1 జూన్, 2012

Anecdotes from the Life of Puttaparthi- Dr. Y. HARE RAMA MURTHY-సేకరణ పుట్టపర్తి అనూరాధ



                                                

         Anecdotes from the Life of Puttaparthi

                      Dr. Y. HARE RAMA MURTHY

Padmasri,Saraswatiputra, 
Dr.Puttaparthi Narayanacharyulu was a 
veteran literary giant for all times.
 A poet par excellence  
who composed poetry in half-a-dozen languages, 
with intimacy over more than half-a-dozen languages –      
some of them, 
of course, being obsolete. 

To his disciples and followers 
he had been a mobile lexicon 
and an encyclopaedia. 
Sundry thoughts, imagery, stylistics culled 
from various classics of South Indian languages 
were quoted by him often 
from the storehouse of his memory to people around him
 to enthuse them to a study of the translations at least. 

A knowledge of several languages, 
the subtleties and beauties of each, 
made him a great lover of languages 
with a wider outlook, 
a broader prospect and a catholicity of tastes 
and interests. 

To Puttaparthi, 
languages are like the 
offsprings of a single Motter, India.    
Hence language fanaticism had 
never flashed in his mind or heart. 

He had been an evergrowing student 
in pursuit of perennial knowledge. 
There has been throbbing of joy 
for him in learning things 
new from various languages, Indian and foreign.

I had an occasion to speak to 
Sriman Puttaparthi on the memorable events of his life, 
his indomitable will and courage, 
tireless perseverance and diligence 
which led him to heights of 
eminence unattainable to the contemporary poets. 

He was tuned to a mood 
to narrate the indelible,
 remarkable impressions and incidents 
and the following were some, of them to reckon with. 

Dr. Puttaparthi remembered with 
maudlin tears his better-­half Smt. Kanakamma  
(by herself a poetess in four languages) 
who had rendered yeoman service 
as a scribe to his extempore poetic utterances. 
 After the demise of his wife, 
he was at a loss for a scribe.

Dr. Puttaparthi opined that 
his liking for scholarship 
was greater than that for versification. 
He disliked exhibitionism, 
he was averse to “poetastry”. 
At times he was constrained to show his mettle as a poet.

Before reaching his teenage 
Dr. Puttaparthi as a boy-prodigy 
had produced “Penugonda Lakshmi”, 
a bonanza poem. 
When he was sixteen 
he attended an interview seeking admission to 
S. V. Oriental College, Tirupati. 
Kapisthalam Krishnamacharyulu, 
Principal of the College, 
refused Puttaparthi admission,
 for the latter had no certificate testifying his schooling. 

Disappointed Puttaparthi had uttered 
five or six Slokas offhand in chaste Sanskrit 
and walked out of the Principal’s chamber. 

Highly impressed by the poetic flow 
and accurate diction, the Principal called him back 
and listened to the Slokas again with rapt attention 
and was pleased to have such a prestigeous scholar 
in his institution. 

The Principal gave option for him 
to join in any course he desired. 
It was an irony that 
he had to study one of his own poems of his own works, 
 “Penugonda Lakshmi”
for his Vidwan Examination. 
It was, of course, a rare instance.

While in Tirupati prosecuting 
his studies in Vyakarana, 
Dr. Puttaparthi had a unique opportunity of meeting 
Sri Sri Sri Kamakoti Mutt Acharya 
during his visit. 

Dr Puttaparthi had performed 
Ashtavadhana in Sanskrit 
and was blessed by the  Swamiji. 
After 30 years 
again Sri Kanchi Kamakoti Swamiji had an occasion 
to bless Dr. Puttaparthi in Proddatur.

In his nineteenth year 
Puttaparthi wrote a critical essay on 
Sri Viwanatha Satyanarayana’s felicity of phrase. 
His statement that 
Sri Viswanatha could use Sanskrit phraseology 
with greater facility and not so much so in Telugu, 
raised a great controversy 
in Dharmavaram scholarly circles. 

On four days, 
mornings were engaged in arguments 
contradicting Putaparthi’s point of view 
and evenings were spent in 
establishing his standpoint. 

To justify his statements 
Puttaparthi had cited certain 
aspects from Prakrit languages. 
Viswanatha pleaded his lack of knowledge 
of Prakrit languages. 

