Krishna As Player And Playwright Krishna merged all contradictions in the dual scales of maya in the ocean of transcendental consciousness. Being perfectly anchored in the still point or kutastha chaitanya, he was equally playful at war and peace, love and hate or life and death. He exhibited his omniscient Supreme Self and cosmic form to reveal the characteristic features of his unique incarnation to his pious parents at the time of his birth and repeatedly afterwards to deserving souls. Unlike other avatars he was never under the darkness of delusion, not even during playing his so called mundane role. As he points out, he was always centred in absolute consciousness where even the sense of relative existence is defeated. But the endless delusion or maya created by him with expanding horizons projected an unending radius from him to his manifestation with the appearance of a circumference which is nowhere there as he is the centre of everything as the cosmic cause and element. His centre is everywhere and circumference, nowhere. Krishna was mostly the observer-self, the detached driver of everything in the universe, the charioteer in the battle between opposing forces. He could prevent the war simply at will as he could kill the demons in the twinkling of an eye. But he always allowed the cosmic principles of karma prevail over divine intervention. The cosmic drama takes its own course according to the dictates of poetic justice. Yet the omnipotent was never an impotent observer. At times of crying necessity he did intervene, breaking even his own promise as he took arms to tackle Bhisma to protect his cosmic principle and also to exhibit his unfailing divine grace on devotees. This protective, divine touch adds a fourth dimension to his mystic detachment. A unique aspect of the Krishna incarnation is that his omniscience was never obliterated. Other avatars before him played perfectly the mundane role with suspension of omniscience as the entire drama was not known to them before hand. Hence they were more human in role-play than divine. But Krishna as the player as well as the playwright had the entire drama on his fingertips, even his own death by an erring hunter. But he allowed things to happen in their own way and observed the same with absolute detachment as he taught us to be. His own shining example highlights his fundamental precept of non-attachment. While religions usually prescribe world-negating spirituality and progress beyond mundane reality, Krishna confirmed the realisation and identification of the Supreme here and now with total attitudinal transformation, anchoring in inner space. Since outward reality is just a reflection of the inner essence it can be really enjoyed with divine detachment through yoga, the art of cosmic union with the Absolute. As an exponent of yoga, balancing the two sides of a yoke, he never wanted one to be replaced by the other. Thus yoga presupposes simultaneous existence of both mundane and divine in perfect equilibrium. This is the real art of living, secret of role-playing in the grand feast of sight and symphony in creation. The flute is Krishna, incarnation of divine joy. He is perpetually joyful in tackling any crisis with detachment as he was well above the bondage of self. The centre of Krishna consciousness is the symbolic flute making cosmic vibration and its circumference is the orchestration of the Mahabharata, the epitome of creation. At the centre he is the unwavering kutastha chaitanya, while at the circumference, he is the questioning self, Arjuna.
Posted on: Wed, 28 Aug 2013 05:20:06 +0000
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