Tag Archive for: Mahanidhi Madan Gopal Das

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Chapter Three: Nama-aparadha

Mahanidhi Madan Gopal Das

Nama-aparadha is an utterance of the holy name that is made with enmity in the heart. It is the lowest form of chanting wherein one commits any of the ten offenses against the holy name. As long as one chants with offenses, it is absolutely impossible to attain love of God.

“Offenses against the holy name (nama-aparadha) are the most frightening of all kinds of sins and offenses. All other kinds of sins and offenses go away naturally and automatically as one utters harinama, but nama-aparadha does not go away so easily.” (Jaiva Dharma ch. 24)

The lives of Vijaya Kumara and Vrajanatha depicted in Jaiva Dharma show that continuous chanting of Hare Kṛṣṇa japa frees one from material desires, and quickly elevates one to the perfectional stage of kṛṣṇa-prema, pure love of God. If these signs of spiritual advancement are not manifesting, one can conclude that he is a nama-aparadhi. Such an offender must understand that the holy name is the only shelter for one who offends the holy name. Filled with repentance and remorse, one must beg the holy name to forgive him and accept him in His service once again.

“In the book Nāma-kaumudī, it is recommended that if one is an offender at the lotus feet of a Vaiṣṇava, he should submit to that Vaiṣṇava and be excused. Similarly, if one is an offender in chanting the holy name, he should submit to the holy name and thus be freed from his offenses.” (SB 7.5.23-24 p.)

Srila Bhaktisiddhanta Sarasvati Thakura eloquently explains the need to “welcome Kṛṣṇa properly” in the next quotation:

“Kṛṣṇa is sat-cit-ananda and that sat-cit-ananda will manifest in us as soon as we welcome the transcendental word. If we are sincere, He would come into our vision, and we would easily discover Him. We live in Kali-yuga, an atmosphere surcharged with erroneous impressions.

“So we cannot expect in the beginning to chant the Name properly without difficulty. We never welcome Kṛṣṇa properly by uttering His Name. In course of our chanting, hundreds of irrelevant things intervene due to our uncontrolled desires. We are full of many mundane impressions, so we must guard ourselves against committing the ten offenses while chanting the holy name of Hari.” (Prabhupada Sarasvati Thakura)

Definition of Nama-aparadha

The word aparadha is composed of two parts: apa–which means against, without, to take away, or give up; and radha–which means success, prosperity, to please, flow of affection. Literally the term nama-aparadha means to displease the holy name. In other words, Sri Kṛṣṇa, who is non-different from His holy name, becomes displeased and unhappy with our offensive behavior toward His nama-rupa. Nama-aparadha is an offense committed against the holy name, which acts against one’s spiritual success by taking the flow of one’s affection away from the Supreme Lord.

Some acaryas say the word “aparadha” means against or without Radha. Nama-aparadha, therefore, is the lowest type of chanting where Kṛṣṇa (nama) is without (apa) Radha (radha). Offenses to Kṛṣṇa’s holy name are also offenses against Radha, who represents the topmost expression of loving affection for Kṛṣṇa. Bhakti or devotion cannot exist without the presence of Srimati Radhika.

If a minor obstacle stands in the way, the name chanted becomes a semblance of the name (namabhasa), which awards benefits after some time. If a major obstacle stands in the way, the name chanted becomes nama-aparadha, which can only be overcome by constant chanting. Committing any one of the ten offenses can constitute a major obstacle to chanting the holy name and should be carefully avoided.

An excerpt from the book Art of Chanting

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Verses in Praise of the Holy Name

Mahanidhi Madan Gopal Das

When the sastras describe the glories of the holy name there is no exaggeration because they are not referring to the material sound, but to the spiritual sound that appears through the material sound by a qualified person at the time of chanting. Sastras are not referring to the material sound composed of the various letters and syllables. Simply reciting the external syllables of the holy name: ha re kṛṣ ṇa ha re rā ma is not the actual holy name.

Reading, meditating on, and memorizing a few of the following verses will increase one’s appreciation and attachment for chanting Kṛṣṇa’s holy name.

An excerpt from the book Art of Chanting

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Glories of the Holy Name: Gives Everlasting Wealth

Mahanidhi Madan Gopal Das

aparādha-śūnya ho’ye loho kṛṣṇa-nāma, kṛṣṇa mātā, kṛṣṇa pitā, kṛṣṇa dhana-prāna

Being careful to remain free of offenses, just take the holy name of Kṛṣṇa. Kṛṣṇa is your mother, Kṛṣṇa is your father, and Kṛṣṇa is the treasure of your life. (Gitavali, “Sri Nagar Kirtana”)

viceyāni vicāryāṇi, vicintyāni punaḥ punaḥ
kṛpaṇasya dhanānīva, tvan-nāmāni bhavantu naḥ

O Lord, just as a miser continually collects, counts and remembers his money, in the same way let us continually collect, count, and remember Your holy names. (Padyavali v. 30)

An excerpt from the book Art of Chanting

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Chapter Two: Glories of the Holy Name

One will strengthen his faith and determination to chant japa by repeatedly hearing the wonderful glories of the holy name, and by studying different slokas in praise of nama-bhajana. Such practices are endorsed by the previous acaryas such as Srila Bhaktisiddhanta Sarasvati Thakura who said, “Chant the nama-mahima (glories of the holy name). Practice that daily. I also do that. Harinama is our life.”

Whether chanted correctly or incorrectly, knowingly or unknowingly, carefully or carelessly, the all-powerful name of Kṛṣṇa will always give results. The unlimited glories of the holy name cannot be understood with logic, reason or intellect. Only by faith, devotion, and constant chanting can one realize the greatness of sri-nama. In this dark age of Kali, kṛṣṇa-nama is the easiest, quickest, safest and surest way to attain spiritual perfection in love of God. In the matter of self-realization, nama-japa is the “king of all sadhanas.”

