Tuesday, June 29, 2021

New Insights into Literary Criticism

New Insights Into Literary Criticism

(A holistic Literary Criticism)


దేశమంటే మట్టి కాదోయి

దేశమంటే మనుషులోయి! (గురజాడ అప్పారావు)

ఉప్పోంగే నదులజీవజలాలు.. ఉప్పు సముద్రం పాలు (ఆరుద్ర)

Country doesn’t mean (just) soil/Country means people! – G. Apparao

Some times we are awfully lazy in literary criticism. Taking a different perspective, here I’d like to evaluate, examine, and comment on two well-known Telugu poets: Gurujada Apparao and Arudra. I’ve read both poets’ works and enjoyed some of them. I would rate Arudra as a higher poet on lyricism, authenticity, and imagination despite a tilt towards “socialism.” 

Now, let’s examine this former poet’s lines here: “Country does not mean (mere) earth (or simple geography)/Country means people!” What is wrong with these truisms or platitudes? A lot. A country, rather any country or autonomous governing body must care and take into account all that is in its envelope: The lively forests (flora), diverse animals (fauna), rivers, deserts, mountains, seas, the aquatic life, and of course all the precious minerals (including depleting fossil fuels) in its terra interior. Man must care for all this wealth of living and non-living materials; if not for his own narrow immediate utilitarian benefit he must bear the burden of his grandchildren’s needs and hungry mouths. In the name of meeting the needs of billion plus citizens, the country has mercilessly exploited (plundered) its rivers, the delta, granite hills, mines, and polluted its land, waterways, and the coastal waters. When Indians go abroad and see some of the pristine lakes and rivers, then they get a shock, a rude awakening. We only think about rivers, lakes, glaciers, streams, and reservoirs as sources of water for human needs. Many rivers have their own personalities and lives. A river should be considered as a living body with its own unique history of birth, youth of traversing hundreds (even thousands) of miles, and its ultimate union of meeting with a larger reservoir of water (sea, ocean, or lake). Many rivers existed before man appeared on the scene and set up his cultural post (or tent). They had their paths undisturbed for hundreds of years. In the last half a century, many states forcibly stopped their natural flow, put dams, and sucked upstream flows to cities for population needs or other purposes. 

In Varanasi the Ganges is ok now, good enough to take bath, and even to drink a thimbleful. I bathed there without any adverse effects. But the river’s volume is about one half or one third of what it was in the seventies. When I went to see my coastal village in Andhra, the canals and the reservoirs are almost dry even in December. The Godavari river water is murky near the delta mouth. It was not so in my college days; then I swam in a roaring clean energetic river meeting the Bay of Bengal. I could hardly tame its ferocious force with my bare hands – my youthful energy was no match for its speedy rush into the sea. Now, in Narasapuram the river barely crawls limping its way to the end.

The disastrous consequences (of over utilization) are as follows: Forests are gone. The birds and animals disappeared. The tribal cultures erased with one stroke. But still we need tamarind, sandalwood, bamboo, and lumber from the remaining forests. We want copious rains for filling our water works, reservoirs, and dumping industrial waste into the water streams. There need to be proper accounting of all the positives and negatives. The delta is starved and there is no aquatic life in the coastal seas. Even if the oceans produce clouds, without the cool currents from mountaintops (Eastern and Western Ghats) and forests there would not be rain for filling the rivers. The Ganges will not have bountiful waters and fish if the upper snow layers get shrunk in thickness or the upstream waters are diverted too much to other uses. Obviously when these poets penned the lines they had only “humans” their biped brethren in mind. Nothing else mattered. There was no scientific insight into the broader issues of environment and its irreversible effects on forests, rivers, coastal wetlands, and most important on the quality of ambient air. Without proper moisture (from river breezes, forests, and marsh lands), people will suffer acute breathing diseases. When a river flows with copious waters, it slowly sends water underground and to all its borders. That moisture all around the soil seeps deep. And green wild plants and forests will grow spreading deep roots laterally and vertically.

