Lingashtakam Mantra

                                                             Lingashtakam Mantra

Brahma Murari surarchita Lingam
Nirmala bhasita sobhita Lingam
Janmaja dukha vinasaka Lingam
Tat pranamami Sadasiva Lingam

I bow before that Lingam, which is the eternal Shiva,
Which is worshipped by Brahma, Vishnu and other Devas,
Which is pure and resplendent,
And which destroys sorrows of birth.

Devamuni pravararchita Lingam
Kamadahana karunakara Lingam
Ravana darpa vinasaka Lingam
Tat pranamami Sadasiva Lingam

I bow before that Lingam, which is the eternal Shiva,
Which is worshipped by great sages and devas,
Which destroyed the god of love,
Which showers mercy,
And which destroyed the pride of Ravana.

Sarva sugandhi sulepita Lingam
Buddhi vivardhana karana Lingam
Siddha surasura vandita Lingam
Tat pranamami Sadasiva Lingam

I bow before that Lingam, which is the eternal Shiva,
Which is anointed by perfumes,
Which leads to growth of wisdom,
And which is worshipped by sages, devas and asuras.

Kanaka maha mani bhushita Lingam
Paniphati veshtitha shobhita Lingam
Dakshasu yajna vinashana Lingam
Tat pranamami Sadasiva Lingam

I bow before that Lingam, which is the eternal Shiva,
Which is ornamented by gold and great jewels,
Which shines with the snake being with it,
And which destroyed the Yagna of Daksha.

Kumkuma chandana lepita Lingam
Pankaja hara sushosbhita Lingam
Sanchita papa vinashana Lingam
Tat pranamami Sadasiva Lingam

I bow before that Lingam, which is the eternal Shiva,
Which is adorned by sandal paste and saffron,
Which wears the garland of lotus flowers,
And which can destroy accumulated sins.

Devaganarchita sevita Lingam
Bhavair bhaktibhi revacha Lingam
Dinakarakoti prabhakara Lingam
Tat pranamami Sadasiva Lingam

I bow before that Lingam, which is the eternal Shiva,
Which is served by gods and other beings,
Which is the doorway for devotion and good thought,
And which shines like billions of Suns.

Ashtadalo pariveshtia Lingam
Sarva samudbhava karana Lingam
Ashtadaridra vinashana Lingam
Tatpranamami Sadashiva Lingam

I bow before that Lingam, which is the eternal Shiva,
Which is surrounded by eight petals,
Which is the prime reason of all riches,
And which destroys eight types of poverty.

Suraguru suravara pujita Lingam
Suravana pushpa sadarchita Lingam
Paratparam paramatmaka Lingam
Tatpranamami Sadashiva Lingam

I bow before that Lingam, which is the eternal Shiva,
Which is worshipped by the teacher of gods,
Which is worshipped by the best of gods,
Which is always worshipped by the flowers,
From the garden of Gods,
Which is the eternal abode,
And which is the ultimate truth.

Lingashtakamidam punyam
Yat Pathet Shivasannidhau
Shivalokamavapnoti
Shivena saha modate.

Any one who chants the holy octet of the Lingam,
In the holy presence of Lord Shiva,
Would in the end reach the world of Shiva, ,
And keep him company.

Arunagirinathar

                                       GREAT AUTHOR OF THIRUPPUGAZH

Great sages have attained enlightenment after going through an elaborate process of meditation, contemplation and sacrifice. They have devised certain eternal principles to be followed. These principles which define an ideal way of life have come to be known as Sanathana Dharma. Time and again, there appeared saints to remind us of the need to adhere to these principles, the need to maintain our rich cultural heritage and the need to uphold our high spiritual values. The saints interpreted the Vedas in a lucid style and awakened the consciousness of the people. By explaining the worldly objects as material and spiritual, myths and reality, they stressed the ideals of truth and directed humanity to the correct destination. They have explained the relevance of these principles even in the changing world conditions. They continue to show us the path of perfection that leads to ultimate state of God realization and salvation.

Great saints have hailed the glory of Muruga, like Veda Vyasa (Kanda Purana), Adi Sankara (Subramanya Bhujangam), Kachiappa Sivachariyar (Kandha Puranam), Nakkeerar (Thiru Murugatru Padai), Kalidasa (Kumara Sambhavam) and the list goes on like Pamban Swamigal, Vannacharapam Dhandapani Swamigal, Chidambara Swamigal etc. Thiruppugazh, composed by saint poet Arunagirinathar is unique because it brings before us the image of Lord Muruga in full splendour and glory and bestows us the abounding grace of Muruga. Among many saints who guided humanity to the path of perfection, Arunagirinathar occupies a unique position. His songs not only kindle the flame of devotion in the minds of people but also the light of knowledge in the intellect. He showed the way to the life of virtue and righteousness. He showed the way to the Lotus Feet of Muruga.

All devotional works hail the glory (Pugazh) of the Lord and come under the category of Thiru Pugazh, but only Arunagirinathar’s works got that title because he alone described, in his own exquisite poetic style, the glory of the Lord truly, completely and magnificently. No other works portrayed the glory of the Lord so eloquently, elegantly and elaborately as did Arunagiri and therefore only Arunagirinathar’s works have acquired the name, quite appropriately, as “Thiruppugazh”. His works therefore rightly deserved the name “Thiru Pugazh”.

Arunagirinathar was born in 15th century at Thiruvannamalai. As his father expired soon after his birth, his mother, Muthamma and sister, Adhi, brought him up. They aspired to bring him up in the rich cultural and religious tradition. Arunagiri showed a receptive mind and even studied the scriptures but gradually his interests turned elsewhere. The mother and sister were there to love him but the father was not there to discipline him. Overtaken by disease and dejection, Arunagiri decided to end his life and fell from the tower of Thiruvannamalai temple. But rather than falling to the ground, he found himself in the hands of a saviour. “You are not born to die. You are born to save lives. You are not born to fall but make others rise. You are born to fulfill a divine mission. You are the chosen one to sing the glory of Lord Muruga.” said the saviour, who was none other than Lord Muruga Himself. Arunagiri, who has been rescued from the darkness of death, now found himself before a power that radiated brilliant rays of brightness. He now got the vision of Lord Muruga.

Arunagiri could not believe his eyes and ears. Lord Muruga was standing before him majestically, holding the sparkling Vel (lance), His Mayil (peacock) nearby and exuding an aura of charm and splendour. It was as if all the power, beauty and knowledge of the universe had personified and descended on earth. Overwhelmed with emotion and wondering how he became worthy of such an enormous grace, Arunagiri folded his hands and bowed in reverence. Words failed him. The Lord, full of mercy, blessed him, conferred him the saintly advice (Upadesa) and set out the sacred tasks before him. Arunagiri was delighted at being initiated to saint-hood direct by Lord. According to legend, it was Arunagirinathar, who had the fortune of belonging to the “Blessed Three” who received the saintly advice (Upadesa) direct from Muruga, the other two being Lord Shiva and Saint Agasthiyar. Having got the blessings of Muruga, Arunagiri composed and rendered extempore, his first song “Muthai Tharu...”

Aiming at God realization, many saints followed the path of knowledge (Gjnana). They went through the hard path of struggle and sacrifice. They denied themselves the basic necessities for the achievement of their aim. But the case of Arunagirinathar was different. He did not undergo any penance or meditation. He did not undergo any path of struggle. Yet, for some strange reasons, he qualified himself to the grace of the Lord. While other saints, having led a life of virtue, realized God at the end, Arunagiri, having pursued the path of pleasure, realized God at the very beginning. Strange indeed are the ways of God. There was something in him, beyond all his weaknesses that made Lord to choose Arunagiri as His ideal disciple. Perhaps, it was the devotional bend of mind that remained dormant in Arunagiri’s heart. Perhaps, it was his genuine sense of guilt or eagerness to atone for his sin. Perhaps, it was his inherent strength to rise up to the high task expected of him. Whatever that be, Arunagiri proved himself worthy of Lord’s finest Messenger. Arunagiri rose up to the occasion, came out of his world of illusion, lived up to the high demands of his new role and admirably fulfilled the divine task expected of him.

Arunagiri then proceeded to Vayalur and prayed before Lord Muruga. It is believed that the Lord again appeared before him in the form of a person and ordained him: “Sing about Me, about My Vel (lance), about peacock (Mayil) about Seval (rooster) about Vayalur and about my various other abodes”. “It is indeed a rare honour to be able to sing Thy glory”, Arunagiri said and prostrated before Vayalur Muruga in total submission and surrender. After worshiping the shrine of Poyya Ganapathy nearby, he set out his historic journey; the journey that took him many holy places and gave him an illuminating experience.

