By Srila Bhaktivadanta Narayana Gosvami Maharaja
Krsna-karṇāmṛta 7
Kamanīya-kiśora-mugdha-mūrteh kala-venu-kvaṇitādṛtānanendoh mama vāci vijṛmbhitām murārer madhurimṇah kaṇi-kāpi kāpi kāp
Let my words express even a particle of a particle of a particle of the glorious beauty of Murari, whose natural adolescent figure enraptures me, and whose moonlike face is worshiped by the soft melodies of His flute.If you go to South India, you will see that the towers of the temples are small, but their gate towers are very high. Similarly, the gate of Nanda-bhavan has a very high tower. Krsna would
go with His friend Kusumāsava and sit there. Krsna’s father had given Him a flute. The sakhis and mothers also arrange flutes as gifts for Kṛṣṇa. Sakhīs made a flute for Krsna called Mohinī.
Another one is called Ānandinī, and one is Vraja-vilāsinī. Kṛṣṇa doesn’t have merely one flute-the sakhīs and mañjarīs make nice flutes for Kṛṣṇa. Sometimes Kṛṣṇa plays this Mohini, Ranginī, Vraja-vilāsinī, and many other flutes. Today, Kṛṣṇa took His Mohana Murali and went on top of the gate. There he sat with Kusumāsava. Madhumangala is also known as Kusumāsava. Kṛṣṇa’s name is kusuma, or flower. āsava means intoxicated. Thus, Kusumāsava means the one who drinks a flower’s honey is always very intoxicated.So, Madhumangala always drinks the nectar of Kṛṣṇa therefore he is Kusumāsava.
just as anyone who has a girlfriend, that he is veryattached to, he will act for her pleasure twenty four hours a day. This is called āsava, intoxicating like wine. Anyome who drinks this may work eighteen hours, non-stop. What is that drink and energy capsule? We may be hopeless, weak, tired, sleeping, even sick, but by taking this āsava energy capsule we will work very hard. This is an example that is true in this world, but it is not exactly like this in the spiritual world. In that world, Kṛṣṇa is kusuma, a blossomed flower in Nanda-bhavan. Who drinks that āsava, intoxicating nectar, of Kṛṣṇa’s beauty? First is Kusumāsava, Madhumangala. He likes honey so much. Kṛṣṇa is that honey nectar; Madhumangala is always with Kṛṣṇa and always very happy. He likes sweets, laddus, tasteful jokes, drama, and dance. Kṛṣṇa is pleased with him.Kṛṣṇa sat on the gate and looked to the south, towards Varṣāṇā. In the middle is Sanketa, and then there is Vrṣabhānupura, where Vrṣabhānu Mahārāja and his brothers reside on the four hills-Vilāsa-garh, Mana- garh, Dāna-garh, and Bhānu-garh. Śrīmatī Rādhārānī plays there with the sakhīs and mañjarīs. Kṛṣṇa was two and a half or three years old at that time, and He looked to the south with a happy mood. The sun was rising from the southeast in the early morning, and a gentle breeze flowed across the land. The air flowed through the flute and made a sound automatically. That sound was so sweet! It went from north to south-to Vrṣabhānupura. Vrsabhānu-nandinī Rādhārānī was playing with Her parrot, Śuka. Śuka came out of his cage, and Rādhārānī fed him some pomegranate seeds. As Suka ate them, Rādhārānī talked to him and taught him what to sing- śrī-Kṛṣṇa gopāla hare murārī govinda he nanda-kiśora Kṛṣṇa. She taught Kṛṣṇa’s glories, names, and līlā to Her parrot. Then the sound came from the flute. Śrīmatī heard this and fell unconscious.
Śuka was disturbed. He could not eat any more seeds. He cried, moved around, smelt Her, and wondered, “How to help her?” He did not know, and was disturbed.
In Ānanda-vrndāvana-campū, Śrīla Kavi Karņapura describes how śuka was very disturbed. He went to Lalitā and Viśākhā. Rādhārānī, Lalitā, and Viśākhā understand his language, but strangers do not.
