Guest guest Posted November 2, 1999 Report Share Posted November 2, 1999 Dear Sri Vaishnava perunthagaiyeer, Sri lakshmi nrusimha divya paadukaa sEvaka SrivaN satakOpa Sri Vedaanta desika yateendra mahaa dEsikaaya namah: In the "nouka charithram" of Saint Thyagaraja, the raama bhaktha, says on krishnaa "Muraharudu aananthamuthO muraLini koni sakalajanula mOhimpanuthaa- sa ri ga pa ma pa da ni s yanuchunu karuNanu karajamula chEtha gaanu salapen" The murahara - krishna lifted the murali [flute] and rained the songs which made all the creatures [jeeva raasis] to forget themselves. Here Sri thyaagaraajaswamy says all creatures forgot themselves. But same Saint thyaagaraaja in the krithi "saadhinchanE" the aarabhi raaga pancha rathna says "Gopee jana manOradha mosanga lEkanE KEliyu jEsEvaadu samayaaniki"- whenever he wants to play with the gopees he will call them by playing the flute. This perhaps has an echo in vishnu puraanam slokam (please see below). Meaning: Krishna did not fulfil the desires of gopikaas. He also mocked at them. He is capable of talking differently at different times, also differently at the same time. Whenever he wants to play with them, he will invite them with the vENu gaanam. He called them, played with them, when they wanted to reach him, he disappeared and then reappeared, thus made fun with them. So his play not only invites the people near him but also makes them forget themselves. This play with gopees, as he pleases, did not stop with gopees, but continued with krishna's mother yasodha also. See how krishna played with his mother as described by thyaagaraja in same krithi "saadhinchanE'. Vanithala sadhaa sokka jEyuchunu mrokka jEsE Paramaathmudadhiyu gaaka yasOdha Thanayudanchu mudhambhunanu mudhdhu bEttu NavvuchuNdu hari- samayaaniki He is the son of yasOdhaa. That was what she was thinking. With this thinking, she wanted to kiss krishnaa. But when she did so (meaning kissed) he laughed at her derisively (kapadamaaga). Krishnaa means soulful enjoyment to all bhaktaas. Sri Muthuswami dikshithar says "gopasthree mohitha vENu gaana manOllaasEna" in the song "Sree paarthasaarathy" in the raaga thanaasi, thus highlighting the enjoyment of gopees in the krishna's flute singing [or restricting himself describing the plight of gopees alone] and not all creatures. Another raama bhaktha and predecessor to Sri Thyaagaraaja, in staunch raama bhakthi, Sri bhaktha raamadhaas (also known as bhadraachala raamadhaas) also enjoyed Sri krishna [since he is known for raama bhakthi more, this may sound a little odd]. See his krithi NaaraayaNa NaaraayaNa jaya gOpaala harE krishna Sri kousthubha maNi bhoosha sringaara mrudhu bhaasha- naaraayaNa Nanda vara kumaara navaneetha dhadhi chOra Kamaneeya subha gaathra kanjaatha dhaLa nEthra KaruNaapaara vaara varuNaalaya ghambheera Manjula kunja bhoosha maayaa maanusha vEsha - naaraayaNa Aja bhavanutha kamsaarE achyutha krishna muraarE MuraLi gaana vinOdha vyatyasthaa paadhaaravindha Yamunaa theera vihaara dhritha kousthubha maNi haara Vara bhadhraachala vaasa paalitha raamadhaasa - naaraayaNa In this krithi, see how the raama bhaktha is enjoying krishna's kuzhal oothum leelai- stating "murali gaana vinOdha"- also note thyaagaraaja says "muralee vaadha vinodha' in the krithi saamaja vara gamana [covered in part 15]. Further please note bhadhraachala vaasa raama has become suddenly krishna to Sri raama dasa, so that he enjoyed this krishna leelai of flute playing. That is why, it is said, it seems, wisemen always think alike, even though on the time scale, they are miles apart. In the above krithi, please note "maaya maanusha vesha" echoing similarity with Swami desikan "leelaya gopa vesha vishno:" in gopaala vimsathi. Now let us see in Vishnu puraaNam, the portions pertaining to this kuzhal oothum leelaigaL. 1. Vanaraajim thathaa koojadh bhrungamaalaa manoharaam! VilOkya saha gOpeebhir manaschakrE rathim prathi!! 5-13-15 Meaning: The forest line was beautiful in the moonlit night. The beautiful vanamaalee krishna saw the forest in that manner. He wanted to play with the gopees who were also having such a desire. 