Desika Sahasranama

Index

Sankalapa Suryodaya

Swamy Desikan blessed us with an allegorical drama named
Sankalpa SooryOdhayam . At one time , a distinguished Adhvaitha
Scholar by the name , SrI KrishNa Misrar engaged Swamy Desikan
in Vaadham and was defeated convincingly . At the time of taking leave ,
this Scholar left the palm leaves (TaaLa Kosam ) of  a Sanskrit Naatakam
that he had created with the name of "PrabhOdha ChandrOdhayam "and
requested Swamy Desikan to browse it . Swamy  Desikan did not read it
but created a Naatakam of his own named "Sankalpa SooryOdhayam ".
Sri KrishNa Misrar was astonished , when he looked over Swamy Desikan's
Naatakam . Sudarsana Soori and other Sri VaishNava AchAryAs looked at
both the Naatakams and recognized the soundness and superiority of
Swamy Desikan's Naatakam to defend VisishtAdhvaitha darsanam . They
also understood that Swamy Desikan's avathAra VisEsham enabled Him to
write His own response without even looking at KrishNa Misrar's Naatakam
as a response to KrishNa Misrar's  defense of adhvaitham in fine detail . 
PrabhOdha ChandhrOdhayam was intended by the author to describe and
defend Adhvaitha Tatthvams . Sankalpa SooryOdhayam refutes Adhvaitha
Tathvams and defends our SiddhAntha Tatthvams . 
 
Sankapa SooryOdhayam is a drama in 10 acts . The twin themes of
Sankalpa SooryOdhayam are : (1) SamsAric darkness is banished only by
the SooryOdhayam in the form of BhagavAn's sankalpam (2) How to gain
Bhagavath anugraham .
 
Swamy  Desikan blessed this Sri Sookthi for the benefit of  aasthikAs ,
who might find it difficult to grasp the fine points about our SiddhAntham .
Swamy describes his target group that he is helping as " Lalitha ManasAm
preethyai ) . It is thus in his own words for the benefit/upliftment of those
who might have different ruchis and awareness of our SampradhAyic
doctrines . He refers himself as a poet , who out of compassion for
the latter group , composed this Sri Sookthi in the easily assimilable
form of a drama ( KavinA KaaruNikEna kalpithOasou ) . Swamy Desikan
blessed us with this Naatakam to wet the appetite as it were of those ,
who may not study our Saasthrams and enter into discussions (VichArams) .
 
In Adhvaitha Matham , the contention is that Jn~Anam is the direct upAyam
for Moksham . In defense of this view , KrishNa Misrar named his Naatakam
as " PrabhOdha ChandhrOdhayam " to indicate that  the Jn~Ana chandrOdhayam
is the direct MokshOpaayam  . ChandhrOdhayam however can not banish
the enveloping darkness fully. Only SuryOdhayam (Sunrise) can scatter
the darkness fully . Further , Jn~Anam alone does not and can not grant
moksham directly . It is BhagavAn , who is pleased with the observance of
Jn~Ana upAyam banishes the darkness of SamsAram and grants Moksha Phalan .
Therefore , Swamy Desikan chose the title of "(Bhagavath ) Sankalpa  SooryOdhayam "
for this one and only Naatakam that he blessed us with . This meaning comes out
in the first slOkam of Sankalpa SooryOdhayam itself . This Naataam is therfore 
famous by the name itself .
 
Thirukkudanthai Desikan , the author of "SwAmy Desika Sahasra Naamam " included 
25 naamAs ( 681  to 705) to highlight the content of "Sankalpa SooryOdhayam ". We will
study together those NaamAs now and salute Swamy Desikan through these 25 NaamAs .
We are following closely the Commentary of Dr. V.VasudEvAcchAr Swamy of
the Famous NaavalpAkkam village . 
 
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(681) (PraNavam) Sankalpa SooryOdhayadha: krutha pArakya NaaDakAya Nama:
 
(Meaning) : Salutations to that AchAryan , who lowered the status of the other NaaDakam
through the construction of Sankalpa SooryOdhaya NaaDakam .
 
(682) (PraNavam ) Sankalpa SooryOdhya- adhyapadhya vyaktha sva-vaibhavAya nama:
 
(Meaning) : Salutations to that SrEshta AchAryamn, who through the first set of slOkams
(adhyAni PadhyAni) of his NaaDakam highlighted his Vaibhavams such as avathAram
in ViswAmithra Gothram and as the amsam of ThiruvEngaDamudayAn's bell (GhanDaa) .
 
