:Humpty Dumpty Bengalured: | ಅಂಡಾಗುಂಡ | (All the kings men...)
ಅಂಡಾ ಗುಂಡ ಕಲ್ಲು ಬಂಡೆ ಹಾಂಗಿದ್ದ ಅಂಡಾ ಗುಂಡ ಅಡ್ಡ ಗೋಡೆ ಹತ್ತಿದ್ದ ಕಪ್ಪವ ಪಡೆದ ರಾಯಲ ಕಿಂಗ ಮರೆವಣಿಗೇಲಿ ಬಂದಾರೆಂದು ಹೀಂಗ ಉಮ್ಮೇದಿಯಲಿ ಕುಣಿಯಲು ಹಂಗಾ ಬಿದ್ದನೊ ಇವನು ಪುಡಿಪುಡಿ ಹ್ಯಾಂಗ ಹದಿನೆಂಟು ಪೋಲೀಸರು ಹನ್ನೆರಡು ಡಾಕ್ಟರರು ಜಪ್ಪಯ್ಯ ಅಂದರೂ ಪುನಃ ಕೂಡಿಸದಾದರು ಅಂಡಾ ಗುಂಡ ಮುನ್ನಾ ಹ್ಯಾಂಗಿದ್ದನೋ ಹಾಂಗ
----------------------------------------------------------------- :Humpty Dumpty ಮೂಲ ಆವೃತ್ತಿಗಳಿಗಾಗಿ ಇಲ್ಲಿ ಕ್ಲಿಕ್ಕಿಸಬಹುದು: https://en.wikipedia.org/wiki/Humpty_Dumpty -----------------------------------------------------------------
ನಮ್ಮ ಜಂಬದ ಕೋಳಿ ಕಾವಿಗೆ ಹೆಮ್ಮೆಯಿಂದ ಉಬ್ಬುತ್ತಿರುವ ನಮ್ಮ ಅಂಡಾಗುಂಡ (ಚಿತ್ರಮೂಲ: wikimedia commons ) -----------------------------------------------------------------
-:ಸಂಕ್ಷಿಪ್ತ ಆವೃತ್ತಿ:-
ಅಂಡಾ ಗುಂಡ ತಡೆ ಗೋಡೆ ಹತ್ತಿ ಕೂಂತ ಅಂಡಾ ಗುಂಡ ಹೋತ್ಗಂಡು ಬಿದ್ದ ಹನ್ನೆರಡು ಪೋಲೀಸರು ಹದಿನೆಂಟು ಡಾಕ್ಟರರು ಪುನಾಃ ಇವನ ಒಟ್ಟ ಕೂಡ್ರಿಸದಾದರು ಮುನ್ನಾ ಗುಂಡಗೆ ಹೆಂಗಿದ್ದನೋ ಹಾಂಗ
"अब की बार it's my cup of royal tea!" "ಎಲ್ಲೆಲ್ಲೂ ನನ್ನ ಚಾಯ್ ಕಪ್'ಪೇ ಚರ್ಚಾ!!" "ಮುಗಿಲುಗಪ್ಪಾದರೂ ವ್ಯವಸ್ಥೆ ತಪ್ಪಾದರೂ ಆಡಳಿತ ಕೆಪ್ಪಾದರೂ ಜನತೆ ಬೆಪ್ಪಾದರೂ ಕಪ್ಪು ಕಪ್ಪೇ!!!" ..ಎಂದು ಮಕಾಡೆ ಬಿದ್ದರೂ ಗಡ್ಡ ಮಣ್ಣಾಗಲಿಲ್ಲ ಎಂಬಂತೆ ಬೀಗುತ್ತಿರುವ ಅಂಡಾಗುಂಡ
GK Adiga's 'demon-past' haunts AK Ramanujan In which, bear with us, a Chicago Univ. linguist professor of a multi-faceted Kannada-Tamil dead Poet's humble translation work in English gets extensively edited (rather'editoriated' / EXORcised) by a Kannada-medium village-bred faceless unhumble pedestrian indignant alive.
