I am sure all of you might have heard about Brahmasri.

Narayana Bhattathiri who wrote the

famous " NARAYANEEYAM "which is condensed Maha Bhagavatha. But I am sure only few
of us know how to read it in Sapthaham.( ie. in 7 days). Herein I am giving the way how to
read it in Sapthaham for the purpose of those who are not aware of the method of reading
Srrnad Narayaneeyam in SAPTHAHA KRAMAM :-

On 1st day read from Chapter 1 to and incl, of Chapter 12.

On 2nd day read from Chapter 13 to & incl. of Chapter 25.
On 3rd day read from Chapter 26 to & incl. of Chapter 38.
On 4th day read from Chapter 39 to & incl. of Chapter 56.
On 5th day read from Chapter 57 to & incl. of Chapter 79.
on 6th day read from Chapter 80 to & incl. of Chapter 91.
On 7th day read from Chapter 92 to 100th Chapter.i.e. complete.

Regards and Namaskarams,

Narayaneeyam : An Introduction

The study of a literary work is rendered more interesting, instructive and

purposeful by acquiring some knowledge about the work itself and its
author. To start with, then, a few words about the author of
Narayaneeyam will be appropriate.

This mini-epic is a masterly abridgement of Sage Veda Vyasa's magnum

opus, Shrimad Bhagavatam. As in the larger epic, the central theme of
Narayaneeyam is Bhakti or devotion to the Supreme Power, personified by
Bhagavan Shree Mahavishnu. At the same time, adhering to the schema of
the Bhagavatham, Narayaneeyam expounds the essence of other systems
of Indian philosophy, mainly, Jnyanayoga, Karmayoga and Sankhya, at the
appropriate places while laying special emphasis on the over-riding
supremacy of Bhaktiyoga, or the path of devotion, over all other means to
attain Moksha (Nirvana, or Salvation), which means unification,
integration and dissolution of the individual soul or jeeva in the Brahman,
the Cosmic Unity, the One without a second.

With his vast background of learning of the Scriptures, and his profound
grasp of their different systems and aspects, besides Sanskrit grammar
and prosody, Bhattathiri has produced a compendium of the larger epic,
which faithfully adumbrates all the vital constituents of the original in a
lucid style, easy for lay people to understand the abstruse concepts of
philosophy, while, at the same time, highlighting those incidents and
episodes that help to strengthen and deepen the reader's faith in the
basic theme of Bhakti, and practice its essential steps in daily life.

Some idea of Bhattathiri's dexterity in condensing vast material into a

small compass can be gleaned from the following examples:

1. Dasakam 15 : This dasakam sets out in ten verses the essence of

Kapila's (an incarnation of the Lord Himself) advice to his mother,
Devahuti, on the Sankhya, which, in the Bhagavatham, spans ten
chapters (Nos. 24 to 33) of the third Skanda (or Canto).
2. Dasakams 34 and 35 : The whole of the Ramayana epic of Valmiki is
covered in twenty verses, as against two chapters of the 9th Canto
in the Bhagavatham, and 24000 lines in Valmiki Ramayanam.
3. Dasakam 86, verse 6 : This sets out in a single verse, the essence of
the Lord's teaching to Arjuna on the battlefield of Kurukshetra,
which spans 18 chapters of the Bhagavadgeeta.
4. Dasakam 93 : This dasakam briefly deals with the 25 teachers or
preceptors, all found in nature, and the lessons to be learned from
each one of them, for either emulation or avoidance in daily life by a
devotee.
5. Dasakam 95, Verse 8 : In this verse, Bhattathiri gives an graphic,
encapsulated head-to-foot description of the Lord, in an easy-
flowing cascade of phrases, that are simple and easy to memorise
and also recall for constant chanting and meditation.

