Vidagdha Madhava

[Paramananda das]

In 1990 t0 especially 1995 I was reading a lot of books by the acaryas translated by Kusakratha Prabhu one of them was Vidagdha Madhava and Lalita Madhava ,I read them first myself and later I read them out loud to Aindra Prabhupada and he and I used to discuss them every night I really wish I had recording of what we discussed and read but unfortunatly not there ,here my Guru Bhai is posting the book on facebook little by little, Srila Narayana Maharaja told me in 1989 and told the same to Aidnra Prabhu later ,yes you read all these books of the 6 Goswamis but also chant minimum 64 rounds daily and do Harinama Kirtana and discuss with devotees

I found this very wonderful article by Srila Bhaktivinoda Thakura online that had been translated from Bengali about Lalita Madhava and Vidagha Madhava :
Vidagdha-Mādhava o Śrī Lalita-Mādhava Nāṭaka-Dvaya Sambandhe Vaktavya (Talks Regarding the Two Dramas, Śrī Vidagdha-Mādhava and Śrī Lalita-Mādhava) is an undated and unpublished work of Śrīla Bhaktivinoda Ṭhākura which first appeared in the 20th volume of The Gauḍīya in 1942. In this article, Bhaktivinoda speaks about Śrīla Rūpa Gosvāmī's two dramas Vidagdha-Mādhava and Lalita-Mādhava, and examines the rasa within them as regards pārakīya and svakīya bhāva.
by Śrīla Bhaktivinoda Ṭhākura
(translated by Sanātana Dāsa & Parameśvarī Devī Dāsī)
These two books have been written by Śrīmad Gauḍīya rasācārya, Śrīmad Rūpa Gosvāmī. In Śakābdā 1454 (1532 CE), while sitting in Śrī Gokula, the younger brother of the mahātmā Sanātana, composed the book Vidagdha-Mādhava.* Again, in Śakābdā 1459 (1537 CE) in Śrī Bhadravana, during the month of Jyaiṣṭha, on Sunday, on the Caturthī-tithi, he completed the book, Śrī Lalita-Mādhava.**
*nanda-sindhu-bāṇendu-saṅkhye saṁvatsare gate

vidagdha-mādhavaṁ nāma nāṭakaṁ gokule kṛtam
(“This drama called Vidgdha-Mādhava was written in Gokula in the year 1589.”)*
Translator’s Note: 1589 is the year according to the Vikrama Samvat, the Indian calendar starting from the time when King Vikramāditya expelled the Śakas from India.
** nandeṣu-vedendu-mite ṣukrasya māsasya tithau caturthyām

