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.