334 ఓహోహో యనరో పారి
INTRODUCTION
“ఓహోహో యనరో పారి” is not merely a devotional composition; it is a
living inward atmosphere captured in a handful of words. Tallapaka Peda
Tirumalacharyulu does not explain philosophy here, nor does he construct
doctrinal systems. Instead, he quietly places the reader inside a strange and
immeasurable psychological space — a place where movement continues, yet
wandering stops; where vigilance remains, yet disturbance disappears; where
sound exists, yet silence deepens.
The poem unfolds like an impossible inward
operation. Sealed doors must somehow be entered. The drum must sound without
noise. One must move courageously into a stillness where even rituals, gods,
and familiar occupations appear to fall silent. Dualities stand face to face in
direct perception. Gradually, the inaccessible Lord no longer remains separate
— Sri Venkateshwara himself appears to awaken as inward awareness.
What is astonishing is that this entire
movement is conveyed not through philosophical language, but through living
tension, sound, rhythm, guarded imagery, and subtle emotional pressure. The
poem functions almost like a laboratory of consciousness, where the reader is
not instructed what to think, but is silently made to stand within an
atmosphere of alert watchfulness and immeasurable inward quietness.
Many expressions in the poem resemble “తందనాన ఆహి” — they cannot be exhausted by dictionary meaning
alone. Their sound, cadence, and inward resonance themselves carry clarity.
Peda Tirumalacharyulu thus achieves something exceedingly rare: he preserves
living movement inside ordinary Telugu words. Centuries later, the poem still
breathes, still watches, and still leaves the serious reader standing in wonder
— “ఓహోహో.”
The core movement of the Poem
Pallavi: Look at this. You
will wonder. (implied: A harvest done without knowing where the field is Poem:
328).
First stanza: You be the drum, but without the
noise. Enter the door that is closed. He is at inaccessible place.
Second stanza: Poet observes the quiet vastness.
He sees dualities face to face.
Third stanza: He feels that Lord becomes his
awareness. Alert watchfulness remains present always.
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అధ్యాత్మ సంకీర్తన
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రాగి
రేకు: 21-2
సంపుటము - సంకీర్తన: 15-118 |
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ఓహోహో యనరో పారి సాహసానఁ దిరుగరో జంటపారి ॥పల్లవి॥ కోనేటిరాయఁడు కోరి నిద్రించీ వాఁడే ఆనకమై జాలీయరో ఆఁడు బారీ పేనిపట్టి వాకిళ్ళ బీగముద్రలాయ నిడి కానిమ్మని వాయించరో గంట పారి ॥ఓహో॥ తిరుపణి మణఁగెను తిరుగరా దెవ్వరికి మరల నెలుగియ్యరో మగపారి పరగ దేవత లెల్ల బడకెళ మున్నారు యిరవాయ సూర్యచంద్రు లెదురు పారి ॥ఓ హో॥ శ్రీ వేంకటేశ్వరుఁడు చిత్తగించీ లోననదె కోవర మెన్నికెరో కోటిపారి ఆవల బంగారుగుదియలు ఘల్లు రనఁగా తావుల హనుమంతునితలారి పారి ॥ఓహో॥
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PHILOSOPHICAL POEM |
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Copper
Plate: 21-2 Volume: 15-118 |
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Details and Discussions:
Chorus
(Pallavi):
ఓహోహో
యనరో పారి
సాహసానఁ
దిరుగరో జంటపారి ॥పల్లవి॥
Literal Sense:
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Poem Line
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Normal
Sense
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Philosophical
sense
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ఓహోహో యనరో
పారి
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సాహసానఁ
దిరుగరో జంటపారి
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Deeper
Note:
This Pallavi appears almost like a living map of
the inward atmosphere of the mind. The poet points toward a movement that seems
nearly impossible to approach through ordinary thought and habitual perception.
“ఓహోహో” is not merely an exclamation of surprise; it may
indicate the sense of wonder that arises when the mind encounters something it
cannot fully grasp through its usual structures of knowledge and familiarity.
The expression itself appears to abandon ordinary restraint, conveying the
shock, awe, and immeasurable astonishment of such direct perception.
The expression “సాహసానఁ దిరుగరో” may not
refer to ordinary courage. It appears to indicate an inward daring — the
courage required to move beyond psychological security, familiar patterns,
accumulated conclusions, and the known structures of thought. The movement here
is not restless wandering, nor the pursuit of achievement, but an alert inward
turning.
