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శృంగార
సంకీర్తన
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రాగి రేకు: 13-1 సంపుటము - సంకీర్తన: 5-74
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కొమ్మ తన ముత్యాల కొంగు జారఁగఁ బగటు కుమ్మరింపుచుఁ దెచ్చుకొన్నదీ వలపు ॥పల్లవి॥ ఒయ్యారమున విభుని వొరపు గనుఁగొని రెప్ప ముయ్యనేరక మహ మురిపెమునను కయ్యంపుఁ గూటమికిఁ గాలుదువ్వుచు నెంతె కొయ్యతనమునఁ దెచ్చుకొన్నదీవలపు ॥కొమ్మ॥ పైపైనె ఆరగింపకుము పన్నీరు గడు- తాపమవునని చెలులు దలఁకగానే తోపు సేయుచుఁ గెంపు దొలఁకుఁ గన్నుల కొనల కోపగింపుచుఁ దెచ్చుకొన్నదీవలపు ॥కొమ్మ॥ ఎప్పుడునుఁ బతితోడ నింతేసి మేలుములు ఒప్పదని చెలి గోర నొత్తఁగానే యెప్పుడో తిరువేంకటేశు కౌఁగిఁట గూడి కొప్పుగులుకుచుఁ దెచ్చుకొన్నదీవలపు ॥కొమ్మ॥
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Romantic POEM
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Copper Plate: 13-1 Volume: 5-74
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komma
tana mutyāla koṃgu jāraṃ̐gaṃ̐ bagaṭu kummariṃpucuṃ̐
deccukonnadī valapu ॥pallavi॥ oyyāramuna
vibhuni vorapu ganuṃ̐goni reppa muyyanēraka
maha muripemunanu kayyaṃpuṃ̐
gūṭamikiṃ̐ gāluduvvucu neṃte koyyatanamunaṃ̐
deccukonnadīvalapu ॥komma॥ paipaine
āragiṃpakumu pannīru gaḍu- tāpamavunani
celulu dalaṃ̐kagānē tōpu
sēyucuṃ̐ geṃpu dolaṃ̐kuṃ̐ gannula konala kōpagiṃpucuṃ̐
deccukonnadīvalapu ॥komma॥ eppuḍunuṃ̐
batitōḍa niṃtēsi mēlumulu oppadani
celi gōra nottaṃ̐gānē yeppuḍō
tiruvēṃkaṭēśu kauṃ̐giṃ̐ṭa gūḍi koppugulukucuṃ̐
deccukonnadīvalapu ॥komma॥
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Deeper
Meaning
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కొమ్మ తన ముత్యాల కొంగు జారఁగఁ బగటు
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As the pearl-like garment that the nāyika
considers precious and dear to her slips away, the modesty and self-respect
she had concealed are exposed, leaving her unable to hide and standing
completely vulnerable and unprotected.
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When the feelings that a person guards most privately, such as
self-respect and conceit—things that cannot be revealed to anyone—become
exposed, there is nowhere left to hide, and one is left helpless before what
has been revealed.
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కుమ్మరింపుచుఁ దెచ్చుకొన్నదీ వలపు
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In that moment of helplessness, she realises that what she had
until then regarded as valapu (love) is a mixture of self-pity,
sympathy, anxiety and anticipation that she herself had poured out and
brought upon herself, rather than love.
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In that moment of defencelessness, what he had called love and
affection is seen to be only a surface covering. What he is actually engaged
in is something resembling an exchange, a transaction or a bargain.
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Literal Meaning
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Deeper Meaning
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ఒయ్యారమున విభుని వొరపు గనుఁగొని రెప్ప /
ముయ్యనేరక
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With great confidence in her beauty and poise, she believes she
has discovered the way to win the Lord and waits eagerly without even
blinking
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The human being believes that the Divine/Truth can be reached
through a method known to him—through intelligence, technique, effort or
practice—and awaits results confidently.
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మహ మురిపెమునను
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She is filled with immense delight and excitement.
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He becomes delighted with his own effort, believing that the
method he has chosen will lead to the discovery of truth
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కయ్యంపుఁ గూటమికిఁ గాలుదువ్వుచు నెంతె
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She eagerly prepares herself for the union, like entering a
playful battle of love.
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Once the Divine is regarded as something separate from oneself,
reaching it becomes an undertaking—a meeting to be achieved through effort.
