RASA-RAJA-

SRI SRI GAURANGA

A Study of Sri Gauranga’s intimate, hidden side (like Sri Krsna) as the
Enjoyer of madhura rasa, collected from a host of Gaudiya mahajana authors

The highest form of God (Paratattva Sima)

(A Reverential Offering)

Many mahatmas have left substantial contributions in the Vaisnava world; but one
in particular stands out in my mind — a humble bhakta (devotee) who never made
a disciple, and who hid from recognition. Still, amongst scholars and bhaktas he is
a favorite, regarded author; for the 65
various Gosvamis and Mahajana shastras that he translated and published serve
as an indispensable aid for many.

So Sri Haridasa dasa Baba of Navadvipa’s Haribola Kutira doesn’t need an

introduction. However, through his own voluminous research also, one finds
perhaps the most in-depth study on Gaudiya Vaisnavism.

Those reading Haridasa dasa’s books easily gain a trust for his credibility. For his
vast scholarship, unbiased opinion and broad outlook reveal a deep admiration for
every Gaudiya Mahajana and true follower of Gauranga Mahaprabhu. Thus his
vast array of Vaisnava literature is worthy of admiration.

This volume has been graced by his insight on Rasaraja Sri Gauranga

Sri Haridasa dasa Maharaja-ji

Appearance 1898 — Disappearance 1957

Foreword

jaya rupa sanatana bhatta raghnatha

sri jiva gopala bhatta dasa raghunatha

ei chaya gosai kari carana vandana

jaha haite vighnanasa abistha purana

Before our topic begins, let us invoke auspiciousness by taking shelter of the
followers of Sri Rupa and Sri Sanatana Gosvami; those who tread
the raganuga bhakti path which culminates in the madhura seva of Sri Sri Radha
Govinda.
An ideal example of how bhaktas may awaken such bhakti is examplified in the live
of Sri Raghunatha dasa Gosvami. Raghunatha, once the pampered son of a
wealthy landlord whose young wife rivaled the beauty of an apsara, keenly desired
to join Sri Caitanya’sbhakta assembly. Every time he attempted to leave home,
however, his parents would somehow catch and bring him back. Thus his repeated
attempts to join the Lord all failed — until one day, when he got Sri Nitai Candra’s
mercy. This remarkable incident happaned at Panihati village, where, by a stroke
of luck, Raghunatha fortuned to satisfy Sri Nityananda and His associates by
arranging a huge feast. Thus securing Nitai’s blessings, the means to
escape samsara1 presented itself, and Raghunatha soon reached the lotus feet of
Sri Caitanya deva at Puri.

But Raghunatha’s fortune went on increasing — for being pleased, Sriman

Mahaprabhu placed him under Svarupa Damodara’s care for learning the intimate
matters of rasa-tattvaand prema-seva. Thus in such exalted association
Raghunatha passed his days inparamananda. But later, after the disappearance of
the Lord and Svarupa Damodara, Raghunatha felt destitute and wanted to end his
life! Thus he thought: "I shall go to Vraja, take Sri Rupa and Sri
Sanatana’s darsana, and then jump from Govardhana!"

Upon arriving before Rupa and Sanatana, however, they forbade him to commit
suicide. Rather, they kept him within their inner-circle and imparted upon him the
last course of hisbhajana-siksa, manjari upasana. Thus is the mood of Srimati
Radharani’s helpless maidservant, Sri Raghunatha passed the last days of his live
weeping in her separation on the banks of Radhakunda... and entered Radha
Krsna’s nitya lila in manjari bhava.

To the belief of many Gaudiya Vaisnava’s, Sri Raghunatha’s life story is an

excellent example illustrating that Sri Caitanya’s prema dharma culminates
in manjari bhava. And suffice it to say, this is not a false assertion. For after
sending the Six Gosvamis to Vrndavana, and empowering them to establish a cult
centered around Radha Krsna worship, Sri Caitanya certainly did desire that His
followers attain the prema seva of themanjaris. But from the consumate Gaura
bhaktas, surely a befitting question can arise:
"If manjari bhava is the final word and the highest attainment of Caitanya
Vaisnavim, what about Gaura lila and its worship? Was Gaura Avatara simply
meant for providing the opportunity to enter madhura Sri Vrndavana?"

Introspective Gaudiya Vaisnavas know, Gaura lila has a deeper purport:

it represents the continuing further expressions of prema
bhakti which Rasaraja Krsna yearns to relish with Radhika and
Her gopi confidantes. So herein, we can discover that along with our eternal
Vraja lila role — we have an eternal role with Gaurasundara, which is, indeed,
the sadhya (ultimate goal) to all our spiritual practices as well.

Yet raga marga Rupanuga bhaktas do worship Gaura lila. Knowing that Krsna
advents as Gauranga to accept Radha bhava, they meditate on Gaura’s
Radha bhava lilas before meditating on Vraja lila in manjari bhava. But the
outcome that often occurs when following this system is that one’s attraction for
Radha Krsna’s lila far outmatches one’s attraction for Gaura’s. Hence, only briefly
dipping into Gaura lila, such worshippers fully submerge themselves within
Krsna’s Vraja lila sindhu.

· At this point, however, a whole new world of rasamaya bhakti can begin —
and this path, inspired by Rasaraja Gauranga, is the topic of this book. In other
words, after a brief worship of Gaura in Radha bhava, and after submerging
oneself for a long time in Radha Krsna’s nikunja lilas — one my re-surface in
Navadvipa again to take up Gauranga’srasaraja worship. Because Sri Gauranga
is mahabhava svarupini Radha and rasarajaKrsna combined, both features form
an excuisite enrapture for His bhakta followers to share with Him.

When viewing the entirety of Gaudiya Vaisnavism, we find that the Six Gosvamis’
teachings form a major pillar of Sri Caitanya’s prema dharma. And when sampling
the Vraja rasa, who wouldn’t agree? ... the manjari seva which can be had by
following in Sri Rupa and Sri Raghunatha’s footsteps is unmatched. And hence, Sri
Caitanya dispatched them to Vrndavana for teaching such mellows. But to learn
the confidential secrets of Gaura lila, one will greatly profit to hear about Sri
Gauranga’s amazing qualities from themahajanas whose attraction mainly focuses
on Him.

So, to do so, we shall now take shelter of Advaita Acarya, Gadadhara Pandita,
Narahari Sarkara, Vasudeva Ghosa, Murari Gupta, sivananda Sena,
Kavikarnapura, Locana dasa, and many others, who are steeped in the mellows of
Sri Gauranga’s rasaraja worship. Then, from their versions, we shall find that along
with the Vraja mannjari bhava, Nadiya nagari bhava is a very sweet mellow that Sri
Gauranga wishes to share with all of His followers.

Learned Vaisnavas know that the mahajanas mentioned above wrote about Nadiya
nagari bhava; but when saying `many others’, examples from Rupa Gosvami,
Sanatana Gosvami, Krsna dasa Kaviraja, Narottama dasa, Visvanatha Cakravarti
and even Bhaktivinoda Thakura will be presented which support this bhava.

Hence, a noteworthy feature of this essay is that a comparison of the Vrndavana

and the Navadvipa mode of raganuga bhajana is presented to form a bridge of
understanding between the two schools.

· Invocation ·

(1)
sriman navadvipa kisora candra
ha natha visvambhara nagarendra
ha sacinandana citta caura
prasida he Visnupriyesa gaura
(Sri Prabhodananda
Sarasvati)
" Oh handsome, youthful moon of Navadvipa! Oh Lord Visvambhara — You are
the Lord of all nagaras! Oh hey sacinandana! Although You are steeling my mind, I
know very well that You are Visnupriya’s golden Pranesvara."

(2).
sacira konara, gauranga sundara,
dekhinu akhira kone
alakhite citta, hariya laila,
aruna nayane bane
sei marama kahinu tore

eteka divase, nadiya nagare,

nagari na rabe ghare
ramani dekhiya hasiya hasiya
rasamaya katha kaya
bhaviya cintiya mana darainu
parana rahibara naya
kona punyavati jubati ihara
bujhaye rasa vilasa
tahara carane hrdaya dhariya
kahaye govinda dasa

"Oh sakhi! I’ll tell you a secret: when looking from the corner of my eye, I saw the
Son of saci, Sri Gauranga sundara. But when no-one was watching — He shot me
with the arrow of His reddish tinted glance! And nowadays not one Nadiya
nagari can remain at home; for seeing a sundari ramani, He smilingly speaks all
sorts of rasamaya entreaties. While thinking over the matter, I am trying like
anything to hold onto my patience — still my heart races after Him! So who is the
pious, young girl who can fathom His rasa vilasa1? Govinda dasa sais, my heart
grasps her lotus feet."

(3)
Locana dasa Thakura’s Invitation

cala go sajani, piriti nagare, basati karige mora

marama na jane, dharama vakhane, caurasi bhrammibe tara
sadaa duyare, kapata haniye, khirki daraja khola
cala go sajani, niscinta haiye, adhare dekhige ala
alara bhitare, gorare dekhibi, nayana rakhibi tatha
se desera katha, e dese kabile, marame paibi byatha
se dese e dese, mesamisi ache, e katha na kaba kake
se dese e dese, anek antara, janaye sakala loke
piriti nagare, manusa ratana, viraje sahaja ghare
dharma karama, kulera acara, sekhane jaite nare
ei dasa locana, kahaye vacana, dasadik tara ala
1) rasa vilasa : conjugal, loving pastimes —
Dhamali
"Oh come sakhi! Let’s go reside in piriti nagara1. But we’ll have to be careful, for
even staunch religionists can’t fathom this realm. Let them go on wandering
through eight million, four hundred thousand births. But sakhi, come! We’ll latch the
front door, and fearlessly enter through a secret passage ... to see the light! Aho!
Within the effulgence we’ll see Gora — ans satiate our eyes! But don’t tell
about piriti nagara, lest you’ll become sad (as the people will scorn you.)
We’ll just have to keep the news of our going a secret.
Listen ...
In piriti nagara there is a jewel-like (golden) purusa, and it is easy to enter his
bedroom. But first one must discard dharma, karma and wordly chastity to go — for
they cannot stand beside Him. Thus Locana sais, Gora’s effulgence fills every
direction."

These poems by Locana dasa, and the previous two selections from Srila
Visvanatha and Govinda dasa, certainly reveal a mysterious topic that will surely
puzzle most Vaisnavas. Although these three Gaudiya mahajanas are males in
Gaura lila, they are talking just like young, attractive girls of Nadiya. So what does
Locana mean by `piriti nagara’ (the abode of love)? And doesn’t the means to go
there sound mysterious too? Because such lilas are `praccanna’(hidden within an
inner-realm amongst Sriman Gaurasundara’s other pastimes), only a few fortune to
know about them and fathom their sweetness. So as this volume is devoted to
understanding and glorifying Sri Gauranga’s most intimate rasarajaaspect, we
hope that our readers protect this lofty, controversial topic as one conceals a rare
and priceless gem.

—
The madhukara2

1) piriti nagara: the abode of love

2) madhukara: a honey collector (bee)

A Prelude to the Lila

In the invocations first sloka, Visvanatha Cakravarti addresses Sriman

Mahaprabhu asNagarendra, the Lord amongst nagaras (flirtatious romantics), but
Srila Advaita Acarya calls Him `Nagara siromani’, the Crown-jewel amongst such
personalities. Before probing deeper into the significance of these statements,
however, let us speak something to help broaden our appreciation for the absolute
authority which Sri Advaita wields. Although He is known for His heart-rending
cries which bring about Gaura Avatara, Caitanya Caritamrta,Antya 19 goes on:

"Advaita Acarya is an experienced pujari Who knows all of the sastras imports.
Thus to worship, He performs austerity, calls the Devata, and upon completing
the puja, sends Him away."
Sri Caitanya spoke this riddle to disclose that His entire lila is directed by Advaita.
Yet should this appear astonishing? For Advaita’s sakti, Sita Thakurani,
is Yogamaya, by Whose omnipotency everything happens in Gaura lila. Thus with
His inside knowledge about the Lord’s internal affairs, He reveals the following
confidential siddhantas in His prayers entitled "Sri Sri Gauranga pratyanga
varnanakhya stavaraja":

Verse 6
ardhacandrollasbhala kasturitilakanvitam
bhangura bhrulatakeli-jita-kamasorasanam

"Gaurasundara’s forehead is like a brilliant half-moon adorned with beautiful

musk tilaka;yet below lurks His flirting eyebrow-bows which defeat the might
of Kama deva’s flower arrows."

Verse 17
kotikandarpa-labanya-keli-lila-manoharam
saksatlilatanum kelitanum srngara vigraham

"Sri Gaurasundara’s prema keli is absolutely manohara1— like that of millions of

Cupids;for He is the Abode of prema keli and a srngara rasa vigraha."

Prema keli and srngara rasa renowned traits of Sri Krsna in His kisora lila with
the gopa sundaris. But here Advaita’s depicting Gaurasundara in this way is
remarkable. Still, He goes on:

Verse 26
nijabhava rasasvada vibasaikadasenriyam
vidagdha nagari bhava-kala keli manoramam

"Although Mahaprabhu’s eleven senses are completely overwhelmed by His

own bhava,rupa and rasa — His divine keli vilasa with the clever and rasa-
skilled Nadiya nagaris is simply enchanting!"

1) manohara: mind stealing

Thus Advaita reveals with whom Gauranga srngara rasa affairs take place; but
who are thenagaris? The next sloka begins telling:

Verse 27
gadadhara premabhava kalakranta manoratham
sriman narahari premarasavihabalamanasam

"Gauranga keenly desires to taste the sweetness of Gadadharas prema

bhava and rasa keli skill. Moreover, Sriman Narahari’s prema rasa enslaves Him."

Owing to their internal nari bhava and rupa, Gadadhara and Narahari are chiefs
amongst the Nadiya nagaris, for previously they shared similar bhavas with Krsna,
as Radha and Madhumati sakhi. But one might wonder: `how extensive are such
moods amongst Gaura’s other associates?’ The next verse reveals:
Verse 28
sarvabhagavatahuta kantabhava prakasakam
prema pradanalalita dvibhujam bhaktavatsalam

"Bhakta-vatsala Sri Gaurahari hankers to take up his splendid kanta bhava with
everybhagavata associate. Using His graceful, two arms He embraces them to
award (madhura)prema."

Kanta bhava means the Lord’s mood as a lover, or amorous hero. Through this
mellow we find the inner purport of Gaurangas bhakta-vatsala feature, His
affectionate submission to the love of His devotees. Thus Sri Advaita says:

Verse 32
nataraja siroratnam sri nagara siromanim
asesa rasika sphujjanmauli bhusana bhusanam

"Sri Gauranga is the Crown-jewel amongst all dancers, the Crown-jewel amongst
allnagaras (including Sri Krsna) — and thus the Ornament of ornaments amongst
all rasikapersons."

More than a mahajana, and more than the Lord’s eternal associate, Srila Advaita
Acarya issaksat isvara, the Lord Himself. Thus His merciful siddhantas can benefit
all. However, in His "Krsna Bhajanamrta", Srila Narahari Sarakara elaborates to
reveal more about Sri Gauranga’s magnificence:

pasya pasya, niguratiniguram nirupyate

sakalendriyaih sabdhana mahantah parammmangalam
rahasyam srnvahtu sri Krsnacaitanyadevah
prakataparamananda-vigrahohapi sarvavatara
sarbhutohapi sarvavatarasakti prakasasamarthohapi
sarvavatarabyaktaye dasadasisangavanapi
radhasangaprakasam na krtavan asya
sarvavatarprakasatvam sarvaireva niscitamaste
tathapi rahasyamekam juktameva sruyatam
sri Krsnah sakalvilasa vinoda-rupa kaisoradi
guna sampannohapi strinam vanacarinam
mohanam cakara; kimetat? sri Krsnacaitanyastu
kaupinadhari dinavesah sannyasasramalankrto
hatyantadurdantam balavantam
mahavrsabhaduradurudam dhyatmavadinam
vishayandham kujoginam jadamjasara madyapam
papam candalam javanam murkam kulastriyanca
premasindhou patayamasa; anandena vaikunthopari
stapaya masa kevalam premadharayaiva
sarvesamasayam sodhittavan asurabhanca
curnitavan kimanyadva bahu bavtavyam ?
purusan eva prakrtibhavam ninaya
sri Krsnacaitanya bhavakala mohitah
srigadadhara pandita bhava darsansamudita
gopiganabhava vedantinohapi vimayinhapi
prakrtibhavairnanrtuh
Sri Krsna Bhajanamrta 28-11

"Look, look now I shall disclose the most secret of all secrets! So listen carefully to
this confidential tattva — for it can deliver supreme auspiciousness to even the
self-controlledmahajanas:

Sri Krsna Caitanya Deva is Himself a paramananda murati, the Essence of

all Avataras, and completely capable of displaying every divine potency of any form
of Bhagavan along with the servants or maidservants of such Bhagavat svarupas.
Yet He didn’t disclose about His affairs with Radha (Gadadhara). This is confirmed
by the learned who know about thebhavas and the tattvas concerning all Avataras.
But nevertheless, please listen to a logically proven mystery:

Sri Krsna displays His vilasa (lovemaking), vinoda rupa (enticing bodily features)
and all of His youthful qualities to attract the Vraja gopis into the forest — and what
can be said of this?
But Sri Krsna Caitanya, wearing a kaupina and mendicant sannyasi dress, takes
greater pleasure in converting the most rebellious, stubborn, bull-headed
spiritualists, blind enjoyers, pseudo yogis, materialists, thousands of drunkards,
sinful meat eaters, Muslims, the illiterate, as well as the chaste young girls, to
drown them all in a prema samudra and send them beyond Vaikuntha’s highest
regions to His supreme abode, Goloka. Only with `prema’ did He purify the hearts
of all, after grinding their demoniac natures to dust! And moreover, He converted
males into conceiving themselves as females. When Sri Krsna Caitanya became
decorated with the ornaments of bhava, and when the moods of theVraja-gopis
bhavas overwhelmed Him, upon seeing the bhavas of Srila Gadadhara Pandita —
then He converted every Vedantist and gross materialists to dance in the mood of
a woman!"
Sri Krsna Bhajanamrta 28-11

When comparing Srila Advaita’s stavas with these passages from Narahari, a
remarkable conclusion can be drawn:

Owing to His parama karuna, Sriman Mahaprabhu wishes to reciprocate with His
highly exalted `kanta bhava’ with not only His intimate devotees — but with every
type of grossly fallen jiva in this age of Kali!
Indeed, as Narahari’s list concludes by mentioning `kula strianca’, meaning
the Nadiya nagaris, he is saying that all of the aforementioned sinners or non-
devotees were promoted to Goloka Navadvipa with `nagari prema’ to dance
besides Sri Gauranga in the form of a woman.

Sri Nagara siromani1

A nagara is a playboy, or an unchaste man who loves to indulge in sensuous

pleasure amongst many female companions. And, in our world, such characterless
men are hardly praiseworthy. Rather, they become notorious and condemned in
society.
So now a good question arises:
"Why would Svayam Bhagavan, the very emblem of dharma Himself, stoop to
perform such behaviour?"

The answer we can imbibe from the Bhagavatam, 10-33-36, where the main
reason for His advent is stated:

anugrahaya bhaktanam manusam dehamasrita

bhajate tadrsih krida jah srutva tatparobhavet

"In order to give mercy to the devotees, Sri Bhagavan assumes a human form to
enact loving pastimes with them. Thus, those hearing about His activities may also
become attracted to the Lord."

Giving mercy, or love, to His bhaktas is Bhagavan’s sole activity and foremost
source of pleasure. Hence, introspective devotees can begin to appreciate why
Svayam Bhagavan becomes a nagara. For how many bhaktas would receive His
greatest gift— madhura prema bhakti — if He were to display the role of an ideal,
chaste husband? True, for those who want to admire the Lord as such, He
certainly provides them the opportunity in Rama Avatar. For Lord Ramacandra
never cast His amorous glances upon anyone accept Sita. Yet what about the
forest sages who saw Rama’s immaculate beauty? After coveting the chance to
serve Him as a consort, they had to wait until His advent as Sri Krsna. And only
then could they fulfill their cherished ambition by becoming gopis. Hence, Krsna is
more merciful then Rama. But our Sri Gauranga is far more magnanimous than
even Sri Krsna, because as Sri Narahari states, in his previous "Krsna
bhajanamrta” passages, he awards His most intimate prema rasa to all. And
therefore, Srila Advaita Acarya‘s declaring Sriman Mahaprabhu as the
greatest nagara is justly befitting.

1) Sri Nagara siromani: Gauranga, the greatest nagara (flirtatious romantic)

What Does This Book Discuss?

In the Introduction, pages

After revealing Mahaprabhu’s svarupa as the form

1
of Rasaraja and Mahabhava combined, three approaches to Gaura upasana are
presented: those of Vrindavana dasa, Krsnadasa Kaviraja and Locana dasa.
Owing to Locana’s focus on Gaura’s rasaraja feature, his "Caitanya Mangala" is
filled with madhurya. Locana’s birth signifies the fulfillment of Narahari Sarakara’s
desire to broadcast Gauranga’s madhura pastimes with Gadadhara;thus an
excerpt of Their maharasa sankirtana from "Caitanya Mangala" is inserted. But
Locana’s "Dhamali" further reveals Gauranga’s intimate, madhura Navadvipa lila’s.
This leads into the topic of how Gauranga’s male associates have female
identities; the examples of Narahari and Gadadhara’s nagari svarupa’s are shown.
Supporting evidence is presented from Kavikarnapura and sivananda Sena in
context with the holi pastime. Then "Caitanya Caritamrita" shows how Gadadhara’s
followers worship Gauranga inmadhura rasa. Svarupa Damodara and Rupa
Gosvami state that Gadadhara is directly Radha.

Chapter One, Pages

Since Sri Krsna and Sri Gauranga are non-different, wouldn’t Gauranga posses all
of Sri Krsna’s qualities? Examples from "Caitanya Caritamrta", "Dhamali" and
"Caitanya caritra Maha kavya" show that, indeed, They are Both srngara rasa
nayakas1. Then Sri GaurangaVastra harana lila and Rasa lila are described from
Murari Gupta’s "Korca2" and Narahari Cakravarti’s "Sri Gaura carita cintamani."
The latter discloses the wish to follow in the Nadiya nagaris’ footsteps, and
Narottama dasa Thakura reveals a similar mood. Govinda
dasa’s padavali contributes to the nagari school, but their history link Srinivasa
3

Acarya and Jiva Gosvami as supporters. Then Narahari Cakravarti shows how it is
impossible for Krsna to give up His rasika nature when becoming Gaura. Locana
dasa tells that Radhika and the gopis won’t allow Krsna to escape Gokula alone,
lest they will reveal all of the scandals that He left behind. So after taking on His
new disquise, can Gauranga be called a sadhu? The nagaris’ purva raga for
Gauranga is related in context with Srimati Radharani’s svapna vilasa: She has an
astonishing dream — sees Gaura rasa raja — and races to embrace Him, even
while lying in Sri Krsna’s tender embrace! Locana presents some examples of
the nagaris purva raga from "Dhamali", and goes on to describe his stark
fascination — "Let them call me gaura kalankini!" (scandalized by Gaura) he
implores. Locana even tells why no-one should fear such disgrace. Then Vasudeva
Ghosa and Govinda Ghosa describe their attraction for Gauranga in nagari bhava,
followed by Murari Gupta’s testimony. Because Murari’s "Korca" serves as the
basis for Vrndavana dasa, Krsna dasa and Locana dasa’s biographies of Sri
Caitanya, and because he also relates about the nagari bhava of

1) srngara rasa nayakas: Amorous heros

2) korca: diary
3) padavali: Bengali poetry in rhyming metre
Nadiya, this proves that such mellows with the Lord existed from the very
beginning.

