CHAPTER - FIVE

The Place o f Radha in the Puranie Literature

The puranas dominate the religious world of India in post-Vedie

period. No other religious text except probably the tantras has exerted

such an over-whelming influence in the Indian minds as the puranie

literature. The puranas have bequeathed to the Indian tradition, the concept

of innumerable gods and goddesses including Durga, Siva, LaksmT, Kali

and the appropriate method of worshipping the gods goddesses. The puranas

have elaborately discussed the meritorious results of such worships. We

gather from these religious works the knowledge of many comparatively

minor gods and goddesses also. Goddess Laksmt has appeared in the

Visnupurana as the consort of Lord Visnu. The Visnupurana, the

Kurmapurana and many other purana texts also discuss the concept

o f Sakti. Though Sakti is the inherent power o f a god, she has

been described invariably as an independent goddess.

Like Laksmt, Durga, Saraswati, Savitrl etc, Radha also appears

as one of the puranie characters, though she has been confined to a feu

selective puranas only. The name of Radha does not appear in the three

major puranas, viz. the Bhagavatapurana, the Visnupurana and the

Kurmapurana. Scholars are conversant with the Krsna-GopI legend of the

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Bhagatapurana, in which the maidens o f Vrndavana enter into the amorous

rasa-play (rasa-kiida) with the Lord. It is said in this context that Krsna

showed special favour to one maiden whose name is not found in the purana.

In the Visnupurana, there is also a reference to three-fold sakti of the Lord,

namely, HladinI, SandhinT and Samvid. Radha, however, flourishes in the

Matsyapurana, the Padmapurana, the Vayupurana, the Varhapurana. the

Adipurana, the NaradFyamahapurana, the DevFbhagavata, the Mahabhagavata

and the Brahmavaivartapurana. It may be noted here that Radha remains

confined in a few selective puranas comparatively o f later period. Though

the Radha-legend occupies only a limited space in the puranic texts, the

character o f Radha exhibits an excellent blending o f philosophy and religion

of great significance. Radha has been able to evoke a deep esteem and devotion

in the minds o f the Vaisnava-worshippers.

We have already said that Radha's name does not appear in the

Bhagavatapurana. However, there is a significant remark about the most

privileged and favoured maiden in the rasa-krida chapter o f the Book.1 There

is a scope o f interpreting the relevant verse in favour o f Radha. In fact, the

very word Radha is significant. It may be explained as ' radhyate va sa radha.'

or 'aradhyate harih anaya.'

The meeting place o f Radha and Krsna has been invariably described

as Vrndavana. The bank of the river Kalindl or Yamuna is the ground where

the two lovers were engaged in love’s revelry. The Bhagavatapurana describes

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tiie departure o f Krsna from his paternal abode Mathura. He founded a new

city o f Dvaraka in the heart o f the ocean and permanently resided there. He

soon became a householder and married RukminI, Satyabhama and JambavatT.

It is a heart-rending affair that Krsna abandoned his most beloved woman o f

Vmdavana and started a new life. These ladies o f V m dlvana (Gopis) were

totally forgotten. I f there was a Radha as described by some puranass, she

was equally abandoned and left to her fate.

The Matsyapurana attributes a new significance to Radha. The Satl

legend of the purana is very popular in the Indian tradition. It is said that Safi,

the daughter o f Daksa-Prajapati was married to Siva. On one occasion, Safi

felt insulted by the behaviour o f her father who ignored and belittled Lord

1 r r

Siva. Safi committed suicide and Siva earned her body throughout the universe.

Visnu severed the body o f Safi into pieces with his disc, the Sudarsana-cakra.

According to tradition, fifty one pithas or holy places were created from her

body, falling in different parts o f the Universe. The names o f Siva and goddess

Safi ruling in these holy places are differently known in the religious world.

Now, in the Matsyapurana, it has been said that the goddess will appear in

one hundred and eight tlrthas o f India under different names. It has been

stated in this context that she will be known as RukminI in Dvaravafi or

Dvaraka, Radha in Vmdavana and DevakI in Mathura. Now, it appears

from this description that there is only one ‘Goddess’ or Sakti in the universe

who is variously known in various places o f the world. Thus, the Matsyapurana

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upholds the doctrine of Sakti on the one hand and tries to establish the fact

that RukminI and Radha are virtually one. In the literary sources, like the

VenTsarhhara 3 of Bhattanarayana and Chandomanjarl of Gatigadasa."