We can take water from a river for drinking, cattle, and other uses but we need to do with care and without wasting precious potable water for swimming pools or industrial cleaning or washing plants foliage on the highways to airports. 

I don’t thank the planning people in Delhi ever really went on foot and looked at the destruction of rivers and the adjoining forest areas really. Did they ever look at the decades old pictures of the Ganges, Godavari, and Krishna and compare with the modern photos after all the dams and lift-pumping projects have been installed? 

Poems like these, in my opinion should be deleted (delisted) from Telugu lessons or even movies. Or, at a minimum a strong critique should be appended in the footnotes. If we look at such poems in terms of rhyme, flow (rhythm), and passion – then they are ok. But they do not offer a grand perspective on life, the country, or people. I am fully aware Sri Arudra lived most of his life in the erstwhile Madras and could have faced (seen) severe water problems. But who created the water problems in mega cities? The people, the poor planners, and the politicians. Beyond certain population size, cities cannot provide all the amenities to its bulging population. Only slums will sprout and happen. It is a game of diminishing returns. When I mentioned the water problems of an arid region (district) to my Cornell scientist friend, his tough answer is this: “One should not live where there is not water or clean air. It is just stupid. Civilizations did not come up in purely dry sand without adjoining oasis or river. Even if you put all the money, how much can you extract from seawater? And, where will you get water for laundry, toilet, washing cattle, and agriculture?” This is a scientist who spent his entire profession in agriculture and plant science.

So, in conclusion, the Arudra’s line “The bulging river streams’ life-giving waters/Wasted into the salty sea” is scientifically and environmentally wrong. I see every year during severe snowstorms, tornados, and hurricanes lots of trees uprooted and branches torn off. Is that wastage? No, never. That too is part of nature. We should celebrate that we still get precious temperature equalization, plenty of water, and some moderating of the (at times geometric) growth through such nature made havocs. Nature, earth, sun, moon, and oceans do not exist for any man or me exclusively. Humans are but a small fraction of the whole earth. We should appropriate only limited quantities of water, minerals, and materials for our use. The rest belongs to mother earth. And it always is the prerogative of the lovely planet to direct its resources as it sees fit.  Copyright 2021 by the author


Tuesday, June 22, 2021

Word To Word Meaning of "mokshamu galada" kirtana

Mokshamu = (from Hindu faith) a state where the individual turns away from the senses, the manifest external world, and merges with the Eswara; galada = kalada = is there? Does it exist? ; bhuvilo = on the earth; jivan = life; muktulu = those who are released, liberated from the never ending cycle of births and deaths; gani = kani = not, who are not; varalaku = for such people;

Sakshatkara = the sudden appearance of “Brahman”, Narayana, Siva, Devi or any of the “embodiments of pure compassion and energy” as felt by a devotee. See biographies of Sri Ramakrishna, Jillellamudi Amma, and Trilinga Swamy; ni = Your; sadbhakati = true devotion towards the Lord (Sri Rama); sangita = music; jnana = the knowledge and wisdom; vi-hinulaku = people who are bereft of (such knowledge), for such unfortunate (hapless) persons;

Prana = life energy; (ex: prana is one of the five pranas. The prana, apana, udana, samana, and vyana form the set of five pranas. We may conceive these as five essential energies always present in any living person. Details about these matters are given in Yoga books. Refer to earlier posts for Yoga books. The prana energy is considered as the one that moves up through body. We may visualize this as the main energy that propels the vocal chords and is involved in speech, recital, and singing.) anala = fire (located in the stomach), also known as the fire that helps in the digestion of food (jathara-agni); sam-yogamu = proper union, close joining; valana = due to (such joining); pranava-nadamu = the latent sound of ‘Om’; sapta-swaramulu = the seven basic notes in the Indian system of music, i.e., sa, ri, ga, ma, pa, da, ni, sa; baraga = flow, flowing; vina-vadana = the Indian musical string instrument, Vina. The long multi-stringed instrument with two hollow spheres (like pumpkins) on either end. The pumpkin close to the bridge is the larger one; loluDau = enchanted by, fully absorbed by; Siva = Lord Siva. Where did we see Siva absorbed with Vina music? In Dakshinamurty, Siva is always depicted with a vina. So is Saraswati, we find Her always with the stringed instrument. In the Hindu puranas, Saraswati is considered as the sister of Siva. Once to impress Siva, Ravana played vina when he was crushed under the Kailas Mountain. And of course, the ever wandering kind preceptor Narada is always with the vina, hung from his shoulders.