Why is Nadiya nagari bhava controversial? This chapter tell why many Vaisnavas
fail to understand and even take to criticizing such exalted mellows. Because Sri
Caitanya isSvayam Bhagavan, His prema rasa exchanges with His
eternal, svarupa sakti counterparts are natural. But taking the role of a `Yuga
Avatara’, He preaches religion in the dress of asadhu as well. Thus after explaining
the inner purport of Vrndavan dasa’s warning not to openly address Sriman
Mahaprabhu as a `nagara’, the utility of both His Yuga Avatara andSvayam
Bhagavan features is discussed. More evidence supporting
Gauranga’s rasikanature is presented from Sri Narahari Caravarti, Sri
Prabodananda Sarasvati, Sri Acyutananda and Sri Madhavi dasi, Sri Sikhi Mahiti’s
sister.

Chapter Four, Pages

As Sri Krsna is the source of all avataras, Radha is the source of every consort of
His limitless Bhagavata manifestations. But Narahari Sarakara states that
Gadadhara is directly Radha. Then he goes on to say that Gadadhara and
Gauranga’s yugala milana is real — just as Radha Krsna’s. Nayanananda
Misra’s padavali tells about the mood in which Gadadhara’s followers worship
Gaura. Mahaprabhu’s sankirtana Maha Rasa tattva is related from Caitanya
Caritamrta. Then Rupa Gosvami’s intimate "Stava mala" sloka is discussed in
conjunction with Nayanananda’s padavali.

Chapter Five, Pages

This chapter deals with Gaurasundara’s intimate sambhoga affairs.

Examples from "Dhamali" tell about the nagaris’ svapna sambhoga, conjugal
exchanges during dreams. "Ujjvala nilamani" reveals how such dreams are vivid as
waking experiences. Vasudeva Ghosa and Narahari Cakravarti tell of their svapna
sambhogaexperiences. Pradhurabhava sambhoga is discussed, followed by
Gauranga’s nari vesa milana with the nagaris. Gauranga’s prema vilasa vivarta
bhava shows how He can even assume the kanta role as His bhaktas reciprocate
in kanta bhava. Gadadhara and Gauranga’s prema vilasa vivarta lila illustrates.
Gora nama madhuri is explained.

Chapter Six, Pages

A comparison of Rupanuga devotion and Nadiya nagari bhava.

Rupanuga Vaisnavism essentially means Radha dasya seva. However, Radha is

Gadadhara in Gaura lila. Hence Rupa Gosvami follows
Gadadhara; Locana’s padavaliaffirms and Svarupa Damodara gives more
evidence. Because the Six Gosvamis are Gauranga’s ‘sancarita sakti’ it is only
natural that they follow Gauranga’s `mula sakti’ Pandita Gadadhara. Sanatana
Gosvami states that Gadadhara’s wealth lies in nagari prema. Sri Rupa tells about
the special `prema ratna’ that Gauranga is distributing. Nayananda Misra confirms
that this is nagari prema. How did the Gosvamis secretely reveal Gauranga’s
intimate affairs? Rupa Gosvami supports Gauranga’s rasaraja feature. Sri Caitanya
instructed the rasaraja doctrine to Vamsivadana. Sri Caitanya is non-different from
Rasaraja Sri Krsna. A commentary of Rupa’s`anarpito carim’ sloka along with
Locana’s padavali. Some asta kala lila tattva. The essays key note.

Chapter Seven, Pages

More supporing versions from Gaudiya Acarya s such as Jagannatha dasa Babaji,
Bhaktivinoda Thakura, and Siddha Caitanya dasa Babaji. One amusing encounter
between Caitanya dasa Baba and Bhagavan dasa Baba.

Chapter Eight, Pages

Sri Nityananda Prabhu as a nagara and as a nagari. A closer look into Srila
Vrndavana dasa Thakura’s intimate siddhantas found in "Caitanya
Bhagavata."Visnupriya’s kaAdita bhava.
Introduction

tabe hasi tare prahbu dekhaila svarupa

rasa-raja, mahabhava dui ekarupa
Caitanya caritamrta, Madhya 8

"Then Caitanya Mahaprabhu smiled and showed Ramananda Raya His svarupa —
The form of Rasaraja and Mahabhava combined!"

Thus our Gauranga is revealed — He is Krsna, the rasaraja amongst the Vraja-
gopis, plus Mahabhava Svarupini Radha, combined in one form.

Volumes One and Two1 have already dealt with Gauranga’s Radha bhava aspect
at length;so now a study of His rasaraja trait begins.

Although many biographers have written about Caitanya Mahaprahu’s lila, the
works of Vrndavana dasa, Krsna dasa and Locana dasa are the foremost. In
"Caitanya Bhagavata", Vrndavana dasa Thakura mostly depicts Gauranga in His
‘Bhagavata’ feature (as being the supreme Lord); in "Caitanya Caritamrta", Krsna
dasa Kaviraja’s Gauranga is the `Radhabhava’ Nilacala vihari of Svarupa
Damodara, Raya Ramananda, Rupa and Sanatana; yet in "Caitanya Mangala",
Locana dasa Thakura’s `Gora’ is Gadadhara and Narahari’s hrdaya
vallabha2, rasaraja.

Thus each author depicts a different mood of Sri Caitanya which are relishable
and parama upasya (supremely worshipable). Yet in Sri Locanana’s Rasaraja Gora
we find a specialmadhurya. The following story3 shows an example why:

Locana dasa was Sri Narahari Sarkara’s disciple, and under his direction he wrote
"Caitanya Mangala" in the secluded place known as Ko grama. Upon finishing the
task, he returned to the feet of his guru at Srikhanda. But as Narahari read locana’s
manuscript, He said: "Vrndavana dasa Thakura has already written a biography
about
Sri Caitanya called "Caitanya Mangala". So if you want to distribute your book, you
should go on and take his permission first." Thus Locana went to see Vrndavana
dasa and presented his writing after informing him about his Gurudeva’s order. But
as Vrndavana dasa read Locana’s manuscript, he came to the following lines and
fainted in the ecstasy ofprema:

abinna caitanya se Thakura avadhuta

sri nityananda vanda rohinika suta

"I offer my pranamas to Thakura Nityananda nvadhuta, Who is non-different from

Sri Caitanya, and Who was previously known as the son of Rohini." Upon regaining
consciousness, Vrndavana dasa said: "Locana, by Sri Narahari’s grace you have
exactly understood the position of Lord Nityananda — for indeed, His body is non-
different from Sri Caitanya’s. From today onward your book shall be celebrated as
"Caitanya Mangala", and mine will be called "Caitanya Bhagavata."

1) Volumes One and Two: "Why did Caitanya Mahaprabhu come, and what did He
come to give?"
2) hrdaya vallabha: heart’s beloved
3) Story: taken from "Srikhander pracina Vaisnava" (The Ancient Vaisnavas of
Srikhanda) by Sri Gaura gunananda Thakura (published in 1910)

At the time of this incident, Vrndavana dasa’s book had already gained vast
acclaim amongst the Vrndavana Vaisnava community under the name of "Caitanya
Mangala". And hence, Krsna dasa Kaviraja refers to it as such in his Caitanya
Caritamrta. Bit owing to Locana’s describing Gaura-Nityananda as being non
different, Nityananda prana, Sri Vrndavana dasa, couldn’t hold unto his patience
for showing gratitude. Thus he wrote a personal declaration for the Vrndavana
Vaisnavas which stated:

"My book describes Sri Gauranga’s Bhagavata feature, whereas Sri Locana dasa’s
describes about His madhurya. So henceforeward my book should be called
"Caitanya Bhagavata", and his should be known as "Caitanya Mangala."

And thus it came to be. Here is a sample of Caitanya Mangala’s madhurya.

angera chataya jena dinapara pradipa hena

tahe lila rasera vilasa
koti kusuma dhanu jiniya vinoda tanu
tahe kare premera vikasa
kamini mohana vesa herite bhulila desa
madana vedana heri paya
ki diba upama tara karuna vigraha sara
hena rupa mora gora raya

"Gauranga effulgent limbs dazzle like the sun ... and herein we find
His rasa vilasa(conjugal pastimes). His bodily splendor defeats millions of Cupids
weilding their flower bows ... and herein He displays His prema. His dress is kamini
mohana (alluring to every pretty, young girl of Nadiya) — for they forget everything
else when viewing Him! Thus cupid pierces their hearts and binds them to His lotus
feet. So who can compare with Gora Raya? His beautiful form is the essence of
all karuna."

Sri Narahari Sarakara’s Longing

Locana dasa Thakura’s birth signifies the fulfillment of Sri Narahari’s ambition to
broadcast Gaura and Gadadhara’s madhura lilas. Narahari’s
following pada relates:

gaura lila darasane vancha bara haya mane

bhasaya likhiya kichu rakhi
mui ati adhama likhite na jani krama
kemana koriya taha likhi
gaura gadadhara lila adraba karaye sililaa
kara sadhya koraye varnana
sarada likhena jadi nirantara nirabadi
kahe sadasiva pancanana
e granta likhibe je ekhana janme nai se
janmite vilamba ache bahu
bhasate racana bale bhujibe loka sakale
kabe vancha puraibe pahu
kichu kichu pada likhi jadi iha keha dekhe
prakasa karaye prabhu lila
narahari pabe sukha ghucibe manera dukha
granthagane darabibe sila

"In seeing Gauranga’s lila, a great hankering awakens to note down some of these
events. But haya! I am very fallen, and I don’t know the means to write them; so
how will this great task become accomplished?
Gaura and Gadadhara’s lila can melt the stones — yet who can narrate them? If
Goddess Sarasvati as the five-faced Sada siva unceasingly dictates — still
these lilas would remain unsatiated! Haya! The fit person to write hasn’t taken
birth ... and still a long time awaits! Oh when will Gaura and Gadadhara’s pastimes
become narrated for the people? Oh when will Caitanya Mahaprabhu fulfill my
desire? Meanwhile, I shall write a few padas1 to broadcast His lila; Thus my
melancholy will vanquish. For seeing the stone-like hearts of my readers melting —
Narahari will become very happy."

This sample from "Caitanya Mangala" shows how Locana wrote to fulfill
his gurudeva’sambition:

srivasera ghare nace rasa vinodiya

gaura dehe syama tanu dekhe bhaktagana
gadadhara radha-rupa haila takhana
madhumati narahari haila sei kale
dekhiya Vaisnava saba hari hari bole
vrndavana prakasa haila sei stane
go gopi gopala sange sacira nandane
purbe sakha sakhigana je rupa achila
rasa asvadane prahbu sange bhakta haila
abhinava kamadeva sri raghunandana
aprakrta madana boliya je ganana
tara saba purba deha dhari prahbu beri nace
dekhi anya avatara sangi saba kade
navadvipa udaya korila vraja-cande
khone gaura lila gadadhara kori sange
khone syama lila radha rasa rasa range
camatkara lila dekhi saba bhaktagana
hari hari jaya bole ghane ghana
"Rasa vinodiya2 Gauracanda dances at Srivasa’s house ... but as the bhaktas see
Gaurasundara turning into syamasundara — Gadadhara becomes Radha! Then
Narahari becomes Madhumati sakhi ... and all of the cows, the gopas and
the gopis all join to relish mellows with Sri Sacinandana — just as they did
previousely in Vraja. Sri Raghunandana becomes the ever-youthful Kamadeva,
Vrndavana’s transcendental cupid. Thus everyone takes up their
Vrndavana svarupas to dance around Mahaprabhu. Aho! The associates of
other Avataras will cry to see Vrndavana’s canda3 rising in Navadvipa! Thus
Gauranga performs pastimes with Gadadhara ... but sometimes They become
Radha and syama to enoy the Rasa lila ranga4. Seeing such camatkara pastimes,
the bhaktas loudly cry, `Hari,Hari!’ and `Jaya, Jaya!’"

1) padas: poetry written in rhying Bengali meter

2) rasa vinodiya: The Enchanter of the Rasa lila (here, Gaura takes on His rasa-
rajafeature)
3)Vrndavana’s canda: Sri Krsna the moon of Vraja.
4) Rasa lila ranga: the Rasa lila amusement
Sri Locana’s Dhamali Goes deeper

Camatkara means amazing or fantastic, and Locana dasa labels Gaura and
Gadadhara’ssankirtana pastimes as simply camatkara. For even Caitanya
Bhagavata and Caitanya Caritamrta don’t describe that Radha, Krsna and all of
Their gopi associates directly manifest in Sriman Mahaprabhu’s pastimes. But
Locana’s pen goes on. After narrating "Caitanya Mangala", he presents an even
deeper look into Sriman Gaurasundara’scamatkara Nadiya vihara in "Dhamali".
Here Locana’s Gora is a Kamera kora1, a Rupera nagara2, a Rasa sagara, a Citta
cora3, Manohara4 and the Nava kisora natabara5 whose stealthy glances steal
Nadiya nagaris’ hearts! But there is a mystery about the nagaris madhura
bhava with Gauranga that needs clarification: These bhavas that Sri Locana and
other Gaudiya Mahajanas describe are shared amongst Gauranga’s male
assoiates who have subtle nagari forms within.

Gauranga’s Associates Have Female Identities

Although the Vraja gopis have assumed male forms in following Krsna’s
transformation to Gora — still they cannot forget their previous madhura tie.
Rather, with Gora, these loving pastimes continue to unfold with newer and newer
relish. Thus their internal nagari bhavais their overriding service mood to him.
Concerning Narahari Sarakara and this tattva, Sri Gaura gunananda Thakura of
Srikhanda explains as follows:

"Sri Narahari Sarakara Thakura serves and gives pleasure to his prana
Gauranga in basically three ways: 1) in his parsada svarupa as Narahari, 2) in his
previous nitya-siddha svarupa as Madhumati Sakhi, and 3) in his nagari
svarupa. In this connection the lastbhava, (the nagari bhava or kanta bhava) is his
internal mood; the other two moods are occassional. Sriman Mahaprabhu prakata
svarupa (visible form) is the visaya (affectionat object) of Narahari’s kanta bhava.
Hence this kanta bhava forms his stayi bhava(permanent mellow) and the
other rasas of dasya, sakhya and vatsalya bhava are contained within it."
 — Srikhanda’s pracina Vaisnavas

Gadadhara Pandita’s Nagari Svarupa

In Gaura ganodesa dipika, Srila Kavikarnapura confirms this siddhanta in context

with Gadadhara Pandita as follows:

sri radha prema-rupa ja pura vrndavanesvari

sa sri gadadharo gauravallabhah panditakhyah
pura vrndavane laksmih syamasundara ballabha
sadya gaura prema laksmih sri gadadhara pandita

"She Who was previously Vrndavanesvari Radha is now Sri Gauranga ballabha,

1) Kamera kora: reservoir of divine kama

2) Rupera nagara: A Handsome flirtatious romantic
3) Citta cora: mind thief
4) Manohara: Simply enchanting
5) Nava kisora natabara: dressed like an attractive, youthful dancer
Gadadhara Pandita. And She Who was Vraja Laksmi Radha, Sri
syamasundara vallabha, now appears as Sri Gauranga’s prema Laksmi
Gadadhara."

Thus Gadadhara Pandita Gosvami (although being directly Vrndavanesvari Radha)

has a female Navadvipa svarupa referred to as Gauranga’s prema vallabha,
or prema Laksmi.

Sri Sivananda Sena’s Contribution

Now one might ask, "How does Srila Kavikarnapura know about Sri
Gadadhara’s nagari svarupa, and why would he write about such mellows?"
The answer is that he imbibed this intimate service mood from his father,
sivananda Sena;and his writing about such bhavas simply represents the overall
trend of many of Gauranga’s eternal associates. For example, sivananda, who was
previously Campakalata Sakhi in Vraja (one of Radha’s asta sakhis), now worships
Vrndavana’s yugala kisora in the form of Gadadhara and Gauranga. His
following pada explains about this:
jaya jaya pandita gosai
jara krpabale se caitanya guna gai
hena se gauracandre jahara piriti
gadadhara prananatha jahe lage khyati
gauragata prana prema ke bujhite pare
khetra vasa Krsna seva jara lagi chare
gadaira gauranga gaurangera gadadhara
sri rama janaki jena eka kalebara
jena eka prana radha vrndavana candra
tena gaura gadadhara prema taranga
kahe sivananda pahu jara anurage
syama tanu gauranga haiya prema mage
"All glories, all glories to Gadadhara Pandit by Whose mercy we can sing Sri
Caitanya’s glories. His love is such that Gauranga is celebrated as
`Gadadhara’s prananatha’ (the Lord of Gadadhara). Aho! As Gadadhara’s life is
Gauranga, His prema is unfathomable — for He renounced his ksetra
sannyasa1 and Gopinatha’s seva smply for Gaura. Thus Gauranga belongs to
Him, and He belongs to Gaura — as Rama and Sita are one body. And just as
Radha and Vrndavana candra are one life — so do the waves of premacapsise
from Gaura and Gadadhara’s lila. Thus sivananda says: `Krsna eagerly discards
his syama body and becomes Gauranga simply to beg for Radharani’s prema!"

In the Holi pastime, sivananda Sena elaborates about Gaura and

Gadadhara’s madhura tie as follows:

holi khelata gaura kisora

rasabati nari gadadhara kora
sveda bindu mukhe pulaka sarira
bhava bhore galatahi nayane nira
vraja rasa gaota narahari sange
mukunda murari vasu nacata range
khene khene murchai pandita kora
heraite sabacara bhave bhela bhora

1) ksetra sannyasa: Gadadhara’s vow to never leave Sri Ksetra (Jagannatha Puri)
nikunja mandire pahu kayala vithara
bhume pori kahe kaho murali hamara
kaha govardhana yamunaka kula
kaha malati juthi campaka phula
sivananda kahe pabu suni rasa vani
jaha pahu gadadhara taha rasa khani

"Gaura kisora plays Holi in the arms of the rasavati nari 1, Gadadhara. Aho! Drops
of pespiiration cover Their faces, They horripulate and tears flow from Their eyes
due to intense bhava! As Gauranga sings abut Vrndavana’s mellows with Narahari
— Murari, Mukunda and Vasudava Ghosa dance in ecstacy! But Gauranga
repeatedly faints falling in Gadadhara’s lap! And seeing them the priya
bhaktas swoon! Then comming to rest in anikunja mandire, Gauranga faints again
after exclaiming: `where is My murali, the Yamuna and Govardhana? And where
are Vrndavana’s malati, juthi and campaka flowers?’ Thus sivananda says, `listen
to my rasa vani 2; with Gaura and Gadadhara we find a jewel mine of divine
mellows!’"

Here sivananda’s addressing gd as a `rasavati nari’(young rasika damsel) is

significant, for if he had not seen such form, and revealed about it, who would
have known?

Gadadhara’s Followers are actually female

Krsna dasa Kaviraja confirms about Gadadhara’s rasavati nari svarupa by

revealing that Gadadhara’s followers have femala identities as well:
paAditera gana saba bhagavata dhanya
prana vallabha sabhara sri Krsna caitanya
C.C. Adi 12

"All of Gadadhara’s followers are maha bhagavatas and very fortunate — for
their prana vallabha is Sri Krsna Caitanya."

Most of us will pass over this siddhanta without recognising its deep purport. But
here the point to grasp is that only a woman adresses her beloved as `prana
vallabha3’
And hence, we learn that Srila Gadadhara’s followers have a hidden
female svarupa within their male forms. So Gaura is their prana vallabha — just as
Krsna is gopi jana vallabha, the beloved of the gopis. When pondering this topic,
we see that Gaura and Krsna’s pastimes unfold in a parallel pattern: for a Sri
Radhika is the source of all Krsna’s kantasthe Nadiya nagaris expand from
Gadadhara. And this key Caitanya Caritamrta verse presents the evidence. Yet, Sri
Sanatana Gosvami comes o the same conclusion in his "Sri Radha Gadadhara
astakam", verse 2:

navarasacalacittam nagaripremavittvam
pramadarasikabhupam naumi radhasvarupam

"I offer my prostated obeisances unto Srila Radha-Gadadhara Whose heart is

always restless to relish the ever-new expressions of madhura rasa. He is the Lord
of all rasikaenjoyers whose wealt lies in nagari prema."

1) rasavati nari: a young, rasika damsel

2) rasa vani: rasa-filled message
3) prana vallabha: dearly beloved (masculine)
Srila Gadadhara’s disciple, Sri Yadunatha dasa, also states:

panditasya ganah sarve srngarartha kalevarah

"All of Gadadhara Pandita’s followers have female forms meant for

exchanging srngara rasa (conjugal pastimes)."
— Gadadhara Pandita Gosvamira sakha-nirnayamrta

In his `Korca’ (diary), Sri Svarupa Damodara says:

avanisurabarah sri panditakhyo jatindrah

sa halu bhavati radha sri gauravatare
narahari sarkarasyapi damodarasya
prabhu nija dayitanam tacca saram matam me

"There is no doubt, Sri Gaura Gosvami, the greatest of the brahminas, known by
the title of `pandita’, is Radha in Gauranga’s pastimes. This is the conclusion of Sri
Narahari Sarakara, Mahaprabhu’s other priya bhaktas, and myself."
Sri Rupa Gosvami says:

vrndavanesvari radha premabhakti pradayini

kalou srigauradayitah srigadadharapanditah
— Srila Radha-Gadadharadasakam,
sloka 1

"Vrndavanesvari Radha, the Bestower of prema bhakti, now appears in Kali

yuga as Sri Gauranga’s confidante, Srila Gadadhara Pandita."

Chapter One

Krsna and Gauranga are Non-different

All of the Mahajanas certainly affirm:

vrajendra nandana jei sacaryai suta haila sei

"Vrajendra nandana Sri Krsna is saci nandana Sri Gauranga."

But when investigating closer, we find that Gauranga’s qualities even exceed
Krsna’s, owing to His beeing the form of Radha and Krsna combined. Hence, Srila
Kaviraja Gosvami adressess Gauranga as the `paratattva sima1’, the highest limit
of Supreme transcendence. And he also states:

na caitanyat Krsnajjagati paratattvam paramiha

C.C. Adi 1

"There is no higher feature of Sri Krsna’s divinity than that found in Sri Caitanya’s."
So now a question arises:

"Since Gauranga is Krsna’s highest feature, wouldn’t all of Krsna’s best qualities be
found in Gauranga as well? For example, as Krsna is deeply attached to the
Vraja gopis and loves to enoy parakiya rasa exchanges with them, is Gauranga
able to display smilar pastimes?"

