Raasa LeelA of Krishna with Gopis of Brindavan - 2 of 4

[Guest guest]

Namaste.

 

Radhe-Krishna.

Now let us come to the actual story part. Remember Krishna

was a ten-year old boy at that time. Probably even less.

The Gopis of Brindavan did a month-long Katyayani vrata.

The purpose: To get Lord Krishna as their husband (pati, in

Sanskrit). The vrata itself was a very complicated one:

Bathing in the Yamuna at daybreak, making an image of the

Goddess Parvati with sand on the river bank and

worshipping Her with all the formalities. It was at the end

of this month-long worship, the incident (as described

earlier) of the robbing of their clothes by the Lord

happened. The Lord chastised them that they had no business

to bathe naked in the river, particularly when they were

supposed to be engaged in this Katyayani vrata. After

telling them that his treatment of them was in punishment

of their misbehaviour, he gave them back their clothes;

but also promised them that very soon their desire for

sporting with the Lord, for which they did the Katyayani

vrata, would be fulfilled. And in this context, he makes a

very important statement which is significant for our

understanding of the Ras Leela:

 

‘In the case of whomsoever that has turned their minds

towards Me, the desire or lust that thereby arises in them

would not result in bad, just as a fried or baked seed

would not sprout again’

(X -22 – 26):

 

na may-yAveshita-dhiyAM kAmaH kAmAya kalpate /

bharjitA kathitA dhAnA prAyo bIjAya neshhyate //

 

Note: Recall that all books of Vedanta tell us how a man of

wisdom

(Brahma-jnAni) has no karma chasing him, because they are

like

a fried seed in his case and it will not sprout!

 

The night of that fulfillment arrived in the autumn

following. The requisites for the divine play were all

created by Him by His mAyA. “yogamAyAm-upAshritaH”

(resorting to His yoga-mAyA) says the text (10-29-1). On

that moonlit night, His melodious note on His flute, played

in the woodlands adjoing the Yamuna, went all the way to

the ears of the gopis and enraptured them. It pleasantly

distracted every one and everything from normal activity

and enchanted them to revel in ecstasy. Even shrubs and

trees, flowers and leaves, birds and animals ‘stood

enchanted’ with that rapturous divine musical rendering.

 

No sooner the Gopis heard the music of His flute, than

they were all captivated by the symphony of joy that

emanated from it. They came from all sides to the spot

where He was playing the flute. Some were milking their

cows, some were serving food to their husbands, some were

keeping busy with their cosmetics, some were cleaning

their houses, -- but all of them dropped their work just

where it was and ran towards Krishna. Their husbands,

brothers and parents did try to stop them but of no avail.

The minds of the Gopis had been lured away by the music of

the flute and by the thought of Lord Krishna and they

forgot all about themselves.

 

Some of the gopis, however, could not manage to get out of

their houses, and instead they remained home with eyes

closed, meditating upon Him in pure love. For these gopis

the intolerable separation from their beloved caused an

intense agony that burned away all impious karma

(“tIvra-pApa-dhutA-shubhAH” – X-29-10). By meditating upon

Him they realized His embrace, and the ecstasy they then

felt exhausted their material piety. Although Lord Krishna

is the Supreme Soul, these girls simply thought of Him as

their lover and associated with Him in that intimate mood.

Thus their karmic bondage was nullified and they abandoned,

as it were, their gross material bodies.

 

At this point, King Parikshit asks a pertinent question to

Sage Suka who is narrating the story: O sage, the gopis

knew Krishna only as their lover, not as the Supreme

Absolute Truth. So how could these girls, their minds

caught up in the waves of worldly love, free themselves

from material attachment? And the Rishi replies: Since

even Sisupala, who hated Krishna, achieved perfection, then

what to speak of the Lord’s dear devotees. The Supreme Lord

is inexhaustible and immeasurable, and He is untouched by

Prakrti because He is its controller. His personal

appearance in this world is meant for bestowing the highest

benefit on humanity. Persons who constantly direct their

lust, anger, fear, protective affection, feeling of

impersonal oneness or friendship toward Lord Hari are sure

to become absorbed in thought of Him. You should not be so

astonished, Oh King, because you are the unique one who had

the benefit of seeing His beatific presence even while you

were in your mother’s womb. (X-29-13 to 16).

