[racchabanda] చిత్రకవిత (Was ఒకే పద్యమ్లో 64 విచిత్రాలు)
J. K. Mohana Rao
--- Hanuma Kodavalla <han...@hotmail.com> wrote:
>
> On the other hand, not one of the hidden 64 విచిత్రాలు in the subject's
> poem made the slightest stir in me, indicating that poetry is something more
> than an intricate verbal pattern. But then again, that might be because I'm
> too westernized and lazy to study and savor the inner beauty of this jewel!
> Indeed we all should pursue our own passions.
>
Individual response to poetry is purely subjective.
What stirs one can leave another quite cold.
What is ordinary may be beauty incarnate to another.
Over the years, chitrakavitva has been the whipping boy
for critics and other poets. Most of this form of poetry
is attempted at the end of kAvyAs as prArthana to God and
sometimes to the king or kRtibharta. As an offering to God,
what is objectionable? After all, even in the daily pUja,
people offer special prayer, rare flowers, delicious food.
Is it not? So what is wrong if the poet attempts something
difficult? After all, we draw muggulu before God, why not
a baMdha pattern that looks like muggulu. Why is it that
no appreciation is shown to this creation?
Even great poets are not very good in this area. It requires
knowledge of ChaMdassu, grammar and pAMDitya in a language.
What gaNapavarapu vEMkaTakavi achieved is something phenomenal.
While a few poets like timmana wrote some chitrakavita,
prabaMdharAjamu is chitrakavita, every poem! It is like
bElUru where every stone is carved. There is no place left
unadorned in the whole temple. People like mAgha and
bhAravi too have devoted entire cantos to chitrkavita.
Incidentally, information specialists are quite fond of this
form of poetry. IIIT, Bangalore has a website devoted to
chitrkavita, do you know? See
http://www.iiitb.ac.in/paduka1.htm
If poetry has to be purely emotional, that purpose can be
achieved even by a gEyamu or a vachana kavita or just prose.
Let us not forget wonderful poetry is oftentimes found in
prose!
Once again, we go by our own yardsticks that something useful
(in the form of a response) must be the rule of poetry. It
is what we face in other fields too. Nobody rewards research
work unless it has some use. Why have Hillary and Tensing
climbed Mt Everset? Because it is there! Why does one write
chitrakavita, because it is possible. It does not matter
whether somebody showers accolades. That is not the reason
why vEMkaTakavi wrote that magnum opus. He knew he was capable
and he offered what was his best to literature and to his God.
Knowing the absolute truth that hardly anybody likes chitrakavita,
for that matter even metrical poetry, I continue to carry out my
experiments. It is worth the effort even if there is one person
to enjoy it and encourage it. Even if nobody is there to appreciate,
still it is not vain. One takes the subject forward.
I think there must be more discussion on this topic apart from
people who have already formed their fixed views and skewed
rationale.
Regards! - mOhana
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Ramarao Kanneganti
moved slowly then), I was enamored with చిత్ర కవిత, బంధ కవిత. I saw
lot of wonderful examples in the book పారిజాతాపహరణము and enjoyed
many of them. I can still recite a few అనులోమ విలోమ కందములు, ద్వఖరి
కందములు. I recall, Sri Sri's సిప్రాలి has lot of attempts.
It is undeniable that metrical forms have nice rhythms. If you listen
carefully, you can hear the cadence, the rhythm in a politician's speech
also. It moves the heart even before it touches the mind.
Aye, there's the rub. If it can touch the mind after moving the heart, it
will last long. I can recite all those చురికా బంధము poems, but I
enjoy other poems from the book. I find myself singing జలజాతాసన
వాసవాది and musing about Satyabhama. How does she do it? What was she
thinking? From anger to despair to this act ... what was the emotional
roller coaster she was going through. True, it was not a she-elephant crying
on separation from her son(*), but it has all the drama that you can muster.
To me, it has rhythm and purpose.
As JKM alluded to, most of the చిత్ర కవిత is relegated to the back of
the book, when the drama is over. The duex ex machine has landed. Then the
poet start saying these poems. It is as though, they themselves do not take
it seriously. It is as if they are addressing their secret clientele with
these poems. It is a bit like నిషిద్దాక్షరి to show to the world what
you are capable of. In fact, some of the బంధ కవితలు if they are not
appropriately laid out, you would not even recognize them as such.
With most citra kavita, they attract at the first glance. Intrigue at the
second glance. A "wow" at the third glance. And, the eye no more lingers ...
it would be cheated if it tries for more -- the writers themselves seem to
make sure of that. Among the great poems that you can recite, how many have
these complex forms? True, some good ones seem to appropriate some elements.
By and large, the verbal calisthenics like నిరోష్త్య రామయనము, నల
రాఘవ పాండవాయము seem to have been just that -- calisthenics.
Several modern day masters of చందస్సు used them effectively --
appropriating the rhythms, and using them for a purpose. Three masters come
to my mind (in that order, strictly): Sri Sri, Kri Saa, Jandhyala. What they
are capable of -- అరిస్తే పద్యం, స్మరిస్తే వాద్యం, అనల వేదిక ముందు
అస్త్ర నైవేద్యం!!
I know I am not strictly speaking about చిత్ర కవిత, but నే నేయే
చిత్రవిచిత్ర శ్యమంత రోచిర్నివహం చూశానో!
--
Rama Kanneganti
PS: I am curiously afflicted with the inability to enjoy poetry in English.
I like it if it is translated from other languages like Spanish, Russian,
and German. But, apart from cerebral poetry like that of Yeats and Eliot, I
cannot get into it. Perhaps, my weltanschauung is too different?
*) Reference to గోవులొస్తున్నయి జాగ్రత్త. For additional points, please
discuss it in relation with the classical ఏడుపు పద్యాలు.
Srinivas Nagulapalli
Firstly, I acknowledge whatever little Chandassu I learnt, I owe
it to you and few others.
> I think there must be more discussion on this topic apart from
> people who have already formed their fixed views and skewed
> rationale.
I write this not to criticise or even as much as to greatly discuss.
Merely to share few thoughts. It is ok if I am wrong. But I hope,
I don't express in a way I regret.
