Lokabhiramam

Tukaram Maharaj - Poetry

vijayagopalk@gmail.com (Vijayagopal) — Tue, 10 Nov 2009 13:19:00 +0000

Tukaram was a great saint.
He studied the world so much that all his works sound prophetic.
I was lucky till now, to read only a fraction of his works.
I want to read more of him.
I am impressed so much that I want all to read him.

Here is a small poem of Tuka.
Tuka – Rasabh

It means something like this.

A donkey that is made to have bath in a sacred river does not become a horse. He, who does not have a pure mind, does not listen to any good advice. Even if a sweet juice is fed to a snake, there won't be any reduction in its poison.

रासभ धुतला महातीर्था माजीं

नव्हे जैसा तेजी शामकर्ण

तेवीं खळा काय केळ्या उपदेश

नव्हेची मानस शुद्ध त्यांचे

सर्पासी पाजिलें शर्करा पीयुष

अंतरींचे विष जाऊं नेणे

For the benefit of my Telugu brethren, the meaning here.

గాడిద మహా తీర్థంలో జలకమాడినా

గుఱ్ఱమయ్యేది మాత్రం కల్ల

అంతరంగ శుద్ధి లేనివాడు

అందుకే ఏ బోధనా వినడు

పాముకు పంచదార పానకం పోసినా

విషం విషంగానే ఉంటుంది.

Famous Telugu poet Vemana in one of his Padyam says that you may wash the skin of rat for any number of days. But, it will never turn white. Tuka's poem also tells the same thing. they were clear about the nature of bad people who would never change. It is interesting to read these people. Sarvagna in Kannad is another poet who stands on the same pedestal as these two!!

Mudikondan Venkatarama Iyer - Vocal

vijayagopalk@gmail.com (Vijayagopal) — Mon, 09 Nov 2009 13:53:00 +0000

I am happy to bring to you an old radio recording of Sri Mudikondan Venkatarama Iyer.

I found on the net, this write - up on Sri Mudikondan.

This is what Sri Pinakapani (Sripada?) wrote about Mudikondan.

An artiste is born with the gift of music. He succeeds in studying at the feet of great masters of the art and picks up principles, practices, and idea with great faith and devotion. He works hard for years and becomes a real vidwan. He performs all over the country with great merit and scholarship, setting up ideals for the younger generation. Great honours cling to him, honouring themselves in turn. At a time when he is most needed by the times, death claims him. Can God give the world another stalwart musician like him? Perhaps, he can. But will He?

Mudikondan Venkatarama Iyer, was a stalwart among top-ranking musicians of the past five decades. His music was known for its scholarship than for popular appeal.

Raga Alapana

In raga alapana, he gave us glimpses of the Konerirajapuram style. His method of raga alapana was unique, was not heard from any other vidwan of his generation. However little the scope for elaboration treatment, he handled vakra-raga with great ease and control. He revelled in the creative rather than the decorative style. The average listener may not find reason to applaud his raga alapana, but musicians had lessons to pick up. The phrases and patterns of raga alapana were all his own, more exploratory than ornate.

His neraval, in slow tempo, resembled raga alapana set to tala; while in fast tempo, he set up standards to follow, using rich sanchara-s and jati prastara-s, producing great effect. His kalpanaswara had a charm of their own. Janta swara-s, datu swara-s, and jati prastara-s, woven over a wide canvas provided great variety, which was the hallmark of his swara kalpana. He would reel of with great relish, 40 to 50 varieties of swara kalpana patterns within the scope of one avartanam, be it Adi tala or Khanda Triputa or Misra Chapu, in quick succession. Far from being tired, his audience always asked more of such kaleidoscope presentation of swara kalpana. He believed in sarvalaghu patterns of renditions, keeping the calculative aspect of swara kalpana at a distance, for he was a lover of spontaneity and creativity.

Great in Pallavi

Mudikondan’s Ragam Tanam Pallavi recitals were more sought after than his regular recitals. The phrases he sang in Tanam belonged to the past generation. Greater proportion of ‘akara’ than of ‘na’, ‘ta’, ‘tom’ and ‘nam’ syllables, was perhaps responsible for the variety and scope of elaboration. Tanam is madhyama kala elaboration of ragam, no doubt; but Mudikondan’s Tanam phrases were entirely different from his madhyama kala elaboration of raga alapana. The phrases, carrying a flavour of their own, were beautifully set, giving Tanam an individual entity, a personality of its own, saving it from being a mere segment of raga alapana.

A Great Laya vidwan

The ease and skill with which Venkatarama Iyer handled Pallavi are well known. His hold on laya was extraordinary. Kalapramanam was as near to perfection as possible. The way he marked Tala while handling a 4-kalai, slow-tempo Pallavi, whatever the nadai, was remarkable. He would mark each of the kriya-s of the Tala only once at its proper time without sub-dividing the matra-s of each kriya into halves or fourths. For example, when he took up Adi tala, in four kalai, slow-tempo in Chaturasra nadai, he would mark only 8 kriya-s that belong to Adi tala but not (for convenience of maintaining kalapramanam) subdivide 8 kriya-s into 32 beats. This skill in itself was extraordinary and deserves high praise. When an unusually difficult Pallavi, set to a rare and difficult tala, is exhibited before a learned audience, the marking of tala correctly on the one hand and extemporization of Pallavi on the other must each claim 50% of the vidwan’s concentration. When Mudikondan did such a Pallavi, he appeared to give 100% concentration to Pallavi elaboration and all the 100% of his attention again to Tala marking. So consummate was his skill in the total presentation of Pallavi that the audience could only gape in utter admiration at Mudikondan's mastery of Pallavi and Laya. Those who had witnessed in 1972 his demonstration in the Madras Music Academy hall of the Kambhoji raga Pallavi set to Simhanandina tala, will, I am sure, nod in assent.

Mudikondan Venkatarama Iyer, the great lakshya-lakshna vidwan, had a natural modesty to match his greatness. He lived the life of a wholesome musician, dedicating his entire lifetime to acquire mastery over the art of music, not bothering about limelight and headlines. His stature made him immortal in his field; it is did not choose to give him material gains. Let us hope and pray that he might be born again in South India to recapture the glory of Carnatic music.

For those who do not know, Sangeeta kalanidhi Smt. R Vedavalli and Sri B.Krishna Murthy are his disciples.

Mudikondan Venkatarama Iyer – Vocal

RKVenkatarama Sastry – Violin

Coimbatore N Ramaswamy – Mridangam

Items:

01 Srishankara – Nagaswaravali

02 Dayajuchutaku - Ganavaradhi

03 Ninnuvina - Abheri

04 Kanugonu Saukhyamu - Nayaki

05 Neelotpalambikayam - kannadagaula

06 Karuvelpulu - Kalyani

07 Krishnananda mukunda - Gaulipantu

08 Edo Teriyamal - Hamir Kalyani

Link:

http://www.mediafire.com/?sharekey=10f3f26dc390f408ab1eab3e9fa335ca5287216455df76d5

A page from the diary

vijayagopalk@gmail.com (Vijayagopal) — Sat, 07 Nov 2009 13:36:00 +0000

I wrote these lines on the 31^st Oct, 1999

ప్రవాహంలో నిలబడ్డవాని కాళ్ల చుట్టూ నీళ్లు కదులుతుంటాయి.

కాళ్ల క్రింద ఇసుక కదిలినట్లే ఉంటుంది. కాళ్లు కూడా కదిలినట్లే ఉంటుంది.

కదిలేది కాళ్ల కింద ఇసుక మాత్రమే.

అది కూడా ఉన్నది పోతుంది, అంతేకానీ కొత్తది వచ్చి చేరదు.

ఆ రకంగా కాళ్లు అంతంతకూ లోతుకు దిగుతుంటాయి.

ముక్కు మునిగే లోపల గట్టి నేల తగిలితే సరి!

లేకుంటే, ప్రవాహంలో ప్రవాహంగా, నీటిలో నీరుగా, మట్టిలో మట్టిగా, వాయువుల్లో వాయువుగా

మిగులుతాయి అ కాళ్లు!

ఇంతకూ కదిలేది నీళ్లా? కాళ్లా?

అసలింతకూ ఆ నీళ్లు ఎందుకు కదులుతున్నాయి.

అవి ఒకచోట ఉండలేవు గనుక!

వర్షం చినుకులు వరదలయి, వాగులయి, నదులయి, సముద్రాలయి, మరోసారి మేఘాలు కావాలి.

మళ్లీ వర్షం చినుకులు కావాలి!

అదో ప్రవాహం!

అదో చక్రం!

ఆగడానికి వీలులేని ప్రవాహం!

దానికి నీవు పేరు పెట్టి, అందులో దిగి నిలబడతానంటే అర్థముందా?

నదంటే ఏమిటి?

నిన్నటి నీటిచుక్కా?

నేటి ప్రవాహమా?

ఆ నీరా?

ఆ గట్లా?

ఆ ప్రదేశమా

ఏది నది?

నీరే నదయితే, నీరు లేనప్పుడు దాని పేరేమిటి?

ఈనీరు, ఇవాళటి ఇప్పటి ఈ నీరు, రేపటికల్లా మరోచోట మరోపేరు!

మరుసటినాడు సముద్రంలో పేరేలేదు.

గట్లనూ మట్టినీ నది అనడానికి అవి కదలవే!

మేఘాన్ని నది అందామా?

సముద్రాన్ని నది అందామా?

మాటలను కలగలిపి గజిబిజి చేసేకన్నా, మనం ఆ నీటిలో దిగకుండా ఊరుకుందామా?

ఇంతకూ నీవెవరు?

అబ్బాయివా?

అబ్బాయిగారి నాన్నగారివా?

అవిడగారి మొగుడివా?

అయనగారి అల్లుడివా?

నీవు వీవే! నీటి చుక్కవు!!

ఎక్కడుంటే అదేపేరు!!

నదికి పేరేమిటి?

నీకు పేరేమిటి?

Roughly this is what I meant!!

For the one, standing in a stream, the water around the legs will be moving.

It feels like the sand under the feet is moving.

Even the legs feel movement.

What moves is the sand under the feet.

Even in that what is there goes out.

New sand does not come there.

Thus feet get moving deeper and deeper.

If you hit the hard bottom before the nose is in the water, it would be good.

Otherwise those feet would remain as a stream in the stream, water in the water, earth in the earth and air in the air!

