Sri Vilapa Kusumanjali of Srila Raghunatha Dasa Gosvami

* verse 70 *

with the patha of Sri Ananta Dasa Babaji Maharaja,
spoken on the occasion of the virahotsava of Sri Krishna Dasa Madrasi Babaji Maharaja

verse 70

srutva vicakshana mukhad vrajaraja sunoh sastabhisara samayam subhage’tra hrishta sukshmambaraih kusuma
sanskrita karnapura haradibhis ca bhavatim kim alankarishye

srutva – having heard; vicakshana – Vicakshana, a parrot; mukhat – from his mouth; vraja – of Vraja; raja – king; sunoh – of the son; sasta – excellent; abhisara – rendez-vous; samayam – the time; subhage – O beau- tiful girl; atra – here; hrishta – joyful; sukshma – fine; ambaraih – with garments; kusuma – flowers; sanskrita – created; karnapura – earrings; haradibhih – with necklaces and so on; ca – and; bhavatim – You; kim – whether; alankarishye – will decorate.

“O Subhage (beautiful or auspicious girl)! Can I joyfully decorate You with fine garments, floral earrings, necklaces and so after hearing from the parrot Vicakshana that the prince of Vraja has gone out for His excellent noontime meeting with You?”

On the occasion of the virahotsava of Srila Krishnadas Madrasi Baba, we discuss the Vilapa Kusumanjali in this assembly, since this book was very dear to Baba. In this 70th verse of his Sri-Sri Vilapa Kusumanjali Stotra, Srila Raghunatha das Gosvami, who is one of the six Gosvami-acaryas, who are the most intimate associates of Sri Krishna Caitanya Mahaprabhu, the sanctifier of the Kali age, submits his heart’s lamentation at the lotusfeet of his most beloved Sri Radharani, saying: srutva vicakshana mukhad vrajaraja sunoh sastabhisara samayam subhage’tra hrishta; sukshmambaraih kusuma sanskrita karnapura haradhibhis ca bhavatim kim alanka- rishye? -“O Subhage (beautiful or auspicious girl)! Can I joyfully decorate You with fine garments, floral earrings, necklaces and so after hearing from the parrot Vicakshana that the prince of Vraja has gone out for His excellent noontime meeting with You?”

This Vilapa Kusumanjali is the heart’s prayer of Srila Raghunatha das Gosvami. What means vilapa? Out of separation some people weep – this is called vilapa. Raghunatha das Gosvami’s heart is filled with vipralambha rasa. Filling his hands with flowers of lamentation and separation, he offers them to Radharani’s lotus feet. The service corresponds to the (nature of the) servant. What wonderful service Sripada Raghunatha renders! Satisfied with his wonderful renunciation and dispassion, Sriman Mahaprabhu in Nilacala presented him with a Govardhana Sila and ordered him to render sattvika seva (pure devotional service).

anayase pabe tabe krishna prema-dhana
(Caitanya Caritamrita, Antya-lila 6.287-305)

“You will easily attain the treasure of love of Krishna.”

Along with that there is Sri Raghunatha dasa Gosvami’s greatest upacara (ingredient for worship) is anxiousness. The best upacara for the service of the Lord is eagerness. Each flower of lamentation is filled with the flavour of love-in-separation, which is the great treasure bestowed by Sriman Mahaprabhu, and injected by Him into Raghunatha’s heart. Sriman Mahaprabhu is Himself the embodiment of the transcendental flavour of love-in-separation. Each flower of lamentation is filled with eagerness, zeal and anxiety for Radharani’s personal audience. Hence Sri Raghunatha das Gosvami is rendering a wonderful service to Srimati Radharani by singing this Vilapa Kusumanjali. Each of these lamentations is filled with this wonderful honey. Hence this book is named Vilapa Kusumanjali. Raghunatha das Goswami is offering a handful of flowers.

Why does he lament so much? The closer the moment of his disappearance (death) came, the more his lamentation, and eagerness for the direct vision of Radharani increased. Day and night he fell on the banks of Radhakunda, simply weeping out of separation from Radharani –

kande gosai ratri dine, pudi jay tanu mone, khane anga dhulay dhusor
cakhu andha anahar, apanara deha bhar, virahe hoilo jora jor
(Raghunath das Gosvami’s sucaka kirtana)

“Raghunatha das Gosvami wept day and night, his body and mind were burning, and sometimes his body became grey of dust. His eyes became blind due to fasting and his body was merely a burden, as it scorched from the pain of love-in-separation.”

Raghunatha das Gosvami himself says:

avikshyatmesvarim kacid vrindavana mahesvarim tat padambuja matraika gatir dasyati katara

“Some maidservant, unable to see her own goddess, the goddess of Vrindavana, whose lotus feet are her sole shelter…
(108 names of Srimati Radharani)

Why is he weeping? Why so much lamentation? He replies: “For the darsana of my Isvari. Her service is not like the service of the Supreme Personality of Godhead. This is the service of mahabhava in very own Person.” Hence it is said: atmesvari (My own goddess). Kacid vrindavana mahesvari (She is the goddess of Vrindavana) – the goddess of my soul, mind, senses, body, yes everything. When there is separation from the body, the soul will weep and abandon it. But is there any death for the immortal soul? Radha’s feet are my sole shelter, I don’t know anything else. Hence ati katara, he is very upset. Patita tat saras tire (ibid.). He takes shelter of the bank of Radhakunda and weeps there day and night. His vital is almost leaving his body, he cannot live without Her darsana.
Jala vina jeno mina, like a fish out of the water. If his breath was not there his vital could not stay in his body anymore. Why is he weeping? What does he want? Nothing? ‘
tacchri vaktrekshanavaptyai – to see Her endlessly sweet and beautiful face. This is what makes the sweetness of Sri Vilapa Kusumanjali. How wonderful is the stream of the Gosvamis’ bhajan! Those who hear and chant it will understand.

The Gosvamis have kept their dearmost revelations in their books.

Gosvamipada has placed his very life in this Vilapa Kusumanjali; it will subdue Isvari completely. She is known as apara karuna sagara (the boundless ocean of compassion). She stays close by to relish the flavours of the weeping of Sri Raghunatha das Gosvami, who wants to see Her face, but She does not come before him. This loving condition of Sri Raghunatha das Gosvami is greatly coveted by the devotees. On the one hand Raghunatha das Gosvami’s heart is melting, simultaneously he is relishing the mellows of devotion to the Lord –

bhakter prema ceshta dekhe krishna camatkara
(Caitanya Caritamrita, Antya-lila 18.15)

“Even Krishna is astonished to see the loving activities of the devotees.”

