Aksharamanamalai
(விருத்தம்)
தருணா ருணமணி கிரணா வலிநிகர்
தரும க்ஷரமண மகிழ்மாலை
தெருணா டியதிரு வடியார் தெருமரல்
தெளியப் பரவுதல் பொருளாகக்
கருணா கரமுனி ரமணா ரியனுவ
கையினாற் சொலியது கதியாக
வருணா சலமென வகமே யறிவொடு
மாழ்வார் சிவனுல காள்வாரே.
–முருகனார்
(Viruttham – Type of Verse)
Tarunārunamani kiranāvalinihar, taruma ksharamana mahizhmālai
Terunādiyatiru vadiyār terumaral, teliyap paravudal porulāha
Karunākaramuni Ramanāriyanuva, haiyinār soliyadu gatiyāha
Arunāchalamena ahamēyarivodu, mazhvār Sivanula hālvārē
This joyful Marital Garland of Letters, which resembles a beam of the light of the rising sun, was sung by the noble Sage Ramana, the ocean of compassion, with the object of removing the delusion of the devotees who sought his grace. Those who look upon it as their sole refuge will realize within themselves that they are Arunachala and will reign in the world of Siva.
– Muruganar
அருணாசல வரற்கேற்ற வக்ஷரமண மாலைசாற்றக்
கருணாகர கணபதியே கரமருளிக் காப்பாயே.
Arunāchala vararkētra, aksharamana mālaisātra
Karunākara ganapatiyē, karamarulik Kāppāyē
Kind and Merciful Lord Ganapati! In order to offer the Garland of Letters that is worthy of the bridegroom, Arunachala, please give me a hand, and bless me !
The meaning of ‘Akshara Manamalai,’ is the praise and worship of Lord Arunachala. (Out of the joy which arose in him on their behalf), our master Ramana wrote it to dispel the mental confusion of true devotees who steadfastly sought true realisation (to which that mental confusion was an impediment). Those who trust in it as their salvation, (thinking) ‘Arunachala’ (in their minds) and subside into the Heart with full awareness, will, through divine grace, come to rule in the realm of Sivam.
To guide those who recite it onto the path of salvation, Sri Maharshi, melting with love and bathed in tears, sang this Marriage Garland in the manner of a devotional work, embellished with both explicit and subtly implied erotic themes, and couched in terms of the deep and burning love of the jiva, as the bride-heroine, for Siva as the bridegroom-hero. Overall it is in its own way simpler and clearer than the Ciṟṟrampala-k-kōvai of Manikkavacagar, and as such will bring to those who read it, according to their spiritual maturity, twofold bliss [both worldly and spiritual]
அருணாசல சிவ அருணாசல சிவ
அருணாசல சிவ அருணாசலா!
அருணாசல சிவ அருணாசல சிவ
அருணாசல சிவ அருணாசலா!
Arunāchala Siva, Arunāchala Siva, Arunāchala Siva, Arunāchala!
Arunāchala Siva, Arunāchala Siva, Arunāchala Siva, Arunāchala!
Arunachala Siva, Arunachala Siva, Arunachala Siva, Arunachala!
Arunachala Siva, Arunachala Siva, Arunachala Siva, Arunachala!