> Over the years, chitrakavitva has been the whipping boy
> for critics and other poets. Most of this form of poetry
> is attempted at the end of kAvyAs as prArthana to God and
> sometimes to the king or kRtibharta. As an offering to God,
> what is objectionable? ... Why is it that no appreciation is shown
> to this creation?
Whose appreciation needs to be shown when offering is made to God!
Offering to God itself is to show, not to get, appreciation!
> Knowing the absolute truth that hardly anybody likes chitrakavita,
> for that matter even metrical poetry, I continue to carry out my
> experiments. It is worth the effort even if there is one person
> to enjoy it and encourage it. Even if nobody is there to
> appreciate, still it is not vain. One takes the subject forward.
I admire that greatly. It is not easy to do, nor easy to try.
However, if there is bitterness that it is being neglected and not
appreciated enough by others, and when bemoaned that such neglect
increases with time, then, and only then, we need to remember
that it has been like that always, all along, and any way. Also
popularity or patronage never were its goals and never will be.
That doesn't mean there is no appreciation. I believe it is there,
may not be as much as one likes though. I enjoyed reading quite a
few of your writings and even stored some. May be, we silently
enjoy but loudly complain:-)
Just to put in perspective, readers also deserve some mercy and
compassion. Particularly, when not all have the abilities and
inclination to understand such scholarship nor even time. And even
when they do, there is no way to remember, recall, retell,
reinterpret or even translate it to any other language.
No doubt, it seems to have the qualities of painting, sculpture,
verse and prose. Ironically, the summation of all those qualities
instead of enhancing, seems to make it worse and complex.
Why? Because each of those are so rich and deep, it may not be
possible to do justice to all of them- to make it simultaneously a
good form, metric, shape, symmetry, expression, sound etc.,
Furthermore, when such a thing is ever crafted, expecting reader
to absorb all of that and enjoy is putting a tall order. Very tall.
-----------------------------------------------------------------
Regards
-Srinivas
J. K. Mohana Rao
--- Srinivas Nagulapalli <srini...@yahoo.com> wrote:
> However, if there is bitterness that it is being neglected and not
> appreciated enough by others, and when bemoaned that such neglect
> increases with time, then, and only then, we need to remember
> that it has been like that always, all along, and any way. Also
> popularity or patronage never were its goals and never will be.
>
perhaps make readers understand why I am a bit sad about this all.
Sanskrit was the first language wherein chitrakavita appeared.
This is mainly in the form of baMdhakavitva. In fact baMdhakavitva
perhaps had its origins in the various vyUhAs mentioned in the
wars of the old, it is surmised. There is some chitrakavita in
kannaDa and tamiL. nRpatuMgA's kavirAjamArga has some baMdha
kavitva and others such as oeshThya, nirOshThya, etc. tamiL
has some, particularly in the work of aruNagirinAthar. hiMdI
too has some, but not much. It is only telugu that has an enormous
amount of chitrakavita, perhaps unparalleled in any language
including Sanskrit. I believe there is no (or very little)
garbhakvitva in any language. This is a field entirely
developed by the telugu poets and lAkshaNikAs.
On one hand, the telugu people are quite proud of their
literature and culture and look out for fields wherein they
excelled. On the other hand, be it yakshagAna or chitrakavitva,
wherein their contribution is considerable and even unique,
they don't tend to appreciate them, but neglect and ignore
them. This is what I don't understand and I can't understand.
As a student of mathematics, symmetry and chaMdassu, chitrkavitva
always fascinates me and I derive a lot of joy in these exercises.
My effort is to share and communicate a fraction of this to
others who can resonate with these frequencies of joy. Also
this field bridges several diverse fields like literature,
mathematics, art, music, etc.
Regards! - mOhana
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Hanuma Kodavalla
> J. K. Mohana Rao [jkm...@yahoo.com] Thu 1/31/2008 11:00 AM
> If poetry has to be purely emotional, that purpose can be
> achieved even by a gEyamu or a vachana kavita or just prose.
"'But no man may deliver his brother, nor make agreement unto God for him',
that is to me poetry so moving that I can hardly keep my voice steady in
reading it. And that this is the effect of language I can ascertain by
experiment: the same thought in the bible version, 'None of them can by any
means redeem his brother, nor give to God a ransom for him', I can read
without emotion.
...
But in these six simple words of Milton - 'Nymphs and shepherds, dance no
more --,' what is it that can draw tears, as I know it can, to the eyes of
more readers than one? What in the world is there to cry about? Why have the
mere words the physical effect of pathos when the sense of the passage is
blithe and gay? I can only say, because they are poetry, and find their way
to something in man which is obscure and latent, something older than the
present organization of his nature, like the patches of fen which still
linger here and there in the drained lands of Cambridgeshire."
-- From "The Name and Nature of Poetry," by A. E. Housman.
1933 Leslie Stephen lecture delivered at Cambridge University.
Whenever questions about the nature of poetry arise, the book I refer to is
"A Mathematician's Apology," by G. H. Hardy! My copy shows I bought it at
Harvard Square in Cambridge, MA in October 1985! The book begins with
Housman's lecture. Twenty two years since I heard of Housman, but had not
read him! Where has the time gone? And how could I be so lazy for so long?
Finally, I drove to the Bellevue library this evening and luckily found
Housman's book. Everyone interested in poetry must read that lecture.
And of course Hardy as well: "A Chess problem is genuine mathematics, but it
is in some way 'trivial' mathematics. However ingenious and intricate,
however original and surprising the moves, there is something essential
lacking."
> Also this field bridges several diverse fields like literature,
> mathematics, art, music, etc.
JBS Haldane, in his "How to Write a Popular Scientific Article," advised
that the writer must connect with what the reader already knew. But when he
included seven quotations from Dante's "Divine Comedy," in his book on
genetics, he was criticized for dragging Dante. Haldane defended saying it
was worthwhile to show the continuity of human thought. I know neither Dante
nor genetics, but I agree with Haldane. I always liked that in scientists.
That's one of the reasons why I love Bronowski.
