Monday, March 22, 2010

ஸ்ரீ அஞ்சநேயம்

"அஞ்சிலே ஒன்று பெற்றான்
அஞ்சிலே ஒன்றைத் தாவி
அஞ்சிலே ஒன்றாக ஆரியர்க்காக ஏகி
அஞ்சிலே ஒன்று பெற்ற
அணங்கை கண்டு அயலார் ஊரில்
அஞ்சிலே ஒன்றை வைத்தான்
அவன் நம்மை அளித்துக் காப்பான்"

Story of Sri Anjaneya
Sri Anjaneya who is praised as SRI RAMA SEVA DURANDHARA or the one greatly devoted to the service of Sri Rama, is known for his extra ordinary capabilities. He would not be universally worshipped if he were to be a mere servant. He has many temples dedicated to him.

Lord Brahma told Anjaneya: ”PRATI GRAMA NIVASASCHA BHUYADRAKSHO NIVARINE”(O Hanuma!, you would reside in every village to protect from devils, demons etc.,) Thus Anjaneya has temples dedicated to him in tiny villages also. Anjaneya is installed in every temple of Sri Rama. Temples are exclusively built for Sri Anjaneya. Sri Anjaneya is worshipped as the one who relieves his devotees from many problems peculiar to the Kali Age.

Sri Anjaneya has many specialties. By birth he belonged to Vanara (Monkey) race – a beastly tribe. He was with Sri Rama, Narottama or the best among human beings. Sri Anjaneya infact is God. There is a saying in Sanskrit, which proclaims that if one worships Sri Anjaneya, all Gods are worshipped (ANJANEYAH PUJITASCHET PUJITA SSARVA DEVATAH).

Sri Anjaneya is a personification of all that is divine. He is an extra ordinary state. Sri Anjaneya’s life is a divine message. By birth, every one is beastly. Every being could become divine, through refined living.
It is common perception that brain and brawn do not exist together. Body builders tend to eat more. They exercise well to get the food digested and sleep well. One who eats well and sleeps well may tend to become dull and stunted.

Like wise people dedicated to spiritual pursuits eat less and sleep less, thereby remaining bodily weak.
Sri Anjaneya is an exception. His strength is incomparable. He is said to be the storehouse of immeasurable strength, shinny like a mountain of gold (ATULITA BALA DAMAM SWARNA SAILABHA DHEHAM). He has been the idol of strong people. Even in modern age, body builders establish a Anjaneya Vyayama Sala (Anjaneya Gym) or Maruthi Vyayama Sala (Maruthi Gym). He eliminated many demons. Jambumali, Aksha, Kalanemi, Mainavana etc., were the demons slain by him. Since his strength cannot be measured, he was described as the one with immeasurable strength (ATULITA BALA DAMAM).

Sri Anjaneya is also bestowed with matching intelligence. He is described as the best among intelligent people and the first among the spiritual evolvers. (BUDHI matam varishtA, gynanena agraganyA)
Sri Rama himself recognized the intellectual brilliance of Sri Anjaneya. Sri Rama recognized Sri Anjaneya’s worth in their first meeting itself.

Sri Rama and Lakshmana reach the banks of Pampa, searching for Sita. Sugriva gets worried. Were they sent by his brother Vaali to kill him? Sugriva sends Sri Anjaneya to find out. Sri Anjaneya goes to Sri Rama and Lakshmana and puts a few questions to them. Sri Rama praises Sri Anjaneya’s intelligent speech. Sri Madhava Charya explains that the word Anjaneyatha denotes only an intelligent person. Thus Sri Anjaneya is an epitome of physical strength and intellectual capability.
There have been differences between Saivites (the devotees of Lord Siva) and Vaishanavites (the devotees of Lord Vishnu) in the past leading to great strife.

Many saints and poets tried to bring about harmony between the two sects. They proclaimed that in essence Siva was Vishnu and Vishnu was Siva; while Siva was the heart of Vishnu, Vishnu was the heart of Siva. Telugu Poets like Tikkana (One of the authors of Mahabharata in Telugu) and Nachana Somanatha dedicated their literacy works to Hariharanatha, the lord who is both Hari (Vishnu) and Hara (Siva). Both Saivites and Vaishanavites commonly worship Sri Anjaneya.

Sri Anjaneya is a devoted Vaishnava. He is recognized as the one born with the aspects of Siva. Sri Anjaneya is the greatest devotee of Sri Rama (an incarnation of Lord Vishnu). Every hair follicle on Sri Anjaneya’s body is said to chant Sri Rama’s name. Vaishnavism recognized the importance of service devotion (DASA BHAKTI). Sri Anjaneya is great example of Dasa Bhakti. We find his idol installed in temples dedicated not only to Sri Rama but also to other incarnations of Lord Vishnu. Sri Anjaneya is worshipped with many names. One of them is “OM RUDRA VEERYA SAMUDBHAVAAYA NAMAHA” (The one who is born with the aspect of Rudra). Sri Anjaneya is an incarnation of Lord Siva (or Rudra). Panchamukha Anjaneya (Sri Anjaneya or Anjaneya with five faces) is recognized as the complete incarnation of Sri Siva. Like Siva, Sri Panchamukha (Five faced) Anjaneya has three eyes on each of his faces. Some Saivites temples also have the idols of Sri Anjaneya.

Lord Vishnu is said to be fond of ornaments and adornment while Lord Siva is said to be fond of bathing (Abhishekham) (ALANKARA PRIYO VISHNU ABHISHEKA PRIYO SIVA). Sri Anjaneya is described as the one fond of “Alankara” (Adornment) and “Abhisheka” (Bathing). Sri Anjaneya grants many a boon, if bathed with the chanting of “Manyu Sukta”.

Sage Saunaka observed: “Where there is a Bhoga (Enjoyment), there is no Moksha (Bliss or Salvation) and vice versa. But those who worship Sri Anjaneya are blessed with Bhoga and MOKSHA”. Is there any thing more a human being can aspire for?

Sage Parasara asserted that the worship of Lord Anjaneya ensures happiness and prosperity.
In an ancient age named Radhantara Kalpa, there lived a Brahmin named Kasyapa. He was a Vedic scholar and a pious person. His wife Sadhya was a pious woman. Kasyapa and his wife went to Kailasa, the abode of Lord Siva, where Kasyapa performed a penance, bearing heat and cold. Kasyapa’s penance attracted the fire God “Agni” and the wind God “Vayu”, and they began providing him with food and material for worship. Lord Siva was pleased with the penance of Kasyapa. He appeared before Kasyapa in his fire faced form, along with his concert Parvathi. Lord Siva sought Kasyapa to seek any boom of the latter’s choice. Kasyapa who was overwhelmed with joy, said with folded hands: “Lord!, I want you to be born as my son”. The benevolent Siva said: “Yes. I shall be born to you as your son with the name of Anjaneya”. Agni and Vayu who were present their sought Lord Siva to bless them with a similar boon. Lord Siva promised that he would become their son as well. Kasyapa reincarnated as Kesari, a vanara (monkey). His wife Sadhya took birth as Anjana, the daughter of sage Goutama and his wife Ahalya.
There was a demon by the name “ Gardhaba Nisvana”. He performed a great penance and Lord Siva was pleased with it. The demon sought a boon that no God or demon or yaksha should kill him. Siva granted the boon. Siva’s boon emboldened the demon Gardhaba Nisvana (the one who brays like a donkey). The demon used to bray very loudly killing the listeners. He tormented sages and disturbed their holy activities

Unable to bear the deeds of Gardhaba Nisvana, many sages and Indra (the Lord of heaven) went to complain Brahma, the creator of the universe. Brahma said that since the demon was a devotee of Lord Siva, it is better to seek Lord Siva’s advice. Lord Siva said that he couldn’t kill the demon devoted to him. The sages Indra, Brahma and Siva than went to Lord Maha Vishnu. Lord Vishnu assured them that he would kill the demon. Lord Siva interrupted: “It would be difficult to kill the demon Gardhaba Nisvana as he is protected by my grace”. Lord Vishnu replies: “The demon’s strength is diminishing, due to his misdeeds and I shall surely kill him”.

Lord Siva said emphatically: “It would be impossible to kill Gardhaba Nisvana. If you do kill him, I shall serve you”. Lord Vishnu replies: “If I don’t kill the demon, I shall become the servant of the Siva and stay at Kailasa it self”.

After these proclamations, Lord Vishnu once again took the form of Mohini, the celestial beauty. Lord Vishnu in his female form, entered the garden where Gardhaba Nisvana was resting, carrying a vessel filled with an intoxicating drink. The demon was attracted by Mohini and sought her to be with him. She sought him to drink the wine she was carrying as a prelude to their enjoyment. The demon started drinking and soon fell down, unconscious. Lord Vishnu left his form as Mohini and took the form of a Wolf and tore the abdomen of the Gardhaba Nisvana, killing him instantaneously.

Having lost his wager, Lord Siva got ready to serve Lord Vishnu. Lord Vishnu dissuaded Lord Siva, saying that their wagers were intended for the welfare of the universe. “You will serve me incarnated as a Kapi Veera (Monkey Hero) when I incarnate as Sri Rama in Treta Yuga”, asserted Lord Vishnu.
Thus Lord Siva incarnated as Sri Anjaneya to serve Sri Rama, to fulfill his word to serve Lord Vishnu.

In Treta Yuga, there lived a Vanara Veera (Monkey Warrior) by name Kunjara. He was married to Vindhyavali. The couple was unhappy, as they had no children. With a view to get progeny, Kunjara set to perform a penance, worshipping Lord Siva. Lord Siva was pleased with the penance of Kunjara. When Kunjara sought progeny, Lord Siva said: “you are not destined to have children. But due to your good luck, you would get a foster daughter and your clan will be blessed through her progeny”. Having thus blessed Kunjara, Lord Siva disappeared. Kunjara told Vindhyavali of Lord Siva’s blessing and was eagerly waiting for his foster daughter.

Sage Gowtama and his wife Ahalya had two children – a son named Satananda and a daughter named Anjana. Gowtama cursed Ahalya, as she was duped by Indra and Surya (The sun God). Gowtama was worried about the upbringing of his young children.

Sage Narada visited Gowtama and told him: “O! sage no one can change destiny. You may not in position to bring your children up. You send your son to the philosopher king Janaka, so that your son can become Janaka’s state priest. There is a monkey warrior by name Kunjara. He is child less. Let your daughter Anjana become Kunjara’s foster daughter.” Sage Gowtama acted as advised by Sage Narada. Anjana became the foster daughter of Kunjara and was brought up fondly. As days went by she became a beautiful maiden.

There was a Kapi Veera of eminence in those days named Kesari, the monkey warrior helped the gods by slaying the demon known as “Samba Sadana”. He also helped the sages by killing two rogue elephants, Sankha and Sabala. The gods and sages wanted to suitably help Kesari, who was leading a life of celibacy. It was felt by them that Anjana would be the ideal wife of Kesari. They made Kesari to agree to get married. Then, they went to Kunjara and told him of Kesari. Thus, Kesari wed Anjana. They were a very happy couple.

As years passed by lack of progeny was bothering Kesari and Anjana. Anjana wanted to perform a penance, seeking children. She sought Kesari’s permission for her endeavor. He agreed. She took his leave as she was proceeding to perform penance, Sage Matanga appeared before her. Knowing of her resolve, he advised her to go to Vrishabhadri (the present Tirumala Hills) to perform penance. She used to take bath in Akasa Teertha and was worshipping the Almighty. The Wind God Vayu, used to give her a fruit every day. One day he dropped a special fruit in the hands of Anjana. It was no ordinary fruit for it contained the essence of the aspects of all Gods, passed on by Lord Siva to his consort Parvathi, who in turn gave it to the fire god Agni, from whom Vayu took it.

Anjana was not aware of the specialty of the particular fruit. As was her practice, she ate the fruit provided by Vayu. As a result she became pregnant. She was greatly worried as she was the devoted wife f her husband. She was ashamed as well. A terrible fear engulfed her.

A divine voice (Aakasa Vani) told Anjana: “ O! Anjana, your sanctity is intact. You have nothing to feel sad. By the Almighty’s grace, you are going to deliver a great person”.Anjana narrated her experience to Kesari. The couple was very happy...

Lord Anjaneya is also known by other popular names like Anjaneya, Bajrang Bali, Pavan Suta, Sanjeevi, Chiranjeevi, Mahavir, Sankat Mochan, Hanumat, Anjaneyat, etc. He is worshipped in all parts of India. The popular days for his worship are Tuesday and Saturday. On these days devotees recite Anjaneya Chalisa and Sankat Mochan Anjaneya Ashtak with great fervor. In South India, Anjaneya is visualized as a five headed and multiple armed God.

The character of Anjaneya Ji is very important in Ramayana. He is portrayed as a perfect devotee of Lord Rama. On one hand he represents the ideal of service and on the other he represents endless strength and courage, striking the whole world with awe. He has no hesitation in sacrificing his life for the good of Rama. Service to Rama was his supreme motto. His dedication and devotion to Lord Rama is remarkable in the history of mankind. He was born in the monkey race as the son of Anjana and Kesari. Anjana had the blessings of Pavan Dev (the Wind God) and for that reason he is known as Pavan Sut or Pavan Putra (son of Wind God). The word 'Hanu' means 'jaw'. Thus the word 'Anjaneya' means one with a thick jaw. According to the scriptures Anjaneya was short, stocky, and golden brown in color. As a child he leapt for the Sun. The King of Gods 'Indra' used his 'Vajra' to stop little Anjaneya. He fell down on a hill and broke his jaw. Thence forth he was known as 'Anjaneya' the 'one with a thick jaw'.

Anjaneya Temples in various places Tamil Nadu
Sri Veera Anjaneya Temple of Mylapore, Chennai,
Sri Mukhya Praana (Anjaneya) Temple of Triplicane, Chennai
Sri Veera Mangala Anjaneya temple, Nallatore village, Tiruttani taluk, TN
Sri Yoga Anjaneya temple, Solingar, Tamil Nadu
Sri Jaya Veera Anjaneya Swamy at Tanjavur, Tamil Nadu
Sri Sitarama Dasa Anjaneya Temple of Dharmapuri, Tamil Nadu
Sri Veera Anjaneya Temple of Chengalput, Tamil Nadu
Sri Sanjeevirayan Temple of Iyenkulam, Kanchipuram, Tamil Nadu
Sri Veera Anjaneya Temple of Ananthamangalam, Tamil Nadu
Sri Anjaneya of Namakkal Digambara Temple, Tamil Nadu
Sri Jaya Anjaneya of Lalapet, Karur, Tamil Nadu
Sri Kallukuzi Anjaneya Temple of Trichy, Tamil Nadu
Sri Veera Anjaneya Temple of Cuddalore, Tamil Nadu
Sri Anuvavi Anjaneya Temple, Coimbatore, Tamil Nadu.
Sri Anjaneya Swamy temple near nalu kal mandap in Tanjavur,
Sri Anjaneya temple [Bunk] of Thanjavur, Tamil Nadu
Sri Dasa Anjaneya of Sri Pattabirama Temple, Pudhu Agraharam, Thiruviyaru, T Nadu.
Sri Pratapah Veera Hanumar or Moolai Anjaneyar Temple, T Nadu.
Sri Rama Baktha Anjaneya Temple, Saidapet, Chennai.
Sri Veera Anjaneya Temple, Bawa Swami Agraharam, Thiruviyaru,
Sri Anjaneya temple, North Bank, Potramarai tank, Kumbakonam,
Sri Anjaneya Swami temple, Bazzar Street, Kumbakonam,
Sri Twin Anjaneya, Pattiswaram, Kumbakonam, T Nadu
Anjaneya Temple, Nagari, near Tirutani

Andhra Pradesh
Sri Dasanjaneya of Machavaram, Vijayawada, Andhra Pradesh
Sri Nettikanti Anjaneya Temple, Kasapuram, Andhra Pradesh.
Gandi Veera Anjaneya of Gandi, Cuddapah, Andhra Pradesh.

