Tuesday, 16 July 2013

Lord's pet animals

Nanda Maharaja had 900,000 cows. Visvanatha Cakravarti gives this description of the 

cows  of Vrindavana. Krishna knew every cow by name. If any cow was missing Krishna  

immediately chase after the missing cow and call her by name. The cows were divided into

 herds by color, either black, white, red, or yellow. In each color there were 25 further 

divisions making a total of 100 herds. There were also eight herds of cows that were spotted 

or speckled or had heads shaped like a mridanga or that had tilak marks on their foreheads.

 There was a total of 108 different herds of cows. Each of the 108 herds had a herd leader.

"Thus when Krishna calls out, 'Hey Dhavali' (the name of a white cow) a whole group of white

 cows comes forward, and when Krishna calls 'Hamsi, Candani, Ganga, Mukta' and so on, the
twenty-four other groups of white cows come. The reddish cows are called 'Aruni, Kunkuma,

 Sarasvati, etc., the blackish ones 'Shyamala, Dhumala, Yamuna, etc., and the yellowish ones

 are Pita, Pingala, Haritaki, etc. (Srimad Bhagavatam 10.35.19 purport)

"As described in the Brahma Samhita (surabhi apbipalayantam), Lord Krishna on His planet,

 Goloka Vrindavana, engages in tending the surabhi cows. These cows are the Lord's pet 

animals." (Srimad Bhagavatam 8.8.2 purport)

Monday, 15 July 2013

want to see only Sri Krishna.

The story of her birth goes like this – On a half-moon night in the month of Bhadra, King Vrishabhanu came to the Yamuna to bathe and found himself engulfed in a golden aura, the golden aura of pure love. It was emanating from a lotus, which had a baby girl standing on its whorl. When the king returned to the palace with the baby, Queen Kirtida was delighted. She was also shocked that the girl was blind.

Lord Krishna’s mother, Yashoda, heard that her best friend Kirtida had a baby, so she came to visit along with her husband and her son. Krishna crawled up to the cradle and pulled Himself up and looked in. At that moment, Srimati Radharani’s eyes fluttered and opened wide and blossomed like lotuses. It seems that she did not want to see anything of this world, only the form of Sri Krishna.

Sunday, 14 July 2013

Krishna- the master of all tricks

Once Radha got false anger with Krishna as He did not come to meet her for long! She became very slim and weak because of the absence of Krishna for long! Actually, Krishna did so, to perform a lila with Radha!

After waiting for a few days for Krishna, Radha sat alone inside her home and instructed all her associate gopis: 

“Hey Gopis! All of you stand as protection outside our house! Kanha is playing a game with me now! He will come here one day! He can not remain without me! But, when He comes, never allow Him inside the house! He will make many tricks and make dramas! He is a good actor! Be careful!”

Gopis agreed and did as said by Radha! 

Krishna came! He requested His level best to allow Him to enter the house! But, the gopis did not allow Him and said that Radha is very angry with Kanha and they act according to Her instructions only! After many attempts, Krishna went away upset!

But, He is the source of intelligennce! So, He made a trick! He dressed like a lady and went to Radha’s house! He told them that he is the master of all arts and can find a cure to the distress of Radha! As the gopis were worried about Radha’s health, they allowed her (Him).

Krishna entered the house, and spoke like a girl! He also asked Radha to show her palm to find out the reason for her worry! Radha showed. Krishna suddenly caught her hands and showed His original youth form! On seeing that, Radha felt so ashamed and embraced Krishna with Love!

Krishna is the master of all tricks!

Wednesday, 10 July 2013

Sri Krishna- radha's proprietor

"Being a cowherd girl, Srimati Radharani regularly carries a container of milk & often goes to sell it on the other side of the Yamuna. 
To cross the river, She has to pay the boatman, and the spot where the boatman collects his fares is called the dana-ghati.
Lord Sri Krishna stops Her from going,
telling Her, 'First You have to pay the fee; then You will be allowed to go.'
This pastime is called dana-keli-lila. 

Similarly, if Srimati Radharani wants to pick a flower, Sri Krishna claims to be the garden's proprietor and prohibits Her. This pastime is called kila-kincita."

