2718: Krishna Plays With His Flute | Vilapa Kusumanjali 80

0:00We are continuing reading from Vila Paku Sumanjali by Raghunata Svasvami. It was commentary by Ananda Das Babaji Maharaj, and we continue the verse 80 on page 304 in my version, just one. Where should I? You know, maybe we shall indeed. Come here. And there we go. Yeah, I come back a little. Sometimes. Oh, Sakhi. Sakhi. Rupa Mandari. May Sudevi teach me the art of dice playing when the divine couple play at dice.

1:06In the assembly of fair-eyed girls born in Goku with the words of my eyes, I shall declare my Sri Nata, beautiful mistress to be the winner. This was a quote from Sankalpaprakash Stotra 11. Svami is completely bewildered when she sees Shiaan's moonlight face and Shiaan makes some noise to distract her. At the moment, Tulasi gives Svami a hint with her eyes and Svami wins. As soon as Shiaan loses, he picks up his flute. Svami tries to take the flute away, saying, give me your flute.

2:09But Shiaan does not want to give it. He is Rasekashikara. So he wants to play a little bit. He won't hand over the flute. So Svami tries to grab it from him. They both start pulling at the flute. And Svami says, I have won. Why don't you give me your flute? Your flute is very naughty. It spoils everything. I will throw it in the Yamuna. Shiaan hides his flute behind his head. So Svami needs Rose herself on Shiaan with her full weight and snatches it away from him. Making him relish an extraordinary spiritual flavor with her Vanyava attitude of Buddhist.

3:14So when we are married ceremony, wife and husband try to put garland. But a little bit of position. And then this plays more beautiful. But if we say, is that position and then just, it's not so fun. So, you know, this is Bami Baba's very tasteful. And also everybody who is attending the ceremony and watching the couple and making this play this game, they are really relishing. Yes, yes, yes. So similarly, like Manjani was watching, you know. And that's not become more unpleasant. First, I give you something that you desire. And then I will take your flute. I will immerse you in an ocean of bliss by snatching the flute from you.

4:20That's Svami's move. Can you imagine Shiaan Nagara's condition then? He loses his grip on the flute. So Svami has the chance to snatch it from his hand and throw it to tulasi, who quickly writes it somewhere. In this way, Svami steals the flute by enchanting Shiaan. There must have been some enchanting herb of her breath. I hold it one bus. To control the Shama is very easy. Just to show little bit, you know, this is. And then this breath and then Shama was completely martyred anyway.

5:20So this is Svami's. So I mean, he had so much power and so much ability and introduction. She writes it. Would you have explained best this also feelings, means feelings. And so on. So I mean, he tries to catch the flute. She comes very close to his face with the breath. And that makes him help us. So all her feelings on her bar with so close that they need. As he moves in conscious. So he cannot. And your dog catches his flute. And so that is the moment that Vami used. It's in tulasi's hands.

6:21Actually, it's a beautiful game. But full of intense feelings. A full of glass. Full of glass. This kind of games are made for this exchange of glass and Khrama. Only Duryajan, this leader cannot do that. No words. No words. So the amazing thing is that to us, you know, she knows what to do. She. She is immediately trying to do somewhere because she knows what's going on here to do. So. So many of these are so much connected to Swamini. Without speaking. They immediately knows what time the real. They are in. And she immediately is hiding. You saw mother.

7:22Because that knowledge, she almost never were. He is enchanted by. Swamini. She's also playing sometimes with the, it's in the routine that she also sometimes is giving something, some feelings, and then she's taking it away. So this is also part of the need to increase the sacred feelings of the practice in the routine, to even more being than to make it really to get it again. Thank you. Thus, Swami Me is known as Jaya Shri, the beautiful goddess of victory. The sages and manjaries lean against each other, laughing and laughing. When our hero comes back to his senses, he sees that he lost his flute.

8:29So he says, where is my flute? Shrinathika says, who knows? You were defeated, but you didn't hand it in. We don't know where your flute is. Surely you must have taken it. Swami Me jokingly said, why should I? You think we have a shortage of firewood at home? And even if we were short of wood, which this much wood, we cannot even heat up some milk. And then should we take your small bamboo flute, and she meaningfully looks at Lalita, who is then immediately searched by Krishna. Lalita blames at Vishaka, so Krishna goes up to Vishaka and feels if she has the flute on her body or not.

