Bhakti Ratnakara Fifth - Wave

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Fifth Wave
1946. In the Gautamiya Tantra it is said:
ratna-bhudhara-samlagnaratnasana-parigraham
kalpa-padapa-madhya-sthahema-mandapika-gatam
"I offer my respectful obeisances to Lord Krishna, who sits on a jewel throne under a kalpa-vrksa
tree under a golden pavillion on a jewel mountain."
1947. Lord Govinda's sweetness makes the whole world wild with bliss. Seeing Him only once, a
person will not be attracted to anyone or anything else.
2948. In Shrila Rupa Gosvami's Shri Bhakti-rasamrta-sindhu Eastern Part, Second Wave, Text 111, it
is said:
"My dear friend, if you are indeed attached to your worldly friends, do not look at the smiling face of
Lord Govinda as He stands on the banks of the Yamuna at Kesi-ghata. Casting sidelong glances, He
places His flute to His lips, which seem like newly blossomed twigs. His transcendental body, bending in
three places, appears very bright in the moonlight." *
1950. Standing silent and motionless, the handsome and charming Deity two-handed Lord Govinda
has a form of eternity, knowledge and bliss.
1951-53. In the Shri Gopala Tapani Upanisad, Part One, Text 13, it is said:
"One becomes free from this world of birth and death by meditating on Lord Krishna, whose eyes
are lotus flowers, who is splendid like a raincloud, whose garments are like lightning, who has two
hands, who is manifest a silent and unmoving Deity form, who wears a garland of forest flowers, who is
the Supreme Personality of Godhead, who is surrounded by gopas, gopis, and cows, who sits undera
sura-druma tree, who is decorated with glistening ornaments, who stands in the midst of a jewelled
lotus, and who is served by cooling breezes coming from the Yamuna's waves."
1954. In the Shri Gopala Tapani Upanisad, Part One, Text 35 it is said:
"Lord Govinda is the Supreme Personality of Godhead, His form is eternal and full of knowledge and
bliss."
1955. O Shrinivasa, who will not offer obeisances to Lord Govinda's feet in the charming land of
Vrindavana?
1956. The feet of the Deities Shri Govinda, Shri Gopala, and Shri Madana-mohana are the be-all
and end-all of all the devotees.
1957. Shri Madana-mohana is also called Shri Madana-Gopala. This everyone knows.
1958. In Shri Gopala-tapani Upanisad, Part One, Text 37 it is said:
"I offer my respectful obeisances to Lord Govinda, who is also known as Gopala, Govardhana, and
Gopinatha."
1960. O Shrinivasa, I have no power to describe the Lord's glories. The Lord's glories are described
in these words of Shri Urdhvamnaya Tantra:
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1961. "Shri Parvati said: O Siva, who is this Govinda you have mentioned? What are His glories?
What is His form?
1962. "Shri Mahadeva said: Lord Govinda is a cowherd boy. He stays in the yoga-pitha of
Vrindavana eternally. Sometimes He is visible and sometimes He is not.
1963. "During all four yugas He is king of Vrindavana. Nanda and the cowherd people worship Him.
He even worships Himself.
1064. "Stealing the gopis' garments He fulfills the gopis' vow. His form is eternal and blissful, His
pastimes fill the land of Vraja.
1965. "Day after day He is a glorious teenager always. Betel nuts are in His mouth, He is Shri
Radha's life's Deity
1966-1967. In Vraja is a lake named Brahma-kunda, a lake filled with swans and lotuses, a lake
decorated with jewels on its four sides. To the south of that lake is a jewel pavilion surrounded by a
grove of mandara trees, in the middle of that pavillion is the yoga-pitha filled with glory and opulence.
1968. Shri Krishna is delighted by the nectar opulence of Vrindavana's Queen Radha, He is
conquered by proudly smiling Radha.
1969. In the east is Goddess Vrinda, who is also known as Lilavati, who makes everything possible,
and who is the personified glory of Lord Krishna's form.
1970. In the south is Goddess Syama, who enjoys pastimes with Lord Krishna. In the west Goddess
Bhagini always stays.
1971. In the north Goddess Siddhesi stays eternally. In the east Lord Siva stays. In the south Lord
Sankarshana stays.
1972-1973. In the west Lord Brahma stays. In the north Lord Ananta Shesha stays. Radha's dear
friend Madan-mohana always carries a golden stick. She brings Radha to proud Krishna under a tree.
1974. Madanamadini makes for the divine couple a palace of amorous pastimes, a palace charming
with glistening sapphires.
1975. There Shri Krishna becomes a second Kamadeva. There Shri Krishna is worshiped with the 12
syllable mantra beginning with Govindaya and ending with Svaha. In the course of time is maha mantra
of Lord Govinda brings purva-raga (the beginning of spiritual love).
1976. Now I will describe the Govinda yugalatmaka mantra. First one the Lakshmi-bija and
Kama-bija syllable. Then come the words "Radha-Govindabhyam namah."
1977. Simply by knowing this mantra one attains the mercy of Radha-Krishna. Of this mantra the
rishi (sage) is Kamadeva, and the chanda (meter) is virat.
1078. The devata (Deity) is eternal Govinda and Radha-Govinda. The shakti (potency) is Radha, the
goddess of the yoga-pitha. In this way the mantra of six parts, which begins with the Kama-bija, is
described.
1979. One should meditate on Lord Govinda, who is charming like a dark raincloud, who dances in
His glorious pastimes, who sometimes enjoys wrestling pastimes, who holds a flute and a jeweled stick
in His hands, who wears a yellow cloth draped over His shoulder, who is decorated with flowers, who is
perfect and complete, who is the king of all who are charming and whose feet are crossed as He
dances.
1980-18. Meditating on Lord Govinda in this way, one should chant the mantra 400,000 times, then
after offering a tilajya-havana yajna, with offering of camphor, asoka, tulasi, kabhara and kamala
flowers one should worship Radha and Krishna, the king and queen of the Yoga-pitha. Then with one's
eyes one will see Shri Shri Radha Govinda directly.
1982. The Deity Shri Madana Gopala is very glorious. The Deity Shri Gopala is manifests as kishora
(young teenager) form. The Deity Shri Govinda has a praudha (older teenager) form.
1983. Of these two Deities, Gopinatha is more handsome. He is dhiroddhata in nature. Shri Gopala is
dhirodatta in nature.
1984. Govinda and Gopinatha are dhira-lalita. Gopala has a lionlike waist. His graceful form bends in
three places.
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1985. Govinda and Gopinatha have broad chests. Morning, noon and night Their glorious sweetness
is manifest on Govardhana Hill.
1986. At a cave's entrance on Govardhana Hill, in a place glorious with many flowers and leaves, the
Lord is manifest as He has just recently left childhood and entered His teenager years.
1987. More glorious than Kamadeva, Lord Govinda is splendidly manifest in the yoga-pitha, which is
as charming with many jewels.
1988. The perfection attained after many years at the holy places is manifest at once at this yoga
pitha.
1989. In the morning Vrindavana's yoga pitha is glorious with the light of the rising sun.
1990. At midday it is as glorious with the light of the youthful sun. In the afternoon it is like a lotus
petal. In the evening it is as splendid with moonlight.
1991. On the dark moon night, it is splendid like sapphires. In the monsoon season it glistens like
emeralds.
1992. In the autumn it is splendid like the circle of the moon. In winter (hemanta) it is like rubies. In
second winter (shishira) it is splendid like diamonds. In springtime it is reddish with new buds and
sprouts.
1993. In summer it glistens with a flood of nectar. it is glorious with sweetness. It is filled with vines
and ashoka flowers.
1994-1996. Above, below and everywhere it is filled with great jewels. This place is known as
Candravali-dvadharsha (difficult for Candravali to enter), Radha saubhagya-mandira (the palace of
Radha's good fortune) Shri Ratna- mandapa (the jewelled pavillion), Sringara-mandapja (the pavillion for
amorous pastime), Saubhagya-mandapa (the pavillion of good fortune), Maha-madhurya-mandapa (the
pavillion of great sweetness), Samrajya-mandapa (the pavillion of royal power) and Surata-mandapa
(the pavilion of amourous pastimes). O Parvati, please hear these eight names of the yoga-pitha.
1997. A person who in the morning chants these eight names of the yoga-pitha conquers Lord
Govinda. That person attains pure spiritual love for the Supreme Personality of Godhead."
Thus ends the Shri Urdhvamnaya Tantra, Nineteenth Patala, entitled Manifestation of the Yoga-pitha.
1998. After speaking these words, with a happy heart, Shrila Raghava Pandita Gosvami gradually
departed from the holy place Bhojana-tila.
1999. After walking a short distance Shrila Raghava Gosvami sweetly said: In this place Saurabha
Muni performed austerities.
2000. Look, there on the Yamuna's bank is the very secluded place everyone calls Sanorakhagrama.
2001. Look, O Shrinivasa. There is Kaliya Lake, where Lord Krishna enjoyed very wonderful
pastimes.
2002. Climbing a keli kadamba tree on the Yamuna's bank, Lord Krishna jumped into the Yamuna's
waters.
2003. In the Yamuna's waters Lord Krishna defeated Kaliya. Everyone watched Lord Krishna dance
on the Kaliya serpent's heads.
2004. Lord Krishna gave the mercy to the Kaliya serpent and sent him to Ramanaka-dvipa.
2005. Anyone who bathes and performs other devotional activities at Kaliya Lake easily becomes
free of all sins.
2006. When he leaves his material body he goes to Vishnuloka. This the Puranas say, they say he
attains many other benefits also.
2007. In the Adi-Varaha Purana it is said:
"O earth goddess, a person who goes to Kaliya Lake, enjoys the visit, and simply bathes there
becomes free from all sins.
2008. A person who goes there goes to My spiritual abode.
2009. In Shrimad-Bhagavatam (10.16.32) it is said:
"If one takes a bath in the Kaliya Lake where My cowherd boy friends and I have bathed, or if
one, fasting for a day, offers oblations to the forefathers from the water of this lake, he will be relieved
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from all kinds of sinful reactions."*

2010. In this place Lord Krishna climbed a kadamba tree and jumped into the lake. The scriptures
reveal the glory of that tree.
2011-2012. In the Adi-Varaha Purana it is said:
"The kadamba tree on the eastern shore of Kaliya Lake is very glorious. The wise saints have seen
many wonders in that tree. O goddess with beautiful large eyes, that sacred tree has a hundred
branches, it is very sweetly fragrant. It bears many flowers in all twelve months. It has very pleasing
shade. It fills the ten directions with light."
2013. Holy Kaliya Lake destroys all sins. By bathing in Kaliya Lake one attains success in many
endeavours.
2014. In Saura Purana it is said: "Holy Kaliya Lake where Lord Krishna as a boy danced on Kaliya's
heads, destroys sins.
2015. "One who bathes there and worships Lord Vasudeva attains Krishna-sayujya liberation, which
is difficult for other less fortunate souls to attain."
2016. "Look, there is Dvadashaditya-tirtha. One who visits this place attains what he desires. This
the Puranas affirm.
"O earth goddess, a person who bathes at Dvadasaditya-tirtha and sees the Aditya deities attains
the world of the Adityas. He becomes successful and happy.
2018. "O earth goddess, a person who bathes here on a Sunday or on the sankranti day attains
what his heart desires. Of this there is no doubt.
2019. In the Saura Purana it is said:
"Simply by seeing purifying Dvadasaditya-tirtha one destroys all his sins."
2020. O Shrinivasa, after defeating Kaliya, Lord Krishna left Kaliya Lake and came to this place.
2021. Understanding that Krishna was suffering because of cold, the host of surya deities came here
and, manifesting great warmth, drove away the sensation of coldness from Lord Krishna.
2022. In Vraja-vilasa-stava, (text 82) of Shrila Raghunatha dasa Gosvami's Shri Stavavali, it is said:
"Once, accompanied by the gopas, gopis and loving surabhi cows, the supremely opulent, noble and
magnanimous Lord Krishna felt very uncomfortable in the winter cold. Twelve suns then appeared at
that place and with great devotion warmed the Lord with intense shining. I eternally take shelter of this
sacred place, which bears the name Dvadashasurya-tirtha (the place of the twelve suns)."
Swapne Sanatana Prabhuke Mahaprabhura kripa
In a dream Lord Mahaprabhu gives mercy to Shrila Sanatana Gosvami.
2023. O Shrinivasa, by Lord Mahaprabhu's command, Shrila Sanatana Gosvami went to Vraja and
resided there.
2024. "Lord Mahaprabhu will come here." This information was given to Shrila Sanatana Gosvami,
who selected a secluded place for the Lord's residence.
2025. Seeing him very anxious to make these arrangements, on the pretext of a dream Lord
Gaura-Hari mercifully appeared before Shrila Sanatana Gosvami.
2026. Lord Gaurachandra sat on a divine throne. Shrila Sanatana Gosvami fell to the ground before
his feet.
2027. The Lord tightly embraced Sanatana. Satisfying him in every way, the Lord then disappeared.
2028. Who has the power to understand the Lord's pastimes. As He likes, He enjoys pastimes in
Vrindavana eternally.
2029. Look, there is Praskandana-kshetra sins flee from a person who bathes there. A person who
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dies there goes to Vishnuloka.

"Now I will tell you something else. Please listen. O earth goddess. The holy place named
Praskandana-kshetra removes all sins.
2031. "A person who bathes there becomes free of all sins. A person who dies there goes to My
spiritual world."
2032. O Shrinivasa, when the many suns warmed Him, Lord Krishna, His feeling of coldness now
gone, perspired.
2033. The sun god's daughter gathered the Lord's perspiration into this lake, which for that reason
was called Praskandana-kshetra.
2034. In the Shri Vraja-vilasa-stava (Text 83) of Shrila Raghunatha dasa Gosvami's Shri Stavavali it is
said:
"When the twelve suns shone from every direction, perspiration fell from Lord Krishna's
transcendental body, and from this perspiration came a charming, splendid, clear lake bearing the sweet
fragrance of the Lord's delicate, supremely handsome, and supremely opulent transcendental limbs.
Bowing down, I worship this lake known as Prakandana-sarovara."
2035. After showing Praskandana-ghata to Shrinivasa, Shrila Raghava Gosvami overcome with
spiritual love, very sweetly said:
Shrila Advaita Prabhura Janmadi-Brttarta
The Story of Shrila Advaita Prabhu's Birth and Other Pastimes.
2036. Lord Advaita who is the Personality of Godhead Himself, and who is not different from Shri
Krishna Chaitanya, after some days came to this forest.
2037. Under this banyan tree He worshipped Lord Krishna. Who has the power to know the secrets
of His heart?
2038. Please hear, O Shrinivasa, of Lord Advaita's birth and pastimes. I will tell them in brief.
2039. When Lord Advaita became manifested in this world, Madhavendra Puri, Isvara Puri,
Shaci-devi, and Jagannatha Mishra were also manifest.
2040. To the living entities Lord Advaita was merciful without end. On the pretext of taking birth
there, He made the land of Bengal fortunate.
2041. In Bengal, near Shri Hata, is the village of Nava-grama. There Kuvera Pandita, the son of
Nrisimha Pandita, resided.
2042. Very fortunate Kuvera Pandita walked on the path of devotional service. He thought only of
Lord Krishna's lotus feet, He thought of nothing else.
2043. His saintly wife, Nabha-devi, was devoted to her husband. She was worshipped by all the
world. She became Lord Advaita's mother.
2044. This couple came to the side at Shantipura, by the Ganga's banks. They were always plunged
in talking of Lord Krishna.
2045. One day, hearing a Vaishnava blasphemed, Shri Kuvera and Nabha decided to give up their
lives.
2046. Seeing them on the verge of dying, one fortunate soul, by the Supreme Lord's wish, pacified
them.
2047. Sadly they lay down and fell asleep. In a dream they saw a great wonder.
2048. They saw an effulgent handsome man, His form defeating the splendor of mother gold.
2049. Grasping another man's hands, the handsome man sweetly said:
2050. "To relieve the conditioned souls of their own sorrows please quickly descend to the earth.
2051. "You will attract Me there, stay here I will have no power. Accompanied by My elder brother
quickly I will be manifest there."
2052. Hearing these words, the second person became joyful at heart. Then, at an auspicious
moment, He entered Nabha-devi 'womb.
2053. Watching all this, the brahmana Kuvera was filled with bliss. His dream broke. Now his heart
was wild.
2054. That brahmana very learned in the scriptures thought in his heart, "manifesting the form of a
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guur, the Supreme Personality of Godhead will become manifest in this world."
2055.The brahmana and his wife gave this much thought. They were overwhelmed. They had no
power to check the tears that flowed from their eyes.
2056. From that day Nabha was pregnant. She returned to Nava-grama. There she stayed.
2057. When Lord Advaita was manifest, the whole world became blissful at heart.
2058. Suddenly a voice declared, "Now Shri Krishna Chaitanya will be manifest on this earth.
2059. "He will bring Nityananda-Rama. He will enjoy pastimes with His associates.
2060. "The living entities' sorrows He will break into pieces. No one will sorrow. From house to
house He will preach devotional service and spiritual love.
2061. "He will make the flooding ocean of the bliss of sankirtana overflow its shores. This Kali-yuga
is so fortunate! No one will be cheated of that bliss of sankirtana.
2062. Hearing these words, everyone became joyful. Kuvera Pandita's home became an abode of
great auspiciousness.
2063. Day by day Lord Advaita-Shiva grew. With joy in their hearts the fortunate people watched
Him.
2064. The child Advaita would always hide Himself. Only Lord Chaitanya's will was He openly
manifest.
2065. When they found the hiding child Advaita, the people of Nava-grama would float in bliss, they
would forget all their sorrows.
2066. Kamalaksha and Advaita were the Lord's two names. Still, everyone always called Him
Advaita.
2067. The fortunate people saw Lord Advaita's very wonderful childhood pastimes. Who has the
power to describe those pastimes?
2068. Lord Advaita was like a star shining in every person's eyes. Even when they lay down on their
beds and slept, every person sang of Lord Advaita's glories.
2069. All the people were fortunate and glorious. This I say again and again. Glorious is the land of
Bengal, where the Lord descended to this world.
2070. Saintly Shri Kuvera Pandita, who was filled with spiritual love, told everyone: "I will go to the
Ganga's banks.
2071. Accompanied by his friends and kinsmen, Kuvera Pandita went fromn Nava-grama to
Shantipura.
2072. With a happy heart he made his residence in Santipura. Sometimes he would meet friends and
kin in Navadvipa.
2073. Carefully he taught the scriptures to the boy Advaita. In this way Lord Advaita, the purifier of
the fallen, became a learned pandita.
2074. Although Advaita's mother and father knew their son's true identity, because of their love for
Him, they could not remember that truth in Their hearts.
2075. Seeing young Advaita's activities, the great panditas of Santipura were all filled with wonder.
2076. One person said, "Advaita is not a mere human being. How can a human being being
attracted every person's heart?
2077. The brahmana Kuvera is very fortunate to have such a son, a son who brings auspiciousness
to all. This I think."
2078. In this way the people spoke. Lord Advaitacandra was every person's life.
2079. Who has the power to understand Lord Advaita's desires? In many ways He brought happiness
to His father and mother.
2080. After some days Lord Advaita's father and mother were no longer seen in this world. Then
Lord Advaita began a pilgrimage to Gaya.
2081. On the pretext of going to Gaya, Lord Advaita visited many holy places. At this time Lord
Advaita accepted initiation (diksha) from Shrila Madhavendra Puri.
2082. The devotees in older times have said:
prema-bhakti-pradam shrimanmadhavendra-puri priyam
shriladvaita-prabhum vande
shri-madhva-sampradayinam
"I offer my respectful obeisances to Lord Advaita, who gives the great gift of prema-bhakti. He is
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dear to Madhavendra Puri Gosvami. He is a part of Shri Madhva-sampradaya."

2083. Who has the power to understand Lord Advaita's activities? Wild in the ecstasy of spiritual
love, He wandered without stop.
2084. Wandering and wandering, He came to Mathura-mandala. Seeing the splendor of Vraja, He
overflowed with bliss.
2085. After seeing all the holy places, He came to Vrindavana. The people of Vraja took care of His
needs.
2086. Sparingly He ate some fruit and roots and drank some milk. Seeing His splendor, the people
became filled with wonder.
2087. Wild with the ecstasy of spiritual love, He roared. Asking "Will I ever see Krishna?", He wept.
2088. Moment after moment He felt various ecstasies of spiritual love. On the Yamuna's banks He
worshipped Lord Krishna.
2089. Aware that Lord Shri Krishna Chaitanya would soon be manifested in this world, Lord Advaita
left Vraja and returned to Gauda-desha.
2090. O Shrinivasa, only fortunate persons can relish Lord Advaita's pastimes, pastimes sweet like
nectar.
2091. Under this vaa tree Lord Advaita stayed. Therefore this tree is known as Advaita-vaa.
2092. By seeing this Advaita-vaa tree a person destroys all his sins and attains very rare spiritual
love and devotion.
2093. Look. On the Yamuna's banks the trees and vines are very beautiful and always filled with new
blossoms.
2094. Under this old tintidi tree Radha and Krishna and the gopis enjoyed many pastimes.
2095. Sitting under this tree and remembering the pastimes He enjoyed in the past, Lord Krishna
Chaitanya felt happiness without limit.
To Shrinivasa Shrila Raghava Gosvami describes Lord Gaurasundara's Pastimes.
2096. Overcome with spiritual love. to Shrinivasa Shrila Raghava Gosvami described Lord Chaitanya's
pastimes.
2097. He said: Lord Gaurasundara is the eternal Supreme Personality of Godhead. He is the master
of Navadvipa. He is Vraja's Prince Krishna.
2098. Because of Advaita's loud calls, Lord Chaitanya descended to this world in Navadvipa, in the
home of Shaci and Jagannatha Mishra.
2099. In Navadvipa Lord Gauragana enjoyed very wonderful pastimes. With His thousand mouths
even Lord Ananta has no power to describe all those pastimes.
2100. Some days after His father's departure from this world, Lord Chaitanya, following ordinary
custom, went to Gaya.
2101. Seeing very glorious Isvara-Puri there, Lord Gaurachandra felt as if He had regained his life.
2102. Lord Gaurasundara, who is the very life of the devotees, was very respectuf to Ishvara Puri.
2103. Lord Gaurasundara first spoke the initiation mantra into Isvara Puri's ear. Then, falling to the
ground to offer respects, He received that same mantra from Isvara Puri.
2104. Thus accepting Isvara Puri as His spiritual master, Lord Gaura Raya floated in the flooding
river of tears that flowed from His eyes.
2105. Attaining Lord Vishvambhara, the purifier of the worlds, as his disciple, Isvara Puri became
wild with spiritual love and bliss.
2106-2107. If someone says, "Lord Gaurachandra is the spiritual master of all the worlds. When I
hear that He has accepted someone else as His spiritual master, I become puzzled," Then I reply: Lord
Gaurachandra did this to teach the people of the world. By His own personal example He showed how
one should follow the rule of religion.
2108. Who can understand Lord Gaurachandra's extraordinary pastimes. By accepting initiaion, He
made the Madhva-sampradaya glorious.
2109. A person who has entered a genuine sampradaya will be successful in his spiritual
endeavours. Without accepting initiation, a person will find his mantra-chanting brings no result. That is
certain.
2110. The sampradayas are four: Shri, Brahma, Rudra, and Sanaka-kumara, this the Puranas
declare.
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2111-2112. In the Shri Padma Purana it is said:

"If one is not actually connected with a bone-fide disciplic succession, whatever mantra he chants
will not bring the desired result.* In Kali-yuga there will be four disciplic successions, coming from Shri,
Brahma, Rudra, and Sanaka-kumara, will purify the world."
Sampradaya-namena Utpatti-vivarana
Description of the Origin of the Sampradaya's Names
2113. There are four devotional sampradayas. Now I will briefly explain their names.
2114. Lord Krishna Chaitanya is like a kalpa-vriksha tree, in His form of Narayana He is the spiritual
master of everyone.
2115. Shri, the goddess of fortune, is Lord Narayana's beloved and disciple. All the scriptures glorify
her wonderful activities.
2116. Shri is a name of Goddess Lakshmi. Her sampradaya has many branches and sub-branches.
Who can write of them all?
2117. In her sampradaya Ramanuya is famous as the acarya. Therefore Her sampradaya is also
called the Ramanuya-sampradaya.
2118. Ramanuyacarya was personally called Lakshmanacarya, but everyone very respectufully call
him Ramanuyacarya.
2119. He wrote the Ramanuya-bhasya commentary. The brances and sub-branches of his
sampradaya fill the world.
2120. O Shrinivasa, now I will briefly describe the Madhva sampradaya.
2121. Lord Narayana's merciful disciple Brahma filled the universe with his disciples and
grad-disciples.
2122. Among those disciples Madhva is important. From first he wrote a commentary on Vedantasutra.
2123. For this reason he is called Madhva-acarya-sampradaya.
2124. Lord Narayana's merciful disciple Rudra had disciples and grand-disciples without end.
2125. Among his disciples Vishnu Swami is important. He and his disciples became as intoxicated by
tasting the nectar of pure devotional service.
2126. He was very powerful and learned in all the scriptures, because of him that sampradaya is
called the Vishnu-svami-sampradaya.
2127. O Shrinivasa, now please hear the Sanaka-sampradaya, which came from Lord Narayana's
pastimes as the Hamsa-avatara.
2128. The Hamsa-avatara's disciples are the four Kumaras, headed by Sanaka-kumara. No one can
write of all their disciples and grand-disciples.
2129. Amongst those disciples Nimbarka is important because of him the sampradaya is called the
Nimbarka-sampradaya.
2130. Nimbarka was wonderfully powerful. His disciples and grand-disciples filled the world.
2131. The Shri, Brahma, Rudra, and Sanaka sampradayas thus divided to become many groups.
That was their power.
2132. Amongst Ramanuyacarya's disciples Ramanandacarya was honoured by all.
2133. He had many disciples and grand-disciples who became known as the Ramanandasampradaya.
2134. In the same way, in the Vishnu-Svami sampradaya Shri Vallabhacarya, who wrote an
Anubhasya commentary, was glorious in every way.
2135. Therefore his branch of the sampradaya became known as the Vallabha-sampradaya. What
shall I say? In this way there are many sampradayas.
Madhva-sampradayera Guru-parampara
Disciplic Succession in the Madhva-sampradaya
2136. The Supreme Lord made the Madhva-sampradaya glorious in the Kali-yuga. Now I will give the
names of the past spiritual masters in that sampradaya.
2137. First of all is Lord Narayana, the master of the spiritual sky. His disciples was merciful Shri
Narada Muni, Narada's disciple was Vyasa, who was the guru of Sukadeva Gosvami.
2139. Another Vyasa disciple was saintly Shri Madhva, who became glorious without limit by writing
the commentary that bears his name.
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2140. From him the Madhvacarya-sampradaya has come. His disciple was Shriman
Padmanabhacarya.
2141. Padmanabha's disciple was Narahari. Narahari's disciple was Shri Madhava, Shri Madhava's
disciple was Shri Aksobhya, who preached everywhere.
2142. Shri Aksobhya's disciple was Jayatirtha. Jayatirtha's disciple was Jnanasindhu. Jnanasindhu's
disciple was Mahanidhi, who was the friend of the poor and fallen.
2143. Mahanidhi's disciple was Vidyanidhi, Vidyanidhi's disciple was Rajendra. Rajendra's disciple
was Jayadharma Muni, whose activities were wonderful.
2144. Jayadharma's disciple was Vishnupuri, who wrote the book Bhakti-ratnavali.
2145. Another disciple of Jayadharma was saintly Shri Purusottama-brahmanya.
2146. Purusottama's disciple was greatly learned Vyasatirtha, who wrote the book Shri Vishnusamhita.
2147. Vyasatirtha's disciple was Lakshmipati, who was the abode of virtues. Lakshmipati's disciple
was Madhavendra, who was a risin moon of devotion.
2148. Madhavendra's disciple was Isvara Puri, the abode of mercy. Isvara Puri's disciple was Lord
Gaurachandra, the Supreme Personality of Godhead.
2149-2162. In Shri Kavi Karnapura's Shri Gaura-ganodesa-dipika (texts 21-25) it is said:
"In the Kali-yuga there are four Vaishnava-sampradayas, known as the Shri, Brahma, Rudra, and
Sanaka sampradayas. This is described in the following statement of the Padma Purana:
'In the Kali-yuga four Vaishnava sampradayas, the Shri, Brahma, Rudra, and Sanaka sampradayas,
will purify the earth. I shall now begin this book by describing the disciplic succession descended from
Shripada Madhvacarya. Lord Brahma, the creator of the universe, became the disciple of the Supreme
Personality of Godhead, Narayana. Brahma's disciple was Narada. Narada's disciple was Vyasa, Vyasa
then transmitted transcendental knowledge to his disciple Sukadeva. Sukadeva taught the same
knowledge to his many disciples and grand-disciples in this world. The famous Madhvacarya received
initiation from Vyasa personally. Madhvacarya carefully studied all the Vedas from Vyasa, and later wrote
his book Mayavada-sata-dusani, where he proved that the Absolute Truth is the Supreme Person, fully of
all transcendental qualities, and not the qualityless impersonal Brahman. Madhvacarya's disciple was the
exalted Padmanabhacarya, Padmanabhacarya's disciple was Narahari. Narahari's disciple was Madhava
Dvija. Madhava Dvija's disciple was Aksobhya. Aksobhya's disciple was Jayatirtha, Jayatirtha's disciple
Mahanidhi, Mahanidhi's disciple was Vidyanidhi. Vidyanidhi's disciple was Rajendra, Rajendra's disciple
was Jayadharma Muni. Among Jayadharma's disciples was Shriman Vishnupuri, the famous author of the
book Bhakti-ratnavali. Another disciple of Jayadharma was Brahmana Purusottama, Puruosottama's
disciple was Vyasatirtha, who wrote the famous book Shri Vishnu-samhita, Vyasatirtha's disciple was
Shriman Lakshmipati, who was like a great reservoir of the nectar of devotional service, Lakshmipati's
disciple was Madhavendra Puri, a great preacher of devotional service. Madhavendra Puri was the
incarnation of a kalpa-vrksa tree in the abode of Vraja. This tree bears on its fruits the mellows of
servitude to Lord Krishna, friendship with Lord Krishna, parental love for Lord Krishna, and conjugal love
for Lord Krishna. Madhavendra Puri's disciple was Shriman Isvara Puri, Isvara Puri carefully understood
the mellows of conjugal love for Lord Krishna, and was able to distribute that fruit to others. Shri Advaita
Acarya displayed the sentiments of servitorship and friendship for the Lord, and Shriman Ranga Puri
manifested the sentiment of parental love for Lord Krishna, Lord Chaitanya accepted Shriman Isvara Puri
as His spiritual master. The Lord proceeded to flood the entire world with spontaneous transcendental
love for Krishna."
2163. Isvara Puri's disciple was Lord Gaura Raya, with his own mouth Lord Gaura Raya described
Isvara Puri's glories.
2164. Who has the power to understand the wonderful devotion Lord Gaura felt? From Lord Gaura
was manifest the Nimananda-samprada.
2165. One of Lord Gaura's names was Nimai Pandita. Lord Nityananda was especially fond of this
name.
2166. Seeing the Vaishnava followers of Lord Gaura, even today the people call them the Nimaisampradaya.
2167. Because Nimai Pandita brought great bliss (ananda) to the world, His sampradaya is famous in
the world as the Nimananda-sampradaya.
2168. As it was previously explained that sampradayas are sometimes known by other names, in the
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same way, by the power of Lord Nimai, the Madhva-sampradaya is also known as the Nimanandasampradaya.
2169-2172. In a book by Vakresvara Pandita's disciple Shri Gopala Guru Gosvami, it is said:
"The disciplic succession is Shri Narayana, Brahma, Narada, Vyasa, Shri Madhva, Padmanabha,
Nrihari, Madhava, Aksobhya, Jayatirtha, Jnanasindhu, Mahanidhi, Vidyanidhi, Rajendra, Jayadharma
Muni, Purusottama, Brahmanya, Vyasatirtha Muni, Shriman Lakshmipati, Shriman Madhavendra Puri and
then Isvara Puri, then comes Shri Krishna Chaitanya, who is like a kalpa-vriksa tree of spiritual love
manifest in this earth. Lord Chaitanya's sampradaya is famous on this earth as the Nimanandasampradaya."
2173. O Shrinivasa, after giving Him mercy to Isvara Puri, Lord Gaura Hari departed from Gaya.
2174. Previously Lord Gaura hid Himself from the devotees in Navadvipa. Now, when He wished to
hide Himself, He had no power to hide.
2175. A few days after His return to Nadiya, by the dear devotees wish Lord Gaurachandra revealed
His true identity.
2176. Lord Advaita and the other devotees found their hearts blossoming with bliss.
2177. When Lord Gaura met Lord Nityananda, the devotees bliss increased even more. Even with a
hundred thousand mouths who has the power to describe the bliss the devotees felt?
2178. In Nadiya performed sankirtana with Nityananda, Advaita, and a host of devotees, Lord Gaura
became wild with bliss.
2180. Giving His mercy to the conditioned souls, Lord Gaura, who is the master and enchanter of all
the worlds, accepted sannyasa.
2181. When He accepted sannyasa, Lord Gaura was overcome with the ecstasy of spiritual love.
Then Lord Nityananda took Him to Lord Advaita's home.
2182. At that time the people ran to see Lord Gaurachandra, the crest jewel of sannyasis. No one
could remain peaceful.
2183. Many demigods came and mingled with that crowd. Thousands and millions of people
surrounded Lord Advaita's house.
2184. Everyone called out "Hari! Hari!" without stop. Wonder filled the Svarga, Martya, and Patala
worlds.
2185. Then Lord Krishna Chaitanya the crest jewel of the sannyasis, allowed the people to see Him.
Everyone there became fortunate and glorious.
2186. Then Lord Gaura-Hari danced in sankirtana, His limbs anointed with sandal paste, He was
glorious with wonderful sweetness.
2187. Surrounding the Lord on four sides, the devotees sang a very sweet kirtana.
2188. Their hearts filled with joy, Nityananda, Advaita, Shrivasa, and Gadadhara would not leave
Lord Gaura's side.
2189. Raising His graceful arms, Lord Gaura called out "Hari! Hari!" Overcome by the bliss of
sankirtana, Lord Gaura floated in the tears that flooded from His eyes.
2190. Gazing at Lord Chaitanyacandra, the people were overwhelmed. For a moment they did not
know their own identities.
2191. Later, in secluded places, the people talked among themselves. One person said: "The Vedas
say the Supreme Personality of Godhead will appear inthe form of a brahmana.
2192. In the Atharva Veda it is said:
"One who sees that golden colored Personality of Godhead, the Supreme Lord, the supreme actor,
who is the source of the Supreme Brahman, is liberated."*
2193. Someone else said: "Visvambhara Misra is the Supreme Lord in the form of a devotee, He
manifests all auspicious signs. He is supreme over all."
2194. In the Atharva Veda, Third Khanda, after the Brahma-vibhaga portion, the Supreme
Personality of Godhead declares:
"When four-thousand to five thousand years of the Kali-yuga have passed I will descend to the earth
in a place by the Gange's shore. I will be a tall, fair, and saintly brahmana devotee of the Lord, I have
all the signs of an exalted person, I will be renounced, free from all material desire, I will accept the
order of renunciation (sannyasa). I will be a devotee advanced in bhakti-yoga, I will chant the holy
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names of the Lord. I will taste the sweet mellows of My own devotional service. Only the great devotees
will understand Me."
2195. Another person said: "Lord Gaurachandra is the Supreme Lord. By His own potency He is now
manifest in the just sandhya of Kali-yuga.
2196.In the Purusa-bodhini Upanisad of the Atharva Veda it is said:
"In the seventh manvatara, in the beginning of Kali-yuga, the Supreme Personality of Godhead will,
accompanied by His associates, descend in a golden form to the earth. He will teach the chanting of His
own holy names."
2197. Another person said, "Look! His body glistens like gold! Ah! How wonderfully He is decorated
with sandal paste.!"
2198. In the Vishnu sahasra-nama stotra it is said:
"In His early pastimes He appears like a householder with a golden complexion, His limbs are
beautiful, and His body, smeared with the pulp of sandalwood, seems like mother gold."
2199. Another person said, "Lord Gaura has stolen every person's heart. His activities have charmed
all the world.
2200. In this fortunate Kali-yuga the Lord has come with a fair complexion. In the Satya, Treta, and
Dvapara yugas the Lord had manifested froms with a white, red, or black complexion.
2201. In Shrimad Bhagavatam (10.8.13) it is said:
"This boy (Krishna) has three other colors-white, red, and yellow--as He appears in different ages.
Now He has appeared in a transcendental blackish color."*
2202. Another person said: "Within His complexion is black. Eternally His complexion is fair and
charming.
2203. Accompanied by Nityananda, Advaita, and a host of companions, He enjoys pastimes in
sankirtana.
2204. In Shrimad Bhagavatam (11.5.32) it is said:
"In the age of Kali intelligent persons perform congregational chanting to worship the incarnation of
Godhead who constantly sings the name of Krishna. Although His complexion is not blackish, He is
Krishna Himself. He is accompanied by His associates, servants, weapons and confidential
companions."*
2205. Another person said, "The Supreme Personality of Godhead is the protection of all. No one is
merciful like Him.
2206. "In Kali-yuga the proper dharma is chanting of the holy names. Descending to this world, the
Supreme Lord easily establishes the dharma of the holy name."
2207. In Bhagavad-gita (4.8) Lord Krishna declares:
"To deliver the pious and annihilate the miscreants as well as to establish the principles of religion, I
myself appear, millenium after millenium."*
2208. Another person said, "Who can describe all of the Supreme Lord's pastimes? By accepting
sannyasa, the Lord has made this Kali-yuga glorious.
2209. In Shri Vishnu-sahasra-nama-stotra it is said:
"In His later pastimes He accepts the renounced order, and He is equipoised and peaceful. He is the
highest abode of peace and devotion, for He silences the impersonalists non-devotees."*
2210. Another person said, "The conditioned souls in Kali-yuga are very fortunate. Accepting
sannyasa, the Supreme Lord destroys all their sinful desires.
2211. In the Upapuranas Lord Krishna tells Vyasa: "O learned brahmana, sometimes I accept the
renounced order of life to induce the fallen people of the age of Kali to accept devotional service to the
Lord."*
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2212. Another person said, "By giving them the maha mantra of Lord Hari's holy names, the Lord
personally breaks into pieces the conditioned souls' terrible sufferings."
2213. This maha-mantra is: Hare Krishna, Hare Krishna, Krishna Krishna, Hare Hare, Hare Rama,
Hare Rama, Rama Rama, Hare Hare.
2214. Another person said, "This maha-mantra consists of the words Hari, Krishna, and Rama. A
wise person relishes the wonderful import of these words.
2215. Shri Gopala Guru Gosvami has written the following verses: "When he understands the true
nature of the Supreme Personality of Godhead, whose form is eternal and blissful, the conditioned soul
becomes free of ignorance and sin. For this reason the Supreme Personality of Godhead is called Hari
(He who takes away).
2216. "Because She enchants Lord Krishna's heart and because She is pleasure personified for Lord
Krishna, Shri Radha is called Hara (She who enchants).
2217. "Because He is the master of all spiritual bliss, because His complexion is dark, because His
eyes are lotus flowers, because He brings bliss to Gokula, and because He is Nanda's delightful son,
the Supreme Personality of Godhead is called Krishna.
2218. "Because He is the be-all and end-all for the rasika devotees, because He is the origin of a
host of divine forms and pastimes, and because He delights Shri Radha eternally, the Supreme
Personality of Godhead is called Rama."
2219. All the people spoke many words like these. They were completely surrendered at Lord
Chaitanya's feet.
2220. Lord Gaura Raya, the crest jewel of sannyasis, joyfully stayed at Lord Advaita's home.
2221. In many ways Lord Gaura delighted the hearts of the people that had come to Santipura from
Navadvipa.
2222. In many ways He consoled Mother Shaci, on His head He placed the dust from her lotus feet.
2223. Saci Thakurani was overcome with a mother's love, "Stay in Nilacala", She commanded her
son.
2224. On His mother's command Lord Gaura went to Nilacala, who can describe the devotees'
condition then?
2225. Pretending to be an ordinary human who has accepted sannyasa, Lord Gaura travelled in
many places. Then He entered Mathura-mandala.
2226. Accompanied by a Sanodiya brahmana, the Lord filled with the ecstasy of pure devotion,
wandered in Vraja.
2227. Feigning ignorance, He asked everyone about the pastimes He had enjoyed there long ago.
2228. Hearing these pastimes from other mouths, Lord Gaura became very pleased. In this way
Shaci's son became wild with bliss.
2229. Wandering in many forests and groves, Lord Gaura came to Mathura and then Vrindavana.
2230. On the Yamuna's banks Lord Gaura was overcome with ecstasy. Even if I had a hundred
thousand mouths I could not describe all the Lord's pastimes then.
2231. Numberless numberless people ran there from the four direcitons. Wild with ecstatic spiritual
love, they sang of Lord Gaura's glories.
2232. Fearing such great crowds, the Lord went to Akrura-ghata. There He begged some alms. In a
secluded place He ate.
2233. From time to time He would sit under the tintidi tree, overcome with spiritual bliss, He would
float in the tears that flowed from His eyes.
2234. Under this Amli-tala tree Lord Gaura felt great bliss. There He gave mercy to Krishna-dasa
Rajaputa.
2235. O Shrinivasa, the Lord then left this Amlitala tree. By the devotees' wish, He returned to
Nilacala.
2236. Anyone who sees this tintidi tree will attain the fulfillment of all his desires. That is certain.
Shringara-bata ba Nityananda-bata-prasange Shriman Nityananda Prabhura Lila-vivarana
Description of Lord Nityananda's Pastimes at the Tree Known as Shringara-vaa, or Nityananda vaa.
2237. Look at that wonderful banyan tree on the Yamuna's banks. Everyone calls that tree
Shringara-vaa.
2238. Here Lord Krishna enjoyed pastimes of decorating Himself with various garments and
ornaments. In this way He delighted Subala and His other friends.
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2239. Some people call this tree Nityananda vata, I will tell you why what they say is also right.'
2240. Lord Nityananda came to this place. Please listen. I will tell of this in brief.
2241. Lord Chaitanya and Lord Nityananda Rama are one and the same body. Lord Nityananda was
born in the village of Ekacakra.
2242. Hi mother was Padmavati, His father was Hadai Pandita. Who can describe the love they felt
for their son? He was their breath of life.
2243. Padmavati's blissful son enjoyed many pastimes in Ekacakra-grama.
2244. Filled with ecstasy, Lord Nityananda showed the people the pastimes os Lord Krishna's
avataras.
2245. The people of Ekacakra was very fortunate. For all of them Lord Nityananda was a treasure
more dear than life.
2246. Their love for Lord Nityananda grew and grew. For twelve years Lord Nityananda stayed in
that village.
2247. Who has the power to understand Lord Nityananda's heart? Without Shri Krishna Chaitanya's
association Lord Nityananda could not remain peaceful.
2248. One day Lord Nityananda thought in His heart, "At this moment it is not right that I got Him.
2249. "At this moment Shri Krishna Chaitanya is manifest in Navadvipa. Concealing His true identity,
He enjoys pastimes as a child.
2250. "When He openly manifest His true identity and enjoys pastimes with the devotees, then I will
go and meet Him.
2251. "For now I will go on pilgrimage." Thinking in this way, Lord Nityananda smiled.
2252. At that time a sannyasi came to that village and asked the people for directions to Hadai
Pandita's house.
2253. Informed by the people, he went to Hadai Pandita's house. Seeing the sannyasi, Hadai
Pandita became joyful.
2254. In a moment he placed many foods before the sannyasi. He requested the sannyasi to eat.
2255. The sannyasi said, "O brahmana, promise you will fulfill my request, and I will eat."
2256. Attaining that promise, the sannyasi ate. Then, at the time of his departure, the sannyasi
asked that Nityananda be given to him.
2257. Consoling His father and mother, with a peaceful heart Lord Nityananda departed with the
sannyasi.
2258. In this way Lord Nityananda left home. Who has the power to understand His wonderful
pastimes?
2259. He is in the full bloom of youth. His handsomeness charms all the worlds. A single glimpse of
Him brings cooling bliss to the eyes.
2260.Wherever Lord Nityananda, who was filled with spiritual love, went, the people, their hearts
wild with spiritual bliss, ran to see Him.
2261. Showing great mercy to everyone, Lord Nityananda, the Personality of Godhead Himself,
walked like a great king of the elephants.
2262. Lord Nityananda visited the same holy places He visited as Lord Balarama in Dvapara yuga.
2263. Travelling south, He went to Pandura-pura. There Lord Nityananda saw the Deity Lord
Vihalanatha.
2264.In that town lived a gentle brahmana who was a godbrother of Madhavendra Puri.
2265. Inviting the Lord to his home, the brahmana respectfully offered fruits, roots, milk, and other
foods for Lord Nityananda to eat.
2266. Gazing at Lord Nityananda, the fortunate people of Pandura-pura felt their life's breath filled
with cooling bliss.
2267. Who can understand the desires in Lord Nityananda's heart? After seeing the Deity
Vihalanatha, Lord Nityananda stayed in a secluded place.
2268. Coming from afar, that brahmana's spiritual master, Shri Lakshmipati, suddenly came to that
village, the brahmana was very excited.
2269. Surrounded by his disciples, that spiritual master was learned in all the scriptures, who can
describe the father's love he felt for his disciples?
2270. He was very old. His glorious activities were beyond description. His fame was everywhere.
He was a great saint that walked on the path of devotional service.
2271. Who has the power to describe Lakshmipati's glories? His disciple was Madhavendra Puri. His
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glories were the greatest.

