CHAPTER - FIVE

The Place o f Radha in the Puranie Literature

The puranas dominate the religious world of India in post-Vedie

period. No other religious text except probably the tantras has exerted
such an over-whelming influence in the Indian minds as the puranie
literature. The puranas have bequeathed to the Indian tradition, the concept
of innumerable gods and goddesses including Durga, Siva, LaksmT, Kali
and the appropriate method of worshipping the gods goddesses. The puranas
have elaborately discussed the meritorious results of such worships. We
gather from these religious works the knowledge of many comparatively
minor gods and goddesses also. Goddess Laksmt has appeared in

the

Visnupurana as the consort of Lord Visnu. The Visnupurana, the

Kurmapurana and m any other purana texts also discuss the concept
o f Sakti. Though Sakti is the inherent pow er o f a god, she has
been described invariably as an independent goddess.
Like Laksmt, Durga, Saraswati, Savitrl etc, Radha also appears
as one of the puranie characters, though she has been confined to a feu
selective puranas only. The name of Radha does not appear in the three
major puranas, viz. the Bhagavatapurana, the Visnupurana and the
Kurmapurana. Scholars are conversant with the Krsna-GopI legend of the

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Bhagatapurana, in which the maidens o f Vrndavana enter into the amorous
rasa-play (rasa-kiida) with the Lord. It is said in this context that Krsna
showed special favour to one maiden whose name is not found in the purana.
In the Visnupurana, there is also a reference to three-fold sakti o f the Lord,
namely, HladinI, SandhinT and Samvid. Radha, however, flourishes in the
Matsyapurana, the Padmapurana, the Vayupurana, the Varhapurana. the
Adipurana, the NaradFyamahapurana, the DevFbhagavata, the Mahabhagavata
and the Brahmavaivartapurana. It may be noted here that Radha remains
confined in a few selective puranas comparatively o f later period. Though
the Radha-legend occupies only a limited space in the puranic texts, the
character o f Radha exhibits an excellent blending o f philosophy and religion
o f great significance. Radha has been able to evoke a deep esteem and devotion
in the minds o f the Vaisnava-worshippers.
We have already said that R adha's name does not appear in the
Bhagavatapurana. However, there is a significant remark about the most
privileged and favoured maiden in the rasa-krida chapter o f the Book.1 There
is a scope o f interpreting the relevant verse in favour o f Radha. In fact, the
very word Radha is significant. It may be explained as ' radhyate va sa radha.'
or 'aradhyate harih anaya.'
The meeting place o f Radha and Krsna has been invariably described
as Vrndavana. The bank o f the river Kalindl or Yamuna is the ground where
the two lovers were engaged in loves revelry. The Bhagavatapurana describes

134
tiie departure o f Krsna from his paternal abode Mathura. He founded a new
city o f Dvaraka in the heart o f the ocean and permanently resided there. He
soon became a householder and married RukminI, Satyabhama and JambavatT.
It is a heart-rending affair that Krsna abandoned his m ost beloved woman o f
Vm davana and started a new life. These ladies o f V m dlvana (Gopis) were
totally forgotten. I f there was a Radha as described by some puranass, she
was equally abandoned and left to her fate.
The Matsyapurana attributes a new significance to Radha. The Satl
legend o f the purana is very popular in the Indian tradition. It is said that Safi,
the daughter o f Daksa-Prajapati was m arried to Siva. On one occasion, Safi
felt insulted by the behaviour o f her father who ignored and belittled Lord
1r

Siva. Safi committed suicide and Siva earned her body throughout the universe.
Visnu severed the body o f Safi into pieces w ith his disc, the Sudarsana-cakra.
According to tradition, fifty one pithas or holy places were created from her
body, falling in different parts o f the Universe. The names o f Siva and goddess
Safi ruling in these holy places are differently known in the religious world.
Now, in the Matsyapurana, it has been said that the goddess will appear in
one hundred and eight tlrthas o f India under different names. It has been
stated in this context that she will be known as RukminI in Dvaravafi or
Dvaraka, Radha in Vm davana and DevakI in M athura.

