Sri Caitanya Caritamrta
Madhya 1.144
upavane kaila prabhu vividha vilasa
prabhura abhisheka kaila vipra krishnadasa
TRANSLATION
In the garden along the road from the Jagannatha temple to Gundica, Lord Caitanya Mahaprabhu performed various pastimes. A brahmana named Krishnadasa performed the bathing ceremony of Lord Sri Caitanya Mahaprabhu.
Madhya 1.145
gundicate nritya-ante kaila jala-keli
hera-pancamite dekhila lakshmi-devira keli
TRANSLATION
After dancing in the Gundica temple, the Lord sported in the water with His devotees, and on Hera-pancami day they all saw the activities of the goddess of fortune, Lakshmidevi.
Madhya 14.106
TEXT
‘hera-pancami’ra dina aila janiya
kasi-misre kahe raja sayatna kariya
TRANSLATION
Knowing that the Hera-pancami festival was drawing near, King Prataparudra attentively talked with Kasi Misra.
Madhya 14.107
kalya ‘hera-pancami’ habe lakshmira vijaya
aiche utsava kara yena kabhu nahi haya
TRANSLATION
“Tomorrow will be the function of Hera-pancami or Lakshmi-vijaya. Hold this festival in a way that it has never been held before.”
PURPORT
This Hera-pancami festival takes place five days after the Ratha-yatra festival. Lord Jagannatha has left His wife, the goddess of fortune, and gone to Vrindavana, which is the Gundica temple. Due to separation from the Lord, the goddess of fortune decides to come to see the Lord at Gundica. The coming of the goddess of fortune to Gundica is celebrated by Hera-pancami. Sometimes this is misspelled as Hara-pancami the section known as ativadi. The word hera means “to see” and refers to the goddess of fortune going to see Lord Jagannatha. The word pancami means “the fifth day” and is used because this takes place on the fifth day of the moon.
Madhya 14.108
mahotsava kara taiche visesha sambhara
dekhi’ mahaprabhura yaiche haya camatkara
TRANSLATION
King Prataparudra said, “Hold this festival in such a gorgeous way that upon seeing it, Caitanya Mahaprabhu will be completely pleased and astonished.
Madhya 14.109
thakurera bhandare ara amara bhandare
citra-vastra-kinkini, ara chatra-camare
TRANSLATION
“Take as many printed cloths, small bells, umbrellas and camaras as there are in my storehouse and in the Deity’s storehouse.
Madhya 14.110
dhvajavrinda-pataka-ghantaya karaha mandana
nana-vadya-nritya-dolaya karaha sajana
TRANSLATION
“Collect all kinds of small and large flags and ringing bells. Then decorate the carrier and have various musical and dancing parties accompany it. In this way decorate the carrier attractively.
Madhya 14.111
dviguna kariya kara saba upahara
ratha-yatra haite yaiche haya camatkara
TRANSLATION
“You should also double the quantity of prasada. Make so much that it will even surpass the Ratha-yatra festival.
Madhya 14.112
seita’ kariha,—prabhu lana bhakta-gana
svacchande asiya yaiche karena darasana
TRANSLATION
“Arrange the festival in such a way that Sri Caitanya Mahaprabhu may freely go with His devotees to visit the Deity without difficulty.”
Madhya 14.113
pratah-kale mahaprabhu nija-gana lana
jagannatha darsana kaila sundaracale yana
TRANSLATION
In the morning, Sri Caitanya Mahaprabhu took His personal associates with Him to see Lord Jagannatha at Sundaracala.
PURPORT
Sundaracala is the Gundica temple. The temple of Jagannatha at Jagannatha Puri is called Nilacala, and the temple at Gundica is called Sundaracala.
Madhya 14.114
nilacale aila punah bhakta-gana-sange
dekhite utkantha hera-pancamira range
TRANSLATION
Sri Caitanya Mahaprabhu and His personal devotees returned to Nilacala with great eagerness to see the Hera-pancami festival.
Madhya 14.115
kasi-misra prabhure bahu adara kariya
svagana-saha bhala-sthane vasaila lana
TRANSLATION
Kasi Misra received Caitanya Mahaprabhu with great respect, and taking the Lord and His associates to a very nice place, he had them seated.
Madhya 14.116
rasa-visesha prabhura sunite mana haila
ishat hasiya prabhu svarupe puchila
TRANSLATION
After taking His seat, Sri Caitanya Mahaprabhu wanted to hear about a particular mellow of devotional service; therefore, mildly smiling, He began to question Svarupa Damodara.