9:34Thus, Krishna looks for his flute on all the eight sages and all the Mondares, starting with Rupa Mondering. Thus, Krishna looks like a blue swan, relishing all the golden lotus flowers, rupees, and the nectar ocean of Sudhavi's glow. There is no limit to their ecstasy. When Krishna is looking for his flute, ever thinking of the gopith body, they authorize to be attached and controlled. But I'm wondering now, I cannot imagine that they accept that Krishna is searching for his flute to intense. If they increase the lila, they will do and serve smarmini in that case, but different.

10:35Takis may have different feelings when Krishna is searching, but Mondari is different. Everything they do, they do in service to the lila. Actually, the friends also in that case, it depends on the lila also. That's what I feel. They have a lot of fun together. All are now in the playing mood. So, hiding Krishna's flute and Krishna becomes provider to find his flute, and they all play together in that case. On swamili side. There is only Krishna and all others are on swamili side. If only swamili and moha is not so fun. No, no. Therefore, we need saki, we need Mondari, and then all the different kinds of personal, then they are more tasty.

11:45It's more tasty because of the variety. Like variety. As more variety, they are more enjoying and more relishing. Like here, they very expertly made him understand what he should do with his flute. That's no significance for us. Like a wooden flute, you cannot even make a small fire. Why we should take his flute? For what? He is drastically more brilliant. They make him also fear. I throw it in the Yamuna. Oh my god, he is very attached to his flute. Or we could make some small fire with it. Oh my god. Even to imagine this is Krishna. So, they make him a little fear of what they will do with this useless stick. But they know exactly what is the meaning of the flute professional.

12:47Don't they make that all we can throw in the Yamuna or make some fire buttons? Even for the fire, you don't lose it. So, they can finally get some fear. Oh my god. Because without the flute, Krishna cannot do so much. Because Krishna's flute still holds people's mind and heart. And this flute is very interesting. According to Mohan's desire, this flute different to a song is coming. And then a different person catches. So, he wants to call cow. Then he hits. Don't different way. And then he wants to call. Like, you know, repeat. He, you know, this too was like a fifth note. You know, you know, different notes have different power.

13:49And this flute sometimes Yamuna does stop flowing. Or Yamuna does what's called different way flowing. And sometimes, you know, like cow is like a start, like a statue. And ear like kind of bass, you know. So, this, this flute can do so much reader and too much say, attract all blood javasis. So, but if without flute. Is it, you know, mixing the myth in the Christian. So, this is the way how they like to play with Krishna, leaving him helpless because his flute is there. And he is afraid there is nice moves. And they are playing with him. And that's what I was saying before. This can only happen. But not really.

14:50So, you can say. For us, they will use necessary to come here to bring down. And grow into that. But we're almost. Right. We cannot you. Now, it's not like that. So, I was saying that especially for us, we are spending most of our time in the West. If we cannot come. No. Okay. The other. So, the Selina's Maranam. Or else has the essence. Our garden. To meditate. To mean. That our manager is going to assist the other man. And make this beautiful Nina's more relishable to the divine couple. Because this is the land.

15:51Of the line she's queen after in Darwin. And Krishna, he is considered to be a local prince. So, here is the original Krishna. It's never. We didn't know. Absolutely very interesting. You know. Laterani. Become. Of the Mahababa. Madara. Because. Because feature like ambient. To. You are made. You are. You are. But you are always touching stealing the Mohan's lips. Which we. We desire you know. And we want to taste Mohan's lips. But you are always, you know, taking.

16:51Occupying. Occupying. You know, what I'm doing. You know, this kind of. Yeah. This kind of spiritual. Ambience. Brandica. Hazel. And this fruit is so. It's important. For this. Yeah, so good. And. And so important. For. Expand. Deer. Or. Deer. More tasteable. Where is my flute? Shri Radhika says. Who knows. You were defeated. But you didn't hand it in. We don't know where your flute is. Shia. Surely you must have taken it. Swamy Jokily says. Why should I. You think we have a shortage of firewood at all. And even if we were short of wood. With this much wood. We cannot even hit up some milk. Why then should we take your small bamboo flute.