If the answer were "No", then certainly we would have to say that the Kaviraja is
mistaken - Sri Krsna must be the paratattva sima, and not Gaura; for when
considering the splendour of Sri Krsna’s Rasa dance with the gopis, what could
match this?

But why should we doubt the Kaviraja’s version? Rather, let us now begin to
examine thesastric evidence which reveals that, like Sri Krsna, Sri Gauranga has
the same rasikanature.

In Caitanya Caritamrta’s Chapter 4, Srila Kaviraja Gosvami presents the verses

which form the basis of our discussion:

sri Krsna caitanya gosai vrajendra kumara

rasamaya murti Krsna saksat srngara
sei rasa asvadite kaila avatara
anusange kaila saba rasera pracara

"Sri Krsna Caitanya Gosai is that selfsame Rasamaya Bhagavan, Vrajendra

Nandana,

1) paratattva sima:
ataeve caitanya gosai para tattva sima
tare khirodasayi kahi ki tara mahima
C.C. Adi-2
"Therefore Caitanya Gosai is the Paratattva sima; and since even Ksirodasayi
Visnu praises His glories what more can be said."
Chapter One
Who is srngara rasa (conjugal love) personified. And He has specifically come to
relish srngara rasa. Yet, in so doing, He promotes all of the other rasas too."

Thus Gauranga and Krsna are both srngara rasamaya (The Embodiment of erotic
pleasure). And moreover, Gauranga’s advent is specifically linked with His
tasting srngara rasa, as Krsna did wih the gopis. To substantiate, Krsna dasa next
quotes Gita Govindam:

visvesamanuranjanena janayannandam indibara

sreni syamala komalairupanayannangair anangotsavam
scacchandam vrajasundari bhirabhitah pratyangal ingitah
srngarah sakhi murtimaniva madhou mughdho harih kridati

"Oh sakhi, just look! In Caitra, the month of madhu (spring), our Sri Krsna appears
just like a srngara rasa murti. With His soft, blue lotus hued body He is
inaugurating Ananga’sutsava1 amongst the shapely Vraja sundaris as they
embrace all of His limbs!"

Then Srila Kaviraja Gosvami returns to Gauranga to equate Him with Krsna:

sri Krsna caitanya gosai rasere sadana

asese visese kaila rasa asvadana
C.C. Adi 4

"Sri Krsna Caitanya is an Abode of rasa — for His rasa asvadana (relishing
mellows) extends extensively and unlimitedly."

This covered language hints ar every form of rasa imaginable. Krsna dasa Kaviraja
is very clever. After equating Gaura with Krsna, he doesn’t directly say
how srngara rasamayaGauranga enjoys srngara rasa; for this would expose Him
to the ignorant scrutiny of the masses. Rather, he says: `asese visese’ (in all sorts
of unlimited ways) so that only therasika bhaktas can understand the matter. Or, to
put it in his own words:
e saba siddhanta gura kahite na juyaya
na kahile keha ihara anta nahi paya
ataeva kahi kichu koriya nigura
bujhibe rasika bhakta na bujhibe mura
hrdaya dharaye je saitanya nityananda
e saba siddhanta sei paibe ananda
C.C. Adi 4

"All of these siddhantas are very confidential and should not be discussed openly.
Yet if I don’t tell about them, no-one will understand. Therefor I am writing these
intimate topics in such a way that the rasikas2 can understand, and the
unintelligent won’t. Those holding Caitanya and Nityananda in their hearts will be
happy to hear these siddhantas."

Although he hints about it throughout Caitanya Caritamrta, Krsna dasa Kaviraja

wasn’t deputed to reveal Sri Gauranga’s rasaraja trait; this task he has saved for

1) Ananga’s utsava: rati keli

2) rasikas: Those bent on understanding and relishing the Lord’s intimate, loving
exchanges with His devotees.

Chapter One

Locana dasa and others. When requested by the Vrndavana Vaisnava community
to
write about Caitanya Mahaprabhu’s concluding pastimes, Krsna dasa
predominantly depicts Gauranga’s Radha bhava feature in a lila filled
with viraha feelings for Krsna. Indeed, this version is camatkara and rasa
purna (fascinating and filled with rasa). Yet it is noteworthy that these descriptions
center on only half of Sriman Mahaprabhu’s rasaraja / mahabava personality.

Yet, Srila Kaviraja Gosvami does begin his prabatika (early morning) Gaura kirtana
pada saying:
smaraye nava gauracandra nagara vanayari

"Just remember youthful Gauracandra, Nagara vanamali."

And in Caitanya Caritamrta’s 17th. Chapter, he tells about

Gauranga’s sambhoga as follows.
vidya saundarya sadhesa sambhoga nrtya kirtanaih
prema nama pradannais ca gaura divyati jauvane

"In His youth, Sri Gauranga’s knowledge, beauty, fine dress, sambhoga, dancing
andsankirtana all flourish in the distribution of prema and the Hari nama."

The term `sambhoga’means Gauranga’s conjugal affairs, which are a prime feature
of His youthful pastimes. Although Caitanya Caritamrta only slightly touches on
Gauranga’s mid-kaisora sambhoga activities here, Locana dasa depicts these
scenes with colorful detail. Here is a sample from Dhamali:

amara gauranga nace hema kironiya

hemera gache premera rasa parche cuyaiya
tara thamka kakala baka madhura makha hasi
rupa dekhite jati kula harai harai vasi
adhuta natera thama gora angera chata
rupa dekhite hura pareche nava jubatira ghata
mana maila kula dubila baiche premera bana
locana bale madana bhole ara ke ache ana

"As my Gauranga dances, His prema rasa seeps from His brilliant, golden
effulgence— like nectar-honey oozing from a golden desire tree. nha! What a form!
His hips are cocked crooked, while a sweet, spreading smile adornes His face.
Thus seeing His mohana rupa(enticing form) — my familly attachment is
going ... going ... gone! What amazing dancing poses and bodily effulgence! The
young kisori girls of Nadiya are simply stunned! ... Their minds are churning ... their
family ties sinking ... and Cupid’s arrows sail! Locana says, since even Cupid is
spellbound — who can remain sober?"

Sri Kavikarnapura’s Contribution

Sri Gaura kisora’s madhura pastimes at Srivasa Angana thus unfold in Srila
Kavikarnapura’s "Caitanya carita Mahakavya", Chapter 6:

"Aho! Gaurasundara begins His madhura dancing! Wearing golden rings on His
fingers and jeweled armlets and bracelets on His lovely arms, His beauty forms an
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indescribable picture. Even Cupid is enchanted. His palms look like blooming red
lotus, His bodily effulgence streams out in waves and His broad chest appears like
the golden peak of Mount Sumeru. Gaurasundara’s lips are very sweet to behold,
His silken dhoti hangs in elegant folds, and a chain of ringing bells dangle over
His nitamba1. Aho — He is the Crown-jewel of all dancers. Thus vilasa
rasika Gauracandra stimulates the moods ofmadhura rasa, as if He
were Ananga (Cupid) himself. nha! The sound of mrdangas, karatalas, jingling
ankle bells and enchanting singing mixes along with the high pitched ulu
ulu vibrations emanating from the lotus lips of young brahmina women. And now as
they ecstatically watch Mahaprabhu’s dancing, their bodies erupt with goose
bumps. Thus taking up ankle bells in their hands, they ring them and
sing madhura songs with their alluring, kokila-like voices."

Srila Kavikarnapura goes on:

aslosaih katica tathaisa kanscidanya

nacumbaistadanca carbbitaistathanyan
iteyavam paramkrpanidhih sutrptan
cakre sadvilasitalilaya mahatya
Chapter 6, verse 92

"In showing His magnficence, the Jewel of mercy, Sri Gaurasundara, embraced
somebhaktas, kissed others and then transferred His chewed pan into their
mouths. Thus He performed lila vihara to His full satisfaction2!"

Sri Gauranga’s vastra harana lila

In his "korca", Part 2, Chapter 10, Sri Murari Gupta further relates about such
affairs:

Translation: "Then those brahmina Vaisnavas went to bathe in the Suradhuni

Ganga,
and after finishing their Hari puja, they returned to Gauranga’s house at dusk.
Gaurahari danced, sang and performed vihara with them. And as He embraced
them with His lotus-arms, He began ecstatically rolling on the ground with them
too! Aho! Overtaken by waves of ecstacy, Gaurahari danced lika a lion, and while
holding Srivasa’s hands, He swiftly led him away. But back at the kirtana, Haridasa
and the other bhaktas became surprised and stunned when no longer seeing the
Lord! So they began seaching, yet they could not find Him. Understanding their
melancholy, the Supreme Prabhu again returned in their midsts. Thus
the bhaktas eagerly surrounded Sriman Mahaprabhu; yet seeing Him just
likeVanamali Sri Krsna, they began to offer prayers in gopi bhava as follows:
`Oh hey Bhagavan Mahesvara (siva)! Please bestow Your mercy so that He
(Gaura) may become our Vallabha (lover).’
Thus understanding their minds, Sri Krsna Caitanya began vastra harana (stealing
their clothes), and similar related lilas. Later, during mid-evening on another
occassion, thebhaktas Rasa data (Bestower of loving mellows), Rasika Sriman
Mahaprabhu (using His wo lotus hands) stole their clothes rendering them naked!
And after performing krida 3 with them, the Lord returned their garments. Then
these

1) nitamba: buttocks
2) Full satisfaction: Such exchanges are only possible with the nagari svarupas of
thesebhaktas.
3) Such krida (love making) is only possible with the unseen nagari svarupas of
thesesbhaktas.
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bhaktas redressed en enjoyed vihara with Mahaprabhu in paramananda! Returning
to
His Hari nama sankirtana, Sri Gauracandra fully purified their hearts with the rays
of Hismaha ujjvala golden effulgence!"

Srila Kavikarnapura also mentions this lila in his "Caitanya carita Maha Kavya".

Gaurasundara’s Rasa Lila

Krsna performed Vastra harana lila to assure the gopis; thus they learn that Krsna
accepted their prayers — He will become their Prana vallabha (hearts beloved).
Then Rasa lila follows. Similarly, Gauranga performed vastra harana lila to offer
His bhaktas the same assurance. So it isn’t surprising that Narahari Cakravarti
describes Gauranga’s Maha Rasa sankirtana pastimes in his "Gaura carita
Cintamani".

yamuna puline rasa vilasadi je rupa korila syama

sei rupa gora suradhuni tire rocila rasera dhama
laja kula bhaya saba teyagiya nadiya nagari jata
manorathe cari cale juthe juthe eraya kantaka sata
praphulita haiya dhainu kahara pane na palati dekhi
lohara pinjara haite jemana palaya navina pakhi
jaiya turite nayana bhariya dehinu gaura raya
jubati mandali majhe saje bhala ki diba upama taya
nana jati jantra baje caridige sukhera nahika para
gaoye madhura sura narigana barise amiya dhara
o mukha kamala madhu pane mati mo punah nacinu sukhe
narahari natha ta dekhi hasiya amare korila buke

"Just as syamasundara enjoys Rasa vilasa and other pastimes near the Yamuna’s
banks, Sri Gora’s Rasa dhama rests beside the Suradhuni Ganga. Last night,
many groups of Nadiya nagaris renounced their shyness, chastity and fear — as
their Gaura anuragacarried them over hundreds of obstacles. They were joyful as
they secretly flew like young birds released from a cage. And seeing Gauranga
Raya, their eyes became satiated with His darsana ananda. Aho! Who can
describe His beauy amidst these beautiful women? Then the nagaris surrounded
Gauranga and played many instruments with boundless pleasure. Meanwhile,
the devis of heaven sweetly sang as nectar sprinkled from the sky. So while
repeatedly drinking the inoxicating madhu from Gauranga’s lotus-face (by kissing
Him) I danced in jubilation. Then Narahari’s Lord, Sri Gauranga, smiled and
embraced me to His chest."

Purport:
This madhura scene unfolds in Srivasa Thakura’s flower gardens beside the
picturesqueGanga. The nagaris described here are Gauranga’s male associates
who have arrived at Srivasa Angana in the mood of abhisarika ramanis (young,
married girls who secretly fled home home to meet Gauranga.) As
the sankirtana begins, it appears that a group of men are performing
congregational chanting. But as the moods of Vrndavana overtake Gaurasundara
and as He dances into the moonlit garden — the devotees follow to assume
their nagari svarupas. Thus Maha sankirtana Rasa begins.

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Narahari Cakravarti’s Madhura bhava

Narahari (Ghana syama) Cakravarti is the grand-disciple of Visvanatha Cakravarti.

Knowing wel the Post-Caitanya period of Gaudiya Vaisnava history, he has
skillfully documented this era in "Bhakti Ratnakara". Thus, as an experienced
Gaura bhakta initiated in Sri Narottama dasa Thakura’s parampara,
his siddhantas certainly match those of his previous masters. In his asta kala gaura
lila book entitled "Gaura carita Cintamani", (amongst nearly 150
other nagari padas) he has revealed his heart’s firm resolution as follows:

nadiya nagariganera carane mati rohu mora jivane marane

emana kakhana na dekhi na suni priya lagi saba tiyagiya amani
gaura preme tanu gathita sabara ke bujhibe iha sakati kahara
ei asa naraharira hiyaya ei sabara guna gaiye sadaya
"In life or in death my mind rests at the lotus-feet of the Nadiya nagaris. I have
never seen such renounciation; for they quickly forsake everything for
their priya Gauranga’s seva. Their bodies are molded from Gaura prema; so who
can estimate their sakti? Thus Narahari always desires to sing their glories."

Sri Narottama dasa Thakura depicts a similar mood:

kancana darpana varana sugora re

bara vidhu jiniya bayana
duti akhi nimitha murukha vara vidhi re
na dile adhika nayana
hari hari kene va janama haila mora
kanaka mukura jini gora anga suvalani
heriya na kene hailam bhora
ajanulambita bhuja vanamala virajita
malati kusuma suranga
heri gora murati kata sata kulavati
hanata madana taranga
anukhana premabhare se ranga nayana jhore
na jani ki jape niravadi
visaye avesa mana na bhajinu se carana
vanchita karila more vidhi
nadiya nagari seha bhela vrajapuri
priya gadadhara bama pasa
mohe natha angikuru vanchakalapa taru
kahe dina narottama dasa

"Oh re (Sakhi)! Gaura’s lovely complexion shines like a golden mirror, and His face
defeats the splendour of the moon. But what a fool is the Creator — for He only
gave me two eyes which blink! Oh Hari! Why was I ever born in the first place?
Gora’s strongly-shaped limbs defy the elegance of a golden mirror. So why couldn’t
I become overwhelmed by seeing Him? His arms extend to His knees, a forest
garland graces His neck and malati flowers decorate His hair. Thus seeing Gaura’s
splended murati — hundreds of kulavati ramanis1become drenched by Cupid’s
splashing waves. Tears incessantly stream from Gora’s eyes, and what sort
of mantra does He

1) kulavati ramanis: chaste housewives

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repeatedly utter? nha! Providence has deprived me — for owing to my absorbtion
in
maya I couldn’t understand the melows of His carana seva. But aho!
As priya Gadadhara stands on Gauranga’s left side — Nadiya beomes transformed
into Vraja! Fallen Narottama says: Oh vancha kalpa taru Gora, Oh Natha (Lord),
please accept me."

Sri Govinda dasa’s Contribution

sri nanda nandana gopijana vallabha

sri radhika nayaka nagara syama
so saci nandana nadiya purandara
sura munigana mano mohana dhama
jaya nija kanta kanti kalevara
jaya nija preyasi bhava vinoda
vraja tarunigana locana mangala
nadiya badhugana nayana amoda 1

"Our sacinandana is Nandanandana, Gopijana vallabha,

Radha’s nayaka and Nagarasyamasundara. He is full with all opulences in
Nadiya; thus He is the attractve pleasure abode for all the munis and devatas. So
all glories to His kantas (sweethearts), to His effulgence, and to His beautiful form!
And all glories to the mind enchanting bhavas of His consorts — for He is
Auspiciousness personified. For the Vraja tarunis’eyes, and Pleasure personified
for the Nadiya nagaris."

This madhura pada is instructive not only because it likens Radhika’s

beloved Nagarasyama with Sri sacinandana — but it also equates
Krsna’s kantas (sweethearts), along with their vinoda bhavas (enchanting moods),
with Gauranga’s kantas. In other words, the Nadiya nagaris are non-other than the
Vraja gopis. Thus, from this perspective a vast new relish of Gauranga’s pastimes
opens. Vaisnavas traditionally sing this popular song before listening to the
Bhagavata. Yet moreover, Sri Govinda dasa is acclaimed as one of the greatest
Vaisnava poets to ever appear. As the son of Caitanya Mahaprabhu’s associate,
Ciranjiva Sena of Srikhanda, Govinda dasa wrote during the peak of a renaissance
when Gauranga’s prema dharma was resurging in Bengal after gaining remendous
momentum in Vraja from the Six Gosvamis’preaching. During this era many
other rasika Gaudiya Mahajanas also helpt to increase the breadth and the depth
of Sriman Mahaprabhu’sprema ratnakara (ocean of prema rasa) With their
extensive contribution of Vaisnavapadavali. For indeed these padas represent the
mature culmination of the essence found in the Gosvami sastras.

In early life Govinda dasa wasn’t a Vaisnava, until a traumatic incident

happened: He fell very ill and was on the verge of death. It was then that his older
brother, Sri Ramacandra Kaviraja1, brought Srinivasa Acarya to the place where
he lie in a coma. But by Srinivasa Acarya ‘s merciful touch (on the forehead)
Govinda’s high fever suddenly broke — and he was cured. Then Govinda’s life
changed, and on the spur of the moment he composed his famous poem:

bhaja hunre mana sri nanda nandana

abhaya caranaravindare ...

1) Ramacandra Kaviraja1: Sri Narottama dasa’s most intimate friend

Chapter One
... to praise the value of Vaisnava sat sanga. Later after becomming Srinivasa’s
disiple, Govinda dasa’s poetic skill fully blossomed; and then Srinivasa would often
come to listen to his poetic discriptions of Gaura and Govinda’s
sweet lila. Srinivasa was indeed pleased with his disciple, and blessed him with the
title, `kaviraja’.
But when Govinda dasa’s poetry reached the Vrndavana Vaisnava community, his
acclaim increased, for Jiva Gosvami re-confirmed Srinivasa’s blessings by sending
a letter toBengal declaring Govinda dasa as the `kaviraja’ for his amazing poetic
prowess.

These historical events lend support to the Nadiya nagari doctrine because many
of Govinda dasa’s padas about Gauranga capture Him in this spirit. Thus we may
conclude that Srinivasa Acarya and Jiva Gosvami also support these mellows. If
otherwise, why would they honour such poetry so highly? Here is a sample:

dekha dekha nagara gaura sudhakara

jagat ahaladankari
nadiya purabara ramani mandala
mantana gunamani dhari
sahajei rasamaya sahacara urugana
majhe virajita nagara raja
madana parabhava badana hasa dekhi
vinasai ranginigana bhaya laja
bhakata vrnda citta kairava phullita
nisidisi udita hiyaka vilasa
rasiya ramanicita rohini lasaka
anuksana purala na rahe hrase
aiche vilasa prakasa vinodini vilasai
ulasai bhavini bhava
pada pankaja para govinda dasa cita
bhramari ki paoaba madhuri labha

Oh Sakhi! "Look, look at that Nagara! He’s the Golden full moon Who elates the
entire universe. And while surrounded by the sundari ramanis of Nadiya, He’s a
Jewel of qualities. Being carefree and rasamaya, He appears like the Nagara
raja amongst His associates. Although His smiling face conquers Cupid, it also
smites every playful, young girl’s fear and shyness. Thus the bhaktas1 lily-like
hearts are overjoyed as He continuously plays within their minds. And just as the
moon enjoys vilasa (love making) with the Rohini star Gauranga excites the
young ramanis’minds with unceasing erotic rapture. Such prema vilasa He enjoys
with the Nadiya vinodinis while refreshing their bhavas. Thus the lady-bee of
Govinda dasa’s mind hankers to sip the sweet honey from His lotus feet.

Can Gauranga Give Up His Previous Nature?

Narahari Cakravarti offers a logical explanatioin for Sri Gauranga’s nagarali affairs
in the following pada:

nadiya nagare nagarali jata nahika tahara lekha

anyera kathate je hauka se hauka iha ta amara dekha

1) bhaktas: Using a long `a’ over the last syllable Govinda dasa refers to
the bhaktas of feminine gender
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jadi bala ei avatare iha sambhava ki rupe hoy
achaye tahara karana prasidha sakala lokete kaya
jara je svabhava thake taha keha kabhu na charite pare
svabhavanarupa kore krda karu nizsdha kichu na kore
jadi mane kora e rupa ihara svabhava kotha na dekhi
tahate tomara nivediye suna ihate jagat saksi
ei sacisuta jasoda nandana taha ki na jana tumi
vrndavane jata nigura vilasa taha ki janaba ami
ei sei, sei ei, saba priya parikara sangete laiya
viharaye sada nadiya nagare nija gunagane magana haiya
nava nava kulabati kula kula kalanka laji tilanjali diya
narahari saksi sara kaila sabe sukhamaya gora parana priya
— Gaura carita Cintamani

As two devis from heaven peak through the clouds, they discuss Gauranga’s
similarity with Krsna:
"There is no end to Gauranga’s Nadiya nagara antics1, and I don’t
care a fig about what others say — for I’ve seen them with my own eyes. Yet if
someone questions, `In this Avatara how is that possible?’ I’ll anwser, `look,
everybody knows that no-one can change their nature. So (even if restricted) won’t
He act according to His nature anyway?’ But if they reply, `I haven’t witnessed this
nature of His’, then I will anwser, `the whole world is a witness — for don’t you
know that saci’s dulala was previously Yasoda Nandana? So must I mention all
about Vrndavana’s nigura vilasa (intimate love affairs)?’And Vrndavana is Nadiya,
and Nadiya is Vrndavana —but now Krsna’s Vraja associates have become
Gauranga’s priya companions, and as they sing His glories, they enjoy
Nadiya vihara with Him. Thus stepping over their fear from family disgrace — all of
the kulavati ramanis 2 rush to please their prana priya Gora; and Narahari is a
witness."

But Would the Vraja Gopis allow Krsna to Escape?