Lalitā came and tried to bring Rādhārānī back to consciousness. She had fainted and Her color had changed, becoming very pale. They asked Śuka, “When and how did She fall senseless-and why? Do you know?” Śuka said, “Yes, a sound came. Someone was playing a flute; She heard it, and it had a poisonous effect which made her fall senseless.” The gopis wondered who was distributing this poison and were determined to find out. Śuka told them that it came from a northly direction, and he flew off that wa
After five or seven kilometers, he saw a big tower. On top of the gate there were two small boys, one was golden and the other black. They were sitting and talking sweetly. What were they talking about? Śuka sat on top of a mango branch and listened. Kṛṣṇa then took His flute and played it again. Suka thought, “I will catch this murdering thief who is distributing poison! I will catch Him and have Him sent to jail, where he can’t play His flute-for this flute is only distributing poison, not nectar. My Śrīmatī Rādhārānī heard this, and fell senseless.”
Anyone who hears Kṛṣṇa’s flute becomes lost. Calves stop drinking their mother’s milk, their ears perking up when they hear Krsna’s flute; the cows stop eating grass, deer stand still, peacocks stop dancing and the cuckoos fall silent.
Śuka saw Kṛṣṇa playing around with Kusumāsava and also playing His flute song. He thought, “How astonishing are these sounds? Why are You distributing this poison?” In his own language, he addressed Krsna, “Stop! Stop! No more.”
Kṛṣṇa thought, “Who is speaking? Kusuma, look around! Someone is speaking with a very nice tone.” Śuka had practiced singing Kṛṣṇa’s names and glories. He began chanting, thinking, “Help me! This poison-giver is a cheater!” He called out in prayer, singing the songs that were taught to him by Śrīmatī Rādhārānī:
śrī-Kṛṣṇa gopāla hare murāri govinda he nanda-kiśora Kṛṣṇa
“Help me stop this person from playing the flute!” But Kṛṣṇa did not stop- Kṛṣṇa was playing more. Śuka was even more disturbed and chanted more loudly, “Kṛṣṇa, Govinda, Gopala.”
Kṛṣṇa said, “Who is chanting My names?” Then He saw this parrot. Kṛṣṇa sent Kusumāsava, saying, “Kusuma, go and catch that parrot who is chanting My names and ask him what he wants. If I call, he won’t come. He is greedy, so offer him some pomegranate seeds or some nice fruits, like cherries or grapes, and he’ll definitely come.”
Kusumāsava arranged some bait and showed it to Śuka. He came and sat to eat. Kṛṣṇa caught him and stroked him. Being touched by Kṛṣṇa, Śuka forgot the entire world.He forgot Varṣānā, Rādhārānī, Lalitā, and Viśākhā. Kṛṣṇa took him inside Nanda-bhavan and sat on top of His bed, playing with His new parrot friend, Śuka. Kṛṣṇa gave him milk, butter, and rice, and Śuka ate happily.
In the meantime, Rādhārānī’s sense returned, and She looked around, “Where is my Śuka?” She asked, “Lalitā, where did Śuka go? He never leaves me.”
Lalita said, “You were senseless and therefore Suka was very sad. He flew off to see who played the flute that was responsible for this poison which made you senseless. He took off, but he hasn’t returned yet. Don’t worry, though, I shall go and find him.”
Lalita went to Nanda-bhavan and into the room where Nanda-nandana was playing with Suka very happily.
The parrot was dancing on His chest. Lalitā told Kṛṣṇa, “This is Rādhārānī’s parrot. Give him back.”
Kṛṣṇa replied, “Oh? Ask Śuka who he belongs to, and whether or not he wants to go to Varṣānā or stay here?”
Lalitā asked Śuka, “Will you come to Varṣānā?” The parrot said, “No.” Lalitā said, “Are you Kṛṣṇa’s?” Suka replied, “Yes.”
Kṛṣṇa steals and cheats everyone-this is His nature.
If anyone comes nearby Him, they will never go back. This is Kṛṣṇa’s power. Lalita thought what to do. She went to Yaśodā Mātā and said, “Mother, your lālā, Kanhaiyā is playing with animals on top of his bed. How will his brain develop nicely? By playing with animals, his brain will become like an animals’. It’d be better if he plays with other boys.”