 

Krishna saw them all coming, and when they had gathered, he

told them to go back. He waved them back saying that their

first duty was in their home with their husbands and

relatives. He says: “I know you have ties of attachment for

Me. It is but proper. All creatures in the world will find

delight in Me (‘prIyante mayi jantavaH’ : X-29-23). But

your duty is elsewhere. For a woman from a respectable

family, petty adulterous affairs are always condemned. They

bar her from heaven, ruin her reputation and bring her

difficulty and fear”. And He ends this sermon by making a

famous declaration (X-29-27) which He himself repeats

later:

 

shravaNAt darshanAt dhyAnAt mayi bhAvo’nukIrtanAt /

na tathA sannikarshheNa pratiyAta tato gRhAn // meaning,

 

“Transcendental love for Me arises by the devotional

processes of hearing about Me, seeing My Deity form,

meditating on Me and faithfully chanting My glories. The

same result is not achieved by mere physical proximity. So

please go back to your homes”.

 

But the Gopis don’t listen. To his argument that their duty

is to their husbands and families, they reply that He is

the pati, the husband of the entire world and therefore of

them all, and so their first duty is to Him. “Not only

that, Oh Lord, our minds which were all along with our

families and our work have now been totally captivated by

You. Our hands and feet are not ours. Our minds are not

ours. They are all yours. They refuse to do any work which

is not directed at You. So don’t throw us back. Deign to

accept us as your servants”. And they were steadfast in

this determination. Seeing their steadfastness, Krishna

decided to please them.

 

iti viklavitaM tAsAM shrutvA yogeshvareshvaraH /

Prahasya sadayaM gopIH AtmArAmo’pyarIramat // X-29-42

 

Smiling upon hearing these despondent words from the gopîs,

Lord Krishna, the supreme master of all masters of mystic

yoga, mercifully satisfied them, although He is Himself

Self-satisfied.

 

He was Himself AtmArAma, that is One who is fulfilled in

Himself, by Himself for Himself. He has nothing to obtain

which He does not already have. (cf. nAnavAptam-avAptavyam,

.... Gita III-22). When He thus moved in intimate terms with

the Gopis, very soon they thought highly of themselves.

They thought they were the greatest women on Earth. And the

Lord became aware of their pride and arrogant thought, and

intending to bless them with the right kind of

spirituality, immediately vanished!

 

And then begins a long wailing and searching, by the Gopis.

They could not stand this separation from the Lord. They

lose their head and become really mad for Him. This is

called the experience of ‘viraha’, separation. It is said

by all exponenets of bhakti that the highest form of bhakti

is the experience of this viraha from the Lord. We think we

are all very devoted to God. But do we feel the pangs of

separation from Him as the gopis felt?

 

People say God does not take the offering we give Him ; but

do we offer it the way Sabari offered Him? [ “lok kahte hai

bhagwAn khAte nahiM; kyA haM shabarI kI taraH khilAte

haim?” ].

 

People say that God does not come to our rescue; but do we

call Him with that conviction and pangs of anxiety that

was characteristic of Draupadi’s call? [ “lok kahte hai

bhagwAn Ate nahiM; kyA haM draupadI kI taraH bulAte

haiM?”].

 

People say that God does not bless us; but do we love Him

with that intensity of Radha’s love? [“lok kahte hai

bhagwaan prasAd karte nahiM; kyA ham rAdhA kI tarah pyAr

karte haiM?”].

 

PraNAms to all devotees of Krishna.

profvk

 

 

=====

Prof. V. Krishnamurthy

My website on Science and Spirituality is http://www.geocities.com/profvk/

You can access my book on Gems from the Ocean of Hindu Thought Vision and

Practice, and my father R. Visvanatha Sastri's manuscripts from the site.

