The Flute of Krishna

(Renderings from Bengali by Kalipada Mukherjee)

[The renderings below show what an excellent anthologist was Vaishnavadas, the editor of the ‘Padakalpataru,’ the great collection of 3101 Vaishnava lyrics made in the first quarter of the eighteenth century. The author of the first song Brindabon, shows that Radha is seeking the permission of Krishna to change her dress, and to play on His flute. In the second, Jnanadas says that Radha is completely changed in attire, but that she cannot play on the flute without enlightenment. In the third, Sivananda represents Krishna as teaching Radha how to play on the flue. And, in the last, we see how Chandidas sings of the complete transformation of Krishna into Radha, and of how she is playing charming airs, their companions in bewilderment, asking, "Oh, who doth play on the flute today?"¹

Here like a good florist, he has made a beautiful boquet, with flowers culled from various periods but arranged in the most ‘poetically effective order.’

Kala and Kamalini correspond to Krishna and Radha. Shyam and Shyamaraya are names of Krishna. Gajamati pearls are supposed to be formed within the heads of elephants. A ‘banamala’ garland is a long garland reaching down to the feet, the wearing of which gave Krishna the name of Banamali: figuratively, the stars are regarded as making such a garland about the neck of Krishna, the whole Universe standing in one in His body.]

(1)

Oh Hari, for long have I desired to play on Thy flute.
Put on my blue sari, and let me wear Thy yellow-coloured cloth.
Wear Thou my necklace of ‘gajamati’ pearls, and give me Thy garland of ‘malati’ flowers.
Wear on Thy head my braids of hair, and give me Thy crest of peacock feathers.
Deck Thy forehead with a spot of vermilio, and besmear mine with sandal-paste.
Take Thou and wear my bangles and bracelets; let me wear Thine own bangles.
Take Thou all mine ornaments, and give me all that are Thine own.
Hear, oh, hear this prayer of mine.
The heart of Brindabon is elated with joy to hear of such a prayer by Radha.

(2)

Teach me, my Love, how to play on Thy flute.
Teach me from what finger-hole what airs are played.
Teach me from what blow-hole go forth sweet sounds, and what hole giveth vent to mine own name,
What hole giveth forth the voice of the peacock, and what hole maketh the fragrant mango-blossom come out?
Teach me, my Lord, from what hole ‘kadamba’ flowers blow, and what hole mingleth the seasons together.
What hole doth with flowers and fruit fill the bower?
From what hole doth the cuckoo sing the fifth note?
Teach me all these things one by one, oh Shyamaraya.
‘Saith Jnanadas, with a smile, "The flute will sing only, ‘Radha is mine.’"

(3)

The saucy Radha in great fun learneth how to play on the flute,
And how He Who hath charmed the god of love courteth the charmer of the god of love.
Lovingly she leaneth against Shyam and in a thrice-curved form playeth on the flute.
She trieth hard, but the flute doth not produce any note, as it yearneth only for the lips of the Beloved.
Banamali putteth the flute to the lips of Radha, and maketh her fingers pliant by taking hold of her lotus hand.
Sivananda singeth his song on seeing the artful Radha folded in the arms of Kanu.

(4)

Oh, who doth play on the flute today?
The player, certainly, is not Shyamaraya.
His body is white and full of glow.
Oh, who hath bound the crest on his forehead?
He cannot be Kanu, the Son of Nanda, Who is blue like a sapphire.
His beauty inspireth new love in our minds!
How could he impersonate the chief of gallants?
From his neck hangeth the ‘banamala’ garland.
In what country was such a dress?
Oh, who created such great beauty?
At his left, we see a woman like a blue gem: she must be the queen of his heart.
The maidens in surprise look at one another.
In the bower were Kanu and Kamalini---
Whither they have gone forth we do not know.
Why today do we find such a difference?
Or all this must have been due to their artfulness.
Chandidas laugheth to himself to think in what country such a thing may have been possible.

1 Some think that here, like a true seer, Chandidas sang of the future incarnation of Radha as Sri Chaitanya who was born after him.