ఆముక్త మాల్యద: మాల దాసరి కథ - 5

However, before the boon be given, Dasari wished to know how a learned brahmin became a demon. So, Kumbhajanu told his story.


ఉ. ఉండుదు చోళ భూమి నొకయూర గళల్పదునాల్గు నేర్చి వా
క్చండిమ చర్చ గెల్తు ఘటశాసుల శ్రౌతుల దప్పు వట్టుదు
న్ఖండల ముష్టి విప్పగని నవ్వుదు వెండి ప్రయోక్తల న్సుధీ
మండలి గ్రాంథికత్వ మవమానము సేయుదు జల్పవాదినై.


I used to live in a village in the Cola kingdom. I learned the fourteen sciences (Mimamsa, Nyaya, Purana, Dharma Sastra along with the four vedas and the six angas of Siksha, Vyakarana, Kalpa, Nirukta, Jyotisha and Candas constitue fourteen essential subjects). With my loud voice, I triumphed over scholars of rhetoric (ghaTaSAsulu). Those well versed in conducting yajnas (Sroutulu), I used to find faults in their pronunciation. Then, I used to ridicule other learned men even as they tried to open their books. Thus I behaved, motivated only by winning.


వ. ఇన్నడవడిం బ్రభిన్న గండంబగు వేదండంబునుంబోలె మదాంధుండనై యల్ప విద్యాలబ్ధి విడువూ ముడువ వేసరని వీసంబు గల రెడ్డియుంబోలె నచ్చదువె పరబ్రహ్మంబై పెద్దల జెనికి యోడియు సరియతి ననియును సరిపోయి జయించితిననియు నబద్ధంబు లాడి చిల్లర ప్రభువులం భ్రమియించుచుండి దీక్షితులం జూచి యియక్ష విడమి ద్రవ్య భిక్షార్ధినై మధురకుంబోయి యప్పురంబున.


In this fashion I swaggered like a huge bull elephant, drunk on my own ego. The little learning I had gave me great airs .. like a peasant who only has a few coins can't keep on folding and unfolding his money pouch. I used to engage learned elders in debates. Even when I lost I acted like it was a draw. When I drew, I acted like I won. In this way I lied and impressed the small lords of the area. Once I witnessed some people performing a yajna, so I too wanted to perform one. So I set out to gather money and reached the city of Madurai.

సీ. బహివడ్డ ద్విజున కల్పపు బాచితంబిడి పసిడికై తా వానిబంతి గుడిచి

కలసి వణిక్పురోథలతోడ బుణ్యాహముల బియ్యములకినై మొత్తులాడి

శశి రవి గ్రహ జప స్నానాదికము లెల్ల దొరల వాకిండ్ల కేదొద్ద యిచ్చి

పచ్చిర్రితోల్బర్రె చుచ్చాల మెట్లంది కొనదాన యూరెల్ల గుత్తవట్టి

తే. దర్భపోటుల దిని లేని తరుల మైత్త్రి

నంటి పితృశేషము భుజించి యదియు నెడల

నక్కవాడల నరకూళ్ళు మెక్కి మీద

వీని శేఖర మొకతులార్త్విజ్యము కొని.

In that city, I did many unthinkable things. I befriended an outcast brahmin, gave him a small penance and for a fees of gold, I ate with him. I joined with the house priests of wealthy traders and fought for the heaps of rice during blessing ceremonies at their homes. I gave away (sold) to powerful lords at their door, the fruits of my austerities gathered during the solar and lunar eclipses. I competed to gather any kind of donation be it deer skins, live cattle, whatever. I ate only at free meals given to brahmins. If none were available, I invited to myself to death anniversary meals. If even that were not available, I satisfied myself with half filled stomach at meal vendors. At the end, I was the recepient of the king of all donations .. a weighing ceremony!

ఉ. ఇట్టొనగూర్చి వైశ్యునకు నిచ్చి చనన్మరి పుచ్చి చౌకము

ల్వెట్టుచు వడ్డి లెక్క లటువెట్టుచు ధారణ వాసికై కొదల్

పెట్టుచు వాడు రేగి మరి పెట్టుదు బెట్ట ననంగ మిట్ట గూ

వెట్టుదు నిట్టు పోర గని పెట్టుక యొకరుడుండి వెండియున్.

The wealth gathered thus, I gave on loan at hefty interest to a trader. I receive money back from him and invest it else where. Even the rice and such I received, I sold off for gold and invested that too in small loans. When one tries to play any trick on me, I drag him to the small courts and complain there. As this was going on, one man has been observing the whole thing.

