The Gopis Glorify Krishna's Flute

The twenty first chapter describes how the gopis, afflicted by their love of Krsna on hearing his flute, began to praise the flute, Vrndavana, the female animals and the female devatas. The gopis describe the pastimes which Krsna performed in the forest, which they viewed from the village with loving eyes. Sukadeva, after describing the autumn season, in order to begin the description of the pastimes of the song of the flute which is intimately related to it, first describes the entrance of Krsna into Vrndavana decorated with the sweetness of autumn.

By touching the groves of lotuses, the wind became fragrant and cool (padmakara sugandhina). Krsna, along with the cows and cowherd boys, entered the forest pervaded (vatam) by this fragrant, cool wind. Wind is in the singular instead of the plural to indicate a very gentle breeze. The word madhu pati of the next verse is the subject of this verse if the alternate reading of the verse substitutes vanam instead of acyutah.

Krsna (madhupati) , entering (avagahya) the forest with its mountains, lakes , rivers, and flowering groves, resounding with the calling of birds and buzzing of bees, played sweetly on his flute (cukuja). The word madhu pati means master of spring (madhu month). The inference is that when Krsna (personification of spring) entered the forests in the autumn, the forests became beautiful with spring flowers. He entered along with Balarama and the cowherd boys (sa pasu pala bala) to herd the cows (gocarane, but it is not mentioned here that they played flutes. Only Krsna played the flute. The venu gita or song of the flute came from Krsna’s flute only.

Hearing the song of Krsna’s flute, the gopis began describing indirectly (paroksam) about Krsna entering the forest to their friends. The word paroksa (indirectly) is used because they were situated far off, in Vraja.

When the gopis attempted to describe the song of the flute, they could not do so, because their hearts were overcome with strong desire for Krsna.

5-6.When the gopis could not speak, Sukadeva, being omniscient, began the description of Krnsa’s pastimes according to mood of their intense love. Krsna was bedecked with peacock feather (barhapidam), had a body of a dancer (nata vara vapuh), with karnikara flower in his ears, in the singular whereas ears in dual form, to indicate that sometimes he wore one kanrikara flower in the left ear and sometimes in the right ear.

Use of the word bibhrat (wore) indicates that he purposefully displayed his youthful charms in order to incite the extreme love of the gopis. He wore a vaijayanti garland, made of five different colors of flowers. Since the gopis may criticize the flute for having holes in it, Krsna filled the holes with the nectar from his lips. Though the flute is non-living, the touch of the nectar of his lips brought it to life, and thus it was able to madden the three worlds. Then, recognizing the flute as just unconscious wood and therefore not so capable, the nectar of his lips flowed out from the holes of the flute and entered through the gopis’s ears into their minds. In this way, that nectar from his lips, its mission accomplished, showed its prowess. Vrndavana particularly gave pleasure to his feet (svapada ramanam), more so than Vraja, as it was the place where his feet performed the rasa dance.

When the disturbance caused by their remembrance of Krsna’s pastimes decreased after some time, the gopis were able to begin the description of the flute’s song, though they could not do it perfectly.

Iti indicates cause as well as the end of a statement or chapter. The sound of the flute, like the rasa dance, attracted not only the gopis and Radha, but all living entities (sarva bhuta manoharam). The gopis embraced one another, with the realization of their common emotions. “ O friend, talking about Krsna’s embrace, you have read my mind, for I also want to speak about this.”

(My sole goal is the gopis , who went out of their houses, attracted by the shower of nectar from Krsna’s flute, and whose sweet words enable us to drink that nectar also.)

“O friends! Our senses which the Lord has given us are useless if we remain inside our houses. Therefore, let us leave our houses and quickly go to the forest. Directly experiencing that astonishing thing by our sensory actions such as seeing, our lives will be successful.” That is what is conveyed in this verse.

