Guru Maharaj’s ‘upanyas’ on Venu Gitam (Srimad Bhãgavatam - 10:21)
(Music of the Flute)

Guru Maharaj,

“Hare Rama Hare Rama Rama Rama Hare Hare!
Hare Krishna Hare Krishna Krishna Krishna Hare Hare!”

“ “In the 20th Chapter of the 10th Canto of Srimad Bhãgavatam, Sukãchãrya gives a detailed description of the rainy season. There is not much to enjoy in this season as the sky is cast with dark rain bearing clouds; the ponds are overflowing with water, thus, submerging the lotuses; there are no flowers on the trees and plants; all animals and birds are confined to their homes and so are the people. Thus, this season is not very enjoyable.

In the beginning of the 21st Chapter, the arrival of spring is being described. The first sloka,
‘Etthãm sharatsvacchajalam padmãkarasugandinã I
nyavishad vãyunã vãtam sagogopãlakochyutah’ II (1)

says that the water (in ponds) is now limpid and the air is filled with the fragrance of different kinds of flowers that have blossomed all around the forest. Cool breeze is blowing. In such a wonderful season, Achyuta (Krishna) has started off with his cows and cowherd mates to the forest.

Krishna and Balarama

‘Kusumitavanarãjishushmibhringa
  dwijakulaghushttasara:sarinmahîdhram I
madhupatiravagãhya chãrayan gah
  sahapashupãlabalaschukooja venum II (2)

Tad vrajastriya ãshrutya venugîtam smarodayam I
kãschit paroksham krishnasya svasakhibhyoanvavarnayann II (3)

Tad varnayitumãrabdhãh smarantyah krishnacheshtitam I
nãshakan smaravegena vikshiptamanaso nrupa II (4)

The forest is covered with various kinds of flowers that are spreading forth variety of fragrance. The birds are being referred here (V.2) as ‘dwijakula’-a Brahmin is also called ‘dwija’ (twice born). His first birth is when he is born out of the womb of his mother and the second birth takes place when the sacred thread ceremony is performed for him. Likewise, a bird is also twice born. The first birth is when it comes out of the mother bird in the form of an egg and the second birth takes place when the egg hatches and the bird comes out of it.

Attracted by the scent of flowers bees hover around the flowers. The bees are producing a humming sound. This humming sound comes from the rapid beating of the bees’ wings and not from their mouth. This sound appears to be the ‘sruti’ (tune) set for the concert that is to follow! The cuckoo sings in tune with this and the Lord (Krishna) also plays His flute in tune with this ‘sruti’. Bees are called ‘Madhuvrata’ because they do not consume the honey that they have collected. ‘vrata’ means fast. One who has nothing to eat and, therefore, goes without food cannot be said to be observing a fast (‘vrata’). He has nothing to eat; therefore, he goes without food. ‘Vrata’ (fasting) is whence food is available but you do not (take a vow of fasting) eat. The bees have collected lots of honey; yet do not eat even a pinch of it. Therefore, they are called ‘madhu’ (honey) ‘vrata’ (fast) - ‘Madhuvrata’. Bees are called ‘Madhupati’ as they protect the honey collected (‘pati’ [Lord] of the honey - one who protects).

The Lord (Krishna) is very eager to go to the forest. This is because He knows that the Gopikãs are all waiting for Him at their doorsteps. The Lord would walk on the street playing the flute and hearing the sound of His flute (‘Venu’) all the Gopikãs would rush out of their homes to steal a glance at Him! He would cast a loving glance on them all! His Feet, weighed down by Love-filled glances of the Gopikãs who perform ‘archana’ to Lotus Feet of the Lord with the ‘Lotus of their eyes’, refuse to move further! Bhagavãn could walk past great Rishis and Munis but could not do so while in the presence of Gopis. The Lord would stand at the gate of a Gopi’s home who has been refused to be let out and call out loudly, “Sumukhi! Sum`ukhi!” The mother of the Gopi, coming out of the house, would chastise the Lord for calling out to her daughter. The Lord, in all innocence, would explain, ‘I have named a new calf of mine as ‘Sumukhi’ and am calling out for her and not your daughter!’

