Search

The melody of the flute made the cowherd women and celestial maidens forget their tasks. The cows were engrossed in the music and stood still. The plants, vines, and trees rejoiced. Such was the enchantment that the music captivated the entire world.

The narrative begins in the heart of Bṛindāvanam, where Kṛishṇa, the beloved son of Nanda Gōpa, took up the flute—that simple instrument so befitting the cowherd children who sing and dance in those blessed pastures. Yet when Kṛishṇa's lips touched the flute, its music became no ordinary sound.

கண்ணன் குழல் ஊதல் Eḻuchīrk Kaḻinediladi Āsiriya Viruththam / எழுசீர்க் கழிநெடிலடி ஆசிரிய விருத்தம் Will be accepted among the devotees Will become a devotee and remain as one forever In Brindavan, Krishna played the flute.

The celestial women themselves—the heavenly dancers devāngaṇāḥ who pride themselves in beauty and accomplishment—descended from the sky when that flute-song reached their ears. Their celestial hearts melted; their eyes overflowed with tears of longing.

He takes the flute and plays, drawing all four categories of beings—the devas of heaven, humans of the earth, animals and birds, and even the immobile plants—under his enchanting control. Their hearts melt; their independence dissolves like snow before the sun.

, meyttāṉai — the greatness of the One who tended, ānirai — the cows The Masterful One Who Plays the Bamboo Flute வேய்ங்குழலூதும் வித்தகன் None

The potent Lord goes with the cowherds, protecting the cattle and playing on the flute wonderfully.

, vittakaṉāy niṉṟa — He stands as magnificent figure and, aṇi veyiṉ kuḻalūti — plays the beautiful flute, āyarkal̤ eṟṟiṉai — the leader of the cowherd clan, pāṭip paṟa!

Fly and sing the praise of the bull-like son of the cowherds, Fly and sing His praise who grazed the cows. 315 மாயச்சகடமுதைத்து மருதிறுத்து * ஆயர்களோடுபோய் ஆநிரைகாத்து * அணி வேயின்குழலூதி வித்தகனாய்நின்ற * ஆயர்களேற்றினைப்பாடிப்பற ஆநிரைமேய்த்தானைப்பாடிப்பற. 315 மாயச் சகடம் உதைத்து * மருது இறுத்து

வஞ்சனையுடன் வந்த சகடாசுரனை māyaccakaṭam — shakatasura, who came with deceit, utaittu — was struck down by the Lord with a blow, marutu — and the demons who came as two Marudha trees, iṟuttu — were also destroyed, āyarkal̤oṭu poy — He goes along with the cowherd children, ānirai kāttu — and save the cows

They will not understand the beauty of the sweet music of the flutes of the cowherds, or the suffering of cows when they hear the bells of the bulls returning home in the evening. (23) 2734 ஆயன்வேய் இன்னிசை யோசைக்கு இரங்காதார் * மால்விடையின் மன்னுமணி புலம்பவாடாதார் * - 2734 ஆயன் வேய் இன் இசை ஓசைக்கு

, māl vidaiyin — the bull which comes infatuated (with the cow), mannu maṇi pulamba vādādhār — those who are not dispirited after hearing the great sound of the bell (tied to that bull’s neck) The Northern Language (Sanskrit) States that Women Can Ride the Maṭal Horse!

இருப்பவர்கள், மால் — பசுவின் மேலே ஆசையுற்று, விடையின் — வரும் காளையின், மன்னும் — கழுத்தில் கட்டப்பட்ட, மணி — மணி ஓசை கேட்டு, புலம்ப வாடாதார் — மனம் தளர்ந்து புலம்பாதவர் āyan vĕy innisai ŏsaikku irangādhār — those who are not disheartened after hearing the sweet music played by the shepherd on his flute

It's best for You to go and tend to the cows, playing the flute from afar for those who are the objects of Your affection, with locks as beautiful as the spread-out plumes of the peacock.

, — , ŏsai — sound, sevi vaiththu — on hearing, ezha — to rise and arrive, āgal̤ — cows, pŏga vittu — driving them far away, pŏy — going there, irundhu — staying there, kuzhal — flute, ūdhu — play., — , nambī — you who are complete (in mischief) O Kaṇṇa! Go and Play Your Flute for Other Women.

"āgaḷ pōga viṭṭu" (After letting the cows wander away), she says, you may then play the flute. Those who are unaware will assume you are merely calling back your herd, while the damsels who know your heart will understand the true message.

and playing the flute for the delectation of the lucky damsels of Gokula, the recipients of His favours, with lovely locks.