Now, it appears

from this description that there is only one Goddess or Sakti in the universe
who is variously known in various places o f the world. Thus, the Matsyapurana

135

upholds the doctrine of Sakti on the one hand and tries to establish the fact
that RukminI and Radha are virtually one. In the literary sources, like the
VenTsarhhara 3 of Bhattanarayana and Chandomanjarl of Gatigadasa."
Radha appears merely as a lover of this world without any superhuman
attribute. But in the Matsyapurana, she ascends the exalted position of a
Goddess. Radha's name is intimately related to the Indian religion. One of
the important features of the puranas is that it acquaints the devotee with
different religious places of India which are lying scattered over mountains
and plains. A holy bath in a sacred kunda (pool of sacred water) dispels sms
of the devotees. The Varahapurana, which is also a Vaisnava purana, describes
the Radha-kunda of Vrndavana :
radhakundamiti khyatarh sarvvapapaharam subham
aristaradhakundabhyam snanat phalamavapnuyat
rajsUyas vamedhanarh natra karyya vicarana /
gohatya brahmahatyayah papam ksipram vinasvati
It is also clear from the relevant passage of the Varahapurana that a
holy dip in the Radha-kunda is essential for a sinner committing grave crimes.
It goes without saying that a non-sinner devotee attains great religious merit
by taking a bath in this kunda. The religious importance of the Radha-kunda
has been praised by the passage of the Padmapurana also, viz.
yatha radha priya visnostasyah kundam priyarh tatha
sarvvagopisu saivaika visnoratyantavallabha // 6
Thus, it has been observed in this purana that Radha no more remains

136

a betrayed and deserted lover of the Venisamhara, but she assumes the status
of a goddess whose RMha-kunda has become a source of meritorious results
It has also been narrated in the Naradlyamahapurana that Goloka is
the Divine-abode of Lord Krsna, where He lives happily in the company of
Radha and all the Gopas and Gopls. As He has been requested by Brahma to
rescue the world, He would appear on this earth as the saviour of the world
from the tortures of the Asuras. At that time, he would perform a beautiful
rasa-krida with Radha and other maidens in Vrndavana. Radha, the daughter
of Vrkabhanu, would be enraged on discovering SridamaT the friend of Hari
at the residence of Viraja and cursed him. He would also curse her that she
would also flourish on this human world. Hari would also appear on the earth
as Vasudeva. At the request of Brahma, to save the earth from the tortures of
the Asuras, Hari would appear on this earth in the family of Yadus in the
house of Vasudeva, but out of fear of Kamsa, the asura, he would go to the
house of Nanda . 7 The Radha-Krsna legend presented by the Naradfyamahapurana also corroborates those found in other puranas
Thus, in this purana also, Radha is elevated to the status of a divine
figure who is free from bondage of birth and death; but she appears on the
earth at her sweet will and also according to the demand of the situation.
Radha gradually establishes herself as a great Goddess' in the Vaisnava
religion. In the later puranas like the Bhavisyapurana, the Padmapurana and

137
the Brahmavaivartapurana, the Radhastamivrata emerges, to our view, as a
new religious phenomenon. In the Radhastam ivrata, narrated in the
Bhavisyapurana, there is an elaborate discussion on the modes of observing

this vow. In the pranama-mantra of Radha, this goddess has been eulogised
as Rasesvarf, central figure in the rasa-krida, svamakundalamandita and
haripriya (the beloved of Krsna). It may be mentioned here that Krsna has

been eulogised in the Vayupuranaas radhavilasarasikam krsnakhyampurusam

parani*

In the R adhastam ivrata, the goddess has been described as

sarw alaksm im ayi d evip a m cicchaktimpinl. In other words, she is the Para-

sakti, Supreme Power of Lord Krsna. She is the symbol of Consciousness

(cit-sakti). It reminds us of a passage of the Durgasaptasad in which gods

have seen the glory of Durga as :

y a d e vl sarw abhutesu cetanetyabhidhlyate /
namastasyai namastasyai namastasyai nam o namah / / 9

In the Radhastamivrata, described in the Bhavisyapurana, Krsna

tells Narada that by reciting the names o f Krsna and Radha, a great merit
is acquired, He says
vina radha prasadena matprasado na jayate /
preyasiyam yathS radha tadbhakto m e tatha priyah / /
krsneti dvyaksaram nama radhaya saha y o vadet /
ahutasamplavam y S va t vasami tatra narada / /
mannamalaksajapena yatphalam labhate narah /
tatphalam samavapnotiradha-krsneti k irta n a t//

138

na tapobhima pujabhima danena japaistatha /

radhoccaranamatrena pntirm e jayate tatha / / '

Like the Matsyapurana, the Padmapurana also tells us that Radii a

assumes the forms of RukminT in DvaravatT, DevakT in Mathura, Sita in
Candrakuta, whereas she is known as Radha in Vrndavana." Thus, this purana
also upholds the doctrine of Sakti with the endeavour to establish the fact that
Radha and RukminT are actually One.
The Padmapurana attributes a philosophical significance to the charactei
of Radha. In the patala-khanda of this purana, the Radha-Krsna legend har
been presented with a philosophical touch. The Padmapurana describes
Radha or Radhika in the following manner :
vahirarigaih prapancasya svarhsairmayadisaktibhih
antarangaistatha nityarh vibhOtaistaiscidadihhih
gopanaducyate gopTradhika krsnavallabha /
dcvf krsnam ayf prokta radhika paradevata /
sarva-Iaksmisvarupa sa krsnahladasvarupini / /
tatah sa procyate vipra hladinlti m anisibhih
tatkalakotikotyarhsa durgadya strigunatmikah /

i:

