Lyrics of "Pahimam Srirama" - A Ramadasu Kirtana

paahimaam Srii raamaayanTe palukavaitivi

nii snEha meTTidani nE ceppanO hO hO hO hO hO hO               | paahimaam |

1. ibbandi nondi yaakari bobba peTTinamtalOnE

gobbuna gaaciti vaTa  jabbu sEyaka

nibbaramugaa nEnenTO kabba micci vEdukonna

tabbibbu cESedevu raama abba bba bba bba bba

2. sannutincu vaari nella munnu dayato brOcitivani

pannaga saayinE kani  vinnavinciti

vinnapamu vinaka yento kannaDa jESedavu raamaa

yennaTiki namma raadu (ra) anna nna nna nna nna nna

3. cayyana bhadraadri nilaya swaami vani nammi nEnu

vEmaaru vidhamula vinuti cEya saagiti

ii yeDanu raama daasuni kuyyaalinci brOvakunna

nii oyyaara mE manavaccu nayya yya yya yya yya yyO

పాహిమాం శ్రీ రామాయంటె పలుకవైతివి

నీ స్నేహ మెట్టిదని నే చెప్పనో హో హో హో హో హో హో               | పాహిమాం |

1. ఇబ్బంది నొంది యాకరి బొబ్బ పెట్టినంతలోనే

గొబ్బున గాచితి వట జబ్బుసేయక

నిబ్బరముగా నేనెంతో కబ్బ మిచ్చి వేడుకొన్న

తబ్బిబ్బు చేసెదెవు రామ అబ్బ బ్బ బ్బ బ్బ బ్బ

2. సన్నుతించు వారి నెల్ల మున్ను దయతో బ్రోచితివని

పన్నగ సాయినే కని  విన్నవించితి

విన్నపము వినక యెంతో కన్నడ జేసెదవు రామా

యెన్నటికి నమ్మ రాదు (ర)అన్న న్న న్న న్న న్న న్న

3. చయ్యన భద్రాద్రి నిలయ స్వామి వని నమ్మి నేను

వేమారు విధముల వినుతి చేయ సాగితి

ఈ యెడను రామ దాసుని కుయ్యాలించి బ్రోవకున్న

(నీ) ఒయ్యార మే మనవచ్చు నయ్య య్య య్య య్య య్య య్యో

The lyrics were compiled from Mutya Syamasundari's book (published by Gollapudi). Some changes were made after listening to a rendition by Dr. Balamuralikrishna. The meaning and commentary on this lively devotional song will be given in the next post(s). Lekhini was used for generating the English transliteration and Telugu script. Several years back I posted this song with only English transliteration at my Sulekha blog site. Recently a Sulekha reader (Sulekhite) requested the meaning of this exquisite song. So, I have to dig into the literature and post a corrected version of the lyrics. 

Growing up I had heard more of Tyagayya songs than Ramadasu's kirtanas. It is a pity - because when viewed in a historical sense, Tyagayya might have been motivated and inspired by Bhakta Ramadasu. Some of Ramadasu songs run into hundreds of lines, making the song look like without a beginning or an ending. Like the river Godavari, the songs music and melody just play on. Sure, let them play on in my heart!

SriSri's Surrealist Poetic Puzzle - Part II

The critic gave this poem as an example of  absurd experimental poetry. Not only that, he summarily concluded that such poetry as a meaningless writing (drivel). In the following month, Bharati received a letter (post card) from Visakhapatnam. Do not remember the sender’s name; the gist of the letter is: 

“Those who are not familiar with Himanshu Roy, those who did not watch his films, for them, this poem makes no sense. Turayi (also refers to the Gulmohar flower) is an ornament of hair (cf: the English idiom, ‘feather in a cap’), on top of head. File is used to sharpen iron tools (knife, nail, etc.) Cricket’s sound in summer is unique, shrill, very distinct. Therefore, the acting of Roy is also endowed with the same unique qualities. That is the real meaning of the poem. Added to the commentary was a line – behind the words of great poets, meaning always follows, comes behind running”.

So, we cannot brush aside SriSri’s surrealist poems as either useless or meaningless scribblings. Doing so will be equivalent to hurting our cerebrum with our own hard knuckles. 

Sri Sri says, “If we study a question well, answer will emerge from the question itself”. Therefore, we have to notice the footprints of ataveladi, and discover its underlying meaning. But, foremost, a disclosure: “I do not declare I’ve conquered something, that I am a great literary champion. I just want to inform my method and share it with the learned poetry critics. In so doing, I bow to all Telugu scholars and seek their indulgence.”