Sri Anjaneya of Haumarambalam, Payyanur, Kerala.
Sri Kote Anjaneya Temple, Palaghat, Kerala.
Sri Hanuman Ambalam of Alathoor, Malappuram, Kerala

Sri Karanji Anjaneya Temple of Basavangudi, Bangalore, Karnataka
Sri Gali Anjaneya Temple of Mysore road, Bangalore, Karnataka
Sri Kere Anjaneya Temple of Sringeri, Karnataka

New Delhi

Sri Pracheen Hanuman Mandir of New Delhi

Himachal Pradesh
Sri Digambara temple of Hanuman at Sidhabari, Himachal Pradesh
Sri Hanuman Mandir,Jakhoo hill. Simla, Himachal Pradesh
Sri Hanumana Mandir of Mankey point at Kasauli, Himachal Pradesh


Sri Viswaroopa Anjaneya Swamy at Nerul, Navi Mumbai, Maharashtra
Sri Hanuman Mandir,Jakhoo hill. Simla, Himachal Pradesh
Sri Hanumana Mandir of Mankey point at Kasauli, Himachal Pradesh


Sri Mahavir Temple, Sirulee, Puri Dist, Orissa

Uttara Pradesh
Sri Panki Hanuman Temple of Panki, Kanpur, Uttara Pradesh
Sri Hanuman badi temple (Old) of aliganj of Lucknow,Uttara Pradesh
Sri Hanuman badi temple (New) of aliganj of Lucknow, Uttara Pradesh
Sri Sankata Mochana Hanuman of Varanasi, Uttara Pradesh

M Pradesh

Sant Kamali ka Sri Hanuman Temple of Bhopal, M Pradesh
Sri Chola Hanuman Temple of Bhopal, M Pradesh
Sri Sankata Mochan Hanuman Mandir of Jaivilas Palace, Gwalior, M Pradesh

Shree Anjaneya Ashtothram
Anjaneya Dhyanam

Ullangya sindho: salilam saleelam
Yeh: Sohkalahnm janakathmajaayaa
Aadaaya dheniva dadaaha langaam
Namaami dham pranjalira anjaneyam
Shree Anjaneya Ashtothram

O m Angenayaya namah
Om Mahaveeraya namah
Om Hanumate namah
Om Marutatmajaya namah

Om Tatva-gnyana-pradaya namah
Om Sita-devi-mudhra-padraya kaya namah
Om Ashokavani-kaachetre namah
Om Sarva-maya-vibham-janaya namah

Om Sarva-banda-vimokthre namah
Om Raksho-vidhvamsa-karakaya namah
Om Para-vidhya-pariharaya namah
Om Para-shourya-vinashanaya namah

Om Paramamtra-niraakarte namah
Om Parayantra-pradbedakaaya namah
Om Sarwagraha-vinaashine namah
Om Bhimasena-sahayakrute namah

Om Sarwa-dukhaharaaya namah
Om Sarwa-lokachaarinye namah
Om Manojavaaya namah
Om Paarijaata drumulasdhaya namah

Om Sarwa-mantra-swarupine namah
Om Sarwa-tantra-swarupine namah
Om Sarwa-yantratmakaaya namah
Om Kapeeshwaraaya namah

Om Mahakaayaaya namah
Om Sarwa-rogaharaaya namah
Om Prabhave namah
Om Balasiddhikaraaya namah

Om Sarwa-vidya-sampatpradaa-yakaaya namah
Om Kapisenaa-naayakaaya namah
Om Bhavishya-chatu-rananaaya namah
Om Kumaara-bramhachaarine namah

Om Ratna-kundala-deeptamate namah
Om Sanchala-dwala-sannaddha-lambamaana shikhojwalaaya namah
Om Gandharwa-vidya-tatwagnyaya namah
Om Mahabala-paraakramaaya namah

Om Kaaraa-gruha-vimoktre namah
Om Shrumkhalaa-bandhamochakaaya namah
Om Saagarottarakaaya namah
Om Pragnyaya namah

Om Raama-dhutaaya namah
Om Prataapavate namah
Om Vaanaraaya namah
Om Kesaree-sutaaya namah

Om Seetaa-shoka-nivaaranaaya namah
Om Amjanaa-garbha-sambhutaaya namah
Om Baalaarka-sadrushaananaaya namah
Om Vibhishana-priyakaraaya namah

Om Dhashagreva-kulaamtakaaya namah
Om Lakshana-pranadaataaya namah
Om Vajra-kaayaaya namah
Om Mahadyutaye namah

Om Chinrajeevine namah
Om Raamabhaktaya namah
Om Daitya-kaarya-vighatakaaya namah
Om Akshahamtre namah

Om Kaancha-naabhaya namah
Om Pancha-vaktraya namah
Om Maha-tapaaya namah
Om Lamkhinee-bhamjanaaya namah

Om Srimate namah
Om Simhaka-pranabhamjanaaya namah
Om Gandha-maadana-sailasdhaya namah
Om Lankaa-puravidaahakaaya namah

Om Sugriva-sachi-vaaya namah
Om Ddhiraaya namah
Om Shuraya namah
Om Daityakulamtakaaya namah

Om Suraarchitaaya namah
Om Mahatejaaya namah
Om Raama-chudaa-manipradaaya namah
Om Kaama-rupaaya namah

Om Pingalakshaya namah
Om Vaardhi-mainaaka-pujitaaya namah
Om Kabali-kruta-martamda-mamdalaaya namah
Om Vijitem-driyaaya namah

Om Raama-sugriva-samdhaatre namah
Om Maha-raavana-mardhanaaya namah
Om Spatikaabhaya namah
Om Vaagadhishaya namah

Om Navavya-kruti-panditaaya namah
Om Chatur-bahave namah
Om Deena-bandhave namah
Om Mahatmaya namah

Om Bhaktha-vastalaaya namah
Om Sanjeeva-vanaanna-graaharthe namah
Om Shuchaye namah
Om Vaagmine namah

Om Drudavrataaya namah
Om Kaalaneme-pramadha-naaya namah
Om Hari-markata-markataaya namah
Om Damtaaya namah

Om Shantaaya namah
Om Prasanaatmane namah
Om Shatakanta-madaapahrute namah
Om Yogine namah

Om Raamakadhalolaaya namah
Om Seetaanveshana-panditaaya namah
Om Vajra-damstraya namah
Om Vajranakhaya namah

Om Rudhra-veerya-samudbavaaya namah
Om Indhra-jitpra-hitaa-mogha bramhastra nivaarakaaya namah
Om Paardha-dhwajaagra-samvaasine namah
Om Shara-panjara-bhedhakaaya namah

Om Dashabaahave namah
Om Lokapujyayaa namah
Om Jaamba-vatpri-tiva-rdhanaaya namah
Om Seetaa-sameta sreeraamapaada sevaa Duramdharaaya namah

Om Naanavidha parimal pathra pushpaani samaypyaami!!

நாமசங்கீர்த்தனம்: பரம்பொருளை அடைய சிறந்த வழி.

What is bhajans???
Bhajan’s are simple songs sung in the praise of God. Music to human ears is heavenly. And if it's purely devotional, it's truly divine. Such a genre of music is the Bhajan. Nothing can be more deeply rooted in the Indian tradition than bhajans. Bhajans are simple songs in soulful language expressing the many-splendored emotions of love for God, a complete submission or self-surrender to him through singing.
Bhajans owe their origin to the Bhakti Movement. The word bhajan is derived from bhaj which means ‘to serve’ in Sanskrit. Bhajan is a popular form of devotional singing prevalent in north India. It is usually sung in temples in praise of good or is addressed as a plea to him. The lyrics are set to simple melodies, generally in one or more ragas. Bhajans are usually sung in groups. There is a lead singer who sings the first line or stanza and is followed by the choir. Bhajan singing is usually accompanied by musical instruments like jhanj, manjira, daphli, dholak and chimta.
Sing aloud the glory of God and charge the atmosphere with divine adoration . This is why I insist on group singing of the names of the Lord. Bhajans is the process of singing that originates in the heart, not from the lips or the tongue. It is the expression of the joyous thrill that wells up from the heart when the Glory of God is remembered. It is the spontaneous manifestation of inner ecstasy. No attention is paid to the blame or praise that others may give. It does not seek the admiration or the appreciation of the listeners.
Bhajan is one of the processes by which you can train the mind to expand into eternal values. Teach the mind to revel in the glory and majesty of God; wean it away from petty horizons of pleasure... Devotional singing induces in you a desire for experiencing the truth, to glimpse the beauty that is God, to taste the bliss that is the Self.It encourages man to dive into himself and be genuinely his real Self. It’s is a spiritual practice (sadhana) for all who share in it. Every song sung in praise of the Lord is a sword that cuts the knots of laziness. It is a fine piece of social service to remind all of their duty to the Almighty, who watches over them.
People say sometimes, that there is nothing different about bhajan compared to commercial singing.what they fail to realize is that there is nothing greater than bhajan. What bliss is there in bhajans! What a demonstration of oneness is it when a myriad throats join in uttering the name of God! The vibrations emanating from them make the heart vibrant. If you sing alone in your shrine, the vibrations return to you as a reaction. But in community singing, what you have is not a reaction but a wave of vibrations. They enter into the atmosphere and purify the polluted air. The atmosphere today is polluted by bad thoughts and feelings. When you sing the glory of God, the bad germs in the air are destroyed and the air gets purified by a treatment of anti-biotic, as it were.
When all the participants in a bhajan sing in unison, what sacred vibrations are produced and what Divine energies are released! When these vibrations fill the world, what changes cannot they bring about! When one sings alone, the heart is merged in the song. But when many sing together, it acquires a Divine power. Those who sing bhajans get what can be called a 'double promotion', for they derive joy and distribute joy.
God is omnipresent. He is the in-dweller of every heart and all names are His. So you can call Him by any name that gives you joy. You must not cavil at other names and forms, nor become fanatics, blind to their glory. When you sing bhajan songs, dwell on the meaning of the songs and the message of each name and form of God and roll on your tongue its sweetness. Some people ... question the propriety of calling God by means of ... a multiplicity of names. But each name is indicative of only one aspect of Divinity. It denotes a single part of the Supreme Personality ... Every name is but a facet, a part, a ray of the Supreme. The spiritual discipline consists in recognizing and becoming aware of the One that supports and sustains the many. That is the precious gem of wisdom that one must secure and treasure.
The procession to the cremation ground starts immediately on birth and the beating of the heart is the drum beat for the march towards that place. Some take a longer route, some reach quickly, but all are on the way. Therefore, devotional singing (bhajan) has to start in the childhood and has to continue. It must be the constant companion of man, his solace and strength. Do not postpone it to old age, for it is essential food for the mind.
Bhajans must become an unbroken stream of bliss on your tongues and in your hearts; it must confer on you the uninterrupted awareness of soham, of the unity of I and He. The tongue is the post,Namasankeerthana is the rope; with that rope, you can bring God Almighty near you and tie Him up so that His grace becomes yours. Desire and anger are... two enemies. singing gods names is a good disciplinary process by which these two can be kept away. Take for example, there is a tree. It is full of birds. They make a mess all over. How to get rid of these noisy ones? You should clap loudly. Similarly, in this tree of life, there are birds of desire. The heart therefore becomes dirty. In order to cleanse it, do Bhajans.
Think of bhajans as a part of spiritual training to be seriously taken for reducing the attachment to fleeting objects, and purifying and strengthening you, liberating you from the cycle of birth and death and consequent misery. It may appear a frail cure for such a dreadful malady. Nevertheless, it is a panacea. In this busy age of fear and anxiety (kaliyugha), the remembrance of God and repetition of His name is the one of the best and easiest means of liberation that is accessible to all. Let your whole life be a spiritual song. Believe that God is everywhere at all times, and derive strength, comfort, and joy by singing His glory in His presence. .
Conducting devotional singing sessions (bhajans)
Any devotional song, in any language can be sung as long as all can follow. Sing familiar bhajans, so that all can share in ananda (bliss). When you sing bhajans, dwell on the meaning of the song and the message of each name and form of God. You cannot insist that in the bhajans only songs on certain deity should be sung! Fanaticism of that kind should be condemned . You betray your ignorance of the truth when you stick to any one and avoid the rest, for all of them are one,shiva,shakthi,narayana,ganapathi,skandha,ayyappa,hanuman or even gurumaargal…
Bhajan has to be a thrilling experience, which must leave the participants full of pure energy and elevated enthusiasm. It must spread good-will, love, ecstasy; it must cleanse the polluted atmosphere; it must invite all to share in the joy and peace. The namasankeerthanam must be radiating devotion and love. The ananda derived from bhajan do not derive from anything else. That is the reason for emphasizing these points. Fill every moment with energy, enthusiasm, and effort with utmost discipline.
Some persons attending bhajans do not move their lips at all. They may say that they are singing the songs mentally within themselves. This is not proper . You must sing the names aloud, full-throated, as far as the voice can reach. Only then the Divine will respond in full measure and shower His grace. No one will go to the rescue of a drowning man if his cries are feeble.Together with melody and rhythm, you have to impart feeling to your singing to make the bhajan a sacred offering to the Divine. A tune without feeling is an infliction. Giving up conceit and exhibitionism, you must sing the bhajans in a spirit of humility and devotion. That is the right way to perform bhajans.
Bhajan must be a felt experience. Do not sing with one eye on the effect the song makes on the listeners and the other on the effect it makes on God.It has to be sung and offered to God in an attitude of utter humility; they are not to be taken as exercises in an exhibition of talents or as competitions for mastery of musical skill. They have to please the Lord, not your should be sung with complete obliviousness to the body. Devotional fervor is more important than musical skill. Pay attention to the tune, the meaning, the variety, the voice, the raga (rhythm), the tala (beat), and other fine points of the bhajans. Let your heart pant for God, then the raga (rhythm) and tala (beat) will automatically be pleasant and correct.
Do not monopolize the time in bhajans by singing one song for six or ten minutes, repeating the same line often. In this way you can have in one hour of bhajan, more songs on more forms, more tunes and more variety, giving more people a chance.
Let those with a good voice and musical talent lead; the keertan must be pleasant, it should not jar on the ear. If your voice is grating or out of tune, do not disturb the melody, but, repeat the namavali softly , blending in with the rest or in your mind. Eventually regular bhajan sessions will make even the worst singer become a average singer. It possesses that sort of divine power to it. Most importantly , do not jeer and tease others who can’t sing that well. Do not think you are the best, as you may be a top notch singer but with such behavior your talent may not bring you far. One may not be a good singer but when singing for god with love and full concentration on god alone. He beats any other talented singers in the world in the eyes of god. Shree anjaneya swami is a gd example. Once he was called to compete with naradha in singing. Known for his talents, naradha started exhibiting his musical skills but all Maruthi did was close his eyes and sing his lord’s name in his hoarse voice. He didn’t care about pitching or rhythm. In the end he was proclaimed the best by the lord himself...and he is revered by us as the guru of namasankeerthanam! Instead of jeering one share your knowledge in music and make him better. Gain credit from god for it.

People should return from bhajan carrying the elevated, uplifted and sublime mood created by the atmosphere at the bhajan. Therefore disperse maintaining the mood,Then the joy and peace derived at the bhajan will linger and abide in the heart.
Have bhajans as simple as you can and without competitive pomp or show; reduce expenses to a minimum, for God cares for the inner yearning and not the outer trappings. Even this small unavoidable expenditure must be silently shared, spontaneously... not collected by means of a plate ... or a subscription or donation list.

Music to human ears is heavenly. And if it's purely devotional, it's truly divine. Such a genre of music is the bhajan. Nothing can be more deeply rooted in the Indian tradition than bhajans. Bhajans are simple songs in soulful language expressing the many-splendored emotions of love for God, a complete submission or self-surrender to him through singing. The groundwork for bhajans was laid in the hymns found in Sama Veda, the fourth Veda in the Hindu scriptures. They are distinguished from the Sanskrit shlokas (hymns that accompany religious rituals) by virtue of their easy lilting flow, the colloquial renderings and the profound appeal to the mass. These are sung in a group comprising devotees, with a lead singer. The fixed tunes, repetition of words and phrases lend a kind of tonal mesmerism. Anecdotes, episodes from the lives of Gods, preaching of saints, description of God's glories have been the subject of bhajans. Another form of the bhajan is the kirtan or songs in the Haridas tradition.
Types of Bhajans
A plunge into the past reveals, that bhajans, as a genre, have come a long way weaving a home for itself into the core of human hearts. Traditions of bhajan — singing have been formed over the ages — Nirguni, Gorakhanathi, Vallabhapanthi, Ashtachhap, Madhura-bhakti are some of them. Each sect has their own sets of bhajans and ways of singing them.
Great Exponents
The medieval age saw devotees like Tulsidas , Surdas, Meera Bai , Kabir and others composing Bhajans. In the modern times, composers like Pt. V. D. Paluskar and Pt. V. N. Bhatkhande have tried to mingle Raga Sangeet or Indian classical music - which had been an exclusive domain of the elite - with bhajans, thereby democratizing the Raga tradition.
Popularity with the Masses
The common mass indulges in bhajan-singing without realizing that such traditional methods of invoking the divine can have a tremendous stress-removing impact. Bhajan mandalis (a gathering to sing bhajans) that have been in existence in the Indian villages since the beginning of the Bhakti era, have proved to be great social leveller where individuals unhesitatingly participate in the singing, relegating their petty differences to the background. This participatory action elicits recreation and consequently a kind of mental relaxation . They close their eyes to ensure that they concentrate and thereby meditate on this near ecstasy. The words, tunes, rhythms and the typical repetitive style of the bhajans give a certain sense of permanency that is known as shashwat (freedom from the state of flux), something each one of us is secretly pining for.
Is Devotional Music Fundamentalist?
It is lamentable that the ruckus created around the issue of fundamentalism has not left even the devotional compositions out of its purview. The fundamentalist hullabaloo in the Indian scenario never misses an opportunity to constrict a gathering, which has come together for simple religious expressions such as singing of bhajans or popular devotional songs of the mass. To suspect that this trend of devotional singing may be in any way related to the spread of fundamentalism is nothing but naïve thinking.
To deem it propagandist in approach is anything but intelligible. Fundamentalism is a vested political interest whereas religion is something personal. It is only when religion breeds the desire to dictate mass feelings and direct it to a preconceived end, that it becomes fundamentalist, bringing communalism and destruction in its wake. Singing a bhajan or a 'quwwali' is a cultural expression, and to equate them with fundamentalist outcries is nothing but erroneous. We must save the divine melody, and allow the benign force of music with its tremendous sustaining and benevolent power to drive out any number of 'isms'. This is only possible if we keep our musical sensibilities intact and expanding.
Thanks to the devotional (Bhakthi) movement which started in South India during 1000 – 1400 A.D. and which had its echo in North India, a good number of saint and saint composers sprang up in different parts of South India, as if by divine will, to infuse ‘Bhakthi’ into the minds and hearts of the people.
From the second half of the 16th Century to the end of the 17th century, Deccan witnessed the greatest religious transformation brought about by Purandaradasa (1484-1564) and Kanakadasa (1505-1580) of Karnataka, Kshetrjna (1614? -?) and Bhadrachala Ramdoss (1620 or 1622 – 1680 or 1688?) of Andhra, who spread the ‘Bhakthi’ cult through their soul stirring songs. Likewise, Tamilnadu from the first half of the 17th century to the second half of the 18th century witnessed the emergence of the five great saints in the Cauvery Delta who blazed their trail in the field of Bhajana and Nama Siddhantha. These five saints were Sridhara Venkatesa Ayyaval (1630-1730), Bhagawannama Bhodendra Swamigal (1610 – 1692), Sadasiva Bhramendra Swamigal (1560-1762?), Narayana Tirtha Swamigal (1675 – 1745) and Bhagavata Maha Sadguru Swamigal (1777 – 1817). All these saints lived during the reign of Nayak and Maratha rulers of Thanjavur. They contributed substantially to the musical and devotional heritage of hymns of Tamilnadu.