Many saints derived inspiration from temples like Saint Sri Ramadas from Bhadrachalam, Sri Ramana Maharshi from Tiruvannamalai and Bhattathiri from Guruvayoor. Arunagirinathar received enlightenment from Tiruvannamalai and Vayalur. While Tiruvannamalai transformed Arunagirinathar into an enlightened sage, Vayalur made him an erudite scholar. Arunagiriathar composed number of songs on Muruga in his inimitable style. What provided stimulus for his songs was his 'temple experience'. It was an enlightening experience for him to visit the six abodes of Muruga, Tiruchendur, Tirupparamkundram, Tiru Avinangudi, Swami Malai, Tiruthani and Pazhamudhir Solai, where Lord Muruga performed various acts of bravery, marriage, renunciation, enlightenment and redemption.

Arunagirinathar visited over 300 temples of Shiva, Muruga, Vishnu and other deities. Every temple had a unique history of its own. Impressed by the sanctity, the power and importance of the temple, Arunagirinathar composed songs on the Lord, bringing forth all the unique characteristics. While referring to the history of a temple, we often find special mention being made about Arunagiri's visit there, as if his mere visit has brought sanctity and sacredness to the temple. After an extensive of visit of temples, Arunagiri returned to Tiruvannamalai to lead a quiet life of devotion. The King Prabhuda Devaraja honoured him and granted him the privileged status of a 'Poet of the Royal Court'.

It is believed that Arunagirinathar composed over 16,000 songs but only 1365 songs have been traced. Having had the vision of Muruga and the experience of realizing Him, Arunagiri extolled the various divine qualities of the Lord, His benevolence, His knowledge, His valour and courage, His exquisite beauty and brought all His magnificence into full focus in his Thiruppugazh. In the song: “Thandayani Vendayum, Kinkini Sadhangayum” he likened the beautiful face of Muruga to that of an effulgent and exuberant moon. He did not differentiate between Shivite and Vaishnavite thoughts and ended his song addressing Muruga as “Perumale”, the term normally used by Vaishnavites to address Lord Maha Vishnu. He referred Muruga as “Malon Marugane” (Son-in-law of Maha Vishnu - Thirumal), as, according to legend, Muruga's consorts, Valli and Deivayanai were daughters of Thirumal in their previous births. Arunagirinathar conveyed messages of truth and Dharma by citing instances from Ramayana and Mahabharatha. Villiputhoorar, a rival poet of his time, challenged Arunagirinathar for a show of talent and skill. Arunagirinathar then composed Kandhar Andhathi and Villiputhoorar conceded defect for not being able to comprehend the 54th stanza.

Kandhar Alamgaram, an ornament of verses Arunagirinathar made for adoring Muruga vividly portrays the splendour of the Lord from His sacred head to His Lotus feet. It is believed that just as Thiruvachagam would please Lord Shiva, Kandhar Alamgaram would please Lord Muruga. Kandhar Anuboothi, containing 51 stanzas, depicts Arunagirinathar’s experience of having received the saintly advice (Upadesa) and having experienced the presence of Lord Muruga. It is said that Anuboothi which means divine experience is the quintessence of all Arunagiri’s works. Arunagirinathar also composed hymns (Virutham) on Vel (lance), Mayil (peacock), Seval (rooster), Thiru Ezhu Kootrirukkai, Thiruvakuppu and Velaikkaran Vakuppu. All these songs are ideal for daily prayer and one who renders them with devotion is sure to overcome the hovering storm and sail through the ocean of life smoothly.

Arunagirinathar says, so long one has the grace of Lord Muruga, the mighty Lord of Death, Yama Raja, cannot come near. There is a general impression that death is something untoward, something ‘unfortunate’, and something to fear about. One who has the actual knowledge of death fears not. Death is not an end in itself. Death occurs only to the body and not to the soul. Death means transition of the soul from a temporal world to an immortal world, from material to spiritual and from Maya (illusion) to real. This view is expressed in the dialogue between God of Death (Yamaraja) and Naciketas, the nine year old inquisitive boy as revealed in Kathopanishad and one finds almost similar views in Arunagirinathar’s works.

Arunagiri had not received any formal learning. He had no opportunity to study scriptures in depth. In fact, he spent time seeking pleasure. It defies reason how such a person could compose a magnum opus like Thiruppugazh that equals the knowledge of the Vedas? Arunagirinathar himself answers this question: "This knowledge, this talent, this eloquence and this skill do not belong to me. They are the gift of Lord Muruga". (Yam Odhiya Kalviyum Em Arivum). It was the enormous grace of Muruga that helped him to compose a work of such magnitude and find answers to various human problems.

Arunagirinathar used the pleasing medium of music and the sweet language of Tamil to commune with God. He composed Thiruppugazh in the Chandam style which means setting the verses in metre, conforming to beats or rhythm. Varying rhythms were in-built into the songs in a way that every song has a distinct Thala or time measure. Tamil language has acquired a unique dimension and sanctity in the hands of Arunagirinathar who blended it with the divine language of Sanskrit. Going through his songs, it would seem that Tamil has rarely been handled so beautifully in poetic verses before. According to Tamil scholars, the poetic expression of Arunagiri, his language and style, the metaphors and similes he used, all went into making his works an outstanding literary masterpiece. “Villukku Vijayan, Vakkukku Arunagiri” so goes a Tamil saying. “If Arjuna is known for his archery power, Arunagiri is known for his vocabulary power”.

As Arunagirinathar composed Thiruppugazh after receiving the enlightened Advice (Upadesa) from the Lord, his songs acquired an inherent strength and power and those who render these prayers would find fulfillment in life.

The seventh and ninth centuries witnessed a phenomenal rise in Shiva worship. The 63 Nayanmars hailed the glory of Lord Shiva in magnificent verses. They brought a new impetus to Bhakthi movement. It heralded a new era of Shaiva Sidhanta. Shaiva Sidhanta is a formalized doctrine on Shiva worship and is ranked as one of the highest systems of human thought. Though originated in Kashmir region around 250 BC, it prospered in Tamil Nadu. It postulated the theory of Shiva Yoga, the path of enlightenment leading to ultimate integration of the soul with the Supreme Power. Panniru Thirumurai is an excellent collection of devotion that forms the basis of Shaiva Sidhantham. Composed independently and in combination by 27 saints, these twelve works extend to 18,000 songs and are considered as inexhaustible source of knowledge and devotion. The four saints, popularly known as “Nalvar” took the glory of Shiva to all time high. Shaiva Sidhantam has taken deep root in Tamil soils

The advent of Arunagirinathar gave another direction and brought Muruga at the centre stage of worship. Though Muruga worship was prevalent even from the period of Tholkappiyam, it was Shaiva Sidhantam that prevailed all over. Great many Shiva temples leaped towards the sky like Thiru Annamalai, Brahadeeswarar, Jalakandeswar, Sundareswar, Chidambaranar, Sanghameswarar, Ardhanareeswarar, Nellayappar, Thayumanavar, Vaitheeswarar, Kapaleeswarar, Patteeswarar etc. Though Arunagirinathar himself worshipped at Shiva temples and drew inspiration from saints like Gjana Sambhandar, he highlighted the glory of Muruga, as never before. The songs of Arunagiri have brought the glory of Muruga to an all time high. Muruga, already known as Thamizh Kadavul, became the Lord most loved, adored admired and worshiped.

With every word selectively chosen like a flower, the song that Arunagiri composed brightened up as a colourful garland. While saints appreciated the depth, range, and message, scholars appreciated the diction, poetic excellence and the literary richness, devotees found in Thiruppugazh a novel, easy and pleasant form of worship. Literary critics hailed Arunagiri as the master craftsman of letters. Never before, there was a poet of such distinction and erudition. Never before, literature and devotion blended so harmoniously. It is difficult to judge who is greater, the poet Arunagirinathar who composed the verses with remarkable skill or the saint Arunagirinathar, who propounded the doctrine of devotion (Bhakti) in a convincing manner. Needless to say, it is his devotion towards Muruga that helped the poet in Arunagiri to bloom in full colours. The immortal works of Arunagirinathar would continue to inspire the spiritual aspirants for many more years to come.

Sri Sachidhananda Swamigal dedicated his entire life to highlight the glory of Thiruppugazh. Seshadri Swamigal described Thiruppugazh as the Maha Mantra that would transform the life of devotees Thayumanavar said: “Oh Arunagiri! Who else can compose a word of truth as beautifully like you” (‘Ayya Arunagiri’). Chidambara Swamigal said: “Oh Thiru Porur Kumara, as your enchanting body is adorned with garlands composed by Arunagiri and Nakkeerar, I feel the fabulous fragrance from you.”. Arunachala Reddiar said the songs of Thiruppugazh are so powerful that they would reverberate all over the world. Many saints hailed the glory of Arunagiri in the form of Pillai Thamizh and Sannidhi Murai. There were many saints like Pamban Swamigal, Vaidyanatha Desikar, Poet Veera Raghava Mudaliar, Poet Sahaya Devar, Chidambara Munivar, Kandappa Desikar, Krupananda Variyar, Sengalvaraya Pillai, Calcutta Thiruppugazh Mani Iyer, T.M. Krishnaswamy Iyer, Pithukuli Murugadas etc. who took the glory of Thiruppagazh to great height. Sri A.S. Raghavan, affectionately known as Guruji rendered every verse of Thiruppugazh a distinct Raaga and Thala. Having given the verses of Thiruppugazh the sweet sound of music, “Guruji” has been leading a powerful Thiruppugazh movement across the country and abroad for over 3 decades now. “As mother bird trains its fledglings to jump, fly from lower to higher branches of a tree and takes off skyward, Arunagiri trains us to go from the relatively simple to the complex in spirituality by linking up charity, control of anger and meditation”. Said Guruji.