In literary merit, the Narayaneeyam holds pride of place in Sanskrit

poetry, at par with the works of Kalidasa and other eminent poets. It is
divided into 100 Dasakams, most of which comprise ten shlokams (verses)
each - with a few of them running into 11, 12 or 13 verses; the maximum
number being 15 verses in Dasakam 4, and a solitary Dasakam (Dasakam
65) comprising 9 verses. The final verse of every Dasakam concludes with
an invocation to the Lord of Guruvayur to cure him of all his illnesses and
protect him from all afflictions and sorrows. In all, the Narayaneeyam
consists of 1034 verses. Some versions include two extra verses at the
end of Dasakam 45, making a total of 1036 verses.

A noteworthy feature of this work is the copious and judicious

employment of literary embellishments or Alankarams and Vrittams or
metres to suit the context, besides devices like yamakam and anuprasam.
These heighten the impact of the scenes or events described, on the
reader, and make them come alive before his mind's eye. As many as 26
different metres have been used, some of them extensively and others
sparingly. Some of the more notable instances are set out below:

1. The majestic "Sardulavikriditam" (meaning gambolling of

tigers/leopards) brings out the awesome grandeur of the Lord's
incarnation as Narasimha (half-man, half-lion) in Dasakam 25;
Krishna's entry into Mathura in Dasakam 74 (with its earth-
shakingly ominous import to the Lord's enemies), and many other
scenes and events.
2. The superbly balanced and serene "Sragdhara", to depict the events
leading up to the Mahabharata war and the war itself (Dasakam 86);
expounding the path of Devotion (Bhaktimarga) from Dasakam 91
onwards. This metre has also been used in Dasakam 34 and 35,
giving a highly condensed account of the Lord's incarnation as Shri
Rama, and in many other places (mostly selected verses) in
conformity with the context.
3. The dancing "Totaka" and the lilting "Drutavilambita" metres in
Dasakams 55 and 56, respectively to describe Krishna's dance on
the hood of the serpent Kaliya. In these dasakams, the reader gets
a graphic picture of the dance, unsurpassed in poetic beauty and
grandeur, with a fascinating, onomatopaeic harmony between sound
and sense. The Drutavilambita metre is employed also in many other
dasakams, notably Dasakams 78 and 79, describing Rukmini's
yearning for union with her Lord, and her wedding.
 4. Last, but not least, the "Kusumamanjari" metre, with its charmingly
billowing pace of alternating long and short syllables, used in the one
and only Dasakam 69, to depict the Rasakrida. Every one of the
eleven verses in this dasakam, is outstanding for its magnificent
resonance through the blending of sound and sense, between the
words and the action. Verse 4 is especially so, where the poet
creates a marvellous word-picture before the reader's eyes, of the
harmonious intertwining and blending of the notes flowing from
Krishna's flute with the lyrics and music, the rhythmic beat of the
percussion instruments, the tender footfalls and handclaps of the
dancers and the jingling of the bracelets worn by the Gopis.

The Narayaneeyam in unique in the conversational mode employed by the

poet, of addressing the Lord in the second person from start to finish.
According to legend, after setting out certain important incidents, or
making bold assumptions of the reason for them, Bhattathiri waited for
confirmation of the accuracy by a gesture from the Lord, as an 'asariri'
(disembodied voice) or nod of the head, before proceeding further. Two
such incidents may be seen in Dasakam 35, Verse 3, and Dasakam 45,
Verse 9.

In Dasakam 35, Verse 3, while narrating the successful mission of

Anjaneya to Lanka and his return with the crest-jewel of Shree Seetha,
the poet concludes by saying "Mouliratnam dadau te" (Gave Thee the
crest-jewel). Immediately, a doubt arose in his mind whether he had not
erred in saying "Thee" instead of "Rama", and he looked up at the Lord's
image. Legend has it that the Lord nodded His head, confirming that it
was indeed HE in the outward form of "Rama", to whom Anjaneya handed
over the crest-jewel.

