𝐭𝐡𝐞 𝐝𝐢𝐯𝐢𝐧𝐞 𝐦𝐮𝐬𝐢𝐜 𝐞𝐦𝐚𝐧𝐚𝐭𝐢𝐧𝐠 𝐟𝐫𝐨𝐦 𝐭𝐡𝐞 𝐟𝐥𝐮𝐭𝐞 𝐤𝐢𝐬𝐬𝐢𝐧𝐠 𝐭𝐡𝐚𝐭 𝐞𝐯𝐞𝐫𝐬𝐦𝐢𝐥𝐢𝐧𝐠 𝐥𝐨𝐭𝐮𝐬-𝐥𝐢𝐤𝐞 𝐟𝐚𝐜𝐞

 

ते ते भावाः सकलजगतीलोभनीयप्रभावाः।

नाना तृष्णासुहृदि हृदि मे काममाविर्भवन्तु।

वीणावेणुक्वणितलसितस्मेरवक्त्रारविन्दा-

न्नाहं जाने मधुरमपरंनन्दपुण्याम्बुपूरात्॥

लीलाशुकःश्रीकृष्णकर्णामृते

𝐈𝐭 𝐢𝐬 𝐩𝐨𝐬𝐬𝐢𝐛𝐥𝐞 𝐭𝐡𝐚𝐭 𝐚𝐥𝐥 𝐭𝐡𝐞 𝐝𝐞𝐬𝐢𝐫𝐞𝐬 𝐟𝐨𝐫 𝐰𝐨𝐫𝐝𝐥𝐲 𝐞𝐧𝐣𝐨𝐲𝐦𝐞𝐧𝐭, 𝐜𝐫𝐚𝐯𝐢𝐧𝐠𝐬 𝐟𝐨𝐫 𝐩𝐨𝐰𝐞𝐫 𝐚𝐧𝐝 𝐩𝐞𝐥𝐟, 𝐰𝐡𝐢𝐜𝐡 𝐚𝐫𝐞 𝐭𝐞𝐦𝐩𝐭𝐢𝐧𝐠 𝐭𝐨 𝐭𝐡𝐞 𝐡𝐞𝐚𝐫𝐭, 𝐰𝐢𝐥𝐥 𝐚𝐫𝐢𝐬𝐞 𝐚𝐧𝐝 𝐩𝐮𝐬𝐡 𝐦𝐞 𝐭𝐨 𝐭𝐡𝐞 𝐰𝐨𝐫𝐥𝐝 𝐨𝐟 𝐬𝐞𝐧𝐬𝐮𝐨𝐮𝐬 𝐩𝐥𝐞𝐚𝐬𝐮𝐫𝐞𝐬. 𝐌𝐚𝐲 𝐛𝐞 𝐭𝐡𝐨𝐬𝐞 𝐩𝐥𝐞𝐚𝐬𝐮𝐫𝐞𝐬 𝐚𝐫𝐞 𝐬𝐰𝐞𝐞𝐭 𝐭𝐨 𝐜𝐨𝐧𝐭𝐞𝐦𝐩𝐥𝐚𝐭𝐞 𝐨𝐧 𝐚𝐧𝐝 𝐬𝐰𝐞𝐞𝐭𝐞𝐫 𝐭𝐨 𝐞𝐧𝐣𝐨𝐲

