As you have preserved your father’s guru parampara and bhajan pranali, you are the special object of his blessings. Throughout your life of 101 years, you maintained an ideal brahmachari vrata. During your last forty years, you wore the bright white vesh of the paramahamsa order. Daily chanting three lakhs of Harinam in gopi bhava, your example is my guide.

Once, upon entering your bhajan kutir, my eyes became perfected on seeing your body decorated with sattvika emotions.

Oh hey Radha-priye,

Sri Lata!

When will you come into the path of my vision?

Standing under the shade of the desire trees at Radha Kund,

you will call me at noontime.

Taking me by the hand, you will place me

at the feet of Sri Kamala and Sri Ananga Manjari.

Then together we will all proceed to the padma mandir

at the water’s edge.

As Radha and Madhava’s jala keli concludes,

they will enter that mandir and sit down on the shringar vedi.

Oh Guru Devi!

My life shall then be rendered meaningful as I decorate

Sri Nikunjeshwari and Sri Keli Chand

with pushpa dress and pushpa alankar under your expert guidance.

When will that day be mine?

I am prepared to perform a million lifetimes of sadhana,

but please, Oh Lata, please fulfill this madhura desire.

I do not want anything else.

A Warm Invitation

Dear readers,

The Goswamis say that we can “be there now”—in Radha and Krishna’s nitya lila—simply by always thinking about them. This enjoyable process, if properly executed, will culminate in maha siddhi when the practitioner takes birth as a gopi in Vraja.

The mahatmas who enjoy reading this book and and who may wish to intimately discuss its contents are cordially invited to visit Sri Sri Gadadhara and Gauranga’s nikunja mandir. We are located on a hill overlooking the Ganga, just a two-minute walk from the ghat in Sridham Mayapur.

Gadadhar Pran Das

Sri Gadai Gauranga Kunja

Sri Mayapur Ghat

P.O. Sri Mayapur

Nadia, West Bengal, India 941313

phone: 091-933-266-0732

email: gadadhar_das000@yahoo.co.in

Other titles by the same author

· Dhämäli by Locana dasa Thakur. Translated and with an extensive commentary.

· Géta Govinda by Jayadeva Goswami. Translation.

· Rasaräja Çré Çré Gauräìga. A study of Çré Gauräìga’s intimate, hidden side as the the enjoyer of madhura rasa, collected from a host of Gaudiya mahajana authors.

· Prema-bhakti-candrikä by Narottama dasa

· The Vishnupriya Gauranga Trilogy.

§ Volume 1: The events leading up to Sri Gauranga’s sannyasa lila and those following it up to his departure from Shantipur.

§ Volume 2: Vishnupriya’s separation from Sriman Gaurasundar, Sachi’s viraha, Priyaji’s severe tapasya vrata, her Gaura bhajan at Nadia’s gambhira mandir, the inauguration of Dhameshwar Mahaprabhu’s Sri murti and seva puja, and Srimati’s amazing disappearance lila are narrated.

§ Volume 3: An elaborate description of Sri Vishnupriya’s ashta kala nitya lila with Gauranga in Sri Goloka Nabadwip Dham.

· Çré Govinda-lélämåta : Translation and commentary

Opening Words

Using shastric evidence, we have presented the following three basic siddhantas in Part One of this work:

1) That Sriman Mahaprabhu appeared to relish Sri Radhika’s bhava, thus fulfilling Sri Krishna’s three desires. In the course of tasting Radha’s mood, Sri Gauranga even sampled manjari bhava, further revealing the Lord’s trait as Rasika-shekhar.

2) As a consequence of Sri Gaurasundar’s constant absorption in the moods of Vrindavan, raganuga bhakti was promoted by the Lord himself as the sadhana for awakening Vraja prema.

3) Sri Gauranga’s parama-karuëä especially manifests through Sri Rupa, Sri Sanatan and their followers with the gift of Maïjaré-bhäva. This bhava is the purest, most secret, and most exalted mellow of madhura Vrindavan, yet Sri Chaitanya Deva makes it an offering to all people in this Kali Yuga.

Part Two has been prepared for Vaishnavas who appreciate the purport of these siddhantas and want to learn the process of raganuga sadhana.

Sri Rupa Goswami recommends sajätéya-saìga, i.e., that a devotee associate with others possessing a similar mentality and goal. Such sanga is ideal for making progress. In appreciation of the profundity of this advice, the author wishes to establish friendship with like-minded Vaishnavas interested in these topics. Your valuable association and merciful blessings are my inspiration as Vaishnava kripa is sure to also invoke Sri Gaurasundar’s karuna. In the words of Sri Narottam Das Thakur, our objective shall then be achieved:

kevala bhakata saìga, prema kathä rasa raìga,

lélä kathä vraja rasa püre

Prema katha, lila katha, and the rasa tattva of Vraja bhumi need only be discussed with the bhaktas, for in their association these topics are most relishable. (Prema-bhakti-candrikä)

Vaishnava kripa prarthi—

dina Gadadhar-prana Das

I. The Foundation

Sri Rupa Goswami presents the basis of raganuga sadhana in three principal slokas found in the Bhakti-rasämåta-sindhu, which will be presented here.

1. The basic instruction for raganuga bhakti

kåñëaà smaran janaà cäsya

preñöhaà nija-saméhitam

tat-tat-kathä-rataç cäsau

kuryäd väsaà vraje sadä

Smaran is to be performed focusing on Krishna in the company of those priya Vrindavan associates that one desires to eternally serve. Related lila katha should always be discussed while taking up residence in Vrindavan. (Bhakti-rasämåta-sindhu 1.2.294)

Commenting on this sloka Sri Jiva Goswami says: “To physically live in Vrindavan and Vraja Mandala is best, but, if that is not possible one should at least try to live there mentally.”

Sriman Mahaprabhu said: “My mind is Vrindavan” (mora mon våndävana). Hence, wherever the Lord remained, Vrindavan was created by his absorption on Krishna’s Vraja pastimes. Following in Sri Gauranga’s footsteps, every determined sadhaka should learn the art of transferring the mind to Ananda Vrindavan. Sri Rupa presents the formula for becoming a factual Vrajavasi in this sloka. Those able to both physically and mentally reside in Vraja Mandala are most favorably situated because the atmosphere of the Dham is ideal for arousing the proper divine sentiments.

Sri Rupa therefore says:

alaukika-padärthänäm acintyä çaktir édåçé

bhävaà tad-viñayaà cäpi yä sahaiva prakäçayet

The supra-mundane entities of the transcendental realm (Bhauma Vrindavan) possess such extraordinary powers that they can simultaneously uncover both bhava, and the object of bhava, i.e., Lord Sri Krishna. (Bhakti-rasämåta-sindhu 1.2.244)

The meaning of Sri Rupa’s kåñëaà smaran janaà cäsya sloka is confirmed in Srila Kaviraj Goswami’s Bengali translation :

nijäbhéñöa kåñëa-preñöha pächeta lägiyä

nirantara sevä kare antar manä haïä

The Raganuga sadhaka should constantly perform internal mänasé sevä to Krishna, following in the footsteps of the priya Vraja associates who are nijäbhéñöa, i.e., who have the same relationship that the sadhaka desires to establish with Sri Krishna. (CC 2.22.154)

Note: Bhaktas hankering to attain Vraja-raja-nandan Krishna in däsya-rasa may internally serve following the moods of Raktaka, Patraka and other household servants at Nandagram. These servants assist Mother Yashoda in bathing, dressing and decorating Krishna, or any other related service pertaining to Krishna’s bodily needs and comforts. Such a devotional attitude is characterized by a feeling of respect towards Krishna as the master.

Those persons desiring to attain Gopal Krishna in sakhya-rasa may do so by following in the footsteps of Krishna’s priya-narma-sakhäs, such as Subal, Madhumangal, Ujjval and others. Here the feeling of regard for Krishna as a superior person is transcended. Treating him as an equal, the sakhas serve Krishna, but also allow themselves to be served by him.

Bhaktas anxious for the nitya seva of Yashodanandan Krishna can follow in the footsteps of Mother Yashoda and Nanda Maharaj. They shall attain a position like that of Ambika, Kilimba and other lady friends of Yashoda who act as dhatris or nurses. Such persons also have the privilege of offering their breast milk to Krishna. In vätsalya-prema, the sense of equality with Krishna is transcended. Such bhaktas feel themselves superior in power and intelligence, and regard Krishna as a helpless child fully dependent on their care and protection.

In madhura-rasa, intimacy with Krishna increases as the gopis even offer their bodies for Krishna’s happiness. This prema remains unaffected by any form of social or religious dharma, fear, hesitation, or feeling of reverence. Therefore, madhura-prema subjugates Krishna the most. The vast majority of Chaitanya Mahaprabhu’s Rupanuga followers, however, hanker after maïjaré-bhäva, as this form of madhura-rasa is most widespread in the Gaudiya sampradaya. (See Part One.)

To attain maïjaré-bhäva, the sadhaka should internally cultivate a mood similar to that of Radharani’s maidservants headed by Sri Rupa Manjari and Sri Rati Manjari. This mood should first begin, however, by mentally following in the footsteps of one’s own Gurudeva. Srila Vishwanath Chakravarti has revealed the eternal occupation of the Rupanuga Guru in verse six of his Gurvañöakam:

nikuïja-yüno rati-keli-siddhyai

yä yälibhir yuktir apekñaëéyä

taträti-däkñyäd ati-vallabhasya

vande guroù çré-caraëäravindam

Sri Sri Radha Nikunjavihari’s yugala milan and rati keli are only possible due to the clever arrangement and seva expertise employed by the sakhis and manjaris. Among these gopis, my Gurudevi is highly accomplished and therefore very dear to Yugala Kishor. Thus, with care and attention I offer my obeisances unto her caraëa-padma.

Besides the meditation of the Guru’s manjari svarupa, the Gaudiya Vaishnava Arharyas also recommend that the sadhaka conceive of his own siddha-svarupa in this way. It should be noted, however, that this is an internal practice only, having nothing to do with one’s outward dress. In his commentary on Bhakti-rasämåta-sindhu, Sri Jiva Goswami says:

The meditation of oneself (ätma-dhyäna) as an eternal Vrajavasi is of two types: svatantreëa or separate from them, and abheda-bhävanayä means thinking of oneself as identical to them. Of the two, abheda-bhävanä is improper and leads to serious aparadh. (Durgama-saìgamané 1.2.306)

In other words, just as it is offensive to think oneself to be Sri Krishna, it is similarly, to meditate on oneself as being directly Lalita Sakhi, Sri Rupa Manjari, or any other eternal Vraja associate is also a grave offense that will lead the devotional practitioner to ruination. Svatantreëa or the identification of oneself as a separate eternal resident of Vrindavan is, however, the proper mental attitude.

Therefore, to mentally identify oneself as a separate, exquisitely beautiful Vraja-kishori maidservant of Srimati Radharani is proper.

2. External and Internal Sadhana

The svatantra form of meditation is recommended in the next sloka by Srila Rupa Goswami:

sevä sädhaka-rüpeëa

siddha-rüpeëa cätra hi
tad-bhäva-lipsunä käryä

vraja-lokänusärataù

The Raganuga practitioner desirous of becoming an eternal Vrajavasi, should follow in the moods and mellows of those particular associates in two ways:

(1) Externally, in the sadhaka deha, i.e., the present material body, one should follow the rules and regulations of sastra.

(2) Internally, in one’s siddha rupa, i.e., spiritual form conceived within the mind, one should perform manasi seva to Krishna in the company of his dearest Vrindavan companions. (Bhakti-rasämåta-sindhu 1.2.295)

The following Bengali translation by Krishna Das Kaviraja reaffirms Sri Rupa’s intention:

bähya antara ihära dui ta sädhana

bähye sädhaka-dehe kare çravaëa-kértana

mane nija siddha-deha kariyä bhävana

rätri-dine kare vraje kåñëera sevana

Raganuga sadhan bhakti is both external and internal. Externally the sadhaka performs shravan, kirtan and the other processes of vaidhi bhakti. Then, in one’s mentally conceived siddha deha, service to Krishna in Vrindavan should be internally executed both day and night. (CC 2.22.156-157)

In his Räga-vartma-candrikä, Srila Vishwanath Chakravarti says:

prathamataù kåñëaà smaran iti smaraëasyätra rägänugäyaà

mukhyatvaà, rägasya mano-dharmatvät.

As räga (attachment) is the occupation of the mind, so is smaran. Therefore, smaran is the main limb of sadhana for the raganuga practitioner.

Because the mind controls the body and its activities, and because the mind’s nature is to be attached to something, lila smaran based on attachment for the nitya seva of Krishna and his Vraja associates is the best means to guide the various devotional activities that a sadhaka may perform. In the following paragraph, Srila Viswanath Chakravarti more specifically describes the meaning of devotional service in the sädhaka-rüpa and siddha-rüpa as mentioned in Sri Rupa’s previous verse,

sädhaka-rüpeëa yathävasthita-dehena.

siddha-rüpeëäntaç-cintitäbhéñöa-tat-säkñät-sevopayogi-dehena.

sädhaka-rüpeëänugamyamänä ye vraja-lokäù çré-rüpa-gosvamy-ädayaù ye ca siddha-rüpeëänugamyamänä vraja-lokäù çré-rüpa-maïjary-ädayas, tad-anusarataù.

Sädhaka-rüpeëa sevä means devotional service performed in the present body. Siddha-rüpeëa sevä means contemplation of one’s antaç-cintita-deha, i.e., a mentally conceived form that is suitable for performing direct seva to Krishna. A sadhaka should perform the äcaraëa (behavior and practices) exemplified by Sri Rupa Goswami in his sädhaka-deha, and also follow in Sri Rupa Manjari’s footsteps in his antaç-cintita maïjaré-svarüpa. Because Rupa Goswami is the ideal Vrajavasi, following in his footsteps both externally and internally is the ideal manifestation of vraja-lokänusaratah. (Räga-vartma-candrikä, 11)

3. The External Sadhana

Before going into detail about the internal aspect of raganuga bhakti, let us examine Sri Rupa Goswami’s third important sloka which runs as follows :

çravaëotkértanädéni

vaidha-bhakty-uditäni tu
yäny aìgäni ca täny atra

vijïeyäni manéñibhiù

The wise should know that shavan, kirtan or any of the other sixty-four limbs of vidhi bhakti are useful in the proper discharge of raganuga bhakti. (Bhakti-rasämåta-sindhu 1.2.296)

Sri Jiva Goswami comments on this verse stating:

vaidha-bhakty-uditäni sva-sva-yogyänéti jïeyam

The intelligent will select only those limbs of vaidhi bhakti that are conducive to their particular mood of devotion.

In his Räga-vartma-candrikä (13), Srila Vishwanath Chakravarti divides the external aspect of raganuga bhakti into five divisions in order to help the sadhakaa understand which limbs of vaidhi sadhana are favorable to this practice and which are not.

1) Sväbhéñöa-bhäva-maya bhajan: This forms the rüpa and is therefore both the means and goal itself of the sadhana. It is therefore most desirable to maintain such practices, such as vraja-väsa (residing in Vrindavan) and one’s sthäyi-bhäva (permanent relationship with the Lord). In most cases this will be ‘bhavollasa rati’ (manjari) bhava. Favorable lila-katha for developing this bhava also comes under the heading of sväbhéñöa-bhäva-maya sädhana.

2) Sväbhéñöa-bhäva-sambandhi bhajan: This is the upädäna, or cause for arousing prema, which includes taking shelter of a bona-fide guru, chanting gayatri mantra, japa, archana, sankirtan, accepting prasad, etc. In this regard, Srila Chakravartipada also says,

atra rägänugäyäà yan mukhyasya tasyäpi

smaraëasya kértanädhénatvam avaçyaà vaktavyam eva

Even though smaran is the main limb of raganuga bhakti, it should be performed in subordination with the sankirtan yuga-dharma. (Räga-vartma-candrikä 1.14)

3) Sväbhéñöa-bhävänuküla bhajan: This is made up of anuküla (favorable) items to be performed, such as wearing tulasi beads, decorating the body with tilak, worship of Tulasi, parikrama, observing Karttika vrata, Ganga or Jamuna snan, etc.

4) Sväbhéñöa-bhäväviruddha bhajan: This includes items that are not harmful to perform, such as maintaining respect for cows, banyan trees, nurses, brahmins, etc.

In all four of the previously discussed items, Vaishnava seva can be found. Therefore, to faithfully serve the Vaishnavas is a foremost duty of every bhakta.

5) Sväbhéñöa-bhäva-viruddha: are the pratiküla or unfavorable items which hamper the development of Vraja bhakti, such as ahaìgrahopäsanä (thinking oneself either to be Bhagavan or identical with one of his famous eternal devotees), nyäsa, (regulative breathing for proper recitation of mantras), mudräs (various hand gestures used in arcana), and Dvärakä-dhyäna (meditation on Dwaraka or cultivating the desire to be a queen of Dwaraka).

Most importantly, every devotional activity should be combined with lila smaran because “This sadhana is internal as well as external” (antara bähye, ihära dui ta sädhana). If one forgets the lila and mechanically executes the external sadhana only, this can not be termed raganuga bhakti. For this reason Caitanya-caritämåta says that by anäsaìga bhajana (incomplete sadhana neglecting smaran) a sadhaka may perforrm shravan and kirtan for many lifetimes without attaining prema.

bahu janma kore jadi çravaëa kértana

tathäpi na päya kåñëa pade prema dhana

In other words, the casual bhakti performed by inexperienced bhaktas will not be potent enough to produce the desired result. Or, as Krishna Das Kaviraja says,

jatnägraha vinä bhakti na janmäya preme

Without care and attention bhakti will never fructify in prema. (CC Madhya 24)

4. Dovetailing the Mind

How does the raganuga sadhaka combine lila smaran with his bodily activities? Let us use the example of bathing. Everyone must take a bath, for this daily activity cannot be omitted. When combined with lila smaran, however, even this nitya-kritya (daily bodily function) becomes a spiritually potent activity.

During the prätaù-käla (early morning) when Gaurasundar proceeds to the Ganga for bathing in the company of his priya bhaktas, the sadhaka will also prepare for his bath. If one can also live at Mayapur or Nabadwip for taking a Ganga snan in one’s sadhaka deha, that is uttama. Internally conceiving of his nitya kishor brahmin siddha deha the devotee may imagine that just as Mahaprabhu is proceeding towards the Ganga enjoying Hari katha with Nityananda Prabhu, Adwaita Prabhu, and surrounded by all the others, I also am in Nitya-Nabadwip following behind in the company of my Gurudeva and other members of our Guru-parampara. This meditation will capture the mind, so no other thoughts may creep in.

Perhaps the devotee will imagine that as Gauranga and all the bhaktas proceed ahead, he is carrying his oil and gamcha, his fresh dhoti and chaddor, or the articles he will use to perform Ganga puja, etc. As Gaursundar reaches the bank of the Suradhuni Ganga, the sadhaka further opens his mänasa-netra (mind’s eye). Entering deeper into his meditation, he sees Sriman Mahaprabhu touching Ganga Devi to his head, overtaken with sattvika emotions while offering stavas and stutis in a faltering voice. He then enters a beautiful jewelled kutima (pavilion) overlooking the water’s edge and sits down.

At the Guru’s request, the sadhaka das enters that jewelled mandira and assists the Lord in putting on his thin white snäna-vastra.[*] Then, after unloosing his beautiful curling black hair, which is tied on top into a knot with a string of pearls, the sadhaka begins to rub scented ämalaké oil into every strand of his hair. While the sadhaka das expertly massages, the Lord’s lotus eyes close. He enters into samadhi of madhura Vrindavan.

Just then, Svarupa Damodar arrives and, knowing Sri Gaurasundar’s mood, he begins to sing a kirtan pada describing Sri Radhika’s morning bath. As Svarupa’s enchanting singing defeats the expertise of a million Gandharvas, tears stream from Gaurasundar’s lotus eyes like a tributary of the Ganga. What incredible splendor! Svarupa’s kirtan has manifested a beautiful picture of Vrindavan. Mahaprabhu and the assembled devotees enter that sphurti to relish the sweet moods of Vrajendra-pura. The sadhaka das also enters deeper into a meditation within his meditation in his mentally conceived manjari svarupa.

The time is summer. The sadhaka manjari finds herself by Radharani’s side in Jabat village. Today, Srimati, instead of bathing at home, desires to take an early morning bath in the Jamuna. She will go to a secluded ghat for bathing, the sadhaka manjari accompanies her alone. Along the way, Radharani’s graceful movements are captivating. In every direction her restless eyes scan the Vrindavan forest as she sees everything as kåñëamaya.[†]

Meanwhile. Krishna’s parrot named Vicakshan notices Srimati’s untimely journey to the Jamuna and then quickly flies to Nandagram to confidentially inform Krishna. Upon hearing the news, Krishna becomes elated and tells the cowherd boys that he will step out for a moment to take a little fresh air while enjoying the beauty of the Nandishwar forest. In no time, Krishna hurriedly arrives at that secluded Jamuna Ghat, climbs up into a large kadamba tree, and hides himself behind the thick foliage.

Just then, Srimati enters with the sadhaka manjari. Feeling fatigued from the journey, she takes rest, stretching her delicate body as her gorgeous golden effulgence lights up the ghat in all directions. The deep blue waters of the Jamuna inspire Srimati’s meditation on Shyamasundar. Her body is possessed by Krishna prema internally and externally; she sees only Sri Govinda. From his vantage point, Shyamasundar looks on with unblinking eyes, overjoyed and ecstatic. At first the dasi unloosens Radha’s gorgeous black curling waist- long hair, rubbing amalaki oil into it. Taking a comb made from ivory embedded with various jewels, the sadhaka manjari very carefully combs every strand of hair. The dasi considers even a single strand to be equal to her life a millionfold.

Next the dasi uncovers Radharani’s garment and affectionately massages her body with Narayan oil and various other scents. Although Sri Krishna is çikhaëòa-cuåä, crowned with peacock feathers, he has now become våkña-cuåä, the crowning ornament of a kadamba tree, in order to realize Radha’s aìga-mädhuré.[‡] As he silently gazes, the chakora birds of Krishna’s eyes drink the amrita from Sri Radhika’s soft golden maha bhava chintamani svarupa.[§] By the splendor of her aìga-mädhurya, Sri Radhika unknowingly is performing amazing ärädhanä or worship of Krishna, hence her name Radha, meaning the topmost worshiper, is crowned with glory. As Radha eternally remains Madan Mohan’s topmost mohini or enchantress, who can begin to estimate her supreme fortune?

Suddenly, the sadhaka dasi’s eyes capture Shyamasundarin the act. With folded hands Krishna motions not to inform Srimati. As tears of ecstasy flowdown his glossy cheeks Krishna’s endearing glance conveys the message, “Let me relish just a little more.”[**]

Startled by this vision, mahabhava nidhi[††] Sri Gaurasundar suddenly rises in the mood of Radha, his eyes open. Then, noticing the sadhaka das, Svarupa Damodar and the assembled devotees, the Lord’s external consciousness returns and he loudly cries out in a choked-up voice saturated with prema, “Haribol!”

The sadhaka das quickly finishes Mahaprabhu’s udvartana, i.e., a massage using scented powder for removing the oil, and then Gaurahari descends into the Ganga to begin jala keli with Gadadhar and his other priya bhaktas. After some time, when the water sporting comes to a close, Mahaprabhu finishes his bath and steps up onto the bank. At this instance the sadhaka das very carefully dries the Lord’s body with a soft towel and assists him in putting on his bright yellow silken dhoti (péta-vastra) and chaddor (uttaréya). Next, Gaurasundar performs Ganga puja, and after offering dandavat and pranams to Ganga Devi, he returns home performing sankirtan along the way with all the assembled devotees. The sadhaka das quickly completes his own bath in his sadhaka deha and follows behind the sankirtan party carrying the Lord’s wet garments.

This has been an example of how the raganuga sadhaka combines lila smaran and manasi seva with his external bodily activities. When taking a bath, one’s body is cleansed no doubt. In this example of bathing, however, one becomes internally purified also, as shastra confirms :

yaù smaret puëòarékäkñaà

sa bähyäbhyantaraà çuciù

Anyone remembering the lotus-eyed Sri Krishna is pure both inside and out.

5. Manasi Seva, Both Practical And Bonafide

The Sanskrita word upäsanä, which is translated as “worship” in English, comes from the two root words upa meaning “close,” and as, meaning “to reside.” Thus upäsanä or worship means to remain close to the Lord. Manasi seva is the best process for doing this. As it is not possible to physically go to the spiritual world in the present body, one can utilize the mind to conceive of the Lord, his transcendental dham, his associates and one’s own spiritual form as well. Bhagavan’s form, which is conceived in the mind by the faithful sadhaka, should never be considered imaginary. The Bhagavatam thus authorizes eight different vigraha forms of the Lord that are suitable for our worship :

çailé däru-mayé lauhé lepyä lekhyä ca saikaté

mano-mayé maëi-mayé pratimäñöa-vidhä småtä

The eight arcä-vigraha forms are declared to be: (1) that carved from a block of stone or (2) wood, those made of (3) metal or (4) clay, (5) one that is painted, (6) one made of sand, (7) jewels or (8) conceived within the mind. (SB 11.27.12)

The mano-mayé vigraha, or form of the Lord that the sadhaka worships in the mind, is real and can directly reveal itself to the sadhaka performing manasi seva with constant faith and devotion. The vivid account of the poor brahmin from Pratisthanapura who burnt his finger while touching the mentally conceived sweet rice is an excellent example.[‡‡] Sri Jiva Goswami also gives assurance to present day sadhakas that this is possible while commenting on Bhagavatam 10.80.11:

säkñät prädurbhüya ätmänaà smartur vaçékarotéty arthaù

Sri Bhagavan directly gives his darshan to the devotee always meditating on him. In fact, due to subjugation, the Lord even gives himself to such a bhakta! (Çré-Bhakti-sandarbha 277)

A few instances in the lives of some smaraëa-niñöhä siddha mahatmas are as follows:

1) Sri Raghunath das Goswami ate a heavy feast in his manjari svarupa that caused indigestion in his Gaura-parshad deha.

2) Siddha Krishna Das of Govardhan, when entering the lila in his mentally conceived manjari svurupa, was requested by Lalitaji to bring a bottle of scented oil for anointing the Divine Couple. While appearing before Radha Krishna, however, and witnessing their charming splendor, he (she) became stunned, as the perfume container fell from her hands and broke. At this moment, a celestial scent spread in all directions from Siddha Baba’s bhajan kutir at Manasi Ganga. Attracted by the strong divine fragrance, the local inhabitants and Vaishnavas came running to find Siddha Baba weeping in deep remorse. When asked the reason for his depression, he exclaimed, “I am unfit for seva!”

3) While in deep meditation of Holi, Siddha Madhusudan Baba of Surya Kund[§§] directly experienced the colored dyes and scented powders that Radha and Krishna were throwing. In fact, his entire kutir was covered with those divine substances!

4) Once, Sri Narahari Chakravarti was mentally offering bhoga to Sri Govindaji in his bhajan kutir in Vrindavan. At the very same time, the pujari at Govindaji’s temple in Jaipur offering the midday bhoga was astonished to see a separate golden plate containing delicious vegetable preparations, curries, chutneys and sweets. That evening, Govindaji appeared to the pujari in a dream saying, “Oh where is Narahari? Please bring him here to cook, for today he has fed me most sumptuously!”

If bhakti is false, then what is real? As bhakti is the expansion of Bhagavan’s svarüpa-çakti, miraculous events like those described above become commonplace for the pure devotees!

Smaran means mänasa-saìga or association with the Lord in the mind. As devotees have iñöagoñöhé with one another in their physical bodies, similarly iñöagoñöhé with the sakhis and manjaris is accessible through manas sanga. Sri Narottam Das Thakur thus prays as follows:

rädhä-kåñëa sevoì muïi jévane maraëe

täìra sthäna täìra lélä dekhoì rätri-dine

je sthäne je lélä kare yugala kiçora

sakhéra saìginé haïä täìhe haì bhora

I wish to serve Radha and Krishna in this life and the next. I want to see their lila sthalis and pastimes throughout the day and night. I wish to be absorbed in the service of the Yugala Kishor, going mentally to the places where they are performing those lilas as a sakhé-saìginé, i.e., a female companion of the sakhis. (Prärthanä 27)

By the words rätri-dine (“night and day”), Sri Narottam is refering to the añöa-käla-lélä sevä, or the service of the Divine Couple throughout the eight time divisions. When praying to identify himself as a sakhéra saìginé, he is teaching that one should mentally conceive oneself to be a saìginé or female friend of the Vraja gopis.

To confirm this method of devotional service, Sri Narottam Thakur includes the following ätma-dhyäna (meditation on the spiritual body) from Sri Gopal Guru’s Arcanä-paddhati in his Prema-bhakti-candrikä:

sakhénäm saìginé-rüpam

ätmänaà väsanä-mayém

äjïä-sevä-paräà tat-tat-

kåpälaìkära-bhüñitäm

One should meditate on one’s atma (true self) as a sangini of the sakhis. By carefully following their orders, the sadhaka will be decorated with the ornaments of their blessings.

6. The Siddhanta as found in Caitanya-caritämåta

Srila Kaviraja Goswami presents his version as follows:

ataeva gopé-bhäva kori angikära

rätri-dina cinte rädhä kåñëera vihära

siddha dehe cinti kore tähäi sevana

sakhé-bhäve päya rädhä kåñëera caraëa

This verse from the Caritämåtaexplains the meaning of siddha-rupeëa sevä as previously discussed in Sri Rupa’s sloka. Here, however, Krishna Das Kaviraja indicates that the internal aspect of raganuga bhakti is twofold:

1) The mental conception of one’s siddha deha

2) Radha-Krishna’s añöa-käla-mänasé sevä

Before going on to discuss the internal sadhana in further detail, it will be helpful to analyse the context in which Srila Kaviraja Goswami presented this teaching. These verses are found in the eighth chapter of the Madhya Lila, where Chaitanya Mahaprabhu discusses the pinnacle of all spiritual instruction with Ramananda Raya. This chapter is not only the heart of the Caitanya-caritämåta because of its central location, but is the very heart of Lord Gauranga’s gift to all the people of the Kali yuga.

