50 years since Kavi Samraat Viswanatha Satyanarayana has been Conferred Jnanpith Award

 It is nothing less than an audacious attempt aided by stupidity for a person educated in English medium with no strong grip on Telugu language to write about Kavi Samrat Viswanatha Satyanarayana. Around 50 years back - in 1970, Viswanatha Satyanarayana became the first Telugu writer to receive the Jnanpith Award.

Telugu literature had its ups and downs, one of the lowest periods for Telugu language and literature was when parts of Telugu Desam was pillaged by Islamic invasions headed by Malik Kafur followed by barbarous rule imposed by chieftains of Delhi Sultanate. Telugu literature had a revival during the Vijayanagara Empire and later it was able to crawl on its own legs, but its prominence dwindled.

There were many writers and poets whose endeavors made sure that Telugu language and literature isn’t lost in time, but for some strange reason many are willing to give the entire credit to the revival of Telugu language to the British official, Charles Philip Brown. I have no intention to diminish the contributions of Charles Philip Brown but snubbing the works of other people is not affable.

Rangasthalam

When Raymond Chandler criticized Agatha Christie in "The Simple Art of Murder", it was criticism from a peer where Chandler makes an interesting point - "Fiction in any form has always intended to be realistic".

Sukumar's "Rangasthalam" is different and distinct in many ways. I fail to recollect when was the last time a top director made top stars appear in a period village drama in Telugu Cinema.

Sukumar has always been audacious right from his first film "Arya" where the hero introduction scene is - emerging from a crappy manhole, in "Jagadam" where the design of lead character goes against standard conventions, in "Arya 2" the hero is embedded with unprecedented grey shades, in "One: Nenokkadine" the hero has a psychological problem. In "Rangasthalam" the protagonist has hearing impairment but the audacious part of "Rangasthalam" is that it is set in the 80's.

The first top view zoom shot where Chittibabu is in a hurry tells the viewer that Sukumar's approach in Rangasthalam is going to be different when compared with his previous films. The post death ritual scene emphasizes that it has to be taken seriously, the suicide attempt - rescue scene underlines the approach of the film, the scenes of antagonist played by Jagapathi Babu gives the hint of the overall plot and politics involved in the film, the scene where President name is revealed, tell us that Sukumar has many such surprises in the film.

The most striking among the brilliant performances by actors is by Jagapathi Babu, it reminded me of Krishna Vamsi's "Samudram" and RGV's "Gaayam". Like his previous films, Sukumar comes with his trademark? item song, which increased the weight of my complain about stretching the movie beyond its potential and the target audience.

In "Rangasthalam", Sukumar doesn't shy away from escaping into humor whenever possible, doesn't feel shy to adapt melodrama, doesn't feel shy to exploit death, doesn't feel shy to use the obvious shortcomings of a village guy and also doesn't feel shy to emphasize the "thread" worn by antagonists.

Journey of "Rangasthalam" was with hiccups, definitely worth watching for its audacity, probably it will fill your mind in next few days with scenes from the movie but this still bugs me - "Fiction in any form has always intended to be realistic" or ‘Realism in art in any form has always intended to be Fiction’ or it doesn’t matter in Telugu Cinema?.

అ! reminds me of 'ఏడు చేపల కథ' - 'Story of 7 fishes'

For very long I have been detesting the reasons given by many who support mediocrity in Telugu cinema. Below are some of the reasons.

- Navarasa

- Common man works hard and expects to see a masala film which relieves him of his tensions.

- Indians expect a package in a movie.

- Navarasa:

The reason to bombard movie goers with mediocrity comes the lazy reason of "Navarasa", Indian art form does talk about Navarasas and Indian epics contain Navarasas but when and where is it commanded that Navarasas have to be sandwiched into a 21st century film? 

- Common man works hard and expects to see a masala film which relieves him of his tensions:

Probably the pukeworthy reason to celebrate, foster and perpetuate crap and mediocrity into Telugu cinema. This reason is indirectly implying that Telugu (Indian) audience aren't good enough to appreciate art and also an offending remark which insults the intelligence of the viewer.

- Indians expect a package in a movie.

This is a silly excuse. Yes, Indians do expect packages, they like their lunch to consist of different dishes with different tastes. But, remember that Indian breakfasts and snacks are not thalis, they do not come as a package, instead they have their own delicious unique tastes.

అ! reminds me of the popular Telugu children's story 'ఏడు చేపల కథ' -'Story of 7 fishes'.

