Srī Advaita's Stavarāja

Srī Advaita's Stavarāja
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Srī Srī Gaurānga Pratyānga Varnonākhya
Stavarāja
By Srī Advaita Ācārya
The Topmost Prayer Which Describes
Srī Gaurānga's Beautiful Bodily Limbs
Part One, the Stavarāja's introduction, this will examine the

process of Srī Gaurānga's Nadīyā kishora worship in a comparative
study with the Rupānugā bhakti process of Vrndāban.
Part Two, presents the entire Stavarāja with an extensive

commentary.
by the fallen sādhaka,

Gadādhara prāna dāsa
Srī Srī Gadāi Gaurānga Kunja

( near Srī Māyāpura Ghāta beside the Gangā )
Srī Māyāpura, Nadīā
email : gadadhar_das000@yahoo.co.in
or rbains@hotmail.co.uk
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Srī Narahari Sarkāra Thākura's
Viraha mahotsava
452 years ago at Srīkhanda, on the Krsna-ekādasī day in Kārttika, Srī
Narahari Sarkāra Thākura's first viraha mahotsava was inaugurated by his
nephew, Srī Raghunandana Thākura, along with Srīnivāsa Ācārya and
Nityānanda's son, Srī Birbhadra Prabhu. Though still today Srī Narahari's
Vaisnava family descendants maintain the tradition of his rasarāja Gaurānga
worship, as they celebrate this festival with great pomp for 5 days every year.
A highlight of the event ( see photo ) happens on the krsna-dasamī day

when all of the Srīkhanda Vaisnava Thākuras assemble to escort Narahari's
sevita rasarāja Gaurānga vigraha in a lively nagara sankīrtana procession to
Bordanga ( 2 kilometres away ) where Srī Narahari's vilāsa kunja is located.
Along the way, Narahari and Locana's rasamaya padāvalī is sung ( with
akhoras ) in an ancient kīrtan style which dates back 4 ½ centuries. We found
this festival an exciting experience that we may never forget.
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Āshīrvānī
( A merciful Blessing )
During this blessed event, we had the pleasure of visiting the honourable
son of Srī Gauragunānanda Thākura, Srī Nityānanda Thākura of Srīkhanda, who
is presently 102 years old. Being kind, he allowed us to read this book's
manuscript to him.
And after attentively listening for some time, he showed his appreciation by
offering a hearty blessing :
“ I pray that by Srī Narahari's krpā, this book

will reach many readers throughout the world. ”
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Opening Words
(1)
Sri Gauranga's incredible beauty is such – that anyone would naturally fall
head over heels upon viewing Him ! Though it is surprising that the original mood
that His closest associates adopt to worship Him has almost become lost. In this
essay we hope to uncover what such worship entails.
(2)
As our Rādhā is mahābhāva svarupinī, Her Krsna is the rasarāja. But when
They combine – Svayam Bhagavān's most lofty feature advents as Srī Gaurānga
Mahāprabhu. Hence Gaurānga's foremost worship has two sides :
1) His Rādhābhāva upāsanā, which is documented in Caitanya caritāmrta and

promoted by our Six Goswāmīs of Vrndāban ;
2) His Rasarāja upāsanā that his Navadvīpa bhaktas reveal in their sāstras
and padāvalī.*
To worship in both ways is the most ideal and complete method.
*padāvalī : Vaisnava poetry written in rhyming Bengali verse.
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Table of Contents
A Prelude to the Līlā - 11

Srī Advaita's Authority - 14
Chapter One, Gaurānga's Original Worship - 17
Chapter Two, The Greatest Secret - 25
Chapter Three, The Advent of Rupānugā Vaisnavism - 39
Chapter Four, Manjarībhāva Sādhana - 51
Chapter Five, The Ultimate Sādhana - 65
Chapter Six, Srī Vrndābana dāsa Thākura's Warning - 77
What Inspired This Book ? - 85

Supplementary, Nadīyā nāgarībhāva in Gaudīya Vaisnava History - 87
A) The First Phase - 89
B) The Second Phase - 105
C) The Third Phase - 130
Srī Advaita Acārya's Stavarāja is Authentic - 143

About the Author – 146
Visit Srī Srī Gadāi Gaurānga Kunja – 147
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A Prelude to The Līlā
To begin our reading venture, we will need a guide. Such a person should
be closely connected to Gaurānga in the līlā, and thus be able to accurately tell
us about this realm. Our guide, and the person whom we take shelter, is Srī
Narahari Sarkāra Thākura. As Gaurānga's svarupa saktī and nitya siddha
associate, he is an ideal example to follow. This is because he can directly
award us the prema that we will require to enter the Lord's madhura līlā.
Therefore, as Srī Caitanya empowered the Six Goswāmīs to promote Srī

Krsna's Vraja līlā bhajan, Narahari Sarkāra is one of Gaurānga's foremost Ācāryas
who promotes His Navadvīpa worship.
But what makes Narahari so special ? When Gaurasundara's kaisora

pastimes were just beginning, that is when he fortuned to meet him. Here is what
happened :
Arriving in Navadvīpa, and hearing the sound of Krsna sankīrtana, Narahari

was drawn to the Gangā's shore. And as he came closer – there was Gaurānga
sundara dressed like an enchanting dancer – His effulgent golden limbs were
lighting up every direction ! Observing Prabhu musingly dance, Narahari could
fathom that He and the bhaktas were deeply intoxicated by prema.
“O my ! ” thought Narahari, “ Gaurānga's darshan is sweeping me off my feet !

Never have I experienced such an ocean of beauty ! O He must be Srī
Bhagavān, for such incredible beauty is impossible in humans ! ”
Narahari went on pondering : “ Who am I, and who is He ? Although I'm

seeing Him for the first time, He doesn't know that I'm watching Him. Still He is
stealing my mind, body and soul ! O let me offer my life to Him a hundred
times. For surely He is Svayam Bhagavān, sarva jīvera prāna.*
* sarva jīvera prāna – the very life of every living entity.
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As the Lord in the heart, Gaurānga could understand Narahari's feelings.
So then and there He pierced His heart with a loving glance ! But this made
Narahari fall in love with Him forever. Here is Narahari's testimony :
My First Encounter
beli avasane, nanadī sane, jal anibāre genu

gaurānga cāder, rupa nirākhiyā, kolasi bhangiyā enu
sange nanadinī, kāla bhujanginī, kutila kumati bhelo
nayaner bhāri, sambarite nāri, vayana sukhāye gelo
kāpe kolevara, gāya āse jora, colite nā cole pā
gaurānga cādera, rupa pāthāre, sātāre nā pāya tā
gaura kolevara, kore jalamala, sārada cādera ālo
suradhunī tīre, dārāye āche, dukula koriyā ālo
buka porisara, tāharā upor, candan phulera mālā
nayana bhoriyā, dekhite nārinu, nanadī hailo kāla
dighal dighal, nayana jugal, vidilo kusuma sore
ramanī kemone, daīraja dhoribe, madan kāpāye dhore
kahe narahari, gaurānga mādhurī, jāhār hrdaye jāge
kula sīla tār, sab bhese jaya, gorācāder anurāge
“ O sakhī ! I went to fetch water from the Gangā this afternoon with
nanadī ( my sister-in-law ). But O my ! Upon seeing Gaurānga's beautiful limbs
– my water jug slipped from my hip and broke to pieces ! This triggered
nanadī's jealousy – and she lashed at me like a poisonous snake ! I was
shaking like anything – tears poured from my eyes – and I became
fever-struck ! O sakhī ! I was drowning in the ocean of Gaurānga's bodily
splendour – and His effulgence which was brighter than countless autumn
moons lit up the Gangā's shore ! Then I noticed his broad chest anointed with
candan, and there was a colourful flower mālā tossing from there.
Ooh ! Because of wicked nanadī, I was scared stiff ! But then came His loving
glance which devastated me ! O sakhī ! How can a young girl ( such as me )
remain sober when even Cupid shakes in fear ? Narahari confesses : When a
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woman's anurāga awakens for Gaurānga's stunning beauty, won't her family
attachment and chastity get blown to smithers ? ” - Padakalpataru
Here Narahari depicts himself as a pretty Nadīyā damsel who falls in love
with Gaurānga. This stems from rupa anurāga, his romantic attraction which has
become stirred upon seeing Srī Bhagavān's incomparable beauty. In the case of
the Vraja gopīs, all it takes is to get a glimpse of Krsna's rupa mādhurī as they
go to fetch water from the Yamunā. Yet Narahari's relationship with Gaurānga
also contains a parakīyā mood. Why ? Because when Rādhā and Krsna join to
become Sacīnandana – He is truly nitya Madanmohan*.
In his Bhakticandrikā's opening verse, Narahari Sarkāra establishes this

universal siddhānta :
kāntam sāntam asesa jīva hrdāyānanda svarupam param
“As the Amorous Hero ( kānta ) Gaurānga awards His divine bliss and eternal
peace in the heart of infinite jīvas.”
This is a great discovery. Because on one hand, as we know that

Gaurānga advents to relish Radhābhāva, here Narahari goes on to state that He
also comes to offer His consorthood prema to everyone as well. Hence by
Narahari's magnanimous krpā, a vast world of Gaura līlā becomes accessible to
all – which indeed, many of us may have not known about before.
* Nitya Madanmohan : When Krsna is separated from Rādhā, Madan ( Cupid ) takes advantage
to torture Him. But when Rādhā joins with Krsna, then He can conquer even Madan. Therefore
when Rādhā and Krsna combine to become Sacīnandan, He is always Madanmohan. In other
words, he can captivate everyone !
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As the topic of Srī Advaita's Stavarāja will soon begin, we should mention
that Srī Narahari Sarkāra Thākura includes this entire prayer ( 41 verses ) in his
Bhakticandrikā's fifth chapter. And thus he verifies that :
1) the Stavarāja is indeed Srī Advaita's authentic writing ;
2) the teachings of Advaita and Narahari go hand in hand. *
Srī Advaita's Authority
Vaisnavas know that Advaita Ācārya is Gaurānga's most senior bhakta, and
the Lord Himself who induces Srīman Mahāprabhu to descend. Though apart from
His eternal role in the līlā, Advaita directs Gaurānga's very intimate madhura
pastimes through His internal Yogamāyā saktī, Srī Sītā Thākurānī.
So as we search for a Supreme Authority who can reveal the complete,

inside story of Gaura līlā, Advaita is one without a second. And hence, we shall
discover that our Six Goswāmīs follow Him and His Stavarāja's mood of worship
in Goloka Navadvīpa.
Thus Srī Advaita's prescribed method of worship is a genuine process that

everyone can take up.
* See the last article in the book entitled : The Stavarāja is Authentic.
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Chapter One
Gaurānga's Original Worship
Amongst the most ancient prayers dedicated to Srī Gaurānga, Advaita's

Stavarāja may appear new and fascinating to many. Because with Advaita's
description of Gaurānga's immaculate form, His Nadīyā kishora worship is
uncovered. And this leads to the discovery that Gaura's stunning beauty stirs in
Him the same romantic nature that Krsna has.
Advaita is revealing a whole world of madhura prema adventure, an exciting

account which resembles how the gopīs worship. For as they surrender to Krsna
with love, simply because His captivating beauty renders them spellbound and
awakens their romantic desires, the Stavarāja shows how these very same
feelings can awaken in us for Gaurānga :
prāpitāsesa purusa strīsvabhāva monākulam
“ Hey Gaurasundara, upon seeing Your handsome form, limitless men eagerly
yearn to become women ( for the chance to attain Your madhura prema
sevā ). ” - sloka 25
Now the question arises : Since Gaurānga's universally attractive form

awakens madhura pirīti in the bhaktas, and since His eagerness to relish
madhura pastimes is insurmountable, what happens next ? Advaita answers in
sloka 17 :
koti kandarpa lābanya keli līlā manoramam
sāksāt līlā tanum keli tanum srngāra vigraham
“ Hey Madanmohan Gaura ! Your glamorous prema keli ( with your beautiful
consorts ) outmatch the romantic prowess of millions of Cupids ! No wonder
You personify srngāra ( conjugal love ) – as Your transcendental body forms
the beautiful abode for all Your loving pastimes ! ”
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Chapter One
Does this depiction of Gaurasundara appear new ? Though we certainly

know about Krsna, that He enjoys loving pastimes with millions of Vraja sundarīs.
And Krsna can do all this simply because He is Svayam Bhagavān, the All
attractive Supreme Lord.
But after studying the Caitanya sāstras, rarely do we find examples which
show that our same Svayam Bhagavān, Srī Gaurahari, performs those same
pastimes. So in the Stavarāja, Advaita's wonderful contribution lies here : He
reveals Gaurānga's romantic nature and worship in a language which is clear and
easy to understand.
Here is a sample of Locana dāsa Thākura's poetry, where he demonstrates

how romantic sentiment for Gaurānga can awaken :
sacīra gorā, kāmera korā, dekhilām ghāter kule

cācara cule, beriyā bhāle, nava mālatīra māle
kācā sonā, lāge ghrna, rupera tulana dite
heno citta corā, manohāra, nāiko avanite
ki āra bolcho go soi, tomāya bhujābo ki
snāne jete, sakhīra sāthe, āmi gorā dekechi
sei rupa dekhi, duti akhi, phirāite nāre
puna tāre, dekhbār tore, koto sādha kori
ki āra bolbo go soi, tumi to ācho bhālo
āmāra maramer kathā, marame rahilo
jāgite ghumāte sadā, gaura jāge mone
locana bole, je dekheche, sei se uha jāne
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Pūrba rāga
( Madhura Prema's Awakening )
As a pretty Nadīyā kishorī comes to bathe in the Gangā, she sees

Gaurānga for the first time, and becomes spellbound ! But on the way home, she
meets a girlfriend, and tells what happened :
“ O sakhī ! I just saw Sacī's Gorā standing by the Gangā's ghāta – and
O my ! He looked just like Cupid ! His curling hair tossed so elegantly over
His forehead, and His topknot was bound with mālatī garlands. Yet now even
molten gold irks me, sakhī, as it fails to compare with His effulgent limbs. So I
confess : He's the greatest Mind-thief and Heart-stealer in the whole creation !
But what are you saying sakhī ? And how can I explain this to you ?
For I've lost my patience to see Him again. O no ! You're still acting normal –
so I really blundered to share my secret with You. Locana says : Just wait till
you see Him – then you'll know what I'm talking about. ” - Dhāmalī
Who wouldn't be attracted upon witnessing the exceptional beauty of

Gaura ? After all, He is the most attractive male in the entire creation – the form
wherein Rādhā and Krsna's incredible splendour combine. Though there is a
special reason why He appears so stunningly handsome : For He is truly bent on
sharing his madhura prema with everyone. Thus upon witnessing Gaura's rupa
mādhurī ( as this pretty damsel did ), it is not hard to imagine how the same
thing could easily happen to us.
Locana is Narahari Sarkāra's disciple, and Caitanya Mangala's author. And

to help Narahari broadcast the glories of Gaura's kāntābhāva worship he wrote
Dhāmalī for the rasika bhaktas. But here we should mention that the pretty girl in
Locana's poem just happens to be his nāgarī svarupa. For this is his testimony of
Gaura līlā's inner realm where he and countless other Gaura parikara* take part.
* parikara – Gaurānga's eternal associates.
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Chapter One
Comparing Both Outlooks
If our attraction is awakening upon hearing about Gaura's rasika activities,

we can go on to discover that Caitanya caritāmrta supports the Stavarāja's
version. And this is because our Six Goswāmīs not only take part in Gaura's
Rādhābhāva pastimes, they also join His srngāra rasamaya līlās in Goloka
Navadvīpa as well. Though this is a very confidential siddhānta. Hence we can
often find Vaisnavas nurturing an idea something like this :
“ Gaurānga never enjoys sambhoga activities such as embracing, kissing or

ratikeli as Krsna does with the gopīs. Rather, He relishes instead the bhāvas
of Vraja līlā in the mood of Srīmati Rādhārānī. ”
This is true, of course, in the līlā prakāsa where Gaura's Rādhābhāva līlās
unfold. Though it is equally true, and appreciable, that Gaurānga's romantic
srngāra pastimes unfold simultaneously in another līlā prakāsa. So because the
rasa-filled versions of the Stavarāja and Caitanya caritāmrta are both authentic,
we can discover that Gaura līlā has lots of diversity. Srīla Kavirāja Goswāmī tells
more about this in Caitanya caritāmrta :
krsna līlāmrta sāra, tār sata sata dhāra

dasadike bahe jāhā haite
sei caitanya līlā hoy, sarovara akhoya
manohamsa corāha tāhāte
“ From every direction the essence of Krsna's nectar pastimes flow in

hundreds of streams into the eternal lake of Gaura līl ā. Let the swan of your
mind glide over all of these streams.” - C. c. Madhya 25. 264
Here it says that all of the different rasa-streams of Vraja prema flow into
Gaura līlā. Thus sānta, dāsya, sākhya and vātsalya rasa are all there – along with
the mainstreams of Gaura's major focus on relishing the various flavours of
madhura rasa. Now to answer our point in question :
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Gaurānga's srngāra rasamaya līlās that Advaita presents, and His

Rādhābhāva līlās that our Six Goswāmīs present, flow side by side as two
different mainstreams in Goloka Navadvīpa Dhām. So as the Kavirāja advises:
“ Let the swan of your mind glide over all of these streams, ” surely we can take
up both mainstreams of worship ( along with any of the others ), simply on the
basis of his instruction. In other words, since Advaita and the Six Goswāmīs take
part in both līlās, so can we. Moreover, Caitanya caritāmrta also presents this
siddhānta concerning Gaurānga's dual identity :
eve hāsi prabhu tāre dekhāila svarupa

rasarāja mahābhāva dui eka rupa
“ Gaurānga then smiled and showed Rāmānanda Rāya His complete

manifestation – the form of Rasarāja Krsna and Mahābhāva svarupinī Rādhā
combined ! ” - Madhya 8. 281
Because Gaurānga's rasarāja and mahābhāva moods are both inseparable

traits of His personality, both moods are supremely worshipable. Therefore
Mahāprabhu's keenness to relish both of these moods ( which are like two sides
of a coin ) combine to form the main reason for His advent :
(1)
sei rādhā bhāva laiyā caitanyāvatāra
jugadharma nāma prema kailo pracāra
sei bhāve nija vanca kailo purāna
āvatarer ei vanca mūla je kārana
Taking up Rādhābhāva, Gaurānga advents. He also promotes the Harināma

sankīrtana yugadharma, and awards Krsna prema to the people. Though
because His desire is fulfilled in relishing Rādh ābh āva, this is the main reason
for His coming. - C.c Adi 4, 220 – 221
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Chapter One
(2)
srīkrsna caitanya gosāi vrajendra kumāra
rasamaya murti krsna sāksāta srngāra
sei rasa āsvādite kaila āvatara
anusange kailo sab rasera pracāra
Gaurānga is non-other than rasamaya Vrajendra kumāra Srī Krsna, Who

personifies srngāra rasa. Hence, he advents to relish srngāra rasa ( conjugal
loving pastimes ), as His promotion of the other rasas is secondary.
- C.c. Adi 4, 222 – 223
Since Caitanya caritāmrta states that Gaurānga advents to relish

Rādhābhāva and srngāra rasamaya pastimes, would it be befitting, then, that we
accept only one of the two forms of worship ? And because the Six Goswāmīs
are Srīla Krsnadāsa Kavirāja's siksā gurus, the view to accept both moods surely
comes from them. Let us return to Caitanya caritāmrta, for here is a story that
will help us to understand this topic :
One day Krsnadāsa Kavirāja hosted a sankīrtana festival at his home. And this
was attended by Srī Mīnaniketana Rāmadāsa, Nityānanda's pure devotee. As the
singing and dancing went on, Rāmadāsa became overwhelmed by sāttvic bhāvas
as he loudly shouted Srī Nityānanda's name !
Though owing to his pride, Krsnadāsa's brother, Gunārnava Mishra,

behaved disrespectfully with Rāmadāsa by totally ignoring him. And thus
Rāmadāsa exclaimed : “ Here we find a second Romaharsana Suta ! ”
Now what does Rāmadāsa mean to say ? To find out, let us refer to the
following story from the Bhāgavatam :
One day at Naimisāranya's forest, Romaharsana Suta was seated on the

Vyāsāsana and discoursing Krsna kathā to the sages. Then Srī Balarāma
suddenly appeared in that assembly. But without showing the least amount
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of respect to Baladeva, Romaharsana went on discoursing. And by this display of

arrogance, he committed a serious āparādha to the Lord !
Yet similarly, in our present story, when Krsnadāsa Kavirāja saw his brother
becoming disrespectful to Rāmadāsa, he chastised him saying : “ What is this ?
Although you are faithful to Srī Caitanya, you are disrespectful to Srī Nityānanda !
Your offensive behaviour to His pure devotee will ruin you ! For your logic
resembles that of one who accepts only half of the hen. ”
Though after hearing this story, won't we be committing a similar

Bhāgavata āparādha, if we accept Gaura's Rādhābhāva upāsanā, but deny His
rasarāja worship ? For this will also resemble the logic of accepting only half of
the hen.
To conclude this chapter, let us examine the essence of Advaita's teachings

in His Stavarāja, for here He focuses on Srī Gaurānga's rasarāja worship :
vidagdha nāgarī bhāva kalā keli manoramam
gadādhar premabhāva kalākranta manoratham
narahari prema rasāsvada vihavala mānasam
sarvabhāgavatāhuta kāntabhāva prakāsakam
prema pradhān lalita dvibhujam bhaktavātsalam
“ Hey Gaurasundara ! The exciting bhāvas and prema keli affairs that You
enjoy with the clever and rasa-skilled Nadīyā nāgarīs are simply enchanting.
And Gadādhara and Narahari's special prema, rasikā bhāvas and amorous
talents especially overwhelm You. But what is more, at the slightest hint, You
become the Amorous Hero ( kānta ) of every one of Your Bhāgavat
associates. Then as You embrace them with Your lovely arms, You truly
become bhaktavātsala for awarding madhura prema to all of them ! ”
- slokas 26, 27, 28
This is amazing ! For here we can discover that Advaita Ācārya is

promoting Nadīyā nāgarī bhāva. And because He is Svayam Īsvara, His teachings
form an authorised process that everyone can take up.
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Chapter Two
The Greatest Secret
Now we should ask : “ As Krsna enjoys loving affairs with the gopīs, does
Gaurānga relish those same kind of pastimes with the bhaktas ? ”
The answer to this important question will unveil the greatest mystery in
Gaura līlā :
that Gaurānga's bhaktas actually do take on divine and beautiful female

forms !
Advaita explains why :
prāpitāsesa purusa strīsvabhāva monākulam - sloka 25
“ Hey Gaurasundara ! There are limitless males who now eagerly yearn
to become female upon viewing Your exquisite beauty. ”
So to reciprocate with all of these Bhāgavata bhaktas at such times,

Prabhu takes up kāntabhāva * :
sarva bhāgavatāhuta kāntabhāva prakāsakam - sloka 28
Srī Akincana dāsa Thākura* explains this important verse in his

padyānuvada ( Bengali poetic translation ) as follows :
dese chilo jato, rasika bhakata, koto nā ādare tārā

kāntabhāva mori, prakatito kori, barase amiya dhārā
* kāntabhāva : Gaurānga, in his mood as the Amorous Hero

* Srīla Narrotama dāsa Thākura's disciple
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Chapter Two
“ Amongst all the rasika bhaktas, O how affectionate is Gaura with them
– for by taking up His kāntabhāva – He showers them in His madhura prema
rasa ! ”
And this is when Srī Yogamāya arranges the bhaktas supremely attractive
nāgarī svarupas, just as She makes all of the arrangements for Krsna and the
gopīs' loving affairs. But this surely makes sense, since a majority of Gaurānga's
associates were Krsna's Vraja gopīs to begin with. So wouldn't they wish to take
up the līlā from where they left off in Vrndāban ? Hence Gaura nāgarī bhāva is
the natural outcome of what happens when rasarāja Srī Krsna transfers His
madhura pastimes to Nadīyā.
To help get a clear understanding of what actually goes on, let us

investigate Srī Gadādhara Pandita's rasa tattva. And here is Srī Svarupa
Dāmodara's version in his Korcā :
avani suraborah srīpanditakhya jotendra

sa khalu bhavati rādhā srīgaurāvatare
narahari sarkārasyapi dāmodārasya
prabhu nija dayitanam taccāsāram matam me
“ Without a doubt, Srī Gadādhara Goswāmī, the greatest renunciate

known by the title of ' Pandita ', is Rādhā in Gaura līlā. This is the opinion of
Narahari Sarkāra, Prabhu's priya bhaktas, and myself. ”
- Bhaktiratnākara 8. 313
When Svarupa Dāmodara affirms that Gadādhara Pandita is Rādhā, now

won't our Six Goswāmīs yearn to follow after Him in Goloka Navadvīpa, as they
follow Rādhā in Vraja ?
Yet because Svarupa Dāmodara's verse endorses Narahari's authority on

