SRI SRI RADHIKA ASTOTTARA SATA NAMA STOTRAM

by Srila Raghunatha Dasa Goswami

aviksatmesvari kascid vrndavana-mahesvarim

tat padamboja-matraika gati dasyati katara

patita tat-saras tire ruda tyartha-ravakulam

tac chri-vaktreksanavaptyai namanyetani sanjagau

Some maidservant, unable to find her mistress, has fallen on the bank of Radhakunda, crying in great anxiety, being very eager to take exclusive shelter of Her lotus feet, glorifying Her by singing the following names of Her:

radha gandharvika gosthayuva-rajaika-kamita

gandharva radhika candrakantir madhava-sangini

1. Radha, 2. Gandharvika, 3. The only girl desired by the prince of Vraja, 4. Who is worshipped by the Gandharva-angels, 5. Whose luster is like the moon, 6. Who accompanies Madhava.

damodaradvaita-sakhi kartikotkirtidesvari

mukunda dayita-vrnda dhammilla mani-manjari

7. Damodar's unrivalled girlfriend, 8. The queen who bestows fame on the Kartika month, 9. The crestjewel of Mukunda's ladyfriends.

bhaskaropasika varsabhanavi vrsabhanuja

ananga manjari jyestha sridama varajottama

10. Who worships the sun, 11. Who belongs to King Vrsabhanu, 12. Who is born from King Vrsabhanu, 13. Ananga Manjari's older sister, 14. Sridama's younger sister, 15. The greatest (fem.)

kirtida-kanyaka matr-sneha-piyusa-putrika

visakha-savayah prestha visakha jivitadhika

16. Kirtida's daughter, 17. Who is the nectarean object of Her mother's affection, 18. Who is of the same age as Visakha, 19. Who is dearer than life to Visakha.

pranadvitiya lalita vrndavana viharini

lalita prana-laksaika-raksa vrndavanesvari

20. Who is none other than Lalita's very life, 21. Enjoys in Vrndavana, 22. Who saves Lalita's life lakhs of times, 23. Queen of Vrndavana.

vrajendra-grhini krsna-praya-sneha-niketanam

vraja go-gopa-gopali jiva-matraika-jivanam

24. Who is as dear to Mother Yasoda as Krsna, 25. Who is the only life of the life of the cows, cowherdsmen and cowherdgirls of Vraja.

snehalabhira-rajendra vatsalacyuta-purva-ja

govinda pranayadhara surabhi sevanotsuka

26. Who is the object of King Nanda's affection, 27. Who gets parental affection from Balaram, 28. Who is the object of Govinda's love (Govinda is eager to serve His surabhi cows).

dhrta nandisvara-ksema gamanotkanthi-manasa

sva-dehadvaitata drsta dhanistha dhyeya-darsana

29. Who is very eager to go to Nandisvara for serving Krsna, 30. Who is regarded as non-different from her by Dhanistha and seen in her meditations, (Dhanistha is Yasoda's maidservant).

gopendra-mahisi paka-sala-vedi prakasika

ayur-varddha-karaddhana rohini ghrata-mastaka

31. Who is seen in Mother Yadosa's kitchen, 32. Whose cooked grains increase Krsna's life, 33. Whose head is smelt by Rohini.

subala nyasta sarupya subala priti-tosita

mukhara-drk sudha-naptri jatila drsti-bhasita

34. Who has bestowed a form equal to Hers to Subala, 35. Who is very fond of Subala, 36. Who is nectar in Mukhara's eyes, 37. Who is afraid to see Her mother-in-law, Jatila.

madhumangala narmokti janita-smita-candrika

paurnamasi bahih khelat prana-panjara sarika

38. Who smiles like the moonbeams after hearing Madhumangala's jokes, 39. The she-parrot of Whose heart is caught in Paurnamasi's cage.

sva ganadvaita jivatuh sviyahankara-vardhini

sva ganopendra padabja sparsa-lambhana harsini

40. Who is the only life of Her friends, 41. Who increases the pride of Her relatives, 42. Who is very happy to touch Upendra's feet with Her friends.

sviya vrndavanodyana paliki krta-vrndaka

jnata vrndatavi sarva lata-taru-mrga-dvija

43. Who has placed Vrnda in charge of Vrndavana's gardens, 44. Who is known by all the vines, trees, deer and birds of Vrndavana.

isac candana samghrsta nava-kasmira-deha-bhah

java-puspa pritha-hari patta cinarunambara

Whose body shines with fresh vermillion ground with some sandalpaste, 46. Whose silken dress shines more reddish than the java flower.

caranabja-tala-jyotir arunakrta-bhutala

hari citta camatkari caru nupura nihsvana

47. Whose lotus footsoles make the surface of the earth shine crimson-red, 48. Who astonishes Hari's mind with the sweet sound of Her anklebells.

krsna-sranti-hara sroni pitha-valgita ghantika

krsna sarvasva pinodyat kucancan mani-malika

49. The nice sounds of whose waistbells remove Krsna's fatigue, 50. The pearl necklace on whose firm, raised breasts is everything to Krsna.

nana-ratnollasad sankha-cuda caru bhuja-dvaya

syamantaka-mani bhrajan mani-bandhati-bandhura

51. Whose two beautiful arms are adorned with conchshell bangles inset with various jewels, 52. On Whose wrist the beautiful Syamantaka jewel shines.

suvarna darpana-jyotir ullanghi mukha-mandala

pakka dadima bijabha dantakrstaghabhic chuka

53. The shining of Whose face defeats that of a golden mirror, 54. Whose teeth, that shine like ripe pomegranate seeds, attract the parrot-like Aghabhit (Krsna).

abja-ragadi srstabja-kalika karna-bhusana

saubhagya kajjalankakta netranandita khanjana

55. Whose ruby earrings are shaped like lotus buds, 56. Whose wagtail-like eyes are anointed with beautiful eyeliner, giving great joy to the eyes.

suvrtta mauktika mukta nasika tilapuspika

sucaru nava-kasturi tilakancita-bhalaka

57. Whose nose, that is beautiful as a sesame flower, is adorned with a round pearl, 58. Whose forehead is adorned with beautiful tilak made of fresh musk.

divya veni vinirdhuta keki-pincha-vara-stutih

netranta-sara vidhvamsakrta canurajid dhrtih

59. Whose divine hairbraid is worshiped by peacock feathers (being defeated in beauty), 60. The arrows of Whose glances destroy the patience of Krsna, Who defeated the Canura wrestler.

sphurat kaisora-tarunya sandhi-bandhura-vigraha

madhavollasakonmatta pikoru madhura-svara

61. Who is blooming teenage beauty personified, 62. Who pleases Madhava, 63. Who maddens Madhava with Her sweet, cuckoo-like voice.

pranayuta-sata prestha madhavotkirti-lampata

krsnapanga-tarangodyat smita-piyusa-budbuda

64. Who is more attached to Madhava's great glories than to millions of lives, 65. Whose nectarean smiles provide bubbles on the waves of Krsna's glances.

punjibhuta jagallajja vaidagdhi-digdha-vigraha

karuna vidravad deha murtiman madhuri-ghata

66. Who is the very form of cleverness, embarrassing the whole world, 67. Whose body melts in kindness, 68. Who is abundant sweetness personified.

jagad-gunavati-varga giyamana gunoccaya

sacyadi subhaga-vrnda vandyamanoru-saubhaga

69. Whose glories arre loudly sung by all the great ladies of the world, 70. Who is incessantly praised by beautiful ladies like Saci.

vina-vadana sangita rasalasya visarada

narada pramukhodgita jagad anandi sad-yasah

71. Who is expert in singing and playing vina in the rasa dance, 72. Whose pure glories are sung by sages headed by Narada, giving joy to the world.

govardhana-guha geha grhini kunja-mandana

candamsu-nandini baddha bhagini-bhava-vibhrama

73. She is the housewife in the caves in Govardhana, 74. She decorates the kunja, 75. She has a sisterly relationship with Yamuna, (Yamuna is the daughter of the sun and Radha is thedaughter of Vrsabhanu, the sun in Taurus).

divya kundalata narma sakhya-dama-vibhusita

govardhanadharahladi srngara-rasa-pandita

76. She is adorned with the wreath of divine Kundalata's friendship, 77. She is the professor in amorous rapture, giving joy to the holder of Govardhana.

girindra-dhara vaksah srih sankhacudari-jivanam

gokulendra-suta-prema kama-bhupendra-pattanam

78. She is Laksmi on the chest of the holder of Govardhan, 79. She is the life of the enemy of Sankhacuda, 80. She is the settlement of Cupid for the love of the son of Gokulendra.

vrsa-vidhvamsa narmokti sva-nirmita sarovara

nija kunda-jala-krida jita sankarsananuja

81. Who made Her own pond after the killer of Arista mocked Her, 82. Who defeats Sankarsana's younger brother in sports in Her own pond.

mura-mardana mattebha vihara-mrta-dirghika

girindra-dhara-parindra rati-yuddhoru simhika

83. She is the ambrosial pond of enjoyment for the intoxicated elephant who defeated Mura, 84. She is a powerful lioness fighting amorous sports with the king of lions, the holder of the best of mountains.

sva tanu-saurabhonmatti krta mohana madhava

dor-muloccalana krida vyakuli-krta kesava

85. Who enchants Madhava with Her intoxicating bodily fragrance, 86. Who agitates Kesava by playfully showing Her armpit.

nija kunda-tati kunja klrpta keli kalodyama

divya malli-kulollasi sayyakalpita vigraha

87. Who expands Her artful plays in the kunja on the bank of Her own pond, 88. Who makes a bed of divine jasmine flowers there with joy.

krsna vama-bhuja nyasta caru daksina gandaka

savya bahu-lata baddha krsna daksina sad-bhuja

89. Who places Her beautiful right cheek on Krsna's left arm, 90. Who holds Krsna's right arm with Her left vine-like arm.

krsna daksina caruru slista vamoru-rambhika

girindra-dhara drg-vaksor mardi-sustana-parvata

91. Whose beautiful, broad, banana-like left hip touches Krsna's right hip, 92. Whose nice, mountain-like breasts are being massaged by the Holder of Govardhana.

govindadhara piyusa vasitadhara-pallava

sudha-sancaya carukti sitali-krta madhava

93. Whose leaf-like lips are scented by the nectar of Govinda's lips, 94. Whose beautiful words distribute nectar, cooling Madhava off.

govindodgirna tambula raga rajyat kapolika

krsna sambhoga saphali-krta manmatha sambhava

95. Whose cheeks are colored by the pan from Govinda's lips, 96. Who realizes Krsna's fancies of amorous enjoyments.

govinda marjitoddama rati-prasvinna sanmukha

visakha vijita krida-santi nidralu-vigraha

97. The profuse perspiration from whose face is wiped off by Govinda, 98. Who is being fanned by Visakha when She falls asleep after playing with Krsna.

govinda-carana-nyasta kaya-manasa jivana

svapranarbuda nirmanchya hari pada-rajah kana

99. Who has placed Her life, body and mind at Govinda's lotus feet, 100. Who worships the dust of Hari's lotus feet with billions of hearts.

anumatracyutadarsa sayyamanatma locana

nitya-nutana govinda vaktra-subhramsu-darsana

101. Who curses Her eyes for every second that they do not see Acyuta, 102. Who beholds Govinda's ever-fresh moonlike face.

nihsima hari-madhurya saundaryadyeka-bhogini

sapatnya dhama murali-matra bhagya kataksini

103. Who is the only enjoyer of Hari's endless sweetness and beauty, 104. Who can only blink at the fortune of Her co-wife, the Murali flute.

gadha buddhi-bala krida jita vamsi-vikarsini

narmokti candrikotphulla krsna kamabdi-vardhini

105. Who takes Krsna's flute after defeating Him in a gambling match, 106. Who increases the ocean of Krsna's desires by the full moonbeams of Her joking words.

vraja-candrendriya-grama visrama-vidhu-salika

krsna sarvendriyonmadi radhetyaksara-yugmaka

107. Who is the moonlike resting place for all the senses of the moon of Vraja (Sri Krsna), 108. The two syllables of Whose name Ra-dha madden all of Krsna's senses.

idam sri radhika namnam astottara satojjvalam

sri radhalambhakam nama stotram caru-rasayanam

yo dhite parama pritya dinah katara-manasah

sa natham acirenaiva sa natham iksate dhruvam

Whoever recites these 108 names of Sri Radha, that consists of all beautiful, nectarean Radha-nama, with great love, humility and eagerness, will certainly and swiftly behold Her Master.

iti srimad raghunatha dasa gosvami viracita stavavalyam sri radhika-stottara-sata nama stotram sampurnam.