𝐁𝐮𝐭 𝐈 𝐝𝐨 𝐧𝐨𝐭 𝐤𝐧𝐨𝐰 𝐨𝐫 𝐜𝐨𝐮𝐥d 𝐭𝐡𝐢𝐧𝐤 𝐨𝐟 𝐚𝐧𝐲𝐭𝐡𝐢𝐧𝐠 𝐬𝐰𝐞𝐞𝐭𝐞𝐫 𝐭𝐡𝐚𝐭 𝐭𝐡𝐞 𝐝𝐢𝐯𝐢𝐧𝐞 𝐦𝐮𝐬𝐢𝐜 𝐞𝐦𝐚𝐧𝐚𝐭𝐢𝐧𝐠 𝐟𝐫𝐨𝐦 𝐭𝐡𝐞 𝐟𝐥𝐮𝐭𝐞 𝐤𝐢𝐬𝐬𝐢𝐧𝐠 𝐭𝐡𝐚𝐭 𝐞𝐯𝐞𝐫𝐬𝐦𝐢𝐥𝐢𝐧𝐠 𝐥𝐨𝐭𝐮𝐬-𝐥𝐢𝐤𝐞 𝐟𝐚𝐜𝐞 𝐨𝐟 𝐭𝐡𝐚𝐭 𝐂𝐨𝐧𝐜𝐞𝐧𝐭𝐫𝐚𝐭𝐞𝐝 𝐆𝐨𝐨𝐝 𝐅𝐨𝐫𝐭𝐮𝐧𝐞 𝐨𝐟 𝐍𝐚𝐧𝐝𝐚 (𝐨𝐮𝐫 𝐋𝐨𝐫𝐝 𝐊𝐫𝐢𝐬𝐡𝐧𝐚), 𝐭𝐡𝐞 𝐦𝐮𝐬𝐢𝐜 𝐭𝐡𝐚𝐭 𝐢𝐬 𝐫𝐞𝐚𝐜𝐡𝐢𝐧𝐠 𝐦𝐞 𝐭𝐨 the 𝐚𝐜𝐜𝐨𝐦𝐩𝐚𝐧𝐢𝐦𝐞𝐧𝐭 𝐨𝐟 𝐭𝐡𝐞 𝐦𝐮𝐬𝐢𝐜 𝐨𝐟 𝐯𝐞𝐞𝐧𝐚.

the consummate thief.. Krishna

पीठे पीठनिषण्णबालकगले तिष्ठन् स गोपालकः

यन्त्रान्तस्थित दुग्धभाण्डम् अवकृष्याच्छाध्य घण्टारवं।

वक्त्रोपान्तकृताञ्जलिः कृतशिरःकम्पं पिबन्तः पयः

पायाद् आगतगोपिकानयनयोः गण्डूरफूत्कारकृत्॥ २-९८

श्रीकृष्णकर्णामृते

pīṭhe pīṭhaniṣaṇṇabālakagale tiṣṭhan sa gopālakaḥ

yantrāntasthita dugdhabhāṇḍam avakṛṣyācchādhya ghaṇṭāravaṁ|

vaktropāntakṛtāñjaliḥ kṛtaśiraḥkampaṁ pibantaḥ payaḥ

pāyād āgatagopikānayanayoḥ gaṇḍūraphūtkārakṛt|| 2-98

śrīkṛṣṇakarṇāmṛte||

A very lovely description of one of the pranks of Krishna.. the butter-thief

(from the great work Srikrishna Karnamrutham.. of Lilashuka.)

The naughty boy, in the company of his chosen friend has sneaked into the house of an aunt in the neighbourhood.. 

The lady is away on some errant..

The boy sees the pots of butter and milk fastened to some slings made of ropes and attached to the ceiling.. which is beyond the reach of this little imp.. 

Moreover, to get alerted about the possible theft of milk or butter, the lady had fastened a rope from the pots to a bell.. and if the pot is moved even a little, the string would get pulled and the bell would chime aloud, bringing in the ever attentive dame of the house..

To gain some access to that great height, the boy Krishna places a wooden stool on the floor right under the point from where the pots are hanging..

Further, Krishna directs his friend to sit crouching, shoulders spread on the stool.. He climbs on the stool and from there stands on the two shoulders of the accomplice in theft..

Standing there, he could reach the pot.. 

He holds the tongue of the bell with fingers of one hand, so that the bell would not chime.

Then with the thumb, he tilts the pot of milk, and the contents start pouring straight down.. 

