262 ippuḍē telusukō nīkeraṃ̐ga vinnaviṃciti (ఇప్పుడే తెలుసుకో నీకెఱఁగ విన్నవించితి)

   TALLAPAKA ANNAMACHARYULU

262 ఇప్పుడే తెలుసుకో నీకెఱఁగ విన్నవించితి

(ippuḍē telusukō nīkeraṃ̐ga vinnaviṃciti) 

తెలుగులో చదవడానికి ఇక్కడ నొక్కండి. 

Introduction 

Annamacharya cautioning about how the MAYA pervades our consciousness. Purposefully he made it look like a romantic poem. 

శృంగార కీర్తన	Romantic Poem
రేకు: 542-2 సంపుటము: 13-186	Copper Plate: 542-2 Vol: 13-186
ఇప్పుడే తెలుసుకో నీకెఱఁగ విన్నవించితి కొప్పువ ట్టీకె దీసితే గుంపించఁ గలవా  ॥పల్లవి॥   పుత్తడిబొమ్మవలె పూచిన లతికవలె చిత్తరుపతిమెవలెఁ జెలి యున్నది మత్తిల్లి యప్పటి నేఁడు మాతో నేమినవ్వేవు వొత్తుకాపె విలిచితేఁ బోకుండఁగలవా  ॥ఇప్పు॥   కొసరుఁగోయిలవలె కొలనితుమ్మిదవలె పసని చిలుకవలెఁ బలికీనాపె నసలు సేయుచు నిట్టే నాతో మాటలాడేవు వొసగితే విడెమాకె వొల్లననఁగలవా   ॥ఇప్పు॥   మెత్తినగందమువలె మెడకంటసరివలె ముత్తెమువలెనే వురమున నుందాకె హత్తి శ్రీవేంకటేశుఁడ అట్టె నన్నుఁగూడితివి బత్తి సేసితివాపెతోఁ బంతమాడఁగలవా  ॥ఇప్పు॥	ippuḍē telusukō nīke\raṃ̐ga vinnaviṃciti koppuva ṭṭīke dīsitē guṃpiṃcaṃ̐ galavā ॥pallavi॥   puttaḍibommavale pūcina latikavale cittarupatimevaleṃ̐ jeli yunnadi mattilli yappaṭi nēṃ̐ḍu mātō nēminavvēvu vottukāpe vilicitēṃ̐ bōkuṃḍaṃ̐galavā     ॥ippu॥   kosaruṃ̐gōyilavale kolanitummidavale pasani cilukavaleṃ̐ balikīnāpe nasalu sēyucu niṭṭē nātō māṭalāḍēvu vosagitē viḍemāke vollananaṃ̐galavā     ॥ippu॥  mettinagaṃdamuvale meḍakaṃṭasarivale muttemuvalenē vuramuna nuṃdāke hatti śrīvēṃkaṭēśuṃ̐ḍa aṭṭe nannuṃ̐gūḍitivi batti sēsitivāpetōṃ̐ baṃtamāḍaṃ̐galavā      ॥ippu॥

Details and Discussions:

Chorus (Pallavi):

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ఇప్పుడే తెలుసుకో నీకెఱఁగ విన్నవించితి

కొప్పువ ట్టీకె దీసితే గుంపించఁ గలవా    ॥పల్లవి॥

ippuḍē telusukō nīke\raṃ̐ga vinnaviṃciti

koppuva ṭṭīke dīsitē guṃpiṃcaṃ̐ galavā       ॥pallavi॥ 

Telugu Phrase	Meaning
ఇప్పుడే తెలుసుకో	realize it this very moment — “now or never,” the urgency of immediacy.
నీకెఱఁగ విన్నవించితి	I have already explained it to you clearly.
కొప్పువ ట్టీకె దీసితే	(కొప్పు = hair; ఈకె = woman, here symbolizing Māyā) – If that power of illusion drags me out violently, pulling me by the hair…
గుంపించఁ గలవా	…will you be able to rescue me? Will you hold me firm?

Literal Meaning: 

Annamacharya speaks as a soul in the guise of a woman, addressing the Lord:
“See this at once, without delay! I have told you everything already. If she (Māyā, illusion) grabs me by the hair and pulls me out forcefully, will you, my Beloved, protect me? Will you stand by me?” 

Implied Meaning: 

This is the voice of the soul surrendering to God: “You say, ‘Come within. Do not wander.’ You assure me, ‘I have told you already.’ But when illusion grips me harshly and drags me outward, how can I remain steady on my own? You, unmoving like an idol, may watch — but can I survive without your help?” 

It is the cry of one at the threshold of inner transformation — a lonely journey, where no human guide can accompany. Only divine grace is sought..

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Interpretative Notes: 

“ఇప్పుడే తెలుసుకో — Realize it now.”
The stress is on immediacy. If realization is postponed, the mind records the event and builds the comfort of “I will do it later.” That protective postponement keeps us bound. (This is exactly what Jiddu Krishnamurti also emphasized — the urgency of “seeing” in the present moment.) 

