Commentary on "Okapari kokapari" Song

The reason for yet another post on this divinely romantic (by romantic I mean the original Sanskrit word, “sringara-rasa”) lyric is this: Once at the S V temple, I got a chance to sing two or three songs; for some reason I chose this song and did my best to convey Annamayya’s original picture. Immediately after lunch, the resident musicians picked up this “okapari” kirtana for entertaining Lord Venkateswara. After all, such exhilarating (even if happenstance) incidents do not occur everyday – coming across nadaswaram and mridangam virtuosos (Messrs. V. N. and R. G., visiting artists from Madurai, the temple town) playing “Okapari” in Sri Venkateswara Temple – just a few feet away from this writer.

     In the first stanza, the scene starts with the Lord. (Annamayya’s lyrics work like modern video cameras. They depict a scene as it progresses in time.) There He was, His whole body got a dusting of camphor. But who did it? Who sprinkled camphor powder on Him? Who else would it be? It must be Padmavati Devi. Was it a part of “divine sport”? They just came out of their wedding, after taking leave of Brahma, Parvati, Siva, and others. On the seven hills of Tirupati, everyday, every hour, rather every moment is an occasion for the celestial wedding: Wedding of Lord Venkatesa and Alamelumanga. The constraint of time does not apply to Him, does not apply to Siva either. Thus, when the poet Annamayya delved deep inside, he had an insight – The Lord’s body was covered with camphor. But there is a slight problem, I mean about the ambient lighting situation, as the Lord’s body is always a bit bluish-grey. The tiny camphor crystallites are scattered all over. Still, like the nighttime glistening stars, the crystallites too shine in all the four directions (east, west, south, and north). We should rather say in all directions, not just four, up down, in all possible angles. Of course, camphor crystallites (flakes) do not glisten (shine) by themselves; like the fresh snowflakes they glitter when exposed to sunlight or moonlight or electric lamps. For our convenience (rather for the benefit of Annamayya), Alamelumanga plays a neat trick. She can be in Her birthplace, i.e., lotus; or, She can be at the side of Lord Venkatesa, or She can hide in His chest. She is free to be anywhere (and everywhere) but Her ideal resting place is always this: His chest (heart, being the true abode of compassion). So, She with Her moon-like face suddenly (momentarily) appears in His chest. What a marvelous sight? Entire body of the Lord is bathed in soft cool moonlight. 

     I am captivated by the two phrases in the first stanza: camphor and “downpour”. In the traditional Hindu marriages, bride and bridegroom are decorated with garlands. At least for the first three days (after marriage), the newly married couple is seen wearing garlands (at least, in bygone years). They are a privileged pair – representing Vishnu and Lakshmi. Flowers naturally fade; particularly they wilt rapidly in hot climate and lose their sweet scent. So, besides flower garlands, the newly wed couple wear garlands with camphor disks (circular camphor tablets) and colored tinsel. As a kid, I had the fun of enjoying marriage ceremonies participating as a co-bridegroom. Thus when I was sitting close to the bride and groom, I could feel the intense fragrances, colors, softness of petals, and the rustle of silks.

     What a glorious spectacle? What did Annamayya see in his vision? It was a downpour of cool soft moonlight. My own sensual experiences with downpours are many: Once we were coming home after school in the evening, and then, without slightest warning, we were totally inundated with a monsoon outburst. Where could you rush to seek a shelter? With books on our heads, we ran to our homes. Then there are those cool gusty winds with rainbow colored waters near Niagara and other waterfalls. At home, the one I remember most is during weekly oil message laden ritha (Sapindus) shampoo baths. Towards the end, mother would lift a brass pitcher and pour refreshing warm water. What a pleasant relief to burning eyes? What a joy? A downpour like any sensual experience needs to be felt, it cannot be described in words. The downpour - of the Mother – of that intense cool moonlight is a spectacular sight. We may get a feel for it when we look at the moon during autumn months. Oh, those clear skies with full moon. They look so bright, yet so gentle to the eye. Certainly, a part (speck) of Alamelumanga is vividly present in such full moon nights. Here, they say it “glade”. While driving you come across big beams of sunlight shooting through the small openings in clouds. We see that while walking through thick wooded forests. One can witness such beautiful inspiring light rays during nights with the soft moonlight.