On the whole what is moving?

Is it the water or the feet?

Why is the water moving after all?

Because it cannot stay at one place.

It has to turn as a drop of rain, and then a stream, a rivulet, a river, an ocean and again a cloud. Then it has to turn into a drop of rain once again. !

It is a flow.

It is a cycle.

That cannot be stopped.

Would it mean anything, if you want to give it a name and get into it?

What after all is a river?

Is it yesterday’s water drop?

Or today’s stream?

Is it that water?

Those banks?

That area?

Where is the river?

If water is the river, what do you call it when there is no water?

This water, that belongs to this day and this moment,

by tomorrow in another place and another name!

Next day in the ocean without a name.

If you want to call the banks and the soil the river, they don’t move after all.

Shall we call the cloud a river?

Shall we call the ocean a river?

Instead of confusing by word jugglery, shall we desist from getting into it?

Who are you after all?

Are you a boy?

Or his father?

Or her husband?

Or his son – in – law?

You are after all YOU!! A drop of water!!

Name according to the place!!

Why name a river?

Why name you?

I swear! This is not poetry!!

Mithunam - Stories by Sri Ramana

vijayagopalk@gmail.com (Vijayagopal) — Fri, 06 Nov 2009 15:51:00 +0000

మిథునం

శ్రీరమణ గారి కథలు

శ్రీరమణగారు పేరడీలు రాస్తారని విన్నాను.

కథలు రాస్తారనీ తెలుసు.

అవన్నీ చదవకపోవడం నా తప్పు.

నేనసలు ఈ మధ్యన ఏమీ చదవడం లేదు.

మంచి పుస్తకాలను మిస్సవుతున్నానంటే ఆశ్చర్యం అవసరం లేదు.

కనుకనే ఈ పుస్తకం కనిపించగానే కొని చదివాను.

కడుపు నిండా సంతోషం అయ్యింది.

బాపుగారు తమ చేతిరాతలో మిథునం కథ రాశారు.

అది నేను చూచాను.

అంతకంటే కథకు మరో మెప్పికోలు అవసరం లేదని నా అభిప్రాయం.

ఇక పుస్తకం గరించి......

నవోదయవారు వేసిన ఈ పుస్తకంలో మిథునం కాక మరో ఏడు కథలున్నాయి.

మొదటి కథ అరటి పువ్వు సాములారు. కథంటే అది. అందుకే అది నిజేగా మొదటి కథ.

తేనెలో చీమ, వరహాల బావి, ధనలక్ష్మి, షోడా నాయుడు, బంగారు మురుగు, పెళ్లి, చివరగా మిథునం. అదీ వరుస.

కథలన్నీ ఒకదానికంటే ఒకటి బాగున్నాయి.

అన్నీ గొప్పగా ఉన్నాయి. ఇవన్నీ పత్రికల్లో వచ్చినవే. భేష్ అనిపించుకున్నవే.

పేరడీల రమణగారిలో సరసత ఉండడం కథలకు ఎంత బలాన్నిచ్చిందంటే, నేను మొదటి కథ చదివి కాసేపు ముందుకు చదవడం ఆపేశాను.

ఆ ఒక్క కథ చాలు. అరటిపువ్వు సాములారు. ఏమిటిది అనుకున్న నాకు ఎంత సంతోషమయిందో ఈ కథ చదివిన తర్వాత.

నాలుగు లైన్లు మీరూ చదవండి.

అరటి పువ్వు సాములారు

ఊళ్లోకి సాములారు వచ్చారు. పల్లకీలో వచ్చారు. శిష్యగణం, దేవతార్చన, వంటసామానూ వేరే వాహనాల్లో దిగాయి.
...................

టెంకాయలు, వంకాయలు, పీతాంబరాలూ ఊరిజనం ఇవ్వబోతే, ఆయన మౌనంగా తిరస్కరించారు. స్వామి అరటిపూలు తప్ప మరేమీ స్వీకరించరని వదంతి బయలుదేరింది. మరుక్షణం అరటిపూలు పావురాళ్లలా వచ్చి స్వామి ముందు వాలాయి.

...............

అరటిపువ్వు వడలు తిని అంతా ఓం అని తృప్తిగా తేన్చారు.

.............

సభ తీరిన స్వాము ఓ అరటిపువ్వు చేతిలోపట్టుకుని ఏమిటిది అని అడిగారు.

అరటి పువ్వు స్వామీ అన్నారు సభికులు ముక్తకంఠంతో.

కాదు. మీ అజ్ఞానం. ఇది విష్ణుమూర్తి శంఖం. సాక్షాత్తూ పాంచజన్యం. అని గద్దించారు.

...........

అరటి ఒకే ఒక పూవు పూస్తుంది జీవితకాలంలో. ఇందులో కుటుంబనియంత్రణ అంతరార్థం నిక్షిప్తమై ఉంది.

..........

దీని సారాంశం మీకెలా తోచింది.

తమరికి అరటిపువ్వు వడలంటే చచ్చేంత ఇష్టమని.

...........

స్వామీ!

ఏమీ?

తమరు అనుగ్రహిస్తే, మీ అరటిపువ్వు సిద్ధాంతాలూ, మీ జీవిత చరిత్రనూ గ్రంధస్థం చేసి ఏడుకోట్ల ఆంధ్రులకు అందివ్వాలని ఉంది.

అమ్మో అది మాత్రం వద్దు.

Sriramana is a contemporary story writer of reputation. He has written a number of very good stories. Mithunam. His story stood out of all the other works. Now here is a collection of stories and at the end of the book there is the title story. That is a famous story. No doubt about it. What struck me is the comic story that is the first one in this book. Such a story I am sure is rare by any standards.

I know you will not understand a thing reading these lines even if you understand Telugu. I want you to read the entire story. If at all I happen to meet Sriramana the first thing I will ask hi, will be about the thought for this particular story.

All the stories are exceptionally good. They are human. They are real. Illustrations by Bapu are as usual very good. Bapu wrote the story in his hand and the copy is available on the net or through the net, I am told. Bapu's illustrations for the stories are an added attraction for the book also.

The story Mithunam is only to be experienced. The old couple, their lively life is a once in a life time kind of imagination. Or is it reality? It is hilarious no doubt, but touches your heart in the softest spot. There is a character in the story to represent you! That is the only character there apart from the couple. I was kind of numb after reading the story.

It is not for nothing that MTVasudevan Nair was impressed by it and made a film about it. Nair himself is a writer of exceptional quality, if I am right.

Navodaya publishers of Vijayawada brought out this book. Try your luck. You may still find it on the racks of any good book store. Read and then think about what I have written here.

Are his stories amenable to translation since there is so much of nativity in them?

Have any of his stories been already translated?

What is this?

vijayagopalk@gmail.com (Vijayagopal) — Thu, 05 Nov 2009 07:53:00 +0000

What is this?
I am sure you see a face in it!
Interestingly this is a pattern I found on the marble flooring in my hall!
Can you beat it?

Maharajapuram Santanam - Radio Concert

vijayagopalk@gmail.com (Vijayagopal) — Sun, 01 Nov 2009 14:31:00 +0000

This is a recording of Sri Maharajapuram Santanam's performance as a part of Radio Sangeeth Sammelan.
It must be from early eighties.
I have not noted any other details on the cassette.
Interestingly when people like me made these recordings those days, we never thought that we will be sharing them like this on something called Internet.
It is now a pleasure to listen to them again in the name of digitising and editing. It is more interesting beacuse we are sharing them with all.

I heard a comment somewhere that people who write blogs and upload material on the web are interested in seeing themselves as popular people.
But, the fact is we do these things because it gives a lot of satisfaction and nothing more.
There are Mnay people who ask about the quality and other details of the recording.
I for one, am interested in listening to good music for the vintage value of it!

Sri Maharajapuram Santanam - Vocal
The Items :
01 Pamarajana - Bilahari
02 Srirama - Nasikabhushani
03 Narayana - Sudha Dhanyasi
04 Ma Janakini - Kambhoji
05 Tillana - Misr Sivaranjani

Link:

http://www.mediafire.com/?sharekey=10f3f26dc390f408ab1eab3e9fa335ca0ecbec99200f0ad9

I will be regularly bringing more really old recordings to Rasikas in the coming days.
Happy listening.

Sumati Satakam 11

vijayagopalk@gmail.com (Vijayagopal) — Sat, 31 Oct 2009 13:27:00 +0000

సుమతి శతకం

పగ వలదెవ్వరితోడను

వగవంగా వలదు లేమి వచ్చినపిదపన్

దెగనాడవలదు సభలను

మగువకు మనసియ్యవలదు మహిలో సుమతీ

paga valadevvari tOdanu

vagavangA valadu lEmi vacchina tOdan

deganAdavaladu sabhalanu

maguvaku manasiyyavaladu mahilO sumatI

పగ = Enmity

వలదు = should not be there

ఎవ్వరితోడను = with anyone

వగవంగా వలదు = Don’t repent

లేమి = poverty

వచ్చిన పిదపన్ = after coming

తెగనాడవలదు = Don’t talk harsh words

సభలను = in a meeting

మగువకు = to a lady

మనసియ్యవలదు = Don’t give your heart

మహిలో = in this land

సుమతీ = Oh the wise one

Oh, the wise one! Don’t have enmity with anyone on this earth. Don’t feel bad when poverty overtakes you. In a congregation do not talk in a way that hurts the feelings of people. Don’t fall in love with a lady, says Baddena in this padyam.

Here the poet tells the world about four things to be abhorred. Two of them are related to the mind, one each to the deeds and words. Enmity is related to anger. Sadness here is about stinginess. Harsh words are about wickedness and love is lust. Thus out of the six avoidables ie. Kama, krodha, moha, lobha, mada, matsarya four are mentioned in this poem.

Enmity and finding fault in others is a habit. With that one gets angry for sure. There are some who always look for good in everything. Such people will never have any enemies. Forgiveness is the ebst of the human qualities. With that you can win our even the worst of the enemy. Enmity can be bought over by love. Like water dowses a fire, calmness and forgiveness can dowse the problems arising out of worst relationships among people.

That is about the first part of the poem.

A lot can be said about poverty. If poverty comes, there is no use crying about it. If you can, do something to come out of it. It is unwise rejoice in riches and feel bad about poverty. Poverty makes one shy of the world. That leads to lack of confidence. One becomes dejected and thinks of renunciation. Great people said that poverty leads to all kinds of bad things in life, if one loses confidence.

