168 sannapu navvujUpula challulADi (సన్నపు నవ్వుఁజూపుల చల్లులాడి )

 ANNAMACHARYULU

168 సన్నపు నవ్వుఁజూపుల చల్లులాడి 

(sannapu navvujUpula challulADi)

ఈ వ్యాఖ్యానమును తెలుగులో చదవడానికి ఇక్కడ నొక్కండి.

Synopsis: The Way is not in the sky; the Way is in the heart. – Buddha

Summary of this Poem:

Chorus: It commenced with subtle movements, evoking a delightful smile and enchanting me into its embrace. Little did I know that this meditation would surpass all my expectations and take me to a realm of profound tranquillity.

Stanza 1: Perched upon the golden edifice, I witnessed the enchanting maiden brimming with excitement and anticipation for your imminent encounter. Without warning, you stealthily invaded my mind, emerging from the depths of nowhere.

Stanza 2: In a resplendent court adorned with precious jewels, the lovely maiden stands dressed in garments adorned with pearls, eagerly anticipating your arrival, her heart brimming with fervent longing for her desires to be fulfilled. Yet, amidst it all, I failed to notice how you had already taken hold of my thoughts.

Stanza 3: In an ambiance filled with the aromatic pollen of flowers, within a captivating abode of blossoms, a youthful and alluring woman entreats me to adorn her hair bun. Unbeknownst to me, O Lord Venkateshwara, you had entered my world, bringing unexpected delight.

 

Detailed Presentation

Introduction: Annamacharya's sincere portrayals provide us with valuable insights into the intricate and bewildering realm of meditation. This particular poem stands as a remarkable illustration of his meticulous attention to detail, revealing that the state of meditation is not something to be attained through striving but rather stumbled upon unexpectedly, as if it finds us of its own accord. 

Serious readers might have discerned that the aim of these commentaries is not to extol Annamacharya, but rather to elucidate their relevance in comprehending the true purpose of life as perceived by Annamacharya. The context of this poem, with its juxtaposition of evocative descriptions and meditation, eludes any straightforward explanation, as its essence lies in a realm that transcends conventional understanding. 

Great men have often asserted that meditation is a cleanser, but hardly we understand its action. What surprised me is close resemblances of statements of Annamacharya and Jiddu Krishnamurti. When I saw the contents of this poem, I was reminded of Jiddu’s quote “here is my secret: I don’t mind what happens”. 

We have been told since our childhood to control what happens. We control our tongues by hiding the secrets. We control our emotions to gain material success. We control our future by planning it. Yet, we are aware of indecent thoughts we hold dearly in hearts. Still, we want to talk of meditation! 

Knowing (in control) to not knowing is the hypothetical journey called meditation. What use is of such incompatible journeys with dark hearts. What purpose are these forays? The purity of heart is incomparable. 

 

కీర్తన: రాగిరేకు:  11-2 సంపుటము: 5-63

POEM Copper Leaf:  11-2 Volume: 5-63

సన్నపు నవ్వుఁజూపుల చల్లులాఁడి యిప్పు- డిన్నివిధముల మించె నిదివో తపము ॥పల్లవి॥   ఏడునిలువుల పైఁడిమేడమీఁద నుండి నిన్నుఁ జూడ వేడుకైన మించుఁజూపు లాడి వాడుచు నీకునెదురు వడిఁజూడ నంతలో నీ- వేడనుండో విచ్చేసితివిదివో తపము ॥సన్న॥  కొత్తలయిన మాణికపు కొలువుటోవరిలోన ముత్తేల చెఱఁగుదూలు మురువులాఁడి తత్తరానఁ దమకించి తరుణికోరికలెల్ల- నిత్తునని విచ్చేసితివిదివో తపము ॥సన్న॥   పుప్పొడితావులు చల్లు పువ్వులచప్పరములో కొప్పు నన్నుఁ బెట్టుమన్న గుబ్బలాఁడి తెప్పలుగ నినుఁగూడి తిరువేంకటేశ నిన్ను- నెప్పుడుఁ బాయకున్నదిదివో తపము ॥సన్న॥

