Theatre and Religion on Krishna’s Stage: Performing in by David V. Mason (auth.)

By David V. Mason (auth.)

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27 The contemporary doctrine of Krishna devotion in Vrindavan, and in many other parts of India, emphasizes the identification of divine bliss with the divine personage, such that the presence of one is the presence of the other. Margaret Case, in her history of Purushottam Goswami, the Vrindavan Brahman who presides in part over Radharaman Temple, and whose following of devotees stretches from Rajasthan to Orissa, makes clear the significance of bliss in Vaishnava teaching. Describing the substance of the Theatre Is God 37 many sermons she has heard Purushottam Goswami (to whom she always refers as Maharaj-ji) deliver, Case writes: The individual atma, he says, is a small part of Paramatma, the eternal Soul of the universe.

She was seized with terror. . 32 Theatre and Religion on Krishna’s Stage 43. The Omnipotent Supreme Lord cast over the Gopa-lady who had thus realized the truth, his deluding Vaisnava (divine) charm which filled her with maternal affection for (her) son. 44. Instantly the Gopa-lady lost her memory (regarding the real nature of the Lord). She placed her son on her lap. 14 Arjuna and Yashoda both experience what lies behind the physical Krishna facade, and it is more than their mortal senses can bear.

Back to earth. But because their minds were so attached to Krishna, it wasn’t but a few seconds before he was present again in their thoughts; and so clearly could they see him there that they began to feel like him. Hey, look at me, said one, I’m Krishna—look how I’m walking! You can imagine where this went. Pretty soon all the gopis were acting Krishna’s part in one story or another. One girl played at kicking over a cart, another crawled on the ground like a baby. One of the girls danced on the head of another, like Krishna dancing on the serpent king’s head.

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