ఆముక్త మాల్యద: మాల దాసరి కథ - 4

గత సంవత్సరం కార్తీకమాసంలో తెలుగు బ్లాగ్లోకంలోకి అడుగుపెట్టాను. పరమేశ్వర ప్రీత్యర్ధంగా ధూర్జటి కవి శ్రీకాళహస్తి మాహాత్మ్యము నుండి నత్కీరోపాఖ్యానము చెప్పాను ఈ బ్లాగులో. కార్తీకం ముగిసిన వెంటనే ధనుర్మాసము విష్ణుదేవునికి ప్రీతికరమైన పుణ్యకాలమని సందర్భోచితంగా శ్రీకృష్ణదేవరాయల ఆముక్తమాల్యద నించి మంగళ కైశికి కథ మొదలు పెట్టాను. మూడు విడతలు బాగానే సాగింది. ఇంతలో మాతృదేశ ప్రయాణం, తిరిగి వచ్చాక ఇతర బ్లాగుల సృష్టి, ఇక పూర్తిగా తెలుగు బ్లాగుల వెల్లువలో కొట్టుకు పోయి ఈ బ్లాగుని కొంత నిర్లక్ష్యం చేశాను. ఎప్పటి కప్పుడు గుర్తుకి రావడం, ఏదో గిలికేసినట్టు రాసి పడేసే వ్యవహారం కాక పోవడంతో అప్పటికి వాయదా వెయ్యడం .. అలా జరిగిపోతూ వస్తోంది. చూస్తూ చూస్తూ ఉండగానే మళ్ళీ ధనుర్మాసం వచ్చేసింది. ఈ ధనుర్మాసం ముగిసేలోగా ఈ కథని పూర్తి చేస్తానని ప్రతిన బూని రాయలవారి నారికేళ పాకాన్ని నాతోబాటు ఆస్వాదించేందుకు మిమ్మల్నందర్నీ ఆహ్వానిస్తున్నాను.


కథా ప్రారంభం
మంగళ కైశికి ఒకటి
మంగళ కైశికి రెండు
మంగళ కైశికి మూడు


తే. అనిన దేహార్పణము నొల్ల కార్తి బలుకు
కృపణత కత డభిప్రాయ మెద్ది యనిన
నిత్తు దను వంట యను కంప యే మదాత్మ
కసటు బాపుటయే యనుకంప గాక.
As the demon pitifully declined to consume him thus, Dasari demanded to know his intentions. What does he want, then? To which the demon replied - it is not good on your part to offer your body as food to me. You can show true compassion by destroying my demon form.

How is the demon form to be destroyed?
He further adds, "The Lord Himself is very compassionate and has pardoned sinners worse than me. You, His devotee, surely can do this much for me. After all, isn't helping a fellow being as good as worshipping Him? Before this curse overtook me, I was a learned Brahmin of the name Soma Sarma who got this horrible form due to just one bad deed. You can restore me to my original form by donating the fruits (puNya phalamu) of just one day's devotional singing. By doing this good deed, the good furtune of saving the distressed will surely come to you in this life itself."

To which, the Dasari laughed in derision and replied

క. ఇటువంటివి యిటకెక్కుడు
నిట దిగుడువి యొంద నెన్ని యే నిదియును నొ
క్కటి యొకనాటిద కా దొక
త్రుటి గీత ఫలంబు నొసగుదునె యిమ్మెయికిన్?

"I have been born in many lives, taking different forms, some bigger than this and some lesser than this. This form, this body, is only one among many such. Do you think I am stupid enough to give up the fruits of one day's singing for the sake of this body? I shall not give up even a moment's worth!"

I have commented earlier on the conversational style of Rayalu's poetry, especially his dialogs and the punch he packs into them. This is one more in the same vein.

సీ. దిక్పాలతను వెత్తి తిరిపెంపు దను దోన యెన్ని మార్లెత్త మీయేను నీవు?
మాతంగ తనువెత్తి మశకంపు దను దోన యెన్ని మార్లెత్త మీయేను నీవు?
కేసరి తనువెత్తి కీటంపు దను దోన యెన్ని మార్లెత్త మీయేను నీవు?
ధరణీశు తనువెత్తి దాస్యంపు దను దోన యెన్ని మార్లెత్త మీయేను నీవు?

తే. సోమయాజుల మెన్ని మార్ల్గాము శ్వపచ
ఖగ కులుల మెన్ని మారులు గాము పాము
గాములమ యెన్ని మారులు గాము వెండి
కంస రిపుభక్తుల మొకండె కాము గాని.

"How many times were we, this you and I, born in one life as powerful beings like the Dikpalakas and then immediately as beggars in another? (తోన = soon after, immediately)
Born as an elephant in one life, and then as a mosquito
Born as a lion and then as an insect
Born in one life as a king and in the next one as a slave?

How many times were we born as learned brahmins (సోమయాజి = a brahmin who performed a yajna), dog-eaters (శ్వపచ = యెరుకల వాడు) and then as birds as well as snakes and petty demons (గాము = పిశాచము). Due to our (mis)fortune, the only birth we could not take is as devotees of Vishnu, Kamsa's foe."