Aksanvatam is an archaic usage. “The goal of the eyes for those who see (aksanvatam) is that alone and nothing else. There can be no other opinion--other opinions are worthless. The goals of the senses is to relish the faces of Krsna and Balarama, sons of the king of Vraja, served by his favorable flute.” That is the superficial meaning. That however is to hide their true feelings. “If our mothers in laws or sisters in laws nearby hear our talks, what do we have to worry, because all the men and women of Vraja speak of the sweet face of Balarama and Krsna in this way.” With this intention they speak in this way, but the hidden implication is, “Those faces give bliss to everyone in Vrndavana forest, even the birds and beasts—but not to us, staying in our houses far away.”

Vasudeva had said, “O Nanda, think of my son Balarama as if you were his father.” Sb 10.5.27. Sukadeva says, “The mother and father Yasoda and Nanda called out to Balarama and blessed him.” 10.65.2. By such statements therefore Balarama was commonly known as Nanda’s son, and therefore in this verse the gopis describe him as such. However there is a hidden meaning here. Vrajesa sutayoh vaktram can mean that face among the two of them, which was turning back (anu), playing the flute.

The word va with nipitam (to drink with intensity) indicates seeing, touching, hearing, smelling or (va) tasting that face. If the alternate reading vai is used, it means certainly they taste. Those who, giving up shyness and steadiness, drink that face playing the flute, among the two sons who herd the cows in the forest surrounded by their friends, have fortunate senses and not others. Therefore we intend to say, “Today let us give up all family tradition, shyness and control.”

“Yes, let us see, touch, hear and smell him, but how is it possible since we are so shy?” “That face releases glances (kataska moksam) upon those who are attracted to him (anurakta). He will search you out, and release the arrow of his glance. When it strikes you, you will become agitated with love, and forget your shyness and control. Then you will look without shyness on that face.”

“How will we deal with disgrace? We should not go.”

“No, we should go anyway.”

“But because he is with Baladeva, our motive in going will not be fulfilled. Therefore from far off, through the leaves of creepers, we will taste the nectar of his beauty and songs and see him dance. Then we can quickly return home.” That is the intention of this verse.

With tender mango leaves, (cuta prabala), peacock feather (marhah) and bunches of flowers (stavaka) in the hair; in the two ears lotus buds; in the right hand a play lotus; and around the neck a garland; wearing sewn garments, colored red, yellow and black like those of an actor, Krsna and Balarama displayed colorful dress. Among the boys who were dancing, they also danced and sometimes they sang (gaya manau). Gaya manau can also mean they were satisfied (mana) with the singing of others (gaya) who praising them. Or it can mean that they were proud of their singing. “No one in the three worlds can sing like us. Who are you insignificant cowherd boys?”

“This flute has created a problem for us, causing us an ocean of disgrace.” That is expressed in this verse.

“What piety (kusalam) did this flute perform?”

Though the words vamsi and murali are in feminine gender, the word venu is in the masculine, like the word dara a masculine word meaning wife. “What piety did it perform to be Krsna’s wife? None, because it took birth as a non moving creature, a low birth from performing no pious acts. But yet the flute drinks the nectar from Damodara’s lips. Can that be tolerated? No, because it should be the gopis right to taste that nectar (gopikanam) . Krsna was born as a gopa and we were born as gopis. Therefore we have a right to taste those lips, not the flute.”

“Furthermore the flute has the audacity to manifest a male in form and still enjoy (bhunkte). Furthermore this enjoyment is done in unmarried state, utterly alone, and by thievery. The flute announces it to the real owners of the treasure, ourselves, by blowing air. But this is not just regular blowing air, it is the sound of enjoyment the flute gets by association with Krsna. And we must keeping hear that sound! So much the flute enjoys that it leaves nothing left, not even a morsel. Though we are the rightful claimants of that lip nectar, the flute leaves nothing for us, not even his remnants. Such is his audacity!”

“Those who have not performed pious acts act in the same way. Because (yat) the rivers see the flute enjoying the nectar of his lips, became happy, blooming with lotuses, like standing of hair on end (hrsyat tvacah). All the trees, pouring out their honey, seem toweep in joy. Just as devotees on hearing the glories of the Lord shed tears of joy and have their hair stand on end, hearing the sound of the flute, the rivers and trees become decorated with the symptoms of bhava. The rivers are female friends of the flute and the trees are male friends or messengers. The flute, rivers and trees are all our enemies. Therefore where should we hide the flute, so that it does not get the nectar of Krnsa’s lips? This sancari bhava of envy manifested in the gopis.