Radha appears merely as a lover of this world without any superhuman

attribute. But in the Matsyapurana, she ascends the exalted position of a

Goddess. Radha's name is intimately related to the Indian religion. One of

the important features of the puranas is that it acquaints the devotee with

different religious places of India which are lying scattered over mountains

and plains. A holy bath in a sacred kunda (pool of sacred water) dispels sms

of the devotees. The Varahapurana, which is also a Vaisnava purana, describes

the Radha-kunda of Vrndavana :

radhakundamiti khyatarh sarvvapapaharam subham aristaradhakundabhyam snanat phalamavapnuyat rajsUyas vamedhanarh natra karyya vicarana / gohatya brahmahatyayah papam ksipram vinasvati

It is also clear from the relevant passage of the Varahapurana that a

holy dip in the Radha-kunda is essential for a sinner committing grave crimes.

It goes without saying that a non-sinner devotee attains great religious merit

by taking a bath in this kunda. The religious importance of the Radha-kunda

has been praised by the passage of the Padmapurana also, viz.

yatha radha priya visnostasyah kundam priyarh tatha sarvvagopisu saivaika visnoratyantavallabha / / 6

Thus, it has been observed in this purana that Radha no more remains

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a betrayed and deserted lover of the Venisamhara, but she assumes the status

of a goddess whose RMha-kunda has become a source of meritorious results

It has also been narrated in the Naradlyamahapurana that Goloka is

the Divine-abode of Lord Krsna, where ‘He’ lives happily in the company of

Radha and all the Gopas and Gopls. As He has been requested by Brahma to

rescue the world, He would appear on this earth as the saviour of the world

from the tortures of the Asuras. At that time, he would perform a beautiful

rasa-krida with Radha and other maidens in Vrndavana. Radha, the daughter

of Vrkabhanu, would be enraged on discovering SridamaT the friend of Hari

at the residence of Viraja and cursed him. He would also curse her that she

would also flourish on this human world. Hari would also appear on the earth

as Vasudeva. At the request of Brahma, to save the earth from the tortures of

the Asuras, Hari would appear on this earth in the family of Yadus in the

house of Vasudeva, but out of fear of Kamsa, the asura, he would go to the

house of Nanda. 7 The Radha-Krsna legend presented by the Naradfy-

amahapurana also corroborates those found in other puranas »

Thus, in this purana also, Radha is elevated to the status of a divine

figure who is free from bondage of birth and death; but she appears on the

earth at her sweet will and also according to the demand of the situation.

Radha gradually establishes herself as a great ‘Goddess' in the Vaisnava

religion. In the later puranas like the Bhavisyapurana, the Padmapurana and

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the Brahmavaivartapurana, the Radhastamivrata emerges, to our view, as a

new religious phenomenon. In the Radhastam ivrata, narrated in the

Bhavisyapurana, there is an elaborate discussion on the modes of observing

this vow. In the pranama-mantra of Radha, this goddess has been eulogised

as ‘Rasesvarf, central figure in the rasa-krida, svamakundalamandita and

haripriya (the beloved of Krsna). It may be mentioned here that Krsna has

been eulogised in the Vayupuranaas ‘radhavilasarasikam krsnakhyampurusam

parani*

In the Radhastam ivrata, the goddess has been described as

sarwalaksm im ayi devipam cicchaktimpinl. In other words, she is the ‘Para-

sakti’, ‘Supreme Power of Lord Krsna.’ She is the symbol of Consciousness

(cit-sakti). It reminds us of a passage of the Durgasaptasad in which gods

have seen the glory of Durga as :

ya devl sarwabhutesu cetanetyabhidhlyate /

namastasyai namastasyai namastasyai namo namah / / 9

In the Radhastamivrata, described in the Bhavisyapurana, Krsna

tells Narada that by reciting the names of Krsna and Radha, a great merit

is acquired, He says—

vina radha prasadena matprasado na jayate /

preyasiyam yathS radha tadbhakto m e tatha priyah / /

krsneti dvyaksaram nama radhaya saha y o vadet /

ahutasamplavam ySva t vasami tatra narada / / mannamalaksajapena yatphalam labhate narah /

tatphalam samavapnotiradha-krsne’ti k irtana t//

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na tapobhima pujabhima danena japaistatha /

radhoccaranamatrena pntirme jayate tatha / / '°

Like the Matsyapurana, the Padmapurana also tells us that Radii a

assumes the forms of RukminT in DvaravatT, DevakT in Mathura, Sita in

Candrakuta, whereas she is known as Radha in Vrndavana." Thus, this purana

also upholds the doctrine of Sakti with the endeavour to establish the fact that

Radha and RukminT are actually ‘One.’

