Krishna, Lila, and Freedom

Abstract

The Braj râs lila commemorates what devotees regard as the historical advent of Krishna in Braj, with an emphasis on his unpretentious childishness, his disregard for custom and propriety, his seductive beauty, the elements of the Krishna story that most delight devotees—that is, the elements that most effectively fulfill devotees’ yearning for the bliss associated with divine presence. Performances often assume a rather festive and rambunctious tone that further inflates the joy associated with Krishna’s childhood antics. Consequently, the dramatic depiction of Krishna almost requires a space that ignores mundane regulations and concerns. John S. Hawley indicates the tendency of râs lila theatre in his description of some of the action of the “Butter Thief” lila, as Krishna and his cowherd friends have gained unchecked access to a large supply of soft butter hanging in pots overhead:

At every stopping point [Krishna] and his cohorts wrangle over who is to get the milk sweets cached away there in lieu of butter, and some are thrown out into the crowd seated nearby, which receives this prasad with a hundred outstretched arms. As the procession returns to the stage, the antics of the COWHERDS become more and more rowdy. Whole potfuls of milk and yoghurt are slung from one COWHERD to another, and so much the better if some prominent devotee gets caught in the crossfire.¹