Pasuram 4.4.6

Tamil text and transliteration:

கூத்தர் குடம் எடுத்து ஆடில் 'கோவிந்தன்ஆம்' எனா ஓடும்,
வாய்த்த குழல் ஓசை கேட்கில் 'மாயவன்' என்று மையாக்கும்,
ஆய்ச்சியர் வெண்ணெய்கள் காணில் அவன் உண்ட வெண்ணெய் ஈது என்னும்,
பேய்ச்சி முலை சுவைத்தாற்கு என் பெண்கொடி ஏறிய பித்தே!

kūttar kuṭam eṭuttu āṭil 'kōvintaṉām' eṉā ōṭum,
vāytta kuḻal ōcai kēṭkil 'māyavaṉ' eṉṟu maiyākkum,
āycciyar veṇṇeykaḷ kāṇil avaṉ uṇṭa veṇṇey ītu eṉṉum,
pēycci mulai cuvaittāṟku eṉ peṇkoṭi ēṟiya pittē!

English translation of verse 4.4.6:

Whoever does the pot-dance, my creeper-like daughter
Takes him to be Kōvintaṉ and runs after;
The sweet sound of the flute, when she hears,
Thinks she of her wondrous (Kaṇṇaṉ) and goes into raptures;
The butter she beholds in shepherdesses’ hands, she avers
Is the same as that He ate; ha! she is over head and ears
In love with Him that sucked (unto death) the breast of the demoness.

Note

No doubt, during the Lord’s avatāra as Kṛṣṇa, He partook of the community life and excelled in pot-dance. But that was long, long ago. But any one doing this dance as a piece of public show for eking out his livelihood, is mistaken by Parāṅkuśa Nāyakī for Kṛṣṇa and she runs after the performer, despite the clarification furnished by the people around. 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. If a shepherdess brought butter for sale, the Nāyakī would look upon it as what remained after Kṛṣṇa had consumed. This extraordinary fascination for Kṛṣṇa, on the part of the Nāyakī, is said to be an expression of her gratitude for Him for having killed, as a mere babe, the treacherous Pūthanā, the imposter of a mother. The Nāyakī thinks that the Lord survived the ordeal, only for her sake.