Radharani is relishing the flavours of Her devotees’ lamentations, but does not reveal Herself to their eyes. Raghunatha das Gosvami weeps and weeps. Not that he doesn’t get any vision — sometimes he gets it. When his life airs reach his throat, he gets a transcendental vision (called sphurti), and he sees. What is a sphurti? It is the anxious condition of a surrendered devotee. Such sphurtis Bilvamangala had out of loving anxiety. He was on the level of anuraga. But Raghunatha das Gosvami was directly on the stage of mahabhava. Radharani bestows Her devotional service in such sphurtis. The more separation is felt, the more lamentation, weeping, hankering and relish there is. And that much thirst there is as well. Even if the abhishta (one’s chosen deity) has vanished She will come again. It is like the lightning strike on a new moon night. When the lightning flash has vanished, it seems as if it becomes twice as dark as before. (Similarly when Radharani’s vision has passed, the pain of separation doubles.)

Raghunatha dasa Gosvami gets transcendental visions and services and afterwards he prays for another vision. When he prays he is Raghunatha dasa Gosvami, but when the vision comes he is Tulasi Manjari sitting next to Svamini in Yavat, at forenoon time. Then Vicakshana, Krishna’s parrot, flies in. Tulasi thinks: “Surely this parrot of Krishna’s has some secret message to relay.” Vicakshana did not go directly to Radharani, he went to the kinkari instead. When Vrajendra-nandana’s service is done correctly, there will be ananda. So the suka goes to the kinkari and says: “Krishna has gone to the bank of Radhakunda and waits there in Madana Sukhada kunja. Take Isvari over there!”

This abhisara is called prasasta abhisara, the super-excellent love-journey. abhisara is the word for endeavouring for the prana preshtha the heart’s beloved, for that (or He) who pervades the heart. All is forgotten through anuraga (constant loving passion). abhisara is the summit of anuraga. This is why parakiya bhava is adopted.

radha-krishna ek atma dui deha dhari;
anyonya vilase rasa asvadana kore

“Radha and Krishna are One soul holding two bodies, relishing mellows in mutual pastimes.”
(Caitanya Caritamrita, Adi-lila 4.56)

This is the beauty of parakiya bhava. Yogamaya keeps this One Soul separate for the sake of lila.

There are two kinds of abhisaras- the one in the day and the one at night. Here the day-time abhisara is described. Why is this called prasasta, or the best? The kamalini (female lotus) blooms in the day. Not the Kumudini (female lily), but the Kamalini. The Gosvamis have further divided the nocturnal abhisara into two – suklabhisara (love journey in the moonlit nights) and timirabhisara (love journey in the dark, moonless nights). Suklabhisara means it is as light as in the daytime, as if the night is poured over with milk. Everything is then white – the heroine is then dressed in white garments and anointed with white ointments. But in timirabhisara Radha’s bodily radiance must be covered, so She is dressed in blue garments. However, in the divabhisara She endeavours with so much anuraga (constant passion), hence it is called sastabhisara, the most excellent love-journey. The mahajanas have written about the divabhisara (day-time love-journey) –

matha hi tapana, tapata patha baluka, atapa dahana vithara
nonika putali tanu, carana kamala janu, dina hi koyolo abhisara

“The sun shines on Her head and the sand on the path is scorching. The sky spreads itself out as a burning canopy. Her body is like butter and Her feet are like lotus flowers. Thus She goes out on Her love-journey at midday.”

How much anuraga! How much eagerness there is in Radha’s love- journey! However, kiba nisi kiba disi, sayane svapane – out of anuraga She does not even consider whether it is day or night at all. The passion of Her abhisara is wholly based on Syama’s rupanuraga (attraction to His form).
hari hari! prema ki gati anivara. The course of prema cannot be checked. kanuka parasa rase, paravase rasavati, vicharalu sabahu vicara.
Rasavati, the rasika heroine Radhika, is overwhelmed by the taste of Krishna’s touch, and has thus ditched all other considerations. It was in the same mood that Sriman Mahaprabhu left the whole world behind. All considerations were forgotten. Why? For the service of the beloved deity. Her feet are as soft as lotus flowers and Her body is like butter – won’t that melt in the intense midday heat? Nevertheless this passionate girl goes out on Her love journey. You see, this is prema rasa. It gives limitless powers.

gurujana nayana, pasagana varana, maruta mandala dhuli

“The eyes of Her superiors are like ropes, but Her passion is like a whirlwind that strews circles of dust in them.”

Dust over Her household duties. Vara rangini means She who plays the wonderful game of love. Husband, relatives, morality, manners
– She throws them all out, She forgets them all

(ta soye meli, cololi vara rangini, pati geha nitahi bhuli)
yoto joto vighini, jitali anuragini, sadhali manasija mantra

“This anuragini [passionate ladylove] conquers over all obstacles – how many obstacles can there possibly exist for an anuragini? She practises the mantra of Cupid, Herself being the pinnacle of madana mahabhava.”

Those who worship in the mood of the kinkaris should understand this rasamaya tantra (delicious ritual) and relish its sweetness. In this way it is the prasasta abhisara [superexcellent love-journey]. Hearing the news, Gosvamipada says hrishta: “I became glad”. Why is he/she glad? He has attained the service of his beloved deity. Those who worship in the mood of the kinkaris don’t just like any kind of ananda. The Vedas say ananda is the goal of life – let me find happiness. However, fruitive activities give the suffering of millions of births in all kinds of hellish conditions, even though one may be in full knowledge. The whole universe is mad about sense gratification, though it is perishable. jnana yogis perform their sadhana to attain liberation. premika bhaktas, however, say: “No, this is even worse than sense gratification, for it destroys the soul’s personality. We don’t want this.” Naraka vanchaye tabu sayujya na loy (c.c.) “A devotee rather covets hell than integral liberation.” The bliss of bhajana comes from a particular self-identification. Those who attain prema attain the highest relish and bliss, premananda rasa. There is nothing like bhajana rasa, which means direct service. Of this, the rasa of Vraja is again the greatest. There is of course the relish of the Lord’s majesty, but here we find the relish of His sweetness. And of all sweet moods the mood of Vraja is again the greatest. Our Tulasi Manjari has relished this sweetness. The mahajanas have acknowledged that the service of Radha is the highest accomplishment –

tvat prema sevanam aho
purushartha ratnam sastram
vicarya vidusham ca matam
viloke janan muda madana
mohana mugdha rupe dasi bhavani
vrishabhanu kumarike te

“O daughter of Vrishabhanu! I know from studying the scriptures [of Sri Rupa, Sanatana, Sri Raghunatha dasa and Sri Jiva] and hearing the sages that Your service is the jewel of all human goals of life! Therefore, O You whose form enchants even the enchanter of Cupid, I blissfully became Your maidservant!”

