3. Análisis Estratégico
3.2. Análisis Externo de la Cámara de Comercio
3.2.1. Análisis PESTEL
lotus. The resonance of the flute is the honey of this lotus! His soft
cheeks sparkle like mirrors. May this lotus-face of Vibhu (Sri
Krishna) manifest in my heart which resembles a lake.6.
Âswâd-bindu purport
ripâd Lilâshuk’s heart was extremely attracted by the lotus-face of Sri Krishna just as a honeybee is attracted by nectar. So He said: May this lotus-face of Vibhu manifest in my lake-like heart forever. Sri Lilâshuk is in the mood of a sakhi. Then why does he use the word ‘Vibhu’ that indicates the opulent mood? Sri Kavirâj Goswâmipâd has explained the word ‘Vibhu’ in the following manner – “Sri Krishna is fully skilled in the art of sweetness – so He is ‘Vibhu’.”
God’s Divinity centres mainly around opulence and sweetness.
“ittham satyam brahma – sukhanu – bhutya” – [S.B. 10.12.11]
In the purport to the above verse Srimat Jiva Goswâmipâd has written –
“Bhagavân is a certain Truth That has an extra ordinary form, majesty and sweetness. His character is ‘Supreme Bliss’. His opulence comprises of incomparable infinite natural Mastership and His sweetness consists of unsurpassed all–captivating beauty, quality and pastimes. Nirvishesh-gyân1 is the means to experience His character, while devotion mingled with awe and reverence is the means to experience His majesty. Pure love of
Braja is the only means to experience His sweetness.
Mâyâ binds man. Therefore, his intellect can never touch any aspect of Sri Bhagavân, the ultimate Truth, without resorting to one of these three means. We repeat that we can experience Sri Bhagavân’s character by means of Nirvishesh-gyân, His majesty by means
1
the mode of worshipping the Impersonal Brahman
of devotion mingled with awe and reverence, His sweetness by means of pure love. Braja is the abode of sweetness. The devotees of Braja are naturally and firmly established in the sweet mood. The feeling of majesty takes a back seat in their hearts, just as River Saraswati flows underground in the Triveni1. In certain occasions such as the Full Moon, River Saraswati manifests herself externally in Triveni. We can see it. Similarly, at times of separation, astonishment and difficulties, the devotees of Braja manifest aishwarya-bhâv.”
Although the devotees of Braja see hundreds of evidences of Divinity with their own eyes, they never feel awe or reverence. Such feelings would have slackened their relation with Krishna. Rather they feel joyous. This is the property of very pure sweetness of Braja. Sri Krishna has manifested unthinkable, unperceivable aishwarya while delivering Putanâ, Aghâsur, Bakâsur, Kâliya, while swallowing the forest-fire and while performing the Râs-dance. Such great opulence have drowned and
disappeared in the fathomless depths of the Brijwâsis’ ocean of sweetness.
Instead of feeling awe, their sweet mood has only enhanced. Lilâshuk is a worshipper of sweetness. Hence, he has used the word ‘Vibhu’ to refer to the Ocean of Sweetness that is Sri Krishna. This is the gist of Srila Kavirâj Goswâmipâd’s purport.
Sri Lilâshuk is saying – “May the lotus-face of Vibhu that is abounding with the wealth of
mâdhurya and châturya2 blossom eternally in the lake of my mind. The reverberation of the flute is the honey of this lotus! The lotus–face of Vibhu Who is the embodiment of sweetness, is eternally full of this honey.
“tri-jagan-manas-akarshi–murali–kala–kujitah.”– [Bhakti-Rasâmrita-Sindhu 2.1.42] Meaning: - The mellifluous notes of the flute captivate the mind of all universe.
Venu-mâdhuri3 is an extra ordinary quality of Sri Krishna. Venu-mâdhuri is the unique
property of Braja alone.
“madhur madhur bamshi baje ei to brindâbon.”
Meaning: - “Vrindâban is where the flute plays ever so sweetly.” The Vedic mantras resound from very pore of the flute.
“shabda-brahma-mayam venum vadayantam mukhambuje”.
Meaning: - “The flute is overflowing with Brahman in the form of sound vibrations.” Hence, the nectarine melody of the flute is omnipresent.
“The song of the flute rushes in all directions, it pierces the boundary of this universe and reaches Vaikuntha and it forces its way into everyone’s ears. It intoxicates one and all. It forcibly catches and brings one near, especially the young damsels. The song of the flute
1 It is a place where the rivers Gangâ, Yamunâ and Saraswati meet. The rivers Gangâ and Yamunâ
are visible while River Saraswati is invisible since she flows underground.
