252 నవ్వితినే గొల్లెతా నాయ
మవుర గొల్లఁడా
(navvitinE golletA nAya mavura gollaDA)
తెలుగులో చదవడానికి ఇక్కడ నొక్కండి.
Introduction
Analysis of the Kirtana’s aesthetic experience:
This kirtana may primarily be regarded as a “dhvani-kavya” (poetry of suggestion), because nothing is stated directly; everything is conveyed through suggestion. Throughout the composition, one senses the presence of an unseen, undefined goal. Though its humor or erotic flavor might give room to read it as guneebhuta-vyangya (where another rasa is subordinate), the primacy of suggestion establishes it firmly as dhvani-kavya.
If we take the underlying mood (sthayi-bhava) as vairagya (detachment), then the dominant rasa is shanta rasa (peace, tranquility). At the same time, its shringara element works as an anga-rasa, lending beauty and sweetness.
From the standpoint of comprehension, the surface of the poem seems like “draksha-pakam” (like grapes—easy to taste and enjoy). Yet, its implied meaning is far more intricate, demanding effort to crack open, and thus it should rightly be seen as “narikela-pakam” (like coconuts—hard to break, but rich and nourishing within).
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శృంగార సంకీర్తన |
Romantic Poem |
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రేకు:
988-5 సంపుటము: 19-514 |
Copper Plate: 988-5 Volume: 19-514 |
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నవ్వితినే గొల్లెతా నాయ మవుర గొల్లఁడా
యెవ్వ రేమనిరే నిన్ను నియ్యకొంటిఁ బదరా ॥పల్లవి॥ కానీవే గొల్లెతా కద్దులేరా గొల్లఁడా
ఔనా మఱవకువే అట్టే కానీరా
నే నేమంటిని నిన్ను నీకే తెలుసురా
మానితినే ఆమాట మంచిదాయఁ బదరా॥నవ్వి॥ అదియేమే గొల్లెతా అందుకేరా గొల్లఁడా
కదిసెఁ గడుపనులు కల్లగాదురా
ఇది నిక్కెమటవే ఇంతకంటె నటరా
పదరకువే నీవు పలుమారు నేలరా ॥నవ్వి॥ మెచ్చితినే గొల్లెతా మేలు లేరా గొల్లఁడా
కుచ్చితిఁ గాఁగిట నిన్నేఁ గూడుకొంటిరా
యిచ్చకుఁడ శ్రీ వేంకటేశుఁడను నేనే
యెచ్చరించవలెనా, యెఱుఁగుదుఁ
బదరా ॥నవ్వి॥
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navvitinE golletA
nAya mavura gollaDA
yevva rEmanirE ninnu
niyyakoMTi badarA ॥pallavi॥ kAnIvE golletA
kaddulErA gollaDA
aunA ma~ravakuvE
aTTE kAnIrA
nE nEmaMTini ninnu
nIkE telusurA
mAnitinE AmATa
maMchidAya badarA ॥navvi॥ adiyEmE golletA
aMdukErA gollaDA
kadise gaDupanulu
kallagAdurA
idi nikkemaTavE
iMtakaMTe naTarA
padarakuvE nIvu
palumAru nElarA ॥navvi॥ mechchitinE golletA
mElu lErA gollaDA
kuchchiti gAgiTa
ninnE gUDukoMTirA
yichchakuDa SrI
vEMkaTESuDanu nEnE
yechchariMchavalenA, ye~rugudu badarA ॥navvi॥
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Details and Explanation:
Chorus
(Pallavi):
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Telugu Phrase |
Meaning |
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నవ్వితినే గొల్లెతా |
Male voice: I just smiled at you (in public) |
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నాయ మవుర గొల్లఁడా |
Female Voice: is it appropriate for you? |
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యెవ్వ రేమనిరే నిన్ను |
Male voice: What mistake did I do? |
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నియ్యకొంటిఁ బదరా |
Female Voice: I am not going to entertain you |
Meaning: "Annamacharya’s deep message through playful
romantic conversation between a village girl and a boy"
Literal sense:
Male voice: I just smiled at you
Female Voice: is it appropriate for you?
Male voice: What mistake did I do?
