Professor Dr. Devanna

 Professor Dr. Devanna

 

Among the most distinguished voices that have enriched Telugu scholarship, Professor Dr. Devanna occupies a place of rare distinction. An eminent academic, literary critic, researcher, editor, creative writer, and prominent literary translator, he has devoted his life to the pursuit of knowledge and to the enduring cause of Telugu language and Literature. His career exemplifies the harmonious union of rigorous scholarship, inspired teaching, and selfless cultural service.

 

For more than three decades, Professor Devanna served for Veerashaiva College, Ballari, where he shaped generations of students with intellectual discipline, humanistic values, and an abiding love for literature. In the classroom, he was an inspiring mentor; beyond it, a tireless advocate for literary inquiry and cultural preservation. His influence extends far beyond the walls of academia, reaching readers, scholars, and literary enthusiasts across the Telugu-speaking world. 

 

A prolific scholar, Professor Devanna has made lasting contributions through his books, research publications, critical essays, editorial ventures, and participation in national and regional literary forums. His writings are distinguished by their analytical depth, historical awareness, linguistic elegance, profound engagement with the literary and cultural traditions of Telugu. Equally at ease with classical heritage and modern critical thought, he has enriched Telugu letters with works of enduring intellectual values.

 

Yet, what sets Professor Devanna apart is not merely the breadth of his scholarship but the nobility of his character, Humility, Integrity, generosity, and an unwavering commitment to truth have earned him the affection of students, the esteem of colleagues, and the admiration of the wider literary fraternity. His life stands as a reminder that true scholarship is measured not only by intellectual achievements but also by the ability to enlighten minds, nurture values, and inspire future generations. 

 

This volume is offered as a tribute to exceptional teacher, a distinguished man of letters, and a custodian of Telugu literary heritage. It celebrates a life dedicated to learning, service, and the timeless belief tat literature remains one of humanity’s most enduring expressions of wisdom, beauty, and cultural memory.

 

A Literary and Cultural Bridge Between Telugu and Kannada

 

Among Professor Dr. Devanna’s many scholarly and literary engagements, his decision to translate G Bhageeradha’s historical novel Nagaladevi into Kannada deserves particular mention. Bhageeradha, a renowned Telugu Journalist and writer, conceived Nagaladevi, as his fifteenth novel, around the poignant and unconventional love between Sri Krishnadevaraya, the illustrious emperor of Vijayanagara, and Nagaladevi, a woman of humble origins associated with the royal court.

 

Set against the grandeur of the Vijayanagara Empire, the novel explores a love that challenges the rigid boundaries of royal privilege, social hierarchy, and courtly convention. Even as the emperor’s trusted minister Appaji, celebrated court poets, and women of the royal Palace resist the relationship, the narrative unfolds with emotional intensity and dramatic force. Bhageeradha’s evocative story telling draws the reader deep into the world of Vijayanagara, leaving a lasting impression through its exploration of love, power, human emotion, and social convention.

 

It was this distinction literary and historical appeal that captured the imagination of Professor Dr. Devanna. Recognizing the significance of introducing this remarkable story to Kannada readers, he undertook the translation of Nagaladevi with the conviction that its setting in Hampi – the magnificent heart and administrative centre of the Vijayanagara Empire – would give the work a special resonance for Kannada readers.

 

The translation represents more than a transfer of words from one language to another. It is an act of Literary and Cultural mediation, bringing two rich South Indian literary traditions into conversation. Through his endeavour, Professor Dr. Devanna once again demonstrates his deep commitment of fostering dialogue between Telugu and Kannada, while making a compelling work of historical fiction accessible to a new readership.  

 

In this sense, his translation of Nagaladevi is yet another expression of the scholarly spirit that has defined his long career: to discover, preserve, interpret, and share the literary treasures of one language with the readers of another.

mastanappapuletipalli 

 

My Biography

 My Biography 

I was born in 1960,
in Peddaguvalapalli,
a small village
where roads were absent
and electricity had not yet
found its way.

My first schooling
happened there—
simple classrooms,
large skies,
and dreams that travelled
farther than the village boundaries.

For High School
I walked to Roddam,
twelve kilometres every day,
to and fro,
my feet learning endurance
before my mind learned lessons.

Intermediate studies took me
to Penukonda Govt Junior College,
Bi.P.C.,
with a thought of science,
of a B.Sc. degree.
But somewhere along the way
my heart changed direction.