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కొయ్యతనమునఁ దెచ్చుకొన్నదీవలపు
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The poet observes the valapu
(love) she
has brought upon herself through her own stubbornness.
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What has been called love is seen as something the individual
has himself constructed and brought upon himself.
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Poem Line |
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Deeper Meaning |
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పైపైనె ఆరగింపకుము పన్నీరు గడు- /
తాపమవునని చెలులు దలఁకగానే |
The friends warn her that the fragrance of panneeru (perfumed
water) is pleasant only on the outside, but taking it inside causes heat. |
The pleasures of life are pleasant on the surface. When they are
taken as the purpose of life and one lives in them, what is pleasant becomes
a source of inner heat. |
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తోపు సేయుచుఁ గెంపు దొలఁకుఁ గన్నుల కొనల |
She brushes aside their words, and the redness of anger at the
corners of her eyes begins to show. |
Man rejects anything that stands in the way of his desires. The
experience begins to corrode and is now outwardly exhibited in behaviour. |
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కోపగింపుచుఁ దెచ్చుకొన్నదీవలపు |
(The poet comments sarcastically.) The valapu
(love) she has brought upon herself now appears as anger. |
The attraction and the desire arising from it, and the
resistance they meet, finally become anger. The disturbance traps him in the
very thing he wanted to escape. |
Literal Meaning:
The friends
warn her not to take the panneeru (perfumed water) inside. Its fragrance
is pleasant on the surface, but taken inside it causes heat. She brushes aside
their warning, and the redness of anger at the corners of her eyes begins to
show. The poet then comments sarcastically: the valapu (love) she
has brought upon herself now appears as anger.
Implied Meaning:
The
pleasures of life are pleasant on the surface. When they are taken as the
purpose of life and one lives in them, what is pleasant becomes a source of
inner heat. Man rejects anything that stands in the way of his desires. Then
experience begins to corrode from within and is now outwardly exhibited in his
behaviour. The attraction, the desire arising from it, and the resistance it
meets finally become anger. The disturbance traps man in the very thing he
wanted to escape.
Deep Notes:
In the
first stanza, the poet demonstrated that the valapu she had brought upon
herself was due to stubbornness. This stanza shows how that valapu turns
into heat and finally anger.
“పైపైనె ఆరగింపకుము పన్నీరు” — panneeru (perfumed water) is pleasant
on the surface. If taken inside, it causes damage. Here, panneeru is
used as an image for pleasures that appear attractive but, when made the
purpose of life, become a source of inner heat.
Her friends
recognise this and warn her: “తాపమవునని చెలులు దలఁకగానే.” But she
does not heed them. “తోపు సేయుచుఁ” — she
brushes the warning aside. She rejects anything that stands in the way of what
she desires. Then the inner heat appears as “కోపగింపుచుఁ” — anger,
visible in the redness at the corners of her eyes. This brings to mind the
movement in the Gita (2.62): Engagement with sense-objects → attachment →
desire → anger.
Annamacharya
does not state this as a principle. He shows the movement through a simple
scene. The experience begins pleasantly, produces heat, meets resistance, and
finally appears as anger. There is also a close parallel with Gita 18.38: what
is pleasant in the beginning can become poisonous in its consequence. Here
Annamacharya gives the same movement in a more immediate form: what is
pleasant becomes a source of inner heat.
The final
line turns the observation back on the person: “కోపగింపుచుఁ
దెచ్చుకొన్నదీవలపు.” The valapu (love) she brought upon herself
has now become anger. The attraction, the desire arising from it, and the
resistance it meets have produced the very disturbance from which she wants to
escape. The poet is not giving a moral instruction. He is simply showing the
movement: attraction → experience → heat → resistance → anger → self-created
disturbance.