In 'ఏడు చేపల కథ', the plot has seven layers, each of it is linked to the other layer, the philosophy of is very captivating but broken into different parts, but connected with the main narration and thesis. The same is done by writer and director Prasanth Varma in అ!

Some people might want to avoid అ! Awe going by some reviews and also might suspect that the film may be devoid of Navarasas, lacked masala or it isn't a package - I have to say that అ! has Navarasas, masala and comes as a package if the Telugu viewer is willing to find it like the philosophy in 'ఏడు చేపల కథ' -'Story of 7 fishes'.

25 years of Aapadbandhavudu

I don't think one needs to look beyond K Viswanath's "Aapadbandhavudu" to get a glimpse of Chiranjeevi's talent.

Aapadbandhavudu was released 25 years back, like many other people of my age, I watched Aapadbandhavudu on TV.

Arjun Reddy - Nostalgia isn't the same anymore.

I will not pretend to be hysterical and at the same time I will not shy away from strongly recommending Sandeep Reddy's "Arjun Reddy".

It is like an extinct mammal coming back to normalcy as the average appetite of Telugu audience to digest 3 hours of celluloid work without regular songs, group dances and anti-gravity fights is a rarity.

Rage of the Elite – Hindi supremacists

Shudras humbly display scars of their rock hard hands, Warriors carry their wounds with pride, Merchants exude their acumen by saving gold, priests effuse with their chants and the jobless elite breast beat their pomposity for nothing.

At the risk of offending the elite, allow me to say that justifications given to impose Hindi on others has changed with time from normal decibel rhetoric to the cacophonic rage of the unworthy elite.

It starts with the India’s elite family, where Jawaharlal Nehru made sure that Hindi is the blue-eyed boy of Independent India snubbing other languages. It followed by official push for Urdu in Jammu and Kashmir over other local languages. If hadn’t been for the sacrifice of Potti Sreeramulu which led to division of Indian states on linguistic basis, Chahaji could have imposed elite Urdu in Telangana and Andhra because Telangana was under Nizam rule for quite some time.

Language supremacists and desert cults share some commonalities; both want to impose their beliefs citing "majority", claim civilizational superiority and divine superiority.

Pelli Choopulu

1- Watched the trailer and liked it a lot, made a note that I have to watch this film on the first day.
2- Music of the film was catchy with classical ragas fused with contemporary music, this increased my curiosity, again made a note that I shouldn't miss this film.
3- Music, cinematography and dialogues in the trailer induces a lot of trust in the film when you realize that it's by a new director.
4- Some films instantly attract your attention and give a hunch that there is a lot of honestly in it.

In the above four points, the director was 'Sekhar Kammula' and the film was 'Anand'.

When everyone was fighting for tickets of Chiranjeevi's 'Shankar Dada M.B.B.S.', I was hoping to get tickets for Sekhar Kammula's 'Anand' on the first day.

It was nostalgic and same things went through my mind when I watched the trailer of Tharun Bhascker's 'Pelli Choopulu'. 'Pelli Choopulu' is definitely one of the best films of 2016, it is honest in its approach.

I absolutely loved the first half and I don't remember when was the last time I laughed so much while watching a Telugu film.Graph of the second half is not appealing as the first half and the climax was like a jump cut, I guess some scenes were omitted in the editing room, but nevertheless its a total joy to watch Tharun Bhascker's 'Pelli Choopulu'. Happy weekend.

Note: Playing 'Chinuku Taake' and 'Aanandamayenu' in continuous loop, kudos to Vivek Sagar for beautiful tracks.

A Aa (అఆ)

Let me begin by asking you this question, "How can I insult you?" read the question again, I didn't ask "How can I offend you?".

I belong to the part of Telugu generation which coincides with the rise of Triviklram Srinivas who have enjoyed and praised his works as a writer and director and slowly even criticized his works lately. Fraction of criticism is genuine and every film maker comes across it but its the other type of criticism which irritated me the most in last couple of years.

Punch Dialogues, "..there are no punch dialogues in the film...its not good...so its not worth watching", I feel like debating to the end how lack of punch dialogues doesn't make a film good.

Remember my question "How can I insult you?", or let me generalize it, "How can a filmmaker insult the intelligence of audience?"

Let me tell you a secret which many people don't know, you liked previous works of Trivikram Srinivas not for his punch dialogues but for the emotions which he handled in the story. Surprised? Watch those films again and you will realize it.