The implication is that if we had been Vishnu devotees in any birth, then there will be no more births - that's straight salvation. This is vyatirEka alaMkAraM, that is conclusion by negation.

Dasari expounds futher:

ఆ. ఊతనీరు చెలది నేత మూ టాయిటి
దూది యెండపసుపు తొర్రియక్క
రంబు మేను దీని రహి బుణ్యమమ్ముట
కప్పురంబు వెట్టి యుప్పు గొనుట

ఊత = a woven bamboo basket used in fishing
చెలది = spider

"This body is so ephemeral and unreal ..like water held in a woven bamboo basket, like a packet made of spider's web, like the cotton balls dried in summer, like the sundried turmeric, like the word spoken by a toothless mouth. To sell one's good fortune for the enhancement of a thing like this is like bartering valuable camphor for worthless salt!"

To which the Demon replied:

క. సంగీత ఫలంబున గో
సంగీ సగమైన దయపొసగ నీవే మీన్
మ్రింగిన గ్రుక్క న్వారిధి
కిం గొరతయె కొదయె విష్ణు కీర్తన కనినన్

"Oh Dasari! Won't you, in your compassion, donate at least half of today's singing? If a fish swallows a small amount of water, does the sea lose anything? Your devotional singing similarly is limitless"

To which, the Dasari replied:

శా. ఏలా నొంచె దదేయ మిట్లడిగి యెంతే బాస మేనంబలం
బో లీలావటు గీత కీర్తన ఫలంబో నీయెడ న్మున్ను పా
తాళ ప్రశ్నలు మాని మేంగొనుము బేతాళఛ్ఛలోక్తిన్ రుషం
దూలింపందలతేని పుట్టు మరి నూతుల్ద్రవ్వ బేతాళముల్
"Oh demon! Why do you pain me thus by keep on asking for that which can not be given? Tell me what was my promise to you earlier - was it my body or the fruits of my devotional singing? First, stop your demonic ranting and eat my body. Because, if you don't, if you keep persisting on digging like this, other demons will pop up and eat me!"

బావిని త్రవ్వబోగా భూతము బయలుదేరెనని సామెత.

It is an idiom that when one went on digging in the well, a demon popped up. Rayalu weaves this cleverly into Dasari's speech to chide the demon to stop his unreasonable demand.

Rayalu follows this speech poem with a long prose section (vacanamu) that is resplendant with thrilling word play and packed with Vaishnavaite lore and sacred practices. Some examples ..

అతండ నిజఛ్ఛాత్ర సత్రంబునకు బ్రత్యహంబును గలంబునమూల్యంబొల్లక ..
గుహా కంఠ నృకంఠీరవంబు
కుసుంభాంబరాంభఃకుండిక
ఇవ్విరూప విగ్రహం బనుగ్రహంబున
ఇత్తెరంగు ఎరుంగక .. ఇత్యాది.

The Demon recites the greatness of Vaishnavite sages over the eons, praising their compassion for their fellow beings, how selflessly they came forward to the rescue of sinners around them, how generously they shared their devotion of the Lord without any miserliness, and says at the end: "You too are a descendant of that glorious tradition. If not half, if not a quarter, give me the least of the least .. give me the fruit of just the last song you sang for the Lord! That is enough for me. Have pity on me!"

Saying this, the demon fell to the ground in front of Dasari's feet and would not get up. Dasari's heart melted with highest compassion and he consented.

(to be continued)

ముగురమ్మల మూలపుటమ్మ

The time of daevee navaraatri (the nine nights of the goddess), dasaraa, is drawing to a close. Telugu people take this opportunity to worship all the diverse forms of the goddess during these nine nights/ten days, including Sarasvati and Lakshmi. In the temples dedicated to the Goddess across the land, the deity is decorated in a different form each day. On this Vijayadasami day, marking the victory of the Goddess over evil, we pay tribute to the three forms of the goddess, Sarasvati, Lakshmi and Durga, through the pen of Bammera Potana.

The poet: Potana (pronounced poetana) lived in late 15th century in the village Bammera, near the town of Warangal. He is best remembered by Telugu people for the translation of bhaagavata puraaNa of Vedavyaasa from samskRtam into Telugu. While living in the times of heavy royal patronage of all arts, Potana shunned such honors and dedicated his aandhra bhaagavatam to Sri Rama, his favorite deity. Being devotionally inclined naturally, he expanded greatly and imaginatively on themes of devotion from the original. Even today, Telugu people derive great pleasure from Potana's aandhra bhaagavatam.

The poems I post today are from the introductory invocation (naamdi - stuti) part of the epic. If just the invocatory poems are so beautiful, one can imagine how wonderful the actual epic may be.