In this conversation between the Lord and Ramananda, the sädhya-sädhana-tattva, i.e., the goal of life and the means to attain it, is elaborately revealed. With the words ata eva gopé-bhäva kori angikära, Sri Gauranga Deva concludes this discussion, stating what he feels to be the goal of life, and what the means to attain it are. Moreover, as the word ataeva (“therefore”) powerfully indicates, this is the conclusion and consummation of Gaudiya Vaishnava dharma. Just as the essence of the Bhagavad Gita is presented in four slokas, and just as the catuù-çloké or four main verses of the Bhagavatam are the very seed of its 80,000 slokas, likewise, the conclusion of Chaitanya Mahaprabhu’s entire teaching can be found in these four lines of Caitanya-caritämåta. Indeed, these four lines alone can take the jiva beyond the Gita and the Bhagavatam to the highest plane of devotional service. Being Sri Chaitanya’s mano’bhéñöa, nothing else is as worthy of being memorized and practiced as these blessed four lines:

ata eva gopé-bhäva kori angikära

rätri-dina cinte rädhä kåñëera vihära

siddha dehe cinti kore tähäi sevana

sakhé-bhäve päya rädhä kåñëera caraëa

By gopi bhava, we should understand that manjari bhava is meant.

II. Siddha Pranali

In the previous discussion, the two parts of raganuga sadhana’s internal aspect have been presented, namely :

1) The mental conception of one’s siddha deha,

2) Gaura Govinda’s ashta kala manasi seva.

In chapter 59 of his Jaiva-dharma, Thakur Bhaktivinoda describes the first part as upäsaka-pariñkåti, a purificatory process directed to the sadhaka, and the second as upäsya-pariñkåti, the purificatory process directed at conceiving the worshipable object.

In this section, we are going to deal first with upäsaka-pariñkåti. As previously mentioned, Chaitanya Mahaprabhu taught Sanatan Goswami—

mane nija siddha‑deha kariyä bhävana

Use the mind for contemplating your siddha deha. (CC 2.22.157)

The Lord similarly instructed Ramananda Raya:

siddha dehe cinti kore tähäi sevana

Visualize your siddha deha and mentally serve in that form. (CC 2.8.228)

Sriman Mahaprabhu entrusted the responsibilty for promoting the details of these instructions to Sri Gopal Guru Goswami who, as the foremost disciple of Vakreshwar Pandit, became intimately connected with the Lord during his last eighteen years at Puri. Due to his close relationship with Svarupa Damodar also, Gopal gained an exceptional insight into Sriman Mahaprabhu’s internal movements. This pleased the Lord so much that he selected him to be the first acharya of the Gambhira after his departure. The Lord also instructed him to write a paddhati[***] on siddha pranali and lila smaran, and awarded him the title of guru. Later, Sri Gopal Guru’s disciple Sri Dhyanachandra Goswami was also ordered to compile a second paddhati which has received equal acclaim. Still later, following these two Arcana-paddhatis, Sri Siddha Krishna Das compiled his Sädhanämåta-candrikä, which combines upäsaka-pariñkåti, lila smaran, archan, dhyana and the duties of a sadhaka all in one book. These three paddhatis have been recognized as the foundation of archan and smaran in the Gaudiya Sampradaya, and are commonly referred to as Paddhati-traya.

It is to draw attention to the authority of Sri Gopal Guru and Dhyanachandra Goswami that Srila Bhaktivinoda Thakur includes them in his Jaiva-dharma. In the narrative story Gopal Guru is given the important role of Sri Guru Goswami who awards siddha pranali to his qualified disciple Vijaya Kumar. Thakur Bhaktivinoda thus supports Gopal Guru Goswami, the authenticity of Siddha pranali, and its important function as well.

What is Siddha pranali? There are eleven specific items (ekadasa bhava) which comprise one’s manjari svarupa. This is explained in Sri Gopal Guru and Sri Dhyanachandra Goswami’s Archana Paddhatis :

asyaiva siddha-dehasya sädhanäni yathä-kramam

ekädaça-prasiddhäni lakñyante’timanoharam

näma rüpaà vayo veçaù sambandho yütha eva ca

äjïä sevä paräkäñöhä pälya-däsé niväsakaù

In order to cultivate this spiritual identity, there are eleven enchanting aspects that are addressed, which are as follows: name, form, age, dress, relationship, group, order, seva, highest ambition, residence and the sakhi one serves under. (92-93)

In the last chapter of Çré Harinäma-cintämaëi, Thakur Bhaktivinoda also gives the same list:

sädhite ujjvala-rasa äche bhäva ekädaça

sambandha vayasa näma rüpa

yütha veça äjïä väsa sevä paräkäñöhäçväsa

pälya-däsé ei aparüpa

In order to fulfill one’s ambitions for attaining madhura rasa there are eleven items: relationship, age, name, form, group, dress, order, residence, seva, highest ambition, and the sakhi one serves under. (Hnc 15.58)

How does the disciple receive ekadasa bhava?

Thakur Bhaktivinoda summarizes the process of receiving ekadasa bhava from the guru as follows:

sädhaker jokhon räganugä märga lobha hoy, tokhon

sad-gurur nikaöa prärthanä korile tini sädhaker

ruci parékñä koriyä tähär bhajan nirëoyer

saìge saìge siddha-deher paricaya koriyä diben.

When the sadhaka’s lobha for raganuga bhakti is awakened, he approaches his gurudeva with great humility and ask for instruction. If he does so, the bonafide guru first examines the disciple’s taste and then, along with devising the appropriate bhajan introduces him to his own siddha identity. (Çré Caitanya-çikñämåta, Part 6, chapter 5)

In Çré Harinäma-cintämaëi (15.59-60), Srila Bhaktivinoda gives a more detailed description of how this process is to take place:

ei ekädaça bhäva sampürëa sädhane

päïca daçä lakñya hoy sädhaka jévane

çravaëa, varaëa ära smaraëa, äpana

sampatti ei païca vidha daçäy gaëana

The sadhana relating to the eleven items of siddha pranali or ekadasa bhava is executed in five progressive stages :

1) çravaëa-daça, the stage of hearing;

2) varaëa-daça, the stage of accepting;

3) smaraëa-daça, the stage of remembering;

4) äpana-daça, the mature stage;

5) sampatti-daça, the full attainment of the goal.

1. Çravaëa-daçä, the stage of hearing.

nijäpekña çreñöha çuddha bhävuka je jana

bhäva märge gurudeva sei mahäjana

tähär çré-mukhe bhäva tattvera çravaëa

hoile çravaëa daçä hoy prakaöana

bhäva tattva dvi-prakär koroho vicära

nija ekädaça bhäva, kåñëa lélä ära

The ekadasa bhava tattva and Krishna’s Asta-kala lilas should be heard from a suddha-bhakta more advanced than oneself. (This suggests one’s own Gurudeva, and preferably if he is a bhavuka.) (Hnc 15.61-63)

The fortune to have darshan of and hear Hari katha from a bhäva-bhakta is a rare opportunity. If one can find such a rare person, hearing from him will bear results very quickly. Caitanya-caritämåta says:

lava-mätra sädhu-saìge sarva siddhi hoy

All perfection can be gained by just a moment of association with a sadhu! (CC 2.22.54)

This statement is not an exaggeration. The merciful touch of a jäta-rati sädhu can pass on the same rati, just as a spark can set other objects ablaze.

Unfortunately, we may not be incorrect in saying that the majority of Vaishnava gurus in the present day are not on the jäta-rati platform, i.e., the level of bhäva. A person interested to hear the ekadasa bhava tattva and ashta kala lila should do so from his guru if he is well versed in these matters. If not, he can read about these topics directly from the Goswami literature. But because the books of the Goswamis have all been written by premika bhaktas, hearing from them is both safe and flawless.

In Jaiva-dharma Thakur Bhaktivinoda describes two types of çravaëa-daçä: (1) krama-çuddha and (2) krama-héna.

Krama-çuddha-çravaëa means to hear Hari katha that is directly meant for awakening the relationship a bhakta wishes to establish with the Lord. Krama-héna-çravaëa refers to hearing all sorts of Krishna katha not particularly related to one’s adopted mood. Such hearing will not be profitable to the raganuga sadhaka.

2. Varaëa-daçä, the stage of accepting

rädhä kåñëa añöa-käla jei lélä kore

tähär çravaëe lobha hoy antaùpure

lobha hoile guru-pade jijïäsä udaya

kemone päibo lélä koho mahäçaya

gurudeva kåpä kori koribe varëana

lélä-tattva ekädaça bhäva saìghaöana

prasanna hoiyä prabhu koribe ädeça

ei bhäve lélä madhye koroho praveça

guru-rüpe çuddha-bhäva koriyä çravaëa

sei bhäva svéya citte koribe varaëa

If lobha or hankering awakens in a bhakta’s heart after hearing about Radha-Krishna’s ashta kala lilas, he may inquire: “O Gurudeva, how can I attain these lilas?” If pleased with the disciple, the guru will explain the disciple’s ekadasa bhava in the context of the lila, saying, “You can enter the lila in this way.” Thus, after hearing purely about this pure mood from the guru, the disciple can adopt it in his own life and spiritual practice. (Harinäma-cintämaëi 15.65-68)

This stage of acceptance is called varaëa-daçä.

In this sloka the Guru’s statement, “You may enter the lila in this way” (ei bhäve lélä madhye koroho praveça) carries the following meaning: With the Guru’s blessings the sadhaka may now mentally enter Radha-Krishna’s pastimes to perform manasi seva according to the ashta-kala format. Siddha pranali represents the seed of one’s siddha svarupa which will gradually grow to blossom at the mature stage of prema. The developing process will require a lifetime of smaran sadhana coupled with intense eagerness, without which this seed may never fructify.

brahmäëòa bhramite kona bhägyavän jéva

guru-kåñëa-prasäde päya bhakti-latä-béja

After wandering throughout the universe the fortunate jiva receives the bhakti lata bija by the grace of guru and Krishna. (CC 2.19.151)

What is this bhakti lata bija? Mahajan commentator’s of this verse say diksha, as diksha is the seed that signifies the beginning of devotional life. Diksha, however, only becomes complete with siddha pranali. Why? Because it is the guru’s foremost duty to establish the disciple’s sambandha with Krishna. The relationship begins with Gopal mantra and Kama Gayatri and is concluded* with ekadasa bhava. The mantra tells who the worshipable devata is; siddha pranali tells the worshiper who she is. For a sambandha with Krishna, both are required. Through the guru’s grace, all speculation and unnecessary guesswork concerning one’s siddha svarupa is removed. Thus Chaitanya Mahaprabhu has introduced the system of siddha pranali through his intimate parshad Sri Gopal Guru Goswami for all future generations of Gaudiya Vaishnavas.

As siddha pranali is given at the stage of varaëa-daçä, we shall now insert the explanation of ekadasa bhava from Gopal Guru and Dhyanachandra Goswami’s paddhatis. To help increase the clarity, Thakur Bhaktivinoda’s insight concerning each item is also being included from his Jaiva-dharma.

1. Näma (name):

çré-rüpa-maïjarétyädi-nämäkhyänänurüpataù

cintanéyaà yathä-yogyaà svanäma vraja-subhruväm

As Sri Rupa Manjari and the other Vraja devis have their individual names, the sadhaka also has a manjari name that is to be meditated upon. (Gaura-govindärcana-paddhati, 94)

Jaiva-dharma:

The manjari name that the guru selects is the sadhaka’s eternal name, which renders the sadhaka manjari manoramä among the other Vraja sundaris. (Jaiva-dharma)

2. Rüpa (form)

rüpaà yütheçvaré-rüpaà bhävanéyaà prayatnataù

trailokya-mohanaà kämoddépanaà gopikä-pateù

As the yutheshwari (group leader, i.e., Sri Radhika Devi) is captivating throughout the a three worlds and able to invoke Krishna’s kama, so are her maidservants. With care and attention, one should fix the mind on one’s own form as such. (Gaura-govindärcana-paddhati, 95)

Jaiva-dharma:

According to the sadhaka’s ruchi, the guru will prescribe a lovely kishori siddha svarupa. Without having an inconceivably beautiful form, could anyone possibly become Radha’s dasi?

Note : Rupa also indicates the bodily color of one’s siddha svarupa.

3. Vayaù (age):

vayo nänä-vidhaà tatra yat tu tridaça-vatsaram

mädhuryädbhuta-kaiçoraà vikhyätaà vraja-subhruväm

The Vraja sundaris are of different ages; the sadhaka manjari will meditate on herself as a kishori near about 13, the age whereupon youth blossoms. (Gaura-govindärcana-paddhati, 96)

Jaiva-dharma:

The kishori age is from ten years up to sixteen, and is also referred to as ‘bayas-sandhi’ (the time when a woman’s form develops). The manjaris’ ages start from ten and extend up to fourteen. Radha’s sakhis and manjaris are all kishori. Thus the sadhaka shall conceive of his eternal svarupa as a kishori.

4. Veça (dress):

veço néla-paöädyaiç ca viciträlaìkåtais tathä

svasya dehänurüpeëa svabhäva-rasa-sundaraù

One’s manjari svarupa is meditated upon as dressed in blue silken garments with gold and jewelled ornaments, which are gorgeous to behold. (Gaura-govindärcana-paddhati, 97)

Jaiva-dharma:

The manjaris are qualified in all the arts of seva. According to the sadhaka’s particular ruchi, however, the Guru will select the qualities and dress in which the sadhaka manjari shall be adorned.

Note: The color and design of one’s dress is disclosed herein. Srimati usually wears deep blue because it reminds her of Shyam, and most manjaris prefer to wear Radharani’s prasadi outfits. In Thakur Bhaktivinoda’s siddha parampara, however, each member has a different colored dress and bodily color.

5. Sambandha (relationship):

sevya-sevaka-sambandhaù sva-mano-våtti-bhedataù

präëätyaye’pi sambandhaà na kadä parivartayet

Due to the particular desire of the sadhaka, the relationship between the worshiper and the worshipable are adjusted. In life or death this sambandha can never be broken. (Gaura-govindärcana-paddhati, 98)

Jaiva-dharma:

The sadhaka’s sambandha with Radha-Krishna is to be meditated upon as follows: Sri Radhika Devi is my praneshwari. I am the maidservant of her maidservants. Because Krishna is Radhika’s praneshwar, Radha-vallabha, he too is my worshipable object.

6. Yütha (group):

yathä yütheçvaré-yüthaù sadä tiñöhati tad-vaçe

tathaiva sarvathä tiñöhe-dbhütvä tad-vaça-vartiné

The sadhaka manjari belongs to Sri Radha’s yutha or group. Radha is thus the yutheshwari or group leader. One should thus meditate: “I follow the requests of Radha and remain by her side, subjugated by her numerous qualities.” (Gaura-govindärcana-paddhati, 99)

Jaiva-dharma:

In Radharani’s yutha, each of the eight chief sakhis forms a subgroup called a gaëa. After testing the sadhaka’s ruchi, the gurudeva will select in which gana the sadhaka manjari is to serve.

7. Äjïä (order):

yütheçvaryäù çirasy äjïä-mädäya hari-rädhayoù

yathocitäà ca çuçrüñäà kuryäd änanda-saàyutä

The sadhaka manjari honors the yutheshwari’s order as life and soul. Thus all types of appropriate seva are performed to increase the pleasure of Radha Govinda. (Gaura-govindärcana-paddhati, 100)

Jaiva-dharma:

Orders are of two types : nitya (regular) and naimittika (occasional). The daily seva which the merciful Prana-preñöha-sakhé imparts are the nitya-äjïä. Without consideration the sadhaka manjari executes them at the prescribed moments during the course of the ashta-kala (eight time periods of the day). On special occasions naimittika orders are given. These also must be looked after with due care and attention.

Note: The siddha pranali may vary slightly from one parampara to another. In items 6 and 7, such instances can be seen. We saw above that in Bhaktivinoda Thakur’s guru parampara there is an extra item within the yutha category referred to as gaëa or subgroup. Within Radha’s yutha there are many subgroups stemming from the eight chief sakhis.

In his Gita-mälä, Srila Bhaktivinoda Thakur describes how he received the privilege of serving in Lalita’s gaëa by the mercy of Sri Vilasa Manjari and Sri Ananga Manjari. This pada is the third in a series of ten kirtan padas entitled Siddhi-lälasä in which Srila Bhaktivinoda writes in the mood of Sri Kamala Manjari.

hena käle kabe, viläsa maïjaré

anaìga maïjaré är

ämäre heriyä, ati kåpä kori

bolibe vacana sär

eso eso sakhi, çré lalitär gaëe

jänibo tomära äja

gåha kathä chäåi, rädhä kåñëa bhaja

tyajiyä dharama läja

se madhura väëé, suniyä ei jana

se dohar çré caraëe

äçraya laibe duhe kåpä kori

loibe lalitära sthäne

lalitä sundaré, sa-daya hoiyä

koribe ämäre däsé

sva-kuïja-kuöére, diben vasati

jäni sevä abhiläñé

Suddenly Vilasa Manjari and Ananga Manjari* appear. Upon seeing me their compassion awakens and they instruct with meaningful promise: “Come, come sakhi, and join Lalita’s gan; today we shall introduce you. Forget about your household, and fear not morality and religion—let us simply worship Radha Govinda!”

Upon hearing Vilasa and Ananga Manjari’s madhura-vani I take their shelter. Then they escort me to Lalita’s abode. When beautiful Lalita sees my eagerness, in a stroke of compassion she accepts me as her dasi. She even offers me a residence within her kunja.

8. Sevä (service):

cämara-vyajanädénäà sarväjïä-pratipälanam

iti sevä parijïeyä yathä-mati vibhägaçaù

With expertise the sadhaka manjari will execute two categories of seva : verbal orders, and regular services such as chamara fanning. (Gaura-govindärcana-paddhati, 101)

Jaiva-dharma:

Because the manjaris are Radha’s dasis, therefore seva means serving her. Even if Radhika sends the manjari to Krishna in a secluded place, and even if Krishna should manifest the desire for rati keli, still the manjari will not accept the proposal. The manjaris never consider themselves independent from Radha, and thus they will not serve Krishna according to their own whim. The manjaris are more eager to serve Radha than Krishna—this is the characteristic of the item known as sevä. Sri Raghunath Das Goswami has established the standard for manjari seva in Viläpa-kusumäïjali, following Svarupa Damodar’s korcha (diary).

Note : The storehouse of Goswami literature is rich with stotra-kävya directed at seva to Vrishabhanu-nandini’s lotus feet. In each masterpiece, the authors have offered heart-rending prayers for invoking Sri Radha’s karuna. Gaudiya Vaishnavas are greatly benefited by reading these books and adopting similar moods to those exemplified in them. Some noteworthy titles are:

1) Utkalika-vallaré—Sri Rupa Goswami

2) Viläpa-kusumäïjalé—Sri Raghunath Das Goswami

3) Rädhä-rasa-sudhä-nidhi—Sri Prabodhananda Sarasvati

4) Prärthanä—Sri Narottam Das Thakur

5) Saìkalpa-kalpa-druma—Sri Vishwanath Chakravarti

6) Prärthanämåta-taraìginé—Sri Siddha Krishna Das Baba

Although the sadhaka manjari is expert in all of the sixty-four arts, nevertheless, she is noted for one special service in particular. This is mentioned in the seva category of ekadasa bhava.

9. Paräkäñöha (one’s supreme ambition):

çré-rädhä-kåñëayor yadvad rüpa-maïjarikädayaù

präpta nitya-sakhétvaà ca tathä syäm iti bhävayet

I shall become a Nitya Sakhi (manjari) and serve Radha Krishna in the footsteps of Sri Rupa Manjari—this is my paräkäñöhä. (Gaura-govindärcana-paddhati, 102)

Jaiva-dharma :

In verses 102 and 100 of Viläpa-kusumäïjalé Sri Raghunath Goswami has exemplified the meaning of paräkäñöhä. He prays to Radha as follows : “Oh benevolent Radhe! My heart is burning with intense desire to merge into the nectarean ocean of your nitya seva. If you are complacent, however, what will be the use of my life, my home Sri Vrindavan, or even Sri Krishna to me?”[†††]

In sloka 100 Sri Raghunath similarly prays to Krishna: “Hey Nath! Hey Gokulacandra! Oh hey contented lotus-eyed one! Oh softly smiling Krishna! Oh ocean of mercy! Wherever you take your priyatama Srimati Radhika for enjoying pastimes, please take me along also so that I can render Yugal-seva.”[‡‡‡]

10. Pälya-däsé (the mood of being a fostered maidservant)

pälya-däsé ca sä proktä paripälyä priyaàvadä

sva-mano-våtti-rüpeëa yä nitya-paricärikä

By remaining under the care and protection of a senior Vraja gopi (having a similar temperament), the sadhaka manjari is referred to as her pälya-däsé. (Gaura-govindärcana-paddhati, 103)

Jaiva-dharma:

In Vraja-viläsa-stotra, Sri Raghunath Das has illustrated the mood of a pälya-däsé as follows :

sändra-prema-rasaiù plutä priyatayä prägalbhyam äptä tayoù

präëa-preñöha-vayasyayor anudinaà léläbhisäraà kramaiù

vaidagdhyena tathä sakhéà prati sadä mänasya çikñäà rasair

yeyaà kärayatéha hanta lalitä gåhëätu sä mäà gaëaiù

Lalita’s prema overfloods as a pragalbha, outspoken dominant figure. Daily she brings Radha into the forest for meeting Krishna. If Radha is vipralabdhä (stood up), Lalita instructs her in the clever art of mana or jealous loving anger. Let me take shelter of Lalita Sakhi and become her pälya-däsé. (Vraja-viläsa-stotra, 29)

Note: Thakur Bhaktivinoda also desires to be the pälya-däsé of Lalita. In his Géta-mälä he has written :

pälya-däsé kori, lalitä sundaré

ämäre loiyä kobe

çré-rädhikä pade, käle miläibe

äjïä sevá samarpibe

When will Lalita Sundari accept me as her pälya-däsé and offer me to Sri Radhika’s lotus feet. Then I shall engage in Sri Radha’s seva according to her orders.

11. Niväsa (residence)

niväso vraja-madhye tu rädhä-kåñëa-sthalé matä

vaàçé-vaöaç ca çré-nandéçvaraç cäpy atikautukaù

Within Vraja Mandala at Vamsi Bata, Nandishwar, etc., Radha Krishna enact their nitya vihara. Those lila sthalis are the residence for my siddha deha. (Gaura-govindärcana-paddhati, 104)

Jaiva-dharma:

To eternally reside in Vrindavan is the meaning of nivasa. The sadhaka takes birth as a gopi in a particular village in Vraja. Then, after marriage she resides in her father-in-law’s house. If Krishna’s melodious flute should enter her ears, however, the allurement for Radha’s seva brings the sadhaka manjari to Radha Kund. It is here that she has a kunja and kutir as her residence.

Note: In Géta-mälä, Thakur Bhaktivinoda also prays as follows.

våñabhänu-pure, janama loibo,

jäbaöe viväha hobe

braja gopé bhäva, hoibe svabhäva

äna bhäva nä rohibe

nija siddha deha, nija siddha näma

nija rüpa sva-vasana

rädhä kåpä bole, labhibo vä kobe

kåñëa prema prakaraëa

I shall take birth in Varshana and marry in Jabat village, where Radha resides after her marriage. The mood of a Vraja gopi shall be my only nature. By Radha’s kripa, when shall I receive the paraphernalia for Krishna’s prema seva, such as my own siddha deha, name, form and dress?

Concerning his residence at Sri Radha Kund, Thakur Bhaktivinoda has thus written in Géta-mälä.

cintämaëi-maya, rädhä kuëòa taöa,

tähe kuïja çata çata

prabala vidruma-maya taru latä,

muktä-phale avanata

svänanda-sukhada-kuïja manohara

tähäte kuöéra çobhe

bosiyä tathäy, gäbo kåñëa näma

kobe kåñëa-dasya labhe

The banks of Radha Kund are chintamani wherein many hundreds of kunjas are nestled together one after another. Some trees are coral, displaying pearl fruits from overladen branches. Within this setting is my kunja, Svananda-sukhada*, which steals the mind. There I shall sit in my kutir, singing Krishna’s names while contemplating how I shall next serve him.

At the time of varaëa-daçä the sadhaka should openly discuss the nature of his acquired ruchi with the Guru. In Harinäma-cintämaëi, Thakur Bhaktivinoda advises:

varaëa kälete nija ruci vicäriyä

guru-pade jänäibe sarala hoiyä

prabhu tumi kåpä kori jei paricaya

dile more tähe mora pürëa préti hoy

svabhävataù mora ei bhäve äche ruci

ata eva äjïä çire dhori hoye çuci

anya-ruci hoile gurudeva anya-bhäva diben

When accepting the ekadasa bhava, the disciple should carefully consider what his personal preferences are and frankly state them in the following way: “O Gurudeva, please mercifully award me the spiritual identity that I can fully accept with priti. My nature and ruchi are like this, so just properly advise me so that I can follow your instruction with all my life and soul.” Nevertheless, if the disciple later discovers that some of the features of his siddha deha do not accord fully with his preferences, he may change them. (Hnc 15.69-71)

The siddha deha being the soul’s most precious possession, it must correspond in every way to the sadhaka’s personal choice. If not, the required motivation to attain such a spiritual body would be lacking. Srila Bhaktivinoda thus advises:

ruci jadi nahe tobe akapaöa mone

nivedibe nija-ruci çré-guru-caraëe

vicäriyä gurudeva dibe anya bhäva

tabe ruci hoile prakäçibe nija bhäva

When first received, if the ekadasa bhava does not match the sadhaka’s ruchi, he must consult his guru. After reconsideration, the guru may revise it. Only when the choice matches the disciple’s ruchi will it be possible for his mood to develop in the siddha deha. (Hnc 15.72-73)

çré-guru-caraëe pori bolibe tokhon

tavädiñöa bhäva ämi korinu varaëa

ei bhäva kokhono ämi nä chäåibo ära

jévane maraëe ei saìgé je ämära

The question of a disciple’s siddha pranali is to be fully discussed between the guru and the concerned disciple just before such initiation is given. At that time, the disciple must take full shelter of his guru and say, “I accept the ekadasa bhava you have given me as my own, not only in this life, but also after death.” (Hnc 15.74-75)

Note: The ekadasa bhava, i.e., the eleven features of one’s spiritual body or siddha deha, correspond to one’s eternal relationship with Krishna. Yet, it should not be taken that one’s siddha svarupa existed previously, in some far distant past, prior to what is often referred to as “the fall.”

According to the Goswamis’ presentation of raganuga bhakti, siddha pranali, and the system of varaëa-daçä described by Srila Bhaktivinoda Thakur in these previous examples, we learn that the siddha deha is formed by the sadhaka’s desire, which is approved by the guru and developed through sadhana. Upon the attainment of prema this body becomes fully manifest when the sadhaka takes birth in Krishna’s bhauma Vrindavan lila. In Räga-vartma-candrikä, Srila Chakravarti-pada supports this version:

siddha-rüpeëäntaç-cintitäbhéñöa-tat-säkñät-sevopayogi-dehena

The spiritual body that one attains at siddhi corresponds to the antaç-cintitaù siddha deha, the spiritual form that one conceives within the mind during the time of sadhana.

It is with this conviction thai the sadhaka enthusiastically performs ashta-kala lila manasi seva using the ekadasa bhava given by his guru.

Sri Narottam Das Thakur also supports this system with the following:

yugala-caraëa sevä nirantar ei bhävi

anuräge thäkibo sadäi

sädhane bhävibo jähä siddha dehe päbo tähä

räga märge ei sei upäya

sädhane je dhana cäi, siddha dehe tähä päi,

pakväpakva mätra se vicära

päkile se prema bhakti, apakve sädhana-gati,

bhakti-lakñaëa tattva-sära

I always imagine myself to be serving by the side of Radha Krishna with great enthusiasm, for one’s contemplation during sadhana is sure to produce the corresponding siddha deha. When one’s sadhana matures, prema will bring about one’s supreme destination. This is the essence of bhakti tattva. (Prema-bhakti-candrikä, 55-56)

This version of the Gaudiya Vaishnava acharyas is also confirmed in the Bhagavatam:

yad-yad-dhiyä ta urugäya vibhävanti

tad-tad-vapuù praëayase sad-anugrahäya

Lord Brahma says, “Oh dear Lord, devotees who worship you in ecstasy desire a suitable spiritual body for their discharge of nitya seva. By your mercy, they receive a suitable body according to their hearts’ choice.” (SB 3.9.11)

3. Smaraëa-daçä, the stage of remembering

Thakur Bhaktivinoda further states in Harinäma-cintämaëi:

nija siddha ekädaça bhäve vraté hoye

smaribe çuddha citte nija bhäva caye

smaraëe vicära eka äche to sundar

äpanär jogya småti koro nirantara

äpanär ajogya smaraëa jadi hoy

bahu yuga sädhileo siddhi kobhu noy

One should regularly practice ekadasa bhava smaran with special attention to the lilas corresponding to one’s mood. Fortunately, only the lilas in which the sadhaka finds interest need be contemplated, for otherwise, one may not attain the goal, siddhi, even after many lifetimes of devotional practice. (Hnc 15.76-78)

This advice certainly brings back to mind Sri Rupa’s opening sloka on page 8:

kåñëaà smaran janaà cäsya

preñöhaà nija-saméhitam
tat-tat-kathä-rataç cäsau

kuryäd väsaà vraje sadä

Smaran is to be performed focusing on Krishna in the company of those priya Vrindavan associates that one desires to eternally serve. Interrelated lila katha should always be discussed while taking up residence in Vrindavan. (BRS 1.2.294)

Following these instructions the sadhaka may effectively practice smaran on a daily basis, and upon entering the lila, make the whole of Vraja alive before him. How is this accomplished? Externally while shravan, kirtan, archan or any other devotional activity continues, the sadhaka’s mind will go to the place in Vraja where the present ashta-kala lila is unfolding. As this picture comes into mind, the sadhaka manjari will envision favorable situations for performing Yugala seva following in the footsteps of the sakhis and manjaris.

To most effectively perform smaran sadhana, one needs to be well versed in the ashta-kala lila works, Ujjvala-nélamaëi, and other related rasa shastras of the Goswamis. Thus Bhaktivinoda Thakur has included çravaëa-daçä as the first stage of raganuga bhakti. This stage itself could take many years to complete. If one is anxious to attain “samadhi later,” it is important to begin “work now” following the path of raganuga sadhana.