(Comments ) : The tradition in Sanskrit dramas is to have the recitation of Naandhi
SlOkam first and for the SoothradhAran of the Naatakam to introduce the Kavi
and his Naatakam to start the play . The Naataka abhinayam will commence
thereafter . In the observance of this tradition , there are a few slOkams that serve
as eulogies on the Vaibhavam of the creator of this Naatakam and the uniqueness
of Sankalpa SooryOdhayam as a SrI Sookthi .
 
(683) (PraNavam) chAthra- Bhaddha dhvajOdhbhAsi dasasA soudha maNDalAya Nama:
 
(Meaning) : Salutations to that AchAryan , who planted the flags of victory   in all
the ten directions ( Circles of Palaces)  through His own sishyAs .
 
( Commentary ) :  The SoothradhAran announces at the beginning about the Vaibhavam
of the Naataka KarthA , Swamy Desikan this way : " chAthra-jana-niBaddha jaithra-dhvaja
prasAdhitha dasa disaa soudha: " (He established the victory flag over Para Matha Vaadhins
in all directions through His sishyAs ) .
 
Swamy Desikan's PradhAna sishyar was PeraruLALa Jeeyar .He defeated a MahA VidhvAn
from Northern India in Vaadham and recieved the title of "Brahma Tantra Svatantra Jeeyar "
from Swamy Desikan Himself . The same distinguished sishyar went to Kaancipuram
and defeated a PaNDithar from Kaasi in a debate . KumAra VaradAcchAr Swamy ,
the son of Swamy Desikan and another important sishyar of Swamy Desikan defeated
adhvaithins in Tamil Naadu in debates .KunAra VaradAcchAr's  title and salutation
from this victory is : " SrimallakshmaNa yOgIndhra siddhAntha vijaya dhwajar " .
 
(684) (PraNavam) Sri Vaikunta vinOdhinE Nama:
 
(Meaning) : Salutations to the AchAryan with the name of "Vaikunta VinOdhi" or one who
pleases SrI Vaikunta NaaTan .
 
(Commentary ) : Swamy Desikan gives Himself the name of Vaikunta VinOdhi through
the speech of SoothradhAran : " The many ParamaikAnthis from dhivya Desams
assembled here have commanded adiyEn to create a Naatakam for removing the SamsAric
afflictions to gladden the minds of rasikAs . adiyEn is the son of SanthOsha Paalakar ,
who is the disciple of the Para Matha UpAdhyaayar ( Naatya Saasthra AchAryar) ,
SanmArga Vardhanar . adiyEn bears the commands of the ParamaikAnthis on my head 
in enacting this Naatakam . Thus , Swamy declares that he is creating this Naatakam 
at the request of ParamaikAnthis and selects the name of Vaikunta VinOdhi ' for himself 
as the author of this Naatakam . 
 
(685) (PraNavam) Sathkavi Naataka lakshma dhrusE nama:
 
(Meaning) : Salutations to that AchAryan , who was conversant with the lakshaNams
(attributes ) of good poets and the features of good dramas .
 
(Commentary ) : Swamy Desikan made Saraswathy (Speech/Vaak ) happy with 
the exquisite use of rasams and alankArams in this drama and got the title of Kavi
( Sa Kavi: kaTyathE srashtA ) . 
 
SoothrakAran states further : In Sankalpa SooryOdhaya Naatakam , the kaavya 
lakshaNams are abundantly present .In a manner acceptable to rasikAs , rasa 
paripOsham ( the wealth of rasams) are seen everywhere . The author is none
other than the abode of the wealth of VidhyA , Kavi SrEshtar , SrI VenkatEsa Kavi .
This thirunAmam is based on the 21st and 22nd SlOkams of Sri Sankalpa SooryOdhayam .
Swamy Desikan's Naatakam is an Utthama Naatakam filled with Naadaka lakshaNams ,
Saantha rasam and serves to explain the Veda - VEdAntha arthams in the form of a story .
 
(686) (PraNavam) SaanthyEka rasa bhAvaj~nAya nama:
 
(Meaning) : Salutations to that AchAryan , who knew the existence of
Saantha Rasam .
 
