Award Waapsi by the Write Wing

The return of the awards by the write wing of creative people and intellectuals in India is making every day news today in the print media as well as the television media. The statistics indicate that more than 40 writers and stage personalities have returned the awards given to them by the Sahitya Academy and Sangeet Natak Academy.

Most of them have cited the reasons namely, a) Dadri killing incident of an individual by a mob sparked of by beef eating, b) recent killing of some fellow writers in Karnataka and Maharashtra, 

c) perceived curbing of freedom of speech and expression, and d) inaction by the respective Academies in raising a protest.

With due respect to these so called creative people and intellectuals, I must say that they have shown their "herd mentality" as they all have behaved in a similar fashion by returning the awards, following one writer. They are guilty of not standing out and appearing different among their group mates. Not even one writer or artiste could think differently to raise his or her protest. No one has objected to their protest by imposing any bans.

In this context, I'm reminded of the story of "Cap seller and the Monkeys". I'm sorry to say that these intellectuals have behaved just like the monkeys in the story by throwing the caps down. Just like the monkeys chose not to apply different logic. These creative writers have also chosen not to think differently and apply different logic. I feel very sorry for them.

Several moot points (not mute points) come to my mind :-

1) If one can analyze the incidents of the recent/distant past in India, a) killing of writers in India during UPA regime in the center, b) riots in Muzaffar Nagar, U.P, Assam, and riots against Sikhs in New Delhi c) massacre of Kashmiri Pandits and driving them out of J&K, d) Book bans, e) Film bans, f) banning the entry of authors into India, g) breaking out of scam after scam and corruption scandals during UPA regime perpetrated by the political bosses and their political allies. What were these writers doing at that point of time? Why didn't they protest at that point in time? Why all of them kept eerie silence in the past? It is sad that no clear answer is available to any of these questions.

To sin by silence when they should protest makes cowards of men. - Abraham Lincoln.

2) Why are these award returnees showing selective outrage and blaming the Central Government instead of the State Governments which are responsible for the law and order in their states. Assam, U.P. and Karnataka are ruled by non-BJP governments. Why these writers are not showing their ire on these State Governments for their failures and instead turning their ire on Central Government?

3) Why these creative intellectual class is highly biased in their views and opinions? Are they not supposed to maintain balance and remain unbiased? Why are they contributing to Pseudo secularism? Pseudo secularism is a failed concept in India. There is no point in pursuing it?

4) Why are they showing disrespect to their respective Academies' when they have been chosen for issue of awards as mark of respect to their contribution in public life and for their creativity and unbiased intellectualism?

5) Is there a cultural change happening in the minds of these intellectuals who have been used to congress led rule of India for nearly six decades and they are unable to adapt and adjust to change towards the present BJP political dispensation? This is an attitude problem.

By their act of returning the awards, by showing selective outrage, by exhibiting biased views and opinions, and by following the herd mentality, the image of all these writers has definitely gone down in the eyes of the common man and general public of India.

Today, India's demography can be categorized into five positions as under:-

1) Extreme Left

2) Left of Center

3) Center

4) Right of Center

5) Extreme Right

At the Center position, there is only a minority of people like the Judiciary, Seasoned Parliamentarians who are Statesmen, Intellectual People with wisdom who are unbiased, Saints and Gurus (the real and not fake ones) and well educated leaders in various fields.

The extreme left and right positions are dominated by the fringe elements present in every group of people who don't speak English but speak their native regional languages, and who are less educated. These fringe elements are swayed by their respective political masters.

The left of center and the right of center are moderate positions which are predominantly occupied by the following classes of people:- Journalists from both print media and television media, the socialites active on social media, the English speaking elite of India, Educated Middle class, Historians, Artistes, and Musicians.  

The politicians have divided the people of India either to the left of center or right of center by using them as their vote banks.

The NDA government at the center has obtained the massive mandate of the people of India and they need to be given time to govern and work for the development of India and improvement of Indian economy. Their performance will be judged by the people of India at the end of five years.

