sree Krishna Temple, South Perinkulam, Palakkad district, Kerala

A web site has been created on this ancient temple NEAR ALATHUR in Kerala State's Palakkad district.
The link is http://sites.google.com/site/perinkulamsrikrishna/
At the time of creation of the web site, the main focus was on the performance of a Kumbhaabhishekam. The kumbhaabhishekam was performed on 24th june 2010.
Selected Photos of this event have been loaded on to the web site.

A write up on the annual Bhrahmothsavam of the temple for over ten days, in the month of Kumbham (February 15th to March 15th) has been added. Some of the photos of the events taken during the previous years, are given in the GALLERY in the web site. Sequence and descriptions of the photos are given below:

Festivals and Events - The car Festival

The most important festival celebrated at the temple is the Brahmothsavam. The period of one month from 15th February to 15th March corresponds to the month of Maasi in Tamil calendar It is also known as Kumbha Maasam in Malayalam and Sanskrit. All the four temples of Perinkulam village celebrate their annual Brahmothsavam during this period.. Right from olden days, Siva temple and Krishna temple have been celebrating Brahmothsavam together. Since Lakshmidevi is the consort of Sri Varadaraaja (Vishnu) and will step out of the temple only in His company, those two temples have to be together in all celebrations. Human nature being what it is with ego and possessiveness dominating over reason and cameradarie, there were occasional conflicts among the villagers in the past. About 80 to 90 years back, at a marriage where the bridegroom was from the South village and the bride from the West village, a dispute arose on some issue. It escalated and soon became a dispute between the two villages. A decision was taken that West village would have nothing to do with South Village and since the latter was managing both Sree Krishna temple and Siva temple, West village and Kariot village (having the Lakshmi devi temple) would celebrate their Brahmothsavam during Navaraathri. Their festival would start with the sukla pratthhama in Kanni month corresponding to the period 15th September to 15th October each year and culminate with the Ratthha yaathra (procession in decorated chariots) on vijayadasami day, 10th day of the waxing moon.
This was the practice during my childhood. Late Sri P.N.Ananthanarayana Ayyar, Advocate, one of our villagers, who had a photographic memory and a penchant for history, used to refer to the break, in a humourous way. It seems there were eight families including mine, where the bridegrooms were from the South village and the brides from the West village. He used to refer to these bridegrooms as Ettu Veettu Pillamaar, though the split occurred only during one of the marriages. It is stated that in the history of Travancore, eight families known as Ettu Veettu Pillamaar, dominated the political scenario and made it well neigh impossible for the King to function. The King ultimately surrendered his Crown to Sree Padmanaabhaswaami, the ruling deity of the place, and decided that he would rule over the land as the servant of the Lord, assuming the title Padmanaabhadaasa..
Leaving the humourous aspect aside, this arrangement had its own plus and minus points For us, youngsters, it was fun to have two car festivals in the same year. In the prosperous years we used to have four elephants for the procession on the ninth day although there were only two idols to be carried. We could have a joy ride on the elephants. Sumptuous prasaadams distributed at the temples, were also an attraction to us. But to the ladies, Navaaraatahri had a special significance of its own with the festival of dolls, good dresses and moving about from house to house for Manjal Kumkumam.. Clubbing it with the car festival, meant foregoing the pleasures of one of the festivals Rain was a nuisance as the month of kanni is usually the tail end of the south-west monsoon. Often rain played spoilsport and the decoration on the chariots was soaked and the procession itself made laborious due to drizzle and slush. With the deprivation of lands, dwindling of incomes of the temples and escalation of costs, the burden on the temples became heavy. Some of the youngsters of the villages pioneered a movement for reverting to the earlier system of all the four temples jointly celebrating the car festival during the month of Kumbham.
Only those who have experience in tackling local sentiments and convincing rural public to adopt a course of action can appreciate the magnitude of their task. Around late fifties or early sixties of the last century, they succeeded and re-integrated the four villages for this purpose. This resulted in economy and better use of resources, more aesthetic presentation and a happier atmosphere for the devout public who attended and participated in the festival. Of necessity, this calls for closer rapport and co-ordinated approach which implies a strict adherence to the give and take principle. By the Grace of the Almighty, this is forthcoming in abundant measure.
Certain changes also came to be made in the pattern and schedule of the festival. The chariot procession, which used to be completed in one day, is now extended to two days. Hence the total duration of the festival is extended by one day. Processions common to all the temples like the procession on elephants on ninth day and the Pallakku procession on 11th day, commence from the Siva temple, which is common to all the three villages.
Though daily routine is attended to by the permanent archaka of each temple, an Aazhwaar specially trained in Vaikhsanasa Aagama Sampradaaya takes over the worship during the brahmothsavam in the Sree Krishna temple, Sree Varadarajaswami temple and Sree Lakshmidevi temple. At the Siva temple, a Gurukkal well versed in Saiva sampradaayam does the worship during the period. At the Siva temple, the festival starts two days after the commencement at the other three temples and is observed only for 10 days.
Our main focus is the celebration at the Sree Krishna Temple, but as it is a common event at all the temples, the practices at other temples are also touched upon where relevant.
There is a room in the inner quadrangle of the temple called the Yaagasaalai, where the Aazhwaar does special poojas and homams (offerings through fire) during the festival. On the first day, the Aazhwar starts the rituals by doing punyaaham, (purificatory ritual), Vishwaksena Pooja, Rakshaabandhanam, Kalasastthhapanam, Anguraarpanam, Vaasthu Homam etc. Nine kalsams filled with water and representing the Lord and other devathas, are kept and worshipped both in the morning and evening. Homams are also performed likewise. At night, an effigy of a human being made of straw is lighted from the Vaasthu homam fire and the burning effigy is taken round the village to the chanting of Manthras and sprinkling of holy water. This is known as Vaasthu bali. The intention is to purify and rid the village, of evil forces and ensure the smooth conduct of the processions of the deity during the festival days.
On the second day, the Dhwajaarohanam (hoisting of flag) is done. The temple has a tall flag mast on the outer peripheri. A bamboo frame of about two square feet is covered with white cloth and a picture of Garuda , a large bird resembling an eagle but with a deep brownish body and white patch at the neck, which is believed to be the vehicle of Lord Vishnu and his incarnations, is drawn on it. This constitutes the flag of Lord Krishna. The flag hoisting is done to involve all the divine forces, the Dikpaalakas etc in the festival and also to keep the evil forces under check during the festival. The parivaaradevathas ( the demigods in and around the peripheri) are propitiated twice everyday during the festival by offer of “bali”.
Abhshekams are performed and the deity is decorated in different attires every day. Varieties of naivedyam (food for the deities) are offered. The temple mantapam is also decorated with “Neramaalai and neravilakku””(rows of flower garlands and lamps). Each day’s rituals are referred to in common parlance as “Vilakku” and one or more devotees offer to bear the expenses.
Besides the Moola Vigraham ( main idol sculptured out of granite and installed inside the sanctum), a smaller portable one made out of bronze (or panchadhaathu, which is an alloy of five metals) and known as the Uthsava moorthy, as well as a replica of Sudarsana Chakram ( discuss, the chief weapon of Lord Vishnu), are also kept inside the sanctum. The Uthsava moorthy is the one taken out in procession around the villages on various occasions. The chakram is taken out for daily bali on the outer peripheri as the representative of the Lord. Both these, suitably decorated, are kept on a swing in the mantapam during the festival.
On the fifth day of the festival the deity is mounted on a Garuda Vaahanam (carved out of wood and decorated) and taken in procession around the village. On Ekaadasi day (11th day of the waxing moon), which is specially auspicious for worship of Lord Vishnu and his Avathaaras, the deity is taken round the village in a small chariot. This chariot is known as Thoppa Theru (probably a corruption of the Tamil expression Theppa Theru). It is stated that at one time, there was a theppam (float) festival
There is a huge tank at the northern end of the village. It seems that the deity was taken on a float on this tank once a year. Lotuses were also cultivated in the tank. Anyway, these are old stories of customs prevalent more than a century ago. Now the small chariot
is used on Ekaadasi day during the Brahmothsavam. for the procession of the deity. These processions are confined to the South village. Incidentally, the South village has two rows of houses facing each other known as the Eratta vari (double row) and behind the row on the eastern side there is another row which is known as the Otra vari (single row), which extends beyond the two rows. A row of houses formed at right angles to the Otrai vari brings one back to the double row and passes beyond the temple’s southern compound wall.. This used to be known as the Thalakaani Tharai ( a row formed like a pillow for the double row). The Sree Krishna temple, being located at one end of the cluster of villages, has several advantages, which the other three temples do not have. It has a full compound of its own and people can circumambulate on the outer peripheri without hindrance. The other three temples are on the public roads and hence they have a limited frontage and one side is actually on the roadside.