Also see my webpages on Live Happily, the Gita Way at

http://www.geocities.com/profvk/gohitvip/contentsbeach11.html

[Guest guest]

Thank you, Professorji, for this string of pearls :-)

Hope everyone is enjoying it as much as I am.

 

Pranams to you,

 

Joyce

 

 

-

"V. Krishnamurthy" <profvk

"Harshasatsangh" <>; "Divine Lovers"

<divine_lovers>; "Sadhanashakti"

<Sadhana_shakti>

Thursday, August 05, 2004 6:23 AM

Raasa LeelA of Krishna with Gopis of Brindavan - 2

of 4

 

> Namaste.

>

> Radhe-Krishna.

> Now let us come to the actual story part. Remember Krishna

> was a ten-year old boy at that time. Probably even less.

> The Gopis of Brindavan did a month-long Katyayani vrata.

> The purpose: To get Lord Krishna as their husband (pati, in

> Sanskrit). The vrata itself was a very complicated one:

> Bathing in the Yamuna at daybreak, making an image of the

> Goddess Parvati with sand on the river bank and

> worshipping Her with all the formalities. It was at the end

> of this month-long worship, the incident (as described

> earlier) of the robbing of their clothes by the Lord

> happened. The Lord chastised them that they had no business

> to bathe naked in the river, particularly when they were

> supposed to be engaged in this Katyayani vrata. After

> telling them that his treatment of them was in punishment

> of their misbehaviour, he gave them back their clothes;

> but also promised them that very soon their desire for

> sporting with the Lord, for which they did the Katyayani

> vrata, would be fulfilled. And in this context, he makes a

> very important statement which is significant for our

> understanding of the Ras Leela:

>

> 'In the case of whomsoever that has turned their minds

> towards Me, the desire or lust that thereby arises in them

> would not result in bad, just as a fried or baked seed

> would not sprout again'

> (X -22 - 26):

>

> na may-yAveshita-dhiyAM kAmaH kAmAya kalpate /

> bharjitA kathitA dhAnA prAyo bIjAya neshhyate //

[Guest guest]

Yes! sweet-heart!

 

did you see the picture i posted in my group sadhana_shakti ? the one

of radha and krishna ?

 

professor-ji is versatile and full of love and compassion...

 

he is also one of the moderators of Adwaithin list ...

 

Read what i wrote in my own group pn this series!!

 

 

Thank you Professor-ji!

 

You are truly amazing !

 

I know you are very versatile having read your 'Science and

Spirituality' web site.

 

But, i did not know you could write on Rasa-Lila and Madhurya bhava

as well. i know you are full of Bhakti for Ambaa-l from your posts on

Saundarya Lahari !

 

anyway, i once heard that 'The sum and substance of material life is

attraction for woman and Gold. (kaanch and Kaamini) . And the sum and

substance of spiritual life is attraction for Radha-Krishna".

 

SALUTATIONS TO THE LOTUS FEET OF RADHA-KRISHNA!!!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

, "Lady Joyce" <shaantih@c...>

wrote:

> Thank you, Professorji, for this string of pearls :-)

> Hope everyone is enjoying it as much as I am.

>

> Pranams to you,

>

> Joyce

>

>

> -

> "V. Krishnamurthy" <profvk>

> "Harshasatsangh" <>; "Divine

Lovers"

> <divine_lovers>; "Sadhanashakti"

> <Sadhana_shakti>

> Thursday, August 05, 2004 6:23 AM

> Raasa LeelA of Krishna with Gopis of

Brindavan - 2

> of 4

>

>

> > Namaste.

> >

> > Radhe-Krishna.

> > Now let us come to the actual story part. Remember Krishna

> > was a ten-year old boy at that time. Probably even less.

> > The Gopis of Brindavan did a month-long Katyayani vrata.

