307 అప్పటి యెండ చెమటలట్టే వుండీనా
(appaṭi yeṃḍa cemaṭalaṭṭē vuṃḍīnā)
INTRODUCTION
Under the guise of romance, this composition
questions our honesty. “అంగడి గందపుఁ బూఁతలట్టే వుండీనా” — like applying purchased fragrance upon an
unclean body to mask odour and appear refined. O human being, do the coverings
you buy and apply truly endure? Annamacharya asks whether borrowed adornments
can remain unchanged over time.
“నెప్పు దప్ప బొంకేవు నే నెఱంగనా” — you justify the condition in which you
stand. You do not hesitate to fabricate explanations, even falsehoods, to
protect it. Here he exposes our fundamental tendency. What value has practice
without inner purity?
Acharya’s central question is this: “Is the
fragrance truly arising from within? Or simply the scent of marketplace sandal
paste applied from outside?”
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శృంగార సంకీర్తన
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రేకు: 5-1 సంపుటము: 5-26
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అప్పటి యెండ చెమటలట్టే వుండీనా నెప్పు దప్ప బొంకేవు నే నెఱంగనా ॥పల్లవి॥ ఆవులఁ గాచిన నాటి యడవికంపల జీర- లావల నేఁడు మాయక అట్టే వుండీనా యేవంక నెవ్వతో నిన్ను నెనసి చేసిన చేఁత నీ వెంత మొఱఁగిన నే నెఱంగనా ॥అప్పటి॥ వెన్నలు ముచ్చిలునాఁడు వేడి పాలారగించిన అన్నువ నీమోవిపొక్కులట్టే వుండీనా వన్నెకాడ యెవ్వతెకో వలలఁ జిక్కిన నీ నిన్న మొన్నటి సుద్దులు నే నెఱంగనా ॥అప్పటి॥ రంగుగ మధురలోని రమణి మెత్తిన నాటి అంగడి గందపుఁ బూఁతలట్టే వుండీనా చెంగట మొఱగి కలసితివి వేంకటరాయ నింగి మోచిన చేఁతలు నే నెఱంగనా ॥అప్పటి॥
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ROMANTIC POEM
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Copper
Plate: 5-1 Volume: 5-26
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appaṭi yeṃḍa cemaṭalaṭṭē vuṃḍīnā neppu dappa boṃkēvu nē ne\raṃganā ॥pallavi॥ āvulaṃ̐ gācina nāṭi yaḍavikaṃpala jīra- lāvala nēṃ̐ḍu māyaka aṭṭē vuṃḍīnā yēvaṃka nevvatō ninnu nenasi cēsina cēṃ̐ta nī veṃta mo\raṃ̐gina nē ne\raṃganā ॥appaṭi॥ vennalu muccilunāṃ̐ḍu vēḍi pālāragiṃcina annuva nīmōvipokkulaṭṭē vuṃḍīnā vannekāḍa yevvatekō valalaṃ̐ jikkina nī- ninna monnaṭi suddulu nē ne\raṃganā ॥appaṭi॥ raṃguga madhuralōni ramaṇi mettina nāṭi- aṃgaḍi gaṃdapuṃ̐ būṃ̐talaṭṭē vuṃḍīnā ceṃgaṭa mo\ragi kalasitivi vēṃkaṭarāya niṃgi mōcina cēṃ̐talu nē ne\raṃganā ॥appaṭi॥
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Details and Discussions:
Chorus
(Pallavi):
పల్లవి:
అప్పటి
యెండ చెమటలట్టే వుండీనా
నెప్పు
దప్ప బొంకేవు నే నెఱంగనా ॥పల్లవి॥
appaṭi yeṃḍa cemaṭalaṭṭē vuṃḍīnā
neppu
dappa boṃkēvu nē ne\raṃganā ॥pallavi॥
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Telugu
Phrase
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Meaning
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అప్పటి
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At that time / earlier
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యెండ చెమటలు
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Heat and sweat (result
of exertion / physical intensity)
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అట్టే వుండీనా
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Do they still remain
like that?