Thus ends Srimad Raghunatha Dasa Gosvami's Sri Radhika's 108 names-prayer.

SRI SRI GOVARDHANA SAMVASAN PRARTHANA DASAKAM

by Srila Raghunath das Goswami

1.

O Govardhana! You became the umbrella which was held by the arm of your own Lord Krsna! In this way Sri Krsna diminished Indra, the king of the demigods, who was intoxicated by great pride. You are the incomparable king of all the big mountains, please allow me to live close by you.

2.

O Govardhana! The young Divine Couple, Sri Sri Radha-Krsna, play splendid wild loving games in your every cave, so I became very eager to see Them there. Please allow me to live close by you.

3.

O Govardhana! In topmost joy Krsna plays together with Balarama and the cowherd boys in your incomparable jeweled pavilions and thrones, in the hollows of your trees, in your caves, and valleys. Please allow me to live close by you!

4.

O Govardhana! You are the witness of Radha and Krsna's tax game (In which Krsna charges tax from the ghee the gopis carry on their heads) which is an ocean of mellows. You increase the joy of the mellows of the devotees with your display of bluish platforms that are full of splendour and fragrance. Please allow me to live close by you!

5.

O Govardhana! You affectionately and secretly embrace the neck of your own dear friend, Sri Radha Kunda, the place which is very dear to you and Lord Hari. Please allow me to live close by you and show me the intimate pastimes of the Divine Young Couple there!

6. O Govardhana! You make your name, nourisher of cows, successful by constantly giving land, water, grass and the shade of your trees to the cows and thus you are famous in the three worlds. Please allow me to live close by you!

7.

O Govardhana! Your glories are increased by the enemy of Aghasura and Bakasura, Sri Krsna, when He protected the Vrajavasis and vanquished Indra by quickly using you as their new shelter from the rain. Please allow me to live close by you.!

8.

O Govardhana! King of mountains! Because the nectar of your name as Hari's best servant emanated from Srimati Radharani's pearl-like mouth, which was revealed by Vedic scriptures like Srimad Bhagavatam (10.21.18), you are called the new tilaka (because of your long thin bluish shape at the edge of Vraja) of Vraja.Please allow me to live close by you.

9.

O Govardhana! You are the only giver of joy to Sri Sri Radha Krsna and Their associates, that are always surrounded by the people, animals and birds of Vraja in the mood of friendship. Please mercifully accept me and allow me to live close by you.

10.

O Govardhana! Although I am vile and deceitful, the causelessly merciful Sri Sacinandana submitted me to you. Therefore, do not consider whether I am qualified or unqualified and accept me. Allow me please to live close by you.

11.

Anyone who carefully recites these ten verses praising the king of mountains Srila Govardhana, that are the givers of divine mellows, will swiftly attain a place to live close by Govardhana, the bestower of bliss, and he will attain the precious jewel of the auspicious loving service of the Divine Couple, Sri Sri Radha Krsna.

Acintya-bhedabheda tattva

The principle of inconceivable oneness and difference

The evidence of Sruti on the subject of acintya-bhedabheda tattva:
The principle of inconceivable oneness and difference

11. 1
eko basi sarvabhutastaratma
ekam rupam bahudha yam karoti
tam amastham ye'nupasyanti dhiras-
tesam sukham sasvatam netaresam
The Supersoul whois the indwelling witness and controller of all living beings is manifest in innumerable ways, although his form is one. Awise person who can see within his heart that supreme soul becomes peaceful and enjoys transcendental bliss. (Katha Upanisad 2.2.12)

The evidence of Srimad-Bhagavatam on acintya-bhedabheda-tattva

11. 2
rte'rtham yat pratiyeta na pratiyeta catmani
tad-vidyad atmano mayam yathabhaso yatha tamam
O Brahma, whatever appears to be of any value, if it is without relation to µe, has no reality. Know it as my illusory energy, that reflection which appears to be in darkness. (Srimad-Bhagavatam 2.9.34)
11. 3
yatha mahanti bhutani bhutesuccavacesvanu
pravisthanyapravisthani tatha tesu na tesvaham
A person who is searching after the Supreme Absolute Truth, the Personality of Godhead, most certainly search for it up to this, in all circumstances, in all space and time, and both directly and indirectly. (Srimad-Bhagavatam 2.9.34)
11. 4
yatra yena yato yasya yasmai yad yad yatha yada
syad idam bhagavan saksat pradana-purusesvaram
You are the Substratum, the agent, and the instrument of the universe. You are its source and its object or purpose; whenever or whatever form it assumes is yourself. As and when this universe evolves, all the causes thereof, including time and manner, are the Almighty Lord yourself who control both the prakrti (the enjoyed) and Purusa (the enjoyer) and transcend them both. (Srimad-Bhagavatam 10.85.4)

The evidence of the Smrti on acintya-bhedabheda-tattva

11. 5
maya tatam idam sarvam jagad avyakta-murtina
mat sthani sarva bhutani na caham tesvavasthitam
By Me, in my unmanifested form, this entire universe is pervaded. All beinga are in Me, but I am not in them. (Bhagavad-gita 9.4)
11. 6
na ca mat sthani bhutani pasa me yogam aisvaram
bhuta-bhrn na ca bhutastho mamatma bhuta bhavanam
And yet everything that is created does not rest in Me. Behold my mystic opulence! Although I am the maintainer of all living entities and although I am everywhere, I am not a part of this cosmic manifestation, for My Self is the very source of creation. (Bhagavad-gita 9.5)

The conclusion of Jiva Goswami on acintya-bhedabheda-tattva

11. 7
ekam eva tat parama-tattvam svabhavikacintrya-saktya sarva-daiva svarupa-tad-rupa-vaibhava-jiva pradhana-rupena caturdhavatisthate suryanta mandalastha-teja iva mandala tad-bahir-gatarasmi-tat-praticchabi-rupena durghata-ghata-katvam hyacintyatvam.
The absolute truth is one. His natural characteristic is that he possesses inconceivable potency. His inconceivable potencies are reposed in four different stages: his own personal form (svarupa), the expansions of his divine form (tad-rupa-vaibhava), the jiva souls (jiva), and the material ingredients (pradhana). With regard to the sun, there is the sungod, the internal power of the sun, and that power when it is expanded as the extenal rays of the sun. Then there is the shadow of the sun, that is to say, the sun's reflection which is in darkness, far from the sun's influence. This illustration is being used for the sake of an example. The point of this example is that in the same way that the sun appears in this fourfold manifestation (the sungod, its internal power, its external rays, and its shadow), there is one eternal supreme truth (the Lord Himself) whose form is eternal, but who is possessed of different potencies: svarupa-sakti (internal energy), jiva-sakti (soul energy), and maya-sakti (external energy). There seems to be a contradiction in this matter between the Lord being one eternal absolute truth and his simultaneously possessing inconceivable potency. How is it possible to understand such a contradiction? To that it is said that "acintya" (inconceivable) means "beyond the bounds of the jiva soul's capacity to understand." An event which is extremely rare or unlikely, even physically impossible, is inconceivable. For the Supreme Lord, however, nothing is impossible as a result of the fact that he has inconceivable power. [Therefore the Lord's oneness with (and distinction from) his energy is said to be inconceivable - acintya-bhedabheda-vada]
[Note: A.C. Bhaktivedanta Swami paraphrases this section of Jiva Goswami's Bhagavata-Sandrabha as follows: "Srila Jiva Goswami states in his Bhagavata-Sandharbha (16) That by His potencies, which act in natural sequences beyond the scope of the speculative human mind, the Supreme Transcendence, the summum bonum, eternally and simultaneously exists in four transcendental features: His personality, His impersonal effulgence, His potential parts and parcels (the living beings) and the principal cause of all causes. The Supreme Whole is compared to the sun, which also exists in four features, namely the personality of the sun-god, the glare of his glowing sphere, the sun-rays inside the sun planet, and the sun's reflections in many other objects. The ambition to corroborate the existence of the transcendental Absolute Truth by limited conjectural endeavors cannot be fulfilled, because He is beyond the scope of our limited speculative minds. In an honest search for truth, we must admit that His powers are inconceivable to our tiny brains. The exploration of space has demanded the work of the greatest scientists of the world, yet therer are countless problems regarding even fundamental knowledge of the material creation that bewilder scientists who confront them. Such material knowledge is far removed fromt he spiritual nature, and therefore the acts and arrangements of the Absolute Truth, are, beyond all doubts, inconceivable.] (Bhagavata-Sandharbha 16)
11. 8
apare tu "tarko-pratisthanat" bhede'pya-bhede'pi nirmaryada-dosa-santati-darsanena
bhinnataya cintaritumasakayatvadabhedam sadhyantam tad-vad-abhinnatayapi cintayitamasakayatvadbhedamapi sadhayanto'cintyabhedabhedavada svikurvanti. tatra vadarapauranikasaivanam mate bhedabhedau bhaskaramate ca. mayavadinam tatra bhedamso vyavaharika eva praitiko va. gautama-kanada-jaimini-kapila-pata-jalimate tu bheda eva. sri ramanuja-madhvacaryamate cetyapi sarvatriki prasiddhim. svamate tvacintyabhedabhedaveva acintyasaktimayatvaditi
Other sampradayas of Vedantists admit that boundless essays, dissertations, and theses can never be established as truth through any amount of argument. Still, they think that the principle of oneness and difference existing together in the same place transgresses the boundaries of reality. They take it that this is a symptom of the fault of neglecting the nature of universality - that is, that if difference is true, then it must be true universally, and if oneness is true then it must be true universally. Following this faulty logic they therefore think that these two - difference and nondifference - cannot independently coexist. There cannot be both duality and oneness, they reason; one of these doctrines must have supremacy over the other. Those who think it is one, find that their attempts to practice the doctrine of oneness are impossible. In the same way, those who attempt to practice a doctrine of absolute difference will find their position untenable. In this way, both the practitioners of absolute oneness and the practitioners of absolute duality will be unable to realize their philosophy. Therefore, in light of the difficulties of trying to realize oneness without distinction or distinction without oneness, the principle of acintya-bhedabheda-vada or inconceivable, simultaneous oneness and distinction has been accepted as the highest harmonizing principle.
The true opinion of the Vedas and Puranas, is bhedabedava-vada, oneness and difference. Even the followers of Shiva sometimes accept this. For example, the commentator Bhaskara accepts bhedabheda-vada in the idea that there is a difference between the articles offered to the Deity and the Deity Himself. In the opinion of the mayavadis the branches of difference are merely vyavaharika mundane or apparent. Gautama, Kanada, Jaimini, Kapila, and Pata-jali admit the existence of distinction. In the opinions of Ramanuja and Madhva's this principle reaches a higher level of perfection. Ramanuja's visisthadvaita philosophy supports difference and nondifference, and Madhva's suddhadvaita philosophy supports the principle of difference. The Supreme Lord has inconceivable potency; and He Himself supports the conclusions of acintya-bhedabheda-vada. (Paramatma-Sandarbha Sarva-samvadini-tika, Jiva Goswami)