However, even if Dante's theory on mutations matches with the modern theory
on genetics, that fact does little to confirm it is poetry. On the other
hand, if it indeed is poetry, it will probably survive, even if its theory
of mutation turned out to be wrong!
> I think there must be more discussion on this topic apart from
> people who have already formed their fixed views and skewed
> rationale.
Just because I disagree does not mean I have fixed views and skewed
rationale. Try convincing me and I'll change my views. But convince not by
showing it's unique to Telugu, it has only లఘువులు, it can be read
horizontally, vertically or diagonally, it embeds 64 - a power of two - mini
poems, its supreme craftsmanship, it has attracted the attention of IT
specialists and so on.
But by showing it satisfies what Housman called *the peculiar* function of
poetry: "To transfuse emotion - not to transmit thought but to set up in the
reader's sense a vibration corresponding to what was felt by the writer."
Then, why, of course, I'll change my views instantly.
Kodavalla Hanumantha Rao
maganti.vamsi
--- In racch...@yahoogroups.com, "Hanuma Kodavalla" <hanumak@...>
wrote:
> Just because I disagree does not mean I have fixed views and skewed
> rationale. Try convincing me and I'll change my views. But convince
not by
> showing it's unique to Telugu, it has only లఘువులు, it can be read
> horizontally, vertically or diagonally, it embeds 64 - a power of two
- mini
> poems, its supreme craftsmanship, it has attracted the attention of IT
> specialists and so on.
>
Aah...This is where it gets really interesting....As a common man we are
supposed to have fixed views and skewed rationale. If not we would be
called scholars. Convincing a common man like me is really difficult as
opposed to convincing a scholar. That's the reason why we have the so
called "mUDha nammakAlu" ain't it? and common man is supposed to stick
to the "mUDha nammakAlu" leave alone the disagreement. And I am not
disagreeing with you or trying to convince you instantly either. I am
just putting down my common complex thoughts...and have no intention of
being sarcastic or ironic either. I donot know any of the english
souls/poets you quoted and I am not interested too to read them just
because
1)they are not telugu people
2)when quoted by you I am assuming that they would be in very simple
form which is not my "common" cup of "complex"tea
3) they are simple souls who donot know లఘువులు
4) being simple souls liked by simple common men they cannot read or
write horizontal, diagonal or vertical complex beauties and all they
could do is throw in some words to rhyme which is a lullaby for simple
common men
5) as simple common men they cannot embed any thing - leave alone the
emotions to produce the "tears" into their writings
..........
ఇక్కడ మహోపాధ్యాయ శ్రీ వారనాసి రామబ్రహ్మం గారి మాట ఒకటి
చెప్పదలచుకున్నాను
"తెలుగువారికి, స్థూలముగా మానవులకు రెండు విధములగు శబ్దజాలము
స్వాధీనమందుండును.ఇతరులు మాట్లాడుచున్నప్పుడును, జదువుచున్నప్పుడును,
నర్థస్ఫురణమును గలిగించుచు మనకు బోధపడు శబ్దజాలమొకటి. మనము
మాటలాడునపుడుగాని, రచియించునపుడు గాని స్మృతిపథమున వ్యక్తమగుంచుండు
పదజాలము వేరొకటి. మొదటిదానిని బోధ్యపదజాలమనియు, రెందవదానిని
ప్రయోజ్యపదజాలమనియు విభజించుకొనవలెను.సామాన్య మానవులకు రెండువేల
పదములుగల ప్రయోజ్యపదజాలమును స్వాధీనమందుండును.బోధ్య పదజాలము
పదివేలకు మించదు. పండితులకు ఆ విసేషణ లేదు. వారలకు బోధ్య,
ప్రయోజ్య పదజాలము మరింత విస్తృతముగా, మరింత విపులములై సన్నిహిత
సంబంధము గలిగియుండును.కావున సామాన్యులు ఇతర భాషా వ్యామోహం వదలి
తమ మాతృభాష మీద ముందస్తుగా ప్రేమ పెంచుకొని, ఆ పై పదజాలము
పెంచుకొనిన, ఆ భాషలోని రచనలు వానిలోని మాధుర్యము అర్థమగును."
All I am trying to say is we should appreciate what JKM garu said about
this great piece of poetry and appreciate the great poets we have
instead of "disagreeing" or "convincing" each other, as we don't have
too many people in our language who could acheive this sort of genuine
complexity. And for that matter I appreciate JKM garu for taking steps
to preserve this wonderful art. Decide not to do that? and we will be
losing the most valuable assets to be passed on to the next generations
(who by the way are screwed up by the western influence any ways - whose
stupid parents enjoying the "vekili" vEshAlu of their kids) as has been
passed on by our elders to us.
That's all I got to say....
MVM.
Srinivas Nagulapalli
> mathematics, but it is in some way 'trivial' mathematics. However
> ingenious and intricate, however original and surprising the
> moves, there is something essential lacking."
>
ఎక్కడి చిత్ర కవిత్వము
ఎక్కడి చదరంగమయ్య ఎక్కడి హార్డీ !
ఎక్కడి కీచర్చ మరిం
కెక్కడి కిక సాగి పోవు నెవ్వ రెఱుంగున్ ! :-)
I don't know what Hardy thought chess is lacking, but John Kay,
an eminent economist seems to think otherwise :-) He says*:
---------------------------------------------------
"People who hold to a single idea, or a fixed design generally
lose in chess, as they lose in battle, in business and in
economics."
-----------------------------------------------------
Wondering if John too 'fixedly' holds on to that idea :-)
Regards
-Srinivas
* John's article at: http://www.johnkay.com/society/533
Satyanarayana Pamarty
wrote:
> Try convincing me and I'll change my views. But convince
> not by showing it's unique to Telugu, it has only లఘువులు, ...
namastE everybody! I have been watching this thread for a while now.
The room is getting to be uncomfortably hot. It melts my heart to see
good souls fighting for no valid reasons.
I love all the guys participating in this discussion and would not
like to take any sides. However, here's what I have got to say.
In my opinion, there can be as many schools of poetry as there are
poems. Each of these schools seem to cater to a certain audience.
