Telugu Lyrics of Matru Gitamu

మాతృ గీతము 

సంగీతము, సాహిత్యము 

స్వరవీణాపాణి  

పుట్టిన నేల తల్లి పాలిచ్చిన ముద్దుల తల్లి మాట

మాగాణుల నిచ్చిన తెలుగు తల్లి ఈ ముగ్గురి తీరు తెలుపగా

పుట్టిన గడ్డకు ఎదురునిల్చి సరితూగెడి స్వర్గము లేనె

లేదు ఆ మట్టికి మారుగా మనసుదోచెడి యంత్రము సృష్టి 

యందు భూతద్దము వేసి చూసినను ఎచ్చట కానరాదు 

స్పృసియించిన చాలు మట్టి నీకిచ్చెడి మధురమైన అనుభూతుల  

పొరల తెరలు తొలగించుచు చూడు బాల్యమున ముద్దుగ బొద్దుగ

వచ్చిరాని వయ్యారపు నడకల పరుగు పరుగుతో బోసిగ

నవ్వు నింపుతూ బోలెడు మట్టి పెడ్డలను పప్పు చెక్కలుగ

గోడల మొత్తన దాగిదాగి ఫలహారముగా తిని ఉరుకు 

పెట్టి ఆమట్టిలొ దొర్లిదొర్లి ఆటాడగ అలుపురాగ

ఆ గోడకు జారి నిద్రలో జోగినవేళ జన్మకిక రాదిక

రాదురాదు ఆ తీయని కమ్మని గుర్తులు పురిటిగడ్డపై

మట్టికి వాసనుండుట మహత్తరమైన సత్యమే దానిని

నిగ్గు తేల్చునది నీ మదిలో మమకార భంధమే ప్రాణము

లున్నవరకు నీ ఊరను పేరును కలువరించు ఆ భాగ్యమె

చాలుచాలు నీ మనసున నిండుగా పదిల పరచుటయే 

పదివేలు కోటినీ జన్మలు కోరెడి పుణ్యభూమిలో పుట్టిన               (1)

ధన్యజీవివై మేలుకు మేలు చేసెడి సమున్నత భావ

శీలివై కీడుకు కూడ మేలు ఒనరించెడి ధార్మిక బుద్ధి 

శాలివై ఊరిని ఊరకనే తలవక ఉపకారము చేయు

ధ్యాసలో గర్వము వద్దు నీకు ఆ మట్టిని ముద్దిడు భాగ్యమె

చాలు జన్మలే చాలవు తీరని ఋణముల తీపి గుర్తులౌ

వింతలో వింత గాక పలుజన్మలు సాధ్యమె ఒక్క జన్మలో

బిడ్డకు జన్మనిచ్చు ప్రతికానుపు తల్లికి పునర్జన్మయే

అర్ధము కాని ఈ క్రియకు అదియు అంతము అమ్మ ఒక్కతే

సృష్టికి మూలమైన ఆ దేవుని చేతిలో బొమ్మ అమ్మ

ప్రతి సృష్టిని చేయగలట్టి సాధనా శక్తికి మారు రూపు

నీ తల్లికి సాటిలేరు లేరెక్కడ వేరెవరైన చూపగా 

పాలుగ రక్తబిందువుల మార్చెడి మంత్రము అమ్మసొంతమే 

కాదనకుండ లేదనక బిడ్డకు స్థన్యము నిచ్చి ధన్యతను

పొందెడి మాతృమూర్తి నీ జన్మకు కారణ కరుణ రూపమై
ధ్యానము చేయు ఎల్లపుడు ధ్యాసయు స్వాసయు బిడ్డకోసమే 
ఓర్పుకు మారుపేరు ఓదార్పే ఇంటిపేరు ఔదార్యము 
అసలు పేరు మమకారము ముద్దుపేరు అనురాగమె అమ్మ 
పేరు అలుపెరుగని ఆత్మ స్థైర్యమునకు ధైర్యము నిచ్చెడి దిట్ట       (2) 