Gadādhara tattva, Vaisnavas will surely benefit to examine his version in Krsna
bhajanāmrta :
26
The Greatest Secret
srīgadādhar panditasya yathā srīkrsnacaitanya sarvāvatare

prākasa bhūmistha sakal vaibhavmaya strīsamuha pradhāna bhutah
tatastraiva pandita dehe srīrādhābhāvena vilāsam kurute
vilāsa vinodamaya sakalsvabhāvastena rādhākrsna milanam
eva satyam iti, bhaktanama milaneva satyam jīvanceti
“ Just as Gaurānga is Svayam Bhagavān, the Source of all Avatāras, His

divine and opulent consorts ( the nāgarīs ) expand from Gadādhara Pandita.
So because Rādhā ( and her bhāva ) are within Gadādhara, Gaurānga enjoys
rati vilāsa with Gadādhara. In other words, just as Rādhā Krsna's very
enchanting conjugal loving union takes place in female and male forms – so
does Gadādhara and Gaurānga's. Moreover, Gaurānga's loving affairs with the
bhaktas which happen in their female forms are not only factual – but their
very life ! ”
Let us now review Advaita's last verse in Chapter One to compare it with
Narahari's version here :
So as Advaita has said,
“ vidagdha nāgarī bhāva kalā keli manoramam, Hey Gaurasundara ! The exciting
bhāvas and prema keli affairs that You share with Your rasikā n āgarīs are very
enchanting, ” He is referring to Gaurānga's first category of nāgarīs, those who
are always in female forms.
In other words, as Rupa Goswāmī presents a basic outline of 365 different

kinds of heroines ( nāyikās ) in Ujjvala nīlamani, they are all in Nadīyā as well.
For example, as there are millions of sakhīs and manjarīs belonging to
Vishnupriyā and Laksmīpriyā's jūtha, there are also countless other jūthesvarī
nāgarīs who lead their own groups.
27
Chapter Two
Then Advaita mentions the second category of nāgarīs : Gaura's male

pārsadas who transform into divinely beautiful women at select times in the līlā.
And amongst them, Advaita hints that Gadādhara and Narahari are the foremost :
“ gadādhara prema bhāva kalākranta manoratham narahari premarasāsvada

vihabala mānasam, Gadādhara and Narahari's exceptional prema, amorous
talents and enchanting bhāvas completely subjugate You. ”
Though since Gadādhara Pandita is Gaura's mula saktī, even Narahari's

female form is an expansion of Gadādhara's nāgarī svarupa – just as all of the
Vraja gopīs are an expansion of Rādhā.
Then Advaita goes on : “ sarvabhāgavatāhuta kāntabhāva prakāsakam, At

the slightest hint, You become the Amorous Hero ( kānta ) for all of Your
Bhāgavat associates, ” which means that at such times Prabhu lovingly embraces
each of them to award His madhura prema in kāntabhāva.
Then Narahari says :
bhaktanam milaneva satyam jīvanceti
that the conjugal loving affairs which the bhaktas share with Gaurānga in
their nāgarī svarupas are not only factual – but the very life of their life !
Some more Evidence
(1) Caitanya caritāmrta Adi 12. 89 :
panditer gan sab bhāgavata dhanya

prānaballabha sabār srīkrsnacaitanya
28
The Greatest Secret
“ Gadādhara Pandita's followers are all param Bh āgavatas and supremely

fortunate because Gaurānga is their prānaballabha ( Amorous Hero ). ”
Thus Srīla Kavirāja Goswāmī affirms that they are, in turn, Gaurānga's
prānaballabhās ( beloved consorts ).
(2) Srī Yadunātha dāsa, who is Srī Gadādhara dāsa's disciple, and Gaurānga's
nitya parsāda, says the same thing :
srīgaurānga carana sevā sukha vilāsinah

pandita devasya gana sarve srngārārtha kalevarāh
“ All of Gadādhara Pandita's followers have female forms to enjoy srngāra

vilāsa sevā pleasure with Gaurānga. ”
Srī Yadunatha dāsa thus concludes his small opus entitled Srī Srī
Gadādhara Pandita Goswāmīra Sākha nirnayāmrta, where he lists the names of
Gadādhara Pandita's disciples and followers.
(3) Srī Sivānanda Sena comments about Gaura and Gadādhara's vasanta-vihāra
in this way :
holi khelato gaura kishora

rasavatī nārī gadādhera kora
“ O just see ! Gaura kishora is enjoying the Holi pastime in the arms of
the rasikā damsel, Gadādhara ! ”
Here we may note, if Sivānanda hadn't seen Gadādhara's beautiful female

form, would he have made such a statement ?
(4) Gadādhara Pandita's nephew and disciple, Srī Nayanānanda Mishra, is a

famous poet and devout follower of Gaura and Gadādhara's madhura līlā.
Here is his version :
29
Chapter Two
premer kīrtana sukha nadīya nagare

premer grihinī sei pandita gadādhare
duhu duhu pirīti ārati nāhi tute
parasa param koto koto sukha uthe
nācāye gaurānga mora gadādhara rase
gadādhar nāce punah gaurānga vilāse
prakriti purusa kiba jānakī srī rāma
rādhā kānu ei kibā rati deva kāma
nayanānanda kahe premer nigura vicāra
amiya putali jeno amiya ākhāra -
- Padakalpataru
“ Gaurānga's rāsalīlā sankīrtana pleasure centers on ' Prema's loving

housewife ', Pandita Gadādhara. Both of Their fascination is overwhelming –
because as They dance and touch each other – Both of Their bodies reel in
bliss ! Gaura relishes Gadādhara's prema, and She enjoys His rati vilāsa. Just
see, They are indeed a female and male couple – just like Sīt ā Rāma, R ādh ā
Krsna and Rati Kāmadeva. Nayanānanda says, this prema is intimate as we
find Them in ambrosial male and female forms. ”
(5) Srī Narahari Sarkāra's rasa tattva has been recorded by his descendent, Srī
Gauragunānanda Thākura, in his book entitled The Ancient Vaisnavas of
Srīkhanda :
“ Srī Narahari Sarkāra Thākura serves and gives pleasure to his ' Prāna
Gaura ' in basically three ways :
1) In his male svarupa as Narahari ;

2) in his gopī svarupa as Madhumatī Sakhī ;
3) in his nāgarī svarupa.
30
The Greatest Secret
Of the three, the nāgarī bhāva is Narahari's most deeply felt mood. And
Gaurānga is the affectionate object ( visaya ) of Narahari's kāntābhāva ( mood
as a consort ). Hence this forms his sthāyi bhāva ( permanent mellow ) as the
other rasas of dāsya, sākhya and vātsalya are contained within it. ”
(6) Srī Murārī Gupta has written a number of nāgarī poems about his
relationship with Gaurānga. These appear in Padāmrta-samudhra and
Padakalpataru, which were compiled by Srī Rādhāmohan Thākura* and his
disciple Vaisnava dāsa. Here is a sample of Murārī's poetry :
dande dande tile tile, gorā rupa nā herile, marame moriyā jeno tāki
sādha hoy nirantara, hemakanti kalevara, hiyār mājhare sadā rākhi
bāreka nā dekhiya tāy, pajora dhasiyā jāya, dhāiraja dhorite nāhi pāri
anurāga duri diyā, antare ki kore hiyā, nā jāni tār koto dhāra dhāri
suradhunī tīre giyā, kula dibo bhasāiyā, ānale jvaliyā dibo lāje
gaurānga sanmukhi kori, gaurāngera kalanka mālā, galaye porite sādha lāge
murārī gupta bole, bhāle dāge dile, gupta gaurānga anurāge
“ From hour to hour and second to second my heart pines to see

Gaurānga's beautiful form ! I yearn to embrace His beautiful golden body to
my chest. But without seeing Him, my heart breaks and my patience
collapses ! O my ! He is pulling me with the rope of His love – for I failed to
estimate His subjugating power. O let my family attachment drown in the
Gangā – as my shyness burns in a bonfire. Then I'll satiate my eyes by seeing
Him before me. As a chaste young housewife, I've needlessly worked at home.
O how I yearn to wear the scandals of our loving affairs like a garland around
my neck. Murārī Gupta confesses, hasn't he placed a fine scar on my forehead
for our secret love ! ”
* Rādhāmohan Thākura is Srīnivāsa Ācārya's great great grandson, and in the opinion of Narahari
Cakravarti, Srīnivasa Ācārya's second incarnation.
31
Chapter Two
Murārī lived in the same neighbourhood as Nimāi and was His senior
classmate in Gangādāsa Pandita's Sanskrita school. Thus witnessing the Lord's
pastimes from the beginning, Murārī kept a diary ( korcā ) to record Nimāi's
Navadvīpa activities. This Korcā later became the source from where Vrndāban
dāsa, Kavikārnapura, Locana dāsa and Krsnadāsa Kavirāja collected information to
write their own Caitanya biographies. Hence as a forerunner of Gaurānga's other
biographers, Murāri's pen certainly commands authority. So as he writes about
nāgarī bhāva in context with himself, we can know that such romantic love for
Gaurānga is an essential part of His Nadīya līlā.
(7) Before we investigate about Srī Nityānanda's nāgarī svarupa, it will help to
hear about what happened to Him in Vrndāban : Once upon a time, Balarāma
went to Rādhārānī and requested Her for a boon : “ Can You please award Me
the chance to serve Krsna as You do ? ”
Rādhikā replied : tatāstu, “ Let it be so ! ” Then a wonder took place : Srīmati's

hladini saktī combined with Balarāma's sandini saktī to become Ananga Manjarī,
Rādhā's younger sister !
Now we can ask : Since this happened in Vrndāban, wouldn't Nitai desire
to serve in Gaurānga's madhura pastimes as well ?
Vrndāban dāsa Thākura reveals this secret in Caitanya Bhāgavata :
nityānanda svarupa sei caitanya bhakti

sarvabhāve korite dharāye prabhur saktī – 2 / 23 / 426
jakhon jerupe gaurānga vihāre
sei anurupa rupa nityānanda dhore – 2 / 18 / 218
tattvādika caitanya priya nāhi āra
niravadi sei dehe koren vihāra – 1 / 1 / 17
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The Greatest Secret
“ Nityānanda's bhakti for Gaurānga is such, He can worship Him in every

rasa – sānta, dāsya, sākhya, vātsalya and madhura. So in whichever mood that
Gaurānga takes up, Nitai reciprocates with an appropriate form and sev ā mood
to match. No one is more dear to Gaurānga, as He always relishes loving
pastimes with Nitai's divine ( female ) body ! ”
Now a good question arises : “ Why did Vrndāban dāsa Thākura hide in
three different places this confidential rasa tattva of Srī Nityānanda Prabhu ; for if
he would have put all of these passages in one place (as we have done here), it
certainly would have been much easier to understand ? ”
The answer is that he wishes to veil this topic from the general readers.
We will now refer to the Caitanya Bhāgavata edition and commentary

published by Srī Haridāsa Mahānta Thākura, who is Vrndābana dāsa Thākura's
descendant, and the mahānta of His Srīpata at Denura ( the place where
Vrndābana dāsa wrote Caitanya Bhāgavata ). His Vyāsābhiprāya* commentary on
the above passages help to shed light on this matter :
“ Here Vrndāban dāsa has become intoxicated to reveal his īstadevatā

Srī Nityānanda Prabhu's glories to the world. Though in this Avatara, except
for receiving Srī Caitanya's special mercy, no one can know about Sr ī
Nityānanda's confidential tattva. Srī caitanya niravadi sei dehe koren vihāra . In
other words, the divine unatta ujjvala rasamaya ' pirīti naivedhya ' that
Nityānanda offers to Gaura is relished by Him. And this is a very special
aspect of the hlādinī saktī. Although Nitai is a purusa ( male ) in direct view,
He secretly takes on the form of a beautiful female. So in his desire to serve
Srī Gaurasundar in madhura rasa, Srī Nityānanda becomes the full
manifestation of the hlādinī and the sandhinī saktī.
*Vyāsābhiprāya – the intention of Vyāsa-āvatāra Vrindavan dāsa Thākura
33
Chapter Two
This is stated in the Brahmānda Purāna :
parokse prakrtis caiva pratyakse purusa tatha

sāyane divya parjanhe ramane prāna ballabhā
gamane pāduka rupi rahasye sakhī rupakā
“ Although Nityānanda serves Gaurānga as a purusa in direct view, He

secretly takes on the form of a beautiful female. Nitai is the divine bedstead in
which Gaurānga sleeps, and the prānaballabhā ( beloved consort ) with Whom
the Lord makes love. When Gaurānga walks, Nitai becomes his shoes, but in
secret He becomes a beautiful sakhī. ”
Now how can Nitai do all this ?
Caitanya caritāmrta's siddhānta will help to explain :
cid saktī asraya tiho kāraner kārana
As the cid-saktī ( the entire spiritual energy ) Nitai is the Cause of everything.
– Adi 5. 42
The cid saktī has three parts : the samvita, sandhini, and hlādinī saktī.
Since Rādhā is the hlādinī saktī, the Source from Whom Srī Bhagav ān's
limitless consorts expand, Nitai can take on the form of any consort ( or even
Rādhā ) because the hlādinī saktī is contained within His cid-sakt ī. So as Nitai
is everything :
The spiritual world, every līlā associate, and every item used in the Lord's
sevā – every Bhāgavata consort is also a part of Him. Therefore He can
assume a female form whenever He wishes. ”
34
The Greatest Secret
Let us add to Srī Haridāsa Mahānta Thākura's commentary, as Caitanya

caritāmrta goes on :
nityānanda purna kore caitanyera kāma
“ Nityānanda fulfills all of Gaurānga's desires ( kāma ). ”
– Adi 5. 156
So as Srīla Kavirāja Goswāmī says ' Caitanyera kāma, ' he also hints that
Nityānanda fulfils all of Gaurānga's conjugal loving desires as well.
Then in Caitanya Bhāgavata, Vrndāban dāsa Thākura says :
caitanyera priya deha nityānanda rāma

hau mora prānanātha ei manaskāma
- Madhya 15. 70
“ Nityānanda Rāma is Gaurānga's dearest transcendental body – thus I

always desire to worship Gaurānga as my prānanātha. ”
Though here the relationship Vrndāban dāsa hankers for can only be
possible in madhura rasa.
Let us conclude this chapter with Advaita's culminating siddhānta in His

Stavarāja :
35
Chapter Two
Srī Nāgara Siromani

( The Greatest Romantic )
natarāja siroratnam srīnāgara siromanim
asesa rasika sphurjan mauli bhūsana bhūsanam
rasikānugata snigdha vadanabja madhuvratam
srīmad-dvija kulottamsam navadvīpa vibhūsanam
“ Hey Gaurānga ! Although You are the Topmost dancer, there are
infinite rasikā nāgarīs who worship You as the Supreme Romantic – ' Srī
Nāgara Siromani ' ! So as You pledge to loot the honey of all Your rasikā
followers – You fondly proceed on to kiss their lovely sweet lips ! Even so,
every brāhmin and Navadvīpa resident reveres You as the greatest member of
their community. ” - slokas 32, 33
Now we could curiously wonder : “ How does Gaurānga get away with all
this ? ”
Because, frankly speaking, in our world a nāgara is a playboy – one who

loves to indulge in sensuous pleasures with numerous pretty women. Yet we find
in our Vedic society that such Casanovas become notorious and condemned ! So
the question remains : “ Why would our Svayam Bhagavān, Who is the very
' Emblem of Dharma' , stoop to perform such behaviour ? ”
After narrating the rāsalīlā, Sukadeva Goswāmī answers this question, and
his reply directly relates to the main reason for Srī Krsna's advent :
anugrahāya bhaktanam manusam dehamāsrita

bhajate tadrshih kridah yah srutva tatparo bhavet
“ To bestow mercy to the bhaktas, Svayam Bhagavān assumes a human

form and performs His rāsalīlā so that by hearing about it we can become
lured to take up such bhajan. ”
36
The Greatest Secret
Because sharing madhura prema with the bhaktas is Svayam Bhagavān's

greatest source of pleasure, now we can appreciate why He becomes not only a
nāgara, but Srī Nāgara Siromani, the greatest romantic of all. For how many
people would fortune to receive His madhura prema if He were to act as an
ideal, chaste husband ?
But for those who want to admire the Lord as such, He certainly provides
them the opportunity in Rāma Avatāra. For Lord Rāmacandra never cast his
amorous glances upon anyone other than Sītā. So when the forest sages saw
Rāma's immaculate beauty and coveted the chance to serve Him as consorts,
they had to wait. Because only with Krsna could they fulfil their romantic desires
after becoming gopīs. So in this way Krsna is more merciful than Rāma. But
Gaurānga is the most magnanimous because He awards His intimate loving
pastimes to all.
Therefore, when Advaita declares Gaurānga as ' Srī Nāgara siromani '
( The Greatest Romantic ), it is truly befitting.
Though because Yogamāyā hides Gaurānga's romantic affairs, every

brāhmin and Navadvīpa resident admires Nimāi for His spotless character.
37
38
Chapter Three
The Advent of Rupānugā Vaisnavism
Advaita wrote His Stavarāja shortly after Nimāi left Navadvīpa, and
Krsnadāsa's Caitanya caritāmrta advented in Vrndāban more than 100 years later.
Yet within this period Gaurānga's original mainstream worship gradually became
lost – as the seat of Gaudīya Vaisnavism shifted to Nīlācala, and then to
Vrndāban.
In Navadvīpa, Gaurasundar's incredible beauty naturally awakens madhura

prema in the bhaktas, and Advaita tells about their worship in His Stavarāja.
Though Krsnadāsa went on to focus on Srī Caitanya's Rādhābhāva līlā that our
Vraja Goswāmīs witnessed at Nīlācala. So because both of these accounts are
exceptionally relishable, and authorised, both paths are supremely worshipable.
In his Amiya Nimāi carita, Mahātma Sishira kumār Ghosh has analysed
what happened in the beginning :
“ When Gaurānga was manifest in Nadīyā, the bhaktas worshiped Him in

nāgarī bhāva. But when the Vraja Goswāmīs' sāstras arrived in Bengal, the
bhaktas started worshipping Rādhā Krsna. Thus the main event in Nadīyā
gradually became forgotten. ”
Here it should be mentioned that although nāgarī bhāva is the internal

mood of the Nadīyā bhaktas, Rādhā Krsna's jugal upāsanā is equally important.
For just as two hands are required to clap, Gaurānga's worship becomes a
complete process when the moods of Navadvīpa and Vrndāban are practised
together. Hence Caitanya caritāmrta refers to Nadīyā nāgarī bhāva in many places
in a covered language.
39
Chapter Three
But now two important questions arise :
(1) “ Why didn't Krsnadāsa Kavirāja write about nāgarī bhāva more clearly ;
(2) when Rupa and Sanātana anxiously sent letter after letter to get Prabhu's
permission to join His Nadīyā līlā, why did He remain silent ? ”
In this chapter as we search for these answers, their discovery will unveil one
of the deepest mysteries found within Caitanya caritāmrta.
Rupa and Sanātan's Plight
When Srīvāsa āngana's rāsalīlā sankīrtana was going on every night – Rupa
and Sanātana were bound in service to the Muslim rājā of Maldaha, Hussain
Shāh. As ministers who carried out the king's most important work, they hardly
had a chance to escape.
Nevertheless, as Gaurānga's eternal associates, Rupa and Sanātana knew that

something very special was going on in Nadīya. So to remain outside of the
Lord's company was very painful – as their hearts pined to join His Nadīyā līlā
which culminates in the bliss of rāsalīlā sankīrtana. In fact, they were ready to
discard rastrapati* Hussain Shah's service like a blade of straw – and come
running to their prānapati* Gaura ! Hence to get His permission they anxiously
sent many letters.
But in one sense, fate delivered a cruel blow to Rupa and Sanātana, because
in this Avatara Prabhu didn't invite them to Nadīyā. Rather it was more than 5
years later that Mahāprabhu came on His own accord to meet the two brothers
at Rāmakeli.
*rāstrapati : the country's ruler.

*prānapati : the lord of one's heart.
40
But then Prabhu's mood and appearance had remarkably changed. He was no
longer Srīvasa angana's Sankīrtana Rāsa-vihāri – nor the Nāgarī-jana-ballabha
Whom the Nadīya bhaktas worship as their prānanātha.
He was coming instead as a shaven headed sannyāsī, Srī Krsna Caitanya. And
like a high wave which was inundating the entire country, the task of Srī
Bhagavān's Juga Avatara feature was in full swing. In other words, as Prabhu
awarded Harināma and Krsna prema to all – lakhs and lakhs of people were
forgetting family, home, hunger and thirst as they danced along with him in the
intoxication of prema !
So when Rupa and Sanātana secretly came and surrendered at Prabhu's lotus
feet, only then could he acknowledge receiving their many letters.
Caitanya caritāmrta tells about this :
dainya patri likhi more pāthāye bār bār

sei patridvārā jāni tomāra vyabahāra
tomāra hrdaya āmi jāni patradvāre
tomā sikhāite sloka kahinu bāre bāre
– C.C Madhya, 209 – 10
Prabhu said : “ Yes, Your submissive letters did reach me, one after another.
And as I read them, I could understand your plight and your heart's desire ( to
join Me at Nadīyā ).
So after contemplating your plight, I wrote this sloka to instruct you :
poravyasaninī nārī vyagrapi grha karmasu

tadevāsvadaya tyantara nava sanga rasāyanam
“ When a married girl falls in love with a paramour, won't she carefully perform
her housework ( to hide the matter ) as she blissfully dwells on her secret
love ? ”
41
Chapter Three
Here Prabhu reveals an important side of His relationship with Rupa and
Sanātana that He wants them to keep secret. So instead of inviting them to
Nadīyā, He advises these two poravyasaninī nārīs to execute their housework.
And this resembles what the rasika poet Candīdāsa has said :
gopan pirītite aneka mādhurjya
“ Love which is kept a secret carries the most sweetness. ”
Before we investigate what kind of housework Prabhu has in store for His two
poravyasaninī nārīs ( Rupa and Sanātana ) we can ask :
Why did He write this mysterious message for them in the first place ? Because
instead of sending an invitation, Prabhu's message acts to distance them from
Nadīyā. So is this what He was thinking :
“ If Rupa and Sanātana come and join My Nadīyā rāsalīlā – surely they will
become mad after Me – as My Nadīyā bhaktas are. Then who will be left to write
My Vraja līlā sāstras ? Who will uncover Srī Krsna's lost līlā sites ? And, most of
all, who will promote Rādhā and Krsna's jugal upāsanā ? ”
Yet incidentally, this just happens to be the housework that Prabhu wishes to
entrust them with.
Now let us examine the mood of Prabhu's Nadīyā bhaktas :
Because as Vasudeva Ghosh says :

gorācānda vine āna nāhi jāne (they know only Gorācānda),
they often fall into a dilemma since Gaurānga always speaks Krsna kathā. And
hence He would also advise them to worship Srī Krsna. But this makes them feel
shortchanged. “ But why ? ”, we may ask.
42
Because from the altar of their heart they can never remove Gaura and place
Krsna on that same āsana. For they become spellbound when viewing Gaura's
incredible beauty, and the paramānanda of His rāsalīlā sankīrtana makes them
even forget about Rādhā and Krsna !
So Prabhu became thoughtful : “ If I allow my chief Vraja Goswāmīs to come

and join this batch – My desire to promote Srī Krsna's Vraja līlā bhajan could
easily become thwarted ! ”
Hence Prabhu wrote His poravyasaninī nārī verse. Though from His siksā we
can learn that as the Vraja Goswāmīs focus on Krsna līlā – their hearts are
always steeped in relishing their secret parakīyā relationship with Gaura.
Though this will not upset their worship of Rādhā Krsna or Rādhābhāva
Gaurānga, because in Goloka Navadvīpa and Vrndāban they join Mahāprabhu in
all of these līlā-prakāsa. This topic will be discussed in Chapter Five in context
with Srī Jīva Goswāmī's Krsna sandarbha siddhānta.
Gopāl bhatta Goswāmī's