The Brahma-sutras support the view of sakti-parinamavada

11. 9
vyasera-sutrete kahe parinamavada
vyasa bhranti bali' taha uthaila vivada
parinama-vade isvara hayena vikari
eta kahi vivarta-vada sthapanaye kari
vastutam parinamavada sei ta' pramana
"dehe atmabuddhi" haya vivartera sthana
avicintya-sakti-mukta sri bhagavan
icchaya jagat-rupe paya parinama
tathapi acintya-saktye haya avikari
prakrta cintamani tahe drsthanta ye dhari
nana ratnarasi haya cintamani haite
tathapiha mani rahe svarupe avikrte
prakrta vastute yadi acintya-sakti haya
isarera acintya-sakti, - ithe ki vismaya
In his Vedanta-Sutra, Srila Vyasadeva has described that everything is but a transformation of the energy of the Lord. Sankaracarya, however, has misled the world by commenting tha Vyasadeva was mistaken. Thus he has raised great opposition to theism throughout the world. According to Sankaracarya, by accepting the theory of the transformation of the energy of the Lord, one creates an illusion by indirectly accepting that the Absolute Truth is transformed. Transformation of energy is a proven fact. It is the false bodily conception of the self that is an illusion. The Supreme Personality of Godhead is opulent in all respects. Therefore by His inconceivable energies He has transformed the material cosmic manifestation. Using the example of a touchstone, which by its energy turns iron to gold and yet remains the same, we can understand that although the Supreme Personality of Godhead transforms His innumerable energies, He remains unchanged. Although a touchstone produces many varieties of valuable jewels, it nevertheless remains the same. It does not change its original form. If there is such inconceivable potency in material objects, why should we not believe in the inconceivable potency of the Supreme Personality of Godhead? (Caitanya-Caritamrta Adi 7.121-127)

The meaning of parinama-vada (the theory of transformation)
and vivarta-vada (the theory of illusion)

11. 10
satattvato'nyatha pratha vikara ityudiritam
atattvato'nyatha pratha vivarta ityudahrtam
When one very real substance takes another form it is called vikara or transformation. An example of this is the transformation of milk into yogurt. When one thing is mistaken for something else it is called vivarta or illusion. An example of this is when a rope is taken to be a snake. (Sadananda Yogindra Vedanta-Sara 59)

Vaishnava Aparadha - Deep Analysis of Vaishnava Aparadha

(I) THE RESULTS OF VAISHNAVA-APARADHA FOR DISCIPLE AND GURU

sulapani sama yadi vaishnavere ninde
tathapiha nasa paya -- kahe shastra vrinde

"Even if some one of the level of the supremely powerful devotee and gunavatara Lord Shiva blasphemes a devotee, he will soon be destroyed. This is the verdict of all the scriptures." (CB Madhya 22.56)

iha na maniya ye sujana-ninda kare
janme janme se papistha daive dose mare

"Sinful people who ignore the above fact and critcize devotees suffer the heaviest of all punishment of providence birth and birth."(57)

anyera ki daya gaura-simhera janani
tanhare o vaisnavaparadha kari gani

"What to speak of others, even the supreme mother of the Supreme Lord Himself Gaura Simha was not exempt from being considered an offender of a Vaishnava." (58)

prabhu bale -- upadesa kahite se pari
vaisnavaparadha ami khandaite nari

Lord Gauranga Himself replied -- " I can give instructions how to eliminate the aparadha (like in the case of Durvasa and Ambarish), but I Myself even though being the Supreme Lord am unable to destroy an offense against a Vaishnava." (32)

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ALL GURUS AND DISCIPLES PLEASE READ THESE VERSES CAREFULLY!

vaisnavera ninda karibeka yara gana
tara raksa-smarthya nahika kona jana

"A Vaishnava or a Guru is unable to protect any of his followers who engage in blasphemy of the Vaishnavas." (128)

Gaudiya Bhashya by Shrila Bhaktisiddhanta Sarasvati Thakura Prabhupada:

[...]Those who after attaining the position of spiritual master either personally engage in blasphemy of Vaishnavas or support their followers' blasphemy of Vaishnavas certainly become degraded.

vaisnava-nindaka gana yahara asraya
apanei edaite tahara samsaya

"The deliverance of even a Guru or person whose followers engage in critcism of Vaishnavas is greatly doubtful."(129)

bada adhikari haya apane edaite
ksudra haile -- gana saha adhahpate yaya

"In such a case only if the Guru is greatly advanced and qualified in bhakti, maybe he can protect himself. But if he is weak in bhakti, then he is certainly sure to go to the darkest hellish regions and fall down from the platform of bhakti if his followers engage in vaisnava-ninda and he can't or does not stop them or reject them."(130)

Commentary:

This is probably the prime reason for the high casualty rate in the falldown of the Gurus themselves. This situation is vividly described in the following very important verses Hari-nama-cintamani, 10th Pariccheda by Namacharya Shrila Thakura Haridasa himself and penned by Shrila Saccidananda Bhaktivinoda Thakura:

sraddha-hine peye nama aparadhe mare
sange sange guruke abhakta shighra kare

"If a faithless unqualified person gets initiated into the chanting of Krishna's Name, then surely he or she will engage in nama-aparadha and be destroyed. Along with his or her own degradation, the disciple will also convert the Guru also into a non-devotee because the Guru gave the Name is the first place and thus is the cause for the offenses of the disciple."

sradhhahina jane artha lobhe nama diya
narakete jaya nama-aparadha majiya

"Therefore if the Guru gives initiation into the Krishna Mantra due to a desire for money or following, he will commit this namaparadha against Krishna's Name and will thus go to hell."

pramade yadyapi nama upadesha haya
sradhhahine tabe guru paya maha-bhaya

"Therefore a Guru should become very fearful when he comes to know that by mistake he has given Krishna-Mantra-Diksha to a faithless unqualified person with ulterior motives."

vaisnava samaje taha kari vigyapana
sei dusta sisya tyaga kare mahajana

"The Guru should announce in an assembly of devotees and in this way reject the sinful disciple who is engaging in Vaishnava aparadha or Nama aparadha."

taha na karile guru aparadha krame
bhakti-hina duracara haya maya bhrame

"If the Guru does not reject the envious disciple in this way, the Guru becomes implicated in this aparadha and quickly becomes devoid of bhakti and engages in abominable activities due to the bewilderment of the illusory energy or Maya."

Commentary:

Many Gurus are not aware of this process of rejection of a staunch and hypocrite Vaishnava aparadhi or Nama aparadhi disciple due to a lack of deep study of this classic book, Hari-nama-cintamani. Thus they get implicated into this vicious offense which in turn leads to their own falldown sooner or later as stated in these verses.

iha na kariya jei dena nama dhana
sei aparadhe tara narekete patana

"Therefore if a Guru gives Krishna-Mantra-Diksha without creating strong faith in the disciple for Krishna-Nama, then the Guru falls down to hell due to his offense against Krishna-Nama."

nama peye sisya kare nama aparadha
tahate gurura haya bhakti rasa badha

"After receviing Krishna-Nama-Diksha, if the disciple engages in Vaishnava aparadha or the ten nama-aparadha, then the Guru's advancement in bhakti rasa is checked or obstructed."

sei nama aparadhe dunhe sisya guru
narkete maje sei aparadha uru

"And due to this most powerful aparadha by the disciple and by the Guru too who does not stop, correct or reject his blasephemous or offensive disciple, both of them, Guru and disciple fall down into the hellish planets in their next life."

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(II) THE ONLY THREE WAYS TO REMOVE VAISHNAVA-APARADHA


(1) TO GENUINELY BEG FORGIVENESS FROM THE VAISHNAVA OFFENDED:

ye vaisnava-sthane aparadha haya yara
puna se ksamile a paradha ghuce tara

If one offends a Vaisnava, the only way to get free from the offense is to go back that Vaisnava and beg his forgiveness. (Cb. Madhya 22.32)

kanta phute yei mukhe, sei mukhe yaya
paye kanta phutile ki kandhe bahiraya

Just as it takes a thorn to remove a thorn, the offense committed by the mouth [against a Vaisnava] must be cured with the mouth [by begging forgiveness]. (CB Antya 4.380)

(2) BY CHANTING THE NAME OF LORD NITYANANDA CONSTANTLY:

nityananda-prasade se ninda yaya ksaya
nityananda-prasade se visnu-bhakti haya

Only by the causeless mercy of of the name, form and pastimes of Lord Nityananda, one's offenses against Vaishnavas are destroyed and one attains devotional service of Lord Krishna.(136)

(3) BY READING THE ORIGINAL BENGALI VERSES OF CHAITANYA-BHAGAVATA, MADHYA-KHANDA CHP 22 DAILY OR REGULARLY:

e bada adbhuta katha suna savadhane
vaishnava aparadha ghuce ihara sravane

Listen carefully to this wonderful pastime of how Shri Shachimata got delivered from her offense against Shrila Advaita Acharya in this Chp 22. By hearing or reading this narration one will be become from the Vaishnava aparadha committed. (12)

Commentary:

Such a benediction is not given in any other scripture. Even Lord Gauranga or the most powerful guru cannot save the disciples and devotees who criticize other Vaishnavas like we see in the case of some of the misled sons of Shrila Advaita Acharya. Shrila Advaita Acharya is supremely powerful so the Aparadha of some of his sons could not effect him but that they may not be the case in the situation of less powerful Gurus. But reading Chp 22 of Madhya-khanda Chaitanya-Bhagavata can even save us from the Aparadhas committed. So it is to be accepted that Shrila Chaitanya-Bhagavata is the most magnamious and merciful scripture in the whole creation which saves us from the most horrible and unforgivable of all sins in creation. Another reason is that since Shri Chaitanya-Bhagavata is full of the glories of Lord Nityananda on every page, it speedens up this process of destruction of our offenses as per the second point above. This is the scripture to read if one wants to develop love for Lord Nityananda, the only Lord capable of delivering fallen and degraded souls like us. And the final reason why all the acharyas have stressed Chaitanya-Bhagavata as the most beneficial for all conditioned souls is because this great scripture repeatedly warns and cautions us against the great dangers of Vaishnava-aparadha in each and every chapter of the book.

(III) CONCLUSION

ninda nahi nityananda sevakera mukhe
aharnisha caitanyera yasa gaya sukhe

The devotees who have received the great fortune to serve Lord Nityananda Balarama never engage in criticism or blasphemy of other Vaishnavas. Day and night their only activity is to blissfuly sing the name of Lord Gauranga.(137)

nityananda-bhakta saba dike savadhana
nityananda-bhrtyera caitanya dhana-prana

Thus the devotees of Lord Nityananda and always extremely cautious from all directions to totally avoid criticism of other Vaishnavas. Actually they have no time to criticze others because they are busy in chanting the glories of the names and pastimes of Lord Gauranga, who is their life and wealth.

