chapter 22 of Govinda lilamrta and kartika

[Paramananda das]

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Subject: Re: chapter 22 of Govinda lilamrta and kartika

 
Subject: chapter 22 of Govinda lilamrta and kartika

dear Vaisnavas 

Please accept my humble obaisences

All glories to Srila Prabhupada 

 Today is the first day of Kartik so many devotees will go to Visrama Ghat in Mathura this is how you are supposed to start your Kartika by bathing in Yamuna for those of us far away from Yamuna we can offer prayers to Her and place some Yamuna water on ones head.Simply by remembering Yamuna devi we are purified ..Srila Rupa Goswami has written a beautiful prayer to Yamuna devi .The significance of Visrama Ghat is that after killing Hiranyaksa in Satya Yuga, Lord Varaha came here and spoke the Varaha Purana to Mother Earth personified and rested, in Treta Yuga Lord Ramachandras brother Satrughna came here and rested ,in Dvarpara Yuga , Krsna also rested at Visrama Ghat and took bath here after killing Kamsa, in Kali yuga Lord Caitanya came here and took bath at all 21 ghatas of Yamuna in Mathura including Visrama ghat , it is a place where the jiva can rest and get purified by bathing in Yamuna .So some vows are done at Visrama Ghat some vow to chant for example 32 or 64 rounds or more daily ,some take a vow to eat only Havisana or others that they will do Govardhana dandavat parikrama etc or most that they will visist all 12 forest of Vrindavana and many Upavanas smaller forests along with the vaisnavas .

Lets see what Srila Prabhupada recommended for Kartika :

(Srila Prabhupada Conversation with a disciple) 
Devotee (2): Srila Prabhupada, today is the beginning of urja-vrata (the Kartik vrata). Can you describe what that is, urja-vrata, how it should be observed? 
Prabhupada: Urja-vrata, you chant Hare Krsna twenty-four hours one month (laughter) That's all. 
Gurudasa: Hare Krsna, Hare Krsna, Krsna... 
Prabhupada: Yes. Don't sleep, don't eat. This is urja-vrata. Can you execute? 
Devotee (1): I don't know. (laughter) (Srila Prabhupada lecture 18/10/72 in Vrndavana RadhaDamodaraMandir)

Of course we are here to distribute Srila Prabhupadas books so we should think by distributing Srila Prabhupadas books this is the month of Kartika so let me distribute even more books as all things done in  proper devotional service in  Kartika is pleasing to Srimati Radharani a 1000 fold . In Mathura Mahatmya by Srila Rupa Goswami it is recommended to stay in Vraja Mandala during Kartika .Srimati Radharani is the month of Kartika personified.Today is the holy disapperance day of Srila Prabhupadas sannyasa Guru Srila Bhakti Prajnana Kesava Maharja and Sri Murari Gupta (the incarnation of Hanuman) that wrote the Caitanya Caritra .It is also the  night of Krsnas Saradiya Rasa yatra , Radha Krsnas first kartika Rasa lila.In Vraja it is celebrated by offering Radha Krsna sweet rice and leaving it out in the full moon ,rather super moon according to scientific terms.Srila Vyasadeva wrote th dictated the 10th canto of Srimad Bhagavatam in Vrindavana to Ganesh, the other 9 cantoes where dictated to Ganesh in Badrinath in Himalayas, but this place is called Adi Badri Ghat on the bank of Yamuna and considered the origin of Badarinath 

Passing Adi-badri-ghat where Vyasadev wrote the Tenth                 Canto of Srimad-Bhagavatam and Raj-ghat where Krisna disguised Himself as a boatman demanded to wash Radharani's feet and than wanted to be fed by all the sweets they were carrying we will approach the old banyan tree at Sri Caitanya-visram-sthali...