Madhura bhāva*
While travelling in South India, Caitanya Mahāprabhu once stayed four months
at Srī Vyenkata Bhatta's home. That is when his son Gopāl fortuned to receive
the Lord's intimate sevā.
nija grhe srīgopāl prānanātha pāiyā

pitār ajnāya seve mahāhrsta haiyā
When getting his prānanātha at home, Gopāl blissfully served Him under
his father's guidance. - Bhaktiratnākara 1. 97
* These stories appear in Chapter One and Four of Srī Narahari Cakravarti's Bhaktiratnākara
43
Chapter Three
Even so, Gopāl felt disturbed in seeing His Lord in the dress of a sannyāsī ;
for his heart was bound to Srī Gaura kishora at Nadīyā :
prabhur sannyāsa gopāler nāhi bhāya

nirjane jāiyā kheda korāye sadāya
vidhātār proti kahe gada gada bhāse
ore vidhi keno janmāili dura dese
nadīyā vihāra sukha korāye vancita
dekhāili prabhur e vesa viporita
Gopāl didn't care for Prabhu's sannyāsa, and went off to lament : “ O
Providence ! Why was I born in this far away place, for I missed Gaurānga's
pleasure-filled Nadīyā pastimes ! O why did You bring Him to me in this
displeasing attire of a sannyāsī ? ”
- Bhaktiratnākara – 1. 101 – 3
But Prabhu could understand Gopāl's melancholy. So He mercifully showed

him His Nadīyā līlā in a dream. Yet upon awakening, Gopāl went straight to
Mahāprabhu. And that is when He mercifully showed him His form of
Shyāmsundara, and then His form of Gaurasundara !
bhūvan mohaye se nā ruper chatāya

cācora kesher jutā pithite lotāya
porideya trikācca vasona anupam
bhūsane bhūsita angabangi manorama
mālatīra mālā gale dole anibāra
dekhi gopāler mone hailo camatkāra
candan tilaka bhāle bhūru kāma phoni
satīdharma hāre dirga nayan cāhani
Aho ! Gopāl saw Gaurasundara's captivating beauty which lures the entire
universe. His curly hair was tied in a topknot, and as He smiled, Gop āl felt
that nectar was streaming in every direction ! Prabhu wore a trikācca dhoti,
44
and His ornaments dazzled as a mālatī garland swung from His chest. But O
my ! Gaura's luring brows and restless glances plunder every pretty woman's
vow of chastity ! - Bhaktiratnākara 1. 114 – 118
This is Gopāl bhatta's Istadevatā :
satīdharma hāre dirga nayana cāhani
The Gaurānga who makes every woman mad after Him, after stealing their
chastity !
This is also confirmed in Chapter Four.
Though when Gopāl grew older, his parents sent him to Vrndāban :
etodine gopāl gelen vrndābana

rupa sanātana sange hoilo milana
antaryāmī prabhu nīlācala sei khone
jānilen gopāl āila vrndābane
Upon arriving in Vrndāban, Gopāl met Rupa and Sanātana. But Mahāprabhu
could understand everything at Nīlācala, as He is the Lord in everyone's heart.
- Bhaktiratnākara 1. 165 – 6
Prabhu then sent a letter to Rupa and Sanātana which requested them to
accept Gopāl as their dear brother. And Prabhu instructed Gopāl :
sālagrāma haite tumi dekhibe harire
“ You may see the Lord by worshipping the Sālagrāma. ”
So to follow Prabhu's order, Gopāl fixed his mind in Sālagrāma pūjā. But soon a
miracle happened :
45
Chapter Three
Gopāl's Sālagrāma transformed into the gorgeous murtī of Srī Rādhāramana ! And
shortly later, Prabhu showered even more mercy :
gopāler premādhīna srīrādhāramana

srī gaurānga murtī hailo seikhona
navina bayas vesa bhūvana mātāya
murāche madankoti ruper chātāya
sobha nirakhite hiyā ānanda uthale
vipula pulaka akhijale bhese jāya
srīrādhāramana gorācānda guna gāya
srīgopālbhatter jei abhilāsa mone
srīrādhāramana pūrna kore khone khone
“ The strong overriding nature of Gopāl's prema literally impelled Sr ī

Rādhāramana to appear to him as Gaurānga ! Thus in His kaishora age and
beautiful attire which captivates the entire universe, Gaur ānga is Madanmohan
– because He makes millions of Cupids faint !
' O what am I seeing ? ' Gopāl exclaimed. He fell to the ground, tears
poured from his eyes and his body horripulated ! Then after getting up again
he ecstatically began singing Srī Rādhāramana and Srī Gorācānda's glories.
Rādhāramana would regularly fulfil Gopāl bhatta's desire in this way. ”
In summary, what can be imbibed from this story ? Well, after coming to
Vrndāban, remaining in Rupa and Sanātana's company, and even attaining Srī
Rādhāramana-ji's miraculous sevā – it is the exceptional nature of Gopāl bhatta's
prema which forces Rādhāramana to appear before him as Srī Madanmohan
Gaurānga ! So surely He is the Lord of Gopāl bhatta's heart.
There is more to the story. When Jagadānanda Pandita desired to visit

Vrndāban, Mahāprabhu requested him to stay with Sanātana Goswāmī, and to
relay this message :
46
āmio āsitechi – kahiha sanātane

āmāra tore eka sthān kore vrndābane
“ Tell Sanātana that I'm coming too. Ask him to arrange a place for Me in
Vrndāban. ” - Caitanya caritāmrta Antya 13. 40
So Sanātana made a kutīra for Prabhu at Dvadāsa aditya tīlā, and eagerly
awaited His arrival. But Prabhu never made a second journey to Vrndāban in the
form of Srī Krsna Caitanya.
The Vrajavāsi Goswāmī sevāites of Srī Rādhāramana have an answer for this
mystery which they hand down in their parampara :
“ On Gopāl bhatta's invitation, Rupa and Sanātana would often come for Sr ī
Rādhāramana's darshan. And then they would also see Him as Madanmohan
Gaurānga ! So Prabhu thus fulfilled His promise to San ātana. ”
But who will fortune with the darshan of Srī Madanmohan Gaurānga ?
Now the answer can only be : those who strongly yearn to serve Him as His
poravyasaninī nārīs or parakīyā consorts. Though to protect the exalted sweetness
of Rupa, Sanātana and Gopāl bhatta's madhura relationship with Him, Prabhu
wishes to keep all of these matters a secret.
47
Chapter Three
Srī Rupa Goswāmī's

anarpita carīm sloka
anarpita carīm cirāt karunyāvatīrnah kalau

samarpayitum unnatojjvala rasām svabhaktisrīyam
harih puratasundar dyuti kadamba sandīpitah
sadā hrdayakandare sphuratu vah sacīnandanah
“ Let us always behold Srī Sacīnandana's beautiful golden form in our heart.
He advents to award an exalted bhakti treasure that was never offered before,
His unnatojjvala madhura prema rasa. ”
Here Srī Rupa is revealing Srī Gaurānga's most exalted gift. Though to
understand its full meaning, we shall analyse this verse from both its Krsna līlā
and Gaura līlā perspective.
Concerning the worship of Vraja līlā, Rupānuga Vaisnavas often agree that the
definition of this sloka's unnatojjvala prema is ' bhāvollāsa rati ' - the sthāyī bhāva
of Srīmati Rādhārāni's manjarīs who totally submerge in Rādhā Krsna's nikunja
sevā.
Though this raises a good question :
Before Gaurāvatāra, we can hear about the Vraja gopīs prema sevā which is
described in the Bhāgavatam, so how can the madhura prema that Srī Rupa's
sloka describes be a new gift which was never offered before ?
To answer, we must say that the manjarīs' prema is special and exalted in
comparison with the prema of the other gopīs, hence Rupa labels it unnatojjvala.
Moreover, manjarī bhāva was not explained in the Bhāgavatam and other sāstras
before Gaura āvatāra. So the manjarī bhāva sādhana that Srīman Mahāprabhu
wishes to promote through Rupa, Sanātana and His other Vraja Goswāmīs is
48
indeed a remarkable new gift of mercy that no one in our world has received
before.
Now we can wonder, would this unnatojjvala bhakti treasure only be found in
Vrndāban ? Because, after all, since Rupa is praying to Srī Sacīnandana in this
verse, wouldn't His special gift of mercy be found in Navadvīpa as well ? And
suffice it to say, everything that Srī Rupa has outlined in his anarpita carīm verse
fits the nāgarī bhāva of Nadīyā. This is because its exceptional high pitch
surpasses other forms of madhura prema ; hence it can be rightly termed
unnatojjvala.
Yet moreover, it is also a new gift of mercy that was unoffered before. And Srīla
Prabhodānanda Saraswatī introduces it as such in his Caitanya candrāmrta
verse 18 :
bhrāntam yatra munisvarair api pura yasmin ksamā mandale
kasyāpi pravivesa naiva dhisanā yad veda no va sukah
yatra kvāpi krpāmayena ca nije'py udghatitam saurinā
tasminn ujjvala-bhakti-vartmani sukham khelanti gaura-priyāh
“ There is a form of ujjvala madhura bhakti which was unknown to the

munis headed by Vyāsadeva – not even the paramahamsa bhāgavata
Sukadeva Goswāmī revealed it . Even merciful Srī Krsna did not disclose
these matters with His Vraja associates. This special ujjvala madhura prema is
happily enjoyed by Gaurānga's ' priyās ' in their loving pastimes with Him. ”
Here the term ' Gaura-priyā ' refers to Gaurānga's bhaktas in the feminine
gender, the Nadīyā nāgarīs. Though because Gaurānga's bhaktas are
predominantly male, they all have internal ' Gaura-priyā ' female svarupas to
exchange ujjvala madhura prema with Him.
49
50
Chapter Four
Manjarībhāva Sādhana
Before taking up Gaurānga's madhura upāsanā, we should know about our

eternal relationship with Krsna. So the following list of teachings will help us to
uncover our nitya svarupa in Vrndāban :
Our first course, the Bhāgavad gītā, presents the paths of karma, jnāna, yoga
and bhakti. But where the Gītā ends – Srīmad Bhāgavatam begins on the topic of
pure bhakti. Then in the Bhāgavatam's Tenth Canto, Krsna līlā is introduced, and
these pastimes reach a pinnacle in Krsna's rāsalīlā with the gopīs. Yet Caitanya
caritāmrta goes on to document gopī prema's highest feature, Rādhā prema, as it
shows how Gaurānga relishes Rādhā's love for Krsna in the course of His līlā.
But in knowing Srī Caitanya's inner desire ( manobhīstha ), our Six Goswāmīs
wrote many sāstras to promote Srī Krsna's Vraja līlā bhajan. And those wishing to
grasp the very essence of these teachings often come to this conclusion :
Rādhā and Krsna's nikunja sevā

in manjarībhāva is our ultimate goal.
Now someone might ask : “ How can we know that Srī Caitanya actually
desired this path for us ? ”
Here are two good reasons :
1) By appointing the Six Goswāmīs as His Vraja līlā Ācāryas, Caitanya

Mahāprabhu introduced manjarībhāva sādhana to all. Because as Srī
Rādhā's foremost manjarīs, the Goswāmīs can ideally lead everyone in
Rādhā Krsna's prema sevā ;
2) We can discover that every member of our guru parampara is a manjarī

gopī in Vrndāban.
51
Chapter Four
So as we follow in disciplic succession the eternal svarupa of our gurudeva,

guru-parampara members, and the Six Goswāmīs, it is befitting to hanker after
manjarī bhāva.
Here Srīla Visvanātha Cakravarti reveals the nitya sevā role of our guru-rupa
manjarī :
nikunja yuno ratikeli siddhyāi yāyālibhira yuktirapeksaniya

tatrāpi daksadati vallabhasya vande gurosrī caranāravindam
“ Amongst the gopīs who arrange Rādhā and Krsna's nikunja ratikeli
pastimes, my gurudevī is expert, and therefore very dear to the Divine couple.
Thus I offer my pranāma to her lotus feet. ”
The Manjarīs' Glories
In Vraja Narottama dāsa Thākura is Campaka Manjarī* ; here is her

submission :
prānesvarī ei bāra karunā koro more

dasanete trnā dhori, anjali māstake kori, ei jana nivedana kore
priya sahacarī sange, sevān koribo range, ange vesa kori dibā sādhe
– Prārthana
“ O prānesvarī Rādhe ! Please be merciful. I place a straw between my

teeth, fold my hands to my head, and feelingly pray : O kindly let me serve
You along with Your dearest sakhīs as they skilfully dress You. ”
Raghunatha dāsa Goswāmī says the following in Stavāvali :
* Sometimes she is called Vilāsa Manjarī
52
anarādhya rādhā padambhoja renum

anāsrita vrndātavim tad padānkitam
asambhāsya tadbhāva gambhira cittam
kutah shyāmsindho rasāvagaha
“ Without worshipping the dust of Rādhā's lotus feet ; without taking shelter
of the nikunjas which display Her footprints ; and without conversing with Her
sakhīs who possess deep bhāvas – who could possibly bathe in Srī
Shyāmsundar's confidential līlā rasa sindhu ? ”
Rupa Goswāmī terms the manjarīs' permanent mellow bhāvollāsa rati :
sancari syat samano va krsna ratya suhrdratih

adhika pusyamānā ced bhāvollāsa ratih
– Bhaktirasāmrta sindhu
“ If a bhakta's love for Krsna excels his love for other forms of the the
Lord, this sthāyī bhāva is called Krsna rati. Then his love for Krsna's bhaktas
is a subordinate mellow ( sancari bhāva ). But if one loves Rādhā more than
Krsna, such love becomes the sthāyī bhāva called bhāvollāsa rati. ”
Here Raghunātha dāsa Goswāmī exhibits his pride in this mood :
āmāra isvarī vrndābanesvarī

tār prānanātha jāni bhaji giridhārī
“ My worshipable devi is Vrndābanesvarī Rādhā ; and since Krsna happens

to be her prānanātha, we worship Him too. ”
53
Chapter Four
Although Rādhā has millions of manjarīs, Her closest eight are listed
here :
1) Rupa Manjarī, 13 years – 6 months – 0 days, Rupa Goswāmī

2) Rati Manjarī, 13 years – 2 months – 0, days, Raghunāth dāsa Goswāmī
3) Labanga Manjarī, 13 years – 6 months – 6 ½, days Sanātana Goswāmī
4) Rasa Manjarī, 13 years – 0 months – 0 days, Raghunātha bhatta Goswāmī
5) Guna Manjarī, 13 years – 1 month – 27 days, Gopāl bhatta Goswāmī
6) Vilāsa Manjarī, 12 years – 11 months – 26 days, Jīva Goswāmī
7) Manjulālī Manjarī, 13 years – 6 months – 6 days, Lokanāth Goswāmī
8) Kasturī Manjarī, 13 years – 0 months – 0 days, Krsnadāsa Kavirāja*
Beside Vrndāban's enchanting forests is Govinda sthalī, a beautiful Yamunā

island shaped like a tortoise's shell. Cresting this mount is a yogapītha mandira
with an inner–whorl which resembles a thousand–petal lotus. As Rādhā Krsna
stand in the nucleus, millions of Vraja sundarīs surround Them. Then the asta
manjarīs ( listed above ) stand in the inner-circle right next to the Divine Couple.
Because the manjarīs are younger, they serve under the sakhīs' guidance.
Even so, Raghunātha dāsa tells about a special privilege that they relish in
Stavāvali :
tāmbulārpana pādamārdana payodana abhisārādibhira

vrndāranya mahesvarīm priyataya yastosayanti priyāh
prānapresthā sakhī kuladapi kelisankocita bhūmikah
keli bhūmisu rupa manjarī mukastadāsīkah samāsraye
“ I take shelter of the manjarīs headed by Rupa who satisfy Rādhā by

preparing pān, offering foot massage, supplying fragrant water or secretly
escorting Her to meet Krsna. Though during Rādhā and Krsna's ratikeli
pastime, they can freely enter the vilāsa mandira to perform intimate sevā.
Such a privilege is rarely possible for Lalitā and Vis ākha, what to speak of the
other sakhīs. ”
* Taken from Srī Dhyānacandra Smarana Arcana Paddhati
54
In Alankāra kaustuba, Kavikarnāpura explains how this is possible for the

manjarīs :
na sankocam jaya jati kāntena sayanotthita

ātmano murtira anyera priyanarma sakhī tu sā
After enjoying ratikeli and lying undressed beside Krsna in the kunja, Rādhā
doesn't become embarrassed when a manjarī suddenly appears. For She sees
them as Her very own ātmā expanding to perform sevā !
While peeping through the nikunja mandira's windows to witness Rādhā and
Krsna's vilāsa keli, the manjarīs become overwhelmed in rapture ! Due to
excessive intimacy with Rādhā, their minds, hearts and feelings totally merge with
Hers. In Ujjvala nīlamani, Srī Rupa terms this ' visrambha ', the manjarīs' intense
love for Rādhā which allows them to identify with Her completely. Srīla Kavirāja
Goswāmī describes this in Govinda līlāmrta 11. 137 :
“ When Mukunda touches Rādhā, the manjarīs also display tears, trembling
and horripulation ! And if Krsna kisses Rādhā's lips – they relish the same
intoxication. This is amazing ! ”
Ujjvala nīlamani's following story reveals how the manjarīs are chaste :
One day Srīmati Rādhārāni requested a sakhī to arrange Mani Manjarī's

private meeting with Krsna. But the sakhī soon returned to report this news :
“ O Rādhe ! As You instructed, I went to Mani Manjarī and said :

' Hey sakhī ! There is no other pleasure which can compare with Krsna's rati
sanga ; why don't you try it just once ? Just consider, the sakhīs enjoy loving
pastimes with Krsna, and friendship with Rādhā too. So you may take up this
mood ; why should you remain behind the others ? '
55
Chapter Four
Then Mani Manjarī answered : ' O sakhī, when I see Rādhā's happiness in
Krsna's loving union, I become the most happy. So please let me serve in this
way. '
O Rādhe, now I can understand that Mani Manjarī is chaste. For Krsna's rati-
sanga doesn't interest her ! ”
How can the manjarīs renounce Krsna's rati pleasure ? Do they feel that they
would be competing with Rādhā ? But this isn't a relevant consideration for them.
Because as Mani Manjarī has stated, they relish far more pleasure when viewing
Rādhā's happiness in Krsna's union. This is because transcendental bliss comes
in proportion to its āsraya, the person who shelters the love.
For example, since Rādhā is the very Source of Krsna prema, Her capacity to
relish Krsna is deep like an ocean. So the manjarīs totally focus on Rādhā to
experience the full spectrum of Her loving emotions and bliss. Though after
knowing this, we could easily assume that the divine relish of Rādhā and Her
manjarīs is equal.
Caitanya caritāmrta refutes this assumption, however, with this surprising

answer :
rādhā svarupa krsna prema kalpa latā

sakhīgan hoy tār pallabha puspa pātā
krsna līlāmrte jadi latāke sinchoya
nija sukha haite pallabādhyer koti sukha hoy
“ As Krsna resembles a dark tamāl, and Rādhā is like a golden-creeper of

Krsna prema – the manjarīs are like the leaves and the flowers on the R ādh ā-
creeper. So by uniting Tamāl-Krsna with the Rādhā-creeper, the manjarīs
become showered in a rainstorm of ambrosia ! Though their pleasure is a
million times greater than Rādhā's ! ”
56
“ Wow ! ” One might think. “ How is this possible ? ” But the answer is easy
to discern. Here is why :
As Rādhā directs Her love to Krsna, the manjarīs' love goes to both Rādhā
and Krsna. So as Rādhā relishes Krsna, ' the Source of all pleasure, ' the
manjarīs relish Him – but with Rādhā, ' the Source of all prema. ' Considered
individually, Rādhā and Krsna are both unequalled, but when They combine, Their
splendour multiplies without limit. Therefore when the manjarīs unite Prema
( Rādhā ) with Ānanda ( Krsna ) they relish the topmost Premānanda right at
their fingertips !
Srīla Prabhodānanda Sarasvatī supports this version in his Vrndāban

mahimāmrta :
rādhānāgara kelisāgar nimagnāli drsam yat sukham

notallesa labyate bhāgavatah sarvopi sukhyotsava
If the sum total of Krsna's rati pleasure with Rādhā could be measured, this
would amount to only a fraction of the bliss that the manjar īs experience when
submerging in the nectar ocean of Rādhā's loving affairs with her Nikunja
nāgara Krsna !
How Does Rādhā

Outsmart Her Manjarīs ?
After we discover that Rādhā's clever manjarīs relish the highest pleasure
which can be found in Sr Krsna's madhura Vraja līlā, we should next mention
that there is more in store for them. But before investigating what this is, let's
see how Visvanāth Cakravarti depicts the manjarīs in his Krsna bhāvanāmrta,
Chapter 3 :
57
Chapter Four
After the nisānta līlā, when Rādhā returns home and falls asleep in Her own
bed, Her dāsīs headed by Rupa bathe, and put on Her prasādi clothes,
ornaments and mālās. These manjarīs sacrifice every personal pleasure to engage
in Rādhā-Krsna's prema sevā. Nevertheless, they are incomparably beautiful – as
the effulgence of their toenails alone outmatch the lightning's splendour. Moreover,
owing to their supreme cleverness they could have easily become jūthesvarīs
themselves. But such fascination doesn't interest them as they submerge in the
ocean of their prānesvarī Rādhā's prema sevā.
If we had thought that the manjarīs are less attractive or talented than the
sakhīs, Visvanātha Cakravarti certainly refutes such an assumption here. So
wouldn't Krsna fancy them ? And Mani Manjarī's example does show that Rādhā
sometimes tries to arrange their meeting with Krsna. But this brings up a very
important question which is relevant to our present discussion :
“ Where is Rādhā's greatest pleasure found ? ”
Caitanya caritāmrta presents this answer :
yadyāpi sakhī krsna sangame nāhi mona

tatāpi rādhikā jatne korāya sangam
nānā chole krsna preri sangam korāya
ātma sukha sanga haite koti sukha pāya
anyanye visudha prema kore rasa pusta
ta sabār prema dekhi krsna hoy tusta
– Madhya 8, 211 – 13
“ Although the sakhīs don't try to enjoy Krsna themselves, because they
focus on uniting Rādhā with Him, Rādhā will carefully arrange their Krsna-
sangam. In fact, Rādhā will make sure by various means that Krsna gets to
enjoy them. Then Rādhā enjoys a million times more pleasure ! This
magnanimous behaviour which Rādhā and Her sakhīs share nourishes their
prema and makes Krsna very happy. ”
58
Indeed, this is a great lesson : that when offering Krsna's conjugal pleasure to
others, Rādhā becomes the most happy. So as the proverb goes, ' It is more
pleasurable to give than to receive, ' this mood ideally does fit into Krsna's
madhura Vraja līlā format. Hence when Rādhā and Her sakhīs can gift others
with Krsna's rati pleasure, they truly become the most happy.
We should note, however, that the manjarīs are not amongst the sakhīs
described in these Caitanya caritāmrta passages. The evidence is found in Ujjvala
nīlamani, where five kinds of Rādhā's sakhīs are listed :
1) parama presthā sakhīs, the asta sakhīs, who love Rādhā and
Krsna equally ;
2) priya sakhīs, 64 in number, who also love Rādhā and Krsna equally ;
3) general sakhīs, infinite in number, who love Krsna more than Rādhā ;
4) prāna sakhīs and (5) nitya sakhīs : the manjarīs, who are infinite in
number, and who love Rādhā more than Krsna.
So as Rādhā can arrange Krsna's meeting with the first three groups of
sakhīs, she fails to unite the manjarīs. Now this brings up an important question :
Since Rādhā relishes millions of times more pleasure when uniting Her sakhīs
with Krsna, why won't the manjarīs oblige Rādhā, as the sakhīs do ? Because it
surely does make sense that Rādhā, Krsna and the sakhīs would all experience
much more pleasure if they were to agree ?
Now the answer must be stated, that neither Rādhā nor Krsna will interfere
with the earnest sevā mood of Their bhaktas. For this is Krsna's promise in the
Gītā :
ye yathā mam prapādyante
tams tatāiva bhajamyāham
“ I reciprocate in the way that My bhaktas worship Me. ”
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Chapter Four
Because the manjarīs are selflessly devoted to making Rādhā and Krsna
happy, it is only to test their vow that Rādhā will send luring proposals of Krsna's
rati pleasure. Though Rādhā and Krsna actually encourage the manjarīs' pure
sevā mood which is praiseworthy and noble.
In the madhura nikunjas of Vrndāban, then, as Rādhā and Krsna become

defeated by the manjarīs' steadfast vow of chastity – Rādhā pledges to outsmart
them. And She comes up with a great idea : She combines Her wits with Krsna's
– and merges with Him to become Gaurānga Nāgara ! Now just consider, as
Krsna is a flirtatious romantic who loves to enjoy srngāra rasamaya pastimes,
Rādhā is apāra karunāmayī, like a limitless ocean of mercy – because She truly
yearns to share Krsna's conjugal union with everyone.
So what is the outcome ? When Krsna advents in Nadīyā as the mahābhāva

rupa rasika rāja, He brings along Svayam Bhagavān's topmost arsenals in order
to lure the entire universe. In other words, with His incomparable rupa mādhurī
He can even topple the manjarī's vow and render them chaste to Him ! Here is
why :
eve rādhā rasarāja kore ātmasātha

nāgara rupe teho hailo sāksāta
eve vilāsate anugatye nāhi jāya
gaurānga vilāse jugaler sukha hoy
srī gaurānga rasarāja mahābhāva milan
gaurānga sevile hoy jugal sevāna
sarva āvatāre teho purusa pradhāna
sei prabhu bhajile habe rase ageyāna
“ When Rādhā merges with rasarāja Krsna, She directly accompanies Her
rasika nāgara. So now the manjarīs' prema vilāsa with Gaurānga will be an
anugata jugal sevā which will please both Rādhā and Krsna. Therefore, who
wouldn't become spellbound when serving this Supreme purusa, Who is the
Source of all Avatāras ? ”
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O my ! Now who wrote this ? But the mahātma in question is none other
than our Siddha Jagannātha dāsa Bābāji Mahārāja, the siksā guru of Thākura
Bhaktivinoda*. Part Two will tell about his coming to Navadvīpa in his last days
to take up Gaura's kāntābhāva bhajan..
A Vivid example
Why on earth would Rādhā wish to outsmart Her manjarīs ? The following
story will help to explain about one of Her greatest unfulfilled ambitions :
Once upon a time there was a devout Rādhā Krsna bhakta named
Shyāmdāsa. And one day he sincerely asked his guru : “ Prabhu, can you tell
me how I can please my Jugal-vigraha and get Their mercy ? ”
After pondering for a while, Gurudeva came up with an idea : “ Why don't
you arrange a sankīrtana festival, and serve your Rādhā-Krsna's prasāda to the
bhaktas ? ”
Shyām liked the idea, and quickly got everything ready. Then he personally
went to invite the Vaisnavas. On the festival day, many sumptuous preparations
were offered to the Jugal-vigraha. And when the prasāda was brought outside,
Shyām eagerly got up to serve.
As the Vaisnavas relished Rādhā Krsna's prasāda, Shyām became exceedingly