Let’s relish Locana dasa’s pada which candidly portrays two nagaris viewing
Krsna’s transformation in Navadvipa:

jahara eka bara gaura natabara

nayana konete here
tara sati pana rakhaye apana
asite pare ki phire
sunechi purane radhikara sane
tahari premera katha
tila adha jare na dekhile more
se kena asibe hetha
preme rhini haiya ela palaiya
yamuna haiya para
gopa kula chari ela naide puri
dvijakula avatara
bara bhaya mone pache keha sune
lukayeche kala rupa
kaca sona mekhe nija anga deke
hoyeche rai svarupa

1) nagara antics: flirtatious activities

2) kulavati ramanis: chaste and beautiful newly married girls
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iha jadi suni vraja gopigane
eseche dvijera puri
nagarali pana tabe jabe jana
bhenge dibe bhari bhuri
se raja kumari navina kisori
jahara koreche dhara
duti pathaiya jabe bedhe laiya
dohai na manibe kara
gokula nagare kalanka sagare
majayeche kula badhu
dese ke na jane cora kanu bole
videse hoyeche sadhu

"Sakhi! The young married girls who view Gaura nataraja (just once) surely
become chaste— for they cannot remove their eyes from Him. Yet I’ve heard all
about His love escapades with Radha in the Puranas. nha! He’d die if He missed
seeing Her for only a split second! But why would He come here? "

The other sundari ramani answers:

"Usurping a debt for the gopis unconditional love, Krsna crossed the
Yamuna and fled the His gopa community! Thus comming to Nadiya, He advented
amongst thebrahmanas. Yet still fearing like anything, He smeared His black form
with gold to take on Radha’s svarupa. But if the Vraja gopis catch wind of His
hiding amongst the brahmanas — they will certainly spill all of the evidence
revealing Him as Gokula’s Nagara. Then Navina kisori raja kumari Radha will
send Her sakhis to collect Her dues; and they won’t listen to any excuses! Rather,
they’ll bind and take Him away, saying: `Aho! You’ve left our Gokula village an
ocean of scandal — for who doesn’t know that You’re a gopi-cora (thief of others’
wives)! So do You have the gall to hide in a foreign country calling Yourself
a sadhu’?"

This is rasa.

Here we discover why Nadiya nagari bhava is the logical outcome of

the gopis’ plight after Krsna left them to become Gora. As He wanted to hide
Himself for the chance to relish their sweet mellows — would they let Him get away
with it alone?
Hence, a new sensational rasa is born as they rejoin Him in Nadiya. But this time
the Vrajasundaris are equally clever as their Master — for they hide their nari
svarupas to take up malae forms. In Sri Narottama dasa Thakura’s song, "hede he
nagara bara - suno he muralidhara ..." Radhika prays to take birth as a male so
that She may always remain in Krsna’s company. Her heartache is thus
expressed: "Oh My nagara bara! Oh heyMuralidhara! Please listen. When You go
cowherding in the forest with Sridama and Sudama, I watch by the kitchen door —
and My heart follows as I gaze upon Your sweet face. But dreading being
discovered by my relatives, I pretend that the stove from the kitchen stove makes
Me cry. Oh My jewel-like Ramana (Lover)! Alas! If providence had not created Me
a woman — surely I could have always roamed with You from place to place."

Before going on to the next chapter to relish the nagaris’purva raga for Gora, it will
be appropriate to say a few words about the type of adhikara required for
appreciating such intimate affairs. For such thoughts, hankering
and anubhava (divine realization)

Chapter One
may awaken in a sadhaka bhakta’s heart only after the mature ripening of his Vraja
gopi bhava. In other words, when one becomes adept in manjari sadhana and
receives the fortune to meet an experienced Mahatma absorbed in nagari bhava —
only then can such an advanced form of raganuga bhakti begin. For
one’s praccanna (hidden) Nadiya nagariform is an extended feature of
one’s manjari svarupa ideal for serving in rasika Nagaraand rasika Nagari’s (Radha
Krsna’s) continuing pastimes in Navadvipa.

To perform Sri Sri Gaura Govinda’s manasi seva, one is advised to first meditate
on Sri Gaurasundara’s Radha bhava lilas. Following Gaura’s mood into Vraja, one
then meditates on servong in each Vraja pastime as Radharani’s dasi. But when
the sadaka is adept in such seva, he may re-enter Navadvipa to focus on Sri
Gauranga’s rasaraja feature. In essence Vraja lila and Gaura lila are one. The
Navadvipa pastimes represent Rasaraja Sri Krsna’s `parisistha lila’, further
adventures meant for relishing prema’s ever-new expressions.

Chapter Two

The Nadiya Nagaris’ Purva Raga

Taking up where we left off, this chapter will continue disclosing how
srngara rasamayaGauranga has all of Krsna’s captivating features. Yet moreover,
Gauranga’s alluring side-long glances, power of subjugation and bhuvana mohana
rupa (universally enchanting form) even outmatch Krsna’s. A striking example is
found in the story of `Svapna vilasamrta’, where Srimati Radharani has an amazing
dream. As the scene opens, Srimati is lying asleep while tenderly embracing
Her prana Govinda after They enjoyed nikunja vilasa. But then a startling dream
frightens Radha: She sees a beautiful, Golden purusawho is madly crying "Krsna!,
Krsna!" — Just as She does when weeping for Him. Aho! Srimati’s mind races after
Gora — eventhough She is tightly embraacing syamasundara! Thus overwhelmed,
Srimati’s slumber breaks — "Haya, haya!" She exclaims. "What did I see?" Then
restlessly pushing on Krsna’s side, She asks Him. And after relating Her dream,
Krsna smiles, and replies:
"Oh Prana priye! You have seen Rasaraja Gauranga — but don’t think otherwise,
Yourprema has molded Me as such."

The moral of the story is that Gora’s incredible alluring power can kidnap
even Maha bhava svarupini Radha — and right from Krsna’s lap! So when this
happens, what will be the plight for the young taruni ramanis of Nadiya? As
Gauranga’s beauty can break Radharani’s chastity for Krsna, will their chastity for
their so-called husbands remain? Indeed, it is only after attaining Gauranga that a
woman’s chastity can fully blossem. And why is that? Once seeing Him, could she
think of anyone else? In "Dhamali", Locana dasa offers testimony by describing
his purva raga1 for Gauranga in nagari bhava:
sacira gora kamera kora dekhlam ghatera kule
cacara cule beriya bhale nava malatira male
kaca sosa lage ghrna rupere tulana dite
hena citacora manohara naiko avanite
ki ara balcho go sai tomaya bujhaba ki
snane jete sakhira sathe gaura dekhechi
se rupa dekhi duti akhi phiraite nari
punah tare dekhbar tore kata sadha kori
ki ara balbo go sai tumi ta acha bhala
amara maramer katha maramei rakhila
jagite ghumate sada gaura jage mane
locana bale je dekheche sei se uha jane

"Oh sakhi! Mother saci’s Gora is a Kamera kora (Abode of kama) ... and I jst saw
Him by the Ganga’s ghata! His lovely curling hair tossed so elegantly over His
forehead ... and Hiscura (topknot of hair) was bound with malati garlands. Uh! Now
even molte gold irks me — for it’s incomparable with His effulgent limbs. So is
there such a Heart-stealer, or Mind-thief, anywhere else in the whole creation? But
what are you saying, sakhi? ... And how can I explain it to you? ... when I went with
the sakhis to bathe — I saw Gora! Then I couldn’t retract my eyes from Him ... and
now I only
hanker to see His exquisit form again! Oh sakhi, what more can I say? You’re still
acting normal ... so I guess that my heart’s confession will have to remain inside.
For

1) purva raga: the stage before meeting the beloved (preliminary attraction)

Chapter Two
during waking, or sleeping, Gora always fills my mind. Locana says, only those
who see Him will know what I’m talking about."

And having seen, Vrndavana dasa Thakura confirms Locana’s addressing

Gauranga as the Abode of divine kama:

visvambara murti jena madana samana

divya gandha malya divya vasa paridhana
— Sri Caitanya Bhagavata
"Visvambhara’s bidy is just like Madana’s (Cupid’s) decorated with divine garlands,
pleasing parfume and fine dress."

But this is an under-estimation for Locana, who says:

manamatha gauranga rupa heri prana kade

manamatha koti koti jiniya gauranga tanu
sarva ange labanya apara
— Dhamali

"nha! Seeing Gauranga’s madhura form my heart cries; for His every limb defeats
the amour of millions of Cupids!"

Hence Locana goes on describing his deep attraction:

rupa lagi akhi jhure gune mana bhora

prati anga lagi kade prati anga mora
hiyara parasa lagi hiya mora kade
parana putali mora hiya nahi badhe
ami kena suradhuni gelam
kena gaura rupe nayane dilam
ami kena cahilam gaura pane
amaya hanle duti nayana bane
amara nayana bole o rupa dekhe asi
amara mona bole haige tara dasi
kore nayana pathe anagona
amara pajara kete kallo khana
gaura rupa sagarera pichala ghate
amara mana giya taya par lo chute
eke gaura rupa taya piriti makha
tate isata hasi nayanabaka
gorara jat rupa tata vesa
o se bhav te pajara sesa
gora rupa lagi akhi jhore
gora gune mana bhora kore
tila adha pasarite nari
sadai hiyara majhe dhori
ei buke ciriya rakhi paraneri sange
mone hole bahira kore dekhi mukha cande
gaura rupa hei sabara antara ullasa
ananda hrdaya kahe e locana dasa

"Gauranga’s rupa soothes my eyes, and His qualities captivate my mind! Thus my
limbs cry to embrace His limbs! Yet when His form envelopes my mind, it cries too!
so haya! haya! I’m unable to bind my heart (like a doll) with His.

Chapter Two
Oh why did I go to the Suradhuni Ganga? ... Why did I alow my eyes to see Gora’s
beautiful form? And why did I look upon His sweet face? For His flower-arrow-
glance has pierced me! Hence my eyes are telling — `just go see Him again.’ And
my mind dictates — `just become His dasi.’ When my eyes glanced up a down His
sweet form, my heart tore to pieces! In fact, the Ganga’s ghata turned slippery from
the madhuri of Gauranga’s rupa sagara. But nha! As my mind raced to embrace
Him, it slipped and fell."
On the other hand, the thick butter of piriti (love, prema) is spread over His entire
body — but there’s a slight smile on His face, and His eyes are shifty. Thus
contemplating Gora’s insatiable form, my chest bursts! nha! His rupa steals my
eyes, and His qualities drive me mad. Oh, I can’t forget Him — even for half a
second; for He is always on my mind. So I would just like to tear out my heart and
paste it to His moon-face! Thus Locana dasa ‘s heart overflows with ananda seeing
everyones’joy."

It is lamentable that the madhurya of Locana’s padavali can never be duplicated in

English. For his down to earth village style colloquial Bengali has a soul-stirring
twist that English words just can’t capture. Yet for those knowing Bengali, a
graceful, exhorbitant Sarasvati river of rasa can be discovered flowing with every
beat of his simple, sweet and life full poetry. On the other hand, however,
sometimes Locana’s stark fascinations for preaching Gauranga’s parakiya
rasa gets the better of him. Then, due to the excessive churning of his
Gaura anuraga, he even becomes oblivious, or fearless, to public scandal. Or, as
Sri Haridasa dasa Baba puts it:
"In order to show Gauranga’s srngara rasaraja svarupa, and to relish
such bhavas, Locana has placed the garland of Gauranga’s kalankas (disgraceful
scandal)
upon his own chest."

Gaura Kalankini1

And here is an example:

baluk baluk sakala loke gaure kalankini

dhik jara kula rakhe kulera kamini
nadiya nagare gauracanda cale jaya
canchala nayana kori dui dike caya
nagaridera netra jena bhramarara pati
gaura mukha padma madhu piye mati mati
padma madhu pane tadera dekhiya ullasa
gaura guna gaya e locana dasa
— from Dhamali

"Oh let them say it, just let everyone call me, `Gaura kalankini (scandalized by
Gaura)! And damn those yooung damsels who cling to their so-called family
prestige. When Gauranga walks through Nadiya, His flirtatious glances roam both
sides of the path. Thus the nagaris’ eyes soar like thirsty bees to sip the honey
from His lotus face. Seeing them happily relishing, Locana dasa joyfully sings
about Gauranga’s qualities."
Has Locana’s chest overflowed with the pride of his unconditional Gaura prema?
Perhaps;yet there is another reason too which causes him to run amuck in the
ecstacy

1) Gaura kalankini: a young girl who is disgraced by Gauranga

Chapter Two
of his madhura tie with Gora. Thus he aassures another Navadvipa vasini as
follows:

dhara ara nahi sai dhara ara nai

buka sthira kori sabe raha eka thai
je je baluk ta baluk taha na sunibe
kalanka pathara majhe satara eriba
baluk sakal loke gaura kalankini
dik dik dik sai kulera kamini
gaura paribada e ta sabai paibe
locana bole kare bhaya kora ara tabe
— from Dhamali

Why Fear?

"Don’t fear sakhi! There’s nothing more to fear. Let’s take the load of our chests
and try to remain calm. Whomever may criticise — let them, we won’t listen. We’ll
just swim across the ocean of scandal to escape. Oh let them adress us
`Gaura kalankini’! And sakhi, damn, damn, damn those chaste, young housewifes!
Look, everyone is going to end up disgraced by Gora! Thus Locana says, then
we’ll have nothing more to fear."

This pada is meant for two types of listeners, those taing part in
Gauranga’s madhura lila, and us too. Locana’s fearlesness is born from deep
realization and confidence. On one hand he knows about Gauranga’s magnanimity
which spurs His inner desire to sharemadhura rasa with every bhakta. Yet he is
confident too that no-one can resist His insurmountable beauty and charm. Hence,
the conclusion is that everyone will become `Gaura kalankini ‘ (like himself). Then
who will be left to criticise? But for those who opposenagari bhava, herein we can
imbibe a hint:
If someone were to mercifully tell them about Gauranga rasika nature,
could they resist? In other words, when properly informed about the full spectrum
of Gauranga’sparama karuna, — they too would become attracted, no doubt. For
such is the all encompacing power of Gauranga’s mercy. Indeed, this is what
Gauranga hankers for; yet He laments because such bhaktas are very rare:

prithibite asiya amio iha cai

khoje hena jana more kathao na pai
— Caitanya Bhagavata

"My desire in comming to this world is to find those who just search after Me; but
such people are very rare."
Because the majority of His followers lose sight of Him as their ultimate goal,
Gauranga has spoken.

Sri Vasudeva Ghosa’s Padavali

The three brothers, Govinda, Madhava and Vasudeva Ghosa were very
dear parsadas of Caitanya Mahaprabhu, and expert singers in
His sankirtana pastimes. Yet of the three, Vasudeva became the most prolific, and
popular, for his vast contribution of Vaisnavapadavali. Because he composed
his padas after directly witnessing

Chapter Two

Gauranga’s activities, they are valuable for their historical accuracy, besides the
deepbhavas which they express. Thus Srila Kaviraja Gosvami praises in Caitanya
Caritamrta:

vasudeva gita kore prabhu varnone

kastha pasana drabe jahara sravane

"When the songs composed by Vasudeva Ghosa are heard — even the stones
melt."

In context with this essay, it is noteworthy that a large percentage of Vasudeva

Ghosa’spada’s describe Nadiya nagari bhava. Yet by sampling them we can learn
that he (along with his brothers) not only support this mode of worshipping
Gauranga — they are counted amongst the nagaris of whom their songs describe.
Hence their songs form a living account, or first-hand testimony to Sri
Gauranga’s rasika nature. Here is a sample:
madana mohana mani gauranga badana khani
rupa heri ki na haila more
sonara varana tanu ei chila kala kanu
nahile ki mana curi kore?
rasera parana jara kule ki koribe tara
nadiya nagara hena jana
ki chara daruna mati majila jubati sati
ghare ghare premera kadana
nayana kamala nava aruna parabhava
dhara bahe mukha buka bahiya
aha mari mari sai marama tomara kai
jiva na go gora na dekhiya
hiyaya premera sara tanu kaila jara jara
probodha na mane more prani
suradhuni tire jaiya bhasaiba kula krida
bhajiba se gora gunamani
purabe suninu jata sei saba abhimata
eve bhela kalatanu gora
vasudeva ghosera Visnuani rasika nagara jani
nahila ki gopira mana cora
Rupa Anuraga

" I consider Gauranga’s face to be like Madana mohana’s; and when viewing His
body — I am unable to describe my captivation! Oh, this Golden youth must have
been that Black youth Krsna — for how else could He have stolen my mind? But
what about the Nadiya damsels who have a rasika heart, will their so-called family
tie be able to stop them? How will they resist Him? And what can we say about the
intense agony of Nadiya’s chaste young girls — for their love-lorn crying can be
heard from every home. Hence their soft, lotus-eyes, conquered by the Gauranga-
sun, now pour tears that stream over their breasts. Oh sakhi! I’m going to pass
away ... so just hear my confession:
Without properly knowing never classify Gora as ordinary — for my mind has
fathomed the sweetnes of His prema — my body is burning in a fever — and my
heart cannot be pacified without Him! Just let me go to the Ganga and drown all of
my family obligations; then I shall full worship Gora guna mani. nha! Concerning
everything that I ‘ve heard about dark-complexioned Krsna — the same applies to
Gora. Thus Vasudeva Ghosa says, I know that He is a Rasika nagara — for how
else

Chapter Two

could He have stolen the gopis’ minds?"

From the selected padas that we have selected so far, we can see that
the Mahajanas who write them look upon themseves as young, married girls in
Gaura lila. Thus there is an unseen mystery taking place here that can baffle even
the learned scholars. One might ask, therefore —
"Is this type of rasa that Govinda dasa, Narahari Sarakara, Locana dasa,
Vasudeva Ghosa and others describe really taking place, or is it just a kind of
fascination, or bhava, that they relish within their minds?"

We won’t try to answer this question now, for this chapter only deals with purva
raga (tha stage of preliminary attraction for Gauranga). So after presenting more
evidence, the right moment for this discussion will automatically present itself in an
upcomming chapter. At present, however, in context with Vasudeva and Govinda
Ghosa, their `nari abhimana’ (female mentality) appears natural, for previously they
were attracted to Krsna as the twin sisters, Sudevi and Rangadevi of Vraja. Sri
Govinda Ghosa writes as follows:

nadiya nagarigana kade tara anukhana

basana bhusana nahi bhaya
suradhuni tire jaite dekiba gaurana pathe
kota dine habe subha dina
canda mukhera vani suni juraba tapita prane
govinda ghosa deha khina

"The Nadiya nagaris cry continuously, and they have lost all care for their dres and
ornaments. On the way to the Suradhuni they simply contemplate: `Oh when will
we see Gauranga coming along this path? ... Oh, how many days will we have to
wait for His auspicious darsana? And when will we again hear sweet words
emanating from His moon-face? For only this will sooth our depressed hearts.
Thus Govinda Ghosa’s body has become thin."

Vasudeva Ghosa’s next pada further reveals about his internal mood:

niravadi mora mone gora rupa lagiache

bala sakhi ki kori upaya
na dekhile gora rupa vidariya jaya buka
parane bahire haite caya
kaha sakhi ki buddhi koriba
grhapati gurujana bhaya nahi mora mana
gora lagi parana tyajiba
saba sukha teyaginu kule jalanjali dinu
gora vinu ara nahi bhaya
ujhore jhoraye akhi suno go marama sakhi
vasu ghosa ki koribe taya

"Oh sakhi! Please advise me what to do? ... My mind is always fixed on Gora. And
without seeing His form my heart is breaking — so my soul wants to leave my
body! Oh sakhi ! What can I do? The fear of my husband and family superiors has
gone — so I am thinking to commit suicide for Gora! I’ve disgarded all other
happiness and
thrown aside my family dharma — for I know nothing else but Him. Thus, with tear
filled eyes, Vasu Ghosa emplores: Oh prana sakhi! What shall I do?"

Here, with the mention of a husband, and suggesting the presence of a mother-in-
law, sister-in-law etc., Vasu Ghosa fully merges with his Nadiya nagari svarupa.
And this is not a daydream, or the play of his imagination, but the testimony of an
inner-world that many other Gaura associates take part in. For there are literally
thousands of padas written by countless Gaudiya Mahajanas which verify
Vasudeva’s experiences.

Nadiya nagari bhava is not simply excluded to those who were previously gopis in
Vraja. And we find the example with Murari Gupta who was previously Hanumana.

Sri Murari Gupta’s Padavali

Here is a sample of Murari’s akhepa anuraga (intense feelings of remorse) in the

pangs of Gaura viraha:

sakhi he gora kena nisturai mohe

jagate koriya daya diya sei padachaya
vancala e abhagire kahe
gaura preme sapi prana jiu kore anacana
stira haiya rohita nari ghare
age jadi janitam piriti na koritam
jaciya na ditu prana pare
ami bhuji jara tore se jadi na caya phire
emana pitite kiva sukha
cataka salila cahe bajara khepile tahe
jaya phati jaya kina buka
murari gupta kaya piriti sahaja naya
visese gaurana premera jvala
kula mana saba chara carana asraya koro
tabe se paibe sacira bala

" Oh sakhi, why is Gora torturing me? Although mercifully offering the whole world
the shelter of His lotus feet, He neglected an unfortunate girl like me. I gave my life
for Gauranga’s love but now my soul is burning; thus I cannot remain peaceful at
home! If I would have known (what would have happened) I wouldn’t have
surrendered my heart. For as I suffer from for Him — He’s indifferent. So what is
the happiness in such love? It’s just like the cataka bird who tries to relieve its thirst
from the cloud — yet becomming struck by lightning — its chest blows to pieces!"
Thus Murari Gupta says, "Love isn’t simple, especially when suffering the pain of
Gauranga’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 sacaryai."

Here is another example where Murari Gupta totally merges in nagari bhava:

dande dande tile tile gora rupa na herile

marama moriya jena thaki
sadha haya nirantara hemakanti kalevara
hiyara majhare sada rakhi
bareka na dekhi taya pajaradhasiya jaya
dhairaja dhorite nahi pari
anuragera duri diya antare ki kore hiya
na jani tara katai dhara dhari
suradhuni tire giya kula diba bhasaiya
anala jvaliya diba laje
gauranga sanmukhe kori gauranga kalanka mala
galaya porite sadha lage
murari gupta bale bhale dage dage dile
gupta gauranga anurage

"From hour to hour, and from second to second, my heart is dying for want of
Gora’s rupa darsana. My ambition is to always hold
Gauranga’s hemakanti kalevara (golden body) within my mind. But alas! Without
seeing Him — my heart breaks, and my patience is fleeing. Aho! The rope
of anuraga is pulling my mind — for I failed to estimate the power of His
subjugation. So I’ll just go to the Suradhuni Ganga and drown my family
attachment — and burn my shyness in a bonfire. Then I shall satiate my eyes
seeing Gauranga standing before me — why should I perform my housework
needlessly? As I am a chaste young girl, a yearn to wear the garland of
Gauranga’s scandals around my neck. Thus Murari Gupta says; `Gauranga has
placed a fine scar on me for my secret anuraga!’"

Murari Gupta lived in the same neighborhood as Caitanya Mahaprabhu, and was
the Lord’s senior classmate in Gangadasa Pandita’s sanskrit toll (school). Thus
witnessing Gauranga’s pastimes from the beginning, he kept a korca (diary) to
record all of Caitanya Mahaprabhu’s Navadvipa activities. This `korca’ later
became a great source wherefrom Vrndavana dasa, Locana dasa and Krsnadasa
Kaviraja gathered their information to write Caitanya Bhagavata, Caitanya Mangala
and Caitanya Caritamrta. Hence, as the forerunner of Caitanya deva’s other
biographers, his pen certainly commands a lot of weight concerning authority.
RASA-RAJA-
Therefore, as he writes songs about nagari bhava als

SRI SRI GAURANGA

A Study of Sri Gauranga’s intimate, hidden side (like Sri Krsna) as the
Enjoyer of madhura rasa, collected from a host of Gaudiya mahajana authors

The highest form of God (Paratattva Sima)

(A Reverential Offering)

Many mahatmas have left substantial contributions in the Vaisnava world; but one
in particular stands out in my mind — a humble bhakta (devotee) who never made
a disciple, and who hid from recognition. Still, amongst scholars and bhaktas he is
a favorite, regarded author; for the 65
various Gosvamis and Mahajana shastras that he translated and published serve
as an indispensable aid for many.

