Chants, Hymns, and Songs
Chants, Hymns, and Songs
Click on any link below to learn more and listen to audio
Click on any link below to learn more and listen to audio
( All links are in Tamil, unless otherwise specified )
* More talks are available on the Ashram Youtube Channel and under the “Talks” Playlist
- Tamil Parayana
- Fifteen Day Tamil Parayana
- Sannadhi Murai Audio (Mrs. Mahalakshmi Suryanandan)
- Sannadhi Murai Audio (Sargurunatha Odhuvar)
- Annamalai Venba
- Maha Bhakta Vijayam
- Sri Muruganar’s Prayer Set in Music
- Maharshi Arunmozhi
- Sri Ramana Chatvarimsat
- Tiruvaachakam
- Nul Tirattu
- Akshara Mana Malai in nine different Ragas
- Gomatha Lakshmamma Song
- Ekanma Panchakam: Learn to Chant
- Kirtan with Krishna Das
- Arunachala Puranam
- Ramana Padamalai
- Geeta Saara Taalattu
- Drk-Drsya-Vivekam
- Audio presentation of Bhagavan Ramana Maharshi’s Handwritings (Tamil, Telugu, Malayalam, Sanskrit)
- Siva Bhakta Vilasam – Malayalam Audio Book
- Arunachal Puranam
- Ramana Gita
- Uma Sahasram
- Danur Month Parayana Songs & Jayanti Parayana Songs
- Aarti Songs
- Download : Deepavali Songs
Tamil Parayana
(The Poetic Works of Bhagavan Sri Ramana Maharshi)
Tamil Parayana
(The Poetic Works of Bhagavan Sri Ramana Maharshi)
Bhagavan Sri Ramana Maharshi’s Tamil compositions are revered by scholars of Tamil literature as works of literary genius. Beyond that, Bhagavan had the extraordinary ability to compress into a few words the full breadth of the Upanishadic realization and his own direct experience of it. It is these verses and compositions that are chanted daily at Sri Ramanasramam. Today at Sri Ramanasramam PARAYANA, it is sung from 6.30 pm to 7.15 pm. The current hymns follow a weekly cycle. The daily PARAYANA hymns are available in MP3 audio format, with the lyrics transliterated in English and Tamil.
Monday -
Sri Arunachala Stuti Panchakam
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Tamil
English
Tuesday - Upadesa Noon Malai
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Tamil
English
Wednesday –
Noon Malai
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Tamil
English
Thursday –
Anuvada Noon Malai
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Tamil
English
Friday –
Anuvada Noon Malai
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Tamil
English
Saturday –
Sri Ramana Stuti Panchakam
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Tamil
English
Fifteen-Day Cycle of the Tamil Prayana
The recitation of sacred texts at Sri Ramanasramam goes back to the early days at Skandasramam. Bhagavan regularly initiated chanting of the Ribhu Gitai as well as other classical advaitic texts. He encouraged chanting of devotional poetry such as Thevaram of Sundarar, Appar, Jnanasambandar, and Manickavachakar, whose Tiruvachakam devotees recited throughout the night on the occasion of the Mahasamadhi of Bhagavan’s mother in May 1922.
By the late 1940s, the poetical works of Bhagavan were added to the Ashram repertoire, which included works of other saints and devotees, forming a fifteen-day cycle starting and ending with Thevaram. Recitations were compiled in a notebook and kept in the Old Hall. Those wishing to chant them would copy them out by hand and join in the group chanting in Bhagavan’s presence in the evenings at 6.45 p.m. If requested, Bhagavan would copy out the notebook himself for devotees’s use. (One such notebook has been published as ‘The Works of Bhagavan in His Own Handwriting’). Devotees like Kunjuswami, Devaraja Mudaliar, Ramaswami Pillai, Somasundaram Pillai, K.Natesan, Thoppayya Mudaliar, Rangaswami, Annamalai Swami, Vadivudayar, Sivananda Swami, T.K. Sundaresa Iyer, T.P. Ramachandra Iyer, and a few others, during their stay in the ashram, would sit in two groups and chant antiphonally, each side reciting alternately as in the regular Vedaparayana.