" The ex / The Buried / The Spirit of the Tense Past " (AKR-MGK's translation of GKA's 'Bhootha', but heavily edited / reworked by yours truly)
The fetus-crypts of the tense-past are haunting: the stale air of abyss inside the pent old well is crawling up, heads down, on all fours leaping on the back of the lullabying sunlight shaft is gushing even onto the canopy of holy basil grove. The corded umbilical discarded at the bank the cut mouse tail, writhes. To me who gropes with eyes stuck in darkness flashes, all of the sudden, a golden streak: a squirming feather-burnt star-- somehow fallen in the new-moon-moats.
The past ghosts all over the Current Affairs. One fold above the water, seven snow-capped peaks beneath; out of blue accidentally fire-speak spitting snow cowered innocent volcano. Fold up the paper if you will -- in the soundless skeleton rooms dumb beckoning missing beat: the carnival of reversed feet. In the waters stagnant in the inner depths heaping webs of spermoids beating their hands; under the hoods of the turning curtains of the dark-stage the speak-picking glitter-pointed tail, - do these not desire out-yard's colorful canopy of creepers and flowers?
No water and no shelter for the fathers and forefathers. Shuttling tight through the high winds and rough tides toughly, the lands though found, seldom could they obtain. I know the tantra of exorcism and libation, yet have forgotten the mantra herein; thus vacuously I am just waving the wand. Gosh! trusting the high priests, westward we went; high time now to dig into the epistemology--prevalent at once: the stemming of karma, the cantos of action.
As one digs, first a chrysalis of clay; pushing the shovel deep and striking hard one might glimpse the streaking ore of gold. The alchemies of extraction, burning and decanting one should learn a little, at least now; the true craft of heating and beating the gold-- to cast it in the image of one’s own preferred god.
The water that rots in the well, steams well above; all along the sky runs its causal pathway; the invisible seed of the void room of the overcast sky the all-nine-months longing fetus-shape-- rumbling of the liminal ghost, troubling of the thunderclap-- rain is the news-- presentationforthe past-form. The plowed and seeded fields donning the laboring earth; the garden of swinging fruits, paddy and wheat, the golden pinnacles of the temple towers.
We read with intrigue, the English translation of Gopalakrishna Adiga's celebrated Kannada poem "Bhootha", entitled '"Ghost and Past"', which is done by A.K. Ramanujan (AKR, with MG Krishnamurthy, apparently). We find it somewhat misconceived, especially on account of the 'tense' that is involved.
Simply
put, Adiga's original is decidedly anchored in the present (recall
here, lines such as: 'ವರ್ತಮಾನ ಪತ್ರಿಕೆಯ ತುಂಬ ಭೂತದ ಸುದ್ದಿ'), and, as
such, most of the sentences are in the present continuous tense,
wherein the action is continuously undertaken. However, for reasons not
readily evident to us, AKR has translated those present continuous
tense statements instead into a certain present-indefinite tense (a.k.a. simple present tense) statements, which makes them sound like rather timeless facts.
Originally,
in 'Bhootha', Adiga thinks aloud about the 'spirit' in
which the past is ( and is not) to be taken, at present, so as to
proceed to what he conceives as a golden future. In its initial portions, Adiga, through
dense metaphors -- most of which are framed in the present-continuous
tense -- describes the ways in which the past haunts him in the
present. In the next portions, he first shifts to discuss the methods for exorcising
this ill-spirit of past, and then to bring about the rather positive sense in which
the past is to be taken for best, to land on a vision of a
golden future. All in all, the poet is
situated in the present, and as such, most of his statements are in the
present-continuous tense. We must note here, to the best of what
we have come across, Adiga seems to be one of those poets who make
very thoughtful choices of words --- carefully crafting their statements. For
such cases, it is not sufficient to think just factually by considering
how a certain passage is worded, but also to think counter-factually by
consider how else could it have been worded otherwise (that the poet
chose not to do so). Thus, the poet's omissions should also inform our
readings inasmuch as their selections.
