Category Archives: Visnu’s Avataras

Krsna

Krsna (Birth and Childhood)


According to his mythology, Krsna first appeared on this earth 5000 years ago (Bhaktivedanta xii) and was considered to be an incarnation (avatara) of the Vedic god Visnu (Preciado-Solis 1). There are a number of ancient Hindu texts which are important sources for the mythology of Krsna, including the Harivamsa and the Puranas. In the Harivamsa, Krsna is portrayed to the greatest extent in heroic human colors as opposed to the Visnu and Bhagavata Puranas which places emphasis on his divinity (Sheth 43). At the request of Brahma, as described in the Harivamsa, the great god Visnu attends an assembly of the gods where he is informed that the demon Kalanemin was born again into the human form of the wicked King Kamsa, who is harassing people on earth. According to this myth, Kalanemin could only be destroyed by Visnu as the demon fears only him (Sheth 7). Deciding to kill Kamsa, Visnu disguises himself with his yogic power and descends into the house of Vasudeva (a former sage born again as a cowherd) and his two wives Devaki and Rohini (Sheth 8). There are slight variations between the Harivamsa and the Visnu and Bhagavata Puranas regarding the knowledge Kamsa receives from the sage Narada, but both agree that the evil king knows he will be killed by the eighth child of Devaki, his father’s sister. In some versions Kamsa is informed the eighth child will be an incarnation of Visnu. In others, Kamsa already considers every child born of Devaki to be Visnu (Sheth 43). Since Kamsa plots to kill every child Devaki bears, Visnu made Devaki’s first six born be the reborn demon sons of Kalanemin. The Harivamsa tells how Devaki’s seventh child was extracted from her womb by the goddess Nidra, and transposed into the womb of Rohini. The seventh child born was called Sankarsana (Balarama), the brother and companion of Krsna in his future heroic exploits (Sheth 8).

Born as the eighth child of Devaki, Visnu is immediately interchanged at birth by Vasudeva with Nanda and Yasoda’s (husband and wife who herded Kamsa’s cattle [Sheth 8]) daughter who had been born at the same moment (Preciado-Solis 103). According to Vaisnava devotees, at that instant, there was in all directions an atmosphere of prosperity and peace as the planetary systems automatically adjusted for the auspicious birth of Krsna (Bhaktivedanta 23). The Puranas also describe the arduous journey of Vasudeva across the river (Jumna/Yamuna) to save his new baby from being destroyed by Kamsa, who had killed several of his other children. Leaving the prison where he and Devaki had been confined by the wicked king, Vasudeva placed the baby Krsna into a winnowing basket (supa), which he then carried on his head, and descended into the flooding river to cross to the opposite bank. The great snake deity Sesa is said to have traveled in front, driving away the heavy water with his many hoods. The Bhagavata Purana explains that Vasudeva crossed the river safely and reached the village of Gokula (Preciado-Solis 103). Once the babies are divinely interchanged, in the Harivamsa account, Kamsa then notices the baby girl beside Devaki and smashes her head against a stone. The daughter of Yasoda was actually a goddess, who rose up into the sky and took her divine form, terrifying Kamsa, and leading him to believe she is the one who will take his life. Oblivious to the exchange of baby Krsna, Nanda and Yasoda regard him as their own son and Krsna is raised as a humble cowherd (Sheth 8-9).

Another discrepancy between the Harivamsa and the Puranas is whether or not Vasudeva and Devaki are ignorant of Krsna’s divinity. In the Harivamsa, Krsna’s parents have no vision of his divine form, whereas in the Puranas they are blessed with such a vision. Krsna is then praised as the almighty Visnu, but out of a relentless fear of Kamsa, Vasudeva and Devaki request their son to withdraw from his celestial form. With the greatest emphasis placed on his divinity, the Puranic texts make Krsna’s identity as Visnu recognized by even King Kamsa (Sheth 44-45).

Certain textual variants portray Yasoda’s daughter as the goddess Nidra (Sheth 8), Durga (Bhaktivedanta 32), or Katyayani (Preciado-Solis 55). In one account, when the goddess Katyayani rose up into the sky she announced to Kamsa that he killed Devaki’s first six sons in vain as his real killer had already been born and was safe (Preciado-Solis 55). The terrified Kamsa, now aware that his evil plot had been a failure, began to plot once again the murder of Krsna and summoned his demonic allies to destroy the child at any cost (Preciado-Solis 55-56).

