249 ఆడనీడ నుండఁగా నిన్ననేఁ
గాక
(ADanIDa nuMDagA ninnanE gAka)
తెలుగులో చదవడానికి ఇక్కడ నొక్కండి.
Introduction
In this keertana,
Annamacharya brings to
light a profound inner division.
Two voices emerge —
one immersed in worldly emotion,
the other observing in quiet clarity.
The “Other Voice”
doesn’t fight or resolve —
it simply reflects.
Love, desire, resistance, frustration —
all are allowed to be seen exactly as they are.
Annamacharya does not
preach.
He doesn’t fix.
He invites us to look at the confusion itself —
not escape it.
By laying bare the conflict between the material and the ethereal,
he shows that real understanding comes
not by choosing sides, but by staying with the tension.
This is poetry as
self-inquiry —
not mere expression, but exploration.
A bold moment in 15th-century Indian literature —
quiet, unsolved, and deeply transformative.
Many of us may say, “Yes,
I understand and feel this.”
True — but when?
Often, only after the incident.
Great minds see it as it is happening.
We live in post-action analysis.
They live in right action, in the moment.
Analysis of the Kirtana’s aesthetic experience:
This keertana can primarily be regarded as a work of suggestive poetry (dhvani kāvyam), for none of its ideas are stated directly — they are all implied. The theme of the composition clearly leans toward the divine and philosophical.
If we take the prevailing sthāyī bhāva (dominant mood) to be vairāgya (detachment), then the rasa evoked is clearly shānta rasa — the aesthetic essence of peace.
Since such poetry is layered and not
easily understood, this kīrtana may be compared to a NarikeLa pAkam (नारिकेलम् , = tough nut to crack)— to taste
the inner sweetness, after piercing through the complex dialogue, it becomes
instructive and valuable guide.
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శృంగార సంకీర్తన |
Romantic Poem |
|
రేకు:
242-1 సంపుటము: 8-247 |
Copper Plate: 242-1 Volume: 8-247 |
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ఆడనీడ నుండఁగా నిన్ననేఁ గాక కూడి యిట్టె వుండితేను కోపగించేనా ॥పల్లవి॥ నామొగము చూడుమా నగితేనె కానవచ్చీ నీ మనసులోననున్న నిజముఁ గల్లా యేమతకములు నేల యింతేసి ఆనలేల నామంచముమీఁద నుంటే నమ్మ నే ననేనా ॥ఆడ॥ ముమ్మారునాడుమామాట మొదలనే తెలిసెను కమ్మిన నీచేఁతల కపటాలెల్లా సమ్మతించు మననేల చలము సాధించనేల యిమ్ముల మాయిచ్చనుంటే యీసడించేనా ॥ఆడ॥ కాఁగిలించుకుండుమాకాఁక లోనెముంచుకొని ఆఁగి పెదవి దడిపె ఆసలెల్లాను వీఁగనేల యిఁకను శ్రీవెంకటేశ కూడితివి పాఁగి యిట్టె
నెలకొంటె బాసలాడిగేనా ॥ఆడ॥ |
ADanIDa nuMDagA
ninnanE gAka kUDi yiTTe vuMDitEnu
kOpagiMchEnA ॥pallavi॥ nAmogamu chUDumA
nagitEne kAnavachchI nI manasulOnanunna
nijamu gallA yEmatakamulu nEla
yiMtEsi AnalEla nAmaMchamumIda nuMTE
namma nE nanEnA ॥ADa॥ mummArunADumAmATa
modalanE telisenu kammina nIchEtala
kapaTAlellA sammatiMchu mananEla
chalamu sAdhiMchanEla yimmula
mAyichchanuMTE yIsaDiMchEnA ॥ADa॥ kAgiliMchukuMDumAkAka
lOnemuMchukoni Agi pedavi daDipe
AsalellAnu vIganEla yikanu
SrIveMkaTESa kUDitivi pAgi yiTTe nelakoMTe bAsalADigEnA ॥ADa॥ |
Details and Explanation:
Chorus
(Pallavi):
|
Telugu Phrase |
Meaning |
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ఆడనీడ నుండఁగా నిన్ననేఁ గాక |
I was there. Then here. Till yesterday. |
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కూడి యిట్టె వుండితేను కోపగించేనా |
Had I composed myself, remain with HIM, will be unhappy
with me? (not) |
Literal Meaning:
O Lord, will You be displeased?
