327 చాలుఁ జాలు నీ జాజర నన్ను
(cāluṃ̐ jālu nī jājara
nannu)
తెలుగులో చదవడానికి ఇక్కడ నొక్కండి.
INTRODUCTION
Whose Image
Is This?
Annamacharya
does not present fantastic images.
He places before us the images of daily life.
From the
very places we want to escape,
from where our searching begins—
from there, the search for the unknown starts.
With the
hope that the unknown exists somewhere outside.
But the
unknown is already here.
Within this very living moment.
That image
does not belong to someone else.
It is ours.
Yet, we
carry an image,
an expectation,
of how life should be.
What does
not fit that expectation
appears meaningless to us.
Suppose we
accept that image itself as reality.
Can we
remain with it
without turning away?
Yet, it is
only in that turning away
that our life becomes visible.
The very
moment we say:
“This is
life”
the seeing
has already moved away.
That is the
uniqueness of Annamacharya.
A Yogi.
A Seer.
No theories.
No dogmas.
No arguments.
He simply
asks us to observe.
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శృంగార
సంకీర్తన
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రేకు: 87-1
సంపుటము: 5-332
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చాలుఁ జాలు నీ
జాజర నన్ను జాలిఁ బరచె నీ
జాజర ॥పల్లవి॥ వలపు వేదనల వాడేను
యీ- తలనొప్పులచేఁ
దలఁకేను పులకలమేనితోఁ
బొరలేను కడుఁ- జలిగొని చల్లకు
జాజర ॥చాలు॥ ఒల్లని నినుఁగని
వుడికేను నీ- చిల్లరచేఁతలఁ
జిమిడేను కల్లగందవొడిఁ
గాఁగేను పైఁ జల్లకు చల్లకు
జాజర ॥చాలు॥ తివిరి వేంకటాదిప
నేను నీ- కవుఁగిటికబ్బితిఁ
గడు నేను రవరవ చెమటఁ గరఁగి
నేఁడు యిదె చవులాయను నీ
జాజర ॥చాలు॥
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ROMANTIC POEM
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Copper Plate: 87-1 Volume: 5-332
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cāluṃ̐ jālu nī jājara
nannu jāliṃ̐ barace nī jājara ॥pallavi॥ valapu vēdanala vāḍēnu yī- talanoppulacēṃ̐ dalaṃ̐kēnu pulakalamēnitōṃ̐ boralēnu
kaḍuṃ̐- jaligoni callaku jājara ॥cālu॥ ollani ninuṃ̐gani vuḍikēnu
nī- cillaracēṃ̐talaṃ̐ jimiḍēnu kallagaṃdavoḍiṃ̐ gāṃ̐gēnu
paiṃ̐ jallaku callaku jājara ॥cālu॥ tiviri vēṃkaṭādipa nēnu
nī- kavuṃ̐giṭikabbitiṃ̐ gaḍu
nēnu ravarava cemaṭaṃ̐ garaṃ̐gi
nēṃ̐ḍu yide cavulāyanu nī jājara ॥cālu॥
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Chorus (Pallavi):
చాలుఁ జాలు
నీ జాజర నన్ను
జాలిఁ బరచె
నీ జాజర ॥పల్లవి॥
cāluṃ̐ jālu nī jājara nannu
jāliṃ̐ barace nī jājara ॥pallavi॥
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Telugu Word / Phrase
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Meaning
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చాలుఁ జాలు
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Stop — enough is enough
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జాజర
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Deception, subtle self-delusion
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నీ జాజర
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This deception (not necessarily external; an ongoing
movement)
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జాలిఁ బరచె
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Makes one sink into self-pity / helplessness
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Literal Sense:
Stop—enough
of this deception.
It only drives me into self-pity.
Deeper Note
Annamacharya
The poem begins
with fatigue.
“Enough is enough.”
there is direct
friction.
“నీ జాజర”
This is not
clearly “someone else’s deception.”
It points
to:
a movement
that misleads
something
that operates repeatedly
something
the speaker is caught in
“జాలిఁ బరచె”
Deception produces
a condition self-pity
So the
movement is:
deception →
reaction → self-pity
Key
Observation
The
illusion does not merely deceive—
it creates the one who suffers from it.
What
misleads also sustains the feeling of being misled.
First Stanza:
వలపు వేదనల
వాడేను యీ-
తలనొప్పులచేఁ
దలఁకేను
పులకలమేనితోఁ
బొరలేను కడుఁ-
జలిగొని
చల్లకు జాజర ॥చాలు॥
valapu vēdanala vāḍēnu yī-
talanoppulacēṃ̐ dalaṃ̐kēnu
pulakalamēnitōṃ̐ boralēnu kaḍuṃ̐-
jaligoni callaku jājara ॥cālu॥
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Word / Phrase
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Meaning
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వలపు వేదనలు
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Pains of longing / emotional attachment
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వాడేను
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worn out / exhausted
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తలనొప్పులచేఁ దలఁకేను
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Pressed down / troubled like a headache
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పులకలమేనితోఁ బొరలేను
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even carried away in a state of inner surge
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కడుఁ జలిగొని
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much agitated, internally disturbed
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చల్లకు జాజర
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Searches for “illusory coolness” / relief that is not to be
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Literal
Sense:
A person—
worn out by the pains of longing,
pressed down like a constant headache—
even
carried away in a state of inner surge,
yet inwardly agitated—
seeks a
coolness
that never truly is.
Deep Notes:
The Pallavi
said:
Stop this
deception.
