Monthly Archives: April 2017

Personalities: K. Viswanath


In honour of the recent announcement for the Dadasaheb Phalke Award, our Post today is on its 2016 recipient.

While it is true that we Telugus often feel short-shrifted on the national award front, it’s also important to recognise when the central committees actually get it right. Continuing our ongoing Series on Andhra Personalities is that stalwart of Telugu Cinema, Sri K.Viswanath.


Born in 1930, Kasinathuni Viswanath hails from Peddapulivarru, in Guntur District, Andhra Pradesh. His parents were Subramanyam and Saraswathamma. His father was a manager in Vahini pictures at Vijayawada (where he would study). Viswanath would later graduate from Andhra Christian College, Guntur and then follow in the family footsteps in film.

What is often not known, is that long before he was a director and writer, he was a technician. In fact, he got his start in the Sound Department on the set of his first movie: Thodi Kodallu. Nevertheless, it was a humble start to what would go on to be a prolific career, as even a short glance at his filmography would show. With 36 films to his name as director (and around 50 in other roles), his movies represent real cultured cinema.

There are no vulgar, double entendre dialogues in his films, which are pleasant, steeped in the local ethos, and with music, dance and traditional art forms. [5]

In a poetic twist, he is said to have been noted for his talent by none other than Nageswara Rao gaaru, and the rest was history. K.Viswanath made his directorial debut in 1965’s Atma-Gouravam, featuring ANR. While he established himself in the 60s and 70s (especially with Siri Siri Muvva), it was in the subsequent decades that the screen-poet of Peddapulivarru made his maximum impact. Starting from 1980’s Sankarabharanam to 1983’s Sagara Sangamam to 1986’s Swati Muthyam to 1987’s Swayam Krushi, this was the decade in which he seemingly dominated.

In the 1990s, he would also make appearance as a mainstream actor, rounding out his cinematic abilities. Subha Sankalpam featured his acting debut, reputedly at the behest of none other than Kamal Haasan, who said the role needed a venerable person before whom he could bow.

Maximum cast in his movies were Jayaprada, Chiranjeevi, and Kamal Haasan. Other actors were Bhanupriya, Venkatesh, Radhika, Vijayasanthi, and Srikanth.

He was also fluent in Tamil and did a number of movies in that language, such as Salangai Oil and Sippikul Muthu. He also made a few Hindi movies such as Eeswar and Kaamchor, although they did not rise to the same level he achieved in Telugu.

At a time when Indic and especially Telugu language and culture is on the defensive, K.Viswanath represents the importance of steeping mass culture in classical culture. After an era plagued by back-bencher blockbusters and item-dance driven nuisance flicks, the cultural quagmire of modern India requires guiding lights to return it to the glory of Maya Bazaar and Missamma. Viswanath garu demonstrates one such deepam.

A presenter of classical and traditional art, music and dance, K Viswanath has been a guiding force in the Indian film industry. As a director he has made fifty films since 1965 known for their strong content, endearing narrative, honest handling and cultural authenticity. His films on a wide range of social and human issues had great appeal to the masses. [4]

We live in an age where stars are celebrated simply for being stars and people are famous for simply being famous. With such social afflictions, is it any wonder that kitsch has captured the market while art is ailing?

Indeed, even the names of his films had an artistic or even poetic quality to them. Whether it is Aapadbandhavudu or Sruthilayalu or Siri Siri Muvva or Swaraabhishekam, his mellifluous movie titles stand in stark contrast to the crass anglicised appellations that have since dominated the industry in descending decades.


For the arts to revive and prosper, not only kalaanidhis but veritable kalaatapasvis and tapasvinis are required. The 2016 Dadasaheb Phalke Award winner is one such.

An ardent art lover, he made a series of films based on varied themes of art, music and dance. His films empathised with courage and frailty, aspirations and convictions, perseverance and distractions, social demands and individual struggle and at the core, believed in the goodness of the human spirit. [4]

Above all, in a vulgar age which fails to understand what real culture is, this cultural exemplar give us scenes rebuking the poseurs and providing the true meaning for samskruthi and natya.

In an industry that has come to be known for its stars dominating the movie marquees, he stood for stories weaving together the talent into an integral celluloid whole.


From Siri Siri Muvva to Sirivennala, there is an endless list of quality contributions to Andhra and indeed Indic Cinema by Kasinathuni Viswanath. But if one film stands out, it is Sankarabharanam.

