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Samavarthanam

‘Samavarthanam’ essentially means returning to one’s home. The bridegroom who is considered to have come back home on completing his vedic study takes an early morning ceremonial bath (called Snathak Snan) after having a shave (Vapanam). The articles for the ceremonial bath – soap, shampoo, hair oil, towel, comb, mirror, scent etc. – are brought to him by the women-members of the bride’s party accompanied by mangal-vaadya i.e Nadaswaram. He wears new dhoti in traditional manner and style and sports for the first time collyrium, chandan, kumkum, gold chain, flower garlands, padaraksha (slippers) and carries a walking stick, hand-held fan, and umbrella – to signify symbolically that from now on he is free from brahmacharya during which period he was barred from using such personal articles that enhance one’s look and comfort.

Preparatory Vedic Rituals

The bridegroom performs his last Samithaadaanam (daily agni-ritual performed by a brahmachari). Other vedic procedures like Vigneswar puja, Navagraha puja, Naandi Shradham (a ritual dedicated to all Devi/Devathaas and ancestors of the family) are performed as a prelude to major family functions. This is followed by Angurarpanam – in which sumangali-women sow a mixture of soaked seeds of five cereals and pulses namely paddy, urad, til, moong and sesame seeds in five earthern bowls which then are allowed to sprout/grow for a few days after the marriage function to symbolise fertility and growth.

Kaasi Yaatra

Once the brahmachari returns home from gurukul he is faced with two choices – either to enter into Grihasthaasrama – which means life as a householder involving marriage and progeny or to accept Sanyaasa – which means renouncing all worldly possessions and leading life as an ascetic. In a mock attempt the bridegroom dressed up in his traditional dhoti and sporting various articles of comfort (as mentioned under the heading ‘Samavarthanam’ above) and carrying in addition a spiritual book prepares to leave for temple darshan – Kaashi (Varanasi) Yaatra as a prelude to enter into Sanyasa. At that moment the bride’s father appears on the scene and appeals to him to desit from his yaatra and offers his daughter as his life companion so that he can lead a life of grihastha and face its ups and downs together. The bridegroom accepts this earthly advice and agrees to enter matrimony.

Maalai Maattal (Exchange of Garlands)

The bridegroom and bride in their traditional attire – dhoti and saree respectively and bedecked with garlands etc are prepared for the next procedure which is Maalai Maattal – Exchange of Garlands. This requires three extra pairs of garlands for each. The bridegroom and bride are helped by their maternal uncles to exchange each other’s garlands one by one three times. Generally a garland used by one is not
used by another. But in the case of husband and wife this is an exception as that symbolises unification of their mind and of the very fragrance of each other as represented by the flowers in the garlands.

Oonjal (Swing Ride)

The couple is seated on a specially decorated swing. As they swing back and forth the women present there sing songs specially pertaining to that occasion that praise the young couple who are considered as God Mahavishnu and Goddess Lakhsmi. They circumambulate them carrying lighted lamp, pot of water (Kalash), pot of milk, plates filled with coconut, banana, pan-supari etc and symbolically wash the couple’s feet with milk and dry them with the tip of their silk saree. Red-coloured rice balls are thrown away in all directions to ward off any evil eye on the new couple. The chains of the swing symbolise the karmic link with the Almighty and its to-and-fro motion the undulating wave of life that the couple will have to cross together.

Kanyakadaanam & Other Rituals

The bridegroom who is considered as the devine form of Lord Mahavishnu is formally welcomed by the bride’s father by offering him water (argya and aachamana). This process is called Vara Puja (Varapreshanam). Thereafter the priests recite three times the relevant hymns that highlight the name of the bride, her gotra, names of three generations of ancestors and names of other great souls born in that lineage and similar hymns highlighting the gotra etc. of the bridegroom to the accompaniment of mangal-vadya (Nadaswaram-shehnai). On that occasion the bride’s father takes the right hand of her daughter who is seated on his lap holding dakshina and thambool and places it in the hands of the bridegroom while the bride’s mother pours a stream (dhaara) of water on it sanctifying Kanyadaan.
The groom after accepting the Daan (Kanyadaan) now sits alongwith the bride facing Agni (Havan kund). They recite the Sankalpa (Resolve) manthra to get married. The bride’s father washes the groom’s feet and offers him a mixture of curd, ghee and honey called Madhuparka considered equivalent to amrit and good for health. This procedurte is known as Vara Bhojana. This is followed by what is called Kanya Samskaara. Kusha grass (Darbha) made in the form of a ring with a yoke (a small hand-held wooden rule with a whole at one end) over it is placed on the bride’s head. A gold peice (or Gold Mangal Sutra-Thaali) is held over the hole of the yoke and water is poured through the aperture (so that it falls on gold and passes through and falls on bride’s head) with a prayer-mantra to Indira to purify and free the bride from any disability or illness. Thereafter the bride undergoes prokshana (ritual sprinkling of sanctified water) to the recitation of manthras. This auspicious ablution is known as Mangala Snaana or Manthra Snaana. The bride is then presented with a special silk saree (Koorai Pudavai) (generally brick-red/yellowish-red in colour) that has been duly blessed by all elders present. She is helped by her would-be sister-in-law (sister of the groom) to wear the saree. She is now ready for Maangalya Dhaaranam.

