CC Madhya 14 extra

TEXT 13

tava kathā mṛ taṁ tapta-jī vanaṁ

kavibhir ī ḍ itaṁ kalmaṣ ā paham

ś ravaṇ a-maṅ galaṁ ś rī mad-ā tataṁ

bhuvi gṛ ṇ anti ye bhū ridā janā ḥ

“‘My Lord, the nectar of Your words and the descriptions of Your activities are the life and soul of those who are always aggrieved in this material world. These narrations are transmitted by exalted personalities, and they eradicate all sinful reactions. Whoever hears these narrations attains all good fortune. These narrations are broadcast all over the world and are filled with spiritual power. Those who spread the message of Godhead are certainly the most munificent welfare workers. ’”

A. -pr. -bh.: O my dear one, those who have come to this world after having performed much meritorious work in many lifetimes always chant the nectar of Your messages which are life and soul of persons agitated by love to You, which are sung about by poets, which destroy sins, the hearing of which is auspicious, which are all-attractive and are spreading everywhere.

TEXT 29

amṛ ta-maṇ ḍ ā, saravatī, ā ra kumḍ ā -kurī

sarā mṛ ta, sarabhā jā, ā ra sarapurī

... sara-bhā jā —fried cream; ā ra—and; sara-purī —a kind of purī made with cream.

There were also papayas and saravatī, a type of orange, and also crushed squash. There were also regular cream, fried cream and a type of purī made with cream.

Anubh.: sara-bhā jā and sara-purī — these preparations are common in the region of Kṛ ṣ ṇ anagara in the district of Nadī yā.

TEXT 30

hari-vallabha, seṅ oti, karpū ra, mā latī

ḍ ā limā marica-lā ḍ u, navā ta, amṛ ti

... amṛ ti—a preparation generally called amṛ ti-jilipi, made with rice powder and chick-pea flour, mixed with yogurt, fried in ghee and immersed in sugar water.

There were also the sweets known as hari-vallabha and sweets made of seṅ oti flowers, karpū ra flowers and mā latī flowers. There were pomegranates, sweets made with black pepper, sweets made with fused sugar, and amṛ ti-jilipi.

Anubh.: amṛ ti — this kind of sweet is often being prepared in the East Bengal [Bangladesh].

TEXT 65

In the evening, after finishing His dancing in the yard of the Guṇ ḍ icā temple, the Lord observed the ā rati ceremony. Thereafter He went to a place called Aiṭ oṭ ā and took rest for the night.

A. -pr. -bh.: Ā iṭ oṭ ā — one garden close to the Guṇ ḍ icā temple.

TEXT 66

For nine days, nine chief devotees, headed by Advaita Ā cā rya, got an opportunity to invite the Lord to their homes.

A. -pr. -bh.: All devotees who came from Bengal, headed by Advaita Ā cā rya, were inviting the Lord for one day each to feed Him. At the Guṇ ḍ icā temple the festival called Nava-rā tra yā trā takes place which is being celebrated for nine days; during these nine days the Lord along with His devotees resides at Ā iṭ oṭ ā ...

TEXT 80

vidyā nidhira jala-keli svarū pera sane

gupta-datte jala-keli kare dui jane

... gupta-datte—both Murā ri Gupta and Vā sudeva Datta; ...

Svarū pa Dā modara and Vidyā nidhi also threw water upon each other, and Murā ri Gupta and Vā sudeva Datta also sported in that way.

Anubh.: gupta — Murā ri Gupta; datta — Vā sudeva Datta.

TEXT 86

meru-mandara-parvata ḍ ubā ya yathā tathā

ei dui—gaṇ ḍ a-ś aila, ihā ra kā kathā

... ei dui—these two; gaṇ ḍ a-ś aila—very small hills; ...

“A drop from the ocean of Your mercy can drown great mountains like Sumeru and Mandara. Since these two gentlemen are little hills by comparison, it is no wonder that they are being drowned in the ocean of Your mercy.

