ఆముక్త మాల్యద: గోదాకళ్యాణము

So, having been captivated by the fresh beauty of Goda, Sri Ranganatha was unable to contain his love for her for even a moment longer. Therefore, he took away Goda to himself and, in her stead, placed an illusory female form in that palanquin, with which Vishnuchitta returned to his place of stay. When Vishnuchitta opened the palanquin, the illusory form was gone too. When he could not find his beloved daughter, Vishnuchitta ran back to the temple and began to lament thus:

శా. అబ్రహ్మణ్యము లోన వైచుకొనె నన్యాయంబున న్మత్సుతం
దా బ్రహ్మాదుల మేర నిల్పియు బ్రభుత్వం బూదియుం దోతురే\
యీ బ్రక్కం ద్విజు జూడరయ్య సభవారీ రంగభర్తంచు దుః
ఖాబ్రాశింబడి బాష్పకంఠుడు సముద్యద్దోఃపలాలుండునై.

Shame on him! He unlawfully abducted my daughter. After all, he is the supreme lord. He is lord over Brahma and all such gods. Is this the way to behave? To rob a poor Brahmin like me? Please bear witness, all you gentlemen, to this misdeed by the lord of Sriranga! Vishnuchitta was drowning in a sea of sorrow, his voice choking with tears.

శా. ఎంతే వేడుకయైన బెండ్లగుట కీనే దేహమున్ బ్రాణమున్
సంతానంబు నిశాంతమున్ ధనము సస్యంబుల్ పశుశ్రేణులే
కాంతస్వస్వజనార్చనంబునక కాదా కూర్చుటే మీ కయో
వింతే యీ బుడుతెంత నంగురుచ గావింపం దనున్మెత్తురే.

If he was so fond of her, wasn't I ready to give her in marriage? My body, life, progeny, home, wealth, harvests, and cattle - everything I possess is only meant for offering to him and the service of his devotees, isn't it? Oh my fate! See this horror! Such a small kid she is. He did this only to belittle me - who would praise him for doing like this?

ఉ. నెట్టన యల్ల లచ్చి యల నీళయు భూసతి యుండ నీకు నీ
నెట్టిక సీలపై మనసు నిల్చుట కేమనవచ్చు? వెర్రి యౌ
నట్టుగ బేద నన్ను బరిహాసము నేతకు దక్క వింతచూ
పెట్టిది? దిద్దు నెవ్వడిల నేరులవంకలు వారి డొంకలున్.

Oh Lord! You have Srilakshmi, Neela as well as Bhudevi, your dear wives readily waiting on you. After all, my young daughter has become so thin through severe fasting penance - how could you be enamored of her? You are only doing this so that my poor self is going to become the laughing stock - otherwise, what benefit is this to you? Who can correct the path of rivers and floods? (No one can offer corrections if the powerful go astray)

While Vishnuchitta was crying inconsolably in this fashion, the lord feared for the grief of his devotee. Deliberately, he brought a smile to his lips and addressed Vishnuchitta thus:

చ. ముది మది దప్పితోయి మునిముఖ్య భవత్తనయన్ గృహంబునన్
బదిలము జేసివచ్చి మరి బట్టబయ ల్వెడదూరు దూరె దా
సదన మికొక్క మాటరసి చంచలలోచన గానకున్న బో
రెదు మరి కాని బుద్ధి విపరీతత బొందక పోయి చూడుమా.

Oh leader among devotees! Looks like you lost your mind, perhaps from old age. You left your daughter at our residence, yet you come out like this and throwing all sorts of accusations on me. Please go and look for her at home one more time. If you still don't find her, then you can find fault with me. Don't let your mind be scattered! Go, go home and see!

Vishnuchitta thanked the lord and ran back home. Real Goda came out of the house and touched her father's feet in greeting. Vishnuchitta was overjoyed to see his daughter again, he gently kissed the top of her head and blessed her.

Then, Sri Ranganatha summoned his attendants like Vishvaksena and well-wishers like Brahma and Siva and requested them to go on his behalf and, following established tradition, seek Sri Goda's hand in marriage from her father. When the divine delegation approached Vishnuchitta, he replied thus:

కం. ధన్యుడనైతిం దనకీ
కన్యక నీగాంచి భృగువు గౌరవము బయో
ధిన్యాయము నొదవె నిటే
నన్యాయంబే చమూప హరవిధులారా
Oh great beings! I am blessed by this opportunity to present my daughter to the Lord. Much like the Sage Bhrigu and the Lord of the Sea were blessed when they presented Sri Mahalakshmi to Lord Srimannarayana (according to Vishnu Purana, when Sri Mahalakshmi was born from the churning of milky ocean). However, demanding a bride like this is quite improper.


కం. వినుడీ దగు సంబంధపు
టెనయిక గని మోచి తెచ్చి యిచ్చె ననరె చు
ల్కని నరులు గాన మాపుర
మునకు న్విజయంబు సేయ బుత్రిక నిత్తున్
Loose tongued people will gossip that this poor father brought along his daughter and gave her away in some far away place! Why give chance to such gossip? So, please listen to my prayer, come to our native village of Srivillibuttur and I will gladly perform the kanyadanam (giving away of the bride).

The great beings took this message back to Sri Ranganatha and he, in his limitless compassion towards his devotee, agreed to the proposal. On the auspicious day, Sri Ranganatha set out from his heavenly abode, surrounded by the entire divine community. His general, Vishvaksena led the magnificent procession through the star studded heavenly paths to Srivillibuttur. Visvakarma, the divine architect himself, made temporary residences for all the guests.

కం. శర్వాణీ వాణీ ముఖ
గీర్వాణీ కోటి జానకీరఘుకుల రా
ట్పూర్వా చరిత వివాహా
ఖర్వ సుగీతములు పాడగా విభవమునన్

Parvati, Sarasvathi and other goddesses sang wonderful melodies, recounting great weddings of the past such as that of Seeta and Sri Rama.
They performed all the prescribed preparatory rituals for Sri Goda and decorated her in bridal finery.

కం. కలికి తెలిగన్నుగవ గ
జ్జల రేఖలు దీర్చి మేన సారంగమదం
బలది లలామక మిడి చెం
గలువలు క్రొవ్వెదకు వేరొకర్తు ఘటించెన్.

To her bright eyes, they applied dark kohl, and daubed fragrant kasturi on her torso. They lined up a dangling hair ornament in her hair parting, and decorated her long dark hair with red waterlilies.

మ. కలధౌత ద్రవ చిత్రముల్ మెరయ ముక్తాస్యూత మౌ మేచకాం
చలపుం బెందెర వారి లగ్నము సమాసన్నంబుగా వేల్పు బె
ద్దలు వంపన్ గుడజీరకంబులు సముద్యత్ప్రేమ నన్యోన్య మం
జుల హస్తంబుల నుంచి రర్ధి గనుమించుల్ చిర్రుముర్రాడగన్.
Water in golden pots reflected strange twinkling lights. The curtain (held between the bride and the groom) with a black border, decorated with strings of pearls held by priests who proclaimed the approach of the auspicious moment in the wedding. The bright eyes of the divine bride and groom sparkled with mutual love for each other. The great beings like Siva and Brahma placed the auspicious mixture of jaggery and jeera in the hands of the bride and groom.

చ. మరి వనమాలి చూడమున మానిని ముత్తెపు బ్రాలు వోయుచో
మెరయు దదంగుళీ కిసల మేళన జక్రి చెమర్ప రాలె మై
నరిమురి ఘర్మ బిందువులు నమ్మణులున్ మొగులందునుండి డాల్
గిరిగొన జారు ధారలబలెన్ వడగండ్ల బలెన్ గనుంగొనన్.
The body of Sri Ranganatha was effulgent like a dark cloud. As Sri Goda poured the sacred rice (talambralu) on him, her tender finger tips gently grazed him, and the resulting excitement caused him to sweat. The sweat drops were like rain drops raining down from a rain cloud and the white rice particles looked like hail.

తే. ఇంతి దోయిట సేస బ్రాలెత్తుచోట
గుబ్బ పాలిండ్ల క్రేవ గ్రక్కున మురారి
కన్ను వేయుట గత లజ్జ గదుర బాహు
లెత్తక కరాగ్రములన పైకెగుర జల్లె.

