Exploration of Nature in Śṛī Kṛṣṇa's Rāsa Līlā with Gopīs in the Śrimad Bhāgavata Mahāpurāṇa

Abstract

The focus of this article is to explore Nature in rāsa līlā of Śṛī Kṛṣṇa with gopīs in the Śrimad Bhāgavata Mahāpurāṇa. The objective of this article is to explore rāsa līlā as a union of male and female for the creation and continuation of Nature of this world. In rāsa līlā, Śṛī Kṛṣṇa represents the entire male element (Puruṣa) of creation whereas the gopīs typify Prakṛiti, the female element. There is the union of Prakṛiti (Nature) and Puruṣa (consciousness) in the rāsa dance of Śṛī Kṛṣṇa līlā. To evaluate the rāsa līlā superficially, from the materialistic perspective is a problem of this study. The researcher incorporates Nature for the analysis of the rāsa līlā between Śṛī Kṛṣṇa and the gopīs. He has used theory of Immanuel Kant to explore Nature in rāsa līlā of Śṛī Kṛṣṇa with gopīs. The philosopher realizes divine being in the objects of Nature and argues that Nature is not different from divine being. It is based on the interpretation of critics and scholars in the rāsa līlā. The findings of this investigation are to provide new perspective with evidences in the rāsa līlā of Śṛī Kṛṣṇa. It gives a new insight to readers about this divine dance. The main conclusion to be drawn from this research paper is that men and women are fragments and incomplete in themselves without union between them. There should be continuation of rāsa in different forms for the existence of humans and other creatures on earth.

Keywords: Exploration, līlā, prakṛiti, puruṣa, rāsa, union

Introduction

Dance, a way to please divine being during the time of kirtan (chanting) explicates ritual practice in the Hinduism. On this ground, Ravi Prakash Arya defines: "The word rāsā or the sentiment primarily denotes taste or favour, however in literature; it has the connotation of emotional experience of beauty" (12). Evidently, the term rāsa is the focusing point and it has become the subject matter of discussion in the Śrimad Bhāgavata Mahāpurāṇa. Rāsa refers feelings or sentiments of characters in a literary work of art. It is an aesthetic taste which evokes emotions of readers. Rāsa deals with the emotions of the author in the creativity of a literary work of art and readers share the emotions of the writer with them. The term bhāva is used in Sanskrit to indicate the emotions of writers and characters in texts. Two prominent terms rāsa and rāga are frequently used in the classical music and aestheticism in the Eastern Philosophy.

The credit of defining rāsa goes to Bharata Munī. The sage defines rāsa as the quality of drama āsvādhyate [“is capable of being relished”] (qtd. in Gosh 105). This definition extends the scope of rāsa in the Vedic texts. The commentator states that rāsa associates with the quality of drama. The theory of Bharata Munī about rāsa explicates the quality of a literary text. To support the idea of rāsa līlā, Charles A. Filion defines: "When women dance in a circle holding one another's' hands and when their necks are grasped by male dancers, that is rāsa" (505). To strengthen the argument, one claims that rāsa is a special dance involving many male and female dancers. This dance is promoted when male and female partners have similar type of cleverness. In this connection, Filion further claims that the focus of rāsa līlā for the gopīs is the dance but not for Śṛī Kṛṣṇa (503).  Its dominant aspects are words, gestures, and temperaments.

The Śrimad Bhāgavata Mahāpurāṇa introduces rāsa līlā of Śṛī Kṛṣṇa with gopīs in the 22nd chapter and from 29th to 33rd chapters of the Tenth Canto. The term rāsa līlā is widely used in the Śrimad Bhāgavata Mahāpurāṇa. Śṛī Kṛṣṇa plays the flute and the sound becomes the basis of rāsa līlā. The sound is so melodious that it steals the minds and hearts of gopīs. It takes place during the time of full moon night in autumn in the forest of Vṛndāvan when the gopīs listen to the melodious sound of Śṛī Kṛṣṇa’s flute. The sound of the flute is so magical that it allures the gopīs and they leave their duty for the sake of beauty. Rādhā and her other sakhis (friends) do not care about the fear of wild animals. As the gopīs meet Śṛī Kṛṣṇa, the rāsa līlā commences. It signifies various actions in love such as singing, dancing, hugging, and kissing. The attraction of Śṛī Kṛṣṇa mesmerizes them easily and his appearance is beyond comparison and the gopīs drink his form with loveliness.

In this connection, N. Śṛī Kṛṣṇa Swami clarifies rāsa līlā with the argument that “This covered the entire gamut of man- woman relationship, and ranging from the entirely human to the wholly divine” (94). In this discussion, the words “man- woman relationship” is used for the presentation of their emotions. Emotion is the ground stone of rāsa līlā in the Śrimad Bhāgavata Mahāpurāṇa. Readers realize the connection between a man and a woman with the help of their emotions. To support this idea, Purnendu Narayan Sinha examines: “The gopīs had given up everything for the sake of Śṛī Kṛṣṇa and they would ill bear to hear these unkind words” (417). It shows that the gopīs neglect themselves after listening to the sound from his flute. This argument supports that the rāsa līlā of Śṛī Kṛṣṇa is the basis of attractions for the gopīs. They sacrifice everything for the sake of Śṛī Kṛṣṇa. From this statement what Sinha argues seems to be plausible and believable.