In the afore mentioned poem, only the last line is a bit involved, sort of oblique telling. SriSri did not like the way “the five classics” were codified in Telugu (cf. the five classics in Sanskrit). He resented it, he thought true learned scholars would not allow such a classification scheme. 

The beauty of this poetic riddle is this: In a clever way, SriSri ridicules the old classification scheme, then offers an amendment – as per his own analysis (preferences). It is also worthwhile to note the usage of numerals – only Arabic numbers (actually they are derived from the old Indian Hindi number system).

Every one knows Sigmund Freud wrote his magnum opus on psychoanalysis. But, what does the “crow” represent? “In saying ataveladi is mother-in-law of dwipada” – SriSri’s opinion is crystal clear. 

“Anantam” is SriSri’s autobiography. He said it was a work with hidden things (clues). In the autobiography many riddles are answered. Thus if we search the autobiographical work for hidden treasures, many new things will come to light. SriSri had enormous respect for the poet Srinadha. “Shakespeare created plays, Srinadha wrote great poetical works”. Not only that, he did not agree with the exalted status of Peddanna. When Setty Narasimham remarked that “Vasucharitra is a greater literary work than Manucharitra”, SriSri’s glance fell on Vasucharitra. After carefully weighing all the evidence, he too firmed with the belief, and concurred with Narasimham Setty.

In the introduction to “Ezra Pound’s Selected Poems”, T.S. Eliot says: “The poem which is absolutely original is absolutely bad. True originality needs development.” Always, imitation is present (even in great works). Thus, SriSri says, “Manucharitra is a second class poetry. It is representative of a great second grade poetry. But Vasucharitra is of first class category. Yet, this subtle distinction is not known to many”. Further, he says, “Allasani Peddana stole many features from Srinadha.” Being a writer associated with film industry (which is famous for wholesale copying  of ideas and entire story lines from other languages– from Hindi, Bengali, and English), SriSri was acutely aware of his own unethical behavior (plagiarism); still, he had to withdraw the exalted position given to Peddana. 

Of all the poets of Prabandha Period, Tenali Ramakrishna impressed him most. Thus Panduranga Mahatmyamu, for SriSri is the best.  The modern poet paid encomiums to Tenali in his autobiography, “Sipraali”. 

"మనమున కోరి భజింతున్

తెనాలి రాముని ప్రగల్భ ధీనిస్సేమున్

ధ్వని రాజ్యసార్వభౌము, రు

చి నిరుపమ కవిత్వ ధాము సిరిసిరి మువ్వా"

Similar to the five classics of Sanskrit (pancha-kaavya), in Telugu too we have the famous five poetical works. These are usually listed as: 1. Manucaritra 2. Vasucaritra 3. Panduranga Mahatmyamu 4. Amuktamalyada and 5. Sringara Naishadhamu. This sequence in decreasing order of importance appeared unjust to SriSri. He felt this ranking did not take into account the merits of the works with proper care and analysis. Now, in this context we can infer further: Whom does the crow represent? The real purpose of ‘psychoanalysis’ is this:  How psychoanalysis can yield deeper insights into things.

Thus, guided by his own readings and analysis, SriSri came to a new ranking of the five major Telugu works. This he intimated by the last line – “5,3,2 Amuktamaalyada” How’s it? You may say. Bring the last placed (in 5^th position)Sringara Naishadhamu to the first place. And then upgrade Panduranga Mahatmyamu to second place. Vasucaritra moves to the third place. And of course in this new scheme of things, the only work that retains its place is Amukta maalyada. 

What? Now there are only four major works in Telugu? In SriSri’s opinion, there ought to be only four classics in Telugu. Because, the great Peddanna got unseated. Maybe, our Mahakavi would not mind if we accord the last fifth place to Peddanna. A niggardly dash is left in the line. 

However vehemently SriSri may protest to the contrary, there is a bit of insanity in surrealism, a speck, just the size of a neem seed. That much is true. But such craziness (though it may appear first as an absurdity) too stimulates mind, it sharpens our intellect – that is an incontrovertible truth!

Translator's Notes

1. Upon the suggestion of my niece's husband (Sri AVSK Mohan), Sri Tupili Vanamali (Manager) kindly airmailed me a copy of Zaminryot. This critical article appeared in the January 3, 1997 issue. I owe umpteen thanks to "Agni-Mitra", the author of this original critical article in Telugu. I also extend my sincere gratitude and appreciation to the publisher and owner(s) of Zaminryot for printing such high quality articles. I think the Jnanapith awardee, late Sri Ravuri Bhardwaja once had a stint at this newpaper. I am saddened at the thought that  the superb periodic publication is now defunct(?). Looks like it has resumed its publication (current editor: N. Dolendra Prasad).