Most of these verses have been quoted by us in earlier context, f

shows that the word gopT does not convey the conventional popular meanint.
of cowherd lady.' But it has a different significance. It is clear from the
above verses, that Radha protects or conceals the external world with her
manifold Powers like Maya, consciousness, etc. The speciality of Vedanta
Maya is that it possesses the powers, namely avaranl sakti and the vikscpani

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sakti. Radha, like Durga is not only a representive o f Vedantic Maya, but she
possesses also consciousness. It is a difficult philosophical concept. But the
etymology o f the word g o p lis derived from gopana or raksana (protection).
According to the verse, devikrsnamaylprokta radhika para-devata, it is clear
to us that Radhika or Radha is the Supreme Deity' who is non-different
from Lord Krsna. In other words, she is the Supreme Power o f the Lord. We
have shown that Lord Visnu possesses three distinct powers, viz- Hladini.
Sandhini and Samvid. In the verses quoted above from the Padmapurana, we
find that Radha is the Hladini Sakti o f Lord Krsna as already described by us
( tatah sa procyate vipra hladinlti mamsibhih' etc).

We do not find any

appropriate interpretation o f the Hladini Sakti in the purani ic texts quoted by

us. It simply suggests the Blissful character' (anandamayatva) o f the Supreme
Person, Krsna, the embodiment o f Brahman. However, Krsnadasa Kaviraja
Goswami interprets the terms HlandinI, Sandhini and Samvid adequately in
the A di-lila section o f the Caitanyacaritamrta which we have already
discussed.

He defines Hladini as anandarhse hladini According to Krsnadasa

Kaviraja Goswami 'hladini karay krsne ananda asvadana. It means that Krsna,
the Divine Musician, who attracts the creation o f the entire universe through
the melody o f his Divine Flute and gives Supreme Delight to them is practically
possible for Him due to the presence o f Hladini-sakti in Him.
The Padmapurana, rightly describes Lord Krsna and his Sakti Radha as
non-different from each other. It says :

140
sa tu saksanmahalaksmi krsna na^yanah prabhuh /
naitayorvidyate bhedab svalpoapi munisattamah / / 14

In fact, we have already said in earlier context that, Sakti and Saktiman
or the Divine Power and its locus are inseparably related to each other.
Thus, we find that according to the Padmapurana, Radha is merely a different
appearance of the Lord.
In this purana, a significant philosophical doctrine has been propagated
according to which goddess Durga, Visnu, Rudra, Krsna, India, SacI, Savitri,
Brahma and Yama are merely different manifestations of the same Goddess
Radhika. It reminds us of a philosophical passage of the Rgveda :
ekam sad v ip ra b a h u d h a vadantyagnim yam am
matarisvanamahu /16

In the DurgSsaptasati also, the goddess while replying the demon

Sumbha, speaks in a similar manner about H erself:
ekaivSham jagatyatra dviffya ka mamSparM /
pasyaita dusta m ayyeva visantyo madvibbutayab I I

17

The Goddess appropriately uses the term vibhuti in this verse which
refers to her creative Power ( vibhuti). In the DurgSsaptasati gods sing the
glory of Candika in the following manner :
yasyab prabhavamatulam bhagavanananto
brahma harasca nabi vaktumaiam valamca /
sa candikSkbilajagatpanpalanaya
nassya casubbabbayasya m atim karotu IIn

In this poem, all the great gods of the Indian religion like Brahma,

141

Visnu, Rudra are described as playing only a subordinate role to that of the
!

Supreme Goddess. But in the Padmapurana Radhika is described as :

iyam durga hari rudrah krsna sakra iyam sacJ /
Thus, this puranic work offers a superior position to Radhika to
that of the goddess Candika. In this Purana, the author declares in a very
strong term that other goddesses like Durga are merely the minutest
fraction of Radhika.
It appears from the passage of the PadmapurSna that the devotees of
Radha have tried to establish her as the dominating Power of the universe
which overshadows other almighty goddesses.
We, further, read in the Padmapurana that this Universe composed of
animate and inanimate objects is merely a manifestation of Radha and Krsna
{cidacillaksanarh sarwam radha-krsnamayamjagai) . 19 In the Durgasaptasatl,
goddess Candika has been eulogised as Mahamaya. In fact, she is the Great
Illusion which keeps the entire creation ignorant of the existence of the
Supreme Reality. In a similar way, the Padmapurana also presents Radha
as the Store-House of the Mayadi Sakti. In fact, the entire creation which is
non-different from Brahman is merely an effect of Brahmans Maya.
One important point which prominently appears to our view from the
treatment of Radha in the Padmapurana is that the author moulds the character
of Radha with a deep emotion, fervour and apparently a little-bit of
exaggeration also.

