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periyAzhwAr thirumozhi >> Third Centum >> Sixth decad
avathArikai
There is no specific avathArikai for this pAsuram.
siRu viralgaL thadavip parimARach chengaN kOdach cheyyavAyk koppaLippak
kuRu veyarppuruvam kUdalippak kOvindhan kuzhal kodu Udhina pOdhu
paRavaiyin kaNangaL kUdu thuRandhu vandhu sUzhndhu padu kAdu kidappak
kaRavaiyin kaNangaL kAl parappittuk kavizhndhu iRangich chevi Atta killAvE
Word-by-Word Meanings
siRu – remaining small
viralgaL – divine fingers
thadavi – stroking
parimARa – as they engage [with the holes in the flute]
sem kaN – reddish eyes
kOda – as it arches
seyya – reddish
vAy – divine mouth
koppaLippa – as it closes
kuru veyar – perspiring
puruvam – divine eyebrow
kUdalippa – as it arches, rising above
gOvindhan – one who is gOvindhan
kuzhal kodu – with the divine flute
Udhina pOdhu – when he played on it
paRavaiyin kaNangaL – flocks of birds
kUdu thuRandhbu – coming out of their respective nest
vandhu – coming in the proximity of krishNa
sUzhndhu – surrounding him
padu kAdu – like a forest which has been felled
kidappa – while remaining in a trance
kaRavaiyin kaNangaL – herds of cattle
kAl parappittu – spreading their fore legs
kavizhndhu iRangi – hanging their heads down
sevi – ears
Atta killA – stood, without flapping their ears
Simple Translation
krishNa, played on the flute in such a way that his little divine fingers stroked the [holes in the] flute; his reddish eyes arched up; his divine mouth closed at the ends [to place the divine lips against the hole in the flute]; his divine eyebrow, which had perspired, arched and rose up a little. At that time, flocks of birds came out of their respective nest, approached krishNa and fell down, like a forest had been felled and were in a trance; herds of cattle spread their forelegs, bent their heads down and stood, without flapping their ears.
vyAkhyAnam (Commentary)
siRu viralgaL thadavip parimARa – in line with his age of karum siRUkkan [little child who is dark, as seen in the third pAsuram of this decad], krishNa’s little fingers closed on the holes in the flute; they then opened a little bit; they then stroked the flute to move over to another hole in the flute.
thiruvAimozhip piLLai says, in his svApadhESam, that the divine fingers, start with the little finger. Since it has been mentioned in the 3rd pAsuram of this decad “kaRum siRUkkan kuzhal kodu Udhina pOdhu”, his fingers are appropriate for his young age.
sem kaN kOda – he has tilted his head with the region of moustache on the left side touching the divine left shoulder; since he is looking at each hole with his right eye and playing on the flute, the divine eyes have curved.
thiruvAimozhip piLLai says here that since krishNa has kept half of his vision on the tip of the flute, his reddish divine eyes have become curved. kOdudhal – to become curved.
seyya vAy koppaLippa – since both the sides of the divine mouth have to be closed in order to blow air at the hole in the flute [to create sound], the divine lips have become rounded due to the volume of air built up, inside the mouth.
thiruvAimozhip piLLai says here that reddish colour is natural for the divine eyes; since he is looking at the flute [and its holes] intently, the divine eyes have become reddish. When he is playing on the flute, sound emanates from it. Tune is referred to as rAgam in samskrutham; another meaning for rAgam is red. Thus, when he plays on the flute, to a sweet tune, the eyes become reddish, due to connection between tune and eyes. The mouth is reddish, by its nature; they are red, since he has decorated his divine lips. koppaLiththal – closing the lips to blow the air which has got accumulated inside the divine mouth.
kuru veyarp puruvam kUdalippa – since he is roaming in the forest [grazing the calves] continuously, due to the tender nature of his divine form, perspirations form on the divine eyebrows. The eyebrows arch up, as a result.
thiruvAimozhip piLLai says here that krishNa lowers his divine face and arches his divine eyebrows up. Since he roams around continuously in the forests, perspirations form on his divine forehead, like pearls.
gOvindhan kuzhal kodu Udhina pOdhu – krishNa has taken a vow to protect the cows. He grazes them; he feels exhilarated when their stomachs become full. As a result of that happiness, when he plays on the flute, which attracts all the species [from celestial to botanical] …
thiruvAimozhip piLLai says here that krishNa plays on the flute in order to protect the cattle. The incidents mentioned further are spontaneous actions [from birds and cattle].
paRavaiyin kaNangaL – flocks of different species of birds
thiruvAimozhip piLLai says here that flocks of birds come out of their respective nest, follow the path of music from the flute, being under its control. They come up to the source of music [krishNa himself], surround him, and since they are unable to take further tunes from him directly, for the musical notes which they have already taken in, they fall down, unable to control themselves, like trees which have been uprooted.
kUdu thuRandhu – come out of their respective nest
vandhu sUzhndhu padu kAdu kidappa – tracking the music emanating from the flute, they come, surround [krishNa] and lie down in a trance, as if a forest had been felled.
kaRavaiyin kaNangaL – herds of cattle
kAl parappittu – spreading their fore legs, being attracted by the music
kavizhndhu iRangi – bending their heads down, to a great extent.
thiruvAimozhip piLLai says here that the cattle look at the ground, bend their heads down, spread their forelegs; just as it has been mentioned in thiruvAimozhi 7.2.4 “itta kAl itta kai” (legs and hands remain, wherever they have been placed), they keep their legs, without moving them. When udaiyavar [rAmAnujar] and other preceptors were explaining distinguished meanings of our sampradhAyam, those who listened to them would forget about their earlier states [whatever activities they had been indulging in], they will even forget the scent of their earlier deeds, and due to the gratitude of the mercy showered on them by the preceptors, they will not even move their heads. Their hearts will engage with listening to the preceptors, not taking any action on their own [to attain emperumAn]. The cattle were in a similar state, when listening to krishNa’s music from his flute [we have seen in earlier pAsurams too that when krishNa speaks himself, it is similar to instructions coming from him, while when he plays on the flute, it is similar to giving instructions through an AchAryan (preceptor)]
sevi Atta killAvE – thinking “Moving the ears will be a hurdle for the music”, they stop flapping their ears.
We shall next consider the 9th pAsuram of this thirumozhi.
adiyEn krishNa rAmAnuja dhAsan
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