Literature called me.

I chose B.A. English Literature
at Anantapur Arts and Science College,
affiliated to Sri Venkateshwara University,
Tirupati.
Words became my companions;
books, my teachers.

An M.A. in English followed
at Sri Krishnadevaraya University,
Anantapur,
deepening my love for language
and preparing me
to share it.

In 1991
I stepped into teaching—
Sri Kottureshwara College, Kotturu,
a language teacher,
a lifelong learner.
For twenty-two years
I taught, guided,
and grew.

Alongside teaching
I coordinated placements,
headed the UGC Self-Study Report,
and helped to shape
institutional futures.

In 2008
I found a wider audience—
a literary blog,
mastanappa.blogspot.com.
Words travelled far,
welcomed by more than
eighteen lakh readers,
their feedback
a quiet reward.

In 2012
I moved to Ballari,
to Veerashaiva College,
where I served
until retirement in 2020.
From 2015 to 2020
I was Chief Editor
of the College Digital Magazine,
curating voices,
encouraging expressions.

Now retired,
I remain a teacher—
through memory,
through writing,
through words that continue
to walk forward,
even when the feet rest….

-----000----

 

mastanappa puletipalli

The Bliss of Life - M. V. Rama Sarma

The Bliss of Life – M. V. Rama Sarma 

 

M. V. Rama Sarma’s “The Bliss of Life” is a biographical novel that presents a sensitive and imaginative reconstruction of the life of the seventeenth-century Telugu poet-composer Ksetrayya. Though written in the form of a novel, the work functions largely as a life-sketch, tracing the spiritual, emotional and artistic evolution of the poet. Rama Sarma’s main concern is not external action but the inner growth of the artist and the sources of his creative bliss.

 

The novel opens with the early life of Varadeyya, who later becomes known as Ksetrayya. He is portrayed as an ordinary village boy growing up in a traditional temple-centered society. From childhood, Varadayya is exposed to music, ritual and devotional practices that form the cultural background of his life. His early human experiences, especially his emotional attachment to a woman named Mohana, play a crucial role in shaping his sensibility. These youthful emotions are not dismissed as mere personal episodes; instead, they are shown to be formative influences that later find expression in his poetry. 

 

As Varadayya grows older, his innate attraction to music and poetry becomes more pronounced. Rama Sarma describes in detail the environment of temple culture, devadasis and musicians, among whom Varadayya learns the art of lyrical composition. Through observations, participation and spiritual reflection, he begins to understand that poetry and music are not merely artistic pursuits but powerful means of expressing devotion. Gradually, his identity as composer of padams emerges, and he assumes the name Ksetrayya. 

 

The central theme of the novel is the union of srngara (erotic emotion) bhakti (devotion). Ksetrayya’s compositions often use the language of human love to express divine longing. Rama Sarma defends this tradion by showing that sensual imagery in the padams is not vulgar but symbolic of the soul’s yearning for union with the divine. The poet’s creative process becomes a spiritual experience, and it is through this process that he attains “the bliss of life” referred to in the title.

 

The navel also reflects the social realities of the time. Rama Sarma subtly portrays the marginal position of devadasis, the rigid social structure, and the moral tensions within temple society. Without overt criticism, the author reveals how art and devotion flourish even within social constraints. Ksetrayys remains detached from worldly ambition, finding fulfilment only in artistic creation and spiritual surrender. 

 

In the concluding sections, the novel emphasizes Ksetrayya’s lasting legacy. His padams continue to live through generations os singers and dancers, transcending his personal life. Rama Sarma ends the narrative by affirming that true bliss lies not in material success but in self-realization through devotion and art. 

 

In Sum, “The Bliss of Life” is a lyrical and contemplative portrayal of a great poet’s life. It highlights the intimate relationship between personal experience, artistic creation and spiritual fulfilment. Though modest in plot, the novel succeeds in offering a profound insight into the mind of a creative genius and the cultural tradition he represents. 

 

                                                                         ---000--- 

EDMUND BURKE'S SPEECH ON AMERICAN TAXATION

 Edmund Burke’s Speech on American Taxation 

 

Edmund Burke’s Speech on American Taxation is not only a political argument about the taxation of the American colonies but also a profound statement on the nature of wise governance, liberty and the relationship between power and justice. Delivered in the British House of Commons on 19 April 1774, this speech marks Burke as one of the most far-sighted statesmen of the eighteenth century. Through historical analysis, moral reasoning, and rhetorical power, he exposes the failures of British policy toward the colonies and advocates conciliation over coercion.