> > The purpose: To get Lord Krishna as their husband (pati, in

> > Sanskrit). The vrata itself was a very complicated one:

> > Bathing in the Yamuna at daybreak, making an image of the

> > Goddess Parvati with sand on the river bank and

> > worshipping Her with all the formalities. It was at the end

> > of this month-long worship, the incident (as described

> > earlier) of the robbing of their clothes by the Lord

> > happened. The Lord chastised them that they had no business

> > to bathe naked in the river, particularly when they were

> > supposed to be engaged in this Katyayani vrata. After

> > telling them that his treatment of them was in punishment

> > of their misbehaviour, he gave them back their clothes;

> > but also promised them that very soon their desire for

> > sporting with the Lord, for which they did the Katyayani

> > vrata, would be fulfilled. And in this context, he makes a

> > very important statement which is significant for our

> > understanding of the Ras Leela:

> >

> > 'In the case of whomsoever that has turned their minds

> > towards Me, the desire or lust that thereby arises in them

> > would not result in bad, just as a fried or baked seed

> > would not sprout again'

> > (X -22 - 26):

> >

> > na may-yAveshita-dhiyAM kAmaH kAmAya kalpate /

> > bharjitA kathitA dhAnA prAyo bIjAya neshhyate //

[Guest guest]

, "V. Krishnamurthy"

<profvk> wrote:

> Namaste.

>

> Radhe-Krishna.

 

 

Namaste Prof. Krishnamurthy,

 

Thank you so much for your postings about the Rasa Lila. Sometimes

while studying vedanta one forgets the beauty of bhakti.

 

While in university, I wrote a paper for an art history course on

the Kangra Valley paintings which illustrate Jaya Dev's Gita Govind.

 

That was my first introduction to the Rasa Lila. The explanations

you are presenting of the Lila are beautiful.

 

Please don't stop. Awaiting more, Durga

[Guest guest]

DURGA-JI!

 

i echo your sentiments.

 

It is time to move away from the MUNDANE world of M M to the bhakti

world of Murali Madhuri ( the sweetness iof krishna's flute ) and the

Raasa-lila of Radha Krishna!

 

Let us now create the 'mood' and atmosphere for this Raasa lila !!!

 

Lady Joyce has already posted a beautiful message on Tagore's love of

GOD!

 

LET US FOLLOW THAT THREAD!

 

LOVE

 

 

 

 

 

 

 

 

, "Durga" <durgaji108>

wrote:

> , "V. Krishnamurthy"

> <profvk> wrote:

> > Namaste.

> >

> > Radhe-Krishna.

>

>

> Namaste Prof. Krishnamurthy,

>

> Thank you so much for your postings about the Rasa Lila. Sometimes

> while studying vedanta one forgets the beauty of bhakti.

>

> While in university, I wrote a paper for an art history course on

> the Kangra Valley paintings which illustrate Jaya Dev's Gita Govind.

>

> That was my first introduction to the Rasa Lila. The explanations

> you are presenting of the Lila are beautiful.

>

> Please don't stop. Awaiting more, Durga

[Guest guest]

, "adi_shakthi16"

<adi_shakthi16> wrote:

> DURGA-JI!

>

> i echo your sentiments.

>

> It is time to move...to the bhakti

> world of Murali Madhuri ( the sweetness iof krishna's flute ) and

the

> Raasa-lila of Radha Krishna!

>

> Let us now create the 'mood' and atmosphere for this Raasa

lila !!!

>

> Lady Joyce has already posted a beautiful message on Tagore's love

of

> GOD!

>

> LET US FOLLOW THAT THREAD!

>

> LOVE

 

Okay, Adiji, I've posted this elsewhere, but perhaps you've never

seen it. It is Mirabai, (not the Rasa Lila), but the bhav.....

--Durga

 

 

O MY FRIENDS,

 

What can you tell me of love,

Whose pathways are filled with strangeness?

when you offer the Great One your love,

At the first step your body is crushed.

Next be ready to offer your head as his seat.

Be ready to orbit his lamp

like a moth giving in to the light,

To live in the deer as she runs

towards the hunters call,

In the partridge that swallows hot coals

for the love of the moon,

In the fish that, kept from the sea, happily dies.

Like a bee trapped for life

in the closing of the sweet flower,

Mira has offered herself to her Lord.

She says: the single Lotus will swallow you whole.