In Dasakam 45, Verse 9, Bhattathiri makes a bold assertion that the Lord
resorted to taking the curd or butter and ghee by stealth from the
homes of the Gopis (cowherd women), instead of begging them for these,
after his humiliating experience of begging for paces of land from Bali in
the Vamana incarnation. It is said that through the voice of an "asariri"
(disembodied voice) emanating from the garbhagriha (Sanctum
Sanctorum), the Lord approved of the poet's assumption.

(Similar instances of direct communication with, and confirmation by the

Lord, have been cited in relation to the composition of "Geetagovindam"
by Jayadeva.)

Yet another attractive feature of this mini-epic is the depiction of

"Rasam" (flavour, essence, sentiment or mood), usually eight or nine in
number, which heighten the impact of narration. A few examples are given
below:

 Raudram - Fierce, terrible, wrathful or awesome aspect or mood.

o The Varaha Incarnation, Dasakam 12, 13
o The Narasimha Incarnation, Dasakam 25
 Sringaram - Love, amorousness, eroticism
o The Mohini Episode, Dasakam 29
o Rasakrida (build up to the Rasaleela and the
Rasaleela), Dasakams 65 to 69
 Veeram - Heroism, Valour, Prowess
o Slaying of Kumbhakarna and Ravana, Dasakam 35
o Parasurama's decimation of Kshatriyas, Dasakam 36
o Slaying of Kamsa and his henchmen, Dasakam 75
o Slaying of Narakasura, Dasakam 81
o Conquest of Bana (and fight with Siva and his Bhoota
hordes), Dasakam 82
o Slaying of Shishupala, Dasakam 85
o Slaying of Salwa and Dantavaktra, Dasakam 86
o Krishna's rushing at Bheeshma with the Sudarshana Chakra in
hand, as if enraged, during the Mahabharata war, Dasakam 86
o also, the Lord entering the womb of Uttara (assuming the size
of a big toe), in order to protect the embryo from the
Brahmashirsha missile released by Ashvatthama to
exterminate the Pandava clan, Dasakam 86.
 Hasyam - Mirth, amusement, jest, derision, ridicule
 o Duryodhana's perplexity and confusion between firm floor and
water, while traversing the audience hall full of illusions, built
by Maya for the Pandavas, and the derisive laughter of
Draupadi and Bheema at Duryodhana's discomfiture, Dasakam
85
o The account of Lord Siva taking to his heels to escape from
Vrikasura who was pursuing him to test the efficacy of the
boon granted to him by Siva, and the derisive words spoken by
the Lord (in the guise of a clever Brahmachari), while
accosting Vrikasura and bringing about the latter's (self-
)destruction, Dasakam 89
 Karuna - Compassion, pathos, tenderness
o Krishna's departure from Brindavan for Mathura, leaving the
Gopis forlorn, Dasakam 73
o Uddhava's errand to Gokulam to console the Gopis, Dasakam
76
o The wailing of the brahmin over the repeated loss of his sons
immediately after birth, in the Santanagopalan episode,
Dasakam 88.
 Adbhutam - Wonder, astonishment, miraculousness
o The Lord's growth from the form of a dwarf to His gigantic
Cosmic form encompassing all the worlds with two steps of His
feet, in the Vamana incarnation, Dasakam 31
 Bhayam - Fear, alarm, fright, terror
o Kamsa's panic reaction to the divine voice ("asariri")
foretelling his death at the hands of Devaki's eighth son, and
his manifold acts seeking to avert his doom, enventually
proving futile and ending in his death, Dasakam 37 onwards up
to Dasakam 75.