Sridhara Venkatesa Ayyaval, Bhagawannama Bodendra Swamigal and Sadasiva Bhramendra Swamigal were contemporaries. While Narayana Tirtha Swamigal lived in the middle of the 17th and the first half of the 18th century, Sadguru Swamigal was born in the second half of the 18th century. While Bhagavata Maha Sadguru Swamigal is acknowledged as the codifier of ‘Bhajana Pattadhi’, Ayyaval and Bhodendra laid the corner stone for a new school of religious thought called ‘Nama Siddantha’ and ‘Nama Sankeerthanam’.
Nama Siddantha and Nama Sankeethanam are an integral part of the way of devotion: Bhakti Marga. Bhakti or devotion is a relationship of trust and love to a personal God. Worship of the un-manifested (Avyaktopasana) is difficult for ordinary human beings, though there are instances of great Advaitins (non-dualists) who have given to the Impersonal Reality, a warm emotional content. Worship of the personal God is recommended as the easier way open to all the weak and the lowly, the illiterate and the ignorant. The sacrifice of love is not so difficult as the tuning of the will to the Divine purpose or ascetic discipline or the strenuous effort of thinking.

The origin of the way of devotion (Bhakti) is hidden in the mists of long ago. The praises and prayers of the Rig Veda, the Upasanas of the Upanishads and the ardent piety of the Bhagavata Religion influenced the author of the Bhagavat Gita. The Supreme is not a God who sleeps in serene abstraction while hearts heavily laden with suffering or sorrow cry out for help but a saving God of Love believed and experienced as such by the devotee. He bestows salvation on those who believe in Him. He declares: ‘This is my word of promise, that he loveth me shall not perish’.
Bhakti is derived from the root, bhaj, to serve, and means service of the Lord. It is loving attachment to God. Sage Naradha defines it as an intense love for God. For Sandilya, it is Supreme longing for God, for its own sake. It is surrender in trusting appropriation of the grace of the Lord. It is Iswarapranidhana of Yoga Sutra, which according to Bhoja, is ‘The love in which without seeking results, such as sense enjoyment etc all works are dedicated to the teacher of teachers’. It is a profound experience, which negates all desire and fills the heart with love for God. Advocates of the way of the devotion are not interested so much in supra mundane redemption as in absolute subjection to the abiding will of God. The human soul draws near to the Divine by contemplation of God’s power, wisdom and goodness, by constant remembrance of Him with a devout heart, by conversing about His qualities with others, by singing His praises with fellowmen and by doing all acts as His service. The devotee directs his whole being to God.
Adoration is the essence of religion. It involves a duality between the worshipper and the worship. The distinction between creature and creator is the ontological basis of the religion of Bhakti. The eternal One is viewed in the Bhagavad Gita not so much as the God of philosophical speculation as the God of grace such as the heart and the soul need and seek, who inspires personal trust and love, reverence and loyal self-surrender. This was the kind of underlying philosophy, which inspired the lives and teachings of the five great saints of the Cauvery Delta from 1600 to 1850. In short the quintessence of the message of devotion and bhakti of Sridhara Venkatesa Ayyaval (1630-1730), Bhagawannama Bhodendra Swamigal (1610 – 1692), Sadasiva Bhramendra Swamigal (1560-1762?), Narayana Tirtha Swamigal (1675 – 1745) and Bhagavata Maha Sadguru Swamigal (1777 – 1817) can be summed up as follows:
‘Before the rise of knowledge, duality is misleading, but when our understanding is enlightened, we perceive that duality is more beautiful than even non-duality and is conceived so that there can be dutiful, beautiful worship. The truth is non-duality, but the duality is for the sake of daily ecstatic worship (divya nama sankeerthana) and thus this worship (divya nama sankeerthana) is hundred times greater than liberation. When the soul surrenders itself to God, He takes up our knowledge and our error and casts away all forms of insufficiency and transforms all into His Infinite light and the purity of the Universal Good. Bhakti is not merely the flight of the alone to the Alone, the soul’s detachment from the World and attainment to God, but is active love for the Divine who enters into the World for redeeming it’.
While Bhakthi requires faith and love, in prapatti we simply surrender ourselves toGod, place ourselves in His Hands leaving it to Him to deal with us as He elects. It stresses the simple and austere purity of the relationship of surrender in a humble and direct attitude of trust. All these great saints perceived genuine piety in the completeness of the surrender rather than in the intensity of the Bhakthi discipline.
According to them, when we are emptied of our self, God takes possession of us. The obstacles to this God-possession are our own virtues, pride, knowledge, our subtle demands and our unconscious assumptions and prejudices. We must empty ourselves of all desires and wait in trust for the Supreme Being. To fit God’s pattern, all our claims are to be surrendered. Thus these saints viewed Bhakti as an essential means to the attainment of prapatti. When the devotee truly surrenders himself to the Divine, God becomes the ruling passion of his mind, and whatever the devotee does, he does for the Glory of God. Bhakti is to believe in God, to love Him, to be devoted to Him, to enter into Him. Such a devotee has in him the content of the highest knowledge as well as the energy of the perfect man. To study the story of the lives and times of these five great saints of Cauvery Delta is by itself an exalting, ennobling, elevating and ecstatic spiritual experience.

Myriads are the examples of such BhakthAs exist
in the Bhakthi literature ; to keep these postings at
a moderate size level , I will confine my observations
and reflections to a smaller subset of duch BhakthAs .

My main thrust will be on the Rama Bhakthi
of Saint ThyagarAjA as gleaned from his krithis
and operas such as PrahlAdha Bhaktha Vijayam
and NowkA charithram . The chinthanam of
Sri Ramachandra is invariably and unmistakably present
in the mind of this Raama ChaithanyA even in these
dance dramas composed especially to salute
Lord NarasimhA and BhagavAn KrishNa respectively .

Saint ThyagarAjA completed the recitation of the Taraka Naamam
of Sri RaamA ninety six crores of times and had the sowbhAgyam
of the darsanam of Sri RaamA with SitA dEvi , LakshmaNA
and AnjanEya in front of his house on the Thirumanjana
veedhi of ThiruvaiyAru . He is the great one who asked out
of his VairAghyam , " Nidhi chaala Sukhamaa ?
Raamuni sannidhhi seva sukhamaa ? mamatha
Bhandhana yutha nara sthuthi sukhamA ?
Sumathi ThyagarAjanuthini KEERTHANA sukhamA ? "


truNAdapi suneechEna tarOrapi shaishNunA I
amAnina mAnadEna keertaniyah: Hari : II

--SikshAshtakA #3 , Chaitanya MahA Prabhu

(meaning ) : One should repeat (chant ) the auspicous
name of Hari in a humble state of mind , while considering
oneself lower than the lowly blade of grass ; one should be
more tolerant than a tree ; one should be free from all sense
of vanity and false airs and one should be prepared to offer
respectful salutations to other devotees of the Lord .

In the sixth and the twelfth chapters of Sri Bhagavadh GitA
dealing with DhyAnam and Bhakthi , Our Lord has
explained the bhaktha , who is dear to Him as
Sama-LOshtAsmkaanchana : (one to whom a lump of earth /piece
of roof tile , stone and gold are one and the same in value ) ,
prasAntha manasa: ( One of perfectly tranquil mind ) ,
SraddhAvAn ( posessed of MahA viswasAm ) ,
adhvEshtA ( free from hatred or malevolence to others ) ,
sama dukkha suka : ( even minded , while experiencing pain
and pleasure ) , subhAsubha parithyAgi ( renouncer of
good and evil in an equal manner ) . GeethAcharyan
declares that such a devotee is dear to Him
( BhakthimAn ya: sa mE priya : ) .

There have been many such Uttama BhakthAs , who have
attained Moksham through single-minded bhakthi and
naama sankeerthanam across the length and breadth of
Bharatha Desam . There are no distinctions among these
perfected saints based upon caste, culture , personal good
looks , family ( kulam ) , wealth or profession .

These Saint-Singers described by the late
Dr.V.Raghavan as the Great Integrators are
AzhwArs of different castes or no caste , NaayanmArs ,
the SiddhAs , HaridAsAs of KarnAtakA ( Srinivasa Naik/Purandara dAsA ,
Kanaka dAsa , the shepherd by birth ,Vijaya dAsA , the Brahmin ) ,
the Saints of MaharashtrA ( Jnana dEvA , Nama dEvA , the tailor ,
EkanAth , the Sanskrit scholar , TukArAm , the shop keeper ,
Samartha RaamdAs , the guru of King ShivAji ) , Narasimha
MehtA and MirAbai of RajasthAn , Akho , the goldsmith of
Ahmedabad , Kabir , the weaver of Banares , TulasidAs of
Raamanandi sect also from Banares , the cobbler-mystic , RaidAs ,
another fellow-RaamAnadhi like Kabir and Tulasi Daas ,
DaadU , the Brahmin cotton-cleaner , SankaradEva of Assam ,
RamadAs of BhadrAchalam , Saint ThyagarAjA of TamilnAdu ,
Mutthuswamy Dikshithar , Sridhara IyaavAL of Thiruvisanallur ,
Upanishadh Brahmam of Kaanchi , who was the friend
of Saint ThyagarAjA's father , Sri Raama Brahmam and
a multitude of others .

Sage NaaradhA in his 72nd Bhakthi sUtram explains that
there are no distinctions among such uttama bhakthAs
based upon caste , culture , beauty , kulam , Eisvaryam or
chosen livelihood :

nAsthi tEshu jaathi vidhyA rUpa kula dhana kriyAdhibhEdha :

The supermacy and the efficacy of their bhakthi through
Naama sankeerthanam and Naama Japam is the common
denominator among them .they were heedless of the people's
criticisms( jana jalpa nirbhayA : ) and great teachers and
practioners of Bhakthi mArgam ( BhakthAchAryAs ) .

These ancient masters of unalloyed Bhakthi to Sriman NaarAyaNA
have been identified by Sage NaaradhA as Sanath KumArA ,
VyAsA , Sukha Brahmam , UddhavaA , AaruNi , Maha Bali , who
followed the path of surrender , HanumAn , VibhishaNA , et al .
The lives and compositions of these BhakthAs define the greatness
of BhagavAn's Naamams as the UpAyam and UpEyam for
Moksha Siddhi .

Occasionally , VidvEsha Bhakthi or communion
through confrontation helped to obtain the "blessings " of
the Lord . Slaughter at the Lord's hand raised the likes of
HiraNyakasipu , HiranyAkshA , KamsA , SisupAlA and
DantnavakthrA et al .

More frequently , J~nana Bhakthi attained through
the amalgam of J~nanam and Bhakthi made many
uttama bhakthAs to gain a deep comprehension
of the divine excellence of the nAmAs of the Lord and led
them to the path of Saantha Bhakthi .

A few had mUDa bhakthi ( devotion without saastraic
or Upanishadic knowledge ) and yet were totally absorbed
in naama sankeerthanam . They developed a loving
relationship with the Lord as in the case of the Gopis of
BrindhAvanam . About the Gopis , Bhagavatham declares :

" They never learnt the VedAs ; they never served any teacher ;
they practised no austerity ; but by association with holiness ,
they attained Me " ( Bhagavatham XI . 12.7& 8 ) . In an earlier
canto , Srimadh Bhagavatham has revealed the different
roots of attaining the Lord's grace : " The Gopis through
desire , KamsA through enimity , the VrishNis through
clannishness , the paandavAs through affection and
the sages through devotion attianed Him " ( Bhagavatham
VII . 1.30 ) .

The naama sankeerthanam appears to be
the most efficacious method of attaining Him in this
Kali Yugam , where righteousness is on the decline .
The greatness of such BahgavatOtthamAs have been
extolled by Srimadh Bahgavatham elsewhere :

" The BhagavatOtthamA ( the highest type of devotee )
is one , who sees the glory of the BahgavAn reflected in
all beings , high and low , and also perceives all beings
as dwelling in Him .

The second-rate devotee is one , who makes a distinction
between BhagavAn , His devotees , common people and
evil -minded ones , maintaining towards them attitudes of
reverential love, friendship , pity , and avoidance respectively .

The most inferior type of a devotee is one , who worships
images of God with great devotion , but has no regard for
His devotees and no consideration for others . "

The UpaasanA of one's Ishta Daivam

The Lord's name such as RamA , KrishNA , VaamanA ,
NrusimhA , TrivikramA , have specific potencies . A great
Rama BhakthA , Lord SivA has declared in Padma PurANam :
" O My dear Consort ! I chant the sacred name of Raama
Raama Raama and thus enjoy this purifying sound (dhvani ) .
This holy name of RamachandrA is equal to one thousand
names of Lord VishNu . " Srimadh Bhagavatham with
Sri KrishNa bhakthAs in mind gives a twist and states :
" One thousand names of VishNu are indeed equal to
one name of Raama , and htree names o Raama are
equal to one name of KrishNA " ( Bhagavatham 1.19.6) .

The choice of one form or avathAram of the Lord for
deep immersion is perfectly fine to advance one's
spiritual progress and to attain siddhi . They become
" TanmayA : " according to NaradhA's 70th Bhakthi SUthram .
They live absorbed in that form of the Lord . They become
Raama Chaithanyas like Saint ThyagarAja or BodEndrAL .
They become absorbed in KrishNA and become KrishNa
chaithanyALs like MirAbai or Cahithanya MahA prabhu .
They become tadheyA : and belong to Him and Him alone.
They do not enter into vain disputations and discussions
( vaadhO naavalabhya : / 74 th sUthram of Naaradha Muni ).
Sage NaaradhA gives the reasons why such great souls
following Ishta Daiva upAsanA do not enter into vain
disputations in the 75th Bhakthi SUthram of his :


( meaning ) ; ( Vain debates and disputations are to be
abandoned ) because there can be endless , diverse views
and all mere arguments become ultimately inconclusive only .
Trying to understand God-head by the intellectual route of
debate is recognized as impossible . Spiritual experience
is beyond intellect and reasoning . The Lord warns us that He is
the consciousnes behind all experiences : " From Me arise all
experiences ; I am not in them , they are in Me ."

The Uttama BhakthA may see all His Ishta Daivam in all
forms of Sriman NaarAyaNA and yet will not put anyone down
for their chosen mode of worship . He will question ,
" Raama nee samaanamevarurA ? " and yet will be
tolerant to another bhaktha engaged in worshipping another
from of divinity and will understand the approach as ultimately
reaching Sriman NaarAyaNA as revealed by Lord KrishNA
in Srimadh Bhagavath GitA .

KrishNArpaNam Asthu .
Oppilaippan Koil VaradAchAri Sadagopan

"Nama sankeerthanam yasya sarva pappra nasanam"
Bhajans are often simple songs in lyrical language expressing emotions of love for the Divine, whether for a single God/Goddess, or any number of divinities. Many bhajans feature several names and aspects of the chosen deity, especially in the case of Hindu sahasranamas, which list a divinity's 1008 names. Great importance is attributed to the singing of bhajans with Bhakti, i.e. loving devotion. "Rasanam Lakshanam Bhajanam" means the act by which we feel more closer to our inner self or God, is a bhajan. Acts which are done for the God is called bhajan.
Traditionally, the music has been Indian classical music, which is based on ragas and tala (rhythmic beat patterns) played on the Veena (or Been), Sarangi Venu (flute), Mridanga(or Tabla) (traditional Indian instruments). The Sikh Scripture contains 31 ragas and 17 talas which form the basis for kirtan music compositions.
Hindus are even said to have achieved Moksha through devoting music to God. For example in the Rig Veda Gargi, the wife of Yajnavalkya, through her excellence in veena playing, an incident that caused Sage Yagnavalkya to write the famous verse:
"Veena Vadama Tatvagnaha
Sruthi Jathi Visharada
Talagnanacha Aprayasena
Mokshamargam Gachachathi"
("Yagnavalkya Siksha")
This is the communal, call-and-response chanting of mantras, often with instruments and dance. Kirtans are deeply rooted in Vedic tradition.
The origins of Indian classical music can be found from the oldest of scriptures, part of the Hindu tradition, the Vedas. Samaveda, one of the four Vedas, describes music at length.The Indian classical music has its origin as a meditation tool to attain self realization. All the different forms of these melodies (ragas) affect various "chakras" (energy centers, or "moods") in the path of the "Kundalini". There are specific mental, biological and spiritual results associated with activation of these centers.
Thennadudaiya shivanae potri,
Yennatavarkkum iraivaa potri!
Sarvathra govindha nama sankeerthanam ..
Govindha govindha!
Om shakthi om ,Parashakthi om!
Swamiyae sharanam ayyappa!!

