Srivaishnava Network

If the crowds milling about at the major jewellery shops are any indication, then the Indian Government’s election-eve claim of “India is Shining” would appear to be true (if one were to studiously ignore the wide-spread unemployment, still-prevalent squalor, abject poverty and absence of social security that haunt the rural masses). Be that as it may, jewellery seems to have an undying popularity, not only among women, but men too. From time immemorial, we have seen womenfolk adorn themselves with ornaments of a wide variety—bangles, chains, necklaces, bracelets, ear and nose rings, “OddyANam”s worn around the midriff, anklets and so on.

When we consider the matter, the need to deck oneself up appears to be as fundamental as the ones for food, clothing and shelter. While the rich and so-called upper middle class wear ornaments of gold, we find the economically less-fortunate resorting to imitation jewellery, to enhance their looks. It is thus evident that the practice of adorning oneself cuts across economic, social and religious barriers. We find too that this is true not only of current times, but also of eras long past. No picture of an ancient king or a queen is complete without a plethora of ornaments on his or her person.

Taking this a bit further, we also find, from currently available pictures and images of the Lord, that He too is partial to jewellery. The arcchA moorthies of the Lord we find at various temples are not only adorned with various types of ornaments, but in the image itself, we find jewellery carved at appropriate places. All this is evidence that, contrary to the argument advanced by some, it is not we who have thrust our own mores on the Lord too. In fact, it is the Lord’s own habits and predilections that we too follow (alas! only when it suits us). Thus, in enhancing our looks with ornaments of various kinds, we are but following in the footsteps of Emperuman, who is perhaps the universe’s first user of gems and jewellery.

Any number of quotes could be adduced from the Scripture, to support the aforesaid statement about the Paramapurusha wearing ornaments. In fact, Sri Ramanuja furnishes a long catalogue of the adornments on the Divine Person, in his Sharanagati Gadyam—

“KirIta, Makuta, ChoodAvatamsa, Makara Kundala, GraivEyaka, hAra, kEyoora, Kataka, Srivatsa, Koustubha, MuktA Dama, udara bandhana, PeetAmbara, KAnchI guNa noopurAdi aparimita divya bhooshaNa!”

While adducing a list of ornaments worn by the Lord, Sri Ramanuja says he is just giving us a sample and the actual number of adornments is countless—“aparimitam”.

From the Gadya citation, we find that the divine ornaments adorning the tirumEni of the Paramapurusha, have a few unique characteristics of their own. We have already seen that innumerability is one of them. Following are some of the others-

1.“Ouchityam” or Suitability—The jewels that the Lord wears are eminently suitable to adorn Him. They are quite in tune not only with His magnificent physical characteristics like incomparable and incredible beauty, brilliance, magnificence, etc., but also His unique traits like Paratvam, Saulabhyam, etc. If we take His headgear for instance, it is a prima facie indicator of His Paratvam, its length and radiance telling us at once, “Here is the Master of all the Worlds”.

2.“Vaividhyam” or Variety—The jewels adorning the Paramapurusha’s tirumEni are of an infinite variety, according to the part of the divine torso they belong to. Even within the same class of ornaments, there is a bewildering variety. Women would be aware, for instance, that while a chain is just a chain for men, there are any number of intricate varieties in the same, like the “MAngA MAlai”, “KAnchikAmaNI”, “Rettai vadam chain”, “GOdumai (wheat) chain” etc. All these wide varieties of ornaments, with all the variants there are of them, adorn the Lord’s tirumEni, making Him a walking exposition of fashion jewellery.

3.“Vaichitriyam”—The ornaments adorning the tirumEni of the Paramapurusha are varied not only in kind, but also in composition, some being fashioned out of pure gold, some of gems and precious stones, yet others of pearls, corals, and so on.

4.“AnantAscharyam”—they generate a feeling of bewilderment, of inability to comprehensively take in the beauty and brilliance of each of their number.

5.“Nityatvam”—These ornaments are as eternal and everlasting as their wearer, not being prone to destruction and re-creation.

6.“niravadyatvam”—Unlike jewellery worn by human beings, which is subject to loss of weight, shine and purity over a period of time, the Lord’s ornaments are ever pure, ever radiant and ever at their best in adorning the Lord.

7.“niratisaya sugandhatvam”—These jewels are unimaginably fragrant too. We find in the world that a rose made of gold naturally lacks fragrance. Unlike their counterparts of the material world, the divine adornments are extremely sweet-smelling. They are so scented as to afford pleasure to even the Lord, who is the repository of all fragrance—“Ya: Sarvagandha:”

8.“niratisaya sukha sparsatvam”—Normally all ornaments, since they are made of metal, are hard on the skin. We thus find bangles or chains leaving their imprint on the soft skin of the wearer. We have also come across several cases of nose and ear- rings causing sores. The divine adornments, on the other hand, are extremely soft and yielding, and cause absolutely no strain to the Paramatma’s baby-skin—on the contrary, they afford comfort and ease, apart from being good-looking.

9.“Niratisaya oujjvalyam”—The brilliance and splendour of these ornaments make them resemble a hundred Suns, with the important exception that while the Sun’s lustre is lost when he sets, these adornments continue to be luminous forever.

10.”aparimitatvam”—The adornments to the divine torso are indeed countless. While using this adjective, Sri Ramanuja has in mind Sri Nammazhwar’s words, “eNNil palkalan” and “pala palavE AbharaNam” etc.

11.”Divyatvam”—These ornaments are made of entirely different quality of material, fashioned out of Suddha Sattva, and are as different from their mundane counterparts, as I am, from Sri Satakopa Muni.

Having seen a sample of the traits of the divine ornaments, we shall now catalogue a cross section of them, following the footsteps of Sri Bhashyakara. It is indeed a tribute to the Sage that he has been able to describe these adornments on the Paramapurusha’s tirumEni, as a result of his constant contemplation of the same and of a realisation as good as seeing the Lord in person—“darsana samAnAkAram”. Here are the various items of jewellery which Sri Ramanuja sees the Lord wearing on His magnificent person—

1. “KiriItam”—The Lord wears a tall and gem-studded headgear, which is an instant indication of His overlordship of the universe—“SarvAdhipatya soochanArttham” says Swami Desikan. Here is a beautiful sloka from the Devanayaka Panchasat, telling us that the Lord’s KirItam is an instant identification of the Parabrahmam, the Lord and Master of all beings, whether they be mortals or celestials, and that its brilliance and splendour drives away the gloom of ignorance from our souls—

“VisvEsvaratvam iha darsayitum kshamastE
nAtha! tvayApi shirasA vidhrita: KirIta:
Ekeekrita dyumaNi bimba sahasra deepti:
Nirmoolayan manasi mE nibidam tamisram”

2. “Makutam”—This refers to the top portion of the KirItam, the “Crowning Glory”, so to say—“KirItAgra avayavO nAyakAdhAra:”, according Sri Sudarasana SUri. According to the Shilpa ShAstram, types of Makutam are different, depending upon the wearer, says Swami Desikan.

3. “ChoodA” is the pendant worn on the scalp. Readers would be familiar with “ChoodAmaNi pradAnam” in Srimad Ramayanam, where Tiruvadi obtained from Piratti this ornament and handed it over to Sri Rama, as a token of having met Sri Janaki.

4. “avatamsam”—refers to the ornamental adornment to the ears, worn over the ears, as distinct from the ear rings, which are worn through a hole pierced in the lower ear-lobe.

5. “Makara Kundalam” represents ear- rings shaped like an alligator, adding additional seemliness to the already beautiful ears. Sri Valmiki tells us that there was none in Ayodhya who was not adorned with these Kundalams—“na akundalI na amakutee”. These crocodile-shaped ornaments are what give the Emperuman at a nava Tirupati divyadesam, the sobriquet “Makara nedum kuzhai kAdar”. Sri Nammazhwar finds Tirukkurungudi Nambi resplendent with this adornment—“minnu noolum kundalamum mArvil tiru maruvum”

6. “GraivEyakam”—is the necklace worn around the beautiful mid portion between the face and the chest.

7. “HAram” is what is worn on the chest, around the neck. This chain or garland of gold is extremely lengthy, necessitating its having to be worn in two strands, it would appear from Sri PeyAzhwar’s words, “Peiya varai mArbil pErAram pooNdu”. And it is this ornament that captivates Sri Tiruppanazwar—“Tiru Ara mArbadandrO adiyEnai AtkoNdadE”. It is perhaps with prior knowledge of Emperuman’s liking for such “HArams” that Indra makes a present of a beautiful and brilliant golden chain to Sri Rama, as a tribute on His Coronation—

“MAlAm jvalantIm vapushA kAnchanIm shata pushkarAm
Raghavaya dadou VAyu: VAsavEna prachOdita:”

More than any garland made of precious metals, the Lord likes to adorn Himself with one made of multi-coloured flowers, fresh from the jungle, known as the VanamAla, also known as “VaijayantI”. Sri Krishna never used to forsake this VanamAla and wore it with élan, says Swami Desikan—“VaijayantI vibhooshaNam”. This VanamAla is colourful, fragrant and has an inalienable association with other adornments to the Lord’s chest like Sri Mahalakshmi and the Koustubha MaNi and is as splendorous and magnificent as the Lord HImself—this is what we learn from the following Devanatha Panchasat sloka—

“VarNa kramENa VibudhEsa! VichitritAngI
smEra prasoona subhagA VanamAlikEyam
hridyA sugandhi: ajahat KamalA MaNIndrA
nityA tava sphurati moortiriva dviteeyA”

8. “KEyooram” is what is worn around the shoulders or biceps, perhaps the equivalent of the present (or is it the past) day “Vanki”.

9. “Katakam”s are special bangles, suited to males, worn on the wrists.

10. “Sri Vatsam” is a “Maru” on the Lord’s chest. Unlike the other ornaments which can be separated from the divine tirumEni, this Maru forms part of Emperuman’s torso, giving the Lord the unique sobriquet, “Sri Vatsa Chihna:”

11. “Koustubham” is a brilliant gem adorning the Lord’s chest, signifying the Jeevatmas. Describing the closeness the Jeeva enjoys to Emperuman, Swami Desikan describes him as “Koustubha stthAnIyanAi koNdu”. We become “krita krityAs”, achieving the very objective of our existence, by merely contemplating the Lord’s broad chest, as adorned by the Koustubham, VanamAla, Srivatsam and Sri Mahalakshmi, says the Devanayaka Panchasat sloka which follows—

“durdAnta daitya visikha kshatta bhangam
Veerasya Vibudha nAyaka! BAhu madhyam
SrIVatsa Koustubha RamA VanamAlikAngam
ChintAnubhooya labhatE charita artthatAm na:”

12.”MuktA dAmam”—These are strings of pearls worn around the Lord’s neck and chest, in single, double and triple strands.

13.”udara bandhanam”—is worn by the Lord around His ample midriff, the stomach which is the refuge of all the worlds during the cosmic deluge. This particular adornment is so beautiful as to steal a permanent place in Sri Tiruppanazhwar’s mind—“tiru udara bandham en uLLatthul nindrulAgindradE”. Perhaps this refers to the ordinary rope Sri Yasoda used to tie-up the Parabrahmam, and which the Lord accepted with so much affection and which gave Him the indelible name “DAmOdaran”.

14. PeetAmbaram”—Though rightly to be counted under the category of apparel, this cloth made of yellow silk so suits Emperuman with His black complexion, that the Lord simply dazzles with the PeetAmbaram around His midriff—“PeetAmbara susObhitam” says Sri Krishnashtakam. This is described by Sri Nammazhwar as “PAngu tondrum pattu”. A variant of this is the red silk, of which Sri PAN PerumaL is enamoured—“arai sivanda Adayiyn mEl chendradAm en sindayE”

15.”KAnchI guNa”—refers to the almost invisible golden thread holding the PeetAmbaram in place. The Lord’s tirumEni is extremely soft and so is the yellow silk, necessitating its being held in place by the KAnchI.

16. “Noopuram” is the “silambu” worn around the fingers of the Lord’s tiruvadi. Of all the ornaments, this is the most enjoyable for Prapannas like us, as it adorns the part of the Lord’s tirumEni we revere the most.

Sri Ramanuja, after cataloguing the aforesaid 16 items, adds an “etc.”, to indicate that the list is not exhaustive and that only the principal ornaments have been covered. Some of these left out items of jewellery would appear to be the following, gleaned from the sree sooktis of other Acharyas and Azhwars—

1. “angulIyakam” or the Ring—worn on the Lord’s finger. We come to know of this from the Srimad Ramayana episode where Sri Rama sends the “KaNayAzhi” to Sri Janaki, through Siriya Tiruvadi, to serve as identification. “angulIyaka pradAnam” thus occupies an important turning point in Srimad Ramayana, with Tiruvadi succeeding in imparting to the despairing VaidEhi, the assurance of imminent rescue by Sri Raghava.

2.”YagyOpavItam” or the sacred thread, which adorns the Lord’s broad and dark chest, like a streak of lightning in a cloudy sky. “PudayAr pon noolinan” says Sri Nammazhwar, highlighting the beauty of this particular adornment.

3. All the weapons of the Lord,(the principal of which are Sudarsanam the Discus, PAnchajanyam the Conch, KoumOdakI the Mace, “nAndakam” the Sword and the bow “ShArngam”) also double as glorious adornments to the Lord. The brilliant Chakram and the beautiful white Shankham, everyone would agree, serve as much as deadly weapons in dealing with the dastardly, as magnificent ornaments providing splendorous sidelights on either side of the Lord.