“జంటపారి” is perhaps
the most subtle expression in the Pallavi. Outwardly, it may suggest paired
movement, vigilance, or attendants moving together. Yet inwardly it appears to
hint that the observer and the immeasurable are not entirely separate. The
seeing itself becomes simultaneous. One no longer stands outside life
attempting to understand it; both the movement of life and awareness appear
together within one indivisible field.
The Pallavi as a whole creates an unusual inward
atmosphere rather than presenting a direct philosophical statement. Through
sound, rhythm, repetition, and tonal tension, the poet quietly draws the mind
away from its habitual occupations into a state of alert watchfulness. Much
like “తందనాన ఆహి,” the
expressions here seem to function beyond dictionary meaning alone. Their sound
and inward resonance themselves begin carrying clarity.
First
Stanza:
కోనేటిరాయఁడు
కోరి నిద్రించీ వాఁడే
ఆనకమై
జాలీయరో ఆఁడు బారీ
పేనిపట్టి
వాకిళ్ళ బీగముద్రలాయ నిడి
కానిమ్మని
వాయించరో గంట పారి ॥ఓహో॥
Literal Sense:
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Poem Line
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Romantic
Sense
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Philosophical
sense
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కోనేటిరాయఁడు
కోరి నిద్రించీ వాఁడే
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Lord Koneti Rayudu has
willingly gone into rest/sleep.
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The inward centre
represented by the Lord appears to have withdrawn into a quiet inward zone,
untouched by ordinary wakeful occupations and avocations.
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ఆనకమై
జాలీయరో ఆఁడు బారీ
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(ఆనకము = తప్పెట; భేరి;
మద్దెల; ఉఱిమెడి మబ్బు; ceremonial
drum, percussion drum, thunderous sounding) Become like the great
ceremonial drum yet move gently around and seek so that He may emerge.
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The poet places a
contradictory requirement. On one side he asks for the intensity and
awakening force of the great ceremonial drum; yet at the same time, one must
not disturb that inward stillness through careless movement of thought and
psychological involvement.
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పేనిపట్టి
వాకిళ్ళ బీగముద్రలాయ నిడి
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The entrances and
gateways have been firmly sealed and locked.
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Outer movements and
unnecessary interference appear to have been restrained. The inward state is
being guarded from dispersion and disturbance.
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కానిమ్మని
వాయించరో గంట పారి
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Yet continue sounding
the bells/watch-signals attentively.
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Though inward stillness
exists, awareness and vigilance must remain active. Silence here is not
unconsciousness, but alert inward watchfulness.
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In this stanza, Tallapaka Peda Tirumalacharyulu
appears to create an inward atmosphere of guarded stillness. The movement is no
longer outward devotion alone; the poet seems to place the reader before an
inaccessible inward centre.
“కోనేటిరాయఁడు కోరి నిద్రించీ వాఁడే” does not
appear to indicate ordinary sleep, but rather a dormant inward state that is
not ordinarily accessible. This “sleep” may indicate a stillness untouched by
the restless occupations and psychological movements of the mind.
The expression “ఆనకమై జాలీయరో” creates a
striking contradiction. “ఆనకము” suggests ceremonial drums, percussion, thunderous
resonance, and powerful sounding. Yet here the sounding must happen without
disturbance. In this sense, “ఆనకమై జాలీయరో” becomes almost like a soundless speech. It is as
though one must become the drum itself — awakening inwardly without producing
psychological noise. Thus, “ఆనకమై జాలీయరో” may indicate a state where one becomes the
instrument itself, setting aside self-pity and inward agitation. The sound and
the drum are no longer separate. Here the poet appears to point toward an alert
intensity without disturbance.
“పేనిపట్టి వాకిళ్ళ బీగముద్రలాయ నిడి” further
deepens the atmosphere. The entrances are sealed; ordinary access is no longer
available. There appears to be no external “key.” The inward centre cannot be
approached through habitual psychological wandering or accumulated methods.