ரகத்தைவே ரறுப்பா யருணாசலா (அ) .1
Ahat-taivē raṛup-pāi Aruṇāchalā .1
றபின்னமா யிருப்போ மருணாசலா (அ) .2
Tṛabin-namā yirup-pōm Arunachalā .2
யமர்வித்த தென்கொ லருணாசலா(அ) .3
Amar-vitta denkol Arunachalā .3
லகிலம் பழித்திடு மருணாசலா (அ) .4
Akilam pazhit-tiḍum Aruṇāchalā .4
யினியார் விடுவா ரருணாசலா (அ) .5
Iniyār viḍu-vār Aruṇāchalā .5
யிதுவோ வுனதரு ளருணாசலா (அ) .6
Iduvō unad-arul Aruṇāchalā .6
லுறுதியா யிருப்பா யருணாசலா (அ) .7
Uṛudiya yirup-pāi Aruṇāchalā .7
வுன்னழ கைக்காட் டருணாசலா (அ) .8
Unnazha gaik-kāṭ Aruṇāchalā .8
லிதுவோ வாண்மை யருணாசலா (அ) .9
Iduvō āņmai Arunachalā .9
விதுவுனக் கழகோ வருணாசலா (அ) .10
Idu-vunak kazhagō Arunachalā .10
தகத்தினீ யிலையோ வருணாசலா (அ) .11
Daha-tini ilaiyō Aruṇāchalā .11
ருன்சூ தேயிது வருணாசலா (அ) .12
Unsū dēyidu Aruṇāchalā .12
யுனையா ரறிவா ரருணாசலா (அ) .13
Unaiyār arivar Arunachalā .13
யாளுவ துன்கட னருணாசலா (அ) .14
Āļuva dun-kaḍan Aruṇāchalā .14
காணுவ தெவர்பா ரருணாசலா (அ) .15
Kāņuva devar-pār Aruṇāchalā .15
கலந்தெனோ டிருப்பா யருணாசலா (அ) .16
Kalan-denō dirup-pāi Aruṇāchalā .16
கிருபைகூர்ந் தருளுவா யருணாசலா (அ) .17
Kirupai-kūrn daruļu-vāi Arunachalā .17
கீழ்மையைப் பாழ்செய் யருணாசலா (அ) .18
Kizh-maiyaip pazh-sei Aruṇāchalā .18
குருவுரு வாயொளி ரருணாசலா (அ) .19
Guru-vuru vāyolir Arunachalā .19
கூர்ந்தெனைச் சேர்ந்தரு ளருணாசலா (அ) .20
Kūrnd-enai chernd-aru! Arunachalā .20
யஞ்சலென் றேயரு ளருணாசலா (அ) .21
Añjalen drey-arul Arunachalā .21
கேடுசெய் யாதரு ளருணாசலா (அ) .22
Kēḍu-sei yād-arul Arunachalā .22
கைவெறி கொளவரு ளருணாசலா (அ) .23
Gai-veri kola-varul Arunachalā .23
கொண்டெஙன் வாழ்வே னருணாசலா (அ) .24
Kon-dengan vāzh-vēn Aruṇāchalā .24
குறையென் செய்தே னருணாசலா (அ) .25
Kurai-yen seiden Arunachalā .25
கடைக்கணித் தாள்வா யருணாசலா (அ) .26
Kadaik kaṇit tāļvāi Arunachalā .26
சலச மலர்த்தியி டருணாசலா (அ) .27
Jalaja-malart-tiyi daruṇāchalā .27
சாந்தமாய்ப் போவ னருணாசலா (அ) .28
Sānta-māip pōvan Arunachalā .28
யைத்திற வருண்மதி யருணாசலா (அ) .29
Yait-tira arul-madi Arunachalā .29
சீரை யளித்தரு ளருணாசலா (அ) .30
Sīraiyalit-tarul Aruṇāchalā .30
சும்மா பொருந்திடங் கருணாசலா (அ) .31
Śummā porun-diḍan garuṇāchalā .31
சோதி யுருக்காட் டருணாசலா (அ) .32
Jōti yuruk-kāt Arunachalā .32
டுருப்படு வித்தைகாட் டருணாசலா (அ) .33
Ṭurup-padu viddai-kāt Arunachalā .33
ணீராற் றழிவே னருணாசலா (அ) .34
Nīrāt trazhi-vēn Aruṇāchalā .34
லுய்வகை யேதுரை யருணாசலா (அ) .35
Uyvagai yēdu-rai Arunachala .35
சும்மா விருந்தா யருணாசலா (அ) .36
Summā virun-dāi Aruṇāchalā .36
சொல்வே றென்கதி யருணாசலா (அ) .37
