Song Name: Bahu Janma Bhagya Base

Official Name: Rupanuga Bhajana Darpana Songs 1 (Invocation) and 2

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS:

Song 1:

śrī-guru śrī-gauracandra vṛndābane juba-dwandwa

vraja-vāsi-jana-śrī-caraṇa

vandiyā praphulla mane e bhaktivinoda bhaṇe

rūpanuga-bhajana-darpaṇa

Song 2:

(1)

bahu-janma-bhāgya-baśe cinmoya madhura rase

spṛhā janme jībera hiyāya

sei spṛhā lobha hoya braja-dhāme jība loya

rūpānuga-bhajane mātāya

(2)

bhajana-prakāra jata sakalera sāra mata

śikhāilo śrī-rūpa gosāñi

se bhajana nā jāniyā kṛṣnạ bhajibāre giyā

tuccha kāje jībana kāṭāi

(3)
bujhibāre se bhajana bahu jatna akiñcana

biracilo bhajana-darapaṇa

braje rādhā-kṛṣṇa-sebā korite utsuka jebā

sukhe teńha koruṇa śrabaṇa

(4)

lobhete janama pāi ati śīghra bāḍi' jāi

śraddhā rati tabe hoya prīti

sahaja bhajana rati nāhi cāya śikhā-mati

tabu śikhā prathamika-rīti

(5)

putra-sneha jananīra sahaja hṛdoye sthira

dūṣita hṛdoye śikhā cāi

kṛsn
̣ ̣a-prema sei rūpa nitya-siddha aparūpa

baddha-jībe aprakaṭa bhāi

(6)

sei to' sahaja rati pāiyāche apagati

śikhānuśīlana jadi pāya

se rati jāgiyā uṭhe jībera bandhana chuṭe

brajānanda tāhāre nācāya

TRANSLATION

Song 1:

1) Glorifying the lotus feet of Sri Guru, Sri Gauracandra, the Youthful Couple of Vrndavan
as well as of all the residents of Vraja, with a cheerful mind this Bhaktivinoda will now
narrate the description of the mirror which reflects the worship of those who strictly
follow in the footsteps of Srila Rupa Gosvami.

Song 2:

1) By the influence of extremely good fortune accrued for many, many births, the desire
awakens within the heart of a fortunate soul to taste the sweetness of eternal
transcendental mellows. Then, a strong inclination toward such a desire forcibly brings
that soul to Sri Vrndavana-dhama, where he becomes absorbed in the worship of Lord
Krsna which strictly follows the process outlined by Srila Rupa Gosvami.

2) Srila Rupa Gosvami has so kindly given us his valuable opinion and taught the essential
techniques for properly worshiping the Supreme Personality of Godhead. Whoever tries
to worship Krsna without being aware of these methods will simply waste his entire life in
useless labor.

3) Just for the sake of those who really want to understand this worship, I have taken
great care to humbly present this mirror of bhajana, although I am insignificant. If any of
you are actually serious and enthusiastic to render eternal service to Sri Sri Radha-Krsna
in the transcendental realm of Vraja, then I request you now to please hear this narration
with great happiness.

4) If one has intense greed and selfish eagerness for this process, presented herein, then
gradually his faith, then taste, and then full attachment in love will all increase very, very
quickly. One who has attained this platform of worship in his own natural love and
attachment has no need at all to bother with scriptural rules and regulations, although in
the primary, beginning stage such practices are mandatory.

5) Brothers, it is just like the affection of a mother for her son, which is naturally fixed in
her heart. She is inclined to care for her son by instinct. But if someone else cares for the
same child, they may not be as attentive as the mother, so they might sometimes need to
be reminded of their duty. So love for Krsna is just like that. It is natural and wonderful
for the nitya-siddha souls, whereas it is completely unmanifested and beyond the range of
the nitya-baddha souls who are outside the purview of devotion.

6) However, if one cultivates these spiritual instructions, then the flow of his natural
attachment and affection for the Lord is released. And when this attachment reawakens
and grows, then all the material bondage which entraps the soul becomes severed, and
this natural spiritual attachment will make him dance in the transcendental ecstastic bliss
of Vraja consciousness.

REMARKS/ EXTRA INFORMATION:

This is originally the starting invocation verse for the Fourth Chapter of the Gitamala,
which including the full song, has 29 subsequent songs.

Song Name: Bahu Janma Bhagya Base

Official Name: Rupanuga Bhajana Darpana Songs 1 (Invocation) and 2

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS:

Song 1:

śrī-guru śrī-gauracandra vṛndābane juba-dwandwa

vraja-vāsi-jana-śrī-caraṇa

vandiyā praphulla mane e bhaktivinoda bhaṇe

rūpanuga-bhajana-darpaṇa

Song 2:

(1)

bahu-janma-bhāgya-baśe cinmoya madhura rase

spṛhā janme jībera hiyāya

sei spṛhā lobha hoya braja-dhāme jība loya

rūpānuga-bhajane mātāya

(2)

bhajana-prakāra jata sakalera sāra mata

śikhāilo śrī-rūpa gosāñi

se bhajana nā jāniyā kṛṣnạ bhajibāre giyā

tuccha kāje jībana kāṭāi

(3)

bujhibāre se bhajana bahu jatna akiñcana

biracilo bhajana-darapaṇa

braje rādhā-kṛṣṇa-sebā korite utsuka jebā

sukhe teńha koruṇa śrabaṇa

(4)

lobhete janama pāi ati śīghra bāḍi' jāi

śraddhā rati tabe hoya prīti

sahaja bhajana rati nāhi cāya śikhā-mati

tabu śikhā prathamika-rīti

(5)

putra-sneha jananīra sahaja hṛdoye sthira

dūṣita hṛdoye śikhā cāi

kṛsn
̣ ̣a-prema sei rūpa nitya-siddha aparūpa

baddha-jībe aprakaṭa bhāi

(6)
sei to' sahaja rati pāiyāche apagati

śikhānuśīlana jadi pāya

se rati jāgiyā uṭhe jībera bandhana chuṭe

brajānanda tāhāre nācāya

TRANSLATION

Song 1:

1) Glorifying the lotus feet of Sri Guru, Sri Gauracandra, the Youthful Couple of Vrndavan
as well as of all the residents of Vraja, with a cheerful mind this Bhaktivinoda will now
narrate the description of the mirror which reflects the worship of those who strictly
follow in the footsteps of Srila Rupa Gosvami.

Song 2:

1) By the influence of extremely good fortune accrued for many, many births, the desire
awakens within the heart of a fortunate soul to taste the sweetness of eternal
transcendental mellows. Then, a strong inclination toward such a desire forcibly brings
that soul to Sri Vrndavana-dhama, where he becomes absorbed in the worship of Lord
Krsna which strictly follows the process outlined by Srila Rupa Gosvami.

2) Srila Rupa Gosvami has so kindly given us his valuable opinion and taught the essential
techniques for properly worshiping the Supreme Personality of Godhead. Whoever tries
to worship Krsna without being aware of these methods will simply waste his entire life in
useless labor.

3) Just for the sake of those who really want to understand this worship, I have taken
great care to humbly present this mirror of bhajana, although I am insignificant. If any of
you are actually serious and enthusiastic to render eternal service to Sri Sri Radha-Krsna
in the transcendental realm of Vraja, then I request you now to please hear this narration
with great happiness.

4) If one has intense greed and selfish eagerness for this process, presented herein, then
gradually his faith, then taste, and then full attachment in love will all increase very, very
quickly. One who has attained this platform of worship in his own natural love and
attachment has no need at all to bother with scriptural rules and regulations, although in
the primary, beginning stage such practices are mandatory.

5) Brothers, it is just like the affection of a mother for her son, which is naturally fixed in
her heart. She is inclined to care for her son by instinct. But if someone else cares for the
same child, they may not be as attentive as the mother, so they might sometimes need to
be reminded of their duty. So love for Krsna is just like that. It is natural and wonderful
for the nitya-siddha souls, whereas it is completely unmanifested and beyond the range of
the nitya-baddha souls who are outside the purview of devotion.

6) However, if one cultivates these spiritual instructions, then the flow of his natural
attachment and affection for the Lord is released. And when this attachment reawakens
and grows, then all the material bondage which entraps the soul becomes severed, and
this natural spiritual attachment will make him dance in the transcendental ecstastic bliss
of Vraja consciousness.

REMARKS/ EXTRA INFORMATION:

This is originally the starting invocation verse for the Fourth Chapter of the Gitamala,
which including the full song, has 29 subsequent songs.

Song Name: Yoga Jaga Saba Chara

Official Name: Rupanuga Bhajana Darpana Song 3

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS:

(1)
yoga jāga saba chāra śraddhā sakalera sāra

sei śraddhā hṛdoye jāhāra

udiyāche eka bindhu krame bhakti-rasa-sindhu

lābhe tāra hoya adhikāra

(2)

jñāna karma deba debi bahu jatanete sebi'

prāpta-phala hoilo tuccha jñāna

sādhu-jana-sańgābeśe śrī-kṛṣṇa-kathāra śeṣe

biśwāso to' hoya balabān

(3)

sei to' biśwāse bhāi śraddhā boli' sadā gāi

bhakti-latā bīja boli tāre

karmī jñānī jane jāre śraddhā bole bāre bāre

sei bṛtti śraddhā hoite nāre

(4)

nāmera bibada mātra śuniyā to' jwale gātra

lauhe jadi boloho kañcana

tabu lauha lauha roya kañcana to' kabhu noya

maṇi sparśa nāhe jata-khaṇa

(5)

kṛsn
̣ ̣a-bhakti cintāmaṇi tańra sparśe lauha-khani

kārma-jñāna-gata śraddhā-bhāba

haya jaya hema-bhara chāḍiyā to' ku-bikāra

se kebala maṇira prabhāba

TRANSLATION

1) Any type of yoga exercise or external religious ceremony is completely useless and is no
help at all... for genuine faith is the only real substance. Whoever has such sincere faith in
his heart tastes one drop of transcendental nectar, and then he gradually gains the right
of admission into the entire ocean of ecstatic devotional mellows (the Bhakti-rasamrta-
sindhu)

2) By faithfully worshiping the gods and goddesses who bestow knowledge and fruitive
results, with great care and attention, one gets only insignificant material knowledge. On
the other hand, by hearing the narration of topics concerning Krsna with rapt attention in
the company of virtuous devotees, one's transcendental conviction becomes completely
fixed-up.