For a few years following Bhagavan’s Mahasamadhi, the Tamil Parayana was held twice daily in the Old Hall at 7.30 a.m. and 6.15 p.m. For the past two decades, it has been chanted as a weekly cycle (except Sundays) in Bhagavan’s Samadhi Hall each evening at 6.30 p.m. In the mid-1960s, Smt. Mangalam, Smt. Saraswati, and Sri V. Ganesan made recordings of the group recitations, which were later digitized and edited. These edited recordings are now being included in an upcoming audio release of the fifteen-day cycle of the Tamil Parayana, two thirds of which consist of recordings of Kunjuswami and the other old devotees mentioned above (six in all). The present upload is a copy of the same.
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Day 11
(Vivekachudamani, Sivananda Lahari, Dakshinamurti Stotram (Sanskrit + Tamil) and songs of Tayumanavar)
- day11 -1-00:00
Sannidhi Murai
Sannidhi Murai
Sri Bhagavan wrote a Prefatory Verse to the Sannidhi Murai of Muruganar, hailing it as equal to Tiruvachakam of Manikkavachakar and as contributing to the spiritual uplift of mankind. (Moments Remembered, Ch. 8)
The Sannidhi Murai is sung in three formats:
The Sannidhi Murai is sung in three formats:
In the Tamil pann-metre, as done by traditional temple odhuvars With musical accompaniments, many of Muruganar’s works are now available on CD, DVD, and audio cassettes, produced by the Ramana Maharshi Centre for Learning in Bangalore.
In Karnatic classical Ragas (metre) – the present upload of about 3/4th of
Sannidhi Murai are sung by:
In Karnatic classical Ragas (metre) – the present upload of about 3/4th of
Sannidhi Murai are sung by:
- Mrs. Mahalakshmi Suryanandan, daughter of Prof. K. Swaminathan, who has been leading the group of Bhagavan’s devotees who sing on Purnavasu days at Sri Ramanasramam for the past three decades.
- Ramana Maharshi Centre for Learning of Bangalore-Ramananjali Group led by Smt.Sulochana Natarajan and a traditional temple, Odhuvar Sri.Sadgurunadan,Chennai-Mylapore,Kapaliswar Temple.
The title, number of the song, and its raga are added as a prefix to the audio to enable the practice of singing along with the book
(for item-A), while the visual display indicates the title and the number of the songs.
Sannidhi Murai Audio
Sannidhi Murai Audio

Sri Bhagavan wrote a Prefatory Verse to the Sannidhi Murai of Muruganar, hailing it as equal to Tiruvachakam of Manikkavachakar and as contributing to the spiritual uplift of mankind. (Moments Remembered, Ch. 8)
Annamalai Venba
Annamalai Venba
Of the many saints and sages of Tiruvannamalai, Guru Namasivayar and his guru, Guhai Namasivayar, are widely known in Tamil land. Annamalai Venba, in Tamil, was one of the traditional works referred to by Bhagavan Ramana.
Jnana Tapodanarai Vaa Endru Azhaikkum malai Annamalai ‘Welcome, welcome sages Annamalai to those who do penance for Jnana‘ is a verse from this venba very dear to the Arunachala and Bhagavan Ramana devotees.
The present chanting is by Sri J.Jayaraman the Ashram Librarian (Text accompanied)
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Maha Bhakta Vijayam
Maha Bhakta Vijayam
Extracts from the Publisher’s Note of Tamil Bhakta Vijayam, a work that was read, proofread, and often referred to by Bhagavan Sri Ramana Maharshi.
Maha Bhakta Vijayam, which is bigger than the Mahabharatam and Ramayanam, was first written in Hindustani in the year 1630 A.D. by Nabaji Siddha, deemed an incarnation of Lord Brahma. It contained the life stories of 700 devotees and was named ‘Bhakta Sara’. It was taught to Uddhava Siddha and others by Nabaji Siddha himself. Uddhava Siddha shortened the stories, wrote them in the language spoken in Gwalior, and called them Bhakta Mala.
Mahipati Bavaji removed the conversations pertaining to jnana aspects in that book and brought out in 1780 AD the life histories of 108 saints in Marathi and named the book ‘Bhakta Vijaya’. The rest of them, which he composed, were called ‘Santa Vijaya’ and ‘Santa Leelamruta’.
One Dipdev later brought out the book, including in it the portions relating to jnana, and named it ‘Dipa Ratnakara’. (All these were consulted and even enquired with the other elders.) Chittoor Venkatadasar translated it to Tamil, and the same was published by Saidapuram Umapati Mudaliar in 1864 A.D.