Such acts of award waapsi by the write wing look to me only as a deflection for selfish interests and self-importance and is not going to help anyone including themselves.

The time has now come for building the public opinion. The educated general public cannot remain mute spectators to the various issues and incidents in India. Thanks to the individual freedom of expression and speech granted by the Constitution of India, the educated and informed general public needs to voice its opinion through the social media platform.

Some relevant Quotations:-

A small body of determined spirits fired by an unquenchable faith in their mission can alter the course of history. - Mahatma Gandhi

You 're not supposed to be so blind with patriotism that you can't face reality. Wrong is wrong, no matter who does it or who says it. - Malcolm X.

As long as the world shall last there will be wrongs, and if no man objected and no man rebelled, those wrongs would last forever. - Clarence Darrow 

Story of Abhirami Pattar (aka) Subramania Iyer & Significance of Abhirami Anthadhi.

Story of Abhirami Pattar

Subramania Iyer (aka) Abhirami Pattar (Late 18th Century and Early 19th Century)  was a Hindu priest cum saint from a village called Thirukadayur in Tamilnadu.

He is the author of a collection of hymns (verses) dedicated to Goddess Abhirami called "Abhirami Anthadhi" which was spontaneously composed by him on the spur of the moment with intense devotion and sung in praise of Goddess Abhirami to invoke her blessings.

Subramania Iyer was born to Amirthalinga Iyer in the village of Thirukadayur in Tamilnadu in the Brahmin Agraharam which was established by the famous Maratha King Serfoji Bhonsle-1 (Sarabhoji Bhonsle-1).

Since his childhood, Subramania Iyer was drawn to Goddess Abhirami and became an ardent devotee. He would all the time keep meditating upon the Goddess, singing in praise of the Goddess, and was fully immersed in utmost devotion. He then started seeing all the women in the village as Goddess Abhirami and showered flowers on them. As a result, the people in the village started calling him as a madman.

Raja Serfoji Bhonsle-1 (Raja Sarabhoji Bhonsle-1)was the King of Thanjavur in Tamilnadu. (1675- 1728)  Raja Serfoji Bhonsle-2 (Raja Sarabhoji Bhonsle-2) ruled Thanjavur from 1798-1832.

King Serfoji Bhonsle-1 (Sarabhoji Bhonsle-1) not only patronized but also was a great admirer of Bards in the State of Tamilnadu.

There is a famous temple dedicated to Lord Shiva in the village of Thirukadayur called Amirthaghateswarar-Abhirami Temple. In this temple, Lord Shiva is also called as Mrityunjayar as he had annihilated Lord Yama in order to bless the kid saint Markandeyan and save him from death. After saving Markandeyan, Lord Shiva gave punar-janma to Lord Yama to enable him to perform his worldly duties. In this temple, the male folks in Tamilnadu on reaching the age of 61 years, perform for themselves "Sashtiabdhapoorti" praying for longevity of their lives.

One day Raja Serfoji Bhonsle-1 (Raja Sarabhoji Bhonsle-1) the King of Thanjavur visited the temple at Thirukadayur. On noticing the peculiar behavior of Subramania Iyer, the King enquired about him with other temple priests. Some of them told the King that he was a madman. While others told the King that he was an ardent devotee of the Goddess Abhirami and a Bard.

Seeking to know the truth, the King approached Subramania Iyer and asked him what day of the month (Paksha Thithi) it was? Subramania Iyer replied instantaneously to the King that it was Pournami (Poornima) Thithi. (Full Moon Day). Whereas in reality, it was Amavasya Thithi (New Moon Day). Subramania Iyer was in a state of trance at that moment and was meditating at the glowing face of the Deity Abhirami and instantly mistook it as Full Moon. (Pournami). The King was annoyed at the misbehavior and intolerable mistake of  Subramania Iyer and announced the punishment that his head be cut off, if the moon did not appear in the sky that night.

