CC Adi 16 extra

TEXT 4

ei ta’ kaiś ora-lī lā ra sū tra-anubandha

ś iṣ ya-gaṇ a paḍ ā ite karilā ā rambha

ei ta’—thus; kaiś ora—the age of kaiś ora (the age between the eleventh and fifteenth years); lī lā ra—of the pastimes; sū tra-anubandha—chronological synopsis; ś iṣ ya-gaṇ a—students; paḍ ā ite—to teach; karilā —did; ā rambha—begin.

At the age of eleven Ś rī Caitanya Mahā prabhu began to teach students. This marks the beginning of His kaiś ora age.

Anubh.: kaiś ora – ekdos-borso hoite poncdos-borsomito-kal kisor, tad-bhavanvito = From the age of 11 till 15, one is an adolescent (kiś ora), endowed with respective mood.

((quite closely connected with the wbw and SP’s translation))

TEXT 11

If one becomes a bookworm, reading many books and scriptures and hearing many commentaries and the instructions of many men, this will produce doubt within his heart. One cannot in this way ascertain the real goal of life.

PURPORT

Purp.: In Ś rī mad-Bhā gavatam (7. 13. 8) it is said, granthā n naivā bhyased bahū n na vyā khyā m upayuñ jī ta: “One should not read many books, nor should one try to make a profession of reciting many books, especially if one is a devotee. ” … (? )

Anubh.: Bhā gavatam (7. 13. 8): “One should not read many books, nor should one try to make a profession of reciting many books. ” – corom-kalyanarthir (bhagavad-bhajanecchur) sarvagre ei prolobhon porityajyo = first of all those who strive for the ultimate welfare (those desirous of worshiping the Lord) should repel this temptation – see Bhakti-rasamrta-sindhu, eastern division, the 2^nd wave. (! )

Bhā gavatam (11. 21. 34, 36):

evaṁ puṣ pitayā vā cā vyā kṣ ipta-manasā ṁ nṛ ṇ ā m

mā ninā ṁ cā ti-lubdhā nā ṁ mad-vā rtā pi na rocate

ś abda-brahma su-durbodhaṁ prā ṇ endriya-mano-mayam

ananta-pā raṁ gambhī raṁ durvigā hyaṁ samudra-vat

[“Being excessively proud and greedy, such persons are bewildered by the flowery words of the Vedas. They are not attracted to topics about Me, the Supreme Lord… The transcendental sound of the Vedas is very difficult to comprehend and manifests on different levels within the prā ṇ a, senses and mind. This Vedic sound is unlimited, very deep and unfathomable, just like the ocean. ”] (! )

TEXT 15

The Lord, being satisfied, instructed him about the object of life and the process for attaining it. He instructed him that the basic principle of success is to chant the holy name of the Lord [the Hare Kṛ ṣ ṇ a mahā -mantra].

A. -pr. -bh.: The Lord said, “Neither monistic knowledge of Brahman, nor material enjoyment like that on the heavenly planets is the objective of the living entity; love for Krsna is his only objective. Neither karma, nor jnana are the means or processes for attaining the goal of life; the only means of attaining it is suddha krsna-namasraya bhakti, serving at the shelter of pure Kṛ ṣ ṇ a’s name. ”

TEXT 19

ei mata baṅ gera lokera kailā mahā hita

‘nā ma’ diyā bhakta kaila, paḍ ā ñ ā paṇ ḍ ita

In this way Ś rī Caitanya Mahā prabhu contributed the greatest benefit to the people of East Bengal by initiating them into hari-nā ma, the chanting of the Hare Kṛ ṣ ṇ a mahā -mantra, and making them learned scholars by educating them.

A. -pr. -bh.: ‘nā ma’ diyā – in other words, by giving this mantra: “Hare Kṛ ṣ ṇ a, Hare Kṛ ṣ ṇ a, Kṛ ṣ ṇ a Kṛ ṣ ṇ a, Hare Hare / Hare Rā ma, Hare Rā ma, Rā ma Rā ma, Hare Hare” – the Lord made the inhabitants of East Bengal devotees, and by teaching sastras He made many of them scholars.