One has to be cautious when speaking to a collection of people. It is necessary to keep good relations and reputation in the society. Even when what you are telling is truth, it has to be told in a way not to hurt anyone.

Long discourses are made about love. Love for the fellow beings and other creatures are more important than loving a woman. Love for women historically caused a lot of turmoil. Wars are fought for them. Dynasties feel down for them. Few are the people who successfully lived with a loved female. Less said about this is better.

Satakams are fountain heads of knowledge. They can be interpreted in lengthy discourses. Even that is bad perhaps. Wise people can understand for themselves even when told in a single word!!

Dwaram Narasinga Rao - Violin

vijayagopalk@gmail.com (Vijayagopal) — Fri, 30 Oct 2009 05:16:00 +0000

Dwaram, the less known!

Narasinga Rao Naidu, son of Dwaram Venkatakrishniah Naidu who was the elder brother and guru of legendary Dwaram Venkataswami Naidu, had his training from his father and Venkataswamy Naidu. He worked as violin lecturer and principal of M.R.Government Music College at Vizianagaram for many years and was known as a great guru who treated his scores of disciples with affection.

In his heydays Narasinga Rao Naidu accompanied musical celebrities like Parupalli Ramakrishniah Pantulu, GNB, Mangalampalli Balamuralikrishna, Chembai Vidyanatha Bhagavatar, T.R.Mahalingam and several others. All his sons and daughters are excellent violinists.

Narasingarao Naidu died at the early age of 55. His children Durgaprasada Rao(Retired Principal, Music college, Satyanarayana ( Now at AIR, Hyderabad), Poosarla Manorama (of Music College, Hyderabad) imbibed their father’s superb bowing technique and have earned fame in the field of violin. Satyanarayana joined AIR and was transferred to Hyderabad. I still remember a duet he played along with Sri Marella Kesava Rao a senior from their bani. A concert by the brothers Durgaprasad and Satyanarayana is available in the blog of Mridangam artist Kamalakara Rao. Sri.K.V.Reddy is another prime disciple of Narasingarao Naidu.

The recording of Narasinga Rao I am presenting here is from Andhra Music Academies non commercial cassette. I thank them profusely.

Accompanying artist on the Mridangam, Sri Kolanka Venakta Raju was a legend by himself. He has accompanied almost all the famous artists of the times. Mali preferred him for his concerts. I had the good fortune of meeting Sri Raju and spending some time discussing music. It is interesting that he was a sculptor of the highest order. The statue of Tyagaraja in the premises of Tyagaraja Ganasabha of Hyderabad is sculpted by him. There are many of his disciples in Andhra. His son Sri Lakshman Rao is a fine Mridangam artist.

Sri Dwaram Narasinga Rao - Violin

Sri Kolanka Vekata Raju - Mridangam

01 Teliyaleru Rama - Dhenuka.mp3

http://www.mediafire.com/?d3gg002gnlj

02 Paramatmudu Velige - Vagadhiswari.mp3

http://www.mediafire.com/?twzxno4otie

03 RTP - Kapi (Tani - Incomplete).mp3

http://www.mediafire.com/?yjzyzkndt2y

Ostrich Head in Sand

vijayagopalk@gmail.com (Vijayagopal) — Tue, 27 Oct 2009 05:57:00 +0000

Ostrich Head in Sand

Like many other languages English language is also very rich and descriptive. Someone “hiding their head in the sand, like an ostrich” is said to be foolishly ignoring their problem, while hoping it will magically vanish. The ostrich does many things, but hiding its head in the sand is not one of them.

We have similar situations in Telugu with expressions like 'Kari mingina velaga pandu' . People believe that an elephant eats a wood apple and digests it without breaking the shell! Similarly westerners think an ostrich hides its head when accosted with bad situations. I read this article about ostriches and thought friends would like to read it. Here goes the story!!

That doesn’t stop this metaphor being evocative, and widely used by people in religious studies, political studies, management, military history, sport commerce and the financial markets.

The ostrich is now found only in parts of Africa. It is the largest known bird, up to 2.4 metres high and 155 kg in weight. Ostrich farmers are attracted to the durable ostrich leather, lovely saleable feathers, lean meat and extremely high feed-to-weight-gain ratio (3.5 to 1, much better than cattle at 6 to 1). If scared, the ostrich can run at up to 65 kph. Its kick is powerful enough to bend 10 mm steel rods into right angles, and can easily break a human leg. The ostrich uses its wings for balance (when running) and for courtship and display, when it’s not batting its thick black eyelashes.

Ostriches have three main strategies when attacked. They can run away, they can kick, or they can try to hide (eg, when nursing the eggs). When hiding, they will sometimes lay flat on the ground, with the long neck and head also on the ground. In the rippling heat haze of their native Africa, they can look just like a grassy mound.

The myth that an ostrich will stick its head in the sand, in an effort to hide, may have begun with that great Roman thinker, Pliny the Elder (23-79AD). His real name was Gaius Plinius Secundus. Pliny was a man of intense curiosity about the world around him. His nephew, Pliny the Younger, wrote about him, “He began to work long before daybreak. He read nothing without making extracts; he used even to say that there was no book so bad as not to contain something of value. In the country it was only the time when he was actually in his bath that was exempted from study. When travelling, as though freed from every other care, he devoted himself to study alone. In short, he deemed all time wasted that was not employed in study.”

In 79 AD, Mt. Vesuvius erupted - and covered and then preserved the city of Pompeii. While most people ran away from Vesuvius, Pliny went straight into the danger zone to look, learn and rescue survivors - and died in the attempt. In his honour, the most violent volcanic eruptions (such as Krakatoa) are called ultra-plinian.

Before his death, Pliny had almost completed one of the earliest comprehensive encyclopaediae. His Natural History, in 37 books, was a remarkable attempt to summarise all the knowledge known to the Romans. He claimed that he covered some 20,000 topics, which he partly got out of some 2,000 books, which in turn were written by some 100 authors. In fact, he was one of the first writers to acknowledge other authors from whom he quotes, and also one of the first to have a table of contents. His Natural History remained a fundamental source of knowledge to the West through the Dark Ages.

So what did Pliny have to say of ostriches? In Book 10, Chapter 1, he writes, “…they imagine, when they have thrust their head and neck into a bush, that the whole of their body is concealed”.

Historians assume that this single sentence is the root of the myth about ostriches burying their head in the sand.

There is one interesting ostrich behaviour that comes close to burying their head in the sand. When ostriches feed, they sometimes lay their head flat on the ground to swallow sand and pebbles. The hard grit helps them to grind their food in their crop. From a distance, the ostrich looks like it’s burying its head in the sand.

So will you ever see an ostrich with its head in the sand? Not naturally – but it’s a wacky world that we live in. On the globalgourmet.com homepage, Claire and Monty Montgomery describe how they visited the Brandywine Ostrich Ranch in Hemet, California, to see and eat ostrich. The owner, Chip Polvoorde, told them how he helped get an ostrich’s head into a hole in the ground, for a movie shoot. Chip’s friend first dug the hole, laced it with yummy ostrich food, and once the unsuspecting bird had shoved its head into the hole, held it there with sheer brute force until they got their shot.

But I’m sure that once the ostrich got loose, it was the camera crew that had to watch the birdie…

Chembai Old LP

vijayagopalk@gmail.com (Vijayagopal) — Sun, 25 Oct 2009 17:06:00 +0000

Here is an old LP recording of Chembai Vaidyanatha Bhagavatar.

This is a very popular one and not available in the market now.

Items are

01 Varanarada - vijayasri

02 Inkaa Dayaraledha - Chakravaham

03 Samagana Vinodini - Hamsanandi

04 Ksheerasagara Sayana - Devagandhari

05 Rara Muralidhara - Vijayanagari

The link is

http://urlcover.com/f1x

Ramnad Krishnan - Mummoortlu - Athana

vijayagopalk@gmail.com (Vijayagopal) — Sat, 24 Oct 2009 15:31:00 +0000

mummUrtulu-aThANA

Listen to an excellent Athana and the Tyagaraja masterpiece in the inimitable voice of Ramanthapuram Krishna Iyer or Ramnad Krishnan as he is popularly known.

This recording is shared with me a famous musician friend of mine. I really do not the source of it.

Neither the accompaniment details are known.

My friend asked me one question regarding this song. Sri Rama is an incarnation of Sri Maha Vishnu.

When the trinity including Vishnu wrote their virtues and placed in the balance, Sri rama’s virtues placed on the other pan are described as being heavier. How can the virtues of his own Avatara be better than the virtues of Vishnu himself, notwithstanding the virtues of Brahma and Siva was the question.

Perhaps Tyagaraja wanted to tell that Amsavataras are sometimes much better than the original God. Such was his devotion to Rama.

I bring to you here the text and the meaning of the Kriti.

The meaning is borrowed from a well known source with thanks.

In this kRti ‘mummUrtulu gumikUDi’ – rAga aThANA, srI tyAgarAja states that even the Trinity sing the praise of srI rAma.

పల్లవి – ముమ్మూర్తులు గుమికూడి పొగడే

ముచ్చట వినుకోరే

అనుపల్లవి – సమ్మతిగ రాజు కొడుకనగ విని

సంశయము తీరక శ్రీరాముని ము....

చరణం – రోసముతో రఘురాముని గుణములు

రూఢిగ తమ గుణములనటు వ్రాసి

త్రాసుననిడ సరి నిల్వలేదని

త్యాగరాజ నుతుడెవడోయనుచును ము.....

Pallavi mummUrtulu gumikUDi pogaDE

muccaTa vinukOrE

Anupallavi sammatiga rAju koDuk(a)naga vini

saMsayamu tIraka srI rAmuni (mum)

Charanam rOsamutO raghurAmuni guNamula

rUDiga tama guNamulan(a)Tu vrAasi

trAsuna(n)iDa sari nilva lEd(a)ni

tyAgarAja nutuD(e)vaDO(y)anucunu (mum)

Meaning:

Please listen to the conversation of the Trinity praising (srI rAma) concertedly.

Having heard that srI rAma is a prince, their doubt not having been dispelled, listen to their conversation of the Trinity praising srI rAma concertedly and whole heartedly.