2
cunning
3
sweetness of the flute
The Brijwâsis are
always in pure sweet
is very impudent. It breaks the marital vow of chaste women and drags them from the lap of their husbands. The flute attracts the Laxmis of Vaikuntha, what to speak of the
Gopis. It slackens the skirt-strings of women in front of their husbands, forces them to
forsake household duties, and then using its might, drags them to Krishna. It makes one forget the societal norms, shame and fear. It makes all women dance to its tune in this manner.”
– (Sri Chaitanya-Charitâmrita, Madhya.21.119-121) Above all is Srimati Râdhârâni. After hearing its song She has surrendered all Her entity to the flute.
“O Grandma, who plays the flute on the banks of the Kâlindi? Tell me, O Grandma, who plays the flute in the pastures of Gokul?
My body is anxious, my mind is so very anxious! The song of the flute makes me forget the most ordinary things, such as, how to cook!
Who plays the flute, O Grandma? It is so painful, yet so joyous - I want to surrender at His feet and become his maidservant.
Who plays the flute, O Grandma, (torturing me) so cheerfully? How have I troubled Him, O Grandma, that He torments me so?
My tears flow like torrents. The melody of the flute O Grandma, is stealing my life. Why is the son of Nanda playing the sweet musical flute just to agonise me?
I’m not a bird that could spread its wings and reach Him. It so so painful that I wish the Earth would swallow me since I don’t want to live any more.
When there is forest-fire, O Grandma, the whole world comes to know. But my heart burns like a brick kiln which looks calm from outside but has a fire raging inside it.
My heart is ablaze with the desire for Kânha (Krishna). Poet Chandi-dâs has sung this song with obeisance to Goddess Bânshuli1.”
This poem draws a perfect picture of the heart-rending effect of Sri Krishna’s flute on the
Gopa-girls. If an emotional devotee immerses his sensitivity in this poem, he will
definitely realise the captivating effect of Vamshi-mâdhuri.
Lilâshuk is experiencing in the mood of a sakhi – the song of the flute is the wonderful honey of Sri Krishna’s lotus-face! His captivating cheeks are resplendent like sapphire. His eyes are half-closed since He is absorbed in bhâv and they are intoxicated with love. They resemble lotus-buds. He is telling his friend – “O Sakhi! May this lotus-face of Krishna manifest eternally in my heart”.
O Sakhi! On beholding the lotus-face of Shyâmsundar, I feel as if two slightly blossomed lotus-bud like eyes are seated beautifully on His fully blossomed lotus-face. What a wonderful sight! I also feel as if many blossomed lotuses are present in Sri Krishna’s
1 Poet Chandidâs was a priest in Goddess Durgâ’s (the external potency of Sri Krishna) temple.
She is also known as Bânshuli Devi. It was his ancestral occupation. However, he was a Vaishnav par excellence.
lotus-face. The bhâv-full lotus-eyes of Braja-vadhus are reflected in His cheeks that sparkle like sapphire-mirrors. It is as if they have come near to make friends with His lotus-face. I also feel that Sri Râdhârâni’s eyes are reflected in Sri Krishna’s mirror-like cheeks and are looking more beautiful than a Khanjan bird.
Explanation of “murali-ninâda – makaranda – nirbharam”
Srila Bhatta Goswâmipâd has explained “murali-ninâda – makaranda – nirbharam” in the following manner.
Sri Krishna especially nourishes His family with the honey like melody of the flute. The speciality of Sri Krishna’s flute is that it arouses different bhâvas in different devotees. In this way, the song of the flute reassures His family in a wonderful manner.
“jashomati shune bânshi nani de mâ nandarâni pitâ nanda shune bânshi ei je bâdhâ âni,
sakhâgon shune bânshi cholo gosthe jâi kamalini shune bânshi bâhir hao râi.”
Meaning: - “The flute tells Mother Yashomati to give Him butter. It tells Nanda Baba – ‘Father, please wait, I’ll just get your sandals for you.’ The sakhâs hear – ‘Let’s return to the cowshed.’ The lotus-eyed Râdhârâni hears – ‘Step out of Your home, O Râi, and come to meet me.’” – [Sri Chaitanya-Charitâmrita]
Sripâd Lilâshuk has expressed slight thirst in the 4th verse; then his longing increases in the 5th verse and still more in the 6th verse. Thus, we should know that his thirst is increasing gradually.6.
Verse 7