He is holding his other hand in the shape of a cup to hold the contents of the pot flowing down.. 

He places his lips to the tip of his palm where the milk is pouring..

He is drinking the milk very happily, and he is shaking his heads in utter delight .. making no secret of His happiness in drinking the milk in stealth..

And, the lady of the house returns... 

There is no way to escape.. 

The boy Krishna is sure to be caught.

So he just executes the best act which he could do instantly..

He just spits out the contents of his mouth in a powerful spray .. the mouth is abundantly filled with milk, curd and butter-- on the eyes of the aunt who is just entering.. 

The lady is not able to see for a little while... her eyes filled with milk and butter..

And the boy Krishna disappears like a lightning.. with his friend...

The poet Leelashuka of Srikrishna Karnamrutham.. after describing this naughty act of Krishna wishes us all that such Krishna may protect us for ever..

Krishna bless.. I love you Krishna

.May that butter-thief Krishna bless us.

Krishna is the only  only subject of anyone's Namaskaram.. May Krishna the Jagatguru bless us.. 

That fellow who went as a thief in search of  butter! 

He was caught red handed by a gopi(cowherd woman) while He was inspecting the contents of a Pot full of butter  hanging from the ceiling,  having entered her house in darkness, in the company of a set of equally naughty friends,Since the pot was placed high above the black rogue was  standing on the back of some of his friends to reach the pot . 

The gopi asked, "who are you boy.?." 

Krishna  replied, "I am the younger brother of balarama (to implicate the elder brother)," 

 

what are you searching for,? asked the gopi... 

"I am searching for a calf which is missing since the evening"..  

"Why do you search for it in the pot of butter?, asked the gopi,   "I searched for the calf everywhere else but could not find him, so I thought he is hiding in your butterpot" .

"Did you find the calf.?"..was the next question..

and Krishna replied," unfortunately not". 

then why are you waiting here? , came the question from the gopi and

Krishnas reply was ," Madam, I was waiting for you to inform you before I leave" , 

and in the midst of the conversation Krisna bolted  like a lightning and disappeared.

May  that butter-thief Krishna bless us.

Do not let that black treasure who is also called Krishna leave your heart even for a split second

Do not let that black treasure who is also called Krishna leave your heart even for a split second 

अस्ति स्वस्तरुणीकराग्रविगलत्कल्पप्रसूनाप्ळुतं
वस्तु प्रस्तुतवेणुनादलहरीनिर्वाणनिर्व्याकुलं।
स्रस्त स्रस्त निरुद्धनीविविलसद्गोपीसहस्रावृतं
हस्तन्यस्तनतापवर्गमखिलोदारं किशोरकृतिः॥१-२॥
श्रीकृष्णकर्णामृतं   लीलाशुककृतं
asti svastaruṇīkarāgravigalatkalpaprasūnāpḻutaṁ
vastu prastutaveṇunādalaharīnirvāṇanirvyākulaṁ|
srasta srasta niruddhanīvivilasadgopīsahasrāvṛtaṁ
hastanyastanatāpavargamakhilodāraṁ kiśorakṛtiḥ||1-2||
śrīkṛṣṇakarṇāmṛtaṁ   līlāśukakṛtaṁ

There shines forth the supreme object manifest in the shape of an adolescent youth holding in His hands all the benevolence, Grace  and  path to heavenly abode  to be  granted to all who just bow before Him. 

He is filling the universe with ecstasy in the form of divine music  flowing from the flute held on his lips uplifting all to the state of Nirvana and absence of any worldly woes.  

He is surrounded by thousand  beautiful girls of cowherd clan (Gopis)  whose upper clothes are repeatedly sliding  down from the places they are supposed to cover  and are repeatedly held back by the girls with their tender hands  

 He is deluged with the flowers being showered on him by the celestial Kalpaka tree through the hands of the daughters of heaven, the Apsaraas.