sannapu navvujUpula challulADi yippu- Dinnividhamula miMche nidivO tapamu ॥pallavi॥   EDuniluvula paiDimEDamIda nuMDi ninnu jUDa vEDukaina miMchujUpu lADi vADuchu nIkuneduru vaDijUDa naMtalO nI- vEDanuMDO vichchEsitividivO tapamu ॥sanna॥   kottalayina mANikapu koluvuTOvarilOna muttEla che~ragudUlu muruvulADi tattarAna damakiMchi taruNikOrikalella- nittunani vichchEsitividivO tapamu ॥sanna॥   puppoDitAvulu challu puvvulachapparamulO koppu nannu beTTumanna gubbalADi teppaluga ninugUDi tiruvEMkaTESa ninnu- neppuDu bAyakunnadidivO tapamu      ॥sanna॥

Details and Explanations:

సన్నపు నవ్వుఁజూపుల చల్లులాఁడి యిప్పు-

డిన్నివిధముల మించె నిదివో తపము  ॥పల్లవి॥

sannapu navvujUpula challulADi yippu-

Dinnividhamula miMche nidivO tapamu         ॥pallavi॥ 

Word to word meaning: సన్నపు (sannapu) = A sign, gesture, token నవ్వుఁజూపుల (navvujUpula) = smiling looks, bringing simile out; చల్లులాఁడి (challulADi) = spraying them; యిప్పుడిన్నివిధముల (yippu Dinnividhamula) = now in so many ways; మించె (miMche) = exceeded; నిదివో (nidivO) = this; తపము (tapamu) = meditation. 

Literal meaning: It commenced with subtle movements, evoking a delightful smile and enchanting me into its embrace. Little did I know that this meditation would surpass all my expectations and take me to a realm of profound tranquillity.

Explanation: What a beautiful way to introduce a complex idea on meditation. Annamacharya is truly a revolutionary poet.

Meditation is not a posture, not a procedure, not a thing that can be reached consciously. We must appreciate truthfulness of Annamacharya. I made many observations in the past that Annamacharya is not proposing any traditional Indian outlook, but a state which is completely detached from this known world. He concealed his observations behind the cloak of tradition, probably to avoid backlash from the society of his time.

Now looking at the historical incidents, I feel that his poems were seen by elite group as “not following great tradition of India” and might have discouraged their recitation. It may also be worth considering that these poems remained protected by invisible hand though they remained inside hugely popular Tirumala temple complex.

ఏడునిలువుల పైఁడిమేడమీఁద నుండి నిన్నుఁ

జూడ వేడుకైన మించుఁజూపు లాడి

వాడుచు నీకునెదురు వడిఁజూడ నంతలో నీ-

వేడనుండో విచ్చేసితివిదివో తపము     ॥సన్న॥

EDuniluvula paiDimEDamIda nuMDi ninnu

jUDa vEDukaina miMchujUpu lADi

vADuchu nIkuneduru vaDijUDa naMtalO nI-

vEDanuMDO vichchEsitividivO tapamu ॥sanna॥ 

Word to word meaning: ఏడునిలువుల (EDuniluvula) = high above the land; పైఁడిమేడమీఁద నుండి (paiDimEDamIda nuMDi) = from the golden building; నిన్నుఁ (ninnu) = you; జూడ (jUDa) = to see; వేడుకైన (vEDukaina) = pleasure, joy, delight;  మించుఁజూపు లాడి (miMchujUpu lADi) = searching frantically; వాడుచు (vADuchu) = playing; నీకునెదురు వడిఁజూడ (nIkuneduru vaDijUDa) = looking forward to you eagerly; నంతలో (naMtalO) = in a jiff;  నీవేడనుండో (nIvEDanuMDO) = you came from somewhere; విచ్చేసితివిదివో (vichchEsitividivO) =  you came from somewhere; తపము (tapamu) = meditation.