dine dineṣasya hariṁ praṇamya samāpayam bhadra-vane prabandham
(“In the Śāka year 1459, in the month of Śūkra, on Sunday, the day of Caturthi, after offering my obeisance unto Hari, I have completed this book in the forest of Bhadra.”)
From the explanation which is given in Śrī Caitanya-caritāmṛta, Antya-khaṇḍa, we can see that Śrī Rūpa Gosvāmī came to Śrī Śrī Mahāprabhu in Nīlācala during the first year of Śrī Śrī Mahāprabhu’s final pastimes. As translated from the Antya-līlā–
prathama paricchede rūpera dvitīya-milana
tāra madhye dui-nāṭakera vidhāna-śravaṇa
(“The first chapter describes how Rūpa met the Lord for the second time, and within that section how the Lord heard his two dramas.”)
In 1438 Śakābda (1380 CE) the Lord’s final pastimes began. In that year only, Śrī Rūpa Gosvāmī started composing the drama. As written at the beginning of the Antya-līla:
ethā prabhu-ājñāya rūpa āilā vṛndāvana
kṛṣṇa-līlā-nāṭaka karite haila mana
vṛndāvane nāṭakera ārambha karilā
maṅgalācaraṇa ‘nāndī-śloka’ tathāi likhilā
pathe cali’ āise nāṭakera ghaṭanā bhāvite
kaḍacā kariyā kichu lāgilā likhite
(“Then, following the Lord’s instructions, Rūpa returned to Vṛndāvana. He desired to compose dramas abut Kṛṣṇa’s līlā. In Vṛndāvana, he began his drama by writing the maṅgalācaraṇa and the nāndī–śloka. On the road [to Bengal], he pondered over the events of the drama and wrote a few notes.” – Caitanya-caritāmṛta, Antya-līlā 1.34-36)
uḍiyā-deśe ‘satyabhāmā-pura’-nāme grāma
eka rātri sei grāme karilā viśrāma
rātre svapne dekhe eka divya-rūpā nārī
sammukhe āsiyā ājñā dilā bahu kṛpā kari’
“āmāra nāṭaka pṛthak karaha racana
āmāra kṛpāte nāṭaka haibe vilakṣaṇa”
svapna dekhi’ rūpa-gosāñi karilā vicāra
satyabhāmāra ājñā pṛthak nāṭaka karibāra
vraja-pura-līlā ekatra kariyāchi ghaṭanā
dui bhāga kari’ ebe karimu racanā
(“In Orissa there is a village called Satyabhāmāpura, and he rested for a night in that village. At night, he saw in his dream a woman with a divine form. She came towards him and with great mercy, gave him the following instruction – ‘Compose a separate drama about me, and by my mercy, it will be most unique.’ Upon seeing this dream, Rūpa Gosvāmī considered that since it was Satyabhāmā’s order, he should compose a separate drama.”- Caitanya-caritāmṛta, Antya-līlā 1.41-44)
āra dina prabhu rūpe miliyā vasilā
sarvajña-śiromaṇi prabhu kahite lāgilā
‘kṛṣṇere bāhira nāhi kariha vraja haite
vraja chāḍi’ kṛṣṇa kabhu nā yāna kāhāṅte
(“The the next day, the Lord went to see Rūpa and sat with him. Then the crest-jewel of omniscient personalities spoke as follows – ‘Do not take Kṛṣṇa out of Vraja. He does not leave Vraja at any time.’” – Caitanya-caritāmṛta, Antya-līlā 1.65-66)
eta kahi’ mahāprabhu madhyāhne calilā
rūpa-gosāñi mane kichu vismaya hailā
“pṛthak nāṭaka karite satyabhāmā ājñā dila
jānilu, pṛthak nāṭaka karite prabhu-ājñā haila
pūrve dui nāṭaka chila ekatra racanā
dui-bhāga kari ebe karimu ghaṭanā”
(“Upon saying this, Mahāprabhu went to perform His midday duties, and Rūpa Gosvāmī was left somewhat astonished in his mind. ‘Satyabhāmā gave the order to compose a separate drama – but now I understand it was the order of the Lord to write a separate drama. Previously, the two were one composition. Now I shall describe the events in two divisions.’” – Caitanya-caritāmṛta, Antya-līlā 1.68-70)
One day, Śrīman Mahāprabhu, accompanied by His devotees, discussed the two books of Śrī Rūpa. There, Lalita-Mādhava was discussed upto the second part. At that point, Vidagdha-Mādhava was almost complete. Even one or two ślokas were recited from the fourth section of Lalita–Mādhava. From all these discussions it can be seen that only during the year 1438 Śakābdā (1380 CE), the vraja–līlā of Vidagdha–Mādhava and Lalita-Mādhava were composed. However, it is written at the end of the book Vidagdha-Mādhava that this book was completed in the year 1454 Śakābdā (1532 CE). Five years after that, Lalita–Mādhava was completed. By that time, it was almost four years since Śrī Śrī Mahāprabhu had disappeared. When Rūpa Gosvāmī examined these two books, almost twenty years had passed.
