For most of us, the divine is a subtle esoteric concept. God is omnipotent, omnipresent and omniscient. Our first brush-off with the prefix ‘Omni’ is only in the context of God. As children, we learn that God presides over this world and the others from the cerulean expanse of the sky. We begin to see God in the creation: trees, animals, flowers, birds, insects, et al. The human imagination is limitless. Our numerous songs and prayers have tried to document the ungraspable: how God looks and behaves. This imagination beginning at the human plane, surpasses the earthly and creates a lofty altar for the divine where thoughts and imagination cease. Words fail. Take the Lalita Sahasranama, for example. The physical description of the Devi reminds you of a beautiful damsel till you are caught in a whirlwind of hyperboles where it is impossible to find an earthly parallel.
God with Humanly Characteristics
However, many times Gods are described as anthropomorphic or having human attributes. As might be expected, we understand a being who is a sum total of everything humanly— vulnerable and enviably beautiful. Such modelling of Gods on humans helps achieve two things: One; it makes Gods accessible; flesh and blood people susceptible to the same emotions as humans, and two, it opens a faint possibility of reaching the divine by being a human. The masses connect with the stories of ‘purna avatars’ or complete incarnations as they came down to earth; lived their human lives with all complexities, niceties and absurdities. Only a handful of people could see them for what they were. Nevertheless, in subsequent years they achieved an exalted position as Gods. My beloved Guru, Om Swami has explained the concept of ‘avataras’ in this short video.
The concept of Gods in the human form gives wings to artistic imagination thus enriching a culture. It allows people to appreciate the divine in the mundane. In this series, I wish to explore the human side of the divine, which is just as beautiful as their heavenly aspect.
Radha and Krishna and the Play of Eternal Love
Lord Krishna is seen as a purna avatara or a complete manifestation of Lord Vishnu. Of exciting study is the life of Krishna in Gokul, Vrindavana, and Nanda Gaon, where his naughty antics drove his mother, Yashoda, against the wall. That was the time when he lived an ordinary life while working and playing with cowherds, stealing butter, and playing near river Yamuna river for hours. Yes, the narrative throws in a train of fights with demons too. Krishna is beguiling in his numerous forms: as a lover, warrior, king, mentor, guide, political advisor etc. Stories and anecdotes from his life have inspired numerous generations of artists and writers.
Interesting results come up when they explore alternate narratives with a ‘what if’. Scholars hold that Radha is a later addition to Krishna’s life story. However, one cannot negate the overwhelming influence of the Krishna-Radha angle on arts and culture, especially in Northern India.
Consider the movie Raincoat by Rituparno Ghosh centred around a meeting between two lovers after several years. Both have moved on in life. The woman is now a housewife while the man, a sentimental simpleton, is still trying to find his footing in life. On a rainy day in Calcutta — where he has come to an old friend for help — he cannot suppress the urge to meet the woman from his past. The rest of the movie is just about their meeting and conversations.
Raincoat begins with the protagonist (the man) going to Calcutta, ostensibly, to seek financial help from his friends, categorically, to meet his lover.
The eternal love story of Krishna and Radha acts as a teasing palimpsest background, against which a new love story is told. The writer wonders, “what if one day an ageing Krishna had decided to meet his beloved?”. Rituparno has imagined Krishna's unique situation in a single song: Mathuranagapati kahe tum Gokul Jao.
A bemused bystander/speaker—a witness to Krishna’s unrest— wonders why he wants to forsake kingship and visit Gokul. Much water has gone under the bridge. In all likelihood, Radha has moved on. The song is full of questions and wondering. On one level, it seems to be the rational voice of society questioning Krishna’s impulsive decision. In the same breath, it touches upon the tender pangs of longing.
Here are the lyrics of the song, followed by the video. It has been set to music by Pandit Debjyoti Mishra and sung by Shubha Mudgal. Shubha ji’s earthy vocals lay bare the confusion and yearning of the lover.
Subah Subah Ka Khayal Aaj,Vapas Gokul Chal Mathura Raj.Mathura Nagarapati Kahe Tum Gokul Jao?Manohar Vesh Chhod Nandraj,Sar Se Utar Ke Sundar Taj.Raj Dand Chhod Bhumi Par Waj,Phir Kahe Bansuri Bajao?Mathura Nagarapati Kahe Tum Gokul Jao?Mathura Nagarapati Kahe Tum Gokul Jao?
It Seems Krishna has woken up with an early morning thought. The thought, pressing and pertinent, as if instructing Krishna (the king of Mathura) to go without a moment’s delay. Maybe Krishna just becomes resolute after the thought, so it’s phrased more like a decision than observation — let’s go to Gokul. It conveys a sense of urgency. Wondering, the speaker says, “Oh, Lord of Mathura why do you go to Gokul?”
“Nanda raj (the son of Nanda Baba) you’ve given up your attractive attire and removed the kingly crown.”
“You’ve put down the kingly sceptre on land.”
“Why do you play the flute again?”
“Oh, Lord of Mathura why are you going to Gokul?”
Kon Sa Anokha Geet Gaye Pee Kakul,Raj Path Jaise Aaj Bhayi Dhul.Kon Sa Anokha Git Gahe Pee Kukul,Birahan Lagi Phir Hriday Akul.Raj Kaj Man Na Lagao.Raj Kaj Man Na Lagao.Mathura Nagarapati Kahe Tum Gokul Jao?Mathura Nagarapati Kahe Tum Gokul Jao?
What strange songs do pihu and cuckoo sing today?
Suddenly kingship has reduced to dust for you.
What strange songs do pihu and cuckoo sing today?
Pangs of separation make your heart restless.
Your heart is no longer in kingly matters.
Oh, Lord of Mathura why are you going to Gokul?
Pur Nari Sari Vyakul Nayan,Kusum Sajja Lage Kantak Shayan.Pur Nari Sari Vyakul Nayan,Rat Bhar Madhav Jagat Bechain.Kahe Aadhi Rat Sarathi Bulao?Mathura Nagarapati Kahe Tum Gokul Jao?Mathura Nagarapati Kahe Tum Gokul Jao?
Men and women (of town) behold you with anxious eyes.
The bed of flowers seemed a bed of thorns to you.
Madhava (a name for Krishna) spent the entire night in restlessness.
Why call the charioteer in the middle of the night?
Oh, Lord of Mathura why are you going to Gokul?
Dheere dheere pahunchat jamuna ke teer,Sunsaan panghat mridul sameer.Dheere dheere pahunchat jamuna ke teerKhan khan madhav birha madeerUse kaahe bhool na paaoMathura Nagarapati Kahe Tum Gokul Jao?
Slowly, you reach the shores of Yamuna
That wears a desolate look.
The soft breeze blowing there evokes yearning in Madhava.
Why are you not able to forget her?
(This line, for the first time, implies that he has gone in the search of his beloved.)
Oh, Lord of Mathura why are you going to Gokul?
Tumhari piriya ab puri gharvaali,Doodh navan ghivoo din bhar khaali.Biraha ke aansoon kab ke, ho kab ke ponch daaliPhir kaahe dard jagaaoMathura nagarpati kaahe tum Gokul jaao
Your beloved is a complete housewife now.
Her entire day is spent in the chores of managing milk and making butter.
(Alternate meaning: There is so much abundance of milk and butter that she has nothing to do through the day.)
The tears of separation have long since been wiped away.
Why do you evoke the pain again?
Oh, Lord of Mathura why are you going to Gokul?
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