Tiruppavai talk Gopalam తిరుప్పావై ప్రసంగం

నేను చేసిన తిరుప్పావై ప్రసంగం

వినండి. మీ అభిప్రాయం చెప్పండి.

గబ్బిలము సవర కథ - Gabbilamu - Savara Katha

గబ్బిలము - సవర కథ

సవరలనే కొండ జాతి వారు చాలా గొప్ప సాంప్రదాయం కలిగి ఉండే వారనడానికి ఇటువంటి కథలు ఆధారంగా నిలుస్తాయి.

కథ వినండి. కావాలనే ఇక్కడ చదవడానికి ప్రతి ఇవ్వడం లేదు....

Mulla 1 Manishi ముల్లా నస్రుద్దీన్ కథ - మనిషి

Manishi, a short bit in Telugu!

M S Balasubrahmanya Sharma - Mahalakshmi

 Shravanam here!

M S B Sharma 

sings

Mahalkshmi - Jaganmata 

of Papanasam Sivan

Pallavi:

mahAlakSmi jaganmAtA manamirangi varamaruL

 Anupallavi:

mahA vishNuvin mArbenum maNi pIThamadanil amarndaruL

manmatanai InraruLum thAyE dayAnidhiyE mahA mAyE

Charanam:

pArkkaDal tarum krpAkari parindu vandenai Adari

pankaja malar vaLar annaiyE kaDaikkaN pAr rAmadAsan paNiyum

Thanks for visiting my Blog!! 

Old Chinese Poetry

Man is the same everywhere.
Old Chinese poetry illustrates the fact.
Don't we have similar poems in our languages too?

What is written in Chinese in the image has no connection to the article here 

The Odes represents those of peasants—perspectives not seen in Zhou inscriptions. In addition to the view seen from the top, the Odes also includes songs showing ordinary people at work: the men clearing weeds from the fields, plowing, planting, and harvesting; the girls and women
gathering mulberry leaves for the silkworms, making thread, and carrying food
hampers out to the fields for their men to have lunch. There is much about millet—
both the eating variety and that used for brewing wine for use in rites. There
are joyful references to granaries full of grain and to the men gathering thatch for
their roofs in the off-season. Mention is made of lords’ fields and private fields, and
a bailiff is referred to, but the details of the system are not provided. There are also,
more strikingly, odes of political protest. One compares tax collectors to big rats:

Big rat, big rat,

Do not gobble our millet!

Three years we have slaved for you,

Yet you take no notice of us.

At last we are going to leave you

And go to that happy land;

Happy land, happy land,

Where we shall have our place.

Another tells of the hardships of military service: men constantly on the march,
living in the wilds like rhinoceroses and tigers, day and night without rest. Sometimes
a soldier survives the hardships and dangers of war and returns home only to find
that his wife has given him up for dead and remarried. Consider the following:
We plucked the bracken, plucked the bracken;

While the shoots were soft

Oh, to go back, go back!

Our hearts are sad,

Our sad hearts burn,

We are hungry and thirsty,

But our campaign is not over,

Nor is any of us sent home with news.

Still other odes give us glimpses of the day-to-day hardships of Zhou peasants,
who lived at the mercy of what was becoming an increasingly inhospitable
environment:

The drought is long and deep,

Parched and barren in the landscape.

The drought demon is vicious

Like a burn, like a blaze.

Our hearts are tormented by the heat,

Our grieved hearts as if aflame.

The former ministers and their lords,

Even they do not hear our plea.

Mighty Heaven,

God on High

Why do you force us to flee?

In addition to royal and peasant perspectives, the Odes is also famous for its
love poetry, which often reveals a feminine perspective:
In the wilds, a dead doe.

White reeds to wrap it.

A girl, spring-touched:

A fine man to seduce her.

In the woods bushes.

In the wilds, a dead deer

White reeds in bundles

A girl like jade

Slowly. Take it easy.

Don’t feel my sash!

Don’t make the dog bark!

The feminine perspective in ancient China could be quite erotic or even ribald,
as this ode reveals:

That the mere glimpse of a plain cap

Could harry me with such longing,

Cause pain so dire!

That the mere glimpse of a plain coat

Could stab my heart with grief!