In fine, Mrs. Kanakamma 
concluded the discussion 
declaring both of them equally great.

During his twentieth year 
Dr. Puttaparthi attended a literary meet 
which was conducted on a very grand scale 
with programmes spreading for five days in Alampur
on the banks of the Krishna near Kurnool. 

Dr. Sarvepalli Radhakrishnan 
presided over the five days meet. 
Dr. Puttaparthi wanted to present a special dissertation 
on “The Influence of Kannada poet Pampa on Nannaya”. 

His poetic rivals scented this 
and tried by all means 
to deprive him of a chance to read his article 
as he would eclipse all other earlier scholars. 

This they could succeed partially 
and Puttaparthi was allowed at about 1-30 P. M. 
to read one or two pages only before lunch-break. 
He started reading the article; 
after completing two pages, 
he abruptly stopped reading 
as per the instructions given earlier 
by the President of the conference. 

The information in the few pages was so fascinating 
that it created a furore in the audience. 
Uproarious insistence on further continuation 
and completion, made the President permit him 
to resume his reading 
which lasted till 4-30 P. M. on that day. 

The audience was thrilled 
and spell-bound by the excellence of the i
nformation and the literary treatment.

Once an All India Oriental Conference 
was conducted in Cuddapah for three days. 
Dr. Puttaparthi could not attend the conference 
on the first two days. 
And the jealous lot took this opportunity 
to traduce his name alleging that 
he knew nothing of Kannada, 
nor of Malayalam, nor even of Telugu 
and propagated that 
Dr. Puttaparthi had disappeared at the crucial time 
to avoid humiliation. 
Just then Dr. Puttaparthi 
returned home from Kadiri town 
after a felicitation programme there. 

No sooner did he reach his house 
than he was surrounded by his zealots. 
They, in one voice entreated him 
to put an end to the opponents’ gossip
 by a fitting rejoinder from the platform. 

For the third day conference 
Dr. Puttaparthi prepared that night 
a special article entitled “Egoism in literature”. 
His lecture illustrated 
the part played by the obdurate pride of poets 
in different literatures. 

Later in concluding his lecture 
he threw an open challenge trenchantly that 
anyone could test his knowledge 
in any of the 14 languages he had mastered. 

And no one ventured to come forward. 
After the meeting 
those that criticized him vehemently went to him 
declaring that all their comments were for fun 
and merely to spur his admirers to irritation. 

They tried to please and appease him 
with the flattering words. 
“Swami, can anyone dare say 
you don’t know other languages?” 
That was the public trend, 
commented Dr. Puttaparthi.

As Dr. Puttaparthi 
had made an indepth study of the Vedas and Sastras, 
I queried 
whether anyone tested him in those philosophic classics.    
        With a beaming smile
Dr. Puttaparthi narrated that 
Sringeri Mutt Swamiji had once visited Cuddapah. 

No one introduced Puttaparthi to the Swamiji 
as the Brahmins around 
were austere and felt 
Puttaparthi unorthodox in style and appearance 
without a tuft and proper dressing. 
But the Correspondent of his school 
who was nearby introduced him to the Swamiji. 

On the spur of the moment 
Dr. Puttaparthi uttered 15 to 20 Slokas extempore. 
Then the Swamiji invited him
 to the place of his stay 
and had discussion on the first Brahmasutra 
“Athaato Brahma Jijnasa”. 

Dr. Puttaparthi harangued for two hours in Sanskrit. 
And the Swamiji 
who was highly impressed honoured him 
with a Zari-bordered Shawl. 

Dr. Puttaparthi expressed his disillusionment 
on a few occasions for his not experiencing t
he beatitude in spite of his everlasting chanting 
and Sadhana on Lord Krishna.

I was eager to know 
how the title “Saraswatiputra” 
was conferred on Dr. Puttaparthi. 

Dr. Puttaparti said that 
once he was confronted with several problems, 
domestic and spiritual. 
He ran away to Benares. 
There he participated in a meeting 
presided over by Govinda Malavya, 
son of Pandit Madanmohan Malavya. 