Chanting Kṛṣṇa’s sweet names purifies the heart; sanctifies and steadies the mind; destroys the six enemies [lust, anger, greed, envy, illusion, madness]; stops birth and death; dissolves sins; scorches samskaras; annihilates attachment; induces detachment; uproots desires; empowers one; makes one fearless; removes illusion; bestows supreme peace; delivers prema; reveals the Lord and His dhama; shows one’s svarupa; showers bhakti-rasa; and engages one in his nitya-seva for the pleasure of Radha-Syama.

Nama Reveals the Spiritual Body

Srila Bhaktivinoda Thakura clearly explains that the experience of one’s internal spiritual form (siddha deha or svarupa), which is necessary for practicing raganuga-bhakti, is revealed by the grace of Kṛṣṇa’s holy name. Generally one realizes his spiritual form at the stage of bhava-bhakti. At this stage of perfection, which precedes prema-bhakti, Sri Kṛṣṇa’s suddha-sattva or svarupa sakti

(personal spiritual potency) is transmitted into the heart of the sadhaka from the heart of one of Kṛṣṇa’s eternal associates. This in turn reveals the specific attributes of one’s eternal spiritual form. By purely chanting the holy name, therefore, one can realize his spiritual body.

An excerpt from the book Art of Chanting.

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Radha Sakhis 64 Arts

Mahanidhi Madan Gopal Das

The Srimad Bhagavatam says that after 64 days and nights of lessons from Their Guru Sri Sandipani Muni,  Bhagavan Sri Krishna and Baladeva fully mastered the 64 arts, tau sanjagrhatuh ahah ratraih catuh shashtya kalah. (Srimad Bhagavatam 10. 45.35-36)

Jayadeva Goswami and the six Goswamis often glorify Srimati Radharani with the name Kalavati, which means that Sri Radha is fully skilled in all the 64 traditional arts. All the Vraja-gopis learn all the arts and sciences from Vrindavaneshvari Sri Radha.

In Radha Krishna Ganoddesha Dipika, Sri Rupa Gosvami describes the special talents of Srimati Radharani’s ashta-sakhis.

Lalita-sakhi:
Lalita is expert in bringing Radha-Madhava together and inciting Their conjugal battles. To support Radha’s cause she sometimes offends Sri Madhava. In Krishna conflicts, she leads the charge, and when needed Lalita discharges the most outrageous and haughty retorts. She holds Radha-Madhava’s flower umbrella, adorns Them with flowers, decorates Their resting bower, and oversees all the sakhis and manjaris of Vraja.

Visakha:
A very clever messenger, Visakha is the master of joking, laughter and merriment. Being expert in amorous diplomacy, Visakha often counsels Radha and Krishna. Visakha can conciliate an angry lover, bribe him and quarrel with him as needed to facilitate Radha Govinda’s joyful play.

Citra-sakhi:
Citra can detect hidden intentions in a love letter. She is a master cook who knows tastes just by glancing. She strikes water pots to make amazing music. Citra devi knows astronomy, astrology, raising domestic animals, gardening, collecting herbs and making tasty tangy nectar drinks.

Indulekha-sakhi:
She knows palmistry, snake charming, stringing necklaces, gemology and weaving cloth. Indulekha carries messages between the divine lovers and she knows Their secrets. She tastefully presents perfect ornaments and garments to Radha-Madhava.

Campakalata:
She is expert in persuasion, thwarting Radha’s rivals and at collecting forest fruits, roots and flowers. She is an artistic potter and a famous sweet maker. She protects all the trees, creepers and bushes of Vrndavana.

Rangadevi:
When Radha meets Krishna, Rangadevi provides unlimited gestures, words and jokes. She is a diplomat, a logician, and she knows a mantra to attract Krishna. For Lila Yugala’s pleasure, Ranga produces and offers perfumes, cosmetics, aromatic incense, coal for heating and wields fans for cooling. She is also an adept “animal trainer” in the sense that she can control the wild lions and deer in the forests of Vraja.

Tungavidya-sakhi:
She knows the eighteen branches of Vedic knowledge, politics, and rasa-sastras; teaches music, singing; plays the vina with great expertise, and choreographs all the dances and music at the rasa dance. She is an expert meeting arranger, and drinking water collector.

Sudevi-sakhi:
Sudevi is Radha’s hairdresser, masseuse, and make up artist. Sudevi cares for the birds and bees, and trains the parrots and roosters to sing and fight. She knows the arts of horticulture, starting fires, reading omens, forming leaf spittoons, playing music on bells and decorating couches. Sometimes Sudevi adopts a disguise to spy on Radha’s rivals.

Radha’s sakhis each know a variety of talents and skills which they display to nourish Sri Krishna’s relish of madhurya rasa. Sri Radha personally arranges for every newcomer manjari i.e. sadhana siddha manjari to learn all the traditional arts and sciences from Her trusted and talented sakhis. Thus Radha makes the nava dasi manjari qualified to serve Her and Her beloved Shyama.

In Sri Sankalpa Prakasha Stotram, Sri Raghunatha Dasa Goswami describes how a sadhana siddha manjari or kinkari maidservant of Srimati Radhika approaches different sakhis beginning with Sri Radha Herself to learn the various fine arts. From Sri Radha, the enthusiastic, excited and humble new manjari will learn how to write poems, plays, riddles and master the vina.

Visakha-sakhi teaches the newcomer manjari the arts of telling clever fragrant jokes, and singing sweet songs to entertain Radha-Madhava, especially during the Rasa dance. From the “sweet hands” of Campakalata sakhi, the nava-dasi, new manjari, learns the science of flavorful cooking to please the Playful Pair with a nectar conquering midday feast at Radha-kunda!

Citra sakhi happily teaches the new dasi the art of body painting to serve Yugala Kishora, especially after their exuberant amorous encounters in the bower cottages. Tungavidya sakhi will train the new manjari in 18 different arts and sciences including the rasa, niti, natya, and sangita shastras.

Indulekha will patiently instruct the new maidservant, nava dasi, to string beautiful necklaces of pearls, jewels, flowers and gunja beads to decorate Sri Sri Radha and Krishna at Radha-kunda during Their blissful midday pastimes, madhyahna-lila.

From Rangadevi the new manjari will learn to dance so perfectly that she will spin and swirl in step with Sriji and Shyama during the Rasa dance while simultaneously putting betel-leaves in Their mouths! From Sudevi, nava dasi manjari will learn the art of throwing dice so nicely that just by eye signals she will help Radhika defeat Krishna in playing dice.