Nature is earth and the objects which we find on it. The Nature of the world is our existence and our life depends on it. It is the duty of humans to save Nature for our benefits. In this connection, John Locke, a philosopher on Nature, argues: “Nature is the equality, which all men are in, in respect of jurisdiction or domination of one over another” (5-6). Despite equality in Nature, humans neglect the rights of other creatures. On this ground,Victor Schauberger supports Locke and the analyst further explores that “Millions of people can no longer earn their daily bread by honest labor” (9). They kill animals, destroy forest, and create problems in Nature. Humans exploit Nature either directly or indirectly for the fulfillment of their greed.  In this context, Jozef Keulartz explores that the role of a man in this primeval Nature is that of a hunter, gatherer or scavenger (162). This stand point justifies that humans create problems in Nature. They do not hesitate to destroy the inhabitants of the wild animals and birds.

Humans use the objects of Nature for the completion of their works and they destroy Nature from their different activities. Every living being uses the gifts of Nature as a source of benefits. Humans' intervention in Nature creates problems in ecology. Explaining this statement, William Beinart and Peter Coates clarify: “Nature can be seen to have a self-regulating but not necessarily stable dynamic independent of human intervention” (30). Analyzing this statement, one argues that humans should not intervene the works of Nature.  In this context, Andrew Lustig and et al have different line of logic on Nature. The interpreters evaluate that the Hinduism emphasizes Nature with God (13). This dealing with Nature is based on the idea of biocentrism in which humans get the reciprocal relationship between creatures and plants. On this ground, Ben Klassen argues: “Nature is the whole cosmos, the total universe, including its millions natural laws through space and time” (qtd. in Klassen 14). On the basis of this expression, one says that Nature lovers extend their scope. The critic clarifies his ideas by referring to the laws of Nature which are constant all times.

All living creatures should obey the laws of Nature without raising questions. The violation of the laws of Nature creates problems. To strengthen the argument, Susan Green incorporates her ideas: "I am a pagan. I am part of the whole of nature. The rocks, the animals, the plants, the elements, and the stars are my relatives. Planet earth is my home. I am a part of this large family of nature, not the master of it"(qtd. in Green 39).The analyst stresses the significance of Nature in the life of creatures. Humans realize the horizontal relationship between creatures and plants. The aforementioned discussion shows that the interpreters and philosophers intellectually reach the conclusion that Nature is a prime tool for the analysis of literature. Śṛī Kṛṣṇa likes to remain in forest during the time of his childhood and plays games with cowherd friends happily. Later, the rāsa līlā takes place in forest with gopīs. The fragrance of flowers enhances the rāsa līlā and it becomes memorable for the participants.

The rāsa līlā is one of the līlās of Śṛī Kṛṣṇa in which there is the revelation of the divine love. The love of the gopīs to Śṛī Kṛṣṇa is the subject matter of discussion in the field of literary criticism. The union between a man and a woman is necessary for the sake of progress, success, and creation. Without attraction between male and female, no one imagines the continuation in the creation of this world. The commentator argues positively in the rāsa līlā of Śṛī Kṛṣṇa. Thus, rāsa līlā of Śṛī Kṛṣṇa shows a union between Prakṛiti and Puṛūṣa in the Śrimad Bhāgavata Mahāpurāṇa. Nature is the prime setting for the performance of the rāsa līlā in the Śrimad Bhāgavata Mahāpurāṇa. Other creatures and plants participate in the rāsa līlā and are pleased.

Problems, Objectives, and Methodology

Veda Vyāsa incorporates Nature impressively in the rāsa līlā of Śṛī Kṛṣṇa with gopīs in the Śrimad Bhāgavata Mahāpurāṇa. According to him, Nature is not manifested for beauty; it is the support for the generation of meanings. The compiler creates meanings in the rāsa līlā of Śṛī Kṛṣṇa on the basis of Nature. In the similar vein, Arne Naess writes ahead: “The earth cannot speak for itself in ways that are intelligible to us. Therefore humans, even environmentalists, are limited by their own interpretations of it”(52). The argument intensifies that Nature provides emotions, courage, and beauty in the rāsa līlā. Against the background of Nature, the problem of this research paper addresses how Nature is manifested in the rāsa līlā between Śṛī Kṛṣṇa and the gopīs. To deal with it, the following research questions are set:

·        What relation is perpetuated between rāsa līlā and Nature in the Śrimad Bhāgavata Mahāpurāṇa?

·        How does rāsa līlā thrive in Nature in the Śrimad Bhāgavata Mahāpurāṇa?

·        Why does the gopī gīta become the ground stone of mahārāsa represented in the Śrimad Bhāgavata Mahāpurāṇa?

The first objective of this research is to explore the relation between rāsa līlā and Nature. Its other objectives are to examine the flourish of rāsa līlā in Nature and to explicate the role of gopī gīta in mahārāsa. The researcher has used theory of Immanuel Kant to explore Nature in rāsa līlā of Śṛī Kṛṣṇa with gopīs. The philosopher realizes divine being in the objects of Nature and argues that Nature is not different from divine being. The researcher has used Veda Vyāsa's the Śrimad Bhāgavata Mahāpurāṇa translated and commented by Bhakti Vedānta Swāmī Prabhupāda with Sanskrit stanzas as the primary text.