(Commentary ) : In Kaavyams , the nine rasams are famous. The nine are :
" SrungAram , Haasyam , KaruNaa , Roudhram , Veeram , Bhayam , Bheepathsam ,
adhbhutham and Saantham " . Some NaatakAchAryAs do not accept Saantham as
a rasam in their counts and recognize only eight rasams . In Swamy  Desikan's
Naatakam , Saantha rasam is PradhAnam . Swamy responds through the statement
of SoothradhAran that those who reject Saanthi as rasam do not fully understand
Sage BharathA's teachings on Naatya Saasthram . He concedes that it is not easy
to place Saanthi rasam as PradhAna rasam and perform abhinayam for it . Swamy
holds that Saanthi rasam alone can remove the sorrows of the heart .
 
(687) (PraNavam) SrungArAdhi rasadhvagnE nama:
 
(Meaning) : Salutations to that AchAryan , who rejected rasa bhAvams 
like SrungAram .
 
(Comments) : Swamy Desikan felt that rasams like SrungAram are not
the best . He viewed Saantha Rasam as the highest rasam . SrungAra rasam
is not ideal for adoption to perform in the middle of many . Veera rasam
celebrates one being defeated by the other . Adhbhutha rasam creates
incredible things for the sake of enhancing our sense of wonderment .
The rasams like Bheepathsaa are insignificant (alpa saaram) rasams .
Hence Swamy Desikan holds that Saantha rasam is the best among
the nava rasams .
 
( 688) (PraNavam) GouDa Vaidharbha PaanchAla mAlAkAra vachOdharAya Nama:
 
(Meaning) : Salutations to that AchAryan , who had vachanams in his play ,
which were like garlands made up of Goudam , Vaidharbham and PaanchAlam .
 
(Comments) : GouDee Rithi stands for very soft sabdhams in the slOkams.
Vaidharbha Reethi stands for hard and difficult sabdhams ( KaDina Sabdham).
PaanchAli reethi stands for the sabdhams in between the GouDee and Vaidharbha
Reethis . SlOkams constituted by these three reethis are like garlands made of
these sabdhams .
 
(689) (PraNavam) Paathrikrutha VivEkAdhi guNAdhishtAthru dhaivathAya nama:
 
(Meaning): Salutations to that AchAryan , who etched as actors and actresses ,
the adhishtAna dEvathais of guNams like VivEkam .
 
(Commentary ) The Naataka Katha Paathrams break up into the two classes of
aathma and anAthma guNams of the human beings. One may question as to how
one can cast guNams ( non-chEtanams) as Naataka Paathrams . Swamy answers :
" There are dEvathAs for the guNams like VivEkam . It is those dEvathAs behind
the guNams that are invoked as Paathrams and not the guNams themselves ."
 
In SvEtha dhveepa kingdom , the King is VivEkam (n) . The queen is Sumathy.
SEnApathy(the Commander inchief ) is VyavasAyam . Saarathy (Charioteer) is Logic
(Tarkam ) . GuNams like KshAnthy , Virakthy are on the side of VivEkam(n).
In the MaayA RaajadhAni/kingdom  , Moham is the king.The queen is Dhurmathy .
Kaamam , Darpam(ahankAram) , KrOdham (anger) are on the side of king Moham.
Thus Swamy Desikan made use of guNams as the cast .   
 
(690) Sandhi panchaka samvEsa NaaDakasTAna kOvidhAya Nama: 
 
(Meaning) : Salutations to that AchAryan  , who used the five sandhis
following Naataka Saasthra grammar .
 
(Commentary ) : Great kavis will establish the five sandhis in srEshta
Naatakams . The play will follow the PradhAna story line . The parts of nAtakam
will focus on the individual sub-stories needed to be assembled in support of
PradhAna story . These sub-stories are known as Sandhis . When Bheejam ,
Bindhu , aarambham , Prayattham unite , Sandhi results .
 
Swamy Desikan has observed brilliantly these five sandhis in his Naatakam :
 
(a) First angam( Bheeja aarambha samanvayam ): Here , VivEkan expounds on
his matham , which is for gaining the Moksham by Purushan . This is Mukha sandhi .
 
(b) Second angam ( Prathimukha sandhi  ) : Bhindhu-yathna samanvayam ; the refutaton
of Para Mathams that stand in the way of one's Moksham.
 
(c) Third to Eight angams( Garbha Sandhi ): This is known as PadhakAprApthyAsA 
samanvayam . This deals with the destruction of the enemies and realization of 
desire in MOksham .
 
