Krishna Vishwaroopam image
Book 11
The destruction of the Yadava dynasty, including Krishna and all his kinsmen, is caused by the curse of a brahmin—instigated by Krishna himself. The Yadavas kill each other in a drunken fight and Krishna dies as a result of the same curse, the result of a metal-tipped arrow striking his foot. The last chapter describes Krishna’s ascent to Vaikuntha. Book eleven also includes the so-called Uddhava Gita, the last discourse of Krishna which he addresses to his dear friendUddhava. Canto or Book 11 section 7-9 discusses the pastimes and realizations of an Avadhuta.
Book 12
The future rulers of Magadha are predicted, along with the evils of Kali Yuga and the future destruction of the world (pralaya). The main story ends with the death of King Parikshit—cursed to die from snakebite—and the thwarted snake sacrifice of his son Janamejaya. The text finally concludes with a second description of the ten characteristics of a purana, the life of Markandeya, a summary of the Bhāgavata, and the assurance that it is the greatest among puranas.
Theatre and Dance
The Bhagavata cult centred around the worship of Krishna and the related puranas, played a central role in the development of theatre and dance in India, particularly through the tradition of Ras and Leela, which are dramatic enactments of Krishna wooing gopis (cow herding girls), and episodes from his life, respectively. Though this dance-theatre tradition predates the composition of the Harivamsa, Vishnu and – Bhagavata Purana, they were significant in its evolution. In particular, many Ras plays dramatise episodes related in the Rasa Panchadhyayi (“Five chapters of the Celestial Dance”; Book 10, chapters 29–33) of Bhagavatam. The purana accords a metaphysical significance to the performances and treats them as religious ritual, which cleanses the hearts of faithful actors and listeners and gains them para bhakti (supreme devotion) towards the Lord. Bhagavatam also encouraged theatrical performance as a means to propagate the faith (BP 11.11.23 and 36, 11.27.35 and 44, etc.), and this led to the emergence of several theatrical forms centred around Krishna all across India.
In Book 10, Bhagavatam describes Krishna dancing the Tandava, a vigorous dance, on the hood of the cobra Kāliyā. This is regarded as the origins of the classical dance style of Kathak, and has influenced other forms including Odissi,Manipuri an- d Bharatnatyam.
“JAI SRI PRAHALADA BHAGAVATA NAMO NAMAHA”
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R. HARISHANKAR