324 jāju jājēkāka diriśapuṃ̐ buvvaunā (జాజు జాజేకాక దిరిశపుఁ బువ్వౌనా)

 TALLAPAKA ANNAMACHARYULU

324 జాజు జాజేకాక దిరిశపుఁ బువ్వౌనా

(jāju jājēkāka diriśapuṃ̐ buvvaunā)

తెలుగులో చదవడానికి ఇక్కడ నొక్కండి.

 INTRODUCTION

Patterned Living

This composition of Annamacharya points to

the unnoticed workings of the mind in daily living.

We assume we are living—

yet much of it follows what is already familiar.

Our responses are not entirely new;

they arise from what has already formed within us.

What we see is shaped by what we already know.

What we feel moves along familiar patterns.

Within, there is repetition—

a quiet reinforcing, a habitual deflecting.

So perception is rarely direct;

it moves through what is already there.

This poem gently brings that movement—

like a system that runs unnoticed until it falters—into view,

not to correct it,

but to make it visible.

Bottom of Form

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శృంగార సంకీర్తన

రేకు: 93-1 సంపుటము: 5-368

జాజు జాజేకాక దిరిశపుఁ బువ్వౌనా నీ జాడెంతయిన నీవు మానేవా           ॥పల్లవి॥ సంపెంగపూవులలోన సారెకుఁ జూచిన తన- కంపే కాక తనకాఁక మానీనా యింపులు గొందరికి యీరసాలు గొందరికి జంపుల నీ గుణముల జాడ మానేవా   ॥జాజు॥ పొగడ పూవులలోన పొందుగఁ జూచిన తావి తగుఁగాక తా మదము మానీనా నిగిడిన నీచేఁత నీ బోంట్ల కే కాక మగిడి నీగుణములు మంచివయ్యీనా ॥జాజు॥ కామించి కలువలు కన్నులనద్దుకొనిన కామునమ్ములునేఁడు గాక మానీనా దీమసపు వేంకటేశ తెమలని కూటముల ఆమని మాకోరికల ఆస మానీనా         ॥జాజు॥

ROMANTIC POEM

Copper Plate: 93-1 Volume: 5-368

jāju jājēkāka diriśapuṃ̐ buvvaunā nī jāḍeṃtayina nīvu mānēvā              ॥pallavi॥ saṃpeṃgapūvulalōna sārekuṃ̐ jūcina tana- kaṃpē kāka tanakāṃ̐ka mānīnā yiṃpulu goṃdariki yīrasālu goṃdariki jaṃpula nī guṇamula jāḍa mānēvā    ॥jāju॥ pogaḍa pūvulalōna poṃdugaṃ̐ jūcina tāvi taguṃ̐gāka tā madamu mānīnā nigiḍina nīcēṃ̐ta nī bōṃṭla kē kāka magiḍi nīguṇamulu maṃcivayyīnā    ॥jāju॥ kāmiṃci kaluvalu kannulanaddukonina kāmunammulunēṃ̐ḍu gāka mānīnā dīmasapu vēṃkaṭēśa temalani kūṭamula āmani mākōrikala āsa mānīnā           ॥jāju॥

Details and Discussions:

Chorus (Pallavi):

జాజు జాజేకాక దిరిశపుఁ బువ్వౌనా

నీ జాడెంతయిన నీవు మానేవా   ॥పల్లవి॥

jāju jājēkāka diriśapuṃ̐ buvvaunā

nī jāḍeṃtayina nīvu mānēvā        ॥pallavi॥

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Literal Sense: 

A red flower remains red.

A white flower remains white.

No matter how one imagines or wishes,

their nature does not change.

In the same way—

whatever is already present within,

can it be set aside by intent?

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Deeper Note:

First, this is not a simple comparison.

But a subtle question is being raised.

Red is one image in the mind.

White is another.

Does moving from one image to another

bring any real change?

The mind compares images,

evaluates,

and seeks change.

From like/dislike,

from near/far—

it moves in response to what it perceives. 

So the question:

However much you try, can you change what is already there?

What appears as change

is often only a shift in images.

The underlying nature remains as it is.

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One-line essence

The world within remains as it is—

what changes is the mind’s own projection.

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First Stanza:

సంపెంగపూవులలోన సారెకుఁ జూచిన తన-

కంపే కాక తనకాఁక మానీనా

యింపులు గొందరికి యీరసాలు గొందరికి

జంపుల నీ గుణముల జాడ మానేవా          ॥జాజు॥

saṃpeṃgapūvulalōna sārekuṃ̐ jūcina tana-

kaṃpē kāka tanakāṃ̐ka mānīnā

yiṃpulu goṃdariki yīrasālu goṃdariki

jaṃpula nī guṇamula jāḍa mānēvā          ॥jāju॥

 జంపుల = useless talk

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Top of Form

Bottom of Form

Literal Sense:

Even when the Sampenga (champak) flower is

seen again and again,

it gives out only its own fragrance—

does it ever leave its nature?

To some it is pleasing,

to others unpleasant.

Amid all such chatters,

will the traces of your own nature ever subside?