Ninth, tenth, eleventh and twelfth days are eventful. On the ninth day, deities of all the temples are taken out in procession on caprisoned elephants. The elephants arrive by morning. Now-a-days, they are transported by trucks as per orders of the Kerala Government. By noon, the drummers and pipers of the percussion ensemble which is a speciality of Kerala tradition, also arrive. Side by side, the artistic decoration of the chariots for the procession on the tenth and eleventh days, also commences. Well before the commencement of the festival, the chariots are taken out of their sheds and repairs to woodwork, metal sleeves on the wheels, etc. are attended to and a touch of warnish or oil is also applied to them to make them shining. At this stage it is only the base of the chariot plus wheels. Thereafter a temporary structure or frame is fitted with pre-designed pieces of wood, to make it five tiered. The first tier is about eight feet in height and the rest are smaller. The first tier is covered in front and rear by what is known as Padal, made of pieces of wood covered with gilt paper and glass pieces, which glitter brightly in sunlight and artificial light. At the center of the Padal, there are openings to allow onlookers to have a view of the deity, which will be placed on a pedestal at the center of the deck of the chariot. Bamboo rings are fixed to the higher tiers and bunches of artificial flowers made of bark of a species of trees and dyed in white which pieces of mica at the ends, are hung on these rings. Dummies of horses with riders, bunches of ripe bananas, coconuts and arecanuts are hung from frames on the base chariot while those of five hooded snakes etc are fixed to the bamboo rings on the higher tiers. On top of all these, a five tiered dome made of brass and well polished, is kept. Pictures can be seen in the Gallery of this webpage.
To come back to the ninth day, in the evening, one of the Padals to be kept on the chariot, is placed in the temple front porch with the Uthsavamoorthy, fully decorated, inside the opening in the Padal, as it will look in the chariot.
After the Sandhya Deepaaraadhana, a troupe of drummers (usually a maddalam, a chendai, a beek (which gives a bass note) and a person with a pair of symbols known as Elatthaalams, gives a short performance at the temple porch. This is known as “Kelikkottu”
For those who are not very familiar with Kerala traditions, a word about the percussion instruments, which are a speciality of the land. Rhythm is in-built in everything in this universe and it appeals to all, if properly handled. The most popular instruments used in Kerala festivals can be grouped into two large patterns. One is called the Panchavaadyam. It is an ensemble of five instruments, namely, Maddalam, Thimila, Edakka, Thaalam and Kombu. At the commencement of the session, but rarely thereafter, a conch shell is used to blow a loud and resonant note. The first three are skin instruments, with wooden shells covered by skin at both ends which are held by straps. Maddalam is fixed to the player’s waist with the aid of a waist band. On one side of the instrument, there is a black patch more or less like that on the right side of the mridangam.The other side is covered by skin and is very hard. So the players wear caps made of white cloth on their fingers. The caps are made of layers of cloth fixed with gum and dried, so that they become hard. Thimilai is about two feet long and is made of hollowed -out wood, with a constriction in the middle. The two ends which are about six inches each in diameter, are covered with skin and are held together by strings. While playing, it is suspended from the left shoulder of the player, by a piece of soft cloth. The player uses both his hands while playing, but with chopping motions of the palms. Fingers are not spread out. Edakkai is a smaller instrument, about 12 to15 inches in length, made of hollowed -out wood , wide at both ends and a constriction in the middle. The ends are covered with discs made of skin. The discs are much bigger in circumference than the wooden shell, with the result that the shell can be moved up and down while playing and different sounds can be produced. While playing, the instrument is suspended from the left shoulder of the player with a piece of cloth. He holds the wooden shell with his left hand and plays on the instrument with a round stick in his right hand. The stick is about 12 inches long, has a diameter of about an inch at the base and tapers with a slight bend at the end. Whenever an instrument is played with a stick in Kerala tradition, wrist movements are very important. Edakkai has the advantage of being a percussion instrument and at the same time, as the octaves can be effectively produced in this instrument, even songs can be played, if the player has the required expertise.
Kombu is a wind instrument and comprises three pieces of pipe which when joined together, form a semi -circle. The mouth piece is small while the end of the pipe is wider. At the appropriate stage in the performance of the other instruments, when the tempo increases, this is blown to accentuate the rhythm.
At the commencement of the procession, the conch is blown three times. The Thimilai, Maddalam, Edakkai and Thaalams start playing in unison with such accuracy of timing that one would wonder how such co-ordination is possible. After a few strokes, the pattern changes to two of the individual units (like Thimilai and thimilai, or thimilai and maddalam, or thimilai and edakkai or maddalam and edakkai) getting into a dialogue pattern. Often they swing into different nadais like Thisram, khandam etc. After a few exchanges, all the instruments play together and the tempo is also quickened to a crescendo. Again they go back to the earlier pattern. “”Korvais””or “”Mohras”” and “”Mutthaippu”” which are important in the laya vinyaasam in Carnatic music are practically absent in this pattern. For those who have a grounding in rhythm, panchavaadyam and chenda melam described below, will be a treat to the ears. .
The other pattern of percussion ensemble peculiar to Kerala, is the CHENDA MELAM. This consists of Chendai, Thaalam, Kuzhal and Kombu. Chendai is a cylindrical instrument, about two feet long made of hollow wooden shell with a circumference of about 12 inches at both ends which are covered with skin and joined by straps. One side gives the upper octave and the other gives the lower octave. It is played with round sticks about 12 inches long and slightly tapering and curved at the top. While playing, the instrument is suspended vertically on the left shoulder of the player with a cloth tied to the top and bottom of the instrument. The top portion will normally be the one with the higher pitch. Usually, there will be a supporting set of chendais, where the bass sound alone is produced by single strokes indicating the rhythm or thaalam. In colloquial terms, these are referred to as “”beek”. In an ensemble, if there are about eight or nine chendais, there will be three of these beeks, stationed behind the row of chendais. Behind them will be the thaalams or symbols who mark the rhythm pattern. Facing the chendai, there will be a few pipers playing on short pipes made of wood with brass mouth at one end. The other end, which is the mouth piece while playing, is narrower. A particular weed is fixed at the mouth piece while playing.. The Kombus will be behind these pipers. In chendai melam during processions, all the chendai artistes follow the same pattern and play in unison. There are different patterns called Paandi Melam, Panjaari Melam etc. Chendai also offers tremendous scope for solo performance which goes by the name of “”Thaayambaka”” Intricate rythmic patterns are woven in such solo performances and the sessions last for a few hours some times. Besides all these, chendai is also a percussion accompaniment in some of the visual arts like Katthakali which are special to Kerala and the Yaksha Gaanam of South Karnataka. Maddalam, Edakkai and Thaalam are also part of the percussion troupe in Katthakali,etc
Each of the temples hires an elephant for the procession on the ninth night, and, except for the Siva temple (where the chariot is quite small), for pushing the chariot on the 10th and 11th days.
A brief description of the way elephants are decorated and employed in the procession will not be out of place here. The articles for decoration plus the equipments to be used on each elephant during the procession are collectively called “”Aanakkoppu”. Elephants are bathed before the procession. A piece of cloth embroidered with gold plated bubbles and coloured border is tied on the front to cover the elephant’’s head and trunk up to half of the trunk. Its back is covered with a piece of cloth to enable people to sit comfortably.
Four people sit on each elephant. The first one holds the Uthsavamoorthy (the portable idol of the respective temple, decked in colourful attire and ornaments). The person behind holds a decorative umbrella, the next one behind holds a pair of ven-chaamaram (a bunch of fluffy hair-like strands which are waved by devotees positioned near the idol as a fan) and the last one seated near the rear of the elephant holds a pair of Aalavattams (circular discs in colourful designs with peacock feather on the peripheri of the discs). When the Kombu is blown corresponding to the percussion reaching crescendo each time, the persons holding the Aalavattam and Venchaamaram stand up. The Aalavattam is held , one on each hand by the person, while the person holding the chaamaram waves it skillfully in front and back of the Aalavattam. Of course this is done only when the elephants are stationary at pre-designated points during the procession.
The elephants, with the idols of the respective temples, assemble at the Siva temple around 10 pm. The Conch is blown thrice and then in unison the panchavaadyam ensemble starts its performance. They spend almost half an hour at that spot. Then the procession moves south towards the South village and slowly passes the single street of the village, then stop in front of the Sree Krishna temple. The performance or Melam as it is called in local parlance here is for about 15 minutes. The temple priest does deepaaraadhana and the procession moves on stopping at specified places for short interludes so that the artistes can play standing at one place for a few minutes and the Aalavattam and Venchaamaram can be used effectively. The procession passes the Siva temple and moves on to the other two villages and reaches the northernmost end of Kariot village. There is a short break for rearrangement for return journey.. The panchavaadyam troupe gives place to the chendai ensemble.
En route, some of the householders offer neivedyam to the deities and these as well as drinking water are supplied to the performers and the public. At each of the temples, deepaaraadhana is performed.
The procession returns to the starting point around 4 a.m. the next day. The idols are taken back to the to the respective temples.
Almost within an hour, preparation for the next day’s rituals start.