The Padmapurana attributes a philosophical significance to the charactei

of Radha. In the patala-khanda of this purana, the Radha-Krsna legend har

been presented with a philosophical touch. The Padmapurana describes

Radha or Radhika in the following manner :

vahirarigaih prapancasya svarhsairmayadisaktibhih

antarangaistatha nityarh vibhOtaistaiscidadihhih

gopanaducyate gopTradhika krsnavallabha /

dcvf krsnamayf prokta radhika paradevata /

sarva-Iaksmisvarupa sa krsnahladasvarupini / /

tatah sa procyate vipra hladinlti manisibhihi :

tatkalakotikotyarhsa durgadya strigunatmikah /

Most of these verses have been quoted by us in earlier context, f

shows that the word gopT does not convey the conventional popular meanint.

of ‘cowherd lady.' But it has a different significance. It is clear from the

above verses, that Radha protects or conceals the external world with her

manifold ‘Powers’ like Maya, consciousness, etc. The speciality of Vedanta

Maya is that it possesses the powers, namely avaranl sakti and the vikscpani

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sakti. Radha, like Durga is not only a representive o f Vedantic Maya, but she

possesses also consciousness. It is a difficult philosophical concept. But the

etymology of the word g o p l is derived from gopana or raksana (protection).

According to the verse, devikrsnamaylprokta radhika para-devata, it is clear

to us that Radhika or Radha is the ‘Supreme Deity' who is non-different

from Lord Krsna. In other words, she is the Supreme Power o f the Lord. We

have shown that Lord Visnu possesses three distinct powers, viz- Hladini.

Sandhini and Samvid. In the verses quoted above from the Padmapurana, we

find that Radha is the Hladini Sakti o f Lord Krsna as already described by us

( ‘tatah sa procyate vipra hladinlti mamsibhih' etc). We do not find any

appropriate interpretation o f the Hladini Sakti in the purani ic texts quoted by

us. It simply suggests the ‘Blissful character' (anandamayatva) of the Supreme

Person, Krsna, the embodiment o f Brahman. However, Krsnadasa Kaviraja

Goswami interprets the terms HlandinI, Sandhini and Samvid adequately in

the Adi-lila section o f the Caitanyacaritamrta which we have already

discussed. He defines Hladini as anandarhse hladini According to Krsnadasa

Kaviraja Goswami 'hladini karay krsne ananda asvadana.’ It means that Krsna,

the Divine Musician, who attracts the creation o f the entire universe through

the melody o f his Divine Flute and gives Supreme Delight to them is practically

possible for Him due to the presence o f Hladini-sakti in Him.

The Padmapurana, rightly describes Lord Krsna and his Sakti Radha as

non-different from each other. It says :

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sa tu saksanmahalaksmi krsna na^yanah prabhuh / naitayorvidyate bhedab svalpo’api munisattamah / / 14

In fact, we have already said in earlier context that, Sakti and Saktiman

or the ‘Divine Power’ and its locus are inseparably related to each other.

Thus, we find that according to the Padmapurana, Radha is merely a different

appearance of the Lord.

In this purana, a significant philosophical doctrine has been propagated

according to which goddess Durga, Visnu, Rudra, Krsna, India, SacI, Savitri,

Brahma and Yama are merely different manifestations of the same Goddess

Radhika. It reminds us of a philosophical passage of the Rgveda :

ekam sad v iprabahudha vadantyagnim yamam

matarisvanamahu /16

In the DurgSsaptasati also, the goddess while replying the demon

Sumbha, speaks in a similar manner about Herself:

ekaivSham jagatyatra dviffya ka mamSparM /17pasyaita dusta m ayyeva visantyo madvibbutayab I I

The Goddess appropriately uses the term vibhuti in this verse which

refers to her creative Power ( vibhuti). In the DurgSsaptasati gods sing the

glory of Candika in the following manner :

yasyab prabhavamatulam bhagavanananto

brahma harasca nabi vaktumaiam valamca /

sa candikSkbilajagatpanpalanaya

nassya casubbabbayasya matim karotu IIn

In this poem, all the great gods of the Indian religion like Brahma,

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Visnu, Rudra are described as playing only a subordinate role to that of the!

‘Supreme Goddess’. But in the Padmapurana Radhika is described as :

iyam durga hari rudrah krsna sakra iyam sacJ /

Thus, this puranic work offers a superior position to Radhika to

that of the goddess Candika. In this Purana, the author declares in a very

strong term that other goddesses like Durga are merely the minutest

fraction of Radhika.

It appears from the passage of the PadmapurSna that the devotees of

Radha have tried to establish her as the dominating ‘Power’ of the universe

which overshadows other almighty goddesses.

We, further, read in the Padmapurana that this Universe composed of

animate and inanimate objects is merely a manifestation of Radha and Krsna

{cidacillaksanarh sarwam radha-krsnamayamjagai) . 19 In the Durgasaptasatl,

goddess Candika has been eulogised as Mahamaya. In fact, she is the ‘Great

Illusion’ which keeps the entire creation ignorant of the existence of the

Supreme Reality. In a similar way, the Padmapurana also presents Radha

as the ‘Store-House of the Mayadi Sakti’. In fact, the entire creation which is

non-different from Brahman is merely an effect of Brahman’s ‘Maya’.