- “A wooden stand was provided for me, and I read one portion per day from Bhakta Vijayam while Bhagavan explained the meaning to those present. Sometimes I would ask innocent questions from the book, and Bhagavan would patiently reply. The devotees in the hall used to say that they got answers to their doubts from the replies given by Bhagavan to my questions. -Smt. Rajalakshmi (The Mountain Path, April 2008)
- Manu Subedor, who came from Bombay for Bhagavan’s darsan, said that most of the matter in ‘Avadhoota Gita’ and ‘Ashtavakra Gita’ was meant for the adepts, and there was not much by way of direct guidance for beginners.“ With infinite compassion in his eyes, the Maharshi looked at me and instructed one of the followers to bring a book. This was the Maha Bhakta Vijayam of Nabhaji. Bhagavan opened the book and began to read. Those who were present thoroughly enjoyed the reading, and I discovered that I was given exactly what I needed.
Jayadev
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Thieves saved


Padmavati died


Padmavati revived


Lord appears


Ashtapati tested


Upadesa to the king


Kabir
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Tulasi dasar
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Namdev
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Jnaneswar
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Kuchlar
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Tukaram
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Maha Bhakta Vijayam Tamil Text - click here
Muruganars Prayer
Muruganars Prayer
Sri Ramana Sannidhi Murai With related Tiruvachakam and Thevaaram
Sri Ramana Sannidhi Murai (Homage to the Presence of Sri Ramana), running into 1852 verses of various meters in Tamil, was composed by the great poet-devotee Muruganar in praise of his Sadguru Bhagavan Ramana and was first printed in 1933. One of the verses, Desika Pathikam (Decad of Ramana, the Teacher), Title No. 20, was composed by the poet when he was on his way to the Ashram for the first darshan of his master. That was a poet’s offering to the Guru. It was inspired by a song on Lord Siva by the great medieval Tamil saint-singer Sundaramurthy Nayanar. Later, graced by Sri Bhagavan, Sri Muruganar composed the rest of the verses. Though, to a large measure, they were patterned on Tiruvachakam of Manikkavachakar, they evince a luminous originality, and the poet has incorporated in his work his innovations and variations on the styles and images of the model.
The appropriateness of this pattern was hailed by devotees because, while Bhagavan Ramana was seen as Lord Siva Himself, Sri Muruganar was likened to Manikkavachakar.
While Sri Ramana Sannidhi Murai is rather closely modeled on Tiruvachakam, the scholarly poet has also borrowed the style and format of the Thevaram—sudden hymns on Lord Siva by Tirujnanasambandhar, Appar, and Sundaramurthy Nayanar—and, to a lesser extent, the compositions of more recent saint-singers like Arunagirinadhar, Thayumanavar, and even the style and format of the Vaishnavite classic “Divya Prabandham." This was in the fitness of things, for, by doing so, Muruganar has honored the chants of centuries of Tamil saints while paying homage to one whom Carl Jung, one of the great western intellectuals of the 20th century, hailed as ‘the chant of millenniums’.
The present audio upload of Sri Ramana Sannidhi Murai is accompanied by a few samples from Tiruvachakam, sung by Sri Sadgurunatha Oduvar of Sri Kapaleeswarar Temple, Mylapore-Chennai, a few from Thevaram, sung by Sri Dharmapuram Swaminathan, and a few others, while Sri Ramana Sannidhi Murai has been sung by the artistes-devotees of RMCL (Ramana Maharshi Centre for Learning), Bangaluru.
Note:
This audio upload of verses from Sri Ramana Sannidhi Murai is linked to the responding models from Tiru Vachakam and Thevaaram. The musical meters (Pann or Raga) mentioned in the book/Pdf upload are not adhered to in the recitation.
Please click any one of the song name from Sannidhi Murai, Tiruvachakam and Thevaaraman then listen the audio of the song. Click the PDF section to download the combined text of the audio files.