Being piqued, writing down the virtues of srI raghurAma and their own well-known virtues, as they placed there on a scale, finding that the scale did not balance, listen to the conversation of the Trinity praising srI rAma concertedly, (wondering) as to ‘who this person praised by tyAgarAja could be’.

Word-by-word Meaning

P Please listen (వినుకోరే) to the conversation (ముచ్చట) of the Trinity

(ముమ్మూర్తులు) praising (పొగడే) (శ్రీరామ) concertedly (గుమికూడి)

A Having heard (విని) that (అనగా) srI rAma is a prince - son (కొడుకు)

(కొడుకనగ) of King (రాజు) (దశరథ), their doubt (సంశయము) not having been dispelled (తీరక), listen to their conversation of the Trinity praising srI rAma (రాముని) concertedly and whole heartedly (సమ్మతిగ).

C Being piqued (రోసముతో), writing down (వ్రాసి) the virtues (గుణముల) of srI raghurAma and their own (తమ) well-known (రూఢిగ) virtues (గుణములను), as they placed (ఇడ) there (అటు) (గుణములనటు) on a scale (త్రాసున), finding that (అని) the scale did not (లేదని) balance (సరినిల్వ), listen to the conversation of the Trinity concertedly praising srI rAma, wondering as to (అనుచు) ‘who this person (ఎవడో) praised (నుతుడు) by tyAgarAja could be’.

You can listen to the song here.

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Track details

eSnips Social DNA

If you want to download the song please visit the link below.

You also have a bonus track there.

http://www.mediafire.com/?sharekey=10f3f26dc390f408ab1eab3e9fa335ca0abc61036e24c2cf

A page from the diary

vijayagopalk@gmail.com (Vijayagopal) — Thu, 22 Oct 2009 06:27:00 +0000

I wrote these lines on 30th October 1999.

I am sure I have changed my stand.

I have shared my brain with many, including you now!!

మెదడును పొట్లం కట్టి మంచం కింద దాచుకున్నాను.

ఏ పత్రికకూ పంపించలేదు.

బజార్లో పంచనూ లేదు.

మెదడును కుదువపెట్టి నెలకింత తెచ్చుకు తిందామని ప్రయత్నం

వాళ్లు నామెదడును అరగదీసి గంధంగా నాకే పూస్తున్నారు.

పైగా అది కంపు అంటున్నారు

అరగదీయడం మాత్రం మానడం లేదు.

అంతేగాదు, అమ్ముడవుతుందనుకున్న మెదడు, అంతంతకూ లోపల డొల్లయి పోతోందని అనుమానం కలుగుతున్నది.

కళ్లు ముక్కు చెవులనుంచి వచ్చే సందేశాలను అందులో నింపుకుంటుంన్నదేగానీ

తిరిగి బయటకు రానీయడం లేదు

అందుకే మెదడును పొట్లం కట్టి మంచం కింద దాచేశాను.

కదలడం తెలిసిన మెదడు మధ్యరాత్రెప్పుడో మంచాన్ని కుదేసినట్లుంది.

ఉలిక్కి పడి నిద్ర లేచాను

మెదడు నిశ్శబ్దంగా నవ్వుకున్నదని నాకనుమానం.

సందేహం తీర్చుకుందామంటే ఆలోచన నాదగ్గర లేదు.

అది లేందే ప్రశ్న లేదు.

ప్రశ్నించనిదే జవాబు రాదు.

అంతకు ముందటి ప్రశ్నలు జవాబులు మెదడులో కలగలిసి పోయి, చిక్కు పడిన దారంలా కనబడుతున్నాయి.

విప్పాలంటే విచక్షణ నాదగ్గర లేదు.

చెప్పింది చేయడం మాత్రమే తెలిసిన కండరానికీ, నాకూ ఇప్పుడు తేడా లేదు.

ఒకప్పుడు చెప్పకుండానే గుండెలా విరామం లేకుండా కొట్టుకునే వాడిని

ఇప్పుడు పేస్ మేకర్లో బలం తగ్గి బరువుగా కదులుతున్నాను.

ఇలాంటి కండరానికి ఇక మెదడుతో పని ఏమిటి?

అందుకే మెదడును పొట్లం కట్టి మంచం కింద దాచుకున్నాను

సందేహం తీర్చుకోవాలని అనిపించడం లేదు.

దాన్నిరిమోట్ కంట్రోల్ తో కదిలిస్తున్నారనీ, చదివేస్తున్నారనీ నా అనుమానం

నిద్దరొస్తున్నది.

మెదడు కుదిపేస్తుందేమోనని భయం.

అందుకే నిద్దరొస్తున్నది.

కండరం నిద్రపోతుంది.

మెదడు నిద్రపోదు.

జాగ్రత్త.

I have bundled my brain in a packet and hidden it under the cot.

I have not sent it to any magazine.

Not even distributed in the market.

The effort is to pawn the brain and get some monthly income.

But they are grinding my brain into paste and anointing me with it.

Moreover they say it stinks!

Still they continue to grind it.

What I thought will be sold, is getting empty inside, I doubt.

It is filling itself with the messages received from the eyes, nose and the ears and not letting anything out.

Only hence, I have bundled it and hidden under the cot.

Brain, that knows to move, looks like shook the cot in the middle of the night.

I was shaken out of sleep.

I doubt that the brain laughed silently.

To clear my doubt,

I do not have the ideas with me.

Without them there is no question.

No answer comes forth without a question.

Earlier questions and the answers are mixed up and are looking like a tangled mass of thread.

To untangle it I do not have the discrimination with me.

There is no difference between me and a muscle that only obeys a n order.

At one point of time I used pulsate like a heart without any command.

Now, the pacemaker has grown week and I am ticking very weak.

What has such muscle got to do with the brain?

Only hence, I have bundled up the brain and hidden it under the cot.

I have doubt that someone is manipulating with a remote control and playing with it.

I do not have the urge to clear the doubt.

I am sleepy.

I am afraid that the brain will shake me up.

That is why I am sleepy.

Muscle goes to sleep.

Mind would not.

Beware!

Chinta Deekshitulu - Children's Literature

vijayagopalk@gmail.com (Vijayagopal) — Mon, 19 Oct 2009 14:49:00 +0000

Chinta Deekshitulu Sahityam

1891 – 1960

This is a commemoration volume and not a commercial release. There was this centenary celebration committee in 1901 which took all the troubles to collect and publish most of the works of this unpretentious writer not known to many people now. Mr Subbarayan who was on the editorial board lent me this book. Before I return it to him, he went away to join Sri Deekshitulu in the other world. Of course Subbarayan has many of my books and material in his library, which is out of access to me now.

Sri Velaga Venkatappayya right at that time of publication only wrote that the works of Deekshitulu were not available in print for three decades. The reason given was very interesting. All the library copies were worn out because children read them too often. That sounds very interesting.

Mr.B. Subbarayan, before he departed saw to it that “Hanumantuni Toka” a poetic work of Deekshitulu was printed along with excellent colour illustration by none other than Bujjai. The book must be available with Andhra Mahila Sabha’s Literacy House at Hyderabad. That reminds me the absence of a copy in my collection. I asked about the original art work in big size of the book, and Subbarayan told that it is safe in his personal collection. I wish the family takes care of thousands of books he had.

Now to Sri Chinta Deekshitulu and his works.

The book published by the centenary committee contains more than 300 pages. There are children’s songs, stories, novels, humor, translations and other works included here. All of them are the best of the examples of fine children’s literature.

I am sure this book was printed in limited numbers and distributed among people attending the programme. There is no price mentioned anywhere. So, there is no probability of finding it in book stores. I wish somebody takes the rights and prints the works again.

Till then best I can do is to bring to a glimpse of the contents.

కవిత

పక్కున సూర్యుడు నవ్వాడంటే

పట్టపగలు ఈ లోకముకు

పక్కున చంద్రుడు నవ్వాడంటే

చల్లని వెన్నెల జగములకు

పక్కున పాపాయి నవ్వాడంటే

పరమానందం నీకూ నాకూ

నవ్వడమెందుకు నిజము పలకవే

అవునో కాదో అలివేణీ.

నేను పెద్దవాడనైనాక – కథ

రెండెద్దులూ ఒక బండీ కొంటాను. ఒక కొరడా కట్టుతాను. దానికి పువ్వులు కడతాను. ఎద్దుల మెడ నిండా గంటలు కట్టుతాను. ఎద్దులను బండి కట్టి, కొరడా చేత్తో బుచ్చుకొని సాయంత్రం దాకా తోలితోలి కొండల అవతలికి వెళ్లిపోతాను. కొండలవతల నక్షత్రాలూ అవీ ఉన్నాయి. వాటితో అక్కడ ఆడుకుంటూ కూచుంటాను. నాన్నలాగ ఎప్పుడూ కచేరీకి వెళ్లను.

నేను పెద్దవాడనయినాక!

పేద్ద నిచ్చెన ఒకటి చేయిస్తాను. ఆ నిచ్చెన భూమిలో పాతుతాను. ఆ నిచ్చెన ఎంతో పేద్దది. అది ఎక్కి ఆకాశం దగ్గరిదాకా వెళ్ళుతాను. వెళ్ళి ఆకాశాన్ని ముట్టుకుంటాను. నిచ్చెన చివార నిలబడి నక్షత్రాలు కోస్తాను. కోసి జేబులో వేసుకుని ఆడుకుంటాను. ఎప్పుడూ అక్కడే ఉండిపోతాను. కిందకు యెప్పుడూ దిగిరాను. నయినా

నేను పెద్దవాడనయినాక!

ఎన్నో రూపాయిలు నా పెట్టినిండా ఉంటాయి. ఆ రూపాయిలన్నింటితోటీ సెనగపప్పు, కారప్పూసా కొనుక్కుంటాను. నాన్న కారప్పూస కొనుక్కోవడానికి రోజూ ఒక డబ్బేగాని ఇవ్వడు. యెవ్వరికీ పెట్టకుండా అంతా నేనే తినేస్తాను. అమ్మ కారప్పూస ఎవరికీ పెట్టనివ్వదు. నేను ఆవుదూడలకీ కుక్కపిల్లలకీ మాత్రం పెట్టుతాను.

నేను పెద్దవాడనయినాక!