Wednesday, 3 July 2013

Raas- the dance of celebration

Raas, the dance of celebration, is the most profound attribute of the mighty stream of creation The whole of life is a meeting of contradictory forces, and that all its happiness comes from this union of the opposites. The very mystery and ecstasy of life lies hidden in this unio mystica, Raasleela, the dance of celebration.
                 Raas has a universal meaning; it has a cosmic connotation and significance.
Firstly, the meeting of opposite energies is the cornerstone of all creation, of the universe. This division of energy is at the root of all creation. When the same energy becomes one, when it returns to its primordial state, total destruction, the ending of the universe happens. And when the same energy again divides itself into two, creation begins a new.
                   Without the meeting of the two, creation is impossible. So we have to go into the significance of Krishna’s raas in this context. Krishna’s raas with the milkmaids of his village is not an ordinary dance, on a small scale it really represents the universal dance of creation that goes on and on. It epitomizes the everlasting drama of the making and unmaking of the universe.
                  It is for this reason that Krishna’s maharaas ceases to have a sexual connotation. Not that it prohibits any sexual interpretation, but for certain, sex has been left far behind. In reality Krishna does not dance as a mere Krishna, he represents her, the whole of the male element in creation, known in Sanskrit as purusha. And similarly the gopis represent the entire female element, prakriti. The maharaas represents the combined dance of prakriti and purusha.
                 People who take the maharaas as a sexual representation of life are mistaken; they really don’t understand it. To put it rightly, it is a dance of the meeting of the male and female energies, of purusha and prakriti. It has nothing to do with any individual man and woman; it represents the mighty cosmic dance. It is because of this that a single Krishna dances with any number of gopis. Ordinarily it is not possible for a single man to dance with many women at a time. Ordinarily no man can be in love with many women together, but Krishna does it, and does it beautifully. It is amazing that every milkmaid, every gopi taking part in the maharaas, believes that Krishna is dancing with her, that he is hers. It seems Krishna has turned into a thousand Krishnas so that he pairs off with each of the thousand women present there.It is utterly wrong to take the maharaas, the celebration dance of Krishna, as that of an individual person. Krishna is not a person here; he represents the great male energy, purusha. The maharaas is a representation in dance of the great meeting between male and female energies.

                But the question is: Why only dance is chosen as a medium for this representation? Nothing can express it better than dance. Dance is the most primitive form of human language, because when man had not yet learned to speak, he spoke through gestures. To me, the great raas happening in infinite space, with millions of stars like the sun and moon dancing rhythmically, is not an ordinary dance.  In a sense it should be described as overflowing bliss. There is such an abundance of bliss in the heart of existence that it is flowing, overflowing. That is what we call the river of existence. The presence of the polar opposites in the universe facilitates its flow.
             Man alone cannot flow; he needs the presence of woman. Without the woman man is inhibited and closed. In the same way, without man the woman is inhibited and closed. Their togetherness causes their energies to spring into the form of love. What we know as love between man and woman is nothing but the flowing of yin and yang together. And this love, if it is not personalized, can have great spiritual significance. The attraction of man and woman for each other is what brings them together so that their latent energies flow into the stream of love and life. That is why a man feels relaxed with a woman and a woman feels at ease with a man. Separated and alone they feel tense and anxious; coming together they feel as light as feathers, weightless. In this interplay of energies, which is raas, And this dance of male and female energies together brings deep contentment and bliss; it turns into an outpouring of joy and bliss.
            Although Krishna and his girlfriends are no more with us as people, the moon and the stars under which they danced together are still with us, and so are the trees and the hills and the earth and the skies that were once so drunk with the bliss of the raas. So, although millenia have passed, the vibes of the maharaas are still with us.

Now scientists have come forward with a strange theory. They say although people come and go, the subtle vibes of their lives and their living remain suffused in existence forever. If someone goes to dance on the grounds where Krishna once danced with his gopis he can hear the echoes of the maharaas even today. If someone can play a flute near the hills that in the past echoed with the music of Krishna’s flute, he can hear those hills still echoing it, everlastingly.

               In my view, the raas symbolizes the overflowing, outpouring of the primeval energy as it is divided between man and woman. And if we accept this definition, the raas is as relevant today as it was in the times of Krishna. Then it is everlastingly relevant.