Matchless in its appeal to the intellect and heart, Thiruppugazh stresses the importance of knowledge and devotion. Thiruppugazh penetrates into the self, awakens the inner consciousness and enlightens the soul. It synthesizes the different concepts enunciated by saints and aims at reaching the Lotus Feet of Muruga. The songs not only delight the heart, they enlighten the intellect, heal the disease, console the mind, ensure happiness and take the devotees to the right destination in life.

“Oh Lord Kumara, it is delightful to watch your
   enchanting six sacred faces.
   As I get your delightful vision, your Lotus feet
   adorned by the ornaments of Sadhangai and Thandai,
   your ankles adorned by Silambu
   and your twelve shoulders adorned by the Kadappa garlands,
   what can the planetary or other influence do to me?
   So long you are beside me, how an inauspicious day harm me?
   What can the ill-fate arising from past karmas do to me?
   How can disaster fall on me?
   What can the Lord of Death do to me?
   (Nal En Seyum……Kandhar Alamgaram 38)

Govinda Nama

                                                     

                                             Govinda Nama
   
Srinivasa Govinda Sri Venkatesa Govinda
bhakthavatsala Govinda bhagavatha priya Govinda
nithya nirmala Govinda neelamega shyama Govinda
Govinda Hari Govinda gokula nandana Govinda

purana purusha Govinda pundareekaksha Govinda
nanda nandana Govinda navaneeda chora Govinda
pashupalka Govinda papa vimochana Govinda
dushta samhara Govinda duritha nivarana Govinda
Govinda Hari Govinda gokula nandana Govinda

shishta paripalaka Govinda kashta nivaraka Govinda
vajra makuta dara Govinda varaha murthe Govinda
gopi jana lola Govinda govardhano dhara Govinda
dasharatha nandana Govinda dashamukha mardhana Govinda
Govinda Hari Govinda gokula nandana Govinda

pakshi vahana Govinda pandava priya Govinda
mathsya kurma Govinda madhu soodhana Hari Govinda
varaha nrsimha Govinda vama pragurama Govinda
balaramanuja Govinda bauda kalki Govinda
Govinda Hari Govinda gokula nandana Govinda

venu gana priya Govinda venkataramana Govinda
seetha nayaka Govinda srutha paripalaka Govinda
daridra jana poshaka Govinda darma samsthapaka Govinda
anadha rakshaka Govinda apath pandava Govinda
Govinda Hari Govinda gokula nandana Govinda

Sharanagatha vatsala Govinda
Karuna sagara Govinda
Kamala dalaksha Govinda
Kamitha palatha Govinda
papa vinashaka Govinda
pahi murare Govinda
Srimuthrangitha Govinda
Srivatsangitha Govinda
Govinda Hari Govinda Gokula Nandana Govinda
daranhe nayaka Govinda dinakara deja Govinda
padmavati priya Govinda
prasanna murthe Govinda
abhaya hastha Govinda akshaya varada Govinda
shanka chakra dhara Govinda saranga gadA dara Govinda
Govinda Hari Govinda gokula nandana Govinda


viraja theertha Govinda virodhi mardhana Govinda
salagrama hara Govinda sahasranama Govinda
lakshmi vallabha Govinda lakshmanagraja Govinda
kasturi thilaka Govinda kanchanam barapara Govinda
Govinda Hari Govinda gokula nandana Govinda

Garuda vahana Govinda gaja raja rakshaka Govinda
vanara sevitha Govinda varithi bandhana Govinda
edukuntala vada Govinda Ekathva roopa Govinda
ramakrishna Govinda ragukula nanda Govinda
Govinda Hari Govinda gokula nandana Govinda

prathyaksha deva Govinda parama dayakara Govinda
vajramakuta dara Govinda vaijayanthi mala Govinda
vatti kasula vada Govinda vasudeva sutha Govinda
bilvapathrArchitha Govinda bikshuka samsthutha Govinda
Govinda Hari Govinda gokula nandana Govinda

sthri pum roopa Govinda sivakesava murthi Govinda
brahmanda roopa Govinda baktha tharaka Govinda
nithya kalyana Govinda neeraja nabha Govinda
hathi rama priya Govinda Hari sarvothama Govinda
Govinda Hari Govinda gokula nandana Govinda

janardhana murthi Govinda jagath sakshi roopa Govinda
abhisheka priya Govinda abhannirasada Govinda
Govinda Hari Govinda gokula nandana Govinda

nithya shubhatha Govinda nikila lokesha Govinda
ananda roopa Govinda athyantha rahitha Govinda
ihapara dayaka Govinda iparaja rakshaka Govinda
padma dalaksha Govinda padmanaba Govinda
Govinda Hari Govinda gokula nandana Govinda

thirumala nivasa Govinda tulasi vanamala Govinda
shesha sayi Govinda seshadri nilaya Govinda
sri srinivasa Govinda sri venkatesa Govinda
Govinda Hari Govinda gokula nandana Govinda

Theerthamalai

  

Theerthamalai is a popular pigrim centre and it is 16 k.m. from Harur in Dharmapuri district. This pilgrim and picnic centre becoming very popular with the public. The temple situated about one k.m up the steep slope of a hillock derives that its name from the five springs in the temple. Lord Theerthagireeswar (Lord Shiva) is the worshipping deity. According to the legend it was here that Lord Rama worshipped Lord Shiva to absolve himself of the sin of having killed several demons in the war against Ravana. Hence there is belief that a holy dip in the waters of this spring will wipe out the sins committed by the people.

According to the legend, in order to worship to Lord Shiva, Rama sent Hanuman to fetch water from the River Ganga, but when Hanuman did not return at the appointed time for pooja, Rama unleashed an arrow onto the rocky slope of the hillock and water sprang forth, which today is called Rama Theertham. The tiny waterfall drops from a height of about 30 feet is perennial and during the summer as well as the rainy season the water falls on the bathing ghat behind the sanctum sanctorum of the temple. The other Theertham, all of which have their origin in different parts of the rocky surface, are the Agasthya Theertham, AgniTheertham. Kumara Theertham and the Gouri Theertham, besides these four Theerthams the Hanuman Theertham is situated about 16km from the main temple on the banks of river South Pennar. This too is also closely associated with the temple. It is stated that when Hanuman returned with the water from the Ganga, he found that Rama had brought the Ganga water with his arrow. He then threw away in anger the vessel containing the Ganga water. This water fell onto the riverbank. Hanuman Theertham also is a very holy place. During summer even when the river is dry there will be sweet water in the spring that flows from rock in the riverbed. The waters of the Theerthamalai are supposed to have medicinal values too. It may be mentioned that Theerthamalai has huge reserves of magnetite iron ore that can be utilized for the Salem Steel Plant.

Several Inscriptions can be found in the Theerthagireeswarar Temple. They relate to the Vijayanagar and Chola rulers. There is one inscription in ancient Telugu and Kannada. Poet Saint Arunagirinathar referred to the Temple of Theerthagirieeswarar in his compositions. The Mandapam near the sanctum sanctorum is supposed to be built by Sila Naicken. He is said to have maintained a well-fortified garrison at the top of the hill from where a commanding view of the surroundings can be on all sides is available. 

L.Kannan
As per my personal experience i felt it very interesting place to vist with family. my village is near by  just three kilo meter from temple but in night we can see lighting of temple from our village and our home our people visit every  pournami now a days people have started Girivalam also which usually people do in   Thiruvannamalai in theerthamalai you can see people who wanted to build own house they keep small stones one up and up on the  side of steps in hills taking bath in teertham it removes all evils and skin infection because of herbs  around the hills

Seshadri Swami Tiruvannamalai

                                                          


Seshadri [1] Swami moved about Tiruvannamalai for forty years, an ascetic with a total disregard for either name or form. He had no home, dependents, property or any fixed habit or system. He would often conduct himself like a mad man and roam around in the heat of the day and stare up at the hot midday sun and, at night, rest in some nook or deserted hall. He would be delighted when it rained and play in the streams on the street, sit in the water and only go indoors when the rain had stopped. His acts were dramatic and deeply impressive. He would avoid rich food from wealthy persons but beg for cold gruel at a poor man’s house or share food with beggars or left overs on a banana leaf with a dog. Sometimes he would take no food at all and on other occasions consume enough for ten people. He would eat and drink like one swallowing medicine or one being forcibly fed.
        