The following description of the 64 arts comes from a purport of Brahma-samhita (v.37): While reading and reflecting upon these amazing skills, one should think that Sri Radha is the self-manifest origin of all these talents in their complete original form. Srimati Radharani has bestowed these arts upon Her dearest sakhis.

When one becomes spiritually perfect he/she will enter the prakata-lila, manifest pastimes, of Radha Govinda Yugala in Bhauma Vrindavana. Then as a sadhana siddha in manjari svarupa as Sri Radha’s loyal dasi or kinkari one will learn all these arts from various sakhis. May all the devotees dive deep into the unlimited ocean of Radha-Madhava’s sweet madhurya lilas which are full variety, excitement, fulfillment and never-ending loving bliss.

The Sixty-four Arts

(1) gīta—art of singing, composing songs, and articulating different melodies, notes, accents and meters.

(2) vādya—art of playing on the four types of musical instruments (wind, strings, percussion, metallic cymbals).

(3) nṛtya—art of dancing and moving the limbs in various symbolic expressions. It includes dancing with different rhythms, songs and melodies.

(4) nāṭya—art of writing theatrical dramas.

(5) ālekhya—art of drawing, calligraphy and painting pictures. It includes all forms from simple village arts up to the highest perfectional stage of masterful painting.

(6) viśeṣakacchedya—art of painting the face and body with various dots and designs of colored unguents and cosmetics.

(7) taṇḍula-kusuma-balī-vikāra—art of preparing auspicious offerings for worship with rice and flowers. It includes making paintings on the floor or ground with liquid paste of rice flour.

(8) puṣpāstaraṇa—art of making comfortable resting places by spreading flowers on the ground.

(9) daśana-vasanāṅga-rāga—art of coloring teeth, clothing and bodily limbs with cosmetics like saffron.

(10) maṇi-bhūmikā-karma—art of inlaying floors, courtyards and pathways with colorful mosaics of precious jewels.

(11) śayyā-racana—art of preparing different types of beds, complete with carpets, cushions, pillows, cloth coverings and decorations like tassels.

(12) udaka-vādya—art of making music in water. The cupped palms splash downward to produce the thumping sound of kettledrums, or the hand splashes sideways back and forth to simulate cymbals. Sometimes this art is said to be playing different pots filled with varying levels of water to produce melodious tunes.

(13) udaka-ghāta—art of splashing with water, and storing water in cisterns and reservoirs.

(14) citra-yoga—art of trimming, decorating and hanging pictures.

(15) mālya-grathana-vikalpa—art of stringing necklaces and weaving flower garlands for various uses.

(16) śekharāpīḍa-yojana—art of setting a crown upon the head, including turbans, and top-knots of flowers.

(17) nepathya-yoga—art of putting on costumes in the dressing room for theatrical performances. Includes scenic stage arrangements.

(18) karṇapātra-bhaṅga—art of decorating earlobe with flower or leaf-ornaments, and painting ornamental figures.

(19)sugandha-yukti—art of preparing and applying aromatics and perfumed cosmetics of various kinds. Includes sprinkling sandalwood pulp and water to produce a nice fragrance.

(20)bhūṣaṇa-yojana—art of beautifying the body and limbs with specialized types of ornaments and jewelry.

(21) indra-jāla—art of presenting stage music, illusions and jugglery.

(22)kauchumāra-yogā—art of appearing in various disguises.

(23) hasta-lāghava—art of sleight of hand.

(24) citra-śākāpūpa-bhakṣya-vikāra-kriyā—art of preparing varieties of salad, bread, cake and delicious food.

(25) pānaka-rasa-rāgāsava-yojana—art of preparing nectar drinks and tinging draughts with red color.

(26) sūcī-vāya-karma—art of needleworks, weaving, embroidery and tailoring.

(27) sūtra-krīḍā—art of manipulating puppets with strings.

(28) vīṇā-ḍamuraka-vādya—art of playing on lute and small x-shaped drum.

(29)prahelikā—art of making and solving riddles. (29-a) pratimālā—art of reciting verse for verse as a trial for memory or skill.

(30) durvacaka-yoga—art of skillfully uttering tongue-twisters that are difficult for others to repeat.

(31) pustaka-vācana—art of clearly and quickly reading and reciting books, including techniques of chanting and intoning.

(32)nāṭikākhyāyikā-darśana—art of enacting short plays and anecdotes.

(33) kāvya-samasyā-pūraṇa—art of completing verses after hearing only three lines. Includes solving crossword and various puzzles. This is usually played at the risk of losing a stake or paying a penalty.

(34) paṭṭikā-vetra-bāṇa-vikalpa—art of manufacturing armaments such as shield, staffs, bows and arrows.

(35) tarku-karma—art of making thread with a spinning wheel.

(36) takṣaṇa—art of wood-cutting and carpentry.

(37) vāstu-vidyā—art of architecture and engineering.

(38) raupya-ratna-parīkṣā—art of testing the authenticity of silver and jewels.

(39) dhātu-vāda—art of metallurgy and alchemy.

(40) maṇi-rāga jñāna—art of using dyes to alter the color of precious gemstones.

(41) ākara jñāna—art of mineralogy.

(42) vṛkṣāyur-veda-yoga—art of gardening and crossbreeding plants and trees for the purpose of obtaining Ayur Vedic medicines.

(43) meṣa-kukkuṭa-lāvaka-yuddha-vssidhi—art of training rams, cocks, and grouse to fight for sport.

(44) śuka-śārikā-prapālana (pralāpana)—art of teaching male and female parrots to speak and hold conversations with people.

(45) utsādana—art of skin care. Includes cleaning the skin with perfumed lotions, and using ointments for healing.

(46) keśa-mārjana-kauśala—art of expertly arranging the hair, including coloring and curling it in various ways.

(47) akṣara-muṣṭikā-kathana—art of speaking silently with sign language.

(48) mlecchita-kutarka-vikalpa—art of fabricating languages spoken in the indistinct ungrammatical manner of barbarians.