Subramania Iyer soon came out of the state of trance he was in and immediately realized his mistake and lit a huge fire and erected a platform over the fire supported by 100 ropes. He sat upon the platform and started to pray to Goddess Abhirami by instantly composing and singing the  "Abhirami Anthadhi" comprising of 100 hymns (verses). He would cut off one rope after singing one hymn (one verse). By cutting the ropes one by one after singing each hymn, he was descending into the fire below the platform.

Subramania Iyer completed singing  78 hymns (verses) in succession and cut 78 ropes and was closing in into the fire.

When Subramania Iyer completed the 79th hymn (verse), a great miracle had happened, Goddess Abhirami appeared before him and blessed him. Then the Goddess threw her Thadanga (diamond ear ring) on the sky and it shined as a full moon with bright light on the horizon to the amazement of people gathered around him.

Subramania Iyer was in ecstasy  and was overwhelmed, he offered his prostration to the Goddess and continued to compose and sing 22 more hymns (verses) in praise of Goddess Abhirami.

The King repented his mistake in imposing death penalty on Subramania Iyer and immediately withdrew the same. The King then bestowed the title "Abhirami Pattar" on Subramania Iyer.

Significance of Abhirami Anthadhi

Abhirami Anthadhi is a brilliant piece of modern Tamil literature.  It contains 100 hymns (verses).

The term "Anthadhi" refers to the particular style of composition wherein each new hymn (verse) begins with the same word that was used in the end of the previous hymn (verse)

After reciting the 79th hymn (verse), the Goddess Abhirami appeared before Subramania Iyer.

In the Tamil film "Adhiparasakthi", 24th hymn (verse) was chosen to show the appearance of the Goddess Abhirami in the film. But in reality it was the 79th hymn (verse) which triggered the appearance of Goddess Abhirami before Subramania Iyer.

In Thirukadayur temple, every year on the Thai Amavasya day ( New Moon Day in January) is celebrated as the day on which Goddess Abhirami appeared before Abhirami Pattar. All the 100 hymns (verses) are recited before Goddess Abhirami on that day in the Pooja performed in the night.

I dedicate this blog to my wife who recently turned 50, and whose native place is Thirukadayur.

 79: விழிக்கே அருள் உண்டு, அபிராம வல்லிக்கு, வேதம் சொன்ன 

வழிக்கே வழிபட நெஞ்சு உண்டு எமக்கு, அவ்வழி கிடக்க, 

பழிக்கே சுழன்று, வெம் பாவங்களே செய்து, பாழ் நரகக் 

குழிக்கே அழுந்தும் கயவர் தம்மோடு, என்ன கூட்டு இனியே?

அபிராமியின் விழிகளில் என்றும் அருளுண்டு. வேதமுறைப்படி அவளை வழிபட எனக்கு நெஞ்சமும் உண்டு. ஆகையால் பழியையும், பாவத்தையுமே விளைவித்து, பாழ் நரகக்குழியில் அழுந்தி வாடும் பேதையர்களோடு எனக்கு இனி என்ன தொடர்பு? (அபிராமி அன்னை சிறந்த துணையாவாள்).

24: மணியே, மணியின் ஒளியே, ஒளிரும் மணி புனைந்த 

அணியே, அணியும் அணிக்கு அழகே, அணுகாதவர்க்குப் 

பிணியே, பிணிக்கு மருந்தே, அமரர் பெரு விருந்தே.- 

பணியேன், ஒருவரை நின் பத்ம பாதம் பணிந்தபின்னே.

அபிராமித்தாயே! மணியாக விளங்குபவளே! அம் மணியில் உண்டாகும் ஒளியாகவும் விளங்குபவளே! ஒளி பொருந்திய நவமணிகளால் இழைக்கப்பட்ட அணியாகவும், அந்த அணிக்கு அழகாகவும் திகழ்பவளே! நின்னை அணுகாதவர்க்குப் பிணியென நிற்பவளே! நின்னை அண்டிவரும் பாபாத்துமாக்களின் பிணிக்கு மருந்தாகவும் நிற்பவளே! தேவர்களுக்கு பெரும் விருந்தாய்த் தோன்றும் அன்னையே! நின் அழகிய தாமரை போலுள்ள சேவடியைப் பணிந்த பின்னே, வேறொரு தெய்வத்தை வணங்க மனத்தாலும் நினையேன்.