“The forest of Vrndavana , being the place of Krsna’s pastimes, has now become even more sweet. Therefore let us go there to see that place. There is no fault in doing that.” With this in mind one gopi spoke.

“Vrndavana is spreading the glories of the earth especially (vi tanoti =visesa bhavena tanoti), as being better than svarga because (yat) the earth is marked with the lotus foot symbols (laksmi) of flag and thunderbolt of the son of Yasoda (Devaki nandana). This is not possible even in Vaikuntha. (Visnu purana says that Yasoda had two names, Yasoda and Devaki, and therefore she became friends with Vasudeva’s wife Devaki. Thus devaki nandana here means yasoda nandana.)

Such a cow pasturing area is not possible in Vaikuntha. In that place, hearing Krsna’s flute, the mad peacocks dance. Seeing that, all living entities on the slopes of the hills become stunned (avaratani). In that place, the peacocks pray for Krsna to play his flute, saying “Make us dance.” According to the rhythm established by Krsna, the peacocks make a circle around Krsna and dance, while Krsna dances and plays his flute. Satisfied with Krsna’s flute playing, the peacocks give their tail feathers as a sign of appreciation. Krsna, in the custom of normal musicians, takes the gifts with glee and puts them in his turban.

“Oh friends, taste that dancing, singing and flute playing. We desire to see all those creatures, beasts and birds, the deer and doves, assembled on the hill slopes, who have become stunned in bliss.”

“Alas, though we are more intelligent, our life has become useless since we cannot meet Krsna. The less intelligent creatures have become successful in meeting Krsna. How is that?” This sentiment is expressed in this verse. Sma is an exclamation of astonishment or lamentation. “Oh (sma), we do not have such good fortune.” There are two readings: venu ranitam and venu riphitam. The meaning is the same: sounded on the flute. “Hearing the sound of the flute, the does with affection nourished Krsna (pujam dadhuh) with their glances. So then what to say of the glances that we intelligent beings have given to Krsna? Their husbands, the krsna sara (those who take Krsna alone as object of worship) also worship him. Seeing their wives so attracted to Krsna, the husbands become overjoyed thinking that their married life has become successful by this, and following their wives, go to meet Krsna. But we are so unfortunate that just by a trace of anything connected with Krsna, our husbands become violent.”

“Since we are ordinary gopis and Krsna is a gopa, our attraction for him is not so improper, for even the wives of the devatas become attracted to the gopa Krsna, though he is appearing among the human species. How astonishing that is.”

“Seeing the form and qualities of Krsna (rupa sila) the heavenly women become blissful (vanita utsava). Their hearts overcome with desire (smara nunna sara), the faint (mumuhuh) falling from the laps of their husbands riding in the sky in airplanes (vimana gatayah).” The symptoms of their bewilderment is described. “The flowers fell from their hair, and the hair became undone. Their belts loosened (vinivya).” These are the symptoms of mottayita. When through thoughts or news of the beloved , the heart becomes absorbed in the beloved and desire appears, it is called mottayita. “The intelligent devatas, understanding the condition of their wives, did not rebuke them, but rather thinking themselves most fortunate, brought their wives to Vrndavana to see Krsna. But our husbands become violent. Thus the low born deer and the high born wives of the devatas are fortunate, but we, in the middle position as humans, are most unfortunate.”

“One cannot say that the bewilderment from the flute is generated only from conjugal desire of the female only. See the example of the cows and their calves. In fearing of spilling the nectar, the cows have raised their ears like cups to hear the flute. The cause of bewilderment is not just vatsalya bhava towards Krsna, for their calves also, without vatsalya bhava, were bewildered. The calves who had just begun to drink their mothers’ milk, on hearing the flute, perked up their ears to drink that sound also. Not able to drink the udder milk, the milk fell from their open mouths and they stood as if stunned. The cows brought Govinda close with their glances, and through their eyes, they had him enter their hearts. Touching him in their minds (atmani), their minds placed him on their laps out of vatsalya bhava. They then become stunned. Out of bliss tears fell from their eyes. In this way, all living entities had love of Krsna. They are all fortunate to meet Krsna, but we are unfortunate, being separated from him.”

