yÄte vamśī-dhvani-sukha, nÄ dekhi' se cÄá¹…da mukha,
yadyapi nÄhika 'Älambana'
nija-dehe kari prÄ«ti, kevala kÄmera rÄ«ti,
prÄṇa-kÄ«á¹era kariye dhÄraṇa
yÄte - in which; vamśī-dhvani-sukha - the happiness of hearing the playing of the flute; nÄ dekhi' - not seeing; se - that; cÄá¹…da mukha - moonlike face; yadyapi - although; nÄhika - there is not; Älambana - the meeting of the lover and beloved; nija - own; dehe - in the body; kari - I do; prÄ«ti - affection; kevala - only; kÄmera - of lust; rÄ«ti - the way; prÄṇa - of life; kÄ«á¹era - of the fly; kariye - I do; dhÄraṇa - continuing.
“Even though I do not see the moonlike face of Kṛṣṇa as He plays on His flute, and although there is no possibility of My meeting Him, still I take care of My own body. That is the way of lust. In this way, I maintain My flylike life.
In this connection, ÅšrÄ«la BhaktisiddhÄnta SarasvatÄ« ṬhÄkura says that the lovable Supreme Lord is the supreme shelter. The Lord is the supreme subject, and the devotees are the object. The coming together of a subject and object is called Älambana. The object hears, and the subject plays the flute. That the object cannot see the moonlike face of Kṛṣṇa and has no eagerness to see Him is the sign of being without Älambana. Externally imagining such a thing simply satisfies one’s lusty desires, and thus one lives without purpose.
