “.

Though it is impossible to catalogue the aspects in which Piratti forms the perfect counterpart for the Lord, it is worthwhile to go into some of them at least.

1.Roopam “In physical beauty, Piraati is in every way the Lord’s equal.

If He is a “PuNdarIka VisAlAksha:” (one with broad, lotus eyes), She too is “VisAlAkshI” and “Mriga sAbAkshI”, and sports broad, beautiful and deer-like eyes.

If He is portrayed to be a “Vidyut Prabha:” (resembling a lightning)

by the DvAdasa nAma Panjaram, She too is adulated by Sri Valmiki as “Vidyut PrabhAm”.

If He is a “PeetAmbara dhara:” (clothed in bright yellow silk), so is She adorned in beautiful yellow silk, with swans drawn on it “peetEna hamsAnkitEna kshoumENa samvritAm “Sri Valmiki.

If He has curly, jet black hair falling on His forehead (“Mai vaNNa narum kunji”, “lalAta paryanta vilambita Alakam” “kupyat chOLee vachana kutilai: kuntalai: slishtta moole”) etc., then so does Piratti sport beautiful, black, long and curly hair “neela kunchita moordhajAm”, “neela nAghAbhayA vENI”, “Vakra kEsAntA”, all of which are from the pen of an admiring Valmiki.

If He is “SAkshAt Manmatha Manmatha: “the sole personification of handsomeness, She too is incredibly and immeasurably beautiful “DEvatAbhi: samA roopE SItA Shreeriva roopiNI”.

If His complexion is that of beaten gold (“ApraNakhAt sarva Eva suvarNa:” says the Upanishad), She too is of the same colour “HiraNyavarNAm HariNIm”, according to the Sri SUktam.

If the Lord’s soundaryam is such as to generate infinitely new varieties of bliss every second, without the experience palling on the viewer despite any length of time (“appouzhudaikku appozhudu en ArAvamudamE “Sri Nammazhwar), so too is Piraatti’s beauty capable of providing the onlooker such varied bliss every second, says Sri Alavanadar:

“sadA anubhootayApi apoorvavat vismayam AdadhAnayA”.

The Lord is a veritable forest of lotuses: His eyes, face, hands, feet all resemble the beautiful flower, says Sri Nammazhwar:

“SentAmarai tadam kaN senkanivAi senkamalam
sentAmarai adikkaL sempon tiruvudambE”.

PirAtti is none the less enamoured with the lotus, being lotus-complexioned, residing in a lotus, lotus-eyed and holding lotuses in her hands “Padma priyE Padmini padma hastE padmAlayE padma dalAyatAkshi”.

If the Lord sports a smiling countenance (“smayamAna mukhAmbuja:”) so does Piraatti-:”ChArusmitE!” says Ravana, addressing Her.

We could perhaps go on endlessly, matching each glorious part of the Lord’s tirumEni with that of His Consort, who matches the specifications down to the minutest detail.

Having found the Divine Duo extremely compatible in physical features, we move on to verify whether the concord extends to their attributes.

From a general viewpoint, the Lord is renowned as “PurushOttama:”, the best among men in all respects. Not to be left behind, Piraatti too elicits the description, “nAreeNAm uttamA vadhoo:” from Valmiki, who claims the Divine Consort to be the most excellent person of the female race.

When it comes to the most important trait (from our view point) of Mercy and compassion, the Lord’s distinction has been elaborately chronicled in DayA Satakam. He is supposedly the sole repository and an ocean of Mercy “karuNA varuNAlayam”. Sri Bhattar says that Sri Mahalakshmi is no less than Her Husband and might have, in fact, surpassed Him in exhibiting this virtue.

The Lord protects people only when they seek His protection and refuge “RakshApEkshAm prateekshatE”. Piraatti, however, extends Her protective umbrella to cover even those who haven’t sought the same and to the contrary, have caused her harm, as in the case of the RAkshasIs of AshOka Vanika and the KAkAsura.

The Lord is the epitome of generosity and gives everything that He has to the seeker “tamadu anaitthum avar tamakku vazhangiyum tAm miga viLangum amaivudaya aruLAlar”. The Divine Mother too is generous to a fault and, even after showering on the devotee all that he can possibly ask for (and even that he can’t even think of seeking) feels ashamed that She hasn’t done anything for the poor child “Tvam lajjasE amba! KOyam udAra bhAva:!” marvels Sri Bhattar at this overwhelming generosity.