అమ్మ కనుసన్నల స్వార్థము శాస్వతంబుగా తిరుగుచునుండు

భూమిలా బిడ్డల యోగక్షేమమే ఆమెకు ముఖ్యము గనుక

జన్మనే ఇచ్చిన తల్లికి మాటతడయుగా ఇచ్చితి ఇచ్చితి

ననుచు గొప్పగా చెప్పిడి బిడ్డల పిచ్చి మాటలకు అర్థము

లుండున ఏ నిఘంటువును వెతికిన వెతికిన ఏమి ఫలితము

పుచ్చిన పుచ్చ కాయలో తీపిగ పుచ్చు కొనుటునే భావన

వున్న అమ్మ నువ్విచ్చెడి ప్రేమ మాత్రమే జీవిత కాలము

పుచ్చుకొనుతకే పుట్టితి నన్న కన్న ఆ తీపికి రుచిని

చెప్ప ఏ దేవుడు నోరు మెదుపునో లెక్కకు ఒక్కడుండునా?

పుట్టుక నుండి నోరుగల జీవివి మాత్రమె మూగి మొద్దువే

భాషలతల్లి జాలిపడి తెలుగును ఉగ్గుపాలలో కలిపిన

భాగ్యమె నేడు నీకు ఈ మాటల పుట్టలు తేనె పట్టులుగ

తీపి గుట్టలై హాయిన తెలుగుతల్లి పదసంపద చెట్టుకు

ఊగు ఊయలై, కోయిన కూతలంటి కులుకైన కవిత్వపు

కన్నె సొగసులై, పద్యపు, గద్యపు నృత్యలయల సంగీతపు

సుస్వర వీణాపాణియై హరికధ బుర్ర కధలుగా అద్భుత

దృశ్య శ్రవణ కావ్యాలకు మాటల ఊటల మోటబావులై

భాషకు అసలు సిసలైన యాసల ఊసుల ప్రౌఢకాంతయై                (3)

చక్కిల గింతల జానపదాలకు కిన్నెరసానుల పల్లె
కాంతులై అవనిలోనె అలరారెడి భాషల తెలుగు మిన్నయై
భూమికి హక్కులైన నలు దిక్కుల పెట్టున నీకు ఖ్యాతి
నందించిన తెలుగుతల్లి నీకీయని దెక్కడ దాచుకున్నది?
తీయని తెలుగుజాతికే సేవల గొప్పలు వద్దు వద్దు
నీ బ్రతుకుకె వెలుగునిచ్చు పద సంపదకే ప్రతి రోజు మ్రొక్కుతూ
ముగ్గురు తల్లుల ఋణము తీర్ప నీ జన్మల జన్మలు వేయి
చాలునా పొట్టను చేతబట్టుకొని ఆకలి ముద్దల బార
సాలకై రియ్యున రియ్యుమంటు శరవేగముతో పయనించు 
బాటసారెక్కడ? రెక్కలు ముక్కలు చేసుకొనుచునూ పట్టిన
చెమట బిందువులలో తన తల్లులుగా ప్రతిబింబ రూపముల 
చూచుచు అక్కున చేర్చుకొనెడి ఆనందము నొందుచు నుండు
గుండె గాయాలకు ప్రేమను వెన్నరాసి తడియారని కన్నుల
తీపిజ్ఞాపకాలన్నిటి నెమరువేసుకొని నిత్యము నూతన
శక్తి పొందుతూ బంగరు భవితకు నాంది పలుకుతూ అనితర
సాధ్యమైన విజ్ఞనపు ఊడల మఱ్ఱి చెట్టువై నీతి
నియమ సూత్రాలకు ఉత్తమ మాలరూపమై ముందుకుసాగు
సాహసికి సర్వము సాధ్యము శ్రీకర శుభములు అన్ని వేళలా           (4)

(Recently Sri Swaravinapani has composed this unique Telugu lyric which contains all the 72 Melakarta ragas in a single song. He has been going around many Indian cities giving music performances. Many years ago Dr Balamuralikrishna composed songs in all the 72 Melakarta ragas. The Telugu community, now spread over all the continents is immensely fortunate to have these very talented musicians. It is rare these days to have individuals who can sing, compose, and write lyrics single handedly.  Really speaking none can excel the legendary music giants like Annamayya. Perhaps nowhere in the world can one find such a humongous treasure trove of sublime music and profound literature. Music just came down from heavens like a majestic waterfall filled with the aroma of kewra - that is real creation! English translation of this song will be given in the next blog.) 