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నెప్పు
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Position / stance /
excuse / ground
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దప్ప బొంకేవు
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You argue stubbornly /
cling defensively
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నే నెఱంగనా
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Do you think I do not
know?
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Surface
Level Meaning
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Implied
Meaning
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A lady addressing her
lover in playful accusation — intimate teasing, exposure through affection.
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An unknown speaker
addressing the man — disarming without condemnation, exposing inconsistency.
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Though the sweat and
heat from that earlier meeting are gone, you now stand here arguing and
defending yourself — do you think I don’t know what happened?
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Intensity fades.
Physical passion diminishes. What has passed cannot be erased. Yet you cling
to your present position as if nothing occurred. You attempt to preserve
dignity — but concealment does not undo what has been.
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She knows intimately
that he is “hiding something” She is plain and jealousy is absent.
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Suggests that past
involvement cannot be denied, and ego moves to protect its image.
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Notes:
The poem starts with romantic naughty note. Heat
and sweat are indicative of touch and sensory experience. Now dried up beyond
trace. The lady keeps the romantic angle live while probing her lover of his
past actions. She is also aware her lover in order to hold his self-respect keeps
falsifying her observations.
First
Stanza:
ఆవులఁ
గాచిన నాటి యడవికంపల జీర-
లావల
నేఁడు మాయక అట్టే వుండీనా
యేవంక
నెవ్వతో నిన్ను నెనసి చేసిన చేఁత
నీ
వెంత మొఱఁగిన నే నెఱంగనా
॥అప్పటి॥
āvulaṃ̐ gācina nāṭi yaḍavikaṃpala jīra-
lāvala nēṃ̐ḍu māyaka aṭṭē vuṃḍīnā
yēvaṃka nevvatō ninnu nenasi cēsina cēṃ̐ta
nī veṃta mo\raṃ̐gina nē ne\raṃganā ॥appaṭi॥
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Romantic Surface
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Implied Meaning
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She refuses to let
go. “You went to the forest saying you were grazing the cows. Why then did
you wander into the thorny thickets? Didn’t your garments get torn? Are they
still the same? Under what pretext, and with whom, did you place someone on
par with me? However much you conceal it — do you think I do not know?”
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The voice shifts
from playful accusation to factual exposure. Under the name of work,
duty, or necessity, a person enters the forest of experiences. The thorns
of these involvements inevitably leave marks. The garments — symbols of the
body and identity — cannot remain untouched. Yet one continues to hide these
movements from oneself. Attractions, choices, and emotional entanglements are
quietly justified and concealed. But can such things ever remain hidden from
the inner witness?
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Tone is empathetic
revelation. She exposes his hidden movements, but without rage or threat.
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The tone is not
condemnation. It is quiet unveiling. The Beneath these words lies a steady suggestion:
“Why do you refuse to acknowledge what you already know within yourself?”
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Notes:
In this stanza lady turns toward experience and
avocation of her lover. The image of “torn garments in thorn bushes” is
not merely romantic teasing — it quietly introduces the theme of fragmentation.
Second Stanza:
వెన్నలు
ముచ్చిలునాఁడు వేడి పాలారగించిన
అన్నువ నీమోవిపొక్కులట్టే
వుండీనా
వన్నెకాడ
యెవ్వతెకో వలలఁ జిక్కిన నీ
నిన్న మొన్నటి
సుద్దులు నే నెఱంగనా ॥అప్పటి॥
vennalu
muccilunāṃ̐ḍu vēḍi pālāragiṃcina
annuva
nīmōvipokkulaṭṭē vuṃḍīnā
vannekāḍa yevvatekō valalaṃ̐
jikkina nī-
ninna
monnaṭi suddulu nē ne\raṃganā ॥appaṭi॥
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Romantic Surface
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Implied Meaning
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She does not withdraw. She
does not hesitate. She is not embarrassed. The teasing continues, but now
with clearer recollection.