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The Devlbhagavata and the Mahabhagavata are two minor puranie

texts written in a later period of the development of this religious literature.
Radha or Radhika is described as a great goddess in these two puranas.
whose worship is considered most essential in the Vaisnava religion side by
side with Krsna worship.
In the Devfbhagavata, where Devi or Sakti plays the most dominating
role, a hexasyllabic mantra viz. sri radhayai svaha, has been prescribed by
Lord Narayana to his devotee Narada. Narayana tells his devotee that Krsna
and all other great gods recite this mantra regularly in order to proceed smoothly
to their spiritual goal.
Radha is elevated to the status of a regular goddess of the Vaisnavas
in this Purana. It says :
krsnarccayam nadhikaro yato radharccanam vina /
vaisnavaih sakalaistasmat kartavyam radhikarccanam i
We read a similar passage in the Naradapancaratram also. Appropriate
religious methods have been prescribed in the Devlbhagavata, to worship
Radha with appropriate dignity.
A devotional poem (stotra) has been composed for propitiating the
goddess Radha in the traditional style of other stotras written for other gods
and goddesses.22

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S o m e

o b s e rv a tio n s

o n

th e

R a d h E -K rsn a le g e n d

T h e D e v Ib b S g a v a ta d e s c rib e s R a d h a

th e

S a k ti o r th e

h is

id e n tity .

In h e re n t P o w e r o f th e

T h e

d iffe re n t fro m

th a t o f th e

It h a s a lre a d y

a n d

so

e a s ily

c a lle d

D e v lb h a g a v a ta

b e e n

a c c e p ta b le

b e c a u s e

s h e

in

th e

D e v lb h a g a v a ta

a s th e c o n s o r t o f L o r d K r s n a . S h e is

L o rd , w ith o u t w h o m

g iv e s

n e w

K rs n a

e ty m o lo g y

o f

w ill lo s e

R a d h a ,

23

B r a h m a v a iv a r ta p u r a n a .

d is c u s s e d

b y

u s in

a n

in te rp re ta tio n

o f th e

fu lfils a ll th e

d e s ire s

e a r lie r c o n te x t I t is th e

te rm , w h ic h

m e a n s

s im p le

th a t R a d h a

o f h e r d e v o te e s . R a d h a

h a s

is

b e e n

o-

d e s c rib e d a s th e p e rm a n e n t d w e lle r o f G o lo k a in h e a v e n . B u t o n o n e o c c a s io n ,

s h e h a d to d e s c e n d to th e w o r ld o f m o rta ls , w h e re s h e w a s b o m

o f V rs a b h a n u .

w h ic h

R a d h a

T h is

p u ra n a

le ft th e

d o e s

h e a v e n ly

v r k a b h S n u s u ta j a t a

th e

d is c u s s

a b o d e , It o n ly

k e n a c itk a r a n e n a iv a

R e g a rd in g

n o t

e m e rg e n c e

r a d h a

th e

d e ta ils

s a y s

v a n

s itu a tio n

in

e /

// 24

g o l o k a s t h a y i n l s a d a

th e

o f th e

v r n d a v a n e

o f R a d h a ,

a s th e d a u g h te r

s to ry

o f th e

D e v lb h a g a v a ta

c o r r o b o r a te s w ith th a t o f th e B r a h m a v a iv a r ta p u r a n a . I t p r e s e n ts th a t a b e a u tif u l

G o d d e s s e m e rg e d

d iv id e d

w a s

in to

tw o

L a k s m f a n d

fro m

a t th e

th e

a n d

th e

le ft s id e o f th e

S u p re m e

S o u l, S ri K rs n a a n d

s w e e t w ill o f S ri K rs n a . T h e

g o d d e s s

f o r th e ir d ig n ity , K rs n a

N a ra y a n a

th e

o f th e

rig h t s id e

h im s e lf a ls o

o th e r

w a s

K rs n a

w a s

w a s

d iv id e d

H im s e lf.

g o d d e s s

R a d h a .

in to

H e

In

o f th e

th e

tw o , o n e

th e n

o ffe re d

le ft s id e

m e a n tim e ,

fo u r h a n d e d

L a k s m I

25
N a ra y a n a a s h is

c o n s o rt. H e

h im s e lf a c c e p te d

R a d h a

a s h is

w a s

c o n s o rt.

