331 (kottalu nī cēṃ̐talu gōviṃdarāja (కొత్తలు నీ చేఁతలు గోవిందరాజ)

 TALLAPAKA ANNAMACHARYULU

331 కొత్తలు నీ చేఁతలు గోవిందరాజ

(kottalu nī cēṃ̐talu gōviṃdarāja)

తెలుగులో చదవడానికి ఇక్కడ నొక్కండి.

INTRODUCTION 

In this composition, Annamacharya displays extraordinary mastery in blending romantic playfulness with subtle philosophical depth. What appears outwardly as a light-hearted description of Lord Govindaraja moving affectionately between two consorts gradually opens into a much wider vision of life, relationship, balance, and ever-renewing existence.

 

The word “కొత్తలు” itself becomes central to the poem. It suggests not merely novelty, but the endlessly fresh and unpredictable unfolding of life. Through ordinary domestic images such as a needle, a yoke, a cart, and a youthful bridegroom, Annamacharya quietly hints at movements that hold together opposite sides without conflict.

The poem never abandons its romantic charm. Yet beneath that charm, one senses a deeper suggestion — that the Divine alone moves effortlessly between the known and the unknown, the earthly and the grand, while human beings remain astonished by these ever-changing unfolding.

This ability to hold tenderness, humour, intimacy, and philosophical vastness together with such natural ease reveals the poetic genius of Annamacharya.

---

శృంగార ​​​ సంకీర్తన

రాగి రేకు: 131-3  సంపుటము - సంకీర్తన: 7-183

కొత్తలు నీ చేఁతలు గోవిందరాజ పొత్తుల మగఁడవై భోగించే విపుడు      ॥పల్లవి॥   పాదము లిద్దరి మీఁదఁ బంచివేసి చాఁచుకొని సోదించి నీవిరుమొన సూదివైతివి సాదించి యిద్దరు చేతి సన్నల నిన్నునొత్తఁగా దాదాత వలపు దూఁచే తాసు వలెనైతివి            ॥కొత్త॥   కన్ను సన్నల నిద్దరి కళలు రేఁచి రేఁచి వన్నెసరసముల కావడివైతివి అన్నిటా సెలవుల నవ్వాపెకు నీపెకు నిచ్చి పన్ని రెండు చక్రముల బండివైతివి   ॥కొత్త॥   అండనె శ్రీ వేంకటేశ అదె గోవిందరాజవై చండిదీర సిరికి భూసతికి నీవు రెండు చేతుల యిద్దరికిఁ గాఁగిలిచ్చియిచ్చి కొండుక జమళి పెండ్లి కొడుకవునైతివి ॥కొత్త॥

ROMANTIC POEM

Copper Plate: 131-3 Volume: 7-183

kottalu nī cēṃ̐talu gōviṃdarāja pottula magaṃ̐ḍavai bhōgiṃcē vipuḍu  ॥pallavi॥   pādamu liddari mīṃ̐daṃ̐ baṃcivēsi cāṃ̐cukoni sōdiṃci nīvirumona sūdivaitivi sādiṃci yiddaru cēti sannala ninnunottaṃ̐gā dādāta valapu dūṃ̐cē tāsu valenaitivi    ॥kotta॥   kannu sannala niddari kaḻalu rēṃ̐ci rēṃ̐ci vannesarasamula kāvaḍivaitivi anniṭā selavula navvāpeku nīpeku nicci panni reṃḍu cakramula baṃḍivaitivi      ॥kotta॥   aṃḍane śrī vēṃkaṭēśa ade gōviṃdarājavai caṃḍidīra siriki bhūsatiki nīvu reṃḍu cētula yiddarikiṃ̐ gāṃ̐gilicciyicci koṃḍuka jamaḻi peṃḍli koḍukavunaitivi                  ॥kotta॥

Details and Discussions:

Chorus (Pallavi):

కొత్తలు నీ చేఁతలు గోవిందరాజ

పొత్తుల మగఁడవై భోగించే విపుడు ॥పల్లవి॥

kottalu nī cēṃ̐talu gōviṃdarāja

pottula magaṃ̐ḍavai bhōgiṃcē vipuḍu          ॥pallavi॥

---

Literal Sense:  

Poem Line	Romantic Sense	Philosophical sense
కొత్తలు నీ చేఁతలు గోవిందరాజ	Ever-new and unpredictable are your romantic movements, O Govindaraja.	Ever-fresh are your movements, O Govindaraja. Newness springs forth around us every moment.
పొత్తుల మగఁడవై భోగించే విపుడు	(పొత్తు = partnership, holding in common; మగఁడు = one who decides within the household) You delight in shaping and enjoying these relationships on both sides.	O Lord, you alone seem common to the worlds. What appears uncertain and unpredictable to us becomes joyful unfolding to you.

 

---

Deeper Note:

 

“కొత్తలు” is suggestive of hitherto unseen newness. Every life and every sprout entering this world arrives fresh.

 

“చేఁతలు” suggests actions springing from unpredictable source.

 

“పొత్తుల మగఁడవై” suggests a state that holds together both the known and the unknown. Is indicating Lord exists on both the worlds

---

First Stanza:

పాదము లిద్దరి మీఁదఁ బంచివేసి చాఁచుకొని

సోదించి నీవిరుమొన సూదివైతివి

సాదించి యిద్దరు చేతి సన్నల నిన్నునొత్తఁగా

దాదాత వలపు దూఁచే తాసు వలెనైతివి ॥కొత్త॥

pādamu liddari mīṃ̐daṃ̐ baṃcivēsi cāṃ̐cukoni

sōdiṃci nīvirumona sūdivaitivi

sādiṃci yiddaru cēti sannala ninnunottaṃ̐gā

dādāta valapu dūṃ̐cē tāsu valenaitivi          ॥kotta॥

 

Literal Sense:

 

Poem Line	Romantic Sense	Philosophical sense
పాదము లిద్దరి మీఁదఁ బంచివేసి చాఁచుకొని	you divide your legs on both of your wives (you treat both of them equally)	You exist equally on both sides of known and unknown worlds
సోదించి నీవిరుమొన సూదివైతివి	on careful observation you become the pointed apex for both of them (both want you undivided on their side)	You are seen as pointed joining from both sides, almost invisible like a tip of a needle. (Beings on both sides want you to be with them for ever)
సాదించి యిద్దరు చేతి సన్నల నిన్నునొత్తఁగా	Both of them press you with their sign languages	Beings on both side press you with their sign languages
దాదాత వలపు దూఁచే తాసు వలెనైతివి	దాదాత =గట్టిగా, ఇంచుమించుగా, strong, more or less equal) you appear to be weighing their loves in a balance.	O God! I see you barely making that balance

 

Deeper Notes:

“పాదము లిద్దరి మీఁదఁ బంచివేసి చాఁచుకొని” Is indicating Lord exists on both the worlds.

“సోదించి నీవిరుమొన సూదివైతివి” Is suggestive of apex part of the temporal worlds are joining on a tip, so tiny, as a tip of needle. (That is the place of residence of Lord. A place of immense subtlety and tension)

“సాదించి యిద్దరు చేతి సన్నల నిన్నునొత్తఁగా” suggests beings on both sides want continuance and they pester the Lord.

“దాదాత వలపు దూఁచే తాసు వలెనైతివి” Indicates that poet is rather taking pity on the Lord that he too has to make a balancing act.

---

Second Stanza:

కన్ను సన్నల నిద్దరి కళలు రేఁచి రేఁచి

వన్నెసరసముల కావడివైతివి

అన్నిటా సెలవుల నవ్వాపెకు నీపెకు నిచ్చి

పన్ని రెండు చక్రముల బండివైతివి ॥కొత్త॥

kannu sannala niddari kaḻalu rēṃ̐ci rēṃ̐ci

vannesarasamula kāvaḍivaitivi

anniṭā selavula navvāpeku nīpeku nicci

panni reṃḍu cakramula baṃḍivaitivi          ॥kotta॥

Literal Sense:

 

Poem Line	Romantic Sense	Philosophical sense
కన్ను సన్నల నిద్దరి కళలు రేఁచి రేఁచి	Under your careful observing eyes, both of them show up their fine arts to excite you	Under your watchful eyes, the worlds move. The worlds a play field of your immeasurable arts. Beings are excitedly engaged in those movements they get absorbed by their own acts.
వన్నెసరసముల కావడివైతివి	(కావడి = yoke carried by men for bringing water, etc. Also used by milk maids.) Thus, you become colourful yoke carrying many hues.	I see you are a colourful yoke that is difficult to watch both the ends in the same moment.
అన్నిటా సెలవుల నవ్వాపెకు నీపెకు నిచ్చి	(సెలవులు = place one thing ends.) You play a double game with your wives, while you are with one, the other is treated absent.	The beings on either side of the world are swapped without their knowing, from one side to the other
పన్ని రెండు చక్రముల బండివైతివి	(పన్ని= this is your game plan) You seem to become the carriage with two wheels, and it appears both are happy.	(పన్ని= we don’t understand your game plan) Poet is indicating a huge, almost unimaginable size carriage one wheel resting on Day and other on Night.

---

Deep Notes:

 

“కన్ను సన్నల నిద్దరి కళలు రేఁచి రేఁచి” Annamacharya reinforces the movement we undergo in this world by double use of the word రేఁచి (provoked to engage).

“వన్నెసరసముల కావడివైతివి” suggests that very engagement makes us feel the yoke and look for the other side as more desirable. Yet we do not know the end or beginning of the

“అన్నిటా సెలవుల నవ్వాపెకు నీపెకు నిచ్చి” is indicating that we do not know the end or beginning of the world we are in.

“పన్ని రెండు చక్రముల బండివైతివి” is indicative of “This world looks like ever moving vehicle.”

Top of Form

Bottom of Form

---

Third Stanza:

అండనె శ్రీ వేంకటేశ అదె గోవిందరాజవై

చండిదీర సిరికి భూసతికి నీవు

రెండు చేతుల యిద్దరికిఁ గాఁగిలిచ్చియిచ్చి

కొండుక జమళి పెండ్లి కొడుకవునైతివి              ॥కొత్త॥

aṃḍane śrī vēṃkaṭēśa ade gōviṃdarājavai

caṃḍidīra siriki bhūsatiki nīvu

reṃḍu cētula yiddarikiṃ̐ gāṃ̐gilicciyicci

koṃḍuka jamaḻi peṃḍli koḍukavunaitivi ॥kotta॥

Literal Sense:

 

Poem Line	Romantic Sense	Philosophical sense
అండనె శ్రీ వేంకటేశ అదె గోవిందరాజవై	As immediate assurance, Sri Venkatesa appears in the form of Govindaraja.	O Sri Venkatesa, you remain immediately present to people in the form of Govindaraja.
చండిదీర సిరికి భూసతికి నీవు	(చండిదీర = assuaging, pacifying) You gracefully pacify both the Goddess of Wealth and the Goddess of Earthly Life.	You gently hold in balance both the earthly and the grander forms of existence.
రెండు చేతుల యిద్దరికిఁ గాఁగిలిచ్చియిచ్చి	With both hands, you embrace them equally.	With effortless ease, you embrace both sides together.
కొండుక జమళి పెండ్లి కొడుకవునైతివి	(కొండుక = Ever Young; జమళి =dual, double) Ever youthful, you remain the beloved bridegroom of both.	Ever-renewing and vibrant, you remain deeply desirable to beings of both sides.

---

X-X-The END-X-X

330 bhagavadvibhavapu pratyakṣaṃ bidi (భగవద్విభవపు ప్రత్యక్షం బిది)

 TALLAPAKA ANNAMACHARYULU

330 భగవద్విభవపు ప్రత్యక్షం బిది

(bhagavadvibhavapu pratyakṣaṃ bidi)

తెలుగులో చదవడానికి ఇక్కడ నొక్కండి.

INTRODUCTION 

The deepest longing of man is to know Truth and the Divine. From ancient epics to modern cinema, the antagonist is often shown as powerful in every possible way — except for one subtle weakness. That single weakness eventually leads him astray. This composition seems to suggest that human life itself carries a similar weakness.

The word “దైవికము” (“Daivikam”) used throughout this poem refers to movements that occur through an order beyond human control. Birth, death, rainfall, sprouting seeds, the urge for bodily sustenance, inward restlessness and longing — all these unfold directly before our eyes. The poet repeatedly reminds us that these are not fully within human command.

Yet, even while seeing, hearing, and experiencing all this constantly, man remains trapped within his own imagination, pride, and accumulated certainties. In that occupation with the known, he gradually loses touch with the living wonder unfolding before him.

---

అధ్యాత్మ​​ సంకీర్తన

రాగి రేకు: 278-2  సంపుటము - సంకీర్తన: 3-448

భగవద్విభవపు ప్రత్యక్షం బిది జిగి నిందొకటియుఁ జేయఁగఁ గలమా  ॥పల్లవి॥ దైవికమెపో తతియగు వానలు తావగు మొలకలు దైవికమే కావిరినివెల్లాఁ గంటా వింటా దైవమునేలో తలఁచము మనము       ॥భగ॥ జననమరణములు హరి దైవికమే తనుపోషణములు దైవికమే యెనసి యివెల్లా నెఱిఁగియు మరిగియు కొన దైవమునేలో కొలువము మనము ॥భగ॥ యిహపరంబులును యివి దైవికమే తహతహ లుడుపఁగ దైవికమే అహిపతి శ్రీవేంకటాధిపు కృపచే

PHILOSOPHICAL POEM

Copper Plate: 278-2 Volume: 3-448

bhagavadvibhavapu pratyakṣaṃ bidi jigi niṃdokaṭiyuṃ̐ jēyaṃ̐gaṃ̐ galamā     ॥pallavi॥ daivikamepō tatiyagu vānalu tāvagu molakalu daivikamē kāvirinivellāṃ̐ gaṃṭā viṃṭā daivamunēlō talaṃ̐camu manamu          ॥bhaga॥ jananamaraṇamulu hari daivikamē tanupōṣaṇamulu daivikamē yenasi yivellā ne\riṃ̐giyu marigiyu kona daivamunēlō koluvamu manamu  ॥bhaga॥ yihaparaṃbulunu yivi daivikamē tahataha luḍupaṃ̐ga daivikamē ahipati śrīvēṃkaṭādhipu kṛpacē mahima gaṃṭimiṃ̐ka ma\ravamu manamu            ॥bhaga॥

 Details and Discussions:

Chorus (Pallavi):

భగవద్విభవపు ప్రత్యక్షం బిది

జిగి నిందొకటియుఁ జేయఁగఁ గలమా ॥పల్లవి॥

bhagavadvibhavapu pratyakṣaṃ bidi

jigi niṃdokaṭiyuṃ̐ jēyaṃ̐gaṃ̐ galamā          ॥pallavi॥

పదం / భాగం	Meaning
భగవద్విభవపు	Belonging to the glory and vastness of the Divine
ప్రత్యక్షం బిది	This itself is seen directly; this itself stands revealed
జిగి నిందొకటియుఁ	With pride, ego, and the feeling of personal doer ship, even a single thing within this
జేయఁగఁ గలమా	Can we truly do? Can we independently accomplish?

 

---

Literal Sense:  

This entire universe appears as the direct manifestation of Divine vastness. Within this immeasurable movement of existence, is there even a single thing that man can completely claim as his own independent action?

---

Deeper Note:

In this Pallavi, Annamacharya is not merely presenting creation as something “made” by God. What he observes is subtler: creation itself appears as the direct expression of Divine unfolding.

Rainfall, sprouting life, birth, death, bodily sustenance, longing, and inward movement are not seen here as isolated events. They appear as inseparable movements within one living order.

---

“భగవద్విభవపు ప్రత్యక్షం బిది”

The world is not presented merely as a collection of material happenings. The poet suggests that the vastness of the Divine itself stands visibly unfolded as life and existence. Here, “Divine” need not be understood only as a distant theological entity. It may also be seen as the living order permeating all existence.

---

“జిగి నిందొకటియుఁ జేయఁగఁ గలమా” 

This is perhaps the most penetrating observation in the Pallavi. Man believes himself to be the independent author of his actions. Yet the poet quietly asks: Within this vast living movement, is there even one thing that we can perform entirely by our own isolated will?

 

This question does not merely challenge human pride. It unsettles the deeply rooted assumption of complete psychological and existential independence.

---

First Stanza:

దైవికమెపో తతియగు వానలు

తావగు మొలకలు దైవికమే

కావిరినివెల్లాఁ గంటా వింటా

దైవమునేలో తలఁచము మనము ॥భగ॥

daivikamepō tatiyagu vānalu

tāvagu molakalu daivikamē

kāvirinivellāṃ̐ gaṃṭā viṃṭā

daivamunēlō talaṃ̐camu manamu          ॥bhaga॥

పదం / భాగం	Meaning
దైవికమెపో	Truly divine; belonging to the Divine order
తతియగు వానలు	Rains that arrive at the proper time
తావగు మొలకలు	Sprouts born from those rains
దైవికమే	Divine in nature
కావిరిన్	Smoke-darkened; reddish-black like a disturbing omen
ఇవెల్లాఁ	All these
గంటా వింటా	Seeing, hearing, and experiencing continuously
దైవమునేలో తలఁచము మనము	Yet we do not truly recall the Divine

---

Top of Form

Bottom of Form

Literal Sense: 

The timely rains, the sprouts that emerge from them —all these are Divine movements. Yet, even while constantly seeing, hearing, and experiencing this vast movement of life, man forgets that he himself too is born within that and continues to be part of the same living order. Covered by the smoke of pride and self-importance, he rarely turns toward the Divine.

---

Deep Notes:

Many interdependent movements — rainfall, sprouting life, growth, nourishment, and survival — continue inevitably, and our present life depends upon them completely. We human beings are able to explain some of these processes partially. Some appear favourable to us; some do not. Within these calculations, explanations, and assumptions, we constantly attempt to make life more favourable to ourselves. Gradually, we begin to believe that maximizing what appears beneficial is itself the purpose of life. This tendency is not limited to one individual or one society. It is a universal human movement. Since everyone participates in it, its limitations rarely become visible to us.

 

That is why Annamacharya uses the striking expression “కావిరి” — something smoke-covered, darkened, and ominous. The poet seems to suggest a state in which perception itself has become obscured. The phrase “గంటా వింటా” is equally important. Even while continuously seeing, hearing, and experiencing life, man does not emerge from this smoke-like covering. What becomes visible through that covering are largely the projections and conclusions created by the mind itself.

 

Thus, when Annamacharya says: “దైవమునేలో తలఁచము మనము” the suggestion appears deeper than merely “we do not remember God.” Rather, man recalls and lives through his own imagined constructions instead of directly perceiving the living movement before him.

---

Second Stanza:

జననమరణములు హరి దైవికమే

తనుపోషణములు దైవికమే

యెనసి యివెల్లా నెఱిఁగియు మరిగియు

కొన దైవమునేలో కొలువము మనము          ॥భగ॥

jananamaraṇamulu hari daivikamē

tanupōṣaṇamulu daivikamē

yenasi yivellā ne\riṃ̐giyu marigiyu

kona daivamunēlō koluvamu manamu ॥bhaga॥

Word / Phrase	Meaning
జననమరణములు	Births and deaths
హరి	That which pervades and sustains all life
దైవికమే	Divine in nature
తనుపోషణములు	Bodily nourishment and continuation of life
యెనసి యివెల్లా	To equate all these; to treat them alike
నెఱిఁగియు మరిగియు	Knowing, becoming accustomed, and accepting as ordinary
కొన దైవమునేలో కొలువము మనము	The final cause - the Devine, somehow, we do not  abide

 

---

Literal Sense:

 

Birth and death belong to the Order of Nature (Hari). The nourishment and sustenance of the body too arise from that same living order. All these are Divine movements.

 

Yet, though we know these things, become accustomed to them, and even speak of them as equal realities, but inwardly, hardly we accept them completely. Thus, we do not truly abide in that final Divine Order.

---

Deep Notes: 

Birth, death, and bodily sustenance do not occur randomly. Every living being in creation is unique. Yet, we people claim that birth and death are equal realities as a philosophy. We are more inclined to believe only what appears personally known and psychologically convincing to us. In the face of death an irrecoverable process, all our philosophies melt and become void. Therefore, “equal realities” is merely a stand taken by us, not a lived reality.

 

That is why Annamacharya says: “యివెల్లా నెఱిఁగియు మరిగియు / కొన దైవమునేలో కొలువము మనము” he is pointing to our weakness of merely acknowledging a fact more as lip service than real. కొన (the end) here means beyond all these constructed layers of imagination.  కొన దైవము means the one remaining when all the imagined and constructed layers are removed. కొన దైవమునేలో కొలువము మనము suggests that the mind, unable to see clearly, forgets to abide in that Natural Order.

Top of Form

Bottom of Form

---

Third Stanza:

యిహపరంబులును యివి దైవికమే

తహతహ లుడుపఁగ దైవికమే

అహిపతి శ్రీవేంకటాధిపు కృపచే

మహిమ గంటిమిఁక మఱవము మనము ॥భగ॥

yihaparaṃbulunu yivi daivikamē

tahataha luḍupaṃ̐ga daivikamē

ahipati śrīvēṃkaṭādhipu kṛpacē

mahima gaṃṭimiṃ̐ka ma\ravamu manamu ॥bhaga॥

పదం / భాగం	Meaning
యిహపరంబులును	This world and the beyond
యివి	All these
దైవికమే	Belonging to Divine Order; determined beyond personal control
తహతహలు	Restlessness, longing, inward burning movement
ఉడుపఁగ	When suppressed, dissolved, extinguished, or brought to stillness
అహిపతి	Traditionally Adisesha; here also suggesting that which pulls downward, afflicts, wounds, or rules over the unknown
శ్రీవేంకటాధిపు	Lord Venkateswara
కృపచే	Through grace
మహిమ	Divine vastness and glory
గంటిమిఁక మఱవము మనము	Directly, clearly, unmistakably seen. Hereafter, we do not forget

---

Literal Sense:

Both this world and the beyond belong to the Divine Order. Even that which quietens and dissolves human restlessness, longing, and inner agitation is Divine. To wait for that which man cannot achieve by himself — the Unknown — is also the grace of Lord Venkateswara, is itself Divine. That is the true Divine Glory. Once this becomes directly known, it cannot be forgotten.

---

Deep Notes:

In this stanza, Annamacharya touches something extremely subtle. Even the dissolution of human restlessness — longing, agitation, inner burning — belongs to the Divine Order. This means: realizing deeply that nothing is truly in our hands and remaining still without any struggle. That may be among the most difficult things for human beings. A state where thoughts, movements, and projections lose their compulsive force is not something ordinarily achievable through personal effort alone.

 

The poet uses the word “అహిపతి” in a deeply suggestive manner. Beyond its traditional meaning, it may also indicate that which drags consciousness downward, wounds inwardly, or binds man to suffering and the unknown. This difficult inward movement cannot easily be undertaken merely through self-will. Therefore, the poet speaks of the grace of Lord Venkateswara.

Yet the emphasis here is not passive waiting alone. What matters is inwardly perceiving the nature of this “అహిపతి” movement. If the mind remains endlessly occupied in outward and psychological activity, it cannot receive that grace. When Annamacharya says: “మహిమ గంటిమిఁక మఱవము మనము” he speaks of something directly seen and therefore unforgettable.

But what is it that cannot be forgotten? Perhaps it is a state in which the known and the unknown are seen simultaneously without division. A state that neither leans toward worldly pleasure nor recoils from suffering but remains without inward preference or psychological movement toward either side.

---

X-X-The END-X-X