One important point which prominently appears to our view from the

treatment of Radha in the Padmapurana is that the author moulds the character

of Radha with a deep emotion, fervour and apparently a little-bit of

exaggeration also.

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The Devlbhagavata and the Mahabhagavata are two minor puranie

texts written in a later period of the development of this religious literature.

Radha or Radhika is described as a great goddess in these two puranas.

whose worship is considered most essential in the Vaisnava religion side by

side with Krsna worship.

In the Devfbhagavata, where Devi or Sakti plays the most dominating

role, a hexasyllabic mantra viz. ‘ sri radhayai svaha, has been prescribed by

Lord Narayana to his devotee Narada. Narayana tells his devotee that Krsna

and all other great gods recite this mantra regularly in order to proceed smoothly

to their spiritual goal.

Radha is elevated to the status of a regular goddess of the Vaisnavas

in this Purana. It says :

krsnarccayam nadhikaro yato radharccanam vina /

vaisnavaih sakalaistasmat kartavyam radhikarccanam i

We read a similar passage in the Naradapancaratram also. Appropriate

religious methods have been prescribed in the Devlbhagavata, to worship

Radha with appropriate dignity.

A devotional poem (stotra) has been composed for propitiating the

goddess Radha in the traditional style of other stotras written for other gods

and goddesses.22

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S o m e o b s e r v a t i o n s o n t h e R a d h E - K r s n a l e g e n d i n t h e D e v l b h a g a v a t a

T h e D e v I b b S g a v a t a d e s c r i b e s R a d h a a s t h e c o n s o r t o f L o r d K r s n a . S h e i s

t h e S a k t i o r t h e I n h e r e n t P o w e r o f t h e L o r d , w i t h o u t w h o m K r s n a w i l l l o s e

23h i s i d e n t i t y . T h e D e v l b h a g a v a t a g i v e s a n e w e t y m o l o g y o f R a d h a ,

d i f f e r e n t f r o m t h a t o f t h e B r a h m a v a i v a r t a p u r a n a .

I t h a s a l r e a d y b e e n d i s c u s s e d b y u s i n a n e a r l i e r c o n t e x t I t i s t h e s i m p l e

a n d e a s i l y a c c e p t a b l e i n t e r p r e t a t i o n o f t h e t e r m , w h i c h m e a n s t h a t R a d h a i s

s o c a l l e d b e c a u s e s h e f u l f i l s a l l t h e d e s i r e s o f h e r d e v o t e e s . R a d h a h a s b e e no-

d e s c r i b e d a s t h e p e r m a n e n t d w e l l e r o f G o l o k a i n h e a v e n . B u t o n o n e o c c a s i o n ,

s h e h a d t o d e s c e n d t o t h e w o r l d o f m o r t a l s , w h e r e s h e w a s b o m a s t h e d a u g h t e r

o f V r s a b h a n u . T h i s p u r a n a d o e s n o t d i s c u s s t h e d e t a i l s o f t h e s i t u a t i o n i n

w h i c h R a d h a l e f t t h e h e a v e n l y a b o d e , I t o n l y s a y s :

k e n a c i t k a r a n e n a i v a r a d h a v r n d a v a n e v a n e /

v r k a b h S n u s u t a j a t a g o l o k a s t h a y i n l s a d a // 249

R e g a r d i n g t h e e m e r g e n c e o f R a d h a , t h e s t o r y o f t h e D e v l b h a g a v a t a

c o r r o b o r a t e s w i t h t h a t o f t h e B r a h m a v a i v a r t a p u r a n a . I t p r e s e n t s t h a t a b e a u t i f u l

G o d d e s s e m e r g e d f r o m t h e l e f t s i d e o f t h e S u p r e m e S o u l , S r i K r s n a a n d w a s

d i v i d e d i n t o t w o a t t h e s w e e t w i l l o f S r i K r s n a . T h e g o d d e s s o f t h e l e f t s i d e

w a s L a k s m f a n d t h e g o d d e s s o f t h e r i g h t s i d e w a s R a d h a . I n t h e m e a n t i m e ,

f o r t h e i r d i g n i t y , K r s n a h i m s e l f a l s o w a s d i v i d e d i n t o t w o , o n e f o u r h a n d e d

N a r a y a n a a n d t h e o t h e r w a s K r s n a H i m s e l f . H e t h e n o f f e r e d L a k s m I t o

N a r a y a n a a s h i s c o n s o r t . H e h i m s e l f a c c e p t e d R a d h a a s h i s c o n s o r t .25