By Mahaprabhu’s grace the acaryas have given us this astonishing mode of worship. Raghunatha is weeping and weeping, how pitiful are his words, but alas! How to follow his perfect example? He has forgotten everything, being totally absorbed in the self-esteem of Radharani’s maidservant. In their younger days Rupa, Sanatana and Sri Jiva gave up everything to exclusively surrender to the lotus feet of Sriman Mahaprabhu to become servants of Radharani’s lotus feet. In the great ecstasy of mahabhava they weep, fully absorbed in Radharani. Their eyes were filled with tears, they gave up eating and considered their bodies to be mere burdens (apanara deha bhara). Just see what acaryas they are!
There is something special about the way in which Radharani’s maidservants attain their service. Why? They become more delighted when Govinda covets their Isvari and Her mercy. All the Vraja-sundaris are surrendered to Him, and He bestows mercy and accepts their loving service, but He Himself loves Radha to be blessed. How is that? He is the only shelter for all the billions of material universes and anyone who takes shelter of Him is blessed, but He Himself is blessed by Radha’s love. The Mahajanas sing about Krishna’s purva raga:

dhani dhani ramani janama dhani tor! saba jana kahnu, kahnu kori jhuraye, se tuwa bhave vibhor

“The whole world is crying Krishna! Krishna! But He Himself is absorbed in love for You!”

You know how this works?

cataka cahi, tiyasalo ambuda, cakora cahi rahu canda
taru latika, avalambana kari, majhu mane lagalo dhanda

“Although normally the Cataka bird covets water from the cloud, now the cloud (Krishna) covets the Cataka bird.”

Sri Krishna is the very form of compact transcendental bliss, who is called raso vai sah, the veritable embodiment of transcendental mellows, and anandam brahma or the reservoir of bliss, by the Vedas. All the devotees in the innumerable mundane universes are happy relishing His transcendental mellows. But for His own pleasure, He covets Radharani. There are billions of gopis, but this black cloud (ambuda) is thirsting after You (Radha). Cakora cahi rahu canda, the Cakora bird normally covets the nectar from the moon, but the moon never covets the Cakora. Now, however, I can see this. Taru latika, avalambana kari – The vine is tender, hence it needs the support of the stout tree, but lo! Here I see that the tree needs the support of the vine. To get the support of the Radha-vine, the Krishna-tamala tree has sent the parrot Vicakshana out – “Tell this maidservant this secret message that she should bring Radharani. Meanwhile Radharani is eagerly waiting for Syamasundara, and She sends a sari (female parrot) out. “Go, sari and give a message to Syama.” Therefore there is ananda. There is great ananda – sastab-hisara samayam, hrishtva. Tulasi is in ecstasy and goes to Radharani – suka mukhe sunaite aichana rita saba anga pulakita camakita cita – “She hears from the Suka that Govinda has come to Radhakunda’s Madana Sukhada Kunja; take Radharani with you!” What a wonderful service.

suka mukhe sunaite aichana rita saba anga
pulakita camakita cita;
kohoite kanthahi gadagada bol
rai mukha nirakhite antara dol

“When I hear this from the parrot’s beak all my limbs are studded with goose pimples of excitement. I speak the message with a faltering voice and my heart swings when I behold Rai’s face!”

Here the address is ‘aye Subhage!’ There are so many sweet secrets within this address. Subhaga in the 8th case is Subhage, or beautiful one. Or: “Hey Saubhagyavati (O fortunate girl)!” Accha, in how many ways can one address one’s Isvari? Saubhagyavati, Sundari.

Those who are directly surrendered to Her lotus feet can say that. They have service, relish prema and rasa and exchange jokes with Her. So glorious and great is the service of Radha. This is Mahaprabhu’s unprecedented gift. Here the address is ”Hey Saubhagyavati

– O fortunate one!” When a worldly person gets riches he considers himself fortunate. When a jnani or yogi achieves liberation he considers himself fortunate. However, those who follow in the footsteps of the gopis and do bhajana can enter into the kingdom of prema. “Devi, please respond, please grant me a vision, grant me realisation, otherwise what bhajana am I doing?” So I understand that you’re doing bhajana. What bhajana? Those who gain some experience are called fortunate souls. The Vedic scriptures say that those who attain loving devotional service are called fortunate souls. It is they who gain some relish, love, and response. But the Vrajasundaris are again different. They are most blessed. They are so eager that they say that there is no other reward for the eyes than the vision of Krishna. Whoever sees Krishna, is blessed. It is the mahabhava (of the gopis) that causes deep thirst for this vision. They are so thirsty that they consider a second that they cannot see Krishna to last as long as a millennium and when they do see Krishna they consider a millennium to last like just a second. No one is as fortunate as they are. Sri Radharani is the most fortunate; no one is as fortunate as Her.

Billions of gopis are tested in the Rasa festival, but from these billions of gopis Krishna took Radharani out to a secluded place. That is Her speciality. All the gopis considered themselves fortunate, but She (Radha) became manini (jealous), thinking: “Just see! Right in front of My eyes Krishna takes all these girls along!”, so Krishna tasam tad saubhaga madam vikshyamanam ca kesavah prasamaya prasadaya tatraivan-taradhiyata (s.b. 10.29.48) took Radharani along. Suka Muni did not particularly mention that He took Radha along, but He did. Tasam tad saubhaga madam means that the gopis became proud of their good fortune, “How fortunate we are that Krishna is enjoying with us!”, so Krishna prasamaya, subdued their pride by eloping with Radharani.