From the electrifying vocals of S.P. to the iconising of Saastriya Sangeeta to the story itself, Sankarabharanam was a modern masterpiece. Of course, who could forget the contributions of composer K.V. Mahadevan. Nevertheless, it was K.Viswanath who brought them all together in one musical magnum opus. Indeed, many even assert that the movie was responsible for increasing interest in Carnatic Music among a generation of South Indians.

It is not for nothing he has been nicknamed Kalaa Tapasvi.

 Renowned filmmaker and actor Kasinadhuni Viswanath, best known for his award-winning movies in Telugu, Tamil and Hindi, has won the Dadasaheb Phalke award for the year 2016 for his outstanding contribution to the film industry. [1]

To receive the Phalke Award is a laudable and sought out distinction for any filmmaker or artiste. To date, 6 Telugus have received it, with  B. Narasimha Reddi, B. Nagi Reddi Paidi Jairaj, L.V.Prasad, Akkineni Nageswara Rao in 1990 and D.Rama Naidu in 2009  being the previous awardees.

But despite working with mass stars like Megastar Chiranjeevi and Kamal Haasan, K.Viswanath garu is a screen legend in his own right. Celebrated and known North and South of the Vindhyas, this Andhra ratna already has a long list of awards and achievements.

  • Honorary Doctorate from Potti Sriramulu Telugu University
  • Ragupathy Venkaiah Award for Lifetime Contribution to Cinema from AP
  • Recognised with 20 Nandi Awards from the State of Andhra Pradesh
  • Received 5 National Awards and 10 Filmfare Awards
  • Won the National award for Swati Mutyam. This was India’s Official entry for the 1987 Oscars Foreign Films Category.
  • Awarded the Padma Sri in 1992 for contributions to cinema



Viswanath garu leaves behind an outstanding body of work that would be feted in any era. If ‘Simplicity truly is the Ultimate Sophistication‘, he embodied this in films.

The stories that Shri K Viswanath told through his films were seemingly simple. They provided an uncomplicated, direct and pleasant cinematic experience to the audience. At the same time, they lend themselves to a nuanced and layered interpretation leading many to watch them again and again and come back and discover a new hitherto unseen aspect or a have deeper understanding and realization. [4]

Movies like Saptapadi show precisely the type of introspection any society requires and the balance needed between duty and human dignity. He exemplifies the type of attitude spiritual and artistic elites require: rather than distant reservation and condescending mockery, an empathetic championing of the masses and an upliftment of their plight is what is needed.

Prathi cinema ki oka sandesam undedhi. There would be a social message in virtually all his films, proving the true potential of Indian Cinema. It is not in item dance or idiot fan followings or foreign flesh shows, but in movies that marry culture with sentiment in contemporary context. This is what represents not only state but national cinema as well.

Named for the Maharashtrian Director-Producer Dadasaheb Phalke—the famous filmmaker of what’s considered India’s first Movie (Raja Harishchandra)—this National Award is coveted across Bharat’s various cinematic industries.

The award is conferred by the Government of India for outstanding contribution to the growth and development of Indian cinema. The award consists of a Swarn Kamal (Golden Lotus), a cash prize of Rs 10 lakh and a shawl. The award shall be conferred by the President of India at a function on May 3 at Vigyan Bhawan. [4]

While at 87 years old, the doyen of the pre-digital cinema era may have been made to wait all too long, it is, as they say, better late than never.

Telugu Cinema has come a long way since the cultural morass of the mid-2000s. Indeed, from Maya Bazaar (now in its 60th year) to Magadheera (and now Baahubali), it has had quite a trip ‘There and Back Again’. If there is filmmaker who embodies the triumph of Art over Kitsch and High Culture for the Masses, it is K.Viswanath garu.

From all of us at ACP, Congratulations, andi! It is a recognition long overdue.



పంచతంత్రం STORIES OF PANCHATANTRA—Mitra Labhamu (Gaining Friends) Ch.5







[Continuing the Series of Original Poems on the Panchatantra by Chandra gaaru, is Chapter 5 of Mitra Labhamu. Chapters 1 & 2 can be found here, Chapter 3 here, and Chapter 4 here ]

కఛ్ఛపమ్ము బలికె కాకరాజుతొ నిటుల
చూడ మూషికమును చింత తోచు
కారణమ్ము లేక కలత యెటుల యుండు
యనగ కాకి పలికె యౌననుచును! 54

English: The turtle further said to the crow. “The Mouse King seems to be very unhappy. There must be a reason for his sadness.” The crow agreed it was so and said thus.

