By
PedaTirumalacharyulu
300 హరి యవతారమీతడు అన్నమయ్య
(hari
yavatāramītaḍu
annamayya)
INTRODUCTION
Many great
souls across the world have attempted, in countless ways, to speak of the
nature of that unknown—and perhaps unknowable—Divine reality. Unable to define
it conclusively, they have continually experimented with new terms and fresh
forms of expression.
Over time,
a tendency emerged to write in ways that allow multiple meanings to arise
simultaneously. Expressions that yield new interpretations with each
reading—like water seeping afresh from a well—came to be especially admired.
The Bhagavad Gita is a notable example. Though profoundly revolutionary
in spirit, the ways in which it has been approached and explained gradually
converged toward a particular interpretative framework. While the many
commentaries differ in illustration and emphasis, the underlying direction of
thought has largely followed a single path. In this manner, human philosophical
inquiry often moves toward a defined objective, yet remains unable to fully
touch a truth that has no fixed destination and cannot be conclusively known.
Thus, even
though philosophies and great texts have engaged with a wide range of themes,
it remains a fact that they have not fully satisfied the human longing at an
inner, personal, experiential level. Words spoken without inner warmth—however
correct they may be—do not resonate for long; they fade with time. Scientists,
experts, and practitioners in medicine, technology, and the arts may
demonstrate the highest standards and discipline, yet at the level of lived
experience they remain much like ordinary human beings. In this way, from the
most accomplished individuals to the common person, life—hidden beneath the
sweetness of external success—often remains unresolved and deeply questioning.
Even today, despite unprecedented resources and capabilities, humanity
struggles to live peacefully and harmoniously, primarily because it has drifted
away from truth.
In contrast
to such purely intellectual pursuits, centuries ago Annamacharya, Ramadasu, and
Tyagaraja sang of divine truth through thousands of compositions born of direct
experience. Without the patronage of kings, governments, or religious
authorities, they nevertheless live-on in the hearts and tongues of the people.
At the same time, doctrines and compositions that lack such lived experience
can be seen to fade away with the passage of time.
Among them,
Annamacharya stands out for presenting the truth he perceived directly before
his eyes, using simple language while preserving its depth and dignity. He
addressed not only the profound, but also the smallest struggles of everyday
human life. He exposed the falsehoods that appear natural and unquestioned,
articulated feelings that defy easy description, and tore through inner veils
that cannot be neatly explained or resolved. It would not be an exaggeration to
say that no dimension of the human condition escaped his vision.
Within his
thought, one can sense echoes of the Buddha’s principle of dependent origination,
resonances with ideas articulated by twentieth-century philosophers, and the
distilled essence of Vedantic insight. His arrangement of words carries a
timeless movement, where what is left unsaid often outweighs what is spoken,
leaving the reader unsettled by questions that resist final resolution.
Grounded
entirely in direct experience, his kīrtanas dismantle carefully constructed
concepts, pierce accumulated inner darkness, and refuse to offer ready-made
supports—no ground to stand on, no wall to lean against, no handle to grasp, no
centre to seek. They do not grant existence to either the visible or the
invisible. Annamacharya interlaced or juxtaposed contradictions to evoke
familiarity and yet hinting unfamiliar terrain with lyrical ease and innocence
of wording to dismantle assumptions. Instead, at every step and every moment,
they challenge the listener, compelling one to stand on one’s own
understanding.
Another
important fact is that, despite composing thousands of kīrtanas, Annamacharya
did not repeat himself mechanically. Each composition was shaped as a distinct
exploration. Through this, he articulated the truths of life from innumerable
angles, far beyond easy enumeration.
Through his
kīrtanas, Annamacharya remains not merely a figure in historical records, but a
timeless presence who demonstrated that every human being carries the potential
to rise to the highest peaks of inner realization. As long as his songs endure,
Annamacharya continues to live.