 Veda Vyāsa`s Position in Hinduism: A Review of Literature

Major critical thinkers and researchers of the Hinduism such as Swami Sivananda, Max Weber, Yogi Panchavedi, Sankaraj, and Neha Borkarand Subhamoy Das have interpreted Veda Vyāsa’s epic career. They have stressed the contribution of Vyāsa for the Purāṇas in the Hinduism. Their evaluation asserts the place of the compiler in the world literature. Swami Sivananda judges Veda Vyāsa’s development of the career as an epic writer and the prime quality of his scriptures. The interpreter evaluates Vyāsa with the argument: “Vyāsa is considered by all Hindus as a chiranjivi (immortal) one who is still living and roaming throughout the world for the well-being of his devotees” (3). Among asta (eight) chiranjivis, Veda Vyāsa is one. Other chiranjivis are Markandeya, Bali Charkravarti, Hanumān, Ashwasthāmā, Parashurāma, Vibhiṣaṇa and Kumārs (qtd. in Krishnanda 3). Chiranjivi are those born humans who are blessed to be immortal by the divine being.  In this context, Sivananda shows the quality of Vyāsa to be immortal for blessing his devotees. The quality of Vyāsa’s writing is beyond comparison not only in the Hinduism but also in the other religions (Prabhupada III). We have immense knowledge through his writings about philosophy of life and soul.

With the different belief Max Weber discusses the furnished style of Veda Vyāsa in his writing. In his expression, “We may be confident in reading Vyāsa that the expression will always be just to the thought; he never palters with or labors to dress up the reality within him” (5). The expression of the author draws special attention of readers because the sentences are meaningful with the knowledgeable ideas. His writings exhibit kernel of the Hinduism so that he is the focusing literary figure in Sanskrit literature. Nature is the base for his writing that warns humans to emphasize Nature's beauty. Unlike Weber, Yogi Panchavedi discusses the condition of the Hindu scriptures. Before Vyāsa, the Vedic knowledge was in the oral form. It is true that the Vedas, Upanishadas, and Puraāṇs in the pre-Vyāsa era were only in the oral form. During the time of the pre-Vyāsa era, there was no trend to keep scriptures in written form. The sages used to provide precepts of the scriptures to their disciples.

Sankaraj Jayanthi supports Panchavedi about the contribution of Veda Vyāsa as he differentiates Veda Vyāsa from other ordinary humans by expressing that he is the avatār (incarnation) of god because an ordinary person could not write faultlessly innumerable scriptures. A little different from Jayanthi, Neha Borkar focuses on the Vyāsa’s prediction about the future condition of earth. She extends the scope of Nature from the expression of Vyāsa: “It’s quite surprising that sage Veda Vyāsa when he lived knew the earth was going to be a horrible place to live in the coming 5000 years” (10). In her thoughts, the prediction of Vyāsa about Nature has come to be true. In this sense, Vyāsa is not only a writer but a good predictor because the world has been facing the natural crisis as the prediction of Vyāsa.

All the aforementioned reviews highlight Veda Vyāsa from different perspectives due to his unique contribution to the Hinduism. The compiler divides the Vedas into four parts –the Rig Veda, the Yajur Veda, the Sāma Veda and the Atharva Veda. The life of Veda Vyāsa is a unique example for the dissemination of spiritual knowledge. Readers of all times get influence from his writing. The Śrimad Bhāgavata Mahāpurāṇa establishes the personality of the writer at the apex of success. Before writing this text, the author has not been satisfied in his writing from other texts. Nārada Mūni instructs him to write the Śrimad Bhāgavata Mahāpurāṇa for the glory of the Lord. This Hindu scripture makes the goal of his life successful. Rāsa līlā consists of five chapters in the Śrimad Bhāgavata Mahāpurāṇa but it draws the attention of different readers, interpreters, and writers. It becomes the subject matter of discussion among writers and critical thinkers. The writers and critics have evaluated Veda Vyāsa from various perspectives. But no one has evaluated rāsa līlā of Śṛī Kṛṣṇa with gopīs from the perspective of Nature. Thus, this article adds a new block in the area of study and shows how rāsa līlā is necessary in the progress and success in the life of humans.   

Results and Discussion

Analysis of Rāsa Līlā from the Perspective of Nature

Rāsa līlā, a romance of Śṛī Kṛṣṇa with gopīs, draws the attention of philosophers, critics, scholars, and common people who interpret this līlā from different perspectives. In the Śrimad Bhāgavata Mahāpurāṇa, rāsa is the state of pleasure which comes directly from soul. The readers of this text require predisposition towards the rapture from this līlā of Śṛī Kṛṣṇa. Rapture, a part of bhakti rāsa, is brought by transcendental potency. Readers get the manifestation of Nature in the rāsa līlā of Śṛī Kṛṣṇa. The hero selects the beauty of Nature for the performance of rāsa līlā. The analysts need spiritual perspective for the evaluation of Śṛī Kṛṣṇa with Nature in rāsa līlā. It incorporates how Śṛī Kṛṣṇa behaves with devotees in the form of a lover and how the hero makes a balance between Prakṛiti and Puruṣa.