(49) deśa-bhāṣā-jñāna—art of knowing provincial dialects.

(50) puṣpa-śakaṭikā-nirmiti-jñāna—knowledge of building miniature carts with flowers.

(51) yantra-mātṛkā—science of drawing mystical diagrams for worship or for projecting powers.

(52) dhāraṇa-mātṛkā—art of preparing potent amulets worn for protection or other purposes.

(53) samvācya—art of conversation. Sometimes called saṁpātyam—art of splitting hard substances such as diamonds into smaller pieces

(54) mānasī kāvya-kriyā—art of composing poetry within the mind.

(55) kriyā-vikalpa—art of designing the performance of rites and ceremonial functions. Also the art of good management, that of accomplishing many things at once. Includes fortelling events by studying omens.

(56) chalitaka-yoga—art of playing tricks and practical jokes.

(57) abhidhāna-koṣa-cchando-jñāna—art of use dictionaries, word-usage, poetic meters, and lexicography.

(58) vastra-gopana—art of concealing the true nature of cloth, making it appear as made of a different or superior texture. For example, one may make coarse cotton appear as silk.

(59) dyūta-viśeṣa—art of knowing specific forms of gambling.

(60) ākarṣa-krīḍā—art of playing with magnet and magnetic phenomena. Includes hypnotism and the power of attracting others.

(61) bālaka-krīḍanaka—art of playing children’s games.

(62) vaināyikī vidyā—art of enforcing discipline by employing mystical charms. Includes understanding another’s psychic movements in order to influence their mind and induce them to act according to one’s own wishes.

(63) vaijayikī vidyā—art of gaining victory.

(64) vaitālikī vidyā—knowledge of artfully reciting the glories of great personalities. Includes knowing how to properly offer respects and compliments to others.

Sri Radha’s sixty-four arts ki jai! Sakhis Training Manjaris ki jai!

Jaya Jaya Sri Radhe!

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ISKCON & Raganuga Bhakti part 2

Mahanidhi Madan Gopal Das

Due to unclear verse translations and purports in Srila Prabhupada’s books like “Nectar of Devotion” and “Sri Chaitanya-caritamrita”, many ISKCON members misunderstand and misrepresent the authorized practice of raganuga-bhakti sadhana.

This post will cite these confusing translations and purports, and give clear explanations of the subject of raganuga-bhakti.

FREEDOM FROM IMPURITY?

Srila Prabhupada’s Nectar of Devotion: “We must always remember, however, that such eagerness to follow in the footsteps of the denizens of Vraja is not possible unless one is freed from material contamination.  In following the regulative principles of devotional service, there is a stage called anartha-nivrtti, which means the disappearance of all material contamination. 

“Sometimes someone is found imitating such devotional love, but factually he is not freed from anarthas or unwanted habits…When one is actually spontaneously attracted to the loving principles of the gopis, there will be found no trace of any mundane contamination in him.”

Clarification: In Raga-vartma-candrika (1.8) however, Visvanatha Cakravartipada explains that lobha, sacred greed, is not a black-and-white matter, that it is either absolute and complete, or there is none. Lobha is not necessarily a burning, all-consuming passion.

Visvanatha Cakravartipada: “It is described that the devotees on the raga-path gradually progress from the initial surrender to the feet of Sri Guru up to the stage of directly attaining the object of their desires.     

‘When the eye is smeared with medicinal ointment, its ability of perception becomes more and more refined, and accordingly it is able to perceive more and more subtle objects. Similarly, according to the degree of the mind’s having become purified by hearing and chanting of My purifying pastimes, all the subtle truths of reality become manifest in the heart of the sadhaka.’ (Srimad Bhagavatam 11.14.26)

“From these words of Sri Krishna, it is known that through sadhana-bhakti the consciousness of the sadhaka becomes more purified every day, and one gradually becomes more and more greedy.”

Srila Prabhupada: “In the stage of devotional service where regulative principles are followed, there is no necessity of discussing this love, for it must develop of itself at a more advanced stage.”

Clarification:  This is not stated by Sri Rupa Goswamipada.

Srila Prabhupada: “Therefore, in the beginning, everyone should strictly follow the regulative principles of devotional service, according to the injunctions of the scriptures and the spiritual master. Only after the stage of liberation from material contamination can one actually aspire to follow in the footsteps of the devotees in Vrindavan.”

Clarification: In Bhakti-rasamrita-sindhu (1.2.5), Sri Rupa Goswamipada says there are two kinds of sadhana, practice with the senses by souls that are still conditioned: vaidhi and raganuga. And nowhere it is said that raganuga bhakti is a post graduate state of vaidhi bhakti, or that it cannot be practiced until after liberation.

Visvanatha Cakravartipada states in his Raga Vartma Candrika (2.7): “Then it will be described how one, who has progressed on the path of raganuga-bhakti through the cessation of the evils (anartha-nivrtti), firmness (nistha), taste (ruci), and attachment (asakti) all the way to the attainment of ecstatic love (prema), will directly come to attain his desired object.”

RAGANUGA-BHAKTI BEGINS AT NISHTHA: TRUE OR FALSE?

Different acharyas following Sri Bhaktisiddhanta Sarasvati claim that raganuga-bhakti sadhana commences at the stage of nistha, ruci or even bhava, but there is not a word of evidence for that in the authorized scriptures on the topic, like Bhakti-rasamrita-sindhu or its commentaries, Bhakti Sandarbha, Madhurya Kadambini or Raga Vartma Candrika.

In his book “Sri Guru Parampara- Bhaktisiddhanta Saraswati Thakur, Heir to the Esoteric Life of Kedaranatha Bhaktivinoda”, Tripurari Swami says that “In Bhakti-sara-pradarshini (his commentary on Bhakti-rasamrita-sindhu), Visvanatha Cakravartipada tells us that in order to practice raganuga bhakti one must have attained the stage of nistha.”

CLARIFICATION: This is the verse referred to above quoted from Visvanatha Cakravartipada:

ragatmikaika -nistha -ye -vrajavasi  -janadayah
tesham -bhavaptaye -lubdho bhaved -atradhikaravan (Bhakti-rasamrita-sindhu 1.2.291):

“This is the definition of the ragatmika bhakti of the nitya siddha Vrajavasis.”