(d) Ninth angam (avamarsa Sandhi) : This is known as Prakaree niyathAbhdhi samanvayam .
The determination (nirdhAraNam ) after examination (VichAram) of the realization of
the Phalan .
 
(e) Tenth angam ( Nirvahana sandhi) : This is known as Kaarya-PhalAgama sandhi .
The gaining of Moksha Phalan is the objective here . 
     
691) (PraNavam) Sarva SankaDa vidhvamsi visankaDa maneeshithAya Nama:
 
(Meaning) : Salutations to that AchAryan , who had the intellectual power 
to address all dilemmas and difficulties related to VisishtAdhvaitha tatthvams .
 
(Commentary ) : This SoothradhAran's vaak : " Sarva Tantra SankaDa prasamana
visankaDa mathi: " . Swamy Desikan's sharp intellect as a Sarva Tantra Svatantrar
in defeating the Para Mathams is saluted here .
  
692) (PraNavam) Vimsa varshAdheetha sarva vidhyA santhathi bhAsurAya nama:
 
Salutations to that AchAryan , who mastered all vidhya paramparais by the age of Twenty .
 
693) (PraNavam) thrimsathvAra srAvitha Srimacchaareerika bhAshyakAya nama:
 
( Meaning) : Salutations to the AchAryan , who taught the SrI BhAshyam
for SaarIraka Saasthram thrity times in his life .
 
(Commentary ) :     SoothradhArar says in this context : " Thrimsath Vaaram srAvitha-
SaarIraka bhAshya: ". He performed KaalkshEpam for his sishyAs on SrI BhAshyam
thirty times during his life by the time he created Sankalpa SooryOdhayam . 
 
694) (PraNavam) YatheendhrArpitha dhurvAdhi vijayArTa pavithrakAya Nama:
 
(Meaning) : Salutations to that AchAryan , who adorned the Pavithram (ring made of
Dharbam ) given by YathirAjar in his hand for winning over the opponents belonging to
Para Mathams .
 
(Commentary ) : In Sankalpa SooryOdham , the sishyan is Swamy Desikan and 
the Guru is Yathi Raajar . It is generally conceded that Swamy Desikan had a unfulfilled
wish (viz)., to be  adirect sishyar of AchArya RaamAnujA , which did not happen due to
chronology of their avathAram dates .  In Sankalpa SooryOdhayam , Swamy Desikan
visualizes that he was empowered by AchArya RaamAnujA through the pavithram
that he recieved from the latter .
 
695) (PraNavam)  VaadhanAmnE nama:
 
( Meaning) : Salutations to that AchAryan with the name of Vaadham .
 
(Commentary ) : Swamy Desikan gave himself the name of "Vaadham "
as he enacted the role of Sishyan in Sankalpa SooryOdhayam .
 
696) (PraNavam) VaadhadhOsha vyavasTA karaNa kshamAya nama:
 
( Meaning) : Salutations to that AchAryan , who established the rules of debate
(Vaadham ) in Sankalpa SooryOdhayam .
 
(Commentary ) : In the drama , Guru asks his sishyan (Swamy Desikan) to defeat 
the opponents in the debate . Sishyan has  a doubt about the proptocol of
such a debate . Sishyan asks: Is it correct to debate with Brahmins and win ? 
It is said that one who debates with BrahmaNaas and wins will be born as plants 
in the deep forest . Guru answers : It is alright to engage in debates connected to
the determination of truth of doctrines ( Tatthva nirNayam ) and to establish firmly 
our siddhAntham .  In the case of debates with one who puts down Iswara ( Iswara
dhUshaNam) and the one who is a nonbeliever in God ( naasthikan) , the debater can
engage even in Jalpam and VidhaNDA vaadham to defeat them . In the case of 
others , it is not done . Jalpam is debate in an aggressive/harsh fashion . VidhaNDA 
style of Vaadham is the criticism of other matham without establishing the merits of
one's own matham .
 
697) (PraNavm) Sookshma sookshmatarAthyantha sookshma prasnOtthara 
        kshamAya nama:
 
( Meaning ) : Salutations to that AchAryan , who is capable of posing subtle ,
subtler and subtlest Questions and providing answers for them .
 
(Commenatary ): In the play , there is a section on Guru-sishya exchanges
(SamvAdhams) , where Sishyan asks questions of increasing levels of sophistication
and the Guru answers them and removes the doubts of the Sishyan . Reference here is
to those samvAdham sections of the play . 
 