TEXT 21

prabhura viraha-sarpa lakṣ mī re daṁ ś ila

viraha-sarpa-viṣ e tā ṅ ra paraloka haila

The snake of separation bit Lakṣ mī devī, and its poison caused her death. Thus she passed to the next world. She went back home, back to Godhead.

A. -pr. -bh.: The pangs of separation from the Lord that Laksmi felt assumed a form of a snake and bit her. Thus she went to the next world, or to her own abode in the supreme region of Vaikuntha.

TEXT 23

ghare ā ilā prabhu bahu lañ ā dhana-jana

tattva-jñ ā ne kailā ś acī ra duḥ kha vimocana

When the Lord returned home, bringing with Him great wealth and many followers, He spoke to Ś acī devī about transcendental knowledge to relieve her of the grief she was suffering.

A. -pr. -bh.: Tattva-jñ ā ne, or in another version, tattva-kahi’, –by spreading the net of transcendental knowledge in the form of instructions like “ke kasya pati-putrā dyā ” ((see SB 8. 16. 19)), or “Who in this material world is the husband, son, etc. of whom? ”, the Lord relieved mother Saci of her grief.

TEXT 25

Then Lord Caitanya married Viṣ ṇ upriyā, the goddess of fortune, and thereafter He conquered a champion of learning named Keś ava Kā ś mī rī.

Purp.: He wrote Kaustubha-prabhā, a commentary on the Vedā nta commentary of the Nimbā rka-sampradā ya, which is known as the Pā rijā ta-bhā ṣ ya. (? )

Anubh.: He wrote Kaustubha-prabhā, a commentary on the Vedā nta-kaustubha by Srinivasacarya, which is a commentary on the Pā rijā ta-bhā ṣ ya, commentary on the Vedā nta written by Nimbarka.

Purp.: It is stated in the Bhakti-ratnā kara that Keś ava Kā ś mī rī was a favorite devotee of mother Sarasvatī, the goddess of learning. By her grace he was an extremely influential scholar, and he was the greatest champion among all the scholars in the four corners of the country. Therefore he got the title dig-vijayī, which means “one who has conquered everyone in all directions. ” He belonged to a very respectable brā hmaṇ a family of Kashmir. Later, by the order of Ś rī Caitanya Mahā prabhu, he gave up the profession of winning championships and became a great devotee.

Anubh.: Bhakti-ratnā kara:

sarasvati-devir koriya mantra japa

hoilo sarva-vidya-sphurti barilo protapa

sarva-disa jaya kori’ ‘dig-vijayi’ kyati

kasmir desa-stho oti sisto vipro-jati

sarva tyag kori’ prabhu ajnae colila

varni lila-bhog ‘laghu-kesava’ namete

See Vaisnava-manjusa (1st volume).

TEXT 48

pratibhā ra kā vya tomā ra devatā santoṣ e

bhā la-mate vicā rile jā ni guṇ a-doṣ e

pratibhā ra—of ingenuity; kā vya—poetry; tomā ra—your; devatā —the Lord; santoṣ e—satisfies; bhā la-mate—scrutinizingly; vicā rile—on analyzing; jā ni—I know; guṇ a-doṣ e—there are faults and good qualities also.

“There is no doubt that your poetry is full of ingenuity, and certainly it has satisfied the Supreme Lord. Yet if we scrutinizingly consider it we can find both good qualities and faults. ”

A. -pr. -bh.: The ability to compose poetry in always new ways is called ingenuity. You have proven this ability in this verse, and thus you have satisfied even gods (dev-gonke-o); in other words, there is a lot of ingenuity exhibited in this poetry. Yet by considering it scrutinizingly one can find both good qualities and faults.

TEXT 50

“You are an ordinary student of grammar. What do You know about literary embellishments? You cannot review this poetry because You do not know anything about it. ”

A. -pr. -bh.: One who knows grammar is expert only in preliminary knowledge. Thus he is unable to review literary ornaments, etc.