The Maharasa lila took place on this first day of Kartika from what I have heard from authorities on bhakti in Vrindavana ,this is the day all the gopis that came from a conditioned stage like the personified Vedas where allowed to enter the rasa lila ,some my not have blessings to read Govinda lilamrta from their Gurudeva but Srila Narayana Maharaja blessed me to study this book carefully and explain it and many other vaisnava litteratures to devotees that may be interested in these deep topics.He himself commented on many books of the acaryas like Gita Govinda because he was qualified to do so . Srila Narayana Maharaja explained we should approach Govinda lilamrta via the Bhajan rahasya of Srila Bhaktivinoda Thakura meaning study this book along side Govinda lilamrta :  Chapter 8: Astama-yama Sadhana - Pastimes at Night  Prema-bhajana Sambhoga (Devotional Love) The nistha, or firm faith of a devotee who has achieved perfection in pure devotion, with complete dependence on Krsna, is described in the Siksastaka (8) as follows:  aslisya va pada-ratam pinastu mam  adarsanan marma-hatam karotu va  yatha tatha va vidadhatu lampato  mat-prana-nathas tu sa eva naparah (1)  Let Krsna tightly embrace this maidservant, who has fallen at His lotus feet. Let Him trample me or break my heart by never being visible to me. He is a debauchee, after all, and can do whatever He likes, but He is still no one other than the worshipable Lord of my heart. I am a maidservant at the lotus feet of Krsna. He is the embodiment of transcendental happiness and mellows. If He likes He can tightly embrace me and make me feel oneness with Him, or by not giving me His audience, He may corrode my mind and body. Nevertheless, it is He who is the Lord of my life. The state of one who remembers Krsna's pastimes is that, like Krsna, his body is also sac-cid-ananda. Therefore the Vaisnava's body is not different from Krsna's. Krsna explains this to Uddhava in the following words from Srimad Bhagavatam (11.29.34):  martyo yada tyakta-samasta-karma niveditatma vicikirsito me  tadamrtatvam pratipadyamano mayatma-bhuyaya ca kalpate vai (2)  A person who gives up all fruitive activities and offers himself entirely unto Me, eagerly desiring to render service unto Me, achieves liberation from birth and death and is promoted to the status of sharing My own opulences. Such a devotee enters into the Lord's pastimes and enjoys with Him. The devotee's bhajana nistha is described in the Manah-siksa in these words:  na dharmam nadharmam sruti-gana-niruktam kila kuru  vraje radha-krsna-pracura-paricaryam iha tanu  saci-sunum nandisvara-pati-sutatve guru-varam  mukunda-presthatve smara paramajasram nanu manah (3)  O my dear mind, please do not perform the religious activities prescribed in the Vedas or the sinful activities prohibited in the scriptures. Just stay in Vraja-dhama, which is manifest on this material plane, and fully engage in the service of the Divine Couple, Sri Sri Radha-Krsna. Always remember Sri Gaurahari, the son of Mother Saci, is nondifferent from Sri Krsna, the son of Maharaja Nanda. And always remember that Sri Gurudeva is the dearmost associate of Mukunda. These feelings are your transcendental wealth. The devotee's humility is described by Sanatana Gosvami in the next verse, quoted by Srila Rupa Gosvami in the Bhakti-rasamrta-sindhu. One who has achieved the stage of rati (bhava) and has firm hope that Krsna will be kind to him prays as follows:  na prema sravanadi-bhaktir api va yoga 'thava vaisnavo  jnanam va subha-karma va kiyad aho saj-jatir apy asti va  hinarthadhika-sadhake tvayi tathapy acchedya-mula sati  he gopi-jana-vallabha vyathayate ha ha mad-asaiva mam (4)  O my Lord, I do not have any love for You, nor am I qualified for discharging devotional service by chanting and hearing. Nor do I possess the mystic power of a Vaisnava, knowledge, or pious activities. Nor do I belong to a very high-caste family. On the whole, I do not possess anything. Still, O beloved of the gopis, because You bestow Your mercy on the most fallen, I have an unbreakable hope that is constantly in my heart. That hope is always giving me pain. The devotee's introduction to his siddha-deha (spiritual form) is described in the Radha-rasa-sudha-nidhi (53):  dukulam vibhranamatha kucatate kancukapatam  prasadam svaminyah svakara-tala-dattam pranayatah  sthitam nityam parsve vividha-paricaryaika-caturam  kisorim atmanam catulaparakiyam nu kalaye (5)  I am a maidservant (manjari) of Radharani in my siddha-deha. With deep affection Srimati Radharani has bestowed on me Her mercy in the form of clothing which She has worn. Wearing this clothing, I will see myself as an adolescent young girl always remaining near Srimati Radharani, and ready to cleverly serve Her in different ways. In this way I will abandon my husband, and day and night serve the lotus feet of Radha in the groves of Vrndavana. The method of bhajana and place of residence for one who has attained the above mentioned contemplation is stated in the Upadesamrta (8):  tan-nama-rupa-caritadi-sukirtananu-  smrtyoh kramena rasana-manasi niyojya  tistan vraje tad-anuragi-jananugami  kalam nayed akhilam ity upadesa-saram (6)  The essence of all advice is that one should utilize one's full time twenty-four hours a day in nicely chanting and remembering the Lord's divine name, transcendental form, qualities and eternal pastimes, thereby gradually engaging one's tongue and mind. In this way one should reside in Vraja (Goloka Vrndavana-dhama) and serve Krsna under the guidance of His beloved Vrajavasi associates. One should follow in the footsteps of the Lord's beloved devotees, who are deeply attached to His devotional service. The devotee's process of bhajana is described in the Bhakti-rasamrta-sindhu. Under the guidance of the spiritual master, a raganuga devotee should always perform his own cherished eternal service:  krsnam smaran janam casya prestham nija-samihitam  tat-tat-katha-ratas casau kuryad vasam vraje sada (7)  A raganuga devotee should always reside in Vraja by constantly remembering Krsna with His dearmost associates according to his own rasa. If one is not able to physically live in Vraja, he should at least live there mentally. Those persons who are ignorant and always engaged in material sense gratification are never capable of residing in Vraja. However, the maha-bhagavats, who may not be residing in Vraja by external vision, are actually always living only in Vraja. The devotee's external behavior the symptoms and activities of one situated in prema is described in the Srimad Bhagavatam (11.2.40):  evam-vratah sva-priya-nama-kirtya  jatanurago druta-citta uccaih  hasaty atho roditi rauti gayaty  unmada-van nrtyati loka-bahyah (8)  By chanting the holy name of the Supreme Lord, one comes to the stage of love of Godhead. Then the devotee is fixed in his vow as an eternal servant of the Lord, and he gradually becomes very much attached to a particular name and form of the Supreme Personality of Godhead. As his heart melts with ecstatic love, he laughs very loudly or cries or shouts. Sometimes he sings and dances like a madman, for he is indifferent to public opinion. The devotee's firm faith in Vraja-lila is found in this verse, recited by Caitanya Mahaprabhu from the Kavya-prakasa, and quoted in Padyavali:  yah kaumara-harah sa eva hi varas ta eva caitra-ksapas  te conmilita-malati-surabhayah praudhah kadambanilah  sa caivasmi tathapi tatra