If the Lord’s bounty knows no bounds, He being the Ishvara with all the sentient beings and non-sentient objects forming His sole domain, PirAtti too is the possessor of unlimited aishvaryam, says Sri KoorattAzhwan. So much so, says the Acharya, that big or small, any bounty attained by anyone in this world, is the result of a stray glance from the corner of Her broad and benevolent eye. If all the world is His, He is the indisputable overlord of all that moves and doesn’t (“tam IsvaANAm paramam MahEsvaram”), She too is the unparalleled Empress of all worlds “asyEsAnA jagata:”

Granting Liberation is the Lord’s sole prerogative, say the Shastras “MOksham icchEt JanArdanAt”. His Consort too can confer the same, says Sri Bhattar-”aishvaryam akshara gatim paramam padam vA”

If the Lord is infinite, pervading all living beings and non-living things in all the universes, PirAtti too is all-pervasive, Vibhu, says the Vishnu Purana”

“YathA sarvagatO Vishnu: tathA Eva iyam dvijOttama”.

If He is father to the whole world, She is the most Merciful Mother, performing a complementary and supplementary role in the process of raising JeevAtma families “MAtA DEvI tvamasi BhagavAn VAsudEva: pitA mE: says Swami Desikan, addressing these perfect parents. She is the Universal Mother “Samasta lOka JananI”.

Boundless and blemishless wisdom, (“GnAnam”) which is one of the Lord’s principal characteristics is present in Piraatti too in the same measure. And in bestowing the same on devotees too, both the Lord and His Consort are equally capable. If He is a “neri ellAm edutturaittha nirai gnAnatthu oru moorthi”, having enunciated all the guidebooks for good conduct, in the form of Shastras in general and the Gita in particular, She too is responsible for feeding Her infants with the milk of unblemished wisdom “Chaitanya stanya dAyineem”.

One might suppose, albeit mistakenly, that Balam or Strength, being a masculine trait, must be the sole preserve of the Lord. However, the episode about Sri Sita lifting the box containing the Shiva dhanus casually (in the process of retrieving Her ball which had fallen behind the same) makes us believe that Her strength is no less, though She doesn’t chose to display the same.

Power is normally considered to be a masculine preserve. The Lord is reputed to be a ShaktimAn beyond compare, with nothing beyond His achievment. Indeed, He is said to be capable of making even the impossible happen, through His “aghatita ghatana sAmarthyam”. Piraati too would appear to be none the less endowed with this trait. She tells Ravana that She Herself is quite capable of reducing him to a fistful of dust, in a proclamation of Her infinite Shakti.

The Lord is said to be sweet to the onlooker’s eyes, ears, mind and other faculties too. The MadhurAshtakam tells us that everything about the Lord is “madhuram” or sweet. Sri Nammazhwar likens Him to honey, sugar candy, sweet milk etc. “enakku tEnE pale kannalE amudE”. Piratti too is incredibly sweet, as could be learnt from the Lord’s own words, for, if anyone could know, He should “madhurA madhurAlApA”.

If the Lord is a consummate Actor, donning vividly various roles for dushta nigraham and sishta paripAlanam, His Consort too adopts characters eminently suited to and complementing His role, says Swami Desikan in Dasavatara Stotram “Yat dharmai: iha dharmiNI viharatE nAnAkriti: nAyikA”

It is well known as to how the Lord was dismayed, dejected and saddened beyond measure by the parting from Sri Mythily, during Ramavatara, with Sri Valmiki faithfully and elaborately chronicling the depth of emotion Sri Rama exhibited for His Consort. If such was the love lavished by the Lord on Piraatti, could Her attachment for Him be any the less: We thus have Sri Nammazhwar telling us that She is loathe to leaving Him even for a micro-second and, unable to suffer any sort of parting, resides permanently on the Lord’s broad chest “agalakillEn irayum endru alarmEl Mangai urai mArba!”

Thus, in respect of each of the 24 kalyANa guNAs listed by Sri Ramanuja as a sample of divine traits, we can find that Piraatti stands shoulder to shoulder with Emperuman, equal and eminently suitable to Him in every respect. In fact, in every imaginable way, the Lord and His Consort are eminently suited to each other.