For example, consider Adiga's opening lines: "ಕಾಡುತ್ತಿವೆ ಭೂತಕಾಲದ ಭ್ರೂಣಗೂಢಗಳು ''. It would rather sound more abstract, more general, more stylish if he would instead open either like "ಕಾಡುವವು ಭೂತಕಾಲದ ಭ್ರೂಣಗೂಢಗಳು", or even "ಕಾಡುತ್ತವೆ ಭೂತಕಾಲದ ಭ್ರೂಣಗೂಢಗಳು". But Adiga did not chose to do so. He instead prefers to resonate with the continuous action via 'ಕಾಡುತ್ತಿವೆ', and he persists with the same throughout the stanza, to end with "ಹಾಯುತ್ತಿದೆ ತುಳಸಿವೃಂದಾವನದ ಹೊದರಿಗೂ". Highlight is also on his intentional usage of the almost explicit first-person forms (e.g., "To me who gropes...").
However, AKR-MGK, in their opening stanza of the translation, have switched to the present-indefinite tense: "Secret embryos of the demon-past haunt..." etc, and persists with it, to end with "and go beyond into the garden of the basil bush".
(And lest we dig into the evident misconception of the translators in the same stanza. It was the 'stale air' that was gushing out into the holy grove for Adiga -- metaphorically, but, for AKR-MGK, it is literally the secret embryos themselves --" 'in' the stale air...'they' crawl up.. and gush out"... )
To us, this translation of AKR-MGK is inappropriate at least on two counts. Firstly,
and crucially, Adiga is decidedly anchored in the present, and is
looking at the way the past is affecting him at the moment, and is
contemplating what course of action it is that he must take now, so that
the future is 'golden'. Thus ,herein for Adiga, it is all about the
continuous action in the present, even while keeping in mind the past
and the future. Secondly, for Adiga, arguably, the haunting of the
spirit of past isn't a timeless
fact that is aught to be there so indefinitely. These spirits are
haunting at the present for sure, but he intends to exorcise them in his
next stanzas, to find a better way of engaging with the past, so that
these spirits of past no longer persist with the haunting business.
Even
more arguably, some of the the originally glorious statements somehow have
become rather underwhelming in AKR-MGK's translation. For example: "...and the rain is the present of past forms", which
misses a few of the multiplicity of interpretations possible for the
original, e.g., : "rain is the news" (to the seeds buried). ಕಾದುಗಾರಾದ
ನೆಲದೊಳಗಿರುವ ಬೀಜಕ್ಕೆ ಗುಡುಗುಸಿಡಿಲು ಎಂಬವು ಮಳೆಯ ವರ್ತಮಾನವನ್ನು ನೀಡುತ್ತವೆ ಎಂಬ
ವಿಜ್ಞಾನದ ಅಖ್ಯಾನ ಈ ಅನುವಾದದಲ್ಲಿ ಎಲ್ಲಿಗೆ ಹೋಯಿತೋ!
Thus, as we go
through the choices that AKR-MGK make in this translation, a deep urge
to modify the same occurs to us, at the least as an exercise. At places
we are bound to change the words as well. So, here we are, with this
heavily modified translation. As thus, it is not an
entirely from-the-scratch written original translation. And,needless
to say, it is done here just as an exercise, with no commercial interest
whatsoever to infringe any copyright otherwise.
We have also taken the opinion of the chatgpt LLM on our translation. And should we clarify, Its Highness Mrx ChatGPT (may peace be upon us🙃)
has immensely boosted our ego by vindicating our translation--our
choices of words and tense forms--over those of AKR etal!!! And lest
again we clarify, it seldom involves any original translation in it self
by chatgpt --every word and sentence in English in here is either from
AKR or from yours truly highness.
So, read-n-reread-n-joy, and critique!