"A Aa" is not the best work of Trivikram Srinivas but definitely worth watching where he released himself from the slavery of fraction of dimwitted audience who look for punch dialogues and nothing related to art of film making. There are instances in the film like the suitcase scenes, that's the Muhammad Ali punch if you understood those scenes correctly.

Very happy that Trivikram Srinivas made "A Aa(అఆ)".

Baahubali and the unwarranted criticism.

I loved watching S. S. Rajamouli's "Baahubali" and came across a little of constructive criticism made by some people who pointed out some genuine loopholes. I stopped writing lengthy film reviews long back because the congested free time which I got was only showing the mediocrity in my writing.

After watching "Baahubali" I thought of doing a detailed scene by scene analysis when the dvd of Baahubali gets released as there are many things that have to be said but decided to write this post in the wake of some negative criticism. The unwarranted criticism can be a product of the below.

• Enviousness
• To achieve orgasmic fame for being distinct.
• Watching the film in the way it was not meant to be.
• Sensibilities got hurt.
• To exuding the "cool" slipshod attitude by criticizing the film without tangible reasons.
• To spread negativity no matter what.

It seems that few people were offended with S. S. Rajamouli's "Baahubali" and have seen lot of unwarranted criticism in the form of memes accusing Rajamouli for not meeting certain standards when these blokes cant even imagine in their brains what Rajamouli was able to show everyone on the big screen.

Some were disappointed with "Baahubali" as their sensibilities were hurt, I will mention them with my take on them and its for them and for the other readers to decide if they still feel the same or not.

Multiple occasions my sensibilities were offended; man tries all his life but only a woman's form inspires him to scale d heights #Bahubali

Shivudu is a jovial man who like scaling heights and very importantly that particular height, but to achieve any goal in life there has to be some inspiration and especially for wanderers the inspiration usually comes in the form of a woman, not in the form of a man. To dig deep, inspiration and mental strength comes from a woman and the physical strength and strategic thinking comes from a man, this has been the case for great people like Ramakrishna Paramahamsa, Tenali Ramakrishna and many others.

Few more points to note:

• The female form(inspiration) is named "Avantaika".
• She resides in the heights.
• She is a rebel.
• She possesses ravishing beauty.

Woman who supposedly is determined to fight for a cause melts minute she meets Hero Prabhas, then Mission taken over by Able Man #Bahubali

One doesn't seem to comprehend what Rajamouli did here, he explored the inner sensibilites of a woman, not before everyone but only before herself. Accoring to Hindusim a complete woman possesses स्त्री/స్త్రీ Sa, Ta and Ra qualities. The deep, private and sensual emotions of Avantika were shown here. Avantika is a beautiful young women and at the same time she is on the process of becoming a complete woman. Its the art of story telling and structure of plot which connects the mother and son, Shivudu has to eventually rescue his mother Devasena, that's his job and it gets achieved with help of Avantika.

I understand it's only a fictional film; yet I couldn't see why hero's foot atop head of elderly man was needed; why enemies were all black

Even I was a bit uncomfortable when Shivudu kept his foot on the head of Kattappa, but Rajamouli cuts the scene when Shivudu was an infant and was being fondled by Kattappa, where the tender foot of Shivudu touched Kattappa's head. You cannot cut a piece of scene and analyze it exclusively just because it made you uncomfortable, the scene has to be comprehended in its entirety.

"Enemies were all black". We were told in the film that the army headed by Kalakeya is a ruthless and belong to a tribe, and its obvious to represent that an outside army will be presented as a single tribe unlike a heterogeneous Mahishmathi kingdom and regarding the complexion of the Kalakeya Army, aren't we becoming hyper critical on issues which dont even exist. If I comprehended correctly, Kalakeya's are worshipers of "Spider" and it seems that it was apt to go with dark complexion.

The Kalakeya's are not the enemies, its the 'fair' Bhallala Deva who is the prime antagonist.

I watched "Baahubali" only once, may be a second watch might make things more clearer. Some feminists may be happy and some of them may not be happy about "Baahubali", anyway Hinduism has no relation with Feminism as I said here. For people who are eager to spread negative criticism and invoke useless controversies can use the below.

• Is it right for Shivudu to break the Linga?
• Why is Shiva going towards Ganga and not the other way?
• Why was Bhallala Deva wearing the sacred thread?
• Why was a bull killed by Bhallala Deva and not an another animal?
• Why was a handicapped person 'Bijjala Deva' portrayed in negative role?
• Wasnt a woman 'Sivagami' good enough to occupy the throne of Mahishmati?
• Dig more....you might find many more..