to

144

This purana describes Radha as the mulaprakrti who emerged from

the left side of the Supreme Soul. When Krsna became eager for creation, the
mulaprakrti appeared before Him and was divided into five prakrtis who
play the most responsible part in the process of creation.26 Radha or Radhika
is one of them. It says
ganesa-janam durga radha laksmlh sarasvatl /
>?

savitri ca srstividhau prakrtih pahcadha smrta //

The DevTbhagavata also narrates that once Radha performed penance
for a long time, for thousands of Divine years and worshipped Durga on the
Satasrriga mountain for obtaining Krsna as her husband. When the goddess
was thus propitiated, Krsna accepted her in his bosom and granted her the
boon that she will be the most beloved of Krsna, and Krsna will remain as
servile to her eternal love. In the Radhatantram also, Radha worshipped Durga.
The DevTbhagavata describes the love episode of Krsna and
Suslla which made Radha angry. It has been said therein that Suslla. a gopi
in Goloka was an expert in the art of love-making. One day, Suslla was
deeply involved in love with Krsna. She occupied a seat on the lap of Krsna
which enraged Radha. She cursed Suslla for her misconduct. There is a similar
curse-episode in the Brahmavaivartapurana.
Meanwhile, Krsna also disappeared from the sight of Radha. Radha.
inspite of being the most powerful goddess, wails for her husband like a
simple Indian lady for whom her husband is superior to one hundred worthy

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sons. Radha describes the great religion of worshipping the husband with
devotion. Radhas wailing instantly reminds us of the maidens of Gokula
crying for their lover Krsna in the rasa-sport of the Bhagavatapurana. In the
entire range of the puranic literature, we hear for the first time Supreme
Goddess Radha lamenting for her beloved husband Krsna.
Radha and the Sakti-cult

Narayana extols RSdha in the Devibhagavata variously, as the mother

of the Universe (tmilokyajmani), as a synonym of goddess Saraswatl, Savitri,
Sarikari or Durga, Gahga, Padmavatf, Laksmi and Mangalacandf. In spite of
this fact, we notice in the Devlbhagvata that it covertly offers a superior
position to Durga to that of R:dha, because Radha propitiates Durga for
earning a boon. Narayana describes her as mulaprakrtirupa which reminds us
of a significant epithet of goddess Durga found in the Markandeyapurma,
viz. prakrtistvam adyat. In fact, there is only one Supreme, all-pervading
Sakti in the Universe which is embodied in Radha.
Radha in the Mahabhagavatapurana

We have said in the earlier context that Radha is conspiciously absent

from the Rasa-story of die Bhagavatapurana. The ladies of Gokula were
engaged in the rasa-knd3 with the Lord. One particular lady among them,
however, received more grace and favour from the Lord. But the Vaisnava
community in a later period could not imagine of the performance of rasa

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without the participation o f Radha who has been variously described as
rasesvan and the lady o f the msamandala.
In the Mahabhagavata also, Radha plays the leading role in the Rasasport. Krsna and Radha were originally in Goloka, descended to the mortal
world. The Mahabhagavata describes that Krsna and Radha roamed about in
the Vmdavana; Krsna invited all die gopls o f Vrndavana through his melodious
flute. Krsna expressed his deep love for Radha and showed special favour to
her. The purana adds the Rasa-episode o f the Bbagavata in this context.
It says that when the Rasa-krida was started in an autumnal night,
Radha played the main role in it. But when the Rasa-sport reached its
climax, both Krsna and Radha disappeared together to the utter dismay o f
other ladies.
The Mahabhagavata imparts divine attributes to Radha and Krsna who
assumed eight distinct forms each litre eight forms o f Lord Siva described in
the Puranas. According to Sankara, Lord Bhairava has eight forms. They are
Asitahga, Ruru, Canda, Krodha, Unmatta, Kapall, Bhlsaryand Samhara .28
Uniqueness is observed in the Mahabhagavata, regarding the treatment o f
Radha-Krsna legend. It propagates Radha-Rrsna as the incarnation o f SivaParvatl, respectively. It narrates that, once Siva being enamoured by the
excellent beauty o f Parvatl, expressed his desire to be a woman and Parvatl
would be the loving husband. Parvatl consented to fulfill his desire as she in
her Bhadrakall form would be bom in the earth as Krsna and Siva would be