The first demon to attempt to kill baby Krsna was by the bird-demoness Putana, similarly depicted in both the Puranas and the Harivamsa. According to the majority of scriptures, Putana disguised herself as a beautiful woman and entered the house of mother Yasoda in the middle of the night (Bhaktivedanta 43-44). The demoness took baby Krsna onto her lap and pushed her poisonous nipple into his mouth for him to suckle. Putana was immediately killed as Krsna sucked the milk-poison, as well the life air, from her (Bhaktivedanta 45).

Referred to as the Miraculous Child by his followers, Krsna killed many more monsters while he was a mere child (Preciado-Solis 67). The Bhagavata Purana describes an episode in which Yasoda leaves baby Krsna, just a month old, sleeping under a cart while she journeys to the river. Left feeling thirsty and hungry, the child began crying, thrashing his arms and kicking the cart with such force it tipped over and broke numerous pots and pans. The Purana accounts explain that there was a supernatural being involved. Specifically in the Balacarita (an ancient Hindu text), the supernatural being is a demon called Sakata, who had taken the form of the cart and had been crushed with a single kick (Preciado-Solis 67-68).

A second episode of Krsna’s childhood is described as the Yamalarjuna incident. There are numerous depictions of the episode; however all variations agree that it was due to a number of pranks by Krsna which lead Yasoda to tie him to a mortar (Preciado-Solis 69). This was an attempt to keep him from wandering, but with his power, the young Krsna uprooted two trees known as yamala arjuna (Bhaktivedanta 177) by hauling the mortar in between them (Sheth 11). The texts either depict this incident as an account of a young boy’s extraordinary strength or as a marvel achieved by a young god. Krsna’s most devoted followers perceive the two trees as supernatural beings, specifically the demons Yamala and Arjuna (Preciado-Solis 69).

In another myth told in the Harivamsa, one day while playing with Sankarsana, Krsna came across the river Yamuna. The waters and the surrounding area were polluted by venom from the powerful serpent-king Kaliya. In order to render the water pure for the use of cowherds, Krsna decided to subdue the five-hooded monster. When he jumped into the lake, Krsna was immediately engulfed by the serpent’s hoods, which strove to render him immobile. An angry Sankarsana shouted advice to his brother Krsna to restrain Kaliya. The young god snatched a hold of the serpent’s middle hood, danced upon it and thus subdued the evil monster. Kaliya was then expelled to the ocean and the waters of Yamuna were purified (Sheth 11-13).

Before his childhood comes to an end, Krsna is depicted as vanquishing many other demons. Krsna ripped apart the beaks of the demon Bakasura and threw the evil Vatsasura into a tree (Bhaktivedanta 177-178). The demon Arista, taking the form of a bull, was killed by Krsna with the beast’s own left horn. Also, the carnivorous horse-demon Kesin could not escape being slain (Sheth 14-15).

During the latter part of Krsna’s childhood, the Harivamsa tells how King Kamsa was informed by the sage Narada that Vasudeva had interchanged Yasoda’s and Devaki’s babies at birth. Learning of Krsna’s valiant deeds, Kamsa suspects his divinity and fears that Krsna is the one who will destroy him. Fabricating another plot to murder Krsna, Kamsa ordered Nanda and his family to Mathura to participate in a bow-festival. Upon entering the arena, Krsna slew a charging elephant and, unable to resist a challenge, slew two formidable wrestlers, Canura and Tosala. Furious from seeing these victories and the cheering audience, Kamsa ordered Krsna and Sankarsana to be banished. He also ordered Nanda to be chained, Vasudeva to be murdered, and the entirety of the cowherd’s wealth to be seized (Sheth 17). Hearing Kamsa speak in such a way, Krsna leaped over the high guards and seized the evil king with great force. The crown was knocked off Kamsa’s head and he was dragged from his throne into the wrestling arena. Straddling his chest, Krsna began to strike Kamsa repeatedly and the evil king was finally slain (Bhaktivedanta 277-278).

REFERENCES AND FURTHER RECOMMENDED READING

Bhaktivedanta, A.C. (1970) Krsna: The Supreme Personality of Godhead. Massachusetts:

Iskcon Press.

Bimanbehari, Majumdar (1969) Krsna in History and Legend. Calcutta: University of Calcutta.

Hardy, Friedhelm (1983) Viraha-bhakti: The Early History of Krsna Devotion. Delhi: Oxford.

Kinsley, David (1979) The Divine Player: A Study of Krsna. Delhi: Motilal Banarsidass.

Preciado-Solis, Benjamin (1984) The Krsna Cycle in the Puranas. New Delhi: Narendra Prakash

Jain.