surata-vyapara-lila-vidhau  reva-rodhasi vetasi-taru-tale cetah samutkanthate (9)  That very personality who stole my heart during my youth is now again my master. These are the same moonlit nights of the month of Caitra. The same fragrance of malati flowers is there, and the same sweet breezes are blowing from the kadamba forest. In our intimate relationship, I am also the same lover, yet my mind is not happy here. I am eager to go back to that place on the bank of the Reva under the Vetasi tree. That is my desire. In the Padyavali, Srila Rupa Gosvami has elucidated the previous sloka in the following words:  priyah so 'yam krsnah sahacari kuru-ksetra-militas  tathaham sa radha tad idam ubhayoh sangama-sukham  tathapy antah-khelan-madhura-murali-pancama-juse  mano me kalindi-pulina-vipinaya sprhayati (10)  My dear friend, now I have met My very old and dear friend Krsna on this field of Kuruksetra. I am the same Radharani, and now We are meeting together. It is very pleasant, but I would still like to go to the bank of the Yamuna beneath the trees of the forest. I wish to hear the vibration of His sweet flute playing the fifth note within that forest of Vrndavana. There are no pastimes equal to the pastimes performed in Vrndavana. These pastimes are unknown in other abodes beginning with Vaikuntha. In Vraja these pastimes have two divisions known as vicheda (separation) and sambhoga (meeting). Always enjoy these two transcendental mellows, as they are supremely blissful. The various pastimes performed during the meeting of Radha and Krsna are described in the Ujjvala-nilamani as follows:  te tu sandarsanam jalpah sparsanam vartma rodhanam  rasa-vrndavana-krida-yamunady-ambu-kelayah  nau-khela-lilaya-cauryam-ghatta-kunjadi-linata  madhu-panam vadhu-vesa-dhrtih kapata suptata  dyuta-krida-patakrstis-cambaslesau-nakharpanam  bimbadhara-sudhapanam-samprayogadayo matah (11)  When Radha and Krsna meet the following sports usually occur:  1) Sandarsana (looking at each other), 2) Jalpa (talks and making false arguments between each other),  3) Sparsa (touching each other), 4)Vartma-nirodhana (obstructing the path),  5) Rasa-lila, (rasa dance), 6)Vrndavana-krida (sporting in the forests of Vrndavana),  7) Yamuna-khelana (sporting in the water of the Yamuna),  8) Nauka-khela (sporting in a boat),9) Lila-chaurya (stealing the flute, clothes, flowers, etc.),  10)Dana-ghata-lila (pastime of charging tax at the ghata),  11) Kunjadi-linata (hiding in groves), 12) Madhupana (drinking honey),  13) Vadhu-vesa-dharana (dressing like a newly wed girl),  14) Kapata-nidra (pretending to sleep), 15) Dyuta-krida (playing chess),  16) Vastrakarsana (snatching each other's cloth), 17) Cumba (kissing), 18) Aslesa (embracing),  19) Nakharpana (scratching), 20) Bimbadhara-sudhapana (relishing the nectar of each other's lips)  21) Samprayoga (conjugal meeting). These are the different types of pastimes when Radha and Krsna meet. Decorating Radha-Krsna is described in the Stavavali, Seva-sankalpa-prakasa-stotra (9):  sphuran-mukta gunja mani sumanasam hara-racane  mudendor lekha me racayatu tatha siksana-vidhim  yatha taih samkanthaptair dayita-sarasi madhya-sadane  sphutam radha krsnavayam api jano bhusayati tau (12)  May Indulekha, who is my guru, instruct me in the art of making beautiful garlands of pearls, jewels, gunja and different flowers, so that I can charmingly decorate Sri Sri Radha and Krsna within the jeweled mandira in the middle of Radha-kunda. In the mood of separation, the Gopi-gita should be read. The gopis declare therein, Srimad Bhagavatam (10.31.9), that one who distributes the nectar of krsna-katha is the most munificent person.  tava kathamrtam tapta-jivanam kavibhir iditam kalmasapaham  sravana-mangalam srimad atatam bhuvi grnanti ye bhuri-da janah (13)  The nectar of Your words and the descriptions of Your activities are the life and soul of those suffering in this material world. These narrations, transmitted by learned sages, eradicate one's sinful reactions and bestow good fortune upon whoever hears them. These narrations are broadcast all over the world and are filled with spiritual power. Certainly those who spread the messages of Godhead are most munificent. One is introduced to the gopis' deep affection for Krsna by hearing of the great sorrow they experience while thinking of Krsna wandering throughout the forests of Vraja. They express their sorrow in the Srimad Bhagavatam (10.31.11):  calasi yad vrajac carayan pasun nalina-sundaram natha te padam  sila-trnankuraih sidatiti nah kalilatam manah kanta gacchati (14)  Dear master, dear lover, when You leave the cowherd village to herd the cows, our minds are disturbed with the thought that Your feet, more beautiful than a lotus, will be pricked by the spiked husks of grain and the rough grass and plants. Without seeing Krsna's beautiful face, decorated with curly hair, a moment appears like a hundred yugas for the gopis. This is expressed by the gopi's in the Srimad Bhagavatam (10.31.15):  atati yad bhavan ahni kananam truti yugayate tvam apasyatam  kutila-kuntalam sri-mukham ca te jada udiksatam paksma-krd drsam (15)  When You go off to the forest during the day, a tiny fraction of a second becomes like a millennium for us because we cannot see You. And even when we can eagerly look upon Your beautiful face, so lovely with its adornment of curly locks, our pleasure is hindered by our eyelids, which were fashioned by the foolish creator. The topmost position of gopi-bhava is meant only for Krsna's pleasure. An example of the gopi's bhava is given in the Srimad Bhagavatam (10.31.19):  yat te sujata-caranamburuham stanesu  bhitah sanaih priya dadhimahi karkasesu  tenatavim atasi tad vyathate na kim svit  kurpadibhir bhramati dhir bhavad-ayusam nah (16)  O dearly beloved! Your lotus feet are so soft that we place them gently on our hard breasts, fearing that Your feet will be hurt. Our life rests only in You. Our minds, therefore, are filled with anxiety that Your tender feet might be wounded by pebbles as You roam about on the forest path. An emotional outburst in sambhoga is described in the Krsna-karnamrta (12):  nikhila-bhuvana-laksmi-nitya-lilaspadabhyam  kamala-vipina-vithi-garvankusabhyam  pranamadabhaya-dana-praudhi-gadhadrtabhyam  kim api vahatu cetah krsna padambujabhyam (17)  Let my heart attain indescribable pleasure from the lotus feet of Krsna, which are the abode of the most sweet ever-sportive pastimes of Srimati Radharani, who is the goddess of fortune of all transcendental planets. His lotus feet defeat the pride of clusters of lotus flowers and they are highly esteemed due to their providing safety for the Lord's devotees. Again in the Krsna-karnamrta (18) it is said:  tarunaruna karunamaya vipulayata nayanam  kamalakuca-kalasibhara-vipuli-krta pulakam  muralirava-tarali-krta-muni-manasa nalinam  mama khelatu mada-cetasi madhuradharam amrtam (18)  May the nectar of Krsna's sweet lips intoxicate my heart by sporting within. His wide youthful eyes, reddish like the rising sun, are full of compassion seeing the fatigued condition of His beloved Srimati Radharani. Out of happiness, His hair is standing on end from the touch of the pitcherlike breasts of Kamala (Radharani). The sound of His flute is melting the hearts of the sages, which thus become soft like the lotus flower, and the already lotus-soft hearts of the gopis who have undertaken a vow of silence due to anger or shyness are further