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bom as Radha, the daughter o f Vrkabhanu. Siva said that he would take
birth in the earth in nine forms when Parvati would appear as Krsna. He
him self would be Radha and Rukmini, Satyabhama, Jambavati, etc., the eight
wives o f Krsna would also be bom from Him. All the Bhairavas o f Siva also
would be bom as best o f woman, i.e. the gopls o f Vmdavana. Jaya and
Vijaya, two dear friends o f Parvati would be bom as Sudama and Sridama,
the two dear friends o f Krsna. Visnu would appear in two forms, as Balarama,
1

the elder brother o f Krsna and also as A ijuna, the son o f Pandu and the
dearest friend o f Krsna.
In the mean time, at the request o f Brahma to annihilate the Asuras
who having been killed by Visnu and the Goddess at the end o f Dvapara
have taken birth as the kings and thus oppressing the world, Parvati, the
mother o f the world (Jagaddhatrf) assured that she would kill them ail when
she would appear on the earth as Krsna. Because, as a female deity, She,
being the m qther o f all and the A suras taking resort to her out o f devotion,
she would not be able to kill them.
Thus, Parvati in her Bhadrakall form was bom as Krsna as per her
promise to Siva. His father Vasudeva and mother Devakl were also Prajapati
Kasyapa and Aditi, the mother o f gods in their previous birth, who worshipped
the Goddess for a long time o f thousand years and prayed her to be bom as
their child. A t last, being propitiated by their unflinching devotion, the Goddess
granted them the boon that at the end o f Dvapara Yuga when she would

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appear on the earth as Krsna, Aditi and Kasyapa would be her parents. This
story of Aditi and Kasyapa being the mother and father of Krsna as a result of
a boon also corroborates with the Brahmavaivartapurana.

29

When Parvatl in her Bhadrakali form was bom as Krsna, she being
propitiated and prayed by Devald, showed them her actual form of Krsna and
then the form of Durga also. At that time, Vasudeva eulogised her in the
following verses :
tvarii m atsjagatam anadiparam a vidyatisuksmatmika /
tvarii tattajanakoapyanadipurusahpurnah svayath cinmayah / /
tvarii visvasi tathaiva visvavanita visvasraya visvaga /
tvattoanyannahikincidasti bhuvane visvesi tubhyarii namah / /
tvarii srstau caturananah stbitividhau visnu paratma prabhuh /
sariibartyamatibhlmarupacarito rudrah pinakastradhrk / /
tesarii srstivinasapalanavidhau tvam kalikaika para /
nitya brahmamaylpraslda param e krsna jagatvandite / /
tvarii suksmaprakrtirrrirakrtirati stbula jagatvyapim /
stripuriildlvavibhedatastvayipunah stritvadyabbavab sada / /
tattvSrii tena vidanti kecana jagatyatrambike tat katbarii /
saktastotutnabarii bhavamiparame brabmadyagamyarh kurvlb/
namaste visvamohinyai gauryai tridasavandite /
namaste krsnarupinyai mayapuriisarupine / / 30

Thus eulogised, the goddess Durga instantly turned as Krsna, the little
boy. In this eulogy of Durga, we hear the echo of the eulogy done by the
gods to Candika in the DurgasaptasatJ of the Markandeyapurana. When Krsna
in his childhood killed Putana while sucking her poisonous breasts, then also

149

he assumed the original form o f Kali and devoured the deadbody o f Putana.
Same was the incident when he killed the asura Trnavarta with khadga. the
weapon o f Kali.
Siva, on the otherhand, was bom as Radha, the daughter o f Vrkabhanu.
She was married to one gopa, Rayana by name. But he suddenly turned as an
enunch as per the good will o f Sambhu. Radha used to go to the house of
Krsna, the lotus-eyed one, and taking him on her lap she used to gaze at his
face with great love. Balarama, the son o f RohinI, also played with Krsna.
Sudama, Sridama, the two dear friends o f Krsna also used to accompany
him in all his plays.
In the Mahabhagavata, (Chapter 53), the love-dalliances o f Radha and
Krsna are described vividly. The Rasa-krida scene is also described beautifully.
In the beautiful autumn season, when Vrndavana was turned beautiful in the
full moon night, the Rasa-krida o f Krsna with Radha and other gopis had
started.
Thus, the goddess Parvatl, the M other o f the world assumed the body
o f Krsna and saved the world by killing the Asuras. Siva assumed the body
o f Radha and was united with Krsna in the Rasa-krida.
Thus, we see that by adding novelty and grandeur, the Radha-Krsna
legend has been presented attractively in the Mahabhagavata. Radha is the
inherent power o f the Supreme Soul, Krsna. It has been established in this
Purana that she is the goddess o f all the gods and goddesses.

150

Radha appears in a entirely different form in the Brahmavaivartapurana.