Copyright of the Telugu song, tune, and music is vested with Swaravinapani 2015

Lyrics of "Saubhagya Lakshmi Ravamma" - Telugu Song

సౌభాగ్య లక్ష్మీ రావమ్మా

అమ్మమ్మా నువ్వు  సౌభగ్య లక్ష్మి రావమ్మా  || సౌభాగ్య ||

గజ్జెల సవ్వడి ఘల్లుఘల్లుమన

ముజ్జగములను యేలెడి తల్లీ

సజ్జన సాధుల పూజలందుకొన

మజ్జిగ నెగసిన వెన్న విధమున

లెక్కకు మిక్కిలి భాగ్యములిచ్చెడి

కంకణ కరముల శోభతో రావే

కుంకుమాంకిత పంకజలోచని

వెంకటరమణుని పట్టపు రాణి

చక్కర నెయ్యి కాలువ హరిణి

శుక్కరవారపు పూజల వేళకి

అక్కరయున్న అళగిరి రాయని

చొక్కపురందర విఠలుని రాణి

saubhaagya lakshmii raavammaa

ammammaa nuvvu saubhagya lakshmi raavammaa  || saubhaagya ||

gajjela savvaDi ghallughallumana

mujjagamulanu yEleDi tallii

sajjana saadhula puujalandukona

majjiga negasina venna vidhamuna

lekkaku mikkili bhaagyamulicceDi

kankaNakaramula SObhatO raavE

kunkumaankita pankajalOchani

venkaTaramaNuni paTTapu raaNi

chakkara neyyi kaaluva hariNi

Sukkaravaarapu puujala vELaki

akkarayunna aLagiri raayani

chokkapurandara viThaluni raaNi

[This is the Telugu equivalent of the famous Purandara Dasa's composition on Sri Maha Lakshmi. A constant regret of this writer is this: My repertoire of devotional songs is woefully inadequate when it comes to Siva or arati (మంగళ హారతులు). Being naturally gifted vocal singers, both mother and sister could on the spot render a most appropriate composition on any occasion. Alas, talent is often prized and appreciated when it goes extinct.

I came across the lyrics on the internet while I was searching for songs on Lakshmi Devi. Now I cannot find that website, still I offer thanks to the anonymous individual. Certain compositions of Annamacharya, Jayadeva, Purandara Dasa, and others have extraordinary salutary effect. Great song, great composer, and great tune. I liked the version by M.S. Subbulakshmi. The meaning is given by C. R. Sudarshan at http://www.mayyam.com/talk/showthread.php?4847-Lyrics-queries-and-meaning-Kannada/page2. I will try to explain the details when I get time.]

The Pesky Rotator Cuff Joint (బంతి గిన్నె కీలు)

 The Pesky Rotator Cuff Joint

(బంతి గిన్నె కీలు)

Symptoms

నిజముగా ఆరోగ్యము మహా భాగ్యము! There were many objective symptoms. It was painful to wear/remove a jacket, long sleeve shirt, or T-shirt quickly. Putting a towel on a line to dry was difficult. Even just pushing a light lunch box on the (car) rear seat would trigger a sharp pain through the shoulder. Driving long distance with the affected hand on steering wheel used to produce prolonged pain for hours. Shifting sides, turning the head on pillow, quickly getting up with the injured hand as a vertical prop (support) – they all became proscribed activities for a long time. The funny thing, yes, it is hilarious now that the problem has been resolved, is still the hand performed most of the movements even in this chronic injured state. Though grudgingly. Luckily, on most painful days fomentation with a wet towel (just one minute microwave heating is enough) and rubbing topical cream kept the problem in check. Only in extreme pain, ibuprofen was used, that too in a very moderate dose (just 300 mg once or twice a day). Would a prolonged intake of higher dose (600 mg of ibuprofen) have cured?

Recovery

In the beginning, physical therapy (PT) was prescribed. Though the subject went through all the drills of daily exercise, hot packs, etc., it did not help. To prevent further deterioration of the joint, PT was withdrawn. At that point, the only medicines used were: over the counter ibuprofen and a prescribed topical cream (sort of muscle relaxant). Daily application of Maha-Narayana Tailam (Dabur, Baidyanath) followed by gentle fomentation was used with external massaging. It helped, but the effect lasted only ten, twelve hours.