Seeing him try to enact the plan upon her, she issues a final, firm instruction: "kuzhal ūdhu pōyirundhē" (Go and then sit and play the flute).

The scene unfolds in pūṇi mēykku iḷam kōvalar kūttaththu — in the vast assembly of young and tender cowherd boys who play their flutes and tend the calves and cows.

The devas, so enchanted by Kṛṣṇa's flute music, remained oblivious to this solemn obligation.

Gōvindhānaith thodarndhu enṛum vidāṛē — they followed Kṛṣṇa, who is eternally engaged in protecting the cows and calves, wherever he went, never departing from him even for a single instant.

Kṛṣṇa, though he is nāgatthaṇaiyān kuzhal ūdha, the Supreme Being who reclines upon Ādhiśēṣan (the thousand-hooded cosmic serpent), assumes the role of one belonging to the clan of cowherds and himself plays the flute.

Yet the most wondrous occurrence was this: seviyuḷ nāvin suvai kondu magizhndhu — through the tongue dwelling within the ear, they imbibed the sweet taste of the music flowing from the flute and experienced transcendent joy.

When that great Lord, brimming with an immense love for His devotees, returns from the pasture, walking behind the herds of cows under a canopy of shimmering peacock feathers, He plays His flute. From the openings of that very flute, a sacred moisture drips.

Sprinkle the water that comes from the holes of His flute on my face as he plays it walking behind his cows in the grove. ” 631 அழிலும்தொழிலுமுருக்காட்டான் அஞ்சேலென்னானவனொருவன் * தழுவிமுழுகிப்புகுந்தென்னைச் சுற்றிச்சுழன்றுபோகானால் * தழையின்பொழில்வாய்நிரைப்பின்னே நெடுமாலூதிவருகின்ற * குழலின்தொளைவாய்நீர்கொண்டு

, ūti varukiṉṟa — comes playing, kuḻaliṉ — His flute, taḻaiyiṉ — beneath the feathery parasol-like, pŏḻil vāy — shade of the grove, kŏṇṭu — please bring, vāynīr — the water that drips, tŏl̤ai — from the holes of that flute, kul̤ira taṭavīre!

As He plays His divine flute, some of the very water of His breath, consecrated by His touch, escapes through its openings.

I had to go and graze the cows as they instructed. But now, I have returned, and I will not leave you again. If I were to separate from you now, I could not sustain my own life.”

He, my beloved one, lifted the Govardhanā mountain and protected the cows when there was a big storm. Now he plays music on his flute as a cowherd, grazes the calves and comes with his friends. O beautiful friend, I see him on the streets. I have not seen anyone like him before.

The repetition of ūdhi ūdhi—playing repeatedly—confirms in the present tense that Kṛṣṇa was genuinely playing the flute with different tunes, not feigning the act.

Having decided that the cows, which were to be protected, should not be harmed in any way, he kept the mountain aloft for seven days continuously without experiencing even a moment of tiredness.

in Aiyarpadi, kuḻal ūti ūti — You play music with Your flute, kaṉṟukal̤ meyttu — graze the cattle, tĕruvil kaṇṭu — seeing Him, kalantu uṭaṉvaruvāṉai — return along with, taṉ toḻaroṭu — His friends, naṅkāy!

The playing of the flute manifests his lack of weariness, for he was tending to those entrusted to his care—the five lakh families of Śrī Gōkulam—who had surrendered entirely to him, leaving the responsibility of their protection wholly at his feet.

It is evening, and the cows are due back home. Should Gopāl's enchanting flute tempt my heart and steal it, while His heart turns to stone? Pity! My friends are in great distress, burdened by my sorrowful state. How can I preserve my life when His grace is so dear to me?

ā pugum — cows coming through the entrance, mālaiyum — evening time, āginṛu — has arrived;, yāmudai āyan than — krishṇa who is obedient to be our servitor, his, manam — tender heart, kal — has become hard like a rock;, avanudai — his humble playing of, thīm kuzhal — sweet flute, eerum — is piercing me

All these were conveyed by Him through the flute, which naturally put the Nāyakī back into the picture.

His humble playing of the flute, with its achingly sweet melody, denies her any such escape. The music of **"avan..."

**—his sweet flute—seems to carry a message of profound remorse, as if He is saying, "I was away from you throughout the day; I have delayed my arrival; being subservient to my parents and duties, I have lost, and I cannot bear it."