And if time permits, ask chatgpt / duck.ai / any LLM to compare with AKR's work and GKA's original, by copypasting it all (including the premise above) to that LLMs mouth... ======================================================================
Ticking away the moments that make up a dull day You fritter and waste the hours in an offhand way Kicking around on a piece of ground in your hometown Waiting for someone or something to show you the way
ಕಳೆಯಿಲ್ಲದ ದಿನವೊಂದರ ಘಳಿಗೆಗಳ ಕಳೆಯುವಲ್ಲಿ ಪೋಲುಮಾಡಿರ್ತೀರಿ ಗಂಟೆಗಟ್ಟಲೆ ಕೈ ಚೆಲ್ಲಿ ಸುಮ್ಮನೆ ನೆಲವನ್ನೊದೆಯುತ್ತ ನಿಮ್ಮ ಊರಲ್ಲಿ ಯಾರೋ ಏನೋ ದಾರಿ ತೊರಿಸಿಯಾರೆಂದು ಕಾದಲ್ಲಿ
Tired of lying in the sunshine Staying home to watch the rain And you are young and life is long And there is time to kill today
ನಿಮ್ಮ ಬೇಲಿಸಾಲಲ್ಲೀಗ ಗಲಿಬಿಲಿ ಅಂದರ ಗಾಬರಿಯಾಕ ಬರೀ ಕಸಮುಸರಿ ರೀ ಮುಂದ ವಸಂತ ಬರಲಿಕ್ಕ
ಹೌದ್ರೀ ನಿಮಗ ಮುಂದ ಎರಡ್ ಹಾದಿ ಏನೀಗ ತಡವೇನಲ್ಲ ಯಾವತ್ತೂ ಹಿಡಿದ ಹಾದಿ ಬದಲಿಸಲಿಕ್ಕ
ಮತ್ತ ನನಗ ಯೋಚನೀ ಮಾಡಿಸ್ತೈತ ಓ ..
ನಿಮ್ಮ ತಲಿಯೊಳಗಿನ ಈ ಗುಂಗು ಹಂಗ ಹೋಗಾಂಗಿಲ್ಲರೀ ಇಲ್ಲಿ ಸೇರು ಬಾರ ಅಂತ ಜೋಗೀ- ನಾ ಕರದಾನರೀ
ಪ್ರಿಯ ಸಖೀ ನೀ ಕೇಳ ಇಲ್ಲಿ ಮೆಲ್ಲಗ ಸುಳಿವೀ ಗಾಳಿ ನಿನ ಸುರುಳಿ ಸುತ್ತಿನೇಣಿಗೆ ತಳಹದಿ ಈ ಪಿಸುಗಾಳಿ!
****
ಹಾಂಗ ಹಾದಿಯಲಿಳಿಯುತ ಹೋದ್ಹಾಂಗ^‡ ನಮ್ಮ ನೆರಳುಗಳು ನಮ್ಮಾತ್ಮಗಳ ಮೇರೆ ಮೆರೆದ್ಹಾಂಗ ಅಲ್ ನಡೆವಳು ನಮ್ಮ ಗುರುತಿನ ಈ ಸಖಿಯು ತೋರುವವಳು ಝಗಮಗ ಬೆಳ್ಳಂಬೆಳಗಿಸಿಯು ಹ್ಯಾಂಗ ಇನ್ನೂ ಎಲ್ಲಾ ಚಿನ್ನವಾಗಬೋದು ಮತ್ತ ಪ್ರಯತ್ನಪಟ್ಟು ಆಲೈಸಿದರ ಕೊನೆಗೂ ಜೋಗಿಯ ಕೂಗು ಕೇಳಿಸೋದು ನಿಮಗೂ ಆ ಹೊತ್ತು ಒಂದು ಎಲ್ಲವೂ, ಒಂದೇ ಯಾವತ್ತು ಉರುಳದೇ ಕಲ್ಲಾಗಿರಲು ಯಾವೊತ್ತೂ
Film: Rockstar (2012) Song: Aur Ho / Meri Bebasi ka Bayan Hai Lyricist: Irshad Kamil Singer: Mohit Chauhan Composer: AR Rahman Directer: Imtiyaz Ali
ವಿವಶತಾ ನಿರೂಪ