The Tenth and eleventh days: chariot procession.
At all the four temples there are Ganapathy homams around 5 or 5.30 a.m. on all the days of the festival.
On the tenth day, there will be special abhishekam at all the temples. At the Siva temple, it will be Rudraabhishekam. At the other temples, it will be what is known as Kalabhaabhishekam.
At the Sree Krishna temple, there will be kalabhaabhishekam. Nine Kalasams, filled with water are kept at the temple Mantapam. The Central one is for Lord Krishna and the others for other devathas .
Around 8 a.m. each temple sends people on its elephant, with brass or copper pots for fetching water for the Tirumanjanam (abhishekam). In local dialect, this is called Thirumoonjalam. In olden days, water was fetched from Gaayathri river at Thrippavallur, about a kilometer away. Now this trip has become a symbolic ritual. The procession goes a short distance and comes back. with water, but not from the river, which dries up and gets covered with weeds during summer.
The sankalpam for the abhishekam is done at about 8 – 8.15 a.m. Preliminary rituals like kalasastthaapanam, worship of the devathas and japam for sanctifying the water in the kalasams are done. Then, the alankaaram and attire of the main deity (Moola Vigraham) and Uthsavamoorthy are removed. One by one, abhishekam with different liquids like, Gingelly oil, panchagavyam, panchaamritham, milk, curd, ghee, honey, sugarcane juice, lemon juice, tender coconut water and sandal water, is done to the accompaniment of repeated chanting of Purushasooktham. After these, abhishekam is performed with the water in the sacred kalasams. The central kalasam is taken out last. Then the entrance to the sanctum is covered with a screen and the deity is decorated with sandal paste, flowers, garlands and jewels and all the lamps inside the sanctum are lit.
During the alamkaaram (decoration) of the idol, vedic scholars on the temple mantapam chant the first three Prasnams of Thaitthiriya Upanishad. The screen is taken off and deepaaraadhana is performed. The idol is, by itself fairly tall and beautiful. With all the decorations, it is a breath-taking and sublime sight to behold.
During the abhishekam, the uthsavamoorthy and Chakram are kept near the main idol. Afterwards, they are kept on a swing in the mantapam.
Then the upachaaras like Dhoopam, Deepam and Neivedyam are done.. The neivedyam is about 100 litres of paayasam in a large vessel made of an alloy of brass and lead known as oattucharakku. This alloy has the quality of preserving material kept in it for hours without spoiling. The ingredients of the paayasam are rice, jaggery, coconut milk and powder of dried ginger. Neivedyam is simultaneously offered at the shrine of Ganapathy also. After this the mahaadeepaaraadhana is performed. Then the uthsavamoorthy is taken out for the Ratthaarohanam ( getting into the chariot).
Preparatory to the Ratthaarohanam, the chariot is sanctified by appropriate pooja and punyaaham. After circumambulating the inner peripheri, the Uthsavamoorthy is placed on an elephant at the entrance to the temple. This time, the elephant’s head and trunk, up to the tusks, are covered with a thick gunny (jute) cloth to provide a cushion, as it has to push the chariot with its head. The deity, thus placed on the elephant, takes three rounds of the beautifully decorated chariot and then it is lifted on to the pedestal kept on the deck of the chariot and fixed firmly with nuts and bolts. Karpoora aarathi is performed .All this time, from the commencement of the abhishekam, the music is provided by naadaswaram artistes. Of course, fire works and devotees hailing the Lord, people throwing plantain fruits to the crowd are all part of the jubilation accompanying the Deity being placed on the chariot.
Now chendai takes over. The chariot is provided with Vatam ( long ropes) for devotees to pull. Elephant supports them by pushing the chariot from behind. The movement of the chariot is regulated and turnings managed by experts by manipulating the front wheels with conically shaped wooden blocks with handles. These are called “chennai”.
The chariot is moved a few yards as a token of the commencement of the Ratthha Yaathra and then the devotees adjourn to the temple to take their prasaadam and partake of the food at the mantapam at the rear side of the temple.
The chariot procession is resumed around 5 pm.