2. Originally I had planned to write this article on the eve of the centinary celebrations of the poet (2010). 

3. In some old Bengali or Hindi movies, I came across the name of Himansu Roy in the titles. Fortuitously very recently,  I got to see one silent BW white movie with Roy in a leading role. Now, I understand what SriSri meant in his cryptic poem on this famed Indian movie pioneer.

4. Much of the original sound is lost in the translation.

5. Coming across a very difficult problem ('hard nut to crack'), an extremely challenging situation - it happens rather infrequently. That a Telugu poem remained unexplained for several decades speaks volumes about the poet's brilliance and creativity. Only in the very rarefied heights of intellectual endeavor, one comes across such intensely daunting problems. There are some such hard nuts in physics; at least one Tyagaraju kriti is difficult to decipher entirely. Whether solved or unsolved, such puzzles give enormous stimulation to the mind. Regrettably, much of the avowed experimentation in contemporary literature, arts, and even sciences is of pedestrian type, of lesser quality.

6. I (humbly) hope this English translation will tell the wider world the achievements of modern Telugu poetry. 

Copyright by the author 2014, except the cited Telugu poems

A Telugu Song on Devi - Original Composition

కనకదుర్గమ్మ పై ఓ చిన్ని పాట  

జగములనెల్ల నీవే యుండ (నిండ),

నిలువదు నామది ఎందులకు? 

నడిచి నడిచి నే నలిసి పోతినో

నీ పదనూపుర పుర వీధులలో

బాలుడనై నే తిరుగలేదా నీ పతిదేవుని ప్రాంగణములలో

చల్లని తల్లి నీ కరుణ నాకుండగ

ఎందుకు నాకీ తపనలు మాతా?

మరులొలికే నుని మందార కపోలములో అవి

(అరుణోదయ నుని మందార కపోలములో)

నవ పారిజాత నఖ కాంతులో మరి

యోగులకైనా తెలియ శక్యమే 

నా తరమా నీ కవనము సేయ  

jagamulanella niivE yunDa (ninDa)
niluvadu naamadi endulaku?

Ho
naDichi naDichi nE nalisi pOtinO

nii padanUpura pura viidhulalO

baaluDanai nE tirugalEdaa nii patidEvuni praamgaNamulalO

callani talli nii karuNa naakunDaga

enduku naakii tapanalu maataa?

marulolikE nuni mandaara kapOlamulO avi

(aruNOdaya nuni mandaara kapOlamulO)

nava paarijaata nakha kaantulO avi

yOgulakainaa teliya SakyamE 

naa taramaa nii kavanamu sEy

I will give the audio clip and English translation in a future post. విజ్ఞులు తప్పులున్న క్షమించెదరు గాక. Copyright by the author 2013.  

SriSri's Surrealist Poetic Puzzle - Part I

SriSri’s Surrealist Poetic Puzzle

         "కాకి కేమి తెలుసు సైకోఎనాలిసిస్

ఆటవెలది ద్విపద కత్తగారు

5,3,2, ఆముక్తమాల్యద -"

"kaaki kEmi telusu saikOenaalisis/aaTaveladi dvipada kattagaaru/5,3,2, aamuktamaalyada -"

O Lord of Seven Hills, what is the meaning of this? Even if we break our heads, it is difficult to fathom its essence. It is not proper (scholarly unbecoming) merely to brush it aside as “just a meaningless little rhyme”. Surrealist poetry is like that, its style. Yet, even if we contemplate very strenuously, even if we think very deeply, we may not decipher it. It’s baffling.

What is the essential point in this poem? What is the puzzle (1) here?…. Who is this great poet? Who else? “This century is mine” – so he said , so he declared with  a thump on his thigh, Mahakavi Srirangam Srinivasarao (2). By joining the first letters of his surname and his name, he coined the pseudonym: “Sri Sri”. Thus evolved a most meaningful, rhyming, poet-stalwart. Who else but he, could pen such surreal poems? Of course, people also say Narayana Babu also too wrote surrealistic poetry.

What is surrealism? We know its goal (i.e., to baffle the reader, hold him captive, and grab his attention. Make the reader stop in his tracks!), but what is its quality? SriSri explained its quality with an example. If we read it, we would go a bit crazy, become perplexed.