These two dramatic works are the unprecedented results of the potency of Śrīmad Rūpa Gosvāmī’s spiritual perception. Everywhere within Vidagdha–Mādhava, pārakīya (paramour love) is the very basis of the parama-rasa (supreme mellow). In this alone rests the supreme ujjvala–rasa of Rādhā and Kṛṣṇa. The fact that goloka-līlā is vraja-līlā is brightly illuminated therein. Whatever is necessary for nitya-līlā is fully abundant within Vidagdha–Mādhava. The wonderful position of the beautiful form of Rādhā-Kṛṣṇa’s eternal parakīya-rasa is observed in this book. Upon reading this drama, supreme happiness will arise in those who are rasikas (relishers) of that supreme rasa. Such rasikas are of two types, namely ekāṅga–āsvādaka (those who relish one particular division of bhakti) and sarvāṅga–āsvādaka (those who relish all the divisions of bhakti). Generally, those who are ekāṅga–āsvādaka specifically respect Vidagdha–Mādhava alone, and show honour to Lalita–Mādhava by paying daṇḍavat–praṇāma to it. Those who are sarvāṅga–āsvādaka, realising the significance of both books, attain equal happiness in both these works. As long as the significance of both these is not felt, then Lalita–Mādhava will not be adored.
After reading Lalita–Mādhava wherein Śrīmatī Rādhikā gave the message that She would perform jala-praveśa (entering the waters of the Yamunā to end Her pain of separation) and was later married to Kṛṣṇa in the form of Satyabhāmā, Bhakta Sī___ Dāsa could not find happiness, and considering the following śloka of Śrī Rūpa Gosvāmī to be bhāva–virodha (adverse to bhāva), he was driven away.
priyaḥ so ’yaṁ kṛṣṇaḥ saha-cari kuru-kṣetra-militas
tathāhaṁ sā rādhā tad idam ubhayoḥ saṅgama-sukham
tathāpy antaḥ-khelan-madhura-muralī-pañcama-juṣe
mano me kālindī-pulina-vipināya spṛhayati
(““My dear friend, this is the same beloved Kṛṣṇa meeting Me here at Kurukṣetra. I am also that same Rādhā, and we Both feel the same joy of union –and yet My mind yearns for the forest on the bank of the Kālindī where the fifth note of His flute sweetly plays within My heart.”- Padyāvalī 386 and Caitanya-caritāmṛta, Antya-līlā 1.79)
Whatever doubt and grief appeared in Bhakta Sī___, to dispel that we discussed both books in detail and came to the conclusion that both of them have the same siddhānta (conclusion) and tātparya (significance). The heart of Śrī Rūpa in both books is moistened by the supreme rasa of pārakīya in comparative measure. In Vidagdha–Mādhava, that rasa is discussed as anvaya-rūpa (in a direct way), and again in Lalita-Mādhava, that rasa is discussed as vyatireka-bhāva (in an indirect mood). Those who have attained the softness of Rādhā-Kṛṣṇa’s unlimited aprākṛta-śṛṅgara-rasa (divine conjugal mellows) attain unbroken rasa from both books. Just as in Vraja. vipralambha (separation) arises in order to increase sambhoga–rasa (the mellows of union), and to enliven Rādhā’s exclusive prema, there is the opposition of Śrī Candrāvalī – similarly, based on a difference in bhāva from Dvārakā in Nava-Vṛndāvana, a new type of opulent sambhoga is portrayed due to the charm of the sublime Hero (Kṛṣṇa). Whatever form may be there, there is no samarthā–rati (affection that controls Kṛṣṇa); only samañjasā-rati (affection that is balanced due to social norms) can be aroused, and that is why he (Śrī Rūpa) has expressed his appreciation for the eternal pārakīya-rasa of Vraja which is manifest in this Nava-Vṛndāvana līlā. Śrīmatī’s prayer, which is the tenth verse of Lalita–Mādhava written below, is given only to establish the eternality of Vraja’s pārakīya-rasa.
sakhyas tā militā nisarga-madhura-premābhirāmīkṛtā
yāmī me samagaṁs tu saṁstavavatī śvaśrūś ca goṣṭheśvarī
vṛndāraṇya-nikuñja-dhāmni bhavatā saṅgo’yaṁ raṅgavān
saṁvṛttaḥ kim ataḥ paraṁ priyataraṁ kartavyam atrāsmi me
(“I have met with my naturally sweet, loving, beautiful sakhīs. I have found my sister [Candrāvalī], and all her associates, and my mother-in-law, the queen of the cowherds [Yaśodā]. and I have attained your company within the groves of the forest of Vṛndā, and this also makes me most happy. What more can be obtained for me than all these things?” – Lalita-Mādhava 10.36)