Mano = of mind; vidhamu = the method, the technique; erugaru = do not know, do not comprehend; Tyagaraja vinuta = so aptly praised by Tyagaraja;

Song in Swati Tirunal movie

Copyright 2021 by the author (Additions and corrections will be duly updated later)


Monday, June 21, 2021

A Gift To Father

A Gift To Father

My (our) father and uncles would not recognize the modern Fathers Day. In that age father used to dutifully observe our grandfather’s yearly anniversary according to our local lunar calendar. Our parents remembered those essential days, the days that fall exactly on a particular phase of the moon in one of the twelve lunar months. The village priest (పురోహితుడు) too would remember his clients’ dates and touch base with father the previous day to hint about preparations. Thus, the tradition continued for generations despite the financial troubles of the families. Each person would observe such remembrances with diligence according to their (financial) abilities. Our parents would rather go without tea or sugar or skip a meal or miss a movie, but they would always perform the (forefathers’) anniversary nicely. That means at least two priests and freshly cooked seven course meals. The guests’ (officiating priests) satisfaction is the primary objective.


Father liked photography. He was an accomplished artist well versed with oil paint, brushes, colors, and movie slide making. He could easily discern imperfections in prints, blurring, lack of focus, or improper masking. Father also was a skilled watchmaker (repairs man) and he liked keeping alarm clocks and wall clocks well tuned. Nothing perturbed him as much as a wall clock chiming the wrong hours or out of sync with the Radio.

No gift can express my gratitude to our dear father. This photo of a white pinkish fragrant peony flower may express what is not communicable in words or thoughts. Father always liked clean white dresses. As much as I can remember he always wore white shirt (short or long sleeves) (చొక్కా) and white dhoti (పంచె). A simple watch on left hand wrist and an orange coral studded ring on right hand, a gentle smile with curly hair – he gave us happiness, courage, and authentic simplicity. Why only on Fathers Day, I miss him everyday. I carry him in my memories always.


Thursday, June 17, 2021

Exploring the song "nagumomu ganaleni"

Exploring the song "nagumomu ganaleni"

Of the many devotional songs written by Tyagaraju, the song "Nagumomu ganaleni..." is truly a gem, incomparable in its beauty, meter, and profound meaning.  Dr. Balamuralikrishna's rendition (in some old cassette) of the song is very emotive and moving.  Equally beautiful is the version sung by Bhanumati (a poly-math!).  Sometimes it is difficult to decipher Tyagaraju's songs because they were written almost two hundred years ago.  A huge gulf exists between the Telugu of the bygone era and today's lingua.  One needs to know Sanskrit also, to truly understand these songs. Many of the errors in pronunciation (diction) can be avoided by learning these two languages thoroughly. One encounters similar difficulties with the melodious, kaleidoscopic poetry of Annamacharya.   