The big breakthrough came from the traditional Yoga. Thousand salutations and prostrations to the great Patanjali, a multifaceted rishi whom I consider as my own great grandfather. The Sanskrit saying goes thus: “Faith yields fruitful results”. So, with total faith in our traditional yoga, with no outside help (or teacher), the subject did yoga¹ exercises (Surya-nakaskaram) twice a day. At first, these were the gentle stretching poses, facing the East. No force was used. You lift the arm only as high as it allows. Everyone wants rapid progress, but the body has its own natural pace of things. It all depends on many factors – severity of the injury, general state of health, even the mental equilibrium, etc.  Slow recovery teaches us a sense of humility, perseverance, and a great respect for the physical body. We value a joint, a gland, or even skin only when it malfunctions. Till then, we take everything for granted, not only that we even venture to abuse it. 

            Thus, in this case, the subject used either singly or in combination the following treatment techniques: During daily walking, placing hands on the back (for example, look at old classic photos of Nehru walking on the lawn). Try forming the following postures with hands clasped behind: shape of X, 4, or U. When possible give the afflicted shoulder, mild exercises of Surya-nakaskaram twice a day. At least once a day is needed for any noticeable improvement.

            This is the third or fourth time Yoga came to the rescue. Earlier, the gentle yoga (particularly the Sarvanga-asana) helped bringing back the normal functioning of a gland. Much of the present day hype and attention of yoga is unfortunately catered to rich clientele. But the original yoga proponents were more interested in preserving body and mental health through a properly controlled stretching and breathing exercises. Instead of (mechanical) springs and weights, yoga uses the body’s own physiology to correct the injury. It is much more gentle than many physical therapy exercises. There is no need for expensive yoga paraphernalia like special mat, sack, big books with colorful photos etc. Nor is there any need for expensive teachers (coaches, gurus) with exorbitant club fees; in the age-old Indian tradition, there was never any compulsory fee. Neither for learning music, dance, or yoga; nor has any Ayurvedic (or herbal) practitioner demanded up front payment for medicines. Erudite teachers rarely asked money from indigent students – whether it is for Ayurveda, music, yoga, or scriptures. The modern world has totally degraded this once glorious tradition, a veritable treasure of holistic healing knowledge. How far things have deteriorated in the name of commerce and global reach!

            When performing the whole body toning Sarvanga-asana was difficult, so the subject opted for other asanas (ex: Dhanura-asana, Bhujanga-asana, Hala-asana). But upon recovering fully (or about 90%), the subject resumed the Sarvanga-asana in total earnest. Of course after full recovery the subject was able to do even pull-ups on the horizontal bar.

            This write-up is no substitute for medical advice. Often in the real world, many patients cannot access expensive treatments, surgeries, or costly specialists. Valuable lives are wasted due to a frozen shoulder or a locked knee. Money alone cannot produce good outcomes. Even with very minimal expense, one can get back a working shoulder. Patience, daily regular topical massaging, and gentle yoga exercises will yield remarkable progress. And such a progress is certainly more durable in the longer time frame. It must also be remembered by all that health is a complex issue; it has a strong psychosomatic component. But what matters finally is happiness and a living that is free of pain.

Finally, each patient has to explore all possible avenues and costs for a cure. For those who have the patience to heal themselves, this information will help; it may present a ray of hope. I thank my high school drill (PT instructor) master (Mr. Raju) for teaching yoga-asanas to our class at a very tender age. I have also benefited from a Telugu yoga book – a slim volume with all the asanas in black and white photographs. I cannot recall its author or title now, but I must express my gratitude to my cousin(s) for the invaluable book. That was decades before I came across the English yoga books by Sri. B.K.S. Iyengar and Swami Vishnudevananda. 

Copyright 2015 by the author

1. Plates 1, 2, 3, 12, 24 in “Light on Yoga” by B. K. S. Iyengar, Schocken, 1994

2. Surya-namaskarams are found in “The Completed Illustrated Book of Yoga” by Swami Vishnudevananda, Pocket Books, New York 1972  

Translation of "Muddugare Yasoda" Song

Muddu gare Yasoda (ముద్దు గారె యశోద)

Like a pearl (1), dripping with love

He (Krishna) wanders

On the front porch of Yasoda

With flawless wonders

This son of Devaki

Here, amidst the cowherds

He is readily accessible as a ruby (2) on the palm

Towards the stubborn antagonist Kamsa

He acts like a sharp diamond (3)

He shines like an emerald (4)

Radiating colors throughout the three worlds

He is the little Krishna by our side

(He is the little Krishna in our hearts)

