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Krishna Janmashtami and You

KAnhu, This Janmashtami it is me who needs a gift, not You

KAnhu Crawl into my heart
KAnhu Toddle not to the edge,
KAnhu this badam kheer for you
KAnhu nibble on sweet mango wedge
KAnhu this pot of maakhan for You
KAnhu i whisk in mishri of Love
KAnhu when kartals and conch at Arati play
KAnhu chhum chhum go Your ankle bells
KAnhu clap clap go Your hands
KAnhu tap tap go Your feet
KAnhu Your Eyes of Lotus dart
KAnhu little nostrils breathe to be
KAnhu Your every gesture kos apart
KAnhu from this mundane worldly ways
KAnhu i cannot get over Your little palms
KAnhu i am afraid to crush You in my arms
KAnhu my mind rolls on the grass instead
KAnhu i cannot contain myself, heart fully fed
KAnhu this JanmAshtami i need a squeeze ball
So i do not squeeze You or bite Your Lotus cheeks instead

Today is GopAshTami

Hare KRshNa

Today is GopAshTami, the ashTami (8th day of the Lunar fortnight) when Shri KRshNa officially entered from kaumArya stage (upto 5 yrs) to 'pauganda' (6 to 10 years) and was allowed to herd the cows, take them to the pastures.

http://www.vaisnavacalendar.info/calendar-events/other-festivals-observa...

A bit too 'young' , but who can stop the eternal Supreme Person - Govinda GopAl from uniting with His cows a.k.a. Go-dhan ?

GopAshTami 2010 http://www.youtube.com/watch?v=fvOIFjtafms Gopashtami 2010

** I could not add a new topic to Festivals, so adding it in Janmashtami section.

_/\_

Govindam Adi Purusham Tam aham bhajAmi ~

Restless Heart, O Gracious Charioteer-of-Parth

As devotee sat on the floor
in front of the table of altar
A very tall and well built Govind
Climbed the wall next to it!
He appeared out of nowhere
And this time He was fair
Unlike the last time when He
Wore the same dangling earrings
Albeit as a pitch-black One with flowing hair
And unlike the time before that
When eyes closed for a moment's rest
He was flourescent blue with a pinkish fair maiden
Suspended in cosmic glare
Larger than life but not surprised
And what was that all about
Bringing the pinkish maiden
galloping on a white horse?
At each of these times one two three...
A purpose to appear had He
she knew why He did it
first to pick a devotee out of there
Then to grace with a visit - transcendental fare
Then whisk one away to realms here and there
Once to demostrate a point in context
With eyes reprimandingly wide
Other times just to grace with a smile
Once to say "Look: you are on your own, I am letting go of the reigns"
He HRshikeshA why did You that!
Horses helter-skelter did neigh
The chariot went zig-zag to the devotee's dismay
Completely free are You to do as You wish, my Beloved
But this time He had a mischeivious grin
As He flashed a glance back
And she knew exactly what He wanted to show and tell
Not just to shock her or cast a spell
It was just to succumb to a trivial query
That ran through the silly mind
How gracious is that Lord Supreme
To give in to a silly wish and dream
But to climb like a spider the wall so straight ?!
Certainly it had to do with His gait
Was it to show How well You vanish onto the altar next?
He wanted to show three things by context
Showed off His maroon sash also in the process
Did He take all these efforts just to play?
"What did you think? That I won't do as you say?"
Seemed to be His point that day
Too quick and agile was He for one slow to the message

Devotees report they catch You sneaking away!
So this how You natkhat play!

Then did You emerge from the vigraha so auspicious
Not before letting the GomAtA be conspicuous
Black they were all of them standing with blessing eyes
In halogen lamp-light so bright
Turn back and go straight and there You were playing hide-n-seek
Before one knew You slipped out right under her nose
Into the corridors of the unique Temple Divine
in broad daylight
He KAnhA KAnhA stop right there!
What style, Your head-dress was unique
A simple cowherd boy in cotton not silk
But You danced some steps and slipped away…

Oh KRshNA GovindA MukundA nArAyaNA
I yearn for You this very moment today
It is Your endless Mercy that You switch complexions or age
my heart is restless-heavy it was never like this till date
You have stirred something that was not stirred yet
When O when will be that day...
NArAyaNA when will You take me away?
So far i was happy to serve You here
Relaxed and complacent : "Oh KRshNa is right here, Lotus Feet stay, He is not going anywhere"
Not so this time to my own complete surprise.
Please don’t break Your promise on Your JanmAshTami day
KrushNAli can't go on and on this way