Smaran sadhana is very enjoyable and breeds attachment. Sri Narottam Das Thakur therefore writes,

monera smaraëa präëa, madhura madhura dhäma

yugala viläsa småti sära

sädhya sädhana ei, ihära pora ära näi

ei tattva sarva vidhi sära

Lila smaran is the life force of the mind. It is a madhura madhura abode, and Radha Krishna’s yugal vilasa is the cream of such smaran. No other devotional practice is so attractive, for this sadhana is the essence of all regulative principles. (Prema-bhakti-candrikä, 61)

In Bhakti-sandarbha, Sri Jiva Goswami lists five progressive stages in the practice of smaran. These are smaraëa, dhäraëä, dhyäna, dhruvänusmåti and samädhi. He explains these stages as follows:

yat kiïcid anusandhänaà smaraëam. sarvataç cittam äkåñya sämänyäkäreëa mano-dhäraëaà dhäraëä. viçeñato rüpädi-vicintanaà dhyänam. amåta-dhärävad avicchinnaà tad dhruvänusmåtiù. dhyeya-mätra-sphuraëaà samädhir iti.

The basic definition of smaraëa is even the slightest attempt to recollect Bhagavan’s form, qualities and pastimes. Drawing the mind away from other things to hold on to the object of meditation in a general way is called dhäraëä. When one is able to bring one’s attention to focus in a more detailed way on Krishna’s form, qualities and pastimes, that is called dhyäna. When long stretches of meditation continue like an unbroken flow of nectar, it is termed dhruvänusmåti. When, at the mere attempt of meditation, one has sphurtis or direct visions of the lila, this is called samädhi. (Bhakti-sandarbha 278)

Note: The above text is found in the discussion of the nine kinds of bhakti,

çravaëaà kértanaà viñëoù smaraëaà päda-sevanam

arcanaà vandanaà däsyaà sakhyam ätma-nivedanam

The nine kinds of bhakti are hearing, chanting, remembering, serving the lotus feet, worshiping the deity form, offering prayers, taking the attitude of a servant, being a friend, and offering one’s entire being to the Lord. (SB 7.5.23-24).

It is noteworthy that Rupa Goswami clearly states that remembering the Lord and never forgetting him is the essence of all rules and regulations in the devotional scriptures.

smartavyaù satataà viñëur vismartavyo na jätucit

sarve vidhi-niñedhäù syur etayor eva kiìkaräù

All injunctions are meant to serve this one injunction, “One should always remember the Lord.” And all prohibitions are meant to serve this one prohibition, “Never forget the Lord.” (Bhakti-rasämåta-sindhu, 1.2.8)

In view of this, Srila Jiva Goswami’s definition of smaran as being yat kiïcid anusandhänaà, “the slightest attempt to recollect Bhagavan’s form, qualities and pastimes” is very encouraging. It does not set the bar so high that it is impossible to achieve. It does not set a tassle of preconditions that place it beyond the purview of the ordinary practitioner. One must begin the attempt to remember somewhere, and the later stages will follow. Of course, smaran is dependent of shravan, and therefore Bhaktivinoda Thakur has stressed that the smaraëa-daçä is preceded by the çravaëa-daçä and varaëa-daçä, but these prior stages are meant to facilitate remembrance and meditation.

4. Äpana-daçä, the mature stage

Srila Bhaktivinoda Thakur continues:

äpana sädhane småti jobe hoye vraté

acire äpana daçä hoy çuddha ati

nija çuddha bhäver je nirantar småti

tähe düra hoy çéghri joåa bandha mati

When the sadhaka takes on the commitment to practice the art of smaran sadhana, he quickly attains the very holy state known as the äpana-daçä. When he remembers his own pure spiritual identity, then all conditioned states of mind and material bondage are eliminated. (Hnc 15.79-80)

Note: The äpana-daçä is the stage where the sadhaka’s long-standing devotional efforts begin to bear results. The word äpana means, “making one’s own”; in other words, at this stage, one begins to identify fully with the spiritual body that was adopted at the varaëa-daçä stage.

Now Bhakti Rani enters the devotee’s heart causing various transcendental emotions to awaken by her çuddha-sattva potency. This is compared to the spark that sets alight the fire of prema, or the first ray from the rising prema surya which destroys all material contaminations and misgivings in the life of the bhakta. Now the devotee is eligible to receive Krishna’s säkñät-darçana, or direct vision. Smaran at this point has reached dhruvänusmåti. Further advancement will come by itself, as different divine emotions continuously rise and break like waves in the ocean of the devotee’s sthäyi-bhäva or permanent mellow with Krishna.

Thakur Bhaktivinoda comments on the above verses in his footnotes to the Harinäma-cintämaëi—

smaraëe ei païca daçä atikrama korite anipuna

loker pokhe bahujuga jaite pare; nipunbyaktider

pokhe alpadine apanadasa upastita hoy

For the inept, it could take many yugas to progress through the five stages from smaraëa-daçä to sampatti-daçä. For the expert sadhaka, however, äpana-daçä may awaken in a short time only.

Srila Bhaktivinoda next says:

Devotees who are preoccupied by external affairs and do not take care to develop internal smaran are quite unable to reach äpana-daçä. Yet, if one possesses lobha, this type of bhajan is not difficult. One must always be on guard, however, that no adverse elements creep in to distort the proper discharge of Vraja sadhana. This bhajan is ideally performed when three factors combine:

1) sädhu saìga, one has the association of rasika bhaktas;

2) sunirjana, one has an ideal secluded environment;

3) dåòha-bhäva, one is able to maintain a steady vow.

An ideal example of such nishtha in sadhana was exemplified in the life of Sri Jagannath Das Babaji. Once he performed a mantra-puraçcaraëa[§§§] with resolute vows, firmly desiring Sri Krishna’s darshan. Taking bath daily at 3:00 am, he would return to his bhajan kutir to chant japa throughout the day behind closed doors. At sunset, Jagannath Baba would come out to take haviñyänna, a boiled rice and dal preparation spiced only with tumeric. Then he would return to chant through the night. After performing this rigid sadhana for two months, it began to fructify. At one point, he suddenly broke silence, exclaiming to his servant, “Bihari, just see! Just see! What a wonder is happening!” With that, his vrata suddenly broke. Then, taking up the strict vows again, Sri Jagannath Baba attained siddhi, i.e., Sri Krishna’s saksat darshan within three months.

5. Sampatti-daçä, attainment of siddhi.

Sri Bhaktivinoda Thakur continues :

samädhi svarüpa småti je samaye hoy

bhäväpana daçä äsi hoibe udaya

sei käle nija siddha deha abhimän

paräjiyä joåa deha hobe adhiñöhän

tokhon svarüpe braja väsa khoëe khoëa

bhäväpane sva-svarüpe here braja-vana

Through unwavering svarüpa-småti or remembrance of one’s siddha svarupa, samadhi shall be invoked. This is called bhäväpana-daçä, or the attainment of one’s eternal sthayi bhava. At that time, one identifies himself completely with the siddha deha, and one’s material identity loses its precedence. Then, from moment to moment, one lives in that identity in Vraja dham and actually has darshan of Krishna lila in the siddha svarupa. (Hnc 15.81-83)

These are the symptoms of a Maha-bhagavata (premika devotee). Generally, prema is the result of many lifetimes of sadhana. When achieved, prema uncovers the bhaktas one and only possession, Sri Krishna and his madhurya-maya Vraja Dham. Addressing Raya Ramananda, Sri Chaitanya Mahaprabhu said:

prabhu kahe kåñëe tomära gaåho prema hoy

premera svabhäva ei jäniha niçcaya

mahäbhägavata dekhi sthävara-jaìgama

täìhä täìhä hoy tär çré kåñëa sphuraëa

sthävara-jaìgama dekhe nä dekhe tära mürti

sarvatra hoy nija iñöadeva sphürti

Because of your deep love for Krishna you display the symptoms of a Maha Bhagavata. When such great devotees look at anything in this world, moving or non-moving, their beloved Lord appears to them. They look at the objects of this world, but they do not see those forms, rather it is the sphurti of their ishta devata that they see! (CC 2.8.272-274)

This is smaran’s culminating stage, samadhi. From moment to moment the premika bhakta sees Krishna, his dearest associates, the Vrindavan forest and even his own svarupa. In order to increase his bhakta’s attachment, however, Sri Bhagavan again disappears, leaving the devotee in despair, just as the darkness of a cloudy night becomes more profound after a streak of lightning suddenly vanishes. Experiencing viraha once again, the bhakta’s loving cries increase twofold.

When the premika bhakta gives up the material body in this state, vastu-siddhi is attained, meaning that he is transferred to the universe where Sri Krishna’s bhauma-lélä (lilas in the material world) is manifest. Upon taking birth there in the womb of a Vraja gopi the bhakta’s long cherished desire for having the Lord’s direct seva is fulfilled. The conception that the guru imparted with siddha pranali now fully manifests. The sadhaka manjari now enjoys the privilege of directly serving Radha Govinda guided by the guru-rupa manjari and every other manjari in her Guru parampara.

A Reflective Note

Throughout his extensive writings Srila Bhaktivinoda Thakur speaks about the system of Siddha pranali in many places, particularly in three major works: Caitanya-çikñämåta, Jaiva-dharma, and Harinäma-cintämaëi. In Géta-mälä the Thakur has even disclosed his spiritual identity in eleven phases. Such mercy is seldom seen in the Vaishnava world, for traditionally Gaudiya Vaishnavas keep secret the confidential matters concerning their personal svarupa. Srila Narottam Das Thakur warns in this regard:

äpana bhajana kathä, nä kohibe jathä tathä

ihäte hoibe sävadhäna

One should be careful not to reveal one’s personal intimate religious and devotional experiences to anyone and everyone.

Why would Bhaktivinoda Thakur reveal his äpana bhajana kathä and the topics concerning siddha pranali in his principal books, which are read by thousands? The purpose he had in writing was surely reform for the future. On one hand, Srila Bhaktivinoda’s teachings begin with basic principles for the uplift of the masses. On the other, he reveals himself as a mature rasika Bhagavata who strongly realizes the necessity to preach even the most confidential aspects of gopi-anugata bhajan. For the sake of informing the Vaishnava community at large, he did not hesitate to write about siddha pranali and its importance. Then, for his future intimate followers, he also disclosed the details of his own svarupa, for without having done so, it would not have been possible for others to follow in his footsteps on the raganuga path.

Thakur Bhaktivinoda is acclaimed as the pioneer who inaugurated the mass preaching of Vaishnava dharma in the Western countries. It would surely be unfortunate, therefore, if his teachings on manjari sadhana and siddha pranali were overlooked, for they are part and parcel of his broad vision. In the Thakur’s opinion, these items are essential for every progressive Rupanuga practitioner.[****]

An alternative for those without siddha pranali

If a person desiring to perform raganuga sadhana has previously received initiation from a sampradaya in which the system of siddha pranali is not available and if he is reluctant to perform a diksha samskara, then another alternative may feasibly be adopted. Such persons may meditate on their nitya svarupa according to the atma dhyana in shastra. Placing faith on the acintya-çakti of Hari nama, ashta kala manasi seva may be performed with the following ätma-dhyäna:

ätmänaà cintayet tatra täsäà madhye manoramäm

rüpa-yauvana-sampannäà kiçoréà pramadäkåtim

nänä-çilpa-kaläbhijïäà kåñëa-bhogänurüpiëém

prärthitäm api kåñëena tato bhoga-paräì-mukhém

rädhikänucaréà nityaà tat-sevana-paräyaëäm

kåñëäd apy adhikaà prema rädhikäyäà prakurvatém

prétyänudivasaà yatnät tayoù saìgama-käriëém

tat-sevana-sukhäsväda-bhareëätisunirvåtäm

ity ätmänaà vicintyaiva tatra seväà samäcaret

brähma-muhürtam ärabhya yävat säntä mahä-niçä

Manjari-bhajan-anandi bhaktas may enter the veiled mystery of Vrindavan’s nikunjas conceiving themselves to be a manorama-gopa-kishori situated amongst the other gopis in Sri Radha’s yutha. This divine form is proficient in all the arts of seva and capable of alluring Krishna’s mind. Yet, due to an extra affection for Radha, coupled with a special nistha for her seva, the manjaris remain disinterested in Krishna’s anga-sanga. Maïjaré-bhäva sadhakas may joyfully meditate daily on uniting Radha Krishna, then carefully perform seva according to the time and situation from the brahma-muhurta to the late wee-hours of the night. (Sanat-kumär-saàhitä)

III. The Endless Reservoir of Gaura Lila

By personally tasting the mellows of Vraja lila, Sriman Gaurasundar demonstrated how to

attain such pastimes. But it is not for this reason alone that he is worthy of our homage. For Sriman Mahaprabhu’s followers, his madhurya-maya Nadiya lila is also a sadhya, or goal of sadhana. There is no difference between Sri Yashodanandan and Sri Sachinandan, as Sri Krishna’s desires to taste Vraja prema begin in Vraja and reach their zenith in Gaura lila. Therefore, Sri Gaurasundar’s pastimes are both the conclusion and purport to all forms of Vraja madhuri.

By the grace of the guru, the sadhus and the Vaishnavas, when the mind can properly focus on Gaura lila, then sphurti of Radha Krishna’s madhura lilas also happens automatically. Sri Narottam Das Thakur confirms this,

gauräìga guëete jhure, nitya lélä täre sphure

Saturation of the mind in Gauranga’s attributes will invoke Vraja nitya lila darshan. (Prärthanä)

All of the jewels within Radha Madhava’s Ananda Vrindavan sindhu are easily available to those who dive deep into Sri Gauranga’s pastimes. Thus, Sri Thakur Mahasaya also says:

gaura prema rasärëave, se taraìge jebä òube,

se hoy rädhä mädhava antaraìga

By plunging into the waves within the Gaura prema rasa sindhu one will resurface as a confdential associate of Sri Radha Madhava! (Prärthanä)

Sri Kaviraja Goswami offers his verdict wilh the following upadeshamrita:

kåñëa-lélämåta-sär, jära çata-çata dhär,

daça-dig bahe yähä haite

se caitanya-lélä hoy, sarovara akñay,

mano-haàsa caräha tähäte

The cream from Krishna^’s lilamrita ocean comes in hundreds of waves from the ten directions to rest within the immortal lake of Chaitanya lila—let the swan of your mind frequently glide over those pure waters. (CC 2.22.271)

Note: Why does Srila Kaviraja Goswami compare Gaura lila to an endless waterway filled to the brim with nectar? The reason is that the breakers of Krishna lila are splashing from the ten directions within that reservoir. Many types of bhaktas worship Sri Krishna in many varieties of ways. Within Chaitanya lila, the origin of all Krishna upasana can be found. For example, Vrindavan’s dasya, sakhya, vatsalya, and madhura rasas also appear in Gaura Mandal and are interconnected by a sutra (thread). As Sriman Gaurahari is that selfsame svayam Bhagavan Sri Krishna, every bhagavat-svarupa, or form of God, finds its resting place within him. For example, once during his dancing performance in Chandrasekhar’s house, Mahaprabhu showed Lakshmi Devi (Sri Vishnupriya) that he is svayam Bhagavati Lakshmi, too. Similarly, in the course of his pastimes Sri Gauranga Deva showed that Siva, Nrisingha, Vamana, Varaha, or any other bhagavat-svarupa is factually within him. For this reason, whatever type of sadhaka one happens to be, one’s ishta devata can be found within Sri Gaurahari. Therefore, any type of worshiper may dive into the reservoir of Gaura lila, receive Gaurasundar’s karuna, and then resurface at the lotus feet of his worshipable devata.

Let us not forget, however, that Sriman Gaurasundar specifically appeared to distribute the mellows of Vrindavan. To attain one’s desired transcendental rasa in Vraja, the same corresponding mellow may be cultivated in Nabadwip lila. In sambandhanuga raganuga bhakti, those who desire to attain dasya rasa may follow the moods of Mother Sachi’s household servant Ishan, or Mahaprabhu’s sevak, Sri Govinda. If such worship is properly performed, the sadhaka may also see that within Ishan and Govinda the mood of Vraja’s Raktak and Patrak can be found. Therefore, through the kripa of Sri Gauranga’s associates situated in dasya rasa, one may flow along with that current to also attain a similar status in Vraja Dham.

This same method will also apply for those interested to attain perfection in sakhya or vatsalya rasas. In these cases, if one follows Gauri Das and Abhiram Thakur, or Mother Sachi and Jagannath Mishra, Vraja prapti in either sakhya or vatsalya rasa will follow respectively.

In these three methods of sambandhanuga raganuga bhakti, there will be one important point to consider: these particular Gaura parshads will not be inclined to see Gauranga’s predominating feature in Radha bhava because their acquired natures will reveal Gaurasundar asVraja-raja-nandan, Subala-sakha Krishna, or Yashoda Nandan.*

As Chaitanya Mahaprabhu is himself an ujjvala-çåìgära-rasämåta-mürti,[††††] his main attention is directed to tasting madhura rasa. And, in order to distribute this topmost mellow of Vrindavan to future Vaishnavas, Sriman Mahaprabhu appointed Sri Rupa, Sri Sanatan, and the other Goswamis of Vrindavan to create the appropriate literary and ritual traditions. Thus, bhaktas who follow in the Rupanuga sampradaya will attain an exquisitely beautiful manjari siddha svarupa like that of Sri Rupa, Sri Rati, and the other manjaris in Radharani’s yutha at the time of perfection.

After the guru designates the sadhaka’s manjari svarupa with siddha pranali, he will also

prescribe a similar identity for the disciple’s nitya seva in Gaura lila. Generally, this will be a kishor brahmin siddha deha, i.e., the form of a brahmin youth. When Sriman Gaurasundar tastes the rasa of Vraja lila, the sadhaka is carried along with that rising wave of nectar to serve in his mentally conceived manjari svarupa. This is the essence of instruction concerning Rupanuga sadhana.

Sri Gopal Guru and Dhyanachandra Goswamis’ Arcanä-paddhatis give the following ätma-dhyäna (meditation on one’s own form) and guru-dhyäna (meditation on the guru’s form) for Gaura lila:

Ätma-dhyäna

divya-çré-hari-mandiräòhya-tilakaà kaëöhaà sumälänvitaà

vakñaù çré-hari-näma-varëa-subhagaà çrékhaëòa-liptaà punaù

çuddhaà çubhra-navämbaraà vimalatäà nityaà vahantéà tanuà

dhyäyec-chré-guru-päda-padma-nikaöe sevotsukäà cätmanaù

The sadhaka should meditate on his eternal Nadiya svarupa as decorated with tilak (called Hari mandir), a Tulasi mala placed around the neck, the Lord’s names written on his chest in chandan, and attired in a lustrous white silken cloth. Remaining under the shelter of his gurudeva’s charana padma, the sadhaka thus enthusiastically renders seva to Sriman Gaurasundar. (48)

Çré-guru-dhyäna

çaçäìkäyuta-saìkäçaà varäbhaya-lasat-karaà

çuklämbara-dharaà divya-çukla-mälyänulepanam

prasanna-vadanaà çäntaà bhajanänanda-nirvåtam

divya-rüpa-dharaà dhyäyed varadaà kamalekñaëam

sundaraà dvibhujaà gauraà kaiçora-vayasojjvallam

rüpa-pürva-guru-gaëänugataà sevanotsukam

evaà rüpaà guruà dhyäyen manasä sädhakaù çuciù

In a purified state of mind the guru’s eternal svarupa is to be meditated upon as follows: His sat-cit-ananda body emanates the soothing coolness of a million moons with two hands that bestow benediction and award fearlessness. He is divinely dressed and adorned in lustrous white silken cloth, white flower garlands and chandan, while his face reflects inner peace due to constant absorption in Gaura bhajan. He age is eternally kishor, his eyes are like lotus petals, and his body is a soft golden hue. As a staunch follower of his guru and parampara in submission to the path shown by Rupa Goswami, the guru remains ever anxious in all forms of Bhagavat seva to fulfil the desires of his disciples. (45-47)

Sri Gopal Guru and Dhyanachandra Goswami next recommend:

gaurasya çayanotthänät punas tac-chayanävadhi

nänopakaraëaiù kuryät sevanaà tatra sädhakaù

Meditating on one’s siddha deha, as mentioned in the atma dhyana, the sadhaka will serve Sri Gauracandra from his early morning rising until he rests in the late night. (Gaura-govindärcana-paddhati, 71)

The sutra of Gauranga’s ashta kala lila goes as follows:

çré-navadvépa-candrasya caritämåtam adbhutam

cintyatäà cintyatäà nityaà mänasa-sevanotsukaù

niçänte gauracandrasya çayanaà ca nijälaye

prätaù-käle kåtotthänaà snänaà tad-bhojanädikam

pürvähna-samaye bhakta-mandire paramotsukam

madhyähne paramäçcarya-kelià sura-sarit-taöe

aparähne navadvépa-bhramaëaà bhüri-kautukam

säyähne gamanaà cäru-çobhanaà nija-mandire

pradoñe priya-vargäòhyaà çréväsa-bhavane tathä

niçäyäà smared änandaà çrémat-saìkértanotsavam

The time and places that the sadhaka mentally serves Sri Nabadwip Chandra are as follows:

1) Niçänta, the end of night: Sri Gaurasundar rests in his own mandir.*

2) Prätaù, the early morning: The Lord rises, bathes, and then partakes of morning prasad.

3) Purvähna, mid-morning: Gaurasundar visits the homes of his devotees.

4) Madhyähna, midday: Captivating lila vihara is enacted on the Ganga’s forest banks.

5) Aparähna, late afternoon: Gaurasundar performs dhama parikrama with sankirtan.

6) Säyähna, twilight: The Lord performs captivating pastimes at home.

7) Pradoña, early night: Gaurachandra goes to Srivasa Angan for bhakta milan and sankirtan.

8) Niçä, midnight: The sankirtan mahotsava continues with param ananda. (Gaura-govindärcana-paddhati, 72-77)

IV. Bhakti Rasa Asvadan

(The Art of Relishing Bhakti Rasa)

Sruti says:

raso vai sah, rasaà hy eväyam labdhvänandé bhavati

Sri Bhagavan is rasa personified; when a devotee experiences rasa, he shall attain happiness. (Taittiréya Upanishad 2.7.1)

When a devotee realizes Bhagavan’s madhurya feature and is able to relish various transcendental mellows through Bhagavad bhakti, this is called bhakti-rasäsvädana. As Sri Govinda is rasa-maya, filled with rasa, even he desires to relish his own splendor. Verily, Sri Gaurahari’s appearing in the mood of a bhakta bears witness to that desire. Through his divine lila, Sriman Mahaprabhu demonstrates that relishing transcendental mellows is not only the means to awaken prema, but is the sole engagement of both the bhakta and Sri Bhagavan, eternally. Because bhakti-rasäsvädana is very subtle, its accomplishment lies beyond the comprehension of those who have no experience in this realm. Rather, only persons desiring to be in tune with transcendental mellows may relish them through divine realization.

Sri Chaitanya Mahaprabhu personally taught this science to Rupa Goswami, and the essence of these teachings appears in two books, Bhakti-rasämåta-sindhu and Ujjvala-nélamaëi. These two complementary rasa texts are Sri Rupa’s principal contribution to the sampradaya in which he explains the theory of how to taste bhakti rasa.

Prior to Sri Chaitanya’s advent, the doctrine of rasa asvadan only centered around laukika-rati or mundane love, which pertained to the descriptions of romance found in plays, poetry, literature and music.

vibhävenänubhävena vyaktaù saïcäriëä tathä

rasatäm eti raty-ädiù sthäyé bhävaù sa-cetasäm

When the vibhävas, anubhävas and saïcäri-bhävas combine to add a special flavor to the actor’s sthäyi-bhava, then the audience, which develops a oneness with those feelings, may enjoy a supra-mundane form of relish knows as rasa. (Sähitya-darpaëa, 3.1)

Sri Rupa Goswami used this formula established by the authorities of Rasa-näöya-çästra and transformed it. In so doing, he categorized all of the ingredients that cause “divine” rasa asvadan to manifest in the context of the Lord and his devotees. In Bhakti-rasämåta-sindhu five primary sthayi bhavas (santa, dasya, sakhya, vatsalya and madhura rati) are described. In Ujjvala-nélamaëi, Vraja madhura rati is exclusively dealt with. Ujjvala-nélamaëi is the pariçiñöa or supplement to the Bhakti-rasämåta-sindhu, and thus Sri Rupa shows that Chaitanya Mahaprabhu’s prema dharma culminates in Vrindavan’s madhura ujjvala bhakti rasa. Hence, this dazzling sapphire-like textbook represents the Gaudiya sampradaya’s Veda concerning conjugal love.

Sri Rupa’s rasa theory is not only a matchless innovation in the culture of the Sanskrit rasa alankar shastra in India, but his conception signifies an worldwide breakthrough in the esoteric science of theistic love.

Previously, Sanskrit poeticians had demonstrated how laukika rati, mundane love, combines with sthayi bhava, vibhava, anubhava and vyabhicari bhavas, etc., to form laukika rasa or material relish. Laukika rati, however, is slight, short-lived, and painful in the end. In Sri Rupa’s discovery, the previous categories of sthayi bhava, vibhava, anubhava, etc. of the laukika rasa are all used, except they are applied only in relation to love for Krishna. According to Sri Rupa, when these ingredients properly combine in relation to Sri Krishna, apräkåta-rasäsvädana (transcendental rapture) will manifest. This rasa is permanent and even higher than the relish of Brahman.

This subject is described in detail in Caitanya-caritämåta, Madhya Lila, chapter 23, in the context of Mahaprabhu’s instructions to Sanatan Goswami. Before describing in detail how this tasting process is accomplished, let us examine what are the symptoms and qualities of the Maha Bhagavatas who are able to achieve it.

ei tära anubhave jaiche bhakta gaëa

jaiche rasa hoy, tära çunoho lakñaëa

Chaitanya Mahaprabhu said, “Oh Sanatan, listen, here are the symptoms of the bhaktas eligible to taste bhakti rasa.” (CC 2.23.91)

bhakti-nirdhüta-doñäëäà prasannojjvala-cetasäm

çré-bhägavata-raktänäà rasikäsaìga-raìgiëäm

jévané-bhüta-govinda-päda-bhakti-sukha-çriyäm

premäntaraìga-bhütäni kåtyäny evänutiñöhatäm

bhaktänäà hådi räjanté saàskära-yugalojjvalä

ratir änanda-rüpaiva néyamänä tu rasyatäm

kåñëädibhir vibhävädyair gatair anubhavädhvani

prauòhänanda-camatkära-käñöhäm äpadyate paräm

The prolonged influence of sadhana bhakti will lead to

1) the bhakta’s desires for personal sense gratification and impersonal liberation to cease, rendering his heart a fit receptacle for the Lord’s çuddha-sattva potency;

2) an acute attachment for the Bhagavatam and an exceptional thirst for hearing it from rasika bhaktas;

3) the conviction that the happiness derived from serving Sri Govinda’s lotus feet is the only worthwhile possession in life;

4) the constant hankering to engage in prema’s antaranga sadhana, i.e., raganuga bhakti.

When rati, the çuddha-sattva potency, enters the heart of such devotees, whose devotional practice extends from a previous life, or even those who have acquired the above mentioned qualities in this lifetime, then it acts as a catalyst, causing the vibhava, anubhava, sattvika and vyabhicari bhavas to unite with the bhakta’s acquired sthayi bhava or permanent relationship with the Lord. As a result of the sweet combination of these ingredients, divine rasa will be directly experienced, causing an incredibly wonderful and deep form of bliss to ever enliven the bhakta. (Bhakti-rasämåta-sindhu 2.1.7-10)

Those ineligible to taste bhakti rasa are listed as follows:

phalgu-vairägya-nirdagdhäù çuñka-jïänäç ca haitukäù

mémäàsakä viçeñeëa bhaktyäsväda-bahirmukhäù

Persons who disregard the path of bhakti, who take up unnecessary austerity, who search after dry knowledge, who engage in useless philosopical argument, who remain attached to rituals meant to bear fruitive results or who strive after impersonal liberation are, unfortunately, pointed in the opposite direction from the splendor of bhakti rasa asvadan. (BRS 2.5.129)

Concerning this topic Srila Kaviraja Goswami says:

ei rasera äsvädana nähi abhakter gaëe

kåñëa bhakta gaëa kore rasa äsvädane

Rasa asvadan is not possible for the non-devotees. Only Krishna bhaktas taste the transcendental mellows. (CC 2.23.96)

It is important to emphasize what is meant by Krishna bhakta lest we underestimate the significance of Sri Rupa and Sri Krishna Das’s definition.

utpanna-ratayaù samyaì nairvighnyam anupägatäù

kåñëa-säkñät-kåtau yogyäù sädhakäù parikértitäù

bilvamaìgala-tulyä ye sädhakäs te prakértitäù

There are two types of Krishna bhaktas—sadhaka and siddha. Those who are jäta-rati (on the level of bhava) and fit for Krishna’s sakshat darshan, but, whose material obstacles have not yet become completely eradicated—such persons are termed sadhaka bhaktas. Sri Bilvamangal and others are examples of sadhakas. (BRS 2.1.276, 279)

avijïätäkhila-kleçäù sadä kåñëäçrita-kriyäù

siddhäù syuù santata-prema-saukhyäsväda-paräyaëäù

sampräpta-siddhayaù siddhä nitya-siddhäç ca te tridhä

Those whose consciousness is completely free of all material inebrieties, and who constantly engage in Krishna’s prema seva tasting its ambrosia are termed siddha bhaktas. Amongst the siddhas there are three divisions: sädhana-siddha, kåpä-siddha, and nitya-siddha. (BRS 2.1.280-281)

From the above-mentioned evidence it may be concluded that only siddha bhaktas or bhavuka sadhaka bhaktas experience bhakti rasa asvadan. Today, however, the vast majority of Krishna devotees are not jäta-rati, on the level of bhava. Therefore, for those who, like you and me, are still struggling along the bhakti path, it is important to understand how this scientific formula works. Eligibility to enter higher stages may then come about sooner.

In the four verses quoted above from the Bhakti-rasämåta-sindhu (2.1.7-10), Sri Rupa has outlined (1) the required sadhana, (2) the sahäya or helping factors, and (3) the prakära or method for tasting bhakti rasa. Let us probe deeper now in an effort to more fully bring out the meaning of Sri Rupa’s key slokas.

1. The Sadhana

As the influence of sadhana bhakti matures, when nearly all anarthas become cleared away, then Bhakti-rani’s çuddha-sattva potency will illuminate the purified heart. Just as an iron rod kept in fire takes on the qualities of fire, the divine çuddha-sattva potency will similarly render one’s heart into a transparent medium for tasting transcendental rasa. This is the foundation for rasa asvadan. Other factors however must be present to facilitate Bhakti-rani’s appearance:

1) Çré-bhägavata-raktänäà. One should have attachment for the objects related to the Bhagavatam, i.e., habitual thirst for hearing and chanting about Sri Bhagavan’s names, forms, qualities and pastimes.