 

 Edmund Burke as a Moderate Statesman

 

Burke’s approach in this speech is that of a moderate reformer rather than a radical. He does not defend American rebellion but seeks to prevent it through understanding and compromise. His central argument is that the attempt to tax the colonies was not only unjust but politically unwise. He remarks, 

 

“The revenue is the smallest part of the object.”

 

By this, Burke means that taxation was never about money; it was about asserting authority. The government’s insistence on the right to tax America, showed pride and obstinacy rather that wisdom. His moderation distinguishes him from both blind imperialists and revolutionary sympathizers. He stands as the voice of prudence, warning Parliament of the dangers of excessive control. 

 

Criticism of British Policy

 

Burke traces the history of British taxation measures — the Stamp Act (1765) and Townshend Duties (1767) — to show how they repeatedly provoked colonial unrest. He argues that before these acts, Britain ruled America peacefully through affection, not compulsion. 

 

“It is not a hazarded assertion, it is a great truth, that the generality of the people of America had been always affectionate to this country.”

 

This statement underscores his belief that the British themselves destroyed colonial loyalty through their arrogance and misunderstanding of liberty. Burke’s criticism is sharp yet reasoned; he shows that every act of taxation brought diminishing returns, both politically and economically. His logical structure — reviewing each law chronologically — strengthens his credibility as both historian and statesman.

 

Liberty and the character of the Americans

 

One of the most striking parts of the speech is Burke’s analysis of the American spirit of liberty. He praises it as natural, vigorous, and honorable, even when it creates difficulties for rulers, He declares,

 

“In this character of the Americans, a love of freedom is the predominating feature which marks and distinguishes the whole.” 

 

 Burke’s explains that this spirit arises from their English heritage, protestant faith, commercial habits, and local self-government. These influences made Americans highly independent and resistant to external control. By recognizing this, Burke shows his deep psychological understanding of political communities. He argues that to govern such people by force is “impossible,” for liberty is not merely a political preference but a moral instinct. His empathy for the colonists’ passion for freedom elevates the speech beyond ordinary political debate. 

 

The Futility of Symbolic Power

 

Burke’s scorn for the tea duty — retained merely to affirm Parliament’s sovereignty— is expressed with biting irony. He says the British government “held a peppercorn in the palm only to assert ownership,” meaning that it clung to a worthless symbol of control while destroying real authority. This image perfectly captures Burke’s belief that true power is not shown by insistences on empty rights but by insistence on empty rights but by the ability to rule wisely and justly. His criticism of symbolic power reveals his political philosophy: that authority without prudence is self-defeating. He warns that rigid assertion of rights can “lose the substance by grasping at the shadow.” 

 

Political philosophy and Moral Insight

 

Burke’s speech is not confined to the American issue; it reflects his broader view of government as a living organism that must adapt to circumstances. He insists that laws and policies should be shaped by experience, wisdom, and respect for human nature, not by abstract theory. He says, 

 

“The temper and character which prevail in your colonies are, I am afraid, unalterable by any human art,” 

 

This acknowledgement of reality over ideology shows Burke’s pragmatic conservatism — a belief that politics must follow the grain of human nature. His call for conciliation arises from moral insight as much as from political calculation. He sees coercion as not only futile but immoral, for it destroys the trust between ruler and ruled.

 

Rhetoric and Persuasive Style

 

Burke’s rhetorical power lies in his combination of logic, irony, and emotional appeal. His tone is firm yet civil, passionate yet reasoned. He uses repetition and metaphor to emphasize his points, turning abstract ideas into vivid images. The balance between moral conviction and political realism makes his speech timeless. His closing plea for conciliation, delivered just before the outbreak of the American War of independence, shows tragic foresight. The speech thus becomes not only a political argument but a moral lesson on the limits of imperial power.

 

Conclusion

 

In this Speech on American Taxation, Edmund Burke emerges as a prophet of political wisdom and restraint. His analysis exposes how the British government’s pride and insistence, he teaches that authority without justice is tyranny, and power without understanding is ruin. Burke’s words, “Magnanimity is politics is not seldom the truest wisdom,” sum up his entire philosophy. Though his call for conciliation was ignored, leading soon to the American Revolution, his speech remains a lasting reminder that the preservation of empire and liberty depends not on domination but on reason, respect, and moral courage. 