They received him very well 
for his scholarship in Sanskrit. 
Then he marched to Haridwar and Rishikesh. 
On the way between 
the banks of the Ganges and the foot of the Himalayas 
there was a long path 
whereon he found Swami Sivananda’s Ashram. 

The Swamiji was just then awake from his trance. 
He invited Dr. Puttaparthi into the hermitage. 
For a few months Puttaparthi stayed there. 

Finally the Swamiji tested him in all Sastras 
and endearingly called him 
“Saraswati­putra” with all his blessings. 
The Swamiji also gave a few rare books 
to the Saraswatiputra.

On several occasions
 the Saraswatiputra had to mingle with 
scholars, 
academicians, 
educationists and so on. 

The authorities of Travancore Lexicon Office 
were seeking for a polyglot, 
well­-versed in the Dravidian languages 
to carryon research work. 

All the South Indian universities 
recommended unanimously the Saraswatiputra 
as the fittest scholar for that onerous duty. 
He served that institution for three years.

Later Sri Krishna Kripalani, 
a multilingual scholar, 
the husband of 
Rabindranath Tagore’s grand-daughter,
 invited the Saraswatiputra to be Chief Librarian
 for a 19-language library. 

There the famous Malayalam poet 
Pandit Suranand Kunhan Pillai, 
an authority on ancient Malayalam literature 
and on Sanskrit, 
met the Saraswati­putra and spoke intimately 
stating that 
the Malayalees had recognized his greatness and worth. 
Sri Pillai had quoted that 
a diamond does not go seeking the buyer; 
only buyers 
who know the value go in search of precious diamonds – 
 that way ..
Dr. Puttaparthi was sought by 
Travancore Lexicon Office. 
And this comment moved Dr. Puttaparthi to joyous tears.

On another occasion 
Dr. Puttaparthi was introduced 
to Sri C. D. Deshmukh by the famous Hindi poet, 
Dinakar. 
During the conversation
 Sri C. D. Deshmukh recited a Hindi poem 
and asked him to translate it into Sanskrit 
which the Saraswatiputra had done instantly. 
And C. D. Deshmukh was highly elated 
by the translation piece.

Once the Saraswatiputra 
stayed in the Aurobindo Ashram 
and had learnt French, Greek and Latin languages. 

He also translated Aurobindo’s writings into Telugu. 
He had written in every literary form 
and completed more than one hundred books. 
Of them 
Sivataandavam, 
Penugondalakshmi, 
Pandaribhagavatam and 
Janapriya Ramayanam stand apart as masterpieces.

On several occasions
 Dr. Puttaparthi was suggesting to the Pandits, 
scholars and authorities that 
a very great deal of service was 
still to be done to Telugu 
and other Dravidian languages. 

He was of the firm conviction that 
without some study 
and familiarity of the Dravidian languages 
total mastery of Telugu would be incomplete as the people, 

Languages and cultures of these neighbouring States 
were interlinked in the Inner rhythm of their lives. 
He emphasized the need of prolific translation of all classics
 of the other Dravidian languages.
While commenting on the neglect of Telugu by the
         authorities, he grieved over the prevailing plight 
as the Andhras had not even translated 
the renowned Caldwell’s History of Philology  
(a book on South Indian languages). 

The Saraswatiputra always felt that 
the Government should regard poets 
on a par with the scientists. 
And Dr. Putta­parthi Narayanacharyulu remains 
as one of the brightest stars on the Andhra literary horizon.

31 మే, 2012

PUTTAPARTHI: A SOLITARY REAPER-DR. SALVA KRISHNAMURTHY-సేకరణ పుట్టపర్తి అనూరాధ







                                          
                PUTTAPARTHI: A SOLITARY REAPER

DR. SALVA KRISHNAMURTHY

A fall bespectacled giant of a man dressed in flowing Khaddar Jubba and Dhoti worn in Andhra fashion with the neatly folded Angavastram on his left shoulder, his left arm holding a bundle of books clutched together, his right hand holding the corner seam of the frontal pleats of his Dhoti and walking with a longish stride – that was “Puttaparthi”, an affectionate short for Puttaparthi Narayanacharyulu, who passed away on September 1, 1990 at the age of 76.