The infinite being that is Krishna is seen in His  earthly form  by one of His fervent devotees,  Bilvamangala or Leelashuka. 
This is the enigma of Krishna.  
His staunchest devotees know that 
He is, and nothing else is, the Supreme being ..formless, infinite,  the Parabrahma   But still they love to portray Him in an earthly form.  
Sadasiva Brahmendra, a recluse who simply walked all along the  banks of Kaveri river,  without covering his body with even  scant clothing and always in delirious contemplation of the Supreme Soul, requests his own mind to dwell upon the Parabrahama which Graces the earth with its hair adorning the feather of an intoxicated peacock, its cheeks challenging the newly sprouted leaf with its nascent hue,  whose eyes hover with desire around the ample bosom of the goddess of wealth, and who is growing as the divine tree in the humble abodes of his devout servants.
( मदशिखिपिञ्चालंकृतचिकुरे महनीयकपोलविजितमुकुरे श्रीरमणीकुचदुर्गविहारे सेवकजनमन्दिरमन्दारे मानस सञ्चर रे ब्रह्मणि मानस सञ्चर रे madaśikhipiñcālaṁkṛtacikure mahanīyakapolavijitamukure śrīramaṇīkucadurgavihāre sevakajanamandiramandāre mānasa sañcara re brahmaṇi mānasa sañcara re)

May Krishna bless us

Sadasiva Brahmendra - Wikipedia, the free encyclopedia

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Fine arts and music are divine

साहित्यसङ्गीतकलाविहीनः, साक्षात्पशुः पुच्छविषाणहीनः .

तृणं न खादन्नपि जीवमानः, तद्भागधेयं परमम्पशुनाम् .. १२..

saahityasangeethakalaavihiinah  saakshaat pasuh puchchhavishaanahiinah
trinam na khadannapi  jeevamaanah tad bhagadheyam paramam pasoonaam

a person with  no taste for literature, music and fine arts is  virtually a cow or some similar animal, with the only difference that the former has no tail or horns.  It is indeed very fortunate for the animals  that such persons do not start eating grass for food because if it happens the horned animals will have to die of starvation.
This sloka is found in some versions of Neetisatakam of Bharthruhari.
 Our traditions are so great that every god in Hindu pantheon is adorned with a musical instrument.  The lord of Lords, the Nataraja, is an adept in playing Dakkaa and Damaru... In fact the Indian alphabets are said to have emanated from the Lord Shiva's fingerings on the percussion instrument fourteen times. It is described as under.
नृत्तावसाने नटराजराजो ननाद ढक्कांनवपञ्चवारम्।
उद्धर्त्तुकामो सनकादिसिद्धादिनेतद्विमर्शेशिवसूत्रजालम्II
On conclusion of his tandavanritta, the emperor of dancers, Lord Nataraja with a view to enlighten the great sages like Sanaka, played nine and five times in his Dakka...(udukku the small drum held in his hand) and out came the shivasuutraas, which were later on adopted as the basis for the entire philology and phonetics of India.. The great grammarian Paanini starts his aphorisms with these suutras.

अक्षरसमाम्नाय:, शिवसूत्राणि

अ इ उण्

ऋ लृक्

ए ओंङ्

ऐ औच्

ह य व रट्

लण्

ञ म ङ ण नम्

झ भञ्

घ ढ धष्

ज ब ग ड दश्

ख फ छ ठ थ च ट तव्

कपय्

श ष सर्

हल्

इति माहेश्वराणि सूत्राणि अणादिसंज्ञार्थानि। एषामन्त्या इत:। हकारादिषु अकार: उच्चारणार्थ:। लण्मध्ये तु इत्संज्ञक:|

 
Lord Krishna's constant companion was his  flute..He mesmerized the damsels and the mortals and in-animates in Brindavan and the whole universe with his sweet breath emanating  through the divine flute.  Leelasuka or Bilvamangala swamigal  prays to this flute..