Enough! Take me with you to your home.

That a mere glimpse of plain leggings

Could tie my heart in tangles!

Enough! Let us two be one.

To be sure, with these odes, as with all poetry, much depends on the vision of
the translator and interpreter. For Liu Wu-chi, the ode tells of “the tragedy of
love.” In the mind of another contemporary scholar, Wai-lim Yip, the first ode
cited in the last paragraph is an “animated pastiche of a lovely rural
inducement song.

Old Indian Story

This is supposed to be a story told to a British Child by his Ayah.
He was the son of an officer and later wrote all the stories he heard into a book.

THE VORACIOUS FROG.

HERE were a rat and a frog. And the rat said to the frog, “Go and get me some sticks, while I go and get some flour and milk.” So the frog went out far into the jungle and brought home plenty of sticks, and the rat went out and brought home flour and milk for their dinner. Then she cooked the dinner, and when it was cooked she said to the frog, “Now, you sit here while I go to bathe, and take care of the food so that no one may come and eat it up.” Then the rat went to take her bath, and as soon as she had gone the frog made haste and ate up the dinner quickly, and went away.

When the rat came back she found no dinner, and she could not find the frog. So she went out to look for him, calling to him as loudly as she could, and she saw him in the distance, and overtook him. “Why have you eaten my dinner? Why did you go away?” said the rat. Said the frog, “Oh, dear! it was not I that ate your dinner, but a huge dog that came; and I was only a tiny, tiny thing, and he was a great big dog, and so he frightened me, and I ran away.” “Very well,” said the rat; “go and fetch me more sticks while I go for flour and milk.” 

So the frog went out far into the jungle and brought back plenty of sticks. And the rat went to fetch flour and milk. Then she lit the fire and cooked the dinner, and told the frog to take care of the dinner while she went to bathe. As soon as she had gone, the frog ate up all the dinner, and went away and hid himself. 

When the rat came back she saw no frog, no dinner. She went away into the jungle and called to him, and the frog answered from behind a tree, “Here I am, here I am.” The rat went to him and said, “Why did you eat my dinner?” “I didn’t,” said the frog. “It was a great big dog ate the dinner, and he wanted to eat me too, and so I ran away.” 

The rat said, “Very well. Go and fetch me some more sticks, and I will go for flour and milk.” Then she cooked the dinner again and went to bathe. The frog ate up all the dinner, and went away and hid himself. When the rat returned she saw no dinner, no frog. So she went far into the jungle, found the frog, and told him that it was he that had eaten the dinner. And the frog said, “No,” and the rat said, “Yes.” And the frog said, “If you say that again, I will eat you up.” “All right,” says the rat, “eat me up.” 

So he ate her up and sat behind a tree, and the baker came past. The frog called out, “Baker, come here! come here! Give me some bread.” The baker looked about everywhere, could not see anybody, could not think who was calling him. At last he saw the frog sitting behind a tree. “Give me some bread,” says the frog. The man said, “No, I won’t give you any bread. I am a great big man, and you are only a little frog, and you have no money.” “Yes, I have money. I will give you some price, and you will give me some bread.” But the man said, “No, I won’t.” “Well,” said the frog, “if you won’t give me bread, I will eat you up first, and then I will eat up your bread.” 

So he ate up the man, and then ate up his bread. Presently a man with oranges and lemons passed by. The frog called to him, “Come here! come here!” The man was very much afraid. He didn’t know who had called him. Then he saw the frog, and the frog said, “Give me some lemons.” The man wouldn’t, and said, “No.” “Very well,” says the frog, “if you won’t, I’ll eat you up.” 

So he ate up the man with his lemons and oranges. Presently a horse and his groom went by. The frog says, “Please give me a ride, and I will give you some money.” “No,” said the horse, “I won’t let you ride on me. You are like a monkey,—very little—I won’t let you ride on my back.” The frog said, “If you won’t, I’ll eat you up.” Then the frog ate him up, and his groom too. Then a barber passed by. “Come and shave me,” says the frog. “Good,” says the barber, “I’ll come and shave you.” 