Lord Reveals Himself to the Prema-bhakta

When prema blossoms, the Lord reveals first His form of matchless beauty to the enraptured devotee. The devotee's senses and mind become one and he beholds with all his senses the Lord's exquisite beauty. At the sight of the Lord's unparalleled beauty, the devotee feels ecstatic symptoms (asta-sattvic vikara) like being paralyzed, quivering, weeping, and so on. These ecstatic symptoms begin to hinder his vision of the Lord; not only that, but the exhilaration renders him unconscious.
Seeing the devotee's condition, the Lord consolingly manifests His second ambrosial attribute-His physical fragrance-which immediately arrests the devotee's sense of smell. Now all the devotee's senses withdraw from the sense of sight and rush to centre on the sense of smell. This overpowers him, and once again intense joy causes him to lose consciousness.
Kåñëa once again rescues the devotee, and this time the Lord revives him with His melodious voice. The Lord speaks to him saying, “My dear devotee! I am now your captive, fully under your control. Do not be overwhelmed, just perceive Me and fulfil the desire of your heart”. The devotee's senses become surcharged and they seek to hear and absorb the sweet melody of his beloved Lord's voice. Again he is unable to contain his ecstacy and he becomes bereft of consciousness. Then the Lord, full of compassion, embraces the devotee with His body, displaying His fourth nectarean opulence of tender youthfulness To the dasya denotee (mellow of servitorship) He places His lotus feet on his head; to the sakhya devotee (mellow of friendship) He entwines His lotus fingers with his fingers; to the vatsala devotee (parental mellow) the Lord wipes away his tears with His lotus hands; and to the madhuiya devotee (conjugal mellow) He draws him to His chest and wraps His arms around him in a tender embrace. From this we understand that the Lord reciprocates appropriately with the different mellows of each devotee's love.
Just as before, when the devotee swoons in indescribable joy, the Lord shows His fifth opulence, that of versatile loving exchanges. Kåñëa offers the devotee sublime ambrosia in the form of chewed remnants from His mouth and lips. As the bhakia fully relishes it, his sense of taste becomes satiated. At this stage the Lord appears to His devotee who is now absorbed in the conjugal mellow, and initiates him into a transcendental emotional exchange of intense loving intimacy, long coveted by him. Of course, the Lord never divulges such a confidential mood to any other devotee except one who is in mädhurya-rasa (congugal mellow).
Once again the devotee is drawn into an overwhelming mood of divine bliss from this intimate encounter with the Lord, and again he swoons. The Lord's succor to him this time is in the form of showers of audarya, or magnanimity-His sixth transcendental attribute. In this condition the devotee will not respond to any consoling. Audarya in this instance means when all the transcendental attributes of the Lord are at one. time forced onto the devotee's conglomerate senses: sight, hearing, mind. Prema now responds almost as if to the Lord's bidding. It waxes by leaps and bounds, and the devotee's thirst for it increases proportionately. Gradually, like the waxing moon, these transcendental attributes combine together to mature fully. Uncountable like the waves in the ocean of unlimited bliss, a plethora of transcendental pastimes helps prema to stir and shatter the devotee's heart. Prema then installs itself in the devotee's mind as its guardian deity, repairing and rebuilding his inner being. Prema radiates its energy, audarya, in such a way that the devotee is able to relish unhindered all of the Lord's transcendental qualities.
Thus it cannot be refuted that the devotee can taste to his complete satisfaction all the different qualifies of the Lord, nor can it be argued that he relishes full bliss at this stage. This is possible owing to the Lord's wonderful and inconceivable potency that helps the devotee concurrently perceive all of the Lord's attributes with his five senses and the mind. This naturally inspires the devotee beyond imagination.
These transcendental topics are outside the jurisdiction of mundane logic. The Upaniñad confirms this: acintydh bhava ye bhava na tamstarkena-yojayeta. “Spiritual subject matter is inconceivable to the mind hence beyond the realm of mundane thoughts and arguments.”
The pure devotee is eager to relish altogether each of the Lord's sublime attributes such as His exquisite beauty. Butjust as a swallow with its beak shut tight is unable to slake its thirst even when it rains, so the devotee isalso helpless on. his own against the Lord's opulences inundating his senses. Seeing the devotee's predicament the Lord thinks, “Is this confusion the purpose of My matchless beauty?” So the Lord offers to the devotee His seventh opulence, compassion. This opulence is the headmistress of all the other attributes. It is she who is enthroned in the corolla of the eight-petalled lotus constituting the eight potencies like Vimala, Utkarsini, and so on, known collectively as svarüpa-çakti (the Lord's internal potency).

Sri Rupa-cintamani

The Cintamani Jewel of Beauty

by Srila Vishvanatha Chakravarti

Text 1

candrardham kalasam tri-kona-dhanushi kham goshpadam proshthikam
sankham savya-pade 'tha dakshina-pade konashtakam svastikam
cakram chatra-yavankusam dhvaja-pavi jamburdhva-rekhambujam
bibhranam harim unavimsati-maha-lakshmy-arcitanghrim bhaje

candrardham - half-moon; kalasam - waterpot; tri-kona-dhanushi - bow; kham - ether; goshpadam - cows hoofprint; proshthikam - fish; sankham - conchshell; savya-pade - on the left foot; atha - then; dakshina-pade - on the right foot; konashtakam - an eight - pointed star; svastikam - a svastika; cakram - a wheel; chatra - a parasol; yava - a barleycorn; ankusam - an elephant - goad; dhvaja - flag; pavi - a thunderbolt; jambu - jambu fruit; urdhva-rekha - urdhva - rekha;ambujam - lotus; bibhranam - holding; harim - Lord Hari; unavimsati - ;maha - great;lakshmi - opulence; arcita - endowed; anghrim - feet; bhaje - I worship.

I worship Lord Hari (Krishna), whose feet are endowed with the 19 great opulences of, on the left foot, the halfmoon, water-pot, triangle, bow, sky, cow's hoofprint, fish, conch, and on the right foot, the eight-pointed star, svastika, wheel, parasol, barleycorn, elephant-goad, flag, thunderbolt, jambu fruit, urdhva-rekha, and lotus.

Text 2

cchatrari-dhvaja-valli-pushpa-valayan padmordhva-rekhankusan
ardhendum ca yavam ca vamam anu ya saktim gadam syandanam
vedi-kundala-matsya-parvata-daram datte 'nv asavyam padam
tam radham ciram unavimsati-maha-lakshmy-arcitanghrim bhaje

cchatra - parasol; ari - ari; dhvaja - flag; valli - vine; pushpa - flowers; valayan - bracelets; padma - lotus; urdhva-rekha - urdhva - rekha; ankusan - elephant - goad; ardhendum - half - moon; ca - and; yavam - barleycorn; ca - and; vamam - left; anu - following; ya - which; saktim - potency; gadam;club; syandanam - flowing; vedialtar; kundala - earrings; matsya - fish; parvata - mountain; daram - conchshell; datte - places; anu - following; asavyam - right; padam - foot; tam - Her; radham - Radha; ciram - eternally; unavimsati - 19;maha - great;lakshmi - opulence; arcita - endowed; anghrim - feet; bhaje - I worship.

I worship Sri Radha, whose feet are endowed with the 19 great opulences of, on the left foot, the parasol, ari, flag, vine, flower, bracelet, lotus, urdhva-rekha, elephant-goad, halfmoon, and barleycorn, and on the right foot, the sakti, club, chariot, altar, earrings, fish, mountain, and conchshell.

Texts 3 and 4

kalindatmaja-veshtite manju-vrinda-
vane kunja-punjavrita-svarna-bhumau
mani-kuttimantar-maha-yoga-pithe
sphurat-tunga-kalpa-dru-mule su-gandhau

ati-bhraji-ratnaravinda-cchadali-
sthitali-sritau yau kisorau vibhatah
tayor adimasyambudabhasya nityam
smara tvam mano manjulam manda-hasyam

kalindatmaja - the Yamuna; veshtite - surrounded;manju - charming; vrindavane - in Vrindavana; kunja - forest groves; punja - many;avrita - filled; svarna - golden;bhumau - on the ground; mani - jeweled; kuttima - pavement; antar - within; maha-yoga-pithe - spiritual abode; sphurat - manifested; tunga - tall; kalpa-dru - kalpa - druma trees; mule - at the base; su-gandhau - fragrant; ati - very; bhraji - splendid; ratnaa - jewel; aravinda - lotus; chadali - petals; sthita - situated; ali-sritau - sheltered; yau - which; kisorau - the youthful couple; vibhatah - splendidly manifested; tayoh - of Them; adimasya - lightning; ambudabhasya - splendid as a monsoon cloud; nityam - eternally; smara - remember; tvam - you; manah - O mind; manjulam - charming; manda - gentle; hasyam - smile.

Decorated with splendid jewel lotus petals, the youthful and fragrant divine couple are splendid as a monsoon cloud and lightning as They stand on a jeweled golden pavement under a tall kalpa-druma tree by the Yamuna in Vrindavana Forest. O mind, please always remember Their charming, gentle smile.

Texts 5-10

lasad-barha-gunjancitam caru-cudam
suvakralakam citrakarcir lalatam
bhruvau locane nasikam svaccha-gandau
sruti-dvandvam udyan-mani-kundaladhyam

susonadharau vamsikam asya-vrittam
tri-rekhanci-kantham mridu-skandha-yugmam
bhujav ayatau sangadau bhushanadhyau
karav angulih sormika-lakshma-rekhah

urah-kaustubha-vanya-muktadi-malah
sriyam dharma-rekham stanordhve pradiptam
lasat-tunda-romavalir nabhi-padmam
krisam madhyamam kinkinim pita-vasah

su-pinor uru-janu-janghanta-gumpha-
dvayadho ranan-nupurau pada-padmam
manojnangulih sveta-sonan nakhams tat-
talarunyam aparsni-bibhranamanam

athangushtha-mule yavaryata-patram
tanum tarjani-sandhi-bhag urdhva-rekham
padardhavadhim kuncitam madhyam adho-
'mbujam tat-tala-stham dhvajam sat-patakam

kanishtha-tale tv ankusam vajram esham
tale svastikanam catushkam caturbhih
yutam jambubhir madhya-bhatashta-konam
mano re smara sri-harer dakshinanghrau

lasat - glistening; barha - peacock feather; gunja - gunja; ancitam - decorated; caru - beautiful; cudam - crown; suvakraa - curling; alakam - hair; citrakarcih - colorful tilaka marking; lalatam - forehead; bhruvau - eyebrows; locane - eyes; nasikam - nose; svaccha - splendid; gandau - cheeks; sruti-dvandvam - ears; udyan-mani - splendid jewels; kundala - earrings; adhyam - enriched; susona - red; adharau - lips; vamsikam - flute; asya - to the mouth; vrittam - placed; tri-rekha - with three lines; anci - arching; kantham - neck; mridu - soft; skandha-yugmam - shoulders; bhujau - arms; ayatau - broad; sangadau - with armlets; bhushanadhyau - decorated with ornaments; karau - hands; angulih - fingers; sormika-lakshma-rekhah - with lines of waves; urah - on the chest; kaustubha - Kustubha jewel; vanya - forest flowers; mukta - pearls; adi - beginning with; malah - garlands; sriyam - beauty; dharma-rekham - the line of dharma; stanordhve - on the breast; pradiptam - splendid; lasat - splendid; tunda - on the abdomen; romavalih - line of hairs; nabhi - navel; padmam - lotus; krisam - slender; madhyamam - waist; kinkinim - bells; pita - yellow; vasah - garments; su-pinoh - broad; urularge; januknees; janghanta - ankles; gumpha - tied; dvaya - two; adhah - beneath; ranan - tinkling; nupurau - anklets; pada - feet; padmam - lotus; manojna - beautiful; angulih - toes; sveta - white; sonan - and red; nakhan - nails; tat - of that; tala - the surface; arunyam - redness; aparsni - to the heel; bibhranamanam - manifesting; atha - then; angushtha - of the big toe; mule - at the base; yavaryata-patram - barleycorn; tanum - body; tarjani - the fore-toe; sandhi-bhak - meeting; urdhva-rekham - urdhva-rekha; padardhavadhim - to half the foot; adhah - beneath; ambujamlotus flower; tat-tala-stham - on the surface; dhvajam - flag; sat-patakam - flag; kanishtha - - of the smallest toe; tale - on the surface; tu - indeed; ankusam - elephant-goad; vajram - thunderbolt; esham - of them; tale - on the surface; svastikanam - of svastikas; catushkam - four; caturbhih - with four; yutam - endowed; bhata - manifested; ashta-konam - eight-pointed star; manah - O mind; re - O; smara - please remember; sri-hareh - of Lord Hari; dakshina - left; anghrau - on the foot.

