RASA-RAJA-

SRI SRI GAURANGA

A Study of Sri Gauranga’s intimate, hidden side (like Sri Krsna) as the Enjoyer of madhura rasa, collected from a host of Gaudiya mahajana authors

The highest form of God (Paratattva Sima)

(A Reverential Offering)

Many mahatmas have left substantial contributions in the Vaisnava world; but one in particular stands out in my mind — a humble bhakta (devotee) who never made a disciple, and who hid from recognition. Still, amongst scholars and bhaktas he is a favorite, regarded author; for the 65 various Gosvamis and Mahajana shastras that he translated and published serve as an indispensable aid for many.

So Sri Haridasa dasa Baba of Navadvipa’s Haribola Kutira doesn’t need an introduction. However, through his own voluminous research also, one finds perhaps the most in-depth study on Gaudiya Vaisnavism.

Those reading Haridasa dasa’s books easily gain a trust for his credibility. For his vast scholarship, unbiased opinion and broad outlook reveal a deep admiration for every Gaudiya Mahajana and true follower of Gauranga Mahaprabhu. Thus his vast array of Vaisnava literature is worthy of admiration.

This volume has been graced by his insight on Rasaraja Sri Gauranga

Sri Haridasa dasa Maharaja-ji

Appearance 1898 — Disappearance 1957

Foreword

jaya rupa sanatana bhatta raghnatha

sri jiva gopala bhatta dasa raghunatha

ei chaya gosai kari carana vandana

jaha haite vighnanasa abistha purana

Before our topic begins, let us invoke auspiciousness by taking shelter of the followers of Sri Rupa and Sri Sanatana Gosvami; those who tread the raganuga bhakti path which culminates in the madhura seva of Sri Sri Radha Govinda.

An ideal example of how bhaktas may awaken such bhakti is examplified in the live of Sri Raghunatha dasa Gosvami. Raghunatha, once the pampered son of a wealthy landlord whose young wife rivaled the beauty of an apsara, keenly desired to join Sri Caitanya’s bhakta assembly. Every time he attempted to leave home, however, his parents would somehow catch and bring him back. Thus his repeated attempts to join the Lord all failed — until one day, when he got Sri Nitai Candra’s mercy. This remarkable incident happaned at Panihati village, where, by a stroke of luck, Raghunatha fortuned to satisfy Sri Nityananda and His associates by arranging a huge feast. Thus securing Nitai’s blessings, the means to escape samsara¹ presented itself, and Raghunatha soon reached the lotus feet of Sri Caitanya deva at Puri.

But Raghunatha’s fortune went on increasing — for being pleased, Sriman Mahaprabhu placed him under Svarupa Damodara’s care for learning the intimate matters of rasa-tattva and prema-seva. Thus in such exalted association Raghunatha passed his days in paramananda. But later, after the disappearance of the Lord and Svarupa Damodara, Raghunatha felt destitute and wanted to end his life! Thus he thought: "I shall go to Vraja, take Sri Rupa and Sri Sanatana’s darsana, and then jump from Govardhana!"

Upon arriving before Rupa and Sanatana, however, they forbade him to commit suicide. Rather, they kept him within their inner-circle and imparted upon him the last course of his bhajana-siksa, manjari upasana. Thus is the mood of Srimati Radharani’s helpless maidservant, Sri Raghunatha passed the last days of his live weeping in her separation on the banks of Radhakunda... and entered Radha Krsna’s nitya lila in manjari bhava.

To the belief of many Gaudiya Vaisnava’s, Sri Raghunatha’s life story is an excellent example illustrating that Sri Caitanya’s prema dharma culminates in manjari bhava. And suffice it to say, this is not a false assertion. For after sending the Six Gosvamis to Vrndavana, and empowering them to establish a cult centered around Radha Krsna worship, Sri Caitanya certainly did desire that His followers attain the prema seva of the manjaris. But from the consumate Gaura bhaktas, surely a befitting question can arise:

"If manjari bhava is the final word and the highest attainment of Caitanya Vaisnavim, what about Gaura lila and its worship? Was Gaura Avatara simply meant for providing the opportunity to enter madhura Sri Vrndavana?"

Introspective Gaudiya Vaisnavas know, Gaura lila has a deeper purport:

it represents the continuing further expressions of prema bhakti which Rasaraja Krsna yearns to relish with Radhika and Her gopi confidantes. So herein, we can discover that along with our eternal Vraja lila role — we have an eternal role with Gaurasundara, which is, indeed, the sadhya (ultimate goal) to all our spiritual practices as well.

Yet raga marga Rupanuga bhaktas do worship Gaura lila. Knowing that Krsna advents as Gauranga to accept Radha bhava, they meditate on Gaura’s Radha bhava lilas before meditating on Vraja lila in manjari bhava. But the outcome that often occurs when following this system is that one’s attraction for Radha Krsna’s lila far outmatches one’s attraction for Gaura’s. Hence, only briefly dipping into Gaura lila, such worshippers fully submerge themselves within Krsna’s Vraja lila sindhu.

·       At this point, however, a whole new world of rasamaya bhakti can begin — and this path, inspired by Rasaraja Gauranga, is the topic of this book. In other words, after a brief worship of Gaura in Radha bhava, and after submerging oneself for a long time in Radha Krsna’s nikunja lilas ­— one my re-surface in Navadvipa again to take up Gauranga’s rasaraja worship. Because Sri Gauranga is mahabhava svarupini Radha and rasaraja Krsna combined, both features form an excuisite enrapture for His bhakta followers to share with Him.

When viewing the entirety of Gaudiya Vaisnavism, we find that the Six Gosvamis’ teachings form a major pillar of Sri Caitanya’s prema dharma. And when sampling the Vraja rasa, who wouldn’t agree? ... the manjari seva which can be had by following in Sri Rupa and Sri Raghunatha’s footsteps is unmatched. And hence, Sri Caitanya dispatched them to Vrndavana for teaching such mellows. But to learn the confidential secrets of Gaura lila, one will greatly profit to hear about Sri Gauranga’s amazing qualities from the mahajanas whose attraction mainly focuses on Him.

So, to do so, we shall now take shelter of Advaita Acarya, Gadadhara Pandita, Narahari Sarkara, Vasudeva Ghosa, Murari Gupta, sivananda Sena, Kavikarnapura, Locana dasa, and many others, who are steeped in the mellows of Sri Gauranga’s rasaraja worship. Then, from their versions, we shall find that along with the Vraja mannjari bhava, Nadiya nagari bhava is a very sweet mellow that Sri Gauranga wishes to share with all of His followers.

Learned Vaisnavas know that the mahajanas mentioned above wrote about Nadiya nagari bhava; but when saying `many others’, examples from Rupa Gosvami, Sanatana Gosvami, Krsna dasa Kaviraja, Narottama dasa, Visvanatha Cakravarti and even Bhaktivinoda Thakura will be presented which support this bhava.

Hence, a noteworthy feature of this essay is that a comparison of the Vrndavana and the Navadvipa mode of raganuga bhajana is presented to form a bridge of understanding between the two schools.

·    Invocation    ·

(1)

sriman navadvipa kisora candra

ha natha visvambhara nagarendra

ha sacinandana citta caura

prasida he Visnupriyesa gaura

                                                                                  (Sri Prabhodananda Sarasvati)

" Oh handsome, youthful moon of Navadvipa! Oh Lord Visvambhara — You are the Lord of all nagaras! Oh hey sacinandana! Although You are steeling my mind, I know very well that You are Visnupriya’s golden Pranesvara."

(2).

sacira konara,                  gauranga sundara,

dekhinu akhira kone

alakhite citta,                  hariya laila,

aruna nayane bane

sei marama kahinu tore

eteka divase,               nadiya nagare,

nagari na rabe ghare

ramani dekhiya                hasiya hasiya

rasamaya katha kaya

bhaviya cintiya               mana darainu

parana rahibara naya

kona punyavati               jubati ihara

bujhaye rasa vilasa

tahara carane               hrdaya dhariya

kahaye govinda dasa

"Oh sakhi! I’ll tell you a secret: when looking from the corner of my eye, I saw the Son of saci, Sri Gauranga sundara. But when no-one was watching — He shot me with the arrow of His reddish tinted glance! And nowadays not one Nadiya nagari can remain at home; for seeing a sundari ramani, He smilingly speaks all sorts of rasamaya entreaties. While thinking over the matter, I am trying like anything to hold onto my patience — still my heart races after Him! So who is the pious, young girl who can fathom His rasa vilasa¹? Govinda dasa sais, my heart grasps her lotus feet."

(3)

Locana dasa Thakura’s Invitation

cala go sajani, piriti nagare, basati karige mora

marama na jane, dharama vakhane, caurasi bhrammibe tara

sadaa duyare, kapata haniye, khirki daraja khola

cala go sajani, niscinta haiye, adhare dekhige ala

alara bhitare, gorare dekhibi, nayana rakhibi tatha

se desera katha, e dese kabile, marame paibi byatha

se dese e dese, mesamisi ache, e katha na kaba kake

se dese e dese, anek antara, janaye sakala loke

piriti nagare, manusa ratana, viraje sahaja ghare

dharma karama, kulera acara, sekhane jaite nare

ei dasa locana, kahaye vacana, dasadik tara ala

1) rasa vilasa : conjugal, loving pastimes                                                       — Dhamali    

"Oh come sakhi! Let’s go reside in piriti nagara¹. But we’ll have to be careful, for even staunch religionists can’t fathom this realm. Let them go on wandering through eight million, four hundred thousand births. But sakhi, come! We’ll latch the front door, and fearlessly enter through a secret passage ... to see the light! Aho! Within the effulgence we’ll see Gora — ans satiate our eyes! But don’t tell about piriti nagara, lest you’ll become sad (as the people will scorn you.)

We’ll just have to keep the news of our going a secret.

Listen ...

In piriti nagara there is a jewel-like (golden) purusa, and it is easy to enter his bedroom. But first one must discard dharma, karma and wordly chastity to go — for they cannot stand beside Him. Thus Locana sais, Gora’s effulgence fills every direction."

These poems by Locana dasa, and the previous two selections from Srila Visvanatha and Govinda dasa, certainly reveal a mysterious topic that will surely puzzle most Vaisnavas. Although these three Gaudiya mahajanas are males in Gaura lila, they are talking just like young, attractive girls of Nadiya. So what does Locana mean by `piriti nagara’ (the abode of love)? And doesn’t the means to go there sound mysterious too? Because such lilas are `praccanna’(hidden within an inner-realm amongst Sriman Gaurasundara’s other pastimes), only a few fortune to know about them and fathom their sweetness. So as this volume is devoted to understanding and glorifying Sri Gauranga’s most intimate rasaraja aspect, we hope that our readers protect this lofty, controversial topic as one conceals a rare and priceless gem.

                                                                                                          — The madhukara²

1) piriti nagara: the abode of love

2) madhukara: a honey collector (bee)

A Prelude to the Lila

In the invocations first sloka, Visvanatha Cakravarti addresses Sriman Mahaprabhu as Nagarendra, the Lord amongst nagaras (flirtatious romantics), but Srila Advaita Acarya  calls Him `Nagara siromani’, the Crown-jewel amongst such personalities. Before probing deeper into the significance of these statements, however, let us speak something to help broaden our appreciation for the absolute authority which Sri Advaita wields. Although He is known for His heart-rending cries which bring about Gaura Avatara, Caitanya Caritamrta, Antya 19 goes on:

"Advaita Acarya is an experienced pujari Who knows all of the sastras imports. Thus to worship, He performs austerity, calls the Devata, and upon completing the puja, sends Him away."

Sri Caitanya spoke this riddle to disclose that His entire lila is directed by Advaita. Yet should this appear astonishing? For Advaita’s sakti, Sita Thakurani, is Yogamaya, by Whose omnipotency everything happens in Gaura lila. Thus with His inside knowledge about the Lord’s internal affairs, He reveals the following confidential siddhantas in His prayers entitled "Sri Sri Gauranga pratyanga varnanakhya stavaraja":

Verse 6

ardhacandrollasbhala kasturitilakanvitam

bhangura bhrulatakeli-jita-kamasorasanam

"Gaurasundara’s forehead is like a brilliant half-moon adorned with beautiful musk tilaka; yet below lurks His flirting eyebrow-bows which defeat the might of Kama deva’s flower arrows."

Verse 17

kotikandarpa-labanya-keli-lila-manoharam

saksatlilatanum kelitanum srngara vigraham

"Sri Gaurasundara’s prema keli is absolutely manohara¹— like that of millions of Cupids; for He is the Abode of prema keli and a srngara rasa vigraha."

Prema keli and srngara rasa renowned traits of Sri Krsna in His kisora lila with the gopa sundaris. But here Advaita’s depicting Gaurasundara in this way is remarkable. Still, He goes on:

Verse 26

nijabhava rasasvada vibasaikadasenriyam

vidagdha nagari bhava-kala keli manoramam

"Although Mahaprabhu’s eleven senses are completely overwhelmed by His own bhava, rupa and rasa — His divine keli vilasa with the clever and rasa-skilled Nadiya nagaris is simply enchanting!"

1) manohara: mind stealing

Thus Advaita reveals with whom Gauranga srngara rasa affairs take place; but who are the nagaris? The next sloka begins telling:

Verse 27

gadadhara premabhava kalakranta manoratham

sriman narahari premarasavihabalamanasam

"Gauranga keenly desires to taste the sweetness of Gadadharas prema bhava and rasa keli skill. Moreover, Sriman Narahari’s prema rasa enslaves Him."

Owing to their internal nari bhava and rupa, Gadadhara and Narahari are chiefs amongst the Nadiya nagaris, for previously they shared similar bhavas with Krsna, as Radha and Madhumati sakhi. But one might wonder: `how extensive are such moods amongst Gaura’s other associates?’ The next verse reveals:

Verse 28

sarvabhagavatahuta kantabhava prakasakam

prema pradanalalita dvibhujam bhaktavatsalam

"Bhakta-vatsala Sri Gaurahari hankers to take up his splendid kanta bhava with every bhagavata associate. Using His graceful, two arms He embraces them to award (madhura) prema."

Kanta bhava means the Lord’s mood as a lover, or amorous hero. Through this mellow we find the inner purport of Gaurangas bhakta-vatsala feature, His affectionate submission to the love of His devotees. Thus Sri Advaita says:

Verse 32

nataraja siroratnam sri nagara siromanim

asesa rasika sphujjanmauli bhusana bhusanam

"Sri Gauranga is the Crown-jewel amongst all dancers, the Crown-jewel amongst all nagaras (including Sri Krsna) — and thus the Ornament of ornaments amongst all rasika persons."

More than a mahajana, and more than the Lord’s eternal associate, Srila Advaita Acarya is saksat isvara, the Lord Himself. Thus His merciful siddhantas can benefit all. However, in His "Krsna Bhajanamrta", Srila Narahari Sarakara elaborates to reveal more about Sri Gauranga’s magnificence:

pasya pasya, niguratiniguram nirupyate

sakalendriyaih sabdhana mahantah parammmangalam

rahasyam srnvahtu sri Krsnacaitanyadevah

prakataparamananda-vigrahohapi sarvavatara

sarbhutohapi sarvavatarasakti prakasasamarthohapi

sarvavatarabyaktaye dasadasisangavanapi

radhasangaprakasam na krtavan asya

sarvavatarprakasatvam sarvaireva niscitamaste

tathapi rahasyamekam juktameva sruyatam

sri Krsnah sakalvilasa vinoda-rupa kaisoradi

guna sampannohapi strinam vanacarinam

mohanam cakara; kimetat? sri Krsnacaitanyastu

kaupinadhari dinavesah sannyasasramalankrto

hatyantadurdantam balavantam

mahavrsabhaduradurudam dhyatmavadinam

vishayandham kujoginam jadamjasara madyapam

papam candalam javanam murkam kulastriyanca

premasindhou patayamasa; anandena vaikunthopari

stapaya masa kevalam premadharayaiva

sarvesamasayam sodhittavan asurabhanca

curnitavan kimanyadva bahu bavtavyam ?

purusan eva prakrtibhavam ninaya

sri Krsnacaitanya bhavakala mohitah

srigadadhara pandita bhava darsansamudita

gopiganabhava vedantinohapi vimayinhapi

prakrtibhavairnanrtuh

                        Sri Krsna Bhajanamrta 28-11

"Look, look now I shall disclose the most secret of all secrets! So listen carefully to this confidential tattva ­— for it can deliver supreme auspiciousness to even the self-controlled mahajanas:

Sri Krsna Caitanya Deva is Himself a paramananda murati, the Essence of all Avataras, and completely capable of displaying every divine potency of any form of Bhagavan along with the servants or maidservants of such Bhagavat svarupas. Yet He didn’t disclose about His affairs with Radha (Gadadhara). This is confirmed by the learned who know about the bhavas and the tattvas concerning all Avataras. But nevertheless, please listen to a logically proven mystery:

Sri Krsna displays His vilasa (lovemaking), vinoda rupa (enticing bodily features) and all of His youthful qualities to attract the Vraja gopis into the forest — and what can be said of this?

But Sri Krsna Caitanya, wearing a kaupina and mendicant sannyasi dress, takes greater pleasure in converting the most rebellious, stubborn, bull-headed spiritualists, blind enjoyers, pseudo yogis, materialists, thousands of drunkards, sinful meat eaters, Muslims, the illiterate, as well as the chaste young girls, to drown them all in a prema samudra and send them beyond Vaikuntha’s highest regions to His supreme abode, Goloka. Only with `prema’ did He purify the hearts of all, after grinding their demoniac natures to dust! And moreover, He converted males into conceiving themselves as females. When Sri Krsna Caitanya became decorated with the ornaments of bhava, and when the moods of the Vraja-gopis bhavas overwhelmed Him, upon seeing the bhavas of Srila Gadadhara Pandita — then He converted every Vedantist and gross materialists to dance in the mood of a woman!"

                                                                                  Sri Krsna Bhajanamrta 28-11

When comparing Srila Advaita’s stavas with these passages from Narahari, a remarkable conclusion can be drawn:

Owing to His parama karuna, Sriman Mahaprabhu wishes to reciprocate with His highly exalted `kanta bhava’ with not only His intimate devotees — but with every type of grossly fallen jiva in this age of Kali!

Indeed, as Narahari’s list concludes by mentioning `kula strianca’, meaning the Nadiya nagaris, he is saying that all of the aforementioned sinners or non-devotees were promoted to Goloka Navadvipa with `nagari prema’ to dance besides Sri Gauranga in the form of a woman.

Sri Nagara siromani¹

A nagara is a playboy, or an unchaste man who loves to indulge in sensuous pleasure amongst many female companions. And, in our world, such characterless men are hardly praiseworthy. Rather, they become notorious and condemned in society.

So now a good question arises:

"Why would Svayam Bhagavan, the very emblem of dharma Himself, stoop to perform such behaviour?"

The answer we can imbibe from the Bhagavatam, 10-33-36, where the main reason for His advent is stated:

anugrahaya bhaktanam manusam dehamasrita

bhajate tadrsih krida jah srutva tatparobhavet

"In order to give mercy to the devotees, Sri Bhagavan assumes a human form to enact loving pastimes with them.  Thus, those hearing about His activities may also become attracted to the Lord."

Giving mercy, or love, to His bhaktas is Bhagavan’s sole activity and foremost source of pleasure. Hence, introspective devotees can begin to appreciate why Svayam Bhagavan becomes a nagara. For how many bhaktas would receive His greatest gift— madhura prema bhakti — if He were to display the role of an ideal, chaste husband? True, for those who want to admire the Lord as such, He certainly provides them the opportunity in Rama Avatar. For Lord Ramacandra never cast His amorous glances upon anyone accept Sita. Yet what about the forest sages who saw Rama’s immaculate beauty? After coveting the chance to serve Him as a consort, they had to wait until His advent as Sri Krsna. And only then could they fulfill their cherished ambition by becoming gopis. Hence, Krsna is more merciful then Rama. But our Sri Gauranga is far more magnanimous than even Sri Krsna, because as Sri Narahari states, in his previous "Krsna bhajanamrta” passages, he awards His most intimate prema rasa to all. And therefore, Srila Advaita Acarya‘s declaring Sriman Mahaprabhu as the greatest nagara is justly befitting.

1) Sri Nagara siromani: Gauranga, the greatest nagara (flirtatious romantic)

What Does This Book Discuss?

In the Introduction,      pages

After revealing Mahaprabhu’s svarupa as the form of Rasaraja and Mahabhava combined, three approaches to Gaura upasana¹ are presented: those of Vrindavana dasa, Krsnadasa Kaviraja and Locana dasa. Owing to Locana’s focus on Gaura’s rasaraja feature, his "Caitanya Mangala" is filled with madhurya. Locana’s birth signifies the fulfillment of Narahari Sarakara’s desire to broadcast Gauranga’s madhura pastimes with Gadadhara; thus an excerpt of Their maharasa sankirtana from "Caitanya Mangala" is inserted. But Locana’s "Dhamali" further reveals Gauranga’s intimate, madhura Navadvipa lila’s. This leads into the topic of how Gauranga’s male associates have female identities; the examples of Narahari and Gadadhara’s nagari svarupa’s are shown. Supporting evidence is presented from Kavikarnapura and sivananda Sena in context with the holi pastime. Then "Caitanya Caritamrita" shows how Gadadhara’s followers worship Gauranga in madhura rasa. Svarupa Damodara and Rupa Gosvami state that Gadadhara is directly Radha.

Chapter One,      Pages

Since Sri Krsna and Sri Gauranga are non-different, wouldn’t Gauranga posses all of Sri Krsna’s qualities? Examples from "Caitanya Caritamrta", "Dhamali" and "Caitanya caritra Maha kavya" show that, indeed, They are Both srngara rasa nayakas¹. Then Sri Gauranga Vastra harana lila and Rasa lila are described from Murari Gupta’s "Korca²" and Narahari Cakravarti’s "Sri Gaura carita cintamani." The latter discloses the wish to follow in the Nadiya nagaris’ footsteps, and Narottama dasa Thakura reveals a similar mood. Govinda dasa’s padavali³ contributes to the nagari school, but their history link Srinivasa Acarya and Jiva Gosvami as supporters. Then Narahari Cakravarti shows how it is impossible for Krsna to give up His rasika nature when becoming Gaura. Locana dasa tells that Radhika and the gopis won’t allow Krsna to escape Gokula alone, lest they will reveal all of the scandals that He left behind. So after taking on His new disquise, can Gauranga be called a sadhu? The nagaris’  purva raga for Gauranga is related in context with Srimati Radharani’s svapna vilasa: She has an astonishing dream — sees Gaura rasa raja — and races to embrace Him, even while lying in Sri Krsna’s tender embrace! Locana presents some examples of the nagaris purva raga from "Dhamali", and goes on to describe his stark fascination — "Let them call me gaura kalankini!" (scandalized by Gaura) he implores. Locana even tells why no-one should fear such disgrace. Then Vasudeva Ghosa and Govinda Ghosa describe their attraction for Gauranga in nagari bhava, followed by Murari Gupta’s testimony. Because Murari’s "Korca" serves as the basis for Vrndavana dasa, Krsna dasa and Locana dasa’s biographies of Sri Caitanya, and because he also relates about the nagari bhava of

1) srngara rasa nayakas: Amorous heros

2) korca: diary

3) padavali: Bengali poetry in rhyming metre

Nadiya, this proves that such mellows with the Lord existed from the very beginning.