अयि मुरलि मुकुन्दस्मेरवक्त्रारविन्द
श्वसनमधुरसंज्ङे त्वाम् प्रणम्याद्य याचे।
अधरमणिसमीपम् प्राप्तवत्याम् भवत्याम्
कथय रहसि कर्णे मद्दशाम् नन्दसूनोः॥ २-११

ayi murali mukundasmeravaktrāravinda
śvasanamadhurasaṁṅe tvām praṇamyādya yāce |
adharamaṇisamīpam prāptavatyām bhavatyām
kathaya rahasi karṇe maddaśām nandasūnoḥ || 2-11

(Sree krishna karnamritham)

You sweet flute, you are in constant  company with the sweet musical breath from Mukunda's lips at one tip of yours and you have his ears at the other tip. I offer pranams to you and beg to you.. When you are held near the gems of those lips, please be kind enough to whisper on His ears about the miserable state I am in.. so that He will shower his mercy upon me.

In Srimannaaraayaneeyam the Dashakam 69 on raasakriida is completely devoted to music and dance.

केशपाशधृतपिञ्छिकाविततिसञ्चलन्मकरकुण्डलं
हारजालवनमालिकाललितमङ्गरागघनसौरभम् ।
पीतचेलधृतकाञ्चिकाञ्चितमुदञ्चदंशुमणिनूपुरं
रासकेलिपरिभूषितं तव हि रूपमीश कलयामहे ॥१॥

A bunch of peacock feathers adorning the beautiful locks of hair; a pair of fish shaped earrings dangling from the ears; many necklaces intermingled with flower garlands adorning the neck; a golden girdle fastened to the yellow silk garment adorning the waist; sandal paste and other unguents smeared on the body emitting strong fragrance; gem studded anklets flashing forth a glow; on such a radiant form of Thee, with decorations appropriate for the Raasa, we meditate on.

  Kaalidasa starts his Shyamalaa dandakam with a prayer to the Vaagdevata, Saraswathi.
माणिक्यवीणामुपलाळयन्तीं
मदालसां मञ्जुळ वाग्विलासां।
माहेन्द्रनीलद्युतिकोमळाङ्गीं
मातङ्गकन्यां मनसा स्मरामि॥
māṇikyavīṇāmupalāḻayantīṁ
madālasāṁ mañjuḻa vāgvilāsāṁ|
māhendranīladyutikomaḻāṅgīṁ
mātaṅgakanyāṁ manasā smarāmi||

I prostrate before Shyaamala, the daughter of maatanga....she nestles on her bosom a veena made of maanikya gem, she is supremely happy and relaxed , her words are very sweet and she is resplendent in the brighntess of  indraneela (peacock blue).

The great poet Jayadeva is very vocal in describing the dance of Krishna in Gita govindam.

ललितलवङ्गलतापरिशीलनकोमलमलयसमीरे ।
मधुकरनिकरकरम्बितकोकिलकूजितकुञ्जकुटीरे ।
विहरति हरिरिह सरसवसन्ते ।
नृत्यति युवतिजनेन समम् सखि विरहिजनस्य दुरन्ते ॥ अ प ३-१

In this springtime gentle vernal breezes from Mount . M alaya, the abode of sandalwood trees, that swivel round the slim tendrils of clove gillyflower plants and the  breeze hovers  gently, interwoven with both the fragrances... in this springtime that has bowers made lively with the intermingled buzzes of honeybees swarm and croons of Kokila throngs... that Krishna whom you are seeking is gloriously frolicking and dancing with young girls  in Brindavan right at this moment, for this is spring, isn't it...  therefore, come on... let's go... lovelorn people are unrequited, otherwise... [astapadi  3-1]

The great tamil poet Arunagirinathar describes vividly the dance of Murugan, in Thiruppugazh :-