 

--MIRABAI

[Guest guest]

Here are some picture links to the profs wonderful article:

 

http://www.srimadbhagavatam.org/canto10/chapter29.html

http://www.srimadbhagavatam.org/canto10/chapter30.html

http://www.srimadbhagavatam.org/canto10/chapter31.html

http://www.srimadbhagavatam.org/canto10/chapter32.html

http://www.srimadbhagavatam.org/canto10/chapter33.html

 

Wim

 

 

 

adi_shakthi16 <adi_shakthi16 wrote:

DURGA-JI!

 

i echo your sentiments.

 

It is time to move away from the MUNDANE world of M M to the bhakti

world of Murali Madhuri ( the sweetness iof krishna's flute ) and the

Raasa-lila of Radha Krishna!

 

Let us now create the 'mood' and atmosphere for this Raasa lila !!!

 

Lady Joyce has already posted a beautiful message on Tagore's love of

GOD!

 

LET US FOLLOW THAT THREAD!

 

LOVE

 

 

 

 

 

 

 

 

, "Durga"

wrote:

> , "V. Krishnamurthy"

>

wrote:

> > Namaste.

> >

> > Radhe-Krishna.

>

>

> Namaste Prof. Krishnamurthy,

>

> Thank you so much for your postings about the Rasa Lila. Sometimes

> while studying vedanta one forgets the beauty of bhakti.

>

> While in university, I wrote a paper for an art history course on

> the Kangra Valley paintings which illustrate Jaya Dev's Gita Govind.

>

> That was my first introduction to the Rasa Lila. The explanations

> you are presenting of the Lila are beautiful.

>

> Please don't stop. Awaiting more, Durga

 

 

 

 

/join

 

 

 

 

"Love itself is the actual form of God."

 

Sri Ramana

 

In "Letters from Sri Ramanasramam" by Suri Nagamma

 

 

 

 

 

 

 

 

[Guest guest]

Dear Wim:

 

Thank you so much for finding those links.

The images are so beautiful, they melt my heart.

And the Raasa LeelA? Waiting and wishing.

 

Love,

 

Joyce

 

 

 

> Here are some picture links to the profs wonderful article:

>

> http://www.srimadbhagavatam.org/canto10/chapter29.html

> http://www.srimadbhagavatam.org/canto10/chapter30.html

> http://www.srimadbhagavatam.org/canto10/chapter31.html

> http://www.srimadbhagavatam.org/canto10/chapter32.html

> http://www.srimadbhagavatam.org/canto10/chapter33.html

>

> Wim

>

>

>

> adi_shakthi16 <adi_shakthi16 wrote:

> DURGA-JI!

>

> i echo your sentiments.

>

> It is time to move away from the MUNDANE world of M M to the bhakti

> world of Murali Madhuri ( the sweetness iof krishna's flute ) and the

> Raasa-lila of Radha Krishna!

>

> Let us now create the 'mood' and atmosphere for this Raasa lila !!!

>

> Lady Joyce has already posted a beautiful message on Tagore's love of

> GOD!

>

> LET US FOLLOW THAT THREAD!

>

> LOVE

>

>

, "Durga"

> wrote:

> > , "V. Krishnamurthy"

> >

> wrote:

> > > Namaste.

> > >

> > > Radhe-Krishna.

> >

> >

> > Namaste Prof. Krishnamurthy,

> >

> > Thank you so much for your postings about the Rasa Lila. Sometimes

> > while studying vedanta one forgets the beauty of bhakti.

> >

> > While in university, I wrote a paper for an art history course on

> > the Kangra Valley paintings which illustrate Jaya Dev's Gita Govind.

> >

> > That was my first introduction to the Rasa Lila. The explanations

> > you are presenting of the Lila are beautiful.

> >

> > Please don't stop. Awaiting more, Durga

>

>

>

>

> /join

>

>

>

>

>

> "Love itself is the actual form of God."

>

> Sri Ramana

>

> In "Letters from Sri Ramanasramam" by Suri Nagamma

> Links

>

>

 

>

>

>

>

> /join

>

>

>

>

>

> "Love itself is the actual form of God."