softened. The Ujjvala-nilamani describes in the following words the various services performed within the mind of one situated in his eternal form:  mithah prema-gunotkirttis tayor asakti-karita  abhisara-dvayor eva sakhyah krsne samarpanam  narmmasvasana-nepathyam hrdayodghata-patavam  chidra-samvrtir etasyah patyadeh parivancana  siksa-sangamanam kale sevanam vyajanadibhih  tayor dvayor upalambhah sandesa-presanam tatha  nayika prana samraksa prayatnadyah sakhi-kriyah (19)  In the conjugal pastimes of Krsna, Krsna is the hero (nayaka), and Radhika is the heroine (nayika). The first service of the gopis is to chant the glories of both the hero and the heroine. Their second service is to gradually create a situation in which the hero may be attracted to the heroine and vice versa. Their third service is to induce both of Them to approach one another. Their fourth service is to offer Radharani to Krsna, the fifth is to create a jovial atmosphere, the sixth to give Them assurance of Their meeting, the seventh to dress and decorate both hero and heroine, the eighth to cleverly inspire Radha and Krsna to express Their minds, the ninth to conceal the faults of the heroine, the tenth to cheat their respective husbands and relatives, the eleventh to give instruction, the twelfth to enable both hero and heroine to meet at the proper time, the thirteenth to fan both hero and heroine, the fourteenth to sometimes reproach the hero and heroine, the fifteenth to send messages, and the sixteenth to protect the heroine by various means. In Stavavali, Vraja-vilasa-stava (38) it is said:  tambularpana-pada-mardana-payo-danabhisaradibhir  vrndaranya-mahesvarim priyataya yas tosayanti priyah  prana-prestha-sakhi-kulad api kilasankocita bhumikah  keli-bhumisu rupa-manjari-mukhas ta dasikah samsraye (20)  By offering Them betel nuts, massaging Their feet, bringing Them water, arranging Their secret meetings, and by performing many other services, many maidservants affectionately please Radharani, the supreme controller of the Vrndavana forest. When the Divine Couple enjoy Their conjugal pastimes, these maidservants are not at all shy and they move freely without hesitation, even more than the prana-prestha-sakhis (such as Lalita and Visakha). I take shelter of those maidservants, who have Rupa-manjari as their leader. Pride in one's service is found in these words of the Gosvamis:  navyam divyam kavyam svakrtam atulam nataka-kulam  praheligudharthah sakhi-rucira vina-dhvani gatih  kada snehollasair lalita-lalita-prerana balat  salajjam gandharva sara-sama-sakrc-chiksayati mam (21)  When will Srimati Radharani, at the request of Lalita, teach me in delighted affection and modesty the incomparable dramas She has composed, along with new poems with deep meanings and charming ragas for the vina. Acceptance of Visakha-sakhi, whose voice defeats the singing of the cuckoo, as a guru for learning the art of music is given in the Stavavali, Prarthana:  kuhukanthi-kanthad api kamala-kanthi mayi punar  visakha ganasyapi ca rucira-siksam pranayatu  yathaham tenaitat yuva-yugalam ullasya saganal  labhe rase tasman mani-padaka haran iha muhuh (22)  I pray that Visakhadevi, whose voice is more enchanting than the cuckoos, may teach me the art of singing sweetly. By singing during the rasa dance songs learnt from her, I may please the youthful Divine Couple with Their associates. I will thus receive gifts such as Their jeweled lockets and necklaces. The ecstasy of rasa-lila is described in the Gita-govinda. Sri Krsna along with the damsels of Vrndavana always enjoy the pastime of rasa dance.  visvesam anuranjanena janayannanandam-indivara-  sreni syamala-komalair upanayann angair anangotsavam  svacchandam vraja-sundaribhir abhitah pratyangam alingitah  srngarah sakhi murttiman iva madhau mugdho harih kridati (23)  My dear friends, just see how Sri Krsna is enjoying the season of spring! With the gopis embracing each of His limbs, He is like Cupid personified. He enlivens the gopis and the entire creation with His transcendental pastimes. With His soft bluish-black limbs, which resemble blue lotus flowers, He has created a spring festival for Cupid. In the sweet land of Vrndavana, during the season of Vasanta, the bumble bees become mad and they come in a line to obtain nectar from the beautiful flowers. The most sweet king of transcendental rasa, Sri Krsna, enjoys the rasa dance with the sweetest nectarean sports along with the sweet gopis, who are expert at dancing. The sweet sounds of the karatalas and other instruments are heard as Krsna sweetly engages in dancing with the gopis. Vidyapati has come to know this sweet song which is full of mellows. The happiness of seeing Krsna is described in the Jagannatha-vallabha-nataka. The gopis therein express their great appreciation for meeting Krsna after separation from Him.  yada yato daivan madhu-ripur asau locana-patham  tadasmakam ceto madana-hatakenahrtam abhut  punar yasminn esa ksanam api drsor eti padavim  vidhasyamas tasminn akhila-ghatika ratna-khacitah (24)  If by chance the transcendental form of Krsna comes before my path of vision, my heart, injured from being beaten, will be stolen away by Cupid, happiness personified. Because I could not see the beautiful form of Krsna to my heart's content, when I again see His form I shall decorate the phases of time with many jewels. An introduction to ratri-lila (night pastime) is given in Govinda-lilamrta:  tav utkau labdha-sangau bahu-paricaranair vrndayaradhyamanau  presthalibhir lasantau vipina-viharanair gana-rasadilasyaih  nana-lila-nitantau pranaya-sahacari vrnda-samsevyamanau  radha-krsnau nisayam sukusuma-sayane prapta-nidrau smarami (25)  I remember Radha and Krsna, who at night are anxious for each other's company. After They meet, Vrndadevi serves Them in various ways as They roam throughout the forest. Radha and Krsna appear very charming with Their sakhis as They sing and dance in Their rasa pastimes. Becoming fatigued from Their sportive activities, They are served by Their many loving friends (manjaris). As the night ends, They lie on a bed of flowers where They sleep. The sakhis drown in an ocean of ecstasy as they observe these pastimes. O mind, remember and worship with a desire to enter into this pastime of Radha and Krsna's sleeping. One gradually attains perfection by always remembering the treasure of these eight-fold daily pastimes while engaged in devotional service. That sadhaka who attains the stage of svarupa-siddhi while practicing gopi-bhava relishes these asta-kala pastimes while residing in Vraja manifested in the material world. After achieving Krsna's mercy, when he leaves his material body, such a devotee attains the service of Radha and Krsna as Their associate within Vraja of the spiritual world. In that state there is no perception of the gross or subtle material bodies. By chanting the Hare Krsna maha-mantra in this state of eternal liberation, one easily achieves complete ecstatic love. O brother, the holy name never loses potency either at the stage of practice or perfection. Therefore, chant the holy name and consider it your sole objective. Don't consider any other means of sadhana. Thus ends the Astama-yama Sadhana of the Sri Bhajana-rahasya.  These pastimes are called Nisa lila ,nightly pastimes during Nisa Lila Lord Caitanya would go and sing and dance at the house of Srivasa Thakura al night long singing Hare Krsna during His pastimes in Navadvipa .

