EVOLUCION NATURAL ALGORITMO GENETICO
5.6. ALGORITMO GENETICO CON OBJETOS DE TAMAÑO FIJO
lotus-eyes, and He appears in His adolescent form as soon as the
flute starts playing - May those inexpressible feelings of That
kishor reveal in my heart.19.
Âswâd-bindu purport
ri Lilâshuk saw that Sri Krishna was successful. He had been playing the flute softly and sweetly to arouse Srimati and now His wish has been granted. The desire for love-sport has once again arisen in Her heart. Sri Krishna seated Srimati to His left and glanced sideways at Her moon-face, the same glance that enhances erotic desires. On beholding Sri Krishna’s wonderful and sweet expression, Sri Lilâshuk was full of longing. He has expressed it in this prayer.
Sri Lilâshuk is saying - the attractive song played by Shyâmsundar on His flute forces streams of honey to ooze out from the rocks, then what to speak of Srimati Râdhârâni? The Mahâjan has quoted a Brajabâlâ extolling the wonderful power of the flute in the following manner –
“It is such a strange phenomenon! The flute melts the rocks and stops the breeze blowing across the Yamunâ. The whole world is mesmerized. It is pure nectar and the harbinger of joy. It forcefully drags the mind. My heart is set afire. How can an innocent woman (like me) survive under its attack of erotic arrows? It uproots the entire genre of respectable ladies and it is impossible to obstruct. The poet Chandidâs says – ‘Bear this in mind, the Dark One knows a lot of black magic’ ”.
The ras-full Chief of all rasikas inspires prem-ras in the heart of His dear ones and then relishes it. His sweet flute and wonderful adolescent form help Him in this venture. Both are capable of injecting ras in all elements – living and non-living. A loving devotee is overwhelmed with ras. The feelings and proximity of Brajabâlâs create mountainous waves in this sweet ocean of venu-mâdhuri1 and kaishor-mâdhuri.2 They reach the zenith of sweetness when Srimati Râdhârâni comes close to Him. So He is playing the flute that is sweeter than before and has manifested the Kishor–form that can hypnotize crores of Love-gods. May some of His
bhâvas be expressed in my heart. O ras-full Chief of all rasikas! Please awaken some bhâvas of Your nectarine pastimes in this fallen soul. Dear Ocean of prem-ras! Will You,
with Your mesmerizing flute and Nava-kishor Shyâmsundar beauty, not shower at least one or two drops of ras in my heart that is as dry and parched as a desert?
O Beloved of the Gopis! O Lord of Sri Râdhâ! You are lost in Your own bhâv. You are agitated in Your own love! Your eyes have drunk the intoxicating nectarine wine of loving Sri Râdhârâni’s mahâbhâv. So they are half–closed.
Today You have forgotten everything and are inebriated with Sri Râdhâ-prem. Your eyes are drooping. I am ready to sacrifice all on the sweetness of Your half-closed eyes. Oh! They are so beautiful! Ah! How sweet!! Watching Your bhâv, Srimati, Who is full of
Mahâbhâv, is both joyous and agitated – as if two rivers have flown from opposite
directions and have met at a single point – this convergence has caused huge exultation that is flooding all creation!
Please visualize Shyâmchând (the moon-like Shyâmsundar) planting a loving kiss on the sweet moon-face of the joyous and agitated Srimati! How sweet, how beautiful and how wonderful! How tempting to a loving devotee!
May some of this bhâv be expressed in my heart. The emotional poet could not find any word to express this bhâv. There is no such word – only relish and more relish. Words have fallen silent, intellect has become stupefied. That ocean of bhâv is fathomless. What the emotional rasik poet has hinted at, is the topmost goal for spiritual endeavour – desirable even for the siddhas (those who have attained spiritual success). This bhâv is beyond even the knowledge and intellect of the greatest of the munis and gyânis, It is present only in the sphere of relish.
The Goudiya Vaishnavs need to understand something more about this topic. Srila Bilvamangal Thâkur is a worshipper in the mood of a sakhi. The Goudiya Vaishnavs, who are sheltered at Sriman-Mahâprabhu’s holy feet, are worshippers in the mood of manjaris. The manjari-bhâv is greater than sakhi-bhâv because although the manjaris are constantly swimming in the overwhelming ocean of sweetness, they do not forget their sevâ by submerging in relish. They are the very embodiments of sevâ-ras. They relish the ras of sweetness through the ras of sevâ. Srila Narottam Dâs Thâkur Mahâshay has prayed –
“O Lord Hari! When will I get rid of this male form, become a woman and smear chandan on the Divine bodies? When will I arrange His hair into a chudâ and tie a newly woven
1
sweetness of the flute
2 sweetness of adolescence
The heartfelt
prayer of a
yearning
devotee
The manjaris
are the
embodiments
of sevâ
garland of gunjâ flowers around it? When will I (along with other sakhis) weave garlands of various flowers, don Him in yellow clothes and put betel–leaves in Their mouths? I shall dress up Râi in blue and then gaze at Their captivating look to my heart’s content. I shall tie her plait with new gem-studded gold lace and further decorate it with Mâlati flowers. I shall gaze at Their sweet beauty to my heart’s content – this is what I pray. All glory to Rup and Sanâtan! Narottam Dâs begs of you to grant him this treasure”.
Srila Chaitanya dâs has written - Sri Lilâshuk is stating the fact that one gets to behold Sri Krishna after hearing the flute. So now in this verse he is praying for His appearance. Srila Bhatta Goswâmipâd says, Sri Lilâshuk is praying for an inspiration of some sweet dalliance performed by the adolescent Sri Râdhâraman. The flute has mesmerized Sri Râdhâ and other kishori Gopis.
Srimati’s prayer to the flute
“Dear flute, I beg of You repeatedly not to play ‘Râdhâ’, ‘Râdhâ; again and again, by perching atop Shyâm’s lips.
You live on the face of a cheat and keep calling ‘Râdhâ’ ‘Râdhâ’. The elders find this shameful. Cheats do not give up their cheating tendencies. So why do you remain in His control (since I think you are good)?
Your sweet notes do not let me remain indoors. My eyes keep on shedding tears. I lost my family–honour the very first time you played. Now my life is all I have.
Any way, it is good you played. At last I lost everything I possessed. The poet Uddhav dâs says, ‘Whosoever hears the song of the flute forsake all fear of losing honour and status.’”
Sri Lilâshuk is saying may some bhâv of That Kishor–form holding the flute to His face be inspired in my heart. Here ‘bhâv’ refers to divine bhâv such as stupefaction, perspiration etc. Although Sri Krishna is the embodiment of Supreme Bliss, He is immersed in Sri Râdhâ’s intense love, and so, He expresses many bhâv. Some of them are as follows:- Temporary bhâv such as joy, dominant bhâv – such as erotic, physical bhâv such as gesture, facial expression and movement of hand. Involuntary bhâv such as beauty, lustre, glow, sweetness impudence, magnanimity and patience. Amongst the twenty two
bhâv displayed by Râdhârâni, Sri Krishna too displays ten. Besides these many more bhâv
arise in His kishor-form. May some of them manifest in my heart. If my heart is not full of such self-manifesting bhâv, how will I describe them? This is the gist of this verse.19.
Verse 20