This inward impossibility resembles expressions such as “గడిచీటియును నీవు,” where the actor and the means of release
themselves cease to remain separate. Thus, the complexity of expression itself
becomes meaningful. (“గడి = limit, border; గడిచీటి = a permission
to cross the border; గడిచీటియును నీవు = you are the border
and also the permission to cross the same)
Still, “కానిమ్మని వాయించరో గంట పారి” introduces
continuing vigilance. Even in silence, awareness must remain awake. The bells
continue sounding, not as disturbance, but as alert watchfulness. Thus, the
stanza holds together two seemingly opposite movements:
- immense inward
stillness,
- and uninterrupted
awareness.
The stanza functions less as philosophical
explanation and more as living psychological tension. Much like “తందనాన ఆహి,” the sound, cadence, and atmospheric pressure of
the words themselves begin carrying meaning beyond direct conceptual
interpretation.
తిరుపణి
మణఁగెను తిరుగరా దెవ్వరికి
మరల
నెలుగియ్యరో మగపారి
పరగ
దేవత లెల్ల బడకెళ మున్నారు
యిరవాయ
సూర్యచంద్రు లెదురు పారి ॥ఓ
హో॥
Literal Sense:
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Poem Line
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Romantic
Sense
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Philosophical
sense
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తిరుపణి
మణఁగెను తిరుగరా దెవ్వరికి
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(తిరుపణి = temple
services) The temple services and movements have fallen silent; in that still
atmosphere, even making a move feels unsettling.
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The poet appears to turn
inward. Daily rituals and habitual occupations have fallen aside. The mind
now finds it difficult to move within that inwardly desolate stillness, no
longer wandering carelessly through its usual occupations.
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మరల
నెలుగియ్యరో మగపారి
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Do not again allow
disturbance or noisy movement to arise. |
Beware of rekindling the old
movements of psychological agitation and conditioned involvement. |
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పరగ దేవత
లెల్ల బడకెళ మున్నారు |
(పరగ = agreeably,
duly; బడకెళ
= weariness, exhaustion) Even the gods and celestial
beings have withdrawn into restful stillness.
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The poet sees even the
“gods” resting. Higher movements such as imagination, ideals, worship, and
inward projections themselves have become quiet before that immeasurable
state.
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యిరవాయ
సూర్యచంద్రు లెదురు పారి
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(ఎదురు పారి = facing
each other) The Sun and Moon stand facing each other like vigilant guards.
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The poet appears to perceive
the dualities of existence directly. Light and darkness, waking and silence,
movement and stillness stand together in alert awareness. “ఎదురు పారి” may suggest simultaneous
perception without inward division.
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Deep
Notes:
In the second stanza, Tallapaka Peda
Tirumalacharyulu appears to move deeper into an inward atmosphere where
ordinary movement itself begins falling silent. The poem no longer functions
through external devotional imagery alone; it slowly enters a state of immense
inward quietness.
“తిరుపణి మణఁగెను తిరుగరా దెవ్వరికి” may
outwardly suggest that temple activities and movements have ceased. Here, we may take తిరుపణి not as a temple, but poets own mind. Yet
inwardly, the poet appears to indicate a condition where the usual occupations
of the mind — rituals, habits, psychological routines, and restless movements —
gradually lose momentum. The atmosphere becomes so still that even making an
inward movement feels unsettling. The mind now becomes cautious even in
wandering through its familiar structures.
“మరల నెలుగియ్యరో మగపారి” introduces
a subtle warning. Once this inward stillness is touched, the old patterns of
agitation, emotional disturbance, and conditioned movement must not be
carelessly rekindled. The poet appears to caution against falling back into
familiar psychological occupations merely because silence feels unfamiliar or
empty.
The line “పరగ దేవత లెల్ల బడకెళ మున్నారు” deepens the
inward stillness further. Even the “gods” appear to have withdrawn into rest.
In that inward movement, the poet sees all imagination, ideals, inward projections, and
even elevated spiritual constructs themselves fall silent before that
immeasurable inward state. The poem thus moves beyond ordinary devotional
imagination into direct inward perception.
“యిరవాయ సూర్యచంద్రు లెదురు పారి” is perhaps
one of the most astonishing expressions in the stanza. The poet appears to
directly perceive the dualities of existence:
- light and
darkness,
- waking and
silence,
- movement and
stillness,
standing face to face in simultaneous awareness. “ఎదురు పారి” may
indicate not conflict, but direct perception without inward division.