>

> Sri Ramana

>

> In "Letters from Sri Ramanasramam" by Suri Nagamma

> Links

>

>

>

>

>

>

[Guest guest]

Thanks my dear Joyce, and knowing that we are both sitting here,

hearts-a-melting, gives the feeling of love just another round, spiralling that

love to an even higher level...

 

Wim

 

Lady Joyce <shaantih wrote:

Dear Wim:

 

Thank you so much for finding those links.

The images are so beautiful, they melt my heart.

And the Raasa LeelA? Waiting and wishing.

 

Love,

 

Joyce

 

 

 

> Here are some picture links to the profs wonderful article:

>

> http://www.srimadbhagavatam.org/canto10/chapter29.html

> http://www.srimadbhagavatam.org/canto10/chapter30.html

> http://www.srimadbhagavatam.org/canto10/chapter31.html

> http://www.srimadbhagavatam.org/canto10/chapter32.html

> http://www.srimadbhagavatam.org/canto10/chapter33.html

>

> Wim

>

>

>

> adi_shakthi16 wrote:

> DURGA-JI!

>

> i echo your sentiments.

>

> It is time to move away from the MUNDANE world of M M to the bhakti

> world of Murali Madhuri ( the sweetness iof krishna's flute ) and the

> Raasa-lila of Radha Krishna!

>

> Let us now create the 'mood' and atmosphere for this Raasa lila !!!

>

> Lady Joyce has already posted a beautiful message on Tagore's love of

> GOD!

>

> LET US FOLLOW THAT THREAD!

>

> LOVE

>

>

, "Durga"

> wrote:

> > , "V. Krishnamurthy"

> >

> wrote:

> > > Namaste.

> > >

> > > Radhe-Krishna.

> >

> >

> > Namaste Prof. Krishnamurthy,

> >

> > Thank you so much for your postings about the Rasa Lila. Sometimes

> > while studying vedanta one forgets the beauty of bhakti.

> >

> > While in university, I wrote a paper for an art history course on

> > the Kangra Valley paintings which illustrate Jaya Dev's Gita Govind.

> >

> > That was my first introduction to the Rasa Lila. The explanations

> > you are presenting of the Lila are beautiful.

> >

> > Please don't stop. Awaiting more, Durga

>

>

>

>

> /join

>

>

>

>

>

> "Love itself is the actual form of God."

>

> Sri Ramana

>

> In "Letters from Sri Ramanasramam" by Suri Nagamma

> Links

>

>

 

>

>

>

>

> /join

>

>

>

>

>

> "Love itself is the actual form of God."

>

> Sri Ramana

>

> In "Letters from Sri Ramanasramam" by Suri Nagamma

> Links

>

>

>

>

>

>

 

 

 

 

/join

 

 

 

 

"Love itself is the actual form of God."

 

Sri Ramana

 

In "Letters from Sri Ramanasramam" by Suri Nagamma

 

 

 

 

 

 

 

[Guest guest]

JOYCE!

 

you are waiting and wishing for Raasa-lila on a saurday night!! ME

TOO, SWEET-HEART!!

 

here is something to bring a smile to your face!!

 

Vidyapati (1352?-1448): Love Songs to Krishna

 

Vidyapati was born in the village of Bisapi in Madhubani, on the

eastern side of north Bihar. Courtier, scholar, and prose-writer,

Vidyapati, though a Bengali poet, is primarily known for his love-

lyrics composed in Maithili, a language spoken in the towns and

villages of Mithila. In the well-known tradition of the Kama Sutra

and the influential early Indian poem called Gita Govinda by

Jayadeva, Vidyapati's love-songs re-create and reveal the world of

Radha and Krishna, the major erotic figures of Indian mythology and

literature. Such poems convey the devotion of Krishna's worshippers

through the metaphor of human erotic love. While Jayadeva's poem

celebrates Krishna's love and pays comparatively little attention to

Radha the woman, Vidyapati is primarily concerned with the intense

passion of Radha's love. At once sensuous and sensual, descriptive

and dramatic, Vidyapati's songs range beyond the mythological only to

find their place in the heart of a human lover whose dreams and

desires never die, whose sighs and cries never end.