17:52And she means fully looks at Lalita. Who is then immediately searching by search by Christian. This one. This one. I think I feel. Express in Bamiya Baba. Radhika can say. Or some other group can say. But. As a people like. You know. As a queen of the work. They cannot say like this. Or a chandel. But it cannot say like this. Never. So. And. But this. This. You know joking. And. This kind of. Let's say. Little bit opposition. This feeling. Krishna give. Krishna. You know. And. Radhika. Give so much present. Christian. Mohan. And also. Sure. Yeah, but here. One second. We should be. Both. In. In. And this is interesting.

18:53Okay. In. And. And. And. The. And. That. The. That. And. That. That. That. That. Yes. I think that. Right. Because. Radhika always wants to ask the Masih. Radhika wants to give the Masih to Saki. Radhika wants to give the Masih to Manjani. And this is the nature of Radhika. Radhika is so responsible. So, Oshanth, Phulom Masih and Phulobu, Ravana, Ergant and also Madhari. Madhari

19:53nature Radhika has. So, this is naturally Radhika wants to expand the Riga and give Masih to Saki. And just defend on the Lila. Not always give that mercy. So, the water sports, we know. There, what is it? The loan? The reward? Yes, that was the kiss. There was a child, right? The reply is the reward. The reward was the kiss. So, that was only between Rohan and Radhika. Like he was there, but no, in that game. And then there was not so much involved. But here in that Lila, there was fully involved, right? To hide the

20:54fruit. So, in that case, Vamini gave the chance to everybody to get embraced by Rohan and then check, check, body check. We all know on the airport, we get the body check. We know so much desire about the development. And here they are all so involved in the Lila that they want to take part, even the Madhari. Because it increases the fun and the rasa. And so, that was the sideline plans was to give him actually useless in, because Lalita has not the flu. She knows, but she give him as if she has. But only to increase that Lila, that Mohan is, don't know actually, but she gives it to him as if she thinks maybe

22:03Lalita, right? Like it's really a Lila. And so Mohan runs to Lalita. You have to include it. And Lalita then again will be saying, it looks like if they like to help him, but actually they might confuse him more. And his joy finds no end by this. And also, all others are also full of rasa, rasic enjoyment. Yes. And this Krishna is like a puppet on the hand of Radhika. Radhika, you know, if you go and Krishna go, you go, Krishna go, you know, and just just dancing, avoiding the Radhika desire. So, therefore, I feel, you know, Radhika,

23:04you know, Radhika is like a puppet on the hand of Radhika. This is only in her presence, impossible. She makes him feel that he can play freely because he is her. It's my Mohan. So, he can do whatever he likes. That's only the, only this place happen. On other place, he cannot do that so freely. He's also naughty and in the playing move, but this kind of freely playing is only possible in the association of Radhika. Because she will take care of me. I have no problem. I can do.

24:11Others, I have to take care. Nothing going wrong, but here, minorities are there. All Radhika's systems are there. So, we can play freely. And also, this represent Krishna is not the controller. Krishna is like a dear Radhika nature. You have all control. And carefully, and always joking and, you know, beautifully useful. Nothing to worry. And, you know, very attractive. And this is the nature also represents in Krishna's nature, Bambia Baba, and the dear Radhika, the leader, Radhika is Krishna's nature. Can you explain? Dear Radhika. The, the era means like some of which is very sober, very intelligent, but also,

25:15same type of Radhika, very attractive, very beautiful, useful, you know, and that nature is, it does not, he only wants to play, does not to care anything. Like, you know, we are care, you know, we care, you know, money, we care time, you know, time plays, time stands, but Krishna's case, he does not care. But you remember when we was child, we was also playing like this. Yeah. There was no meeting, you know, we forget ourselves in the, in the playing, right? Yes. And so, business is really also in Krishna's nature. So, we can a little bit imagine his, his joy, his feeling of that Lila, right? Yeah. And in that nature, the childish nature, mother, father, love with it, you know, is so much attractive. And especially, you know, this fruit makes controller. With that fruit, he cannot do all

26:23three become controller, right? Now, final weapon of Krishna and controller, it is once secret. Now, he has no fruit, then final controller in all sorts of heroes tomorrow. And also, in all sorts of, in, in front of Radhika, he cannot do, he cannot control it. So, we remember, so Gopi was looking for Krishna. And then Krishna becomes Naraya. And then some, as Gopi said, he obeys all Naraya, oh, Krishna, please give us mercy, something like that. But when Radhika came, she cannot be made as Narayana, because of Radhika's love. So, he has to appear as a beautiful form of, you know,

27:28like the Sri Mangalarita, this beautiful form like Mohan. So, they said Radhika, Radhika's love, and Radhika's power is so intense, Krishna cannot be made, sometimes in a frame, do the consciousness. So, Krishna knows the power and the power, do the consciousness. You know, I was just reading one book, Radhika's Mahabharata, Mohanake Mahabharata. So, if Krishna embraced other than Radhika, that is, he, Mohan remember Radhika, then fell down, then unconsciously. So, just to be remembering Radhika, and he fell down. So, this is Radhika's Mahabharata.