So Sri Haridasa dasa Baba of Navadvipa’s Haribola Kutira doesn’t need an

introduction. However, through his own voluminous research also, one finds
perhaps the most in-depth study on Gaudiya Vaisnavism.

Those reading Haridasa dasa’s books easily gain a trust for his credibility. For his
vast scholarship, unbiased opinion and broad outlook reveal a deep admiration for
every Gaudiya Mahajana and true follower of Gauranga Mahaprabhu. Thus his
vast array of Vaisnava literature is worthy of admiration.

This volume has been graced by his insight on Rasaraja Sri Gauranga

Sri Haridasa dasa Maharaja-ji

Appearance 1898 — Disappearance 1957

Foreword

jaya rupa sanatana bhatta raghnatha

sri jiva gopala bhatta dasa raghunatha

ei chaya gosai kari carana vandana

jaha haite vighnanasa abistha purana

Before our topic begins, let us invoke auspiciousness by taking shelter of the
followers of Sri Rupa and Sri Sanatana Gosvami; those who tread
the raganuga bhakti path which culminates in the madhura seva of Sri Sri Radha
Govinda.

An ideal example of how bhaktas may awaken such bhakti is examplified in the live
of Sri Raghunatha dasa Gosvami. Raghunatha, once the pampered son of a
wealthy landlord whose young wife rivaled the beauty of an apsara, keenly desired
to join Sri Caitanya’sbhakta assembly. Every time he attempted to leave home,
however, his parents would somehow catch and bring him back. Thus his repeated
attempts to join the Lord all failed — until one day, when he got Sri Nitai Candra’s
mercy. This remarkable incident happaned at Panihati village, where, by a stroke
of luck, Raghunatha fortuned to satisfy Sri Nityananda and His associates by
arranging a huge feast. Thus securing Nitai’s blessings, the means to
escape samsara1 presented itself, and Raghunatha soon reached the lotus feet of
Sri Caitanya deva at Puri.

But Raghunatha’s fortune went on increasing — for being pleased, Sriman

Mahaprabhu placed him under Svarupa Damodara’s care for learning the intimate
matters of rasa-tattvaand prema-seva. Thus in such exalted association
Raghunatha passed his days inparamananda. But later, after the disappearance of
the Lord and Svarupa Damodara, Raghunatha felt destitute and wanted to end his
life! Thus he thought: "I shall go to Vraja, take Sri Rupa and Sri
Sanatana’s darsana, and then jump from Govardhana!"

Upon arriving before Rupa and Sanatana, however, they forbade him to commit
suicide. Rather, they kept him within their inner-circle and imparted upon him the
last course of hisbhajana-siksa, manjari upasana. Thus is the mood of Srimati
Radharani’s helpless maidservant, Sri Raghunatha passed the last days of his live
weeping in her separation on the banks of Radhakunda... and entered Radha
Krsna’s nitya lila in manjari bhava.

To the belief of many Gaudiya Vaisnava’s, Sri Raghunatha’s life story is an

excellent example illustrating that Sri Caitanya’s prema dharma culminates
in manjari bhava. And suffice it to say, this is not a false assertion. For after
sending the Six Gosvamis to Vrndavana, and empowering them to establish a cult
centered around Radha Krsna worship, Sri Caitanya certainly did desire that His
followers attain the prema seva of themanjaris. But from the consumate Gaura
bhaktas, surely a befitting question can arise:
"If manjari bhava is the final word and the highest attainment of Caitanya
Vaisnavim, what about Gaura lila and its worship? Was Gaura Avatara simply
meant for providing the opportunity to enter madhura Sri Vrndavana?"

Introspective Gaudiya Vaisnavas know, Gaura lila has a deeper purport:

it represents the continuing further expressions of prema
bhakti which Rasaraja Krsna yearns to relish with Radhika and
Her gopi confidantes. So herein, we can discover that along with our eternal
Vraja lila role — we have an eternal role with Gaurasundara, which is, indeed,
the sadhya (ultimate goal) to all our spiritual practices as well.

Yet raga marga Rupanuga bhaktas do worship Gaura lila. Knowing that Krsna
advents as Gauranga to accept Radha bhava, they meditate on Gaura’s
Radha bhava lilas before meditating on Vraja lila in manjari bhava. But the
outcome that often occurs when following this system is that one’s attraction for
Radha Krsna’s lila far outmatches one’s attraction for Gaura’s. Hence, only briefly
dipping into Gaura lila, such worshippers fully submerge themselves within
Krsna’s Vraja lila sindhu.

· At this point, however, a whole new world of rasamaya bhakti can begin —
and this path, inspired by Rasaraja Gauranga, is the topic of this book. In other
words, after a brief worship of Gaura in Radha bhava, and after submerging
oneself for a long time in Radha Krsna’s nikunja lilas — one my re-surface in
Navadvipa again to take up Gauranga’srasaraja worship. Because Sri Gauranga
is mahabhava svarupini Radha and rasarajaKrsna combined, both features form
an excuisite enrapture for His bhakta followers to share with Him.

When viewing the entirety of Gaudiya Vaisnavism, we find that the Six Gosvamis’
teachings form a major pillar of Sri Caitanya’s prema dharma. And when sampling
the Vraja rasa, who wouldn’t agree? ... the manjari seva which can be had by
following in Sri Rupa and Sri Raghunatha’s footsteps is unmatched. And hence, Sri
Caitanya dispatched them to Vrndavana for teaching such mellows. But to learn
the confidential secrets of Gaura lila, one will greatly profit to hear about Sri
Gauranga’s amazing qualities from themahajanas whose attraction mainly focuses
on Him.

So, to do so, we shall now take shelter of Advaita Acarya, Gadadhara Pandita,
Narahari Sarkara, Vasudeva Ghosa, Murari Gupta, sivananda Sena,
Kavikarnapura, Locana dasa, and many others, who are steeped in the mellows of
Sri Gauranga’s rasaraja worship. Then, from their versions, we shall find that along
with the Vraja mannjari bhava, Nadiya nagari bhava is a very sweet mellow that Sri
Gauranga wishes to share with all of His followers.

Learned Vaisnavas know that the mahajanas mentioned above wrote about Nadiya
nagari bhava; but when saying `many others’, examples from Rupa Gosvami,
Sanatana Gosvami, Krsna dasa Kaviraja, Narottama dasa, Visvanatha Cakravarti
and even Bhaktivinoda Thakura will be presented which support this bhava.

Hence, a noteworthy feature of this essay is that a comparison of the Vrndavana

and the Navadvipa mode of raganuga bhajana is presented to form a bridge of
understanding between the two schools.

· Invocation ·

(1)
sriman navadvipa kisora candra
ha natha visvambhara nagarendra
ha sacinandana citta caura
prasida he Visnupriyesa gaura
(Sri Prabhodananda
Sarasvati)
" Oh handsome, youthful moon of Navadvipa! Oh Lord Visvambhara — You are
the Lord of all nagaras! Oh hey sacinandana! Although You are steeling my mind, I
know very well that You are Visnupriya’s golden Pranesvara."

(2).
sacira konara, gauranga sundara,
dekhinu akhira kone
alakhite citta, hariya laila,
aruna nayane bane
sei marama kahinu tore

eteka divase, nadiya nagare,

nagari na rabe ghare
ramani dekhiya hasiya hasiya
rasamaya katha kaya
bhaviya cintiya mana darainu
parana rahibara naya
kona punyavati jubati ihara
bujhaye rasa vilasa
tahara carane hrdaya dhariya
kahaye govinda dasa

"Oh sakhi! I’ll tell you a secret: when looking from the corner of my eye, I saw the
Son of saci, Sri Gauranga sundara. But when no-one was watching — He shot me
with the arrow of His reddish tinted glance! And nowadays not one Nadiya
nagari can remain at home; for seeing a sundari ramani, He smilingly speaks all
sorts of rasamaya entreaties. While thinking over the matter, I am trying like
anything to hold onto my patience — still my heart races after Him! So who is the
pious, young girl who can fathom His rasa vilasa1? Govinda dasa sais, my heart
grasps her lotus feet."

(3)
Locana dasa Thakura’s Invitation

cala go sajani, piriti nagare, basati karige mora

marama na jane, dharama vakhane, caurasi bhrammibe tara
sadaa duyare, kapata haniye, khirki daraja khola
cala go sajani, niscinta haiye, adhare dekhige ala
alara bhitare, gorare dekhibi, nayana rakhibi tatha
se desera katha, e dese kabile, marame paibi byatha
se dese e dese, mesamisi ache, e katha na kaba kake
se dese e dese, anek antara, janaye sakala loke
piriti nagare, manusa ratana, viraje sahaja ghare
dharma karama, kulera acara, sekhane jaite nare
ei dasa locana, kahaye vacana, dasadik tara ala
1) rasa vilasa : conjugal, loving pastimes —
Dhamali
"Oh come sakhi! Let’s go reside in piriti nagara1. But we’ll have to be careful, for
even staunch religionists can’t fathom this realm. Let them go on wandering
through eight million, four hundred thousand births. But sakhi, come! We’ll latch the
front door, and fearlessly enter through a secret passage ... to see the light! Aho!
Within the effulgence we’ll see Gora — ans satiate our eyes! But don’t tell
about piriti nagara, lest you’ll become sad (as the people will scorn you.)
We’ll just have to keep the news of our going a secret.
Listen ...
In piriti nagara there is a jewel-like (golden) purusa, and it is easy to enter his
bedroom. But first one must discard dharma, karma and wordly chastity to go — for
they cannot stand beside Him. Thus Locana sais, Gora’s effulgence fills every
direction."

These poems by Locana dasa, and the previous two selections from Srila
Visvanatha and Govinda dasa, certainly reveal a mysterious topic that will surely
puzzle most Vaisnavas. Although these three Gaudiya mahajanas are males in
Gaura lila, they are talking just like young, attractive girls of Nadiya. So what does
Locana mean by `piriti nagara’ (the abode of love)? And doesn’t the means to go
there sound mysterious too? Because such lilas are `praccanna’(hidden within an
inner-realm amongst Sriman Gaurasundara’s other pastimes), only a few fortune to
know about them and fathom their sweetness. So as this volume is devoted to
understanding and glorifying Sri Gauranga’s most intimate rasarajaaspect, we
hope that our readers protect this lofty, controversial topic as one conceals a rare
and priceless gem.

—
2
The madhukara

1) piriti nagara: the abode of love

2) madhukara: a honey collector (bee)

A Prelude to the Lila

In the invocations first sloka, Visvanatha Cakravarti addresses Sriman

Mahaprabhu asNagarendra, the Lord amongst nagaras (flirtatious romantics), but
Srila Advaita Acarya calls Him `Nagara siromani’, the Crown-jewel amongst such
personalities. Before probing deeper into the significance of these statements,
however, let us speak something to help broaden our appreciation for the absolute
authority which Sri Advaita wields. Although He is known for His heart-rending
cries which bring about Gaura Avatara, Caitanya Caritamrta,Antya 19 goes on:

"Advaita Acarya is an experienced pujari Who knows all of the sastras imports.
Thus to worship, He performs austerity, calls the Devata, and upon completing
the puja, sends Him away."
Sri Caitanya spoke this riddle to disclose that His entire lila is directed by Advaita.
Yet should this appear astonishing? For Advaita’s sakti, Sita Thakurani,
is Yogamaya, by Whose omnipotency everything happens in Gaura lila. Thus with
His inside knowledge about the Lord’s internal affairs, He reveals the following
confidential siddhantas in His prayers entitled "Sri Sri Gauranga pratyanga
varnanakhya stavaraja":

Verse 6
ardhacandrollasbhala kasturitilakanvitam
bhangura bhrulatakeli-jita-kamasorasanam

"Gaurasundara’s forehead is like a brilliant half-moon adorned with beautiful

musk tilaka;yet below lurks His flirting eyebrow-bows which defeat the might
of Kama deva’s flower arrows."

Verse 17
kotikandarpa-labanya-keli-lila-manoharam
saksatlilatanum kelitanum srngara vigraham

"Sri Gaurasundara’s prema keli is absolutely manohara1— like that of millions of

Cupids;for He is the Abode of prema keli and a srngara rasa vigraha."

Prema keli and srngara rasa renowned traits of Sri Krsna in His kisora lila with
the gopa sundaris. But here Advaita’s depicting Gaurasundara in this way is
remarkable. Still, He goes on:

Verse 26
nijabhava rasasvada vibasaikadasenriyam
vidagdha nagari bhava-kala keli manoramam

"Although Mahaprabhu’s eleven senses are completely overwhelmed by His

own bhava,rupa and rasa — His divine keli vilasa with the clever and rasa-
skilled Nadiya nagaris is simply enchanting!"

1) manohara: mind stealing

Thus Advaita reveals with whom Gauranga srngara rasa affairs take place; but
who are thenagaris? The next sloka begins telling:

Verse 27
gadadhara premabhava kalakranta manoratham
sriman narahari premarasavihabalamanasam

"Gauranga keenly desires to taste the sweetness of Gadadharas prema

bhava and rasa keli skill. Moreover, Sriman Narahari’s prema rasa enslaves Him."

Owing to their internal nari bhava and rupa, Gadadhara and Narahari are chiefs
amongst the Nadiya nagaris, for previously they shared similar bhavas with Krsna,
as Radha and Madhumati sakhi. But one might wonder: `how extensive are such
moods amongst Gaura’s other associates?’ The next verse reveals:
Verse 28
sarvabhagavatahuta kantabhava prakasakam
prema pradanalalita dvibhujam bhaktavatsalam

"Bhakta-vatsala Sri Gaurahari hankers to take up his splendid kanta bhava with
everybhagavata associate. Using His graceful, two arms He embraces them to
award (madhura)prema."

Kanta bhava means the Lord’s mood as a lover, or amorous hero. Through this
mellow we find the inner purport of Gaurangas bhakta-vatsala feature, His
affectionate submission to the love of His devotees. Thus Sri Advaita says:

Verse 32
nataraja siroratnam sri nagara siromanim
asesa rasika sphujjanmauli bhusana bhusanam

"Sri Gauranga is the Crown-jewel amongst all dancers, the Crown-jewel amongst
allnagaras (including Sri Krsna) — and thus the Ornament of ornaments amongst
all rasikapersons."

More than a mahajana, and more than the Lord’s eternal associate, Srila Advaita
Acarya issaksat isvara, the Lord Himself. Thus His merciful siddhantas can benefit
all. However, in His "Krsna Bhajanamrta", Srila Narahari Sarakara elaborates to
reveal more about Sri Gauranga’s magnificence:

pasya pasya, niguratiniguram nirupyate

sakalendriyaih sabdhana mahantah parammmangalam
rahasyam srnvahtu sri Krsnacaitanyadevah
prakataparamananda-vigrahohapi sarvavatara
sarbhutohapi sarvavatarasakti prakasasamarthohapi
sarvavatarabyaktaye dasadasisangavanapi
radhasangaprakasam na krtavan asya
sarvavatarprakasatvam sarvaireva niscitamaste
tathapi rahasyamekam juktameva sruyatam
sri Krsnah sakalvilasa vinoda-rupa kaisoradi
guna sampannohapi strinam vanacarinam
mohanam cakara; kimetat? sri Krsnacaitanyastu
kaupinadhari dinavesah sannyasasramalankrto
hatyantadurdantam balavantam
mahavrsabhaduradurudam dhyatmavadinam
vishayandham kujoginam jadamjasara madyapam
papam candalam javanam murkam kulastriyanca
premasindhou patayamasa; anandena vaikunthopari
stapaya masa kevalam premadharayaiva
sarvesamasayam sodhittavan asurabhanca
curnitavan kimanyadva bahu bavtavyam ?
purusan eva prakrtibhavam ninaya
sri Krsnacaitanya bhavakala mohitah
srigadadhara pandita bhava darsansamudita
gopiganabhava vedantinohapi vimayinhapi
prakrtibhavairnanrtuh
Sri Krsna Bhajanamrta 28-11

"Look, look now I shall disclose the most secret of all secrets! So listen carefully to
this confidential tattva — for it can deliver supreme auspiciousness to even the
self-controlledmahajanas:

Sri Krsna Caitanya Deva is Himself a paramananda murati, the Essence of

all Avataras, and completely capable of displaying every divine potency of any form
of Bhagavan along with the servants or maidservants of such Bhagavat svarupas.
Yet He didn’t disclose about His affairs with Radha (Gadadhara). This is confirmed
by the learned who know about thebhavas and the tattvas concerning all Avataras.
But nevertheless, please listen to a logically proven mystery:

Sri Krsna displays His vilasa (lovemaking), vinoda rupa (enticing bodily features)
and all of His youthful qualities to attract the Vraja gopis into the forest — and what
can be said of this?
But Sri Krsna Caitanya, wearing a kaupina and mendicant sannyasi dress, takes
greater pleasure in converting the most rebellious, stubborn, bull-headed
spiritualists, blind enjoyers, pseudo yogis, materialists, thousands of drunkards,
sinful meat eaters, Muslims, the illiterate, as well as the chaste young girls, to
drown them all in a prema samudra and send them beyond Vaikuntha’s highest
regions to His supreme abode, Goloka. Only with `prema’ did He purify the hearts
of all, after grinding their demoniac natures to dust! And moreover, He converted
males into conceiving themselves as females. When Sri Krsna Caitanya became
decorated with the ornaments of bhava, and when the moods of theVraja-gopis
bhavas overwhelmed Him, upon seeing the bhavas of Srila Gadadhara Pandita —
then He converted every Vedantist and gross materialists to dance in the mood of
a woman!"
Sri Krsna Bhajanamrta 28-11

When comparing Srila Advaita’s stavas with these passages from Narahari, a
remarkable conclusion can be drawn:

Owing to His parama karuna, Sriman Mahaprabhu wishes to reciprocate with His
highly exalted `kanta bhava’ with not only His intimate devotees — but with every
type of grossly fallen jiva in this age of Kali!
Indeed, as Narahari’s list concludes by mentioning `kula strianca’, meaning
the Nadiya nagaris, he is saying that all of the aforementioned sinners or non-
devotees were promoted to Goloka Navadvipa with `nagari prema’ to dance
besides Sri Gauranga in the form of a woman.

Sri Nagara siromani1

A nagara is a playboy, or an unchaste man who loves to indulge in sensuous

pleasure amongst many female companions. And, in our world, such characterless
men are hardly praiseworthy. Rather, they become notorious and condemned in
society.
So now a good question arises:
"Why would Svayam Bhagavan, the very emblem of dharma Himself, stoop to
perform such behaviour?"

The answer we can imbibe from the Bhagavatam, 10-33-36, where the main
reason for His advent is stated:

anugrahaya bhaktanam manusam dehamasrita

bhajate tadrsih krida jah srutva tatparobhavet

"In order to give mercy to the devotees, Sri Bhagavan assumes a human form to
enact loving pastimes with them. Thus, those hearing about His activities may also
become attracted to the Lord."

Giving mercy, or love, to His bhaktas is Bhagavan’s sole activity and foremost
source of pleasure. Hence, introspective devotees can begin to appreciate why
Svayam Bhagavan becomes a nagara. For how many bhaktas would receive His
greatest gift— madhura prema bhakti — if He were to display the role of an ideal,
chaste husband? True, for those who want to admire the Lord as such, He
certainly provides them the opportunity in Rama Avatar. For Lord Ramacandra
never cast His amorous glances upon anyone accept Sita. Yet what about the
forest sages who saw Rama’s immaculate beauty? After coveting the chance to
serve Him as a consort, they had to wait until His advent as Sri Krsna. And only
then could they fulfill their cherished ambition by becoming gopis. Hence, Krsna is
more merciful then Rama. But our Sri Gauranga is far more magnanimous than
even Sri Krsna, because as Sri Narahari states, in his previous "Krsna
bhajanamrta” passages, he awards His most intimate prema rasa to all. And
therefore, Srila Advaita Acarya‘s declaring Sriman Mahaprabhu as the
greatest nagara is justly befitting.

1) Sri Nagara siromani: Gauranga, the greatest nagara (flirtatious romantic)

What Does This Book Discuss?

In the Introduction, pages

After revealing Mahaprabhu’s svarupa as the form

1
of Rasaraja and Mahabhava combined, three approaches to Gaura upasana are
presented: those of Vrindavana dasa, Krsnadasa Kaviraja and Locana dasa.
Owing to Locana’s focus on Gaura’s rasaraja feature, his "Caitanya Mangala" is
filled with madhurya. Locana’s birth signifies the fulfillment of Narahari Sarakara’s
desire to broadcast Gauranga’s madhura pastimes with Gadadhara;thus an
excerpt of Their maharasa sankirtana from "Caitanya Mangala" is inserted. But
Locana’s "Dhamali" further reveals Gauranga’s intimate, madhura Navadvipa lila’s.
This leads into the topic of how Gauranga’s male associates have female
identities; the examples of Narahari and Gadadhara’s nagari svarupa’s are shown.
Supporting evidence is presented from Kavikarnapura and sivananda Sena in
context with the holi pastime. Then "Caitanya Caritamrita" shows how Gadadhara’s
followers worship Gauranga inmadhura rasa. Svarupa Damodara and Rupa
Gosvami state that Gadadhara is directly Radha.

Chapter One, Pages

Since Sri Krsna and Sri Gauranga are non-different, wouldn’t Gauranga posses all
of Sri Krsna’s qualities? Examples from "Caitanya Caritamrta", "Dhamali" and
"Caitanya caritra Maha kavya" show that, indeed, They are Both srngara rasa
nayakas1. Then Sri GaurangaVastra harana lila and Rasa lila are described from
Murari Gupta’s "Korca2" and Narahari Cakravarti’s "Sri Gaura carita cintamani."
The latter discloses the wish to follow in the Nadiya nagaris’ footsteps, and
Narottama dasa Thakura reveals a similar mood. Govinda
dasa’s padavali contributes to the nagari school, but their history link Srinivasa
3

Acarya and Jiva Gosvami as supporters. Then Narahari Cakravarti shows how it is
impossible for Krsna to give up His rasika nature when becoming Gaura. Locana
dasa tells that Radhika and the gopis won’t allow Krsna to escape Gokula alone,
lest they will reveal all of the scandals that He left behind. So after taking on His
new disquise, can Gauranga be called a sadhu? The nagaris’ purva raga for
Gauranga is related in context with Srimati Radharani’s svapna vilasa: She has an
astonishing dream — sees Gaura rasa raja — and races to embrace Him, even
while lying in Sri Krsna’s tender embrace! Locana presents some examples of
the nagaris purva raga from "Dhamali", and goes on to describe his stark
fascination — "Let them call me gaura kalankini!" (scandalized by Gaura) he
implores. Locana even tells why no-one should fear such disgrace. Then Vasudeva
Ghosa and Govinda Ghosa describe their attraction for Gauranga in nagari bhava,
followed by Murari Gupta’s testimony. Because Murari’s "Korca" serves as the
basis for Vrndavana dasa, Krsna dasa and Locana dasa’s biographies of Sri
Caitanya, and because he also relates about the nagari bhava of

1) srngara rasa nayakas: Amorous heros

2) korca: diary
3) padavali: Bengali poetry in rhyming metre
Nadiya, this proves that such mellows with the Lord existed from the very
beginning.