Female Voice: I am not going to entertain you
Interpretative
notes:
Surface / Playful Level
The poem opens in an unusual way — with a boy
recognizing a young woman in public. She, unwilling to be identified before
others, deflects his gesture and warns him that he will not get what he is
seeking. This brief exchange sets the tone for the entire composition.
Devotional-Allegorical Level:
If we read this as a conversation between the liberated soul (male voice) and the Goddess (female voice), the “public smile” becomes symbolic:
The soul, now aware of the divine, dares to “signal” in the open world — ready to declare its bond.
The Goddess, however, avoids open acknowledgment. This is not denial, but the divine way of keeping the relationship veiled from the worldly gaze, to protect it from misinterpretation or pride.
This echoes the mystical idea that God’s presence
is often hidden in plain sight — known intimately by the seeker, yet
unrecognized by the crowd.
Philosophical Level
In human life, premature revelation of deep truths often invites misunderstanding. The smile here is the seeker’s way of “testing reality” — to see if the divine will publicly affirm the bond. The refusal is a lesson: spiritual intimacy does not need public validation.
The deeper the connection, the quieter it remains.
First Stanza:
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Meaning in English |
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కానీవే గొల్లెతా |
Male voice: I
understand |
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కద్దులేరా గొల్లఁడా |
Female voice: I agree
it can happen |
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ఔనా మఱవకువే |
Male voice: Then, don’t
forget |
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అట్టే కానీరా |
Female voice: agreed |
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నే నేమంటిని
నిన్ను |
Male voice: Did I
accuse you? |
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నీకే తెలుసురా |
Female voice: Oh. You
should find it yourself |
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మానితినే ఆమాట |
Male voice: I realise,
and I shall not re-use that word. |
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మంచిదాయఁ బదరా |
Female voice: good that
you understand |
Plain Prose
Meaning:
In this continuation, the young man accepts her
stance and agrees it could be so. She acknowledges that possibility. He reminds
her not to forget this understanding, and she agrees. When he wonders if he had
accused her, she replies that he should know himself. He promises not to repeat
that word or gesture, and she affirms it is good he understands.
Interpretative
notes:
Surface / Playful Level
This stanza feels like a quiet negotiation after the public teasing of the Pallavi. Both voices soften — the man accepts her boundaries, and the woman, while still guarded, offers small affirmations. Their exchange is less about winning an argument, more about preserving a delicate connection.
Devotional-Allegorical Level
As allegory, this can be read as the soul adjusting its approach to the divine after being gently refused. The soul says, “I understand your caution,” and the Goddess acknowledges the possibility of closeness — but not in the open. She urges self-awareness, hinting that the seeker must examine his own motives. When the soul pledges to abandon the wrong “word” or approach, she blesses this understanding.
The relationship here mirrors madhura-bhakti in its maturing stage — playful longing giving way to respectful restraint.
Philosophical Level
In the “hidden
recognition” frame, this stanza is about consent and self-correction.
The public smile of the pallavi was an attempt to draw acknowledgment; here,
the soul learns that recognition, when it comes, will be subtle, private, and
earned. The promise to “never use that word again” represents letting go of
methods that seek outward proof of an inner truth.
The Goddess’ final “good
that you understand” is the milestone — a small but real progress on the path.
Second
Stanza:
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పదబంధం (Phrase) |
అర్థం (Telugu) |
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అదియేమే గొల్లెతా |
Male Voice: what is this? |
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అందుకేరా గొల్లఁడా |
Female Voice: For that very reason |
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కదిసెఁ గడుపనులు |
Male Voice: I have lot of work to do |
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కల్లగాదురా |
Female Voice: are they not false? |
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ఇది నిక్కెమటవే |
Male Voice: is it
true |
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ఇంతకంటె నటరా |
Female Voice: what else |
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పదరకువే నీవు |
Male Voice: Do not rush me |
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పలుమారు నేలరా |
Female Voice: why should I remind you many times |
Plain Prose
Meaning:
He tells her that he has much work to do,
referring to worldly duties that seem important from his limited perspective.
She gently calls these engagements false, for they only bind the soul to
illusion. Seeking confirmation, he asks if what she says is really true. She
replies that there is no need for further assurance. When he asks her not to
rush him, she reminds him that he should cross this at once, showing that delay
only strengthens attachment.