2) Rasikäsaìga-raìgiëäm. One should strongly hanker to relish the above topics with rasika Bhagavatas and, through the association of such connoisseurs of transcendental ambrosia, paramananda may be experienced. This is possible because there is an excess of rati in the rasika bhakta’s heart. For example, when the moon rises over the ocean, waves are created. Such waves will not be seen, however, in a well. Likewise, due to the rasika bhakta’s expansive stock of Krishna bhakti, waves of nectar emanate from his Hari kathamrita. As a result, those who hear such nectar also experience ananda and similarly become attached to such devotional topics.

3) Jévané-bhüta-govinda-päda-bhakti-sukha-çriyäm. One must have genuine realisation that Sri Govinda’s pada padma seva is the only happiness in life Without this conviction rasa asvadan will not be possible, as such bhaktascertainly maintain hopes for personal enjoyment elsewhere.

4) Premäntaraìga-bhütäni kåtyäny evänutiñöhatäm. One should execute the antaranga (internal) sadhana for prema.

For the awakening of Vraja prema, Sriman Gaurasundar prescribes raganuga bhakti, on which path lila smaran predominates. Therefore, lila smaran should be performed along with any of the sixty-four limbs of vaidhi bhakti. Along these lines, however, there is an important consideration stated by Srila Chakravarti-pada in Räga-vartma-candrikä:

atra rägänugäyäà yan mukhyasya, tasyäpi smaraëasya kértanädhénatvam

avaçyaà vaktavyam eva. kértanasyaiva etad yugädhikäratvät, sarva-bhakti-märgeñu sarva-çästrais tasyaiva sarvotkarña-pratipädanäc ca.

Although lila smaran is the main limb for raganuga sadhana, it should remain subordinate to kirtan, as kirtan is the Kali-yuga dharma. (1.14)

It is recommended therefore to practice lila smaran and kirtan simultaneously. In his commentary to Båhad-Bhägavatämåta 2.5.218, Srila Sanatan Goswami supports this conclusion as follows:

täsäà vraja-kréòänäà bhagavad-gokula-lakñaëänäà dhyänaà

cintanaà gänaà saìkértanaà te pradhäne mukhyä

yasyäs tayä bhaktyä nava-prakärayä prema sampadyate susiddhyati.

When performing any of the nine processes of Krishna bhakti, if thought, meditation, songs or kirtan of Sri Govinda’s Gokula lilas predominate, those activities shall form the antaranga sadhana for awakening prema.

Sriman Mahaprabhu supports the following type of kirtan. At the end of Ramananda Samvada, the following exchange is found:

gäna-madhye kona gäna jévera nija dharma?

rädhä-kåñëera prema-keli jei gétera marma

Sri Chaitanya Mahäprabhu next asked Ramananda Raya, “Of all songs, which is to be considered the actual religion of the living entity?”

Ramananda Raya replied, “Songs about the loving affairs of Sri Radha and Krishna.” (CC 2.8.250)

Sriman Gaurasundar personally practiced this instruction to set an ideal example. In the company of Raya Ramananda and Svarupa Damodar, the Lord continuously relished the padavali of Jayadeva, Chandi Das, and Vidyapati, which portray the various aspects and mellows of Radha Govinda’s Vraja lila. As Svarupa Damodar sang in the madhura voice of a Vraja gopi, Gaurahari became tan-maya (merged in oneness) with those pastimes.

Following this trend, Gaurasundar’s close associates composed padavali kirtan to assist the Lord’s preaching of Vraja prema dharma. Sri Vasudeva Ghosh, Sri Narahari Sarkar, Sri Murari Gupta, Sri Vrindavan Das Thakur, Sri Lochan Das, Sri Narottam Das, Sri Sivananada Sena and countless other Gaura parshads and their close associates contributed greatly to this tradition. Indeed, a ocean of Gaura lila and Krishna lila has been preserved by these Mahajans in their padavali. As direct eye-witnesses of both Sri Navadwip and Vraja lila, their authority is unquestionable. Utilizing all of the arts of musical science (saìgéta-vidyä) and poetic charm (kavitä-lälitya), Vaishnava padavali kirtan rests on the foundation of the rasa tattva of the Bhagavatam and the Goswami literature.

To this day, when experienced kirtaniyas beautifully sing these lila padas with the appropriate ragas and talas in an audience of pure Vaishnavas who know the rasa siddhantas, melting of the heart comes naturally. Let us therefore conclude that it is in this way that Sriman Mahaprabhu himself spread his prema sankirtan dharma through tears and embraces! Vaishnava padavali kirtan therefore forms the bridge that unites the raga marga of lila smaran with Sri Gaurasundar’s Goloka prema dhan, sankirtan.*

Sriman Mahaprabhu has set no hard and fast rules for performing Nama sankirtan. Indeed, any name of the Lord contains unlimited spiritual potency to deliver the bhakta who chants offenselessly. As a devotee progresses, however, nishtha for a specific form of the Lord will awaken. When this happens, such bhaktas will naturally be most attracted to chant the names of that particular devata. Thus Sri Sanatan Goswami states in Båhad-bhägavatämåta that Nama kirtan of one’s ishta devata’s names is the most effective to awaken prema. Devotees directing their attention to Vrindavan’s Nandakishor will have a keen urge to perform Vrindavan nama kirtan.

Here is a sample of such a kirtan that is traditionally sung after a Bhagavatam discourse:

çyämasundara, madana-mohana, våndävana-candra

rädhä-ramaëa, räsa-vihäré, çré gokulänanda

rädhä-binoda, rädhä-känta, çré rädhe govinda

räseçvaré, vinodiné, bhänu-kula-candra

lalitä viçäkhä ädi joto sakhé vånda

çré rüpa, çré rati ädi maïjaré anaìga

paurëamäsé, kundalatä, jaya vérä, våndä

tomarä sabäi mili deho more caraëäravinda

In this song, after calling out the different names of Radha and Krishna and their associates, one prays for their mercy.

Of course, of all Nama kirtans, the täraka-brahma Maha Mantra is beyond compare:

Hare Krishna Hare Krishna

Krishna Krishna Hare Hare

Hare Rama Hare Rama

Rama Rama Hare Hare

This sixteen name, thirty-two syllable Maha Mantra is especially recommended because it is simple to chant, and any class of worshiper may find their worshipable Bhagavat svarupa therein. Raga marga sadhakas directly perceive the Maha Mantra as Radha and Krishna’s yugala murti.

Radhe Krishna Radhe Krishna

Krishna Krishna Radhe Radhe

Radhe Shyam Radhe Shyam

Shyam Shyam Radhe Radhe

In the introduction of Harinäma-cintämaëi, Thakur Bhaktivinoda mentions that he was very glad to discover the following rare kirtan pada which explains the Maha Mantra from Radharani’s point of view. In the last chapter of this book Srila Bhaktivinoda introduces it as follows:

Niskincana rasika bhaktas may taste the Hare Krishna mantra as experienced by Srimati Radharani while partially conscious in deep lamentation due to Krishna-viroha. This pada is from Pada kalpataru 183, compiled by Sri Vaishnava Das.

1) hey hare mädhurya guëe, hari labhe netra mone, mohan mürati darasäi

2) hey kåñëa änanda dhäm, mahä äkarñaka thäma, tuä bine dekhite nä päya

3) hey hare dharma hari, guru-bhaya ädi kori, kulera dharama koilo düra

4) hey kåñëa vaàçér svare, äkarñaya äni bale, deha-geha småti koilo düra

5) hey kåñëa karñitä ämi, käïculi äkarñaha tumi, tä dekhi camaka mohe läge

6) hey kåñëa vividha, uraja kañaha bale, sthéra nahi rahi anuräge

7) hey hare ämäre hari, loiyä puñpa-talpopari, viläsera lalase käkuti

8) hey hare gopata vastra, häsiyä se kñaëa mätra, vyakta koro moner äkuti

9) hey hare vasana haro, tähäte jemon koro, antarer haro mato bädha

10) hey räma ramaëa aìga, nänä vaidagdhé raìga, prakäçi püraha nija sädha

11) hey hare harite boli, nähi heno kutühali, sabär se väkya nä räkhilo

12) hey räma ramaëa rata, tahe prakatya kota, ki rasa aveçe bhäsäila

13) hey räma ramaëa çreñöha, manó-ramaëéya çreñöha, tuä sukhe äpani nä jäni

14) hey räma ramaëa bhäge, bhävite marame jäge, se rasa mürati tanu khäni

15) hey hare haraëa tora, tähär nähika ora, cetana hariyä koro bhora

16) hey hare ämära lakñya, hara siàha präya dakña, tomä binä keho nähi mora

tumi se ämära jïäna, tomär binä nähi äna, kñaëeke kalpa çata jäya

se tumi anata giyä, raho udäséna hoiyä, koho dekhi ki kori upäya

ohe nava ghana çyäma, kevala raser dhäma, koiche roho kori mana jure

caitanya beläya jäya, heno anuräge päya, tabe bandhu milaya adüre

1) Oh Hare,[‡‡‡‡] your madhura qualities and the darshan of your mohana murti steal away my eyes and mind!

2) Hey Krishna, your bending posture is an ananda dhama; I am blind without you!

3) Oh Hare, removing my fear of my guardians, uprooting my family attachment, and destroying my chastity is your only dharma!

4) Hey Krishna, your melodious flute forcibly captures me, thus I cast aside family, home, and all other attachments!

5) Oh Krishna, as you allure me and surprisingly snatch at my blouse I become inebriated!

6) Hey Krishna, when you forcefully touch my thighs, I lose composure in your passion.

7) Oh Hare, placing me above the flower bed you anxiously petition for sanga vilasa.

8) Hey Hare, the instant plundering of my garments discloses your amorous intentions!

9) Oh Hare (vastra thief), do as you like, fullfil your ambition as a priceless necklace remains bound to the heart!

10) Hey Rama, as my raman brings forward your amorous talents and satiate your desires.

11) Oh Hare, people say in jest that Hari means “loser,” but you are proving those assertions to be false!

12) Hey Rama, your talent as a raman floods our consciousness in rapture.

13) Hey Rama, oh greatest romantic and enticer of the mind! I am lost in your happiness.

14) Oh Rama, your rasa murti devours me like a romantic tiger, leaving a deep impression within my heart.

15) Hey Hare, like no other thief, you plunder my whole being with your enticements.

16) Oh Hare, you devour me like a courageous lion! I have no shelter except you.

Your romantic prowess devours my consciousness, but just a moment without you appears like a hundred kalpas! Unless you personally take me, there is no means to attain you. But alas, you are indifferent! Oh hey Nava-ghana-shyam! You are the abode of transcendental rapture that satiates my mind. When my time is up, and my life airs leave the body, then, Oh Bandhu! Certainly my anuraga shall bring us together!

Srila Bhaktivinoda Thakur comments on this kirtan pada as follows:

This mood is in separation, yet the mantra personified is Radha Krishna’s sambhoga or union. Radha’s ashta sakhis are similarly engaged with Krishna. From the bhakta’s viewpoint, Hare means Radha. Those on the bhava platform may discover their own particular mood within the Hare Krishna mantra and taste rasa in every lila.

Note: In this pada Radharani’s mood in portrayed. Therefore, from her viewpoint “Hare” means Hari, the thief who steals away her religious principles, social dharma, attachment to family members, chastity and everything else. From the sadhaka’s point of view, Thakur Bhaktivinoda describes “Hare” to mean Harä, or Radha. This type of meditation should never be attempted by one who thinks himself to be a purush (male). Only through manjari bhava can meditation of Radha Krishna’s shringara keli detach one from material kama. Radha Krishna’s yugala vilasa is the property of the manjaris because they are the only ones having adhikara to witness it. Through oneness with Radharani, the manjaris experience the complete spectrum of Rasika-nagarendra Sri Krishna’s vidagdha-maya çåìgära. Therefore, the manjaris may best understand Sri Krishna’s most confidential feature, he is Vrindavan’s navéna-kämadeva and dhéra-lalita.

räya kohe kåñëa hoyen dhira lalita

nirantara käma-kréòä tähär carita

Srila Ramananda Raya informed Chaitanya Mahaprabhu: Our Krishna is dhira lalita, for his only business is käma-kréòä. (CC 2.8.187)

Bhakti-rasämåta-sindhu 2.5.123 further describes:

vidagdho nava-täruëyaù parihäsa-viçäradaù

niçcinto dhéra-lalitaù syät präyaù preyasé-vaçaù

The dhéra-lalita näyaka* is a clever lover, a refreshing youth expert in smiling and mixing with women, carefree, and always under the subjugation of his preyasis. (BRS 2.1.230)

The previous description of the Maha Mantra contains a mystery. Although Sri Radhika utters the mantra in separation, intimate sangama with Krishna is also taking place. Because this appears contradictory, the following explanation will help to increase appreciation for this topic.

In Ujjvala-nélamaëi, Sthäyi-bhäva-prakaraëa (chapter 14), Sri Rupa describes the mädana stage of adhirüòha mahä-bhäva, which is only possible in Srimati Radharani.

yoga eva bhaved eña vicitraù ko’pi mädanaù

yad-viläsä viräjante nitya-léläù sahasradhä

This most fascinating mädanäkhya-bhäva is experienced in union, and its various manifestations are experienced a thousandfold in the nitya lila. (UN 14.225)

Commenting on this sloka, Sri Vishwanath Chakravarti says that in this topmost aspect of prema, Sri Radhika experiences separation within union, and union within separation. In other words, mädana adhirüòha mahä-bhäva is so unique and fascinating that during her intimate pastimes with Krishna, Srimati simultaneously feels the heightened sensations of vipralambha rasa. Then, in separation from Govinda, such symptoms as embracing, kissing, etc., are also felt through sphurti, or divine vision. Thus, in the previous example of Radha’s chanting the Maha Mantra, she directly experiences Krishna’s sambhoga through Nama smaran, as Krishna’s name and personal form are identical.

In the classical tradition of Nama kirtan there are various ragas and raginis for chanting the Maha Mantra that match the particular moods of Radha Krishna’s eightfold daily pastimes. For example, at the end of night, the lalita-räga is sung. This melody is appropriate for the mood of viraha and depicts Radha Krishna as they separate while departing from the kunja. As Kishora and Kishori-ji secretly return to their respective homes before daybreak, tears of separation stream from their eyes. It is likely that tears may also decorate the eyes of those who meditate on this lila while chanting Hare Krishna. Because the ragas of this kirtan style change to suit the mood of Radha Krishna’s pastimes, it forms an ideal medium for combining lila smaran.

2. The Sahaya: Helping Factors

As one’s hunger renders a meal enjoyable, similarly one’s devotional appetite (laulyam) determines the taste of bhakti rasa. Thus, the intensity of one’s desire to perform Krishna bhakti forms the sahäya (determining factor) in relishing bhakti rasa.

Bhakti acquired from this life can render devotional service enjoyable no doubt, but if devotional propensities extend from a previous lifetime, one’s bhakti samskar becomes more deep and powerful. When this is the case, such bhaktas have a keen advantage in tasting devotional mellows. Çré Bhakti-rasämåta-sindhu states:

präktany ädhuniké cästi yasya sad-bhakti-väsanä

eña bhakti-rasäsvädas tasyaiva hådi jäyate

Devotional practice from a previous life, or an excessive desire to perform Krishna bhakti in this lifetime, render one eligible to taste bhakti rasa. (BRS 2.1.6)

Commenting on this verse Sri Jiva Goswami says:

Through guru kripa and the negation of aparadhas, if a fortunate sadhaka gains rati/bhava through an excessive increase of bhakti in this lifetime, then bhakti rasasvadan shall be possible even without a devotional credit account extending from a previous lifetime. In other words, the main sahäya, or determining factor, for tasting bhakti rasa lies in the possession of a large stock of rati.

One’s bhakti-väsanä, desire for bhakti, also helps for tasting bhakti rasa by forming the sthayi bhava or permanent relationship with the Lord. Naturally, every devotee’s desire may be slightly different due to individual circumstance and acquired taste. For instance according to the desire of the consumer, milk may he transformed into yogurt, condensed milk, curd, butter, cheese, etc. Similarly, when the çuddha-sattva potency awakens within the heart, a bhakta’ acquired ruchi will determine the form that Krishna rati will take on. This may be shanta, dasya, sakhya, vatsalya or madhura rati, accordingly.

3. The Prakara: Method For Tasting Bhakti Rasa

When the ingredients of vibhava, anubhava, sattvika and vyabhicari combine with the devotee’s permanent relationship with the Lord, i.e., the sthayi bhava, which is also termed Krishna rati, this produces an incredibly deep form of divine rapture. This mixing process is referred to as the prakära, or method, for relishing bhakti rasa.

One’s acquired Krishna rati induces pleasure because it springs from the Lord’s hlädiné çakti. By itself, however, Krishna rati cannot bestow what Sri Rupa terms prauòhänanda camatkäritva or intense pleasure coupled with divine wonder. Krishna rati alone lacks the qualities which cause transcendental rasa to manifest. Sri Kavi Karnapur supports this conclusion in his Alaìkära-kaustubha:

rase säraç camatkäro yaà vinä na raso rasaù

The essence of rasa is camatkäritva or divine wonder caused by the combination of a number of ingredients. Without camatkäritva, no single ingredient alone may he called rasa.

Let us try to understand this tattva with the following example. yogurt, by itself, is enjoyable, and it also has a taste of its own. Yet, yogurt alone cannot produce a wonderous flavor. If yogurt is mixed with sugar its taste increases. Then, when camphor, cardamom, ghee, honey, and other ingredients are added it becomes a most scented and flavorful beverage called rasal. This drink produces uncommon delight!

Caitanya-caritämåta applies this analogy to our topic of discussion:

adhikäré bhede rati païca prakära

çänta, däsya, sakhya, vätsalya madhura rati ära

ei païca sthäyi bhäva hoy païca rasa

je rase bhakta sukhi kåñëa hoy vaça

premädika sthäyi bhäva sämagré milane

kåñëa bhakti rasa svarüpa päya pariëäme

vibhäva, anubhäva, sättvika, vyabhicäré

sthäyi bhäva rasa hoy ei cäri mili

dadhi jeno khaëòa, marica karpüra milane

rasäla äkhya rasa hoy apürva äsvädane

dvividha vibhäva, älambana uddépana

vaàçé-svarädi uddépana, kåñëädi älambana

anubhäva, smita nåtya gétädi udbhäsvara

stambhädi sättvika, anubhävera bhitara

nirveda harñädi tetriça vyabhicäré

sab meli rasa hoy camatkära-käré

According to one’s adhikara there are five types of sthayi bhava: shanta, dasya, sakhya, vatsalya and madhura. Each bhakta experiences pleasure according to his adopted permanent mellow. This in turn also subjugates Sri Krishna. When one’s sthayi bhava combines with the ingredients of vibhava, anubhava, sattvika and vyabhichari, then Krishna bhakti rasa manifests. In other words, the proper combination of these ingredients causes transcendental relish. As yogurt mixes with sugar candy, black pepper, camphor, etc., forming the wonderful drink known as rasal, similarly, a wondrous divine rapture is experienced when rasa manifests due to one’s sthayi bhava combining with these four ingredients:

1) Vibhava—

a) alamban : Krishna and his bhaktas

b) uddipan : the numerous objects which stimulate affection, such as the call of the flute, etc.

2) Anubhavas—including smiling, dancing, singing and many others

3) Sattvika bhavas—eight in number, such as becoming stunned, etc.

4) Vyabhichari bhava—thirty-three in number, beginning with remorse and jubilation. (CC 2.23.42-49)

Let us now describe in detail how these ingredients combine to stimulate one’s permanent relationship with the Lord.

Vibhäva

The causes for tasting transcendental mellows (raty-äsväda-hetavah).

vibhävyate hi raty-ädir yatra yena vibhävyate

That which causes Krishna rati to manifest and to be relished is called vibhäva. (BRS 2.1.15)

Vibhavas are the exciting conditions which make the basic or dominant emotion (sthayi bhava) capable of being relished. They are of two kinds: älambana or substantial excitants and uddépana, enhancing excitants. Alamban is further divided into äçraya and viñaya. Ashraya is the person in whom rati originates, and vishaya the person towards whom it is directed. Thus, the devotee of Krishna is the ashraya, and Krishna is the vishaya. Because each and every bhakta’s desire may be different, the çuddha-sattva potency will reflect accordingly to form the sthayi bhava.

In terms of the previously discussed sthayi bhava termed bhavolläsä rati (manjari bhava), the vishaya, ashraya and uddipans are as follows:

The vishaya is not Sri Krishna alone, but rather Radha and Krishna combined. The manjaris are the ashraya vigrahas of Radha Krishna prema. The factors that excite sentiment (uddépana) for Radha-Krishna are numerous. These are: Their lila-sthalis, such as the vilasa kunjas, the place of Rasa lila, the banks of Radha Kund, the Yoga pith padma mandir, or any other place of their pastimes; their dress or apparel, such as Krishna’s pitambar (yellow dhoti) or Radhika’s nilambari (blue sari), etc., will also arouse sentiment; Krishna’s flute, cow herding stride, or Radha’s Kacchapi vina, or the blue lotus she twirls in her hand; Krishna’s pet peacock Tandavik, or Radha’s peacock Sundari, Sri Krishna’s pet stag Suranga, or Radhika’s deer Rangini, Sri Krishna’s male parrot Vichakshan, or Radha’s dearest female parrot Manjubhasini, or any other related animal or bird are also able to arouse affection. Radha Krishna’s dearest associates like Madhumangal, Subala, or Radha’s priya sakhis like Lalita and Vishakha, or her dasis like Sri Rupa and Sri Rati can arouse sentiment for the Divine Couple when remembered. Thus, there is no end to the number of uddipans that prompt feeling in the hearts of Radha Krishna’s devotees.

To illustrate how uddipans arouse feeling, let us present one worldly example. A mother has lost her son due to a car accident. Later, she enters his room and sits down. As her glance falls upon the lost son’s toys, his school box, his shoes, or a picture that he has drawn, etc., tears come to her eyes. Because these items are related to her son, they stimulate deep thought of him. On the other hand, if such paraphernalia is seen by persons who do not have affection for that child, no sentiment will be aroused. In this way, objects related to Radha Krishna shall awaken sentiments in their devotees, but not in others.

When the ingredients of vibhava (vishaya, ashraya and uddipan) combine with one’s permanent mellow (sthayi bhava), this nourishes the latter. The following sloka gives an example of how this is accomplished.

vibhävatädén änéya kåñëädén maïjulä ratiù

etair eva tathäbhütaiù svaà saàvardhayati sphuöam

yathä svair eva salilaiù paripürya balähakän

ratnälayo bhavaty ebhir våñöais tair eva väridhiù

Just as a cloud takes water from the ocean and then pours rain back on the ocean, establishing its kingdom as the ratnälaya (reservoir of precious gems), similarly, vibhava is a by-product of the sthayi bhava, which nourishes and gives pleasure to the sthayi bhava. (BRS 2.5.94-95)

Anubhäva and Sättvika Bhävas

The resultant emotions

Upon Krishna rati’s appearance, Krishna can directly manifest. This is possible because the hlädiné çakti springs from Krishna’s very own madhurya. The Bhagavatam also affirms:

sattvam viçuddham vasudeva-çabditam

yad éyate tatra pumän apävåtaù

When the Lord’s çuddha-sattva potency enters the heart, Krishna’s darshan, along with many other transcendental emotions shall regularly occur. (SB 4.3.23)

Due to Krishna rati’s influence, and due to following in its wake, the above symptoms manifest. Such emotions result from rati and also nourish one’s rati. Because such emotions spring from the çuddha-sattva potency, they are called sattvika bhavas. As anubhavas also arise from the same sattva potency, there is no difference between the two, but they have been differently categorized in shastra. The reason is that among sattvika emotions some can be checked by the sadhaka if so desired—these are called anubhavas. The emotions which spontaneously arise and cannot be checked, even with great effort, are termed sattvika.

anubhäväs tu citta-stha-bhävänäm avabodhakäù

te bahir vikriyä präyäù proktä udbhäsvaräkhyayä

The outward symptoms which reveal one’s internal feelings are called anubhäva, or udbhäsvara. (BRS 2.2.1)

nåtyaà viluöhitaà gétaà kroçanaà tanu-moöanam

huìkäro jåmbhaëaà çväsa-bhümä lokänapekñitä

lälä-sravo’ööahäsaç ca ghürëä-hikkädayo’pi ca

Such symptoms are as follows: nåtya (dancing), viluëöana (rolling on the ground), géta (singing), kroçana (crying), tanu-moöana (stretching), huìkära (screaming), jåmbhana (yawning), çväsa-bhümä (heavy breathing), lokänapekñitä (indifference), lälä-srava (foaming at the mouth or nostrils), häsya (laughing loudly), ghürëä (dizzyness) and hikka (hiccups). (BRS 2.2.2)

Regarding sattvika bhavas, Sri Rupa Goswami says the following:

cittaà sattvébhavat präëe nyasyaty ätmänam udbhaöam

präëas tu vikriyäà gacchan dehaà vikñobhayaty alam

tadä stambhädayo bhävä bhakta-dehe bhavanty amé

When the çuddha-sattva excites the mind affecting one’s vital force, the function of the bodily organs become altered. This causes stambha (inability to move) and the other sattvika emotions to arise. (BRS 2.3.15)

te stambha-sveda-romäïcäù svara-bhedo’tha vepathuù

vaivarëyam açru pralaya ity añöau sättvikäù småtäù

There are eight types of sattvika bhavas: stambha (becoming stunned), sveda (perspiration), romäïca (standing of the hairs), svara-bhaìga (faltering of the voice), kampä (shaking), vaivarëya (discoloration of the body), açru (tears), and pralaya (fainting). (BRS 2.3.16)

sattvasya täratamyät präëa-tanu-kñobha-täratamyaà syät

tata eva täratamyaà sarveñäà sättvikänäà syät

dhümäyitäs te jvalitä déptä uddépta-saàjïitäù

våddhià yathottaraà yäntaù sättvikäù syuç catur-vidhäù

Because the sattvika potency can manifest in various degrees of intensity within a bhakta’s mind, body and heart, there are four progressive stages of sattvika emotions: dhümäyita (smoking), jvalita (kindling), dépta (flaming) and uddépta (blazing). (BRS 2.3.62-63)

Vyabhicäré Bhävas

Auxiliary feelings of transitory character

Vyabhicharis are also called sanchari bhavas because they influence the mood of one’s dominant mellow (sthayi bhava). These emotions rise like waves in the sthayi bhava ocean, exhibit their influence for a short time increasing the ocean’s bliss, and then disappear like a wave in the sea, having nourished the dominant emotion. There are thirty-three vyabhichari bhavas, which are as follows:

nirveda (remorse), viñäda (grief), dainya (meekness), gläni (fatigue), çrama (exertion), mada (intoxication), garva (pride), çaìkä (apprehension), träsa (fear), ävega (impulse), unmäda (madness), apasmåti (forgetfulness), vyädhi (disease), moha (illusion), måtyu (death), alasya (laziness), jäòya (paralysis), vréòa (shyness), avahitthä (concealment), småti (remembrance), vitarka (argument), cintä (thought), mati (mindfulness), dhåti (forebearance), harña (jubilation), autsukya (eagerness), augrya (grossness), amarña (intolerance), asüyä (jealousy), cäpalya (impatience), nidrä (drowsiness), supti (dreaming) and bodha (awareness).

When two different vyabhicharis combine, it is termed bhäva-sandhi. And, if these emotions are incompatable and compete to attack one another, it is called bhäva-sävalya. When an enduring period of difficulty is overcome, it is called bhäva-çänti.

Vyabhicari bhavas arise in the bhakta’s mind from witnessing various occurrences in the course of the lila. It is seen, however, that these various types of mental phases last for a short time, and then disappear. Vyabhichari bhavas act as assistants to direct the sthayi bhava and nourish it as well.

In the seventh chapter of Mädhurya-kädambiné, Srila Vishwanath Chakravarti says:

yam eva khalu bhakti-kalpa-vallyä utphullaà prasünam äcakñate…

yasya parimalaiù prasåmaraiù madhusüdanaà

nimantrya, änéya, tatra prakaöékartuà prabhüyate

Bhava represents the blooming flower of the bhakta’s bhakti-kalpa-latä, divine bhakti creeper. The scent of this bhäva-kusuma shall invite Madhusudana, Krishna, to directly manifest himself! (Mädhurya-kädambiné, 7.1)

Bhava directly manifests the devotee’s sthayi bhava also. In this connection, Srila Chakravartipada continues:

punaç cäyaà sva-çaktyaivävirbhävitair vibhävänubhäva-vyabhicäribhir ätmeva räjeva vä prakåtibhir udbhütaiçvaryaù sthäyéti nämnä vaiçiñöyaà gacchan tair militaù çänta iti däsyam iti sakhyam iti vätsalyam iti ujjvala iti labdha-vibhedo raso bhavati.

When bhava is attained, the influence of one’s sthayi bhava, whether it be santa, dasya, sakhya, vatsalya or madhura rati, shall act like a king causing his obedient citizens, likened to vibhava, anubhava, sattvika and vyabhicari bhavas to combine. Thus, due to the sthayi bhava’s influence, the wonderful flaver of rasa is relished. (Mädhurya-kädambiné, 7.5)

4. Sädhäraëé-karaëa

At this point an important question arises: Sri Krishna’s nitya associates enjoy tremendous bliss by taking part in transcendental pastimes no doubt, but how can devotees of this world experience the same pleasure of those unseen pastimes?

The answer to this question is: through sädhäraëé-karaëa. Indeed this process is so intriguing that the emotions experienced by Sri Krishna’s Vrindavan associates may directly be perceived and relished by jäta-rati bhaktas. Sri Rupa Goswami presents this topic in Bhakti-rasamåta-sindhu, although this technique has been in practice since the post-Chaitanya period of Rasa-näöya-çästra. The following example illustrates what sädhäraëé-karaëa is and how it functions.

Suppose that you are seated in a theater and watching an exciting play. Due to the excellent acting of the hero and heroine you forget your present identity and enter their world. As you enjoy the play, subconsciously you identify yourself with the actors. Thus, when they express happiness or distress, you also experience similar feelings. In the course of the story, the hero is suddenly killed. As the heroine greatly suffers from this tragedy, you also shed tears and tremble. In reality, however, those actors and their world have nothing to do with you. As a separate individual seated in a theater you have experienced the feelings of others through sädhäraëé-karaëa.