Why is Nadiya nagari bhava controversial? This chapter tell why many Vaisnavas
fail to understand and even take to criticizing such exalted mellows. Because Sri
Caitanya isSvayam Bhagavan, His prema rasa exchanges with His
eternal, svarupa sakti counterparts are natural. But taking the role of a `Yuga
Avatara’, He preaches religion in the dress of asadhu as well. Thus after explaining
the inner purport of Vrndavan dasa’s warning not to openly address Sriman
Mahaprabhu as a `nagara’, the utility of both His Yuga Avatara andSvayam
Bhagavan features is discussed. More evidence supporting
Gauranga’s rasikanature is presented from Sri Narahari Caravarti, Sri
Prabodananda Sarasvati, Sri Acyutananda and Sri Madhavi dasi, Sri Sikhi Mahiti’s
sister.

Chapter Four, Pages

As Sri Krsna is the source of all avataras, Radha is the source of every consort of
His limitless Bhagavata manifestations. But Narahari Sarakara states that
Gadadhara is directly Radha. Then he goes on to say that Gadadhara and
Gauranga’s yugala milana is real — just as Radha Krsna’s. Nayanananda
Misra’s padavali tells about the mood in which Gadadhara’s followers worship
Gaura. Mahaprabhu’s sankirtana Maha Rasa tattva is related from Caitanya
Caritamrta. Then Rupa Gosvami’s intimate "Stava mala" sloka is discussed in
conjunction with Nayanananda’s padavali.

Chapter Five, Pages

This chapter deals with Gaurasundara’s intimate sambhoga affairs.

Examples from "Dhamali" tell about the nagaris’ svapna sambhoga, conjugal
exchanges during dreams. "Ujjvala nilamani" reveals how such dreams are vivid as
waking experiences. Vasudeva Ghosa and Narahari Cakravarti tell of their svapna
sambhogaexperiences. Pradhurabhava sambhoga is discussed, followed by
Gauranga’s nari vesa milana with the nagaris. Gauranga’s prema vilasa vivarta
bhava shows how He can even assume the kanta role as His bhaktas reciprocate
in kanta bhava. Gadadhara and Gauranga’s prema vilasa vivarta lila illustrates.
Gora nama madhuri is explained.

Chapter Six, Pages

A comparison of Rupanuga devotion and Nadiya nagari bhava.

Rupanuga Vaisnavism essentially means Radha dasya seva. However, Radha is

Gadadhara in Gaura lila. Hence Rupa Gosvami follows
Gadadhara; Locana’s padavaliaffirms and Svarupa Damodara gives more
evidence. Because the Six Gosvamis are Gauranga’s ‘sancarita sakti’ it is only
natural that they follow Gauranga’s `mula sakti’ Pandita Gadadhara. Sanatana
Gosvami states that Gadadhara’s wealth lies in nagari prema. Sri Rupa tells about
the special `prema ratna’ that Gauranga is distributing. Nayananda Misra confirms
that this is nagari prema. How did the Gosvamis secretely reveal Gauranga’s
intimate affairs? Rupa Gosvami supports Gauranga’s rasaraja feature. Sri Caitanya
instructed the rasaraja doctrine to Vamsivadana. Sri Caitanya is non-different from
Rasaraja Sri Krsna. A commentary of Rupa’s`anarpito carim’ sloka along with
Locana’s padavali. Some asta kala lila tattva. The essays key note.

Chapter Seven, Pages

More supporing versions from Gaudiya Acarya s such as Jagannatha dasa Babaji,
Bhaktivinoda Thakura, and Siddha Caitanya dasa Babaji. One amusing encounter
between Caitanya dasa Baba and Bhagavan dasa Baba.

Chapter Eight, Pages

Sri Nityananda Prabhu as a nagara and as a nagari. A closer look into Srila
Vrndavana dasa Thakura’s intimate siddhantas found in "Caitanya
Bhagavata."Visnupriya’s kaAdita bhava.
Introduction

tabe hasi tare prahbu dekhaila svarupa

rasa-raja, mahabhava dui ekarupa
Caitanya caritamrta, Madhya 8

"Then Caitanya Mahaprabhu smiled and showed Ramananda Raya His svarupa —
The form of Rasaraja and Mahabhava combined!"

Thus our Gauranga is revealed — He is Krsna, the rasaraja amongst the Vraja-
gopis, plus Mahabhava Svarupini Radha, combined in one form.

Volumes One and Two1 have already dealt with Gauranga’s Radha bhava aspect
at length;so now a study of His rasaraja trait begins.

Although many biographers have written about Caitanya Mahaprahu’s lila, the
works of Vrndavana dasa, Krsna dasa and Locana dasa are the foremost. In
"Caitanya Bhagavata", Vrndavana dasa Thakura mostly depicts Gauranga in His
‘Bhagavata’ feature (as being the supreme Lord); in "Caitanya Caritamrta", Krsna
dasa Kaviraja’s Gauranga is the `Radhabhava’ Nilacala vihari of Svarupa
Damodara, Raya Ramananda, Rupa and Sanatana; yet in "Caitanya Mangala",
Locana dasa Thakura’s `Gora’ is Gadadhara and Narahari’s hrdaya
vallabha2, rasaraja.

Thus each author depicts a different mood of Sri Caitanya which are relishable
and parama upasya (supremely worshipable). Yet in Sri Locanana’s Rasaraja Gora
we find a specialmadhurya. The following story3 shows an example why:

Locana dasa was Sri Narahari Sarkara’s disciple, and under his direction he wrote
"Caitanya Mangala" in the secluded place known as Ko grama. Upon finishing the
task, he returned to the feet of his guru at Srikhanda. But as Narahari read locana’s
manuscript, He said: "Vrndavana dasa Thakura has already written a biography
about
Sri Caitanya called "Caitanya Mangala". So if you want to distribute your book, you
should go on and take his permission first." Thus Locana went to see Vrndavana
dasa and presented his writing after informing him about his Gurudeva’s order. But
as Vrndavana dasa read Locana’s manuscript, he came to the following lines and
fainted in the ecstasy ofprema:

abinna caitanya se Thakura avadhuta

sri nityananda vanda rohinika suta

"I offer my pranamas to Thakura Nityananda nvadhuta, Who is non-different from

Sri Caitanya, and Who was previously known as the son of Rohini." Upon regaining
consciousness, Vrndavana dasa said: "Locana, by Sri Narahari’s grace you have
exactly understood the position of Lord Nityananda — for indeed, His body is non-
different from Sri Caitanya’s. From today onward your book shall be celebrated as
"Caitanya Mangala", and mine will be called "Caitanya Bhagavata."

1) Volumes One and Two: "Why did Caitanya Mahaprabhu come, and what did He
come to give?"
2) hrdaya vallabha: heart’s beloved
3) Story: taken from "Srikhander pracina Vaisnava" (The Ancient Vaisnavas of
Srikhanda) by Sri Gaura gunananda Thakura (published in 1910)

At the time of this incident, Vrndavana dasa’s book had already gained vast
acclaim amongst the Vrndavana Vaisnava community under the name of "Caitanya
Mangala". And hence, Krsna dasa Kaviraja refers to it as such in his Caitanya
Caritamrta. Bit owing to Locana’s describing Gaura-Nityananda as being non
different, Nityananda prana, Sri Vrndavana dasa, couldn’t hold unto his patience
for showing gratitude. Thus he wrote a personal declaration for the Vrndavana
Vaisnavas which stated:

"My book describes Sri Gauranga’s Bhagavata feature, whereas Sri Locana dasa’s
describes about His madhurya. So henceforeward my book should be called
"Caitanya Bhagavata", and his should be known as "Caitanya Mangala."

And thus it came to be. Here is a sample of Caitanya Mangala’s madhurya.

angera chataya jena dinapara pradipa hena

tahe lila rasera vilasa
koti kusuma dhanu jiniya vinoda tanu
tahe kare premera vikasa
kamini mohana vesa herite bhulila desa
madana vedana heri paya
ki diba upama tara karuna vigraha sara
hena rupa mora gora raya

"Gauranga effulgent limbs dazzle like the sun ... and herein we find
His rasa vilasa(conjugal pastimes). His bodily splendor defeats millions of Cupids
weilding their flower bows ... and herein He displays His prema. His dress is kamini
mohana (alluring to every pretty, young girl of Nadiya) — for they forget everything
else when viewing Him! Thus cupid pierces their hearts and binds them to His lotus
feet. So who can compare with Gora Raya? His beautiful form is the essence of
all karuna."

Sri Narahari Sarakara’s Longing

Locana dasa Thakura’s birth signifies the fulfillment of Sri Narahari’s ambition to
broadcast Gaura and Gadadhara’s madhura lilas. Narahari’s
following pada relates:

gaura lila darasane vancha bara haya mane

bhasaya likhiya kichu rakhi
mui ati adhama likhite na jani krama
kemana koriya taha likhi
gaura gadadhara lila adraba karaye sililaa
kara sadhya koraye varnana
sarada likhena jadi nirantara nirabadi
kahe sadasiva pancanana
e granta likhibe je ekhana janme nai se
janmite vilamba ache bahu
bhasate racana bale bhujibe loka sakale
kabe vancha puraibe pahu
kichu kichu pada likhi jadi iha keha dekhe
prakasa karaye prabhu lila
narahari pabe sukha ghucibe manera dukha
granthagane darabibe sila

"In seeing Gauranga’s lila, a great hankering awakens to note down some of these
events. But haya! I am very fallen, and I don’t know the means to write them; so
how will this great task become accomplished?
Gaura and Gadadhara’s lila can melt the stones — yet who can narrate them? If
Goddess Sarasvati as the five-faced Sada siva unceasingly dictates — still
these lilas would remain unsatiated! Haya! The fit person to write hasn’t taken
birth ... and still a long time awaits! Oh when will Gaura and Gadadhara’s pastimes
become narrated for the people? Oh when will Caitanya Mahaprabhu fulfill my
desire? Meanwhile, I shall write a few padas1 to broadcast His lila; Thus my
melancholy will vanquish. For seeing the stone-like hearts of my readers melting —
Narahari will become very happy."

This sample from "Caitanya Mangala" shows how Locana wrote to fulfill
his gurudeva’sambition:

srivasera ghare nace rasa vinodiya

gaura dehe syama tanu dekhe bhaktagana
gadadhara radha-rupa haila takhana
madhumati narahari haila sei kale
dekhiya Vaisnava saba hari hari bole
vrndavana prakasa haila sei stane
go gopi gopala sange sacira nandane
purbe sakha sakhigana je rupa achila
rasa asvadane prahbu sange bhakta haila
abhinava kamadeva sri raghunandana
aprakrta madana boliya je ganana
tara saba purba deha dhari prahbu beri nace
dekhi anya avatara sangi saba kade
navadvipa udaya korila vraja-cande
khone gaura lila gadadhara kori sange
khone syama lila radha rasa rasa range
camatkara lila dekhi saba bhaktagana
hari hari jaya bole ghane ghana
"Rasa vinodiya2 Gauracanda dances at Srivasa’s house ... but as the bhaktas see
Gaurasundara turning into syamasundara — Gadadhara becomes Radha! Then
Narahari becomes Madhumati sakhi ... and all of the cows, the gopas and
the gopis all join to relish mellows with Sri Sacinandana — just as they did
previousely in Vraja. Sri Raghunandana becomes the ever-youthful Kamadeva,
Vrndavana’s transcendental cupid. Thus everyone takes up their
Vrndavana svarupas to dance around Mahaprabhu. Aho! The associates of
other Avataras will cry to see Vrndavana’s canda3 rising in Navadvipa! Thus
Gauranga performs pastimes with Gadadhara ... but sometimes They become
Radha and syama to enoy the Rasa lila ranga4. Seeing such camatkara pastimes,
the bhaktas loudly cry, `Hari,Hari!’ and `Jaya, Jaya!’"

1) padas: poetry written in rhying Bengali meter

2) rasa vinodiya: The Enchanter of the Rasa lila (here, Gaura takes on His rasa-
rajafeature)
3)Vrndavana’s canda: Sri Krsna the moon of Vraja.
4) Rasa lila ranga: the Rasa lila amusement
Sri Locana’s Dhamali Goes deeper

Camatkara means amazing or fantastic, and Locana dasa labels Gaura and
Gadadhara’ssankirtana pastimes as simply camatkara. For even Caitanya
Bhagavata and Caitanya Caritamrta don’t describe that Radha, Krsna and all of
Their gopi associates directly manifest in Sriman Mahaprabhu’s pastimes. But
Locana’s pen goes on. After narrating "Caitanya Mangala", he presents an even
deeper look into Sriman Gaurasundara’scamatkara Nadiya vihara in "Dhamali".
Here Locana’s Gora is a Kamera kora1, a Rupera nagara2, a Rasa sagara, a Citta
cora3, Manohara4 and the Nava kisora natabara5 whose stealthy glances steal
Nadiya nagaris’ hearts! But there is a mystery about the nagaris madhura
bhava with Gauranga that needs clarification: These bhavas that Sri Locana and
other Gaudiya Mahajanas describe are shared amongst Gauranga’s male
assoiates who have subtle nagari forms within.

Gauranga’s Associates Have Female Identities

Although the Vraja gopis have assumed male forms in following Krsna’s
transformation to Gora — still they cannot forget their previous madhura tie.
Rather, with Gora, these loving pastimes continue to unfold with newer and newer
relish. Thus their internal nagari bhavais their overriding service mood to him.
Concerning Narahari Sarakara and this tattva, Sri Gaura gunananda Thakura of
Srikhanda explains as follows:

"Sri Narahari Sarakara Thakura serves and gives pleasure to his prana
Gauranga in basically three ways: 1) in his parsada svarupa as Narahari, 2) in his
previous nitya-siddha svarupa as Madhumati Sakhi, and 3) in his nagari
svarupa. In this connection the lastbhava, (the nagari bhava or kanta bhava) is his
internal mood; the other two moods are occassional. Sriman Mahaprabhu prakata
svarupa (visible form) is the visaya (affectionat object) of Narahari’s kanta bhava.
Hence this kanta bhava forms his stayi bhava(permanent mellow) and the
other rasas of dasya, sakhya and vatsalya bhava are contained within it."
 — Srikhanda’s pracina Vaisnavas

Gadadhara Pandita’s Nagari Svarupa

In Gaura ganodesa dipika, Srila Kavikarnapura confirms this siddhanta in context

with Gadadhara Pandita as follows:

sri radha prema-rupa ja pura vrndavanesvari

sa sri gadadharo gauravallabhah panditakhyah
pura vrndavane laksmih syamasundara ballabha
sadya gaura prema laksmih sri gadadhara pandita

"She Who was previously Vrndavanesvari Radha is now Sri Gauranga ballabha,

1) Kamera kora: reservoir of divine kama

2) Rupera nagara: A Handsome flirtatious romantic
3) Citta cora: mind thief
4) Manohara: Simply enchanting
5) Nava kisora natabara: dressed like an attractive, youthful dancer
Gadadhara Pandita. And She Who was Vraja Laksmi Radha, Sri
syamasundara vallabha, now appears as Sri Gauranga’s prema Laksmi
Gadadhara."

Thus Gadadhara Pandita Gosvami (although being directly Vrndavanesvari Radha)

has a female Navadvipa svarupa referred to as Gauranga’s prema vallabha,
or prema Laksmi.

Sri Sivananda Sena’s Contribution

Now one might ask, "How does Srila Kavikarnapura know about Sri
Gadadhara’s nagari svarupa, and why would he write about such mellows?"
The answer is that he imbibed this intimate service mood from his father,
sivananda Sena;and his writing about such bhavas simply represents the overall
trend of many of Gauranga’s eternal associates. For example, sivananda, who was
previously Campakalata Sakhi in Vraja (one of Radha’s asta sakhis), now worships
Vrndavana’s yugala kisora in the form of Gadadhara and Gauranga. His
following pada explains about this:
jaya jaya pandita gosai
jara krpabale se caitanya guna gai
hena se gauracandre jahara piriti
gadadhara prananatha jahe lage khyati
gauragata prana prema ke bujhite pare
khetra vasa Krsna seva jara lagi chare
gadaira gauranga gaurangera gadadhara
sri rama janaki jena eka kalebara
jena eka prana radha vrndavana candra
tena gaura gadadhara prema taranga
kahe sivananda pahu jara anurage
syama tanu gauranga haiya prema mage
"All glories, all glories to Gadadhara Pandit by Whose mercy we can sing Sri
Caitanya’s glories. His love is such that Gauranga is celebrated as
`Gadadhara’s prananatha’ (the Lord of Gadadhara). Aho! As Gadadhara’s life is
Gauranga, His prema is unfathomable — for He renounced his ksetra
sannyasa1 and Gopinatha’s seva smply for Gaura. Thus Gauranga belongs to
Him, and He belongs to Gaura — as Rama and Sita are one body. And just as
Radha and Vrndavana candra are one life — so do the waves of premacapsise
from Gaura and Gadadhara’s lila. Thus sivananda says: `Krsna eagerly discards
his syama body and becomes Gauranga simply to beg for Radharani’s prema!"

In the Holi pastime, sivananda Sena elaborates about Gaura and

Gadadhara’s madhura tie as follows:

holi khelata gaura kisora

rasabati nari gadadhara kora
sveda bindu mukhe pulaka sarira
bhava bhore galatahi nayane nira
vraja rasa gaota narahari sange
mukunda murari vasu nacata range
khene khene murchai pandita kora
heraite sabacara bhave bhela bhora

1) ksetra sannyasa: Gadadhara’s vow to never leave Sri Ksetra (Jagannatha Puri)
nikunja mandire pahu kayala vithara
bhume pori kahe kaho murali hamara
kaha govardhana yamunaka kula
kaha malati juthi campaka phula
sivananda kahe pabu suni rasa vani
jaha pahu gadadhara taha rasa khani

"Gaura kisora plays Holi in the arms of the rasavati nari 1, Gadadhara. Aho! Drops
of pespiiration cover Their faces, They horripulate and tears flow from Their eyes
due to intense bhava! As Gauranga sings abut Vrndavana’s mellows with Narahari
— Murari, Mukunda and Vasudava Ghosa dance in ecstacy! But Gauranga
repeatedly faints falling in Gadadhara’s lap! And seeing them the priya
bhaktas swoon! Then comming to rest in anikunja mandire, Gauranga faints again
after exclaiming: `where is My murali, the Yamuna and Govardhana? And where
are Vrndavana’s malati, juthi and campaka flowers?’ Thus sivananda says, `listen
to my rasa vani 2; with Gaura and Gadadhara we find a jewel mine of divine
mellows!’"

Here sivananda’s addressing gd as a `rasavati nari’(young rasika damsel) is

significant, for if he had not seen such form, and revealed about it, who would
have known?

Gadadhara’s Followers are actually female

Krsna dasa Kaviraja confirms about Gadadhara’s rasavati nari svarupa by

revealing that Gadadhara’s followers have femala identities as well:
paAditera gana saba bhagavata dhanya
prana vallabha sabhara sri Krsna caitanya
C.C. Adi 12

"All of Gadadhara’s followers are maha bhagavatas and very fortunate — for
their prana vallabha is Sri Krsna Caitanya."

Most of us will pass over this siddhanta without recognising its deep purport. But
here the point to grasp is that only a woman adresses her beloved as `prana
vallabha3’
And hence, we learn that Srila Gadadhara’s followers have a hidden
female svarupa within their male forms. So Gaura is their prana vallabha — just as
Krsna is gopi jana vallabha, the beloved of the gopis. When pondering this topic,
we see that Gaura and Krsna’s pastimes unfold in a parallel pattern: for a Sri
Radhika is the source of all Krsna’s kantasthe Nadiya nagaris expand from
Gadadhara. And this key Caitanya Caritamrta verse presents the evidence. Yet, Sri
Sanatana Gosvami comes o the same conclusion in his "Sri Radha Gadadhara
astakam", verse 2:

navarasacalacittam nagaripremavittvam
pramadarasikabhupam naumi radhasvarupam

"I offer my prostated obeisances unto Srila Radha-Gadadhara Whose heart is

always restless to relish the ever-new expressions of madhura rasa. He is the Lord
of all rasikaenjoyers whose wealt lies in nagari prema."

1) rasavati nari: a young, rasika damsel

2) rasa vani: rasa-filled message
3) prana vallabha: dearly beloved (masculine)
Srila Gadadhara’s disciple, Sri Yadunatha dasa, also states:

panditasya ganah sarve srngarartha kalevarah

"All of Gadadhara Pandita’s followers have female forms meant for

exchanging srngara rasa (conjugal pastimes)."
— Gadadhara Pandita Gosvamira sakha-nirnayamrta

In his `Korca’ (diary), Sri Svarupa Damodara says:

avanisurabarah sri panditakhyo jatindrah

sa halu bhavati radha sri gauravatare
narahari sarkarasyapi damodarasya
prabhu nija dayitanam tacca saram matam me

"There is no doubt, Sri Gaura Gosvami, the greatest of the brahminas, known by
the title of `pandita’, is Radha in Gauranga’s pastimes. This is the conclusion of Sri
Narahari Sarakara, Mahaprabhu’s other priya bhaktas, and myself."
Sri Rupa Gosvami says:

vrndavanesvari radha premabhakti pradayini

kalou srigauradayitah srigadadharapanditah
— Srila Radha-Gadadharadasakam,
sloka 1

"Vrndavanesvari Radha, the Bestower of prema bhakti, now appears in Kali

yuga as Sri Gauranga’s confidante, Srila Gadadhara Pandita."

Chapter One

Krsna and Gauranga are Non-different

All of the Mahajanas certainly affirm:

vrajendra nandana jei sacaryai suta haila sei

"Vrajendra nandana Sri Krsna is saci nandana Sri Gauranga."

But when investigating closer, we find that Gauranga’s qualities even exceed
Krsna’s, owing to His beeing the form of Radha and Krsna combined. Hence, Srila
Kaviraja Gosvami adressess Gauranga as the `paratattva sima1’, the highest limit
of Supreme transcendence. And he also states:

na caitanyat Krsnajjagati paratattvam paramiha

C.C. Adi 1

"There is no higher feature of Sri Krsna’s divinity than that found in Sri Caitanya’s."
So now a question arises:

"Since Gauranga is Krsna’s highest feature, wouldn’t all of Krsna’s best qualities be
found in Gauranga as well? For example, as Krsna is deeply attached to the
Vraja gopis and loves to enoy parakiya rasa exchanges with them, is Gauranga
able to display smilar pastimes?"

If the answer were "No", then certainly we would have to say that the Kaviraja is
mistaken - Sri Krsna must be the paratattva sima, and not Gaura; for when
considering the splendour of Sri Krsna’s Rasa dance with the gopis, what could
match this?

But why should we doubt the Kaviraja’s version? Rather, let us now begin to
examine thesastric evidence which reveals that, like Sri Krsna, Sri Gauranga has
the same rasikanature.