28:32Lalita blinks at Vishaka, so Krishna goes up to Vishaka and fears if she has the fluid on her body, or not. Thus, Krishna looks for his fluid on all the eight sages and all the manjuries, starting with Sri Rupa manjury. Thus, Krishna looks like a blue swan, relishing all the golden lotus flowers, rupees in the nectar ocean of Su Devi's gold. Raki, relita, starting. Ashita, Saki, relish the first, second, Vishaka, and so on. Manjury is Rupa manjury first, then the next one, Manjury. So, this is like Parampara. So, you know, this is from senior to say, junior. So, this is also describing in this first time.

29:40So, he will always go in the right number like this, it's the proper behave. Like, you will not mix this, right? Is that what you mean? Yes. This is like the Vaishnava attitude, behavior. So, if senior person is there and then senior person is there, they will always pass. If Parampara is there and then Parampara is there first, and then Guru is there. Then, this is the kind of behavior, even in spiritual world and this material world, both is working. There is no limit to the ecstasy. Suddenly, the vision vanishes and Shri Raghunath does praise.

30:41When you play dyes with the King of Rhasikas, Rhasikas in the Kunja, all the sakes that shine like a post, post of moons, surrounded. When can I witness that past life? You are both full of nectarian flavors. Neither one of you is inferior. Therefore, you are named Kalavati, the artful girl, and Kalavuru, the teacher of all art. So, you know, Kalavati is all kind of art, but he means Samahulhat. So, Kalavati means Samahulhat, all art, and in Brabhamsa and Hita, and this Goliath, Radhika has 64 art, and Radhika has

31:49full of these six people. And this, by the 64 art, Radhika, and Radhika serve Mohan. This is also this Kalavuru. Every art coming from Radhika, nobody teaches Radhika because Radhika is an original person. He is a mentioned guru, he is a first person, so she does not learn from others, no. But other saki and gold people, they have to learn from Radhika. That is the beauty of Radhika. You are both full of nectarian flavors. Neither one of you is inferior. Therefore, you are named Kalavati, the artful girl, and Kalavuru, the teacher of all art. When you cleverly exchange glances,

32:59speak and make gestures while you throw the dice, stupid is defeated. Maybe, this also the meaning of Radhika. We said yesterday also, I also feel that, yeah, I feel also this way, you know, Kalavati, stupid is defeated is another human on this, in Kalavati right now. And he lost the grip of his fluids, also, all of them. Was the global blue?

34:01So Shri Raghunata does sub-trace. Oh, Shri Rade, Rasa main, when you play dice with the king of Radhika in the Kunja, all of the sakis that shine like a post of moon surround you. When can I witness that pastime? New are both full of nectarian flavors. Neither one of you is inferior. Therefore, you are named Kalavati, the artful girl, and Kalavuru, the teacher of all art. This is actually now we can find out different parts of Kampagaya. It's now not in the right, what's that time for me?

35:03In the order? In the right order. And then you mix, mix. So for example, stupid is defeated in Kalavati. And then he loses his grip on the blue. First, I give you something that you desire, push, barbanaya, demon, right? This is actually a swarming breast in that cave. I give you something you desire, and then he is defeated, stupid is defeated. And then you find no end, you bliss, find no end after that. Hmm. Anu Ananga, I'm sure that you know, this is really, if we enter in that, we can feel it. How good you've explained Kampagaya.