Why is Nadiya nagari bhava controversial? This chapter tell why many Vaisnavas fail to understand and even take to criticizing such exalted mellows. Because Sri Caitanya is Svayam Bhagavan, His prema rasa exchanges with His eternal, svarupa sakti counterparts are natural. But taking the role of a `Yuga Avatara’, He preaches religion in the dress of a sadhu as well. Thus after explaining the inner purport of Vrndavan dasa’s warning not to openly address Sriman Mahaprabhu as a  `nagara’, the utility of both His Yuga Avatara and Svayam Bhagavan features is discussed. More evidence supporting Gauranga’s rasika nature is presented from Sri Narahari Caravarti, Sri Prabodananda Sarasvati, Sri Acyutananda and Sri Madhavi dasi, Sri Sikhi Mahiti’s sister.

Chapter Four,      Pages

As Sri Krsna is the source of all avataras, Radha is the source of every consort of His limitless Bhagavata manifestations. But Narahari Sarakara states that Gadadhara is directly Radha. Then he goes on to say that Gadadhara and Gauranga’s yugala milana is real — just as Radha Krsna’s. Nayanananda Misra’s padavali tells about the mood in which Gadadhara’s followers worship Gaura. Mahaprabhu’s sankirtana Maha Rasa tattva is related from Caitanya Caritamrta. Then Rupa Gosvami’s intimate "Stava mala" sloka is discussed in conjunction with Nayanananda’s padavali.

Chapter Five,       Pages

This chapter deals with Gaurasundara’s intimate sambhoga affairs.

Examples from "Dhamali" tell about the nagaris’ svapna sambhoga, conjugal exchanges during dreams. "Ujjvala nilamani" reveals how such dreams are vivid as waking experiences. Vasudeva Ghosa and Narahari Cakravarti tell of their svapna sambhoga experiences. Pradhurabhava sambhoga is discussed, followed by Gauranga’s nari vesa milana with the nagaris. Gauranga’s prema vilasa vivarta bhava shows how He can even assume the kanta role as His bhaktas reciprocate in kanta bhava. Gadadhara and Gauranga’s prema vilasa vivarta lila illustrates. Gora nama madhuri is explained.

Chapter Six,       Pages

A comparison of Rupanuga devotion and Nadiya nagari bhava.

Rupanuga Vaisnavism essentially means Radha dasya seva. However, Radha is Gadadhara in Gaura lila. Hence Rupa Gosvami follows Gadadhara; Locana’s padavali affirms and Svarupa Damodara gives more evidence. Because the Six Gosvamis are Gauranga’s ‘sancarita sakti’ it is only natural that they follow Gauranga’s `mula sakti’ Pandita Gadadhara. Sanatana Gosvami states that Gadadhara’s wealth lies in nagari prema. Sri Rupa tells about the special `prema ratna’ that Gauranga is distributing. Nayananda Misra confirms that this is nagari prema. How did the Gosvamis secretely reveal Gauranga’s intimate affairs? Rupa Gosvami supports Gauranga’s rasaraja feature. Sri Caitanya instructed the rasaraja doctrine to Vamsivadana. Sri Caitanya is non-different from Rasaraja Sri Krsna. A commentary of Rupa’s`anarpito carim’ sloka along with Locana’s padavali. Some asta kala lila tattva. The essays key note.

Chapter Seven,      Pages

More supporing versions from Gaudiya Acarya s such as Jagannatha dasa Babaji, Bhaktivinoda Thakura, and Siddha Caitanya dasa Babaji. One amusing encounter between Caitanya dasa Baba and Bhagavan dasa Baba.

Chapter Eight,      Pages

Sri Nityananda Prabhu as a nagara and as a nagari. A closer look into Srila Vrndavana dasa Thakura’s intimate siddhantas found in "Caitanya Bhagavata."Visnupriya’s kaAdita bhava.

Introduction

tabe hasi tare prahbu dekhaila svarupa

rasa-raja, mahabhava dui ekarupa

                        Caitanya caritamrta, Madhya 8

"Then Caitanya Mahaprabhu smiled and showed Ramananda Raya His svarupa — The form of Rasaraja and Mahabhava combined!"

Thus our Gauranga is revealed ­— He is Krsna, the rasaraja amongst the Vraja-gopis, plus Mahabhava Svarupini Radha, combined in one form.

Volumes One and Two¹ have already dealt with Gauranga’s Radha bhava aspect at length; so now a study of His rasaraja trait begins.

Although many biographers have written about Caitanya Mahaprahu’s lila, the works of Vrndavana dasa, Krsna dasa and Locana dasa are the foremost. In "Caitanya Bhagavata", Vrndavana dasa Thakura mostly depicts Gauranga in His ‘Bhagavata’ feature (as being the supreme Lord); in "Caitanya Caritamrta", Krsna dasa Kaviraja’s  Gauranga is the `Radha bhava’ Nilacala vihari of Svarupa Damodara,  Raya Ramananda, Rupa and Sanatana; yet in "Caitanya Mangala", Locana dasa Thakura’s `Gora’ is Gadadhara and Narahari’s hrdaya vallabha², rasaraja.

Thus each author depicts a different mood of Sri Caitanya which are relishable and parama upasya (supremely worshipable). Yet in Sri Locanana’s Rasaraja Gora we find a special madhurya. The following story³ shows an example why:

Locana dasa was Sri Narahari Sarkara’s disciple, and under his direction he wrote "Caitanya Mangala" in the secluded place known as Ko grama. Upon finishing the task, he returned to the feet of his guru at Srikhanda. But as Narahari read locana’s manuscript, He said: "Vrndavana dasa Thakura has already written a biography about

Sri Caitanya called "Caitanya Mangala". So if you want to distribute your book, you should go on and take his permission first." Thus Locana went to see Vrndavana dasa and presented his writing after informing him about  his Gurudeva’s order. But as Vrndavana dasa read Locana’s manuscript, he came to the following lines and fainted in the ecstasy of prema:

abinna caitanya se Thakura avadhuta

sri nityananda vanda rohinika suta

"I offer my pranamas to Thakura Nityananda nvadhuta, Who is non-different from Sri Caitanya, and Who was previously known as the son of Rohini." Upon regaining consciousness, Vrndavana dasa said: "Locana, by Sri Narahari’s grace you have exactly understood the position of Lord Nityananda — for indeed, His body is non-different from Sri Caitanya’s. From today onward your book shall be celebrated as

"Caitanya Mangala", and mine will be called "Caitanya Bhagavata."

1) Volumes One and Two: "Why did Caitanya Mahaprabhu come, and what did He come to give?"

2) hrdaya vallabha: heart’s beloved

3) Story: taken from "Srikhander pracina Vaisnava" (The Ancient Vaisnavas of Srikhanda) by Sri Gaura gunananda Thakura (published in 1910)

At the time of this incident, Vrndavana dasa’s book had already gained vast acclaim amongst the Vrndavana Vaisnava community under the name of "Caitanya Mangala". And hence, Krsna dasa Kaviraja refers to it as such in his Caitanya Caritamrta. Bit owing to Locana’s describing Gaura-Nityananda as being non different, Nityananda prana, Sri Vrndavana dasa, couldn’t hold unto his patience for showing gratitude. Thus he wrote a personal declaration for the Vrndavana Vaisnavas which stated:

"My book describes Sri Gauranga’s Bhagavata feature, whereas Sri Locana dasa’s describes about His madhurya. So henceforeward my book should be called "Caitanya Bhagavata", and his should be known as "Caitanya Mangala."

And thus it came to be. Here is a sample of Caitanya Mangala’s madhurya.

angera chataya jena               dinapara pradipa hena

tahe lila rasera vilasa

koti kusuma dhanu               jiniya vinoda tanu

tahe kare premera vikasa

kamini mohana vesa              herite bhulila desa

madana vedana heri paya

ki diba upama tara               karuna vigraha sara

hena rupa mora gora raya

"Gauranga effulgent limbs dazzle like the sun ... and herein we find His rasa vilasa (conjugal pastimes). His bodily splendor defeats millions of Cupids weilding their flower bows ... and herein He displays His prema. His dress is kamini mohana (alluring to every pretty, young girl of Nadiya) — for they forget everything else when viewing Him! Thus cupid pierces their hearts and binds them to His lotus feet. So who can compare with Gora Raya? His beautiful form is the essence of all karuna."

Sri Narahari Sarakara’s Longing

Locana dasa Thakura’s birth signifies the fulfillment of Sri Narahari’s ambition to broadcast Gaura and Gadadhara’s madhura lilas. Narahari’s following pada relates:

gaura lila darasane               vancha bara  haya mane

bhasaya likhiya kichu rakhi

mui ati adhama               likhite na jani krama

kemana koriya taha likhi

gaura gadadhara lila              adraba karaye sililaa

kara sadhya koraye varnana

sarada likhena jadi               nirantara nirabadi

kahe sadasiva pancanana

e granta likhibe je              ekhana janme nai se

janmite vilamba ache bahu

bhasate racana bale               bhujibe loka sakale

kabe vancha puraibe pahu

kichu kichu pada likhi              jadi iha  keha dekhe

prakasa karaye prabhu lila

narahari pabe sukha               ghucibe manera dukha

granthagane darabibe sila

"In seeing Gauranga’s lila, a great hankering awakens to note down some of these events. But haya! I am very fallen, and I don’t know the means to write them; so how will this great task become accomplished?

Gaura and Gadadhara’s lila can melt the stones — yet who can narrate them? If Goddess Sarasvati as the five-faced Sada siva unceasingly dictates — still these lilas would remain unsatiated! Haya! The fit person to write hasn’t taken birth ... and still a long time awaits! Oh when will Gaura and Gadadhara’s pastimes become narrated for the people? Oh when will Caitanya Mahaprabhu fulfill my desire? Meanwhile, I shall write a few padas¹ to broadcast His lila; Thus my melancholy will vanquish. For seeing the stone-like hearts of my readers melting — Narahari will become very happy."

This sample from "Caitanya Mangala" shows how Locana wrote to fulfill his gurudeva’s ambition:

srivasera ghare nace rasa vinodiya

gaura dehe syama tanu dekhe bhaktagana

gadadhara radha-rupa haila takhana

madhumati narahari haila sei kale

dekhiya Vaisnava saba hari hari bole

vrndavana prakasa haila sei stane

go gopi gopala sange sacira nandane

purbe sakha sakhigana je rupa achila

rasa asvadane prahbu sange bhakta haila

abhinava kamadeva sri raghunandana

aprakrta madana boliya je ganana

tara saba purba deha dhari prahbu beri nace

dekhi anya avatara sangi saba kade

navadvipa udaya korila vraja-cande

khone gaura lila gadadhara kori sange

khone syama lila radha rasa rasa range

camatkara lila dekhi saba bhaktagana

hari hari jaya bole ghane ghana

"Rasa vinodiya² Gauracanda dances at Srivasa’s house ... but as the bhaktas see Gaurasundara turning into syamasundara — Gadadhara becomes Radha! Then Narahari becomes Madhumati sakhi ... and all of the cows, the gopas and the gopis all join to relish mellows with Sri Sacinandana — just as they did previousely in Vraja. Sri Raghunandana becomes the ever-youthful Kamadeva, Vrndavana’s transcendental  cupid. Thus everyone takes up their Vrndavana svarupas to dance around Mahaprabhu. Aho! The associates of other Avataras will cry to see Vrndavana’s canda³ rising in Navadvipa! Thus Gauranga performs pastimes with Gadadhara ... but sometimes They become Radha and syama to enoy the Rasa lila ranga⁴. Seeing such camatkara pastimes, the bhaktas loudly cry, `Hari, Hari!’ and `Jaya, Jaya!’"

1) padas: poetry written in rhying Bengali meter

2) rasa vinodiya: The Enchanter of the Rasa lila (here, Gaura takes on His rasa-raja feature)

3)Vrndavana’s canda: Sri Krsna the moon of Vraja.

4) Rasa lila ranga: the Rasa lila amusement

Sri Locana’s Dhamali Goes deeper

Camatkara means amazing or fantastic, and Locana dasa labels Gaura and Gadadhara’s sankirtana pastimes as simply camatkara. For even Caitanya Bhagavata and Caitanya Caritamrta don’t describe that Radha, Krsna and all of Their gopi associates directly manifest in Sriman Mahaprabhu’s pastimes. But Locana’s pen goes on. After narrating "Caitanya Mangala", he presents an even deeper look into Sriman Gaurasundara’s camatkara Nadiya vihara in "Dhamali". Here Locana’s Gora is a Kamera kora¹, a Rupera nagara², a Rasa sagara, a Citta cora³, Manohara⁴ and the Nava kisora natabara⁵ whose stealthy glances steal Nadiya nagaris’ hearts! But there is a mystery about the nagaris madhura bhava with Gauranga that needs clarification: These bhavas that Sri Locana and other Gaudiya Mahajanas describe are shared amongst Gauranga’s male assoiates who have subtle nagari forms within.

Gauranga’s Associates Have Female Identities

Although the Vraja gopis have assumed male forms in following Krsna’s transformation to Gora — still they cannot forget their previous madhura tie. Rather, with Gora, these loving pastimes continue to unfold with newer and newer relish. Thus their internal nagari bhava is their overriding service mood to him. Concerning Narahari Sarakara and this tattva, Sri Gaura gunananda Thakura of Srikhanda explains as follows:

"Sri Narahari Sarakara Thakura serves and gives pleasure to his prana Gauranga in basically three ways: 1) in his parsada svarupa as Narahari, 2) in his previous nitya-siddha svarupa as Madhumati Sakhi, and 3) in his nagari svarupa. In this connection the last bhava, (the nagari bhava or kanta bhava) is his internal mood; the other two moods are occassional. Sriman Mahaprabhu prakata svarupa (visible form) is the visaya (affectionat object) of Narahari’s kanta bhava. Hence this kanta bhava forms his stayi bhava (permanent mellow) and the other rasas of dasya, sakhya and vatsalya bhava are contained within it."

                                                                       — Srikhanda’s pracina Vaisnavas

Gadadhara Pandita’s Nagari Svarupa

In Gaura ganodesa dipika, Srila Kavikarnapura confirms this siddhanta in context with Gadadhara Pandita as follows:

sri radha prema-rupa ja pura vrndavanesvari

sa sri gadadharo gauravallabhah panditakhyah

pura vrndavane laksmih syamasundara ballabha

sadya gaura prema laksmih sri gadadhara pandita

"She Who was previously Vrndavanesvari Radha is now Sri Gauranga ballabha,

1) Kamera kora: reservoir of divine kama

2) Rupera nagara: A Handsome flirtatious romantic

3) Citta cora: mind thief

4) Manohara: Simply enchanting

5) Nava kisora natabara: dressed like an attractive, youthful dancer

Gadadhara Pandita. And She Who was Vraja Laksmi Radha, Sri syamasundara vallabha, now appears as Sri Gauranga’s prema Laksmi Gadadhara."

Thus Gadadhara Pandita Gosvami (although being directly Vrndavanesvari Radha) has a female Navadvipa svarupa referred to as Gauranga’s prema vallabha, or prema Laksmi.

Sri Sivananda Sena’s Contribution

Now one might ask, "How does Srila Kavikarnapura know about Sri Gadadhara’s nagari svarupa, and why would he write about such mellows?"

The answer is that he imbibed this intimate service mood from his father, sivananda Sena; and his writing about such bhavas simply represents the overall trend of many of Gauranga’s eternal associates. For example, sivananda, who was previously Campakalata Sakhi in Vraja (one of Radha’s asta sakhis), now worships Vrndavana’s yugala kisora in the form of Gadadhara and Gauranga. His following pada explains about this:

jaya jaya pandita gosai

jara krpabale se caitanya guna gai

hena se gauracandre jahara piriti

gadadhara  prananatha jahe lage khyati

gauragata prana prema ke bujhite pare

khetra vasa Krsna seva jara lagi chare

gadaira gauranga gaurangera gadadhara

sri rama janaki jena eka kalebara

jena eka prana radha vrndavana candra

tena gaura gadadhara prema taranga

kahe sivananda pahu jara anurage

syama tanu gauranga haiya prema mage

"All glories, all glories to Gadadhara Pandit by Whose mercy we can sing Sri Caitanya’s glories. His love is such that Gauranga is celebrated as `Gadadhara’s prananatha’ (the Lord of Gadadhara). Aho! As Gadadhara’s life is Gauranga, His prema is unfathomable — for He renounced his ksetra sannyasa<sup>1</sup> and Gopinatha’s seva smply for Gaura.  Thus Gauranga belongs to Him, and He belongs to Gaura — as Rama and Sita are one body. And just as Radha and Vrndavana candra are one life — so do the waves of prema capsise from Gaura and Gadadhara’s lila. Thus sivananda says: `Krsna eagerly discards his syama body and becomes Gauranga simply to beg for Radharani’s prema!"

In the Holi pastime, sivananda Sena elaborates about Gaura and Gadadhara’s madhura tie as follows:

holi khelata gaura kisora

rasabati nari gadadhara kora

sveda bindu mukhe pulaka sarira

bhava bhore galatahi nayane nira

vraja rasa gaota narahari sange

 mukunda murari vasu nacata range

khene khene murchai pandita kora

heraite sabacara bhave bhela bhora

1) ksetra sannyasa: Gadadhara’s vow to never leave Sri Ksetra (Jagannatha Puri)

nikunja mandire pahu kayala vithara

bhume pori kahe kaho murali hamara

kaha govardhana yamunaka kula

kaha malati juthi campaka phula

sivananda kahe pabu suni rasa vani

jaha pahu gadadhara taha rasa khani

"Gaura kisora plays Holi in the arms of the rasavati nari ¹, Gadadhara. Aho! Drops of pespiiration cover Their faces, They horripulate and tears flow from Their eyes due to intense bhava! As Gauranga sings abut Vrndavana’s mellows with Narahari — Murari, Mukunda and Vasudava Ghosa dance in ecstacy! But Gauranga repeatedly faints falling in Gadadhara’s lap! And seeing them the priya bhaktas swoon! Then comming to rest in a nikunja mandire, Gauranga faints again after exclaiming: `where is My murali, the Yamuna and Govardhana? And where are Vrndavana’s malati, juthi and campaka flowers?’ Thus sivananda says, `listen to my rasa vani ²; with Gaura and Gadadhara we find a jewel mine of divine mellows!’"

Here sivananda’s addressing gd as a `rasavati nari’(young rasika damsel) is significant, for if he had not seen such  form, and revealed about it, who would have known?

Gadadhara’s Followers are actually female

Krsna dasa Kaviraja confirms about Gadadhara’s rasavati nari svarupa by revealing that Gadadhara’s followers have femala identities as well:

paAditera gana saba bhagavata dhanya

prana vallabha sabhara sri Krsna caitanya

                                               C.C. Adi 12

"All of Gadadhara’s followers are maha bhagavatas and very fortunate — for their prana vallabha is Sri Krsna Caitanya."

Most of us will pass over this siddhanta without recognising its deep purport. But here the point to grasp is that only a woman adresses her beloved as `prana vallabha³’

And hence, we learn that Srila Gadadhara’s followers have a hidden female svarupa within their male forms. So Gaura is their prana vallabha — just as Krsna is gopi jana vallabha, the beloved of the gopis. When pondering this topic, we see that Gaura and Krsna’s pastimes unfold in a parallel pattern: for a Sri Radhika is the source of all Krsna’s kantas the Nadiya nagaris expand from Gadadhara. And this key Caitanya Caritamrta verse presents the evidence. Yet, Sri Sanatana Gosvami comes o the same conclusion in his "Sri Radha Gadadhara astakam", verse 2:

navarasacalacittam nagaripremavittvam

pramadarasikabhupam naumi radhasvarupam

"I offer my prostated obeisances unto Srila Radha-Gadadhara Whose heart is always restless to relish the ever-new expressions of madhura rasa. He is the Lord of all rasika enjoyers whose wealt lies in nagari prema."

1) rasavati nari: a young, rasika damsel

2) rasa vani: rasa-filled message

3) prana vallabha: dearly beloved (masculine)

Srila Gadadhara’s disciple, Sri Yadunatha dasa, also states:

panditasya ganah sarve srngarartha kalevarah

"All of Gadadhara Pandita’s followers have female forms meant for exchanging srngara rasa (conjugal pastimes)."

                                               — Gadadhara Pandita Gosvamira sakha-nirnayamrta

In his `Korca’ (diary), Sri Svarupa Damodara says:

avanisurabarah sri panditakhyo jatindrah

sa halu bhavati radha sri gauravatare

narahari sarkarasyapi damodarasya

prabhu nija dayitanam tacca saram matam me

"There is no doubt, Sri Gaura Gosvami, the greatest of the brahminas, known by the title of `pandita’, is Radha in Gauranga’s pastimes. This is the conclusion of Sri Narahari Sarakara, Mahaprabhu’s other priya bhaktas, and myself."

Sri Rupa Gosvami says:

vrndavanesvari radha premabhakti pradayini

kalou srigauradayitah srigadadharapanditah

                                                                       — Srila Radha-Gadadharadasakam, sloka 1

"Vrndavanesvari Radha, the Bestower of prema bhakti, now appears in Kali yuga as Sri Gauranga’s confidante, Srila Gadadhara Pandita."

Chapter One

Krsna and Gauranga are Non-different

All of the Mahajanas certainly affirm:

vrajendra nandana jei               sacaryai suta haila sei

"Vrajendra nandana Sri Krsna is saci nandana Sri Gauranga."

But when investigating closer, we find that Gauranga’s qualities even exceed Krsna’s, owing to His beeing the form of Radha and Krsna combined. Hence, Srila Kaviraja Gosvami adressess Gauranga as the `paratattva sima¹’, the highest limit of Supreme transcendence. And he also states:

na caitanyat Krsnajjagati paratattvam paramiha

                                                                       C.C. Adi 1

"There is no higher feature of Sri Krsna’s divinity than that found in Sri Caitanya’s."

So now a question arises:

           

"Since Gauranga is Krsna’s highest feature, wouldn’t all of Krsna’s best qualities be found in Gauranga as well? For example, as Krsna is deeply attached to the Vraja gopis and loves to enoy parakiya rasa exchanges with them, is Gauranga able to display smilar pastimes?"

If the answer were "No", then certainly we would have to say that the Kaviraja is mistaken - Sri Krsna must be the paratattva sima, and not Gaura; for when considering the splendour of Sri Krsna’s Rasa dance with the gopis, what could match this?