For the amorous Rukmini

He is the One with the coral (5) lips

(While subduing Indra’s pride)

He lifted the Govardhana mount

Standing firm as (banded) agate (6)

As Lord Vishnu

He is eternally decorated with the cat’s eye (7)

Between the conch-shell and the discus

The last refuge for all of us

The lotus-eyed One

On the heads of Kalinga snake

He stands as a bright topaz (8)

He rules the Seven Hills as a sapphire (9)

Outside the Milky Ocean

He appears as the celestial precious stone

He roams around as a (innocent) boy

The Lord with the lotus in His navel

[In Sanskrit there are nine precious gems. Here in this lyric the legendary composer Annamacharya had used all the nine gems and their qualities for describing Lord Vishnu and the Krishna-avatara. This English translation is expressly meant for the dancers (Kuchipudi and Bharatanatyam) and the upcoming aspiring Carnatic singers. Though a novice singer starts out with mere technical (tune, tempo, etc.) skills, eventually she must master the meaning of each word and the original intent of the poet/composer; without such in-depth knowledge, the singer would not know where to pause, which phrase to emphasize, and how to distinguish the ka, ca, ta, tha, pa from their aspirated consonants kha, cha, … Ultimately all great music (or poetry) recital must spring forth from the true heart. Otherwise the artist enters a state of stasis - soon, despite a plethora of awards and hefty emoluments, his renderings will fall flat, fall short of the perfection.]

Copyright 2015 by the author

Apt Punishment (Short Story)

Apt Punishment

           

            Once upon a time there was an illiterate, uneducated king. After all, across the entire world, how many Kings are like  Bhoja (a contemporary of Kalidasa)? (Legend has it that just looking at King Bhoja, even an ordinary weaver was able to spin poetry on the spur of the moment. Not entirely surprising given the fact that King Bhoja was an embodiment of Devi Saraswati.) As it happens with most rulers, the king was ignorant, too arrogant to recognize his own ignorance. Most of his advisers were also stupid, no wonder there. The innocent people bore the brunt of such an unwise ruler. They, like all captive subjects toiled their lives to pay high taxes. Among the court advisers, there was one pseudo-scholar. How it came to be, no one knew exactly, but he was known to all as “Kata-Kata Sastri[1]”. The king liked him very much and he used to consider him as the best scholar in the whole of India.

            Being ignorant of books, languages, or science is no sin, per se. But excessive vanity or jealousy can lead to great troubles. In those times, most kings used to entertain open court proceedings. They would invite scholars from neighboring kingdoms for open scholarly competitions. Such intellectual deliberations can range from logic, philosophy, linguistics, astronomy, to literature. In an ideal time, there were learned kings like Krishnadevaraya, himself a scholar of four languages. Thus, the host king used to be very impartial in judging each scholar’s arguments. The winning scholar was felicitated with money, jewels, titles, gold, and dresses.

            Following such regal traditions, our king also entertained many foreign scholars in his court. Invariably, all the visiting scholars were treated badly by the arrogant  Katakata Sastri. Often they would leave the court room totally dejected, in utter bewilderment, with painful tears in eyes. Alas, what is the use of showing intellectual talents in front of an illiterate audience? As they say, casting pearls before swine! The king enjoyed these intellectual charades because his trustworthy courtier feigned to win, rather put up a show of winning, yea winning all the time, winning against all opponents. If the topic was literature, the court pundit would eloquently concoct some gibberish poetry sans any meaning, but still with high sounding rhymes and meter. 

            Once a very learned scholar entered the court. He was well versed in scriptures, philosophy, languages, and literature.  A recipient of many titles and awards. People called him “Sankara Sastri Siddhanti”. The visiting Sankara Sastri requested the king for a scholarly debate with his courtiers. Katakata Sastri too was itching for a debate for quite some time. So, the whole court was anxious to see one more drama of intellectual fight and high-flown arguments. In any fight, uncertainty (of outcome) adds to the tension.

