wake up or Melukolupu.

Bhogi sayanamunu busakottedini
Yoganidra paayunu melkonavae

Kannulu theravaka kamalabaandhavudu
Vennela renuvu velaya dide
Annuva malasee narunodayamide
Minnak neevitu melukonave

Thellani kannulu theravaka viriyaga
Nollaka jalajamu lunna vive
Kallanidura ninu gaviyaganiyyaka
Mella naaya nitu melukonave

Theravagu reppala thella vaaravale
Theravaka cheekati theeradhide
Theragu Venkataadhipa nee verugudhu
Merugulu challuchu melukonave

Melukolupu songs are the ones sung to wake up the Lord from his Yogic sleep.

Obediance and devotion.

Bhakti koladhivaade paramaatmudu
Bhukti mukti taane ichchu bhuvi paramaatmudu

Pattinavaari chebidda paramaatmudu
Battabayati dhanamu paramaatmudu
Pattapagati velugu paramaatmudu
Ettanedutane unnaa dide paramaatmudu

Paachipaala loni venna paramaatmudu
Bacchana vaasina roopu paramaatmudu
Bacchu chethi oragallu paramaatmudu
Ichcha koladi vaadu vo ee paramaatmudu

Palukulaloni theta paramaatmudu
phaliyinchunindaiki paramaamudu
Balimi Sree Venkataadri paramaatmudu
Elami jeevula praana mee paramaatmudu.

Our conception of the Supreme Paramatma is limited by the nature and extent of our Bhakti.
Food and liberation are conferred by the supreme Himself.
The Supreme is like a child for those who pick him up.
The Supreme is the wealth that lies in the open.
The Supreme is the glorious broad daylight.
That Supreme is there before you. That is Him.
The Supreme is butter in fresh milk
The Supreme is that form which is cleared of its colours
The Supreme is the touchstone in the hands of the Goldsmith.
That Supreme is as you imagine and mold him
That Supreme is the clarity in all speech
That Supreme is the One who will reward and bless all
The Supreme Lord of Venkata Hill is the very life of all living beings.
The poet says that our onception and understanding of the supreme is limited by the nature of our Bhakthi just as in B G chapter VII 16. 
Chaturvidhaa bhajante maam janaah sukritino rjuna
aarto jijnaasur arthaarthee jnaanee cha Bharatarshabha.
O Best among the scions of Bharata! Four kinds of fortunate devotees worship me: those who are afflicted with poverty from their very birth, those who want to know about their own self, those who want money after having lost it, and those who love me for my own sake.
Bhaktimaarg will confer both Bhukti as well as Mukthi. Yamunacharya has also said Bhakti Maarga if one so desires can be sed for attaining material wealth. (Gitarthasangraha V.27 Bhaktiyogah tadarthee chet......
The poet is also refetring to the omniscience of the Supreme when he says that He is the butter which lies concealed in the basic raw material milk. also the form which emerges from a bare rock chiselled suitably by the sculpture, without any application of colour etc. He also says that in the hands of the goldsmith the touchstone helps him to polish the great metal. Nammalvar also said that God is the food he eats, the water he drinks and the betel leaf he chews. He is there in all trivial and also great things. Whe the poet says that Lord Venkateswarais the very life of al living beings, he is again echoing  the statement of the Kenopanishad hat the Lord is Praanasya praanaah.

Dhwani.

'Dhwani' is a Sanskrit term which literally means 'sound' or 'echo'. But in Sanskrit literature, it refers to 'allusion' or 'implied meaning', technically known as 'aesthetic suggestion', which is comprehended only in the second or subsequent readings of a work, not during the first reading. What the student must have meant is that he was studying how allusion is used in Sanskrit literature (drama, poetry, prose, etc.). It is said to be a very enjoyable subject. 

salvation.