The words eka nistha (exclusively fixed, loyal) has been mistranslated by Tripurari Swami to refer to the adhikaravan, the jiva-candidate, and have been confused for the high stage of bhakti called nistha.

But this verse refers instead to the nitya siddha role models, the Vrajvasis, and means ‘exclusive fixation’ and not the stage of nistha that sadhakas must go through.

THE SIDDHA DEHA

In his translations of Sri Chaitanya-caritamrita (2.8.229; 2.22.155-158) Srila Prabhupada says to meditate on the siddha deha one needs to be ‘self-realized’, while such a word cannot be found in the original verses.

Narottama Dasa Thakur explains that meditation on the siddha deha is a regular sadhana: “Whatever you think of during your sadhana, you will attain in your siddhi-body. These are the ways of raga marga.” (Prema Bhakti Candrika 57)

“The treasure I covet during my sadhana I will receive in my siddha body. The only difference between the two is being ripe and unripe.” (Prema Bhakti Candrika 56)

This means that the difference between the struggling practitioner and the siddha is only in quantity and not in quality.

Mahanidhi Madan Gopal Das: Quality means way of bhajan for new rag bhakta and siddha is same both do Asta Kaliya Lila  smaran and seva in their manjari swarups. But amount of prem and absorption which means quantity is vastly different for siddha and beginner in raga bhakti.

Bhagavad Gita (8.6): “Whatever one contemplates throughout life is what one attains when one leaves the body.”

Srimad Bhagavatam (7.1.27): “The caterpillar imprisoned by a wasp in (its nest on) a wall, and constantly thinking of the latter through intense hate and fear, attains the form of the wasp.”

Bhakti-rasamrita-sindhu (1.2.295): “A person who desires loving attraction to His beloved Sri Krishna in Vraja must serve in allegiance to the Vrajvasis, both in the current practitioner’s body as well as in the spiritual, mentally conceived body, which is fit for serving Sri Krishna, seva -sadhaka -rupena -siddha -rupena -catra -hi.”

Visvanatha Cakravartipada tika: “Mental service must be rendered in the spiritual body, siddha-deha, in allegiance to Sri Radha, Lalita,  Visakha-sakhi, Sri Rupa Manjari and service in the current physical body must be rendered in allegiance to Vraja-people like Sri Rupa and Sanatana.

Srila Prabhupada translates Sri Chaitanya-caritamrita (2.22.154-155) as follows: “There are two processes by which one may execute this raganuga bhakti: external and internal. When self-realized, the advanced devotee externally remains like a neophyte and executes all the shāstric injunctions, especially those concerning hearing and chanting. But within his mind, in his original, purified, self-realized position, he serves Krishna in Vrindavan day and night.”

Clarification: The actual Bengali verse of Sri Chaitanya-caritamrita (2..22.154-155) says: “There are two kinds of devotion in practice — external and internal. In the external practitioner’s body devotional practices of hearing and chanting Krishna’s glories are performed, and internally, in the mentally conceived spiritual body, one renders mental service to Krishna in Vraja day and night.”

The term ‘self-realized’ mentioned in Srila Prabhupada’s translation is not in the original Bengali sloka. Besides, it is a bit too extreme for a description of raganuga-bhakti sadhana because this verse appears in the sadhana bhakti chapter of Bhakti-rasamrita-sindhu. Nevertheless, one indeed needs to be fairly advanced to meditate on one’s siddha deha.

In Bhakti Sandarbha (276), Sri Jiva Goswamipada says, “Smaranam requires a pure heart, smaranam -tu shuddha -antah -karanatam -apeksate.”

All the elaborations of Visvanatha Cakravartipada in Madhurya Kadambini on how far up anarthas persist (up to the stage of prema) are nicely summarized by Sri Rupa Goswamipada in a single verse of Bhakti-rasamrita-sindhu (2.1.276):

“Sadhakas who have developed rati [bhava] for Krishna but have not completely extinguished the anarthas are qualified to see Krishna directly.”

Clarification: This verse obviously refers to subtle anarthas. It also dismisses claims that one is unqualified to meditate, what to speak of realize the spiritual body, while anarthas are still there. [content courtesy Sri Advaita Dasji]

Raganuga-bhakti ki jai! Jai Jai Sri Radhe!

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ISKCON & Raganuga Bhakti part 1

Mahanidhi Madan Gopal Das

Due to unclear verse translations and purports in Srila Prabhupada’s books like “Nectar of Devotion” and “Sri Chaitanya-caritamrita”, many ISKCON members misunderstand and misrepresent the authorized practice of raganuga-bhakti sadhana.

This post will cite these confusing translations and purports, and give clear explanations of the subject of raganuga-bhakti.

WHAT IS RAGATMIKA AND WHAT IS RAGANUGA?

In order to have a clear understanding about raganuga it is important to understand raga and ragatmika. For various reasons these terms have been somewhat conflated and confused in ISKCON.

Bhakti-rasamrita-sindhu (1.2.272) says:

“Raga is complete absorption in one’s beloved ishta-devata. Bhakti that is impelled exclusively by such a thirst is called ragatmika-bhakti.”

“The absorption described above as ragatmika bhakti is only found in Krishna’s eternal associates in Vraja. Raganuga-bhakti is defined as that bhakti which follows after the ragatmika-bhakti which manifests distinctively in the inhabitants of Vraja. (Bhakti-rasamrita-sindhu 1.2.270)

Here are of some of the unclear translations in Nectar of Devotion Ch. 15, entitled “Spontaneous Devotional Service” that have led to much confusion:

“The examples of spontaneous devotional service can be easily seen in Krishna’s direct associates in Vrindavan. The spontaneous dealings of the residents of Vrindavan in relationship with Krishna are called raganuga.”

CLARIFICATION: The proper term here should be ragatmika, rather than raganuga.

In the next paragraph Srila Prabhupada says, “Srila Rupa Goswami has defined raganuga bhakti as spontaneous attraction for something while completely absorbed in thoughts of it.” 