The post-Chaitanya alaìkära theorists of India ascribe sädhäraëé-karaëa to be the cause for an audience’s direct relish of the rasa portrayed in a play. Sähitya-darpaëa gives the following example:

vyäpäro’sti vibhäväder nämnä sädhäraëé-kåtiù

tat-prabhäveëa yasyäsan päthodhi-plavanädayaù

pramätä tad-abhedena svätmänaà pratipadyate

utsähädi-samudbodhaù sädhäraëyäbhimänataù

nåëäm api samudrädi-laìghanädau na duñyati

sädhäraëyena raty-ädir api tadvat pratéyate

When the rasa ingredients beginning with vibhava combine, they have the potency termed sädhäraëé-karaëa. By the influence of this potency, an enthusiastic audience identify with the characters in a play. For example, when an actor portraying Ram crosses the ocean, the engrossed viewer may also think that he is crossing the ocean to Lanka. Sädhäraëé-karaëa may happen to any attentive viewer to arouse anxiousness, or any other feeling created by the actor. It is not uncommon that such viewers may even imitate the behavior of the actors. Through sädhäraëé-karaëa’s influence, rasa becomes directly perceivable. (Sähitya-darpaëa, 3.9-11)

Commenting on slokas 2.5.101-102 in Bhakti-rasämåta-sindhu, Srila Vishwanath Chakravarti presents two examples.

1) Once during a Rämäyaëa discourse, as the topic of Sri Hanuman’s jumping over the ocean was narrated, one bhakta suddenly stood up and jumped within the assembly, as if he too were on his way to destroy Ravana!

2) At another instance during a Rämäyaëa play, the actor portraying Dasarath forgot his previous identity and, upon hearing, “Rama has left for the forest,” committed suicide!

Sädhäraëé-karaëa can also be experienced by attentive readers of Rasa-näöya-çästra. In Bhakti-rasämåta-sindhu, Sri Rupa quotes Sri Bharat Muni who states:

çaktir asti vibhävädeù käpi sädhäraëé-kåtau

pramätä tad-abhedena svaà yayä pratipadyate

When vibhava and the other rasa ingredients combine, an indescribable potency (sädhäraëé-karaëa) can be created from which the engrossed reader of kavya shastra conceives himself to be non-different from a character in the story. (BRS 2.5.103)

According to Sri Rupa, sädhäraëé-karaëa or bhäva-sädhäraëya is the unrecognizable stage just before attaining oneness with the actor in a play or character in a story. At this stage, the viewer or reader may at instances think himself non-different from the actor or character, and at other instances recollect that he is only sitting within the audience or reading a book.

alaukikyä prakåtyeyaà sudurühä rasa-sthitiù

yatra sädhäraëatayä bhäväù sädhu sphuranty amé

eñäà sva-para-sambandha-niyamänirëayo hi yaù

sädhäraëyaà tad evoktaà bhävänäà pürva-süribhiù

The indistinguishable stage just before vibhava, anubhava, sattvika and vyabhichari bhavas combine to cause a oneness with the characters is called bhäva-sädhäraëya. Due to its divinity, this process of rasa manifesting for the audience attaining a oneness with the actors is indeed difficult to fathom. (BRS 2.5.101-102)

When oneness completely sets in, then rasa can be fully experienced. This is the svädanäkhya stage, or what rasa acharya Abhinava Gupta termed tan-maya-bhäva, merged consciousness.

Note: Sri Rupa is not the innovator of the theory for tasting rasa. Rather, his forerunners, the previous rasa alankar acharyas, have established this formula and its terminology. Although to the previous rasa alankar authorities, rasa asvadan, or tasting rapture, refers to a supra-mundane form of hightened material pleasure, Sri Rupa’s contribution to this subtle science is his ingenious transforming technique.

What has Sri Rupa done? In the vishaya alamban category of vibhava, instead of inserting a ordinary nayaka, Sri Rupa has placed the ädi-näyaka, akhila-rasämåta-mürti Sri Krishna. Similarly, Sri Rupa’s vibhava ashraya alamban are Sri Krishna’s bhaktas, who shall vary according to shanta, dasya, sakhya, vatsalya and madhura ratis.

Unlike the rasa of laukika rati exchanged between mundane nayakas and nayikas of this world, Sri Rupa’s rati or catalysis is Bhagavad-bhakti that begins with Bhakti-rani’s direct appearance in bhava, and extends all the way up to adhirüòha-mädanäkhya-mahäbhäva. To the degree of rati therefore, bhakti rasa may be relished accordingly by both the bhakta and Sri Bhagavan. Commenting on Sri Rupa’s 2.5.106 sloka in Bhakti-rasämåta-sindhu Srila Chakravartipada concludes:

anyä rater anyam api prabhävaà darçayati—sad iti.

çré-kåñëa-lélä-parigata-vibhävädeù kiïcin-mätrasyäpi sad-bhävaç cej jäyate,

ädhunika-tat-tad-väsana-sahådaya-bhaktänäà hådy ävirbhavati,

tadä vibhävänubhäva-sättvika-saïcäriëa iti catuñöayasyäkñepät

sphoraëät pürëataivopapadyate sidhyatéty arthaù

Rati has such an astonishing effect that if the moods of Krishna’s lila associates should even slightly enter the heart of a sahådaya bhakta (a bhava bhakta whose feelings are identical through sädhäraëé-karaëa), then vibhava, anubhava, sattvika and vyabhichari bhavas will arise in his mind, body, and senses causing rasa to be directly relished.

From this discussion Gaudiya Vaishnavas may learn a very useful sadhana technique: through avesh or deep absorption one may directly experience the feelings and moods of another realm. By accepting Radha bhava, Sri Gaurasundar himself taught this art of Krishna bhajan. For through his bhava avesh Sri Gauranga directly tasted the splendor of Vraja rasa. As followers of Lord Gauranga, we may also employ his formula:

ata eva gopé bhäva kori aìgékära

rätri-dina cinte rädhä-kåñëera vihära

Therefore, accept gopi bhava and meditate on the pastimes of Sri Radha and Krishna both night and day. (CC 2.8.227)

When the sensitive sadhaka conceives himself to be a Vraja kishori, and fixes his absorption on the lila, the feelings and emotions experienced by Vraja associates such as Sri Rupa Manjari and Sri Rati Manjari may also be felt to some extent. This type of relish will nourish and increase the bhakta’s Yugal bhajan. Although, before the stage of bhava, the prauòhänanda-camatkäritva (intense pleasure coupled with divine wonder) that Sri Rupa describes shall not be possible due to the absence of rati. The previous rasacharya Sri Abhinava Gupta states

asahådayo’pi sahådayo bhavati

Even those inexperienced in tasting rasa may utilize the process of sädhäraëé-karaëa to gradually gain eligibility.

It is important to again mention that the raganuga sadhaka should not think of himself as non-different from Sri Radha, Sri Lalita, Sri Rupa Manjari, etc. Rather, when applying sädhäraëé-karaëa the sadhaka will conceive that he is a similar yet separate manjari. In the text on dramatics entitled Daça-rüpakam, this mood is termed parityakta-viçeña. For example, instead of thinking, “I am Rupa Manjari,” the sadhaka may contemplate “As Sri Rupa Manjari is attached to Radha Krishna’s seva. Like her, I am a manjari who is similarly attached.”

Thus the parityakta-viçeña method of sädhäraëé-karaëa is suitable for Rupanuga Vaishnavas. Even so, within manjari bhava sadhana it is remarkable that a tremendous scope exists for applying Sriman Gaurasundar’s acintya-bhedäbheda conception with the formula of sädhäraëé-karaëa.

As the manjaris are Radharani’s käya-vyüha-rüpa (personal bodily expansions), Srimati sees them as non-different from herself. For this reason, the mind, heart, and feelings of the manjaris remain bound to Radha in a madhura sambandha. Thus, the whole spectrum of emotions springing from Sri Radhika’s mahabhava prema sindhu are directly reflected in the manjaris.* Manjari bhava sadhakas may directly tap into this incredible source of hlädiné çakti, which not only expands the joy of Bhagavan Sri Krishna, but whose mere reflection in the material world is the cause of all universal bliss. As rasika-nagari Vrishabhanu-raja-nandini traverses the peacock-laiden forest pathways in search of her Prana Govinda, the sadhaka manjari also follows along through manasa sanga to serve in every aspect of vipralambha and sambhoga rasa. Therefore, with the help of sädhäraëé-karaëa, a matchless pleasure will nourish and expand the good fortune of the lila-smarananandi bhaktas who develop nishtha for manasi seva in manjari bhava.

In the previous pages, an introductory summary of the science for tasting bhakti rasa has been presented. Those anxious to increase their eligibility for relishing the rasa of Sri Bhagavan’s madhura pastimes would do well in making a thorough study of Bhakti-rasämåta-sindhu and Ujjvala-nélamaëi, including their commentaries by Sri Jiva Goswami and Vishwanath Chakravarti. Some other Gaudiya texts covering the same areas are:

1) Bhakti-rasämåta-çeña by Sri Jiva Goswami,

2) Alaìkära-kaustubha by Sri Kavi Karnapur, and

3) Sähitya-kaumudé by Sri Baladeva Vidyabhushan.

Sri Rupa also says

nave raty-aìkure jäte

hari-bhaktasya kasyacit

vibhävatvädi-hetutvaà

kiïcit tat kävya-näöyayoù

For the nourshing of bhagavad rati, it is somewhat helpful to be experienced in the tasting formula outlined in the shastras dealing with mundane poetics and drama. (Bhakti-rasämåta-sindhu 2.5.96)#

The Conclusion

Two Examples From Sri Sri Gaura-Govinda’s Limitless Lila Sindhu

In Part One and the proceeding section of this book, an outline has been given to present the basic philosophy needed to perform raganuga bhakti. The finishing touch will now be added: how to combine lila smaran with the aforementioned sadhana tattva. Let us examine the first lila specimen to see how rasa asvadan becomes possible through the help of sädhäraëé-karaëa.

1. Nishanta Kunja-bhanga Lila

(Radha and Krishna’s departure from the kunja at the end of night.)

We shall analyse a moment in this Vraja lila to study how all the ingredients forming rasa combine. This shall be taken from a sloka in Srila Vishwanath Chakravarti’s Kåñëa-bhavanamrita. But first, it is important to follow the Gaudiya tradition of Gaura-candrikä. By taking shelter of Sriman Gaurasundar and his mood, the lila rasa of Vrindavan will indeed become much more profound and relishable.

The Kunja-bhanga lila begins during the Brahma muhurta time of day. This is also the time the sadhaka should meditate on it. Upon rising, the sadhaka bathes or simply washes his hands and face, and after brushing his teeth and putting on fresh garments, sits on a purified asana facing the eastern direction. He then performs achaman, puts on tilak, and then chants his diksha mantras is chanted. When these preliminaries are complete, the sadhaka begins chanting his daily quota of japa. As the names are clearly uttered to oneself, the mind’s eye opens to visualize the transcendental splendor of Sri Nabadwip Dham.

Permeated by cool southern breezes and circumambulated by the Suradhani Ganga with her beautiful forested banks, Sri Nabadwip is on a gradually sloping hill resembling a tortoise’s back. On the crest of the hill, Sri Jagannath Mishra’s house overlooks the entire countryside. This remarkable palace is a breathtaking spectacle that can be seen from any vantage point within the Dham. It has been constructed with an array of precious stones, gems and gold by the most superior craftsmanship of the devatas.

Just surrounding Gaurasundar’s palace is a banana grove, then there are numerous flower gardens, and enclosing these kusuma-känanas are various fruit orchards. Next, there is a raja path or public roadway that encircles the entire Nabadwip area. On the outer side of this roadway, the residences of Gauranga’s priya bhaktas are nestled within the forest groves one after another.

In the western part of the northern side reside the six Goswamis, as well as Krishna Das Kaviraj and Sri Lokanath Goswami. In the northeastern side are the residences of the Twelve Gopals and Hari Das Thakur.

Located in the eastern part of the northern section of the Dham is Srivasa Thakur’s house with its expansive six-seasonal flower gardens overlooking the Ganga.

In the northern part of the eastern side is Sri Chandrasekhar’s house. In the east (southern direction) is Vanamali Acharya’s house. Sri Jagadananda Pandit and Sri Raghava Pandit also reside nearby.

Sri Adwaita Acharya’s large manor, including various gardens, huge kirtan hall and mandir for Sri Madan Gopal, is located in the Dham’s southeastern corner.

Sri Nityananda Prabhu similarly has an immense residence with beautiful gardens, herberies, orchards, and Sri mandir for his worshipable Banki-bihari vigraha in the south (eastern portion) of Nabadwip.

In the southwest lies the village of Champahati, wherein Sri Madhava Mishra and Srimati Ratnavati, the parents of Sri Gadadhar Pandit, reside. Sri Gadadhar’s sevita vigraha Sri Gopinathji is eternally manifest here within a beautiful moonstone (chandrakanta mani) mandir, which is encircled by a shady grove of Goloka champa trees.

On the western side of the Dham (in the southern portion), Sri Mukunda, Murari and Narahari Sarkar reside. And, in the west’s northern portion is Sri Gadadhar Das’s abode. The homes of the sixty-four Mahantas are also attractively situated in this region.

In the northwest is the home of Sri Saranga Thakur and others. Besides these major devotees, there are uncountable Gaura bhaktas residing throughout the Dham. Many brahminas also live here and there. The Ganga enters Nabadwip from the north and curves around the eastern side to flow onwards from Nabadwip’s southern perimeter. A tributary of the Ganga also branches from the north embracing Nabadwip’s western section to rejoin the principal stream of the Ganga in the south.

This summary description of Nabadwip Dham in Goloka is narrated in Sri Gopal Guru and Dhyanchandra Goswami’s Arcanä-paddhatis and Sri Siddha Krishna Das’s Gaura-govindäñöa-käla-smaraëa Guöikä.

The sadhaka das shall conceive of himself as an eternal Nabadwip vasi, otherwise Sri Gaurasundar’s manasi seva is impracticable. Mention of these various Gaura parshads and their residences is to form a clear picture for daily smaran sadhana. The sadhaka das will reside near to his guru and guru parampara, who all live in the same area as the nitya Gaura parshad from whom their parampara descends. For example, those initiated in the Gadadhar parivara will live in the southwest side of the Dham near Gadadhar Pandit’s residence. And devotees belonging to Advaita parivara shall attain a residence near to his mandir in Nabadwip’s southeastern corner.

Srila Bhaktivinoda Thakur’s followers shall acquire a residential abode near to Sri Nityananda Prabhu in the southern section of Nabadwip. Thakur Bhaktivinoda belongs to the diksha parampara of Nityananda’s wife Sri Jahnava Ishwari descending through her adopted son and disciple, Sri Ramai Thakur.[§§§§] Sri Ramai’s residential quarters decorate the south side of Sri Nityananda’s large hermitage in a beautiful forest bower overlooking the Ganga. Sri Bhaktivinoda’s eternal residence (Svananda-sukhada Kunja) lies nearby closely sheltered by his Guru’s abode (Sri Vipina Vihari Goswami) and the other nine generations of Goswamis descending from Sri Ramai Thakur. This area is part of Godruma, where Sri Nityananda’s Nama-hatta originates.

Through repeated meditation from day to day, the sadhaka may uncover many other details about nitya Nabadwip dham through revelation. When the sadhaka places himself in the picture, a deep samskara* will formulate Lila smaran coupled with intense desire lor nitya seva becomes a reality upon the awakening of prema. The immense spiritual potency of the Dham will display her wonders for the resolute bhaktas whose constant lila smaran becomes second nature. To the degree one’s consciousness submerges in relishing divine lila rasa, perfection is nearing. Worldly attachment will proportionately fade away, rendering the heart pure.

Let us now proceed to the northeast section of the Dham where Sriman Gaurasundar’s Nishanta lila unfolds. On the previous night, Sri Gaurahari’s Maha-rasa sankirtan mixed with gändharva-saìgéta, melodious instruments and spectacular dancing had taken place in Srivasa Angan and the adjoining six-seasonal flower kunjas. This celestial environment enhanced by a spectacular view of the Suradhuni Ganga resembles the madhura splendor of Vrindavan’s Jamuna-pulina in the full moon of Autumn. Due to the sankirtan’s duration lasting into the wee hours of the night, Sri Gauracandra’s fatigue from continuous singing with full cries and acute dancing has rendered him unable to return home. Seeing the Lord’s condition, Srivasa Thakur provides late evening bhojan, and then comfortably arranges for Sri Gauracandra’s rest in a remote flower kunja. It is there that Sri Sachinandan takes rest in great happiness on an elegant jewelled bedstead thickly smothered with lotus petals in a hemakanta-mani-sayana-mandir.

At the end of night all the newly blossomed flowers glisten in their dew as the dazzling moonbeams give them a last kiss just before the moon’s effulgence sinks below the western horizon. Allured by the aromatic fragrance of these flowers, the bees begin their buzzing to extract pollen. Hearing this sound the birds awaken to inaugurate their chirping. As Gaurasundar remains asleep in his golden sayan mandir, Sri Gadadhar and Srivasa rest in their respective mandaps in the east. In the south are the Sixty-four Mahantas, the west Sri Narahari and Muirari Gupta, and in the the north the Six Goswamis are resting.

South of Mahaprabhu’s mandap is the jewelled Surya-kanta mandap of Sri Nitai Chandra. Nearby in the east is Sri Virachandra’s resting quarters, and in the south is the sayana mandap of Sri Ramai Thakur. It is near to here that Sri Bhaktivinoda Thakur and his followers attain a resting place.

On the northern side of Gaurasundar’s sayana mandap is the moonstone sayana mandap of Sri Adwaita Acharya. Sri Acyutananda rests in the eastern direction of this mandap with Sri Adwaita’s many other descendents and followers situated in the three other directions.—the Gutika (Siddha Krishna Das)

As the night comes to an end and the time to begin seva approaches, the sadhaka das instinctively rises. After washing his face and hands, etc., he proceeds to awaken his Gurudeva by massaging his lotus feet. The sadhaka then assists his Guru in washing, etc., and next performs a similar seva for the other members of his Guru-varga. Everyone then quickly proceeds to Sriman Mahaprabhu’s sayanmandir where many of his prominent devotees have already assembled to have darshan of the Lord’s beauty at rest. For the sadhaka das, there are a number of services to be performed at this time such as washing the jewelled verandas and drying them, and supplying a golden lota with freshened rose water with a soft towel for Mahaprabhu’s washing. After the Lord has risen and washed, the sadhaka das may comb and decorate his hair with flower garlands or decorate the Lord’s forehead with tilak and candan, offer afresh garland, and at last show a jewelled mirror, etc. This must all be prepared for in advance.

During the course of the lila the sadhaka may also relish the Lord’s rising, his Vraja-bhava-avesh, his mangala-arotika, and Svarupa Damodar’s Vraja lila kirtan along with the other bhaktas*. As the kirtan progresses, Svarupa sings that Radha and Krishna have left the sayan-mandir and arrived at the edge of the kunja to anxiously bid farewell. Srimati Radharani is devastated fearing Madhava’s separation. In Radha-bhava, Sri Gaurasundar suddenly experiences those same feelings as his body erupts in asta-sattvika emotions: standing of the hairs, discoloration of the body and heavy tears, etc. Simultaneously, remorse, fear, regret, humility, deep thought and a bouquet of other sancari-bhavas also attack Sri Gauranga. Seeing the Lord capsizing from the waves in the ocean of Vraja lila rasa, the sadhaka das is swept along by those emotions also to relish that same nectar in his own Vraja-svarupa.

Let us now enter Vraja lila to taste these mellows from Srila Vishwanath Chakravarti’s Çré Kåñëa-bhävanämåta:

daivät tadotsukyabhaöaà vijitya

sä çaìkä baliñöhä vraja-vartma-sémani

preya-bhujäçleña-nidhià vyapanudad

balena manye sudåçotsa-deçataù

ekädhva-gämitvam api sphuöaà tayä

tarjayanty eva yadänyañidhyata

tadädåçä mäkätaratä mithas tayoù

pura-sthitä präëa-sakhé varodayat

Radha and Shyamasundar embrace as they moved through the nikunja’s courtyard, but upon reaching the crossroad to Vraja, Sri Krishna suddenly removes his arm from Srimati’s shoulder. Radha frantically realizes, “Protected within this kunja by my bodyguards of elation, I’ve enjoyed the maha-nidhi[*****] of Madhava’s embrace! But hay! Now I am unprotected, and the dacoit named panic is forcefully plundering my treasures!” Seeing this tragedy, the sakhis and manjaris burst into tears and loudly cry in despair! (Kåñëa-bhävanämåta, 2.69-70)

Let us now examine the ingredients of this lila which cause rasa to manifest for the manjaris.

1) Sthayi bhava—bhavollasa rati (Maïjaré-bhäva)

2) Vibhava— Visaya: Sri Sri Radha-Krishna

Asraya: the sakhis and manjaris

Uddipana: The boundary of the kunja, the rising of the sun, the fear that Jatila may suddenly arrive, Radha and Krishna’s tears of remorse, etc.

3) Anubhava—heavy breathing, screaming and dizzyness, etc.

4) Sattvic— shedding of tears, paleness of the body and face, becoming stunned, shaking, fainting, etc.

5) Sancari— remorse, grief, anxiety, fear, weakness, illness, etc.

Rasa Analysis

As previously mentioned, sancari bhavas are the waves that rise in the ocean of a bhakta’s permanent mellow (sthayi bhava) which temporarily direct his mood and feelings. Upon the demise of such waves, newer and newer emotions may arise again when the events in the lila change. Among sancari bhavas there are some which give pleasure and others that invoke distress. Sanka (fearful-alarm) and autsukhya (expectation in happiness) are both sancari bhavas. With the ananda of union or the pain of separation autsukhya or sanka may come and go respectively. When a devotee deeply focuses on a given lila, the particular moods experienced therein by Krishna’s nitya-parshads may also arise in the bhakta’s mind and body.

In the present lila, Srimati Radharani has experienced unequaled bliss carried along by the sanchari-wave of autsukhya within her madhura rasa sthayi bhava sindhu. Now, however, as the direction of the lila changes from sambhoga to vipralambha rasa, numerous strong opposing distressful-waves, such as sanka (alarm), trasa (panic), visada (remorse), etc., all combine to conquer Sri Radhika. As a result from the thrashing of these various bhava-tarangas, the sakhis and manjaris manifest loud cries, swooning, paleness, heavy tears and numerous other mental and bodily anubhava and sattvika emotions.

For the sadhaka bhaktas this scene is not visible at present because the lila is aprakata

(unmanifest). But, for the Bhavuka and Premika bhaktas, even the aprakata lila may appear as

prakata, or manifest; this is due to the acintya-sakti (inconceivable potency) of rati acting on their sthayi bhava. When such advanced devotees merge their feelings with those of Vraja’s nitya-siddha parikars becoming tad-atma-prapta (adjusted in similar consciousness), then sadharani-karon will cause rasa-asvadan, or divine relish, to directly manifest. In other words, just as the manjaris are experiencing the pain of separation at this moment, bhavuka and premika bhaktas of this world may also relish similar symptoms simply through deep absorbtion in those mellows.

Although ajata-rati bhaktas are ineligible to directly taste rasa due to the absence of rati, nevertheless, through an attachment for the lila, bhajan ananda is experienced. Such bliss shall gradually destroy the propensity for sense enjoyment. Then, as bhajan increases, rati is invoked; such mercy is never possible, however, for the casual practitioner.

When beginning, one considers: I am a sadhaka desiring to enter the lila in Maïjaré-bhäva. There are various stages of absorption. Through practice, smaran, dharana, dhyan, druvanusmriti and samadhi will all develop in the course of time. Focusing on the manjari svarupa received from the Guru, one enters the lila. With concentrated meditation the external situation fades away. One thus considers:

“I am following behind Radha and serving in the lila as per my Guru-rupa-sakhi’s order.”

As a result of such contemplation the feelings experienced by the sakhis and manjaris may also be realised to some extent by the sadhaka.

For beginners especially, the spirit of separation from the Lord and his pastimes is comparatively easier to imagine than the pastimes in union. Sri Sanatan Goswami affirms this siddhanta in his Båhad-bhägavatämåta. Factually, without having deeply felt pain through the Lord’s acute absense, milan-madhuri (the splendor of union with him) would only appear to be a commonplace event. Therefore, the first sadhana is viroha. As one becomes more adept in lila smaran the pangs of separation from the Ista-devata proportionately increase. From moment to moment a hankering shall awaken: kabe paho? (when shall I attain them?).

jala vinu jeno mina, dukha paya ayuhina

prema vinu ei mate bhakta

If a fish is thrown onto the shore it dies in pain; without prema, a bhakta’s feelings shall be similar! (Prema-bhakti-candrikä)

Sri Narottam’s example illustrates the type of anxiety required for attaining Krishna’s darshan.

The Gaudiya Vaishnava Acharyas have prescribed antar-bahye (both internal and external) processes for Raganuga bhakti. To successfully execute lila smaran, first the preparatory ground work is essential: careful study of the lila narrations described in the Goswami literature. To attempt lila smaran without having done so will only result in folly. We must always remember that it is by the mahat-kripa of the Goswamis that Radha Krishna’s nikunja-seva is revealed. Therefore, to be well versed in Govinda lilamrita, Krishna-bhavanamrita, Gaura-Govinda lilamrita Gutika and the numerous other Goswami literature and Mahajan-padavali form the preparation, or external sadhana, which will render the sadhaka eligible to perform the internal lila smaran successfully.

Vraja Nishanta lila takes place in Vrindavan’s most excellent location, Sri Govinda Sthali, which is a large island caressed on all sides by Sri Yamunaji’s main stream and tributary. This island is shaped like a gradual sloping hill resembling a tortoise’s back. On the crest of the hill rests the Yoga-pitha mandir of Radha Govinda. Beautifying this enchanting mandir are the four types of desire trees—hari-chandan, santanaka, mandar and parijata—embraced with flower latas entwining their branches. As the pollen from these aromatic flowers falls to decorate the ground below, swarms of bumble bees buzz hither and thither, resembling the humming vibration of Cupid’s bow string.

Encircling these kalpa vrikshas are madhavi, malati, mallika, and svarna yuthi mandaps heavily laden with overhanging flowers, located in the northeast, southeast, northwest and southwest corners respectively. Beyond these mandaps are four kunjas. In the north is Svetambuja Kunja, wherein Radha Krishna perform pasha khela, a dice game. In the east is Nilambuja Kunja where Radha and Govinda are adorned with pushpa dress and pushpa alankar after Rasa lila and Yamuna jala keli. When the pushpa shringar is complete, Sri Yugala Kishor proceed to Arunambuja Kunja in the south to enjoy the late evening bhojan of many varieties of forest fruits and sweets. Then Radha Madhava retire to rest in hemambuja kunja in the western side of Govinda stali. Encircling Radha Govinda’s sayana mandir is a grove of golden banana trees. Beyond, in the eight directions, are the sayana mandirs of the Asta-sakhis. Next are consecutive spheres of kunjas that double in number beginning with sixteen, thirty-two, sixty-four, and so on, wherein countless thousands of sakhis belonging to Radha’s yutha take rest. At the outer perimeter of hemambuja kunja, in the east, south, west and north, Sri Vrinda Devi, Sri Vrindarika, Sri Menaka aud Sri Murala sakhi act as doorkeepers to protect Govinda stali so that undesirable persons may not enter.

—Çré Govinda-lélämåta

The sadbak meditates: I am resting at the feet of my guru-rupa sakhi within this picturesque setting. Sensing the end of night, instinctively the manjaris rise to begin their seva. Although the various birds in the kunja have awoken, they remain motionless, like painted pictures, awaiting Vrinda Devi’s signal to begin chirping.

Upon rising the sadhaka manjari washes her hands and face, etc., and proceeds to awaken her Guru-devi by gently massaging het lotus-feet. After assisting her in rising, washing, etc., the sadhaka manjari performs a similar seva for her manjari parampara. Everyone then quickly scurries along to Radha-Krishna’s sayan mandir, and, upon reaching there, the sadhaka manjari takes up a golden broom to begin cleansing the jewelled verandas with scented water as per her guru-rupa sakhi’s instruction. After washing the floors, a soft cloth is taken to remove the water by polishing until the verandas are sparkling. The manjaris are Radha-Govinda’s yugala-seva murtis. Thus, at all times they remain busy making the preparations for Radha-Krishna’s lila to smoothly unfold. Today, however, instead of assisting the other manjaris in preparing for Kishora Kishori’s rising, washing, morning pushpa malas, grape juice, arati paraphernalia, etc., Sri Rupa Manjari motions to the sadhaka manjari to quickly enter the vilasa mandir before Lalita and the other leading sakhis arrive. Stepping inside, the two minnow-like eyes of the sadhaka manjari begin to delightfully swim in the maha sagar of Yugala kishor’s rupa amrita madhurya. What a spectacular scene to behold!

One manjari exclaims to another, “Sakhi! Just see, a radiant streak of lightning has descended to embrace a soft, newly-formed rain cloud.” The other manjari cleverly retorts, “Oh naive one! How can the lightning or a rain cloud rest upon the earth? Rather, look more closely, a lovely svarna padma (golden lotus) is embracing a freshly blooming indivar (blue lotus).”

The following texts are translated from Sri Vishwanath Chakravarti’s Kåñëa-bhävanämåta.

1) Another seva dasi exclaims: Oh enchanted one! It appears that our Yugala Kishor were not expertly dressed by the sakhis because their ornaments and clothing have been cast aside by the sakhi of shringar (conjugal love); she has redecorated them with her own rati chihnas (love marks). Just see! The complete beauty of Radha-Krishna’s shringar* that the sakhis could not manifest has now reached perfection with the madhurya of these rati chihnas! (Kåñëa-bhävanämåta 1.10)

2) Another manjari deliberates: Hey auspicious one! I can guess the reason for the absence of Radha-Krishna’s yellow and blue garments: Krishna’s bluish bodily effulgence has elegantly covered Radha’s body, and similarly Radha’s yellow effulgence has adorned Krishna’s body. Kamadeva felt therefore that it would surely be unbefitting and redundant to again dress them in blue and yellow outfits! (Kåñëa-bhävanämåta 1.11)

3) The previous seva dasi continues: Hey sakhi! When Madan Raja (Cupid) conquered the kingdom of Radha’s body, he allowed Modesty to reside in Radha’s eyes, face and breasts. But hey! At present, as the slightest trace of modesty cannot be seen anywhere in Radha’s bodily kingdom, she (Modesty) must certainly be guilty of some grave aparadh. Or, perhaps çubha-dåñöi (the devi of auspicious sights) has personally manifest to satiate our eyes with joy! Or, maybe it was Modesty’s wish to leave on her own accord, because upon Radha’s awakening, Modesty devi will return with rejuvenated strength to reconquer Radha’s bodily kingdom! (Kåñëa-bhävanämåta 1.12-14)

4) The manjaris jubilantly conclude: the usual custom is that a master rewards his maidservant after her services have been completed. In our case, however, our just reward has been attained before beginning! (Kåñëa-bhävanämåta 1.15)

Hearing the laughter and merriment of the manjaris, Srimati’s slumber breaks. Her apprehensive eyes dart like restless minnows here and there. Assuming that Lalita and Vishakha have come to tease her with laughter and joking, she feels embarrassed. Thus, Radhika Devi quickly trys to remove herself from Krishna’s embrace. But, as Srimati’s hair is caught within Krishna’s dolphin-like earrings, and Krishna’s hair is similarly entangled within her pearl necklace, She remains unable to rise from the flower bed.