This is not garva (false pride), but gaurava (divine pride, or glory). How much relish there is in this! First viraha (separation) came and then prapti (attainment). Radharani became manini, jealous of the other gopis sharing in Her attention and Govinda took Her along to subdue that mana. Didn’t Suka Muni show Radharani’s great fortune here? Then the suhrit paksha (the gopi-party that sympathises with Radha) went to search for Her and found Her, after She had been abandoned by Krishna, saying:

anayaradhito nunam
bhagavan harir isvarah
yan no vihaya govinda
prito yam anayad rahah

“Lord Hari has been worshipped by Her, so that He abandoned us and loved Her in a lonely place.
(Srimad Bhagavatam, 10.30.28)

She is named Radha, for no one worships like Her. Of course every devotee worships, but none of them are Radha. So many vessels are holding water, like brooks, ponds and wells, but none of them are water-vessels like the ocean. Similarly, although all the devotees worship, none of them are Radha. There is only one Radha. Yan no vihaya govinda prito yam anayad rahah— He has abandoned billions of gopis for Her, so She is the greatest of all.

When Ramananda Raya explained Radha’s superior glories to Sriman Mahaprabhu, Mahaprabhu asked him whether Krishna had abandoned all the gopis to elope with Radharani. Rama Raya said: “No, Prabhu, if He did not take Her away in front of the others (or to distinguish them from Her), the pride of fortune of the others would not be destroyed. They would become jealous. It is not a question of abandonment. Abandonment takes place everywhere. In the Vasanta Rasa Radha left the arena Herself.
Now Radha is jealous and goes away.

slishyati kam api cumbati kam api kam api ramayati ramam

She thought to Herself: “If I did not stay here, then what would He do?”

krodha dekhi rasa chari gela mana kori;
tare na dekhiya vyakula hoila sri hari

“Seeing this, She became angry and proudly left the Rasa circle. Not seeing Her there anymore, Sri Hari became very upset.”
(Caitanya Caritamrita, Madhya-lila 8.112)

With His sweetness and beauty Krishna stole the minds and hearts of the innumerable gopis, but when He does not see Radharani, He becomes very upset and gradually filled with pity. She promptly disappeared –

itas tatah bhrami kaha radha na paiya;
vishada kore kama bane khinna hoiya

“Krishna wandered here and there, but could not find Radha anywhere. Thus He became morose and afflicted by Cupid’s arrows.”
(Caitanya Caritamrita, Madhya-lila 8.115)

Sata koti gopiten nahe kama nirvapana –
from this we can understand the glories of Radharani and the relish of loving flavours it awakens within the heart. Govinda’s heart is all light, within it there can be no darkness. He is the embodiment of full vilasa rasa [flavours of enjoyment], there can be no mundane lust within Him. Within Him is the relish of the attainment of prema and the subjugation to the ecstasy of prema. He is subjugated according to the amount of His devotee’s love. Radharani’s love is greater than that of billions of others, it has been tested and proved. She is more fortunate than all the others. Hence She is addressed here as subhage. No one in the universe is as fortunate as She.

“The whole of Vraja-mandala covets Him, but this Govinda is now going out to meet You.” The kinkaris don’t tell Her yet that Govinda has gone out to meet Her. If She were told in advance then how could She be properly decorated. Prema Pagalini would rush out just like that. Therefore Her mind is pacified with sweet and nice talks. She is thus addressed as he subhage. She is the embo iment of bhava (transcendental ecstatic love) isn’t She? The kinkaris are similarly the embodiments of ecstatic love. Sri Radha is mad out of love in separation from Krishna. She has been hankering for Krishna for so long. When She hears this address She understands that something special is to happen— perhaps a chance to meet and serve Krishna. At that moment She reveals Herself in a wonderfully beautiful way. Then the meaning of Subhage is ‘O beautiful one’. Is it proper for a maidservant to address her mistress with the word ‘Beautiful One’? She is the boundless ocean of complete beauty and sweetness. Therefore because She fully subdues Krishna with Her complete madanakhya bhava — By Sriman Mahaprabhu’s grace we will continue the discussion tomorrow.

Thus ends Sri Ananta das Mahantaji’s first patha on the 70th verse of Vilapa Kusumanjali
at Radhakunda on April 4, 1999

Second day patha on the same verse, april 5, 1999

Srila Raghunatha dasa Gosvamipada prays: “When will that fortunate day come when I can dress you in fine blue silken garments and floral ornaments?” By Radharani’s grace Sripada Raghunatha dasa Gosvami receives one transcendental vision after the other. When the vision ends he prays for more visions in his external consciousness. But the sweetness of the prayer is echoed even when he prays in external consciousness. He considers himself Radharani’s personal maidservant, surrendered to Her service. This is why the prayer is so sweet, lovely, and relishable. In his Saranga Rangada commentary on Krishna Karnamrita (3), Sripad Krishna das Kaviraja Gosvamicaran explains that the aspirants who have not yet attained rati should meditate on their siddha svarupas on purpose and with care. Thus they can achieve the grace of Sri Radharani. When the stage of rati arrives, however, this meditation will become natural and it no longer necessary to purposefully endeavour. Serving Radharani and identifying with the siddha svarupa has then become natural, just as it is natural for us to take care of our bodies. Thus during the practise of raganuga bhakti the sadhaka attains jivanmukti, in which there is no more physical bondage. But in the sadhaka phase one must practise purposefully, for then bodily consciousness is natural. Bhajana will go on concomitantly, because –

bahya-antar ihar dui to sadhana;
bahye sadhak dehe kore sravana kirtan mone nija siddha dehe koriya bhavan;
ratri dina cinte radha krishnera sevana

“There are two kinds of practises, the external and the internal. The external practise means hearing and chanting in the physical body
and the internal practise means mentally conceiving of one’s spiritual body, in which one serves Radha and Krishna day and night.”
(Caitanya Caritamrita, Madhya-lila 22.156-157)

This is the essence of raganuga practise.

seva sadhaka rupena siddha rupena catra hi;
tad bhava lipsuna karya vrajalokanusaratah

“Service is rendered in allegiance to the people of Vraja, both in the practitioner’s body and in the spiritual body, desiring their feelings.”
(Bhakti-rasamrita-sindhu, 1.2.295)

Kaviraja Gosvami has explained this sloka (above). Those who are still in the sadhaka phase purposefully adopt the identity of the spiritual body within the mind and meditate on their service to Radharani. As this meditation becomes more and more pure, the self-manifest manjari-form will be perceived. It will at first be only slightly manifest; when rati has awoken it becomes natural. He (Sripada Raghunatha dasa Gosvami) is directly on the level of maha bhava, so he relishes his eternal transcendental form without taint. But this can never take place when one is in bodily consciousness. Again those who mentally worship Radharani are blessed. They transcend this body. They are extraordinary.