நூற்பயன் 

ஆத்தாளை, எங்கள் அபிராம வல்லியை, அண்டம் எல்லாம் 

பூத்தாளை, மாதுளம் பூ நிறத்தாளை, புவி அடங்கக் 

காத்தாளை, ஐங்கணைப் பாசங்குசமும் கருப்புவில்லும் 

சேர்த்தாளை, முக்கண்ணியைத், தொழுவார்க்கு ஒரு தீங்கு இல்லையே.

எங்கள் தாயானவளை, அபிராமி வல்லியை, எல்லா உலகங்களையும் பெற்றவளை, மாதுளம் பூப்போன்ற நிறத்துடையவளை, உலகமெல்லாம் காத்தவளை, திருக்கரங்களில் மலர் அம்புகள் ஐந்தையும், பாசத்தையும், அங்குசத்தையும், கரும்பு வில்லையும் வைத்திருபவளை, மூன்று கண்களையுடைய தேவியைத் தொழுவார்க்கு ஒரு தீங்கும் நேராது; உலகில் வளமும் நலமும் பெற்று வாழ்வர்.

If Delhi is the political capital and Mumbai is the financial capital of India, then Chennai qualifies to be the cultural capital of India.

The title of my blog is neither a hyperbole nor an expletive. I have been closely following the cultural events happening in Chennai. As a bon vivant Chennaiite, I have gone through an exhilarating experience of the cultural events held in Chennai. I'm writing this blog as an aficionado, as an obsequious rasika, as a keen listener, and as a true seeker. My objective is not to compare Chennai with any other city, but to highlight the cultural strengths of Chennai and its people.

For the sake of perceiving the cultural scenario in Chennai, I would like to classify the cultural events held in Chennai under the broad four categories namely, 1. Music, 2. Dance, 3. Drama, and 4. Discourses. Each of this category is an inclusive category. Without any prejudice, I am keeping out Cinema from the above classification of cultural events purely with an intention to cover only performing arts. But I have included film music under the category of music as it (especially old film music) forms part of the presentation format of cultural events.  

Just to elaborate on the four categories, Music includes Carnatic classical, Nama Sankeerthanam, Hindustani classical, Devotional, Bhajans, and Film music. Dance includes all forms of classical dances like Bharatanatyam, Kathak, Kuchipudi, Kathakali, Mohiniattam and Odissi. Drama includes historical, spiritual, and contemporary comedy. Discourses include spiritual, biographical, and religious both in English and Tamil.

Chennai is a culturally strong city. It is the most happening city in terms of cultural events. The cultural events happening in Chennai in a year and then year after year are of a gargantuan range and magnitude.  If you open "The Hindu" newspaper and check the columns "Arts & Events" and "Chennai Today Events", you will realize the truth. Thanks to "The Hindu" Newspaper who give a very fair coverage to the cultural events in Chennai.

What makes it possible is the proactive role of various Sabhas & Trusts in organizing the events. Organizing alone does not ensure success of the events unless it is patronized by a large number of audience. Kudos to the culturally conscious and the  enthusiastic Chennaiites, whether young or old, irrespective of their caste or creed, they extend their unflinching patronage and support to all these cultural events. The veritable performances presented by various artists in their respective fields stand testimony to the creativity and brilliance in rendering the cultural events. The events are presented not only by veteran artists but also by upcoming, young talented artists. The young and old artists get equal opportunity to perform at the events. The eclectic performing artists create a format for an event by exquisitely designing it and presenting it in a variety of ways which makes it alluring for the audience. The ebullient audience get immersed in ecstasy.