Goddess Sarasvati:

శారద నీరదేందు ఘన సార పటీర మరాళ మల్లికా
హార తుషార ఫేన రజతాచల కాశ ఫణీశ కుంద మం
దార సుధా పయోధి సిత తామర సామర వాహినీ సుభా
కారత నొప్పు నిన్ను మది గానగ నెన్నడు గల్గు భారతీ !!

The poet lists a series of things which are famous for their "whiteness" and compares the fairness of the goddess to these and invokes her blessings. Oh Goddess Sarasvati (bhaaratee!), when will I get the good fortune of realizing you in my heart, you whose graceful form is radiant like ..
శారద నీరద = autumn clouds,

ఇందు = Moon ,

ఘనసారము = camphor ,

పటీరము = sandal tree,

మరాళము = swan,

మల్లికా = jasmine,

హార = pearl necklace of 108 strands,

తుషార = snow,

ఫేన = froth or foam,

రజత+ అచల = silvery/ white mountain = కైలాస,

కాశ = (a kind of) reed flower,

ఫణీశ = king of snakes = ఆదిశేష,

కుంద = a kind of wild jasmine ,

మందార = one of the 5 celestial trees ,

సుధా పయోధి = milky ocean ,

సిత తామరస = ,

అమర వాహినీ = heavenly river, గంగ

Notes: This meter is called utpala maala, perhaps the most ubiquitous meter in Telugu epics. Each line has the rhythm
laalala laalalaa lalala laalala laalala laalalaa lalaa -

One can note the repeated use of the syllable 'ra' which produces a pleasing sound effect. This technique is called anupraasa and Potana is well known for its dexterous use.

A story:

There is an interesting legend about Potana and Goddess Sarasvati. When he started the work on bhaagavatam, Potana wrote that he was commanded to the task by none other than Sree Rama. The word spread about the beauty of this work and many local kings aspired to be "recipients" of this great epic, which is sure to render them immortal in history. Potana was of the mind that this work is a fit tribute only to Sree Rama himself! However, the kings brought a lot of pressure on Potana, trying to tempt him with great wealth and other perks. After speaking to one such emissary, Potana goes into pooja room, to think about how to reject the offer. As he sat in meditation, he saw in front of him Goddess Sarasvati, shedding copious tears - she is sad that this epic poetry may be sold to the highest bidder. That sight is enough to strengthen Potana's resolve - he consoles the Goddess in the following poem, swearing that he will not sell his work to please unworthy kings.

కాటుక కంటి నీరు చను కట్టు పయింబడ నేల యేడ్చెదో

కైటభ దైత్య మర్దనుని గాదిలి కోడల యో మదంబ యో

హాటక గర్భు రాణి నిను నాకటికిన్ గొని పోయి యెల్ల క

ర్ణాట కిరాత కీచకులకమ్మ త్రిశుద్ధిగ నమ్ము భరతీ !!

So that tears from collyrium (kohl)-darkened eyes fall to your breasts, why do you weep, Oh beloved daughter-in-law of Vishnu, Oh my mother, Oh wife of Brahma? I shall not, out of hunger, sell you, neither in thought, word nor action, to these meager kings of Karnataka, vulgar and bullying they are, trust me, O Bharati!

Notes: This also is an utpala maala.
కైటభ దైత్య మర్దనుని = the suppressor of the demon Kaitabha, i.e., Vishnu
హాటక గర్భు= the one born in a lotus, Brahma
త్రిశుద్ధి =by the three deeds of thought, speech and action - supposed to be required for completion of any task successfully. Typically used in taking a vow.

Goddess Lakshmi:

హరికిన్ బట్టపు దేవి పున్నెముల ప్రో వర్థంబు పెన్నిక్క చం

దురు తోబుట్టువు భారతీ గిరిసుతల్ తోనాడు పూబోణి తా

మరలం దుండెడి ముద్దరాలు జగముల్ మన్నించు నిల్లాలు భా

సురతన్ లేములు వాపు తల్లి సిరి యిచ్చున్ నిత్య కళ్యాణముల్

The consort of Hari, a mass of good virtues, magnificent abode of all wealth, the one born alongwith Chandra, the delicate one accompanied by Sarasvati and Parvati, the maiden who resides in lotuses, the housewife (lady) honored by all the worlds, the mother who in radiance removes scarcity, Lakshmi, may grant us good fortunes always.

Notes: This meter is called mattaebhamu, a bull elephant. From the expression "born with Chandra" to the end, notice the progression of her age from birth to being a mother!

Goddess Durga:

This one is a personal favorite of mine as I am from Vijayawada whose presiding deity is Goddess Kanaka Durga. This poem is inscribed in stone on the entrance to the sanctum sanctorum of the temple. I feel as if Potana wrote this poem especially for the goddess of Vijayawada - she is powerful - she's wielding the trident, riding the lion and trampling over the demon - yet the smile lighting up her face is most benevolent and reassuring to the devotees seeking her blessings!

