Taking off from the Bhagavata Purana, the dance of Krishna
on Kaliya is eulogised by Andal in Nachiyar Tirumozhi and
by Vedanta Desika in his Yadavabhyudaya in glowing terms,
pointed out Kalyanapuram Sri Aravamudhachariar in a discourse.
The Bhagavata Purana describes how Krishna climbs up a
lofty Kadamba tree nearby that stands bare because of the
poisonous vapours emanating from the pool. It is said that
tree springs to life on contact with His lotus feet that devotees
deem sacred and as the sure solace to the ills of samsara.
Krishna jumps into the pool causing great agitation in
the waters. Kaliya is angry at being thus disturbed. He stings
Krishna and then entwines His body with his coils. Yasodha,
Nandagopa and the other Vraja folk are frightened and
anxious for Krishna’s safety. Krishna allows Himself to be
bound for some time and then seeing the anxiety of the
people decides to gladden their hearts. He grows in size
causing great pain to the serpent and draining it of all energy.
Krishna finds a soft stage on its hoods and begins His
famous dance that is symbolic of the Lord’s leela that pervades the entire creation and Vedanta Desika calls it “Aarabhati,” a particular dance form performed by males. This rare spectacle is witnessed by the celestial beings as well with wonder and astonishment. With the precious gems on the hood and the red eyes of Kaliya providing the lights, and the waters of the Yamuna giving the laya support or rhythm, Krishna steps on the each of the rising hoods of Kaliya. This indicates the effort needed to suppress the human senses that distract one from realising the purpose of life. Only with God’s grace and help can anyone hope to win over the senses. Krishna emerging from Kaliya’s grip is compared to the sun emerging out of Rahu. Krishna accepts Kaliya’s surrender, pardons him and sends him to the sea.
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