36:04Would you listen like this? Right. A stupid is defeated by Svamanis, push, barbanaya. Yes. He never wins with Svaman, anything. He enjoyed to lose the game with Svaman. So make more happy to him. This push bar isn't a beautiful good game. Yeah. New yoga. I can't watch that. Yeah. Suppose our winners always, nobody is using just like for the Lila,

37:07it's like playing the role, oh, I'm losing. But really, they are all winners, and the Mondares, by observing. This is the Lila, this is Lila, and this is the Rasa in the Lila exchange of brain, feeling brain. This is real. All can enjoy this. Yes. And that Saki Kuddo Buzava to some extent, but Manjari Kuddo Buzava will more for everyone, because of the Shanda of Radhila. Because if you one point it, you'll get more higher, more concentrated, as if you are two point it. One point is more concentrated.

38:08Two is like it cuts in two parts, but one point is the whole game. As we can see, as soon as the vision vanishes, as we can see, as soon as the vision vanishes from Radhila does, Buzava will immediately begin to be free to take the individual again, to enter again, into the Lila. This is one point in this. Is not two point it for him, is Manjari Svaru, who is already fully developed, and he wants to be there, and he's showing us as practicing the both, is how we can get there, so that means that we have to practice in the same way as he is doing. He is the most imperfect example of how to practice Pisa Rakanin Babajan.

39:15Right, and not in that case, to enjoy the Lila. In the case to serve the Lila, it's not that he suffers because of a enjoying mood, he suffers because he feels he is needed there, his service is needed, Svaru means her service, and so this is he is suffering that, and only in the Sava, he feels that Rasa and that Prima connecting with Svaru means. And also he shows us that it is somehow a natural thing to follow the path of the meditation because we are in this marginal situation in this material body, also as practicing we want to be there, but we are also following out.

40:15And this is also the part of the encouragement that we become more greedy for them, to be there, and we never stop practicing, and we are longing for the energy. You know, like a marginal state, in two-way people, marginal state. The body of Rakanin Babajan is covering or was infused by this Baba feeding, this Baba and feeding coming from Radhika and from Radhini Shakti, then we cannot expect, we are not chanchara people, and then we can one-pointed them. So, and this is, and then if we one-pointed, very interesting is,

41:15we are in the chit Shakti, chit Shakti has two nature, giving pleasure, and to know, and also to manifest material. So, Prima-makpichandurika say 55 verse in Sardana, Pateva meditated in this Sardaka day, then we attend Pateva meditated. So therefore, this meditation is so important, and due to this meditation, we can feel all the desire, but should be this one-pointed. So, we are able to struggle really hard, and this leader, what does one-pointed mean?

42:23Why is one-pointed, giving time-sleep to time-sleep? Because time-sleep is the last possible normal event. And so, when we were in the sardras, we were— we said, we really also want to be one-pointed. So, if we were in the sardras, we would be two-pointed, before we close the lowly-eyed people to sardras, and very 100 sardras to sardras to sardras. Just lie, this will be your first to run, and we'll see you in the back seat. Then, trust me, both are yourself, this will be your first time. Then, you will be the one to run. That's your lie. So, in the last one, in a million, trust me. Then, if you're going to have to run, you'll come here with a 30-day plan.

43:26You'll have to ask more, maybe. This one, I think. Now, try to think. That's fine. When you cleverly exchange glances, speak and make gestures. While you throw the dice, Hubert is defeated. Oh, Danny, fortunate girl, you are so expert at claim that you become victorious in all respect. When you see that Vamshidara, Krishna is defeated, you'll possibly snatch his flute away. Just for some rasek fun and hand it to me.

44:31From Sri Hari Padashiya. On your indication, I blissfully hide the murari flute. And the saki's clap their hands, and they see that Hari cannot get it back, despite an elaborate search. What is elaborate? Really good, really careful. In Nibbha, expertly. The one you can search. And that kind of an expert, like moha. And all Lila and all Rasa. And now as mentioned, Murari flute. Can you explain me between Vamshidara and Murari flute?

45:37Krishna has different kind of flute. The flute on melodies. Also flute. Different flute. Sometimes long, sometimes many holes. And sometimes made by, you know, this is not only different to make. So therefore, according to time and circumstance, they use different. So I forgot this murari, but you know, you know, Bansi and Murari and Muruku. Many kinds. The murali is sweeter and more tender. The Vamsi is the regular one, ordinary. Sorry to interrupt.