So he shaved him, and he thought the frog looked very fat, and so as he was shaving him he suddenly made a cut in his stomach. Out jumped the rat with her flour and milk—the baker with his bread—the lemon-seller with his oranges and lemons—the horse and his groom. And the barber ran away home. And the frog died.

Chinese history - Confucius and Lao Tze

Two great thinkers with far-reaching infl uence on Chinese history emerged
in the Spring and Autumn Period—Confucius and Lao Tze.

Confucius, named Qiu and style-named Zhongni, was a thinker of the State
of Lu. His thoughts were mainly recorded in The Analects of Confucius, a book
compiled by his disciples. The essence of Confucianism is Ren (benevolence)
and Li (ritual norms). He advocated the idea that “the benevolent loves his
fellow people,” and requested the rulers experience and observe the situation
of the people. He was against tyranny and arbitrary punishment. He advocated
the codes of loyalty and tolerance, and called for “not doing to others what you
don’t want to be done to you” (do unto others as you would have them do unto
you) and understanding others as a way to harmonize personal relationships
and stabilize the social order.

Confucius also valued “ruling by morality” and “ruling with the ritual
norms.” He saw that one could maintain the political and educational system
of the country by encouraging self restraint, restoring rituals, and practicing
moral behavior. He attempted to correct the chaotic social class order in
accordance with the ritual system of the Zhou Dynasty and make it perfectly
justifiable, reflecting his conservative political ideology. However, Confucius
was not against improving and reforming obsolete ritual customs and
political orders on the basis of maintaining an outdated social class system.

Mencius and Xun Zi in the Warring States Period inherited and developed Confucius’ theory and made the political ideals and moral norms of Confucianism the mainstream of traditional thought in China for more than two millennia.

Lao Tze, surnamed Li, named Er, and style-named Dan, was a thinker of the State of Chu. Erudite and knowledgeable, he was once the historical official in the royal court of the Eastern Zhou, responsible for managing collections. Confucius once asked Lao Tze about “ritual norms.”

The Tao Te Ching, a book compiled by the followers of Taoism in the Warring States Period, records the thought of Lao Tze and is replete with the philosophy
and wisdom typical of the oriental world. Lao Tze denied the absolute authority of destiny, advocated following natural laws, and ruling without intervention. “Ruling without intervention” means not intervening arbitrarily. Lao Tze
warned the rulers not to oppress the common people too much.

However, his ideal that “though the noises made by the chickens and dogs can be heard, the people do not contact each other until death” and his concept of “making the people ignorant and without desire” led to some negative effects.
His philosophy sides, for example—high and low, front and rear, existence and void, difficult and easy, life and death, noble and humble—and everything could shift to the opposite. Lao Tze has been regarded by later generations as the founder of Taoism. His thought has had and continues to have a great influence on Chinese culture, including philosophy and ethics, as well as the mode of thinking, morality, and personality of the Chinese people. is rich in dialectic thinking. Lao Tze pointed out that everything has two contradictory Lao Tze on an Ox. It is said that Lao Tze, seeing that the Zhou Dynasty was declining, rode an ox out of the Hangu Pass and vanished from the earthly life.

Bapu - Sayonara!!

Sri Sattiraju Lakshminarayana is no more!
Who will draw pictures for my proposed calendar?
I would have written a long obit.
My heart is heavy.
How can Bapu pass away?

సీగానపెసూనాంబా - నన్ను పెళ్లి చేసుకుంటావురాండీ?

Music Reviews 1950

These are the reviews of Radio concerts in December 1950.
The Telugu magazine Anandavani had a column for Akashavani Carnatic music.

The concerts reviewed are of Sarvasri Edara Nagaraju, Juluri Arundhati Devi, Mudicondan Venkatarama Iyer, D K Pattammal, Madurai Mani iyer, G N Balasubramanianm, M S subbulakshmi.

RTP of Mudicondan was good they say. The talk about Mani Iyer's Mridangam in ARI and MMI concerts is interesting.

DKP is mentioned as a unique singer and the youngsters are advised to follow her style.

They remarked that MSS's voice was not sweet as usual that day!

Interesting on the whole!!

Sun and Us!

I am told today is Ratha Saptami.
It means the birth day of Sun God!

That is what I know!