2272. Madhavendra Puri was filled with the nectar of spiritual love and devotion. Simply by
remembering his name everyone attained spiritual perfection.
2273. Madhavendra Puri's disciples, headed by Shri Isvara Puri and Ranga Puri, were all as if
intoxicated by tasting the nectar of pure devotion.
2274. Madhavendra Puri had many disciples in Gauda-desa, Orissa, and other places. They were all
devoted to Lord Krishna, they were rapt in spiritual love and devotion.
2275. Madhavendra Puri was very famous in the Madhva-sampradaya. He was an ocean of spiritual
virtues. He was very dear to Lakshmipati.
2276. At that brahmana's disciple's house Lakshmipati took his meal. Eagerly he spoke of Lord
Krishna.
2277. Again and again Lakshmipati said, "I see great auspiciousness has come to your house.
2278. "Many times I have come to your house, but never has such bliss taken birth in my heart.
2279. "I think a great devotee must be staying here." To this the brahmana replied. "Your mercy is
very powerful."
2280. By Lord Nityananda's wish the brahmana did not reveal the Lord's presence in the house. The
day was passed in talking of Lord Krishna.
2281. Sitting down at night in his private room, the glorious sannyasi Lakshmipati sang songs
praising Lord Balarama's pastimes, pastimes that enchant the heart.
2282. Filled with unflinching devotion to Lord Balarama, Lakshmipati wept. To Lord Balarama he
prayed:
2283. "O Lord Balarama, I am very fallen and ill-behaved. Please be merciful to me. In all the world
I shall sing Your glories."
2284. Speaking these words, Lakshmipati could not remain peaceful. He rolled on the ground. Tears
streamed from his eyes.
2285. He was very elderly. He lamented bitterly. Overcome, he did not speak.
2286. He was very agitated. He could not be peaceful. Then, suddenly, by Lord Nityananda's will he
was drawn into sleep.
2287. On the pretext of a dream, to Lakshmipati Lord Nityananda happily revealed Lord Balarama's
form.
2288. How glorious was Lord Balarama! Kamadeva's pride was suddenly cast far away. Lord
Balarama's very charming form rebuked the glistening silver mountain.
2289. His arms reached His knees, His chest was broad. Reaching almost to His ears, His large
graceful eyes charmed the heart.
2290. A single earring on His ear charmed the hearts of all the world. A charming horn-bugle was
tucked into the left side of the sash at His waist.
2291. His body was decorated with many ornaments. No metaphor or simile of this world could
describe Him.
2292. The circle of His face conquered the full moon. On the pretext of speaking words, He created
a flood of nectar.
2293. Gently, gently He said to His dear devotee Lakshmipati, "When I heard your lament, My heart
broke.
2294. "Krishna is the master of My life. Birth after birth you are His servant."
2295. Grasping Lord Balarama's feet, Lakshmipati said, "I pray that in my heart I will never think You
are different from Lord Krishna."
2296. Hearing Lakshmipati's words, Lord Balarama smiled and said:
2297. Wearing an avadhuta's garment, a brahmana's son has come to this village. He will become
your disciple.
2298. "With this mantra make Him your disciple." After speaking these words, Lord Balarama spoke
a mantra into Lakshmipati's ear.
2299. Receiving the mantra, Lakshmipati became joyful. After giving His mercy in this way, Lord
Balarama disappeared.
2300. Waking on the following morning, the sannaysi Lakshmipati thought and thought in his heart,
at that moment Lord Nityananda arrived.
2301. Seeing Lord Nityananda's effulgence, the sannyasi Lakshmipati thought, "How wonderful is His
effulgence! He is no mere human being."
2302. Thinking in this way, with unblinking eyes the wise sannyasi gazed at Lord Nityananda's
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handsome face.
2303. Falling to the ground, Lord Nityananda offered respects at the sannyasi's feet. Hurriedly
Lakshmipati picked Him up and hugged Him.
2304. Again and again Lord Nityananda said to the sannyasi, "Please give mantra-diksa (initiation) to
Me and deliver Me."
2305. Hearing Lord Nityananda's sweet words, the sannyasi floated in the tears from his eyes. He
could not remain peaceful.
2306. Lakshmipati could not jump over Lord Balarama's command. That same day Lakshmipati gave
mantra diksa to Lord Nityananda.
2307. After giving mantra diksa, he hugged Lord Nityananda. He was overcome. His heart
overflowed with bliss.
2308. Merciful Lord Nityananda was very dear to Lakshmipati. Lord Nityananda had the power to do
whatever He wished. What had He not the power to do?
2309. In this way Lord Nityananda, who loves the devotees and who is the root of all transcendental
bliss, filled the Madhva-sampradaya with bliss.
2310. By the elder devotees it is is said:
"I offer my respectful obeisances to Lord Nityananda, who loves the devotees, who is dear to Shri
Lakshmipati, and who filled the Madhva-sampradaya with bliss."
2311. Thus becoming Lakshmipati's disciple Lord Nityananda was filled with wonderful bliss.
2312. Lord Nityananda departed at once. No one has the power to understand the Lord's wonderful
pastimes.
2313. In Lord Nityananda's absence, the sannyasi Lakshmipati became filled with sorrow. He did not
speak a word to anyone. In his heart he lamented.
2314. As night was ending he was drawn into sleep. On the pretext of a dream, Lord Nityananda
appeared before him.
2315. Seeing Lord Nityananda, saintly Lakshmipati could not stop the tears flowing from his eyes.
2316. In a moment Lord Nityananda manifested the form of Lord Balarama. Seeing this, Lakshmipati
at once fell before the Lord's glorious feet.
2317. He was splashed by the tears from his eyes. Again and again he said, "Only to trick me have
You descended to this world.
2318. "Brahma and all the demigods do not know You. Others have no power to know You. Only if
You reveal Yourself does anyone have the power to know You.
2319. Why do You trick a fool like me, a fool worthless like a pile of ashes? O Lord, please be
merciful to me. I take shelter of You."
2320. Hearing Lakshmipati's words, the Lord at once manifested His form of Nityananda.
2321. Gazing at the sweet glory of Lord Nityananda's form, a glory that eclipsed a host of glistening
lighting flashes, Lakshmipati became wild with bliss.
2322. Then Lord Nityananda Rama gave His mercy to Lakshmipati. Lakshmipati's desires were now
fulfilled.
2323. Forbidding Lakshmipati to tell anyone of what had happened, and conforting him again and
again, Lord Nityananda disappeared.
2324. When the Lord was no more visible, Lakshmipati became sorrowful. His sleep fled far away.
He saw that night had ended.
2325. To whom could he tell anything of this? He could not be peaceful. From that day his life was
filled with wonders.
2326. Seeing his condition, his disciples became worried. Leaving the world behind, Lakshmipati
suddenly left the field of their vision.
2327. Who knows how to describe Lakshmipati's glorious character and activities? In the world he is
famous as a devotee especially dear to Lord Nityananda.
2328. No one can describe the great devotion the people of Pandura-grama felt. Even today, by Lord
Nityananda's mercy, the people of that village feel very strong devotion to the Lord.
2329. By His own wish, and with a joyful heart, Lord Nityananda visited many holy places.
2330. After some days the Lord met Madhavendra Puri near Pratici-tirtha.
2331. Who can describe the great spiritual love they felt when they met? No person who saw them
meet can know anything of it. 2332. Madhavendra Puri thought Lord Nityananda as his friend, Lord
Nityananda thought of Madhavendra Puri as His guru.
2333. This is described in the following words. Madhavendra Puri in Shri Chaitanya-Bhagavata
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(Adi.9.183):
"Now I know that Lord Krishna has affection for me. Now I have a friend like Nityananda.
2334. In Shri Chaitanya-Bhagavata (Adi 9.188) "Lord Nityananda considered Madhavendra Puri His
spiritual master. He did not think of anyone else in this way."
2335. Seeing this relationship, Shri Isvara Puri and the other became filled with deep love for Lord
Nityananda.
2336. For some days Lord Nityananda and Madhavendra Puri were both plunged in the nectar of love
for Lord Krishna. With blissful hearts they passed together many days and nights.
2337. Then, bidding farewell to Madhavendra Puri, Lord Nityananda departed. He went to
Setubandha to see the Deity of Rameshvara.
2338. Taking Isvara Puri and His other disciples with him, Madhavendra Puri went to Sarayu-tirtha.
2339. Separated from each other, Lord Nityananda and Madhavendra Puri nearly died. They were
saved only by the ecstasy of love they both felt for Lord Krishna.
2340. Although He was by nature saintly and peaceful, Lord Nityananda could not be peaceful as He
travelled everywhere.
2341. After some days Lord Nityananda came to Mathura. Filled with the emotions of a small boy,
the Lord played games with the local boys.
23342. Anyone who saw Him even only once could not bear to be separated from Lord Nityananda
for even a single sesame seed's worth of time.
2343. Lord Nityananda Raya's form was supremely sweet. Numberless people ran there to see Lord
Nityananda.
2344. Lord Nityananda would not stay in any one place. Wandering here and there in Vraja, He was
filled with bliss.
2345. From time to time He entered Gokula and Mahavana. Gazing at the Deity Madana-Gopala, He
happily stayed there.
2346. Gazing at Nanda Maharaja's home, how much bliss arose within His heart? Weeping in
ecstasy, He visited many holy places there.
2347. In Shrila Vrindavana dasa Thakura's Shri Chaitanya Bhagavata (Adi 9.112) it is said:
2348. "Gazing at Nanda's home in Gokula, Lord Nityananda sat down and wept many tears.
2349. "Then the Lord offered obeisances to the Madana-Gopala Deity. Then He went to Hastinapura,
the Pandavas' capital city."
2350. One moment Lord Nityananda sat under this wonderful banyan tree. The next moment He
would roll in the dust.
2351. Another moment He would ask, "Where is Krishna, who is My very life?"
2352. Filled with the ecstasy of spiritual love, Lord Nityananda would tremble, tears would fill His
large eyes.
2353. In this way Lord Nityananda enjoyed pastimes in Vrindavana. Who has the power to
understand Lord Nityananda's activities?
2354. Lord Nityananda knew that Lord Gaurasundara was already manifest in Navadvipa, concealing
His identity, Lord Gaura was enjoying many pastimes there.
2355. Thinking of this, Lord Nityananda-Balarama smiled. The hairs of His body stood erect.
2356. Thinking in this way, Lord Nityananda became restless. Feeling drawn to Lord Gaura's
company, Lord Nityananda travelled to Navadvipa.
2357. For twenty years Lord Nityananda went on pilgrimage to many holy places. Who can describe
all the pastimes He enjoyed in this way?
2358. Anyone who sees the places of Lord Nityananda's pastimes becomes very fortunate.
2359. O Shrinivasa, here is Cira-ghaa, which some people call Cayana-ghata.
2360. One day, after enjoying the rasa dance and other pastimes, Radha and Krishna, accompanied
by Their gopi-friends, bathed here.
2361. Leaving their garments under this kadamba tree, and keeping only their undergarments, they
entered the water.
2362. Fatigued from other pastimes, they played in the water. The Yamuna's water's touch pacified
their fatigue.
2363. Playing in the water, they felt great joy take birth within themselves. Then they all entered a
forest of lotus flowers.
2364. Playing a practical joke, Lord Krishna went to the kadamba tree and hid the garments resting
there. Then He again entered the water.
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2365. After some moments of playing in the water, the gopis emerged onto the riverbank. Not seeing
their garments, they all worried.
2366. Gazing at that time on the gopis' wonderful beauty, joking Lord Krishna returted their
garments.
2367. In this way Lord Krishna stole the garments of the gopis when their fatigue was pacified, Lord
Krishna also enjoyed many other pastimes at this place.
2368. O Shrinivasa, accompanied by their gopi friends, Radha and Krishna enjoyed many amourous
pastimes here in Nidhuvana.
2369. Look, O Shrinivasa, this is Kesi-tirtha, the glories of this place are revealed in many Puranas.
2370-71. In Adi-Varaha Purana it is said:
"O earth goddess, Kesi-tirtha, where the demon Kesi died, is a hundred times more sacred than the
Ganga. By offering pinda here one attains the result of offering pinda at Gaya."
2372. After killing Kesi, Lord Krishna very happily washed His hands here in the Yamuna.
2373. In Shri Vraja-vilasa-stava (text 85) of Shrila Raghunatha dasa Gosvami's Shri Stavavali, it is
said:
"With his mad neighing Kesi made the three worlds tremble, and with the wild rolling of his eyes he
set the entire universe in flames. Krishna killed this demon as easily as one splits a blade of grass and
then He washed the blood from His hands at a place known now as Kesi-tirtha, I worship that sacred
place."
2374. O Shrinivasa, here, at Dhira-samira, Lord Krishna enjoyed pastimes in the forest.
2375. The gopis relished great bliss when Radha and Krishna enjoyed wonderful pastimes of
meeting at this place.
2376. In Shrila Jayadeva Gosvami's Shri Gita-Govinda (Sarga 5. song 2) a gopi-messenger tells Shri
Radhika:
purvam yatra samam tvaya rati-pater asadilah siddhayes
tasminn eva nikunya-manmatha-maha tirtha punar madhavah
dhyama tam anisam japann api tavaivalapa-mantraksaram
bhuyas tvat-kuca-kumbha-nirbhara-parirambhamrtam vanchati
2377. In the song that follows (Gita Govinda 5.2) it is said:
rati-sukha-sare gatam abhisare madana-manohara-vesam
na puru nitambini gamana-vilambaram anusara tam hrdayesam
dhira-samire yamuna tire vasati vane vana-mali
2378. Look, There is Manij-karnika. in this forest Lord Krishna enjoyed many pastimes. in this place
He broke Shri Radhika's jealous anger onto pieces.
2379. O Shrinivasa, here, near the Yamuna, is wonderfully beautiful Vamshi-vata.
2380. The shade of this Vamsi-vata tree removes all the world's sufferings. Here Lord Gopinatha
enjoys blissful pastimes eternally.
2381. His garments and motions graceful, with the sound of His flute Lord Gopinatha attracts the
hearts of all the world.
2382. In Shrila Krishnadasa Kaviraja's Shri Chaitanya-charitamrita (Adi 1.17) it is said:
"Shri Shrila Gopinatha, who originated the transcendental mellow of the rasa dance, stands on the
shore of Vamsi-vata and attracts the attention of the cowherd damsels with the sound of His celebrated
flute. May they confer upon us their benediction."*
2383. One time the Yamuna flooded and the Vamsi-vata tree disaapeared into the Yamuna.
2384. From that tree a gosvami took a branch and planted it near the tree's original site.
2385. Look, O Shrinivasa, this place is delightful. A gentle, gentle cooling breeze always blows here.
2386. When Lord Krishna plays His flute, the gopis become restless at heart. Leaving all else behind,
they go to meet Him.
2387. The gopis swim in the ocean of Krishna's glorious handsomeness. Gazing at them, Krishna
cannot remain peaceful.
2388. Somehow becoming peaceful, with a joyful heart Krishna asked about their welfare. Who
knows Krishna's heart?
2389.Then Krishna testes the gopis' love with many words He instructed them to return to their
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homes.
2390. Glancing at the gopis, and seeing they were not Shri Radha's equals, at the rasa dance
beginning Shri Krishna decided to disappeared with Radha.
2391. Remaining invisible, Krishna happily listened to the gopis lament.
2392. Separated from Krishna, with sorrowful hearts the gopis asked the trees adn vines for news of
Him.
2393. The gopis imitated Lord Krishna's pastimes. They praised Radhika's good fortune.
2394. Here Lord Krishna delighted Radha, staying here for some time, He then disappeared.
2395. Seeing Radha, with unsteady hearts the other gopis spoke to Her many words.
2397. Here Krishna allowed the gopis to see Him again. The gopis were plunged into bliss.
2398. The gopis carefully arranged a sitting place for Krishna. In this place they spoke many words
with Him.
2399. O Shrinivasa, look at this place on the Yamuna's banks. In this place Lord Krishna began the
great rasa dance.
2400. Surrounded by hundred and millions of gopis, Lord Krishnacandra enjoyed pastimes here in
the rasa-dance circle.
2401. The night of those rasa-dance pastimes was as long as a kalpa. Vyasa and others affirm this
in many ways.
2402. Surrounded by jewellike girls, Lord Krishna, the crown of rasikas intent on enjoying the
rasa-dance, attracted every heart.
2403. The rasa-dance is described in these words of Shrimad-Bhagavatam (10.33.2-9):
"There on the Yamuna's banks Lord Govinda then began the pastime of the rasa-dance in the
company of those jewels among women, the faithful gopis, who joyfully linked their arms together.***
2404-2405. "The festive rasa dance commenced, with the gopis arrayed in a circle, Lord Krishna
expanded Himself and entered between each pair of gopis, and as that master of mystic power placed
His arms around their necks, each girl thought He was standing next to her alone. The demigods and
their wives were overwhelmed with eagerness to witness the rasa-dance and they soon crowded the sky
with hundreds of celestial airplanes.***
2406. "Kettledrums then resounded the sky while flowers rained down and the chief Gandharvas and
their wives sang Lord Krishna's spotless glories.***
2407 "A tumultuous sound arose from the armlets, ankle-bells and waist-bells of the gopis as they
sported with their beloved Krishna in the circle of the rasa dance.***
2408. "In the midst of the dancing gopis, Lord Krishna appeared most brilliant, like an exquisite
sapphire in the midst of golden ornaments.***
2409. "As the gopis sang in praise of Krishna, their feet danced, their hands gestured, and their
eyebrows moved with playful smiles. With their braids and belts tied tight, their waists bending, their
faces perspiring, the garments on their breasts moving this way and that, and their earrings swinging on
their cheeks, Lord Krishna's young consorts shone like streaks of lightning in a mass of clouds.***
2410. "Eager to enjoy conjugal love, their throats colored with various pigments, the gopis sang
loudly and danced. They were overjoyed by Krishna's touch, and they sang songs that filled the entire
universe.***
2411. "One gopi, joining Lord Mukunda in His singing, sang pure melodious tones that rose
harmoniously above His, Krishna was pleased and showed great appreciation for her performance,
saying, 'Excellent! Excellent!" Then another gopi repeated the same melody, but in a special metrical
pattern, and Krishna praised her also.***
2412. In Shrila Jiva Gosvami's Gopala-campu (26.15) the rasa dance is described in these words:
"(Refrain) O most virtuous Lord who descended to Gokula to give the best gift to the world, all
glories to You! All glories to You!
2413. "Brahma, Shiva, and Vaikunthesvara Narayana's wife Lakshmi meditate on You. O Lord, You
shine in the playful rasa dance with Your beautiful gopi-beloved.
2414. O Lord who enjoys graceful dancing with the gopis. O Lord who please them with affectionate
words and embraces, and who removes their suffering....
2415. "...O Lord who expanded into many forms to stand beside each gopi gazing at You in ecstasy,
O Lord completely purchased by the young vraja-gopis' glances!
2416. "The gopis gracefully moved their lotus feet, flower-petal-hands, and eyebrows as they
danced, they bent their waists, their jewel earrings swung, the hairs on their bodies stood up, they
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perspired, and they displayed signs of ecstatic happiness.

2417. "O Lord, You are like a dark raincloud, and all the gopis are like lightning flashes, this
comparison is perfect.
2418. "The gopis sing very sweetly and long to dance. Your advances are their only pleasure. The
nectar of Your touch fills their hearts with bliss. They are purchased by Your love.
2419. "As the gopis' singing fills the universe with happiness, You shine with joy, O Lord, I offer my
respectful obeisances unto You.
2420. "You become filled with wonder as a certain gopi sweetly sings with You, with the gopis She
sings the praises of Your transcendental qualities.
2421. "Her song brings You great happiness, You respond by worshipping her with great respect.
2422. "Exhausted from the pastimes of the rasa-dance, and her jasmine-bracelet slipping, she
gracefully places Her hand on Your shoulder, which is touched by Your glistening earrrings.!
2423. "She playfully kisses Your arm and shoulder. She is very happy. Unknown to others, the hairs
of her body stand up with joy.
2424. "O Lord whose earrings swing to and fro! O Lord whose cheeks are splendid mirrors! On a
pretext You touch Her. Giving Her a kiss, You both exchange the nectar of chewed betel nuts.
2425. "This girl expert in singing and dancing, and Her moving ornaments tinkle in graceful
rhythmns. O Ramanuya (younger brother of Balarama), pretending that Your hand is a peerlessly
beautiful lotus flower, She places at to Her heart.
2426. "O Lord who noticed the gopis' fatigue in the rasa dance, O Lord who made them rest, O
happy, affectionate Lord.!
2427. "O Lord whose splendid fame is recounted by the greatest poets and philosophers. O Lord
splendid with flower garlands, O enjoyer of the rasa-dance, glory, glory, glory, glory, glory, glory, glory,
glory, glory, glory, glory to You!"
2428. O Shrinivasa, the glories of Lord Krishna's rasa dance by the Yamuna's banks are like a great
ocean that has no shore.
2429. Who has the power to describe the beauty of the Yamuna's waters glistening in the light of the
full moon on that night?
2430. in this place Lord Krishnacandra enjoyed water pastimes with His gopi-beloveds in the
Yamuna.
2431. In this place Lord Krishna enjoyed pastimes in the forest. Who can describe the bliss He felt?
2432. At dawn Krishna and the gopis returned to their homes. Thus the wise say.
2433-2435. In Shrila Jiva Gosvami's Shri Gopala-campu (1.29.40) this is described in the following
words:
"Awakened by seeing the splendid morning sunlight in the beautiful forest grove, Krishna breaks the
sleep of His beloved as their gopi-friends gather around them. (Refrain) My consciousness is now
absorbed in thinking of Kamsahara Krishna, who wears a peacock-feather crown.
2436-2438. "The young gopis please Her again and again, and lead Her down the path through the
dense forest. In the forest She was very happy, but at home Her eternal happiness is stolen away. At
home She has become bitter by the poisonous snake of separation from Her lover, She is now stunned
with the desire to meet Him."
2439. In His maha-rasa dance pastimes Vraja's prince Krishna fulfilled the desires of all the gopis.
2440. The rasa-dance pastimes are the abode of great pleasures. All who hear of them find their
desires are fulfilled.
2441. O Shrinivasa, Lord Krishna enchants all the worlds. He enjoys rasa-dance pastimes He is Shri
Radha's life-treasure.
2442. Shri Radha enchants all the worlds. She enjoys rasa-dance pastimes. To Lord Krishna She is
more dear than life. She is the crest jewel of all beautiful girls.
2443. She always acts to please Lord Krishna. In Radha's absence, Lord Krishna cannot be happy.
Nothing pleases Him.
2444. Accompanied by Her gopi-friends, Shri Radhika always enjoys blissful rasa dance pastimes in
Vrindavana.
2445. Now I wish to describe certain blissful pastime of a certain day. I will tell everybody of them.
2446. On that day Vrinda-devi thought in her heart, "Today, because of my careful arrangements, I
will see Radha and Krishna enjoy pastimes with their gopi-friends.
2447. In this way accompanied by her followers, Vrinda-devi began the rasa dance pastimes.
2448. She carefully arranged the dancing arena. Even the Natya-sastra does not know all the
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arrangements she made.

2449. By her arrangement the dancing arena wonderfully glistened in the white moonlight.
2450. How wonderfully beautiful were the gopis in the forest moonlight!
2451. In the form of directions were peerless splendid flower-thrones. In the middle Vrinda arranged
an especially glorious throne.
2452. In a jewel-box she carefully kept some betel nuts with a fragrance that attracted every heart.
2453. She made many flower-ornaments and other ornaments also. She made fragrant sandal paste
and other fragrant pastes also. I cannot write of all the arrangements she made.
2454. She brought thousands and millions of camara whisks that charm the heart. She brought
mrdangas and many other musical instruments.
2455. To the parrots, cuckoos, and other birds she gave the command, "Sing of Radha and Krishna's
pastimes and glories."
2456. To the peacocks she said: "You should dance" to the bumblebees she said: "You should
gentle buzz"
2457. At that time one of Vrinda's gopi-followers gently, gently said to Vrinda:
2458. When the divine couple's arrival was delayed you worried, when you commanded me, I went
to find them.
2459. "On hearing Paurnamasi's words Lord Krishna became jubilant. In a forest filled with flowers
He watchs for Radha's arrival on the pathway.
2460. "Leaving home with Her gopi-friends, Radha met Krishna in that forest of flowers.
2461. "When the divine couple met, Paurnamasi became joyful. Now I shall report all these activities
to you."
2462. As the gopi spoke these words, the divine couple arrived. How charming were the motions of
their lotus feet!
2463. Their graceful arms rested on each others' shoulders. Tasting the nectar of love, they gazed at
each other.
2464. No one can describe the summit of their beauty and grace. All who gazed at Them threw far
away any blinking of their eyes.
2465. The effulgence of Their forms filled the three worlds with light. They eclipsed the glory of a
dark raincloud and a lightning flash.
2466. Surrounded by Their gopi friends headed by Lalita, they were very graceful and glorious.
Every person's limbs glistened with great splendor.
2467. With wonderful grace They walked in the forest grove. Without stop Their anklets softly softly
jingled.
2468. Accompanied by Their gopi friends, Radha and Krishna entered the forest grove. Joyfully they
gazed at Vrindavana's beauty.
2469. Smiling, the divine couple sat on a wonderful throne. In the four directions were Their gopi
friends. Filled with bliss, the gopis forgot their own identities.
2470. Thousands and millions of maidservants waves camara fans. Parrots, cuckoos, and other birds
sang the divine couple's glories.
2471. Sounding almost like a band of musicians, the bumblebees sweetly hummed. On all sides the
peacocks and peahens dances.
2472. On Vrinda-devi's command, these creatures revealed their graceful glories. On the pretext of
manifesting the singing and dancing of the birds and other creatures, Vrinda-devi revealed her desire to
the divine couple.
2473. With a smiling glance from the corner of His eye, Lord Krishna, who is like the sweetest nectar
personified, spoke to Vrinda-devi.
2474. Vrinda-devi then decorated the divine couple with flower ornaments, sandal paste, and other
glorious pastes. How wonderful was the divine couple's glory! No one has the power to describe it.
2475. Opening a betel nut box, Lalita joyfully placed some betel nuts in Radha's hand.
2476. Accepting the betelnuts, Radha happily placed in Lord Krishnacandra's graceful mouth.
2477. Gently, gently, Lord Krishna smiled. His heart was not peaceful. Chewing the betel nuts He felt
many kinds of pleasures.
2478. In His heart He decided, "I will enjoy rasa-dance pastimes." With wonderful grace He glanced
at Shri Radha's face.
2479. Lord Krishna is spiritual bliss personified. He is the abode of nectar. His gracefulness defeats
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millions and millions of Kamadevas.