To pour the sacred rice (talambralu) in Sri Ranganatha's head, Sri Goda gathered the rice in her palms and raised her arms. However, her breasts were uncovered in that act and she noticed her husband's gaze feasting on the delightful sight. Overcome by modesty, she lowered her arms and threw the rice up on to his head.

కం. గళమున గట్టెను హరి మం
గళసూత్రము పులక లతివ గాత్రము బొదువన్
నెలతయు బతియును గరముల
నలవరిచిరి కంకణంబు లన్యోన్యంబున్
Sri Ranganatha tied the sacred sutra around Sri Goda's neck, as her body rejoiced at his touch. The bride and groom tied wedding bracelets on each other's wrists.

Thus concluded the divine wedding of Sri Godadevi, daughter of Vishnuchitta and Sri Ranganatha, bringing to a close the masterful Telugu prabandha, Amukta Malyada.

Aum tat sat!

ఆముక్త మాల్యద: గోదాకళ్యాణము

A small joke before we dive into the real stuff: This was told by my math professor back in the day. While he was a graduate student at Caltech, the first part of a course ran during the winter semester (Jan to May) - then there was the summer break of about 3 months. The second part of the course continued in the fall semester, starting in late August. Their professor entered the class on the first day, and started, "Continuing from where we left off in the last lecture, ..."
Following in his tradition, I will pick up where I left off in my last post (from more than 3 years ago) :)

After narrating the story of Mangala Kaisiki to Sri Vishnuchitta, the Lord of Srivillibuttur, in his great compassion, consoled his devotee that the peculiar troubles being experienced by his daughter Sri Goda are caused only by her separation from her Lord, not by anything else. The Lord then instructed Vishnuchitta to offer Goda in marriage to Lord Sri Ranganatha without further delay.

Vishnuchitta took this advice as divine command, seated Goda in a golden palanquin, assembled his family and attendants and set off for Srirangam.

మ. చని కాంచె న్విరజాభిధాంతర వపుస్సహ్యోద్భవాతీర నం
దనవాటీ వలయద్రుమావళి దళాంతర్దృశ్య పాపాళి భం
జన చాంపేయసుమాయమాన విషమ స్వర్ణావృతివ్రాత ర
శ్మి నభస్ స్పృక్ఛిఖరాళి దీపకళికా శృంగంబు శ్రీరంగమున్.

Vishnuchitta saw the majestic town of Srirangam. No, not even town - he basically saw the majestic golden Gopurams - they are seven in number. A very fascinating phrase in this lengthy description is పాపాళి భంజన చాంపేయసుమాయమాన - paapaali bhanjana champeya sumaayamaana.
How are these gopurams? They are like the Champeya flowers (సంపెంగ పూలు) that vanquish the black bees of sins! Sins are black, like black bees, they swarm around you, they sting you - they won't let you go. Then you come into the presence of a Sampenga flowers - the powerful aroma of the flowers drives the bees away. Normally, other aromatic flowers attract the bees - the attraction between flower and the bee is a constantly recurring metaphor in Telugu classical poetry. However, in this particular case, the flower is driving the bees away. Similarly, the sight of these golden gopurams drives away the sins of the pilgrims.

The next fascinating phrase is స్వర్ణావృతివ్రాత రశ్మి నభస్ స్పృక్ శిఖరాళి దీపకళికా శృంగంబు - svarnaavrithi vraatha rasmi nabhas sprik sikharaali deepakalikaa srungambu. The golden radiance from the gopuram top seems to be touching the sky; those tops are like so many lamp flames. The sampenga flower looks a bit like lamp flame, and so do the tops of these gopurams. The beauty in this expression is how the poet neatly ties together the common aspect of the three different objects - the gopuram, the champeya flower and the lamp flame; in the process, intensifies the devotional fervor of the devotee who came to witness such a majestic sight. The feeling experienced by the devotee is so intense that everything else simply falls away.

I am sure the literati among the readers have already spotted the similarity of this poem to the famous one from Manu Charitra. Interestingly enough, there is yet another similar poem earlier in this chapter of Amukta Malyada itself, recounted here (కాంచె న్వైష్ణవుడు). The Manu Charitra poem was also recounted there in that link in the comments section.
Even today, the first vision of the Srirangam temple gopurams is quite breathtaking.

Upon arriving there, Vishnuchitta performed the prescribed purifying ablutions, offered the appropriate prayers and worship to Sriranganatha's various attendants such as Jaya, Vijaya, Sudarsana, Garuda and Vishvaksena. He then entered the holy sanctum and beheld the glorious form of the reclining Lord.

Here, Srikrishna Devaraya described the visual glory of the Lord in a long vachana (prose) piece that runs two and a half pages in print, in deeply devotional, utterly tantalizing, and fittingly glorious detail.

Vishnuchitta, upon encountering the glorious Lord, prostrated on the ground and praised him thus:

తే. విధిగృహాక్షయవిత్త సేవధికి శరణు
చిరకృతేక్ష్వాకు పుణ్యరాశికిని బ్రణుతి
ధనపతి భ్రాతృకుల దేవతకు జోహారు
నత మృడాదిక సుమనస్సునకు నమస్సు.

I take refuge in the Lord who is the repository of inexhaustible wealth in Brahma's abode.
I salute the Lord who is the aim of all good deeds done by King Ikshvaku.
I praise the Lord who is the family deity of Vibhishana, brother of Kubera.
I salute the Lord who is Lord to various gods like Siva et al.

తే. అజ శివాదిక మగు నీ సమస్త జగము
నెందు బ్రభవించు వర్తించు డిందునట్టి
మహిమ కిమ్మైన నిత్యు సమస్త భూత
మయు బరుల కంటె బరు మహామహుని గొలుతు.

You are that unchanging one who is the source of the magic by which this whole creation, including Brahma and Siva, is being created, sustained and destroyed. You are the embodiment of all elements (all living things), and yet you are distinct from any thing in this creation. I serve you.

సీ. పరపురుషునికంటె బరుడు నా జనువాని, బరమాత్ము ముక్తికై పరమయోగి
పరిషత్తుచే సదా భావింపబడువాని, నెవ్వని యందు బ్రాకృతములైన
సత్త్వాది గుణముల సందడి లేదట్టి విమలుని, సర్వభూతముల కంటె
నాద్యుడు శుద్ధుండు నగువాని, విభుగళాకాష్ఠానిమేషాది కాలసూత్ర
తే. మయిన యెవ్వాని శక్తి యింద్రియ వితతికి
గోచరముగాదొ నిర్లేపుడై చెలగుట
నతి విశుద్ధుడు దానయ్యు నౌపచార
వృత్తి బరమేశుడగు నిన్ను విష్ణు దలతు.

You are distinct from any man. You are the Paramatma. The association of great yogis meditates on you constantly to achieve liberation. The three gunas - sattva, rajas and tamas - that are born from creation, can not stir anything in you, you are without flaw. You precede all elements. You are pure and all pervading. You are the thread of time marking units like kala, kashtha and nimisha. Your power is not perceived by the five senses. Since you are untouchable, you remain absolutely pure. However, you manifest as the Lord so that we can worship you. Oh Vishnu, I meditate on you.

The poet distills in this poem the nature of the Supreme Being as Sriranganatha, with ideas excerpted from Vishnu Sahasranama, the Vedas and the Bhagavad Gita. Para here indicates creation, srushti. Para purusha is a man that is born from the creation, whether be a human, or god or demigod. The poetic intent here is to show that, though the Lord is in a masculine form, he is separate and distinct from the creation. That is to say, he is Svayambhu, exists by himself, and not part of the creation. Each being born of creation is animated by the three gunas. The Lord by his very nature is beyond creation, and therefore the three gunas can not bother him. Kala, Kaashtha and Nimisha are units of time, of decreasing duration. Sri Krishna, in Bhagavad Gita, declares himself as kaalapurusha, as embodiment of time, witnessing the rise and fall of multiple creations, and not subject to such vagaries himself. The Lord is essentially formless, but in his compassion, to give a chance to his devotees (or pleased by their devotions), he manifests in various forms so that the devotees may worship him.