4. Last, but definitely not the least important of the Lord’s adornments, in fact the most distinguished of them, is Sri Mahalakshmi, who resides permanently on His chest, enhancing His radiance and magnificence manifold—“Vaksha: peeteem Madhu vijayinO bhooshayanteem sva kAntyA”

5.”Kazhal” or anklet, is worn by the Lord around His ankles. We find evidence of this ornament in Sri Nammazhwar’s pasurams, “kOlamAm en chennikku un kamalam anna kurai kazhalE”, “andru tEr kadaviya PerumAn kanai kazhal kANbadu endru kol kaNgaLE” etc.

6. “angi” or a gem or pearl-studded coat, as is worn by Sri Ranganatha on the Vaikuntta EkAdasi day, known variously as “Mutthangi”, “VajrAngi” etc. It is such an angi made of precious stones, a “RatnAngi” that Sri DeivanAyakan of Tiruvaheendrapuram wishes to wear and for which strenuous efforts are under way by eminent bhAgavatAs, which deserve all our material and moral support.

An important difference between our wearing ornaments and the Lord doing so, is that while in our case it is we who derive the benefit of the adornments, through enhanced looks, etc., in the Lord’s case, it is the ornaments who attain brilliance and magnificence through association with the Lord’s tirumEni, says Swami Desikan—“Bhoosha Ayudhai: adhigatam nija kAnti hEtO:”

To conclude, the number, variety and magnificence of the Lord’s adornments is indeed beyond description or even contemplation. However, be they ever so splendorous, the Lord likes these ornaments much less than certain others, which we can offer Him. More than garlands of gold, more than a gem-studded and glittering Crown, more than a hundred ornaments of unimaginable value, what the Lord values more is a single gesture of “anjali” or surrender, on our part. What He likes more than a whole lot of adornments is the offering of palms joined in supplication, shaped like a lotus, the gesture of Sharanagati. This is the conclusion of Sri Nammazhwar, the forerunner of Surrendered Souls (“Prapanna Jana Kootasttha:”)—“DesamAna aNikalanum en kai kooppu seigayE”. Which is the golden crown He wears with pride? Nothing other than our unalloyed devotion and love untinged with expectation, says the Azhwar, adding that this affection of ours is so pleasing to Emperuman that He wears it on His tirumeni as the most precious of ornaments and the most magnificent of silken apparel too—

“kaNNi enadu uyir kAdal kanaka sOthi mudi mudalA
eNNil pal kalangaLum Elum Adayum akhdE”.

He likes most garlands of verses of praise which don’t wilt, which He also considers better than a PeetAmbaram—“ennudaya vAsakam sei mAlayE, vAn pattAdayum akhdE”.

It may or may not be possible for us to submit to the Lord ornaments of gold, silver, gems and other precious stones, in tune with His splendour and magnificence—however, it is definitely well within our capabilities to offer Him the adornments which are the dearest to Him, viz., our “anjali”—our palms folded in devotion, our love and affection in abundant measure and our unstinted words of abundant praise.

Srimate Sri LakshmINrisimha divya paduka sevaka SrivanSatakopa Sri Vedanta Desika Yatindra Mahadesikaya nama:

Dasan, sadagopan

“Time and Tide wait for no man” says the adage. Time moves on inexorably, whether or not we wish it to. No one, however powerful, can make a second stand still, nor can he make it move faster. When we are engaged in an extremely absorbing endeavour, we find that Time just flies. On the other hand, when we are imapatiently awaiting the outcome of some event or the other, the very same Time appears to crawl. For young lovers engaged in exchanging sweet nothings, the passage of Time appears extremely rapid and an hour spent in each other’s company passes like mere minutes. On the other hand, to the anxious husband pacing restlessly outside the delivery ward at the hospital, awaiting news of his first progeny, the hands of the clock seem stuck and unmoving. Thus, the pace of passage of Time may appear fast or slow, depending upon our perception: however, Time neither flies nor crawls—it moves at its own unvarying, sedate and uniform speed.

Most of us have regular occupations, which account for the major portion of our waking hours. And to fill the hours of leisure, we have varied ways. Some spend all their spare time in front of the Television, as “Couch Potatoes”. Some others, being votaries of physical fitness, spend their leisure at Gyms, toning up their bodies and building their biceps. Yet others, interested in the fine arts, patronise music concerts and art galleries, deriving a lot of pleasure from these aesthetic pursuits. Cinemas too attract their share of votaries, who forget themselves once they enter the theatre and the lights go off. Gambling in its various forms (ranging from Cards, Casinos, Racing, Speculation in Stocks, etc.), perusing pulp fiction etc. take up the time of some of our brethren. Urged by our teachers to take up some hobby or the other, many of us have become addicts to philately, numismatics, voracious reading etc. to fill our spare time. Others like me resort to writing to spend time, irrespective of whether or not their words attract anyone’s attention and interest. Yet others simply sleep—there were several people who spent entire lifetimes in sleep—Muchukundan, Rip-van-vinkle and KumbhakarNa are examples. For some others, idle gossip with kindred spirits occupies all their waking moments. This is brought out by the following sloka, which sets out the various ways in which people spend time—

’KAvya ShAstra vinOdEna kAlO gacchati dheematAm
anyEshAm tu manushyANAm nidrayA kalahEna va”

We hear a lot of people complaining about time being difficult to pass. “Pozhudu pOgalai” is a complaint we hear often. For these complainants, Time just stands still and has to be practically pushed on. What a pity indeed, for, little do they realise that every passing second second brings us that much nearer to the end of our lives. Each hour that passes without anything useful having been done, is a wasted hour indeed. And before we realise, these idle hours add up to days, months and years of ill-spent time, with absolutely nothing to show for the part of life that has slipped away unnoticed, except perhaps gray hairs.

That brings us to the brass tacks and the million-dollar question—how to spend our time? This may appear to be a silly question, for there are any number of pursuits one could adopt, as enumerated above. However, to qualify the question further, how to spend our spare time productively? The productivity meant here is not related to conversion of our precious time into cents and dollars, but to something else, which might even be intangible, which would result in self-improvement. Again, by “self”, we refer here to the soul inside us and not to the physical shell.

There is a beautiful word in our SampradAya—“KAlakshEpam”. Though it literally means passing of time, its popular purport is that of listening to eminent Acharyas or scholars propounding the intricacies of one or the other of the great works that have been bequeathed to us by merciful poorvAchAryAs. The term has thus come to mean the spending of time listening to uplifting utterances, whether of the Lord or of Acharyas. It is thus that we hear of “Bhagavat Vishaya KalakshEpam”, “SrI BhAshya KAlakshEpam” “Srimad RahasyatrayasAra KalakshEpam” etc., alluding to the productive passage of hours in the pursuit of enlightenment. This usage, in turn, appears to have originated from the sree sookti of Sri Tirumazhisai Piran, in Nanmukhan TiruvandAdi—

“taritthu irundEn AgavE tArA gaNa pOr
viritthu uraittha ven nAgatthu unnai—teritthu ezhudi
vAsitthum kEttum vaNangi vazhipattum
poositthum pOkkinEn pOdu”

Azhwar shares with us his own experiences in passing time and lists the seven different ways in which his lifetime was spent—

1. “Teritthu”—refers to the blissful contemplation of the Lord and His glorious attributes, with overwhelming devotion and love. This makes the hours pass in a jiffy.

2 “ezhudi”—Among the numerous ways of enjoying the rare delight that is Emperuman, is to write His names. Even today, we find several people continuing this hallowed tradition by writing Rama nAma. It is the practical experience of these worthies that putting the Rama nAma to paper affords them great inner peace. Just as the infatuated lover finds joy in penning his beloved’s name, for the devotee, writing the Lord’s names gives infinite pleasure. Azhwar thus tells us to spend time in writing down the Lord’s names. This would also refer to composing paens of praise, in prose and verse, on Emperuman and His glory, so that it would benefit oneself and others.

3. “VAsitthum”—Another admirable way to spend our waking moments is to read—not of worldly affairs or pulp fiction which are of negligible value, but of spiritual matters, especially tales of the Lord, stotras on Him composed by His admiring votaries and so on. Veda PArAyaNam, Sriamd Ramayana ParAyaNam, Srimad BhAgavata ParAyaNam, aruliccheyal anusandhAnam etc. fall under this head.

4. “KEttum”—Delightful stories of the Lord and His exploits, enthralling descriptions of His innumerable auspicious attributes, the glories of His devotees, etc. form nectarine inputs for the audio faculty. “KarNAbhyAm bhoori vishruvam” “Bhadram karNEbhi: shruNuyAma dEvA:” are some of the prayers enshrined in the Upanishads, praying to the almighty that only the best of sounds, viz., Bhagavat BhAgavata kathA, fall on our ears. Ipso facto, this calls for eschewing lending our ears to idle gossip and accounts of mundane matters. It is to enable the unimpeded flow of such sacred sounds that our ears have not been provided with shutters, unlike our eyes which have eyelids.

5. “VaNangi”—This might be construed as a physical _expression_ of devotion, with all the symptoms of enthrallment that affect a devotee in the throes of Bhakti, as described by Sri Kulasekhara Perumal in Sri Mukunda MAlA—

“ baddhEna anjalinA natEna sirasA gAtraischa rOmOdgamai:
kanthEna svara gadgadEna nayanEna utkeerNa bAshpAmbunA”

This “vaNakkam” is thus an act involving almost all parts of the body, with the head bent in devotion, the hands folded in supplication in the “anjali mudrA” which floors Emperuman, eyes filling with tears of joy at the sight of the Lord or His devotees, each individual hair on the skin erect with delight, the voice aquiver with emotion and each individual part of the body vying with the other to express its devotion separately.

6. “Vazhipattum”—This refers to performing worship, various ways of which have been described by poorvAchAryas beginning with Sri Ramanuja (in his “nityam”). Performing TiruvAradhanam to the Lord is such a delightful experience as to be a pursuit par excellence, filled with overwhelming joy. This Bhagavat ArAdhanam is only a daily practice session, to remind us constantly of the indescribable bliss of Kainkaryam that awaits us, as PrapannAs, at the end of this birth.

7. “Poositthum”—This we may take to be a variant or a component of Bhagavat ArAdhanam, involving the worship of the Lord with garlands of fresh blooms or of verses. And this type of worship is to be offered only to Emperuman Sriman Narayanan, as Sri Nammazhwar avers—“dEvan emperumAnukku allAl poovum poosanayum tagumE!”

This, then, is how time is to be spent.

Sri Nammazhwar too, whose entire life, every waking moment of it, was spent in the contemplation of the Lord and His glory, wonders how it is posssible for mortals to pass time except through the blissful perusal, utterance and propagation of sacred words full of the Lord’s magnificence and grandeur, His innumerable auspicious attributes, etc.—

“KAr kalanda mEniyAn kai kalanda AzhiyAn
PAr kalanda val avayittrAn—seer kalanda sol
ninaindu pOkkArEl soozh vinayin Azh tuyarai
en ninaindu pOkkuvar ip pOdu?”

For those who are at their wits’ end as to how to “kill” time, the aforesaid prescriptions should come in useful.

Srimate Sri LakshmINrsimha divya paduka sevaka Srivan Satakopa Sri Narayana Yatindra Mahadesikaya nama:

dasan, sadagopan

To the newborn infant, which would you say is the most attractive part of the mother’s anatomy? The baby is unable to focus yet on the mother’s face, which is wreathed in smiles, nor is it able to look her in the eye and encounter the brimming love and affection it reflects. Nor even is the little one aware of her warm hands holding it with all gentleness. The one and only part of the mother the baby is instinctively and immediately aware of is her breast, which serves as its sole source of sustenance.

Now, putting ourselves in the position of the babe (which, in any case, people like me are, in terms of wisdom and maturity) and picturising the Lord as the mother (which also shouldn’t be difficult, considering His being the progenitor of all beings), which would we find to be the most important part of His tirumEni, in terms of affording us the greatest bliss, security, sustenance and succour? Whole volumes might have been written on the beauty of the Lord’s captivating eyes, His blooming countenance, His broad and beautiful chest housing Sri Mahalakshmi, His long and sinewy hands holding weapons which serve at once as destroyers and adornments, and so on. However, to suffering mortals like us steeped in sin and blundering eternally in the mundane maze, which would be the part of the Lord’s torso that is most useful to us, that affords us the most relief and bliss and ultimately serves as a beautiful boat ferrying us across the treacherous waters of Samsara?

Much more than any other part of His glorious tirumEni, the Lord’s holy feet (“Tiruvadi”) are the ones that find repeated mention in the Shruti, which is, for us, the ultimate authority on any matter under the Sun. The SamhitAs and BrAhmaNAs are replete with adulatory references to these Tiruvadis. Here are a few, for a sample—

“VishNO: padE paremE madhva utsa:”

The incredibly sweet and glorious feet of the Lord secrete nectar, says the Shruti, which Sri Nammazhwar translates thus—“un tEnE malarum tiruvadi tAmarai”. When we consider that these tiruvadi are likened to freshly bloomed lotuses (“PAda pankajam”, TAmarai adikkaL”, “Pankaya TAL”, etc.), there is nothing strange or unnatural about their secreting nectar. While ordinary Nectar obtained from the depths of the Milky Ocean is supposed to confer immortality on the consumer, the nectar emanating from the Lord’s feet afford eternal bliss and emancipation, which are a billion times more desirable than mere immortality. Sri Alavandar too confirms that the Lord’s tiruvadi is the source of this incredible secretion—“Tava amruta syandini pAda pankajE”.