- For Download all Sannidhi Murai Mp3 files in ZIP format, please click here
- For Downlaod all Tiruvachakam Mp3 files in ZIP format, please click here
- For Downlaod all Thevaarm Mp3 files in ZIP format, please click here
- For Download all Sannidhi Murai+Tiruvachagam+Thevaarm Text, please click here
Maharshi Arunmozhi (Tamil)
Maharshi Arunmozhi (Tamil)
The Ashram has already uploaded some audiobooks like ‘Collected Works of Sri Ramana Maharshi’. Sri Muruganar’s ‘Ramana Sannidhi Murai’ etc. and some ancient Tamil spiritual texts, highly regarded by Bhagavan Ramana, like ‘Ribhu Gitai’, ‘Ashtavakra Gitai’, etc. More such texts, like ‘Ozhivil Odukkam’ etc., will be uploaded over time.
Now we are uploading a Tamil publication of the Ashram. Paul Brunton came to India in the early 1930s in search of truth. This journey led him to many saints, yogis, and fakirs, but his search continued. A gentle persuasion by Sri Chandrasekharendra Saraswati Swami, the Sankaracharya of the Kanchi Kamakoti Mutt, led Brunton to the Sage of Arunachala, Bhagavan Sri Ramana Maharshi, in his ‘Hermitage in the Jungle’.
Brunton chronicled his encounters in India in his best-known book, ‘A Search in Secret India’. Three chapters of this book deal with the encounter of the most remarkable kind that he had in India, namely, his meetings with Ramana Maharshi at his ashram at the foot of Arunachala in Tiruvannamalai and the extraordinary experiences that he had there. Relevant portions of these chapters were published by the Ashram in the book ‘The Maharshi and His Message’, later translated into Tamil and a few other languages. The Tamil translation entitled ‘Maharshi Arunmozhi’ is now uploaded in the voice of Sri Govi.
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Sri Ramana Chatvarimsat
Sri Ramana Chatvarimsat
One early morning, in the Pachaiamman Temple at Tiruvannamalai, Sri Vasishtha Ganapati Muni and other disciples were all sitting in front of Bhagavan Sri Ramana Maharshi, who was, as usual, sitting completely in front. The Muni saw a sparkling light come down from the sky and touch the forehead of the Maharshi six times.
This vision made the Muni realize that the Maharshi was none other than an incarnation of Lord Subrahmanya. Immediately, the poet in the Muni blossomed forth in eight verses in the beautiful sardulavikridita meter.
Later on, as occasion demanded, the Muni composed many verses adoring the Maharshi, and these were collected along with the initial eight verses as the Sri Ramana Catvarimsat, “Forty Verses in Adoration of Sri Ramana." These forty verses were daily recited in the presence of Bhagavan during his lifetime and continue to be recited every morning at his shrine. The verses describe both the human and the divine characteristics of the Maharshi, making no distinction between him and Skanda.a
As these verses deal with an Avatara Purusha and Jivanmukta and are composed by a great spiritual stalwart of no mean attainments, each verse acts like a mantra in invoking the presence of the Maharshi and is a veritable boon to every sincere aspirant.
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Bhagavan Ramana and Tiruvaachakam (Tamil)
Bhagavan Ramana and Tiruvaachakam (Tamil)
On a number of occasions, Bhagavan Sri Ramana Maharshi spoke in detail about Tiruvaachakam and its author, Saint Manikkavaachakar. He encouraged the recitation of Tiruvaachakam as part of Sadhana for those interested. Tiruvaachakam and Manikkavaachakar represent the path of Sanmaargam—oneness with the Lord in Saiva Siddaantam—three others being those of master-servant, father-son, Father-Son and attitude of friendship towards the Lord.
...Bhagavan sat beside Mother’s (Alagammal’s) body. Brahmachari Arunachalaswami and I were near Bhagavan. Bhagavan wanted us to read out Tiruvaachakam. Bhagavan read out some parts, and we read out others. Bhagavan corrected us whenever we made mistakes. In this manner, we finished the entire Tiruvaachakam by 4 o’clock in the morning.
-Kunju Swami’s Reminiscences (from his description of the Maha Samadhi of Bhagavan’s Mother on the night of May 19, 1922)
...Bhagavan told me that such weeping is good, quoting from Tiruvaachakam: Azhudaal Unnai Peralaame—by crying for You (God), one can get You. It was in connection with Mrs. Eleanor Pauline Noye, an American devotee (who used to weep in the presence of Bhagavan), that Bhagavan quoted to me the above line from Tiruvaachakam.
The present sample upload, lasting about three hours, is from one such session conducted by Sri. Siva Daamodaran at Kanchipuram in Sri Ekaambareswar Temple on the 29th Sep 2012, which was attended by more than 10,000 devotees.