The Radha-Krsna legend is dressed in a new form which we do not find in
any other purana. This purana came into existence probably in later period of
the development of the puranic lore. The touch of the popular tradition, cannot
be totally ignored in the legend. According to an established tradition which
cannot be corroborated with the help of Sanskrit sources, Radha was a parakiva
lady, a married woman who fell in love with Krsna. The Indian society has
never forgiven such an irrggular love-affair. They confine to the regular social
norms in which the wife must not resort to any infidelity. Mammata Bhatta in
his Kavyaprakasa describes such irregular love as Rasabhasa and not
srhgararasa.

Radha's secret love with Krsna has been described in Bengali

lyrical poem SrikrsnakTrtana of Candldasa :

sami mora duruvara

8 ^ a visala

prod vola nananda vache /

sava gopigane more

kalarika tuliari dila

radhika kahanira sarige ache / /

etasava sahilonmo

kanhera nehata lagl

B n d Syc moke neha kanhanira pase / 32

The tradition was aparantely current in the Indian society, when
the Brahmavaivartapuram was written. It is the reason for which the Radhalegend was suitably moulded in order to avoid any scope of infame. According
to the Brahmavaivartapuram, Radha or Radhika was ayonisambhava, though
in the eyes of others, she was the daughter of Vrsabhanu.

33

She was the wife

151

of Lord Krsna as she has been married to Him as described in this purana. It
has also been described in this purana that Radha and Krsna lived in their
Divine Abode (Goloka), both of them descended on earth and was married.
As Radha has been delineated as ayonisambhava in this purana, she possessed
Infinite Divine Power. When Radhas so-called father Vrsabhanu settled
her marriage with Rayana, Radha created a false image of her and left it in
her original abode. This fictitious Radha was actually married to Rayana
while the real Radha was married to Lord Krsna in Vmdavana.34
In the Brahmavaivartapumna, Radha reaches the zenith of the poets
imagination. She has been described as ayonisambha va, not bom of any
parent, which reminds us a passage from the DurgSsaptasati.
devanam karyasiddhyarthamBvkbhavati sS Xdda /
?

utpaimeti tads Joke sa nitySpyabbidlyate / /

35

It may be remembered here that SIta, in Valmikf s RBmSyana is also

ayonisambhava. We learn from the Brahmavaivartapumna that Radha was
the beloved of Krsna whom the Lord intensively desired. Regarding her birth
or manifestation, it has been recorded in this purana that Lord Visnu divided
his body into two parts. The right side of his body is Krsna and the left side
is Radha.

It has also been further said in this purana that all the maidens

(gopls) who took part in the rasa-knda, emerged from the body of Radha,
while all the cowherds (gopas) are bom from the body of Krsna. Thus, both
Radha and Krsna played the roles of creator, at whose sweet-will the creation

152

takes place. This story of Radha being the creator of the maidens instantly
reminds us of the goddess Candika from whose body, Mothers emerged and
in whose body they disappeared.
brahmesaguhavisnunam tathaibendrasya saktayab /
sanrebbyo viniskramya tadrupaiscandikamyayub / /
yasya devasya yadrupam yatba bhusana vahanam /
tadvadeva hi tacchaktirasuran yoddbumayayau / /
hamsayukta vimanagre saksasutrakamandaliih /
ayata bmbmanab saktkbrahmam s a bhidblyate / /
m ahesvaif vrsamdba trisula varadharini /
mahahivalaya prapta candrarekhavibhusana/ /
kauman saktihasta ca mayuravamvabana /
yoddbumabbyayayau daityanambika guharupim / /
tatbaiva vaisnavTsaktirgamdopadsamstbita /
sankhacakragadasarngakhadgahastabhyupayayau / /
yajnavamhamatulaih rupam y a vibbrato bareb /
saktih sapyayayau tatra varahlm vibbraff tanum / /
narasimhl nrsirhhasya vibbraff sadrsam vapuh /
prapta tatra sataksepaksiptanaksatrasambatih / /
vajrabasta tathaivaindrigajarajopad stbita /
prapta sahasranayana yatba saimstatbaiva s a / / 38

One important feature of the character of Radha as narrated in the

Brahmavaivartapurana is that she is the presiding deity (adhistbatii devi) of

Agriculture. India has generally recognised Goddess Laksmi as the presiding

deity of the field. Indian people depend on Agriculture mainly for their
livelihood. Goddess Laksmi who rides on ah owl protects the agricultural
cultivation from its predatories and natural calamities. That Radhika replaces

153
L a k s m i

s a s y a d h is th a tr T -d e v i

a s

p ro m in e n t p o s itio n

p u ra n a

a s

in

In d ia n

30

in d ic a te s

C u ltu re . R a d h a

th a t

h a s

o n c e

a ls o

R a d h S

b e e n

ro s e

d e s c rib e d

in to

in

th is

s v a y a m r a d h a k r s n a p a tn i k r s n a v a k s a h s th a la s th ita /
p r S n S d h is th a tr d e v ! c a ta s y a iv a p a r a m a tm a n a h / / m

It h a s b e e n

o b se rv e d

in

th e

tre a tm e n t o f th e

c h a ra c te r o f R a d h a

B r a h m a v a iv a r ta p u r a n a t h a t s h e i s t h e S u p r e m e S a k ti f r o m

d e riv e s h is p o w e r o r s tre n g th . B u t it is a w o rth n o tin g

h a s

n o w h e re

re fe rre d

to

th e

H la d in i S a k ti o f th e

w h o m

in

th e

L o rd K rs n a

fe a tu re th a t th is p u r a n a

L o rd .