CLARIFICATION: The word here should be raga, not raganuga bhakti.

The terms ragatmika and raganuga have been translated identically and even used interchangeably in Srila Prabhupada’s books.

Thus, it is not surprising that most ISKCON devotees mistakenly think that raganuga-bhakti sadhana is a highly elevated stage of bhakti which is only achieved in a completely purified stage.

DISCREPANCIES BETWEEN Srila Prabhupada’s ‘NECTAR OF DEVOTION’ AND THE TEACHINGS OF THE PREVIOUS ACARYAS:

Srila Prabhupada gives his own definition of rasa in the preface of the Nectar of Devotion: “That force which drives the philanthropist, the householder and the nationalist is called rasa.”

Clarification: This definition of rasa has nothing to do with what Sri Rupa Goswamipada says in Bhakti-rasamrita-sindhu. He says rasa is produced by combining a sthayi bhava, then vibhava, anubhava, sancari bhava and sattvik-bhava.

QUALIFICATION FOR RAGANUGA-BHAKTI

Raganuga bhakti means allegiance to the eternally perfect ragatmika-devotees of Vraja. This is the teaching of Sri Rupa Goswamipada in Bhakti-rasamrita-sindhu (1.2.271-272):

“Before we speak of ragatmika bhakti and raganuga bhakti we must first know what is raga. Raga is that deep natural loving thirst which causes one to become completely absorbed in one’s beloved Thakurji.”

Sri Jiva Goswamipada has defined raga and raganuga as follows (Bhakti Sandarbha 310):  Raga means the strong and natural desire of a sense-enjoyer for his beloved sense-objects. The senses, like the eyes, are naturally attracted to their objects, such as beautiful forms, and they need no encouragement in this.

In the same way, when a devotee’s heart is naturally attracted to Sri Krishna and one has a deep thirst for Sri Krishna then this is called raga.

When a mere ray of the nectar-moon of such raga falls on the crystal-like hearts of those devotees who only have some taste for a particular raga but do not possess that raga itself yet, then the heart rejoices and as a result of hearing from the scriptures and saints taste will be born within the heart of such a devotee for the devotional expertise of a ragatmika bhakta.

This means that ruci (taste) will be born within the heart when we hear about the loving devotional expertise of a ragatmika Vraja-bhakta from the scriptures or from the mouth of a saint whose heart is pure, that is, free from lust, anger and envy. The devotion which follows the raga of a ragatmika Vraja-devotee along with ruci is called raganuga bhakti.”

Both the vaidhi-devotee and the raga-devotee may begin the path of devotion from the stage of anartha nivrtti, cessation of unwanted habits, progressing through the stages that have been described by Sri Rupa Goswamipada in Bhakti-rasamrita-sindhu (1.4.15-16) : adau –shraddha -tatha -sadhu -sango’tha –bhajana -kriya.

The difference between them lies not in personal purity, but in their mood.  Sri Rupa Goswamipada writes in Bhakti-rasamrita-sindhu  (1.2.291): “Those who are anxious (‘greedy’) to attain the mood of the eternal, exclusively fixed-up  ragatmika Vrajavasis are eligible to enter into raganuga-bhakti.”

YOU CAN’T LEARN RAGA BHAKTI FROM BOOKS

One cannot learn vaidhi bhakti from the guru, and then just learn raganuga-bhakti from books because your guru did not teach you raganuga bhakti.

Sri Raghunatha Das Goswamipada  says (Sva-sankalpaprakash-stotra 1):  “How can one enter into the Shyam ocean without having conversed with a devotee whose heart is steeped in love for Radha  [a raganuga-bhakta]?”

Visvanatha Cakravartipada writes in his Raga Vartma Candrika (1.6). “There are two causes for the appearance of sacred greed necessary to practice raganuga-bhakti: The mercy of Bhagavan Sri Krishna or the mercy of an anuragi devotee. There are again two kinds of mercy bestowed by a devotee: praktana and adhunika.

Praktana means mercy bestowed by a raganuga bhakta in a previous life, and adhunika is mercy bestowed in the present birth. The praktana-devotee takes shelter of the lotus feet of a raganuga guru after the sacred greed has arisen in him, the adhunika will get that sacred greed after surrendering to the feet of such a guru.”

[content courtesy Sri Advaita Dasji]

Raganuga-bhakti ki jai! Jai Jai Sri Radhe!

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Krishna Nectar Lila 68 – “Vrishabhanu Hosts Nanda Baba part one”

Mahanidhi Madan Gopal Das

Once upon a time, the illustrious and powerful King Vrsabhanu met with his ministers to discuss inviting Vrajaraja Nanda and his family for a visit. With all intelligence Vrsabhanu Maharaja submissively upheld the family traditions, and executed them in a wonderful beautiful way. He desired to celebrate the festival in grand style, and He wanted Radhika, the embodiment of the art of cooking, to prepare Her finest dishes.

He sent a nursemaid’s daughter named Sucarita, who possessed good character and auspicious qualities, to convey his plan to Radha. Coming before Radha, Sucarita said, “Your parents want You to prepare a grand feast for the upcoming visit of the king of Vrndavana. I will not leave here until I see You depart for Your father’s palace.” As the sakhis happily worship Radhika, She fills them with joy in return.

Sucarita also addressed the other sakhis attending Radhika, “Listen Syame! Radha’s father wants you to give up your pretension of laziness and help the other sakhis. It will be good for you to uphold the etiquette of family traditions. O Visakhe! You should also bring your friend Lalita who always exhibits a playful nature.”

Smiling, Lalita replied to Sucarita, “O auspicious one! Why are we suddenly invited to a festival?”

Sucarita replied, “It is not a surprise event. When the king of Vrndavana celebrated Krishna’s birthday he invited everyone to participate. After attending this mahotsava, King Vrsabhanu got the idea to hold a similar festival in his palace. So naturally he thought to invite the king of the cowherd men who possesses pure consciousness. After riding in the chariot of the mind for long time, this joyful festival is about to be held. It will definitely be an ecstatic event.”