Bumpy Journey of BJP in the Telugu land

Allow me to start this post with ironies surrounding the BJP. BJP has no active role to play in the politics of West Bengal which is the birth place of one its ideological founder. BJP was officially founded by Atal Bihari Vajpayee and L.K.Advani, who have taken the party from 2 seats to 3 digits. Out of the 2 seats which the BJP won, one was from Andhra Pradesh and other being Gujarat and history tells us how BJP progressed in both these states.

When there was no strong opposition to counter the Congress party in Andhra Pradesh, NTR formed Telugu Deasam Party (TDP) with a landslide victory on debut. In May 1983, NTR successfully held a meeting of opposition leaders spanning across the country at Vijayawada which was attended by MGR, Ramakrishna Hegde, Farooq Abdullah, Sharad Pawar, Menaka Gandhi, L.K.Advani and others. NTR was not hesitant in showing that his regional party can play an active role at national level but the same spirit was never found with the BJP which was a national party to be an active regional player in Andhra Pradesh.

In 1994, NTR was back with a bang. TDP+ won 250 out of 294 assembly seats and L.K.Advani in a discussion with Prannoy Roy said “This marks the beginning of the end of the Congress party as the dominant political force of India”, L.K.Advani is right but the lotus failed to bloom in Andhra Pradesh despite the chances given to them.

It may come to many as a surprise that the first mayor of Vishakhapatnam (Vizag) was from BJP. N.S.N. Reddy was elected as the first mayor of Vizag and also served as an MLA. It was because of the lack of clarity and direction in state unit, the BJP could not take its leaders and ideology into the masses of Andhra Pradesh.

Andala Rakshasi - A Melancholic Ecstasy

If there is something that sincerely hurts the Telugu Film Industry is the lack of film criticism. One should not get confused between film reviewers and film critics, there is definitely a difference between the both and occasionally their territories overlap with each other. There are very few people who cross the borders of film criticism and film reviewing effortlessly, Roger Ebert was one of them. The growth of internet was followed by the mushroom growth of websites on Telugu Cinema, the film reviews and ratings on the websites for new releases are like the fast food, they serve for the moment- in this process, genuine film criticism is getting ignored.

Let I be blunt in stating the fact that there are hardly any Telugu film critics, many film reviewers and only some of them are good film reviewers, almost innumerable instant star rating reviewers and very few people who do an honest post-mortem of films. The reason behind writing this post is that reviewers and film-goers are no longer looking at films beyond the star ratings given to them and people are no longer looking into the finer details of film-making, this is hurting Telugu Film Industry.

I watched Hanu Raghavapudi's "Andala Rakshashi (Beautiful Devil)" on my personal computer and was fascinated to observe the finesse of the director and of course I was disappointed with the flaws attached with it, I decided to watch the film again and I was able to convince myself that almost every frame of the film was exuding the conviction of the director.

Hanu Raghavapudi mentioned several times that the film is about three characters Midhuna, Surya and Gowtham which represent Earth, Sun and Moon respectively. I was very curious when I first heard the concept of bringing natural sacred elements Earth, Sun and Moon as form of film characters and was thrilled to watch the plot revolving around these characters.

Sita Swayamvaram

I tweeted about the song "Rama Kanavermira" from K. Vishwanath's film "Swathi Muthyam" starring Kamal Hassan and Radhika. Mad Nad asked for an English translation, then I understood the pain of translating the pure classical Telugu into English.

Like many yo-yo guys, even I wanted to address Rama as dude and Sita as Babe as it sounds modern and rebellious for young folks and even I felt like questioning the conduct of Rama with Sita to look like a posh Liberal activist. But, these things changed as I read some good and reliable translations of Ramayana and understanding the love between Rama and Sita and how they both were tested by time and Dharma. Of course, these days it is cool and modern to come up with jokes which ridicule our culture and traditions and the so called stand-up comedians crack mediocre jokes like "Rama went to a Bar..." or "Sita caught Rama in a Bar...". I am fine with criticizing and having some fun with epics but I am not comfortable when people who haven't read them and who have no idea about culture and traditions starts ridiculing them just for ostentation.

Veturi's song "Rama chakkani Sitaki" in Godavari has opened a new dimension of Veturi for me, the way he used words in the song was brilliant and was sure that "Rama Kanavemira" (రామా కనవేమిరా) was written by Veturi, as the style was similar but to my surprise I found out that it is Atreya who has written the lyrics for the song "Rama Kanavemira" (రామా కనవేమిరా). Veturi was very much inspired by Atreya and often said that he has seen Atreya as a guru and Atreya was much better writer than him.

