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राधा-दर्शन

Radha in the Sources

Modern English readings of the traditional passages

An anthology · first installment, seven passages

Radha appears in many texts. The Bhāgavata holds her hidden inside a verb. The Gīta Govinda crowns her in lyric Sanskrit. The Brahmavaivarta tells her wedding. The Devī Bhāgavata gives her the Goddess-frame the Vaiṣṇavas had not given her. Each text speaks in its own register and its own language.

This page is the first installment of an anthology. Each entry takes one passage from a traditional source where Radha appears, gives the chapter reference for verification, sets the scene, and then renders the passage into modern English. The renderings keep the spirit and the structure of the source. They are not literal verse-by-verse translations. They are prose readings of what the passage says, written for a reader of today who wants to know what is in the source without first learning Sanskrit.

सप्त

Brahmavaivarta Purāṇa· ब्रह्मवैवर्त पुराण

The Wedding in Bhāṇḍīravana

Krishna-Janma Khaṇḍa, around chapter 15

An ordinary afternoon in Vraja. Yashoda is busy in the kitchen. Krishna is a small child. She asks the older Radha, who has come over with a basket, to take him outside for a while. Radha lifts the boy onto her hip and walks toward the forest by the river.

She walks past the cow-pen and the gate of Nanda's house and on into the lane that runs to the Yamunā. The afternoon is the kind of afternoon that has no events in it. Crows in the neem. A breeze moving the cloth around her ankles. The boy in her arms is heavy in the way small children are heavy when they have fallen asleep. She crosses the path that leads down to the water and turns instead into the grove they call Bhāṇḍīravana, where the tamāla trees stand close together and almost no one walks at this hour.

Inside the grove the light changes. A mist rises from the ground that is not dust and not smoke. The air becomes the quiet that is in a house at night when everyone is asleep but you. The boy in her arms shifts. He is no longer the boy. He has become the cowherd of every dream she has ever had: dark like a rain cloud, with a peacock feather in his hair, holding a flute. He is looking at her. And she, looking down at herself, sees that she also is changed. The cloth she is wearing is no longer the cloth she put on this morning. It is yellow as turmeric and woven with gold. Her hands have rings she did not own. She is no longer the girl who was carrying him.

Brahmā arrives. He comes out of the mist with the marriage-fire already lit in a small clay pot and sits down at the root of the largest tamāla. He pours the ghee. He recites the mantras. He places her hand in Krishna's. The two of them walk seven times around the fire. The tamāla trees are the witnesses. The Yamunā beyond the grove is the witness. The cosmos at this moment has shrunk to one small clearing in a forest near a village where most of the people are still inside their houses, eating.

When the seventh circuit is complete the mist falls away. The grove returns to the grove she walked into. The boy is the boy again, asleep on her shoulder. She is the girl with the basket. She turns and walks back the way she came. The forest keeps its mouth shut. The Yamunā keeps its mouth shut. Brahmā returns to his lotus. By the time she reaches the gate of Nanda's house, only the rings she still wears under her sleeve, and the small smile that will not leave her face, remind her that any of it has happened. And when, days later, she looks for the rings, they are gone too.

The Brahmavaivarta places the wedding inside ordinary time, in a forest beside a village, on an afternoon when the cosmos has nothing else on its calendar. The whole later theology of Radha turns on this passage. She is not Krishna's beloved by accident. She has been his bride from before the world began, and the world has simply been arranging itself ever since around the fact.

Gopāla-tāpanī Upaniṣad· गोपाल तापिनी उपनिषद्

The Mantra Given to Brahmā

Pūrva Tāpinī, mantric core

The Gopāla-tāpanī is a small Atharvanic Upaniṣad, two parts, in which Brahmā receives from the unbegotten Lord the mantra of Gopāla. The form of the mantra is given. Then Brahmā asks who it names.

From the mouth of the unbegotten the mantra came to him in this shape: klīṃ first, the seed-syllable of attraction; then kṛṣṇāya, to the dark one; then govindāya, to the keeper of the cows; then gopī-jana-vallabhāya, to the beloved of the cowherd women; then svāhā, the offering. Eighteen syllables in all. The Lord of all worlds is held inside them.