But why should we doubt the Kaviraja’s version? Rather, let us now begin to examine the sastric evidence which reveals that, like Sri Krsna, Sri Gauranga has the same rasika nature.

In Caitanya Caritamrta’s Chapter 4, Srila Kaviraja Gosvami presents the verses which form the basis of our discussion:

sri Krsna caitanya gosai vrajendra kumara

rasamaya murti Krsna saksat srngara

sei rasa asvadite kaila avatara

anusange kaila saba rasera pracara

"Sri  Krsna Caitanya Gosai is that selfsame Rasamaya Bhagavan, Vrajendra Nandana,

1) paratattva sima:

ataeve caitanya gosai para tattva sima

tare khirodasayi kahi ki tara mahima

                                                           C.C. Adi-2

"Therefore Caitanya Gosai is the Paratattva sima; and since even Ksirodasayi Visnu praises His glories what more can be said."

Chapter One

Who is srngara rasa (conjugal love) personified. And He has specifically come to

relish srngara rasa. Yet, in so doing, He promotes all of the other rasas too."

Thus Gauranga and Krsna are both srngara rasamaya (The Embodiment of erotic pleasure). And moreover, Gauranga’s advent is specifically linked with His tasting srngara rasa, as Krsna did wih the gopis. To substantiate, Krsna dasa next quotes Gita Govindam:

visvesamanuranjanena janayannandam indibara

sreni syamala komalairupanayannangair anangotsavam

scacchandam vrajasundari bhirabhitah pratyangal ingitah

srngarah sakhi murtimaniva madhou mughdho harih kridati

"Oh sakhi, just look! In Caitra, the month of madhu (spring), our Sri Krsna appears just like a srngara rasa murti. With His soft, blue lotus hued body He is inaugurating Ananga’s utsava¹ amongst the shapely Vraja sundaris as they embrace all of His limbs!"

Then Srila Kaviraja Gosvami returns to Gauranga to equate Him with Krsna:

sri Krsna caitanya gosai rasere sadana

asese visese kaila rasa asvadana

                                               C.C. Adi 4

"Sri Krsna Caitanya is an Abode of rasa — for His rasa asvadana (relishing mellows) extends extensively and unlimitedly."

This covered language hints ar every form of rasa imaginable. Krsna dasa Kaviraja is very clever. After equating Gaura with Krsna, he doesn’t directly say how srngara rasamaya Gauranga enjoys srngara rasa; for this would expose Him to the ignorant scrutiny of the masses. Rather, he says: `asese visese’ (in all sorts of unlimited ways) so that only the rasika bhaktas can understand the matter. Or, to put it in his own words:

e saba siddhanta gura kahite na juyaya

na kahile keha ihara anta nahi paya

ataeva kahi kichu koriya nigura

bujhibe rasika bhakta na bujhibe mura

hrdaya dharaye je saitanya nityananda

e saba siddhanta sei paibe ananda

                                               C.C. Adi 4

"All of these siddhantas are very confidential and should not be discussed openly. Yet if I don’t tell about them, no-one will understand. Therefor I am writing these intimate topics in such a way that the rasikas² can understand, and the unintelligent won’t. Those holding Caitanya and Nityananda in their hearts will be happy to hear these siddhantas."

Although he hints about it throughout Caitanya Caritamrta, Krsna dasa Kaviraja wasn’t deputed to reveal Sri Gauranga’s rasaraja trait; this task he has saved for

1) Ananga’s utsava: rati keli

2) rasikas: Those bent on understanding and relishing the Lord’s intimate, loving exchanges with His devotees.

Chapter One

Locana dasa  and others. When requested by the Vrndavana Vaisnava community to

write about Caitanya Mahaprabhu’s concluding pastimes, Krsna dasa predominantly depicts Gauranga’s Radha bhava feature in a lila filled with viraha feelings for Krsna. Indeed, this version is camatkara and rasa purna (fascinating and filled with rasa). Yet it is noteworthy that these descriptions center on only half of Sriman Mahaprabhu’s rasaraja / mahabava personality.

Yet, Srila Kaviraja Gosvami does begin his prabatika (early morning) Gaura kirtana pada saying:

smaraye nava gauracandra nagara vanayari

"Just remember youthful Gauracandra, Nagara vanamali."

And in Caitanya Caritamrta’s 17th. Chapter, he tells about Gauranga’s sambhoga as follows.

vidya saundarya sadhesa sambhoga nrtya kirtanaih

prema nama pradannais ca gaura divyati jauvane

"In His youth, Sri Gauranga’s knowledge, beauty, fine dress, sambhoga, dancing and sankirtana all flourish in the distribution of prema and the Hari nama."

The term `sambhoga’means Gauranga’s conjugal affairs, which are a prime feature of His youthful pastimes. Although Caitanya Caritamrta only slightly touches on Gauranga’s mid-kaisora sambhoga activities here, Locana dasa  depicts these scenes with colorful detail. Here is a sample from Dhamali:

amara gauranga nace hema kironiya

hemera gache premera rasa parche cuyaiya

tara thamka kakala baka madhura makha hasi

rupa dekhite jati kula harai harai vasi

adhuta natera thama gora angera chata

rupa dekhite hura pareche nava jubatira ghata

mana maila kula dubila baiche premera bana

locana bale madana bhole ara ke ache ana

"As my Gauranga dances, His prema rasa seeps from His brilliant, golden effulgence— like nectar-honey oozing from a golden desire tree. nha! What a form! His hips are cocked crooked, while a sweet, spreading smile adornes His face. Thus seeing His mohana rupa (enticing form) — my familly attachment is going ... going ... gone! What amazing dancing poses and bodily effulgence! The young kisori girls of Nadiya are simply stunned! ... Their minds are churning ... their family ties sinking ... and Cupid’s arrows sail! Locana says, since even Cupid is spellbound — who can remain sober?"

Sri Kavikarnapura’s Contribution

Sri Gaura kisora’s madhura pastimes at Srivasa Angana thus unfold in Srila Kavikarnapura’s "Caitanya carita Mahakavya", Chapter 6:

"Aho! Gaurasundara begins His madhura dancing! Wearing golden rings on His fingers and jeweled armlets and bracelets on His lovely arms, His beauty forms an

Chapter One

indescribable picture. Even Cupid is enchanted. His palms look like blooming red lotus, His bodily effulgence streams out in waves and His broad chest appears like the golden peak of Mount Sumeru. Gaurasundara’s lips are very sweet to behold, His silken dhoti hangs in elegant folds, and a chain of ringing bells dangle over His nitamba¹. Aho — He is the Crown-jewel of all dancers. Thus vilasa rasika Gauracandra stimulates the moods of madhura rasa, as if He were Ananga (Cupid) himself. nha! The sound of mrdangas, karatalas, jingling ankle bells and enchanting singing mixes along with the high pitched ulu ulu vibrations emanating from the lotus lips of young brahmina women. And now as they ecstatically watch Mahaprabhu’s dancing, their bodies erupt with goose bumps. Thus taking up ankle bells in their hands, they ring them and sing madhura songs with their alluring, kokila-like voices."

Srila Kavikarnapura goes on:

aslosaih katica tathaisa kanscidanya

nacumbaistadanca carbbitaistathanyan

iteyavam paramkrpanidhih sutrptan

cakre sadvilasitalilaya mahatya

                        Chapter 6, verse 92

"In showing His magnficence, the Jewel of mercy, Sri Gaurasundara, embraced some bhaktas, kissed others and then transferred His chewed pan into their mouths. Thus He performed lila vihara to His full satisfaction²!"

Sri Gauranga’s vastra harana lila

In his "korca", Part 2, Chapter 10, Sri Murari Gupta further relates about such affairs:

Translation: "Then those brahmina Vaisnavas went to bathe in the Suradhuni Ganga,

and after finishing their Hari puja, they returned to Gauranga’s house at dusk. Gaurahari danced, sang and performed vihara with them. And as He embraced them with His lotus-arms, He began ecstatically rolling on the ground with them too! Aho! Overtaken by waves of ecstacy, Gaurahari danced lika a lion, and while holding Srivasa’s hands, He swiftly led him away. But back at the kirtana, Haridasa and the other bhaktas became surprised and stunned when no longer seeing the Lord! So they began seaching, yet they could not find Him. Understanding their melancholy, the Supreme Prabhu again returned in their midsts. Thus the bhaktas eagerly surrounded Sriman Mahaprabhu; yet seeing Him just like Vanamali Sri Krsna, they began to offer prayers in gopi bhava as follows:

`Oh hey Bhagavan Mahesvara (siva)! Please bestow Your mercy so that He (Gaura) may become our Vallabha (lover).’

Thus understanding their minds, Sri Krsna Caitanya began vastra harana (stealing their clothes), and similar related lilas. Later, during mid-evening on another occassion, the bhaktas Rasa data (Bestower of loving mellows), Rasika Sriman Mahaprabhu (using His wo lotus hands) stole their clothes rendering them naked! And after performing krida ³ with them, the Lord returned their garments. Then these

1) nitamba: buttocks

2) Full satisfaction: Such exchanges are only possible with the nagari svarupas of these bhaktas.

3) Such krida (love making) is only possible with the unseen nagari svarupas of theses bhaktas.

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bhaktas redressed en enjoyed vihara with Mahaprabhu in paramananda! Returning to

His Hari nama sankirtana, Sri Gauracandra fully purified their hearts with the rays of His maha ujjvala golden effulgence!"

Srila Kavikarnapura also mentions this lila in his "Caitanya carita Maha Kavya".

Gaurasundara’s Rasa Lila

Krsna performed Vastra harana lila to assure the gopis; thus they learn that Krsna accepted their prayers — He will become their Prana vallabha (hearts beloved). Then Rasa lila follows. Similarly, Gauranga performed vastra harana lila to offer His bhaktas the same assurance. So it isn’t surprising that Narahari Cakravarti describes Gauranga’s Maha Rasa sankirtana pastimes in his "Gaura carita Cintamani".

yamuna puline rasa vilasadi je rupa korila syama

sei rupa gora suradhuni tire rocila rasera dhama

laja kula bhaya saba teyagiya nadiya nagari jata

manorathe cari cale juthe juthe eraya kantaka sata

praphulita haiya dhainu kahara pane na palati dekhi

lohara pinjara haite jemana palaya navina pakhi

jaiya turite nayana bhariya dehinu gaura raya

jubati mandali majhe saje bhala ki diba upama taya

nana jati jantra baje caridige sukhera nahika para

gaoye madhura sura narigana barise amiya dhara

o mukha kamala madhu pane mati mo punah nacinu sukhe

narahari natha ta dekhi hasiya amare korila buke

"Just as syamasundara enjoys Rasa vilasa and other pastimes near the Yamuna’s banks, Sri Gora’s Rasa dhama rests beside the Suradhuni Ganga. Last night, many groups of Nadiya nagaris renounced their shyness, chastity and fear ­— as their Gaura anuraga carried them over hundreds of obstacles. They were joyful as they secretly flew like young birds released from a cage. And seeing Gauranga Raya, their eyes became satiated with His darsana ananda. Aho! Who can describe His beauy amidst these beautiful women? Then the nagaris surrounded Gauranga and played many instruments with boundless pleasure. Meanwhile, the devis of heaven sweetly sang as nectar sprinkled from the sky. So while repeatedly drinking the inoxicating madhu from Gauranga’s lotus-face (by kissing Him) I danced in jubilation. Then Narahari’s Lord, Sri Gauranga, smiled and embraced me to His chest."

Purport:

This madhura scene unfolds in Srivasa Thakura’s flower gardens beside the picturesque Ganga. The nagaris described here are Gauranga’s male associates who have arrived at Srivasa Angana in the mood of abhisarika ramanis (young, married girls who secretly fled home home to meet Gauranga.) As the sankirtana begins, it appears that a group of men are performing congregational chanting. But as the moods of Vrndavana overtake Gaurasundara and as He dances into the moonlit garden — the devotees follow to assume their nagari svarupas. Thus Maha sankirtana Rasa begins.

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Narahari Cakravarti’s Madhura bhava

Narahari (Ghana syama) Cakravarti is the grand-disciple of Visvanatha Cakravarti. Knowing wel the Post-Caitanya  period of Gaudiya Vaisnava history, he has skillfully documented this era in "Bhakti Ratnakara". Thus, as an experienced Gaura bhakta initiated in Sri Narottama dasa Thakura’s parampara, his siddhantas certainly match those of his previous masters. In his asta kala gaura lila book entitled "Gaura carita Cintamani", (amongst nearly 150 other nagari padas) he has revealed his heart’s firm resolution as follows:

nadiya nagariganera carane          mati rohu mora jivane marane

emana kakhana na dekhi na suni          priya lagi saba tiyagiya amani

gaura preme tanu gathita sabara          ke bujhibe iha sakati kahara

ei asa naraharira hiyaya          ei sabara guna gaiye sadaya

"In life or in death my mind rests at the lotus-feet of the Nadiya nagaris. I have never seen such renounciation; for they quickly forsake everything for their priya Gauranga’s seva. Their bodies are molded from Gaura prema; so who can estimate their sakti? Thus Narahari always desires to sing their glories."

Sri Narottama dasa Thakura depicts a similar mood:

kancana darpana               varana sugora re

bara vidhu jiniya bayana

duti akhi nimitha               murukha vara vidhi re

na dile adhika nayana

hari hari kene va janama haila mora

kanaka mukura jini               gora anga suvalani

heriya na kene hailam bhora

ajanulambita bhuja               vanamala virajita

malati kusuma suranga

heri gora murati               kata sata kulavati

hanata madana taranga

anukhana premabhare               se ranga nayana jhore

na jani ki jape niravadi

visaye avesa mana               na bhajinu se carana

vanchita karila more vidhi

nadiya nagari               seha bhela vrajapuri

priya gadadhara bama pasa

mohe natha angikuru               vanchakalapa taru

kahe dina narottama dasa

"Oh re (Sakhi)! Gaura’s lovely complexion shines like a golden mirror, and His face defeats the splendour of the moon. But what a fool is the Creator — for He only gave me two eyes which blink! Oh Hari! Why was I ever born in the first place? Gora’s strongly-shaped limbs defy the elegance of a golden mirror. So why couldn’t I become overwhelmed by seeing Him? His arms extend to His knees, a forest garland graces His neck and malati flowers decorate His hair. Thus seeing Gaura’s splended murati — hundreds of kulavati ramanis¹ become drenched by Cupid’s splashing waves. Tears incessantly stream from Gora’s eyes, and what sort of mantra does He

1)       kulavati ramanis: chaste housewives

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repeatedly utter? nha! Providence has deprived me — for owing to my absorbtion in

maya I couldn’t understand the melows of His carana seva. But aho! As priya Gadadhara stands on Gauranga’s left side — Nadiya beomes transformed into Vraja! Fallen Narottama says: Oh vancha kalpa taru Gora, Oh Natha (Lord), please accept me."

Sri Govinda dasa’s Contribution

sri nanda nandana            gopijana vallabha

sri radhika nayaka nagara syama

so saci nandana             nadiya purandara

sura munigana mano mohana dhama

jaya nija kanta               kanti kalevara

jaya nija preyasi bhava vinoda

vraja tarunigana              locana mangala

nadiya badhugana nayana amoda ¹

"Our sacinandana is Nandanandana, Gopijana vallabha, Radha’s nayaka and Nagara syamasundara. He is full with all opulences in Nadiya; thus He is the attractve pleasure abode for all the munis and devatas. So all glories to His kantas (sweethearts), to His effulgence, and to His beautiful form! And all glories to the mind enchanting bhavas of His consorts — for He is Auspiciousness personified. For the Vraja tarunis’eyes, and Pleasure personified for the Nadiya nagaris."

This madhura pada is instructive not only because it likens Radhika’s beloved Nagara syama with Sri sacinandana — but it also equates Krsna’s kantas (sweethearts), along with their vinoda bhavas (enchanting moods), with Gauranga’s kantas. In other words, the Nadiya nagaris are non-other than the Vraja gopis. Thus, from this perspective a vast new relish of Gauranga’s pastimes opens. Vaisnavas traditionally sing this popular song before listening to the Bhagavata. Yet moreover,  Sri Govinda dasa is acclaimed as one of the greatest Vaisnava poets to ever appear. As the son of Caitanya Mahaprabhu’s associate, Ciranjiva Sena of Srikhanda, Govinda dasa wrote during the peak of a renaissance when Gauranga’s prema dharma was resurging in Bengal after gaining remendous momentum in Vraja from the Six Gosvamis’preaching. During this era many other rasika Gaudiya Mahajanas also helpt to increase the breadth and the depth of Sriman Mahaprabhu’s prema ratnakara (ocean of prema rasa) With their extensive contribution of Vaisnava padavali. For indeed these padas represent the mature culmination of the essence found in the Gosvami sastras.

In early life Govinda dasa wasn’t a Vaisnava, until a traumatic incident happened: He fell very ill and was on the verge of death. It was then that his older brother, Sri Ramacandra Kaviraja¹, brought Srinivasa Acarya  to the place where he lie in a coma. But by Srinivasa Acarya ‘s merciful touch (on the forehead) Govinda’s high fever suddenly broke — and he was cured. Then Govinda’s life changed, and on the spur of the moment he composed his famous poem:

bhaja hunre mana                sri nanda nandana

abhaya caranaravindare ...

1)       Ramacandra Kaviraja¹: Sri Narottama dasa’s most intimate friend

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... to praise the value of Vaisnava sat sanga. Later after becomming Srinivasa’s disiple, Govinda dasa’s poetic skill fully blossomed; and then Srinivasa would often come to listen to his poetic discriptions of Gaura and Govinda’s sweet lila. Srinivasa was indeed pleased with his disciple, and blessed him with the title, `kaviraja’.

But when Govinda dasa’s poetry reached the Vrndavana Vaisnava community, his acclaim increased, for Jiva Gosvami re-confirmed Srinivasa’s blessings by sending a letter to Bengal declaring Govinda dasa as the `kaviraja’ for his amazing poetic prowess.

These historical events lend support to the Nadiya nagari doctrine because many of Govinda dasa’s padas about Gauranga capture Him in this spirit. Thus we may conclude that Srinivasa Acarya  and Jiva Gosvami also support these mellows.  If otherwise, why would they honour such poetry so highly? Here is a sample:

dekha dekha nagara               gaura sudhakara

jagat ahaladankari

nadiya purabara                ramani mandala

mantana gunamani dhari

sahajei rasamaya               sahacara urugana

majhe virajita nagara raja

madana parabhava               badana hasa dekhi

vinasai ranginigana bhaya laja

bhakata vrnda citta               kairava phullita

nisidisi udita hiyaka vilasa

rasiya ramanicita              rohini lasaka

anuksana purala na rahe hrase

aiche vilasa prakasa                vinodini vilasai

ulasai bhavini bhava

pada pankaja para               govinda dasa cita

bhramari ki paoaba madhuri labha

Oh Sakhi! "Look, look at that Nagara! He’s the Golden full moon Who elates the entire universe. And while surrounded by the sundari ramanis of Nadiya, He’s a Jewel of qualities. Being carefree and rasamaya, He appears like the Nagara raja amongst His associates. Although His smiling face conquers Cupid, it also smites every playful, young girl’s fear and shyness. Thus the bhaktas¹ lily-like hearts are overjoyed as He continuously plays within their minds. And just as the moon enjoys vilasa (love making) with the Rohini star Gauranga excites the young ramanis’minds with unceasing erotic rapture. Such prema vilasa He enjoys with the Nadiya vinodinis while refreshing their bhavas. Thus the lady-bee of Govinda dasa’s mind hankers to sip the sweet honey from His lotus feet.

Can Gauranga Give Up His Previous Nature?

Narahari Cakravarti offers a logical explanatioin for Sri Gauranga’s nagarali affairs in the following pada:

nadiya nagare nagarali jata nahika tahara lekha

anyera kathate je hauka se hauka iha ta amara dekha

1) bhaktas: Using a long `a’ over the last syllable Govinda dasa refers to the bhaktas of feminine gender

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jadi bala ei avatare iha sambhava ki rupe hoy

achaye tahara karana prasidha sakala lokete kaya

jara je svabhava thake taha keha kabhu na charite pare

svabhavanarupa kore krda karu nizsdha kichu na kore

jadi mane kora e rupa ihara svabhava kotha na dekhi

tahate tomara nivediye suna ihate jagat saksi

ei sacisuta jasoda nandana taha ki na jana tumi

vrndavane jata nigura vilasa taha ki janaba ami

ei sei, sei ei, saba priya parikara sangete laiya

viharaye sada nadiya nagare nija gunagane magana haiya

nava nava kulabati kula kula kalanka laji tilanjali diya

narahari saksi sara kaila sabe sukhamaya gora parana priya

                                   — Gaura carita Cintamani

As two devis from heaven peak through the clouds, they discuss Gauranga’s similarity with Krsna:

                        "There is no end to Gauranga’s Nadiya nagara antics¹, and I don’t care a fig about what others say — for I’ve seen them with my own eyes. Yet if someone questions, `In this Avatara how is that possible?’ I’ll anwser, `look, everybody knows that no-one can change their nature. So (even if restricted) won’t He act according to His nature anyway?’ But if they reply, `I haven’t witnessed this nature of His’, then I will anwser, `the whole world is a witness — for don’t you know that saci’s dulala was previously Yasoda Nandana? So must I mention all about Vrndavana’s nigura vilasa (intimate love affairs)?’And Vrndavana is Nadiya, and Nadiya is Vrndavana —but now Krsna’s Vraja associates have become Gauranga’s priya companions, and as they sing His glories, they enjoy Nadiya vihara with Him. Thus stepping over their fear from family disgrace — all of the kulavati ramanis ² rush to please their prana priya Gora; and Narahari is a witness."

But Would the Vraja Gopis allow Krsna to Escape?