144

This purana describes Radha as the mulaprakrti who emerged from

the left side of the Supreme Soul. When Krsna became eager for creation, the

mulaprakrti appeared before Him and was divided into five prakrtis who

play the most responsible part in the process of creation.26 Radha or Radhika

is one of them. It says—

ganesa-janam durga radha laksmlh sarasvatl /•>?

savitri ca srstividhau prakrtih pahcadha smrta //

The DevTbhagavata also narrates that once Radha performed penance

for a long time, for thousands of Divine years and worshipped Durga on the

Satasrriga mountain for obtaining Krsna as her husband. When the goddess

was thus propitiated, Krsna accepted her in his bosom and granted her the

boon that she will be the most beloved of Krsna, and Krsna will remain as

servile to her eternal love. In the Radhatantram also, Radha worshipped Durga.

The DevTbhagavata describes the love episode of Krsna and

Suslla which made Radha angry. It has been said therein that Suslla. a gopi

in Goloka was an expert in the art of love-making. One day, Suslla was

deeply involved in love with Krsna. She occupied a seat on the lap of Krsna

which enraged Radha. She cursed Suslla for her misconduct. There is a similar

curse-episode in the Brahmavaivartapurana.

Meanwhile, Krsna also disappeared from the sight of Radha. Radha.

inspite of being the most powerful goddess, wails for her husband like a

simple Indian lady for whom her husband is superior to one hundred worthy

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sons. Radha describes the great religion of worshipping the husband with

devotion. Radha’s wailing instantly reminds us of the maidens of Gokula

crying for their lover Krsna in the rasa-sport of the Bhagavatapurana. In the

entire range of the puranic literature, we hear for the first time Supreme

Goddess Radha lamenting for her beloved husband Krsna.

Radha and the Sakti-cult

Narayana extols RSdha in the Devibhagavata variously, as the mother

of the Universe (tmilokyajmani), as a synonym of goddess Saraswatl, Savitri,

Sarikari or Durga, Gahga, Padmavatf, Laksmi and Mangalacandf. In spite of

this fact, we notice in the Devlbhagvata that it covertly offers a superior

position to Durga to that of R:dha, because Radha propitiates Durga for

earning a boon. Narayana describes her as mulaprakrtirupa which reminds us

of a significant epithet of goddess Durga found in the Markandeyapurma,

viz. ‘prakrtistvam adyat. In fact, there is only one Supreme, all-pervading

Sakti in the Universe which is embodied in Radha.

Radha in the Mahabhagavatapurana

We have said in the earlier context that Radha is conspiciously absent

from the Rasa-story of die Bhagavatapurana. The ladies of Gokula were

engaged in the rasa-knd3 with the Lord. One particular lady among them,

however, received more grace and favour from the Lord. But the Vaisnava

community in a later period could not imagine of the performance of rasa

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without the participation o f Radha who has been variously described as

rasesvan and the lady o f the msamandala.

In the Mahabhagavata also, Radha plays the leading role in the ‘Rasa-

sport.’ Krsna and Radha were originally in Goloka, descended to the mortal

world. The Mahabhagavata describes that Krsna and Radha roamed about in

the Vmdavana; Krsna invited all die gopls o f Vrndavana through his melodious

flute. Krsna expressed his deep love for Radha and showed special favour to

her. The purana adds the Rasa-episode o f the Bbagavata in this context.

It says that when the Rasa-krida was started in an autumnal night,

Radha played the main role in it. But when the Rasa-sport reached its

climax, both Krsna and Radha disappeared together to the utter dismay of

other ladies.

The Mahabhagavata imparts divine attributes to Radha and Krsna who

assumed eight distinct forms each litre eight forms o f Lord Siva described in

the Puranas. According to Sankara, Lord Bhairava has eight forms. They are

Asitahga, Ruru, Canda, Krodha, Unmatta, Kapall, Bhlsaryand Samhara.28

Uniqueness is observed in the Mahabhagavata, regarding the treatment o f

Radha-Krsna legend. It propagates Radha-Rrsna as the incarnation o f Siva-

Parvatl, respectively. It narrates that, once Siva being enamoured by the

excellent beauty o f Parvatl, expressed his desire to be a woman and Parvatl

would be the loving husband. Parvatl consented to fulfill his desire as she in

her Bhadrakall form would be bom in the earth as Krsna and Siva would be

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bom as Radha, the daughter o f Vrkabhanu. Siva said that he would take

birth in the earth in ‘nine forms’ when Parvati would appear as Krsna. He

himself would be Radha and Rukmini, Satyabhama, Jambavati, etc., the eight

wives o f Krsna would also be bom from Him. All the Bhairavas o f Siva also

would be bom as best o f woman, i.e. the gopls o f Vmdavana. Jaya and

Vijaya, two dear friends o f Parvati would be bom as Sudama and Sridama,

the two dear friends o f Krsna. Visnu would appear in two forms, as Balarama,1

the elder brother o f Krsna and also as Aijuna, the son o f Pandu and the

dearest friend o f Krsna.