Translating this song into English was an excruciating experience as there are no online resources for telugu words and no good Telugu dictionary available. Below mentioned friends helped me in this endeavor.

I thank  Pavan for translating some words into English.
I thank Avinash for providing his inputs, never knew that he had so much command on Telugu.
I thank Priyanka Mukherjee for fine tuning the raw dump English words into poetic form.

Request: Please comment if you find any mistakes or any changes that have to be done.
Note: Telugu was my 3rd language in School.

*****

రామా కనవేమిరా  శ్రీ రఘురామ కనవేమిరా...
రమణీ లలామ నవ లావణ్య సీమ
ధరాపుత్రి, సుమగాత్రి నడయాడి రాగా...
రామా కనవేమిరా

Why don't you see Rama? O! Mighty Rama why don't you see?
The loveliest amongst women, beauty unsurpassed, new vistas touched,
The daughter of the earth, with a voice that lilts, has come looking for thee
Why don't you see Rama?

సీతాస్వయంవరం ప్రకటించిన పిమ్మట జనకుని కొలువులో ప్రవేశించే జానకినీ, సభాసదులందరూ పదే పదే చూడగా...

శ్రీరామచంద్రమూర్తి కన్నెత్తి చూడడేమని అనుకుంటున్నారటా, తమలో సీతమ్మ అనుంగు చెలికత్తెలు.

After the announcement of Sita’s swayamvar at Janaka’s court. The guests who arrived can't take their eyes off from Sita.
Her female comrades wonder “Why doesn’t Rama too catch a sight of Sita's beauty?”

రామా కనవేమిరా  శ్రీ రఘురామ కనవేమిరా...
రమణీ లలామ నవ లావణ్య సీమ
ధరాపుత్రి, సుమగాత్రి నడయాడి రాగా...
రామా కనవేమిరా

Why don't you see Rama? O! Mighty Rama why don't you see?
The loveliest amongst women, beauty unsurpassed, new vistas touched,
The daughter of the earth, with a voice that lilts, has come looking for thee
Why don't you see Rama?

ముసిముసి నగవుల రసిక శిఖామణులూ..
ఒసపరి చూపుల అసదృశ విక్రములు
ముసిముసి నగవుల రసిక శిఖామణులూ..
ఒసపరి చూపుల అసదృశ విక్రములు

The Smirking of the amorous experts ..
The Glances of handsome men and unparalleled heroes
The Smirking of the amorous experts ..
The Glances of handsome men and unparalleled heroes


మీసం మీటే రోష పరాయణులూ
మా సరి ఎవరని మత్త గునోల్వనుల్లు
Proud aspirants, twirling their moustaches in woes
Pompous men, heads swollen with arrogance


క్షణమే ఒక దినమై నిరీక్షణమే ఒక యుగమై...
తరుణి వంక, శివధనువు వంక, తమ తనువుమరచి, కనులుతెరచి, చూడగ
రామా కనవేమిరా

Each second seems like a day, and this wait is like a yuga(era).
Their eyes on the blossoming young woman and Lord Shiva’s arch,
Unaware of their surroundings and selves, Sita they see, with eyes opened large
Why don't you see Rama?


ముందుకేగి, విల్లందబోయి, ముచ్చెమటలు పట్టిన దొరలూ భూవరులూ
తొడగొట్టి, ధనువుచేపట్టి, బావురని గుండెలుజారిన విభులు
విల్లెత్త లేక, మొగమెత్తాలేక, సిగ్గేసిన నరపుంగవులు
తమ వొళ్ళు విరిగి, రెండు కళ్ళూ తిరిగి, ఒగ్గేసిన పురుషాగ్రణులూ
ఎత్తేవారు లేరా? అ విల్లు ఎక్కుపెట్టే వారులేరా?

With poise they come to lift the bow. An attempt at winning the bet,
And the mortal grooms are in sweat.
Failing to raise the bow; stooped with shame, embarrassed those who’re used to lead.
Exhausted forms and swooning eyes; men of repute admit their defeat.
"None there to lift the bow? None there to lift and position the bow?"