happy. In fact, everyone could tell that his pleasure was far greater than those
who were enjoying the meal ! When the Vaisnavas finished, Shyām poured water
for their washing, and went over to sit down under a tree. That is when a guest
came to him and said :
* This verse was recorded by Jagannāth dāsa Bābāji's vesha disciple, Rāmhari dāsa Bābā, and
published by his disciple Vishvambara dāsa Bābā in his Rasarāja Gaurānga Svabhāva.
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Chapter Four
“ Shyām Prabhu ! The prasāda that you arranged was wonderful. Though I
couldn't help but notice how blissful you became while serving us. So will you
grant me a favour ? ”
“ What is that ? ” Shyām asked.
“ Kindly allow me to serve the prasāda to You now, ” he requested.
“ O no, no, no ! “ Shyām exclaimed. “ You are all my honoured guests, and I
am your servant. ”
“ But please let me do it, ” the Vaisnava pleaded, as he looked to Shyām with
folded hands. Then Shyām firmly answered : “ Look, after witnessing all of the
Vaisnavas partaking prasāda, I've become fully satisfied. So you need not serve
me today. ”
Let us analyse this story, as we can imbibe a few lessons from it :
First of all, it is rather obvious that Shyām dāsa acquired lots of sukriti for
doing Vaisnava sevā. But on the other hand, we have noticed that the humble
Vaisnava who wished to serve him, left that day feeling disappointed. In his
Upadesāmrta, Rupa Goswāmī instructs :
dadāti pratigrhati gujyamākhyati prcchati

bukte bhojayate caiva sora vidham prīti laskanam
There are six ways to share love with the bhaktas : to offer or receive
gifts ; to inquire or to answer intimate questions ; to offer or receive mahā
prasāda.
But now we can observe how Shyām's attitude closely resembles the manjarīs'
sevā mood to Rādhā. Because as the manjarīs offer Krsna's rati-sanga to Rādhā
to make Her happy – they will never accept the same prasāda in return – even if
Rādhā attempts to share it with them.
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Now this brings up a relevant question :
“ Since the pirīti in Vaisnava sevā will obviously be nourished if Shyām

accepts prasāda in return from his Vaisnava guest – can we next say ( so
easily ) that the manjarīs' prema sevā to Rādhā Krsna will flourish if they allow
Rādhā the chance to unite them with Krsna ? ”
No, not really. This is because the manjarīs stand a lot to lose : First of all,
their permanent mellow of bhāvollāsa rati will vanish – then their visrambha mood,
or intimate oneness with Rādhā, will be hampered – and their anugata dāsī bhāva
that they love so much will also become tainted. In other words, if the manjarīs
agree – they will no longer remain manjarīs – they will be converted into sakhīs
instead !
So wouldn't it be wise to let them remain as they are ? Though now the
important question still hasn't been answered : What about Rādhā ? Because
from Her standpoint, Her great ambition remains unfulfilled – how she will unite
everyone in Her Rasika nāgara's prema sevā, and thus experience millions of
times more pleasure ?
Though this can only happen in Nadīyā, where Rādhā witnesses Gopījana
vallabha's transformation into Jīva ballabha, the Amorous hero of every jīva. And
here Advaita's declaration rings true. Because when he addresses His Gaurānga
sundara as ' Srī Nāgara Siromani, ' it's for a pretty damn good reason !
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The Ultimate Sādhana
Although manjarībhāva forms the essence of Rupānugā bhajan, Srī Caitanya's

parama karunā certainly includes more. Because in Srī Goloka dhāma, Gaura's
Navadvīpa līlā is the matching counterpart of Krsna's Vraja līlā.
So apart from attaining a manjarī siddha deha to serve Rādhā-Krsna, there

are two more eternal identities that Gaudīya Vaisnavas can hanker for in Goloka
Navadvīpa. We say two, because Gaura's madhura upāsanā has two
mainstreams :
1) His Rādhābhāva, and

2) His Rasarāja worship.
So as Mahāprabhu takes part in both līlā prakāsa, so do the bhaktas.
This process of worship is based on Srī Rupa Goswāmī's teachings in

Bhaktirasāmrta sindhu, where he presents two forms of madhura bhakti sādhana :
kāmānuga bhavet trsna kāmarupānugāminī

sambhogeccamayī tadtadbhāveccātmika sa dvidha
kelitatparyavatyeva sambhogeccamayī bhavet
tad bhaveccātmika tāsām bhāvamādhurya kāmita
“ One's bhakti which follows after the Vraja gopīs can be in the mood of
sambhogeccamayī or tadbhāveccātmika. Those who desire premakeli with
Krsna follow the sambhogeccamayī path, and the tadbhāveccātmika process is
for those wishing to relish the sweetness of Rādhā's pastimes with Krsna. ”
– Bhaktirasāmrta sindhu 1.2. 153 – 4
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Chapter Five
The terms sambhogeccamayī and tadbhāveccātmika refer to kāntābhāva and

manjarībhāva respectively. The first is the pratyakha ( direct ) method, where the
Lord's consorts serve Him in a direct one to one loving relationship. The second
path, which is called anugatyamayī bhajan, is for the aspiring manjarīs who will
serve Rādhā and Krsna under the leading sakhī and manjarīs' direction.
Here it should be noted, Rupa Goswāmī has offered both processes to us

neutrally, without stressing one path over the other. For he lets the bhaktas
choose either path according to their adhikāra and ruci. Nevertheless, by Rupa's
remaining neutral, we can know that both processes have a specific utility.
So to be more specific, we can ask :
“ Why has Rupa Goswāmī, our Samprādaya Ācārya, offered us the

sambhogeccamayī kāntābhāva worship as well ; for surely there must be a deep
reason behind this ?
Though now it must be stated, that for those hankering for poripura krsna
prāpti, the complete attainment of Svayam Bhagavān, a direct one to one loving
relationship will be an integral part of such worship. And hence, Caitanya
caritāmrta boldly praises the glories of kāntābhāva prema :
tatasta hāiya mone vicāra jadi kori

sab rasa haite srngāra adhika mādhurī
poripūrna krsnaprāpti ei prema haite
ei premer basha krsna kahe bhāgavate
sarvottama bhajan ihāra sarva bhakti jini
ataeva krsna kahe āmi tomāra rhīni
“ When all of the rasas are considered neutrally, it is ' srngāra ' which
contains the most sweetness. This is our poripūrna krsna prāpti ( complete
attainment of Krsna ), as the Bhāgavatam declares : ' Krsna is totally
captivated by the gopīs' (kāntābhāva ) prema.' Therefore all forms of bhakti
rasa culminate in srngāra, as Krsna admits to the gopīs ( in the
Bhāgavatam ) : ' I am forever sold out to you ' ! ”
66
In observing Srīla Kavirāja Goswāmī's due admiration for Srī Krsna's most
enjoyable rasa pleasure, the kāntā prema of His beloved consorts, it would
appear surprising, then, that Gaudīya Vaisnavas very rarely take up such worship.
Because in our Rupānugā trend, manjarī bhāva is the most recommended
process. Though even after one adopts manjarī bhāva, the consideration still
remains : that the Bhāgavatam, Caitanya caritāmrta and our Goswāmī sāstras do
offer unending praise of the glories of kāntābhāva prema. So in the light of these
teachings introspective Vaisnavas may often wonder :
“ Is there not some way in which these conjugal loving pastimes can apply to
us ? Because, frankly speaking, would our Supreme Lord, Who is a romantic by
nature, truly wish that His eternal jīvas have no other recourse but to remain in
the role of nitya brahmacārinīs forever ? ”
This essential question does have a satisfying answer. And moreover, the
worship in question is to be practised with our manjarī bhāva sādhana in
Vrndāban. Here we are referring to something very special that Srī Narahari
Sarkāra presents in his opening first line in Bhakticandrikā :
kāntam sāntam asesa jīva hrdayānanda svarupam param
“ In taking the role of the Amorous Hero ( kānta ), Gaurānga awards

transcendental peace and eternal bliss in the heart of infinite j īvas ! ”
This siddhānta is universal, as anyone can worship in this way. And to be

precise, this blessed verse will help us discover a more complete picture of what
Gaudiya Vaisnava dharma includes.
This is because in Srī Gaura and Srī Govinda's supreme abode, Goloka
Navadvīpa and Vrndāban, every jīva has the adhikāra to serve Srī Bhagavān in
both the pratyaka ( direct ) and the anugatyamaya forms of worship.
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Chapter Five
So as Srī Rupa has offered us the sambhogeccamayī form of madhura

bhakti sādhana, this can ideally be taken up along with our worship of Srī
Gaurasundara's Rādhābhāva feature in His astakāla nitya līlā in Goloka
Navadvīpa. Then Srī Rupa's prescribed tadbhāveccātmika path will ideally fit with
our manjarī sevā to Rādhā and Krsna in their astakāla līlā in Goloka Vrndāban.
At this instance, let us present an argument that consummate Rupānugā

Vaisnavas often express to sidestep Gaura's kāntābhāva worship :
“ Look, as we yearn to become Rādhā's dāsi to engage in Rādhā-Krsna's

jugal sevā, never will we desire to unite with Krsna ourselves. So the thought to
enjoy conjugal pleasure with Gaurānga nāgara is certainly out of the question for
us too ! ”
What can be said about this ? Because the mood of a dāsi does contrast
considerably with the mood of a consort, one could easily assume that to
cultivate the two moods together would create a rasa-abhāsa situation. Though
we can discover that from Srī Yogamāyā's standpoint in Goloka Navadvīpa and
Vrndāban, where She directs a limitless network of transcendental pastimes, She
(Yogamāyā ) has a wonderful solution which solves this apparent contradiction.
The Lord's Līlā Bheda and Prakāsa Bheda Mystery*
Now we shall investigate how the bhaktas appear with the Lord in different
līlās, in different forms, which each have an individual identity – all at the same
time. This discussion is based on Srī Jīva Goswāmī's following siddhānta in
Krsna sandarbha :
tatra nānākridādhyadhisthānatādeva līlārasa posāya

tesu prakāsevabhimāna bhedam porosporananusandan ānca
prāyah svecchayorī korotītyapi gamyate evam
tacchaktimayāt tatparikaresvapi jneyam
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“ In order to relish many līlās ( and many different forms of rasa ) Krsna
displays many prakāsa forms, each having a separate mentality. Moreover,
each prakāsa form ( in its own līlā prakāsa ) hasn't a clue about what all of
His other prakāsa forms are doing. Yet similarly, because Krsna's nitya
parikaras are His cid-saktī, they also manifest many prakāsa forms, each
having a separate mentality. So as a bhakta's various prakāsa forms serve in
Krsna's various līlā prakāsa, none of those prakāsa forms know about what all
of the others are doing either ! ”
- Krsna līlā rahasya anuccheda 156 – Krsna Sandarbha
Using the example of a television which has many channels, we can get a
basic idea about how Yogamāyā's incredible networking potency works in Goloka.
For there are many līlā prakāsa, like different channels on a television, which are
all going on at the same time. So just as the actors on a particular television
channel are unseen to those who perform dramas on other channels, this
phenomenon resembles how each Gaura bhakta's various prakāsa forms have no
idea about what all of their other forms are doing.
Now what is the purpose for all this ? Because Gaurasundara is Rasika
sekhara, the Supreme Romantic and the Topmost relisher of every form of
transcendental rasa, Yogamāyā arranges a separate līlā prakāsa for each of His
different forms of transcendental relish.
Though now we can understand the point we are discussing : Why our taking
up Gaura's kāntābhāva worship will not upset our manjarībhāva or Rādhābhāva
Gaurānga worship. Because each līlā takes place in a separate prakāsa, bhaktas
can freely relish ( as the Lord ) a great variety of transcendental mellows. For
whatever one may contemplate or do in one prakāsa will have no effect on what
he or she will think or do in another.
* līlā bheda : the different forms of the Lord's līlā

* prakāsa bheda : the different realms within each līlā.
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Chapter Five
Therefore, in Goloka Navadvīpa and Vrndāban, nāgarī bhāva worship can

easily accompany one's worship in manjarī bhāva. For both moods will help to
increase The divine relish of the Lord and His bhaktas.
The Paratattva Sīmā

( Srī Bhagavān's Supreme form )
To conclude this chapter, let us investigate what is Srī Krsna's highest feature.
To do so we shall analyse Caitanya caritamrta's mangalācarana verse with
Narahari's first sloka in Bhakticandrikā. Here is Srīla Kavirāja Goswāmī's verse :
jadadvaitam brahmopanishadi tadapyasya tanubhā

ja ātmāntarjyāmī purusa iti sohasyāmsa vibhavah
soraisavarjya pūrno ja iha bhagavān svayamayam
na caitanyāt krsnājjagati paratattvam paramiha
“ The Brahmajyoti described in the Upanisādas emanates from His bodily

effulgence ; the Paramātma in everyone's heart is His plenary portion ; He is
Svayam Bhagavān in full possession of six kinds of divine opulences –
therefore, there is no higher manifestation of Srī Krsna than what we find in
Srī Gaurānga. ” - Adi 1. 3
Srī Narahari Sarkāra's mangalācarana in Bhakticandrikā runs as follows :
kāntam sāntam asesajīva hrdayānanda svarupam param

sarvātmanam anantam ādyam amalam visvāsrayam kevalam
bhaktyānanda rasaika vigraha baram bhaktyaika bhakti priyam
bhaktāvesa dharam vibhum kamapi tam gauram sadopāsmahe
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“ Our Srī Gaurasundara is sadopāsya, eternally worshipable by everyone,

because he is sarvātmanam, the Paramātma within every jīva ; anantam,
eternal ; ādyam, the Original Supreme Purusa ; amalam, free from Māyā and
eternally pure ; visvāsraya kevalam, the Universal Shelter of all ; bhaktyānanda
rasaika vigraha varam ; the bhaktas' Source of transcendental rasa pleasure ;
bhaktyaika bhakti priyam, attracted solely by His bhaktas' pure bhakti ; vibhum,
the Lord who pervades the entire universe. ”
Before we complete this verse's translation, we can note that Srīla Kavirāja
Goswāmī and Srīla Sarkāra Thākura have both presented an elaborate account of
Srī Gaurānga's divine opulences. And thus they assure us that Gaura is indeed
Svayam Bhagavān, the Supreme Worshipable Lord who reigns above every other
Bhāgavata form of the Lord.
Though when Srīla Kavirāja Goswāmī goes on to state that Gaurānga is

Krsna's highest feature, the paratattva sīmā, we might find this hard to imagine
for this special reason : Since Srī Krsna expands into limitless forms to enjoy His
rāsalīlā with millions of gopīs – what could be more spectacular than this ? Yet,
on the other hand, where are the examples which show how Gaurānga can
perform such amorous pastimes which even surpass this ?
After studying the Caitanya sāstras, however, it can be seen that Gaurānga's
eternal associates do try to hide these matters. For as Krsna is a prasidha
nāgara ( a well-known romantic ), Gaura wishes to remain pracchana ( hidden )
concerning His nāgaralī affairs. Yet for this reason, Gaurānga's srngāra rasamaya
pastimes retain an incredible sweetness.
yamunā puline rāsavilāsādi jerupa koila shyāma

seirupa gorā suradhunī tīre rochila rāsera dhāma
“ Just as Shyāmsundara enjoys rāsalīlā ( and other romantic pastimes )

beside the Yamunā, Gaurasundara arranges His rāsa dhāma in the forests
beside the Suradhunī Gangā'. - Srī Narahari Cakravarti, Gauracarita cintāmani
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Chapter Five
Now what will be needed to perform Gaura's madhura prema sevā ? Just
imagine, first we shall find a beautiful moonlit night, its rays casting musingly over
the Gangā. The surrounding forests which are filled with flowering trees and vines
will spread their fragrance everywhere by the cooling southern breeze. Dancing
peacocks and cooing kokilas will add to the forest's splendour, as countless vana
devīs decorate the rāsa mandala and the surrounding vilāsa kunjas for tonight's
exciting pastimes which will soon begin. In seeing such a celestial atmosphere,
Gaurānga's romantic sentiment becomes awakened, as Advaita testifies in his
Stavarāja :
sphuradrāsa rasāvesa madalāsa vilocana
kvacid bhaktajanair divyamālya gandhānulepanaih
“ When Gaurasundara's rāsalīlā splendour comes to His mind, His eyes roll
with intoxication. Then the bhaktas decorate themselves with divine māl ās and
candan to enhance Prabhu's zeal to perform the rāsa ! ”
Srī Gadādhara Pandita's disciple, Srī Nayanānanda Mishra tells more :
kīrtana mājhe kīrtana natarāja

kīrtana kautuka sab nāgarālī sāja
galaye dolaye mālā madhukara gāna
kopale candan cāda bhuru phula vāna
“ Within the ( rāsalīlā ) sankīrtana we find the kīrtana natarāja, Srī

Gaurasundara. Yet to add to the amusement, the bhaktas switch over to their
nāgarī svarupas. Aho ! The enchanting flower mālās which toss from around
their necks lure the honeybees, and their foreheads are decorated with
colourful candan-moons. But O my ! They now pelt Gaurasundara with their
flower arrow-like glances which they shoot from their arching eyebrow bows ! ”
Now we can ask : “ Could Svayam Bhagavān's rāsalīlā pleasure flourish with
a band of males ? Because when the Supreme Lord wishes to reign above the
rāsa-mandala won't He be the only purusa, as everyone else is female ? ”
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Hence, at this splendid moment Srī Yogamāyā arranges the bhaktas'

supremely beautiful nāgarī svarupas.
In Gauracarita cintāmani, Srī Narahari Cakravarti narrates about Srī

Gaurasundara's rāsalīlā as follows :
lāja kula bhaya sab teyāgiyā nadīyā nāgarī jato

manorathe chori cole jūthe jūthe erāyā kāntaka sata
praphulita haiyā dhāinu kāhāra pāne nā pālati dekhe
lohāra pinjora haite jemon palāya navina pākhī
jaīyā turite nayāna bhoriyā dekhinu gorā rāya
jubatī mandalī mājhe sāje bhālo ki dibo upamā tāya
nānā jāti jantra bāje caridige sukhera nāhika pāra
gaoāye madhura sura nārīgana borise amiya dhāra
o mukha kamal madhupāne māti mo punah nācinu sukhe
narahari nātha tā dekhiyā hāsiyā āmāre korila buke
Discarding shyness and family fear, the Nadīyā nāgarīs mount the
palanquin of their deep anurāga as they cross over hundreds of obstacles and
head for Gaurānga's rāsalīlā sthalī ! They are like young birds released from
an iron cage. And as they race along in bliss, no one can see them. When
they arrive and see Gaura Raya to their eyes' satisfaction, He looks
incomparably stunning amidst all of these beautiful maidens ! And when the
dancing begins, all sorts of divine instruments play from every direction as
everyones' bliss becomes immeasurable. Then the n āgarīs sing madhura
songs, as the devīs from heaven shower flower petals. “ O how intoxicated I
became from His many kisses as we danced round and round. ” Narahari
exclaims, “ Then he smiled, and took me into His arms ! ”
Here we find an ideal example of poripūrna krsna prāpti with Srī Krsna's
poripūrna svarupa, Srī Gaurasundara. In other words, since Rupa Goswāmī offers
us the process of sambhogeccamayī sādhana along with the tadbhāveccātmika
method, both processes have an ideal purpose.
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Chapter Five
In Vrndāban the topmost bliss can be relished by performing RādhāKrsna's

jugal sevā in manjarī bhāva. Though in Nadīyā we can relish a pratyakha one to
one loving relationship with Gaurānga – and take up His Rādhābhāva upāsanā,
too.
Let us offer our due homage to Narahari Sarkāra Thākura. For as we now
complete the translation of his Bhakticandrikā's first verse, we find the missing
link which will make everything possible :
kāntam sāntam asesajīva hrdayānanda svarupam param
“ As the divine Amorous Hero ( kānta ) Gaurānga awards transcendental

bliss and eternal peace in the heart of infinite jīvas ! ”
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Chapter Six
Srī Vrndāban dāsa Thākura's Warning
In Caitanya bhāgavata, Vrndāban dāsa Thākura has cautioned the Vaisnavas

about addressing Srī Gaurānga as a nāgara. And there are some good reasons
which prompt him to do so. Let's examine his version :
ei mata capalya koren sabā sane

sabe strī matro nā dekhen dristi kone
strī heno nāma prabhur ei avatāre
sravane o nā korila vidita samsāre
ataeva jato mahā mahim sakale
gaurānga nāgara heno stava nāhi bole
jadyāpi sakal stava sambhave tāhāne
tātāpiha svabhāva sei gāya budha jane
heno mato srī mukunda sanjaya mandire
vidhya rase srī vaikuntha nāyaka vihāre
“ Although Gaurānga acted playfully with everyone during His youth, He

never glanced at the women. For in this Avatāra Prabhu doesn't even listen to
a woman's name. Therefore learned persons never glorify Gaurānga as a
nāgara. Although all such praises are possible with Him, the wise omit praising
Him in this way – for this is their nature. Thus ' Srī Vaikuntha's nāyaka '
pursued His studies in the home of Mukunda and Sanjaya. ”
- C.b, 1. 13. 28 – 32
To offer some contrast, let us now compare Vrndavan dāsa's version with
Advaita Ācārya's perspective of the līlā :
natarāja siroratnam srī nāgara siromanim

asesa rasika sphuryan mauli bhūsana bhūsanam
rasikānugata snigdha vadanābja madhuvratam
srīmad dvījakulottamsam navadvīpa vibhūsanam
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Chapter Six
“ Hey Gaura-natarāja ! Because infinite numbers of rasikā nāgarīs worship

You as the Crowning-jewel of their love – You are truly ' Srī Nāgara Siromani ',
the Greatest Romantic of all ! So to reciprocate with all of Your rasikā-
followers, You pledge to loot their honey – and fondly go on kissing their lovely
sweet lips ! Even so, every brāhmana and Navadvīpa resident reveres You as
the greatest member of their community. ”
Now we could surely ask : “ What is going on here ? For these two
conceptions completely contradict each other ; so which one is right ? ”
Here we must say that because the authority of Vrndāban dāsa Thākura and
Srī Advaita Ācārya are both unquestionable and beyond reproach, they are both
right. So let us analyse both versions :
In Vrndāban dāsa's passages he cleverly addresses Gaurānga as

' Vaikuntha's nāyaka, ' which means that he is referring to Vishnu, the
Yugavatāra residing within Mahāprabhu Who comes to promote the Harināma
sankīrtana yugadharma. So from this standpoint, everything that he says rings
true. Because as the Yugavatāra (Vaikuntha's nāyaka ), certainly the Lord will
never look to the ladies. So it is in this equivocal way that Vrndāban dāsa offers
a protective curtain to save the Lord's reputation, as He comes as an exemplary
world teacher to preach to the masses.
Srī Haridās Mahānta Thākura, a descendant of Vrndāban dāsa, and the

present mahānta of his Srīpāt at Denur ( where the Caitanya bhāgavata was
written ) says the following in this connection :
“ Because Gaurānga's pastimes are nigama ( hard to understand ) and

nigura ( very confidential ) , līlā Vyāsa Avatāra Srī Vrndāban dāsa has carefully
endeavoured to place a protective covering around them. This is to prevent the
Kali jīvas from falling into an ocean of mahā āparādha. For if such persons
should equate Gaurānga's pure srngāra rasamaya līlās with the licentious
womanising acts of worldly men, they will be ruined ! ”
78
On the other hand, Advaita focuses on Svayam Bhagavān Srī Gaurānga's

main ( internal ) reason for coming. Because as Rasika sekhara, His greatest
pleasure lies in relishing madhura prema rasa with the bhaktas. So when Advaita
says :
This means that every one of Gaurānga's Bhāgavata associates can manifest
( if they so desire ) a beautiful nāgarī svarupa to relish madhura kāntābhāva
prema with Him.
Though Vrndāban dāsa's stand not to glorify Gaurānga as a nāgara does

sound surprising. Because there are indeed countless Gaura parikara and
Gaudīya Mahājanas who reveal in their padāvalī that Gaurānga does, in fact,
romantically glance to the nāgarīs, what to speak of having elaborate affairs with
them – just as he enjoys such pastimes with the Vraja gopīs as Krsna.
Nevertheless, Vrndāban dāsa's motive is justified, for he wants to hide

Gaurānga's parakīyā rasa and protect Him from scandal, just as Srī Jīva
Goswāmī endeavoured to protect Srī Krsna's srngāra rasamaya pastimes from
scandal. In other words, learned Vaisnavas know that Krsna's madhura Vraja līlā
is not svakīyā. Even so, Srī Jīva introduced the doctrine that Krsna is eternally
married to the gopīs – just to delude the atheists who vilify Krsna's parakīyā
affairs out of their ignorance of the Lord's supreme position.
But Gaurānga's parakīyā affairs are even more confidential than Krsna's,
because He even takes sannyāsa to promote His mission. Thus Vrndāban dāsa
has dutifully spoken out to hide this matter and delude the uninformed who might
mock Mahāprabhu as a pseudo sannyāsi. For after all, won't the people in
general misunderstand the transcendental nature of the Lord's madhura prema
exchanges with His svarupa saktī counterparts ?
79
Chapter Six
Vrndābana dāsa
Supports Nadīyā nāgarī bhāva
Let us be careful, though, because if we misunderstand Vrndāban dāsa

Thākura's intention, and conclude that Gaurānga can not be a nāgara, or that
such worship is improper – this will contradict the teachings of Gaurānga's eternal
Navadvīpa associates. Rather, we can discover that Vrndāban dāsa upholds the
same version. Though, in his own right, he is very careful about revealing such
secrets, as he presents the evidence at random in Caitanya Bhāgavata. So let us
now examine some of these references to have a clear understanding about his
actual mood. In the first selection, Vrndāban dāsa is steeped in Gaurānga's
captivating rupa mādhurī during His nagara sankīrtana :
(1)
madan sundar, gaura kalevara, divya vāsa poridhāna

cācora cikura, mālā manohara, jeno dekhi pancavāna
candan corcita, srīanga sobhita, gole dole vanamālā
dhuliyā porāye, prema tīra nāhe, ānande sacīra bālā
kāma sorāsana, bhūrujuga pāttana, bhāle malāyaja bindu
mukuta dāsana, srī juta vadana, prakritī karunā sindhu
“ As Gaurānga's bodily splendour outmatches Cupid's beauty, let me

describe it : While dressed in divine attire, with His curly hair tied up in flower
mālās, Gaurānga steals everyones' patience – as He appears just like
Kāmadeva wielding a flower bow ! And while dancing along in bliss,
Sacīnandana totters under the intoxicating influence of prema. His forehead is
attractively decorated with dots of candan, and His two brows rival Kāmadeva's
bow – as He releases the flower arrows of His romantic affection. So as He
attractively smiles and reveals His glossy pearl-like-teeth, Gaur ānga is an
ocean of compassion for all women. ” - C.b 2. 23. 273 – 5
80
Isn't it Cupid who puts young men and women under his spell so that they
romantically fall in love ? Yet in Caitanya Bhāgavat, Vrndāban dāsa repeatedly
refers to Gaurasundara as ' Madan sundara ' or ' Madan manohara ' etc.,
because His striking beauty is truly the most romantically captivating divine form
in the entire three worlds. So naturally, young beautiful women will fall head over
heels upon viewing Him. Thus Vrndāban dāsa follows up on his previous
passages by saying :
(2)
nārīgan hulahuli diyā bole hari

svāmī, putra grha, bitta, sakal pāsari
“ When the women view Gaurānga dancing in sankīrtana – they exclaim

' Hari ! Hari ! ' as they completely forget their husbands, sons, homes and
everything else ! ” - C. b. 2. 23. 310
Doesn't this sound just like what happens to the gopīs when they hear
Krsna's flute-song ?
So what will happen next ?