In the mean time, at the request o f Brahma to annihilate the Asuras

who having been killed by Visnu and the ‘Goddess’ at the end o f Dvapara

have taken birth as the kings and thus oppressing the world, Parvati, the

mother o f the world (Jagaddhatrf) assured that she would kill them ail when

she would appear on the earth as Krsna. Because, as a female deity, ‘She,

being the mqther o f all’ and the Asura’s taking resort to her out o f devotion,

she would not be able to kill them.

Thus, Parvati in her Bhadrakall form was bom as Krsna as per her

promise to Siva. His father Vasudeva and mother Devakl were also Prajapati

Kasyapa and Aditi, the mother o f gods in their previous birth, who worshipped

the ‘Goddess’ for a long time o f thousand years and prayed her to be bom as

their child. At last, being propitiated by their unflinching devotion, the Goddess

granted them the boon that at the end o f Dvapara Yuga when she would

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appear on the earth as Krsna, Aditi and Kasyapa would be her parents. This

story of Aditi and Kasyapa being the mother and father of Krsna as a result of

29a boon also corroborates with the Brahmavaivartapurana.

When Parvatl in her Bhadrakali form was bom as Krsna, she being

propitiated and prayed by Devald, showed them her actual form of Krsna and

then the form of Durga also. At that time, Vasudeva eulogised her in the

following verses :

tvarii m atsjagatam anadiparama vidyatisuksmatmika /

tvarii tattajanako’apyanadipurusahpurnah svayath cinmayah / /

tvarii visvasi tathaiva visvavanita visvasraya visvaga /

tvatto’anyannahikincidasti bhuvane visvesi tubhyarii namah / /

tvarii srstau caturananah stbitividhau visnu paratma prabhuh /

sariibartyamatibhlmarupacarito rudrah pinakastradhrk / /

tesarii srstivinasapalanavidhau tvam kalikaika para /

nitya brahmamaylpraslda parame krsna jagatvandite / /

tvarii suksmaprakrtirrrirakrtirati stbula jagatvyapim /

stripuriildlvavibhedatastvayipunah stritvadyabbavab sada / /

tattvSrii tena vidanti kecana jagatyatrambike tat katbarii /

saktastotutnabarii bhavamiparame brabmadyagamyarh kurvlb/

namaste visvamohinyai gauryai tridasavandite /

namaste krsnarupinyai mayapuriisarupine / / 30

Thus eulogised, the goddess Durga instantly turned as Krsna, the little

boy. In this eulogy of Durga, we hear the echo of the eulogy done by the

gods to Candika in the DurgasaptasatJ of the Markandeyapurana. When Krsna

in his childhood killed Putana while sucking her poisonous breasts, then also

149

he assumed the original form of Kali and devoured the deadbody of Putana.

Same was the incident when he killed the asura Trnavarta with khadga. the

weapon o f Kali.

Siva, on the otherhand, was bom as Radha, the daughter o f Vrkabhanu.

She was married to one gopa, Rayana by name. But he suddenly turned as an

enunch as per the good will o f Sambhu. Radha used to go to the house of

Krsna, the lotus-eyed one, and taking him on her lap she used to gaze at his

face with great love. Balarama, the son o f RohinI, also played with Krsna.

Sudama, Sridama, the two dear friends o f Krsna also used to accompany

him in all his plays.

In the Mahabhagavata, (Chapter 53), the love-dalliances o f Radha and

Krsna are described vividly. The Rasa-krida scene is also described beautifully.

In the beautiful autumn season, when Vrndavana was turned beautiful in the

full moon night, the Rasa-krida o f Krsna with Radha and other gopis had

started.

Thus, the goddess Parvatl, the Mother o f the world assumed the body

o f Krsna and saved the world by killing the Asuras. Siva assumed the body

o f Radha and was united with Krsna in the Rasa-krida.

Thus, we see that by adding novelty and grandeur, the Radha-Krsna

legend has been presented attractively in the Mahabhagavata. Radha is the

inherent power o f the Supreme Soul, Krsna. It has been established in this

Purana that she is the goddess o f all the gods and goddesses.

150

Radha appears in a entirely different form in the Brahmavaivartapurana.