“But the calves are material and they are tasting material pleasure. The atma rama munis fixed in knowledge and renouncing all feelings, cannot be not disturbed by Krsna.”

“ But this is not true. Krsna also attracts them with his sweetness. Oh (bata), it is surprising, mother (amba --out of affection friends address each other in this way). All these birds must be munis. See how they sit in the forest with closed eyes in silence. Perched on the branches of the trees, they are listening to the flute. The branches hearing the flute song and by the touch of the munis feet begin to sprout new leaves (ruchira prabalan) out of ecstasy. This song agitates the whole universe (kala venugitam). It arises only from Krsna (krsna iksita), not from Indra, Brahma, Siva or Visnu, as it is unique, being very old, traveling all over without obstruction, continuing for a long time, and being fully conversant with musical theory. Is it possible anyone else can sing like this? No, this song arises from Krsna alone ( tad udita). Neither Brahma, Visnu nor Siva can make this song. They cannot even understand the musical science created by Krsna. Thus the birds or munis, with eyes closed, are absorbed in relishing this never before heard song. They have given up all other talk, even the talk of munis about brahmananda, being absorbed in bliss of Krsna.”

One may say that the attractiveness of the flue is mainly among women. This verse answers. “All the rivers exhibited whirlpools, indicating their course had been interrupted by the influence of kama. They stopped flowing towards the ocean, their husband, because they had lost all shyness and control. With swelling of the excess water into waves, they embraced the two feet of Murari standing motionless on the river bank, held him in their bodies and offered him lotuses.”

Kamala besides meaning lotus can mean water according to Amara kosa. So the sentence can also mean that they offered him water. In other words they used their own water to offer him padya, foot wash. Or kamala can also mean wealth. “In order to please Krsna they offered all their wealth to him. The ocean did not hold any hatred towards those rivers for their love of Krsna, unlike our husbands. How unfortunate we are.”

“Those who are in sakhya bhava of friendship have made a success of their lives. The cloud increased its size out of prema to cover Balarama and Krsna and the cowherd boys from the intense heat of the sun. The cloud made a light umbrella (atapatra) over his friend Krsna with his body and a collection of water drops (kusuma vali). The cloud regarded himself as Krsna’s friend because they were so similar: they both take away suffering by a shower of rasa; they are both dark colored; they both the color of lightening (krnsa’s dhoti); and both give off sweet sounds. In this way the cloud gives happiness to Krsna, but we cannot. How unfortunate we are.”

Leaving aside the attraction of the flute, this verse speaks of the lotus feet of Sri Radha, which have the power, by merely slight contact, to induce complete attraction to Ksna, and raise one to the seventh level of prema called madana in mahabhava.

“The pulinda women have reached perfection, we have not. We desire to inquire about their austerities.” This is the hint in the gopis statement about the perfection of the pulinda women. “Why are they perfect? They smear on their faces and breasts the kumkuma which has dyed the feet of Krsna (urugaya padabja raga). Where did this kumkuma come from? From the breast of his beloved (dayita stana manditena), Radha. Though we are desiring to praise her good fortune, not being able to be so bold, we instead praise the pulinda women. Though that is indeed the kumkuma of Radha, out of great attraction, the pulindas did not even give proper respect. What did they do? Seeing the kumkuma which was smeared on the grass, after Krsna had enjoyed with Radha and was amusing himself in the forest, they developed lust. I do not know what would happen if they saw Krsna. Then, with a desire to receive the fragrance of Krsna’s body, they smeared it on their faces, and then, with a desire for the enjoyment given by Krsna to Radha, they smeared it on their breasts, thinking that they were being enjoyed by Krsna. In this way the pain of their lust was pacified (adhim). That kumkuma has a special power in it. In all our births we have not received it even once.”

In Ujjvala Nilamani madana is described as follows: “ In madana there is a continuous enjoyment. Even just a trace of this is the subject of great adoration and praise.” This definition should be applied to the present verse. “Continuous enjoyment” means that because all bhavas exist in madana, all enjoyments of meeting directly with Krsna and all pleasurable pastimes must be there. Thus this verse indicates that there was enjoyment of these gopis through the pastimes with Krsna. Therefore from verse six of this chapter, it should be understood that they were embraced by Krsna who suddenly appeared before them, and thus they began speaking in this chapter.