(ముచ్చిలు = to steal; అన్నువ = woman; సుద్దులు = stories,
happenings)
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The voice now speaks with
calm clarity. The exposure is no longer playful accusation; it reveals how
experiences leave their traces within consciousness.
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“You stole butter and drank
the hot milk — do you think the marks left on that woman’s lips simply
disappeared?” She is recalling his mischievous intimacy. The marks of those
secret moments remain.
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One becomes entangled in the
nets of attraction — especially in the fascination with sensual pleasure.
Such experiences do not vanish. They leave impressions in the mind,
continuing as memory, habit, and desire.
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“You must have been caught
in someone’s snare somewhere,” she says playfully. “Do you think I do not
know the stories of what you did just yesterday and the day before?”
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Human beings often imagine
they can hide their past through silence or denial. But the past persists
within consciousness. What has been lived continues as psychological residue.
One cannot escape one’s own history by concealing it.
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Her tone carries teasing yet
also understanding. There is generosity in the way she speaks.
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There is no condemnation
here. The suggestion is simply to see the subtle self-deception by
which one hides from oneself.
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Notes:
This stanza turns toward memory. The emphasis is
not on the act itself, but on the marks it leaves behind. What is lived does
not disappear. It continues as memory, inclination, and identity.
Third Stanza:
రంగుగ మధురలోని
రమణి మెత్తిన నాటి
అంగడి గందపుఁ
బూఁతలట్టే వుండీనా
చెంగట మొఱగి
కలసితివి వేంకటరాయ
నింగి
మోచిన చేఁతలు నే నెఱంగనా ॥అప్పటి॥
raṃguga madhuralōni
ramaṇi mettina nāṭi-
aṃgaḍi gaṃdapuṃ̐ būṃ̐talaṭṭē vuṃḍīnā
ceṃgaṭa mo\ragi kalasitivi vēṃkaṭarāya
niṃgi mōcina cēṃ̐talu nē ne\raṃganā ॥appaṭi॥
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Romantic Surface
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Implied Philosophical Meaning
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First two lines: Until now
she has been speaking through hints. Here she questions him directly.
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First two lines: Liberation
is not a commodity that can be purchased in the marketplace.
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రంగుగ
మధురలోని రమణి మెత్తిన నాటి
అంగడి
గందపుఁ బూఁతలట్టే వుండీనా
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“When that beloved in
Mathura embraced you, did that feeling last long? Has it not diminished with
time like the sandal paste you bought from the market? she asks playfully, yet firmly.
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— If one treats liberation
as something obtainable through borrowed teachings, rituals, or external
authorities, life simply passes away. Their words and doctrines fade with
time — like sandal paste purchased from a market.
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Her tone is teasing, but it
exposes the truth. | Before the inner witness no disguise can remain. When coverings fall away, a human being encounters his original condition.
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Last two lines: The tone
suddenly changes. Annamacharya reveals that the questioning voice is none
other than himself. Until now he has been questioning his own ego. |
Last two lines: The
questioning exposes something within him that had remained unnoticed. A
sudden awareness arises: the presence of Venkataraya has already touched him
and passed through him.
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చెంగట మొఱగి
కలసితివి వేంకటరాయ
నింగి మోచిన
చేఁతలు నే నెఱంగనా
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Turning toward Venkataraya
he says: “You unite with me without my even knowing it, O Venkataraya! Can I
ever know the power of the hands that can lift the very sky?”
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“O Venkataraya — before I
even know it, you have already merged with me. Can I truly comprehend you?
How could I possibly know the power of the hands that can hold up the very
sky?”
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Closing Insight:
Until this point, the repeated question
“Do you think I do not know?”
appears to belong to the teasing woman.
But by the end it becomes clear:
When the questioning inner witness itself
falls silent,
the awareness of the immeasurable power alone remains.
What began as playful romantic teasing quietly
turns into a moment of personal realization.
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