అమ్మల గన్న యమ్మ, ముగురమ్మల మూలపుటమ్మ, చాల పె

ద్దమ్మ, సురారులమ్మ కడుపారడి పుచ్చిన యమ్మ, తన్ను లో

నమ్మిన వేల్పుటమ్మల మనమ్ముల నుండెడి యమ్మ, దుర్గ మా

యమ్మ కృపాబ్ధి నిచ్చుత మహత్త్వ కవిత్వ పటుత్వ సంపదల్

The mother of all mothers, the mother who is the source of the three goddesses (Sarasvati, Lakshmi and Parvati), very noble mother, the mother who caused heartburn to the mother of gods' foes (she's a slayer of demons), the mother who resides in the heart of all divine women that believe in her, Durga, our mother, in her sea of compassion, may grant us the wealth of great poetic prowess!

Notes: This too is an utpala maala. However, in contrast to the first poem, this is almost entirely in pure Telugu, with some wonderful Telugu usages. The expressions "ammala ganna yamma" and "maa yamma" bring a ring of "familiarity" while referring to this powerful Goddess, as if the Goddess is very close to the poet. Also notice the anupraasa on the 'mma' syllable.

My gratitude to Suprabha gaaru of Chandassu Yahoo Group for providing one of the poems and explaining several meanings. I also borrowed freely from the translation of Professor Velceru Narayana Rao for the second poem.

పలుకు తేనెల తల్లి పవళించెను

Let me caution you - this is HOT stuff.

పలుకు దేనెల తల్లి పవళించెను
కలికితనముల విభుని కలసినది గాన

నిగనిగని మోముపై నెరులు గెలకుల జెదర
పగలైన దాక జెలి పవళించెను
తెగని పరిణతులతో తెల్లవారిన దాక
జగదేక పతి మనసు జట్టిగొనె గాన

కొంగు జారిన మెరుగు గుబ్బలొలయగ దరుణి
బంగారు మేడపై పవళించెను
చెంగలువ జనుమొనల సింగారములు దొలుగ
అంగజ గురునితోడ నలసినది గాన

మురిపెంపు నటనతో ముత్యాల మలగుపై
పరవశంబున దరుణి పవళించెను
తిరు వేంకటాచలాధిపుని గౌగిట గలసి
అరవిరై యూరుల జెమట యంటినది గాన

Annamacharya, as a devout vaishnava, followed in the path shown by his predecessors, and fully embraced the concept of Madhura Bhakti - singing of erotic love play of the Lord as a symbol of devotion and divine grace. However, due to his highly evolved poetic sensibility and imagination, he introduced a new element of drama into his songs which paved the way to the padams and jaavalis of later centuries.

Jayadeva's Geeta Govindam, which precedes Annamacharya by about 200 years, was composed in Samskrutam as an operatic play with three characters, Krishna, Radha and the Sakhi. It consists of 24 songs (Ashtapadis) with narrative poems (Slokas) in between. It is a glorious exposition on Vipralambha Srumgara and Sambhoga Srumgara. Because of its very structure, the composition is dramatic - each of the songs is the speech of one of the characters, and therefore embodies the personality and idiosyncrasies of that character. When Radha imagines Krishna playing with other milkmaids, when Sakhi describes Radha's pitiful condition to Krishna, when Krishna begs Radha to touch his head with her foot - each scene is highly dramatic.

Annamacharya's path is quite different. First, he composed one song at a time, not a whole play. He had to create an entire dramatic mood within each song. More is left unsaid than revealed - and it is the unsaid that gives rise to the drama. There is a distinct voice and a tone to each padam - it is not always the poet's voice. Second, he does not have the luxury of eight stanzas per song. Whatever he has to tell, he must conclude within three stanzas. Third, he composed (mostly) in Telugu. He spurned the well established Samskrutam idiom and chose to create his own in Telugu

In this particular padam, the scene is 'the morning after'. The heroine Alamelu Manga is asleep in her chamber, lost to the outside world, even though it is late in the morning and the Sun is well up in the sky. The voice in the song is that of an elderly aunt or grandma, well-versed in the ways of the world. There is no "male gaze" though the subject is certainly erotic - there is no place for leering or sleaze. In stead, there is womanly empathy and tenderness - and there is pride. When did this heroine - she was a shy little girl only yesterday - transform into such a skillful player that she could captivate Lord Venkatesvara himself? There is mystery and wonder.