He plays the flute sweetly, leads cows to pasture, and embraces the fish-eyed Piṉṉai, whose locks are adorned with fragrant flowers, among countless other miracles. (i) A whole decad has been devoted by Periyāḻvār to a thrilling description of the enthralling strains from Lord Kṛṣṇā’s flute.

Remarkably, the Lord employs the very same instrument, His flute, to both summon His beloved gōpikas and to guide the cows. Such was the power of His divine music that upon hearing it, the cattle would feel their hunger completely satisfied.

, fancying that He was following the flock of cows and calves, tending them.

A profound parallel is drawn here by our preceptors: just as Chakravarthith Thirumagan, the great Śrī Rāma, achieved absolute mastery over the bow in His hand, so too did Śrī Kṛṣṇa display perfect and effortless mastery over the flute.

The Āzhvār’s meditation begins with the Lord’s divine pastimes, commencing with kēyath thīm kuzhal ūdhiṟṟum—the sweet songs He played upon His flute. The term kēyam (gēyam) denotes a song, and thīm signifies profound sweetness.

For one who transformed thorny forests into verdant pastures for the cows—is this any obstacle?"

moment when the Supreme Lord, born among the herdfolk of Mathurā, transforms chaos into grace through the play of his divine feet and the music of his flute.

It points to one who possessed the extraordinary skill to drive the serpent from the river entirely, so that the cows, the calves, the herdsmen, and the herdwomen could approach the waters without fear, drinking freely whenever they desired.

Plunging into the water that was frothing with snake poison He climbed the Kadamba tree and jumped upon evil Kālingā's hood and danced fiercely as the bells on His anklets sounded and played melodious tune on His flute. Our lord, the clever one comes as a goblin and frightens us.

Yet when that celestial melody of the flute reached their ears, not only did the herdwomen and herdmen revive and return to comfort and joy, but even Āzhvār himself regained his consciousness, drawn into the ecstatic realization of the Lord's nature.

The comely cows mingle with the hefty bulls, their bells tinkling. The sweet music of the flute is tantalizing. The bees gather honey from the white jasmine and many other flowers, diving deep and humming. The roaring sea fills the air. How can I survive when all these conspire against me?

vārān — is not coming;, māmaṇi — huge bells, pulamba — to make sound, val — very prideful, ĕṛu — bulls, aṇaindha — joined, kŏlam — having attractive forms, nal — having the joy of uniting with the bulls, nāgugal̤ — mother cows, ugal̤um — roaming around joyfully due to the bliss;, kuzhalgal̤um — flutes

The cowherds, seeking to gather their scattered cattle, begin to play their flutes. This music is meant to announce their return to the town and to assuage the hearts of the waiting cowherd girls.

Having experienced the bliss of their union, the cows and bulls roam about with ecstatic abandon. Parāṅkuśa Nāyakī cries out in her heart, "While I am languishing here in separation, they are enjoying the pinnacle of union!"

She beholds the mother cows, attractive and gentle in form, who have blissfully united with powerful and prideful bulls. These bulls, who will not return without fulfilling their desire, bear huge bells that resound joyfully—mā maṇi pulamba.

The sapphire-colored Kannan who grazed the cows and played the flute killed the Asuran when it came in the form of a horse.

, mĕyththu — graśing them (by taking them to places which have grass and water), kuzhal ūdhi — playing the flute (to bring the cows together), mā — the demon kĕṣi who came in the form of a horse, valan āy kīṇda — one who tore it capably, maṇi vaṇṇan — one who has the form of a blue coloured gem, mĕvi

Vyākhyānam kōvalanāy āniraigaḷ mēytthuk kuzhal ūdhi – He who is the Supreme Being graciously took birth within the humble clan of cowherds, thereby making Himself perfectly suited for the divine sport of herding the sacred cows.

In this chosen form, He lovingly grazed the cattle while enchanting all of creation by playing upon His flute. Just as a learned brāhmaṇa meticulously recites the holy Vēdas as the duty prescribed to him, so did the Lord flawlessly perform the duties appropriate to His station as a cowherd.

வலனாய் — குதிரையின் வாயை, கீண்ட — கிழித்த, மணி வண்ணன் — மணி வண்ணன், மேவி அரி — நரசிம்மனாய், உருவம் ஆகி — அவதரித்து, இரணியனது — இரணியனின், ஆகம் — மார்பை, உகிரால் — நகங்களால், கீண்டான் — கிழித்தவனின், சினம் — சீற்றத்தை, தெரி — தெரிந்து கொள் kŏvalan āy — being born as a cowherd, āniraigal — herds of cows

— பித்து பிடித்தவள் ஆனாளே என்கிறாள் kudam eduththu — lifting pots, ādil — if they dance, gŏvindhan — krishṇa (who dances out of pride of having abundance of cows), ām — yes, enā — as, ŏdum — will run (to see);, vāyththa — that which torments the heart, kuzhal ŏsai — sound of the flute, kĕtkil — if she

The sweet strain from a wayfarer’s flute electrifies the Nāyakī who sees in it Kṛṣṇa Himself, who was known to go round the Gopīs, playing on His enchanting Flute meaningful songs, meant to placate the frustrated ones among them, by vindicating His position.