"జీబ్రాకు, Algebra చిహ్నాల

లాంకోటు, పాంకోళ్ళు తొడిగి

సాహిత్య పౌరోహిత్యం యిస్తే

వెర్రికాదు, Sur-Realism రా సోదరా!"

If we get (grab) a zebra 

Drape it in a long (trench) coat  with algebra symbols

Put him on wooded sandals

And bestow priesthood, of literature

It is not crazy, but surrealism, dear brother!

This definition makes us all stupefied, dumbstruck. [Translator’s addendum: Among Telugu community a common disparaging remark is – 'అడ్డగాడిద'. “You are  an upright donkey with two feet”. Quite likely, SriSri may have such an epithet(s) in his mind while composing this poem. Somewhere, in the back of his mind, deep in his sub consciousness, he had this vivid image; he must have encountered such a situation. After all he worked at the All India Radio, also he had a stint at a newspaper. So, he must have crossed paths with such a person. A totally incompetent nincompoop, dressed in a suit, given a big title (like director, editor, managing director, program director) and was put in charge of a key literary/journalism program. Perhaps, such a person has acquired lots of formal degrees, like B.A., M.A., from a university. What a havoc on Telugu literature and culture, it would create? How can a gifted artist, poet, scholar work under such oppressive pitiable conditions? Perhaps, these are the underlying factors, colorful images that prompted SriSri to compose this poem. Of course, on the face of it, the whole thing looks a bit unrealistic, surrealistic. A dream scenario. But that is the beauty of it. There is enormous humor embedded in the little poem, but only very few readers can grasp it! We must also remember here one more important factual detail: SriSri was a student of zoology. Zebras are a sort of (hybrid) cousins of asses and horses!]

In (Dr. C. N. R.) Narayana Reddy’s “Modern Telugu Poetry: Traditions and Experiments” (doctoral thesis), we find a reference to this poetic puzzle. Dr. Reddy’s comment is like this: “Because Amukta Malyada is a rather tough mature literary work (prabandham), he wanted to poke fun at it by using those numerals, 5,3,2. Perhaps.” Thus C.N.R. too left the riddle as an unsolved poem, he gave us no convincing answer. On top of it, Dr. Reddy tried to ascribe his own opinion to SriSri by saying, “SriSri wanted to say – irrelevance (out of context), meaninglessness, and jugglery of sound are the characteristics of surrealism, surrealist poetry”. One may portray surrealism (poetry) as absurd poetry, but it is not proper to say such poetry as meaningless. In any type of poetry, there will be some shrewdness, but it will only be one of the factors. Just a part; meaning – shrewdness alone cannot determine what is poetry and what is not. Here, in this context, we have to discuss one very pertinent incident related to our poet.

I think, during the sixties (1960’s), the very famous literary critic, late, Sripada Gopalakrishnamurty wrote a long essay on “Modern Telugu literature” in “Bharati” magazine. It went on for months, that review article. In that essay, he praised “Mahaprasthanam”. While paying tribute, Sripada said of SriSri, “in later years somehow the poet lost his talent, as a consequence, he started playing rhyming games with miscellaneous poems.” As an example, the critic offered this –

తురాయి కంటె

ఆకురాయి కంటె

కీచురాయి కంటె

హిమాంశురాయి (3) గొప్పవాడు

“Greater than a turayi

Greater than a file

Greater than a cricket

Is Himanshu Roy – the greatest (4)

Copyright by the author 2014, except the original cited Telugu poems.

"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).

Lyrics of "Inta telisi" - A Kshetrayya Padamu

ఇంత తెలిసియుండీ ఈగుణ మేలరా

పంతమా మువ్వ గోపాలా నా సామి                               (2)