Third Stanza:
ఎప్పుడునుఁ
బతితోడ నింతేసి మేలుములు
ఒప్పదని
చెలి గోర నొత్తఁగానే
యెప్పుడో
తిరువేంకటేశు కౌఁగిఁట గూడి
కొప్పుగులుకుచుఁ
దెచ్చుకొన్నదీవలపు ॥కొమ్మ॥
eppuḍunuṃ̐
batitōḍa niṃtēsi mēlumulu
oppadani
celi gōra nottaṃ̐gānē
yeppuḍō
tiruvēṃkaṭēśu kauṃ̐giṃ̐ṭa gūḍi
koppugulukucuṃ̐
deccukonnadīvalapu ॥komma॥
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Literal Meaning |
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ఎప్పుడునుఁ బతితోడ
నింతేసి మేలుములు / ఒప్పదని చెలి గోర నొత్తఁగానే |
(చెలి = not an ordinary
friend, but a true servant of the Lord.) The friend pinches
her and points out that, when she is always with the Lord, there is no reason
for so many coverings or barriers between them. The nāyika, the
protagonist, realises her folly. |
(చెలి = a true servant of
the Lord; an internal realisation is also indicated.) Truth
is already omnipresent. Yet the human being continually creates coverings
between himself and Truth through his ideas, identities and conditioning. A
paradigm shift—a right observation—makes him see the
layers he himself has created. |
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యెప్పుడో తిరువేంకటేశు
కౌఁగిఁట గూడి |
At that very instant, the nāyika becomes aware that she has been in the
embrace of Tiruveṅkaṭeśa all along. |
When the self-created separation can no longer be sustained by
the internal darkness, what seemed to be a union to be achieved is seen to be
already there. |
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కొప్పుగులుకుచుఁ
దెచ్చుకొన్నదీవలపు |
(The poet comments.) She
nods her head in delight, and the valapu (love, divine compassion) is all that remains
in that union. |
The valapu (love) is no
longer something to lookforward to. With the separation gone, it is simply felt. |
Literal Meaning:
The friend,
a true servant of the Lord, pinches her and points out that when she is always
with the Lord, there is no reason for so many coverings or barriers between
them. At that very instant, the nāyika becomes aware that she has been
in the embrace of Tiruveṅkaṭeśa all along. The poet comments: she nods her head
in delight, and the valapu (love, divine compassion) is all that remains
in that union.
Implied Meaning:
A true
friend intervenes, probably indicating an internal realisation. It dawns on the
person that there is no need for coverings created through his ideas,
identities and conditioning between himself and Truth. Truth is already
omnipresent. A right observation—a paradigm shift—makes him see the layers he
himself has created.
When the
self-created separation can no longer be sustained by the internal darkness,
what seemed to be a union to be achieved is seen to be already there. The valapu
(love) is no longer something to look forward to. With the separation gone, it
is simply felt.
Deep Notes:
The first
two stanzas showed how the valapu is constructed and how it turns into
heat and anger. In this stanza, the covering that created the separation itself
becomes visible.
“ఎప్పుడునుఁ బతితోడ నింతేసి మేలుములు ఒప్పదని చెలి గోర నొత్తఁగానే” — A true
servant of the Lord intervenes and points out something very simple: if she
wants to be with the Lord, why is she putting up veils that obstruct the union
between them?
The
intervention may also be understood as an internal realisation. Nothing
new is given to her. A right observation makes her see what she herself has
been creating.
This brings
the inquiry to the human being. Truth is already omnipresent, yet we create
layers and enclosures between ourselves and Truth through our ideas, identities
and conditioning. Once the self-created folly is seen, a completely different
alertness dawns.
The next
line gives the turn:
“యెప్పుడో తిరువేంకటేశు కౌఁగిఁట గూడి.”
At that
very instant, she becomes aware that she has been in Tiruveṅkaṭeśa's embrace
all along. When the self-created separation can no longer be sustained by the
internal darkness, what appeared to be a union to be achieved is seen to be
already there.
Nothing has
been attained. The covering has been seen. The separation has gone.
Then comes
the poet's simple observation:
“కొప్పుగులుకుచుఁ దెచ్చుకొన్నదీవలపు.”
She nods
her head in delight. The valapu is all that remains in that union.
The valapu
is no longer something to look forward to. With the separation gone, it is
simply felt.
The
movement of the three stanzas is now complete:
self-created
valapu → pleasure → heat → resistance → anger → covering → seeing the
covering → separation disappears → valapu remains.
X-X-The
END-X-X
211R
కొమ్మ తన ముత్యాల కొంగు జారఁగఁ బగటు
(komma
tana mutyāla koṃgu jāraṃ̐gaṃ̐ bagaṭu)
తెలుగులో చదవడానికి ఇక్కడ నొక్కండి.
INTRODUCTION
This
composition by Annamacharya is an extraordinary piece of poetry, blending
layered symbolism with deep philosophical insight. At first glance, it appears
to describe an external event—a woman’s pearl-studded garment slipping away,
exposing the modesty and emotion that she would normally conceal.