Sultan Khan - Sarangi

Shravanam pays homage to the genius!

Ustad Sultan Khan plays a Suddh Kalyan on the Sarangi

A Padma Bhushan awardee, Ustad Sultan Khan, 71, hailed from a family of sarangi players in Jodhpur, was on dialysis for past three months and died on his way to hospital, family sources said. Khan is survived by his second wife Bano Khan, son Sabir and two daughters. His funeral will take place in Jodhpur tomorrow. 

Credited for reviving sarangi, Khan is famous for his extraordinary control over the instrument and his husky voice. He started performing at a the age of 11, and later collaborated at the international level with sitar maestro Ravi Shankar, on George Harrison's 1974 'Dark Horse World Tour'. Khan's was a family of sarangi masters from Rajasthan. He was initially tutored by his father, Ustad Gulab Khan. Later, he trained under Ustad Amir Khan, a classical vocalist of Indore gharana (school).

After establishing himself as sarangi player, Ustad Sultan Khan also worked with musicians from the Hindi film industry, such as Lata Mangeshkar, Khayyam, Sanjay Leela Bhansali apart from collaborating with musicians in the West including Ornette Coleman, George Harrison and Duran Duran.

Apart from Padma Bhushan, Khan won numerous musical awards including the Sangeet Natak Academy Award twice, the Gold Medalist Award of Maharashtra and the American Academy of Artists Award in 1998.

Khan was also a member of the Indian fusion group Tabla Beat Science with Zakir Hussain and American bassist Bill Laswell. His son, Sabir is also a well-known sarangi player.

Let us remember the masters!
&&&&&&&

Me and Mine!

Here is an interesting story from Sadi.

ఖురాసాను రాజుల్లో ఒకతనికి సుల్తాను మహమ్మదు కలలో కనిపించాడు. అప్పటికి సుల్తాను మరణించి వందేళ్లయింది.

కలలో కనిపించిన సుల్తాను శరీరమంతా కరిగి దుమ్మయి ఉంది. ఒక్క కళ్లు తప్ప. అవి అటుయిటు తిరుగుతూ దేని కోసమో చూస్తున్నాయి. పండితులెవరూ కలకు అర్థం చెప్పలేక పోయారు. ఒక దర్విష్ మాత్రం వంగి సలాము చేసి ఇలా చెప్పాడు. అతను తన రాజ్యం ఎట్లా ఇతరుల చేతజిక్కిందని ఇంకా ఆశ్చర్యంగా చూస్తున్నాడు అన్నాడతను.

ఎందరో ఘనులు మట్టిలో నిద్రించినారు

భూమిన వారి ఉనికి జాడలే లేవు

మట్టిలో కప్పినట్టి ఆ ముసలి శవము

మట్టియైనది, ఎముకయు మిగుల లేదు

నౌషేర్వాన్ ఘనకీర్తి నిలిచి ఉంది

అతడు గతించి ఎంత కాలమైననేమి

మనిషీ, మంచి చేయవలె, బతుకునొక వరముగా నెంచవలె.

ముఖ్యముగ, గొంతెత్తి, మనిషి లేడని, చాటినపుడు.

The Eyes

One of the kings of Khorasan had a vision in a dreamof Sultan Mahmud, one hundred years after his death.

His whole person appeared to have been dissolved andturned to dust, except his eyes, which were revolvingin their orbits and looking about. All the sages wereunable to give an interpretation, except a dervish whomade his salutation and said: ‘He is still looking amazed how his kingdom belongs to others.’

Many famous men have been buried under ground

Of whose existence on earth not a trace has remained

And that old corpse which had been surrendered tothe earth

Was so consumed by the soil that not a bone remains.

The glorious name of Nushirvan survives in goodrepute

Although much time elapsed since he passed away.

Do good, O man, and consider life as a good fortune,

The more so, as when a shout is raised, a man exists no more.

Let us enjoy some great ideas!

^&^&^&^&

Srikurmam in Andhra Pradesh

Srikurmam is an important Vaishnavite temple place.
The following are some images of the Kurmanatha temple there.

Entarnce

The Sanctum

The Corrodor - No two pillars are similar here!