Madhya 14.117-118
yadyapi jagannatha karena dvarakaya vihara
sahaja prakata kare parama udara
tathapi vatsara-madhye haya eka-bara
vrindavana dekhite tanra utkantha apara
TRANSLATION
“Although Lord Jagannatha enjoys His pastimes at Dvaraka-dhama and naturally manifests sublime liberality there, still, once a year, He becomes unlimitedly eager to see Vrindavana.”
Madhya 14.119
vrindavana-sama ei upavana-gana
taha dekhibare utkanthita haya mana
TRANSLATION
Pointing out the neighboring gardens, Sri Caitanya Mahaprabhu said, “All these gardens exactly resemble Vrindavana; therefore Lord Jagannatha is very eager to see them again.
Madhya 14.120
bahira ha-ite kare ratha-yatra-chala
sundaracale yaya prabhu chadi’ nilacala
TRANSLATION
“Externally He gives the excuse that He wants to participate in the Ratha-yatra festival, but actually He wants to leave Jagannatha Puri to go to Sundaracala, Gundica temple, the replica of Vrindavana.
Madhya 14.121
nana-pushpodyane tatha khele ratri-dine
lakshmidevire sange nahi laya ki karane?
TRANSLATION
“The Lord enjoys His pastimes day and night in various flower gardens there. But why did He not take Lakshmidevi, the goddess of fortune, with Him?”
Madhya 14.122
svarupa kahe,—suna, prabhu, karana ihara
vrindavana-kridate lakshmira nahi adhikara
TRANSLATION
Svarupa Damodara replied, “My dear Lord, please hear the reason for this. Lakshmidevi, the goddess of fortune, cannot be admitted to the pastimes of Vrindavana.
Madhya 14.123
vrindavana-lilaya krishnera sahaya gopi-gana
gopi-gana vina krishnera harite nare mana
TRANSLATION
“In the pastimes of Vrindavana, the only assistants are the gopis. But for the gopis, no one can attract the mind of Krishna.”
Madhya 14.124
prabhu kahe,—yatra-chale krishnera gamana
subhadra ara baladeva, sange dui jana
TRANSLATION
The Lord said, “Using the car festival as an excuse, Krishna goes there with Subhadra and Baladeva.
Madhya 14.125
gopi-sange yata lila haya upavane
nigudha krishnera bhava keha nahi jane
TRANSLATION
“All the pastimes with the gopis that take place in those gardens are very confidential ecstasies of Lord Krishna. No one knows them.
Madhya 14.126
ataeva krishnera prakatye nahi kichu dosha
tabe kene lakshmidevi kare eta rosha?
TRANSLATION
“Since there is no fault at all in Krishna’s pastimes, why does the goddess of fortune become angry?”
Madhya 14.127
svarupa kahe,—premavatira ei ta’ svabhava
kantera audasya-lese haya krodha-bhava
TRANSLATION
Svarupa Damodara replied, “It is the nature of a girl afflicted by love to become immediately angry upon finding neglect on the part of her lover.”
Madhya 14.128
hena-kale, khacita yahe vividha ratana
suvarnera caudola kari’ arohana
TRANSLATION
While Svarupa Damodara and Sri Caitanya Mahaprabhu were talking, the procession of the goddess of fortune came by. She was riding upon a golden palanquin carried by four men and bedecked with a variety of jewels.
Madhya 14.129
chatra-camara-dhvaja patakara gana
nana-vadya-age nace deva-dasi-gana
TRANSLATION
The palanquin was also surrounded by people carrying umbrellas, camara whisks and flags, and it was preceded by musicians and dancing girls.
Madhya 14.130
tambula-samputa, jhari, vyajana, camara
sathe dasi sata, hara divya bhushambara
TRANSLATION
The maidservants were carrying water pitchers, camara whisks and boxes for betel nuts. There were hundreds of maidservants, all attractively dressed with valuable necklaces.
Madhya 14.131
alaukika aisvarya sange bahu-parivara
kruddha hana lakshmidevi aila simha-dvara
TRANSLATION
In an angry mood, the goddess of fortune arrived at the main gate of the temple accompanied by many members of her family, all of whom exhibited uncommon opulence.
Madhya 14.132
jagannathera mukhya mukhya yata bhritya-gane
lakshmidevira dasi-gana karena bandhane
TRANSLATION
When the procession arrived, the maidservants of the goddess of fortune began to arrest all the principal servants of Lord Jagannatha.
