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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. பிருந்தாவனத்தில் கண்ணன் புல்லாங்குழல் இசைத்தான்.

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.

, 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.

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

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, vittakaṉāy niṉṟa — He

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).

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.

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!

, kaḻaṉṟu tukil — my saree is not staying on my hip, ŏṉṟum val̤ai nillā — my bangles are coming loose, enti il̤a mulaiyum — my young breasts, ĕṉ vacam allave — are not in my control The Cowherd Who Plays the Flute While Tending the Calves குழலூதிக் கன்றுகள் மேய்க்கும் கோவலன் None

, கழன்று துகில் — புடவை இடுப்பிலிருந்து நழுவுகிறது, ஒன்றும் வளை நில்லா — வளையல்களும் கழல்கின்றன, ஏந்தி இள முலையும் — என் மார்பகங்களும், என் வசம் அல்லவே — என் வசத்திலில்லை kātta pirāṉ — O Kanna You protected the, ānirai — the cows by, kuṉṟu ĕṭuttu — lifting the govardhana mountain, kovalaṉāy — One born

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.”

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 kEyath thīm kuzhal ūdhiRRum—the sweet songs He played upon His flute. The term kEyam (gēyam) denotes a song, and thīm signifies profound sweetness.

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.

Were Mesmerized by the Flute's Music குழலிசையில் பறவைகளும் கறவைகளும் மயங்கின None

When Govindan plays the flute holding it in his small fingers, as his beautiful eyes close, his red cheeks puff out and his brow sweats with small drops of water, flocks of birds leave their nests, come and surround him like uprooted forests.

taṭavip parimāṟa — Govindan plays the flute holding it, ciṟu viralkal̤ — in His small fingers, cĕṅkaṇ koṭa — with His beautiful eyes that slant, cĕyya vāy kŏppal̤ippa — His red cheeks puff out, kūṭalippa — with His curved, kuṟu vĕyarp puruvam — eyebrows, kovintaṉ — Kannan, kuḻal kŏṭu — when He lifts,

surround Him, paṭukāṭu — like uprooted forests, kaṟavaiyiṉ kaṇaṅkal̤ — herds of cattle, kiṭappa — leave the forest where they graze, kaviḻntu iṟaṅki — come and lie down, kāl parappiṭṭu — spreading their legs apart, āṭṭakillāve — the stand there without moving, cĕvi — their ears The Birds and Milch-Cows

They bend their heads, listening to the music of the flute and move their ears as if they are dancing. 282 சிறுவிரல்கள்தடவிப்பரிமாறச் செங்கண்கோடச்செய்யவாய்கொப்பளிப்ப * குறுவெயர்ப்புருவம்கூடலிப்பக் கோவிந்தன்குழல்கொடுஊதினபோது * பறவையின்கணங்கள்கூடுதுறந்து வந்துசூழ்ந்துபடுகாடுகிடப்ப * கறவையின்கணங்கள்கால்பரப்பிட்டுக்

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.

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.

, 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

குனித்து — இன்னிசை பாடி ஆடி, ஆயரோடு ஆலித்து வருகின்ற — ஆயர் சிறுவருடன் களித்து வருகிற, ஆயப் பிள்ளை அழகு கண்டு — ஆயனின் அழகில், என் மகள் அயர்க்கின்றதே — என் மகள் மதி மயங்கி விட்டாள் ŏl̤i tikaḻa — Kannan shining brightly, taṉ tirumeṉi niṉṟu — with His divine body, cālap pal nirai piṉṉe — as He goes behind cows

For the Lord who effortlessly transformed a forest of thorny bushes into verdant meadows for His beloved cows to graze, could this possibly be considered a challenge?

An alternative interpretation considers the word to be vāyan, meaning “the one with the divine mouth,” referring to the sacred mouth that played the life-giving music upon the flute. **ammanē!

Seeing their distress, Kṛṣṇa lovingly played upon the flute (vēyṅkuzhal) held in His divine hands. The celestial music immediately revived them, filling their hearts with comfort and indescribable joy.

Thiruvāimozhip piLLai offers a profound inner meaning here: the nectarine sound of Kṛṣṇa’s flute not only revived the cowherd men and women, but it also revived the Āzhvār himself from his state of ecstatic swoon.

It speaks of His divine skill (viththu) in driving Kālīyan away from the river, thereby ensuring that the cows, calves, and all the people of Vraja could drink from its waters freely and without fear, whenever they desired.

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.

, maṇi — (of the) bells, 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

மேதிகள் — எருமைகளை, தளை விடும் — அவிழ்த்து விடுகிற, ஆயர்கள் — இடையர்களின், வேய்ங்குழல் — புல்லாங்குழலின் 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

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?"

He would then play His flute, ostensibly to call the cows back, but in reality to send a secret invitation to the girls.

In the same way, Kaṇṇan desired the company of the cows even more than that of the cowherd girls, for the cows were the means to His romantic ends.

As described in Thiruvāimozhi 6.2.2, “āgaḷ pōgavittu kuzhaLūdhu pōyirundhē” (driving the cows to a distant spot, He would go there and play His flute), Kaṇṇan would skillfully drive the herds towards the places where His beloveds were present.

For all these reasons, the cows were exceptionally dear to Him.

Just as it is immensely sweet for two lovers to call each other by name, the cows too felt a deep sweetness when their Lord called out to them individually. One may wonder how He could give different names to thousands of cows.

Won't you come and play music on your flute one day to enthrall us?"

They conclude, "Even if You, in Your infinite compassion, wished to fulfill our desire, the celestial music from Your flute would not emerge." Such is the very nature of Your flute, for it cannot be confined to a selfish purpose.

The music from the flute symbolizes the ultimate bliss of union (saṁśleṣa) with Lord Kaṇṇan. The phrase, "the music from your flute will not come out," is a poignant admission that demanding an exclusive union with Him is not proper.

Yet, we know this cannot be; the celestial music from Your flute will not emerge for such a selfish plea.

, iṉitu ūti — sweetly, ĕṅkal̤ukke — but for us, ŏru nāl̤ — even for a day, vantu — cant You come and play the flute?

Vyākhyānam (Commentary) kuzhaR kOvalar madappāvai – This phrase refers to the cowherds who are characteristically seen with flutes (kuzhal).

Just as it is the ordained duty and nature of a brāhmaṇa to perform the sacred sandhyāvandanam rites, so too is the playing of the flute a natural and defining characteristic of the cowherd clan.

Nappinnai, the beautiful daughter of the cowherds who play the flute, the earth goddess and Lakshmi are with him like his shadow. Will my heart stay there looking at his beloved wives or will it return?” 2480 குழல்கோவலர் மடப்பாவையும் மண்மகளும் * திருவும் நிழற்போல்வனர்கண்டு நிற்குங்கொல்?

dwellers of ṣrīvaikuṇtam), thozha — to be worshipped, kadavum — conducting, thazhal pŏl — like fire, sinaththa — having anger, appul̤l̤in — behind that garuthmān (garuda), pin — following, pŏna — one who followed, thani — without any support, nenjam — mind, kuzhal — having locks, kŏvalar — born in cow-herd