A little digression is called for at this stage.
Since the Brahmothsavam of all the four temples in Perinkulam is conducted simultaneously, at every stage co-ordination is called for. We saw that the ninth day procession on caprisoned elephants starts from Siva temple. Lord Siva (Visweswara) and his consort, Devi Visaalaakshi, give the lead for the chariot procession also. The morning rituals at the Siva temple on the tenth day are quite simple and are generally over by about 10 a.m. ( The elaborate abhishekam at the temple during the festival, which is called Poornaabhishekam, is normally done on the eighth day afternoon, coinciding with Pradosham.) The uthsavamoorthies of Lord Visweswara and Devi Visaalaakshi fixed in a single frame, are installed in the chariot around 10 a.m. and the chariot is taken round to the Sree Krishna temple. It is parked just a few meters down the street till the procession is resumed in the evening.
Like the Sree krishnaswamy’s Ratthhaarohanam, (entry into the chariot), the uthsavamoorthies of Lord Varadaraja (with Sreedevi and Bhoodevi in the same frame) and Lakshmidevi, are installed after kalahbaabhishekam, in their respective chariots at the two temples. Certain conventions evolved on the belief that Lakshmidevi is the consort of Lord Varadaraja, are followed whenever the idol of Devi is taken out on processions. For the ninth day procession, the idol of Lord Varadaraja is brought to the Lakshmidevi temple first and then the Devi’s idol is taken out of the temple and placed on the elephant. In the same way, for chariot procession also, the Lord escorts Devi from her sanctum to her chariot and goes back to His temple to mount His own chariot. At these two temples also, the idols are mounted on the chariots on the tenth day following this convention and then the chariots are moved a few meters to mark the start of the procession symbolically.
Around 5 pm, when the fury of the sun is subdued, the chariot procession is resumed to the accompaniment of chendai groups preceding each of the chariots. All the chariots move towards the end of Kariot village which is the North-eastern end of the cluster of villages called Perinkulam. With tar roads, steel rims to the wheels of the chariots and help of elephants for the three chariots (other than that of Siva temple), the journey takes only about two to two and a half hours. En route, there are some tricky bends to negotiate. The persons handling the chennais, those pulling with the vatam and the mahouts of the elephants managing the elephants, act in close co-operation with one another. The idols are then unfastened and re-fixed to face the reverse direction for the return journey next day. The chariots, with the idols inside, are parked there till next evening when the return journey starts.

Whenever possible during the festival, some religious or cultural programme is arranged during the day-time or in the evenings, at the temples.

Around 4 p.m on the next afternoon i.e. 11th day, representatives of the West village and Kariot village arrive at the Sree Krishna Temple. The visit is a formal one and the elephants and the chendai ensemble of the two villages accompany the representatives. Even as they leave their villages, a single shot of kadanai ( a cracker which makes a huge noise) is fired. Representatives of our village formally receive the representatives of the other two villages, offering them the Kalabhaam (sandal paste) applied on the deity the previous day, plantains, betel leaves and betel nuts and sugar candy etc. By this time, the elephant hired by our temple and our chendai troupe are ready. All the elephants, are lined up before our temple and the chendai troupes give a joined performance for about 15 minutes. Then the representatives of the other two temples depart. As soon as they reach their villages, again a Kadanai shot is fired. Our village people and the elephant and chendai troupe move to the Kariot Village, where the chariots are parked, to commence the return journey. The chariot of Sree Krishna will be leading on the return journey. It takes about two hours for the chariots to reach the tank (known as Perumkolam) in front of the Siva temple. The tank bund road forms an arc at this point, its beginning at the Eastern end of the West village and its end at the beginning of the South village. All the four chariots are stationed for some time on this arc, the Sree Krishna temple chariot at the beginning of the South Village, followed by the chariot of Siva temple, that of Varadarajaswami temple in the middle and the chariot of Lakshmidevi at the tail end of the procession, close to the end of the West village. It is a grand sight in the bright moonlight, following the full moon the previous day. This divine sight, with the reflection cast by the chariots on the shimmering waters of the tank and the large crowd of devotees gathered to witness it, will move any devotee to tears.