A small sanctum

An inscription.

There are many all over the the temple.

Let us enjoy the glory of the places!
!!!!!

A question - Upanishads

ఉపనిషత్తులంటే ఏమిటి? వాటిలో ఏముంటుంది?


కొన్ని దశాబ్దాల కింద మనదేశంలో ‘బేసిక్ విద్య’ అనే పద్ధతి ఉండేది. ఆ పద్ధతికింద చదువులు నడిచే బడిలో పొద్దునా, సాయంత్రం, ప్రార్థనలు ఉండేవి. అందులో అన్ని మతాల గ్రంధాలనుంచి తీసిన ప్రార్థనలూ ఉండేవి. వాటిలో భాగంగనే సహనావవతు అని మొదలయే మంత్రం ఒకటి ఉండేది. అది, చదువులకు కూచునే ముందు గురుశిష్యులు, తమ చర్చ పనికివచ్చేదిగా సాగాలని, అభిప్రాయభేదాలు రాగూడదని చేసే ప్రార్థన. అది తైత్తిరీయం అనే ఉపనిషత్తునుంచి తీసింది. (దాన్నేదో మంత్రంగా చదవడం తప్ప, చెప్పిన వాళ్లకూ, అప్పజెప్పినవాళ్లకూ ఎవరికీ దాని అర్థం తెలిసిందిలేదు. అది వేరే సంగతి!)

వేదాలు నాలుగని అందరికి తెలిసే ఉంటుంది. వాటిలో ఏముందనే సంగతి కొందరికి తెలిసి ఉంటుంది. వేదాలు విస్తారమయినవి. ఆనాటి చదువు గొప్ప సంప్రదాయం గలది. ఒక విషయం నేర్చుకున్న తర్వాత, అందులోని అనుమానాలను శిష్యులు అడిగితే, గురువులు వాటికి వివరణ చెప్పేవారు. వేదాల చివరలోనూ అదే జరిగింది. అదే వేదాంతం. అంటే వేదాల చివరి భాగం. వాటికే ఉపనిషత్తులనికూడా పేరు.

ఉపనిషత్తులు మొత్తం నూటయెనిమిది ఉన్నాయంటే, వేదాలను గురించిన చర్చ ఎంత విస్తారంగా జరిగిందో అర్థం చేసుకోవచ్చు. అన్నింటిలోకీ, ఈశ, కేన, కఠ, ప్రశ్న, ముండక, మాండూక్య, తైత్తిరీయ, ఐతరేయ, ఛాందోగ్య, మొదలయినలవి ముఖ్యమయినవి. ఆదిశంకరుల మొదలు మహామహులెందరో వీటికి వ్యాఖ్యానాలు చేశారు. ఉపనిషద్ అంటే దగ్గరగా చేర్చి, అనుమానం తొలగించడమని భావం.

ఇంకా తెలుసుకోవాలన్న కోరిక గల వ్యక్తిని బ్రహ్మత్వానికి దగ్గరగా చేర్చడం ఉపనిషత్తుల ఉద్దేశ్యం. బ్రహ్మ అంటే ఇక్కడ నాలుగు తలల బ్రహ్మకాదు. హిందూతత్వం ప్రకారం, అసలైన సత్యానికి పరబ్రహ్మమని పేరు. అనాదిగా ఆ నిజాన్ని అర్థంచేసుకోవడమే తాత్వికుల కృషికి లక్ష్యం. బ్రహ్మగురించి తెలిసినవారికి, తమగురించి తమకు తెలుస్తుందని, అందుకు గురువు కేవలం దారి మాత్రమే చూపగలడని, తర్వాత విద్యార్థిదే బాధ్యత అనీ, హైందవం బోధించింది.

వేదాల్లో మనిషి బ్రతుకుగురించి, ధర్మం గురించి చెప్పబడింది. ధర్మం రకరకాలుగా ఉంటుంది. అందులో కొంత పని. కొంత ఆలోచన. వీటి ఆలోచనే వేదాంతం.

What are Upanishads and what is their content?