The mother explains, “vāytḥtha kuzhal ōsai kēṭkil, māyavaṉ eṉṟu maiyākkum” (“On hearing the sound of a well-played flute, she calls out ‘Māyavaṉ!’ and becomes bewildered”).

Similarly, should she hear the sweet, captivating melody of a flute—a sound so enchanting that it mesmerizes the wise (viśēṣajñar) and the ignorant (aviśēṣajñar) alike—she is instantly overcome.

When she hears the sweet sound of the flute, she thinks of her wondrous Kaṇṇaṉ and goes into raptures. She avers that the butter she beholds in shepherdesses' hands is the same as what He ate. Ha! She is head over heels in love with Him who sucked the breast of the demoness causing her death.

When Gōvindan kuzhal kodu ūdhina pōdu — when Govinda played his flute with eminence — the scripture employs the name Govinda to emphasize that Kṛṣṇa was deeply involved in the protection of cattle, modifying the tunes he played in such a manner that the cows would not stray from the herd, would

The text specifically says kuzhal kodu ūdhina pōdu rather than simply "kuzhal ūdhina pōdu," emphasizing that it was with an eminent flute and eminent skill that he played, thereby highlighting both the excellence of the person who played and the distinction of the flute itself.

, puruvam nĕrintu eṟa — the eyebrows arching and rising upward, kuṭa vayiṟu paṭa — stomach resemble a pot, kovintaṉ — Kannan's, vāy kaṭai kūṭa — lips meet the flute, kuḻal kŏṭu ūtiṉa potu — when He plays the flute, maṅkaimārkal̤ — the beautiful women, maṭa mayilkal̤ŏṭu — resembling peacocks, māṉpiṇai

When Govindan takes his flute in his hands, bends his eyebrows, blows the air from his stomach and plays, young doe-eyed girls as beautiful as peacocks listen.

His vāy kadai kūda — the corners of the divine mouth closed toward the hole in the divine flute — as he drew the instrument to his lips with complete absorption.

Kannan goes behind good cows in a flourishing grove with his divine body shining brightly, his fragrant hair decorated with peacock feathers.

His beautiful lotus eyes shining, he comes among a group of cowherd children, plays the flute, sings songs and dances, as the cowherds come with him singing and dancing.

To make those girls feel exhilarated, to express His own urge in seeing them, due to His affection for them, and to remove the anger in the hearts of those who felt the pangs of separation from Him, He played on the flute with suitable melodies, singing songs aligned with those tunes.

, taḻaik kāviṉkīḻ — in a flourishing grove, nīla nal naṟuṅkuñci — His fragrant hair, nettirattāl aṇintu — decorated with peacock feathers, pal āyar kuḻām naṭuve — amidst a group of cowherd children, kolac cĕntāmarai — His beautiful red lotus, kaṇ mil̤ira — eyes shining, kuḻal ūti — He plays the flute

Kuzhal ūdhi isai pādi kuniththu—Just as it is said in Tiruvāymoḻi 10.3.1 that "In the daytime, when you go for the divine leelā of tending to cows which are abundantly available, matching their species, it appears that it is like a thousand yugas"—

In precisely this manner were the cattle standing before Kṛṣṇa's flute-music, for the flute represents the preceptor's instruction—as we have observed in earlier verses, when Kṛṣṇa speaks directly, it constitutes his own instruction given mouth to mouth, yet when he plays the flute, this manifests as

Likewise, kaṛavaiyin kaṇangaḷ—herds of cattle, the very creatures Kṛṣṇa has come to tend—respond to the flute's call.

Were Mesmerized by the Flute's Music குழலிசையில் பறவைகளும் கறவைகளும் மயங்கின # Purport for Periyāzhvār Tirumozhi 3.6.8 In the tender play of Kṛṣṇa upon his flute within the forests of Mathurā, the Āzhvār reveals how all creation—from the least bird to the mightiest cattle—becomes bound in helpless

Now, when Govindhan kuzhal kodu ūdhina pōdhu—when Govinda takes up the flute to play—he does so out of his sacred vow to protect all cattle, for he grazes them tenderly and finds exultation in their contentment, and from this divine joy he plays the flute whose music attracts all species from the

The divine fingers of Kṛṣṇa, befitting his age as karum siṛūkkan—the dark little child—perform their tender dance upon the holes of the flute.