Talking of secretions, it is worth remembering that the Lord’s feet were also the source of the holiest of all rivers, the Ganga. Legend has it that when the Lord’s feet, in their conquering spree during the TrivikramAvatAra, visited SatyalOka, BrahmA performed tirumanjam to it with water from his “kamandalu”, which then became a veritable torrent, later brought to the mundane worlds through the marathon efforts of the IkshvAku Emperor BhagIratha. “VishNu pAdAbja sambhootE, GangE! Tripada gAminI” is a tribute to this sacred river, indicating its holy origins.

Why should the Lord’s feet be likened to the lotus, when there are any numbers of other blooms? There are several similarities between the Lord’s tiruvadi and the TAmarai. For one thing, both are a bright and beautiful red. Both are incredibly soft and supple. Both secrete delectably sweet juices, the former nectar and the latter, honey. Both bloom at the prompting of external stimuli, the lotus at the rising sun and the Lord’s feet at the proximity of devotees. Just as a bee, which has tasted the pollen from the lotus, would never ever look again at a thorny shrub, one who has been fortunate to savour the flavour of the divine tiruvadi would look askance at any other mundane pleasure.

“tava amruta syandini pAda pankajE
nivEsitAtmA katham anyat icchati
stitthEravindE makaranda nirbharE
madhuvratO na ikshurakam hi veekshatE”

–Sri Alavandar).

It is not only Nectar and the Ganga which owe their origins to the Lord’s feet—even this big, broad world and numerous others like it, along with the innumerable galaxies and universes, originated from the holy tiruvadi, says the Purusha Suktam—“PadhbhyAm Bhoomi: disa: shrotrAt”. These were again the incredible feet, which transformed a dust-coated wayside stone into an extremely beautiful Rishi patnI (AhalyA). (So much so that the boatman Guha had initial reservations about letting Sri Rama set foot on his boat, lest the ferry be transformed into a bewitching feminine form.)

These again were the holy feet, which gave life to UttarA’s foetus, which was reduced to a handful of ashes and were thus responsible for the very life and breath of ParIkshit Maharaja. And these are the tiruvadis which SreedEvi and Bhoomi Piratti massage gently with their soft hands, says Swami Desikan-

“PAshANa nirmita tapOdhana dharma dAram
bhasmani upAhita narEndra kumAra bhAvam
samvAhitam TridasanAtha! RamA MaheebhyAm
sAmAnya daivatam usanti padam tvadeeyam”

The most-talked about exploit of the Lord’s tiruvadi is, of course, the measuring of the worlds above and below, during the Trivikramavataram. The tiny, delicate feet of the VAmana Brahmachari grew into colossal ones capable of spanning the entire universe with one giant step. And in the process of measuring the world, these sacred tiruvadis, which only the Divine Consorts have any hope of seeing or touching, placed themselves on the heads of all beings, right from the most exalted of Emperors to the humblest of menials, with absolutely no distinction as to caste, creed, colour, economic or social status. Even non-sentient objects were favoured by this purifying contact with the holy feet, which they could not dream of in innumerable births. Sri Alavandar, who was not around when the Trivikramavataram took place, longs for a momentary touch of the Lord’s triuvadi on his head—“Trivikrama ! tvat charaNAmbuja dvayam madeeya moordhAnam (kadA) alankarishyati!”. And it is this exploit that the Shruti chronicles time and again, making this the most talked-about avatara—

“TreeNi padA vichakramE VishNu: gOpA adAbhya:”
“trEdhA VishNu: urugAyO vichakramE”
“VichakramE prithivImEsha EtAm” etc.

Thus, it is the Lord’s glorious feet and their exploits that afford Him the distinction of repeated mention by the Shruti.

When we come to think of it, in the process of Asrita RakshaNam (protection of the sAdhUs) it is the Lord’s feet which are put in use the most and are also the part of the divine torso which strain the most. The event that comes to our mind immediately is the long walk of Chakravartthi Tirumagan, from Chitrakootam to Lanka, roaming throughout the jungle trails of DandakAraNyam, strewn with sharp stones and thorns. Though the Prince of Ayodhya did have sandals on His feet when He set out for the jungle sojourn, Sri Bharata took them away at Chitrakootam, with the result that the entire remaining journey was completed by the Purushottama on bare feet. Just think of it, a Prince of the celebrated IkshvAku dynasty, used to all the magnificent comforts of the palace, unused to the hardships of the inhospitable forests, traversing the interminable distance between Chitrakootam and Lanka on foot, barefoot that too, with the delicate soles, unused to hard surfaces, being exposed to stones, thorns and whatnot, besides being forced to walk in hot sun, numbing cold and pouring rain!

Even in Sri Krishnavatara, the Lord walked a lot at the bidding of His devotees, we are told. When the PandavAs, as a last ditch effort to avoid war with the KauravAs, needed someone to carry a message of peace and compromise to the latter, it was Sri Krishna they chose, because none else could represent their viewpoint with absolute commitment and wisdom. And Sri Krishna accepted this assignment with all enthusiasm, despite the rather low profile that a messenger carries, and walked with the message from the Pandava camp to that of the Kauravas—“Daruman irandadu isaindu chendrana” says Swami Desikan, referring to the Lord’s feet, which engaged themselves in the lowly occupation of a messenger, at the request of the Pandava.

Are the Lord’s feet capable of only such innocuous deeds? Do they play no part in proactive destruction of evil elements, which pose a threat to the good and holy? Indeed they do, says Sri Andal, (“pondra sakatam udaittAi pugazh pOttri”) recounting the Lord’s childhood exploit of kicking a wheel and breaking it into pieces—“uru sakatam udaya oru kAluttru uNarndana”. This was no ordinary wheel, but a messenger of death dispatched by Kamsa to eliminate Sri Krishna. Upon being administered a well-aimed kick from the Lord’s lotus feet, the mortally wounded asura regained his natural form and fell down dead.

And then there is the episode of the kutti Krishna subduing the venomous serpent KALiya, by dancing on the latter’s head– “adal uraga padam madiya Adi kadindana”. The normally lotus-soft feet of the Lord acquired an unbearable heaviness and punch, and each step of Krishna’s ballet descended on the serpent’s hood like a bolt of lightning, taming the snake in no time at all.

From all the aforesaid, it is clear that the Lord’s feet have indeed undergone untold strain. Is it because of all this strenuous walking and other exercise that He adopts a recumbent posture, ask Azhwars—

“andru iv ulagam aLanda asavE kol?”

Sri Nammazhwar too poses such a rhetorical question to the Lord,
querying Him as to the reasons for His apparent tiredness-

“KodiyAr mAda KOLuragatthum PuLingudiyum
MadiAdhu indrE nee tuyil mEvi magizhndadhu tAn
adiAr allal tavirttha asavO andrEl ip
padithAn neeNdu tAviya asavO, paNiyAyE”

“You were after all a young boy during Vamanavatara. Still, your
holy feet had to traverse the entire universe and the heavens too.
Has this been so much of a strain on you that You had to lie down to
rest? Or are You fatigued by attending to frequent calls for succour
from distressed devotees?” enquires Azhwar , seeking the reason for
the Lord’s supine posture.

“nadanda kAlgaL nondavO?” inquires Tirumazhisai Piran too.

A more modern poet, expanding on the Azhwar’s theme, adduces a
variety of possible reasons for Emperuman’s kidandha tirukkOlam.
Could it be due to the strain of covering innumerable miles on foot
during the vanavAsa as Sri Rama? Or is it due to running after the
elusive MArIcha, who, in a bid to isolate Sri Mythily, dragged Sri
Rama quite far from His Ashrama in hot chase? Or is it due
to the constant roaming in the hot sun, tending to cows, in the
boisterous company of gOpa brats? Listing all these, the poet
plaintively asks the Lord-”En paLLi koNdeer IyyA?”

It is to cure the Lord’s feet of all the possible ache and pain the aforesaid activities must have caused, that Sridevi and Bhoodevi massage His feet gently, with their soft and supple palms. Even their extremely spongy palms leave Emperuman’s indescribably delicate feet red, says the Venkateswara Prapatti—

“sa prEma bheeti KamalA kara pallavAnAm
samvAhanEpi samatikramam AtatAnou
KAntA vAngmanasa gOchara soukumAryou
Sri Venkatesa charanou sharanam prapadyE”

Swami Desikan confirms this—“Malar MagaL mai varuda malar pOdil sivandana”

Be all this as it may, we are more interested in learning what the Lord’s feet mean to us mortals. We are told that Emperuman’s tiruvadis are our ultimate refuge, a sanctuary par excellence, a safe haven from the jungle of Samsara filled with terrifying wild animals, an admirable asylum from the pursuing predator of Karma and a shady shelter from the scorching sun of TApatrayam (the three kinds of heat that make us dehydrated spiritually). It is a place of eternal peace, rest, relaxation and recuperation for souls battered by the constant buffeting of the winds blowing across the mundane morass. It is in the comforting shadow of these divine feet that we can experience the unique and unprecedented bliss that only the Lord can afford us.

It is due to all these reasons that we seek refuge in Emperuman’s tiruvadi, as ordained by the magnificent Dvaya Mantram. However, this is an esoteric formulation, obtained only by the elite few. What about the rest of the suffering masses who do not have access to this magnificent Mantra? To all those in the latter class, Emperuman at Tirumala reveals the secret of happiness in this and other worlds, by pointing His right palm at His holy feet, indicating to us that it is only through surrender to them that we can rid ourselves of our mundane coils and attain liberation.

When a thousand slokas could be composed on the sandals adorning the Lord’s feet, how many million verses could be devoted to the actual tiruvadis themselves! Let me end this piece with just one of them, from Swami Desikan’s NavamaNi Malai, which boasts of a lovely, lilting metre—

“oru madhi anbar uLam kavarndana
ulagam adanga vaLandu aLandana
oru sadai ondriya Gangai tandana
uraga padangaL arangu koNdana

Darumam uyarndadu idu enna nindrana
Daruman irandadu isaindu chendrana
Sakatam udaindu kalanga vendrana
TamargaL arundum marundu idu enbana

TirumagaL seyya karangaL ondrina
Tigazh tuLavu undu maNam kamazhndana
Chezhu maNi konda silambu ilangina
Selai tanil andru oru aNangu umizhndana

Varu marai andam amarnda paNbina
Ayan mudi tannil amarndu uyarndana
AruL tara eNNi ayindai vandana
Adiyavar meyyar malar padangaLE”

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

dasan, sadagopan

If you think of it, the entire world appears to revolve around Numbers. There is no field of human activity which numbers do not pervade nor are we able to think of anything without automatically involving Numbers. The Great Cosmic Clock, ticking away the seconds of our sojourn on this earth, is based on Numbers. And anything and everything that we come across has a lot to do with figures, big and small. Thus, right from birth to death, every moment of our time and experience is dominated by these seemingly inoccuous integers, which, however, command great value and worth. It would appear that even our Scripture revels in the The Numbers Game, as would be evident to those who read on.

The most interesting play with Numbers is that indulged in by Sri Tirumangai Mannan, in his Tiruvezhukoottrirukkai. This is an extraordinary type of Prabandam, involving the drawing of a Chariot-like figure with a top half and a bottom one. Each half is in the form of a seven-tiered Pyramid, with the top one an upright pyramid and the bottom one inverted. At its broad end, the Pyramid consists of a base with 13 slots, which gradually decrease, as we go up the tapering structure, with the top-most tier consisting of three slots. This would be in the reverse order in the inverted pyramid at the bottom. Each of these slots would be filled with numbers from one to seven: for instance, the topmost tier of three slots would be filled with numbers 1, 2 and 3′the next one with 1, 2, 3, 2, and 1, the third tier from the top with 1,2,3,4,3,2,1, the fourth tier with 1,2,3,4,5,4,3,2,and 1 and so on, with the base of the pyramid ending with the numbers 1,2,3,4,5,6,7,6,5,4,3,2 and 1.

The idea is that the Prabandam should begin with words incorporating the numbers one, two and one again and go on to the last line of the upright pyramid, with words containing the numbers from 1 to 7 and back to 1. The entire structure would be in the reverse order in the upturned pyramid, with the first tier consisting of words with numbers 1 to 7 and back to 1, gradually decreasing till the last and smallest tier with numbers 1,2 and 1 is reached. The resulting structure is somewhat akin to the “Pascal’s Triangle” that mathematicians are fond of speaking of airily.

I know this must be pretty confusing to read about the structure is therefore depicted as a picture below. Readers would observe that the two pyramids together form a Chariot, from which this type of poetry derives its name, viz, Ratha Bandham. We can imagine how difficult it would be to compose a verse of this sort, with the numbers arranged in meticulous ascending and descending order. We can find this beautiful Prabandam inscribed on the wall of Sri SArngapani Sannidhi at Tirukkudandai, exactly in the undermentioned fashion and in the form of a majestic Ratham, with the individual slots filled with words containing the numbers.

1 2 1

1 2 3 2 1

1 2 3 4 3 2 1

1 2 3 4 5 4 3 2 1

1 2 3 4 5 6 5 4 3 2 1

1 2 3 4 5 6 7 6 5 4 3 2 1

1 2 3 4 5 6 7 6 5 4 3 2 1

____________________________________________

1 2 3 4 5 6 7 6 5 4 3 2 1

1 2 3 4 5 6 7 6 5 4 3 2 1

1 2 3 4 5 6 5 4 3 2 1

1 2 3 4 5 4 3 2 1

1 2 3 4 3 2 1

1 2 3 2 1

1 2 1

This aforesaid may appear to be an inelegant depiction of a Chariot, given my notoriously poor drawing skills, but this is just to give readers an idea of the nature of the Prabandam and the difficulty in its composition. Here is how Sri Kalian has achieved this feat of accomodating ascending and descending numbers, all the while preserving the beauty of the poetry and without sacrificing the thread of deep devotion running through all of his pasurams.

oru pErundiiru malar tavisiloru murai ayanai eendranai

1 2 1

oru muraiiru sudar meedinil iyangAmum madhiL ilankai—irukAl vaLayaoru silai
1 2 3 2 1

ondriya–eereyettru azhal vAi–moovadi–nAnilam vENdi–muppuri noolodu–iru pirappu

1 2 3 4 3 2

oru MAN Agi

1

oru murai-eer adi-moovulagu aLandanai-nAl disai nadunga-anchirai paravai Eri-nAlvAi-

1 2 3 4 5 4

mum madattu-iru sevi-oru tani vEzhatthu arandayai and so on.

