Sri Damodarastakam

Sri Damodarastakam

of Satyavrata muni

with Sanatana Gosvami’s annotation titled

Dig-Darshini.

Text One

namaamisvaram sac-cidaananda-rupam

lasat-kundalam gokule bhraajamaanam/

yasodaabhiyolukhalaaddhaavamaanam

paraamristamatyam tato-drutya gopyaa//1

I bow to the Eternal Joy divine,

The Almighty who in Gokul doth shine;

With glist'ning pendants hung upon each ear;

Who fled the grinding mortar in great fear

Of Yashoda, who ran for him too fast;

And seized upon him from behind at last. 1

Sanatan Goswami's annotation Dig-darsini

Bowing to him whose soft belly was bound,

As well as to Radha, I now expound

Eight verses in which he is glorified,

And show the way as a general guide.

Before elaborating on the particulars of the beauty, exploits, attributes and other details, as also the excellence of the Lord's manifestation in Gokula, the author, to invoke auspiciousness in his undertaking, opens the poem with a customary salutation, 'namaami' I bow. To whom does he bow? To Ishvara, the supreme ruler, who is omnipotent, who is the one universal Lord, and who is his own (the author's) Master. These imply ardent prayer to divinity with exclusive and pious devotion, with the apprehension of his supreme sovereign dignity.

How then is he characterised? 'sat-chid-aananda-roopam' the form of eviternal consciousness and bliss, or the embodied condensed essence of these elements, such is the express meaning of the phrase.

The author now proceeds to elucidate the particular super-excellence of the exquisite beauty of his glistening ear pendants that are set in motion as he flees in terror from Yashoda, or that are often seen glistening with the restless motions of his childhood play, as it were, the earrings themselves are always at play upon his cheeks. In this manner attention is drawn to the delectable beauty of his radiant face. Also, the surpassing privilege of the earrings is suggested in that they are fortunate enough to always be kissing his lovely cheeks, or that the earrings derive their lustre from his cheeks, which further suggests the idea that his ornaments are beautified by his beauty. The cowherd damsels, in Book Ten express their wonder in,

"Your beauty makes the three worlds fortunate,

Cows, birds and deer, and trees horripilate."

(SB. 10.29.40)

Also in Book Three Uddhava exclaims,

"The beauty displayed in his human guise,

By Yoga-power, filled all with surprise;

He charmed himself by his embellishments,

Whose limbs ornamented his ornaments.

(SB.3.2.12)

Now the surpassing excellence of his associates is proclaimed with, ‘Who in Gokul doth shine’, which implies, with cowherds, cowherdesses, cows and calves, among whom he shines conspicuous; which suggests the most suitable and apposite environment to exhibit his natural beauty and where he augments the natural beauty of his surroundings. Again we find in Book Ten,

“So now he sate upon the sandy ground,

Illustrious, while cowherd dames surround;

His exclusive beauty a radiance cast,

Of love’s charms, in the three worlds unsurpassed.

(SB. 10.32.14.)

In the latter half of the verse the author proceeds to elucidate the passing wondrous childhood exploits, such as, how he flees in terror of his mother Yashoda; how he pierced and broke the pots; his guilty expression as he flies the mortar; how he was to be seen standing on the upturned mortar with the covert intention of pilfering the curds and cream; and how he sought to evade punishment. This incident is elaborated in Book Ten, Canto Nine in words like these,

Nor sooner had she spied him from afar,

Seated upon the overturned mortar,

And doling out to monkeys in the yard,

The tasty curds and cream, now off his guard;

But glancing here and there now and again,

With guilty looks, the jars of cream did drain.

But suddenly she crept up from behind

To seize him who is not easy to find,

E’en by great contemplatives in the mind;

But when his mother’s swift approach he spies,

He leaps in haste and from the mortar flies.

(SB. 10.9.8-9)

Though he fled in haste, Yashoda could run with a swifter pace, despite her bulky thighs and heavy bosom. Reference to her as ‘the’ cowherdess suggests her dignity and high status in particular, and the great fortune of the cowherds in general.

‘Seized upon him from behind’, implies his affectionate condescension in allowing himself to be caught at last.