He happens to be one of the more famous trio who put the affluent town of Proddatur, no, the entire Rayalaseema districts, on the literary map of Andhra, the other two being Durbhaka Rajasekhara Satavadhani and Gadiyaram Venkata Sesha Sastry. Much loved as a teacher and with a lot of admiration from his students, Puttaparthi’s career was mostly at Proddatur and Cuddapah. For a while he worked in the then Government Arts College, Anantapur. He had a stint at Trivandrum for a short while. He worked at the Central Sahitya Akademi, New Delhi, too as an Assistant Librarian or so. It was his thirst for knowledge that drove him to some of those uncongenial places from where he retreated as soon as he realised the futility of his own exercise.

Puttaparthi was a giant not merely in physical stature but in learning too. He was a linguist and cultivated not less than 14 languages, a poet and critic of a high calibre, a Vageyakara, a musician and knew dance too. His works are many and some of them are in languages other than Telugu. “Leaves in the Wind” is the collection of his English poems. “Bhaktanche Gathe” is his Marathi work. He rendered the famous Telugu novel “Ekaveera” (of Viswanatha Satyanarayana) into Malayalam. “Siva Sahasram” is his Sanskrit work. Later about his Telugu works.

Born in a Srivaishnava family, he inherited, along with Visishtaadvaita philosophy, an enormous element of lyrical aestheticism and spirituality. Though born a Srivaishnava one could see him circumambulating at the Agastyeswara temple, Proddatur, during the ’Forties and ’Fifties. His inimitable “Sivataandavam” is not only a great work of lyrical beauty couched in terms of Natya Sastra but a standing testimony to his spirituality surpassing the barriers of denominational culture. He was a nationalist all through his life. His elegy “Gandhiji Mahaprasthanam” is a moving work. While Telugu and Kannada came to him naturally (he hailed from Penugonda area in Anantapur district, a bilingual place) his religion brought to him Tamil, while his devotional nature egged him on to learn Marathi and Gujarati, if only to study the Sant Sahitya. Hindi was his much-loved language. All the members of his family know “Ramcharitamanas” of Tulasidas by rote, and Parayanam of this work was a feature in his family. His wife Puttaparthi Kanakamma was a great scholar and poetess in her own right. Her recitational powers of Valmiki’s Ramayana (a Saranagati Veda for Vaishnavites) was such that she could recite all the six Kandas in 24 hours and do her Udyapana. In Sanskrit Rajasekhara is known to quote his wife regarding literary matters in his Kavyamimamsa. Jayadeva, the composer of Gitagovinda, speaks of his wife Padmavati; calls himself “Padmavaticharanachaaranachakravarti”. Puttaparthi Narayanacharyulu and Kanakamma were such rare couple in modern Telugu. He respected her and her views greatly, though they never allowed any publicity to this aspect of their literary life.

For all his greatness Puttaparthi had no formal academic qualifications. He was only a “Vidwan” in Telugu from Madras University. And thereby hangs a story. He was already a poet and author when he reached his 14th year. He had published his “Penugonda Lakshmi” a work of fervour, imagination and plasticity of expression. This was a prescribed text for the Vidwan Examination. Puttaparthi took the examination in his 14th year and ironically enough, failed! While “Penugonda Lakshmi” reminisces about the past glories of the one-time capital of the falling Vijayanagar empire (to whose kings the ancestors of Puttaparthi happened to be religious preceptors). “Paadyamu” is an outpouring of his soul at the feet of the Lord. “Saakshaat­kaaramu” is a poetic delineation of the life of Tulasidas. The technic, the form and content of this work projects the transparent personality of not only Tulasidas but that of the author too. While his “Pandari Bhagavata” is in run-on Dvipada metre fit for uninterrupted singing by the devout, his “Janapriya Ramayana” is written in “doha” style as an experiment. His last great poetical work happens to be “Srinivasa Prabandham” written in ornate classical style of torrential verbal exuberance. This was composed in honour of the Lord of the Seven Hills of Tirumala. He had studied, in his boyhood days, in the Sanskrit College at Tirupati. These are his major poetical works. His lectures on Bhagavata, his study of Vyasa’s Mahabharata are gems of scholarly study. He studied the history of Vijayanagar empire in great earnestness out of his personal predilection. His “Meghadutam” and “Agniveena” are the results of his impatient leftist stances. “Shall I finger the strings of this lyre of Fire, shall I, till the edges of the directions reverbarate, till the flames of the nascent fire start hissing out” sings the poet in “Agniveena.”