The Gopikãs felt so full of love for Him that all their desires were fulfilled by Him (even when they were not voiced out). When one of them desired wood apple, on His way back home from the forest Bhagavãn would toss the fruit while passing her home and it would fall right onto her lap! Once Bhagavãn is out of sight all the Gopîs would get together and begin to talk about the Lilas of Bhagavãn. They are so engrossed in the talk about their Beloved Lord that they lose awareness of the time. They feel that they had only just begun but find that it is dusk and the Lord is already back from the forest! We feel as if hours have passed when we do japa or dhyana! We would have done japa/dhyana only for some 10 or 15 minutes but feel as if we had sat for hours! Whereas, while we sit to gossip we lose consciousness of time! Thus, they lost all consciousness of time while talking about the Lord and His Lilas. The Gopãs (Krishna’s playmates) were boys belonging to these Gopikãs families. Thus, each of them had a spy sent along with the Lord! At the end of the day when the Gopãs returned home the Gopikãs would catch hold of them and intricately question them about all that had happened in the forest. What the Lord did in the forest. The next day it would all be exchanged lest some event was missed out! The Gopikãs did not know how time passed while engaged in talks about the Lord whom they held as their Beloved.

The beautiful form of the Lord is described in the sloka
‘Barhãpeedam natavaravapuh kanayoh karnikãram
bibrahd vãsah kanakakapisham vyjayantîm cha mãlam I
randhrãn venoradharasudhayã poorayan gopavridaihi
vrindãranyam swapadaramanam prãvishad gîtakîrtih II (5)

Here, the Lord is being described. Bhagavãn has a peacock feather as His crest jewel. In Bhãgavatam, all - the devas and all gods - sing the Praises of the Lord. There is Brahma mohanam and Rudra also extols the Lord. Everyone in Vrindãvan has great reverence for the Lord. But, the peacocks there roam about freely indifferent to the Presence of the Lord in Vrindãvan. Finding them move about proudly without any fear someone questioned them about it. The peacocks replied that they had every reason to be proud as the Lord (who is the goal of the Upanishads) has for His crest jewel the feather that had been discarded by them! The Lord wears the feather that has a golden hue. This is found in the first-born. Another reason for the Lord wearing a peacock feather is that amongst all the living beings it is verily the peacock that has least ‘kãma’ (lust).

The Lord wears ‘karnika’ flower for earrings. His garment is golden and He wears a long ‘vyjayanti mãla’ (garland made of five colour flowers) around His neck. He fills Vrindãvan with the enchanting music of His flute by filling the holes of the flute with the nectar of His lips! Though spring is born elsewhere, too, its arrival in Vrindãvan alone is extolled because the entire soil of Vrindãvan has been marked with the Feet of the Lord! Once Krishna, angry with Radha, forbade her from stepping on Vrindãvan. She questions Him, “Does this Vrindãvan bear Your markings that You forbid me from stepping on to it?” Krishna says, “Yes! Of course! See, every bit of this soil bears the mark of My Feet!” and, Radha sees the Lord’s Feet marks all over the soil of Vrindãvan! Just as we stamp papers to claim ownership, the entire Vrindãvan is stamped with the markings of the Lotus Feet of the Lord!

Listening to the music of the Lord, that steals the hearts of one and all, the Gopikãs sing His Lilas to one another in the following manner:-

‘Akshanvatãm phalamidam na param vidãmah
  sakhyah pashoonanu viveshayatorvayasyaih I
vaktram vrajeshasutayoranuvenu jushttam
  yairvã nipîta manurakta katãkshamoksham II (7)

There is no greater fruit for one with sight than to behold the form of the Lord! Here, Balaram and Krishna go to the forest together. But, the word ‘vaktram’ (denotes singular) shows that the Gopîs held only the Lord’s face and saw nothing else. While passing, He (the Lord) casts a benedictory and loving glance on the Gopîs.

‘Chootpravãlabarhastabakotpalãbja
  mãlãnupruktaparidhãna vichitraveshou I
madhye virejaturalam pasupãlghoshtyãm
  range yatha natavarau kva cha gãyamãno II (8)

Once in the forest, the Lord is alone with the Gopãs (playmates) and this (the forest) is their territory (‘Rãjya’ - kingdom). One boy collected some coloured powders (‘dhãtus’) [which are natural dyes used for painting homes in days past] and applied the colour on Krishna! It is only natural that when a person does something others follow suit. Thus, other Gopãs followed suit. All of them went about collecting ‘dhãtus’ from the various leaves and applied it on Krishna’s body. Then another made a garland of flowers that he could lay his hands on and put it around Krishna’s neck whereupon others followed suit. Soon the forest was devoid of flowers and then the Gopãs resorted to leaves for making garlands! Initially, Sukãchãrya described the garland made of (usually five) different coloured flowers as ‘vyjayantimãla’. But, now how was he to describe the garlands made of variety of not only flowers but also leaves? And the different coloured ‘dhãtus’ on Him? Therefore, he says, ‘vichitraveshou’ - strange appearance! Krishna wore as strange an appearance as the cows, buffaloes and oxen that are decorated with all sorts of coloured ribbons and paints during ‘Mãttu pongal’ festival! Amidst this crowd of Gopãs the Lord was dancing beautifully and singing melodiously. The Lord would have just begun to sing and he would immediately receive appreciation, ‘Aha! Aha!’ from the Gopãs who knew nothing about music! Such is the fortune of the Gopãs.