அதல சேட னாராட அகில மேரு மீதாட      அபின காளி தானாட ...... அவளோடன் றதிர வீசி வாதாடும் விடையி லேறு வாராட      அருகு பூத வேதாள ...... மவையாட மதுர வாணி தானாட மலரில் வேத னாராட      மருவு வானு ளோராட ...... மதியாட வனச மாமி யாராட நெடிய மாம னாராட      மயிலு மாடி நீயாடி ...... வரவேணும் கதைவி டாத தோள்வீம னெதிர்கொள் வாளி யால்நீடு      கருத லார்கள் மாசேனை ...... பொடியாகக் கதறு காலி போய்மீள விஜய னேறு தேர்மீது      கனக வேத கோடூதி ...... அலைமோதும் உததி மீதி லேசாயு முலக மூடு சீர்பாத      உவண மூர்தி மாமாயன் ...... மருகோனே உதய தாம மார்பான ப்ரபுட தேவ மாராஜ      னுளமு மாட வாழ்தேவர் ...... பெருமாளே. ......... சொல் விளக்கம் ......... அதல சேடனார் ... (பூமிக்கு கீழேயுள்ள) அதலத்தில் இருக்கும் ஆதிஸேஷன் ஆட ... நடனம் ஆடவும், அகில மேரு மீதாட ... பூமி மீதுள்ள மேருமலை அசைந்தாடவும், அபின (அபின்ன) ... மாறுபாடு இன்றி (சிவதாண்டவத்துக்கு) ஒற்றுமையாக காளி தானாட ... காளி தான் ஆடவும், அவளோ (டு) அன்(று) அதிர ... அக்காளியோடு அன்று அவள் அதிர்ந்து நடுங்கும்படி வீசி வாதாடும் ... (காலை ஊர்த்துவகோலத்தில்) வீசி போட்டியிட்டவரும் விடையில் ஏறுவார் ஆட ... ரிஷபத்தில் ஏறுவாரும் ஆகிய சிவனும் ஆடவும், அருகு பூத வேதாளம் அவையாட ... அருகில் பூதங்களும் பேய்களும் ஆடவும், மதுர வாணி தானாட ... இனிமை மிக்க ஸரஸ்வதியும் ஆடவும், மலரில் வேதனார் ஆட ... தாமரை மலரில் அமரும் பிரமனும் ஆடவும், மருவு வானு ளோராட ... அருகில் பொருந்திய தேவர்கள் எல்லாம் ஆடவும், மதியாட ... சந்திரன் ஆடவும், வனஜ மாமி யாராட ... தாமரையாள் நின் மாமியார் லக்ஷ்மியும் ஆடவும், நெடிய மாம னாராட ... விஸ்வரூபம் எடுத்த நின் மாமனார் விஷ்ணுவும் ஆடவும், மயிலும் ஆடி ... நீ ஏறிவரும் மயிலும் ஆடி, நீ ஆடி வரவேணும் ... நீ நடனம் ஆடி என்முன்னே வரவேண்டும்* கதை விடாத தோள் வீமன் ... கதாயுதத்தை தன் தோளினின்று அகற்றாத வீமன் எதிர்கொள் வாளியால் ... எதிர்த்துச் செலுத்திய அம்பு மழையில் நீடு கருதுலார்கள் ... பெரும் பகைவர்களின் (கெளரவர்கள்) மாசேனை பொடியாக ... பெரிய சேனை பொடிபட (உதவியவரும்), கதறு காலி போய்மீள ... கதறிச் சென்ற பசுக்கள் மீண்டுவரக் (குழலை ஊதியவரும்), விஜயன் ஏறு தேர்மீது ... அர்ச்சுனன் ஏறிய தேரின் பாகனாயிருந்து, கனக வேத கோடூதி ... தங்க மயமானதும், வேத ஒலியைத் தரும்சங்கை ஊதியவரும், அலைமோதும் உததி மீதிலே ... அலை வீசும் பாற்கடல் மீதிலே சாயும் ... (பாம்பணையில்) பள்ளி கொண்டவரும், உலக மூடு சீர்பாத ... (வாமனாவதாரத்தில்) உலகத்தை அளந்து மூடிய பாதத்தாரும், உவணம் ஊர்தி ... கருடனை வாகனமாகக் கொண்டவரும், மாமாயன் மருகோனே ... ஆன மாமாயன் திருமாலின் மருமகனே உதய தாம மார்பான ... அன்றலர்ந்த மலர் மாலையை அணிமார்பனாகிய ப்ரபுடதேவ மாராஜ ... (திருவண்ணாமலையை ஆண்ட) ப்ரபுட தேவ மஹாராஜனின் உளமும் ஆட ... உள்ளமும் மகிழ்ச்சியில் ஆடும் வண்ணம் வாழ் தேவர் பெருமாளே. ... அவனது நெஞ்சிலே வாழும் தேவர் பெருமாளே. Song 1053 - adhala sEdanArAda (common) adhala sEda nArAda akila mEru meedhAda      abina kALi thAnAda ...... avaLOd andru adhira veesi vAdhAdum vidaiyil Eru vAr Ada      arugu bUtha vEthALam ...... avaiyAda madhura vANi thAnAda malaril vEdha nAr Ada      maruvu vAnu LOrAda ...... madhiyAda vanaja mAmi yArAda nediya mAma nArAda      mayilum Adi nee Adi ...... varavENum gadhai vidAdha thOL veeman edhirkoL vALi yAlneedu      karudha lArgaL mAsEnai ...... podiyAga kadhaRu kAli pOymeeLa vijayan Eru thErmeedhu      kanaka vEdha kOdUdhi ...... alaimOdhum udhadhi meedhilE sAyum ulaga mUdu seerpAdha      uvaNa mUrdhi mAmAyan ...... marugOnE udhaya dhAma mArbAna prabuda dhEva mArAjan      uLamum Ada vAzh dhEvar ...... perumALE. ......... Meaning ......... adhala sEda nArAda: As AdhisEshan (the 1000-headed Serpent) danced in the netherworld, akila mEru meedhAda: Mount Meru (Sri KailAsh) on the earth also danced, abina kALi thAnAda: in unison with SivA's Dance, Kali also danced, avaLOd andru adhira: along with Her, making Her shiver, veesi vAdhAdum: raising His leg up in competition, vidaiyil Eru vAr Ada: SivA, who mounts on the Bull (Nandi), also danced, arugu bUtha vEthALam avaiyAda: and nearby, the BUthaganas and ghosts also danced, madhura vANi thAnAda: Saraswathi of sweet voice also danced, malaril vEdha nAr Ada: BrahmA on the Lotus also joined in the dance, maruvu vAnu LOrAda madhiyAda: all the Celestials and Moon also danced, vanaja mAmi yArAda: Lakshmi on Lotus, Your mother-in-law, danced, nediya mAma nArAda: Vishnu, the tall one (who assumed ViswarUpam) Your father-in-law, mayilum Adi nee Adi: Your peacock should also dance and You too, dancing, varavENum: should appear before me dancing!* gadhai vidAdha thOL veeman: Bhima, who never parted with his mace (gadha), from his shoulder, edhirkoL vALi yAl: shot a series of arrows (in MahAbhArathA War) needu karudhalArgaL mAsEnai: at the large army of his mighty opponents and podiyAga: decimated them (with the help of Krishna); kadhaRu kAli pOymeeLa: herds of sobbing cows came rushing to (Brindhavanam) (hearing the magical flute of Krishna); vijayan Eru thErmeedhu: as the charioteer on Vijayan (Arjuna)'s chariot, kanaka vEdha kOdUdhi: the golden and vedic victory-conch shell was blown (by Krishna); alaimOdhum udhadhi meedhilE sAyum: on the milky ocean with waves tossing about, He (Krishna) reclined on a serpent-bed; ulaga mUdu seerpAdha: (in Vamana Avatharam) he measured the entire world with one foot (that foot-bearer, Krishna) uvaNa mUrdhi mAmAyan: He, the Great Mystic, with Garuda for vehicle. marugOnE: You are His favourite nephew! udhaya dhAma mArbAna: Fresh garland adorning His chest, prabuda dhEva mArAjan: is the great King Praputa DEvA (of ThiruvaNNAmalai); uLamum Ada vAzh: Your presence made the King's heart dance with joy   dhEvar perumALE.: Oh the Greatest One of all Gods!  இப்பாடல் அருணகிரியார் வாழ்வில் மகத்தானது. சம்பந்தாண்டான் என்பவனோடு வாது செய்தபோது முருகனை திருவண்ணாமலை அரசன் ப்ரபுட தேவராஜனின் சபையில் வரவழைக்கப் பாடிய பாட்டு இது. இந்த வரியைப் பாடும்போது, முருகன் வேலும் மயிலும் விளங்க நடனக் கோலத்திலேயே சபையில் தோன்றி தரிசனம் தந்தான்.   This song has great significance in the life of the great poet Arunagirinathar.  The saint poet had a debate with one Sambanthaandan in the court of king Praputa Devaraya in Thiruvannamalai  and when challenged to bring the Lord to the court failing which the saint's life was at stake, the poet sang his song and loving this Murugan appeared atop his peacock dancing merrily and gave darshan to all. Fine arts and music are divine