The Narayaneeyam adheres closely to the Bhaagavatham in its structure

and sequence of narration. Like the larger epic, this is also subdivided into
Skandams (Cantos). The first nine skandams of the Bhagavatham are
reflected in the same number of skandams in the shorter work, spanning
Dasakams 1 to 36. The tenth skandam, spanning Dasakams 37 to 90,
corresponds to the tenth skandam of the Bhagavatham. The eleventh
skandam, Dasakams 91 to 97 (Verse 4) covers the entire matter contained
in the eleventh skandam of the Bhagavatham. Verses 5 to 10 of Dasakam
97 contain an account of Sage Markandeya and his vision of the Lord in
the form of a child of indescribable beauty and charm lying on a banyan
leaf, with its toe placed in its mouth, floating on the waters of the deluge.
Dasakam 98 incorporates the poet's meditation on the Lord's abstract,
incorporeal (Nishkala or Nirguna) form and his supplications to the Lord.
Dasakam 99 incorporates the mantras of the Rig Veda in praise of the
glory of the Lord. Dasakam 100 is the climax of the whole Narayaneeyam,
wherein the poet gives a glowing and graphic description of the dazzling
vision of the Lord which was vouchsafed to him on the 100th day. The
head-to-foot picturisation of the Lord in this Dasakam is unrivalled for
its beauty, grandeur and vividness. Its perusal uplifts the reader to
heights of devotional ecstasy. In the eleventh (and final) stanza of this
Dasakam, the poet explains the rationale of the title, Narayaneeyam, by
saying that it is apt in two senses, namely, the central theme which is
Lord Narayana, and the narrator whose name is also Narayana. The
concluding words of this stanza "ayurarogyasaukhyam" constitute a code,
which has been decoded by scholars to indicate the date of the work.

Conclusion

To sum up, the Narayaneeyam of Narayana Bhattathiri, which presents to mankind

in general and to the Supreme Lord's devotees (Vaishnavajana) in particular, an
encapsulated version of Sage Vyasa's mammoth epic, Srimad Bhaagavatham. setting
out its distilled essence in easily assimilable form and simple idiom, is, at once, a
work of outstanding literary and artistic merit, which is eminently suitable for
daily recitation for attaining mental peace and tranquillity in this world of multiple
tensions, pulls and pressures. While it abounds, from beginning to end, in verses of
unsurpassed beauty and devotional fervour, three Dasakams are worth highlighting
as the most outstanding; these are: 1. Dasakam 69 - Rasakrida - for its rhythmic
flow of verses creating a charming picturisation of the Rasa Dance establishing the
supremacy of selfless, all-encompassing and undemanding love of the individual soul
(jeeva) to the Cosmic soul (Brahman) in the form of Krishna, over all other modes
for the attainment of Liberation. 2. Dasakam 98 - Adoration of the Supreme
Brahman - for its philosophic content. that is to say, quintessence of the profound
Vedantic concept of the non-dual Brahman, adumbrating and transcending the
SPACE-TIME continuum and as EXISTENCE-CONSCIOUSNESS-BLISS
ABSOLUTE (SAT-CHIT-ANANDA) as the sole Reality and all else in this
phenomenal universe as ephemeral and illusory. 3. Last but not least, Dasakam 100 -
Head-to-foot description of the Lord - which represents the very peak of
devotional fervour and its eventual fulfilment.

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Introduction to Narayaneeyam
The Narayaneeyam, a great Sanskrit epic, is a brilliant condensation in
1036 shlokams (stanzas) of the great epic Bhaagavatham composed by
Sage Vyaasa. The Bhaagavatham describes the entire Hindu beliefs and philosophy
of the origin of the Universe and the purpose of human existence. It also
describes the various incarnations of the Supreme Being to re-establish
righteousness and order in the Universe from time to time. According to Hindu
thought, all beings are subject to continual cycles of birth-life-death-
rebirth. Bhaagavatham contains advice and instructions for human beings to
achieve Moksha (Salvation) to break out of this eternal cycle and attain Union with
the Supreme Being at His Lotus-Feet

The central theme of Narayaneeyam is Bhakti (devotion). In literary merit,

the Narayaneeyam holds pride of place in Sanskrit poetry, at par with the works of
Kalidasa and other eminent poets. It is divided into 100 Dasakams, most of which
comprise ten shlokams each. (More details.....)