Although he did not accept money he would sometimes receive expensive clothes but immediately transfer them to a poor person or tear the clothes into pieces and garland the tail and horns of a calf. If he was given plain new clothes, within a couple of hours, they would reach the state of his original clothes. He wore only a dhoti which would cover his toes and another piece of cloth swathed over his back and shoulders. He would squat anywhere regardless whether it was slush, dirt or refuse. When sitting, it was always in his favourite swastika asana.
        
Swamiji was handsome of medium height and fair countenance. His hair hung in short ringlets to the nape of his neck. His voice was soft and his smile was as sweet and sunny as a child. His body would not be at rest for a moment. Even, when sitting he would catch something, put it down, lift it and then repeat it all over again a hundred times. He walked fast and those following had to run to keep up with him. No sound emanated from his walking or running, it was as if his body was light like a ball. He would seldom bathe, but occasionally pour a pint of oil on himself and roam in the streets with oil still glistening on his head. If he allowed himself to be shaved he would often stop it abruptly, with half of his face or head unshaved and appear in public with equanimity and total disregard for public opinion. He discarded rules and observances of caste, sanctity, prudence and decency but always avoided animal food and intoxicants.
        
He loved music, delighting his devotees with songs. If one asked, he would break forth into melodious song often drumming rhythms on nearby surfaces. Sometimes he would place his hands on his hips and dance. He was often taken to be a lunatic and at times purposely simulated madness. It was difficult to explain his general behaviour and impossible to account for the course of his conduct. He was always original and free, an ascetic who maintained a thorough control of his mind and senses up to the end of his life. He was always playing pranks. Suddenly he would laugh without stopping and those who witnessed his fun would be reduced to hilarity. Swamiji utilised a strange manner of speech to ward off crowds building up around him. He would go on speaking very fast, without any respite and with no end or meaning. Sometimes if someone spoke to him, he would reply in Sanskrit, not caring if he was understood or not.
        
He was a tapaswi of a very high order. One result of the mantras and sadhanas he practiced from his earliest years was the development of various siddhis and psychic powers. He could tell about the past and the future and read minds with ease. With this power, he fulfilled the desires of people by showing visions they wanted to see, both in dreams and while being awake.
        
His miraculous touch is said to have cured many of those who came to him with devotion. Often when people saw him in the streets they would prostrate before him and he would get near to enable them to touch his feet. But, he would never allow bad characters to touch his feet. He would run away and if they forced themselves on him, he would abuse them or even pelt them with stones. Seeing this, many people did not go near him. But when he knew about the good qualities of a person, he would himself catch their hands and play. He would joke and run with young children. He never distinguished between males and females and sometimes would put his arms around the neck of a girl and walk along with her, and lie down in the street with his head in her lap.
        
Swamiji’s interaction with the world was very strange. A person couldn’t take advantage of previous proximity – every moment was a new moment. People loved him, but some fearing they might be beaten, were frightened to come close. Generally, he would not call people by name, ask them how they were doing, suggest they come or question why a person did not come. He would neither talk sarcastically nor show intimacy on account of a past connection.
        
Sri Seshadri Swami had deep devotion to God especially in the form of the Goddess Kamakshi, Lord Ram and Arunachala. In the practice of concentration (for days in his boyhood at Tindivanam and at Tiruvannamalai), he sat steeped in samadhi, oblivious of his body. He loved service and by his own example showed it as a noble ideal to live up to. He was regarded with great respect and he was thought to be a sage not a mad man. People would say, ‘He is a talking God,’ ‘A divine incarnation, a great yogi, a great siddha’. Others would say there were three lingas in Tiruvannamalai: One, Lord Arunachala, another Ramana Maharshi and the third Seshadri Swamigal.

**********

There is a part in South India called Thondai Mandalam with its capital of Kanchipuram, Tamil Nadu. In ancient times at Kanchipuram Sri Adi Sankara Acharya established the cult of Sri Vidya, for the welfare of the world. In this connection he went to Central India and brought about thirty families of Devi bakthas to Kanchipuram. These families were called Kamakoti Vamsa and spread the Sri Vidya cult throughout India. Everyone of the Kamakoti family was like a rishi.
        
In 1790, Kamakoti Sastri was born into one of these families. Even though he had a daughter he also adopted one of his brother’s (Chidambara) daughters, a girl named Maragatham. At the appropriate time Kamakoti Sastri started to search for a husband for this beautiful, learned girl and selected Varadarajar, one of his own students. Although the couple had good health and abundant wealth they were sad as they were childless. Finally, one day, heeding the prayers of this pious family, the Goddess Sri Kamakshi gave a dream to the daughter’s adoptive father, Kamakoti Sastrigal. In due course, on 22 January 1870 a child was born. People round about said the radiant child was an ornament of Sri Kamakshi Devi – a pet child of the Goddess and born because of the parent’s tapas.
        
Even from his earliest years the child Seshadri would perform pujas, sing prayers with concentrated devotion, sit in meditation and go off into spontaneous trances. He was neither interested in games nor displayed negative characteristics. Everyone regarded the boy as a Divine child. It was about this time an incident occurred that thereafter gave Seshadri his nickname,‘Golden Hand’. One day four year old Seshadri and his mother stopped at a shop full of bronze castings of the Gods. While at the shop the young lad picked up a statue of Krishna and asked his mother to buy it so he could perform Krishna puja. The trader, thinking that the radiant child himself resembled the Lord Krishna, gave the idol and refused payment. The next day the trader proclaimed the boy to be most lucky as the whole consignment of 1,000 statues (because of the young boy’s touch), had been sold in one day. News of the incident spread quickly through the town and from that moment on the young boy was known as, ‘The one with the golden hand’.
        
In his fifth year young Seshadri was initiated at an auspicious ceremony attended by many scholars and on the same day started to attend Patasalas in Kanchi. Quickly he showed an almost superhuman intellect and memory and exhibited extraordinary debating skills. In this way years went by until the time Sri Seshadri reached his fourteenth year and his father Sri Varadarajar died unexpectedly. Kamakoti Sastrigal arrived to pacify the bereaved family and took them to live at Vazhur. It was there that Swamiji completed his education and mastered various texts in Sanskrit and Tamil – the whole Vedanta with three primary texts – Gita, Upanishads and Brahma Sutras, besides Vedas, Nyaya and Vyakarana. He had also mastered music and astrology.
        
With his education now complete, Seshadri’s mother, the pious widow Maragatham tried to arrange a marriage between her 17 year old son and the daughter of a relative, but when it was discovered (by examining Seshadri’s horoscope) that he was destined to become a sannyasi and yogi, the marriage plans were swiftly cancelled. His mother, becoming more self-absorbed started to lose interest in worldly affairs and became increasingly weak – ignoring food and medical treatment. One day she called her son to her and predicted her death for the next day, and arranged for him to attend. The following day at her bed, she called her child to her and repeated a sloka[2] from Adi Sankara’s Baja Govindam then together they sang the song ‘Ambasive’ after which keeping her hand on his chest she called out, ‘Arunachala![3] Arunachala! Arunachala!’ and laid herself on his lap and died.
        
After both his parents had passed away, Seshadri’s uncle (who was childless) gladly took charge of Seshadri and the younger brother Narasimha Josiar. In his room Seshadri did numerous pujas and continuous japa to pictures of Sri Kamakshi, Lord Ram and to one of his own drawings of Arunachala Hill. He would lock himself up in his room at five in the morning and refuse to come out before noon. He regularly fasted and could often be heard shouting Arunachala Shonadrinatha or reciting Vedic hymns late at night. His uncle and aunt were frightened by his strange worship and begged him to stop. But Seshadri would not listen.
        
At the age of 19, he met Sri Balaji Swamigal, a wandering saint from North India, who gave Seshadri sannyas and instructed him in the Mahavakyas. This was the only guru and formal diksha Seshadri is known to have had. Shortly after Seshadri started to travel to various spots in Tamil Nadu eventually ending up at Tiruvannamalai. He arrived at Arunachala at the age of 19 years old and did not leave for the next 40 years till 1929, the year he attained mahasamadhi.
        
When he first arrived at Arunachala his uncle and brother Narasimha Josiar came to see him. Both were overwhelmed with grief on seeing him in rags with matted hair and a thin dirty body. They entreated him to return home immediately, but Swamiji refused to leave.
        