CHAPTER 22

"Night pastimes" (22.48 p.m. -3.36 a.m.)

(Summary description)

 

 

 

I remember Radha and Krishna at nighttime, Both very eager to meet Each other; being attended by Vrnda in so many ways. They play with Their dear girlfriends in the forest, singing and dancing. After many pastimes They go to sleep on a nice flowerbed, being attended by Their loving girlfriends.

 

 

Alternate readingI remember Radha and Krishna at night, having obtained Eachother's company and being worshipped by Vrnda with many paraphernalia and who enjoy joking riddles, nice talks, plays and Rasa- and Lasya dances along with Their most beloved girlfriends. They contemplate lovemaking and drink honeywine, being masters in different kinds of conjugal joy in the nikunja, which increases Their joy.

 

 

Vrnda and her group prayed to Radha and Krishna, taking Them to the veranda of the most beautiful jeweled temple, which was illuminated by the light of the full moon. There she made Them sit down on a golden flowerthrone which was covered with a fine in a pleasant spot cooled by a breeze from the Yamuna. Yrnda and her maidservants served Radha and Krishna with wonderful flower-ornaments, garlands, betelleaves, scents, fi~ns and nice water taken from the art-studio. (2-4)

 

 

Seeing Yrndavana, Shri Radha, the night, the Yamuna and her banks, the desire to play Rasa arose in Krishna's heart. (5)

 

 

One by one Krishna began all different items of His Rasa-festival with the gopis, like the play in the forest (vana vihara), wandering and dancing in a circle (cakra bhramana), ladies dancing in a circle (Hamsaka), mixed dances of ladies and men (yugma nrtya) , male dance (tandava), female dance (Iasya), single dance and essay-song with conjugal humours, dancing and watersports. (6-7)

 

 

jyoL~nolivaIam manda samfra vellitam sva sangamoddipta vasanta jrmbhita m nrtyan mayuram pika bhrna naditam vanam samiksyatra vihartum aicchat

 

The soft breeze caused the vines on the trees, that were illuminated by the full moon, to tremble. Krishna's presence and the spring season beautified the forest more and Krishna's desires for enjoyment were aroused by seeing the nice forest with its dancing peacocks and singing bees and Pika-birds. (8)

 

 

Then Krishna made His desires known to the gopis by playing His flute and the gopis consented in their reply by singing His names. (9)

 

 

kanane sudhamsu kanti subhra manju vigrahe

puspite samantvayadya me priyali varga he rantum atra vanchitani citta vrttir udvahe devam astu krishna ksna krishna krishna kanta he

 

Krishna said: "The lustre of the white moon is beautifying the forest and its flowers, carrying My desires to enjoy with you!" The gopis replied: "0 Krishna! Krishna! Krishna! l(rsna! 0 Lover! Let it be so!" (10)

 

 

Krishna got up with the gopis and Vrnda and softly sang, wandering around with them, circumambulating all the vines, trees and kunja's. (11)

 

 

mrdu malayanilay~ita lata taru patracayam sumadhura pancama dhvani ka7acana kokilam dhvanad ah barhinam pranayini gana gita guno vanam avagahya tat saramate harir atra muda

 

Joyfully Han rambled in the forest, where the leaves of the trees and the vines were moved by the soft Malayan breezes, where the cuckoos sweetly sang in the fifth note and where the bees hummed, peacocks meowed and the loving gopis sang songs. (12)

 

 

murcchotthita iva punar navatam ivapta snata ivamrta rasair madhu citrita va vrndavane taru lata mrga pa ksi bhrnga asan ha rer vana vihara viloka harsat

 

The trees, vines, bees, deer and birds of Vrndavana revived from their inertia, as if being showered by the nectarean vision of Han's enjoyment in the spring, which made them very happy, as if they had new life again. (13)

 

 

krtvagre dvija mrga cancarika vrndam krsneksutsukam atavi praharsiniyam candramsun karavalita maruccalarad ayantam tvaritam ivabhyupaiti krishnam

 

Vrndavana quickly came ahead to greet Krishna, bathing in moonrays, moved by the wind and keeping her deer; birds and bees in front of her in great joy (14)

 

 

gauranginam vapuh kanti mllitendu ruca vanam viliptam bhati dhautam va jalena kala dhautayoh

 

The forest was washed by the golden water of the gopis' splendour and the silver water of the moonlight. The mixtures of these colours was smeared on the scenery of Vrndavana. (15)

 

 

shri radhikanga dyuti vrnda sangamat krishnanga cancat dyutayo virejire sudhamsu muter dyuti punja ranjitas calat tamalagad ala layo yatha

 

The splendour of Shri Radhika's body, mixing with Krishna's sparking luster; was like the many moonbeams illuminating the restless leaves of a Tamala-tree. (16)

 

 

svagatah sthah sukhinah khaga mrga sarma vo lasati kim naga Jatah bhavyam avyavahitam madhupavastan aprcchad akhilan iti krishnah

 

Krishna asked all the forest creatures: "Welcome, 0 birds and deer! Are you all happy?" 0 Naga vines! Is all well? 0 Bumblebees! Is everything O.K.?" (17)

 

 

kisalaya kara bhak supuspitagre madhupa pikali ninada manju gana pavana guru vicalatataviyam harim avalokya nanarta nanartakiva

 

The blooming branches of the trees in the forest danced with the wind as their teacher; the budding twigs were its hands and the flowers were its fingertips. The bees and cuckoos sang charming songs when they saw Han.