Please look at this URL to get a picture of various schools of poetry
in the American English scene alone.
http://www.poets.org/page.php/prmID/193
Same with music. There are carnatic lovers, hindustani lovers, folk
music lovers, western classical lovers, jazz lovers, rap lovers,
heavy metal lovers etc.
Each swears by their school of thought. Likes and dislikes are based
on individual tastes. What might be poetry to one might not be to
another. Perfectly insane, but that's how this world ticks.
There are as many perspectives as there are people in this world.
చిత్రకవిత is in my opinion just another school of poetry. We do
have more schools of poetry now in telugu too. I think it is unfair
to brush off someone else's taste for a certain type of poetry just
because it doesn't strike a chord in us.
In poetry or songs, I go for thought-filled melancholy or fun stuff.
There might be people like JKMR gaaru who dig for symmetry and meter.
I am thinking that KHR garu is someone who goes for emotional stuff
that highlights human suffering etc. Lyla loves romantic poetry (I
know that I am commiting a inhuman crime placing Lyla within small
parentheses such as this). The "kavirAkshasulu" from SrI MVM's post
perhaps love vacana kavita or haiku style. Those who love SrI SrI
SrI's poetry must love BP raising stuff. I think what we like has a
lot to do with our taste.
We can make fun of each other, but I don't think in a democratic
setup, we can step on the other's toes.
Correct me if I am wrong. Poetry writers and lovers are capable of
creating their own individual triSaMku svargAlu. Let us all develop
our own edens and live happily in them and occasionally invite the
others too. Variety and choice are always a joy. Different choices
provide us with a contrast and an opportunity to enjoy and love "our
type" of poetry all the more.
Poetry ceases to be poetry not when it does not strike a chord in us,
but only when it does not strike a chord in anyone else in the world.
Have a nice day and a great weekend!
Thanks and best regards
Satya
References:
1. This post of mine.
2. All the future posts of mine on this topic.
J. K. Mohana Rao
--- Srinivas Nagulapalli <srini...@yahoo.com> wrote:
> --- In racch...@yahoogroups.com, "Hanuma Kodavalla" <hanumak@...>
> wrote:
> >
> > And of course Hardy as well: "A Chess problem is genuine
> > mathematics, but it is in some way 'trivial' mathematics. However
> > ingenious and intricate, however original and surprising the
> > moves, there is something essential lacking."
> >
>
> ఎక్కడి చిత్ర కవిత్వము
> ఎక్కడి చదరంగమయ్య ఎక్కడి హార్డీ !
> ఎక్కడి కీచర్చ మరిం
> కెక్కడి కిక సాగి పోవు నెవ్వ రెఱుంగున్ ! :-)
>
> I don't know what Hardy thought chess is lacking, but John Kay,
> an eminent economist seems to think otherwise :-) He says*:
> ---------------------------------------------------
>
Now that the game of chess has been mentioned, I want to mention
the chaturaMgabaMdha. This refers to the knight's move in
chess. If starting from the first letter, one makes the knight's
move to cover all 32 squares (eight letters per line), one
must get another poem. This is called chaturaMgabaMdha.
The poet ratnAkara in haravijaya first employed this. In
fact, mention is made of this as this demonstrates the
antiquity of the game of chess in India. Here is that poem and also
one from vEdAMtadESikA's pAdukasahasraM for which I am giving
the solution also.
సహసా దితసేనాశా
తయాసే సాహితద్యుతా
యాతావిత్రస్తరాసాద్ధా
సభామా తదనంతసిత్
-హరవిజయ, రత్నాకర
స్థిరాగసాం పదాఁరాధ్యా
విహతాకతతామతా
సత్పాదుకే సరాసా మా
రంగరాజపదం నయ
- పాదుకాసహ్స్రం, వేదాంతదేశిక
పై సమస్యకు జవాబు -
స్థితా సమయ రాజత్పా
గతరా మోదకే గవి
దురంహసాం సన్నతాదా
సాధ్యాతాపకరాఁసరా
Regards! - mOhana
____________________________________________________________________________________
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Kameswara Rao
<pamarty@...> wrote:
> Each swears by their school of thought. Likes and dislikes are based
> on individual tastes.
Satya garu has more or less echoed my thoughts. Some enjoy the
fragrance of a flower while others like the colour. Some like to study
the intricate design (like fractrals) of a flower. Some may enjoy a
whole garden with various types of such flowers. Some may just want to
drink the nectar alone.
It all depends on individual tastes.
But many times the tastes are influenced by society.
> Poetry ceases to be poetry not when it does not strike a chord in
us,
> but only when it does not strike a chord in anyone else in the world.
However I find this statement a bit dangerous, because it would make
Satya garu a poet:-)
It makes all Poetics void. Although there is no(and probably cannot
be) definition for poetry, from the day man identified poetry, there
has been an effort to understand what it is. There has been some
consensus derived and standards set from time to time. If someone
thinks a piece of work is poetry and enjoys it within himself, there
is no issue at all. However if one tries to assert publicly that the
piece is poetry, then there could be a disagreement. People will tend
to see it based on some standards. And I think there is nothing wrong
in it.
చిత్రకవిత్వం is certainly not poetry from current day standards of
poetry and I think it cannot be considered a good poetry even with our
older standards. But that doesn't belittle the greatness or speciality
of it. చిత్రకవిత్వం or బంధకవిత్వం is certainly an amazing
work, not possible for common man. No one disagrees with it.
The only problem comes when one tries to tag it as "poetry". I think
చిత్రకవిత్వం can do(better) without that tag.
regards,
Kameswara Rao
J. K. Mohana Rao
--- Kameswara Rao <kame...@yahoo.com> wrote:
>
> It all depends on individual tastes.
> But many times the tastes are influenced by society.
>
When I started the discussion, I said that the individual response
to poetry is quite subjective. Everyone is at liberty to enjoy
what (s)he likes. But the problem comes when somebody brands
that what the other enjoys is NOT poetry. This has two problems -
(a) one does not have the taste to enjoy good poetry,
(b) one is not capable of enjoying good poetry and wasting time.