Mother Yaśodā said, “What mischief is He up to now?”
Lalita replied, “He’s caught a free bird and brought it here to play with.”
Yasodā Mātā went to Kṛṣṇa and said, “Kanha, why are you playing with the parrot? Give him to Lalitā She took the parrot and gave him to Lalită.
Then Suka’s sense came back, being touched by Lalita Śuka said, “O Lalita-devī, forgive me.”
Lalita asked śuka, “Why did you leave Rādhārānī in Varṣānā?”
Śuka replied, “I am an animal, I lost my intelligence, I was greedy. Eating with Krsna, I lost my sense.” If anyone takes Kṛṣṇa’s prasāda, he will lose everything. His prasāda has so much power.
Śuka flew back quickly to Rādhārānī. Rādhārānī was very pleased and asked, “Why did you leave Me?”
Śuka told Her, “I went to search for the cause of your distress, but I got arrested there. But now I’m back. Please, never leave me. I left You for a moment, and I lost everything.”
Kamanīya-kiśora-mugdha-mūrteḥ, if anyone drinks or watches kiśora’s mūrti and hears His flute, then he will lose everything. Kala-veṇu, if anyone hears Krsna’s flute, then he will be humble-trṇād api sunicena-and will always drink this nectar. He will not maintain relations with anyone else. Everything will be stopped. This is in the seventh verse.
Śri Kṛṣṇa’s sweetness swelled high in Sripâd Lilāshuk’s bosom like an infinite endless ocean. Śri Kṛṣṇa is an ocean of sweetness. Love alone can relish this sweetness. It is not necessary that an object will be visible only when it is in front of you. For this, the power of vision too is necessary. The clarity of the object will depend on how powerful is our vision. Similarly, we can perceive the sweetness of Śrī Kṛṣṇa only if we love Him like a beloved. The extent to which we can relish this sweetness will depend on the degree of our love. The love of the Gopis increases Śrī Kṛṣṇa’s sweetness, and the Gopis have the maximum capacity to relish Sri Kṛṣṇa’s sweetness. However, Śrī Rādhārānī alone is capable of relishing Sri Krishna–mādhurya completely. Śri Kṛṣṇa says –
“ Rādhārānī alone relishes my nectarine sweetness completely because of Her profound love for me.” – [Śrī Chaitanya-Charitāmrita -ādi.4.121]
On the other hand, Śrī Rādhārāni’s love is so intense that in spite of relishing total sweetness She is forever thirsty for more. More the thirst, more the relish. More the relish, more the thirst. When the pain of Śrī Kṛṣṇa –viraha engulfs Srimati, Her sakhis console Her by describing Śrī Kṛṣṇa–mādhuri.That’s why, it is impossible not to talk about Sri Kṛṣṇa–mādhuri with Srimati.
Srila Bilvamangala Ṭhakura’s heart was absorbed in the infinite ocean of Sri Krishna’s sweetness. He was mesmerised. He was overwhelmed. He wanted to describe at least a drop of the infinite Śrī Kṛṣṇa–mādhuri. Therefore, he told his friend – “Sakhi! May my words express at least a drop of that infinite sweetness of Murāri, Who is an ocean of sweetness, Who has the form of a Kishor and Whose moon-face is adorned with a flute playing sweet notes. I cannot express that sweetness. If I am able to express even a drop, I shall consider myself fortunate”.
Sripād Lilāshuk has used the name ‘Murāri’ in this verse. Here, Murāri does not mean ‘the enemy (ari) of the demon Mura’. ‘Mura’ means ugliness. Therefore, Murāri means ‘one Who is devoid of ugliness’ or the most beautiful Śrī Kṛṣṇa.
A small speck is called ‘kaṇi’. Smaller than a ‘kaṇi’ is ‘kaṇikā’, this means ‘very minute’. Again, this is ‘kāpi kāpi.’ Here ‘kāpi kāpi’ means that he is hankering for only a miniscule drop of the ocean of Śrī Kṛṣṇa’s sweetness. How is He? He has a beautiful, heartstealing Kīśhora form – a form that hypnotises everyone. The melodious flute forever serves his moon-face. May my words express a minute droplet of this unlimited fathomless ocean of Sri Krishna–mādhuri.