Friday, March 19, 2010

மாரியம்மன் தாலாட்டு [Lullaby to Mariyamman]

Mariamman Thalattu [மாரியம்மன் தாலாட்டு]
[Lullaby to Mariyamman]

Translated by P. R. Ramachander, Kannabiran Ravi Shankar and Dr. Sankar Kumar

[Mari, Mariyamma and Marikamba, all denote a grama devata (village goddess) who is very popular in most of the villages of South India. While most of the people believe that she is the goddess Kali (created by goddess Parvathy to kill Raktha Bheeja) or the form of Renuka Devi who was the mother of Parasurama, some people believe that she isDraupadi, the wife of the Pandavas and yet others believe that she is Vasugi, the wife of Thiruvalluvar. Mostly her formin the temple is ferocious. She is considered as a goddess who would punish, if not propitiated properly. Invariably thepriest in her temples does not belong to the Brahmin caste and the agamas for her worship are very much differentfrom the normal Hindu temples. Most of her temples do not have buildings and in some cases she is representedsimply by a granite stone in a village field. In some cases she is represented only by the statue of her head with localvillagers believing that the entire village is her body. One of her most famous temple for her is in Samayapuram nearthe town of Trichy in Tamil Nadu. This temple is built of stone and is architecturally wonderful. There is also a veryfamous temple for her in the city of Singapore. In many temples, there is a ritual walk on burning embers by herdevotees. These embers are never called fire but Flowers. In some other temples the women devotees carry a mudpot containing burning embers kept over Margosa leaves in their bare hand during festivals to please her. In somecases, after bath in the nearby river, women go to her temple dressed in a saree like clothing made of Margosa leaves.Animal sacrifices are often carried out, the preferred animals being goat and buffalo. After the sacrifice the meat ofthese animals is carried round her temples in a bamboo basket. This was also called Karagam and is the forerunner ofKaragattam of the present day, which is a dance balancing a pot on the head. Another form of worship is for thedevotees to hang on a crane (Chedil) with a hook pierced in their body or tied to the pole by cloth. She is considered tobe responsible for the pox epidemics which used to wipe away entire villages in the bye gone era. People believedthat she did not tolerate any clinical treatment for such diseases except worshipping her and caressing the eruptions ofthe pox (called Muthu - pearls) with margosa leaves. People believed that in a pox affected person, she has come inperson and would not go away unless she is propitiated. One such form of propitiation is the singing of MariammanThalattu (Lullaby to mariamman) accompanied by fast playing of a small drum. The song written in a folk music styledoes not obey any rules of Lullabies except that it is aimed at soothing the Mariamman rather than the baby, Thelanguage used is not literal Tamil but spoken Tamil. It is believed to be ancient but references to instruments likeClarinet (a western musical instrument), reference to the invasion of Marathas etc., indicate that additions to the lullabytook place as per the local times and the imaginative approach of the singer. The Lullaby starts with a prayer to Ganesaand then prayer to Goddess Saraswathi. A request is made to her for help in singing the story of Mari. This is followedby the Lullaby. Though not written in the Stotra style, the lullaby sings praise of Goddess Mari, mentions her variousforms, mentions her companions, mentions the acts of devotees for getting her favour, contains in various places ofher worship, prayer to her to remove the small pox eruptions from the body etc. More than being poetic, it clearly bringsout the utter devotion and the colossal fear in the mind of her devotees. Several references to Puranic gods are madeShe in some places is referred to as the sister of Lord Krishna (the girl who was born to Yasoda, at the same timewhen lord Krishna was born to Devaki), there is reference to the yantras in the body, to Sri Chakra worship, to severalvillage gods of Tamil Nadu and so on. There is also mention of her interaction with several Gods of the Vedas andPuranas.]

Vinayagar Thuthi
(Prayer to Lord Ganesa)

Poothalathil yavarkkum peradaravay ennalum,
Maharasi endru vazhthuginra mariyamman,
Seedharanar thangai, sirappana thalattai,
Kadaludan odha ganapathiyum kappome.

Let the great Ganapathy provide the protection,
When I sing this special lullaby to the sister of Vishnu,
Who is the great support to all people in this earth,
And is praised as the queen among women,
And is the goddess of Mari.

Mundi mundi vinayagre, mukkannar than magane,
Kandarukku mun piranda karpagame munnadavai,
Velavarkku mun piranda vinayagare munnadaivai,
Vembadiyir pillayare, vikkinare, munnadaivai.

Please lead me ahead and ahead, oh, God who removes obstacles,
Who is the son of the god with three eyes,
Please lead me, the gem who was born before lord Skanda,
Please lead me, Vinayaga who was born before the god with Vel,
Please lead me the lord Ganesa who sits under Neem tree,
And Please lead me he who removes obstacles.

Pezhai vayithone, peruchali vaganare,
Karana maal maruga karpagame mey porule,
Cheerana nal muruga, selva ganapathiye,
Ottai kombone, umayal thiru magane,
Kathai chadai anintha gangadaran magane,
Vithaikku vinayagane, vennai undon maruga,
Matha kari mugava mayon marukone,
Iynthu karathone yanai mugathone,
Danthamada varanane thar parane munnadaivai.

He, who has a paunch resembling a box.
Who rides on a bandicoot,
Who is the nephew of Lord Vishnu,
Who is the wish giving gem, who is the real truth,
Who is the real great god Muruga,
Who is the rich leader of ganas,
Who has only one tusk,
Who is the son of goddess Parvathi,
Who is the son of he who carries Ganga,
On his head with matted tuft,
Who is the first God of knowledge,
Who is the nephew of the one ate the butter,
Who is having the face of an elephant,
Who is the nephew of the great enchanter,
Who is the elephant with one tusk,
And who is the source of salvation, please lead me.

Nenjir kudi irundu nee enakku munnadavai,
Panchanju melladiyal parvathiyal puthirane,
Vezha mukathone vinayagare munnadavai,
Thazhvila sangaranar sar puthira varumaiya,
Munnadakkam pillayarku, kannadakkam ponnale,
Kannadakkam ponnale, kar chilambhu muthale,
Muthale thandai koncha munnadavai pillayare,
Selva ganapathi un padam naan maravene.

Live in my heart and lead me Oh, God,
Who is the son of Parvathi, who has feet as soft as cotton,
Oh God with elephant face, who removes obstacles, please lead me,
Oh God who is the great son of Lord Shiva, please do come,
First priority to him who is our boy,
We offer him ornament of gold to his eye,
Offer him ornament of gold to his eye,
Offer him anklets with pearls*.
Oh our boy, lead us with twinkling anklets,
And I will not ever forget your feet.
* Since Amman is Muthu Maari, Muthu is also offered to her son.

Saraswathi Thuthi
(Prayer to Goddess Saraswathi)

Thaye saraswathiye sankaraiye munnadavai,
En thaye kalaivani yogavalli nayagiye,
Vani saraswathiye vakkil kudi irundu,
En navil kudi irundu nallosai tharum amma,
Kamalasanathale, kaaradi pethavale,
En kuralir kudiyirundu konchadi pethavale,
En navu thavaramal nallosai tharum amma,
Mariyamman than kadayi mana magizhndu nan pada,
Sariyaga en navil thangi kudi irum amma,
Kannanur mari muthe, kai thozhudu naan pada,
Binnam illamal piragirundu karumamma.

Oh mother Saraswathi who is also sankari, please lead me,
My mother, leader of the school of yoga,
Goddess of speech Saraswathi, please be on my words,
And also my toungue, please give me good sound,
She who sits on lotus, she who gave birth to poems,
Please live in my voice and make lisping tones,
Give me good sound so that my toungue doesn”t err,
Please live on my toungue,
So that I can sing the story of the Mari,
Hey, gem of Mari of Kannanur, keep me safe from back,
So that I can sing with folded hands.

Mariyamman Thuthi
Prayer to the Mariyamma (Mari)

Mayi, Maga mayi, mani manthara sekhariye,
Ayi umai aanavale, Aadhi shivan deviyare,
Mari thai vallaviye, maha rasi karumamma,
Mayan sodahariye Mari muthe varumamma,
Aayan sodariye, Aasthana mari muthe,
Thaye durandariyeSankariye Varummma.

Mother, great mother, Who grows like a jewel with chants,
Who became the goddess Uma, Who is the consort of Lord Shiva,
Oh Mari who is very able, Oh great lady protect me.
Oh sister of Lord Krishna, Oh Jewel please do come,
Oh sister of the cow herd, the presiding Mari jewel of the king’s court,
Oh mother, Oh destroyer of ills, Oh consort of Sankara, please do come.

Dikkellam pothum ekkala deviyare,
Ekkala deviyare dikkellam ninra shakthi,
Kanna purathale karana soundariye,
Narananaar thangai ammal nalla muthu mariyare,
Nalla muthu mariyare, naga kanni thayare,
Un karagam pirandadamma kannanoor medayile,

Oh Goddess of all time whose fame is spread in all directions,
Oh Goddess of all time your power stands in all directions,
Oh Goddess who lives in Kannapura, who is pretty beyond reason,
Oh Goddess who is sister of Narayana, who is the good gem Mari,
Oh gem like goddess Mari, who is good, who is the mother of serpent maidens,
Your Karaga was born in the stage of Kannanoor,

Un vembu pirandadmma Vijayangar pattanam aam,
Un soolam piranadamma Thulungu mani mandapathil,
Un alagu pirandadamma Ayothinagar patanamam,
Un pirambu pirandadamma Pichandi sannidhiyam,
Un udukkai pirandadamma uthirakshsh bhoomiyile,
Un pambai pirandadamma Palingu ma mandapathil,
Un karauthu pirandadamma kanchagiri indirapuram,
Un arule thazaikkavamma vaiyangal eedera,
Un kumaravargam thaan thazhaikka kombanaye mari muthe,
Unakku moondru karaka mamma muthana nar karagam,
Unakku iyndu karagamamma asaindadum por karagam,
Unakku ezhu karagamamma eduthadsum por karagam,
Unathu pathu karagam amma pathithadum por karagam,
Veppilayum por karagam veedhi vilayadi vara,
Ayiram kannudayal alangai varum amma,
Padinayiram kannudayal parashakthi varum amma.

Your margosa tree was born in the Vijayanagar city,
Your spear was born in the stage made of shining gems,
Your Alagu (bamboo) was born in the city of Ayodhya,
Your cane was born in the temple of Pichandi,
Your rolling drum was born in the land of Rudraksha,
Your Pambai (calling horn) was born in the great crystal stage,
Your ideas were born in Kanchagiri and city of Indra,
Let your mercy grow so that world is saved,
Let your children grow, Oh gem Mari who is like a life support,
You have three karagas, the karaga like a good gem,
You have five karagas, the golden karaga which shakes and moves,
You have seven karagas, the golden karaga which one takes and dances,
You have ten karagas, which is a golden karaga which shakes in the land,
Leaves of margosa tree and the golden karaga plays and marches on the road,
Oh goddess with thousand eyes who decorates herself, please come,
Oh Goddess with ten thousand eyes, who is the greatest power.

Thulakanathellai ellam kulukkada pen piranthai,
Thulukanathellai vittu durandariye varum amma,
Malayala desamellam vilayada pen piranthayi,
Malayala desam vittu varum amma Inda mugam,
Chamainthayi samayapuram sadithayi kanmapuram,
Irundhay viradapuram ini irunday kannapuram,
Samayapurathaale sambrani vasagiye,
Samayapurathellai vittu thayare varum amma,
Kannapurathale karana soundariye,

As a girl you were born to shake the borders of Thulukkanam,
Oh goddess, come away from the borders of Thulukkanam,
As a girl you were born to play in all the land of Malayalam,
Oh goddess, come away from the land of Malayalam,
You assumed this form in Samayapuram
Became effective in Kannapuram lived in viradapuram,
And also continued to live in Kannapuram,
Oh goddess who is the incense of myrrh,
Oh mother, come away from the borders of Samayapuram,
Oh Goddess who lives in Kannapuram, who is pretty beyond reason,

Kannapurathellai vittu karaniyee vandamaurum,
Kadumbadi ellai ellam kaval konda mari muthe,
Oothukattu amarndavale udhira bali kondavale,
Padavettu amarndavale parasuramanai pethavale,
Pada veetai vittu mella pathiniye varum amma,
Periyapalayathu amarndha pechi ennum mariyare,
Periyapalayathai vittu peararasi varum amma,
Aarani periyapalayamam, adil irukkum athangarai,
Athangarai medai vittu achiyare varum amma,
Veeram pattanam amarndha vedantha mari muthe,
Koliyan oor ellayile kudi konda mariyare,
Andarathil ther oda aruge chedil asaiya,
Machiyir theroda makara chedil asaiya,
Pakkam kayur odi pakara chedil asaiya,
Aanda guru desigarai ariyadha manidrai,
Thoondi vittu aati veykka thondrinay neeyoruthi.

Come away from Kannapuram, Oh goddess who is the cause,
And please take your seat,
Oh goddess who is the gem Mari, who looked after,
The borders of Kadumbai,
Oh Goddess who sat in Oothukadu,
Oh goddess who accepted blood as sacrifice,
Oh Goddess who sat in Padavettu,
Oh goddess who is the mother of Parasurama,
Oh virtuous wife, please come away slowly,
From the borders of Padavettu,
Oh Goddess Mari who is the voice,
Who sat in the Periyapalayam as Pechi,
Oh great queen come away from Periyapalayam,
There is Periyapalayam in Aarani,
And there is a river bank there,
Oh mother who rules, come away from,
With the stage from the river bank,
Oh gem Mari of Philosophy,
Who sat in the city of Veeramaam pattinam,
Oh Goddess Mari who lived,
In the borders of Koliyannur,
When the chariot runs in the sky,
And when the chedil* moves near,
When the chariot moves on the summit,
And when the chedil moves at the top,
When the chariot moves higher,
* The contraption carrying a devotee by a hook pierced in his back
And when the makara chedil moves,
When it runs on the paths of sides,
And when it moves like light,
You appeared to induce those men,
Who do not know our lord who rules.

Shakthiyayai nee amarndhayi, thanikutti kavu kondai,
Ellayile nee amarnthai, erumai kida kavu kondai,
Unnai pol deivam ulagathil kandathillai,
Ennai pol pillaigal engundu vaiyagathil,
Korthamuthu vadam asaiya, kongai rendum pal ozhuga,
Ettavarkku varam tharuvai, ekkala deviyare,
Ekkala deviyare, dikkellam andavale,
Dikkellam andavale, digambariye varum amma,
Mukkona chakkirathil, mudanmayai nindra shakthi,
Akkona thannil vandu aychiyare vandu amarum,
Thaye durandariye sangariye varum amma,
Mayi maruliyare mani mandira shekaiye,
Vallanmai kariyare vazhakkadum marimuthe,
Vallavarai kondrai, valiyavarai maar pilandai,
Neeli kapaliyamma ni Marida thiruchooliyare,

You sat as Shakthi and took as offering a sheep,
You sat in the border and took as offering a buffalo calf,
I have not seen any god like you in this world,
And where are children like me in this world,
You give boon with the chain along with its gems moving,
And milk flowing out of your breasts,
Oh Goddess who makes great sound, give boons to those suited,
Oh goddess who ruled over all directions, please come,
Oh goddess who wears directions as cloth, please come,
You are that Shakthi who stood in the triangular wheel,
You please come in that triangle and sat with us, cowherdess,
Oh mother who is difficult to attain and Oh Sankari please come,
Oh mother who is an enchantress, Oh goddess who collects jewel like spells,
Oh Goddess who is extremely powerful, Mari of gem who argues a case,
You have killed very strong ones, You have opened the chest of powerful ones,
You are blue, you hold the skull, Oh goddess with a spear,

Nalu moolai oma kundam, naduve kanaka sabhai,
Kanaka sabhai veethu irukkum karana soundariye,
Karana sounndariye, narananar thangayare,
Naranaar thangayare, nalla muthu mariyare,
Nadalai sudlai amma, nadu chudali thillai vanam,
Thllai vanathu ellai vittu thirumbum amma inda mukham,
Varppu chilayale, vachiramani therale,
Thundi thudai peruman, thundimullu kai peruman,
Manadayile thaitha mullu, marburugi pokudhamma,
Pakkathil thaitha mullu, padaithu thudikkuthamma,
Thondayile thaitha mullu, tholuruvi pokuthamma,

The four corners are the Homa kunda*,
And in the centre is the stage of gold,
Oh Goddess who is the reason for prettiness,
And who sits in the centre of golden stage,
Oh Goddess who is reason of all beauty,
Who is the younger sister of Lord Vishnu,
Oh Goddess who is the younger sister of Lord Vishnu,
Who is the benevolent goddess of gem Mari,
Who is on the way to Sudalai# and is in the middle Sudalai in Thillai**,
Will this face ever change its look from the border of the forest of Thillai,
Oh Goddess who has statues which are made of metal,
Who has got chariots made of the beads of diamond,
The thorn is of the size of the thigh,
And the thorn to take it out is the size of the hand,
The thorn which hit the head melts in my chest,
The thorn which has hit my sides is making me shiver with pain,
The thorn which has struck the throat is going by the shoulder.
* pit for performing fire sacrifice
# Ground for cremation
** The town of Chidambaram

Kathi pol veppilayai kadara vittay lokamellam,
Eeti pol veppilyai iniyanuppi kondavale,
Pathirikullirukkum pavanaya aar arivar,
Veppilay kullirukkum vithaikal aar arivar,
Chedilo thudai peruman thoond mullu kaiperuman,
Thoondimullai thooki thudukkadakkum mari muthe,
Othai chedi lada oor anaithum pongalida,
Erattai chedilada irandinaym pongalida,
Pakka chedilada padai mannar kokkarikka,
Pramasivan vasalile par pasuvai kavu kondai,

You made the margosa leaf like a knife and sent it all over the world,
You sent the margosa leaf like a spear and sent it across,
Who understands the idea hidden within your acts,
Who understands the power buried in the margosa leaf,
The chedil is of the size of the thigh,
And the thorn to carry is of the size of the arm,
Hey gem of Mari who crosses using the thorn,
When one chedil shook, the entire country cooked Pongal,
When two chedils shook both the worlds cooked Pongal,
When the chedil on the side shook, the kings with army became happy,
You got as sacrifice the cow giving milk on the gates of Shiva’s temple,

Emanida vasalile erumai kida kavu kondai,
Erumaikida kavu kondai ekkala deviyare,
Ekkala deviyare dikkelam aanda shakthi,
Kasi vala naatale kanniya kumariyre,
Kasi vala nattai vittu kattazhagi varum amma,
Oosi vala nadu uthyoga kumaridesam,
Ariyathan padukindren ammai thirukadayai,
Theriyadan paduguinren devi thirukkdayai,
Ettendral irandariyen ezhaiyamma un adimai,
Pathendral ondru ariyen balan amma un adimai,
Pada vagai ariyen pattin paran ariyen,
Varutha vagai ariyen varnikka per ariyen,
Perum ariyen amma, pethavale en thaye.