ఇంటిచుట్టూరాను పెరట్లోకి అన్నీ పూలమొక్కలు పాతుతాను. రోజూ రెండుపూటలా వాటికి నీళ్ళు పోస్తాను. అవి పువ్వులు పూస్తాయి. పువ్వులన్నీ దండలు గుచ్చి మెళ్ళో వేసుకుంటాను.

నేను పెద్దవాడనయినాక!

ఒక వాచీ కలమూ కొనుక్కుంటాను. వాచీ ఎప్పుడూ తిప్పుతో కూచుంటాను. కలంతో ఎప్పుడూ ఉత్తరాలు రాస్తుంటాను.

నేను పెద్దవాడనయినాక!

బళ్లోకి అసలు వెళ్ళనే వెళ్ళను. కావలిస్తే అమ్మనీ నాన్ననీ వెళ్ళమంటాను. నేనేమో సైకిలూ కారూ కొని ఊరంతా షికారు తిరిగివస్తాను.

నేను పద్దవాడనయ్యాక ఎన్నెన్నో చేస్తాను.

After I grow up!

I’ll buy two bullocks and a cart. I’ll also make a lash. I’ll tie flowers to it. I’ll tie bells around the necks of the bulls fully. I’ll tie the bullocks to the cart and with the lash I my hand, I’ll travel till thee vening and reach the other side of the hills. There are stars and the other things on the other side of the hills. I’ll sit there playing with them. I’ll never go the office like father.

After I grow up!

I’ll get one beeg ladder made. I’ll erect in the earth. The ladder will be really beeg. I’ll climb on it and reach the sky. I’ll touch the sky there. Standing on the top of the ladder I’ll reap stars. I’ll put them in my pocket and play with them. I’ll stay there for ever. I’ll never come down! OK!

After I grow up!

My box will be full of lot of rupees. With all those rupees I’ll buy Bengal gram and Khara namkeen. Father never gives more than one pie in a day to buy Khara. I’ll eat off all of it without giving any one. Mother does not allow giving Khara to anyone. I’ll give it to calves and pups only.

After I grow up!

I’ll plant a lot of flowering plants all around in the yard around the house. I’ll give them water twice daily. They will flower. I’ll make garlands and put them around my neck.

After I grow up!

I’ll buy a watch and a pen. I’ll keep winding the watch always. With the pen I’ll keep writing letters always.

After I grow up!

I’ll never go to school. If it comes to that I’ll ask mother and father to go there. I’ll buy a cycle and a car, and keep going around the town and come back.

I’ll do lot after I grow up!

That must be the best of the story I ever read! The novels are master pieces. They are very good material for TV serials. I wish more people could read Sri Deekshitulu’s works!

Balamurali - Swati Tirunal Concert

vijayagopalk@gmail.com (Vijayagopal) — Sat, 17 Oct 2009 03:41:00 +0000

Happy Deepavali once again!

I bring you excerpts of Swati Tirunal feastival concert By Dr. Mangalampalli Balamurali Krishna.

I really do not worry about Swati Tirunal wrote these songs or not!

The songs are very good and let us enjoy them.

There is an epical poem, Amukta Malyada in Telugu, supposedly written by Sri Krishnadevaraya,the Kannada King of Vijayanagara empire. Many scholars opine that he has not written it and simply appended his name to the work since he was the benefactor of the poet.

Even Shakespeare is made out to be a fictitious personality. Certain truths are hard to derive at!

Let us not think about things where we do not have much to decide. Let us enjoy this recording of which couple of items was earlier announced by my good friend Sri Murthy garu.

Dr. M. Balamuali Krishna – Vocal

Sri Purnachander – Violin

Sri T. V. Gopalakrishnan - Mridanagam

List of items and links:

http://www.mediafire.com/file/memdedjtwbm/01 Paripahi Ganadhipa - Saveri.mp3

http://www.mediafire.com/file/zdnzmuztxzk/02 Alapana - todi.mp3

http://www.mediafire.com/?kkzt5zonywa 03 Pankajaksha Tava Seva - Todi.mp3

http://www.mediafire.com/file/njiwen2lyzm/04 Aaj Aaye Shyama Mohan.mp3

http://www.mediafire.com/file/1ndcmyukn12/05 Bansuri Bajayi.mp3

Dwaram Venkataswamy Naidu - Birth Anniversary

vijayagopalk@gmail.com (Vijayagopal) — Thu, 15 Oct 2009 07:45:00 +0000

Dwaram Venkataswamy Naidu (Telugu-ద్వారం వెంకటస్వామి నాయుడు)

(b. 8 November 1893 to d. 25 November 1964) was one of the most important carnatic violinists of the 20th century. Dwaram Venkataswamy Naidu was born in November (Deepavali day), in Bangalore, India and was raised in Visakhapatnam. He was appointed Professor of violin in the Maharaja's Music College in Vijayanagaram, at the young age of 26, and became its principal in 1936. He was the first one to start the violin solo concerts. His first solo concert was given in Vellore in 1938. He was partially blind. He played at the National Physical Laboratory auditorium, New Delhi in 1952, to raise funds for the Blind Relief Association. Yehudi Menuhin, a world renowned violinist, was greatly impressed when he heard Dwaram play at Justice P.V. Rajamannar's house. He was known for his extremely well developed soft bowing technique combined with a firm fingering technique.

Thanks to Sri Thiagarajan, I bring you a recording of the Violin Maestro’s National Programme on AIR on the occassion of his birth anniversary.

Dwaram Venkata Swamy Naidu – Violin – NPM (AIR)

Kum Dwaram Mangatayaru - Violin Support

Sri Vellore Ramabhadran – Mridangam

Sri. Tanjore RSKrishna murthy Rao – Ghatam

Items

01 Vatapi - Hamsadhvani.mp3 (13.43)

http://www.mediafire.com/?yni1zz4wz5y

02 Janani - Reetigaula.mp3 (13.30)

http://www.mediafire.com/?renyuc0nh5y

03 Brova Bharama - Bahudari.mp3 (5.59)

http://www.mediafire.com/?

04 Durmarga - Ranjani.mp3 (14.04)

http://www.mediafire.com/?tzoemgyzk5m

05 Ksheerasagara - Devagandhari.mp3 (9.37)

http://www.mediafire.com/?22ml5no4oqg

06 RTP Hindolam.mp3 (15.54)

http://www.mediafire.com/?rlznymnquo0

07 Cheli Nenetlu - Javali - Kapi.mp3 (6.56)

http://www.mediafire.com/?xnzjytjn2zd

AIR Lucknow Recording

11 Chakkani - Kharaharapriya.(23.09)

http://www.mediafire.com/?mi1m2yx4tnz

Dwaram Old Discs

01 Rama Neepai - Kedaram.mp3

http://www.mediafire.com/?ngmzg2gceyt

02 Mokshamugalada - Charumati.mp3

http://www.mediafire.com/?zjmiz0dzmnw

03 Kalyani Ragam.mp3

http://www.mediafire.com/?mmmrwklnmtj

04 Kalyani Tanam Pallavi.mp3

http://www.mediafire.com/?qdytklw1md4

05 Raghuvamsa - Kadanakutuhalam.mp3

http://www.mediafire.com/?jzd55omyezm
06 Ragamalika RagamTanam.mp3

http://www.mediafire.com/?znblm2kzlnm

07 Sindhu Bhairavi Ashtapadi.mp3

http://www.mediafire.com/?ztdvzmdmakn

08 Tillana - Kanada.mp3

http://www.mediafire.com/?udgymt1mjtd

Have a great Deepavali!!

Kabir - Ud jayega hans akela

vijayagopalk@gmail.com (Vijayagopal) — Tue, 13 Oct 2009 05:27:00 +0000

Here is a master piece of Sant Kabir

This song is rendered by Kumar Gandharv in an interesting tune.

Here is the song.

उड जाएगा हंस अकेला

Ud Jayega Huns Akela,

जग दर्शन का मेला

Jug Darshan Ka Mela

जैसे पात गिरे तरुवर से

Jaise Paat Gire Taruvar Se,

मिलना बहुत दुहेला

Milna Bahut Duhela

ना जाने किधर गिरेगा

Naa Jane Kidhar Girega,

लगेया पवन का रेला

Lageya Pawan Ka Rela

जब होवे उमर पूरी

Jub Howe Umur Puri,

जब छूटेगा हुकम हजूरी

Jab Chute Ga Hukum Huzuri

जम के दूत बडे मजबूत

Jum Ke Doot Bade Mazboot,

जम से पडा झमेला

Jum Se Pada Jhamela

दास कबीर हरिके गुन गावे

Das Kabir Har Ke Gun Gawe,

वह हर को हरन पावे

Wah Har Ko Paran Pawe

गुरुकी करनी गुरु जावेगा

Guru Ki Karni Guru Jayega,

छेले की करनी छेला

Chele Ki Karni Chela

The Telugu translation

హంస తనదారిన ఎగిరి పోతుంది

ప్రపంచం జాతరగా చూస్తూ ఉండిపోతుంది

ఆకు, చెట్టునుండి రాలి పడినాక

దొరకడం ఎంతో కష్టం

ఎక్కడ పడుతుందో ఎవరికి తెలుసు

ఒక్కసారి గాలిలో చిక్కుకున్న తర్వాత!

వయసు గడువు ముగిసిందంటే

ప్రభువు ఆనతయ్యిందంటే

యమదూతలకిక బలమెక్కువ

యమునితో పోరు మనకెక్కడ

దాస కబీరుడు హరి కీర్తనతో

ఆయన దయను అందుకుంటే

తన కర్మందారిని గురువు వెళతాడు

శిష్యుడు తన దారిలో వెళతాడు

English Translation

The Swan Will Fly Away All Alone,
Spectacle of the World Will Be a Mere Fair
As the Leaf Falls from the Tree
Is Difficult to Find
Who Knows Where it Will Fall

Once it is Struck with a Gust Of Wind
When Life Span is Complete
Then Listening to Orders, Following Others, Will Be Over
The Messengers of Yama are Very Strong
It's an Entanglement with the Yama
Servant Kabir Praises the Attributes of the Lord
He Finds the Lord Soon
Guru Will Go According to His Doings
The Disciple According to His.

Vedaranyam Vedamurthy - Nadaswaram

vijayagopalk@gmail.com (Vijayagopal) — Sun, 11 Oct 2009 08:05:00 +0000

Dear Friends,

It is a pleasure to be sharing these recrdings with you all.
I was planning to upload these concerts during Deepavali.
The uploads in the forum prompted me to advance the act.
Happy Deepavali to all of you.
I am indebted to Sri Thiagarajan who has kindly given me these recordings.
There is a lot more of music to be shared in due course.
Happy listening!