O mind, please remember Lord Hari's splendid crown decorated with peacock feathers and gunja, His wavy locks of hair, His forehead splendid with tilaka, His eyebrows, eyes, nose, splendid cheeks, ears, glittering jewel earrings, red lips, flute, face, arching neck marked with three lines, soft shoulders, broad arms decorated with armlets and other ornaments, hands, fingers marked with wavy lines, chest decorated with kaustubha jewel and garlands of pearls and forest flowers and the splendid mark of the goddess of fortune, the line of hairs on His splendid abdomen, His lotus navel, slender waist, tinkling bells, yellow garments, large knees, ankles decorated with tinkling ankle-bells, lotus feet, graceful toes, pink toenails, the redness that extends across the soles of His feet up to His heels, and on His right foot: the barleycorn-mark at the base of His big toe, the urdhva-rekha by His fore-toe, the curved lotus in the middle of His foot, the flag on the surface of His foot, the elephant-goad and thunderbolt at the base of His little-toe, the four svastikas, the jambus, and the eight-pointed star in the middle.

Texts 11-16

viyan-madhyamadhah smarangushtha-mule
daram tad-dvayadho dhanur jya-vihinam
tato goshpadam tat-tale tu tri-konam
catush-kumbham ardhendu-minau ca vame

talam sonimaktam nakhan sveta-raktan
mridu-sona-parshni pade nupuradhye
lasad-gulpha-janghoru-parvoru-yugmam
tadit-pita-vaso mani-kinkini-yuk

krisam madhyamam nabhi-padmam gabhiram
tanum roma-rajim dalabhodara-stham
uro vistritam kaustubham lambi-haran
srajam sri-tulasyah stanordhve tu vame

sriyam dakshine brahma-lakshma tri-rekham
svaranam januh sadma-kantham suvrittam
mriduttunga-mamsa-dvayam sthula-phullau
bhujau sangadau kanti-purnau kaphoni

mani-bandha-bhushancitam hasta-yugmam
maha-lakshma-rekhati-raktau tu pani
suvarnormika angulis tan-nakhendun
mukham dipta-dantadharaushthakshi-gandam

su-nasa-bhru-gorocana-citrakarcir
lalatam sruti sancalat-kundaladhye
kacan kuncitan piccha-gunja-prasunaih
sritam caru-cudam sphuran-manda-hasyam

viyat - slender; madhyama - waist; adhah - beneath; smara - remember; angushtha - of the big-toe; mule - at the root; daram - conchshell; tad-dvaya - both; adhah - beneath; dhanuh - bow; jya-vihinam - without a bowstring; tatah - then; goshpadam - cow's hoofprint; tat-tale - on the surface; tu - indeed; tri-konam - triangle; catuh - four; kumbham - waterpots; ardhendu - half-mon; minau - fish; ca - also; vame - on the left; talam - surface; sonima - with kunkuma; aktam - anointed; nakhan - toenails; sveta-raktan - pink; mridu - soft; sona - red; parshni - hel; pade - foot; nupuradhye - withankle-bells; lasat - splendid; gulpha - ankle; janghoru-parvoru-yugmam - legs; tadit - lightning; pita - yelow; vasah - garments; mani - jewel; kinkini - bells; yuk - endowed; krisam - slender; madhyamam - waist; nabhi - navel; padmam - lotus; gabhiram - deep; tanum - body; roma-rajim - line of hairs; dala - flower petal; abha - splendid; udara - abdomen; stham - situated; urah - chest; vistritamexpanded; kaustubham - kaustubha jewel; lambi-haran - necklaces; srajam - garland; sri-tulasyah - of Tulasi; stanordhve - on the breast; tu - indeed; vame - left; sriyam - beauty; dakshine - on the right; brahma-lakshma - the sign of Brahma; tri-rekham - three lines; svaranam - of sounds; januh - knee; sadhma - abode; kantham - throat; suvrittam - graceful; mridu - soft; uttunga - raised; mamsa - flesh; dvayam - two; sthula - large; phullau - blossoms; bhujau - arms; sangadau - with armlets; kanti - with handsomeness; purnau - filled; kaphoni - elbows; mani - jewels; bandha - bound; bhushancitam - with ornaments; hasta-yugmam - hands; maha-lakshma-rekha - marked with auspicious lines; ati-raktau - very red; tu - indeed; pani - hands; suvarna - golden; urmika - with urmikas; angulih - fingers; tan-nakha - fingernails; indun - moons; mukham - face; dipta - splendid; danta - teeth; adharaushtha - lips; akshi - eyes; gandam - cheeks; su - handsome; nasa - nose; bhru - eyebrows; gorocana-citrakarcih - splendid tilaka made with yellow gorocana; lalatam - forehead; sruti - ears; sancalat - swinging; kundaladhye - with earings; kacan - hair; kuncitan - curley;piccha - peacock feather; gunja - gunja; prasunaih - with flowers; sritam - resting; caru - handsome; cudam - crown; sphurat - splendid; manda - gentle; hasyam - smile;

Please remember youthful Krishna's conchshell-mark at the base of His big-toe, beneath it the archer's bow without a bowstring, then the cow's hoofprint, the triangle, the four waterpots, the half-moon, and the fish, the soles of His feet anointed with red kunkuma, His pink toenails, soft red heels, feet decorated with anklets, splendid ankles and legs, garments as yellow as lightning, jewel bells, slender waist, deep lotus-navel, the line of hairs on His flower-petal abdomen, the kaustubha jewel, necklaces, and tulasi garland on His handsome chest, the mark of Brahma and the three lines on the handsome neck that gives birth to melodious singing, the large, blossoming flowers on His splendid, broad chest, His armlet-decorated arms flooded with glory, His ankles, His reddish hands marked with auspicious lines and decorated with jewel ornaments, His fingers decorated with golden rings, His face, His splendid teeth, lips, eyes, and cheeks, His handsome nose, eyebrows, and forehead decorated with gorocana tilaka, His ears decorated with swinging earrings, His wavy hair, His handsome crown decorated with peacock feathers, gunja, and flowers, and His glittering, gentle smile.

Text 17

vrindavane yau rasikau vibhatah
paraspara-prema-sudha-rasadrau
tayos tadin-nindi-rucah kisorya
nilamsu-kantah smara manda-hasyam

vrindavane - in Vrindavana; yau - who; rasikau - expert at enjoying transcendental pastimes; vibhatah - splendidly manifest; paraspara - mutual; prema - love; sudha-rasa - nectar; adrau - mountains; tayoh - of Them; tadit - lightning; nindi - rebuking; rucah - splendor; kisoryah - of the young girl; nila - blue; amsuka - garments; antah - within; smara - please remember; manda - gentle; hasyam - the smile.

A charming couple, two mountainous oceans of the nectar of the love they bear for each other, shines in Vrindavana Forest. The young girl, whose splendor rebukes the lightning flash, hides a gentle smile under Her blue sari. Please remember that smile.

Texts 18-25

veni-kritan kuncita-sukshma-kesan
cuda-manim ujjvala-patra-pasyam
vakralakan sat-tilakam lalatam
bhruvau drsav anjana-ranjitabhe
sruti-dvayam kundala-manju cakri-
salakike ganda-tale makaryau
nasam sa-muktam arunadharoshthau
dantarcishah sac-cibukam sa-bindum

kantham tri-rekham krama-lambamanan
haran natamsau bhuja-sangadatvam
kaphonike kankana-cudikadhye
sulakshma-rekharuna-pani-padme

ratnormika angulika nakha-sri-
sritah kucau kanculikarunabhau
nishkam dalabhodara-roma-panktir
nabhim krisam madhyam utam tri-valya

citrantariyopari nila-satim
uru-dvayam janu-yugam ca janghe
gulpha-dvayam hamsaka-nupura-sri-
bhutormika angulika nakhams ca

are manas cintaya radhikaya
vame pade 'ngushtha-tale yavari
pradesini-sandhi-bhag-urdhva-rekham
akuncitam acaranardham eva

madhyatale 'bja-dhvaja-pushpa-vallih
kanishthikadho 'nkusam ekam eva
cakrasya mule valayatapatre
parshnau tu candrardham athanya-pade

parshnau jhasham syandana-sailam urdhve
tat-parsvayoh sakti-pade ca sankham
angushtha-mule 'tha kanishthikadho
vedim adhah kundalam eva tasyah

veni-kritan - braided; kuncita - curly; sukshma - fine; kesan - hair; cuda-manim - crest jewel; ujjvala - splendid; patra-pasyam - a golden leaf; vakra - curly; alakan - hair; sat-tilakamyilaka; lalatam - forehead; bhruvau - eyebrows; drsau - eyes; anjana-ranjitabhe - decorated with mascara; sruti-dvayam - ears; kundalaearrings; manju - beautiful;cakri-salakike - round; ganda-tale - on the cheeks; makaryau - sharks; nasam - nose; sa-muktam - with a pearl; aruna - red; adharoshthau - lips; dantarcishah - splendid teeth; sac-cibukam - beautiful chin; sa-bindum - with a dot of musk; kantham - neck; tri-rekham - with three lines; krama - one after another; lambamanan - suspended; haran - necklaces; nata - gracefully sloping; amsau - shoulders; bhuja - arms; sangadatvam - with armlets; kaphonike - elbows; kankana-cudikadhye - decorated with bracelets; sulakshma-rekha - beautiful; and auspicious lines; aruna - red; panihands; padme - lotus; ratnormika - jewel urmikas; angulika - rings; nakha - fingernails; sri - beauty; sritah - shltered; kucau - breasts; kanculika - bodice; arunabhau - red; nishkam - locket; dalabha - like a flower petal; udara - abdomen; roma-panktih - line of hairs; nabhim - navel; krisam - slender; madhyam - waist; utam tri-valya - with three lines; citra - colorful; antariya - undergarment; upari - above; nila - blue; satim - petticoat; uru-dvayam - thighs; janu-yugam - knees; ca - and; janghe - legs; gulpha-dvayam - ankles; hamsaka - anklets; nupura - ankle-bells; sri - beauty; bhutormika - urmikas; angulika - rings; nakhan - fingernails; ca - and; are - O; manah - mind; cintaya - please meditate; radhikayah - of Radha; vame - on the left; pade - foot; angushtha-tale - on the big toe; yavari - barleycorn; pradesini - the fore-toe; sandhi-bhag - meeting; urdhva-rekham - an urdhva-rekha; akuncitam - small; acaranardham - small chariot; eva - indeed; madhyatale - in the middle; abja - lotus; dhvaja - flag; puspa - flower; vallih - vine; kanishthikadho - beneath the smallest toe; ankusam - elephant-goad; ekam - one; eva - indeed; cakrasya - of a wheel; mule - the hub; valaya - bracelet; atapatre - parasol; parshnau - on the heel; tu - indeed; candrardham - half-moon; atha - then; anya-pade - on the other foot; parshnau - on the heel; jhasham - fish; syandana - chariot; sailam - mountain; urdhve - above; tat-parsvayoh - of that side; sakti-pade - sakti; ca - and; sankham - conch; angushtha-mule - at thebase of the big toe; atha - then; kanishthikadhah - beneath the little toe; vedim - altar; adhah - beneath; kundalam - earing; eva - indeed; tasyah - of Her.