2480. A peacock feather decorates His head. A flute is placed to His lips. How graceful and sweet He
is!
2481. To fulfill Vrinda-devi desire, Lord Krishna enjoys pastimes with Shri Radhika.
2482. Of numberless gopi-beloveds, Radha is the best. She fulfills Lord Krishna's every desire.
2483. Who can describe Radhika's glorious garments and ornaments? The garments and ornaments
of Lalita and the other gopis do not compare to them.
2484. I cannot write of Radhika's glories. Lalita and the other gopis are not Radhika's equals.
2485. Surrounded by millions of gopis, Lord Krishna, His arm on Radha's shoulders, enjoys many
pastimes.
2486. The glory of the rasa-dance pastimes fills the worlds. Everyone is plunged into those glories.
2487. What shall I say? The wonderful music attracted every heart. This everyone affirms.
2488. O Shrinivasa, in ancient times the demigod Brahma extracted the Sangita Veda (Veda of
music) from the other Vedas. This is known in the world.
2489. It is said:
"Extracting the essence of the four Vedas, the demigod Brahma wrote the fifth Veda, which is called
the Sangita Veda (Veda of Songs)."
2490. From the Sama, Atharva, and Yajur Vedas were born the scriptures describing gita (music)
pathya (scholarship), rasa (mellows) and abhinaya (drama).
2491. It is said:
"From the Rg Vedas was born the pathya-sastra, from the Sama Veda was born the gita-sastra, from
the Yajur Veda was born the abhinaya-shastra, and from the Atharva Veda was born the rasa-sastra."
2492. Brahma, Shiva and the other teachers of sangita (music) filled all the worlds with sweetness.
2493. It is said:
"Brahma, Shiva, Nandi, Bharata, Durga, Narada, Kohala, Ravana, Vayu, Rambha, and others were
famous teachers of sangita."
2494. Sangita consists of three elements: gita (song), vadya (instrumental music), and nrtya (dance).
Some say sangita consists of gita and vadya alone.
2495. Gita, nrtya, and vadya are very glorious and powerful. They attract the hearts of demigods,
humans, and other beings.
2496. In Shri Sangita-paryata it is said:
"Gita, vadya and nrtya are the tree elements of sangita. Because gita is the most important element,
the three are called sangita."
2497. In Shri Sangita-siromani it is said: "Gita, vadya and nrtya are the three elements of sangita.
Some say sangita consists of gita and vadya alone. Sangita charms the hearts of demigods, humans,
animals and other beings."
2498. Sangita is of two kinds: marga and deshi, In Svargaloka marga-sangita is practices the
demigod Brahma is the great acarya of marga-sangita.
2499. In the various countries of the earth the many varities of deshi-sangita are practiced. Both
marga and desi sangita are described in the scriptures.
2500. In Shri Sangita-sara it is said:
"Sangita is of two kinds: marga and desi. Marga-sangita is practiced in Svargaloka. Desi-sangita is
practiced on the earth."
2501. In Shri Sangita-paryata it is said:
"Sangita is of two kinds: marga and desi. The demigod Brahma personally taught marga-sangita to
the brahmana Bharata.
2502. "Having learned marga-sangita from Brahma, the brahmana Bharata employed apsaras and
gandharvas in sangita performances before Lord Sh_iva.
2503. "It is said that desi-sangita is practiced in different ways in the different countries by the
earth..
2504. Sound is the origin of gita (song) and other things. Sound is Lord Hari Himself. Who
understands the true nature of sound?
2505. It is said:
"Without sound there is no gita, without sound there are not notes (svara), without sound there are
no ragas (melodies), the whole universe is filled with sounds."
2506. In Shri Sangita-damodara it is said:
"Without sound there is no knowledge. Without sound there is no auspiciousness. Sound is the
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Brahman effulgence. Sound is Lord Hari Himself."

2507. in the Anjaneya it is said:
"Even Goddess Sarasvati does not know where is the farther shore of the ocean of sound. Fearing
they will drown in the ocean of sounds, even today musicians clutch the vina's sound to their chests."
2508. From fire and air sound was born. From air, ether and the other elements sound was born.
2509. Sound is originally created in the area below the navel. Rising up above the navel, at the end
sound emerges from the mouth.
2510. Thus sound is manifested by passing through many places. This is a brief description of the
creation of sound.
2511-2512. In the Sangita-sara it is said:
"The syllable na comes from the life's breath. The syllable da comes from the fire in the belly. From
them both nada (sound) is created. Therefore sound is born from breath and fire."
2513. In Shri Sangita-mukstavala it is said:
"Born from ether, fire and air, sound rises and is finally manifest from the mouth.
2514. Sound is of three kinds: 1. prani (from a living entity), 2. aprani (not from a living entity), and
3. prani-aprani-yoga (from a mixture of living and non-living sources).
2515. If the sound is manifest from a non-living source, it is called aprani, sound may also be
manifest from a mixture of living sources (prani-aprani).
2516. When air touches the mouth or nose, sound is produced. Thus sound may be either prani or
aprani.
2517. It is said:
"Sound is of two kinds: prani and aprani. The first (prani) is directly produced from the body. The
second (aprani) is produced by a vina or other musical instrument. There is also a third kind of sound (a
mixture of prani and aprani). Flutes and others like instruments produce this third kind of sound." In this
way there are three kinds of sound."
2518. Prani sounds are of three kinds: 1. mandra, 2. madhya, and 3. tara. These three are produced
in the chest, throat, and head respectively.
2519. Madhya sounds are twice as high as mandra sounds and tara sounds are twice as high as
Madhya sounds.
2520. It is said: "The wise affirm that sounds are of three kinds, mandra sounds are produced in the
chest, madhya sounds are produced in the throat, and tara sounds are produced in the head. Each of
these is twice as high as the previous one."
2521. During the rasa dance the gopis sang songs that employed these different kinds of sounds.
2522. The songs that came from the gopis mouths delighted Lord Krishna. All the scriptures describe
the great glory and power of music and song (sangita).
2523. It is said:
"A person may be learned in Sruti, Smrti, Sahitya (rhetoric) and many books and scriptures, but if he
does not know the science of sangita (music, song and dance), then he is only a two-footed animal.
2524. "Philosophy, yajnas, prayers and other like things bring only the three goals of life (piety,
economic development, and sense gratification), Only knowledge of sangita brings all four goals of life
(including liberation)."
2525. It is said in Shri Sangita-Damodara:
"Even an exalted man who does not feel happiness in his heart from delightful sangita has been
cheated by fate.
2526. "Deer and birds are bound by enchantment because of Sangita. Sangita forces serpents to
come. Sangita stops children from crying.
2527. "Sangita brings great bliss. It brings the fulfillment of specific desires. It brings others under
one's control. It charms every heart. The best kind of sangita carries with it the seed of liberation."
2528. O Shrinivasa, Lord Krishna, who is the abode of nectar and the crest jewel of all. who know
the science of music, thus enjoyed many pastimes in the rasa dance.
2529. in the rasa dance circle Lord Krishna and the gopis enjoyed pastimes of singing wonderfully
beautiful songs.
2530. Gita (song) is of many kinds. Of these kinds Dhatu-gita and Matu gita are especially famous.
2531. Dhatu-gita and Matu-gita create anuraga (delight). Gita with avayava is called Dhatu-gita, Gita
with raga and other like elements is called Matu-gita.
2532-2533. In Shri Sangita-sara it is said:
"Dhatu-gita and Matu-gita both create delight. Dhatu-gita is with avayava. Matu-gita is with ragas
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and other like elements, this is said."

2534. Many persons call Dhatu-gita nadatmaka-gita, which means the original nature (atmaka) of
sound (nada).
2535. In Shri Narada-samhita it is said:
"Gita is divided into Dhatu and Matu. Some call Dhatu-gita by the name Nadatmaka-gita."
2536.From the nadas are manifest the sh_rutis, svaras, murchanas, and gramas, which are called
talas.
2537. From the nadas are born many sh_rutis. From the sh_rutis are born the svaras, which begin
with shadja.
2538. From the svaras are born the murchanas. From the murchanas are born the talas, which are
manifest from the gramas. This is known in all the worlds.
2539. It is said:
"From the nadas the shrutis are born. From the shrutis the svaras, which begin with shadja, are
born, From the svaras the murchanas are born. From the murchanas the talas which are manifest from
the gramas are born.
2540. O Shrinivasa, now I will briefly explain all these, one after another.
2541-2542. Now I will briefly explain the nadas, shrutis, svaras, murchanas, talas, varnas,
grahasvaras, amsasvaras, nyasasvaras, and jatis, one after another.
2543. It is said:
"Now I will briefly explain the nadas, shrutis, svaras, murchanas, talas, varnas, grahasvaras,
amsasvaras, nyasasvaras, and jatis, one after the other.
2544. Now I will describe the nadas. I will describe the shrutis and other like things. During the rasa
dance Lord Krishna and His gopi-beloved sang songs that contained shrutis.
2545. O Shrinivasa, what shall I say? In the rasa dance circle the shrutis personified were manifest.
2546. From the nadas the shrutis were manifest. From Lord Krishna the shrutis manifested a
shoreless ocean of happiness.
2547. The shrutis, which are sounds driven by moving air, are 22 in number. They arise from the
heart and travel on the 22 nadis curving and travelling upwards.
2548. There are as many shrutis as there are nadis, this is known everywhere. Gradually travelling
upwards, the shrutis are manifested in the vina and other musical instruments.
2549. In a throat choked with mucus, the shrutis are not manifest. Everyone gives these
explanations.
2550.-2551. The Srutis are described in these words:
"The Srutis, which are sounds driven by moving air, are 22 in number. They arise from the heart and
travel upwards on the 22 nadis. There are as many shrutis as there are nadis. This is said. Gradually
travelling higher and higher, the shrutis are manifested in the vina and other musical instruments. In a
throat choked with mucus, the shrutis are not manifested."
2552. The Srutis are 22. The svaras, beginning with shadja, are seven. This the learned say.
2553-2554. The madhyama, pancama, and shadja have four sh_rutis each. The rishabha and
daivata have three sh_rutis each. The rishabha and daivata have three sh_rutis each. The gandhana
and nishada have two sh_rutis each. In this way (4x3=12, 3x2=6, 2x2=4, 12+6+4=22) there are 22
shrutis. From the shrutis are born the svaras. This is well known.
2555. This is described in the following words:
"The madhyama, pancama, and shadja have four shrutis each. The rishabha and daivata have three
shrutis each. The gandhara and nishada have two shrutis each."
2556. The shrutis are called by different names in different places. Still, everyone agrees that the
svaras, beginning with shadja, are born from the sh_rutis.
2557-2565. It is said: "The four shrutis of shadja are 1. nandi, 2. vishala, 3. sumukhi, and 4. vicitra.
The three shrutis of rsabha are 1.citra, 2.ghana, and 3. calanika. The two shrutis of gandharva are
sarasa and mala. The four shrutis os madhyama are 1. madhavi, 2.shiva, 3. matangika, and 4. maitreyi.
The four shrutis of pancama are 1. bala, 2. kala, 3. kalarava, and 4.sharngaravi. The three shrutis of
dhaivata are 1. jaya, 2. rasa, and 3. amrita. The two shrutis of nishada are 1. matra, and 2. madhukari.
In this way there are 22 sh_rutis. The svaras are like the children, and the shrutis are like the father.
They are placed in the sasthi-vibhakti (possessive care) because their relation that of father and
children, that is the meaning here."
2566. In different places the shrutis are called by names.
2567. For example, in the Kohaliya it is said: "The four shrutis of shadja are 1. siddhi, 2. prabhavati,
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3. kanta and 4. subhadra. This instruction has come from Prajapati's mouth."
2558-2569. It is said:
"As a person looking at the waters cannot see the fish moving in the depths, so even the demigod
Brahma cannot see how the svaras arise from the heart."
2570. O Shrinivasa, who understands the true nature of the shrutis? In the beautiful song sang
during the rasa dance the shrutis were manifest in their true nature.
2571. At that time Lord Krishnacandra manifested the shrutis. Shri Radhika also manifested
wonderful shrutis.
2572. Lalita and the gopis were then filled with bliss. Filled with wonder, the demigods showered
flowers.
2573. Talking amongst themselves, the shrutis praised their own good fortune. Accompanied by the
svaras, the shrutis attracted every heart.
2574-2575. The svaras are described in these words:
"Arising from the shrutis' abode in the heart, the svaras charm the hearts of all who hears them."
2576-2581. It is said:
"The seven svaras are 1.shadja, 2.rsabha, 3. gandhara, 4. madhyama, 5. pancama, 5. dhaivata, and
7. nishada. They are also called by the names 1. sa, 2. ri, 3. ga, 4.ma, 5.pa, 6.dha, and 7.ni. The
seven svaras are manifested from three places, 1. mandra (the chest), 2. madhya (throat), and 3. tara
(head). The madhya is twice as high as the mandra, and the tara is twice as high as the madhya."
2582. Learned scholars of sangita very happily describe the places where the seven svaras,
beginning with sadja, are produced.
2583-2584. Of the shadja svara it is said:
"Sadja is born by touching the following six places: 1. chest, 2.nose, 3.throat, 4. palate, 5.tongue,
and 6.teeth."
2585. Shri Sangita-Damodara, however, gives the following different explanation: "Shadja is born
from the following six places:
1.the navel, 2.the chest, 3 and 4. the two sides, 5.the nadis and 6.the head."
2586. As the scriptures described the origin of shadja, so they also described the origin of the svara
rishabha.
2587. Rishabha-svara is described in these words: "The moving air that arises from the root of the
navel creates a sound. That sound, like bellowing of a bull, is called rishabha svara."
2588. Gandhara-svara is described in these words:
"The moving air that arises from the navel, causes the nose and ears to vibrate, and exits as sound
is called gandhara-svara."
2589. Madhyama-svara is described in these words:
"The madhyama svara is the deep sound that arises from the navel and from the middle (chest) of
the body."
2590. Pancama svara is described in these words:
"Pancama-svara is born from the combination of the prana, apana, samana, udara and vyana airs."
2591. The places of these five airs are described in these words:
"Prana is in the heart, apana is in the genitals, samana is in the navel, udana is in the throat, and
vyana is everywhere in the body."
2592. Dhaivata svara is described in these words:
"The sound that goes from below the navel, to the lower abdomen, and them flows upwards to the
throat is the dhaivata svara.
2593. Nishada svara is described in these words:
"When all the beautiful svaras, beginning with shadja, combine together, the result is called nishada
svara in this world."
2594-2596. The seven svaras are sung by different creatures. The peacocks sings shadja. This is
famous in all the world. The cataka bird sings rsabha. The goat sings gandhara. The kraunca bird sings
madhyama. The cuckoo sings pancama. The frog sings dhaivata. The elephant sings nishada. Some
other thinkers attribute these svaras to other creatures.
2597-2598. It is said:
"The peacock sings shadja. The cataka bird sings rshabha. The goat sings gandhara. The kraunca
bird sings madhyama. The cuckoo sings pancama. The frog sings dhaivata. The elephant sings nisada.
This is the opinion of the demigod Brahma and other scholars."
2599. In Sangita-Damodara it is said:
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"The peacock, bull, goat, cuckoo, horse, and elephant sing the respective svaras."
2600. The seven svaras are of four kinds: vadi, samvadi, vivadi, and anuvadi.
2601. When the ragas and other features are those in common use, the seven svaras are said to be
vadi.
2602. When the shrutis are like those of pancama-svara, the svaras are samvadi. The svaras are
never samvadi when the shrutis are like madhyama.
2603. The four svaras gandhara, nisada, rsabha and dhaivata are vivadi. The scriptures affirm that
these four are vivadis, or enemies.
2604. In some scriptures it is said that rsabha and dhaivata are vivadi (enemies) to gandhara and
nisada.
2605. The other svaras are all anuvdi. This the learned say.
2606-2608. It is said:
"The seven svaras are of four kinds, vadi, samvadi, vivadi, and anuvadi. When the ragas and other
features are those in common use, the seven svaras are said to be vadi. When the shrutis are like those
of pancama-svara, the svaras are samvadi. The svaras are never samvadi when the shrutis are like
madhyama. Rsabha and dhaivata are vivadi (enemies) to gandhara and nisada. This is the opinion of
Dambhila Acarya."
2609. The vadi svaras are like a king. The samvadi svaras are like a king's minister. The vivadi
svaras are like enemies. This is said by all.
2610. The anuvadi svaras are like the followers of a king or prime minister. These natures cannot be
seen directly.
2611. It is said: "The vadi svaras are like a king. The samvadi svaras are like a king's minister. The
vivadi svaras are like enemies. The anuvadi svaras are like the followers of a king or a prime minister."
2612. O Shrinivasa, in His songs Lord Krishna, the crown of rasikas, manifested all these delightful
svaras.
2613. In Lord Krishna's presence Lalita would play the vina. She was very expert at the svaras and
other features of music.
2614. Hearing her play, the gandharvas became embarrassed.
2615. The svaras personally worshipped her. The svaras' wonderful motions are the gramas. This is
said:
The Gramas (scales)
2616. The combinations of the subtle natures of the svaras are called the gramas (scales). The three
gramas are 1.shadja, 2.madhyama, and 3. gandhara.
2617. Sadja and madhyama gramas are known on the earth. Gandhara grama is famous everywhere
in Devaloka.
2618. of these three gramas shadja-grama is the best. The scriptures also describe murchana-grama
and adhara-grama.
2619. It is said: "The combinations of the subtle natures of the svaras are called the gramas
(scales). The three gramas are 1.shadja, 2.madhyama, and 3. gandhara. Sadja amd madhyama
gramas are known on the earth. Gandhara grama is famous in Devaloka."
2620. It is also said: "A multitude of delightful notes is called a grama."
2621. In Shri Sangita-parijata it is said: "It is said that the gramas, which are groups of svaras, are
three: 1.shadja, 2.madhyama, and 3.gandhara. Of these three gramas shadja-grama is the best.
Murchana-grama and adhara-grama are also counted among the gramas."
2622. Now the seven-note scales that are the three gramas and murchanaj-grama will be described.
Sadja-grama is sa-ri-ga-ma-pa-dha2623. Madhyama-grama is ma-pa-dha-ni-sa-ri-ga. Gandhara-grama is ga-ma-pa-dha-ni-sa-ri.
2624. The three forms of murchana-grama are: 1.sa-ri-ga-ma-pa-dha-ni, 2. ma-pa-dha-ni-sa-ri-ga,
and 3. ga-ma-pa-dha-ni-sa-ri.
2625. It is said by others: "Sadja-murchana grama is sa-ri-ga-ma-pa-dha-ni. Madhyamamurchana-grama is ma-pa-dha-ni-sa-ri-ga. Gandhara-murchana-grama is ga-ma-pa-dha-ni-sa-ri."
2626. Each grama has seven svaras. Still the sequences are different. Of these are 21 differente
kinds.
2627. These differences are described by Bharata Muni and other authors. The jatis, shrutis, svaras
and other features are part of the gramas.
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2628. Kohala explains: "Accompanied by the jatis and shrutis, the svaras become the gramas."
2629 and 2630. O Shrinivasa, in charming Vrindavana, in the blissful rasa-dance with His
gopi-beloveds, Lord Krishna manifested many varieties of the three gramas. His music made wonder
take birth within Shiva, Brahma, and other demigods.
2631. Again and again Shri Radhika praised Lord Krishna, the master of Her life. Then, when she
sang the gramas, She filled Lord Krishna with wonder.
2632. Unable to remain peaceful, Lord Krishna embraced Radha. Then Lalita and other gopis
became joyful.
2633. Who has the power to describe the wonderful singing of Radha and Krishna? Murchana-grama
is manifested in many ways in the three gramas.
Murchana-grama
2634. Bharata Muni describe the origin of murchana-grama. He says that when the svaras are mixed
together they become the ragas.
2635. It is said: "When the svaras are mixed together they became the ragas. Bharata Muni called
this by the name murchana. That is the origin of murchana-grama."
2636. It is also said: "When the svaras are mixed together and become a raga, this is called
murchana-grama by Bharata Muni.
2637. The seven svaras are manifest in the three varieties of murchana-grama. In this way there are
7x3=21 varieties. The varieties of murchana-grama thus begin with 1.lalita, 2.madhyama and 3. citra.
2638-2640. It is said: "Lord Sh_iva explains that the 21 varieties of murchana-grama are: 1.lalita, 2.
madhyama. 3.citra, 4. rohini, 5.matangaja, 6. sauvira, 7.varnamadhya, 8. shadjamadhya, 9.pancami,
10.matsari, 11.mridumadhya, 12. shuddhanta, 13. kalavatii, 14. tivra, 15.. raudri, 16.brahmi, 17.
vaishnavi, 18. khecari, 19. vara, 20. nadavati, and 21.vishala."
2641. By listening to murchana-grama a person finds his happiness increase moment after moment.
That is why Bharata Muni and other scholars called it by the name murchana.
2642. It is said: "A person who performs murchna-grama in Lord Sh_iva's presence becomes free of
sin, even of the sin of killing a brahmana."
2643. O Shrinivasa, in this way murchana is manifest from the gramas. No one gives any different
explanation.
2644. With wonderful grace and a joyful heart Lord Krishna enjoys rasa-dance pastimes with His
gopi-beloveds.
2645. What shall I say? Lord Krishna, who is the great crown of all rasikas, manifested a great
variety of charming melodies and rhythms.
Tala (Rhythm)
2646. Mu_rchana has pure tala (rhythm) and other pure features. Tala is born from the seven
svaras. That is the description.
2647. The scriptures affirm that there are 49 talas. They are each distinct and complex.
2648. It is also said there are 5,033 talas. They are very glorious.
2649. It is said: "The murchanas and talas are glorious and pure."
2650-2652. In the Sangita-Damodara it is said: "The talas, which are born from the seven svaras
and which take shelter of the murchanas, are 49 in number. From them are manifest the complex and
difficult talas, which are each distinct in nature and which are very numerous. Who can describe them
all? The gramas, murchanas, and talas are of many different kinds. Because to describe them all is
impractical and because I do not know them all, I will not speak of them all."
2653. Of the talas it is said: "The talas are 5,033 in number. A person who with the agnistomika-tala
offers prayers to Lord Shiva one day attains the post of Shiva.
2654. "The pure talas are of many different kinds, beginning with agnistomika-tala.
2655. "Because it is not possible to do so, I will not describe them all."
2656. The very fortunate and glorious talas personified are all playful and glorious in Lord Krishna's
personal presence.
2657. Lalita and the other prominent friends of Shri Radha, gopis who are the leaders of many other
gopis, play many different talas.
2658. In the company of their gopi friends, Radha and Krishna experience great bliss as They
manifest many wonderful ganas (songs) and varnas.
2659. Of the varnas it is said the first svara is a melody is called the varna, which is of four kinds.
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2660. The four kinds of varnas are: 1.sthayi-varna, 2.aroha-varna, 3. avarohi-varna, and 4.
sancari-varna,
2661. When the varna is repeated again and again, that is called sthayi-varna, this is accepted by
all.
2662. In aroha-varna the melody ascends from the varna. In avarohi-varna the melody descends
from the varna. I sancari-varna the melody is a mixture of these three options.
2663. It is said: "The first svara of a melody is called the varna. Sthayi, aroha, avarohi, and sancari
are the four kinds of varnas."
2664. The natures of each of these varnas are described in these words: "When the varna is
repeated and repeated, this is known as sthayi-varna. The arohi and avarohi ascends from the varna
and the avarohi descends from the varna."
2665. In the Sangita-parijata it is said: "When the varna is repeated and repeated, that is sthayivarna. When the melody ascends it is arohi-varna. When the melody descends it is avarohi-varna. When
the melody is a mixture of these options, it is sancari-varna."
2666. The seven svara-varnas are sa-ri-ga-ma-pa-dha-ni. I addition to these there are many
alankaras (ornaments).
2667. It is said: "Many ornaments adorn the varnas."
2668. Sthayi-varna has 26 alankaras. Arohi-varna has 12 alankaras, Sancari-varna has 12 alankaras.
2669. All together there are 62 alankaras. They are of many different kinds. This is described in
scripture.
2670. It is said: "Sthayi-varna has 26 alankaras, Arohi-varna has 12 alankaras, avarohi-varna has 12
alankaras, and sancari-varna has 12 alankaras. Thus there are 62 alankaras all together."
2671. Alankaras are of many kind and have many uses. Persons learned in the svaras use alankaras
repeatedly. This the scriptures say.
2672. It is said: "When knowledge of the svaras is present, repeated use of the alankaras brings
delight. When knowledge of the varnas is present, use of the alankaras brings wonderful variety."
2673. In the Sangita-parijata it is said: "The ragas are not used for long without the alankaras."
2674. The sthayi-varnas are described in these words: The alankaras are used in sthayi-varna. In
that varna they are used repeatedly from beginning to end.
2675. Now I will explain the alankara named "Ghadra". In this alankara the notes are lightly taken
one by one.
2676. In Sangita-parijata it is said: "When the previous note is repeated, that alankara is called
bhadra. So say the wise sage Hanuman. One by one these notes are lightly taken."
2677. The following are some examples of bhadra-alankara: sa-ri-sa, ri-ya-ri, ga-ma-ga, ma-pa-ma,
pa-dha-pa, dha-ni-dha, ni-sa-ni, and sa-ri-sa. Aroha-alankara is described in these words: "Arohaalankara is an alankara that ascends. It is held long. It is manifest in the seven svaras.
2678. In Sangita-parijata it is said: "Aroha-alankara is an alankara that ascends in murchana-grama
or the other gramas. It is held with long svaras."
2679. The following is an example of aroha-alankara: sa-ri-ga-ma-pa-dha-ni-sa. When the first and
second note are short and the third note is long, the charming alankara is called "Pracchadana."
2680. In the Sangita-parijata it is said: "When the first and second note are short and the third note
is long, all-knowing Hanuman Muni calls this ornament pracchadana".
2681. The following are some examples of pracchadana-alankara: sa-ri-ga, ri-ga-ma, ga-ma-pa,
ma-pa-dha, pa-dha-ni, and dha-ni-sa. In the alankara called udvahita-alankara, the first note is sounded
four times, the second note is sounded two times, and the third and fourth notes are sounded once
each.
2682. In the Sangita-parijata it is said: "When the first svara sounded four times, the second svara is
sounded two times, and the third and fourth svaras are sounded one time each, this alankara Hanuman
Muni calls by the name udvahita-alankara."
2683. Here are some examples of udvahita-alankara: sa-sa-sa-sa-ri-ri-ga-ma, ri-ri-ri-ri-ga-ga-ma-pa,
ga-ga-ga-ga-ma-ma-pa-dha, pa-pa-pa-pa-dha-dha-ni-sa.
Avaroha-alankara is described in these words: Avaroha-alankara is an ornament of descending
notes. Much could be said about it, but I will not say anything more in this place.
2684. In the Sangita-parijata it is said: "Avaroha-alankara is a descending figure of twelve kinds. Out
of respect I will not write anything more about it".
2685. Sancari-alankara is described in these words: in sancari-alankara the note may go in any
direction, as the singer or musician like.
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2686. In this ornament the first two svaras are a unit that is repeated three times. After part one
comes another two svaras unit that repeats the second svara of the first unit.
2687. This ornament is called prasada-alankara. The scriptures happily describe all about this
alankara.
2688 and 2689. In the Sangita-parijata it is said: "In this alankara the first two notes are a unit that
is repeated three times. After that comes another two-svara unti that repeats the second svara of the
first unit. This is called prasada-alankara.
2690. Some examples of prasada-alankara follows: sari-sari-sari-gari, riga-riga-riga-maga,
gama-gama-gama-pama, mapa-mapa-mapa-dhapa, padha-padha-padha-ridha, and dhani-dhanidhani-sani.
2691. In Sangita-parijata it is said: "The wise call the figure of three ascending svaras by the name
akshepa-alankara."
2692. Some examples of akshepa-alankara follows: sa-ri-ga, ri-ga-ma, ga-ma-pa, ma-pa-dha,
pa-dha-ri, and dha-ni-sa. The figure kokila-alankara is said to be like a lion's glance. The pattern of this
figure is sariga-sarigama.
2693. In the Sangita-parijata it is said: "The pattern of kokila-alankara is sariga-sangama." Some
examples of this alankara follows: sariga-sarigama, rigama-rigamapa, gamapa-gamapadha, mapadhamapadhani, and padhani-padhanisa.
2694.All these varna-alankaras are sweet when they are sounded they make sorrows flee far away.
2695. From the graceful moon of Shri Krishna Chaitanyacandra's mouth these varna-alankaras
flowed like nectar.
2696. in the company of Lalita and Her other friends, Shri Radhika sang songs with many very
wonderful varna-alankaras.
2697. Her singing crushed into powder the pride of the gandharvas and other great singers. Her
singing was very sweet. It had not peer in all the worlds.
2698. With a joyful heart Lord Krishna praised Her. With unblinking eyes He gazed at Radha's face.
2699. The three svaras, 1.graha-svara, 2.amsa-svara, and 3.nyasa-svara, are the abode of Shri
Krishna's sweetness.
2700. About graha-svara it is said: Bharata Muni describes graha-svara, when seven svaras are
placed in a melody.
2701. It is said: "A song or melody is called graha-svara."
2702. In Sangita-parijata it is said: "Svaras placed in a melody, are called graha-svaras."
2703. The amsa-svara is described in these words: Present in a melody, the amsa-svara manifests
anuraga (the beginning of love). Bharata Muni and other authorities say it has this power.
2704. It is said: "The svara that manifests rakti (love), and that is the original graha-svara and
nyasa-svara, and that is like a great king, the best of all svaras, is called amsha-svara or vadi-svara."
2705. In Sangita-parijata it is said: "Amsa-svara is the life of all the ragas."
2706. It is also said: "Amsa-svara is employed in many different situations."
2707. Nyasa-svara is described in these words: When nyasa-svara is employed in a melody it brings
bliss. It makes a melody's conclusion.
2708. It is said: "Nyasa-svara brings a melody to its conclusion."
2709. In Sangita-parijata it is said: "Nyasa-svara is employed to conclude a melody."
2710. O Shrinivasa, graha-svara, amsa-svara, and nyasa-svara all manifest the nectar of Lord
Krishna.
2711. Svara-jati and other like musical patterns fill Shiva, Brahma, and the demigods with wonder.
2712. Jati-svara is described in these words: Jati gives birth to raga. It is the mother of raga Jati is
of three kinds.
2713. The first of these is called shuddha. The second is called Vikrita. When these two meet the
result is called sankirna. This the learned say.
2714. It is said: "Jati gives birth to raga. It is the mother of raga. It is of three kinds. The first of
these is called shuddha, the second is called Vkrita. When these two meet the result is called sankirna."
2715. Suddha-jati-svara is of seven kinds according to the seven svaras beginning with shadja. When
that svara is transformed it becomes Vikrita-jati-svara. This the wise say.
2716. Vikrita-jati-svara is of eleven kinds. This the scriptures say. The last of these svaras
sankirna-svara is a transformation of the other svaras.
2717. Suddha-jati-svara and vikrita-jati-svara together have 18 kinds (7+11). This truth the learned
scholars accept.
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2718. Suddha-jati-svara is of seven kinds beginning with shadja. Vikrita-jati-svara is of eleven kinds
beginning with shadja.
2719. Manifesting eleven varieties, beginning with shadja and gandhara, vikrita-jati-svara is famous
everywhere.
2720. It is said: "Suddha-jati-svara is of seven kinds, beginning with shadja-svara, vikrita-jati-svara
is manifest from a transformation.
2721. In Hari-nayanaka it is said: "The jati-svaras are suddha and vikrita. These have eighteen
types, they are the mother of the ragas."
2722-2726. The seven shuddha-jati-svaras are: 1. shadja,2.rsabhi, 3.gandhari, 4. madhyami,
5.pancami, 6.dhaivati, and 7. naisadi. The eleven vikrta-jati svaras are: 1. shadja-pasiki, 2. shadjamadhyama, 3. gandhara-pancamandhri, 4. shadja, 5. dhaivati, 6. parmavari, 7. nandayanti. 8.
gandharodiccara, 9. madhyamodicara, 10. rakta-gandhari, and 11. kaisiki. This is said by Bharata Muni
and other learned scholars. Now we will describe the origin of shuddha, siddha and vikrta.
From the union of shadja and gandharika is born shadja-kaisiki. From the union of shadja and
madhyama is born shadja-madhyama. From the union of gandhari and pancami is born gandharapancami."
2727. These eleven and their relation to the gramas are elaboratedly described by Bharata Muni and
other authors.
2728. Beginning with the shruti and concluding with the jatis, I have briefly explained these topics.
Please know that all these sounds are manifest on the vina.
2729. It is said: "Beginning with the shrutis and concluding with the jatis, I have briefly explained
these topics, these are manifested on the vina. This the wise know. It is not otherwise."
2730. During the rasa dance jati personified, who is the mother of the ragas became manifest. In my
heart I have no power to say where her glories end.
2731. O Shrinivasa, the rasa-dance is the best of all pastimes. Who knows how to describe the
sweetness of the music in that pastimes.
2732. The sweetness of the songs that came from Shri Radha and Shri Krishna's throats defeated
the music of the vina. The jatis their songs manifested delighted their gopi friends.
2733. They sang many different ragas. Who has the power to describe the blissful wonders their
songs manifested?
2734. Now the ragas will be described. Bharata Muni and other scholars have described the natures
of the ragas. The ragas bring delight to the hearts of the three worlds.
2735. The scriptures affirm that there are 16,000 ragas. All these ragas enjoy pastimes on the four
sides of Mount Meru.
2736. Amongst all these ragas 36 ragas are prominent. These ragas are famous in the world. This
the learned scholars say.
2737. It is said: "Bharata Muni and other scholars describe the ragas that delight the hearts of the
three worlds."
2738. In the Narada-pancama-samhita it is said: "Lord Krishna played charming melodies on Hi flute,
and the gopis responded by singing songs. From this music were manifested the 16.000 ragas."
2739. It is also said: "Amongst all these ragas 36 ragas are especially famous in the world. All the
ragas are manifest in the four directions around Mount Meru."
2740. Amongst the 36 prominent ragas, six are ragas and the remaining 30 are raginis. Each raga
has five ragini-wives. That is the proper understanding.
2741-2744. In the Sangita-Damodara it is said: "Bhairava, Vasanta, Malava-kaishika, Shri-raga,
Megha-raga, and Naa-Narayana-raga are the six male ragas. Now I will describe the female raginis.
Bhairavi, Kaushiki, Vibhasha, Velavali, and Rangali are the dear ragini wives of Bhairava-raga.
Andolita, Sheshakhya, Lola, Prathama-manjari, and Mallari (Mandarii) are the five raginis that always
follow Vasanta-raga.
2745. Gauri, Gundakiri (Gunakari), Varadi, Kshamavati, and Kamala are the raginis dear to Malavakaushika-raga.
2746. Gandhari, Deva-gandhari, Malava-shri, Shavari, and Rama-kiri are the raginis dear to
Shri-raga.
2747. Lalita, Malasi, Gauri, Nai, and Deva-kiri are the raginis dear to Megha-raga.
2748. Taramani, Sudha-bhiri, Kamodi, Gurjari, and Kakubha are the raganis dear to Naa-Narayanaraga."
2749. Some say the ragas number six and the raginis number 36. in this view each raga has six
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raginis.
2750. In Shri Narada-pancama-samhita it is said: "The ragas are six in number and the raginis are
36 in number. The ragas are filled with Lord Shiva's potency. They are nectar oceans of spiritual love.
Simply by hearing them from Lord Vishnu Himself melts in the ecstasy of spiritual love."
2751. In this second version the ragas are described in these words: "The six male ragas are:
1.Malava, 2.Mallara, 3. Shri-raga, 4. Vasantaka, 5. Hindola, and 6.Karnata.
2752. "Dhanasi, Malasi, Ramakeri, Sindhuda, Ashavari, and Bhairavi are the raginis dear to
Malava-raga.
2753. "Velavali, Puravi, Kanada, Madhavi, Koda and Kedarika are the raginis dear to Mallara-raga.
2754. "Veloyari, Gauri, Gandhari, Subhaga, Kaumari, and Vairagis are the ragnis dear to Shri-raga.
2755. "Todi, Pancami, Lalita, Paha-manjari, Gurjari and Vibhasha are the raginis dear to
Vastanta-raga.
2756. "Mayuri, Dipika, Deshakari, Pahida, Varadi, and Marahaa are the raginis dear to
Hindola-raga.
2757. "Naika, Bhupati, Ramakeri, Gada, Kamodi, and Kalyani are the raginis dear to Karnata-raga."
2758. Learned scholars debate the natures of the different ragas. Even at the kalpa's end they will
not come to an agreement.
2759. In county after county the ragas are called by different names. I have no power to list all
these different names.
2760. It is said: "In county after county the ragas are called by different names. No one has the
power to list all those names. I cannot list them. Even Narada, who holds the vina in his hand, cannot
list them all.
2761. Scholars learned in sangita affirm that the ragas are of three kinds: 1.sampurna, 2.Shadava,
and 3. Audava.
2762. It is said: "The ragas are of three kinds: 1. Sampurna, 2.Shadava, and 3. Audava.
2763. Scholars learned in gita affirm that ragas of seven svaras are sampurna.
2764. It is said: "Ragas of seven svaras are called sampurna."
2765. Ragas of seven svaras are called sampurna. These ragas are headed by Shri-raga, Naa, and
Karnata.
2766-2768. It is said: "The sampurna ragas are headed by Sh_ri-raga, Naa, Karnaa, Gupta
vasanta, Shuddha-Bhairava, Vangali, Soma-raga, Amra-pancama, Kamoda, Megha-raga, Dravida,
Gauda, Varai, Gurjari, Todi, Malava-shri (Malasi), Saindhavi (Sindhuda), Devakri, Ramakri, Prathamamanjari (Pahaj-manjari), Naa, Velavali, and Gauri."
2770. The result obtained from melodies of these sampurna-ragas is very great. This truth is known
everywhere. Scholars learned in sangita describe it.
2771. In the Kohaliya it is said: "From the sampurna-ragas are born long life, piety, fame,
intelligence, happiness, wealth, and expansion of one's kingdom."
2772. The sampurna-ragas are like nectar personified. What shall I say to describe them?
2773. Amongst the sampurna-ragas are some ragas that, if purely sounded, will destroy the material
universe.
2774. Now the Shadava-ragas will be described. Scholars learned in sangita say the ragas that have
six notes are called shadava.
2775. It is said: "The ragas of six svaras are called shava."
2776. The sadava-rgas are headed by Gauda and Karnta-gauda. Scholars learned in sangita say
these rgas bring many results."
2777 and 2778. It is said: "In the opinion of Hari-nyaka the sadava-rgas are headed by Gauda,
Karna-gauda, Deshi, Dhannsik (Dhanashri), Kolhal, Vallli, Desha, Ashvari, Khambvati
(Kshamvati), Harsha-puri, Mallri and Huncik."
2779. In Shri Sangita-sra it is said: "Prominent among the pdava-rgas are Shrikanha, Bhauli,
Tr, Shlaga, Gauda, Shuddhabhiri, Madhukari, Chy and Nilotpal."
2780. Kohala describes the results that come from these rgas: "The saints of older times affirm that
melodies n the sadava-rgas bring handsomeness, virtue, fame and heroism in battle."
2781 and 2782. Now the Audava-rgas will be discussed. The rgas that consists of five svaras are
the audava-rgas. All scholars describe the many audava-rgas in this way.
2783. Headly Madhyamdi and Mallra, melodies in the audava-rgas bring many results.
2784 and 2785. It is said: "The audava-rgas, which charm the people's hearts, are headed by
Madhyamdi, Mallra, Desha-pla, Mlava, Hindola, Bhairava, Nga-dhvani, Gondakriti (Gunakiri),
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Lalit, Chy, Todi, Velvali, and Pratpa-sindhu.