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- 05_1_tiru_chadakam_mei_unardal_1_to_5-100:00
Nul Tirattu
Nul Tirattu
The Collected Works of Bhagavan Sri Ramana Maharshi (Sri Ramana Nul-Tirattu, Tamil) has a unique place in the lives of all Ramana devotees. In his introduction to the prose translation of Vivekachudamani (his earliest and major single work), Bhagavan says, “Bliss can be realized through self-enquiry only, which consists of Sravana (hearing), Manana (contemplation), etc. In “Who am I?" he also says, “For that happiness, the inquiry of the form ‘Who am I’ is the principal means.
- Tamil Parayanam, as sung now at Sri Ramanasramam.
- A 15-day cycle of the same, including the poetical works of a few other saints, most of them in the voices of old devotees like Kunjuswamy and others.
- The Collected Works of Bhagavan (Nul-Tirattu)—the poetical portion with music wherever available. This would be updated as and when the remaining portion is set to music and sung. The Malayalam version of Bhagavad Gita Saram and the Telugu, Sanskrit, and Malayalam versions of Upadesa Saram are also added here as supplements to Nul-Tirattu.
Arunachala Stuti Panchakam
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Upadesa Nun Maalai
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Anuvaada Nun Maalai (Poem)
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Anuvaada Nun Maalai (Prose) (Vivekachudamani)
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Arun Mozhi Thoguppu
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Nul Tirattu Supplement
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Akshara Mana Malai in nine different Ragas
Akshara Mana Malai in nine different Ragas
Manavasi Ramaswami Iyer discovered the healing powers of Sri Ramana Maharshi during Virupaksha days and composed the “Saranagati” song. This powerful song invokes the grace of the master and is sung in many programs of Ramana Sat Sanghs. His daughter, Sri Ramani Ammal, was a talented musician. She gave music lessons to many fortunate ladies in Ramananagar.
Sri Ramani Ammal set the one hundred and eight verses of Akshara Mana Malai in nine different ragas. Each set of twelve verses is sung in a special raga. During the annual Sharad Navaratri festival, Akshara Mana Malai, the rare gem of hymnal praise of Lord Arunachala composed by Sri Ramana Maharshi, is sung in nine melodious ragas before the Divine Mother. (Note: Raga is a traditional melodic type in Hindu music, consisting of a theme that expresses an aspect of religious feeling and sets forth a tonal system on which variations are improvised within a prescribed framework of typical progressions, melodic formulas, and rhythmic patterns.).
Smt. Sushila Ramanan, the wife of ashram president, learned to sing Akshara Mana Malai in nine ragas from Sri Ramana ammal. We are happy to present Akshara Mana Malai sung by Sushila Ramanan and J Jayaraman in nine ragas.
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Ragas and corresponding lines.
Ragas and corresponding lines.
- Kappu - Bowli Raga
- 1–12 - Saama Raga
- 13–24 - Behāg Raga
- 25–36 - Bhagyashree Raga
- 37–48 - Sivaranjani Raga
- 49–60 - Kapi Ragam
- 61–72 - Nadanamakriya Ragam
- 73–84 - Yamuna Kalyani Ragam
- 85–96 - Senchurutti Ragam
- 97–108 - Sindhu Bhairavi Ragam
Ekanma Panchakam
Ekanma Panchakam
Introduction
Introduction
These are the last verses composed by Bhagavan. They were written at the instance of a devotee, Suri Nagamma, the author of Letters from Sri Ramanasramam. He wrote them first in Telugu, but in a Tamil metrical form called Venba, and then translated them into Tamil. Since there was already a composition of Shankaracharya called the Atma Panchakam, Bhagavan decided to call his composition Ekatma Panchakam.
Verse 1
Verse 1
Transliteration
Transliteration
Tannai maṛandu tanuvē tānā-eṇṇi
Eṇṇil piṛavi eḍut tiṛudi – tannai
Uṇarndu tānā-dal ulagasañ charak
Kanavin vizhit-talē kāṇga – anavara-dam
- EP-v100:00
Verse 2
Verse 2
One ever is the Self. To ask oneself
“Who and whereabouts am I?”
Is like the drunken man’s enquiring
“Who am I?” and “Where am I?”