Sri Ranganatha was pleased by the various devotions offered by Vishnuchitta and regarded him with benevolent gaze, and inquired after his welfare. Meanwhile, Goda was offering various flowers, with her bracelets jingling, to the lotus feet of the Lord. The Lord viewed her with suggestive glances. Noticing her
youth, beauty and grace, he thought to himself thus:

సీ. దీని చూపెదురెక్క గానెకా సిరిపట్టికిని బోర బిరుదు టెక్కెంబు గలిగె
దీనికౌ నల్లాడ గానెకా గర్వించి యుర్విజైత్రునకు గాలూదగలిగె
దీని పాలిండ్లుబ్బ గానెకా రతిచేతి కిన్నెర మ్రోతకు వన్నె గలిగె
దీని మోమొప్పార గానెకా వాణి రాయంచ లేమకు గులాయంబు గలిగె
తే. దీని పెన్నెరు లేపార గానెకా ప్ర
పోషిత మయూరికి విరాళి పొందు గలిగె
దీని యడుగులు రంజిల్ల గానెకా పి
పాస బడు తేటులకు మెట్ట పంట గలిగె.

1) Just because her glances rose up, Manmatha got his proud flag on his chariot. 2) Just because her waist sways gracefully, Vasantha is able to proudly set foot on earth. 3) As her breasts blossomed, the sound of Rathi's veena acquired new glow. 4) When her face shone with youth, Saraswathi's swan found a place to stay. 5) As her long hair acquired thickness, the pet peacock discovered joy of love. 6) Just because her feet blossomed, the thirsty bees got a feast of lotus flowers.

The above is just literal rendition of the poem. But the real meaning is hidden and multi layered. In the bhakti literary tradition, Sri Vishnu is visualized as Purushottama (The ultimate male). Moreover, he is the father of Manmatha, the love god. In addition, in this particular case, he is fully captivated by the beauty and devotion of Goda. So, the inner thoughts of the Lord are not only heavily laden with Sringara bhava, but are also expressed in highly imaginative terms.

1) She is meenakshi; her eyes are like fish. And Manmatha's war flag symbol is also fish. So, when the lady's glances are fluttering, it is like the fluttering of Manmatha's flag. That means that Manmatha has declared war (on his own father).
2) Her waist is slender like a flowering creeper. Vasantha, the god of spring, announces his arrival on earth with the swaying and burgeoning of creepers. Without creepers, his existence will be unknown. Now that Vasantha is here, his presence is being felt, it is the season of spring and it is the season of love.
3) Kinnera is the lute (veena) and it has a globe like ornament called kinnera kaya. It is a poetic device in classical poetry to compare full breasts of the heroine to these globular decorations on the veena. In this case, the lute is held by none other than Rathi, the wife of Manmatha and the goddess of love.
4) Saraswathi, the goddess of learning has a swan for her vehicle. It is well known that swans dwell in Manasarovar amidst the blossoming lotus flowers. Goda's face is like a blossoming lotus, thus giving a home to the swan.
5) The peacock is attracted by rain-laden dark cloud and does its dance. Goda's long and thick hair is like a dark cloud so that it brought the feeling of joy to the pet peacock.
6) Goda's feet are also like lotus flowers so that the thirsty bees find a feast.

Each of the six comparisons employs a well-established poetic device to draw attention to different aspects of Goda's beauty. However, the actual comparison is couched in indirect reference and innuendo. Apparently, this kind of device is called vishayinigarana alankaram (the art of swallowing the subject).

As the poet, Sri Krishnadevaraya played a rather naughty joke in juxtaposing these last two poems. No sooner did Vishnuchitta praised the Lord as permanent, pure and free of passions than the Lord was wracked by thoughts of love.

ఆముక్త మాల్యద: మాల దాసరి కథ - 6

The story so far:
Sri Vishnu, in his avatar as Sri Varaha Murti, describes to his consort Bhudevi the power of singing Sri Vishnu's divine name.
There was a Dasari named Nambaduvan living near the shrine of Tirukkurungudi, belonging to the lowest of castes. Yet, his devotion is such that daily he reached the shrine before sunrise and sang the divine name until noon. One night, the rooster crowed in the middle of the night. Dasari mistook it for the approach of dawn and set out for the shrine. He lost his way and found himself in the middle of a desolate forest, confronted by a fearsome demon named Kumbhajanuvu. He fought valiantly but was finally captured by the demon. As the demon was about to eat him, he requested it to set him free temporarily so that he could visit the shrine one last time. The demon is reluctant but finally lets Dasari go. He visits the shrine, sings divine praises till his heart is satisfied, and returns to the demon to be killed and eaten. The demon is aghast by this selflessness and begs Dasari to bestow the fruit of just one song, so that the demon could shed his despicable existence as a demon. Dasari is initially reluctant to do so, but relents after much pleading by the demon. The demon begins to tell how he was once a learned brahmin and how he got this horrible demon form. Living in the Chola kingdom, this brahmin was so fond of wealth that he would not stop at anything to amass it. He traveled wide and far accumulating riches. One day he was finally satisfied and headed back to his native village. A bandit was watching this.

సీ. వెలివాడ బని క్రొత్త మలకవా ల్గొని నూనె యిడి తంగెడాకు గట్టెడు తహతహ
కూర్చంబు గొరిగించుకొని యుష్ణతోయంపు టంగడి దలయంటు కాడి తడవు
వంట పూటింటి కెప్పంటికంటెను బాలు పెరుగు నే కూరలంపెడు తెగువలు
సంబెళ విదిలించి తాంబూల దళ పూగ నివహంబు జాలంగ నించు నుబ్బు
తే.గీ. బ్రహ్మచారి భుజంబు మాత్రకు సడింపు
బ్రాలు నాలికి మేలు చీరలు గ్నియెడు
సంభ్రమంబును బెరపాంథ జనుల బయన
మడుగు ప్రశ్నంబులను మత్ప్రయాణ మెరిగి

As I set out to prepare for my journey - the excitement with which I got new leather sandals from the leather worker; the delay that was caused at the barbers while I bathed; the openness with which I sent large amounts of milk, curds and vegetables to the lunch house; the joy with which I assembled my thambulam and filled my mouth with it; the way I filled my student's shoulder bag with new rice; the great activity of purchasing good quality sarees for my wife; and the enthusiasm with which I questioned my fellow travelers regarding the time of departure - the bandit observed all this silently.

కం. హత్తుకొని యొక్క కొందర
నత్తెరువుం గట్ట బనిచి యందర క్రియ దా
దిత్తి యొకటి గొని తే మరి
యుత్తర ముత్తర మటంచు నొక ప్రొద్దు కడన్

He sent a few of his mates ahead to block our way and he himself followed our group, shouting "Here we go northwards!" One day at daybreak,

తే.గీ. లేచి పోవంగ దత్తర మేచి తోడి
వారు సన నేను ముడిమోపు వటునకెత్తి
పోవ వాడిందు రండని త్రోవ యడవి
బెట్టి యొక వాగు డిగ నీల వెట్టు టయును

All travelers set out in a hurry. I raised the heavy bundle onto my assistant's head and I too started. This fellow started showing me the way, and slowly got me into this forest. As we crossed a small stream, he whistled loudly (as a signal).

మహాస్రగ్ధర
కవిసెన్గల్పాంత జంతు గ్రసనభృశబుభుక్షాత్వరత్ర్యక్షపార్శ్వ
ప్లవమానోత్పాతభూత ప్రకరపటిమ హాలాహలస్పర్ధి హేతి
ఛ్ఛవి రేఖానేక రాహూచ్చలితరవులు రక్షశ్చమూజిత్పుళింద
ప్లవబృందంబుల్ వనిన్ బల్వడిబొడుపొడుమన్ పల్కులున్ ముల్కులున్ రాన్
At once we were surrounded by troops of Kiratas and Chandalas that were like the hungry demons that surround the Great Rudra who comes at end of Time, like so many Rahu planets which would strike terror even in the Sun, wielding weapons more terrible than the Kalakoota poison (sure to kill); these troops seemed to exceed real demons in their ferocity; they came shouting "attack! kill!!"