Redington, James (1983) Vallabhacarya on the Love Games of Krsna. Delhi: Motilal

Banarsidass.

Sheth, Noel (1984) The Divinity of Krishna. New Delhi: Munshiram Manoharlal Publishers Pvt.

Ltd.

Sullivan, Bruce (1999) Seer of the Fifth Veda: Krsna Dvaipayana Vyasa in the Mahabharata.

Delhi: Motilal Banarsidass.

Related Topics for Further Investigation

Balarama

Kamsa

Devaki

Visnu

Narayana

Hare Krsna

Bhagavad Gita

Hindu deities

Mahabharata

Harivamsa

Visnu Purana

Bhagavata Purana

Noteworthy Websites Related to the Topic

http://en.wikipedia.org/wiki/Krishna

http://www.harekrsna.com/

http://vedabase.net/k/krsna

http://www.geocities.com/jayakesava2001/

http://www.krsna.org/

http://www.sanatan.org/en/campaigns/KJ/birth.htm

http://www.avatara.org/krishna/lila.html

http://krsnabook.com/ch3.html

Article written by: Shelley Baker (March 2008) who is solely responsible for its content.

Hindu Festivals, Rama

Ramlilas

The city of Banaras is considered to be the holiest city in the Hindu tradition. Millions of people make pilgrimages to the holy city every year in hopes of fulfilling their spiritual desires. The religious importance of the city is not only recognized by the people of India but also by scholars, anthropologists, sociologists and the likes from all over the world. Many come to study the city while others come to bask in its spiritual and cultural offerings (Kapur 209). The city itself is actually considered by believers to be the dwelling place of all Hindu deities (Hertel and Humes 1). For pious Hindus this grants enormous importance to many of the city’s major festivals. It can be said that Banaras is most proclaimed for its festivals and traditions, one of the most notable of which is the Ramnagar Ramlila. The Ramlila at Ramnagar is an event that takes place every year and is the celebrated victory of Ram over Ravana, from the epic Ramayana.

There are many Ramlilas in Banaras. Ramlilas (play) are a way in which a Hindu tales are recreated for audiences in the city. The during the Ramila season there can be up to sixty neighbourhoods that participate by hosting the play on their block (Parkhill 104). The importance of these plays is immense because it sets out to recreate the “epic story of Lord Rama” (Eck 269). Rama is a highly regarded figure in Hinduism. He is considered to be the reincarnation of the deity Visnu. Visnu is one of the highly regarded deities and is widely worshipped across Hindi speaking northern India. This makes the Ramlilas an important and integral element of the city. Many of the roles in the Ramlilas are played by children (specifically boys). This also has an underlying spiritual connection because when the children are playing the role of Rama, or his wife Sita or Hanuman his devotee [For more information on Hindu deities, see Hertel (1998)], they are said to become temporary residence for the deities, during the presentation of the Ramlila (Parkhill 104). During this time there are many pilgrims who also come to the city hoping for a chance to view a Ramlila. Their visits add to the reputation of Banaras as a site of pilgrimage, which already attracts many because of its large number of deities and their temples.

The grandest Ramlila is the one that takes place at Ramnagar. It is a thirty one day theatrical event that attracts hundreds of people from all across the country (Schechner 20). The immensity of this Ramlila is greater than any other in terms of the crowds is attracts and its longevity. Despite its popularity the Ramlila is not strictly meant for entertainment purposes, as we in the west might go and see a theatrical event. It has significant spiritual importance that is not compromised, because all Ramlilas especially those of Ramnagar are “celebratory performances tracing the footsteps of Vishnu” (Schechner 20). The Ramlilas typically enact how Rama suffered when Ravana the demon kidnapped his wife Sita and took her away in hopes of wooing her into marriage. The Ramlilas use ritual and drama to demonstrate how Rama rid the world of Ravana and finally returned to Ayodhya [The city or kingdom to which Ram returns after his victory. See Schechner (1998) for more information] in triumphant victory (Schechner 41). The significance of the story and victory is displayed not only by its performers but also by the spectators who take part in their own rituals that they deem an important part of the Ramlilas. For example, some spectators will not walk on the ground where the Ramlilas are being held in their shoes, because they consider those sites to be like temples, and one would not walk into a temple with shoes on (Schechner 32). The Ramlilas therefore are not merely plays put on by the town people simply for entertainment. They have a strong religious significance for most Hindus. Particularly because Rama, who is regarded as an incarnation of Visnu, is held in high regard. As one scholar remarked, the Ramlilas are “carefully crafted enactments of a narrative transmitting information and values concerning sacred history and geography, social hierarchy, ethics and the personalities of god, heroes, and demons” (Schechner 22).