There are two bodies, the siddha deha, and the sadhaka deha, they have the same appearance, and they are ananda svarupavesa (absorption in the blissful identity).
Srila Raghunatha dasa Gosvamipada prays in his svarapavesa. We are raganuga sadhakas and endeavour for this.

dehe na koriho astha marile se yama sasta, duhkera samudra karma gati

“Don’t put your faith in the body, when it dies it is punished by the god of death. The course of fruitive activities is an ocean of misery.”

janiya suniya bhajo, sadhu sastra mata yajo

“Purposefully worship in allegiance to the scriptures and the sadhus.”
(Prema-bhakti-candrika, 93)

They (the Gosvamis) are the sadhus. Gaudiya Vaishnavas are not interested in bodily consciousness. They place their faith in the soul. The Gosvamis say: “What can we say about those who attain the fortune of bhajana by identifying themselves with the spiritual body?

astu tavad bhajana prayasa kevala tadrisatvabhimanena siddhir bhavati

“What to speak of endeavour in bhajana, simply by considering oneself to belong to the beloved deity is a form of perfection.”
(Bhakti Sandarbha)

If they simply think of themselves as Radharani’s maidservants by Her grace, then that is perfection. This self-esteem is perfection. And those who are so fortunate to do this bhajana day and night, what can I say about them? Hence Thakura Mahasaya says: They are our mahajanas – sadhu sastra mata yajo. These sadhus are Rupa, Sanatana, Raghunatha, Sri Jiva. We hear, chant, and remember their stream of thoughts, their practise of bhajana, and their renunciation and dispassion.
Jaya sanatana rupa, prema bhakti rasa kupa (Prema-bhakti-candrika, 8).
They are the well of bhakti rasa, the ultimate attainment of the Gaudiya Vaishnavas. Drink the water from this well!

What they have written in their books is higher than what the ancient sages have given. Suka Muni has given the quintessence in the Bhagavata, but it did not reach beyond sakhi bhava. The Gosvamis, though, have filled their books with the paramount manjari bhava. This is the benediction offered to those who hear and chant. This will remove (physical) self-esteem.
Transcendental manjari svarupa cannot bring sadhak-abhimana back.
This happens when the absorption is deep. What is this kind of consciousness like? The intense stage of smarana is called dhyana, and the deep stage of dhyana is called sphurti.
This is not a direct vision, this is the smarana -item of bhajana. When smarana bhajana matures, then the sadhaka sees the divine pastimes before his very eyes. Initially he thinks: “I am meditating on my devotional service”, but when smarana becomes deep, then he really perceives. Hence the mahajanas say bhavati smriter bhavana prakrishta darsana rupata. What does that mean? When smarana bhajana casts unrelated thoughts out of the heart, dhruvanusmriti [constant contemplation] arrives, then this is darsana (direct transcendental perception).

In a sphurana (divine vision) Srila Raghunatha dasa Gosvami sees that the parrot Vicakshana has flown in. When he is with Radharani in the form of Tulasi Manjari, the parrot whispers in Tulasi’s ear vraja raja sunoh sastabhisara samaya: “The son of the king of Vraja has gone out on His love journey.”
Why vraja raja nandana? He is not the king, but the prince. He has no responsibility for a kingdom like Dvarakanatha or Ramacandra. He has no worries, and is not bound to rules and obligations. He is instead the dhira lalita nayaka – vidagdha nava tarunya parihasa visarada:
“He is clever, endowed with fresh youthfulness and expert in joking.”
syat praya preyasi vasah: “He is subdued by the love of His sweethearts.”
Therefore His pastimes are completely free.
Ratri dine kunja krida kore radhar sange (c.c.)
[“Day and night He revels with Radha in the love bowers.”] Hence He is absolutely free.

In complete bliss Tulasi Manjari calls Radha he subhage! In this address she shows that She is so fortunate, which we discussed yesterday. One explanation of the word Subhage is ‘Beautiful girl’, now this is not wordly beauty. Sri Rupa Gosvamipada explains the word saundarya. What is known as saundarya? “When each limb is astonishing and well-built, this is called saundarya.” Here, however, we must understand the beauty of Radharani or the gopikas; worldly beauty is not like that. The form is feminine, but this is the summit of prema called mahabhava.

premera parama sara mahabhava jani;
se mahabhava rupa radha thakurani
(Caitanya Caritamrita, Madhya-lila, 8.157)

“The quintessence of prema is called mahabhava and the embodiment of that mahabhava is Radha Thakurani.”

mahabhavojjvala cinta-ratnodbhavita vigraha. (Stavavali)

mahabhava cintamani radhara svarupa (C.C.)

“Radha’s form constitutes the thought-gem of mahabhava.”

This transcendental form appears as a woman with a wonderfully sweet feeling. Some may wonder: “Who is Radharani?” She can never be known without Her grace – She is the ocean of boundless mercy in very own person. She is freely playing within and without the surrendered practitioner. Then some semblance of Her will be perceived, some response may be received from Her, if only a drop from the ocean. If not, one starts thinking of this beauty as worldly. This is human thinking. Bhakti maharani (Queen Devotion) can make the heart of the practitioner qualified. The surrendered souls contemplate on this extraordinary subject, and when they gain experience, they achieve relish. Where can this beauty be put on the test? There are so many lovers of God. There are billions of Vraja-girls and Queens, you can see to what extent they subdue Govinda. Nothing but prema can subdue Him. Sri Suka Muni describes in the Bhagavata that when Krishna goes from Hastinapur to Dvaraka after a long absence, His Queens suffer so much out of separation from Him. They then think that the Vraja-gopis have completely subdued Krishna with their love: “We will also do like that, so that we can also enjoy His love.” Thus they extend their glances. Suka Muni says: patnyas tu shodasa sahasram ananga banair yasyendriyam vimathitum karanair na sekuh [s.b. 10.61.4] “Even 16,000 wives could not agitate His senses by firing their glances at Him, that were like Cupid’s arrows.”
When He comes, then they will endeavour.
But Radharani? In purva raga (love that exists even before the first meeting between the lovers) we see that Krishna tells a duti –

sajani! aparupa pekhalum bala himakara madana, milita mukha-mandala, ta pora jaladhara mala

“O sakhi! I saw an extraordinary young girl! The moon and Cupid are meeting in Her face and above that is a garland of clouds!”

cancala nayane, heri mujhe sundari, mucakayai phiri gelo.
toikhone marame, madana jvara upajala, jivaite samsaya bhelo.