Commenting on the matchless match of Sri Rama and Sri Vaidehi, Sri Valmiki says,

“Tulya sheela vayO vrittAm tulya abhijana lakshaNAm
RAghava: arhati VaidEhIm tam cha iyam asitEkshaNA”

It is fine to say that in flawless conduct and exalted birth, Sri Mythily equalled Sri Raghava. However, would it be correct to say that they were of equal age, as it is not the practice for couples of the same age to wed. Further, there is any amount of internal evidence in Srimad Ramayana itself to show that Sri Sita was younger than the Prince of Ayodhya.

Rushing to Sri Valmiki’s defence, Swami Desikan says in his Stotra Bhashyam that the word “tulya” in the aforesaid sloka, with regard to age, should be interpreted with reference to the usual practice of the groom being elder to the bride “atra vayO lakshaNayO: tulya shabda: ouchityapara:–DampatyO: nyoona adhika vayaskatvAt”. What is meant here is that the difference in their ages was neither too small, nor too large, but just right.

However, in digressing about age, I am missing the second half of the sloka, which really carries the punch line: viz., Sri Raghava deserved Sri Mythily in every way and so did She deserve Chakravartthi Tirumagan. They were indeed a pair so obviously Made for Each Other, where none else would have suited the Glorious Groom or the Blemishless Bride, but each other.

This Matchless Match has been the subject of comment by any number of worthies, be they Azhwars or Acharyas. We thus see Sri Nammazhwar telling the Lord that His Consort is in every way the most suitable for Him:

“unakku Erkkum kOla malar PAvai”. That this pasuram occurs in the very last decad of Tiruvaimozhi indicates this conclusion being indeed the considered opinion of the Azhwar, after adequate analysis and contemplation.

And when Sri Bhashyakara tells us that Piraatti is THE suitable bride for the Lord in all aspect, he only conveys the opinion of his master, Sri Alavandar, who too comments with wonder on the rare perfection of the divine match:

“SadA tavaivOchitayA tava ShriyA”
“Ahu: svai: anuroopa roopa vibhavai: gAdOpagoodAni tE”

It is perhaps to remind us of this impeccable and ideal match and to showcase the same as the ideal for every mortal pair to strive for, that till date, our marriages are conducted mostly as a re-enactment of the divine wedding, with the groom regarded verily as Mahavishnu and the bride attired with an “ANdAL kondai”, with the recitation of “VAraNamAyiram” etc. to signify the fruition of the bride’s dream of attaining a perfect match. With our penchant for copying others conduct, (mostly the unsavoury aspects thereof) if only we import into our marriage even an infinitesimal aspect of the impeccable match between the Lord and His Consort, marital discord would be banished from the earth, marriage counsellors would be out of jobs and the word “Divorce” would lose its place in the lexicon.

Srimate Sri LakshmINrsimha divya paduka sevaka SrivanSatakopa Sri Narayana Yatindra Mahadesikaya nama:

Dasan, sadagopan

Weapons are usually ugly, literally and figuratively. No one calls a machine gun beautiful, or a grenade, much less an armoured tank (except perhaps a terrorist). They have absolutely no redeeming feature to them, being meant solely for mass destruction, meant only to cause sadness and sorrow and to take away that precious thing which most of us take for granted—Life. We thus find that anything that deals out death and destruction and little else, can never be beautiful in any sense.

Hence if I say that weapons also double as adornments, people would definitely look at me strangely and would probably construe that I am referring to terrorists, who constantly tote guns and grenades, considering them to be adornments to their person. Though none would believe it, it is the Lord I refer to, who is always armed to His teeth, ready to rush to the rescue of a devotee in distress—“sadA panchAyudhee bibhrat sa na: SrIranga nAyaka:” It is a well-chronicled fact that the Lord totes several weapons in His hands and whenever we picturise Him in our mind’s eye, it is as accompanied by these weapons.

One important difference between the Lord’s weapons and others’ is that the former are used for both protecting and preserving devotees on the one hand and for destroying their detractors. Unlike weapons of human creation, which are meant solely to cause damage and devastation, the Lord’s arsenal is for a dual purpose, as indicated. Hence it is no wonder that the divine armoury is extremely beautiful and enticing to look at, serving at once as lethal weapons and luminous adornments to the Lord’s arms.