Solve ren-gati Arunachalā .37
சலியா திருந்தா யருணாசலா (அ) .38
Saliya dirun-dai Arunachalā .38
னாடிநின் னுறுவே னருணாசலா (அ) .39
Nāḍi-nin nuru-vēn Aruṇāchalā .39
ஞானந் தெரித்தரு ளருணாசலா (அ) .40
Jñānan terit-tarul Arunachalā .40
நேர்நின் றனையென் னருணாசலா (அ) .41
Nērnin dranai-yen Arunachalā .41
தத்துவ மிதுவென் னருணாசலா (அ) .42
Tattu-vam iduven Arunachalā .42
தானே காட்டுவா யருணாசலா (அ) .43
Tānē kāṭ-ṭuvāi Aruṇāchalā .43
டெரியுமென் றனையென் னருணாசலா (அ) .44
Teriyu-men dranai-yen Arunachalā .44
றிரும்பவுற் றேனரு ளருணாசலா (அ) .45
Tirum-bavut trēn-arul Arunachalā .45
னொப்பிட வாயே னருணாசலா (அ) .46
Oppida väyēn Arunachalā .46
தோயவே யருளென் னருணாசலா (அ) .47
Tōyavē yaru-len Aruṇāchalā .47
சேர வொழித்தா யருணாசலா (அ) .48
Chēra vozhit-tai Aruṇāchalā .48
தியக்கந் தீர்த்தரு ளருணாசலா (அ) .49
Tiyak-kan tīrt-tarul Arunachalā .49
றட்டழிந் தேனரு ளருணாசலா (அ) .50
Tat-ṭazhin dēn-arul Arunachalā .50
னட்டமா வேனரு ளருணாசலா (அ) .51
Naṣṭamā vēn-arul Aruṇāchalā .51
தோடமொன் றிடவரு ளருணாசலா (அ) .52
Dōda-mon drida-varul Arunachalā .52
ணகையிட்டுப் பார்நீ யருணாசலா (அ) .53
Nagai-yiṭṭup pārni Aruṇāchalā .53
தாணுவா நின்றனை யருணாசலா (அ) .54
Stāņu-vā nind-ranai Aruṇāchalā .54
னின்னருண் மழைபொழி யருணாசலா (அ) .55
Nin-naruļ mazhai-pozhi Aruṇāchalā .55
நின்றிடு நிலையரு ளருணாசலா (அ) .56
Nind-riḍu nilaiy-arul Arunachalā .56
வெண்ணலை யிறுமென் றருணாசலா (அ) .57
En-nalai yiru-menḍrē Arunachalā .57
மாலறி வறுத்தரு ளருணாசலா (அ) .58
Mālari vaṛut-tarul Arunachalā .58
னக்கனா நின்றனை யருணாசலா (அ) .59
Nak-kana ninḍ-ranai Arunachalā .59
மோசஞ் செயாதரு ளருணாசலா (அ) .60
Mōsañ seiyād-arul Arunachalā .60
னாடியுட் கொள்நல மருணாசலா (அ) .61
Nāḍi-yut kol-nalam Aruṇāchalā .61
யந்தக னீயெனக் கருணாசலா (அ) .62
Andaga niye-nak Aruṇāchalā .62
மாக்கிநீ யாண்டரு ளருணாசலா (அ) .63
Akkini and-arul Arunachalā .63
பற்றிட வருள்புரி யருணாசலா (அ) .64
Pat-trida arul-puri Aruṇāchalā .64
பாருனக் கார்சொல்வ ரருணாசலா (அ) .65
Pārunak kar-solvar Arunachalā .65
பித்தந் தெளிமருந் தருணாசலா (அ) .66
Pittan teli-marun daruṇāchalā .66
பீதியுன் றனக்கே னருணாசலா (அ) .67
Bīdiyun dranak-kēn Aruṇāchalā .67
புல்லிட வேயரு ளருணாசலா (அ) .68
Pulliḍa vēy-arul Arunachalā .68
பூரண மணமரு ளருணாசலா (அ) .69
Pūraṇa maṇam-arul Arunachalā .69
பெருமையா ரறிவா ரருணாசலா (அ) .70
Perumai-yār aṛivār Aruṇāchalā .70
பேயனாக் கினையென் னருணாசலா (அ) .71
Pēia-nāk kinai-yen Aruṇāchalā .71
பற்றுக்கோ டாய்க்கா வருணாசலா (அ) .72
Pat-trukkō ḍāykkā varuṇāchal .72
போதத்தைக் காட்டினை யருணாசலா (அ) .73
Bōdat-taik kāṭ-tinai Arunachalā .73