Stealing clothes of the unmarried gopīs by Śṛī Kṛṣṇa is the prelude to rāsa līlā in the Śrimad Bhāgavata Mahāpurāṇa. The gopīs of Vraja worshipped Goddess Katyayani (Durga) for a month. One day, the gopīs take off the clothes on the bank of the Yamunā River and go into the river. Bathing in a river is a trend among the Indian girls and women before worshipping. In this connection, Śūkadeva states: “It is an old system among the Indian girls and women when they take bath in the river they place their garment on the bank and dip into the water completely naked”1 (10: 22. 7). This argument supports the point that the gopīs are the followers of their rituals. They are daughters-in- law of the respectable families with their renowned status. They should not bathe in the Yamunā River in nude condition. Śṛī Kṛṣṇa regards the objects of Nature as humans and teaches gopīs to respect the objects of Nature as humans.

Śṛī Kṛṣṇa warns the gopīs not to bathe in rivers, lakes, ponds, seas, and oceans because it creates pollution. If it is necessary to bathe, everybody should take water outside to make the river or lake free from pollution.  From dhārmic perspective, it is an offence to the water God- Varuna (qtd. in Goswāmi 200). To teach a new lesson to gopīs, Śṛī Kṛṣṇa takes their clothes and climbs up a kadamba tree and starts laughing. The gopīs are embarrassed due to the presence of Śṛī Kṛṣṇa on the tree. Śṛī Kṛṣṇa captivates the gopīs and they seem to be innocent before him. Explaining this statement, Purnendu Narayan Sinha argues: “He asked the girls to come up and take them” (405).  Śṛī Kṛṣṇa makes the condition of the gopīs embarrassing and they must not repeat this type of mistake again. It is an unforgettable practical lesson of Śṛī Kṛṣṇa to the gopīs. It shows that the hero believes more in practical lesson than precepts.

Unlike Draupadi (who is embarrassed when Duṣāsana takes off her clothes), the gopīs please from this activity of Śṛī Kṛṣṇa, their most favorite person. During the time of their embarrassment, they speak respectfully: “Do not torment us with this prank of yours” (qtd. in Subramaniam 449). It further proves that the gopīs assume any activities of Śṛī Kṛṣṇa positively. The hero instructs the gopīs to take their clothes from his hand. To support this idea, Ramesh Menon examines: “They came covering their pubices with their hands, blue with the cold. He saw them in their enchanting nakedness, and draped the clothes over his shoulder” (830). Śṛī Kṛṣṇa states the gopīs not to bathe nakedly because it is a sin against gods. He connects between Nature and God for the lesson to gopīs to control water pollution. With this idea at the centre of attention, C. L. Goswami confirms that the maidens of Vraja bowed to Śṛī Kṛṣṇa (201). It is the promise of the gopīs not to repeat the same mistake in their lives.

In this context, it is important to elucidate the view of Śūkadeva about gopīs: “ Seeing them bowing down humbly before him, the merciful Śṛī Kṛṣṇa, the son of the Devaki, was pleased with them, and returned to them all their clothes”2 (10: 22. 21). Innocence of the gopīs in front of Śṛī Kṛṣṇa changes his mind and the hero returns the garments to the gopīs. From the spiritual perspective, it is the intimacy between Śṛī Kṛṣṇa and his devotees.  No devotee meets his/her god with clothes. It shows that Śṛī Kṛṣṇa gives grace to his devotees in the form of a lover. The hero does not only steal clothes but also steals their hearts. It proves that a girl does not hesitate to do anything in front of her loved person. Love eclipses ashamed for the beloved and to get her intended person, she does not hesitate to do even illegal and immoral works.

 To make this idea more convincing, Devi Dayal Aggrawal regards the gopīs as good devotees in the form of beloveds:

Śṛī Kṛṣṇa recognized their full devotion only after there was no avail between him and the gopīs. Clothes or the veil of clothes is only symbolic of māyā. Till one is down under the influence of māyā, one cannot reach the almighty and the devotion is not complete till he attains his closeness. The māyā in the form of clothes, therefore, had to be taken away to enable one to attain complete absorption in him. (186)

The gopīs surrender themselves due to the attraction of māyā from Śṛī Kṛṣṇa. The gopīs do not realize the boundary of doubt in the works and words of Śṛī Kṛṣṇa. Clothes are the intervention to obtain grace from Śṛī Kṛṣṇa. The devotees who surrender themselves for Śṛī Kṛṣṇa cannot obtain salvation in their clothes. The clothes are the form of māyā which causes problems to make intimacy between humans and Śṛī Kṛṣṇa. As the garments of the gopīs, modern fashion kills the divine love. Humans become narcissus (love their own appearance) and they forget their special relations to Śṛī Kṛṣṇa. Māyā which is in the form of clothes must be taken away for the grace of Śṛī Kṛṣṇa.

By taking away the clothes of gopīs, Śṛī Kṛṣṇa teaches humans to put away their worldly attachments and they meet him not with the attached body but in a purified state. After the surrender, there is special relation with Śṛī Kṛṣṇa. Wealth and clothes make obstacles for humans in the saraṇāgati with Śṛī Kṛṣṇa. Every human comes nakedly and also departs from this world after the performance of his līlā in nude condition. In the same line of argument, one argues that gopīs do not have any reasons to feel ashamed of themselves in front of Śṛī Kṛṣṇa. The clothes represent culture but skin shows Nature. Humans who live in the natural world without artificiality, get the grace of Śṛī Kṛṣṇa.