Seshadri Swamigal would meditate at Drupadi Amman Koil and Easanyan Mutt and in the corridor surrounding the Inner Sanctorum at the Durgai Amman Temple and he would also do tapas at Kambathu Ilayanar, Pathala Lingam and Arunachala Yogiswarar Mandapam. He did not do tapas on the top of the Mountain and instead would go onto the slopes of Arunachala to pray. He often talked about the unique aspects of the Arunachala kshetra. He would say:  

‘This is the place where Swamy and Ambal invite all and confer liberation’, and

‘Lord Krishna leaving aside his sudarshana chakra (wheel) is playing on his flute. On hearing it Lord Siva who is inside the mountain comes out and dances’.  

Seshadri Swamigal and Ramana Maharshi (Seshadri actually arrived at Arunachala six years earlier than Ramana) were contemporaries. It was Seshadri who found Ramana in the Pathala Linga at Arunachala Temple, protecting him from urchins and bringing him to the notice of the world. Locals used to call Sri Seshadri, Mother Parvathi and Sri Ramana, Skanda (Lord Subramanya). Sometimes Sri Seshadri Swamigal, the older by ten years would be called ‘elder Seshadri’ (anna) and Sri Ramana ‘younger Seshadri’ (thambi). One time a devotee told Sri Ramana that everyone called Seshadri a mad man. Ramana smilingly replied that there were three mad men in Arunachala. One was Seshadri, the second was Arunachaleswarar and the third was himself. Sri Ramana said of Swamji, ‘Sri Seshadri does not allow people to come near him. Here all are coming’.
        
Throughout his life and teachings Sri Seshadri continuously emphasised the glory of Arunachala:

‘This is Siva Lingam. It is enough to worship this. One can become spiritually enlightened and attain liberation’.

And illustrating the similarity of the Annamalaiyar-Unnamalai Temple to Arunachala he said to those wasting their time discussing worldly affairs and neglecting God:

 ‘He spreads his shop in the morning. Closes it at night. He does not see Lord Arunachaleswara. What is the use? Visit the temple. Visit the temple. Visit the temple’.

 

He was ever emphasising the inestimable value of giripradakshina instructing:

‘One should pray to Lord Arunachaleswara all the time. In particular perambulation of the hills should be done on Tuesdays. Deep devotion will arise’.

Having lived at Arunachala continuously for forty years and helping all kinds of people Sri Seshadri decided to finally shed his body. One day in 1928 during the month of Karthigai, he asked a devotee, ‘Shall I build a new house and go away?’ Meaning, ‘I have completed my task, shall I now depart?’ At first the devotee thought the question a prank but finally after many days and constant repetition of the question, she answered, that, ‘He should construct a new house and practise yoga’. Sri Seshadri accepted Subbalakshmi’s words as representative of Parasakthi’s approval and satisfied he replied, ‘Yes, yes, it shall be done!’.
        
Some days later his devotees, who wanted to photograph him, gave him an oil bath and then bathed, dressed, scented, garlanded and photographed him. Immediately Seshadri caught a fever. For forty days his condition worsened and on the forty-first day he found the strength to visit Arunachaleswara one last time. On returning from the temple he sat down in a puddle of water and refused to change his wet clothes when he got back to the house.
        
Within days, on January 4, 1929, Sri Seshadri Swamigal left his body and Tiruvannamalai was engulfed in sorrow. After preparation his body was brought out in procession which is said to have been so splendid that the entire stock of camphor in the shops of Tiruvannamalai was exhausted and all incoming buses were full and over crowded. The streets were jammed with devotees and the night seemed like bright day as it was so brilliantly illuminated by the burning camphor. The air was filled with group-singing, devotional songs and the music of instrument players. It was at Agni Theertham that Sri Ramana Maharshi joined the procession. Further on a samadhi was constructed and Sri Swamigal’s body interred. That samadhi tomb is now enshrined within the grounds of Sri Seshadri Ashram on Chengam Road, Tiruvannamalai.
        
Although Sri Seshadri Swamigal has shed his mortal coil, He is ever present helping, blessing and guiding his devotees to everlasting bliss.  His own search brought him to Arunachala and it is to the sacred Hill that Swamigal tells all to look to, to fulfil life’s highest goal.

‘There is a magnetic mountain which attracts all living beings. The moment one thinks of it, it controls the actions of all beings who think of it and attracts them towards itself. Not only it attracts to itself but makes them motionless. How wondrous is the power of this magnetic mountain which takes such sacrifices. Oh! Jivas! Attain liberation by realising the nature of  Arunagiri.’

Arunagiri Yogi Viyayathe

Adi Sankaracharya’s Kanaka Dhara Stotra

 

                                                      

 

Kanaka Dhara Stotra


1
Angam hare pulaka bhooshanamasrayanthi,
Bhringanga neva mukulabharanam thamalam,
Angikrithakhila vibhuthirapanga leela,
Mangalyadasthu mama mangala devathaya.
To the Hari who wears supreme happiness as Ornament,
The Goddess Lakshmi is attracted,
Like the black bees getting attracted,
To the unopened buds of black Tamala[1] tree,
Let her who is the Goddess of all good things,
Grant me a glance that will bring prosperity.
2
Mugdha muhurvidhadhadathi vadhane Murare,
Premathrapapranihithani gathagathani,
Mala dhrishotmadhukareeva maheth pale ya,
Sa ne sriyam dhisathu sagarasambhavaya.
Again and again return ,those glances,
Filled with hesitation and love,
Of her who is born to the ocean of milk,
To the face of Murari[2],
Like the honey bees to the pretty blue lotus,
And let those glances shower me with wealth.
3
Ameelithaksha madhigamya mudha Mukundam
Anandakandamanimeshamananga thanthram,
Akekara stiththa kaninika pashma nethram,
Bhoothyai bhavenmama bhjangasayananganaya.
With half closed eyes stares she on Mukunda[3],
Filled with happiness , shyness and the science of love,
On the ecstasy filled face with closed eyes of her Lord,
And let her , who is the wife of Him who sleeps on the snake,
Shower me with wealth.
4
Bahwanthare madhujitha srithakausthube ya,
Haravaleeva nari neela mayi vibhathi,
Kamapradha bhagavatho api kadaksha mala,
Kalyanamavahathu me kamalalayaya
He who has won over Madhu[4],
Wears the Kousthuba[5] as ornament,
And also the garland of glances, of blue Indraneela[6],
Filled with love to protect and grant wishes to Him,
Of her who lives on the lotus,
And let those also fall on me,
And grant me all that is good..
5
Kalambudhaalithorasi kaida bhare,
Dharaadhare sphurathi yaa thadinganeva,
Mathu samastha jagatham mahaneeya murthy,
Badrani me dhisathu bhargava nandanaya
Like the streak of lightning in black dark cloud,
She is shining on the dark , broad chest,
Of He who killed Kaidaba[7],
And let the eyes of the great mother of all universe,
Who is the daughter of Sage Bharghava[8],
Fallon me lightly and bring me prosperity.
6
Praptham padam pradhamatha khalu yat prabhavath,
Mangalyabhaji madhu madhini manamathena,
Mayyapadetha mathara meekshanardham,
Manthalasam cha makaralaya kanyakaya.
The God of love could only reach ,
The killer of Madhu[9],
Through the power of her kind glances,
Loaded with love and blessing
And let that side glance ,
Which is auspicious and indolent,
Fall on me.
7
Viswamarendra padhavee bramadhana dhaksham,
Ananda hethu radhikam madhu vishwoapi,
Eshanna sheedhathu mayi kshanameekshanartham,
Indhivarodhara sahodharamidhiraya
Capable of making one as king of Devas in this world,
Her side long glance of a moment,
Made Indra[10] regain his kingdom,
And is making Him who killed Madhu [11] supremely happy.
And let her with her blue lotus eyes glance me a little.