అలుక చేసి ఇంటికి రావైతివి, చెలికత్తెలున్నారా, పిలువ వచ్చేరా

చెలికత్తెలైన నీవే, చెలువుడవైన నీవే

తలచిచూడ నాపాలి దైవము నీవే                                      ||ఇంత||

వింతదానివలె నన్ను వేరుచేసి రావైతివి, అంతరంగులున్నారా, నన్నాదరించేరా

అంతరంగమైన నీవే, ఆదరించెనా నీవే

చింతించిచూడ, నా జీవనము నీవే                                     ||ఇంత||   

శ్రీనిధి మువ్వ గోపాలా  నన్నేలరా, నా నేస్తులెవరైనా  ఆనందించేరా

నా  నేస్తులైనా నీవే, నమ్మి తలచినా నీవే  

ఆనగ పలికెద నా ఆనందమైనా నీవే                                  ||ఇంత||

inta telisiyunDi iiguNa mElaraa

pantamaa muvva gOpaalaa naa saami

alukacEsi intiki raavaitivi, chelikattelunnaaraa, piluva vaccEraa

chelikattelaina niivE, celuvuDavaina niivE

talacicuuDa naapaali daivamu niivE |inta|         || inta ||

vintadaanivale nannu vErucEsi raavaitivi, aantarangulunnaraa, nannaadarincEraa

antarangamaina niivE, aadarinchenaa niivE

cintincicuuDa, naa jiivanamu niivE                      || inta || 

Sriinidhi muvvagOpaalaa nannElaraa

naanEstulevarainaa aanandincEraa

naanEstulainaa niivE, nammi talacinaa niivE

aanaga palikeda naa aanandamainaa niivE    || inta ||

Film: Devadasu (BW)

Music: Subburaman

Lyrics: Kshetrayya

Singer: Smt. Rao Balasaraswati

The meaning and commentary for this beautiful lyric will be given in the next post. I start the new year (2014) and the auspicious uttarayana festival season with this heart moving Telugu composition. May the playful Gopala keep a benevolent gaze on this writer too, as he did centuries ago on Kshetrayya. All high, profound rasa spring waters must originate from Siva, Saraswati, or Krishna. 

Snapana (Ablutions)

Snapana  (Ablutions)

There are some things -

Things, which are unique

Certain things we buy, barter, acquire

Some things, we just receive ’em

Through pure luck

They come into our homes

No, we may not have asked for them

But they arrive at our doorstep

They come into our midst

On their own, they enter our abodes

Several such things are with us

The one-of-a-kind cactus is

One of them

Till very recently

I simply considered it to be

Just a plant, rather a succulent one

But a plant is Siva too

So says: The Yajur-veda

So proclaims the white Morinda

In Srisailam

Once I was giving

A misting, to its lustrous green stem

And gentle watering to its roots

Always I try to use

Cool, clean water sans the minerals

Either directly from rainwater or

The basement dehumidifier

Its dark green succulent exterior

Would hold not even a droplet

Not even a tiny one

Everything just rolls down

Like the water we pour over a

Siva-linga

Throughout the 365 days

Through all the phases of moon

Through the twenty-four hours

Through all time

This cactus shows no external signs

Of life, it is wrapped into itself

Lost in some

Deep meditation -  like a sthanuh

Yet

It is full of life

And you can observe it

If you watch very carefully

If a stray twig hits it

Pricks it by accident – it gets bruised easily

Leaving a scar

During summer

When I leave it on the deck

I often notice -

Invariably it gets wounded  with

Wind tossed branches from the

Big maple, walnut overhanging trees

With a cut here and a nick there

It bears all such abuse with calm demeanor

Not once, never in its entire life

Did it complain of any abuse

Water or no water, light or no light

Food or no food

More than twenty years

It has stayed with us like a

Very obedient Indian daughter

When it came to us

Barely it was a two inch ball cactus

Now

A green fluted column

Of fifteen inches

Resembling the Linga of

Daksharama, near Kakinada

What I give it – is very minimal

A peach colored clay pot

And a handful of dirt

I repot with utmost care

And of course infinite love

It has no thorns, only remnants of

Long gone needle bases,

(Like long forgotten personal grudges)

I mix loose soil, perlite

Sand, and at times a bit of bone meal

At times with a pinch of lime

And then, I just leave it to

Soak in the sun, near the south facing glass door

That’s it, that’s all. Then it does not ask

For anything, neither water nor fertilizer

Like our thirsty tropical flowering hibiscus

Weeks, even months would go by

Without a drop of water, even without a glance

From its caring gardener

In early spring

I see its awakening

Waking from dormancy

I witness fresh growth on its crown

The glistening freshly formed soft

Green succulent tissue, and of course

Several flower buds too sprout

Then suddenly on cool summer nights

It gifts us delicately fragrant white

Trumpet like flowers

It is as if Siva Himself

Is in our midst

With a cool shiny crescent moon

Effusing sweet aroma all around

It came to us

From far away south America

Via Albuquerque

Through a friend

In a shriveled sunken state

They call it – Echinopsis seminudus

Unasked, it came into our home

It brought us hope, happiness

I learnt more about life

About religion and meditation

From it, than through any number of

Books and tedious discussions

It taught me patience

“Be content with whatever

you’ve, be devoted

and a miracle may happen”

Copyright by the author  2013