    Nagu=smiling; momu = face; ganaleni = unable to see; na=mine; jali=state of pity; telisi = having known, cognizant; nanu = me; brova = to save; rarada= won't you come? Sri raghuvara = Sri Rama

    Nagaraja dhara = Krishna, the one who lifted Govardhana Mountain*; needu = your; parivaramu = friends, family members; ella = all; oogi = bowed sequentially, in succession, in a row, one after another; bodhana = pleading; jese = doing; varalu = people; gaare = aren’t they; itulu = thus, in this way; undire = be, remain; nee = your;

    Khagaraju = Jatayu†; nee = your; aa (ya)nati = command, order, instruction; vini = having heard; vega = swiftly; jana = left; ledoo = not (did not?); gaganaaniki = to the sky; ilaku = to (from) the earth; bahu = very, extreme; durambani = being far; nadoo = then, that day; jagamele = world ruling; paramatma = supreme soul; evarito = with whom, to whom?; moralidido = will I plead; vaga = anger, neglect; jupaku = do not show; taalanu = can not bear; nannelukora = take me into your rule, protect me, have grace upon me; Tyagaraja nuta = praised by Tyagaraja.

    The scene is that of Sita's abduction.  Jatayu comes to the rescue of the unconscious Sita and fights valiantly with Ravana till his last breath.  This moment in Ramayana is perhaps the most poignant, rather heart-breaking one.  The gods in the sky are jubilant, because the event marks the beginning of the downfall of Ravana.  At the same time, the gods are also keenly aware that they are witnessing a distressed Lakshmi.  Does Jatayu take to his wings after hearing the command from Lord Vishnu? Does the enormous distance between the earth and sky overwhelm him? Does he wait for the command from Rama? Does Jatayu really need the specific instruction from Maha Vishnu? Perhaps yes. And no. In the following line, Tyagaraju addresses the Lord with two titles – the World Ruler and the Supreme Soul. In the bhakti tradition, it is axiomatically accepted that Vishnu has the supreme authority on everything and he can dictate whatever action is appropriate with his intention (samkalpa). The only exception to this rule is: some times the wish of an ardent devotee will override the intention of Vishnu. Also, the Lord is considered as transcendent and therefore has myriad ways of acting at his disposal - some involving explicit intention and some without intention. (Cf. In the Vamana-avatara He simply extends His foot to reach the entire sky, no explicit intent is involved. See my earlier blog on Annamayya’s kirtana, “Brahma kadigina padamu”.)

    In one sense, Sita did not need Jatayu's help. Sita was none other than Maha Lakshmi, a goddess with enormous powers. If Sita wanted, She herself would have confronted Ravana. In Ramayana, primary importance is given to Sri Rama. The king of asuras, Ravana obtained a boon from Brahma that no god could defeat or kill him in combat. The Lord came to the earth to lead the life of a human and confronted Ravana as a (mere) human being. In all the avatars  (ex: the ten avatars), there is one common thread - the avatar (avatara) is the source of power, life, beauty, and perfection. Other characters may be present during the life of an avatara (such as Lakshmana, Balarama) but they play a supporting role, always in consonance with the principal character (of the avatara). The supporting characters tend to be silent or dormant, very rarely exhibiting their extraordinary powers. This interesting principle has been explained by several Indian philosophers. Thus, at the time of Sita's abduction, both Sita and Lakshmana behave just as human beings, never asserting their true powers. Lord Vishnu bears enormous suffering in all the avatars; but He has to endure much pain and distress in the Rama avatar. Here, as soon as he became adolescent he was off to help Viswamitra. After marriage, both Sita and Rama moved to live in the forest. After Ravana's death, Rama and Sita were separated again after the coronation. One may ask why did Vishnu accept the Rama avatar? Of all the trinity, Brahma - Vishnu - Maheswara, Vishnu again and again took avatars and sought to help the mankind.  No one can be considered as compassionate as Hari. I used the original Sanskrit word avatara instead of the often-used word "incarnation".  One of the well-known philosophers suggested the English word "manifestation" as an equivalent word for  "avatar". (See J. Krishnamurti's 'Truth and Actuality').  Since Lord Vishnu is no mortal, perhaps it would be incorrect to interpret the ten avatars as ten incarnations. The Sanskrit etymology gives the meaning as “the star descending to the earth”.