And Brahmā, who knows the names of every god in heaven, sat with the mantra in his hand and asked: Who, then, is gopī-jana-vallabhā? Who is the beloved of the cowherd women, that the mantra is willing to be folded around her name?

The text answers obliquely. She is not one among the gopis. She is not the chief of them. She is the one for whose sake the entire forest exists, the one Krishna is who he is because of, the one who chooses him. The gopis are her presence multiplied. The Yamunā is her presence flowing. The flute is her presence being played. The mantra ends at her name because everything ends at her name.

And the Upaniṣad does not name her further. The mantra has named her. To say more would be to say less.

This is the Vedic anchor of Radha-bhakti. Even though her name does not appear in any Upaniṣadic verse-list, she is here, hidden inside the compound gopī-jana-vallabhā as breath is hidden inside a body. Every later tradition that holds her as supreme can point to this. The Upaniṣad has held her in mantric form before any Purāṇa names her in narrative.

Devī Bhāgavata Purāṇa, Ninth Skandha· देवी भागवत पुराण, नवम स्कन्ध

Radha as Mūla-Prakṛti

Skandha 9, opening adhyāyas

The Devī Bhāgavata is the Śākta tradition's response to the Vaiṣṇava Bhāgavata: a thirteen-skandha Purāṇa where the Goddess is supreme and every god is one of her aspects. The ninth skandha turns specifically toward Krishna's Goloka and identifies Radha as its central energy.

Before the world rose and after it settles she is. She is the source from which the source springs. From a fragment of her appears Lakshmi to keep wealth in the world. From a fragment of her appears Sarasvatī to keep speech in the world. From a fragment of her appears Durgā to keep the world's enemies at bay, and Sāvitrī to keep the Veda continuing in the mouths of priests, and Pārvatī to be Śiva's joy on Kailāsa.

Each of these is a fragment of her, not a separate goddess. The goddesses you know in your house and your village are her aspects. When you offer flowers to Lakṣmī on Friday, the flowers travel through Lakṣmī to the one of whom Lakṣmī is a small ray.

She herself is not a fragment. She is whole. She is hlādinī, the joy-form of consciousness, the energy by which the absolute knows itself as bliss. She has a name. The name is Rādhā. She lives with her Lord in Goloka, where the cows graze on grass that is itself a form of music. She is also already in your heart, because the heart is one of her addresses.

Honor any goddess and you have honored her. Honor her and you have honored every goddess. There is no division. There is no quarrel. The Śākta and the Vaiṣṇava sing the same song from two sides of the same hill.

The Devī Bhāgavata gives Radha the only home that she had not yet been given by the explicit Vaiṣṇava tradition: the universal Goddess-frame. After this skandha, the heart that has been worshipping any feminine form of God for a lifetime can recognize that it has been worshipping her without knowing the name. The Vraja-rasikas read this passage as their tradition's deepest backing. Whatever you have already loved as the Goddess is what they are now teaching you to love by the name Radha.

Garga Saṃhitā· गर्ग संहिता

The Eternal Vṛndāvana

Goloka Khaṇḍa and Vṛndāvana Khaṇḍa

Garga Muni, the family priest of the Yadus and the astrologer who named the infant Krishna, narrates the inner geography of Goloka and the unending pastimes of Radha-Krishna there. The Garga Saṃhitā is, alongside the Brahmavaivarta, one of the two great repositories of Radha narrative outside the Bhāgavata.

Above all the heavens you have heard about, above the seven Vaikuṇṭhas the texts describe, above even the realm where the avatāras retire to rest, there is one more place. Its name is Goloka. The land is the color of new grass. The trees are the color of new leaves. The flowers do not fade and the cows do not age. The Yamunā that flows there is the Yamunā that flows here, only a finger's width upstream of where memory ends.