TEXT 52

“Certainly I have not studied the art of literary embellishments. But I have heard about it from higher circles, and thus I can review this verse and find in it many faults and many good qualities. ”

A. -pr. -bh.: I have not studied the art of literary embellishments, but I have heard from the mouth of panditas, and that is why I could see many faults as well as good qualities in this verse.

TEXT 54

“My dear sir, in this verse there are five faults and five literary ornaments. I shall state them one after another. Kindly hear Me and then give your judgment.

A. -pr. -bh. (applying to verses 54-84) : Srila Bhaktivinoda Thakura paraphrases the whole passage. First there is an elaborate discussion of the five faults, which is covered in the Purp., then follows also this discussion of the five literary ornaments:

“Now hear the description of good qualities: in this verse of yours there are two ornaments of sound and three ornaments of meaning. (1^st) In three lines there is alliteration, and that is a sound ornament. (2^nd) ‘Sri-Laksmi’ – in this instance, there is no fault of redundancy; rather it is the ornament of a tinge of redundancy. When Sri and Laksmi are announced as designations of one person, there is no kind of fault in that; the meaning is ‘Laksmi possessed of opulence (Sri)’ which makes the difference. That is not a tautology, but a kind of sound ornament. (3^rd) The use of the words lakṣ mī r iva [‘like Lakṣ mī ’] manifests the ornament of meaning called upamā [analogy]. (4^th) There is also the further ornament of meaning called virodhā bhā sa, or indicated contradiction, in regard to Ganges coming from the lotus feet of Lord Viṣ ṇ u. Lotus grows from water, but to say that water comes from lotus is a contradiction – and that is the source of virodhā laṅ kā ra, acontradictory literary decoration. That Ganga is manifested by the inconceivable potency of the Lord is not a sheer contradiction, but it has a tinge of contradiction, and that is an ornament. (5^th) The statement explaining the origin of the glory of Ganga – that she comes from the feet of Viṣ ṇ u – contains an ornament called anumā na, or hypothesis.

TEXT 58

“‘Without first mentioning what is known, one should not introduce the unknown, for that which has no solid basis can never be established anywhere. ’

Anubh.: See CC Adi 2. 74.

TEXT 70

sundara ś arī ra yaiche bhū ṣ aṇ e bhū ṣ ita

eka ś veta-kuṣ ṭ he yaiche karaye vigī ta

…vigī ta—abominable.

“One’s beautiful body may be decorated with jewels, but one spot of white leprosy makes the entire body abominable.

Anubh.: vigī ta—nindita = despicable

TEXT 85

“You have achieved poetic imagination and ingenuity by the grace of your worshipable demigod. But poetry not well reviewed is certainly subject to criticism.

Anubh.: If a poem is not reviewed, then it is certainly not easy to see its faults.

TEXT 101

“Even in the poetic compositions of such great poets as Bhavabhū ti, Jayadeva and Kā lidā sa there are many examples of faults.

Purp.: (to text 102)... The poetic compositions of Bhavabhū ti, or Ś rī kaṇ ṭ ha, include Mā latī -mā dhava, Uttara-carita, Vī ra-carita and many similar Sanskrit dramas. This great poet was born during the time of Bhojarā ja as the son of Nī lakaṇ ṭ ha, a brā hmaṇ a.

Anubh.: Brā hmaṇ a Nī lakaṇ ṭ ha was a grandson of a descendant in Kasyapa’s dynasty named Bhatta Gopala, a resident of Padma town.

Purp.: We have already described Jayadeva in Chapter Thirteen of the Ā di-lī lā.

Anubh.: See Adi 13. 42.

TEXT 107

prā te ā si’ prabhu-pade la-ila ś araṇ a

prabhu kṛ pā kaila, tā ṅ ra khaṇ ḍ ila bandhana

…bandhana—all bondage.

The next morning the poet came to Lord Caitanya and surrendered unto His lotus feet. The Lord bestowed His mercy upon him and cut off all his bondage to material attachment.

A. -pr. -bh.: bandhana—the Pandita’s bondage by maya in the form of pride (ponditabhiman-rup maya bondhon)

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