2786. In listing the names of the audava-rgas, Shri Sangita says: "The audava-rgas include
Turaska, Gauda, Gndhra, Pulinda, and Megha-ranjaka."
2787. Kohala describes audava-rga's results in these words: "Melodies in audava-rga destroy
diseases, enemies, fear and sorrow. They also pacify unfavorable planets."
2788. Now sankirna-rgas will be discussed. Rgas are called sankirna (mixed) by the learned.
These rgas are beautiful to the ear.
2789. Hari-nyaka explains: "The mixtures of various rgas have many different names. Beautiful to
the ear, these rgas are called sankirna."
2790. Sankirna-rgas are the mixture of two, three, or more rgas. The sankirna-rgas are headed
by Pauravi and Kalyni.
2791. Now Pauravi-rga will be discussed. When parts of Desi-rga are mixed with parts of
Mallan-rga, the resulting pleasant rga is called Pauravi-rga by the wise.
2792. It is said: "Parts of Desha-rga join with parts of Mallri-rga to become Pauravi-rga."
2793. Now Kalyni-rga will be described. It is said: "Beautiful Kalyni-rga is born from Vrti,
Na, and Karnta rgas."
2794. Now Sranga-rga will be described. It is said: "Saranga-rga is born from Todi-rga and
Dhannsik-rga."
2795. Of Gauri-rga it is said: "From Shri-rga and Gauda-rga is born Gauri-rga."
2796. Of Naa-mallrik-rga it is said: "Naa-mallrik-rga is born from Na-rga and
Mallraka-rga."
2797. Ballavi-rga is described in these words: "From Desha-rga and Ashvari-rga is born Ballavirga."
2798. Of Karntik-rga it is said: "Karntik-rga is born from part of Karna-rga and
Bhairava-rga.
2799. Of Sukvari-rga it is said: "Sukhavari-rga is born from the junction of Saindhavi-rga and
Taudik-rga."
2800. Of Ashvari-rga it is said: "Ashvari-rga is born from the junction of Mallra-rga,
Saindhavi-rga, and Todi-rga."
2801. Of Rmakeli-rga it is said: "Rmakeli-rga is born from the touch of Gurjari-rga and Deshirga."
2802. Many other sankirna-rgas are accepted by the learned scholars in the different countries.
2803. In the sangita-shstras are described the proper times when the various rgas should be
sounded.
2804. A fault is created when the rgas are sounded at the wrong time. Sounding Gurjari-rga or
another appropiate rga will destroy that fault.
2805 and 2806. It is said: "When a rga is sounded at the wrong time, all is lost. However, if this
occurs in the midst of playing a series of rgas, or on a king's command, or on a theater's stage, then
there is no fault. However if, because of greed or bewilderment, someone sounds a certain rga at an
improper time, it is said that sweet Guyari-rga may be sounded to kill the inauspiciousness."
2807. The three rgas Vasanta, Ramakeli, and Gurjari may be sounded at any time. No fault is born
from sounding them at a particular time.
2808. In Shri Ratnaml it is said: "Vasanta-rga, Rmakeli-rga, and sweet Gurjari-rga may be
sounded at any time. No fault is born from sounding them at appropiate time."
2809. Narada Muni explains: "After the tenth danda of the night any rga may be sounded."
2810. All the rgas personified personally worshipped Lord Krishna in the rsa-dance circle.
2811. O Shrinivsa, what shall I say? In the rsa-dance circle the various rgas manifested that
made the ocean of bliss overflow its shores.
2812. Nothing in the world was equal to their melodies. On each other the showered wonderful
nectar.
2813. How many wonderful melodies did the rgas manifest as they gazed at Shri Shri Rdh and
Krishna' lotus faces?
2814. Previously I had described some of the characteristics of melodies. Now I will reveal the
different kind of melodies.
2815. The two kinds of melodies are called anibaddha melodies.
2816. Ambaddha melodies are not bound. In them the rga is clearly manifest.
2817. It is said: "The two kinds of melodies are anibaddha and nibaddha. In anibaddha melodies the
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rga is not bound."

2818. It is also said: "Becuase their svaras are not bound, these melodies are called anibaddha
(unbound)."
2819. "This means the notes of the rgas are clearly manifest."
2820. Here there are two kinds: 1. lpa and 2. varnlankra. The first has the svaras -t-n-ri,
and the second has the svaras beginning sha-ri-ga-ma.
2821, By sounding the four svaras -t-n-ri one describes Hari, Gauri, Shiva, and Brahm
respectively.
2822. In Shri Narada-samhita it is said: "As the Vedas' sacred syllable om is manifest from the
syllable hum, so the svaras that begin with t and r are also manifest from the syllable hum. The
syllable t is Goddess Gauri. The syllable n is Lord Shiva."
2823. There it is also said: "The syllable is Lord Hari. The syllable ri is Lord Brahm. From the
syllable -t-n-ri all is manifest."
2824. The varnlankras relate to the seven svaras sa-ri-ga-ma-pa-dha-ni. The varnlpas relate to
the svaras beginning with shadja.
2825. The alapas on the gamaka are variegated. They are charming and of many different kinds.
this is taught.
2826. As much as atla enters lpa, to that extent the learned scholars describe the different
varieties of lpa.
2827. Hari-nyaka explains: "In the gamakas there are many kinds of varnlankra. The scholars
say the charming varnlpas are of many kinds."
2828. There are two kinds of varnlankra. One relates to the meaningless humkra and the other
to the svaras beginning with sa-ri-ga-ma.
2829. The lpas are of many different kinds. It is not possible to describe them all.
2830. O Shrinivsa, in the rsa-dance circle all the lpas were manifest.
2831. Who is not filled with wonder by the alapas? The alapas make even the cuckoos' cooing seem
worthless like a pile of ashes.
2832. When the lpas are manifest from very wonderful pastimes an artistic skill are manifest also.
2833. Lord Krishna, the crown of rasikas, played on His flute alapas that made the world wild with
bliss. What metaphors or similes can describe them?
2834. Vrindvana's Queen Rdh played many lpas on the vina. Who has the power to describe
those lpas' sweetness?
2835. Lalit and the other gopis played lpas on a variety of musical instruments. What words can
describe that music. Hearing it, even the stones melted.
2836. Who, with only one mouth, can describe all the glories of the lpas? The lpas are like a
flooding wave-filled ocean of nectar.
2837. Anibaddha songs are plunged in that ocean of nectar. Nibaddha songs are of many different
kinds.
2838. Now the nibaddhas will be described. Song bound by dhatus or angas are called nibaddha.
There are of three kinds: 1. sh_uddha, 2. chy-laga and 3. kshudra.
2839. It is said: "Songs bound by dhatus or argas are called nibaddha. These are of three kinds:
1.sh_uddha, 2.chyj-laga, and 3. kshudra."
2840. Now sh_uddha-nibaddhas will be described. Nibaddha songs bound by lpas, dhtus, and
angas are called sh_uddha. In this context it is said that lpa means "with meaningful syllables."
2841. It is said: "Nibaddha songs bound by lpas, dhtus and angas are called sh_uddha, the great
traditional scholars affirm that there the world lpa means. 'with meaningful syllables'"
2842. Hari-nyaka explains: "The word lpa means 'without syllables'
2843. It is said that the nibaddha songs are of three kinds. Some say these three kinds are:
1.sh_uddha, 2.shloga, and 3. sankirna.
2844. In Sangit-sara it is said: "Melodies are of three kinds: 1. sh_uddha, 2. shlaga and 3.
sankirna. Kshudra is here called sankirna. In this way these three are also called sh_uddha, chylaga,
and kshudra."
2845. Some others say, "The three kinds of nibaddha songs are: 1. prabaddha, 2. vastu, and 3.
rupaka. This is well known.
2846. "Songs very firmly bound by the four dhatus and six angas are called prabandha.
2847. "Learned scholars also call prabandha songs by the name sh_uddha. Now we will discuss the
nature of vastu and rupaka melodies.
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2848 and 2849. "Songs bound by the three dhatus and five angas are called vastu. Songs bound by
two dhatus and two angas are called rupaka.
2850 and 2851. Hari-nyaka explains: "Nibaddha songs are of three kinds: 1. prabanda, 2. vastu
and 3. rupaka. Songs bound by four dhatus and six angas are called prabanda.
2852. "Prabanda songs are also called shuddha. Melodies bound by three dhatus and five angas are
called vastu. Melodies bound by two dhatus and two angas are called rupaka."
2853. Now the dhatus will be described. The dhatus are said to be limbs (avayava) of prabandha.
The word "limb" here means "part".
2854. Some say: Dhatus are of four kinds: 1. udgrahaka, 2.melapaka, 3. dhruva, and 4.abhoga.
2856 and 2857. It is said: "Dhatus are limbs of prabandha. Dhatus are of four kinds: 1. ugrahaka,
2. melapaka, 3.dhruva, and 3. abhoga."
2858. Some say prabandha melodies have only three dhatus: udgraha, dhruva and abhoga.
2859. The first part of the melody is udgrahaka, the middle part is dhruva, and the final parts is
abhoga. This they say.
2860. It is said in the Shiromani: "The ancient sages say the first part is dhruva, and final part is
abhoga."
2861. Learned scholars say that between dhruva and abhoga is another dhatu called antara.
2862. Hari-nayaka explains: "Between dhruva and abhoga is the dhatu called antara."
2863. Abhoga is also called by the name "kavi" and "nayaka".
2864. It is said: "Abhoga is also called by the names 'kavi' and 'nayaka'."
2865. This is the nature of the dhatus in prabandha songs. Learned songwriters write a great variety
of songs of this type.
2866. The following song in Paha-manjari is an example:
udita-purana nishi nishkara
kirana karu tama duri,
bhnu-nandini-pulina paresara
shubhra shobhata bhuri. (this is the udgrahaka part)
"Rising at night, the full moon chases the darkness far away. It makes the Yamuna's banks glisten
with glorious light.
2867. manda manda sugandha shitala
calata malaya samira
bhramara-gana ghana jhankaru
kata kuhare kokila kira
"Gently, gently the cooling fragrant malay breeze blow. Swarms of black bees hum. How many
cuckoos and parrots coo! (This is the melapaka part)
2868. bihare barajaj-kishora
madhura brind-bipina-mdhuri
'pekhi parama bibhora (This is the dhruva, or refrain)
"Lord Krishna, the teenager of Vraja, enjoys pastimes. Gazing at Vrindvana forest's sweetness, He
is filled with bliss.
2869. deba dulaba su-rsa-mandale
bipula kautuka ja
bamshi-kara grhi' adhara-parashata
moda bharu hiy-mjha
"Great bliss fills the great rsa-dance circle, a circle even the demigods cannot easily enter. Krishna
places the flute to His lips. Now His heart is filled with bliss.
2870. rdhik-guna-carita-maya bara
buaciba bahu-bedha gita
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gna-rata ratintha-madana-bharaharana nirupama nita

(the two verses comprise the antar part)
"On the flute Krishna plays many different songs praising Rdhik's virtues and pastimes. His
peerless songs eclipse even Kamadeva's glory."
2871. kanja-locana lalita abhenaya
barishe rsa janu meha
bhanaba ki e ghanashyma prakao
jagate atulita leha.
(This is the abhoga part)
"His lotus eyes playfully dance. He showers a monsoon of nectar. What shall Ghanashyma dsa
say? All the worlds tasted the peerless nectar of His songs."
2872. Now the angas will be described. The dhatus of prabhandha songs are five in number. This is
described in the scriptures. The angas of prabandha songs are six in number. This is known everywhere.
2873. In sweet songs the angas are these six: 1. svara, 2. viruda, 3. pada, 4. tenaka, 5. pha,
and 6. tla.
2874. Svara is described as the musical notes beginning with sa-ri-ga-ma-padha. Viruda is described
as endowed with guna and nma.
2875. Pada means words (vcaka). Tenaka means words for evoking auspiciousness.
2876. Pha means syllables manifested from musical instruments, such as the syllables dh-dhdhilanga. Tla means rhyhms, such as caccat-pua.
2877. The cryas of ancient times describe the six angas in this way. Some mention only four
angas, namely vkya, svara, tla and tenka.
2878. It is said: "Prabhandha songs have six angas, namely 1. svara, 2. viruda, 3.pada, 4.
tenaka, 5. pha, and 6. tla. Svara is the musical note beginning with sa-ri-ga-ma.
2779. "Virudam is the description of virtues, other words are called pada.
2880 and 2881. Tenaka is words meant for invoking auspiciousness. Pha is syllables manifested
from the sounds of musical instruments, syllables like dhm dhm dhuga dhuga. Tla is rhythms
diyatya."
2882. In Sangita-parijata it is said: "The wise say the six angas of songs are: 1. pada, 2. tala, 3.
svara, 4. patha, 5 tenaka, and 6. viruda.
2883 and 2884. "Pada is words. Tala is rhyhms, such as caccat-pua. Svara is the musical notes
beginning with shadja. Patha is syllables manifest from the sound of musical instruments. Tenaka is
words for invoking auspiciousness. Viruda is speaking names that describe a person's qualities.
2885. In prabandha songs these jtis are five: 1. medini, 2.nandini, 3. dipani, 4. pvani, 5.
trvali. This the sages say.
2886 and 2887. When the angas are six then the jti is called medini. When the angas are five, the
jti is nandini, when the angas are four, the jti is dipani, when the angas are three, the jti is pvani
and when the angas are two, the jti is trvali. This the scholars learned in song say. With only one
anga a song cannot be properly made.
2888. It is said: "The sages agree that in prabandha songs the jtis are five. these are: 1. medini,
2.nandani, 3. dipani, 4. pvani, and 5. trvali.
2889 "Now the natures of these five jtis will be described. When the angas are six, the jti is called
medini. When the angas are five, the jti is nandani.
2890. "When the angas are four, the jti is dipani. When the angas are three, the jai is pavani.
When the angas are two, the jti is trvali. This is affirmed by the ancient sages learned in song."
2891 and 2892. In Sangita-parijata it is said: "In prabandha songs the jtis are five. When the angas
are six the jti is called medini. When the angas are five the jti is called nandani. When the angas are
four, the jti is called dipani. When the angas are three, the jti is called pavani. When the angas are
two the jti is called trvali."
2893. There is no end to the different varieties of pure prabandha songs. Scholars learned in sangita
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places these songs in many different categories.

2894. It is said: "The various categories of pure prabandha songs are endless in number."
2895. It is also said: "Expert poets write songs one tla and two vdyas. Or they may write songs
with three vdyas, four vdyas, or many vdyas, as they like."
2896 and 2897. It is also said: "Songs may be written with many tlas and many rgas. Or they may
be written with only one rga. Who can completely categorize all the different ways songs may be
written?"
2898. It is also said: "No one in the world can completely describe all the various kinds of prabandha
songs, the various kinds of rgas, the various kind of talas, or the various kinds of vadyas."
2899. O Shrinivsa, along with His gopi-beloveds, in the rsa-dance Lord Krishna manifested pure
prabandha songs, songs even Brahma and the demigods could not approach or understand.
2900. Gazing at Rdh and Krishna as They were plunged in song, Vrind-devi could not contain the
bliss that filled her heart.
2901. The male and female parrots intently describe Shri Rdh-Krishna's glories.
2902. On Vrind-devi's command, the male and female parrots joyfully describe Shri Rdh-Krishna's
glories.
2903. In the following sadanga medini song a male parrot says:
ghana-anjana-nibha naba-ngara ai ai
gokula-kulay-kula-dhriti-mocana
candra-badana guna-sgara ai ai
"O youthful lotus-eyed hero dark like a raincloud or like a black anjana, O hero who delight the
people! O O moon-faced ocean of glories! O hero who robs Gokula's saintly girls' peaceful composure!
2904. nanda-taniya braja-bhushana rasamaya
manjula-bhuja muda-bardhana ai ai
shri-brishabhnu-tanay-hridi-sampada
madanbuda-mada-mardana ai ai
"O son of Nanda, O sweet ornament of Vraja, O delightful boy with graceful arms! O O treasure of
Vrabhanu's daughter's heart! O boy who crushes millions of Kamadeva's pride!
2905. gita-nipna nidhubana-nayanandita
nirupama tndaba-pulinngana-parisararamani-nikara-mani-mandita ai ai
"O expert singer! o learned pandita of amorous glances! O learned pandita o fpeerless dancing! O
boy decorated with a host of jewels that are the beautiful gopis on the Yamuna's banks!
2906. bamshi-dhara dharanidhara-krita-bandhura
adharruna sundara ai ai
kunda-radana kamaniya-krishodara
brind-bipina-purandara ai ai
"O boy who holds a flute! O boy who enjoys graceful pastimes on a hill! O handsome boy with red
lips! O boy with jasmine flower teeth and charming slender waist! O king of Vrindvana forest!
2907. krishna-keli-kalahaika-dhurandhara
dha dha dhi dhi ta ga dhenna ai ai
sa-saugari narahauntha e-i a iti
a-i a-i atenna ai ai
"O. O, O, Krishna expert at lovers' quarrels! O, O, O, master of Narahari dasa! O! O! O!"
2908. The female parrot sings the following medini song:
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jaya jagata-bandini, bidita nrip-nandini

rdhik candraj-badani, duhkha-mocani
shyma-mano-ranjini, dhairya-bhara-bhanjini
kanja-khanjana-mina-ganji-mriga-locani
"Glory to You, O moon-faced Rdh, O princess before whom all the worlds offer respectful
obeisances, who takes away all sorrows who delight Lord Shyma's heart, who breaks apart His
peaceful composure, whose doelike eyes defeat the lotuses, kanjanan birds, and saphare fish.!
2909. knti-jita-dmini, parama abhirmani
bhmini sindhu-kanydi-madana-mardini
manju mrida-hsini, lalita-kala-bhshini
bhubana-mohini lalitadi-muda-bardhini
"O Rdh whose splendor eclipses lightning, who are beautiful and delightful, who eclipse the
amorous charms of Laksmi and all other goddesses, who gentle smile is graceful, who gentle words are
playful, who charms the worlds, who delights Lalita and the gopis!
2910. subhaga-shringrini, nala naba bihrini
brindbipina-binodiri gaja-gmini
rsa-rasa-rangini, madhura-tarangini
sakala ramani-mani narahari-swmini
"O beautifully dressed and decorated Rdh, O newly newly playful one, o girl who enjoys pastimes
in Vrindvana forest, O girl like a wave filled stream of sweetness, O jewel of all beautiful girls, O queen
who commands Narahari dasa!
2911. jhnt jhm jhnta tatth bitakato thunn
triga-o takata t thaiy
sari rigama pamaga masma gari ss sti a-i
tenn tenn tenm ti a-i ai .
2912. The male parrot sings the following pancnga nandini song:
jaya jaya krishna kripmaya keshava
kamalekshana jana-nanjana
yubati kanja-bana kunjara manju-priyhridi-panjara khanjanu
"Glory, glory to You, O merciful Krishna, O Krishna, O lotus eyes delight of the people. O boy like an
elephant playing in the lotus forest that is the assembly of teenage gopis, O boy like a trap that has
caught the graceful gopis hearts!
2913. bandhura-badana-candra-madhura-smita radhadhriti-bhara-bhanjanu
sundara naa-bara nanda-tanija naba
naba-taruni-nayannjanu
"O boy whose hansome moonlike face is sweet with smiles, O boy who breaks Rdh's peaceful
composure into pieces, O handsome best of dancers, O son of Nanda, O black anjana decorating the
teenage gopis' eyes!
2014. gari gama gama pama masma garisa
tenn tennete ati a-i iy
a-i narahari-muda-bardhana ai ai
-i ati a-i tiy
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"O! O! O delight of Narahari dasa!"

2915. O Shrinivsa, with pure songs those birds sing in many ways of Shri Shri Rdh and Krishna's
glories.
2916. No one can describe all the different kinds of songs. The scriptures describe shakti, varna,
vishesha, and many other kinds.
2917. The scriptures reveal easy and different kinds of songs, there are 26 kinds of different songs
beginning with el.
2918. The first of these is panca-tleshvara. Then come the four kinds of varna-svaras.
2919. Then come the varna-svaras beginning with svara: Then come the varna-svaras beginning
with pha. Then come the varna-svaras beginning with pada. Then come the varna-svaras beginning
with tena.
2920. Then the svarartha malrka songs are described. In this way musical scholars describes the 26
kinds of songs.
2921. It is said: "The sages say there are many kinds of difficult songs, songs that begin with el.
Saintly Hari-nyaka mentions 26 of these songs.
2922. "He merely gives the namesof these songs, one after another. The names are: 1.pancatleshvara, 2. varna-svara, 3. anga-crini.
2923-2927. "4. svarrthaj-mtrik, 5. rga-kadambaka, 6. svardya-karana, 7.tlrnava, 8.
shri-ranga, 9. shri-vilsa, 10. panca-bhangi, 11. pancnana, 12. mtitilaka, 13. simha-nila, 14.
tri-bhangi, 15. hamsa-nila, 16. hari-vilsa, 17. sudarshana, 18. svarnga, 19. shri-vardhana, 20.
harsha-vardhana, 21. vira, 22. shri-mangala, 23. lhadi, 24. nava-ratna, 25. sarabha-nila, and 26.
kanhbharana. these are the 26 kinds of songs. Beginning with candra-prakshaka are six other kinds
also."
2928. To please the hearts of all, the scholars have described all these different kinds of songs.
2929. By Vrindj-devi's command, on the pretext of buzzing, the bees very joyfully sing svarrtha
songs.
2930. Svarartha songs begin with the svaras sa-ri-ga-ma. I will now describe them. They are of two
kinds: 1. sh_uddha (pure) and mishra (mixed).
2931. It is said: "When with the svaras of a song one expresses a desire, that song is called
svarrtha. Such songs are of two kinds: 1. sh_uddha (pure) and mishra (mixed)."
2932. Hearing the buzzing bees' svarrtha songs, Lalita and the other gopis felt joy arise within
themselves.
2933. The bees sang this song in Kedra-rga:
jaya rasika-shekhara krishna komala anga anjana-ghana-twish
smita-amrita-mrakshita-mukha-mrignka-su-kirana-nirmala-krita-dish
"Glory to You, O Krishna, O crown of rasikas, O soft-limbed one, O boy splendid like black anjana, O
boy whose face is anointed with nectar smiles, O boy who fills the directions with pure moonlight!
2934. jita jalada manju vishla locana taruni-gan-dhriti-dhana-har
brajaj-bijaye naba yuba-rja naa-bara bamshi-dhara arundhar
"O boy whose splendor defeats the dark rainclouds. O boy with large eyes, O boy who rob the
teenage gopis of the great treasure of their peaceful composure. O young prince glorious in Vraja, O
best of dancers, O boy with red lips, O holder of the flute."
2935. rati-natha-mada-hara madhura-rsa-vilsi sundara nirupam
braja-ramani-mani-mukha-padma-parimala-lubdha banka ratana-sam
"O boy who robs Kmadeva of his pride, O boy who enjoys sweet pastimes in the rsa-dance, O
gracefully bending boy like a jewel, O boy filled who desire by the sweet fragrance from the lotus faces
of Vraja's jewellike beautiful girls.!
2036. naba-kunja-bhupa bhujanga-damana manojna-besha bibidha-bidh
ghanashyma-muda-bardhana pmagamasmagari mapadhanipadhanidh
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"O young king of the newly blossoming forest groves, O boy who defeated a serpent, O boy glorious
with charming garments and ornaments, O delight of Ghanashyma dsa!
2937. On Vrind-devi's command the birds delighted everyone by singing various songs in this way.
2038. O Shrinivsa, along with His gopi-beloveds, Lord Krishna manifested the most glorious
sh_uddha songs inthe rsa-dance.
2939. Amongst shuddha songs some are called shuda prabandha. Among chy-laga songs some
are called shuda also.
2940. Now chy-laga songs will be described. Songs that rest in the shadow (chy) of sh_uddha
songs are called chy-laga. In these songs the tla, vdya, and other features are considered shuda.
2941. The many tlas in these songs are also known by the name raslaga.
2942. It is said: "Songs that rest in the shadow of sh_uddha songs are known as chy-laga. These
songs are beautiful with tla, vdya, and other features created in the shuda way."
2943. It is also said: "Songs that rest in the shadow of the previously described shuddha songs are
called chaya-laga. Bharata Munia and other sages affirm this."
2944. These songs are also known by the name slaga. Hari-nyaka says: "Chy-laga shuda songs
are also known by the name sloga."
2945. There are many different kinds of saloga-suda songs. Now we will describe these songs,
headed by dhruvaka songs.
2946. In the Damodara and Pancama-sara-samhitas it is said: "The different kinds of slaga-shuda
songs are: dhruvaka, manhaka, pratimanha, nishruka, vsaka, pratitla, ekatli. yati, and jhumari."
2947-2950. The distinguishing features of dhruvaka and these other kinds of songs are described in
these words:"Dhruvaka is of 16 kinds. Manhaka is of 6 kinds. Pratimanha is of 5 kinds. Nishruka is of
7 kinds. Vsaka is of 4 kinds. Pratitla is of 4 kinds. Ekatli is of 3 kinds. Yati is of 4 kinds. Jhumari is of
one kind. In this way the slaga songs are described. Some say there are ten kinds of slaga songs,
kinds that begin with carcarika songs. In this way there are 19 kinds of slaga songs.
2951. It is very difficult to describe the characteristics of the slaga songs beginning with dhruvaka.
Nine tlas are known as shuda. These are delightful in every way.
2952 and 2953. It is said: "Nine tlas are called shuda. These are: 1. Adi, 2. yati, 3. nasru, 4.
ajna. 5. tripua, 6.rupaka, 7. jhampaka, 8. manha, and 9. ekatli. In songs, dances, and
instrumental music these tlas are delightful."
2954. The scriptures describe the characteristics of many different kinds of shudas.
2955. Gita (song) should have tla (rhythm). Gita without tla is not pure. It is like a boat without a
helmsman.
2956. The acaryas give many different descriptions of derivations of the word tla.
2957 and 2958. It is said: "Songs, dancing and instrumental music are not pure without tla. We say
they are like a boat without a helmsman. The acaryas give many different descriptions of the derivation
of the word "tla".
2959. Hari-nyaka explains: "That which establishes (tlayati) equal measures of time is called tla."
2960. In Sangita-sra it is said: "The syllable ta is Lord Shiva. The syllable la is Goddess Prvati.
From the contact of Shiva and Prvati the word tla is manifest. Or it may be that the word tla comes
from the verb tal (to establish)."
2961. In Ratnaml it is said: "The letter t is Karttikeya. The letter a is Lord Vishnu. The syllable la is
Mruta. These three reside in the word tla."
2962. Vacspati explains: "When the fingers are extended and the open palms brought together in
clapping the measure time, that is called tla."
2963. Now the tlas will be described. The tlas, which begin with caccatpua and ccapua are 101
in number. This truth is confirmed everywhere.
2964-2968. The 101 talas include: 1. caccatpua, 2.cacaputa, 3.sat-pita-putraka, 4.
sampakvestaka, 5. udghatta, 6.adi-tala, 7. darpana, 8. carccari, 9. simhanila, 10.kandarpa, 11.
simha-vikrama, 12. shri-ranga, 13. ranga-lila, 14. ranga-tla, 15.parikrama, 16. pratyanga, 17.
gaja-lila, 18. tri-bhinna, 19. vira-vikrama, 20. hamsa-lila, 21. varna-lila. 22. rja-cud-mani, 23.
ranga-dyuta, 24. rja-tla, 25. simha-vikridita, 26. vana-mli, 27. varna-tla, 28. ranga-pradipa, 29.
hamsa-nda, 30. simha-nda, 31 mallikmoda, 32. sharabha-nila, 33. rangabharana, 34. turga-lila,
35. simha-nandana, 36. jaya-shri, 37. vijaynanda, 38. prati-tla, 39. dvitiyaka, 40. makaranda, 41.
kirti-tla, 42. vijaya, 43. jaya-mangala, 44. rj-vidydhara, 45. manha, 46. jaya-tla, 47. kudukvaka,
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48. nihshruka, 49. krid, 50. tri-bhangi, 51. kokila-priya, 52 shri-knta, 53. bindu-mli, 54. sama-tla,
55. nandana, 56. udikshana, 57. mallik, 58. enkik, 59. varna-manhik, 60. abhinanda, 61. antara
krid, 62.laghu-tla, 63. dipaka, 64. ananga-tla, 65. vishama, 66.sndikunda, 67. mukunda, 68.
eka-tli, 69. kankla, 70. catus-tla, 71. khankudi, 72. laghu-shekhara, 73. rja-jhankara, 74. laghushekhara, 75. pratpa-shekhara, 76. jaga-jhampa, 77. caturmukha, 78. khankara, 79. pratimanha, 80.
tritiyaka, 81. parvati-locana, 82. sranga. 83. nandi-vardhana, 84. lila-vilokuta, 85. lalit-priy. 86.
janaka, 87. lakshmisha, 88. rga-vardhana, and 89 utsava. These same tlas appear with different
names in Sangita-Damodara and other books. In this way the sages affirm that the tlas are very
numerous. How can the sages be in error?"
2979. The scholars of sangita happily describe all the tlas in this way.
2980. The tlngas are five kinds, beginning with anudruta. They are measured by soft and hard
beats.
2981. It is said: "The five tlngas are: 1. anudruta, 2. druta, 3. laghu, 4. guru, and 5. pluta. Except
for anudruta, the tlngas are represented by the syllables da, la, ga and pa respectively.
2982. "Laghu's duration is one matra, guru's is two mtras, pluta's is three mtras, druta's is half a
mtra, and anudruta's is half of druta's duration. Anudruta is also known as virma.
2983. "The natures of the tlangas are thus determined by three features: 1. laghu (short) 2. guru
(long), and 3. pluta (very long)."
2984. Now the duration of the tlngas will be described. Druta is four angulas. Laghu, guru and
pluta are eight, 16, and 24 angulas respectively.
2985. It is said: "Laghu is said to be eight anguas, guru is 16 angulas, and pluta is 24 angulas. Druta
is a hand-motion."
2986. Now the dhras will be described. The dhranas are of two kinds: 1. sa-shabda tla (with
sound) and 2. nihshabda tla (without sound). Nihshabda is present within guru and pluta only.
2987. In guru the first part is sa-shabda and the second part if nihshabda. In pluta the first part is
sa-shabda and the second and the third part are nihshabda.
2988. Nihshabda is not present in laghu, druta, or anudruta. A single hand-clap is said to be
sa-shabda.
2989. It is said: "The tla dhranas are of two kinds: 1. sa-shabda and 2. nihshabda. A hand-clap is
sa-shabda. This duration is laghu.
2990. "Guru is the duration of two hand-claps. The first part of guru is sha-sabda, and the second
part is nihshabda. Druta is half the duration of laghu.
2991. "Pluta is the duration of three hand-claps. The first of these is sa-sabda, while the following
two are both nihshabda."
2992. There is no end to the different kinds of tlas. The tlas personified were all manifest in the
rsa-dance circle.
2993. Clapping His hands, Lord Krishna manifested many sweet and graceful tlas. How can I speak
metaphors or similes to describe them properly?
2994. Shri Rdhik manifested wonderfully graceful tlas, clapping Her hands, She gentle smiled.
2995. As She clapped Her hands Her bracelets and other ornaments jingled. Who can describe the
wonderful sounds manifested then?
2996. During the songs She clapped many different tlas. Lakshmi and the other goddesses were all
filled with wonder. What metaphors or similes can I speak to describe these sounds?
2997. Rdh's companions were all filled with wonder. Who can manifest gitas (songs) and tlas as
She did?
2998. Filled with joy, Lord Krishna gave Lalit and the gopis permission to sing kshudra songs.
3000. Kshudra-gita will now be described. When the vkya-mtras are endowed with tla-dhtu, that
is kshudra-gita. The Dhtus, beginning with udgrta, have previously been described.
3001. It is said: "When the vky-mtras are endowed with tla-dhatu, that is called kshudra-gita."
3002. Ksudra-gita is very similar to sh_uddha-slaga gita. The scriptures say final alliteration is
prominent in kshudra-gita.
3003. Ksudra-gita is of four kinds: 1. citra-pad, 2. citra-kal, 3. dhruva-pad, and 4. pancli.
3004. It is said: "Ksudra-gita is of four kinds: 1. citra-pad, 2. citra-kal, 3. dhruva-pad, and 4.
pancli."
3005. These songs have many features. When the padas are variegated, then the song is called
citra-pada.
3006. It is said: "When it is seen that only the padas are variegated, and the dhtus and other
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features are not variegated, then the song is known as citra-pada.