Sri Rupa then gestures to Vinoda-vallari Manjari who comes forward to quickly untangle the Divine Couple employing the utmost care and dextarity. As the vilasa yugal (Sri Sri Radha Shyama) sit up on the flower bed, the sadhaka manjari comes forward to hold a large golden bowl in front of them; Sri Rupa manjari affectionately takes a jewelled lota filled with fragrant rose water to wash Their mouths. Then she washes Their faces with a soft, damp cloth. Observing Priyaji’s alta* smeared on Krishna’s forehead, and Krishna’s chandan and kasturi musk adorning Radharani’s face, the manjaris blush with soft smiles recollecting the previous night’s madan ananda keli! Surrounded by her manjaris, Srimati takes advantage to tactfully subjugate Krishna. Raising her eyebrows in pretentious anger, she addresses Shyamasundar:

“Oh hey Nagarendra (topmost romantic)! Oh hey Nirlajja Raja (king of the unabashed)! You have disheveled the superb dress and ornaments that my dearest sakhis earnestly labored to arrange! Is it your desire to cast me into the ocean of embarrassment? Instead of remaining indifferent, you may quickly decorate me as I appeared previously!”

Siding with Radha’s svadhina bhartrika# mood, the manjaris’ chests swell with pride. Sri Rupa addresses Priyaji, “Swamini! Your Krishna’s talents lie in herding animals; do you really think that he is capable of dressing a Raja-kumari?”

Srimati replies, “Rupa, when all of the seva dasis are here to assist, Pashupati should certainly be allowed a fair chance!”

Radharani next addresses Krishna, “Oh Priyottama! (Dearest one!) You have become an offender unto your worshipable devata, Ananga (Cupid). You should know, however, that after performing puja, it is the pujari’s duty to clean up the area and replace the worshipable devata back on the altar. Therefore, quickly cover up the vilasa chihnas (love marks and bruises) on my body and redecorate me placing Ananga Deva back on the altar of your mind. Please quickly do this before Lalita and the others arrive and discover your aparadh!”

Rasika churamani Sri Krishna replies: “Radhe! You are certainly right! Ananga Deva has directly manifested on the altar of your bodily limbs, therefore I shall use the five upacharas (ingredients) of bason (dress), bhushan (ornaments), gandha (scent), puspa (flowers) and candan (sandlewood paste) to fully satisfy my ishta devata!”

Srimati motions to Kasturi Manjari for bringing her special comb named svastida which is carved from ivory and embedded with jewels. Krishna anxiously takes up the comb and carefully begins to gather together Priyaji’s loosened curling hair; how fragrant and glossy it is, like the waves of the Jamuna. As Krishna’s attention focuses more diligently, beads of sweat appear on his forehead; he is lost in samadhi! Krishna exclaims, “Aha Prana-priya! Your waist-long curling hair is more gorgeous than a newly arrived monsoon cloud!” Radharani’s darting eyebrows and captivating sidelong glance pierce Krishna’s heart; he is mesmerized, and drops the comb. The manjaris smile observing Shyamasundar’s captivation. Srimati looks over to Guna Manjari, “Hey dasi! Show our Prana vallabha how it is done.”

As Guna Manjari’s dexterous fingers quickly braid Radhika’s hair into a veni and then proceed to decorate it with bokula flowers and golden silken ribbons, Sri Govinda looks on, agape!

Priyaji says, “Oh Shyam, decorate my forehead with tilak!”

Kasturi Manjari comes forward to hold Srimati’s jewelled cosmetic box before him. As Krishna endeavors to put on Srimati’s kama-yantra tilaka, his hand shakes. His nose twitches and his eyes remain intoxicated in the divine softness, divine smell, and supreme elegance of Priyaji’s unadorned mukharavinda (lotus face). Seeing Krishna’s stupor, Radharani smites him above the forehead with her blue lotus flower saying: “Shyam, you are incompetent! Just sit down and watch my kinkaris do the work.” In this way, even Sri Krishna covets the serving prowess of the manjaris, and praises their supreme fortune. Requested by the guru-rupa sakhi, the sadhaka dasi brings flower garlands, kunkum, chandan, and many other articles placing them in the hands of Sri Rupa and the other manjaris who expertly complete Radhika’s shringar in a few moments.

When Lalita, Vishakha, Champakalata, Chitra Devi and other prominant sakhis arrive, everyone is astonished seeing Radhika fully dressed. Srimati beams with a confident smile which reflects on the manjaris’ faces. Krishna pretends to be asleep in order to hear a nectarean conversation. Then in pretentious anger Radharani raises her eyebrows to address everyone as follows:

“Oh most praiseworthy sakhis! Today you have all displayed the ideal behavior of a friend! Hey misleading ones! I am a sati, a chaste woman. Yet you have taken me from home, brought me into this dark forest, forcefully placed me in the hands of this Nagar, and then abandoned me! After the entire night has elapsed it is very considerate of you to again award your protection! Fortunately, my piety has protected me today. As Krishna had previously performed kama krida with thousands of gopis for many sleepless nights, Supti Devi, the goddess of sleep, has put him to rest in order to protect my sati dharma (chastity)!”

Amused by Radharani’s clever assertion, Sri Lalita answers, “Oh sakhi Radhe! Your chastity is renowned in Vraja mandala; who does not know of it? And, everyone also knows that Krishna is an ideal brahmachari! In fact, even the Srutis sing of Krishna’s celibacy! For this reason our eyes are delighted to see the meritorious sadhu sanga which you keep!”

The manjaris offer freshly squeezed grape juice, and then offer pan mentholated with camphor. Receiving the guru manjari’s order, the sadhaka dasi brings a tray containing the articles for mangal arati and places it in Sri Rupa’s hands, she, in turn, then gives it to Lalitaji. Aroti is an offering of love which protects the worshipable devata. As Lalita Devi offers the ghee lamp in circular motions, any would-be inaspicious omens are burned, the falling water from the conchshell washes them away, and the cloth wipes them up. As Radha-Govinda’s aroti continues, the sakhis and manjaris fan with chamaras, sing in jubilation, and cast their hands into the air rejoicing, “Jaya Radhe-Govinda!” as flower petals shower from overhead. The following kirtan pada portrays the mood of the Vraja gopis.

rädhe govinda jaya, rädhe govinda,

rädhe govinda jaya rädhe

öhäkura hämäri nanda ki läl,

öhäkuräëé çrématé rädhe (1)

våñabhänu-nandiné, çré nanda-nandana

sakala guëa agädhe

bhora samaya käle, kokila kuhü òäle,

bhramara hari guëa gäoye (2)

ratana palaìka upari, baiöhalo duhuì jana,

duhuì mukha sundara säje

çyämera bäme, navéna kiçoré,

mucaki mucaki häse (3)

pétämbara dhara, néla paööa dhäriëé,

ghana saudäminé säje

çyäma çire çikhé, curä viräje,

räi çire veëé säje (4)

çyäma gale vana-mälä viräje,

räi gale gaja moti säje

çyämer kore, mohana muralé,

räi kore kaìkaëa säje (5)

çyäma kaöi tate, ghurghura viräje,

räi kaöi kiìkiëé bäje

jugala caraëe, maëimaya nüpura,

runu jhunu runu jhunu bäje (6)

sakhé maïjaré jata, maìgala gäoto,

jaya rädhe govinda jaya rädhe

sundara badane, aruëima locana,

baìkima cähani säje (7)

çuka péka çäré, mayüra mayüré,

kuïja bhavana bhari gäje

våñabhänu-nandini, ramaëé çiromaëi,

nava sakhi gana mäjhe (8)

çré våndävane, kusuma känane,

bhramaré rädhä guëa gäoe

déna kåñëa däsa bhaëe, madhura çré våndävane,

yugala-kiçora viräje (9)

(1) The gopis sing, “Radhe Govinda! Jaya Radhe Govinda! Radhe Govinda! Jaya Radhe! Sri Nandalal is our worshipable Thakur, and Srimati Radhika is our Thakurani.

(2) Before daybreak, the kokilas shrill from the trees while the bumblebees sing Hari’s guna kirtan.

(3) Upon awakening, Radha Krishna sit up on the jeweled bedstead and display their lovely faces. Radhika sits on Shyamasundar’s left, and her blushing smile befits a nava-kishori.

(4) Krishna’s silken garments are flashy yellow and Radha’s are deep blue like a newly-formed raincloud caressed by lightning. Shyama’s headpiece is fashioned with peacock feathers, and Radha’s curling hair is tied in a braid.

(5) Shyama sports a forest garland, and a necklace of pearls adorns Rai’s chest. Shyama holds his notorious mohan murali, as numerous bracelets and bangles glitter on Radhika’s wrists.

(6) Shyama’s hips are enamored with jingling bells, and Rai’s hips display a kinkini mala. Radha Krishna’s shringar is complete with anklebells of gems that jingle runu jhunu runu jhunu from their lotus feet.

(7) In jubilation, the sakhis and manjaris cry, “Jaya Radhe Govinda! Jaya Radhe!” Kishora Kishori’s mukharavinda portrays intrigue with darting sidelong glance; their eyes have a soft reddish hue.

(8) The cuckoos, kokilas, peacocks, parrots and other forest birds fill the kunja with sonorous tumult, “Jaya Ramani shiromani Vrishabhanu Nandini Radhe! Jaya Jaya nava nava sakhi vrinda!”

(9) In this flower kunja, even the honey bees sing Radha’s glories. Sri Dina Krishna Das[†††††] concludes, “Thus Sri Sri Yugala Kishor reign within their madhura Vrindavan dham!”

Absorbed in such bliss, the impending necessity to return home is forgotten. Thinking that a moment’s delay may be risky, Sri Vrinda Devi motions to her trained parrot named Subha, who recites as follows, “Oh Radhe! Jatila will soon enter your room at home. What will happen if Abhimanyu, Kutila and she find out that you are absent?”

Hearing Subha’s warning, Radha’s heart is pierced and her eyes become restless. Krishna then holds Radha with his left hand and picks up his mohana murali with the right, and together they anxiously exit the nikunja mandir.

All of the articles used in seva from the previous night are gathered by the manjaris. Someone carries the golden lotas, another seva dasi carries a chamara, and someone else takes the jewelled mirror. As everyone follows the Divine Couple, another manjari picks up the kunkum and chandan containers, while someone else carries Radharani’s box of jewelled ornaments. Another seva dasi collects and restrings all of the loose pearls from the flower bed which broke from Radhika’s necklace during the previous nights kandarpa keli. Upon seeing Radharani’s blouse still remaining there also, Sri Rupa Manjari picks it up and privately returns it to Srimati. As she proceeds along, Sri Guna Manjari retrieves Radha-Krishna’s prasadi pan from the spittoon and happily distributes those remnants among the other manjaris. Then Manjulali Manjari collects the prasadi pushpa malas and chandan to share these divine substances with the others. At this time the sadhaka manjari may meditate on a prescribed seva. For example, the sadhaka may imagine that she is following behind the other sakhis and manjari carrying Manjubhasini* in her golden cage.

For a short distance Radha and Krishna proceed along together, yet separation is impending. Very soon they must take different routes leading to their respective residences. Due to the sudden panic and hasty attempt to flee from the kunja, on some days Radha blindly grabs Krishna’s pitambar dhoti, while Krishna mistakenly puts on Radhika’s nilambari, her deep blue sari. Seeing this amusement, the manjaris smile and jest with one another. Radha and Krishna, however, are unable to fathom the reason.

Following Govinda-lélämåta, the following conversation appears:

Criticizing Surya Deva for spoiling Radha Krishna’s night-time lila, Sri Lalita exclaims, “Hey Radhe! Just see, even though the sun became a leper for interrupting the amorous pastimes of all romantic couples, still he has not given up his sin. Therefore, when the sages declare that everyone’s character is tainted by some evil, they are surely right!”

Hearing these words, and nodding with a madhura smile, Srimati replies, “Lalita, the sun has lost his legs no doubt, but nevertheless, after setting in the west, he comes back around in a mere flash to repeat his sinful deed. Just consider, if the sun had legs, even the briefest night would not exist!”

Observing the beautiful reddish sky at the break of dawn, Krishna jests with Sri Radhika.

“Hey Priya! Just as a young girl’s face becomes red with anger upon seeing her beloved bearing the love marks from another damsel, similarly, the sun’s wife (the eastern sky) is red with jealousy seeing her husband return in the morning with his body revealing the nail marks of a sweetheart from another direction!”

Sri Krishna continues, “Hey Chandramukhi! Just observe how the female bees trapped within the lotus flowers are coming out as the lotuses reopen at the hint of daylight. The restless male bees now discard the closing lilies to plunder their accumulated honey! Oh Priyatama! Just look, the swan named Kalamban is approaching us flapping his beautiful wings in ecstasy over the Yamuna after enjoying lovemaking with his wife! And, just see! Kalamban’s wife Tundikeri fixes her gaze on your lotus face while clasping a lotus stem in her mouth as she swiftly swims behind her husband making a sweet quacking sound!

“Oh Priya! The Malayan breezes have merged with the fresh mountain air to carry the fragrance of the lotuses and teach the forest latas to dance. This breeze soothes everyone’s fatigue, but it especially relieves the perspiration of loving couples engaged in prema keli!”

Thus intoxicated with laughter and joy, everyone forgets the need to proceed quickly homeward. Fearing calamity, Sri Vrinda Devi becomes apprehensive and gives the signal to Kakkhati, an elderly female monkey, who loudly recites a riddle while seated in a tree overhead, “Ayi! The yogini of the morning, Jatila, attired in saffron garb, is swiftly approaching to exert her authority!”

Due to the fear caused by hearing the three syllables “Ja-ti-la,” Radha and Krishna panic thinking that Jatila is approaching.* Then in a frantic effort to remain undetected, Kishor and Kishori part, taking up different routes to anxiously flee homeward.#

At this point the topic previously narrated from Srila Vishwanath Chakravarti’s Kåñëa-bhävanämåta appears. The Mahajans have recorded this moment with padavali kirtan as follows.

nija nija mandire, jäite punaù punaù, duhu dohär vadana nehäri

antare ualo, prema payonidhi, nayane galaye ghana bäri

madhava! hämäri bidäya päye tora

tohäri prema saiye, punaù cali äobo, abahuà daraça nähi mora

kätar nayane, heräite punaù punaù, uchalalo prema taraìga

muracholo räi, murachi poru mädhava, kobe hobo tomär saìga

lalitä sumukhé, sukhé kori phukarata, räiko kore agora

sahacari känu, känu kori phukarata, nayane torakata lora

kothäy gelo aruëa, kiraëa bhaya däruna, kothäy gelo lokaka bhéta

mädhava däs tobe, korahu nähi samujjvala, udabhaöa mugadha carita

Attempting separation while returning home, Radha and Krishna repeatedly gaze upon each other’s faces. The heavy tears streaming from their lotus eyes cause the jewel of maha prema to surface from their heart’s churning ocean. Radha exclaims, “Hey Madhava, I bid farewell to your lotus feet! Our love shall again bring us together. But aha! Now I am losing sight of you!”

Radha is unable to remove her lovelorn eyes from her Prana-vallabha, but suddenly a high rising wave of prema capsizes causing her to fall unconscious! Krishna also faints, unable to bear the separation. Lalita takes Radha onto her lap and cries out in an effort to awaken her. Another sakhi cries into Kanu’s ears as tears stream down her cheeks. Where has the fear from the sun’s rays gone? And who shall worry about the family members? The poet Madhava Das[‡‡‡‡‡] is unable to fathom this captivating pastime.

In the next kirtan pada, the Vaishnava kavi Sri Balaram Das, a disciple of Sri Jahnava Ishwari, follows Radha as she returns homeward at the conclusion of the nishanta lila. Mahajan padavali of this type is ideal for manjari bhava lila smaran.

nikuïja hoite, sakhér sahite, nija gåhe cole räi

cale jäya pathe, känu bhäve citte, pathe pore murachäi

eteka dekhiyä, lalitä dhäiyä, räike korilo kole

ähä mori mori, hede go kiçoré, keno vä emon hole

lalitäke heri, kohiche sundaré, çuno ogo sahacari

känu guëa-nidhi, raser avadhi, tile päsärite näri

kara jora kori, lalitä sundari, bole çuno ogo räi

hoilo prabhäta, colaho tvarita, avilambe gåhe jäi

kaìkan valayä, vasane jhäpiyä, nija gåhe praveça hoilo

çré rupa maïjaré, priya sahacaré, däìrälo sevär äçe

çré rati maïjaré, tähära kiìkaré, balaräma däse bhäñe

As Rai Rangini (Sri Radha) and her sanginis depart from the kunja in the pangs of Kanu’s separation, Radharani loses footing, and falls unconscous. Lalita quickly takes Radha into her lap exclaiming, “Aha Rai Kishori! What has happened?” Upon regaining cognizance, Radha replies, “Oh sahachari Lalita! I cannot forget the jewel-like qualities of Kanu. for he is rasamaya!”

Folding her hands Sri Lalita answers, “Oh Rai, let us not delay, but quickly return home, for the morning has begun!” Removing her bangles and covering her head, Radha secretly enters her home. The sakhis also return to their respective residences. Sri Rupa Manjari follows behind Radha, however, standing prepared for seva. The poet Balaram Das, who is the maidservant of Sri Rati Manjari, thus floats in ecstasy!

In Siddha Krishna Das’s Smaraëa Guöikä, the last scene of nishanta lila is described as follows:

rädhä jobe khiåké dväre praveçaye pure

sakhé-gaëa jäya tobe nija nija ghare

kono dina kono sakhé rohe rädhä päçe

viçäkhä rohilä adya vighnäçaìkä-vaçe

rädhära sahit pure sevä-parä gaëa

praveça koriyä kore vividha sevana

çayyälaya bärändäya svarëa-caukhé pare

navénä kiìkaré jatne bosäila rädhäre

suvarëa-jhäréra jale caraëa dhuläya

äpana uttaré jatane muchäya

tabe rädhä koilo giyä pälaìke çayana

däsé kore mådu pada-saàvähana

viccheda kätarä rädhä svapne präëanäthe

milibäre nidrä gelä viraha näçite

sva-sva-gåhe guru-devi gaëe suäiyä

sädhaka däsikä çue nija-gåhe giyä

When Radhika enters Jatila’s abode through a secret trap door, the sakhis return to their own residences. Although, every day one selected sakhi remains in Radha’s company. Today, Vishakha attends to Radha in fear of Jatila’s surveillance. The manjaris also enter to assist. The sadhaka manjari brings Radha to sit on a golden bench on the veranda outside of her bedroom. Then she carefully washes Radha’s caran-padma and drys them with her own chaddor. As Radha enters her bedroom to lie on the bed, the dasi begins to massage her lotus feet. As Radha falls asleep, the pain of her viraha, separation, departs. Having attained Krishna’s sanga in her dreams, a smile of contentment adorns her elegant face. The sadhaka manjari then follows her guru rupa sakhi home, and after massaging her to sleep, she also takes rest.

Thus ends the Nishanta lila. (The time is 6:00 A. M.)

Smaran sadhana can be performed in a number of ways, most commonly in japa, in kirtan, or in worship of the vigraha. Perhaps the easiest method is simply to sit down with a japa mala and begin. Archan and puja of Radha-Krishna that combines lila smaran becomes more meaningful. When the snana, shringar, sayan, and various types of bhojan are adjusted to match Radha-Krishna’s eight-fold daily pastimes, an increased bliss in archan undoubtedly results. Still today, in both Nabadwip and Vrindavan, there are temples that maintain this tradition.

Sriman Mahaprabhu’s world of sankirtan is opulent with Goloka Vrindavan’s prema dan, as the Gaudiya Mahajan poets have vastly contributed with an ocean of padavali kirtan. When this form of kirtan is sung by experienced kirtaniyas, the various moods and mellows of Vrindavan become animate. It would be no exaggeration to say that thousands of men and alike throughout India and especially Bengal have experienced rasa-tanmayatä (transcendental bliss) through the influence of padavali kirtan. Because there is no shortage of authorized ashta kala lila padavali, simply by absorbing oneself in sankirtan rasa, either by hearing or singing, raganuga bhajan can ideally be performed throughout the day and the night.

Thus, according to the acquired nature and ruchi of the practitioner, raganuga sadhana may be performed in a number of ways.

The Second Lila Specimen

In this example we shall pursue Raghunath Das Goswami in his remarkable absorption on Srimati Radharani’s journey to Nandagrama. As Radhika and her sakhis proceed to Krishna’s house to do the morning cooking, Sri Raghunath follows along in his manjari svarupa.* This description is recorded in four successive slokas in Viläpa-kusumäïjalé. Before we analyse this Vraja lila, however, let us direct our attention to Nadiya-vihari Sriman Gaurasundar to observe how these same mellows are being relished from his perspective.

Gaura-chandrika

The setting for Gaurasundar’s morning pastimcs is Jagannath Mishra’s house. At sunrise vätsalya-prema-mürti Sri Sachi Mata enters Nimai Chanda’s sayana mandir melting with motherly affection. “Nimai! Oh Nimai!” she tenderly calls. Hearing his mother’s voice, the Lord slowly rises and sits up on the bed. Sachi Mata sits beside him. Resting her weight on her left hand, she begins to caress Gaurachandra’s moon-like face as affectionate tears glide down her cheeks. Then, taken by surprise, noticing the Lord’s bruises from rolling on the ground during the previous night’s prema sankirtan, she exclaims, “Hey! Hey! What has happened? Oh Nimai, how did your delicate body become injured?”

Upon seeing his mother’s loving anguish Gaurasundar pacifies her, and then after a few moments comes out onto the veranda. Seeing the assembled priya bhaktas headed by Srivasa Thakur and Murari Gupta, Sri Gaurahari’s Radha bhava awakens like a proñita-bhartåkä nayika.# Thus, in the company of his devotees, Gaurasundar reminisces Radha’s previous night’s episode with Shyamasundar. Understanding Mahaprabhu’s mood, Svarupa Damodar sings various kirtan padas of Chandi Das to recreate Radha’s early morning Krishna kathamrita with her sakhis.

Upon hearing from Svarupa’s singing that Srimati has gotten up to take her bath in Kishori Kund, Sri Gaurasundar also rises from the ishtagosthi and proceeds towards the Ganga for taking his morning bath. Walking on either side, Sri Nityananda and Sri Advaita speak topics of Krishna lila with Mahaprabhu as the other devotees eagerly listen while proceeding along. The sadhaka das follows carrying the Lord’s oil and change of dress. The beautiful bakula trees shading both sides of the pathway remind everyone of madhura Vrindavan. As Sri Gaurasundar proceeds along, the Ganga’s cool breezes blowing in his loosened curling black hair form an unforgettable picture; for this sight alone could captivate anyone’s mind.

Upon arriving at the ghat, the sadhaka das assists Gauranga in putting on his snana vastra, rubs amalaki oil into his hair, and massages his body with Narayan oil. Then the Lord enters the water to enjoy jala keli with the devotees. After water sporting for some time, Mahaprabhu finishes his bath and comes up onto the bank. The sadhaka das stands waiting to assist the Lord in changing from his wet garments. Then, as Gaurasundar sits in a jewelled pavilion overlooking the water’s edge, his body is decorated with tilaka. Next, Mahaprabhu performs pancha upachar worship of Ganga Devi, and Gadadhar Pandit recites the Vedic mantras for the puja.

While proceeding homeword, sankirtan begins. As Mahaprabhu dances with the devotees he raises his beautiful golden arms into the sky. Sri Mukunda leads the singing as Sri Govinda, Sri Madhava and Sri Vasu Ghosh enliven the tumultuous sankirtan with their mohan mridanga playing. Upon arriving back home, the sadhaka das washes the Lord’s feet, and then the Three Prabhus (Gaura-Nitai-Advaita) are seated on three separate shringara vedis where their respective bhaktas dress them in beautiful silken cloth, gold and jewelled ornaments, chandan, tilak pushpa malas and pushpa alankar. Receiving the guru’s instruction, the sadhaka das assists Gadadhar pandit as he performs Nadiya-vinoda Sri Gaura’s bhuvana-mohana-çåìgära.

How is the Lord dressed and decorated? First Gaurasundar’s wet hair is held open to dry using the aromatic smoke of buring aguru crystals. Then the sadhaka das carefully combs Gaura’s hair into a juti (topknot) which is tied by a strand of pearls and further decorated with bakula flowers. Next, using keshara, a bright reddish substance, Gaurasundar’s forehead is adorned with tilak. On both sides of the tilak extending to the cheeks, beautiful designs are painted with kasturi, black deer musk. On the chin also, a special dot of kasturi is marked. Afterwards, an attractive pearl is placed to hang beneath Mahaprabhu’s nose. Then the Lord’s entire body is anointed with chatusama, an exotic fragrance containing two parts kasturi, four parts chandan, three parts kunkum, and one part camphor.

Gaurasundar is then attired in pitambar, a brilliant yellow silken dhoti and chaddor. Next his ornaments are put on. First a golden candra-hära (moon necklace) is placed around Gaurasundar’s neck. His arms are decorated with keyura angada (arm bracelets molded from nine types of jewels) and around his wrists are placed sandlewood bangles. Then Mahaprabhu’s hips are adorned with a kinkini mala (a golden chain with bells that jingle), and finally, sonar nupura (golden ankle bells) are placed around his charan padma. The finishing touch is a fragrant forest garland arranged by Narahari and affectionately placed around Gaurasundar’s neck by Gadadhar Pandit.

The sadhaka das then stands before Mahaprabhu holding a jewelled mirror. As Sriman Gaurasundar gazes upon his incomparable beauty, his mind becomes overwhelmed by the moods of Vraja. At this moment the devotees nearly faint upon witnessing Nadiya sundar’s breathtaking darshan.

Suddenly Ishan appears and informs the Lord that Mother Sachi is calling, for now is the time for Sri Narayan’s arati. As Gauranga returns to external consciousness, he proceeds with the assembled devotees to the jaga-mohan, kirtan hall, to witness the arati ceremony performed by Gadadhar Prabhu. As the heavy jeweled doors open, a cloud of fragrant incense emanates from Sri Narayan’s inner chamber. When this aroma enters Sriman Mahaprabhu’s nostrils, he swoons, feeling that Vrajendra Nandan’s anga gandha has reached him. While the arati continues assorted ringing bells and conchshells resound producing an entrancing resonance. As the arati concludes, Sriman Mahaprabhu and the devotees perform sankirtan with a parikrama of Narayan’s mandir and then offer Ganga jala at Tulasi’s base, followed by dandavat and pranams.

Ishan then appears to inform Mahaprabhu and the bhaktas, “Please come, for Sachi Mata is requesting everyone to savor Narayan’s maha prasad.”

After partaking of a light refreshment of rice pudding khir and other sweets with the devotees, the sadhaka das assists the Lord in washing, supplies a soft towel and then offers pan. Gaurasundar then proceeds into the room where Bhagavata path, discourse from the Bhagavatam, will be performed, and sits down in front of the Vyasasan. Sri Nityananda, Sri Advaita, Srivasa, Murari Gupta, Svarupa Damodar, Sri Ramananda Raya, and all of the many devotees also assemble to sit in their respective places. Today the Bhagavata path will be delivered by Sri Gadadhar Pandit. Before he comes to be seated on the Vyasasan, however, the sadhaka das enters the room carrying on his head the Bhagavatam wrapped in a red silken cloth. As the Bhagavatam appears, Sriman Gaurasundar and the assembled devotees all stand up to offer due respect.

Sri Gadadhar Pandit then enters offering dandavats to the Three Prabhus, the devotees, Tulasi, the Vyasasana, and then to the Bhagavatam, before carefully taking his seat on the Vyasasan. According to tradition, Pandit Goswami first performs Bhagavata archan with Tulasi, chandan, pushpa-malas and naivedya. Then in a serene mood, he begins to recite the mangalacharan in the flowing çärdüla-vikréòita meter. The sadhaka das takes the prasadi mala from the Bhagavatam and first touches it to the heads of Sriman Mahaprabhu, Nityananda Prabhu and Advaita Prabhu, and then to Tulasi Devi, the mridanga and karatals. At last, he returns to the Vyasasan to place it around Pandit Goswami’s neck. The Vaishnava assembly responds in tumultuous unison, “Haribol! Haribol!”

Next the sadhaka das takes the prasadi chandan from the Bhagavata archan to offer it in the same manner, and then upon returning anoints the forehead of Sri Gadadhar as the assembly again approves with a resounding, “Haribol!” The sadhaka das next takes the chandan to anoint the most prominent devotees in the assembly such as Sarvabhauma Bhattacharya, Svarupa Damodar, Chandrasekhara Acharya, Murari Gupta, Srivasa Thakur, and others. At last, after offering chandan to the Goswami varga headed by Sri Rupa and Sri Sanatan, the sadhaka das offers chandan touching the forehead of his Sri Gurudeva and sits behind him, slightly to his left.

A relevant question may arise at this point. In Sriman Mahaprabhu’s assembly of devotees there are many exalted pandits. Why should Gaurasundar select the young Gadadhar to give Bhagavata path? Srila Pandit Goswami’s unique position may be explained as follows:

Sriman Gaurahari is Sri Krishna with the desire to taste himself from Radha’s perspective. Although the acintyam-bhedäbheda tattva Sri Sri Radha Govinda have merged to become Sri Krishna Chaitanya, Srimati Radharani has not abandoned her separate identity. In Gaura lila, Sri Radha comes herself as Pandit Gadadhar in order to serve Radha bhava dyuti Sri Gaurasundar. Therefore only Sri Gadadhar Pandit is able to fully open the curtain of Sri Gaurasundar’s inner mood to reveal the secrets of mädanäkhya-mahäbhäva. As Sri Krishna admits that Sri Radhika Devi is his prema guru, Gadadhar Pandit’s role is similar for rendering antaranga sevä to the Lord.