tathāpīdam astu
cirād āśā-mātraṁ tvayi viracayantaḥ sthira-dhiyo
vidādhyur ye vāsaṁ madhurima-gabhīre madhu-pure
dadhānaḥ kaiśore vayasi sakhitāṁ gokula-pate
prapadyethās teṣāṁ paricayam avaśyaṁ nayanayoḥ
(May there be more – “To those persons that reside in the extremely sweet Madhupurī, who, with a steady heart have yearned to attain You for a long time – O Lord of Gokula, kindly appear before their eyes as their youthful friend.” – Lalita-Mādhava 10.260)
kiñca –
yā te līlā-pada-parimalodgāri-vanya-parītā
dhanyā kṣauṇī vilasati vṛtā māthurī mādhurībhiḥ
tatrāsmābhiś caḍula-paśupī-bhāva-mugdhāntarābhiḥ
samvītaṁ tvaṁ kalaya vadanollāsi-veṇur vihāram
(Furthermore – “That auspicious land within Māthura which is imbued with sweetness, surrounded by forests which emit the fragrance of Your līlā, is the place where You, with the effulgent flute sitting upon your lips, must sport with us, the beautiful gopīs, who are overwhelmed with emotions.” – Lalita-Mādhava 10.261)
Śrī Kṛṣṇa has said, tathāstu (‘May it be so!’) in regards to that. Also, in the seventh verse of Śrī Vidagdha-Mādhava, Paurṇamāsī Devī has prayed:
prathayan guṇa-vṛndā-mādhurīm adhi-vṛndāvana-kuñja-kandaram
saha rādhikayā bhavān sadā śubham abhyasyatu keli-vibhramam
(“Expanding the sweetness of Your various qualities, may You always engage in auspicious playful pastimes with Rādhikā within the secret bowers of Vṛndāvana.”)
The conclusion of Śrīmad Rūpa Gosvāmī is that all the pastimes of Śrī Kṛṣṇa are eternal. Vraja-līlā, māthura-līlā and dvārakā–līlā are all eternal. Based on whether it is prakaṭa (manifested) or aprakaṭa (unmanifested), the līlā is of two types. Based on the will of Kṛṣṇa, the Līlā-Śakti reveals the pastimes in two ways based upon whether they are prakaṭa or aprakaṭa. The līlā which is seen in this physical world is prakaṭa. That which is not seen in the physical world is only aprakaṭa. Vraja–līlā, māthura–līlā and dvārakā–līlā are within the aprakaṭa–līlā. One of the names of Vraja and mathura-līlā is goloka-līlā. Dvārakā-līlā is said to be the līlā of Śrī Kṛṣṇa in Vaikuṇṭha. The form which is in the aprakaṭa–līlā also manifests within the prakaṭa-līlā. As it is said in Śrī Laghu-bhāgavatāmṛta:
tatrāpi gokule tasya mādhurī sarvato’dhikā
(“The sweetness of the Lord in Gokula is superior than that in the other places.” – Śrī Laghu-bhāgavatāmṛta, pūrva-khaṇḍa 284)
tatraiva –
dhāmāsya dvi-vidhaṁ proktaṁ mathurāṁ dvāravatī tathā
mathurāṁ ca dvidhā prāhur gokulaṁ puram eva ca
yat tu goloka-nāma syāt tac ca gokula-vaibhavam
(“The abode of the Lord is described as being in two parts – Mathurā and Dvārakā. It is also said that Mathurā also has two divisions – Gokula and the city of Mathurā. The opulence of Goloka appears as the abode of Gokula.” – Śrī Laghu-bhāgavatāmṛta, pūrva-khaṇḍa 277)
Therefore, only vraja–līla, within the states of prakaṭa and aprakaṭa, is the highest. Concerning the prakaṭa state, it is written:
vraje prakaṭa-līlāyāṁ trīn māsān viraho ‘munā
tatrāpy ajāni visphūrtiḥ prādurbhāvopamā hareḥ
tri-māsyaḥ paratas teṣāṁ sākṣāt kṛṣṇenā saṅgatiḥ
(“During the prakaṭa-līlā, the people of Vraja were separated from Hari for three months. Then Kṛṣṇa reappeared and for three months was directly amongst them.” – Śrī Laghu-bhāgavatāmṛta, pūrva-khaṇḍa 269)
Based on differences in līlā, such as when travelling to Dvārakā etc. Svayam-Kṛṣṇa’s Vāsudeva aspect manifests:
atha prakaṭa-rūpeṇa kṛṣṇo yadu-purīṁ vrajet
vrajeśatvam ācchadya svaṁ vyañjan vāsudevatām
(“In His prakaṭa form, Kṛṣṇa goes to the Yadu-purī (Mathurā). Covering His position as the Son of the king of Vraja, He manifests Himself as Vāsudeva.” – Śrī Laghu-bhāgavatāmṛta, pūrva-khaṇḍa 268)
For the Vraja-vāsīs, that līlā (of Kṛṣṇa leaving Vraja for Mathurā) manifests as if in a dream. Thus it is said:
vraje viharamāṇe ’smin prādurbhūya harau tadā
bhavet tasya pure yātrā svapnavad vraja-vāsinām