3007. Now citra-kala songs will be described. In citra-kal songs the dhruva is shorter and the other
parts are equal, and the padas may number from three to eight.
3008. It is said: "If the ugrha and bhoga are equal and the dhruva is shorter, and the padas
number from three to eight, then the song is known as citra-kal."
309. The features of the dhruva and other parts of songs are known everywhere. Many different
kinds of songs are sung in Sanskrit and in various local languages.
3010. There are many famous songs in Sanskrit and other languages. Scholars of sangita describe
these songs as divya songs or other kinds of songs.
3011. It is said: "Songs are of two kinds: 1. divya, and 2. mnusha. Divya songs are composed in
Sanskrit. Manusha songs are composed in the Prakrit languages.
3012. "This divya and mnusha songs are composed in Sanskrit and Prakut respectively. Some
accept that manusa songs may be composed in a variety of local languages.
3013. Thus songs may be composed in the languages of Anga, Banga, Kalinda, or any other
country."
3014. Some scholars describe the way songs may be composed. the three kinds of songs are: 1.
sama (equal), 2. ardha-sama (half-equal) and 3. vishama (unequal).
3015. In the Kohaliya it is said: "The three kinds of songs are: 1. sama, 2. ardha-sama, and 3.
vishama. When all four padas are equal, then the song is said to be sama.
3016. When the first and thirds padas are equal to each other, and the second and fourth padas are
equal to each other, then the song is said to be ardha-sama.
3017. When all four padas are distinct and no one is like other, then the sages headed by Bharata
Muni call that song vishama.
3018. Who knows of another kind of song? In the rsa-dance pastime Lord Krishna manifested all of
these kinds of songs.
3019. How many times did Krishna praise the gopis' songs? With a joyful heart He embraced the
gopis.
3020. When Krishna embraced Her friends, Rdh became very pleased. Who can understand the
biss those songs brought to Lord Krishna.
3021. What shall I say. Songs have many glorious features. All these features were gloriously
manifest in the rsa-dance circle.
3022-3025. Now the features (guna) of songs will be described. Learned scholars say the features
of songs are: 1. graha, 2. laya, 3. yati, 4. mna-vicitra, 5. dhtu-puraruktat, 6. nava-navat, 7.
mtu-vkya-naikrthat, 8. rga-suramyat, 9. gamaka, 10. artha-nairmalya. 11. tenn, 12. pha and
13 svara. These featutures are also divided in many different sub-feautures.
3026.It is said: "The features of songs are: 1. graha, 2. laya, 3. yati, 4. mna-vicitra, 5. dhtupunaruktatu, 6. nava-navat, 7. matu-vakya-naikrthat, 8.rga-suramyata, 9.gamaka, 10. arthanairmalya, 11. tenn, 12. pha, and 13. svara. These features are also divided into many different
sub-features."
3027. It is also said: "When these features of songs are manifest, lyrics should have grace (guna)
and poetic ornaments (alankra).
3028. Learned scholars describe the many aspects of these features that begin with graha.
3029. Now grahas will be described. The grahas are of three kinds: 1. angata, 2. sama, and 3.
atita.
3030. It is said: "In the three grahas the tlas of a song are all equal. The three grahas are: 1.
anagata, 2. sama, and 3. atita.
3031. Now the angatas will be described. When, before the song actually begins, the tla (rhythm)
is established, such a song is called angata-graha by everyone.
3032. It is said: "When, before the song actually begins, two aksharas established the tla, such a
song is called angata-graha."
3033. (When an extra akshana is present at the beginning of a song, the song is angata, that extra
aksana does not enter into the tla).
3034. Now sama will be described. When the song (gita) and the tla begin simultaneously, then the
song is called sama-graha by scholars.
3035. It is said: "When the song and the tla begin simultaneously, that song is called sama-graha."
3036. Now atita will be described. Scholars of sangita have given many different descriptions of
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many different kinds of atitaj-graha.

3037. It is said: "If only part of the tla is manifest in the beginning, with the complete tla following
later, that is known as tla-graha."
3038. Now laya will be described: Laya is when graha and the other activities are all equal. Laya is
of three kinds: 1. druta, 2. vilambita, and 3. madhya.
3039. Vcaspati explains: "When gita (song) vadya (instrumental music) and pada-nyasa (dancesteps) are all equal, or when these three are equal to the tla (rhthm), then the result is called laya by
the wise."
3040. Hari-nyaka explains: "When a pause is manifest, the song is called laya. The wise say laya is
of three kinds: 1. druta, 2. madhya, and 3. vilambita.
3041. "Druta is a pause of one mtra. Vilambita is a pause twice the duration of druta. Madhya is a
pause twice the duration of vilambita. These three are manifested with any tala."
3042. Laya refers to a specific kind of song. It is said that laya songs may be used with any tla.
3043. Now Yati will be described. When the activities of laya are checked, the song is yati. Yati is of
three kinds: 1. srotovaha, 2. sam, and 3. gopucchik.
3044. It is said that in these three the pause takes on a specific character. Scholars have elaborately
described the many varieties of this kind of song.
3045. It is said: "When the activities of laya are checked, that is yati, Yati is of three kinds: 1.
srotovaha, 2. sam, and 3. gopuccik."
3046. The scriptures describe the natures of yati is three divisions, which are srotovaha, sam, and
gopuccik.
3047 and 3048. Now mna will be described. When there is a pause in the tla, the song is said to
be mna. Mana is of two kinds: 1. vartta-vardhamna, and 2. vartha-hiyamna, the natures of these
two kinds are easily understood.
3049. It is said: "When there is a pause in the tla, the song is said to be mna. Because the tla is
interrupted, mana puts an end to the tala.
3050. "When the pause is in the dhurva's second kal, the tla is called vartta-vardhamna.
3051. "When the pause is in the dhruva's third kal, the tla is called vartta-hiyamna by the wise."
3052. Now Dhtu-punaruklat will be described. Dhatu-punaruklat is when the avayaras (limbs) of
the song are newly repeated again and again.
3053. Now Mtu-vkya-naikrthat will be described. When the lyrics do not have only one meaning,
the song is said to be mtu-vkya-naikarthat.
3054. Dhatu and mtu have already been described. This kind of song is easily understood.
Therefore I will not describe it in detail.
3055. Now Rga-suramyat will be described. When rga-suramyat songs are manifest, sorrows
perish. Scholars learned in rgas reveal the virtues of these songs, virtue that begins with pleasing the
ears.
3056. It is said: "The virtues of rga-samyato songs are: 1. karna-priya (pleasing to the ears), 2.
yatistha, 3. bhangya-yukta, 4. sukhvaha (delightful), and 5. mandra-madhyama-trdhya (rich with low,
middle and high notes).
3057. Now gamaka will be described. Gamaka is when the svaras are made to tremble. That sound
makes happiness take birth in the hearers' heart.
3058. Gamaka is of 15 different kinds. Now we will describe the nature of those 15 kinds, which
begin with tiripa.
3959 and 3960. It is said: "Gamaka is when the svaras are made to tremble. This sound brings
happiness to the hearers's hearts. The 15 kinds of gamaka are: 1. tiripa, 2. sphurita, 3. kampita, 4. nila,
5. ndolita, 6. vali, 7. tri-bhinna, 8. kuvala, 9. hata, 10. unnamita, 11. plvita, 12. hunkrita, 13.
mudrita, 14. nmita, 15. mishrita.
3061. The features of these are described in these words:"When the beautiful sound imitates the
most gentle trembling sound of a damaru drum, and when the fourth part if swift, then the sound is
called tiripa.
3062. "When the third part is swift the sound is sphurita. When the measure is quick and the
trembling half, then the gamaka is called kampita.
3063. "When it is swift it is nila, when it is gentle it is ndolita. When because of the rga, it takes
many turns, it is vali.
3064. "When the intense sound gives in three places without stopping, it is tri-bhinna. When vali is
sung with a gentle voice the sound is kuvala.
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3065. "When the first svara is at once silenced upon being struck, that is considered hata. When
svara after svara follow the initial svara, that is said to be unnmita.
3066. "When many trembling pluta svaras are sounded, that is plvita. When a pleasing roar is
sounded, that is hunkrita.
3067. "When svaras are sounded with the mouth closed, the gamaka is mudrita. When the svaras
descend. That is called nmita by musical scholars.
3068. "When these varieties meet in combinations of many different kinds, that is called mishrata.
More of these will not be said, because it is not possible and because I do not know many details."
3069. The practice of these is described in these words: "Standing in the water during the last
prahara of the night during the month of Mgha and Pausha, the student should practice these
gamakas."
3070. Now artha-nairmalya will be described. When all the words are clearly pronounced, easily
understood, and faultless, and when the meanings of the words are sweet like nectar. A song is called
artha-nairmalya.
3071. It is said: "When the words are clearly pronounced, easily understood, happy and faultless,
that is artha-nairmalya.
3072. "The words should be colorful and variegated. They should have been released, not spoken
for the first time when they are performed."
3073. "When virtues are absent, song is said to be faulty. Musical scholars have described these
faults in detail. I will explain something of them now.
3074. When the rga has no tla, or when the dhanakshaya has no dhtu, or when the song has no
dhtu-mtu-pada, then the enemies of song are manifest.
3075. It is said: "When rga has no tala, or when dhanakshaya has no dhatu, or when the song has
not dhtu-mtu-pada, then the enemy of song is manifest."
3076. Now git-dosha (the faults of song) will be described. The faults of song are of many kinds. I
will briefly describe these faults, which begin with vni-skhalana (stumbking of the voice).
3077 and 3078. It is said: "The faults of song, faults that begin with stumbling of the voice, rgas
without tlas, harsh lyrics, songs without dhatu or matu, and songs that are not pleasing to the ear, are
many. If these faults are not present in a song, the song may be heard."
3079. A person who sings a song is called a gyaka (singer). The qualities of a gayaka are many and
variegated.
3080. Now the qualities of a gyaka will be described. Gyakas are of three kinds: 1. uttama, (best),
2. madhyama (middle), and 3. adhama (lower). The scriptures describe the qualities of these three.
3081 and 3082. It is said: "Gyakas are of three kinds: "uttama, 2. madhyama, and 3. adhama. A
gayaka should have a sweet voice, good body, knowledge of the various rgas, knowledge of graha,
mna, laya, and tla, victory over fatigue, ability to easily traverse the three gamakas, skill in prabandha
song, careful attention to his activities, a controlled voice, knowledge of sthayi, freedom from fault, and
possession of intelligence. These are the qualities of an uttama and madhyama gyaka. An adhama
gyaka does not have these virtues. Instead he has faults. This is said."
3085. Gayakas are of five kinds, beginning with shikshkra. These gayakas are learned in the art of
song.
3086. It is said: "The five kinds of singing learned in song are: "1. shikshkra, 2. anukra, 3.
rasika, 4. ranjaka, and 5. bhvaka.
3087. "Singers who after much study become expert are called shikshkra (study personified) by
the wise, Anukara (imitations) are called so because they successfully follow the ways of great singers.
3088. Rasikas are filled with rasa (nectar). Ranjakas delight the heavens. Singers who have a great
wealth of skill in song are called bhvakas.
3089. Other scholars divide singers into these three groups: 1.eka, 2. dvaya, and 3. bahutva.
3090. It is said: "Singers are of three kinds: 1. ekala, 2. yamala, and 3. vrinda. An ekala singer sings
alone. A yamala singer sings with one other. A vrinda singer sings with many others."
3091. Now gyana-dosha (the faults of singers) will be described. Singers faults are of many kinds,
beginning with fear and unclear pronunciation. The scripture describe all these.
3092. It is said: "Faults of singers include: "fear, unclear pronunciation, moving the head, shrieking,
singing the various svaras, showing the teeth, closing the eyes, not styaing in the grma, singing with a
tilted neck, inability to sing sustained tones, mixing rgas, trembing of the body, inattentiveness, singing
without sweetness, singing harshly, and singing without taste.
3093. It is also said: "Faults of singers also include: "mistakes in the tla, artificially making a song
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longer, have a fearsome appearance, havin a voice like a goat's voice, restlessness, puffing out the
cheeks and singing through the nose.
3094. "Fearing this book will become too large, I will not describe the many other kinds of singers'
faults. From other books one may learn of the singer's faults. I have not described here."
3095. Music scholars describe in detail the many kinds of rgas, yakavas and others features of
song.
3096. Aprakrta (spiritual) songs have not the slightest fault. Now I will briefly describe spiritual
songs.
3097. Lord Krishna is the Supreme Person, He is free of all fault. His pastimes delight every heart.
3098. Krishna is not like any person of this material world. The activities of this world's people are
not like Lord Krishna's pastimes. Simply by seeing Lord Krishna or hearing about Him, the grass, wood,
and stones all melt.
3098. A person who shuns bad association and describes Lord Krishna's glories, attains Lord
Krishna's feet.
3100. O Shrinivsa, how shall I describe the songs Lord Krishna manifested with His gopi beloved in
the rsa dance arena?
3101. Bharata Muni and the other sages cannot come to the end of describing the nadas, shrutis,
svaras, and other features of Lord Krishna's songs.
3102. Lord Krishna's wonderful songs made great wonder take its birth within Brahm and the other
demigods.
3103. Lord Krishna sang many different kinds of songs, some in graceful Sanskrit, and others in
other languages.
3104. One moment Lord Krishna sang a solo, and the next moment He sang a duet with Shri
Rdhik. Who has the power to describe those duets?
3105. Another moment Lalit and the other gopis sang. Their songs filled Rdh and Krishna with
wonder.
3106. The sounds coming from their throats was the sweetest nectar. The various gamakas of their
songs moved with wonderful grace.
3107. Hearing these songs, who could remain peaceful and indifferent? In all the worlds no song
may be compared to these songs.
3108. As they sang, many instruments played very wonderful music. That music robbed the three
worlds of its peaceful composure.
3109. Now instrumental music will be described. When instrumental music is present, then songs
(gita) and rhythm (tla) become more beautiful. Instrumental music (vadya) is of four kinds: 1. tala
(string instruments), 2. naddha (drums), 3. shushira (winds), and 4. ghana (percussion).
3110. Tla instruments include the vin and other like instruments. Anaddha instruments include the
muraja drums and other drums. Shushira instruments include the flute and other like instruments. Ghana
instruments include the bell and other like intruments.
3111. It is said: "Without instrumental music, there is no beauty in song and rhythm. Therefore we
will now describe the beauty and auspiciousness of instrumental music.
3112. Music is of four kinds: 1 tala. 2. anaddha, 3. susira, and 4. ghana. Tla instruments include
vina and other like instrument, Anaddha intrument include the muraja and other drums. Susira
instrument include the flute and other like instruments. Ghana instrument include the bell and other
perscussion instrument."
3113. In the Sangita-Damodara it is said: "Instruments are of four kinds: 1. tla, 2. anaddha, 3.
susira, and 4. ghana. Tla are string instruments. Susira are flutes and other like instruments. Anaddha
are drums. Ghana are rhythm instrument."
3114. I will merely give the names of these instruments. Music scholars describe the qualities of
these instruments also.
3115. The most prominent tla instrument are alvani, brahma-vin, kinnari and laghu-kinnari.
3116-3118. In the Sangita-Damodara it is said: "Included amongst the tla instruments are: alvani,
brahma-vin, kinnari, laghu-kinnari, vipanci, vallaki, jyeshh, citr, ghoshavati, jay, hastik, kubjik,
kurmi, shrangi, parivdini, trishari, shatacandri, nakulaushhi, kamsari, audumbari, pinki, nibandha,
pushkala, gadvranahasta, rudra, shatamandala, kapilsa, madhusyandi, and ghon."
3119. It is also said: "Also included amongst the tla instrument are the kacchapi-vin and the
rupavati-vin."
3120. Prominent amongst the anaddha instrument are the mandala, muraja, dhakka and paaka.
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3121 and 3122. It is said: "Included amongst the naddha instrument are the mandala, muraja,
dhakka, paaka, cngava, panava, kundali, bheri, ghanvdya, jhajhara, damaru, amika, mantha,
huduk, madu, inima, upnga, and dardura.
3123. The mardala, also known as mridanga, is the best of naddha instruments. It is of two kinds:
Those made of wood and those made of clay.
3124. The mardala is the best of all musical instruments. It enhances the beauty of all other
instruments. This the scriptures teach.
3125. In the mridanga always stay Brahma and the demigods. The mrdanga's sound is supremely
auspicious. It charms every heart.
3126. In Shri Sangita-darpana it is said: "The mardala is the best of drums."
3127. The mardala is thus said to be the best of all musical instruments. When it is made of clay, the
mardala is called the mridanga. It enhances the beauty of all other musical instruments.
3128. In Shri Sangito-parijata it is said: "In the mridanga's middle part the demigod Brahma always
resides. All the demigods who stay in Brahma's planet also stay in the mridanga. Because all the
demigods reside within it, the mridanga is all auspicious."
3129. Music scholars say the mrdanga and other musical instruments were created from the letters
of the alphabet.
3130. Some say the twenty letters were born from instrumental music. Others say the instruments
were created from the sequence of the letter.
3131. In Shri Sangita-parijata it is said: "Lord Shiva created the twenty letters of the alphabet."
3132. Musicians who play mrdangas should have many qualities. Some say these qualities begin with
saintliness and skill in playing the instrument.
3133. It is said: "A musician who plays the mrdanga should be saintly, expert in playing the
mrdanga, eloquent, expert in the tlas given in sequences of syllables (bolas), able to play all the
gamakas, expert in playing with various other musical instruments and expert in accompanying dance
performances, expert in accompanying songs, cheerful, easily proficient in playing his instrument, and
quick-fingered."
3134. Musical scholars have explained all these qualities in great detail. Now will be discussed the
shushira instruments, which are sweet like nectar.
3135. Now the susira instrument will be described. It is said there are many kinds of susira
instruments, beginning with the vamshi, pri, madhuri, tittiri and shankha.
3136 and 3137. It is said: "The ancient sages say the susira intruments include the vamsha, pri,
madhuri, tittiri, shankha, khala, toahi, murali, bukka, shringik, svaranbhi, shringa, lpika-vamsha,
and carma-vamsha."
3138. The scriptures describe many qualities of the vamsha, qualities beginning with beauty,
straightness, and the abscence of knots."
3139 and 3140. It is said: "A flute should be beautiful, straight and free of knots. It may be made of
bamboo, khadira wood, red sandalwood, white sandalwood, gold, or ivory. The holes should be the size
of the smallest finger."
3141. The size of a flute may range from six angulis (fingers) to 18 angulis. This the scriptures say.
3142. It is said: "Five angulis is too small for a flute. Increasing anguly by anguli, a flute's size may
range from six to 18 angulis."
3143. A flute one anguli shorter is called a vamshi. The scriptures also describe many other flutes.,
beginning with mahnanda.
3144 and 3145. It is said: "The four largest flutes are called mahnanda, nanda, vyaya, and jaya. Of
this the sages agree. The mahnanda is 10 angulis, the nanda is 11 angulis, the vijaya is 12 angulis. the
jaya is 14 angulis.
3146. Scholars have described the various virtues and faults of the vamshi flute. Now we will
describe the ghana group of musical instruments.
3147. Now we will describe the ghana group of musical instruments. The ghana musical instruments
are many. They begin with the karatla, kmsyabala, jayabhanta, and shuktik.
3148 and 3149. It is said: "Bharata Muni, who is the king of the sages, gives the names of these 12
ghana instruments: karatla, kmsyabala, jayabhan, shuktik, kampik, ghaavdya, ghantodya,
gharghara, jhaNjhtla, maNjira, kartari, and unkura."
3150. The scriptures describe the various qualities of these instruments, which begin with the
karaalas. Demigods and others are qualified to play these musical instruments, which begin with the
tla instruments.
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3151. It is said: "Devas play the tla instruments. Gandharvas play the shushira instruments
rkshasas play the ghana instruments."
3152. From all these musical instruments great auspiciousness arises. They brought glorious beauty
to the rsa-dance circle.
3153. O Shrinivsa, how wonderful were the graceful activities in the rsa dance! In that dance,
various musical instruments sounded music that charmed even Brahm and the demigods.
3154. Vraja's prince (Lord Krishna) is expert at every musical instrument. Surrounded by His
gopi-beloveds, He is more charming than millions of Kmadevas.
3155. How wonderfully does Lord Krishna plays the flute! In the three worlds nothing can compare
with His flute music.
3156. The mardra, madhya and svarlpa portions of His melodies are all charming. Hearing
Krishna's flute music, even Shiva is overcome with bliss.
3157. Shri Rdh, who is like nectar personified, and who enchants Lord Krishna, gloriously plays on
an alvani musical instrument.
3158. On that instrument, She plays melodies in three grmas: shaja, madhyama, and gndhra.
3159. Lalit wonderfully plays the brahma-vin. She is expert in the shrutis and other aspects of
music.
3160. Beautiful Vishkh very sweetly plays many melodies on the kacchap-vin.
3161. Beautiful Sucitr plays the rudra-vin. She plays graceful melodies with various svaras and
jtis.
3162. Campakalatik joyously plays the vipanci. She expertly manifest the murchan, tla, and other
aspects of music.
3163. Ranga-devi plays the yantraka vilsa. How wonderful are the gamakas she plays!
3164. Beautiful Sudevi happily plays the srangi. She plays prabandha melodies in many different
rgas.
3165. Tungavidy joyfully plays the kinnari. Her music is like a shadow of nectar falling on the
rsa-dance circle.
3166. Indulekh joyfully plays the svara-manala. With easy grace she plays melodies with many
svaras.
3167. In this way Shri Rdhik's gopi friends played every musical instrument in every possible way.
3168. Some gopis played the mardala-mridanga in many ways. They sounded many wonderful tlas,
tlas that had never before been heard in this world.
3169. Some played the muraja or upngavdya. Hearing this music, no heart could remain peaceful.
3170. With great skill some gopis played the damaru. Shiva is fond of the damaru. This is known in
all the world.
3171. In the Sangita-parijta it is said: The amaru is two mushis (fists) in size. It has two faces.
It's middle and is slender. One face is one mushi in diameter and is covered with a fine skin.
3172. "On this face two kinds of string are sounded. Lord Siva always beautifully plays the damaru."
3173. Some gopis played the karatlas or other instruments. The sound of bells filled the rsa-dance
circle.
3174. Who can describe all the beauties of the music Shri Rdhik's gopi friends sounded or a great
variety of musical instruments?
3175. How wonderful was the harmonious meeting of the sounds of all these musical instruments!
That sound was like a shower of nectar falling on the rsa-dance circle.
3176. Shri Vrind-devi's heart became filled with bliss. That wonderfull music was beyond anything
described in the music scriptures.
3177. Plunged in the nectar of that music, with joyful hearts Rdh and Krishna danced.
3178. Lalit and the other gopis blissfully danced. Now I will say something of the different kinds of
dance.
3179. Now dance will be described. Scholars of dance say three kinds of dance are described in the
Vedas. There are: 1. naya, 2. nritya, and 3. nritta.
3180. It is said: "The three kinds of dance are naya, nritya and nritta."
3181. Now nritya will be described. Nritya is the kind of dance where various emotional states are
represented by bodily gestures.
3182. It is said: "The kind of dance where various emotional states are represented by bodily
gestures is called naya by the wise."
3183. It is also said: "In the nakas various states are dramatically expressed by vkyrtha and
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padrtha. Vakyartha expresses rasa, and padrtha expresses bhva. The leaders of the sages employ
these two in naakas and other kinds of works.
3184. Now nritya will be described. When the body gradually moves in dance and rhythms that
follow local traditions, that is known as nritya.
3185. It is said: "When the body gracefully moves with vilsa in dances and rhythms that follow local
tradition, that is called nritya by the wise."
3186. Vilsa is defined in these words: "When the heroine moves in an amorous way as the hero
watches, that is called vilsa."
3187. Now nritta will be described. In nritta there is not dramatic presentation of emotions, but only
graceful movement of the body.
3188. It is said: "Dance scholars know that in nritta there is no dramatic presentation of emotions,
but only graceful movement of the body."
3189. The three styles of dance, namely nya, nritya, and nritta, are of two kinds: 1. mrga, and 2.
deshi. This is said in the scriptures.
3190. It is said: "These three styles of dance are of two kinds: 1. mrga, and 2. deshi."
3191. Now mrga will be described. It is said: "The songs, instrumental music, and dances Brahma
and the demigods employ to honor Lord Shiva are mrga. Bharata Muni and others also are engaged in
this kind of performance."
3192. Deshi is described in these words: "The local songs, instrumental music, and dances that
please the local people in county after county are called deshi by the wise.
3193. Kohala affirms that mrga ntya is of 20 kinds, kinds that begin with naka and prkarana,
bhna, and prahasana.
3194. Others affirm that mrga nya is of 10 kinds, kinds that begin with nik and prkaranik.
3195. Dantila and others say that deshi nya is of 16 kinds, kinds that begin with saaka, troaka,
goshhi, and vrindaka.
3196. In this way there are many different kinds of nya. Of this I have given only a glimpse.
These are elaborately described in the scriptures.
3197. Nritya and nritta are both of two kinds: 1. tnava, and 2. lsya. This scholars of dance affirm.
These kinds of dance make happiness arise everywhere.
3198. It is said: "Nritya and nritta are both of two kinds: 1. tnava, and 2. lsya."
3199. Tnava dancing is primarily passionate and athletic in nature. Tnava is danced by men.
Lsya is danced by women.
3200. It is said: "The passionate and athletic dancing practiced by Tanu (Shiva) is known as
tnava."
3201. In Nrada-samhit it is said: "Tnava is said to be danced by men. Lsya is said to be
danced by women."
3202. Tnava is of two kinds: 1. prerani-tnava, and 2. bahu-rupa-tnava.
3203. It is said: "Tnava is of two kinds: 1. prerani, and 2. bahu-rupa."
3204. Prerani is described in these words: "When there are many movements of the body but no
attempt at dramatic presentation of emotion, that tnava dance is called prerani.. In this world that
kind of dance is deshi."
3205. Bahu-rupa is described in these words of Shri Sangita-Dmodara: "Dancing where there are
breaking, splitting, many faces, and passionate words is called bahu-rupa."
3206. In other books prerani and bahu-rupa tnava dancing are described in detail. Lsya dancing
is amorous in nature. This is described in the scriptures.
3207. Now tsya dancing will be described. Lsya nritya is of two kinds: 1. sphurita-lsya, and 2.
yauvata-lsya. These two are described everywhere.
3208. It is said: "Lsya is gentle amorous dancing. It is of two kinds: sphuruta and yauvata."
3209. Now sphuruta lsya will be described. It is said: "When the hero and heroine dance together
in a dance that dramatically represents rasas and emotions, and has features like kisses and embraces,
that dance is called sphuruta."
3210. Yauvata-lsya dancing is described in these words: "When many female dancers dance a
dance of sweet pastimes, a dance filled with the knowledge of how to fascinate and bring the beholder
under control is called yavata-lsya."
3211. Now Nritta dancing will be described. Nritta dancing is of three kinds: 1. vishama, 2. vikaa,
and 3. laghu. In the scriptures there are described in detail.
3212. It is said: "Nritta dancing is of three kinds: 1. vishama, 2. vrikaa, and 3. laghu. When the
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dancer moves a rope or performs other like actions, the dance is called vishama.
3213. "When the dancer wears various garments and moves his limbs in a variety of ways, the
dance is called vikaa. When the dancer employs subtle curved gestures and other like features, the
dance is called laghu."
3214. O Shrinivsa, in dance there are many motions. Rightly I say to you: Who has the power to
describe all the motions of dance?
3215. In the rsa-dance circle Lord Krishna, who is the crown of rasikas, manifested dancing beyond
the knowledge of Shiva and Brahm.
3216. Who can remain peaceful when Lord Krishna's wonderful dancing is manifest? His dancing
made Shri Rdh and Her gopi friends float in an ocean of bliss.
3217. Very joyfully the gopis danced. The movements of their bodies (anga-abhunaza) were
wonderful and sublime.
3218. Now anga-abhinaya (dramatic gestures) will be described. Anga-abhinaya is of three kinds: 1.
anga, 2. upnga, and 3. pratyanga. These three are also divided in many sub-divisions.
3219. It is said: "Anga-abhinaya is divided into anga, upnga, and pratyanga, Shrngadeva and
others have described these as far as they were able."
3220. In anga-abhinaya the head, shoulders, chest, sides, hands, hips, and feet are employed.
3221. It is said: "In anga-abhinaya the following seven parts of the body are employed: head,
shoulders, chest, sides, hands, hips and feet."
3222 and 3223. Please know that pratyanga anga-abhinaya is very beautiful. When the neck, arms,
shoulders, wrist, back, abdomen, thighs, legs, knees, and ornaments are employed, that dancing is
called pratyanga-abhinaya by scholars of dance.
3224. It is said: "In pratyanga-abhinaya the following nine parts of the body are employed: 1. neck,
2. arms and shoulders, 3. wrist, 4. back, 5. abdomen, 6. thighs, 7. legs, 8. knees, and 9. ornaments."
3225. In upanga-abhinaya 12 parts of the body are employed, beginning with the head, pupils of the
eyes, knitting of the eyebrows. and face.
3226 and 3227. It is said: "Sarngadeva affirms that in upanga-abhinaya the following 12 parts of the
body are employed: 1. head, 2. pupils of the eyes, 3. eyebrows, 4. face, 5. nose, 6. breast, 7. chin, 8.
tongue, 9. cheeks, 10. teeth, 11. lips, and 12. color of the face."
3228. Some say that in anga-abhinaya six parts of the body are employed, in pratyanga-abhinaya
ten parts of the body are employed, and in upanga-abhinaya 23 parts of the body are employed.
3229. To attract the attention of all I have here briefly described only some of the prominent parts of
the body employed in abhinaya.
3230. It is said: "Here only some of the prominent parts of the body are briefly described."
3231. The first of these parts of the body , the head, will now be described. The head has 12
motions, beginning with dhuta, vidhuta, and avadhuta.
3232 and 3233. It is said: "The 12 motions of the head are: 1. dhuta, 2. vidhuta, 3. dhuta, 4.
avadhuta, 5. kampita, 6. akampita, 7. udvhita, 8. parivhita, 9. ancita, 10. nikuncita, 11. parvritta, 12.
utkshipta, 13. adhomukha, and 14. lolita."
3234. Now dhuta will be described. When the dancer shakes his slightly tilted head, that is dhuta.
Dhuta expresses sorrow, astonishment, and other like emotions.
3235. It is said: "When the dancer shakes his slightly tilted head, that is dhuta. Dhuta expresses
forbidden, absence of desire, sorrow, and astonishment."
3236. Please know that the features of dhuta and the other gestures of the head are like this. Now
amsa-abhinaya (gestures of the shoulders) will be described.
3237. Now amsa-abhinaya will be described. The five amsa-abhinayas are: 1. ucca, 2. lagna-karna,
3. ucchrita, 4. srasta, and 5. lolita.
3238. It is said: "The five amsa-abhinayas are: 1. ucca, 2. lagna-karna, 3. ucchrita, 4. srasta, and 5.
lolita.
3239. Ucca is the gesture showing one has been struck by a fist or a lance. The gestures beginning
with lagna-karna are all described in the scriptures.
3240. It is said: "The gesture ucca indicate that one has been struck by a fist or a lance. The
gesture lagna-karna indicates an embrace or the perception of coldness
3241. "Ucchrita indicate joy, pride, or other like emotions. Srasta indicates sorrow or exhaustion,
Lolita indicates fainting, laughter, drunkeness, or the amorous gestures of a rake. This the scholars of
dance say."
3242. Now the urah-abhinayas (gestures of the chest) will be described. The five urah-abhinayas
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are: 1. sama, 2. bhugna, 3. nirbhugna, 4. prakanpita, and 5. udvhita.

3243. The five urah-abhinayas are: 1. sama, 2. bhugna, 3. nirbhugna, 4. prakampita, and 5.
udvhita."
3244. Now sama will be described. When the chest's glory or other features are indicated, the
gesture is called sama. Scholars learned in the scriptures describe bhugna and the other gestures also.
3245. It is said: "When glory, being the shelter of the four directions, or being situated in one's own
nature are expressed, these are called sama."
3246. Now the prisva-abhinayas (gestures of the sides) will be described. The five parsvaabhinayas are: 1. vivartita, 2. apasuta, 3. prasrita, 4. nata, and 5. unnata.
3247. It is said: "The wise say the five parsva-abhinayas are: 1. vivartita, 2. apasuta, 3. prasrita, 4.
nata, and unnata."
3248. Now the hasta-abhinayas (hand gestures) will be described. The three kinds of hastaabhinayas are: 1. samyuta, asamyuta, and 3 nritya-hasta.
3249. It is said: "The three kinds of hasta-abhinaya are: 1. samyuta, 2. asamyuta, and 3. nrityahasta."
3250. When one hand is employed the gesture is asamyuta. When two hands are employed, the
gesture is samyuta.
3251. When the hands do not indicate anything independently, but only in conjunction with the
motions of other parts of the body, the gesture is nritya-hasta.
3252. It is said: "When one hand is employed the gesture is asamyuta. When two hands are
employed, the gesture is samyuta.
3253. "When the hands do not indicate anything independently, but only in conjunction with the
motions of the other parts of the body, the gesture is nritya-hasta."
3254. Scholars learned in dance say hand motions are of three kinds: 1. uttna, 2. prshvaga, and
3. adhomukha."
3255. It is said: "Hand motions are said to be of three kinds: 1. uttna, 2. prshvaga, and 3.
adhomukha."
3256. Some say these gestures are 15 in number. Now I will list the various kinds of asamyuta
hasta-abhinayas.
3257. Now the asamyuta hasta-abhinayas will be described. Some say there are 24 asamyutas,
which begin with patk and tri-patk.
3258. Others say these four more should be added. Still others say the true number of asamyutas is
30.
3259. Learned scholars have described all the asamyutas and samyutas in great detail.
3260-3262. It is said: "It is said the 24 asamyutas are: 1. patk, 2. tripatk, 3. ardhacandra, 4.
kartarimukha, 5. arlamushi, 6. shikhara, 7. kapittha, 8. kaakmukha, 9. shukatuna, 10. kngula,
11. padmakosha, 12. pallava, 13. sucimukha, 14. sarpashir, 15. chatura, 16. mrgashishaka, 17.
hamssya, 18. hamsapaksha, 19. bhramara. 20. mukula, 21 urnanbha, 22. sandamsha, 23 tmracua,
and 24. kavi.
3263. "Others scholars say upadhana, simhamukha, kadamba, and nikunjaka should be added to
this list of asamyutas.
3264. "Dmodara says the asamyutas are 30 in number. According to the meaning they express, the
asamyutas may become samyutas."
3265 and 3266. The scriptures describe the features of all these hasta-abhinayas, describe them in
great detail. I have given here only a glimpse of them.
3267. Now the patls will be described. When the bent thumb touches the base of the forefinger,
and all others fingers are held straight and together, that is known as patk.
3268. It is said: "When the bent thumb touches the base of the forefinger, and all the other fingers
are held straight and together, that is known as patk."
3269. This pataka-abhinaya may be placed in many different places. Scholars learned in dance
describe these many positions.
3270 and 3272. It is said: "Patk-abhinaya is manifest in the aparsha-sthna and pea-sthna. In
the jvalas, the pataka-tlik and others like them, the fingers move downwards. In the dhrs the
fingers are down. In pakshipaksha the fingers are on the hip. In the ucchritas the fingers are up. In
pushkara they are down. In utkshepa-abhinaya the fingers are up from the hip.
3273-3274. "Shaking may be manifest when the pataka is placed in front of the face, at the sides,
and in the nishedha sthna. The patk may also be manifest as wiping or slowly rubbing. A stone or
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other object may be held or raised. An object may be raised or lowered.