Saint Aandal's thirty hymns called Paasurams in celebration of Lord Narayana's multi faceted glory constitute a treasure house of Bhakti, of devotion unsullied by personal covetousness. Thiruppavai is a confluence of poetic elegance, religious ardour and philosophical sublimity. Although the whole poetic outpouring is placed in the context of pavai nombu the austerities of young maidens in quest of worthy partners in life. tiruppavai is very much more than a literary magnum opus.
To say that it is a depiction of the cultural mores of the cowhed community of the bygone age would be to overlook the fact that the practice of singing Tiruppavai during the month of margazhi continues to this day in Tamilnadu and where ever there is a congregation of south Indian Tamils. Sri Aandal and her legendary devotion to the Lord have transcended the confines of Tamil as a language. Her fame and the legacy of single minded devotion to Sri Krishna have become an integral part of the Bhakti movement all over.
The Hymns fall broadly into two groups yes there are thirty in no. the 1 - 15 constitute both the preface and the awakening part. maiden after maiden is awakened from sleep with the intention of helping them to participate in the austerities. It could well be that this is all an allegory suggesting that people are at different levels of spiritual dormancy and so there can be no one method of waking them up to higher levels of consciousness of the divine intervention in human affairs.
The second group of hymns 16 - 30 relates to the experience the rites and the rewards. here the hymns contain a wealth of spiritual insight. Bhakti devotion pure and noble involves the subordination of the ego of the devotee and the complete immersion of the self in the exhilaration of singing the infinite glory of God.
Further the verses 19 -24 cover the most important sequence in the allegorical representation of the participants in Paavai nombu invoking the blessings of Nappinnai and Sri Krishna, the divine couple. The Lord and his consort are inseperable and for the true devotee there is no salvation except through the grace of Sridevi which is the real key to mukti.  

Kalaksepam

a very interesting explanation by A Krishnamachari.

{The word Kalakshepam carries many meanings and connotations. The process of learning leads to an understanding. The understanding in turn leads to some interpretation about things, phenomena, observations data etc. Knowledge does not have any boundaries either space or time the process is evergreen and eternal.

The initiation into the religion and philosophy of Sri Vaishnavism is known as Kalakshepam among Sri Vashnavas, it places the initiated on a higher pedestal.}

 This knowledge seems to imbibe with it a certain pride (for not everyone can acquire it by wishing it. it has to be gifted to him by the all mighty itself it so seems. for no matter how one might try if you are not the blessed one things just do'nt fall into place the jigsaw puzzle seems unsolved.) It has to come to one when he is humble and the desire is intent. the grace then descends. No wonder the pride of being the selected one. few steps on he learns that that is not the ultimate goal he has just begun, the journey is long and an arduous one lots of other qualities have crept into the system he has to analyze it over deep thought and continuous association discussion etc like he has to keep at it no half way turning back is possible either he has to give up his desire or work harder to acquire more power through learning.

Well the Pancasamskaram etc to the one who has undergone Yajnopavitram makes one eligible to receive Kalaksepam etc then what about the ladies? are they not eligible? this cannot be..a women is by birth qualified.

Poshana.

Experience of closeness to the Bhagavan, who creates, sustains and dissolves the universe, who is omniscient, and endowed with countless majesties, as to feel that He is one's own child or friend or sweetheart and experience the sense of mineness with regard to Him does not seem to be a natural to the limited being the Jiva. 
A totally new consciousness of loseness to the Divine, consistent with the awareness of His unique majesty, has to be born in the human spirit. This is accomplished only by the bestowal of grace. This is called Poshana the enrichment by the divine nutrient, which consists in Hladini the divine sakti of bliss, reflecting in the Jiva and rendering it capable of grasping the Divine as ones Own without any inhibition from the awareness of His majesty.

Peacock blue.

Mother Goda Devi!
Your Hue that is green
Like the leaf of Druva grass
And Lakshmi's complexion
Which is golden as gorochana
have combined to give the Lord
The shade of the peacock's neck.

Nammalvar uses the combination of colors to present simple images of the Supreme vision:
"Bearing the yellow garment
Bejeweled from the crown downwards,
Flame lipped and red eyed,
your green glorious body
Reclines on a snake
That's poisonous and fierce.
You then appear to me
As the emerald mountain grand
That's adorned with red clouds,
The russet sun and the pleasant moon, 
Lying on the sea kings palm."

Sri Aurobindo says the dark blue figure of the Lord is joined by the green hue of Goda Devi, she shines like a leaf of a grass doora dala pratima, the mother earth is sasya syamala. Green he says is symbolic of work and action. Green light can signify emotional generosity it also signifies a force of health. the names are significant as Vasundhara, Vasudha, Vasavi, Hiranyagarbini.
The Blue and dark green are joined by the golden colour of Lakshmi devi. signifying truth, hence Ananda consciousness, generosity and understanding the truth.
Vedanta desika says sikhavala kanta sobha. the colour of the peacocks throat the utmost bliss the Madhuvairi the Lord flanked on either side by the goddesses. mangala murthi giving Pranamataam mangalyadam.
Parasara bhattar also says while surrendering says I surrender to Lakshmi who swims as a royal swan in the divine pond of Sri Ranganatha and Bhu devi who is like her increasing shadow.