సీ. పసలేదు నిలురోయి పాతకులా రని దేవాయుధంబులు రూవువారు
పైడిబాసము జెట్ల బడవైచి దుడ్డుపెట్లకు బారుచునె యొలెల్ వైచువారు
బరువు డించి కటారి పరుజించి నిల్పి యిందెందు వచ్చెదరని యెదురువారు
వస్త్రంబు గొండు దేవర యోయి యిది చన్నబస్తని దయపుట్ట బలుకువారు
తే.గీ. కలవి మామూక నిప్పింతు దొలగు డొకటి
యాడుదాని జేనంటకు డనుచు బెద్ద
తనము నభిమానమును దెంపు కనగ బలికి
నిలిపి దోపిచ్చువారునై తొలగి రపుడు
Some of the travelers shouted that the bandits were not many, and started throwing stones and sticks at the bandits. But some were trying to run away from the bandits, throwing their possessions near trees. Still others set down their burdens and opposed the bandits with drawn swords. Some of them were ready to surrender a few bags to the bandits, yet try to hold on to a few other bags, saying pitifully to the bandits - "This is sacred! If I lose this, I shall have to starve!! A few of them act like they are the leaders in their own groups; they say to the bandits - "Look, I will get you all the possessions from my group, but leave the women alone!" IN this confused fashion, the travelers group got scattered every which way.

సీ. కటినుండి చనుమర గడిగాగ బిగియించి కట్టిన నిడు నీలి కాసె మెరయ
బిల్లి గడ్డము మించ బెరిగి మీసలు కుక్షి గోళంబు మీద నుయ్యాల లూగ
బూది బ్రుంగిన మొగంబున వడిగట్టు మైనపు మైల ప్రాజాదు నాజెలంగ
జిటివ్రేలి వూసపై ఘటియిల్లు వెడపట్టు చిమ్ముల సురియ డాల్ముమ్మరముగ
తే. గీ. నూరనుండియు గనిపెట్టుకుండువాడు
తప్పిపో నన్ను డబ్బాటు దా బొడగని
యట్టివేళ గాకశ్మశ్రువనెడు నొక ప్ర
చండ చండాల చోర భటుండు తరిమి.

As this was going on, this horrible looking Chandala bandit by name Kakasmasruvu - He wore a long black upper cloth tied tightly from shoulder to hip. His drooping mustache exceeded the length of his short beard and were swinging down to his round tummy. His face was smeared with ashes and a smear of lamp black shone darkly on his forehead. He was whirling his mighty sword on his crooked little finger and waved his shield menacingly. He was staying in the same village where I was - suddenly, this fearsome bandit identified me and started chasing me.

చ. కవ వటుడించి యేగునుకగా సురెగొంకుల దార్చి కూలుడు
న్నివిడిన బొజ్జపై మిగులు నిద్దపు దోవతి దట్టి డొల్లి రా
దివిచి పెనంగ వల్లువము ద్రెంచి యనంతుని గంట్ల కూనపుం
జెవులుగ గౌద కట్టు కసె చేరుల టెక్కియు దోపునొల్చి పోన్

I left behind my assistant and started running away. The bandit caught up with me and slashed at my hip joint. When I fell, he cut away at the bulge of cloth tied around my midriff (these are the lumps of valuables) and also tore my shirt. He slashed through my protective headgear and pulled my golden earrings (tearing my ear lobes). He even stole my decorative cap, and was running away with the loot.

కం. నోరిసని నుండ కే నో
రోరి యకట మా సమీప వూరనె మనియున్
దూరము వోయితివే సొ
మ్మేరీతిని నీకు దక్కునే కానీరా

As Saturn ruled my mouth (due to bad luck), I couldn't stay quiet! I shouted out loud .. "Hey you, you used to live near us. I shall see how far you will escape and how you will enjoy this ill-gotten wealth."

తే.గీ. అనిన లాతుగ గోల్పోక నతడు రడ్డి
రాజు గనునని కొదయు దీర్పంగ మగుడి
యంత బరియును బైప్రజ కలికి పారి
పోవ వాడును వెడపోట్లు వొడిచి చనియె
He thought, "Because this brahmin lost so much wealth, he will not remain quiet. He will surely go to the village authorities and complain. Better to finish him." He came back to me, but meanwhile his troops were running away. So, he got scared and just stabbed me wildly and ran away.

సీ. కొంగ వాల్నరుకు లంగుళుల బట్టుక జబ్బలంట గుట్టిడ వెజ్జు నరయువారు
తల బడ్డ గుదియ దెబ్బల బాత మసి యిడి యంబలి గంజిండ్ల నడుగువారు
తమసేగి జెప్పుకో దయమీర విని చీర జించిచ్చువారి దీవించువారు
నొలివడ్డ నెపమున గలలేని సిరిజెప్పి చుట్టలపై దాడి వెట్టు వారు
తే.గీ. నైన పాంథుల చేత గ్రందైన యూళ్ళ
జాడగా నిట దెచ్చి యిన్నీడ డించి
పారు నీరాన బోవ నొవ్వారి మగిడి
వచ్చునాలోన నీరూపు వచ్చె నాకు.

I was surrounded by my fellow travelers - Some were looking for a surgeon to stitch their flesh and joints torn by the swords of the attacking Chandalas. Some tied ashes of burnt cloth to their head injuries and were begging for some soup or broth. Some others told their woes to passersby. When any one tore them a piece of cloth to bandage their wounds, they blessed them loudly. Some were trying to get stuff from their relatives, loudly lamenting their losses (eventhough they lost only a little.) As I lay like that, my companion went to find some drinking water. Even before he returned, I got this horrible form.

వ. కయ్యంబున బారబార గాయంబు గాయంబు సేసి వెరవేకి గొలిపిన కాకశ్మశ్రునామధేయ చండాలు కరాళ వేషంబు కన్నులంగట్టినట్లుండ గడగనుట నిట్టి కరాళ వేషంబు గలిగె గైశికి గాన ఫలదానంబున దీని మానుపవే యనిన నతండేను ఫలంబెరుంగ, ఫలంబు పరమేశ ముఖోల్లాసంబ యాజ్ఞా కైంకర్యంబులకు ననుమతి కైంకర్యంబులకు ఫలపరిమాణ గణన ప్రపన్నుల కెక్కడియది? కాన బంధకం బగుట ఫలం బింతింత యందు గొంత గొమ్మన వెరతు భగవంతుండ రక్షించు నూరడిలు మన్న నన్నోరి మాట నోరన యుండ నతండు

In that fight, since I gazed so intently at the horrible form of that Chandala, Kakasmasruvu, who attacked and gravely wounded me, that same form played in front of my eyes as I breathed my last, and I attained this horrible demon form as a result. Now, if you (Dasari) would kindly bless me with a small part of the good fortune you gained through Mangala Kaisiki singing, you could set me free from this horrible form. Dasari said, I don't know what this good fortune is. The only good fortune for me is that the Lord smiles (when his praises are sung). It is not proper for a Lord's devoted servant to count the fruits of one's actions. Moreover, counting like that only ensures one takes birth again at the end of this life. So, I don't really know what this good fortune is - how can I give some part of it to you? The Lord himself will save you, don't worry. Even as Dasari said these words, the demon form lifted from Kumbhajanuvu.

సీ. స్నిగ్ధ త్రిభాగ ముండిత శిరశ్శిఖతోడ హిమధవళోపవీతములతోడ
బుణ్య షడ్ద్వితయోర్ధ్వ పుండ్రవల్లుల తోడ దులసికాబ్జస్రగావళులతోడ
గౌపీన కటిసూత్ర కాషాయ యుగితోడ జలపూర్ణ శుభ కమండలువుతోడ
బాణిస్థ దివ్య ప్రబంధ సంపుటితోడ నుత్తర వాక్పూర్వకోక్తి తోడ
బసిడి జిగితోడ బ్రహ్మ వర్చసము వొల్చు
భాగవత లక్ష్మితో ధూమ పటలి నుండి
వెడలు శిఖ వోలె నమ్మేను వెడలి చూడ
జూడ వైష్ణవుడై నిల్చె సోమశర్మ.

With three parts of hair shaven, and a tuft, wearing snow white sacred threads, his forehead adorned with vertical devotional marks of the Lord, wearing garlands of Tulasi beads, with clothing appropriate for a pious man, holding a snouted pot full of pure water, with divine dravida veda books in his other hand, mouth reciting those sacred hymns, his golden shine enhanced by the devotional fervor and purity, he emerged, like a flame bursts through a cloud of smoke, from the demonic form, and there stood Soma Sarma in the form of a devout Vaishnava.