L i k e t h e N a r a d a p a n c a r a tr a m , t h e B r a h m a v a iv a r ta p u r a n a a l s o g i v e s t h e

e ty m o lo g ic a l

m e a n in g

o f

s i g n i f i c a n c e . 41 I t h a s a l r e a d y

R a d h a ?

w h ic h

is

th u s

a lo n e

c a n

v e ry

R a d h a

b e e n

w h ic h

d is c u s s e d

im p o rta n t re lig io u s

im p a rt s a lv a tio n

to

c o n ta in s

in

th e

a p r e v io u s c o n te x t. T h e w o r d

n a m e

in

th e

V a is n a v a

a ll.

R e f e r e n c e s :

a n a y a r n d h ito n u n a m b b a g a v a n h a r iiis v a r a b /
y a n n o v ih S y a g o v in d a h p r fto y a m a n a y a d r a h a h / /
B h a g - p .,

X . 3 0 . 2 8 , p . 55 5

2.

M R ,

13. 38

3.

V S .,

I. 2 , p . 2

4.

C M .,

e x a m p le o f R a th o d d h a ta

5.

V a r h p .,

1 6 4 . 3 4 -3 5 .

m e tr e p .7 2

6.

P d m p .,

in th e K a rttik a m a h a tm y a , a s in

7.

N m p .,

U tta ra k h a n d a , 8 1 . 2 5 -3 6 , p . 3 5 2

p h ilo s o p h ic a l

SD S.

lite ra tu re

154

8.
9.
10.
11.
12
13.
14.
15.
16.
17.
18.
19.
20.

Wyup,. 104. 52
V. 19, p. 140
Bp., as quoted in the Pd not found in the original text.
Pdmp., patalakhanda, 46. 36, p. 415
ibid, patalakhanda, 50. 51-54, p. 435
CG, Achilla,, IV
Primp.,Patala-khanda, 50. 55, p. 435
ibid, Patak-khanda, 50, 56, p. 436
PV., 1.164. 46
Dss., X. 5, p. 218
ibid, IV. 3, p. 114
Pdmp., Patala-khanda, 50. 57, p. 436
( a ) Caturdhaif Comm, on the word Mabamaya :
D S S ;

(b)

21.
22.
23.
24.
25.
26.
27.

mahati sarvavisaya maya anyatranyakaravabhasinl

saktiimabamaya muMvidyeti yavat /
SantanavTcomm, on the word MahSmaya :
\he devl tvam) Mahati Maya
anyatmanyatmetibuddhkatmanyapyanatmeti buddhirmaya'

DBhag., IX. 50. 16. p. 990

ibid, IX. 50. 46-52. p. 992
ibid, IX. 50. 18. p. 991
ibid, IX. 50. 43, p. 992
ibid, IX. 2. 54, 56, 62
ibid, IX, I. 9, 12,13
ibid, DC. 1.1; DC. 4. 4.

155

-"
28.

'9

SVJ,

29.

chap. 23, pp.105-06, quoted in the Kapalikas, p.15

Gi,
kas^po vasudevasca devamata ca devaki /

purvapiwyaphalenaiva prapatub snbarim sutam / /

Brvp. Spkrsnajanmakhanda, 7. 4, p.
30.

MBbag., 50.89-92

31.

tadabhasa anaucityapravartitah KP., IV. 36

32 . VP.,

SrTkrsnakTrtana, p. 41

33.

Brvp.,

Prakrtkhanda, 49. 37-38

34.

ibid,

Prakrtkhanda, 49. 39-40, 43-44

-*

35. Dss.,

I. 65-66

48.29

36.
37.

ibid

Brahmfv iakhanda, 5. 40, 42

38.

Dss,

vm . 12- 20

39.

tadarhsa martyalaksmlsca grhinanca grbe grbe

sasyadbistbatrdevi ca sa eva grbadaivaG

i

Brvp. Prakrtikhanda, 48. 46

40.

Brvp.

Prakrtikhanda, 48. 47

41.

ibid,

Prakrtikhanda, 48. 46