Anubh.: ... Although the word dui, two, is used, the statement refers especially to Sā rvabhauma Bhṭ ṭ ā cā rya.

TEXT 87

“Logic is like a dry oil cake from which all the oil has been extracted. The Bhaṭ ṭ ā cā rya passed his life in eating such dry cakes, but now You have made him drink the nectar of transcendental pastimes. It is certainly Your great mercy upon him. ”

Anubh.: Sā rvabhauma before obtaining Caitanya Mahā prabhu’s mercy, as the logician philosophizing about the nondiferentiated Brahman, is compared to an oilman’s bullock eating oil cakes [a designation used figuratively for a person who blindly and mechanically drudges and undergoes extreme hardships without any profit for himself]. (! )

TEXT 105

The garden of His pastimes was very large and was named Jagannā tha-vallabha. Ś rī Caitanya Mahā prabhu took His rest there for nine days.

A. -pr. -bh.: Almost half-way between the Guṇ ḍ icā building and the temple there is a garden named Jagannā tha-vallabha. Danā -curi-lī lā is taking place in this garden, that is Ś rī -Madana-mohana goes and brings a fragrant tree called danā which He has stolen.

TEXT 107

“Tomorrow will be the function of Herā -pañ camī or Lakṣ mī -vijaya. Hold this festival in a way that it has never been held before. ”

Purp.:. .. Due to separation from the Lord, the goddess of fortune decides to come to see the Lord at Guṇ ḍ icā. The coming of the goddess of fortune to Guṇ ḍ icā is celebrated as Herā -pañ camī. Sometimes this is misspelled as Harā -pañ camī among the ativā ḍ ī s. The word herā means “to see” and refers to the goddess of fortune going to see Lord Jagannā tha. The word pañ camī means “the fifth day” and is used because this takes place on the fifth day of the moon.

A. -pr. -bh.: ... In search of Lord Jagannā tha, the goddess of fortune Lakṣ mī devī comes to Guṇ ḍ icā and sees (heriyā ) the Lord; therefore the Oriyan people call this day Herā -pañ camī. On the other hand, since on this day Lakṣ mī goes to search for Lord Jagannā tha because she is missing (hā rā iyā ) Him, the ativā ḍ ī s call it Hā rā -pañ camī. However, Kavirā ja Gosvā mī named this fifth day of the moon Herā -pañ camī in his writing.

TEXTS 117–119

“Although Lord Jagannā tha enjoys His pastimes at Dvā rakā -dhā ma and naturally manifests sublime liberality there, still, once a year He becomes unlimitedly eager to see Vṛ ndā vana. ”

Pointing out the neighboring gardens, Ś rī Caitanya Mahā prabhu said, “All these gardens exactly resemble Vṛ ndā vana; therefore Lord Jagannā tha is very eager to see them again.

Anubh.: Lord Jagannā tha, out of compassion for the living entities, resides in the Nī lā cala temple and manifests the mood of Kṛ ṣ ṇ a’s pastimes in Dvā rakā. Only once in a year He becomes greatly eager to see Sundarā cala which is just like Vṛ ndā vana.

TEXT 155

dā modara kahe, —kṛ ṣ ṇ a rasika-ś ekhara

rasa-ā svā daka, rasamaya-kalevara

Dā modara Gosvā mī said, “Kṛ ṣ ṇ a is the master of all transcendental mellows and the taster of all transcendental mellows, and His body is composed of transcendental bliss.

Anubh.: sri-krsna-i cid-raser ek-matro asvadok, bhokta ba visoe, ar sob-i tanhar asroe ba bhogyo. = Ś rī Kṛ ṣ ṇ a is the only taster or enjoyer of the spiritual mellows, and everything else is His store or object of enjoyment.

TEXT 165

‘adhirū ḍ ha mahā bhā va’—rā dhikā ra prema

viś uddha, nirmala, yaiche daś a-vā ṇ a hema

“Ś rī matī Rā dhā rā ṇ ī ’s love is a highly advanced ecstasy. All Her dealings are completely pure and devoid of material tinge. Indeed, Her dealings are ten times purer than gold.