This stanza
shows how that deception operates.
First
movement
“వలపు వేదనల వాడేను”
Not simple
desire—
but repeated longing that exhausts.
“తలనొప్పులచేఁ దలఁకేను”
A
continuous pressure—
something that does not leave.
Second
movement
“పులకలమేనితోఁ బొరలేను”
Even
heightened states—
even moments of surge or thrill—
do not
resolve the disturbance.
One is
carried by them.
Final
turn
“కడుఁ జలిగొని చల్లకు జాజర”
Unable to
bear the inner agitation,
one seeks relief.
But—that
“coolness” is part of the same deception.
Central
Observation
The same
movement creates the disturbance—
and offers its own false relief.
Second
Stanza:
ఒల్లని నినుఁగని
వుడికేను నీ-
చిల్లరచేఁతలఁ
జిమిడేను
కల్లగందవొడిఁ
గాఁగేను పైఁ
జల్లకు చల్లకు
జాజర॥చాలు॥
ollani ninuṃ̐gani vuḍikēnu nī-
cillaracēṃ̐talaṃ̐ jimiḍēnu
kallagaṃdavoḍiṃ̐ gāṃ̐gēnu paiṃ̐
jallaku callaku jājara ॥cālu॥
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Word / Phrase
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Meaning
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ఒల్లని నినుఁగని
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Seeing “you” as apart / not immediately present
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వుడికేను
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Becomes restless, unsettled
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చిల్లరచేఁతలఁ జిమిడేను
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Gets caught in trivial, scattered engagements
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కల్లగందవొడిఁ గాఁగేను
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Heated by false fragrance / stirred by what only
appears pleasant
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పైఁ జల్లకు చల్లకు
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Seeks surface cooling / outward relief
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జాజర
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Deception, self-deluding movement
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Literal
Meaning:
Seeing
“you” as something apart,
one becomes restless—
gets caught
in trivial engagements,
and is stirred by what only appears pleasant—
seeking
surface cooling,
which is yet another deception.
Deep Notes:
The first
stanza showed:
disturbance
and false relief
This stanza
shows:
distance
and outward seeking
First
movement
“ఒల్లని నినుఁగని”
The one
inside is seen as something apart.
From that వుడికేను:
restlessness
arises
a sense of
lack begins
Second
movement
“చిల్లరచేఁతలఁ జిమిడేను”
That
scorching unrest sets movement in motion.
small,
scattered engagements
movements
that do not resolve
Third
movement
“కల్లగందవొడిఁ గాఁగేను”
What
appears pleasant—
but is not real—
stirs
further agitation.
false
attraction intensifies the movement
Final turn
“పైఁ జల్లకు చల్లకు జాజర”
Relief is
sought outwardly—
as surface cooling.
But this
“cooling” is not real.
it belongs
to the same deception
Central
Observation
What is
seen as distant is pursued—
and that pursuit sustains the disturbance.
Third Stanza:
తివిరి వేంకటాదిప
నేను నీ-
కవుఁగిటికబ్బితిఁ
గడు నేను
రవరవ చెమటఁ
గరఁగి నేఁడు యిదె
చవులాయను
నీ జాజర ॥చాలు॥
tiviri vēṃkaṭādipa nēnu nī-
kavuṃ̐giṭikabbitiṃ̐ gaḍu nēnu
ravarava cemaṭaṃ̐ garaṃ̐gi nēṃ̐ḍu yide
cavulāyanu nī jājara ॥cālu॥
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Word / Phrase
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Meaning
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తివిరి
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Intentionally, with effort, by deliberate attempt
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వేంకటాదిప
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O Venkatesha
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నేను నీ కవుఁగిటి కబ్బితిఁ గడు నేను
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It so happened that I came into your embrace
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రవరవ చెమటఁ గరఁగి
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clamour, disturbance, noise, sweat now melted away
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నేఁడు యిదె |
Now in this very state
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చవులాయను
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I find it agreeable or suitable
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నీ జాజర
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This deception / self-deluding movement
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Literal Meaning:
With
deliberate effort,
it so happened that I came into Your embrace.
The
clamour, disturbance,
and sweat have now melted away.
And now, in
this very state,
I find this
deception agreeable.
Deep Notes:
“నేను నీ కవుఁగిటి కబ్బితిఁ గడు
నేను అబ్బితి”
(it so
happened that I came into Your embrace).
The poet is
very clear. Though effort was made (“తివిరి”),
అబ్బితి indicates
it was not achieved by effort alone.
Somehow, it
happened.
(అబ్బు = దొరకు, ప్రాప్తించు)
“చవులాయను నీ జాజర”
(I find this
deception agreeable).
This
is the crucial observation.
The
deception is no longer resisted.
No
choice is being exercised by the poet.
So:
perceived
good
perceived
bad
lose
their opposition.
This
is equanimity.
Not a
proposition—
a demonstration.
Everything
is allowed as it is.
No
resistance.
No repentance.
In
that condition
“రవరవ చెమటఁ గరఁగి నేఁడు”
Now నేఁడు all my effort, fatigue
clamour,
disturbance gone immediately.
Central
Observation
Where
resistance ends,
division loses its hold.
The deepest
quietness comes
not from escape—but from the ending of resistance.
Concise
Understanding:
Pallavi → stop this deception
First Stanza → disturbance and false relief
Second Stanza → outward seeking
Third Stanza → resistance dissolves, and with-it division
X-X-The
END-X-X
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