3) My friends! I call this type of fixed-up conviction "sraddha", which I continuously sing
about and glorify in various ways. This sraddha is actually the bhakti-lata-bija (the seed of
the creeper of devotion). The fruitive workers and the mental speculators have their own
idea about what is sraddha, which they advertise and proclaim again and again, but in my
opinion, their definition is without a doubt a misconception, and does not constitute the
real, transcendental sraddha. Whenever I hear such foolish disputes and misconceptions
over mere names from such unauthorized persons, it burns me up because that is just like
mistaking iron to be gold. Iron always remains iron, and can never become gold unless
and until it is touched by a transcendental touchstone.

4) This touch-stone is actually pure devotional service to Lord Krsna. By the mere touch
of this transcendental gem, the iron-mine of faith in fruitive action and philosophical
wrangling turns into golden ecstatic loving faith in the Lord. The weight of this type of
gold certainly outweighs all materialistic delusions. This is the real power of the touch-
stone of Krsna-bhakti.

Song Name: Chari Anya Abhilasa

Official Name: Rupanuga Bhajana Darpana Song 4

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS:

(1)

chāḍi' anya abhilāṣa jñāna-karma-sahābāsa

ānukūlya kṛṣnạ̄ nuśīlana

śuddha-bhakti boli' tāre bhakti-śāstra su-bicāre

śrī-rūpera siddhānta-bacana

(2)

śrabaṇa kīrtana smṛti sebārcana dāsya nati

sakhya ātma-nibedana hoya

sādhana-bhaktira ańga sādhakera jāhe rańga

sadā sādhu-jana-sańga-moya

(3)

sādhana-bhaktira bale bhāba-rūpa bhakti-phale

tāhā punaḥ prema-rūpa pāya

preme jība kṛṣnạ bhaje kṛṣṇa-bhakti-rase māje

sei rasa śrī-rūpa śikhāya

TRANSLATION

1) Srila Rupa Gosvami, after intensely studying all the devotional scriptures, has made the
following conclusive definition of pure devotional service: Giving up all desires for fruitive
reward or philosophical jugglery, one should execute favorable devotional service to
Krsna for his pleasure only.
2) The divisions of regulated devotional service are: 1) hearing the glories of the Lord, 2)
chanting His holy names, 3) remembering Him within the core of the heart, 4) serving
His lotus feet, 5) worshiping His Deity form, 6) becoming His menial servant, 7) offering
prayers to Him revealing the mind, 8) entering into a friendly relationship with Him, and
9) ultimately surrendering one's whole existence in full dedication by mind, body and
words. The practicing neophyte devotees continuously perform all of these nine processes
joyfully in the association of saintly persons who are adept in hones devotional
dedication.

3) By the strength of the above-mentioned ninefold practices of regulated devotional

service, the devotion thereafter fructifies into an ecstatic emotional service attitude, and
after that one reawakens his original pure ecstatic love of Godhead. In such
transcendental love, the soul whole-heartedly worships Krsna, constantly immersed in
tasting the ecstatic mellows of devotion to Him. This is the delicious mellow that Srila
Rupa Gosvami is teaching us about.

Song Name: Sraddha Devi Nama Jar

Official Name: Rupanuga Bhajana Darpana Song 5

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS:

(1)

śraddhā-debi nāma jāra duiti swabhāba tāra

bidhi-mūla ruci-mūla bhede

śāstrera śāsana jabe śraddhāra udoya ho'be

baidhī śraddhā tāre bole bede

(2)
braja-bāsī sebe kṛṣṇe sei śuddha-sebā dṛṣṭe

jabe hoya śraddhāra udoya

lobhamoyī śraddhā satī rāgānugā śuddhā mati

bahu bhāgye sādhaka labhoya

(3)

śraddhā-bhede bhakti-bhede gāitecheche catur-beda

baidhī rāgānugā bhakti dwoya

sādhana-samoye jaiche siddhi-kāle prāpti taiche

ei-rūpa bhakti-śāstre koya

(4)

baidhī bhakti dhīra gati rāgānugā tībra ati

ati śīghra rasābasthā pāya

rāga-bartma-su-sādhane ruci hoya jāra mane

rūpānuga hoite sei dhāya

TRANSLATION

1) The presiding deity of devotional faith called Sraddha Devi, and she has two principle
characteristics... one is executed according to rules, and the other according to tastes.
First of all, when devotional faith arises due to fear of the rules and regulations given in
the revealed scriptures, then that type of faith is known throughout the Vedas as "vaidhi
sraddha", or faith situated in regulation.

2) Secondly, sometimes one's faith flourishes in a similar way as that of the residents of
Vraja, who all render service to Krsna with a purely spontaneous service attitude. Faith
that concentrates on Krsna exclusively with such intense greed to satisfy Him is the
chastest form of faith. Such a pure, spontaneous service attitude is called "raganuga
sraddha", and a practicing devotee who worships in this way attains the most auspicious
spiritual position.
3) Due to different types of faith, these different divisions of devotional service exist. Thus
the four Vedas sing of these two types of devotion... regulative service and spontaneous
service. According to these different types of sadhana, one accordingly attains different
perfections, which are all mentioned comprehensively in the revealed scriptures of
devotional service.

4) Vaidhi bhakti progresses very slowly toward the goal, but raganuga bhakti moves
extremely fast, and enables one to be quickly situated in the tasty transcendental
mellows. By following the path of spontaneous devotional service, real taste awakens in
one's mind, and he runs and chases after that current which flows from the lotus feet of
Srila Rupa Gosvami.

Song Name: Rupanuga Tattva Sara

Official Name: Rupanuga Bhajana Darpana Song 6

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS:

(1)

rūpānuga tattwa-sāra bujhite akańkha jāńra

rasa-jñāna tāńra prayojana

cinmoya ānanda-rasa sarba-tattwa jāńra baśa

akhaṇdạ parama tattwa-dhana

(2)

jāńra bhāṇe jñāni jana brahmāloya-anweṣaṇa

kore nāhi bujhi' beda-marma

jāńra chāyā-mātra bore jogī-jana joga kore

jāra chale karmi kore karma

(3)

bibhāba anubhāba āra sāttwika sañcārī cāra

sthāyī bhābe milana śundara

sthāyī bhābe rasa hoya nitya cid-ānanda-moya

parama āswādya nirantara

(4)

je rasa prapañca-gata joḍa-kābye prokāśita

parama rasera asan-mūrti

asan-mūrti nitya hoya ādarśera chāyā hoya

jena marīcikā jala-sphūrti

TRANSLATION

1) Whoever has a longing to understand the essential truth of the reality of rupanuga,
then for him it is necessary to have some basic knowledge of transcendental mellows.
And such spiritually blissful conscious mellows influence and control all other
subordinate truths, for they are the hidden treasure of the supreme, absolutely
undividable Truth of all Truths.

2) In pursuit of this same spiritual mellow, the philosophical speculators search for fusing
themselves with the impersonal Brahman effugence, not understanding the real import of
the Vedic conclusion. And all the desired boons of the yogis are simply shadow reflections
of this rasa. On the plea of this taste, the karmis execute all their fruitive activities.

3) The permanent basis of ecstatic mellow is called "stayi bhava", and is abounding in
eternal, conscious bliss. It becomes the topmost relishable euphoria when it mixes into a
beautifully delicious combination with these four elements: 1) Vibhava (specific
stimulants and supporting characters) 2) Anubhava (thirteen resultant ecstatic
symptoms) 3) Sattvika (eigth especially disruptive ecstatic symptoms) 4) Sancari (thirty-
three transitory accompanying emotions).

4) When rasa is expressed in the material world, it is praised throughout the materialistic
literature of the world, but that is only a perverted reflection of this supreme mellow. It is
temporary and is just like an imitation copy of the real thing, similar to a mirage which
appears to be water in a desert.

Song Name: Raser Ahara Jini Tanra Citta Rasa Khani

Official Name: Rupanuga Bhajana Darpana Song 7

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS:

(1)

rasera ādhāra jini tāńra citte rasa-khani

sei cittera abasthā biśeṣe

śraddhā-niṣṭhā-rucy-āsakti krame hoya bhāba-byakti

rati-nāme tāńhāra nirdeśe

(2)

biruddhābiruddha-bhāba sarbopari swa-prabhāba

prokāśiyā loya nija-baśe

sakalera ādi-pati haya śobhā pāya ati

sthāyī bhāba nāma pāya rase

(3)

mukhya-gauṇa-bhede tāra paricoya dwi-prakāra

mukhya pañca gauṇa sapta-bidha

santa dāsya sakhya āra bātsalya madhura sāra

ei pañca rati mukhyābhidha

(4)

hāsyādbhuta bīra āra koruṇa o raudrākara

bhayānaka-bībhatsa-bibhede

rati sapta gauṇī hoya saba kṛṣnạ -bhakti-moya

śobhā pāya rasera prabhede

TRANSLATION

1) The heart of one who is a receptacle for rasa is just like a holding tank which is filled
with this liquid mellow. The specific symptoms of such a rasa laden heart is that it fosters
the gradual manifestation of ecstatic emotion, which evolves gradually from the
beginning as sraddha (faith), then nistha (steadiness), then ruci (taste), then finally bhava
(firm attachment to Krsna). This is the definition of what is known as rati, or affection
within the scope of the transcendental loving mellow.

2) The constantly flowing undercurrent and cause of all mellows is called "stayi-bhava" or
basic permanent ecstasy. It is the primary root origin of all mellows, and it eternally exists
in great beauty and splendor. As the fountainhead of rasa, it fuses all subordinate mellows
and subjugates them all under its own control. Thus, it exhibits the topmost
manifestation of its own supreme power, which contains all inconceivable,
simultaneously favorable and opposing ecstasies.

3) In considering the differences in the various ecstatic loving moods of this permanent
ecstasy (sthayi bhava), we see that there are two divisions of subjects which fall into: 1)
five direct or primary mellows, and 2) seven indirect or secondary mellows. The five
principle types of affection are called santa, dasya, sakhya, vatsalya and madhura, or
neutrality, servitude, friendship, parental affection and conjugal love, respectively.
4) The seven indirect affections are known as: 1) hasya (devotional laughing attachment),
2) adbhuta (devotional attachment fixed in wonder and astonishment), 3) vira (chivalrous
attachment with charitable and merciful tendencies), 4) karuna (attachment in
compassion with lamentation), 5) raudra (devotion mixed with anger), 6) bhayanaka
(devotion mixed with fear), and 7) bibhatsa (attachment enjoyed by the devotee which
develops in an abominable way). All of these mellows are found in great abundance
within the realm of devotional service to Krsna, and all these different types of
attachments exist eternally as beautiful decorations of the all-consistent sthayi bhava.

