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Hello !

This is a message I had planned to post to SCIT a long time ago. 
I sent this to Sri Prasad Chodavarapu for his comments first.
He then forwarded this to Sri Pillalamarri Ramakrishna and informed 
me about the existence of telusA and since that time I have hardly 
ever visited SCIT. I never did post this one !! So here is my chance
to let people know of my experience in learning to read padyams.
Hope you enjoy it !

Ramakrishna


 

 !

 school  9, 10 Ũ Ϟ ŧ ɡ  , 
  ŧ ʧ ʞ.  ë¨ Ū  school  
ɡʥ. Ü ŧ¦¨ Ŝƭ  §Í , ,  
  ì ͟. ϜŨ  Í 
¨ ¨ŏ ǫ ʳ.   "  娥¨ ¦͜ 
...         ¨ ... 10     ˜ ... "  
¨ Ϟʬō ¦¨ ¨  ;     ƙ ž.

So what is the way around this ?!!

  .   ũ љ  Ϟ љ 
ç ʬ (  ç¥    !) practice ʬ ϜϏ 
 ¬ Í Ĭ ¨ ŏśϏ ¨ ¦.

The following is the way, I stumbled upon, to do this:

 ™   ¥   áϞ :-

	ϙ ĥř§  ϟ › ƛ 
	ϙ  ϙ  ϙ ħ ¥ Ƨ
	ϙ  ˩Í ʙ   ʧÍ 
	ϙ ϙ ϙ ϣ ϙ ϙ  
	ϙ ɍ ɞ ª ś ß !!

(yes this IS an utpalamAla padyam with 5 lines instead of 4)

ϞŨ ¨ŏ ž  ϙ ϙ ϙ ....  pattern 
 Ϟ.  Suppose  ž Ŝ  ¬ ? 
try ʳ :

	 ϙ ϙ     
	|______  ˜ ____| 10  

Actually I am cheating here. I did not make out this total
pattern in one attempt.

Ϟ "      " ¨ ͬ ũ   
ŧũ   ³.  ũœ ũÍ Ĩ 
groups  ʳ.

	                                              
	U  I I   U  I  U   I I I   U I I   U  I I  U  I U   I U
	ϙ ϙ  ϙ ϙ ϙ 

	 ϙ ϙ     
	|______  ˜ ____| 10  

 ˜ ި Í natural  break Ϟ, some what like 
the ɣ in a ® cycle.     pattern  ŏśϏ é 
ƙϙ  correct  Ϟ ž!!


	 ϙ ϙ     

	ϙ  ĥ  §            
	ϙ  ¡  ϙ    ħ   Íç  Ƨ Í
	ϙ     ˩  Í        ä  Í 
	ϙ ϙ ϙ     Ũ     
	ϙ  ɍ   Ş         ś     ß !!

  ç ¬Ϟō, Ϟō ¨. 
  §   Ü  çϙ  ǜ
 ŧ .

 pattern  ϙ¨  "ϙ"  ™¨   ʞ.
č   ¬ō   pattern   . 
Just make sure that you get a natural pause at the   position

­:  "  "  ™Ŝ 娥¨   :

	       
         |____  ˜  ___|  10  


 娥¨  ũœ  natural  ϡ¨ try ʳ. 
And I stumbled upon another interesting fact:
There is NO difference between the two patterns (!!), except for the 
initial ŧũ (U) of 娥¨ becoming two ũ (II) in ϡ¨.

On further investigation I realized that the ǜ of  Ϟ have been 
grouped into pairs such that the beginning ŧũ (U) of one is made into
2 ũ (II)  in the other, the other ŧũ , ũ and   
remaining the same - i.e at the same position in the pattern, which is now 
displaced by one .

The co-ǜ of 娥¨ is ϡ ¨. So while 娥¨ is 

	       
         |____  ˜  ___|  10  

ϡ¨ :  (      ) is 

	        
         |____  ˜  _____|  11  

(for the Doubting Thomases (:-) :-

                                                
        I  I  I   I U I   U I I  I U I  I U I   I U I  U I U 
	        
        |____  ˜ _____|  11  
)

the   is not disturbed.

Similarly  the patterns for the co-ǜ  and §  are 

§ :          

	ϙ  ϙ ϙ  ϙ ϙϙ 
        |_________  ˜ _________| 13  

 :         

	 ϙ  ϙ ϙ  ϙ ϙϙ 
        |_________  ˜ __________| 14  


Again the co-vRttAs ͍è and  are :

͍è :       

	 ͍è  ͍è  ͍è ͍è 
         |____   ˜  ____| 11  

	        
         |____   ˜  ____| 11   

 :         

	        
         |_____   ˜ _____| 12  
 

So I made myself out these patterns and started reading poems 
breaking the syllables according to these patterns I made.
Thus I can now recognise whether or not a  ž is 
"CandO" tically correct by testing it against the pattern as I
read it. 

I am not saying that this is the only method to gain mastery over
  but this is the one I discovered. I would like to 
know if anybody else made a conscious effort like I did (or were
they fortunate enough to develop a feel for the poems without any
such conscious effort ?) and if so what technique they used.


If you liked this I will write next time about the other metres -
Ĭ, Ĝ, and Ϟ.


Thanks for y'alls attention.

--

¥ǫ