In Caitanya Caritamrta’s Chapter 4, Srila Kaviraja Gosvami presents the verses

which form the basis of our discussion:

sri Krsna caitanya gosai vrajendra kumara

rasamaya murti Krsna saksat srngara
sei rasa asvadite kaila avatara
anusange kaila saba rasera pracara

"Sri Krsna Caitanya Gosai is that selfsame Rasamaya Bhagavan, Vrajendra

Nandana,

1) paratattva sima:
ataeve caitanya gosai para tattva sima
tare khirodasayi kahi ki tara mahima
C.C. Adi-2
"Therefore Caitanya Gosai is the Paratattva sima; and since even Ksirodasayi
Visnu praises His glories what more can be said."
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Who is srngara rasa (conjugal love) personified. And He has specifically come to
relish srngara rasa. Yet, in so doing, He promotes all of the other rasas too."

Thus Gauranga and Krsna are both srngara rasamaya (The Embodiment of erotic
pleasure). And moreover, Gauranga’s advent is specifically linked with His
tasting srngara rasa, as Krsna did wih the gopis. To substantiate, Krsna dasa next
quotes Gita Govindam:

visvesamanuranjanena janayannandam indibara

sreni syamala komalairupanayannangair anangotsavam
scacchandam vrajasundari bhirabhitah pratyangal ingitah
srngarah sakhi murtimaniva madhou mughdho harih kridati

"Oh sakhi, just look! In Caitra, the month of madhu (spring), our Sri Krsna appears
just like a srngara rasa murti. With His soft, blue lotus hued body He is
inaugurating Ananga’sutsava1 amongst the shapely Vraja sundaris as they
embrace all of His limbs!"

Then Srila Kaviraja Gosvami returns to Gauranga to equate Him with Krsna:

sri Krsna caitanya gosai rasere sadana

asese visese kaila rasa asvadana
C.C. Adi 4

"Sri Krsna Caitanya is an Abode of rasa — for His rasa asvadana (relishing
mellows) extends extensively and unlimitedly."

This covered language hints ar every form of rasa imaginable. Krsna dasa Kaviraja
is very clever. After equating Gaura with Krsna, he doesn’t directly say
how srngara rasamayaGauranga enjoys srngara rasa; for this would expose Him
to the ignorant scrutiny of the masses. Rather, he says: `asese visese’ (in all sorts
of unlimited ways) so that only therasika bhaktas can understand the matter. Or, to
put it in his own words:
e saba siddhanta gura kahite na juyaya
na kahile keha ihara anta nahi paya
ataeva kahi kichu koriya nigura
bujhibe rasika bhakta na bujhibe mura
hrdaya dharaye je saitanya nityananda
e saba siddhanta sei paibe ananda
C.C. Adi 4

"All of these siddhantas are very confidential and should not be discussed openly.
Yet if I don’t tell about them, no-one will understand. Therefor I am writing these
intimate topics in such a way that the rasikas2 can understand, and the
unintelligent won’t. Those holding Caitanya and Nityananda in their hearts will be
happy to hear these siddhantas."

Although he hints about it throughout Caitanya Caritamrta, Krsna dasa Kaviraja

wasn’t deputed to reveal Sri Gauranga’s rasaraja trait; this task he has saved for

1) Ananga’s utsava: rati keli

2) rasikas: Those bent on understanding and relishing the Lord’s intimate, loving
exchanges with His devotees.

Chapter One

Locana dasa and others. When requested by the Vrndavana Vaisnava community
to
write about Caitanya Mahaprabhu’s concluding pastimes, Krsna dasa
predominantly depicts Gauranga’s Radha bhava feature in a lila filled
with viraha feelings for Krsna. Indeed, this version is camatkara and rasa
purna (fascinating and filled with rasa). Yet it is noteworthy that these descriptions
center on only half of Sriman Mahaprabhu’s rasaraja / mahabava personality.

Yet, Srila Kaviraja Gosvami does begin his prabatika (early morning) Gaura kirtana
pada saying:
smaraye nava gauracandra nagara vanayari

"Just remember youthful Gauracandra, Nagara vanamali."

And in Caitanya Caritamrta’s 17th. Chapter, he tells about

Gauranga’s sambhoga as follows.
vidya saundarya sadhesa sambhoga nrtya kirtanaih
prema nama pradannais ca gaura divyati jauvane

"In His youth, Sri Gauranga’s knowledge, beauty, fine dress, sambhoga, dancing
andsankirtana all flourish in the distribution of prema and the Hari nama."

The term `sambhoga’means Gauranga’s conjugal affairs, which are a prime feature
of His youthful pastimes. Although Caitanya Caritamrta only slightly touches on
Gauranga’s mid-kaisora sambhoga activities here, Locana dasa depicts these
scenes with colorful detail. Here is a sample from Dhamali:

amara gauranga nace hema kironiya

hemera gache premera rasa parche cuyaiya
tara thamka kakala baka madhura makha hasi
rupa dekhite jati kula harai harai vasi
adhuta natera thama gora angera chata
rupa dekhite hura pareche nava jubatira ghata
mana maila kula dubila baiche premera bana
locana bale madana bhole ara ke ache ana

"As my Gauranga dances, His prema rasa seeps from His brilliant, golden
effulgence— like nectar-honey oozing from a golden desire tree. nha! What a form!
His hips are cocked crooked, while a sweet, spreading smile adornes His face.
Thus seeing His mohana rupa(enticing form) — my familly attachment is
going ... going ... gone! What amazing dancing poses and bodily effulgence! The
young kisori girls of Nadiya are simply stunned! ... Their minds are churning ... their
family ties sinking ... and Cupid’s arrows sail! Locana says, since even Cupid is
spellbound — who can remain sober?"

Sri Kavikarnapura’s Contribution

Sri Gaura kisora’s madhura pastimes at Srivasa Angana thus unfold in Srila
Kavikarnapura’s "Caitanya carita Mahakavya", Chapter 6:

"Aho! Gaurasundara begins His madhura dancing! Wearing golden rings on His
fingers and jeweled armlets and bracelets on His lovely arms, His beauty forms an
Chapter One
indescribable picture. Even Cupid is enchanted. His palms look like blooming red
lotus, His bodily effulgence streams out in waves and His broad chest appears like
the golden peak of Mount Sumeru. Gaurasundara’s lips are very sweet to behold,
His silken dhoti hangs in elegant folds, and a chain of ringing bells dangle over
His nitamba1. Aho — He is the Crown-jewel of all dancers. Thus vilasa
rasika Gauracandra stimulates the moods ofmadhura rasa, as if He
were Ananga (Cupid) himself. nha! The sound of mrdangas, karatalas, jingling
ankle bells and enchanting singing mixes along with the high pitched ulu
ulu vibrations emanating from the lotus lips of young brahmina women. And now as
they ecstatically watch Mahaprabhu’s dancing, their bodies erupt with goose
bumps. Thus taking up ankle bells in their hands, they ring them and
sing madhura songs with their alluring, kokila-like voices."

Srila Kavikarnapura goes on:

aslosaih katica tathaisa kanscidanya

nacumbaistadanca carbbitaistathanyan
iteyavam paramkrpanidhih sutrptan
cakre sadvilasitalilaya mahatya
Chapter 6, verse 92

"In showing His magnficence, the Jewel of mercy, Sri Gaurasundara, embraced
somebhaktas, kissed others and then transferred His chewed pan into their
mouths. Thus He performed lila vihara to His full satisfaction2!"

Sri Gauranga’s vastra harana lila

In his "korca", Part 2, Chapter 10, Sri Murari Gupta further relates about such
affairs:

Translation: "Then those brahmina Vaisnavas went to bathe in the Suradhuni

Ganga,
and after finishing their Hari puja, they returned to Gauranga’s house at dusk.
Gaurahari danced, sang and performed vihara with them. And as He embraced
them with His lotus-arms, He began ecstatically rolling on the ground with them
too! Aho! Overtaken by waves of ecstacy, Gaurahari danced lika a lion, and while
holding Srivasa’s hands, He swiftly led him away. But back at the kirtana, Haridasa
and the other bhaktas became surprised and stunned when no longer seeing the
Lord! So they began seaching, yet they could not find Him. Understanding their
melancholy, the Supreme Prabhu again returned in their midsts. Thus
the bhaktas eagerly surrounded Sriman Mahaprabhu; yet seeing Him just
likeVanamali Sri Krsna, they began to offer prayers in gopi bhava as follows:
`Oh hey Bhagavan Mahesvara (siva)! Please bestow Your mercy so that He
(Gaura) may become our Vallabha (lover).’
Thus understanding their minds, Sri Krsna Caitanya began vastra harana (stealing
their clothes), and similar related lilas. Later, during mid-evening on another
occassion, thebhaktas Rasa data (Bestower of loving mellows), Rasika Sriman
Mahaprabhu (using His wo lotus hands) stole their clothes rendering them naked!
And after performing krida 3 with them, the Lord returned their garments. Then
these

1) nitamba: buttocks
2) Full satisfaction: Such exchanges are only possible with the nagari svarupas of
thesebhaktas.
3) Such krida (love making) is only possible with the unseen nagari svarupas of
thesesbhaktas.
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bhaktas redressed en enjoyed vihara with Mahaprabhu in paramananda! Returning
to
His Hari nama sankirtana, Sri Gauracandra fully purified their hearts with the rays
of Hismaha ujjvala golden effulgence!"

Srila Kavikarnapura also mentions this lila in his "Caitanya carita Maha Kavya".

Gaurasundara’s Rasa Lila

Krsna performed Vastra harana lila to assure the gopis; thus they learn that Krsna
accepted their prayers — He will become their Prana vallabha (hearts beloved).
Then Rasa lila follows. Similarly, Gauranga performed vastra harana lila to offer
His bhaktas the same assurance. So it isn’t surprising that Narahari Cakravarti
describes Gauranga’s Maha Rasa sankirtana pastimes in his "Gaura carita
Cintamani".

yamuna puline rasa vilasadi je rupa korila syama

sei rupa gora suradhuni tire rocila rasera dhama
laja kula bhaya saba teyagiya nadiya nagari jata
manorathe cari cale juthe juthe eraya kantaka sata
praphulita haiya dhainu kahara pane na palati dekhi
lohara pinjara haite jemana palaya navina pakhi
jaiya turite nayana bhariya dehinu gaura raya
jubati mandali majhe saje bhala ki diba upama taya
nana jati jantra baje caridige sukhera nahika para
gaoye madhura sura narigana barise amiya dhara
o mukha kamala madhu pane mati mo punah nacinu sukhe
narahari natha ta dekhi hasiya amare korila buke

"Just as syamasundara enjoys Rasa vilasa and other pastimes near the Yamuna’s
banks, Sri Gora’s Rasa dhama rests beside the Suradhuni Ganga. Last night,
many groups of Nadiya nagaris renounced their shyness, chastity and fear — as
their Gaura anuragacarried them over hundreds of obstacles. They were joyful as
they secretly flew like young birds released from a cage. And seeing Gauranga
Raya, their eyes became satiated with His darsana ananda. Aho! Who can
describe His beauy amidst these beautiful women? Then the nagaris surrounded
Gauranga and played many instruments with boundless pleasure. Meanwhile,
the devis of heaven sweetly sang as nectar sprinkled from the sky. So while
repeatedly drinking the inoxicating madhu from Gauranga’s lotus-face (by kissing
Him) I danced in jubilation. Then Narahari’s Lord, Sri Gauranga, smiled and
embraced me to His chest."

Purport:
This madhura scene unfolds in Srivasa Thakura’s flower gardens beside the
picturesqueGanga. The nagaris described here are Gauranga’s male associates
who have arrived at Srivasa Angana in the mood of abhisarika ramanis (young,
married girls who secretly fled home home to meet Gauranga.) As
the sankirtana begins, it appears that a group of men are performing
congregational chanting. But as the moods of Vrndavana overtake Gaurasundara
and as He dances into the moonlit garden — the devotees follow to assume
their nagari svarupas. Thus Maha sankirtana Rasa begins.

Chapter One
Narahari Cakravarti’s Madhura bhava

Narahari (Ghana syama) Cakravarti is the grand-disciple of Visvanatha Cakravarti.

Knowing wel the Post-Caitanya period of Gaudiya Vaisnava history, he has
skillfully documented this era in "Bhakti Ratnakara". Thus, as an experienced
Gaura bhakta initiated in Sri Narottama dasa Thakura’s parampara,
his siddhantas certainly match those of his previous masters. In his asta kala gaura
lila book entitled "Gaura carita Cintamani", (amongst nearly 150
other nagari padas) he has revealed his heart’s firm resolution as follows:

nadiya nagariganera carane mati rohu mora jivane marane

emana kakhana na dekhi na suni priya lagi saba tiyagiya amani
gaura preme tanu gathita sabara ke bujhibe iha sakati kahara
ei asa naraharira hiyaya ei sabara guna gaiye sadaya
"In life or in death my mind rests at the lotus-feet of the Nadiya nagaris. I have
never seen such renounciation; for they quickly forsake everything for
their priya Gauranga’s seva. Their bodies are molded from Gaura prema; so who
can estimate their sakti? Thus Narahari always desires to sing their glories."

Sri Narottama dasa Thakura depicts a similar mood:

kancana darpana varana sugora re

bara vidhu jiniya bayana
duti akhi nimitha murukha vara vidhi re
na dile adhika nayana
hari hari kene va janama haila mora
kanaka mukura jini gora anga suvalani
heriya na kene hailam bhora
ajanulambita bhuja vanamala virajita
malati kusuma suranga
heri gora murati kata sata kulavati
hanata madana taranga
anukhana premabhare se ranga nayana jhore
na jani ki jape niravadi
visaye avesa mana na bhajinu se carana
vanchita karila more vidhi
nadiya nagari seha bhela vrajapuri
priya gadadhara bama pasa
mohe natha angikuru vanchakalapa taru
kahe dina narottama dasa

"Oh re (Sakhi)! Gaura’s lovely complexion shines like a golden mirror, and His face
defeats the splendour of the moon. But what a fool is the Creator — for He only
gave me two eyes which blink! Oh Hari! Why was I ever born in the first place?
Gora’s strongly-shaped limbs defy the elegance of a golden mirror. So why couldn’t
I become overwhelmed by seeing Him? His arms extend to His knees, a forest
garland graces His neck and malati flowers decorate His hair. Thus seeing Gaura’s
splended murati — hundreds of kulavati ramanis1become drenched by Cupid’s
splashing waves. Tears incessantly stream from Gora’s eyes, and what sort
of mantra does He

1) kulavati ramanis: chaste housewives

Chapter One
repeatedly utter? nha! Providence has deprived me — for owing to my absorbtion
in
maya I couldn’t understand the melows of His carana seva. But aho!
As priya Gadadhara stands on Gauranga’s left side — Nadiya beomes transformed
into Vraja! Fallen Narottama says: Oh vancha kalpa taru Gora, Oh Natha (Lord),
please accept me."

Sri Govinda dasa’s Contribution

sri nanda nandana gopijana vallabha

sri radhika nayaka nagara syama
so saci nandana nadiya purandara
sura munigana mano mohana dhama
jaya nija kanta kanti kalevara
jaya nija preyasi bhava vinoda
vraja tarunigana locana mangala
nadiya badhugana nayana amoda 1

"Our sacinandana is Nandanandana, Gopijana vallabha,

Radha’s nayaka and Nagarasyamasundara. He is full with all opulences in
Nadiya; thus He is the attractve pleasure abode for all the munis and devatas. So
all glories to His kantas (sweethearts), to His effulgence, and to His beautiful form!
And all glories to the mind enchanting bhavas of His consorts — for He is
Auspiciousness personified. For the Vraja tarunis’eyes, and Pleasure personified
for the Nadiya nagaris."

This madhura pada is instructive not only because it likens Radhika’s

beloved Nagarasyama with Sri sacinandana — but it also equates
Krsna’s kantas (sweethearts), along with their vinoda bhavas (enchanting moods),
with Gauranga’s kantas. In other words, the Nadiya nagaris are non-other than the
Vraja gopis. Thus, from this perspective a vast new relish of Gauranga’s pastimes
opens. Vaisnavas traditionally sing this popular song before listening to the
Bhagavata. Yet moreover, Sri Govinda dasa is acclaimed as one of the greatest
Vaisnava poets to ever appear. As the son of Caitanya Mahaprabhu’s associate,
Ciranjiva Sena of Srikhanda, Govinda dasa wrote during the peak of a renaissance
when Gauranga’s prema dharma was resurging in Bengal after gaining remendous
momentum in Vraja from the Six Gosvamis’preaching. During this era many
other rasika Gaudiya Mahajanas also helpt to increase the breadth and the depth
of Sriman Mahaprabhu’sprema ratnakara (ocean of prema rasa) With their
extensive contribution of Vaisnavapadavali. For indeed these padas represent the
mature culmination of the essence found in the Gosvami sastras.

In early life Govinda dasa wasn’t a Vaisnava, until a traumatic incident

happened: He fell very ill and was on the verge of death. It was then that his older
brother, Sri Ramacandra Kaviraja1, brought Srinivasa Acarya to the place where
he lie in a coma. But by Srinivasa Acarya ‘s merciful touch (on the forehead)
Govinda’s high fever suddenly broke — and he was cured. Then Govinda’s life
changed, and on the spur of the moment he composed his famous poem:

bhaja hunre mana sri nanda nandana

abhaya caranaravindare ...

1) Ramacandra Kaviraja1: Sri Narottama dasa’s most intimate friend

Chapter One
... to praise the value of Vaisnava sat sanga. Later after becomming Srinivasa’s
disiple, Govinda dasa’s poetic skill fully blossomed; and then Srinivasa would often
come to listen to his poetic discriptions of Gaura and Govinda’s
sweet lila. Srinivasa was indeed pleased with his disciple, and blessed him with the
title, `kaviraja’.
But when Govinda dasa’s poetry reached the Vrndavana Vaisnava community, his
acclaim increased, for Jiva Gosvami re-confirmed Srinivasa’s blessings by sending
a letter toBengal declaring Govinda dasa as the `kaviraja’ for his amazing poetic
prowess.

These historical events lend support to the Nadiya nagari doctrine because many
of Govinda dasa’s padas about Gauranga capture Him in this spirit. Thus we may
conclude that Srinivasa Acarya and Jiva Gosvami also support these mellows. If
otherwise, why would they honour such poetry so highly? Here is a sample:

dekha dekha nagara gaura sudhakara

jagat ahaladankari
nadiya purabara ramani mandala
mantana gunamani dhari
sahajei rasamaya sahacara urugana
majhe virajita nagara raja
madana parabhava badana hasa dekhi
vinasai ranginigana bhaya laja
bhakata vrnda citta kairava phullita
nisidisi udita hiyaka vilasa
rasiya ramanicita rohini lasaka
anuksana purala na rahe hrase
aiche vilasa prakasa vinodini vilasai
ulasai bhavini bhava
pada pankaja para govinda dasa cita
bhramari ki paoaba madhuri labha

Oh Sakhi! "Look, look at that Nagara! He’s the Golden full moon Who elates the
entire universe. And while surrounded by the sundari ramanis of Nadiya, He’s a
Jewel of qualities. Being carefree and rasamaya, He appears like the Nagara
raja amongst His associates. Although His smiling face conquers Cupid, it also
smites every playful, young girl’s fear and shyness. Thus the bhaktas1 lily-like
hearts are overjoyed as He continuously plays within their minds. And just as the
moon enjoys vilasa (love making) with the Rohini star Gauranga excites the
young ramanis’minds with unceasing erotic rapture. Such prema vilasa He enjoys
with the Nadiya vinodinis while refreshing their bhavas. Thus the lady-bee of
Govinda dasa’s mind hankers to sip the sweet honey from His lotus feet.

Can Gauranga Give Up His Previous Nature?

Narahari Cakravarti offers a logical explanatioin for Sri Gauranga’s nagarali affairs
in the following pada:

nadiya nagare nagarali jata nahika tahara lekha

anyera kathate je hauka se hauka iha ta amara dekha

1) bhaktas: Using a long `a’ over the last syllable Govinda dasa refers to
the bhaktas of feminine gender
Chapter One
jadi bala ei avatare iha sambhava ki rupe hoy
achaye tahara karana prasidha sakala lokete kaya
jara je svabhava thake taha keha kabhu na charite pare
svabhavanarupa kore krda karu nizsdha kichu na kore
jadi mane kora e rupa ihara svabhava kotha na dekhi
tahate tomara nivediye suna ihate jagat saksi
ei sacisuta jasoda nandana taha ki na jana tumi
vrndavane jata nigura vilasa taha ki janaba ami
ei sei, sei ei, saba priya parikara sangete laiya
viharaye sada nadiya nagare nija gunagane magana haiya
nava nava kulabati kula kula kalanka laji tilanjali diya
narahari saksi sara kaila sabe sukhamaya gora parana priya
— Gaura carita Cintamani

As two devis from heaven peak through the clouds, they discuss Gauranga’s
similarity with Krsna:
"There is no end to Gauranga’s Nadiya nagara antics1, and I don’t
care a fig about what others say — for I’ve seen them with my own eyes. Yet if
someone questions, `In this Avatara how is that possible?’ I’ll anwser, `look,
everybody knows that no-one can change their nature. So (even if restricted) won’t
He act according to His nature anyway?’ But if they reply, `I haven’t witnessed this
nature of His’, then I will anwser, `the whole world is a witness — for don’t you
know that saci’s dulala was previously Yasoda Nandana? So must I mention all
about Vrndavana’s nigura vilasa (intimate love affairs)?’And Vrndavana is Nadiya,
and Nadiya is Vrndavana —but now Krsna’s Vraja associates have become
Gauranga’s priya companions, and as they sing His glories, they enjoy
Nadiya vihara with Him. Thus stepping over their fear from family disgrace — all of
the kulavati ramanis 2 rush to please their prana priya Gora; and Narahari is a
witness."

But Would the Vraja Gopis allow Krsna to Escape?

Let’s relish Locana dasa’s pada which candidly portrays two nagaris viewing
Krsna’s transformation in Navadvipa:

jahara eka bara gaura natabara

nayana konete here
tara sati pana rakhaye apana
asite pare ki phire
sunechi purane radhikara sane
tahari premera katha
tila adha jare na dekhile more
se kena asibe hetha
preme rhini haiya ela palaiya
yamuna haiya para
gopa kula chari ela naide puri
dvijakula avatara
bara bhaya mone pache keha sune
lukayeche kala rupa
kaca sona mekhe nija anga deke
hoyeche rai svarupa

1) nagara antics: flirtatious activities

2) kulavati ramanis: chaste and beautiful newly married girls
Chapter One
iha jadi suni vraja gopigane
eseche dvijera puri
nagarali pana tabe jabe jana
bhenge dibe bhari bhuri
se raja kumari navina kisori
jahara koreche dhara
duti pathaiya jabe bedhe laiya
dohai na manibe kara
gokula nagare kalanka sagare
majayeche kula badhu
dese ke na jane cora kanu bole
videse hoyeche sadhu

"Sakhi! The young married girls who view Gaura nataraja (just once) surely
become chaste— for they cannot remove their eyes from Him. Yet I’ve heard all
about His love escapades with Radha in the Puranas. nha! He’d die if He missed
seeing Her for only a split second! But why would He come here? "

The other sundari ramani answers:

"Usurping a debt for the gopis unconditional love, Krsna crossed the
Yamuna and fled the His gopa community! Thus comming to Nadiya, He advented
amongst thebrahmanas. Yet still fearing like anything, He smeared His black form
with gold to take on Radha’s svarupa. But if the Vraja gopis catch wind of His
hiding amongst the brahmanas — they will certainly spill all of the evidence
revealing Him as Gokula’s Nagara. Then Navina kisori raja kumari Radha will
send Her sakhis to collect Her dues; and they won’t listen to any excuses! Rather,
they’ll bind and take Him away, saying: `Aho! You’ve left our Gokula village an
ocean of scandal — for who doesn’t know that You’re a gopi-cora (thief of others’
wives)! So do You have the gall to hide in a foreign country calling Yourself
a sadhu’?"