Let’s relish Locana dasa’s pada which candidly portrays two nagaris viewing Krsna’s transformation in Navadvipa:

jahara eka bara               gaura natabara

nayana konete here

tara sati pana               rakhaye apana

asite pare ki phire

sunechi purane               radhikara sane

tahari premera katha

tila adha jare               na dekhile more

se kena asibe hetha

preme rhini haiya               ela palaiya

yamuna haiya para

gopa kula chari                ela naide puri

dvijakula avatara

bara bhaya mone               pache keha sune

lukayeche kala rupa

kaca sona mekhe          nija anga deke

hoyeche rai svarupa

1) nagara antics: flirtatious activities

2) kulavati ramanis: chaste and beautiful newly married girls

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iha jadi suni               vraja gopigane

eseche dvijera puri

nagarali pana               tabe jabe jana

bhenge dibe bhari bhuri

se raja kumari               navina kisori

jahara koreche dhara

duti pathaiya               jabe bedhe laiya

dohai na manibe kara

gokula nagare               kalanka sagare

majayeche kula badhu

dese ke na jane               cora kanu bole

videse hoyeche sadhu

"Sakhi! The young married girls who view Gaura nataraja (just once) surely become chaste — for they cannot remove their eyes from Him. Yet I’ve heard all about His love escapades with Radha in the Puranas.  nha! He’d die if He missed seeing Her for only a split second! But why would He come here? "

The other sundari ramani answers:

            "Usurping a debt for the gopis unconditional love, Krsna crossed the Yamuna and fled the His gopa community! Thus comming to Nadiya, He advented amongst the brahmanas. Yet still fearing like anything, He smeared His black form with gold to take on Radha’s svarupa. But if the Vraja gopis catch wind of His hiding amongst the brahmanas — they will certainly spill all of the evidence revealing Him as Gokula’s Nagara. Then Navina kisori   raja kumari Radha will send Her sakhis to collect Her dues; and they won’t listen to any excuses! Rather, they’ll bind and take Him away, saying: `Aho! You’ve left our Gokula village an ocean of scandal — for who doesn’t know that You’re a gopi-cora (thief of others’ wives)! So do You have the gall to hide in a foreign country calling Yourself a sadhu’?"

This is rasa.

Here we discover why Nadiya nagari bhava is the logical outcome of the gopis’ plight after Krsna left them to become Gora. As He wanted to hide Himself for the chance to relish their sweet mellows — would they let Him get away with it alone?

Hence, a new sensational rasa is born as they rejoin Him in Nadiya. But this time the Vraja sundaris are equally clever as their Master — for they hide their nari svarupas to take up malae forms. In Sri Narottama dasa Thakura’s song, "hede he nagara bara - suno he muralidhara ..." Radhika prays to take birth as a male so that She may always remain in Krsna’s company. Her heartache is thus expressed: "Oh My nagara bara! Oh hey Muralidhara! Please listen. When You go cowherding in the forest with Sridama and Sudama, I watch by the kitchen door — and My heart follows as I gaze upon Your sweet face. But dreading being discovered by my relatives, I pretend that the stove from the kitchen stove makes Me cry. Oh My jewel-like Ramana (Lover)! Alas! If providence had not created Me a woman — surely I could have always roamed with You from place to place."

Before going on to the next chapter to relish the nagaris’purva raga for Gora, it will be appropriate to say a few words about the type of adhikara required for appreciating such intimate affairs. For such thoughts, hankering and anubhava (divine realization)

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may awaken in a sadhaka bhakta’s heart only after the mature ripening of his Vraja

gopi bhava. In other words, when one becomes adept in manjari sadhana and receives the fortune to meet an experienced Mahatma absorbed in nagari bhava — only then can such an advanced form of raganuga bhakti begin. For one’s praccanna (hidden) Nadiya nagari form is an extended  feature of one’s manjari svarupa ideal for serving in rasika Nagara and rasika Nagari’s (Radha Krsna’s) continuing pastimes in Navadvipa.

To perform Sri Sri Gaura Govinda’s manasi seva, one is advised to first meditate on Sri Gaurasundara’s Radha bhava lilas. Following Gaura’s mood into Vraja, one then meditates on servong in each Vraja pastime as Radharani’s dasi. But when the sadaka is adept in such seva, he may re-enter Navadvipa to focus on Sri Gauranga’s rasaraja feature. In essence Vraja lila and Gaura lila are one. The Navadvipa pastimes represent Rasaraja Sri Krsna’s `parisistha lila’, further adventures meant for relishing prema’s ever-new expressions.

Chapter Two

The Nadiya Nagaris’ Purva Raga

Taking up where we left off, this chapter will continue disclosing how srngara rasamaya Gauranga has all of Krsna’s captivating features. Yet moreover, Gauranga’s alluring side-long glances, power of subjugation and bhuvana mohana rupa (universally enchanting form) even outmatch Krsna’s. A striking example is found in the story of `Svapna vilasamrta’, where Srimati Radharani has an amazing dream. As the scene opens, Srimati is lying asleep while tenderly embracing Her prana Govinda after They enjoyed nikunja vilasa. But then a startling dream frightens Radha: She sees a beautiful, Golden purusa who is madly crying "Krsna!, Krsna!" — Just as She does when weeping for Him. Aho! Srimati’s mind races after Gora — eventhough She is tightly embraacing syamasundara! Thus overwhelmed, Srimati’s slumber breaks ­— "Haya, haya!" She exclaims. "What did I see?" Then restlessly pushing on Krsna’s side, She asks Him. And after relating Her dream, Krsna smiles, and replies:

"Oh Prana priye! You have seen Rasaraja Gauranga — but don’t think otherwise, Your prema has molded Me as such."

The moral of the story is that Gora’s incredible alluring power can kidnap even Maha bhava svarupini Radha — and right from Krsna’s lap! So when this happens, what will be the plight for the young taruni ramanis of Nadiya? As Gauranga’s beauty can break Radharani’s chastity for Krsna, will their chastity for their so-called husbands remain? Indeed, it is only after attaining Gauranga that a woman’s chastity can fully blossem. And why is that? Once seeing Him, could she think of anyone else? In "Dhamali", Locana dasa offers testimony by describing his purva raga¹ for Gauranga in nagari bhava:

sacira gora kamera kora dekhlam ghatera kule

cacara cule beriya bhale nava malatira male

kaca sosa lage ghrna rupere tulana dite

hena citacora manohara naiko avanite

ki ara balcho go sai tomaya bujhaba ki

snane jete sakhira sathe gaura dekhechi

se rupa dekhi duti akhi phiraite nari

punah tare dekhbar tore kata sadha kori

ki ara balbo go sai tumi ta acha bhala

amara maramer katha maramei rakhila

jagite ghumate sada gaura jage mane

locana bale je dekheche sei se uha jane

"Oh sakhi! Mother saci’s Gora is a Kamera kora (Abode of kama) ... and I jst saw Him by the Ganga’s ghata! His lovely curling hair tossed so elegantly over His forehead ... and His cura (topknot of hair) was bound with malati garlands. Uh! Now even molte gold irks me — for it’s incomparable with His effulgent limbs. So is there such a Heart-stealer, or Mind-thief, anywhere else in the whole creation? But what are you saying, sakhi? ... And how can I explain it to you? ... when I went with the sakhis to bathe — I saw Gora! Then I couldn’t retract my eyes from Him ... and now I only

hanker to see His exquisit form again! Oh sakhi, what more can I say? You’re still

acting normal ... so I guess that my heart’s confession will have to remain inside. For

1)       purva raga: the stage before meeting the beloved (preliminary attraction)

Chapter Two

during waking, or sleeping, Gora always fills my mind. Locana says, only those who see Him will know what I’m talking about."

And having seen, Vrndavana dasa Thakura confirms Locana’s addressing Gauranga as the Abode of divine kama:

           

visvambara murti jena madana samana

divya gandha malya divya vasa paridhana

                                                           — Sri Caitanya Bhagavata

"Visvambhara’s bidy is just like Madana’s (Cupid’s) decorated with divine garlands, pleasing parfume and fine dress."

But this is an under-estimation for Locana, who says:

manamatha gauranga rupa heri prana kade

manamatha koti koti               jiniya gauranga tanu

sarva ange labanya apara

                                   — Dhamali

"nha! Seeing Gauranga’s madhura form my heart cries; for His every limb defeats the amour of millions of Cupids!"

Hence Locana goes on describing his deep attraction:

rupa lagi akhi jhure gune mana bhora

prati anga lagi kade prati anga mora

hiyara parasa lagi hiya mora kade

parana putali mora hiya nahi badhe

ami kena suradhuni gelam

kena gaura rupe nayane dilam

ami kena cahilam gaura pane

amaya hanle duti nayana bane

amara nayana bole o rupa dekhe asi

amara mona bole haige tara dasi

kore nayana pathe anagona

amara pajara kete kallo khana

gaura rupa sagarera pichala ghate

amara mana giya taya par lo chute

eke gaura rupa taya piriti makha

tate isata hasi nayanabaka

gorara jat rupa tata vesa

o se bhav te pajara sesa

gora rupa lagi akhi jhore

gora gune mana bhora kore

tila adha pasarite nari

sadai hiyara majhe dhori

ei buke ciriya rakhi paraneri sange

mone hole bahira kore dekhi mukha cande

gaura rupa hei sabara antara ullasa

ananda hrdaya kahe e locana dasa

"Gauranga’s rupa soothes my eyes, and His qualities captivate my mind! Thus my limbs cry to embrace His limbs! Yet when His form envelopes my mind, it cries too! so haya! haya! I’m unable to bind my heart (like a doll) with His.

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Oh why did I go to the Suradhuni Ganga? ... Why did I alow my eyes to see Gora’s beautiful form? And why did I look upon His sweet face? For His flower-arrow-glance has pierced me! Hence my eyes are telling — `just go see Him again.’ And my mind dictates — `just become His dasi.’ When my eyes glanced up a down His sweet form, my heart tore to pieces! In fact, the Ganga’s ghata turned slippery from the madhuri of Gauranga’s rupa sagara.  But nha! As my mind raced to embrace Him, it slipped and fell."

On the other hand, the thick butter of piriti (love, prema) is spread over His entire body — but there’s a slight smile on His face, and His eyes are shifty. Thus contemplating Gora’s insatiable form, my chest bursts!  nha! His rupa steals my eyes, and His qualities drive me mad. Oh, I can’t forget Him — even for half a second; for He is always on my mind. So I would just like to tear out my heart and paste it to His moon-face! Thus Locana dasa ‘s heart overflows with ananda seeing everyones’joy."

It is lamentable that the madhurya of Locana’s padavali can never be duplicated in English. For his down to earth village style colloquial Bengali has a soul-stirring twist that English words just can’t capture. Yet for those knowing Bengali, a graceful, exhorbitant Sarasvati river of rasa can be discovered flowing with every beat of his simple, sweet and life full poetry. On the other hand, however, sometimes Locana’s stark fascinations for preaching Gauranga’s parakiya rasa gets the better of him. Then, due to the excessive churning of his Gaura anuraga, he even becomes oblivious, or fearless, to public scandal. Or, as Sri Haridasa dasa Baba puts it:

            "In order to show Gauranga’s srngara  rasaraja svarupa, and to relish such bhavas, Locana has placed the garland of Gauranga’s kalankas (disgraceful scandal)

upon his own chest."

Gaura Kalankini¹

And here is an example:

baluk baluk sakala loke gaure kalankini

dhik jara kula rakhe kulera kamini

nadiya nagare gauracanda cale jaya

canchala nayana kori dui dike caya

nagaridera netra jena bhramarara pati

gaura mukha padma madhu piye mati mati

padma madhu pane tadera dekhiya ullasa

gaura guna gaya e locana dasa

— from Dhamali

"Oh let them say it, just let everyone call me, `Gaura kalankini (scandalized by Gaura)! And damn those yooung damsels who cling to their so-called family prestige. When Gauranga walks through Nadiya, His flirtatious glances roam both sides of the path. Thus the nagaris’ eyes soar like thirsty bees to sip the honey from His lotus face. Seeing them happily relishing, Locana dasa joyfully sings about Gauranga’s qualities."

Has Locana’s chest overflowed with the pride of his unconditional Gaura prema? Perhaps; yet there is another reason too which causes him to run amuck in the ecstacy

1) Gaura kalankini: a young girl who is disgraced by Gauranga

Chapter Two

of his madhura tie with Gora. Thus he aassures another Navadvipa vasini as follows:

dhara ara nahi sai dhara ara nai

buka sthira kori sabe raha eka thai

je je baluk ta baluk taha na sunibe

kalanka pathara majhe satara eriba

baluk sakal loke gaura kalankini

dik dik dik sai kulera kamini

gaura paribada e ta sabai paibe

locana bole kare bhaya kora ara tabe

— from Dhamali

Why Fear?

"Don’t fear sakhi! There’s nothing more to fear. Let’s take the load of our chests and try to remain calm. Whomever may criticise — let them, we won’t listen. We’ll just swim across the ocean of scandal to escape. Oh let them adress us `Gaura kalankini’! And sakhi, damn, damn, damn those chaste, young housewifes! Look, everyone is going to end up disgraced by Gora! Thus Locana says, then we’ll have nothing more to fear."

This pada is meant for two types of listeners, those taing part in Gauranga’s madhura lila, and us too. Locana’s fearlesness is born from deep realization and confidence. On one hand he knows about Gauranga’s magnanimity which spurs His inner desire to share madhura rasa with every bhakta. Yet he is confident too that no-one can resist His insurmountable beauty and charm. Hence, the conclusion is that everyone will become `Gaura kalankini ‘ (like himself). Then who will be left to criticise? But for those who oppose nagari bhava, herein we can imbibe a hint:

            If someone were to mercifully tell them about Gauranga rasika nature, could they resist? In other words, when properly informed about the full spectrum of Gauranga’s parama karuna, ­— they too would become attracted, no doubt. For such is the all encompacing power of Gauranga’s mercy. Indeed, this is what Gauranga hankers for; yet He laments because such bhaktas are very rare:

prithibite asiya amio iha cai

khoje hena jana more kathao na pai

                                               — Caitanya Bhagavata 

"My desire in comming to this world is to find those who just search after Me; but such people are very rare."

Because the majority of His followers lose sight of Him as their ultimate goal, Gauranga has spoken.

Sri Vasudeva Ghosa’s Padavali

The three brothers, Govinda, Madhava and Vasudeva Ghosa were very dear parsadas of Caitanya  Mahaprabhu, and expert singers in His sankirtana pastimes. Yet of the three, Vasudeva became the most prolific, and popular, for his vast contribution of Vaisnava padavali. Because he composed his padas after directly witnessing

Chapter Two

Gauranga’s activities, they are valuable for their historical accuracy, besides the deep bhavas which they express. Thus Srila Kaviraja Gosvami praises in Caitanya Caritamrta:

vasudeva gita kore prabhu varnone

kastha pasana drabe jahara sravane

"When the songs composed by Vasudeva Ghosa are heard — even the stones melt."

In context with this essay, it is noteworthy that a large percentage of Vasudeva Ghosa’s pada’s describe Nadiya nagari bhava. Yet by sampling them we can learn that he (along with his brothers) not only support this mode of worshipping Gauranga — they are counted amongst the nagaris of whom their songs describe. Hence their songs form  a living account, or first-hand testimony to Sri Gauranga’s rasika nature. Here is a sample:

madana mohana mani          gauranga badana khani

rupa heri ki na haila more

sonara varana tanu          ei chila kala kanu

nahile ki mana curi kore?

rasera parana jara          kule ki koribe tara

nadiya nagara  hena jana

ki chara daruna mati          majila jubati sati

ghare ghare premera kadana

nayana kamala nava          aruna parabhava

dhara bahe mukha buka bahiya

aha mari mari sai          marama tomara kai

jiva na go gora na dekhiya

hiyaya premera sara          tanu kaila jara jara

probodha na mane more prani

suradhuni tire jaiya          bhasaiba kula krida

bhajiba se gora gunamani

purabe suninu jata          sei saba abhimata

eve bhela kalatanu gora

vasudeva ghosera Visnuani           rasika nagara jani

nahila ki gopira mana cora

Rupa Anuraga

" I consider Gauranga’s face to be like Madana mohana’s; and when viewing His body — I am unable to describe my captivation! Oh, this Golden youth must have been that Black youth Krsna — for how else could He have stolen my mind? But what about the Nadiya damsels who have a rasika heart, will their so-called family tie be able to stop them? How will they resist Him? And what can we say about the intense agony of Nadiya’s chaste young girls — for their love-lorn crying can be heard from every home. Hence their soft, lotus-eyes, conquered by the Gauranga-sun, now pour tears that stream over their breasts. Oh sakhi! I’m going to pass away ... so just hear my confession:

Without properly knowing never classify Gora as ordinary — for my mind has fathomed the sweetnes of His prema — my body is burning in a fever — and my heart cannot be pacified without Him! Just let me go to the Ganga and drown all of my family obligations; then I shall full worship Gora guna mani. nha! Concerning everything that I ‘ve heard about dark-complexioned Krsna — the same applies to

Gora. Thus Vasudeva Ghosa says, I know that He is a Rasika nagara — for how else

Chapter Two

could He have stolen the gopis’ minds?"

From the selected padas that we have selected so far, we can see that the Mahajanas who write them look upon themseves as young, married girls in Gaura lila. Thus there is an unseen mystery taking place here that can baffle even the learned scholars. One might ask, therefore —

            "Is this type of rasa that Govinda dasa, Narahari Sarakara, Locana dasa, Vasudeva Ghosa and others describe really taking place, or is it just a kind of fascination, or bhava, that they relish within their minds?"

We won’t try to answer this question now, for this chapter only deals with purva raga (tha stage of preliminary attraction for Gauranga). So after presenting more evidence, the right moment for this discussion will automatically present itself in an upcomming chapter. At present, however, in context with Vasudeva and Govinda Ghosa, their `nari abhimana’ (female mentality) appears natural, for previously they were attracted to Krsna as the twin sisters, Sudevi and Rangadevi of Vraja. Sri Govinda Ghosa writes as follows:

nadiya nagarigana              kade tara anukhana

basana bhusana nahi bhaya

suradhuni tire jaite               dekiba gaurana pathe

kota dine habe subha dina

canda mukhera vani suni               juraba tapita prane

govinda ghosa deha khina

"The Nadiya nagaris cry continuously, and they have lost all care for their dres and ornaments. On the way to the Suradhuni they simply contemplate: `Oh when will we see Gauranga coming along this path? ...  Oh, how many days will we have to wait for His auspicious darsana? And when will we again hear sweet words emanating from His moon-face? For only this will sooth our depressed hearts. Thus Govinda Ghosa’s body has become thin."

Vasudeva Ghosa’s next pada further reveals about his internal mood:

niravadi mora mone          gora rupa lagiache

bala sakhi ki kori upaya

na dekhile gora rupa          vidariya jaya buka

parane bahire haite caya

kaha sakhi ki buddhi koriba

grhapati gurujana         bhaya nahi mora mana

gora lagi parana tyajiba

saba sukha teyaginu          kule jalanjali dinu

gora vinu ara nahi bhaya

ujhore jhoraye akhi          suno go marama sakhi

vasu ghosa ki koribe taya

"Oh sakhi! Please advise me what to do? ... My mind is always fixed on Gora. And without seeing His form my heart is breaking — so my soul wants to leave my body! Oh sakhi ! What can I do? The fear of my husband and family superiors has gone — so I am thinking to commit suicide for Gora! I’ve disgarded all other happiness and

thrown aside my family dharma — for I know nothing else but Him. Thus, with tear filled eyes, Vasu Ghosa emplores: Oh prana sakhi! What shall I do?"

Here, with the mention of a husband, and suggesting the presence of a mother-in-law, sister-in-law etc., Vasu Ghosa fully merges with his Nadiya nagari svarupa. And this is not a daydream, or the play of his imagination, but the testimony of an inner-world that many other Gaura associates take part in. For there are literally thousands of padas written by countless Gaudiya Mahajanas which verify Vasudeva’s experiences.

Nadiya nagari bhava is not simply excluded to those who were previously gopis in Vraja. And we find the example with Murari Gupta who was previously Hanumana.

Sri Murari Gupta’s Padavali

Here is a sample of Murari’s akhepa anuraga (intense feelings of remorse) in the pangs of Gaura viraha:

sakhi he gora kena nisturai mohe

jagate koriya daya           diya sei padachaya

vancala e abhagire kahe

gaura preme sapi prana          jiu kore anacana

stira haiya rohita nari ghare

age jadi janitam          piriti na koritam

jaciya na ditu prana pare

ami bhuji jara tore          se jadi na caya phire

emana pitite kiva sukha

cataka salila cahe          bajara khepile tahe

jaya phati jaya kina buka

murari gupta kaya          piriti sahaja naya

visese gaurana premera jvala

kula mana saba chara         carana asraya koro

tabe se paibe sacira bala         

" Oh sakhi, why is Gora torturing me?  Although mercifully offering the whole world the shelter of His lotus feet, He neglected an unfortunate girl like me. I gave my life for Gauranga’s love but now my soul is burning; thus I cannot remain peaceful at home! If I would have known (what would have happened) I wouldn’t have surrendered my heart. For as I suffer from for Him — He’s indifferent. So what is the happiness in such love? It’s just like the cataka bird who tries to relieve its thirst from the cloud — yet becomming struck by lightning — its chest blows to pieces!" Thus Murari Gupta says, "Love isn’t simple, especially when suffering the pain of Gauranga’s prema. First a young girl must give up her family and her pride, and then after taking shelter at His feet, she can attain the Son of sacaryai."

Here is another example where Murari Gupta totally merges in nagari bhava:

dande dande tile tile          gora rupa na herile

marama moriya jena thaki

sadha haya nirantara          hemakanti kalevara

hiyara majhare sada rakhi

bareka na dekhi taya          pajaradhasiya jaya

dhairaja dhorite nahi pari

anuragera duri diya          antare ki kore hiya

na jani tara katai dhara dhari

suradhuni tire giya          kula diba bhasaiya

anala jvaliya diba laje

gauranga sanmukhe kori          gauranga kalanka mala

galaya porite sadha lage

murari gupta bale          bhale dage dage dile

gupta gauranga anurage

"From hour to hour, and from second to second, my heart is dying for want of Gora’s rupa darsana. My ambition is to always hold Gauranga’s hemakanti kalevara (golden body) within my mind. But alas! Without seeing Him — my heart breaks, and my patience is fleeing. Aho! The rope of anuraga is pulling my mind — for I failed to estimate the power of His subjugation. So I’ll just go to the Suradhuni Ganga and drown my family attachment — and burn my shyness in a bonfire. Then I shall satiate my eyes seeing Gauranga standing before me — why should I perform my housework needlessly? As I am a chaste young girl, a yearn to wear the garland of Gauranga’s scandals around my neck. Thus Murari Gupta says; `Gauranga has placed a fine scar on me for my secret anuraga!’"

Murari Gupta lived in the same neighborhood as Caitanya Mahaprabhu, and was the Lord’s senior classmate in Gangadasa Pandita’s sanskrit toll (school). Thus witnessing Gauranga’s pastimes from the beginning, he kept a korca (diary) to record all of Caitanya  Mahaprabhu’s Navadvipa activities. This `korca’ later became a great source wherefrom Vrndavana dasa, Locana dasa and Krsnadasa Kaviraja gathered their information to write Caitanya Bhagavata, Caitanya Mangala and Caitanya Caritamrta. Hence, as the forerunner of Caitanya deva’s other biographers, his pen certainly commands a lot of weight concerning authority. Therefore, as he writes songs about nagari bhava alsRASA-RAJA-

SRI SRI GAURANGA

A Study of Sri Gauranga’s intimate, hidden side (like Sri Krsna) as the Enjoyer of madhura rasa, collected from a host of Gaudiya mahajana authors

The highest form of God (Paratattva Sima)

(A Reverential Offering)

Many mahatmas have left substantial contributions in the Vaisnava world; but one in particular stands out in my mind — a humble bhakta (devotee) who never made a disciple, and who hid from recognition. Still, amongst scholars and bhaktas he is a favorite, regarded author; for the 65 various Gosvamis and Mahajana shastras that he translated and published serve as an indispensable aid for many.