In the center of Goloka there is a forest. In the center of the forest there is a clearing. In the center of the clearing there is a yogapīṭha, a meeting-seat, made entirely of jewel-light. The two who meet on the seat are Krishna and Radha. Eight principal sakhīs surround them: Lalitā, Viśākhā, Citrā, Indulekhā, Campakalatā, Raṅgadevī, Sudevī, Tuṅgavidyā. Each sakhī has eight younger handmaids, the mañjarīs. Each mañjarī has her own bouquet of flowers and her own way of laughter.

The trees of the forest are not separate from the lovers. They are her body extended. The cows in the meadow are not separate from the lovers. They are his body extended. The birds in the trees are sakhīs the trees have remembered. The rivers under the trees are mañjarīs the rivers have remembered. There is nothing in Goloka that is not the body of one of the two of them, or the body of one of the eight, or the body of one of the sixty-four.

Time in Goloka does not fall forward. It circles. The morning that has just begun is the morning that has always been beginning. The night that has just fallen is the night that has always been falling. Radha and Krishna do not age, do not separate forever, do not weary. They love each other in the eight watches of every day, and the eight watches of the day come back around to each other like petals returning to the lotus they were always part of.

The Garga Saṃhitā gives the cosmological frame within which the Bhāgavata's narrative becomes one slice of an eternal motion. The rāsa-līlā that the Bhāgavata describes as having occurred once on a particular autumn night in the forest near Vrindavan is here understood as one moment of the unending eight-watch day in Goloka. The earthly Vrindavan the pilgrim walks today is a window into the upper Vṛndāvana that does not stop. The Garga is the cosmologist. The Bhāgavata is the eyewitness. The two together hold the whole.

Bṛhad-Bhāgavatāmṛta· बृहद्भागवतामृत

Gopa-kumāra Reaches Goloka

Khaṇḍa 2, Gopa-kumāra's journey

Sanātana Goswāmī's Bṛhad-Bhāgavatāmṛta tells the story of a young cowherd, Gopa-kumāra, who is given a mantra by his guru and instructed to chant it without ever asking what it leads to. He chants. He is taken through every spiritual world the texts know about, looking for what the mantra is for. Each world is more wonderful than the last; in each world he is told the next is higher. Finally he passes Vaikuṇṭha. He passes Dvāraka. He passes the Mathurā of the eternal līlā. And then he arrives.

He does not realize at first that he has arrived. The land looks like the land he was born in. The cows look like his mother's cows. The pasture is the pasture he played in as a boy. The boys around him are the boys he grew up with. Krishna walks toward him with a flute hanging at his side and asks him where he has been. He embraces him. He calls him by his childhood nickname.

Then a young woman comes through the trees. She is the friend he has not seen since they were children. He does not understand why his heart is now beating differently. The friend he played with is somehow the same friend, and she is somehow the woman whom Krishna stops mid-sentence to greet, the woman to whom Krishna's own attention turns even before her presence is complete. Gopa-kumāra realizes, with a slowness that takes the rest of his life, that the whole journey through every spiritual world has been a journey toward the moment when this young woman walks through these trees.

He had thought he was looking for Krishna. He had thought Krishna was the destination of the mantra. He understands now that Krishna had also been looking, his whole life, for her. The destination of the mantra was not even Krishna alone. The destination was the meeting of the two of them in the grove of his childhood, with him standing by, watching, an eighth handmaid finally come home.

He does not become a priest. He does not become a yogi. He becomes a friend of the boys who tend her cows, and a younger brother of the women who arrange her flowers. The mantra has finished its work. He never chants it again because he is now living inside what it meant.

Sanātana Goswāmī wrote the Bṛhad-Bhāgavatāmṛta as theology in the form of story. The seeker who has gone through every reasonable spiritual destination and found each insufficient is the seeker the book has been written for. The unanswered question of every previous chapter, what could be higher, is answered in this one. The answer is not a higher heaven but a particular meeting in a particular grove, attended by the seeker as a younger sister of the bride.