One unknown aspect of his life was his interest in Tantra and Yoga. He was well up with the Theosophical literature and equally at home with Aurobindo’s Divine Life. He did some Tantric Sadhanas and himself told this writer how he sometimes suffered. One could always see the silent quivering of his lips in Japa as his pulsating heart meditated supervised by the vibrant soul.

A man of childlike simplicity he was not of the cultivating type and could not acquire the trappings of a successful life. Most of the time he lived in want and it was his devoted students and friends that generally stood by him. Sometimes his naivete brought him only losses and difficulties.

Though some of his books like “Prabandha Naayikalu” (a work of literary criticism) were prescribed as detailed texts for the degree classes in the erstwhile composite Madras State, it never helped him financially. His sustenance was his reputation. No doubt he was honoured by the Government of India with a “Padmasri” and he enjoyed possessing many titles like “Saraswati­putra”, “Mahakavi”, etc. Still, those who know him feel that he did not get what he deserved both by way of a good living as well as recognition. Well, one would think his own reluctance to cultivate people who mattered in mundane life and his reluctance to build up a school of his own and following were responsible, for his comparative languishing. He remained a solitary reaper in the field of poesy all his life. Still there is no doubt that he will be remembered for a long time for what he has written for us, much longer than the more popular media-projected poetasters and scholars. The light of his writing, though without any ideological labels, is the innate sincerity and wisdom born out of knowledge, and not empty emotional tintinabulation.

This writer has two eminent reasons for calling this a memoir. This writer has had the benefit of being taught in the High School by this great scholar-poet and he has known him for not less than 47 years.

It is that effulgent ray of humanity that dwells in this writer that has tried to reflect or even refract the inherent sense of gratitude to one whose benign love has dispelled at least a thin veil of darkness from the murky corners of his soul.

“Dheenaam avitryavatu”



               






THE DANCE OF SIVA

Dr. PUTTAPARTHI NARAYANACHAYULU

Translated from Telugu by

Dr. B. RAJANIKANTA RAO

[Saraswatiputra,Kalaaprapurna,Padmasri 
 Dr. Puttaparthi Narayanacharyulu 
was an eminent and renowned poet of Andhra Pradesh. He was a polyglot well versed in 14 languages and was able to write poetry in 8 languages, including English. He was a phenomenon on the contemporary Telugu literary scene. 
His passing away in September last 
is an irreparable loss 
to Telugu literature. 
The following is the 
first part of his great literary piece, Sivataandavam,  
rendered into English.    –Editor]

What an exhilaration
On this planet earth!
–now in vigorous abandon
and now in delicate elegance,
’tis the virulent dance of Siva!
Siva’s graceful measured step!

like surging billows of muscle and marrow
like precious dreams of a golden halo,
like birds of coral feathers,
unravelling clouds of varying rim,
lo, Siva’s dance of destruction,
and the dance of creation!

is it a horde of astral damsels
in the guise of rain-bearing ravishers
comes down to witness Siva’s dance?

what an orb of bliss on this earth
the revelations of ancient wisdom
that the winged prophets declaim
imitating as though the jingling syncope
on the anklets of dancing Hyma!

have the branches of trees 
with mirthfulness
been moved from 
the core of their hearts to dance
jostling their heads, 
and dropping on the earth
bunches of flowers 
in intermittent earth showers.

should every dropping blossom
smile as it were to become conspicuous
in the floral decoration 
of the mountain princess!
“jham jham taka tari kita jham jham” 
in patterns of varying rhythmic 
hum-drum
when the Lord of the universe– 
erect in a peacock’s pose, 
starts dancing
is it to provide 
the sonorous drone
that the bees ebriated of honey 
start flipping
their buzzing appurtenances!

On whose intimation 
but the Supreme’s daylong dance
do the virgins, as it were, 
of hill streams
run along with pride
as their encircling shirts
get disentangled from feet!
oho ho! ho! 
it is beyond one’s fancy
this mirthfulness and joy 
on this planet of the earth!

