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periyAzhwAr thirumozhi >> Third Centum >> Sixth decad
avathArikai
There is no specific avathArikai for this pAsuram.
idavaNarai idath thOLodu sAyththu iru kai kUdap puruvam nerindhERak
kuda vayiRU pada vAy kadai kUdak kOvindhan kuzhal kodu Udhina pOdhu
mada mayilgaLodu mAn piNai pOlE mangaimArgaL malarkkUndhal avizha
udai negizha Or kaiyAl thugil paRRi olgi Oda arikkaN Oda ninRanarE
Word-by-Word Meanings
gOvindhan – kaNNan, who got to graze cows
ida aNarai – region near moustache, on the left side
idath thOLodu sAyththu – leaning towards the left divine shoulder
iru kai – both divine hands
kUda – to join with the flute
puruvam – divine eyebrows
nerindhu ERa – to arch up
vayiRu – divine stomach
kudam pada – to appear like a pot
vAy – divine lips
kadai kUda – at both ends, to close towards the hole in the flute
kuzhal kodu – with the bamboo flute
Udhina pOdhu – when he blew
madam – having obedience
mayilgaLodu mAn piNai pOla – like peacocks and does [female deer]
mangaimArgaL – women, who were young
malar – decorated with flowers
kUndhal – locks
avizha – to loosen and sway
udai – dress
negizha – as it loosened
Or kaiyAl – with one hand
thugil – the loosened dress
paRRI – holding on
ari Odu – with red and black lines running
kaN – eyes
Oda – glancing towards krishNa
ninRanar – they stood, perplexed
Simple Translation
krishNa tilted the left side of his face towards his divine left shoulder. Both his divine hands closed in, on the holes in the bamboo flute. His divine eyebrows arched up. His divine stomach, due to repeated sucking in of air [for playing the flute] and exhaling it, appeared like a pot. When he kept his divine mouth, with both sides of the lips close to the hole in the bamboo flute and played on the flute, young herd girls, who appeared like peacocks and does [female deer], came with their locks which were decorated with flowers, loosening and swaying. Their dress on the waist too got loosened [due to coming in a hurry towards krishNa]. They held on to the loosened dress with one hand. With shyness taking over them, they stood perplexed with their eyes, having reddish and blackish lines running across, glancing towards krishNa.
vyAkhyAnam (Commentary)
idavaNarai idaththOlodu sAyththu – On the left side, tilting the location where moustache would grow, towards the divine left shoulder.
iru kai kUda – joining the two hands with the divine flute
puruvam neRindhERa – the divine eyebrows arching up
kuda vayiRu pada – since krishNa had to take in lot of air and release it slowly while playing on the flute, the divine stomach appeared like a pot
vAy kadai kUda – the corners of the divine mouth closed towards the hole in the divine flute
gOvindhan kuzhal kodu Udhina pOdhu – krishNa is referred to as gOvindhan since he was deeply involved in the protection of cattle, by modifying the tunes which he played with the flute in an eminent manner, to ensure that they do not go straying from the herd, they go for grazing at the proper time and they rejoin the herd in time for returning home. Since even a novice could play on the flute, creating tunes capable of attracting others, the verse says kuzhal kodu Udhina pOdhu, instead of saying kuzhal Udhina pOdhu [the difference lies in emphasising that it was with the eminent flute that he played]. This brings out at the same time the eminence of the person [krishNa] who played on the flute and the distinction of the flute.
mada mayilgaLodu mAn piNai pOlE – like peacocks which were obedient and like the doe, which was having a bewildering look. Just as the verse refers to the peacocks in the plural number, the deer too should be considered as plural number, though the verse does not specifically mention that.
mangaimArgaL – women, who were young.
malark kUndhal avizha – with the locks, which have been decorated with flowers etc, loosening
udai negizha – the decorated dress too was loosening. They come hurriedly, with their locks and their dresses dishevelled, following the music from krishNa’s flute.
thiruvAimozhip piLLai says, in his svApadhESam, that with their locks dishevelled and their dresses loosening, the girls, who were running towards the source of the music from flute, suddenly remembered their femininity and stood aside, in shyness.
Or kaiyAl thugil paRRi – they held on to the dresses which had got loosened, when they came hurriedly.
olgi – since they remembered their characteristic of femininity, they stood aside, with shyness.
OdarikkaNOda ninRanarE – even though they remembered their characteristic of femininity, could they stop their eyes, which were running towards krishNa? They stood, with their eyes, which had blackish and reddish lines, going towards krishNa. The term mada mayil is a simile for malark kUndhal avizha [just as the peacock loosens its feathers, the girls’ locks got loosened]. Similarly, the term mAn piNai is a simile for OdarikkaNOda [the eyes with reddish and blackish lines looked like the eyes of the deer].
We shall next consider the 3rd pAsuram of this thirumozhi.
adiyEn krishNa rAmAnuja dhAsan
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