Anubh.: [see Purp. to Madhya 23. 57]The adhirū ḍ ha ecstasies are explained in the Ujjvala-nī lamaṇ i (Sthā yi-bhā va-prakaraṇ a 170):

rū ḍ hoktebhyo ’nubhā vebhyaḥ kā m apy ā ptā viś iṣ ṭ atā m

yatrā nubhā vā dṛ ś yante so ’dhirū ḍ ho nigadyate

“When the symptoms of the advanced conjugal love (rū ḍ ha-bhā va)are uniquely complemented by all subordinate natural ecstasies (sā ttvika anubhā va), then all the feelings that have attained the indescribable excellence are called ‘adhirū ḍ ha mahā bhā va. ’”

TEXT 167

“The transcendental ornaments of Ś rī matī Rā dhā rā ṇ ī ’s body include the eight sā ttvikas, or transcendental symptoms, the thirty-three vyabhicā rī -bhā vas, beginning with harṣ a, or jubilation in natural love, and the twenty bhā vas, or ecstatic emotional ornaments.

Purp.: The thirty-three vyabhicā rī -bhā vas, bodily symptoms manifest in ecstatic love, are as follows: (1) nirveda, indifference; ...

A. -pr. -bh.: The sā ttvika bhā vas are of 8 kinds: (1) stambha, being stunned; (2) sveda, perspiration; (3) romā ñ ca, horripilation; (4) svara-bhaṅ ga, faltering of the voice; (5) vepathu, shivering; (6) vaivarṇ ya, change of color; (7) aś ru, tears, and (8) pralaya, devastation, unconsciousness.

The thirty-three vyabhicā rī -bhā vas, or sañ carī -bhā vas, are thirty-three, that is...

The ornaments in the form of bhā vas are of twenty kinds, that is, a) aṅ gaja, manifested by the body: (1) bhā va, seeds of ecstasy; (2) hā va, gestures; and (3) helā, amorous dalliance; b) ayatnaja, manifested spontaneously by the self: (4) ś obhā, beauty; (5) kā nti, lustre; (6) dī pti, brilliance; (7) mā dhurya, sweetness; (8) pragalbhatā, impudence; (9) audā rya, magnanimity; and (10) dhairya, stability and patience; c) svabhā vaja, manifested by one’s nature: (11) imitating lī lā, pastimes; (12) vilā sa, enjoyment; (13) vicchitti, breaking off; (14) vibhrama, puzzlement; (15) kila-kiñ cita, a particular range of ecstasies manifested upon seeing Kṛ ṣ ṇ a; (16) moṭ ṭ ā yita, awakening of amorous desires by remembrance; (17) kuṭ tā mita, externally contrary and angry, but happy within; (18) vivvoka, in anger neglecting the entreaties of the nā yaka; (19) lalita, charming posture and movement of the eyes; and (20) vikṛ ta, to express feelings through actions rather than words.

TEXT 168

‘kila-kiñ cita’, ‘kuṭ ṭ amita’, ‘vilā sa’, ‘lalita’

‘vivvoka’, ‘moṭ ṭ ā yita’, ā ra ‘maugdhya’, ‘cakita’

kila-kiñ cita—a particular type of ecstatic ornament manifested at the time of seeing Kṛ ṣ ṇ a; kuṭ ṭ amita—the symptom explained in verse 197; vilā sa—the symptom explained in verse 187; lalita—the symptom explained in verse 192; vivvoka—neglecting the presentation given by the hero; moṭ ṭ ā yita—awakening of lusty desires by the remembrance and words of the hero; ā ra—and; maugdhya—assuming the position of not knowing things although everything is known; cakita—a position in which the heroine appears very much afraid although she is not at all afraid.

“Some of the symptoms critically explained in the following verses are kila-kiñ cita, kuṭ ṭ amita, vilā sa, lalita, vivvoka, moṭ ṭ ā yita, maugdhya and cakita.