(“When Hari appeared in Vraja, the inhabitants of Vraja, who had felt separation from Him, took His journey to Mathurā to be a dream.” – Śrī Laghu-bhāgavatāmṛta, pūrva-khaṇḍa 472)
The significance is that for the associates of Vraja, any consideration of Dvārakā is momentary like a dream. Whenever Kṛṣṇa performs that līlā, the Vraja-vāsīs also travel to Dvārakā to attain momentary peace. That the Daughter of Vṛṣabhānu and Her associates are also connected to dvārakā-līlā is indicated in some Purāṇas. Taking recourse of such indications, Śrī Rūpa Gosvāmī has composed Lalita–Mādhava. The relishing of svakīya-bhāva (lawful conjugal emotions) in Dvārakā is merely a different display of Kṛṣṇa’s role as a hero. Exhibiting such heroism, Kṛṣṇa reveals the greatness of vraja-līlā. Although His sambhoga becomes successful, due to the scarcity of samarthā–rati in that state, both the Hero and the Heroine desire the happiness of Vraja. As stated by Sri Rādhikā in Śrī Lalita-Mādhava:
(smitaṁ kṛtva) bahiraṅga-janālakṣyatayā śrī-gokulam api sva-svarūpair alaṅkaravāmeti
(Smiling, Rādha says – “Invisible to outsiders, let Us decorate Śrī Gokula with Our original forms.”- Śrī Lalita-Mādhava 10. 37)
Kṛṣṇa replied, “O Dearest One! Allow Me to do that!”
Ekānaṁśā Devī has said:
sakhi rādhe mātrā saṁśayaṁ kṛthāḥ. yato bhavatyaḥ śrīmad-gokule tatraiva vartante. kintu mayaiva kāla-kṣepārtham anyathā prapancitam. tad etan manasy anubhūyatām. kṛṣṇo ‘py esa tatra gata eva pratīyatām.
(“O my Friend Rādhā! Have no doubt about this, because at this moment You are there in Śrīmad Gokula. However, by the power of time I have arranged this in another way. Thus You may perceive this within Your mind. You should understand that Kṛṣṇa is certainly here.” – Śrī Lalita-Mādhava 10. 37)
The significance is that Their meeting in Dvārakā is like a dream which is created by Yogamāyā. To nourish the eternal pārakīya of Śrī Kṛṣṇa, the svakīya-madhura-bhāva is introduced merely as a plaything by Śrī Yogamāyā.
In the first part of Śrī Vidagdha-Mādhava, Paurṇamāsī has said that the marriage of the gopīkas is actually false, yet Yogamāyā is exhibiting it as if it is factual. Therefore the marriage of the gopīs with others, or Kṛṣṇa, are all created by Māyā, and they are not actually true. Śrī Rādhā and Her own kāya–vyuha (expansions in the form of the gopīs) are all Kṛṣṇa’s eternal sakhīs in pārakīya-rasa. From time immemorial, in order to nourish rasa, they have the abhimāna (self-conception) of eternal pārakīya-bhāva. Hence they did not have a svakīya nature in Goloka and Bhauma-Vraja (Vraja within the material world). In Dvārakā and Vaikuṇṭha, the līlā they perform with Vāsudeva is only in svakīya-bhāva, that also is dream-like and one of their specific playful pastimes.
Vraja-līlā is eternal. Kṛṣna, the Son of Nanda, never leaves Vraja to go to any other place. The Supreme Potency, Śrīmatī Rādhikā, also never leaves Vraja in Her svayaṁ–rūpa (original form) to go anywhere else. In order to perform specific līlās with the prakāśa forms of Vāsudeva, forms such as Rukmiṇī and others are manifested – thats all! Therefore, pastimes such as Śrīmatī entering water and dying in separation of Kṛṣṇa etc. are like dreams and are merely daśā (a transcendental state of being). Amongst the various transformations of śrī-kṛṣṇa-prema, all these līlās are also a cause of supreme happiness.
ānanda-kuñja-sadane nava-khaṇḍa-dhāmni
śrī rūpa-nāṭaka-phalāni nirupayanti
rādhā-padābja-rata-duḥkhani-varaṇāya
māghe’sitāṣṭama dine hari-dāsa-dāsāḥ
(“On the eighth day of the dark moon of the month of Māgha, residing at Svānanda-sukhadā Kuñja, within the nine islands of Navadvīpa, this servant of the servants of Hari has explained the results of Śrī Rūpa’s dramas which give attachment to the lotus feet of Śrī Rādhā, which remove all types of suffering.”)
(‘Śrī Vidagdha-Mādhava o Śrī Lalita-Mādhava Nāṭaka-Dvaya Sambandhe Vaktavya – Talks Regarding the Two Dramas, Śrī Vidagdha-Mādhava and Śrī Lalita-Mādhava’ by Śrīla Bhaktivinoda Ṭhākura was translated into English by Sanātana Dāsa & Parameśvarī Devī Dāsī)