3 2 1

Readers would observe how cleverly the Divine Poet has chosen the words representing numbers, either in purport or in sound, and woven all these into an enthralling garland of words, that is at once lilting in metre, profound in purport, brimming over with Bhakti and matchlessly magnificent in composition. This Tiruvezhukoottrirukkai belongs to a poetical form known as “Chitra Kavi”, refreshingly different from run-of-the-mill verses and appealing to the intellect as well as the heart. Not surprisingly, this Prabandam is recited during the RathOtsavam at several divyadesams. And the beauty of this pAsuram is to be heard to be believed, especially when intoned in unison in the atonce melodious and stentorian voices of the venerable GhOshtti.

Another Azhwar with a fascination for numbers is Sri Tirumazhisai Piran, who too has pasurams to his credit, which appear mathematical in character. In the following sample from Tirucchanda Viruttam, the numbers 5 to 1 have been arranged in descending order, yeilding an extremely profound purport:

“poo nilAya ayndumAi punal kaN nindra nAngumAi
tee nilAya moondrumAi chiranda kAl irandumAi
meenilAyadu ondrumAgi vEru vEru tanmayAi
neenilAya vaNNa! Ninnai yAr ninaikka vallarE!”

All the five elements, says Azhwar, are under the Lord’s overlordship. These elements in turn have their own characteristics: the Earth has five attributes (sound, touch, form, essence and smell), while Water has the first four of the aforesaid qualities, Fire three, the Wind two and Atmosphere one, namely Sound. In other words, Azhwar tells us that it is the Lord, who is the Inner-Dweller of all elements, who forms the material cause for this universe.

The second pasuram of this Prabandam too has an arithmetical leaning:

“Arum Arum ArumAi Or iyndum iyndum iyndumAi
Eru seer iraNdu moondrum Ezhum arum ettumAi
Veru vEru gnAnam Agi meyyinOdu poyyumAi
OorOdu Osai Aya iyndum Aya Aya MayanE!”

Azhwar speaks about of a trio of six items.

First is the six Karmas ordained on Brahmins: Yajanam (performing sacrifices), YAjanam (conducting YAgAs for others), adhyayanam (imbibing the VEdAs), adhyApanam (imparting VEdic wisdom to eligible others),dAnam (giving to others) and Pratigraham (accepting offerings from others).

The second six consists of the Seasons:Spring, Summer, Monsoon, Autumn, Winter etc. (Vasanta, Greeshma, VarshA, Sarat, Hemanta and Sisira Ritus).

The third six refers to six YAgAs, performed on PourNami and amAvAsya days:AgnEyam, agnIshOmIyam, upAmsu, iyndram, iyndrAgnam (numbering two).

The trio of Fives indicated in the latter half of the first line of the pasuram refers to the Five YagyAs (Deva, Pitru, Rishi, Manushya and Bhoota YagyAs), the Five AhutIs (respectively to the PrANa, apAna, VyAna, udAna and SamAna), the Five agnIs (Garhapatya agni, AhavanIya agni, DAkshinAgni, Sabhya agni and the Avasatya agni).

GnAnam or Wisdom and VairAgyam or lack of attachment, are the duo (“Eru seer iraNdu”), while “Moondru” consists of Prapatti, ParagnAnam and Parama Bhakti.

“Ezhu” indicates VivEkam, VimOkam, abhyAsam, KriyA, kalyANam, anavasAdam and anuddharsham, while “Arum” refers to the six glorious guNas of the Lord, viz., GnAnam, Balam, Ishvaryam, Veeryam, Shakti and Tejas, the “ettum” consisting of the eight inimitable attributes of Emperuman, referred to in the CchAndOgya”"apahata pApmatvam, Vijaratvam, Vimrityutvam, VishOkatvam,Vijigatsatvam, apipAsatvam, SatyakAmatvam and Satyasankalpatvam.

The third and fourth pasurams of Tirucchandaviruttam too are a mass of numbers:

“iyndum iyndum iyndumAgi allavattrul uLayumAi
iyndu moondrum ondrumAgi nindra Adi dEvanE!
Iyndum iyndum iyndumAgi andaratthu aNaindu nindru
Iyndum iyndum Aya ninnai yAvar kANa vallarE!”

“Moondru muppadArinOdu Or iyndum iyndum iyndumAi
Moondru moortthiyAgi moondru moondru moondrumAi
TOndru sOdi moondrumAi at tuLakkamil viLakkamAi
Endru en AviyuL pugundadu en kolO em IsanE”:

The Vedas, which are indeed the seed from which all the divya prabandas sprout, have their own tale of numbers to tell. As if teaching us to count, the second prasna of the Seventh Kanda enumerates the integers in various combinations:beginning with “Ekasmai svAhA”, we have a counting in ones, from one to 19. Thereafter, countings are taken in tens, mentioning 29, 39, 59, 69, 79, 89 and 99, ending with a hundred and twice that number. The next panchAti narrates numbers in countings of odd numbers:1, 3,5,7.9,11, 13, 15,17 and19, switching again to 29, 39, 49 and so on upto a hundred. The next PanchAti takes a count of even numbers:2, 4, 6, 8, 10, 12, 14, 16, 18 and 20, going straight thereafter to 98 and 100. The 45th PanchAti incorporates countings of four:4, 8, 12, 16, 20 then straightaway to 96 and 100. Countings of five figure in the next:5, 10, 15, 95 and 100 and in tens, in the next one:10, 20, 30, 40, 50, 60, 70, 80, 90 and 100. Twenties are counted in the next panchAti:20, 40, 60, 80 and 100, while the next counts in hundreds upto a thousand.

What do all these numbers represent ultiamtely? They refer, as all other words do, to the Paramapurusha. Be it any number, it is representative of the Lord, right from one to the largest integer the intellect can count upto. For instance, the Sahasranama stotra describes Him as “Eka:”:the incomparable One, who has neither a superior nor an equal. It is significant that Azhwars too describe Him as “oruvan”, “Eka moortthi” etc.

When the Purusha Sukta says, “Sahasra sIrshA Purusha:”, it refers to the Lord having not only a thousand heads, but an infinite number “anantam”. It is He who is referred to by all the numbers in arithmetic.

All numbers might denote the Lord, but the very first integer 1 appears to have a much closer association with Him than others. Just as every number is but a multiple of 1, all beings in the world, sentient or life-less, are but aspects of the glorious Lord, having Him for their vital in-dwelling spirit, without which they wouldn’t exist at all. And if we put ourselves, as insiginificant JeevAtmAs, in the position of Zero, we find that we acquire siginificance only by association with Emperuman, just as the Zero attains greater respectability when preceded by 1.

Not merely numbers, but advanced arithmetical concepts like the Set Theory also figure in the Scripture. For instance, Sri Nammazhwar speaks of a Huge Set, the Universal Set, which is a Set of all Sets, and also of itself:

“Valatthanan Tiripuram eritthavan idam pera, tundi
talatthu ezhu Disaimukhan padaittha nallulagamum tAnum
pulappada, pinnum tan ulagatthuL agatthanan tAnE
solappugil ivai yAvum pinnum vayittruLa, ivan avan tuyakkE”

Azhwar describes the glorious Lord’s inimitable deeds in this beautiful pasuram.

Emperuman accomodates Rudra on the right side of His tirumEni and BrahmA on the Cosmic Lotus blooming from His navel. This BrahmA creates the various worlds, in which the Lord takes birth as Rama,Krishna, etc.

Thus, He is to be seen in the world created by BrahmA, who is himself the Lord’s creation. We have seen that normally, in this world, the architect of a building is distinct and different from the structure he creates. However, the Universal Creator, from whose navel the entire Creation sprouts forth, is seen as one of His own creations (during His avatArAs), in the worlds spawned by Him. As if this is not enough, all these beings and objects comprising the Universe, are also accomodated in His spacious stomach, during the Cosmic Deluge. To those who wonder how such a phenomenon, is possible, Azhwar tells us that this is due to His “MAyA” “ivai avan tuyakkE”. This is how the Lord is a magnificent Universal Set, a Set of all Sets and of its own glorious self too.

The mathematical concept of Infinity too appears to have had its origins in the Shruti, going by the numerous references to the same in the copious Vedic lore. The Narayana anuvAkam, for instance, talks about the Parabrahmam being infinite”:anantam, avyayam, kavim, samudrEntam Visva Sambhuvam”. Infinitely huge, boundless and endless worlds are also talked about in the Shruti, which the liberated soul attains- “anantam, apAram, akshayyam lOkam jayati”. Though beyond our contemtpation, the concept of a Paramapurusha whose dimensions, auspicious attributes, reach, vision and influence are beyond measurement, is what represents Infinity. This is what Sri Nammazhwar means, when he talks about

“soozhndu agandru Azhndu uyarnda mudivil perum pAzhEyO
soozhndu adanil periya en para nan malar sOdIyO
soozhndu adanil periya en sudar gnAna inbamEyO
soozhndu adanil periya en avA ara soozhndAyE”.

The Lord represents a funny number too, one to which no amount of subtraction, division, addition or multiplication appears to make any difference. He is the Infinite Integer, which remains unchanged despite any amount of addition, subtraction, multiplication or division. We are told by a Vedic ShAnti PAta that the Parabrahmam remains the same complete self, with absolutely no reduction in any of its attributes”PoorNasya poorNam AdAya PoorNam Eva avasishyatE”.

There are people who have a dread of Mathematics: a “numerophobia”, to coin a word. For them, arithmetic and numbers in any form are anathema. However, it is only in Maths that it is possible to score centums easily,more than in any other subject. The significance of all numbers can be understood properly if we ascribe to them their true places, as but depictions of the Lord and His glory. Centums in spiritual life, i.e., Liberation and Emancipation and attendant Bliss, are what await the mathematician who specialises in the upAsana of these divine numbers.

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

dasan, sadagopan

Each and every part of the human anatomy has been designed by an expert divine engineer, with an eye both for aesthetics and utility. Almost all components of our physique have an indispensable function to perform, the eyes leading us straight on our path and letting us see the myriad objects in God’s Creation, the ears enabling us to grasp sounds, the nose and nostrils filtering the air we breathe in, the tongue enableing communication with others and so on. Every part of our body thus appears to have a highly utilitarian role, so much so that its absence or impairment cripples us badly. Even the insignificant eyelashes appear to perform the important function of keeping dust and grime out of our eyes.

However, think as we might, we are unable to find any practical utility for one part of the human anatomy, viz., the Brows. We are hard put to divine what exactly they are meant for, for they apparently have no real use, situated as they are on top of the eye-socket. It is then that we remember that the Divine Architect, who designed our physique, had in mind not only utilitarian but also artistic and aesthetic considerations. Perhaps He wanted the human body to be not only a high-performance mechanism, but also one which was easy on the eye. But for this artistic consideration, the human anatomy would perhaps have been as much of an eyesore as the robots that we humans have designed. If we really stop to think about it, the human physique could very well have been made strictly functional, without any of the frills and embellishments that add some colour, beauty, softness and general good looks to it. That the Creator has chosen to endow us with not only functional efficiency but also some element of seemliness, indicates consideration and kindness of a very high order, for which we have to remain eternally thankful to Him.

Coming back to the Brows, it appears pretty clear that this particular part of our physique has little practical utility and is meant solely to enhance our looks. Those of you who have any doubt as to whether the Brows serve as adornments to our face, would only have to look at some of the strange specimens of humanity, who chose to shave off their brows for reasons best known to themselves—the rather strange and unseemly spectacle that these creatures present is enough assurance to us that the Brows do have a function to perform, that of making our visages more seemly.

Everything about Emperuman is beautiful, sweet and magnificent—“MathurAdhipatE: akhilam madhuram”. This being so, His Brows are no exception and are as exquisite as the rest of His divine anatomy. They are perfectly shaped semi-circles situated above His broad and beautiful eyes, representing a hairy adornment to them. They resemble a magnificent Bow in shape and instantly enchant devotees whose glances happen to stray on to these brows. Swami Desikan says that in creating Manmatha’s famous bow (with which he lets loose flowery arrows on people, instantly inducing romantic thoughts in them), it was the Lord’s Brow that served as a model to the creator Brahma, but for which the latter would have been hard put to design the same—

“Evam chEt akhila jantu vimOhanArhA
Kim mAtrukA bhavati KAma sharAsanasya”

Not only in shape, but also in enchanting and enticing all onlookers, it is the Lord’s brows which have served as a role model for ManmathA’s bow.

The Lord’s Brows serve as a Welcome Arch, a “TOraNam” for devotees, who wish to treat themselves to the beauty of His splendorous eyes.