Some people like sentimental movies, some comedies, and some others
whodunits. It is not necessary for one to decry the taste of the
others.
vaMSI gAru picked a poem that has been chiselled by the poet
with great care. It is not to show off but to explore the
limitless possibilities of telugu poetry. Why is it not
beautiful? Who said poetry must be laced with only profound
thoughts or touching sentiments? Is representation of beauty
not poetry? Why should something be there in poetry?
Is not exploring music, mathematics and art not poetry?
> చిత్రకవిత్వం is certainly not poetry from current day standards of
> poetry and I think it cannot be considered a good poetry even with our
> older standards. But that doesn't belittle the greatness or speciality
> of it. చిత్రకవిత్వం or బంధకవిత్వం is certainly an amazing
> work, not possible for common man. No one disagrees with it.
> The only problem comes when one tries to tag it as "poetry". I think
> చిత్రకవిత్వం can do(better) without that tag.
>
When a poet writes a poem, how is it, it is not poetry?
కవి వ్రాసినది కవిత్వము కాదా? Then what is it? Is
it kapitvamu? Here is a famous poem. Is it not poetry
and is the author not a poet? This poem is chitrakavitvamu
(sarvalaghu kaMdamu - except the obligatory guruvu at the end).
అడిగెద నని కడు వడిఁ జను
నడిగినఁ దను మగుడ నుడుగఁ డని నెడ నుడుగున్
వెడవెడ చిడిముడి తడఁబడ
నడు గిడు నడూ గిడదు జడిమ నడు గిడునెడలన్
Regards! - mOhana
____________________________________________________________________________________
Never miss a thing. Make Yahoo your home page.
http://www.yahoo.com/r/hs
Srinivas Nagulapalli
Our Kameshwara Rao gAru chose not to say a word yet. But I cannot
resist saying few.
> Is representation of beauty not poetry? Why should something be
> there in poetry? Is not exploring music, mathematics and art not
> poetry?
.....
> When a poet writes a poem, how is it, it is not poetry?
> కవి వ్రాసినది కవిత్వము కాదా? Then what is it? Is
> it kapitvamu?
Is one a poet before writing a poem, or one becomes a poet
after writing a poem?! Better, does poet create poetry, or
does poetry create poet out of a mere writer?! If the writing has
poetry, writer is a poet. If the writing has criticism, writer is
a critic. As the writing, so the writer. And if the writing
has beauty in it, then writer is, don't know what to say,
beautiful!
Also, not everything one wrote is worth writing. These are not my
words, but honest confession of many sincere and even reputed
writers themselves.
------------------------------------------------------------
Regards
-Srinivas
Kameswara Rao
> Our Kameshwara Rao gAru chose not to say a word yet. But I cannot
> resist saying few.
Can I resist such a provocation!
విశ్వామిత్రుని తపోభంగానికి ఎన్ని కారణాలో, రచ్చబండలో
మౌనభంగానికి అంతకు మించి ఆకర్షణలు! కాకపోతే అవన్నీ పట్టని
వసిష్ఠులు ఇక్కడ చాలామందే ఉన్నారు. మరి నాకెప్పుడా బ్రహ్మర్ష్త్వం
ప్రాప్తిస్తుందో...
> Is one a poet before writing a poem, or one becomes a poet
> after writing a poem?! Better, does poet create poetry, or
> does poetry create poet out of a mere writer?! If the writing
has
> poetry, writer is a poet. If the writing has criticism, writer
ప్రస్తుతానికి, ఇది చదివాక గుర్తొచ్చిన ఒక అప్రస్తుత పద్యం:
పుట్టుకచేత సూతుడను, పోలిక లేలికజాతి రోషముల్!
ఇట్టి విచిత్ర సంకరమదెట్టుల సంభవమయ్యెనో కదా
పుట్టిన జాతి బట్టి గుణమో? గుణ కర్మల చేత జాతియో?
పెట్టిన పేరు సార్థకమొ, పేరునుబట్టి పదార్థ తత్వమో?
This is a poem from an unfinished work of mine. Hope it gets
finished sometime, before I get finished:-)
regards,
Kameswara Rao.
Hemantha Kumar
No offence meant but my usual trivia please.:-)))
Best wishes
Hemantha Kumar
Srinivas Nagulapalli <srini...@yahoo.com> wrote:
--- In racch...@yahoogroups.com, SrI J. K. Mohana Rao gAru wrote:
<snip>
Is one a poet before writing a poem, or one becomes a poet
after writing a poem?!
Hemantha Kumar
Though inviting the wrath of a few concerned ladies and gentlemen, I do dare say that what most of the Telugus seem to be interested in are contemporary pleasures and not intangible ancient treasures. People interested in ancient arts and especially literature are dwindling. Today we have mostly a Khichdi culture.
I remember seeing the movie "Bhairava Dweepam" in Anantapur in the year 1993-94. While leaving the Swagat Lodge I told my receptionist frind not to lock the main gate since I am going for a second show of "Bhairava Dweepam" His reaction was "Enduku saar aa cinemaaki balayipothaaru?' I asked "why, don't you like Balakrishna's acting?" for which he replied "Balakrishnaa Rojaa manchi kaambineshane saar, kaani aa bhaashaki evaru balavuthaaru saar?"
The argument maybe whether we should go by what the "paamara praja says or thinks"
I say "maybe yes" because they form the majority.
Best wishes
Hemantha Kumar "Paamar"thy :-)))
"J. K. Mohana Rao" <jkm...@yahoo.com> wrote:
--- Srinivas Nagulapalli <srini...@yahoo.com> wrote:
<snip>
On one hand, the telugu people are quite proud of their
literature and culture and look out for fields wherein they
excelled. On the other hand, be it yakshagAna or chitrakavitva,
wherein their contribution is considerable and even unique,
they don't tend to appreciate them, but neglect and ignore
them. This is what I don't understand and I can't understand. <snip>
Srinivas Nagulapalli
డాక్టర్ ద్వా.నా.శాస్త్రి గారు ఎన్నో సాహిత్య కబుర్లు, కవుల రచయితల
వ్యక్తిత్వ విశేషాల్ని "సాహిత్య కబుర్లు" అనే పుస్తకంలో అందించారు.