You got as sacrifice the buffalo in front of god of death,
Oh goddesses who are for all time, You are the power that ruled all over,
Oh goddess who belonged to Kasi,
Oh Goddess who belonged to Kanya Kumari,
Of beauty of the Kasi, come out of Kasi,
The thin fertile land is the land of Kanyakumari,
This ignorant one is singing your holy story,
This man who does not know is singing the story of the goddess,
When you say eight, I may miss two since Your this slave is very poor,
When you say ten, I may miss one as Your slave is only a child,
I do know how to sing, I do not know the tunes of songs,
I do not know how to make you sorry,
I do not your names to describe your names,
I do not know your names, Oh mother who delivered me.

Kuzhanthai varundukindrathu un kovilukku ketkaliyo,
Maindan varundukindrathu Un maligaikku ketkaliyo,
Balan varundarathu parvathiye ketkaliyo,
Koyirkkadimai amma kondadum balakakandi,
Malikayai vittu mathavum varum amma,
Sannidhiyai vittu thayarum varum amma,
Aranmanayai vittu Athale varum amma,

Does not your temple hear the sorrow of his baby,
Does not your palace know the sorrow of this son,
Does not Goddess Parvathi hear the sorrow of this lad,
I am the slave to your temple, the lad who praises you,
Oh mother, please come out of the palace,
Oh mother, please come out of the sanctorum,
Oh mother, come out of the big house,
I am the slave to your big house, a lad who praises you always,

Koyirkadimai amma kondadum balakan di,
Sannidhi mainthan amma sankariye pethavale,
Varundhi azhaikkindren naan vanna mukham konamal,
Thedi azhaikkindren naan devi mukham kanamal,
Ezhai kuzhandai amma eduthorkku balakan di,
Balan kuzhandai amma parthorkku balakan di,
Maindan kuzhanai amma maharani karum amma,
Kallodi un manathu, karayilayo ellu alavum,
Irumbodi un manadu irangalaio ellu alavum,
Kallum karaithidum mun manna karayathenna vidham,
Irumbum urugidum mun irudayam urugathennavidam,
Mun cheytha theevinayo mur kalathu payano,
Periyorgal cheydha theevinayo, pethavale chollum amma,
Edum ariyen amma easwariye sollum amma.

I am the son of your temple Sankari who is my mother,
I am entreating you to come with interest, with no sorrow in your face,
I am searching you and calling you, without seeing the face of the goddess,
I am a child of the poor, an orphan who has been found out by somebody,
I am a grown up baby, and a young boy to all those who see,
I am the your baby and your son, Oh queen please look after me,
Is your heart stone and has it not melted even a little,
Is your mind made of steel, is there not even a little pity there,
When even the stone melts, how does your mind not melt,
When even the steel melts, how is it that your mind does not have pity,
Is it because of wrongs done earlier or is it the result of past deeds,
Or is it the bad things done by my elders, please tell me my mother,
I do not know anything, please tell me my goddess.

Kadumbadi ellayile kattazhagi veethu iruppay,
Kadumbadi ellai vittu kattazhagi varum amma,
Kargathu azagiyare, kattazhagi mari muthe,
Kargathu meedu irundu kattazhagi konjum amma,
Kumbathu meedu irundu konjum amma pethavale,
Konjum amma pethavale, kuraigal ondrum vaaramal,
Unakku pattu palapalenna padakkal cherada,
Unakku muthu mola molavena modhirakkal cherada,
Ulagamellam muthedukka ullapadi than vandayi.

Oh Pretty one, you would be sitting in the borders of Kadambadi,
Oh pretty one, please come out of the borders of Kadambadi,
Oh pretty one of the holy pot, Oh pretty one who is the gem Mari,
Please sit on the holy pot, oh pretty one and endear me,
Oh mother who gave me birth, sit on the big pot and then endear me,
Endear me oh mother so that I never have any problems,
Silk for you shaking with your legs with glitter,
Gems for you shaking along with ring with lots of prettiness,
You have come truly in this world so that world takes gems.

Desamellam mutheduppai devi kannanoorale,
Mutheduthu thaan pukundai uthamiye mari muthe,
Unakku eacham kura koodai irukkattum ponnale,
Unakku thazham kura koodai thanikkattum ponnale,
Kura koodai mutheduthu kombanaye nee pukundai,
Koyilin chandadiyil koopittal keladho,
Aranmanai chandadiyil azhaithalum kelatho,
Maligayin chandadiyil mathave ketkaliyo,
Makkal itta chandadiyo, marumakkal chandadiyo,
Pillaigal chandadiyo, peranmar chandadiyo,
Ananthal perumayo, achara chandadiyo,
Chandadiyai neekiyamma thayarum inge vaa,

Oh Goddess of Kannanoor, you will take gems all over the country,
You entered there by taking gems, Oh honest one, oh gem Mari,
Let your basket made of reeds be made of gold for you,
Let your basket made of pandanus be made of gold,
You came with basket full of gems and entered here, oh beauty,
If I call you in the sounds of temple, are you not able to hear it,
If I call you in the sounds of palace, are you not able to hear it,
Oh mother were you not able to hear me in the sounds of the mansion,
Is the sound made by your children or is it by your nephews,
Is it the sound made by our sons or is it by your grand sons,
Is it the fame of your worship or is it the sound of rituals,
Please remove all the sounds and Oh mother come over here,

Kolli malai andavanai, kumara kuruparanai,
Kathavarayanai thaan kattazhagi thaan azhayum,
Thottiyathu chinnanai, durai maganai thaan azhayum,
Madurai veerappanai yen mathave thaan azhayum,
Pavadai Rayanai thaan pathiniye thaan azhayum,
Karuppana swamiyaiyum kattazhagi thaan azhayum,
Moongil karuppanai thaan chaduthiyil thaan azhayum,
Muthalu ravuthan munaylla sevagarai,
Periya palayathu amarntha pechiyare mathave,
Palaya kariyamma pazhikari mari muthe,
Kannanur mari muthe kalakala vena nadanimidum,
Unnai paninthavarkku utha thunai nee iramma.

Oh pretty lass call the God of Kolli malai who is Subramanya,
And the lord Kathavarayan who is his commander,
Call Chinnan of thotiyam, and Duraimaga,
Oh mother call Veerappan of Madurai,
Oh virtuous wife call here Pavadai Rayan,
Oh pretty lass please call Karuppanna swami.
Please quickly call Karuppan of Bamboos,
Oh mother of words who sits in Periya palayam,
Please call Muthalu Ravuthan who is an efficient servant,
Oh Goddess from Palayam, Oh mother who takes blame of devotees,
Oh mother who is the gem Mari,
Oh Gem Mari of Kannanur who dances with vigour,
Please keep constant company for those who worship you.

Adhi parameswariye aruge thunai neeiramma,
Unnai pol deivathai ulagathil kandathillai,
Enai pol maindar engu mundu vaiyakathil,
Un makimai arinthavarkal mandalathil aarumillai,
Un seydhi arivaro desathu manidarkal,
Un makimai thaan arindu mandalathil pada vanthen,
Un makimai ariyadulagil manda manu kodi undu,
Un cheydi ariyathulagil chetha manu kodi undu,
Thappu pizhai vandalum sankariye nee poruthu,
Aaru thappu nooru pizhai adiyargal cheythathu ellam,
Manathu poruthu mana magizhchi yaga venum,
Devi manam poruthu deergamudan rakshiyamma,
Kondu manam poruthu kombanaye rakshiyamma,
Karkka kadan unakku karana soundariye

Hey the primeval Parameshwari, please be near me for company,
I have not seen a goddess like you in this world,
However people like me can be seen everywhere,
People who know your power are not to be seen in this planet,
Do the people of the country know your story,
I have come to sing about you after knowing your greatness,
Crores of people have died without knowing your greatness,
Crores of people have passed away without understanding your news,
If errors and mistakes do occur, Oh Sankari, you have to pardon,
Six errors and hundred mistakes that your devotees have committed,
Should be pardoned by you and your mind should be happy,
Oh Goddess, pardon us please, protect us for long,
After accepting us by your mind, Oh pretty one please pardon us,
Hey Pretty Goddess, there is enough reason for you to pardon us.

Kaaradi pethavale, kalu thalai nogamal,
Venumadi kaaradi nee veppam chilayale,
Pakka thunai irundu padakanai karum amma,
Pori pol ezhumbi athal irangamma,
Sirasainir muthaiyamma munnathay nee irakkum,
Kazhuthinile muthaiyamma kattazhagi nee irukkum,
Tholinil muthaiyamma thurandariye nee irukkum,
Marbinil mathaiyamma mathave nee irukkum,
Vayithinil muthaiyamma vadivazhagi nee irukkum,
Thudayinil mathaiyamma deviyare nee irakkum,
Mazham kalil muthaiyamma meenakshi nee irakkum,
Kanukalil muthaiyamma kamakshi nee irakkum,
Padathil muthaiyamma parinil irakkividum,
Bhoomiyil irakkividum pethavale karum amma,
Pethavale thaye perarasi mari muthe,
Utha thunai irundu ukandariye karum amma,
Unnai vida bhoomi thanil utha thunai verumundo,
Pakka thunai irundu padu kathu rakshiyamma,

Oh goddess whose feet protects, without my head till the leg paining,
Protect me with desire, You who dresses in sari of neem leaves,
Be with me always and protect this evil man,
Popping like popped rice, you increase and occupy,
You appear and increase, Oh mother go down, please,
From the head, Oh mother of gem, you protect this son, and go down,
On the face, Oh mother of gem You appear first there,
On the neck, Oh mother of gem, you pretty one are there,
On the shoulder, Oh mother of gem, you who have forsaken are there,
On the chest, Oh mother of gem, mother you get down from there,
On the belly, Oh mother of gem, you pretty lady get down from there,
On the thigh, Oh mother of gem, goddess, you get down from there,
On the knee, Oh mother of gem, Meenakshi, you get down from there,
On the ankle, Oh mother of gem, Kamakshi, you get down from there,
On the feet, oh mother of gem, you get down on this earth,
Get down on the earth, my mother and protect me,
Oh mother who gave me birth, mother, great queen, gem Mari,
You be with me properly, you who are suitable and protect me,
Is there any one who can be with me and protect, other than you,
Be with me always and protect and save me,

Chekka chivandvale, chenkannan thangaiyare,
Mangai ennum maharasi, maharasi karum amma,
Thingal vadaniyare devi kannanoorale,
Engal kula deviyare easwariye kan paarum,
Mangala vinothi mathave kan paarum,
Ezhaikkirangamal ippadi nee irundal,
Vazhvadu than ekkalam vaarppu chilayale,
Aayi mahamayi aaranangu chor karaniye,
Mayi mahamayi manimandara shekariye,
Irangirangu thayare engalai kappathum amma,

Oh goddess who is pure red, who is the sister of the red eyed god,
Oh lady who is the queen of all ladies, oh queen please protect me,
Oh lady with moon like face, Oh goddess who lives in Kannanur,
Oh goddess of our clan, Oh goddess please see us,
Oh mother who plays for good, please see us,
If you do not take pity on this poor man,
When can I ever live, Oh goddess who is as pretty as a cast metal statue,
Mother, great mother, pretty one, who makes pretty words,
Mother, great mother, who collects gems and spells,
Pity and take pity on us mother and protect all of us,

Marithay vallabhiye maharasi karum amma,
Veranan solayile aaranam thana shakthi,
Needimannar vasalile nerayi koluvirundai,
Koluvirunda shakthiyare kortha muthu neeyirangum,
Korthamuthu nee irangum kombanaye mari muthe,
Pottamuthu nee irangum poyyatha vasakiye,
Poyyatha vasakiye punyavathi easwariye,
Chedilo thudai peruman, thoondimullu kai peruman,
Adangatha manidarai aati vaikkum marimuthe,
Dushtargal thendanittu thudukku adakkum marimuthe,
Kandavargal thendanittu kalakkamidum marimuthe,
Aandatha pergalaithan aanavathai thanadakki,
Rajakkal ellorum nalamaga thaan paniya,

Oh Mari who is powerful, Oh queen protect me,
In the garden of Veerana, you are the powerful strength of giving,
You were sitting in the gate of the just king,
Oh mother truth who was sitting, let the gems (poxes) that have formed come down,
The gems that come down, oh pretty one who is the gem Mari,
Oh leader who does not tell a lie, let the gems that have formed come down,
Oh truthful leader, Oh goddess who is holy,
The holy crane is of the size of the thigh
And the hook that pierces is of the size of the hand,
Of gem Mari who shakes those people who are rebels,
Oh gem Mari who is being saluted by bad ones by falling at your feet,
Oh gem Mari who is being saluted by see you and get themselves clear,
You who suppress the pride of those who do not approach you,
You who make kings surrender for good,

Maguda mudi mannar manonmaniyai than paniya,
Kireeda mudi tharitha keerthiyulla rajakkal,
Maguda mudi manthirigal mannithu thendan ittu nirka,
Pattu duraigal padai mugathu rajakkal,
Vatti kelithu varum vedantha vediyargal,
Dushtargalai thaan adakkum soli kapaliyamma,
Adangatha manidarai yadimai bali konda shakthi,
Minji varum rakshatharai vetti virundunda kanne,
Thanjam endra manidarai thar kakkum parapariye,
Avaravargal thaan paniya vakkinai pethavale,
Sivanudan vaadadum sidhantha mari muthe,
Aranudan vadadum aasthana marimuthe,
Birammandan vathadum pethavale marimuthe,
Vishnuvudan vadadum vedantha marimuthe,
Emanudan vadadum ekkala deviyare,
Devarudan vadadum devi kannurale,

You who make the crowned kings who offer the mind gem,
Those famous kings who have crown on their head,
And those ministers with head gear salute and ask for your pardon,
Those lords of silk, and kings of the battle field,
Those Vedic philosophers who win in their debates,
Oh goddess with spear, who is the mother of skull,
Who controls the bad ones,
Oh goddess of strength who made those rebellious men in to slaves,
Oh cross eyed goddess who cuts the rakshasa who seem to be exceeding,
Oh goddess of the eternal who saves those men who seek your protection,
Oh goddess who has got words so that all people bow before you,
Oh gem of Mari of principles, who argues with Lord Shiva,
Oh royal gem Mari who argues before Lord Shiva,
Oh mother who is the gem Mari who argues with Lord Brahma,
Oh philosopher gem Mari who argues with Lord Vishnu,
Oh goddess of all time who argues with God of death,
Oh goddess of Kannanur who argues with devas,

Kanna purathale Karana soundariye,
Karana soundariye karthanida deviyare,
Neruppamma un swaroopam, nishtoora kariyare,
Analamma un soroopam, asthana mari muthe,
Thanalamma un soroopam tharikka mudi podadu,
Anda neruppeyamma Aadi parameshwariye,
Kathalai pethavale kattazhagi mari muthe,
Thottiyathu chinnanai thozhutu vara panna shakthi,
Karppanayum koodave thaan kandu paniya vaithay,
Pennarasikkaga pillayai kazhuvil vaithay,
Anazhakkiga maindanai kazhuvil vaithay,
Adangatha pillayena aandavanai kazhuvil vaithay,
Dushtan ena cholli thudukkadakki kazhuvil vaithay,

Oh mother who belongs to Kannanur, Oh beauty of all reasons.
Oh beauty of all reasons and Oh goddess who belongs to the great god,
Your looks are fire, Oh mother who is very firm,
Your looks are flame, Oh gem Mari who is the chief,
Your looks are embers, we do not have enough heads to behold you,
You are the fire that cannot be approached, Oh primeval Goddess,
Oh mother of Kathaal, Oh beauty, oh gem Mari,
Oh power who made Chinnan of Thottiyam salute and follow you,
You also saw Karuppan and subdued him,
You hanged the child for the sake of the great lady,
You hanged your son for the sake of the masculine beauty,
You called the God as a boy who cannot be subdued and hanged him,
You called him as a bad man, subdued his power and hanged him,

Parinil muthaiyamma pathiniye thayare,
Variyedukkavoru vanchiyarai undu pannai,
Muthedukka thathi mohana penneyenndru,
Thathiyarai thaan azhaithu thayare mutheduppai,
Mutheduthu thaan pukundu uthamiyal mari muthe,
Mayi maga mayi mani mandara shekariye,
Aayi umaiyavale aasthana mari muthe,
Paramuthai nee iraki balakanai karum amma,
Kaaradi pethavale kalu thalai nokamal,
Chor kela pillyendru thoondi kazuvil vaithai,
Kazhu thanakku mor varkka uthamiye undu pannay,
Nallathangalai undu pannai, nar kazhuvukku mor varkka,
Uriyil thayir varkka uthamiye undu pannay,
Un marumagali katha pol ivvadimayai karum amma,
Evvalavu neram amma ereduthu parum amma,
Kadugalavu neram amma, kan parka venum amma,
Kadai kannal nee paarthal kadai theri poven amma,

Of mother of gem of this world, oh virtuous wife, oh mother,
For lifting and embracing you created a great beauty,
Oh mother who takes the gems, who is an attractive damsel,
You summon your servants, mother and take those pearls,
Oh mother of gem, who is just, you take the pearls and enter,
Oh mother, Oh great mother, Oh goddess who collects gems and spells,
Oh mother who is Parvathi, Oh mother of pearl of the palace,
You please make these pearls get down and protect this boy,
Oh goddess who has the feet which saves, without the head or leg paining,
And called him the boy who does not obey your words and hanged him,
Oh beauty who poured buttermilk to the gallows, please create,
Create Nalla Thangal for pouring buttermilk for the good gallows,
Please create oh just one, buttermilk to pour in the hanging rope,
The way you protected your daughter in law, please protect me also,
How long is this, Please see me once mother,
At least for a very short time, you should see me, please,
If you shower your side long glance, I will be saved, Oh mother,

Par alandon thangayare palaganai karum amma,
Perarasi mari muthe, pillaigalai karum amma,
Magamayi mari muthe, maindargali karum amma,
Pethavale mari muthe, pillaigalai karum amma,
Anazhagi mari muthe adimaigalai karum amma,
Poonaaram poondavale, pillaigalai karum amma,

Oh sister of the god, who measured the world, protect this lad,
Oh mother of pearl, who is the greatest queen, protect these children,
Oh mother of pearl, who is a great mother, please protect your sons,
Oh mother of pearl, who gave birth to them, save these children,
Oh mother of pearl, with masculine beauty, please protect your slaves,
Oh mother, who has the baton for ruling, protect these children.