In Chennai, the Carnatic music festival held in the months of December and January every year is a major festival organized by all the Sabhas. It still attracts huge audiences not only from India but also from foreign countries. This event is followed by a Dance festival organized by all the Sabhas in mid-January during Pongal season. Even during the summer months of June-July, Bhakti Sangeet Utsav, and Pallavi Durbar Utsav are held every year. Nama Sankeerthanam Utsav is held every year in October-November and in February. Discourses and Satsangs are held throughout the year on Sri Bhagavat Gita, Srimad Bhagavatham, Srimad Mahabharatam, Srimad Ramayanam and Bhakta Vijayam. Dramas are held throughout the year by different Sabhas. In addition to these, during festival times like Gokulashtami/Krishna Jayanthi  in August and Sri Rama Navami in March-April every year, music events and discourses are held by different Sabhas. Apart from these events, the Sabhas in Chennai organize monthly events for its members and non-members regularly every year. Therefore, the Organizers (Sabhas) the performing artists, and the audience remain busy and active throughout the year.

The notable features of cultural events are:-

1. Traditions are meticulously followed by the organizers and performing artists.
2. Respect to the various Elders, Gurus, and Preceptors, is extended by remembering their legacies and contributions.
3. Opportunity and encouragement to young talented artists are given and they get groomed properly.
4. The role of various organizers like Sabhas and Trusts, in organizing the events and programs throughout the year and then year after year repeatedly, is really commendable.
5. Events, programs, and formats are created, designed and presented in a brilliant manner by both the Sabhas and the performing artists.
6. Along with the veterans, the young upcoming talented artists are given equal opportunity.
7. The various Sabhas adapt themselves very well to change and accordingly events and programs are designed and presented.

We call a person or a family as a cultured person or cultured family. Sometimes we call an organization as a cultured organization. We often call the people of a city, state, or country as cultured. What do we really mean by it?

"Cultured" is characterized by:-  refined taste, manners, etiquette, well educated, cultivated, intellectually/artistically aware, enlightened, civilized, well read, well informed, learned, knowledgeable, discerning, discriminating, genteel, polished, and knows a lot about art, music, literature.

"Learning without thought is naught; thought without learning is dangerous." ~ Confucius.

"Behavior is the theory of manners practically applied." ~ MME. Necker.

"Culture is the cream of conduct. Culture, like all of life's blessings, cannot be hoarded- it is for service. Those who are wise give their culture away, and thus do they retain it. ~ Elbert Hubbard.

"Culture is to know the best that has been said and thought in the world." ~ Matthew Arnold.

In addition to the above, the definition, features and characteristics of culture are also given below:-

Definition of Culture

Culture means:-

1. the arts and other manifestations of human intellectual achievement regarded collectively.
2. the habits, beliefs, customs, traditions, arts, ideas, and social behavior of a particular society, group, place or time.
3. the set of values, conventions, or social practices associated with a particular field, activity, or societal characteristic.
4. enlightenment and excellence of taste acquired by intellectual and aesthetic training.
5. the act of developing the intellectual and moral faculties especially by education.
6. the set of shared attitudes, values, goals, and practices that characterizes an institution or organization.

Features and Characteristics of Culture

1. Culture is learnt socially and not inherited biologically.
2. Culture is not an individual phenomena but it is the product of society. It develops in the society through social interaction.
3. Culture is shared by  common people of a territory. For example, customs, traditions, values, beliefs.
4. Culture is transmitted from one generation to the next. It is not transmitted through genes but through language and knowledge.
5. Culture is a continuous process. It is like a steady stream which is flowing from one generation to another through centuries.
6. Culture is accumulative and combines the suitable cultural traits.
7. Culture is integrated. All the cultural aspects are inter-connected with each other. For example, value system is interlinked with morality, customs, beliefs and religion.
8. Culture is changing and not static. Cultural process undergoes changes from society to society and from generation to generation.
9. Culture varies from society to society. It is not uniform everywhere. Every culture is unique.
10. Culture is gratifying and provide all the opportunities for needs and desires satisfaction. The needs may be biological or social.
11. Culture is responsive to the changing conditions of a physical world and helps humanity from all dangers and natural calamities.
12. Culture is closely linked with society. It binds the people within the society.