Again delving into the Bhagavatam we have,

“And while she did in haste Krishna pursue,

Cascading blossoms her footsteps ensue;

Impeded by her bulky breasts and thighs,

She hastes behind; to catch the culprit tries,

And when she did the chance to seize him find,

At length she caught hold of him from behind.

(SB.10.9.10)

Text Two

rudantam muhur-netra-yugmam mrjantam

karaambhoja yugmena saatanka-netram/

muhuh svaasa-kampa-tri-rekhaanka-kantha

sthita-graiva daamodaram bhakti-baddham//2

Repeatedly he weeping sobs and cries,

With lotus-hands he rubs his fearful eyes,

Moistened with apprehension and affright.

With panting breath, his jewel necklace bright,

Shakes on his conch-like neck, with creases three;

Bound only by the loving devotee. 2

The author now develops the sequence of events in the verse beginning with, ‘rudantam’, the weeping of tears. Again the Bhagavatam supplies the illustration.

The guilty child with apprehensive fear,

Grew terrified as his mother drew near,

And smeared the collyrium round his eyes,

That blended with his tears and frequent sighs.

The fond mother then seized him by the hand,

Then gan her child to mildly reprimand.

(SB. 10.9.11)

Observing the stick in his mother’s hand he wept with augmented apprehension and dread, with a view to evade chastisement. Hence our text runs, “With lotus-hands he rubs his fearful eyes.” Such being the particular and unique excellence and inherent characteristic of his childhood play.

Or else, he sought to wipe away the tears engendered by fear, or essayed to interrupt the flow of tears; such are the implications. His fearful and tremulous eyes indicate his mental perturbation, or that he simply glanced about with fearful eyes, in any case, his display of childish apprehension suggests his attempt to evade punishment. Also, his repeated sobbing and weeping, with shortened breaths caused him to pant and tremble, which sets in motion the ornament on his ‘greeva’ or neck, known as ‘graiveya’ or a necklace, as well as strands of pearls. His lovely neck has three creases or folds that resemble the spiral lines on a conch shell.

By the compound epithet, Damodara, his being bound, ‘dama’ by the belly, ‘udara’ is signified. Damodara- Bellybound. The Bhagavatam continues the sequence,

But when she saw that he was terrified,

She threw away the stick, then did decide,

That to the grinding mortar she would bind

Her naughty child, and keep him thus confined.

(SB. 10.9.14)

The rope was fastened to the mortar and then tied around his belly. The incident discovers his affectionate and willing condescension and submission to his devotee. He being the object, and Yashoda the subject of maternal love, by the influence of which he submits and assents to be bound. Since the rope itself had not the strength or the length wherewith to bind him. For, when she made the attempt and assayed to do so, the rope came up two finger phalanges short, about two inches, and despite the subjoining of more rope the necessary length would fall short by the same measure. Returning to the narrative in the Bhagavatam,

To this expedient she did resort,

To bind the offender, but still too short

The length of two finger phalanges found,

And to that rope another rope she bound;

Yet still she tried another rope to add,

To the first one that she already had,

And yet another one to that was bound,

But still his abdomen would not go round.

(SB. 10.9.15-16)

Another cause in regard to his being belly bound (and hence the epithet Damodara) was to display and exhibit his bondage to love, not merely an extrinsic display as the preceding analysis has amply shown. The narrative continues from the Bhagavat,

At length, when her exhaustion he perceived,

And flowers from her hair the ground received,

And perspiration trickling down her face,

Compassionate, he deigned to show his grace;

And let himself be to the mortar bound.

Thus Hari by this wondrous deed has owned,

Though he is always and forever free,

He is subjugate to his devotee.

Although he is the ruler who confers

Boons on the gods, his faithful ministers,

Yet only to the pure who love him so,

He condescends such favour to bestow,

Nor Brahma, nor Bhava, nor Goddess Shri,

Who always clings to him, such high degree

Of favour gained, or ever could achieve,

As did this pious cowherdess receive.

That mighty Lord, son of the cowherd dame,

The wise and self-aware cannot attain,

But to devotees easy of access,

Who such pure affection for him possess.

