The Sacred Tradition of Offering Food in Sanatan Dharma

 

Naivedyam: The Ritual Offering
The Philosophy Behind Offering Food
Sacred Pre-Eating Rituals
Offering Food to the Life Forces
The Transformative Power of Prasada

In Western traditions, it is customary to say a prayer of gratitude—grace—before partaking in a meal. In contrast, followers of Sanatan Dharma practice the sacred act of offering food to God before consuming it, considering it as Prasada, a divine gift. This practice is deeply ingrained in Hindu homes and temples, where the food prepared daily is first presented to the deity before being consumed by the family. The consecrated food (Prasada) is then mixed with the rest of the meal and shared among all members of the household.

The act of offering food to God is known as Naivedyam, a Sanskrit term that signifies an offering made with devotion. It represents:

1. A sacred ritual of devotion and surrender to the Divine.

2. A way to express love and allegiance to God.

3. A practice with deep historical and spiritual significance, dating back to ancient times.

The word Naivedyam originates from Nivedanam, which holds multiple meanings, including:

• Making known – Announcing or proclaiming something.

• Delivering – Entrusting or handing over something.

• Dedication – Committing something with reverence.

• Representation – Serving as an expression of devotion.

• Offering – Presenting something as an act of worship.

Hindu scriptures emphasize that God is omnipresent and omniscient, while humans are mere instruments of His will. Every action and achievement is possible only by His grace. Thus, offering food before eating is an acknowledgment of divine providence. The shloka "Namaha" signifies this sentiment, meaning "Not mine, but Yours." By offering food, we recognize that all we possess ultimately belongs to God, and when we consume it as Prasada, we accept His blessings.

This perspective transforms our relationship with food and the act of eating. The food offered to God must be pure, of the highest quality, and prepared with sincerity. We learn to share what we have before consuming it, refrain from complaining about food, and avoid wastefulness. This reverence extends beyond food, shaping our broader outlook on life—accepting all that comes our way as divine grace.

Before eating, water is sprinkled around the plate (or leaf) as a purification act and to prevent insects from contaminating the food. Additionally, five morsels of food are placed on the side of the plate as an acknowledgment of our debt to various entities:

1. Divine Forces (Deva Runa) – For their grace and protection.

2. Ancestors (Pitru Runa) – For providing us with lineage and family values.

3. Sages (Rishi Runa) – For preserving and passing down spiritual wisdom.

4. Fellow Beings (Manushya Runa) – For their role in society, enabling harmonious living.

5. Other Living Beings (Bhuta Runa) – For their selfless contributions to our existence.

After acknowledging these debts, the food is symbolically offered to the life forces within us, which sustain our bodily functions. This is done through the recitation of specific mantras:

1. Praanaya Swaaha – For respiratory functions.

2. Apaanaaya Swaaha – For excretory functions.

3. Udaanaaya Swaaha – For circulatory functions.

4. Vyaanaaya Swaaha – For digestive functions.

5. Samaanaaya Swaaha – For metabolic equilibrium.

6. Brahmmaneya Swaaha – To acknowledge that the food is now divine Prasada.

The type of food we consume influences our behavior, character, and consciousness. When food is offered to God and received as Prasada, it carries divine vibrations that elevate our spiritual and moral qualities. By embracing this sacred tradition, we cultivate gratitude, humility, and a deeper connection with the divine, transforming not just our eating habits but our entire way of life.

Divya Pasuram - Vaaranamaayiram - Musical analysis

 

Approximately 19 years ago, with chosen verses from Manickavasagam's Thiruvasagam, Raja released an album. Then i wondered how about an album on DivyaPrabandam. Though it is late, it has come out well. Just like a kaleidoscope, this album has tracks depicted various aspects of Sri Krishna's life from his birth, to requesting him to stay back, praying Him to give powers to get rid of senses, the concept of surrender (sharanagati) etc., In the days of innovative changes, Raja stuck to his forte of four - Strings, Woodwind instruments, Brass and Percussions. Thanks for that. Let us go through the Vaaranamaayiram Track now. 

The grand entry of the groom is truly a spectacle. To complement this momentous occasion, the music must be equally magnificent. As described by Aandal, the groom makes his entrance, reminiscent of being surrounded by thousands of majestic elephants—or perhaps it's the kings, likened to elephants, who pay homage to his grandeur. For 25 seconds, the Chendai melam establishes the scene, accompanied by the rhythmic beats of cymbals. At the sixth second, the wind instruments join in, with the thunthubi and horns enhancing the majestic atmosphere.