As the
pearl-like garment that the nāyika considers precious and dear to her
slips away, the modesty she had concealed is exposed, leaving her with nowhere
to hide. In that moment of complete exposure, something far more significant is
revealed. What she had until then regarded as valapu—love or
affection—is now seen as a mixture of self-pity, sympathy, anxiety and
anticipation. More importantly, she discovers that she herself had poured
it out and brought it upon herself.
But, as
with much of Annamacharya’s poetry, the scene does not end with human emotion
or physical appearance. The external exposure becomes a metaphor for an inner
exposure. As the coverings fall away, the feeling itself is exposed—and
with it, the construction behind the feeling.
What
appears to be love is revealed as something the individual has created,
cultivated and brought upon himself or herself. The poem thus moves from exposure
of the body → exposure of emotion → exposure of its construction → exposure of
the self-created illusion.
That is
where the deeper significance of this seemingly simple śṛṅgāra
composition begins.
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శృంగార
సంకీర్తన |
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రాగి రేకు: 13-1 సంపుటము - సంకీర్తన: 5-74 |
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కొమ్మ తన ముత్యాల
కొంగు జారఁగఁ బగటు కుమ్మరింపుచుఁ
దెచ్చుకొన్నదీ వలపు ॥పల్లవి॥ ఒయ్యారమున విభుని
వొరపు గనుఁగొని రెప్ప ముయ్యనేరక మహ
మురిపెమునను కయ్యంపుఁ గూటమికిఁ
గాలుదువ్వుచు నెంతె కొయ్యతనమునఁ
దెచ్చుకొన్నదీవలపు ॥కొమ్మ॥ పైపైనె ఆరగింపకుము
పన్నీరు గడు- తాపమవునని చెలులు
దలఁకగానే తోపు సేయుచుఁ
గెంపు దొలఁకుఁ గన్నుల కొనల కోపగింపుచుఁ
దెచ్చుకొన్నదీవలపు ॥కొమ్మ॥ ఎప్పుడునుఁ బతితోడ
నింతేసి మేలుములు ఒప్పదని చెలి
గోర నొత్తఁగానే యెప్పుడో తిరువేంకటేశు
కౌఁగిఁట గూడి కొప్పుగులుకుచుఁ
దెచ్చుకొన్నదీవలపు ॥కొమ్మ॥ |
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Romantic POEM |
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Copper Plate: 13-1 Volume: 5-74 |
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komma
tana mutyāla koṃgu jāraṃ̐gaṃ̐ bagaṭu kummariṃpucuṃ̐
deccukonnadī valapu ॥pallavi॥ oyyāramuna
vibhuni vorapu ganuṃ̐goni reppa muyyanēraka
maha muripemunanu kayyaṃpuṃ̐
gūṭamikiṃ̐ gāluduvvucu neṃte koyyatanamunaṃ̐
deccukonnadīvalapu ॥komma॥ paipaine
āragiṃpakumu pannīru gaḍu- tāpamavunani
celulu dalaṃ̐kagānē tōpu
sēyucuṃ̐ geṃpu dolaṃ̐kuṃ̐ gannula konala kōpagiṃpucuṃ̐
deccukonnadīvalapu ॥komma॥ eppuḍunuṃ̐
batitōḍa niṃtēsi mēlumulu oppadani
celi gōra nottaṃ̐gānē yeppuḍō
tiruvēṃkaṭēśu kauṃ̐giṃ̐ṭa gūḍi koppugulukucuṃ̐
deccukonnadīvalapu ॥komma॥ |
Details
and Discussions:
Chorus (Pallavi):
కొమ్మ తన
ముత్యాల కొంగు జారఁగఁ బగటు
కుమ్మరింపుచుఁ
దెచ్చుకొన్నదీ వలపు ॥పల్లవి॥
komma
tana mutyāla koṃgu jāraṃ̐gaṃ̐ bagaṭu
kummariṃpucuṃ̐
deccukonnadī valapu ॥pallavi॥
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Poem
Line |
Literal
Meaning |
Deeper
Meaning |
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కొమ్మ తన ముత్యాల కొంగు జారఁగఁ బగటు |
As the pearl-like garment that the nāyika
considers precious and dear to her slips away, the modesty and self-respect
she had concealed are exposed, leaving her unable to hide and standing
completely vulnerable and unprotected. |
When the feelings that a person guards most privately, such as
self-respect and conceit—things that cannot be revealed to anyone—become
exposed, there is nowhere left to hide, and one is left helpless before what
has been revealed. |
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కుమ్మరింపుచుఁ దెచ్చుకొన్నదీ వలపు |
In that moment of helplessness, she realises that what she had
until then regarded as valapu (love) is a mixture of self-pity,
sympathy, anxiety and anticipation that she herself had poured out and
brought upon herself, rather than love. |
In that moment of defencelessness, what he had called love and
affection is seen to be only a surface covering. What he is actually engaged
in is something resembling an exchange, a transaction or a bargain. |
Literal Meaning:
As the
pearl-like garment that the nāyika considers precious and dear to her
slips away, the modesty and self-respect she had concealed are exposed, leaving
her unable to hide and standing completely vulnerable and unprotected. In that
moment of helplessness, she realises that what she had until then regarded as valapu
(love) is a mixture of self-pity, sympathy, anxiety and anticipation that she
herself had poured out and brought upon herself, rather than love.