 

 

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Courtesy AI

On the Banks of the Ganga

On the Banks of the Ganga

 

In the cradle of time, where Ganga flows,

Among the chants, where saffron glows,

He stands serene, with soul so still,

A seeker moved by ancient will.

 

Draped on symbols of sacred lore,

‘Mahadev’ echoes from shirt to shore, 

With Rudra’s fire in his steady gaze,

He walks the ghats through smoky haze.

 

Crowds may gather, and temples rise,

But peace is found in inner skies.

With yellow stole and folded hands,

He honors truth where dharma stands.

 

O flame of faith in modern form,

You hold the silence in life’s storm.

In Kashi’s heart, your spirit gleams, 

A witness to the river’s dreams.

 

---000---

 

The poem is written on my son’s recent visit to Kashi

 

mastanappa puletipalli

 

Ode: Intimations of Immortality from Recollections of Early Childhood— William Wordsworth (Summary)

Ode: Intimations of Immortality from Recollections of Early Childhood— William Wordsworth (Summary)

 

The poet laments the loss of his childhood perception— when everything in nature felt divine and filled with a heavenly glow. He no longer sees the world with that same innocent wonder. 

 

Nature’s beauty is still present— rainbows, roses, moonlight— but the poet feels a sense of loss. The “glory” that once filled the earth has faded away for him.

 

Despite the joy and energy in nature— birds singing, lambs leaping— he feels personal sorrow. Yet he tries to overcome it, regaining strength by immersing himself in the season’s cheer. 

 

The poet joins in the celebration of life. Nature and children are in harmony and joy. Still, he notices signs— like a lone tree and a single field— that remind him of something lost, the visionary dream of youth.

 

Wordsworth introduces his philosophical idea: birth is not the beginning. The soul comes from a divine origin and enters the world still trailing “clouds of glory” from heaven. However, as the child grows, that divine memory fades. 

 

Nature tries to distract man from his divine origin with earthly pleasures and responsibilities. She plays the role of mother, helping man forget the spiritual splendour from which he comes. 

 

The poet observes a child deeply absorbed in imaginative play. The child, though small, mirror the whole course of human life, imitating adult experiences such as weddings and funerals. 

 

The child is described as a mystic and sees—  still close to divine truth. He questions why such a blessed being is so eager top grow up, which will only burden him with the hardships of adult life. 

 

Despite the fading glory, the poet finds joy in the remnants of childhood intuition. The “obstinate questionings” and deep feelings from youth remain a spiritual guide and source of profound insight. 

 

He expresses faith in the immortality of the soul. Though we may feel far from heaven, our souls can still sense its presence and recall eternal truths, especially in moments of claim of childhood play.

 

Even through the poet has lost the vivid splendour of youth, he finds strength in what remains: empathy, philosophical thought, and spiritual insights gained through suffering and experience. 

 

The poet reaffirms his love for nature, even if his perception has changed. Maturity brings deeper reflections on life, mortality, and gratitude. Even a simple flower stirs emotions that are profound and ineffable.

 

---()---

 

 

 

 

 mastanappa puletipalli

 

 

Laodamia - William Wordsworth (Summary)

Laodamia - William Wordsworth (Summary)

The poem Laodamia is a narrative poem by William Wordsworth that dramatizes the tragic reunion between Laodamia and her husband, Protesilaus, who had died in the Trojan War. The poem explores themes of love, sacrifice, grief, divine will, and the spiritual limits of human attachment.

 

The poem opens with Laodamia in a state of desperate mourning. She prays and offers sacrifice before dawn, begging the gods to restore her husband Protesilaus from the underworld. Her prayer is passionate and heartfelt, revealing her deep attachment and refusal to accept his death. 

 

Moved by her grief and fidelity, the gods temporarily grant her request. Hermas (Mercury), the divine messenger, leads Protesilaus back from the underworld to spend three hours with her. His return is ghostly yet tangible, and Laodamia is overwhelmed with joy and awe. 

 

Laodamia attempts to embrace her husband but he is insubstantial— a spirit rather than a man. Despite this, he comforts her, assuring her that his return is not a trick or punishment but a reward for devotion. He recounts how he willingly fulfilled the prophecy that the first Greek to land on Troy’s shore would die, doing so as an act of valour and leadership.