(18)

 

 

radha krishnav anv anucalato'sankhyan bhrngan srantan matva payayitum iva svam madhvikam vatali vellat kisalaya hastenotphulla sasvat premardrahvayati muda vasantiya m

 

The Madhavi-vines thought that the innumerable greedy honeybees were very tired of following Radha and Krishna's fragrance, so they called them to drink their honey with their hand-like blooming buds, that swun in the wind with great joy, melting of love. (19)

 

 

n~ja kula dharmam apohya gopika sukhayati krishnam itiva siksaya api surabhau sphutitatha tan mude tam ah rutair iha nauti malati

 

The blooming Malati-vines praised Krishna with the humming of their honeybees in the springtime with the following teaching: "The gopis make Krishna happy by neglecting their household duties." (20)

 

 

cancan matta bhramara vilasitapangaloka kusuma vihasita nrtyantivanila cala vapusa ma lii valli han mudam tanoti

 

The Malli-vines that danced in the wind with their smiling flowers and restless intoxicated honeybees gave great joy to Ran with their glances and their moving bodies. (21)

 

 

sva savidham ayitam viksya krishnam latali pramudita vihagadhvona nandimukhiyam malayaja pavanollalasat pallavay~at kavari vrtanayair nrtyativa pra modat

 

Seeing Krishna approaching, all the birds in the vines recited auspicious welcome to Him. These happy vines danced in the wind, that made their blossom-like hands shiver. (22)

 

 

pranayati kunjavalir api gunja- tati krta citra kusuma vicitra nava dala talpa'ty ah pika jalpa sadayita krishnadika hrdi trsnah

 

The kunjas made playbeds with fresh flowerpetals and various wonderful gunja-beads where the bees and Pika-birds sweetly sang to increase Radha and Krishna's eagerness for love. (23)

 

 

radha sampalingita dehe'mrta varse mandradhvane krishna payode sphurite'gre

keka dhvanair unnata pinchaih sikhinibhi nrtyaty aran matta mayuravalir uccaih

 

The Krishna-cloud embraced the Radha-lightning, showering nectar and making deep rumbling sounds. Seeing this, the intoxicated peacocks danced with their peahens, spreading out their feathers and singing 'ke ka' out loud. (24)

 

dhvanad ah vihagam sitavater itam parinata phala yuk candrika rusitam vikaca kusuma sat saurabham shri harer

vanam idam atanod indriyanam mudam

 

Yrndavana pleased all of Han's senses. His ears with her singing birds and bees, His skin with her cool breeze, His tongue with her ripe fruits, His eyes with her moonbeams and His nose with the fragrance of Her blooming flowers. (25)

 

 

atha dara phullam asoka Jata stavaka yugam vrsabhanu suta

svayam avacitya ha reh sravasos capala ka rena dadhau sumukhi

 

Vrsabhanu's fairfaced daughter personally picked two slightly blooming Asoka-clusters and placed them in Marl's ears with shivering hand. (26)

 

 

tad anu ca calita svayam harina'py asau pranaya kalahe sada'py aparajita tad api sa ca tat karad apahrtya tat

stavaka yugalam priya sravasor nyadhat

 

Krsna  went out to pick some flowers Himself wanting to adorn Her ears with them. Although Radhika usually wins loving quarrels, this time She was defeated and Han put the clusters in Her ears. (27)

 

 

The sakhis, whose waists are as thin as those of lions, sang Krishna's glories with clear sweet voices and Krishna increased their lusty desires for Him by touching them on the pretext of adorning them with flowers in a lonely place, ornamenting them with moods like vivvoka, kila kinchita, vilasa and Jalita (see chapter nine).(28-29)

 

 

sva varnitabhir valfibhir alidhvani misad asau anugito'nandayat tah puspadana misat sprsan

 

The vines sang Krishna's glories through their honeybees and Krishna pleased them by touching them as if He wanted to pick their flowers. (30)

Krishna sang very attractive songs about the moon and the vines, and the gopis sang these songs again, now interpreting them to be about Radha and Krishna: (31)

 

 

jagad ahiadaka silah pramada hrdi varddhita manasUa pllah radhanuradhikantar vilasat susubhc kalanidhih so' yam

 

Krishna sang: "The beautiful moon (kalanidhi) pleases the world with his character and increases the girls' lusty desires, taking the Radha and Anuradha stars with him." (32)

 

 

jagad ahiadaka silah pramada hrdi varddhita manasu~a pilah radhanuradhikantar vilasat susubhe kalanidhih so' yam

 

The gopis sang: "Beautiful, artful Krishna (kalanidhi) pleases the world with His character and increases the girls' lusty desires, taking Radha and Anuradha (Lalita) with Him." (33)

 

 

san malatyam asyam malatyam malatibhih phullabhih samvestita iha paritah punnago' yam virajate gahane

 

Krishna sang: "The Punnagatree is embraced by the blooming Malativines in the moonlit (malati) nights (malati)!" (34)

 

 

San malatyam asyam malatyam malatibhih phullabhih samvestita iha paritah punnago' yam virajate gahane

 

The gopis sang: "Krishna (who is Punnaga, the best of men) is embraced by the blooming Radha (malati) vine in the moonlit nights!" (35)

 

 

madhavalingfta madhavi bhrajate madhavas canaya phullaya rajate visvam apyet tayoh sangamanandatas caksusi nandayan modate sarvatah

 

Krishna sang: "The Madhavi-vine blooms up when she is embraced by the spring season and the spring is also beautified by the Madhavi-vine. The eyes of everyone in the world are pleased by this!" (36)

 

 

madhavalingita madhavi bhrajate madhavas canaya phullaya rajate visvam apyet tayoh sangamanandatas caksusi nandayan modate sarvatah

 

The gopis sang: "Madhavi Radhika blooms up when She is embraced by Madhava Krishna and the eyes of everyone in the whole world are pleased by It!" (37)

 

 

samphulla samphullo milanan mitha iha vane sadalinam kancana va lii casau sukhada tapincha maulis ca

 

Krishna sang: "The blooming Tamala-tree (tapincha mauh) and the blooming golden vine (kancana valli) are always pleasing the honeybees (a Ii) with their meeting." (38)

 

samphulla samphullo milanan mitha iha vane sadalinam kancana va lii casau sukhada tapincha maulis ca

 

The gopis sang: "Krishna, who wears the crown of peacockfeathers (tapincha mauli) and Radhika, who is like a golden vine (kancana valli), please their girlfriends (ah) with their meeting." (39)

 

 

samsann iva madanajnam madayan hrdayam ka Jam gayan nava padminisu ratrau vilasati madhusudanas citram