A few of decades back our schools followed a method called ‘Basic Education.’ In the schools that followed the system, there would be a prayer meeting both in the morning and evening. Extracts from all religious denominations would form part of that prayer. There was a mantra which goes ‘Sahanavavatu’ as a part of that prayer. It was a mantra recited by the teacher and the taught before they commence a session of education. They pray that their session should be useful and there should not be any differences of opinions during it. It is a part of the Upanishad called Taittireeyam. (That people who recited it and those who made them recite it never knew the purport of the mantra is another matter!)

Many would know that Vedas are four in number. Their content is known to only a few. Vedas are vast in their extent. The education of the time had a hoary tradition. Once a lesson is over, the students would ask questions regarding the topic and teachers would clear the doubts as a ceremony perhaps. The same happened at the end of the Vedas too. That is what is called as Vedanta or the end of Vedas. The other name for the knowledge thus put together is known as Upanishads.

One can imagine the extent of discussion that took place on Vedas when one comes to know that there are in all 108 Upanishads. Of them, Isha, Kena, Katha, Prasna, Mundaka, Mandukya, Taittireeya etc are of prime importance. Starting from Adi Shankara many a scholar made commentaries on them to continue the discussion. The term Upanishad stands for bringing near and clears the doubts.

The aim of the Upanishads is to take the inquisitive to the nearest point to the Brahman. Brahman here is not the one with the four faces known to be in charge of creation as per mythology. Indian philosophy recognizes the ultimate truth as the Parabrahman. Philosophers spent all their time from time immemorial to reach this understanding. If one gets to know Brahman, one also gets know the self, is the belief. That a preceptor can only show the way towards this truth and the rest depends totally on the inquirer is also the said in Hinduism.

Vedas contain knowledge about human life and Dharma. This Dharma is of various kinds. Work nad thought also are the parts of it. The discussion about work and thought is the Vedanta!

Let us enjoy wisdom!
!!!!!!!

Tao Te Ching - Lao Tsu

Indian philosophy says,"Let noble ideas come from all sides."

This is what Loa Tsu, the great Chinese master has to say about wisdom.

The Taoism started with him, though he is not the first to moot the idea.

According to legend Lao Tzu was keeper of the archives at the imperial court. When he was eighty years old he set out for the western border of China, toward what is now Tibet, saddened and disillusioned that men were unwilling to follow the path to natural goodness. At the border (Hank Pass), a guard, Yin Xi (Yin Hsi), asked Lao Tsu to record his teachings before he left. He then composed in 5,000 characters the Tao Te Ching (The Way and Its Power).

అందమయినవాటి అందం గురించి అందరికీ తెలుసు.

అందుకే అనాకారితనమంటే గూడా తెలుసు.

పనితనం గలవారి గురించి తెలుసు.

పనితనం లేకపోవడమూ తెలుసు.

ఉన్నది, లేదు అన్నవి,

ఒకదానికొకటి ఆధారాలు.

కష్టం, సులభం కూడా అలాంటివే.

పొడుగు, పొట్టి అన్నవి,

ఒకటి ఉంటేనే మరొకటి తెలుస్తుంది.

ఎత్తూ, తగ్గూ అంతే.

శబ్దం, స్వరాలూ అంతే.

ముందూ, వెనుకలూ అంతే.

అందుకే, తెలివిగలవారు,

ఏంచేయకుండానే పనులు సాధిస్తారు.

మాట్లాడకుండానే ఆజ్ఞలిస్తారు.

పని జరుగుతుంది.

ఎలాగన్నది తెలియదు.

అస్తిత్వాన్ని కాదనలేనగల శక్తి అందులోనే పుడుతుంది.

What exactly is this?

Help me with some interpretation please!

Tuka Mhane: A Transcreation

Saint Tukaram and Abhangs.

The name Tukaram brings to any mind, a picture of man who was more a devotee than an intelligent man. The odd films made about him also failed in bringing the intelligent words that formed the substance of his Abhangs. Like Purandara and other Dasa in Kannada, many scholars in Marathi composed what are called as Abhangs. These are a kind of verses and are amenable to be sung to music. Bhimsen Joshi made them immortal by lending them his voice. These days Carnatic singers like Aruna Sayeeram, OSArun and others are adding them in their concerts. An Abhang has its own charm in telling a beautiful idea in only a few words.
Nmadev. Samarth Ramadasa are the others who composed Abhangs.
I was stuck with the wonderful contents of Tuka’s compositions. Like all classical music is not just devotion, all abhangs are not just about God alone. Read the following as an example.


