Verse 4

Translation

Whose thick, smooth and silky hair is fashioned into an alluring ‘chudâ’’ (see Sri Krishna’s hair style in the picture), that is crowned with colourful peacock feathers, Whose face is immersed in the flow of sweet ras, Who is resplendent with the lâvanya of budding youth, Who is spreading the mellifluous notes of the flute like a nectarine river, Who is served by the lotus-bud-like breasts of the surrounding Gopis, may Such a supremely pleasing splendid brilliance pervade my heart! .4.

s a sâdhak Sri Lilâshuk has three types of experiences –

First, he is aware of Sri Krishna’s sphurti, second – an

intermediary stage between sphurti and actual meeting, that is, he is considering sphurti to be actual meeting (this stage is called visphurti) and third – actual meeting (also called sâkshâtkâr).

Sri Lilâshuk is a sâdhak in the mood of sweetness. This mood is arousing purva–râg¹ and vipralambha² in him. From purva–râg and vipralambha arises lâlasâ³ for Sri Krishna. Although, due to lâlasâ, he is feeling the sphurti of Sri Krishna in his heart (which shows his heart is united with Shyâmsundar), he wishes to meet Sri Krishna, the hero of the Râs–dance, face to face. Hence, in his sâdhak body he is showing the signs of humility and anxiety. He is crying out for this meting! Therefore, the next eighteen verses are lâlasâ–filled prayers. It is possible to feel burning separation externally in spite of feeling the bliss of unification internally.

To describe this, Srila Kavirâj Goswâmipâd has quoted a verse from Sri Geet–Govindam –

“Sri Krishna is forever meditating deeply on Sri Râdhâ. He is experiencing Her touch on His body, His eyes are conjuring Her serene form, and His nostrils are filled with the aroma of Her lotus–face. He is hearing Her voice – it sounds so sweet that it puts nectar to utter shame, and His tongue is sensing the sweetness of Her rosy lips. Nevertheless, alas! Why is the pang of separation increasing in His heart?”

– (G.G.3.15)

In the same manner, Sri Lilâshuk too is sensing the sphurti of Sri Krishna, yet, he is anxious to make his mind and other senses absorb more and more in his lovely Govinda. Therefore, he is praying with lâlasâ to obtain divine sevâ. We can classify his verses in the following manner –

1^st Mangalâcharan (Prayer of invocation)

2^nd Vastu–nirdesh (what is the subject matter)

3^rd Entry into the divine pastime.

4^th – 21^st Prayer to obtain Sri Krishna’s darshan.

22^nd He states his decision.

23^rd – 55^th These 33 verses contain the lamentation of Gopis when Sri

Krishna disappeared from Râs–floor and they prayed to

obtain His darshan⁴.

56^th – 60^th These 5 verses contain visphurti

61^st – 67^th Once again he expresses his anxiousness for darshan.

68^th – 95^th These 28 verses are about the beauty of the Divine form of Sri

Krishna and how He is beyond ordinary senses. The poet has

composed these verses after actual darshan.

96^th – 112^th These seventeen verses contain conversations with Sri Krishna.

Thus, there are 112 verses in total.

 

(to be continued)

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