“This beautiful girl looked at Me with restless eyes, smirked at Me and then turned back. Then the fire of Cupid started burning My heart and I doubted whether I was still alive or not.”

He is the very form of transcendental bliss who delights the whole world.

ama hoite anandita hoy tribhuvan;
amake ananda dichen kon jan?

“The whole world derives bliss from Me, but is there anyone who can delight Me?”
(Caitanya Caritamrita, Adi-lila, 4.239)

Jivaita samsaya bhelo [I doubt whether I am alive?]
How beautifully He contemplates!

ahar nisi sayane, svapane ana na heriye, anukhana soi dheyana.
takara piriti, ki riti nahi samujhiye, akula athira parana

“Day and night, in dreams or in wakefulness, I constantly meditate on Her. I do not understand the ways of Her love, and this makes My heart unsteady and agitated.”

This agitates even the transcendental youthful Cupid, hence this is called madana, madayiti madana.

maramaka vedana, tohe parakasala, tuhun ati catura sujana.
so puna madhura, murati darasayabi, e radha vallabha gana.

Radha Vallabha sings: “Thus I told you about My heartache. You are a clever girl, so please show Me this sweet form again!” How much beauty – He wants to see this one more time. Krishna is the embodiment of full transcendental bliss, self-satisfied and self-delighted, yet even in Him such craving can arise. Radharani’s rupa madhurya, sweet form, can be directly perceived, and the power to do so is attained by Radharani’s grace. They who serve in this mood are hence saying: he Subhage, O beautiful one! And Radharani casts Her glance at them. In an ordinary mood one cannot just address Her as ‘O beautiful One!’

The kinkari says: “First I will not say anything; if I tell Her anything now She will run out with Her foot-lac around Her eyes and Her eyeliner on Her foot soles!” But when the sakhis and manjaris dress Her She will not look like that. When Suka Muni describes how the Rasa dance began in the Bhagavata, he says that the gopis left all their household duties, children etc. to go out to meet Krishna. Finally he says:

limpantyah pramrijantyo’nya anjantyah kas ca locane;
vyatyasta vastrabharanah kascit krishnantikam yayuh

“Others, who were anointing themselves with sandal-paste left that work half-finished; still others, who were rubbing themselves with ointments, fled, leaving off that work, others who were painting their eyes with eyeliner, left that and ran to meet Sri Krishna. Still others sought the presence of Sri Krishna with their garments and jewels wrongly placed”
(Srimad Bhagavatam, 10.29.7)

Such is Radharani.

The Mahajanas have said:

keho va achilo, dugdha avartane, culate rakhi besali; tyaji avartana,
loiya ana mana, aichana se gelo coli. keho sisu loiya, kolete koriya, koray dugdha pan;
sisu pheli bhume, coli gela bhrame, suni muralira gana. keho va achilo, sayana koriya,
nayane achilo nid; yeno keho asi, corai loilo, nayane katiya sindh.

“Some gopis stirred the milk and ran away just like that, keeping it on the furnace. Some were keeping babies on their lips and feeding them milk, but they dropped the babies on the floor and ran off in complete delusion as they heard the song of the flute. Others again were reclining, their eyes filled with drowsiness, but they came to Krishna in a secret manner.”

When Krishna played His flute, they all ran out with their ornaments topsy-turvy. The commentators say that this is the summit of prema. There is madana and mohana bhava, complete oblivion of the body – how will they manage? They are like mad. When someone asks: “On the one hand they decorate themselves, and yet people say that the feelings of the gopis are free from lust?”, then the Mahajanas say:

tabe ye dekhiye gopir nija deha prita;
seho to krishnera lagi janiho niscita.
ei deha koilo ami krishne samarpana;
tara dhana tara ei sambhoga sadhana
e deha darsana sparse krishna santoshana;
ei lagi koren deher marjana bhushana

“So when we see the gopis caring for their own bodies, that is certainly also for Krishna’s pleasure. {They think :} “This body I offered to Krishna— it is His property and His means of enjoyment. When He sees or touches this body Krishna is satisfied, for this reason I am anointing and ornamenting it.”
(Caitanya Caritamrita, Adi-lila, 4.181-183)

There are great obstacles to the fulfillment of their desires that makes them so eager and anxious. When they heard the flute they dressed all topsy-turvy. The Mahajanas have commented on this dressing in a topsy-turvy way.

rai saje bansi baje na porilo ul;
ki korite kina kore sab hoilo bhul
mukure ancare rai bandhe kesa bhara;
paye bandhe mala na kore vicara

“When Krishna plays His flute Rai forgets everything – what to do and what not to do!
Rai combs Her hair with Her mirror and ties Her flower garland to Her feet, without thinking.”

karete nupura pore janghe pore tada; galate kinkini
pore katitate hara carane kajala pore nayane alta;
hiyara upore kore bankaraja pata

“On Her hands She wears Her ankle bells, on Her shanks Her bangles, on Her neck She wears Her waist bells and on Her waist She wears Her necklace. On Her feet She wears Her eyeliner, around Her eyes She wears Her foot lac and on Her breasts She wears the Bankaraja Pataornament (meant for the feet).”

sravane koroye rai besara sajana;
nasara upore kore venira racana vamsi-vadane kohe yau bolihari;
syama anuragera balai loiya mori

“On Her ear Rai places Her nose pearl and on Her nose She hangs the tassel of Her braid. Vamsi Vadana dasa sings: “All glories to She who dies out of passionate love for Syama.” Having attained the summit of Krishna anuraga (constant attraction to Krishna), knowing the time to serve Krishna has come, She has forgotten everything.”

