Yesterday I explained that the God's one qualification is that He has all the beauty. Aiśvaryasya samagrasya vīryasya yaśasaḥ śriyaḥ (Viṣṇu Purāṇa 6.5.47). Śriyaḥ means beauty. So when He was sixteen years old, so in village He had many friends, girl friends, who were of the same age, but in India the girls are married earlier. In those days also, they were married at the age of twelve years, thirteen years. But Kṛṣṇa was only sixteen years. So... But He was playing flute. His playing flute was so nice that even at night, when He was playing flute, all those girls, they'll leave their husband and father and mother and everything; they'll come at once to Kṛṣṇa. So this is an example how they don't care for anything but Kṛṣṇa. So that is the life. Therefore... Of course, that is not material association. That can be understood when one is a little advanced in the science of Kṛṣṇa consciousness, the love between the gopīs and Kṛṣṇa. That is not ordinary thing. So anyway, that... They did not care anything. So that is renouncement. The father is asking, "Oh, where you are going?" The husband is asking, "Oh, where you are going?" The brother is... "No, Kṛṣṇa's flute is there." So Lord Caitanya recommended, ramya kecid upāsanā vraja-vadhu-varga-vīrya-kalpita:(?) "There is no higher type of worship than it was done by the gopīs of the Lord." They were not very learned. They were ordinary village girls. They were not educated. They were not Vedantists, philosophers. But they had the unlimited ecstasy and love for Kṛṣṇa. That is required. That is called sannyāsa. Everything. We should, twenty-four hours, we should think in Kṛṣṇa consciousness, how we can advance the cause of Kṛṣṇa consciousness. That is renouncement. That is the first-class renouncement, how to engage people... The people are suffering.
Krsna's flute (Lectures)
Expressions researched:
"Krsna playing his flute"
|"Krsna's flute"
|"Krsna's sweet flute"
|"flute of Krsna"
|"flutes used by Krsna"
Lectures
Bhagavad-gita As It Is Lectures
Veṇuṁ kvaṇantam. Kṛṣṇa is, you'll see, Kṛṣṇa's picture, always a flute in His hand. Always joyful. Because He's the Supreme Lord, there is nothing moroseness. Always joyful. That is the symptom of spiritual life. You'll see Kṛṣṇa always smiling, always playing on His flute. As you see in this material world also, somebody, he has got a flute and he's playing, enjoying. So this is imitation. That enjoyment will not last. But Kṛṣṇa's flute-playing is eternal. He's enjoying eternally.
When people forget or become engaged otherwise, rascaldom, duṣkṛtinaḥ, at that time He comes. He comes Himself or sends His representative to make this rascal know that "Here is Kṛṣṇa." Tadātmānaṁ sṛjāmy aham. In the form of name, in the form of Deity, in the form of picture, in the, so many ways. If you think of Kṛṣṇa within yourself, that "Kṛṣṇa is like this, Kṛṣṇa's leg is like this, Kṛṣṇa's flute is like this, Kṛṣṇa's hand is like this, mouth is like this, He is dressed like this," this meditation is perfect meditation. Not imagination. So that your mind will be gradually absorbed in Kṛṣṇa.
The gopīs at dead of night, when Kṛṣṇa's flute was being played... The gopīs were young girls. So immediately they give up their all engagement. Some of them were taking care of the children, some of them were cooking, some of them giving food to the husband. So many engagement. But they gave up any, everything and immediately went to Kṛṣṇa. Kṛṣṇa advised them, "Oh, at dead of night you have come here?"
Srimad-Bhagavatam Lectures
The gopīs came to Kṛṣṇa being captivated by His beautiful features. They were young girls, and Kṛṣṇa was so beautiful. So actually, they came to Kṛṣṇa being lusty, but Kṛṣṇa is so pure that they became first-class devotees. There is no comparison of their devotion. Because they loved Kṛṣṇa with heart and soul. That is the qualification. That is the qualification. They loved so much Kṛṣṇa that they didn't care for family, for reputation. When they were going at dead of night... Kṛṣṇa's flute was there, and they were all fleeing. Their father, their brother, their husband: "Where you are going? Where you are going in this dead of night?" They didn't care. They neglected their children, their family, everything: "We must go to Kṛṣṇa." So this is required.
Kṛṣṇa is now calling by the vibration of His flute at this dead of night. So, all these young girls, they are all married—some of them are mothers—so immediately (they) left their home. That is described in the Śrīmad-Bhāgavatam. Some of them were cooking, some of them were feeding, breast-feeding the children, some of them were feeding the husband or the father. In this way everyone was engaged, but as soon as Kṛṣṇa's flute was heard at dead of night, they left home immediately. All the guardians. Generally in India for young girls, the guardians are the father, the husband, the brother, all male members they forbid, "Where you are going? Where you are...?" Nobody cares. No love for so-called children, no love for home, no love for brother, father or no respect. Kṛṣṇa. That is gopīs' super-excellence. So that is being explained, and Bhīṣmadeva, at the point of his death, he is relishing. These are to be learned. Unless we are practiced to think of Kṛṣṇa always, how at the time of death we can think of Him?
The gopīs went to Kṛṣṇa at mid..., midnight, by simply hearing the flute of Kṛṣṇa. So young girl, going to Kṛṣṇa at midnight, this is impious activities. According to śāstra, according to moral, it is impious activities. But because it was done for Kṛṣṇa, it is understood as the most pious.
Nectar of Devotion Lectures
When Karṇa was repairing the wheel of his chariot, Kṛṣṇa asked Arjuna, "Kill him immediately. Kill him immediately." And Karṇa protested: "Arjuna, what you are doing? I am not in fighting now." So Kṛṣṇa said, "No, this is the time of... Otherwise, you cannot be able to kill him. This is the time. This is the opportunity. You kill him." Because Karṇa was greater hero than Arjuna. Dronācārya, Bhīṣma... That is explained by Parīkṣit Mahārāja, that "In the battlefield of Kuru, just like a ocean, and there were big, big crocodiles, animals, like Dronācārya, Bhīṣma, Karṇa. But by the grace of Kṛṣṇa, my grandfather was able to kill them." Arjuna was not so strong that he could kill Bhīṣma or Dronācārya, Karṇa. They were greater heroes. So these things are there.
There, there are many instances. Just like gopīs. At dead of night, when Kṛṣṇa's flute was there, they left their husband, left their father, left their brothers, children, everything, and they went away. Now, according to our Vedic system, young girls, young women, leaving the protection of father, brother or superiors, and going in the forest for another boy—oḥ, it is very sinful. Socially, it is sinful. And Kṛṣṇa instructed them, "What you have done? You go back immediately." And they began to cry. That, this description is there. So now, from the social point of view, this is sin. This is sin when the gopīs went to Kṛṣṇa.
Festival Lectures
Veṇum means flute. Kvāṇantam, playing on flute. So this Kṛṣṇa's flute is not our imagination. It is in the Vedic literature. The Supreme Personality of Godhead is, He likes to play on flute. Just like here in this material world also, there are many boys who like to play on flute. Wherefrom this flute-playing idea came? That answer is given in the Vedānta-sūtra, janmādy asya yataḥ (SB 1.1.1). All ideas, everything is coming from Him, from Kṛṣṇa. Unless there is in Kṛṣṇa, there cannot be anything in this material world.
| Page Title: | Krsna's flute (Lectures) |
| Compiler: | MadhuGopaldas |
| Created: | 26 of Feb, 2010 |
| Totals by Section: | BG=0, SB=0, CC=0, OB=0, Lec=9, Con=0, Let=0 |
| No. of Quotes: | 9 |