Some also give this meaning to madana: madana which contains all bhavas and is completely blissful, is the ultimate stage, with nothing higher, and attains glory in Radha alone.” However, this is not acceptable as it is given by other commentators.

“Oh friends, without the shelter of a great devotee our desires will not be fulfilled. From Gargi we have heard the glories of the devotees of Hari, and that Govardahan is the chief devotee among them. Therefore now let us go and bathe in the Manasa Ganga and have darsana of the form of Narayana called Harideva, the presiding deity of Govardhana. Our elders will not have any suspicions about us either. Also, Krsna is on the slope of Govardhana playing.” Using this logic the gopis, desiring to have a meeting with Krsna, they began to glorify Govardhana in order to have their desires fulfilled. “Oh (hanta), how astonishing! There are three main devotees (hari dasa): yudishthira, uddhava and Govardhana.(the word Haridasa occurs in three places in bhagavatam: haridasya rajarse raja suyam mahodaya for Yudhisthira; krsnam samsmarayan reme haridaso vrajaukasam for Uddhava, and the present verse for Govardhana) Of these, Govardhana is the best. Govardahan showed its joy at the touch of Krsna’s feet by becoming soft. Though made of stone, by the touch of Krsna’s feet, it became like mud, so that it held the foot marks of Krsna marked with ankusa, flag and thunderbolt. It has tears in the form of waterfalls and grass sprouting as rising of hair on the body. These are signs of Govardhana’s joy. The phrase rama krsna in this verse (Balarama and Krsna) is used to hide the gopis emotions for Krsna, for they actually meant ramaniya krsna, Krsna, with whom we enjoy conjugal pastimes. Abala (women) can also means weak. “Oh women who are weak, under the control of your husbands, taking shelter of Govardhana is your strength.” Yat signifies cause. “Because Govardhana worships Krsna and Balarama along with the cows and other boys, out of joy, in order to please Krsna.” He worships offering water (paniya) for footwash and acamaniya, offering drinking water from the cool fragrant waterfalls (paniya), offering naivedya in the form of drinks made from honey, mango and pilu juice, offering arghya in the form of darba (suyavasa) and luscious grass to feed the cows so they give good milk. Another meaning of paniya suvo is waterfall. “Govardhana worshiped the lord by offering seat and bed in the form of caves, to give pleasure in the heat or cold, and radishes for eating.” These items also indicate the other items of worship such as jeweled palanquin, lamps, mirror and other articles. By all these things Govardhana worshiped Krsna.

“We should not delay in attempting to meet this flute player, for in herding the cows he can go far away.” With this intention they speak this verse.

To indicate that they were in the mood of serving, the ka is added to gopa. Thus the word indicates that the cowherd boys were protecting (gopayanti) Krsna with love. Another indication of the word is that they went with Krsna every morning. Mother Yasoda brought them together for this purpose. While Krsna played the flute they wandered from forest to forest, herding the cows. This produced a very wonderful scene. What was so wonderful? When those who move about in bodies hear that flute sound, they become motionless. The trees in having their hairs stand on end adopt the quality of moving beings. Niyoga is a type of noose used to restrain the calve at milking time. By that rope Krsna and Balarama attained special beauty (krta laksanoh). The rope, bound with pearls and flowers in two directions in their yellow silk turbans, signified them as cowherd boys. This was attractive to the viewer.

This verse summarizes. “The gopis, describing how the Lord wandered in Vrndavana performing various other pastimes, became absorbed in those pastimes (tanmayatam). They thus approached close to Krsna, and enjoyed with him.” Or the meaning can also be: “They met Krsna, engaged others in his pastimes and sometimes were engaged by others in his pastimes.” Because they say later in Bhagavatam (10.29.36), “O lotus eyed one, from the time we touched those feet with our hands, we can no longer live with our husbands,” it is reasonable to say on this day the gopis enjoyed with Krsna.