            The beginning was very ordinary. Beguilingly innocent like the calm sky before a major (snow)storm. The guest scholar started with a proposition, a declaratory statement: “adhato, brahma jijnasa[2]” [అధాతో బ్రహ్మ జిజ్ఞాస (1.1.1)]. In a very simple language, the statement means: After certain preparatory actions (sadhana), ultimately one must make genuine effort to enquire about Brahman. In certain Indian cities (ex: Varanasi), debates and discussions used to follow well established protocols. They still do in some Buddhist monasteries too. There is always an impartial judge, overseeing the proceedings. Ample time is given to each participant to present a valid rebuttal, explanation, and counter arguments. Most important is one simple requirement: After listening to the visiting scholar’s statement (proposition), the local scholar was required first to restate and elaborate the “opening statement”. Such a requirement, though it sounds simple, frivolous was mandatory. It was instituted to avoid any accidental misunderstanding. The whole proceeding was guided to follow strict logic. So, in this present situation, ideally Kata Kata Sastri was supposed to first clarify the meaning behind the opening statement: “Let there be (henceforth) an enquiry about Brahman”. But no, our court pundit acted more like a jester. He started rattling of like, “stick jijnasa, drum enquiry, tumbler enquiry, brick enquiry, head enquiry, wall enquiry, with mix of Telugu and Sanskrit words. And on and on, it went on without any comma or period. Kata-Kata Sastri took almost thirty minutes. There was no hesitation in his vocals; but there was no meaning to his utter stupid statements. The entire court was spell bound. And of course the idiotic king was swelling with pride about his courtier and his apparent brilliance. Meanwhile, Nilakantha was totally surprised; he calmly looked at the whole court and the entire affair with total surprise. There was nothing he could do in such a terrible unjust environment. The buffoon king with his attendant nincompoops were all one side, he with whatever erudition on the other side. There was no bridge that could cover the vast span of knowledge, nay, say that again, the vast expanse of ignorance. Yet he remained calm and watched the entire spectacle with patience.

            Soon, the king and his sycophants were filled with happiness; their pundit like before won. They all waited for a victory parade. The king came down and presented Kata Kata Sastri a coral necklace, a gold chain, and a bag of sovereigns. There were hilarious shouts, complimentary hails, and the whole court reverberated with slogans: “Victory to our Kata Kata Sastri and victory to our beloved king”. Everyone except the king was getting ready for procession through the main roads – all to celebrate the ill-gotten victory. Then, without any hint, suddenly, the king witnessed a strange thing. There in front of him, the visitor went to meet the pseudo-pundit. Unexpectedly, Nilakantha bent and fell at Sastri’s feet showing utmost reverence.  “Please, please Sir, just one and only one”. Saying the visitor plucked a tiny hair from Sastri’s right foot. And then he tied the little hair strand in his upper garment (anga-vastram). And with that simple act, the visitor started to leave. “Not, yet,” uttering those words, the king beckoned Nilakantha.

“What did you collect? What are you taking with you?”

“Nothing Sire, just a hair. See Sir, I travel the entire country alone. Through hills, valleys, dense forests. Often I encounter wicked spirits, snakes, violent tigers, wicked dacoits,  and many mean people. I have no protection. Your resident scholar brings victory and auspiciousness to everyone around. So, I just took one small hair from his right foot. This little sacred keratin fiber will protect from any and every evil.”

“Is it so,” the king thundered. Suddenly a lightning idea struck him. He thought aloud, “Minister, why are we wasting our valuable wealth on police and city security? Let us instead give one hair to each household. It will protect them from every evil, calamity, thievery, and misfortune. The whole country will be safe and prosperous in no time.”

Immediately the king called all his guards and ordered them to collect all hairs of Kata Kata Sastri. Woe befell on the poor Kata Kata Sastri.

(Translator's Note: This story was originally in Telugu, it was a prose selection for us in grade (4th or 5th) school. I forgot about the author’s name. Nevertheless, I still want to convey my gratitude for writing such an excellent short story. The original Telugu short story has a profound meaning, a subtle moral lesson, and unique sound embedded in its paragraphs. My understanding of it improved gradually with years. On a first reading, many would invariably get it wrong. But I won’t spoil the fun of it – let the reader find out its true essence, the real fragrance. I would certainly rank this short story on par with any number of first rate short stories, in any language English, French, or Japanese.)

Copyright 2015 by the author

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[1] The reader should not to jump to conclusions about the name or its significance. I mean no disrespect to any Sastri, Varma, or Sarma, etc. No implied or explicit malice is meant. This is the name I remember from the original Telugu story, read several  decades back. 

[2] From Brahma Sutras. For an introduction see the Telugu work by Swami Medhanandapuri at Bhakti website.