After 10 seconds of this lavish introduction, the strings enter, cleverly blending in to sound akin to wind instruments, possibly utilizing a Recorder Instrument for the effect. At the 28th second, Ananya Bhatt, the recent favourite of Raja, begins to sing. The rhythm maintains a slow, steady beat in Mishra nadai (Adi) taal, mirroring the majestic march of elephants at a consistent pace.

When the singer repeats the complete line for the second time, the powerful rhythms retreat to make way for the tabla, which complements the lyrics and enriches their charm. The bells that are introduced during the refrain of "Poorana Porkudam" symbolize a grand welcome, filling our hearts with a sense of completeness.

As the music progresses, the combination of violin and flute following the final line "Kanaa Kanden" captures the essence of a dream, transporting us to an ethereal world. The singer repeats the phrase "kana kanden" thrice, signifying her struggle to escape the dream and return to reality—a reality she is reluctant to embrace. This repetition continues as the music gradually fades.

 

The grandeur of the music persists as the chenda melam carries on for two avarthanams (two cycles). Then, the violin gracefully joins in. The transition from raga Sudhha Dhanyasi to raga Thilang is exceptionally smooth; the emphasis on rhythm makes the change barely perceptible for a few moments. Following this, the conch emerges in the background for one avarthanam, serving as a reminder that the lines “Varisangham nindroodha...” are about to follow, signalling a return of the rhythmic grandeur.

As the grand entry concludes, the focus shifts to the groom who must now take the bride's hand. The poet paints a vivid ambiance, referring to him as Madhusoodhan, the slayer of the demons Madhu and Kaitaba, and the one who restored the Vedas on behalf of Hyagriva. This subtly conveys that he fiercely protects what belongs to him and will go to great lengths to reclaim it.

As the song begins anew, the rhythms soften. The majestic elements of the chenda melam are echoed by the Mridangam (Matthalam), while the delicate strings in the background for four matras, spaced evenly, enhance the overall texture. The bells that punctuate the phrase “pandharkeezh....” are exquisite. Notably, the strings that complement the singer deserve special mention.

The grand chenda melam re-enters when she sings “Kaithalam Patra....” However, this time, when she reaches the line “Kanaa kanden...,” the sensuousness has slightly diminished compared to before. It remains a dream, and thus, some enthusiasm has faded. She recognizes her return to reality, which she resists. This time, she sings “Kanaa kanden” only twice, rather than three times as she did previously. Is the charm fading? It's uncertain...

The music fades away, making way for the Veena, which begins to play in Revathi Ragam—a raga renowned for its connection to the chanting of Vedas. This choice subtly indicates that this segment will be more focused on devotion than romance. The addition of strings accompanying the Veena creates yet another masterpiece. The grandeur of the rhythm has diminished!

As the singer launches into “Immaikkum ezhezhu...” (drawing from the 29th verse of Thiruppavai - undannodu utrome aavom umakke naam aatseivom...), both the Veena and the rhythm come together for an avarthanam, amplifying the experience. It reflects the poet's deepening engagement with Sri Krishna, revealing her inner conflict. As an ordinary woman, she desires to assert herself over her beloved. She feels a sense of pride when He embraces her foot with His hands, even as she acknowledges that He is the one who safeguards all beings in the Universe across seven life cycles.

Through these lines, she subtly emphasizes the principle of Sharanagati, or total surrender. Thus, while the music composer deliberately toned down the grandeur, that magnificent quality resurfaces when the line “ammi midikka...” begins. In this instance, she repeats “Kanaa kanden” only once, her frustration evident as she grapples with the realization that these are mere dreams, not reality.

 

The bass drum now takes center stage, its beats in Adi tala establishing the unwavering tempo. Until this point, the scene has been a dreamlike sequence: the groom's arrival, his walk, the gentle touch of his hands and feet upon the bride—fleeting images of a wedding ceremony. But now, the narrative shifts to the ultimate culmination: the union of souls and bodies, a reality beyond the realm of dreams. In a society where a woman expressing her love is often met with disapproval, Andal boldly defies convention. She inquires about the taste of Sri Krishna's mouth and tongue, directing her questions to the conch. This is no arbitrary choice; the conch, perpetually close to Krishna, is the only instrument to touch his lips—even his flute does not share this intimacy. Therefore, the conch alone knows the taste she seeks.