Bara medukkavamma balakanal aakumo thaan,
Poonaram thanadikka pillayal agumo thaan,
Varutha padathe mathave kan parum,
Balan padum thuyaram bakkiyavathi parkalayo,
Maindan padum thuyaram mathave parkkilayo,
Kuzhandai padum thuyaram kombanaye parkkalayo,
Chittadigal padum thuyaram deviyare parrkilayo,
Poonara muthirayai pethavale than irangum,
Aabara muthirayai athal irakkum amma,
Irangirangu thayare engalai kapathum amma,
Adimai thanai kappathi anazhagi nee irangum,

Can this little lad carry the burden, mother,
Can this little boy be able to beat with baton, oh mother?
Do not feel sad, Oh mother, but please see me oh mother,
Oh lucky one, did you not see the sorrow of this lad,
Oh mother, did you not see the sorrow of your son?
Oh pretty one, did you not see the sorrow of this baby?
Oh holy goddess, did you not see the sorrow of this little feet?
Oh mother who has got the seal of the baton, please come down,
Oh mother, please make this ornamental seal get down,
Oh mother, get down, get down, and save all of us,
Oh masculine beauty, save this slave and get down,

Kuppathu mariyamma kolu vilangariyare,
Koluvilangariyare kortha muthu nee irangum,
Kortha muthu nee irangum kombanaye mari muthe,
Mari endral mazhai pozhiyum, devi endral thean choriyum,
Devi endral thean choriyum thirupura sundariye,
Thirupura sundariye desathu mariyamma,
Ponnu muthu mariyare poorana soundariye,
Thayarai pethavale chathakanni sundariye,
Perum ariyenamma, pethavale thayare,
Kurudan kai kol endru kombanaye nee arivai,
Kolai pidungi kondal kurudan pizaippano,
Ippadikku nee irundal ini pizhayom, thayare,

Oh mother of the huts, who seats herself,
She who seats, please make the pearls that have formed get down,
She who gets down the formed pearls, Oh pretty one, Oh pearl of mother,
If we tell Mari it will rain, If we tell devi honey will shower,
If we tell devi, honey will shower, Oh Tripurasundari,
Oh Tripurasundari, O Mari of our country,
Oh Mari who is a golden pearl, Oh complete beauty,
Oh mother who gave birth to mother, Oh pretty one of the seven damsels,
I do not know your name, Oh mother who gave birth to me, oh mother,
Oh pretty one, you know it as the stick with the blind man,
If the stick is taken away from the blind one, will he survive,
If you continue like this we won”t survive mother,

Kali pirakkum mun kanathathor mari muthe,
Yugam pirakkum mun pirantha uddanda mari muthe,
Kali yugathil thayare kan kanda daivam nee,
Unnai pol deivam ulagathil kandathillai.
Ennai pol maindan engundu vaiyagathil,
Analai mathiyay nee yavarayum chattai pannai,
Punalai mathiiyai nee yavarayum chattai pannai,
Varundi azhaikkindren, thirumugthai kanamal,
Balaganai kathu nee padathal udaithu vidu,
Maindanai kathu maharasi udaithu vidu,
Kuzhandayai kathu kombanaye udaithu vidu,

Oh pearl Mari who was born before Kali and who is heavy,
Oh pearl Mari who is very great and who was born before eons,
Oh mother, you are the greatest visible god in this kali yuga,
I have never seen a God like you in this world,
Where is a son like me in this world,
You do not bother about embers and do not bother about any one,
You do not bother about high tide and do not bother about any one,
Having not been able to see your face, I entreat you with sorrow,
You protect this lad and kick him with your feet,
You protect your this son, Oh lady and kick him,
Oh pretty one protect this baby and kick him,

Aadi paranchodi angukanne varum amma,
Velli kizhamayile kooli kan mariyare,
Velliyilum thingalilum, vendiya per poojai cheiya,
Poojai mugathirkku ponathendru chollathe,
Inda manayidathil easwariye vandarulvay,
Vanda manai vazhum amma, irunda manai eederum,
Kan paarum, kan paarum, kanakavalli thayare,
Nanbana pillaigalai nalindida cheyyathe,
Unnai nambinorai oynthu vida cheyyathe,
Annedham cheyyathe, aayi maga mayi,
Vembu radameri vithagiye varum amma,
Pachilai radham eri parvathiye varum amma,
Koluvil irunda shakthi korthamuthu nee irangum,
Potta muthai nee irangum, bhoolka mari muthe,
Kelikkayaga kili mozhiye muthirangum,
Arum balakan thannai avasthai paduthathe,

Oh primeval light which gives salvation, oh dear come over there,
On Fridays oh Mari God with fiery eyes,
On Fridays and Mondays, all those who want worship you,
Don”t tell that the worship has gone towards your face,
Oh holy goddess please Come to this home,
The home that you visit would prosper and
The home that you live would become great,
Oh goddess, come to make great, the home that you lived,
Oh mother who is like a golden climber, see us and see us,
Do not make your children who love you to wilt,
Do not make those who believe in you to decrease,
Do not do any injustice, Oh mother, great mother,
Oh mother who is a magician come riding on a margosa tree chariot,
Oh Parvathi, come climbing on a chariot of green leaves,
Oh power who sat, please reduce the pearls that you weaved,
Oh gem of Mari, reduce the pearls that you have weaved,
Oh mother with a voice of the bird, playfully reduce these pearls,

Arum balakan thannai avasthai paduthathe,
Vartha paduthathe mathave kan parum,
Annam irangal amma aathale kan parum,
Ootta thiai nee koduthu uthamiye karum amma,
Irakkam koduthu nee iswariye karum amma,
Karum amma pethavale kaluthalai nokamal,
Engeyo paramugamai irunden endru chollathe,
Anthi santhi poojayile asathiya ennathe,
Ottaram pannathe omkari mari muthe,
Pavadam nerum amma, pazhigal vandu cherum amma,
Pavadam nern thathu endral balarukkeraru,
Kandal nagaippargal, kaliyugathar easuvargal,
Kaliyugathar easuvargal, kattazhagi mari muthe,
Parthar nagaippargal, parikasam pannuvargal,
Udadu padaithavargal udaaseenam cheivargal,
Pallai padaithavargal parikasam pannuvargal,
Navai padaithavargal nanayangal pesuvargal,

Oh mother, please see so that rice goes down and I am able to eat,
Oh great one, please protect by giving nutrition,
Oh goddess, please give mercy and protect us,
Please protect, oh mother without pain in legs and arms,
Please do not tell that your attention was elsewhere,
In the worship at dawn and dusk, please do not say that you are tired,
Oh gem of Mari do not be obstinate,
People will cut their toungue, and the fault will come on you,
If they cut their toungue, children will suffer a lot,
People who see will laugh, people of the kali age will abuse,
People of the kali age will abuse, oh pretty gem of Mari,
People who see will laugh at you and make fun of you,
Those who have lips will neglect you,
Those who have teeth will make fun of you,
Those who have toungue, would talk about honesty,

Parthavargal nagaikkavammal parikasam pannathe,
Kachi padhiyale, kamakshi thayare,
Thayare pethavale, dayavu vaithu karum amma,
Mathave pethavale, manam vaithu karum amma,
Parvathiye pethavale paksham vaithu karum amma,
Ayiram kannudaya alangari varum amma,
Pathinayiram muthinle parthedutha vani muthu,
Noorayira muthinile parthedutha vani muthu,
Nagathin kanneyamma, nalla vida pambe,
Seshathin kanneyamma, china vida pambe,
Anchu thalai nagam unnai konchi vilayuduthamma,
Pathu thalai nagam amma pathindu vilayuduthamma,
Chendalai nagam amma cherndu vilayuduthamma,
Seshanendra pambaiyellam cherve poonda shakthi,
Nagam enum pambai ellam nalamana poonda shakthi,
Aravamendra pambai ellam azhagaga poonda shakthi,
AAbaranamai poondai azhagulla pambai ellam,
Nagam kudai pidikka, nalla pambu thalatta,
Poon aaramai poondam ponnu thiru meniyellam,
Thalatta thayar manam irakka,
Seshan kudai kaviya chennaragam vattamida,
Vattamittu veethu irundai mari kannanoorale,

Please do not trouble these rare lad,
Do not make him sad, Oh mother please see,
Do not make fun of us so that others laugh at us,
Oh mother Kamakshi who is from the city of Kanchi,
Oh mother who gave birth to me, please be kind and protect me,
Oh mother who gave birth to me, please give attention and protect me,
Oh Parvathi who gave birth to me, please be partial and protect me.
Oh well ornamented mother with thousand eyes please come,
The best selected commercial pearl selected out of ten thousand pearls,
The best selected commercial pearl which was put in the chain from hundred thousand pearls,
The six thousand eyed pearl from which the mother grew from,
Oh mother who is the eye of the snake, Oh mother who is the cobra with poison,
Oh mother who is the eye of the sesha serpent and who is the small cobra with poison,
Oh mother the five headed serpent is playing with you with love,
It is the ten headed serpent and is playing firmly placing itself,
It is a red headed cobra and is playing together,
It is a black headed cobra and is protecting your temple,
Oh mother of power, who merged herself with the serpent called sesha,
Oh mother of power, who wore the snakes like cobra with happiness,
Oh mother of power, who wore prettily the serpent which is a snake,
You wore all the pretty snakes as ornaments,
With the cobra holding the umbrella and the good serpent singing lullaby,
You wore them as ornaments for wearing, all over your golden body,
With you mother taking pity and singing the lullaby,
With sesha serpent holding the umbrella and the red snake going round,
You sat in circle, oh Mari who belonged to kannanur.

Maar mele nagamma madi mele purandada,
Thol mele nagamma thudai mel purandada,
Maar melum thol melum vanna madi melum,
Konchi vilayuduthamma gopalan thangayare,
Ezhayal agumo thaan easwariyai thotharikka,
Kuzhandayal agumo thaan kombanayai thotharikka,
Adiyenalagumo than aathalai thotharikka,
Endanal agumo thaan easwariyai thotharikka,
Illai en paar pangil easwariye mari muthe,
Nillai arai nazhi, nishtoora thandaviye,
Undenbaar pangil, oli vilakkai nindra shakthi,
Parthorkku selvanamma balan kuzhandai amma,
Unnai pagaithorkku uru marbil aaniyamma,
Ninaithorkku deivam amma, edirtharthorku marbil aani,
Thaye nee varum amma thar paraiyay nindra shakthi,
Vakkittal thappathu varam koduthal poyyatrhu,
Poyyathu poyyathu poomalar thaan poyyathu,
Poovu irandu poothalum navirandu pookathu,

The mother snake on the chest, playing with glee on the lap.
The mother snake on the shoulder playing with glee on the thigh,
On the chest, on the shoulder and on the colorful lap,
Is playing with lisping, Oh sister of Gopala,
Would this poor man be able to praise the goddess,
Would the baby be able to praise that pretty damsel,
Would this poor slave be able to praise the mother,
Would I be able to praise that goddess,
Oh Goddess Mari, on the side of those who say no to you,
You will not even be there for a fraction of a second,
Oh mother, who dances to destroy evil
Oh, With those who say yes to you, you are like a lighted lamp,
For those who see me I am but a child, a baby and your child,
For those who oppose you, you are like the nail driven in to the heart,
For those who think about you, you are God,
For those who oppose you are the nail in the heart,
Oh mother, please come, Oh strength who stood alone,
When you tell a word it never fails, If you give a boon it never fails,
Never becomes a lie, never, the flower wont become a lie,
Even if two of them flower, the toungue will not utter the same twice,
In the courtyard of Marava, if Jasmine flowers,

Maravarida vassalile malligai poo poothalum,
Maravar ariyaro malligai poo vasanayai,
Kuravarida vasalile kuda malli poothalum,
Kuravar arivaro kuda malli vasanayai,
Pandri muthuginil pannerai poosinakkal,
Pandri ariyumo thaan pannerin vasanayai,
Endanal aagumo thaan easwariyai thotharikka,
Maindanal aagumo thaan mathavai namaskarikka,
Pillayal aagumo thaan pethavalai namaskarikka,
Balanal aagumo thaan parvathiyai namaskarikka,

Will the hard hearted soldier, know the smell of jasmine flower,
If in the courtyard of Kurava the round jasmine flowers.
Will the man who kills small and calm animals, know the smell of round jasmine,
If you apply scent of rose on the back of a pig,
Would the pig know the smell of the scent of rose,
Would I be able to sing prayers about you goddess,
Would the son be able to salute his mother,
Would the little son be able to salute her who gave him birth,
Would the little lad be able to salute Goddess Parvathi,

Echil oru kodi, ilam theetu mukkodi,
Theetumorukodi, theruvengum thanundu,
Kannigal theetu kalandodi vandalum,
Aaru thappu, nooru pizhaigal adiyargal cheythalum,
Thaye manam poruthu dayavaga karum amma,
Echir kalandu endru idayapoyi nindralum,
Theetu kalandalum devi manam poruthu,
Echir kalandalum easwariye manam poruthu,
Paksham vaithu karum amma, parapariye easwariye,
Viruppam vaithu karum amma virudu padaitha shakthi,
Neeli kapaliyamma sundariye mari muthe,
Sooli kapaliyamma sundariye mari muthe,
Nishtoora kariyare vistharamulla shakthi,
Veppilayal thaan thadavi visiri muthu azhuthi vidu,
Aana para sathiyare ammai muthazhuthi vidu,
Irakkirakku thaye, easwariye naan pizhaikka,
Pada vettu amarnthavale pazhi gari mari muthe,
Oothu kadu amarndavale, udira bali kondavale,
Veerana pattamarntha vedantha mari muthe,
Chamaithyi chamayapuram sadithyi kannapuram,

Saliva touched one crore, but three crores got polluted,
One crore of pollution, is spread all over the street,
Though the pollution by virgins mixes and flows,
Though six mistakes and hundred errors are done by devotees,
Oh mother mentally pardon, show mercy and protect us,
If saliva has mixed and it stops in the middle,
If pollution is mixed, Oh devi please pardon us,
If saliva is mixed. Oh Easwari please pardon us,
Please be partial to this poor man, Oh goddess, great goddess.
Please show love to me and save me, oh power which is recognized,
Hey blue one, Hey mother Kapali Hey five lettered one who is full,
Hey Spear armed one, Hey mother Kapali, Hey pretty one, Hey gem of Mari,
Hey mother who takes strong action, Hey power who is very broad based,
Please fan me with margosa leaves and press my gem like eruption,
Oh great goddess, Hey powerful one, Please press the eruption of the pox,
Please get it down, get it down, so that I will live,
Hey mother who sits in Patavettu, Hey gem Mari who is an avenger,
Hey mother who sits in OOthukadu, Hey mother who accepts blood sacrifice,
Hey mother who sits in the town of Veeranam, Hey gem Mari who is philosophy,
You grace at the needed moment in Samayapuram and you quickly grace in Kannapuram
Oh Mari who guarded all the borders of Kannapuram,