All are agreed that the Lord’s principal weapons are five—The Shankham, The Chakram, The GadA (Mace), asi (Sword) and the ShArngam (Bow). Of these five, it is the Chakram or Sudarsanam, which commands primacy and is known as the King of Weapons—“HEti RAja”. As such, SudarsanAzhwan has a lot of stotrams composed on him—the SudarsanAshtakam, the HEti RAja stavam, the Sudarsana Satakam (poorva and uttara satakams, comprising two hundred slokas in all) etc. to name a few. At several divyadesams, separate sannidhis have been allotted to ChakrattAzhwar and devotees delight in circumambulation in his shrine, as could be seen at Srirangam and other places.

However, there is another worthy, who is no less magnificent, no less Sudarsanam (good-looking), no less potent and no less dear to the Lord, who does not attract as much attention and adulation as the Chakram, but is all the same a strong, silent performer worthy of all our admiration. Whenever there is an enumeration of the Lord’s weapons, it is his name that is mentioned ahead of others’, indicating his primacy in the divine scheme of things. You may refer to not one but any number of instances, where the Lord’s weapons find mention—in all of them, the Shankham is always mentioned first, followed by the other AyudhAs. Look at the following for example—

“Shankha chakra gadA pANe! DvArakA nilaya! Achyuta!” (Draupati’s appeal while being disrobed in the Kaurava darbAr)

“Tamasa: paramaO dhAtA Shankha chakra gadAdhara:” (Mandodari’s tribute to Sri Raghava, in Srimad Ramayanam)

“Shankha chakra gadA asi ShArngAdi asankhEya divyAyudha! (Sri Ramanuja in Gadyam)

“Sangennum chakkaram ennum tuzhAi ennum—igganE sollum”
“SanginOdum nEmiyOdum tAmarai kaNgalOdum”
“Sangu vil vAL tandu chakkara kaiyyarkku”
“VeLlai suri SangOdu Azhi Endi tAmarai KaNnan”
“Sangodu chakkaram kaNdu ugandadum tAmarai kaNgalukku attru teerndadum”

(Sri Nammazhwar)

All these denote in no uncertain terms the primacy the Shankham enjoys, among the Lord’s weapons. What could be the reason behind this phenomenon of the Shankham being accorded pride of place, despite the Chakram being obviously more popular and enjoying greater visibility?

The answer to this puzzle lies in the NAcchiyAr Tirumozhi of Sri Andal.

Perhaps to compensate in advance for the lack of adequate mention by PoorvAcharyas, Sri Andal devotes all of ten pasurams for the adulation of Sri PAnchajanyam, the glorious shankham adorning the Lord’s left hand.

ChakrattAzhvan might be the much- adulated arsenal of the Lord, but it is the Lord’s Shankham that gets to taste the incredibly sweet lips and mouth of Emperuman. It is therefore to the Shankham we must turn, as Sri Andal does, if we want to get a true picture of how tasty the Lord’s lips are. For, when the Lord blows the Conch, His coral lips and fragrant mouth come into close contact with the Shankham, affording it a delectable taste, which is normally the exclusive preserve of the Divine Consorts.

“Is the Lord’s mouth fragrant as scented camphor? Or is it the type of fragrance exuded by the lovely lotus?” Sri Andal seeks confidential information (which is known only to Sri Devi and Sri Bhoodevi) from Sri PAnchajanyAzhwan—

“Karuppooram nArumO kamala poo nArumO
TiruppavaLa sevvai tAn tittitirukkumO?”
Maruppositta MAdhavan tan vAi suvayum nAttramum
Virupputtru kEtkindrEn sol Azhi veN SangE!”

Since this is a divine secret, Sri Andal places Sri Panchajanyam in the position of an Acharya and seeks upadEsam on the taste and fragrance of the Lord’s lips, says Sri Azhagia MaNavALa PerumAL nAyAnAr—

“Karuppooram nArumO! Kamala poo nArumO!….endru dEsikarai kEtkum padiyAna soundarya sArasyam uLLitta bhOgyataiyai udayOmum nAm allOmO endrA pOlE”

We are able to glean quite a lot of information about the Shankham, from these ten pasurams of Sri Kodai Nacchiar. For instance, we get to know that the Shankham, though originally from the unfathomable depths of the ocean, grew up in the body of an asurA known as “Panchajanan”, from which it attained the name “PAnchajanyam”. It is pure white in colour, symbolising the epitome of Sattva guNam, of unalloyed goodness.