ఆసాంతం చదివించే పుస్తకం. అప్పుడే అయిపోయిందా, ఇంకొన్ని విశేషాలుంటే
ఇంకెంత బాగుండేది అనిపించే పుస్తకం.
వంశీ గారు పంచుకున్న గణపవరపు వేంకటకవి గారి పద్యం,
నూక్రాస్యాత్, వెంకమాంబ సోది భాష అంశాలు కూడా ఇందులో లభ్యం.
"సాహిత్య కబుర్లు" పుస్తకం నుంచి నాకు నచ్చిన మూడునాలుగు విషయాలు
పంచుకోవడం మాత్రమే ఇది.
-----------------------------------------------------
[Source: డాక్టర్.ద్వా.నా.శాస్త్రిగారి "సాహిత్య కబుర్లు"]
"ఒకే పద్యంలో 64 విచిత్రాలు"
***************************
64 విచిత్రాలున్న ఈ పద్యం కొంత మనస్తాపాన్ని కూడా అందించింది చిత్రంగా.
అయినా, దీని గురించి ఆ పుస్తకంలో ఈ చివరి మాటలు మన మోహనరావుగారి
మాటలకు అద్దంపట్టినట్లుంది.
"ఇటువంటి కవిత్వం అద్భుతావహం, పాండిత్య స్ఫోరకం కావచ్చు గానీ
రసానందాన్ని కలగజెయ్యదంటారు. కానీ ప్రపంచంలో ఏ భాషలోనూ
ఇటువంటి పద్యం లేదని చెప్పినప్పుడు ఆనందమే గదా! తెలుగు భాషకి
ఇదొక ప్రత్యేకత!!"
"కుదరని జంటకవిత్వం"
***********************
తొలినాళ్ళలో దీపాల పిచ్చయ్య శాస్త్రి, గుఱ్ఱం జాషువా కలిసి
జంటకవిత్వం రాద్దామనుకున్నారు. తిరుపతి వేంకట కవుల్లాగా ఒక మంచి
పేరు పెట్టుకుందామనుకున్నారు- దీపాల జాషువా, గుఱ్ఱం పిచ్చయ్య,
పిచ్చయ్య జాషువా, గుఱ్ఱం దీపాల, గుఱ్ఱం శాస్త్రి .. ఇలా అన్ని
రకాలుగా చూస్తే సరైన పేరే కుదరలేదు. అప్పుడు "మనకు పేరే
కుదరటంలేదు- ఇక జంటకవిత్వం ఎందుకులే" అనుకొని మానేశారుట!
"పెళ్ళివల్ల సరళం"
*******************
కట్టమంచి రామలింగారెడ్డిగారు చతురోక్తులలో ఆరితేరినవారు.
ఆంధ్ర విశ్వవిద్యాలయం వైస్ ఛాన్సలర్గా వుండగా పి.కమలమ్మ
అనే సెనెట్ సభ్యురాలికి వివాహమైంది. వివాహమైన తర్వాత ఆమె పేరు
బి.కమలమ్మ గా మారింది. ముక్తసరిగా - నిక్కచ్చిగా - కుండబద్దలు
కొట్టినట్టు (పరుషంగా) మాట్లాడే స్వభావం కమలమ్మగారిది. దీనిని
దృష్టిలో వుంచుకొని రెడ్డిగారు వివాహం తర్వాత ఆమెను ఉద్దేశించి
"మొత్తం మీద పెళ్ళివల్ల పరుషం సరళమైంది" అని ఛలోక్తి విసిరారు.
"సంపత్ కవిత"
**************
శంఖవరం సంపత్ రాఘవాచార్య బళ్ళారి ప్రాంతంలో తెలుగు లెక్చరర్గా
ప్రిన్సిపాల్గా పనిచేశారు. ఆధునిక భావాలు గల ఈ కవి ప్రతిభ శ్రీశ్రీ
సమానమని అంటారు. ఈ సంపత్ కవిత ఇది-
"రుద్రనేత్రం తెరచిచూస్తే
మృత్యుగానపుటులూకాలు
మర్మఘాతుక శలాకాలు
గుండెరేకులు చీల్చివేస్తూ
జీవసారం పేల్చివేస్తూ
స్వప్న సౌధం కూల్చివేస్తూ
హృదయమును రణభూమి చేస్తాయి
ధ్యాననేత్రం తెరచి చూస్తే
ప్రేమకెత్తిన ధూపధామం
చిత్తరఋషి యజ్ఞహోమం
సుప్తధాత్రీ స్వప్నధామం
సకలభువనాలుద్గమిస్తూ
సోమకలశాలుధ్భవిస్తూ
ఆత్మనయనాలు జ్జ్వలిస్తూ
హృదయకర్ణికలో నటిస్తాయి" - ఈ కవిత శీర్షిక "దర్శన పరీక్ష".
"వెల్చేరు నారాయణరావు ఉవాచ"
**************************
తెలుగులో ఓ కొత్త పుస్తకం రాగానే, తిడతారు. అలా తిడితే అది మంచి
పుస్తకం అవుతుంది. తర్వాత ఆ పుస్తకం పేరు చెప్పకుండా అందులోంచి
"తమవి" గా ఉదహరిస్తారు.
"వేమన పద్యాలు, సుమతీ పద్యాలు నోటికిరాని తెలుగువాడు ఉండడు" అనేది
అర్థం లేని మాట. ఎంతమంది చదివారు? విద్యావంతులలోనే చదవనివాళ్ళు
ఉన్నారు గదా! అసలు భారతాన్ని రాజరాజనరేంద్రుడు చదివాడా అని
నా అనుమానం!
-----------------------------------------------------
విధేయుడు
-Srinivas
maganti.vamsi
--- In racch...@yahoogroups.com, "Srinivas Nagulapalli"
<srini_nagul@...> wrote:
> vaMSI gAru paMcukunna gaNapavarapu vEMkaTakavi gAri padyaM,
> nUkrAsyAt^, veMkamAMba sOdi bhAsha aMSAlu kUDA iMdulO labhyaM.