O mind, please meditate on Radha's fine, curly, braided hair, the jewel, golden leaf, tilaka, and curly hairs on Her forehead, Her eyebrows, mascara-anointed eyes, ears, the charming shark-shaped earings at Her cheeks, Her pearl-decorated nose, lips. splendid teeth, musk-dot-decorated chin, neck marked with three lines and decorated with many necklaces, gracefully sloping shoulders, armlet-decorated arms, elbows, lotus hands endowed with beautiful and auspicious lines and decorated with bracelets, jewel urmikas, rings, beautiful fingernails, breasts covered with a splendid red bodice, locket, flower-petal abdomen with a line of hairs, navel, slender waist marked with three lines, colorful undergarments, blue petticoat, thighs, knees, legs, ankles, anklets, ankle-bells, toe-urmikas, toe-rings, and toe-nails, the barleycorn and ari beneath Her left big-toe, the urdhva-rekha beneath Her fore-toe, the small chariot nearby, the lotus, flag, flower, and vine in the middle, the elephant-goad beneath Her little-toe, beneath that a bracelet and parasol, on the heel a half-moon, on the heel of the other foot a fish, above that a flying mountain, on the sides a sakti and pada, under the big-toe a conchshell, under the little toe an altar, and beneath that an earring.

Texts 26-31

pados tale parshni-yugam ca sonam
ratnormika rakta-nakhangulis ca
manjira-yugmam tanu-gulpha-jangha-
januru-sobha jaghanam nitambam

vasah sa-sutram mani-mekhalam ca
nabhim dalabhodara-roma-vallyau
pinau kucau kanculikancitau ca
kantham tri-rekham mani-hema-haran

skandhau natav angadinau bhujau sri-
bharau kaphoni mani-bandha-yugmam
vicitra-cuda-mani-kankanadhyam
sone karabje mridulangulis ca
ratnormikas tah su-nakhendu-khandan
sa-syama-bindum cibukam mukhabjam
oshthadharau ganda-yugam sa-citram
karnau lasat-kundala-candrikadhyau

nasam mani-mauktika-bhushitam drig-
dvayam lasat-kajjalam ucchalantau
bhruvau lalatam tilakam ca patra-
pasyam su-vakralaka-lolimanam

simanta-rekham smara citra-cuda-
manim prasunavali-gumpha-citram
venim tri-venim iva bala-pasyam
virajad agram atha manda-hasyam

padoh - of the feet; tale - on the surface; parshni-yugam - heels; ca - and; sonam - red; ratnormika - jewel urmikas; rakta - red; nakhangulih - toe-rings; ca - and; manjira-yugmam - ankle-bells; tanu-gulpha - ankles; jangha - legs; janu - knees; uru - thighs; sobha - beauty; jaghanam nitambam - hips; vasah - garments; sa-sutram - with sash; mani-mekhalam - jewel belt; ca - and; nabhim - navel; dalabha - like a flower petal; udaraabdomen; roma-vallyau - line of hairs; pinau - full; kucau - breasts; kanculikancitau - with a bodice; ca - and; kantham - neck; tri-rekham - three lines; mani-hema-haran - necklaces of gold and jewels; skandhau - shoulders; natau - sloping; angadinau+with armlets; bhujau - arms; sri - beauty; bharau - filled with; kaphoni - elbows; mani-bandha-yugmam - with jewels; vicitra - colorful; cuda - crown; mani - jewels; kankana - bracelets; adhyam - enriched; sone - red; karabje - lotus hands; mridula - delictae; angulih - fingers; ca - and; ratnormikah - jewel urmikas; tah - them; su-nakhendu-khandan - fingernail half-moons; sa-syama-bindum - with a musk-dot; cibukam - chin; mukhabjam - lotus face; oshthadharau - lips; ganda-yugam - cheeks; sa-citram - wonderful; karnau - ears; lasat - glistening; kundala - earings; candrika - by the moonlisght; adhyau - enriched;nasam - nose; mani - jewels; mauktika - pearls; bhushitam - decorated; drik-dvayam - eyes; lasat - splendid; kajjalam - mascara; ucchalantau - rising; bhruvau - eyebrows; lalatam - forehead; tilakam - tilaka marking; ca - and; patra-pasyam - a golden leaf; su-vakralakabeautiful curly hair; lolimanam - moving; simanta - in the part of the hair; rekham - the line; smara - please remember; citra - wonderful; cuda - crown; manim - jewel; prasunavali - flowers; gumpha-citram - wonderfully tied; venim - braids; tri-venim - the confluence of the Ganges Yamuna and Sarasvati; iva - like; bala-pasyam - a balapasya ornament; virajat - shining; agram - at thefront; atha - then; manda - gentle; hasyam - smile.

Please remember Radha's red soles and heels, Her jewel urmika ornaments, red toes and toenails, ankle-bells, beautiful ankles, legs, knees, thighs, hips, garments, sash, jewel belt, navel, flower-petal abdomen with a line of hairs, full breasts gracefully covered by a bodice, neck marked with three lines, necklaces of jewels anbd gold, sloping shoulders, beautiful arms decorated with armlets, elbows, wonderful jewel bracelets and ornaments, red lotus hands with delicate fingers, jewel urmikas, beautiful half-moon fingernails, musk-dot-decorated chin, lotus face, lips, wonderful cheeks, ears with earings glistening in the moonlight, nose decorated with pearls and jewels, eyes splendid with mascara, raised eyebrows, forehead with tilaka, golden-leaf-ornament, and moving locks of hair, line in the parted hair, wonderful jewel crown, braids wonderfully tied with flowers so they appear like the confluence of the Ganges, Yamuna, and Sarasvati, balapasya ornament, and splendid, gentle smile.

Text 32

sri-radhika-madhava-rupa-cinta-
manau mano dvi-trir atho catur va
avartayed yo dhritiman pathan sa
prapnoti tad-darsanam asu sakshat

sri-radhika-madhava - of Sri Radha-Krishna; rupa - of the beauty; cintamanau - the two cintamani jewels; manah - the mind; dvi - two; trih - three; atha - then; u - indeed; catuh - four; va - or; avartayet - reads; yah - who; dhritiman - a peaceful devotee; pathan - reading; sah - he; prapnoti - attains; tat - of Them; darsanam - the sight; asu - quickly and easily; sakshat - directly.

A peaceful devotee who, reading these verses, turns his heart two, three, or four times towards the cintamani jewel of the beauty of Sri Sri Radha-Madhava, will quickly and easily come to see them directly.

Srimati Radharani's Dream

Once Srimati Radharani woke up with a start.

She was next to Sri Krishna on the flower bedecked pastimes bed – and looked with deep questioning eyes into His eyes:

“O My beloved,” She asked, “I dreamt of someone extraordinarily – I am ashamed to admit, He stole My heart. Could it be You, of whom I dreamt – but in a different form? It must be!”

Krishna was smiling: “Tell Me more.”

“I beheld a golden youth. Sometimes He was bursting into tears, calling out “O Krishna, o Krishna!”

At other times He would sigh and call: “O Radha! Mistress of My heart, where are You?”

Then He fell on the ground loosing every little bit of patience left in Him as He drowned His associates in waves of lamentation. It seemed the earth was splitting. Now I want to know, is this golden Brahmin You, My beloved Kanha? Or is He Me, for He is always chanting “Krishna, Krishna” while shedding tears of ecstasy?”

After Sri Krishna had listened to more details of Radharani’s dream He replied mysteriously, “My most beloved Radha. In the past I have shown You so many forms of Mine, such as Narayan as well as Nrsimha, Varaha, Kurma, etc.

Never were You so astonished by seeing them and You were also never bewildered.”

Then Krishna happily paused and gave an order to the Kaustubh jewel which was hanging on His chest: “Jewel, show My beloved Her dream and give Her an answer.”

At this moment the jewel began to light up and spread his effulgence more and more until not a single place was not lit. And then it projected a scene of all the pastimes that Srimati Radharani had seen in Her dream with great detail. In this transcendental film Krishna revealed through his jewel servant that in fact Radha and Krishna had united to become that form of Gouranga who had appeared to taste Their loving ecstasies and then distribute that same love through His ecstatic chanting and dancing.

After Radharani had seen this overwhelming glimpse into the nature of Lord Gauranga, She remembered a prophecy of Garga Risi who had said during the name giving ceremony of Krishna that in the future Lord Krishna would appear in a golden form. Thus, Garga Muni had indicated this most confidential of all the incarnations who continuously drowns the entire universe in rivers of ecstatic love.

My dear devotees, please know that the dream of Radha and the projection of Krishna are the truth. For the Lord there is no difference between dreams and the reality or projections and the reality. Please quickly drink from the cup of faith in Lord Chaitanya and empty it totally. Then the Lord will cast His merciful glance upon you and you will be absorbed in Gaura bhakti.

At that time your heart will be flooded with the beautiful golden rays shining from the toenails of Srimati Radharani – that means you will find shelter under the lotus feet of Radha.

Gaura-tattva

Description of Gaura-tattva in the janmādyasya-verse

Kṛṣṇadāsa Kavirāja said in Caitanya Caritāmṛta (1.1.3):

na caitanyāt kṛṣṇāj jagati para-tattvaṁ param iha

‘There is no higher para-tattva in the world than Kṛṣṇa Caitanya.’

He is called para. This is endorsed by the first verse of Śrī Bhāgavata Mahāpurāṇa:

janmādy asya yato’nvayād itarataś cārtheṣv abhijñaḥ svarāṭ
tene brahma hṛdā ya ādi-kavaye muhyanti yat sūrayaḥ
tejo-vāri-mṛdāṁ yathā vinimayo yatra tri-sargo’mṛṣā
dhāmnā svena sadā nirasta-kuhakaṁ satyaṁ paraṁ dhīmahi

The verse speaks of the ‘birth’ (janma) of ādya or śṛṅgāra-rasa through Śrī Kṛṣṇa Caitanyadeva as the combined form of Rasarāja and mahābhāva. The followers of Caitanyadeva headed by ācāryas like Śrī Rūpa and Sanātana (anvayāt) as well as previous devotees (itarataḥ) are expert (abhijña) in arthas or the tattva of Kṛṣṇa-līlā. Śrī Gaura is svarāṭ, i.e. He appears (rājate) in His own svarūpa.