O devotees, worship the feet of the lord who drank milk from the breasts of the devil Putanā and killed her, ruled as the king of Dwaraka and played a flute and grazed the cows and made the bangles of the cowherd girls grow loose.

He is the undisputed sovereign of the ancient and magnificent city of Dvārakā, yet He condescended to walk behind the simple cows of gokulam, His breath becoming the divine melody that flowed from a flute fashioned from a humble, broad leaf.

He walks among the cattle, tending to them while playing a rustic flute made from a mere leaf. Subsequently, He returns to the lanes of Tiruvāyppāḍi to engage in the loving pastime of stealing the bangles and other ornaments from the gopīs.

The cowherds untie their buffaloes for grazing and the music of their bamboo flutes and the sound of the cowbells spread in all directions as swarms of bees fly all over the fields.

பள்ளியெழுந்தருள் The enchanting melodies emanating from the flutes of cowherds, who have released their buffaloes into the pastures, permeate the air in all directions. The beetles amongst the verdant fields commence their day with jubilant sounds. Oh Śrī Rāma!

Highlights from Periyavācchān Piḷḷai's Vyākhyānam: - Divine Humor: Periyavācchān Piḷḷai humorously points out that if even the cows and cattle have awakened, then surely Śrīraṅganātha, the Supreme Being endowed with the highest wisdom, should also arise.

, kuralum — sound, īttiya isai — the sound of the two (cowherds flutes and bells tied on the buffaloes), dhisai paranthana — spread in all directions, vayalul̤ — in the green-fields, surumbu inam — group of beetles, irinthana — started with cheerful sound, ilangiyar kulaththai — rākshasa clan, vāttiya

, pal̤l̤i ezhundhu arul̤āyĕ — (ṭhus,) you kindly wake up and give your blessings, mĕdu il̤a mĕdhigal̤ — tall and young buffaloes, thal̤ai vidum — letting them (buffaloes) loose (for graśing), āyargal̤ — cowherds (who are blowing), vĕynguzhal ŏsaiyum — the sound/music from the flute, maṇi — (of the) bells

He who eternally sustains all worlds by his mere desire plays now as the perfect, faultless keeper of cows. When kuzhal kodu ūdhina pōdhu—when Śrī Kṛṣṇa played upon his divine flute, that mystical instrument which draws all hearts—something extraordinary occurred.

The flute of Śrī Kṛṣṇa so fundamentally altered the nature of all who heard it that even those accustomed to eternal coolness found themselves experiencing the warmth of overwhelming emotion.

They began vandhu vandhu īndi, gathering and approaching again and again, drawn irresistibly along the pathway of that flute's call. Their manam urugi, their minds melted like liquid love poured forth, becoming one with the music.

Each celestial woman became convinced, in the fullness of her absorption, that the Lord played his flute for her alone. Each filled her ears with that sacred music, each regarded it as her own puruśārtham, her ultimate supreme benefit.

When the prince of the sky, the lord of Vaikuntam, the little one of Vāsudevā, the king of Madhura, Govindan, the princely son of Nandagopan the little child of the cowherds plays his flute, young Apsarases come down from the sky and approach him, their hearts melting and their flower-like eyes

The Lord who was asked to go and fend the cows and play the flute, as in the last song, affirmed that He could play the flute and give vent to His love all right, only in the company of His beloved ones, of which the Nāyakī was indeed the crown jewel.

He begins to engage her in sweet conversation, with words that surpass even the enchanting melody of His flute, and praises the very hands that gestured for His dismissal.

In a display of divine charm, He feigns innocence, saying, "You command me to go and play my flute where many damsels are gathered. I am prepared to follow your words, but which place is this? Can you not identify it for me?"

Previously, the Āzhvār, in the mood of the nāyakī, had dismissed Emperumān, bidding Him, "pōyirundhu... kuzhalūdhu" (Go and play your flute elsewhere). Yet, the Lord, far from departing, takes a few steps closer, his resolve unshaken.

He further adds, "When you say 'seviyōsai vaittezha - kuzhalūdhu pōyirundhu' (go and play the flute, so that the girls rise upon hearing its sound), are you not merely describing an action that befits my familial duty (kuladharma) as a cowherd?"