ಎನ್ನ ವೈವಶ್ಯದ ಸಂಕಥನವು ವಶವಿಲ್ಲವೀಕ್ಷಣ ಗತಿಸುವುದು
ಹಪಹಪಿಯಾ ರಸ ಹಿಂಡೇನು ಹಸಿತೋಳಲೀ ಬಾ ಮುರಿದೇನು
ಬಯಸಲಿ ನಾ ಮತ್ತೇನು ಕಿತ್ತುಕೊಳ್ಳೇನು, ಬಿಟ್ಟೂಬಿಡೆನು
ಈ ಘಳಿಗೆ ಮಾಡಲಿ ನಾನೇನು
ಈ ಘಳಿಗೆಗೆ ನಾನೇನು ಮಾಡ್ವುದು ಎನ್ನ ನೆಮ್ಮದಿಗೆ ನಿರಾಳತೆಗೆ
ಮತ್ತೆ ಜರುಗಲಿ, ಮತ್ತೆ ಜರುಗಲಿ, ಉಸಿರುಗಳ ಉಜ್ಜಾಟ ಜರುಗಲಿ ಜ್ವಾಲೆಯು ಮತ್ತೇಳಲಿ ಮತ್ತೆ ಜರುಗಲಿ, ಮತ್ತೆ ಜರುಗಲಿ, ಉಸಿರುಗಳ ಉಜ್ಜಾಟ ಜರುಗಲಿ ತಾಪವೂ ಮತ್ತೇರಲಿ ಮತ್ತೆ ಜರುಗಲಿ, ಮತ್ತೆ ಜರುಗಲಿ, ಮತ್ತೆ ಸೇರುವ ನಾವು ಮತ್ತೂ ಸುಟ್ಹೋಗುವ
ನಿನ್ನ ಕೂಡುವೆನು ನಾ ಮೊದಲಾಸಲ ಪ್ರತಿಸಲ
ಎನ್ನ ವೈವಶ್ಯದ ನಿರೂಪವು
ಕಿತ್ತುಕೊಳ್ಳಲೇ ನಿನ ಬಿಟ್ಟುಬಿಡಲೇ ಈ ಘಳಿಗೆ ನಾ ಏನನು ಮಾಡಲೇ ಈ ಘಳಿಗೆಗೆ ನಾನೇನು ಮಾಡಲಿ ಎನ್ನ ನೆಮ್ಮದಿಗೆ ನಿರಾಳತೆಗೆ
***
ಹಪಹಪಿಯಲಿ ನಾನಾದೆನು ಕಗ್ಗಂಟೇ ಬಿಡಿಸಿಕೊಳ್ಳೇ ಹೋ
ನಾ ತಟ್ಟುವುದೆ ನೀ ಮುಚ್ಚಿದ ಬಾಗಿಲೇ ತೆರೆದುಕೊಳ್ಳೇ ಹೋ
ಈ ವಿವಶ ಮನದ ವಶ ಬಾ ಜೀವಂತ ಜೀವಿಸಿ ಜೀವಿಸು ಸ್ವಪ್ನವ
ಮತ್ತೆ ಜರುಗಲಿ, ಮತ್ತೆ ಜರುಗಲಿ, ಉಸಿರುಗಳ ಉಜ್ಜಾಟ ಜರುಗಲಿ ಜ್ವಾಲೆಯು ಮತ್ತೇಳಲಿ ಮತ್ತೆ ಜರುಗಲಿ, ಮತ್ತೆ ಜರುಗಲಿ, ಉಸಿರುಗಳ ಉಜ್ಜಾಟ ಜರುಗಲಿ ತಾಪವೂ ಮತ್ತೇರಲಿ ಮತ್ತೆ ಜರುಗಲಿ, ಮತ್ತೆ ಜರುಗಲಿ, ಮತ್ತೆ ಸೇರುವ ನಾವು ಮತ್ತೂ ಸುಟ್ಹೋಗುವ
***
ನಿಲಿಸಲೂ ನಿಲಲಾರದು ಇದು ದಣಿಯಲಾರದು ಉಸಿರುಗಳದೀ ಬಿರುಗಾಳಿಯು ಸುಳಿದಾಡ್ವುದು
ಸುಳಿವು ಸಹ ನೀಡದು ಎಲ್ಲದು ಏನದು ಸುಡುವುದು ನಡುನಡುಗಿ ನಡೆನುಡಿಯು ಛಳಿಜ್ವರವೊ ಹಪಹಪಿಯು ಕೆಂಡದಂತೆ ಒಳ ಉರಿಯು
ನಿಗಿನಿಗಿಯುರಿಯುತ ಧಗೆಧಗೆಯು ಮೈಮನ ಮುಚ್ಚಿದೆ ಹೊಗೆಹೊಗೆಯು
ಎನ್ನ ವೈವಶ್ಯವೆ ಈ ದೃಶ್ಯವು ಎನ್ನ ವೈವಶ್ಯವೆ ಈ ದೃಶ್ಯವು ಎನ್ನ ವೈವಶ್ಯವೆ ಈ ದೃಶ್ಯವು
UI User Interface to Uppimaniasm Homagic ode to his high anthem -:ದಕ್ಷಿಣೆಯುತ್ತರ:-
what does not lie what does not lie between U and I what does not lie does naught at all lie
not the truth sembling lie
is not true all that lies
lie's truth where does it lie
the days pent beneath they lie
in remembrance nothing seems to lie
poles apart pupils see to lie