Bv Suddhadvaiti Swami
June 25 at 8:50 AM ·

Sri Vidagdha-madhava

Srila Rupa Goswami

First act

Skilled Krishna

Prologue

May the entertainments of Sri Krishna lessen the sufferings inherent in the material world and dispel all unnecessary desires! Lord Supreme's divine games are like sikharini, a mixture of yoghurt and candy sugar. They even outshine the moon-produced nectar as they spread the sweet aroma of Srimati Radharani and the other gopis’ intense love affairs.

May the Supreme Lord, who appeared as the son of Srimati Sacidevi, manifest His transcendental presence into the depths of your heart! Dressed with a radiance brighter than melting gold, he appeared in the age of kali by his unmotivated mercy to bestow what had not been offered for a long time and by no other avatar before him since: the treasure s ublime of the service of one's person imprint of sweet feelings in love.

The narrator: But why say all that flow of words? Gentlemen! Gentlemen! Please hear me out. Last night, Lord Siva Thakura appeared in the form of his own devotee, spoke to me in a dream, "O Rupa Goswami, you are an expert in theatrical composition." There is an enchanting place on the Govardhana hill side, near Kesi-tirtha. This charming grove, not far from the Yamuna banks, is brimming with a variety of wonderful flowers with a delicate scent. At this very moment, great devotees who have past masters in the art of savoring the various feelings of devotional service have gathered there, eager to contemplate the beauty of the Vrindavana forest. Their hearts are filled with love for Nanda Maharaja's son, the flower of all beautiful young people, who adorns a variety of young lotus buds. Played like a cuckoo that is cold by spring, master among the best flute players, he is like an ocean where porpoises fight, the hearts of the beautiful gopis of Vraja. What a great fortune that these devotees have!

