"Inta telisi" - A Kshetrayya Padamu

“inta telisi” – A Kshetrayya Padamu

“O Gopala of the Muvva= village, you are such a learned person. You are the wisest. Still after knowing so much, even after having so many numerous good attributes, how come you have such a bad habit (quality)? Do you want to test our relationship (bond)? Is that why you are acting so obdurate? My Lord, tell me, please.

Perhaps, miffed at me, you’ve stopped coming home. Do you have any (other) female friends? Have they called on you? For me, you are the sole boy friend. You represent (are) all my female companions, too. When I reflect, I find you are my only god, my only celestial solace.

After all these days of acquaintance, have you made me into a stranger? And have you deserted me thus? Do you think I have any (royal) private staff, here, to look after me? Do they (does anybody) really care for me? You are my only true private (confidential) person, whom I can fully trust (and confide). No one but you, care about me really. When I think, when I ponder carefully, I realize you’ve become my entire life.

O the Gopala of Muvva, you being the repository of Lakshmi, won’t you take care of me? Why, are you still dithering? Is it because (any of) my (jealous) friends are having fun at my expense (schadenfreude)? For, you are my only close friend(s). Whenever I think, I think about you only. Later, i.e., when we meet, I will tell you all about the secret of my bliss. Of course, who else but you, you (Krishna) are the source of all my joy.”

Rather than a line to line* translation,  here I have attempted a detailed commentary on the well known Kshetrayya lyrical composition. Over the years I have dabbled in singing, both Carnatic and light music, ventured a little bit into lyrical compositions, and poetry. This piece, into which I stumbled by pure accident, has captured my total attention and kept me spellbound for about four days. Yes, four days, it took for me to learn its complete meaning and practice its lovely tune. And of course, Smt. Rao Balasaraswati’s rendering helped me a lot. What a pity? I must have first come across this song in the old BW ‘Devadasu’ movie, in late ‘60s. I saw the movie at least three or four times, yet I did not pay attention to this gem then. What can I say, such are the preoccupations of youth. Adi Sankara says it more poetically about the afflictions of youth!

Now, just a little more about the song’s meaning. I think, here, in this song the poet is considering the plight of our Radha, a forlorn gopi, Meera, or a sincere devotee. All of them are pleading with Lord Krishna. [These songs have been widely used for dance items; they still are the favorites of many Bharatanatyam and Kuchipudi teachers and choreographers. Now, in the modern India, real Kings and princes maybe rare. But in earlier glorious times, these songs were sung in royal courts. At such occasions, probably, the artist (danseuse) may have applied the lyrics’ meaning to her own plight, situation. Nothing wrong in that. That is the beauty of a great art. It will provide ample meaning to each subject, to every situation, will yield meaning to any given context.] How gently, is the asking in the first stanza? In the larger life, don’t we come across a number of situations – when a child suddenly stops visiting her parents’ home, just on some frivolous misunderstanding? How does a mother feel? Or, how does a wife feel when an estranged husband stops coming home? Any separation or estrangement of two souls (hearts) is a troubling emotion. Yet such a desperate state can also lead us to a higher state – a state, where the heart readily softens and melts. [I would not go into the details here, it needs an entire article on the meaning of beauty, (Indian concepts of) aesthetics, and the focal point of “love” and “bhakti”. These issues were very aptly addressed by many of our classic poets and critics. The late Prof. P.S. Sastri of Nagpur has written much on this very important beautiful topic. Due to the limits of time and space, I would gently refer the reader to those works for further elucidation of this subject.]