Syama-sakhi said, “O one who excels all in good qualities! No doubt it will be a wonderful festival. Who will not enjoy great bliss by attending this rewarding festival? We must immediately start preparing, since this is the order of Radha’s father.”

Then all the gopis went to the magnificent palace of King Vrsabhanu. It seemed that the embodiment of all joyous festivals had manifested there. King Vrsabhanu welcomed the sakhis, “Are you all feeling happy?” After Radhika paid obeisances, He smelled Her head and said, “O auspicious one! Please use all Your cooking skills to make very delicious and tempting preparations. Surely Your lotus hands will attain perfection by cooking this feast. Tomorrow the king of the cowherd men, his wife, family, and Krishna and Balarama will take their meal here.”

Lalita said, “O father! Have you collected all the necessary ingredients?”

King Vrsabhanu replied, “Not just today, but for many days we have been arranging for this mahotsava. For a long time I have been eager to observe this. Now all the ingredients have been procured in unlimited amounts. You cannot see the end of them. Enter the storeroom and see for yourself. Please consider if all the proper divine articles and items have been assembled. If the best of anything remains to be collected, then please tell me and I will immediately get it.”

All the effulgent, slender-waisted sakhis like Lalita, Visakha, and others expert in the art of cooking met and joyfully entered the enchanting kitchen. After paying obeisances to Mother Kirtida the sakhis inspected the ingredients.

Meanwhile, Krishna returned from the forest with the cows. Seeing her approaching son, Mother Yasoda, who is glorified by all the demigods like Lord Siva and Brahma, anxiously desired to speak to Him. In a lovable, unpretentious way Krishna cast fresh, sidelong glances to reciprocate with each one of His friends. He walked with the gait of a lordly elephant in rut.

Yasoda said in a sweet voice, “O Vatsa! The honorable King Vrsabhanu, who is opulent with the wealth of many bulls, desires to host You tomorrow at his palace. After consulting his ministers and associates he sent an invitation. My darling, You should go there tomorrow to reciprocate with his loving request. Your friends will stay back to tend the cows. So tomorrow You need not go to the forest.”

Krishna, the ocean of compassion, said, “How is it possible for Me to go alone and eat without My friends? What is the use of such an invitation.” Yasoda, who fully knows the laws of social etiquette, replied, “Do not be distressed in Your mind. If You cannot give up Your attachment to Your friends, then just stay home with them.”

After she said this, Krishna, who removes the distress of everyone in the universe, forgot about going to the forest. Contemplating the upcoming festival, Krishna remembered the sweet name, form, and qualities of Radhika. As Krishna fixed His mind on Radhika, His affection for Radha increased more and more. Then Krishna meditated on all the wonderful preparations that Radha would make on the order of Her father. 

Excerpt: Sri Kavi Karnapura’s Ananda Vrindavana Campu ki jai!

Krishna Nectar Lilas ki jai! Jai Jai Sri Radhe!

All parts of Krishna Nectar Lilas can be found here.

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Srivasa Pandita

Mahanidhi Madan Gopal Das

Srivasa Pandita, fifth member of the Panca tattva, Sri Krsna Caitanya, Prabhu Nityananda, Sri Advaita, Gadadhara, Srivasadi, Gaura Bhakta Vrnda lived in Navadvipa before the advent of Lord Caitanya. Srivasa lead his brothers Sri Rama, Sri Nidhi, and Sripati in their devotional lives of singing Krsna’s names, worshiping the Lord, and bathing thrice daily in the Ganges.
Meeting with Sri Advaita Acarya Prabhu, they studied Bhagavatam and prayed for an incarnation of the Supreme Lord. Why did they pray? Because only an avatara of Krsna could reestablish Vaisnavism among the staunch atheists, logicians, and proud Panditas harassing Nadia at that time.
Malini, wife of Srivasa, was a constant friend of Saci Devi. She served Nimai as a nurse. When Lord Visvambhara appeared, the hearts of all the devotees were filled with parental affection (vatsalya bhava). Gauracandra loved Malini and Srivasa as a second mother and father.
Srivasa Angam was located two hundred yards north of Nimai’s bari (house). Srivasa Pandita’s palatial home had large comfortable rooms, a high protective boundary wall, and lush densely foliated gardens and groves. Everynight Sri Gauranga Mahaprabhu and His dearest friends would enjoy ecstatic kirtanas here and taste the mellows of Vrndavana.
Here, the raging Muslim Kazi broke the sacred mrdanga in his foolish attempt to stop Sri Krsna’s Sankirtana Movement. Henceforward, Srivasa Angam was known as Khol Banga Danga (place where the mrdanga was broken).
The Kazi passed an ordinance prohibiting sankirtana. Violators would be converted to the Muslim faith and lose their property. Although most Nadia vasis (residents of Navadvipa) panicked over this, Srivasa Pandita laughed at the fanatical law.
Within Srivasa Angam Lord Gauranga sundara showed His divine form to all His eternal associates. The house of Srivasa Pandita served as the headquarters of Gauranga’s Sankirtana Movement. The daily Bhagavatam classes, nightly kirtanas, and many confidential Vraja pastimes of Lord Gaura Raya occured here.
Srivasa Pandita and Sri Advaita Acarya, the learned chiefs of the brahmana community, dedicated all their energy to the Lord’s Hari Nama Sankirtana Movement. They surrendered their bodies, minds, homes, friends, family, and all possessions to Lord Gaura’s service. They knew no other gods or goddesses. Srivasa Pandita maintained his family, not because they were his relatives, but because they were Sri Caitanya’s loving servants.
Srivasa Pandita represents the marginal living entity (tatastha jiva). The devotees headed by Srivasa are described as Lord Caitanya’s smaller limbs (His face, eyes, hands, disc, other weapons.) They all took part in Sri Gaurasundara’s pastimes. With them Lord Gauranga spread the sankirtana movement. Srivasa Pandita is Narada Muni, an inter galactic preacher and constant associate of the Lord. His samadhi is in the 64 Samadhis Area.
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Best Form of Devotional Service

Mahanidhi Madan Gopal Das

Five hundred years ago in Jagannatha Puri, Sarvabhauma Bhattacarya asked Sri Caitanya Mahaprabhu which item is the most important form of devotional service.