The first two lines of each stanza pose an unspoken question - why does she sleep like this? The imagery employed evokes a sense of abandon, a loss of control - she sleeps as if lost to the world. The last two lines offer a solution why this is so, explain why she sleeps still.

paluku daenela talli pavaLinchenu
kalikitanamula vibhuni kalasinadi gaana

niganigani moemupai nerulu gelakula jedara
pagalaina daaka jeli pavaLinchenu
tegani pariNatulatoe tellavaarina daaka
jagadaeka pati manasu jaTTigone gaana

kongu jaarina merugu gubbalolayaga daruNi
bangaaru maeDapai pavaLinchenu
cengaluva janumonala singaaramulu doluga
angaja gurunitoeDa nalasinadi gaana

muripempu naTanatoe mutyaala malagupai
paravaSambuna daruNi pavaLincehnu
tiru vaenkaTaachalaadhipuni gougiTa galasi
aravirai yoorula jemaTa yanTinadi gaana

paluku = speech
daenela = taenela = honeyed
talli = mother
pavaLinchenu = slept
kaliki tanamula = with maidenly charms
vibhuni = with Lord, husband
galasinadi = kalasinadi = united
gaana = kaana = because

Mother of honeyed speech slept (continues to sleep), because with maidenly charms, she had united with her Lord.

(It is customary in Telugu speech to address a young woman or girl as ‘mother’ – as a form of endearment).

niganigani = of healthy glow
moemu = face
pai = on
nerulu = strands of hair
gelakula = kelakula = on all sides
jedara = = cedara = scattered
pagalaina = late in morning
daaka = till
jeli = celi = dear girl
pavaLinchenu.

Strands of hair scattered on all sides of her glowing face, the dear girl slept till late in the morning. Why?

tegani = unending, continuous
pariNatulatoe = with fulfillment
tellavaarina = well past dawn (literally, white in the east)
daaka = till
jagadaeka pati = jagat+aeka+pati = the only Lord of the World
manasu = heart
jaTTigone = purchased wholesale, took control of
gaana = because

She slept late into the morning because, till well past dawn, with unending fulfillment, she bought out the heart of the only Lord of the world.

kongu = upper garment (part of saree that covers a woman’s breasts)
jaarina = fell
merugu = shining
gubbalu = breasts
olayaga = came to light, exposed
taruNi = nubile woman
bangaaru = golden
maeDapai = upper story of a palace
pavaLinchenu

The displaced garment lay her shining breasts exposed, so the nubile lady slept in her golden chamber. Why?

cengaluva = red water lily
janumonala = canumonala = nipples
singaaramulu = sensuality (plural)
doluga = ejected, dripped
angajagurunitoeDan = with the father of the love god Manmatha
alasinadi = got tired
gaana

She sleeps thus because she (sported and) got tired (in love play) with that father of the love god, even as sensuality arose from her red-lily nipples.

muripempu = pleased, satisfied
naTanatoe = with action, expression
mutyaala = pearly
malagupai = crumpled sheets
paravaSambuna = lost consciousness
taruNi pavaLinchenu

With a pleased expression, she slept without consciousness on crumpled sheets. Why?

tiru+venkaTa+achala+adhipuni
tiru = Sree, auspicious
venkaTa+achala = venkaTa hills
adhipuni = overlord
kougiTa = in embrace
galasi = kalasi = met
aravirai = flushed
yoorula = oorula = on thighs
jemaTa = cemaTa = sweat
anTinadi = stuck
gAna

She sleeps so because, embracing the overlord of the auspicious Venkata hills gave her a hot flush, sweating her thighs.

There are sanitized versions in vogue these days that substitute "kanu gonala" for "canu monala" (eye corners are red due to lack of sleep) and "aravirai nunu jemaTa" for "aravirai yUrula jemaTa" (hot flush gave rise to a faint sweat), but they are rather ridiculous and pathetic.

Finally I wish to point out that Annamacharya is the master of mot juste. Every word, every expression and every figure of speech if nuanced, relational and multi-layered.

ఆముక్త మాల్యద: మాలదాసరి కథ - 3

ఉ. అంచు నతండు వల్క దరహాసత జెక్కిళి గొట్టి లెస్స పం
డించితి వోయి దాసరి వనిం దెరువాటులు గొట్టి కొట్టి మే
న్వెంచి విరక్తి దాసరివి నిన్న గదా యయినాడ వీమమున్
గొంచెము జేసి త్రాడ్గొరికికో దలపోసెదు మెచ్చితి న్నినున్.
Upon hearing Dasari's request, the demon patted Dasari's cheek with a smile, and said, "Oh Dasari, nice fib you got going there. You've been carrying on your banditry in the forest and happily nurturing your body with the proceeds. Wasn't it just yesterday that you suddenly got religion and became a Dasari? So, you think so little of me that you expect to escape with this pitiful lie, eh? I really admire you, man!"

This one is dripping with sarcasm. The demon's sense of his own importance and his sense of humor weigh equally in this poem. See how he refers to himself in Royal We (I mamun). He's chuckling to himself (దరహాసతన్). The expression త్రాడ్గొరికికోన్ (త్రాడు+గొరికికోన్) is quite unusual, used here to mean to escape.