Literal meaning: Perched upon the golden edifice, I witnessed the enchanting maiden brimming with excitement and anticipation for your imminent encounter. Without warning, you stealthily invaded my mind, emerging from the depths of nowhere.

Explanation: Leaving out the other descriptions let us concentrate on the part of meditation. It comes from nowhere is something to note.

As described by Annamacharya అదిగాక నిజమతం బదిగాక యాజకం-బదిగాక హృదయసుఖ మదిగాక పరము adigAka nijamataM badigAka yAjakaM- badigAka hRdayasukha madigAka paramu The other state is beyond the pretty imagination, beyond the methods of sacrifice, not a comforting theory to your heart.

Similar understanding, we get by reading the life story of Jiddu Krishnamurti. He was always haunted by “process” which most often leaving him completely exhausted. During later years he became somewhat accustomed to it. Now in this poem kindly note the similarities of unexpected action of meditation.

Thus, we may say that both Jiddu and Annamacharya have left their will to the forces of nature. Whereas, as we live by controlling the mind.  

This control part is denounced by Bhagavad-Gita as well. सदृशं चेष्टते स्वस्या: प्रकृतेर्ज्ञानवानपि | प्रकृतिं यान्ति भूतानि निग्रह: किं करिष्यति || 3-33|| sadṛiśhaṁ cheṣhṭate svasyāḥ prakṛiter jñānavān api / prakṛitiṁ yānti bhūtāni nigrahaḥ kiṁ kariṣhyati Purport: Even wise people act according to their natures, for all living beings are propelled by their natural tendencies. What will one gain by control? (= can’t control).

Thus, its not the control, but purity of the heart that matters. This is the way prescribed by Annamacharya, Buddha, Jiddu Krinamurti, and Jesus Christ.

కొత్తలయిన మాణికపు కొలువుటోవరిలోన

ముత్తేల చెఱఁగుదూలు మురువులాఁడి

తత్తరానఁ దమకించి తరుణికోరికలెల్ల-

నిత్తునని విచ్చేసితివిదివో తపము         ॥సన్న॥

 

kottalayina mANikapu koluvuTOvarilOna

muttEla che~ragudUlu muruvulADi

tattarAna damakiMchi taruNikOrikalella-

nittunani vichchEsitividivO tapamu ॥sanna॥ 

Word to word meaning: కొత్తలయిన (kottalayina) = freshly; మాణికపు (mANikapu) = studded with precious jewels; కొలువుటోవరిలోన (koluvuTOvarilOna) = in the court of; ముత్తేల చెఱఁగుదూలు (muttEla che~ragudUlu) = edge of the cloth loaded with pearls;   మురువులాఁడి (muruvulADi) = gracing; తత్తరానఁ (tattarAna) = with great agitation; దమకించి (damakiMchi) = enamoured; తరుణికోరికలెల్ల (taruNikOrikalella) = The lady’s desires; నిత్తునని (nittunani) = to fulfil; విచ్చేసితివిదివో (vichchEsitividivO) = arrived;  తపము (tapamu) = meditation;

 

Literal meaning: In a resplendent court adorned with precious jewels, the lovely maiden stands dressed in garments adorned with pearls, eagerly anticipating your arrival, her heart brimming with fervent longing for her desires to be fulfilled. Yet, amidst it all, I failed to notice how you had already taken hold of my thoughts.

Explanation: Annamacharya is completely unaware of the action of nature. Both Jiddu and Annamacharya challenged the listeners on control and action of thought. They always asserted that we are living a life of mediocrity. They confirmed there is life beyond the perception of sense organs and accumulation of virtues. 