698) (PraNavam) Yatheendhra granTa surabhi manaska padha sEkharAya Nama: 
 
(Meaning) : Salutations to that AchAryan , who adorned as head jewelery the sacred
feet of those , whose minds were fragrant with the SrI Sookthis of AchArya RaamAnujA .
 
(Commentary ) : The reference is to the section in Sankalpa SooryOdhayam ,
where Swamy Desikan says in his role as Sishyan : " Yahteeswara Saraswathee
surabhithAsayAnam  sathAm , vahAmi charaNAmbhujam praNathisAlinA mouLinA ".
Here , Swamy Desikan states that he adorns the sacred feet of those fortunate ones 
whose minds are fragrant with YathirAja Sri Sookthis . Reference here is to his 
PoorvAchArya , KidAmbi AacchAn , who was the cook for AchArya RaamAnujA . 
 
699) (PraNavm) SankarAdhi kudhrungmoordha  nyastha  vaama
       PadhOjjvalAya nama:
 
(Meaning) : Salutations to that AchAryan , who placed his left foot on 
the heads of Saankhya and Saankara Mathams . To place the left foot 
on the heads of enemies in debates is a sign of shame for the one defeated .
Swamy Desikan shouts aloud this way because of his extraordinary skills 
to defeat kudhrusti Matha Vaadhins .  
 
700) kudhrung moordha  nyastapAdha suvarNa kaDakOjjvalAya nama:
 
( Meaning) : Salutations to that AchAryan , whose left foot resting on the heads of
Kudhrushti Matha Vaadhins is shining with the golden KaDakam ( ankle ornament) .
 
(Commentary ) : Even today during the ekAntha sEvai of  the archA vigraham of 
Swamy Desikan at Thuppul , adiyEn is told that one can see the golden Kadakam 
adorning His left foot . In Sankalpa SooryOdhayam , the Sishyan (Swamy Desikan)
defeats the opponents from Para mathams in the court of the King VivEkan .The pleased
king says : " Sishyan has won over the Vaadhis , who rattled away with hollow sounding 
sabdhams like " KAdA , kAdA " and has now placed his left foot over the defeated opponent's 
head . As the referee in this debate , I (VivEka MahA RaajA)  place a golden kadakam
at the the left foot of Sishyan (Swamy Desikan) , who adorned it after seeking 
the permission of his Guru (AchArya RaamAnujA ) .    
 
(701) (PraNavam) Vaikunta - lOka - Sthreepumsa miTunArTa Upapatthi vidhE
nama:

( Meaning) : Salutations to that AchAryan , who knew why there is the
presence of  the two genders in Sri Viakuntam .

(Commentary ) : In Sankalpa SooryOdhayam , the Prathi-Naayakan
( the adversary king , MahA Mohan ) asks a question : Why is there
the division of women and Men in Sri Vaikuntam ? Why does Vedam
prescribes this need ? In Prakruthi lOkam , loukika bhOgams like
eating , enjoying women by men and vice versa are understandable .
Why does it have to be invoked in Sri Vaikuntam , which is aprAkrutha
lOkam ? Jeevan escapes from these loukika sukhams and why should he
assume the roles of male and female  again in SrI Vaikuntam ?How can you
justify the Muktha jeevan winning over Kaamam ?

Swamy explains this situation : " Dhaampathyam arises out of karma
phalan here . The Dhaampadhyam of the Divine ones in Sri Vaikuntam
is natural .It is not a product of Karmaa .It arose out of their own
sankalpam . Therefore , it is free of blemish . Regrading the Muktha
Jeevans in Sri Vaikuntam , the split (vibhAgam) into Sthrees and Purushaas
is to gain the chosen kaimkaryam that is close to their heart for the
Parama
Purushan  ,  which are more natural to women and men.

(702) (PraNavam) svasilpa-jitha gheervANa dhaithya silpa chamathkruthayE
nama:

(meaning) : Salutations to the AchAryan , who won over the DEva silpi
(Mayan)
and the asura silpi ( Viswakarmaa) with His artistry .

(Commentary ) : In the seventh canto of Sankalpa SooryOdhayam ,
there is a scene in which the character of Silpi is invoked . The Silpi
draws  the impressions ( samskArams) on the canvas of the mind .
In this seventh  act , VivEka RaajA goes to the artist's studio (Silpa
Saalai)
and admires  the drawings on the ten avathArams of the Lord
as depicted by the Silpi  ( Swamy Desikan) . He recognizes that
Swamy Desikan through His  samskArams alone has drawn
the Bhagavath roopams on the mind  and thus won over the asura
and the dEva silpis .