Interpretative
notes:
Surface / Playful Level
Here, the dialogue shows mutual acknowledgment. The devotee (male) expresses hesitation, and the Goddess (female) guides him toward surrender. Even in this playful, intimate exchange, the focus remains on inner realization rather than outward display.
Devotional–Allegorical
Interpretation
The male voice represents the devotee, and the other
represents the Divine. The soul’s worldly engagements are called false by the
Lord, symbolizing the illusory distractions that prevent union. The
back-and-forth reveals the tension between attachment and surrender. When the
Lord urges immediate crossing, it signifies divine grace that removes
hesitation, enabling the soul to merge with the Divine in the inner yogic
union of bhakti.
Philosophical Level
Philosophically, this stanza illustrates the dialogue between pure awareness and the human mind. It clings to duties and habitual thoughts, seeking repeated confirmation, but awareness points out the futility of delay. The human mind’s hesitancy reflects the inertia of habit, while the Lord’s insistence on immediate crossing symbolizes the necessity of direct engagement with awareness.
It is a call to move from mental busyness into inner
stillness, where the Self is recognized and duality dissolves. The promise
to “never use that word again” represents letting go of methods that seek
outward proof of an inner truth.
Third Stanza:
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Telugu Phrase |
Meaning |
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మెచ్చితినే గొల్లెతా |
Male Voice: I see the merit in your words |
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మేలు లేరా గొల్లఁడా |
Female Voice: Good that you find it |
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కుచ్చితిఁ గాఁగిట |
Male Voice: I hold you in my embrace |
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నిన్నేఁ గూడుకొంటిరా |
Female Voice: I came here to be with you |
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యిచ్చకుఁడ శ్రీ వేంకటేశుఁడను నేనే |
Male Voice: I am your suitor. Have the same mind of Lord. |
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యెచ్చరించవలెనా, యెఱుఁగుదుఁ
బదరా |
Female Voice: Do you need to mention this? I am aware. |
Plain Prose
Meaning:
He acknowledges her words and says he sees their
merit. She responds, “Good that you realize it.” He moves closer to embrace
her, and she admits she came to be with him. He declares himself her chosen
one, invoking the mind of Lord Venkatesha. She smiles, saying there is no need
for him to mention it; she already knows.
Interpretative
notes:
Surface / Playful Level
Here, both
sides accept each other. The bhakta (devotee) is allowed to enter the inner
world of Lord Sri Venkateswara. Even while accepting such union, the Lord
reminds that the relationship is not meant for public display.
Devotional–Allegorical
Interpretation
In this stanza, the dialogue becomes a moment of
spiritual union. The soul (female) openly expresses her desire to be with the
Divine (male), and the Lord acknowledges her devotion. The embrace represents
the joining of soul and God, the inner yoga of bhakti. When the Lord likens
himself to Venkatesha, it signifies that the Divine has become the soul’s
personal, approachable form. The soul’s gentle reply — “I already know” —
reflects the inner certainty of the devotee, who experiences the Divine directly
without needing external assurance.
Philosophical Level
Philosophically, this stanza depicts the final
harmonization of mind and Self. The mind acknowledges the wisdom of awareness,
and the embrace symbolizes the settling of mental fluctuations into pure
consciousness. Declaring himself as Venkatesha, the Self demonstrates that all
joy and security reside within awareness itself. The mind’s response — “I
already know” — represents the cessation of duality, the direct realization
where seeker and sought merge, and knowledge is lived, not borrowed.
Message of this Poem
What Annamacharya shows through his delicate and subtle dialogue is that the realization of God is not meant for public display. It is not a theory to be proven; rather, it is a direct, inner experience. Such an experience cannot be captured in videos, books, or any external form.
Thinkers like Jiddu Krishnamurti provide a fitting parallel: he never claimed, “I have seen God,” nor did he rely on proofs. He pointed only to a rare state of consciousness beyond ordinary life — beyond time, untouched by actions and sensory experience — and urged humanity to turn their attention toward it.
In our present condition — shaped by education,
societal norms, and habitual thinking — we are conditioned to refuse
acceptance without evidence. The great tradition that valued inner
realization has nearly vanished. It is time to rediscover the profound legacy
left by Annamacharya, recognizing that the experience of the Divine is not
achieved through proof, but through direct, lived experience, and to
cultivate it accordingly.
X-X-The
END-X-X
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