Is it any wonder then that Sri Kodai Nacchiar loses Herself in the boundless beauty of these Brows? She tells us that the Lord’s brows are as bent and beautiful as the magnificent Bow SArngam that He holds in His hand. (“Tan kai SArngam aduvE pOl azhagiya puruva vattam”). She also seems to imply that the Brows are no less deadly than the SArngam, flooring opponents with a rain of lethal arrows. In fact, the Brows are worse than the SArngam in one respect. While it is only the opponents of the Lord and His votaries who form the victims of the Bow, the Brow, on the other hand, floors His devotees too. They are unable to hold their own against its onslaught and surrender meekly to the Lord, with cries of “JitantE! PundarIkAksha!” (“We are won over, despite ourselves”). Even if one wants nothing to do with the Lord, His beautiful Brows fell the unwilling devotee with a single shot, with arrows from the lotus eyes coated with overwhelming love and affection, to which no human being or celestial is immune. Thus, whether it is devotees of the Lord or His sworn enemies, none is proof against the onslaught of the beautiful bow comprising of the Lord’s brows.

It is significant that the words “Bow” and “Brow” are very much alike, with but an “r” to distinguish them—for, from the aforesaid, they appear to be extremely similar in appearance and function too. It is also worth noting that the word “Brow” in English, is but a derivative of its equivalent in Sanskrit—“Bhruva:”, to which the Tamil “Puruvam” also owes its origin.

It is thus not at all strange that the Lord’s Brows have innumerable admirers—Sri Periazhwar, Sri Nammazhwar, Sri Andal, Sri Alavandar and Swami Desikan, to name but a few.

Sri Vishnuchitta is so captivated by the arched Brows of Sri Krishna, that not only does he feast his eyes on their beauty, but invites everyone in the world to partake in his bliss—

“Paruvam nirambAmE pAr ellAm uyya
Tiruvin vadivu okkum Devaki pettra
Uruvu kariya oLi maNi vaNNan
Puruvam irundavA kANIrE, pooN mulayeer vandu kANeerE”

Sri Nammazhwar too expresses his utter fascination with the beautiful Brows of Tirukkurungudi Nambi, commenting incidentally on their length–

”tokka sOdi toNdai vAyum neeNda puruvangaLum
Takka tAmarai kaNNum pAviyEn Aviyin mElanavE”

Since the eyes are long (“neeNda ap periayavAya kaNgaL”), it is but natural that the Brows are long too—“neeNda puruvangaL”.

Sri Alavandar tells us that Emperuman’s Brows are not only beautiful, they are slender too, long like a creeper and stylishly bent, so as to instantly capture the hearts of onlookers—“sa vibhrama bhroo latam”. The Lord’s brows are not “Beetle Brows”, thick and unseemly, but slender, like a creeper. Nor are the brows straight as a bar, but bend stylishly like a bow, enchanting everyone who sets eyes on them. We find so many women paying fortunes for shaping their eyebrows—they can save themselves a lot of money, if they adopt the Lord’s Brows as models for their own.

Here is Swami Desikan’s tribute to the bewitching Brows, in Sri Devanayaka Panchasat-

“nEtum sarOja vasati: nijam Adhi rAjyam
nityam nisAmayati DEvapatE! Bhruvou tE
Evam na chEt akhila jantu vimOhanArhA
Kim mAtrukA bhavati KAma sharAsanasya”

Though the function of Creation has been delegated by the Lord to BrahmA, the latter looks to the former at each and every stage of the creative process, for approval and agreement. Such consent of the Lord is expressed by the movement of His beautiful brows, says Swami Desikan.

If the eyebrows of Emperuman can be so beautiful, it stands to reason that those of His Consort must be more so, for beauty and elegance are usually the preserve of the fairer sex. We thus find that Sri Sita Piratti, who is the personification of beauty and loveliness, sports infinitely exquisite brows, which is evident from Her being addressed as “Shubhroo”.

According to Sri Bhattar, in carrying out the Creative function, the Lord looks at every stage for approval to His Mahishi and the innumerable differences in social, economic and spiritual status that we find in the world are but the result of the raising or lowering of Piratti’s brows, to signify approval or disapproval. Such is the power this Fist Lady wields over the Lord, that Her implied wishes, not even expressed, through the movement of Her brows, form the very basis for the Lord’s functions, says the Acharya—

“Yat bhroo bhangA: pramANam stthira chara rachanA tAratamyE MurArE:”

It appears that Piraatti blesses other celestial consorts too with the capability of moving their husbands with the raising of their brows. Swami Desikan says that PArvati dEvi too is able to wind Shankara around her little finger, with a slight movement of her brows—none other than the virile Shankara, who has to his credit the exploit of having bent the colossal MEru mountain itself as a bow, during Tripura SamhAram—“Yat bhroo bhangAt kusuma dhanusha: kinkarO MeEu dhanvA”.

We find that almost the entire range of human emotions like anger, surprise, annoyance, happiness etc., can be conveyed by appropriate movements of the eyebrows. A knitting of the brows, for instance, indicates displeasure, while the lifting of the brows in a particular way conveys surprise. The following sloka from Srimad Ramayana tells us that eyebrows could be used as effective indicators of displeasure and anger—

“TadA tu baddhvA bhrukutim bhruvo: madhye nararshabha:
nisasvAsa mahA sarpam bilasya iva roshita:”

When told by Rama that the dramatic turn of events culminating in His having to leave for a long sojourn in the jungles, (instead of His being crowned the Prince of Ayodhya) is due to the unseen but ever present hand of fate, Lakshmana refuses to buy this argument and expresses his dissatisfaction, distress and anger at those responsible for the happenings. And before bursting into a voluble condemnation of KaikEyi and others, he eloquently conveys his anger through a knitting of his eyebrows.

Another person who manages to terrorise the whole world by a mere knitting of his eyebrows is the God of Death, YamadharmarAjA.

And we all know when his terrifying brows and lethal glances fall on us—when our sojourn in this world comes to an end. However, if, before this avenging angel’s fleeting look falls on us, if the Lord were to be kind enough to look at us with His soft and cool lotus eyes, imminent death would be immediately converted into immortality, says Swami Desikan, praying for the rejuvenating glances of Sri Varadaraja—

“yAvat na pasyati nikAmam amarshaNo mAm
Bhroo bhanga bheeshaNa karALa mukha: kritAnta:
TAvat patantu mayi tE Bhagavan! DayAlO;
unnidra padma kalikA madhurA: katAkshA:”

Brows appear to be a beautiful bow, when on the forehead of the Lord. The same Brows, situated atop the eyes of another, resemble a venomous snake stretched full length. This is how the brows on the face of Yamadharma appear to those forever indulging themselves in the pleasures of the flesh, says Swami Desikan in Sri Achyuta Satakam-

“Karma gati dOsha du:khitA: kritAnta bhrukutee bhujangee darsana trastA:
archanti tava charaNou achyuta prabhrashta Manmatha rasAsvAdA:”

Brows are probably the most insignificant part of the human anatomy, consisting merely of a line of hair across one’s forehead. Their absence would in no way affect our effective functioning. However, when they adorn the Lord’s face, they acquire a beauty, seemliness and significance of their own, due to their exalted association. Like other parts of the Paramapurusha’s divya mangala vigraham (Divine Body), His Brows too are boundlessly beautiful and captivating. If one were blessed with even a millionth of Swami Desikan’s creativity and poetic skills, composing a thousand verses on these High Brows would pose no difficulty at all.

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

dasan, sadagopan

Countless books have been authored since creation, by countless worthies, dealing with practically every subject under the Sun. And to each of these books, its author, with parental pride, has given a name, which he or she thought suited it best. To each author, his creation, however insignificant it may appear to others, is indeed a magnum opus deserving of appreciation and acclaim. However, none has considered his or her book fit enough to be called “The Beautiful Book”. You must have read any number of books—have you come across one titled simply “The Beautiful Book”? There is indeed one, for which the venerated author couldn’t think of any other name than the beautiful one mentioned above. Looked at from any angle, it appeared so fine and striking to him, that try as he might, he couldn’t come up with any other title, which suited the work to a “T”. Irrespective of what impressive names we might give our children, it is their character, conduct and comportment that ultimately give their names popular acceptance—if a dunce carries the name “VivEkAnandan”, in course of time, people would coin for him nickname which indicates his true colours, rather than call him by the given name. So too is the case of any name. That the author-given name of “The Beautiful Book” (for the work we talked about) has gained popular acceptance too, is indicative of the book’s enchanting and enticing contents.

The “Sundara KANdam” of Srimad Ramayanam carries an extremely apt name. Sri Valmiki himself was so impressed by its contents that he could think of no other name for it than the aforesaid. While other KANdAs of the epic have been named after the places where the events are enacted (AyOdhyA KANdam, AraNya KAndam, KishkindhA KANdam) or after the nature of happenings (BAla KANdam, Yuddha KANdam), this particular portion of the saga is simply named “Sundara KANdam”.

Does this mean that the other parts of the epic are not beautiful? Why should this particular KANdam be celebrated as the Sundara KANdam?

Why does this specific KANdam command much greater popularity among Rama bhaktAs than the other parts of the great saga? And if the recital of this particular KANdam is traditionally held to be capable of fulfilling all of one’s wishes, what could be the special content that it has, which puts it head and shoulders above the other portions of the epic?

While there are several reasons for this part of Valmiki’s magnum opus getting this “beautiful” sobriquet, the principal ones are the following:-

1. This part of the Epic really contains enthralling descriptions of several beautiful objects, places and people. Be it the portrayal of Lanka, of the exalted Pushpaka vimAnam, the AshOka vanikA, the Madhu vanam or of natural phenomena like the Moonrise, Sri Valmiki excels himself in painting gripping pen-portraits, with elaborate and enthralling accounts of flora, fauna, the majesty of nature at its best, the lure and lustre of Lanka etc. Being a past master at apt similes, the Maharshi’s portrayals often appear to be more glorious than the objects of their adoration, if such a thing were possible. Here is a simple sample from the 5th Sarga of this KANda, devoted mainly to the description of the rising Moon over the city of Lanka. Observe the lilting metre, the thrilling portrayal, the extremely apt similes and the cumulative effect of unparalleled prettiness and picturesqueness the entire scenario presents—

“Tata: sa madhyam gatam amsumantam
JyOtsnA vitAnam mahat udvamantam
Dadarsa dheemAn divi BhAnumantam
GoshttE vrisham mattham iva bhramantam”

The huge Silver Orb in the sky, surrounded by a halo of pleasing luminance, occupying the centre spot among an admiring audience of countless stars exhibiting their adulation through constant twinkling, looked like a virile Bull pacing majestically among admiring cows, says Sri Valmiki.

Here is a slew of more similes from the facile pen of the Adikavi, comparing the resplendent Moon glowing in the bewitching night sky, to a graceful Swan in a silver cage, to a majestic lion inhabiting a broad cave in the Mandara mountain and to a victorious centurion ensconced on an imposing elephant—

“HamsO yathA rAjata panjarasttha: simhO yathA Mandara kandarasttha:
VeerO yathA garvita kunjarasttha: ChandrOpi babhrAja tathA ambarasttha:”

What beautiful metre, what incomparable similes, what inimitable portrayals! Is it any wonder that this forms part of the “Sundara KANdam”? Though it is extremely tempting to quote one lilting verse after another, which competes for our attention and adulation, I leave readers to feast themselves on these gems at their leisure.

However, is it merely due to the gloriously graphic descriptions that this KANdam is known as the Sundara Kandam, for, equally facile portrayals are to be found in other parts of the epic too, especially the accounts of Spring, Autumn and the Monsoon seasons and innumerable other pen-portraits, of which only Sri Valmiki is capable?

2. This Kandam is almost exclusively about the exploits of an extremely beautiful person (“Sundara:”)—none other than Sri Hanuman. It is beyond dispute that Sri AnjanEya is extremely handsome, virile and strikingly attractive. “KAnchanAdri kamanIya vigraham” says the PArAyaNa slOka, telling us that the VAnara veera possessed glorious good looks and shone like a veritable Golden Mountain, with his gigantic physique and commanding personality. When we go through Sundara KANdam, we find it to be one long and continuous saga of Sri Hanuman’s adventures and exploits, in the service of His Lord and Master, Sri Rama. The KANda begins with a vivid account of Hanuman’s launch into the long, difficult and hurdle-filled flight across the ocean to Lanka, a feat none else would even contemplate, leave alone attempt. What follow are enthralling accounts of the MahAkapi’s rigorous search for Sri Sita, his timely arrival on the scene to prevent Sri Mythily from taking Her life and to extend assurances of imminent rescue by Sri Raghava, his vanquishing the minions, ministers and sons of Ravana in a patently unequal battle, his challenge to the demoniac king and departure to Kishkindha to convey the good news to the Prince of Ayodhya, leaving Lanka engulfed in flames.

Thus, from commencement to conclusion, this KANda is verily monopolised by the “Sundara”, Sri Hanuman, who is on centre stage, throughout.

3. What could be more beautiful than tales of the Lord and accounts of His handsomeness, valour, majesty, generosity and boundless compassion? Anything incorporating such a narrative definitely deserves the name “Beautiful Book”. The Sundara Kanda contains several such descriptions of Sri Raghava’s glorious physical and psychological traits. The 31st Sarga contains a detailed account of the IkshvAku Vamsam and Sri Rama’s glorious guNAs, the 35th a mouth-watering description of His matchless physical beauty, the 51st again a narrative of the Prince’s valour, prowess and compassion. With the recurring theme of Bhagavat divya mangaLa vigaraha varNanam and Bhagavat guNa anubhavam, there is little wonder that this portion of the epic is known as the Sundara Kanda.

4. Whether it be in physique or in character, could anyone hope to equal Sri Mythily, the epitome of womanly virtue and seemliness?