 

Krishna sang: "In the night, the bumblebee (madhusudana) sings on the fresh lotusfiowers (padmini), pleasing the hearts of those who hear it, on Cupid's order. How amazing!" (40)

 

 

samsann iva madanajnam madayan hrdayam kalam gayan nava padminisu ratrau vilasati madhusudanas citram

The gopis sang: "At nighttime, the bumblebee (madhusudana) Krishna sings with the young lotus-like gopis (riava padminisu), pleasing the hearts of those who hear it, on Cupid's order. How amazing!" (41)

 

 

(Now follows a couple of verses that differ only in a few syllables:) rajani ramanas tamasam samano nalini kulam unmahasamapanut sitigur gagane sitibhe vighane suvabhau kumudavaka esa muda

 

 

Krishna sang: "The moon, who is the lover of the night (rajani ramana) destroys the darkness and the joy of the lotusfiowers (nalini kula). He is good fortune for the lilies (kumudavaka) in the cloudless (vighana) nights with its pleasing rays (sitigur gagane)." (42)

 

 

ramani ramanas tamasam samanah khalini ku Jam unmahasamapanut sitigur gahane sitibhe vighane vivabhau kumudakara esa muda

 

The sakhis sang: "The lover of the gopis, Krishna (ramani ramanah) destroys the darkness and the joy of the wicked (khalini kula). In the blue forest (5itigur gahane) where there are no birds (vighana) He gives joy to all people (kumudakara)." (43)

 

 

kamalini malini karane pat ur vidhurita dhuritaniha cakra van

nivi dadhad vidadhad bhagane dhrtim na sa mude samudeti vidhur mama

 

Krishna said: "The rising of the sweet moon gives Me no joy It gives great sorrow to the Cakravakas, it closes up the lotusfiowers and grasps the stars." (44)

 

 

sa s,udrsam sudrasam rucikrd rucir virahita rahita nija tarakah

suvidadhad vidadhat kumuda vanam vara mude sa mudeti vidhur hi nah

 

 

The gopis said: "That joy-giving Krishna, who relieves the pain of the fair-eyed gopis' separation from Him, giving pleasure to their eyes with His lustre and to the world destroying the demons, is just like the moon who rises to destroy all sorrow and bestows bliss to the world." (45)

 

While Krishna sang He was pleased with the sweetness of the forest and made the vines and the gopis bloom with the touch of His hands. Followed by the humming honeybees and gopis He came to a dais under the Yamsi vata tree. When He sat down there He saw that the Yamuna's desires increased by having His blissfull audience. She smiled at Him with the foam on her surface and sang with her birds, her senses becoming eager to unite with Krishna. (46-47)

 

 

sparsotsavayocchalad urmi hastam Jolabhja raktotpala phulla netram samucchalanna kramukoccha nasam

avarta gartotsuka karnapa Jim

 

She stretched out the arms of her waves out of eagerness to touch Krishna with restless red blooming lotus-eyes, her nose being the crocodiles that stick their noses out of the water and her ears being the spinning whirlpools that yearned to hear His music and His words. (48)

 

 

pulinani samiksy asau tatra rantu mana harih

krishnaparam gantu kamah samutthasthau priya ganaih

 

Seeing the bank of the Yamuna, Han became eager to enjoy there and wanted to go there with His beloved gopis. (49)

 

 

athagatanam sva jalantikam sa tesam padabjesu taranga hastaih

samarpya padmany atha tani krishna tais taih sprsantiva muhur vavande

 

When Krishna and the gopis came to her bank, Yamuna offered lotusflowers to their lotusfeet with her waves, repeatedly praising them as if touching them with these lotusflowers and waves. (50)

 

 

gati sinjfte mura ripor vanitanam drutam abhyasann iva ny~air gati nadaih tam ihabhyupaiti puratas tata kacchat

kalahamsikali valita kalahamsah

 

The swans and geese came from the shore of the Yamuna to learn from the swift movements of Murari's and the gopis' jingling anklebells how to coo. (51)

 

 

Seeing Krishna coming, Yamuna became very happy, stopped her current and increased her volume unlimitedly. But when she saw that Krishna was eager to cross her; she made her waters very shallow again. For Krishna's pleasure Yamuna became just kneedeep and the rivulets by her banks were just ankledeep. Han crossed one rivulet after the other; enjoying on the banks with I-us dear ones, increasing their lusty desires by eagerly smiling and looking at them, speaking and joking with them, embracing them, scratching their breasts with Mis nails and kissing them. (52-55)

 

 

Coming on the bank, Krishna danced a circle dance (cakra bhramana) with the gopis, eager to enjoy with them. This Rasa-cirele was just one hand high, standing on a disc on a stake stuck in the ground. Krishna stood in the middle with Radha, and three circles of gopis surrounded Them. In this way He looked like a Tamala tree entwined by a golden vine (Radhika's arms) and watered by three golden irrigation-canals (the concentric circles of gopis). (56-58)

 

 

On Radha and Mukunda's order Lalita and the other sakhis began the Hallisaka and Radha and Krishna danced in their midst; holding Their arms on Eachother's shoulders. (59)

 

This Rasa-circle rotated like a potter's wheel turned by the clever dancing steps of the Divine Couple and the gopis, that had nice buttocks. Aeyuta placed Radha between Lalita and Visakha, placing Her arms around their shoulders. The gopis all sang and danced around them, with Krishna sometimes joining them. The gopis in this Rasa-cirde sometimes moved slowly and sometimes quickly with light steps along with Man’s pace. Then Krishna expanded Himself and came inbetween each two gopis, placing His arms on their shoulders, like a Tamala-tree dancing with golden vines. (60-63)

 

 

so'Jata cakravat kvapi Jaghu gaty abhra mat tatha hitva mam kvapy asau nagad iti ta menire yatha

 

Sometimes Krishna swiftly circled around the gopis like a firebrand, using light steps, and making each gopi think: "Krishna has not left me to go anywhere!" (64)

 

 

sa ekam mandaJi krtva prante sarva priya ganaih

tasam madhye sphuran nrtyan cakram ca bhramayan vabhau

 

Then the gopis formed one outer circle (the three circles merged into one) and Krishna did a rotating dance in their midst. (65)

 