Vrndāban dāsa replies elsewhere in Caitanya bhāgavat :
(3)
nārīgana dekhi boli ei to madana
strīloke pāuk janme janme heno dhāna
The women who view Gaurānga declare :
“ O my ! He looks just like Cupid ! Let all the ladies attain such a handsome
purusa, birth after birth ! ” - C. b. 1. 12. 57
Though Gaurānga simply doesn't attract the women, for His stunning beauty
incites romantic desires in everyone :
81
Chapter Six
(4)
henomate navadvīpe prabhu visvambhara

gurha rupe sankīrtan kore nirantara
jakhon korāye prabhu nagar sankīrtana
sarvaloka dekhe jeno sākhāt madana
In Navadvīpa Prabhu Visvambhara's sankīrtana is very intimate. For when

the people view His dancing, He appears just like Cupid to all of them.
- C. b. 2. 17. 1 – 2
But what goes on at such times ? Vrndāban dāsa affirms, that such pastimes
are kept hidden :
(5)
henomate navadvīpe prabhu visvambhara

krīda kore nahe sarva nayana gocara
Prabhu Visvambhara's intimate pastimes in Navadvīpa are kept hidden

from most of the people.
- C. b. 2. 19. 2
(6)
kāmalīlā korite jakhon icchā hoy

lakharbuda vanitā se koren vijay
“ When Gaurasundar desires to perform His madhura loving pastimes

( kāma līlā ), He can defeat countless trillions of pretty damsels ! ”
- C. b. 1. 12. 237
82
This is remarkable, that Gaurānga's loving pastimes with His consorts are so
extensive. Though Advaita affirms this too :
koti kandarpa lābanya keli līlā manoramam
“ Gaurānga's premakeli pastimes ( with His beloved consorts ) outmatch the

enchanting love dalliance of millions Cupids ! ”
- Stavarāja – 17
This chapter will conclude with Vrndāban dāsa Thākura's confession about his
own relationship with the Lord :
(7)
mora badhuyā gaura gunanidhiyā

jaya jaya mahāprabhu srī gaurasundara
“ Gaura is my badhuyā ( Romantic Hero ), and the jewel of all good

qualities. Glories, glories to Mahāprabhu, Srī Gaurasundara ! ”
- C. b. 2. 10. 1
83
84
What Inspired
This Book ?
We often wonder, how has Srī Gaurānga's nāgarībhāva worship

become misunderstood in the world today ?
For what was the main focus for Gaurānga and His Nadīyā
bhaktas, has almost become lost over the course of time.
Though when Vaisnavas submissively inquire about this topic, they

often discover its sweetness ; then comes the realisation that this is a
bonafide process which Srīman Mahāprabhu wishes to share with
everyone.
Thus we feelingly pray to Gaurasundara and His bhaktas – let this

wonderful form of worship become more popular so that more people
can relish it.
the fallen sādhaka,

Gadādhara prāna dāsa
85
86
Supplementary
Nadīyā nāgarī bhāva
in Gaudīya Vaisnava
History
87
Nadīyā nāgarī bhāva in Gaudīya Vaisnava History
What have our Vaisnava Acāryas written about Gaurānga's madhura

pastimes with the Nadīyā nāgarīs ? If one is interested to investigate, they can
find limitless accounts. Though because Srī Advaita Prabhu is a foremost Acārya
on this topic, we can begin with these important siddhāntas from His Stavarāja :
vidagdha nāgarī bhāvakalā keli manoramam

gadādhara premabhāva kalākranta manoratham
narahari premarasāsvada vihabala mānasam
prema pradhān lalitadvibhujam bhaktavātsalam
“ Hey Gaurasundara ! The exciting bhāvas and prema keli affairs that
You share with Your rasikā nāgarīs are very enchanting. Yet Gadādhara and
Narahari's exceptional prema, amorous talents and enchanting bh āvas
completely subjugate You. Moreover, at the slightest hint, You embrace Your
Bhāgavata associates with Your lovely arms, and live up to Your reputation of
being bhaktavātsala by sharing Your kāntabhāva prema with every one of
them ! ”
What a wonderful discovery ! Because as Srī Advaita is Svayam Isvara, His

verses present an authorised method of worship that everyone can take up.
This essay will first present some testimonies from Gaurānga's close
associates, those who take part in His madhura pastimes. Then the focus will
turn to their followers, the next generation of Gaudīya Mahājanas who wrote
Vaisnava padāvalī. Though because countless Mahājanas contribute to this genre,
we could only present a brief outline of the direction in which they write. The
th
poems are arranged in a chronological order up to our 20 century.
88
Supplementary
The First Phase

Srī Vāsudeva Ghosa's padāvalī
Vāsudeva Ghosa, and his brothers, are dear parsādas of Gaurānga who
are expert singers and mrdanga players in His sankīrtana pastimes. Caitanya
caritāmrta praises their glories :
govinda, mādhava, vāsudeva – tin bhāi

jā sabār kīrtane nāce caitanya nitāi
Gaura and Nitai ecstatically dance in the sankīrtana led by Govinda,

Mādhava and Vāsudeva Ghosa. - C. c. Adi 10. 115
Of the three brothers, Vāsudeva is the most prolific and popular for his vast
contribution to Vaisnava padāvalī.* Because he composed his poems just after
witnessing Gaurānga's activities, they are invaluable for their historical accuracy,
as well as the deep bhāvas they express.
It is noteworthy that many of Vāsudeva Ghosa's poems were written when

he was in nāgarī bhāva. And a sampling of them clearly shows that he, and his
brothers, are amongst the nāgarīs whom their songs describe. Hence their
padāvalī forms a living account or first-hand testimony of Gaurānga's romantic
nature. In the first selection, Vāsudeva supports Advaita's version, that Gaura is
the greatest nāgara :
āju mui ki pekhalun gaurānga sundara
ei tin bhūvane nāi emona nāgara
kulavatī sab rupa dekhiyā mohita
guna suni toru latā hoy pulakito
sīla goli bahe mrga pākhī kāde
nagarer nāgarī sab bukha nāhi bādhe
sura siddha munigana mona ucātana
vāsudeva kahe gorā madanmohan
* Vaisnava padāvalī : poems of the Gaudiya Vaisnava Acāryas written in Bengali verse
89
“ Today I'm seeing my Gaurānga sundar as the Greatest nāgara in the

three worlds – because even chaste married women go mad upon viewing
Him ! But wow ! Even the trees and the creepers are horripulating – and the
stones melt as the birds and the deer cry ! No wonder the nāgarīs' hearts are
swooning – since even devatas, siddhas and sages lose their patience too !
Vāsudeva Ghosa says, Gorā is Madanmohan. - Padakalpatoru
What do Advaita and Vāsu Ghosh have in common ? They both see
Gaurānga just like Krsna in His srngāra rasamaya aspect. This form of Krsna is
described in Caitanya caritāmrta :
vrndābane āprākrta navina madan

kāma bija kāma gāyatrī jār upāsana
purusa josit kiba sthavar jangam
sarva citākarsaka sāksāt manmatha madan
“ There is a divine and ever-new Cupid in Vrndāban Who is worshiped

by the Kāma bija and the Kāma gāyatrī. Because this form of Krsna steals the
hearts of all women, men and even moving and non moving entities – He is
Madanmohana. - C. c. Madhya 8, 137 – 8
Though Gaurānga's magnanimity as a nāgara even excels Krsna's. For as

Krsna shares His parakīyā rasa only with the gopīs, Gaurānga offers His madhura
prema even to fallen and undeserving people.
Srī Devakinandan dāsa's padāvalī
Remember Cāpal Gopāl, the miscreant who tried to disgrace Srīvāsa

Thākura and became infected with leprosy ? Though after Srīvāsa forgave him,
he was not only physically cured, he became a Vaisnava. Then Sadasiva
Kavirāja's son, Purosottama, initiated him and gave him the name Devakīnandan
dāsa. Here he writes about his intimate tie with Gaurānga :
90
Supplementary
bhūvan mohan gorā rupa nehāriyā āju

nayane sartaka bhelo mora
o cānda muker kathā amiya saman janu
sravane sartaka sruti jora
ei duhu nāsikā mājhu sartaka hailo soi
gaura gunamani anga gandhe
ei kotina hiyā sartaka haibe kabe
o nāgarer dridha ālingiyā
ei kuca kamal mājhu sartaka haiba kabe
o bhramara makaranda diyā
ei gandha jugal mājhu sartake haibe kabe
o nā muker cumban labhiyā
devakīnandana sīra sartaka haibe kabe
nāther carane lutāiyā
“ O sakhī ! Gorā's universally enchanting beauty soothes my eyes ;

the sweet words emanating from His lips soothe my ears,
and His bodily fragrance soothes my nostrils.
But when will that Nāgara embrace me to soothe my chest ?

When will that Rasika honeybee extract their nectar
to soothe my lotus breasts ?
and when will He kiss me to soothe my cheeks ?
Devakīnandana prays, upon placing my head at Gaurānga's lotus feet, all of

my desires will be fulfilled. ”
91
Returning to Vāsudeva Ghosa's poetry, here he confesses about what

happened to him in his nāgarī svarupa :
madanmohan māni, gaurānger vadan khani, rupa heri ki nā hailo more

sonār barana tanu, ei chilo kālo kānu, nāhile ki mona curi kore
rasera parāna jāra, kula ki koribe tār, nadīyā nagare heno jana
ki chāra dāruna matī, mājhilo juvatī satī, ghare ghare premer kādana
nayana kamala nava, aruna porabhāva, dhārā bahe mukha buka bāhīyā
āha mori mori soi, marame tomāre koi, jīva nā go gorā nā dekhīyā
hiyāya premer sāra, tanu hailo jora jora, prabodha nā māne mora prāne
suradhunī tīre jāiyā, bhāsāibo kula krida, bhajibo se gorā gunamani
purābe suniyā jato, sei sab abhimata, eve bhelo kālo tanu gorā
vāsudeva ghosera vānī, rasika nāgara jāni, nāhile ki gopīra monacorā
“ I consider Gaurānga's face to be just like Madanmohana's. Yet I'm

unable to describe my captivation when viewing His body ! This golden youth
must have been Krsna – for how else could He have stolen my mind ? O what
will happen to the young girls who crave romance – for will their family ties
stop them ? And what can I say about the intense agony of Nadīyā's chaste
married women ? For their love-lorn crying can be heard from every home !
Now their soft lotus eyes, conquered by the ' Gaurānga sun, ' pour tears that
stream over their breasts !
O sakhī ! I'm going to pass away ; so just hear my confession : never

classify Gorā as ordinary – for my mind has fathomed the sweetness of His
prema - my body is burning in a fever - and my heart can not be pacified
without Him ! Therefore, I shall drown my family obligations in the Gang ā so
that I can fully worship Gaura gunamani. Aha ! Everything that we know about
Krsna applies to Gorā. Vāsudeva Ghosa confesses : I know that He is a rasika
nāgara – the same fellow who steals the gopīs' minds. ”
In Vraja, Vāsudeva Ghosa is Sudevī, one of Rādhā's asta-sakhīs. So her

romantic tie with Gaura is natural. Though Vāsudeva admits the following :
92
Supplementary
srī sarkāra thākura padāmrta pāne

padya prakāsibo boli icchā haila mone
sarkāra thākurer adbhuta mahimā
vraja madhumatī je guner nāhi sīmā
“ After relishing the nectar of Srī Narahari Sarkāra Thākura's padāvalī, I

became inspired to write poetry like his. Because Srī Sarkāra Th ākura is
Vraja's Madhumatī Sakhī, his glories are amazing ; for she is limitlessly
talented ! ”
It is often said that if Narahari hadn't mustered the courage to write about
such bhāvas, perhaps many other Mahājanas would not have either.
Srī Govinda Ghosa's padāvalī
gorācāda kibā tomāra vadana mandala

kanaka kamal kiye sārada purnimā sashi
nishi dishi kore jhalamala
khagapati jini nāsā amiya madhura bhāsā
tulana nā hoy tribhūvane
akārna nayana vāna bhuru dhanu sandhāna
katākha hānaye nārī mone
jini madmatta hātī hansarāja jini gati
dekhiyā e heno rupa rāshi
kahaye govinda ghosa mora mone santosa
nichani jāiye heno bāsi
“ O Gorācānda ! What can compare with Your lovely face – for it defeats
the beauty of a golden lotus and the full moon – as it shines both day and
night. Your nose outmatches the curvature of a parrot's beak, and Your
speech, which is like nectar, is incomparable in the three worlds. With the
arrow of Your sidelong glance, and the bows of Your arching eyebrows You
pierce the heart of all pretty women ! Your movements rival an intoxicated
93
elephants' gait or the graceful movements of a swan. Though upon seeing the
lustre of Your bodily limbs, Govinda Ghosa yearns to take shelter at Your
lotus feet. ”
Srī Mādhava Ghosa's padāvalī
tochu dukhe dukhi, eka priya sakhī

gaura virohe bhorā
sohite nāriyā colila dhāiyā
jemone bauri pārā
nadīyā nagare suradhunī tīre
jekhane basita pahu
tathāya jāiyā gadagada haiyā
ki kahaye luhu luhu
se sab pralāpa vacana sunite
pāsāna milāiyā jāya
gaura haite nīlācale pure
jaiyā dekhite pāya
akhi jhora jhora hiyā gor gor
kahaye kādiyā kathā
mādhava ghosera hiyā vyākula
sunite marame vethā
“ Seeing Vishnupriyā's pathetic situation, one of Her priya sakhīs

becomes overwhelmed in Gaura viraha. Unable to tolerate such distress, she
runs like a madwoman to the Gangā's shore. Arriving at the place where Nim āi
used to sit, she cries her heart out !
Even stones will melt upon hearing her sad entreaties. In her stupor she
yearns to leave Nadīyā and go to Nīlācala where Priyaji's Husband resides.
And there, with her eyes filled with tears and a swooning heart she will plead
for His return to Nadīyā ! In hearing this testimony Mādhava Ghosa is
painstruck ! ”
94
Supplementary
Srī Murārī Gupta's padāvalī
Although Murārī Gupta was Hanumān in Rāmalīlā, here he testifies about

his madhura tie with Gaura as a nāgarī :
eka dina mone, ānanda bāralo, nitāi gaura rāya

hāsite hāsite, keho nāhi sāthe, bāzāre coliyā jāya
pathe hailo dekhā, rupa nahi lekhā, dithi phelāilo gorā gāya
e heno samaye, jateka nāgarī, jala bhoribāre jāya
keho bole ite, gokula hoite, nātuyā āsiyāche pārā
colo dekhibāre, nācibe bāzāre, moruk moruk jala bhorā
bahe bahe cānda, jahnavī sukanda, bhorilā jateka nārī
heri gorā pāne, bhorilā nayane, kahaye gupta murārī
One day Gaura and Nitāi went out to have a good time ; They were
smiling as They headed for the market place. Upon seeing Them, my eyes
went straight to Gaura's beautiful limbs.
Then came a group of nāgarīs on their way to fetch Gangā jala. But
upon seeing Gaurānga one of them exclaimed : “ Hey look ! Here comes that
' Great dancer ' of Gokula ! ”
Another nāgarī replied : “ Let's follow Him to see what He is up to ;

won't the market place turn ecstatic when he arrives ! ”
Murārī Gupta says : “ As the nāgarīs fill their jugs with Gangā jala, their
eyes fill with Gaura's madhura darshan, too ! - Gaurapada taranginī
Here is a sample of Murārī's āksepa anurāga ( “intense feelings of remorse ” ) in

the pangs of Gaura viraha :
95
sakhī he gorā kena nisturāi mohe

jagate kariyā dayā diyā sei pada-chāyā
vancala e abhāgīre kāhe
gaura preme sapi prāna jiu kare āna cāna
sthira haiyā rohite nāri ghare
āge jadi jānitām pirīti nā karitam
jāciyā nā ditum prāna pare
āmi bhuji jāra tore se jadi nā caya phire
emana pirīte kibā sukha
cātaka salila cāhe vajara khepile tāhe
jāya phāti jāya kinā buka
murārī gupta kaya pirīti sahaja naya
visese gaurānga premera jvālā
kula māna saba chāra carana āsraya kara
tabe se pāibe sacīra bālā
O sakhī ! Why is Gorā torturing me ? Although He mercifully offers the

whole world shelter at His lotus feet, He neglects an unfortunate girl like me. I
gave my life for Gaurānga's love, but now my soul is burning. Thus I can not
remain peacefully at home ! If I had known what would happen, I wouldn't
have surrendered my heart. For as I suffer in His separation, He's indifferent.
So what happiness is there in such love ? It's just like the c ātaka bird
who tries to relieve its thirst from the cloud yet is struck by lightning, its chest
blown to pieces ! Thus Murārī Gupta says : Love isn't simple, especially when
suffering the pain of Gaurānga's prema. First a young girl must give up her
family and her pride and then after taking shelter at His feet, she can attain
the Son of Sacī.
In Caitanya Bhāgavat, Vrndāban dāsa Thākura supports Murārī Gupta's

intimate mood with Gaura as follows :
murārīr prabhāva bolite saktī kāra

murārīr ballabha sakal avatāra
96
Supplementary
Who could possibly tell about Murārī Gupta's amazing love, for Gaura is
his ballabha ( Romantic Hero ) in every Avatāra. - C. b 2. 10. 28
Srī Nayanānanda Mishra's padāvalī
As a disciple of Gadādhara Pandita, Nayanānanda wrote many nāgarī

poems that describe Gaura and Gadādhara's madhura pastimes. Here he reveals
how expansive Gaurānga's prema vilāsa pastimes are in Nadīyā :
aoāta pirīti muratīmaya sāgara aparupa pahu dvijarāja

nava nava bhakata bhakati nava ratana sujācata natana samāja
bhāli bhāli nadīyā vihāra
sakala vaikuntha, vrndābana sampada, sakala sukher sukha sāra
dhani dhani ati dhani, avabhelo suradhunī, ānande bahe rasa dhāra
snāna pāna ava, gāha ālingana, sangam koto koto bāra
proti pura mandira, proti toru kula tala, proti phula vipine vilāsa
kahe nayanānanda, preme visvambhara, sabakāra puralo āsa
“ Prabhu dvījarāja Gaurasundara has advented like an incredible Ocean

of romantic love ! And the bhaktas ( who are His previous Vraja staff ) all
relish a new premabhakti-jewel as they dance along with Him in sankīrtana.
So glories, glories to Gaurasundara's Nadīyā vihāra – for here all of the

happiness of Vaikuntha and Vrndāban combine ! And how fortunate is the
Suradhunī Gangā – because as She blissfully flows through Nadīyā – She can
repeatedly touch the Lord and His priya bhaktas ( the n āgarīs ) as they bathe,
enjoy jala-keli, embracing and rati sangam.
Gaurasundara enjoys prema vilāsa in every home, in every mandira, in

every flower garden and in every forest grove. Thus Nayanānanda says, with
His wonderful prema, Visvambhara fulfils everyones' desire. ”
97
How can one attain Gaura and Gadādhara's intimate prema sevā ? In the
following poem, Nayanānanda answers :
pandita mandita bhelo gaura natarāja

dura sāiye dekhe sab nāgarī samāja
nadīyā nāgarīgan bujhila marame
jāra prasāde pāya prema ratane
gadādhara premavāsa gaura rasiyā
kahaye nayanānanda ei rase bhāsiyā
“ As Gaura natarāja embraces Gadādhara, the nāgarīs are watching from

a distance. Because the Nadīyā nāgarīs can understand these intimate affairs –
only by their mercy can we attain such a jewel of love. So as Gaura remains
subjugated by Gadādhara's prema, Nayanānanda is steeped in the rasa. ”
Because Nayanānanda is a direct participant in Gaura and Gadādhara's

madhura pastimes, he is an ideal person to tell about them. Though here he
recommends that to attain such līlās, one should follow in the nāgarīs' footsteps.
Now doesn't this resemble the instruction that Caitanya caritāmrta presents for
those yearning to attain Rādhā-Krsna's prema sevā ? Let us compare these
teachings with Srī Nayanānanda's advice :
rādhā krsner ei līlā ati guratora

dāsya vātsalya bhāver nā hoy gocara
sabe eka sakhīganer ihā adhikāra
sakhī haite hoy ei līlār vistāra
sakhī vinu ei līlār pusti nāhi hoy
sakhī līlā visthāriyā sakhī āsvadaya
sakhī vinu ei līlāya nāhi anyer gati
sakhībhāve tāra jei kore anugati
rādhākrsnera kunja sevā sādhya sei pāya
sei sādhya pāite āra nāhika upāya
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Rādhā and Krsna's pastimes are very confidential ; for only the sakhīs
know about them. Those in dāsya, vātsalya and others rasas can not
understand these matters. So because the sakhīs expand the līl ās, nourish
them, and relish them – apart from following in the sakhīs' footsteps in sakhī
bhāva, Rādhā Krsna's nikunja sevā will remain unattainable. - Madhya 8.
200 – 4
Though Srī Nayanānanda has similarly stated that to attain Gadādhara and
Gaurānga's nikunja sevā, one must follow in the Nadīyā nāgarīs' footsteps in
nāgarī bhāva.
Srī Vamsīvadana Thākura's padāvalī
As Krsna's Vamsī plays a key role in Vrndāvana's madhura pastimes, in

Nadīyā, Vamsīvadana Thākura, as Vamsī's avatāra, knows all the secrets about
Gaurānga's intimate pastimes with the nāgarīs.
Srī Muralī vilāsa* tells the following story :
vasanta kāler kāle pūrna candradaya

ananga ullāse sabe kore jaya jaya
heno kāle sacīra nandana gorā rāya
cattera dorjāre bhakta sangete khelāya
tribanga bangima thāme nāce gorācānda
nadīyā nāgarīganer mona dhora phānda
heno kāle muralī poriyā gelo mone
muralī muralī bole dhāke saghane
sei kāle garbha haite porilo bhūmite
jaya jaya dhvani sabe lāgila korite
“ At the time of spring's full moon, when Cupid puts everyone under his
spell, Sacīnandana was playing with His friends near the home of Cakori
Cattopadāya ( Vamsī's father ). But then Gorācānda started dancing !
* Murali vilāsa was written by Vamsivadan's grandson, Rājavallabha Gosw āmī
99
And as His body assumed the tribanga position – Gorā becomes the net which
captures all of the Nadīyā nāgarīs' minds.
Aho ! The Muralī came to Gorācānda's mind, and He exclaimed : “ O Muralī !

