Canto 10 - Chapter 21: The Song Inspired by the Flute

Discourse XXI

The Song Inspired by the Flute

• According to Hindu astronomy the four months of the rainy season are regarded as inopportune for commercial trips, expeditions for extending one's dominions, marriages and rambling on the part of recluses.

Śrī Śuka began again : Accompanied by cows and cowherd boys, Śrī Kṛṣṇa (the immortal Lord) entered deep into the aforesaid forest with its waters made transparent by the autumn and fanned by a breeze charged with the fragrance of lotus-beds. (1)
Having entered the forest—the lakes and streams as well as the mountains of which were resonant with the sweet warbling of birds and the (sweet) humming of bees, intoxicated by (the presence of) rows of trees in full bloom—and pasturing the cows in the company of Balarāma and (other) cowherds, Lord Śrī Kṛṣṇa (the Protector of the Madhus) sounded His flute. (2)
Hearing that (entrancing) music of Śrī Kṛṣṇa's flute—which kindled love (in their heart)—some women of Vraja proceeded to celebrate it in song before their female companions (all) out of His sight.(3)
Recalling the (loving) gestures of Śrī Kṛṣṇa while commencing to describe the music, they (however) could not, their mind being distracted by the vehemence of love, O protector of men. (4)
Exhibiting (before their mental eyes) an exquisite form resembling that of an actor (on the stage), adorned with a crest of peacock feathers, wearing Karnikāra flowers on His ears, a wreath of flowers of five different colours and a golden cloth (round his loins), and filling the holes of His flute with the nectar of His lips (as it were), the Lord (they felt) entered Vṛndāvana, charming with His footprints (found at every step), His glory being sung by hosts of cowherd boys. (5)
Hearing, O Parikṣit, the (said) music of His flute, captivating to the mind of all living beings, and celebrating it (in the following strain), all those women of Vraja mentally embraced the Lord. (6)

The Gopīs sang : This is the prize for those who have eyes, friends; and we know of no greater prize than that enjoyed by those who have feasted their eyes on the countenance—playing on the flute and casting loving glances (all round)—of the two sons of Nanda (the lord of Vraja) as They lead the cattle alongwith their playmates (the cowherd boys). (7)
Singing at times amidst a circle of cowherd boys, and picturesquely clad in a garment fitted closely with tender mango leaves, peacock feathers and bunches of flowers (tucked to the curly locks), a pair of lilies (fastened to the ears), a lotus (held in the right hand) and a garland (worn about the neck), (the two Brothers looked most charming like a pair of excellent actors on the stage. (8)
O Gopis, what meritorious act has this flute performed, by virtue of which it freely enjoys (to its heart's content) the nectar flowing from the lips of Śrī Kṛṣṇa (who was once tied by His mother with a cord at the belly)—though a monopoly of the Gopis—so that nothing but sweetness is left behind (in those lips) ! (Lo !) the rivers (by whose waters its parent stock—the bamboo—was nourished) appear with their hair standing on end (in the form of the blooming lotuses through rapture), while the (bamboo) trees (themselves) are shedding tears (of joy in the shape of honey) even as the elders of a family are delighted to find their child enjoying the grace of the Lord. (9)

(The soil of) Vṛndāvana, O friend, enhances the glory of the earth (so as to make it outshine even the heavenly regions) in that the soil has been graced by the lotus-feet of Śrī Kṛṣṇa (the son of Yaśodā*) and (further) because, witnessing the dance of peacocks enraptured to hear (the music of) Śrī Kṛṣṇa's flute (which they mistake for the low rumbling of clouds) all other creatures on the summits of Mount Govardhana cease from every activity (and stand motionless—a thing which is not seen in any other sphere). (10)
Blessed indeed are these female deer, though stupid of mind—that, on hearing the music of the flute, offered in the company of the male deer (the black antelopes) worship, performed through their loving glances, to the darling of Nanda, who has put on a wonderful garb. (11)
Gazing on Śrī Kṛṣṇa, whose comeliness and amiable disposition are a source of joy to the fair sex, and hearing the weird notes of the flute played on by Him, celestial women riding in aerial cars (and embraced by their spouses) stood infatuated, deprived of their presence of mind through love, flowers dropping from their braids and their skirts unsettled. (12)
Drinking with the cup of their ears, standing erect, the nectar-like music of flute flowing from Śrī Kṛṣṇa's lips and hugging Śrī Kṛṣṇa (the Protector of cows) in their mind on His entering it through their eyes, the cows as well as their calves (that had just been let loose to be suckled by their mothers) stood motionless with drops of tears (in their eyes), the mouths of the latter remaining filled with the draught of milk flowing from the dripping udders (of their mothers), having no strength left in them to swallow the milk). (13)
In all probability, Oh mother†, the birds (dwelling) in this forest are (no other than) sages, who—having perched on the boughs of trees clothed with charming foliage (devoid of fruits and flowers) so that they may be able to behold Śrī Kṛṣṇa (without any hindrance) and (since they have no attraction for such fruits and flowers)—hear the dulcet music of the flute poured forth by Him with unwinking (sleepless) eyes, other voices having altogether ceased for them. (The Gopis have evidently concluded this from the fact that perching on the boughs of the tree of the Veda and renouncing the fruit of actions promised in it, sages devote themselves to action alone—corresponding to charming leaves—fixing their mind on the glory of Śrī Kṛṣṇa with the sole object of securing a vision of the Lord). (14)