2. Vina raamENa madhuramatheeva vanithaa priyam! Jagow kalapadham sowristhaara mandhrakruthakramam!! 5-13-16 Meaning: Krishna reached the forest without balaraama his elder brother, who always goes with him. The beloved of the young girls krishna of brindaavan played the flute so sweetly and excellantly with proper ascent and descent in a specialised way like, how a manthram is to be pronounced, so that it attracts all the girls to his place. [please recall swami desikan saying saama vedam also could not have that much sweetness as krishna's music- yaadhavaabyu. referred in earlier part. Also refer naaraayaneeyam slokam 65-2 referred in part 14] 3. Ramyam geethadhwanim sruthvaa santhyajyaavasathaasthadhaa! Aajagmusthvarithaa gOpyO yathraasthE madhusoodhana!! 5-13-17 Meaning: Having heard the beautiful sound of that flute music of krishna the gopees in that night rushed to where madhusoodhan was playing flute. How they came in - leaving everything aside they came near krishna. (refer periyaa. - udal ul avizhnthu - paasuram 2. Also refer naaraayaneeyam slokam 65-3 referred in part 14) 4. KaachichchaavasathasyaanthE sthithvaa dhrushtvaa bahirgurum! ThanmayathvEna gOvindham dhadhyow meelithalOchanaa!! 5-13-20 Meaning: Some girls were prevented by the sight of their gurus (meaning elders of the family) and restrained from going. They enjoyed within themselves with govindan viz. by thinking about govindan and enjoying his music. So they went into yoga trance easily. (cross reference -again from Swami desikan in yaadhava. Also refer naaraayaneeyam slokam 65-7 referred in part 14 ) 5. Kaachidh bhroobhanguram kruthvaa lalaata palakam harim! VilOkyanEthra bhrungaabhyaam papow thanmukha pankajam!! 5-13- 45 Meaning: In the crescent shaped forehead of Sri hari the Lord krishna some girls saw below the bent and well nourished eye brows sun and moon like eyes shining and well spread in the lotus like face (means enjoyed the facial beauty of kaNNan - refer part 15 in this series how periyaa. Enjoyed kannan's postures) 6. KaachidhaalOkya gOvindham nimeelithavilOchanaa! Thasyaiva roopam dhyaayanthee yogaarooDEva saa babhow!! 5-13-46 Meaning: Some girls having seen the winking and love shedding eyes of krishna and having seen himself in full in front of them went into mediatation easily (yogic trance). [While enjoying his music they also had the chance of seeing him fully in front and hence easily went into yogic trance. Also refer naaraayaneeyam slokam 65-7 referred in part 14]. 7. RaasagEyam jagow krushNO yaavath thaaratharadhvani:! Saadhu krushNEthi krushNEthi thaavaththaa dhviguNam jagu:!! 5-13-55 Meaning: Krishna sang exceedingly well the love song (raasa gEyam) in which the song was high pitched and made the gopees shrill in its sweetness. The girls ate and drank the music so that their duality in character is eaten away (meaning they lost their identity and merged in music of Srikrishna). 8. SO api kaisOrakavayO maanayan madhusoodhana:! REmE thaabhiramayaathmaa kshapaasu kshaapitha:!! 5-13-60 Meaning: In the night madhusoodhana the krishna also made the young youthful girls to sing thereby making them poets and thus spent the night taking away their souls with him (meaning they enjoyed together) [refer peri- aadal paadal avai maarinar thamE- though not directly it applies to gopees, it applies to the devaloka dancers]. 9. Thadhbharthrushu thathaa thaasu sarvabhoothEshu chEsvara:! AathmasvarooparoopO asow vyaapi vaayuriva sthitha:!! 5-13-61 Meaning: He the krishna, the lord of all creatures and nature pervaded and stood in the form of music and air in all the creatures without exception [avai seyyum gunamE of periyaa.] 10. Yathaa samasthabhoothEshu nabhO agni: pruthvee jalam! Vaayuschaathmaa thathaivaasow vyaapya sarvamavasthitha:!! 5-13-62 Meaning: How all creatures are made up of space fire water earth and air, he the krishna also filled completely in all and stood in the night of raasagEyam. Dasan Vasudevan M.G. 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