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219

Verse 219 of 270

चलल्लीलागत्या क्वचिदनु चलद्धंस-मिथुनं क्वचित्केकिन्यग्रे कृत-नटन-चन्द्राक्यानुकृति । लताश्लिष्टं शखि-प्रवर-मनु कुर्वत्क्वचिदहो विदग्ध-द्वन्द्वं तद् रमते इह वृन्दावन-भुवि ॥

calal-līlā-gatyā kvacid anu calad-dhaṁsa-mithunaṁ kvacit kekiny-agre kṛta-naṭana-candrāk yānukṛti | latā-śliṣṭaṁ śakhi-pravara-manu kurvat kvacid aho vidagdha-dvandvaṁ tad ramate iha vṛndāvana-bhuvi ||

Plain rendering

See the clever Couple at play in Vṛndāvana. In one place, with playful steps, They walk behind a pair of swans and copy their graceful gait. In another, Kṛṣṇa acts out a peacock dancing before its mate. In another, Rādhā holds Him the way a flowering vine wraps a tall, strong tree. So the witty pair, full of delight, wander and sport here in the land of Vṛndāvana.

The mood is mādhurya, sweet and playful conjugal love, the lighthearted forest sport of the clever Couple, watched and drunk in by a servant whose only wealth is the seeing.

The inner meaning

Begin where the quarrel has just ended. Śrīmatī Rādhā has held Her proud little huff, Her māna, until Śyāma has tasted its full sweetness, and now the cloud has passed. Out of that mended tenderness They step together into the woods for vana vihāra, the forest stroll, and the whole of Vṛndāvana wakes to receive Them. O Vṛndāvana-bhūmi, you know the desire of this clever pair before They speak it, and so you make yourself beautiful for Their coming. The trees and vines push their flowers open so brightly that the fragrance maddens the bumblebees. The branches, heavy with ripened fruit, bow low to the very ground, as if so many bodies were laying themselves down in obeisance before the youthful Couple. The pomegranates split open and let their sweetness ooze. The parrots and the cuckoos lift delightful songs, and a soft breeze moves through until every creature of the forest shivers with ecstasy. Peacocks begin to dance. And the deer that should fear the tiger, and the birds that should flee, forget their old enmities and roam together, gentled, because a golden and bluish light is pouring out of the two of Them and washing the whole forest sweeter than it was.

Now picture Them inside that light. Rādhā and Śyāma rest Their arms on each other's shoulders and dive together into the ocean of Vṛndāvana's beauty, while just behind, soft as a shadow, the maidservant follows. And here is the wonder the verse keeps: this Couple, who have seen this forest endlessly, look at it as if for the very first time. They turn to each other and point: see this, see that. They sing, each praising the sweet attributes of the other, the forest only a frame for the Beloved's face.

Then comes the first imitation. A swan-couple, a haṁsa-mithunam, hears Them approaching and grows startled, and the two birds walk slowly off toward a nearby pond. With playful, līlā-laden steps, calal-līlā-gatyā, the clever Couple fall in behind them and walk the swans' very walk, following all the way to the water's edge. And when the swans slip into the pond and float there facing each other, happy in their nearness, the Couple stand on the shore and laugh and copy that too, that facing, that nearness. The maidservant watching it lets her swan-like mind slip into its own pond and swim in a pool of bliss.

Then the second imitation. Somewhere ahead a peacock has spread the great fan of his feathers and dances, proud, before the peahen, kekinī-agre. So Śyāmasundara will be a peacock. He sinks down onto His knees, He gathers the end of His dhoti into His hands and spreads it wide like a tail of feathers, and He dances the peacock's dance, candraki anukṛti. And the real peacocks all around, seeing Kṛṣṇa dance so sweetly, are stirred to dance better than they ever danced, and Śyāma, delighted, imitates their fresh and eager movements all over again, the divine borrowing from the bird that is borrowing from Him.

Then the third, and the deepest. Somewhere a golden flowering vine, a latā, has thrown itself around the best of trees, a Tamāla, śākhī-pravaram, and clings. And Śrīmatī becomes the vine. She takes hold of Kṛṣṇa and embraces Him tightly, latā-śliṣṭam made flesh, the slender one wound about the dark strong one. This is no copied pose only. The tradition reads it as a confession of who She is to Him: the one who does not stand alone and does not wish to, the one who lives by holding on, whose whole being is the embrace. The Tamāla is dark like Him; the gold vine is bright like Her; and the forest has handed Them the exact image of Themselves.

So mark what this clever pair, this vidagdha-dvandvam, is doing in all three. They do not seize the forest's beauty or push the swans and peacocks aside to take the stage. They lower Themselves to a swan's gait, a peacock's posture, a vine's hold, and play along. The highest Two in all of creation take Their lessons from birds and creepers, for the sheer joy of it. Aho, cries the verse, O wonder. And the maidservant, hidden at the edge of it, counts herself blessed beyond blessing that she of all souls is given eyes to witness these sweet pastimes of the clever amorous Couple in Their unrivalled playground, Śrī Vṛndāvana, where, ramata iha vṛndāvana-bhuvi, They ramble and sport and never stop.

The two traditions

Both streams cherish exactly the same scene here, and gladly: the witty Couple at play in Vṛndāvana, imitating a swan-pair, a dancing peacock, and a vine upon a tree. The Gauḍīya reading we follow widens the few words into a whole forest stroll after a mended quarrel, with all of nature leaning in to serve Them, the branches bowing in obeisance, a golden-and-blue aura gentling even the deer and the tiger, and a maidservant counted blessed to follow as Their shadow and watch. The Rādhāvallabha Hindi edition on file gives the same three images in plain, unhurried words, naming Them the clever pair, the catur yugala, sporting in the land of Vṛndāvana, and it sets this in the śikhariṇī meter under the heading nitya bihāra, eternal play, which fits the Hit stream's known taste for the unbroken, ever-present sweetness of the divine pair. Beyond that one accent of emphasis, the eternity of the play in one reading, the surrounding tenderness of the forest in the other, nothing sharply divides the two over this verse; they stand together and adore.

For the seeker

Notice what this love is teaching you. The Couple do not grab at the beauty around Them or bend the forest to Their will. They play along with it. They stoop to a swan's walk and a peacock's dance for nothing but delight. Can you carry a little of that lightness into your own day, O seeker: less reaching to control, more willingness to play along and rejoice in small things. That playfulness, that self-forgetting ease, is nearer to God than the seriousness we mistake for devotion.

And notice where you are placed in this scene. The closest you are set is the maidservant's place, a step behind, soft as a shadow. She does not enter the play; she follows, and watches, and that watching is her entire joy. The vine wound about the Tamāla is intimate, and it is meant to be intimate, but it is not ordinary romance and it is not yours to take. This love is approached the way she approaches it: to be served, never seized; received as a gift to a servant, never grabbed by a spectator. Stand the step back. Keep your eyes soft. Let the watching itself be enough, for it is more than enough. That posture, and not the wish to step into the embrace, is the door.

Grounded in Gauḍīya commentary (Ananta Dāsa Bābājī lineage); Rādhāvallabha edition: Hindi bhāvānuvāda by Swami Śrī Hitdas ji, Hit Sāhitya Prakāśan.

Draft. Opened by the editorial council and grounded in the traditional commentaries, pending final review and a scholarly check of the Sanskrit text.