3275. "A finger may be raised or lowered, as if by the force of waves or the wind. A small lotus sign
may be given to invoke auspiciousness.
3276 and 3277. "When the svastika is broken up, then the pataka may be manifest. When the hands
are place up or down on the chedana, gopana, darsha, vcana and pronchala sthnas, then the vela,
vila, grha, griha and guh are shown.
3278. Although we have not described these in detail, by following the instruction of a skilled dancer
one may perform these abhinayas."
3279. It is also said: "By following the instructions of a skilled dancer one may learn these hastaabhinayas, such as the gharshana, chedana, darsha, and vibhga sthnas."
3280 and 3281. Scholars learned in dance have described the tripatk and other asamyuta hastaabhinayas. How can I describe in this book all these glorious abhinayas? Now that the asamyuta
abhinayas have been described, the sanyuta abhinayas will be discussed.
3282. The samyuta-abhinayas are said to be 13 in number, beginning with the aNjali, kapota,
karkkaa, and svastik.
3283 and 3284. It is said: The 13 samyuta hasta-abhinayas are: 1. aNjali, 2. kapota, 3. karkkaa, 4.
svastika, 5. dola, 6. pushpapuotsanga, 7. khaaka, 8. vardhamnaka, 9. gajadanta, 10. avahittha, 11.
nisheddha, 12. makara, and 13. vardhamna."
3285. Now aNjali will be described. When the hands, both in patk-abhinaya, are joined together,
that is aNjali. ANjali is employed in offering obeisances to the devas and others.
3286-3288. It is said: "When the hands, both in the palaka-abhinaya, are joined together, that is
aNjali. When aNjali is placed abode the head, it is employed for offering obeisances to the devas. When
anjali is placed before one's face, it is employed for offering obeisances to one's gurus. When aNjali is
placed upon one's chest it is employed for offering obeisances to the brhmanas. When obeisances are
offered to other persons there is no fixed rule where the aNjali should be placed."
3289. Kapota and the other abhinayas here have many features. Scholars of dance have described
them all in great detail.
3290 and 3291. Now nritya-hasta will be described. Nritya-hasta is employed only in the context of
nritya. It is of 30 kinds. Some say is of 33 kinds. The 30 kinds begin with chaturasra and udvritta. The
qualities of all these are described in the scriptures.
3292. It is said: "The 30 kinds of nrtya-hasta begin with chaturasra and udvritta."
3293. The hasta-abhinayas have no end. Of them I have given only a glimpse. Others have
described them in detail.
3294. It is said: "The hasta-abhinayas have no end. Of them I have given only a glimpse. Others
have described them in detail."
3295. Now kai (hips) will be described. The kai-abhinayas are five in number. They are: 1.
kampita, 2. udvhita, 3. chinna, 4. vivritta, and 5. recita.
3296. It is said: "The five kai-abhinayas are: 1. kampita, 2. udvhita, 3. chinna, 4. vivritta, and 5.
recita."
3297. Now the pada (feet) abhinayas will be described. Music scholars describe the 13
pada-abhinayas, which begin with sama, ancita, kuncita, and suci.
3298-3300. It is said: "Music scholars affirm that the 13 pada-abhinayas are: 1. sama, 2. ancita, 3.
kuncita, 4. sucyagratalasancara, 5. mardita, 6. udghita, 7. agraga, 8. prshvaga, 9. prshniga, 10.
tdita, 11. udghaita, 12. uccheda, and 13. udghita.
3301. Dance scholars have elaborately described the abhinayas of every major and minor part of the
body (anga + upnga.)
3302. I shall not describe dance in any more detail in this place.
3303. O Shrinivsa, in the rsa-dance Lord Krishna, the prince of Vraja, manifested dances beyond
the knowledge of even Brahm and the demigods.
3304. His anga-abhinayas have no peer. His graceful gestures manifested a great variety of bhvas.
3305. Who can describe the graceful dancing of Shri Rdhik and Her gopi friends?
3306. No one can describe their wonderful sublime beauty. In the gopis' midst Rdh and Krishna
enjoyed glorious pastimes.
3307. How can I describe the divine couple's charming sweetness? The wise philosophers and saints
have spoken many words to describe them in many ways.
3308. In the following song Lord Krishna is described:
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rsa-binodiy shyma rya

bhangite bhubana muruchya
The dark king Krishna enjoys pastimes in the rsa-dance. His graceful movements enchant all the
worlds.
3309. dalita aNjana ghana gha
jini su-komala anga-cha.
The splendor of His delicate limbs defeats black aNjana and the black monsoon clouds.
3310. may/eira-candrik shire sohe
yubati-ganera mana mohe
A peacock feather decorates His head. He charms the teenage-gopis' hearts.
3311. bicitra tilaka cru bhle
ke n bhule alaka arle
Beautiful wonderful tilaka adorns His forehead. Who is not enchanted by His curly locks?
3312. dui bhuru kmera kmna
ankhi-kone sharera sandhna.
His eyebrows are the archer Kmadeva's bows. In the corners of His eyes Krishna places the
kmadeva-arrows of His glances.
3313. cancala kunala shruti-tae
dolaye mukut ns-pue
Earrings swing to and fro on His ears. A pearl graces His nose.
3314. badana-candram cri-deshe
barishe amiy hsi leshe
The moon of His face fills the four directions with moonlight. His gentle smile showers nectar.
3315. parisara bukera mdhuri
karaye dhairaja-dhana curi
The sweet charm of His chest robs the gopis of the treasure that is their peaceful composure.
3316. gale bilasaye bana-ml
heri hiy dhare ki abal
A garland of forest flowers gloriously rests on His neck. Seeing Him, what girl can remain peaceful?
3317. bhujra balani prna hare
jagata mtya krishodare
The power of His arms takes away the gopis' breath. His slender waist makes the world wild with
bliss.
3318. basana bhushana sje bhli
uru ninde ulaa kadali
He is gloriously adorned with garments and ornaments. His thighs rebuke inverted banana trees.
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3319. byaye nupura rng pya

narahari nichani thya
On His reddish feet anklets jangle, Narahari dsa worship Him.
3320. Here is a song glorifying Shri Rdhik:
rsa-bilsini r-i rse
sakhi-mjhe bilase shymera bma pshe.
In the rsa-dance, in the midst of Her gopi-friends, at Lord Shyma's left side, Shri Rdh enjoys
rsa-dance pastimes.
3321. h mari rupera ki cha
lo kare jaga jini upamra gha
Ah! How effulgent is Her form! She fills the worlds with light. She defeats any comparison.
3322. badane cndera mada nshe
amiy garaba hare su-madhura hse
Her face destroys the moon's pride. Her very sweet smile robs nectar's pride.
3323. bhuru dui bhramarera pnti
kamala-nayana-kone bhangi nn bhti
Her eyebrows are a swarm of black bees. Many crooked glances glisten from the corners of Her
eyes.
3324. nsya beshara bhla sje
ki naba sindura-bindu laltera mjhe
A glorious ornament adorns Her nose. A new sindura dot rests in the midst of Her forehead.
3325. shrabane tanka manoram
kanaka-darpana ninde ganera susham
Charming earrrings adorn Her ears. Her beautiful cheeks rebuke the golden mirrors.
3326. balaya-kankana kare shohe
knculi ncita kuca knu mana mohe
Bracelets and armlets adorn Her wrists and arms. The bodice on Her raised breasts enchants
Krishna's heart.
3327. kinkini balita mj kshina
paridheya bicitra basana tanu lina
A belt of bells jangles around Her slender waist. Colorful wonderful garments adorn Her slender
form.
3328. lalita nitamba uru-desha
ye gahila t'ra ki rahila dhriti-desha
Her hips and thighs are graceful. How can Krishna keep even a small fragment of peacefulness?
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3329. manimaya nupura carane

narahari nichani su-nakhera kirane
Jewel anklets rest on Her feet. Narahari dsa worship the effulgence of Her toenails.
3330. The desires of Rdh, Krishna, Vrind-devi, and their gopis friends were all fulfilled.
3331. What bliss took birth in the rsa-dance circle! Mridangas and other musical instruments
sounded together in graceful harmony.
3332 Lord Shyma Rya, the crest jewel of rasikas, danced. How many songs do the poets sing to
praise the sweetness of His dancing!
3333. A song in the kedra-rga:
nrityata braja-ngara rasa-sgara sukha-dhm
jhamakata maNjira carana, nn gati tla-dhrana
dhairaja-bhara-narana, bhuri bhangima nirupm
Krishna, who is Vraja's hero, who is an ocean of sweetness, who is the abode of bliss, dances. The
anklets on His feet jangle. In many ways He moves to the rhythm. His gracefulness has no peer. He robs
the gopis of their peacefulness.
3334. lalan-kula kautuka-dhrita, bibidha bhnti hastaka nata
mastaka abhinaya naba, shikhi-pincha balita bm
maNju badana radanacchada, nirasa-i candra aruna mada
kunda radana damakata, madhura-smita jita-km
He delights the gopis. As He dances He moves His head and hands in various graceful ways. His
peacock feather is graceful. His face is handsome. His lips rob the reddish moon's pride. His teeth
defeat the jasmine flowers. His sweet smile defeats Kmadeva.
3335. cru-pha ughaata kata, dh dh dhiki dhiki taka tata
tahi thai thai tho di drimiki, drimikaa didi drm
ttt taka thonga thonga, thari kuku kukudh dhilanga
dhikkaa dhidhi kaa dhidhi kaa, dhidhi dhilli lili lalam
3336. kai-bhushana dhwani rasla, lambita ura puhapa mla
dolata alakli bhla, bhlaya abhirm
jhalakata shruti kunala mani, cancala naba khaNjana jini
kaNja-nayana chani, niramanchana ghanashym.
His ornament-belt sweetly jangles at His hips. A flower garland rest on His chest. Curly locks of hair
are tossed to and fro on His forehead. He is graceful and delightful. Jewel earrings glisten on His ears.
He glances with lotus eyes that defeat the restless young khanjana birds. Ghanashyma dsa offers
rati to Him.
3337. Another song in Kedra-rga:
shyma rasamaya rsa-manala-madhye lasata su-bhangite
lalita-besha bilsa atishaya nipuna naba naba sangite
Nectar Lord Shyma gracefully dances in the rsa-dance circle. His garments are graceful, His
pastimes are very graceful. Expertly He sings newer and newer songs.
3338. jti shruti sura-grma murachana tna sarasha praksha-i
thodita kata thait thai thai badata mridu mridu hsa-i
He sings songs with jtis, shrutis and sura-grma sweet like nectar. "Thodita kata thait thai thai!"
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the rhythm declares. Gently, gently Lord Krishna smiles.

3339. maNju badana mayanka jhalakta madana mada-bhara bhnja e
lola locana kaNja chani yubati-gana hridi raNja e
His graceful, handsome, glorious face breaks apart Kmadeva's pride. His restless lotus eyes glance
at the teenage gopis. Joy fills His heart.
3340. jhana nana nana shabda-krita
maNjira carane biraj-i
nichani narahari mahura nritye mridanga
drimi drimi bja-i
"Drimi drimi! The mridanga declares. "Jhana nana nana!" declares the anklets on Lord Krishna's
sweetly dancing feet, feet Narahari dsa worships.
3341. A song in Bhupli-rga:
ncaye rasika shyma rya
dekhi ke na parna juya
The rasika Shyma Rya dances. Gazing at Him, who will not find his heart filled with cooling bliss?
3342. ki madura chnde mridu hse
yubati-dhairaya-dharma nshe
How much sweetness rests in His gentle smile! his smile destroys the teenage gopis' peacefulness.
3343. dolaye kunala shruti-mule
ganera chaya kena bhule
Earrings swing to and fro on His ears. Who is not enchanted by the glory of His cheeks?
3344. karaye kata na abhinaya
yhte madana, parjaya
How graceful are His gestures! They defeat Kmadeva.
3345. cancala dighala nkhi-kone
ki rasa hlaye keb jne
He casts restless glances from the corners of His large eyes. Who knows how much nectar His
glances bring?
3346. carana-kamale bhla dhare
nupurera dhwani prna hare
The jangling of the anklets on His lotus feet makes one breathless.
3347. t thai t thai thai thaiy
kahe ki bhangite raiy raiy
"T thai t thai thai thaiya!", the graceful rhythm sounds.
3348. drimi drimi mdala bjaye
narahari parna nichaye
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"Drimi drimi! the mdala sounds. With his every breath Narahari dasa worships Lord Krishna.
3349. O Shrinivsa, the poets cannot even briefly describe Rdh's wonderful dancing.
3350. A song in the Kedra-rga:
nrityati rdh dhriti-bhara-bhaNjini gaja-gmini
mangalamaya hina malina komala klin?ti-pulina
dhani dhani dhani nirmala bara sarasa pulina ymini
Rdh dances. She is graceful like a graceful elephant. Her motions break Lord Krishna's peaceful
composure into pieces. The pure and soft banks of Yamun are auspicious. The Yamun's banks are
pure and sweet like nectar. Glory! Glory! Glory!
3351. bjata mridutara mranga dhigi dhigi dhigi taga dhilanga
dh drigu jhendrm drimi, drimi drimi drimi drmini
jhunu jhunu paga nupura-dhwani, kinkini kai jhini nini nini
jhankrita kara balaya jhanana, jhanana ati-rmini
"Dhigi dhigi dhigi bhaga dhilanga, dh drgu drgu jhendram drmi drmi drmi drmi dramini, "the
mrdangas sweetly declare. "Jhanu jhanu page," the anklets say. "Jhini nini nini," The belt of bells affirms
"Jhanana jhanana," the bracelets say.
3352. praphullita mukha kaNja basana, dashanbali lalita hasana
nigadata taka thai thai thai taka sukha-dhmini
su-lalita mani-bhushana gana gima dhunata kautuka ghana
lola locanncala bharu, alaka kula lalmini
Her face is a blossoming lotus. She playfully smiles. Her teeth are splendid. "taka thai thai thai taka,
Her delightful jangling jewel ornaments say. Her neck sways to and fro. She is filled with bliss. She casts
restless sidelong glances. Her locks of hair and Her eyebrows are graceful. She is decorated with
glorious ornaments.
3353. cmikara garaba harana, parama madhura madhurima-tana
brita basanncala cala, jhalakata anupmini
hastaka bahu-bhiti karata, shobh-rasa-puNja jharata
narahari bahu nichani nirakhi, lajjita sura-kmini
She robs gold's pride. She is most sweet. She moves the edge of Her garment. She is glorious
without peer. With a gesture of Her hand She removes all fear. From Her comes a flood of the nectar of
beauty. Gazing at Her, the demigoddesses become embarrassed at their own lack, Narahari dasa
earnestly worship Her.
3354. A song in karnaa-rga:
nrityati rasa bilsini rdh
bjata mridanga dhiki dhiki dh dh
Enjoying the rsa-dance pastime, Rdh dances, "Dhiki, dhiki dhdh, the mridanga declares.
3355. jhalakata anga kirana manahara-i
mukha-shashi hasani amiya yanu jhara-i
Her charming limbs glisten. The smiling moon of Her face is filled with nectar.
3356. ughaata thai thai dhiki taksha dhenn
-i ati a-i ati o-i-a tenn
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"Ughatata thai thai dhiki taksha dhenn -i ati a-i ati o-i-a tenn." The mridanga declares.
3357. kaNja nayana gati khaNjana dalaye
abhinaya krita kara shobhita balaye
Her eyes move like restless khanjana birds. Her bracelet decorated hands gracefully move.
3358. kinkini mukhara balita-kai kshin
pahirana basana tarala tanu-lin
On Her slender waist a belt of links jangles. Her garment move to and fro on Her slender form.
3359. jhanana balita mani nupura carane
narahari nichani lolita paga dharane
The anklets on Her feet jangle. Gracefully She moves. Narahari worships Her.
3360. A song in the Kmoda-rga:
nce r-i ramanira mani
carane nupura bje kaite kinkini
Rdh, the jewel of beautiful girls, dances. The anklets on Her feet and the belt of links on Her hips
jangle.
3361. phani jini beni pihe dole
grbra bhangima tokiba rasera hillole
Defeating the snakes, Her braids sway to and fro. How many waves of nectar flow from the graceful
motions of Her neck.
3362. ki madhura abhinaya kare
tathai t t thaiy thaiya kahi tla dhare
As the rhythm sounds, "tathai t t thaiy thaiy" how sweet are Rdh's gestures!
3363. badane cndrera mada nshi
hsite barishe ki amiy rshi
Her face destroys the moon's pride. How many monsoons of nectar fall from Her smile!
3364. khi abhinaya kata chnde
mtya madana bhupa barajera cnde
Her glances make wild with passion a teenage boy who is ilke the moon of Vraja, a boy who is like
King Kamadeva himself.
3365. narahari ki dib upam
jagate karaye lo angera susham
What similes or metaphors can Narahari dsa speak to describe Her? The beauty of Her form fills all
the worlds with light.
3366. O Shrinivsa, how many pastimes of wonderful dancing did Rdh and Krishna enjoy in the
company of Lalit and the gopis!
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3367. A song in Kedara-rga:

ju rsa bilsa atishaya shyma shohata parama rasamaya
radhik-kara kaNjahi mahidhara carana raNjana
hasita badane supa ughaata thai ta thai thai ta thai tatatho
didi digana hasta abhinaya, madana mada-bhaya bhaNjana
Now charming Lord Shyma enjoys the ras-dance pastime. He takes Rdh's lotus hand, He places
His reddish feet on the ground of Govardhana Hill. He smiles, "Thai tathai thai tathai lalatho didi di!" The
rhythm sounds. The gestures of His hands are graceful. He breaks Kamadeva's pride into pieces.
3368. ramani-mani nija prna-priya-mukha, nirakhi bhata gha mana-sukha
bipula pulakita gta pada tala. tla-dhrita gati cancale
bdata drimi drimiki drimidh, thai tathai tata thai tathai to
thum num num rasa-puNja barashata lola locana ancale
Lord Krishna gazes at the face of His beloved more dear than life, His beloved the jewel of beautiful
girls. His heart is now filled with bliss. The hairs of His body stand up. His restless feet dance many
graceful rhythms. "Drimi drmiki drimidha thai tathai tata thai tathai tha thum num num! His dancing feet
declare. He casts restless glances from the corners of His eyes. His glances are a monsoon of nectar.
3369. yugala chabi abaloki pramudita, nicha-i jaladhara taita atulita
nritya-rata lalitli lahu lahu gima dhunaa su-bhangite
madhura sura kata bhnti ucarata, thai tathai thai drimiki drimi tatho
diga diga diga thai thai tathai prabintishaya saha su-sangite
Gazing at the divine couple's splendor, a splendor like monsoon clouds and lightning, Lalit and the
gopis dance, gently, gently, gracefully moving their necks. The expert gopi musicians sweetly play the
rhythm "thai tathai thai drimiki drimi tatho diga diga diga diga thai tathai!"
3370. bani subesha bishkhik dika naana ghana ghana tdhika dhigiti raala
dhigiti dhigi dhigi dhikha dhaikata, dh dhi ni ni ni nini dhinni n
drmiki drimi drimi mardala dhwani hara dhriti ghanashyma bhani anibra
ti a-i a-iti a-i-, -i-ati a-i-a tinnin
Graceful beautiful Vishkh dances "Ghana, ghana tdhika dhigiti raata dhigiti dhigi dhigi dhikha
dhaikaa dh dhi ni ni ni nini dhimi n!" The mardala sounds. Narahari dsa says, "Now peaceful
composers has been taken away. Again and again the rhythm sounds, "ti a-i a-iti a-i- -i-ati a-i-a
tinnin!"
3371. Another song in Kedra-rga:
ju ki naba punima nishi
yamun pulina jhalakaha rse shashi ujora e dish
Now is the full moon night. Now the glistening moon shines on the Yamuna's banks.
3372. r-i knu ki madhura chnde
nce duhu ange anga hel-iy bhuj ropiy kndhe
How sweet are Rdh and Krishna! Their arms about each other's shoulders, and Their bodies
touching, They dance.
3373. tile tile ki kautuka cite
domhe bya bamshi, mish-iy mukha tra ki upam dite
Moment after moment Their hearts are filled with bliss. Their mouths touching, They both play the
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flute. What metaphors or similes can I speak to describe Them?

3374. cru nayane nayana niy
adhare adhara parashaye rasa beshe ulsa hiy
Eye to eye They gracefully meet. Hips to lips They touch. They are filled with nectar. Their hearts
are filled with bliss.
3375. bma dakshina yugala kare
prakshaye kata, bhnti abhinaya madana dhairaya hare
One on the left, the other on the right, They stay together. How many are Their graceful gestures?
They rob even Kmadeva of his peaceful composure.
3376. t t tthai t thai kahe
anibra raba ladana-cnde ki amiy dhr bahe
"Ta ta tathai tathai!" the rhythm sounds without stop. What floods of nectar flow from the moons
that are the divine couple's faces!
3377. drimi drimiki mridanga bje
mahi-tale tla dharaye carane ki naba nupura sje
"Drimi drimiki!", the mridangas sound. Adorned with new anklets, the dancing feet touch the ground.
3378. lalitdi dekhi se n shobh
naana bhangite gya nn-mate narahari mana-lobh
Gazing at the glory and grace of these pastimes, Lalit and the gopis sing and dance in many ways.
In his heart Narahari dsa yearns to enter these pastimes.
3379. O Shrinivsa, many poets have described these rsa-dance pastimes, pastimes filled with
limitless bliss.
3380. A person who hears these pastimes destroys all inauspiciousness. Easily that person meets
Shri Shri Rdh and Krishna's lotus feet.
3381. After enjoying glorious rasa-dance pastimes, Lord Krishna, who enchants all the worlds, for
many moments enjoys pastimes in the Yamun's waters.
3382. Who has the power to describe these wonderful blissful pastimes? Lord Krishna enjoyed
pastimes in a forest cottage.
3383. Finally the divine couple joyfully fell asleep. As the night was ending the gopis awakened
Them.
3384. Then the divine couple and Their gopi friends returned each to his own home. Separated from
each other, Rdh and Krishna felt They could no longer remain alive.
3385. In many ways the gopis consoled Rdh and Krishna. Sleeping in Their own homes, Rdh
and Krishna met in Their dreams.
3386. A song:
sakhi-saha r-i syma rya
bipila bilasa rse ullsa hiyya.
Surrounded by Their gopi friends, with joyful hearts Rdh and Krishna enjoy many pastimes in the
rsa dance.
3387. jala-keli karibra tare
prabeshi yamun-jale kata bhangi kare.
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Entering the Yamuna's waters They enjoy many pastimes.

3388. paraspara bri barishaya
bhijaye basana tanu-lina shobhamaya
They splash monsoons of water on each other. Their wet garments clinging to Their bodies, They are
splendid and graceful.
3389. lji dhani chi shyma pne
lukya agdha jale kamalera bane
Shyly glancing at dark Krishna, Rdh hid in a lotus forest deep in the water.
3390. kliy se bibhala premete
cumbaye kamala r-i mukhera bhramete
Mistaking it for Rdh's face, bewildered with love Krishna kissed a lotus flower.
3391. lalitdi sakhi cri-pshe
dekhiy shymera ranga mridu mridu hse
Seeing this pastime of Krishna's, Lalit and the gopis around Him on four sides gently gently smiled.
3392. r-i sakhi ingita p-iy
dnya shymera ange anga hel-iy
Catching a hint from a gopi friend, Rdh approached Krishna and pressed Her body against His.
3393. bhaye kautuka tile tile
kari jala-keli uhe yamunra kule
Moment after moment Rdh and Krishna enjoyed blissful pastimes in the water. Finally They rose
from the water and stepped onto the Yamuna's banks.
3394. piye madhu madane mtiy
surata-samara-sukhe uthalaye hiy
Rdh and Krishna drank madhu nectar. Now They were wild with amorous passion. The bliss of
amorous combat arose and overflowed within Their hearts.
3395. nishi sheshe nikuNja ha-ite
cale sa-cakita gati alakhita pathe
When the night had ended Rdh and Krishna anxiously left the forest grove, They walked unseen
on the path.
3396. domhe nija nija grihe giy
sutaye bicchede-duhkhe bykula ha-iy
They went to Their own homes and lay down in Their own beds. Their separation brought Them
great sorrow.
3397. swapane milaye moda cite
narahari nichani e domhra pirite
With joyful hearts They met again in Their dreams. Narahari dasa worships these loving pastimes of
the divine couple.
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3398. Again and again the divine couple enjoy pastimes in a forest cottage. The poets describe
many different ways in which the divine couple enjoy these pastimes.
3399. It is said: "May Lord Krishna, who at the end of night goes from the forest to Vraja, who in the
morning milks the cows, enjoys breakfast, and enjoys other morning pastimes, who accompanied by His
gopa friends, brings the cows home at sunset, who at midday, afternoon and night enjoys with Rdh
pastimes in the forest, who at sunset returns to Vraja, and who delights His friends, protect us."
3400. A song:
rajani shesha, nikuNje shayana
braja-bhusana shyma-gori naba-leha
kautuhe jji, kahina guru-jana bhaye
calu ati turita sutahi sutahi puna geha
At night's end Rdh and Krishna, the fair and dark ornaments of Vraja awakened. Fearing Their
harsh elders, They quickly returned to Their homes and lay down in Their own beds.
3401. snndika rata, prte dhani yashomati
griha gata-krita randhana sakhi-sanga
go-dohana karu, snna knu sukhe
gana-saha bhuNji shayanera rahu ranga
Glorious Yashod rose in the morning, bathed, performed various duties and, helped by her friends
cooked breakfast. Krishna milked the cows, bathed, happily ate breakfast with His friends, and took a
nap.
3402. purbhne bana-gamana dhenu-saha
bilasi capala calu kunaka-tira
priya adarshana sahi puna dhani nija
preshita duti-patha nirikhe athira
In the morning Krishna went to the forest with cows. Playfully He went to the shore of a lake. Not
seeing His beloved, He impatiently waited for a gopi-messenger sent by Her.
3403. madhyhne sakhi-saha sundari nija
kuna nikaa priya milane ulsa
bamshi harana madhu-pna snna rabipujana aru kata bibidha bilsa
At midday on the shore of Rdh-kuna, Krishna happily meets His beloved and Her gopi friends.
She steals His flute. They drink madhu-nectar, bathe, worships the sun-god, and enjoy many other
pastimes.
3404. grihe calu gori, sji aparhnahi
sakhi-saha priya-patha raha-i nehri
dhenu sakh sane shyma gamana griha
o mukha lakhi' braja-jana sukha bhari
Then fair Rdh returns to Her home. Nicely dressed and decorated, Rdh and Her gopi-friends
wait and look to the path for dark Krishna's return. As Krishna returns home with His gopa friends and
cows, the people of Vraja gaze at Him and become filled with bliss.
3405. sjhanu samaye, janani karu llana
go-doha-dika bahu ranga
r ika preshita, bibidha drabya sukhe
bhuNja-i priya subaldika sanga
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Mother Yasoda is very affectionate to Krishna. As Krishna takes care of the cows Yasoda sends
Rdh with a lunch of many delicious foods. Accompanied by Subala and His other dear friends, Krishna
happily eats the luch.
3406. samaya pradoshe, shaji braja-ngara
shuni guni-gna gamana karu kuNja
r-i ramani-mani bani alakhita gati
sakhi saha shyma milane sukha-puNja
Hearing that Vraja's glorious hero Krishna has gone to the forest, Rdhik, the jewel of beautiful
girls, goes unseen into the forest. Accompanied by Her gopi-friends, with great joy She meets Krishna.
3407. madhura nish naba-nritya gita-rata
rsa-bilsa bhubane anupma
kuNja-bhabane rati-keli-kalaha duhum
shayana seba-i sukhe sakhi ghanashyma
On a sweet night Rdh and Krishna enjoy new dances and songs and a peerless rsa-dance. In a
forest cottage They enjoy pastimes of Kmadeva's battle. As They enjoy pastimes of sleep,
Ghanashyma dsa, now become a gopi, happily serves Them.
3408. O Shrinivsa, on the Yamun's banks Lord Krishna enjoys wonderful pastimes on a swing with
His beloved Rdh.
3409. A song in maltra-rga:
ju jhulata ngara-rja
mah-maNjui nikuNjaki mjha
In a very charming forest grove, Krishna, the King of amorous heroes enjoys pastimes on a swing.
3410. naba-nirmita ratnahi ora
tahi rjata ranga bibhora
The swing glistens with new jewel-ropes, Krishna is filled with bliss.
3411. bma bhgete sundari shohe
shymasundarera mana mohe
A beautiful gopi stays at Krishna's left. She enchants handsome dark Krishna's heart.
3412. duhu rupa nirupama chaa
dure damini jalada gha
These two forms are splendid without peer. They cast far away the rival splendor of the lightning
flash and monsoon cloud.
3413. hema-mani bibhushana gya
ati bicitra basana tya.
These two forms are gloriously adorned with wonderful colorful garments and ornaments of gold and
jewels.
3414. gale dole su-lalita hra
netra-bhangi ki upam tra
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Graceful necklaces sway to and fro on Their necks. To what shall I compare Their graceful crooked
glances?
3415. mukha-candre su-madhura hsi
anibra jhare sudh-rshi
On the moons of Their faces arise sweet smiles from which flow floods of nectar without stop.
3416. dohe adhare adhara diy
rahe ange anga mish-iy
Lip to lip They meet. Limb to limb They embrace.
3417. lalitdi-sakhi cri-pshe
ranga dekhi' ki nande bhse
Gazing at Them from four sides, Lalit and the gopis float in bliss.
3418. hsi jhulya-i manda manda
mili gya-i gita su-chanda
Gently, gently They move back and forth on Their swing. Together They sing beautiful songs.
3419.. keha keha mridangdi bya
caru cmara keha dhulya
Some gopis played mridangas or other musical instruments. Some gopis waved cmaras.
3420. barash ritu riti ashesha
bahe manda samira su-desha
A monsoon breeze gently blows.
3421. bedhi brksa-lat rucikri
nn pushpa prabhullita bhri
Many flowers gloriously bloom on the trees and vines.
3422. bhrame bhringa-dhwani parateka
shikhi kokila pakshe aneka
Humming bees wander about. There are many peacocks and cuckoos.
3423. ghana ddura shabada bahu
rasa-bdara jhumi rahu
The frogs croak. There are many sweet bdara fruits.
3424. bahuko upam nahe thora
ghanashyma se kautuka bhora
I can speak no metaphors or similes to describe this scene. Ghanashyma dsa is filled with bliss
and wonder.
3425. Look, O Shrinivsa. In this place Rdh and Krishna enjoyed wonderful Holi pastimes.
3426. A song in Vasanta-rga:
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ju parama, ranga harashe shyma rasika-rja

besha biraci bilasata naba-kuNja-bhabana-mjha
Now dark Krishna, the gloriously decorated King of rasikas, enjoys blissful pastimes in the place of a
new forest grove.
3427. rdh-bidhu-badani bani, ki upam nahu thori
nha-samipa, bhangima sane. rjata rasa bhori
What similes or metaphors can I speak to describe moon-faced Rdh? Gracefully She stands by Her
master. Sweet like nectar, She shines with glory.
3428. rata duhu, phgu duhuka, anga aruna bhela
mrigamada candana parga kunkuma puna dela
Rdh and Krishna throw red powder on each other. Now Their bodies are reddish. Again and again
They throw musk, sandal, kunkuna, and flower pollen.
3429. sahacari-gana, heri duhuka, shobh bahu bhnti
bjata kata, yantra carita, gyata muda mi
Gazing at the divine couple's splendor, the gopis become wild with bliss. Blissfully They sing and play
musical instruments.
3430. cancala mana-mohana ghana, chata picakri
bhigala tanu, basana lgi sa-cakita su-kumri
The restless charming delicate gopis spray each other with colored dyes from syringes. Now their
garments and forms are wet.
3431. lalit dalitNjana jala, ngara shire dhle
ho ho ho, hori ucari biraca-i karatli
Krishna sprays Lalit's head with colored water, Her mascara runs. "Ho, ho, ho, holi," He calls out
and claps His hands.
3432. keli-kalaha-pau naa-bara, khuka gahi ni
cumbita badana, khuka kuca-kamale dhara-i pni
Krishna, the best of dancers, Krishna expert at playful quarrels, catches a gopi_ and kisses her. Then
He catches another gopi_ and hold her lotus breasts in His hands.
3433. khuka parirambha-i bahu kahi su-madhura bta
locana-shara, barishe parasha-para pulakita gta
Another gopi Krishna embraces many times. He speaks very sweet words. He showers her with a
monsoon of Kmadeva's arrows from His eyes. Her touch makes the hairs of His body stand up with joy.
3434. aiche phgu, khel sukha, kona karaba anta
mni sukriti, atishaya ritu-rja ritu basanta
Now saintly Springtime, the king of seasons, thinks, "Who will bring to an end these blissful pastimes
of colored dyes?"
3435. mangalamaya, jaya jaya pika, kuhakta anibra
bhanaba ki ghanashyma bipula kautuka balihri
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"Jaya! Jaya!" The cuckoos gloriously coo without stop. What words will Ghanashyma dsa say now?
Now he is speechless. He is stunned with wonder and bliss.
3436. O Shrinivsa, in this place Rdh, the forest goddess came by the gopis' wish.
sundari sakhi-saha, kariy yukati
shyme milibre calaye range
nikuNje prabeshi, baise eka sukhe
sucru basana jhpiy ange
With her girlfriends a beautiful gopi plans how to meet dark Krishna. Covering her limbs with very
beautiful garments, she enters a forest grove and sit down alone.
3438. ngara-bara taru-tale tarala
r-i patha here premera bhare
kuNjete se dhani pne c y dh'y
y'y puche brind debir dhire
Overcome with love, Krishna, the best of heroes, sees Rdh under a tree by the pathway. "Who is
that beautiful girl I see in the forest?" Krishna asks saintly Vrind-devi.
3439. kaba kaha naba nikuNje ekki
keb basiyche apurba beshe
hena shobh kabhu n dekhi bhu-mjhe
umra murati upam kise
"Tell Me, Tell Me, who is that peerless wonderful girl sitting all alone in this forest grove? Never in all
the world have I seen beauty like Hers. How can even Goddess Um be compared to this girl?"
3440. shuni brind, braja-rja-suta prati
kabe iha e-i nikuNje debi
mora yata parkrama th tumi
jniha uhra carana sebi'
Hearing this words, Vrind-devi said to Vraja's prince, "This is the goddess of the forest. Her powers
is greater than mine. Please know that You should serve Her feet."
3441. shuni bni bidagadha gati-para
paramdara darasha she
cancala-cita, cru-kuNje giy
dya o naba debira pse
Hearing this words, intelligent Krishna very respectfully looks at the girl. With a restless heart He
approaches. In that beautiful forest grove Krishna respectfully stands before that youthful goddess.
3442. yui du-i kara, kabe ju saba
sdha sidhi habe tomre sebi
bancan n kari, kara day sukha
habe nibediye shunaha debi
Folding His hands, Krishna now says, "By serving You I will attain perfection. Please do not cheat
Me. Please be merciful to Me. This I request of You. Please hear My words, O goddess.
3443. mora pina-priya hiyya putali
brishabhnu-sut ramani-mani
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t/mra adarasha, n she parne

kata shata yuga kshaneke gani
"Vrishabhnu's daughter is the jewel of all beautiful girls. She is more dear to Me than life. My heart
is a puppet in Her hands. If I cannot see Her, then I cannot bear to live. If I cannot see Her, then every
moment seems like many hundreds of yugas.
3444. temho kulabati, ati-mridu sad
prna kampe guru-janera are
the shubhankari, e-i ka-ro yena
tmre keho kichu kahite nre
"This saintly girl is very gentle. Her life's breath trembles in fear of Her elders. Please make
everything auspicious for Her. Make Her elders unable to sp[eak even a single word to criticize Her."
3445. eta kahi knu pranamaye pada
parashe kusuma anjali diy
t' dekhi lalitdi, thkiy gipate
hse atishaya pulaka hiy
After speaking these words, Krishna offers His respectful obeisances. Offering a handful of flowers,
He touches Rdh's feet. Hiding nearby, Lalit and the gopi_s watch all of this. They smile. Their hearts
are joyful.
3446. brind-debi kahe, ki kara kliy
e-rupa pujane ki phala p'be
prati-anga diy puja prati anga
tabe se e debi prasanna habe
Then Vrind-devi says, "O Krishna, what benefit will You get by this kind of worship? You should
offer flowers to every one of the goddess' limbs. You should worship every one of her limbs. Only then
will this goddess become merciful to You."
3447. shuni shashi-mukhi, ghunae badana rkhi
mridu hse nande bhsi'
netra-kone nibraye ye brindre
se prakshaye puna ishata hsi
Hearing these words, moon-faced Rdh is agitated. She floats in bliss. Hiding Her face, She gently
smiles. From the corner of Her eyes She glances at Vrind-devi. Then She openly displays Her gentle
smile.
3448. madana-made, mtiy nagara
heri hsi bhsi nanda-jale
-isa -isa mora, prna-priya debi
iha buli tuli karaye kole
Intoxicated with amorous desire, Rdh glances at Hre lover. She smiles. She floats in an ocean of
bliss. Saying, "Come. Come, O beloved kore dear than life", She picks up Krishna and embraces Him.
3449. lalit lat-mjhe, tejoya nikae
si kahe kata bujhaba mi
kuNja-debi bali, bhaya nhi karo
biparita rati-lampaa tumi
Abandoning her hiding place among the vines, Lalit approaches and says, "I know You." The forestgoddess Rdh then says, "O contrary rake Krishna, do not be afraid."
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3450. ithe dosha n mno shuniy kahaye

ybe dosha tuy parasha gy
eh shuni narahari saha sahacari
hse mukhe basara diy
Hearing the words, "This is a sin. Don't do it." Rdh says, "O Krishna, by the touch of Your body all
sins flee far away." Hearing these words Narahari dsa and the gopis, covering their mouths with their
garments, smile.
3451. O Shrinivsa, one day in this place Shri Krishna was very sorrowful in separation from Rdh.
3452. Hearing from a gopi_-messenger that Rdh would soon come, Vraja's prince Krishna became
wild with bliss.
3454. His eyes stayed on the pathway where Rdh would walk. Overcome with bliss, He did not
remember His own identity.
3454. Then by the wish of Rdh's gopi-friends, a gopi-messenger from Candravali approached
Krishna.
rdh sudh-mukhi, sukhi sakhi-gane
rkhi katho-dur/e kautuka ati
prna-sama priy, pshe cale ek
alakhita candrbalira duti
Krishna, who enjoys pastimes with nectar-faced Rdh stays amongst the gopis. A little distance
away, disguised and unnoticed, a messenger of Candrvali approached Shri Rdh, who is Lord
Krishna's beloved more dear than life.
3456. nikuNje ngara gara gara r-i
darashana she bibhora haiy
kata manoratha, kare mane mane
piy patha pne saghane c'y
In the forest the lover Krishna is overwhelmed. He yearns to see Rdh. How many desires fill His
thought after thought. He looks to see if His beloved walks on the pathway.
3457. tath bhringa-gana, bhrame bhangi bhuri
range rahe kari guNjara chal
candrbali-duti, phire bane kene
n jniy shuni camake kl
Why does a messenger of Candrvali wander in the forest nearly, making sounds exactly like the
humming of a host of black bees? Hearing the sound and not knowing its true origin, Krishna is startled.
3458. hena-i samaya, se duti turita
upanita pshe chi t pne
bimarisha mukha malina bishama
sankaa jniy bykula mane
At that moment the messenger quickly approached Krishna. Krishna looked at the messenger. The
messenger's face was filled with sorrow. Aware that some calamity must have fallen, Krishna became
worried at heart.
3459. thira haiy puna, cturi prakshi
duti prati kahe dara kari
yha tuy pche, pche yba bege
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duti kahe chi y-ite nri