Song Name: Jei Rati Janme Jar

Official Name: Rupanuga Bhajana Darpana Song 8

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS

(1)

jei rati janme jāra sei mata rasa tāra

rasa mukhya pañca-bidha hoya

gauṇa-sapta-rasa punaḥ hoya ratira anuguṇa

ratira sambandha bhābāśroya

(2)

pañca mukhya madhye bhāi madhurera guṇa gāi

sarba-śreṣṭha rasa-rāja boli

guṇa anya rase jata madhurete āche tata

āra bahu bale hoya bali

(3)

gauṇa rasa āche jata saba sañcārīra mata

haya srńgarera puṣṭi kore

śrī-rūpera anugata bhajane je hoya rata

sthiti tāra kebale madhure

(4)

madhura ujjwala-rasa sadā śṛńgārera baśa

braja-raja-nandana biṣoya

aiśwarja su-gupta ta'te mādhurja-prabhābe mate

tāhāra āśroya bhakta-coya

TRANSLATION

1) According to the particular type of attachment that attracts one to love Krsna, the
devotee becomes attached to that degree in one of the five direct mellows. Besides to this
direct attachment, there are occasional manifestations of the seven indirect mellows,
which follow the direct attachment. Thus the seven indirect attachments remain
subjugated under the shelter of the ecstatic emotions presented by the more
predominant direct mellow.

2) Oh brothers! Now listen as I sing of the glories of the madhura rasa, the sweet conjugal
mellow, for it is said to be the best and most powerful rasa amongst all the five direct
mellows. Indeed, it is just like the king of all mellows. All the transcendental qualities of
the other mellows are fully present in this topmost of all rasas, and therefore it is most
powerful because of the combined potencies of all the other mellows contained within it.
And also, the other mellows individually become more powerful when they are within the
madhura rasa than they are when they stand on their own.

3) All the seven indirect mellows give transitory stimulation to the madhura rasa (also
called srngara rasa). They also circulate to nourish and supplement the ecstasies of the
conjugal mellow. Those devotees who develop attachment for the worship that follows in
the footsteps of Srila Rupa Gosvami become situated and firmly established only in this
conjugal mellow.
4) The madhura rasa is known as the most brilliant mellow, and its main subject is Sri
Krsna, the Son of the King of Vraja. Indeed, He actually lets Himself be controlled and
subjugated by this loving mellow. The majestic opulences of the Lord (aisvarya) are
covered over, and the powerful maddening influence of its transcendental sweetness
(madhurya) is the sole refuge of all the assembled devotees, who are the object of this
mellow.

Song Name: Madhurer Sthayi Bhava

Official Name: Rupanuga Bhajana Darpana Song 9

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS:

(1)

madhurera sthāyī bhāba labhe jate abirbhāba

boli tāhā śuno eka-mane

abhijoga o biṣoya sambandhābhimāna-dwoya

tadīya biśeṣa upamāne

(2)

swabhāba āśroya kori' citte rati abatori

śṛńgāra rasera kore puṣṭi

abhijoga ādi choya anye rati-hetu hoya

braja-debīra tāhe nāhi dṛṣṭi

(3)

swataḥ-siddhi rati tāńre sambandhādi-sahākāre

samartha koriyā rākhe sadā

kṛsn
̣ ̣a-sebā binā tāńra udyamo nāhika āra

swīya sukha ceṣṭa nāhi kadā

(4)

ei rati prauḍha hoya mahā-bhāba dāsa pāya

jāra tulya prāpti āra nāi

sarbādbhuta camatkāra sambhogecchā e prakāra

barṇibāre bākya nāhi pāi

TRANSLATION

1) Madhura rati, or conjugal affection, is the stayi bhava of the madhura rasa. Now please
hear with rapt attention as I explain the sequence of its development. The seven causal
ingredients are: 1) Abhiyoga (expression of heartfelt emotions as joking complaints) 2)
Visaya (the five sense perceptions of Krsna, namely sound, touch, form, taste and smell)
3) Sambandha (Krsna's relatives and family members) 4) Abhimana (the feeling that
Krsna is one's own) 5) Tadiya Visesa (Krsna's personal specialties, like His footprints,
favorite pastures, etc.) 6) Upama (poetic comparison of Krsna to other things) 7)
Svabhava (love that arises naturally without external stimulus)

2) Rati develops in the heart of the practicing devotee when all these features act together
under the shelter of the 7th ingredient svabhava, and thus the conjugal mellow becomes
nourished. However, all the Vraja gopis have natural rati as their svabhava, so for them
there is no need of stimulation by the first six above-mentioned ingredients headed by
abhiyoga.

3) The natural, spontaneous transcendental rati of the gopis is so strongly fixed up that
they merely take help from the above-mentioned six ingredients, instead of depending on
them for stimulation. Except for Krsna's service, there is no question of their ever
performing any other endeavor. Indeed, it is verily impossible for them to strive for their
own personal happiness at any time, even to the slightest degree.

4) When this type of pure attachment becomes most matured, then the final stage it
attains is called maha-bhava . . . the most exalted, sublime form of transcendental ecstasy.
There is no comparison anywhere to such bliss. Their desire for this type of selfless union
is the most wonderful thing to observe, and it really makes one astonished even to think
of it. Therefore, I can certainly find no suitable words to describe the manifestation of this
topmost divine grace called maha-bhava.

Song Name: Rati Prema Sneha Mana Pranaya

Official Name: Rupanuga Bhajana Darpana Song 10

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS:

(1)

rati prema sneha māna praṇaya o rāgākhyāna

anurāga bhāba ei sāta

rati jata gāḍha hoya krame sapta nāma loya

sthāyī bhāba sadā abadāta

(2)

snehādi je bhāba choya prema nāme paricoya

sādhāraṇa janera nikaṭe

je bhāba kṛṣṇete jāńra sei bhābe kṛsn

̣ ̣a tāńra
e rahasya rase nitya baṭe

(3)

bhakta-citta-siḿhāsana ta'te upabiṣṭa hana

sthāyī bhāba sarba-bhāba-rāja

hlādinī je para śakti tāńrasāra śuddha-bhakti

bhāba-rūpe tāńhāra birāja

(4)

bibhābādi bhāba-gaṇe nijāyatte ānayane

korena ye rasera prokāśa

rasa nityānanda-tattwa nitya-siddha sāra-sattwa

jība-citte tāhāra bikāśa

TRANSLATION

1) The development of ecstatic love of Godhead gradually thickens and intensifies as it

manifests in seven stages of ecstasy known as: 1) Prema (general ecstatic love for the
Personality of Godhead) 2) Sneha (personal affection borne of a softened and melted
heart) 3) Mana (pouting counter-love due to confidential familiarity) 4) Pranaya
(mutually intimate love devoid of shyness or hesitation) 5) Raga (highly involved
attachment that disregards any offense) 6) Anuraga (the constant presence of
supplementary attachments that ripple and twinkle in waves of mutual charms) 7) Bhava
(the stage of wildly relishable exhilaration in a transparently pure yet supremely inflamed
love-passion) All these stages of the sthayi bhava are spotlessly free from any material
impurities.

2) The above mentioned symptoms are all-together known as prema (love of Godhead).
According to the particular ecstatic emotions that one develops for Krsna, then to that
degree Krsna reciprocates, and this level of secret mellow indeed continues eternally.

3) Being seated on the throne of the devotee's heart, the stayi bhava behaves like the King
of all ecstasies. Rooted in the hladini pleasure potency, whose distilled extract is pure
devotional service and, it is conspicuously present in the form of transcendental
emotional ecstasies.

4) By bringing the four principles of ecstasy, namely vibhava, anubhava, sattvika, and
sancari under its control, the hladini manifests all mellows. These mellows are the eternal
truth of bliss, eternally perfect, the best state of purified existence; all this displays itself
widening and blooming within the core of the spirit soul's heart.

Song Name: Ratyasvada Hetu Jata

Official Name: Rupanuga Bhajana Darpana Song 11

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS:

(1)

raty-āswāda hetu jata bibhāba nāmete khyāta

ālambana uddīpana hoya

biṣoya-āśroya-gata ālambana dui mata

kṛsn
̣ ̣a kṛṣnạ -bhakta se ubhoya

(2)

nāyakera śiromaṇi swayaḿ kṛṣṇa guṇa-maṇi

nitya guṇa-dhāma parāt para

tāńra bhābe anurakta guṇāḍhya jateka bhakta

siddha eka sādhaka apara

(3)

bhāba uddīpana kore uddīpana nāma dhore

kṛsn
̣ ̣era sambandha bastu saba

smitāsya saurabha śṛńga baḿśī kambu khetra bhṛńga

padāńkanūpura kala-raba

(4)

tulasī bhajana cīna bhakta jana-daraśana

ei-rūpa nānā uddīpana

bhakti-rasa-āswādane ei saba hetu-gaṇe

nirdeśila rūpa-sanātana

TRANSLATION

1) All the things which cause one to taste his attachment to the Lord are called vibhava
(special stimulants). The two divisions of these causes are called: 1) alambana (the
persons who are foundations of support, and between whom love appears reciprocally),
and 2) uddipana (the exciting factors which stimulate the awakening of love). There are
also two sides to the alambana foundations 1) visayathe subject of love: Krsna) and 2)
asraya (the object of love: Krsna's devotee).

2) Lord Krsna Himself is full of all good qualities, for He is the most outstanding Hero
amongst all heroes. He is the eternal reservoir of all virtuous qualities, and is the Supreme
Greatest of the greatest. There are many, many devotees who are very much attached to
Krsna in ecstatic love. These devotees are also full of transcendental qualities themselves.
Some of them are known as siddha (spiritually perfect), whereas others are sadhaka
(neophyte practitioners).