(SB.10.9.18-21)

Furthermore, Krishna is reported to have thought,

Narada is my favourite devotee,

Therefore I shall fulfil his prophesy.

(SB.10.10.25)

This indicates that the ensuing exploit of uprooting and felling the Yamala Arjuna trees was instigated by Narada, which also suggests Krishna’s complicity in love in relation to his devotee.

Text Three

itidrk svalilaabhir-aananda kunde

svaghosam nimajjantam-aakhyaapayantam/

tadiyesita-jnesu bhaktair-jitatvam

punah prematastam sataavrtti vande// 3

Thus by such wondrous childhood deeds as this,

He plunges his lovers in pools of bliss;

And to the curious who wish to know,

His perfect submission to love does show.

Repeatedly and in a hundred ways,

I bow to him with love and sing his praise. 3

The author now elaborates on the particular excellence of his divine attributes. The conjunctive adverb, 'thus', with which the verse begins is in reference to the preceding verses. 'In this manner', revealing his perfect submission to the love of the devotee by condescending to be bound, occasions the appreciation and apprehension of his charming and extraordinary childhood exploits, as the text proclaims, "He plunges his lovers in pools of bliss." In the Bhagavatam we have an illustration,

The cowherd dames would coax him to assay

To sing and dance for them in childish play;

Although Supreme, not subject to control,

Like a puppet he danced or wooden doll.

When ordered a seat or a jug to bring,

Being unable, up his arms would fling,

As if to show that he had strength enough,

At which his relatives would smile and laugh.

(SB.10.11.7-8)

The word 'ghosam' in our text signifies his kinsfolk and associates, nay, all creatures who dwell in Vraja. All of whom are plunged in the deep pools of bliss, submerging and submerged in the various delight of his association, as expressed in the verse cited above, 'At which his relatives would smile and laugh'.

Or else, ‘ghosah’ signifies the loud proclamation of great glory. Even as his companions, the cowherds and cowherd women, are immersed in pools of joy, he himself experiences high felicity when glorified by them.

Or else, In order to impress upon the curious who seek to know the awful aspect of his divine majesty, that he only submits to the pure affection of unalloyed devotion. There is a verse (unattributed)

Lo! I am not by mere wisdom subdued,

But only by those with pure love endued.

Again we find in the Bhagavatam,

By such deeds the Almighty hath made known,

And subservience to his servants shown;

And granted herein to the wise insight,

Of his acts in Vraja of vast delight.

(SB.10.11.9)

Thus he has disclosed to those who are enamoured of the supreme dignity of his Godhead, that he condescends to submit only to the pure devotion of the soul; and to impress upon them the potent influence of his devoted adherents, which is not be observed in others who presume to comprehend his mystery by pursuit of pedantic scholasticism, to whom the great mystery and surpassing glory of the devotee remains elusive.

In the verse from the Bhagavatam cited above, He 'hath made known…’ He exhibited to those who apprehend his divinity his utter submission to love.

In the exhilarating rapture of ardent love, the author is desirous of bowing down over and over again, ‘Repeatedly and in a hundred ways,’ to that ‘ Ishvara’ the independent supreme ruler who is thus characterised, not in a mood of awful reverence, but in profound affection and the ecstasy of love.

Text Four

varam deva moksam na moksaavadhim vaa

na caanyam vrne'ham varesadapiha/

idam te vapur-naatha gopaalabaalam

sadaa me mansyaavirasataam kim-anyaih// 4

O God of boons! I do not seek from thee

Salvation even in the best degree;

Nor do I choose or any boon require;

This, my dear Lord, is my only desire;

That this thy form as the young cowherd boy,

May in my mind remain, what other joy

With this blessing could equal or exceed,

Certes I have for other boons no need. 4

Having thus adduced the superior excellence of the Lord in the foregoing verses, the author, in the ensuing two verses, obtends his solicitude in the formulation of suppliant prayer.

................ I seek not from thee,

Salvation even in the best degree....'

and to express his singular objective,

'Nor do I choose or any boon require.'