>
> "sAhitya kaburlu" pustakaM nuMci nAku naccina mUDunAlugu vishayAlu
> paMcukOvaDaM mAtramE idi.
> -----------------------------------------------------
> [శౌర్చె: DAkTar^.dvA.nA.SAstrigAri "saahitya kaburlu"]
శ్రీనివాస్ గారూ
డాక్టర్ ద్వా.నా.శాస్త్రి గారు ఇస్ మ్య్ ఉంచ్లె అంద్ అపర్త్ ఫ్రొం థె ఋభ్ మెస్సగెస్
వ్హిచ్ ఈ పొస్తెద్ ఈర్లిఎర్ రెఫెరెంచింగ్ హిస్ "ముఖాముఖి" , అంద్ థె సమె ఒనెస్
వ్హిచ్ యౌ ఉఒతెద్ , యౌ చన్ సీ సొమె ఒఫ్ హిస్ ఒథెర్ వొర్క్స్ హెరె ... :)
ఆయన వ్యాసాలు కొన్ని ఇక్కడ
హ్త్త్ప్://వ్వ్వ్.మగంతి.ఒర్గ్/వ్యసవలీందెకష్.హ్త్మ్ల్
<హ్త్త్ప్://వ్వ్వ్.మగంతి.ఒర్గ్/వ్యసవలీందెకష్.హ్త్మ్ల్>
ఈ వ్యాసావళి పుట లో ఉన్న దొణప్పగారి ప్రసంగ వ్యాసాలు కూడా ఆయన
చలవే
ఆయన సాహిత్యకబుర్లు కొన్ని ఇక్కడ
హ్త్త్ప్://వ్వ్వ్.మగంతి.ఒర్గ్/మిగదతరకలుఇందెకష్.హ్త్మ్ల్
<హ్త్త్ప్://వ్వ్వ్.మగంతి.ఒర్గ్/మిగదతరకలుఇందెకష్.హ్త్మ్ల్>
ఆయనతో జరిగిన ముఖాముఖీ (ఇంతెర్విఎవ్) ఇక్కడ
హ్త్త్ప్://వ్వ్వ్.మగంతి.ఒర్గ్/ముఖముఖీందెకష్.హ్త్మ్ల్
<హ్త్త్ప్://వ్వ్వ్.మగంతి.ఒర్గ్/ముఖముఖీందెకష్.హ్త్మ్ల్>
ఆంద్ మొస్త్ ఒఫ్ హిస్ వొర్క్స్ విల్ల్ బె పుబ్లిషెద్ ఇన్ మగంతి.ఒర్గ్ అస్ తిమె
ప్రొగ్రెస్సెస్. ఫ్ల్స్ కీప్ చెచ్కింగ్ వ్హెన్ యౌ హవె తిమె
భ్ట్వ్, థె అబొవె పగెస్ ఉసె ఊనిచొదె ఫొంత్స్... :)
ఠంక్స్
వంసి
[Non-text portions of this message have been removed]
J. K. Mohana Rao
--- Srinivas Nagulapalli <srini...@yahoo.com> wrote:
>
> డాక్టర్ ద్వా.నా.శాస్త్రి గారు ఎన్నో సాహిత్య కబుర్లు, కవుల రచయితల
> వ్యక్తిత్వ విశేషాల్ని "సాహిత్య కబుర్లు" అనే పుస్తకంలో అందించారు.
>
ఒక చిన్న సందేహము. సాహిత్యపు కబుర్లా లేక సాహిత్య కబుర్లా?
సామాన్యముగా సంస్కృత పదము పిదప తెలుగు పదము ఉండదు సమాసాలలో.
కాని పెద్దవారు ప్రాణగొడ్డము, జీవగఱ్ఱ లాంటి పదాలను వాడినారు.
ఆర్య వ్యవహార దృస్టంబు గ్రాహ్యంబు అన్నారు అందుకే.
విధేయుడు - మోహన
____________________________________________________________________________________
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Srinivas Nagulapalli
> ఒక చిన్న సందేహము. సాహిత్యపు కబుర్లా లేక సాహిత్య కబుర్లా?
> సామాన్యముగా సంస్కృత పదము పిదప తెలుగు పదము ఉండదు సమాసాలలో.
> కాని పెద్దవారు ప్రాణగొడ్డము, జీవగఱ్ఱ లాంటి పదాలను వాడినారు.
> ఆర్య వ్యవహార దృస్టంబు గ్రాహ్యంబు అన్నారు అందుకే.
"సాహిత్య కబుర్లు" అనే సంకలనానికి పేరు పెట్టారు
డాక్టర్ ద్వా.నా.శాస్త్రి గారు. దుష్టసమాసాల మాటొచ్చినప్పుడు నాకు
గుర్తొచ్చేది "విజయవాడ"! "విజయ" సంస్కృతం, "వాడ" తెలుగు.
సంస్కృతమని, తెలుగని, ఉర్దూ అని పదాలపై విచక్షణ మనకింకా
ఎంత కాలమో! నదుల పేర్లు, గుణాలు, చరిత్రలు సముద్రంలో కలవక
ముందు వరకే. ఒక సారి కలిసాక నదులు పోయి మిగిలేది సాగరమే. తినే
పదార్థాల పేర్లు, రుచులు మింగకముందు వరకే. తిన్నాక అవి మనలో
భాగమే. అట్లే భాషలో చేరి వాడుకలో చాలా కాలం నిలిచి నలిగి
అంతర్భాగమైపోయిన పదాలను మళ్ళీ అవి ఎక్కడి నుంచి వచ్చి ఇందులో
చేరాయి, వాటి పుట్టుకను బట్టి స్థాయీ లక్షణాలు ఏర్పరచడం
ఇంగ్లీషులో అయితే లేదు, మరి ఇతర భాషల్లో ఉందో లేదో తెలియదు.
మనకిది ఇంకా ఎప్పటివరకు ఉంటుందో కూడా తెలియదు. ముళ్ళపూడి,
బేరా వంటి వాళ్ళు సైతం దీనిని సమర్థించడం చూస్తునే ఉన్నాం.