8
Ishta visishtamathayopi yaya dhayardhra,
Dhrishtya thravishta papadam sulabham labhanthe,
Hrishtim prahrushta kamlodhara deepthirishtam,
Pushtim krishishta mama pushkravishtaraya.
To her devotees and those who are great,
Grants she a place in heaven which is difficult to attain,
Just by a glance of her compassion filled eyes,
Let her sparkling eyes which are like the fully opened lotus,
Fall on me and grant me all my desires.
9
Dhadyaddhayanupavanopi dravinambhudaraam,
Asminna kinchina vihanga sisou vishanne,
Dhushkaramagarmmapaneeya chiraya dhooram,
Narayana pranayinee nayanambhuvaha.
Please send your mercy which is like wind,
And shower the rain of wealth on this parched land,,
And quench the thirst of this little chataka[12] bird,
And likewise ,drive away afar my load of sins,
Oh, darling of Narayana[13],
By the glance from your cloud like dark eyes.
10
Gheerdhevathethi garuda dwaja sundarithi,
Sakambhareethi sasi shekara vallebhethi,
Srishti sthithi pralaya kelishu samsthitha ya,
Thasyai namas thribhvanai ka guros tharunyai.
She is the goddess of Knowledge,
She is the darling of Him who has Garuda[14] as flag,
She is the power that causes of death at time of deluge,
And she is the wife of Him who has the crescent,
And she does the creation , upkeep and destruction at various times,
And my salutations to this lady who is worshipped by all the three worlds.
11
Sruthyai namosthu shubha karma phala prasoothyai,
Rathyai namosthu ramaneeya gunarnavayai,
Shakthyai namosthu satha pathra nikethanayai,
Pushtayi namosthu purushotthama vallabhayai.
Salutations to you as Vedas[15] which give rise to good actions,
Salutation to you as Rathi[16] for giving the most beautiful qualities,
Salutation to you as Shakthi[17] ,who lives in the hundred petalled lotus,
And salutations to you who is Goddess of plenty,
And is the consort of Purushottama[18].
12
Namosthu naleekha nibhananai,
Namosthu dhugdhogdhadhi janma bhoomayai,
Namosthu somamrutha sodharayai,
Namosthu narayana vallabhayai.
Salutations to her who is as pretty.
As the lotus in full bloom,
Salutations to her who is born from ocean of milk,
Salutations to the sister of nectar and the moon,
Salutations to the consort of Narayana.
13
Namosthu hemambhuja peetikayai,
Namosthu bhoo mandala nayikayai,
Namosthu devathi dhaya prayai,
Namosthu Sarngayudha vallabhayai.
Salutations to her who has the golden lotus as seat,
Salutations to her who is the leader of the universe,
Salutations to her who showers mercy on devas,
And salutations to the consort of Him who has the bow called Saranga.
14
Namosthu devyai bhrugu nandanayai,
Namosthu vishnorurasi sthithayai,
Namosthu lakshmyai kamalalayai,
Namosthu dhamodhra vallabhayai.
Salutations to her who is daughter of Bhrigu[19],
Salutations to her lives on the holy chest of Vishnu,
Salutations to Goddess Lakshmi who lives in a lotus,
And saluations to her who is the consort of Damodhara[20].

15
Namosthu Kanthyai kamalekshanayai,
Namosthu bhoothyai bhuvanaprasoothyai,
Namosthu devadhibhir archithayai,
Namosthu nandhathmaja vallabhayai.
Salutations to her who is light living in Lotus flower,
Salutations to her who is the earth and also mother of earth,
Salutations to her who is worshipped by Devas,
And salutations to her who is the consort of the son of Nanda[21].
16
Sampath karaani sakalendriya nandanani,
Samrajya dhana vibhavani saroruhakshi,
Twad vandanani dhuritha haranodhythani,
Mamev matharanisam kalayanthu manye.
Giver of wealth, giver of pleasures to all senses,
Giver of the right to rule kingdoms,
She who has lotus like eyes,
She to whom Salutations remove all miseries fast,
And my mother to you are my salutations.
17
Yath Kadaksha samupasana vidhi,
Sevakasya sakalartha sapadha,
Santhanodhi vachananga manasai,
Twaam murari hridayeswareem bhaje
He who worships your sidelong glances,
Is blessed by all known wealth and prosperity,
And so my salutations by word, thought and deed,
To the queen of the heart of my Lord Murari[22].
18
Sarasija nilaye saroja hasthe,
Dhavalathamamsuka gandha maya shobhe,
Bhagavathi hari vallabhe manogne,
Tribhuvana bhoothikari praseeda mahye
She who sits on the Lotus,
She who has lotus in her hands,
She who is dressed in dazzling white,
She who shines in garlands and sandal paste,
The Goddess who is the consort of Hari,
She who gladdens the mind,
And she who confers prosperity on the three worlds,
Be pleased to show compassion to me.
19
Dhiggasthibhi kanaka kumbha mukha vasrushta,
Sarvahini vimala charu jalaapluthangim,
Prathar namami jagathaam janani masesha,
Lokadhinatha grahini mamrithabhi puthreem.
Those eight elephants from all the diverse directions,
Pour from out from golden vessels,
The water from the Ganga[23] which flows in heaven,
For your holy purifying bath,
And my salutations in the morn to you ,
Who is the mother of all worlds,
Who is the house wife of the Lord of the worlds,
And who is the daughter of the ocean which gave nectar[24].
20
Kamale Kamalaksha vallabhe twam,
Karuna poora tharingithaira pangai,
Avalokaya mamakinchananam,
Prathamam pathamakrithrimam dhyaya
She who is the Lotus,
She who is the consort,
Of the Lord with Lotus like eyes,
She who has glances filled with mercy,
Please turn your glance on me,
Who is the poorest among the poor,
And first make me the vessel ,
To receive your pity and compassion.
21
Sthuvanthi ye sthuthibhirameeranwaham,
Thrayeemayim thribhuvanamatharam ramam,
Gunadhika guruthara bhagya bhagina,
Bhavanthi the bhuvi budha bhavithasayo.
He who recites these prayers daily,
On her who is personification of Vedas,
On her who is the mother of the three worlds,
On her who is Goddess Rema[25],
Will be blessed without doubt,
With all good graceful qualities,
With all the great fortunes that one can get,
And would live in the world,
With great recognition from even the learned.
[1] A forest tree
[2] The God who killed the asura called Mura i.e Lord Vishnu
[3] He who gives immortal bliss
[4] An Asura
[5] A garland wirn by Vishnu
[6] A precious blue stone
[7] An Asura
[8] One sage who did penance to have goddess Lakshmi as his daughter and succeeded.
[9] An asura
[10] King of Devas
[11] An Asura
[12] A mythical bird which is always thirsty.
[13] Name of Lord Vishnu
[14] A mythical eagle on which Lord Vishnu travels
[15] Holy books of Hindus
[16] Wife of the God of Love
[17] Goddess parvathy
[18] Greatest among men , a name of Lord Vishnu
[19] Another name for sage Bharghava referred earlier.
[20] He who was tied by a rope in the stomach –a name of Lord Krishna.
[21] Nanda Gopa the foster father of Lord Krishna
[22] He who killed the asura called Mura
[23] The holiest river for Hindus
[24] Goddess Lakshmi was supposed to have come out of the ocean of milk during churning .Nectar along with many things also came out similarly.
[25] A name of Goddess Lakshmi

Chanakya's Quotes

Chanakya's Quotes - Worth reading a million times


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"A person should not be too honest.
Straight trees are cut first
and Honest people are victimized first."
Chanakya quotes (Indian politician, strategist and writer, 350 BC -275 BC)  

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"Even if a snake is not poisonous,
it should pretend to be venomous."
Chanakya quotes (Indian politician, strategist and writer, 350 BC-275 BC)    
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"The biggest guru-mantra is:
Never share your secrets with anybody. !
It will destroy you."
Chanakya quotes (Indian politician, strategist and writer, 350 BC-275 BC)  

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"There is some self-interest behind every friendship.
There is no Friendship without self-interests.
This is a bitter truth."
Chanakya quotes (Indian politician, strategist and writer, 350 BC-275 BC)  
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"Before you start some work, always ask yourself three questions -
Why am I doing it,
What the results might be and
Will I be successful.
Only when you think deeply and find satisfactory answers to these questions, go ahead."
Chanakya quotes (Indian politician, strategist and writer, 350 BC-275 BC)    
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"As soon as the fear approaches near,
attack and destroy it."
Chanakya quotes (Indian politician, strategist and writer, 350 BC-275 BC)    
************ ********* ********* ********* ********* ***    
"Once you start a working on something,
don't be afraid of failure and don't abandon it.
People who work sincerely are the happiest."
Chanakya quotes (Indian politician, strategist and writer, 350 BC-275BC)  

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"The fragrance of flowers spreads only in the direction of the wind.
But the goodness of a person spreads in all direction.."
Chanakya quotes (Indian politician, strategist and writer, 350 BC-275BC)    
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"A man is great by deeds, not by birth."
Chanakya quotes (Indian politician, strategist and writer, 350 BC-275BC) ]

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"Treat your kid like a darling for the first five years. For the next five years, scold them.
By the time they turn sixteen, treat them like a friend.. Your grown up children are your best friends."
Chanakya quotes (Indian politician, strategist and writer, 350 BC-275BC)  

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"Books are as useful to a stupid person
as a mirror is useful to a blind person."
Chanakya quotes (Indian politician, strategist and writer, 350 BC-275BC)    
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"Education is the best friend.
An educated person is respected everywhere.
Education beats the beauty and the youth."
Chanakya quotes  (Indian politician, strategist and writer, 350 BC-275BC)

20 Famous Quotes

20 Famous Quotes by Great minds  [Worth reading]

Famous Quote #1
‘People are just about as happy as they make up their minds to be’ - Abraham Lincoln

Famous Quote #2
‘Everyone has problems, some are just better at hiding them’ - Unknown

Famous Quote #3
‘If we did all the things that we are capable of doing, we would literally astound ourselves’ - Thomas Edison

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‘Life is 10% what happens to us and 90% how we react to it’ - Dennis P. Kimbro