46:38No, thank you. Thank you. I was waiting for your nectarine words outside of time waiting. Yes. Please share. Oh, just to say this, that sometimes he's playing more sweetly and sometimes he's. Is there a explanation, Murali is. Meaning is sweet or known? It's a smaller flute and it makes a more sweet sound. More tender, more gentle sound. Isn't it also a name of Krishna? You know, yeah, Krishna, because Krishna has a murari. So then with this name. Murari. Or sometimes say here, Murari, Dara. Or also Krishna, Dara, you know, Kira over Murari. This is good.

47:38So different to, you know, different to, I think, meaning there. So here ends the verse 80. But if we have some more feelings to share. And I will read again. Oh, David, when you defeat Hari in a dice game, you snatch away his flute. When will you throw it to me so that I can hide itself? It's also funny to see how important a flute is for the personality of God. Actually, we know he is the owner of everything. He can manifest everything. But in that Lila, we can see how important the flute is a flute to him.

48:46And even this imagined makes him that Krishna we desire to see with Swami. Because that kind of sweetness, that really the stick of bumbles. And for God, there will be no, for Rishna, there is no meaning in all his opulence. What is the meaning of bamboo flute? But here for our Krishna, this is what he is putting in from this. The most important thing he wear with him. And this is also the biggest thing he can lose in that game. Our Swami needs what is so important to her is the Rina. So we see now beautiful and like children, they are really playing the Lila.

49:57Very honestly. So there is also some, what is it? What does it mean? Refugees? Refugees? Refugees? What do I do? Is she is the star? No, I don't know this word. She is the star in football. Oh yeah, the judge. The referee in whistle. Referee. Referee. Referee. Referee. I thought what? Referee. So they have rules and regulations and they will follow them very strictly. And it's really a big meaning when he loses rules. But that makes, that is the quality of Krishna.

50:59He is so serious in that. And Krishna has a post-special authority which Narenda will not have. This one authority is Benu Madli. So another authority is Benu and Bansi and then Murari or maybe more. This is very important. So Krishna attracts Gopi or other Brajavasi through Benu or through. And this leader is kind of a bit of an opponent. Very intimate associate of Gopi or Ladika. They steal this, you know, Benu. And then this Benu Madli becomes more sweet.

52:01I feel. So this is completely this Brajavasi. And I think this happened most of the time. This is no time-pasta in Radha too. So this is just the memory in this past time. You know, whenever we go Radha, not only, you know, of course we meditate Radhika, but this also past time also happening every day. You see four qualities that makes a difference between Naya and Krishna. But I feel this four qualities. No, Radhika surpasses this four qualities because Radhika still displays. You know, means Radhika has more qualities than Krishna. Because Radhika steals a heart of more.

53:03And this past time is Radhika's generally. This past time also represents. But this I feel it. It's very nice to make this comparison. Like you both did between Narayan or Vishnu and Benindavan Krishna. Because Vishnu is everything. He is all beauty and all knowledge and all truth. But Krishna in Benindavan is something more. He is the energy of desire. And this is what the flute is. The flute symbolizes the attraction. He plays the flute and the gopis are attracted. Most important Radhika. So this flute is the flute in the soul of every Jiva. The energy of attraction, the desire for God,

54:06the desire to act in order to become closer to God. This is this playful music that Krishna is giving us with this flute. It's attracting us just like it attracts Radhika. It reveals this miraculous energy inside of us. Wanting, desiring. This is the key to bhakti. Desire. Come on. It's also very nice the way you explain the Kamagarat and Gayatri. That the flute is related to Kamadeva, the God of, with the arrow flower. Very sweet. And to meditate on how they steal this flute is even more juicy. Because actually in the end of it is the place where Krishna don't want to be gone.

55:08He don't want to be the personality of Dante. The coward boy who is playing with his friends. And he has this. The other. His girlfriend. So in this. This material house is happening only in the endowment. And everything. What is outside of the endowment. This is my counter expansion. Which he doesn't want to do anything. He's the only Krishna who is the only Krishna we might be interested in, because he is the beloved of our swamini. So for someone who is in the Madhurya, he is not very much interested in any vision for or anybody who

56:10that expansion everything what is outside of the endowment. So also in our meditation, we are meditating about the endowment. Because we want to reach follow the endowment. This is the beauty of the endowment entering into the Madhurya. And as you mentioned, the most important thing is for obtaining this is our desire. So we have to be clear what we are desiring. So that I am that I am in the middle of the meditative. And I feel most of the devotee knows Krishna for a group. So in this first time, Manjali is the center of gravity.