Accha, now if Radharani goes to Krishna, dressed in this topsy-turvy way, forgetting Her bodily condition out of full love, then yes, the kinkari wants to take Her along well dressed and ornamented, although Krishna relishes the love only. Hence kinkari Tulasi thinks to herself:
“Now if She hears from the parrot Vicakshana that it is time to go out and meet Krishna, all my dressing and ornamenting work will be spoiled, everything will go upside down, so let me dress Her first.”
Hence she calls her Isvari ‘Subhage’ – I will dress You!”

When Radharani sees how the kinkari is dressing Her, She thinks: “Surely there must be some purpose to this dressing!” Therefore Srimati gives a hint of consent to the maidservant that dresses Her. Kinkari Tulasi first dresses Her divine limbs in a blue garment. sukshmam- baraih, very fine blue garments, radiant blue garments from Her lotus feet up to Her head. The Mahajanas say: Isvari loves blue garments. Wherever there is blue, there is Her love:

krishnah paksho nava kuvalayam krishnasaras tamalo nilambhodas tava rucipradam nama rupais ca krishna
(Radha Rasa Sudhanidhi – 89)

Wherever there is Krishna’s name and blackish complexion, there is Radharani’s love.
krishna paksha is the dark lunar quarter, the nights are dark and one can easily go out to meet Krishna.
This lunar quarter is on Krishna’s side, hence it is called krishna-paksha. nava kuvalaya is the fresh blue lotus.
Radharani sees fresh blue lotuses everywhere, so beautiful.
A Krishna-sara is a black deer. That animal shares the name with Krishna.
“Those who consider Krishna to be the essence ( sara) are called Krishna-sara. They are dearer to Me than My very life. The Tamal tree is as black as Krishna, so I take it to My heart.” Saying: “One’s life is a success when seeing Krishna”, She embraces a Tamala tree.
For the same reason Her blue/black sari is Her favourite dress.
When She sees the blue colour of Her silk sari it reminds Her of Syamasundara.
Hence the Mahajanas say:
nija lajja syama patta sari paridhana,
“She wears a blue silken sari that represents Her bashfulness.” (c.c.)

The embodiment of bhava wears ornaments of bhava.

All these ornaments become filled with bhava when they come in contact with Her. Therefore no one but the kinkari can understand the bhava-nature of these bhava-ornaments. Now when she puts them on they remind Svamini of Syama- it looks very beautiful.
The kinkari similarly relishes the mellows nicely, dressing Her in a beautiful silk sari.

sukshmambaraih kusuma sanskrita karnapura.

Karnapura means that she puts on Her earrings.
To dress and ornament Radharani is the service of the embodiment of bhava, isn’t it? Therefore there are two kinds of service. In one way she dresses Radharani externally, this is called paricarya service, and the other kind of service is called prasanga service. When the sadhaka serves within the sadhaka condition, then the paricarya seva is greater than the prasanga service; for instance when you serve a Vaishnava this involves massaging his feet, bathing him and offering him different articles. This is paricarya seva. Such Vaishnava-service is the greatest service in the sadhaka-condition. Such service helps one to attain the unattainable. When Isvara Puri served our Sri Madhavendra Puri

isvara puri kore sripada sevana;
sva haste koren mala mutradi marjana

“Isvara Puri served Sripada Madhavendra Puri by wiping his stool and urine with his own hand.”

This is paricarya seva. Now comes the prasanga seva –

nirantara krishna nama koroye smarana;
krishna nama lila sunan anukshana

“He constantly reminded him of the holy name of Krishna by singing about His names and pastimes.”
(Caitanya Caritamrita, Antya-lila, 8.26-27)

So when the Guru and the Vaishnavas are served in the sadhaka condition, then paricarya seva is the best.
But when the service is performed in siddha condition then prasanga seva is the best.
Then the sweetness of Krishna must be given (described).

Starting with the external items of service, like bathing Her and dressing Her, putting on each of Her ornaments, Radharani must be satisfied.
Without discussing with each other how expertly the Gosvamis rendered their service, this can be neither relished nor understood.

Now Tulasi is putting on Radharani’s ear ornaments.
When she puts on these ear ornaments during the morning services, then she says so many beautiful things.
She explains: goshthendra suta citta matta karindra raja bandhaya pushpadhanusha kila bandharajjoh.
When Tulasi puts these ornaments on she explains their beauty. “Now I am putting on Your ear ornaments. You know what they are like?
Bandhaya pushpadhanusha goshthendranandana – He (Krishna) is after all a mad elephant – who can tie Him down?
He may abandon billions of Vraja-gopis, so it is clear that: rupa matrena na haryo harih [Lalita Madhava]
“Hari is not captivated by mere physical beauty”. According to their individual love the heroines are beautiful and ornament each of their limbs. Hence it is said madamatta karindra raja.

Millions of sages and devotees worship him through their sadhana, the Vedas personified pray to Him, but they cannot get one speck of His foot dust. This goshthendra nandana, the prince of Vraja, is Bhagavan Vrajendra-nandana, but do You know the power of Radharani’s ears?
Srila Raghunatha dasa Gosvami says that Her ears are like the ropes that Cupid spread out to bind down the mad elephant-like mind of the prince of Vraja.
Ropes or shackles. Through shackles a mad elepant is tied down, hence I will place the ear ornaments there.
Kim karnayos tava varoru varavatamsa
– “O nicely thighed One! I will place the ear ornaments on Your ears!”

Why is She addressed as varoru here? vara means the greatest, uru thighs, or She whose thighs are purely astonishing.
It is on Her that the ear ornaments are hung. Radharani is the embodiment of ecstasy, She can understand.
The recollection of one pastime enters Her heart.

The kinkari knows everything, she serves this nectar (by telling Svamini of past sports). What is the relationship here? The Rasa-lila is going on.
Radha and Krishna are dancing.
This Rasa is not externally manifest, only in inward visions. This is not perceived by the sakhis; only the maidservants relish this. Radharani is dancing, for this reason She is dressed and ornamented. Her clothes and ornaments are fine and subtle, so that Her sweetness and beauty awakens within Krishna’s heart.
The gopis are dancing and Govinda is standing there, looking, and laughing. As He instigates the rhythm Her feet are so sweet at each and every step.
Govinda praises Her at every step in this Rasa dance. To instill the sweetness of Her pastimes with Krishna in Radharani’s heart Tulasi says he varoru!, while placing Her ear ornaments on Her ears. She addresses Her as varoru to remind Her of these pastimes.
Radharani says: “Tulasi, you have remembered all this?” What does she say? “You are anuragavati, I am not qualified to serve You. I have remembered this lest You will forget it out of anuraga rasa, just to serve You. The wonderful sweetness of this bhava (feeling, mood) can be relished when one knows how to arouse the feelings of a kinkari.

