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On his left ear he wears a lovely thondri flower and his long hair is adorned with jasmine and forest mauval flowers. Seeing the beauty of the cowherd child, as he comes playing his flute, my daughter is in love with him.

He adorned himself also with the mauval mālai—the garland of wild jasmine, another variety of that fragrant flower, differing from common jasmine just as the flower pūvai differs from kāyā as mentioned in the Periya Tiruvandhādhi.

Kṛṣṇa played repeatedly upon this flute, keeping it upon his divine lips in an unceasing and tender manner.

Most wondrous of all, he held thīnguzhal vāy madhuttu Ūdi—placing upon his divine lips that flute which gives sweetness to all.

Yet the āchārya adds a deeper significance: the flute represents the characteristic of an Āchārya—one who makes known that which is unknown.

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

“Adorned with lovely, auspicious flower garlands on the chest, with peacock feathers in your hair, your ears are adorned with a bunch of flowers, and wearing beautiful, bright clothes , You played sweet music on the flute for the girls, with hair adorned with fragrant kongu flowers and flirted with

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.

vantāy — You came playing, kuḻal — the flute, iṉitu ūti — sweetly, ĕṅkal̤ukke — but for us, ŏru nāl̤ — even for a day, vantu — cant You come and play the flute?, ūta — if You do, uṉ kuḻaliṉ icai — will that melody, potarāte? — not suit us?

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.

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

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.

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.

, ūtiṉa potu — and begins to play, vāṉ il̤ampaṭiyar — young apsaras, vantu vantu īṇṭi — come in groups, maṉam uruki — to listen to the heart melting music, malarkkaṇkal̤ — from their flower-like eyes, paṉippa — tears of bliss began to flow, teṉ al̤avu cĕṟi — their honey-sweet, kūntal aviḻa — hair has

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.

— 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

, — , 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.

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).

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.

Delighted with this plan, Emperumān begins to play his flute right there on the spot. But Parāṅguśa Nāyakī swiftly corrects him. He has misunderstood. She did not specify the location.

She commands him to go to a fertile place where his beloved ones will surely assemble, and play his flute from there, attracting them to him while ceasing to torment her with his divine, unbearable presence.

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

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 Kannan who has beautiful large eyes and strong arms plays his flute in the middle of a crowd of young cowherds, the music is heard in the world of the gods and all the sky dwellers forget to eat their sacrificial food and enter the cowherd village of Gokulam.

In the manner of a champaka flower blooming impossibly in a fireplace, Periyāzhvār invites us to witness what puviyuḷ nān kandadhu or aṛpudham — what I myself have seen on earth as an amazing and impossible event.

He plays a bamboo flute and my daughter loves him. Her flower-like eyes are weary, her breasts are round, and her lotus-red mouth has grown pale. O beautiful friend, come and see how my daughter suffers. What can I do? What can I do?”

Every flower, without exception, serves the divine purpose when offered with sincere love. Indeed, there is no flower that lacks utility in the eyes of the supreme Being. Just as the Lord transcends the boundaries of flower-type, He transcends temporal boundaries.

Yet the supreme flower which the Lord desires above all others is expressed in the sacred utterance "Ahimsā prathamam pushpam"—harmlessness is the primary flower offered to the divine.

Here we see that it is not the perfection of the flower but the purity of the offerer's devotion that matters.

The Bhagavad Gītā (9.26) declares "Patram pushpam"—any leaf or flower is acceptable to Me, said the Lord.

This detail resolves an apparent difficulty: how can a morning flower and an evening flower be gathered together with equal freshness? The answer lies in understanding that when the flowers are destined for emperumān, temporal boundaries hold no significance.

When Sri Krishnan comes back home in the evening after tending to the grazing cows, there are days when He plays the flute leading the cowherd whereas there are others when He is seen at the rear end of the herd.

He finds his very being breaking down upon encountering entities in the world—a gentle breeze, the scent of a flower—that remind him of Emperumān and his deep fondness for Him. Unable to bear this separation for even a fraction of a moment, he cries out in anguish.

The gentle southern breeze laden with the fragrance of jasmine, the beautiful and romantic melody of the kuriñji tune, the soft light of the rising moon, the rhythmic sound of the distant ocean, the cry of the curlew, and even the celestial music from His own flute—all of these now cause excruciating

On a lotus flower pedestal with the hand gesture of Abhaya Mudra (offering protection) and a beautiful divine hand, with a Shaligrama garland on his chest, Neervanna Perumal appears at the foot of the hill. Since he appears surrounded by water, he is named Neervannan.

Eko The one adorned with a flute, Govardhana hill, and Srivatsa mark is Krishna. The one who drank poison, bears the Ganges, and is Uma's consort is Shiva. However, those who bathe in the waters of Manikarnika become many Rudras and many Vishnus, which is indeed a wonder. 7.