Transliteration
Transliteration
Tānirun-dun tānā-gat tannaittā nānevan
Yān-irukkum stānam edu-venakkēt – pānukku
Yānevan evviḍam yānuḷan enḍṛa-madu
Pāna-nai yīḍu pagar-satcid – ānandat
- EP-v200:00
Verse 3
Verse 3
The body is within the Self. And yet
One thinks one is inside the inert body,
Like some spectator who supposes
That the screen on which the picture is thrown
Is within the picture.
Transliteration
Transliteration
Tannuḷ tanu-virukkat tānach jaḍa-vuḍalan
Tannuḷ irup-padāt tānunnum – anna-van
Chitti-rattin uḷḷuḷada chitti-rattuk kādāra
Vastira menḍṛeṇ-ṇuvān pōlvān – vastu-vām
- EP-v300:00
Verse 4
Verse 4
Does an ornament of gold exist
Apart from the gold? Can the body exist
Apart from the Self?
The ignorant one thinks ‘I am the body’;
The enlightened knows ‘I am the Self’.
Transliteration
Transliteration
Ponnukku vēṛagap bhūsha-ṇam uḷḷadō
Tannai viḍut tanu-vēdu – tannai
Tanu-venbān ajñāni tānā-gak koḷvān
Tanai-yaṛinda jñāni darippāi – tana-doḷiyāl
- EP-v400:00
Verse 5
Verse 5
The Self alone, the Sole Reality,
Exists for ever.
If of yore the First of Teachers
Revealed it through unbroken silence
Say who can reveal it in spoken words?
Transliteration
Transliteration
Eppō-dum uḷḷadav ēkānma vasttuvē
Appō-dav vasttuvai yādi-Guru – ceppādu
Ceppit teri-yumā ceidanarē levar
Ceppit teri-vippar ceppu-gena – ippōdav
- EP-v500:00
Concluding Verse
Concluding Verse
Guru Ramana, who revels in the form of (pure) jnana,composed these five verses on the Self.
Declared in them is the nature of Reality,
which destroys the illusion that the body is the Self.
Transliteration
Transliteration
Ekanma vuṇmai yinait-tenat tēṭṛiyan-bar
Dēhānma bāvañ cidai-vittān – ēkānma
Jñāna sorūpa-mā naṇṇuṅ Guru-Ramaṇan
Tān-navinḍṛa ippāviṛtan
- EP-v600:00
(Translated by Prof. K. Swaminathan)
The Arunachala Puranam
The Arunachala Puranam is the sthala purana of Tiruvannamalai. It is a work that brings together all the legends relating to Tiruvannamalai. The myths and legends they contain form part of an unbroken tradition elaborated, embroidered, and transformed over several millennia, beginning with the Vedas and the Vedic commentaries. Ramana Maharshi teaches us that the world is simply the illusory play of mind, projected upon the unmoving screen of consciousness. (The strange, wonderful world of the Puranas is, in its own way, no less an illustration of this truth.)
The main story unfolds against the background of epic themes such as the creation of the universe and the battles for supremacy between the gods themselves and the gods and their enemies, the asuras. Two major themes are interwoven: the first is the greatness of the Arunachala sthala and the story of how the mountain Arunachala first manifested as a clossal of fire whose top and bottom could not be found to settle a quarrel between Brahma and Vishnu; and the second is the story of how Siva’s consort Parvati came to merge with Lord Siva as half of himself.
The Tamil Arunachala Puranam was composed in the 17th century by Saiva Ellappa Navalar, thought to have lived in the reign of the Tamil king Tirumalai Nayakar, during 1623–1659. The author, in verses 21 and 514, cites as the source for its first 7 chapters the Rudra Samhita (514), or the Kodi Rudra Samhita (21) of the Siva Purana.
Devaraja Mudaliar’s Day by Day with Bhagavan, dt. 12.12.1945, Afternoon: As I was entering the hall about 2–50 p.m., Bhagavan was reading out from the Tamil Arunachala Puranam the verses in which it is said that Gauri, after crossing the several streets of Arunachalam, reached Gautama’s Asramam. When Bhagavan came to the verses dealing with Gautama’s joy at Gauri’s coming to his Asramam, he could not go on, for tears filled his eyes and emotion choked his voice. So he laid aside the book.