Where are you ? ”
Just then, with loud cries of “ Jaya ! Jaya ! ” Vamsīvadana came out from the
womb ! ”
Muralī vilāsa goes on :
bhāvāvese kabe gorā vamsī kole laiyā

pūrba rāge nāce gadādharera mukha cāiyā
“ Holding the newly born Vamsī in His arms, Gorā started dancing ! But when
He looked to Gadādhara, His romantic feelings began to awaken ( pūrba
rāga ). ”
Here is a sample of Vamsī's poetry :
nadīyā mājhāre o nā rupa

sonāra gaurānga nāce ati aparupa
alaka tilaka sobhe mukha poripati
rase dubu dubu kore ranga akhi duti
adhore ishāt hāsi madhura kathā koy
hiyār mājhāre sobhe ranga phuler mālā
koto rasa līlā jāne koto rasa kalā
vamsīvadan koy suno lo sajanī
tumi ki nā jāno gorā nāgara vanamālī
“ O sakhī, look ! Our Sonāra Gorācandā is surely the most handsome purusa
in Nadīyā – and His dancing is amazing. Yet don't those tilaka designs gracing
His forehead look stunning along with His amour-drunken eyes. O look at the
100
Supplementary
rangan flower mālā tossing over His chest. Then His big smile spread across
His face makes me think that He is wishing to lure His sweethearts – for He
knows so many rasa-filled līlās and all of the rasika arts. Vamsī replies : Hey
sakhī ! Don't you know that our Gorā is Vraja's Nikunja nāgara ? ”
- Padakalpatoru
Srī Sivānanda Sena's padāvalī
gadāira gaurānga gaurāngera gadādhara

srīrāma jānakī jeno eka kalevara
jeno ekaprāna rādhā vrndābana candra
teno gaura gadādhara premer taranga
kahe sivānanda pahu jāra anurāge
shyām tanu gaurānga haiyā prema māge
Gaurānga belongs to Gadādhara – as Gadādhara belongs to Gaurānga.

Because just as Sītā Rāma and Rādhā Krsna are one soul in two bodies – so
are Gadādhara and Gaurānga – as the high waves of Their prema cascade in
Nadīyā.
Sivānanda says : “ Krsna becomes Gaura so that He can beg for

Gadādhara's prema with anurāga. ”
holi khelata gaura kishora

rasavatī nārī gadādharer kora
vraja rasa gāoāto narahari sange
mukunda murārī vāsu nācato range
khone khone murāchī pandita kora
nikunja mandire pahu kāyalo vithāra
sivānanda kahe pahu suni rasāvanī
jāhā pahu gadādhara tāhā rasakhani
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Just see ! Gaurānga is enacting His Holi pastime in the arms of the
rasavati damsel Gadādhara – as He sings about the Vraja līlā rasa with
Narahari. Then Mukunda, Murārī Gupta and Vāsudeva Ghosa dance along with
Them. But sometimes Gaura faints as He falls into Gad ādhara Pandita's arms.
Then Gaurānga is brought to lie down in the nikunja mandira. And at this very
moment Sivānanda speaks this rasa kathā : “ Wherever we find Prabhu with
Gadādhara – there we shall discover a jewel-mine of madhura prema rasa ! ”
Srī Narahari Sarkāra Thākura's padāvalī

tore kahi marmahi bāta
nibrta niketane hāma ekakinī, dosora jana nāhi sātha
mukura kori dhori, nija mukha herāite, poridane vigalita vāsa
kunkuma candana, ange vilepana, pithopare kesa udāsa
henoi samaya, gaura sunāgara, āoalo hāma nāhi jāne
pitha āre rohi, catura nāgara bora, deyālo mukure bayana
gaurānga vadana vidhu mukure pore herāite, takhone camakita anga
griva phirāite, mukha mukha lāgalo, sakali hailo māju banga
bāhu pāsari, koralāhi āgoralo, pāitalo madana vilāsa
nija kāja sādhi, calalo nāgara bora, kahatahi narahari dāsa
Looking into the mirror

(1)
“ Sakhī, listen to my secret. When I was in my dressing room today, I

thought that no one was around. So I removed my clothes and took up a
mirror to look at my face. As I started rubbing my body with kunkuma and
candan, my loose hair fell over my back. But that is when my great nāgara
Gorā arrived. He stood behind me in such a way that I saw His face reflecting
in my mirror. O my ! I turned around in a startle – our eyes met – and I tried
to bend over to protect myself ! But then He pulled me to His chest and
started making love with me ! And after finishing His business, that Best of
Nāgaras left ; thus speaks Narahari dāsa. ”
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Supplementary
(2)
rasera bhramara mora gorā

kiba jāne pirīti, nava nava juvatī, vadana kamal madhu corā
sayane āsiyā mora, nikate bosiyā go, hāsiya hāsiya koy kathā
koto nā jatane se, cibuka parase go, ghucāya sravane mona vyātha
koto nā adhore se, amiya rasa dhāle go, koto nā bhangima kore cole
adhore adhore dhori, ki āra kahibo go, uroje jhāpi kora tāla
hiyāte dhoriyā hiyā, gaurānga rasiyā, saghane kampoi mora deha
narahari prāna badhu, koto nā jānāye go, amiya pāthāre tāra leha
The Rasika Bumblebee
“ My Gaurānga is like a rasika bumblebee – for He loves to kiss every

pretty girls' honey-like lips ! Coming at bedtime with a big smile, He started
speaking all sorts of love entreaties. Then he fondled my chin and relieved all
of my tension. He was pouring His affection over me – as He captivated me
with His amusing gestures. Then He kissed my lips – but O my ! His hands
went straight for my breasts ! And while we embraced, He satiated all of my
desires with His lovemaking skill – as we horripulated in ecstasy ! O what
more can I say – my prānaballabha Gorā is like a nectar ocean of prema. ”
This is called udāratā, the great compassion which can awaken in premika
bhaktas to award something highly exalted to fallen, undeserving people. Just
think for a moment, if Narahari hadn't revealed about his secret affairs with
Gaurānga – who could have known that such loving pastimes are possible with
Gaurānga ? Yet hasn't he taken a great risk, and placed the garland of so called
scandal around his own neck – simply to benefit others ?
As a result of this mahat krpā now even fallen people in Kaliyuga can become
attracted to Srī Gaurasundara's kāntābhāva bhajan. Indeed, we would say that
such karunā certainly invokes deep sentiment, and tears.
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104
The Second Phase
This section will present some of the Mahājana padāvalī from the
immediate post-Caitanya period.
Just after the Six Goswāmīs completed their preaching task of writing many
bhakti sāstras, from Vrndāban came a great wave of Srī Caitanya's mahākarunā
which re-inundated Bengal. This was stirred by Srīnivāsa Acārya, Narottama dāsa
Thākura and Shyāmānanda Prabhu's preaching as they began to promote the Six
Goswāmīs' teachings. But when these Three Acāryas met with Gaurānga's
remaining Nadīyā bhaktas, and their followers – it is then that they fathomed a
need to administer some reform. This is when Narottama dāsa introduced the
system called Gorācandrikā. Here is its definition :
Before performing Vraja līlā kīrtana, listening to Krsna līlā kathā, or even
sitting down to do Krsna līlā smarana in japa – bhaktas are advised to first sing,
listen to, or meditate upon Gaura līlā.
The Vaisnavas readily accepted the new innovation, and henceforward,

Gorācandrikā became a lasting trend up to our present day. Therefore, wherever
līlā kīrtana is performed, Gaura līlā padāvalī is sung before its corresponding
Vraja līlā kīrtana.
It is during this period that Srī Narahari Sarkāra's teachings had a great
impact. Because on different occasions Srīnivāsa, Narottama and Jahnavā
Thākuranī all ventured to Srīkhanda and became fascinated upon hearing about
Gaurānga's rasarāja doctrine from Narahari. In fact, they influenced their disciples
and followers to preach about it. Srīnivāsa Acārya's disciples Govinda dāsa,
Rādhāballabha dāsa, and Mohan dāsa, as well as his descendant, Rādhāmohana
Thākura, all composed songs about nāgarī bhāva. Srī Nityānanda's disciple,
Balarāma dāsa, wrote nāgarī padāvalī too, as did Narottama and his disciples
Caitanya dāsa and Akincana dāsa. Rāya sekhara's nāgarī bhāva poetry also
belongs to this period ; though it was Locana dāsa Thākura's collection entitled
Dhāmalī which has become the most popular.
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Supplementary
Srī Govinda dāsa's padāvalī
Often acclaimed as the greatest poet to ever write Vaisnava padāvalī,

Govinda dāsa is the son of Caitanya Mahāprabhu's associate, Ciranjīva Sena of
Srīkhanda. Though at a tender age, Govinda once contacted a severe fever and
was on the verge of dying ! That is when his elder brother, Srī Rāmacandra
Kavirāja, brought Srīnivāsa Ācārya to the place where he was lying in a coma.
Then by Srīnivāsa Ācārya's miraculous touch on Govinda's forehead, his life was
restored ! But just after this incident Govinda composed his famous poem, which
begins :
bhaja hunre mana srī nanda nandana

abhaya caranāravinda re
Then after taking diksa from Srīnivāsa Ācārya, Govinda became a stalwart
Vaisnava, and his poetic skill fully blossomed. On many occasions, then,
Srīnivāsa would listen to Govinda's poetic descriptions of Gaura and Krsna līlā.
Indeed, Srīnivāsa was so pleased that he blessed Govinda with the title
' Kavirāja '. Though soon after this, when Govinda dāsa's poetry reached the
Vrndāban Vaisnava community, Jīva Goswāmī also bestowed upon him the title,
' Kavindra ' (the king of poets). Yet this is another incident which reveals that our
Vraja Goswāmīs support Gaurānga's nāgara mood of worship, since a great
number of Govinda dāsa's poems capture Him in this spirit.
Here are two examples :

(1)
dekho dekho nāgara, gaura sudhākora, jagat āladana kāri
nadīyā pura bora, ramanī mandala, madana gunamani dhāri
sahajāi rasamayi, sahacara urugana, mājhe virājita nāgararāja
madana porabhava, vadana hāsi dekhe, vilāsinīgana bhaya lāja
āichana vilāsa, prakata vinodoi, vilāsoi ullāsoi bhāvinī bhāva
pada pankaja pora, govinda dāsa cita, bhramori pāoābo mādhuri labha
– Padakalpataru
106
“ O sakhī, look ! Look at that great nāgara Gorā, He is just like a

Golden moon of pleasure Who can elate the entire universe ! And to arouse
Cupid's loving moods in Nadīyā's pretty women – He reigns as the ' Nāgara
rāja ' owing to His romantic and carefree disposition. Yet since His big smile
conquers even Cupid, won't it also smite the fear and shyness of every young
and playful woman ? Thus seeing Gorā's enchanting vilāsa pastimes
awakening the loving moods of His lovely sweethearts, Govinda dāsa's heart
soars like a bee to relish the honey at His lotus feet. ”
(2)
sārada koti, cānda saiye sundara, sukhamaya gaurakishora virāja
herāite juvatī, pirīti rase mātalo, bhāgalo gurujana gauraba lāja
sajanī kiye āju pekhalun gorā
manmatha madana, aruna nayan ancala, cāhani bhāigenu bhora
mrdu mrdu madhura, madhura smita sobita, lohita adhora vinoda
koti kula kāminī, bāsora jāminī, bhelo anurāginī parasa amoda
kutila sukesa, kusumamaya lotana, jotana rasavatī rasa parināma
govinda dāsa kahe, āichana bora rasiyā, nāgara heri kahaye gunagāna
“ O sakhī ! Our pleasured-filled Gaura-kishora's face outmatches the

beauty of millions of autumn moons. No wonder all the young pretty girls
abandon their shyness and family ties to enjoy loving pastimes with Him.
O sakhī ! Gaura appeared before me today just like Madanmohan and

pierced me with His amorous glance ! O my ! His soft red lips carry a
madhura sweet smile that knocks me off my feet ! Yet all day and night there
are millions of chaste women who are simply going mad to experience His
pleasurable touch. What is more, His lovely curly hair adorned with flowers
makes every love-lorn woman long for Him. Thus Govinda d āsa sings about
that nāgara's glories – as He is truly the greatest rasika. ”
Govinda dāsa is one of Gaurānga's Asta-kavirājas who are all Srīnivāsa Acārya's
disciples. Here are their names :
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Supplementary
1) Srī Rāmacandra Kavirāja 5) Srī Bhagavān Kavirāja

2) Srī Govinda Kavirāja 6) Srī Ballabhikānta Kavirāja
3) Srī Karnapura Kavirāja 7) Srī Gopīramana Kavirāja
4) Srī Nrsingha Kavirāja 8) Srī Gokula Kavirāja
Srī Rādhāballabha dāsa's padāvalī
In his book Karnānanda, Yadunandana Thākura* says :
sudhākora mandala prabhur bhritya ekajana, tār stri shyāmpriyā krpāra bhājan
tār putra rādhāballabha mandala sucarita, harināma vinā jār nāhi anya krta
“ Sudhākora Mandala and his wife Shyāmpriyā are Srīnivāsa Acārya's disciples.
Their son Rādhāballabha was exceptional because he only chanted Harin āma. ”
Here is a sample of Rādhāballabha's poetry :

gangār ghāte jāite bāte bhetinu nāgara gorā
sunyā dehe āinu gehe parāna hailo hārā
terācho dithi vacana mithi ishāt hāsira ghatā
tā dekhiyā parāna niyā ghare phirbe kotā
mona chan chan parāna chan chan parāna diyā pore
ādha kopāle māthāra bise rāite nāri ghare
emon bedani tāki sajanī gaura vaidya dāke
pāile ethā māthār byāta kāra koto kona tāke
suniyā vraje gopīra samāje dākāti korito kālā
sei nāki lo nadīyā elo hailo sacīra bālā
dina dupure dākāti kore mucki hāse hese
nayana bāne bādhe prāne kula māna jāya bhese
rādhāballabha koy āra chārā noy jukti suno dīdī
madan rājār jānāo tvarāya kula rākhbi jadi
* Srī Yadunandana Thākura is the grand-disciple of Hemalatā Thākurān ī, Srīniv āsa Ac ārya's
daughter.
108
“ Sakhī, I confess : as I walked along the Gangā's path today - that

great nāgara Gorā suddenly appeared to send my head spinning ! O my ! He
stole my heart, and left me in a daze as I strolled back home. Because His
shifty glances and sweet smiles are so captivating – I'm fearing that a scandal
will happen at home. O sakhī, my mind is churning as my body reels – thus
my soul wants to leave my body ! O what bad luck – the poison has already
reached my head to make my mind turn restless. O will I be thrown out from
my samsāra ? So sakhī, please bring the ' Gaurānga-doctor – for only He can
save me.
We've heard from the gopīs that Shyām was a dacoit – but after arriving
in Nadīyā as Sacī's Son – that same kind of looting is going on – even in
broad daylight ! First he displays a luring smile – then come His devastating
glances – and after capturing all the young girls' hearts – he sends their pride
and chastity floating down the Gangā ! Rādhāballabha exclaims : O dīdī !
There's no hope left for me. But to protect yourself you had better run to
Madan rājā and lodge a complaint !
Srī Mohan dāsa's padāvalī
Mohan dāsa is a close friend of Govinda dāsa and Srīnivāsa Acārya's

disciple. In Karnānanda, Yadunandana dāsa says :
mohan dāsa nāma janma vaidya kule

naistika bhajan jāra ati niramale
“ Mohan dāsa belongs to the Vaidya caste and performs his bhajan
purely with great enthusiasm. ”
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Supplementary
His following poem appears in Padakalpatoru :
suradhunī tīre dekhā gaurāngera sane

hāsiyā kailo kathā madura vacane
srīvāsa angane āji koribo kīrtana
tomāra milibe sabe sunāha vacana
eteka boliyā gorā nagare calilo
pāsari sakal nārī apana bhulilo
kona rasavatī rāser bhujāye vilāsa
carane dhorāye kahe mohana dāsa
As a group of nāgarīs meet Gaurānga beside the Gangā, He smiles and

sweetly exclaims : “ I shall perform My sankīrtan tonight at Srīvāsa angana, I
hope to see all of you there. ”
Prabhu's invitation made us speechless, as we totally forgot ourselves.

Mohan dāsa says : Where is the damsel who can fathom His rasa vilāsa ?
For I yearn to clasp her lotus feet. ”
Srī Rādhāmohan Thākura's padāvalī
Rādhāmohan is Srīnivāsa Acārya's great great grandson. In his Vaisnava

padāvalī collection entitled Padāmrta samudhra, he introduces himself as follows :
“My father's name is Jagadānanda Thākura, his father is Krsnaprasāda, and

his father is Gatigovinda, Srīnivāsa Acārya's son.” Though Bhaktiratnākara's author
Narahari Cakravarti, states that Rādhāmohan is Srīnivāsa's dvitiya prakāsa,
second incarnation.
So as a specially empowered Vaisnava, Rādhāmohan was a Sanskrita

pandita, a talented kīrtaniyā, very learned in the sāstras, and the guru of a few
rājās and rānis. Though today he is renowned in the Vaisnava world for his vast
contribution to Vaisnava padāvalī.
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Padāmrta samudhra's 27 selection is a poem by Govinda dāsa. Here is

th
the poem along with Rādhāmohana's commentary :
sacīra kongara gaurānga sundar dekhinu ākhira kone

ālakita cita hāriyā lailo aruna nayana bāne
soi marama kahinu tore
eteka divasa nadīyā nagare nāgarī nā robe ghare
ramanī dekhiyā hāsiyā hāsiyā rasamaya kathā koy
bhāviyā cintiyā mona dorāinu parāna rohibāre noy
kon punyavatī juvatī ihār bhujhiyā rasa vilāsa
tāhār carane hrdaya dhoriyā kahaye govinda dāsa
“ O sakhī I'll tell you a secret : When looking from the corner of my eye,
I saw Mother Sacī's son, Gaurānga sundar. O my, when no one was watching
He pierced my heart with His amorous glance ! Yet nowadays there is not one
pretty girl of Nadīyā who can remain at home. For upon seeing them Gorā
smiles and speaks all sorts of romantic entreaties. When thinking over the
matter, I'm trying to hold onto my patience – still my heart races after Him !
So please tell me, sakhī, where can I find a pious young girl who can fathom
His intimate loving pastimes ? Govinda dāsa yearns to catch hold of her lotus
feet. ” *
Rādhāmohan Thākura's commentary
“ After reading this poem, a doubt may arise :
Since Gaurahari comes to deliver Kaliyuga's men and women who are
attached to sense pleasure, why does He display seductive eye gestures or
solicit unbridled romance with Nadīyā's chaste young women ?
* There are many examples like this where the Gaudīya Mah ājanas hanker to take shelter of the
Nadīyā nāgarīs to attain Gaura's madhura sevā.
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Supplementary
To answer, we can say that Krsna was the gopīs' loveable hero
( visaya ), and similarly, the nāgarīs imagine that Gaur ānga deeply loves them.
In such poetry we find instances where a nāgarī and her sakhī discuss
Gaurānga's beautiful form and His love for them. But since Gaurānga is always
transported in Rādhā's mood, His glances go everywhere under the influence
of Krsna prema. So his glances do not contain any seductive or impure
elements. So if the nāgarīs assume that Gaurānga is stealthily looking at them,
they are faultless. Because their love is pure, it renders them innocent. ”
Rasa Analysis
Sometimes the deep intentions of our Gaudīya Mahājanas can be hard to

understand. For example, when Srī Jīva Goswāmī introduced the doctrine that
Krsna is eternally married to the gopīs ( to delude the atheists who vilify His
parakīyā affairs ) the Vaisnavas started to nurture the belief that Krsna's pastimes
with the gopīs are svākīya in Goloka Vrndāban.
Though incidentally, it was Rādhāmohan Thākura who dispelled this spoof

by reinstating Srī Rupa Goswāmī's parakīyā-vāda doctrine. This took place in one
of the most fierce Vaisnava debates of all time – an episode that waged on for 6
months in Mursidabad in 1718. Though owing to Rādhāmohan's decisive victory,
Rādhā and Krsna's parakīyā rasa upāsanā became widely accepted again.
This time, however, it is Rādhāmohan who intends to delude the atheists ;

he wishes to protect Gaurānga's romantic affairs from those who might mock Him.
Because, after all, Gaurānga also acts as an exemplary world teacher ( in
HisYugāvatāra feature ) to promote His bhakti doctrine to the people in general.
Yet, suffice it to say, this doctrine has similarly gone on to mislead the bhaktas
over the last three centuries.
Though Rādhāmohan's commentary does ring true from one standpoint :

Because when Gaurānga is transported in Rādhā's mood – He and the bhaktas
see nothing else. Here is the scene :
112
Prabhu has entered the bhāva where He is traversing in Vrndāban as

Rādhā. He is directly seeing Krsna līlā. To follow His mood the bhaktas envision
their Vraja gopī svarupas. Now owing to Prabhu's avesa ( deep absorption ) in
Krsna līlā – everything that lies before Him in Nadīyā is no longer perceivable. So
in this prakāsa Gaurānga isn't looking to the nāgarīs because He isn't thinking
about them at all.
Yet, on the other hand, to delude the atheists ( and those who lack the
adhikāra to take up nāgarībhāva sādhana ) Rādhāmohan's commentary hasn't
mentioned one important thing : That Gauralīlā is trikāla satya, true for all times
and circumstances. *
In other words, Srī Gaurānga's rasamaya pastimes with the nāgarīs are just
as true as His Rādhābhāva pastimes – and they go on simultaneously in another
līlā prakāsa. So to support this side of the līlā, Sishira Ghosh presents this logical
argument :
“ Look, if Nadīyā nāgarī bhāva is false, from where do the hundreds and
thousands of songs describing their bhāvas come from ? And if the n āgar īs
affairs with Gaurānga don't exist, why would countless Gaudīya Mahājanas
have taken the trouble to write those songs ? ”
Sishīra's outlook does bring up a relevant consideration : Since Gaurānga is

the combined form of rasarāja Krsna and mahābhāva svarupinī Rādhā, would it
make sense to declare only His Rādhābhāva aspect worshipable ? Then we can
ask : Since Gaurasundara's Nadīyā bhaktas worship Him in both moods, why
shouldn't we ? Yet in this regard, Rādhāmohan Thākura sets an ideal example.
Because after composing poetry depicting Gaura's Rādhābhāva, he writes songs
about nāgarībhāva as well. Here are two examples :
*And moreover, would Srī Govinda dāsa, a previous member of his Guru parampara, include
some elements within his poetry which are untrue ?
113
Supplementary
madhukara ranjita, mālatī mandita, jitaghana kuncita kesam

tilaka vinindita, sasadhara rupaka, juvatī manohara vesam
sakhī kalaya gaura mudāram
nindita hātaka, kāntī kalevara, garbhita māraka māram

madhu mādhura smita, lobhita tanubhrita, anupama bhāva vilāsam
nidhuvana nāgarī, mohita mānasa, vikathita gada gada bhāsam
param akincana, kincana naragana, karunā vitarāna sīlam
khobita duramati, rādhāmohan nāmaka, nirupam līlām
“ O sakhī, just look at our merciful Gaurasundara. His curly hair bound
with mālatī mālās attracts the honey bees, the tilaka gracing His forehead
resembles the moonbeams, and His lovely attire steals the heart of every
pretty young girl.
Yet His glamorous golden limbs will surely topple Cupid's pride, as His
honey-like-smile is making everyone go mad. But what a madhura bhāva He
displays, because to lure the nāgarīs for enjoying Nidhuvana's prema vilāsa
pastimes with Him, He speaks lovelorn entreaties in a faltering voice.
As Rādhāmohan sees Gaura's karunā going equally to the rich and to the
poor, he feels remorse ( and misguided ) for missing out on these
incomparable pastimes. ”
dekho dekho gorācānda boro rangi, kāminī kāma manahi mona sancāru
tāicana lalita tribanga
smita juta vardana-kamal ati sundar, sobhā varanī nā hoya

koto koto cānda malina bhelo rupa heri, koto madana puna roya
cāmorī cāmora lāge sukuncita, kuncita kesa bandha
panthāhi panthā calato ati mantara, mad gājā damanaka cānda
āna upadesa bolata kori cāturi, madhura madhura parihāsa
nija abhijoga korota pūraba moto, bhāna rādhāmohan dāsa
114
As a group of nāgarīs spot Gaurānga, one of them says : “ O sakhīs,

look ! There is our great playful Hero, Gorācanda. Is he striking that tribanga
pose just to arouse our romantic feelings for Him ? The sweet smile spread
across His face is indescribable. How many moons are turning pale before his
effulgent limbs – as millions of Cupids lose their charm ; even the c āmaras are
put to shame by His fine, elegant hair. Then look, doesn't His slow and steady
pace outmatch the charm of a drunken elephant's movements ? But sakh ī, I'll
bet that His sweet smiles and carefree joking words are simply meant for
seducing us – just as Krsna used to do. Thus speaks Rādhāmohan d āsa. ”
In Srī Rādhāmohana's Padāmrta samudhra collection there are 760 poems

composed by 38 reputed Gaudīya Mahājanas. He also includes 228 more of his
own composition. Then his disciple Srī Vaisnava dāsa, went on to compile an
even larger collection entitled Padakalpatoru, which contains 3103 poems ( in
several volumes). These are composed by 130 different Gaura parikara and
Gaudīya Mahājana authors.
In his book entitled The History of Vrajabuli Literature, Dr. Sukumāra Sena
remarks about Padakalpatoru as follows : “ This work is the most representative
and exhaustive anthology of ancient Vaisnava lyrics, a veritable Veda of Bengali
Vaisnava poetry. ” *
* We are indebted to Rādhāmohan Thākura and Vaisnava dāsa because many poems from their
padāvalī collections appear in this book.
115
Supplementary
Srī Narottama dāsa Thākura's padāvalī
kancana darpana, varana sugora re, bora vidhu jiniyā bayāna

duti akhi nimika, muraka bora vidhi re, nā dile adhika nayana
hari hari kene ba janma hailo mora
kanaka mukura jini, gorā ange subalani, heriyā nā kene hailām bhora
ajānulambita bhuja, vanamālā virājita, mālatī kusuma suranga
heri gorā murati, koto sata kulavatī, hānato madana taranga
nadīyā nagari, sei bhelo vraja puri, priya gadādhara bāma pāsa
more nātha angikoru, vancakalpatoru, kahe dīna narottama dāsa
“ Gaurānga's limbs are more effulgent than a golden mirror, and His face
outmatches the moon. O how foolish is the Creator, for He gave me only two
eyes which blink ! O Hari Hari ! Why was I born at all – for I missed the
chance to see Gaurānga's dazzling golden form, knee length-arms and the
mālatī garland which swings from His broad chest.
As they view Gorā's beautiful form, countless hundreds of chaste women

are pelted by His loving glances - and thus they become swept away in the
waves of His amorous love ! But when Gaurānga's dearest Gadādhara stands
to His left – Nadīyā transforms into Vrndāban ! Fallen Narottama prays : O lord
of my heart, because You are like a desire tree, please accept me in this way,
too. ”
This rare poem of Narottama's was recorded in Gaurapada tarangini,

compiled by Jagatbandhu Bhādra. Here Narottama laments for having missed the
darshan of Srī Gaura kishora's beautiful form, as the kulavatī ramanīs* of
Navadvīpa view Him. Hence he prays to Gaurasundara for the same kind of
mercy that they receive.
*kulavatī ramanīs – the chaste housewives of Navadvīpa.
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Srī Caitanya dāsa's padāvalī
Caitanya dāsa is Narottama dāsa's intimate disciple. In Narottama vilāsa,

Narahari Cakravarti says this about him :
jaya jaya srī boro caitanya dāsa vijna

premabhaktimaya murti param manojna
Glories, glories to Caitanya dāsa who is a renowned and highly

experienced bhakta whose prema bhakti is most attractive.
- N . V 12. 55
Here he laments like a kalahāntaritā nāyikā :
mohe vidhi viporita bhelo

abhimāne mohe upekhi pahu gelo
ki koribo kaha nā upāya
kemone pāibo soi mora gorā rāya
parāna putalī gorā more chāri gelo
ke jāne je emona haibe
ācale bāndhite dhan sāyāre poribe
caitanya dāser sei hailo
pāiyā gorācānda nā bhaji tejilo
“ O Providence has cursed me ! I became proud, and Prabhu left me !