Implied Meaning:
The first
line shows an act. The second line is the poet's observation of
what that act reveals.
When
feelings that a person keeps most privately, such as conceit and self-respect,
become exposed and derobed, not only what he has hidden but also the name by
which he has hidden it becomes exposed.
What he had
called love or affection is seen to be a mixture of self-pity, sympathy,
anxiety and anticipation that he has cultivated within himself. The feeling
then appears as a kind of transaction, exchange or bargain through which he has
been deceiving himself.
Deeper Note:
Psychologically,
when a person becomes completely exposed, bare and uncovered, the ground on
which he stands collapses. In the case of the nāyika, the slipping of
the pearl-like garment and the removal of her modesty signify this exposure.
All the artificial masks—such as modesty, pride and social propriety—fall away.
On that
defenceless ground she faces the fact: “కుమ్మరింపుచుఁ దెచ్చుకొన్నదీ వలపు (Kummarimpuçu
deccukonnadī valapu)” The love she had imagined until that point is
nothing but a mixture of self-pity, sympathy, anxiety and anticipation. It
becomes clear that this is something she has cultivated within herself.
Once that
feeling is exposed, the transaction behind it also becomes visible. She wants
something to happen as she wishes; she waits for it; she feels sorry for
herself; she becomes anxious. All these together construct a feeling, and she
gives it the name valapu (love). It is then seen as a transaction,
exchange or bargain through which she has been deceiving herself.
That is why
the nāyika is left in an indecisive state. The words that were so
soothing and comforting have lost their relevance. The feeling on which she had
depended—the very foundations on which she had relied—have been shaken. If we
place the human being in the position of this nāyika, the same movement
can be seen at a deeper level.
Human
beings have long desired to discover the nature of existence. Is there truth
and the divine governing this apparently chaotic world? They have performed
penance and austerities, abstained from food, endured fire, rain, heat and
cold, and undertaken countless efforts and experiments to unravel it. Like the
heroine in this poem, the nāyika, they too have intensely awaited, for
years, the dawning of Truth.
Yet when
what has been awaited does not appear, it becomes clear that what one has been
seeking may itself be a construction that one has built.
Progression
of the Pallavi
Covering →
Exposure → True nature of Love → Self-constructed feeling → The nāyika
left without knowing what to do
First Stanza:
ఒయ్యారమున
విభుని వొరపు గనుఁగొని రెప్ప
ముయ్యనేరక
మహ మురిపెమునను
కయ్యంపుఁ
గూటమికిఁ గాలుదువ్వుచు నెంతె
కొయ్యతనమునఁ
దెచ్చుకొన్నదీవలపు ॥కొమ్మ॥
oyyāramuna
vibhuni vorapu ganuṃ̐goni reppa
muyyanēraka
maha muripemunanu
kayyaṃpuṃ̐
gūṭamikiṃ̐ gāluduvvucu neṃte
koyyatanamunaṃ̐
deccukonnadīvalapu ॥komma॥
|
Poem Line |
Literal Meaning |
Deeper Meaning |
|
ఒయ్యారమున విభుని వొరపు గనుఁగొని రెప్ప /
ముయ్యనేరక |
With great confidence in her beauty and poise, she believes she
has discovered the way to win the Lord and waits eagerly without even
blinking |
The human being believes that the Divine/Truth can be reached
through a method known to him—through intelligence, technique, effort or
practice—and awaits results confidently. |
|
మహ మురిపెమునను |
She is filled with immense delight and excitement. |
He becomes delighted with his own effort, believing that the
method he has chosen will lead to the discovery of truth |
|
కయ్యంపుఁ గూటమికిఁ గాలుదువ్వుచు నెంతె |
She eagerly prepares herself for the union, like entering a
playful battle of love. |
Once the Divine is regarded as something separate from oneself,
reaching it becomes an undertaking—a meeting to be achieved through effort. |
|
కొయ్యతనమునఁ దెచ్చుకొన్నదీవలపు |
The poet observes the valapu
(love) she
has brought upon herself through her own stubbornness. |
What has been called love is seen as something the individual
has himself constructed and brought upon himself. |
Literal Sense:
With
confidence in her beauty and poise, she believes she has found the way to win
the Lord and waits for him without even closing her eyes. She is filled with
delight and prepares herself eagerly for the union, as though entering a
playful battle of love. (And the Lord does not appear) The poet observes the valapu
(love) she has brought upon herself through her own stubbornness.