The intelligent messenger comes there. To her Krishna respectfully says, "You go and I will quickly
follow you." The messenger says, "I cannot leave You and go ahead.
3460. tuy binu candrbali n jijaye
ki kara se dash dekhaha y'y
uthe uthe ra n sahe bilamba
eta kahi pye dharaye dh'y
"Without You Candrvali will not live. You should go and see her sorrowful state. Rise, rise, tolerate
no delay." Saying these words, the gopi-messenger grasps Krishna's feet.
3461. parashe parama parashana duti
kata-rupe dhriti dharaye meno
duti-suparasha, p-i shyma-shashi
bibasha spini da/mshaye yeno
Having touched Krishna, how can that gopi-messenger remain peaceful? By that gopi's touch the
dark moon Krishna is now overcome. It is as if a snake has bitten Him.
3462. cancala locane, che brind prati
kabe kaha iki ha-ila more
brind kahe kene bhbo bhla habe
breka dutire karaha kore
With restless eyes Krishna glances at Vrind-devi, "Tell Me what happened." Vrnda says, "How will
she become cured?" Vrind hugs the gopi-messenger.
3463. shuni su-chatura-mani anibra
duti kore kari nande bhse
dure thaki th, dekhi sakhi saba
brind-pne c'y ishata hse
Hearing these words, that gopi, who is like a jewel of intelligence, again and again hugs Vrind. The
messenger floats in bliss. Then she stands back, glances at all the gopis, and gently smiling, glances at
Vrind-devi
3464. lalit lalita, malli-balli madhye
teji roshe kahe bhru-bhangi kari'
yha yha tath, eth brith sthiti
riti anupama sahite nri
Leaving her place amongst the jasmine vines, graceful playful Lalit knits her eyebrows and angrily
says, "Go! Go! it is useless to stay here. We cannot tolerate your unusual ways.
3465. kata b n kara, o rati-lampaa
se sakala kath rahila dure
candrbali-saha, ye-rupa tomra
th jnilma dutira divre
"O rake Krishna, how many times has Candrvali spoken in this way? All these words should be
thrown far away. We know this girl is Candrvali's messenger.
3466. hmari tuy, piriti e-rupa
pulaka kabhu n dekhiye ange
m sabhkare, kisera sankoca
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candrbali-sudh pibahe range

"Aha! O Krishna, never have we seen such symptoms of love on Your body, Why should we
discreetly go away? Go ahead! Taste the nectar of Candrvali."
3467. shuni knu kahe, jini candrbali
e cnda-badane amiy rshi
p-inu anumati, pna kari ebe
eta kahi mukha cumbaye hsi
Hearing these words, Krishna says, I think the flood of nectar in this face defeats Candrvali. Now I
will sip some of this nectar." Saying these words, Krishna smiles and kisses that gopi_.
3468. cibuka pari dhari kara-pallaba
parihsa kare rasena bhare
urupari rkhi' raciy su-besha
bilasaye naba planka pare
With His lotus hand He touches her chin, His joking words are nectar. He ties a splendid cloth about
His thighs. On a new bed He enjoys glorious pastimes.
3469. jni su-samaya, priya sakhi du/mhu
shrama nibraye yatama kari
p-iy ingita range narahari
karaye cmara o-rupa heri
At the appropriate time the gopis act to relieve the fatigue the two lovers feel. On a specific signal
Narahari dsa, gazing at the glorious couple, moves the cmara fan.
3470. O Shrinivsa, who can describe all the pastimes Lord Krishna enjoyed in this nectar forestgrove?
3471. With blissful hearts the gopis relish the nectar of many very wonderful pastimes with Lord
Krishna.
3472. When Krishna is separated from the gopis happines does not take birth in His heart, the gopis'
glories are known everywhere.
3473. In Shrila Rupa Gosvmi's Shri Ujjvala-nilamani, Sakhi-bheda-prakarana, Text 1, it is said: "The
sakhis assist Shrimati Rdhrani in Her transcendental amorous pastimes with Lord Krishna, They are
like transcendental jewelry cases in which Shrimati Rdhrani places Her faith and trust. The following is
an elaborately description of the sakhis (Shrimati Rdhrani's friends)."
3474. O Shrinivsa, Lord Krishna is like nectar personified. How can I ever obtain the power to
describe all the pastimes? He enjoys in all these places?
3475. Of all heroes, Vraja's prince Krishna is the crest jewel.
3476. In Bhakti-rasamrta-sindhu it is said: "Lord Krishna, the Supreme Personality of Godhead, is the
crest jewel of heroes.
3477. In His various spiritual abodes the Supreme Personality of Godhead manifests Himself as six
kinds of amorous heroes (nyaka). In Vraja He is Krishna, that is His most perfect and most complete
identity. Krishna's nature is that of a paramour (upapati).
3478. Thousands and thousands of gopis are leaders (yutheshvari) of groups of other gopis. All
these gopis enjoy pastimes with the amorous hero (nyaka) Krishna.
3479. Of all the gopis Candravali and Shri Rdhik are the best. Everywhere it is known that Shri
Rdhik is the best of all.
3480. In Shrila Rupa Gosvmi's Shri Ujjvala-nilamani it is said: "Rdhik and Candravali are the best
of gopis. They each have millions of doe-eyed gopi followers.
3481. Lord Krishna enjoyed the rasa dance with hundreds and millions of gopis. This is described in
the scriptures.
3482. "Of these two (Rdhik and Candravali) Rdhik is the best in every way. She is mah-bhva
(ecstatic spiritual love) personified (svarupini). Her transcendental qualities are the most glorious.
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3483. Who has the power to describe all the pastimes Lord Krishna enjoys with Shri Rdhik?
3484. As a dhirodtta nyaka, Lord Krishna enjoys very wonderful pastimes.
3485. A dhirodatta has qualities beginning with being highly qualified, grave, and humble.
3486. In Shrila Rupa Gosvmi's Shri Bhakti-rasmrita-sindhu it is said: "A dhirodtta is a person who
is naturally very grace, gentle, forgiving, merciful, determined, humble, highly qualified, chivalrous, and
physically attractive.*
3487. As a dhira-lalita nayaka Lord Krishna enjoys pastimes eternally in palaces in the forest groves.
3488. As a dhira-lalita Lord Krishna is naturally very funny, expert in joking, free from all anxieties,
blissful, and submissive to His lover.
3489. In Shrila Rupa Gosvmi's Shri Bhakti-rasamrta-sindhu it is said: "A person is called dhira-lalita
if he is naturally very funny, always in full youthfulness, expert in joking, and free from all anxieties,
such a dhira lalita personality is generally found to be domesticated and very submissive to his lover."*
3490 and 3491. As a dhira-prashnta nakaya, Vraja's prince Krishna is learned in the scriptures, in
control of His senses, very religious, humble, and endowed with many other virtues. He enjoys
wonderful pastimes with His gopi beloved in a forest cottage.
3492. In Shrila Rupa Gosvmi's Shri Bhakti rasamrta-sindhu it is said: "A person who is very
peaceful, forbearing, considerate, and obliging is called dhira-prashnta."*
3493. Lord Krishna manifests the qualities of a dhiroddhata nayaka only to please His dear devotees.
3494. These very wonderful qualities are headed by arrogant-self-praise, Lord Krishna does not
manifests dhiroddhata qualities very extensively in His pastimes in Vraja's forest groves.
3495. In Shrila Rupa Gosvmi's Shri Bhakti rasamrta-sindhu it is said: "A person who is very envious,
proud, easily angered, restless, and complacetn is called dhiroddhata by learned scholars."*
3496. O Shrinivsa, Lord Krishna is like nectar personified. He manifests the qualities of a faithful
lover (anukula nayaka)
3497. A anukula nyaka does not treat everyone the same. He passionately loves his beloved.
3498. The anukula nyaka Krishna enjoys wonderful pastimes with Shri Rdh.
3499. In Shrila Rupa Gosvmi's Shri Ujjvala-nilamani, (najaka-pukani, text 22-23) it is said: "When a
lover (nyaka) is so intensely attached to his beloved that he never desires any other woman, just as
Lord Ramacandra was attached to Sit-devi, then that lover is called faithful (anukula).
3500. "Lord Krishna's faithfulness to Shrimati Rdhrani is very famous. He never looked at or
thought of any other woman."
3501. Lord Krishna is passionate in love with Rdh. the poets describe the many different kinds of
pastimes Rdh and Krishna enjoy together.
3502. A song in Pauravi-rga:
ohe prna-sama, sakhi sukhamayi
bik-inu mu-i tomra gune
ebe kahe shuna, shymasundarera
adhika piriti yhra sane
O joyful gopi_-friend dear as life, I will sing of Your glories. Please hear. Handsome dark Krishna
loves You the most.
3503. candrbali braje bidita sundari
aparupa rupe lajjita ram
nabina yaubani, rasikini dhani
se guna carite nhika sama
In Vraja Candrvali is known as a great beauty. Still, Your wonderful beauty puts her to shame. You
are youthful and sweet like nectar. Your virtues have no peer.
3504. su-balita naba nikuNja-mandire
shyma saha range bilase niti
shyma rasamaya, mtaye temati
t/mra premdhina ke bujhe riti
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Eternally You enjoy ever-new pastimes with dark Krishna in a forest palace. Sweet Krishna is
intoxicated with love for You. He is overcome with love for You. Who understands His ways?
3505. parnanda-sindhu mjhe bhse yabe
se dhani ratana parasha kare
mukha-shsi-sudha-pne nimagana
takhana ngare kichu n sphure
O jewellike girl, when He touches You He floats in an ocean of bliss. When He dives into the nectar
of gazing at the moon of Your face, He becomes stunned and motionless.
3506. yadi se samaye rdh tanu-gandha
kincita se rs parashe giy
takhani thre tejiy cancala
kldhya yena pgala haiy
If the scent of Shri Rdh touches His nostril, dark Krishna becomes restless. Like a wild man He
runs to You O Rdh.
3507. ki ra baliba ithe jno cite
y sane knura adhika leha
narahari kena, premera nichani
gana-ite guna ke bndhe theh
What more shall I say? You know in Your heart that Lord Krishna loves You the most. With ecstatic
spiritual love Narahari dsa worships You. Who has the power to describe all of Your glories?
3508. A song in Kmoda-rga:
ki baliba ogo, jagate atrela
rdh-mdhabera piriti-takhani
prna eka tanu bhina bhina keb
gaiyche kata nanda mni
Ah, what shall I say? In all the world Rdh and Madhava's love has no peer. They are one life. How
did then become manifest as two forms? How great is Their bliss!
3509. yadi balo du/mhu eka ithe kena
ha-ila dohra barana bhino
tha tuy prati kahiye kincita
yatana karey se kath shuno
They are originally one. How did They become two? Why do they have different complexions? I will
tell you something of this. Please listen carefully.
3510. bibidha barana che tthe syma
gaura-barane adhika shobh
thra abadhi dekh'y jagate
hse jaga-jana nayana-lobh
Of all the different colors, the colors shyma (dark) and gaura (fair) are very beautiful. With greedy
eyes gazing at these colors, the people of the world smile.
3511. ra bali ohe, kliy cancala
yakhana dekhya rangini rdhe
twra ha-iy takhana du-bhu
pasriy kore karaye sdhe
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Gazing at beautiful Rdh, restless Krishna was overcome with love. With His two arms He
passionately embraced Her.
3512. se samaye yadi bipaksha lokete
hatht nikae dekhe e riti
ghana taitde bhrame bhule keha
lakhite nraye kautuka ati
If some non-devotee had somehow come there, he would have no power to see Them. He would
think he saw only a raincloud and a lightning flash.
3513. ra bali se-i su-kabi bidht
bahu-jane aneka nanda dite
nirakhiy shyma gaura rucira
upam raciba aneka mate
Gazing at dark Krishna and fair Rdh, many poets, filled with bliss, speak many metaphors and
similes to describe the divine couple.
3514. se-i hetu kata, kata bhina nahe
ra-i preme gah shymera deha
rdh-knu-tanu premamaya e-i
jagate bedita dehera leha
For this reason They are sometimes manifest as two forms. Sometimes They are not separated.
Rdh passionately embraces dark Krishna. Rdh and Krishna are filled with spiritual love. Their love is
known in all the worlds.
3415. edohara riti ne ki janiba
janaye kebala rasika jane
e rase bancita, ye ha-ila narahari the pashu samna gane
The great rasikas know more about the divine couple. Alas! Narahari dsa, who is wretched like an
animal, has been cheated. He knows no more than this.
3516. O Shrinivsa, in this place Lord Krishna one day met peaceful Candrvali.
3517. Krishna was eager to meet her. Here He met her and her gopi-friends.
3518. Hearing that Rdhik had come to that forest, Vraja's prince Krishna departed.
3519. Restless, He went to Rdhik. In this way Candrvali attempts to meet with Krishna are
always thwarted.
3520. O Shrinivsa, I do not know how to describe the pastimes Lord Krishna enjoyed with Rdh in
this place.
3521. Krishna's actions are sweet like nectar. He is a gentle, polite and insincere lover. He is equally
gentle, polite and insincere (dakshina) to all His gopi-beloveds.
3522. Who can describe the pastimes Lord Krishnacandra enjoyed here with His gopi_-beloveds?
3523. In Shrila Rupa Gosvmi's Shri Ujjvala-nilamani, Nayaka-prakarana, Text 29, it is said: "A lover
who pretends to love his mistress with respect and awe, even though within his mind he thinks of
another girl, is known as dakshina (an insincere lover)."
3524. In Shri Ujjvala-nilamani, Nayaka-prakaran, Text 31, it is said: "A dakshina lover may treat
many mistresses with equal indifference."
3525. As a friendly dakshina lover, Lord Krishna is like nectar personified in the rsa-dance.
3526. In Shrila Krishnadasa Kaviraja Gosvmi's Shri Chaitanya-charitamrita, Madhya-lila, Chapter 8,
Texts, 109-110 and 112-116, it is said: "Although Krishna was in the midst of hundreds of thousands of
gopi_s during the rsa dance, He still kept Himself in one of His transcendental forms by the side of
Shrimati Rdhrani.*
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3527. "Lord Krishna is equal to everyone in His general dealings, but due to the conflicting ecstatic
love of Shrimati Rdhrani, there were opposing elements.*
3528. "When Rdhrani, out of anger and resentment, left the rsa-dance, Lord Shri Krishna, not
seeing Her, became very anxious.*
3529. "Lord Krishna's desire in the rasa-lila circle is perfectly complete, but Shrimati Rdhrani is the
binding link in that desire.*
3530. "The rasa dance does not shine in the heart of Krishna without Shrimati Rdhrani, Therefore,
He also gave up the circle of the rasa dance and went out to search for Her.*
3531. "When Krishna went out to search for Shrimati Rdhrani, He wandered here and there.
However not finding Her, He became afflicted by the arrow of Cupid and began to lament.*
3532. "Since Krishna's lusty desires were not satisfied even in the midst of hundreds and thousands
of gopi_s and He was searching after Shrimati Rdhrani, we can easily imagine how transcendentally
qualified She is.*
3533. Lord Krishna also enjoys pastimes as a shatha-nyaka (a cheating lover). As a shatha-nayaka
He speaks sweet words when His beloved is present and criticizes her when she is absent.
3534. In Ujjvala-nilamani Nayaka-prakarana, Text 33, it is said: "A lover who speaks sweet words
glorifying his beloved when she is present and then repeatedly blasphemes her behind her back, is
called shatha (a cheater) by the wise."
3535. In this place Lord Krishna enjoys pastimes asa dhrisha-nyaka (bold lover). In these pastimes
He cheerfully comes before His beloved.
3536. Bearing the marks of having enjoy with some other girl, He fearlessly and expertly speaks
many lies.
3537. In Shri Ujjvala-nilamani Nayaka-prakarana, Text 36, it is said: "When the hero is not cautious
to hide from his mistress the signs of his enjoying with other young girls, and when he is expert at lying
his way out the accusations levelled against him, he is called dhrisha (a bold lover)."
3538. Who has the power to describe the pastimes agitated Lord Krishna enjoyed here with Rdh,
who is more dear than life to Him?
3539. The teenage gopi_ Rdh is a jewel-mine of virtues. She is considered the crest-jewel of
nyiks (heroines)
3540 and 3541. In Shri Ujjvala-nilamani, Nyik-prakarana, Text 102, it is said: "Just as Lord Krishna
manifests
the consciousness of all the different kinds of heroes (nyakas)
in the same way Shrimati Rdhrani manifests different kinds of consciousness of the different kinds of
heroines (nyiks)."
3542. Now I will describe the different kinds of parakiya nyiks. These nayiks are of 360 different
kinds.
3543. In Vraja Rdh is the best of parakiya Nyiks. The glories of the different kinds of nyiks,
which begin with the mudgha nayiks, have no end.
3544. O Shrinivsa, In this place Lord Krishna enjoys pastimes with the mugdha nyiks.
3545 and 3546. A megdha nayik is controlled by her friends, is a young girl, is inexperienced in
loving affairs, cannot tolerate a situation where her jealous anger is aroused, and is very happy when
her gopi_-friend meets with Krishna.
3547 and 3548. in Shri Ujjvala-nilamani nayik-prakarana, Texts 13-14, it is said: "The qualities of a
mugdha nayik are: 1. she is a young girl, 2. she is inexperienced in loving affairs, 3. in loving affairs
she acts in a contrary manner, 4. she is controlled by her friends, 5. in loving affairs she becomes very
shy and makes a great endeavour to conceal her actions, 6. when her lover insults her, her eyes
become stopped with tears, 7. she is fond of talking both sweetly and bitterly, 8. when her jealousy is
aroused she spurns her lover."
3549. In Shri Ujjvala-nilamani, Nayik-prakarana, Text 24, it is said: "Two kinds of gopis spurn Lord
Krishna when they become jealous of Him: 1. mridvi (the gopi who retains a sweet demeanor) and 2.
aksham (the gopi who becomes angry and intolerant)."
3550. Look, O Shrinivsa, In this forest grove Lord Krishna enjoys pastime with His madhya gopi_beloveds.
3551. In a madhya-nyika teenage youthfulness is manifested. Such a nayik is expert in every way.
In jealous anger she is of three kinds, beginning with dhira (peaceful).
3552 and 3553. In Shri Ujjvala-nilamani, Nayik-prakrarana, Texts 26 and 27, it is said: "The madhya
nayik is situated in the age where she leaves childhood and maturity is just beginning to manifest. She
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is timid in amorous pastimes, just as the mugdha nayik. (1) Sometimes her words show some signs of
arrogance. She is eager to enjoy amorous pastimes up to the limit of faiinting from conjugal bliss. In
jealous anger one is (2) Sometimes gentle and (3) Sometimes harsh."
3554. In this forest grove the dhira (gentle) madhya nayiks rebuke Krishna with crooked words.
3555. In Shri Ujjvala-nilamani, Nyik-prakarana, Text 34 it is said: "When the madhya-nayik
manifests the dhira quality she speaks crooked, offensive, biting satires aimed at her lover."
3556. In this forest grove the adhira madhya nayiks accompanied by their gopi friends, angrily and
fearlessly speaks harsh words to Lord Krishna, the master of their lives.
3557. In Shri Ujjvala-nilamani Nayik-prakarana, Text 36, it is said: "When the madhya-nayik
manifests the adhira quality, she angrily rejects her lover with many harsh words."
3558. Glancing at their gopi-friends, the dhiradhira nayiks shed tears as they speak crooked words
to Lord Krishna in this forest grove.
3559. In Shri Ujjvala-nilamani, Nayik-prakarana, Text 37, it is said: "When the madhya nayik
manifests the dhiradhira or ubhaya quality, she sheds tears as she speaks crooked words to her lover."
3560. Of all the nayiks the madhya-nayik possesses the most exalted mellow. As a madhyanayik, Rdh gives great bliss to Lord Krishna.
3561. In Shri Ujjvala nilaman, Nayik-prakarana, Text 40, it is said: "Of these three kinds of nayiks,
the madhya-nayik possesses all the most exalted virtues in the nectar of transcendental mellows. This
is because the madhya-nayik incorporates the virtues of both mudgha and pragabha."
3562. In this forest grove the pragabha-nayiks, who are expert, beautiful, and in full bloom of
teenage youth, give great happiness to Lord Krishna.
3563. It is said prababbha nayiks are eager for amorous pastimes and also arrogant when their
jealous anger is aroused. They are of three kinds, beginning with dhira.
3564. In Shri Ujjvala nilamani Nayik-prakarana, Text 41, it is said: "The pragabbha nayik is 1.
situated in the stage of fully manifest youthfulness, 2. blinded by passion, 3. filled with yearnings to
enjoys amorous pastimes. 4. manifesting the simultaneous presence of many symptom of ecstasy. 5.
able to overwhelm her lover with the nectar of transcendental mellows, 6. her words are those of a
mature, proud woman, 7. her actions are those of a mature proud woman, 8. in jealous anger she is
extremely harsh and bitter."
3565. In this forest grove stay the dhira pragabbha nyikas, who either conceal their anger, or are
not interested in amorous pastimes.
3566. In Shri Ujjvala-nilamani, nayik-prakarana, Text 51, it is said: "The dhira pragabbha features
may again be divided into tow parts: 1. the nayik is not interested in enjoying amorous pastimes, 2.
the nayik pretends to treat her lover with respect, while she actually burns with jealousy."
3567. In This forest grove the adhira pragabbha nayiks angrily strike Krishna with lotus flowers.
3568. In Shri Ujjvala nilamani, Nayik-prakarana, Text 54, it is said: "In the adhira feature of jealous
anger, the pragabbha nayik angrily attacks her lover with abusive language.
3569. In this forest grove the dhirdhira pragabbha nayiks sometimes conceal their anger and
sometimes crookedly rebuke Krishna.
3570. In Shri Ujjvala-nilamani, Nayik-prakarana, Text 56, it is said: "When a nayiks manifests both
dhira and adhira qualities in jealous anger, she is said to be dhiradhira."
3571. Look, O Shrinivsa. In this forest grove passionate Shri Rdh meets with Lord Krishna.
3572. Shri Rdhik secretly meets with Krishna at the appropriate time She meets with Lord Krishna.
3573. Accompanied by a gopi_-friend, Rdh sometimes meets Krishna in this way. In this way
Rdhik becomes an abhisrik-nyika.
3574 and 3575. In Shri Ujjvala-nilamani, nayik-prakarana, Texts 68 and 69, it is said: "A girl who
meet her lover or arranges that he meet her at the place of rendevous is known as abhisarika. The
abhisarika may be considered in two features: 1. When the girl travels on a moonlit night, and 2. When
she travels on a dark moonless night. The abhisarika wears garments suitable for a journey. To silence
her tinkling ornaments she timidly? unties them. Accompanied by a single affectionate gopi-friend, the
abhisrik goes to meet her lover."
3576. In a cottage in this forest grove the vasaka-sajja nayiks, accompanied by their gopi_-friends
happily prepare the bed and make other arrangements.
3577. They watch the path where Krishna will walk. Again and again they watch for a
gopi-messenger.
3578. Beautiful Rdhik is such a vasaka-sajja nayik. I have no power to describe all Her glorious
activities.
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3579 and 3580. In Shri Ujjvalaj-nilamani, Nayik-prakarana, Texts 73 and 74, it is said: "A girl who
decorate her body and home to attract her lover is called vasaka sajja. The vasaka sajja nayik yearns
to enjoy amorous pastimes with Lord Krishna. She gazes at the path, waiting for Lord Krishna's arrival.
She enjoys telling her friends about her pastimes with Lord Krishna. She continually looks for the arrival
of Lord Krishna's messenger. These are some of the activities of the vasaka-sajja nyika."
3581. In this forest grove the gopis cannot bear even a moment's delay in their rendevous with Lord
Krishna.
3582. In Lord Krishna's absence these gopis' yearnings have no limit. Rdhik is such a virohot
kanthit nyika.
3583. The gopis think "Why has Krishna not come here?" I have no power to describe how these
gopis' hearts burn with anguish.
3584 and 3585. In Shri Ujjvala-nilamani, Nayik-prakarana, Texts 76 and 77 it is said: "A girl who
longs for her absent lover who has neither offended her nor quarreled with her, is called a virahot
kanthita nayik by those learned in the features of ecstatic love. This nayik suffers within her heart,
trembles, weeps, becomes listless, and proposes various theories to explain why her lover has not come
to meet her. These are some of the activities of the utkanthita nayik."
3586. Bearing the marks of having enjoyed with another girl, Krishna enters this forest grove.
3587. The jilted gopi angrily gazes at her bold lover. Shri Rdh is such a khanita nyik.
3588. In Shri Ujjvala-nilamani, Nayik-prakarana, Text 80, it is said: "When a lover does not arrive at
the appointed rendevous to meet his beloved, but instead spends the time enjoying with a different girl,
later, at sunrise, he may chance to meet the girl he cheated, at that time He displays the clear signs of
his amorous adventures. The cheated girl is known as khandita. She may become angry, sigh, or
become silent, these are some of her responses.
3589. Worrying and worrying, Shri Rdh, separated from Krishna, does not meet Him in this grove
of tamala trees.
3590. Look, O Shrinivsa, In this tamla grove the gopis are bereft of Lord Krishna's company.
3591. In Shri Ujjvala-nilamani, Nayik-prakarana, Texts 82 and 83, it is said: " A girl who dear lover
fails, because of the hand of destiny, to keep his appointment with her, and who is thus very unhappy at
heart, is called vipralabdha by the wise. The vipralabdha nyik manifests despair, anxiety, anguish,
weeping, fainting, and sighing. These are some of the ways she responds to her situation."
3592. In this forest grove kalahantarita Rdh filled with jealous anger in Her heart. Afterwards She
burns with remorse.
3593. She talks nonsense and manifests various activities. Watching Her, and speculating in various
ways, Her gopi friends cannot explain Her actions.
3594. In Shri Ujjvala-nilamani, Nayik-prakarana, Text 85, it is said: "A girl who quarrels with her
lover, and even when he falls at her feet and begs her to forgive him in front of all her friends, angrily
rejects him, only to suffer afterwards, is called kalahantarita. She feels great remorse and suffering,
becomes distress, sighs and talks nonsense. These are some of her symptoms."
3595. In this place Rdh become a proshita-bhartika nayik. With Krishna now in a far away place,
Rdh cannot be peaceful.
3596. In Shri Ujjvala-nilamani, Nayik-prakarana, Texts 87 and 88, it is said: "A girl whose lover has
gone to a distant country is known as proshita-bhartrika. She praises her absent lover, is weak,
dispiritied, emaciated, unable to sleep, miserable, unsteady, stunned, and filled with anxieties, these are
some of her qualities."
3597. After Akrura had taken Lord Krishna to Mathura, Rdh's condition is described in the following
words (Shrila Rupa Gosvmi's Shri Hamsaduta, Text 2):
3598. "At the request of Akrura, Krishna and Balarma left the house of Nanda Maharaja for
Mathur at that time Shrimati Rdhrani's mind was dispirited, and She became almost mad because of
extreme separation from Krishna. She experienced great mental pain and agitation, which caused Her to
drown in mental speculation in the river of anxiety.*
3599. What shall I say? Akrura's reputation was not good in Vraja. Even today the Vrajavasis feel
pain when they speak the word "Akrura".
3600. Talking amongst themselves, they criticized Akrura again and again. Akrura did not understand
the hearts of Vraja's people.
3601. "Gandini gave birth to a son who brought us great pain." The Vrajavasis said.
3602. The Vrajavasis could not bear to speak the word "Akrura". Speaking they swam in an ocean of
sorrows.
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3603. Look. In this beautiful grove by the Yamun's banks, Rdh enjoyed many bissful pastimes.
3604. After enjoying amorous pastimes with Him, Rdh spoke with Lord Krishna. With Her love She
brought Him under Her control.
3605. Rdh was a svadhina-bhartrka nayik. No one can describe the wonderful pleasure She
gave, moment after moment, to Lord Krishna.
3606. In Shri Ujjvala-nilamani Nayik-prakarana, Text 90, it is said: "A girl who controls her lover is
called svadhina-bhartrka, Her actiivities include picking flowers and enjoying pastimes with her lover in
the forest and in the water."
3607. O Shrinivsa, surrounded by their gopi_-friends, Rdh and Krishna wander in this forest of
flowers.
3608. Here Rdh's heart overflows with anurga love. Here Her love brings Her to the called
prema-vaicittya.
3609. In Shri Ujjvala-nilamani, Sthayi-bhava-prakarana, Text 134, it is said: "That love which, even
though continaully experienced remains always dear and ever increasingly fresh and new is called
anurga."
3610. In Shri Ujjvala-nilamani, Sthayi-bhava prakarana, Text 137, it is said: "The activities of anuraga
are: paraspara-vashi-bhva, 2. prema vaicittyaka, 3. aprnini janmaptyai, latasa-bhara, and 4.
vipralambhe 'sya visphurti."
3611 In the condition called prema-vaicittya, passionate Rdh fears She will some day be separated
from Her beloved.
3612. Even though Krishna is nearly, She worries "Then I will call oout, 'Where is Krishna?' and tears
will stream from My eyes."
3613. In Shri Ujjvala-nilamani, Sthayi-bhava-prakarana, it is said. "When, even though the beloved is
present, the lover, because of the great intensity of pure love, fears that some day they will be
separated, this emotion is called prema-vaicittya (the wonder of love)."
3614. Prema-vaicittya is not different from sambhoga. It is a great treasure manifest in Lord
Krishna's association.
3615. Prema-vaicittya pastimes are supremely sweet. The poets affirm that these pastimes chase
sorrows far away.
3616. A song in Kmoda-rga:
r-i knu rasera beshe
baise eksane sakhi-gana cri-pshe
Their gopi friends around Them on four sides, Rdh and Krishna eat together. They are overcome
with the nectar of love.
3617. kib anurgera taranga
n dhare dhairaja dhani haila kshina anga
Rdh is tossed to and fro by waves of love. She cannot keep Her slender body peaceful.
3618. sakhine sudhya bre bre
prna mtha chdi rath gelena mre
Again and again She asks a gopi friend, "Will the master of My life abandon Me? Where will He go?"
3619. ra ki p-iba prna-nthe
eta kahi' karghta kare nija mthe
"Will I ever again attain My life's master?" Speaking these words, She strikes Her head with Her
hand.
3620. bhse dui nayanera jale
chi dirgha ni/hshvsa lotya mahi tale
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She floats in the tears from Her eyes. She lets out a long sigh. She roles on the ground.
3621. rasika-shekhara shyma rya
dekhiy beshama-dash prabhodhe rdhya
Seeing Her distress, dark Krishna, the crown of rasikas, reassures Rdh.
3622. prabhodhe parna ju-ila
ghucila biccheda-buddhi du/hkha dure gela
Reassured by Krishna, Rdh feels Her life's breath filled with cooling bliss. Her sorrowful fear of
separation flees far away.
3623. sakhi ki kahila nkhi-kone
pulake balita haiy bilase gopane
With a glance from the corner of Her eyes She speaks to a gopi friend. In a secluded place She
enjoys many pastimes. The hairs of Her body stand erect with bliss.
3624. kl lingaye meli' bhu
lje nata-mukhi r-i hse lahu lahu
Dark Krishna holds Her in His arms. Embarrassed Rdh lowers Her head. Gently, gently She smiles.
3625. mdhaba dharite nre dhriti
mukhe mukha jhmpaye madana-made mti
In Krishna's embrace She cannot remain peaceful. Her face meet His face. She is wild with passion.
3626. uca-kuca-yuge kara dite
n jne chaye koth kata uhe cite
His hands touch Her breasts. How much bliss overflows in Her heart? Rdh does not know how to
measure it.
3627. hsi nibi-bandha khas-iy
rahaye kusuma-sheye anga ga-iy
Smiling, Krishna unties Her belt. She lies down on the bed decorated with flowers.
3628. tanu tanu mish shohe hena
nilamani kanaka dmini-ghana yena
Their forms are glorious together. They are like sapphires and gold, or like a monsoon cloud and
lightning.
3629. bhaye kautuka atishaya
du/mhu besha biraciy dohe nirikhaya
The wonderful bliss They feel grows very great. They decorated each other. They gaze at each
other.
3630. samaya jnuy sahacari
shrama-upashame kata kahe dhiri dhiri
Aware that now is the appropriate time, a gopi_-friend gently, gently acts to remove the divine
couple's fatigue.
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3631. narahari sakhira ingite