Oh dame of evening twilight
what’s all this flurry about?
why this bashfully sweet, 
straight, oblique side-long glance?
in your swinging waist of 
coquetish curvature– 
oh bashful beauty, 
why does your zone, 
just like you
not make a wee bit of noise?
against whom 
do you don this haughty indifference?
is it all for the worship of Siva? 
O dame,
who has narrated you this tale,
 could it be the earth?

They say the Lord of the cosmos 
is dancing aloft;
why don’t you tarry, 
oh jewel of the day?
do you run in a hurry 
to narrate the whole tale
to the people living in the other hemisphere?

Why do the animals 
shed tears off their eyes?
the sacred water could it be 
for the feet of the Lord of universe?
What is it about, 
the lendershoots in the folliage
prattle with delight in low-tone-muttering
what else ’tis 
but about the world’s keeper’s dance!
Oho! ’tis 
beyond anybody’s comprehension
the mirth and joy 
on this globe of the earth!


28 మే, 2012

పుట్టపర్తినారాయణాచార్యులు -విష్ణు చిత్తులతో ఒక పర్యాయము..పుట్టపర్తి అనూరాధ.



వైష్ణవమంటే అయ్యకు ఎనలేని ప్రేమ..
"పల్లాండు.. పల్లాండు.. "..
అని అయ్య చిరునవ్వు ముఖంతో ..
ఆవేశంగా చెప్పటం గుర్తొస్తోంది..
అలా అని 

అర్థంలేని కట్టుబాట్లని అయ్య ఒప్పుకోరు..
ఏ మతాచారమైనా ..
భక్తి భావనకే పెద్ద పీట వేస్తుంది.
 
అందులోని ఆత్మని వదిలేసి ..
కేవలం ఆచారాలలోనే 
జీవితాన్ని వెళ్ళబుచ్చటం ..
అయ్య వలన ససేమిరా కాని పని.
 

అందరూ పిలక పెట్టుకుని ..
నామాలు పేద్ద పేద్దవి నుదుటన ధరించి కనిపిస్తే ..
అయ్య క్రాపుతో ..
నామాలకు ..కామాలు..,,
 కాదు ..పులుస్టాప్ పెట్టేశారు..!!
 
కానీ..
కంచి చంద్రశేఖర పరమాచార్యుల వారివద్ద.. క్రాపుపెట్టుకున్న అయ్యకే ప్రధమస్థానం ..
మొదటిపిలుపు అయ్యకే..
 
అయ్య విష్ణు చిత్తులను చెపుతూ..
విష్ణు చిత్తుల భాష చాల సుందరమైనది ..
ఆయన పదముల నొక్కొక్కసారి..
యవిసిపూవులవలె రాల్చును. 
చిలుకలు గుంపులవలె పైకి లేపును..
ఈ పరిణామము వీరియందే కాదు. 
కృష్ణ స్వరూపమును ప్రేమించిన 
అందరు భక్తుల యందును 
అన్ని భాషల యందును గనిపించును అంటారు.

"పల్లాండు పల్లాండు పల్లాయిరత్తాండు
పలకోడి నూఱాయిరం
మల్లాండ తిణ్ణోళ్ మణివణ్ణా!
ఉన్ శేవడి శెవ్వి తిరుక్కాప్పు"

"అడొయోమోడుం నిన్నోడుం పిఱివిన్ఱి ఆయిరం పల్లాండు
వడివాయ్ నిన్వల మార్భినిల్ వాల్ గిన్ఱ మంగైయుం పల్లాండు
వడివార్ శొది వలత్తుఱైయుం శుడరారియుం పల్లాండు
పడైపోర్పుక్కు ముళంగుం అప్పాంజశన్నియముం పల్లాండే.."
అంటూ స్వామికి మంగళం పాడాడు.

విష్ణుచిత్తులవారు పాడిన ఆ పల్లాండు పాటనే 
ఈనాటికి మన వైష్ణవ ఆలయాల్లో పాడటం ఆచారం.

పల్-ఆండు అనేక సంవత్సరాలు, 
పల్-ఆండు అనేక సంవత్సరాలు  
పలకోటి నూరు- ఇలా కోట్ల సంవత్సరాల వరకు 
నీకు మంగళం. 