శా. ఏ రాజ్యంబు నరుండు నోరికడివో నీ బోధ మాలించు నిం
కే రాజ్యంబు నరుండు బాసకయి మే నీ దాన యేతెంచు దీ
పార న్నే జననీమియు న్మగిడి నీ వారామియుం దెల్ల మే
లా రంతుల్ పలు పల్కు లంత్యకుల! యేలా చింత లేలా వగల్.
Where on earth will a man let go the food he's about to eat? And where on earth do you find a man, to keep his promise, come forward by himself and give up his life? There is no question of my etting you go nor of your return - that much is clear. Why make a ruckus? Why this much discussion? Why bother? Why cry? Why? Why? Why?

Dasari was quite stricken to hear the demon speak in this derogatory fashion. He covered his ears saying "Narayana!" and proceeded to swear on every holy thing imaginable. Yet the demon wouldn't listen. Then the Dasari took the ultimate oath!

ఉ. ఎవ్వని చూడ్కి జేసి జనియించు జగంబు వసించు నిజ్జగం
బెవ్వని యందు డిందు మరి యెవ్వనియం దిది యట్టి విష్ణుతో
నివ్వల నొక్క వేల్పు గణియించిన పాతకి నౌదు నేడ నే
నెవ్విధినైన నిన్ గదియనేని యనన్విని బంధ మూడ్చినన్.
"The Lord by whose glance this world springs into existence, in whom it exists and into whom it dissolves - such Lord is Vishnu! To bring another god in comparison to such incomparable Vishnu is the worst possible sin. I swear I would incur this sin if I don't return to you today." Even the demon had no answer to such a strong oath and he removed the Dasari's binds.

The structure of the poem reminds one of "ఎవ్వనిచే జనించు" poem from Bhagavatam. The heart of the poem proves the Veera Vaishnava agenda Rayalu wanted to present through Amuktamalyada.

చ. అతడు తదల్ప పాపఫల మందుట సుంకము దీరి పోయి త
చ్ఛతదళ పత్త్ర నేత్రునకు జాగిలి మ్రొక్కి రణద్విపంచియై
స్తుతికలిత ప్రబంధముల జొక్కగ బాడి యసత్య భీభర
ద్రుతగతి వచ్చి రాత్రిచరుతో వ్రతపూర్తి గతార్తి నిట్లనున్.
The small obstruction of his binds removed, Dasari hurried to the abode of the Lord with eyes of lotus petals. There he first saluted him humbly. Then with the veena playing in his hands, he sang compositions filled with devotion so that the Lord would be pleased. Then he hurried back with unusual haste. As his heart's burden lifted from having performed his penance, he spoke thus to the demon.

ఉ. నీ చెర బాసి పోయి రజనీచర చక్రి భజింప ముక్తి పొం
దేచెర యేచెరం దవుల నేనిక నుండగ జూడు పంచుచో
నే చరణంబు లేయుదర మేయుర మేశిర మేకరంబు లీ
వా చరణంబు లాయుదర మాయుర మాశిర మాకరంబులున్.
"Oh night wanderer! After you freed me, I went and sang the praises of the Lord due to which service, salvation gets a litttle closer. Now, I shall not be bound by anything (I am released from all earthly attractions!). You may want to verify that my legs, tummy, torso, head and arms are all exactly like when you released me (Nothing is missing. You are not being shortchanged in your meal of my body!).

The repetitive sounds of చర, చెర impart an interesting bounce to this poem. This kind of verbal display is rather rare in Devarayalu's poetry. Second syllable is praasa in each line normally. In this poem, notice that the poet maintains 3rd syllable praasa in addition to the mandatory 2nd syllable praasa. Also notice that 3rd and 4th lines are almost exactly the same. Can you recall another famous poem that does the same trick?

తే. అనిన దత్సత్యమునకు నేత్రాంబు లురల
బ్రమద పులకిత గాత్రుడై పారు టసుర
యినుని మధ్యందినపు టెండ తనదు పెద్ద
బట్టతల మించ బ్లవు జేర బారుతెంచి.
When the demon heard these truthful words spoken by the Dasari, tears welled up in his eyes and his body was full of goosebumps due to extreme joy. As the mid day sun's glare reflected in his huge bald pate, he approached the Dasari at a run.

ఉ. కొండయు బోలె భక్తి వలగొంచునె వాడు నిజ ద్రుమ భ్రమీ
హిండన వ్రాలుపాకలపు టేనుగు బోలె నొస ల్తదంఘ్రులం
దుండ రొదన్మహా గిరులు హోరన బ్రస్తుతి వ్రాలి దంష్ట్రికా
దండము లెత్తి పట్టిన పదం బొకడొక్కడ నెత్తి జేర్చుచున్.
With exceeding devotion, the mountainous demon walked around the Dasari (pradakshiNaM) loudly praising him so that the surrounding hills were resounding with his stertorian voice. Like a bull elephant walking around its post, and in doing so, collapses to the ground due to brain fever, the demon fell to the ground and touched his head to Dasari's feet. With his fangs, he gently lifted up one foot and placed it on his own head.