Commentary:
This keertana can be imagined as an internal dialogue within Annamacharya’s mind. With a sense of guilt over having spent much of his past life in fruitless activities, the poet wonders, “If I decide to change now, will He believe me? Will He doubt me?
ఆడనీడ — In the journey of life, a person keeps moving here and there, attempting many things with the hope of achieving something meaningful. But in the end, he realizes that none of it has brought the desired outcome. By the time he sees this truth, it is too late—fatigue, disinterest, and the weight of age have set in, leaving him powerless to change course.
నిన్ననేఁ గాక is not just about “yesterday” in a calendar sense. It represents the psychological past—habits, false paths, and illusions in which the mind has sunk. These are the real barriers to transformation.
Annamacharya’s sense of “yesterday” can be compared with Shakespeare and Jiddu Krishnamurti:
|
S. No |
Speaker |
statement |
inference |
|
1 |
Annamayya |
Till “yesterday” I was
a fool. O God Can I be with you now? |
The past, as an
illusion, prevents real transformation. Will the Divine be angry at my
helplessness? |
|
2 |
Shakespeare |
“And all our
yesterdays have lighted fools" |
All in the past I have
been foolish and continues till the end. |
|
3 |
Jiddu Krishnamurti |
"yesterday makes
us invincible" |
Until one crosses the
barrier of “yesterday – an undeniable conditioned reality” the truth cannot
be seen. |
First Stanza:
|
పదబంధం |
అర్ధము |
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నామొగము చూడుమా నగితేనె కానవచ్చీ |
Annamayya: O God! Look at my face. You can tell by the way
I smile |
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నీ మనసులోననున్న నిజముఁ గల్లా |
The other voice: The things that influencing your mind are
false |
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యేమతకములు నేల యింతేసి ఆనలేల |
Annamayya: Why you create so much illusion |
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నామంచముమీఁద నుంటే నమ్మ నే ననేనా |
The other voice: We
share the same bed (same body). Still you cannot belive |
Literal Meaning:
The stanza explores a complex internal
dialogue. Annamacharya's voice believes his sincerity is self-evident. However,
the "other voice" challenges this, revealing that what he perceives
as truth is an illusion. It points out the irony of them being so intimately
connected (sharing the same physical form) yet being unable to trust each
other. This is not just a simple argument but a deeper spiritual conflict.
The
Interpretation:
The "other voice" in this verse is not a separate person but a part of Annamacharya's own consciousness—a part that is unattached to the world and can see things as they are. This voice is honest yet gentle, exposing the illusion (maya) and revealing the truth.
It doesn't necessarily agree with Annamacharya's worldly self, which is caught in attachments and anxieties. Instead, it responds to his external persona, directly challenging the flawed assumptions he holds.
Annamacharya likely wrote this complex piece to help spiritual seekers understand the internal conflicts that arise on their path. Annamacharya, in meditative state, could capture this struggle between the "conditioned mind" (the voice of worldly attachments) and the "unmanifest part" of a person that sees reality with clarity.
He describes "ఆకాశ పాకాశ మరుదైన కూటంబు లోకరంజకము తమలోనిసమ్మతము" (meaning in English: “This apparently upside-down world and the self are inseparable mirrors. To truly see the world is to see oneself." (converse is also true: each person in this world is as important as the world itself). Accepting this without an iota of doubt makes this world a better place to live.
Confusion arises in the mind because one part sees the truth as it is. The other influenced by the past (refer to Poem # 247) interprets the same differently. Thus, for we common people, seeing both at the same time is impossible, but Annamacharya was able to articulate this duality. We often experience similar inner struggles, but settle to prefer the worldly ways.
This piece is a profound exploration of
the internal human condition, demonstrating the struggle between our worldly
self and our true, unattached nature.
