In the previous episode, we had witnessed the continuation of an important discussion as to how Bhagawan Bala-Krishna is sitting on the banks of the River Yamuna and happily playing His divine flute, which is attracting all the living beings towards Him. We’ve already witnessed how this brings about unending bliss to the spiritual seekers of Gokula, and along with this, we’re currently witnessing some important subtle spiritual messages that Bhagawan Bala-Krishna is trying to convey. We’ve witnessed how the flute can be compared to a “Guru” or a “Spiritual Master” wherein, the “Guru” is a medium between the Jeevatman (Bhakta) and the Paramatman (Bhagawan). The biggest responsibility of a “Guru” is to bridge the gap between Bhagawan and the Bhakta. Similarly, the flute is also serving as a medium to bridge the gap between the two entities via music, which is one of the most divine ways in attaining proximity to Bhagawan. Secondly, we had also witnessed in yesterday’s episode as to how Bhagawan Bala-Krishna is sitting along the banks of River Yamuna, wherein the river waters have a beautiful opportunity to caress Bhagawan’s divine lotus feet. Upon seeing / imagining this beautiful sight, the great “Alwars” and “Aachaaryas” were in tears of joy and “Bhakti” and thus went into a “Trans”!
We might think why these people are shedding tears for just a mere imagination. We might also wonder why aren’t we getting even a single drop of tear from our eyes, even though we read and listen to so much about Bhagawan every day! The difference is the level of involvement in them and in us – When the “Guru” listens about Bhagawan, He / She gives 100% into it and thus enters into a world wherein He / She couldn’t think of anything else other than Bhagawan. This is what we call a “Trans” moment. If one enters this stage, automatically we would also get tears of Bhakti as we imagine Bhagawan Bala-Krishna. In fact, this is the highest level of Bhakti that one can exhibit. This is why we’re seeing such beautiful descriptions and explanations given by Sage Paraashara, Sage Shukaachaarya, Sage Veda-Vyaasa, Valmiki Bhagawan, etc. If one has to compose thousands and thousands of slokas, compositions, etc. on Bhagawan, we can infer the level of imagination that these great “Aachaaryas” would have. This is why, in our Sanaatana Dharma, it is mentioned at various occasions that this is one important characteristic of a “Guru” or a “Spiritual Master” – Only if the “Guru” is able to experience Bhagawan in a “Trans” state, he / she can guide the disciple in that way. This is an important point that all of us should understand here.
Moving on with this discussion further, we shall witness how Sage Paraashara has experienced the “Trans” state upon imagining Bhagawan Bala-Krishna. We’ve witnessed till now how Bhagawan Bala-Krishna is sitting on the banks of River Yamuna and playing the divine flute. Continuing with this further, Sage Paraashara imagines the divine appearance and form of Bhagawan Bala-Krishna. As He is black in colour, the dress that He wears on top is suiting His colour excellently well. He’s wearing a yellow “Pitambara” (A type of dhoti with an overcoat), which is glittering like gold. Around His neck, Bhagawan Bala-Krishna is wearing a couple of necklaces, which serve as divine ornaments (“Aabharna”). Near His forehead, Bhagawan Bala-Krishna has a small peacock feather that adds to His beauty. We might even today be able to see all these in almost all portraits of Bhagawan Bala-Krishna. With all these on Him, Bhagawan Bala-Krishna is sitting on the banks of River Yamuna and playing the flute.
Now that we’ve got a clear picture of Bhagawan Bala-Krishna, we shall also start trying to imagine Him in this divine form. We might be thinking that it might be difficult to imagine Bhagawan like this. Yes, in the initial times it would be difficult to imagine this and sustain this in our mind, as we’re into so many disturbances in today’s world. However, we should take that effort to get into this. There is no point in just keeping on grumbling that it is difficult. We should atleast take one step forward towards Bhagawan isn’t it? This is the reason why the Alwars and Aachaaryas are extremely successful in visualizing Bhagawan Krishna.
Moving on further thus, Sage Paraashara explains beautifully a small conversation between the River Yamuna and the tree bark upon which Bhagawan Bala-Krishna is sitting and playing the flute. The River Yamuna talks to the tree bark thus, “Oh tree! Look at the divine opportunity I’ve got here! My waters are caressing and brushing through Bhagawan’s divine lotus feet! Who on earth would get this divine opportunity that I’m getting on a daily basis?” Upon hearing this from River Yamuna, the tree bark is replying thus, “Oh Yamuna Devi! Yes! You’ve got a divine opportunity! But look at what I’ve got! The flute which Bhagawan is playing upon is also made up of one of the blocks from my tree only, isn’t it? With this, I’m getting a divine opportunity of being amidst Bhagawan’s divine lips. Bhagawan is blowing air through the holes in the wooden block that is made out of me, isn’t it? So, both of us are immensely gifted, isn’t it?”
Isn’t this an interesting conversation? This is of course an imaginary conversation here, but through this, we can see the level of the “Bhakti-Bhava” of Sage Paraashara. So for today, let us immerse ourselves into this Bhakti-Bhava of Sage Paraashara and enjoy this divine experience of Bhagawan Bala-Krishna sitting in front of us with the divine flute. We shall continue this further into the next episode as well! Stay tuned! 🙂
The Indian Dharma 