 

Protesilaus shares spiritual wisdom from the afterlife, describing it as serene, pure, and elevated beyond earthly pleasures. He expresses that while he loved her dearly, their apart allowed him to reflect and find peace in his sacrifice and the higher purpose he served. He urges Ladomia to temper her emotions and rise above earthly passion, encouraging her to seek a more divine, transcendent form of love. 

 

Despite his counsel, Laodamia’s emotions remain turbulent. She insists that love should be strong enough to defy even death, citing myths like that of Alcestis and Æson to argue that love can conquer mortality, when she proclaims she will follow him even in deat, Protesilaus sternly interrupts her, emphasizing the importance of spiritual growth and rational control over emotion.   

 

As Protesilaus’s time on earth ends, Hermas returns to escort him back to the underworld Laodamia, unable to accept his departure, collapses and dies. However, rather than being granted eternal union with him, she is punished by the gods for her failure to elevate her soul and accept divine law. Her spirit is condemned to wander, apart from the blessed dead. 

 

The poem ends with a mythic image: a cluster of trees growing from Protesilaus’s tomb near the Hellespont, whenever they grow tall enough to see Troy, they wither— a symbol of the persistent sorrow and futility tied to Laodamia’s ungoverned passion. 

 

William Wordsworth uses elevated, classical diction and mythological references to frame this tragedy as both personal and universal. The poem has a solemn, moralising tone, underscoring the romantic ideal of sublimating passion into spiritual insight. 

                                                                    ---000---

mastanappa puletipalli

 

 

 

 

 

 

 

 

 

 

On the Occasion of My Old Students' Reunion

On the Occasion of My Old Students' Reunion 

4th May, 2025

Dear friends, cherished alumni and my beloved students of yesteryear,

 

Let me recall all my teachers who shaped me with their invaluable knowledge on the anvil of time for them I pay my obeisance to their lotus feet before I start my talk.

 

గురుబ్రహ్మ గురువిష్ణు

గురుదేవో మహేశ్వరః

గురుసాక్షాత్ పరబ్రహ్మ

తస్మై శ్రీ గురు వే నమః ||

 

I always remember the immortal lines from one of my favourite poets Lord Tennison though I am sixty-four years old man and of course I am a retired professor but still inspired with the following lines.  

 

I am a part of all that I have met;

Yet all experience is an arch wherethro’

Gleams that untravell’d world whose margin fades

Forever and forever when I move.

 

It is an immense joy to me to be with you today, 25 years after we last shared those vibrant classrooms, filled with dreams, laughter, and the occasional dread of an impending syllabus completion deadlines. Now, when I look at you — each face tells a story; each smile is a confident testament to the journeys that you have undertaken. Today, we gather not just to reminisce but celebrate the indelible mark you’ve left on the world and on each other. 

 

When I taught you, I saw sparks of enthusiasm but raw and unpolished, yet brimming with potential. Some of you were like poets grappling with English poets, some of you were like scientists wrestling with metaphors, and some of you were dreamers sketching futures in the margins of your note books. I told you then, and I reaffirm now: you were never just students but you were all architects of tomorrow’s nation. Today I have seen you how you have built the nation by accepting challenges of different careers and different paths of life. 

 

These 25 years have woven a tapestry of triumphs and trials. Some of you have scaled corporate heights, others have nurtured families, and many have quietly changed communities with their kindness and courage. There are those among you who’ve faced terrible storms like loss, doubt, or detours – yet here you stand, resilient, radiant and remarkable.  Your stories, whether shouted or whispered, are the literature of life, and I am honored to have been a footnote in your opening chapters.

 

As your English teacher, I often spoke to you with the words which could be to shape you, to heal you, to inspire you. Today, I ask you to remember those discourses anew reconnect with your classmates whose laughter once echoed in the class room halls. Share the wisdom you’ve gleaned from victories and scars. Inspire the next generation with the same curiosity and courage that you brought to our discussions on complexities of one of the Nigerian communities in Chinua Achebe’s Things Fall Apart to philosophical and inspirational lines of Robert Frost in The Road Not Taken like….

 

The woods are lovely, dark and deep,

But I have promises to keep,

And miles to go before I sleep,

And miles to go before I sleep.