యెన్నొ సార్లు నేను యడిగితి యీ ప్రశ్న
విటము చెప్పదాయె విషయ మెపుడు
యనగ విన్న యెలుక యిటుల బలికె సఖ
గాధ చెప్పగాను ఘనము కాదు! 55

English: The crow said,” I asked this question many a time. But the mouse king never gave an answer about his sorrow.” Hearing this the mouse replied” Oh! Friend! Mine is not such a great story to tell. Anyhow, since you asked again please hear”

మహిలరోప్య మనెడి మండలపు నగరి
తపసి యుండె తారచూడు డంచు
శివుని మందిరము స్థిరనివాసముగ చేసి
బిక్షు వతడు రోజు బిచ్చ మెత్తి
తాను తినుచు తన తోడు నలుగురికి
తినిపించు మిగిలిన తిండి బ్రేమ
చిక్కము పైదాచును చివరకు మిగిలింది
శయనించు హాయిగ శ్రమను మరచి
వాస మచటె యుండు మూషిక మిత్త్రులు
నన్ను చేరి పడిరి నిటుల చింత
తపసి దాచు తిండి తారల నడుమన
తింద మన్న మాకు దొరక దాయె! 56

English: The King of Mouses further said thus. “There used to live a hermit by name Tara Chaud in a distant town called Mahilaropya. He used to stay in Temple of Lord Shiva and was daily begging for alms. He used to eat a little and donate some to the poor guys who used to keep the Temple clean. The remainder of the food he used to save the remainder of the food in a peg that hanged high.

Some of my relations staying there came to me in sadness and lamented thus. Oh! Lord! The hermit is saving his food high in the air (reaching stars). We are not able to steal the food and eat as we cant reach such heights.”

మరియు యిటుల బలికె మూషిక మిత్రులు
ఎవరి చేత కాదు ఎత్తు ఎగుర
ఎచట కైన నీవు ఎగిరి చేర గలవు
కూడ వచ్చి మాకు కడుపు నింపు! 57

English: Hiranyaka further told his story thus. “My friends and relations further told me that they were incapacitated to jump such heights and that I was the only one who could reach the food. They urged me to go with them and feed them”

మిత్రు లందరి కూడి ముదమున నే బోతి
యెగిరి యందు కుంటి యతిది పాత్ర
తపసి దాచిన తిండి తృప్తిగ తినుచును
యచటె వాస ముంటి యెన్నియొ దినములు! 58

English: Hiranyaka continued. ” I went to the Hermit’s place accompanied by my friends and relations. At once, I jumped on the vessel containing food and we enjoyed the food that night and many more days to come and we stayed put there permanently.


దాచి నట్టి తిండి తరుగుట కనుగొని
తపసి చీల్చి నట్టి దండము గొని
పాత్ర పైన కొట్టె పలుమారు భయపెట్ట
దండ నీతి మమ్ము తరుము చుండె! 59


the Hermit one day found that the food he is storing is vanishing on regular basis and kept a watch. Finding us stealing the food, he to took a slit stick and started hitting at the bottom of the vessel making huge noise to scare us away. Scared truly, we did not dare approach the food vessel again.

విడువ డొక్క క్షణము వీక్షించ పాత్రను
సద్దు సేయు చుండె సాధు వెపుడు
వేచి యుంటి మేము వారము మాసము
తపసి విడువ డాయె తొలగ డాయె! 60


The Hermit never stopped making sound with the stick and never removed his searching eye from the food. We waited for weeks and months but the Hermit was persistent.

గడచి పోవ నిటులె కతిపయ దినములు
యొక్క మిత్రు డొచ్చె యతిని కలువ
సంజె వేళ యతడు చెప్పుచుండె కధలు
తిరిగి వస్తి ననుచు దేశములను! 61


After passage of few weeks like this, one day one of his friends came to visit him and during the night of his arrival he started narrating the stories of his travels to various nations and places.