Implied Meaning:
The human being believes that the Divine/Truth
can be reached through avenues known to him—through intelligence, technique,
effort or practice — and awaits results excitedly. He is consumed and delighted
with his own effort, believing that the method he has chosen will ultimately lead
to discovery of truth. Once the Divine is regarded as something separate from
oneself, reaching it becomes an undertaking—a meeting to be achieved through
effort. (And finally, he cannot confirm the existence of either the Divine or
Truth). That is when poet observes: What we have been calling love — is seen as
something the individual has himself constructed and brought upon himself.
Deeper Notes:
The pallavi
has already exposed the secret of the valapu. In this stanza,
Annamacharya shows how that valapu is formed. “ఒయ్యారమున విభుని వొరపు గనుఁగొని” — with confidence in her
beauty, she believes that she has discovered a way to draw the Lord towards
herself. She therefore waits with the eagerness of the expectation shining in
her eyes. She believes that her own effort will lead to the experience of the
Divine.
Then comes “కయ్యంపుఁ గూటమికిఁ.” Once the Divine is regarded as another being,
separate from oneself, a division arises: I am here; the Lord is there.
Union then becomes something to be achieved. The meeting turns into a kind of
battle of love. Yet, however much she prepares for it, the Lord does not
appear.
This brings
to mind the Gita's “समत्वं योग उच्यते samatvaṁ yoga uchyate” (2.48). Equanimity is a state in which one does
not lean towards either of the two opposing sides. The nāyika is not in
such a state. Her very effort to reach the Lord reinforces the division between
herself and Him.
The Inner
World — Hilma af Klint's Swans
Hilma af
Klint's paintings of swans provide an interesting visual parallel to this idea.
The black swan is associated with the physical world, reason and causality,
while the white swan is associated with the spiritual, the divine and inner
perception. In Swan No. 24, the two seem to penetrate one another and
form a configuration that ordinary physical logic cannot explain. Neither
cancels the other; they appear in a delicate and improbable balance.
Something
similar can be observed within the human being. Our understanding of the world,
reason and causality pull in one direction, while the spiritual, the divine and
inner perception pull in another. The balance seen in Swan No. 24
therefore provides a visual parallel for examining “కయ్యంపుఁ గూటమి.”
But the nāyika
here is not in that state of balance. She is trying to achieve it. Her very
effort therefore creates further disturbance. Like muddy water stirred into
motion, which brings the sediment up and obscures the view, the very eagerness
to reach truth can make seeing unclear.
Therefore
the last line reads: “కొయ్యతనమునఁ దెచ్చుకొన్నదీవలపు” Here కొయ్యతనము
means
more than stubbornness. It is the human confidence, arrogance, ignorance that
one can decide what is right and wrong and proceed by the method one already
knows. With that confidence, one constructs a delusion and then takes that very
construction to be valapu (love).
Annamacharya
is not saying that love does not exist. He is showing the construction of
what we call love.The Lord has not appeared to the nāyika, yet the valapu
is there. We are therefore forced to ask where that valapu came from:
Am I seeking the Divine—or the image of the Divine that I myself have
constructed? “దెచ్చుకొన్నదీ” is
stressing that she brought it upon herself.