Kannupurathellai ellam kaval konda mariyare,
Ekkala deviyare easwariye irangumammma,
Dikkellam per padaitha desathu mariyare,
Anda bhuvanamellam thundareegamulla shakthi,
Kachi pathiyale kamakshi thayare,
Kailasa logamellam kaval katti yandavale,
Pathala lokamellam parithavikka panna shakthi,
Kalai koluvil amma kathirundar ayiram per,
Uchi koluvil amma ugandirundar ayiram per,
Andhi koluvil amma amarndirundar ayiram per,
Kattiya kararellam kalundeccharikkai panna,
Padum pulaverallam pan pisainda padal cholla,
Vadugal thulukkarodu marattiyar kannadiyar,
Kannadiyar kavaludan karnattu pattaniyar,
Itta chattai vaykada idumbarellm kathirukka,
Potta chattai vangatha pondiliyar kathirukka,
Vadugar kulukkaramma maru desa pattaniyar,
Vedikkai pathu irundal veppan chilayalum,
Kelikkai pathu irundal kili mozhiyal mari muthu,

Oh goddess, who is for ever, Oh goddess, please get down,
Oh Mari of this land who is famous on all sides,
Oh Goddess Shakthi who has power for all the planets and universe,
Oh lady belonging to Kanchipuram, Oh mother Kamakshi,
Oh mother who guarded and ruled all over Kailasa land,
Oh goddess strength who made the Patala suffer,
In your morning sitting of the court, one thousand people were waiting,
In your noon sitting of the court, one thousand people suitable were there,
In your evening sitting of the court, One thousand people were sitting,
All those who announce you, together were warning every one,
All the poets who can sing, were telling songs that they composed,
Vaduga muslims together with kannadigas and Marathas,
The kannada patans came with the protection of Kannadigas,
The idumbars were waitig without the shirts that they wore,
The pondiliars were waiting without buying the shirts that they wore,
The Vaduga muslims are the Patans of the foreign country,
The mother who was made of the wood of margosa was watching all the fun,
The gem Mari who talked like a bird was watching the play,

Mayamellam Un Mayam, Maruler ellam Un marular,
Marular thazaikkavamma marumakkal eedera,
Pali chatti thaan edukkum puthirarkal thaan thazhaikka,
Vedangal thaan thazhaikka, Vinnavargal eedera,
Kumara vargam thaan thazhaikka kombanaye kan paarum,
Maindargal thaan thazhaikka mathava kan parum,
Kanchi puriyile thaan kartharuyum nee ninaithu,
Kartharuyum nee ninaithu kamakshi poojai pannayi.,
Gangai muzhkiuyamma, kili mozhiye thavam irundayi,
Vaiggai muzhugiyamma vana mayile thavam irundayi,
Poygai muzhugiyamma pattavale thavam irundayi,
Thavathil migundavale, sathakanni thayare,
Athu manal eduthu aranaray undu pannayi,
Chethu manal eduthu shivanaray undu pannayi,
Kambai nadhiyile kamakshi thavam irundayi,
Irunoothu kadavaru thiruneethal kottai ittayi,
Thiruneethal kottai ittayi, digamabariye mari muthe,
Arunachalam thanile eesaniye moolayile,
Thiruvanna malayile than devi thavam irundaal,
Arunchalam thanile athal thavam irundal,
Eesaniya moolayile irundayi perutha pasu,
Irundayi perutha pasu, idapakam peru pettayi,
Idapakam peru petthayi easwariye mathave,
Kaka muduginile kadamba podi poosi vaithayi,
Kakam ariyumo kadamba podi vasanayai,

Illusions are your illusions and those who are blessed are blessed by you,
Let those blessed people increase so that the nephews and nieces become great.
So that the sons who carry the pot of sacrifice improve further,
So that Vedas improve so that the people in heaven get blessed,
Hey pretty one please see so that the families of sons improve,
Hey mother, see us so that our sons would improve further,
In Kanchipuram you thought of the creator,
Thinking of the creator, you worshipped Him, Oh Kamakshi,
You the parrot tounged, took bath in river Ganga and did penance,
You, the forest peacock, took bath in Vaigai river and did penance,
You who is my mother took bath in the pond and did penance,
Oh mother who is greatest in penance, who is the mother of seven maidens,
You took sand from the river and created Lord Shiva,
You took sand from the slushy mud and created Lord Shiva,
You did penance, Oh Kamakshi in the river Kambai.
You created a fort by holy ash for two hundred miles,
Oh gem of Mari, Oh Goddess who wears directions, you built the fort with sacred ash.
In the mountain of Arunachalam in the north eastern corner,
In the mountain of Thiruannamalai, holy Goddess you did penance,
In the mountain of Arunachalam, the mother did penance,
In the north eastern corner you stood as the big seer,
You were there as a big seer, and gained your position on the left side,
In the left side of Shiva, you earned your place, Oh Goddess, Oh mother,
If the scented powder is applied on the back of the crow,
Would the crow know the smell of scented powder,
If you tie a gomedhaka gem on the back of a stork,
Will the stork know about the light of Gomedhaka,

Kokku muduginile komedagam katti vaithay,
Kokkum ariyumo komedakathin oliyai,
Moola kanalin mudanmayasi nindra shakthi,
Balanukkuvanda bara erichalkalil,
Kalerivu, kaierivu kattazhagi vangum amma,
Kuthal kulaichal kulai mar idi novu,
Mandai kudaichal odu, maradaippu thalai novu,
Vada pitha seetha juram val piniyai karum amma,
Iduppu kudaichalai thaan easwariye vangum amma,
Pithayerivugalai pethavale vangum amma,
Kazhuthu valiyadanai kattazhagi vangum amma,
Pathiriyal thaan thadavi bara muthazhithu vidu,
Vibhoothiyai pottu irakki vidu muthirayai,
Veppilai pattavidam vinaigal parandu odum amma,
Pathiri pattavidam pavam parandudum amma,
Vibhoothi patta thathkshaname vinaigal paranthodum amma,
Panchaksharam pattal pavangal theerndu vidum,

Oh Power who stood first in the primeval fire,
Among the great burning sensation that this child got,
Oh pretty one take away the burning of the hand and legs,
Prickly sensation, pain, the great pain of the chest,
The pain in the head, heart attack and head ache,
Oh mother protect me from Rheumatism, acidity, cold fever and great sickness
Oh Goddess, take away from me the pain of the hips,
Oh mother, take away from me the burning due to acidity,
Of pretty one, take away the pain in the neck from me,
Please remove the pearls from me by caressing with Pathiri,
Please apply sacred ash and remove from me the seal of the disease,
Oh mother wherever the margosa leaf touches, all problems will vanish,
Wherever the margosa leaf touches, all sins will fly away,
As soon as the holy ash is applied, all problems will fly away,
When the five letters (namasivaya) touch, all the sins would be finished,

Pathendral erandariyen balan amma un adimai,
Ettendral irandariyen ezhaiyamma un adimai,
Nagathin kannayamma, nalla vida pambe,
Seshathin kanneyamma china vida pambe,
Pambe thalaikanai than veppilayo panju methai,
Veppam pal undavale, vedantha mari muthe,
Iynnoru pambunakku alliyitta veera chadai,
Veerachadai melirundu vimaliyare konjum amma,
Munnooru chandi mudar chandi unni thendray,
Nanoonuru chandi nadu chandi unnuthendrai,
Chandikku chandi, thani chandi unnuthenday,
Veedikku veedhi veli chandi unnuthendary,

When you tell ten, this boy who is the slave does not know it from two,
When you tell eight, this poor man who is your slave, does not know it from two,
Oh mother who is the eye of the cobra and a very good poisonous snake,
Oh mother who is the eye of Adhi sesha and a small poisonous snake,
Snakes are my pillow, and margosa is my cotton bed,
Oh Philosophical gem of Mari who has drunk the milk of margosa,
Your unkempt hair is five hundred snakes,
Be on the valorous tuft, oh pure one and fondle me,
When there were three hundred junctions, you said the first one was yours,
When there were four hundred junctions, you said the centre one was yours,
For junction to junction, you said the separate junction was yours,
From street to street, you said the junction outside was yours,

Pattathu azhagiyamma, padai mugathu raja kanni,
Kanna purathale karana soundariye,
Thiru vilakku nayagiye, devi kaannan oorale,
Mani vilakkin melirundu mathave konjhum amma,
Villkkir kudiyirudu melliyare konjhum amma,
Thiruvilakkin melirundu deviyare konjum amma,
Konjum amma pethavale, gopalan thangayare,
Chirithar mugathay amma chellarikka kandiduvay,
Parikasam cheypavarai pallai pidungiduvay,
Moolai veetu pengalai thaan muthathil aatiduvay,
Aranmanai pengalai thaan ambalatil aatiduvay,
Polladha pengalaithaan ther padam kattiduvay,
Ther padam kattidduvay, durandariye mathave,

Oh mother who is the pretty queen, Oh princess of the war field,
Oh mother of Kannapura, who is pretty due to reason,
Oh goddess of the holy lamp, Oh goddess of Kannanur,
Please fondle me from the top of the pearl light,
Oh thinner goddess live in the lamp and fondle me,
Oh mother, Oh sister of Gopala fondle me,
Mother you would destroy the face of those who laugh at you,
You would remove the teeth of those who jeer at you,
You would rock the girls of the corner houses in the courtyard,
You would rock the girls of the palace in a public place,
You would tie to the chariot the girls who are bad,
You would tie to the chariot, oh mother, oh enemy of bad ones,

Nadu veedhiyil kolli vaithu naan ariyen endriduvay,
Kadai veedhiyil kolli vaithu kadakka poy nindriduvay,
Kadiya visham pole kadikka vittu parthiruppay,
Theenda visham pole theenda vittu parthiruppay,
Pambu kanni neeliyamma pazhi kari mari muthe,
Thaye durandariye sarva loka mathave,
Aaratha kopamellam aychiyare vittu vidu,
Kadalil moozhgi amma kaduga nee varum amma,
Kaveriyil thaan muzhugi kamakshi varum inge,
Vanda mania vazhum amma, irundamanai eederum,
Kanja veriyan kana veriyan pavadai,
Pavadai rayanai thaan pathiniye thaan azhayum,
Thaayarum pillayumai thar kaaka venum amma,
Mathavum pillayumay manathu vaithu karum amma,
Aathalum pillayumay anbu vaithu karum amma,

You would set fire in the center of the street and say you do not know,
You would set fire in the market street and stand far away from that place,
You would make it bite and see as if it is not the poison of the bite,
You would make the poison touch and see if it is the poison that is touched,
You are the snake maiden, you are the blue one, and you are the pearl that avenges,
Oh mother, oh killer of enemies, oh mother of all the world,
Oh mother of the cow herds, leave out all this unquenchable anger,
Oh mother, take bath in the sea and come very fast,
Oh Kamakshi, take bath in river Cauvery and come here,
That house where you come will live long and where you stay will get better,
That Pavadai Rayan is an addict to cannabis, he is one who is very angry,
Oh virtuous wife call that Pavadai rayan,
Like Mother and child, you have to defend and protect,
Like mother and son, please protect with all your mind,
Like mother and son protect us all with love,

Kaaradiyai pethavale kalu thalai nogamal,
Kasi vala naatai vittu karaniye vandamarum,
Oosi vala nattai vittu, uthamiye vandu amarum,
Pambai muzhangi vara, para melam aarparikka,
Chithudukkai konji vara, chiru manigal olamida,
Vedikkai parthirundal veepan chilayalum,
Kelikkai parthirundal kili mozhiyal mari muthu,
Samayapurathale sambrani vasagiye,
Mukkonathu ullirukkum mudanmai ayi nindra shakthi,
Narkonathullirukkam nalla muthu mariyare,
Panchakshara porule Parvathi pethavale,
Arukonthullirukkum aadhi parameshwariye,
Shatakshara porule aananda mari muthe,

Oh mother who has the protective feet, without pain to your leg and head,
Come from the land of Kasi, oh mother who is the cause,
Oh pure one, come out of the fertile Oosi country and sit,
With horns sounding and drums making lot of sound,
With small drums lisping and small bells making great sound,
The goddess who has a statue made of margosa was playfully watching,
Watching the play that Mari who had voice like the parrot,
Oh mother of Samaya puram, Oh mother who likes Sambrani (myrrah) smoke,
The primeval power who was inside the triangle,
That good pearl mari who was inside the four sided figure,
Oh mother, oh Parvathi who is the meaning of Panchakshara (namasivaya),
That original parameshwari who was within the hexagon,
That happy pearl mari who is the meaning of the eight letters,

Nayagiye mari muthe, Naranar thangayare,
Iymbathoshagiye, aadhi shivan deviyare,
Aadhi shivan deviyare, ammai muthu mariyare,
Perulaga rakshagiye, perumaludan pirappe,
Perumaludan pirandu, perulagai aandavale,
Aaynudan piranthu ammai muthay nindravale,
Thirukonathil ullirukkum thrirupura saundariye,
Aaradhara porule, abhisheka pathiniye,
Mooladhara porule mun piranda devathaye,
Thaye durandariye sarva loka sundariye,
Pathiriyal thaan thadavi para muthai thaan irakkum,
Veppilayal thaan thadavi melliyare thaan irakkum,

Oh lady who rules, Oh Mari who is a pearl, Oh sister of Narayana,
Oh Goddess of fifty one alphabets, Oh consort of primeval Shiva,
Oh consort of Primeval Shiva, Oh Mari who is the pearl of pox,
Oh mother who protects the world, Oh sister of Lord Vishnu,
Oh mother who was born with Vishnu and ruled the world,
Oh mother who was born with the cowherd and who stood as the pearl of the pox,
Oh Tripura Sundari who is inside the triangle,
Oh mother who is made of six basic things, Oh wife who is anointed,
Oh mother who is in Mooladhara, Oh goddess who was born before,
Oh mother oh destroyer of evil, Oh goddess of all worlds,
Please caress with Margosa leaf and reduce the heavy pearls,
Please caress with margosa leaf and oh tender one reduce them,

Meniyellam thaan kulira vilayadi muthirakkum,
Irangirangu thayare, engalai kappatthum amma,
Muthilu muthu mugathiludu mani muthu,
Engum ni Marida ellarkku mari muthu,
Pennay pirandu perulagai aala vanday,
Perulagai aala vandai, pennarasi mari muthe,
Nitham paramarikka nishturi nee piranday,
Desam paramarikka deva kanni nee piranday,
Kiliyethum nayagiye kili mozhi thayare,
Nithiya kalyani neeli paranjothi,
Ammaniye parvathiye aani muthu thayare,
Lokamellam muthalakkum loka parameshwariye,
Vethi kodi parakka virudu pambai thaan muzhanga,
Ekkalam oodhi vara engum kidu kidenna,
Pancha varna dal virudhu pakkam ellam choozhndu vara,

Please play all over the body, cool it and reduce the pearls,
Please reduce and reduce and please save us,
Pearl within the pearl, That pearl which comes on the face,
That Mari pearl which is filled every where,
You were born as a woman and came to rule this wide world,
Came to rule this world, queen among women, Pearl who is Mari,
You strict one was born to rule daily,
You were born as the god maiden to rule over the world,
Oh leader who holds the parrot, Oh mother who speaks like parrot,
Oh mother who is forever, Oh Blue one, Oh ethereal shine,
Oh lady, Oh Parvathi, Oh mother who is the like the best quality pearl,
Oh Parameshwari of the world, who measures pearls all over the world,
With victory flag flying, with the herald horn sounding,
With big shouts whistling, with every thing in the world shaking,
With five coloured light on all sides,

Nada sura melam nattiyangal aadi vara,
Thappattai melam thavin murasu thaan muzhanga,
Thalangal oodhi vara kavi vanar echarrikka,
Chinnangal oodhi vara chirappay kodi pidikka,
Janda chilar pidikka thani murasu than adikka,
Kodigal chilar pidikka kokkarippar veera makkal,
Chamarangal thaan veesi chandhippar veera makkal,
Thamarai poo chinnam aaravaaramay muzhanga,
Mikka kavundaigalum mridangam thaan mizhanga,
Nan gudiyum chudhiyum nandraga oodhi vara,
Thamburu veenai thakka padi thaan vasikka,
Pambai dithu para melam than adhira,
Kenchettu vadhiyamum kilarnattu vadhiyamum,
Kodi vathiyam puthithay kondu vandhar un makkal,
Ithanai vathiyangal isaikindrar parum amma,
Parthu kulirum amma pangana un manatu,
Kandu kulirum amma kallana un manathu,
Eppadi yagilumthan ezhaigalum eedera,
Kan parum parum amma karana saundariye,

With Nadahaswaram and dance all around you,
With Thappatai and Thavil making blaring sounds,
With beats making shrill sounds, With poets warning,
With symbols playing all over, With flags being held properly,
With some one holding the flag, with some people playing single drums,
With some people holding the flags, with valorous ones making victory sounds,
With some valorous ones fanning you with fans,
With Tharai making the big sound,
With many Kavundais and Mridangam making sound,
With good snake charmer’s pipe and pipe being blown,
With Thamburu and Veenai playing properly,
With Pambai being beaten and Para melam making huge sound,
With Kenchet and Clarinet, with flag instrument brought newly by people,
Oh mother, see your people are playing so many instruments,
Please see and let your great mind get cooled,
Please see and enjoy and let your rock like mind get cooled,
Please see all these things, Oh beauty, who causes,
So that these poor people will be redeemed,