 

 

 

 

----

----------

In this poem, Krishna expresses his devotion to Radha, his principal

consort. Bites and fingernail marks are considered signs of passion

in Indian tradition (the Kama Sutra devotes an entire chapter to the

different patterns that may be made by fingernails on the lover's

skin; the associations are not sadistic, but more like "hickeys" in

American tradition). The language is violent, to express the power of

the union between worshipper and god; but note how the god plays the

submissive role in this poem, almost as if he were worshipping the

human woman.

 

 

 

----

----------

For heaven's sake, listen, listen, O my darling

 

How could you interpret some of these lines in religious terms?

 

 

For heaven's sake, listen, listen, O my darling:

Do not dart your cruel, angry glances at me,

For I swear by the lovely pitchers of your breasts,

And by your golden, glittering, snake-like necklace:

If ever on earth I dare touch anyone except you,

Let your necklace turn into a real snake, and bite me;

And if ever my promise and words prove false,

Chastise me, O darling, in the way you want to.

But, now, don't hesitate to take me in your arms,

Bind, bind my thirsty body with yours; bruise me

With your thighs, and bite, bite me with your teeth.

Let your fingernails dig deep, deep into my skin!

Strangle me, for heaven's sake, with your breasts,

And lock me in the prison of your body forever!

 

 

 

 

----

----------

All my inhibition left me in a flash

 

Krishna is a playful god, associated with tricks and games. In one of

the most famous incidents in the Krishna legend, he steals the

clothing of a group of bathing cowherds' wives (gopis) and exhorts

them to come forth from the water to reveal themselves. The religious

significance of this incident is that the believer must not hold back

from uniting fully with the divine, must be utterly devoted to the

god. Similar attitudes are expressed in the following poem in

relation to Radha.

 

 

What different emotions are expressed in this poem?

 

 

 

 

----

----------

All my inhibition left me in a flash,

When he robbed me of my clothes,

But his body became my new dress.

Like a bee hovering on a lotus leaf

He was there in my night, on me!

 

True, the god of love never hesitates!

He is free and determined like a bird

Winging toward the clouds it loves.

Yet I remember the mad tricks he played,

My heart restlessly burning with desire

Was yet filled with fear!

 

 

 

He promised he'd return tomorrow

 

 

In the final poem, Radha has to deal with her jealousy. Krishna is

the lover of all women (representing all humanity), and she cannot

hope to keep him to herself.

 

 

What functions do you think such a poem as this might play in a

polygamous society? Does it express women's feelings, or teach how

they should feel?

 

 

He promised he'd return tomorrow.

And I wrote everywhere on my floor:

"Tomorrow."

 

 

The morning broke, when they all asked:

Now tell us, when will your "Tomorrow" come?

Tomorrow, Tomorrow, where are you?

I cried and cried, but my Tomorrow never returned!

 

 

Vidyapati says: O listen, dear!

Your Tomorrow became a today

with other women.

 

Translated by Azfar Hussain

 

**********************************************************************

 

well, joyce!! This is Madhurya-Lila at its best!!

[Guest guest]

I FORGOT TO POST THE LINK!!

 

http://www.wsu.edu:8080/~wldciv/world_civ_reader/world_civ_reader_1/vi

dyapati.html -

 

 

 

 

 

 

 

 

, "adi_shakthi16"

<adi_shakthi16> wrote:

> JOYCE!

>

> you are waiting and wishing for Raasa-lila on a saurday night!! ME

> TOO, SWEET-HEART!!

>

> here is something to bring a smile to your face!!