• The word 'Devaki' occurring in the above verse evidently stands for Yaśodā inasmuch as the people of Vraja—and even the outside world—till the death of Karhsa took Śrī Kṛṣṇa to be the son of Yaśodā alone, and we have the evidence of the Viṣṇupuraṇa to show that Yaśodā bore the name of Devaki too—'हे नामो नन्दजायाया यशोदा देवकीत्यपि.'
  † It is usual with Indian women to address their female companions as mother in moments of ecstasy and specially while pouring out their heart through a song.

Hearing the aforesaid music of Śrī Kṛṣṇa (the Bestower of Liberation) on that occasion, (even) the (inanimate) rivers—that had their rapid flow (towards the ocean, their darling) arrested through love (for Śrī Kṛṣṇa) betrayed by eddies—clasped both the feet of Śrī Kṛṣṇa (the Slayer of the demon Mura) with the arms of their waves in such a way as to fold them in their embrace, offering lotuses (as a symbol of their heart). (15)
Witnessing (with the eyes of lightning) Śrī Kṛṣṇa duly pasturing the cattle of Vraja in the company of Balarāma and the (other) cowherd boys in the (hot) sun and playing on the flute in their rear, a cloud appeared (over His head) and, swollen with love, did the service of an umbrella to its Friend (Śrī Kṛṣṇa, who resembles the cloud in hue and like a cloud allays the suffering of the people) with its body, covering Him (at the same time) with showers of flowers.*(16)

Fully accomplished of their purpose are the Bhila women who, when smitten with pangs of love at the Lord's sight, dismissed that agony besmearing their face and breasts with the saffron paste (originally) painted on the bosom of His darling and rendered still more charming by contact with the reddish hue of the lotus-feet of Śrī Kṛṣṇa (who is widely celebrated) and (ultimately) transferred to the blades of grass (of Vṛndāvana due to His ramblings there). (17)
Ah, this mountain (Govardhana), O fair ones, is the foremost of Śrī Hari's servants in that it not only derives supreme joy from the touch of the feet of Balarāma and Śrī Kṛṣṇa (joy which is betrayed by its horripilation in the form of fresh blades of grass), but also extends its hospitality to the two Brothers alongwith their cows and followers through (the fresh and pure) water (of its cascades), excellent pasture, caves (affording shelter to them) and its (produce in the form of) bulbs and roots. (18)
It is most wonderful that due to the highly delightful notes, consisting of low and sweet tones, of the flutes of the two Brothers—leading the cows from one forest to another in the company of (other) cowherd boys and distinguished by a string for tying the hind legs of cows while milking them (which they had twined round their heads) and a cord for pulling unruly cows (which they had placed across their shoulder)—there should ensue among the embodied beings, O friends, (complete) lack of movement in those capable of locomotion (including running streams), and a thrill of joy should appear in (the stationary) trees! (19)
Recounting to one another such pastimes that pertained to the Lord, who moved about in Vṛndāvana, the Gopis became mentally absorbed in those pastimes (themselves). (20)

• Although the flowers were evidently showered by the gods riding in their aerial cars (Vide verse 12 above), the Gopis in the ecstasy of love imagine them to have been showered by the cloud.
  Thus ends the twenty-first discourse entitled "A Song inspired by the (Lord's) Flute," in the first half of Book Ten of the great and glorious Bhāgavata-Purāṇa, otherwise known as the Paramahārṣa-Sarhhitā.