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Sri Krishnaya Namah!

Dhanmosmi, Swamin Dhanmosmi!

Krishna kathas are the only answer to His maya and Krishna bhakthi is the 
only answer to get out of this loukikathva and be in bliss. He will 
mesmerise bhakthas just with his childsh pranks & tantrums. For a Sri 
Krishna devotee, there is no sorrow and those who are in sorrow are not 
Krishna devotees. Just the other day, I have read about the one who, in 
the midst of rag and rubbish, takes the name of Krishna and was solid and 
sthithapragna, always immersed in the bliss of Krishna, and now this 
enchanting leela and description. Thanks Swamin, thanks a lot.

Humble Pranams!


Sukumar


Sri Krishnaparabrahmane Namah!

-----Original Message-----
From:   sadagopaniyengar [SMTP:sadagopaniyengar@xxxx]
Sent:   13/07/2003 4:01 PM
To:     SriRangaSri; malolan_net@xxxxxxxxxxxxxxx; tiruvengadam; Oppiliappan; 
radha jagannathan; j.srinivasan; cs.srinivasan; sukanya Murali; mythily 
ramadesikan
Subject:        [SriRangaSri] "Caught White-handed!"


Srimate SrivanSatakopa Sri Vedanta Desika Yatindra Mahadesikaya nama:



"Caught White-handed!"



Everybody loves a good tale. There is nothing like a credible 
yarn, spun out with skill, to entertain, enlighten and educate us. The 
erstwhile popularity of Tamil weeklies and monthlies was due in no small 
measure to the serial stories that appeared in them, regaling the reading 
public for long years. We hear of readers waiting for the next issue with 
bated breath, getting through the week somehow and rushing to the 
newsstands to grab their current copy of Kalki, to learn what befell 
VandiyatEvan, the life-like hero of "Ponniyin Selvan". And even today, 
there are those who would miss even a meal, rather than forego watching the 
current episode of their favourite mega serial or soap opera. We see 
pitched battles being fought at home between otherwise harmonious members 
of the family, over which serial should be viewed at a particular time, 
when two or more of them are on the air simulataneously in different 
channels. All this goes to show the incredible power the story wields over 
people.



However, we find that most of these hot stories and gripping serials 
fade away from public memory as fast as they surface. If one were to be 
asked today about supposedly immortal works like "Kadal PurA" or 
"SivakAmiyin Sapatham", one would have to recall them with difficulty. If 
this is the state of affairs within two to three decades of their 
appearance, one could imagine what their fate could be a decade later--none 
would have even heard about the works, leave alone remember their contents. 
Some works survive longer in readers' minds due to their worthy contents, 
but again it is only a question of time before they too take a bow, unsung 
and forgotten. Similar is the fate of serials and motion pictures in the 
visual media . Whether it be "Sound of Music" or "Chandralekha", all these 
are destined ultimately for the forlorn world of the forgotten classics.



On the other hand, we find that even today huge crowds throng lecture 
halls where the exploits of Rama and Krishna are narrated. The TV serials 
on Ramayana and Mahabharata were such crowd-pullers that activity ground to 
a halt in the entire nation, with people dropping whatever they were doing 
to watch eagerly the next episode of the epic. When Homer's Iliad and 
Kalidasa's Shakuntalam have ceased to enthrall us, within a few centuries 
of their composition, we find tales of Rama and Krishna still gripping, 
inspiring in us resolutions of good behaviour, whenever we hear this or 
that exploit of Sri Rama, highlighting exemplary conduct. We are still 
moved to tears when we hear of Sri Rama's uncomplaining acceptance of a 
sentence of extradition for fourteen long years, added to the loss of 
throne, or of Sri Janaki's clumsy efforts to drape Herself with the deer 
skin on the eve of Her departure for the forests, unused so far to anything 
but the most luxurious of lives at Mithila and Ayodhya. We are fired by t
ales of Sri Rama's bravery in single-handedly disposing of fourteen 
thousand rakshasas and moved beyond words at His preparedness to grant 
assylum to the brother of His sworn enemy, and what is more remarkable, to 
even the dastardly abductor of His beloved wife. All these occurrences of 
YugAs past are still green in our memory, as if they happened just 
yesterday. And when you come to think of it, Srimad Ramayana is not that 
remarkable, as far as the story line is concerned, and could be summarised 
in a few sentences. This being so, why should it survive where other 
similar yarns are long dead and gone?



