326 mūlamūla nammuḍuṃ̐ jalla idi (మూలమూల నమ్ముడుఁ జల్ల ఇది)

TALLAPAKA ANNAMACHARYULU

326 మూలమూల నమ్ముడుఁ జల్ల ఇది

(mūlamūla nammuḍuṃ̐ jalla idi)

తెలుగులో చదవడానికి ఇక్కడ నొక్కండి.

 

INTRODUCTION 

In this composition, the word “challa” is never defined.

It is not explained, not fixed to a meaning.

The poem does not try to tell us what it is.

It only places it before us—through different situations.

What appears in one place,

seems to slip away in another.

What seems to be found through effort,

does not stay there.

What appears in hesitation,

does not hold.

What seems to arise amidst circumstances,

does not belong to them.

Through these shifting images,

the poem does not offer a conclusion.

It leaves a simple suggestion:

what is sought is not produced by the ways we try to reach it—

yet it is not absent.

The reader is not asked to accept this,

but to see how it unfolds.

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శృంగార సంకీర్తన

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మూలమూల నమ్ముడుఁ జల్ల ఇది రేలుఁ బగలుఁ గొనరే చల్ల     ॥పల్లవి॥ పిక్కటిల్లు చన్నుల గుబ్బెత వొకతి కడుఁ- జక్కనిది చిలికిన చల్ల అక్కునఁ జెమటగార నమ్మీని యిది యెక్కడఁ బుట్టదు గొనరే చల్ల             ॥మూల॥ వడచల్లు మేని జవ్వని వొకతి కడు- జడియుచుఁ జిలికిన చల్ల తడఁబడు కమ్మనితావులది మీ- రెడయకిపుడు గొనరే చల్ల     ॥మూల॥ అంకులకరముల వొయ్యారొకతి కడు- జంకెనలఁ జిలికిన చల్ల వేంకటగిరిపతి వేడుకది యింకానమ్మీఁ గొనరే చల్ల     ॥మూల॥

ROMANTIC POEM

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mūlamūla nammuḍuṃ̐ jalla idi rēluṃ̐ bagaluṃ̐ gonarē calla ॥pallavi॥ pikkaṭillu cannula gubbeta vokati kaḍuṃ̐- jakkanidi cilikina calla akkunaṃ̐ jemaṭagāra nammīni yidi yekkaḍaṃ̐ buṭṭadu gonarē calla        ॥mūla॥ vaḍacallu mēni javvani vokati kaḍu- jaḍiyucuṃ̐ jilikina calla taḍaṃ̐baḍu kammanitāvuladi mī- reḍayakipuḍu gonarē calla  ॥mūla॥ aṃkulakaramula voyyārokati kaḍu- jaṃkenalaṃ̐ jilikina calla vēṃkaṭagiripati vēḍukadi yiṃkānammīṃ̐ gonarē calla ॥mūla॥

Details and Discussions:

Chorus (Pallavi): 

మూలమూల నమ్ముడుఁ జల్ల ఇది

రేలుఁ బగలుఁ గొనరే చల్ల  ॥పల్లవి॥

mūlamūla nammuḍuṃ̐ jalla idi

rēluṃ̐ bagaluṃ̐ gonarē calla ॥pallavi॥

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Literal Meaning:

This “challa” is present everywhere—trust this

Day and night, it is there—to be seen.

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Interpretative Notes:

The poem does not define “చల్ల   challa” It is only pointed to.

“మూలమూల” — present in every corner, not in parts, not elsewhere

“ఇది” — this — suggests something already before us, not imagine

“రేలుఁ బగలుఁ” — day and night. Not only time, but also the range of our states bright and dim, aware and unaware

“గొనరే” — not to acquire, but to take notice, to see.

Nothing new is introduce

Nothing is promised

What is indicated is already present

but not noticed in the ways we usually seek

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One-line essence

It is not to be reached—it is to be noticed

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First Stanza:

పిక్కటిల్లు చన్నుల గుబ్బెత వొకతి కడుఁ-

జక్కనిది చిలికిన చల్ల

అక్కునఁ జెమటగార నమ్మీని యిది

యెక్కడఁ బుట్టదు గొనరే చల్ల ॥మూల॥

pikkaṭillu cannula gubbeta vokati kaḍuṃ̐-

jakkanidi cilikina calla

akkunaṃ̐ jemaṭagāra nammīni yidi

yekkaḍaṃ̐ buṭṭadu gonarē calla ॥mūla॥

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Literal Meaning:

A youth in fullness, worked upon—

intensely, completely.

continued to the point of sweat,

it becomes clear—

this “challa” is not born there.