Anubh.: kila-kiñ cita — see the verse 174 later in this chapter; ...

vivvoka — in the text 75 of Ujjvala-nī lā maṇ i, Anubhā va-prakaraṇ a, it is stated:

iṣ ṭ e ’pi garva-mā nā bhyā ṁ vivvokaḥ syā d anā daraḥ

“Neglect of the dear one or a thing presented by him, due to pride or indignation excited by jealousy, is called ‘vivvoka. ’”

moṭ ṭ ā yita — Ujjvala-nī lā maṇ i, Anubhā va-prakaraṇ a:

kā nta-smaraṇ a-vā rtā dau hṛ di tad-bhā va-bhā vataḥ

prā kaṭ yam abhilā ṣ asya moṭ ṭ ā yitam udī ryate

“That desire which is awakened from the mood in one’s heart created by remembering the dear one or by his talk is ‘moṭ ṭ ā yita. ’”

maugdhya — Ujjvala-nī lā maṇ i, Anubhā va-prakaraṇ a:

jñ ā tasyā py ajñ avat pṛ cchā priyā gre maugdhyam ī ritam

“When the heroine manifests a mood in front of her dear one of not knowing something, although she knows it, then her inquiring is ‘maugdhya. ’”

cakita — Ujjvala-nī lā maṇ i, Anubhā va-prakaraṇ a:

priyā gre cakitaṁ bhī ter asthā ne ’pi bhayaṁ mahat

“When the heroine appears as if very much afraid in front of her dear one, although she is not afraid, that is ‘cakita. ’”

TEXT 169

“When Ś rī matī Rā dhā rā ṇ ī ’s body manifests the ornaments of many ecstatic symptoms, the ocean of Kṛ ṣ ṇ a’s happiness immediately displays transcendental waves.

Anubh.: See Ā di 4. 243, 250, 256.

TEXT 202

“It is not at all possible to describe the unlimited pastimes of Ś rī Kṛ ṣ ṇ a, even though He Himself describes them in His incarnation of Sahasra-vadana, the thousand-mouthed Ś eṣ a Nā ga. ”

Anubh.: See Madhya 21. 10 & 14, Bhā g. 2. 7. 41 & 10. 14. 7.

TEXT 203

At this time, Ś rī vā sa Ṭ hā kura smiled and told Svarū pa Dā modara, “My dear sir, please hear! Just see how opulent my goddess of fortune is!

Anubh.: Ś rī vā sa Ṭ hā kura, demonstrating pride in his situation in the opulence of dā sya-rasa and knowing Svarū pa Dā modara to be a Vrajavā sī devoid of any opulence, started a quarrel of love. (! )

TEXT 205

vṛ ndā vana dekhibā re gelā jagannā tha

ś uni’ lakṣ mī -devī ra mane haila ā soyā tha

... ā soyā tha—envy.

“When Jagannā tha decided to see Vṛ ndā vana, He went there, and upon hearing this, the goddess of fortune experienced restlessness and jealousy.

A. -pr. -bh.: ā soyā tha — asū yā -yukto, sv-alpa-ī rṣ ā -yukto (= possessed of slight malice)

Anubh.: ā soyā tha — asvasti, asvā sthyo, cā ñ calyo (= uneasiness, ailment, restlessness)

TEXT 215

nā rada-prakṛ ti ś rī vā sa kare parihā sa

ś uni’ hā se mahā prabhura yata nija-dā sa

... nija-dā sa—personal servants.

Ś rī vā sa Ṭ hā kura, who was enjoying the mood of Nā rada Muni, thus made jokes. Hearing him, all the personal servants of Ś rī Caitanya Mahā prabhu began to smile.

Anubh.: nija-dā sa — ś rī -rā dhā -govinda-sevaika-niṣ ṭ ha rā gā tmika-bhakti-rata gadā dharā di prabhur ś akti-varga [ = devotees headed by Gadā dhara, belonging to the category of the Lord’s energy, attached to spontaneous devotion and fixed in exclusive service to Ś rī Rā dhā -Govinda].