Indiranakku oppayi vilangum mariyare,
Kumathu azhagiyamma kolu mugathu raja kanni,
Sakala kutham sakala pizhai thayare nee poruppai,
Vanungukindra makkalukku vazhvu migavalippai,
Omkara roopiyendru unnaye thotharikka,
Pada veetil veethirukkum param chothi thayare,
Aar arivar un mahimai, aani muthu thayare,
Anda bhuvanamellam amma unai thozhuvar,
Desangalellam deviyai thotharippar,
Ellukku ennai pol engum niraindha shakthi,
Engum niraindavale ellorkkum thayare,
Anchal endra asthamodu adiyar thamai kakka,
Veppilayum kayyil vibhoothi yeengum thoolidhamum,
Karuna kadaksham vaithu kaakum magamayi undan,
Saranaravindamathai thandarulu mari muthe,

Oh Mari who is similar to Indra,
You are the beauty of the holy pot; you are the princess with the great face,
Oh mother, please pardon all mistakes and all bad actions,
Please give good life to those who salute you,
People pray you as the one with the form of “Om “,
Oh flame like mother who sits in Pada veetu temple,
Who will know your power, mother who is the basic pearl,
Oh mother this earth and all planets would salute you,
All the countries, holy mother would recite your prayers,
You are the power everywhere like the oil within every sesame,
Oh mother who is every where and who is the mother of everyone,
You would protect your devotees and show your graceful hand and say to them, Do not fear,
In your one hand you have margosa leaf and another a pot with holy ash,
Oh Pearl of Mari Oh great mother,
Who protects just with sidelong merciful sight,
Please give us your lotus like feet to worship,

Un per ninaithal pilli pisasu paranthodum amma,
Sooniyamum vaippum suzhandralinthu odi vidum,
Pathala vanchanamum parandu vidum un per ninaithal,
Sathakanni mathavve sangariye manonmaniye,
Kargathil veethu irukkum kannanur mari muthe,
Soola kapalamudan thuyya damarugamum,
Omkara roopam amma oruvar arivaro,
Makimai arivaro manidargal yavarum than,
Adiyar thamai kakkum mandira niranthariye,
Adiyargal cheydha pizhai aachiyare nee poruppay,
Koyil adimai amma kondadum balakan thaan,
Sannidhi pillayai thaan tharkarum pethavale,
Unnai allal very thuni oruvarayum kanom amma,
Varunduvar pangil valamay kudi iruppai,
Pavadai kkari amma parapariye angu kanne,
Unnugindra devathaigal, uduthugindra devathaigal,
Kattu patta devathaigal, karkkindra devathaigal,
Inda manayidathil irundu unnum devathigal,
Sambrani dhoopathirkku utpatta devathaigal,
Anaivorum vandirundu adiyorai karka vendum,

If one remembers your name ghosts and devils will run away,
Evil magic and black magical things would get turned and run,
If we remember your name the evils of the under world would fly away,
Oh mother of the seven virgins, Oh Sankari, Oh Manonmani,
Oh Pearl mari who sits on the pot at Kannanur,
Do people realize your form of Om,
Which carries the spear, skull and the big drum,
Do all the people ever realize your greatness,
Oh mother of permanent charms who protects your devotees,
Oh lady of the cowherds, please pardon the mistakes done by these devotes,
This young boy is the slave to your temple,
And so mother please save this boy who resides in your temple,
I do not find any other help except you any where,
Please live with happiness in the portions of those who are sad,
Oh darling angu, oh mother who is dressed in pavadai,
Those gods who eat, those gods who dress,
Those gods under control, Those gods who protect,
And those gods who like the smoke of Myrrah,
All these Gods would protect us devotees,

Oraam padi thalamam Olai poo mandapamam,
Olai poo mandapthil ugandu koluvirundal,
Irandam padi thalamam erathina simmathanamam,
Erathina simmadanathil irundu aeasu purindal,
Moondram padi thalamam munai magappu salaigalam,
Munai mugappu salaigalil mundi koluvirundal,
Nangam padi thalama, nava rathina mandapamaam,
Nava rathina mandapathil nayagiyum vandu amarndal,
Iyndam padi thalamam, azhundhiya simmadhanamam,
Azhundiya simmadanathil aayi kolvirundal,
Araam padi thalamam alangara chavadiyam,
Alangara chavadiyil aychiyarum koluvirundal,
Ezham padithalamam ezhudhiya simmadhanamam,
Ezhudhiya simmadhanthil easwariyal koluvirundal,
Ettam padi thalamam visthara medangalaa,
Visthara medaigalil vimaliyarum vandu amarnthal,
Onpatham padithalamam oru mugamay nindra shakthi,
Oru mugamayi nindra shakthi, uthamiyum koluvirundal,
Patham padithalama, palingu maa mandapamam,
Palingu ma mandapathil pathiniyal koluvirundal,

It is the courtyard of first step, it is the stage made of palm leaf,
In the stage made of palm leaf, She came and sat with happiness,
In the courtyard of second step, there is a throne made of jewels,
In the throne made of jewels she would rule her kingdom,
In the courtyard of third step, it is the pointed main roads,
In the pointed main roads, she was sitting earlier to this,
In the courtyard of the fourth step, it is the hall made of nine precious gems,
In the hall of nine precious gems, The lady who is the leader came and sat,
In the courtyard of fifth step, it is a stable throne,
In the stable throne, the mother came and sat,
In the courtyard of sixth step, it is the decorated street,
In the decorated street, the cowherd woman came and sat,
In the courtyard of seventh step, it is the throne which is crafted,
In the throne which is crafted, the goddess came and sat,
In the courtyard of eighth step, It is the broad platforms,
In the broad platforms, the clear one came and sat,
In the courtyard of ninth step, it is the single minded concentrated power,
In the single minded concentrated power, the just holy goddess sat,
In the courtyard of the tenth step, it is the great crystal hall,
In the great crystal hall, sat goddess who is the margosa leaf goddess.

Athaal koluvile aar aar kolu virundar?
Iyngkaranum vallabhiayum anbay koluviurndar,
Thondhi vayithonum thundubhiyum koluvirundhar.
Kuzhanadi vadi velan kumaresar thaan irundar,
Thogai mayilerum subramaniyar kolu virundar,
Singa vahanamerum devi koluvirundar,
Oor kakkum kali uthamiyal koluvirundar,
Durgayodu kali thodarnthu koluvirundar,
Valli evayanayudan magizhndu koluvirundar,
Pachai malai nayagiyal paingiliyal thanirundhal,
Poovai kurathiyarum porundhi koluvirundal,

Who did all sit with mother majestically?
The five handed one sat with power and love,
The god with a big paunch and Dundhibhi sat with her,
The baby Kumaresa with Vel sat with her,
The Subramanya who rides on a peacock sat with her,
The holy goddess who rides on a lion sat with her,
The truthful Kali who guarded the homesteads sat with her,
The Kali sat together with Durga continuously with her,
Valli sat there happily with Daivvayanai,
The parrot like goddess of the green mountain sat with her,
The Poovai Kurathi sat along with her suitably,

Vaazhmuniyum chemmuniyum vandu koluvirundar,
Kathan karuppanodu kattazhagar veethu irundar,
Thotiyathu chinnanum, durai magamum thaan irundhar,
Marumakkal ellam magizhndu koluvirundar,
Kumarargal ellam koodi koluvirundhar,
Aariya malayudan anaivarum veethirundar,
Aayan perumal anantha sayanan ennum,
Mayan peruman mangai manavalan,
Ivarai katha Aadhi nedu malum,
Panchavarai katha paralanthon than irundar,
Kothavarai katha gopalan thamirundar,
Muttayir kunju mukhamariya Balagarai,
Pittu valargthedutha perumal koluvirundhar,
Chettayir kkatha jaya ramar seethayarum,
Alamelu mangayamma hari ramar seethayarum,

The Vazhmuni and Chemmuni came and sat with her,
The Kattazhagar (handsome one) sat along with Kathan and Karuppan,
The Chinnan of Thottiyam and Duraimagan (Son of the Landlord) sat with her,
All the nephews and son in laws sat with her,
All the lads together sat with her,
All people along with Aariya malai sat with her,
The cowherd Vishnu, the God who slept on Anantha,
The Vishnu who was an enchanter and he who married Mangai,
The primeval great lord who protected the five pandavas,
The God who measured the world who protected the five pandavas,
The Gopala who protected the kings,
And the god who saved the womb sat with her,
The Jayarama and Sitha who protected the chettai,
Alamelu manga, Hari Rama and Sita,

Mangayodu lakshmiyum magizhndu kolu virundhar,
Sreedevi moodevi cherndu koluviruundhar,
Panchalayakkiyathil padumai pol vanduthitha,
Pathiniyal duropathayum para koluvirundhar,
Thalara danam cheyyum Darmar koluvirundar,
Vayu devan puthiranar madha veeman koluvirundar,
Devendiran puthiranar ther vijayan thamirundar,
Nagula sahadevar nalamay koluvirundar,
Kanaga kuyilazhagar kattazhagar veethu irundar,
Ivarkaludan koodi anbay koluvirundar,
Pattatharasi paingili subahrayum,
Ayan sodhariyal aaranangu veethirundal,
Nalla thangal, veera thangal nalla sangothiyammal,
Arthamulla sundariyal aaranangu vethu irundal,
Malayannum thaan amarndha mari koluvirundal,
Kai soolam kapparayum kayyir kapalamudan,
Pachelumbu thindral paal ozhugumendru cholli,
Chuttelumbu thindravale, sudalai vanam kathavale,
Akkalum thangayum iyndu irandezhu perum,
Iyndu irandezhuperum ange koluvirundar.

Mangai and Lakshmi sat with her happily,
The Jyeshtadevi and Sridevi sat together along with her,
The virtuous Droupadhi who was born like a statue,
In he fire sacrifice of Panchala sat with her seeing her,
The Dharma Puthra who was never tired of giving money sat along with her,
The Bheemasena who was the son of windgod sat with her,
The arjuna of the chariot, the son of Devendra sat along with her,
Nakula and Sahadeva sat well with her,
The Kattazhaga who was as pretty as the forest nightingale sat with her,
All the five sat lovingly with her,
The parrot like beauty Subhadra who was their chief queen sat with her,
The pretty lady who was the sister of the cowherd sat along with her,
Nallathanga, Veerathanga and the good Sangothiyamman,
And the royal looking pretty maiden sat along with her,
The Mari who sat in the Malayannor sat along with her,
Along with Soolam and shield and with skull in the hand,
The Goddess who ate burned bones saying that,
If fresh bones are eaten, the milk will spill
Who guarded the cremation ground,
Elder and younger sister, five and two making seven persons,
Five and two making seven persons, sat there along with her.

Thangathu Pey pilli than perai chonnavudan,
Angala easwariyum amarndu koluvirundar,
Thol vinai neeki, suguna mathaialikkum,
Ellai pidariyarum inge koluvirundar,
Kavalargal thaan pugazha, kanaka simmathanthil,
Kaval adhikari kattazhagi Veethu irundal,
Inda mania mudal ezhu mania un kaval,
Santhatham un kaval sadu guna mariyare,
Kaval padanam amma kattazhagi Mari muthe,
Kavalukkulle kalavu vara pogum amma,
Parathe chavukkittu pathiramai karum amma,
Theera vinaigalai thaan theekkum parapariye,
Thazhum athigalai thaan tharkata rakshiyamma,
Ezhu pidariyarum isaindu koluvirundar,
Muthalu Ravuthan munaiyulla sevagarum,

The Angala Easwari, by chanting whose name,
Devils and ghosts would not stay, sat there,
The Border Pidari who removed old sins,
And grant good blessings sat there,
The chief of guards Kattazhagi (Very pretty one)
Whose fame was sung by the guards sat there on a golden throne,
You are going to guard seven houses from this house,
Oh peaceful cultured Mari, always on your guard,
Oh very pretty Gem mari, it is your turn to guard,
Thieves may enter the place guarded,
Guard them with the big whip carefully,
Oh Goddess who removes all sins which cannot be pardoned,
Oh Goddess who saved those towns which were sinking,
The seven Pidaris sat there with full consent,
Muthalu Ravuthan and several guards with sharp weapons,

Muthathil vandu munaindu koluvirundar,
Poovadai Gangai yendru poorithu kathirukkum,
Pavadai rayanum pakkam kolvirundar,
Thakshiyilladha siva sangariyalendru sollum,
Akshiyudan koluvil amarndu koluvirundhar,
Devi thirukoluvil cherndu koluvirundar,
Aayi thirukoluvil anaivarum koluvirundar,
Mari koluvil mana magizhchiyayirundaar,
Veeriya koulvil veethirundhar ellarum,
Aalithu thaniundhar ammai thirukkoluvil,
Paalithu thaan irundar parapariyal thaan koluvil,
Koodi koluvirndar kombanayal than koluvil,
Nadi koluvirundar naaraniyal thaan koluvil,
Sandekam pokkiya sayuchiyam adaiya,
Santhoshamaga thavamirundhar ellorum,

Sat in the courtyard with great interest,
The Pavadai Rayan who thought that the dress with flowers,
Is ganges sat on the sides there,
The Siva sankari who does not have pity for bad ones,
Sat along with them there to rule,
They all sat together in the temple of holy goddess,
They all sat together in the temple of the mother,
Mari sat there along with great happiness,
All people sat there in the show of valour,
The mother was sitting in the show with mercy,
The great Goddess was protective and sitting in her show,
The very pretty one sat together with every one in the show,
The Narayani came and sat in the show with her own wish,
Removing any doubt and looking forward for salvation,
All people happily meditated there.

Nadu thazhaikkavamma manilathor thaan vazhi,
Madu thazhaikkavamma nallor migha vazhi,
Pariluula aadavarum balagarum mangayarum,
Aariyarum matharum yavargalum thaan padikka,
Munnalil moothor mozhinda thaalattai,
Innalil potra ezhutha ezhuthu adanal,
Achu koodathu adipar anegar idhu varayil,
Uchidamayachil ithai yongi padhipithar,
Katharum mathorum kalippay padippatharkku,
Chor kuthamillamal sutha prathiyayi,
Paril ullor ikkadhayai padithu thozhudu etha,
Kathavarum mathavarum kalippadaya vazhi,
Sankaranum sankarium aaru muganum thaan vazhi,

Long live all those in earth so that country will grow,
Long live good people so that cattle wealth will improve,
This lullaby which has been sung by our ancestors.
Was composed and printed by some good people so that
It can be read by all the women, children, lasses,
High caste people, others and all the people,
In the letters of today, words fail to write the praise,.
Those who are learned and others can read this lullaby,
Now without mistakes in letters and words,
All the people in this earth can salute and read this great work
And let the learned and others long live with happiness,
Long live Lord Shiva, Goddess Parvathi and Lord Subrahmanya,

Senganmal sriramar sethayarum thaan vazhi,
Panchavargal anaivarum paingiliyal duropadhayum
Alli subhdrayum anaivorum thaan vazhi,
Muppthu mukkodi devargalum vazhi,
Chor periya some suriya agni vazhi,
Narpathennayiram nalla munivar thaan vazhi,
Karkkum garuda chithar vidhyadhara thaan vazhi,
Chandiranum sooriyanum danavargal thaan vazhi,
Indiranum devargalum ellorum thaan vazhi,
Karpaga kaavum kamadhenuvum thaan vazhi,
Parpala thevum panchaksharam thaan vazhi,
Kathanodu veeran karuppan thaan vazhi,
Sangili karuppan chappani thaan vazhi,
Madan irulan vaduganum thaan vaazhi.
Pavadai rayan pala devarum vaazhi,

Let the red eyed Vishnu in the form of Rama and Sita live long,
Long live Pandavas and their pretty wife Droupadhi,
Long live Queen Alli and Subhadra, and others,
Lon live the thirty three crore devas,
Long live the moon, sun and fire which are bigger than words,
Long live the forty eight thousand good sages,
Long live that sage, Garuda who protects us,
Long live the moon, sun and other devas,
Long live Indra, devas and every one,
Long live the wish giving tree and the Kamadhenu,
Long live different islands and the holy five letters,
Long live Kathan, veeran and Karuppan,
Long live Changili Karuppan and Chappani,
Long live Madan, irulan and Vadugan,
Long live Pavadai rayan and other gods,
Ikadai kettor ennalum thaan vaazhi,
Perumayudan ketkum periyor miga vazhi,
Oorengum keerthi petha uthamarum thaan vazhi,
Parulagil ikkadai padithor miga vazhi,
Nayagiyal than kadayai naal thorum vasippar,
Paril puthira pakkiyam padaithu miga vazhvare,
Mari thirukkadayai makizhndumay kettorum,
Devi thirukkadayai deergamay kettorum,
Padi padithorum, pakkiyathai than peruvar,
Nadi thudipporum nar kadhiyai than adaivar,
Aal pol thazhaithu arugu pol verodi,
Moongil pol chutram musiyamal vazhndiruppar,

Mangalam Mangalam mariyamman than kadaiku,
Engum niraindha easwaikku mangalamam.

(Sakala soubhagyangalayum tharavalla, puthira pakkiyam kodukkum,
Narkadiyai tharum MAriyamman Thalattu Mutrithu.)

Let those hear this story live forever,
Let the elders who hear this story with fame live long,
Let those great ones who are famous everywhere live for long,
Let those who read this story on earth live long,
Those who read the story of the goddess daily,
Would live in this world blessed with wealth of children,
Those who hear the story of Mari with happiness,
Those who hear this story of goddess for long,
And those who sing and read this story will be blessed with luck,
Those who pray using this story would attain salvation,
And live spreading like a banyan tree,
With roots spreading like grass,
And with crowd of relations like a bamboo plant.

Mangalam, Mangalam for the story of Mari,
Mangalam to he Goddess who is everywhere.

(This Lullaby of mother mari
Which can bless us with luck,
Bless us with children,
And lead us to salvation is complete.)

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