తిలక్ అమృతం కురిసిన రాత్రి (thilakamrutam kurisina rathri)pdf free ebook. తిలక్ అమృతం కురిసిన రాత్రి (thilakamrutam. Amrutham Kurisina Raatri book. Read 11 reviews from the world's largest community for readers. Amrutham Kurisina Raatri is a collection of poems written . Amrutham Kurisina Ratri *FREE* amrutham kurisina ratri Amrutam kurisina raatri pdf Scribd. Amrutam kurisina raatri pdf Download as PDF File pdf Text File txt or.
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Krishnamurthi, Ph. Kondal Rao Rs. The original anthology of 78 short poems was first published as a volume in after the author had passed away. It has since undergone nine reprints. The edition, which is the basis of this translation, has 12 additional pieces that had not been included in the first collection. Bala Gangadhara Tilak, who died prematurely at the age of 44, was a role model and a trend-setter to many young poets in the free verse movement, in the fifties and the sixties.
More than 40 million students have trusted. Alu Srinivasan, Murray. Editorial Reviews. About the Author. Murray J. John J. Spiegel, John J. Schiller, R. Alu Srinivasan. Abstract: Practice problems with full explanations that reinforce knowledge, coverage of the most. Get this from a library! Schaum's outline of probability and statistics. Schaum's Easy The material in this eBook also appears in the print version of this title Editorial Reviews. To overcome the almost insurmountable difficulties of translation, I ultimately adopted the original than adapting to it, out of sheer necessity and compulsion.
But that does not mean that I have made sweeping deviations. I have deviated only when confronted with a situation of not finding a word of equal elegance or meaning for a word in the original.
Where I deviated, I did it only in letter but not in spirit. Readers can see this when they go through the renderings. Tilak, gem of a human being, had made every moment of his life, momentous, in terms of experience and expression. He was a poet on mission to give us eternal, enduring and everlasting message, at once human and humane. He excelled both in muse and music. It has been a real-life fulfilment for me 1 7 11 to have touched him, and touched him as best I could with all my devotion and dedication, keeping closest to his emotion and expression.
There are translatable and untranslatable poets and translatable and untranslatable poems. Even in the translatable poems, there can be untranslatable parts or passages, which if translated, the meaning would be messed up for want of similar cultural words, metaphors, similes and images in the language into which they are translated from the original. They would lose their crispness, ending up as mere explanations and elucidations.
If translations of such poems or of such parts are attempted, they would either lose their poetry or meaning or both. But then, some of the poems could be so beautiful that one would feel very happy, nay, elated, if one could translate even nearest to the original. The attempt, of course, has to be made very cautiously and carefully.
It is a tight rope walking. There is more danger of getting brickbats than bouquets. The difficulties of translation are many and are too well known to need any reiteration.
They are dealt with at length by many writers. Yet, if no attempts are made to translate books from one language to another, the literary world would be poorer for want of adequate growth of comparative literature. Pitfalls, failures, partial successes and lukewarm receptions should not therefore deter sincere and serious translators from attempting translation of even difficult works.
Tilak is a very difficult poet to translate and some of his poems are too intricate to translate. The renderer confronts very frequently too long Sanskrit-Telugu mixed and untranslatable compound and complex sentences and elusive cultural niceties and linguistic nuances.
Attempting to translate them would be like attempting the translation of Varnas of Vishwanatha Satyanarayana that run into lengthy paragraphs. This is the basic problem that one confronts in Tilak. We should therefore be satisfied with only the proximates to the originals. Some of Tilak s poems are most lyrical and alliterative.
It is very difficult to capture the vein and the veneer, the music and the melody in them and render them with the same ease and effect as the poet himself did taking advantage of the suitability of the Telugu language and its culture for that purpose. If translations are not rendered in English in the same tone, tenor and the alliterative fashion, the spirit of the poems and the intention of the poet would be lost. One may succeed in conveying the meaning but not the charm of the poem.
In this connection it has to be said that Tilak was not averse to the use of rhyming-ends or alliterations. The only thing is that he has used them in such an undertone as to appear as if he did not use them at all, a very difficult task indeed to accomplish at times.
In fact, the three glaring weaknesses in Tilak seem to be the frequent use of very long Sanskrit-Telugu mixed metaphorical sentences, alliterative words or rhyming ends, and the link words such as Like and As to compare, contrast or connect. If the original poems themselves are alliterative, one can t avoid the use of alliterative and rhyming words in translation also in order to come nearer to the original form of the poems.
Translating them without the alliterations and rhyming-ends would amount to doing injustice to the original forms. It may be that in the course of doing so, the translator may get into a problem of not sounding as natural as the original poet for various reasons 12 Then, if there are poetic compositions of contrast and comparison contrived by using the words like or as, translation can t but be done in the same way by using the near meaning words in the other language.
In Telugu, the linkage or connection can be achieved at times without using the supporting or inter-connecting words conjunctions which may or may not be all that possible in English many a time. For example a word in Telugu vale means like in English or vatu means either like or as,so also la or laga. These are so combined by Tilak to link, connect or contrast as to look like integral parts of what he says without appearing to use a link word.
Take for instance the following words in the poems mentioned and decide as to how one can avoid using like or as without affecting the intent, impact, connection, comparison or contrast whatever is meant.