Sri Varahamurti related this tale, illustrating the power of Mangala kaisiki ganam, to his consort Bhudevi. Bhudevi wanted to experience this glorious feeling herself, so she took form as a female human child, who is none but your daughter Godadevi. So, oh Vishnuchitta, realize that Goda's actions are not madness, but she is pining from separation from her Lord. There is no greater penance than singing the Lord's divine praises. Therefore, make haste and get her married to the Lord of Sriranga. Thus spoke the Lord of Srivillibuttur to his devoted servant Vishnuchitta.

To be continued - Will conclude with Goda Kalyanam in the next episode.

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.

ఆముక్త మాల్యద: మాల దాసరి కథ - 2

(Continued from previous post)

Dasari saw a terrifying demon.

ఉ. వాడును గంటి బోకుమని వ్రాలె మహీరుహ పాళి నుగ్గుగా
వీడును మున్ను రేవగటి వేళకు మానిసియౌట బోరిలో
వాడిమి గొంతకాల మిల వ్రాలుట లావరియౌట నిల్చి యా
వాడి శరంబుచే నడువ వాడది ద్రుంపుడు వీడు నుద్ధతిన్.

The demon too saw Dasari and jumped down from his perch on the banyan tree, pulverizing the surrounding trees to dust. However, Dasari is a man for all seasons, no weakling - he had gained some fame as a good fighter and was strong. So, Dasari stood his ground and blocked the demon with his spear. The demon broke the spear easily, but Dasari continued to fight vigorously.

Devarayalu then describes the wrestling match between the two in a fast paced seesa padyam. At the end of a prolonged fight, Dasari launched a furious attack on the demon and tried to escape. The demon summoned his females, shouting, "Come, come. This fellow is running away!" They came down from the tree and chased Dasari. Between them, they surrounded and captured him. Even then, Dasari did not give up. He was struggling constantly, kicking with his legs and jabbing with elbows. The demon shoved him against the banyan tree and spoke thus:

శా. సారాస్వాదన బ్రాణ పంచకము తృష్ణంబాసి సంతర్పణ
న్మూరింబో నసి ద్రుంచి పొంగెడు భవన్ముండాస్రధారోష్మ మిం
పారం గ్రోలి పిశాచి నీదు కరకుట్లందీ నదస్తాలకాం
తారాంతర్ నృకపాల కుండ విగళన్మై రేయముం గ్రోలెదన్.

My whole body is going to rejoice in gratification, quenching its thirst by feasting on your fat. I will cut off your shaved head with this knife and drink the spouting warm blood to my satisfaction. As my females feed me roast chunks of your meat, I will partake the liquor dripping from pots made of human skulls.

Look at the demon's tactics. He is trying to scare Dasari. The demon already had a taste of Dasari's valor. He is only used to humans fainting in fright when they have one glimpse of him. Perhaps, he does not want any more resistence from Dasari. Perhaps, a shivering, quivering victim boosts his ego. Anyway, he tries to frighten Dasari by describing in gruesome detail all the nasty things he (the demon) is going to do to him (Dasari).

ప్రాణ పంచకము = పంచ ప్రాణములు = ప్రాణ, అపాన, వ్యాన, ఉదాన, సమాన వాయువులు
కరకుట్లు = meat chunks roasted on open fire like kebab
This poem is an interesting mixture of Telugu and Samskrutam phrases; e.g., సంతర్పణ న్మూరింబో, పొంగెడు భవన్ముండా, etc. Perhaps this indicates the mixed nature of the demon who was once a Brahmin, but now a demon (hence, brahma rakshasa).

క. నన్నిం తలయించిన ఖలు
నిన్నున్ ఋజువిధి వధింతునే యని యార్పుల్
మిన్నందగ బుసకొట్టుచు
నన్నీచుడు పొగరు వెడలు నవ్యక్తోక్తిన్.
"Will I ever kill you in a simple, straightforward manner, you rascal, who gave me so much trouble?" brimming with arrogance, the villain (demon) snorted and raved to the sky.
He ordered the females to bring a knife and a vessel. He tied up Dasari's feet with a dried gut and threw him down on the ground. Dasari fell against the banyan tree. Yet, betraying no fear, Dasari addressed the demon to offer him wise counsel.

చ. వినుమొక మాట రాత్రిచర! వేగిర మేటికి నిన్ జయింతురే
యనిమిషులైన? భాజనగతాన్నమ నేనిక నెందు బోయెదన్
బెనగక ప్రాణరక్షణ ముపేక్ష యొనర్చుట పాపమిందుకై
కనలకు నాకు మేనియెడ గాంక్షయు లేదిది పోవుటే యురున్.
Dasari spoke thus: O demon, listen to just this one word. What's the hurry? Can even gods conquer you? I am pretty much food in your plate, ready to be eaten - where will I go? To neglect to take care of oneself is a sin - so don't worry on that count. Moreover, I am not particularly fond of my body. It's good if it goes.

All this speech is obviously a preamble for what he really wants to say. Note the tone of reconciliation - after putting upa vigorous fight, Dasari extols the demons great strength, and even agrees that it is proper for one to nourish one's body (i.e., it is okay for the demon to eat Dasari). Then again, there's an interesting conundrum. Immediately after saying "it's a sin", he also says "I don't care for my own body." Of course, what this is all about becomes clear soon, but for the time being, Dasari continues in this pacifying speech.

ఆ. హీన జన్మ మరుట యెవ్వడె నొకప్రాణి
సంతసిలుట ముక్తి పొంత గనుట
మేలె కాదె శిబియ మేల్బంతి గాడె న
శ్వరపు దేహమమ్మి పరము గొనుట
Isn't it good for one to rejoice upon the prospects of attaining salvation by giving up this low birth? Isn't Sibi an excellent guide in this respect, in exchanging impermanent body for permanent afterlife?

In Hindu devotional (bhakti) philosophy, salvation (mokshamu) is cessation of the cycle of re-births (janma raahityamu). The idea is that one's soul is absorbed into the Almighty. Similar ideas are found abundantly in other bhakti poetry. For. e.g., Bhadrachala Ramadasu sings "అన్నిటికిది కడసారి జన్మము, తధ్యంబిక పుట్టుట సున్న". Similar sentiments can be seen in Saivite poetry as well - see the last poem in Natkeeran's story in a previous post.
Note the clever use of the words "ammu" and "konu" - as if it makes very good business sense to sell something that is transient to buy some something permanent.
I assume folks know the story of Emperor Sibi.
Note for rAnAre - do you remember the excellent Sibi harikatha in Shaavukaaru movie (sung by Ghanatsala)? "శిబికీ సాటి దొరా, లేడు ధరా .."
Anyway, let's get back to our story.

చ. తెవు లయినం, గ్రహం బయిన, దేలయినం, గరమైన, నాత్మ పెం
దెవు లయినన్, జలంబయిన, దెక్కలి యైన, మృగాగ్నులైన, మే
ల్తవు లయిన, న్వ్రణం బయిన, ద్రాచయినన్, బిడుగైన దీర్చు పే
లవ తను వూరకే చెడ కిలన్ గృశునొక్కని బ్రోచుటొప్పదే.
"There are many cases by which one may lose life - illness, fate, scorpion, poison, mental tension, water, robber, wild animals, fire, venereal disease, ulcer, snake, lightning - any one of these is sufficient to lose one's life unnecessarily. In stead, isn't it better to feed one who is starving? "

After this prelude, Dasari launches into a long monologue, exhorting the demon that eating huan flesh is not befitting to someone of his stature. This monologue is written as a long prose section, and is an interesting mix of natural science and Hindu mythology. This also shows that, though Dasari is uneducated, he is well-versed in the traditional knowledge of the Sanatana Dharma and mythology.

