[INDOLOGY] More Krishna verses

[Madhav Deshpande]

Dear Friends,

Here are some more of my Krishna verses:

जगतोऽस्य महारङ्गे मुकुन्दान्नापरो नट: ।

धृत्वा विविधरूपाणि नाटकं कुरुते सदा ।।१५१।।

On the large stage of this world, there is no other actor than Kr̥ṣṇa.
Assuming
many forms, he always acts out a play.


क्वचित् राधति कृष्णोऽसौ राधा कृष्णति सा क्वचित् ।

एकोऽपि सन् द्विधाभूतो लीलां दर्शयते हरि: ।।१५२।।

Sometimes Kr̥ṣṇa becomes Rādhā, and sometimes Rādhā becomes Kr̥ṣṇa.  Even
though he is really one, he becomes two and shows his plays.


व्यासो भूत्वा स एवायं चक्रे भारतसंहिताम् ।

पार्थो भूत्वा कुरुक्षेत्रे पप्रच्छ मधुसूदनम् ।।१५३।।

Having become Vyāsa, he himself composed the Mahābhārata, and having become
Arjuna he questioned Kr̥ṣṇa.


पृष्ट्वा प्रश्नान् स्वयं कृष्ण: स्वयमेवोत्तरं ददौ ।

कुरुक्षेत्रे  कृतन्नाट्यं जगतश्चित्तशुद्धये ।।१५४।।

Having asked the questions himself, Kr̥ṣṇa himself answered them.  He
performed this play on Kurukṣetra to cleanse the heart of the world.


यमुनाजलरङ्गे ते रम्यं कालियमर्दनम् ।

निरीक्षमाणा यमुना स्वयमेव तरङ्गिता ।।१५५।।

Having watched your beautiful dance subduing the Kāliya snake in the water
of Yamunā, Yamuna herself broke out in waves.


नृत्यन् गोकुलरङ्गे त्वं नैकाकी रमसे हरे ।

ततस्त्वया निर्मितानि क्रीडारूपाणि सर्वत: ।।१५६।।

Dancing on the stage of Gokula, you were not pleased by being alone.
Therefore,
you produced playful forms on all sides.


गोपस्त्वमेव गोविन्द त्वदन्या नास्ति गोपिका ।

नन्दश्चैव यशोदा च त्वमेवाखिलगोकुलम् ।।१५७।।

O Kr̥ṣṇa, you yourself are the milkman, and the milkmaid is none other than
you.  [Your parents] Nanda and Yaśodā are also you, and so is the entire
Gokula.


अजातपरतत्त्वस्य माययैव जनिक्रिया ।

यथा तव तथान्येषां त्वदंशानां विभिन्नता ।।१५८।।

The birth of the unborn highest Lord is only a [playful] illusion.  Just as
it is yours, so the distinctness of your specks [is also illusory].


अभिन्ना अपि भेदेन भासन्ते सुहृदस्तव ।

अयि कृष्ण कथं विद्मस्त्वामभिन्नं पुर:स्थितम्  ।।१५९।।

Though they are not truly different from you, your friends appear to be
different.  O Kr̥ṣṇa, how do we recognize you standing in front, when you
are not different [from us].


अभेदमविदित्वेव गोपिका: विरहाकुला: ।

त्वामन्वेष्टुं प्रधावन्ति प्रेममार्गप्रदीपिका: ।।१६०।।

As if not knowing the non-difference, the milkmaids, tormented by your
separation, run around looking for you.  The are the lights on the path of
love.


रममाण: स्वके नाट्ये विस्मरन् नाट्यरूपताम् ।

विरहाकुलतां यासि कृष्ण त्वं राधिकां विना ।।१६1।।

Enjoying your own play and forgetting that it is a play, O Kr̥ṣṇa, you are
tormented by separation from Rādhā.


नाट्यमेतन्मनोहारि जगदुद्बोधनाय ते ।

त्वयि चासक्तमनसो यथा स्यु: प्राकृता जना: ।।१६2।।

This very attractive play of yours is for the purpose of enlightening the
world, so that common people will be infused with love for you.