Vilāpa-Kusumāñjali· विलाप-कुसुमाञ्जलि

The Mañjarī's Prayer

Opening verses, Sanskrit lament-poem

Raghunātha Dāsa Goswāmī, one of the six Goswāmīs of Vrindavan, lived a life of extreme asceticism by the Rādhā Kuṇḍa pond, eating buttermilk on the days he ate, sleeping under a tree. The Vilāpa-Kusumāñjali is the inner book of his outer austerity: a hundred or so Sanskrit verses offered as a handful of lament-flowers at Radha's feet. He calls himself by the mañjarī name Tulasī.

I have nothing else to offer you. I have no learning that has not been said better by men who learned it sooner. I have no devotion that has not turned, when I was not watching, into the desire to be admired for my devotion. I have no asceticism that has not become, somewhere along the way, a way of asking you to pay attention.

What I have is this. I have the wish to be the youngest of your companions. I have the wish to be the one who pulls the small thorn out of your foot when you have walked too long without sandals. I have the wish to be the one who notices that the garland you have just put on is uneven and quietly straightens it before you go to him. I have the wish to be the one whose joy is your joy.

I do not want to meet him myself. I do not want to be praised by him. I do not even want him to know my name. Let him know your name. Let him say your name in the kunja and turn his attention all the way toward you and forget there is anyone else listening. I will be the one who arranged the bedding before the two of you arrived, and the one who slipped out of the kunja before you came, and the one who is sitting on the path the next morning with a fresh garland for your hair.

If I have any prayer at all, it is this. Do not let me become anything else than this. The world is full of higher destinations. None of them is the one I want. Let me die at your feet, in the service of arranging your meeting, and never be born again into a life that has any other purpose.

The Vilāpa-Kusumāñjali is the locus classicus of mañjarī-bhāva. The mañjarī wants nothing for herself. She does not want union with Krishna. She does not want recognition. She does not even want her mistress's recognition. Her joy is to arrange her mistress's meeting and to step aside. The whole Gauḍīya rāgānuga sādhana, when followed to its fine end, points toward this orientation: not the bridegroom, not the bride, but the youngest handmaid whose only happiness is in the bride's happiness.

Krishna-Karṇāmṛta· कृष्णकर्णामृत

Two Verses on Seeing Them Together

Selected verses, Bilvamangala / Līlāśuka

Bilvamangala (also called Līlāśuka) was a south Indian renunciant who, tradition says, blinded himself when he realized he had been led astray by his attachment to a courtesan, and then walked toward Vrindavan with a child guide who turned out to be Krishna. The Krishna-Karṇāmṛta is his record of what he saw with the inner eye after he could no longer see with the outer.

The first verse he sang after he arrived. The dark boy is leaning against the bent base of a tamāla. The fair girl has just stopped beside him. The flute is in his fingers but not at his lips. They are not yet speaking. One of them is about to speak first and neither of them is sure which. The poet, watching, is not sure either, and finds that the not-being-sure is the entire happiness of his life. He prays to be allowed to keep watching.

The second verse from later in the same poem. He has been watching for a long time now. The dark boy and the fair girl have danced and have hidden and have come back together and have danced again. The poet has been the witness of all of it. He says: Whatever I have ever owned, whatever I will ever own, whatever the Vedas have ever said anyone could own. I give it back. I take none of it. The wealth I want is the small wealth of being allowed to keep watching the two of them. Allow me that. Take everything else.

Caitanya Mahāprabhu carried a copy of the Krishna-Karṇāmṛta back from his south Indian pilgrimage and treasured it among his three most beloved books, alongside the Bhāgavata's tenth canto and the Gīta Govinda. Bilvamangala wrote in lyric Sanskrit śloka but the gaze the verses train is the same gaze the later Brajbhāṣā saints would train: not the gaze of the lover, but the gaze of the witness for whom seeing is itself the gift.

Seven passages. There are more. The Padma Purāṇa, the Skanda, the Rādhā-sahasranāma, Rūpa Goswāmī’s Rādhāṣṭakam, the Bhramara-Gīt of Sūrdās, the padāvalīs of Vidyāpati and Caṇḍīdāsa: each waiting for its own door. The anthology grows. The texts keep on speaking.

अनयाराधितो हरिः

anayārādhito hariḥ · she alone has worshipped Hari fully