the blessed flute

the blessed flute

अयि मुरळि मुकुन्दस्मेरवक्त्रारविन्द श्वसनमधु रसज्ञे त्वाम् प्रणम्याद्य याचे

अधरमणिसमीपम् प्राप्तवत्याम् भवत्याम् कथय रहसि कर्णे मद्दशाम् नन्दसूनोः

 sreekrishna karanmrutam

ayi murali mukundasmeravaktraaravinda swasana madhu rasaney twaam 

pranamya adhya yaache

adharamani sameepam praaptavathyaam bhavathyaam kathaya rahasi karne maddasaam nandasoonoh

you the fortunate flute,

 who are always immersed in the thrill of enjoying the sweet breath of the ever smiling face of my Krishna,

 I prostrate before you and beg a favour from you...

when you are placed very near the ruby-red lips of the Lord, 
your other end will be very near that Eternal Singer's ear,  
then please put in a word in secret  
in the divine ear in favour of  this wretched human being  who spends his life yearning to attain Krishna.

അയി മുരളി മുകുന്ദ സ്മേരവക്ത്രാരവിന്ദ ശ്വസനമധുരസജ്ഞേ ത്വാം പ്രണമ്യാദ്യ യാചേ

അധരമണിസമീപം പ്രാപ്തവത്യാം ഭവത്യാം കഥയ രഹസി കര്‍ണ്ണേ മദ്ദശാം നന്ദസൂനോ:
ശ്രീകൃഷ്ണ കര്‍ണാമൃതം

കണ്ണന്റെ പുഞ്ചിരിപൂക്കുന്ന ചെഞ്ചുണ്ടുകളില്‍ കിനിയുന്ന തേന്‍ തുള്ളികള്‍ നുണഞ്ഞു  ആസ്വദിക്കുന്ന ഭാഗ്യവതിയായ ഓടക്കുഴലേ,
നിന്‍റെ കാല്‍ക്കല്‍ നമസ്കരിച്ചു ഞാന്‍ യാചിക്കുന്നു.  
നീ അവന്‍റെ പവിഴംപോലുള്ള ചുണ്ടുകള്‍ക്ക് അടുത്ത് എത്തി അവനോടു കിന്നാരം ചൊല്ലുമ്പോള്‍  പാവമായുള്ള ഈയുള്ളവന്‍റെ കഷ്ടപ്പാടുകള്‍ കൂടി നന്ദഗോപന്‍റെ മകനായ അവനോട് ഉണര്‍ത്തിക്കാന്‍ മറക്കരുതേ..