Dasari's basic argument is this: You demons are not wild animals - you are superior even to humans. In what respect are you less than your cousins, the gods? It is not befitting that you desire such impure meal. Moreover, when the time comes, all living things must face Yama, the god of death. Shouldn't one think of the future and prepare for it? Moreover, your cousins, the gods, have attained superior powers only through their pure (sattva) habits like eating from yajna offerings. So it was said in the scriptures. Now that I've told you all this, you consider the pros and cons and act accordingly.
To which, the demon responded with an insulting laugh and said:

క. చంపకు చదువుల మేము ప
ఠింపని శాస్త్రములె? మా పఠింపని శ్రుతులే?
యింప వవి నమ్మవే ‘బ్రథ
మాం పిబతే వహ్ని’ యనెడు మాటవు గాదే?

"Don't kill us with your preaching. Is there a subject which we haven't learned? Any scriptures we've left unread? Those are not palatable to us."

తే. హరికి సఖుడును రథమును నగు గరుడుడు
దొరకినమృతంబు సురలకు మరలనిచ్చి
యహులు కూడుగ వరమున నడిగి కొనడె?
యమృతమైనను జవుల జాత్యన్న సమమె?

"Moreover, Garuda who is the close attendant and the carrier of Vishnu - after obtaining ambrosia (amrutamu) with a lot of effort, didn't he give it back to the gods, and , in stead, receive a boon of snakes as his food? Can even ambrosia compete in taste with food that is appropriate for one's birth?"

It is a popular notion in Hindu folklore and mythology that eagles and snakes are enemies by birth. This notion is substantiated by the story of Garuda, the divine eagle, and his perpetual grudge against the snake clan. I am sure the readers are familiar with Garuda's tale.
This line of stubborn argument by the demon, mixing up scriptural knowledge and earthy aphorisms, evokes a chuckle in the mind of the reader. One can hear the sneer in his voice!

చ. నిదురయు గూడు బో జదివి నేనిట గన్నది యేమి యెవ్వడీ
చదువుల యర్థ వాదపు మృషల్విని బేల్పడు నీవు మా యెడం
జదువుల మాటలాడి కన జాల వొకానొక మెచ్చు నొక్కడీ
చదివిన కూర వింత చవి చాలగ దెమ్మను మెచ్చు తక్కగన్.

"What did I gain by diligent studies, ignoring sleep and food? No one is going to be deceived by the lies proclaimed by these scriptures you quote. 'Oh, this food full of learning is really tasty, bring on some more!' - this is the only exclamation you will get out of me if you spout scriptures like this. You won't get anything else!!"

This poem may be quoted as an epitome of ridicule and sarcasm. The demon says, "I'm going to eat you anyway. Your scriptural knowledge is like a spice that adds to the taste when I eat you." The reference to losing sleep and food for studies should ring a bell with even present day students :-)

Upon hearing the demon's ridicule, Dasari thinks to himself that there is no use in further argument with such illogical being. However, he gathered some enthusiasm and pleaded with the demon, saying,
"You are famous among the demons as the greatest. I am insignificant and I can't argue with you. I do not try to prevent you from eating me. I have been observing a penance. I pray that you grant me this one request!"

క. ఈ కురగటి యీకురుగుడి
వైకుంఠుని బాడి వత్తు వ్రతముగ దత్సే
వాకృతి కడపట నశనము
నీకౌదు న్ముఖ్య మిదియ నేడగు తుదకున్.

"I have to sing the praises of Sri Vishnu at the nearby Tirukkurungudi shrine - this is my penance (vratamu). As soon as this service is done, I shall return and you can eat me. This is the most appropriate outcome for today."

What is the demon's reaction to such request?
(to be continued)

ఆముక్త మాల్యద
మంగళ కైశికి యను మాలదాసరి కథ

This story starts off the 6th and last chapter of Amukta Malyada. In fact, it occupies the major part of the chapter.

Goda has grown into a beautiful young woman. Unable to tolerate the separation from her Lord, she is persecuted by Manmatha’s arrows, and suffers greatly. Her father Vishnucitta is perplexed by her peculiar behavior. Being an orthodox devotee, inexperienced in the ways of love and the pain of separation, Vishnucitta thinks that his daughter is going through some mysterious penance (tapassu) in her devotion to the Lord. Nevertheless, he is worried by her plight and complains to Sri Vishnu of Srivillibuttor, the presiding deity whom he worships everyday.
Sri Vishnu, in his limitless compassion for his devotee, smiles at Vishnucitta’s naiveté and speaks thus:

చ. కలడొకరుండు పేరుకొన గాని కులంబు మదీయ భక్తు, డి
య్యల మును వాడు వామనత నే వసియించిన పుణ్యభూమి యం
దుల కొక యోజనత్రయపు దూరపుటూర వసించి బ్రాహ్మవే
ళల జనుదెంచి పాడు మము లాలస మంగళ నామ కైశికిన్.

There was a man born in an unmentionable (low) caste who was my devotee. You know the holy place where We took form as Vaamana (holy shrine of Tirukkurungudi) – he used to live at a village a distance of three yojanamulu from there. Everyday, during brahma muhurta time (around 4 AM) he would arrive at our shrine and sing our praises with gusto in the tune of Mangala Kaisiki (mangala kaisiki raagam).

Tirukkurungudi is a small shrine in Tirunalveli district of Tamil Nadu. It is a divya desam of vaishnava faith, and was mentioned in Varaha Purana. More details at
http://www.nellaieruvadi.com/photos/tirukkurungudi.asp
The maala daasari of this story is known as Nambaaduvan in vaishnava folklore. His story is the subject of a folk style dance drama known as kaisiki natakam which was performed by traditional artists attached to the Tirukkurungudi temple. The performance tradition was on the decline when it was revived by the well known danseuse, Anita Ratnam. Read more about it here.
http://www.narthaki.com/info/articles/article43.html
Mangala Kaisiki is an old raagam in the carnatic style. Muthuswamy Dikshitar composed the song, "sri bhargavi bhadram me disathu" on goddess Mahalakshmi in this raagam. Tyagaraja also apparently composed some songs, but I could not verify this.
Yojanamu is a measure of distance used in ancient India. The exact measure is in dispute, with contemporary estimates indicating 1 yojanamu = 5 miles. It is not clear what the unit represented at the time of Krishna Devarayalu. More details at
http://en.wikipedia.org/wiki/Yojana

క. జాత్యుచిత చరిత్రమ మత్
ప్రీత్యర్థం బూది తనదు హృదయము శుచితా
నిత్యంబుగ దత్తను సాం
గత్యము మసిపాత మానికంబై యొదుగున్.

For our approval, he maintained his behavior in accordance with his birth, yet he resolutely kept his heart pure. He was wrapped in that body (born of low caste) much like a gem wrapped in a dirty rag.

The implication is that it pleases Vishnu (remember, it is Vishnu himself telling the story) if people follow dharma according to their birth, and do not try to emulate what is not theirs. This is consistent with some parts of Bhagavad Gita.

సీ. చమురైన తోల్కుబుసంబు టెంకియును నిత్తళి శంఖ చక్ర కుండలము లమర
దివెదారి కొమ్ముదోల్తిత్తియు జోడమ్ము మెడమీది మొగులాకు గొడుగు దనర
మత్పాదరక్షయు మావు పెన్వరక గుట్టిన యోటి తిపిరి దండెయును మెరయ
జిటితాళములు సంక పుటిక నొక్కొకమాటు గతిరయంబున దాకి కలసి మొరయ
వలుద వనమాలకంటెయు మలినతనువు
బట్టె తిరుమన్ను బెదురు గెంపుట్టు జూపు
బసుపు బొడి తోలు పల్లంబు నెసక మెసగ
వచ్చు సేవింప సురియాళు వైష్ణవుండు.

Wearing a shirt of oiled leather and head dress, adorned with brass ear rings in the form of Sankha and Chakra (symbols of Vishnu),
Carrying the brass lamp post (garuda gambamu), a leather bag and a spear, shining with an umbrella made of mogili leaves on his neck,
Carrying my wooden sandals, shining with a string instrument made from hollowed dry squash (sorakaya burra) and horse hair,
The small cymbals, struck by the brass post due to his fast walk, making a ringing sound,
A twisted garland of tulasi leaves around his neck, with a dirty a body,
With red clay applied as my sacred mark on his forehead, and with reddened shy glances,
A leather upper cloth decorated with yellow powder adorning him,
So comes to worship us, this Vishnu devotee born in Chandaala caste.

