According to the terminology you have given, this would be one with a
short 'beher'. The rest of the requirements are obvious, and in order to
reduce the taqleef with my taqallus, I left that as rAmakRshNa.
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Adiyan used to be the Secretary of the local Telugu association, and
handled its famous publication, vArtAvAhini, on and off, several terms.
Wrote once an article on old filmy songs, mainly Hindi ones, the kind I
used to listen late night, under the title purAnE film kee geet from,
bless them, Radio Ceylon. Mentioning the songs from Raj Kapoor's "aah",
dubbed/remade in telugu as prEmalEkhalu, I said that the song-writer
(who was it, Sreenivas?) not only captured the meaning of the song, but
did it such that the music director could use the same tune. In this
case, he didn't have to do much, did he? In any case, I said that "they"
not only captured the "bANee", but also the "vANi". In such songs as,
"AjArE, ab merA dil pukArA - rArAdA, madi ninnE pilice kAdA", yEh shyAm
kee tanhAyiyAn - EkAntamU, sAyantramU"; I think there were more.Some of
it was done in the other direction, for the movies "missamma", and
"suvarNa sundari", when they were made in Hindi.
Am I right in speculating that most of the time when a telugu tune was
used in a Hindi film, the film itself was produced in Madras (or
Hyderabad), by the telugu producers, whereas when Hindi tunes were used
in telugu movies, it was more "flattering" them?
You are wondering the relevance of this rambling to this group.
I listed a few hindi songs that I constantly hum to myself, and tried to
give a telugu translation to the main line of the song. One of them was
the song, "dil jalta hai tO jalnE dE, AsUn na bharA, faryAd na kar, dil
jalta hai tO, jalnE dE". What a song!
My translation was:
manDE gunDelu manDanee,
kanneeLLuncaku, kalushata pencaku,
manDE gunDelu manDanee!
That little bit of translation led me to take off from there (w/o any
reference to the actual hindi song), and add more couplets to it,
initially a bit seriously, but finally in a parody form. wOh ab aapkE
sAmnE pEsh kartA hun, izAzat hO tO.
manDE gunDelu manDanee,
kanneeLLuncaku, kalushata pencaku,
manDE gunDelu manDanee!
madilO vEdana eda kArciccayi
gunDela taDi ika enDanee
ragilina enDala pagilina banDala
sandula netturu pinDanee
vancakulandaru, mATaku nilavaru
nee viluvalu neekunDanee
nammaka drOhulu, namak harAmulu
unDE kAlam ninDanee
taDiguDDalatO gontulu kOsE
kukkala nicaTa paDunDanee (1)
prasAda bhaktula poly-tricks-ulika
sAgavu pO pO ponDanee
randhrAnvEshula, pragati dvEshula
pApapu rOjulu panDanee
vyadha cAlincika, paga sAdhincika (2,3,4)
kanTiki kannanukOnDanee (5)
kAru mabbu mimu kabaLincuTakai (6)
vostE bhayapaDakanDanee
frank-gA mATlADavalasinappuDu
baddalu koTTEy kunDanee
rAmakRshNanA idi rAsindee
ani kalavara paDakanDanee!
1) let sleeping dogs lie
2) cAlinci+ika
3) sAdhincu+ika
4) don't get mad, get even!
5) eye for an eye
6) suvarNa sundari lO pATa
There is no hidden meaning in this. To be taken, as directed, lightly.
As most ragaDas, this has four 4-mAtra gaNas in the first line, and two
4-mAtra gaNas, and a 5-mAtra gaNa, with last syllable guruvu. As usual
in such cases, there are places where a ja-gaNa (one of the five 4-mAtra
gaNas) should not be there. It looks like two gaNas at a time are
considered as a unit, and there can be overlap, as in "kArumabbu mimu"
which is "UIUIII", which doesn't break up into 2 fours.
I ask the forbearance of the hand(one)ful of people who have already
seen this.two years ago.
Ramakrishna