So Sri Haridasa dasa Baba of Navadvipa’s Haribola Kutira doesn’t need an introduction. However, through his own voluminous research also, one finds perhaps the most in-depth study on Gaudiya Vaisnavism.

Those reading Haridasa dasa’s books easily gain a trust for his credibility. For his vast scholarship, unbiased opinion and broad outlook reveal a deep admiration for every Gaudiya Mahajana and true follower of Gauranga Mahaprabhu. Thus his vast array of Vaisnava literature is worthy of admiration.

This volume has been graced by his insight on Rasaraja Sri Gauranga

Sri Haridasa dasa Maharaja-ji

Appearance 1898 — Disappearance 1957

Foreword

jaya rupa sanatana bhatta raghnatha

sri jiva gopala bhatta dasa raghunatha

ei chaya gosai kari carana vandana

jaha haite vighnanasa abistha purana

Before our topic begins, let us invoke auspiciousness by taking shelter of the followers of Sri Rupa and Sri Sanatana Gosvami; those who tread the raganuga bhakti path which culminates in the madhura seva of Sri Sri Radha Govinda.

An ideal example of how bhaktas may awaken such bhakti is examplified in the live of Sri Raghunatha dasa Gosvami. Raghunatha, once the pampered son of a wealthy landlord whose young wife rivaled the beauty of an apsara, keenly desired to join Sri Caitanya’s bhakta assembly. Every time he attempted to leave home, however, his parents would somehow catch and bring him back. Thus his repeated attempts to join the Lord all failed — until one day, when he got Sri Nitai Candra’s mercy. This remarkable incident happaned at Panihati village, where, by a stroke of luck, Raghunatha fortuned to satisfy Sri Nityananda and His associates by arranging a huge feast. Thus securing Nitai’s blessings, the means to escape samsara¹ presented itself, and Raghunatha soon reached the lotus feet of Sri Caitanya deva at Puri.

But Raghunatha’s fortune went on increasing — for being pleased, Sriman Mahaprabhu placed him under Svarupa Damodara’s care for learning the intimate matters of rasa-tattva and prema-seva. Thus in such exalted association Raghunatha passed his days in paramananda. But later, after the disappearance of the Lord and Svarupa Damodara, Raghunatha felt destitute and wanted to end his life! Thus he thought: "I shall go to Vraja, take Sri Rupa and Sri Sanatana’s darsana, and then jump from Govardhana!"

Upon arriving before Rupa and Sanatana, however, they forbade him to commit suicide. Rather, they kept him within their inner-circle and imparted upon him the last course of his bhajana-siksa, manjari upasana. Thus is the mood of Srimati Radharani’s helpless maidservant, Sri Raghunatha passed the last days of his live weeping in her separation on the banks of Radhakunda... and entered Radha Krsna’s nitya lila in manjari bhava.

To the belief of many Gaudiya Vaisnava’s, Sri Raghunatha’s life story is an excellent example illustrating that Sri Caitanya’s prema dharma culminates in manjari bhava. And suffice it to say, this is not a false assertion. For after sending the Six Gosvamis to Vrndavana, and empowering them to establish a cult centered around Radha Krsna worship, Sri Caitanya certainly did desire that His followers attain the prema seva of the manjaris. But from the consumate Gaura bhaktas, surely a befitting question can arise:

"If manjari bhava is the final word and the highest attainment of Caitanya Vaisnavim, what about Gaura lila and its worship? Was Gaura Avatara simply meant for providing the opportunity to enter madhura Sri Vrndavana?"

Introspective Gaudiya Vaisnavas know, Gaura lila has a deeper purport:

it represents the continuing further expressions of prema bhakti which Rasaraja Krsna yearns to relish with Radhika and Her gopi confidantes. So herein, we can discover that along with our eternal Vraja lila role — we have an eternal role with Gaurasundara, which is, indeed, the sadhya (ultimate goal) to all our spiritual practices as well.

Yet raga marga Rupanuga bhaktas do worship Gaura lila. Knowing that Krsna advents as Gauranga to accept Radha bhava, they meditate on Gaura’s Radha bhava lilas before meditating on Vraja lila in manjari bhava. But the outcome that often occurs when following this system is that one’s attraction for Radha Krsna’s lila far outmatches one’s attraction for Gaura’s. Hence, only briefly dipping into Gaura lila, such worshippers fully submerge themselves within Krsna’s Vraja lila sindhu.

·       At this point, however, a whole new world of rasamaya bhakti can begin — and this path, inspired by Rasaraja Gauranga, is the topic of this book. In other words, after a brief worship of Gaura in Radha bhava, and after submerging oneself for a long time in Radha Krsna’s nikunja lilas ­— one my re-surface in Navadvipa again to take up Gauranga’s rasaraja worship. Because Sri Gauranga is mahabhava svarupini Radha and rasaraja Krsna combined, both features form an excuisite enrapture for His bhakta followers to share with Him.

When viewing the entirety of Gaudiya Vaisnavism, we find that the Six Gosvamis’ teachings form a major pillar of Sri Caitanya’s prema dharma. And when sampling the Vraja rasa, who wouldn’t agree? ... the manjari seva which can be had by following in Sri Rupa and Sri Raghunatha’s footsteps is unmatched. And hence, Sri Caitanya dispatched them to Vrndavana for teaching such mellows. But to learn the confidential secrets of Gaura lila, one will greatly profit to hear about Sri Gauranga’s amazing qualities from the mahajanas whose attraction mainly focuses on Him.

So, to do so, we shall now take shelter of Advaita Acarya, Gadadhara Pandita, Narahari Sarkara, Vasudeva Ghosa, Murari Gupta, sivananda Sena, Kavikarnapura, Locana dasa, and many others, who are steeped in the mellows of Sri Gauranga’s rasaraja worship. Then, from their versions, we shall find that along with the Vraja mannjari bhava, Nadiya nagari bhava is a very sweet mellow that Sri Gauranga wishes to share with all of His followers.

Learned Vaisnavas know that the mahajanas mentioned above wrote about Nadiya nagari bhava; but when saying `many others’, examples from Rupa Gosvami, Sanatana Gosvami, Krsna dasa Kaviraja, Narottama dasa, Visvanatha Cakravarti and even Bhaktivinoda Thakura will be presented which support this bhava.

Hence, a noteworthy feature of this essay is that a comparison of the Vrndavana and the Navadvipa mode of raganuga bhajana is presented to form a bridge of understanding between the two schools.

·    Invocation    ·

(1)

sriman navadvipa kisora candra

ha natha visvambhara nagarendra

ha sacinandana citta caura

prasida he Visnupriyesa gaura

                                                                                  (Sri Prabhodananda Sarasvati)

" Oh handsome, youthful moon of Navadvipa! Oh Lord Visvambhara — You are the Lord of all nagaras! Oh hey sacinandana! Although You are steeling my mind, I know very well that You are Visnupriya’s golden Pranesvara."

(2).

sacira konara,                  gauranga sundara,

dekhinu akhira kone

alakhite citta,                  hariya laila,

aruna nayane bane

sei marama kahinu tore

eteka divase,               nadiya nagare,

nagari na rabe ghare

ramani dekhiya                hasiya hasiya

rasamaya katha kaya

bhaviya cintiya               mana darainu

parana rahibara naya

kona punyavati               jubati ihara

bujhaye rasa vilasa

tahara carane               hrdaya dhariya

kahaye govinda dasa

"Oh sakhi! I’ll tell you a secret: when looking from the corner of my eye, I saw the Son of saci, Sri Gauranga sundara. But when no-one was watching — He shot me with the arrow of His reddish tinted glance! And nowadays not one Nadiya nagari can remain at home; for seeing a sundari ramani, He smilingly speaks all sorts of rasamaya entreaties. While thinking over the matter, I am trying like anything to hold onto my patience — still my heart races after Him! So who is the pious, young girl who can fathom His rasa vilasa¹? Govinda dasa sais, my heart grasps her lotus feet."

(3)

Locana dasa Thakura’s Invitation

cala go sajani, piriti nagare, basati karige mora

marama na jane, dharama vakhane, caurasi bhrammibe tara

sadaa duyare, kapata haniye, khirki daraja khola

cala go sajani, niscinta haiye, adhare dekhige ala

alara bhitare, gorare dekhibi, nayana rakhibi tatha

se desera katha, e dese kabile, marame paibi byatha

se dese e dese, mesamisi ache, e katha na kaba kake

se dese e dese, anek antara, janaye sakala loke

piriti nagare, manusa ratana, viraje sahaja ghare

dharma karama, kulera acara, sekhane jaite nare

ei dasa locana, kahaye vacana, dasadik tara ala

1) rasa vilasa : conjugal, loving pastimes                                                       — Dhamali    

"Oh come sakhi! Let’s go reside in piriti nagara¹. But we’ll have to be careful, for even staunch religionists can’t fathom this realm. Let them go on wandering through eight million, four hundred thousand births. But sakhi, come! We’ll latch the front door, and fearlessly enter through a secret passage ... to see the light! Aho! Within the effulgence we’ll see Gora — ans satiate our eyes! But don’t tell about piriti nagara, lest you’ll become sad (as the people will scorn you.)

We’ll just have to keep the news of our going a secret.

Listen ...

In piriti nagara there is a jewel-like (golden) purusa, and it is easy to enter his bedroom. But first one must discard dharma, karma and wordly chastity to go — for they cannot stand beside Him. Thus Locana sais, Gora’s effulgence fills every direction."

These poems by Locana dasa, and the previous two selections from Srila Visvanatha and Govinda dasa, certainly reveal a mysterious topic that will surely puzzle most Vaisnavas. Although these three Gaudiya mahajanas are males in Gaura lila, they are talking just like young, attractive girls of Nadiya. So what does Locana mean by `piriti nagara’ (the abode of love)? And doesn’t the means to go there sound mysterious too? Because such lilas are `praccanna’(hidden within an inner-realm amongst Sriman Gaurasundara’s other pastimes), only a few fortune to know about them and fathom their sweetness. So as this volume is devoted to understanding and glorifying Sri Gauranga’s most intimate rasaraja aspect, we hope that our readers protect this lofty, controversial topic as one conceals a rare and priceless gem.

                                                                                                          — The madhukara²

1) piriti nagara: the abode of love

2) madhukara: a honey collector (bee)

A Prelude to the Lila

In the invocations first sloka, Visvanatha Cakravarti addresses Sriman Mahaprabhu as Nagarendra, the Lord amongst nagaras (flirtatious romantics), but Srila Advaita Acarya  calls Him `Nagara siromani’, the Crown-jewel amongst such personalities. Before probing deeper into the significance of these statements, however, let us speak something to help broaden our appreciation for the absolute authority which Sri Advaita wields. Although He is known for His heart-rending cries which bring about Gaura Avatara, Caitanya Caritamrta, Antya 19 goes on:

"Advaita Acarya is an experienced pujari Who knows all of the sastras imports. Thus to worship, He performs austerity, calls the Devata, and upon completing the puja, sends Him away."

Sri Caitanya spoke this riddle to disclose that His entire lila is directed by Advaita. Yet should this appear astonishing? For Advaita’s sakti, Sita Thakurani, is Yogamaya, by Whose omnipotency everything happens in Gaura lila. Thus with His inside knowledge about the Lord’s internal affairs, He reveals the following confidential siddhantas in His prayers entitled "Sri Sri Gauranga pratyanga varnanakhya stavaraja":

Verse 6

ardhacandrollasbhala kasturitilakanvitam

bhangura bhrulatakeli-jita-kamasorasanam

"Gaurasundara’s forehead is like a brilliant half-moon adorned with beautiful musk tilaka; yet below lurks His flirting eyebrow-bows which defeat the might of Kama deva’s flower arrows."

Verse 17

kotikandarpa-labanya-keli-lila-manoharam

saksatlilatanum kelitanum srngara vigraham

"Sri Gaurasundara’s prema keli is absolutely manohara¹— like that of millions of Cupids; for He is the Abode of prema keli and a srngara rasa vigraha."

Prema keli and srngara rasa renowned traits of Sri Krsna in His kisora lila with the gopa sundaris. But here Advaita’s depicting Gaurasundara in this way is remarkable. Still, He goes on:

Verse 26

nijabhava rasasvada vibasaikadasenriyam

vidagdha nagari bhava-kala keli manoramam

"Although Mahaprabhu’s eleven senses are completely overwhelmed by His own bhava, rupa and rasa — His divine keli vilasa with the clever and rasa-skilled Nadiya nagaris is simply enchanting!"

1) manohara: mind stealing

Thus Advaita reveals with whom Gauranga srngara rasa affairs take place; but who are the nagaris? The next sloka begins telling:

Verse 27

gadadhara premabhava kalakranta manoratham

sriman narahari premarasavihabalamanasam

"Gauranga keenly desires to taste the sweetness of Gadadharas prema bhava and rasa keli skill. Moreover, Sriman Narahari’s prema rasa enslaves Him."

Owing to their internal nari bhava and rupa, Gadadhara and Narahari are chiefs amongst the Nadiya nagaris, for previously they shared similar bhavas with Krsna, as Radha and Madhumati sakhi. But one might wonder: `how extensive are such moods amongst Gaura’s other associates?’ The next verse reveals:

Verse 28

sarvabhagavatahuta kantabhava prakasakam

prema pradanalalita dvibhujam bhaktavatsalam

"Bhakta-vatsala Sri Gaurahari hankers to take up his splendid kanta bhava with every bhagavata associate. Using His graceful, two arms He embraces them to award (madhura) prema."

Kanta bhava means the Lord’s mood as a lover, or amorous hero. Through this mellow we find the inner purport of Gaurangas bhakta-vatsala feature, His affectionate submission to the love of His devotees. Thus Sri Advaita says:

Verse 32

nataraja siroratnam sri nagara siromanim

asesa rasika sphujjanmauli bhusana bhusanam

"Sri Gauranga is the Crown-jewel amongst all dancers, the Crown-jewel amongst all nagaras (including Sri Krsna) — and thus the Ornament of ornaments amongst all rasika persons."

More than a mahajana, and more than the Lord’s eternal associate, Srila Advaita Acarya is saksat isvara, the Lord Himself. Thus His merciful siddhantas can benefit all. However, in His "Krsna Bhajanamrta", Srila Narahari Sarakara elaborates to reveal more about Sri Gauranga’s magnificence:

pasya pasya, niguratiniguram nirupyate

sakalendriyaih sabdhana mahantah parammmangalam

rahasyam srnvahtu sri Krsnacaitanyadevah

prakataparamananda-vigrahohapi sarvavatara

sarbhutohapi sarvavatarasakti prakasasamarthohapi

sarvavatarabyaktaye dasadasisangavanapi

radhasangaprakasam na krtavan asya

sarvavatarprakasatvam sarvaireva niscitamaste

tathapi rahasyamekam juktameva sruyatam

sri Krsnah sakalvilasa vinoda-rupa kaisoradi

guna sampannohapi strinam vanacarinam

mohanam cakara; kimetat? sri Krsnacaitanyastu

kaupinadhari dinavesah sannyasasramalankrto

hatyantadurdantam balavantam

mahavrsabhaduradurudam dhyatmavadinam

vishayandham kujoginam jadamjasara madyapam

papam candalam javanam murkam kulastriyanca

premasindhou patayamasa; anandena vaikunthopari

stapaya masa kevalam premadharayaiva

sarvesamasayam sodhittavan asurabhanca

curnitavan kimanyadva bahu bavtavyam ?

purusan eva prakrtibhavam ninaya

sri Krsnacaitanya bhavakala mohitah

srigadadhara pandita bhava darsansamudita

gopiganabhava vedantinohapi vimayinhapi

prakrtibhavairnanrtuh

                        Sri Krsna Bhajanamrta 28-11

"Look, look now I shall disclose the most secret of all secrets! So listen carefully to this confidential tattva ­— for it can deliver supreme auspiciousness to even the self-controlled mahajanas:

Sri Krsna Caitanya Deva is Himself a paramananda murati, the Essence of all Avataras, and completely capable of displaying every divine potency of any form of Bhagavan along with the servants or maidservants of such Bhagavat svarupas. Yet He didn’t disclose about His affairs with Radha (Gadadhara). This is confirmed by the learned who know about the bhavas and the tattvas concerning all Avataras. But nevertheless, please listen to a logically proven mystery:

Sri Krsna displays His vilasa (lovemaking), vinoda rupa (enticing bodily features) and all of His youthful qualities to attract the Vraja gopis into the forest — and what can be said of this?

But Sri Krsna Caitanya, wearing a kaupina and mendicant sannyasi dress, takes greater pleasure in converting the most rebellious, stubborn, bull-headed spiritualists, blind enjoyers, pseudo yogis, materialists, thousands of drunkards, sinful meat eaters, Muslims, the illiterate, as well as the chaste young girls, to drown them all in a prema samudra and send them beyond Vaikuntha’s highest regions to His supreme abode, Goloka. Only with `prema’ did He purify the hearts of all, after grinding their demoniac natures to dust! And moreover, He converted males into conceiving themselves as females. When Sri Krsna Caitanya became decorated with the ornaments of bhava, and when the moods of the Vraja-gopis bhavas overwhelmed Him, upon seeing the bhavas of Srila Gadadhara Pandita — then He converted every Vedantist and gross materialists to dance in the mood of a woman!"

                                                                                  Sri Krsna Bhajanamrta 28-11

When comparing Srila Advaita’s stavas with these passages from Narahari, a remarkable conclusion can be drawn:

Owing to His parama karuna, Sriman Mahaprabhu wishes to reciprocate with His highly exalted `kanta bhava’ with not only His intimate devotees — but with every type of grossly fallen jiva in this age of Kali!

Indeed, as Narahari’s list concludes by mentioning `kula strianca’, meaning the Nadiya nagaris, he is saying that all of the aforementioned sinners or non-devotees were promoted to Goloka Navadvipa with `nagari prema’ to dance besides Sri Gauranga in the form of a woman.

Sri Nagara siromani¹

A nagara is a playboy, or an unchaste man who loves to indulge in sensuous pleasure amongst many female companions. And, in our world, such characterless men are hardly praiseworthy. Rather, they become notorious and condemned in society.

So now a good question arises:

"Why would Svayam Bhagavan, the very emblem of dharma Himself, stoop to perform such behaviour?"

The answer we can imbibe from the Bhagavatam, 10-33-36, where the main reason for His advent is stated:

anugrahaya bhaktanam manusam dehamasrita

bhajate tadrsih krida jah srutva tatparobhavet

"In order to give mercy to the devotees, Sri Bhagavan assumes a human form to enact loving pastimes with them.  Thus, those hearing about His activities may also become attracted to the Lord."

Giving mercy, or love, to His bhaktas is Bhagavan’s sole activity and foremost source of pleasure. Hence, introspective devotees can begin to appreciate why Svayam Bhagavan becomes a nagara. For how many bhaktas would receive His greatest gift— madhura prema bhakti — if He were to display the role of an ideal, chaste husband? True, for those who want to admire the Lord as such, He certainly provides them the opportunity in Rama Avatar. For Lord Ramacandra never cast His amorous glances upon anyone accept Sita. Yet what about the forest sages who saw Rama’s immaculate beauty? After coveting the chance to serve Him as a consort, they had to wait until His advent as Sri Krsna. And only then could they fulfill their cherished ambition by becoming gopis. Hence, Krsna is more merciful then Rama. But our Sri Gauranga is far more magnanimous than even Sri Krsna, because as Sri Narahari states, in his previous "Krsna bhajanamrta” passages, he awards His most intimate prema rasa to all. And therefore, Srila Advaita Acarya‘s declaring Sriman Mahaprabhu as the greatest nagara is justly befitting.

1) Sri Nagara siromani: Gauranga, the greatest nagara (flirtatious romantic)

What Does This Book Discuss?

In the Introduction,      pages

After revealing Mahaprabhu’s svarupa as the form of Rasaraja and Mahabhava combined, three approaches to Gaura upasana¹ are presented: those of Vrindavana dasa, Krsnadasa Kaviraja and Locana dasa. Owing to Locana’s focus on Gaura’s rasaraja feature, his "Caitanya Mangala" is filled with madhurya. Locana’s birth signifies the fulfillment of Narahari Sarakara’s desire to broadcast Gauranga’s madhura pastimes with Gadadhara; thus an excerpt of Their maharasa sankirtana from "Caitanya Mangala" is inserted. But Locana’s "Dhamali" further reveals Gauranga’s intimate, madhura Navadvipa lila’s. This leads into the topic of how Gauranga’s male associates have female identities; the examples of Narahari and Gadadhara’s nagari svarupa’s are shown. Supporting evidence is presented from Kavikarnapura and sivananda Sena in context with the holi pastime. Then "Caitanya Caritamrita" shows how Gadadhara’s followers worship Gauranga in madhura rasa. Svarupa Damodara and Rupa Gosvami state that Gadadhara is directly Radha.

Chapter One,      Pages

Since Sri Krsna and Sri Gauranga are non-different, wouldn’t Gauranga posses all of Sri Krsna’s qualities? Examples from "Caitanya Caritamrta", "Dhamali" and "Caitanya caritra Maha kavya" show that, indeed, They are Both srngara rasa nayakas¹. Then Sri Gauranga Vastra harana lila and Rasa lila are described from Murari Gupta’s "Korca²" and Narahari Cakravarti’s "Sri Gaura carita cintamani." The latter discloses the wish to follow in the Nadiya nagaris’ footsteps, and Narottama dasa Thakura reveals a similar mood. Govinda dasa’s padavali³ contributes to the nagari school, but their history link Srinivasa Acarya and Jiva Gosvami as supporters. Then Narahari Cakravarti shows how it is impossible for Krsna to give up His rasika nature when becoming Gaura. Locana dasa tells that Radhika and the gopis won’t allow Krsna to escape Gokula alone, lest they will reveal all of the scandals that He left behind. So after taking on His new disquise, can Gauranga be called a sadhu? The nagaris’  purva raga for Gauranga is related in context with Srimati Radharani’s svapna vilasa: She has an astonishing dream — sees Gaura rasa raja — and races to embrace Him, even while lying in Sri Krsna’s tender embrace! Locana presents some examples of the nagaris purva raga from "Dhamali", and goes on to describe his stark fascination — "Let them call me gaura kalankini!" (scandalized by Gaura) he implores. Locana even tells why no-one should fear such disgrace. Then Vasudeva Ghosa and Govinda Ghosa describe their attraction for Gauranga in nagari bhava, followed by Murari Gupta’s testimony. Because Murari’s "Korca" serves as the basis for Vrndavana dasa, Krsna dasa and Locana dasa’s biographies of Sri Caitanya, and because he also relates about the nagari bhava of

1) srngara rasa nayakas: Amorous heros

2) korca: diary

3) padavali: Bengali poetry in rhyming metre

Nadiya, this proves that such mellows with the Lord existed from the very beginning.