போராட் டங்காட் டருணாசலா (அ) .74
Pōrāt tankāt Arunachalā .74
பவிசுகண் டுறவரு ளருணாசலா (அ) .75
Bavisu-kan durav-arul Arunachalā .75
மலைமருந் தாயொளி ரருணாசலா (அ) .76
Malai-marun dai-olir Arunachalā .76
மானமில் லாதொளி ரருணாசலா (அ) .77
Mana-mil lād-olir Arunachalā .77
வஞ்சியா தருளெனை யருணாசலா (அ) .78
Vañ-jiyā darul-enai Arunachalā .78
மாகாமற் காத்தரு ளருணாசலா (அ) .79
Āgāmal kāt-taruļ Aruṇāchalā .79
முடிவிடக் கடனிலை யருணாசலா (அ) .80
Mudi-viḍak kada-nilai Arunachalā .80
தூக்கி யணைந்தரு ளருணாசலா (அ) .81
Tūk-ki yaṇaind-arul Arunachalā .81
மெய்கலந் திடவரு ளருணாசலா (அ) .82
Mei-kalan diḍav-arul Arunachalā .82
மேன்மையுற் றனையென் னருணாசலா (அ) .83
Menmai-yut tranai-yen Arunachalā .83
மைவச மாக்கினை யருணாசலா (அ) .84
Mai-vasa māk-kinai Arunachala .84
நட்டமா டினையென் னருணாசலா (அ) .85
Nat-tamā ḍinai-yen Arunachalā .85
மோகந்தீ ராயென் னருணாசலா (அ) .86
Mōhan-tīrāyen Arunachalā .86
மௌனமி தாமோ வருணாசலா (அ) .87
Mauna-mi dāmō Arunachalā .87
யென்பிழைப் பொழித்த தருணாசலா (அ) .88
Yen-pizhaip pozhitta d’Aruṇāchalā .88
யெவர்கொளை கொண்ட தருணாசலா (அ) .89
Yevar-kolai konda darunachalā .89
ரமித்திடச் செயவா வருணாசலா (அ) .90
Ramit-tiḍac cheyavā Aruṇāchalā .90
ரமித்திடு வோம்வா வருணாசலா (அ) .91
Ramit-tiḍu vōmva Arunachalā .91
பட்சித்தாய் பிராணனோ டருணாசலா (அ) .92
Bakshit-tāi prāṇanō daruṇāchalā .92
லாபமென் னுற்றனை யருணாசலா (அ) .93
Laba-men nut-tranai Arunachalā .93
வருந்திடுன் றலைவிதி யருணாசலா (அ) .94
Varun-diḍun talai-vidi Arunachalā .94
வாழ்விழந் தேனரு ளருணாசலா (அ) .95
Vāzh-vizhan den-arul Arunachalā .95
விட்டிட வருள்புரி யருணாசலா (அ) .96
Vittida arul-puri Arunachalā .96
வீடுகாட் டினையரு ளருணாசலா (அ) .97
Vīḍukāt ținai-yarul Aruṇāchalā .97
வெளிவிட் டெனைக்கா வருணாசலா (அ) .98
Veli-vit tenaik-kā Arunachalā .98
வேதப் பொருளரு ளருணாசலா (அ) .99
Vēdap porul-arul Arunachalā .99
வைத்தெனை விடாதரு ளருணாசலா (அ) .100
Vait-tenai viḍā-darul Aruṇāchalā .100
யன்பாக் கரைத்தரு ளருணாசலா (அ) .101
Anbāk karait-tarul Arunachalā .101
னருள்வலை தப்புமோ வருணாசலா (அ) .102
Arul-valai tap-pumō Arunachalā .102
சிறையிட் டுண்டனை யருணாசலா (அ) .103
Cirai-yit tund-anai Arunachalā .103
கன்பனா யிடவரு ளருணாசலா (அ) .104
Kan-bana yiḍa-varul Arunachalā .104
யெந்நாளும் வாழ்ந்தரு ளருணாசலா (அ) .105
Ennāļum vāzhn-darul Arunachalā .105
புன்மொழி கொளவரு ளருணாசலா (அ) .106
Pun-mozhi kola varu! Arunachalā .106
பொறுத்தரு ளிஷ்டம்பின் னருணாசலா (அ) .107
Poṛut-taru lishṭam-pin Aruṇāchalā .107
மாலை யணிந்தரு ளருணாசலா (அ) .108
Mālai yaṇin-darul Aruṇāchalā .108
அருணாசல சிவ அருணாசலா!