The Concert uploaded by Sri TVG is interestingly available in Humma for a long time.
I have hesitated to share the same though I have the recording of the concert.
Another reason being, the quality which is not exactly good.
I am interested in knowing whether National Programmes of AIR used to feature Tamil announcements (lOcal Announcements) during those days.
I have here another concert of Sri Vedaranyam Vedamurthy for you.
Date and other details not vailable.

List and links as below.

01 VV Mukhari.mp3

http://www.mediafire.com/?yghggjjjgir

02 VV Nenarunchinanu - malavi.mp3

http://www.mediafire.com/?jmz2ymzyjk0

03 VV Geetarthamu - Surati.mp3

http://www.mediafire.com/?yzndh2mow2l

04 VV Mansa Yetulortune - malayamarutam.mp3

http://www.mediafire.com/?zmzc4mdztw2

05 VV Raghu vamsasudha - kadanakutuhalam.mp3

http://www.mediafire.com/?nmmvx0uygmm

06 VV Madhava Mamava - Neelambari.mp3

http://www.mediafire.com/?y33nfjdtn0a

07 VV Emanatichevo - Sahana.mp3

http://www.mediafire.com/?50yznnwjtn2

08 VV Orajupu Kannadagaula.mp3

http://www.mediafire.com/?eyyxguhdzhk

Folder link.
http://tinyurl.com/yjx24qs
For those interested in my earlier uploads!
www.mediafire.com/kbg
Keep visiting for more music!!

Science writing or Story Telling?

vijayagopalk@gmail.com (Vijayagopal) — Thu, 08 Oct 2009 15:23:00 +0000

This is an interesting article.

It is about science communication.

I have added my comments also.

“Heard any good talks?” That’s what you hear in the lobby of science meetings. The standard reply is, “I heard a great talk this afternoon—the speaker told a really neat story about ...”

And there you have it. He or she told a good story. You want to know how to interest the public in your research? Tell a good story.

As a scientist, I never quite knew this, but since becoming a filmmaker, it’s obvious.

At age thirty-eight I resigned from my tenured professorship of marine biology and entered film school at the University of Southern California. From the first day, we were confronted with one basic principle—the most powerful means of mass communication is through the telling of stories. From Greek mythology to today’s blockbuster movies, it’s clear—tells a good story and the world will listen.

(Interestingly I also did a similar thing in my life. After a Ph.D. in biochemical Genetics and also some post doctoral research work, I worked as a lecturer for a while.That was the end of the career as a true science man. Later I chose to join AIR as an officer in charge of science programmes. I became a science journalist and a science writer. There started the fun and struggle. It was real fun.)

Calling All Charlatans

It begins with a single, simple question: “What is your source of tension?” This is the heart of a good story. This question seemed trivial to me when I began film school. It didn’t register until a decade later when I finally directed my own documentary feature film, “Flock of Dodos,” about the controversy over the teaching of evolution versus intelligent design.

As I hit a brick wall in the editing and found myself sitting for days staring at a mountain of wonderful interview footage, I began flashing back to that question. Like a life preserver thrown to me in a stormy ocean, the question became my salvation.

As I dug deeper, I realized the answer itself tends to be a question. Just look at one of the simplest and most popular of fiction genres, the murder mystery—the source of tension is a question and virtually its own genre—“Who dunnit?”

Great stories and great scientific investigations are built around great questions. The more I immersed myself in this world of questions, the more I began to flash back to one of the highest compliments for a scientist—when someone says, “That scientist is asking great questions.”

And there you have it. The Rosetta Stone. The link between the science world and literature. Great stories and great scientific investigations are built around great questions.

But maybe you’ll say, “Storytelling is just for fiction.” Sorry, but that’s not true. This is a shortcoming of today’s science education—the failure to make scientists realize they are storytellers, every bit as much as novelists. They just don’t like to admit it, or really even think about it. They tend to think stories mean Star Wars and Harry Potter. The truth is, stories are as equally important in nonfiction as fiction. They are the way we understand our world.

You want the linchpin of proof of the similarity? Scientists write their papers in the same three-act structure that novelists and filmmakers use to tell their stories. The standard format of a scientific research paper consists of an Introduction (Act I, in which the question is presented); Methods and Results (Act II, in which the question is explored); and Discussion (Act III, in which the question is answered). Thesis, antithesis, synthesis—same, same.

All of which leaves me over the years answering this question to friends and journalists: “How in the world did you go all the way from scientist to filmmaker?” These days my answer is simple: “It wasn’t much of a change. The two careers involve the same basic process—storytelling.”

Randy Olson runs Prairie Starfish Productions in Los Angeles, California. Olson's book "Don't Be Such a Scientist" is published by Island Press.

(Now I add my two pence here.

When a story writer writes a story and it is really good, people say, he wrote it like as if it is a fact. Only the writer knows whether the story is a fact or fiction. When a writer like me writes an article people say as an appreciation that the piece reads like a story. What a paradox?

I learnt this in due course when I was made to write a lot. Later many readers and editors commented on my style of writing science in simple and like a story.

So, truth should be told like a story and story should be realistic.

I wrote a long article on this topic and an editor friend of mine misplaced it. I lost it.I cannot write it again. It was about the difference between writing fiction and facts. More on why people write fiction. A friend who read it commented on the work on some beautiful words.

Leave it at that. After a long time I found a piece which touches on my kind of thoughts and work. That prompted me to bring it here.)

Page from the diary

vijayagopalk@gmail.com (Vijayagopal) — Tue, 06 Oct 2009 03:15:00 +0000

కుండలో అన్నము వండుదురు. సరియగు నీరు పెట్టి వండినచో దానిని అత్తెసరు అందురు. అత్తగారికి నైపుణ్యముండును. ఓపిక లేదు. చివరకు నాణ్యతయందును గౌరవము లేదని అర్థము. ఇక కుండలో ముందు కొన్ని నీళ్లు మరిగించి అందు కడిగిన బియ్యమును చేర్చి, ఉడికిన పిదప వార్పుపెట్టుటు మరియొక పద్ధతి. ముందు నీళ్లు మరిగించుటను ఎసరు అందురు. ఏకముగా వానికే ఎసరు పెట్టితివే అని యధిక్షేపించుట గలదు. అనగా ఊరకే ఎవరికో మరగ మంటబెట్టిరని అర్థము. వార్చుటలో, ఉడికిన అన్నములోని పదార్థము కొంత గంజిగా బయటకు పోవును. గంజిలో చల్ల చేర్చి, చింతకాయతొక్కు నంచుకొని తాగుట గుర్తున్నది.

బియ్యము, కుండ తెలిసినవే. గంజి వార్చుటగూడ తెలిసినదే. తట్టుగుడ్డ చర్వము మూతికిగట్టి వార్చుట ఇప్పటికిని జరుగుచున్నది. వెనుక, పల్లెవారి యిండ్లలో, తీగతో (చెట్టుతీగె) అల్లిన మూకుడుండెడిది. వార్చుటకది ఉపకరణము. దాని పేరు సిబ్బి. సత్తుమూకుడులు వచ్చినపుడు, వాటిని సిబ్బిరేకులు అనుట వినియుంటిమి. తపుకు, తబుకు అని మరియొక మూకుడుండును. అది పళ్లెము వంటిది. కొంచెము లోతుండును. రొట్టెలు, జొన్నవి చేయుటకు కర్రలో మలిచిన పళ్లెరము, లేక స్తాంబాళముండెడిది. దాని పేరు దాగెర.

కుందెన, కుదురుల గురించి వేరుగా చెప్పితిని.

తెడ్డు, అత్రీసాల పలకలు ఇప్పటికిని మిగిలియున్నవి. వానికి పేర్లు మారినవి. అతిరసములకు తెలగాణ బ్రాహ్మణ్యము పెట్టిన పేరు అత్రీసాలు. ఏరుదాటిననవి అరిసెలు. అరిసి యనగా తమిళమున బియ్యము. బియ్యపు పిండితో చేసిన మధురము అరిసెయా లేక అతిరసము అరిసె యయినదా. తెలుగు విశ్వవిద్యాలయమువారు పరిశోధించవలె. వారు ఇందుగురించిన పుస్తకమును ఇంగిలీసులో వేయుదురేమో.

This entry is more about the language Telugu. I have mused about ways of cooking rice. Now almost everyone uses a pressure cooker for cooking rice. Earlier days, rice was cooked in large quantity of water and the excess water was drained off. If one is good and experienced at cooking, just enough water can be added and rice will be ready without draining. Many people do that. That is called a mother-in-law’s way of cooking. Such a lady would be an expert and lacks the patience. If someone passes an exam with just enough marks, there is a practice in Telugu which goes like he has passed with mother-in-law’s cooking kind of marks.

The entry in my diary on this particular day was more on the language.

There will not be any use in trying to put an English version of it.

My apologies are to visitors who do not know Telugu.

Silpa Rekha of Sri Seela Veerraju

vijayagopalk@gmail.com (Vijayagopal) — Sat, 03 Oct 2009 07:19:00 +0000

Silparekha

Sri Seela Veerraju is a veteran painter, illustrater, poet, writer and many more things in one.

More than all this, he is a perfect gentleman and an excellent friend.

I cannot forget his writing my Wedding Card and also getting it printed.

The card is the first insertion in our marriage photo album.

I am one of the many who enjoy his love and affection even today.

I am trying to introduce one of his works “Silpa Rekha” a book of sketches of the sacred place Lepakshi.

Sri Veerraju was commissioned to write an article on Lepakshi and Tadipatri etc., along with Sri Gopala Sastry an officer of the state government. There was another photographer and an artist to assist them when they visited the places. Veerraju says, he could not see the God in the temple being engrossed in the work of artisans who painted and sculpted God’s forms. He made his own sketches and here is the book. He made sketches of only the big sculptures and not of any paintings there.

There are more than 45 sketches in the book starting with the famous Lepakshi Basavanna or the Bull. All of them are wonderful by any standards. Any person with a little of art in his mind will appreciate the beauty in the lines.

These sketches were exhibited at many places including Germany. A German news paper while reviewing the show wrote that one can see the dance of Gods and man both in Heaven and on the Earth. There is a lot to this sentence, according to me.