Among pandits, therefore, Srila Gadadhar’s revered asana is placed above all others. Sri Rupa Goswami affirms:

sarva-paëòita-säräkhyaà prema-ratna-vibhüñaëam

mädhavätmaja-vandyägraà vande rädhä-gadädharam

Among all the pandits ornamented with the jewel of prema, the son of Madhava Acharya is the topmost. Therefore, first I offer my humble obeisances to the feet of Sri Sri Radha Gadadhar.

Today’s topic of discussion is Sri Radhika’s journey to Nandishwar for the purpose of preparing Sri Krishna’s morning bhojan. After finishing the mangalacharan, Sri Gadadhar slowly begins to narrate how this daily seva was inaugurated.

Once upon a time, Vrishabhanu Raja invited Vraja Raja Nanda and his family for dinner. Upon sampling the wonderful cooking and seing her son’s appetite increasing, Mother Yashoda inquired from Kirtida who had prepared such a feast. Mother Kirtida informed Yashoda, “Durvasa Muni has given a boon to my dulali (daughter) that whatever she cooks will defeat the taste of nectar and whoever partakes of it will be long-lived and free from disease.”

Hearing of this wonderful benediction and overwhelmed with vatsalya affection, Sri Nandarani declared, “From this day onwards, my Krishna will not be happy partaking of any other food other than that prepared by your dulali.”

In this way an arrangement was made between Yashomati and Kirtida Rani, and thereafter in the company of her sakhi-vrinda, Srimati Radhika daily goes to Nandagram to do the morning cooking.

Sri Gadadhar Pandit continues narrating this story to the Vaishnava assembly:

After Sri Radhika’s marriage to Abhimanyu, Mother Yashoda became especially anxious to preserve this daily cooking routine. So, in order that Jatila not restrict Radhika from coming to Nandagram, she sends her niece Kundalata to beg Jatila’s permission. Kundalata then expertly persuades Jatila to agree, informing her of the vast stock of golden ornaments and cows that Mother Yashoda is prepared to donate to her.

Today, upon Kundalata’s arrival in Javat village, Sri Radhika’s bumblebee-like eyes become jubilant. For after the sakhis and manjaris have bathed, dressed and elaborately decorated her, Sri Radhika’s restless glance incessantly soars to the pathway leading from Nandagram. Entering Jatila’s mandir, Kundalata also notices Radhika who then smilingly comes forward to greet her. As Srimati inquires into Kundalata’s welfare, her beaming expression showers amrita. Radha’s sakhis and manjaris are like the chatak birds who drink the nectar from that rainshower of joy.

As Mahaprabhu listens to Gadadhar Pandit sweet narration, he becomes tan-maya, merged in oneness, with Srimati Radharani’s bhava. Then Gadadhar Pandit continues relating Srimati’s own words: “Oh sakhi Kundalata ! Your sudden arrival discloses Vrajeshwari Yashoda’s karunamrita. For without her auspicious order, my depressed mind would have surely turned against me. Oh rasika Kundalata, my guess is that you have come to take me for performing Krishna’s rasavati kriya.”

The word rasavati means cooking, but it has the double meaning of rati krida. Radha continues, “Otherwise, why would you have come here with such enthusiasm after first consulting with my mother-in-law?”

Hearing Radha’s kathamrita, Kundalata answers with a smile: “Ayi sakhi! As you’ve understood everything, let’s proceed without delay to Nanda bhavan! You may rest assured that your guru varga will easily grant permission, for Vrajeshwari has subjugated them with a profuse shower of charity! And there is one secret you should know: Mother Yashoda is convinced that her delicate son’s ability to destroy the asuras is simply the result of taking the delicious edibles prepared by you! Oh Shashimukhi Rai! Now just hear about her resolute vatsalya affection! Just as she becomes completely devastated in Krishna’s absence, that same feeling overtakes her if she loses sight of you for a mere moment!”

In Radha bhava, Sri Gaurasundar momentarily becomes stunned realizing Mother Yashoda’s love for Radha, while the tears stream down his cheeks. Sri Gadadhar Pandit, however, briefly stops his narration, catching Mahaprabhu off guard. Then, directing a chastising look towards the Lord, his eyes speak as if to say, “Kundalata is the wife of Upananda’s son Subhadra. Therefore, even though she may be your friend, she is still Krishna’s informer.”

Sri Pandit Goswami continues by telling the Vaishnava assembly that although Radhika feels great joy from hearing Kundalata’s message, she nonchalantly answers her as follows:

“Oh sakhi Kundalate, what you’re saying may be true, and I cannot deny that you are indeed an experienced young woman, but just consider: It is not the custom for a chaste woman (kulavaté) to roam from house to house. On the other hand, even though a chaste woman should never sacrifice her kulavati dharma, how can I refuse your affectionate request? Therefore, Oh Kundalate, first do one thing: go to Jatila and secure her blessings. Otherwise, she may try to create a scandal for us at some time in the future!” (Kåñëa-bhävanämåta 5.1-3, 10-13)

Kundalata then approaches Jatila and submits Vrajeshwari Yashoda’s humble request. Upon hearing Kundalata’s persuasive words, Jatila first become perplexed as she remembers Krishna’s restless proclivities. She thus answers,

“Oh child Kundalate! My daughter-in-law is chaste, blessed with esteemed qualities, filled with sweetness and attractive to everyone. My duty, however, is to protect her so that she does not go astray, for there are so many fault-mongers who would criticize upon discovering the slightest deviation in her character. My greatest worry, therefore, is that notorious philanderer, Nandanandan! On the other hand, I cannot put aside Bhagavati Paurnamasi’s request to never disregard Mother Yashoda. So in this situation my mind is bewildered. Oh Kundalate, what can I do?”

Hearing Jatila explain her dilemma, Kundalata cleverly gives assurance, “Oh saintly Jatile! Oh Mother! You need not worry, for I shall escort your chaste daughter-in-law to Nanda bhavan in such a way that Krishna will not even see her shadow! And after she finishes her cooking, I shall carefully escort her back to you in Javat and place her again in your care.”

When Jatila hears Kundalata’s pledge, she regains confidence and answers, “Oh daughter Kundalate! You certainly have a virtuous reputation, for everyone in Vraja Mandal respects your spotless character. Therefore, I can entrust Radharani to go with you—but remain alert! Never allow Nandakishor’s restless glance to fall upon her!”

Jatila then approaches Radharani and says, “Oh child, go in Kundalata’s company to Vrajeshwari Yashoda. Then after assisting her, quickly return. Remember, Kundalata is also supposed to take you to perform Surya puja today.”

In the Bhagavata assembly, Srila Gadadhar Pandit next explains, “As Radharani hears Jatila’s instruction, she becomes engladdened. Externally, however, she exhibits an air of disinterest. She says, “Oh Ma! I have so many duties to perform at home, and besides I’m not eager to go there. Isn’t it unrespectable for a young married woman to serve in the homes of others?”

Seeing Radhika’s hesitation, Jatila coaxes her, “Oh daughter Radhe! How can we dishonor the warmhearted request of Vrajaraja Nanda’s affectionate better half? But don’t worry, won’t Bhagavan Sri Hari protect you? Hey shashi-mukhi Rai! As Bhagavan Hari maintains and protects the whole universe, won’t he protect the religious principles of chaste women such as you? In consideration of his supreme mercy, I am placing you in his hands in a clear conscience!”

As the bhaktas in the Bhagavata assembly contemplate the inner meaning of Mother Jatila’s unerring statement, a soft grin appears on their blushing faces. Sri Pandit Goswami goes on.

When Srimati Radharani proceeds to Nandagram in the company of her sakhis, her delicate body erupts in sattvika emotions.

Suddenly Sriman Mahaprabhu unexpectedly rises as if he too were going to Nanda bhavan. The Mahajan kavi Sri Radha Mohan Thakur describes this scene as follows:

sahacara gaëe, kohoye vacane,

rohite nä päri ghare

nandera nandana, päya daraçana,

tobe se paräëa dhore

cäïcara cikura, beri nänä phule,

jalade vijuri janu

dekhiyä gaura, bhäviyä antara,

vasane jhäpaye tanu

saìge sahacara, gauräìga sundara,

nanda älaya cole jena

bhäväveçe mone, äkula vacane,

ei däsa mohana bhaëa

Mahaprabhu exclaims, “I can remain at home no longer! Without Sri Nandanandan’s darshan, my life will leave me!” Covering his head with a bright yellow chaddor, Sri Gaurasundar’s black curling hair appears like a dark cloud covered by lightning. Thus, in Radha bhava, he takes his priya bhaktas with him, as if he were going to Nandagram. Similarly moved by Gaurasundar’s bhava avesh, the poet Radha Mohan narrates this lila in a faltering voice.

At this point, let us also enter madhura Vrindavan and follow this lila in Srila Raghunath Das Goswami’s footsteps.

Hey Radhe! When you are going to Sri Nanda’s house to prepare Krishna’s morning bhojan, and the jubilation from your heart pours out, causing your hairs to stand upright and your body to tremble, at such a time, when shall you come into the path of my vision?[§§§§§]

Hey Swamini! Goddess of my life! While you proceed to Nandagram, flanked by Lalita and Vishakha and surrounded by your many sakhis, I shall hold your thin waist as you rest your weight on Sri Rupa Manjari’s shoulders. [******]

Just see! The mount of Nandishwar is coming into view. This hill, so dear to Nandanandan, even surpasses the glory of Giri Govardhan. The sounds of mooing kama-dhenus and the recital of the Vedas by talented brahmins is echoing from that auspicious place. [††††††]

Hey Radhike! As you approach the singha-dvara entrance to Nanda bhavan, Sri Dhanistha will see you from a distance and rush to greet you. Then, affectionately, she escorts you inside to meet Vrajeshwari.[‡‡‡‡‡‡] (Viläpa-kusumäïjalé, 58-61)

Here we find Sri Raghunath Das absorbed in bhajan at Sri Radha Kund in the mood of Sri Rati Manjari. In these four slokas, the madhura portrait of Sri Radhika’s Nandishwar yatra is painted on the canvas of his mind with the wet brush of his heart’s yearning anuraga. Raghunath’s incessant tears accompany every heart stroke to render this another masterpiece of prema bhakti, an offering that he tenderly places at the lotus feet of his prana-devi Sri Radhika. As a nitya siddha parshad, Sri Raghunath’s lila smaran is sva-prakäçita (self-manifesting), as if he were standing behind Radha, like her very shadow.

Sri Rati says, “Oh Swamini! Mistress of my life! In contemplation of serving Krishna, your boundless ecstasy may cause your tender feet to slip while traversing the pathway. I shall hold your thin waist as you rest your weight upon Sri Rupa Manjari’s shoulders.”

Smaran nishtha sadhakas should follow the pathway traversed by the Gaudiya acharyas. ämi räi raìginéra saìginé! “I am Rai Rangini’s sangini!” This mood will prevail!

Proceeding through Javat village, Radharani’s head was covered by her sari. Upon entering the forest footpath, she removes the covering allowing her exquisite effulgence to light up the forest. Radha’s movements are captivating, like a lovely golden swan gliding through the ocean of Shyama anuraga. The sweet jingling from the kinkini mala placed over her round buttocks; the ankle-bells attached to her charana padma captivate the sadhaka manjari. Having received Jatila’s permission, no obstacle remains for meeting Shyamasundar, thus Srimati radiates unrestrained joy. This joy is equally felt by the manjaris. Priyaji’s mind submerges in him whose cooking she will perform, the topmost romantic and wanton nagara, Vrajaraja Kumar.

Enjoying frolicking Krishna kathamrita with the sakhis, Srimati then forgets from where she has come and where she is going. Only the madhura sphurti of her prana vallabha reflects in the mirror of her heart. Kundalata says, “Nandishwar is nearing—your chatak eyes will soon become satiated!”

Hearing this, Srimati’s creeper-like body shivers with goose bumps and is stunned as numerous emotions arise. Seeing Radha’s bouquet of divine symptoms. Kundalata remarks, “Hey Shashimukhi! Even before seeing Krishna Chandra—good gracious! How flustered you’ve become! What will happen when you see him directly?”

Sri Kundalata jokingly goes on, “Oh delicate one! Try to hold onto your patience! If you’re exhausted, however, from carrying the two mountains resting over your chest, if they’re too heavy—then just listen, I shall request someone expert in holding mountains (Sri Giridhari) to assist you!”

As Kundalata notices notices the love marks on Radha’s breasts from her previous night’s encounter with Shyamasundar, she continues to jest, “Radhe, I know that your husband does not spend his evenings at home, for he sleeps in the goshala. So seeing the bruise marks on your lotus breasts, I can only guess you’re your chastity has reached a new dimension of excitement!”

Hearing the inference, Sri Lalita informs Kundalata, “Oh sakhi! Yesterday, a male parrot mistook Radha’s breasts for ripe pomegranates and her lips for bimba fruits. He is the one who marred them! So stop needlessly accusing our priya sakhi!”

Radharani changes the subject and questions Lalita, “O priya sakhi! Can you answer? Where is the most pleasure to be found in the whole creation?”

Sri Lalita replies, “In Sri Krishna’s forest kunjas.”

Srimati inquires again, “O Lalita, what topic of conversation is the most rewarding within this world?”

“Sri Krishna’s guna kirtan.”

Sri Radhika then asks, “O sakhi, what aim can award the most auspiciousness?”

Lalita responds, “The desire for Krishna’s sanga.”

Radharani inquires further, “O dearest sakhi! What object is the most enjoyable?”

Sri Lalita answers, “Sri Krishna’s bhuvana mohana rupa.”

“O Lalita, what is the highest goal for everyone?”

“Beyond religion, opulence, sense enjoyment and liberation rests the fifth purushartha known as prema. This treasure awards Sri Krishna’s direct seva.”

These madhura topics are intoxicating honey for the bee-like mind of the sadhaka manjari. Following in the wake of the Gaudiya acharyas, such lila rasa enters into the field of perception. For those who are siddha, lila perception is direct and clear. Regarding this lila, Govardhan nivasi Siddha Krishna Das Baba has written,

hä hä präëeçvari kundalatä kore dhori

lalitädi sakhi saìge gamana koribe raìge

päche loiyä jäbo jala jhäri

koto raìge rasa kathä puchibena kundalatä

sakhé saìge hariñe kohite

aìga pulakita ati skhalita hoibe gati

kåñëa sukha anubhavi citte

Ha ha praneshwari Radhe! As you proceed to Nandagram holding Kundalata’s hand in the company of Lalita and many others, I shall follow behind them carrying a golden vessel of drinking water. Kundalata is asking many titillating questions that cause your body hairs to stand on end and your footsteps falter due to deep thought of Krishna’s happiness.

In his Saìkalpa-kalpa-druma, Vishwanath Chakravarti similarly prays to Radharani for the privilege of serving in this lila as follows:

goñöheçvaré-prahitayä saha kunda-vallyä

präbhätika-priyatamäçana-sädhanäya

yäntéà samaà priya-sakhébhir anuprayäëi

tämbüla-sampuöa-maëi-vyajanädi-päëiù

Hey Radhika Devi! When you go to prepare your Pran Govinda’s morning meal surrounded by your sakhis and Kundalata, I shall follow behind carrying a box of pan, and fan you with a jewel-handled chamara. (Saìkalpa-kalpa-druma, 35)

As Raghunath Das (Rati Manjari) strides behind Rai Kishori holding her thin waist, she considers, “Rai Rangini’s breasts and hips are broad and heavy. What if her thin waist should snap due to excessive pressure from sattvika emotions?”

So much care and attention is taken by Rati. This may be termed mamatätiçayya, the pinnacle of possessive affection, which enables the manjaris to relish the topmost form of divine rapture.

The sadhaka manjari is also following behind, performing timely services. Perhaps the sadhaka dasi may meditate that her guru-rupa sakhi has given her a chamara to fan Srimati so that the kama-yantra tilak and designs of kasturi decorating her forehead may not be spoiled.

The sadhaka kinkari reflects,

käma-yantra näma ei lalita tilaka

heriyä kåñëera hoy sarväìge pulaka

“Whenever Shyamasundar sees this kama yantra, his body erupts with suddipta sattvika emotions. Hence, full attention must be given to suppress the slightest hint of perspiration on Srimati’s forehead.”

Suddenly, the breathtaking Nandishwar mountain comes into view. Admiring Vrajaraja Nanda’s palace, Sri Radhika is fascinated and unable to move. She thinks, “This is Krishna’s abode,” and her enchanting sweetness increases in dazzling waves. At this instance, the manjaris realize how dear Nandishwar giri is to Swaminiji.

A detailed description of this hill appears in Nandéçvara-candrikä by Siddha Krishna Das Baba. The following is a summary of that narration:

Lord Shiva himself resides in Vraja Mandal in the form of this enchanting white hill covered with trees and vines. On this famous mount, many varieties of brightly colored boulders dazzle in the sunshine. In various locations there are mandaps or sitting places constructed from green emeralds and crystal. From the peak of this spectacular hill, four waterfalls cascade in four directions with a thunderous tumult. They form four scenic pools at their base. The mist from the waterfalls moistens the nearby ferns and creepers. Hidden caves molded from white, red and crystal stones can be discovered here and there, veiled by madhavi and malati flower vines. These caves serve as secret rendez-vous places for Radha and Madhava and host many of their various keli-vinoda lilas.

Seeing these picturesque sites once again, Radhika becomes dizzy and nearly loses her balance as pleasure-filled memories invade the pathway of her mind. Coming closer, the gopuram and singha-dvara entranceways to Nanda bhavan become visible. Nandéçvara-candrikä describes:

The main entrance in the east has a four-storied jeweled go-puram above it. Resting above these chambers is an immense golden dome crested with jeweled jugs, chakras, and flags that sail in the breeze. In the first jeweled chamber, professional dancers dance to singing mixed with mridanga, danka and vina music played by artists who defeat the talents of the Gandharvas. Above them in the next chamber, expert reciters sing the Vedas in the appropriate ragas for each time of the day. Mahakavis (great poets) also jubilantly recite their newly composed poetry continuously. In the next chamber is an instrumental orchestra composed of numerous dundubhis, kahalas, turis and other instruments that melodiously play according to the Raja’s wish. Atop these rooms, in the fourth chamber of gems, expert Vedic astrologers remain busy calculating the auspicious and inauspicious times of the day. As these omens appear, they call out like troubadors from above to specify the proper times for Krishna’s daily activities.

As Radharani’s group moves closer, the manjaris observe. Just as Srimati is anxious, so is Shyama. Having milked the cows at the goshala, Shyamasundar now stands near the singha dvara entrance sporting with his sakhas.

Kundalata says, “Just look! A deep blue effulgence is emanating from something up ahead. This shimmering aurora cause the strong dam of the Vraja gopis’ self-control to collapse.”

To Radha, it seems that Krishna is lurking there, waiting for her. His alluring form rests on Subal’s shoulder in elegant bending contour. Krishna twirls a golden lotus flower in his right hand, as if he were twirling the minds of all the Vraja kaminis. Radharani becomes giddy, losing consciousness as her chakora-like eyes drink in the rupa madhuri of Madana Mohan, whose power of attraction defeats a million cupids.

The messenger of Krishna’s bodily fragrance suddenly enters her nostrils and rejuvenates her. Srimati thinks, “Bhuvana mohana Shyama is waiting for me!”

Perceiving Krishna’s eagerness, Srimati, on the pretext of adjusting the sari veiling her head, reveals a glimpse of her mukharavinda, Shyamasundar’s object of samadhi. She pulls the border of her sari as though she were pulling the curtain of Shyamasundar’s mind. The shimmering bracelets on her wrists produce a heart-tinkling resonance. Her delicate fingers resemble champak petals decorated with alluring rings that glisten. This is a hand made of maha-bhava chintamani!

In Swamini’s heart, the splashing waves of Krishna anuraga rise higher and higher. Sattvika bhavas surface. Her hairs stand erect, her body shivers, and warm tears of prema stream from her eyes. Srimati is unable to move. She exclaims to Lalita, “Sakhi! I cannot walk any further. The pebbles on this pathway are hurting my feet.”

Kundalata jests, “Are the pebbles hitting your feet, or is it your mind?”

Just then, Kishor and Kishori’s eyes meet! Vrishabhanu-nandini’s maha madhurya suddenly streams out like a cascading waterfall to merge with Shyamasundar’s bhava madhurya sagara. What a spectacular moment! The minnow-like eyes of the sakhis and manjaris swim in this ambrosial flood as the supreme nayaka and the supreme nayika become completely overwhelmed by each other’s limitless stock of enchantment.

Rasa Asvadana Prakara

Let us now examine how the rasa ingredients combine to produce a moment of relish for the manjaris.

1. Sthayi bhava. Bhävolläsä rati, manjari bhava.

2. Vibhavas.

a) Vishaya. Sri Sri Radha and Krishna.

b) Ashraya. The manjaris.

c) Uddipan. The beauty of Nandishwar. Sri Kundalata’s rasamaya katha, and the bliss of Radha and Krishna’s darshan, etc.

3. Anubhavas.

Pada-skhalana (faltering of the footsteps), dérgha-çväsa (heavy sighs), ghürëa (dizziness), etc.

4. Sattvika bhavas.

Premäçru (tears of prema), romäïca (shivering), and all the other eight sattvika emotions in the suddipta (enflamed) condition.

5. Sanchari bhavas.

Harña (joy), autsukya (eagerness), avahittha (concealment), mada (intoxication), and cäpalya (restlessness), etc.

The manjaris are always prepared to render the appropriate seva. What if Swamini should misstep and fall due to intolerable ecstasy from Krishna’s darshan? Such thoughts preoccupy Rati Manjari’s mind. In a faltering voice, Srimati exclaims to Lalita, “Sakhi! Is there no other path for entering Nanda bhavan?

Lalita answers, “O Radhe! The order given by your guardians is our refuge. No one will criticize you for taking this path. Come, sakhi, we shall enter Nanda Maharaj’s house by the front gate.”

At that moment, Nandarani’s closest maidservant, Dhanistha, appears suddenly at the doorway. At first sight of Radha, she quickly runs forward to offer her a warmhearted greeting. Tenderly grasping both of Radhika’s hands, she says, “Oh Vraja Lakshmi! It is getting late. Mother Yashoda has been anxiously awaiting your arrival. So come, sakhi, I shall take you to meet her.”

Upon saying this, Dhanistha escorts Radha and the sakhis inside. And what a wondrous spectacle to behold! In whatever direction ons should glance, Sri Nanda bhavan is a display of astounding architectural beauty. As Srimati follows behind Dhanistha, she observes,

The floors of Krishna’s house are crystal stone that casts reflections of the golden ceiling and golden doors, which are studded with diamonds and rubies. Beside each doorway are jeweled statues of beautiful apsara holding ghee lamps. Near each murti are decorative gem trees with jeweled vines and branches that display a myriad of different colored birds made of gems. The house is crested by an enormous jeweled dome that reaches the clouds, and above the dome flies a jeweled flag, and above that is a dancing peacock made of gems that sparkles in the sunshine. Looking from the windows, hundreds of enchanting gardens can be seen encircling the palace. (Kåñëa-bhävanämåta)

Dhanistha leads Radha and her entourage through seven successive chambers. Radha’s beautiful effulgence glistens in every direction as the manohara tinkling of her ornaments and anklebells still echo in Shyamasundar’s ears like a trickling stream of ambrosia. Just ahead stands Sri Vrajeshwari. Seeing Radha approaching like a wondrous flood of madhurya, Nandarani thinks, “Aha! The presiding Devi of all sweetness has today advented in my home.”

Then, addressing Radhika, Yashoda exclaims, “Oh beautiful Radhe! You are the personification of Vrishabhanu raja’s tapasya. And in our home, you appear just like the Goddess of Fortune. My soul is entirely comforted by seeing you!”

The Mahajan kavi Raya Shekhar writes :

räire dekhiyä, unmatta hoiyä

yaçodä korolo kole

mukha äni dhoriyä, cumbana korete

bhäsalo nayana lore

se je rasavaté korilo praëati

yaçodä mohiné päya

Observing Rai Kishori’s appearance, Yashoda is overtaken by joy and draws Radha into her lap. Holding Radha’s lovely face, Yashoda kisses her head as tears stream from her eyes. Radha then bends down to offer pranams to the feet of Mother Yashoda and Rohini.

Radharani places her head at Yashoda’s lotus feet like a tender bhakti lata. Jagajjanani Ma Yashoda picks Radhika up into her arms and soothingly holds her to her chest, as if she were her own daughter-in-law. As Yashoda tenderly smells Radha’s head, Srimati melts like butter within Yashoda’s breast! Choked up with tears, Radha exclaims in a faltering voice “Oh Mataji, I am yours!”

Sri Yashoda’s downpour of warm tears bathes Srimati’s head like an auspicious abhisheka of vatsalya prema. Overtaken by affection, she blesses Radha, “Hey Shashimukhi Rai! Let your life’s duration increase a hundredfold so that you may continue to give happiness to my mind and eyes forever!”

Observing Mother Yashoda’s admiration for Swaminiji, the manjaris beam with pride as they too carefully offer their obeisances unto Nandarani’s feet. Indeed, Sri Radhika Devi is most regal when surrounded by her sakhis and manjaris, like a lovely Raja-kumari.

Rohini Mata brings freshly prepared sweets and Mother Yashoda carefully places a jeweled asana before Radhika and requests her to take some light refreshment. Radha makes a gesture of disinterest. Understanding her shyness, Yashoda and Rohini set off to perform their morning duties, leaving the responsibility of serving to Dhanishtha.

After partaking, the sadhaka manjari washes and dries Radhika Devi’s hands and mouth. Everyone then enters the kitchen to begin the morning cooking. Srimati knows the art of how to satisfy the senses of her priyatama, and cooking is one of those arts. With the help of the sakhis and manjaris, Rasavati Rai has in no time prepared a sumptuous feast of numberless items grouped in four categories. The bhoga is offered to Sri Narayan and then Krishna and the sakhas come to the prasad mandir and sit down in rows. Everyone is anxious to begin eating. As Mother Yashoda and Rohini serve the feast, Radharani happily takes darshan from the kitchen window.

Krishna enjoys the meal seated between Subal and Madhumangal, although his restless eyes take more pleasure in feasting on the sights beyond the kitchen window.[§§§§§§] After bhojan, Krishna takes a brief rest and then slips out for a secret meeting with Radharani at Gupta Kund. By the arrangement of Vira Sakhi, Sri Sri Yugala Kishor meet in Ashokananda Kunja for amorous pastimes. Thereafter, on the hidden banks of Gupta Kund, Radha and Krishna unite with countless thousands of gopis in the Yoga Pith mandir for maha milan.

Later Krishna returns to Nanda bhavan to meet with the sakhas for beginning his goshtha yatra, or journey into the forest for grazing the cows. Upon Radha’s return home, Jatila again sends her out with Kundalata to perform Surya puja. Under the guise of performing this puja, Sri Radha and her sakhis unite with Krishna on the banks of Sri Radha Kund.

In this way, our worshipable Rasamaya-nagara and Rasamaya-nagari daily perform unending varieties of lila-vinoda one after the other. This ashta-kala seva and its relishing process has been preserved in the books of the Goswamis. It is Sriman Mahaprabhu’s special gift of mercy to the people of the Kali Yuga. Gaudiya Vaishnavas should daily bathe in this wonderful lilamrita sindhu to follow Gaurasundar’s topmost conclusion in the Caitanya-caritämåta.

rädhä-kåñëera lélä ei ati güòhatara

däsya vätsalyädi bhävera nä hoy gocara

sabe eka sakhé gaëera iha adhikära

sakhé hoite hoy ei lélära vistara

sakhé vinu ei lélära puñöi nähi hoy

sakhé lélä vistäriyä sakhé äsvädoy

sakhé vina ei lélära anyera nähi gati

sakhé-bhäve täre jei kore anugati

rädhä kåñëa kuïja seva sädhya sei päya

sei sädhya päite ara nähiko upaya

Radha Krishna’s confidential lilas are unknown to the bhaktas situated in dasya, sakhya, or vatsalya rasa, what to speak of others. Only the sakhis are eligible to know them. As these pastimes are solely nourished, expanded and relished by the sakhis, apart from following in their footsteps through gopi bhava, eligibility for Radha Krishna’s nikunja seva is inaccessible. (CC 2.8.200-204)

sei gopé‑bhävämåte jäìra lobha haya

veda‑dharma‑loka tyaji se kåñëe bhajaya

rägänuga‑märge täìre bhaje jei jana

sei‑jana päya vraje vrajendra‑nandana

vraja‑lokera kona bhäva laïä yei bhaje

bhäva‑yogya deha päïä kåñëa päya vraje

Those anxious to achieve Krishna’s amritamaya seva as a Vraja gopi should discard unrelated sections of the Vedas, and the opinions of disinterested persons. Then by worship on the raganuga-path, Vrindavan’s Krishna will be attained, i.e. by following the moods of a particular Vrindavan resident, a similar siddha deha will be awarded. (CC 2.8.219-22)

ata eva gopé-bhäva kori aìgikära

rätri-dina cinte rädhä kåñëera vihära

siddha dehe cinti kore tähäi sevana

sakhé-bhäve päya rädhä kåñëera caraëa

gopé anugata vine aiçvarya jïäne

bhajileho nähi päya vrajendra-nandane

Therefore accept gopi bhava, and contemplate Radha Krishna’s pastimes throughout the day and the night. Conceive of your siddha deha and perform manasi seva within that mentally conceived form. Thus you will attain Radha Krishna’s charana seva as a Vraja gopi. If one neglects to follow in the gopis’ footsteps, but remains attached to the path of aishvarya (reverential worship, vidhi bhakti) Vrindavan’s Krishna is unattainable. (CC 2.8.227-229)

According to Bhaktivinoda Thakur, success in this form of sadhana requires an ideal environment, close association of rasika bhaktas, plus a steady vow for achieving siddhi. Such intensity of purpose, when combined with genuine humility and constant cries of helplessness will certainly invoke the causeless mercy of Sri Sri Nikunjeshwari Radha. The Six Goswamis of Vrindavan are Sriman Mahaprabhu’s raganuga bhajan murtis. Through them the Lord has taught how Vraja sadhana is to be performed. Sri Raghunath’s last days on the days on the banks of Sri Radha Kund vividly illustrate how to enter the nitya lila. In the meantime, one should always keep Sri Rupa Goswami’s madhura vani in the forefront:

tan‑näma‑rüpa‑caritädi‑sukértanänu‑

småtyoù krameëa rasanä‑manasé niyojya

tiñöhan vraje tad‑anurägi janänugämé

kälaà nayed akhilam ity upadeça‑säram

Always engage the mind and tongue in remembering and chanting about Radha and Krishna’s names, forms, qualities and pastimes. Reside in Vrindavan, both physically and mentally, and follow in the footsteps of the Vrajavasis who have a deep anuraga for Krishna’s sevä. This is the essence of all advice. (Upadeçämåta, 8)

Concluding Words

For the consummate Gaura bhakta, it is lamentable that Sriman Mahaprabhu’s abhidheya or bhakti sadhana path has almost become completely lost (lupta). As the dätä-çiromaëi, supreme donor, Sri Gaurahari’s earnest wish is to distribute Vraja prema to everyone. Unfortunately, we, his bhaktas, have failed to fathom the incredible magnanimity of the Lord’s desire. The glories of raganuga bhakti, which have been so elaborately described in the Goswami literature, have only been touched on in the two volumes of this work.