The epithet, Deva, or Deity or God, in ‘O God of boons’ suggests the uncommon radiance of his person; or it implies, ‘O thou engrossed in sweet delightful exploits!’

Although you are competent to grant any and all benedictions, I am loath to seek salvation, which is the fourth human fulfilment, or even the extreme limits of salvation, which consists in the condensed essence of singular happiness. Nor even the reward of eternal residence in the divine Vaikuntha which is attained by the nine disciplines of devotion, beginning with aural reception. Nor, ‘any other boon’, which suggests any cherished desire that may be entertained here in Vrindavan.

The preposition, ‘iha’ or here, is also applicable to the second half of the stanza, ie., ‘here’ in Vrindavan. There is also a comparative sequence in the progression from indeterminate salvation, residence in Vaikuntha etc. leading to the hyparxis, which has been elaborated in the second part of (my) Brihad Bhagavatamrtam, where it is argued that superior to salvation is residence in Vaikuntha, superior to residence in Vaikuntha is the experience derived from the nine disciplines of devotion beginning with aural reception. Again we find in the Bhagavatam,

Lord! Let us to perdition be consigned

For sins committed, yet with conscious mind,

If we like bees your lotus-feet attain,

We would in any place willing remain.

(SB.3.15.40)

Which confirms that the deep absorption in aural reception and other practises, surpass the excellence of the otherwise coveted residence in Vaikuntha; since such absorption occasions the experience of dwelling in Vaikuntha anywhere and everywhere.

The Lord might say, ‘Well, what benediction would you have then?’ To which the poet, ‘I would choose, dear Lord, for the perpetual manifestation of the vision in my mind, here in Vrindavan, and in the manner whilom described, of your form as the beautiful cowherd child. You are, albeit, the indwelling monitor in the hearts of all, but still, I choose the perception of this beautiful cowherd child.’ The Lord then, ‘But surely salvation and dwelling in my celestial abode are worthy boons.’ To which the poet, ‘What of that? What need is there of salvation or ‘any other boon? None I say, since all joy and fulfillment culminate in thee.’ Conversely, the poet continues, ‘In the privation of that true gain, even the possession of all other accomplished perfections were paltry and trivial ends and lamentable in the extreme.’

Such is the implication of the phrase, ‘Certes I have for other boons no need.’

‘Well, alright’, sayeth the Lord, ‘salvation you may reject, but would you not prefer to dwell in my celestial realm, behold my majestic four armed form, and in my society hold pleasant and familiar conversation with me?’ The poet insists, ‘What need have I for any other boon? Let me have the perpetual inward vision of this thy beautiful person and experience the limits of fond and loving affection.’

On the particular excellences of the inward perception of the divine form there is an elaborate discourse delivered by Pippalayana in the region of Tapaloka, which can be found in the second part of (my) Brhad Bhagavatamrtam.

Thus the prayer in seeking a benediction is dexterously blended with a glorification of the comparative superiority of the boon desired, in which manner the ensuing verses are expressed.

Text Five

idam te mukhaambhojamatyantanilair

vrtam kuntalaih snigdha raktais ca gopyaa/

muhus-cumbitam bimba-raktaadharam me

mansyaaviraastam-alam laksalaabhaih//5

This lotus-face of thine of beauty rare,

Dark blue, adorned with locks of sable hair;

With crimson pollen patches that confess,

Where thou art kissed by the fond cowherdess;

With roseate lips as Bimba berries soft,

She plants kisses both many times and oft.

May this vision within my mind remain,

I care not for great and abundant gain! 5

In the verse beginning with ‘This’ etc. the author resolves thus, ‘I am eagerly desirous to behold the exquisite attractiveness and endearing charm of ‘this’ your beautiful face.’

Sometimes, in the depths of meditation the sweet beauty and fine features of the Lord are quite inexpressible, wherefore the poet resorts to the device of metaphor.

‘Your face resembles a lovely blooming lotus flower, the perception whereof dissipates all sorts of afflictions; it affords the exhilarating rapture of joy to the beholder; may I experience this revelation in my mind over and again. How is the metaphor drawn out? His dark complexion is analogous to the blue lotus, attended by swarms of greedy bees which shadow forth the impression of his loose and tumbling curls, stained with crimson pollen, representing the lip balm transferred by the fond kisses of the cowherdess.