అంతలో రామయ్య లేచినాడు,ఆ వింటి మీదా చెయ్యి వేసినాడు
సీత వంక ఓరకంట చూసినాడు,
ఒక్క చిటికలో విల్లు ఎక్కు పెట్టినాడూ
ఫెళ ఫెళ ఫెళ ఫెళ విరిగెను శివధనువు, కళలొలికెను సీతానవవధువూ
జయ జయ రామా రఘుకుల సోమా దశరధరామా దైత్యవిరామా
జయ జయ రామా రఘుకుల సోమా దశరధరామా దైత్యవిరామా

Meanwhile Rama stands up then and places his hand on the bolt
Caught Sita in a furtive glimpse.
Within snap of fingers, he lifted the bow and stretched the string.
The bow breaks with a sonorous noise, thus becomes the husband of Sita
Hail! Rama, the courageous king of Kshatriyas Dasarath’s Rama, the demon slayer.

*****

Image Courtesy: http://fineartamerica.com/featured/sita-swayamvar-badri-narayanan.html 

Division of Andhra Pradesh

Last couple of days have been emotional for many Telugu speaking people. Telugu is arguably the second largest spoken language in India after Hindi. The state of Telugu people i.e. Andhra Pradesh would be divided into Telangana and Andhra Pradesh (Andhra + Rayalseema). After independence, Sardar Patel unified India into many states, but there was another problem from South India where a man named “Potti Sriramulu” demanded a separate state for Telugu speaking people from the state of Madras. Thus began the formation of Indian states on linguistic basis and Andhra Pradesh being the first one. Irony was about to appear, the doubts over the separate state were cleared on 30th July and the birthday of Jnanpith Awardee “Cingireddy Narayana Reddy” was on 29th July who is well known for his song “Telugu Jaati manadi” which endorses the greater association of Telugu people from all the regions of present Andhra Pradesh.

When Andhra Pradesh was being pushed into backwardness, thanks to the governance of Congress and there was no challenging opposition to counter Congress, NT Rama Rao formed the Telugu Desam Party (TDP), he attracted intellectuals, Anti-Congress and youth, and K.Chandrasekhar Rao (KCR) was one of the many who joined the TDP, later he would name his son as Rama Rao. Chandra Babu Naidu was at the helm of affairs when he removed KCR as the Transport Minister who would later form a new party by the name Telangana Rashtriya Samithi (TRS) which would fight for the cause of separate state of Telangana.

గంగా తాండవం

ఉరికింది ఉరికింది ఆకాశగంగ,
హరుడు హరించమని అడుగంగ,
అడుగులో అడుగై నేలంతా మడుగై,
పాపం పుణ్యం అన్నీ మరిచి,
పిన్నలు పెద్దలు భేధం విడిచి,
నింగినుండి నేలకు జారి, ఆ రెండింటిని ఏకం చేస్తూ,
శివుడే నేల చేరి నాట్యమాడేనా అనేట్టుగా,
ఆ హరునే హరిస్తుందేమో అనేంతగా,
ఉరికింది ఉరికింది ఆకాశగంగ.

గంగమ్మను ఇన్నాళ్ళు మోసిన శివయ్య, ఇక చాలనుకుని,
ఇంతమందిని పొట్టనపెట్టుకోమని ఆఙాపించావా?
నీ ఆఙ లేనిదే చీమైనా చలించదు కదా,
నిన్ను చూడ వచ్చినవారిని నీలో చేర్చుకున్నవా?
అందుకే అందర్నీ ముంచిన ఆ హిమగంగ,
నిన్ను తాకే ధైర్యం చేయలేదుగా,
ఆఙా నీదీ,ఆది అంతం నీదీ,ఐక్యం అయ్యే శివ తాండవం నీది!!


-- మీ సాయి కార్తీక్

ఓ స్త్రీ నీకు పాదాభివందనం

 













ఓ స్త్రీ నీకు పాదాభివందనం,
అమ్మవై అందరికి జన్మవైనావు,
చెల్లివై అందరికి చేరువౌతావు,
భార్యవై అనుభందానికి దారివైనావు.
 
నీ ఓర్పు కలగలిపితే భూమి అవుతుంది,
నిన్ను ఙ్నానం అర్ధిస్తే శారదవే అవవా?
నీ కోపం చూడాలంటే కాళీరూపమే కాదా?
నీ ఐశ్వర్యం కలిగితే లక్ష్మివే అవవా?



కానీ,

జన్మనిచ్చి నీవు రొమ్ము పాలిస్తే,
రొమ్ము జుర్రి మేము గుండెనే తంతాము.

తోబుట్టువై నీవు తోడునవుదామనుకుంటే,
తోడేల్లలా మేము తోలువలుస్తాము.

చెలివై నీవు చెంతనచేరతావు,
మాటలతో నిన్ను చిత్రహింస పెడతాము.