This devotional epic was composed by Melpathur Narayana Bhattapada (also

referred to as Bhattathiri) in the ninth decade of the 16th century A.D. Scholars
have reckoned, with the aid of internal evidence in the epic
itself, that the Narayaneeyam was completed on the 28th day of Vrischigam month
of the Malayalam (Kollam) Era 763 (approximately November-December, 1587
A.D.).

According to legend, Bhattathiri acquired the dreaded condition of

paralysis, voluntarily, by praying to the Lord Krishna, for transferring the
disease to him from his teacher of Sanskrit grammar, Achyuta Pisharoty,
who had been suffering from it, thereby relieving his Guru from the
ailment. Subsequently, Bhattathiri had himself carried to the temple of
Lord Krishna at Guruvayur, and lying prostrate before the Lord, he sought
shelter and relief at the Lord's Lotus-Feet.

Every day, Bhattathiri composed one Dasakam (generallly consisting of

ten shlokams). The final verse of every Dasakam concludes with an invocation to
the Lord of Guruvayur to cure him of all his illnesses and protect him from all
afflictions and sorrows.

On the hundredth day, he is believed to have had a

dazzling Darshan (Vision) of the Lord himself in Saakara (material) form
and was cured of his ailment. In the final (100th)Dasakam, Bhattathiri
has given a graphic head-to-foot description (in picturesque language) of
the Lord's form as Venugopala , and of his wonderful, soul-stirring and
ecstatic experience.

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Sankalpa Mantras for Parayanam Contact

( By P.R.Ramachander )

The Sankalpa Manthras for doing Parayanam of Useful articles

Narayaneeyam is given below along with Personality
meaning:- Reiki
Real Estate
1.Shuklam Baradaram Vishnum, Sasi Varnam Chatur Bhujam,
Prasanna Vadanan Dyayet, Sarva Vignoba Santhaye <>

Dressed in white you are, Stories

Oh, all pervading one, Toastmaster
And glowing with the colour of moon.
Vaastushastra
With four arms, you are, the all knowing one
Free MP3
I meditate on your ever-smiling face,
And pray, “ Remove all obstacles on my way Results
AutoCAD Blocks
2.Hold both Nostrils with Thumb and the little and third finger of the 3D Max textures
hands and recite the following Manthra:- Printer Drivers
Entrance Test
Om Bhoo IAS Topper
Om Bhuva
Ogum Suva Public Speaking
Om Maha Shopping
Om Jana Study Abroad
Om Thapa Translation
Ogum Sathyam Type any language
Om Tatsa vithur varenyam Bargo devasya dhi mahi dhiyo yona Tourism
prachodayath Useful articles
Om Apa Useful Tips
Jyothj rasa
Journals
Amrutham brahma
What is New?
Bhoorbuvasuvarom
Touch the ears three times saying Admission tests
Om, Om , Om Biography
Courses & careers
Religious talk
3.Mamo partha samastha durithakshaya dwara , Sri Parameshwara
preethyartham , Sri Guruvayu puresa prasada sidhyartham , Dharamartha
kama moksha chathurvidha phala purushartha sidhyartham , Ishta
kamyartha sidhyartham , sakala san mangala vapthyartha Aroogya druda
gathratha sidhyartham , Bhagawat charanaravinde Achanchala nishkapata
Bhakthi sidhyartham , Sri man Narayaneeya Parayanam karishye.

For removing all problems and pains in life, for making Lord
Parameshwara happy , For getting the blessings and grace of Lord of
Guruvayur , for getting the four types of blessings* , for getting my
wishes fulfilled, for getting all type of good blessings , For having a
healthy body , for getting unshakable faith in the lotus feet of God , I read
the book Narayaneeyam.
*Dharma, wealth, desires and salvation

4.Narayana, Narayana, Narayana

5.Dhyanam

Peethambaram kara virajitha Chakra sankha,

Koumodhakee sarasijam Karunaa samudhram,
Radha sahayam Athi Sundara mandha hasam,
Vathalayesam anisam hrudhi bhavayami.

