Verse 34

Translation

When will Sri Krishna, Who is an Ocean of Mercy reappear before me with a face as joyful as a radiant moon and disturb my samâdhi with the nectarine strain of His divine flute? 34.

rila Kavirâj Goswâmipâd says, Sri Râdhârâni swooned in grief when Sri Krishna disappeared from Her view. Then the sakhis brought Her back with their loving expressions. Srimati asked them with great eagerness about Her beloved. Sri Lilâshuk has echoed Her words in this verse.

Sri Râdhârâni said – O sakhi! When will Sri Krishna reappear, and like before, send me to the sanket–kunja with the nectarine strain of His flute, and thus break my samâdhi?

A ras-explanation of ‘samâdhi’.

‘Samâdhi’ = sam + âdhi. ‘sam’ means ‘all’ and ‘âdhi’ means mental stress. Due to His disappearance, I am suffering from huge mental stress. When will He return and destroy this pain? He may appear before me, since He is an ocean of mercy. We are sure to obtain Him because He is merciful. He will surely fulfil my expectation.

The inner meaning is, Lilâshuk said in sakhi–bhâv – when will Sri Krishna send Sri Râdhâ to the kunja by playing His nectarine flute with a face as radiant as the joyful moon and thus rid me of my mental stress?

In the sâdhak state, he is praying when Sri Krishna will disturb my samâdhi with the nectarine strain of His flute? This is the success of a Mahâyogi’s^[1] Mahâyog^[2]. If Shyâm–chând (the Moon–face of Shyâm) does not arise in our sky-like heart, then what is the use of taking the trouble to perform any sâdhanâ?

Explanation of ‘Yogash – chitta – vritti – nirodhah’

‘Yog’ is defined as obstructing all the tendencies of the sub-conscious mind. We call its top most stage as ‘samâdhi’. If, after reaching that top most stage we are full of emptiness, and we always keep feeling something is lacking, then why should we take so much trouble to practice any sâdhanâ at all? Samâdhi is the stage when the mind is totally under our control and the object of meditation only is visible to the mind’s eye. It is of two types –

© ‘sampragyâta’

© ‘asampragyâta’.

‘Sampragyâta’ samâdhi is the first stage. In this the yogi stops the strong material tendencies of his heart. The next stage is ‘asampragyâta’ samâdhi – wherein the sâdhak has to resort to vairâgya, stop each and every subtle thought and control the conscious and subconscious mind completely. In this stage, the sub-conscious mind is made devoid of materialism by practicing very hard.

However, after giving up all and losing consciousness of all that is material, if at the zenith of our sâdhanâ we do not get darshan of the precious lotus–feet of Govinda, we still lack that topmost sweetest pleasure – then why should we take so much trouble?

The Mahâyogi receives the fruit of his eternal sâdhanâ only when, out of the blue, suddenly the sweet resonance of the mesmerizing murali^[3] enters through his ears and floods his heart with cascades of Nectar and he sees that face as radiant as the joyful moon. The goal of our life is not to lose all consciousness, but to destroy material awareness and completely experience the form of Sri Govinda Who is full of beauty and sweetness and is the essence of bliss.

Srila Bhatta Goswâmipâd says – if the witty repartee of Sri Krishna with the Vraja-Gopis is in the form of flute–notes, then it will surely be supremely alluring. May I spend my entire life immersed in the samâdhi of hearing those melodious notes of the flute, which is an empire of supreme bliss. O Ocean of Mercy! O Krishna! When will You take pity on me and disturb my samâdhi with the notes of the flute that are already playing in my innermost heart?

The strain of the flute announces the Râs–leelâ to the Vraja-Gopis and submerges them in bliss –

“It was the full-moon night of Sharad and the breeze blew gently. The gardens were fragrant with flowers such as Mallikâ, Mâlati and Juthi. Buzzing bees were hovering round the flowers as if they were intoxicated. When the mesmerizing Shyâm saw a night like this, He played the fifth note passionately on the flute that stole the hearts of all self-respecting women. The Gopis were full of love and surrendered themselves to Him in their minds. They started going wherever He indicated with the song of His flute. They forgot their homes and even their own bodies. They put kohl only on one eye, wore one bangle and only one earring. Their skirt-strings came loose as the damsels rushed helter-skelter. Their blouses and clothes tore off and their plaits became loosened. However, the sakhis did not cross each other’s path. In this manner they all reached Gokulchandra (The moon of Gokul) – thus sings poet Govinda dâs.”

One more Mahâjan-poem –

“The powerful flute played a song so sweet that it puts Amritam to shame. It stole the hearts of all the lovely maidens who belong to immaculate lineage. The melody of the flute entered their ears, it beckoned, and called, ‘come hither’ come hither. When the Gopis heard it they were full of bliss.

The precious sukumâri^[4], Râdhâ, was thrilled and became paralysed with joy. She forgot all household chores. All the damsels told sweetly to Râi – ‘There, there, listen! How He plays that song! Oh how it churns the heart! I cannot bear the sound of the flute. It pierces the heart.’ The Vraja–Gopis became crazy while the flute stole their honour.”

How does He, Whose supremely nectarine flute-notes that reveal the ras of divine pastime, look? As radiant as the joyful and unblemished moon. May He be actually present in front of us in His supremely blissful form! This indicates His extreme mercy and ability to rid us of all stress.

Srila Chaitanyadâs Goswâmi says, when will Sri Krishna, the Ocean of mercy rid us of our sorrow of being unable to attain Him, with the song of His flute? .34.

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