Sri Andal’s descriptions of the PAnchajanyam are indeed glorious and graphic. The Lord looks like a huge mountain—“Pacchai mA malai pOl mEni”. On this mountain, the pale wintry moon, the “Sharat Chandran” rises slowly and beautifully. This is what the Shankham, with its pearly white complexion, looks like, sitting on the Lord’s left arm, resembling the glorious Moon in colour, in affording immediate bliss at sight, etc.—

“Tada varayin meedE sharat kAla Chandiran
idaiyuvAvil vandu ezhundAl pOl”

The Shankham’s resemblance to the Moon is emphasized in the next pasuram—

“Chandira mandilam pOl DAmOdaran kaiyil
antaram ondru indri Eri”.

We are told by the PanchAyudha Stotram that the PAnchajanyam resembles not one, but millions of Moons shining simultaneously—

“Tam PAnchajanyam sashi kOti shubhram Shankham sadAham sharaNam prapdyE”

Sri Andal speaks with envy about the several distinctions the Shankham has managed to garner.

If we need some favour from the Lord, it is to the Shankham that we have to apply and not to any other acolyte, for, the PAnchajanyam “has the Lord’s ears”, so to say, nestling close to His left ear, as it does. From its vantage position, it looks as if the Shankham is forever whispering secrets and sweet nothings into Emperuman’s ears, unbeknownst to others and also putting in a word on behalf of devotees who need the Lord’s favours—

“avan seviyil mandiram koLvAyE pOlum valam puriyE!”

We know how difficult and strenuous it is to visit holy places, for having a spiritually cleansing dip in the various puNya teertthams. Whether it be the Ganga or the Yamuna, they lie at a great distance, involving a lot of time, expenditure and physical strain to bathe in them. With absolutely no effort on its part, the Shankham is able to bathe daily in the holiest of waters, holier than any of those known to mankind, viz., the sweet juices from the Lord’s mouth—“SeNkaN Mal tannudaya vAi teerttham pAyndu Ada vallAi ValampuriyE!”.

Swami Desikan confirms this in Sri Devanayaka Panchasat—“VamsEna Shankha patinA cha nishEvitam tE bimbAdharam”

Food and Shelter form the essential requisites for any person. Some can eat just porridge “Kanji”), while some are able to do justice to a sumptuous meal. While some reside in humble huts, some are fortunate to have palaces for their stay. However, more fortunate than any one, as far as food and shelter are concerned, is the PAnchajanyam, which has the sweet juices of the Lord’s mouth for its staple food and sleeps comfortably in the most exalted of shelters, viz., the Lord’s lotus-like, soft and supple palm. Can the glory of the Shankham be measured at all, asks Sri Andal—“Indiranum unnOdu selvatthukku ElAnE”, “ShankarayA! Un selvam sAla azhagiyadE”.

By monopolising access to the Lord’s fragrant lips and mouth, the Shankham generates immense envy in the minds of the fairer sex, who too would like their share of the treasure. The Shankham’s incalculable good fortune, in having for its constant consumption liquids sweeter than nectar and holier than the holiest of sacred waters, make the 16000 and odd Consorts of the Lord green with envy and livid with fury, says Sri Andal—

“peN padayAr un mEl perum poosal chAttrugindrAr”

“PadinAram ayiravar dEvimAr pArtthiruppa
madhu vAyil kondAl pOl Madhavan tan vAyamudam
poduvAga uNbadanai pukku nee undakkAl
chidayAro! UnnOdu sol Azhi VeNsangE!”

The Shankham is not only the symbol of Shuddha Sattvam, it is also the embodiment of immeasurable wisdom. It was through a mere touch of the Shankham that the infant Dhruva, bewildered beyond measure by the sudden appearance of the Lord before his eyes and unable to find the right words to praise the Lord, was afforded eternal wisdom, which made him burst into verses filled with devotion and erudition—

“Shankha prAntEna Govinda: tam pasparsha kritAnjalim
utAnapAdam anagham dvija varya! Jagatpati:” (Sri Vishnupuranam)

However, a major doubt assails us—we have been speaking of the Shankham as an “Ayudham”, a weapon, and all that we have seen so far indicates only a docile disposition. Is the Shankham really effective as a weapon and if so, how can it cause harm to the Lord’s opponents, not being endowed with a “cutting edge”, like other weapons of distinction like the Chakram and the Sword? Nor can the PAnchajanyam be used as a “blunt instrument” to cause damage, like the Mace KoumOdaki!