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Interpretative Notes:

The image is of intensity, and effort.

“పిక్కటిల్లు… జక్కనిది” — fullness, softness, completeness of involvement.

“చిలికిన” — worked upon, churned, engaged fully.

Here, the imagery of youthful beauty is not of particular individuals,

but points to a recurring human movement—

a fresh, renewed attempt,

seen across times and contexts,

toward the unknown.

“అక్కునఁ జెమటగార"  effort carried to its limit.

But—

“నమ్మీని యిది” — in that very condition, it becomes evident.

“యెక్కడఁ బుట్టదు” — it does not arise from there.

No matter how intense the effort is and

no matter how close the involvement is.

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One line Essence:

It is not produced by effort—even at its peak.

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Second Stanza:

వడచల్లు మేని జవ్వని వొకతి కడు-

జడియుచుఁ జిలికిన చల్ల

తడఁబడు కమ్మనితావులది మీ-

రెడయకిపుడు గొనరే చల్ల  ॥మూల॥

vaḍacallu mēni javvani vokati kaḍu-

jaḍiyucuṃ̐ jilikina calla

taḍaṃ̐baḍu kammanitāvuladi mī-

reḍayakipuḍu gonarē calla         ॥mūla॥

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Literal Meaning:

 

With a cool, untested bearing,

one stirs it—hesitantly, uncertain.

In that faltering movement,

pleasant, inviting points seem to appear.

Do not turn away—

take this “challa.”

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Interpretative Notes: 

The image shifts from intensity to uncertainty.

“వడచల్లు మేని జవ్వని” — — a cool, distanced approach;

tentative, not in direct contact with what is seen.

“జడియుచుఁ జిలికిన” — hesitant stirring, unsure movement.

Here, there is no force, no intensity—

but neither is there clarity.

“తడఁబడు” — faltering, not steady.

“కమ్మని తావులు” — pleasant, inviting points that appear along the way.

Something appears—

but only in parts, and only for a moment.

What is approached begins to stand apart—

and in that, the whole is missed.

They may appear as higher states—

yet they do not hold, nor conclude anything.

Yet—

“మీరెడయకిపుడు” — do not move away.

“గొనరే చల్ల” — take, see.

What appears in uncertainty may attract,

but it does not endure.

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One-line essence

What appears in uncertainty attracts—but does not hold.

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Third Stanza:

అంకులకరముల వొయ్యారొకతి కడు-

జంకెనలఁ జిలికిన చల్ల

వేంకటగిరిపతి వేడుకది

యింకానమ్మీఁ గొనరే చల్ల ॥మూల॥

aṃkulakaramula voyyārokati kaḍu-

jaṃkenalaṃ̐ jilikina calla

vēṃkaṭagiripati vēḍukadi

yiṃkānammīṃ̐ gonarē calla        ॥mūla॥

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Literal Meaning:

With natural grace, with what is at hand,

amidst many disturbances, it is stirred.

This is the grace of the Lord of Venkata.

Still—Trust, take this “challa.”

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Interpretative Notes:

The image shifts again.

Not intensity.

Not hesitation.

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“అంకులకరముల వొయ్యారొకతి” — a natural ease;

no special preparation, no pretence.

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“కడు జంకెనలఁ జిలికిన” — amidst many disturbances, uncertainties,

and continuous engagement in activity.

(Here, the conditions that challenge life remain the same.)

Yet, there is an undisturbed absorption.

This movement is neither of effort nor of confusion.

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“వేంకటగిరిపతి వేడుకది” —

this is not an act of the individual.

It appears as part of a larger movement—

not directed by human will.

This is not occasional.

It is always so—whether noticed or not.

We, within our experience,

move in patterns of effort, fault, and uncertainty—

within the play of day and night,

the known and the unknown.

These belong to the visible field.

They remain within the limits of our awareness.

Yet, the movement of the whole

does not proceed by our intentions.

As long as we move within the certainties of our own making,

this remains unnoticed.

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Yet—

“యింకానమ్మీఁ” — (poet is stressing) remain with it, trust.“

“గొనరే చల్ల” —see.

Not through effort, —

but remaining in the midst of what is,

something becomes evident.

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Concise Understanding: 

Pallavi → We move opposite to what is already present.

First Stanza → Excessive effort does not yield it.

Second Stanza → What appears in hesitation does not hold.

First two stanzas → “Challa” is not produced within experience.

Third Stanza → Where “what is” is wholly met,

“challa” may be seen—only as a glimpse.

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