backward to answer dig what may belie what may be lie
The heart has poured it all out, yet here I hear you lie The jasmine, the champak, seldom that you bring them by Oh dear, the match of black beads, thou shalt get not to tie thou shalt get knot to tie
==========================================
ಬುದ್ದಿವಂತ(ಮಂಕ)ರು ಎಂದು ಮಿತ್ರರಿಂದ ಕೂಗಲ್ಪಟ್ಟವರು ಊ..ಐ ನಾಮ ಕಣ್ಣಮೇಲೆ ಹಾಕಿ- ಸಿಕೊಂಡರು... ನಿಜದಲ್ಲಿ ನಾಮ-ದೇವ ಉಪ್ಪ-ಇಂದ್ರನಿಗೆ ಮುಗಿಸಲೆಂದು ಕಡಿಯುತಿದ್ದ ಕೈ -ಗಳಲಿ ಸುಳ್ಸುಳ್ಳೇ ತಮ್ಮ ತಲೆ ಕೆರೆಸಿಸಿಕೊಂಡರು... ತತ್ಫಲವಾಗಿ ಬಹು ಸಂವತ್ಸರಗಳಿಂದ 'ಏನಿಲ್ಲ ಏನಿಲ್ಲ' ಎನ್ನುತ್ತಲೇ ಸುಮ್ಮನೇ ತಲೆಕೊರೆಯುತ್ತ ಇದ್ದ ಆಂಗ್ಲಾನುವಾದನ ಹುಣ್ಣು ತಾವುಗಳ ಕೈತಾಗಿ- ಸಿಕೊಂಡಂತಾಯಿತು. ---------------------------------------------------------------------------------------------------------------------------
Not the truth-resembling lie Not all the lies are true Truth of lie is not lie
ಕಳೆದ ದಿನಗಳಲೇನೂ ಇಲ್ಲ ನೆನಪುಗಳಲಿ ಏನೇನಿಲ್ಲ ಉತ್ತರ, ದಕ್ಷಿಣ ಸೇರಿಸೋದೆಂಬರೆ ನೀನಿಲ್ಲ ಪ್ರಶ್ನೆಗೆ ಉತ್ತರ ಹುಡುಕಿದರೆ ಏನೇನಿಲ್ಲ ಕೆದಕಿದರೆ ಏನೇನಿಲ್ಲ
what/nothing is in the days-spent what all is not there in memories north, south to join them, you are not there for the question, the answer if it is searched, what all isn't there(?!) if it is digged, what all isn't there(?!)
ಮನಸಿನೊಳಗೆ ಖಾಲಿ ಖಾಲಿ ನೀ ಮನದೊಳಗೆ ಇದ್ದರೂ ಮಲ್ಲಿಗೆ ಸಂಪಿಗೆ ತರದೆ ಹೋದರು ನೀ ನನಗೆ ಓ ನಲ್ಲ ನೀನಲ್ಲ ಕರಿಮಣಿ ಮಾಲೀಕ ನೀ ನಲ್ಲ
in the heart, it is just emptiness though thou art there in the heart the jasmine, the champak, if you do not bring them for me oh dear, you aren't, the owner of the 'black bead' (mangalasuthra / thali), aren't you dear!