    The origin of das-avatar (via Ambareesha) is an interesting tale in the Hindu mythology (purana) studded with many iridescent insights into religion (See Srimad-Bhagavatam). It is a story par excellence. 

[This was originally posted at Sulekha while I was just beginning to learn Carnatic music and dive deep into Telugu poetry. Then I did not have much access to the reference works of Sanskrit and Telugu. Now much more information is available on the Internet including some rare original Telugu works on Jayadeva and Kshetrayya. Though I could edit this post after more than a decade – I leave it unchanged. I am posting here on the Google blog site for the larger audience across the continents. I have only one remark to add: At the outset we witness the sad face of the great composer, pleading Lord Rama for a “manifestation of His smiling kind face”. Yet in the second stanza, we stumble upon an utterly human Rama with a dejected, sorrowful face; like all the mortals He too experiences the pain of (wife) Sita’s loss. Sadly there is no smiling face in this entire song. The situation is too profound, very moving – one sheds tears upon hearing this song. It seems Tyagaraju was sad because he saw Lord’s face in his inner recesses of heart. But for some reason that instant Sri Rama’s face was overcast with sorrow (due to the abduction of Sita).

I wonder whether many artists truly internalize and assimilate the total depth and meaning of the context. Great pundits (ex: Madhusudana Saraswati, Dr. P.S. Sastri) and Paramahamsa Sri Ramakrishna knew about real pathos, bhakti, and love (sringara). We may pretend to know real art, beauty, or truth. But only a select few can touch “that beauty”. Sadly many singers do not understand this great composition; nor can they feel the true profundity of this marvelous piece. I’ve diligently read Telugu poetical Ramayana and other texts many times; I try to find any errors in this interpretation but I could not. Several devotees expressed their anguish at the plight of Sita and Rama in the forest, getting separated, and sad without any help from nature or people. The situation continues till Anjaneya enters the scene. The Lord need not undertake such a painful avatara but for the loving compassion towards His devotees, rishis, and helpless citizens. Copyright 2007, 2021 by the author] 

(For Further Reading: 1. Tyagaraja kirtana, “brova bharama” 2. Bhaskara Ramayanamu,  

*We have two instances where the Lord (Narayana, Krishna) lifted mountains. The first event happened in Kurma-avatara. The second time Lord Krishna lifts the Govardhana to protect the gopis from the onslaught of Indra’s wrath, of scarring thunderstorms, hails, and disastrous cyclonic storms. 

† Invoking Garuda here in this instance does not seem appropriate. If we read Maha-Bharata and Ramayana, we come to know the extraordinary prowess of Garuda. He brought Amrita to release his mother (Vinati) from slavery, that too after valiantly fighting Lord Indra. We again witness his swift action (in Ramayana) on the battlefield to instantly neutralize the snake poison.


Lyrics of "nanu kanna talli" - a Tyagaraja composition

సింధు కన్నడ రాగము 

దేశాది తాళము 


నను కన్న తల్లి నా భాగ్యమా

నారాయణి ధర్మాంబికా 


కనకాంగి రమాపతి సోదరి

కరుణింపవే కాత్యాయని 


కావు కావు మని మొఱపెట్టగ

కరగదేమి మది కమలలోచనుని

నీవు బ్రోవకున్న యెవరు బ్రోతురు (?)

సదా వరంబొసగు త్యాగరాజ నుతే


nanu kanna talli naa bhaagyamaa

naaraayaNi dharmaambikaa 


kanakaangi ramaapati sOdari

karuNimpavE kaatyaayani 


kaavu kaavu mani mo~rapeTTaga

karagadEmi madi kamalalOchanuni

nIvu brOvakunna yevaru brOturu

sadaavarambosagu tyaagaraaja nutE


(This is another song I like very much. A song on Devi Parvati bringing all Her qualities and compassion in just eight sweet Telugu lines. In the second stanza, there is a reference indirectly to 'Kakasura'. The extraordinary composer asks thus: "Here, I keep crying (wailing) like a hoarse throated crow, how come Your brother's heart (Rama's heart) does not melt still? You are supposed to advise Your brother. If You (also like Rama) too do not take pity and attend to my distress, then who will? As the Mother, You always come through for the devotee, your bhakta. Luckily I learned this song on my own without looking up anywhere on the Internet. When I sing at temples, it does catch the attention of some listeners - so, hopefully I got the melody and feeling correct, as per Tyagaraju.)