ఈ దాసులకు నీకు మధ్య ..
ఎప్పటికీ వీడని బంధానికి మంగళం..
నిన్ను ఎప్పటికి వీడని అమ్మ 
లక్ష్మీదేవికి మంగళం.. 
శత్రువులని వణికించే 
నీ శంఖ,చక్రాలకు మంగళం..
అంటూ ఆయన పాడారు. 

అంతే కాదు..
తనని యశోదగా భావించి ..
కృష్ణుడిపై ఎన్నో పాటలు 
తని ద్రవిడ ప్రబంధాలుగా 
లోకానికి అందించాడు. 
నిరంతరం విష్ణువుపై చిత్తము నిలిపి ఉన్న కారణాన 
ఈయనకు విష్ణు చిత్తుడని పేరు వచ్చింది.
 పరమ భక్తుడు ..
అందుకే పెరియాళ్వార్ అన్నారు.
 
శ్రీమహావిష్ణువు వైకుంఠంలో ..
భక్త కోటిని అనుగ్రహించే వేళ గరుత్మంతుడు..
తాను విష్ణువును అల్లునిగా పొందాలన్న ..
భావనను వ్యక్తపరిచాడు..
శ్రీమహావిష్ణువు కలియుగంలో ..
నీ కోరిక తీరుస్తానన్నాడు. .
హిరణ్యాక్షుడు ..
సముద్రంలో ముంచిన భూమిని పైకి తీసుకొచ్చేవేళ భూదేవి ఆయన దివ్యస్పర్శనొందిన పరవశతన వివాహమాడమని కోరింది.
 
గరుత్మంతుడు విష్ణు చిత్తునిగా ..
కలియుగంలో వచ్చి ..
తనకు తులసీవనంలో పసిపాపగా ..
దొరకిన భూదేవికి  గోదాదేవి 
అని పేరుపెట్టి విష్ణుచిత్తులు 
ఆమెను విష్ణుభక్తురాలుగా పెంచి పెద్ద చేశాడు.

శ్రీవిల్లి పుత్తూరులోని ..
వటపత్రశాయిని సేవిస్తూ ఉన్నాడు. 
మార్కండేయ మహర్షి తపః ఫలంగా 
ఆ వటపత్రశాయి అక్కడ వెలిశాడు..  

తులసీ మాలలతో..
 శ్రీ మహా విష్ణువును అలంకరిస్తూ 
గోదాదేవి విష్ణువునే భర్తగా భావించటం 
విష్ణుచిత్తుడు 
తన కుమార్తెను ఇచ్చి పెండ్లి చేసి 
శ్రీరంగనాధుని అల్లునిగా పొందటం మనకు తెలుసు . 

మాలాకైంకర్యముచే కృష్ణభక్తి కలవాడై 
కృష్ణలీలలను అనుభవించి 
పెరి ఆళ్వారు 472 పాశురములతో 
పేరియాళ్వారు తిరుమళి ప్రబంధమును భక్తులకిచ్చాడు. 

శ్రీమాన్ పుట్టపర్తివారు 
శ్రీ విష్ణుచిత్తుల కవితా వైశిష్ట్యము 
అన్న వ్యాసం వ్రాసారు. 
అది శ్రీ వైష్ణవ ధర్మ విజ్ఞాన సర్వస్వం 
డిసెంబరు 1988 న ముద్రితమైంది.
 
అందులో ..
యశోదగా తనను తాను భావిస్తూ 
విష్ణుచిత్తులవారు చేసిన వర్ణనలను 
పుట్టపర్తి వారి కలంద్వారా వినడం ఒక అనుభూతి..
                                    ***

శ్రీరాముడు మొదలగు అవతారములపై ...
విష్ణుచిత్తునకు మనసున్నను .
వారికి మరులు కృష్ణునిపైనే ..

ఆ కృష్ణుడు చాల దుర్మార్గుడు ..
వాడు తల్లి మాట వినడు..
ఊరి వ్రేతలలో వయసు చిన్నదైనను..
పెద్ద సేతలు సేయును..
 ప్రక్కింటి పొరుగింటి పిల్లలను యేడ్పించును.

 (ఇళం పిళ్ళై యెళుప్పి, కణ్ణె పురట్టి విళత్తుక్కళ్ళక్కండు సెయ్యుంపిరానె)

వారిని కన్నులెర్రజేసి బెదరించును..