O sakhī ! What can I do ? How can I get my Gorā Rāya back ? He is the
' Life of my life ', and I could never guess that He would leave me ! O why
couldn't I bind Him to my sari's border ? O now I shall jump into the sea ( to
end my life ) ! This is Caitanya dāsa's fate – Gaurānga was beside me, but
then He left, after I neglected Him ! ”
117
Supplementary
A kalahāntaritā nāyikā is the heroine who grieves for her misbehaviour with
her beloved. And here Caitanya dāsa is speaking incoherently like a madwoman
after being stood up by Gorā. This poem is the Gorācandrikā which is sung first
in a līlā sankīrtana performance which describes Rādhā's kalahāntaritā līlā with
Krsna.
Here it may be noted that the Gaudīya Mahājanas who narrate Rādhā's
kāntābhāva affairs with Krsna often relish the same kāntābhāva with Gorā
themselves in the poetry they write. In this selection, Caitanya dāsa is devastated
and feels a great loss. Though for people like you and I, to attain such a state in
our Gaura bhajan would certainly be a great achievement.
Srī Akincana dāsa Thākura's padāvalī
Akincana dāsa is Narottama dāsa's disciple and a top-notch poet. He is

well known for his Bengali padya translation of Srī Advaita's Stavarāja. Here he
depicts Gaurānga's Holi festival in Nadīyā :
natabora gorārāya bhūvana mohan

premera sāgara prabhu patita pāvana
premānande nāce gāya bole haribola
gorā ange diche phāgu nāgarī sakala
gorā ange pāghu diyā bole hari hari
prabhu ange nirākāye jateka nāgarī
badana herīyā sabe ānanda magana
padadhuli āsa kore dīna akincana
In the dress of a colourful dancer Gorācanda attracts the entire

universe ; He is an Ocean of prema and the Saviour of the fallen. The n āgar īs
are singing and dancing as they shout “ Haribol ! ” and toss red powder over
Gorā's beautiful limbs. And to get a better look – they repeatedly shout “ Hari !
Hari ! ” as they throw more powder ! Though when looking to Gaura's beautiful
face they become totally captivated. Fallen Akincana longs for the dust of their
lotus feet. - Vaisnava padāvalī – Hare Krsna Mukhapādhaya
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Srī Balarāma dāsa's padāvalī

This Balarāma happens to be Nityānanda Prabhu's disciple, and one of
Gaurānga's 64 mahāntas. In Vraja he is Rādhā's priya sakhī named Sumandira
who serves in Campakalatā's group. And in Navadvipa's Yogapītha, he belongs to
Sivānanda Sena's group. Balarāma dāsa is one of the most prolific writers of
Vaisnava padāvalī ; he has contributed hundreds of poems which depict Gaura
and Krsna's madhura pastimes. His following two nāgarī poems appear in
Padakalpatoru :
kusume kacito ratane rocita cikona cikura bandha

madupe mugadha saurabe lubadha kubhadha madupavrnda
lalāte phalaka patira tilaka kutila alakā sāje
tandava pandita kuntale mandita gandha mandala rāje
o rupa dekhiyā satī kulavatī chāralo kulera lāja
dharma karama sarama bharama māthāte porilo bāja
apana ingite bāgora bangite ananga rangita sanga
madana kādana hailo sādhana jagata juvatī anga
kanja carana kunjana ganjana manja manjira bhāsa
indu nindana nakora cānda bole balarāma dāsa
“ Gaurasundar's lovely hair, tied in a golden chain and decorated with

flowers, captivates the honeybees. But as they turn restless, the honeybees fail
to land on the topknot which is moving back and forth. With His forehead
decorated with tilaka designs, Gora looks stunning as He swiftly dances along
with His jewelled earrings dancing over His cheeks !
Sakhī, doesn't Gorā's astonishing beauty make every chaste married

woman go mad ! For they are casting their shyness and chastity to the wind –
as their heads appear to be struck by lightning ! Yet Prabhu's luring glances
awaken Cupid's erotic moods as He goes on to enjoy Ananga's ranga
sādhana* with their pretty limbs ! Thus hearing Gaura's tinkling anklebells and
viewing His toenails which eclipse the moon's splendour, Balar āma speaks. ”
* Ananga's ranga sādhana : Cupid's amorous pastimes
119
Supplementary
(2)
gaura barana, mani ābhorana, natuyā mohana vesa

dekhite dekhite, bhūvana bhulalo, talilo sakal desa
mainu mainu soi dekhiyā gorā thāma
bādhite juvatī, goralo ko vidhi, kāmera upare kāma

campā nāgesvara, mallikā sundara, vinoda kesera sāja
o rupa dekhite, juvatī unmati, dhārābo dhāiraja lāja
o rupa dekhiyā, nadīyā nāgarī, pati upekhiyā kāde
bole balarāma, apana nichilo, gorā pada nākha cānda
“ O sakhī ! Gorā's golden body and enchanting natabora dress covered

in jewels makes me forget the whole world – as the earth appears to be
shaking ! I'll bet the Creator has sculpted Gorā simply to devastate every
pretty young girl. These Campā, mallikā and nāgesvara flowers adorning His
hair are making all of the women go mad. For after forsaking their husbands,
they are crying their hearts out ! Balarāma says : I take shelter at His lotus
feet – as His toenails shine like many moons : ” - Padakalpatoru
This is an eyewitness account. Hence we can believe in Balarāma's

testimony, as he is Nityānanda's disciple and Gaura's nitya parsāda. For he
directly participates in the līlās which he describes.
Let me tell a personal story. I once had a kīrtana teacher from Navadvīpa
who wanted to teach me this song. Although it is popularly sung in līlā sankīrtana
pālās that describe Gaura's rupa anurāga, I declined to learn the song thinking
that its topic wasn't bonafide.
A few years later, however, I fortuned to meet a bhāvuka Gaura bhakta

who devoutly worshiped Gaura and Gadādhara. On our first meeting when he
spoke Gaura kathā, I was amazed to hear the actual purport of Gaurānga
120
nāgarī bhāva from his lips. And tears poured from his eyes as his body shook !
From his first darsana, the seed of Gaurānga's kāntābhāva bhajan was planted in
my heart. I continued to hear from him on different occasions until he passed
away to join Gaura and Gadādhara's nitya līlā in 2012. Though I often lament
now that I refused to learn Balarāma dāsa's song from that kīrtaniyā who has
also passed away.
Srī Jnānadāsa's padāvalī
If we are to consider all of the Mahājana poets who wrote Vaisnava

padāvalī, bhaktas and scholars alike often agree : Jnānadāsa's poetic prowess is
second only to Govinda dāsa's. At a young age he became Srīmati Jāhnava
Thākurānī's disciple. Though in Caitanya caritāmrta he is listed amongst the
followers of Nityānanda. And Narottama vilāsa tells that he attended the famous
Kheturi mahotsava with a group of Nityānanda's bhaktas. There are 186 poems of
his recorded in Padakalpatoru. Here are two from that collection which center
around nāgarī bhāva :
(1)
gaurānga āmāra, dharma karama, gaurānga āmāra jāti

gaurānga āmāra, kula sīla māna, gaurānga āmāra gati
gaurānga āmāra, parāna putalī, gaurānga āmāra svāmī
gaurānga āmāra, sarvasva dhana, tāhāra dāsī je āmi
harināma rabe, kula majāilo, pāgal korilo more
jakhon se raba, korāye bandhuyā, rohite nā pāri ghare
guru jana bol, kāne nā koribo, kula sīla tyāgibo
jnāna dāsa kahe, vinā mule sei, gaura pada vikāibo
“ Gaurānga is my dharma my karma

and my caste
Gaurānga is my family name and pride
for Gaurānga will be mine at last
Gaurānga is my beloved husband
121
Supplementary
and my all in all

For as Gaurānga's dāsī I am ready
to answer His madhura call
when the Harināma enters my home
it makes me mad inside
For when my friend brings Harināma
I swiftly run outside
To my guardians I won't listen
I've forsaken family and name
Jnānadāsa says to attain Gaurānga
who else stands a claim ? ”
(2)
soi dekhiyā gaurānga cāde

hainu pāgalī ākuli vyākuli porinu pirīti phāde
soi gaura jadi haito pākhī
koriyā jatana korite pālana hiyā pinjora rākhī
soi gaura jadi hoita phula
poritām tabe thopāra upare dhulito kānete dula
soi gaura jadi haita kajjal
anjali koriyā ranjitām akhi sobha je haito bhālo
soi gaura jadi haito madhu
jnānadāsa kahe āsvāda koriyā mojita kulera badhu
“ O sakhī !
Seeing Gaurānga cānda, I've fallen to His lure

for in the net of His love, my mind is astir
O sakhī !
If Gaura were a bird, He could sit in my heart
122
If Gaura were a flower, I'd place Him in my part
O sakhī !
If Gaura were kajjal, He could decorate my eyes

If Gaura were honey Jnānadāsa says
He would be tasted by all the housewives. ”
Sishīra Ghosa comments : “ Hey Gauragata-prāna* Jnānadāsa, if Gaura

were not a bird or a flower, but what he is, wouldn't that be better ? ”
Srī Rāya sekhara's padāvalī
Rāya sekhara is Srī Raghunandana Thākura's disciple, and hence, he

follows the tradition of Srī Narahari Sarkāra's Gaura rasarāja upāsanā. Though his
Dandātmika collection of poetry lucidly follows after Govinda līlāmrta's astakāla
Krsnalīlā format. Rāya sekhar is equally acclaimed as other famous Mahājanas
such as Rādhāmohan Thākura, Balarāma dāsa and Jnānadāsa, and his
contribution to Vaisnava padāvalī is vast. Here he tells about the glories of
Srīkhanda :
bhūmandala mājhe, tāhāte srīkhanda sāje, madhumatī jāhe parakāsa

thākura gaurānga sane, vilāsaye ratri dine, nāma dhore narahari dāsa
srīrādhikāra sahacari, rupe gune agori, madhura mādhurī anupama
avani āvatari, purusa akriti dhore, pūrna kailo caitanyera kāma
madhumatī madhu dane, bhāsāila tribhūvane, matta kailo gaurānga nāgara
mātila se nityānanda, āra saba bhaktavrnda, veda viddhi porila phāpora
joga patha kori nāsa, bhaktira parakāsa, kaila mukunda sahodara
pāpiyā sekhara rāya, bikāila ranga pāya, srī raghunandan prānesvara
* Gauragatoprāna : One who is sold out to Gaura.
123
Supplementary
“ Srīkhanda is the transcendental abode that Madhumatī Sakhī brought to

our world, and after becoming Narahari she enjoys prema vilāsa with Gaur ānga
day and night. Madhumatī is Rādhika's ( suhrd-poksa ) sakhī, and her form,
qualities and sweetness are incomparable. But in her avatāra as Narahari she
satiates Gaurānga's madhura loving desires. By supplying honey, She
intoxicates Gaurānga nāgara, and fills the world with bliss. But Nity ānanda also
gets drunk, and so do the bhaktas – which even astonishes the Creator and
the Personified Vedas ! Narahari's elder brother Mukunda has defeated the
path of Yoga to establish bhakti. Though Rāyasekhara's shelter is at Sr ī
Raghunandana's lotus feet, for he is the Lord of my life. ”
At Srīkhanda there is a pond called ' Madhu puskarinī ' where Gaura and
Nitāi enjoy their madhupāna līlā. Because Balarāma loves to drink madhu, so
does Nitāi. In fact, He once brought Gaurānga to Srīkhanda just to get drunk !
As the Two sat above a raised vedī beneath a kadamba tree, Nitāi called out : “
Bring madhu ! Bring madhu ! ”
Then Narahari brought a pitcher of water from the pond which turned into
madhu. But then the whole lake turned into honey ! From this day the pond has
been known as Madhu puskarinī.
In Govinda līlāmrta's Madhupāna līlā Rādhā and her sakhīs shyness and
modesty vanishes. Then Krsna takes advantage to enjoy ratikeli with them.
Though after Srīkhanda's madhupāna festival, Gaura enjoys madhura loving
pastimes with all of the bhaktas' nāgarī svarupas.
Here is another poem by Rāya sekhara :
(2)
sakhī gaurānga gorila ke
suradhunī tīre, nadīyā nagare, uālo rasera de
pirīti parasa, angera thāma, lalita lābanya kalā
nadīyā nāgarī, korite pāgalī, nā jāni kotha nā chila
sonāya badhalo, manira pādaka, ura jhalamala kore
124
o cānda mukhera, mādhuri herite, tarunī hīyā nā dhore

jauvana taranga, rupera vāna, pariyā anga je bhāse
sekhara pahu, vaibhava ko kahu, bhūvana boralo jase
“ O sakhī ! Who made Gaurānga ? Look, on the Suradhunī Gangā's

shore there is a high wave of madhura prema rasa rolling through Nad īy ā !
Every limb of His body is molded from madhura pirīti in so many ways. Hence
the nāgarīs are going mad !
But from where has He come ? His beautiful limbs are covered with gold
ornaments, and the sweetness of His moon-face makes the nāgarīs' hearts
swoon. First He sweeps them away in the waves of His youthful glamour, and
then He pelts them with the arrows of His stunning form. Rāya sekhara says :
Prabhu's opulences are indescribable – for His glories fill the entire universe. ”
Locana dāsa Thākura's padāvalī
Locana is Narahari Sarkāra's star pupil. Thus He wrote Dhāmalī to please

Narahari. In his Gaudīya Vaisnava Abhidhāna, Srī Haridāsa dāsa Mahasaya
praises his skill :
“ Locana was born to write poetry. His down-to-earth village style language
has a soul stirring turn that can enter his readers' hearts. Yet the learned will
discover a rich and graceful Sarasvatī River of rasa flowing throughout every line
of his simple, sweet and life-filled poems. In Dhāmalī, Locana portrays Gaura's
srngāra rasamaya svarupa, relishes it, and even places the garland of Gaurānga's
rasamaya scandal around his own neck ! ”
Here is a sample :
(1)
boluk boluk sakal loke gaura kalankinī
dhik jāra kula rākhe kuler kāminī
nadīyā nagare gorācānda cole jāya
cancala nayana kori dui dike cāya
125
Supplementary
nāgarīder netra jeno bhramarer pāti

gaura mukha padma madhu piye māti māti
padma madhu pāne tādera dekhiyā ullāsa
gaura guna gāya ei locana dāsa
Gaura Kalankinī
“ O let them say it, just let everyone call me ' Gaura kalankinī ',
scandalised by Gaura. And damn those chaste housewives who cling to their
family prestige !
When Gorācānda walks through Nadīyā his flirtatious glances roam both
sides of the path – thus the nāgarīs' eyes soar like thirsty bumblebees to sip
the honey from His lotus face. So as they relish the honey Locana joyfully
sings about Gaurānga's glories. ”
Has Locana's chest overflowed in the pride of his unconditional Gaura

prema ? Maybe so. Yet this makes him impetuous in his ecstatic madhura tie
with Gaura for a good reason, as he assures us :
dhor āra noi soi dhor āra noi
buka sthira kori sabe roho eka thāi
je jā boluk tā boluk tāhā nā sunibo
kalanka pāthāre mājhe sātāre eribo
boluka sakala loke gaura kalankinī
dhik dhik dhik soi kulera kāminī
gaura parivāda ei to sabāi pāibe
locana bole kāre bhaya koro āra tabe
Why Fear ?
Don't fear, sakhī, we've got nothing to fear. We can take the load off our
chests and remain calm. O let them criticise, we won't listen. We'll just swim
across the ocean of scandal to escape. So when they address us as ' Gaura-
126
kalankinī ' , I'll reply : Damn, Damn, Damn, those chaste housewives ! For
everyone is going to end up disgraced by Gorā ! And when that happens,
says Locana, we'll have nothing more to fear. ”
This poem is directed to those who may criticise nāgarībhāva. Yet Locana's
fearlessness is born from deep realisation – for he knows that Gaurānga wishes
to share His madhura prema with everyone. Thus he feels confident that no one
can resist Gaura's incomparable beauty and charm. So what will happen ?
“ Everyone will become Gaura kalankinī ”, he says. Then who will be left to
criticise ?
(3)
colo go sajanī, pirīti nagare, basati korige morā

marama nā jāne, dharama bākhāne, caurāsī bhramibe tārā
sādara duwāre, kapāta hāniye, khirki daraja kholā
calo go sajanī, niscinta haiye, ādhāre dekhige ālā
ālāra bhitore, gorāre dekhibi, nayana rākhibi tathā
se desera kathā, e dese kahile, marame pāibi vyathā
se dese e dese, mesāmisi ache, e kathā nā kabe kāke
se dese e dese, aneka antara, jānaye sakala loke
pirīti nagare, mānusa ratana, virāje sahaja ghare
dharama karama, kulera ācāra, sekhāne jāite nāre
ei dāsa locana, kahaye vacana, dasa dik tāra ālā
Pirīti Nagara
“ O come sakhī ! Let's go to reside in Pirīti-nagara, the abode of love.

But we should be careful, for even staunch religionists can not fathom this
realm. Let them go on wandering through eight million, four hundred thousand
different forms of birth.
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Supplementary
But sakhī, come ! We can latch the front door and after easing our
minds, enter a secret passage to see the light. And within the effulgence we
shall behold Gorā to satiate our eyes ! But don't tell anyone about Pir īti-
nagara, for the people may mock you.
We will have to keep the news of our going a secret. Listen, in Pirīti-
nagara, there is a Jewel-like purusa whose room is easily approachable. But
first we must discard dharma, karma and worldly chastity to enter, for these
things can not stand beside Him. Thus Locana says, Gorā's effulgence fills
every direction ! ”
Where is Pirīti-nagara ? Most people will never find it. For it lies hidden
within a separate līlā prakāsa where Gaura and His kishori ballabhās enjoy
endless prema keli. Yet those nurturing madhura prema for Gaurānga can easily
go there. For this realm is sva-prakāsa, as it automatically manifests before the
eyes of those deeply yearning to be with their prānaballabha Srī Gaurasundara.
128
129
The Third Phase
In this period of Gaudīya Vaisnava history we shall focus on another

aspect of Nadīyā nāgarī bhāva : the madhura sevā of Laksmīpriya and
Vishnupriyā's sakhīs and dāsīs. Although this path was becoming lost, Srī
Visvanātha Cakravarti duly recognised it. Then his disciple, Krsnadāsa, and grand-
disciple, Narahari Cakravarti, went on to promote this very important side of
Gaudīya Vaisnava worship. We should mention, though, Vishnupriyā and
Gaurānga's asta-kāla līlās unfold in a separate prakāsa in Goloka Navadvīpa.
Visvanātha Cakravarti briefly describes Their nishānta līlā in this sutra :
rātryante pikakukkutādi ninadam srutvā sva-talpottitah

srī vishnupriyāyā samam rasakathām sambhāsya santosyatām
gatvānyatra dhorāsanopari vasan svadbhih sudhautānano
yo mātrādibhirikhsitoti-muditas tam gauram adhyem aham
As the kokilas, roosters and other birds shrill, Gaura and Vishnupriy ā rise
from Their flower bed. Prabhu shares rasa-kathā with Vishnupriyā and satisfies
Her. Then He goes to wash His face, greet His mother, and meet the bhaktas
who are eager to see Him. Let us thus meditate on Gaurānga's pastimes at
the night's end. - Srī Gaurānga līlāmrta
In Gauracarita cintāmani, Narahari Cakravarti elaborates on this sutra as he

peeks through the nikunja mandira's window in his nāgarī svarupa :
nishi sese rasa lampata rasika siromani gorā rasera bhore

vishnupriyā saha vilāsaye sulalita nava palankopari
“ At the night's end the King of the rasikas and loving debauchees
Gaura passionately enjoys prema keli with Vishnupriy ā upon Their newly
decorated flower bed. ”
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Supplementary
Here is the next scene, after They fall asleep again :
kiba se sayane tanu tanu misha sobhā trijagate korāye ālo

hema-toru hema-latā beri jeno torite jorita campaka mālā
jāne sei samaye priya dāsī āsi hāsi hāsi mukhe gabakhe dīyā
sayana mādhuri heri heri ati vipula āse uthāle hiyā
jāgāite cāru vacana prakāse jā suni dhāiraja nā jāya rākha
“ Aha ! As Vishnupriyā and Gaura embrace and become one, Their

effulgence lights up the three worlds ! Is this a golden creeper embracing a
golden desire tree, or a golden campaka garland threaded by the lightning ? In
knowing that the night is ending, Priyaji's dearest dāsīs arrive and beamingly
place their pretty faces up to the window. And as they relish Prabhu and
Priyaji's jugal sayana mādhuri they become restless to begin sevā. So when
they call to awaken Them, their captivating voices could easily topple the
patience of anyone who listens. ”
Seeing Her manjarīs approaching, Vishnupriyā nudges Gaura to sit up on

the bed. Two dāsīs then step forward to provide warm towels for freshening the
Rasikā jugala's tired faces. And some other dāsīs prepare pan, as others get
ready to dress Them. Gauracarita cintāmani goes on :
ālase locanī prāna priyā mukha heri hāsi bhāse ānanda jale
rasamaya vānī bhāne porospora vesa virocaye sucaru cānde
dohe duhu mukha tambula dite ki madhura riti dhriti nā bāndhe
adhore adhora dhore dhire dhire puna anga gorāye ranga sei seje
narahari phire jāgāite koru jatna tā nā ālāse tyāje
Gaura smiles to dear and rolling-eyed Vishnupriyā – as Her divine

sweetness brings a tear to His eyes. But as they start to dress each other
( with the manjarīs assisting Them ) - a rasa-filled quarrel stirs ! Then Gaura
places pan in Vishnupriyā's mouth with a long soft kiss – and Their patience
collapses ! Aho ! While locking lips They roll over the flower bed as Their
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amorous love play begins anew ! Though Narahari frets : “ O how will we
wake Them up again – for now They will be more tired than ever ! ”
Rasa Analysis
In his nishānta līlā sutra, Visvanātha Cakravarti says that Gaura speaks
rasa kathā with Vishnupriyā and satisfies Her. Then with beautiful detail Narahari
explains how Prabhu does so. Because Narahari has followed the nāgarīs he
could enter the keli mandira to offer this detailed report.
In Gaura carita cintāmani, he presents this solemn vow :
nadīyā nāgarī ganer carane mati rohu mora jīvane marane

emon kathā nā dekhi nā suni priya lāgi sab tyāge amani
gaura preme tanugāthā sabār ke bujhite iha sakatī kāhār
ei āsa narahari hiyāya tā sabār guna gāiye sadāya
“ Life after life I take shelter at the Nadīyā nāgarīs lotus feet. Who can
sufficiently speak about their glories or imagine their saktī ? Because their
bodies are moulded from Gaura prema, they are totally surrendered to Him.
Thus Narahari always yearns to sing their glories. ”
In Gaura carita cintāmani, Narahari has included more than 200 of his own
poems which describe Gaurānga's affairs with the nāgarīs. Hence scholars and
bhaktas often believe that Narahari Cakravarti is Narahari Sarkāra's second
incarnation.
Though when Narahari states that Gaura is a Rasa-lampata and the