Why is Nadiya nagari bhava controversial? This chapter tell why many Vaisnavas fail to understand and even take to criticizing such exalted mellows. Because Sri Caitanya is Svayam Bhagavan, His prema rasa exchanges with His eternal, svarupa sakti counterparts are natural. But taking the role of a `Yuga Avatara’, He preaches religion in the dress of a sadhu as well. Thus after explaining the inner purport of Vrndavan dasa’s warning not to openly address Sriman Mahaprabhu as a  `nagara’, the utility of both His Yuga Avatara and Svayam Bhagavan features is discussed. More evidence supporting Gauranga’s rasika nature is presented from Sri Narahari Caravarti, Sri Prabodananda Sarasvati, Sri Acyutananda and Sri Madhavi dasi, Sri Sikhi Mahiti’s sister.

Chapter Four,      Pages

As Sri Krsna is the source of all avataras, Radha is the source of every consort of His limitless Bhagavata manifestations. But Narahari Sarakara states that Gadadhara is directly Radha. Then he goes on to say that Gadadhara and Gauranga’s yugala milana is real — just as Radha Krsna’s. Nayanananda Misra’s padavali tells about the mood in which Gadadhara’s followers worship Gaura. Mahaprabhu’s sankirtana Maha Rasa tattva is related from Caitanya Caritamrta. Then Rupa Gosvami’s intimate "Stava mala" sloka is discussed in conjunction with Nayanananda’s padavali.

Chapter Five,       Pages

This chapter deals with Gaurasundara’s intimate sambhoga affairs.

Examples from "Dhamali" tell about the nagaris’ svapna sambhoga, conjugal exchanges during dreams. "Ujjvala nilamani" reveals how such dreams are vivid as waking experiences. Vasudeva Ghosa and Narahari Cakravarti tell of their svapna sambhoga experiences. Pradhurabhava sambhoga is discussed, followed by Gauranga’s nari vesa milana with the nagaris. Gauranga’s prema vilasa vivarta bhava shows how He can even assume the kanta role as His bhaktas reciprocate in kanta bhava. Gadadhara and Gauranga’s prema vilasa vivarta lila illustrates. Gora nama madhuri is explained.

Chapter Six,       Pages

A comparison of Rupanuga devotion and Nadiya nagari bhava.

Rupanuga Vaisnavism essentially means Radha dasya seva. However, Radha is Gadadhara in Gaura lila. Hence Rupa Gosvami follows Gadadhara; Locana’s padavali affirms and Svarupa Damodara gives more evidence. Because the Six Gosvamis are Gauranga’s ‘sancarita sakti’ it is only natural that they follow Gauranga’s `mula sakti’ Pandita Gadadhara. Sanatana Gosvami states that Gadadhara’s wealth lies in nagari prema. Sri Rupa tells about the special `prema ratna’ that Gauranga is distributing. Nayananda Misra confirms that this is nagari prema. How did the Gosvamis secretely reveal Gauranga’s intimate affairs? Rupa Gosvami supports Gauranga’s rasaraja feature. Sri Caitanya instructed the rasaraja doctrine to Vamsivadana. Sri Caitanya is non-different from Rasaraja Sri Krsna. A commentary of Rupa’s`anarpito carim’ sloka along with Locana’s padavali. Some asta kala lila tattva. The essays key note.

Chapter Seven,      Pages

More supporing versions from Gaudiya Acarya s such as Jagannatha dasa Babaji, Bhaktivinoda Thakura, and Siddha Caitanya dasa Babaji. One amusing encounter between Caitanya dasa Baba and Bhagavan dasa Baba.

Chapter Eight,      Pages

Sri Nityananda Prabhu as a nagara and as a nagari. A closer look into Srila Vrndavana dasa Thakura’s intimate siddhantas found in "Caitanya Bhagavata."Visnupriya’s kaAdita bhava.

Introduction

tabe hasi tare prahbu dekhaila svarupa

rasa-raja, mahabhava dui ekarupa

                        Caitanya caritamrta, Madhya 8

"Then Caitanya Mahaprabhu smiled and showed Ramananda Raya His svarupa — The form of Rasaraja and Mahabhava combined!"

Thus our Gauranga is revealed ­— He is Krsna, the rasaraja amongst the Vraja-gopis, plus Mahabhava Svarupini Radha, combined in one form.

Volumes One and Two¹ have already dealt with Gauranga’s Radha bhava aspect at length; so now a study of His rasaraja trait begins.

Although many biographers have written about Caitanya Mahaprahu’s lila, the works of Vrndavana dasa, Krsna dasa and Locana dasa are the foremost. In "Caitanya Bhagavata", Vrndavana dasa Thakura mostly depicts Gauranga in His ‘Bhagavata’ feature (as being the supreme Lord); in "Caitanya Caritamrta", Krsna dasa Kaviraja’s  Gauranga is the `Radha bhava’ Nilacala vihari of Svarupa Damodara,  Raya Ramananda, Rupa and Sanatana; yet in "Caitanya Mangala", Locana dasa Thakura’s `Gora’ is Gadadhara and Narahari’s hrdaya vallabha², rasaraja.

Thus each author depicts a different mood of Sri Caitanya which are relishable and parama upasya (supremely worshipable). Yet in Sri Locanana’s Rasaraja Gora we find a special madhurya. The following story³ shows an example why:

Locana dasa was Sri Narahari Sarkara’s disciple, and under his direction he wrote "Caitanya Mangala" in the secluded place known as Ko grama. Upon finishing the task, he returned to the feet of his guru at Srikhanda. But as Narahari read locana’s manuscript, He said: "Vrndavana dasa Thakura has already written a biography about

Sri Caitanya called "Caitanya Mangala". So if you want to distribute your book, you should go on and take his permission first." Thus Locana went to see Vrndavana dasa and presented his writing after informing him about  his Gurudeva’s order. But as Vrndavana dasa read Locana’s manuscript, he came to the following lines and fainted in the ecstasy of prema:

abinna caitanya se Thakura avadhuta

sri nityananda vanda rohinika suta

"I offer my pranamas to Thakura Nityananda nvadhuta, Who is non-different from Sri Caitanya, and Who was previously known as the son of Rohini." Upon regaining consciousness, Vrndavana dasa said: "Locana, by Sri Narahari’s grace you have exactly understood the position of Lord Nityananda — for indeed, His body is non-different from Sri Caitanya’s. From today onward your book shall be celebrated as

"Caitanya Mangala", and mine will be called "Caitanya Bhagavata."

1) Volumes One and Two: "Why did Caitanya Mahaprabhu come, and what did He come to give?"

2) hrdaya vallabha: heart’s beloved

3) Story: taken from "Srikhander pracina Vaisnava" (The Ancient Vaisnavas of Srikhanda) by Sri Gaura gunananda Thakura (published in 1910)

At the time of this incident, Vrndavana dasa’s book had already gained vast acclaim amongst the Vrndavana Vaisnava community under the name of "Caitanya Mangala". And hence, Krsna dasa Kaviraja refers to it as such in his Caitanya Caritamrta. Bit owing to Locana’s describing Gaura-Nityananda as being non different, Nityananda prana, Sri Vrndavana dasa, couldn’t hold unto his patience for showing gratitude. Thus he wrote a personal declaration for the Vrndavana Vaisnavas which stated:

"My book describes Sri Gauranga’s Bhagavata feature, whereas Sri Locana dasa’s describes about His madhurya. So henceforeward my book should be called "Caitanya Bhagavata", and his should be known as "Caitanya Mangala."

And thus it came to be. Here is a sample of Caitanya Mangala’s madhurya.

angera chataya jena               dinapara pradipa hena

tahe lila rasera vilasa

koti kusuma dhanu               jiniya vinoda tanu

tahe kare premera vikasa

kamini mohana vesa              herite bhulila desa

madana vedana heri paya

ki diba upama tara               karuna vigraha sara

hena rupa mora gora raya

"Gauranga effulgent limbs dazzle like the sun ... and herein we find His rasa vilasa (conjugal pastimes). His bodily splendor defeats millions of Cupids weilding their flower bows ... and herein He displays His prema. His dress is kamini mohana (alluring to every pretty, young girl of Nadiya) — for they forget everything else when viewing Him! Thus cupid pierces their hearts and binds them to His lotus feet. So who can compare with Gora Raya? His beautiful form is the essence of all karuna."

Sri Narahari Sarakara’s Longing

Locana dasa Thakura’s birth signifies the fulfillment of Sri Narahari’s ambition to broadcast Gaura and Gadadhara’s madhura lilas. Narahari’s following pada relates:

gaura lila darasane               vancha bara  haya mane

bhasaya likhiya kichu rakhi

mui ati adhama               likhite na jani krama

kemana koriya taha likhi

gaura gadadhara lila              adraba karaye sililaa

kara sadhya koraye varnana

sarada likhena jadi               nirantara nirabadi

kahe sadasiva pancanana

e granta likhibe je              ekhana janme nai se

janmite vilamba ache bahu

bhasate racana bale               bhujibe loka sakale

kabe vancha puraibe pahu

kichu kichu pada likhi              jadi iha  keha dekhe

prakasa karaye prabhu lila

narahari pabe sukha               ghucibe manera dukha

granthagane darabibe sila

"In seeing Gauranga’s lila, a great hankering awakens to note down some of these events. But haya! I am very fallen, and I don’t know the means to write them; so how will this great task become accomplished?

Gaura and Gadadhara’s lila can melt the stones — yet who can narrate them? If Goddess Sarasvati as the five-faced Sada siva unceasingly dictates — still these lilas would remain unsatiated! Haya! The fit person to write hasn’t taken birth ... and still a long time awaits! Oh when will Gaura and Gadadhara’s pastimes become narrated for the people? Oh when will Caitanya Mahaprabhu fulfill my desire? Meanwhile, I shall write a few padas¹ to broadcast His lila; Thus my melancholy will vanquish. For seeing the stone-like hearts of my readers melting — Narahari will become very happy."

This sample from "Caitanya Mangala" shows how Locana wrote to fulfill his gurudeva’s ambition:

srivasera ghare nace rasa vinodiya

gaura dehe syama tanu dekhe bhaktagana

gadadhara radha-rupa haila takhana

madhumati narahari haila sei kale

dekhiya Vaisnava saba hari hari bole

vrndavana prakasa haila sei stane

go gopi gopala sange sacira nandane

purbe sakha sakhigana je rupa achila

rasa asvadane prahbu sange bhakta haila

abhinava kamadeva sri raghunandana

aprakrta madana boliya je ganana

tara saba purba deha dhari prahbu beri nace

dekhi anya avatara sangi saba kade

navadvipa udaya korila vraja-cande

khone gaura lila gadadhara kori sange

khone syama lila radha rasa rasa range

camatkara lila dekhi saba bhaktagana

hari hari jaya bole ghane ghana

"Rasa vinodiya² Gauracanda dances at Srivasa’s house ... but as the bhaktas see Gaurasundara turning into syamasundara — Gadadhara becomes Radha! Then Narahari becomes Madhumati sakhi ... and all of the cows, the gopas and the gopis all join to relish mellows with Sri Sacinandana — just as they did previousely in Vraja. Sri Raghunandana becomes the ever-youthful Kamadeva, Vrndavana’s transcendental  cupid. Thus everyone takes up their Vrndavana svarupas to dance around Mahaprabhu. Aho! The associates of other Avataras will cry to see Vrndavana’s canda³ rising in Navadvipa! Thus Gauranga performs pastimes with Gadadhara ... but sometimes They become Radha and syama to enoy the Rasa lila ranga⁴. Seeing such camatkara pastimes, the bhaktas loudly cry, `Hari, Hari!’ and `Jaya, Jaya!’"

1) padas: poetry written in rhying Bengali meter

2) rasa vinodiya: The Enchanter of the Rasa lila (here, Gaura takes on His rasa-raja feature)

3)Vrndavana’s canda: Sri Krsna the moon of Vraja.

4) Rasa lila ranga: the Rasa lila amusement

Sri Locana’s Dhamali Goes deeper

Camatkara means amazing or fantastic, and Locana dasa labels Gaura and Gadadhara’s sankirtana pastimes as simply camatkara. For even Caitanya Bhagavata and Caitanya Caritamrta don’t describe that Radha, Krsna and all of Their gopi associates directly manifest in Sriman Mahaprabhu’s pastimes. But Locana’s pen goes on. After narrating "Caitanya Mangala", he presents an even deeper look into Sriman Gaurasundara’s camatkara Nadiya vihara in "Dhamali". Here Locana’s Gora is a Kamera kora¹, a Rupera nagara², a Rasa sagara, a Citta cora³, Manohara⁴ and the Nava kisora natabara⁵ whose stealthy glances steal Nadiya nagaris’ hearts! But there is a mystery about the nagaris madhura bhava with Gauranga that needs clarification: These bhavas that Sri Locana and other Gaudiya Mahajanas describe are shared amongst Gauranga’s male assoiates who have subtle nagari forms within.

Gauranga’s Associates Have Female Identities

Although the Vraja gopis have assumed male forms in following Krsna’s transformation to Gora — still they cannot forget their previous madhura tie. Rather, with Gora, these loving pastimes continue to unfold with newer and newer relish. Thus their internal nagari bhava is their overriding service mood to him. Concerning Narahari Sarakara and this tattva, Sri Gaura gunananda Thakura of Srikhanda explains as follows:

"Sri Narahari Sarakara Thakura serves and gives pleasure to his prana Gauranga in basically three ways: 1) in his parsada svarupa as Narahari, 2) in his previous nitya-siddha svarupa as Madhumati Sakhi, and 3) in his nagari svarupa. In this connection the last bhava, (the nagari bhava or kanta bhava) is his internal mood; the other two moods are occassional. Sriman Mahaprabhu prakata svarupa (visible form) is the visaya (affectionat object) of Narahari’s kanta bhava. Hence this kanta bhava forms his stayi bhava (permanent mellow) and the other rasas of dasya, sakhya and vatsalya bhava are contained within it."

                                                                       — Srikhanda’s pracina Vaisnavas

Gadadhara Pandita’s Nagari Svarupa

In Gaura ganodesa dipika, Srila Kavikarnapura confirms this siddhanta in context with Gadadhara Pandita as follows:

sri radha prema-rupa ja pura vrndavanesvari

sa sri gadadharo gauravallabhah panditakhyah

pura vrndavane laksmih syamasundara ballabha

sadya gaura prema laksmih sri gadadhara pandita

"She Who was previously Vrndavanesvari Radha is now Sri Gauranga ballabha,

1) Kamera kora: reservoir of divine kama

2) Rupera nagara: A Handsome flirtatious romantic

3) Citta cora: mind thief

4) Manohara: Simply enchanting

5) Nava kisora natabara: dressed like an attractive, youthful dancer

Gadadhara Pandita. And She Who was Vraja Laksmi Radha, Sri syamasundara vallabha, now appears as Sri Gauranga’s prema Laksmi Gadadhara."

Thus Gadadhara Pandita Gosvami (although being directly Vrndavanesvari Radha) has a female Navadvipa svarupa referred to as Gauranga’s prema vallabha, or prema Laksmi.

Sri Sivananda Sena’s Contribution

Now one might ask, "How does Srila Kavikarnapura know about Sri Gadadhara’s nagari svarupa, and why would he write about such mellows?"

The answer is that he imbibed this intimate service mood from his father, sivananda Sena; and his writing about such bhavas simply represents the overall trend of many of Gauranga’s eternal associates. For example, sivananda, who was previously Campakalata Sakhi in Vraja (one of Radha’s asta sakhis), now worships Vrndavana’s yugala kisora in the form of Gadadhara and Gauranga. His following pada explains about this:

jaya jaya pandita gosai

jara krpabale se caitanya guna gai

hena se gauracandre jahara piriti

gadadhara  prananatha jahe lage khyati

gauragata prana prema ke bujhite pare

khetra vasa Krsna seva jara lagi chare

gadaira gauranga gaurangera gadadhara

sri rama janaki jena eka kalebara

jena eka prana radha vrndavana candra

tena gaura gadadhara prema taranga

kahe sivananda pahu jara anurage

syama tanu gauranga haiya prema mage

"All glories, all glories to Gadadhara Pandit by Whose mercy we can sing Sri Caitanya’s glories. His love is such that Gauranga is celebrated as `Gadadhara’s prananatha’ (the Lord of Gadadhara). Aho! As Gadadhara’s life is Gauranga, His prema is unfathomable — for He renounced his ksetra sannyasa<sup>1</sup> and Gopinatha’s seva smply for Gaura.  Thus Gauranga belongs to Him, and He belongs to Gaura — as Rama and Sita are one body. And just as Radha and Vrndavana candra are one life — so do the waves of prema capsise from Gaura and Gadadhara’s lila. Thus sivananda says: `Krsna eagerly discards his syama body and becomes Gauranga simply to beg for Radharani’s prema!"

In the Holi pastime, sivananda Sena elaborates about Gaura and Gadadhara’s madhura tie as follows:

holi khelata gaura kisora

rasabati nari gadadhara kora

sveda bindu mukhe pulaka sarira

bhava bhore galatahi nayane nira

vraja rasa gaota narahari sange

 mukunda murari vasu nacata range

khene khene murchai pandita kora

heraite sabacara bhave bhela bhora

1) ksetra sannyasa: Gadadhara’s vow to never leave Sri Ksetra (Jagannatha Puri)

nikunja mandire pahu kayala vithara

bhume pori kahe kaho murali hamara

kaha govardhana yamunaka kula

kaha malati juthi campaka phula

sivananda kahe pabu suni rasa vani

jaha pahu gadadhara taha rasa khani

"Gaura kisora plays Holi in the arms of the rasavati nari ¹, Gadadhara. Aho! Drops of pespiiration cover Their faces, They horripulate and tears flow from Their eyes due to intense bhava! As Gauranga sings abut Vrndavana’s mellows with Narahari — Murari, Mukunda and Vasudava Ghosa dance in ecstacy! But Gauranga repeatedly faints falling in Gadadhara’s lap! And seeing them the priya bhaktas swoon! Then comming to rest in a nikunja mandire, Gauranga faints again after exclaiming: `where is My murali, the Yamuna and Govardhana? And where are Vrndavana’s malati, juthi and campaka flowers?’ Thus sivananda says, `listen to my rasa vani ²; with Gaura and Gadadhara we find a jewel mine of divine mellows!’"

Here sivananda’s addressing gd as a `rasavati nari’(young rasika damsel) is significant, for if he had not seen such  form, and revealed about it, who would have known?

Gadadhara’s Followers are actually female

Krsna dasa Kaviraja confirms about Gadadhara’s rasavati nari svarupa by revealing that Gadadhara’s followers have femala identities as well:

paAditera gana saba bhagavata dhanya

prana vallabha sabhara sri Krsna caitanya

                                               C.C. Adi 12

"All of Gadadhara’s followers are maha bhagavatas and very fortunate — for their prana vallabha is Sri Krsna Caitanya."

Most of us will pass over this siddhanta without recognising its deep purport. But here the point to grasp is that only a woman adresses her beloved as `prana vallabha³’

And hence, we learn that Srila Gadadhara’s followers have a hidden female svarupa within their male forms. So Gaura is their prana vallabha — just as Krsna is gopi jana vallabha, the beloved of the gopis. When pondering this topic, we see that Gaura and Krsna’s pastimes unfold in a parallel pattern: for a Sri Radhika is the source of all Krsna’s kantas the Nadiya nagaris expand from Gadadhara. And this key Caitanya Caritamrta verse presents the evidence. Yet, Sri Sanatana Gosvami comes o the same conclusion in his "Sri Radha Gadadhara astakam", verse 2:

navarasacalacittam nagaripremavittvam

pramadarasikabhupam naumi radhasvarupam

"I offer my prostated obeisances unto Srila Radha-Gadadhara Whose heart is always restless to relish the ever-new expressions of madhura rasa. He is the Lord of all rasika enjoyers whose wealt lies in nagari prema."

1) rasavati nari: a young, rasika damsel

2) rasa vani: rasa-filled message

3) prana vallabha: dearly beloved (masculine)

Srila Gadadhara’s disciple, Sri Yadunatha dasa, also states:

panditasya ganah sarve srngarartha kalevarah

"All of Gadadhara Pandita’s followers have female forms meant for exchanging srngara rasa (conjugal pastimes)."

                                               — Gadadhara Pandita Gosvamira sakha-nirnayamrta

In his `Korca’ (diary), Sri Svarupa Damodara says:

avanisurabarah sri panditakhyo jatindrah

sa halu bhavati radha sri gauravatare

narahari sarkarasyapi damodarasya

prabhu nija dayitanam tacca saram matam me

"There is no doubt, Sri Gaura Gosvami, the greatest of the brahminas, known by the title of `pandita’, is Radha in Gauranga’s pastimes. This is the conclusion of Sri Narahari Sarakara, Mahaprabhu’s other priya bhaktas, and myself."

Sri Rupa Gosvami says:

vrndavanesvari radha premabhakti pradayini

kalou srigauradayitah srigadadharapanditah

                                                                       — Srila Radha-Gadadharadasakam, sloka 1

"Vrndavanesvari Radha, the Bestower of prema bhakti, now appears in Kali yuga as Sri Gauranga’s confidante, Srila Gadadhara Pandita."

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Krsna and Gauranga are Non-different

All of the Mahajanas certainly affirm:

vrajendra nandana jei               sacaryai suta haila sei

"Vrajendra nandana Sri Krsna is saci nandana Sri Gauranga."

But when investigating closer, we find that Gauranga’s qualities even exceed Krsna’s, owing to His beeing the form of Radha and Krsna combined. Hence, Srila Kaviraja Gosvami adressess Gauranga as the `paratattva sima¹’, the highest limit of Supreme transcendence. And he also states:

na caitanyat Krsnajjagati paratattvam paramiha

                                                                       C.C. Adi 1

"There is no higher feature of Sri Krsna’s divinity than that found in Sri Caitanya’s."

So now a question arises:

           

"Since Gauranga is Krsna’s highest feature, wouldn’t all of Krsna’s best qualities be found in Gauranga as well? For example, as Krsna is deeply attached to the Vraja gopis and loves to enoy parakiya rasa exchanges with them, is Gauranga able to display smilar pastimes?"

If the answer were "No", then certainly we would have to say that the Kaviraja is mistaken - Sri Krsna must be the paratattva sima, and not Gaura; for when considering the splendour of Sri Krsna’s Rasa dance with the gopis, what could match this?

But why should we doubt the Kaviraja’s version? Rather, let us now begin to examine the sastric evidence which reveals that, like Sri Krsna, Sri Gauranga has the same rasika nature.