3) All the things which stimulate the awakening of ecstatic emotions are called uddipana.
This includes Krsna's enchanting smile, His sweet bodily fragrance, His buffalo horn, His
flute, His conchshell, His place of residence, the buzzing of the bees in Vraja, the marks
on the soles of His lotus feet, His ankle bells, and the soft sweet sound of His voice and
flute.
4) Other causes are the association of Srimati Tulasi Devi, the various symbols and
practices of devotional service, and the vision of the Lord's bona fide representatives and
devotees. In this way, there are many factors to stimulate ecstatic love. And all these
causes, which induce one to taste the mellow of devotion, have been clearly described by
Srila Rupa Gosvami and Srila Sanatana Gosvami.

Song Name: Sri Nanda Nandana Dhana Tadiya Vallabha Gana

Official Name: Rupanuga Bhajana Darpana Song 12

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS:

(1)

śrī-nandānandana dhana tadīya ballabhā-gaṇa

madhura-rasera ālambana

gopī-gata rati jāhān gopī-cittāśroya tāhān

kṛsn
̣ ̣a-mātra biṣoya takhan

(2)

jāhān rati kṛṣnạ -gata raty-āśroya kṛṣnạ -cita

gopī tāhān ratira biṣoya

biṣoya āśroya dhore' sthāyī-bhāba rati core

naile rati udgata nā hoya

(3)

bibhābete ālambana rase nitya prayojana

braje tāi kṛṣṇa gopīnātha

madana-mohana dhana brajāńganā gopī-jana

ballabha rasika rādhā-nātha

(4)

swīya-parakīya-bhede rasa rasāntarāswāde

nityānanda biraje mādhaba

boro bhāgyabāna jei nije ālambana hoi'

āswādaye se rasa-āsaba

TRANSLATION

1-2) The delightful Son of Nanda Maharaja considers all His loving consorts, the gopis, to
be His most valued treasure. Both He and they are the foundations of the mellow of
conjugal love. This mellow flows back and forth between them all in these two ways: 1)
when the rati (affection) flows toward the gopis and takes shelter in their hearts as the
object, then Krsna becomes the one and only subject of their love, and 2) when the rati
flows toward Krsna and takes shelter in His heart as the object, then the gopis become
the one and only subject of His love. In this manner affection flows mutually within the
sthayi bhava (the permanent ecstasy) because of the combination of both the subject and
object, without which there is no possibility of genuine love existing.

3) Thus there is the necessary functioning of this combination of foundation which

contain this love for Krsna, and these mellows are the eternal and topmost goal of all
existences. Thus within Vraja, Krsna is known as Gopinatha, the Lord of the gopis. And
the most highly valued treasure of this Madana-Mohana is all the cowherd maidens of
Vraja, the gopis. Krsna is their dearmost lover, their sweet relisher, and the Lord and
Master of Srimati Radharani.

4) Lord Madhava thoroughly enjoys Himself in full eternal bliss as He tastes the internal
mellows contained within the principles known as sviya (love within marriage) and
parakiya (unwedded love). And one who also becomes one of these basic foundations for
sharing these loving exchanges is most fortunate, for she also tastes the maddening wine
of these supremely transcendental mellows along with Krsna Himself.

Song Name: Su Ramya Madhura Smita

Official Name: Rupanuga Bhajana Darpana Song 13

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS:

(1)

su-ramya madhura-smita sarba-sal-lakhaṇānwita

balīyān taruṇa gambhīra

bābadūka priya-bhāṣī sudhī sapratibhāśwāsī

bidagdha catura sukhī dhīra

(2)

kṛtajña dakhiṇa preṣṭha barīyān kīrtimac-chreṣṭha

lalanā-mohana keli-para

su-nitya nūtana-mūrti kebala saundarya-sphūrti

baḿśī-gāne su-dakha tat-para

(3)

dhīrodātta dhīra-śānta sudhīra lalitā kānta

dhīroddhata lalanā-nāyaka
ceṭaka-biṭa-beṣṭita bidūṣaka-susebita

pīṭha-marda priya narmasakha

(4)

e pañca sahāya-juta nandīśwara-pati-suta

pati-upapati-bhābācārī

anukūla śaṭha dhṛṣṭa sudakhiṇa rasa-tṛṣnạ

rasa-mūrti nikuñja-bihārī

TRANSLATION

1) Lord Krsna, the supreme hero, has the most beautiful body which possesses all good
features. He has the most sweet smile, He possesses extraordinary bodily strength, He is
ever-youthfully beautiful, and His grave plans and actions are very difficult for anyone
else to understand. He is expert at speaking meaningful words with all politeness, He is
the most pleasing talker, He is the source of all nectar, and He is a wonderful linguist
Who is fluent in all languages (even that of the animals and birds). He is most expert in
all kinds of artistic enjoyment (He lives wonderfully at the topmost height of artistic
craftsmanship), He is cunning and clever in the art of performing various types of work
simultaneously, He is always joyful and untouched by any distress, and He is always self-
satisfied and peaceful.

2) Krsna is grateful by never forgetting the service of His friends, He is simple and liberal,
He is the best, and is very famous for His good works. He is very attractive to all women,
He is very playful in amorous sports, and He possesses an eternally fresh and youthful
form. He is the full manifestation of complete transcendental beauty, He is most expert at
playing His all-attractive flute, and He is the Supreme Personality of Godhead.

3) Krsna is most grave, gentle, forgiving, peaceful and forbearing, self-composed, carefree
and joking, the best lover, proud and restless, and the hero of all women. He is always
surrounded by five kinds of eternal servants: 1) ceta (spies), 2)vita (dressing attendants).
3) vidusaka (clowns headed by Madhu-mangala), 4) pitha-marda (back-massagers like
Sridama), 5) priya-narma-sakha (close friends.
4) Thus served by these five kinds of helpers, the Son of the King of Vraja enjoys various
mellows, sometimes as a husband or as an illicit lover of others' wives. Being extremely
thirsty to taste these rasas, He enjoys playing the role of four kind of heroes, as anukula
(favorable), satha (deceitful), drsta (impertinent), and daksina (clever). Thus He sports in
the amorous garden groves as the personification of all ecstatic mellows.

Song Name: Su Ramyadi Guna Gana Hoiyache Vibhusana

Official Name: Rupanuga Bhajana Darpana Song 14

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS:

(1)

su-ramyādi guṇa-gaṇa hoiyāche bibhūṣaṇa

lalanā-ucita jata-dūra

pṛthu-prema su-mādhurja sampadera su-pracurja

śrī-kṛṣṇa-ballabha rasa-pūra

(2)

ballabha to' dwi-prakāra swīya parakīya āra

mugdhā madhyā pragalbheti troya

keho ba nāyikā tāhe keho sakhī hoite cāhe

nije to' nāyikā nāhi hoya

(3)
nāyikā-gaṇa-pradhāna rādhā candrā dui jana

saundarya-baidagdhya-guṇāśroya

sei dui madhye śreṣṭha rādhikā kṛsn

̣ ̣era preṣṭha

mahā-bhāba-swarūpa-niloya

(4)

āra jata nitya-priyā nija nija jūtha lañā

se du'yera korena sebana

śrī-rūpa-anuga jana śrī-rādhikā-śrī-caraṇa

binā nāhi jāne anya dhana

TRANSLATION

1) Sri Krsna's loving consorts are decorated quite befittingly with all the attractive
womanly graces and charms such as gorgeous beauty and loveliness. They are decorated
with these qualities to the maximum possible degree. And all of these consorts are
abundantly thriving within the current of the most highly treasured, super-sweet, and
immeasurable reservoir of pure prema. Thus, Sri Krsna's lovers are especially relishable
for Him within the vast realm of transcendental mellows.

2) Krsna has two main divisions of lovers --- those in sviya (wedded love) and those in
parakiya (unwedded love). Heroines may also be classified as captivated, intermediate,
and impudent. Some of them take leading roles as heroines, whereas some of them
simply want to remain as an assisting friend or sakhi instead of playing the role of a
heroine.

3) There are two chief gopis amongst all of Krsna heroines --- Srimati Radharani and Sri
Candravali. Both of them are the reservoirs of the qualities of supreme transcendental
beauty and cunning behavior. Amongst these two chief gopis, Raddharani is certainly the
best, for She is most dear to Lord Krsna. She is naturally the embodiment of the complete
storehouse of the most exalted, sublime ecstasy called mahabhava.

4) All the multitudes of Krsna's other dear lovers divide themselves into two parties,
identifying either with the entourage of Srimati Radharani or with party of Candravali.
And each of them, within her preferred group, renders services in a thousand different
ways for the pleasure of one of these two predominant heroines. However, the real
followers of Srila Rupa Gosvami possess no wealth other than full consciousness of their
eternal treasure under the shelter of Srimati Radharani's divine lotus feet.

Song Name: Sri Krsna Sevibo Boli

Official Name: Rupanuga Bhajana Darpana Song 15

Author: Bhaktivinoda Thakura

Book Name: Gitavali

Language: Bengali

LYRICS:

(1)

śrī-kṛṣṇe sebibo boli' gṛha chāḍi' kuñje coli'

jāite hoya abhisārī sakhī

kuñja sajjā kore jabe bāsaka sajjā ha'na tabe

utkaṇṭhita kṛṣnạ -patha lakhi'

(2)

kāla ullańghiyā hori bhoga-cihna dehe dhori'

aile hana khaṇḍitā takhana

sańkete pāiyā baise tabu kanta nā āise

bipralabdhā nāyikā to' hana

(3)
mānera kalahe hori jana cali duḥkha kori'

kalahāntarita santāpinī

mathurāte kānta gelo bahu-dina nā āilo

proṣita-bhartṛkā kāńgālinī

(4)

nijāyatte kānte peye' krīḍā kore kānta lo'ye

swādhīna-bhartṛkā se ramaṇī

nāyikā-mātrera hoya ei aṣṭa-daśodaya

bipralambha-sambhoga-bodhinī

TRANSLATION

1) Ahisarika: Only for the sake of rendering service to Krsna for His pleasure, the sahkis
who are to meet their lover at the assigned rendezvous garden abandon their homes and
proceed on the path to the pleasure grove. 2) Basaka-sajja: Then they beautify the kunja
with various types of decorations, busying themselves in the mood of preparing the bed-
chamber for their dearmost lover. 3) Utkanthita: And in the process, they all repeatedly
glance out the doorway, looking down the road in greatly exhilarating eagerness,
anticipating the arrival of their beloved hero, Sri Krsna.

