If God becomes controlled by the love of his devotees then how is he the supreme controller?

Transcript

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God is in control.
When a stone and God gets controlled by a lot of his devotees, then how is he the ultimate controller? Isn’t it that the jiva controls the Ganesha? Yes. There is tattva and there is rasa. Tattva means philosophical truth.
In terms of philosophical truth, Krishna is always the supreme controller. But in terms of rasa, rasa means emotional relationship, emotional joy, emotional reciprocation and the joy that comes from that. In terms of that, God does not delight in just being the supreme controller.
God wants reciprocation of love. And for that purpose, he chooses to put himself in a position of supporting God. Supporting God is to support his devotees.
Just like a billionaire has so many factories. But when his family gets together, a billionaire may choose just to enjoy, act like a billionaire. And he may say, oh, for three days I have not eaten anything.
That day only I have been three times happy. But then he says that and then when he acts like that, what is happening? He keeps pleasure in his heart. So through that, what is done? For the reciprocation of relationships, for the intensification of pleasure, his idea of being supreme, his idea of being wealthy, the fact that he is wealthy, the tattva that he is wealthy is subordinated.
So you can use the example of a drama. Krishna’s pastime in the spiritual world, or Krishna’s pastime with his devotees, when he becomes controlled by them, they are like a brahma. Brahma is not in the sense that they are unreal.
They are supreme reality. But drama is in the sense that the setting is like that. Krishna is playing a role.
So in the drama, when Krishna is playing a role, Krishna doesn’t act as supreme. He plays whatever role he is in that drama. But in that drama, there is a director.
So the director is Krishna. Krishna has two kinds of mayas. There is mahamaya, which comes from God.
There is yogamaya, which means Yashodamayi forgets that Krishna is God. Yashodamayi thinks that Krishna is my child and I have to feed him. And yogamaya means Krishna forgets that he is God.
And that’s why when Yashodamayi comes to speak, he is afraid. Oh, Krishna has come to meet me. I have to run away.
I have to somehow escape. So now, Krishna is afraid. Krishna has come to… how is he God? So Krishna is playing a drama for the sake of reciprocating love.
In fact, he also plays whatever is required. He also is covered by yogamaya. But the wonderful thing is that there is a director who is directing all the players, all the actors.
But a director is directing according to the script. And the script writer is Krishna. So Krishna is being directed according to his mood.
That’s why, what happened? Did you know the past time when Krishna is bound down in the past time? What happens? Krishna is running in fear because of Yashodaya. He finally gets caught and bound. And when he is bound, what happens? He is gone.
These two trees. These two trees were actually cursed by my devotee, Narada. And now I must liberate them.
So if a baby cannot run away from his mother, cannot break the ropes tied around his waist, how can a baby break a big tree? That is Krishna. He is not God who delights in demonstrating his Godhood. Krishna is a God who subordinates his Godhood so that love can reign supreme.
So that is God’s glory. So even in the past times of Krishna, ultimately he is in the mood. Because those past times are happening according to his mood.
Just like the drama is happening according to the script writer. Script writer’s script. But within time, to reciprocate love, Krishna covers his Godhood for himself and for others so that there is an intensification of love.
So he is always in the, from the philosophical point of view, in the tattva point of view, he is always in the mood. But from the emotional point of view, so that there can be greater sweetness, he acts as someone subordinate in the past times. So that means both the controller and non-controller.