I ceaselessly meditate on the Lord of Guruvayur,

Who wears yellow silk and holds in his hands,
Wheel , conch , the mace called Koumodhaki,
And lotus flower and is an ocean of mercy,
Helper of Radha and has a very pretty soft smile. 1

Mookam karothi vaachaalam , pangum langayathe girim,

Yath krupathamaham vandhe paramananda madhavam.

I salute that Madhava of infinite joy who is merciful,

And makes a dumb one speak and make a lame one cross a mountain. 2

Vande Nanda Vruja sthreenaam pada renum abheeshnasaa,

Yaasaam hari kadho geetham punathi bhuvana thrayam.

I salute the dust of the feet of ladies of Nanda’s Vruja desa,

Where they sing the stories of Vishnu and purify the three worlds. 3

Komalam koojayan venum shyamaloyam kumaraka,

Veda vedhyam param brahma bhasathaam puratho mama.

The slightly blackish lad sings in the flute beautifully,

And that divine one who is worshipped by the Vedas,
Appears as the shining Supreme God to me. 4

Yam Brahma varunendra maruthsthuthvanthi divyai sthavai,

Vedai ssangapada kramopanishadai gayanthi yam samaga.

He is being worshipped by divine prayers,

By Brahma , Varuna, Indra and the maruths,
And the Vedas and Upanishads also sing about him. 5

Dhayanavasthitha thath gathenamanasa pasyanthi yam yogino,

Yassyastham tha vidhu suraasura gana devaya thasmai nama.

My salutations to him who is seen by great sages,

W hen they are completely absorbed in him,
And who is worshipped by all the by the,
Humans, devas , asuras and bhootha ganas. 6

Krushnaya Vasudevaya Devaki nandanaya cha,

Nanda gopa kumaraya Govindaya namo nama.

Salutations and salutations to Krishna son of Vasudeva,

And also the cowherd who is the son of Nandagopa. 7

After reciting this prayer the text of Narayaneeyam has to be read. After
completing it, the following prayer has to be chanted:-

Swasthi prajabhya paripalayantham,

Nyayena margena maheem maheesa,
Gobrahmanebhyo shubhamasthu nithyam,
Loka samastha Sukhino bhavantu.

Let good things occur to the king of the country,

Who looks after his people well, in the path of justice,
Let Cows* and Brahmins** have a pleasant life daily,
Let all people of the world have a very pleasant life. 1
*wealth was measured by cows in those times
** People in search of God

Kale varshathu parjanya,

Prauthwee sasya shalini,
Deso yam kshobha rahitha,
SAjjana santhu nirbhaya.

Let the monsoon be timely and plentiful,

Let earth be covered with vegetation,
Let the country live without problems,
And let good people never have fear. 2

Aputhra puthrina santhu,

Puthrina santhu pouthrina,
Adhana sadhana,
Santhu jeevanthu sarada satham.

Let sonless people have son,

Let people with son have grand sons,
And let people who are poor or rich,
Live and see one hundred autumns. 3

Thwameva matha cha pitha thwameva,

Thwameva bandhuscha sakha thwameva,
Thwameva vidhya , dravinam thwameva,
Thwameva sarvam mama deva deva.

You are my mother , you are my father,

You are my relation, you are my friend,
You are my wisdom, You are my wealth,
Oh God of Gods, you are my everything. 4

Kayenavacha Manasendryrva budhyatmanava prakrithai swabhawat,

Karomi yadyat sakalam parasmai narayanayethi samarpayami

I offer all that I do,

To :Lord Narayana,
Whatever I do with my body,
Whatever I do with my mind,
Whatever I do with my brain,
Whatever I do with my soul,
And whatever I do with natures help 5
Hare Rama, Hare Rama, Rama, Rama Hare Hare
Hare Krishna, Hare Krishna, Krishna , krisha Hare Hare 6