2) 4) Khandita: When Krsna arrives late, transgressing the fixed time of rendezvous, His
body bears some of signs of His having enjoyed Himself with another lover. At that time,
the heroine becomes extremely jealous upon observing such symptoms. 5) Bipralabdha:
When the heroine sits waiting in the solitary bower, and her lover does not show up at all,
then She feels disappointed and let down by His absence.

3) 6) Kalahantarita: Whenever, due to some quarrel with Krsna, Radharani sends Him
away in Her anguish, then She become severely afflicted with bereavement due to
dismissing Him. 7) Prosita-bhartrka: When Krsna leaves Vrndavana and goes to Mathura,
not returning even after many days have passed, then Srimati Radharani becomes most
miserable and suffers terribly in separation while Her lover is abroad.
4) 8) Svadhina-bhartrka: When the heroine dominates Her lover, and tames Him
according to Her own whims, then such a lady uses Him for Her own amorous sports. All
heroines experience these eight different states of devotional service. Thus they taste
different varieties of separation and meeting.

Song Name: Nayikar Siromani Vraje Radha Thakurani

Official Name: Rupanuga Bhajan Darpana Song 16

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS:

(1)

nāyikāra śiromaṇi braje rādhā ṭhākurāṇī

pañca-bidha sakhī-gaṇa tā'ra

sakhī nitya-sakhī āra prāṇa-sakhī ataḥ para

priyā-sakhī ei hoilo cāra

(2)

pañcama parama-preṣṭha sakhī-gaṇa madhye śreṣṭha

boli saba śuno bibaraṇa

kusumikā bindhyābatī dhaniṣṭhādi braja-satī

sakhī-gaṇa madhyete gaṇana

(3)
śrī-rūpa rati kasturī śrī-guṇa maṇi-mañjarī

prabhṛti rādhikā-nitya-sakhī

prāṇa-sakhī bahu tāra basanti nāyikā āra

pradhāna tāhāraśaśimukhī

(4)

kurańgākṣī mañjukeśī sumadhyā madanālasī

kamalā mādhurī kāmalatā

kandarpasundarī āra mādhabī mālatī āra

śaśikalā rādhā-sebā-rata

(5)

lalitā biśākhā citrā tuńgabidyā campalatā

indulekhā rańga-debī satī

sudebīti aṣṭa-jana parama-preṣṭha sakhī-gaṇa

rādhā-kṛsn
̣ ̣e sebe eka mati

TRANSLATION

1-2) The transcendental Goddess, Srimati Radharani, has five different divisions of
girlfriends in Vraja. She holds Her position as the crown jewel amongst all of these
heroines. Their divisions are: 1) the sakhis, 2) the nitya-sakhis, 3) the prana-sakhis, 4) the
priya-sakhis, and 5) the parama-presta-sakhis. This last division is undoubtedly the best
of all, for they are the dearest to Sri Radha. Please listen carefully as I describe all of these
dear girlfriends of Hers. Counted amongst the sakhis are gopis such as Kusumika,
Vindhyavati and Dhanista who are very chaste in Vraja-dhama.

3) The nitya-sakhis include Sri Rupa Manjari, Sri Rati Manjari, Sri Guna Manjari, and
others. Radharani's prana-sakhis are numerous, including Sri Basanti, and Sri Nayika, and
the principle gopi is Sri Sasi-mukhi.
4) The priya-sakhis include Kurangaksi, Manjukesi, Sumadhya, Madanalasi, Kamala,
Madhuri, Kama-lata, Kandarpa-sundari, Madhavi, Malati, and Sasi-kala, who are all
fondly attached to rendering service to Srimati Radharani.

5) There are eight parama-presta-sakhis, whose only concern is to serve Radha-Krsna with
every aspect of their existence, whole-heartedly and selflessly. They are Lalita, Visakha,
Citra, Tunga-visya, Campaka-lata, Indu-lekha, Ranga-devi and Sudevi, who are the
chastest of all the sahkis.

Song Name: Radha Krsna Guna Gana Mithasakhi Samvardhana

Official Name: Rupanuga Bhajana Darpana Song 17

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS:

(1)

rādhā-kṛsn
̣ ̣a-guṇa-gāna mithāsakti sambardhana

ubhayābhisāra sampadana

kṛsn
̣ ̣a sakhī-samarpaṇa narma-bākya-āswādana

ubhayera subeśa-racana

(2)

citta-bhāba-utgatana mitha-cchidra sańgopana

pratīpa janera subañcana

kuśala śikhaṇa āra sammilana du'janara

byajanādi bibidha sebāna

(3)

ubhaya kuśala dhyāna doṣe tiraskāra dāna

paraspara sandeśa bāhana

rādhikāra daśā-kāle prāṇa-rākha su-kauśale

sakhī-sādhāraṇ akārja jana

(4)

jeba je sakhīra kārja biśeṣa boliyā dharja

pradarśita ha'be jathā-sthāne

rūpānuga bhaje jeba je sakhīra jei sebā

tad-anuga sei sebā māne

TRANSLATION

1) Some of the typical services rendered by the sakhis are: 1) singing songs together about
the glories of Radha- Krsna, 2) performing activities which increase Their attachment for
one another, 3) executing the successful performance of Their secret rendezvous, 4)
offering different sakhis to Krsna for His pleasure, 5) pleasing Them by allowing Them to
taste the soft, joking speech and comments of the sakhis, and 6) decorating Their bodies
with different types of fascinating ornaments, flowers, and cloth, all expertly arranged.

2) 7) The sakhis sometimes have to seek out and discover the particular ecstatic emotion
which is hidden within the deepest core of Their hearts, 8) they have to hide the faults of
Radha or Krsna at times, 9) and sometimes they have to cheat persons who are opposed
to Their meeting. 10) Then, understanding the situation of Their deep-rooted, innermost
feelings, they give expert advice which 11) causes Them to unite happily. 12) During the
whole time they render numerous other services spontaneously, such as fanning Them
gently with jeweled peacock-tail fans and yak-tail whisks.

3) 13) Keeping in mind the benefit of Them Both, the sakhis sometimes have to chastise
Them for some fault, 14) they are highly skilled in remembering the momentary moods
and inner desires of Radharani when they convey messages between Radha and Krsna ( in
Their presence or at other times when They are separated), 15) they are most expert in
maintaining Radharani's life during the performance of Their pastimes, in accordance
with the specific changes of Her emotional ecstasies which continuously move this way
and that. These are all some of the typical services rendered during a day in the life of
Srimati Radharani's girlfriends,

4) Each sakhi is fixed up in her own specific eternal service, which she engages in
befittingly at the proper time and place. Whoever wants to do the bhajana which strictly
follows Srila Rupa Gosvami dwells upon one particular sakhi and her seva and thus
becomes her follower.

REMARKS/EXTRA INFORMATION:

Sixteen services are usually listed by Srila Rupa Gosvami. The final one, not mentioned
here, is sarva-visaye prayatna --- special care and attention in all matteers.

Song Name: Panca Sakhi Madhya Cara Nitya Siddha

Official Name: Rupanuga Bhajana Darpana Song 18

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS:

(1)

pañca-sakhī madhye cāra nitya-siddha rādhikāra

se sakale sādhana nā koilo

sakhī boli' ukta jei sādhana-prabhābe tei

braja-rāja pure bāsa pāilo

(2)
sei sakhī dwi-prakāra sādhanete siddha āra

sādhana-para boliyā gaṇana

siddha boli' ākhya tāńra gopī-deha hoilo jāńra

kori' rāge jugala-bhajana

(3)

kṛsn
̣ ̣ākṛṣṭa muni-jana tathā upaniṣad-gaṇa

je nā loilo gopīra swarūpa

sādhana ābeśe bhaje siddhi tabu nā upaje

braja-bhāba-prāpti aparūpa

(4)

je je śruti-muni-gaṇa gopī haya su-bhajana

korilo sakhīra pada dhari'

nitya-sakhī-kṛpā-bale tat-sālokya-lābha-phale

sebā kore śrī-rādhā-śrī-hari

(5)

debī-gaṇa sei bhābe sakhīra sālokya-lābhe

kṛsn
̣ ̣a-sebā kore sakhī ho'ye

brajera bidhāna eho gopī binā āra keho

nā pāibe braja-juba-dwaye

TRANSLATION

1) Amongst the five divisions of Radharani's sakhis, four of these groups are nitya-siddha,
or eternally situated in their roles. They did not have to perform any ritualistic sadhana to
achieve their position. The fifth division known as “sakhi” consists of new gopis who have
attained residence in Vraja by dint of their sadhana practice.
2) These sakhis are also of two varieties --- those still situated in their sadhana practice as
sadhaka manjaris, and those who are already situated in their spiritual bodies beyond the
rules of sadhana. Thus those who attain perfection receive the body of a gopi and
continuously worship the Divine Couple in spontaneous love.

3) There are many great saints and devotees as well as the personified Upanishads
themselves who are all attracted by Lord Krsna, but who haven't accepted the topmost
perfection of receiving the form of a gopi. Although they are all definitely absorbed in
their regulative worship of the Lord, their eternal spiritual perfection still doesn't awaken
fully, because attainment of the mood of Vraja is a very uncommon and rare perfection.

4) But it is heard from authoritative sources that there are some great souls who execute
their worship in the mood of the gopis, catching a firm grip on the lotus feet of one of
Radharani's girlfriends. Then, by the power of that nitya-sakhi's affectionate favor, one
ultimately attains a residential place in that sakhi's own abode, where she eternally
spends her time waiting on the Divine Couple Sri Radha and Sri Hari.

5) Thus one becomes one of Radharani's eternal girlfriends just to be able to render
eternal service to the pleasure of Krsna within the same abode of another sakhi. This is all
due to voluntarily accepting the mood of that sakhi. This is actually the only real law
which allows one entrance into Vraja --- that is, without the favor on another merciful
gopi, it is absolutely impossible for anyone to enter into the ecstatic eternal service of the
ecstatic eternal Lovers.