The Format Poems : Where the technique of a poem dominates the theme. In these poems, the poet seems to have written the poems more for the sake of technique than for the sake of theme. Form and technique become primary in these poems; theme and content secondary. Music, melody, rhythm, rhyme and alliteration play very important roles in them along with the similes, metaphors and images etc.
In format poems, one has to reproduce the Sound, The Voice or the Dhvani as in the original. That is the problem one confronts in rendering them. The Thematic Poems : They are poems, where the theme or the message of the poem is more important than the format or the technique. The feeling, the emotional intensity and the purpose determine the excellence of the poem.
Emotion plays a predominant part in it and by virtue of intensity of emotion, the poem gets its strength and charm. Most of these poems are rendered in Karuna Rasa, which requires a very subtle and sensitive handling.
There is no jugglery of technique in these poems. These are basically poems of heart than of mind. The thinker and feeler dominates the scholar in them.
But these are not as simple as they appear to be for the reason that one has to portray them in Tilak s Karuna Rasa which, as someone has rightly said is unique and inimitable. Simple though these poems and their language may appear on the face, the feeling in them would be so rich, intense, subtle, sublime, and delicately poised that they require superb art to handle them to be close to the poet s depth of feeling and intent.
The passion in these poems is extremely tense, compassion extremely intense and the Bhava the thought extremely delicious and delicate. If a translator can t get as close to the format of Tilak s poems when he is dealing with his Format Poems and if he can t be as close to him in Karuna Rasa when he is dealing with his Thematic Poems, he had better not attempt to translate them at all just for the sake of conveying the matter or content. Many a time, a translator confronts the problem of maintaining the balance, proportion, tempo and momentum in a poem as in 4 5 9 13 the original.
Because of that, the impact or the effect might as well be lost. Therefore, in order to sustain the balance and equilibrium as in the original, the translator has to make some additions, deletions, alterations and modifications.
It is for this reason that a translator takes some liberties with the original poems so that the tempo may be maintained, the balance. In translating Tilak s poems, I had to take such liberties at times so that the tone, the tenor, the force, the intensity and the momentum with which he rendered some of his poems could be maintained.
Tilak s poems are full of pathos, compassion, fellow feeling and sympathy for the common man and the underdog. They are full of humanism.
Tilak is basically a humanist, who feels the need for change through transformation by inculcation and cultivation of values and virtues as a long term solution to human problems. He genuinely feels about the human misery born out of lack of human sympathy in general.
That makes him sound like a leftist which he was not, not at any rate in the ideological sense. Tilak feels that, not conflict but concord and accord are the only long-term solutions for all national and societal problems. He is not at all a traditionalist. Of that one can be very much sure.
His mind is the most modern, shorn of all dogma, superstition and ritual. He does not invoke god for solutions, but man himself. He holds man and man alone responsible for everything good or bad that happens around and considers man and man alone responsible for his own destiny.
Tilak felt intensely whatever he felt. He was touched, moved and stirred by all-round poverty, misery, squalor, exploitation, cruelty, acrimony, envy, jealousy, indifference and apathy in the society. His themes were current and contemporary and he handled them by combining the skill and the dexterity, of the Bhava Kavita poets of the Romantic School and the sympathy and concern of the Progressive Poets of the Progressive School.
He combined the best of both the traditions in his works. His social concern and consciousness was of the highest order and also his social awareness. He was the most modern of the modern poets shorn of any ideological and doctrinaire strappings, as his concern was Man and Mankind and welfare of humankind everywhere. His approach to life and problems of living were not parochial but universal. That way, he was one of the most secular poets among the Telugu poets and also the most democratic, open minded and open hearted, not given to any traditional, idealogical or sectarian leanings.
I think, Tilak could translate his own untranslatable feelings as much as no other poet probably could do so. He was the best of all the translators of his own feelings, which like dreams normally defy depiction in totality. When one realizes how difficult it is for the original poet himself to translate his own feelings, one can imagine how difficult it is for a translator to do so.
Apart from the difficulties of dealing with the emotionally surcharged thoughts, a translator of Tilak faces the very serious difficulty of dealing with the cultural niceties and nuances, so very peculiar to societies and languges.
The book is now in the hands of the readers to read and make their dispassionate assessment of the problems that I confronted and tried to solve them, keeping in view the readability and intelligibility of the poems mainly from the point of view of the non-telugu-knowing readers. I shall be very happy to have their views and impressions. I am first of all grateful to Sri T.
Murthy, son of late. Krishnamurthi, Prof. Nayani Krishna Kumari, Prof. Subba Rao, Prof. Chalapati Rao, Prof. Subrahmanyam, Prof. Tangirala Subba Rao,Prof. Sivaramakrishna, Prof. Veerabhadraiah, Prof. Raghavendra Rao, Dr.
Bapu Reddy, Dr. Mrunalini, Dr.
Acharya Tirumala, who have very graciously penned their views though they themselves are so much preoccupied in many creative ways. I am extremely grateful to Prof. Rao, who constantly encouraged me to publish these poems. But for her persuasion probably this book would not have seen the light of the day. I am equally thankful to Dr. Narender, who, from the beginning was behind this effort. I owe my particular thanks to Prof. V Chalapathi Rao, Sri.
Rajendraprasad, Sri R. Harnoor, Mrs. Sujatha Gopal for the valuable suggestions they made from time to time.