Narayana, Narayana, Narayana, Narayana,

Narayana, Narayana, Narayana, Narayana,
Narayana, Narayana, Narayana, Narayana,
Narayana, Narayana, Narayana, Narayana 7

Narayaneeya Haarathi
( By P.R.Ramachander )

(These are to be chanted by all members together after completing the reading of Narayaneeya. I have
taken this from the book Sri Narayaneeyam , a Sanskrit-Tamil book published by Giri Traders, Mumbai.)
 Refrain
Jaya Jagadeesha hare Krishnaa,
Jaya Jagadheesa hare,
Jaya Guru marutha mandhira natha,
Jaya Jagadhesa hare Krishna.

Victory to the Krishna the Vishnu , who is Lord of the universe,

Victory to Vishnu the Lord of the universe,
Victory to the lord of the temple of Guru and wind god,
Victory to the Krishna the Vishnu , who is Lord of the universe,

Kinkini pada kamala Krishna,

Kankana kara yugala,
Kunkuma pangila Vaksha sthala,
Kuvalaya thala neela Krishna, (Jaya Jagadheesha…)

Oh Krishna with anklets making jingling sound,

Who has armlets on both hands,
Who has chest with saffron marks,
Oh Krishna, who is like the blue lily. (Victory to Krishna…)

Sadhi nava neetha haraa Krishna,

Tharuni Chitha hara,
Dhayaya palaya Dhamodhara Hara,\
Thulai dhama dhara Krishna. (Jaya Jagadheesa…)

Oh Krishna who used to steal curds and butter,

Who used to steal hearts of lasses,
Please take care of me, Oh God with a rope tied in the belly,
Oh Krishna who can be tied by the ocimum plant (Victory to Krishna…)

Govardana dharana Krishna, Gopi Jana Ramana,

Komala pallava Sundara charana,
Kokila Madhu vachana Krishna (Jaya Jagadheesa…)

Oh Krishna who carried Govardhana ,

Who is the darling of Gopa women.
Who has feet as soft as a tender leaf,
Oh Krishna whose words are as sweet as honey (Victory to Krishna…)

Nanda Kumara Hare Krishna,

Narada gita gunaa,
Narayana vara Bhatathiri krutha,
Sthuthivara Shubha phaladha Krishna. (Jaya Jagadheesa…)

Oh Krishna who is the son of Nanda Gopa,

Who enjoys songs sung by sage Narada,
Oh Krishna who blessed ,the prayers,
Composed by the great Narayana Bhattathiri, (Victory to Krishna….)

Poonthana Bhakthi Priya Krishna,

Vrundavana rasika,
Premika bhavuka mandala poojitha,
Pada Saroja yuga Krishna. (Jaya Jagadheesaa…)

Oh Krishna who liked the devotion of Poonthanam,

Who enjoyed the Vrundavan,
Who is worshipped by enraptured sweethearts,
Oh Krishna who has two feet like lotus. (Victory to Krishna…)

NARAYANEEYAM LIST/DETAILS
Sampoorna Narayaneeyam List

List of Pooja items required for performing Srimad Bhagwatha Sampoorna Narayaneeyam

Sampoorna narayaneeyam

POOJA ITEM LIST:

Turmeric
Kumkumam
Chandanam
Vebuthi
Betel leves 200 Nos
Betel Nut – 2 Packet
Kissmiss – 50 grms
Kalkandu – 100 Grms
Coconut – 3 Nos
Avil – 250 grms
Jaggery 500 Grms
Wheat – 1 Kg
Camphor – 125 Tablets
Bananna – 5 Dozen
Nendra Bananna – 500 Grms
Ellaichi Bananna – 500 Grms

Flowers:

Tulsi – 10 Bundles
Shewanti – 1 Kg
Rose Petals – 2 Kg
Sambangi – 1 Kg
Lotus – 1 No.
Kadambam – 10 foot