     How can we see the Lord in night? Even in the day, it is difficult to discern His features due to the dark blue (grey) complexion. If we were to gain any understanding (rather insight) of the Lord, then it must come from the grace of Alamelumanga. It happens only due to Her grace. So, even with camphor dust, we cannot visualize His feet or His benevolent hand. We, the devotees are totally lost. Then, as if to ease our helplessness, our discomfort, our frustration, She suddenly showers the Lord with gentle moonlight. Now, at last, we can see His outline. There He is, even in those intimate moments with Padmavati, and invariably they are of very short duration, He came down wearily to Alamelumanga, after standing the whole day and most of night, listening to endless pleadings of His children – still He has to please one faithful devotee, Annamayya. He is very true to His own words; the Lord will accede to devotee’s every request. Thus, we now witness the Lord with Alamelumanga in a unique combination. When we see or pray, we mean both of them. As a divine couple, they are always inseparable.

    The second stanza is even more enchanting. If one wants to learn poetics, literature, one has to dig deep into these thousands of lines – more like spontaneous outpourings of a soul in a “deep trance”. Of course, being dark hued, the Lord needs all those glittering decorations and jewels (no, I am just jesting, the Lord does not need any jewel. He just wears them for our sake, for our satisfaction!). That long cone-like crown, golden covers for hands and feet, golden stone-studded waistband, and multi-colored rings on fingers and of course, the whirring wheel, and conch. Yet with all these glitzy accessories, the Lord is still barely visible in nighttime. Because there is not much illumination except the dull glow from a few oil lamps. [Even today, in the inner sanctum sanctorum, only lamps with oil or ghee are used.] But Alamelumanga earnestly wants to help Her children. How can they see the Lord? So, She now appears as a ray of lightning. Can it help now? (Can our mortal eyes now take a picture? A snapshot?) She is none other than Lakshmi as such She needs no decorations. All the wealth resides in Her and all the attraction (i.e., gazes of Her earnest devotees) is focused towards Her. Without Her and Her compassionate side-wise long glances, Indra loses His kingdom, throne, and everything. This imagery was invoked earlier also (cf. Sankara in Kanakadhara). So, now with Her slender form on His side, the scene takes a different turn: They appear as a cloud with a streak of lightning. That is enough, that scene is full of life-giving energy. Surely it will sustain all life. And all effort on this earth is to preserve life, create life, and produce joy for Her children. As Annamayya had his insight, we too can have a glimpse into the divine couple with steady meditation and musical devotion. Because it is so difficult to focus the mind, so unmanageable is this wandering goat of mind – that is why we try to approach the Lord and Alamelumanga through a song, a shriek, a simple gesture, a leaf, a flower, or thimble-full of water. 

Copyright 2010, 2021 by the author

Comments on "Banturiti koluvu" Song

బంటు రీతి = like a servant, like a soldier, like a bhakta, like a loyal desciple; koluvu = patronage, a command, job, direction, a position in the (royal) court; eeyavayya = give me, sir. 

తుంటి వింటి వాని = Manmatha’s, the one with sugarcane bow, (god of sringara rasa); modalu = starting with; madadula baTTi = desire and the five other defects, pick them up; nEla jEya = throw them on to the ground, uproot them totally; nija = your, true;

rOmanchamu + anE = a state of thrill in which the whole body’s hair stand erect on the skin, an exalted state with goosebumps!; ghana = strong; kanchukamu = jacket, upper body garment, (bronze shield?), a metal protective body cover, armor; mudra biLLayu = (also) a badge or metal plate with a stamp or seal (similar to the medallions worn by Indian Railway coolies or military brass). Here in this context the metal plate is adorned with Sri Rama’s picture or letters. Vara khaDgamu = a sharp sword, an excellent sword; virajillu = shinging well;(n)ayya = sir, lord; 

This word to word translation should be sufficient to aid us in understanding the well-known devotional song. Our invisible enemies are the six strong emotional pulls: desire, anger, greed, infatuation, ego (pride), and jealousy (కామ, క్రోధ, లోభ, మోహ, మద, మాత్సర్య). Annamayya or Tyagaraja or any other devotee - they all repeatedly insisted that our real foes are the six defects of human character. Sure there are other major devastating conditions in life like sickness (Carona scare!!), misfortune, ignorance (even illiteracy), or poverty. We do not want to belittle hard times or life’s adversities. But over and above those “difficult circumstances” (sometimes we’ve no control over them, good or bad we’re just born into them. Call it luck or bad luck.) we have to contend with these hidden dangerous enemies ready to pounce on us at any moment. Now how to fight such a merciless army of invaders or highway bandits? Here, our compassionate saint Tyagayya comes to our rescue; he offers simple techniques.