శా. గండా భోగముల న్ముదశ్రులహరుల్గల్ప న్నుతుల్పాడి యా
దండ న్వ్రేగులు డించి భక్తిజనితోద్యత్తాండవం బాడు నా
చండాలేతర శీలుడుత్పులకియై చాండాలికన్మీటుచున్
గుండుల్నీరుగనెండ గాలి పసి తాకుం జూడ కాప్రాహ్ణమున్.

He sets down at my temple the heavy items he’s been carrying. As tears of joy flowed in streams over his full cheeks, he sings our glory. Overcome with devotional fervor, he dances. That man with virtues exceeding his Chandaala birth, as goose pimples rise on his skin, plays heart melting sweet music on the Chandaalika veena. He does not take notice of heat, wind, or hunger attacking him – thus he sings until noon.

He has been worshipping us daily in this fashion. One night, a cat entered the chicken coop, and the chickens raised a huge clamor. Mistaking this midnight clamor for the pre-dawn call of the rooster, my devotee set out hurriedly on his daily pilgrimage. As he walked along …

ఆ. మరులు దీగె మెట్టి యిరులన్న నోయని
యెడు తమిస్ర గాడుపడి పొలంబు
లెల్ల దిరిగి తూర్పు దెల్లనౌ తరి నొక్క
శూన్య గహన వాటి జొచ్చి జనుచు.

.. he stepped on the “mislead creeper” (those who step on this creeper lose their way). He totally lost his sense of direction in that pitch black night and roamed through the fields aimlessly. By the time there was first light in the east, he reached an uninhabited forest area and continued to walk through.

సీ. ఇడిసిన యిడుపుల యెడల బొట్రేనుత్తరేను గసింద కోరింద పొదల
గెడసిన గెరిసెల క్రింద లాగల గ్రుస్సి యదవ కాపురముండు నాఖుతతుల
సగము దుమ్మున బూడి చిగిరింత వామూయ బెరిగిన నూతి పాతర బొరియల
జీమలు ప్రాలీడ్వ జివికిన వెలుగు పట్టున బండి యెండి క్రుంగిన గునుకుల
బెండ దొగ్గళ్ళలో గడుపంటి శ్మశ్రు
చలనముల గ్రుక్కు జీర్ణోతువుల బొలంబు
దుండిగల మళ్ళ యౌరుల దూలి రాడు
చిక్కు నేతాల పాడరు సీమ జనుచు.

How was that place?

There were thick thorny shrubs growing in the collapsed walls. There were hoards of rats skittering in burrows under crumpled grain silos. There were ruined wells and basements, half filled with sand and dust blown by wind. There were dried up and drooping stalks of grain plants after ants had carried away the grain. Abandoned cattle barns where poisonous plants have sprung up are being ruled by skinny old cats, licking their whiskers. The dry lands and the paddy fields alike have been overrun by wild growth. The water pond stands filled with dust, with only the pole being visible.

All the symbols chosen to describe the desolate nature of the place show that this was once a human habitation - there were homes, granaries, wells, barns, fields and such signs of civilization. For whatever reason, that human habitation disappeared and everything turned to waste. This desolation is more depressing and scary than a mere forest. (The reason for the desolation becomes clear soon).

It is interesting that a reigning king can describe desolation in such grotesque detail. The poet not only describes what is seen, but also informs why it is so. Rayalu must have witnessed such scenes first hand either before he ascended the throne or during his long military campaigns.

So, our Dasari is passing through such scary wild area .. and then ...

శా. కాంచె న్వైష్ణవు డర్ధయోజన జటాఘాటోత్థశాఖోపశా
ఖాంచర్ఝూటచర్న్మరుద్రయదవీయఃప్రేషితోద్యచ్చదో
దంచత్కీటకృత వ్రణచ్చలన లిప్యాపాది తాధ్వన్యని
స్సంచారాత్త మహాఫలోపమఫలస్ఫాయ ద్వటక్ష్మాజమున్

He saw - a banyan tree! A huge banyan tree. It is so big that it's branches have spread more than half a yojanamu. And there are the hanging branches (oodalu) from whose tops further branches are spreading. In those branches and side branches, there are countless leaves. Some of the leaves were partly eaten by insects. As the leaves drop from the tree and are blown away by wind, they seem like letters (the scratches left by the insects look like writing) sent by the tree to warn travelers to stay away (What is the tree warning about? In the next poem!). Due to its diligence in warning the travelers thus, the tree seems to have earned a lot of good fortune (punyamu) which shows up as its huge fruit. A banyan tree which is spreading like this – such a tree our Dasari saw.

Notice that from ardhayojana .. in the first line to .. phalasphAyat in the last line, it is one continuous phrase in Samskrutam. Not only that, the syllables used in it produce such a harsh sound so as to create rather horrific mood, much like background music in a horror cinema. Then again notice the utpreksha alankaram (it is a sense of wonder) where the poet compares floating leaves to written warnings and huge fruit to the tree’s good fortune .. sort of indicating that, though the tree looks scary, it is not the real source of horror – the source becomes apparent in the next poem. Also notice the gradual build up of suspense and increasing tension in the last two poems, sort of indicating something nasty is going to come.
This poem may be compared to “ata jani kaance” poem in Manu Caritra in which Peddana describes the panoramic scene spreading in front of Pravara’s eyes when he lands in the midst of Himalayas all of a sudden. There too, the poet uses a continuous Samskruta samasam in the description – but the effect is quite different – it evokes a sense of grandeur, to indicate the majesty of the great mountain.

సీ. మృతమర్త్యు రెంటాన నిడ్డ జాలక నెత్రు రంజిల్లు పెనుపొట్ట ముంజివాని
బల్ల చీమల వక్ర భల్లాతకియు బోలె నెర్రదుప్పటి నొప్పు కర్రెవాని
వ్యత్యస్త హస్తిమ స్తాభబాయగు గడ్డమును దంష్ట్రికలు బొల్చు మొగమువాని
గడుదుర్ల నిడుత్రుట్టె గతి జోగలో బాండురత మించు కపిల కూర్చంబు వాని
నెరకు దెరువరి గన శాఖ లెక్కజారు
ప్రేవు జందెంబు గసరిపై బెట్టువాని
వ్రేలుడగు బొజ్జ గల బూరకాలివాని
జెంబుతలవాని నవటు కచంబు వాని

కండ కన్నుల వాని నాకటను బండు
తిట్ల బేతాళికల సారె దిట్టువాని
నగ గరిమ వాని నన్వర్థ నాము గుంభ
జానువనునొక్క ద్విజ నిశాచరుని గనియె.

A great demon (brahma rakshasudu) appeared in front of him – so that’s what this horror build up is all about. There is a demon living on that banyan tree. Because of him, the surrounding area has become uninhabited. Humans stay away from the area, so the place was deserted. What does a brahma rakshasa look like? Let me warn you – the picture is not pretty!

He wore a human corpse as a loin cloth (koupeenam, gocee), but as it was insufficient to cover his massive girth, it split and its blood was smeared on the demon's belt (molatadu). He wore a red blanket that is like the rough and crooked bark of a mango tree covered with red ants. His head look like an elephant’s head turned upside down – his split chin comparable to the elephant’s split crown and his long fangs like the elephant’s tusks. His eyebrows like two long bee hives with a depressed midpoint shining white. In looking for innocent travelers to capture and eat, he climbed up on the branches rapidly so that his cross thread (jandemu) made from human intestines kept slipping from his shoulder. His huge belly is hanging loose and his legs were thick like an elephant’s legs. His head is bald like a brass pot with hair sprouting in the pit at the bottom. With fattened eyes, he’s cursing the female demons with gusto as he was hungry. He’s huge like a mountain. He bears the appropriate name kumbha jaanuvu (one with knees like pots). Our Dasari witnessed this grotesque demon in front of him.

- To be continued.