Septuagenarian Sree Veerraju is still actively pursuing the art and is a source of inspiration to many like me. There is no poet, famous or fledgling, who does not aspire for a cover page by Veerraju for their collection. This gentleman never lets anyone down. His cover art works must have exceeded a few thousands in numbers.

He himself has written many novels, short stories. He and his wife Srimathy Subhadra are celebrated poets. I remember a book of Veerraju which was hand bound in beautiful cloth by the writer himself.Not one copy, but all of them!!

A second edition of the book Silparekha, was brought out in 2006.

An English edition is due in the near future.

I really do not know if copies are still available.

You may try your luck.

Write to

Sri Seela Veerraju

2/c Brahmananda Nagar

Malakpet

Hyderabad – 500 036

Nagaraju Eedara - Vocal

vijayagopalk@gmail.com (Vijayagopal) — Tue, 29 Sep 2009 04:02:00 +0000

Late Sri Eedara Nagaraju was a fine vocalist of yester years.

A Sangeetha Bhuashanam those days only, he was one among the founder faculty of the Music College at Hyderabad.

Sri Nagaraju was also a fine composer with exceptional imagination.

His style is really unique and reminds of some stalwarts like SGKittappa et al.

Thanks to his Daughter Smt. Durga I bring you here some recordings of Sri Nagaraju.

You will notice that there are some of his own composition.

I desist from commenting lest I sound pushing you into listening him.

A couple of the items are from AIR recording.

Here is the list. Accompaniment details not available.

01 Terateeyagarada - Goulipantu

http://www.mediafire.com/?yiibejinn3e

02 Korinavaramu

http://www.mediafire.com/?lzndzzlywot

03 Geetamulalluduna

http://www.mediafire.com/?mq34jmmkdtm

04 Emanagaphalamemi

http://www.mediafire.com/file/52m3yw5z2ht

05 Intaku ni madi Yochana Yemo

http://www.mediafire.com/?1mdinmwtjym

06 Ashajendi ninu

http://www.mediafire.com/?yyug4q2wzg4

07 Tumburu Naraduletu

http://www.mediafire.com/?kvizymzgngi

08 Telisi Ramachintanato

http://www.mediafire.com/?dnjnicloumc

09 Chala kalla

http://www.mediafire.com/?m30zwayyzzm

10 Padamule gati

http://www.mediafire.com/?n0i5g3mcwjz

I have a few more files uploaded to the mediafire account and you are welcome to download them.

Here is my collection.

www.mediafire.com/kbg

I will continue to upload more music to my collection.

Keep visiting frequently and you will not regret doing so.

The photograph in the entry is of Tyagaraja Swamy at Tirupati. You will also notice the main deity Sri Rama with Sita and Lakshmana.

Vemana verses in Kandam metre

vijayagopalk@gmail.com (Vijayagopal) — Fri, 25 Sep 2009 06:01:00 +0000

Vemana is not known to be composing verses in the Kandam metre.

Interestingly I found some Kandams in his collection.

I really do not know whether these verses are the works of Vemana.

It is for experts like my good friend Prof.Gopi to talk about it.

I am yet to read his thesis on Vemana.

However, I am sharing the padyams with you here.

For those who know Telugu, separately meaning need not be given, I feel.

Vemana’s language is really simple.

Only the poetic necessity makes him add some words that call for slight explanation.

ధనమెచ్చిన మదమెచ్చును

మదమెచ్చిన దుర్గుణంబు మానక హెచ్చున్

ధనముడిగిన మదముడుగును

మదముడిగిన దుర్గుణంబు మానును వేమా

Dhanamechchina madamechchunu

Madamechchina durgunanmbu manaka hechchun

Dhanamudigina madamudugunu

Madamudigina durgunambu manunu vema

With wealth high handedness increases. With that all the bad characters will increase. When wealth is gone the highhandedness also goes. Then vices also leave.

నడజీవులు స్థావరములు

వడచనిపోవంగ నెరిగి భావములోనన్

నిడువక బ్రహ్మము తలపరు

వడి చనిపోకుందురేమొ వసుధను వేమా

Nadajivulu sthavaramulu

Vada chanipovanga nerigi bhavamulonan

Niduvaka brahmamu talaparu

Vadi chanipokunduremo vasudhanu Vema

Even after seeing that what was thought as permanent perishes, people do not think of the eternal truth. Will they remain forever questions Vemana.

ధర గిరులు జలధులన్నియు

బరికింపగ ప్రళయమునను భస్మములయ్యా

సురలును మునులును జనగా

నెరయోధులిటుండగలరె నేర్పున వేమా

Dhara girulu jaladhulanniyu

Barikimpaga pralayamunanu Bhasmamulayya

Suralunu munulunu janaga

Nerayodhulitundagalare nerpuna Vema

When the great fire called the Pralayam comes even the mountains will turn into ashes. Even when the Gods and sages are dying will these strong men remain for ever? Questions Vemana.

ధరబుట్టి భోగినైతిని

పరమందిచ్చనుటమాని పడతులకైనే

తిరిగితిని చాల ద్రవ్యము

మరియార్జించితిని కడకు మరణమె వేమా

Dharabutti bhoginaitini

Paramandicchanuta mani padatulakaine

Tirigitini chala dravyamu

Mariyarjinchitini kadaku maraname Vema

I was born on this earth and became a profligate. Having desisted from the ultimate or the other world, I have wandrered for women. I have also earned a lot of money. But, the ultimate thing is only the death.

భోగంబులకాశింపక

రాగద్వేషంబులుడిగి రంగుగ దమలో

వేగమె మోక్షపదంబును

రాగనునాతండు యోగిరాయడు వేమా

Bhogambulakasimpaka

Ragadweshambuludigi ranguga damalo

Vegame mokshapadambunu

Raganunatandu yogirayadu Vema

One, who does not aspire for material enjoyment, gives up both love and hatred, and finds the coming of the salvation is the real king of Yogis, says Vemana.

Chocolate Chemistry

vijayagopalk@gmail.com (Vijayagopal) — Tue, 22 Sep 2009 04:45:00 +0000

For a student of biology like me life is a series of chemical reactions. May be it robs the good feelings about all that is romantic in life. If I say that love happens because a certain chemical is produced in large quantities when you look at somebody and the levels fall with others, it may sound funny.

Here I bring you some facts about chocolates. Can you imagine there is so much about the sweet that we always liked? Read on and you may like the chocolate much more!!

Tobacco is injurious. People like it and use it without let up.

How about the good old chocolate?

The cacao bean, from which chocolate is made, is devilishly complex, containing more than 400 chemicals. Many of them can affect human biology and health. Whether chocolate is good or bad for you depends largely on the type of chocolate and the amount you consume.

Fats.

About a third of the fat in cocoa butter is oleic acid, the very same monounsaturated fat that gives olive oil its good name. Another third is stearic acid; it is a saturated fat, but unlike the three other saturated fats in the human diet, stearic acid does not raise cholesterol levels because the body can metabolize it to oleic acid. And while chocolate also contains some palmitic acid, a saturated fat that does boost cholesterol, careful studies show that eating chocolate does not raise blood cholesterol levels.

Flavonoids.

The humble cacao bean contains a number of chemicals in the flavonoid family. Polyphenols protect chocolate from turning rancid, even without refrigeration. The soft imported chocolates melt and become mushy in hot places, but they never get bad in taste. Even more important are the flavanols, a group of chemicals that are responsible for many of the protective actions of chocolate. Flavanols are present in many healthful foods—like apples, cherries, and black tea—but dark chocolate is the richest source.

Amino acids.

Chocolate is high in tryptophan, phenylalanine, and tyrosine. Like other amino acids, these nitrogen-rich compounds are the building blocks of all the body’s proteins. But two of these amino acids have a unique property: they are precursors of adrenaline, a “stress hormone,” and dopamine, a neurotransmitter that relays signals between nerve cells in the brain. Scientists postulate that dopamine induces feelings of pleasure. Now you can understand all those advertisements about celebrating a victory or love with a chocolate. This favorite sweet gives good feelings instantaneously. It is no seceret that all of us love to take a bite of a good chocolate. The one thing everyone looks for when a friend or relative arrives from abroad is a chocolate. Unfortunately the amino acids in it also have a bad side too. These chemicals may also explain some of the adverse effects of chocolate, including its ability to trigger headaches in some migraine sufferers, its ability to raise blood pressure to dangerous levels in some patients taking monoamine oxidase inhibitors for depression, and its ability to instigate diarrhea, wheezing, and flushing in patients with carcinoid tumors, which are rare.

Methylxanthine.

Chocolate contains two members of this group of chemicals. One is obscure, the other notorious — but both theobromine and caffeine have similar effects on the body. They may explain why chocolate makes some hearts beat faster — and why it gives many people heartburn by relaxing the muscle between the stomach and the esophagus, thus allowing acid to reflux up from the stomach into the sensitive “food pipe.”Did you ever experience it? Now you know why the love food causes heart burn!

Sweet science

The flavonoids have many properties that might improve health. To see if they really work, researchers have studied foods ranging from apples to onions, and from tea to wine. And it’s no surprise that chocolate has attracted the interest of scientists from around the world, giving the research an international flavor. Most studies concentrate on aspects of cardiovascular health; here are some representative findings:

Antioxidant activity.

Antioxidants protect many of the body’s tissues from damage by oxygen free radicals. Among other beneficial actions, flavonoids protect LDL cholesterol from oxidation, which puts the “bad” into “bad cholesterol.” Here are two examples. Scientists from Italy and Scotland fed dark chocolate, milk chocolate, or dark chocolate and whole milk to healthy volunteers. Dark chocolate boosted the volunteers’ blood antioxidant activity, but milk, either in the chocolate or a glass, prevented the effect. Similarly, researchers in Finland and Japan found that dark chocolate reduces LDL oxidation while actually increasing levels of HDL (“good”) cholesterol, but white chocolate lacks both benefits.

Endothelial function.

The endothelium is the thin inner layer of arteries. It’s responsible for producing nitric oxide, a tiny chemical that widens blood vessels and keeps their linings smooth. Can chocolate help? Doctors in Greece think it may. They fed 100 grams (about 3½ oz) of dark chocolate to 17 healthy volunteers and observed rapid improvement in endothelial function. Swiss investigators found similar effects from dark chocolate. German scientists reported that flavanol-rich cocoa can reverse the endothelial dysfunction produced by smoking, and European doctors reported that dark chocolate appears to improve coronary artery function in heart transplant patients. There’s good news for nonsmoking, original-heart people, too, since Harvard researchers found that cocoa can blunt the endothelial dysfunction associated with aging.