She is thus a real “Sundari”, beautiful beyond imagination and looking as if She was put together by the Divine Architect, using up all the stock of beauty on hand—“DEva mAyEva nirmitA”. It was a divine beauty, such as only the Divine Consort could possess. If we come to think of it, this Kandam devotes a major portion of its content to this “Sundari”, Her travails amidst the rAkshasIs of AshOka vanikA, Her encounters with the dastardly Ravana, Her compassionate advice even to Her abductor to perform Sharanagati at the Lord’s lotus feet, Her oscillation between hope and despair, Her meeting with Maruti and the consequent reassurance gained about imminent rescue by Her beloved and Her prayers for the safe return of Sri Hanuman to KishkindhA. Though the entire Srimad Ramayana is but a saga of Sita (“SItAyA’s charitam mahat”), yet the Sundara Kanda brings out the depth of Piratti’s character in all its glory, the glory of gold, which glitters all the more, when

Passed through fire.

To conclude, we can’t do better than to enjoy a verse of one of the erudite commentators on Srimad Ramayana, viz., Tilaka, who, instead of enumerating the beautiful things in this Kandam, queries us as to what is there in the Sundara Kanda, which is not Sundaram (beautiful). Everything about this Kanda is indeed beautiful—

1)the city of Lanka, which forms the picturesque backdrop for the momentous events of this Kanda,

2)the magnificent story narrated in the Kanda, with its numerous twists and turns, affording full scope for display of the nava rasAs, 3) the incredible beauty of Sri Janaki Devi, who forms the focal point of the narrative—

indeed everything about the Sundara Kandam is beautiful beyond depiction. Here is the beautiful verse from the “Tilakam”, a commentary on the great epic—

“SundarE sundarI LankA, sundarE SundarI kathA
SundarE sundarI SitA sundarE kim na sundaram”

SundarE SundarIm SitAm akshatAm MarutE: mukhAt
ShrutvA hrishta: tathaivAstu sa Rama: satatam hridi”.

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

dasan, sadagopan

All of us are gladdened by the chimes of the bell. When we were school children, the ringing of the bell at the end of the day spelled freedom from the academic prison and from gimlet-eyed teachers. It was what we (at least the less studious ones like me) used to look forward to, after lunch. Even after growing up, the mellifluous chimes of the bell have always fascinated us. I remember that cows in Tiruvallikkeni invariably had small bells hung around their necks, emitting tinkling sounds whenever the creatures moved their heads this way and that. (Only much later did I discover that the practice of tying bells around the neck of cattle was quite ancient, from Sri Tondaradippodi’s lines in Tiruppalliezhucchi—“Mettu iLa mEdigaL talai vidum AyargaL vEynkuzhal Osayum vidai maNi kuralum”). And the itinerant sweet-vendor had a bell hung underneath his pushcart and just used to pull the bell-rope to announce his arrival, rather than hawk his wares with raucous cries. The temple doors too used to be adorned with numerous small bells, which jingled and jangled whenever the doors were pushed open or closed. And children, with their penchant for making some form of noise or the other constantly, used to mark attendance at the sannidhi by invariably making these bells ring incessantly. The arrival of the temple elephant was always heralded by the mellifluous chimes of the ridiculously small bell hung around its huge neck, at which sound we children used to rush out of our homes in anticipation of the visual treat that the pachyderm always provided and for the fear-tinged pleasure of benediction by the touch of its trunk to our heads (which, incidentally, was done free of charge, compared to the current day elephants which have been trained to even look at you only upon payment of a rupee coin).

However, by far the best use of the bell is during the daily worship of the Lord (“TiruvArAdhanam”), be it at home or the temple. Whether it be for gently waking up the Lord from His yOga nidrA or feigned slumber, for lovingly offering Him water for washing His hands or feet, during His ceremonial bath, for submitting our humble offering of food, drink, incense or lighted camphor, sounding of the bell is mandatory, according to manuals of worship dotingly drafted by affectionate Acharyas.

The PAncharAtra SamhitAs impress upon us the indispensability of the Bell and the modes of its use, during the Lord’s worship. In fact, the JayAkhya SamhitA tells us that one who wishes to derive the full benefit of the TiruvArAdhanam

(viz., Bhagavat preeti) should never forsake sounding the bell during the same—

“PoojA kAlam vinA anyatra hitam nAsyA: prachAlanam
nAnayA tu vinA kAryam poojanE siddhim icchatA”.

This sloka also tells us not to sound the bell except during the Lord’s worship.

It is interesting to note the nuances in using the bell. For instance, on some occasions like opening the PerumAL sannidhi, offering Him water for wash, during His ceremonial bath and while offering Him incense and the lamp, the tongue of the bell should be made to touch only one wall of the bell. On the other hand, while offering Him lit camphor, food, drink etc., the bell’s tongue should move both sides, touching the opposite inner walls of the bell alternately. This is what the VAsudEva SamhitA tells us—

“GhantAyA: tAdanam kuryAt HarE: poojAdi karmasu
udghAtanE kavAtasya prastutE poojanE tathA
AvahanE arghyE snapanE vivAhE dhoopa deepakE
Bali karMaNi hOmE cha Eka pArsvEna tAdayEt
neerAjanE yavanikA samuddhArE nivEdanE
ParsvAbhyAm tAdanam kuryAt upachArAnatarEshu tu”.

The chimes of the sanctified bell represent the sweetest of strains from all musical instruments, just as Sri Hari is the embodiment of all gods. All auspicious sounds emanate from the GhantA (Bell), says the JayAkhya SamhitA—

“Sarva vAdya mayee ghantA sarva dEva mayO Hari:

GhantA shabda gatam sarvam tasmAt tAm chAlayEt purA”.

However, while offering the Lord incense or a lighted lamp, we have to necessarily use our left hand for sounding the bell. We are assailed by a

doubt here—would it be correct to lift and use the ghantA with our left hand, for, the right would necessarily be engaged in holding the incense or lamp? From all the aforesaid, the Bell appears to be such a sacred component of worship that touching or using it with our inauspicious left hand appears incorrect. This can be done, says the ShrIkara SamhitA (“Dhoopam dadyAt svayam kinchit ghantAm vAmEna nAdayEt”) for, if you insist on holding the bell in your right hand, then the lamp, camphor, incense etc. would have to be offered to the Lord with the left hand, which is absolutely unthinkable. However, while lifting the bell, the right hand should be used and thereafter its use on the aforesaid occasions should be with the left.

We thus find that the sounding of the bell is intended

1. to drive away evil spirits inimical to spiritual endeavours,

2. to notify devotees and kindred spirits of the ongoing ArAdhanam and invite their participation in the same and

3. to call upon dEvatAs to honour us with their presence and accept our ministrations.

There is an interesting tale about the Bell, worth narrating. All her efforts at safeguarding her milk and butter (from Krishna and His band of urchins) having failed to bear fruit, an ingenious Gopi hits upon the idea of tying bells to the ropes by which the pots of butter are suspended from the roof, so that any effort at reaching them would automatically set off the bells and sound an alarm. When He finds the bell, Krishna makes it a co-conspirator by requesting it not to ring and give Him away. How can anyone say no to a request from the absolutely enchanting boy, who is none other than the Parabrahmam itself? So the Bell agrees not to ring during Sri Krishna’s nefarious activities. Emboldened by such consent, Sri Krishna puts His beautiful hand into the butter pot, scoops up several handfuls, offers them to His acolytes and fondly watches them consume the same. True to its promise, the Bell remains silent. And finally, when Sri Krishna puts some butter into His own mouth and swallows, the Bell rings stridently, waking up the Gopi and all others within hearing distance. Angered by this apparent breach of trust by the Bell, Krishna queries it as to why it chose to ring just then, when He had begun to eat, having remained silent all along after the thievery had commenced. The Bell tells the Lord that it could not remain silent when the Paramapurusha was partaking of food, as it is the Bell’s honourable duty to ring whenever any offering is made to the Lord. Mollified by the extremely reasonable explanation, Sri Krishna forgives the bell and makes good His escape.

The glorious GhantA serving the Lord at Tirumala had a strange desire, almost eight hundred years ago—it wanted to be born as a human being. Dissatisfied with emitting just sweet and stentorian sounds without any profound purport, the Bell of TiruvEnkatamudayAn prayed to the Lord for a human birth: not any humdrum janmA, but that of a highly gifted and devoted individual, whose scholarship and bhakti would be the envy of all those who were born before or after him. And the Bell desired a path-breaking sojourn on Earth, spreading enlightenment and showing an easy path to Paradise.

“So be it!” said Srinivasa, granting His ghantA’s desire. Just as Sri Rama chose His parents with care (“Pitaram rOchayAmAsa vriddham Dasaratham nripam”), the Lord’s Bell too was pretty particular as to whom it was born to. After careful consideration and evaluation, the Bell chose a couple from Kancheepuram, one PuNdarIkAksha YajwA and TOtAramba, a pair renowned for their flawless devotion and impeccable conduct. To them was born the Bell, in the form of a male child of varied accomplishments, an amalgam impossible to find elsewhere.

Sri PrativAdibhayamkaram aNNA records this fact in his Saptati RatnamAlikA thus—

“AvirbhUti: yasya vamsAt anarghAt VaisvAmitrAt VishNu ghantA amsakasya
SrImAn sOyam sarva tantra svatantra: vaktA vyAkhyA sArvabhoumO vibhAti”

Within the young age of twenty, he had mastered all that was there to master and had earned the bountiful blessings of his Acharyas, Sri VainatEya and of Sri HayagrIva Himself, all of which made him a scintillating scholar, pleasing poet, lofty logician, perfect philosopher and, above all, a bhaktimAn beyond compare. Exhibiting in abundant measure the characteristics of his previous form as the Lord’s ghantA (bell), Sri VEnkatanAtha regaled scholars and the proletariat alike with his erudition, revealing the sweet and endearing chimes of the Bell. To opponents, he was verily a terror (“vibudha vairi varoothinee”), striking fear in their hearts with his irrefutable propositions and flawless formulations, reflecting the stern tones of the GhantA in driving away forces inimical to the Lord (“Daitya ripu ghantA”). Just as the tones of the GhantA provide the perfect accompaniment to the Lord’s worship, so do the devotional works of Swami Desikan, the recitation of which would endow us with the ideal emotional state conducive to adulating Emperuman. And just as the stentorian tones of the bell serve to frighten away demoniac and evil forces, Tooppul Pillai’s works too sound the death knell for the so-called philosophies of agnostics, atheists and others of their ilk who do not accept the authority of the Shruti, as also others of skewed perceptions (“Kudrishti”) who pay lip service to the Shruti but impose their own uninformed theories on it, in the name of interpretation.

Just as the bell’s chimes are heard over long distances, Sri Venkatanatha’s glory too spread far and wide, bringing him laurels and accolades, which, however, he shunned like serpents.

Our homes have been provided with calling bells, which visitors sound to gain admittance. Similarly, the gates of Sri Vaikuntam too are adorned with a beautiful bell, which we have to ring, for entry into Paradise. It is this bell that announces to the Lord our arrival at the gates of Paramapadam and it is at the sound of this bell that He rushes to welcome us with open arms, sending hordes of nitya sUrIs as an advance reception party. Once we propitiate this Divine Bell, which is none other than our revered Venkatanatha, our admittance into the Divine Residence is assured, for the Bell, in its special tones, sends a sweet-sounding message to Emperuman, announcing to Him the unblemished soul awaiting admittance into His abode and the need for His expeditious action in the matter. Sri Vedanta Desika has authored so many works in so many languages, all with Bhakti and Prapatti as the constantly recurring theme, that our acceptance of him and his illustrious successors as our preceptors would ensure for us emancipation. Once we adopt the simple but effective strategy of Prapatti, Sri Venkatanatha, the Lord’s Bell, emits sweet chimes that guide us unerringly from the mundane morass to the Promised Land, announcing simultaneously to the Lord our arrival for inclusion into His fold.

“Dharma trANAya ya: abhoot sa jayatu BhagavAn VishNu GhantAvatAra:”

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

dasan, sadagopan

We acclaim the glorious story of Sri Rama as an epic par excellence. It is for us a guidebook to righteous conduct, a pre-eminent work on psychology depicting ideal human relationships, a compendium on military strategy and war craft and a manual of administration. All these and other aspects are portrayed by Sri Valmiki through appropriate characterisation.

If we consider the totality of the Epic, we find that but for the Divine Duo, the most complete character appears to be Sri Hanuman. His wondrous, amazing and astounding exploits fill us with astonishment: the crossing of the ocean to Lanka, his dealing summarily with the hurdles that crop up in the process, his dare-devilry in the opponent’s capital, his affording reassurance both to the beleagured Janaki Devi and the sorrowful Chakravartthi Tirumagan, his exploits on the battle field, his transportation of the Sanjeevi Parvatam for the rejuvenation of Lakshmana?all these fill us with a feeling of incredulity, chiefly because of our inability to imagine anyone being capable of doing all this and emerging totally unscathed.

After achieving his avowed mission of locating the whereabouts of Sri Mythily and instilling in Her fresh hope of imminent rescue by Sri Raghava, Sri Maruti decides to let the Rakshasas have a taste of his prowess. Instead of quietly returning to Kishkindha as he should have done, Sri Hanuman indulges himself by disposing of several hundred Rakshasas, including some distinguished ones like JambhumAli and seven other sons of Ravana’s ministers, five of his top military commanders, AkshakumAra (the youngest son of Ravana’s) et al. And again in sport, he lets himself be bound by the BrahmAstra, out of regard for Brahma and permits himself to be brought to Ravana?s court, availing the opportunity to insult Lankesvara and sing the glorious praises of Sri Rama.