In Swamy Desikan's real life , he won over a haughty silpi , who competed
with Swamy in casting a statue of him and fitting that into a Peetam . The
Silpi  lost in the contest to Swamy Desikan . The vigraham created by Swamy
Desikan Himself is being worshipped even today at Thiruvaheendhrapuram
temple .

(703) (PraNavam) SamAdhi SaadhakasTAna SubhAsraya NirUpakAya Nama:

(Meaning) : Salutations to that AchAryan , who knew about the appropriate
places for dhyAnam on the Lord and the forms of the Lord , which will lend
themselves to visualizing Him through DhyAna SamAdhi .

(Commentary ) : In the 6th act of Sankalpa SooryOdhayam , Viveka Raajaa
searche for the ideal place or places , where one can succeed with one's
dhyAnam . VivEkan climbs in a chariot called "ManOraTam " and is driven
by a Saarathy (charioteer ) named " Tarkam " to find such a place.  The
Saarathy advises the Raajaa that Srirangam , Thirumala and PerumAL Koil
are ideal places for such a quest . VivEkan picks up Tirumala as the place
to realize purity of mind . In the seventh angam , VivEkan concludes that
BhagavAn's ThirumEni , which is subham and aasrayam can be beneficial
for DhyAnam . Aaasryam means firmly implanted in the mind . All of the
Lord's  roopams are subham (auspicious ) but not all of them will prove
to be aasrayams for us .

(704) (PraNavam) anAthmaguNa kaamAdhi nirsAdhi prakAravidhE nama:

(Meaning) : Salutations to the AchAryan , who knew the ways to eliminate
the anAthma guNams like Kaamam (desire) .

(Commentary ) : In the 8th act of Sankalpa SooryOdhayam , there is a
battle  between VivEka Raajaa and Moha Raajaa . The generals in the Moha
Raajan's  army are the bad guNams of Kaamam , Kopam, ahankAram and lObham .
In VivEka Raajaa 's army are sadhguNams like Virakthi (VairAgyam ) ,
KshAnthi ( Patience) ,Thushti (Contentment) and Aathma Vidhyai . Using
this army of ladies , Vivekan destroys the Para Sainyam (Enemy army )
.Virakthi
wins  over Kaamam; KshAnti wins over kOpam .Thushti is victorious over
lObham
( greed) . Aathma Vidhyai chases away ahankAram .Thus Aathma guNams win
over AnAthma guNams .

(705) (PraNavam) mahAthmanAthma guNa chEshtitha jApanakshamAya ama:

(Meaning) : Salutations to that AchAryan , who can clearly describe the
aathma and anAthma guNams of MahA Purushan .

(Commentary ) : Swamy Desikan pictures vividly the aatma and anAthma
guNams of human beings and how these guNams operate as well as
how the anAthma  guNams are  destroyed .In the First angam , The leader of
Aathma guNam ( VivEkan) an  dthe head of  anAthma guNams ( MahA Mohan )
state thier cases . In the second angam , in  the court of  VivEka Maha
RaajA ,
the Guru (SiddhAntham ) and sishya (Vaadham) win their  battles  over
Para Mathams . In the third angam , VivEkan Thinks about the UpAyam for
Moksham after winning the dhurguNams like raagam (desire) . In the fourth
and the  fifth angams ,  the activities of activities of dhurguNams like
Kaamam , lObham which wish  to form  defenses to win VivEkan so that
they can rule over Purushan . In the sixth  & the seventh  acts , the
gaining of
knowledge by VivEkan about the place for dhyAnam and SubhAsrayam for
dhyAnam are discussed . In the eighth act , the coverage is  about the
aathma
guNams winning over anAthma guNams . In the ninth act ,  the Upaayam
happens . In the final and the tenth act , Purushan attains  Moksham
through the sankalpam of Parama Purushan .

Swamy Desikan ThiruvadigaLE SaraNam ,
Daasan Oppiliappan Koil VaradAchAri Sadagopan

Sri MalOla PaadhukA Sevaka  Sri VaNN SaThakOpa NaarAyaNa Yatheendhra
MahA DesikAya Nama: