327 cāluṃ̐ jālu nī jājara nannu (చాలుఁ జాలు నీ జాజర నన్ను)

 TALLAPAKA ANNAMACHARYULU

327 చాలుఁ జాలు నీ జాజర నన్ను

(cāluṃ̐ jālu nī jājara nannu)

తెలుగులో చదవడానికి ఇక్కడ నొక్కండి.

INTRODUCTION

Whose Image Is This?

Annamacharya does not present fantastic images.

He places before us the images of daily life.

From the very places we want to escape,

from where our searching begins—

from there, the search for the unknown starts.

With the hope that the unknown exists somewhere outside.

But the unknown is already here.

Within this very living moment.

That image does not belong to someone else.

It is ours. 

Yet, we carry an image,

an expectation,

of how life should be.

What does not fit that expectation

appears meaningless to us.

Suppose we accept that image itself as reality.

Can we remain with it

without turning away?

Yet, it is only in that turning away

that our life becomes visible.

The very moment we say:

“This is life”

the seeing has already moved away.

That is the uniqueness of Annamacharya.

A Yogi.

A Seer.

No theories.

No dogmas.

No arguments.

He simply asks us to observe. 

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శృంగార సంకీర్తన

రేకు: 87-1 సంపుటము: 5-332

చాలుఁ జాలు నీ జాజర నన్ను జాలిఁ బరచె నీ జాజర         ॥పల్లవి॥ వలపు వేదనల వాడేను యీ- తలనొప్పులచేఁ దలఁకేను పులకలమేనితోఁ బొరలేను కడుఁ- జలిగొని చల్లకు జాజర         ॥చాలు॥ ఒల్లని నినుఁగని వుడికేను నీ- చిల్లరచేఁతలఁ జిమిడేను కల్లగందవొడిఁ గాఁగేను పైఁ జల్లకు చల్లకు జాజర           ॥చాలు॥ తివిరి వేంకటాదిప నేను నీ- కవుఁగిటికబ్బితిఁ గడు నేను రవరవ చెమటఁ గరఁగి నేఁడు యిదె చవులాయను నీ జాజర        ॥చాలు॥

ROMANTIC POEM

Copper Plate: 87-1 Volume: 5-332

cāluṃ̐ jālu nī jājara nannu jāliṃ̐ barace nī jājara                ॥pallavi॥ valapu vēdanala vāḍēnu yī- talanoppulacēṃ̐ dalaṃ̐kēnu pulakalamēnitōṃ̐ boralēnu kaḍuṃ̐- jaligoni callaku jājara                ॥cālu॥ ollani ninuṃ̐gani vuḍikēnu nī- cillaracēṃ̐talaṃ̐ jimiḍēnu kallagaṃdavoḍiṃ̐ gāṃ̐gēnu paiṃ̐ jallaku callaku jājara                 ॥cālu॥ tiviri vēṃkaṭādipa nēnu nī- kavuṃ̐giṭikabbitiṃ̐ gaḍu nēnu ravarava cemaṭaṃ̐ garaṃ̐gi nēṃ̐ḍu yide cavulāyanu nī jājara                  ॥cālu॥

Details and Discussions:

Chorus (Pallavi):

చాలుఁ జాలు నీ జాజర నన్ను

జాలిఁ బరచె నీ జాజర ॥పల్లవి॥

cāluṃ̐ jālu nī jājara nannu

jāliṃ̐ barace nī jājara ॥pallavi॥ 

Telugu Word / Phrase	Meaning
చాలుఁ జాలు	Stop — enough is enough
జాజర	Deception, subtle self-delusion
నీ జాజర	This deception (not necessarily external; an ongoing movement)
జాలిఁ బరచె	Makes one sink into self-pity / helplessness

 

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Literal Sense:  

Stop—enough of this deception.

It only drives me into self-pity.

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Deeper Note

Annamacharya

The poem begins with fatigue.

“Enough is enough.”

there is direct friction.

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“నీ జాజర”

This is not clearly “someone else’s deception.”

It points to:

a movement that misleads

something that operates repeatedly

something the speaker is caught in

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“జాలిఁ బరచె”

Deception produces a condition self-pity

So the movement is:

deception → reaction → self-pity

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Key Observation

The illusion does not merely deceive—

it creates the one who suffers from it.

---

What misleads also sustains the feeling of being misled.

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First Stanza:

వలపు వేదనల వాడేను యీ-

తలనొప్పులచేఁ దలఁకేను

పులకలమేనితోఁ బొరలేను కడుఁ-

జలిగొని చల్లకు జాజర        ॥చాలు॥

valapu vēdanala vāḍēnu yī-

talanoppulacēṃ̐ dalaṃ̐kēnu

pulakalamēnitōṃ̐ boralēnu kaḍuṃ̐-

jaligoni callaku jājara ॥cālu॥

Word / Phrase	Meaning
వలపు వేదనలు	Pains of longing / emotional attachment
వాడేను	worn out / exhausted
తలనొప్పులచేఁ దలఁకేను	Pressed down / troubled like a headache
పులకలమేనితోఁ బొరలేను	even carried away in a state of inner surge
కడుఁ జలిగొని	much agitated, internally disturbed
చల్లకు జాజర	Searches for “illusory coolness” / relief that is not to be

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Top of Form

Bottom of Form

Literal Sense:

A person—

worn out by the pains of longing,

pressed down like a constant headache—

even carried away in a state of inner surge,

yet inwardly agitated—

seeks a coolness

that never truly is.

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Deep Notes:

The Pallavi said:

Stop this deception.

This stanza shows how that deception operates.

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First movement

“వలపు వేదనల వాడేను”

Not simple desire—

but repeated longing that exhausts.

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“తలనొప్పులచేఁ దలఁకేను”

A continuous pressure—

something that does not leave.

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Second movement

“పులకలమేనితోఁ బొరలేను”

Even heightened states—

even moments of surge or thrill—

do not resolve the disturbance.

One is carried by them.

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Final turn

“కడుఁ జలిగొని చల్లకు జాజర”

Unable to bear the inner agitation,

one seeks relief.

But—that “coolness” is part of the same deception.

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Central Observation

The same movement creates the disturbance—

and offers its own false relief.

Top of Form

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Second Stanza:

ఒల్లని నినుఁగని వుడికేను నీ-

చిల్లరచేఁతలఁ జిమిడేను

కల్లగందవొడిఁ గాఁగేను పైఁ

జల్లకు చల్లకు జాజర॥చాలు॥

ollani ninuṃ̐gani vuḍikēnu nī-

cillaracēṃ̐talaṃ̐ jimiḍēnu

kallagaṃdavoḍiṃ̐ gāṃ̐gēnu paiṃ̐

jallaku callaku jājara  ॥cālu॥

Word / Phrase	Meaning
ఒల్లని నినుఁగని	Seeing “you” as apart / not immediately present
వుడికేను	Becomes restless, unsettled
చిల్లరచేఁతలఁ జిమిడేను	Gets caught in trivial, scattered engagements
కల్లగందవొడిఁ గాఁగేను	Heated by false fragrance / stirred by what only appears pleasant
పైఁ జల్లకు చల్లకు	Seeks surface cooling / outward relief
జాజర	Deception, self-deluding movement

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Literal Meaning:

 

Seeing “you” as something apart,

one becomes restless—

gets caught in trivial engagements,

and is stirred by what only appears pleasant—

seeking surface cooling,

which is yet another deception. 

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Deep Notes:

The first stanza showed:

disturbance and false relief

This stanza shows:

distance and outward seeking

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First movement

“ఒల్లని నినుఁగని”

The one inside is seen as something apart.

From that వుడికేను:

restlessness arises

a sense of lack begins

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Second movement

“చిల్లరచేఁతలఁ జిమిడేను”

That scorching unrest sets movement in motion.

small, scattered engagements

movements that do not resolve

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Third movement

“కల్లగందవొడిఁ గాఁగేను”

What appears pleasant—

but is not real—

stirs further agitation.

false attraction intensifies the movement

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Final turn

“పైఁ జల్లకు చల్లకు జాజర”

Relief is sought outwardly—

as surface cooling.

But this “cooling” is not real.

it belongs to the same deception

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Central Observation

What is seen as distant is pursued—

and that pursuit sustains the disturbance.

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Third Stanza:

తివిరి వేంకటాదిప నేను నీ-

కవుఁగిటికబ్బితిఁ గడు నేను

రవరవ చెమటఁ గరఁగి నేఁడు యిదె

చవులాయను నీ జాజర      ॥చాలు॥

tiviri vēṃkaṭādipa nēnu nī-

kavuṃ̐giṭikabbitiṃ̐ gaḍu nēnu

ravarava cemaṭaṃ̐ garaṃ̐gi nēṃ̐ḍu yide

cavulāyanu nī jājara   ॥cālu॥

Word / Phrase	Meaning
తివిరి	Intentionally, with effort, by deliberate attempt
వేంకటాదిప	O Venkatesha
నేను నీ కవుఁగిటి కబ్బితిఁ గడు నేను	It so happened that I came into your embrace
రవరవ చెమటఁ గరఁగి	clamour, disturbance, noise, sweat now melted away
నేఁడు యిదె	Now in this very state
చవులాయను	I find it agreeable or suitable
నీ జాజర	This deception / self-deluding movement

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Literal Meaning:

With deliberate effort,

it so happened that I came into Your embrace.

The clamour, disturbance,

and sweat have now melted away.

And now, in this very state,

I find this deception agreeable.

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Deep Notes:

 “నేను నీ కవుఁగిటి కబ్బితిఁ గడు నేను అబ్బితి”

(it so happened that I came into Your embrace).

The poet is very clear. Though effort was made (“తివిరి”),

అబ్బితి indicates

 it was not achieved by effort alone.

Somehow, it happened.

(అబ్బు = దొరకు, ప్రాప్తించు)

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“చవులాయను నీ జాజర”

(I find this deception agreeable).

This is the crucial observation.

The deception is no longer resisted.

No choice is being exercised by the poet.

So:

perceived good

perceived bad

lose their opposition.

This is equanimity.

Not a proposition—

a demonstration.

Everything is allowed as it is.

No resistance.

No repentance.

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In that condition

“రవరవ చెమటఁ గరఁగి నేఁడు”

Now నేఁడు all my effort, fatigue

clamour, disturbance gone immediately.

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Central Observation

Where resistance ends,

division loses its hold.

The deepest quietness comes

not from escape—but from the ending of resistance.

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Concise Understanding:

Pallavi → stop this deception

First Stanza → disturbance and false relief

Second Stanza → outward seeking

Third Stanza → resistance dissolves, and with-it division

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X-X-The END-X-X

325 ēmanavaccunu cellucunnavive yīśvara nīmāyalu gonni (ఏమనవచ్చును చెల్లుచున్నవివె యీశ్వర నీమాయలు గొన్ని)

 TALLAPAKA ANNAMACHARYULU

325 ఏమనవచ్చును చెల్లుచున్నవివె యీశ్వర నీమాయలు గొన్ని

(ēmanavaccunu cellucunnavive yīśvara nīmāyalu gonni)

తెలుగులో చదవడానికి ఇక్కడ నొక్కండి.

INTRODUCTION

The ‘I’ — A Limitation Seen

The same world is seen by all—

yet not in the same way.

What is one appears as many.

Why?

Is the difference in the world—

or in the way we see?

Faced with the same reality,

why do people arrive at different conclusions?

Truth may be one—

but it does not appear as one.

This composition does not answer.

It places the question at the centre—

and leaves it there to be seen.

Can depth be known from the shore?

Life is not something laid out to be served—

it reveals itself only when entered.

If one waits for the waves to settle before stepping into the sea—

they never will.

And life does not begin that way. 

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అధ్యాత్మ​ సంకీర్తన

రేకు: 344-4 సంపుటము: 4-259

ఏమనవచ్చును చెల్లుచున్నవివె యీశ్వర నీమాయలు గొన్ని శ్రీమాధవ నీ చిత్తము కొలఁదిఁక చెప్పెడిదేఁటికి జీవులకు  ॥పల్లవి॥ కలిదోషనిరుహరణ కైవల్యాకర హరి తలఁచినవారిది నేరుపు మిముఁ దలఁచనివారిది నేరమి కలుషమెడలి సూర్యోదయమైనా కానవుకొన్నిజంతువులు తెలిసినవారలు కందురు యీతెరఁగలు రెంటికి దినమొకటే          ॥ఏమ॥ శరణాగతరక్షణచతుర సర్వాంతరాత్మక యచ్యుత సరి నిన్నుఁ గొలిచినవారిది పుణ్యము చలమున మానుటే పాపము సరుగనఁ గాచేటి చల్లని చంద్రుఁడు జారచోరులకుఁ గడు వేఁడి అరయఁగఁ గలువలకును హితుఁడు అందుకు నిందుకు గురి యితఁడే        ॥ఏమ॥ శ్రీవేంకటగిరినిలయ శ్రీసతీశ పురుషోత్తమ మివొద్దనుండితే వైకుంఠము మిమ్ము నెడసితే నరకము భావములోపల నీవే వుండఁగ భక్తి లేదు కొందరికైతే శ్రీవైష్ణువులకు నిత్యము యీ చింతలు రెంటికి నీ మహిమే              ॥ఏమ॥

PHILOSOPHICAL POEM

Copper Plate: 344-4 Volume: 4-259

ēmanavaccunu cellucunnavive yīśvara nīmāyalu gonni śrīmādhava nī cittamu kolaṃ̐diṃ̐ka ceppeḍidēṃ̐ṭiki jīvulaku        ॥pallavi॥ kalidōṣaniruharaṇa kaivalyākara hari talaṃ̐cinavāridi nērupu mimuṃ̐ dalaṃ̐canivāridi nērami kaluṣameḍali sūryōdayamainā kānavukonnijaṃtuvulu telisinavāralu kaṃduru yīteraṃ̐galu reṃṭiki dinamokaṭē              ॥ēma॥ śaraṇāgatarakṣaṇacatura sarvāṃtarātmaka yacyuta sari ninnuṃ̐ golicinavāridi puṇyamu calamuna mānuṭē pāpamu saruganaṃ̐ gācēṭi callani caṃdruṃ̐ḍu jāracōrulakuṃ̐ gaḍu vēṃ̐ḍi arayaṃ̐gaṃ̐ galuvalakunu hituṃ̐ḍu aṃduku niṃduku guri yitaṃ̐ḍē            ॥ēma śrīvēṃkaṭagirinilaya śrīsatīśa puruṣōttama mivoddanuṃḍitē vaikuṃṭhamu mimmu neḍasitē narakamu bhāvamulōpala nīvē vuṃḍaṃ̐ga bhakti lēdu koṃdarikaitē śrīvaiṣṇuvulaku nityamu yī ciṃtalu reṃṭiki nī mahimē    ॥ēma॥

Details and Discussions:

Chorus (Pallavi):

ఏమనవచ్చును చెల్లుచున్నవివె యీశ్వర నీమాయలు గొన్ని

శ్రీమాధవ నీ చిత్తము కొలఁదిఁక చెప్పెడిదేఁటికి జీవులకు          ॥పల్లవి॥

ēmanavaccunu cellucunnavive yīśvara nīmāyalu gonni

śrīmādhava nī cittamu kolaṃ̐diṃ̐ka ceppeḍidēṃ̐ṭiki jīvulaku ॥pallavi॥

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Literal Sense:  

O Lord, this is how the world moves.

What can be said of it?

All this unfolds as it does—

not by our design.

So what is there

that can truly be explained

to those who live within it?

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Deeper Notes

Annamacharya points to a fundamental tendency.

The human urge is to know beforehand.

to understand

to know the cause

to anticipate and control

But the world moves as it does.

It does not wait.

It does not acknowledge.

It simply moves.

There is no advance knowing.

Hence the lines:

“What can be said?”

“What is there to tell the beings here?”

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“నీ మాయలు గొన్ని” — Meaning

Here, “maya” does not mean illusion as deception.

It refers to:

the many ways in which the world appears and unfolds

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“నీ చిత్తము కొలఁదిఁక” — Meaning

What unfolds does so

within an order—

yet that order

is not accessible to our grasp.

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Indication in the Pallavi

The world moves.

Man is a witness—

not the controller.

What happens is not revealed beforehand.

It is known only as it unfolds.

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First Stanza:

కలిదోషనిరుహరణ కైవల్యాకర హరి

తలఁచినవారిది నేరుపు మిముఁ దలఁచనివారిది నేరమి

కలుషమెడలి సూర్యోదయమైనా కానవుకొన్నిజంతువులు

తెలిసినవారలు కందురు యీతెరఁగలు రెంటికి దినమొకటే ॥ఏమ॥

kalidōṣaniruharaṇa kaivalyākara hari

talaṃ̐cinavāridi nērupu mimuṃ̐ dalaṃ̐canivāridi nērami

kaluṣameḍali sūryōdayamainā kānavukonnijaṃtuvulu

telisinavāralu kaṃduru yīteraṃ̐galu reṃṭiki dinamokaṭē          ॥ēma॥

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Top of Form

Bottom of Form

Literal Sense:

O Hari, O Lord—

those who attend are said to be clear;

those who do not are not.

Even when the sun rises and dispels darkness,

some beings do not perceive it.Those who see, see.

Yet, the day is the same for all.

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Deep Notes:

Annamacharya places the central observation straight.

రెంటికి దినమొకటే

The same day is given to all—

yet it is not seen the same way.

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తలఁచినవారిది నేరుపు / తలఁచనివారిది నేరమి

As seen earlier,

whether attention is intentional or not,

the movement continues.

In such a state,

there may not be sufficient attention

to observe what is actually driving one.

There is no special skill in “remembering” or “thinking of” the divine.

Here, “తలచుట” is not mere praise.

It points to attention—

an undivided seeing of what is operating within.

This is not simple.

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“కలుషమెడలి సూర్యోదయమైనా…”

Even when darkness lifts

and the sun rises,

Yet some do not see—

Others do.