After a halt for about fifteen to twenty minutes, the idol of Lord Siva is taken out of the chariot and placed inside the temple. The chariot of Siva starts the procession and it is therefore the first one to complete the round and enter the shrine back. Fireworks and jubilant cries of devotees saying “”Hara hara Mahaadeva”” marks the return of the idol to the shrine.
The other three chariots proceed to the Sree Krishna temple. The chariot of Sree Krishna is taken closest to the temple and the idol is taken out and ceremoniously mounted on to the elephant’s back. Then the elephant circumambulates the chariot three times and is brought to the temple portico, to the accompaniment of naadaswaaram. One of the villagers takes over the idol after Aaratthi and Thaalapoli by ladies. Fireworks boom in the background. After a round of the outer peripheri (praakaaram), the Lord enters the shrine. Again after a round of the sanctum sancrotum, the idol is placed on the swing in the temple mantapam. A short archana, neivedyam and aarathi are performed.
The chariots of Lakshmi Devi and Varadarajaswami which remain stationery near the Sree Krishna temple till the Krishna idol enters the temple, now proceed to their respective temples. The rituals connected with the return of the other two idols to their respective temples are more or less similar to what is described above.
One difference is that Lord Varadaraja will escort Devi Lakshmi to her temple, and then enter his own. .
After dinner, there is usually some cultural programme at one or other of the temples.
The Pallakku Yaathra on the 11th night
Mahaadeepaaraadhana at all the temples is generally over by about 10 p,m. on this day.
After a break of about half an hour, the idol of Lord Krishna is mounted on a beautifully decorated palanquin, drawn by bullocks and proceeds to the Siva temple, to the accompaniment of naadaswaram. There the idol of Lord Siva is also placed on the palanquin side by side with the idol of Lord Krishna.
The idols of Devi Lakshmi and Varadarajaswami, similalrly mounted on another palanquin arrive at the Siva temple almost simultaneously.
The two palanquins slowly proceed side by side in a grand procession to the accompaniment of naadaswaram. First they cover the South village where the Sree Krishna temple stands and .then proceed to the other two villages. After reaching the end of the Kariot village, they return to Siva temple around 4 a.m. Then the Siva idol is dismounted and taken inside the temple. The other three idols are taken to the respective temples.
Though at each of the temples, there is a small shrine of Lord Ganapathy (at the Siva temple, Lord subrahmanya as well), these are behind the sanctum sanctorum in the inner quadrangle. Siva temple also has nandikeswara in the mantapam facing the Lingam. These are worshipped daily, but the focus for the festivals is generally on the main deity. Lord Ganapathy, Lord Subrahmanya and Nandikeswara are not taken out of the temples.
The Twelfth day.

The celebrations on the twelfth day mark the culmination of the festival and expression of joy, with a little bit of fun and frolic. As a general practice in our tradition, there is a mangala snaanam (Avabhritha snaanam) after auspicious functions. In the context of our car festival, this is called Manjaneer Aaraattu. Around 10 a.m., the uthsava moorthies of all the four temples, each covered only in a small towel, are taken round the villages. At every house, ladies bring water mixed with turmeric, and pour it over the idols and on the people in the procession. The procession proceeds to the Sooryappan tank, at a distance of about half a kilometer. There the idols and all the people in the procession have a dip. After this, the idols are decorated and taken to the shade of a banyan tree on the tank bund. A small shrine has been built for Naagadevatha at this spot and pooja is being performed on days corresponding to Aayilyam star. A short worship is offered to all the four deities and then the procession returns to the respective temples where the idols are re-installed in their positions.
In the evening the flag hoisted on the 2nd day of the festival, is brought down with ceremonial rituals. Then the Aazhwaar performs the concluding rituals which include a homam, abhishekam to the main deity and uthsava moorthy with water in several pots kept in yaagasaala and sanctified by manathras, alankaaram, deepaaraadhana and Aaseervaadam.

The rituals conclude with a Kshamaayaachanam, where the Aazhwaar, on behalf of the villagers, beseeches the Deity to condone the mistakes of omission and commission in the observance of austerities and worship at the temple and especially during the performance of the Brahmothsavam and prays for the peace, prosperity and happiness of the villagers and all those who contribute to the functioning of the temple and successful conduct of the festivals.
What now remains is only dismantling the superstructure on the chariot and pushing the chariot back into its shed, cleaning the utensils, settling the accounts, etc. which are done over the next few days.
In the olden days, there used to be a Graamakkoottam (meeting of the villagers), before the car festival, to discuss and decide upon various matters like repairs, scale of celebration, budget, and even the cultural programmes during the festival. There would also be a meeting on the twelfth day to review the conduct of the festival, auction the materials used for the superstructure of the chariot and so on. The amounts realized would be credited to the temple fund. Only elders were allowed to participate in the discussions. “Storm –in- the- tea-cup” type of heated exchanges were common. If anyone infringed the code of discipline and showed disrespect to the Deity, the “house” or elders, he would .be asked to prostrate before the assembly and apologise. It was real fun for us, youngsters, to watch the proceedings from a distance. Now there are hardly four or five of the old families in the village. So no such meetings are conducted. Employment opportunities and earning potential outside the village, are plentiful. Persons available for actual work at or in connection with the temple activities are few. By and large, enough funds come in by way of donations. But, most of the people who donate are too busy and are quite far away. They are happy so long as the activities are carried on well. Those who can spare the time, do manage to attend the festival at least on the most important days. By God’s Grace, the functions and festivals are conducted quite well, in spite of these constraints..

Selected pictures of the festival can be viewed in the GALLERY. Sequencing of photos is given below:

Some are likely to feel that the write-up is elaborate and even minor aspects are covered and there are descriptions and digressions at several points. In our experience, many claiming their origin to Perinkulam have not seen the village and for that matter, do not know the practices prevalent in our community temples in Kerala. A background of the temple and rituals will be helpful for them to appreciate the strong faith of the villagers and devotees in our Lord and their sentiments and eagerness to preserve and foster the traditions handed down to us by our elders. I crave pardon from those who feel that I have tested their patience.

May the Lords grant good health, peace and happiness to all!!!