Burning with rage, Ravana wants to kill Hanuman, but is deterred by Vibhishana’s quoting the scripture in support of not killing a messenger. Instead, Ravana deems it a fit punishment for the monkey, to set fire to its tail, which he considers to be the worst humiliation that can be inflicted on the creature. Enthusiastic underlings immediately tie a lot of old clothes to Maruti’s tail, pour gallons of oil over it and set fire to the tail. And thousands of them join to pull Hanuman all over the streets of Lanka, bursting with pride at having captured and humiliated the incredible intruder.

When news of this is carried by Her jailers to Sri Janaki, She immediately prays to Agni Bhagavan not to hurt Hanuman “SeethO bhava HanUmata”. At the other end, Sri Anjaneya is extremely surprised to find his tail burning furiously but generating little discomfort for him. He decides to teach the Rakshasas a lesson they wouldn’t forget in a hurry.

With his burning tail, Maruti leaps over the houses of Ravana’s courtiers, choosing with care the magnificent residences of ministers and military commanders. With a mild swipe of his tail, Hanuman sets fire to these residences, which crumble to mere embers in a matter of minutes, due to the intensity of the heat. Paradoxically, Agni Bhagavan, who has no effect on the Monkey God, rages with all the fury at his command while burning down the Lankan houses. The list of victims reads like a Who’s Who of the Lankan high society: Prahasta, MahApArsva, Vajradamshtra, Suka, SAraNa, Indrajit, JambhumAli, SumAli, RashmikEtu, Suryashatru, HrisvakarNa, Damshtra, ROmasa, Vidyutjihva, KumbhakarNa and so on. Amidst all this spree of arson, Sri Maruti carefully spares the residence of Sri Vibhishana, venting his fury instead on the splendorous palace of Ravana.

From a glorious and teeming city filled with beautiful mansions with towers studded with gems, pearls and precious stones, roads and pathways full of rich adornments and valuable vehicles, Lanka is transformed within seconds into a blazing inferno, with huge tongues of fire leaping with facility from one beautiful building to another. The raging fire is fuelled by strong winds fanning the flames and fuelling their destructive potential. Hanuman’s act was akin to that of Rudra’s, in burning down the TripurAs. Unsatisfied with the havoc he has wreaked so far, Maruti leaps atop the TrikUta mountain and sets fire to its crest. Fanned by winds and due to the altitude, this fire spreads to all the hitherto unaffected parts of Lanka. It is as if Agni and Vayu, who had hitherto been held under tight leash by Ravana, had regained their freedom and were intent on wreaking vengeance on their tormentor. Viewed from the sky, Lanka resembles a huge burning ground, with most of its dastardly inhabitants forming live fuel for the raging fire. In the space of an hour, the entire city of magnificence and incredible beauty is reduced to glowing embers and burnt cinders.

The question now arises as to whether Sri Maruti exceeded his brief in burning down Lanka, when his principal mission was to find Vaidehi and report to Sri Rama accordingly.

After meeting Sri Mythily at Ashoka Vanam, Sri Hanuman lets himself be overpowered by Ravana’s minions and dragged to DasagrIvA’s presence, to deliver to him a message of goodwill and friendship from SugrIva and to convey his sincere request for setting Sita Devi free from captivity. Sri Hanuman’s speech at Ravana’s court is a model of diplomacy, containing not a single offensive word and aimed at achieving through tact and subtlety, what was possible normally only after a terrible war with lost lives and rivers of blood flowing freely. However, when Ravana turns a deaf ear to these pearls of wisdom and instead, turns firmer in his resolve to hold on to Sri Janaki and to inflict harm on Hanuman, the latter decides to teach the Lankans an object lesson, which would stay in their mind for long, if not forever. Through his fiery action, Sri Maruti was also conveying a message to Ravana about the shape of things to come, if he were to choose a path of confrontation with Sri Raghava.

The Ramayana Parayana sloka tells us that it was no ordinary fire that scorched Lanka, but one which had its origins in the sorrow of a PativratA, who was separated by force from Her beloved, incarcerated against Her wish and was being threatened to engage in adulterous affairs. The flames were stoked by no ordinary winds, but the deep distress of the LOkamAtA, who had sworn never to be separated from Her Consort, at being forced to be apart from Him for what appeared to be unending aeons. The tongues of fire were fuelled by the anger and fury of the chastest of women, at the Rakshasa’s attempts to force Her into adultery. It was thus the invisible but intense fire of sorrow and grief that was eating away the innards of Sri Mythily, almost driving Her to suicide, that transformed the lovely Lanka into a city of ashes and embers. All that Maruti did was to transfer the fire from the tormented mind of Janaki to the towering buildings of Lanka”

“ullanghya sindhO: salilam saleelam ya: shOka vahnim JanakAtmajAyA:
AdAya tEnaiva dadAha LankAm namAmi tam prAnjali: AnjanEyam”.

That the fires of hell are nothing before the destructive potential of a chaste woman who is wronged, is also borne out by more recent occurrences as that of the burning down of Madurai by KaNnagi, narrated in SilappadhikAram.

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

dasan, sadagopan

It is no exaggeration if we call Srimad Ramayana a Guide Book

for universal good conduct. It is so full of the right type of advice, that anyone who reads it could never go wrong. And the beauty is that the characters of Valmiki adhere so completely to what they preach, that the usual dichotomy between precept and practice is conspicuous in the epic by its absence.

One of the traits given much importance in the epic is Truthfulness or Honesty. We find characters praising each other for being invariable adherents to Truth. This quality is so basic to the work as to form the bedrock on which the entire magnificent epic is founded. Though Sri Rama might have had innumerable auspicious attributes (“BahavO Nripa! KalyANa guNA: putrasya santi tE”), Truthfulness leads the pack, with everyone adulating Raghava for His scrupulous honesty in word, thought and deed.

In the very first Sarga, we thus find Sri Rama described by Sri Narada as

“Dharmagya: Satyasandhascha prajAnAm cha hitE rata:”

How does Sri Rama conquer all the worlds—by His prowess with the bow and arrow or His undisputed valour? Neither, says Sri Valmiki, telling us that it is through His unvarying Honesty that Sri Rama triumphs over all world—“SatyEna lOkAn jayati, deenAn dAnEna Raghava:”. And again, when Dasaratha lists the glorious good qualities in his eldest son, it is Truthfulness that comes to his mind first—

“Satyam dAnam tapa: tyAgE mitratA soucham Arjavam
VidyA cha Guru sushrooshA dhruvANi EtAni RAghavE”

Not only is Sri Raghunandana personally honest, He encourages and facilitates the trait in others too.

Take for instance His conduct, when told on the eve of His coronation as the Prince of Ayodhya, that He was to leave the country instantly and reside in the jungle for fourteen long years. Receiving these instructions from His stepmother, Sri Raghava could very well have refuted them, as He had already been promised the post of Crown Prince. Had He done so, He would have been well within His rights and assured of popular support too. None would have found fault with Him, had He chosen to go through with the Coronation, as scheduled.

However, Sri Raghava meekly submitted to the machinations of KaikEyI, because He wanted His father the Emperor, to retain his name and fame as an adherent to Truth. Just for the sake of retaining the crown of Ayodhya, Sri Rama wouldn’t let His father incur the infamy of not keeping his word, lest the scrupulously built IkshvAku edifice of Honesty crumble due to a single act or omission, however painful it was to the persons concerned. We thus see how dear was the concept of Honesty to the heart of Sri Raghunandana.

We now come to Dasaratha’s side of the picture.

It was indeed true that he had promised two boons to Kaikeyi, at the time of the SambarAsura vadham. And, as the famed Emperor of the IkshvAku dynasty, it was his sacred duty to deliver on his promises, when called upon to do so. However, it is worth our while to research the options open to the Chakravartthi and the real concepts of Honesty or Truthfulness.

When Kaikeyi delivered the twin blows of seeking Sri Rama’s expulsion from Ayodhya and the Coronation of Bharata as the Crown Prince, Dasaratha knew very well that acceding to his Empress’ request might plunge the entire nation into anarchy. The People of Ayodhya had already indicated their choice of Rama as their ruler, in no uncertain terms, even hinting to Dasaratha that the earlier he vacated the throne, the better. What would the reaction of these masses be, when told that Rama was being asked to live in the jungle, instead of reigning over Ayodhya? Would there not be an uprising, leading to consequences too disastrous for contemplation? Should Dasaratha plunge the entire nation into possible mutiny and rebellion, merely to satisfy the wishes of an avaricious and obviously misled wife? Where did his duty lie, as an Emperor responsible for the welfare of millions of citizens who looked to him verily as their father? Was adherence to honesty worth it, in the face of such calamitous possibilities affecting the entire nation? ShastrAs tell us that on several occasions, speaking of untruth is justified—for instance, when one’s life is in danger, to save oneself, one might speak untruth, without the attendant stigma attaching to oneself. When sticking to his word and acceding to Kaikeyi’s requests would entail the possible loss of millions of lives of people who might decide to commit suicide rather than live in a state without their beloved Raghava, was it not adequate justification for resiling from his promise to Kaikeyi?

And what about his promise to Rama? He had categorically told his glorious eldest son that He would be the Prince of Ayodhya on the morrow (“ata: tvAm Yuva rAjAnam abishEksyami Putraka!”). In implementation of the Royal Decree, all requisite arrangements for the Coronation had been made. There was no doubt that the extremely obedient Rama would consent to the fourteen-year sentence without a word of protest—however, would it be fair on his (Dasaratha’s) part to go back on his word to Rama, in order to keep his promise to Kaikeyi? Merely because Rama was compliant and uncomplaining, could he, as a father, possibly impose on the blemishless boy a terrible punishment apropos of nothing, in the process of honouring his word to Kaikeyi, who had proved to be anything but a devoted mistress?

And honouring the promise to Kaikeyi would also result in breaking the word given to the denizens of Ayodhya, that Sri Rama would soon be their monarch? Did he not enthusiastically agree to their proposal for making Rama the Crown Prince?

“ahOsmi parama preeta: prabhAvascha atulO mama

yanmE jyEshttam priyam putram YouvarAjyasttham icchatha”

On the other hand, what would befall him, if he were to tell Kaikeyi to go to hell along with her boons and just refuse to honour his earlier promises, given in a moment of weakness?

Dasaratha realised that the stigma of untruth would definitely attach to him indelibly, bringing him ineradicable infamy and opprobrium, as an Emperor, a scion of the famed Ikshvaku dynasty, who couldn’t keep his word, whatever be the extenuating circumstances. Among his worst critics would be his own son, his darling Sri Rama, who would never countenance dishonesty in anyone, leave alone His own father. And this single untruth would be enough to mar the glory and goodwill earned over thousands of years of sincere reign over Ayodhya. Whenever anyone spoke of him subsequently, they would say, “Dasaratha! Oh! That Liar?”, referring disparagingly to his having been unable to keep his word to his own Empress. Books of history would casually gloss over his innumerable years of painstaking honesty, to label him a common liar.

With all these cruel thoughts buffeting him from every side, what does Dasaratha decide? Sri Valmiki gives us a graphic account of the devastating dilemma Dasaratha finds himself in, bound on all sides by bonds of honesty and righteousness—

“Sa Satya vachanAt RajA dharma pAsEna samyata:”.

By the time Dasaratha recovers from his long faint, he finds Rama come to take leave of him, all ready for departure for the forest. Dasaratha realises then that the decision had been taken out of his feeble hands, with Sri Rama having made up his mind to accept jungle life, in preference to a life of palatial comfort at Ayodhya. Still, he tells Rama to overthrow him (Dasaratha) and assume the reigns of Ayodhya, which Rama respectfully declines.

It would be instructive to note the arguments advanced by Sri Rama for choosing a life of hardship and privation, over one of over lordship of Ayodhya.

1. Rama says that He would not be the reason for the Chakkravarthy’s words turning to untruth—

“na mE kAryam tvayA anrutam”. Of all people, let Me (who have espoused Honesty and Truthfulness as my life’s mission) not be the provocation for your acquiring the stigma of truthlessness, says Sri Rama. The Lord prefers to see His father stick to the narrow but difficult path of Satyam, irrespective of consequences, rather than tread the easy and comfortable trail of untruth—“TvAm aham Satyam icchAmi na anrutam Purusharshabha!”

2. To Rama, it is a question of personal honesty too, for, having promised to Kaikeyi that He would unprotestingly go to the forests and renounce His claim to the throne of Ayodhya for fourteen years, if He were to listen to Dasaratha now and refrain from leaving Ayodhya, it would be a breach of the promise made to the stepmother. Even in His dreams, Rama wouldn’t contemplate going back on His word, as He Himself reiterates—

“anrutam na ukta poorvam mE, na cha vakshyE kadAchana”

“RAMO dvi: na abhibhAshatE”.

Hence Raghunandana tells Dasaratha that as promised, He must immediately leave for the forests—

“artthitO hyasmi KaikEyyA vanam gaccha iti Raghava!
MayA cha uktam vrajAmi iti, tat Satyam anupAlayE”

Thus, looked at from any angle, it was the desire to accord Honesty the lofty pedestal that it was used to in the reign of IkshvAkus, that prompted Sri Rama to accept immediately and uncomplainingly the deadliest of instructions from His own stepmother whom He had been regarding with greater love than for His own mother. Neither would Rama utter untruth and go back on His own hallowed words, nor would He permit such conduct in those near and dear to Him, even if it would result in His shouldering indescribable suffering.

