At the stroke of the bell, Advait handed over his answer sheets to the invigilator with a sigh of relief on his face. After a brief discussion about the question paper with his friends, Advait waved bye to all of them and shouted “Happy Holidays” and walked towards Mythreyi’s classroom. His face lit up as he saw her walk towards him from the other end of the corridor.

“Hey Mythuuuuu!” screamed Advait. 

“Hey buddy! I am so glad we are done with our final exams. Happy Holidays to us,” said Mythreyi with a grin on her face.

“So, what plans for the holidays?” Asked Advait as they got in to the school bus.

“Tātā wanted to visit Tirumalā, so we will be planning a trip to Tirupati and from there we may go off to Kerala to visit my cousin. Other than that, I want to learn a lot of new compositions from Abhayā-mā. I am waiting to hear from her about our next class,” said Mythreyi.

“Ah! I had called amma a few days ago. Apparently, she is going on a concert tour to Europe until end of next month. Let’s go and meet her before she leaves for her trip. May be tomorrow, what say?", asked Advait. “Sure Vaithu, let’s plan,” Said Mythreyi and waved bye as Advait got off the bus.

The following morning, Advait and Mythreyi visited Abhaya-ma at her residence. Ringing the door bell, they stood by the side of the lift, eagerly waiting to surprise her as she opened the door. As she opened the door, Advait and Mythreyi hugged Abhayā-mā and prostrated at her feet.

“We are done with our exams and wanted to surprise you before your tour, ammā,” said

Mythreyi.

“That’s very sweet of you both. I hope you have done your exams well. Let’s sing for a while and then go out for lunch,” said Abhayā-mā with love.

As Abhayā-mā packed her luggage, Advait and Mythreyi sang some of the compositions they had previously learnt. Amma moved the shruti box closer and reduced the volume and taught Sandēhamu, a composition of Saint Tyāgarāja in the Rāga Rāmapriyā.

sandēhamunu tīrpumayya

sākēta nilaya rāmayya

Advait and Mythreyi repeated the lines many times until they got the saṅgati-s right. As they completed the composition, Abhayā-mā explained the meaning.

nandārcita pada yugamulu mēlō

nāgarīkamagu  pādukā yugambulu mēlō

“The saint is asking the lord to clear his doubts as to which is superior – whether the Feet worshiped by sānanda and others or the elegant pair of sandals? He quotes the examples of illustrious sages who meditated upon the Lord’s feet who were bestowed vaikuṇṭha, while Bharata who worshipped the Lord’s sandals was bestowed the Lord himself,” explained Abhayā-mā and said, “That’s the fourth form of the nine forms of Bhakti.”

“Pādasēvanam – worshipping the Lord’s feet, right? But, why is the feet given so much importance, ammā?” asked Advait.

“Yes, Kaṇṇā, you are right. It is Pādasēvanam. Touching or worshipping one’s feet is considered the highest form of humility and surrender. This is why we prostrate in temples, in the feet of elders and guru-s as a token of surrendering our sense of ‘I’.” Said Abhayā-mā.

“So, can we classify the kṛti

śrī rāma pādamā nī kṛpa cālunē

cittāniki rāvē

in the rāga Amṛtavāhini as an example of Pādasēvanam?” asked Mythreyi.

“Sure, why not? It is a classic example where Tyāgarāja describes the lotus feet of SrI rAma worshipped by Braḥmā, and other great sages like Sanaka, Sanandana, Nārada, Indra, etc. Through this composition he pleads with Rāma to be firmly implanted in his mind and grace him. He mentions Ahalyā in the caraṇa of this composition, and the fourth caraṇa of Jagadānandakāraka.

‘pāda vijita mauni śāpa sava

paripāla’

clearly highlights that Ahalyā was redeemed from the curse of sage Gautama by the touch of the Lord’s holy feet! Yet again signifying the Pāda-mahima,” expounded Abhayā-mā.

“Ammā, I recently attended Mallādi brothers’ concert where they sang,

‘śrī-patē nī pada cintanē jīvanamu’

which has the word pada in it. What do the lines mean, ammā? Is it also about the significance of Lord’s feet?” asked Mythreyi with curiosity.

“Yes, this is set in the rāga nāgasvarāvali where the saint claims that his entire life is only about meditating the holy feet of śrīpati, Sītā’s consort. 

There are many compositions by Tyāgarāja and other great composers about the Lotus feet of the divine. In the anupallavi of one of the popular kṛti-s of Tyāgarāja, he asks Lord Rāma if it is fair for him to abstain from talking to Tyāgarāja, who has always held tight the holy feet of Rāma. You have learnt this  composition earlier. Can you guess the kṛti?

“tōḍu nīḍa nīvē anucunu bhakti

gūḍina pādamu paṭṭina nātō māṭalu

sang Advait as Mythreyi joined along leading to the Pallavi

āḍa mōḍi galadē rāmayya māṭal(āḍa)

“Very good, kutties, Come on, it is already half past noon. Let’s get going for lunch to our usual place so that Mythu gets her pāni-pūri too,” said Abhayā-mā with a big smile on her face.

As Abhayā-mā got ready and came, the three of them got down the elevator. Getting into the car, Ammā said, “by the time I am back from my tour, I want you both to think deeply about the remaining forms of Bhakti and make a list of compositions that you want to learn, is that okay?

“Sure ma, we shall do that,” Said Mythreyi.

After their scrumptious meal, Abhayā-mā dropped Advait and Mythreyi at their respective homes and left. As they parted ways, Ammā hugged both of them and the kids gave her a warm send-off until the next time.