Much like “తందనాన ఆహి,” this stanza functions less through conceptual
explanation and more through atmosphere, sound, and inward resonance. The
cadence of the words themselves slows the mind and creates a strange
psychological suspension. The reader is not merely informed about silence; one
is gradually made to stand within it.
Third Stanza:
శ్రీ
వేంకటేశ్వరుఁడు చిత్తగించీ లోననదె
కోవర
మెన్నికెరో కోటిపారి
ఆవల
బంగారుగుదియలు ఘల్లు రనఁగా
తావుల
హనుమంతునితలారి పారి ॥ఓహో॥
Literal Sense:
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Poem Line
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Normal
Sense
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Philosophical
sense
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శ్రీ
వేంకటేశ్వరుఁడు చిత్తగించీ లోననదె
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I can feel Sri
Venkateshwara (within me) has heard my appeal.
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The inward centre — Sri
Venkateshwara — appears to have awakened into consciousness; it is no longer
dormant. Awareness itself seems absorbed in immeasurable inward stillness.
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కోవర
మెన్నికెరో కోటిపారి
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(కోవరము = climbing high to watch for danger;
great caution. ఎన్నికెరో = to calculate, determine
carefully. కోటిపారి = countless times.) Who among countless
beings can truly determine or comprehend this?
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No measure,
calculation, system, careful analysis, or accumulated knowledge appears
capable of grasping that inward immensity.
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ఆవల
బంగారుగుదియలు ఘల్లు రనఁగా
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From here, one can hear
the soft resonance of golden anklets, as though passing from afar.
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Though the inward
centre remains inaccessible and still, life and existence continue their
subtle movement, and that resonance can still be inwardly felt.
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తావుల
హనుమంతుని తలారి పారి
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(తావు = house, place, base/support; హనుమంతుని = faithful servant; తలారి = night
watchman guarding against thieves.) Loyal attendants continue standing guard at
their appointed places.
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In that foundational
inward state, c. “హనుమంతుని” may indicate faithful
service and vigilant inward attention rather than merely the mythological
Hanuman.
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Deep
Notes:
In the third stanza, Tallapaka Peda
Tirumalacharyulu appears to bring the entire inward movement of the poem toward
a state of awakened watchfulness. The inaccessible centre that remained guarded
and silent in the earlier stanzas now appears to become inwardly alive.
“శ్రీ వేంకటేశ్వరుఁడు చిత్తగించీ లోననదె”
does not
seem to indicate merely that the Lord heard a prayer or granted favour. Rather,
the expression suggests that the inward centre — Sri Venkateshwara himself —
has awakened within consciousness. What was dormant and inaccessible now
appears inwardly alive. Awareness itself seems absorbed in immeasurable
stillness.
The expression “కోవర మెన్నికెరో కోటిపారి” introduces
the limitation of all outward methods of approach. “కోవరము” carries the
sense of great caution, watchfulness, and careful searching, as though climbing
to a height to look for danger or certainty. Yet the poet appears to suggest
that no amount of calculation, vigilance, accumulated knowledge, or careful
determination can truly measure or grasp this inward immensity. “కోటిపారి” intensifies
the impossibility — countless attempts still fail before that immeasurable
state.
“ఆవల బంగారుగుదియలు ఘల్లు రనఁగా” creates a
delicate shift in atmosphere. Though the inward centre remains silent and
inaccessible, the subtle resonance of life continues. The sound of golden
anklets appears almost from afar — not as disturbance, but as a gentle reminder
that existence itself still moves around this inward stillness. One seems to
witness life as though from a different depth of perception.
Finally, “తావుల హనుమంతుని తలారి పారి” brings the
poem toward uninterrupted vigilance. “తావు” may
indicate not merely a physical place, but a foundational inward base. “హనుమంతుని” here may
not refer merely to the mythological Hanuman, but to faithful service,
unwavering attention, and inward dedication. “తలారి” — the night
watchman — suggests continuous alertness guarding against unconscious movement
and inward theft by distraction.
Thus, the poem concludes not with emotional
climax or philosophical declaration, but with a state of living inward
watchfulness. Silence remains, movement continues softly, and awareness stands
guard without effort.
Much like the earlier stanzas, this movement is
conveyed not through abstract philosophy, but through atmosphere, sound,
guarded imagery, and subtle inward tension. The poem leaves the serious reader
not with conclusion, but with alert wonder — “ఓహోహో.”
X-X-The END-X-X
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