Even to save Himself from the cruel jaws of death, Sri Raghava would never utter an untruth, says Sri Mythily to Hanuman, putting Sri Rama’s philosophy in a nutshell—

“dadyAt na pratigrihNeeyAt Satyam brooyAt na cha anrutam
api jeevita hEto: hi Rama: Satya parAkrama:”

Amidst all this, somewhat funnily, we find Sri Rama adducing His father’s instructions as the reason for His jungle sojourn (“Pitu: vachana nirdEsAt, KaikeyyA: priya kAraNAt”), though Dasaratha never tells Him in so many words to leave Ayodhya: in fact, the embattled Emperor tries his best to dissuade Rama from going to the jungle. The reason is that Sri Rama accords high credibility to His stepmother’s words, as if they were His father’s own—

“Mannavan paNi endrAgil num paNi maruppEnO?”.

Despite such overwhelming obsession with Honesty, would you be surprised to hear that Sri Raghunandana prompted someone to tell a deliberate untruth? Before you rise up in arms to castigate me for casting aspersions on the “VigrahavAn Dharma:”, let me narrate what happens when Sri Rama ascends the chariot which is to take Him to the forests. Sri Rama’s eyes fill with tears at the sight of His mothers, the doting denizens of Ayodhya and above all, His aged father the Emperor, all assembled with heavy hearts and tear-filled eyes to watch Him embark on His jungle sojourn. As the horses are given the command to go, the chariot starts its unpleasant task of rolling off with its distinguished occupants. Unable to bear this parting from the dearest of his sons (“RamO rati kara: pitu:”), Sri Dasarata shouts to Sumantra the charioteer, to stop, so that he could have a last word, a last embrace, a last glimpse at the glorious features of Sri Rama. However, the Lord tells Sumantra to hasten and drive the chariot off fast. Sumantra is torn between the conflicting orders he receives from Father and Son—

“Tishtta iti RAjA chukrOsa, yAhi yAhi iti Raghava:
Sumantrasya babhoovAtmA chakrayOriva cha antarA”

At this juncture, Sri Rama tells Sumantra, “Do drive off fast. If the Chakravartthy asks you later why you didn’t stop, you could tell him that you didn’t hear his words in all the crying and breast-beating that was going on—

“na asrousham iti RajAnam upAlabdhOpi vakshyasi”.

Can you believe your eyes and ears– Sri Rama, the paragon of virtue, the embodiment of Satyam and Dharmam, telling the charioteer to utter a blatant lie!

It is here that we must remember that the concepts of Satyam (Honesty) and Dharmam (Righteousness) are not absolute, but vary according to time, place, occasion and persons. As Sri Rama Himself is to point out during the Vali vadham episode, the nuances of Dharma are indeed difficult to discern for ordinary mortals like us—“Sookshma: parama durgyEya: satAm dharma:”.

Sri Rama provides enough justification for His asking Sumantra to ride off oblivious to Dasaratha’s entreaties and to tell the Emperor later that his cries were drowned in the general tumult. To the surprised Sumantra, who is astounded at the request from Rama, of all people, to utter an untruth, Sri Rama says that there is no point in prolonging grief both to oneself and others. Even if Sumantra were to stop as requested by the Emperor, it would only elongate the suffering both the father and son would feel in the parting, each moment of lingering feeding the already unbearable grief—

“chiram du:khasya pApishttam iti Rama: tam abraveet”.

It is hence that Sri Rama instructs Sumantra to hasten and to offer excuses to the Emperor for not listening to him. And in doing so, Sri Rama is adhering to the Shastraic dictum to speak the Truth, but only if it is Sweet. If such Truth is harmful to the listener, then it is better left unsaid—“Satyam brooyAt Priyam brooyAt, na brooyAt Satyam apriyam”. Would it serve any purpose for Sumantra to tell Dasaratha, upon inquiry, the truth that it was at the behest of Sri Rama that the chariot was driven off, despite the Emperor calling for it to stop? This would have only heightened Dasaratha’s already overwhelming grief. This would therefore have been an example of “Satyam apriyam” and it was to avoid this that Sri Rama advises Sumantra to offer an excuse, though not really the truth.

Thus, the nuances of Truth and correct conduct are to be learnt not through our own concepts of good and bad or from the pages of unresponsive books, but from the behaviour of acknowledged paragons of virtue—“MahA janA: yEna gata: sa panthA:”.

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

dasan, sadagopan

“ommAcchI, kai kooppu” is what our parents told us to do, in our childhood. And it is what their parents told them to, when they in turn were children. Thus, as a tradition, we have been taught to fold our palms in supplication, when standing before the Lord. What exactly does this gesture, which has been in vogue from time immemorial and is being passed on from one generation to another, actually mean? Is it based on some scriptural authority or is it just an empty mannerism which, rightly or wrongly like so many others of its ilk, has somehow survived the test of time?

Scripture refers to this gesture of supplication with folded palms, as “anjali”. And references to this anjali are numerous and adulatory, be it in Srimad Ramayana, Sri Mahabharata, Puranas or Acharya sreesooktis. The greatness and glory of this simple gesture are so vast that Swami Desikan thought it fit to author a separate work on the same, titled “anjali Vaibhavam”. Sri Alavandar has enshrined the significance of this gesture in his Stotra Ratnam, while other Acharyas too are not lacking in glorifying the greatness of anjali.

If we look into the etymological structure of this word, we find it to be extremely significant—“am jalayati iti anjali:”—this tells us that the apparently simple folding of palms is so potent that it completely floors the Lord and melts Him down, making Him abandon all idea of awarding commensurate penalty for our innumerable misdeeds. “am” in the aforesaid sentence refers to the Lord, who is represented by the letter “A” (“akArArtthO VishNu:”). Sage BharadvAja tells us that this anjali is the best of all gestures and secures for us the favours of the Lord , with all expedition—“anjali: paramA mudrA, kshipram dEva prasAdinI”. There are any number of good deeds which earn us merit and ultimately afford us liberation from this mundane morass—cleaning up the Lord’s temple, adorning it with floral designs, fashioning garlands for Emperuman out of fragrant blooms, lighting up the Lord’s abode with lamps lit with ghee, gingelly oil etc., circumambulation of His sannidhi, prostrating before Him in such a way that all eight parts of the body touch the ground (“sAshtAnga praNAmam”), constant contemplation on esoteric formulations incorporating His hallowed names (Mantra japam), engaging in melodious exposition of His praises and so on. If the ultimate aim of all these endeavours is to please the Lord, then one need not resort to all these at all, and could confine himself to a mere anjali, which is more powerful than all the aforesaid in earning us the Lord’s pleasure. Whatever merits the other kainkaryams listed above might earn us in course of time, a single gesture of folded palms secures for us in a trice, says Sri Bharadvaja—“Kshipram dEva prasAdinI”.

Sri Alavandar devotes a full verse to adulate this anjali—

“ tvat anghrim uddisya kadApi kEnachit yathA tathApi sakrit krita anjali:
tadaivam mushNAti asubhAni asEshata: subhAni pushNAti na jAtu heeyatE”

Each word of this verse is pregnant with meaning.

“Tvat anghrim uddisya”—This gesture is meaningful only if addressed to the Lord. Anjali to all and sundry human beings or to lesser dieties would not bring us any lasting benefit.

“kadApi”—There is no time specification for anjali. Unlike Sandhyavandanam which can be performed only at the confluence of the three sandhIs, unlike Mantra japam which requires purity of body and soul, unlike yAgAs and yagyAs which too are time-specific, this gesture of folded palms can be adopted any time, with absolutely no restriction. Night or day, summer or winter, full moon or new moon, makes no difference for joining our palms in supplication to the Lord. We can do it the moment we develop the urge.

“kEnachit”—Performing sacrifices is the prerogative of the traivarNikAs. BrahmachArIs alone can perform SamidAdAnam. Only males of the aforesaid group can imbibe and propagate the Vedas. Unlike all these restriction-bound deeds which are subject to constraints of VarNa, Ashrama etc., anjali falls within the domain of everyone, irrespective of cast, creed, colour, age or sex.

“yathA tathA vApi”—Most of the karmAs which earn us merit have to be performed in a particular fashion. Doing them otherwise would not only deny us of the intended fruit, but would also prove counter-productive. We thus hear of TvashtA begetting a son who would be killed by Indra, while his actual prayer was for an offspring who would end Indra’s life, all because Tvashta erred in the intonation of a Veda mantra. We hear of Brahmins turning into BrahmarAkshasAs due to shortcomings in the performance of sacrifices. Unlike all these rule-bound deeds, an anjali can be executed in any fashion.

“Sakrit krita:”—While most of the meritorious deeds require repetitive performance, a single performance of anjali destroys all inauspiciousness and builds up all that is good for us.

Why is this simple gesture touted to be such an effective instrument in accomplishing such exalted goals? Because it signifies the surrender of one’s soul, the absolutely priceless offering which is relished by Emperuman. If we consider the “anjali” mudrA, the palms folded together resemble a lotus bud, which is also the shape of our heart (Hridaya Kamalam)—“Padma kOsa prateekAsam hridayam chApi adhO mukham” says the Narayana anuvAkam. Just as the lotus is the best of flowers one can offer the Lord, our heart and the soul resident therein, are indubitably the most valuable of tributes that we can submit at His feet. It is thus that the anjali pleases Emperuman no end, signifying, as it does, the ultimate offering that can be submitted by anyone. And a tip here about the folded palm, learnt from elders—the palms should not be pressed flat together, but held loosely together with the tips of the fingers touching one another, so that the joined palms resemble a lotus.

A further beauty of the anjali mudrA is that while it represents a gesture of surrender to the arcchA murtthi we stand before at the Sannidhi, it simultaneously envisages obeisance to the Inner Dweller, the antaryAmi, who is forever resident in our hearts and souls. The position of the palms in this mudrA is such that it is in line with our chest, inside which is situated our heart, in which is enshrined the Lord, in His form as the “HArda” or the Inner Dweller.

We might adorn the Lord at temples with any number of the most brilliant of gems and jewels made of the most precious of metals, but the ornament the Lord likes the most is our “anjali”, the simple gesture of folded palms with an accompanying attitude of self-surrender, says Sri Nammazhwar—

“dEsamAna aNikalanum en kai kooppu seigayE”.

Just as a diamond’s brilliance is enhanced by a glittering gold setting, so too the efficacy of the anjali is heightened by certain accompaniments, says Sri KulasekharAzhwar. The palms folded in obeisance should be accompanied by a head bowed in devotion, hairs standing erect with the intensity of Bhagavat anubhavam, a voice made extremely shaky with emotion, eyes full of tears occasioned by depth of feeling for the Paramatma and so on, all of which cumulatively take us to unimaginable heights of sublime spiritual experience. It is those who have all these external signs of devotion, whose constant company we should crave for, says Azhwar. Here is the beautiful sloka from Sri Mukunda MAlA—

“baddhEna anjalinA natEna shirasA gAtraischa rOmOdgamai:
kanttEna svara gadgadEna nayanEna utkeerNa bAshpAmbunA
nityam tvat charaNAravinda yugaLa dhyAna amruta AsvAdinAm
asmAkam SaraseeruhAksha! satatam sampadyatAm jeevitam”.

However, many a folded hand hides a lethal weapon, as happened in the case of MahAtmA Gandhi, whose life was taken by NAturAm GhotsE, hiding a pistol between his folded palms. People like me are very much like Ghotse, for the anjali mudra addressed to the Lord often hides an attitude of ahankAram and MamakAram (Pride and Possessiveness), both of which are deadly weapons causing extensive damage to the soul. These “kAram”s, apart from being hurtful to oneself, also bring tears of pain and sorrow to Emperuman, who is saddened at the incorrigibility of the human race despite His efforts for its emancipation. Hence, it is not enough to simply fold our hands, for anjali to be effective and rewarding—all the external accompaniments as prescribed by Sri Kulasekhara Perumal should be there. More important than these, we should make the anjali with the right attitude of mind, with our souls shorn, at least for the moment, of the stigma of the crippling ahankAram and killing MamakAram. “Easier said than done!”, I hear readers remark sceptically, but all this comes out of constant practice, as Sri Krishna tells Arjuna—“abhyAsEna tu KountEya!”.

We have been talking about weapons lurking between folded palms. Swami Desikan says, however, that the folded palms are themselves a weapon and the most potent of them at that. You can imagine the efficacy of this missile, if I tell you that it has the capability of flooring Emperuman Himself and of proving to be an effective shield against any arrows that the Lord might let loose against us, fed up with our constant transgression of His dicta. In His anger at our unrepentant attitudes and continuing crimes against ourselves, humanity and the Lord, the Lord often considers possibilities of punitive action, when all else (SAmam, bhEdam and dAnam) fails. And He lets loose against us arrows of token punishment for our sins. However, even the Lord’s weapons loose their efficacy, when confronted by our gesture of “anjali”. This potent weapon in our hands melts down the Lord to such an extent that He throws down bow and arrow, forgets everything about chastising us and comes running to embrace us and to take us to His abode, to treat us to the eternal and boundless bliss that He Himself enjoys at Paramapadam. Thus even the most potent of punitive arrows lose their cutting edge and become mere blunt and impotent missiles, when warded off with the weapon of anjali, says Swami Desikan in Sri Varadaraja Panchasat—

“HastIsa! Du:kha visha digdha phalAnubandhini
Abrahma keetam aparAhata samprayOgE
Dushkarma sanchaya vasAt duratikramE na:
Pratyastram anjali: asou tava nigrahAstrE”

Anjali is thus both a protective weapon (guarding us against exemplary divine retaliation on account of our sins) and an offensive one, flooring the Lord with a single shot, making Him feel compelled to rush to our rescue from the mundane morass.

Is there any doubt in declaring Anjali to be The Ultimate Arsenal?

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

dasan, sadagopan