Purport to Dasavani - Venunada priya by Saint Vadiraja

 https://madhwafestivals.com/2016/11/04/venunada-priya-gopalakrushna/

Purport to “Venunāda Priya Gopāla Kṛṣṇa”

The song begins with Venunāda-priya, establishing the primary quality of the Lord. Sound comes first. In the order of perception, śabda (sound) precedes sparśa (touch), rūpa (form), rasa (taste), and gandha (smell). Therefore nāda is the doorway to devotion. Before one can appreciate the Lord’s feet, one must hear. The flute sound awakens faith, and that faith carries the consciousness toward the lotus feet. Pastimes follow later; first comes attraction through transcendental vibration.

Pallavi – Nāda
The pallavi rests on nāda. Kṛṣṇa is not merely a form-holder; He is sound itself. The venunāda is non-different from Oṁkāra. By hearing, the conditioned soul begins its return journey.

First Para – Pada and Kara
The song then moves to the feet: caraṇa-vandita-caraṇa. Feet signify shelter. After sound awakens faith, the devotee bows. Next comes the hand, therefore Mandara-dhara. The hand is the instrument of dhāraṇa and rakṣaṇa. With the hand He lifts Govardhana, He walks, He holds, He rests, He engages in all human activities, even intimate ones. This shows completeness. The names Govinda and Mukunda appear here meaning He nourishes the senses and grants liberation. The singer carefully places liberation amidst daily functions, showing that mukti is not separate from life when centered on Kṛṣṇa.

Second Para – Gopāla
Then comes Nandakumāra, the butter thief. His bravery is astonishing. He is a hero, vīra, not only in childhood līlā but also as revealed later in Mahābhārata. The Lord who steals butter is the same Lord who guides the Kurukṣetra war. Hence the para rightly concludes with Gopāla, uniting sweetness and strength.

Final Para – Prārthanā
The last section is prayer: pāhi. Śaraṇa-rakṣaka pāhi Kodanda Rāma. The world is dangerously designed. Material energy is not a playground; dangers lurk everywhere. One who says “I need no protection” is a fool. Saint Vādirāja repeatedly cries, “Pāhi Kodanda Rāma.” Therefore we must continuously petition our Lord Urugendra-śayana for shelter.

For us, wandering souls of saṁsāra, dayā and pāvanatva are most important. We are unclean; we need cleansing mercy. Śṛṅgāra-lola here means not merely romantic delight, but one who loves beauty, devotion, and well-adorned hearts.

Thus the song flows from sound to shelter, from līlā to protection, guiding the listener safely to surrender.