Śrī Gauracandra manifests (tene) brahma which is great (bṛṁhati) and makes those who worship Him great (bṛṁhayati), i.e. Caitanya-līlā, in the heart (hṛdi) of ādi-kavi Kṛṣṇadāsa Kavirāja and others.

Even tattvavādīs (sūrayaḥ) are bewildered (muhyanti) by this Gaura-līlā. What then can be said about the people of today?

In separation from Kṛṣṇa, water (vāri) sometimes comes out of the beautiful golden limbs of Gaurahari, i.e. He manifests the bodily transformation (sāttvika-vikāra) called perspiration (prasveda), and sometimes His body which moves smoothly becomes like earth (mṛd), i.e. He manifests the sāttvika-vikāra called paralysis (stambha). He thus transforms Himself (vinimaya). Gaura-līlā includes three stages: Navadvīpa, pilgramage to sacred places like Vṛndāvana, and Purī. They are called trisarga. They are amṛṣā, i.e. eternal (nitya); they are not imaginary.

He is always (sadā) in His own svarūpa (svena) in Navadvīpa (dhāman). Since Navadvīpa is concealed Vṛndāvana (nigūḍha-vṛndāvana) māyā keeps away from there (nirasta-kuhaka). Navadvīpa is a transcendental dhāma, where this Śrī Caitanyadeva eternally perfoms His pastimes. We meditate (dhīmahi) on this transcendental truth (para-tattva).

For this reason, the ācāryas said:

namas trikāla-satyāya jagannātha-sutāya ca
sa-bhṛtyāya sa-putrāya sa-kalatrāya te namaḥ

‘We bow down to the truth in all three phases of time, to the son of Jagannātha Miśra, to you together with your servants, sons, and wife, i.e. Śrī Viṣṇupriyā.’

Therefore, the word para refers to Śrī Kṛṣṇa Caitanya. That is why Kṛṣṇadāsa Kavirāja said:

na caitanyāt kṛṣṇāj jagati para-tattvaṁ param iha

‘There is no higher para-tattva in the world than Kṛṣṇa Caitanya.’

Sri Radha Krishna's Lotus feet!

These marks can be used as a identification marks for Radha Krishna! When we meditate on forms of Radha Krishna how can we be sure that They are Sri Yugal only & no other heavenly lovers or some other incarnations...well, Their unique (anupam) madhuri is indeed an option, but when meditating from this world, even Vishwanath Chakravaripada-ji starts his Sri Rupa Chintamani (meditation on sweet Yugal-svarup-madhuri) with meditation on these signs. And then goes on to prema-sudha-rasadrau—mountains of nectar!

Following is a labeled pic of Sri Krishna's Lotus feet:

candrardhaṁ kalasaṁ tri-koṇa-dhanuṣī khaṁ goṣpadaṁ proṣṭhikaṁ
śaṅkhaṁ savya-pade 'tha dakṣiṇa-pade koṇaṣṭakaṁ svastikam
cakraṁ chatra-yavaṅkuśaṁ dhvaja-pavi jamburdhva-rekhambujaṁ
bibhraṇaṁ harim unaviṁśati-maha-lakṣmy-arcitaṅghriṁ bhaje

The meanings of labeled items...

candrardham - half-moon
kalasam - waterpot
tri-koṇa - triangle
dhanuṣī - bow
kham - ether
goṣpadaṁ - cows hoof-print
proṣṭhikaṁ - fish
śaṅkhaṁ - conch-shell
koNaSTakam - an eight - pointed star
svastikam - a svastika
cakram - a wheel
chatra - a parasol
yava - a barleycorn
ankusham - an elephant - goad
dhvaja - flag
pavi - a thunderbolt
jambu - jambu fruit
urdhva-rekha - line traveling upwards
ambujam - lotus

And a labeled pic of Srimati Radharani's Lotus feet:

cchatrari-dhvaja-valli-puṣpa-valayan padmordhva-rekhaṅkuśan
ardhenduṁ ca yavaṁ ca vamam anu ya śaktiṁ gadaṁ syandanam
vedi-kuṇḍala-matsya-parvata-daraṁ datte 'nv asavyaṁ padaṁ
taṁ radhaṁ ciram unaviṁśati-maha-lakṣmy-arcitaṅghriṁ bhaje

Again the meanings of labeled items...

01. cchatra - Umbrella
02. ari - Disc
03. dhvaja - Flag
04. valli - Flowery Twig
05. puṣpa - Flower
06. valayan - Jewelled Bangle
07. padma - Lotus
08. urdhwa-rekha - Upward line
09. ankusham - Elephant Goad
10.ardhendu - Half Moon
11. yavaṁ - Barleycorn
12. śaktiṁ - Spear
13. gadaṁ - Club
14. syandanam - Chariot
15. vedi - Sacrificial Altar
16. kuṇḍala - Earrings
17. matsya - Fish
18. parvata - Mountain
19. daraṁ - Conch

Maintaining inspiration in bhajan

Q&A: Maintaining inspiration in bhajan: Sometimes inspiration comes, and again it goes...

Q: It is often seen that people come to Vraja for pilgrimage, associate with sadhus and gain much inspiration in bhajan -- only to have it diminish and wither in a few months after returning to West! What is the reason for this, how to avoid it?

A: There are several reasons for the diminishing of enthusiasm in bhajan. As a matter of general principle, it has to do with not exercising due caution in protecting one's bhajan. For a sadhaka, protecting one's bhajan is of the utmost essence. He should not neglect or squander his precious attainments.

In his Upadeshamrita, Srila Rupa Goswamipad has listed the following six items that cause the devastation of devotional pursuits:

atyAhAraH prayAsaz ca prajalpo niyamAgrahaH |
jana-saGgaz ca laulyaM ca SaDbhir bhaktir vinazyati || 2 ||

One's devotional service is spoiled when he becomes too entangled in the following six activities: (1) eating more than necessary or collecting more funds than required; (2) overendeavoring for mundane things that are very difficult to obtain; (3) talking unnecessarily about mundane subject matters; (4) Practicing the scriptural rules and regulations only for the sake of following them and not for the sake of spiritual advancement, or rejecting the rules and regulations of the scriptures and working independently or whimsically; (5) associating with worldly-minded persons who are not interested in Kåñëa consciousness; and (6) being greedy for mundane achievements.


If someone, after having spent time engrossed in bhajan, returns to his worldly life of harnessing so many items that are truly not of need for a life of bhajan, he is overwhelmed by a sense of possessive illusion that blocks the consciousness from entering the ways of bhajan. If one eats in excess or eats inappropriate food from inappropriate sources, sexual desire is provoked, the consciousness is tainted with evil and the mind becomes wicked. If one engages in idle talks, such as blasphemy, gossip or topics of sensuality, he cuts on the very root of devotion through blasphemy and gossip, cultivating taste for the mundane.

If someone neglects the execution of due devotional principles, one's daily religious vows of prayer, worship and meditation, the creeper of devotion withers in shortage of water. If one maintains mundane association either through cultivating relationships with worldly people or vicariously enjoying their ways through movies, novels and so forth, his taste for the worldly is nourished, and in proportion his interest in devotion vanishes. If the mind is fickle, running across the universe and taking interest in countless topics of sense enjoyment and intellectual interest, the focus of consciousness is scattered and led afar from bhajan.

Among the six items perfecting the practice of devotion, Rupa Goswami mentions sato vRtteH, which the commentator glosses as sadAcAra, or saintly conduct. Sadachar keeps one protected from varieties of aparAdhas and shields one from mundane influence, lack thereof leads one to unknowingly commit aparAdhas and leaves one vulnerable for the effects of the world. Therefore, one should learn and adopt appropriate sadachar, saintly conduct, to protect the tender creeper of devotion.

In his teachings to Sri Rupa, Sriman Mahaprabhu taught of the cultivation of the creeper of devotion and the need to exercise great caution (CC 2.19.154ff):

tabe yAya tad-upari goloka-vRndAvana |
kRSNa-caraNa-kalpa-vRkSe kare ArohaNa ||
tAhAG vistArita haJA phale prema-phala |
ihAG mAlI sece nitya zravaNAdi jala ||
yadi vaiSNava-aparAdha uThe hAtI mAtA |
upADe vA chiNDe, tAra zukhi’ yAya pAtA ||
tAte mAlI yatna kari’ kare AvaraNa |
aparAdha-hastIra yaiche nA haya udgama ||

"Then, it grows beyond and reaches Goloka Vrindavan, climbing to the desire tree of Sri Krishna's feet.
"Extending there, it produces the fruit of prema, as the gardener always sprinkles it with the water of hearing and the such.
"Should offence at the feet of a Vaishnava arise like a mad elephant, it'll uproot or break the creeper, making its leaves dry.
"Therefore the gardener, with great diligence, prepares a protective barrier to prevent the elephant of offence from awakening."

The observance of maryAda, or proper etiquette in dealings with Vaishnavas, coupled with due awareness of inadequacies in ingredients, places and manners of activity in worship, must therefore be assimilated and maintained if one is to maintain one's firmness in pursuing devotion.

Mahaprabhu described the undesired weeds that suck the life sap of the creeper of devotion in the following words:

niSiddhAcAra, kuTInATI, jIva-hiMsana |
lAbha, pUjA, pratiSThAdi yata upazAkhA-gaNa ||
seka-jala pAJA upazAkhA bADi yAya |
stabdha haJA mUla-zAkhA bADite nA pAya ||
prathamei upazAkhAra karaye chedana |
tabe mUla-zAkhA bADi’ yAya vRndAvana ||

"Forbidden acts, duplicity, hostility towards others, mundane gain, worship and distinction, these are the host of weeds.
"Drinking the water sprinkled, they are nourished while the growth of the main creeper becomes thwarted.
"The weeds must be discarded at the very moment of their appearance; Then, the main creeper will grow and reach Vrindavan."

One should therefore stay afar from forbidden acts such as sinful deeds or other acts deemed unbefitting in the Vaishnava scriptures, be transparent in his dealings and not lead a life of deceit, not cause undue grief and anguish to other living entities, and always beware the traps of mundane gain, worship and distinction that arise parallel with the growth of devotion.

Hence the famous words, sadhu savadhan! -- "Saints, beware!". Seek to protect your devotional accomplishments by carefully weeding out crippling elements, whilst always yearning for the company of affectionate and advanced sadachari-sadhus from whose hearts the nectar of devotion oozes in our direction, and who educate us in the ways of guarding our growth in devotion.

Discussing one's bhajan with others

Q: Is it all right to discuss one's bhajan with others? Perhaps one may have an exceptional dream or a realization during bhajan – to whom may one speak of it, and to whom not?

A: We sometimes come across Vaisnavas who are fond of liberally sharing of their experiences, gained in dreams and in wakefulness all the same. However, visions and dreams with special spiritual significance are private matters one should cherish within the chamber of the heart. By airing them out in the public, their impact on the self fades and vanishes over time.

As recommended in Hari-bhakti-vilasa:

svapne vAkSi-samakSaM vA Azcaryam atiharSadam /
akasmAd yadi jAyeta na khyAtavyaM guror vinA //2.143//

"In dreams, or before one's eyes, if an astonishing, thrilling event suddenly occurs, it is not to be told of to others aside the guru."