The Radha-Krsna legend is dressed in a new form which we do not find in

any other purana. This purana came into existence probably in later period of

the development of the puranic lore. The touch of the popular tradition, cannot

be totally ignored in the legend. According to an established tradition which

cannot be corroborated with the help of Sanskrit sources, Radha was a parakiva

lady, a married woman who fell in love with Krsna. The Indian society has

never forgiven such an irrggular love-affair. They confine to the regular social

norms in which the wife must not resort to any infidelity. Mammata Bhatta in

his Kavyaprakasa describes such irregular love as Rasabhasa and not

srhgararasa. Radha's secret love with Krsna has been described in Bengali

lyrical poem SrikrsnakTrtana of Candldasa :

sami mora duruvara 8 ° ^ a visala

prod vola nananda vache / sava gopigane more kalarika tuliari dila

radhika kahanira sarige ache / / etasava sahilonmo kanhera nehata laglB n d Syc moke neha kanhanira pase / 32

The tradition was aparantely current in the Indian society, when

the Brahmavaivartapuram was written. It is the reason for which the Radha-

legend was suitably moulded in order to avoid any scope of infame. According

to the Brahmavaivartapuram, Radha or Radhika was ayonisambhava, though33

in the eyes of others, she was the daughter of Vrsabhanu. She was the wife

151

of Lord Krsna as she has been married to Him as described in this purana. It

has also been described in this purana that Radha and Krsna lived in their

Divine Abode (Goloka), both of them descended on earth and was married.

As Radha has been delineated as ayonisambhava in this purana, she possessed

‘Infinite Divine Power’. When Radha’s so-called father Vrsabhanu settled

her marriage with Rayana, Radha created a false image of her and left it in

her original abode. This fictitious Radha was actually married to Rayana

while the real Radha was married to Lord Krsna in Vmdavana.34

In the Brahmavaivartapumna, Radha reaches the zenith of the poets’

imagination. She has been described as ayonisambha va, not bom of any

parent, which reminds us a passage from the DurgSsaptasati.

devanam karyasiddhyarthamBvkbhavati sS Xdda /?

35utpaimeti tads Joke sa nitySpyabbidlyate / /

It may be remembered here that SIta, in Valmikf s RBmSyana is also

ayonisambhava. We learn from the Brahmavaivartapumna that Radha was

the beloved of Krsna whom the Lord intensively desired. Regarding her birth

or manifestation, it has been recorded in this purana that Lord Visnu divided

his body into two parts. The right side of his body is Krsna and the left side

is Radha. It has also been further said in this purana that all the maidens

(gopls) who took part in the rasa-knda, emerged from the body of Radha,

while all the cowherds (gopas) are bom from the body of Krsna. Thus, both

Radha and Krsna played the roles of creator, at whose sweet-will the creation

152

takes place. This story of Radha being the creator of the maidens instantly

reminds us of the goddess Candika from whose body, Mothers emerged and

in whose body they disappeared.

brahmesaguhavisnunam tathaibendrasya saktayab /

sanrebbyo viniskramya tadrupaiscandikamyayub / /

yasya devasya yadrupam yatba bhusana vahanam /

tadvadeva hi tacchaktirasuran yoddbumayayau / /

hamsayukta vimanagre saksasutrakamandaliih /

ayata bmbmanab saktkbrahmam s a ’bhidblyate / /

mahesvaif vrsamdba trisula varadharini /

mahahivalaya prapta candrarekhavibhusana/ /

kauman saktihasta ca mayuravamvabana /

yoddbumabbyayayau daityanambika guharupim / /

tatbaiva vaisnavTsaktirgamdopadsamstbita /

sankhacakragadasarngakhadgahastabhyupayayau / /

yajnavamhamatulaih rupam ya vibbrato bareb /

saktih sapyayayau tatra varahlm vibbraff tanum / /

narasimhl nrsirhhasya vibbraff sadrsam vapuh /

prapta tatra sataksepaksiptanaksatrasambatih / /

vajrabasta tathaivaindrigajarajopad stbita /

prapta sahasranayana yatba saimstatbaiva s a / / 38

One important feature of the character of Radha as narrated in the

Brahmavaivartapurana is that she is the presiding deity (adhistbatii devi) of

Agriculture. India has generally recognised Goddess Laksmi as the presiding

deity of the field. Indian people depend on Agriculture mainly for their

livelihood. Goddess Laksmi who rides on ah owl protects the agricultural

cultivation from its predatories and natural calamities. That Radhika replaces

15330

L a k s m i a s s a s y a d h i s t h a t r T - d e v i i n d i c a t e s t h a t o n c e R a d h S r o s e i n t o a

p r o m i n e n t p o s i t i o n i n I n d i a n C u l t u r e . R a d h a h a s a l s o b e e n d e s c r i b e d i n t h i s

p u r a n a a s :

s v a y a m r a d h a k r s n a p a t n i k r s n a v a k s a h s t h a l a s t h i t a /

p r S n S d h i s t h a t r d e v ! c a t a s y a i v a p a r a m a t m a n a h / / m