This is rasa.

Here we discover why Nadiya nagari bhava is the logical outcome of

the gopis’ plight after Krsna left them to become Gora. As He wanted to hide
Himself for the chance to relish their sweet mellows — would they let Him get away
with it alone?
Hence, a new sensational rasa is born as they rejoin Him in Nadiya. But this time
the Vrajasundaris are equally clever as their Master — for they hide their nari
svarupas to take up malae forms. In Sri Narottama dasa Thakura’s song, "hede he
nagara bara - suno he muralidhara ..." Radhika prays to take birth as a male so
that She may always remain in Krsna’s company. Her heartache is thus
expressed: "Oh My nagara bara! Oh heyMuralidhara! Please listen. When You go
cowherding in the forest with Sridama and Sudama, I watch by the kitchen door —
and My heart follows as I gaze upon Your sweet face. But dreading being
discovered by my relatives, I pretend that the stove from the kitchen stove makes
Me cry. Oh My jewel-like Ramana (Lover)! Alas! If providence had not created Me
a woman — surely I could have always roamed with You from place to place."

Before going on to the next chapter to relish the nagaris’purva raga for Gora, it will
be appropriate to say a few words about the type of adhikara required for
appreciating such intimate affairs. For such thoughts, hankering
and anubhava (divine realization)

Chapter One
may awaken in a sadhaka bhakta’s heart only after the mature ripening of his Vraja
gopi bhava. In other words, when one becomes adept in manjari sadhana and
receives the fortune to meet an experienced Mahatma absorbed in nagari bhava —
only then can such an advanced form of raganuga bhakti begin. For
one’s praccanna (hidden) Nadiya nagariform is an extended feature of
one’s manjari svarupa ideal for serving in rasika Nagaraand rasika Nagari’s (Radha
Krsna’s) continuing pastimes in Navadvipa.

To perform Sri Sri Gaura Govinda’s manasi seva, one is advised to first meditate
on Sri Gaurasundara’s Radha bhava lilas. Following Gaura’s mood into Vraja, one
then meditates on servong in each Vraja pastime as Radharani’s dasi. But when
the sadaka is adept in such seva, he may re-enter Navadvipa to focus on Sri
Gauranga’s rasaraja feature. In essence Vraja lila and Gaura lila are one. The
Navadvipa pastimes represent Rasaraja Sri Krsna’s `parisistha lila’, further
adventures meant for relishing prema’s ever-new expressions.

Chapter Two

The Nadiya Nagaris’ Purva Raga

Taking up where we left off, this chapter will continue disclosing how
srngara rasamayaGauranga has all of Krsna’s captivating features. Yet moreover,
Gauranga’s alluring side-long glances, power of subjugation and bhuvana mohana
rupa (universally enchanting form) even outmatch Krsna’s. A striking example is
found in the story of `Svapna vilasamrta’, where Srimati Radharani has an amazing
dream. As the scene opens, Srimati is lying asleep while tenderly embracing
Her prana Govinda after They enjoyed nikunja vilasa. But then a startling dream
frightens Radha: She sees a beautiful, Golden purusawho is madly crying "Krsna!,
Krsna!" — Just as She does when weeping for Him. Aho! Srimati’s mind races after
Gora — eventhough She is tightly embraacing syamasundara! Thus overwhelmed,
Srimati’s slumber breaks — "Haya, haya!" She exclaims. "What did I see?" Then
restlessly pushing on Krsna’s side, She asks Him. And after relating Her dream,
Krsna smiles, and replies:
"Oh Prana priye! You have seen Rasaraja Gauranga — but don’t think otherwise,
Yourprema has molded Me as such."

The moral of the story is that Gora’s incredible alluring power can kidnap
even Maha bhava svarupini Radha — and right from Krsna’s lap! So when this
happens, what will be the plight for the young taruni ramanis of Nadiya? As
Gauranga’s beauty can break Radharani’s chastity for Krsna, will their chastity for
their so-called husbands remain? Indeed, it is only after attaining Gauranga that a
woman’s chastity can fully blossem. And why is that? Once seeing Him, could she
think of anyone else? In "Dhamali", Locana dasa offers testimony by describing
his purva raga1 for Gauranga in nagari bhava:
sacira gora kamera kora dekhlam ghatera kule
cacara cule beriya bhale nava malatira male
kaca sosa lage ghrna rupere tulana dite
hena citacora manohara naiko avanite
ki ara balcho go sai tomaya bujhaba ki
snane jete sakhira sathe gaura dekhechi
se rupa dekhi duti akhi phiraite nari
punah tare dekhbar tore kata sadha kori
ki ara balbo go sai tumi ta acha bhala
amara maramer katha maramei rakhila
jagite ghumate sada gaura jage mane
locana bale je dekheche sei se uha jane

"Oh sakhi! Mother saci’s Gora is a Kamera kora (Abode of kama) ... and I jst saw
Him by the Ganga’s ghata! His lovely curling hair tossed so elegantly over His
forehead ... and Hiscura (topknot of hair) was bound with malati garlands. Uh! Now
even molte gold irks me — for it’s incomparable with His effulgent limbs. So is
there such a Heart-stealer, or Mind-thief, anywhere else in the whole creation? But
what are you saying, sakhi? ... And how can I explain it to you? ... when I went with
the sakhis to bathe — I saw Gora! Then I couldn’t retract my eyes from Him ... and
now I only
hanker to see His exquisit form again! Oh sakhi, what more can I say? You’re still
acting normal ... so I guess that my heart’s confession will have to remain inside.
For

1) purva raga: the stage before meeting the beloved (preliminary attraction)

Chapter Two
during waking, or sleeping, Gora always fills my mind. Locana says, only those
who see Him will know what I’m talking about."

And having seen, Vrndavana dasa Thakura confirms Locana’s addressing

Gauranga as the Abode of divine kama:

visvambara murti jena madana samana

divya gandha malya divya vasa paridhana
— Sri Caitanya Bhagavata
"Visvambhara’s bidy is just like Madana’s (Cupid’s) decorated with divine garlands,
pleasing parfume and fine dress."

But this is an under-estimation for Locana, who says:

manamatha gauranga rupa heri prana kade

manamatha koti koti jiniya gauranga tanu
sarva ange labanya apara
— Dhamali

"nha! Seeing Gauranga’s madhura form my heart cries; for His every limb defeats
the amour of millions of Cupids!"

Hence Locana goes on describing his deep attraction:

rupa lagi akhi jhure gune mana bhora

prati anga lagi kade prati anga mora
hiyara parasa lagi hiya mora kade
parana putali mora hiya nahi badhe
ami kena suradhuni gelam
kena gaura rupe nayane dilam
ami kena cahilam gaura pane
amaya hanle duti nayana bane
amara nayana bole o rupa dekhe asi
amara mona bole haige tara dasi
kore nayana pathe anagona
amara pajara kete kallo khana
gaura rupa sagarera pichala ghate
amara mana giya taya par lo chute
eke gaura rupa taya piriti makha
tate isata hasi nayanabaka
gorara jat rupa tata vesa
o se bhav te pajara sesa
gora rupa lagi akhi jhore
gora gune mana bhora kore
tila adha pasarite nari
sadai hiyara majhe dhori
ei buke ciriya rakhi paraneri sange
mone hole bahira kore dekhi mukha cande
gaura rupa hei sabara antara ullasa
ananda hrdaya kahe e locana dasa

"Gauranga’s rupa soothes my eyes, and His qualities captivate my mind! Thus my
limbs cry to embrace His limbs! Yet when His form envelopes my mind, it cries too!
so haya! haya! I’m unable to bind my heart (like a doll) with His.

Chapter Two
Oh why did I go to the Suradhuni Ganga? ... Why did I alow my eyes to see Gora’s
beautiful form? And why did I look upon His sweet face? For His flower-arrow-
glance has pierced me! Hence my eyes are telling — `just go see Him again.’ And
my mind dictates — `just become His dasi.’ When my eyes glanced up a down His
sweet form, my heart tore to pieces! In fact, the Ganga’s ghata turned slippery from
the madhuri of Gauranga’s rupa sagara. But nha! As my mind raced to embrace
Him, it slipped and fell."
On the other hand, the thick butter of piriti (love, prema) is spread over His entire
body — but there’s a slight smile on His face, and His eyes are shifty. Thus
contemplating Gora’s insatiable form, my chest bursts! nha! His rupa steals my
eyes, and His qualities drive me mad. Oh, I can’t forget Him — even for half a
second; for He is always on my mind. So I would just like to tear out my heart and
paste it to His moon-face! Thus Locana dasa ‘s heart overflows with ananda seeing
everyones’joy."

It is lamentable that the madhurya of Locana’s padavali can never be duplicated in

English. For his down to earth village style colloquial Bengali has a soul-stirring
twist that English words just can’t capture. Yet for those knowing Bengali, a
graceful, exhorbitant Sarasvati river of rasa can be discovered flowing with every
beat of his simple, sweet and life full poetry. On the other hand, however,
sometimes Locana’s stark fascinations for preaching Gauranga’s parakiya
rasa gets the better of him. Then, due to the excessive churning of his
Gaura anuraga, he even becomes oblivious, or fearless, to public scandal. Or, as
Sri Haridasa dasa Baba puts it:
"In order to show Gauranga’s srngara rasaraja svarupa, and to relish
such bhavas, Locana has placed the garland of Gauranga’s kalankas (disgraceful
scandal)
upon his own chest."

Gaura Kalankini1

And here is an example:

baluk baluk sakala loke gaure kalankini

dhik jara kula rakhe kulera kamini
nadiya nagare gauracanda cale jaya
canchala nayana kori dui dike caya
nagaridera netra jena bhramarara pati
gaura mukha padma madhu piye mati mati
padma madhu pane tadera dekhiya ullasa
gaura guna gaya e locana dasa
— from Dhamali

"Oh let them say it, just let everyone call me, `Gaura kalankini (scandalized by
Gaura)! And damn those yooung damsels who cling to their so-called family
prestige. When Gauranga walks through Nadiya, His flirtatious glances roam both
sides of the path. Thus the nagaris’ eyes soar like thirsty bees to sip the honey
from His lotus face. Seeing them happily relishing, Locana dasa joyfully sings
about Gauranga’s qualities."
Has Locana’s chest overflowed with the pride of his unconditional Gaura prema?
Perhaps;yet there is another reason too which causes him to run amuck in the
ecstacy

1) Gaura kalankini: a young girl who is disgraced by Gauranga

Chapter Two
of his madhura tie with Gora. Thus he aassures another Navadvipa vasini as
follows:

dhara ara nahi sai dhara ara nai

buka sthira kori sabe raha eka thai
je je baluk ta baluk taha na sunibe
kalanka pathara majhe satara eriba
baluk sakal loke gaura kalankini
dik dik dik sai kulera kamini
gaura paribada e ta sabai paibe
locana bole kare bhaya kora ara tabe
— from Dhamali

Why Fear?

"Don’t fear sakhi! There’s nothing more to fear. Let’s take the load of our chests
and try to remain calm. Whomever may criticise — let them, we won’t listen. We’ll
just swim across the ocean of scandal to escape. Oh let them adress us
`Gaura kalankini’! And sakhi, damn, damn, damn those chaste, young housewifes!
Look, everyone is going to end up disgraced by Gora! Thus Locana says, then
we’ll have nothing more to fear."

This pada is meant for two types of listeners, those taing part in
Gauranga’s madhura lila, and us too. Locana’s fearlesness is born from deep
realization and confidence. On one hand he knows about Gauranga’s magnanimity
which spurs His inner desire to sharemadhura rasa with every bhakta. Yet he is
confident too that no-one can resist His insurmountable beauty and charm. Hence,
the conclusion is that everyone will become `Gaura kalankini ‘ (like himself). Then
who will be left to criticise? But for those who opposenagari bhava, herein we can
imbibe a hint:
If someone were to mercifully tell them about Gauranga rasika nature,
could they resist? In other words, when properly informed about the full spectrum
of Gauranga’sparama karuna, — they too would become attracted, no doubt. For
such is the all encompacing power of Gauranga’s mercy. Indeed, this is what
Gauranga hankers for; yet He laments because such bhaktas are very rare:

prithibite asiya amio iha cai

khoje hena jana more kathao na pai
— Caitanya Bhagavata

"My desire in comming to this world is to find those who just search after Me; but
such people are very rare."
Because the majority of His followers lose sight of Him as their ultimate goal,
Gauranga has spoken.

Sri Vasudeva Ghosa’s Padavali

The three brothers, Govinda, Madhava and Vasudeva Ghosa were very
dear parsadas of Caitanya Mahaprabhu, and expert singers in
His sankirtana pastimes. Yet of the three, Vasudeva became the most prolific, and
popular, for his vast contribution of Vaisnavapadavali. Because he composed
his padas after directly witnessing

Chapter Two

Gauranga’s activities, they are valuable for their historical accuracy, besides the
deepbhavas which they express. Thus Srila Kaviraja Gosvami praises in Caitanya
Caritamrta:

vasudeva gita kore prabhu varnone

kastha pasana drabe jahara sravane

"When the songs composed by Vasudeva Ghosa are heard — even the stones
melt."

In context with this essay, it is noteworthy that a large percentage of Vasudeva

Ghosa’spada’s describe Nadiya nagari bhava. Yet by sampling them we can learn
that he (along with his brothers) not only support this mode of worshipping
Gauranga — they are counted amongst the nagaris of whom their songs describe.
Hence their songs form a living account, or first-hand testimony to Sri
Gauranga’s rasika nature. Here is a sample:
madana mohana mani gauranga badana khani
rupa heri ki na haila more
sonara varana tanu ei chila kala kanu
nahile ki mana curi kore?
rasera parana jara kule ki koribe tara
nadiya nagara hena jana
ki chara daruna mati majila jubati sati
ghare ghare premera kadana
nayana kamala nava aruna parabhava
dhara bahe mukha buka bahiya
aha mari mari sai marama tomara kai
jiva na go gora na dekhiya
hiyaya premera sara tanu kaila jara jara
probodha na mane more prani
suradhuni tire jaiya bhasaiba kula krida
bhajiba se gora gunamani
purabe suninu jata sei saba abhimata
eve bhela kalatanu gora
vasudeva ghosera Visnuani rasika nagara jani
nahila ki gopira mana cora
Rupa Anuraga

" I consider Gauranga’s face to be like Madana mohana’s; and when viewing His
body — I am unable to describe my captivation! Oh, this Golden youth must have
been that Black youth Krsna — for how else could He have stolen my mind? But
what about the Nadiya damsels who have a rasika heart, will their so-called family
tie be able to stop them? How will they resist Him? And what can we say about the
intense agony of Nadiya’s chaste young girls — for their love-lorn crying can be
heard from every home. Hence their soft, lotus-eyes, conquered by the Gauranga-
sun, now pour tears that stream over their breasts. Oh sakhi! I’m going to pass
away ... so just hear my confession:
Without properly knowing never classify Gora as ordinary — for my mind has
fathomed the sweetnes of His prema — my body is burning in a fever — and my
heart cannot be pacified without Him! Just let me go to the Ganga and drown all of
my family obligations; then I shall full worship Gora guna mani. nha! Concerning
everything that I ‘ve heard about dark-complexioned Krsna — the same applies to
Gora. Thus Vasudeva Ghosa says, I know that He is a Rasika nagara — for how
else

Chapter Two

could He have stolen the gopis’ minds?"

From the selected padas that we have selected so far, we can see that
the Mahajanas who write them look upon themseves as young, married girls in
Gaura lila. Thus there is an unseen mystery taking place here that can baffle even
the learned scholars. One might ask, therefore —
"Is this type of rasa that Govinda dasa, Narahari Sarakara, Locana dasa,
Vasudeva Ghosa and others describe really taking place, or is it just a kind of
fascination, or bhava, that they relish within their minds?"

We won’t try to answer this question now, for this chapter only deals with purva
raga (tha stage of preliminary attraction for Gauranga). So after presenting more
evidence, the right moment for this discussion will automatically present itself in an
upcomming chapter. At present, however, in context with Vasudeva and Govinda
Ghosa, their `nari abhimana’ (female mentality) appears natural, for previously they
were attracted to Krsna as the twin sisters, Sudevi and Rangadevi of Vraja. Sri
Govinda Ghosa writes as follows:

nadiya nagarigana kade tara anukhana

basana bhusana nahi bhaya
suradhuni tire jaite dekiba gaurana pathe
kota dine habe subha dina
canda mukhera vani suni juraba tapita prane
govinda ghosa deha khina

"The Nadiya nagaris cry continuously, and they have lost all care for their dres and
ornaments. On the way to the Suradhuni they simply contemplate: `Oh when will
we see Gauranga coming along this path? ... Oh, how many days will we have to
wait for His auspicious darsana? And when will we again hear sweet words
emanating from His moon-face? For only this will sooth our depressed hearts.
Thus Govinda Ghosa’s body has become thin."

Vasudeva Ghosa’s next pada further reveals about his internal mood:

niravadi mora mone gora rupa lagiache

bala sakhi ki kori upaya
na dekhile gora rupa vidariya jaya buka
parane bahire haite caya
kaha sakhi ki buddhi koriba
grhapati gurujana bhaya nahi mora mana
gora lagi parana tyajiba
saba sukha teyaginu kule jalanjali dinu
gora vinu ara nahi bhaya
ujhore jhoraye akhi suno go marama sakhi
vasu ghosa ki koribe taya

"Oh sakhi! Please advise me what to do? ... My mind is always fixed on Gora. And
without seeing His form my heart is breaking — so my soul wants to leave my
body! Oh sakhi ! What can I do? The fear of my husband and family superiors has
gone — so I am thinking to commit suicide for Gora! I’ve disgarded all other
happiness and
thrown aside my family dharma — for I know nothing else but Him. Thus, with tear
filled eyes, Vasu Ghosa emplores: Oh prana sakhi! What shall I do?"

Here, with the mention of a husband, and suggesting the presence of a mother-in-
law, sister-in-law etc., Vasu Ghosa fully merges with his Nadiya nagari svarupa.
And this is not a daydream, or the play of his imagination, but the testimony of an
inner-world that many other Gaura associates take part in. For there are literally
thousands of padas written by countless Gaudiya Mahajanas which verify
Vasudeva’s experiences.

Nadiya nagari bhava is not simply excluded to those who were previously gopis in
Vraja. And we find the example with Murari Gupta who was previously Hanumana.

Sri Murari Gupta’s Padavali

Here is a sample of Murari’s akhepa anuraga (intense feelings of remorse) in the

pangs of Gaura viraha:

sakhi he gora kena nisturai mohe

jagate koriya daya diya sei padachaya
vancala e abhagire kahe
gaura preme sapi prana jiu kore anacana
stira haiya rohita nari ghare
age jadi janitam piriti na koritam
jaciya na ditu prana pare
ami bhuji jara tore se jadi na caya phire
emana pitite kiva sukha
cataka salila cahe bajara khepile tahe
jaya phati jaya kina buka
murari gupta kaya piriti sahaja naya
visese gaurana premera jvala
kula mana saba chara carana asraya koro
tabe se paibe sacira bala

" Oh sakhi, why is Gora torturing me? Although mercifully offering the whole world
the shelter of His lotus feet, He neglected an unfortunate girl like me. I gave my life
for Gauranga’s love but now my soul is burning; thus I cannot remain peaceful at
home! If I would have known (what would have happened) I wouldn’t have
surrendered my heart. For as I suffer from for Him — He’s indifferent. So what is
the happiness in such love? It’s just like the cataka bird who tries to relieve its thirst
from the cloud — yet becomming struck by lightning — its chest blows to pieces!"
Thus Murari Gupta says, "Love isn’t simple, especially when suffering the pain of
Gauranga’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 sacaryai."

Here is another example where Murari Gupta totally merges in nagari bhava:

dande dande tile tile gora rupa na herile

marama moriya jena thaki
sadha haya nirantara hemakanti kalevara
hiyara majhare sada rakhi
bareka na dekhi taya pajaradhasiya jaya
dhairaja dhorite nahi pari
anuragera duri diya antare ki kore hiya
na jani tara katai dhara dhari
suradhuni tire giya kula diba bhasaiya
anala jvaliya diba laje
gauranga sanmukhe kori gauranga kalanka mala
galaya porite sadha lage
murari gupta bale bhale dage dage dile
gupta gauranga anurage

"From hour to hour, and from second to second, my heart is dying for want of
Gora’s rupa darsana. My ambition is to always hold
Gauranga’s hemakanti kalevara (golden body) within my mind. But alas! Without
seeing Him — my heart breaks, and my patience is fleeing. Aho! The rope
of anuraga is pulling my mind — for I failed to estimate the power of His
subjugation. So I’ll just go to the Suradhuni Ganga and drown my family
attachment — and burn my shyness in a bonfire. Then I shall satiate my eyes
seeing Gauranga standing before me — why should I perform my housework
needlessly? As I am a chaste young girl, a yearn to wear the garland of
Gauranga’s scandals around my neck. Thus Murari Gupta says; `Gauranga has
placed a fine scar on me for my secret anuraga!’"

Murari Gupta lived in the same neighborhood as Caitanya Mahaprabhu, and was
the Lord’s senior classmate in Gangadasa Pandita’s sanskrit toll (school). Thus
witnessing Gauranga’s pastimes from the beginning, he kept a korca (diary) to
record all of Caitanya Mahaprabhu’s Navadvipa activities. This `korca’ later
became a great source wherefrom Vrndavana dasa, Locana dasa and Krsnadasa
Kaviraja gathered their information to write Caitanya Bhagavata, Caitanya Mangala
and Caitanya Caritamrta. Hence, as the forerunner of Caitanya deva’s other
biographers, his pen certainly commands a lot of weight concerning authority.
Therefore, as he writes songs about nagari bhava also, this reveals that such
sentiments with the Lord have excisted from the very beginning.

Before investigating further about how deeply involved

Gauranga’s nagarali pastimes are, let us go on to the next chapter to confront the
reasons why many Vaisnavas misunderstand, or oppose these types of mellows.

o, this reveals that such sentiments with the Lord have excisted from the very
beginning.

Before investigating further about how deeply involved

Gauranga’s nagarali pastimes are, let us go on to the next chapter to confront the
reasons why many Vaisnavas misunderstand, or oppose these types of mellows.

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