The ‘cowherdess’ here refers to Yashoda or to Radha, respective to their several moods.

May this vision appear in my mind ‘many times and oft’.

Or else, ‘many times and oft’ denotes the exclusive great fortune of the cowherdess who is thus privileged to plant kisses on his face many times and oft. And further, ‘May I have the instantaneous revelation of this vision in my mind.’ Such is the idea.

Or else, ‘always remain’ carries over from the preceding verse to emphasise and add force to the expression.

Lips, or more properly, the lower lip, is represented on account of it’s hue and texture, to the likeness of Bimba berries.

Finally, in the original, ‘an hundred thousand other benefits’, (rendered here as great abundant gain) does not necessarily denote a particular number, but includes all other possible attainments

Text Six

namo deva daamodaraananta visno

praseeda prabho duhkha-jaalaabdhi-magnam/

krpaadrsti-vrstyaati-deenam bataanu-

grhaanesa maam-ajnam-edhyaksi-drsyah//6

Hail Deus! Bellybound! The one adored,

Almighty Vishnu! Universal Lord.

Be kind, O Master, and thy favour show,

For I am steeped in ocean-like sorrow,

Pour down, O Lord, thy gracious glance on me,

Although I am wretched and unworthy;

Accept me and reveal to me the prize,

Not only in the mind, but to the eyes. 6

Raised to the heights of rapturous glorification by the sudden onrush of loving ecstasy, the author, in the verse beginning with ‘Hail’, applies himself to the most efficacious discipline of loud glorification of the divine epithets, and in humble solicitude submits his petition for the attainment of grace.

The word ‘tubhyam’ or ‘unto thee’, is implied in the salutation ‘Hail’, but due to anxiety occasioned by the perturbation of religious frenzy, the author has omitted ‘unto thee’.

To paraphrase, he says, ‘O Master! O my omnipotent God! Be graciously disposed to show thy favour.

I am immersed in the sea of sorrow and grief for want of thy vision. Or else, I am thrown into the irremeable affliction of metempsychosis, wherefore I have sunk to the extremity of wretchedness; or, I am helpless and deprived of all assistance, therefore I am rendered indigent and worthless, or I am on the verge of death, or indeed, my life is dead. Thus he deplores his utter ignorance and feels incapable of finding any solution.

Thereupon the author expresses his aspiration, look upon me with thy gracious glance; or favour me by showering a downpour of your ambrosial beauty, and by such merciful condescension, uplift me from that sea of sorrows afore mentioned.

Finally he divulges his heart’s desire, O let me see thee with mine eyes. Thus by degrees he raises his expectation and takes courage to solicit his most cherished desire, in due order from least to best, and not abruptly or discursively.

How direct and immediate vision surpasses the inward vision in the mind is elaborated by the attendants of the Almighty Lord in their discourse on the glory of direct vision, in the second part of (my) Brihad Bhagavatamrtam.

With the invocation, ‘O Deva!’ My God, endued with rare and supernal beauty which occasions my desire to see you.

O Bellybound Damodara! Since thou art submissive to the affection of thy votaries, it is quite befitting that thou showest thyself to me.

O Ananta! O Infinite being, who confers infinite blessings by the operation of thy gracious glance.

Prabho! Puissant Master, thine incomprehensible, uncircumscribed, wondrous and mighty power is quite capable, despite being beyond the range and scope of perception, of revealing to the optic sense a vision of thy beauty.

Isha! Almighty ruler, being totally independent, you bestow your grace without respect of persons, disinterested, and therefore without motive.

Also, the address, O Vishnu! alludes to his omnipresence, implying, O thou who art ever wont to enter the groves and bowers, caves and grottoes of divine Vrindavan, since it requires no laborious exertion on thy part, thou mayest show thyself to me.

Or else it suggests, O infinite and indivisible being! O omnipresent Vishnu! O Damodara and so forth, by the exercise of thine abundant tender affection, thou hast the capacity to accomplish all things.

