krishnakarnamrtham part2-slokas2to5

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Krishnakarnamrtham Part2-Dhvitheeya ASvaasaH

 

 

1.Abhinavanavaneetha snigDham aapeethadhugDham

dhaDhikaNao paridhigDhammugDham angam muraareH

dhiSathu bhuvanakrcChraChedhi thaapicChagucCHach

Chavi navaSikhipicChaalaancchitham vaancChitham naH

 

May the beautiful form of Krishna, which destroys the sorrow of the world, shining with smearing of fresh butter, sprinkled with the drops of curd, showing signs of recent drinking of milk, fulfil our wishes.

 

Krishna has a shining body, due to eating of fresh butter which adheres to his body or his body itself is shining on account of consuming fresh butter always. He has drunk milk and it is visible on his body perhaps on his lips. The curd particles are splattered on his body as he always hovers around his mother when she churns curd for butter. His head is decorated with peacock feathers freshly gathered and his body itself looks like a bunch of flowers on a green tree. This is the beautiful picture Leelasuka present to us of Krishna.

 

Desika describes the appearance of Krishna with his body splattered with curd thus:

 

grheshu dhaDhnaH maThanapravrtthou

prshathkaNaiH uthpathithaiH prakeernaH

nidharsayaamaasa nijaam avasThaam

praacheem suDhaaSeekarayogachithraam (Yad-4.28)

 

Krishna going near those who churn curd, with the desire of eating butter, looked splashed with curd all over his body which reminded one of his early state with his body splattered with amrtha at the time of churning the milky ocean.

 

The parallel idea is expressed by Kulasekhara in his Mukundamala.

 

KsheerasagaratharangaSeekaraa

saarathaarakithachaarumoorthaye

bhogibhogaSayaneeyaSaayine

maadhavaaya madhuvidhvishe namaH (Muk.39)

 

Our salutations to Madhava the slayer of the demon Madhu, who is reclining on the bed of Adhisesha, looks beautiful with His dark form on which the drops of the milky ocean shine like stars in the night.

 

The devotees delight in imagining that the Lord left the milky ocean and came to Gokula because he could get only milk and not curd and butter there.

 

2. yam dhrshtvaa yamunaam pipaasuH aniSam

vyooho gavaam gaahathe

vidhyuthvaan ithi neelakanTanivaho

yam dhrashtum uthkanTathe

utthamsaaya thamaalapallavam ithi

cChindhanthi yam gopikaaH

kanthiH kaaliyaSaasanasya vapushaH

saa paavanee paathu naH

 

Seeing the light of whose body the thirsty cows take it to be the river yamuna and try to enter, the peacocks become eager thinking that it is the rain-bearing cloud and the gopis see it as the green sprouts of thmala tree and start picking it, may that light emitted by the body of Krishna protect us.

 

The dark hue of the body of Krishna is emitting waves of light, vapushaH kaanthiH and the herd of the cows, gavaam vyoohaH see it as the river Yamuna, dhrshtvaa yamunaam. Being thirsty, pipaasuH, they try to enter, gaahathe the river. To the peacocks, neelakantanivahaH it looks like the rain-bearing cloud, vidhyuthvaan ithi and they are eager to enjoy the rain and start dancing. The gopis take the encompassing light as the sprouts of thamala tree, thamaalapallvam ith and try to pick, cChindhanthi, the sprouts.

 

Leela suka calls Krishna as kaliyaSaasana, the one who punished the serpent Kaliya.

 

This sloka describes the dark hue of Krishna which is lustrous like a dark moon (krshnachandra) as Leelasuka describes him elsewhere.(KKpart1-sloka25)

 

3.dhevaH paayaan payasi vimale yaamune majjatheenaam

yaachantheenaam anunayapadhaiH vanchithaani amSukaani

lajjaa lolaiH alasavilasaiHunmishathpanchabaanaiH

gopasthreeNaam nayankusumaiH archithaH keSavo naH

May the Lord Kesava , who was entreated with sweet words by gopis, to give them their clothes stealthily taken by him while they were bathing the river Yamuna, who was worshipped by their bashful, loving and stealthy glances, protect us.

 

Krishna took away the clothes of the gopis, vanchithaani amSukaani, who were bathing in the pure stream of Yamuna, vimale yamune.. They entreated, yaachantheenaam, him with coaxing words, anunayapadhaiH, to return them. He gave them only his smile. By that the gopis were smitten with love, unmishath panchabaaNaiH and started sending stealthy glances, alasavilasaiH, due to their bashfulness, lajjaalolaiH, of their condition and Krishna, says Leelasuka was worshipped by their eyes with their glances as the flowers, nayanakusumaiH archithaH..

 

The significance of this episode will be elaborated in a later sloka. (No.8), and it is enough to mention here that all the leelas of Brindavan were finished by the time Krishna attained the age ten.

 

4. maathaH na athaH param anuchitham

yath khalaanaam purasthaath

asthaaSankam jaTarapiTaree

poorthaye narthithaa asi

thath kshanthavyam sahajasaralE

vathsale vaaNi kuryaam

prayaschittham guNagaNanayaa

gopaveshasya vishNoH

 

Oh mother, Goddess Saravathi, vaani, who is gentle by nature, sahjasarale, who has love towards her children, vathsale, there is nothing more improper, na athaH param anuchitham, than making you dance in front, narththaa asi, of mean people, khalaanaam purasthaath, just to fill my stomach, jaTarapiTare, without any hesitation, astha aSankam. Please forgive me, kshanthavyam. I am atoning the sin, praayaschittham kuryaam by speaking about the auspicious qualities, guNagaNanayaa, of Lord Vishnu who had come in the guise of a gopa, gopaveshasaya vishNoH.

 

Leelasuka repents that he has been composing poems and praising the wicked and thus abusing the speech which is Sarasvathi herself. So he asks the forgiveness saying that he was using her as if making her dance in front of the wicked just to make his living. He says that the atonement of this sin is only to speak about the Lord who has incarnated as Krishna. This does not mean that Leelasuka was really doing all this but it is for the purpose of the people of the worlds to show that to praise the Lord is alone the means of atoning the various services we have to do in the world to please others, for the sake of worldly enjoyment.

 

 

5.angulyagraiH aruNakiranaiH mukthasamrudDharanDhram

vaaram vaaram vadhanamarythaavenumaapooryantham vyasthyasthaanGhrim vikachakamalacChaayavisthaaranethram

vandhe brndhaavansucharitham nandhagopalasoonum

 

I bow down to the son of Nanda, who, is repeatedly opens and closes the holes of the flute with his red fingertips, and fills the flute with the air from his mouth with his feet crossed one over the other.

 

Krishna is playing the flute and the scene is described by Leelasuka. He is continuously opening and closing the holes, vaaram vaaram mukthasamrudDharanDhram, of the flute in the process of playing and blows into the flute, vadhana maruthaa aapoorayantham, to make the sound. His feet are crossed one over the other, vyasthyasayapaadham in standing posture and his finger tips playing he flute are emitting rays of red colour , angulayagraiH arunakiranaiH.

 

Reading this we can visualize the form of Krishna playing the flute of which Periazvar has composed ten beautiful verses.

 

 

 

 

(I have reproduced the sloka i also tp make the fonts even.)