మిత్రుడు యాడెడి మాటలు వినకనె
తపసి తట్టుచునుండె తిండి పాత్ర
చెప్పు మాటలు పెడ చెవిన బెట్టెడి నేస్తి
తపసి పోకడ గాంచి తామసమున
యిటుల బలికె కింక యతిధి తపసి జూసి
మిత్రుడనుచు వస్తి మోస కాడ
మోటు తనము తోడ మాట వినవ యేమి
వెడలి పోయెద నేడె వేరె దిక్కు
అతిధి వచ్చు వేళ యాదరముగ పిల్చి
పలుకరించి తగిన పీఠ మీని
మిత్రు విడువ ఎంతొ మేలని పెద్దలు
నీతి చెప్ప నేను నమ్మ నైతి! 62


Even as the guest was talking the hermit was busily engaged in making sounds with his stick near the food store turning a deaf ear to his friend, The guest, angry at the attitude of the hermit said thus.” You are haughty. You are not at all hearing what I have to say. I will leave today and take shelter somewhere else. I came here thinking you were my friend. But you turned to be a cheat. It was my fault not to have heard the elders say not to enter the place of a host who does not invite you, offer a seat and inquire about your well being.”

మరియు నిటుల బలికె మిత్రుడు కినుకతొ
ధనము మదము నీకు తలకు యెక్కె
నరక మగును నీకు నిశ్చయముగ తెలియు
యెంత తొరగ బోవ యంత మేలు! 63


The guest further said angrily, ” The possession of wealth has gone to your head. Know that there is hell and you are certain to go there. I am leaving this place immediately for my own good.:

కలత చెంది తపసి కఠిన పలుకులను
చెలుడు పలుక విని చెంత చేరి
చెప్పె యసలు కధ చెలునికి విశదము
నిజము విన్న చెలుడు నెమ్మదించె
యెలుక యుండు నెచటొ యెరుకనె నీకని
యడుగ తపసి చెప్పె యెరుక లేదు
మిత్రు డనియె నంత మూషికు డెంతయొ
దాచి యుండును తిండి దొంగ వోలె
యెంత ధనము యున్న యంత బలము యుండు
యెలుక ఎత్తు ఎగిరె యందు వలనె
జగతి నడుచు రీతి జనమును దోచియె
వినుము గాధ యొకటి వివరముగను! 64


Hearing his guest speak harsh words, the hermit felt sad and moved closer to him. He told him the entire story of food and the mouse. Hearing this the guest cooled down and asked the hermit if he knew the place where the mouse stayed. the hermit replied in the negative. Then the guest said that the mouse must have accumulated lots of food. that is giving him the energy to jump so high. The ways of world are such that the persons who loot and accumulate wealth are the strongest. The guest then offered to tell a story with this moral.

ఉ: నేనొక విప్రునింటి కడ నిల్చి యభ్యాగతుండనై
పానము యన్నమున్ యడుగ బాపని భార్య మక్కువన్
విప్రవరేణ్య మా కిలలొ వేలుపు మాదిరి వస్తిరీరు మా
యింటనె యన్నపానములు యాదర ముంచియు స్వీకరించుడీ! 65


I once stood in front of the house of a Brahman and begged for alms. The wife of the Brahman invited me with pleasure and said I came like a God and requested me to stay with them and receive their hospitality.

ఉ: నావుడు బ్రాహ్మణుండటులె నన్ను తనింటి లోపలన్
బూవులు తేవగన్ శివుని పూజలు సేయగ వారికిన్ తగున్
సేవలు సేయగన్ యచటె సమ్మతి సమ్మద ముండిపొమ్మనన్
యావిధి సర్వదా సనువు యాగము సక్రియ సేయుచుండగన్! 66


Hearing this the Brahman too invited me into his abode and requested me to help in his daily prayers by bringing flowers and other requirements for his daily Yaga and prayers and so I was doing this with pleasure and enjoying their hospitality.

అంత యొక్క దినము యార్యుడు పత్నితొ
యిటుల బలికె నేడు యినుడు దిశను
మార్చి యుత్తర దిశగ మరలుటన్ ధనికులు
దాన మిత్తు రెంతొ తనివి తోడ! 67

(తనివి= తృప్తి)


One fine morning, the Brahman called his wife and told her that the pious Uttarayana started and that the rich donate alms and gifts to Brahmans and so he is going to the next village to receive such gifts.