When we analyse the reasons for this phenomenon of some tales being 
forgotten quickly and others lingering on and on, forever, we find that all 
accounts of mundane mortals, narrated by authors whose calibre is but the 
same as that of the characters they create, disappear without a trace after 
a short run of popularity, while all legends of the Lord and His doings, 
irrespective of how long back they happened, live on in people's memories. 
While all objects of enjoyment in this world are subject to what the 
economists call the Law of Diminishing Marginal Utility, affording less and 
less pleasure with every increase in the number of units consumed, 
according to Sri Nammazhwar, the Lord is the significant exception in this 
regard, the blissful experience He affords never palling upon 
devotees-"appouzhudaikku appOdu en ArAvamudamE". So too, tales concerning 
the Lord appeal to us anew, everytime we hear or read them. Irrespective of 
the number of times one has heard the Epic, it never bores us, as would any 
other
repetition. Can you imagine how many discourses might have been delivered 
on the subject of Ramayana, ever since the sons of Rama first sang the 
lilting verses of Valmiki, holding spell-bound the first ever audience 
consisting of the citizens of Ayodhya? We are unable to hazard even a guess 
at the billions of recounting the Epic must have undergone, over several 
YugAs. And if a recital of the same is able to grip even fickle-minded 
fireflies like us even today, irrespective of the narrative skills of the 
racounteur, the magic of the Epic and of its Immortal Hero are beyond 
dispute. Would anyone listen to tales other than that of Sri Rama, queries 
Sri Nammazhwar rhetorically, confessing his obsession with the Prince of 
Ayodhya and His exploits-"karpAr irAma pirAnai allAl mattrum karparO?". If 
these tales have been translated into innumerable languages spoken around 
the world, is it not a testimonial to their undying appeal, cutting across 
national and cultural barriers? If scenes from the Epic were depicted
as murals and sculptures in the ancient temples at Angkor Vat and if such 
scenes are enacted every year not only in India but in distant lands like 
Indonesia,Malaysia, Thailand, etc., it puts the universal appeal of 
Bhagavat Katha beyond dispute.



When we speak of undying tales, perhaps the saga of Sri Krishna ranks no 
lower in popularity. For sheer entertainment value, if not for its 
instructive content, nothing can beat Srimad Bhagavatam and especially the 
tenth skandam thereof, detailing the exploits of the Boy Wonder. One 
wonders whether Mark Twain's "Tom Sawyer", Richmal Crompton's "William" 
and scores of other mischievous and beloved characters might not have been 
created after a perusal of the life and times of Sri Krishna. Though 
Bhagavatam does chronicle the endearing misdemeanours of the Divine Cowboy, 
it was left to Sri Periyazhwar and his illustrious daughter to portray 
vividly the innumerable exploits of Kannapiran, who was at once the darling 
and despair of Sri Yasoda. Tales of Krishna enthral us till date, with our 
delight undiminished by any number of recountings of His thievery of dairy 
products, His scant regard for property rights as far as milk, butter and 
curds were concerned, His highly unorthodox ways of obtaining objects of H
is desire, His romances, sincere and otherwise, with the Gopis of 
Nandagokulam, His exploits with the numerous asuras dispatched by Kamsa 
with the sole aim of finishing off the boisterous brat and His growing up 
amidst cows, calves and cowherds, reeking of dairy products. There are so 
many tales of Sri Krishna, with sub-plots of their own, that we can easily 
lose a lifetime listening to them with undying fascination.

And millions of authors, right from the venerated Sri Suka Brahmam and Sri 
Vishnuchitta, to the modern day Kannadasan, accounting for various shades 
of devotion and scholarship, have delighted in writing of Krishna and His 
doings.



