Hare Krsna,
Para bhakti or pure bhakti (supreme devotion) means bhakti which follows in the wake of the gopis of Vraja (ramya kacid-upasana vrajavadhu-vargena ya kalpita). This lesson on Venu-Gīta (song of the flute of Krsna) shows us the art of thinking, feeling, and willing in the mood of the gopis for Krsna. The activities and mood of the gopis in this pastime epitomizes the activities of devotees filled with prema for the Lord.
Thinking: The Vraja gopis are showing us how to always think or meditate on Krsna. Their mood is the mood of separation. We have learned that one should meditate on the name, form, qualities, pastimes, abode of the Lord. The gopis are doing all of these things at the same time. They are meditating on Krsna beautiful form dressed as the best of dancers. They visualize Krsna wearing a peacock-feather upon His head, blue karṇikāra flowers on His ears, a yellow garment as brilliant as gold, and the Vaijayantī garland. They are meditating on how Krsna fills the holes of His flute with the nectar of His lips. They are meditating on the Krsna’s cowherd friends (how they are singing His glories); on the beautiful land of Vrindavan (including the animals, trees and creepers, lakes, mountains, bumble bees, the autumn season). In this way the gopis are teaching us how to attain the perfection of samadhi (trance) – constant remembrance of Krsna.
“Persons who are constantly engaged in the transcendental meditation of seeing Kṛṣṇa, internally and externally, by thinking of Him playing the flute and entering the Vṛndāvana forest, have really attained the perfection of samādhi. Samādhi (trance) means absorption of all the activities of the senses on a particular object, and the gopīs indicate that the pastimes of Kṛṣṇa are the perfection of all meditation and samādhi. It is also confirmed in the Bhagavad-gītā that anyone who is always absorbed in the thought of Kṛṣṇa is the topmost of all yogīs.” (Krsna book, Chapter 21)
Feeling: As Krsna enters the forest of Vrndavana with Balarama, cowherd friends, and their cows, and Krsna is playing the flute, the gopis are feeling separation from Him due to staying back at the village. When they heard the song of Kṛṣṇa’s flute, which arouses the influence of Cupid, some of them privately began describing Kṛṣṇa’s qualities to their intimate friends.
“Hearing Kṛṣṇa’s flute song, the gopis began describing indirectly to their friends about Kṛṣṇa entering the forest. The word paroksa (indirectly) is used because the gopis were located far away from Kṛṣṇa in the village of Vraja.” (Srila Visvanatha Cakravarti Thakura commentary on Text 3)
Willing: Due to intense separation from Krsna, the Vraja gopis are praising the good fortune of Krsna’s flute and wishing how rather they deserve to have the good fortune that the flute is manifesting, who they think is totally undeserving (being dull, lifeless and unqualified and, moreover, a male). They are willing how their beautiful eyes should realize its purpose by seeing the most wonderful thing there is to see, Kṛṣṇa. Their desire to see Krsna (or even to receive His side-long glance) is so strong that they are willing to abandon all family tradition, shyness and self-control. They desire to see, touch, hear and smell Kṛṣṇa. Due to Krsna surrounded by Balarama and Their friends, the gopis are willing to get a glimpse of Krsna stealthily peering through the leaves of the creepers.
“Another gopi said, “O sakhis! We intensely desire to relish Kṛṣṇa’s dancing, singing and flute playing, and to see all those beasts, deer, doves and birds assembled on the hill slopes, who have become stunned in bliss.” (Srila Visvanatha Cakravarti Thakura commentary on Text 10)
Even Srila Visvanatha Cakravarti Thakura expresses that his only goal in life is the Vraja-gopis, who, being attracted by the nectar shower from Kṛṣṇa’s flute ran out of their houses, and whose sweet words repeated here enable us to relish that nectar too. (Srila Visvanatha Cakravarti Thakura commentary on Text 7)
In this way, the supreme Vraja gopis are teaching us how to engage our senses, mind and heart in always remembering Krsna.
In case we feel unqualified to attain the mood and pure bhakti of the gopis, we can take inspiration from Krsna’s flute. Like the flute, I may be dull, lifeless and unqualified for pure devotional service. However by the sound vibration of the Holy Name that exudes from my mouth and enters the ears, minds and heart where Krsna resides, I pray that Krsna will cast His sidelong glance on me and make me as successful as He did with the flute.
“ Then, considering the flute to be dull, lifeless and unqualified for such work, the vibration exudes from its holes and enters the ears and minds of the Vraja-gopis. The implication is that the flute vibration makes itself successful in accomplishing its purpose of fully exhibiting its powers by conquering the Vraja-gopis with Cupid.” (Srila Visvanatha Cakravarti Thakura commentary on Text 6)
Thus, this first part of the Venu-gita is a magnificent portrayal of Vraja gopis’ prema, humility, separation from Krsna, appreciation of Vrindavana and everything related to it (animals, trees, water, season, etc.) and a divine lesson for us sadhakas to imbibe and follow. Especially for those devotees who aspire to follow in their footsteps and attain the platform of raganuga-bhakti.
All glories to Srila Prabhupada!
Krsna Katha 