அருணாசல சிவ அருணாசல சிவ
அருணாசல சிவ அருணாசலா!
Arunāchala Siva, Arunāchala Siva, Arunāchala Siva, Arunāchala!
Arunachala Siva, Arunachala Siva, Arunachala Siva, Arunachala!
அக்ஷர மணமாலை வாழி.
Akshara maņa mālai vāzhi.
Description
Aksharamanamalai
Composed by Bhagavan Ramana, Akshara mana malai means the Scented garland arranged Alphabetically in praise of Arunachala. Arunachala” literally means “Mountain of the colour of the red.”. This mountain is situated in Thiruvannamalai of Tamil Nadu. Devotees consider the mountain itself as a form of Lord Shiva. Arunachala can also refer to Lord Shiva who is consecrated in the temple near Arunachala. Aksharamanamalai is the 108-verse poem in praise of Arunachala that Bhagavan composed while he was living in Virupaksha Cave. It belongs to the bridal mysticism genre, expressing the yearning of a devotee for union with the divine. Parts of it are autobiographical, but most of it contains exhortations to Arunachala to take the jiva of the person chanting it and absorb it in himself. Bhagavan noted years later that it was primarily written from the standpoint of a devotee, not from the perspective of the jnani.
Words of Sri Michael James on Akshara mana malai
ஸ்ரீ அருணாசல அக்ஷரமணமாலை (Sri Arunachala Aksharamanamalai), the ‘Bridal Garland of Letters to Sri Arunachala’, is a song composed in the metaphorical language of bridal mysticism or madhura bhava (the affectionate attitude of a girl seeking union with her lover, the lord of her heart) and consists of 108 couplets, each of which begins with a consecutive letter of the Tamil alphabet and ends with a vocative case-form of the name ‘Arunachala’.
In the title of this song, akshara is a Sanskrit word that means both ‘imperishable’ or ‘immutable’ and a ‘letter’ of an alphabet, manam is a Tamil word that means ‘union’, ‘marriage’ or ‘fragrance’, and malai is a Tamil form of the Sanskrit word mala, which means a ‘wreath’ or ‘garland’, particularly one made of flowers, so the compound word akshara-mana-malai means the ‘marriage garland of letters’, the ‘garland of immutable union’, the ‘fragrant garland of letters’ or the ‘garland of imperishable fragrance’.
In these 108 verses, Sri Ramana pours out his intense love for God in the form of the sacred hill Arunachala, praising his boundless grace and praying to him for the imperishable state of absolute oneness with him, which can be gained only by means of true self-knowledge, since the true form of God or Arunachala is nothing other than our own essential self, the pure consciousness of being that we always experience as ‘I am’.