పోయి వత్తు నేను పక్క గ్రామము దమకను
తెచ్చు కొనెద వారు ఇచ్చు ధనము
బ్రాహ్మణుడను బిలిచి భోక్తవ్యము నిడుము
కమల ధరుని తలచి కాలు మొక్కు! 68


“I will go to the next village and come back. In the meantime please call a Brahman and feed him in the name of Sun God.” said the Brahman.


పడతి చెంత లేవు బియ్యము దినుసులు
కోపమొచ్చి పడతి కస్సు మనెను
కుండ నిండు కొనెను వండెద యే రీతి
కర్మ నాది మిమ్ము కట్టు కొంటి! 69


As the Brahman Lady had no rice or other items to cook, she became angry and lamented that she did a mistake marrying the poor Brahman.

నొచ్చు కొన్న బాప నెమ్మది బలికెను
అటుల యాడ తగదు మాట మీరి
దేవుడిచ్చి నంతె దక్కును మనలకు
సగము పంచు కున్న సుఖము కలదు! 70


The Brahman was sad too at his plight and was hurt at his wife’s words but recovered fast and said thus. ” You should not talk in such a harsh tone. Whatever God gives only will remain with us. If we share half of it we shall be blessed”.

ఫలము దక్కు సగము భాగము బంచగ
ధనికు డేమి పొందొ దాన మిచ్చి
పేద వాడు పొందు పంచగ సగ పాలు
పేద ఇంటి గంజి పాయసమ్ము! 71


If we share half of whatever little we have we will get the God’s blessings. If the rich gives a lot too, such blessing is not available. The poor gets back in kind if he gives half of what he has. The gruel in a poor man’s house is like Nectar.

ఇచ్చు వాని కెపుడు ఇచ్చుట ధర్మము
పిసిని ధనికు జనులు యీస డింత్రు
సంద్ర మందు నీరు సంగ్రహించ రెవరు
బావి నీరు తాగ బ్రీతి మెండు! 72

English: The man who gives in charity should be helped in need. The miserly rich are shunned by the public. Water in the ocean is never taken by people to drink. But water from well is taken,

అర్హ తెరిగి ఇవ్వ వ్యర్ధ మవదు యేది
ఆశ యెక్కుడైన నాశ మగును
యనగ భార్య యడుగ యది యెటు లనుచును
స్వామి చెప్పె సతికి శాండిలికి కధను! 73

English: If we give to the deserving, it will not be wasted. If a man develops greed he will perish. When the Brahman said so, “How is it so?”. Then the Brahman told her a story in reply.

అడవి పంది పయిన యస్త్రము విసిరెను
విల్లెక్కు బెట్టిన వేట గాడు
గాయ పడిన పంది గర్జించి యురికెను
బోయ ప్రాణము పోయె పంది చేత
పంది కూడ తనదు ప్రాణము వదిలెను
బోయ చేసిన పెను గాయములతొ
జంబుకమ్మొక్కటి జనుచును యాదారి
క్షుద్భాధ పెక్కుడు క్షోభ పెట్ట
బోయ పంది జూసె బాయగ యసువులు
భాగ్యమన్న నాది బాగు బాగు
దొరికె యాహారమ్ము దండిగ యీనాడు
యనుచు తలచి నక్క యాశ చూసె! 74

A hunter shot his arrow at a boar which was injured. The boar, though injured, jumped on the hunter and killed him on the spot. It too died of the wounds inflicted by the hunter. A fox going that way very hungry and in search of food saw the bodies of the hunter and the boar. It thought in greed that it got plenty of food that day.

దైవ బలము నాకు తోడయె యీనాడు
తృప్తి తీర తినగ దొరికె తిండి
పూర్వ జనమ మందు పరులను సేవించ
ఫలము దక్కు నంద్రు మరు జనమ! 75

English: It said to itself that it was God’s grace that she got plenty of food. Learned say that if one has done all good deeds in the previous births, they will be rewarded in the future births.

వెదుక కుండ దొరికె వెనుక జన్మ ఫలమె
చేయు పుణ్య మొచ్చు జీవి వెంటె
చేసి యుండ నోపు చాల పుణ్యము నేను
విందు దొరికె నేడు వింత కాదె! 76

English: I came across so much of food without any effort. I must have done a lot of good in my previous births, I got a feast now. The good one does follows him for many births.