If there are senior Vaisnavas in whom we have deep faith, and whom we regard essentially in the capacity of a guru, dreams and other special events may be disclosed to them as well.

However, only one who has digested and well internalized the experience may share it with others. Even then, they are to be shared with the faithful alone – with those who will respect and find deep inspiration in the same. Revealing heart's matters before the faithless is wholly improper. If this warning is not paid heed to, we gradually lose the impact of the experience, and additionally risk becoming subject to pride and a host of other vice arising from an inflated sense of self-importance and the possible admiration of others.

Again, in the words of Narottama Das Thakur Mahasaya from his Prema-bhakti-candrika:

Apana bhajana kathA, na kahiba yathA tathA, ihAte haiba sAvadhAna /

"The topics of your own bhajana, speak not of them here and there. In this, I shall exercise caution."

Then, he notes: rAkha prema hRdaya bhariyA – "Protect your love, burying it within your heart!" He says, gupate sAdhibe siddhi – "Perfection is attained in secrecy." The intimacy of experiences with God is likened to the lovers' relationship in an apt metaphor found in Hatha-yoga-pradipika (3.9):

gopanIyaM prayatnena yathA ratna-karaNDakam /
kasyacin naiva vaktavyaM kula-strI-surataM yathA //

"Hide them with persevering effort,
as you would a basket of jewels –
Truly don't speak of them to anyone,
As a noble lady wouldn't speak of making love."

Therefore, accomplished Vaisnavas never share of their experiences in bhajana in public. The absence of replies does not make a commentary on the presence or absence of experiences as such. Often, it only tells of the wisdom of silence. Those who have something factually precious to share will carefully guard it as a hidden treasure. Access to such treasures is gained through gaining the Vaisnava's confidence, for such things are not to be squandered in broadcasting to a mixed audience, as one would not hurl bucketfuls of pearls before the swine.

Again, in the words of Sri Jiva from his Bhakti-sandarbha (339):

atra ca zrI guroH zrI bhagavato vA prasAda labdhaM sAdhana sAdhyagataM svIya sarvasva bhUtaM yat kim api rahasyaM tat tu na kasmaicit prakAzanIyam yathAha:

"Then, the secrets of one's own that are obtained with practice and in attaining perfection – with the grace of Sri Guru and Sri Bhagavan – are never to be disclosed to anyone. As in the Bhagavata:

naitat parasmA AkhyeyaM pRSThayApi kathaJcana /
sarvaM sampadyate devi deva guhyaM susaMvRtam // BhP 8.17.20

"This is not to be disclosed to outsiders, even if inquired on by someone;
All the secrets of the gods, O Devi, will yield their fruit when well concealed."

The warnings aside now, observe the merits of containing the experience – at the opening of Rupa's Utkalika-vallari, one of his final works:

prapadya vRndAvana-madhyam ekaH
krozann asAv utkalikAkulAtmA /
udghATayAmi jvalataH kaThorAM
bASpasya mudrAM hRdi mudritasya //1//

"Cast down amidst Vrindavana is one
In tears with the longings of an agitated heart
I shall reveal the fierce burning
The marks of tears imprinted in the heart."

The word baspa means tears, and it means steam as well. Countless tears have left their deep wounds in Rupa's heart. The outburst of seventy verses of intense emotion are the result of decades of withholding an immeasurable depth of feelings. Read the description of Bhakti-ratnakara:

eka dina rAdhA-kRSNa viccheda kathate /
kANDaye vaiSNava mUrccha-gata pRthivite //
agni-zikhA prAya jvale rUpera hRdaYa /
tathApi bAhire kichu prakAza nA haYA //
karu dehe zrI-rUpera niHzvAsa sparzila /
agni-zikhA prAYa sei dehe braNa haila //
dekhiYA sabAra mane haila camatkAra /
aiche zrI-rUpera kriyA kahite ki Ara //

"One day, the separation of Radha and Krishna was discussed;
The Vaisnavas cried, falling senseless on the ground.
Rupa's heart was ablaze like the tip of a flame,
And yet outside nothing was manifest at all.
Whose body Sri Rupa's exhalation would touch,
That body would be burnt, as if touched by a flame.
Seeing this, astonishment filled all –
Such are Sri Rupa's deeds, what more can one say?"

This is the power of conserving emotion and experience within. This is the power of devotion contained. Do not build up your bhajana only to waste it away, let it not be blown with the wind to a thousand directions.

Avoiding Six Kinds of Vaishnava-aparadha

How do the scriptures define Vaishnava-aparadha, the mad elephant we are told to keep away from the garden of our hearts? In the 265th anuccheda of his Bhakti-sandarbha, in explaining the ten offenses against the holy name, Sri Jiva quotes a verse from the Skanda Purana, delineating varieties of unbefitting acts in relation with a Vaishnava.

satAM nindA ity anena hiMsAdInAM vacanAgocaratvaM darzitam | nindAdayas tu yathA skAnde zrI-mArkaNDeya-bhagIratha-saMvAde –


nindAM kurvanti ye mUDhA vaiSNavAnAM mahAtmanAm |
patanti pitRbhiH sArdhaM mahAraurava-saMjJite ||
hanti nindanti vai dveSTi vaiSNavAn nAbhinandati |
krudhyate yAti no harSaM darzane patanAni SaT || iti |

“Defamation of the saints, as violence and so forth, as well as verbal, is now presented. Blasphemy and so forth are presented in the Skanda in the discourse of Sri Markandeya and Bhagiratha:

‘The fools who defame Vaishnava-mahatmas fall into a place known as Maharaurava along with their ancestors. The six degrading acts against Vaishnava are (1) killing him, (2) blaspheming him, (3) being envious of, or hating him, (4) not glorifying him, (5) being angry at him, and (6) not being happy upon seeing him.’”

According to Jiva it is also not acceptable to witness one, or several among the aforementioned degrading acts of defamation. The place known as Maharaurava is described in the fifth skandha of the Bhagavata (5.26.12) as follows:

evam eva mahArauravo yatra nipatitaM puruSaM kravyAdA nAma ruravas taM kravyeNa ghAtayanti yaH kevalaM dehambharaH ||

“Thus certainly a person who is exclusively absorbed in nourishing his body will be thrown to Maharaurava, where blood-thirsty hounds will devour his flesh and torment him.”

That said, let us examine the six kinds of degrading deeds.


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1.To kill. This is obviously a heinous act bound to destroy the creeper of devotion. Under this heading, any and all acts of physical violence are also included.

2. To blaspheme. All verbal acts of defamation come under this category. Calling a Vaishnava names, speaking harshly to him or about him, speaking lies of him and so forth are considered blasphemy.

3. To be envious or hateful. To be envious of a Vaishnava, to wish for his demise or suffering and to act towards this goal, and other thoughts, speech and deeds prompted by a feeling of malice towards a Vaishnava come under this heading.

4. To not glorify. All Vaishnavas are worthy of respect. To not respect a Vaishnava in accordance with his qualification, or to refuse from recognizing a particular good quality or deed of a Vaishnava, is unbefitting. Everyone is to be given all the respect they deserve, regardless of their having different opinions from ours.

5. To be angry. Whatever a Vaishnava does, we are not to display an outburst of anger towards him. It is permitted to display anger towards someone who is hateful towards the bhaktas, but this, too, is to be done in a civil, constructive way for the rectification of the wrong-doer.

6. To not be happy upon seeing. Whoever has accepted the holy names of Krishna is a blessing to the world. To not feel happiness upon meeting a soul who has chosen to approach the Lord, regardless of his defects, is inappropriate.


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Now I would like to bring this down to a practical level and examine the implications of the above unbefitting acts or attitudes when we evaluate the history of Gaudiya Vaishnavism, the doctrinal differences between various teachers, and so forth, in our discussions. Let me condense it into two sentences.

Regardless of what anyone has said or done, we should not (1) assault him or his followers, (2) call him names or speak of him harshly, or (3) wish anything bad for him. We should (4) justly give him all the credit he is due and praise his achievements, (5) avoid anger towards him as a person, and (6) be happy upon seeing or hearing of him or his followers, remembering that despite all differences, they also chant the all-auspicious names of Krishna.

I believe if we keep this in mind, we can live our devotional lives with a feeling of safety in the heart.

Rasa-tattva

Jaiva-dharma -

“Rasa is an unparalleled and most esoteric tattva. Rasa-tattva is the fully blossomed flower of the transcendental pastimes of the Supreme Personality of Godhead, Çré Kåñëa. When kåñëa-bhakti reaches the pinnacle of purity and becomes dynamically active, it is transformed into kåñëa-bhakti-rasa, the mellows of devotion to Kåñëa.”
Vrajanätha, “Is eligibility for kåñëa-bhakti-rasa gained through previous practice?”
Gosvämé, “This question does not have a simple answer. I shall have to elaborate upon the subject—you should try to understand it. You must have heard about kåñëa-rati, loving attachment to Kåñëa, otherwise known as sthäyi-bhäva, steady mood of devotion, from your Gurudeva. When sthäyi-bhäva is fanned and nurtured for a long time by sämagré-bhäva, the ingredients of rasa, it evolves into kåñëa-bhakti-rasa, the sublimely relishable mellows of çuddha-bhakti to Çré Kåñëa.”
Vrajanätha, “Kindly speak about sthäyi-bhäva and sämagré-bhäva. Çréla Gurudeva has explained bhäva to us, but we have not yet heard how the mingling of sämagré-bhäva with sthäyi-bhäva produces kåñëa-bhakti-rasa.”
Gosvämé, “Bhäva-bhakti and kåñëa-rati flourish in the heart of the devotee because of his involvement in bhakti in his present or previous lifetimes. They embody spiritual bliss, which at a mature stage transforms in to kåñëa-bhakti-rasa.
“Sämagré-bhäva is divided into four groups known as: vibhäva, that which causes the appearance of kåñëa-rati; anubhäva, subsequent ecstasy; sättvika-bhäva, constitutional ecstasy; and vyabhicäré-bhäva, aggressive ecstasy, also known as saïcäri-bhäva, continuously existing ecstatic symptoms. Vibhäva, which is also known as kåñëa-prema, is of two divisions: älambana, basic cause; and uddépana, awakening stimuli. Älambana is the basic cause that gives rise to rati, divine love, and is divided into two parts: viñaya, the beloved; and äçrayä, the lover. The beloved object is viñaya, and the one who embraces love is the äçrayä. Thus, the one who possesses rati is äçrayä, and the one who is the aim of that love is viñaya. The heart of the Kåñëa devotee embraces rati, hence the devotee is the äçrayä, and as Kåñëa is the object of the devotee’s love, so He is the viñaya.”
Vrajanätha, “As you have said, vibhäva is divided into two: älambana, the basic cause of transcendental love; and uddépana, items related to Kåñëa that stimulate the transcendental love. Älambana is again divided into two: viñaya, the object of love; and äçrayä, the receptacle of love. You have mentioned that Kåñëa is the viñaya and that the devotee is the äçrayä. Now a question arises: Is it possible that Kåñëa may also be the äçrayä of transcendental love?”
Gosvämé, “Certainly, as we have mentioned previously, when the devotee loves Kåñëa, Kåñëa is the viñaya and the devotee is the äçrayä. However, when Kåñëa loves the devotee, Kåñëa is the äçrayä and the devotee is the viñaya.”