Though Sri Ramana had actually surrendered himself and merged completely in the egoless state of true self-knowledge at the age of sixteen, on the day in 1896 that he was overwhelmed by an intense fear of death, which was about eighteen or nineteen years before he composed Sri Arunachala Aksharamanamalai, in many of these verses he sings from the perspective of a devotee who is still struggling to overcome his ego and its finite desires and thereby to surrender himself entirely to the infinite love of God.
However, though many of these verses are therefore prayers, in some of them Sri Ramana clearly praises the grace of Arunachala for destroying his mind or ego and thereby absorbing him completely in the non-dual state of immutable union or true self-knowledge.
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Akshara Manamalai is a garland exuding a sweet and auspicious fragrance, woven with the letters of the alphabet as its flowers, and fitting to be worn by Lord Arunachala; further, it is a garland which will unite the devotees who sing it, fully comprehending its import, in wedlock with the eternal Reality, Arunachala. (akṣara poruḷ [means] Reality, absolute, imperishable Reality.) That this second meaning is acceptable to the author, Bhagavan, is made clear in a later verse, which says, ‘Arunachala, bestow upon me through your grace union with the supreme Brahman, so that my mind, which carries the scent of the world, may take on the scent of that Brahman,’ [ibid v. 69].
Kunju Swami has narrated the circumstances that led to its composition.
… when devotees started staying with Sri Bhagavan in Virupaksha Cave, the food obtained from the sadhu’s choultry was found to be insufficient for everyone. The devotees then decided that they would get their food by begging in town. Each day they would go to town in the late afternoon to beg for and collect food. Begging for food in this way is called ‘going for bhiksha’. Bhiksha is the food that is offered.
Kunju Swami continues:
Later that day, they dined on the bhiksha food back at Virupaksha Cave and any leftovers were used the next morning. Instead of waiting in front of each house and asking for food, which is the traditional way that religious mendicants beg in India, the devotees would walk along each street singing Akshara Malai Vigraha Amasadeeswara, a hymn composed by Adi-Sankara. It was only necessary to beg in the evenings because the food eaten at midday was brought by Echammal, Mudaliar Patti, Kannakammal and others.
When the householders in town heard this Sankara song being sung, they would know that the group was Sri Bhagavan’s devotees. They would then come out of their houses and offer clean, fresh food. However, some local sadhus from the town came to hear about this routine. They started singing the same song and began collecting the ashram’s food before Sri Bhagavan’s devotees had even got to town. Only when Sri Bhagavan’s devotees came singing for bhiksha did the householders realise that they had been deceived by the other sadhus.
Palaniswami, Perumal Swami and some others went and told Sri Bhagavan that if he composed some other songs for their use while going for bhiksha, it would put an end to the problem caused by the other sadhus. They also told him that such songs would help those who offered bhiksha to identify the group. Acting on their suggestion and request, Sri Bhagavan composed Aksharamanamalai, a Tamil poem of 108 verses in praise of Arunachala. The devotees then began to sing it regularly when they went into town for bhiksha. (The Power of the Presence, 2nd edition, pp. 25-27)
some days later he set out on pradakshina round the Hill, taking a pencil and paper with him, and, on the way, composed the hundred and eight verses.
Tears of ecstasy streamed down Bhagavan’s face as he wrote, sometimes blinding his eyes and choking his voice. The poem became the great devotional inspiration of the devotees. All the pain of longing and all the bliss of fulfillment are mirrored in its glowing symbolism. The perfection of Knowledge is combined with the ecstasy of devotion. And yet this most heartfelt of poems was composed from the standpoint of the devotee, of one who is still seeking. It is also an acrostic, its hundred and eight verses beginning with the successive letters of the Tamil alphabet. Nevertheless, no poem could be more spontaneous. Some devotees asked Sri Bhagavan the interpretation of some of the verses and he replied: “You think it out and I will too. I didn’t think while I was composing it; I just wrote as it came.” [1]
Bhagavan would occasionally joke that ‘Aksharamanamalai fed us for many years’. See Day by Day with Bhagavan (9.12.45) for Bhagavan’s own description of how the devotees begged while singing this song.
Other Ramana Shlokams
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