భాషాసేవ అనే ముసుగులో చేసే ఒక రకమైన అంటరానితనం లాగుంది!
-----------------------------------------------
విధేయుడు
-Srinivas
J. K. Mohana Rao
--- Srinivas Nagulapalli <srini...@yahoo.com> wrote:
>
> > ఒక చిన్న సందేహము. సాహిత్యపు కబుర్లా లేక సాహిత్య కబుర్లా?
> > సామాన్యముగా సంస్కృత పదము పిదప తెలుగు పదము ఉండదు సమాసాలలో.
> > కాని పెద్దవారు ప్రాణగొడ్డము, జీవగఱ్ఱ లాంటి పదాలను వాడినారు.
> > ఆర్య వ్యవహార దృస్టంబు గ్రాహ్యంబు అన్నారు అందుకే.
>
It is only personl taste. One is accustomed to listening to
certain types of usage. That is why at times expressions like
వసంత గాలి, పంచ రంగు, etc. sound a bit jarring, to me.
As for విజయవాడ, I am not sure when that word for that
place came into vogue. In very old SAsanAs, the town was
called bejavADa. For a long time I thought bejavADa is a
corruption introduced by the British. But it is nearly
1000 years old!
It is true that all food is finally broken into its basic
units. However there is an intermediary called tongue that
discriminates taste. Similarly, the usage of words and
compounding of them. కాకరకాయ and మైసూర్పాక్ are
quite tasty in their own way. But the combination may
not be liked by all :-)
Regards! - mOhana
____________________________________________________________________________________
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Kameswara Rao
<srini_nagul@...> wrote:
> సంస్కృతమని, తెలుగని, ఉర్దూ అని పదాలపై విచక్షణ మనకింకా
> ఎంత కాలమో!
ఈ లిష్టులో ఇంగ్లీషు లేదేంటి చెప్మా? ఇంగ్లీషుపదాలపై మనకలాంటి
విచక్షణ లేదని "సాహిత్య ఎ(అ)కాడమీ" ఏనాడో రుజువుచేసినందువల్ల
కాబోలు!
regards,
Kameswara Rao.
Satyanarayana Pamarty
wrote:
> As for విజయవాడ, I am not sure when that word for that
> place came into vogue. In very old SAsanAs, the town was
> called bejavADa. For a long time I thought bejavADa is a
> corruption introduced by the British. But it is nearly
> 1000 years old!
I was always thinking that it is విజయవాటిక. :-)
Thanks and best regards
Satya
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Srinivas Nagulapalli
> certain types of usage. That is why at times expressions like
> వసంత గాలి, పంచ రంగు, etc. sound a bit jarring, to me.
I agree. But when personal tastes are pushed down the throats
of others, calling it even names like దుష్టసమాసం, then it goes
much farther than enjoying personal taste preferences.
> It is true that all food is finally broken into its basic
> units. However there is an intermediary called tongue that
> discriminates taste. Similarly, the usage of words and
> compounding of them. కాకరకాయ and మైసూర్పాక్ are
> quite tasty in their own way. But the combination may
> not be liked by all :-)
Very true. But grammar need not take the trouble of encouraging or
putting down word combinations. To each his own. Some such usages
are apparently popular while reviled by few. And folks seem to
acquire new tastes too. May be creativity is less about depriving
freedom and more about the thrill of pursuing one's own tastes, as
long as it does no harm to any.
Just my less than 0.2 cents.
Regards
-Srinivas
jabalimuni
>
> > As for విజయవాడ, I am not sure when that word for that
> > place came into vogue. In very old SAsanAs, the town was
> > called bejavADa. For a long time I thought bejavADa is a
> > corruption introduced by the British. But it is nearly
> > 1000 years old!
>
> I was always thinking that it is విజయవాటిక. :-)
vADa,pETA,valasa,puramu,palle,nagaramu,vUru,varamu,gUDemu modalaina
padamulatO cAlA vULLA pErlu amtamoutAyi.I padamulanni vUru sthAyi
baTTi civara cErustAranukumTAnu.pedda vULLanu sUcimcaDAniki
puramu,nagaramu kalupabaDutumdi."gUDemu" komDa prAmTAlalO vunna
vUlla civara cErcabaDutumdi
namaskAramulu,
jAbAlimuni
J. K. Mohana Rao
--- Srinivas Nagulapalli <srini...@yahoo.com> wrote:
>
> I agree. But when personal tastes are pushed down the throats
> of others, calling it even names like దుష్టసమాసం, then it goes
> much farther than enjoying personal taste preferences.
>
I don't remember to have used the word దుష్ట సమాసము, now.
I respectfully submit that pushing my preferences down the
throats of others is also not my maxim.
In languages, there is always a tense conflict occuring continuously.
As the purists and grammarians try to keep the language obey certain
rules thereby establishing a commonality of conventions, the free
spirits try to throw to winds these conventions. Sometimes the
purists win and sometimes the free spirits win and new forms of
vocabulary come into vogue. Both the purists and the free spirits
are needed for the flowering of languages. Language without grammar
is an invitation to chaos. On the other hand, strict rigidities
will hinder the growth. The present day trend seems to be throwing
everything to the winds.
Regards! - mOhana
____________________________________________________________________________________
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Srinivas Nagulapalli
>
> I don't remember to have used the word దుష్ట సమాసము, now.
> I respectfully submit that pushing my preferences down the
> throats of others is also not my maxim.
It never was about what you or any *one* said, now or ever. This is
merely about how our Telugu grammar calls and treats such usages.
దుష్టసమాసం word has been in our vocabulary for quite long time.
Naturally, people use it! It is a very common fault-finding
observation in reviews of Telugu works, particularly metrical or
lyrical, since many decades by whosoever. It has been a rule than
exception. I am afraid no book examining Telugu poetry exists
without that. No other language seems to have such a grammar that
puts down word combinations in so demeaning way either.
దుష్టసమాసం అని అనడము అనుకోవడమే ఒక దుష్టగుణం అనిపిస్తుంది.
మన కున్న ఒక దుష్టవారసత్వం అని కూడా అనిపిస్తుంది.
----------------------------------------------
Regards
-Srinivas