In Caitanya Caritamrta’s Chapter 4, Srila Kaviraja Gosvami presents the verses which form the basis of our discussion:

sri Krsna caitanya gosai vrajendra kumara

rasamaya murti Krsna saksat srngara

sei rasa asvadite kaila avatara

anusange kaila saba rasera pracara

"Sri  Krsna Caitanya Gosai is that selfsame Rasamaya Bhagavan, Vrajendra Nandana,

1) paratattva sima:

ataeve caitanya gosai para tattva sima

tare khirodasayi kahi ki tara mahima

                                                           C.C. Adi-2

"Therefore Caitanya Gosai is the Paratattva sima; and since even Ksirodasayi Visnu praises His glories what more can be said."

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Who is srngara rasa (conjugal love) personified. And He has specifically come to

relish srngara rasa. Yet, in so doing, He promotes all of the other rasas too."

Thus Gauranga and Krsna are both srngara rasamaya (The Embodiment of erotic pleasure). And moreover, Gauranga’s advent is specifically linked with His tasting srngara rasa, as Krsna did wih the gopis. To substantiate, Krsna dasa next quotes Gita Govindam:

visvesamanuranjanena janayannandam indibara

sreni syamala komalairupanayannangair anangotsavam

scacchandam vrajasundari bhirabhitah pratyangal ingitah

srngarah sakhi murtimaniva madhou mughdho harih kridati

"Oh sakhi, just look! In Caitra, the month of madhu (spring), our Sri Krsna appears just like a srngara rasa murti. With His soft, blue lotus hued body He is inaugurating Ananga’s utsava¹ amongst the shapely Vraja sundaris as they embrace all of His limbs!"

Then Srila Kaviraja Gosvami returns to Gauranga to equate Him with Krsna:

sri Krsna caitanya gosai rasere sadana

asese visese kaila rasa asvadana

                                               C.C. Adi 4

"Sri Krsna Caitanya is an Abode of rasa — for His rasa asvadana (relishing mellows) extends extensively and unlimitedly."

This covered language hints ar every form of rasa imaginable. Krsna dasa Kaviraja is very clever. After equating Gaura with Krsna, he doesn’t directly say how srngara rasamaya Gauranga enjoys srngara rasa; for this would expose Him to the ignorant scrutiny of the masses. Rather, he says: `asese visese’ (in all sorts of unlimited ways) so that only the rasika bhaktas can understand the matter. Or, to put it in his own words:

e saba siddhanta gura kahite na juyaya

na kahile keha ihara anta nahi paya

ataeva kahi kichu koriya nigura

bujhibe rasika bhakta na bujhibe mura

hrdaya dharaye je saitanya nityananda

e saba siddhanta sei paibe ananda

                                               C.C. Adi 4

"All of these siddhantas are very confidential and should not be discussed openly. Yet if I don’t tell about them, no-one will understand. Therefor I am writing these intimate topics in such a way that the rasikas² can understand, and the unintelligent won’t. Those holding Caitanya and Nityananda in their hearts will be happy to hear these siddhantas."

Although he hints about it throughout Caitanya Caritamrta, Krsna dasa Kaviraja wasn’t deputed to reveal Sri Gauranga’s rasaraja trait; this task he has saved for

1) Ananga’s utsava: rati keli

2) rasikas: Those bent on understanding and relishing the Lord’s intimate, loving exchanges with His devotees.

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Locana dasa  and others. When requested by the Vrndavana Vaisnava community to

write about Caitanya Mahaprabhu’s concluding pastimes, Krsna dasa predominantly depicts Gauranga’s Radha bhava feature in a lila filled with viraha feelings for Krsna. Indeed, this version is camatkara and rasa purna (fascinating and filled with rasa). Yet it is noteworthy that these descriptions center on only half of Sriman Mahaprabhu’s rasaraja / mahabava personality.

Yet, Srila Kaviraja Gosvami does begin his prabatika (early morning) Gaura kirtana pada saying:

smaraye nava gauracandra nagara vanayari

"Just remember youthful Gauracandra, Nagara vanamali."

And in Caitanya Caritamrta’s 17th. Chapter, he tells about Gauranga’s sambhoga as follows.

vidya saundarya sadhesa sambhoga nrtya kirtanaih

prema nama pradannais ca gaura divyati jauvane

"In His youth, Sri Gauranga’s knowledge, beauty, fine dress, sambhoga, dancing and sankirtana all flourish in the distribution of prema and the Hari nama."

The term `sambhoga’means Gauranga’s conjugal affairs, which are a prime feature of His youthful pastimes. Although Caitanya Caritamrta only slightly touches on Gauranga’s mid-kaisora sambhoga activities here, Locana dasa  depicts these scenes with colorful detail. Here is a sample from Dhamali:

amara gauranga nace hema kironiya

hemera gache premera rasa parche cuyaiya

tara thamka kakala baka madhura makha hasi

rupa dekhite jati kula harai harai vasi

adhuta natera thama gora angera chata

rupa dekhite hura pareche nava jubatira ghata

mana maila kula dubila baiche premera bana

locana bale madana bhole ara ke ache ana

"As my Gauranga dances, His prema rasa seeps from His brilliant, golden effulgence— like nectar-honey oozing from a golden desire tree. nha! What a form! His hips are cocked crooked, while a sweet, spreading smile adornes His face. Thus seeing His mohana rupa (enticing form) — my familly attachment is going ... going ... gone! What amazing dancing poses and bodily effulgence! The young kisori girls of Nadiya are simply stunned! ... Their minds are churning ... their family ties sinking ... and Cupid’s arrows sail! Locana says, since even Cupid is spellbound — who can remain sober?"

Sri Kavikarnapura’s Contribution

Sri Gaura kisora’s madhura pastimes at Srivasa Angana thus unfold in Srila Kavikarnapura’s "Caitanya carita Mahakavya", Chapter 6:

"Aho! Gaurasundara begins His madhura dancing! Wearing golden rings on His fingers and jeweled armlets and bracelets on His lovely arms, His beauty forms an

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indescribable picture. Even Cupid is enchanted. His palms look like blooming red lotus, His bodily effulgence streams out in waves and His broad chest appears like the golden peak of Mount Sumeru. Gaurasundara’s lips are very sweet to behold, His silken dhoti hangs in elegant folds, and a chain of ringing bells dangle over His nitamba¹. Aho — He is the Crown-jewel of all dancers. Thus vilasa rasika Gauracandra stimulates the moods of madhura rasa, as if He were Ananga (Cupid) himself. nha! The sound of mrdangas, karatalas, jingling ankle bells and enchanting singing mixes along with the high pitched ulu ulu vibrations emanating from the lotus lips of young brahmina women. And now as they ecstatically watch Mahaprabhu’s dancing, their bodies erupt with goose bumps. Thus taking up ankle bells in their hands, they ring them and sing madhura songs with their alluring, kokila-like voices."

Srila Kavikarnapura goes on:

aslosaih katica tathaisa kanscidanya

nacumbaistadanca carbbitaistathanyan

iteyavam paramkrpanidhih sutrptan

cakre sadvilasitalilaya mahatya

                        Chapter 6, verse 92

"In showing His magnficence, the Jewel of mercy, Sri Gaurasundara, embraced some bhaktas, kissed others and then transferred His chewed pan into their mouths. Thus He performed lila vihara to His full satisfaction²!"

Sri Gauranga’s vastra harana lila

In his "korca", Part 2, Chapter 10, Sri Murari Gupta further relates about such affairs:

Translation: "Then those brahmina Vaisnavas went to bathe in the Suradhuni Ganga,

and after finishing their Hari puja, they returned to Gauranga’s house at dusk. Gaurahari danced, sang and performed vihara with them. And as He embraced them with His lotus-arms, He began ecstatically rolling on the ground with them too! Aho! Overtaken by waves of ecstacy, Gaurahari danced lika a lion, and while holding Srivasa’s hands, He swiftly led him away. But back at the kirtana, Haridasa and the other bhaktas became surprised and stunned when no longer seeing the Lord! So they began seaching, yet they could not find Him. Understanding their melancholy, the Supreme Prabhu again returned in their midsts. Thus the bhaktas eagerly surrounded Sriman Mahaprabhu; yet seeing Him just like Vanamali Sri Krsna, they began to offer prayers in gopi bhava as follows:

`Oh hey Bhagavan Mahesvara (siva)! Please bestow Your mercy so that He (Gaura) may become our Vallabha (lover).’

Thus understanding their minds, Sri Krsna Caitanya began vastra harana (stealing their clothes), and similar related lilas. Later, during mid-evening on another occassion, the bhaktas Rasa data (Bestower of loving mellows), Rasika Sriman Mahaprabhu (using His wo lotus hands) stole their clothes rendering them naked! And after performing krida ³ with them, the Lord returned their garments. Then these

1) nitamba: buttocks

2) Full satisfaction: Such exchanges are only possible with the nagari svarupas of these bhaktas.

3) Such krida (love making) is only possible with the unseen nagari svarupas of theses bhaktas.

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bhaktas redressed en enjoyed vihara with Mahaprabhu in paramananda! Returning to

His Hari nama sankirtana, Sri Gauracandra fully purified their hearts with the rays of His maha ujjvala golden effulgence!"

Srila Kavikarnapura also mentions this lila in his "Caitanya carita Maha Kavya".

Gaurasundara’s Rasa Lila

Krsna performed Vastra harana lila to assure the gopis; thus they learn that Krsna accepted their prayers — He will become their Prana vallabha (hearts beloved). Then Rasa lila follows. Similarly, Gauranga performed vastra harana lila to offer His bhaktas the same assurance. So it isn’t surprising that Narahari Cakravarti describes Gauranga’s Maha Rasa sankirtana pastimes in his "Gaura carita Cintamani".

yamuna puline rasa vilasadi je rupa korila syama

sei rupa gora suradhuni tire rocila rasera dhama

laja kula bhaya saba teyagiya nadiya nagari jata

manorathe cari cale juthe juthe eraya kantaka sata

praphulita haiya dhainu kahara pane na palati dekhi

lohara pinjara haite jemana palaya navina pakhi

jaiya turite nayana bhariya dehinu gaura raya

jubati mandali majhe saje bhala ki diba upama taya

nana jati jantra baje caridige sukhera nahika para

gaoye madhura sura narigana barise amiya dhara

o mukha kamala madhu pane mati mo punah nacinu sukhe

narahari natha ta dekhi hasiya amare korila buke

"Just as syamasundara enjoys Rasa vilasa and other pastimes near the Yamuna’s banks, Sri Gora’s Rasa dhama rests beside the Suradhuni Ganga. Last night, many groups of Nadiya nagaris renounced their shyness, chastity and fear ­— as their Gaura anuraga carried them over hundreds of obstacles. They were joyful as they secretly flew like young birds released from a cage. And seeing Gauranga Raya, their eyes became satiated with His darsana ananda. Aho! Who can describe His beauy amidst these beautiful women? Then the nagaris surrounded Gauranga and played many instruments with boundless pleasure. Meanwhile, the devis of heaven sweetly sang as nectar sprinkled from the sky. So while repeatedly drinking the inoxicating madhu from Gauranga’s lotus-face (by kissing Him) I danced in jubilation. Then Narahari’s Lord, Sri Gauranga, smiled and embraced me to His chest."

Purport:

This madhura scene unfolds in Srivasa Thakura’s flower gardens beside the picturesque Ganga. The nagaris described here are Gauranga’s male associates who have arrived at Srivasa Angana in the mood of abhisarika ramanis (young, married girls who secretly fled home home to meet Gauranga.) As the sankirtana begins, it appears that a group of men are performing congregational chanting. But as the moods of Vrndavana overtake Gaurasundara and as He dances into the moonlit garden — the devotees follow to assume their nagari svarupas. Thus Maha sankirtana Rasa begins.

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Narahari Cakravarti’s Madhura bhava

Narahari (Ghana syama) Cakravarti is the grand-disciple of Visvanatha Cakravarti. Knowing wel the Post-Caitanya  period of Gaudiya Vaisnava history, he has skillfully documented this era in "Bhakti Ratnakara". Thus, as an experienced Gaura bhakta initiated in Sri Narottama dasa Thakura’s parampara, his siddhantas certainly match those of his previous masters. In his asta kala gaura lila book entitled "Gaura carita Cintamani", (amongst nearly 150 other nagari padas) he has revealed his heart’s firm resolution as follows:

nadiya nagariganera carane          mati rohu mora jivane marane

emana kakhana na dekhi na suni          priya lagi saba tiyagiya amani

gaura preme tanu gathita sabara          ke bujhibe iha sakati kahara

ei asa naraharira hiyaya          ei sabara guna gaiye sadaya

"In life or in death my mind rests at the lotus-feet of the Nadiya nagaris. I have never seen such renounciation; for they quickly forsake everything for their priya Gauranga’s seva. Their bodies are molded from Gaura prema; so who can estimate their sakti? Thus Narahari always desires to sing their glories."

Sri Narottama dasa Thakura depicts a similar mood:

kancana darpana               varana sugora re

bara vidhu jiniya bayana

duti akhi nimitha               murukha vara vidhi re

na dile adhika nayana

hari hari kene va janama haila mora

kanaka mukura jini               gora anga suvalani

heriya na kene hailam bhora

ajanulambita bhuja               vanamala virajita

malati kusuma suranga

heri gora murati               kata sata kulavati

hanata madana taranga

anukhana premabhare               se ranga nayana jhore

na jani ki jape niravadi

visaye avesa mana               na bhajinu se carana

vanchita karila more vidhi

nadiya nagari               seha bhela vrajapuri

priya gadadhara bama pasa

mohe natha angikuru               vanchakalapa taru

kahe dina narottama dasa

"Oh re (Sakhi)! Gaura’s lovely complexion shines like a golden mirror, and His face defeats the splendour of the moon. But what a fool is the Creator — for He only gave me two eyes which blink! Oh Hari! Why was I ever born in the first place? Gora’s strongly-shaped limbs defy the elegance of a golden mirror. So why couldn’t I become overwhelmed by seeing Him? His arms extend to His knees, a forest garland graces His neck and malati flowers decorate His hair. Thus seeing Gaura’s splended murati — hundreds of kulavati ramanis¹ become drenched by Cupid’s splashing waves. Tears incessantly stream from Gora’s eyes, and what sort of mantra does He

1)       kulavati ramanis: chaste housewives

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repeatedly utter? nha! Providence has deprived me — for owing to my absorbtion in

maya I couldn’t understand the melows of His carana seva. But aho! As priya Gadadhara stands on Gauranga’s left side — Nadiya beomes transformed into Vraja! Fallen Narottama says: Oh vancha kalpa taru Gora, Oh Natha (Lord), please accept me."

Sri Govinda dasa’s Contribution

sri nanda nandana            gopijana vallabha

sri radhika nayaka nagara syama

so saci nandana             nadiya purandara

sura munigana mano mohana dhama

jaya nija kanta               kanti kalevara

jaya nija preyasi bhava vinoda

vraja tarunigana              locana mangala

nadiya badhugana nayana amoda ¹

"Our sacinandana is Nandanandana, Gopijana vallabha, Radha’s nayaka and Nagara syamasundara. He is full with all opulences in Nadiya; thus He is the attractve pleasure abode for all the munis and devatas. So all glories to His kantas (sweethearts), to His effulgence, and to His beautiful form! And all glories to the mind enchanting bhavas of His consorts — for He is Auspiciousness personified. For the Vraja tarunis’eyes, and Pleasure personified for the Nadiya nagaris."

This madhura pada is instructive not only because it likens Radhika’s beloved Nagara syama with Sri sacinandana — but it also equates Krsna’s kantas (sweethearts), along with their vinoda bhavas (enchanting moods), with Gauranga’s kantas. In other words, the Nadiya nagaris are non-other than the Vraja gopis. Thus, from this perspective a vast new relish of Gauranga’s pastimes opens. Vaisnavas traditionally sing this popular song before listening to the Bhagavata. Yet moreover,  Sri Govinda dasa is acclaimed as one of the greatest Vaisnava poets to ever appear. As the son of Caitanya Mahaprabhu’s associate, Ciranjiva Sena of Srikhanda, Govinda dasa wrote during the peak of a renaissance when Gauranga’s prema dharma was resurging in Bengal after gaining remendous momentum in Vraja from the Six Gosvamis’preaching. During this era many other rasika Gaudiya Mahajanas also helpt to increase the breadth and the depth of Sriman Mahaprabhu’s prema ratnakara (ocean of prema rasa) With their extensive contribution of Vaisnava padavali. For indeed these padas represent the mature culmination of the essence found in the Gosvami sastras.

In early life Govinda dasa wasn’t a Vaisnava, until a traumatic incident happened: He fell very ill and was on the verge of death. It was then that his older brother, Sri Ramacandra Kaviraja¹, brought Srinivasa Acarya  to the place where he lie in a coma. But by Srinivasa Acarya ‘s merciful touch (on the forehead) Govinda’s high fever suddenly broke — and he was cured. Then Govinda’s life changed, and on the spur of the moment he composed his famous poem:

bhaja hunre mana                sri nanda nandana

abhaya caranaravindare ...

1)       Ramacandra Kaviraja¹: Sri Narottama dasa’s most intimate friend

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... to praise the value of Vaisnava sat sanga. Later after becomming Srinivasa’s disiple, Govinda dasa’s poetic skill fully blossomed; and then Srinivasa would often come to listen to his poetic discriptions of Gaura and Govinda’s sweet lila. Srinivasa was indeed pleased with his disciple, and blessed him with the title, `kaviraja’.

But when Govinda dasa’s poetry reached the Vrndavana Vaisnava community, his acclaim increased, for Jiva Gosvami re-confirmed Srinivasa’s blessings by sending a letter to Bengal declaring Govinda dasa as the `kaviraja’ for his amazing poetic prowess.

These historical events lend support to the Nadiya nagari doctrine because many of Govinda dasa’s padas about Gauranga capture Him in this spirit. Thus we may conclude that Srinivasa Acarya  and Jiva Gosvami also support these mellows.  If otherwise, why would they honour such poetry so highly? Here is a sample:

dekha dekha nagara               gaura sudhakara

jagat ahaladankari

nadiya purabara                ramani mandala

mantana gunamani dhari

sahajei rasamaya               sahacara urugana

majhe virajita nagara raja

madana parabhava               badana hasa dekhi

vinasai ranginigana bhaya laja

bhakata vrnda citta               kairava phullita

nisidisi udita hiyaka vilasa

rasiya ramanicita              rohini lasaka

anuksana purala na rahe hrase

aiche vilasa prakasa                vinodini vilasai

ulasai bhavini bhava

pada pankaja para               govinda dasa cita

bhramari ki paoaba madhuri labha

Oh Sakhi! "Look, look at that Nagara! He’s the Golden full moon Who elates the entire universe. And while surrounded by the sundari ramanis of Nadiya, He’s a Jewel of qualities. Being carefree and rasamaya, He appears like the Nagara raja amongst His associates. Although His smiling face conquers Cupid, it also smites every playful, young girl’s fear and shyness. Thus the bhaktas¹ lily-like hearts are overjoyed as He continuously plays within their minds. And just as the moon enjoys vilasa (love making) with the Rohini star Gauranga excites the young ramanis’minds with unceasing erotic rapture. Such prema vilasa He enjoys with the Nadiya vinodinis while refreshing their bhavas. Thus the lady-bee of Govinda dasa’s mind hankers to sip the sweet honey from His lotus feet.

Can Gauranga Give Up His Previous Nature?

Narahari Cakravarti offers a logical explanatioin for Sri Gauranga’s nagarali affairs in the following pada:

nadiya nagare nagarali jata nahika tahara lekha

anyera kathate je hauka se hauka iha ta amara dekha

1) bhaktas: Using a long `a’ over the last syllable Govinda dasa refers to the bhaktas of feminine gender

Chapter One

jadi bala ei avatare iha sambhava ki rupe hoy

achaye tahara karana prasidha sakala lokete kaya

jara je svabhava thake taha keha kabhu na charite pare

svabhavanarupa kore krda karu nizsdha kichu na kore

jadi mane kora e rupa ihara svabhava kotha na dekhi

tahate tomara nivediye suna ihate jagat saksi

ei sacisuta jasoda nandana taha ki na jana tumi

vrndavane jata nigura vilasa taha ki janaba ami

ei sei, sei ei, saba priya parikara sangete laiya

viharaye sada nadiya nagare nija gunagane magana haiya

nava nava kulabati kula kula kalanka laji tilanjali diya

narahari saksi sara kaila sabe sukhamaya gora parana priya

                                   — Gaura carita Cintamani

As two devis from heaven peak through the clouds, they discuss Gauranga’s similarity with Krsna:

                        "There is no end to Gauranga’s Nadiya nagara antics¹, and I don’t care a fig about what others say — for I’ve seen them with my own eyes. Yet if someone questions, `In this Avatara how is that possible?’ I’ll anwser, `look, everybody knows that no-one can change their nature. So (even if restricted) won’t He act according to His nature anyway?’ But if they reply, `I haven’t witnessed this nature of His’, then I will anwser, `the whole world is a witness — for don’t you know that saci’s dulala was previously Yasoda Nandana? So must I mention all about Vrndavana’s nigura vilasa (intimate love affairs)?’And Vrndavana is Nadiya, and Nadiya is Vrndavana —but now Krsna’s Vraja associates have become Gauranga’s priya companions, and as they sing His glories, they enjoy Nadiya vihara with Him. Thus stepping over their fear from family disgrace — all of the kulavati ramanis ² rush to please their prana priya Gora; and Narahari is a witness."

But Would the Vraja Gopis allow Krsna to Escape?

Let’s relish Locana dasa’s pada which candidly portrays two nagaris viewing Krsna’s transformation in Navadvipa:

jahara eka bara               gaura natabara

nayana konete here

tara sati pana               rakhaye apana

asite pare ki phire

sunechi purane               radhikara sane

tahari premera katha

tila adha jare               na dekhile more

se kena asibe hetha

preme rhini haiya               ela palaiya

yamuna haiya para

gopa kula chari                ela naide puri

dvijakula avatara

bara bhaya mone               pache keha sune

lukayeche kala rupa

kaca sona mekhe          nija anga deke

hoyeche rai svarupa

1) nagara antics: flirtatious activities

2) kulavati ramanis: chaste and beautiful newly married girls

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iha jadi suni               vraja gopigane

eseche dvijera puri

nagarali pana               tabe jabe jana

bhenge dibe bhari bhuri

se raja kumari               navina kisori

jahara koreche dhara

duti pathaiya               jabe bedhe laiya

dohai na manibe kara

gokula nagare               kalanka sagare

majayeche kula badhu

dese ke na jane               cora kanu bole

videse hoyeche sadhu

"Sakhi! The young married girls who view Gaura nataraja (just once) surely become chaste — for they cannot remove their eyes from Him. Yet I’ve heard all about His love escapades with Radha in the Puranas.  nha! He’d die if He missed seeing Her for only a split second! But why would He come here? "

The other sundari ramani answers:

            "Usurping a debt for the gopis unconditional love, Krsna crossed the Yamuna and fled the His gopa community! Thus comming to Nadiya, He advented amongst the brahmanas. Yet still fearing like anything, He smeared His black form with gold to take on Radha’s svarupa. But if the Vraja gopis catch wind of His hiding amongst the brahmanas — they will certainly spill all of the evidence revealing Him as Gokula’s Nagara. Then Navina kisori   raja kumari Radha will send Her sakhis to collect Her dues; and they won’t listen to any excuses! Rather, they’ll bind and take Him away, saying: `Aho! You’ve left our Gokula village an ocean of scandal — for who doesn’t know that You’re a gopi-cora (thief of others’ wives)! So do You have the gall to hide in a foreign country calling Yourself a sadhu’?"