Rasika-siromani in His pastimes with Vishnupriyā, he is not exaggerating, for
Murārī Gupta offers a similar version in his Korcā :
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Supplementary
saundarjya mādhurjya vilāsa vibhramair

rāja rājadvayo hema gaura
vishnupriyā lalita pada pankajam
rasena pūrno rasikendra mauli
“ Vishnupriyā and Gaura's exceptional beauty, sweetness, vilāsa keli, and

stunning golden effulgences make Them appear just like an opulent King and
Queen. For when Vishnupriyā serves His lotus feet – Gaura reigns as Purna-
rasa-Bhagavān – the Crown-jewel of all rasika enjoyers. ”
Returning to Gaura and Vishnupriyā's nishānta līlā, we should mention Their

sakhīs. Because up till now they have been enjoying premakeli with Gaura in
their own vilāsa kunjas - as Prabhu joins each one of them in a separate
prakāsa murti. Though knowing that Vishnupriyā has risen, the sakhīs now
proceed to Her sayana mandira.
In Srī Gaurānga Campu, Srī Raghunandan Goswāmī describes this līlā. And
he begins with the sakhīs calling to awaken the Divine couple :
“ Hey Navdvīpacandra ! You are an Ocean of virtuous qualities, and the

Sun which causes Your bhaktas' lotus hearts to bloom. Though now You are
like a luscious mango in the desire tree of Vishnupriy ā's heart. ”
Another sakhī exclaims : “ O my ! The sun has risen, but our ' Sun of
wonderful pastimes ' ( Gaurahari ) hasn't gotten up yet. And why hasn't our
Padminī Vishnupriyā opened Her eyes either - since the lotus bloom in the
sun's rays ? ”
Hearing the sakhīs' sweet voices, Priyaji quickly separates Herself from
Gaura's embrace. But in missing Her warm touch, Prabhu rises too !
133
The manjarīs begin their sevā as one dāsi holds a crystal pitcher to
wash Prabhu's face. But then a clever sakhī notices the love marks left by
Vishupriyā, and shrieks more enchantingly than a kokila : “ Ayi sakh īs ! Look,
here, if a bumblebee lands on a bāndhuli flower, that is befitting. But O my !
How has the sun risen over the moon ? ” ( this means : “ It's not surprising
that Gaura's red bāndhuli lips turn black like a bumblebee after kissing Priyaji's
kajjol anointed eyelids. But how have the sun-like kun-kuma dots from Her
forehead smeared over His moon-face ? ” This startling evidence reveals that
Vishnupriyā has reigned over Gaura's chest during rati keli ! )
In getting Gaura's wink of approval, one outspoken sakhī exclaims : “ O

dearest sakhī Vishnupriyā, perhaps we can guess why the bee landed on the
bāndhuli flower, but how on earth has the sun risen over the moon ? Can You
please tell us ? ”
Priyaji is silent.
Thus Gaura replies : “ O sakhīs, just see how Vishnupriyā loves you.
She won't say a word. O well, I'll tell you the riddle's meaning tonight. ”
Thus Gaura goes to join His mother and the bhaktas ( as Visvanātha
Cakravarti tells in his sutra ) - and Vishnupriyā heads for the Gangā to take Her
morning bath with the sakhīs.
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Supplementary
The Setting
Where do Gaura and Vishnupriyā's astakāla līlās unfold ? Siddha Krsnadāsa

Bābā's Srī Srī Gaura Govinda Astakāla līlā smaran Gutikā provides the answer
with this meditation :
Atop a beautiful hill in the center of Navadvīpa dhāma is Sr ī Jagannātha

Mishra's breathtaking palace. It is surrounded by high golden walls, and has
four sections inside. In the southwest, are Vishnupriy ā and Lakshmīpriy ā's inner
quarters. And outside Their bedrooms is a beautiful sarovara surrounded by
many gardens.
The vilāsa kunjas of Vishnupriyā's asta sakhīs are situated around the
sarovara in the following directions * :
1) Srīmati Kanchanā Sakhī's kunja ( north )

2) Srīmati Amitā Sakhī's kunja ( north-east )
3) Srīmati Sukesi Sakhī's kunja ( east )
4) Srīmati Candrakalā Sakhī's kunja ( south–east )
5) Srīmati Manoharā Sakhī's kunja ( south )
6) Srīmati Sakhī Vishnupriyā's* kunja ( south-west )
7) Srīmati Premalatikā Sakhī's kunja ( west )
8) Srīmati Surasundari Sakhī's kunja ( north-west ).
In Bhaktiratnākara, Narahari Cakravarti describes this setting slightly

differently. Here is his version :
Outmatching the opulence of Lord Indra's abode, Srī Gaurānga's palace

was constructed by Visvakarma. In each room Gaura can be seen performing
a different activity. There are many beautiful flower gardens outside
Vishnupriyā's bedroom, and here there is a yogap ītha mandira. Above the
mandira's rāja singhāsana hangs a colourful canopy. And when Gaurasundara
* This appears in Siddha Caitanya dāsa bābā's Bhajan Gutikā.
* Sakhī Vishnupriyā looks just like Vishnupriyā, thus the sakhīs call her Sakh ī Vishnupriy ā.
135
stands upon the singhāsana with Laksmīpriyā and Vishnupriyā on His right and
left ( attractively dressed and fully decorated with jewels ) They attract the
entire world. Millions of sakhīs and dāsīs are serving Them. Some twirl
cāmaras, others prepare pan as others anoint Them with candan or perform a
host of other sevā. Here Mahāprabhu can always be found enjoying prema
vilāsa with Lakshmīpriyā, Vishnupriyā and Their millions of sakhī followers.
– Bhaktiratnākara 12. 4038 – 4047
Rasa Analysis
Although Siddha Krsnadāsa and Narahari Cakravarti's versions slightly differ,

they both describe the same place : the vast network of nikunjas which lie hidden
just outside Lakshmīpriyā and Vishnupriyā's bedrooms. And except for Srī
Gaurasundara, no other male can enter this Gupta Vrndāban abode.
Now it is remarkable, however, that Srīla Thākura Bhaktivinoda has

inaugurated the sevā-pujā of Lakshmīpriyā and Vishnupriyā with Gaura in the
center of the Yogapītha mandira which he founded at Srīdhāma Māyāpura. For
who can understand the Thākura's deep intention ? We say this because Gaudīya
Vaisnavas generally place the Panca-tattva in the center of their yogapītha
upāsanā.
For example, in Siddha Krsnadāsa Bābā's Gutikā ( which is the most

popular version amongst the anurāgi rāganugā bhaktas of Vrndāban ), the Panca-
tattva's Yogapītha līlā takes place in the southeast section of Jagannātha Mishra's
palace. Yet in the same Gutikā, Siddha Bābā tells that the vast network of
nikunjas that lie outside Vishnupriyā and Lakshmīpriyā's bedrooms are in the
southwest side of the palace.
So now we can know that Vishnupriyā and Lakshmīpriyā's Yogapītha līlā

with Gaura simultaneously appears here. Srī Narahari Cakravarti explains how this
is possible when he says that Gaura can be found in each room ( or section )
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Supplementary
of the palace performing a different activity. And previously we have learned from
Jīva Goswāmi's Krsna sandarbha that as the Lord enacts different līlas in different
prakāsa forms in different places at the same time, so do the bhaktas.
Let us give an example of how this works in context with our present
discussion : In Siddha Krsnadāsa Bābā's Gutikā, the Asta Mahāntas stand in the
Yogapītha lotus' first eight petals right next to the Panca-tattva. Though in Srī
Siddha Caitanya dāsa Bābā's Bhajan Gutikā, Vishnupriyā's Asta-sakhīs stand in
the same place right next to Lakshmīpriyā, Gaura and Vishnupriyā. Thus we learn
that the Asta-mahāntas who are Svarupa Dāmodara, Rāmānanda Rāya,
Govindānanda Thākura, Vasu Rāmānanda, Sivānanda Sena, Govinda Ghosa,
Vakresvara Pandita and Vāsudeva Ghosa* are non-different from Vishnupriyā's
Asta-sakhīs who are Kancanā, Amitā, Sukeshi, Candrakalā, Manoharā, Sakhī
Vishnupriyā, Prema-latikā and Sura-sundari.
Though here we can also know that Mahāprabhu's Asta Mahāntas and
Vishnupriyā's Asta Sakhīs are non-other than the expansions of Rādhā's Asta
sakhīs who are Lalitā, Visākhā, Citrā, Indulekhā, Campaklatā, Rangadevi,
Tungavidya and Sudevi.
So as Rādhā's Asta Sakhīs have these additional identities ( and perhaps

more ) to relish various līlās with the Lord, we can also meditate on three forms
of our very own :
1) a manjarī svarupa in Rādhā Krsna's līlā ;

2) a kishora brāhmana svarupa in Gaura's Rādhābhāva līlā ;
3) a kishorī nāgarī svarupa which can ideally serve in Gaura's numerous kinds
of srngāra rasamaya adventure.
* Reference : Srī Dhyānachandra's Archana smarana paddhati and Siddha Bāb ā's Gutik ā
137
Prātah Līlā
6 : 00 A.M. - 8 : 24 A.M.
Returning to Gaura carita cintāmani, Gaurānga's pastimes with the nāgarīs

continue on :
(1)
rajani prabāte āju nava nava nāgarī jato
prāna priyā gaura darshan āse korāye jukati koto
param caturā rasikinī sab se rasa sāyāre bhāse
keha nānā cāl jojana korāye keho ba kāndāye hāsi
keha nānā sanka nibāriyā cite cintāye sāshurī rita
etha tār subhā daivājna vacane haiyāce adhika prīta
maner sukhete sutāye buri gharer kāpāt khuli
cāmaki cāmaki uthe khone khone rajani pohailo boli
jāgiyā dekhāye pūrava disāte aruna udaya hailo
sayane tyāgiyā taratāri badhuganer nikate āilo
madhura vacane puche bāchā sab ki koro bosiyā ethā
keho bole ogo laksmī pujā lāgi sikhāye laksmīr kathā
eteka suniyā bhālo bhālo boli prasamse kāteka bāra
narahari kahe dhaner vasona jagate nāhika kāra
At daybreak some kishorī nāgarīs discuss how they will get to see their
prāna priyā Gaurānga today. Being clever and rasikā, these girls dive deep into
the ocean of Gaurānga's romantic affairs. So as they search for an excuse to
visit Mother Sacī 's home – some are laughing while others cry – and some are
trying to overcome their family fear as they ponder the means to dupe their
sāshurīs.*
Last night the old biddy was sleeping with her bedroom door wide open
( to check on her daughter-in-laws ). And as she awakens in a startle at dawn,
she quickly goes to see what they are up to.
* sāshurī : mother-in-law
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Supplementary
“ O we're learning how to do Laksmī pūjā, ” they reply.
“ O that's very good,” the sāshurī answers.
Though Narahari says : “ The nāgarīs don't desire wealth, they only want to
see Gaurānga. ”
When Rādhā daily goes to do Suryā pūjā, it is for the chance to meet
Krsna. Similarly, the nāgarīs are brāhmana kishorīs expert in devatā pūjā. So they
often go to the Gangā's shore to meet Gaura under the pretext of performing
some sort of deva or devī pūjā.
(2)
āier angane jatane dārābo dhoriyā soier kore
gorā gunamani mo pāne cāhiyā kahibe ākhira thāre
oroja vasana bāreka ghucāyā ghucāhā moner dukha
ei kathā bujhiyā lajjita haiyā amani phirābo mukha
sakhī mora ati catura bhujiyā pāsari apana kora
eki eki boli buker vasana ghucābe dekhāiyā ura
ihā dekhi mukha vasane jhāpiyā hāsiyā rasika rāya
madan pirito habe narahari susthira koribe tāya
“ When I arrive at Sacī's home this morning, I shall stand in an elegant

pose holding my sakhī's hand. And as Gaura notices me, His eyes will speak :
' O sakhī, please lower the cloth covering your breasts so I can relieve my
anxiety to see them ! '
Seeing His audacity, I'll turn my head, and pretend to be embarrassed !

But my clever sakhī, knowing what to do, will flick my sārī aside ( to expose
my breasts ) and exclaim, ' O what is this ? ' as she pretends to brush a
spider away !
139
In seeing my lovely figure, my Rasika rāja will cover His head to conceal
His big smile !
Narahari says : When Gaura becomes pierced by Cupids' amorous

arrows, I shall pacify Him ! ”
Rasa Analysis
Here we come to an intriguing scene in Gaurānga's rasa-filled Nadīyā

vihāra. Though we shall ask : Doesn't every young woman desire a beautiful
figure ? And if she has one, won't this arouse her romantic feelings ? So after
attractively dressing herself and looking into the mirror, she may fantasise about
how her stunning beauty will captivate the man of her dreams.
Though Narahari's poem reveals how we can dovetail such thoughts in our
Gaura bhajan. Since Gaurānga eagerly pines to see the nāgarī's curvaceous
figure, why shouldn't one desire to become enticingly beautiful to serve Him ?
For then one may contemplate : “ Gorā has become impatient to enjoy me ! ”
Vaisnava sāstra terms this mood kāntābhāva, and Caitanya caritāmrta praises its
glories :
kāntābhāve nijanga diyā koren sevāna
In kāntābhāva the consort offers her own body in her sevā to the Lord.
– C.c Madhya 19. 231
And,
kāntāganer rati pāya mahābhāva sīma
The love of Svayam Bhagavān's consorts reaches the highest limit of

mahābhāva.
– C.c Madhya 24. 38
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Supplementary
Gaurānga Līlāmrta
As Visvanātha Cakravarti presents the sutras for Gaurānga's astakāla līlā in

Srīman Mahāprabhora līlā smaran stotra, his disciple Krsnadāsa elaborates on
them in Gaurānga līlāmrta. During the late afternoon Gaurasundara does a
parikramā of Navadvīpa while dancing in sankīrtana with the bhaktas. Then the
nāgarīs ecstatically watch. Gaurānga līlāmrta's following scene elaborates on
Visvanātha's aparāhna līlā sutra :
gaurānga gaman pathe nagar nāgarī

darshan lobhe uthe atthali upari
gaurānga sutanu jeno suvarna sikhare
barise pirīti dhārā tāhār upare
cancala locana bhuru kusuma sandhāna
dristi matro hāne druta nāgarīr parāna
mukha candra hāsa mrdu suddhā borisāya
lobhe kulavatī cita cakorinī dhāya
kuntala hillola kāne ratna makori
dhāiye gilāye nārī parāna saphorī
To get a good look at Gaurānga, the nāgarīs eagerly scurry to the

rooftops of their palaces. And as He passes by, their prema showers down like
a torrential rainfall over a golden mountain peak ! This alerts Gaurānga – thus
His arching eyebrows align with His restless roaming eyes to pelt them with
Cupid's arrows !
Though the nāgarīs' hearts continue to soar like thirsty cakorī birds to
drink the nectar of Gaura's delicate smile and bright moon face.
But Gorā scores the victory – because as His naughty dolphin earrings
dance over His glossy golden cheeks – they suddenly leap out to devour the
nāgarīs' minnow-like-hearts !
Part One ends on this meditation. The topic of Nadīyā nāgarī bhāva in
th
Gaudīya Vaisnava History will continue up to the 20 century in Part Two.
141
142
Srī Advaita Acarya's Stavarāja is Authentic
Some Vaisnavas may doubt that Advaita Ācārya has written this Stavarāja,
as it presents a very rasika doctrine of Srī Gaurānga's worship. Though there
was a time when we also felt uncertain that Srī Advaita Ācārya wrote this stava
for the lack of solid evidence. Thus for those who wish to benefit by reading this
stava, I began searching :
I first went to Srī Srī Syāma Vinodinī Kunja at Navadvīpa, to speak with
some family descendants of Srī Advaita Ācārya. I met the āsrama's mahānta, Srī
Kandarpa Gopāla Goswāmī, and after respectfully offering him my dandavat-
pranāma, I frankly asked him : “ Prabhu, what do you think, is Srī Srī Gaurānga
Pratyānga Varnonākhya Stavarāja the authentic writing of your Advaita Ācārya ? ”
First he smiled, then in a grave tone he answered : “ From the time of

Srīman Mahāprabhu, our forefathers acknowledge that Advaita Prabhu wrote this
stava. ” The Gosaī then went on to discuss the wonderful benefits that the
reciters of this stava receive. He was happy to see my eagerness to know more
about his Advaita Prabhu's glories.
I left on a happy note that day, but later began contemplating :

“ Although many Vaisnavas will accept the authority of Srī Advaita's Stavarāja
based on his family members' testimony, there are others who will demand more
proof. ”
Thus I went and asked a pandita friend for a solution, and he replied :
“ To declare any particular Vaisnava text as an original, we should look to

see if slokas from it (or parts from it) appear in other contemporary Vaisnava
sāstras from that period. For example, because slokas from Rupa Goswāmī's
Ujjvala-nīlamani, Bhaktirasāmrta-sindhu, Vidagdha Mādhava, and Lalita Mādhava,
etc, are found within Srī Caitanya-caritāmrta, this proves that the former texts are
as genuine as the latter. ”
143
Taking this good advice to heart, I next visited the Sonāra Gaurānga
Mandira at Srī Navadvīpa, where some of Srī Nityānanda's family descendants
reside. Since I once fortuned to receive the friendship and merciful blessings of
Prabhupāda Srī Nimāi Cānda Goswāmī, his brother ( Srī Bircāndra Prabhu )
allowed me to use their ancient Vaisnava library for my research work. On that
day, I discovered a rare jewel, Srī Narahari Sarkāra Thākura's Bhakticandrikā. And
as I enthusiastically looked through the pages of this rare book ( like a lusty child
in an unattended candy store ) I stumbled upon a very wonderful discovery :
Srī Narahari Sarkāra devotes Chapter Five of his Bhakticandrikā to Advaita

Ācārya's Stavarāja. The entire stava is there ( 41 verses ) with a Sanskrit-tīka by
Srī Rākhalānanda Thākura of Srīkhanda along with the Bengali-padya translation
of Srī Akincana dāsa Thākura, a Mahājana poet, and the disciple of Srī
Narottama dāsa Thākura.
Though later on, I also discovered some other editions of Advaita Ācārya's
Stavarāja. So here is a list of publications where the Stavarāja can be found. All
of these reputed Vaisnava panditas accept Srī Advaita as the Stavarāja's author :
1) Srī Narahari's Bhakticandrikā, edited by Srī Rākhalānanda Thākura,

Srīkhanda ;
2) The Stavarāja's padyānuvāda (Bengali poetic translation) by Srī Akincana
dāsa ;
3) Sādhaka Kanthamālā edited and published by Srī Rāmadāsa Bābāji
Mahārāja ;
4) Manohara Bhajana Dīpikā, published from the Srī Gaurānga Mandira, at
Cakelasvara Govardhana ;
5) Srī Advaita Ācārya Visayaka Rocanābali, by Srī Kisori dāsa Bābā, Srīpad
Īsvara Puri Srīpāta, Srī Caitanya Dhobā, Halisahar ;
6) Pratyānga Varnona Bhāvanāmrta, by Srī Jīvasarana dāsa Bābāji, the
mahānta of Srī Nityānanda Janmastāna, Srī Ekacakra Dhāma ;
7) Narahari's Bhakticandrikā, by Srī Haridās Sāstri of Srī Gadādhara Pandita's
parivāra, Vrndāban.
144
145
About the Author
Gadādhara Prāna Prabhu is Srī Srī Gaura Gadādhara's bhakta and has
taken Their shelter at Māyāpura in a forest kunja beside the Ganga for more than
40 years.
I enjoyed spending 6 weeks in his company in late 2014 - an experience

that I will never forget. Daily we would pick campā, jasmine, jūthi, tagora, rose
and other kinds of flowers from the Srī nikunja where he lives. Other activities
included, hearing Advaita's Stavarāja recited three times a day, bathing in the
Gangā, singing kīrtan of Mahājana padāvalī, relishing Rai Kisorī's ( Prema's
mother's ) cooking, and performing līlā smarana beside the Ganga.
Gadādhara ji always spoke about Gaura and Krsna līlā, and his memories
regarding his Harināma Guru, Srīla Prabhupada, his diksā Guru, Srī Lalita
Prasāda Thākura, and other wonderful Vaisnavas who blessed him with their
association and mercy.
Rādhācharan dāsa / rbains@hotmail.co.uk
146
Visit Srī Srī Gadāi Gaurānga Kunja
Located on a hill overlooking the Gangā at a remote place in Srī

Māyāpura, Srī Gadāi-Gaurānga kunja is a bhajan ashram open to
visitors.
Readers who may wish to come and reserve an accommodation may

write to :
Srī Srī Gadāi Gaurānga Kunja

Srī Māyāpura Ghāta beside the Gangā
Srī Māyāpura, Nadīā
email : gadadhar_das000@yahoo.co.in
or rbains@hotmail.co.uk
147

Srī Advaita's Stavarāja

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Srī Advaita's Stavarāja

Part One, the Stavarāja's introduction, this will examine the

Part Two, presents the entire Stavarāja with an extensive

by the fallen sādhaka,

Srī Srī Gadāi Gaurānga Kunja

A highlight of the event ( see photo ) happens on the krsna-dasamī day

“ I pray that by Srī Narahari's krpā, this book

1) His Rādhābhāva upāsanā, which is documented in Caitanya caritāmrta and

To worship in both ways is the most ideal and complete method.

*padāvalī : Vaisnava poetry written in rhyming Bengali verse.

A Prelude to the Līlā - 11

What Inspired This Book ? - 85

Srī Advaita Acārya's Stavarāja is Authentic - 143

Therefore, as Srī Caitanya empowered the Six Goswāmīs to promote Srī

But what makes Narahari so special ? When Gaurasundara's kaisora

Arriving in Navadvīpa, and hearing the sound of Krsna sankīrtana, Narahari

“O my ! ” thought Narahari, “ Gaurānga's darshan is sweeping me off my feet !

Narahari went on pondering : “ Who am I, and who is He ? Although I'm

* sarva jīvera prāna – the very life of every living entity.

beli avasane, nanadī sane, jal anibāre genu

In his Bhakticandrikā's opening verse, Narahari Sarkāra establishes this

kāntam sāntam asesa jīva hrdāyānanda svarupam param

This is a great discovery. Because on one hand, as we know that

1) the Stavarāja is indeed Srī Advaita's authentic writing ;

2) the teachings of Advaita and Narahari go hand in hand. *

Srī Advaita's Authority

So as we search for a Supreme Authority who can reveal the complete,

Thus Srī Advaita's prescribed method of worship is a genuine process that

Amongst the most ancient prayers dedicated to Srī Gaurānga, Advaita's

Advaita is revealing a whole world of madhura prema adventure, an exciting

prāpitāsesa purusa strīsvabhāva monākulam

Now the question arises : Since Gaurānga's universally attractive form

Does this depiction of Gaurasundara appear new ? Though we certainly

Here is a sample of Locana dāsa Thākura's poetry, where he demonstrates

sacīra gorā, kāmera korā, dekhilām ghāter kule

As a pretty Nadīyā kishorī comes to bathe in the Gangā, she sees

Who wouldn't be attracted upon witnessing the exceptional beauty of

Locana is Narahari Sarkāra's disciple, and Caitanya Mangala's author. And

* parikara – Gaurānga's eternal associates.

Comparing Both Outlooks

If our attraction is awakening upon hearing about Gaura's rasika activities,

“ Gaurānga never enjoys sambhoga activities such as embracing, kissing or

krsna līlāmrta sāra, tār sata sata dhāra

“ From every direction the essence of Krsna's nectar pastimes flow in

Gaurānga's srngāra rasamaya līlās that Advaita presents, and His

eve hāsi prabhu tāre dekhāila svarupa

“ Gaurānga then smiled and showed Rāmānanda Rāya His complete

Because Gaurānga's rasarāja and mahābhāva moods are both inseparable

Taking up Rādhābhāva, Gaurānga advents. He also promotes the Harināma

Gaurānga is non-other than rasamaya Vrajendra kumāra Srī Krsna, Who

Since Caitanya caritāmrta states that Gaurānga advents to relish

Though owing to his pride, Krsnadāsa's brother, Gunārnava Mishra,

One day at Naimisāranya's forest, Romaharsana Suta was seated on the

of respect to Baladeva, Romaharsana went on discoursing. And by this display of

Though after hearing this story, won't we be committing a similar

To conclude this chapter, let us examine the essence of Advaita's teachings

This is amazing ! For here we can discover that Advaita Ācārya is

that Gaurānga's bhaktas actually do take on divine and beautiful female

Advaita explains why :