The Lord becoming tribhanga, almost triangular in shape, in the presence of SriRadhikaji, is also a profound rahasya, and entering this will help you resolve issues of eros versus agape, in extreme degree, and what is happening when someone says that SriKrishna is worshipping the profound voidness, Maha Shunya, within SriRadhika. Please take the peacock feather waving on the TOP of SriKrishna’s head pray focus on that symbol and its placement. Some of these speak to the primal layers within our consciousness and evoke thought in ways words cannot. That is WHY Indian spirituality depends so much on symbols, non-verbal elements like form, manadala, color, lines, natural objects like peacock feathers, water, etc. There is intense symbolism which might be revealed in very slow, painful drops, upon personal sadhana, and what one gets could be unique to that person, and not communicable. SriKrishna and SriRadhika are open to endless interpretation, and it isĪlways dangerous to stop at “this” and “nothing beyond this”. His crushing is sweet, To be fruitful is sweet, His staff is sweet, His creation is sweet, His herdsmen are sweet, His cows are sweet, To be seen by him is sweet, His courtesy is sweet, His union is sweet, His release is sweet, His gopis (cowherd girls) are sweet, His play is sweet, The river is sweet, the ripples are sweet, His ejecting is sweet, His appeasement is sweet, His seizing is sweet, His loving is sweet, His deeds are sweet, His conquest is sweet, His eating is sweet, His sleeping is sweet, His song is sweet, His drinking is sweet, His dancing is sweet, His friendship is sweet, His flute-playing is sweet, His foot-dust is sweet, His movements are sweet, His wandering is sweet, His clothing is sweet, His posture is sweet, His words are sweet, His character is sweet, Listen to this beautiful stotra sung by Ashiwini Bhide in her inimitable style. His lower lips are sweet, His face is sweet,Īll is sweet about the Lord of Sweetness.
I give the first verse below, for the whole stotra and translation see footnote. Pouring over the words, it seems to me that the poet describes not only the sweetness of Krishna but also the sweetness of his love-making. And this, Vallabhacharya’s Madhurastkam has developed a cloak of middle-class ‘respectability’. We look blankly past erotic sculptures on hallowed grounds. We still sing Jayadeva’s verses but not the most explicit ones. I can understand that Hinduism, which once did not hesitate to associate eroticism with divinity, has put on a mantle of Victorian morality for a long time now. I am quite convinced that the translations are watered-down, taking away the sheer erotic imagery of the poet. I have poured over many translations and dictionaries. If one needs a reason for worshipping a Saguna Brahman (The Absolute with qualities, the definable Absolute), surely this prayer gives you one? How can one say nay to a so irresistible Lord of Sweetness? From time immemorial, he has been depicted with his Gopis (cowherdesses), enchanting one and all with his amorous play. Of all the Hindu Gods, Krishna is perhaps the most captivating, especially to a woman. I have always loved this prayer, in fact I associate the word Madhura (sweet) with Lord Krishna because of this stotra. One of his most beautiful poetry is Madhurashtakam, the sweetest of prayers for the sweetest of Gods. There is a good article on Vallabhacharya here. He was a scholar, philosopher and a great devotee of Lord Krishna and wrote stotras and commentaries on Bhagawata Purana. His family was Telugu speaking and came from Andhra Pradesh. Vallabhacharya (1479-1531) was born in Champaran near Raipur.
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