TEXTS 220-226

“Ś rī Kṛ ṣ ṇ a is the Supreme Personality of Godhead, full of all opulences, and His complete opulences are exhibited only in Vṛ ndā vana-dhā ma.

“Vṛ ndā vana-dhā ma is made of transcendental touchstone. Its entire surface is the source of all valuable jewels, and the cintā maṇ i stone is used to decorate the lotus feet of the maidservants of Vṛ ndā vana...

“In Vṛ ndā vana, the natural speech of the people sounds like music, and their natural motion resembles a dance...

“The gopī s there are also goddesses of fortune, and they surpass the goddess of fortune who abides in Vaikuṇ ṭ ha. In Vṛ ndā vana, Lord Kṛ ṣ ṇ a is always playing His transcendental flute, which is His dear companion.

Anubh.: See Ā di 5. 20-22.

TEXT 227

ś riyaḥ kā ntā ḥ kā ntaḥ parama-puruṣ aḥ kalpa-taravo...

“‘The damsels of Vṛ ndā vana, the gopī s, are super goddesses of fortune. The enjoyer in Vṛ ndā vana is the Supreme Personality of Godhead, Kṛ ṣ ṇ a. The trees there are all wish-fulfilling trees, and the land is made of transcendental touchstone. The water is all nectar, the talking is singing, the walking is dancing, and the constant companion of Kṛ ṣ ṇ a is His flute. The effulgence of transcendental bliss is experienced everywhere. Therefore Vṛ ndā vana-dhā ma is the only relishable abode. ’

Anubh.: See Anubh. to Madhya 8. 138 [rendered as Purp. by Ś P; in that Anubh. there is also a cross-reference to Madhya 14. 219-226]

TEXTS 240-241

Then there arrived in large quantities a variety of food that had been offered to Ś rī Jagannā tha and a variety that had been offered to the goddess of fortune.

Ś rī Caitanya Mahā prabhu finished His afternoon lunch, and after His evening bath He went to see Lord Jagannā tha.

A. -pr. -bh.: Some rogues (hypocritical dharma-dhvajī s) dispute taking prasā dam of Lakṣ mī devī. Look here – Ś rī Caitanya Mahā prabhu Himself, along with His devotees, was taking that prasā dam. The purport of this is that all ś aktis, beginning with Lakṣ mī, are maidservants of the Lord.

When the personified energies are being offered a delicious food by devotees, they serve their Lord, Ś rī Kṛ ṣ ṇ a, by offering it to Him. For that reason are the food remnants of male and female servants of the Lord called bhagavat prasā dā nna and are always worshipable. There is still one more point to be considered in this connection – it is highly doubtful whether bhagavac-chaktis accept any food offered by Mā yā vā dī atheists; thus for Vaiṣ ṇ ava devotees, only the foodstuffs offered to male and female servants of the Lord by pure Vaiṣ ṇ avas are worthy of being served. (! )

TEXT 244

ā ra dine jagannā thera bhitara-vijaya

rathe caḍ i’ jagannā tha cale nijā laya

... bhitara-vijaya—coming out from inside the temple; ...

The next day Lord Jagannā tha came out from the temple and, riding on the car, returned to His own abode.

A. -pr. -bh.: After the Deities of Jagannā tha, Balarā ma and Subhadrā are removed from the jewelled dais in the Guṇ ḍ icā mandira, they stay in the Jagamohana area [between the temple and the kī rtana hall] and then at one point they are raised to their carts. The time they spend in the Jagamohana area after being taken away from the jewelled altar is called bhitara-vijaya[= going to the middle].

TEXT 249

ei paṭ ṭ a-ḍ orī ra tumi hao yajamā na

prati-vatsara ā nibe ‘ḍ orī ’ kariyā nirmā ṇ a

... yajamā na—the worshipers; ...

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