बुद्धीनां परिमोहनः किल ह्रियामुच्चाटनः स्तम्भनो
धर्मोदग्रभियां मनःकरटिनां वश्यत्वनिष्पादनः ।
कालिन्दीकलहंस हन्त वपुषामाकर्षणः सुभ्रुवां
जीयाद्वैणवपञ्चमध्वनिमयो मन्त्राधिराजस्तव ॥
buddhīnāṁ parimohanaḥ kila hriyām uccāṭanaḥ stambhano
dharmodagra-bhiyāṁ manaḥ-karaṭināṁ vaśyatva-niṣpādanaḥ |
kālindī-kalahaṁsa hanta vapuṣām ākarṣaṇaḥ subhruvāṁ
jīyād vaiṇava-pañcama-dhvanimayo mantrādhirājas tava ||
(Stava-mālā: Govinda-virudāvalī: 12)
“O Swan [i.e., O Frolicker] on the Kālindī!
Beguiling the thoughts,
Causing the abandonment of the shyness,
Paralyzing the mighty fear on account of dharma,
Accomplishing the subjugation of the elephant-like minds,
And drawing near the bodies
Of they of fine brows [i.e., the gopīs],
May the emperor of mantras
Constituted of the fifth note of your flute
Triumph!”
Commentary
Śrī Vidyābhūṣaṇapāda notes that in this verse Śrī Rūpapāda describes how the fifth note in a rāga played by Śrī Kṛṣṇa’s flute accomplishes all five of the effects mantras are culturally understood in traditional societies to be capable of causing: (1) beguilement (mohana), (2) abandonment of one’s occupation or another beneficial practice (uccāṭana), (3) immobility or paralysis (sthambana), (4) subjugation (vaśīkaraṇa), and (5) attraction (ākarṣaṇa) (mohanoccāṭana-stambhana-vaśīkaraṇākarṣaṇāni mantra-kāryāṇi kramād uktāni). The fifth note of Śrī Kṛṣṇa’s flute is described in the verse as the emperor of all mantras because it produces all five of these effects simultaneously on the same target: the Vraja-gopīs.