Here is one of the numerous anecdotes which at once entertain, educate and 
enthrall. The following sloka from Sri Krishna KarNAmritam of Leelasuka 
portrays the devious mindset of the mischievous brat, especially when His 
misdeeds come home to roost. The sloka is set against the background of Sri 
Krishna's habit of barging into other people's homes, appropriating for own 
use the pots of butter, milk and curds gathered by Gopis with considerable 
strain and labour. Adding insult to injury, He not only consumes all these 
delicacies, but also bangs down the empty pots with considerable force, 
shattering them to pieces. His raids are not only nocturnal, but carried 
out brazenly in broad daylight too, when the inhabitants of the selected 
house are away or asleep. And the damage caused is substantial, as the brat 
always moves about in gangs, of which the other unholy members too have no 
less an appetite for butter and curds. To avoid the little monster from 
accessing dairy products, clever Gopis fashion slings and s
uspend the pots of butter and curds from the ceiling, far beyond the reach 
of the short Krishna. However, this hardly stops the ingenious infant, who 
fashions a human ladder to climb and reach the pot. He puts His beautiful 
hand inside the vessel, scoops out a handful of butter and stuffs it into 
His pearly mouth. It is at this stage that the suspicious Gopi, who had 
gone just to the backyard, returns and finds six or seven children in her 
living room, standing one atop the other, to enable the black one at the 
top to reach the butter pot. What they are up to is extremely evident, any 
niggling doubts in this regard instantly dispelled by the large, tell-tale 
smear of butter on the hands and face of the apple of Yasoda's eye.



This particular Gopi had been a long-suffering victim of these resourceful 
raiders and had tried every ruse in the book to trap them "white-handed", 
engaged in the consumption of butter, so that she could drag them to 
Yasoda, who was forever protesting the innocence of her brat, never taking 
cognisance of complaints unless accompanied by well-documented evidence. 
And what could be better testimony than catching Him with a hand in the 
pot? Determined to bring Him to justice today, the Gopi starts the court of 
inquiry quite innocuously, as if unaware of Krishna's identity. "Who are 
you, my boy?" ("Ka: tvam bAla?") she inquires of the brat. The irony of the 
situation is brought out extremely well by the poet, that of the unlettered 
Gopi demanding the Parabrahmam to identify Itself. Perched precariously on 
the shoulder of His accomplice, who has started shivering in anticipation 
of imminent reprisal, Sri Krishna puts on a brave face, as if there is 
nothing extraordinary about the situation in which He has been c
aught and as if it is an every day occurrence for housewives to find Sri 
Krishna in their living rooms, perched atop three or four urchins, with His 
hand inside the butter pot. Lost in the contemplation of ways and means to 
get out in one piece from the tight spot, Sri Krishna still manages a wily 
reply to the Gopi, telling her that He is the younger brother of Balarama. 
While indeed being the elder brother, Balarama is quite a normal and 
adorable specimen of childhood, respectful to elders and with a 
finely-developed sense of meum and tuum. All that everybody in Gokulam has 
for Him are affection and regard. Hence, by playing upon the unblemished 
reputation of Balarama, Sri Krishna hopes to evade punishment, indirectly 
pleading with the Gopi to spare Him (Krishna) considering the impeccable 
conduct of His elder. (This reminds us somewhat of Sri Alavandar's prayer 
to the Lord to save him, if only on account of his grandfather Sri 
Nathamuni-"PitAmaham NAthamunim vilOkya praseeda mat vrittam 
achintayitvA").



Marvelling at the little brat's crafty reply, the Gopi says, "Okay, 
Balarama's brother! But what are you doing here, in my living room, without 
my consent, where you have absolutely no legitimate business? You have 
definitely not been invited in by me. Then how come I find you here?". She 
thinks she has got Him cornered, for there could be no reply to this 
question, except shameful acknowledgement of trespass, followed by profuse 
apologies. Savouring her moment of revenge, she awaits Krishna's reply, if 
one could be made. However, she forgets that Krishna is never at a loss for 
words, whether they be true or false. He tells her brazenly that He entered 
her house, mistaking it to be His own. Even a little child of AyppAdi knows 
Nandagopa's palace, being the tallest and most magnificent of residences in 
the locality, with beautiful doors adorned with mellifluously chiming 
bells, high-flying flags and fine-looking festoons ("kodi tOndrum tOraNa 
vAyil kAppAnE! MaNi kadavam tAL tiravAi"). This Gopi's residence i
s an extremely humble one, with neither flag nor festoon and with an 
ordinary wooden door that is unable to keep out mid-day marauders like 
Krishna. There is thus no possibility of Krishna mistaking this humble home 
to be His own. However, the Gopi decides to say nothing about this 
incredible contention, deciding to give Krishna a long rope.