Song Name: Parama Caitanya Hari

Official Name: Rupanuga Bhajana Darpana Song 19

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali
LYRICS:

(1)

parama caitanya hari tāńra śakti baneśwarī

parā śakti boli' bede gāya

śaktimāne sebibāre śakti kāya-byūha kore

nānā śakti tāhe bahirāya

(2)

ādhāra-śaktite dhāma ahwaya-śaktite nāma

sandhinī-śaktite bastu jata

sambit-śaktite jñāna taṭasthā jība-bidhāna

hlādinīte koilo sakhī-brata

(3)

nitya-siddha sakhī saba hlādinīra su-baibhaba

hlādinī-swarūpa mūla rādhā

candrābalī ādi jata śrī-rādhāra anugata

keho nāhe rādhā-premerabādha

(4)

premera bicitra gati prati-dwandwi ho'ye sati

candra kore rādhā-prema puṣṭa

saba sakhīra eka-mana nānā-kaye nānā-jana

braja-juba-dwandwe kore tuṣṭa

TRANSLATION

1) Lord Hari is the Supreme form of consciousness, and His potency is the Mistress of the
Vrndavana forest. All the Vedas sing about Her being the transcendental internal potency
(para-sakti). To render service to Him Who is the potential source of all potencies, She
expands Her internal potency into many bodily forms, with numerous different types of
potencies flowing out and spouting from the energetic source in all directions
simultaneously.

2) Her internal potency is the abode and container of all potencies, and it invokes the
other divisions called sandhini, samvit, and hladini. With its sandhini existence potency it
transforms to produce all things of substance within the spiritual and material worlds.
With its samvit cognizant potency it produces all knowledge, which has a marginal sector
called jiva-sakti, the multitude of conscious spirit souls. With its hladini pleasure potency,
the assembly of Radha's girlfriends are produced and enlivened.

3) The topmost divine wealth of the hladini pleasure potency is the multitude of Her
girlfriends, who are all eternally perfect in spiritual bliss. And the original root cause and
primeval source of this hladini-sakti is none other than Srimati Radharani Herself, Who is
the embodiment of this supreme pleasure potency. Even the other apparently opposing
gopis, headed by Candravali are all actually subordinate followers of this transcendental
Goddess Sri Radha, for the fact is that no one can possibly obstruct the gushing flow of
Her pure selfless divine love for Lord Krsna.

4) The wonderful, unique movement of Their loving affairs is such that Candravali
appears to oppose and rival Radharani, but this simulated competition is actually chaste,
for it is meant to nourish Radharani's pure love for Krsna. Indeed, all the sakhis possess
many different bodies and many different moods, but their mind is factually one and one
only, for their sole, mutual interest is to give complete satisfaction and total pleasure to
the youthful Divine Couple of Vraja.

Song Name: Krsna Krsna Bhakata Gata

Official Name: Rupanuga Bhajana Darpana Song 20

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS:

(1)

kṛsn
̣ ̣a kṛṣnạ -bhakata-gaṇa guṇa nāma su-carita

maṇḍana sambandhi taṭasthādi

bhāba jata agaṇana e rasera uddīpana

hetu boli' bole rasa-bedi

(2)

mānasa bācika punaḥ kāyikate tina-guṇa

nāma-kṛsn
̣ ̣a śrī-rādhā-mādhaba

nṛtya baḿśī-gāna gati go-dohana go-āhuti

aghoddhāra goṣṭhete tāṇḍaba

(3)

mālyānulepana āra bāsa bhūṣā ei cāra

prakāra mandana sobhākāra

baḿśī śṛńga bīṇā raba gītaśilpa su-saurabha

padāńka-bhūṣaṇa bādya-swara

(4)

śikhi-puccha gābhī yaṣṭi beṇu śṛńga preṣṭha-dṛṣṭi

adri-dhātu nirmālya go-dhūli

bṛndābana tad-aśrīta gobardhana rabisutā

rāsa ādi jata līlā-sthali

(5)

khaga bhṛńga mṛga kuñja tulasikā latā-puñja

karṇikāra kadambādi taru

śrī-kṛṣṇa-sambandhi saba bṛndābana su-baibhaba

uddīpana kore rasa cāru

(6)

jyotsnā ghana saudaminī śarat-pūrṇa-niśāmaṇi

gandha-bāha āra khaga-coya

taṭasthākhya uddīpana rasāswāda-bibhābana

kore saba hoiyā sadoya

TRANSLATION

1-6) Those who are wise regarding transcendental mellows describe certain things which
stimulate the awakening of limitless ecstatic emotions. These things are called uddipana,
and are borne of the relationship between Krsna and His devotees. There are six
categories of uddipanas known as: 1) guna (personal qualities), 2) nama (holy names), 3)
carita (characteristic activities), 4) mandana (bodily adornments), 5) sambandhi (related
paraphernalia), and 6) tatastha (natural phenomena). 1) guna (personal qualities): there
are three types of personal qualities which stimulate ecstatic love for Krsna - those which
are of the body, of the mind, and of the words. 2) nama (holy names): there are
innumerable name-stimulants such as Krsna, Sri Radha-Madhava, etc. 3) carita
(characteristic activities): stimulants such as Krsna's ecstatic dancing, flute-playing,
singing, mode of walking, method of milking the cows, how he calls His cows personally,
His lifting of the Govardhana hill, and His specially wild, frantic dances with the cowherd
boys out in the pasturelands. 4) mandana (bodily adornments): there are four types of
bodily adornments by which Krsna is beautified --- A) flower decorations such as
garlands, earrings, crowns, etc. B) substances that are smeared such as ground
sandalwood pulp, various oils and perfumes, etc. C) different types of exotic clothing,
sashes and scarves, etc. D) ornaments such as anklebells, belts, medallions, bangles,
armlets, and crowns, made from precious metals and jewels, etc. 5) sambandhi (related
paraphernalia): assorted stimulants include the tooting of His flute, the bugling of His
buffalo horn, the sound of His lute-playing (vina), the technique of the songs He
composes, His creativity of design in arts and crafts, His all-pervading bodily fragrance,
His footprints, the sound of His ornaments tinkling, the sound of various other musical
instruments He plays, the peacock feathers He wears in His crown or holds in His hand,
His cows, His bejeweled walking stick, His collection of flutes made from various
materials, assorted buffalo horns, the sight of His dear most friends, the colorful minerals
from Govardhana hill which the boys smear on themselves, forest flower garlands, the
dust raised from the cows' hooves, and various places of pastimes that are sheltered in
Vrndavana such as Govardhana hill, the Yamuna river (who is the Daughter of the Sun),
the place of the rasa dance, and many other locations of pastimes, as well as large birds
like peacocks and cranes, etc., bumblebees humming His glories, she- and he-deer, forest
bowers, Tulasi trees, clusters of creepers, bright marigold plants, trees such as the
kadamba and others --- all these things are the naturally beautiful opulences of the
Vrndavana forest which stimulate the most beautiful ecstatic mellows. This is due to the
direct relationship of all these things with Krsna and His eternal pastimes. 6) tatastha
(natural phenomena): other stimulants include the Vrndavana moonlight, the clouds, the
lightning of the rainy season, the full moon of the autumn season, the sweetly-scented
breeze, and small birds like sparrows and finches, etc. --- all these natural opulences
together produce a favorable situation just to enable Radha-Krsna and Their devotees to
fully relish the most tasty mellows.

Song Name: Vibhavita Rati Jabe

Official Name: Rupanuga Bhajana Darpana Song 21

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS:

(1)

vibhāvita rati jabe kriyāpara ho'ye tabe

anubhāba hoya to' udita

citta-bhāba udghāṭiyā kore bāhya su-bikriyā

jakhana je hoya to' ucita

(2)

nṛtya gīta biluṇṭhana krośana tanu-moṭana

huńkāra jṛmbhana ghana-śwāsa

lokanāpekhita mati lāla-sraba ghūrṇa ati

hikkadoyā aṭtạ aṭṭa hāsa

(3)

gātra citta jata saba alańkāra su-bibhāba

nigadita biḿśati prakāra

udbhāswara nāma tāra dhammilyā saḿsraṇa āra

phulla ghrāṇa nībyādi bikāra

(4)

bilāpālāpa samlāpa pralāpa o anulāpa

apalāpa sandeśātideśa

apadeśa upadeśa nirdeśa o byapadeśa

bācikānubhābera biśeṣa

TRANSLATION

1) When one experiences ecstatic love stimulated by the above-mentioned uddipanas,

then a natural resultant reaction occurs in one's body. This is called anubhava. It is like
opening the doors of the heart, thus releasing the emotions. When the ecstasy thus
comes to the external plane, some fine physical reactions become visible, which are quite
befitting of the emotions which are revealed from within the heart.

2) The thirteen anubhavas are dancing, singing, rolling on the ground, crying, stretching
the body, loud shouting, yawning, deep sighing, complete disregard of public opinion,
drooling, dizziness, uncontrollable hiccups, and extremely loud roaring laughter just like
a madman.
3) It is said that there are twenty alankaras, or sensual enhancements of the body and
mind. One type called udbhasvara includes letting down the hair, sniffing flowers, and
adjusting the belt of one's sari, etc.

4) There are also twelve vacika or verbal anubhavas, namely 1) vilapa (words of
lamentation), 2) alapa (witty flattery), 3) samlapa (conversations), 4) pralapa (frivolous
babbling), 5) anulapa (repeating the same thing over and over again), 6) apalapa (giving
another meaning to a previous statement) 7) sandesa (sending a message to a lover afar),
8) atidesa (to say "his words are my words"), 9_ apadesa (saying one thing to indicate
something else), 10) upadesa (words of instruction), 11) nirdesa (to clarify "I am that same
person"), 12) vyapadesa (to reveal the heart under another pretension).

Song Name: Sthayi Bhavavista Citta

Official Name: Rupanuga Bhajana Darpana Song 22

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS:

(1)

sthāyī bhābābiṣtạ citta pāiyā bibhāba-bitta

udbhaṭa bhābete āpanāra

prāṇa-bṛtte nyasa kore prāṇa sei nyāsa-bhore

deha prati bikṛti cālāya

(2)

baibarṇya romañca sweda stambha kampa swara-bheda

pralayāśru e aṣṭa bikāra

sañcārī je bhābacoya harṣāmārṣa āra bhoya

biṣāda bismoyādi tāra

(3)

prabṛtti kāraṇa hoya līlā-kāle rase loya

āpane koraya anukhaṇa

dhūmayitā ujjwalitā dīptā āra su-uddīptā

ei cāri abasthālakhaṇa

(4)

jāra jei adhikāra sāttwika bikāra tāra

se lakhaṇe hoya to' udoya

mahā-bhāba daśā jathā su-uddīptā bhāba tathā

anāyāse su-lakhitā hoya

TRANSLATION

1) When one's consciousness is overwhelmed with one's permanent ecstasy (sthayi-

bhava), and attains the wealth of all special stimulants (vibhava), then another effect is
produced of its own accord. That is, the life-air is regulated and forcibly directed within
the body, thus causing various unusual transfigurations of the body.