>

> Vidyapati (1352?-1448): Love Songs to Krishna

>

> Vidyapati was born in the village of Bisapi in Madhubani, on the

> eastern side of north Bihar. Courtier, scholar, and prose-writer,

> Vidyapati, though a Bengali poet, is primarily known for his love-

> lyrics composed in Maithili, a language spoken in the towns and

> villages of Mithila. In the well-known tradition of the Kama Sutra

> and the influential early Indian poem called Gita Govinda by

> Jayadeva, Vidyapati's love-songs re-create and reveal the world of

> Radha and Krishna, the major erotic figures of Indian mythology and

> literature. Such poems convey the devotion of Krishna's worshippers

> through the metaphor of human erotic love. While Jayadeva's poem

> celebrates Krishna's love and pays comparatively little attention

to

> Radha the woman, Vidyapati is primarily concerned with the intense

> passion of Radha's love. At once sensuous and sensual, descriptive

> and dramatic, Vidyapati's songs range beyond the mythological only

to

> find their place in the heart of a human lover whose dreams and

> desires never die, whose sighs and cries never end.

>

>

>

>

> --

--

> ----------

> In this poem, Krishna expresses his devotion to Radha, his

principal

> consort. Bites and fingernail marks are considered signs of passion

> in Indian tradition (the Kama Sutra devotes an entire chapter to

the

> different patterns that may be made by fingernails on the lover's

> skin; the associations are not sadistic, but more like "hickeys" in

> American tradition). The language is violent, to express the power

of

> the union between worshipper and god; but note how the god plays

the

> submissive role in this poem, almost as if he were worshipping the

> human woman.

>

>

>

> --

--

> ----------

> For heaven's sake, listen, listen, O my darling

>

> How could you interpret some of these lines in religious terms?

>

>

> For heaven's sake, listen, listen, O my darling:

> Do not dart your cruel, angry glances at me,

> For I swear by the lovely pitchers of your breasts,

> And by your golden, glittering, snake-like necklace:

> If ever on earth I dare touch anyone except you,

> Let your necklace turn into a real snake, and bite me;

> And if ever my promise and words prove false,

> Chastise me, O darling, in the way you want to.

> But, now, don't hesitate to take me in your arms,

> Bind, bind my thirsty body with yours; bruise me

> With your thighs, and bite, bite me with your teeth.

> Let your fingernails dig deep, deep into my skin!

> Strangle me, for heaven's sake, with your breasts,

> And lock me in the prison of your body forever!

>

>

>

>

> --

--

> ----------

> All my inhibition left me in a flash

>

> Krishna is a playful god, associated with tricks and games. In one

of

> the most famous incidents in the Krishna legend, he steals the

> clothing of a group of bathing cowherds' wives (gopis) and exhorts

> them to come forth from the water to reveal themselves. The

religious

> significance of this incident is that the believer must not hold

back

> from uniting fully with the divine, must be utterly devoted to the

> god. Similar attitudes are expressed in the following poem in

> relation to Radha.

>

>

> What different emotions are expressed in this poem?

>

>

>

>

> --

--

> ----------

> All my inhibition left me in a flash,

> When he robbed me of my clothes,

> But his body became my new dress.

> Like a bee hovering on a lotus leaf

> He was there in my night, on me!

>

> True, the god of love never hesitates!

> He is free and determined like a bird

> Winging toward the clouds it loves.

> Yet I remember the mad tricks he played,

> My heart restlessly burning with desire

> Was yet filled with fear!

>

>

>

> He promised he'd return tomorrow

>

>

> In the final poem, Radha has to deal with her jealousy. Krishna is

> the lover of all women (representing all humanity), and she cannot

> hope to keep him to herself.

>

>

> What functions do you think such a poem as this might play in a

> polygamous society? Does it express women's feelings, or teach how

> they should feel?

>

>

> He promised he'd return tomorrow.

> And I wrote everywhere on my floor:

> "Tomorrow."

>

>

> The morning broke, when they all asked:

> Now tell us, when will your "Tomorrow" come?

> Tomorrow, Tomorrow, where are you?

> I cried and cried, but my Tomorrow never returned!

>

>

> Vidyapati says: O listen, dear!

> Your Tomorrow became a today

> with other women.

>

> Translated by Azfar Hussain

>

>

**********************************************************************

>

> well, joyce!! This is Madhurya-Lila at its best!!

[Guest guest]

> All my inhibition left me in a flash,

> When he robbed me of my clothes,

> But his body became my new dress.

> Like a bee hovering on a lotus leaf

> He was there in my night, on me!