“కొప్పువ ట్టీకె దీసితే — Pulled by the hair.”
This is not gentle. It is violent, painful. Just as every strand of hair is rooted in the scalp, so too are we bound by countless attachments and conditionings. When all are torn out at once, can one endure the pain? The journey of self-understanding feels like this wrenching violence. 

Crossing the Vaitaraṇi.
The Vaitaraṇi river of mythology — filled with filth, blood, and bones — is an image of the crossing from old mind to new mind.

• Near shore = old mind, old personality, conditioned existence.
• Far shore = the state of freedom, after discarding the past.
  Crossing is one-way, not cosmetic like changing names or ideas, but a radical transformation. “Hair-pulling” captures that very agony of passage. 

The Obstacle — Sankalpa (Will).

What must be sacrificed is not the senses but will itself — the determination “I will prepare, I will make myself ready.” That very will is the great beast to be slain. Annamacharya says:

“అమలమగు విజ్ఞానమను మహాధ్వరమునకు
నమరినది సంకల్పమను మహాపశువు…”

Knowledge is clarified only when this beast of determination is offered as the true sacrifice. (Compare Bhagavad Gita 6.2 — renunciation is not about abandoning action, but giving up ownership of action.)

Surrender Alone.

The Vaitaraṇi cannot be crossed by effort. It opens only in complete submission. That is why Annamacharya elsewhere reassures the frightened seeker:

“వెరవకువే యింత వెరగేలా నీకు
నెఱిఁ గురిసీఁ గొప్పున నీలాలు”

“Do not fear so much. Even in the curve of this pain, showers of blue grace will descend upon you.” 

Alamelumanga — The State of Submission. 

At this stage of surrender, personal identity melts away. The body and mind are no longer “mine”; they belong only to Dharma, to Truth, to His service. Annamacharya expresses this as the experience of Alamelumanga:

“అలమేల్మంగ పురుషాకారమున ఆచార్యుననుమతి మెలఁగును.” 

By the Lord’s grace, the soul becomes His handmaiden. The devotee cannot even define the state — the mind has merged with the Divine mind. For Annamacharya it appeared as Alamelumanga; for Jiddu Krishnamurti it was “the other.” Different languages, one reality. 

Annamacharya’s Strategy. 

This truth of surrender, pain, and transformation is frightening when stated plainly. So Annamacharya veiled it in the sweetness of romance — quarrel, longing, playful speech — to make the unbearable mystery approachable to all.

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Summary

Realize now, without delay.

The pull of conditioning is violent and painful, like hair being torn.

Will-power itself is the obstacle; only surrender works.

In surrender, individuality dissolves.

The new light appears as the presence of Alamelumanga — body, mind, life offered wholly to the Lord.

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First Stanza:

పుత్తడిబొమ్మవలె పూచిన లతికవలె
చిత్తరుపతిమెవలెఁ జెలి యున్నది
మత్తిల్లి యప్పటి నేఁడు మాతో నేమినవ్వేవు
వొత్తుకాపె విలిచితేఁ బోకుండఁగలవా ॥ఇప॥

puttaḍibommavale pūcina latikavale

cittarupatimevaleṃ̐ jeli yunnadi

mattilli yappaṭi nēṃ̐ḍu mātō nēminavvēvu

vottukāpe vilicitēṃ̐ bōkuṃḍaṃ̐galavā ॥ippu॥

Telugu Phrase	Meaning
పుత్తడిబొమ్మవలె	Like a shining golden doll
పూచిన లతికవలె	Like a freshly blossomed creeper (beautiful but delicate, easily withering)
చిత్తరుపతిమెవలెఁ జెలి యున్నది	Shining like a painted picture (appearing vivid)
మత్తిల్లి యప్పటి నేఁడు మాతో నేమినవ్వేవు	Intoxicated by (retained and shaped by yesterday’s experiences), she you laughs with us (to repeat similar things)
వొత్తుకాపె విలిచితేఁ బోకుండఁగలవా	But if the moment of her call comes, will you be able to withstand and not break?

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Literal Meaning:

She appears like a golden doll, like a freshly blossomed creeper, like the vivid charm of a painted portrait — beautiful, delicate, yet inherently fragile. She smiles intoxicatingly, shaped by what feels familiar, desirable, and within reach. But when the testing moment comes — when life issues its decisive call — can she stand firm, or will she wither and collapse?

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Interpretative Notes: 

We are drawn to what we can touch, taste, enjoy, measure, grade, and prove. This is the attraction of things rooted in our present living. Naturally, society rewards such pursuits — it celebrates what can be consumed and commodified. 

The cruel fact, however, is this: Truth itself is not desired. The talk about Truth is desired. That is why, over centuries, a vast industry of “religious entertainment” has flourished: books, commentaries, plays, rituals, re-enactments, regional adaptations, films, daily soaps, and grand spectacles. Each promises to make people “feel religious.” Romantic sentiment is added into the mix to make the product more palatable and more marketable. Their attraction is simply too strong to ignore. 