ప్రేయసి లా మారి ప్రేమంతా కురిపిస్తే,
కామంతో నిన్ను కుళ్ళబొడుస్తాము.


మాది,
పురుషహంకారం - మాట వినం ఇది హూంకరం,
ఉన్మాదం - స్త్రీని లోబరుచుకోవడం వినోదం,
పైశాచికం - ఏమాత్రం జాలి లేని అరాచకం,
మాది మగజాతి, (ఆడ)మానవత్వం లేని మ్రుగజాతి!!



-- మీ సాయి కార్తీక్
 

??? ఏమో ???

ఏమో?


ఏమో? సమాధానం లేని ప్రశ్నలకు సమాధానం,
ఏమో? సమాధానం చెప్పలేని ప్రశ్నలకు సమాధానం,
ఏమో? ప్రశ్నలే మనసునిండా ఉంటే వచ్చే సమాధానం,
ఏమో? ప్రశ్నలే సమాధానం అయినప్పుడు చెప్పే సమాధానం,

అర్థంకాలేదా పై నాలుగు వాక్యాలు, ఏమో?
అర్థమైనా ఒప్పుకోలేనివా ఆ నాలుగు వాక్యాలు, ఏమో?
అర్థంలేనివి అనైనా కొట్టిపారేస్తావా పోనీ, ఏమో?
అర్థంవెతికే ప్రయత్నం చేస్తావా పోనీ, ఏమో?

ఏమో? ఏమో? ఏమో? ఏమో?

రంగుల ప్రపంచం మాత్రమే కోరుకునే ఓ మనసా,
కలలేకంటూ, హరివిల్లే ఇల్లు అవ్వాలనేది నీ ఆశ,
వాస్తావాల వాసన చూసేసరికి, అవాక్కయ్యవా?
వర్షం పడ్డ కాసేపే ఉంటుందన్నది మర్చిపోయావా?    

ఆలోచించే నీ మెదడుకు అన్నీ తెలుసు,
కాస్తకిందకి చేర వెయ్యి నీ మనసుకూ..
జరిగేది తెలుసూ, జరగనిది తెలుసూ,
తెలిసీ తెలియక కాదు, ఒప్పుకోలేవని కూడా తెలుసూ,

అలా ఒప్పుకోలేక చెప్పే నీ సమాధానం, ఏమో?

సమాధానం ఆశించడం తప్పా? ఏమో?
సమాధానం మనసుకి నచ్చకపోవడం తప్పా? ఏమో?
ఏన్నాళ్ళు ఇలా ఓ మనసా, కుదురుకో, మేలుకో,
వాస్తవాలు గ్రహించు, నీ మెదడు మాట విను..


-- మీ సాయి కార్తీక్

నిను చేరనే ధరి చేరనే మాటేందుకే ప్రేమ..

నిను చేరనే ధరి చేరనే మాటేందుకే ప్రేమ.. 

నిను వీడనే విడిపోననే అన్నావుగా మొన్న 

కడలంత ప్రేమ గుండెల్లో దాచానుగా .... కరిగించలేని మనసునే కదిలించగా ...

ఉన్నానని ఉంటానని కలలెందుకే??!!! కనీరేగా ఆ కనులలో తేలవరగా ......


-- Pavan Kumar

A Colorful page in life

ప్రాణంలోని ప్రాణమా, మౌనంలోని సరాగమా,
నా గుండె గుడి లో దీపం నువ్వు,గుండెసడి తాళం నువ్వు,
చిన్నపిల్లలా ముద్దులొలికే మాటలు నీవి ,విని తరించే భాగ్యం నాది.
వెన్నెల దారుల వేయి కాంతులు, నువ్వు నవ్వితే వెల వెలబోవా!!

నువ్వు తాకిన పూవనం, పులకించేను తోటంతా యవ్వనం,
ఆ పూలదారిలో మనం నడిచే క్షణం, జీవన మధురక్షణం,
నింగి నుంచి తారను తెంచనా? చందమామని చెక్కిలికి రాయనా?
ఆ చుక్కల్లో చిక్కి నవ్వుతావేమో, రాలిపోయేను పాపం నక్షత్రాలు!!

సాగాలి మనం నడకలో నడకై, జీవన తరంగమై,
జన్మంతా నాతో ఉంటావా? నీలో నేనున్నట్టు గా,
మనసులో నన్ను నింపుకుంటావా? నాలో నువ్వున్నట్టు గా,
జగమంతా మనమే ఉందాం జనమెవ్వరు లేనట్టుగా!!