Maangalya Dhaaranam

This is the most important part that solemnises the marriage. It is performed at the pre-determined time-period of Muhurtha. The bride is seated looking eastward over a cushion of paddy-hay with the bridegroom in front of her facing westward. To the recitation of Manthraas and accompaniment of Naadaswaram the groom helped by his sister ties the gold Mangala Sutra that has been duly consecrated around the neck of the bride. The Vedic hymn/prayer recited by the bridegroom when he ties the knot: “Praying the Almighty that I be blessed with a long life, I tie this knot around your neck; Oh Soubhaygavati, may providence bestow on you too long life of hundred years”. Devine songs are sung, blessings are invoked and flowers are showered on the couple. She also wears a belt (three strands) made of reed-grass (Munjhi grass) around her waist symbolising that she is still in control/bondage of God Varuna (Varuna Paasam).

Saptha Padhi (Seven Steps)

Holding the bride’s right hand with his own right hand (Paani Grahanam), the bridegroom (with his left hand) grasps the right foot of the bride as she walks seven steps reciting for each step the relevant Manthraas that seek the blessings of Lord of Mahavishnu for material happiness and contended togetherness. They go around the Agnikund and then sit in front of it to perform the prescribed havans as husband and wife.

Pradhaana Homam (Main Havan)

This is the main havan after marriage the couple have to perform. Through this havan they give ‘aahuthis’ to various Vedic Gods (Devathaas) including Soma, Gandharva, Indra, Varuna, Brahaspati, Visvedeva and Agni – the Fire God with ghee and twigs of sacred trees. Agni – the sacred purifier and the all-round benefactor – is deemed to be the witness to the marriage – Agni Saakshi. The fumes that arise are believed to possess medicinal, curative and cleansing effects on the bodies of the couple.

Asmaarohanam (Stepping on Grindstone)

After the Pradhaana Homam the bridegroom symbolically holds the left (big) toe of the bride and helps her tread on a grindstone (Asmarohanam) and tells her through Manthraas to be firm in her mind like the rock on which she stands and remain unperturbed by the trials and tribulations of life. The groom also formally places silver rings known as “Mettis” on the bride’s toes.

Laaja Homam

The Laaja Homam is the bride’s own offering to the sacrificial fire. As she is not supposed to do it herself, her brother helps her and gives her a handful of puffed rice (Laaja) which she hands to the groom who on her behalf offers it to the fire. Through this food offering the bride seeks a long life for her husband and propagation of family. Participation of the bride’s family members indicates the continuance of links between the two families even after marriage. The couple circle around the fire three times and the feeding of the fire with puffed rice is repeated thrice.

Jayaati Homam

After the Pradhaana Homam and Laaja Homam which are specific for the marriage function, a general havan called final prayer called Jayaati Homam is performed for alround success/fruitfulness of the objective. The blessings of a number (nearly 60) of Vedic Gods (Devathaas) who are believed to control different aspects of our life are sought through ‘aahuthis’ in the Agni Kund. Following this havan the bride discards the grass-belt she was wearing to symbolise that she now stands released from Varunaa’s bondage. She also carries a portion of the fire in a clay pot to her new home for performing daily rituals as ordained for husband and wife. (As per brahmin tradition of vedic living the husband and wife together are to perform their daily havans like Oupaasana, Agnihiotra etc and so the fire – Grihyaagni – is kept burning throughout. Today many such customs have become only of symbolic value.)

Aashirwaadam (Blessings)

The priests now recite the Aashirwada Manthraas and the couple are blessed through Akshathai (consecrated rice grains mixed in turmeric) for a long happy and prosperous togetherness in vedic manner by all the purohits and elders. With this the main marriage function will be over paving the way for certain post-marriage rituals.