2) The eight sattvika-vikaras are: changing of bodily colors, standing up of hairs,

perspiration, shivering, choked voice, physical devastation, mental stupor, and torrents of
tears. There are also 33 other transitory ecstasies known as sancari, including such
emotions as jubilation, sorrow, fear, anguish, wonder, etc.

3) According to the particular mellow at play during any given lila of Radha-Krsna's
eternal pastimes, then the sattvika bhava can take on four different degrees of intensity,
namely 1) dhumyita (smoldering), 2) ujjvalita (ignited), 3) dipta (burning), and 4) uddipta
(blazing).
4) Whoever has the adhikara or the capacity of qualification for these ecstasies
experiences the awakening of the symptoms of the eight sattvika-vikaras. However, only
in the mahabhava stage (as in Srimati Radharani) is it possible to observe the ornament of
the uddipta blazing ecstasy.

Song Name: Nirbeda Bisada Mada

Official Name: Rupanuga Bhajana Darpana Song 23

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS:

(1)

nirbeda biṣāda mada dainya glāni śramonmāda

garba trāsa śańkā apasmṛti

ābega ālasya byādhi moha mṛtyu jaḍatādi

brīḍā abahitthā āra smṛti

(2)

bitarka cāpalya mati cintautsukya harṣa dhṛti

ugrālasya nidrāmarṣa supti

bodha hoya ei bhāba-coya trayas-triḿśat sabe hoya

byabhicārī nāme labhe jñapti

(3)
atulya madhura rase ugrālasya nā paraśe

āra saba bhābajathājatha

udi' bhābābeśa sukhe sthāyī-bhābera abhimukhe

biśeṣa āgrahe hoya rata

(4)

rāgāńga sattwa āśroye rasa-joga sañcaroye

jena sthāyi sāgarera ḍheu

nija kārja sādhi' tūrṇa sāgara koriyā pūrṇa

nibe āra nāhi dekhe keu

TRANSLATION

1-2) The following 33 emotions are known as vyabhicari bhavas: indifference, melancholy,
madness, humility, fatigue, vanity, pride, apprehension, fear, forgetfulness, anxiety,
laziness, malady, fascination, death, stupor, shyness, concealment, memory, debate,
fickleness, temperament, thoughtfulness, curiosity, delight, patience, envy, violence,
sleep, deep sleep, sadness and alertness.

3) The vyabhicari bhava called violence, however, can not touch the incomparably sweet
madhura rasa. All of the other vyabhicari successively arise and flow towards the sthayi
bhava, circulating themselves around it happily in their own respective ways.

4) Under the shelter of the pure goodness produced by spontaneous devotional

attachment, these vyabhicari emotions circulate about in conjunction with the particular
rasa in play. They are all just like waves on the sthayi bhava ocean. They arise, do their
emotional work, and then quickly slip back again into the ocean, not to be seen by
anyone anymore.

Song Name: Sadharani Samanjasa

Official Name: Rupanuga Bhajana Darpana Song 24

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS:

(1)

sādhāraṇi samañjasā sthāyī lābhe bhāba daśā

kubjā āra mahiṣī pramāṇa

eka braja-debī-gaṇe mahā-bhāba sańghaṭane

rūḍha adhirūḍha su-bidhāna

(2)

nimeṣāsahyatā tāya hṛn-mathane khinna prāya

kalpa khaṇa saukhye śańkākula

ātmābadhi bismaraṇa khaṇa kalpa bibecana

joge bā bijoge samatula

(3)

adhirūḍha bhābe punaḥ dwi-prakāra bheda śuna

modana mādana nāme khyāta

biśleṣa daśāte punaḥ modana hoya mohana

dibyonmāda tāhe hoya jata

(4)

dibyonmāda dwi-prakāra citra-jalpodghūrṇa āra

citra-jalpa bahu-bidha tāya

mohanete śrī-rādhāra mādanākhya daśā sāra

nitya-līlāmoyī bhāba pāya

(5)

sādhāraṇī dhūmayitā samañjasā sadā dīpta

rūḍhe tathoddīpta samarthāya

śuddīpta śrī-rādhā-prema jena ujjwalita hema

modanādi bhābe sadā tāya

TRANSLATION

1) The highest limits that the sthayi-bhava can attain are fixed up according to different
divisions of Krsna's lovers. The girl Kubja of Mathura and Krsna's 16,000 Queens of
Dvaraka are examples of the bhavas known respectively as sadharani (the fickle love-
infatuation felt by common girls) and samanjasa (the consistent love felt by wives).
However, only the Vraja gopis can attain the advanced states of maha- bhava known as
rudha (advanced) and adhirudha (highly advanced).

2) The symptoms of rudha ecstasy are: intolerance of separation even by the blinking of
an eye, the churning of the hearts of persons nearby, experiencing a millennium spent
with Krsna to be like an instant, experiencing an instant of separation from Krsna to be
like a millennium, feeling great pain in worrying about Krsna's happiness, and
forgetfulness of self-identity. All these anubhavas of the rudha ecstasy can be experienced
in both union and separation.

3) Now kindly hear of the two divisions of the adhirudha maha-bhava, known as modana
(divine pleasure) and madana (madly intoxicated amorous exhilaration). In separation
from Krsna, the modana also becomes what in known as mohana (wonder-struk
astonishment) at a certain stage, thereby producing a transcendental madness called
divyonmada.

4) This divyonmada also has two divisions known as 1) citra-jalpa (various types of insane
raving speech). and 2) udghurna (uncontrollably wonder-struck giddiness). After She
relishes Her mohana state of wonder-struck astonishment, Sri Radha attains an even
more essential condition called madana, or madly intoxicated amorous exhilaration. This
is the summit of ecstasy that stimulates the flow of Her eternal pastimes.

5) The sadharani lovers (common girls like Kubja) have smoldering love. The samanjasa
lovers (consistent wives like the Queens of Dvaraka) have ignited love. The samartha
lovers (the Vraja gopis) have burning ecstasy; but above all of them, Sri Radha's loving
ecstasies are brilliantly blazing like the dazzling shimmer of pure gold, for only in Her
moods can one find these topmost brilliant ecstasies headed by modana and madana.

Song Name: Sri Ujjvala Rasa Sar

Official Name: Rupanuga Bhajana Darpana Song 25

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS:

(1)

śrī ujjwala rasa sāra swabhābataḥ dwi-prakāra

bipralambha sambhoga ākhyāna

binā bipralambhāśroya sambhogera puṣṭi noya

tāi bipralambhera bidhāna

(2)

pūrba-rāga tathā māna prabāsa baicttya-jñāna

bipralambha cāri to' prakāra

sańgamera pūrba-rīti labhe pūrba-rāga khyāti

darśane śrabaṇe janma tāra

(3)

anurakta dam-patira abhiṣṭa biśleṣa sthira

darśana birodhi bhāba māna

sa-hetu nirhetu māna praṇayera pariṇāma

praṇayera bilāsapramāṇa

(4)

sāma-bheda kriyā dāne natyupekhā su-bidhāne

sahetu mānera upaśama

deśa kāla beṇu-rabe nirhetuka mānotsabe

kore ati śīghra uparama

(5)

biccheda āśańkā hoite premera baicittya citte

premera swabhābe upajoya

deśa grāma banāntare priyā je prabāsa kore

prabāsākhya bipralambha hoya

TRANSLATION

1) The most brilliant mellow of conjugal love has two natural divisions: vipralambha
(separation) and sambhoga (enjoyment together). The pleasure felt in union cannot be
properly appreciated without the experience of suffering in separation. That is the
function of vipralambha.

2) There are four types of vipralambha, namely 1) purva-raga (preliminary affection), 2)

mana (pouting), 3) pravasa (distant sojourn), 4) prema-vaicittya (feeling separation even
in the presence of the lover). The purva-raga is the infatuated condition that arises prior
to union as a result of either seeing or hearing about the lover.
3) Mana arises when one of the attached couple starts pouting and becomes firmly
determined to stay aloof from the other, being averse even to looking at the other. This
particular state of affection has two sides to it, namely sahetu mana (pouting for a good
reason), and nirhetu mana (pouting for no reason at all). These are standard twists which
commonly occur during the course of transcendental loving affairs.

4) Sahetu mana can be pacified by: 1) sama (pleasing words of consolation). 2) bheda
(witty remarks), 3) kriya (worship), 4) dana (giving presents), 5) nati (falling down at the
feet), 6) upeksa (indifference). When a pouting festival is created by nirhetu mana, it can
be mitigated very quickly by being in a beautiful place, or by the passing of time, or
simply by the sound of flute-music.

5) Prema-vaicitya comes about even in the presence of the lover by an intense fear of
impending separation, thus causing an unusual transformation of the heart. This is a
natural characteristic of pure prema. The symptom known as pravasa comes about when
one's beloved has traveled to another forest, town or country. Thus there are four stages
of vipralambha (love-in-separation).

Song Name: Darasana Aslesanvita

Official Name: Rupanuga Bhajana Darpana Song 26

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS:

(1)

darśana āśleṣanwita ānukūlya sebāśrīta

ullāse ārūḍha jei bhāba

juba-dwandwa hṛdi mājhe rasākāre su-birājye

sambhogākhya tāra hoya lābha

(2)

mukhya gauṇa dwi-prakāra sambhogera su-bistāra

tad ubhoya cāriṭi prakāra

sańkhipta sańkīrṇa jāna sampanna samṛddhimāna

pūrba bhābābasthā anusāra

(3)

pūrba-rāgāntare jāhā sańkhipta sambhoga tāhā

mānāntare sańkīrṇa pramāṇe

khudra prabāsābasāne sampanna samṛddhimāne

su-dūra prabāsa abasāne

(4)

sampanna dwi-bidha bhāba āgati o prādurbhāba

manohara sambhoga tāhāya

swapne āi saba bhāba jahe hoya ābirbhāba

tabe gauṇa sambhoga jānāya

TRANSLATION

1) Sambhoga is defined as follows: it is that ecstatic mutual mood between the young
couple Radha and Krsna which is enhanced by looking at each other, by embracing, by
worshipping and attending each other favorably, which surmounts the highest pinnacle
of elated bliss, and which is present within both Their hearts as personified rasa. Such a
mood of Theirs together is called sambhoga.