Blood pressure.

Because good endothelial function widens blood vessels, it’s logical that chocolate might help lower blood pressure. Studies show that dark chocolate can lower blood pressure in healthy adults and in patients with hypertension. Research shows that the effect is modest, however, lowering systolic pressure (the higher number recorded, when the heart is pumping blood) and diastolic blood pressure (the lower number, recorded while the heart is resting between beats) by just under 5 millimeters of mercury (mm Hg). The benefit wears off within a few days of stopping “treatment” with a daily “dose” of dark chocolate. And another reality check comes from a six-week 2008 study of 101 healthy adults that did not find any benefit for blood pressure.

Insulin sensitivity.

The sugar and calories in chocolate give people with diabetes good reason to eschew it. But an Italian study in nondiabetics suggested that dark, but not white, chocolate can improve insulin sensitivity. However, a small 2008 investigation of flavanol-enriched cocoa in diabetics found no improvement in blood sugar control or blood pressure.

Blood clotting.

Most heart attacks and many strokes are caused by blood clots that form on cholesterol-laden plaques in critical arteries. These clots are triggered by platelets; the antiplatelet activity of aspirin explains its important role in patients with coronary artery disease. Researchers in Switzerland and the U.S. found that dark chocolate reduces platelet activation.

From lab to life

International experiments show that dark chocolate has an impressive array of activities: it is an antioxidant that may improve your cholesterol; it improves endothelial function and may lower your blood pressure; it is a sweet that may lower your blood sugar; and its antiplatelet activities could reduce your chances of developing an artery-blocking clot. Taken together, these properties could reduce the risk of heart attack and stroke. But all of these hopeful results are based on short-term experiments in a small number of volunteers. Do these bits and pieces of data apply to real life? Perhaps.

Research suggests that chocolate may indeed have a role in promoting vascular health, but the devil is in the details. The first consideration is the type of chocolate. Dark chocolate appears beneficial, but milk chocolate, white chocolate, and other varieties do not. The second issue is calories. Most trials have used 100 grams of dark chocolate, the equivalent of eating about one-and-a-half chocolate bars of typical size. If you ate that much every day, you’d pack in more than 500 extra calories, enough to gain a pound a week.

A page from the Diary

vijayagopalk@gmail.com (Vijayagopal) — Fri, 18 Sep 2009 07:57:00 +0000

13 మార్చి 2000

ఆసక్తి యుండుట మంచి లక్షణమే. రకరకములైన విషయములందు ఆసక్తియుండుటగూడ మంచి లక్షణమే. కానీ ఏదో ఒక విషయమున మంచి పారంగత్వముండుట ఎంతయో అవసరము. అన్నియు దెలిసినట్లు మాటలాడువారు కొందరుందురు. వారు తెలియని విషయమును గూర్చిగూడ యనర్గళముగ నుపన్యసింతురు. తమ తెలివిలేమిని పదుగురి ముందుంచుటయందు వారికెటువంటి సందియమును గలుగదు. వినుచున్న వారిలో ఆ విషయమును గూర్చి బాగుగా దెలిసినవారుండ వచ్చునను అనుమానము గూడ వారికి గలుగదు. ఎవరయిన వారి ప్రవాహమునడ్డగించి చర్చకు దిగవచ్చును. వానికి విషయము దెలియదని, విషయము దెలిసిన వానికే తెలియును. అట్టివాడు చర్చకుపూనుట యనవసరమని తేల్చివేయును. కావున మిన్నకుండును. కడమవారికి సంగతి దెలియదు.

కొందరు ఇట్లు మాట్లాడి మంచి హోదాలు సంపాదించుకొందురు. ఆ తరువాత వారేమి మాట్లాడినను చెల్లును. కడకు వారు చెప్పినదే నిజమేమోయను వరకు పోవును. లోన లొటారము పైన పటారమన నిదియే.

అన్నియున్న విస్తరి అణిగిమణిగియుండునని ఒకమాటయున్నది. అణిగిన విస్తరి కేవలము యాదృచ్ఛికము మాత్రమే. అది భోజనమునకు ఆధారము. భోజనము మాత్రము గాదు. భోజనమైన పిదప విస్తరిని కుక్కలకు వదులుదురు. అప్పుడది అయోగ్యము. అవసరము తీరిన పిదప ఏదయినను అయోగ్యమే.

ఆసక్తిగలవారు ఆసక్తికి ఆధారముగనేదో ఒక విషయమును ఎంచుకొన వలయును.

అందు మంచి నైపుణ్యము సంపాదించ వలయును.

అంబటిలో తెడ్డుగానుండరాదు.

I used to write my diary in a language that is not exactly of daily use. I do not have any reason to do so. I like the style.

In this entry I have written about people who shine by their eloquence but not exactly expertise. I really do not remember what provoked me to pen these lines. I know many people who attained heights though they are empty on the content.

Thus goes the narrative.

To be interested is a good character. To be interested in many things is also a good thing. But, it is necessary that one has good expertise in at least one subject. There are some who speak as if they know all the things. They wax eloquent even on things that they do not know. They do not have an iota of apprehension in exposing their hollowness before people. That there could be some in the audience who know much about the topic does not occur to them. Anyone can stop their flow and challenge to a discussion. That the speaker does not know what he is speaking about is known to only him who knows it. Such person knows that a discussion there is futile and keeps quiet. The rest of them do not anything!

Some people achieve high offices by speaking in this manner. After that whatever they speak will be accepted. It will even reach a situation where what they say will remain as the truth. An appearance being deceptive is the paradigm here. A leaf plate with all the material on will be stable. Thus goes a saying. Stability of the plate here is only incidental. The plate is the basis for the meal. It is not the meal itself. Once the meal is over the plate is thrown to the dogs. At that time it is a symbol of uselessness. After all anything that has already served its purpose is useless!

For our interest we have to choose one subject.

We have gain good knowledge in that subject.

One should not be a jack of all trades!

Krishna Leelau

vijayagopalk@gmail.com (Vijayagopal) — Mon, 14 Sep 2009 09:55:00 +0000

రమణ బాపుల శ్రీ కృష్ణలీలలు

This is an excerpt from the book written by Sri Mullapudi Venakataramana and illustrated by none other than his eternal creative partner Bapu.

I never knew that they have written a book like this.

I really stumbled on it.

I am aware of the devotion Bapu has for Ramayana and Rama In particular.

This book on Krishna is a wonderful work.

It gives a clear view of the Avataram in the simplest of the style.

Of course, Ramana got carried away by the subject and has used such language, a little on the heavier side.

Still it is eminently readable.

Interestingly when all the people think that Krishnanshtami is over in the month of Sravanam itself, some people like us who follow solar calendar have waited for the Simha masam for the same. Even in this there are some people who are celebrated the festival on 12^th of September and the others a day earlier, for certain reasons.

Here is a small part of the book Krishna Leelalu.

నక్షత్రాలు కోటి సూర్య ప్రభలై దీపిస్తున్నాయి. జేగంటలు గుడిగుడిలో గుండెగుండెలో మారుమోగుతున్నాయి.

దేవకి ముఖం దుర్నిరీక్షమైన తేజంతో బాధతో, ఆనందంతో వెలిగిపోతూంది.

అంతలోనే ఆమె కన్నులు మూతపడ్డాయి. అలసి సొలసిన ముఖం భువనమోహనంగా పక్కకు వాలింది. తృప్తిగా నిట్టూర్చింది.

జగన్నాథుడు, జగదోద్ధారకుడు, జగత్పతి, జగత్పిత, జగదేకవీరుడు, జగదేకమోహనుడు, జగదేకవంద్యుడు, జగద్గురువు, జగన్నాటకసూత్రధారి, జగదభిరాముడు, లీలామానుషవిగ్రహుడై – చిన్నిశిశువై ఉదయించాడు.

శ్రావణమాసం, బహుళ పక్షం, అష్టమి తిథి, రోహిణీ నక్షత్రం, అర్ధరాత్రి, అభిజిన్ముహూర్త వేళ, దుష్టశిక్షణకు, శిష్టరక్షణకు, లోకకళ్యాణానికి మహోజ్వల ముహూర్తవేళ. మంచివాళ్లకు గుండెలు పొంగేవేళ. చెడ్డవాళ్లకు గుండెలు కుంగేవేళ. కన్నులు తెరిచీ తెరవకుండానే ఒక్క చిన్నారి చిరునవ్వుతో జగతిని కాంతిమయం చేశాడు.

సంభ్రమంతో భక్తులు, భయంతో ఆనందంతో దేవకీ వసుదేవులు పైకిచూసి చేతులు జోడించి మొక్కుతున్నారు.

జగదానందకారకుడైన శ్రీమహావిష్ణువు చతుర్భుజుడై శంఖ చక్ర శార్జ్ఞ్గ గదాధారియై దర్శనం ప్రసాదించాడు.

‘పుణ్యదంపతులారా! నేను మీ దాంపత్యఫలాన్ని కావాలన్నమీకోరికను మన్నించి నాడు ప్రశ్నవర్గుడుగా వామనుడుగా, ఈనాడు కృష్ణవర్ణుడిగా మీ బిడ్డనై పుట్టాను. ఈ జన్మ తర్వాత మీకు ముక్తి లభిస్తుంది. వసుదేవా! నువ్వు శిశురూపాన ఉన్న నన్ను వ్రేపల్లె తీసుకు వెళ్లి అక్కడ నందుని సతి యశోద చెంత ఉంచి, ఆమె పొత్తిళ్లలో ఉన్న యోగమాయను దేవకీమాత ఒడిలో చేర్చు. దుష్టశిక్షణకూ శిష్టరక్షణకూ కాలచక్రం ద్వారా నేను సంకల్పించి ప్రయోగించే జగన్నాటకం ఈ క్షణాన నేను జన్మిస్తూన్న ఈ అభిజిన్ముహూర్తాన ఆరంభమవుతోంది. మీకు శుభం.’ అంటూ శ్రీమహావిష్ణువు అంతర్ధానం చెందాడు.

Incidentally this happens to be my 100^th post on this blog!