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‘Sometimes your joy is the source of your smile, but sometimes your smile can be the source of your joy’ - Thich Nhat Hahn

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‘Life is not lost by dying; life is lost minute by minute, day by dragging day, in all the thousand small uncaring ways’ - Stephen Vincent Ben't

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‘Only by going too far can one possibly find out how far one can go’ - Jon dyer

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‘People only see what they are prepared to see’ - Ralph Waldo Emerson

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‘Don't be afraid to fail because only through failure do you learn to succeed’

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‘It’s true that we don’t know what we’ve got until we lose it, but it’s also true that we don’t know what we’ve been missing until it arrives’

Famous Quote #11
‘Learn from the mistakes of others. You can’t live long enough to make them all yourself’ - Chanakya

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‘The tongue weighs practically nothing, but so few people can hold it’

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‘It takes only a minute to get a crush on someone, an hour to like someone, and a day to love someone; but it takes a lifetime to forget someone’

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‘Always put yourself in the other’s shoes. If you feel that it hurts you, it probably hurts the person too’

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‘The happiest of people don’t necessarily have the best of everything they just make the most of everything that comes along their way’

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‘Many people will walk in and out or your life, But only true friends will leave footprints in your heart’

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‘To handle yourself, use your head, To handle others, use your heart’

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‘He who loses money, loses much; He who loses a friend, loses more; He who loses faith, loses all’

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‘If someone betrays you once, it’s his fault. If he betrays you twice, it’s your fault’

Famous Quote #20
‘God Gives every bird it’s food, But he does not throw it into it’s nest’

Arundhatiyar

The Arundhatiyar mainly comprise the Chakkiliyan of Tamil Nadu. They are also called the Madiga and include the Madiga,

Madari and Pagadai communities. Their name is derived from the mythical woman Arundhaty.

Their traditional occupation is making leather goods. The villagers compensate them for their services by giving them a

fixed quantity of grain. They are also engaged in rearing pigs, goats and sheep, or working in industries, construction and

other kinds of manual work. They are known to adorn their bodies with tattoo designs. Both men and women consume local made

alcohol.

They speak the Dravidian languages and are also conversant with other regional languages. They eat beef and pork too. Their

staple cereal is rice. The Arundhatiyar women participate in economic activities and also contribute to the family income.

Some of the Arundhatiyar are artists, painters, craftsmen and engaged in leather and embroidery work, while others are

teachers, businessmen and in defense personnel.

Marriages between cross-cousins and uncle and niece alliances are permitted. Their marriage rituals are performed at the

bridegroom's place. The elders of the community officiate at the social functions.

The majority of the Arundhatiyar are treated as untouchable. They worship community deity Matamma. They have separate wells

and burial grounds.

In spite of the implementation of various developmental programs for education, they have not made much progress and have a

literacy rate of only 15 percent. 

MY Personal View 

As i have seen two kind of Arunthathiar people one they speak Telugu language and some speak tamil mostly i have seen around salem,namakkal,dharmapuri.marriages i have seen mostly happens on brides home with their community elders and they have their own temples

telugu speaking peoples job were mostly leather work and agriculture but the scene has changed now the education level has increased they are also ready to work on different professions  like banks,teachers,nurses it etc but most of the generation are first graduates in their families its good they have also stared to shine mainstream and many are ver successful in business and politics. Telugu people havemany (kolams) or godras each and every kolam have their own temple name kula deviam which i have mostly seen the god is (Perumal and Veermathi ) placed in different places  every kolam conduct functions every 5 years once rest the temple will be kept closed but it opens in important function days people from different places make their visit to temples this people have thier own pujaris they dont marry in same kolam but still backward is there what i have read on many news from different sources but i thing coming generation will not face the same caste discrinimation what their parents had in past years arunthathiar people dont have a combined l vote bank which i think it was a great set back to develop them selves as a powerful in democratic country which Pallan  and parayan got most benifits from all goverments  they had a good leader and good vote bank now arunthathiyar people have spread all over india and working in  good places like mumbai and delhi and aborad also.

Geographical Location of Arunthathiyar dalit

Eighty  lakhs(80,00000) of Arunthathiar dalit of TamilNadu state, live mostly in western districts namely-  Coimbotore, Erode, Salem, Dharmapuri, Namakkal , Karur, Dindigul, Nilgris, and Madurai.

Kanda Shasti Kavasam

Kanda Shasti Kavasam

Thuthipporku Valvinaipom Thunbampom
Nenjil Pathipporku Selvam Palithuk Kathithongum
Nishtaiyum Kaikoodum
Nimalar Arul Kanthar Sashti Kavacham Thanai
Amarar Idar Theera Amaram Purintha
Kumaranadi Nenjeh Kuri

Sashtiyai Nokka Saravana Bavanaar
Sishtarukku Uthavum Sengkathir Velon
Paatham Irandil Panmani Sathangai
Geetham Paada Kinkini Yaada
Maiya Nadam Seiyum Mayil Vahananaar

Kaiyil Velaal Yenaik Kaakka Vendru Vanthu
Varavara Velah Yuthanaar Varuha
Varuha Varuha Mayilon Varuha
Inthiran Mudhalaa Yendisai Potra
Manthira Vadivel Varuha Varuha

Vaasavan Maruhaa Varuha Varuha
Nesak Kuramahal Ninaivon Varuha
Aarumuham Padaitha Aiyaa Varuha
Neeridum Velavan Nitham Varuha
Sirahiri Velavan Seekkiram Varuha

Saravana Bavanaar Saduthiyil Varuha
Rahana Bavasa Ra Ra Ra Ra Ra Ra Ra
Rihana Bavasa Ri Ri Ri Ri Ri Ri Ri
Vinabava Sarahana Veeraa Namo Nama
Nibava Sarahana Nira Nira Nirena

Vasara Hanabava Varuha Varuha
Asurar Kudi Kedutha Aiyaa Varuha
Yennai Yaalum Ilaiyon Kaiyil
Pannirendu Aayutham Paasaan Gusamum
Parantha Vizhihal Pannirandu Ilanga

Virainthu Yenaik Kaakka Velon Varuha
Aiyum Kiliyum Adaivudan Sauvum
Uyyoli Sauvum Uyiraiyum Kiliyum
Kiliyum Sauvum Kilaroli Yaiyum
Nilai Petrenmun Nithamum Olirum

Shanmuhan Neeyum Thaniyoli Yovvum
Kundaliyaam Siva Guhan Thinam Varuha
Aaru Muhamum Animudi Aarum
Neeridu Netriyum Neenda Puruvamum
Panniru Kannum Pavalach Chevvaayum

Nanneri Netriyil Navamanich Chuttiyum
Eeraaru Seviyil Ilahu Kundalamum
Aariru Thinpuyathu Azhahiya Maarbil
Palboo Shanamum Pathakkamum Tharithu
Nanmanipoonda Navarathna Maalaiyum

Muppuri Noolum Muthani Maarbum
Sepppazhahudaiya Thiruvayir Unthiyum
Thuvanda Marungil Sudaroli Pattum
Navarathnam Pathitha Nartchee Raavum
Iruthodai Azhahum Inai Muzhanthaalum

Thiruvadi Yathanil Silamboli Muzhanga
Seha Gana Seha Gana Seha Gana Segana
Moga Moga Moga Moga Moga Moga Mogana
Naha Naha Naha Naha Naha Naha Nahena
Digu Kuna Digu Digu Digu Kuna Diguna

Ra Ra Ra Ra Ra Ra Ra Ra Ra Ra Ra Ra Ra Ra Ra
Ri Ri Ri Ri Ri Ri Ri Ri Ri Ri Ri Ri Ri Ri Ri
Du Du Du Du Du Du Du Du Du Du Du Du Du Du Du
Dagu Dagu Digu Digu Dangu Dingugu
Vinthu Vinthu Mayilon Vinthu

Munthu Munthu Muruhavel Munthu
Yenthanai Yaalum Yehraha Selva
Mainthan Vehndum Varamahizhnth Thuthavum
Laalaa Laalaa Laalaa Vehshamum
Leelaa Leelaa Leelaa Vinothanendru

Unthiru Vadiyai Uruthi Yendrennum
Yen Thalai Vaithun Yinaiyadi Kaaka
Yennuyirk Uyiraam Iraivan Kaaka
Panniru Vizhiyaal Baalanaik Kaaka
Adiyen Vathanam Azhahuvel Kaaka

Podipunai Netriyaip Punithavel Kaaka
Kathirvel Irandu Kanninaik Kaaka
Vithisevi Irandum Velavar Kaaka
Naasihal Irandum Nalvel Kaaka
Pesiya Vaaythanai Peruvel Kaaka

Muppathirupal Munaivel Kaaka
Seppiya Naavai Sevvel Kaaka
Kannam Irandum Kathirvel Kaaka
Yennilang Kazhuthai Iniyavel Kaaka
Maarbai Irathna Vadivel Kaaka