She proceeds logically: "I can even accept that you have barged into my 
house, mistaking it to be yours.Even if you entered by mistake, you could 
have found from the interior that it is definitely not yours, and having 
deduced that, it would have been expected of you to have departed 
immediately, with appropriate apologies to me. Instead of that, why do I 
find you with your hand inside the butter pot?"



The Gopi is certain she has floored Krishna with this unanswerable query. 
How could He reply? Anticipating and relishing in advance His discomfiture 
in having been caught red-handed, the Gopi awaits the brat's reply, if at 
all there could be one. However, pat comes the astounding answer, "Oh 
mother! One of my calves got separated from the herd, while I was returning 
home from the hills after grazing the cows. I am just looking whether the 
lost calf is inside the pot." It must have been for this particular piece 
of falsehood, which crowns all others He had uttered in His illustrious 
career as a facile fibber, that Sri Andal bestowed Him with the sobriquet, 
"ElA poigaL uraippAn"-the incredible fibber.



Amazed at the preposterous reply, the Gopi marvels at Krishna's ready 
tongue, ever ready to utter untruth with fascinating fluency. A lost calf 
and searching for it inside the butter pot, suspended high from the 
ceiling! This piece of incredible insolence is the last straw and the 
Gopi's patience runs out. Not only was the brat stealing her butter in 
broad daylight, short-ciruciting all the safeguards she had put in place, 
but He was also insulting her intelligence with tall stories of calves in 
butter pots and humble huts being mistaken for splendorous palaces! Nothing 
like a good spanking to keep errant urchins in line, thinks the Gopi and 
raises her hand threateningly (the hand would not have made contact, for no 
one in Nandagokulam can bear to hit Krishna or to see Him beaten, such was 
the overwhelming love everyone had for Him, despite His misdeeds), when 
Krishna, feigning fright, starts crying in a shrill voice, enough to rouse 
the neighbourhood. Even to this day, we find children resorting to this ru
se, when all else fails to move parents to comply with juvenile demands. 
Tears are the ultimate and invariably effective weapons in the armoury of 
children. The Gopi being no exception to the rule, gets flustered by 
Krishna's tears, which have started coursing down His blooming cheeks, just 
a second after he commenced crying. Her anger all forgotten, she tries to 
pacify the child, who looks so sad and forlorn, with eyes swimming in tears 
and uttterly helpless against adult harrassment. Her maternal instinct 
becoming overactive, the Gopi takes sobbing Krishna into her arms and 
consoles Him with large helpings of butter or what is left of it after the 
little thief and His gang have had a go at it. Krishna feasts on the 
offering with gusto and leaves, after extracting promises from a mellowed 
Gopi for a repeat banquet of bovine products, the following day.

Here is the beautiful sloka from Sri Krishna Karnamritam-



"Ka: tvam Bala? BalAnuja: kim iha tE? Man mandira AsankayA

Yuktam tat. Navaneeta bhAnda kuharE hastam kimarttham nyadA:?

MAta! Kanchana vatsakam mrigayitum. MAgA vishAdam kshaNAt

ItyEvam vana vallavI birudita: Krishna: sa pushNAtu na:"



What a wonderful tale! And there are practically hundreds like this one, 
each displaying a particular aspect of the Paripoorna avatAra that was Sri 
Krishna.

Azhwars have waxed extremely eloquent in recounting numerous such episodes, 
moving even the stoniest of hearts and melting it with Bhagavat 
guNAnubhavam. Listening to such tales of the Lord and His exploits purifies 
the mind of its accumulated garbage, making it an ideal abode for the 
Supreme Being. It is thus not for nothing that Listening, to tales of the 
Lord and His devotees, is counted among the best of ways to inculcate and 
imbibe devotion-"shravaNam, keertanam VishNO:" Sri Kulasekhara Perumal 
exhorts his ears to listen only to the glorious fables of the Lord-"Achyuta 
kathA shrotra dvaya tvam shruNu".



Telling tales might be bad per se, but when the tales are about the Lord, 
they generate exquisite enjoyment in the teller as well as the listener, 
says the Gitacharya-"kathayantascha mAm nityam, tushyanti cha ramanti cha".



Srimate Sri LakshmINrsimha divya paduka sevaka SrivanSatakopa Sri Narayana 
Yatindra Mahadesikaya nama:

Dasan, sadagopan



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