Much of our (Indian) classical music operates on this principle: It all begins with evoking softer feelings and emotions in the listener’s heart. And if I may say, it is not easy moving the heart(s) of a spectator. Any or everyone can jump and dance to a beat; anyone who has witnessed a wedding parade will attest to the effect of loud rhythmic drum beat. But, only some select (classical, Carnatic, or Hindustani) songs have the power of moving us really. When you listen to a Tyagayya, Annamayya, or Ramadasu song, you too weep with it, marvel at its beauty, and think repeatedly about its meaning for days at a time. In such inner explorations, one suddenly hits an immovable mountain or an unbreakable glass wall. Then momentarily, we are totally helpless – like the poet himself. Because all our faculties, worldly riches, everything we possess is utterly worthless. We discover then, we are not alone. We are not the only sufferers in this world. Radha suffered, our sister Mira suffered, and countless people still suffer this day – reasons aside, that is the ground on which we exist, patiently trudging on this earth.  If someone thinks or pretends that he is above this “scourge of endemic suffering”, then either he does not have a heart or does not have the capacity to imagine. He may buy a balcony seat and attend a grand opera or drama; still she may not ‘get’ it.

In such a heightened state, we are able to discover the meaning of music, poetry, or dance. In that short duration of “molten emotional state”, spontaneously we may have an insight into the meaning of religion, Eswara, and truth. It is in this context, only in such extremely rare situations, we arrive at the meaning of great musical compositions. Without any doubt, then, we can truthfully say: The artist has succeeded. And really, our great Telugu composers like Kshetrayya have left us a great heirloom silver, to study, appreciate, and enjoy. Just a phrase from such great compositions can, and do bring a mutation in our mind. Often they leave a footprint of blessing on our lives grace in our lives, in the wake of such dance or musical performances.

Finally, I conclude with one observation: Only a great rasika, a sensitive poet, or a consummate devadasi (I mean no disparaging to this clan of devoted artists, I hold utmost respect and affection for them) will experience the essence of this exquisite lyrical composition. Many others may understand it intellectually, but they may not get it, feel it in their hearts. I have nothing but praise to all the three artists in the movie - the singer (Smt. R. Balasaraswathi Devi), the dancer, and the music director, Sri. Subburaman. The dancer has given complete meaning to each and every phrase of the song. 

(I must expressly record my thanks to many here. Without their blessing and help, I would not have understood the meaning of many Telugu lyrics. I bow and prostrate at the feet of my great grand father (himself a very great pundit and yogi), my maternal grand father (I only know him as Venkatavadhani), and my maternal grand mother. She knew the gist of many of the Hindu scriptures, could quote original Sanskrit lines from the Vedas. I pay my respects to my paternal grand father, Kamayya and my paternal grand mother. Also, to my dear in-laws. It is really their pious devotion, endless trips to many holy sites, and their steadfast adherence to the “essential core dharma”, that has guided me throughout life. If I know anything a little bit about the (Hindu) classics, it is solely due to their affection and kind protective gaze. As Newton had somewhere humbly stated, if I am able to reach certain intellectual pinnacles in life (or if I am able to fly high and see the majestic heights of pure joy at times), it is because they have kindly taken me into their fold and taught me – and taught me, they all did, mostly in absentia. I learned the languages from N. Gangadhara Sastri, Mr. Raju, B. Venkateswarlu, and others. My teachers (unlike the modern uninterested pedagogues) took keen interest in me; both in college and school they were kind and very helpful. Often they would pamper affection on me and propel to greater heights. To these people, I humbly dedicate this short article as a small gesture of gratitude. What else can I offer them now?)
The video and audio clips are available at: 

http://www.youtube.com/watch?v=O0UkOWa4Xk8

http://www.oldtelugusongs.com/newsongs/vintage/Devadasu_1953-RBalasaraswatiDevi-IntaTelisiyundi-Kshetrayya_CRSubbaraman.mp3

Copyright  by the author 2014

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= A historical village, nestled in Krishna District, adjacent to Kuchipudi.

* Perhaps there is an English translation of this song some where. Yet, I have my doubts and misgivings about translations of Telugu works, particularly done by (transplanted) non-native speakers or even native speakers with strong prejudices against faith (cf. the late poet Sri Sri).