SEQUENCING OF PHOTOS:


9TH DAY OF FESTIVAL

1 The elephant in readiness for the procession at night.
2 The padal (decoration for chariot) and Aanaikoppu or Chamayam (decoration for the elephant, aalavattam and venchaamaram) in the temple portico.
3 Uthsavamoorthy with decoration, on the temple mantapam
4 Lord being taken out to mount the elephant
5 Panachavaadyam in front of Siva temple, the starting point of the procession on elephants at night
6 Procession on elephants
7 ----do----in front of Sree Varadarajaswamy temple
8 ----do—Aalavattam and venchaamaram in action
9 The chandai melam

10TH AND 11TH DAYS ( Procession in chariots)

10TH DAY MORNING

1 Temple portico showing the paintings on the walls
2 Sankalpam for the kalabhaabhishekam
3 Lord Krishna (Moolavar), Uthsavamoorthy and Sudarsana Chakram inside the sanctuam preparatory to abhishekam
4 Thirumanjana kalasams proceeding to fetch water
5 Temple mantapam with all materials and kalasams before the rituals start
6 Japam before the abhishekam (two photos)
7 Thaithireeya paaraayanam during decoration of the Lord after abhishekam
8 The sanctum door opens after alankaaram – deepa jyothi
9 Lord in full Chandanakkaappu
10 Decorated chariot
11 Uthsavar being taken out for Ratthhaarohanam (mounting the chariot)
12 Lord on elephant, doing pradakshinam (circumambulation) of the chariot before entering it. (Two photos)
13 Karpoora aaratthi after the Lord is placed inside the chariot
14 The chariot procession starts
15 Vedic scholars being served food after the Ratthha yaathra starts

10TH DAY EVENING

1.Elephant ready to push the chariot
(the small Theppattheru used now for Ekaadasi procession and the
Aanappandal, are in the background)
2. Elephant pushing the chariot (5 photos)
3. The Chennaikaaran, with the Chennai, for regulating the speed and steering the
chariot


11TH DAY EVENING

1. CHENDAI MELAM in front of Sree Krishna temple, when representatives of the West village and Kariot village formally visit in the afternoon

2. The procession in the fading light of the afternoon (4 photos)

3. All the chariots on Perumkolam Tank bund in front of Siva temple (2 photos)

4. Siva temple illuminated for the festival

12TH DAY FORENOON

1. The Uthsavamoorthy being taken around for Manjalneer Aaraattu
2. The ceremonial MangalaSnaanam in Sooryappan Kulam

3. Uthsavamoorthies of all temples being worshipped after the ceremonial bath, under the banian tree on the Sooryappan kulam bund

MANGALAANI BHAVANTHU - SARVE JANAAH SUKHINO BHAVANTHU
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Control your desires

Control your desires

This too was an advice given to me by my grandmother through one of her nicely spun stories.
To comprehend this story one must have an idea of the typical set-up of a Tamilian agrahaaram in South India as it existed more than a hundred years ago. Houses were in rows having common walls on either side, except for those at the end of the rows. Life styles differed depending upon economic circumstances, but basic pattern was the same for all. Most of the households had a cow or she buffalo for milk. But those who did not have the facilities and who could not afford to keep such animals had to look to those having them for their milk supply. Coffee or tea was unknown. Match boxes had not been discovered. There is an important dictum that in a Brahmin household, fire should not be allowed to die out. Propitiation of Agni, the fire God offering dried sticks, ghee etc. to the accompaniment of appropriate hymns is a must both in the morning and in the evening. Usually an Oupaasana paanai (earthen pot) is the receptacle for the fire for this purpose. The fire is kept alive overnight by putting cow-dung cakes in the pot. Women folk also keep their kitchen fire alive by putting a dried ball of cow-dung in the oven before closing the kitchen after the cleaning up, once the dinner is over. Of course, these were the practices observed about a century ago. Now-a-days, oupaasanam is done only very rarely and fire for this or for other homams (propition of gods through offerings on the fire) is created lighting a piece of camphor.
If by chance, the fire in any household died out, the people used to take a twig or piece of wood to their neighbour’s residence and get it lighted from their oven and bring it to their own house. Nobody objected to this and no permission was required to enter a house for this purpose.
One day, the fire in a poor brahmin’s house had died out. The householder’s daughter, who noticed this, took a piece of dry wood and went to light it at the oven in the neighbouring house. The neighbours were rich and had, besides vast farm lands, a number of cows and buffaloes in their backyard. There was no one in the kitchen when the girl entered it. When she neared the oven, she found that creamy milk was boiling in a pot on a low fire and the cream was giving out a nice aroma. Being poor, she never had the opportunity to smell such fragrance, not to think of tasting it. Her mouth started watering and she earnestly wished to have a little of the creamy milk. But having been brought up in good tradition and with strong moral values instilled in her through the teachings of her parents, she immediately felt guilty that such a thought should have crossed her mind. Without a moment’s hesitation, she applied the lighted twig on her tongue so that it would never nurse such a desire again. It did give her a stinging pain and she gasped. Then she went with the fire to her house. She never uttered a word to anyone.
It so happened that one of the sons of the neighbour was standing on the verandah of the first floor of the house. He could see the kitchen. He noticed the action of the girl and immediately guessed why she did so. The neighbours were a very noble household and they valued good behaviour and conduct. When the boy told his parents what he saw, they decided that such a girl should be their daughter-in-law. The marriage was performed without delay and all were happy.
My grandmother concluded “so, my boy, never aspire to have what is not rightfully yours and never yearn to have something which is clearly far beyond your station in life. Craving for something which is beyond your means is the basis and breeding ground for unhappiness and unethical thought and conduct. If you are destined to get it, you will find a proper way to earn it. It is not wrong to aspire for higher achievements and a better life. But the goal has to be realistic and one has to work hard and intelligently to achieve it. Patience and perseverance will overcome mountains. Look at the star “ Dhruva”. And once you set a goal and decide to work for it, be prepared to sacrifice small pleasures which may come your way easily, but impede your progress in achieving the main objective.” Life is essentially a series of trade offs.
I have followed her advice all my life and have never regretted it.
I have seen people with unreasonable aspirations grumbling all the time, even though they normally get what they want. I remember one gentleman, who had this habit. His son was weak in mathematics during his school days. Since I was a bachelor and had some free time, he requested me to coach him up and I took it up as a gesture of goodwill. After the boy’s examination, the gentleman came to me and said “he has secured very good marks in mathematics, but what is the use? He is still lagging behind in geography.”” Once he invited me for evening tea. His wife had made very good masala dosai. I really enjoyed the dish. But my friend said “”what is the use? By the time you eat half, the other half becomes cold and loses crispness.””
I have also seen some persons who are just the opposite of this.
They would never take what they considered as more than their due and even that used to be quite low. This happened at Madras. My family priest could not come for officiating at a function. Another senior priest came. I knew that he had a large family. So I offered a remuneration which was in excess of the normal sambhaavana. He took what he considered as reasonable (which was lower than what I used to give to my family priest) and left the rest on the plate. I asked him to take the remainder. He declined saying “” you may be prepared to give more. But I should limit my expectations to what people would normally consider reasonable.”” I also remember all my Gurus who taught me to play mridangam. They were all uniformly generous. There was no time stipulation for my classes and the duration would extend to a couple of hours or even more, though what I paid as fee was nominal. I started giving public performances while studying under my fourth Guru. It is customary to have an Arangetram (first entry as a stage performer) and offer a good remuneration to the teacher/s. After I became proficient enough to give public performances, my Guru took me to an Aaraadhana celebration in memory of Saint Thyagaraja. That was on 6th January 1961. After the main worship, my Guru put some sugar candy and raisins offered as prasaadam, in my mouth and asked me to sit and play for a performance. He said “”this is your arangetram””. After the performance, I said that I should suitably remunerate and honour him. He said your playing well is remuneration enough and the way the audience applauded you is honour showered on me.””. In fact he refused to take any more fees from me although I continued my lessons under him. Again, when I gave my first performance over the All India Radio and received the cheque, I rushed to him and requested him to take the proceeds of this cheque at least. He said”” place it before the pictures of our gods and prostrate. Then take the cheque and put it in your bag. The money is for the persons who played. Should not the Guru be happy with the credit given for producing a good performer?”” Actually, he himself was not in the well-to-do category at that time. He had just enough to lead a very simple life. But he was quite contented.
A third instance comes to my mind. Sri Ramakrishna Mission has brought out many books written by””Anna” Sri Subrahmania Iyer on various religious topics. He was a great person. The incident that I narrate happened when he (in his eighties) was the President of the Ramakrishna Students’ Home and Vivekananda College council. As a disciple, I was fairly close to him. On one occasion a family friend wanted to meet Anna for some purpose. He was very affluent. He took me along with him as he did not know Anna. During the conversation, he mentioned to Anna that he was regularly contributing a sum to the Ramakrishna Mission. But of late, the rise in prices had affected him very much and he had discontinued his donations. Anna smiled and said. “”I have no such problem. The Mutt has given me quarters and they are giving me a pension of Rs.30/ per mensem. I am able to lead my normal life and carry on with my special poojas periodically, for which a good number of people congregate””. His was a very simple life.
That leads us to two verses which are very relevant in this context.
“”Sa Thu Bhavathu Daridro Yasya Thrishnaa Visaala
Manasi cha Parithushte Koartthavaan Ko Daridrah””
A poor man is he whose desires are vast. If the mind is satisfied and happy, who is rich and who is poor?
“”Adhoadhah Pasyathah Kasya Mahima Noapacheeyathe
Uparyuparyupari Psyanthah Sarva Eva Daridratha””
The person who is able to perceive his own better fortune in comparison to those placed in less comfortable position, and derive satisfaction, is always happy. One who always compares himself with those having more wealth and better position in any aspect, will ever remain steeped in poverty and sorrow.
Though abject state of poverty such as, want of food, clothing, shelter or persistent ailments which make a person’s life miserable, cannot be ignored, poverty and misery are very often creations of one’s own mental make- up. They are comparative rather than absolute. Contentment is a mental state. In a way, it can be made a matter of habit and it can be cultivated, if only a person recognizes that complaining is also a matter of habit.
As a phenomenon, this need not be elaborated at this stage. But I have dealt with it elsewhere. When the work is published, I shall give a reference to it in this write-up.
P.G.Krishnamoorthy
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Reply to questions on ""a few general observations on valmeeki raamaayanam

