Verse 9
pallavaruna – pani – pankaja – sangi – venuravâkulm
phulla – patala – patali – parivâdi – pada – saroruham,
ullasach–madhura-adhara–dyuti–manjari sarasa–ânanam
vallavi–kuchakumbha–kumkuma pankilam prabhum–âshraye.9.
Translation
He maddens the hearts of Gopis by creating notes with His hands that are shaped like lotus petals, and they are rosy like the budding leaves. His lotus–feet put blooming roses to shame; His lotus–face is radiant with joyous splendour of His sweet lips and He is adorned with the kumkum1 smeared on the bosom of young damsels. He bestows worthiness to the unworthy – I seek shelter of That generous Master.9.
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ripâd Lilâshuk was inspired by the sweetness of Sri Krishna sporting in the Râs dance. Due to overwhelming love, he felt the sweetness of Râs–rasik2 Sri Krishna accompanied by Srimati Râdhârâni to be most wonderful. He thus expressed his thirst for more in the following two prayers.
Why does the poet call Sri Krishna ‘prabhu’ or Master?
During Râs–leelâ, one Sri Krishna was capable of fulfilling the desires of one hundred crores of Gopis – So He is known as ‘Master’. While describing the Mahârâs, Sripâd Shukamuni has said –
“The festival of Râs comprising of circles of Gopis began and Bhagavân Sri Krishna Who is complete with inconceivable potencies entered between every alternate Gopi and embraced them so that each and every Gopi felt that Sri Krishna was dancing with her alone.”- [S.B. 10.33.3]
The Râs–leelâ manifests the divine potencies of Sri Krishna, such as omniscience, omnipresence etc. Sri Bhagavân understood the innermost desires of the Gopis and hence “kritva tavantam – âtmânâm yavatir – gopa – yoshitâh.”
Meaning :- “During the Râs-dance, Sri Krishna manifested as many forms as there were Gopis and sported with them
– (Râs–vihâr)”.
So we see that as soon as Sri Bhagavân wished to sport simultaneously with all the Gopis, in order to fulfil their desire, His potency Yogmâyâ who can make the impossible possible, did the needful. Here, although His opulence was manifested, it did not eclipse the mood of sweetness. The Gopis too, upon beholding the infinite forms of Sri Krishna, simply thought that He was a great expert in dancing! This is why Sri Lilâshuk said –
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How is the ‘Master’? |
He is “pallavâruna – pâni – pankaja – sangi – venu – rava – âkulam”
Meaning: – His very beautiful lotus-hands are rosier than budding leaves and they play on the flute whose joyous erotic notes agitate the Gopis. The ‘erotism’ felt by the Gopis refers to their extreme desire to serve Sri Krishna in a sweet mood.
Pritisandarbha3 states –
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The Eros in Vrajadhâm is NOT lust |
“The feeling that the Vraja-beauties have for their beloved Sri Krishna has been designated as ‘smara’ or ‘eros’. It is very much different from the ‘eros’ or ‘lust’ of the material world. Ordinarily ‘lust’ means desire. However, ‘priti’ (love) refers to serving the object of ‘priti’4 and giving Him pleasure. Hence, although love and lust appear to be similar, love gives pleasure to the object of love, while the aim of lust is to gratify one’s own senses.”
“I do not consider my own sorrow; I only want Him to be joyful. If by inflicting sorrow on me, He gains great pleasure, then that sorrow will be my greatest happiness.” – (C.C. – Antya. 20.43)
This is the internal beauty of the Vrajadevis’ eros. The resounding flute that is the eternal companion of Sri Krishna’s lotus hands causes erotic exultation in the Vrajadevis. This makes them anxious. In the beginning of Râs–leelâ, Sripâd Shukamuni has expressed this erotic exultation of the Vrajadevis brought about by the song of the flute –
“When the Vrajadevis heard the song of Sri Krishna’s flute that brings about erotic exultation, their hearts were attracted to Sri Krishna and with earrings swinging to and fro, they rushed towards their Beloved.” – [S.B.10.29.4]
The Mahâjans too have described how the flute drove the Vrajadevis mad –
“The sweet resounding song of the flute puts nectar to shame. All the ladies of respectable families heard it and lost their hearts. It forced into their ears and beckoned them with promises of abundant happiness. The tender and lovely Râdhe was overcome with ecstasy. She lost all bodily consciousness.
All the damsels who were present told Her sweetly, ‘There, there, just listen to those notes, how it wrenches the heart!’
(They said) – We cannot bear it. The music of the flute pierces the very core of the heart. The maidens of Vraja have become mad and lost their honour.”
(to be contd.)