Tuesday, June 15, 2021

Ecstasy (A Poem) - Translation of Telugu Original

Ecstasy


Whether

In the world famous Whitehouse’s bedroom

Or, in Waldorf’s bridal suite

Whether

On a swan-shaped divan bed

Or upon a down filled quilt …


Can it equal the pleasure (comfort)

(Of a night) in the thick fragrance

Of Cashmere bouquet, in the fanning

Breezes of Rangoon creeper

On a newar bed, in Relangi

Alone in the company of (ones) lady,

Imbibing the nectar of delicate lips

However great ones wealth, status

May be

Is it possible to feel true ecstatic joy?

Extremely rare, in life, for sure!

O, mind! (Translated from author's Telugu poem)


 రసానుభూతి


ప్రపంచ ప్రఖ్యాత శ్వేతసౌధ శయనగృహమైన నేమి

లేక వాల్డర్ఫ్చిటారుకొమ్మపై వధూకక్షద్వయమైన నేమి

హంసతూలికా తల్పమైన నేమి, నునిమెత్తని ఈకలబొంతపై నేమి

అల రేలంగిలో నవ్వారు మంచముపై

గుండుమల్లి పొదల సువాసనలో, రాధా మనోహరముల చుంబన వీవనలో

ఏకాంతములో నిజకాంత సుకుమార మృదుమధురాధర రసాస్వాదనలో

కల సౌఖ్యము కలదే, మనసా?

ధనభాగ్యములెంతయుండినను నిజ రసానుభూతి అనంద మబ్బునా?బహు దుర్లభము సుమా

- అత్రి

- atri

 rasaanubhuuti

prapampanca prakhyaata swEtasaudha SayanagRhamaina nEmi

lEka vaalDarph ciTaarukommapai vadhuukakshadwayamaina nEmi

hamsatuulikaa talpamaina nEmi, nunimettani iikalabontapai nEmi

ala rElangilO navvaaru mancamupai

gunDumalli podala suvaasanalO, raadhaa manOharamula cumbana viivanalO

EkaantamulO nijakaanta sukumaara mRdumadhuraadhara rasaaswaadanalO

kala saukhyamu kaladE, manasaa?

dhanabhaagyamulentayunDinanu nija rasaanubhuuti ananda mabbunaa?bahu durlabhamu sumaa#


Copyright 2021 by the author

Riches (A Poem)

sirulu

                                        - (atri)


lEvu sirulu vaDDiikaasula vaani hunDiilalO

lEvu okka taamara mogga mugdha lachchi vadda

lEvu kubEra bokkasamuna madiiya bojja gaNapatiki unDraaLLu

lEnivaaDanipinchukonu bhasmalEpita bhikshakuDu Sivunivadda

kalavu palu rahasyapu maNimaanyamulu, bhuvanaika sundaradhanamul

kaladu samastajagadhdhanaraasi aa peddamma annapuurNamma bhaanDamulO 


సిరులు

                                        - (అత్రి)


