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means, "He who is the primeval Lord."
TEXT 30
TEXT
venum kvanantam aravinda-dalayataksam-
barhavatamsam asitambuda-sundarangam
kandarpa-koti-kamaniya-visesa-sobham
govindam adi-purusam tam aham bhajami
SYNONYMS
venum--the flute; kvanantam--playing; aravinda-dala--(like) lotus petals;
ayata--blooming; aksam--whose eyes; barha--a peacock's feather; avatamsam--whose
ornament on the head; asita-ambuda--(tinged with the hue of) blue clouds;
sundara--beautiful; angam--whose figure; kandarpa--of Cupids; koti--millions;
kamaniya--charming; visesa--unique; sobham--whose loveliness; govindam--Govinda;
adi-purusam--the original person; tam--Him; aham--I; bhajami--worship.
TRANSLATION
I worship Govinda, the primeval Lord, who is adept in playing on His flute,
with blooming eyes like lotus petals with head decked with peacock's feather,
with the figure of beauty tinged with the hue of blue clouds, and His unique
loveliness charming millions of Cupids.
PURPORT
The matchless beauty of Krsna, the Supreme Lord of Goloka, is being
described. Krsna, the all-pervading cognition, has a spiritual form of His own.
The form of Krsna is not a fanciful creation of imagination formed after
visualizing the beautiful things of the world. What Brahma saw in his ecstatic
trance of pure devotion, is being described. Krsna is engaged in playing upon
His flute. That flute by his enchanting musical sound attracts the hearts of all
living beings. Just as a lotus petal produces a pleasant sight, so the two
beautiful eyes of Krsna who causes the manifestation of our spiritual vision,
display the unlimited splendor and beauty of His moonlike face. The loveliness
that adorns His head with peacock feather figures, the corresponding feature of
the spiritual beauty of Krsna. Just as a mass of blue clouds offers a
specifically soothing, pleasant view, the complexion of Krsna is analogously
tinged with a spiritual dark-blue color. The beauty and loveliness of Krsna is
far more enchanting that that of Cupid multiplied a millionfold.
TEXT 31
TEXT
alola-candraka-lasad-vanamalya-vamsi-
ratnangadam pranaya-keli-kala-vilasam
syamam tri-bhanga-lalitam niyata-prakasam
govindam adi-purusam tam aham bhajami
SYNONYMS
alola--swinging; candraka--with a moon-locket; lasat--beautified; vana-malya-
-a garland of flowers; vamsi--flute; ratna-angadam--adorned with jeweled
ornaments; pranaya--of love; keli-kala--in pastimes; vilasam--who always revels;
syamam--Syamasundara; tri-bhanga--bending in three places; lalitam--graceful;
niyata--eternally; prakasam--manifest; govindam--Govinda; adi-purusam--the
original person; tam--Him; aham--I; bhajami--worship.
TRANSLATION
I worship Govinda, the primeval Lord, round whose neck is swinging a garland
of flowers beautified with the moon-locket, whose two hands are adorned with the
flute and jeweled ornaments, who always revels in pastimes of love, whose
graceful threefold-bending form of Syamasundara is eternally manifest.
PURPORT
In the sloka beginning with cintamani-prakara the transcendental region and
the spiritual names of Govinda, in the sloka beginning with venum kvanantam, the
eternal beautiful form of Govinda and in this sloka the amorous pastimes of
Govinda, the embodiment of His sixty-four excellences, have been described. All
the spiritual affairs that come within the scope of description in the narration
of the ecstatic mellow quality (rasa) are included in the spiritual amorous
sports of Govinda.
TEXT 32
TEXT
angani yasya sakalendriya-vrtti-manti
pasyanti panti kalayanti ciram jaganti
ananda-cinmaya-sad-ujjvala-vigrahasya
govindam adi-purusam tam aham bhajami
SYNONYMS
angani--the limbs; yasya--of whom; sakala-indriya--of all the organs; vrtti-
manti--possessing the functions; pasyanti--see; panti--maintain; kalayanti--
manifest; ciram--eternally,; jaganti--the universes; ananda--bliss; cit--truth;
maya--full of; sat--substantiality; ujjvala--full of dazzling splendor;
vigrahasya--whose form; govindam--Govinda; adi-purusam--the original person;
tam--Him; aham--I; bhajami--worship.
TRANSLATION
I worship Govinda, the primeval Lord, whose transcendental form is full of
bliss, truth, substantiality and is thus full of the most dazzling splendor.
Each of the limbs of that transcendental figure possesses in Himself, the full-
fledged functions of all the organs, and eternally sees, maintains and manifests
the infinite universes, both spiritual and mundane.
PURPORT
For want of a taste of things spiritual, a grave doubt arises in the minds of
those who are enchained by worldly knowledge. On hearing a narration of the
pastimes of Krsna they think that the truth (tattva) regarding Krsna is the
mental concoction of certain learned scholars, created by their imaginative
brains out of material drawn from the mundane principles. With the object of
removing this harmful doubt, Brahma in this and the three following slokas,
after distinguishing between the two things, viz., spirit and matter, in a
rational manner, has tried to make one understand the pure lila of Krsna,
obtained by his unmixed ecstatic trance. Brahma wants to say that the form of
Krsna is all "existence, all-knowledge and all-bliss, whereas all mundane
experiences are full of palpable ignorance. Although there is specific
difference between the two, the fundamental truth is that spiritual affairs
constitute the absolute source. Specification and variegatedness are ever
present in it. By them are established the transcendental abode, form, name,
quality and sports of Krsna. It is only by a person, possessed of pure spiritual
knowledge and freedom from any relationship with Maya, that those amorous
pastimes of Krsna can at all be appreciated. The spiritual abode, the seat of
pastimes, emanated from the cit potency and formed of cintamani (transcendental
philosopher's stone), and the figure of Krsna, are all spiritual. Just as Maya
is the perverted reflection of the spiritual potency. the variegatedness created
by Maya (ignorance) is also a perverted reflection of spiritual variegatedness.
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