Full Chanting Ramanuja Nootrandhadhi Ramanujacharya - Sri U Ve P V Srinivasan, Sri U Ve P Srivathsan

Performers : Sri U Ve P V Srinivasan, Sri U Ve P Srivathsan
Ramanuja is also known as Ramanujacharya.

Just as Ramayana was sung in the presence of Sri Rama Himself, this work also has had the distinction of being recited in front of Sri Raamaanuja, who in fact permitted it to be included under the Divya Prabhandham of Aazhwaars.

Sri Ramanuja Nootrandhaadhi stands alongside ‘Sri Kanninun Shirutthaambu’ of Madhura Kavi Aazhwaar, both devoted to the undivided loyalty to an aachaarya by even consigning the Lord Himself to a comer! While the former runs into 108 stanzas, the latter has a mere 11 stanzas. Just like Madhura Kavi who says that the perfect soul of Thirukkuruhoor (Sri Nammaazhwaar) is all that that is material and important in this world, so does Amudanaar, proclaim that there is nothing beyond Sri Ramanuja.

Amudanaar’s Nootrandhaadhi has the name of Ramanuja etched in each stanza and he has raised it to the level of Gaayathri - some people call it as ‘Prapanna Gaayathri’ - the third thanian has compared the Ramanuja’s name with Gaayathri (or Saavithri, meaning the same.)

Just as Sri Ramanuja readily uplifted Amudanaar, there are aachaaryas even to-day keenly waiting to help us to overcome the cycle of births and deaths by getting us sharanaagathi at the lotus feet of the Lord.

1. Nootrandhaadhi - Charama Prabhandham : The devotional outpourings of the 12 aazhwaars go under the name of ‘Naalaayira Divya Prabhandham’. The subject work by Amudanaar forms the last part of this collective work (Charama Prabhandham) and it has to its credit of being heard by the one on whom it was written thereby obtaining what may be termed ‘a seal of approval’. Further this holy work was authorised to be included under Divya Prabhandham by Sri Ramanuja himself. Vedantha Desika makes mention of the author and this work in his ‘Prabhanda Saara’

Here Vedantha Desika requests Sri Ramanuja to bless him to be able to recite the Nootrandhaadhi regularly, without break. Such is the holiness of this work!

2. An Important Source Book : One can cite besides Nootrandhaadhi, Vedantha Desika’s ‘Yethiraaja Sapthathi’ (74 slokas), Manavaala Maamuni’s ‘Yethiraaja Vimshathi (21 slokas) and Vaduhanambi’s ‘Yethiraaja Vaibhavam’ (114 slokas). All the works eulogise Sri Ramanuja’s contribution in developing Vishistaadvaita Philosophy and Ramanuja being described as ‘samsthaapana aachaarya’ of the concept of Lord Sriman Naaraayana being the Supreme Lord and everything being subservient to Him.

3. Amudanaar, the Composer : Amudanaar belonged to a family bearing the name ‘Moongilkudi’, He (as also his ancestors) served Lord Ranganaatha at Sri Rangam and his name Thiruvarangattamudanaar owes to this connection with Sri Rangam Temple. He was well-versed in ‘shaastras’ and ‘Prabhandham’ and deserved the prefix ‘Ubhaya Vedanthin’. He came to be known as ‘Peria Koil Nambi’ and he had become a ‘purohitha’ for the temple wielding great influence amongst the people.

4. Initial Discord with Sri Ramanuja : Interestingly the period prior to his becoming a ‘shishya’ of Ramanuja / Koorathaalwaan, there seems to have been some ‘unwelcome vibes’, between the two. It is said that The Lord Ranganaatha Himself appeared in a dream, to Ramanuja and pleaded on behalf of Amudhanaar! Ramanuja was said to be preparing himself to leave Sri Rangam. However as he was thinking loudly of discussing the matter with his shishya Koorathaalwaan, Amudhanaar had come to (recognise and) realise the greatness of Sri Ramanuja, whose fame was spreading far and wide. He came to Ramanuja and sought to become his shishya, but the former asked his ‘shishya’ Koorathaalwaan to take charge of Amudhanaar and accept him as his ‘shishya’.

As desired by Ramanuja, Amudhanaar became wholeheartedly Koorathaalwan’s shishya. With time Koorathaalwaan. prevailed upon Amudanaar to hand over the temple keys to Ramanuja setting at rest the discord that had existed before.

5. Kalitthurai Style: Amudhanaar has composed the nootrandhaadhi in Kalitthurai andhaadhi style. As in the case of any andhaadhi style the last word of the previous hymn becomes the first word of the succeeding hymn. For example - the last word of the previous hymn: Shollumine (43) becomes the first word of the next hymn: Shollaar (44). This helps in memorising the text.

6. Reciting Nootrandhaadhi : The style of reciting nootrandhaadhi calls for some practice and when sung properly it is quite appealing. As in the case of other Prabhandham works, •this also calls for the help of a teacher.

It is the accepted practice of the ‘bhaagavatha goshti’ to sing Nootrandhaadi during ‘Thirunakshathram’ festivals of aazhwaars/ aachaaryas and is the preferred prabhandham during Lord’s outing (purappaadal / Thiruveedhi Uthsavam). In fact, the Prabhandha goshti leads the Lord while Veda goshti follows him from behind.