Chennai doesn't boast of:- a) a world class airport, b) well laid broad roads with pavements, c) adequate flyovers, d) gardens and parks, e) greenery, f) well managed traffic system on its roads, g) disciplined traffic, g) WiFi facilities, h)  enough vehicle parking lots, i) efficient and cost effective public transport like auto rickshaws and taxis, j) high civic sense among people, and k) effective civic agency.

What Chennai can boast of:- is its feisty, culturally conscious people, who have an ear for music and a taste for appreciation of cultural events.  Let us eulogize Chennai and Chennaiites for this. If Delhi is the political capital and Mumbai is the financial capital of India, then Chennai is the cultural capital of India.

  

The significance of "Karadayan Nonbu". The story of Savitri and Satyavan.

Karadayan Nonbu is performed by married women in the South India, by fasting and by praying to God Mother on the day and time when the Tamil month "Maasi" ends and the Tamil month "Panguni" begins. Basically it’s the confluence of the Tamil months Maasi and Panguni. In the English Calendar, it’s the mid-March. The married women  basically pray for the longevity and welfare of their husbands' lives. They wear the yellow thread with a piece of turmeric in it called "Manja Saradu".  They prepare kara adai (salted) and vella adai (sweet). Basically it's the fresh rice flour mixed with water, lentil beans (Lobia), coconut scrapings and molten jaggery and then steamed like Idlis. 

Savitri is a princess and the only daughter of king Ashwapati, who ruled the kingdom of Madra (Madra Desam) in the Bharatha Desam. King Ashwapati was not blessed with any sons to succeed him as his heir. Savitri was brought up with lot of love and affection, as she was the only daughter. When Savitri attained  the marriageable age, the King wanted to perform her Swayamvaram as per the Kshatriya practice. In fact the Kshatriya princesses are allowed to exercise their choice and choose their husbands, who they wish to marry. The Kshatriya Kings would accept their choice and perform their Swayamvaram. King Ashwapati granted that choice to his daughter. Savitri by her extremely good nature wanted to choose a husband, who was undergoing struggle in his life and facing the trials and tribulations of his life. She wanted to genuinely help her husband to overcome the struggle and trials in his life. With this noble intention in her mind, Savitri started screening the prospective husbands.

She came across a Prince called Satyavan. Satyavan is the son of the King Dhyumatsena, who once ruled the Kingdom of Chaalpa (Chaalpa Desam) in the Bharatha Desam. King Dhyumatsena became blind and lost his eyesight. His evil minded villainous Ministers took advantage of the King and threw him out of the Kingdom and captured the power and they themselves started ruling the Kingdom in a chaotic manner.  After losing the kingdom, King Dhyumatsena along with his family started living in the forests as a commoner along with many sages, sadhus and rishis. Satyavan too lived with his parents in the forest and was helping them by cutting woods in the forest every day.

One day Savitri openly expressed her deep desire to marry Satyavan. King Ashwapati regretted her decision and felt sorry for her. He tried to reason with her to change her decision. But she remained firm in her decision. When this argument was going on between the king and his daughter, Sage Narada landed there by divine grace. He noticed what was going on there between the father and the daughter. Sage Narada suddenly prophesied and announced his shocking view that Satyavan  is destined to die within one year.  He will live just exactly for one year from now on. He advised Savitri to reconsider her decision and marry someone else instead of Satyavan. But Savitri was very firm in her decision and replied that after internally accepting and realizing  Satyavan as her husband, she is in no mood to change her decision. She will marry only Satyavan and none else. Sage Narada realized her "Pathivratha" attitude even before her marriage and blessed her immediately that her dharma would save and protect her in her life. After this incident, King Ashwapati got her daughter Savitri married to Satyavan.

Post her marriage to Satyavan, Savitri accompanied her husband and unhesitatingly went to the forests to live with him. She was very much devoted to her husband and respected him and helped him in his daily chores. She also willingly served her In-laws and took care of them as well. Satyavan too whole-heartedly reciprocated his love and affection to Savitri for her great sacrifice and service. Life was going on like this and the one year dead line on the life of Satyavan was nearing. Savitri was very conscious of this passage of time and kept track. She did not divulge the information about the impending death of Satyavan to him or to his parents. She kept this secret to herself and was undergoing self-torture every day. Finally the D-day for Satyavan arrived and Savitri only knew about it.