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Key Point

The difference is not in what is—

but in the state of seeing.

Top of Form

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Second Stanza: 

శరణాగతరక్షణచతుర సర్వాంతరాత్మక యచ్యుత

సరి నిన్నుఁ గొలిచినవారిది పుణ్యము చలమున మానుటే పాపము

సరుగనఁ గాచేటి చల్లని చంద్రుఁడు జారచోరులకుఁ గడు వేఁడి

అరయఁగఁ గలువలకును హితుఁడు అందుకు నిందుకు గురి యితఁడే ॥ఏమ॥

śaraṇāgatarakṣaṇacatura sarvāṃtarātmaka yacyuta

sari ninnuṃ̐ golicinavāridi puṇyamu calamuna mānuṭē pāpamu

saruganaṃ̐ gācēṭi callani caṃdruṃ̐ḍu jāracōrulakuṃ̐ gaḍu vēṃ̐ḍi

arayaṃ̐gaṃ̐ galuvalakunu hituṃ̐ḍu aṃduku niṃduku guri yitaṃ̐ḍē        ॥ēma॥

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Literal Sense:

 

O Achyuta—protector of those who seek refuge,

present within all—

those who turn toward You are said to be in the right;

restlessness itself is seen as error.

The same cool moon that shines gently

is harsh to thieves,

yet favourable to the lotus.

Thus, the same Moon becomes

cause for both praise and blame.

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Deep Notes: 

A further distinction is shown.

In the first stanza,

difference was in seeing.

Here,

difference is in response.

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““నిన్నుఁ గొలిచినవారిది పుణ్యము…”

Turning toward the divine

is not a compulsion.

It is not a duty.

It arises from one’s state.

It is not a choice—

but an expression of inner condition.

“చలమున మానుటే పాపము” —

restlessness itself is the disturbance. 

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“సరుగనఁ గాచేటి చల్లని చంద్రుఁడు…”

The same moon:

cool and gentle

yet unwelcome to some

beneficial to others

To thieves—

it exposes.

To the lotus—

it nourishes.

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Key Point

The same reality produces different responses—

according to the state of the one who receives.

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Third Stanza:

శ్రీవేంకటగిరినిలయ శ్రీసతీశ పురుషోత్తమ

మివొద్దనుండితే వైకుంఠము మిమ్ము నెడసితే నరకము

భావములోపల నీవే వుండఁగ భక్తి లేదు కొందరికైతే

శ్రీవైష్ణువులకు నిత్యము యీ చింతలు రెంటికి నీ మహిమే              ॥ఏమ॥

śrīvēṃkaṭagirinilaya śrīsatīśa puruṣōttama

mivoddanuṃḍitē vaikuṃṭhamu mimmu neḍasitē narakamu

bhāvamulōpala nīvē vuṃḍaṃ̐ga bhakti lēdu koṃdarikaitē

śrīvaiṣṇuvulaku nityamu yī ciṃtalu reṃṭiki nī mahimē          ॥ēma॥

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Literal Sense:

O Lord Venkatesha, the Supreme—

to be with You is Vaikuntha;

to be away is Hell (Naraka).

Though You are present within,

for some there is no devotion.

But for those who see,

both these states are always seen

as Your expression.

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Deep Notes:

 “మివొద్దనుండితే వైకుంఠము / మిమ్ము నెడసితే నరకము”

Vaikuntha and Naraka

are not places—

they are state of the mind.

When the mind is close to Truth—

there is openness.

When it is distant—

there is division.

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“భావములోపల నీవే వుండఁగ భక్తి లేదు కొందరికైతే …”

What is sought

is already present within.

Yet,

without attention,

it is not recognised.

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శ్రీవైష్ణువులకు నిత్యము యీ చింతలు రెంటికి నీ మహిమే

For those who see,

both—

what is called Vaikuntha

what is called Naraka

are not separate.

They are seen as part of the same whole.

The division:

‘this is desirable’

‘that is not’

is a reaction in the mind.

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A Parallel Observation

Annamacharya always asserted

There are no two worlds.

What ever is there is this world.

"పరమమనేదొక్కటే ప్రపంచమొక్కటే"

What is called the ‘other world’ and this world—are not two.

Man gets bewildered with the postulated ideas

of this world and the OTHER world.

Truth is one. Nothing else exists.

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Concise Understanding:

Pallavi → Man is a witness, not the controller

First Stanza → Difference arises in seeing

Second Stanza → Difference arises in response

Third Stanza → Division ends in undivided attention (bhakti).

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Central Observation

What is one appears as two—

according to the state of seeing.

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