The ensuing statements may be read in the like manner.

Text Seven

kuveraatmajau baddha murtyaiva yadvat

tvayaa mocitau bhakti bhaajau krtau ca/

tathaa prema bhaktim svakam me prayaccha

na mokse graho me'sti daamodareha// 7

Though Kuvera’s sons were to trees constrained,

Though bound, release and love from thee they gained;

That same gift, Lord, of love, do not refuse,

I do not, Bellybound, salvation choose. 7

Thus in the ardour of profound sentiments of love and the eager anticipation of his cherished end, the author, in the sudden awakening of rapture, and apprehending the extreme rarity of his sought for boon, and perceiving the superiority of loving devotion as the supreme means, speaks the verse, ‘Though Kuvera’s sons….etc.’

Or else he considers, the sudden manifestation of the vision in my mind will be insufficient to satisfy me, since I shall be plunged into the extremity of misery when that vision is withdrawn. Therefore I ween that the only means to prolong your perpetual audience is pure and loving devotion. But how shall I, being as I am a mighty transgressor, attain it? As for that, since the Supreme Lord is possessed of inestimable powers and is the repository of glorious affectionate condescension, by the operation of which, that which is otherwise impossible of attainment may be accomplished with ease, he thus prays for the gift of loving devotion to the exclusion of indeterminate salvation in the verse, ‘Though Kuvera’s sons….etc’.

Thus fastened with ropes to the grinding mortar by the cowherdess he tugged and dragged it across the intervening ground toward the trees, where passing through the interspace the mortar was jammed obliquely between them. By means of this extraordinary exploit, and the revelation of the exquisite beauty of his person, he affords occasion for the direct perception, audience and touch to the faculties of sense. Not only were the sons of Kuvera released from the effect of the imprecation pronounced by Narada, which had reduced them to the state of trees, thereby freeing them from the bondage of transmigratory existence, but were awarded the exalted state of perfect devotees. The author thus observes, ‘Pure love from thee they gained’, since they were sensible of the supreme end, and had resigned themselves to its attainment. In this manner they were rendered the worthy recipients of divine grace and unalloyed devotion. This is also alluded to in the Bhagavatam,

That gift of love for which to me you sue,

Has been developed already in you;

May both of you deep absorption maintain,

And into folly do not fall again.

(SB. 10.10.42)

Which is to say, ‘ You have both cherished a superior sentiment in relation to me, which has now mellowed into the purest love for me; and hence you are no longer obliged to undergo the repetition of births and deaths, and your worldly afflictions have reached their term.’

Ensuing their example, the author exclaims, ‘O Damodara! Even as the sons of Kuvera were furnished with the gift of loving devotion, in the like manner may you be pleased to grant the exclusive refuge of your lotus-feet’, which is to say, ‘bestow that especial grace whereby you remain the sole object or perception and love’. To which the Lord might say, ‘But why are you reluctant to receive the blessing of salvation? The sons of Kuvera were pleased to accept it. Otherwise you must be content to perpetuate the repetition of birth and death in the condition of metempsychosis.’ To which the poet, ‘Thank you, but no. My ardent longing is to receive the singular blessing of unalloyed devotion, ‘I do not, O Bellybound, salvation choose.’ Here he suggests that the attainment of unalloyed devotion is itself the cause of the termination of transmigratory existence, and even were it not, it is of little concern. ‘Either way I am indifferent to it as it were something other than my desired end. Even as one with the fabled Chintamani gem in hand is aware that possession of the magic jewel includes all secondary and tertiary requirements, even so with this in mind, ‘why should I seek for extraneous and trivial ends?’

In another strain, upon hearing the prayer, ‘O Bellybound Damodara! Deign to grant the blessing of unalloyed devotion’, the Lord might apprehend that, ‘What, would he thus keep me bound perpetually to the mortar, since the idea of release seems abhorrent to him.’

To allay this consideration, the poet earnestly proclaims, ‘It is not my intention to see thee bound, no, but in the condition wherein you reveal your beauty and exhibit your extraordinary love and devotion.