లేవు సిరులు వడ్డీకాసుల వాని హుండీలలో

లేవు ఒక్క తామర మొగ్గ ముగ్ధ లచ్చి వద్ద

లేవు కుబేర బొక్కసమున మదీయ బొజ్జ గణపతికి ఉండ్రాళ్ళు

లేనివాడనిపించుకొను భస్మలేపిత భిక్షకుడు శివునివద్ద

కలవు పలు రహస్యపు మణిమాన్యములు, భువనైక సుందరధనముల్

కలదు సమస్తజగధ్ధనరాసి పెద్దమ్మ అన్నపూర్ణమ్మ భాండములో Copyright 2009 by the author


Riches
No riches in Balaji’s hundis
No, not a single lotus with the demure Lakshmi
And in Kubera’s godown
There aren’t enough modakas for my Ganesa
Yet
There are many hidden stones, and one-of-a-kind
Rare treasures with Siva, that wandering mendicant
With ashes all over His body
And the largest collection of treasure cosmic safe
Is with
The great Mother (aunt), Annapurna
Concealed in the stone-studded silver jar
In Her hand

(This is a translation of the Telugu poem “sirulu”, by the author)
Copyright 2021 by the author 






Thursday, June 10, 2021

Lyrics of "jnana mosaga" kirtana

గమన శ్రమ రాగము

రూపక తాళము  


జ్ఞాన మొసగ రాదా గరుడ గమన వాదా


నీనామమున నా మది నిర్మల మైనది


జీవాత్ముండు పరమాత్ముండు

పదు నాలుగు లోకములు

నర కిన్నర కింపురుష

నారదాది మునులు

పరిపూర్ణ నిష్కళంక 

నిరవది సుఖదాయక

వర త్యాగరాజాది వారము తాననే జ్ఞానము


gamana Srama raagam

ruupaka taaLam


jnaana mosaga raadaa garuDa gamana vaadaa


niinaamamuna naa madi nirmala mainadi


jiivaatmunDu paramaatmunDu

padu naalugu lOkamulu

nara kinnara kimpurusha

naaradaadi munulu

paripuurNa nishkaLanka 

niravadi sukhadaayaka

vara tyaagaraajaadi vaaramu taananE jnaanamu


(I like this song for two reasons: i) It has deep meaning and covers all the essential canonical tenets of Hindu faith. ii) Though my musical abilities are very limited, I learnt this song's melody and music on my own. We can ponder, meditate, and understand this composition slowly to get its full effect. I'll give the meaning later.) Copyright 2021 by the author

Wednesday, June 2, 2021

Essential Works of Hinduism - II

Essential Works of Hinduism –II

We have just touched the Srimad-Bhagavatam earlier. Here, we mostly refer to Sri Potana’s Telugu translation. Bammera Potana is considered as a “natural Pandita” – as a natural well-versed poet scholar. The edition we’ve in our puja room contains some sections from the original Sanskrit text also; in the extended preface the editor gives a comparative analysis of the Telugu translation with the original Sanskrit slokas. 

In these brief articles I want the reader to get acquainted with a variety of texts. Some books will be a little hard to comprehend (and fully absorb the subtleties) but some others are easy to understand at a first attempt, at least superficially. Most if not all will produce a salutary effect when they are read with diligence and full attentive mind. I leave the question of “doubt” (or healthy skepticism) in these discussions. The reader can refer to the Gospel of Sri Ramakrishna for some guidance in this regard. 

Hindu faith involves not just book reading – it also demands the individual to practice certain aspects like singing, chanting, and silently contemplating on the stories and the countless (thousand) names of Hari. As a beginner one can start with following truth (with appropriate caveats for exception). A great guru of Varanasi has a generous simple suggestion: “We need not read all the books to progress in our faith. Just three or four books are enough. We only have a finite time at our disposal.”

Our Telugu Srimad-Bhagavatam book has many chapters. Depending on our mood (or current predicament) we may pick the chapter on Gajendra, Rukmini, Kuchela, Dhruva, Krishna, Bhishma, or Uddhava. Of course, there are many more valuable sections. The reader need not take my word but many Telugu families have benefited by reading Potana; and they still do. Certainly the flowing poems have become popular with the Telugu community and many can spontaneously rattle off famous lines from Gajendra or Prahlada. I’m sure many young girls got married happily and numerous indigent families got timely help through browsing the pages of Ambarisha or Kuchela. 