Second
Stanza:
పైపైనె ఆరగింపకుము
పన్నీరు గడు-
తాపమవునని
చెలులు దలఁకగానే
తోపు సేయుచుఁ
గెంపు దొలఁకుఁ గన్నుల కొనల
కోపగింపుచుఁ
దెచ్చుకొన్నదీవలపు ॥కొమ్మ॥
paipaine
āragiṃpakumu pannīru gaḍu-
tāpamavunani
celulu dalaṃ̐kagānē
tōpu
sēyucuṃ̐ geṃpu dolaṃ̐kuṃ̐ gannula konala
kōpagiṃpucuṃ̐
deccukonnadīvalapu ॥komma॥
|
Poem Line |
Literal Meaning |
Deeper Meaning |
|
పైపైనె ఆరగింపకుము పన్నీరు గడు- /
తాపమవునని చెలులు దలఁకగానే |
The friends warn her that the fragrance of panneeru (perfumed
water) is pleasant only on the outside, but taking it inside causes heat. |
The pleasures of life are pleasant on the surface. When they are
taken as the purpose of life and one lives in them, what is pleasant becomes
a source of inner heat. |
|
తోపు సేయుచుఁ గెంపు దొలఁకుఁ గన్నుల కొనల |
She brushes aside their words, and the redness of anger at the
corners of her eyes begins to show. |
Man rejects anything that stands in the way of his desires. The
experience begins to corrode and is now outwardly exhibited in behaviour. |
|
కోపగింపుచుఁ దెచ్చుకొన్నదీవలపు |
(The poet comments sarcastically.) The valapu
(love) she has brought upon herself now appears as anger. |
The attraction and the desire arising from it, and the
resistance they meet, finally become anger. The disturbance traps him in the
very thing he wanted to escape. |
Literal Meaning:
The friends
warn her not to take the panneeru (perfumed water) inside. Its fragrance
is pleasant on the surface, but taken inside it causes heat. She brushes aside
their warning, and the redness of anger at the corners of her eyes begins to
show. The poet then comments sarcastically: the valapu (love) she
has brought upon herself now appears as anger.
Implied Meaning:
The
pleasures of life are pleasant on the surface. When they are taken as the
purpose of life and one lives in them, what is pleasant becomes a source of
inner heat. Man rejects anything that stands in the way of his desires. Then
experience begins to corrode from within and is now outwardly exhibited in his
behaviour. The attraction, the desire arising from it, and the resistance it
meets finally become anger. The disturbance traps man in the very thing he
wanted to escape.
Deep Notes:
In the
first stanza, the poet demonstrated that the valapu she had brought upon
herself was due to stubbornness. This stanza shows how that valapu turns
into heat and finally anger.
“పైపైనె ఆరగింపకుము పన్నీరు” — panneeru (perfumed water) is pleasant
on the surface. If taken inside, it causes damage. Here, panneeru is
used as an image for pleasures that appear attractive but, when made the
purpose of life, become a source of inner heat.
Her friends
recognise this and warn her: “తాపమవునని చెలులు దలఁకగానే.” But she
does not heed them. “తోపు సేయుచుఁ” — she
brushes the warning aside. She rejects anything that stands in the way of what
she desires. Then the inner heat appears as “కోపగింపుచుఁ” — anger,
visible in the redness at the corners of her eyes. This brings to mind the
movement in the Gita (2.62): Engagement with sense-objects → attachment →
desire → anger.
Annamacharya
does not state this as a principle. He shows the movement through a simple
scene. The experience begins pleasantly, produces heat, meets resistance, and
finally appears as anger. There is also a close parallel with Gita 18.38: what
is pleasant in the beginning can become poisonous in its consequence. Here
Annamacharya gives the same movement in a more immediate form: what is
pleasant becomes a source of inner heat.
The final
line turns the observation back on the person: “కోపగింపుచుఁ
దెచ్చుకొన్నదీవలపు.” The valapu (love) she brought upon herself
has now become anger. The attraction, the desire arising from it, and the
resistance it meets have produced the very disturbance from which she wants to
escape. The poet is not giving a moral instruction. He is simply showing the
movement: attraction → experience → heat → resistance → anger → self-created
disturbance.