Where else did I come across this word, “రోమాంచము” (pure ecstasy)? (See Sri Ramakrishna Paramahamsa’s and Sri Trilingaswamy’s works) This is a state where the hairs on our bodies stand erect. It happens in three situations: 1) We observe this phenomenon during the dry fall and winter months. It occurs due to static electricity. 2) It can happen during a sudden frightful situation. 3) For the saints and bhaktas, it happens spontaneously while singing “a kirtana” rapturously. Put on the shield of “Rama-bhakta”, then we can go for war with the six crooks. Just utter the name of Sri Rama with all your heart, mind, and body - that is enough to vanquish these pesty trouble makers. There may be more arduous paths like the ‘jnana yoga’, but they are not any easier either. And some paths may not suit the ordinary householder mired in the day-to-day mundane affairs.  Finally, who would not like to be in the court of Sri Rama, who is an embodiment of perfect human qualities? Rama - the sheer utterance of His holy name brings protection to all stuck in life’s predicament. Umpteen thanks to Ms. Mutya Syamasundari who painstakingly compiled the devotional songs for the benefit of Telugu community. And of course the publishers (Gollapudi of Rajahmundry) deserve much gratitude for bringing out the devotional (Carnatic music) song books at a nominal price accessible to many. What can you say? Once I noticed a Tyagaraja songs compilation book in Pittsburgh temple exhorbitantly priced at $ 100!   

Telugu Lyrics of "Brova bharama" Kirtana

బ్రోవ భారమా రఘు రామా 

భువనమెల్ల నీవై యుండ నన్నొకని 

శ్రీవాసుదేవ అండకోట్లు 

కుక్షిని యుంచుకొనలేదా 

కలశాంబుధి లో దయతో నమరులకు 

గోపికలకై కొండలెత్తలేదా కరుణాసాగర త్యాగరాజుని 

brOva bhaaramaa raghu raamaa bhuvanamella neevai yuMDa nannokani Sreevaasudaeva aMDakOTlu kukshini yuMchukonalaedaa kalaSaaMbudhi lO dayatO namarulaku gOpikalakai koMDalettalaedaa karuNaasaagara tyaagaraajuni

(Only two contemporary renditions captured my attention. One by the great original vocalist, Dr. Balamuralikrishna and the other by Bombay Jayasri. When we closely listen to the former musical stalwart, we can feel the spontaneity, the emotion, and his total authenticity. He can feel the meaning of each word, each syllable, and the agony of Tyagaraja. Music automatically follows when you know the language, the underlying depth of meaning, and when you dissolve totally into the vast emotional currents of “true feeling or bhakti”. You cannot fake it; when you force your musical technicality it sounds insincere. And the listener can sense it and detect it immediately. (This is similar to when you do excessive “padding” in a Ph.D. thesis with extraneous matter!) Ms. Syama Sundari's Telugu compilation has helped me a lot.

In the second stanza, there is a reference to the milky ocean where Lord Vishnu reclines on the Adi-Sesha and lost in the meditation of yoga maya (యోగ నిద్ర). It (the phrase కలశ) reminds me a scene from a movie on Sri Adi Sankara (by G. V. Iyer). There Sankara-acharya controlled the flood waters of Narmada river by gently putting back the spilled river into his water-pot (కమండలువు). Here in this song Tyagaraja reminds Lord Rama His earlier feat(s) of supporting Mandara mountain during the churning of milky ocean. Not only that for the innocent gopis, He later lifted the Govardhana hill to protect the cows, cowherds, and gopis from the flurry of hails and rainstorms - hurled by Indra. For a Lord who effortlessly carries all the fourteen worlds in His tummy, is it difficult to carry or protect one individual? (Thus wails and complains helplessly Sri Tyagayya. We, mired in similar desperate situations, concur with the composer. We too feel the heart wrenching pain inwardly. What can we say? That is the power of great art, it can cross vast boundaries of time, space, and people. Copyright 2019 by the author)  

Penultimate Slokas of Raja Yoga - I

श्री गुरुभ्यों नमः Salutations to Sri Adi Sankara. May I be always guided by divine grace. I seek inspiration from Gayatri mata and let the Mother guide me ever on the path of pure intellect and unbounded kindness. May She keep me free from silly arguments and vapid senseless logic. Rationality without compassion is like a sharp sword, leaving only gaping wounds and bitterness. I’ve looked at the Telugu (poetic) translation of Bhagavad-Gita by Dr. P. V. Satyanarayana Rao; the physician had translated the Sanskrit original Gita with utmost care – all the prose and poetical dialogues in toto while suffering from an incurable ailment during his last years.