Now, if I may, I want to address the issue of English translations (of Hindu Sanskrit texts) and why and when such attempts fail. We’ll also look into the factor of “emotional state” while reading Sanskrit Stotras, Puranas, and the three canonical works (i.e., Ramayana, Mahabharata, and Srimad-Bhagavatam). Hopefully with proper enquiry and reflection the reader can appreciate the necessity of learning Indian languages (vernacular) and Sanskrit. To fully appreciate bhakti feeling, we have to learn a bit of poetry, lyrics, and singing. In English we have excellent examples of moving poetry by Wordsworth, Keats, Dylan Thomas, and many others. When we read sections of ‘Daffodils’,  ‘Lucy Gray’ or ‘Lines Composed a Few Miles Above Tintern Abbey’ we are intensely moved. Some sensitive readers even develop teary eyes effortlessly. Similarly we may get emotionally alert (awakened) when we read the English translation of Kalidasa (by Ryder). Still, if I have to measure carefully and proclaim – I would say the Kalidasa English translation does not come close to the heights of Telugu translations. Why? You may ask. That is the trouble with translations. Only authors, poets, and linguists know the pains of translation. Every author from Rabindranath Tagore, Nabokov, to A K Ramanujan struggled with translations. Even when I do perfectly faithful translations of Annamayya or Tyagaraja I feel utterly dissatisfied. Because the precious music and vibrating sound is lost. The English poetic translations may or may not move the reader’s heart. There is no guarantee of the emotional effects like catharsis or joy. This is the supreme reason why I try to shun all English translations of Upanishads, Puranas, and Bhagavad-Gita. Added to the loss of musicality and lyricism, English translations also suffer from distortions, lack of fidelity, and many times they miss entirely the target. As Sri Shanmukha Sarma eloquently explains, the Hindu Puranic stories encapsulate two or three levels: a) They try to teach us the essence of Parameswara in words. This itself is an impossible task – to try to convey indescribable thing in words. b) They contain hidden mantras. c) Listening and meditating on the stories itself bestows unique benefits on the sincere devotee. In English translations these matters are either totally lost or they cannot be transmitted through the foreign (non-Hindu) culture laden vocabulary poor English. There are no English equivalent words for the Sanskrit phrases: satya, dharma, sanyas, or moksha. Desperately we use and cling to approximate words like truth, righteousness, renunciation, and salvation. So, that is my brief against English translations.

Lastly we come to the most important concept, ‘ecstasy’ in our faith. This is well explained by Sri Ramakrishna and another great Swami of Varanasi. We recite Stotras (ex: Dakshinamurti) and sing bhajans (devotional songs) with the sole aim of focusing the mind on an embodiment (murti) of the ‘unknowable’. We cannot know these matters without the aid of Guru; but we must continue with the effort till ‘such grace’ dawns on us. In singing we can effortlessly reach the ecstatic state, perhaps for a millisecond. Our songs in Hindi, Telugu, Sanskrit, or other vernaculars help us reach that pure emotional state quickly – because they’re composed by great saints like Tulasi Das or Gopanna. Their signature, imprint, and benediction pervades through all such works. There is more to say here. Extraordinary scholars like Sri Madhusudana Saraswati probed into the connection between emotional state (sringara, karuna) and bhakti. Of course, Sri Jayadeva also wandered through the gardens of sringara extensively. When one listens to a large variety of world music across all languages, only then one can say definitely how deficient is English for expressing music. Here, I take the word of Dr. Balamuralikrishna: “In no foreign (non-Indian) language can you find the rich tapestry of tunes and melodies. With 72 mela-kirta ragas and half a dozen talas, you can generate so much variety. No country can beat that.” (To be Contd.) Copyright 2021 by the author 

P.S. A rare person with extraordinary language skills (ex: Sister Nivedita or Swami Vivekananda) can bring sense and fidelity to English translations. But it is a rare act.