‘Gopyah kimãcharadayam kushalam sma venur
  dãmodarãdharasudhãmapi gopikãnãm I
bhungte svayam yadavashishtarasam hrdinyo
  hrshyantvachoasrumumuchustaravo yathãryah II (9)

The Gopîs envy the flute, which is always held by the Lord either in His hand or in His waist or in the hair knot on top of His head. They envy the flute all the more because it drinks in the nectar of His lips! They wonder what penance had been done by the flute to earn a place on His nectarine lips. But, one Gopi says that Yamuna (the holy river that flows in Vrindãvan) is more fortunate. Bhagavãn used to visit Yamuna and take water from her in a small vessel (‘gindy’). But, Yamuna longed for His touch (‘sparsha’). She did not like Bhagavãn taking water from a vessel that deprived her of His touch. Therefore, Bhagavãn took the water from her with His palms. Later, holding the two hands behind His back, the Lord bent down and drank water directly with His mouth, just as the cows and calves do! He then spate out the water into Yamuna! How does one speak of this fortune of Yamuna?

‘Vrindãvanam sakhi bhuvo vitanoti kîrtim
  yad devakîsuta padãmbuja labdhalakshmi I
govindavenumanu matthamayooranrutyam
  prekshãdrisãnvapratãnya samastasatvam II (10)

There are several forests - in Brahmaloka, Indraloka, etc. But, everyone wishes to be only in Vrindãvan because this is the only place that bears the marks of the Feet of the Lord. Peacocks are excited and dance to the tune of the flute. They always dance facing Krishna. While they have to make a move they take their steps backwards even as they keep looking at Krishna. The whole scene is watched by all the animals that occupy the Govardhana (Hill by name Govardhana that Krishna lifted to save His people from the wrath of Indra). The animals are seated in a row as if in a stadium! Even the foes are seated next to each other without being conscious of who is seated beside them! A lion and a cow are seated next to each other. They are so deeply absorbed in the Lord’s music filled with Love that neither did the lion feel like killing the cow nor did the cow fear the lion.

‘Dhanyãh sma moodamatayoapi harinnya yetã
  yã nandanandamupãttavichitravesham I
ãkarnya venurannitam sahakrishnasãrãh
  poojãm dadhurvirachitãm sahakrishnasãrãh II (11)

Doe is the most stupid of all animals. But, seeing Krishna wearing a strange form and listening to His music even such a brainless doe feels enthralled! She picks up some grass with her teeth and holding it in her mouth goes in search of her mate. On seeing her mate she brushes his body with the grass held in her mouth and calls him to come with her to enjoy the Lord in His strange form. Does’ eyes are the most beautiful. Poets describe beautiful eyes as ‘mriganayana’ (eyes of a doe)! Both of them together rush back to where the Lord is and cast a love-filled glance at Him.

‘Krishnam nirîkshya vanitotsavaroopashîlam
   shrutva cha tatkvannita vennu vichitra gîtam I
devyo vimãnagatayah smaranunnasãra
  bhrashyatprasoonakabarã mumuhurvinîvyah II (12)

Gandharvãs are known for their music. Excellent music is always referred to as ‘Gandharva gãnam’. Gandharvãs are very proud of their music and they do not consider even the music of the best musician on earth to be music! Gandharvãs are also very handsome. But, now everyone including the Devas and Gandharvãs are wonderstruck at the music floating from the earth. Even Saraswati and Lord Siva are unable to recognize the ‘rãga’ played by the Lord on His flute. The heavenly damsels are so deeply lost in the music that they fail to notice their hair knots loosening and skirts falling!

‘Gãvascha Krishna mukha nirgata venugîta
   peeyooshamuttabhitakarnaputaih pibantyah I
shãvãh snutastanapyah kavalãh sma tasthur
  govindamãtmani dashãsrukalãh sprushantyah II (13)

The cows whose ears are forever moving to and fro now stand still. The cows stand still even without flapping their ears bound by the melody of the Lord’s flute! The calves have forgotten to drink the milk. The milk from the udders of the cow is flooding down the earth!