This is rasa.

Here we discover why Nadiya nagari bhava is the logical outcome of the gopis’ plight after Krsna left them to become Gora. As He wanted to hide Himself for the chance to relish their sweet mellows — would they let Him get away with it alone?

Hence, a new sensational rasa is born as they rejoin Him in Nadiya. But this time the Vraja sundaris are equally clever as their Master — for they hide their nari svarupas to take up malae forms. In Sri Narottama dasa Thakura’s song, "hede he nagara bara - suno he muralidhara ..." Radhika prays to take birth as a male so that She may always remain in Krsna’s company. Her heartache is thus expressed: "Oh My nagara bara! Oh hey Muralidhara! Please listen. When You go cowherding in the forest with Sridama and Sudama, I watch by the kitchen door — and My heart follows as I gaze upon Your sweet face. But dreading being discovered by my relatives, I pretend that the stove from the kitchen stove makes Me cry. Oh My jewel-like Ramana (Lover)! Alas! If providence had not created Me a woman — surely I could have always roamed with You from place to place."

Before going on to the next chapter to relish the nagaris’purva raga for Gora, it will be appropriate to say a few words about the type of adhikara required for appreciating such intimate affairs. For such thoughts, hankering and anubhava (divine realization)

Chapter One

may awaken in a sadhaka bhakta’s heart only after the mature ripening of his Vraja

gopi bhava. In other words, when one becomes adept in manjari sadhana and receives the fortune to meet an experienced Mahatma absorbed in nagari bhava — only then can such an advanced form of raganuga bhakti begin. For one’s praccanna (hidden) Nadiya nagari form is an extended  feature of one’s manjari svarupa ideal for serving in rasika Nagara and rasika Nagari’s (Radha Krsna’s) continuing pastimes in Navadvipa.

To perform Sri Sri Gaura Govinda’s manasi seva, one is advised to first meditate on Sri Gaurasundara’s Radha bhava lilas. Following Gaura’s mood into Vraja, one then meditates on servong in each Vraja pastime as Radharani’s dasi. But when the sadaka is adept in such seva, he may re-enter Navadvipa to focus on Sri Gauranga’s rasaraja feature. In essence Vraja lila and Gaura lila are one. The Navadvipa pastimes represent Rasaraja Sri Krsna’s `parisistha lila’, further adventures meant for relishing prema’s ever-new expressions.

Chapter Two

The Nadiya Nagaris’ Purva Raga

Taking up where we left off, this chapter will continue disclosing how srngara rasamaya Gauranga has all of Krsna’s captivating features. Yet moreover, Gauranga’s alluring side-long glances, power of subjugation and bhuvana mohana rupa (universally enchanting form) even outmatch Krsna’s. A striking example is found in the story of `Svapna vilasamrta’, where Srimati Radharani has an amazing dream. As the scene opens, Srimati is lying asleep while tenderly embracing Her prana Govinda after They enjoyed nikunja vilasa. But then a startling dream frightens Radha: She sees a beautiful, Golden purusa who is madly crying "Krsna!, Krsna!" — Just as She does when weeping for Him. Aho! Srimati’s mind races after Gora — eventhough She is tightly embraacing syamasundara! Thus overwhelmed, Srimati’s slumber breaks ­— "Haya, haya!" She exclaims. "What did I see?" Then restlessly pushing on Krsna’s side, She asks Him. And after relating Her dream, Krsna smiles, and replies:

"Oh Prana priye! You have seen Rasaraja Gauranga — but don’t think otherwise, Your prema has molded Me as such."

The moral of the story is that Gora’s incredible alluring power can kidnap even Maha bhava svarupini Radha — and right from Krsna’s lap! So when this happens, what will be the plight for the young taruni ramanis of Nadiya? As Gauranga’s beauty can break Radharani’s chastity for Krsna, will their chastity for their so-called husbands remain? Indeed, it is only after attaining Gauranga that a woman’s chastity can fully blossem. And why is that? Once seeing Him, could she think of anyone else? In "Dhamali", Locana dasa offers testimony by describing his purva raga¹ for Gauranga in nagari bhava:

sacira gora kamera kora dekhlam ghatera kule

cacara cule beriya bhale nava malatira male

kaca sosa lage ghrna rupere tulana dite

hena citacora manohara naiko avanite

ki ara balcho go sai tomaya bujhaba ki

snane jete sakhira sathe gaura dekhechi

se rupa dekhi duti akhi phiraite nari

punah tare dekhbar tore kata sadha kori

ki ara balbo go sai tumi ta acha bhala

amara maramer katha maramei rakhila

jagite ghumate sada gaura jage mane

locana bale je dekheche sei se uha jane

"Oh sakhi! Mother saci’s Gora is a Kamera kora (Abode of kama) ... and I jst saw Him by the Ganga’s ghata! His lovely curling hair tossed so elegantly over His forehead ... and His cura (topknot of hair) was bound with malati garlands. Uh! Now even molte gold irks me — for it’s incomparable with His effulgent limbs. So is there such a Heart-stealer, or Mind-thief, anywhere else in the whole creation? But what are you saying, sakhi? ... And how can I explain it to you? ... when I went with the sakhis to bathe — I saw Gora! Then I couldn’t retract my eyes from Him ... and now I only

hanker to see His exquisit form again! Oh sakhi, what more can I say? You’re still

acting normal ... so I guess that my heart’s confession will have to remain inside. For

1)       purva raga: the stage before meeting the beloved (preliminary attraction)

Chapter Two

during waking, or sleeping, Gora always fills my mind. Locana says, only those who see Him will know what I’m talking about."

And having seen, Vrndavana dasa Thakura confirms Locana’s addressing Gauranga as the Abode of divine kama:

           

visvambara murti jena madana samana

divya gandha malya divya vasa paridhana

                                                           — Sri Caitanya Bhagavata

"Visvambhara’s bidy is just like Madana’s (Cupid’s) decorated with divine garlands, pleasing parfume and fine dress."

But this is an under-estimation for Locana, who says:

manamatha gauranga rupa heri prana kade

manamatha koti koti               jiniya gauranga tanu

sarva ange labanya apara

                                   — Dhamali

"nha! Seeing Gauranga’s madhura form my heart cries; for His every limb defeats the amour of millions of Cupids!"

Hence Locana goes on describing his deep attraction:

rupa lagi akhi jhure gune mana bhora

prati anga lagi kade prati anga mora

hiyara parasa lagi hiya mora kade

parana putali mora hiya nahi badhe

ami kena suradhuni gelam

kena gaura rupe nayane dilam

ami kena cahilam gaura pane

amaya hanle duti nayana bane

amara nayana bole o rupa dekhe asi

amara mona bole haige tara dasi

kore nayana pathe anagona

amara pajara kete kallo khana

gaura rupa sagarera pichala ghate

amara mana giya taya par lo chute

eke gaura rupa taya piriti makha

tate isata hasi nayanabaka

gorara jat rupa tata vesa

o se bhav te pajara sesa

gora rupa lagi akhi jhore

gora gune mana bhora kore

tila adha pasarite nari

sadai hiyara majhe dhori

ei buke ciriya rakhi paraneri sange

mone hole bahira kore dekhi mukha cande

gaura rupa hei sabara antara ullasa

ananda hrdaya kahe e locana dasa

"Gauranga’s rupa soothes my eyes, and His qualities captivate my mind! Thus my limbs cry to embrace His limbs! Yet when His form envelopes my mind, it cries too! so haya! haya! I’m unable to bind my heart (like a doll) with His.

Chapter Two

Oh why did I go to the Suradhuni Ganga? ... Why did I alow my eyes to see Gora’s beautiful form? And why did I look upon His sweet face? For His flower-arrow-glance has pierced me! Hence my eyes are telling — `just go see Him again.’ And my mind dictates — `just become His dasi.’ When my eyes glanced up a down His sweet form, my heart tore to pieces! In fact, the Ganga’s ghata turned slippery from the madhuri of Gauranga’s rupa sagara.  But nha! As my mind raced to embrace Him, it slipped and fell."

On the other hand, the thick butter of piriti (love, prema) is spread over His entire body — but there’s a slight smile on His face, and His eyes are shifty. Thus contemplating Gora’s insatiable form, my chest bursts!  nha! His rupa steals my eyes, and His qualities drive me mad. Oh, I can’t forget Him — even for half a second; for He is always on my mind. So I would just like to tear out my heart and paste it to His moon-face! Thus Locana dasa ‘s heart overflows with ananda seeing everyones’joy."

It is lamentable that the madhurya of Locana’s padavali can never be duplicated in English. For his down to earth village style colloquial Bengali has a soul-stirring twist that English words just can’t capture. Yet for those knowing Bengali, a graceful, exhorbitant Sarasvati river of rasa can be discovered flowing with every beat of his simple, sweet and life full poetry. On the other hand, however, sometimes Locana’s stark fascinations for preaching Gauranga’s parakiya rasa gets the better of him. Then, due to the excessive churning of his Gaura anuraga, he even becomes oblivious, or fearless, to public scandal. Or, as Sri Haridasa dasa Baba puts it:

            "In order to show Gauranga’s srngara  rasaraja svarupa, and to relish such bhavas, Locana has placed the garland of Gauranga’s kalankas (disgraceful scandal)

upon his own chest."

Gaura Kalankini¹

And here is an example:

baluk baluk sakala loke gaure kalankini

dhik jara kula rakhe kulera kamini

nadiya nagare gauracanda cale jaya

canchala nayana kori dui dike caya

nagaridera netra jena bhramarara pati

gaura mukha padma madhu piye mati mati

padma madhu pane tadera dekhiya ullasa

gaura guna gaya e locana dasa

— from Dhamali

"Oh let them say it, just let everyone call me, `Gaura kalankini (scandalized by Gaura)! And damn those yooung damsels who cling to their so-called family prestige. When Gauranga walks through Nadiya, His flirtatious glances roam both sides of the path. Thus the nagaris’ eyes soar like thirsty bees to sip the honey from His lotus face. Seeing them happily relishing, Locana dasa joyfully sings about Gauranga’s qualities."

Has Locana’s chest overflowed with the pride of his unconditional Gaura prema? Perhaps; yet there is another reason too which causes him to run amuck in the ecstacy

1) Gaura kalankini: a young girl who is disgraced by Gauranga

Chapter Two

of his madhura tie with Gora. Thus he aassures another Navadvipa vasini as follows:

dhara ara nahi sai dhara ara nai

buka sthira kori sabe raha eka thai

je je baluk ta baluk taha na sunibe

kalanka pathara majhe satara eriba

baluk sakal loke gaura kalankini

dik dik dik sai kulera kamini

gaura paribada e ta sabai paibe

locana bole kare bhaya kora ara tabe

— from Dhamali

Why Fear?

"Don’t fear sakhi! There’s nothing more to fear. Let’s take the load of our chests and try to remain calm. Whomever may criticise — let them, we won’t listen. We’ll just swim across the ocean of scandal to escape. Oh let them adress us `Gaura kalankini’! And sakhi, damn, damn, damn those chaste, young housewifes! Look, everyone is going to end up disgraced by Gora! Thus Locana says, then we’ll have nothing more to fear."

This pada is meant for two types of listeners, those taing part in Gauranga’s madhura lila, and us too. Locana’s fearlesness is born from deep realization and confidence. On one hand he knows about Gauranga’s magnanimity which spurs His inner desire to share madhura rasa with every bhakta. Yet he is confident too that no-one can resist His insurmountable beauty and charm. Hence, the conclusion is that everyone will become `Gaura kalankini ‘ (like himself). Then who will be left to criticise? But for those who oppose nagari bhava, herein we can imbibe a hint:

            If someone were to mercifully tell them about Gauranga rasika nature, could they resist? In other words, when properly informed about the full spectrum of Gauranga’s parama karuna, ­— they too would become attracted, no doubt. For such is the all encompacing power of Gauranga’s mercy. Indeed, this is what Gauranga hankers for; yet He laments because such bhaktas are very rare:

prithibite asiya amio iha cai

khoje hena jana more kathao na pai

                                               — Caitanya Bhagavata 

"My desire in comming to this world is to find those who just search after Me; but such people are very rare."

Because the majority of His followers lose sight of Him as their ultimate goal, Gauranga has spoken.

Sri Vasudeva Ghosa’s Padavali

The three brothers, Govinda, Madhava and Vasudeva Ghosa were very dear parsadas of Caitanya  Mahaprabhu, and expert singers in His sankirtana pastimes. Yet of the three, Vasudeva became the most prolific, and popular, for his vast contribution of Vaisnava padavali. Because he composed his padas after directly witnessing

Chapter Two

Gauranga’s activities, they are valuable for their historical accuracy, besides the deep bhavas which they express. Thus Srila Kaviraja Gosvami praises in Caitanya Caritamrta:

vasudeva gita kore prabhu varnone

kastha pasana drabe jahara sravane

"When the songs composed by Vasudeva Ghosa are heard — even the stones melt."

In context with this essay, it is noteworthy that a large percentage of Vasudeva Ghosa’s pada’s describe Nadiya nagari bhava. Yet by sampling them we can learn that he (along with his brothers) not only support this mode of worshipping Gauranga — they are counted amongst the nagaris of whom their songs describe. Hence their songs form  a living account, or first-hand testimony to Sri Gauranga’s rasika nature. Here is a sample:

madana mohana mani          gauranga badana khani

rupa heri ki na haila more

sonara varana tanu          ei chila kala kanu

nahile ki mana curi kore?

rasera parana jara          kule ki koribe tara

nadiya nagara  hena jana

ki chara daruna mati          majila jubati sati

ghare ghare premera kadana

nayana kamala nava          aruna parabhava

dhara bahe mukha buka bahiya

aha mari mari sai          marama tomara kai

jiva na go gora na dekhiya

hiyaya premera sara          tanu kaila jara jara

probodha na mane more prani

suradhuni tire jaiya          bhasaiba kula krida

bhajiba se gora gunamani

purabe suninu jata          sei saba abhimata

eve bhela kalatanu gora

vasudeva ghosera Visnuani           rasika nagara jani

nahila ki gopira mana cora

Rupa Anuraga

" I consider Gauranga’s face to be like Madana mohana’s; and when viewing His body — I am unable to describe my captivation! Oh, this Golden youth must have been that Black youth Krsna — for how else could He have stolen my mind? But what about the Nadiya damsels who have a rasika heart, will their so-called family tie be able to stop them? How will they resist Him? And what can we say about the intense agony of Nadiya’s chaste young girls — for their love-lorn crying can be heard from every home. Hence their soft, lotus-eyes, conquered by the Gauranga-sun, now pour tears that stream over their breasts. Oh sakhi! I’m going to pass away ... so just hear my confession:

Without properly knowing never classify Gora as ordinary — for my mind has fathomed the sweetnes of His prema — my body is burning in a fever — and my heart cannot be pacified without Him! Just let me go to the Ganga and drown all of my family obligations; then I shall full worship Gora guna mani. nha! Concerning everything that I ‘ve heard about dark-complexioned Krsna — the same applies to

Gora. Thus Vasudeva Ghosa says, I know that He is a Rasika nagara — for how else

Chapter Two

could He have stolen the gopis’ minds?"

From the selected padas that we have selected so far, we can see that the Mahajanas who write them look upon themseves as young, married girls in Gaura lila. Thus there is an unseen mystery taking place here that can baffle even the learned scholars. One might ask, therefore —

            "Is this type of rasa that Govinda dasa, Narahari Sarakara, Locana dasa, Vasudeva Ghosa and others describe really taking place, or is it just a kind of fascination, or bhava, that they relish within their minds?"

We won’t try to answer this question now, for this chapter only deals with purva raga (tha stage of preliminary attraction for Gauranga). So after presenting more evidence, the right moment for this discussion will automatically present itself in an upcomming chapter. At present, however, in context with Vasudeva and Govinda Ghosa, their `nari abhimana’ (female mentality) appears natural, for previously they were attracted to Krsna as the twin sisters, Sudevi and Rangadevi of Vraja. Sri Govinda Ghosa writes as follows:

nadiya nagarigana              kade tara anukhana

basana bhusana nahi bhaya

suradhuni tire jaite               dekiba gaurana pathe

kota dine habe subha dina

canda mukhera vani suni               juraba tapita prane

govinda ghosa deha khina

"The Nadiya nagaris cry continuously, and they have lost all care for their dres and ornaments. On the way to the Suradhuni they simply contemplate: `Oh when will we see Gauranga coming along this path? ...  Oh, how many days will we have to wait for His auspicious darsana? And when will we again hear sweet words emanating from His moon-face? For only this will sooth our depressed hearts. Thus Govinda Ghosa’s body has become thin."

Vasudeva Ghosa’s next pada further reveals about his internal mood:

niravadi mora mone          gora rupa lagiache

bala sakhi ki kori upaya

na dekhile gora rupa          vidariya jaya buka

parane bahire haite caya

kaha sakhi ki buddhi koriba

grhapati gurujana         bhaya nahi mora mana

gora lagi parana tyajiba

saba sukha teyaginu          kule jalanjali dinu

gora vinu ara nahi bhaya

ujhore jhoraye akhi          suno go marama sakhi

vasu ghosa ki koribe taya

"Oh sakhi! Please advise me what to do? ... My mind is always fixed on Gora. And without seeing His form my heart is breaking — so my soul wants to leave my body! Oh sakhi ! What can I do? The fear of my husband and family superiors has gone — so I am thinking to commit suicide for Gora! I’ve disgarded all other happiness and

thrown aside my family dharma — for I know nothing else but Him. Thus, with tear filled eyes, Vasu Ghosa emplores: Oh prana sakhi! What shall I do?"

Here, with the mention of a husband, and suggesting the presence of a mother-in-law, sister-in-law etc., Vasu Ghosa fully merges with his Nadiya nagari svarupa. And this is not a daydream, or the play of his imagination, but the testimony of an inner-world that many other Gaura associates take part in. For there are literally thousands of padas written by countless Gaudiya Mahajanas which verify Vasudeva’s experiences.

Nadiya nagari bhava is not simply excluded to those who were previously gopis in Vraja. And we find the example with Murari Gupta who was previously Hanumana.

Sri Murari Gupta’s Padavali

Here is a sample of Murari’s akhepa anuraga (intense feelings of remorse) in the pangs of Gaura viraha:

sakhi he gora kena nisturai mohe

jagate koriya daya           diya sei padachaya

vancala e abhagire kahe

gaura preme sapi prana          jiu kore anacana

stira haiya rohita nari ghare

age jadi janitam          piriti na koritam

jaciya na ditu prana pare

ami bhuji jara tore          se jadi na caya phire

emana pitite kiva sukha

cataka salila cahe          bajara khepile tahe

jaya phati jaya kina buka

murari gupta kaya          piriti sahaja naya

visese gaurana premera jvala

kula mana saba chara         carana asraya koro

tabe se paibe sacira bala         

" Oh sakhi, why is Gora torturing me?  Although mercifully offering the whole world the shelter of His lotus feet, He neglected an unfortunate girl like me. I gave my life for Gauranga’s love but now my soul is burning; thus I cannot remain peaceful at home! If I would have known (what would have happened) I wouldn’t have surrendered my heart. For as I suffer from for Him — He’s indifferent. So what is the happiness in such love? It’s just like the cataka bird who tries to relieve its thirst from the cloud — yet becomming struck by lightning — its chest blows to pieces!" Thus Murari Gupta says, "Love isn’t simple, especially when suffering the pain of Gauranga’s prema. First a young girl must give up her family and her pride, and then after taking shelter at His feet, she can attain the Son of sacaryai."

Here is another example where Murari Gupta totally merges in nagari bhava:

dande dande tile tile          gora rupa na herile

marama moriya jena thaki

sadha haya nirantara          hemakanti kalevara

hiyara majhare sada rakhi

bareka na dekhi taya          pajaradhasiya jaya

dhairaja dhorite nahi pari

anuragera duri diya          antare ki kore hiya

na jani tara katai dhara dhari

suradhuni tire giya          kula diba bhasaiya

anala jvaliya diba laje

gauranga sanmukhe kori          gauranga kalanka mala

galaya porite sadha lage

murari gupta bale          bhale dage dage dile

gupta gauranga anurage

"From hour to hour, and from second to second, my heart is dying for want of Gora’s rupa darsana. My ambition is to always hold Gauranga’s hemakanti kalevara (golden body) within my mind. But alas! Without seeing Him — my heart breaks, and my patience is fleeing. Aho! The rope of anuraga is pulling my mind — for I failed to estimate the power of His subjugation. So I’ll just go to the Suradhuni Ganga and drown my family attachment — and burn my shyness in a bonfire. Then I shall satiate my eyes seeing Gauranga standing before me — why should I perform my housework needlessly? As I am a chaste young girl, a yearn to wear the garland of Gauranga’s scandals around my neck. Thus Murari Gupta says; `Gauranga has placed a fine scar on me for my secret anuraga!’"

Murari Gupta lived in the same neighborhood as Caitanya Mahaprabhu, and was the Lord’s senior classmate in Gangadasa Pandita’s sanskrit toll (school). Thus witnessing Gauranga’s pastimes from the beginning, he kept a korca (diary) to record all of Caitanya  Mahaprabhu’s Navadvipa activities. This `korca’ later became a great source wherefrom Vrndavana dasa, Locana dasa and Krsnadasa Kaviraja gathered their information to write Caitanya Bhagavata, Caitanya Mangala and Caitanya Caritamrta. Hence, as the forerunner of Caitanya deva’s other biographers, his pen certainly commands a lot of weight concerning authority. Therefore, as he writes songs about nagari bhava also, this reveals that such sentiments with the Lord have excisted from the very beginning.

Before investigating further about how deeply involved Gauranga’s nagarali pastimes are, let us go on to the next chapter to confront the reasons why many Vaisnavas misunderstand, or oppose these types of mellows.

 o, this reveals that such sentiments with the Lord have excisted from the very beginning.

Before investigating further about how deeply involved Gauranga’s nagarali pastimes are, let us go on to the next chapter to confront the reasons why many Vaisnavas misunderstand, or oppose these types of mellows.

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