 The flute is a simple musical instrument which is made of bamboo. It is portable and originates simple and melodious sound. One gets the description of Śṛī Kṛṣṇa’s flute in the Śrimad Bhāgavata Mahāpurāṇa. It allures the creatures, vegetation, and other inanimate things. The flute enhances Śṛī Kṛṣṇa līlā because the hero always carries the flute. It is his most favorite musical instrument. It is the ground stone of rāsa līlā because the melodious sound lures gopīs. In this context, Śūkadeva explicates:

Lord Kṛṣṇa saw the unbroken disk of the full moon glowing with the effulgence of newly applied vermilion, as if it were the face of the goddess of fortune. He also saw the kumuda lotuses opening in response to the moon's presence and the forest gently illumined by its rays. Thus the Lord began to play sweetly on His flute, attracting the minds of the beautiful-eyed gopīs.3 (10:29.3)

With the support of this idea, D.R. Kinsley postulates: “A bamboo flute is the only musical instrument which is most natural and does not contain any mechanical parts. This is the reason why the flute is very close to nature”(32). The echo sound of the flute is delightful for creatures.

Bhattacharya follows Kinsley about the utility of the flute in the life of Śṛī Kṛṣṇa and the critic states: "The flute has eight holes, using which divine music is brought out by the player. Eight is number of Indian god Śṛī Kṛṣṇa; the eight holes control the eight parts of the body and mind: eyes, ears, nose, tongue, skin, mind, intellect, and ego"(21). The musical instrument has its spiritual importance in the Śrimad Bhāgavata Mahāpurāṇa. The flute of Śṛī Kṛṣṇa symbolizes freedom and entertainment. The flute shows that a person should be as a hollow flute in the absence of vanity. The flute has crucial role for commencement of rāsa līlā of Śṛī Kṛṣṇa with gopīs in the background of  Nature.

In this context, Śūkadeva discusses the effect of the music of the flute in the life of gopīs: "Their husbands, fathers, brothers, and other relatives tried to stop them, but Kṛṣṇa had already stolen their hearts. Enchanted by the sound of His flute, they refused to turn back"4 (10:29.8). It further proves that the music of the flute has attracted gopīs to Śṛī Kṛṣṇa. The flute, a simple musical instrument, is the product of Nature. To strengthen this idea, Gunaraj Khan further examines: “The flute is the human heart, a heart which is made hollow, which becomes a flute for the god of love to play” (4). Humans should empty their hands for the grace of Śṛī Kṛṣṇa. The human heart should realize hollowness in our lives. As the sound of the flute, one should try to please others as far as possible. On the basis of this relation, Prabhupada explicates: “When the gopīs were describing the sweet vibration of Śṛī Kṛṣṇa’s flute, they also remembered their pastime with him” (201). It shows that the gopīs have connection with Śṛī Kṛṣṇa from their previous birth.

On this ground, Śarartha Darsini argues that the gopīs were the sages of Dandaka Forest in their previous birth during the regime of Lord Rāma in Treta Yuga (702). According to the findings of Prabhupada, there might have been the previous connections of the gopīs with Śṛī Kṛṣṇa (518). This rāsa dance is the fulfillment of the desires of  gopīs according to the promise of Śṛī Kṛṣṇa in the previous incarnation as Lord Rāma. To fulfil the previous promise, Śṛī Kṛṣṇa starts playing the flute. Vanamali examines the effect of the music: “All moving things became immobilized, and the immovable, like the stones and rocks, started to melt and flow, such was the bewitching power of his music” (70). Readers find miraculous impression from the music of Śṛī Kṛṣṇa’s flute. To melt rocks from music proves that its power is incredible in Nature. The natural objects such as trees, fruits, land, beasts, birds, humans, and rivers are the combination of Śṛī Kṛṣṇa's energy. The interpreter proves that Śṛī Kṛṣṇa is the centre of affection of all living beings (Prabhupada 19). The māyā (illusion) of Śṛī Kṛṣṇa works appropriately in Nature. The works of Nature are motivated from the melodious music of the flute.

The gopīs listen to the sound of Śṛī Kṛṣṇa’s flute and become jealous of it. According to them, the flute is lucky to remain always with Śṛī Kṛṣṇa. They have their desires to remain with him all time. But he carries the flute wherever he goes and pleases himself by playing it. The gopīs believe that he is unable to remain away from the flute. As the gopīs reach him at night in Vṛndāvana on the bank of the Yamuna River, there is the commencement of the rāsa līlā. In this connection, Śūkadeva explicates:

There Kṛṣṇa threw His arms around the gopīs and embraced them. He aroused Cupid in the beautiful young ladies of Vraja by touching their hands, hair, thighs, belts, and breasts, by playfully scratching them with His fingernails, and also by joking with them, glancing at them and laughing with them.5 (10:29.46)

The dance of celebration further points to the reality that “The whole life is a meeting of contradictory forces, and that all its happiness comes from this union of opposites” (qtd. in Osho 1). The rāsa dance causes the ecstasy of life for the sake of Śṛī Kṛṣṇa and the gopīs. It denotes that Śṛī Kṛṣṇa is better than Cupid to attract gopīs to participate in rāsa līlā.