Here, the gopis set off in search of Krishna, and there, in this area near the Yamuna bank, they shared with him the pleasure of a long rasa dance. Devotees spend their days repeatedly listening to the Gokula master's tales of entertainment, shedding abundant tears and rolling in ecstasy in the dust of the place. Plunged into the cesspool of separation from Mukunda, these great devotees are about to leave their bodies. O Rupa, please protect them from this peril by granting them a few drops of the nectar flow of his entertainment. I grant you my mercy so you can do this task. "

This is what Siva, the guru of the universe, told me. So I will now comply with his order.

Assistant Narrator (entrance): O Master, the cast members have heard the prologue of your new work Vidagdha-madhava and are now requesting permission to enter the stage.

The narrator: Dear student, so your costumes are finally ready? (He be thinking for a moment. ) Good. Let them in ! The poetry in this piece is not very refined. However, the wise devotees will take great pleasure in it as it brings the exquisite aroma emanating from the divine body of Sri Hari. Indeed, what wise man will not bow down and drink with great respect the water that bathed a salagrama-sila even if it flowed from a simple well?

Assistant Narrator: O master, bless us so that we can express ourselves clearly and elegantly, because this audience is so knowledgeable that they could even find faults in the devas if they acted in this play, what about you s, ordinary actors.

The narrator: Dear student, why such frivolous words? In reality, disregarding their own benefit, the members of this audience only care about others. Although they were born into noble families, rich and well educated, they are nevertheless very humble. They feel embarrassed if we praise them, as if they were sinners. How glorious are the admirable virtues of this holy audience!

(Announces in a loud, joyfully voice as he moves through the assembly of the eyes): My dear devotees of Krishna, this lion among Pastors, a certain shameless actor wishes to address you, the wise spiritual masters on this path of true r election. I beg you, please have mercy on this rude, arrogant being.

(Bowing down and staring at a fixed spot in the audience): O you learned devotees. I'm naturally ignorant and broken. But though it was from my pen that the Vidagdha-madhava was manifested, it nevertheless contains descriptions of the divine attributes of the Supreme Lord.

[This deliberately ambiguous verse can also be interpreted as a prayer addressed to one’s guru, and therefore also means: “May my most gracious Master, Srila Sanatana Goswami, an unlimited ocean of mercy, dwells in the sublimes.” forests of Vrindavana, and whose heart finds its delights in Sri Krishna's entertainment, always shower his grace on me. »]

Assistant Narrator: Master, look! These devotees assembled here are constantly absorbed in thoughts of the Lord, thus demonstrating their high level of devotion. This piece describes with forcefully poetic ornaments the entertainments characteristic of Sri Krishna. The cleats of the forests of Vraja provide an ideal setting for the dance of Krishna and his gopis. We who strive to progress in the path of bhakti, I conclude that our pious activities have matured. Hurry, please. Get your nectar on!

Narrator: Dear student, if I walk very slowly it is because I fear the harsh remarks from those who do not appreciate the nectar of the Lord’s entertainment.

Assistant Narrator: Master, let go of this fear! Your piece will delight those who know the art of savoring nectar. As for those who don't even know what this is about, they will ignore it. The camels avoid mango trees themselves, when these make the delights of the cuckoo. So the hearts of the audience will be captivated. Let's get it started !

The narrator: Dear student, Dear student, look! See! Spring has sprung and the full moon has created in the Supreme Lord, though complete in itself, a new inspiration to meet the very pretty Radharani in the middle of the night to enhance the beauty of their divine games.

Paurnamasi (offstage): O king of actors, how is your ear adorned with the flower that is the secret of this play, that I am getting ready to arrange a meeting between Radha and Krishna?

The narrator: (Surprisedly, he looks outside) Ah! Was this the voice of saint paurnamasi? Check it out! Shining like goddess Savitri, hair like snow white, chest covered in saffron veil, Paurnamasi, disciple of sage Narada and mother of Sandipani Muni, just came out of Nanda Maharaja’s palace and walks slowly entering the neighboring street, accompanied by a friend.

Alright. Let's see if the cast wore their costumes properly.

(He and his assistant walk out of the stage. )

End of the prologue