 

sva sak tim darsayan cakrad yugapad va kramac caJat avaruhya muhus tat tat sthanam asvaruroha sah

 

Krishna showed His own capacity by bending down and getting up while dancing or repeatedly going down on the floor and then quickly getting up again while rotating. (66)

 

 

gopyas ca yuga pat sarvah kadapy ekaikasah kvacit avaruhyaramaruhya cakrur mandaJa bandhanam

 

The gopis  would also stoop down and get up again, sometimes one alone and sometimes all together; remaining in a circle. (67)

 

 

After enjoying the circle-dance with the gopis in this way Han came down from the dancingstage-disc for other; special Rasa dances. He took all the gopis to the Yamuna-bank named Anangollasa ranga (the arena of blissful conjugal sports) which was cleansed by Yamuna's soft, wave-like hands scented with lilies and sprinkled and anointed by the nectarean moonrays. (68-69)

 

 

The gopis surrounded Radha and Krishna, holding hands in a circle, like the full moon and the Visakhaconstellation (here Shri Radha) surrounded by their corona (the sakhis). (70)

 

 

The Rasa-circie looked just like a golden disc of rotating ladies turned around by Han's axle, directed to make pots for the potter-king Cupid on the potter's disc of the Rasa mandaJa. (71)

 

 

tan manda Jam bhati viJasa sagare roddhum mano minam ihaiva kim hareh kandarpa kaivarta vara prasaritam haimam maha ja Jam uroja tumbikam

 

Just as the fisherman spreads out his net in an ocean of play to catch fishes, attachin gourd to his net as a bait, similarly the fisherman Cupid spread a golden net of gopis with gourd-like breasts as a bait attached to them to catch the Man-fish. (72)

 

 

The gopis held eachothers hands and Krishna held His arms on each of their shoulders, blissfully wandering around and dancing different dances. (73)

 

 

In this Rasa circle Krishna's forms all placed their arms on the gopis' shoulders. This vision defeated the beauty of a rotating cloud in a whirlwind (Krishna's dance) with steady streaks of lightning around it. (74)

 

 

kadacid eka evayam sviyabhramana Jaghavat bhramann aJata cakrabhah sarvasam parsvago'sphurat

 

Sometimes Krishna danced alone, moving fast like a firebrand, showing Himself at each gopis' side. (75)

 

 

han han dayitanam vamsika kantha ganair milita vaJaya kanci nupuraJi svanaughah natana gati virajad pada taJanugami nija vara madhurimna vyanase'sau jaganti

 

The sweetness of Han's flutesong and the voices of the gopis, mixing with the jingling of their anklebells, bangles and waistbells, going along with the rhythms of their dancing feet, pervaded the world. (76)

 

 

They sang unaffixed and affixed tunes, separately with the sa ri ga ma pa dha ni notes. They blisfully sang both pure and undistorted tunes. The pure tunes had seven divisions and the distorted had eleven. (77-78)

 

 

There are three kinds of scales that are not perceived by mortals - sadja, madhyama and gandhara. They loudly sang the Gandharascale. Casually they sang the twenty-two srutis (marginal notes), the seven main notes, the fourty-nine keynotes and the twenty-one kinds of murcchana sancara (fading voices). They sweetly ang the fifteen kinds of thrills like the Tiripa and many kinds of fixed notes like the Dhala. They sang the two kinds of affixed tunes: Suddha and Alaga. This suddha is again three-fold: rupaka, vastu and prabaddha. There are many kinds of voice and recitation in sequence (prabandha) and ragas like nyasa, amsa and graha. They sang with seven kinds of full (sampurna) voices, six kinds of sadava-voices and five kinds of audava voices. (79-84)

 

 

They sang the Mallara, Karnataka, Natta, Sama, Kedara, Kamodaka, Bhairava, Gandhara, Desaga, Vasantaka, Raganagaya, Malava, Shri, Gurjjari, Ramakiri, Gauri, Asavari, Gondakiri, Todi, Velavali, Mangala, Gujjari, Varatika, Desa Varatika, Magadhi, Kausiki, Pali, Lalita, Patha manjari, Subhaga and Sindhudameta-tunes, one after the other. (85-87)

 

 

The gopis always played jingling instruments, percussion, stringed instruments and wind-instruments handed to them one by one by Vrnda. They played five kinds of drums: mrdanga, damaru (Siva's X-shaped drum), dampha, mandu (slapping the hands on the water) and mamaka, three kinds of flute: muraJi, pavika7 and vainsi, karataJas (hand cymbals) and seven kinds of stringed instruments: vipanci, mahati, vina, kacchapi, kara nasika, svara mandaJika and rudra vina. (88-90)

 

 

While dancing, the gopis made different forms with the shadows of their hands, imitating a flag, a triple banner; a goose head, the head of the scissors, a parrot's head, a deer's head, tons, a Khattaka's head, a needle pin, a half moon, a lotusbud a snake fang and other forms. (91-92)

 

They clapped many kinds of rhythms, like the Dhruva and the Mantha, or their opposites. In these rhythms there are three divisions: past (atita), not yet come (anagata) and sama, that have sama (same), gopucchika (a cow's tail) and srota pauses. There are three kinds of tempoes - fast, medium and slow - and two kinds of dharana - soundless and with sound  The gopis sang with two kinds of mana (measure) - varddhamana and hiyamana, and two kinds of rhythm - mana and avarta. Krishna and His sweethearts sang with Cancat, Puta, Rupaka, Simha nandana, Gajalila, Eka Tala, Nihsari, Addaka, Pratimantha, Jhampa, Triputa, Yati, Nalakuvara, Nudghutta, Kuttaka, Kokila rava, Upatta, Darpana, Raja kolahala, Saci  priya, Ranga vidyadhara, Yadaka, Anukula, Kankana, Shri Ranga, Kandarpa sat pita putraka,  Parvati locana, Raja cudamani, Jaya priya, Rati lila, Tribbangi, Caccaran and Vara vikrama – rhythms. (93-101)

 

 

In the great poem Govinda Lilamrta, which was the result of service to Shri Rupa Gosvami, who is a honeybee at Shri Chaitanya's lotusfeet, the encouragement of Shri Raghunatha Dasa Gosvami, the association of Shri Jiva Gosvami and the blessing of Shri Raghunatha Bhatta Gosvami, this was the twenty-second chapter; dealing with the Rasa pastimes.