The song begins, set in Mayamalavagowla. The seamless transition is a testament to Raja's artistry. The violin's entrance as she completes the second line fills the listener with emotion. Andal's persistent questioning of the conch continues until the track's poignant conclusion, leaving us with a sense of the longing and pain experienced by Andal herself. As Andal kept craving for Emperumaan and merged with him, let us also crave the bliss in Raja’s music and merge with the notes.

https://www.youtube.com/watch?v=eMaEvnYRxlw&list=RDeMaEvnYRxlw&start_radio=1

The Peril of Freebies in Indian Elections: A Call for Reform

The Peril of Freebies in Indian Elections: A Call for Reform

The increasing trend of political parties offering "freebies" to voters in India is a cause for serious concern. Promises of free water, electricity, travel, and even monthly stipends have become commonplace in election campaigns. While seemingly benevolent, these promises have detrimental consequences.

Firstly, they foster a culture of dependency, discouraging work ethic and initiative among beneficiaries. Secondly, they often represent a misuse of public funds, diverting resources from essential services and infrastructure development. The 2024 general elections witnessed a glaring example, where a prominent leader's extravagant promise of monthly cash transfers to women proved to be an empty electoral ploy.

The question of funding for these extravagant promises arises. Taxpayers' money is often the source, making these "freebies" a form of financial fraud. This blatant disregard for fiscal responsibility highlights a critical gap in electoral accountability.

The Supreme Court and the Election Commission have a crucial role to play in addressing this issue. They must establish clear guidelines and enforce strict penalties for parties that indulge in such irresponsible electioneering.

Furthermore, the current system needs a fundamental overhaul. Politicians and parties should be held personally accountable for the costs of their campaign promises, preventing the misuse of public funds for vote-buying.

The "freebies" culture not only undermines economic growth but also exacerbates social inequalities. It disproportionately benefits those who do not contribute to the tax pool while burdening the responsible taxpayers. This unsustainable model, exemplified by the economic collapse of Venezuela, poses a significant threat to India's long-term prosperity.

The low tax-paying population in India further underscores the urgency of this issue. Only a small fraction of citizens contribute to the national exchequer, while the majority enjoys the benefits of public services. This imbalance necessitates a shift in focus from "rights" to "responsibilities" among citizens.

It is imperative for concerned citizens to unite and demand a change. We must actively engage with the Supreme Court and the Election Commission, urging them to take decisive action against this political malpractice. This is not merely a political issue; it is a matter of safeguarding the economic and social well-being of our nation.

Key Changes:

• Neutralized Tone: Removed overly emotional and judgmental language.

• Conciseness: Streamlined sentences and removed redundancies.

• Focus on Facts: Emphasized the economic and social consequences of "freebies."

• Clearer Structure: Organized the arguments more logically and coherently.

• Call to Action: Provided a specific and actionable path for citizens to address the issue.

This revised version presents a more objective and persuasive argument against the "freebies" culture in Indian elections.

The significance of ringing the Bell in Temple

Temple bells, often found near the entrance, are a familiar sight in many places of worship. Devotees typically ring these bells upon entering, before proceeding for darshan (viewing of the deity) and prayers. The act of ringing the bell is often a source of joy for children, who eagerly reach for it, sometimes with a little help.

This raises the question: why do we ring these bells? Is it to awaken the deity? Such a notion seems unlikely, as divine beings are not believed to sleep. Is it to inform them of our arrival? Surely, an omniscient being is already aware of our presence. Or is it a symbolic request for permission to enter? While devotees are considered children of the divine, always welcome in their spiritual home, the reason behind ringing the bell lies deeper.

The sound produced by the bell is considered auspicious. It is believed to resonate with the sound of "Aum (Om)," the universal sound representing the divine. This act of ringing the bell is meant to create an atmosphere of auspiciousness, both within the individual and in the surrounding environment, preparing the devotee for a vision of the all-auspicious divine.

The bell is also rung during Aarti (a ritual of worship with lamps), often accompanied by other musical instruments like the conch. The combined sound of the bell, conch, and other instruments serves to drown out any inauspicious noises or distractions that could disrupt the worshippers' devotion, concentration, and inner peace.

A traditional mantra is often chanted while ringing the bell:
आगमार्थं तु देवानां गमनार्थं तु रक्षसाम् । घण्टारवं करोम्यादौ देवताह्वान लाञ्छनम् ॥ 

Aagama-Artham Tu Devaanaam Gamana-Artham Tu Rakssasaam | Ghannttaa-Ravam Karomya[i-A]adau Devata[a-A]ahvaana Laan.chanam ||

This translates to:
"I ring this bell indicating the invocation of divinity, so that virtuous and noble forces enter (my home and heart) and the demonic and evil forces from within and without depart."

In essence, the mantra expresses a dual purpose: inviting positive, divine energies (Devas) and dispelling negative, demonic forces (Rakshasas). The ringing of the bell is thus a symbolic act of creating a sacred space, inviting auspiciousness and warding off negativity.