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periyAzhwAr thirumozhi >> Third Centum >> Fourth decad
avathArikai
There is no specific avathArikai for this pAsuram.
sAlap pal niraip pinnE thazhaikkAvin kIzh than thirumEni ninRU oLi thigazha
neela naRum kunji nEththiraththAl aNindhu pal Ayar kuzhAm naduvE
kOlach chendhAmaraik kaN miLirak kuzhal Udhi isai pAdik kuniththu AyarOdu
Aliththu varuginRa Ayap piLLai azhagu kaNdu en magaL ayarkkinRadhE
Word-by-Word Meanings
[sAla – to a great extent] sAl pal – of many types
nirai pinnE – behind herds of cattle
thazhai – umbrellas made of peacock feathers
kAvin kIzh – under the garden
than – his [krishNa’s]
thirumEni – divine form
ninRu – remaining [the word ninRu here is added as a sweet, pleasant word, without any additional meaning)
oLi thigazha – to shine brightly
neelam – having a blackish complexion
nal – having the advantages of curling and length
naRu – having fragrance
kunji – divine bundles of locks
nEththiraththAl – with peacock feathers
aNindhu – decorating
pal – many
Ayar kuzhAm naduvE – in the midst of the assembly of herd-boys
kOlam – being beautiful
sem – being reddish
thAmarai – like a lotus flower
kaN – the divine eyes
miLira – to gleam
kuzhal – flute
Udhi – playing on it
isai – with appropriate music
pAdi – singing
kuniththu – and dancing
AyarOdu – with the herd-boys
Aliththu varuginRa – coming with pride
Ayap piLLai – herd-boy’s [krishNa’s]
azhagu kaNdu – looking at his divine form
en magaL – my daughter
ayarkkinRadhu – is forgetting everything (says the mother of a daughter)
Simple Translation
krishNa’s divine form was splendorous, as he came behind the cattle herds, under the umbrellas of peacock feathers. His divine locks, which are blackish and having the advantages of being curled and long, have been decorated with peacock feathers. As he came amidst herd-boys, with his divine eyes gleaming like beautiful reddish lotus, and playing on his flute, dancing and singing with herd-boys, my daughter saw the beautiful form of the prideful krishNa, and is forgetting.
vyAkhyAnam (Commentary)
sAlappanniraip pinnE – behind cattle which were of many types. The abundance of cattle in that place was such that even if they were to be counted in any manner that one chose to, it was impossible to completely count them. krishNa let such cattle to walk in the front, and came behind them all.
thazhaikkAvin kIzh – under the garden of peacock umbrellas.
than thirumEni ninRu oLi thigazha – his divine form was shining since the cattle had had their stomachs full and since he thought “The time has to come to be with the girls in thiruvAyppAdi”.
thiruvAimozhip piLLai says here that krishNa’s divine form, which is as mentioned in thiruvAimozhi 2.7.4 “thEvum thannaiyum” (displaying aspects of his supremacy and simplicity), was splendorous. There was a contrast between his divine complexion and the complexion of the peacock feathers.
neela nannaRum kunji nEththiraththAl aNindhu – he decorated his divine locks which were blackish and fragrant and which had the advantages of both curliness and length, with the eyes of peacock feathers.
thiruvAimozhip piLLai says here that he had decorated his divine locks, which were glistening and dark, and which had a fragrance.
pallAyar kuzhA naduvE – He came amidst the huge assembly of herd-boys.
thiruvAimozhip piLLai says here that his divine eyes, which were attractive and reddish, were showering mercy on the assembly of his herd-friends, manifesting his relationship with them.
kOlach chendhAmaraik kaN miLira – His divine eyes, which were like attractive, reddish lotus flowers, were gleaming. This suggests that he was looking at the friends, coming to his left side and right side, feeling joyous, while returning.
kuzhal Udhi isai pAdik kuniththu – just as it has been said in thiruvAimozhi 10.3.1 “Amaruvinanirai mEykka nI pOkku oru pagal Ayiram Uzhi” (In the daytime, when you go for the leelA [playful pastime] of tending to cows which are abundantly available, matching their species, it appears that it is like a thousand yugas), the herd-girls in thiruvAyppAdi felt sorrowful since he had been away for a very long time, going behind cattle. In order to make those girls to feel exhilarated, in order to express his urge in seeing them, due to his affection for them, as well as to remove the anger in the hearts of those who felt the pangs of separation from him, he played on the flute, with suitable pAsurams, singing songs aligned with those tunes. Just as expert dancers would manifest movements of dancing even when they walk, krishNa, through his gait, made it appear that he was dancing, as mentioned in thiruvAimozhi 10.1.6 “kUththan kOvalan” (one who goes behind those who need protection [cattle] and protects them, walking beautifully like an expert dancer), while playing on the flute and singing.
AyarOdu Aliththu varuginRa AyappiLLai – he was returning with his friends, the herd-boys, with a look of pride on his face, on account of the incidents mentioned earlier.
azhagu kaNdu en magaL ayarkkinRadhE – By merely looking at the beauty of such krishNa’s divine form, my daughter is losing her mind, forgetting the clan in which she was born, forgetting her pride of being a girl and forgetting that she was under my control.
thiruvAimozhip piLLai says here that the mother says that the reason for her daughter losing her mind and forgetting is also the medicine for her disease.
We shall next consider the 8th pAsuram of this thirumozhi.
adiyEn krishNa rAmAnuja dhAsan
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