Tuka mhane: తుకావాణి
आम्हां घरी धन शब्दांचीच रत्नें शब्दांचीच शस्त्रें यत्न करुं
మా యింట్లో ధనమంటే మాటలనే రత్నాలే, నా ప్రయత్నాలకంతా పనిముట్లు మాటలే
शब्द चि आमुच्या जीवांचे जीवन शब्दें वांटूं धन जनलोकां
మాటలే నా జీవనానికి జీవం, ధనంగా నేను లోకానికి పంచేదీ మాటలే
तुका म्हणे पाहा शब्द चि हा देव शब्द चि गौरव पूजा करुं
మాటలే దేవుడు మరి చూడు, అంటాడు తుకా, మాటలతోనే ఆ దేవుని పూజ

Translation (by Dilip Chitre, the renowned Marathi poet):

Words are the only Jewels I possess
Words are the only Clothes that I wear
Words are the only food That sustains my life
Words are the only wealth I distribute among people
Says Tuka Witness the Word He is God
I worship Him With my words

మరొక అనువాదం.

If you open my jewel-box, you will only find words
If you raid my castle, only my words will defend me
All I need to live upon, is the magic of words
All my charity is done through my words
Behold The Word: The Word is my only God
Worship It: it is the beginning, it is the end


శబ్దం అంటే ఏ చప్పుడైనా కావచ్చు. కానీ తుకారాం అంటున్నది మాత్రం అర్థవంతమాన మాటల గురించి. భూషలుగావు మర్త్యులకు భూరిమయాంగద తారహారముల్ అన్న మాట మనమెరిగినదే. అదే మాటను సంత్ తుకారాం అంతే అందంగా చెప్పిన సంగతి అందరికీ తెలియదు. వాగ్భూషణం భూషణం, అంటే మాటలే మంచి నగలు, అలంకారాలూనూ. అందుకే తుకారాం నా దగ్గర ధనమంటూ ఉంటే అది నా మాటలే అంటున్నాడు. శబ్దాలే నా ఆయుధాలన్నాడాయన. మరి అనువాదకులు దిలీప్ చిత్రే గారు దాన్ని వస్త్రాలుగా ఎందుకు చెప్పినట్లు. రెండవ అనువాదంలో మాత్రం నన్ను నేను రక్షించుకునేందుకు నాకున్న ఆయుధాలు మాటలు అన్నారు. నాకు అర్థమయింది మాత్రం తుకా ప్రయత్నాలన్నీ మాటల ఆధారంగా జరుగుతాయని. (నేనూ అంతే. నాకు మాటలు తప్ప మరే పనీరాదు) అంత పుష్కలంగా, బలంగా ఉండే మాటలను ఎంత పంచితే అంత పెరుగుతాయి తప్ప తరగవు. అందుకే తుకా మాటలను పంచానంటాడు.తెలుగువారికి తుకారాం అనగానే సినిమా అందులోని పాటలు గుర్తొస్తాయి. కానీ తుకారాం గొప్ప తాత్వికుడనీ గొప్ప విషయాలు చెప్పినవాడనీ, అందరికీ తెలియదు. సినిమా తీసినవారికి అంతకన్నా తెలిసినట్టు లేదు.

Prathamikam

Namaskaram!

That is the way people in my part of the country greet each other.
It is the Sanskrit equivalent for Salutation.
So, some of my people make it plural and say, Namaskaralu.
Some elders say it is wrong. There could be only one Namaskaram at a time.

When you look into this word from a spiritual point of view, it is said that it it declares your surrender to the other person whom you are greeting.
Na maha!
means I am nothing. No capital I. No ego.
What a way of greeting!
Sastram has also told that you can and have to greet people of all ages both young and old alike.
Tradition does not agree with this idea. Only elders are greeted with a Namaskaram.
It is the youngsters who always are to greet first.
However, the new age thinking is in agreement with the Sastram.
Greet people, because there is God in them irrespective of age.