Shri KRshNa JanmAsTami 2012

Kṛṣṇa's appearance

Kṛṣṇa told Yogamāyā that He would appear from the womb of Devakī (aṁśa-bhāgena devakyāḥ) and she (Yogamāyā) would appear from the womb of Yaśodā. Brahmā played a part in Kṛṣṇa’s appearance by praying at the milk ocean. Baladeva played a part by first making arrangements for Kṛṣṇa to appear within the womb of Devakī. Yogamāyā played a part by transferring the pregnancy of Baladeva from Devakī’s womb to Rohiṇī’s womb. Thus jīva-tattva, viṣṇu-tattva and śakti-tattva are all integrated with Kṛṣṇa and when He appears, He appears with all His integrated parts. Thus the word aṁśa-bhāgena is used in this verse. The word also means that knowledge, strength and other qualities (aṁśa) accompany (bhaga means bhajana) the Lord so that He manifests completely. He is perfect in whom all parts (aṁśa) enter (bhajana:praveśa). Another meaning is that aṁśa refers to Brahmā and all other servants and bhāga refers to auspiciousness. The Lord appears for the auspiciousness of Brahmā and others. Another meaning is that Kṛṣṇa would appear as the son of Devakī partially (aṁśa) manifesting Himself but not completely since Devakī would love Him with aiśvarya bhāva. Yaśodā, however, would manifest pure parental love.

Kṛṣṇa appeared simultaneously as the son of Devakī and as the son of Yaśodā, and Yogamāyā appeared as the daughter of Yaśodā, when Vasudeva was about to carry Kṛṣṇa to the home of Nanda. Two children appeared from Yaśodā at different times. This is confirmed in SB 10.4.9 which describes Yogamāyā as ānujā, the younger sister of Kṛṣṇa. Kṛṣṇa appeared before Yaśodā with two hands. Vasudeva was not in the position of pure affection for Kṛṣṇa and thus Kṛṣṇa first appeared as Viṣṇu before Vasudeva. Yaśodā pleased her son Kṛṣṇa without understanding His Godhood and thus she was elevated. When Kṛṣṇa was born of Yaśodā everyone was asleep by the influence of Yogamāyā. Even Yaśodā was asleep. Without any pain she gave birth to Kṛṣṇa. At the same time, Devakī gave birth to four handed Viṣṇu. Yogamāyā kept Kṛṣṇa hidden, and Vasudeva did not see Yaśodā’s son but saw only the daughter. When Vasudeva put his son on the lap of Yaśodā, that son entered into Yaśodā’s son, who was already there. All plenary portions and portions of plenary portions enter into the original Lord.

Yogamāyā is the Lord’s svarūpa-śakti, having the ability to do the impossible. Though she does not pay attention when Kṛṣṇa in Vraja is agitated by His devotees’ affection, Kṛṣṇa has her invisibly assist in the pastimes at all times, acting favorably to Him. This implies that Kṛṣṇa’s show of emotions to His devotees is real, not orchestrated by Yogamāyā. Kṛṣṇa appeared with four hands from Devakī and with two hands from Yaśodā. When Devakī asked Kṛṣṇa to cover His four-armed form, Yogamāyā who remained in Yaśodā’s womb, assumed a formless feature and took Yaśodā’s son to Mathurā, and this two-armed Kṛṣṇa came to Devakī and merged the four-armed form into Himself. The four-armed form is considered Viṣṇu by some, but Rūpa Gosvāmī in Laghu Bhāgavatāmṛta says it is Kṛṣṇa with four hands.

Although all forms of God are one, due to varieties of rasa there are still different appearances of God. There are seven types of sweetness pertaining to the transcendental form of the Lord: sweetness of form, touch, smell, sound and taste, the sweetness of the Lord’s affection for the devotee (bhakta-vatsalya) and the sweetness of His pastimes (līla-mādhuri). The sweetness of Vraja as two additional types: Kṛṣṇa’s flute (veṇu-mādhuri) and His loving exchanges with His associates (prema-mādhuri). In Vraja Kṛṣṇa displays rūpa-mādhurya, līlā-mādhurya, prema-mādhurya and veṇu-mādhurya.

There are 4 types of prema: dāsya, sakhya, vātsalya and mādhurya. The glory of vātsalya-prema is that it makes Kṛṣṇa the object of pity and extreme attachment. Although Kṛṣṇa’s majesty is present, the mood of vātsalya covers it in such a way that Kṛṣṇa becomes subservient and bound by the ropes of attachment. In return Kṛṣṇa gives those devotees a taste of sweetness unavailable to others. The taste arising from such intense attachment is millions of times more than that experienced thru jñāna or jñānamayī-rati. Because of great attachment a mother derives more pleasure from her son though he is full of faults, than from seeing the full moon which extinguishes all suffering and bestows all bliss. If that is so, just imagine the bliss of having the Supreme Lord as a son. This is the difference between jñāna and prema