Serila Mulaimaar Thiruvel Kaaka
Vadivel Iruthol Valamberak Kaaka
Pidarihal Irandum Peruvel Kaaka
Azhahudan Muthuhai Arulvel Kaaka
Pazhu Pathinaarum Paruvel Kaaka

Vetrivel Vayitrai Vilangave Kaaka
Sitridai Azhahura Sevvel Kaaka
Naanaam Kayitrai Nalvel Kaaka
Aan Penn Kurihalai Ayilvel Kaaka
Pittam Irandum Peruvel Kaaka

Vattak Kuthathai Valvel Kaaka
Panai Thodai Irandum Paruvel Kaaka
Kanaikaal Muzhanthaal Kathirvel Kaaka
Aiviral Adiyinai Arulvel Kaaka
Kaihal Irandum Karunaivel Kaaka

Munkai Irandum Muranvel Kaaka
Pinkai Irandum Pinnaval Irukka
Naavil Sarasvathi Natrunai Yaaha
Naabik Kamalam Nalvel Kakka
Muppaal Naadiyai Munaivel Kaaka

Yeppozhuthum Yenai Yethirvel Kaaka
Adiyen Vasanam Asaivula Neram
Kaduhave Vanthu Kanahavel Kaaka
Varum Pahal Thannil Vachravel Kaaka
Arai Irul Thannil Anaiyavel Kaaka

Yemathil Saamathil Yethirvel Kaaka
Thaamatham Neeki Chathurvel Kaaka
Kaaka Kaaka Kanahavel Kaaka
Noaka Noaka Nodiyil Noaka
Thaakka Thaakka Thadaiyara Thaakka

Paarka Paarka Paavam Podipada
Billi Soonyam Perumpahai Ahala
Valla Bootham Valaashtihap Peihal
Allal Paduthum Adangaa Muniyum
Pillaihal Thinnum Puzhakadai Muniyum
Kollivaayp Peihalum Kuralaip Peihalum
Penkalai Thodarum Bramaraa Chatharum
Adiyanaik Kandaal Alari Kalangida

Irisi Kaatteri Ithunba Senaiyum
Yellilum Iruttilum Yethirpadum Mannarum
Kana Pusai Kollum Kaaliyodu Anaivarum
Vittaan Gaararum Migu Pala Peihalum
Thandiyak Kaararum Sandaalar Halum
Yen Peyar Sollavum Idi Vizhunthodida

Aanai Adiyinil Arum Paavaihalum
Poonai Mayirum Pillaihal Enpum
Nahamum Mayirum Neenmudi Mandaiyum
Paavaihal Udane Pala Kalasathudan
Manaiyil Puthaitha Vanjanai Thanaiyum
Ottiya Paavaiyum Ottiya Serukkum
Kaasum Panamum Kaavudan Sorum
Othu Manjanamum Oruvazhi Pokum
Adiyanaik Kandaal Alainthu Kulainthida
Maatran Vanjahar Vanthu Vanangida
Kaala Thoothaal Yenai Kandaal Kalangida

Anji Nadungida Arandu Purandida
Vaay Vittalari Mathi Kettoda
Padiyinil Mutta Paasak Kayitraal
Kattudan Angam Katharida Kattu
Katti Uruttu Kaal Kai Muriya

Kattu Kattu Katharida Kattu
Muttu Muttu Muzhihal Pithungida
Sekku Sekku Sethil Sethilaaha
Sokku Sokku Soorpahai Sokku
Kuthu Kuthu Koorvadi Velaal
Patru Patru Pahalavan Thanaleri
Thanaleri Thanaleri Thanalathuvaaha
Viduvidu Velai Verundathu Oda

Puliyum Nariyum Punnari Naayum
Yeliyum Karadiyum Inithodarnthu Oda
Thelum Paambum Seyyaan Pooraan
Kadivida Vishangal Kadithuyar Angam
Yeriya Vishangal Yelithudan Iranga

Polippum Sulukkum Oruthalai Noyum
Vaatham Sayithiyam Valippu Pitham
Soolai Sayam Kunmam Sokku Sirangu
Kudaichal Silanthi Kudalvip Purithi
Pakka Pilavai Padarthodai Vaazhai
Kaduvan Paduvan Kaithaal Silanthi
Parkuthu Aranai Paru Arai Yaakkum
Yellap Piniyum Yendranaik Kandaal
Nillaa Thoda Nee Yenak Arulvaay

Eerezhula Hamum Yenak Uravaaha
Aanum Pennum Anaivarum Yenakkaa
Mannaal Arasarum Mahizhnthura Vaahavum

Unnai Thuthikka Un Thirunaamam
Saravana Bavane Sailoli Bavanee
Thirupura Bavane Thigazholi Bavane
Paripura Bavane Pavamozhi Bavane
Arithiru Maruhaa Amaraa Pathiyai
Kaathu Thevarkal Kadum Sirai Viduthaay
Kanthaa Guhane Kathir Velavane
Kaarthihai Mainthaa Kadambaa Kadambanai
Idumbanai Yazhitha Iniyavel Muruhaa

Thanihaa Salane Sangaran Puthalvaa
Kathirkaa Mathurai Kathirvel Muruhaa
Pazhani Pathivaazh Baala Kumaaraa
Aavinan Kudivaazh Azhahiya Vela
Senthil Maamalai Yurum Sengalva Raayaa
Samaraa Purivaazh Shanmuha Tharase

Kaarar Kuzhalaal Kalaimahal Nandraay
Yennaa Irukka Yaan Unai Paada
Yenai Thodarnthu Irukkum Yenthai Muruhanai
Padinen Aadinen Paravasa Maaha
Aadinen Naadinen Aavinan Poothiyey

Nesamudan Yaan Netriyil Aniya
Paasa Vinaihal Patrathu Neengi
Unpatham Perave Unnarulaaha
Anbudan Rakshi Annamum Sonnamum
Metha Methaaha Velaayu Thanaar
Sithi Petradiyen Sirappudan Vazhga

Vaazhga Vaazhga Mayilon Vaazhga
Vaazhga Vaazhga Vadivel Vaazhga
Vaazhga Vaazhga Malai Guru Vaazhga
Vaazhga Vaazhga Malai Kura Mahaludan
Vaazhga Vaazhga Vaarana Thuvasam
Vaazhga Vaazhga Yen Varumaihal Neenga

Yethanai Kuraihal Yethanai Pizhaihal
Yethanai Adiyen Yethanai Seiyinum
Petravan Neeguru Poruppathu Unkadan
Petraval Kuramahal Petravalaame
Pillai Yendranbaay Piriya Malithu
Mainthan Yenmeethu Unmanam Mahizhntharuli
Thanjam Yendradiyaar Thazhaithida Arulsey
Kanthar Sashti Kavasam Virumbiya

Baalan Theva Raayan Paharn Thathai
Kaalaiyil Maalaiyil Karuthudan Naalum
Aasaa Rathudan Angam Thulakki
Nesamudan Oru Ninaivathu Vaahi
Kanthar Sashti Kavasam Ithanai
Sindhai Kalangaathu Thiyaani Pavarhal
Orunaal Muppathaa Ruru Kondu
Othiyeh Jebithu Uhanthu Neeraniya
Ashta Thikkullor Adangalum Vasamaay
Thisai Mannar Yenmar Seyalathu (Sernthangu) Arulvar

Maatrala Rellaam Vanthu Vananguvar
Navakol Mahizhnthu Nanmai Alithidum
Navamatha Nenavum Nallezhil Peruvar
Enthanaalum Eerettaay Vaazhvar
Kantharkai Velaam Kavasa Thadiyai
Vazhiyaay Kaana Meiyaay Vilangum

Vizhiyaal Kaana Verundidum Peigal
Pollathavarai Podi Podi Yaakkum
Nallor Ninaivil Nadanam Puriyum
Sarva Sathuru Sankaa Rathadi

Arintha Yenathullaam Ashta Letchmihalil
Veera Letchmikku Virun Thunavaaha
Soora Bathmaavaith Thunithagai Yathanaal
Iruba Thezhvarkku Uvan Thamuthalitha
Gurubaran Pazhani Kundrinil Irukkum
Chinna Kuzhanthai Sevadi Potri

Yenai Thadu Thaatkola Yendrana Thullum
Meviya Vadivurum Velava Potri
Thevargal Senaa Pathiye Potri
Kuramahal Manamahizh Kove Potri

Thiramihu Thivya Thehaa Potri
Idumbaa Yuthane Idumbaa Potri
Kadambaa Potri Kanthaa Potri
Vetchi Punaiyum Veleh Potri
Uyargiri Kanaha Sabaikor Arase

Mayilnada Miduvoy Malaradi Saranam
Saranam Saranam Saravanabava Om
Saranam Saranam Shanmuhaa Saranam
Saranam Saranam Shanmuhaa Saranam