A friend and well-wisher of mine had raised a few points for clarification on the write-up titled ""A few general observations on Vaalmeeki Raamayanam"". Relevant portions from my reply are appended.
"" Many thanks for your letter. I welcome comments and criticism on my little efforts at writing, from well wishers.
I did not touch on Sage Vaalmeeki’s background as it is fairly well known and in an article for a magazine, paucity of space is a consideration for elaboration of topics; even without it, the article came to 6 pages. I find that in the latest issue of Mangayar Malar, someone has questioned our popular belief that he was a robber turned sage, quoting from Utthara Kaandam.
You have expressed resentment at the statement that Rama’s giving asylum to Vibheeshana was also a shrewd diplomatic move in addition to his innate compassion and commitment to offer help and protection to anyone who approaches him even once with an appeal for it. You felt that this would amount to duplicity on Rama’s part. I would refer to a few situations described by Vaalmeeki.
When Rama, Lakshmana and Seetha proceed to the forest on exile, multitudes of citizens follow them intent on accompanying them, disregarding Rama’s pleas and appeals to them to return to Ayodhya. Towards dusk, they reach the banks of the river THAMASA. Rama has to shake them off. So the next morning, the trio get up early. Before proceeding to the river, Rama tells the charioteer Sumanthra to take the empty chariot towards the city for some distance so as to make the people believe that Rama had returned to Ayodhya. Then Sumanthra was to bring back the chariot through another route carefully erasing the hoof marks. The trio then speedily cross the river with the help of Guha. Citizens, who had followed Rama earlier, were therefore dodged using this ruse (Sargam 46 – verses 30 and 31, Ayodhya kaandam).
A second instance is the way Rama banishes Seetha. Seetha is pregnant and Rama’s love for her overflows all boundaries. They drink delicious liquor called Maireyakam and eat good food and spend a lot of time in happy thoughts and deeds. Recalling their happy days in the company of Rishis and their families in the saintly atmosphere of the forest, Seetha expresses a desire to spend at least one night there –sargam 42 - Uttarakaandam. It is at this juncture that the spy Bhadra tells Rama that some of his subjects are not happy at his taking back Seetha, who had been held captive in Raavana’s place.
Despite Seetha emerging unblemished at the Agnipareeksha after Rama’s victory over Raavana and celestial beings endorsing her chastity, Rama decides to banish her. Her desire to go to see the abode or Rishis and stay in that serene atmosphere comes in handy as an excuse and Rama uses it. She is told of her banishment only after she reaches the place. Mahakavi Kaalidaasa’s description of this is more touching.
First impression one gets of this, is that it is an act of cowardice, cruelty and deception. Rama’s position as a king makes it different and significant as a model of raaajadharmam (king’s conduct).
If he had told the people about the Agnipareeksha, many would be sceptical and would not believe it.
If he had continued to live with Seetha, at least a section of the people would dub him as lacking in moral values and moral courage. The result will be that eventually, he would not be able to punish anyone committing a serious crime and his rule would collapse.
If he had abdicated the crown, there would be anarchy as none of his younger brothers would accept the crown. The empire built up by his ancestors (Pithri-paithaamaham raajyam) would be open to exploitation by outsiders.
So he had to abandon Seetha. If he had given publicity to this, those who knew of the Agnipareeksha would oppose it. Hence he had to do it stealthily and conceal his intentions even from Seetha who willingly followed him, through thick and thin, like a shadow.
Kaalidaasa describes the turmoil in Rama’s mind succinctly when he describes it as a “”swing in action”” ( kimaathmaniravaada-katthaamupekshe/ Jaayaamadosshaamutha Samthyajaami /Ithyekapakshaasrayaviklabathvaath/ Aaseethsadolaachalachitthavritthi).
It is noteworthy that Rama calls his brothers and tells them of his decision -- no discussion or consultation.
These are not to be treated as instances of falsehood uttered or deception practiced.

