Verse 39

 

Translation

 

Sri Krishna, the Ocean of mercy, is dancing to the tune of His resonating flutes. He is gazing at His toes with soulful eyes. It appears as if His eyes are overflowing with love and mercy. I can hear the soft tinkle of His gem studded anklets! 39.

rila Kavirâj Goswâmipâd has explained this verse as follows: Sri Râdhâ cried out – “Hâ Krishna! Please let me behold Your moon-like face!” And the next moment She fainted. Then Lalitâ and the other sakhis placed Sri Krishna’s prasâdi tâmbul in Her mouth, which brought Her back. Then they told Her, ‘Dear Sakhi, open Your eyes. Your beloved Sri Krishna is here.’ Hearing this Sri Râdhâ was somewhat consoled, but She had become so weak suffering from viraha that She could not open Her eyes. She said with Her eyes closed, ‘Sakhi! Is it true that Krishna has come?’ In this verse Sri Lilâshuk has echoed Srimati’s words.

Sri Râdhâ is telling her sakhis-‘O sakhi! Sri Krishna always walks as if He is dancing. Due to this, His gem studded anklets tinkle rhythmically when He walks. If I can hear that tinkling, I will know He has really arrived. Why should He come? Well, He is an Ocean of mercy. Therefore, He will come to give me darshan and fulfil my prayer. In what manner is he going to give me darshan? By playing the flute. The music of the flute is resonating due to the tinkling of His anklets and armlets. They are keeping rhythm with His feet that are dancing.’

Explanation of ‘âlola-lochanayor–vilokita–keli-dhârâ-nirajitan tasyaiva – agra – charanaih’

While playing the flute He is keeping rhythm with His feet and hence is gazing at them. It seems as if He is doing ârati of His toes with mischievous eyes full of love sports.

Another meaning of ‘âlola-lochanayor – vilokita – keli – dhârâ nirajitan tasyaiva – agra – charanaih’ is – the Vrajadevis are performing ârati of His toes with their exceedingly loving gaze. A devout poet has expressed the mood of this verse in a sweet manner –

(Srimati Râdhârâni is saying) – “Sakhi, it is indeed true that I can hear very sweet tinkling of the anklets. Sakhi, undeniably His sweet lips are playing sweet notes into the flute. Sakhi, it is true indeed that Shyâm Rây has come. There! There! Look at His eyes – how He is lost in His own thoughts and gazing at His feet. Poet Rasa-Sudhâkar stands aside and wonders about Her ecstatic delirium – Where is Shyâm Rây and where is the flute? Where do the anklets sound? I cannot make out any of these.”

In the siddha state Sri Lilâshuk who is in the mood of a sakhi is saying, when will I hear Ishwari talking about the flute and the tinkling of anklets?

In the sâdhak state, a loving devotee’s eyes are always thirsty for Sri Krishna’s darshan while his ears yearn for Sri Krishna’s flute, tinkling anklets and armlets.

The devotee has so much hope, desire and wishes. He always feels – when will I get to hear Sri Krishna’s flute and tinkling of His anklets? When his desire becomes intense, the divine pastimes are revealed to him. Then he feels – Oh! I can hear the sweet tinkling of His gem studded anklets! He is such an Ocean of mercy!

We feel as if he is coming closer, dancing to the tune of His flute, His anklets humming sweetly in unison. The anklets sound so sweet when they mingle with the strain of the flute. He is playing the flute intently, with His gaze fixed on His toes. He is dancing and coming nearer. I can hear His anklets ringing musically.

Sri Krishna–Vallabhâ purport says that Sri Lilâshuk’s extreme humility and longing aroused compassion in the supremely merciful Sri Krishna. He started approaching the poet. Sri Lilâshuk heard the sound of Sri Krishna’s anklets and uttered this verse.

Sri Lilâshuk is saying – My Lord is unable to bear my sorrow and is immediately coming to give me darshan. I can hear the musical sound of His anklets. He moves in dancing steps in perfect rhythm with His flute and hence the anklets ring ceaselessly! The resonating flute sings while the anklets keep beat (tâl). The lotus feet dance, the anklets keep beat (like mridangam) and the flute sings – all three together are forming a musical band! Sangeet Ratnâkar (a text in music) defines music as –

‘gitam vâdyana tathâ nrityan trayam sangeetam – uchyate’.

Meaning – “Music is made up of singing and dancing with the accompaniment of an instrument.” Hence, the three of them make up a complete and perfect musical band!

How is the resonance of the flute?

It is so resounding that it rushes in ten directions and pervades all quarters. He is performing nirâjan (ârati) of His toes with the amorous looks in His restless eyes. It seems as if His toes are glowing under His sparkling gaze. The anklets that are keeping beat with the flute amuse him. Therefore, He is gazing at them. His clear nails are reflecting the various colours of His eyes (white, pink and black). Hence they are shining brilliantly and are said to be reflecting the amorous look in His eyes.

Srila Chaitanya dâs Goswâmipâd has said that Sri Lilâshuk is calling out in distress. Therefore, he is having a sphurti that Sri Krishna is approaching him. He is playing the flute with His head bowed low. So His sparkling eyes are reflected in the toenails. Hence, it appears as if they are being worshipped with lamps.

Here we need to know that between sphurti and sâkshâtkâr (actual meeting) there is a state called ‘visphurti’. It is also called ‘mistaken sâkshâtkâr’; a devotee feels deep relish as if he is actually seeing the Lord. Sometimes Sri Lilâshuk used to feel that he was really seeing Sri Krishna and would try touching Him, but could not. Then he would realize that it is not a ‘sâkshâtkâr’, but a ‘visphurti’.

We read about Sri Gopakumâr’s visphurti in part 2 of Sri Brihad-Bhâgavatâmritam. Srila Vishwanâth Chakravartipâd has explained the difference between sphurti and sâkshâtkâr in detail in the eighth ‘amrita-vrishti’ (shower of nectar), which means, the eighth chapter of Sri Mâdhurya-Kâdambini.

For further information, please refer Sri Mâdhurya Kâdambini published by Sri Krishna Chaitanya Shâstra Mandir.39.