After this Sri Raghunatha says haradibhis ca.
Adi means that not only necklaces, but also garlands are placed. When Gosvamipada places the necklaces he says: “In between Your necklaces I also place the Syamantaka jewel.” During the spring Rasa-dance all the gopis were kidnapped by the demon Sankhacuda. Krishna killed the demon and took the Syamantaka jewel from his head. Did He then give it to Radharani? If He gave it to Radharani in front of everyone there would be trouble, so what did He do? He gave it to His brother Baladeva. Baladeva is very wise; He understands the gem is actually not given to Him; it is given to Radharani. He therefore hands it to Madhumangala, knowing that he will pass it on to Radharani. When she puts the Syamantaka gem in the middle of the necklace, she says: “Shall I put on this Syamantaka? This is the friend of the Kaustubha gem that beautifies the chest of Krishna.” This is called friendship between devotees, keeping Govinda in the middle.
Thus Radha and Krishna are attained. Such is the friendship between Rupa and Raghunatha. Here Raghunatha is weeping, therefore Rupa Gosvami consoled him, first by writing the Lalita Madhava Nataka. When he gave it to read to Raghunatha dasa Gosvami, he was scorched by the flames of love in separation. Such are the grave activities of a man who is scorched by fire. When his vital was about to leave his body, Sri Rupa Gosvami gave him his book Dana Keli Kaumudi to read, to console him. Calling Raghunatha, he told him: “Give me this book (Lalita Madhava) back and look at this one (Dana Keli Kaumudi). In here is the sweet relish of the flavour of (Radha-Krishna’s) union.” What did this Rupa Gosvami write at the end of Dana Keli Kaumudi? He prayed to his ishta –

radhakundatati kutira vasatis tyaktanya karma janah sevam eva samaksham atra yuvayor yah kartum utkanthate

“O Radha-Madhava! I pray to Your lotus feet, someone is sitting in a cottage on the bank of Radhakunda, having renounced all other activities and is going mad for the attainment of Your devotional service.”

vrindaranya samriddhi dohada pada krida kataksha dyute tarshakhya tarur asya madhava phali turnam vidheyas tvaya

“O Madhava, You fulfill the aspirations of all those who live in Vrindavana and desire Your worship.
Hence I pray to You to swiftly fulfill the desires of the above person.”

He did not mention any name. He prays like this to his ishta for Raghunatha and concomitantly prays:
“Quickly fullfill the desires of those who give up all other activities and go to Radhakunda, sitting down on the bank, desiring to see Radha and Krishna.”
Hence the great fortune of Rupa and Raghunatha. Similarly the sweet flavours of these pastimes are kept within the (description of the) fortune of the Kaustubha and Syamantaka-gems.

How wonderful is the relish of the flavours of these pastimes! At this time Kaustubha and Syamantaka enjoy their friendship.
The sakhis have no right to enter here. When the remembrance of this pastime awakens within the heart, Tulasi brings in a Mallika (jasmine) garland, which maddens everyone with its fragrance.
Fresh Mallika-flowers emit such fragrance. These are Vrindavana’s mallikas after all? Hence they are like great herbs. Bees come racing towards this flower garland. She beats the bees away and puts the garland on. “Look at this garland, put on this jasmine garland.”
What does Tulasi say when she puts on the garland? Kalavati natamsayoh pracura kama punjojjvalat
– the artful girl Radha’s lowered shoulders induce profuse lusty desires in Krishna, [Vilapa Kusumanjali, 44], thus bringing back memories of (last night’s) Rasa-dance.

She says: “You know what these shoulders, on which I put this garland, are like? These shoulders are so beautiful. Why? I mentioned the Rasa dance. Vrajendranandana’s arms have been placed on it. Have they become so low because Vrajendranandana placed His huge arms on them?
Kalavati natamsayoh pracura kama punjojjvalat – This arm is filled with an intense desire.

This means that Syamasundara is filled with lusty desires. The garland is blossoming, so that it attracts a swarm of bumblebees. When Tulasi says that, then Radharani thinks that Syama’s arm is there. She is after all the embodiment of bhava? So Tulasi thinks: “Shall I put the garland on? When Krishna’s places His arm on Your shoulder this garland may break. Anyway, if it breaks, then let it. All these garments and ornaments that I am putting on You are only successful when they bring You in contact with Syamasundara. Now the garland is spoiled, relishing Govinda’s wonderful sweetness. Aha, no no.” After thus decorating Radharani with various ornaments and addressing Her in different ways, Tulasi brings a big mirror before Her. “Just see how I decorated You.”
When Radharani sees Her own sweet form, She says in astonishment: “Tulasi! Look! When He beholds My natural beauty He already goes mad – I wonder how He will feel when He sees this decorated form of Mine? Will You help Me meet Him?”

By saying all this She awakens the bumblebees who seek their pleasure. Tulasi fears that if she tells Radha untimely She will rush out and she will not be able to decorate Her properly. This is the very clever service of prema rasa.
“Clever Govinda sent the parrot Vicakshana to inform us, but I will not inform You. If I did You would storm out of the door. Would I be able to dress You properly then? See how I have decorated You.”
Tulasi thus decorates Radharani and prepares Her abhisara (love journey) towards Radhakunda, madanananda, or madana sukhada, the place which bestows erotic joy.
As the kinkari says this and prepares to take Radha along, the transcendental vision subsides. Just as the vision subsides, he feels as if he falls down from the heavens and he prays: “O fortunate Girl! When will I be so fortunate to dress You in a wonderful way when I hear from the parrot Vicakshana that Syamasundara is setting out on His superexcellent love-journey? Thus one vision follows the other. In the next verse we will discuss more services of Radharani. By the grace of Sriman Mahaprabhu we will meet tomorrow to discuss this.

Thus ends Sri Ananta das Mahantaji’s second patha on the 70th verse of Vilapa Kusumanjali
at Radhakunda on April 5, 1999