ఆముక్త మాల్యద - తెలుగదేల యన్న
Amukta Malyada

A Story Begins Thus

Sri Krishna Devarayalu has been praised as andhra bhoja and saahitee samaraangana saarvabhouma, i.e., equally skillful in literary and military prowess. Amukta malyada is the only prabandha to be composed by him in Telugu. During a military campaign, while he camped on the banks of Krishna River, Srikaakula Andhra Deva, the Vishnu deity presiding at Srikakulam (in what is now Krishna District, not to be confused with the northeast coastal district of the same name) came to him in a dream and commanded him thus:

ఉ. ఎన్నిను గూర్తునన్న వినుమేమును దాల్చినమాల్య మిచ్చున
ప్పిన్నది రంగంమం దయిన పెండిలి సెప్పుము మున్ను గొంటి నే
వన్నన దండ యొక్క మగవాడిడ నేను దెలుంగు రాయడన్
గన్నడ రాయ యక్కొదువ గప్పు ప్రియా పరిభుక్త భాక్కథన్.

If you ask which of my stories you should tell - you know about the young damsel who used to wear the garlands first and then used to offer them to me - you know how I married her in Srirangam; you know, once (in Krishna incarnation) I had to accept a garland from a male devotee (a garland maker called Sudama) though I was averse to do so. You must cover up this shortcoming by telling the story of how I accepted (as Sri Ranganatha) with pleasure the garlands used by my sweetheart, O Lord of Kannada, I am the Telugu Lord.

ఆ. తెలుగదేల యన్న దేశంబు తెలు గేను
దెలుగు వల్లభుండ దెలుగొకండ
యెల్ల నృపులు గొలువ నెరుగవే బాసాడి
దేశభాషలందు దెలుగు లెస్స

You may ask why I instruct you to compose particularly in Telugu (because you are very adept in Samskritam, you may think writing in Telugu is not so great) - I tell you - this is Telugu land, and I am the Telugu Lord, and then Telugu is the only one (without comparison). Haven't you been speaking multiple languages, as you are worshipped by kings from all over - you should know that Telugu is the greatest among all languages!

క. అంకితమో యన నీకల
వేంకటపతి యిష్టమైన వేల్పగుట దదీ
యాంకితము సేయు మొక్కొక
సంకేతమ కాకతడ రసన్నేగానే.

You may ask to whom should I dedicate this work - As Sri Venkateswara is your favorite deity, so you may dedicate this poem to him (eventhough you compose it at my command). After all, aren't he and I one and the same, differing only in name?

Note that the Telugu Lord speaks only in pure Telugu (accha telugu, jaanu tenugu), without a trace of Samskritam.

Thus commanded, Sri Krishna Devarayalu composed a most delightful creative poem in six chapters, to narrate the story of Amukta Malyada - (literally) the lady who offered garlands after wearing them, i.e., Goda Devi (aka Andal, Chudikuditta Nanchari, the only female among the 12 Alwars). Goda is the adopted daughter of another Alwar, Vishnuchitta (aka Periyaalwar) - therefore, this poem is also known as Vishnuchitteeyamu.

An interesting story from Amukta Malyada starting with next post.

కొత్త పేరు

కొంతకాలంగా నేను ఈ సాలెగూడు ప్రపంచంలో వాడుతున్న పేరుతోనే ఈ బ్లాగు కూడా మొదలు పెట్టాను. చూసిన హితులు పేరు బాగాలేదన్నారు. వారి సలహా మీద ఈ కొత్త పేరు పెట్టాను.
ఇది శలవుల వారాంతం .. ఇది పూర్తయ్యేలోగా కొత్త పోస్టు ప్రచురిస్తాను. వచ్చి చూడండి. మీ అభిప్రాయాలు రాయండి.

స్తుతమతియైన యాంధ్రకవి

An Extempore Poem

A caatuvu (చాటువు) is an extempore, witty poem. There are many in Sanskrit, usually ascribed to famous poets like Kalidasa. There are many in Telugu as well - ascribed to famous Telugu poets such as Srinatha and Tenali Ramakrishna who are known for their ready wit..

Background of the poem
Srikrishna Devarayalu ruled the combined telugu-kannada land from his capital in Hampi, circa 15th century CE. He was a patron of the arts, especially of literature, being a poet himself. Legend goes that he had 8 great Telugu poets in his court, known as Ashta Diggajamulu (అష్ట దిగ్గజములు). Setting aside their combined literary output, which was humongous and marked a significant era in Telugu literature, this situation (a poet-king, 8 poets, the competition, the intrigues, etc.) gave rise to a wealth of amusing caatuvulu. There is no proof that any of these caatuvulu were actually spoken by the principals of the story - they very well may be creations of a later age, but ascribed to these famous personages, just to make the story more interesting.

Dhurjati was one of the 8 poets in Devarayalu's court. He was a great Siva devotee in the royal court dominated by Vaishnavism. He composed two long poems in praise of Sree Kalahasteesvara, a form of Siva in Southern Andhra. This following caatuvu is about him.

One day in court, the king expressed his wonder at the sweetness of Dhurjati’s poetry .. being a poet himself, the question took the form of an incomplete poem as ..

స్తుతమతి యైన యాంధ్ర కవి ధూర్జటి పల్కుల కేల కల్గె నీ
యతులిత మాధురీ మహిమ? --- --- ---

ఆంధ్ర కవి = Telugu poet
స్తుతమతి యైన = with praiseworthy intellect
ధూర్జటి = the poet Dhurjati
పల్కులకు+ఏల = how his words
కల్గెన్ = happened
ఈ = this
అతులిత = incomparable
మాధురీ మహిమ = nectar-like sweet effect

The king wonders how the words of the Telugu poet Dhurjati, the one with praiseworthy intellect, have attained this incomparable sweetness.

The question hung there for a moment .. then, Tenali Ramakrishna, always up to mischief, piped up and provided the solution, completing the poem in the same stroke, with this ..

- - - - - - - - - - - - - హా తెలిసెన్, భువనైక మోహనో
ద్ధత సుకుమార వార వనితా జనతా ఘనతాప హారి సం
తత మధురాధరోదిత సుధా రస ధారలు గ్రోలుటం జుమీ

హా తెలిసెన్ = yes, I got it
భువనైక = the entire world
మోహన+ ఉద్ధత = capable of enchanting
సుకుమార = delicate
వార వనితా జనతా = group of "street" women (prostitutes)
ఘన = great
తాప = suffering of love
హారి = destroyer
సంతత = constantly
మధుర = sweet
అధర+ ఉదిత = born from the lips
సుధారస = honey
ధారల = streams
గ్రోలుటం = upon savoring
జుమీ = listen!

Tenali Ramakrishna replied, "yes, I know, listen! It's because he (that is, Dhurjati) had been constantly savoring the streams of honey from the lips of the delicate prostitutes who are so lovely that they can enchant the whole world!

There are many folk tales popular which paint Dhurjati as being obsessed with women, and a regular patron of the high class prostitutes of the city. Some naïve scholars even try to show evidence of this from Dhurjati’s own works. However, a scholar who studied Dhurjati deeply came to the conclusion that Dhurjati was a staunch Siva devotee, turned off from worldly pleasures. This scholar offered a completely different take on this poem – here is the "other" meaning of this poem.

The whole poem takes a different twist upon reinterpretation of just the one word, Dhurjati.
Literally, ధూర్జటి = one with long matted hair, Siva, Isvara, Lord.
So, the phrase "కవి ధూర్జటి" is interpreted as "కవి+ఈశ్వర", Lord of Poets, a leader among poets.
Therefore, the question asked by the king is not about the specific poet named Dhurjati, but about the great Telugu poets of the time - he was wondering how their poetry obtained such incomparable sweetness.

The answer is as follows:
భువనైక = the entire world
మోహన+ ఉద్ధత = capable of enchanting
సు+కుమార+వార = the group of good sons and daughters
వనిత జనత = and wives (a man could have more than one wife in those days)
ఘన తాప = great pain
హారి = remover
మధు రాధ = sweeter than honey
రోదిత = born of meditation
సుధారస = honey
ధారల = streams
గ్రోలుటం = upon savoring
జుమీ = listen!

The wives and the children, capable of enchanting the world, are the bonds that keep one attached to the world and cause pain. This pain is overcome by the constant meditation, which is sweeter than honey - it's because the Telugu poet had been feeding on such streams of sweetness that his poetry is so incomparably sweet!

This explanation was put forward by renowned Telugu scholar, the late Ravuri Venkateswarlu gaaru.

I obtained both the interpretations of the poem from the book "పద్య కవితా పరిచయం" by Acharya Betavolu Ramabrahmam gaaru.