Now we are able to understand that ‘smara’ is nothing but the deep anurâg felt by the gopis for Sri Krishna. If a dry log of wood has a splinter of fire inside it, and we blow into it using a blow-pipe, then the fire is kindles, burns the wood and manifests outside. Similarly Govinda blew into His flute and kindles the erotic fire smouldering in their bosom. It razed to ashes their decency, self-control, shame and virtue. At last the flute forced the love to manifest itself. As they continued to hear the flute-song they became mad and overwhelmed. The current of erotic ras started gushing through every vein in their body. The Madan (love-God) of the material world has no effect on the Brajagopis; their heart is the playground for the youthful Love-God (Sri Krishna) of the transcendental world.

“jâhân râm, tahân nâhi kâm,

jahân kâm, tahân nâhi râm,

dono ki ek sâth rahe, ravi rajani ek thâm.”

Meaning – “Lust cannot exist where God exists, and where there is lust, one will not find God. Just as the sun and the night cannot exist together, it is impossible that both God and lust co-exist”.

The pores of the flute played by Madan-mohan ceaselessly struck flower-arrows. Madan has five flower-arrows, viz. aravinda, ashok, choota, nava-mallikâ and the red lotus. They have five functions – to hypnotize, arouse madness, cause dryness, and stupefy. When the five arrows of this youth Love-God struck them, all self-control of the gop-kishoris turned to dust. They started writhing in pain like odes struck down by the bewitching arrows of the Supreme Wizard. Yet, they could not reveal their feelings to anyone. How could they? At the same time, how could they remain still? The smooth and stunning Handsome One had entered their hearts – they tried countless means to forget Him, but they could not.

“pâshoribo kori mone – pashorâ nâ jaay go, ki koribo upây?”

Meaning – “I want to forget Him, but it is impossible, what to do?” – (Mahâjan poem)

They had no other option but to confide in each other. So they took courage to speak to one another and decided to meet in a lonely place. Although they met, they dared not to talk. Tremendous shyness choked their voice. Simultaneously, they were thrown in the throes of a powerful bhâv. And just as they forgot themselves, the flute started singing – “Râdhe Râdhe – Jay Sri Râdhe!!!”

Srimati Râdhârâni became impatient; She lost self-control and blurted out Her opinion about the flute to Her intimate sakhi. The original verse^[1] says – “certain Braja-ramanis^[2] heard Sri Krishna’s flute-song, and concealing their inner feelings they started describing the song to their own sakhis.” Laghu-toshani explanation says – “The word ‘kâshchit’ indicates those gopis who had special feelings for Sri Krishna such as Srimati Râdhârâni and Chandrâvali. ‘Swa’ signifies that they were revealing their emotions to their intimate sakhis, and we should understand that the sakhis of these sakhis were definitely not present over there. This also tell us that these girls are extremely decent, bashful, humble, soft, disciplined and well-mannered. Moreover we learn that they spoke of the flute-song indirectly, hiding their personal emotions.

Sri Brajendra-nandan is Shringâr-rasa-râj personified. Now, the ‘Shringâr-ras^[3]’ residing in Braja wants to make Him relish Srimati Râdhârâni’s sweet bhâv in a very special manner. Therefore he arranged the beloveds of Braja in four groups with Srimati Râdhârâni, the crest-jewel of all sweethearts as the centre. These four groups are as follows –

1. swa-pakshâ – supporters – e.g. Lalitâ, Vishâkhâ etc.
2. vipakshâ – opposite party – e.g. Chandrâvali, Padmâ, Shaibyâ
3. suhrit-pakshâ – well-wishers of the supporters – e.g. Shyâmalâ
4. tatasthâ-pakshâ – well-wishers of the opponents – e.g. Bhadrâ.

These above-mentioned gopis have friends who support them. They are in the same mood as these gopis and they are happy simply to arrange a meeting with their group leader with Sri Krishna. They never desire any pleasure for themselves. We call them ‘sakhis’ of these gopis. These girls broaden and enhance the pleasure of the prem, leelâ and the love-sports. This is why although Sri Sri Râdhâ-Krishna’s leelâ are infinite, the wise say that the leelâs will never be so ras-full without the help of the sakhis.

Srila Krishnadâs Kavirâj Goswâmi has written in Sri Govinda-Leelâmritam 10.17 –

“vibhurapi sukha-rupah swa-prakâsho’pi bhâvah

kshanam-api nârad hi râdhâ-krishnayor-yâ rite swâh,

pravahati rasa-pushtin chid-vibhuteeri-veshah

shrayati nârad padam-âsâng kah sakhinâm rasagnyah.”

He has translated this verse in sweet Bengali –

(to be contd…..)