-- మీ సాయి కార్తీక్

దేవుడు చేసిన మనుషులు

దేవుడు చేసిన మనుషులు అంటారు, దేవుడు చేతుల్లోని పావులు అంటారు,
అన్నింటికీ నింద ఆ దేవుడిమీదే, మనుషుల భాధల భారం వాడిదే పాపం,
ఉన్నాడా నీ ఆ దేవుడు, ఉంటే వింటాడా నీ మోర,
కన్నాడా ఏనాడైనా నీ రొద, చుశాడా నీ కళ్ళలో వ్యధ.

ఉన్నాడని వాదించేంతా గొప్పోడిని కాదు నేను,
లేడంటూ నిందించే మనిషిని కాదు నేను,
ఉన్నాడో లేదో అని అనుమానించే స్థాయిలోను లేను నేను,
కానీ, ఉన్నాడని నమ్మేవాళ్ళకి ధైర్యం ఆ పైవాడు,
లేదని నిందించేటోల్లకి ఏమీ చెయ్యలేని వాడు.

నమ్మడం నమ్మక పోవడం నీ ఇష్టం,
మొత్తం దేవుడే అని వదిలేస్తే నీకే కష్టం,
నిన్ను నువ్వు నమ్ముకోడం నీ అద్రుష్టం,
అలా నమ్మి ముందుకు సాగడం మహోత్క్రుష్టం.

గాలిని చుశావా కళ్ళతో ? లేదని శ్వాశ ఆపగలవా?
కాలాన్ని ఆపగలవా చేతితో? చేతికి గడియారం ఉందికదా అని!!
కళ్ళుమూసుకుంటే కనుమరుగవుతాడా  మండే సూరీడు?

దేవుడు ఓ నమ్మకం, మనిషి ఓ నిజం,
నిజాన్ని నమ్ము, నువ్వు నమ్మింది నిజంచెయ్యి,
నిజమైన నమ్మకం నీమీద నీకుంటే, దేవుడు కుడా నిజమౌతాడు.


-- మీ సాయి కార్తీక్

లక్ష్యసాధన - గమ్యఛేదన

రమ్మన్నా రాదు నిన్నటి నీ కల, తాకి వెళ్ళిన గాలి తరగలా,
నిద్రపోయిన నువ్వు కాదన్న మాత్రాన నిన్నటి నీ లోపం పోతుందా,
మేల్కొంటే ముందడుగు వేస్తావు లోకం నివ్వెరపోయి నిన్ను చూసేట్టు,
వెయ్యాలి చేతల్తో చాటింపు చెవులూరే జయజయధ్వానాలకై.

నిండుగా సాగిపోయే మేఘం వర్షించక మానదు, నీ కష్టం ఫలించక మానదు,
ఏ కొమ్మైనా కాయ ఇవ్వను పొమ్మంటుందా,వెన్నెల నే విరబూయను వెళ్ళిపోమంటుందా,
నీటి బొట్టు నేను నడవలేనని నిలుచుంటుందా,తిరగలేనని భూమి ఆగిందా,
ఆగదు ఏ నిమిషము ఏ లోకం ఆగితే సాగదు మానవ ప్రయాణము.

విజయం వరించక వెళ్ళగలదా, ఓటమి వదలివెళ్ళక వెనకుంటుందా,
నీ ప్రయత్నం, నీ కష్టం, నీ ఓరిమి, నీ తపన,
నువ్వు వదలనంత కాలం , నీ అడుగే తొలి అడుగు, మలి అడుగే ముందదుగు.

చేరగలనా గమ్యం అనే చిన్న అనుమనం, చిన్న తీరం కుడా దాటనివ్వదు,
ఓటమి అనే ఊహ కుడా చివరికి ఊహకందని ఓటమి అవుతుంది,
అందదనే ఆలోచన కూడా, కలవని రైలు పట్టాల్లా కలుసుకోలెవు.

నిప్పుల కొలిమిని చూడందే బంగారం మెరిసిందా?
కాలికింద నలగందే ఏ మట్టైనా చల్లని చలివేంద్రమయ్యిందా?
శిల్పి ఉలి రుచి చూడందే శిలకి రూపం వచ్చిందా?

ఒక్కో ఓటమి మెట్టు ఎక్కుతూ విజయ శిఖరం చేరు,
నిన్నటి నీ కలని సాకారం చేస్తూ నింగిని చేరు,
నీ కల నువ్వు, నీ బలం నువ్వు, నీ విజయం నువ్వు!!


-- మీ సాయి కార్తీక్