It is a special sevâ to describe a drop of Sri Krishna’s infinite sweetness
Śrī Kṛṣṇa–mādhuri cannot be analysed or explained. We have to relish it. A mute person can relish a sweet. However, he cannot explain his feelings due to lack of speech. He tries to express by means of gestures. When a loving devotee relishes Śrī Kṛṣṇa–mādhuri, his situation is the same. The infinite Śrī Kṛṣṇa–mādhuri swells up in front of him. He relishes only a single droplet and becomes intoxicated. He lacks the speech to express his feelings. Śri Lilāshuk, who is in the mood of a sakhi, is in the same situation. Yet, to serve Śrī Rādhārānī, a sakhi must express Śrī Kṛṣṇa–mādhuri. When Srimati suffers from viraha, the sakhis console Her by describing Śrī Kṛṣṇa–mādhuri .It is a special sevā. It is for this sevā that Sripād Lilāshuk offers a prayer to express at least a very minute droplet of the fathomless ocean of Śri Kṛṣṇa’s sweetness.
Humility is necessary to attain Śrī Krsna-prema Śrīla Kavirāja Goswāmipād has also explained the external meaning of this verse in a superb manner.Humility arose in Sri Lilāshuk’s heart. He told his Vaishnava companions – Forget having a ‘sphurti’ of Murāri’s sweetness in my heart, I shall consider myself blessed if my words express even a little of His sweetness. The humility increased and he said – Śrī Kṛṣṇa is the fountainhead of sweetness, I shall consider myself most fortunate if even a droplet is expressed in my words. When he felt still more humble, he said: Śrī Kṛṣṇa is an unlimited ocean of sweetness, a droplet of which can flood the universe. May my words express a minute droplet. When he felt most humble, he said ‘kāpi kāpi’ – which means, very minute, very minute.
“We possess such tremendous humility only when we attain a very high stage of love. We see the ultimate height of humility in the Gopis since they possess prema.”- [Brihad Bhāgvatāmṛtam 4.3.121]
Because the poet is in the mood of a sakhi, it is possible for him to feel so much humility.
Sri Gopala Bhatta Goswāmipād says in his commentary on this verse – Sripād Lilâshuk has expressed the desire to relish Śrī Kṛṣṇa’s sweetness at least while glorifying Him. He says that they are blessed, whose pure hearts are adorned by the lotus-face of Vibhu; Śrī Kṛṣṇa’s moon like face looks all the more sweet when it is decorated by the flute playing nectarine songs. I only pray that my words may express a very minute droplet of that sweetness.
You may ask the poet – When we cannot express the sweetness of ordinary worldly objects such as sugarcane juice in words, how will you express the divine and infinite Śrī Kṛṣṇa’s–mādhuri? As a reply, he says – ‘kāpi kāpi’ – may a very minute droplet manifest itself- so small that someone insignificant such as myself may possibly express.
What does ‘Murāri’ mean? ‘Murāri’ means ‘the killer of the demon Mura’. Nevertheless, Śrī Kṛṣṇa was called Murāri even prior to the killing. Here this name has been used only to express ‘Vira-rasa’ – the ras of valour. In spite of being so brave, Śrī Kṛṣṇa is sweet and gentle.
Another meaning is –“The living entity is bound by ignorance, conceit, attachment, envy and material engrossment. Hence, these tendencies are called ‘Mura’. The One Who frees the living entity of such bondage by making us hear and chant His Own Holy Name and qualities, is called ‘Murāri’ ”.
‘Sri Bhatta Goswāmipād has explained the words “kvaṇitādṛtānanendoh” in the following manner –
“The flute hypnotises the Gopis with its heart–stealing songs. On hearing the flute, the loving Gopis are attracted and they honour Him by planting kisses on His moonface. It is adorned with smiles and gestures so as to attract the Gopis and force them to touch Him.”
“The One Whose lotus-face is deeply kissed by Sri Rādhā under the pretext of praising His beautiful nectarine face, may That heart stealing Śrī Hari, Who is full of sweet smiles, protect you all!”-
(Geet Govindam).7
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