The epic story and the Ramlilas are significant because of their importance in the Hindu tradition. However they have also been significant in the shaping of Indian life and culture. The Ramnagar Ramlila has been shaped by many years of influence from the Maharajas [Maharajas were the ruling royalty in India until its Independence in 1947; they still exist but have no ruling power. See Schechner (1998)] of Banaras who gathered scholars, poets and theatre practitioners and guided the Ramlila (Schechner 24). The first of these was Maharaja Balwant Singh who ruled in the seventeenth century. Later on Maharaja Ishavari Prasad Narain Singh who ruled in the eighteenth century also played a significant role (Schechner 24). The present Maharaja of Banaras has had no political power in India since its independence in 1947. However he is highly active in his role and participation in the Ramnagar Ramlila because it has been such a tradition for previous kings that his royal identity is now dependent on his involvement in the festival drama (Schechner 37).

Since the kings’ roles in the Ramlila have evolved, it raises the question of how the Ramlila itself has evolved through the ages? Of course the text from which the Ramlilas’ performance is derived has been mostly unchanged for centuries. However, there are some significant changes that have occurred in India culturally and structurally. For one, the power and grandeur of the Maharaja has declined which has led to far less glamorous shows, with only half the materials once used in previous Ramlilas (Schechner 51). There are also some more obvious changes that have occurred as well. The most significant of these is the growth in population of India. This has limited the theatre space available for the Ramnagar Ramlila; in an area where there were once trees and grass, there are now vast amounts of housing and people. Another shift has been in some of the innovative advances that have been introduced in staging the drama. Circumstances now allow production officials to use electrical lighting and other technical innovations (Parkhill 108). However, this creates a spilt between those who want to keep the Ramlila traditional and those interested in using modern innovations. The issue is emotionally charged; many consider the innovations improvements while others see them as tools for corruption (Parkhill 111). Still some feel that the message and value is in the rituals and practice themselves and not the aesthetics of the presentation.

Even with such changes over the centuries in the Ramnagar Ramlila, the sheer magnitude and importance it enjoys today has still not diminished. The story of Rama and Sita is one that has been told for centuries by Brahmins [Brahmins are the priestly caste in Hindu society. See Parkhill (1998)], scholars, and parents to children and will certainly continue. The Ramnagar Ramlila is an event that can only grow in stature. No matter what elements are introduced to enhance its performance the ritual enactments will continue as they have for centuries. As one scholar notes the “Ramlila is not reducible to single meanings or experiences” (Schechner 48). Rather it is an event that can offer something to everybody, from the performers to spectators and even the poor of the city who benefit from offerings by the Maharaja.

REFERENCES

Eck, D. L (1982) Banaras the City of Lights. Princeton: Princeton University Press.

Hertel, R. Bradley., and Humes, Ann Cynthia (eds.) (1998) Introduction. Albany: State University of New York Press.

Kapur, Anuranha (1990) Actors, Pilgrims, Kins and Gods: The Ramlila at Ramnagar. Calcutta: Seagull Books.

Parkhill, Thomas (1998) Whats Taking Place: Neighborhood Ramlilas in Banaras. Eds. Bradley R. Hertel and Cynthia Ann Humes. Albany: State University of New York Press.

Schechner, Richard (1998) Crossing the Water: Pilgrimage, Movement, and Environmental Scenography of the Ramlila of Ramnagar. Eds. Bradley R. Hertel and Cynthia Ann Humes. Albany: State University of New York Press.

Related Topics

Gods and Goddess:

Sita

Rama

Vishnu

Ravana

Hanuman

Devi

Krsna

Ganesa

Surya

Texts:

Ramayana

The Vedas

The Bhagavad-Gita

Upanishads

Mahabharata

Rg Vedas

Dharma Sastras

Dharma Sutras

Manu

The Aranyakas

Related Websites

http://www.gkindia.com/worldreligions/hindusm.htm

http://www.stthomasu.ca/~parkhill/lila.htm

http://www.unesco.org/culture/intangible-heritage/16apa_uk.htm

http://www.up-tourism.com/fair/ramlila.htm

http://www.sacredsites.com/asia/india/banaras.html

http://www.4to40.com/discoverindia/places/index.asp?article=discoverindia_places_banaras

Written by Osman Shah (Spring 2006), who is solely responsible for its content.