32. Whether they are born of sin

Whether they are women, Vaisya, or Sudras

Whoever they be

When they seek (refuge in) me

They all obtain moksha

33. If that is so, what to

Talk about the pious, the Brahmins,

The devout Kings and rishis?

Though you’re born in this transient unhappy world

You too can obtain moksha by praying to me

        “कृष्णं वन्दे जगद्गुरुम् ” Let us first annihilate the idea of “body” with a particular individual. Once we are totally shorn of our “physical and biological individuality”, now we can concentrate on the essence of these two stanzas. At least for once let us traverse beyond the rut of limited understanding and cross the morass of doubts, misunderstanding, or misinterpretation.

        Two issues confront and baffle the modern skeptical (“rational”, doubting Thomas!) reader: a) Rebirth and its associated ‘karma’ phenomena. b) The “varna-asrama” system of Sanatana Dharma and the earlier Hindu societies. Sri Trilinga Swamy (I am fortunate to be born in the same Telugu community) kindly answered all the questions related to rebirth; he, in his inimitable gentle demeanor removed all the pestering confusion of his last disciple, Sri Umacharan. One has to patiently read the biography and pearls of advice of Sri Trilinga Swamy. His writings are readily available to Hindi, Bengali, and Telugu aspirants. Other venerable gurus also must have commented on the irrefutable (rather inscrutable) ‘rebirth’. Looked upon with an unbiased pure intelligence, rebirth appears as the most efficient instrument of the Lord (Eswara): Eswara does not have to keep on generating infinite sets of creatures like a potter – the inviolable ‘karma’ (coupled with the sakti) will keep on producing endless versions of living entities strictly according to their preferences and past deeds. Some times we may not like the outcome (ex: Yama born as Vidura) but it is best to obey, learn, and submit to the eternal dharma.

        Regarding the varna-asrama, the reader can gain a better appreciation if she refers to the writings of Sister Nivedita, Sri Kanchi Paramacharya (see Hindu Dharma), and other scholars. Spread over numerous millennia many societies developed their own distinct cultures, traditions, and faith (variants of very diverse Dharma). The modern individual (encumbered with his own biases and idiosyncrasies) viewing through a narrow slit of time (at best few decades) tries to understand the ancestors, the learned rishis, and their thinking. I would not go into this subject (i.e., varna) here, as it will take us astray. But if I may, point out one important aspect of life. In the US (perhaps it is occurring now in contemporary India too), parents often exhort their children thus: “Yes, you can do anything you put your mind to.” But as we mature in life we come to face the harsh truth. Not everybody can sing as sweetly as Lata Mangeshkar or P. Susheela, even if you practice for decades under the best music teacher.  Some can easily understand the Pythagoras theorem and even prove it readily on a paper napkin. But many will never get the essence of geometry, a theorem, or a rider – even if they spend their entire lives and monies. Similarly some may never learn to love water sports and enjoy swimming without fear. So, we should banish the thought that “all are equal in all aspects and everyone can excel at any (every) activity.”

[Of course miracles do happen some times to save the Sadhaka, to extricate the individual from a sticky predicament! But we must make ourselves noble, deserving for a miracle to intervene.] In the puranas sage Viswamitra, a born Kshatriya (a great rishi who bestowed us Gayatri mantra!) spent many years to become a Brahma-rishi with many pitfalls, sometimes hurting others on the way.  Perhaps our ancestors knew a thing or two about human heredity, innate talent, and predisposition towards to certain abilities. Every society has certain divisions or stratifications; high and low is prevalent across the world. Except in the movie Roman Holiday, the royals do not dine with the commoner normally.   

The reader need not get hung up on the phrase, “yoni”. In the larger universe and in the vast gamut of creation, we see a mix of sexual and asexual propagation. The gardener (or a scientist like Gregory Mendel) comes across the beauty of creation on the pumpkin vine, hibiscus, rose, or jasmine bush. Only in the last half a century we have begun to appreciate and understand human genetics; we are close to witnessing some progress in the area of “stem cell” for human species now, but the phenomena has been around in the plant species for centuries or even longer.  The serious Sadhaka may simply consider all such matters as part of “the holy act of creation” and leave it to the Mother. The maya, the energy, and the birth phenomena belong to Her. She decides how a great sage like Veda-Vyasa is born or how a great poet-dramatist like Kalidasa comes on the stage or how a musical composer like Annamayya strings floral garlands of thousands of melodious songs effortlessly. It is part of Her play in the ever-expanding (increasing entropy!) outward world – an elegant expression of the indescribable Brahman. (To be continued) Copyright by the author 2019 

"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).