Krishna
The popular mythology that defined the evolution of Vedism (or Brahmanism) into classical Hinduism was embodied in the form of poetic narratives called Epic writings. Two notable collections that achieved their final forms between 200 B.C. and 200 A.D. were called the Mahabharata and the Ramayana. The importance of these two scriptures lies in the popularization of the hero-gods Krishna and Rama, both incarnations of Vishnu. Their legends inspire and teach the essence of Hindu philosophy. As such, it is important to describe their function in Hinduism today.
Krishna was an avatar incarnation of the god Vishnu. He came to earth when divine intervention was needed. Krishna actually appears in a smaller poem that was incorporated into the great war epic, Mahabharata. This poem is the well-known Bhagavad–Gita, probably written between 100 B.C. and 100 A.D. The Bhagavad-Gita is “often called the New Testament of Hinduism…there is no greater work in the religion of Hinduism today; the Upanishads are the only other Hindu works that compare with it in importance for modern leaders of religion and philosophy.” (Religions Of The World, 1969:404) Its contents consist of dialogues between Krishna and his cousin Arjuna at the eve of a great battle between warring families.
The depiction of Krishna in the Bhagavad-Gita is one of an accomplished teacher of philosophy, and a great yogi. His advice to Arjuna reveals great knowledge about the nature of man and God, and the four margas that lead to “moksha.” It is here that “egoless action—renunciation of the fruits of work—makes moksha possible… the earliest reference in Sanskrit literature to karma-marga [or yoga].” (Religions Of The World, 1969:406). As well, the relationship of this concept to the “dharma,” which is defined as the overarching harmony and order of the universe, is defined by “right action” and social duty to one’s class.
Thus Krishna deigns that it is Arjuna’s dharma to go into battle. It is his duty as a member of the social order whose task it is to defend righteous causes with military force if necessary, knowing that only bodies can be killed but never the immortal soul. In the Bhagavad-Gita, Krishna also expounds on the need for deep meditation in order to experience union with the non-material aspect of the universe. This is contrasted to the path of knowledge, jnana-marga, which deals with the world of matter (which is in turn subdivided into three aspects: sattva, characterized by an etheric aspect of existence; rajas by dynamic passion, and tamas by inertia or heaviness).
By far, the favorite path of salvation illustrated in the Bhagavad-Gita is the personal one of bhakti-marga, in which Krishna asks Arjuna for full, unconditional devotion. Through this single-minded homage it is promised that karma can be nullified by total surrender to the Lord, who, by the grace that is traditionally ascribed to Vishnu, offers absolution from the need for rebirth.
The legendary hero Krishna is many-faceted. In some myths, quite possibly stemming from old legends of a similar god, he appears in the guise of a warrior, and also a simple cow-herd of mysterious birth, pointing to his divine origins. In subsequent writings known as the Puranas dating from the 9th Century A.D., there are comprehensive descriptions of Krishna’s battles with demons, dragons and a tyrant king, whom he eventually supplants as a local prince.
Yet Krishna as the youthful, high-spirited (but never mean) prankster is most well-known and is depicted artistically in his flirtations with the Gopis, the legendary milk-maids who adore him. The high-point of his relationship with them is when he manifests in a multiple form for them, so each one is happy as they dance in the enchanted forest by night in the great circle dance called the Ras Mandala. In this respect, he embodies the spirit of love and abundance, for Krishna had many roles to play as a savior to the ordinary “cow folk” that he lived with, representing the intervention of the Divine that is balanced with an earth-loving aspect.
Krishna is a mighty hero who seems playful and mischievous, albeit loving. But from the inspiration of the lyrical love poets of the Gita Govinda, Krishna’s epic, is told, an erotic love affair with the esteemed and loyal village girl Radha, whom he charmed into the forest at night with his flute playing. This aspect of Krishna appeals to the Hindu cult of sacred Tantra, or finding union with the Divine through sexual union. The literature is both rapturously poetic in its love of life and is also highly sensuous regarding Krishna’s abilities to charm the opposite sex. As Nigel Frith rightly declares, “The standing of Krishna today in India is a blend…almost every sect of Hinduism, and Hinduism out of all religions is the most free and comprehensive, gives Krishna some veneration.” (The Legend of Krishna, 1976:13)