bhakti-sādhana-śreṣṭha śunite haila mana
prabhu upadeśa kaila nāma-saṅkīrtana
harer nāma harer nāma, harer nāmaiva kevalam
kalau nāsty eva nāsty eva, nāsty eva gatir anyathā

Sarvabhauma Bhaṭṭācārya asked Caitanya Mahāprabhu, ‘Which item is most important in the execution of devotional service?’ Mahaprabhu replied that the most important item was the chanting of the holy name of the Lord. Then Mahaprabhu quoted a verse from Bṛhan-nāradīya Purāṇa:

‘In this age of quarrel and hypocrisy, the only means of deliverance is the chanting of the holy names of the Lord. There is no other way. There is no other way. There is no other way.’ (Caitanya Caritamrita,  Madhya 6.241-2)

Sri Caitanya Mahaprabhu always emphasized the supremacy of nama-bhajana in His preaching. In Jagannatha Puri, Mahaprabhu also instructed Sanatana Gosvami on this point:

bhajanera madhye śreṣṭha nava-vidhā bhakti
‘kṛṣṇa-prema’, ‘kṛṣṇa’ dite dhare mahā-śakti
tāra madhye sarva-śreṣṭha nāma-saṅkīrtana
niraparādhe nāma laile pāya prema-dhana

Of all the different spiritual practices, the nine forms of bhakti (sravanam, kirtanam, etc) are the best because they have great potency to deliver Kṛṣṇa and ecstatic love for Him. Of these nine practices, nama-sankirtana is the best. By chanting the holy name without offense, one very easily obtains the priceless treasure of kṛṣṇa-prema. (Caitanya Caritamrita, Antya 4.70-1)

“The Caitanya-caritāmṛta states that of the nine ways of devotional service to obtain love of God, the foremost is nāma-saṅkīrtana. One who chants nāma without offenses surely achieves love of God. Bhakti-sandarbha says no form of bhakti (i.e. mathurā-vāsa, sādhu-saṅga, srī-murti sevā, and bhāgavata-sravana) is complete without Śrī Kṛṣṇa nāma-saṅkīrtana. The Hari-bhakti-sudhodaya says that saṅkīrtana is the best and foremost of all spiritual practices for attaining Kṛṣṇa’s mercy. If the other practices of bhakti are helpful to it, they should then be accepted.” (Sri Caitanya’s Teachings)

“Sri-nama bhajana is more powerful than all other forms of bhajana (nava-vidha-bhakti). There is no difference between nama (the holy name) and nami (Bhagavan, who possesses the name.) If you chant nama without offense, you will very quickly attain all perfection. All nine forms of bhajana are automatically carried out by performing nama-bhajana. When one utters sri-nama, he is engaged in hearing and chanting (sravanam, kirtanam). As one continues to chant, one also remembers the pastimes of Kṛṣṇa, and within the mind one serves Kṛṣṇa’s lotus feet (pada-sevanam), worships Him (arcanam), offers prayers (vandanam), serves Kṛṣṇa in the mood of a servant (dasyam) or friend (sakhyam), and offers one’s very self to Kṛṣṇa (atma-nivedanam).” (Jaiva Dharma ch. 4)

Upon completing the description of the sixty-four limbs of devotional service, Śrīla Rūpa Gosvāmī mentions five of them as the most important items. Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura clearly shows how each one of these five most potent devotional processes points to the chanting of the holy name.

Sarasvatī Ṭhākura once explained that after careful consideration of the five limbs of bhakti, the best practice is srī-nāma bhajana. The next entry shows how chanting Kṛṣṇa’s holy names is the root of all nine forms of devotion and is glorified above all.

(1) Sādhu-saṅga­­­­­­­­­­­­­–associating with devotees is recommended to create a taste or inclination for srī-nāma bhajana. This comes from associating with holy saints who are attached to chanting Kṛṣṇa’s holy names with firm faith and who systematically chant the names.

(2) Bhāgavata-śravaṅa–hearing Śrīmad Bhāgavatam which itself declares sri-nāma bhajana to be the highest virtue. In its beginning, middle (sixth canto, Ājamila story), and end, the Śrīmad Bhāgavatam repeatedly stresses the efficacy of sri-nāma bhajana.

(3) Mathurā-vāsa–sri-nāma bhajana is situated at the root of residence in Vṛndāvana or Śrīdhāma Māyāpur. The sādhus living in or visiting these holy places are always engaged in nāma-saṅkīrtana.

(4) Śrī-murti-sevā–the service of Kṛṣṇa’s Deity is always conducted with mantras full of God’s names. The Hari-bhakti-vilāsa and Śrī Jīva Gosvāmī say that Deity service must be accompanied with chanting the Hare Kṛṣṇa mantra for it to be accepted.

(5) Nāma-saṅkīrtana–is directly chanting the holy names.

“Of all means of bhajana (devotional service), the name of Kṛṣṇa is most purely spiritual. In describing the absolute duties, Hari-bhakti-vilāsa states that singing and meditating on Śrī Nāma (Kṛṣṇa’s holy names) is the best devotional activity.

“The most advanced devotees who have fully dedicated themselves to Śrī Kṛṣṇa take exclusive refuge in kṛṣṇa-nāma amongst all other practices of devotion. There is no other performance so pure and spiritual as singing the name of Kṛṣṇa.” (Nama-bhajana)

According to Sri Jiva Gosvami, chanting the holy name is not only the greatest form of sadhana, but it must accompany every other form of devotional service: “Chanting the holy name of Kṛṣṇa is the chief means of attaining love of God. This chanting does not depend on any paraphernalia, nor birth in a good family. All the Vedas proclaim that by humility and meekness one attracts the attention of Kṛṣṇa. Therefore, chanting Hare Kṛṣṇa is the greatest sadhana (mahā-sādhanānam), and the fulfillment of all sacrifice, penance and austerities. Simply by chanting one achieves ecstatic love of God and complete perfection in life. Therefore, whatever one does in executing devotional service must be accompanied with the chanting of the holy name.” (Bhakti-sandarbha 270)

An excerpt from the book Art of Chanting