 

 Therefore, I believe the world still needs your voices, your stories and your kind heart.

 

This gathering is more than a reunion; it’s a renewal. Let it be a spark to rekindle your dreams, to pen the new chapters, to teach and learn from one another as we once did. You are not just the students I taught — you are the legacy I cherish, the proof that education is not a moment but a movement. 

 

Thank you for retuning, for remembering, and for being the stories that make my life’s work worthwhile. Here’s to you, to us, and to the unwritten pages ahead.

 

With all my pride and love,

 

Your beloved teacher.

Mastanappa Puletipalli

 

 

 

 

 

 

 mastanappa puletipalli

 

 

పోతన గారి పద్యము

 పోతన గారి పద్యము

 

ఎవ్వనిచే జనించు జగమెవ్వని లోపల నుండు లీనమై

యెవ్వని యందుడిందు పరమేశ్వరు డెవ్వడు మూలకారణం

బెవ్వడనాది మధ్య లయుడెవ్వడు సర్వము దానయైన వా

డెవ్వడు వాని నాత్మభవు నీశ్వరునే శరణంబు వేడదన్ |

Quranic prayer

Praise be to God, Lord of the worlds!

The compassionate, the merciful!

King on the day of Judgement!

Thee only do we worship,

And to Thee do we cry for help.

Guide Thou us on the right path,

The path of those to whom Thou art gracious,

Not of those with whom Thou art emerged,

Nor of those who go away.

 పోతన గారి పద్యము 2

అల వైకుంఠ పురంబులో నగరిలో నా మూల సౌధంబు

దాపల మందార వనాంతరామృత సరః ప్రాంతేందు కాంతోప లో

త్పల పర్యంక రమావినోది యగు నాపన్నప్రసన్నుండు వి

హ్వల నాగేంద్రము "పాహి పాహి" యనఁగు య్యలించి సంరంభియై ||

 

 

(అక్కడెక్కడో వైకుంఠ పురములొని ఓమూల సౌధము (మేడ)

ఆమేడ పరిసరల్లోమందార వనం, అందులో అమృత సరస్సు,

అక్కడ పర్యంకము (మంచము) పై లక్ష్మిదేవి తో వినోదిoచు

శ్రీమన్నారాయణుడుకి ఏనుగు"పాహి పాహి" (రక్షించు, రక్షించు) 

అని పెట్టిన కేక వినిపించగనే వెంటనే బయలు దెరాడు. 

భక్తుని రక్షించడానికి  భగవంతుడు బయలు దేరిన తీరు అమోఘము)

 

 

mastanappa puletipalli

On His Having Arrived At The Age Of Twenty Three - John Milton

On His Having Arrived At The Age Of Twenty Three – John Milton

 

How soon hath Time, the subtle thief of youth,

Stolen on, his wing, my three and twentieth year!

My hasting days fly on with full career,

But my late spring no bud or blossom show’th.

Perhaps my semblance might deceive the truth,

That I to manhood am arrived so near,

And inward ripeness doth much less appear,

That some more timely-happy spirits endu’th.

Yet be it less or more, or soon or slow,

It shall be still in strictest measure even

To that same lot, however mean or high,

Towards which Time leads me, and the will of Heaven;

All is, if I have grace to use it so,

As ever in my great Taskmaster’s eye.

 

The Sonnet “On His Having Arrived at the Age of Twenty-Three” was printed twice during Milton’s lifetime. It was likely written in 1632 at a crucial time in Milton’s life, just after his graduation from Cambridge. Milton here acknowledges that he may not seem as mature as some of his contemporaries but express his desire to use his talents well and his trust in God’s will for his over time. Milton writes a range of political sonnets, occasional sonnets, elegiac sonnets, and sonnets of personal meditation. This particular poem of our study comes under meditative sonnets.  

 

Milton expresses his regret in the poem for having spent already twenty-three years without achieving anything worthy though he looked youthful, he has arrived at manhood. But he still does not have inward maturity. He consoles himself with faith in God that he would bless him with needed maturity. He believed that the task for which he is determined may be important or unimportant, but in course of time God would certainly bless him with necessary maturity. So he should not worry about it and think that when time comes, he should use his talent, as if he were a slave always watched over by God, his master. Thus the poem expresses the poet’s sense of mission in Life.

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poem ed by mastanappa puletipalli