Savitri performed Karadayan Nonbu Pooja by fasting and praying to the God Mother (Jagan Matha), on the day when the Tamil month "Maasi" ends and the Tamil month "Panguni" begins (Mid-March). She expected the response of God Mother for her prayers. In the meanwhile, as per the daily practice, Satyavan started to leave for the forests for cutting wood. Savitri wanted to accompany her husband to the forest on that day . Satyavan objected to her and advised her not to accompany him as she  has not broken her fast. But Savitri in a very subtle manner requested Satyavan not to object to her and allow her to accompany him on that day. Satyavan's parents also supported Savitri and recommended to their son Satyavan to take Savitri with him to the forest. Both Satyavan and Savtri enjoyed roaming together in the forest. Savitri made sure to satisfy the desires of Satyavan on that day. But she was fearing inside her mind the end  moment to happen for her husband, as prophesied by Sage Narada.

Suddenly Satyavan fell down unconscious in the forest. Savitri immediately put her husband on her lap and started praying. She could realize Satyavan breathing his last and passing away. His soul and spirit was taken away by Lord Yama Dharma Raja in front of the eyes of Savitri. Since Savitri was "Pathivratha Choodamani", she could have the darshan of  Lord Yama with her naked eyes.

She immediately started to follow the Lord of Death and pleaded to him to give back the life of her husband Satyavan.  But Lord Yama said it is his dharma to take away the life of humans and he cannot return any life back. He advised her not to follow him. But Savitri replied to Yama that she is following him because he is taking the life of her husband and Lord Yama is visible to her naked eyes. She also said that when humans follow Sages and Sadhus they will be benefited and blessed. Lord Yama said to Savitri that she is putting forth her case well, so he said he will grant her a boon, except the life of her husband and asked her to request for a boon. Savitri immediately requested that her parents were not blessed with any son as heir to her king father and asked Lord Yama to grant a male progeny in her parent's family. The boon was granted by Lord Yama.

But Savitri continued to follow Lord Yama and he again objected to this. Savitri chanted another sloka meaning that Sadhus help and bless sadhus, Sadhus also help and bless evil minded villains in real life to salvage them. But villainous and evil minded people never help anyone in life.  Lord Yama was pleased with this sloka too and said he will grant her a second boon, except her husband's life and encouraged her to ask for the second boon. Immediately Savitri pleaded to Lord Yama to restore the eye sight to her Father-in-law King Dhyumatsena and also restore back the lost kingdom to him.

Savitri further pleaded to Lord Yama that he was so kind to grant male progeny to her parents, now he should be very kind enough to grant male progeny for her also for vamsavrudhhi. Lord Yama granted her this boon also and blessed her that she will beget one hundred sons. When Savitri further followed Lord Yama, he raised objections and said that he has already granted her the desired boons and she should stop following him allow him to perform his dharma. Immediately Savitri retorted that Oh Lord Yama, when you have granted me the boon of one hundred sons, how can you take away my husband? Lord Yama realized his folly in granting this boon and felt that Savitri has the blessings of Lord Iswara that made him commit this folly. Instantly Lord Yama gave back the life of Satyavan to Savitri and blessed her and disappeared.

Satyavan woke up as if he had a long sleep. Savitri did not utter any word to him about what had happened to him and that she only saved his life. Satyavan's father King Dhyumatsena got back his eye sight and also his kingdom back as the evil minded villainous Ministers started fighting with each other and after realizing that the King's eye sight was restored, they handed over the kingdom back to him. Satyavan was coroneted as the Prince and Savitri was coroneted as the Princess of Kingdom of Chaalpa (Chaalpa Desam) and they all lived happily thereafter.

Shankar Subramanian

 Source: "Sati Vijayam" by Sri Sri Krishna Premi Swamigal

P.S. Sri Aurobindo has written a book on Savitri in a poetic narrative and it contains a detailed account of the conversation between Savitri and Lord Yama.