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అధ్యాత్మ
కీర్తన
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రేకు: 117-4
సంపుటము: 2-100
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హరి యవతారమీతడు అన్నమయ్య అరయ మా గురుడీతఁ డన్నమయ్య॥పల్లవి॥ వైకుంఠనాథుని వద్ద వడిఁ బాడుచున్నవాఁడు ఆకరమై తాళ్ళపాక అన్నమయ్య ఆకశపు విష్ణుపాదమందు నిత్యమై వున్నవాడు ఆకడీకడఁ దాళ్ళపాక అన్నమయ్య॥హరి॥ క్షీరాబ్ధిశాయి నిట్టే సేవింపుచు నున్నవాఁడు ఆరితేరి తాళ్ళపాక అన్నమయ్య ధీరుఁడై సూర్యమండల తేజమువద్ద నున్నవాఁడు ఆరీతులఁ తాళ్ళపాక అన్నమయ్య ॥హరి॥ యీవల సంసారలీల యిందిరేశుతో నున్నవాఁడు ఆవటించి తాళ్ళపాక అన్నమయ్య భావింప శ్రీవేంకటేశు పాదములందె వున్నవాఁడు హావభావమై తాళ్ళపాక అన్నమయ్య ॥హరి॥
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PHILOSOPHICAL POEM
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Copper Plate: 117-4 Volume: 2-100
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hari yavatāramītaḍu annamayya araya mā guruḍītaṃ̐ ḍannamayya ॥pallavi॥ vaikuṃṭhanāthuni vadda vaḍiṃ̐ bāḍucunnavāṃ̐ḍu ākaramai tāḻḻapāka annamayya ākaśapu viṣṇupādamaṃdu nityamai vunnavāḍu ākaḍīkaḍaṃ̐ dāḻḻapāka annamayya ॥hari॥ kṣīrābdhiśāyi niṭṭē sēviṃpucu nunnavāṃ̐ḍu āritēri tāḻḻapāka annamayya dhīruṃ̐ḍai sūryamaṃḍala tējamuvadda nunnavāṃ̐ḍu ārītulaṃ̐ tāḻḻapāka annamayya ॥hari॥ yīvala saṃsāralīla yiṃdirēśutō nunnavāṃ̐ḍu āvaṭiṃci tāḻḻapāka annamayya bhāviṃpa śrīvēṃkaṭēśu pādamulaṃde vunnavāṃ̐ḍu ā(hā?)vabhāvamai tāḻḻapāka annamayya ॥hari॥
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Details
and Discussions:
Chorus (Pallavi):
హరి యవతారమీతడు
అన్నమయ్య
అరయ మా గురుడీతఁ
డన్నమయ్య ॥పల్లవి॥
hari yavatāramītaḍu
annamayya
araya mā guruḍītaṃ̐ ḍannamayya ॥pallavi॥
Literal Meaning:
Annamacharya
appears as an embodiment of Hari; and yet, on closer seeing, he is our guru.
First Stanza:
వైకుంఠనాథుని
వద్ద వడిఁ బాడుచున్నవాఁడు
ఆకరమై తాళ్ళపాక
అన్నమయ్య
ఆకశపు విష్ణుపాదమందు
నిత్యమై వున్నవాడు
ఆకడీకడఁ
దాళ్ళపాక అన్నమయ్య ॥హరి॥
vaikuṃṭhanāthuni
vadda vaḍiṃ̐ bāḍucunnavāṃ̐ḍu
ākaramai
tāḻḻapāka annamayya
ākaśapu viṣṇupādamaṃdu
nityamai vunnavāḍu
ākaḍīkaḍaṃ̐ dāḻḻapāka
annamayya ॥hari॥
Literal
Meaning:
He
is seen standing close to the Lord of Vaikuṇṭha, taking form as Tallapāka
Annamayya. He is also seen as abiding at the feet of Viṣhṇu in the vast
expanse, present here and there—Annamayya of Tallapāka. (The
stanza places no boundary between proximity and pervasiveness.)
Second
Stanza:
క్షీరాబ్ధిశాయి
నిట్టే సేవింపుచు నున్నవాఁడు
ఆరితేరి
తాళ్ళపాక అన్నమయ్య
ధీరుఁడై
సూర్యమండల తేజమువద్ద నున్నవాఁడు
ఆరీతులఁ
తాళ్ళపాక అన్నమయ్య ॥హరి॥
kṣīrābdhiśāyi niṭṭē sēviṃpucu
nunnavāṃ̐ḍu
āritēri tāḻḻapāka
annamayya
dhīruṃ̐ḍai sūryamaṃḍala tējamuvadda
nunnavāṃ̐ḍu
ārītulaṃ̐ tāḻḻapāka
annamayya ॥hari॥
Literal
Meaning:
He is seen
serving the Lord who rests on the ocean of milk, with ease and steadiness. He
is seen standing firm even before the radiance of the sun, appearing as
Tallapāka Annamayya.
(Service
and exposure to intensity are stated without strain or struggle.)
Third Stanza:
యీవల సంసారలీల
యిందిరేశుతో నున్నవాఁడు
ఆవటించి
తాళ్ళపాక అన్నమయ్య
భావింప శ్రీవేంకటేశు
పాదములందె వున్నవాఁడు
హావభావమై
తాళ్ళపాక అన్నమయ్య ॥హరి॥
yīvala
saṃsāralīla yiṃdirēśutō nunnavāṃ̐ḍu
āvaṭiṃci tāḻḻapāka
annamayya
bhāviṃpa śrīvēṃkaṭēśu pādamulaṃde
vunnavāṃ̐ḍu
hāvabhāvamai
tāḻḻapāka annamayya ॥hari॥
Literal Meaning:
Even
while moving within the play of worldly life, he is seen with the Lord of
Lakṣmī. When one attends closely, he is found at the feet of Śrī Veṅkaṭeśa, present
as Tallapāka Annamayya.
(The poet ends it not in assertion, but
in perception.)
X-X-The END-X-X
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