Malai (Haram):

Red Flower – Narasimha Avataaram

Normal Malai – Rama Avathaaram
Tulsi Malai – Krishna Avathaaram
2 Nos. Normal Malai – Rukmani Swayamvaram

NEIVEDHYAM DETAILS:

Neivadhyam Item Time of Neivedhyam

Trimaduram 1st Chapter
Paanagam 25th Chapter – Narasimha Avataaram
Nei Appam 27th Chapter – Koorma Avataaram
Nendra Bananna 30th Chapter – Vaamana Avataaram
Chitra Annam 34th Chapter – Sree Rama Avataaram
Fresh Butter 37th Chapter – Sree Krishna Avataaram
Milk – Sree Krishna Avataaram

Elaichi Bananna – Sree Krishna Avataaram

Pal Paayasam – Sree Krishna Avataaram

Wheat (to be put in small packets along with Re.1 coin as per number of people present at that time) – Sree Kri

All cooked Food (Meals) 51st Chapter - Vanabhojanam

Nei Payasaam 78th Chapter – Rukmini Swayamwaram

2 Nos Coconuts applied with Turmeric Powder – Rukmini Swayamwaram
Bananna, Vethilai, Paku, Manjal, Chandanam – Rukmini Swayamwaram
Kumkumam, 2 Normal Malai, Cheeru Vakaikal i.e – Rukmini Swayamwaram
Ladu Kutti/Sweetsa – optional Ladfu, Murukku, – Rukmini Swayamwaram
Neiyappam, Thiratipal etc. – Rukmini Swayamwaram
Any new cloth – e.g. saree, dress material etc. – Rukmini Swayamwaram
 Avil and Jaggery 87th Chapter – Kuchela-upakyanam

Chundal 100th Chapter

Subham

Sampoorna Narayaneeyam is recited as follows: 1. Perform a simple puja to Vinayaka seeking blessings to rem
completion of the Narayaneeyam. Neivedyam is Panchamrutham 2. Start with recitation of the Vishnu Sahasran
way to the "Phala shruthi" in the end. 3. My guru always recites the Lakshmi Ashtotaram immediately followin
Narayana Kavacham. 4. Start with Narayaneeyam Dhayana slokams as taught to
you by a guru or as learnt by you. 5. Start recitation of the Narayaneeyam with dasakam 1. From here on I will
normally made following the completion of a particular dasakam. I would like to point here that although it is c
conducting a Sampoornam, it is not always a must to do so. Lord Guruvayoorappan will be pleased with the eff
coming to the recitation each brings one neivedyam along with flowers as an offering to the lord. Also note tha
do offer a flower as an offering to the lord. 6. Read continously through Dasakam 25 (Narasimha Avataram). N
Avataram). Neivedyam is Neiappam. 8.
Dasakam 29 (Mohini Avataram). Neivedyam is Ellu (Seasame) powder. 9. Dasakam 30 (Vamana Avataram). N
Avataram) part 1. Neivedyam is cut bananas into pieces, mised with sugar. 11. Dasakam 35 (Rama Avataram)
12. Dasakam 38 (Krishna Avataram). Neivedyam is paal payasam, distribute vara danam (coins and barley), Ca
childhood pranks). Neivedyam is Butter. 14. Dasakam 51 (Vanabhojanam). Neivedyam is Rice and paruppu (le
78 (wedding of Krishna and Rukmini). Neivedyam is paruppu thengai, 2 coconuts smeared with turmeric, Nei p
a garland made of fresh flowers. 16. Dasakam 82 (Fight with Banasura, a devotee of lord Shiva). Neivedyam is
assembled folks. 17. Dasakam 87 (Kuchela episode). Neivedyam is Avil and jaggery. 18. Dasakam 100 (Descr
Chundal. Thus, ends the recitation of the Sampoorna Narayaneeyam. This is followed by recitation of the Mang
praying to god for AYUR AROGHYA SOUKHYAM.
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