2) Sambhoga expands nicely into two main headings, mukhya (primary), and gauna
(secondary). Both of these headings can each have four varieties of contacts, namely 1)
samksipst (very brief and simple meeting), 2) samkirna (narrow --- slightly hindered by
fear, etc.), 3) sampanna (affluent --- a warm loving meeting after a sojourn), and 4)
samrddhimana sambhoga (fully enriched to the maximum). Each of these four types of
union follows one of four types of separation as follows:

3) The systematic appearance of the four mukhya sambhogas are 1) samksipt sambhoga,
occurs after purva-raga (simple union after preliminary affection), 2) sankirna sambhoga
occurs after mana (narrow union after pouting), 3) sampanna sambhoga occurs after a
brief pravasa (affluent union after a short sojourn), and 4) samrddhimana sambhoga
occurs after a long pravasa (fully enriched union after a long sojourn).

4) The sampanna sambhoga has two variations which produce very enchanting unions.
They are two types of arrivals: 1) agati (formal or pre-arranged arrival) and 2) pradurbhava
(sudden appearance among those who are eager). Also there are meetings and pastimes
together in dreams. These factual dream-lilas come under the second heading as gauna
sambhoga (secondary category of union).

Song Name: Sandarsana Sasparsana

Official Name: Rupanuga Bhajana Darpana Song 27

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS:

(1)

sandarśana saḿsparśana jalpa bartma-nirodhana

rāsa bṛndābana-līlā bhūri

jala-keli jamunāya naukā-khelā cauryatāya

ghaṭṭa-līlā kuñje lukocuri

(2)

madhu-pāna badhū-beśa kapaṭa nidrā-ābeśa

dyūta-krīḍā bastra ṭānāṭāni

cumbāśleṣa nakhārpaṇa bimbādhara sudhā-pāna

samprajoga ādi līlā māni

(3)

sambhoga prakāra saba sambhogera mahotsaba

līlā hoya sadā su-peśala

sei līlā aparūpa ujjwala rasera kūpa

tāhe jāra hoya kautūhala

(4)

cid-bilāsa rasa-bhore rati-bhāba rasa dhore

mahā-bhāba parjanta baḍaya

je jība saubhāgyabān līlā-joge su-sandhān

braje bāsi' satata koraya

TRANSLATION

1) There are unlimited numbers of ecstatic lilas which Radha and Krsna play daily all
throughout Vrndavana with Their girlfriends. They sometimes look at each other in
different ways, touch and caress each other, converse in many different types of talks, and
sometimes block each others' path. They sport the rasa dance, or play different types of
water sports in the Yamuna river, and sometimes Krsna takes the role of a boatman while
They engage in different types of pastimes in a boat on the Yamuna. There are different
kinds of joking thefts – sometimes Krsna steals Radharani's necklace, and almost every
day He gets His flute stolen by Radharani and Her friends. Sometime They play the ghatta
lila, better known as the dana-keli – His begging of charity from the yougurt-pots of the
gopis. And sometimes They run around playing hide-and-seek throughout the forest
bowers.
2) Sometimes They get drunk on huge quantities of honey-wine, sometimes Krsna comes
in numerous types of women's dress, and sometimes He pretends to be sleeping just to
listen to the sakhis talk about Him. They have gambling matches with dice and place
different kinds of bets, They sometimes have a tug-of-war with each other's clothes, and
sometimes there is kissing, embracing, clawing with fingernails, drinking the nectar of
berry-red lips, and conjugal union. Thus some of Radha-Krsna's innumerable daily
pastimes are understood.

3) All these different types of union constantly produce a gala festival of most charmingly
beautiful playful pastimes. All these lilas are uncommonly wonderful --- they are a
veritable reservoir filled with the most brilliant mellows of the conjugal rasa.

4) Only an extremely rare and highly fortunate soul takes a curios delightful interest in
such daily lilas of Sri Sri Radha-Krsna. He constantly lives in Vraja and takes on all the
ecstatic moods of transcendental affection (rati), which keeps swelling and increasing all
the way up to the topmost beatific peak of mahabhava. Thus saturated with Their
transcendental daily pastimes and absorbed in Vraja consciousness, such a precious
fortunate soul always inquires and searches after the means to enter into those pastimes.

Song Name: Rasa Tattva Nitya Jaiche

Official Name: Rupanuga Bhajana Darpana Song 28

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS:

(1)

rasa-tattwa nitya jaiche braja-tattwa nitya taiche

līlā-rasa eka kori' jñāna

kṛsn
̣ ̣a je sākhāt rasa sakala-i kṛṣṇera baśa

beda bhāgabate kore gāna

(2)

śrī-kṛṣṇa parama tattwa tāra līlā śuddha sattwa

māyā jāra dūra-sthita dāsī

jība prati kṛpā kori' līlā prokāśilo hori

jībera mańgala abhilāṣī

(3)

brahmā śeṣe śiba jāra anweśiyā bāra bāra

tattwa bujhibāre nāhi pāre

brahmera āśroya jini paramātmāra aḿśī tini

swayaḿ bhagabān boli' jā're

(4)

sei kṛṣnạ doyāmoya mūla-tattwa sarbāśroya

ananta-līlāra eka khani

nirbiśeṣa līlā bhore brahmatā prokāśa kore

swīya ańga kānti guṇa-maṇi

(5)

aḿśa paramātmā ho'ye baddha-jība-gaṇa lo'ye

karma-cakre līlā kore kota

deba-loke deba-saha upendrādi ho'ye teha

deba-līlā kore kota śata

(6)

parabyome nārāyaṇa ho'ye pāle dāsa-jana

deba-deba rāja rājeśwara

sei kṛṣnạ sarbāśroya braje nara-paricoya

nara-līlā korilo bistāra

TRANSLATION

1) One should make himself aware that all the fundamental eternal truths concerning
rasa, Vraja, and Krsna's pastimes are one and the same principle of lila-rasa. And Krsna
Himself is directly the personification of this rasa. All things are completely under His
control, as confirmed throughout the Vedas and the Srimad Bhagavatam.

2) Sri Krsna is the Supreme Truth, and all His pastimes are of the nature of
transcendental pure goodness. Maya is situated at a distance as His humble maidservant.
Just to show His causeless mercy to all the conditioned souls, the Lord manifests His
transcendental pastimes before their very eyes within the mundane world. This just
shows how much He desires their welfare.

3) Krsna is Himself the only Supreme Personality of Godhead. Even Lord Brahma, Lord
Anantadeva and Lord Siva are trying to find Him out again and again, but still they are
not able to understand Him fully. The vast Brahmana effulgence emanates from Him
only, and the all-cognizant Supersoul is only His tiny fractional portion.

4) This Lord Krsna is full of all good qualities. He is most merciful, He is the basic root of
all truths, and all things in the material and spiritual worlds rest in Him alone. He even
manifests His own bodily effulgence as the impersonal Brahman to have some impersonal
pastimes. Thus He is just like a gold-mine of unlimited lilas.

5) His lilas are everywhere. Becoming His own partial plenary portion as the Supersoul,
He performs many lilas by taking all the conditioned souls for a ride on the revolving
wheel of fruitive action and reaction. Appearing in the higher planetary system in
incarnations such as Vamanadeva, He performs many more lilas along with the demigods.
6) In the spiritual sky on the Vaikuntha planets, He becomes Lord Narayana and
maintains hosts of servants there as the God of all Gods and the King of all Kings. This
selfsame Lord Krsna, the refuge and abode of all beings and all creations, in spite of such
incredible spiritual and material opulences, likes most of all to appear just like an
ordinary human being in Vraja, and so He remains happy by expanding so many human-
like lilas.

Song Name: Krsner Jateka Khela

Official Name: Rupanuga Bhajana Darpana Song 29

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

LYRICS:

(1)

kṛsn
̣ ̣era jateka khelā tāra madhye nara-līlā

sarbottama rasera āloya

e rasa goloke nāi tabe bolo kothā pāi

braja-dhāma tāhāra niloya

(2)

nitya-līlā dwi-prakāra sāntara o nirantara

jāhe mājhe rasikera mana

janma-bṛddhi daitya-nāśa mathurā dwārakā-bāsa

nitya-līlā sāntare gaṇana

(3)

dibā rātra aṣṭa-bhāge braja-jana anurāge

kore kṛṣṇa-līlā nirantara

tāhāra birāma nāi sei nitya-līlā bhāi

brahma-rudra-śeṣa agocara

(4)

jñāna joga koro jata hoya tāhā dūra-gata

śuddha rāga nayane kebala

sei līlā rākhita hoya parānanda bitaroya

hoya bhakta-jībana sambala

TRANSLATION

1) Among all of Lord Krsna's pastimes, His lila as an ordinary human being is certainly the
best of all, for these pastimes are like an unlimited reservoir of ecstatic transcendental
mellows. These mellows are not even available on other planets in the spiritual sky. So
then tell me where are they available? Such things can only be had in the topmost abode
of Vraja-dhama.

2) Krsna's eternal pastimes are of two types, which are always meditated on by those who
know how to relish the mellows --- 1) santara (pastimes performed in the material world
at intervals, with a beginning and an end, but which repeat eternally), and 2) nirantara
(pastimes performed in the spiritual world as perpetual asta-kaliya or eight-fold daily
sports). Pastimes called santara include Krsna's birth, His growth through childhood and
youth, the killing of many different kinds of demons, and His journey to and residence at
Mathura and Dvaraka.

3) Those pastimes which are called nirantara are performed incessantly, in eight time
divisions the entire day and night. These sports are motivated by His pure loving affection
for the residents of Vraja. These pastimes do not stop even for a second --- therefore it's
called nitya-lila, oh brothers! These eight-fold daily pastimes are imperceptible even for
Lord Brahma, Lord Siva and Lord Ananta-sesa.
4) Just toss out all of your speculative knowledge and yoga practice, for all of these
ecstatic lilas of Vraja are just waiting for you to behold them with your eyes of unalloyed
affection opened wide. These transcendental pastimes are capable of giving you only one
thing ---topmost spiritual bliss far beyond anything you can even imagine. This only is
the sole sustenance in the lives of pure devotees who follow in the footsteps of Srila Rupa
Gosvami.