I t h a s b e e n o b s e r v e d i n t h e t r e a t m e n t o f t h e c h a r a c t e r o f R a d h a i n t h e

B r a h m a v a i v a r t a p u r a n a t h a t s h e i s t h e S u p r e m e S a k t i f r o m w h o m L o r d K r s n a

d e r i v e s h i s p o w e r o r s t r e n g t h . B u t i t i s a w o r t h n o t i n g f e a t u r e t h a t t h i s p u r a n a

h a s n o w h e r e r e f e r r e d t o t h e H l a d i n i S a k t i o f t h e L o r d .

L i k e t h e N a r a d a p a n c a r a t r a m , t h e B r a h m a v a i v a r t a p u r a n a a l s o g i v e s t h e

e t y m o l o g i c a l m e a n i n g o f R a d h a w h i c h c o n t a i n s t h e p h i l o s o p h i c a l

s i g n i f i c a n c e . 41 I t h a s a l r e a d y b e e n d i s c u s s e d i n a p r e v i o u s c o n t e x t . T h e w o r d

‘ R a d h a ? i s t h u s a v e r y i m p o r t a n t r e l i g i o u s n a m e i n t h e V a i s n a v a l i t e r a t u r e

w h i c h a l o n e c a n i m p a r t s a l v a t i o n t o a l l .

R e f e r e n c e s :

1. a n a y a r n d h i t o n u n a m b b a g a v a n h a r i i i s v a r a b /

y a n n o v i h S y a g o v i n d a h p r f t o y a m a n a y a d r a h a h / /

B h a g - p . , X . 3 0 . 2 8 , p . 5 5 5

2 . M R , 1 3 . 3 8

3 . V S . , I . 2 , p . 2

4 . C M . , e x a m p l e o f R a t h o d d h a t a m e t r e p . 7 2

5 . V a r h p . , 1 6 4 . 3 4 - 3 5 .

6 . P d m p . , i n t h e K a r t t i k a m a h a t m y a , a s i n S D S .

7 . N m p . , U t t a r a k h a n d a , 8 1 . 2 5 - 3 6 , p . 3 5 2

154

8. Wyup,. 104. 529. D S S ; V. 19, p. 14010. Bp., as quoted in the Pd not found in the original text.11. Pdmp., patalakhanda, 46. 36, p. 41512 ibid, patalakhanda, 50. 51-54, p. 43513. CG, Achilla,, IV14. Primp.,Patala-khanda, 50. 55, p. 43515. ibid, Patak-khanda, 50, 56, p. 43616. PV., 1 .164. 4617. Dss., X. 5, p. 21818. ibid, IV. 3, p. 11419. Pdmp., Patala-khanda, 50. 57, p. 43620. ( a ) ‘Caturdhaif Comm, on the word Mabamaya :

mahati sarvavisaya may a anyatranyakaravabhasinl saktiimabamaya muMvidyeti yavat /

(b) SantanavTcomm, on the word MahSmaya :\he devl tvam) Mahati Mayaanyatmanyatmetibuddhkatmanyapyanatmeti buddhirmaya'

21. DBhag., IX. 50. 16. p. 99022. ibid, IX. 50. 46-52. p. 99223. ibid, IX. 50. 18. p. 99124. ibid, IX. 50. 43, p. 99225. ibid, IX. 2. 54, 56, 6226. ibid, IX, I. 9, 12,1327. ibid, DC. 1.1; DC. 4. 4.

155

- " ' 9 — • •

28. SVJ, chap. 23, pp.105-06, quoted in the Kapalikas, p.15

29.Gi,

kas^po vasudevasca devamata ca devaki /

purvapiwyaphalenaiva prapatub snbarim sutam / /

Brvp. Spkrsnajanmakhanda, 7. 4, p.

30. MBbag., 50.89-92

31. ‘ tadabhasa anaucityapravartitah’ KP., IV. 36

32 . VP., SrTkrsnakTrtana, p. 41

33. Brvp., Prakrtkhanda, 49. 37-38

34. ibid, Prakrtkhanda, 49. 39-40, 43-44 •-* • •35. Dss., I. 65-66

36. 48.29

37. ibid Brahmfv iakhanda, 5. 40, 42

38. Dss, vm . 12- 20

39. !

i

‘ tadarhsa martyalaksmlsca grhinanca grbe grbe

sasyadbistbatrdevi ca sa eva grbadaivaG’

Brvp. Prakrtikhanda, 48. 46

40. Brvp. Prakrtikhanda, 48. 47

41. ibid, Prakrtikhanda, 48. 46