57:15So this is like a Venkita. This is Krishna. But in this first time, Manjali is the center of gravity. So this is like a Venkita center is Krishna. But this first time is the center of gravity. And this is the center of gravity. So this first time is the center of gravity. So this is the center of gravity. Because Shri Pat was explaining this in front of others that everything was outside of renownies, that I couldn't get the expansion, even if you go to Baraka or Matura, the Krishna

58:18of Baraka and the Krishna of Matura is a different Krishna than the Krishna of the renowning. So there is some difference there. Yes. And it's like you're saying to a moment ago, it's the difference between Krishna inside Vrindavan and outside Vrindavan is that you said it yourself that he's playful. We don't think enough about the word Lila and yet we say this word ten times every day all of us. Lila means there's no serious in it. It's just play. It's the play of the God, the God. If Krishna were dead serious, he'd have big angry gods saying, I want my lover Radhika, this would be no bhakti. It's a lightness and the sweetness and the play and that's why we talk about Lila's, it's just God playing games. Yes. And then our Manjari is tasting this

59:24Dheera Lassa and also Seba Lassa. It's all depending on the mood that we are cultivating. If we want to be in the Aishwarya Bhav and what you have similar body as Vishnu has and similar opulents, then surely we can have it. But this is not what we are doing here in Gandhavan or what is the goal of our don't give Aishnasa Radhaya, goal of our don't give Aishnasa Radhaya is the exclusive service to the lotus feet of Seba. We are waiting for it. I guess for what is desirable that is what Chikanya Mahatma, in this time when he's giving to all the following conditioned souls to come out of this circle of repeated works. And that's

1:00:31and pulling into our constitutional position in what we are meant to be. This is our chance that we have our golden opportunity given by the golden avatar. This in Dheera, we could be here, we could discuss from this Sahaja Tisanda. And some practice in this Manjari Bhav. No other, no matter where we could not hear. I never heard this kind of Dheera outside of Dheera. No, if you are too serious. How will you imagine this loving, playful feelings of that Manjari, of the Dopis, of Radha and Mohan? You have to be like this. And you have to enter in that. And if you are so serious and you're looking always

1:01:32for Tatwara and here and there is this right, you cannot enter. Again, playing, playing, that means you are totally in that game. We remember when we are playing whatever, hide and seek as a child. We are so serious in that. And it was so important. There was in that time, there was nothing important like this. Right. Right. We don't get anything. No, we don't get anything. Forget everything. And the beauty is that we are a part of it. We are a part of this is what many times we strive. When we was a child, we see in full. And now we see in parts. Because we tried to understand was the mind. But when we are a child, we are doing, we are 100% in that. So then we see in full. And we are also enjoying full. And so now we can again

1:02:42enter in that feeling. And we see in that beautiful book, how this leela is described. If we grow number, we think too many things. So many. You know, about money, what, money, you know, and identify. Oh, my good reputation. Can I play me in that game like this? I cannot hide it. No, I have a position like this. But as a child, we are entering in the leela. And so easy. Yeah, this is a good thing, you know, we should be like children, a child in a very simple heart. And well, no dignity. This is only happening as a matter of 11 years from to learn it again to be a real child. This is why Vaishnavas are always laugh a little bit.

1:03:46Like Jain Anda, Jain Anda Maharashtra was giggling a little bit. And Buddha was always smiling a little bit because it's a, it's a leela. In Northern Europe, you know, we love is so serious business. My God, she loves me. She doesn't. He loves me. He doesn't. It's like that. But in Darwin, love is only sweet and light. This is difference between leela and drama. One side is drama and this is leela. Leela is sweet and drastic and drama is, oh my God. Drama is going to go at end. But it's always a good thing. Happier. Yeah, that's true. Leela is always good, but drama is sometimes very serious. But we are creating it, no? But let's meditate. What is the meditation for today?

1:04:53Today, this is, I feel that this is the calm guy at the, in that case of Pushpavanaya, Radhika, and then when he loses the grip of the fluid, Kamadeva, and then his bliss, he can feel when he, expertly, what is it? This pipe, this pipe, and elaborate search. And Radhika gives the start for the Ananga, when she gives the direction to start with Lalita, who was the, so first, fluid losing because of the Pushpavanaya of

1:05:54her breast, and then Ananga by searching everywhere as the expert. That's what I feel, made a beautiful meditation, and we can remember this all of