नाट्यं गोकुलरङ्गे ते प्रेमभक्तेर्निदर्शनम् ।

रणरङ्गे त्वया पार्थ: कार्ये कर्मणि चोदित: ।।१६३।।

Your dance on the stage of Gokula is a demonstration of love as devotion.  On
the battlefield [of Kurukṣetra] you exhorted Arjuna to do the needed duty.


नृत्यन्तं यमुनातीरे पश्यन्तो योगिनो हरे ।

वाञ्छन्ति गोपिकाभावं तव प्रेमनिदर्शनात् ।।१६४।।

The Yogins watching your dance on the bank of Yamunā want to become
milkmaids on account of your display of love.


दृष्ट्वापि ते विश्वरूपं संभ्रान्त: पाण्डुनन्दन: ।

त्वदीयचरणौ कृष्ण शरणं प्रीतिमान् ययौ ।।१६५।।

Even after watching your Cosmic Form, the confused Arjuna took refuge at
your feet with love.


असुरान् जगतो रङ्गे हंसि धर्मपराङ्मुखान् ।

रक्षन् धर्मरतान् लोकान् धर्मचक्रप्रवर्तक: ।।१६६।।

On the stage of the world, you destroy the demons who are opposed to
righteousness, and, promoting the wheel of righteousness, you protect the
righteous.


रणरङ्गे धर्मतत्त्वं दिशन्तं शृणुमो वयम् ।

निमित्तीकृत्य पार्थं त्वमस्मान् दिशसि सद्दिशम् ।।१६७।।

We hear you teaching the essence of righteousness on the battlefield [of
Kurukṣetra], and using the [dialogue with] Arjuna as an occasion, you point
us in the right direction.


शीर्षरङ्गे कालियस्य नर्तनं तेऽकरोद्भयम् ।

द्विषां विषाक्तचित्तानां, प्रीतिं सुमनसामपि ।।१६८।।

Your dance on the stage of Kāliya’s head created fear for those enemies
whose hearts were filled with poison, and produced delight for the
good-minded people.


श्रीरङ्ग तव रङ्गेऽत्र नर्तिता वयमप्युत ।

त्वयैव सूत्रधारेण लीलाक्रीडनका वयम् ।।१७०।।

O Kr̥ṣṇa, on your stage we are also made to dance by you holding the
strings.  We are the dancing toys.


अस्यां त्वदीयलीलायां त्वमेव रमसेऽनिशम् ।

अस्माकं भ्रमतां रङ्गे भ्रान्तिर्मा भूत् जनार्दन ।।१७१।।

In this game of play, you are always delighting.  However, O Lord, let
there be no confusion for us who are wandering on this stage.


जगद्रङ्गे तवैवैतन्नाट्यं नित्यं प्रवर्तते ।

प्रेक्षका: स्मो नटा वा स्म: क्रीडापुत्तलिका उत ।।१७२।।

On the stage of this world, this drama of yours is continuously playing.  Are
we spectators, or actors, or are we your play dolls?


यथाकथञ्चिदस्माकं तव नाट्ये निवेशनम् ।

कृतं त्वयैव गोविन्द वेत्सि त्वं नो बलाबलम् ।।१७३।।

Somehow or other, you yourself have involved us in your play, and you know
our strengths and weaknesses.


भ्रमन्तो भ्रम्यमाणा वा तव रङ्गे जनार्दन ।

अजानन्तो वयं नूनं संभ्रमाक्रान्तचेतस: ।।१७४।।

O Lord, whether we are wandering on your stage, or being made to wander
around, we don’t quite know, and, indeed, our minds are confused.


वेत्सि त्वमेव गोविन्द नाट्यवस्तु त्वयेप्सितम् ।

अस्माकं धावतां रङ्गे सूत्राणि करयोस्तव ।।१७५।।

O Kr̥ṣṇa, you alone know the story of your play as you intend it.  For
those of us running around on your stage, our strings are in your hands.

Madhav Deshpande
Campbell, California


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