Against this background, Annamacharya hurls his piercing question: “When she calls you — can you stand firm?” 

The answer is brutal: No. 

For illusion (Māyā) never comes dressed in ugliness. She appears as a golden doll, a blossoming creeper, a radiant painting. Delightful, charming, intoxicating — that is her mask. One moment she even laughs with you, seeming harmless and familiar. And who will abandon her to follow the loin-clothed seer or naked Truth? Virtually and truly none. Once her call is heard, even those few left with the seer will develop wings to fly away. I am sure even the seer will be in doubt!

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Second Stanza:

కొసరుఁగోయిలవలె కొలనితుమ్మిదవలె

పసని చిలుకవలెఁ బలికీనాపె

నసలు సేయుచు నిట్టే నాతో మాటలాడేవు

వొసగితే విడెమాకె వొల్లననఁగలవా       ॥ఇప్పు॥

kosaruṃ̐gōyilavale kolanitummidavale

pasani cilukavaleṃ̐ balikīnāpe

nasalu sēyucu niṭṭē nātō māṭalāḍēvu

vosagitē viḍemāke vollananaṃ̐galavā ॥ippu॥

Telugu phrase	Meaning
కొసరుఁగోయిలవలె	Like a cooing koel (sweet voice, alluring call)
కొలనితుమ్మిదవలె	Like a blossoming lotus in the pond (beauty, freshness, delicate charm)
పసని చిలుకవలెఁ బలికీనాపె	Like a green parrot (playful, colorful, delightful) she keeps offering gestures (tokens of affection)
నసలు సేయుచు నిట్టే నాతో మాటలాడేవు	With smiles and sweet talk she engages with me as if always familiar
వొసగితే విడెమాకె వొల్లననఁగలవా	But if she offers me betel leaves (విడెము, కిళ్ళి — traditional token of love), will I have the strength to refuse?

Literal Meaning: 

She comes like a koel with her sweet call, like a lotus blooming in the pond, like a green parrot radiating playful freshness. She chats with me intimately, with laughter and affection. But if she places in my hand the betel leaves of love — can I truly turn them away?

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Interpretative notes: 

Here Annamacharya deepens the test. Illusion (Māyā) does not just entice through beauty or appearance, but through intimacy and affection — laughter, talk, gestures of familiarity, even symbolic offerings of love (betel leaves). These gestures feel irresistible because they appeal not to the intellect, but to the heart’s longing for companionship. 

The question is piercing: When Māyā gives her token — can you refuse?

 

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Third Stanza:

మెత్తినగందమువలె మెడకంటసరివలె
ముత్తెమువలెనే వురమున నుందాకె
హత్తి శ్రీవేంకటేశుఁడ అట్టె నన్నుఁగూడితివి
బత్తి సేసితివాపెతోఁ బంతమాడఁగలవా ॥ఇప్పు॥

mettinagaṃdamuvale meḍakaṃṭasarivale

muttemuvalenē vuramuna nuṃdāke

hatti śrīvēṃkaṭēśuṃ̐ḍa aṭṭe nannuṃ̐gūḍitivi

batti sēsitivāpetōṃ̐ baṃtamāḍaṃ̐galavā       ॥ippu॥

Telugu Phrase	Meaning
మెత్తిన గందమువలె మెడకంటసరివలె	Like soft sandal paste — soothing, fragrant, pleasing, oozing. Like a necklace resting on the neck — intimate, clinging, binding the mind.
ముత్తెమువలెనే వురమున నుందాకె	Like a pearl, it pierces directly into the heart — a deep, penetrating attraction.
హత్తి శ్రీవేంకటేశుఁడ అట్టె నన్నుఁగూడితివి	O Lord Venkateśwara, you lifted up (from depths of darkness), and made me your companion
బత్తి సేసితివాపెతోఁ బంతమాడఁగలవా	Yet, that woman (Māyā) is like the fuse of fireworks — the instant it touches, it explodes. Can you really play with her fire? Can you resist her?

Plain Prose Meaning: 

Māyā clings like a necklace, pervades like fragrance, pierces the heart like a pearl. Yet, the Lord has lifted me into His embrace. Still, her lure is like a firecracker’s fuse — touch it and it bursts forth. Can anyone, O Lord, endure such a game of fire?

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Interpretative notes: 

Annamacharya’s poetic strategy sharpens here:

• First stanza — Māyā’s outer allure (golden doll, painted image).
• Second stanza — Māyā’s companionship and intimacy (koel, parrot).
• Third stanza — Māyā’s inward invasion. Fragrance, necklace, pearl — things that bind from within, unseen yet powerful. 

At this stage, Annamacharya’s tone turns sharp, almost satirical:
“You lifted me up, O Lord — but tell me honestly, can even You play with this fire without risk? Can anyone resist when the fuse is lit?”

It is both a challenge and a revelation — Māyā’s power is not trivial, yet it is only by being lifted into the Divine’s fold that one survives her burning game.

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The Message of this Poem 

O Man beware of how the MAYA pervades our lives.

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