He said, "Oh truthful one! This is truly amazing. There is none like you among all Devas and Danavas, nor among kings and sages. People kept their promises regarding other earthly possessions, but none kept their promise about sacrificing one's own body. Since I lived a long time, I can attest that you are unique!"

చ. ఇతరులు నీకు నీడె మరి యీ ధృతి నీ స్మృతి నీ ఋతేరిత
స్థితగతి నీ మురారిపద సేవన జీవన వన్మతిన్ సమా
దృత కలగాన సింధులహరీ ప్లవన ప్లవ భావ భా గురు
శ్రుతి తతబద్ధ తుంబికి గురుంగుడి నంబి కృపావలంబికిన్.

"Are there others equal to you (none!) - as you are blessed by the confidence, due to your realization, due to the solidity of your truthfulness, and finally from a life spent usefully in singing the praises of the Lord in a musical torrent - oh in this honored sweet river of music, that dry gourd on your resounding veena is like a raft that keeps us afloat - to you who has obtained the grace of the Lord of Kurungudi - are there any equals? None!

Notice again the repetitive sounds in ధృతి, స్మృతి, ఋతేరిత ..in the first line.

The Dasari was touched by this display from the demon. He embraced the demon and said, "Oh the greatest of demons! I am blessed by your compassionate gaze. It is because of your grace that I was able to fulfill my vow of musical worship to the Lord."

ఉ. బాసలు బండి కండ్లు మరి ప్రాణ భయంబున లక్ష సేసినం
గ్రాసము గృచ్ఛ్ర లబ్ధముడుగ న్వసమే యిది నీక చెల్లె నో
భూసుర వంశ పుణ్యజన పుణ్య జనాంకము తావకీనమే
పో సమకూరెడిం గులము పొత్తున దైత్యుల కెల్ల నంకతన్.
"And furthermore, promises are dime a dozen. When one's life is in danger, one makes a hundred thousand promises, but who will let go a meal earned through a lot of effort listening to such promises? It was possible only for you to do so, Oh blessed soul. And because you were born into it, the whole demon tribe is blessed as well!"

చ. కడుపు మహాక్షుధన్ నకనకంబడ నన్ గృతకృత్యు జేయ బో
విడిచితి వేము జాత్యముగ వేధ విధించిన కూడ్ మీకు నీ
యెడ నొక కీడు కల్గదిక నే మనిన న్మరి నీకు నానసూ
బడలిక దీర నిత్తనువు బారణ సేయుము మైత్త్రి గల్గినన్.
"While your stomach was growling with hunger, you let me go just so I could fulfill my vow. We are, after all, the natural food for your kind, as ordained by the creator. By eating me, you are not going to gather any bad effects. Please don't argue any more about this. If you have any friendship towards me, you must consume this body to nourish your own."

As Dasari tries to convince the demon to consume him, the demon is afflicted with deep remorse and laments thus.

శా. ఎట్టూ యి ట్టగునయ్య పల్క దయలే కిన్నాళ్ళు నీ కూడె యీ
పొట్టంబెట్టి మహాఘ లబ్ధి దనువుం బోషించి యెన్నాళ్ళ కే
నెట్టే నొక్క తపస్వి యొక్క వ్రతి రాడే చూడడే తత్కృపన్
బుట్టు న్నీగెద దీని నా నొదవి యో పుణ్యాత్మ యెట్లంటివే.
"How can you talk like this, without the slightest compassion? Thoughout this life, I have been consuming human flesh. I've been nourishing and growing this body mine with ill gotten feasts. Yet, I've been waiting with the hope that a pious man, a devout man will come any day and glance at me with compassion. I've been waiting in the hope that, with his grace, I can get rid of this heinous life. As if in answer to my hopes, Oh good soul, you have come. But now, you talk like this!"

He continues, "If great devotees like you do not take pity on sinners like me, what other way out for people like us? Don't think of my heinous past, look on me with grace!"

"The touchstone (Philosopher's stone of alchemy) will convert any metal object to gold, whether it be a simple axe or a horrible weapon that killed a brahmin. Good souls like you should keep this special analogy in mind in respect to sinners like us."

తే. అనిన దేహార్పణము నొల్ల కార్తి బలుకు
కృపణత కత డభిప్రాయ మెద్ది యనిన
నిత్తు దను వంట యను కంప యే మదాత్మ
కసటు బాపుటయే యనుకంప గాక.
As the demon pitifully declined to consume him thus, Dasari demanded to know his intentions. What does he want, then? To which the demon replied - it is not good on your part to offer your body as food to me. You can show true compassion by destroying my demon form.