 In this point, Śṛī Kṛṣṇa is a supreme enjoyer of the universe in Nature. When rāsa līlā commences, “The cows have stopped grazing” (qtd. in Subramaniam 447). The interpreter relates Nature in the rāsa dance and she further analyzes that even the natural objects are impressed by the music of the magical flute. We realize the division of the world into two opposite parts for creation. The commencement of rāsa līlā attracts the two opposite forces in the universe. As each gopī remains in the company of Śṛī Kṛṣṇa, she consoles herself with the argument: “She is grammarian, without her, he is speechless” (qtd. in Hawley 109). Grammar joins words into beautiful sentences both in speech and writing. In the same way, each gopī realizes that she is in need of love from Śṛī Kṛṣṇa.

The gopīs are jealous each other to remain intimate with Śṛī Kṛṣṇa. To relieve their jealousy, Śṛī Kṛṣṇa suddenly disappears during the time of rāsa līlā. The mind of the gopīs fully absorbs in ideas of Śṛī Kṛṣṇa and they start looking for him everywhere in the forest. Their climax of bliss shattered by the disappearance of their consort. By using yogic power, Śṛī Kṛṣṇa disappears from the middle of gopīs. It shows that jealousy is an evil quality which becomes the basis of separation among humans. In the words of Śūkadeva: “When Lord Kṛṣṇa disappears so suddenly, the gopīs  felt great sorrow at losing sight of Him, like a group of female elephants who have lost their mate”6 (10: 30. 1). Sudden disappearance of Śṛī Kṛṣṇa startles the gopīs and they start searching him. They realize Nature differently in the presence and absence of Śṛī Kṛṣṇa among them. The same trees, rivers, birds, and animals which have pleased them before, displease the gopīs in the absence of Śṛī Kṛṣṇa.

Responding to such claims, Lyengar argues that love between Śṛī Kṛṣṇa and the gopīs is not limited only to the bodily relationship (mahāmāyā) but it belongs to yogamāyā (109). Basing his argument on such idea, one explores that the gopīs regard Śṛī Kṛṣṇa more than their lover. His absence makes problems for them and starts hovering to and fro. In this connection, Pushpendra Kumar examines that the gopīs do not think the value of their lives in the absence of Śṛī Kṛṣṇa (961). These discussions throw light how Śṛī Kṛṣṇa is significant in the life of gopīs during the time of separation. They start singing songs of separation for the sake of consolation. The memory of Śṛī Kṛṣṇa removes the fear of the gopīs even in the dense forest. As the band of mad women, they search everywhere in the forest of Vṛndāvana.

The gopīs observe creepers on trees and show the sign of jealousy to them. They personify the creepers as humans and assume that they are lucky to stand straight. In this connection, Śūkadeva confirms: “Creepers are hugging their husband (tree) and they are in joyful mood”7 (10:30. 13). This explanation further supports that the gopīs have desires for reunion with Śṛī Kṛṣṇa. In this situation, Nature affects the gopīs negatively during the time of separation. Like the gopīs, humans treat Nature positively and negatively according to their condition and mood. Moving ahead in this line of logic, Prabhupāda clarifies that the gopīs have keen interest to be touched by Śṛī Kṛṣṇa (582). This dealing is based on the idea of a beloved during the time of separation with her lover.

During the time of separation, the gopīs go to the bank of the Yamunā River to sing songs for invocation of Śṛī Kṛṣṇa. They have positive attitude towards reunion with Śṛī Kṛṣṇa. The songs of the gopīs become the basis of mahārāsa in the Śrimad Bhāgavata Mahāpurāṇa.  In this context, Śūkadeva incorporates: "O lotus-eyed one, Your sweet voice and charming words, which attract the minds of the intelligent, are bewildering us more and more. Our dear hero, please revive Your maidservants with the nectar of Your lips"8 (10:31.8). It is interesting to note how the gopīs request Śṛī Kṛṣṇa to appear for mahārāsa. Giving an overview, Sripad Bhagavat Maharaja and et al analyze that “the gopīs” worship the goddess Katyayani- devi to attain Śṛī Kṛṣṇa as their husband” (1). The gopī- gīta expresses full surrendering of the gopīs. With the help of gīta, they feel a bit relief in their anguished mood. The gopīs participate in Sankirtana of Śṛī Kṛṣṇa to please in the form of gopi- gīta (qtd. in Filion18). Some gopīs express their emotions indirectly. In this connection, Prabhupada supports Filion from his argument: “The geet relieves the agony of those suffering from the burning pain of separation from Śṛī Kṛṣṇa and which bestows supreme consciousness” (611). It reflects the agitation of gopīs in the memory of Śṛī Kṛṣṇa. During the time of chanting, the gopīs turn from beloveds to devotees.

The Śrimad Bhāgavata Mahāpurāṇa presents an evidence of gopīs' love to Śṛī Kṛṣṇa in their song:

When You go off the forest during the day, a tiny fraction of a second becomes like a millennium for us because we cannot see You. And even when we can eagerly look upon Your beautiful face, so lovely with its adornment of curly locks, our pleasure is hindered by our eyelids, which were fashioned by the foolish creator.9 (10:31.15)

This view further supports that the gopīs feel difficulties to remain away from Śṛī Kṛṣṇa. Explaining this statement, Prabhupāda examines the psychology of the gopīs: “Your lotus feet certainly kill all kinds of sinful activities of devotees who have taken shelter there” (281).  