Not only Rama, but even Aanjaneya had to make statements which were not true.
In the beautiful dialogue between Seetha and Aanjaaneya in Sundarakaandam, at one point Seetha asks Hanumaan, “”you were able to cross the sea. Perhaps, one or two more will be able to do so. But what about the rest?” Hanumaan replies “”madam, there is no one in Sugreeva’s army who is less powerful or less resourceful than me. Only the weakest one is sent as a messenger – not the really powerful ones””. How far this is from truth, is evident from the discussion in Angada’s camp about each one’s ability to cross the sea, see Seetha in Lanka and return.
But it is fully justified in the circumstances in which Hanumaan was placed vis- a-vis Seetha at that juncture. Hanumaan enters the scene when she is about to commit suicide in desperation. Allaying Seetha’s fear is of paramount importance.
Hanumaan assumes human form, the form of a Brahmachaari (Bhikshuroopam – vide Saragam 3 of Kishkindhakaandam) and human speech at his first meeting with Rama and Lakshmana.
Similarly, he sings Rama’s story from his hiding and speaks in human voice and chaste language when he sees Seetha in the Asokavanam and she is about to commit suicide.
“” POIMAIYUM VAAIMAIITATTHA PURAI THEERNTHA NANMAI PAYAKKUM ENIN”” Says Thirukkural.
There was no intention to deceive and derive advantage.
The instances quoted are different from the deception practiced by Maareecha coming as golden deer or Raavana appearing as a Sanyasi. Their intention was to deceive, and the legal jargon Mens rea of which you know much more than me, would very much apply.
II ABOUT DIPLOMACY ANGLE IN VIBHEESHANA SARANAAGAATHI
Rama being a kshathriya, his first source of pride is his prowess, both physical land weaponry (please note that Sugreeva tests both before accepting Rama as his ally. He asks Rama to move the skeleton of the demon Dundubhi and Rama just lifts it with his toe and propels it very far. Next Sugreeva asks Rama to shoot an arrow at the Saala tree and Rama’s arrow pierces seven of them in a row and pitches far away Sargam 11, Kishkindhakaandam.)
The next noticeable trait (we should call it virtue ) in a kshathriya is the way he takes to heart an insult or injury and deprivation and his determination to avenge himself of it. Someone had abducted his wife and he had to recover her and PUNISH THE OFFENDER – RAAVANA.
If his intention had been only to recover Seetha, he should have sought alliance with Vaali. Vaali specifically tells Rama that, had he approached him instead of Sugreeva, he would have got Seetha back within one day and would have brought Raavana with a noose round his neck and placed him before Rama (verses 49 and 50 – Sargam 17 – Kishkindha kaandam) . Raavana had tried his pranks on Vaali when he was doing his Sandhya oblations and, without even turning round, Vali had him bound hand and foot and suffocated him with his tail. Raavana pleaded for mercy and then entered into an alliance with Vaali (Utthara kaandam).
It is noteworthy that after hearing Sugreeva’s version, Rama does not wait to hear the other side and consider a rapprochement between the estranged brothers. That would not have furthered his purpose of revenge on Raavana. He simply decides to support Sugreeva and enter s into an alliance.
One sequence in Sundarakaandam is significant. In the course of the dialogue between Hanumaan and Seetha, Hanuman tells her that if she permitted, he would take her on his back and unite her with Rama on the same day. Seetha laughs at this as Hanumaan’s diminutive form, assumed then for stealthily entering Raavana’s fortress, made the suggestion ridiculous and she says so. Hanumaan then assumes his gigantic form. Seetha is amazed and admits that she could believe his capacity to take her and cross the sea. But detailing the risks of her falling off, she comes to the main objection to the suggestion. She says as a kshathriya, Rama should kill Raavana and his entire troupes and then redeem her. That would be befitting Rama ( Thatthasya sadrisam bhaveth)
Rama himself declares, with pride, his being a kshathriya, while countering the allegations levelled against him by Vaali from his deathbed.
When Seetha is brought before him after Raavana is killed, Rama tells her “” I did not come here to welcome you. I came to fulfil my duty as a kshathriya, to redeem my honour by killing Raavana.
I recall a small verse given at the beginning of one chapter in Sir Walter Scot’s novel “”Fortunes of Sir Nigel”” It runs like this “” Give way, give way, I must and shall have revenge/ Where I am injured, there I shall sue redress/ I have a heart to feel the injury and a hand to right it/ and, by my honour, that hand shall grasp what greybeard law denies me”” That gives in a nutshell,the mind of a kshathriya. Even in Dhruvachariatham, in naaraayaneeyam, Bhattathirippad refers to this trait of a kshathriya, describing Dhruva as “”Maanee (one who is conscious of hurt to his pride)””.
For a kshathriya ( or any leader for that matter), strategy is very important. Rama is advised by Kabandha to enter into alliance with Sugreeva. Therefore, giving asylum to Vibheeshana had a twin purpose- one purely humanitarian and the other superbly diplomatic. It is not derogatory for a kshathriya to be diplomatic, as it is the dharma of a king. He adopts it for the general well-being of his country and his subjects –not for his individual personal benefit.
The only individual in Rama’s camp ( at the time when Vibheeshana seeks asylum), to propose asylum to him, was Hanumaan, who is credited with the sharpest intellect (Buddhimathaam varishttham). All the others were quick to deny it. Rama endorses Hanumaan’s proposal. That again shows Rama’s greatness as a leader. A good leader is generally able to get a decision which he favours, by way of a suggestion from his advisors. If Rama had put it as his own suggestion, it would not be so effective.
I hope I have put my side of the case properly.
As I mentioned at the beginning of my article, for me Raamaayana is not just a religious epic, though it is certainly a story of God incarnate. It is a boon to humanity and the best and most inexhaustible source of teachings for healthy living, and gives the ideal codes of conduct for all strata of society and serves as an unfailing guide to moral and ethical values.
It was pleasure to put down these and I assure you that I welcome more of your views and criticisms as you call them, though, to me they are sources of inspiration to read and reflect more on the divine subjects.""
P.G.Krishnamoorthy
I