కొలది కొలది దినెద కూడ బెట్టెద నంత
ధనము యున్న నాడె దాచ నోపు
యనుచు పెద్ద లనిరి యెంతొ ఙ్ఞానులు వారు
వింటి నారి తినెద పంట కొరికి! 77

English: It again thought that the leaned said that one should save money when it was plenty. I will also eat this food in small quantities daily. For today I will satisfy my hunger with this gut of the bow.

యనుచు జంబుకమ్ము యానందముగ పోయి
వింటి నారి కొరికె పంటి బిగువు తోడ
బిగిసి యున్న నారి తెగివచ్చె వేగమ
నారి ద్దెబ్బ తగిలి నక్క చచ్చె! 78

English: So thinking the fox tries to snap the gut of the bow with his teeth using all the strength. The gut which was fixed to the bow very tightly snapped with such a speed that it hit the fox on the head and it died instantly.

విప్రు డిట్లు యనియె వింటివ గాధను
యెన్ని దినము లుండు యెపుడు బోవు
ధనము, ఙ్ఞాన మెంత తనవిధి యెటులుండు
కర్త నిర్ణయించు కర్మ ఫలము! 79

English: The Brahman said. “Did you hear the story?” When does money come and where does it go? Who can predict the fate of his life? Only Lord Brahma decides the Karma and its effects”

నక్క కధను విన్న నాతి యిటుల బల్కె
అర్ధ మయ్యె నాకు యాశ యనగ
యెంత చేటు దెచ్చొ యిచ్చి పుచ్చు కొనుట
భాగ్య మెంత యనగ బోధ పడెను! 80

English: Hearing the story of the greedy fox the wife of the Brahman said she understood the ill-effects of greed and the pleasure in giving and taking.”

నువ్వు లుండె కొన్ని నాకడ పాతవి
పొట్టు తీసి వాటి రొట్టె సేతు
బ్రాహ్మణుడను బిలిచి భోజనము పెడుదు
బాపడేగె ముదము ప్రక్క గ్రామమునకు! 81

English: “I have with me un-husked sesame seeds with me in the house. I will remove the husk, make a roti and feed a Brahman” said the lady. Hearing this Brahman left to the next village.

పొట్టు తిలలు నాన బెట్టి పొట్టును తీసి
పెట్టె యెండ యందు పడతి బాప
నాయి యొక్క టొచ్చి నాకి పోయె తిలలు
పడతి ఇంట వేరె పనిలొ యుండ! 82

English: the lady soaked the sesame seeds in water, removed the husk and kept them outside for drying. As she was engaged in household chores, a dog came and licked the seeds.

ఇంతి చింత చెంది ఇటులను యోచించె
కుక్క ముట్టె నువ్వు కార్య మేమి
నువ్వు పప్పు ఇచ్చి నువ్వులు యడిగెద
పప్పు సాటి రాదు పొట్టు నువ్వు! 82

English: seeing what happened, the lady lamented how she could feed the sesame seeds touched by the dog and decided to exchange the husked seeds for un-husked from some one. she thought anyone would be willing to exchange husked seeds for the un-husked ones.

పడతి పోయె పక్క బాపని యింటికి
పప్పు నిత్తు బదులు పొట్టు నువ్వు
నిత్తు రేని యనగ నటులనె బాపత
మగడు వచ్చి వలదు మోస మనియె! 83

English: The lady went to a neighbor’s house and offered to exchange the husked sesame seeds for un-husked one and the lady of the house gladly accepted the exchange. But her husband, who overheard, prevented her to do so as there must have been some cheating involved.

పప్పు ఇత్తు రెవరు పొట్టు నువ్వు బదులు
మర్మ మెరుగ కుండ మారకమ్మ
విన్న విప్ర వనిత వల్లె యనుచు చెప్పె
కారణమ్ము లేక కదల దేది! 84

English: “Who will give husked seeds for raw seeds unless there is some hidden secret in the exchange? ” said the husband. So, the lady of the house declined the exchange. Without reason, nothing happens nor moves.

అతిధి కధను చెప్పి యతి తోడ ఇంటులనె
మూషికమ్ము ఎగుర మర్మ మెరుగు
దాని కొచ్చె బలము దాచిన తిండితొ
అర్ధ బలము మిన్న యంగ బలము కంటె! 85

English: The guest told the story to the hermit and said thus. “You should know the hidden reason how the mouse was able to jump so high. It is because of the huge pile of food it saved. Always know that the strength from hidden treasure is greater than strength of one’s limbs.


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