Allow me to present a captivating artwork named 'The Elephants' by Salvador Dali. In this piece, Dali skillfully juxtaposes weight and structure, depicting elephants burdened with immense loads atop delicate, elongated legs. Through this deliberate distortion of reality, he enhances the symbolic meaning within the painting. The inclusion of obelisks directly references the statue of Minerva's Pulcino, situated near the Santa Maria church in Rome. These obelisks represent wisdom and possess a laser-like vision. Furthermore, the vibrant background draws inspiration from the picturesque landscapes of Catalonia.

The artwork 'Elephants' diverges from the others below by placing the spotlight entirely on these magnificent creatures, leaving the rest of the canvas noticeably sparse. The surrounding landscape remains barren, intentionally directing attention to the elephants. 

Within the human quest for security, individuals construct mental structures, progressively distancing themselves from the solid ground of stability. As depicted in the painting, this gradual ascent leads to a state akin to the elephants—bearing immense weight while precariously perched. 

Engrossed in the perpetual task of maintaining balance, like the unstable elephants, individuals become absorbed in defending their perceived positions rather than fully embracing the vast opportunities life presents. Consequently, they inadvertently forfeit the vibrant vitality inherent in life itself. 

Within the artwork, another noteworthy element is the inclusion of obelisks. At first glance, it appears that the elephants are carrying these obelisks, but upon closer examination, it becomes evident that they are suspended in the air. The responsibility for supporting them does not lie with the elephants. 

These obelisks hold symbolic significance, representing wisdom and possessing a laser-like vision. However, the deeper message conveyed by the painting is that the pursuit of wisdom, as depicted here, may not necessarily adopt the correct posture. It suggests that the endeavours undertaken to acquire wisdom and knowledge may, in fact, amount to a mere waste of energy. 

In the realm of reality, we find ourselves akin to those elephants, distanced from our natural environment and entrenched in an artificial existence. As previously noted, we hinder the influence of nature's forces upon us, leaving little room for true transformation. In such circumstances, the concept of deliverance becomes a pertinent question—how can individuals find liberation when they remain disconnected from the innate workings of the natural world?

పుప్పొడితావులు చల్లు పువ్వులచప్పరములో

కొప్పు నన్నుఁ బెట్టుమన్న గుబ్బలాఁడి

తెప్పలుగ నినుఁగూడి తిరువేంకటేశ నిన్ను-

నెప్పుడుఁ బాయకున్నదిదివో తపము ॥సన్న॥

puppoDitAvulu challu puvvulachapparamulO

koppu nannu beTTumanna gubbalADi

teppaluga ninugUDi tiruvEMkaTESa ninnu-

neppuDu bAyakunnadidivO tapamu ॥sanna॥ 

Word to word meaning: పుప్పొడితావులు చల్లు (puppoDitAvulu challu) =  atmosphere sprayed with pollen of fragrant flowers; పువ్వులచప్పరములో (puvvulachapparamulO) = in tents made of beautiful flowers; కొప్పు (koppu) = chignon, a knot or coil of hair arranged on the back of a woman's head; నన్నుఁ (nannu) = me; బెట్టుమన్న (beTTumanna) = to arrange; గుబ్బలాఁడి (gubbalADi) = a young woman; తెప్పలుగ (teppaluga) = floating in ecstasy; నినుఁగూడి (ninugUDi) = by joining you, in your embrace; తిరువేంకటేశ (tiruvEMkaTESa) = O Lord Venkateshwara;  నిన్నునెప్పుడుఁ బాయకున్నదిదివో (ninnuneppuDu bAyakunnadidivO) = never leaving you; తపము (tapamu) = meditation.   

Literal meaning: In an ambiance filled with the aromatic pollen of flowers, within a captivating abode of blossoms, a youthful and alluring woman entreats me to adorn her hair bun. Unbeknownst to me, O Lord Venkateshwara, you had entered my world, bringing unexpected delight.

Explanation: Annamacharya did not compose these poems for our consumption, but he wanted us to appreciate futility of our present method of leading the life. He made monumental effort to explain that truth can't be ascertained.

 

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