‘Prãyo batãmba vihagã munayo vanesmin
  krishnekshitam taduditam kalavenugîtam I
ãruhya ye drumabhujãn ruchirapravãlãn
  shrunnvanyamîlitadrisho vigatãnyavãchah II (14)

Forests are usually occupied by Rishis who are in constant meditation. The Gopîs feel that only Rama-avatãr (Incarnation of God as Rama) was meant for the Rishis and that this Avatãr as Krishna was exclusively for them! Yet, the Gopîs did not desire to send the Rishis away from the forest. The Rishis who knew the ‘feelings’ of the Gopîs realized that they (the Gopîs) would feel shy to come while they (the Rishis) were present, transformed themselves into birds and sat on trees and watched Krishna. If they (the Rishis) remained there in their human form the Gopîs would feel shy to come there. Therefore, all the Rishis were seated on the branches of trees around in the form of birds. Thus, they sat listening to Bhagavãn’s melodious music. That these birds were actually Rishis is known by the fact that these birds sat still (‘vigatãnyavãchah’)! They did not speak a word as Munîs speak very little (‘alpa bhãshinah’). Birds do not sit quietly. They keep chirping. They cannot sit quietly even for a moment. But, these birds sat quiet and still. This showed that they were not really birds but Rishis!

‘Nadyastadã tadupadhãrya mukundagîtam
  ãvartalakshitamanobhavabhagnavegãh I
ãlinganasthagitamoormibhujairmurãrer
  grihnanti pãdayugalam kamalopahãrãh II (15)

There is a tree on the banks of the Yamuna that has a ‘y’ shaped branch bending low near the river. Bhagavãn sits on this branch and plays His flute. His Feet touch the waters and Bhagavãn splashes the water with His feet playfully. Attracted to the Lord’s music and His Feet playing in her, the flowing Yamuna loses her speed. She collects lotuses from a nearby pond and offers them to the Lord in a desire to touch His Lotus Feet. She makes a short circle around His Feet and carries the ‘prasad’ (offering to the Lord) to her husband - the Ocean. The Ocean is angry with her for the delay in coming but she successfully pacifies him by giving him the ‘prasad’!

‘Drushttãtape vrajapashoon saha rãmgopaih
  sacchãrayantamanu venusudîrayantam I
prermapravrudha oditah kusumãvalîbhih
  sakhyurvyadhãt svavapushãmbuda ãtapatram II (16)

Balarama and Krishna along with the Gopãs graze the cows in the hot sun. While thus grazing, the Lord wanders about playing His flute very sweetly. The clouds thinking the dark skinned Krishna to be their friend spray down water drops on Him and protect Him from the Sun as if holding an umbrella. Even the insentient pay hospitality to the Lord.

‘Poornah pulindya oorugãyapadãbjarãga
  shrikunkumena dayitãstanamanditena I
datdarshana smararujastrunnarooshitena
  limpantya ãnanakucheshu jahustadãdhim II (17)

The natives of Vrindãvan (‘ãdivãsîs’) desired to have something from Krishna but dared not go anywhere near Him. Radha had decorated Krishna’s Feet with paints, sandal, etc. This powder fell from the Lord’s Feet on the sand down. As soon as Krishna left the place, the ‘ãdivãsîs’ who stood watching Him from afar rushed here and took the fallen powder and applied it all over their bodies.

‘Hantãyamadrirabalã haridãsavaryo
  yad rãmakrishnacharanasparshapramodah I
mãnam tanoti sahagogannayostayoryat
  pãnîyasooyavasakandarakandamoolaih II (18)

Here, Govardhana is being described as ‘Hari dãsa varya’, i.e. the foremost devotee of the Lord. This is because it has all the signs (‘lakshanãs’) of a Bhakta. It has a cave as his heart where Bhagavãn Srinãtha resides as the Lord. The shrubs and plants all over the hill seem to be the horripulation experienced by Bhaktãs. The flowing river on the hill resembles tears of joy. It is the most blessed as it has received the touch (‘sparsha’) of the Lord’s Feet.

‘Gã gopakairanuvanam navatorudãra
  venusvanaih kalapadaistanubhrutsu sakhyah I
aspandanam gatimatãm pulakastaroonãm
  niryogapãshakritalakshannayorvichitram’ II (19)

The Lord returns home with a rope (with a particular kind of knot used to control rowdy bullocks), thrown around His neck. (Bhagavãn carries this rope around His neck because He did not feel the use for it, as all the cows were bound by His Love!) Bhagavãn is followed by the cows and cowherds. The great music of the Lord made the immovable (like the hill, trees, plants, etc.) move and the movable (like birds, cow, etc.) immobile! It is a great wonder, indeed!

‘Yevam vidhã bhagavato yã vrindãvanachãrinah I
  varnnayantyo mitho gopyah krîdãstanmayatãm yayuh’ II (20)

Speaking thus about the Lilas of Krishna wandering in Vrindãvan the Gopîs experienced Oneness with the Lord. "

GOPIKA JEEVANASMARANAM!
GOVINDA! GOVINDA!”

NOTE: Any discrepancy/lapse in the translated version of the Upanyasam is the sole responsibility of the person/s who translated the work from Tamizh into English.

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