It is a fact that Gaurahari himself was the promoter of this system, as is clearly described in the Caitanya-caritämåta—raga-märga bhakti loke korite pracäraëa. “Preaching raga bhakti to the people” is directly coupled with the main reason for Chaitanya’s appearance. It is the duty of all introspective Gaura bhaktas to try and propagate Sri Chaitanya’s mano’bhéñöa.

In previous times, Gaudiya Vaishnava culture was more prevalent in India and Sriman Gaurahari’s Vraja raga dharma was more widely practiced. One example that comes to mind is the way that the siddha mahatma Krishna Das Babaji of Govardhan taught. In those days, the lila smaran anandi Vaishnavas of Vraja Mandal would daily come together for ishtagosthi. They would sometimes meet at Manasa Ganga or Radha Kund, or on other days at Kusuma Sarovar or Govardhan. Siddha Baba personally encouraged and taught his students the art of lila smaran and manasi seva. At times, he would become completely tanmaya, merged in the lila.

Due to Siddha Baba’s influence, many others also became siddha. The famous Lala Babu, Sri Madhusudan Das Babaji of Surya Kund, and the second Krishna Das Baba who compiled the Gutika are a few examples. The term siddha in this sense is quite different from other siddha purushas of India. Vraja siddha mahatmas are declared as such when the supernatural effects and behavior of their antaç-cintita siddha deha clearly manifest in the external sadhaka deha.

One vivid example was seen when Sri Lala Babu’s wife came to Vrindavan in an effort to take him back into samsara. When she heard from the local people that her husband had taken initiation from the famous Siddha Krishna Das, she quickly proceeded to Govardhan and began to wait outside of Siddha Baba’s kutir. Upon obtaining permission from his servant, she went in to have darshan. Surprisingly, Lala Babu’s wife saw only a beautiful young girl seated there stringing a garland. She therefore asked, “I have come to see Siddha Baba. Can you tell me where he is?”

The young girl replied, “I don’t know. Why don’t you look around? You may find him.”

Lala Babu’s wife then came outside and told the servant that Siddha Baba had gone. The servant told her to sit down and wait. Just then Raja Mohan Rai Bahadur and his rani arrived asking to see Siddha Baba. The servant escorted them inside the kutir. After some time, they came out and Lala Babu’s wife asked, “So, did you see him?”

“Yes,” they exclaimed.

This time Lala Babu’s wife entered the bhajan kutir and found Krishna Das seated there. Becoming curious, she asked, “Are you Siddha Baba?”

Krishna Das humbly replied, “I am an old man and I sit in this kutir. However, I don’t have any siddhis or anything like that.”

“That may be alright,” Lala Babu’s wife replied, “but before I talk about my business, I have one question.”

“What is that?” inquired Krishna Das.

“Just a moment ago I saw a young girl of about 13 seated where you are. Now I see that you are seated in the same place. Where has that young girl gone?”

Siddha Baba replied, “I don’t know. Why don’t you look around?”

Lala Babu’s wife then became more astonished as there was no second door or passage leading out of the kutir. In this confused state, she began to present her business. “My husband is your bhakta. I came to take him back home. He tells me, however, that he has surrendered unto 108 Sri Krishna Das Baba and that I must ask his permission. So please give your permission, then, that I may take him.”

After a moment’s pause, Siddha Baba replied, “Mataji, you have experienced samsara. Did you experience happiness therein?”

Lala Babu’s wife was silent. Siddha Baba continued, “Look, your husband came to Vrindavan and took Radharani’s shelter. She has accepted him. And anyone Radharani accepts shall not be able to leave Vrindavan. Therefore, in this situation, it is not possible to give permission On the other hand, why don’t you stay here? As your husband is engaged in bhajan, you may also do like him. What is the difficulty?”

As Lala Babu’s wife gazed at Siddha Baba, he suddenly appeared to her in the form of a celestially beautiful Vraja kishori. A divine padma gandha (lotus scent) emanated from her effulgent body.

Lala Babu’s wife was completely stunned. A moment later, when she saw Siddha Baba return to normal, her mentality entirely changed. In a choked up voice, she exclaimed, “Just as my swami has attained your kripa, I also want your mercy. Please instruct me what to do.”

From that day onward, Lala Babu’s wife took up strict vows in performing sadhana, and like her husband she also attained Krishna’s darshan.

Ill-fated as the present times are, there is an acute scarcity of such siddha mahatmas. Raganuga sadhakas are also hardly seen, what to speak of the opportunity for the kind of ishtagosthi described above. Indeed, nowadays those who thirst for Vraja prema rasa are greatly handicapped. Therefore there is an urgent need to revive the traditional raga culture of Sri Rupa and Sanatan.

Most of the rasa granthas of the Goswamis are not available in English. These precious works need to be properly presented. Moreover, there is a need for a rasika samaja, or society of advanced bhaktas who can regularly meet for relishing these topics.

Jaya Gaurahari!

The correspondence of interested readers is coveted.

The fallen sadhaka,

Gadadhar Pran Das.

Appendix:

Appendix: Srila Bhaktivinoda Thakur’s unbroken disciplic succession and siddha pranali

Another important side of Srila Bhaktivinoda Thakur’s mercy to the world appears through his son and initiated disciple, Srila Lalita Prasad Thakur, to whom he awarded siddha pranali in 1890. Thus the ämnäya-guru-paramparä[*******] of their followers unfolds like this:

1. (Nityananda Prabhu) Jahnava Mata

2. Ramacandra Goswami of Baghna Para

3. Rajavallabha Goswami

4. Kesavacandra Goswami

5. Rudresvara Goswami

6. Dayarama Goswami

7. Mahesvari Goswamini

8. Gunamanjari Goswamini

9. Ramamani Goswamini

10. Yajnesvara Goswami

11. Vipina Vihari Goswami (1850-1919)

12. Bhaktivinoda Thakur (1838-1914)

13. Lalita Prasad Thakur (1879-1980)

In this line, when siddha pranali is awarded to the qualified disciple, the manjari name and ekadasa bhava of each member of the guru parampara is also given. In other words, siddha pranali not only means the eleven items that make up a disciple’s siddha manjari svarupa, but it also includes the pranali, or manjari line of worship that the new practitioner will follow. This is very important, because without following in the footsteps of one’s manjari parampara, it will be very difficult or almost impossible to arrive at the lotus feet of Sri Radha and Krishna in their madhura Vrindavan pastimes.

A noteworthy feature of this guru parampara is that it begins with Ma Jahnava, who is Radharani’s younger sister, Ananga Manjari, in Vrindavan lila. Because Ananga Manjari has a unique position in the lila, as not only a manjari but a sakhi as well, her guru parampara also carries within it this option.

Similarly, Jahnava Mata’s disciple Ramachandra Goswami (Sri Ramai Thakur) is the reincarnation of Mahaprabhu’s associate, Vamsivadanananda Thakur, who was Krishna’s vamsi in Krishna lila. This Vamsi Thakur took mantra diksha from Sri Gauranga’s eternal consort, Srimati Vishnupriya Devi. Hence another wonderful feature of this guru parampara is that the worship of Gauranga-Vishnupriya can be nurtured in it. Perhaps this is why Bhaktivinoda Thakur installed Vishnupriya and Laksmipriya murtis along with Gauranga in the center of the Yoga Pith mandir in Sridham Mayapur.

Furthermore, in this line, Bhaktivinoda Thakur innovated the worship of Gaura-Gadadhar along with their mantra upasana. Hence initiates into Bhaktivinoda Thakur’s guru parampara also receive a Gadadhar-Radha Gaura-Krishna yugala mantra.

Pronunciation note

Since this book is intended principally for an audience that already has some familiarity with terminology related to the Gaudiya Vaishnava tradition, it has been deemed unnecessary to treat most of them as foreign. Most terms have thus neither been placed in italics nor treated with diacritical marks. To facilitate understanding, however, one can look in the glossary where most terms can be found with both the English spelling and the transliterated form according to the conventions that have become familiar in the sampradaya.

Bengali pronunciation differs from north Indian or conventional Sanskrit pronunciation in a number of ways. Even so, Bengali uses the same spellings as with a few exceptions it shares the pan-Indian alphabetical system. Although the author has a personal preference for the Bengali pronunciation, we have for the sake of consistency kept to the familiar transliteration system for Sanskrit words. Thus a word will have the same spelling whether it appears in a Sanskrit or Bengali context.

The principal differences in Bengali pronunciation are as follows:

· a, which in Sanskrit is pronounced like the u in bun, is pronounced in Bengali more like the o in box. At the ends of words, especially those who penultimate syllable is long and followed by a simple consonant, the a is not usually pronounced.

· ai is pronounced oy.

· au = ow

· kñ (ksh) in Sanskrit = kkh in Bengali.

· v at the beginning of a word is pronounced as b.

· v after consonants is silent, but doubles the preceding consonant.

· v after vowels is pronounced more like a w, i.e., bhagawän.

· y at the beginning of a word is pronounced as j. e.g. Jamunä rather than Yamunä.

· y after consonants is silent, but doubles the preceding consonant.

· y after some vowels is pronounced like a w, i.e., jäwä.

· ç, ñ and s tend to be pronounced in the same way, like a dental sh.

· ò and òh within a word are usually pronounced like a hard r. This is sometimes rendered by å and åh, despite the conflict with the vowel using the same character.

The above information should be borne in mind, especially while reading Bengali songs where the two systems come into conflict. There, the customary transliteration is used for Sanskrit loan words while Bengali words are transliterated in a way that more closely reflects Bengali pronunciation rather than spelling. For example, haya is written hoy, and yäoyä as jäwä or jäoä, etc. Hopefully, this will help the reader to follow more accurately.

This unfortunately internally inconsistent system has been adopted primarily for those familiar with words that have been seen in one form, such as vaiñëava or Vaishnava, which in Bengali would more appropriately be rendered as boiñëob or Boishnob.

Glossary

acintya-bhedäbheda = the philosophy of inconceivable oneness and difference.

adhikara (adhikära) = level of qualification

adhirüòha mahäbhäva = the highest stage of prema, found only in Srimati Radharani (see Ujjvala-nélamaëi, 14.170ff)

äjïä = order, command, permission

akhila-rasämåta-mürti = “the embodiment of all nectarean loving relationships” (Bhakti-rasämåta-sindhu 1.1.1)

alta (ältä) = the red dye that women use to decorate the bottoms of their feet.

amalaki (ämalaké) = an astringent fruit

ananda dhama (änanda-dhäma) = abode of joy

anga gandha (aìga-gandha) = bodily fragrance

antaç-cintita = conceived or meditated upon inwardly, i.e., in the mind.

anuraga (anuräga) = love, or a stage of love (Ujjvala-nélamaëi, 14.146ff)

äpana-daçä = the mature stage

apräkåta-rasäsvädana = transcendental rapture, tasting of rasa

ashta kala lila (añöa-käla-lélä) = Radha and Krishna’s lila, which transpires over the eight periods of the day

ashta sakhi (añöa-sakhé) = the eight principal sakhis, Lalita, Vishakha, etc., whose full descriptions can be found in Gaura-govindärcana-paddhati, verse 192 ff)

avesh (äveça) = deep absorption

bakula (bakula) = a fragrant white flower that grows in a tree

bandhu (bandhu) = friend

Bhakti-rasämåta-sindhu = “The Ocean of the Nectar of Devotion”; Rupa Goswami’s book on rasa.

bhakti-väsanä = the desire for bhakti

bhava sandhi (bhäva-sandhi) = a combination of two different ecstatic symptoms

bhäväpana-daçä = same as sampatti-daçä

bhojan (bhojana) = meal

bhuvana-mohana = enchanting the world

Brahma muhurta (brahma-muhürta)

chandan (candana) = sandalwood

chandramukhi (candra-mukhé) = “moon-faced”

chatusama (catuù-sama) = an exotic fragrance containing two parts kasturi, four parts chandan, three parts kunkum, and one part camphor

dhéra-lalita = Krishna’s specific character type, a carefree romantic (Bhakti-rasämåta-sindhu 2.1.230)

gändharva-saìgéta = songs of the Gandharvas

Gaura-chandrika (gaura-candrikä) = songs, etc., related to Gauranga which normally precede any Krishna lila kirtan in Bengal.

gopuram (gopuram) = a magnificent gate at the entrance of a temple or city

goshtha yatra (goñöha-yäträ) = Krishna’s journey into the forest for grazing the cows

hlädiné çakti = Krishna’s pleasure potency, personified as Srimati Radharani. (see Caitanya-caritämåta 1.4.58-69)

ishta devata (iñöa-devatä) = worshipable deity, i.e., the specific form that one seeks to attain by sadhana

ishtagosthi (iñöagoñöhé) = a free discussion amongst devotees on spiritual topics

Jagajjanani (jagaj-janané) = “mother of the universe”

jala keli (jala-keli) = water sports (also jala-kréòä, etc.)

jäta-rati = the stage of awakened bhava (see Bhakti-rasämåta-sindhu, 1.3)

kalpa vriksha (kalpa-våkña) = Vrindavan’s desire tree

kama (käma) = desire

kama krida (käma-kréòa) = love games

kandarpa keli (kandarpa-keli) = same as käma-kréòä

kasturi (kasturé) = black deer musk

kathamrita (kathämåta) = nectarean topics

kinkini mala (kiìkiëé mälä) = a golden chain with bells that jingle

kirtaniya (kértanéya) = someone who sings kirtan

kåpä-siddha = one who has attained perfection through the mercy of Krishna or the devotees

kunkum (kuìkuma) = saffron powder

kusuma-kanana (kusuma-känana) = flower-filled forest

laulya (laulya) = devotional appetite

lobha (lobha) = same as laulya

lota (loöä) = a small brass waterpot

Madan (madana) = name of Cupid, desire (= käma)

madan ananda keli (madanänanda-keli) = käma-kréòä

mädana = the highest stage of adhirüòha mahäbhäva, which includes all the characteristics of the other stages. Found only in Radha. (Ujjvala-nélamaëi 14.219ff)

madhura (madhura) = sweet, a synonym of romantic love

madhura sambandha (madhura-sambandha) = sweet relationship

madhurya (mädhurya) = sweetness

Maha Bhagavatas (mahä-bhägavata) = a great devotee or Bhagavata.

Mahajan (mahäjana) = great person, esp. an authoritative writer of songs about Radha and Krishna.

Maha-rasa (mahä-räsa) = the great Rasa lila, esp. Maha-rasa sankirtan.

mamatätiçayya, the pinnacle of possessive affection.

manasa sanga (mänasa-saìga) = associating mentally

manasi seva (mänasé sevä) = service in the mind

mandap (maëòapa) = sitting place

mandir (mandira) = home or temple

mohana murali (mohana-muralé) = Krishna’s enchanting flute

mukharavinda (mukhäravinda) = lotus face

Nadiya-vihari (nadéyä-vihäré) = Lord Gauranga, who has lila in Nadia or Nabadwip.

näma = name

Nama sankirtan (näma-saìkértana)

Nama-hatta (näma-haööa) = the marketplace of the Holy Name, started by Nityananda Prabhu

Nava-ghana-shyam (nava-ghana-çyäma) = Krishna, whose bodily hue resembles a new rain cloud

navéna-kämadeva = the new Cupid, i.e., Krishna

nayaka (näyaka) = hero, leading man, lover

nayika (näyikä) = heroine, leading lady, beloved

nikunja mandir (nikuïja-mandira) = a cottage or house

nilambari (nélämbaré) = deep blue sari

nishanta lila (niçänta-lélä) = the pastimes at the end of night

nitya kishor brahmin siddha-deha (nitya-kiçora brähmaëa siddha-deha) = eternally youthful brahmin form, i.e., one’s form in nitya Nabadwip.

nitya-kritya (nitya-kåtya) = daily bodily function

nitya-siddha = one who has never fallen

niväsa = residence

padavali (padävali), padavali kirtan = Vaishnava songs and poems.

pälya-däsé = the mood of being a fostered maidservant

pancha upachar (païcopacära) = five principal ingredients used in puja.

paräkäñöha = one’s supreme ambition

pariçiñöa = appendix, supplementary text

parityakta-viçeña = leftovers

parivara (parivära) = family, esp. guru paramparas

parshads (pariñad) = associate, esp. eternal associates of

pasha khela (päça-khelä) = a dice game that Radha and Krishna play during the midday lilas at Radha Kund.

pitambar (brilliant yellow) silken dhoti and chaddor

prema dan (prema-däna) = the gift of prema

prema dhan sankirtan (prema-dhana saìkértana) = sankirtan, which is the wealth of love

prema dharma (prema-dharma) = the religion of love

prema keli (prema-keli) = games of love

priyatama (priyatama, priyatamä) = beloved, dear one (masculine or feminine)

proñita-bhartåkä = a nayika who is separated from her beloved by a great distance

purush (puruña) = male, man

pushpa (puñpa) = flower

pushpa shringar (puñpa-çåìgära) = flower dress

raganuga bhakti (rägänugä bhakti)

Rai (räi) = Radha

Rai Rangini (räi raìginé) = Radharani

raman (ramaëa) = lover

rasa asvadan (rasäsvädana) = relishing the taste

rasa shastra (rasa-çästra) = texts explaining the methods and ingredients of rasäsvädana.

rasa tattva (rasa-tattva) = the conclusions about rasa

Rasika churamani (rasika-cüòämaëi) = Krishna, the crest jewel of the connoisseurs of rasa.

Rasika nagarendra (rasika-nägarendra) = same as rasika-cüòämaëi.

rati chihna (rati-cihna) = love marks

rupa (rüpa) = form

Rupanuga (rüpänugä) = follower of Rupa Goswami

sadhaka (sädhaka) = a practitioner of raganuga bhakti

sadhaka manjari (sädhaka-maïjaré) = the sadhaka in his siddha manjari form

sädhana-siddha = perfected through sadhana bhakti

sädhäraëékaraëa = identification with a character in a play, or with a personality in the Goloka pastimes

sahäya (determining factor)

sahridaya bhakta (sahådaya-bhakta) = a bhava bhakta has the feelings of a nitya siddha parshad through sädhäraëékaraëa.

sangam (saìgama) = meeting, coming together, also = sambhoga.

sakshat darshan (säkñät darçana) = direct vision

sambandha (sambandha) = relationship

sambhoga, sambhoga-rasa (sambhoga-rasa) = union, esp. conjugal union, the pleasure of union

sampatti-daçä = attainment of siddhi

samskara (saàskära) = the traits making up one’s character formed by previous mental impressions

sati (saté) = a chaste woman

sayana mandap (çayana-maëòapa) = a outdoor platform or covered area for sleeping

seva (sevä) = service

seva dasi (sevä-däsé) = a female servant,

shringar (çåìgära)= 1) dress and decoration, and 2) rati-keli.

shringara keli (çåìgära-keli) = same as rati-keli

shringara vedi (çåìgära-vedi) = a seat or platform where dressing and decoration takes place

siddha purusha (siddha-puruña) = a person who has attained spiritual perfection

singha dvara (siàha-dvära) = main gate (lion’s gate)

Smaraëa Guöikä = Siddha Krishna Das Babaji’s collection of details from various sources to facilitate the practice of ashta kala seva.

smaraëa-daçä = the stage of remembering

snana vastra (snäna-vastra) = a cloth worn specifically for bathing

snana (snäna) = bath

çravaëa-daçä = the stage of hearing

stambha = the inability to move

sthayi bhava (sthäyi-bhäva) = one’s principal emotional state or relation with Krishna

sthayi bhava prakarana (sthäyi-bhäva-prakaraëa) = Chapter 14 of Ujjvala-nélamaëi, dealing with the subtle varieties of loving mood

çuddha-sattva = the state of pure being or sattva, pure goodness

tan-maya = merged in oneness

tan-maya-bhäva = merged consciousness.

täraka-brahma = Maha Mantra

tilak (tilaka) = forehead markings, (see käma-yantra)

Ujjvala-nélamaëi = Rupa Goswami’s supplement to the Bhakti-rasämåta-sindhu, dealing specifically with romantic love.

upachara (upacära) = ingredients for worship

varaëa-daçä = the stage of accepting

vätsalya-prema-mürti = the embodiment of parental affection

vayaù = age

veni (veëé) = braid

vesh (veça) = dress

vibhava (vibhäva) = that which causes Krishna rati to manifest and to be relished

vidagdha-maya çåìgära

vigraha (vigraha) = form, body

vipralambha (vipralambha) = separation

viraha (viraha) = separation

vyabhichari (vyabhicäré) = the same as sanchari bhava. These are secondary emotions that arise in the ocean of the sthayi bhava.

Yoga-pith (yoga-péöha) = the particular instant when the associates of the Lord (in any lila) assemble

Yugal Kishor (yugala-kiçora) = the Divine Youthful Couple

yugal mantra (yugala-mantra) = the mantra for worshiping Radha and Krishna

yugal vilasa (yugala-viläsa) = the pastimes of the Divine Couple

yutha (yütha) = group

About the Author

Born in southern California in 1951, Gadadhar Pran Das is a fallen sadhak of Sri Gauranga and Sri Krishna’s madhura lilas from a previous life. Becoming bewildered in his western environment, he started searching. And after traveling in many countries, he reached India in 1969. While touring India’s ancient pilgrimage sites, Gadadhar Pran discovered his lost course in Sri Vrindavan in 1972. There he met his eternal Harinam guru, Srila Bhaktivedanta Swami Prabhupada, who introduced him to the path shown by Gauranga Mahaprabhu.

In 1980, he took mantra diksha from Bhaktivinoda Thakur’s son and initiated disciple, Sri Lalita Prasad Thakur, thus entering into the disciplic line originating with Jahnava Ishwari. Besides giving him Srila Bhaktivinoda Thakur's personal diksha and siddha pranali, Prabhu gave him two instructions: to worship the forms of Gaura and Gadadhar and to chant their names constantly. Thus, in the same year, he began the Sri Sri Gadai Gauranga Kunja project on the Ganga’s shores in Sri Mayapur. Since then he has taken up a vrata to attain his eternal seva in Sri Nabadwip and Sri Vraja dhamas.

våndävanäbhede, navadvépa-dhäme,

bändhibo kuöéra-khäni

çacéra nandana-caraëa-äçraya,

koribo sambandha mäni

I will build my small hut at Nabadwip Dham, knowing it to be non-different from Vrindavan. There I will finally establish my relationship with Sri Krishna under the shelter of the lotus feet of the son of Mother Sachi.

jähnavé-puline, cinmaya-känane,

basiyä vijana-sthale

kåñëa-nämämåta, nirantara pibo,

òäkibo gauräìga bole

Living in a solitary place in a spiritually conscious forest on the bank of the Ganges, I will incessantly drink the pure nectar of Krishna’s name, and will loudly shout the name of Gauranga. (Bhaktivinoda Thakur)

Gadadhar Pran is a non-sectarian, freelance bhakta who strives to honor all of Sri Gauranga Mahaprabhu’s followers.

[*] Clothes to be worn while bathing.

[†] i.e., she sees Krishna in everything and everywhere.

[‡] aìga-mädhuré or mädhurya: The sweetness of her bodily beauty.

[§] mahä-bhäva-cintämaëi-svarüpa : A transcendental body formed of the spiritual energy in its most perfect form of love known as maha bhava.

[**] This reference is taken from Rädhä-rasa-sudhä-nidhi by Prabodhananda Saraswati, verse 24.

gatvä kalinda-tanayä-vijanävatäram

udvartayanty amåtam aìgam anaìga-jévam

çré-rädhike tava kadä nava-nägarendraà

paçyämi magna-nayanaà sthitam ucca-népe

Translation: “Hey Radhika! When will I take you to bathe at a solitary Jamuna ghat and while massaging your exquisite body, which is like a festival of amrita for Cupid, see Nagarendra Krishna sitting upon the high branch of a kadamba tree overcome in intoxication viewing your anga madhuri.”

[††] Nidhi means ocean and is often used to describe someone who possesses vast amounts of a particular quality.

[‡‡] This account is given in the Brahma-vaivarta-puräëa and is retold by Jiva Goswami in his commentary to Bhakti-rasämåta-sindhu 1.2.182 on the subject of meditating on service (sevä-dhyäna).

[§§] This Madhusudan Das was Jagannath Das Babaji’s veça-guru, i.e., he gave him sannyas.

[***] Paddhati: instruction manual.

* At a later stage, after lobha awakens.

* Vilasa Manjari is the siddha name of Vipina-vihari Goswami who initiated Thakur Bhaktivinoda into the guru parampara descending from Sri Jahnava Ishwari, who is Vraja’s Ananga Manjari.

[†††] äçä-bharair amåta-sindhu-mayaiù kathaïcit

kälo mayätigamitaù kila sämprataà hi |

tvaà cet kåpäà mayi vidhäsyasi naiva kià me

präëair vrajena ca varoru bakäriëäpi ||102||

[‡‡‡] hä nätha gokula-sudhäkara suprasanna-

vakträravinda madhura-smita he kåpärdra |

yatra tvayä viharate praëayaiù priyärät

tatraiva mäm api naya priya-sevanäya ||100||

* Svänanda-sukhada-kuïja is within Lalita’s immense kunja on the north side of Radha Kund.

[§§§] Mantra-puraçcaraëa is a special practice that should be undertaken by an initiated disciple in order to attain perfection in the mantra he has received from the diksha guru. It has five elements, of which the principal one is chanting the mantra a fixed number of times over a fixed period. A full description of the general rules of puraçcaraëa can be found in Hari-bhakti-viläsa, chapter 17.

[****] For the benefit of those who are interested, an appendix has been included at the end of this volume giving more information about Bhaktivinoda Thakur’s guru parampara and siddha pranali.

* This section is based on the renowned Caitanya-caritämåta commentary of Sri Radha Govinda Nath. Persons desiring other forms of perfection outside of the madhura rasa that was Sriman Mahaprabhu’s main concentration may perform raganuga sadhan according to their preference.

[††††] “the embodiment of the nectarean rasa of effulgent erotic love.”

* Other Gaudiya acharyas have offered other versions of the nishanta lila.

* To this day, ashta kala lila kirtan continues to be popular among Gaudiya Vaishnavas in Bengal, and sankirtan mahotsavas lasting throughout the day and night occur in many towns and villages daily. Lila smaran anandi sadhakas attend such festivals and attentively listen to every detail of Gaura Govinda lila. For devotees anxious to taste the nectar of Sri Chaitanya’s prema dharma, nothing can compare to such an experience.

[‡‡‡‡] Hare is the vocative form of Hari, a name of Krishna. The basic meaning of the word is “thief.”

* Persons interested to know more about Sri Krishna’s dhéra-lalita personality may read Sri Kavi Karnapur’s Ärya-çatakam, which is devoted solely to this topic.

* See the Manjari-tattva section of Part I.

# Indeed Sri Rupa himself showed an interest in the study of kavya and natya shastra bears witness to the enhanced sensitivity obtainable from these texts.

[§§§§] See the appendix, “Srila Bhaktivinoda Thakur’s unbroken disciplic succession and siddha pranali.”

* Samskaras are the traits making up one’s character formed by previous mental impressions.

* See Nabadwip Vraja Madhuri for a more detailed description.

[*****] mahä-nidhi: “great jewel.”

* The word çåìgära has two meanings: 1) dress and decoration, and 2) rati-keli.

* Alta is the red dye that women use to decorate the bottoms of their feet.

# A svädhéna-bhartåkä nayika is described in Ujjvala-nélamaëi to be a highly qualified gopi who subjugates Krishna into submissively serving her.

[†††††] This is the same Siddha Krishna Das of Govardhan who wrote the Gutika.

* Manjubhasini is Radhika’s pet sari (female parrot).

* The actual meaning of the riddle is: The newly arrived sun is coming to spread its light rays which are compared to “Jatila” or jotts of long matted hair like that of a yogini.

# When Radha resides at Javat, she proceeds along with Krishna as far as Kadamba-kandi. And during her stay in Varshana, their parting takes place at Dyumanavana.

[‡‡‡‡‡] This Madhava Das is the pen name of Vamsivadana Chattopadhyaya, the grandfather of Ramachandra Goswami (Ramai Thakur), the adopted son of Jahnava Thakurani who founded the Baghna Para line of gurus in which Bhaktivinoda Thakur.

* Sri Ragunath Das Goswami is Vraja’s Rati Manjari, although Srimati Radharani affectionately calls her ‘Tulasi.’

# In the rasa shastra a nayika who is separated from her beloved by a great distance is termed proñita-bhartåkä.

[§§§§§] api bata rasavatyäù siddhaye mädhavasya

vraja-pati-puram udyad-roma-romä vrajanté

skhalita-gatir udaïcat-svänta-saukhyena kià me

kvacid api nayanäbhyäà lapsyase svämini tvam

[******] pärçva-dvaye lalitayätha viçäkhayä ca

tväà sarvataù parijanaiç ca paraiù parétäm

paçcän mayä vibhåta-bhaìgura-madhya-bhägäà

kià rüpa-maïjarir iyaà pathi neñyatéha

[††††††] hambä-ravair iha gaväm api ballavänäà

kolähalair vividha-vandi-kalävatäà taiù

sambhräjate priyatayä vraja-räja-sünor

govardhanäd api gurur vraja-vanditäd yaù

[‡‡‡‡‡‡] präptäà nija-praëayiné-prakaraiù parétäà

nandéçvaraà vraja-mahendra-mahälayaà tam

düre nirékñya muditä tvaritaà dhaniñöhä

tväm änayiñyati kadä praëayair mamägre

[§§§§§§] These events are nicely described in Bhaktivinoda Thakur’s bhoga arati kirtan.

[*******] The unbroken disciplic succession coming from an authorized source.

Friday, July 19, 2013

II. Siddha Pranali

2. The Sahaya: Helping Factors