In 2000, Sri Ramanasramam published the Tamil Arunachala Puranam of Saiva Ellappa Navalar with paraphrases, and the book has been reprinted many times. (The Tamil translation of the Sanskrit Arunachala Mahatmya, by Munagala Venkataramiah, the compiler of Talks with Sri Ramana Maharshi, has also been reprinted many times since its first publication in 1955.) In 1999, Sri Ramanasramam published The Glory of Arunachala by M. C. Subramanian, which had been serialized in The Mountain Path. The Tamil Arunachala Puranam has been translated in English by Robert Butler, an ardent devotee of Bhagavan Ramana. It was also published in the Mountain Path, and he has now offered it to Sri Ramanasramam for publication.
J.Jayaraman – Sri Ramansramam chief Librarian, who heard the glories of the Tamil Arunachala Puranam many times, from old Ashramite of Kunju Swami – close devotee of Bhagavan Ramana Maharshi from 1920 has chanted, the entire 659 Tamil Poems of Saiva Ellappa Navalar, and the same is uploaded now in audio form.
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- Download Arunachala Puranam Full Tamil Text : Click Here
- Download Arunachala Puranam Full English Text : Click Here
Ramana Padamalai
Ramana Padamalai
Muruganar (1890-1973), the gifted Tamil poet and one of the foremost devotees of Bhagavan Ramana was instrumental in persuading Bhagavan Ramana Maharshi to compose Upadesa Undiyar and Ulladu Narpadu two of his most important poetical works embodying his unique teachings The poet-devotee was also responsible for Bhagavan composing Atma Vidya (the Song of Self-knowledge). Thanks to Muruganar we have thus Bhagavan’ s teachings in His own words in a compact form.
Once Bhagavan told Muruganar, “Why not write poems like Manickavachagar (the great 9th-century Siva devotee and saint singer)?" That spark of a gracious sentence kindled a flaming stream of about 25000 spontaneous and natural outpourings of poems in Tamil over a few decades. They are now available in three classified forms: stotram (prayers), sastram (philosophy or teaching), and anubhavam (personal spiritual experiences). However, there are poems or verses in Muruganar that combine all three aspects.
Muruganar's poems, Sri Ramana Sannidhi Murai, Ramana Deva Malai, and Ramana Sarana Pallandu, the stotras, and Guru Vachaka Kovai, embodying the complete teachings of Bhagavan, were published during the lifetime of Bhagavan and Muruganar by Ramana Padananda, an ardent devotee of Bhagavan and admirer of Muruganar, as soon as the bulk of the contents were composed. Sri Ramana Anubhti, The Ramana Experience, was also published by Ramana Padananda in two parts in 1960 and 1961.
After his Maha Samadhi in 1973, an unsorted collection of over 17,000 verses by the poet-devotee was handed over to Sadhu Om, an ardent devotee of Bhagavan and a talented poet. He scrutinized them for three decades, and with the help of Prof. K. Swaminathan, they were brought out in nine volumes entitled Sri Ramana Nana Bodham by Delhi Ramana Kendram over a period of 18 years from 1978.
Starting with Ramana Padananda, many other devotees were active in disseminating the works of Muruganar. Prof. K. Swaminathan translated into English most of the verses of Sri Ramana Sannidhi Murai and the entire Guru Vachaka Kovai. They have been published by Sri Ramanasramam. Sadhu Om also brought out a translation of Guru Vachaka Kovai and a revised translation made by David Godman. Ramana Maharshi Centre for Learning, Bangalore, brought out the audio version of a few works of Muruganar.
The 9th Volume of Sri Ramana Jnana Bodham, published in 1996, contains a) Deiva Malai, b) Padamalai [Paadha Maalai], c) Sarana Tiruvahaval, and a few miscellaneous verses and prose works of Muruganar. A fine selection of 1700 out of a total of 3059 Padamalai verses have been translated in English by Dr. Venkatasubramanian, Robert Butler, and David Godman, with annotation and thematic arrangement by David Godman. The book was published by David Godman in 2004.
The nine volumes of Sri Ramana ]nana Bodham in original Tamil were uploaded in Sri Ramanasramam website in 2014. Padamalai along with its English translation is being uploaded now with due permission from its English translators. In the introduction to the Padamalai, Muruganar mentions that this work is meant for chanting by devotees in order to increase
their'remembrance of the divine feet of the Lord’. The audio chanting of the entire work has also been uploaded along with the text.
A Complete English translation of Padamalai will be made available online when it is ready.
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