Second Stanza:
|
పదబంధం (Phrase) |
అర్థం (Telugu) |
|
ముమ్మారునాడుమామాట మొదలనే తెలిసెను |
Annamayya: "I know what I'm going to say, I've said it
a hundred times before” |
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కమ్మిన నీచేఁతల కపటాలెల్లా |
The Other Voice: "Your constant scheming and planning
are the source of all your deceptions.” |
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సమ్మతించు మననేల చలము సాధించనేల |
Annamayya: “Why ask for my agreement and then challenge me
with these tests?" |
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యిమ్ముల మాయిచ్చనుంటే యీసడించేనా |
The Other Voice: “If your mind rested in mine, would there
be any room for disagreement?" |
Literal Meaning:
This stanza continues the complex
internal dialogue. Annamacharya's voice claims that he is aware of his own
repeated words and actions, as if he has a set plan.
The other voice counters this, asserting
that this very act of planning is where the error lies. It implies that what
cannot be controlled or trained must be left alone.
Annamacharya then questions the other
voice, asking why it demands acceptance while simultaneously putting him
through various trials.
The other voice concludes by stating that
if his mind were to simply rest in the divine, there would be no disagreement
or conflict.
Commentary:
As humans, we constantly plan our lives. However, life rarely follows a script, leading to endless problems. Man's attempts to find contentment through religious texts have not been fully successful. The world continues to struggle, and the same fundamental questions that arose ages ago still trouble humanity, despite all our advancements in technology and science.
We have not learned to live in harmony. Our actions are often at odds with one another. We pull the world in different directions, yet it remains fundamentally the same place it has always been—a place full of conflict and contradiction.
The core
message of this stanza is that we must accept God as the only viable way to
live, not as a part-time interest.
Third Stanza:
|
Telugu Phrase |
Meaning |
|
కాఁగిలించుకుండుమాకాఁక లోనెముంచుకొని |
Annamayya: Why don’t
you try to embrace us, while we continue in the fever (of the world) |
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ఆఁగి పెదవి దడిపె ఆసలెల్లాను |
The other voice: how is it possible without stopping these
thirsty desires. |
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వీఁగనేల యిఁకను శ్రీవెంకటేశ కూడితివి |
Annamayya: why show pride, when you actually are with Lord
Venkateswara |
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పాఁగి యిట్టె నెలకొంటె బాసలాడిగేనా |
The other voice: if you stay this way, will you extract
promises? (will you not fall silent?) |
Literal Meaning:
Annamayya queries: “O Lord – why don’t you
embrace us, as we are unable to stop our excitement with the world.” Other
Voice: “as long as you live in anticipation and remain judgemental, how is it
possible?” Annamayya (with in himself) why should I show pride that I became
one with the Lord Venkateswara. The other voice responds “if so, will you ask
questions? (will you not fall silent?)”
Commentary:
The complex dialogue becomes even sharper. Annamayya queries – like any commoner question “knowing well that we people are unable to come out of our earthly engagements, why don’t you save us”. The Divine voice replies: it’s for you to choose. (refer to Gita 6-5 उद्धरेदात्मनात्मानं = uplift yourself). Further questions by Annamacharya met with stern words, if you are already with Lord, would you ask question? A mind with questions is thorn bed of desires.
In
short, this final stanza brings the internal conflict to a powerful conclusion.
The worldly pleas are silenced by the absolute truth that genuine union with
God means the cessation of all questions, desires, and conflicts. The complex
dialogue of the earlier stanzas culminates in this ultimate spiritual
realization.
SYNOPSIS of the POEM
The poem is a profound internal dialogue
between a devotee and a divine
"other voice."
It begins with the devotee questioning
if God will reject him for seeking
solace after a life of worldly pursuits.
The other voice challenges the devotee's
sincerity, revealing that his perceived reality is an illusion.
It points out that human planning and
worldly desires are the source of all conflict.
The poem concludes with the divine voice
asserting that true union with God means surrendering the mind, quieting all
questions, and accepting that spiritual peace is found not in worldly ways, but
in complete acceptance and silence.
X-X-The END-X-X