Third Stanza:
ఎప్పుడునుఁ
బతితోడ నింతేసి మేలుములు
ఒప్పదని
చెలి గోర నొత్తఁగానే
యెప్పుడో
తిరువేంకటేశు కౌఁగిఁట గూడి
కొప్పుగులుకుచుఁ
దెచ్చుకొన్నదీవలపు ॥కొమ్మ॥
eppuḍunuṃ̐
batitōḍa niṃtēsi mēlumulu
oppadani
celi gōra nottaṃ̐gānē
yeppuḍō
tiruvēṃkaṭēśu kauṃ̐giṃ̐ṭa gūḍi
koppugulukucuṃ̐
deccukonnadīvalapu ॥komma॥
|
Poem Line |
Literal Meaning |
Deeper Meaning |
|
ఎప్పుడునుఁ బతితోడ
నింతేసి మేలుములు / ఒప్పదని చెలి గోర నొత్తఁగానే |
(చెలి = not an ordinary
friend, but a true servant of the Lord.) The friend pinches
her and points out that, when she is always with the Lord, there is no reason
for so many coverings or barriers between them. The nāyika, the
protagonist, realises her folly. |
(చెలి = a true servant of
the Lord; an internal realisation is also indicated.) Truth
is already omnipresent. Yet the human being continually creates coverings
between himself and Truth through his ideas, identities and conditioning. A
paradigm shift—a right observation—makes him see the
layers he himself has created. |
|
యెప్పుడో తిరువేంకటేశు
కౌఁగిఁట గూడి |
At that very instant, the nāyika becomes aware that she has been in the
embrace of Tiruveṅkaṭeśa all along. |
When the self-created separation can no longer be sustained by
the internal darkness, what seemed to be a union to be achieved is seen to be
already there. |
|
కొప్పుగులుకుచుఁ
దెచ్చుకొన్నదీవలపు |
(The poet comments.) She
nods her head in delight, and the valapu (love, divine compassion) is all that remains
in that union. |
The valapu (love) is no
longer something to lookforward to. With the separation gone, it is simply felt. |
Literal Meaning:
The friend,
a true servant of the Lord, pinches her and points out that when she is always
with the Lord, there is no reason for so many coverings or barriers between
them. At that very instant, the nāyika becomes aware that she has been
in the embrace of Tiruveṅkaṭeśa all along. The poet comments: she nods her head
in delight, and the valapu (love, divine compassion) is all that remains
in that union.
Implied Meaning:
A true
friend intervenes, probably indicating an internal realisation. It dawns on the
person that there is no need for coverings created through his ideas,
identities and conditioning between himself and Truth. Truth is already
omnipresent. A right observation—a paradigm shift—makes him see the layers he
himself has created.
When the
self-created separation can no longer be sustained by the internal darkness,
what seemed to be a union to be achieved is seen to be already there. The valapu
(love) is no longer something to look forward to. With the separation gone, it
is simply felt.
Deep Notes:
The first
two stanzas showed how the valapu is constructed and how it turns into
heat and anger. In this stanza, the covering that created the separation itself
becomes visible.
“ఎప్పుడునుఁ బతితోడ నింతేసి మేలుములు ఒప్పదని చెలి గోర నొత్తఁగానే” — A true
servant of the Lord intervenes and points out something very simple: if she
wants to be with the Lord, why is she putting up veils that obstruct the union
between them?
The
intervention may also be understood as an internal realisation. Nothing
new is given to her. A right observation makes her see what she herself has
been creating.
This brings
the inquiry to the human being. Truth is already omnipresent, yet we create
layers and enclosures between ourselves and Truth through our ideas, identities
and conditioning. Once the self-created folly is seen, a completely different
alertness dawns.
The next
line gives the turn:
“యెప్పుడో తిరువేంకటేశు కౌఁగిఁట గూడి.”
At that
very instant, she becomes aware that she has been in Tiruveṅkaṭeśa's embrace
all along. When the self-created separation can no longer be sustained by the
internal darkness, what appeared to be a union to be achieved is seen to be
already there.
Nothing has
been attained. The covering has been seen. The separation has gone.
Then comes
the poet's simple observation:
“కొప్పుగులుకుచుఁ దెచ్చుకొన్నదీవలపు.”
She nods
her head in delight. The valapu is all that remains in that union.
The valapu
is no longer something to look forward to. With the separation gone, it is
simply felt.
The
movement of the three stanzas is now complete:
self-created
valapu → pleasure → heat → resistance → anger → covering → seeing the
covering → separation disappears → valapu remains.
X-X-The
END-X-X
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