karaye su-btsa gharama nibrite
On a gopi's signal Narahari dasa gently fans the divine couple and thus removes Their perspiration.
3632. O Shrinivsa, in this forest by the Yamuna, Lord Krishna enjoys pastimes with five kinds of
gopa friends.
3633. These five kinds of gopa friends are: 1. cea, 2. via, 3. vidushaka, 4. piha-marda, and 5.
priya-narma.
3634. These gopas help Krishna in many ways. Who can describe all their glories?
3635 and 3636. In Shri Ujjvala-nilamani, Sahaya-bheda-prakarana, Texts 1 and 2, it is said: "The
sahyas may be divided into five groups: 1. ceaka, 2. via, 3. vidushaka, 4. piha-marda, and 5.
priya-narma sakh.
Cleverness at speaking joking words, eternal love, and friendship for Lord Krishna, expertness at judging
what is proper at different times and places, ability to pacify the gopi_s when they become angry, and
great learning in the art of chanting secret mantras are some of the personal qualities of the sahyas."
3637. Lord Krishna's cea friends, amongst whom Bhringa and Bhangura are prominent, are expert
in arranging Lord Krishna's rendevous with the gopi_s.
3638. In Shri Ujjvala-nilamani Sahaya-prakarana, Text 3, it is said: "The ceas are expert at
arranging Lord Krishna's rendevous with the gopis. The ceas can be trusted with secret missions, they
are bold, arrogant, and witty. Bhangura and Bhrngara are the leaders of Lord Krishna's cea friends in
Gokula."
3639. the vritas are wonderfully expert in dressing Lord Krishna. Kara and Bhrati are most
prominent amongst them.
3640. In Shri Ujjvala-nilamani, Sahaya-prakarana, Text 5, it is said: "The vritas are experts valets
who dress Lord Krishna. They are mischievous, clever conversationalists, and learned scholars of the
scriptures describing the art of love. Kara and Bhratibandhu are the leaders of the vritas."
3641. The vidusakas, headed by Vasanta, bring wonderful happiness to Lord Krishna.
3642. In Shri Ujjvala-nilamani, Sahaya-prakarana, Text 7, it is said: "The vidusaka has a voracious
appetite and is fond of quarreling. His bodily features, garments, and words are all very unusual. He is
an expert comedian. Vasanta is the leader of the vidushakas. Madhumangala is the famous vidushaka
described in the play Vidagdha-Mdhava."
3643. The piha-marda friend named Shridm has virtues without end. In many ways he helps Lord
Krishna.
3644. In Shri Ujjvala-nilamani, Sahya-prakarana, Text 10, it is said: "The qualities of the
piha-marda are much like those of the nyaka himself. The piha-marda is the nyakas' constant,
affectionate companion. Shridm may be given as the example of a piha-marda."
3345. The priya-narma sakhs, who are headed by Subala, please Krishna in every way.
3646. In Shri Ujjvala-nilamani, sahya-prakarana, Text 13, it is said: "The priya-narma sakhs know
the most confidential secrets of Lord Krishna's pastimes with the gopis. Their love for Krishna is almost
as intense as the gopi_s' love. Of all the gopas they are Lord Krishna's closest friends. In Gokula Subala
and Arjuna are the leaders of the priya-narm sakhs."
3647. O Shrinivsa, with the music of His flute Lord Krishna attracts the gopis to this charming forest.
In this way He meets the gopi_s.
3648. Gopi-messengers, either sent by Rdh or acting on their own initiative, bring to Lord Krishna
a shoreless ocean of bliss.
3649 and 3650. In Shri Ujjvala-nilamani, Sahaya-prakarana, Text 17, it is said: "Many gopi
messengers also help to arrange fro the Lord's amorous pastimes. For the most part they will be
described in the chapter on the gopis, but to a certain extent, as it is appropriate, they may be
described now for the understanding of the readers learned in transcendental mellows."
3651. Vira and Vrnda are the leaders of the pta-dutis (who act on their own initiative). Vira speaks
with arrogance and pride, and Vrnda speaks very sweetly.
3652. In Shri Ujjvala-nilamani, Sahya-prakarana, Texts 20 and 23, it is said: "Vir and Vrind are
the leaders of Lord Krishna's apta-dutis. Vir speaks with arrogance and pride, and Vrinda speaks very
sweetly."
3653. "The gopi messengers headed by Vir are extraordinary associates of Lord Krishna. Other
gopi associates (shilpa-krini daurajN and lingini) of the divine couple will be described further on."
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3554. What shall I say? I cannot describe the help the sakhis give to Shri Rdh.
3655. Rdh's friends (sakhis) are of five kinds, beginning with sakhi, nitya-sakhi, and prna-sakhi.
3656. Accompanied by all these sakhis, Shri Rdh waits in the forest and watches for Lord Krishna's
arrival on the path.
3657. In Shri Ujjvala-nilamani it is said: "Rdh and Krishna's sakhis are of five kinds: 1. sakhi, 2.
nitya-sakhi, 3. prana-sakhi, 4. priya-sakhi, and 5. parama-prestha-sakhi."
3658. Headed by Kusumik Vindhy and Dhanishh, the sakhis strive to fulfill the desires of Shri
Rdh's heart.
3659. In Shri Ujjvala-nilamani it is said: "Kusumika, Vrndhya, and Dhanistha are the leaders of the
sakhis."
3660. Headed by Kasturi and Mani-maNjarik, the nitya-sakhis always strive to fulfill the desirs of
Shri Rdh's heart.
3661. In Shri Ujjvala-nilamani it is said: "Kasturi and Mani-manjarika are the leaders of the nityasakhis."
3662. Headed by Vsanti, the prna-sakhis are almost equal to Shri Rdh. They bring wonderful
happiness to Rdh and Krishna in the forest groves.
3663. In Shri Ujjvala-nilamani it is said: "Headed by Shashimukhi Vsanti, and Lsik, are almost
equal to Vrindavana's queen Rdh."
3664. Overcome with bliss, the priya-sakhis, headed by Kurangkshi, gaze at the beauty of the
divine couple.
3665. In Shri Ujjvala-nilamani it is said: "The puya-sakhis are headed by Kurangkshi, Sumadhy,
Madanlas, Kamal, Mdhuri, MaNjukeshi, Kandarpa-sundari, Mdhavi, Mlati, Kmalata, and
Shashikal."
3666. Arranging the divine couple's rendevous, the parama-preshha-sakhis headed by Lalit feel
great bliss in their hearts.
3667 and 3668. In Shri Ujjvala-nilamani it is said: "The eight parama-prestha-sakhis are Lalit,
Vishkh, Sucitr, Campakalat, Tungavidy, Indulekh, Rangadevi, and Sudevi. They have all virtues.
They have the greatest love for the divine couple.
Sometimes and in some situations They are superior even to the divine couple."
3669. O Shrinivsa, in this forest abode the svaya/m-duti and pta-duti messengers display their
great skill.
3670. In Shri Ujjvala-nilamani, Duti-bheda-prakarana, Text 1, it is said: "Some gopis assist Lord
Krishna by carrying messages. Situated in the various stages of ecstatic love, beginning with purv-rga,
these messenger gopis yearn to associate with Lord Krishna. They may be divided into two groups:
1. svaya/m-duti and 2. pta-duti, they will be described in this chapter."
3671. In this place the svayam dutis see Lord Krishna. They yearn to engage their eyes, words, and
bodies in His service.
3672. The svayam-dutis are expert at pleases Rdh in every way. In this forest grove They feel
happiness that has no limit.
3673. In Shri Ujjvala-nilamani, Duti-prakarana, Texts 2 and 3, it is said: "A gopi who is filled with
varieties of ecstatic love, whose intense enthusiasm overwhelms her natural shyness, and who thus, on
her own volition carries messages for Lord Krishna and His lovers. is described in the smriti-shstras as
svayam-dutii."
The svayam-dutis are again divided into three groups: 1. vcika, 2. ngika, and 3. ckshusha."
3674 O Shrinivsa, in this kadamba forest the apta-dutis always desire that Rdh will be happy.
3675. I cannot describe all the activities of the apta-dutis. They are divided into three groups: 1.
amitrtha, 2. nisrishtrth and 3. patra-hri.
3676. In Shri Ujjvala-nilamani, Duti-prakarana, Text 51, it is said: "The pta-dutis are very
trustworthy, and can be depended on implicity, even if their own lives are placed on danger. They are
affectionate and eloquent. These beautiful-eyebrowed gopis are divided into three categories: 1.
amitrtha, 2. nishrishrth and 3. patra-hri."
3677. The amitrth-dutis are expert at understanding hints. In this way they arrange fro the divine
couple meet.
3678. In Shri Ujjvala-nilamani, Duti-prakarana, Text 52, it is said: "A gopi_ who, from one or two
symptoms can understand the love of Lord Krishna and a certain gopi, and who then proceeds
voluntarily to arrange for their meeting, is called amitrth."
3679. With words of logic the nishrishtrth duti arranges the divine couple's rendevous in this forest
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grove.
3680. In Shri Ujjvala-nilamani, Duti-prakarana, Text 54, it is said: "A gopi messenger, who, shunning
many complicated strategies, with a single logical argument is able to unite Lord Krishna and His gopi
beloved, is called nishrishtrtha."
3681. Carrying letters, the patra-hari dutis arranges the divine couple's rendevous in this forest
grove.
3682. In Shri Ujjvala-nilamani, Duti-prakarana, Text 56, it is said: ":A gopi messenger who carries
letters between the youthful divine couple is called patra-hri."
3683 and 3684. In this forest grove, with happy hearts artists, astrologers, ascetics, maidservants,
foster-sisters, forest goddesses, and gopi friends also act, each in their own way, as messengers.
3685. In Shri Ujjvala-nilamani, Duti-prakarana, Text 58, it is said: "Artists, astrologers, ascetics,
maidservants, foster sisters, forest goddesses, and gopi friends are also messengers."
3686. An artist is expert in various arts, by showing her artistic work, the artist messenger arranges
the meeting of the divine couple.
3687. The astrologer is expert in her science. By her words she arranges the meeting of the divine
couple.
3688. Paurnamasi is an example of an ascetic. She also arranged the meeting of the divine couple.
3689. In Shri Ujjvala-nilamani, Duti-prakarana, Text 61, it is said: "A messenger who dresses as an
ascetic, as Paurnamasi does, is called lingini."
3690. The maidservants headed by Lavanga-maNjari arrange Rdh and Krishna's meeting in this
forest.
3691. In Shri Ujjvala-nilamani, Duti-prakarana, Text 62, it is said: "Lavanga-manjari and Bhanumati
are the leaders of the maidservants messengers."
3692. The foster-sister messenger brings Rdh from Yavata-grama and happily arranges Her
meeting with Lord Krishna in this forest grove.
3693. Staying always in this forest, the forest goddesses watch the rendevous of Rdh and Krishna.
3694. In this forest grove the sakhis happily arrange the meeting of the divine couple. Who can
chant all the glories of the sakhis?
3695 and 3696. In Shri Ujjvala-nilamani, Duti-prakarana, Text 66 it is said:
"Without any duplicity the sakhis have more love for each than for their own selves. They are fully
worthy of each other's complete trust, and they are equal in age, appearance and other attributes."
3697. The sakhis arrange that the divine couple enjoy many pleasures (sambhoga) in this forest
abode.
3698. These direct and indirect pleasers (sambhoga) are eight in number. Beginning with purva-rga,
they are here briefly described.
3899-3701. In Shri Ujjvala-nilamani, Sambhoga-prakarana, Texts 1 and 2, it is said: "That state
which by glances embraces, and other activities brings pleasure to the youthful divine couple is called
sambhoga. The wise have divided sambhoga into two parts: 1. mukhya (primary) and 2. gaura
(secondary). In the waking state, namely: 1. purva-rga, 2. mna, 3. dure pravsa, and 4. su-dire
pravsa. Of these four stages the first is considered sakshipta (brief), the second sankirna
(encrouched), and the third and fourth sampanna (accomplished) and samriddhimn (perfect)."
3702. In this place a sakhi arranges a brief meeting for the divine couple. Thus in purva-raga the
sambhoga is sanksshipta.
3703. In Shri Ujjvala-nilamani, Sambhoga-prakarana, Text 4, it is said: "when, impelled by fear,
shyness, and other reasons, the youthful divine couple enjoy only limited, transcendental pastimes, that
is called sankshipta."
3704. In this place the divine couple enjoy sankirna-sambhoga interrupted in various ways by jealous
anger.
3705. In Shri Ujjvala-nilamani, Sambhoga-prakarana, Text 7, it is said: "In sankirna-mukhyasambhoga the lovers enjoy a host of pastimes, including various cheating deceptions, and also including
meditation on the beloved. These activiies are like the palatable taste of hot, cooked sugar-cane."
3706. After adure pravsa (brief separation), the divine couple experience sampanna-sambhoga in
this place.
3707. In Shri Ujjvala-nilamani, Sambhoga-prakarana, Texts 10-12, it is said: "When the lover meets
the beloved after separation the great pleasure experienced is called sampanna bhoga. Sampanna
bhoga is of two kinds: 1. gati, and 2. prdurbhva.
3708. "An ordinary arrival is called gati.
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3709. "When Lord Krishna suddenly appears before the dearmost gopis, who are agitated with
intense love for Him, that appearance is called prdurbhva."
3710. In this forest grove the divine couple enjoy samriddhimn sambhoga after long separation.
3711. In Shri Ujjvala-nilamani, Sambhoga-prakarana, Texts 17 and 20, it is said: "If the youthful
divine couple is separated by fate and it is very difficult for them to see each other, when they do meet
They experience the extreme happiness called samriddhimn."
3712. "When the lover appears in a veiled form, the happiness is called gauria-sambhoga by some
authorities. Gauna-sambhoga is further divided into two kinds: 1. where the lovers experience great
happiness, and 2. where the lovers experience only slight happiness. In this book only the gaunasambhoga that brings great happiness is described. Other kinds of gauna-sambhoga even if desired by
the lovers, are not described here."
3713. O Shrinivsa, walking on this path, Rdh enters the forest-abode with Her gopi_-associates.
3714. Rdh's associates have no end. In the midst of Her friends, amongst whom Lalita is
prominent, Rdh is wonderfully beautiful and glorious.
3715. Her friend Lalit is filled with every virtue. Lalita is surrounded by her eight gopi friends.
3716. In Shrila Rupa Gosvmi's Shri Brihat Rdh-Krishna-ganoddesa-dipika it is said: "Lalita's eight
gopi friends are: Ratnaprabh, Ratikal, Subhadr, Bhadrarekhik, Sumukhi, Dhanishh, Kalaha/msi
and Kalpini."
3717. Peerless, beautiful Visakha is surrounded by eigh gopi friends headed by Mdhavi.
3718. In Shri Brihat Rdh-Krishna-ganoddesa dipika it is said: "Vishkh's eight gopi friends are
Mdhavi, Mlati, Candrarekhik, KuNjari, Harini, Capal, Surabhi, and Shubhnan."
3719. Saintly Sucitra, who is expert at every art, is surrounded by eight gopis friends headed by
Kurangkshi.
3720. In Shri Brihat Rdh-Krishna-ganoddesa-dipika it is said: "Sucitr's eight gopi friends are
Kurangkshi, Sucant, Manali, Manikunal, Candrik, Candralatik, Kundokkshi, and Sumandir."
3721. Wonderfully sweet and beautiful Campakalata is surrounded by eight gopi friends headed by
Raslik.
3722. In Shri Brihad Rdh-Krishna-ganoddesa-dipika it is said: "Campakalata's eight gopi friends
are: Raslik, Tilakini, Sauraseni, Sugandhik, Rmini, Kmanagari, Ngari, and Ngavenik."
3723. Who can remain peaceful when Shri Ranga devi's beautiful form is present? The beauty of her
eight gopi friends headed by MaNjumedh, also charms every heart.
3724. In Shri Brihad Rdh-Krishna-ganoddesa-dipika it is said: "Ranga-devi's eight gopi friends are
MaNjumedh, Sumadhur, Sumadhy, Madhurekshan, Tanumadhy, Madhusndr, Gunacu, and
Varngad."
3725. Sudevi blossoms with love for Shri Rdhik, Sudevi's eight gopi friends are headed by
Tungabhadr.
3726. In Shri Brhad-Rdh-Krishna-ganoddesa-dipika it is said: "Sudevi's eight gopi friends are
Tungabhadr, Rasottunga, Rangavti, Susangat, Citralekh, Vicitrngi, Medini, and Madanlas."
3727. Very beautiful Tungavidy has eight wonderfully graceful gopi-friends headed by Kalakanhi.
3728. In Sri Brhad Rdh Krishna ganoddesa dipika it is said: "Tungavidya's eight gopi friends are
Kalakanhi, Shashikal, Kamal, Madhur, Indir, Kandarpasundari, Kmalatik, and Prema-manjari."
3929. Saintly Indulekh attracts every heart. Who can speak metaphors or similes that do justice to
her eight gopi-friends headed by Kveri?
37370. In Shri Brhad-Rdh-Krishna-ganoddesa-dipika it is said: "Indulekha's eight gopi friends are
Kveri, Crukavar, Sukeshi, Manjukeshik, Hrahir, Mahhir, Hrakanthi, and Manohar."
3731. O Shrinivsa, in this forest Lalita and the other gopis happily watch the rendevous of the
divine couple.
3732. Moment after moment the sakhis cannot contain the joy they feel in their hearts. The activities
of Lalita and the other sakhis are supremely wonderful.
3733 and 3734. In Shri Ujjvala-nilamani, Sakhi-prakarana, Texts 66-91, it is said: "Some of the
activities of the sakhis are: 1. glorification of the mutual love and transcendental qualities of the divine
couple, 2. creating attachment for the divine couple, 3. arranging for the meeting of the divine couple,
4. presenting their friends before Lord Krishna, 5. speaking joking words, 6. speaking words of
consolation. 7. dressing and decorating the divine couple, 8. expertly revealing the actual feelings within
the hearts of the divine couple, 9. covering the faults of the heroine, 10. cheating their husbands and
other superiors, 11. giving instructions, 12. arrangingfro the rendevous of the divine couple at the
appropriate time, 13. fanning the divine couple and rendering other services, 14 and 15. rebuking the
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hero and heroine, 16. sending messages and 17. endeavouring to protect the heroine's life."
3735. O Shrinivsa, the flower-cottage, in this place delights Lord Krishna's heart, I have no power
to describe the glories of this place.
3736. How wonderfully beautiful is this place in the forest! In this place Lord Gopishvara (Shiva) is
manifest as a linga beyond the touch of material nature's modes.
3737. This Deity of Lord Sadshiva protects Vrindvana forest. By worshipping this Deity one attains
perfection in all one does.
3738. To attain Lord Krishna's company, the gopis always worship this Deity. Carefully they place
many offerings before Him.
3739. How can I have the power to describe all the great glories of this Deity? Because the gopis
worship Him, this Deity is called Gopishvara (the gopis' master).
3740. Indra and the demigods always glorify this Deity with prayers. By this Deity's mercy one
attains spiritual love in Vrindvana.
3741. It is said:
shrimad-gopishvaram vande
shankaram karunmayam
sarva-klesha-haram devam
vrindranya-rati-pradam
"I offer my respectful obeisances to Shri Gopishvara, who is merciful Lord Shiva Himself. He removes
all troubles and He grants spiritual love in Vrindvana."
3742. In Shrila Vishvantha Cakravarti's Shri Stavmrita-lahari it is said:
vrindvanvani-pate jaya soma-somamaule sanandana-santana-nradeya
gopishvara vraja-vilsi-yugnghri-padme
prema prayaccha nirupadhi namo namas te
"O Gopishvara, O master of Vrindvana-dhma, O Lord glorious with a crown of the moon, O Lord
worshipped by Sanandana, Santana, and Nrada, all glory to You! O Lord, please give to me spiritual
love for the lotus feet of the divine couple who enjoy pastimes in Vraja. O Lord Gopishvara, obeisances,
obeisances unto You!"
3743. Look. There is Brahma-kunda. This secluded place is very beautiful with many vines and
bushes.
3744. A person who, fasting for the night, bathes in this lake, enjoys pastimes with the Gandharvas
and demigods.
3745. When he dies he attains Vishnuloka, Brahma-kunda's glories are revealed in the Purnas.
3746 and 3747. In the Adi-Varha Purna it is said: "O fortunate goddess, a person who, fasting for
the night, bathes at Brahma-kunda, enjoys pastimes with the gandharvas and apsars. When he dies he
goes to My spiritual world."
3748. On Brahma-kunda's shore is a great wonder. Why should I describe it in my own words. It is
described in these words of the Purnas:
3749 and 3750. In the Vraha-Purna it is said: "On the northern shore of that lake is a white
ashoka tree. On the sukla-dvadasi of Vaishkha (April-May), at mid-day this tree suddenly bursts into
bloom, delighting My devotees. But for My pure devotees, no one know this."
3751. In this place Vrind-devi revealed her thoughts and fulfilled Nrada Muni's desire.
3752. O Shrinivsa, this place is called Vinu-kupa. Here Lord Krishnacandra manifested a great
wonder.
3753. Understanding that His gopi-beloveds were thirsty, He took His flute in His hand and glanced
at the ground.
3754. When the sound of His flute entered the Patala worlds, a well filled with water was suddenly
manifest at that place.
3755. Drinking the water, all the gopis praise Lord Krishna. In this world this well became known as
venu-kupa (the flute's well).
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3756. O Shrinivsa, on the same day He defeated Kaliya, at this place Lord Krishna swallowed a
forest fire.
3757. Anyone who sees this place of the forest fire becomes free from the forest fire of repeated
births and death.
3758. This place is glorious Govindasvami-tirtha. Look. It's beauty has no peer.
3759. A person who bathes here attains the fulfillment of his desire. Lord Govinda enjoys very
wonderful pastimes here.
3760. In the Saura Purna it is said: "The place named Govindasvami tirtha is very sacred to
Vasudeva's son, who is Lord Vishnu Himself. This place named Govindasvami-tirtha is very difficult to
attain. In the form of the Deity Acyuta, Lord Krishna personally resides there. A person who bathes
there and worships the Deity Acyuta there, develops a yearning to attain liberation."
3762. Even after hearing of the sweetness and other glories of Lord Krishna's many pastimes here,
Brahma and the demigods still do not come to Vraja. What do they know?
3763. In Shrila Raghunatha dasa Gosvmi's Shri Vraja-vilasa-stava, Text 104, it is said: "Neither
Brahma, Narada, Siva or the great devotees fiiled with pure love of Krishna are able to properly or
completely understand the sweetness of the land of Vraja. Only Lord Balarama and His mother Rohini,
who are both filled with transcendental love, are able to understand the land of Vraja. How is it possible
for me to describe the land of Vraja?"
3764. The twelve forests of Vraja attract every heart. Falling on the ground, the devotees offer
obeisances to these forest at every moment.
3765. In Shri Vraja-vilasa-stava, Text 98, it is said: "Filled with many large lakes, hills, and rivers,
with many desires trees and desire creepers, and with many flowers invaded by a great army of
bumblebees intoxicated by the sweet aroma, the twelve forest of Vrindvana are splendidly beautiful. I
bow down to offer my respects at every moment to these twelve forests, which are very dear to Lord
Krishna."
3766. O Shrinivsa, the devotees always pray that they will always reside in Vraja.
3767. In Shri Vraja vilasa-stava, Text 105, it is said: "Even if I have the opportunity to bathe in the
nectarean ocean of pure love for Krishna, and even if I have the pure devotees of the infallible Supreme
Personality of Godhead as my associates, I will not consent to live, even for a single moment, in any
sacred place other than Vrajabhumi. Even if the residents of Vraja appear ordinary, and even if they fill
my ears with useless gossips. I pray that I remain amongst them, eternally residing here in Vraja.
3768. Whoever resides in Vraja is dear to Lord Krishna. I offer my respectful obeisances to them all.
They are fortunate eternally.
3769. In Shri Vraja-vilasa-stava, Text 100, it is said: "With great humbleness let me offer my
respectful obeisances to the supremely pious dear devotees of the Lord who reside in Vraja. Evn though
Brahma is a great demigod entrusted with many weighty duties, he sincerely yearns to take birth among
the bushes and blades of grass of Vraja.
3770. Without stop I offer my respectful obeisances to every grass-blade, plant, insect, or worm in
Vraja and every other being that lives in Vraja.
3771. In Shri Vraja-vilasa-stava, Text 102, it is said: "The grass, bushes, insects, and other creatures
in Vraja are all very dear to Lord Krishna. They assist the Lord in His pastimes. They are full of
transcendental bliss. Again and again the scriptures recount the earnest request of Brahma and others
to reside in Vraja. For these reasons I bow down to offer my respects to all the creatures who reside in
Vraja."
3772. I yearn to call out the names of Rdh and Krishna and sprinkle with tears from my eyes the
places of Lord Krishna's pastimes.
3773. In Shri Vraja-vilasa-stava, Text 103, it is said: "When, aimlessly wandering around Govardhana
Hill, madly calling out, 'O Rdh! O Krishna!' again and again, and stumbling as I walk, will I sprinkle the
places of the Lord's pastimes with tears from my eyes?"
3774. O Shrinivsa, my heart's desire is that I may always fill my eyes with Vrindvana's sweetness.
3775. Taking you both with me, very blissfully I have wondered in Vraja. In my heart I think we will
not do this again.
3776. You two are the Lord's servant birth after birth. Speaking these words, Shrila Raghava Pandita
Gosvmi could not remain peaceful at heart.
3777. Narottama dasa Thakura and Shrinivsa Acarya floated in the tears from their eyes. Their
peaceful composure fled far away.
3778. They rolled on the ground and fell before Raghava Pandita's feet. Raghava Pandita embraced
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them and showered them with the tears from his eyes.
3779. Chanting the glories of Rdh and Krishna and of Lord Chaitanya, they became as if
intoxicated. The memory of their external bodies would not stay in their hearts.
3780. Again and again they offered obeisances to the land of Vrindvana. I have no power to repeat
all the prayers they spoke.
3781. Sitting down in a secluded place, after some moments these three devotees became peaceful.
3782. Then they went to see the Deity, Shri Govindadeva, the sweetness of whose form if praised by
the wise.
3783 and 3784. In Shrila Krishnadasa Kaviraja Gosvmi's Shri Chaitanya-charitamrita, Adi-lila (3. 50
and 51) it is said: "In Vrindvana, in a great place of pilgrimage underneath the desire trees, in a golden
throne bedecked with jewels, on that throne sits the son of Nanda Maharaja, Shri Govindadeva, the
transcendental Cupid."*
3785-3787. A person who always meditates on Lord Govindadeva on His lotus throne and who
worship Him with the 18-syllable mantra with his own eyes directly sees Lord Krishna, the prince of
Vraja. It is not someone else that he sees. A fool who thinks Lord Govindadeva is a mere statue
commits a great offense. That fool falls into a terrible hell. He is not delivered. What more shall I say?
3788 and 3789. In Brahma-vaivarta Purana it is said: "A person who has attained this rare human
life, a life even the demigods yearn to attain, and does not worship Lord Govinda has cheated himself.
They who have turned their faces away from Lord Govinda's feet are the lowest persons in the three
worlds. It is not good to see such persons. It is not good to talk with them."
3790. It is said: "A person who sees Lord Govinda on His swing, Lord Madhusudana on His altar, and
Lord Vmana on His chariot will not take birth again."
3791. Gazing at Lord Govinda, those three devotees felt their eyes were splashed with cooling bliss.
3792. Seeing these three devotees, Shri Krishna Pandita gave them prasdam flower-garlands and
asked about their welfare.
3793. Shrila Raghava Pandita Gosvmi told how with a joyful heart they had seen all the holy places
of Vraja.
3794. Quickly he went to Shrila Jiva Gosvmi's home. He saw that Shrila Jiva was very pleased.
3795. Shrila Raghava Pandita Gosvmi told everything to Shrila Jiva Gosvmi. Hearing these words,
Shri Jiva became joyful at heart.
3796. For one or two days Shrila Raghava Pandita Gosvmi stayed in Vrindvana. Then he quickly
returned to Govardhana.
3797. O hearers of this book, in this way I have briefly described the wonderful glory of Mathur
manala-parikram (circumambulation of the circle of Mathur.)
3798. Anyone who reads or hears of these glories will attain the supreme destination. He will deliver
his mother's and his father's families.
3799. In Adi-Varha Purna it is said; "O very fortunate goddess, anyone who reads or hears of
Mathur's glories goes to the supreme destination. He delivers two hundred generations of his mother's
and father's ancestors."
3800. Only person's devoted to the land of Vraja can taste happiness of wandering in Shri Vrajamanala.
3801. Please chant the names of Lord Krishna's pastime-places in Vraja. In this way your every
desire will be easily fulfilled.
3802. Associates with the devotees and relish hearing of Lord Krishna's pastimes. By the devotees'
mercy you will attain pure devotional service.
3803. Please be always careful in your dealings with the devotees. Let not ill-feelings arise in the
devotees' hearts.
3804. If the devotees think ill of you that will be a great impediment to your progress. Now I will tell
an anecdote to reveal this truth.
3805. One day, in Vrindvana, as he was rapt in meditation, Shrila Rupa Gosvmi felt great bliss in
his heart. This he saw in his meditation:
3806. As the sakhis were decorating Shri Rdh, Lord Krishna, standing behind Her, watched.
3807. Rdhik did not know Krishna was watching. Krishna revealed His presence to the sakhis. This
brought great joy to their hearts.
3808. In wonderful ways the gopis braided and decorated Rdh's hair. Then they placed a mirror
before Her.
3809. As She gazed at the beauty of Her face, Rdh also saw Lord Krishna's moonlike face in the
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mirror.
3810. Rdh was very embarrassed. Quickly She covered Her entire body with a great cloak.
3811. The sakhis happily laughed at this, and Shrila Rupa Gosvmi also laughed.
3812. At that moment arrived a vaishnava who was very eager to see Shri Rupa.
3813. Seeing Shri Rupa laughing, the Vaishnava did not say anything. Very sorrowful, he approached
Shrila Sanatana Gosvmi.
3814. The Vaishnava said to him, "I went to see Shri Rupa, but when he saw me he suddenly burst
into laughter.
3815. My heart filled with sorrow. I did not say anything. I do not know why he acted in that way. I
have come to ask you of it."
3816. Shri Sanatana then explained the true reason for Shri Rupa's laughter. Hearing it, the
Vaishnava became repented at heart.
3817. The Vaishnava said: "Why did I approach him at that moment? Not understanding his heart, I
committed an offense."
3818. The Vaishnava became very agitated. Sanatana Gosvmi made become calm and peaceful
again.
3819. Shri Rupa was then plunged in seeing the Lord's pastimes, but when the Vaishnava felt
offended, Shri Rupa's bliss suddenly disappeared.
3820. Agitated, Shri Rupa looked in the four directions. In his heart he was certain that some person
had come here.
3821. "I did not honour the person that came. I committed an offense." Thinking in this way, Shri
Rupa went to Shri Sanatana Gosvmi's place.
3822. Seeing Shri Rupa coming, that Vaishnava approached. Falling on the ground, that Vaishnava
offered his respects.
3823. To Shri Rupa he very humbly said, "I committed an offense. O great soul, please forgive me.
3824. "I did not understand how you were rapt in meditation when I came."
3825. Standing before Shrila Rupa Gosvmi, the Vaishnava prayed, "Please kindly forgive my
offense.
3826. "If you are merciful to me, then my heart can become peaceful. This I say to you."
3827. Hearing these words, Shri Rupa became very agitated at heart. Falling to the ground, he
offered respectful obeisances. Folding his hands he said;
3828. "I have no power to say how great was the offense I committed to you. Please kindly forgive
my offense.
3829. Both devotees were very humble. Both were filled with the nectar of pure devotee. They both
forgave each other. Then they both became peaceful.
3830. They both approached Shrila Sanatana Gosvmi. For many moments they were all plunged in
the nectar of talking about Lord Krishna.
3831. Everyone heard of this incident with Shrila Rupa Gosvmi. Hearing of it, everyone became
filled with wonder.
3832. O my brothers, please be very careful in dealing with the Vaishnavas. Give them even your
very breath so they will forgive your offense.
3833. Be careful. Do not see a Vaishnava's faults. Always praise the Vaishnavas.
3834. The ancient, ancient great devotees say: No one understands the ways of a Vaishnava.
3835. Through His dear devotees Lord Shri Krishna Chaitanya has taught this truth to us.
3836. Hold the devotees' lotus feet to your head and always dive in the nectar of pure devotional
service.
3837. Thinking of Shrinivsa Acarya's feet, Narahari dasa speaks this Bhakti-ratnkara.
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from all kinds of sinful reactions."*

dies there goes to Vishnuloka.

dear to Madhavendra Puri Gosvami. He is a part of Shri Madhva-sampradaya."

2111-2112. In the Shri Padma Purana it is said:

glories were the greatest.

perspired, and they displayed signs of ecstatic happiness.

arrangements she made.

millions and millions of Kamadevas.

Brahman effulgence. Sound is Lord Hari Himself."

and other like elements, this is said."

Lalit, Chy, Todi, Velvali, and Pratpa-sindhu.

rga is not bound."

gna-rata ratintha-madana-bharaharana nirupama nita

places these songs in many different categories.

jaya jagata-bandini, bidita nrip-nandini

"O! O! O delight of Narahari dasa!"

features are not variegated, then the song is known as citra-pada.

many different kinds of atitaj-graha.

are: 1. sama, 2. bhugna, 3. nirbhugna, 4. prakanpita, and 5. udvhita.

other object may be held or raised. An object may be raised or lowered.

rsa-binodiy shyma rya

3319. byaye nupura rng pya

3329. manimaya nupura carane

the rhythm declares. Gently, gently Lord Krishna smiles.

3367. A song in Kedara-rga:

flute. What metaphors or similes can I speak to describe Them?

Entering the Yamuna's waters They enjoy many pastimes.

ju parama, ranga harashe shyma rasika-rja

t/mra adarasha, n she parne

3450. ithe dosha n mno shuniy kahaye

duti kahe chi y-ite nri

candrbali-sudh pibahe range

3631. narahari sakhira ingite

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