The Shankham is by far superior to the other components of the Lord’s arsenal, endowed with the power of making foes drop dead due to sheer fear, shock and trauma, occasioned by its benumbing boom—

“VishnO: mukhOttAnila pooritasya yasya dhvani: danava darpa hantA
tam PAnchajanyam sashi kOti shubhram Shankham sadAham sharaNam prapadyE”.

The Shankham does a clean job, with its victims just dropping dead, unlike the gory and bloody deaths caused by its peers like the Chakram and the Sword. As proof of the PAnchajanyam’s potency, we find that the moment Sri Krishna and Arjuna blew their conches in the battle field of Kurukshetra, the Kaurava army practically dropped dead with fear and shock, making Arjuna’s job of disposing them off much easier than it would have been otherwise. The following Gita slokas attest to this—

“MAdhava: PANdavaschaiva divyou Shankhou pradadhmatu:
PAnchajanyam HrisheekEsa: DEvadattam Dhananjaya:

“sa ghOshO DhArtarAshtrANAm hridayAni vyadArayat”

Expanding on these beautiful verses, Sri Ramanuja says that victory for the Pandavas was a foregone conclusion, once the deafening and terrifying boom of these Shankhas tore through the hearts of the Kauravas—

“SarvEsvarEsvara: ParthasArathI rathIcha PANdu tanaya: trailOkya vijayOpakaraNa bhootE mahati syandanE stitthou trailOkyam kampayantou, Sreemat Panchajanya DEvadattou divyou shankhou pradadhmatu:”. The words “TrailOkyam kampayantou” appear to be a verbatim translation of the Tiruppavai lines, “GyAlatthai ellAm nadunga muralvana”, testifying to the deep roots that this prabandam had taken in the mind of the Tiruppavai Jeer.

Sri Periyazhwar performs mangalAsasanam to this Shankham, which boomed terrifyingly, reducing opposing armies to mere jelly—

“padai pOr pukku muzhangum ap Panchajanyamum pallANdE!”

The normal position of the Shankham is on the left hand of the Lord—“kooonEru sangam idatthAn”. Lest we get the wrong idea that the Shankham’s principal role is destructive, to assure us that it indeed has a supportive, protective and preservative role too, the Lord sports the same in His right hand, at Tirukkovilur, says Swami Desikan in Sri DEhalIsa Stuti—

“Chakrasya daitya danujAdishu vAma bhAvam
Shankhasya cha Ashrita janEshu dakshinatvam
Vyaktam pradarsayasi GOpapurAdhirAja!
Vyatyasya noonam anayO: kara samprayOgam”.

The strains from the Shankham, while being unbearably terrifying to opponents’ ears, are indeed sweet music to those of devotees. We hence see Sri Kodai Naachiar wishing the Shankha nAdam to be part of the marriage festivities, at Her divine wedding with the Lord-

“mattaLam kotta, vari sangam nindru ooda”

Have you seen the Lord holding only the Shankham? You would be prompted to reply even without thinking that it could not be so, for the Lord is always seen at all divya desams sporting both the Divine Discus and the Cosmic Conch. However, just to prove you wrong, the Lord does hold only the PAnchajanyam, at TiruvallikkENi, in His bewitching role as PArthasArathy, adhering to His promise that He would not touch a weapon during the Kurukshetra war. However, little did the ignorant DuryOdhana know that the innocent-looking Shankham could be as potent a weapon as the dreaded ChakrAyudham.

Compared to the burning and brilliant SudarsanAzhwar (“anal Azhi”), true to its origins,(the ocean), the Shankham is cool and comforting, and shares its birthplace with Sri Mahalakshmi, a distinction unavailable to the other AyudhAs. And being dear to the Divine Consort, the PAnchajanyam automatically occupies the pride of place in the Divine Household, enjoying the dual advantage of privity to both the Lord and His Consort.

To cut a long story short, the Shankham is the “coolest” of the Lord’s weapons, incorporating the dual-purpose technology of protectiveness and pleasurable ness to devotees and striking terror in the hearts of others. It has not only the Lord’s ear, but His mouth too, and, due to its vantage position, is the object of not only “Neighbour’s envy” (of Sudarsanam) but also that of the Divine Consorts.

Srimate SriLakshmINrisimha divya paduka sevaka SrivanSatakopa Sri Narayana Yatindra Mahadesikaya nama:

dasan, sadagopan