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Interpretative Notes:

simple observation is placed.

The object is the same.

The responses are not.

Why?

Not because the flower changes—

“కంపే కాక” — it gives out only what is its own.

It does not alter itself.

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But the mind—

“తనకాఁక మానీనా?”

does it leave its own nature?

It:

comparesreacts

assigns value

From there arise:

favourable / adverse

acceptance / rejection

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These reactions:

belong to the observer.

So, all this discussion—

“జంపుల” — becomes futile,

as long as the nature of the observer remains unchanged.

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The poet is simply observing the nature of thought.

He doesn’t offer a gradual solution.

He raises a direct question:

Will this pattern of response ever cease?

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One line Essence

What is seen is not just the object—

it is coloured by the state from which it is seen.

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Second Stanza:

పొగడ పూవులలోన పొందుగఁ జూచిన తావి

తగుఁగాక తా మదము మానీనా

నిగిడిన నీచేఁత నీ బోంట్ల కే కాక

మగిడి నీగుణములు మంచివయ్యీనా          ॥జాజు॥

pogaḍa pūvulalōna poṃdugaṃ̐ jūcina tāvi

taguṃ̐gāka tā madamu mānīnā

nigiḍina nīcēṃ̐ta nī bōṃṭla kē kāka

magiḍi nīguṇamulu maṃcivayyīnā          ॥jāju॥ 

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Literal Sense:

Even when the fragrance of the pogada flower is properly perceived,

does one’s own pride fall away because of it?

Unless one is yielded, drawn within,

do one’s qualities become good on their own?

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Interpretative Notes: 

A further step is taken.

“పొందుగఁ జూచిన” —

Even when seen properly, with clarity.

“తా మదము మానీనా?” —

does one’s conceit fall away because of that?

Seeing alone does not dissolve it.

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The key point: “మదము”

Here, “మదము” is not merely pride.

It is the sense of self at the centre—

the structure from which one sees.

Like the Pogada flower whose fragrance lingers,

this centre does not easily fade.

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Second movement

“నిగిడిన నీచేత…”

Unless there is a yielding—

a softening of that centre—

change does not take place.

Without that,

do one’s qualities become good on their own?

They do not.

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Movement of the Poem

Pallavi → shifting images is futile

First Stanza → difference arises from the state of seeing

Second Stanza → even right seeing does not ensure change

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One-line essence

Seeing alone is not enough—

if the structure of the observer remains unchanged.

Bottom of Form

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Third Stanza:

కామించి కలువలు కన్నులనద్దుకొనిన

కామునమ్ములునేఁడు గాక మానీనా

దీమసపు వేంకటేశ తెమలని కూటముల

ఆమని మాకోరికల ఆస మానీనా ॥జాజు॥

kāmiṃci kaluvalu kannulanaddukonina

kāmunammulunēṃ̐ḍu gāka mānīnā

dīmasapu vēṃkaṭēśa temalani kūṭamula

āmani mākōrikala āsa mānīnā     ॥jāju॥

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Literal Meaning:

Even if, with desire, one places the lotus before the eyes,

do the arrows of desire cease?

If they do not end now, will they end later?

O Venkatesha of courage,

do meetings that are never entered into

ever come to be?

Do our desires—

ever come to an end?

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Interpretative Notes:

A further movement is shown.

“కామించి కలువలు కన్నులనద్దుకొనిన —

even when one turns with intent,

even with effort—

desire continues.

There is also a subtle suggestion:

కలువలు — the flower that blooms in the night.

Even when one attends to it,

the movement of desire does not cease.

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“కామునమ్ములు నేఁడు గాక మానీనా” —

The Cupids arrows

the arrows of desire—

if they do not end now,

how will they end later?

The poet is indicating immediacy.

Not a planned action,

not something to be taken up in future.

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Key observation

The idea of “later” is itself the continuation.

postponement is not interruption—

it is extension

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“దీమసపు వేంకటేశ తెమలని కూటముల”

Here

దీమసపు వేంకటేశ is indicating

Venkatesha is not approached without courage

తెమలని కూటముల is indicating

A union which does not end

కూటము implies a coming together—

of two or more.

As long as there is a “wisher”

and something “to be attained,”

the movement of seeking continues.

Such a meeting does not resolve—

it remains in continuation.

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Final line:

“ఆమని మాకోరికల ఆస మానీనా” —

do our desires ever come to an end?

They do not.

As long as action is driven by fulfilment,

it remains within the field of desire.

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Concise Understanding:

Pallavi → Shifting mental images is futile

First Stanza → The state of seeing creates difference.

Second Stanza → Practice does not bring change.

Third Stanza → Desire does not end through postponement.

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One-line essence

Nothing changes by pursuit—

the movement itself is the continuation. 

Bottom of Form

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X-X-The END-X-X

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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Top of Form

Bottom of Form

శృంగార సంకీర్తన

రేకు: 70-1 సంపుటము: 5-229

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

Copper Plate: 70-1 Volume: 5-229

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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Top of Form

Bottom of Form

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.

Top of Form

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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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 X-X-The END-X-X