Or else, it may imply, ‘I desire and pray for the blessing of unalloyed devotion, here, in Vrindavan, which has its singular excellence, particular and unique manifestation, and where your extraordinary exploits are revealed by direct perception. Hence, his prayer is for perpetual residence in Vrindavan. Other implications may be drawn in the manner preceding.

Text Eight

namste stu daamne sphurat dipti dhaamne

tvadiyodaraayaatha visvasva dhaanme/

namo raadhikaayaih tvadiya priyaayaih

namo'nanta lilaaya devaaya tubhyam// 8

Hail to the bright rope wherewith thou wert bound,

All hail to thy belly wherein is found

The universe expansive to appear.

Hail to Radhika, whom to thee is dear.

All hail to thee, the God from whom proceeds

Infinite and eternal playful deeds. 8

The author concludes his prayer for the attainment of the particular excellence of the perfection of unalloyed devotion, in the verse beginning with, ‘namaste ‘stu’ Let there be hail to thee. And with the homage of salutation he glorifies the singular and extraordinary wonder of his beauty, his personal effects, his associated counterparts, and salutes each severally. Glory be to the rope. ‘Hail to the bright rope wherewith thou wert bound.’ Which is to say, I bow in salutation to the wondrous marvellous rope that binds thy belly’. How is the rope characterised? It is reffugent bright in contact with the light divine and radiance of Brahman in the condensed essence of his beautiful form.

‘I bow to thy belly, O Bellybound Damodara, which displays the extraordinary tender charm and beauty of thy delightsome exploits of infancy. And which accommodates within itself the universal manifestation.’ What are its especial properties? Well, it is the repository and source of the entire mobile and immobile creation, wherein abide the fourteen worlds that sprung from the cosmic lotus. This suggests as was observed in the two instances when his mother beheld the universe-form within his gaping mouth. Such are the general implications. Thus in binding the belly of the child, Yashoda brought the entire creation into subjection. The capacity to bind him is derived from his affectionate condescension and subservience to his unalloyed devotee. How is it that it might be that the entire creation, evolved from the five constituents of nature, are compressed within his person, is more to be conceived than described, since the Almighty’s puissant powers, attributed to his Godhead are said to be indiscernible by the faculty of ratiocination. Such is the idea.

By bowing first to the rope and then to the belly, since it is placed over the body, also suggest a progression by degrees to the more excellent object.

Now, the author proceeds to pay homage to the beloved associated counterpart in order to elicit that favour which affords the easy accomplishment of those ends that are otherwise rarely attained, due to the magnitude of such high ambition. He therefore proffers his salutation to the supreme Goddess, Sri Radhika, with, ‘namo raadhikaayai….etc. Hail to Sri Radhika!

By naming Radhika, all the cowherd damsels are implied by extension. Yet her prominence and unique attribute is also suggested. The name Sri Radhika signifies, she who is ever active in the perpetual adoration of the Almighty one. Or else, it may denote, regardless of her acts of worship, that she is his eviternal and beloved consort.

Also, ‘tvadiya priyaayai’ unto your beloved’, signifies that all your beloveds are as much beloved of her as she by her love for you is loved of them. What then can be told of her ineffable love for you, also as for your affection for her?

Thus her love can only be likened to itself. Anyway, ‘To your beloved I bow.’ Since being so, she is as universally worshipable as yourself; therefore I bow to her. These are some of the implications of ‘beloved’, or ‘dear’.

Finally, in keeping with the maxim, ‘All undertakings should be concluded with salutary sweetness’, the poet, in bowing to Sri Radhika, suggests the secret mystery of the Rasa sport implied in ‘namo’nanta lilaaya’, hail to thine infinite deeds. Or else, in relation to ‘devaya’ to the God of infinite deeds, denotes his extraordinary attributes, and that his exploits are singularly uncommon. Therefore he closes his divine hymn with,

I bow to thee, the God from whom proceeds,

Infinite and eternal playful deeds.

Such is the general trend of the implied meanings.

Thus ends Sri Damodarastakam of Satyavrata muni with the Dig darshini annotation of Sri Sanatana Gosvami.