 This idea analyses that the gopīs regard them as the devotees of Śṛī Kṛṣṇa. One realizes the sense of Yogamaya in love which belongs to spiritualism. The rāsa līlā involves the spiritual love between Śṛī Kṛṣṇa and the gopīs in the Śrimad Bhāgavata Mahāpurāṇa.  In Siprad

Maharaja's words: “Lust is the desire for one’s own happiness, and the gopīs do not have a trace of such desires” (80). This expression from gopi gīta points out their eternal love to Śṛī Kṛṣṇa. In the richness of the natural beauty, the gopīs put forward this argument to make a union between Prakṛiti (themselves) and  Puruṣa (Śṛī Kṛṣṇa). The union is inevitable for the continuation of the creation.

Śṛī Kṛṣṇa corroborates that the gopīs are not jealous of each other from his presence so that the hero appears among them in a silken yellow garment with a flower garland. From his presence, the pain gopīs have felt because of separation from him is dispelled. They praise him as he has understood their feelings and agony during the time of his absence. After his presence, they stop the imitation of his activities and remain happy in his company. In this context, Śūkadeva debunks: “One gopi respects Śṛī Kṛṣṇa in her eyes and places Him within her heart. Having closed her eyes, the thirsty gopīs of love embraces Him within. The gopi has the realization of the transcendental ecstasy meditating upon the Lord”10 (10: 32. 8). It shows that the gopīs have transcendental relation with Śṛī Kṛṣṇa in Natural beauty. The appearance of Śṛī Kṛṣṇa makes gopīs worship him both physically and mentally. The presence of Śṛī Kṛṣṇa embalms the injured hearts of the gopīs.

In support of this line of argument, Hanuman Prāsad Poddar explicates: “God tested his devotees. They came out successful in the test”  (48). It is exhilarating to argue that the gopīs are the pure devotees who dedicate themselves to Śṛī Kṛṣṇa both physically and mentally in the beauty of Nature. To have rāsa līlā with Śṛī Kṛṣṇa is the aim of their lives. Unlike gopīs, Śṛī Kṛṣṇa regards time differently. It is useful to refer Osho to clarify Śṛī Kṛṣṇa's concept of time: "For him, time is tension, time is anxiety and misery” (648). Explaining this statement, one clarifies that both Śṛī Kṛṣṇa and the gopīs regard their moment of reunion differently. For gopī, it is the moment of ecstasy but for Śṛī Kṛṣṇa, it is the moment to fulfil his promise -When he was Rāma in Tretā Yuga, he had promised that the sages of Dandakāranya forest would be gopīs in Dwāpar Yuga and he would hug them. Thus, the rāsa līlā is the outcome of Lord Rāma's pledge of Tretā Yuga.

The appearance of Śṛī Kṛṣṇa in the middle of gopīs pleases them. Elaborating his argument, Śūkadeva is apt to state: “Encircled by the gopīs, who were now relieved of all distress, Lord Achyuta, the Supreme Personality of Godhead, shone forth splendidly”11 (10: 32. 10). To strengthen the argument, one claims that sudden appearance of Śṛī Kṛṣṇa removes the distress of the gopīs. To support the idea of Nature, Prabhupāda explicates that the beauty of Nature makes the environment of reunion between Śṛī Kṛṣṇa and the gopīs. On that night, breeze brings the fragrance of blooming kunda and mandra flowers (637). It further proves that Nature is the ground stone of mahārāsa. Moving ahead in this line of logic, one claims that the moon of the autumn season challenges the darkness of that night. The role of the moon is crucial to promote reunion between Śṛī Kṛṣṇa and the gopīs.

The gopīs realize their attraction to Śṛī Kṛṣṇa from his glance. On the basis of this idea, Śūkadeva clarifies: "Expanding Himself as many times as there were cowherd women to associate with, the Supreme Lord, though self-satisfied, playfully enjoyed their company'12 (10:33.20). With the similar belief, one argues that Śṛī Kṛṣṇa uses human cloning to expand him as the number of gopīs. It shows that Peter Kendall, a Scottish scientist is not the first scientist for the implementation of human cloning. Śṛī Kṛṣṇa had implemented human cloning thousands of years before. In a similar vein, Hanuman Prasad Poddar presents sufficient evidences in Śṛī Kṛṣṇa’s rāsa līlā: “It was through the influence of Yogamāyā that Śṛī Kṛṣṇa when He was only a child of seven years appeared as a grown up lad to the eyes of the damsels of Vraja” (53). With the help of influence of his Yogamāyā, he plays rāsa līlā to please gopīs, other creatures, and the objects of Nature.

Rāsa līlā is the divine revelation among the love stories of the world. Ultimate vision of the supreme love is exhibited with the help of rāsa līlā. As the voice of soul, the gopīs display their romantic expression with their passionate desires yearning for Śṛī Kṛṣṇa. Sweet songs from the gopīs please themselves and Śṛī Kṛṣṇa. On the basis of this relation, C. L. Goswami stresses the joy of the gopīs during the time of rāsa līlā : “Their senses overwhelmed with excessive joy caused by contact with His (Divine) person and their garlands and ornaments loosed” (242). To make physical contact with Śṛī Kṛṣṇa in rāsa līlā is the ultimate aim of the gopīs. The light of the silver moon and the venue of the forest make them emotional to dance enthusiastically with Śṛī Kṛṣṇa.