 (కన్రుగళో రచ్చె విల్ ,కట్టెరుంబు పిడిత్తిట్టాల్,తిన్రిక్కిడు.మాకిల్ వెణ్ణెయ్ తిరట్టి విళు కుమాకాల్పన్) 

ఆవు దూడల చెవులలో ..
ఎర్ర చీమలు పట్టి వేసి యేడ్పించును..

(వెణ్ణైయలైంద కుళుంగుం విళైయాడు పుళుదియుం కొండు) 

యశోదమ్మ ..
తలకు బోయుటకై యొడలికి నూనె బూయగా..
మన్ను రాచుకొని తిరుగులాడును ..
కనబడిన యాడువారికి సైగలు సేయును..

అందులో వయసు తారతమ్యముగూడ లేదు..
ఈ చేతలలో..
దినమొకరు యశోదమ్మ ఇంటిపైకి వత్తురు..
 
ఆమెకు కొడుకుపై గల అభిమానము..
 గంపెడంత ..
విష్ణు చిత్తుల కృష్ణుడు..
దక్షిణదేశమున మాత్రమే దిరిగెను. 
బృందావనమువేపు అడుగే పెట్టలేదు..
కృష్ణునిలో ఎన్ని పిల్లాటలున్నను..
 వాడు "వాయి మడచి " పిల్లనగ్రోవి పలికించెనా..
ఆ స్వామియే వేరైపోవునట. 

శ్రీ కృష్ణుని పై ఇన్ని దూరులు చెప్పిన గోపికలు..
యెదలు జార ..
ఒడలు మరచి ...
లోక నీతిని విడచి ..
చెమటలు గార..
వచ్చి వారి యెదుట నిల్తురట..

(ఇళన్ కొంగై కుతుక లిప్ప ఉడలుళ విళ్నుయోగుం కావలుం కడంచు కయిరుమాలై యాహి కనిత్ను నిన్రయిరే) 

వారి కప్పుడు కొప్పులు వదలిపోయినదియు తెలియదు.

 (మలర్ కూందల్ అవిల) 

వీరు మాత్రమే కాదు. 
రంభాదులైన యప్సరసలు గూడ నిలుతురు. 

(అటల్ పాటలైమార్తి నణ్తమే) 

వారు తమ నర్తనములనే మరచిపోవుదురట 
నారదుడు ..తుంబురుడును..
తమ తమ వీణెలు కఠ మరచి ..
నిర్విణ్ణులై నిలచిపోదురు..
(తుంబురువోడు నారదనుంతంతం వీజైమరంతు) 

చెట్లపై నున్న పక్షులు కూడు మరచి..
గూళ్ళలోనేవుంది నిశ్శబ్దముగ వినునట..

(మాంకంగళ్ మేయ్గై మరందు.మేయ్త వుల్లుం కటై వాయై వళితోడ ఇరండు,పాడుం తులుం కాప్పుడై పెయారా, ఎళుదు సిత్తిరంగళ్ ఫోల విన్రనవే..) 

హరిణములు మేత మరచి ..
సగము కొరికిన గడ్డి యట్లే నెలవులందుండగా..
వ్రాయబడిన చిత్రములవలె నిలచి ..
వాని వేణుగాన మాలించునట..
చిత్రమైన సృష్టివంటి వాని వేణుగానము..
సర్వ సమ్మోహనము. .

25 మే, 2012

త్రిపుటి పుస్తకాలోచ్చేశాయ్..




త్రిపుటి పుస్తకాలోచ్చేశాయ్..
ఉన్నవి కొద్ది కాపీలు మాత్రమే.
సరస్వతి పుత్ర పద్మశ్రీ డా.పుట్టపర్తి వారి 
అమూల్యమైన వ్యాసాలు, 
పీఠికలు మరియు 
" పద్యం బొక్కటి చెప్పి " 
ఆంధ్ర జ్యోతి లో  శీర్షికన వరుసగా ప్రచురితమైన  
పుట్టపర్తి వారి విశ్లేషణలు 
చదవాలనుకుంటున్నారా..?
అయితే ..
హైదరాబాద్ నవోదయా విశాలాంధ్ర బుక్ హౌస్ లలో ప్రయత్నించండి..