Conclusion 

Rāsa līlā is the most debatable and discussed action of Śṛī Kṛṣṇa with gopīs in the Śrimad Bhāgavata Mahāpurāṇa. It is often misinterpreted by critics who lack in depth knowledge about Śṛī Kṛṣṇa. Rāsa līlā connects between Śṛī Kṛṣṇa and his devotees in which there is a union between Śṛī Kṛṣṇa and his devotees. Real gopīs had been hidden by Brahmā to test Śṛī Kṛṣṇa. In their place, Śṛī Kṛṣṇa creates the gopīs with the help of his yogic power. The hero dances with his own created gopīs. In this context, his rāsa līlā is like the dance of a baby who dances seeing his own reflection. Śṛī Kṛṣṇa and the gopīs have divine relation. The gopīs are the devotees who leave their houses for the sake of Śṛī Kṛṣṇa. Even a pure devotee feels difficulties to leave the house for the sake of Śṛī Kṛṣṇa. But the gopīs do so easily as the devotees and they get Śṛī Kṛṣṇa as a lover. Rāsa līlā is a meeting of the two opposite energies for the sake of creation in the world.

Rāsa līlā is the ground stone in the union of Prakriti and Puruṣa- male and female energies. When union occurs between the two energies, creation is possible in this world. For the sake of progress, rāsa līlā is necessary in the life of humans. Because of his madhur bhāva, the gopīs think Śṛī Kṛṣṇa as their spouse. They have parakiyā rāsa because the gopīs who participate in rāsa dance are married. During the time of the divine dance, Śṛī Kṛṣṇa multiplies himself into different forms as the numbers of gopīs. He defeats Kāmadeva in  rāsa līlā remaining in the middle of each two gopīs. The līlā is a spiritual performance from which gopīs please themselves by the company of Śṛī Kṛṣṇa. This līlā is the combination of gyān (knowledge), karma (work), and bhakti (pray). Thus, the rāsa līlā that takes place in the beauty of Nature, makes the gopīs free from anxiety in the company of Śṛī Kṛṣṇa.

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Appendix

1. नद्यां कदाचिदागत्य तीरे निक्षिप्य पूर्ववत् ।

वासांसि कृष्णं गायन्त्यो विजह्रुः सलिले मुदा ॥ ७॥ (10:22.7)

2. हे स्तोक कृष्ण हे अंशो श्रीदामन् सुबलार्जुन ।

विशालवृषभ तेजस्विन् देवप्रस्थ वरूथप ॥ ३१॥ (10:22.21)

3.दृष्ट्वा कुमुद्वन्तमखण्डमण्डलंरमाननाभं

नवकुङ्कुमारुणम्

वनं च तत्कोमलगोभिरञ्जितं

जगौ कलं वामदृशां मनोहरम् ॥ ३॥ (10:29.3)

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4.ता वार्यमाणाः पतिभिः पितृभिर्भ्रातृबन्धुभिः ।

गोविन्दापहृतात्मानो न न्यवर्तन्त मोहिताः ॥ ८॥ (10:29.8)

5.नीवीस्तनालभननर्मनखाग्रपातैः ।

क्ष्वेल्यावलोकहसितैर्व्रजसुन्दरीणा -

मुत्तम्भयन् रतिपतिं रमयांचकार ॥ ४६॥ (10:29.46)

6. अन्तर्हिते भगवति सहसैव व्रजाङ्गनाः ।

अतप्यंस्तमचक्षाणाः करिण्य इव यूथपम् ॥ १॥ (10:30.1)

7. पृच्छतेमा लता बाहूनप्याश्लिष्टा वनस्पतेः ।

नूनं तत्करजस्पृष्टा बिभ्रत्युत्पुलकान्यहो ॥ १३॥ (10:30.13)

8.मधुरया गिरा वल्गुवाक्यया

बुधमनोज्ञया पुष्करेक्षण ।

विधिकरीरिमा वीर मुह्यती -

रधरसीधुनाﻛﻛप्याययस्व नः ॥ ८॥ (10:31.8)

9. अटति यद्भवानह्नि काननं

त्रुटिर्युगायते त्वामपश्यताम् ।

कुटिलकुन्तलं श्रीमुखं च ते

जड उदीक्षतां पक्ष्मकृद्दृशाम् ॥ १५॥ (10:31.15)

10. तं काचिन्नेत्ररन्ध्रेण हृदिकृत्य निमील्य च ।

पुलकाङ्ग्युपगुह्यास्ते योगीवानन्दसम्प्लुता ॥ ८॥ (10:32.8)

11. ताभिर्विधूतशोकाभिर्भगवानच्युतो वृतः ।

व्यरोचताधिकं तात पुरुषः शक्तिभिर्यथा ॥ १०॥ (10:32.10)

12.कृत्वा तावन्तमात्मानं यावतीर्गोपयोषितः ।

रेमे स भगवांस्ताभिरात्मारामोऽपि लीलया ॥ २०॥ (10:33.20)    

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