Madhya 14.133
bandhiya aniya pade lakshmira carane
core yena danda kari’ laya nana-dhane
TRANSLATION
The maidservants bound the servants of Jagannatha, handcuffed them, and made them fall down at the lotus feet of the goddess of fortune. Indeed, they were arrested just like thieves who have all their riches taken away.
PURPORT
When Lord Jagannatha starts His car festival, He gives assurance to the goddess of fortune that He will return the next day. When He does not return, the goddess of fortune, after waiting two or three days, begins to feel that her husband has neglected her. She naturally becomes quite angry. Gorgeously decorating herself and her associates, she comes out of the temple and stands before the main gate. All the principal servants of Lord Jagannatha are then arrested by her maidservants, brought before her and forced to fall down at her lotus feet.
Madhya 14.134
acetanavat tare karena tadane
nana-mata gali dena bhanda-vacane
TRANSLATION
When the servants fall down before the lotus feet of the goddess of fortune, they almost fall unconscious. They are chastised and made the butt of jokes and loose language.
Madhya 14.135
lakshmi-sange dasi-ganera pragalbhya dekhiya
hase mahaprabhura gana mukhe hasta diya
TRANSLATION
When Sri Caitanya Mahaprabhu’s associates saw such impudence exhibited by the maidservants of the goddess of fortune, they covered their faces with their hands and began to smile.
Madhya 14.136
damodara kahe,—aiche manera prakara
trijagate kahan nahi dekhi suni ara
TRANSLATION
Svarupa Damodara said, “There is no egoistic pride like this within the three worlds. At least I have neither seen nor heard of it.
Madhya 14.137
manini nirutsahe chade vibhushana
bhume vasi’ nakhe lekhe, malina-vadana
TRANSLATION
“When a woman is neglected and disappointed, out of egoistic pride she gives up her ornaments and morosely sits down on the floor, marking lines on it with her nails.
Madhya 14.138
purve satyabhamara suni evam-vidha mana
vraje gopi-ganera mana—rasera nidhana
TRANSLATION
“I have heard of this kind of pride in Satyabhama, Krishna’s proudest Queen, and I have also heard of it in the gopis of Vrindavana, who are the reservoirs of all transcendental mellows.
Madhya 14.139
inho nija-sampatti saba prakata kariya
priyera upara yaya sainya sajana
TRANSLATION
“But in the case of the goddess of fortune, I see a different kind of pride. She manifests her own opulences and even goes with her soldiers to attack her husband.”
PURPORT
After seeing the impudence of the goddess of fortune, Svarupa Damodara Gosvami wanted to inform Sri Caitanya Mahaprabhu about the superexcellence of the gopis’ loving affairs. He therefore said, “My Lord, I never experienced anything like the behavior of the goddess of fortune. We sometimes see a beloved wife becoming proud of her position and then frustrated due to some neglect. She then gives up caring for her appearance, accepts dirty clothes and morosely sits on the floor and draws lines with her nails. We have heard of such egoistic pride in Satyabhama and the gopis of Vrindavana, but what we see in the goddess of fortune here at Jagannatha Puri is completely different. She becomes very angry with her husband, and attacks Him with her great opulence.”
(A.C. Bhaktivedanta Swami Prabhupada. Sri Chaitanya Charitamrita Madhya-lila 14:106-139. texts and purports).
Madhya 14.140
prabhu kahe,—kaha vrajera manera prakara
svarupa kahe,—gopi-mana-nadi sata-dhara
TRANSLATION
Sri Caitanya Mahaprabhu said, “Please tell me of the varieties of egoistic pride manifest in Vrindavana.” Svarupa Damodara replied, “The pride of the gopis is like a river flowing with hundreds of tributaries.
Madhya 14.141
nayikara svabhava, prema-vritte bahu bheda
sei bhede nana-prakara manera udbheda
TRANSLATION
“The characteristics and modes of love are different in different women. Their jealous anger also takes on different varieties and qualities.
Madhya 14.142
samyak gopikara mana na yaya kathana
eka-dui-bhede kari dig-darasana
TRANSLATION
“It is not possible to give a complete statement about the different types of jealous anger manifest by the gopis, but a few principles may serve as an indication.
Madhya 14.143
mane keha haya ‘dhira,’ keha ta’ ‘adhira’
ei tina-bhede, keha haya ‘dhiradhira’
TRANSLATION
“There are three types of women experiencing jealous anger: sober women, restless women and women both restless and sober.
Madhya 14.144
‘dhira’ kante dure dekhi’ kare pratyutthana
nikate asile, kare asana pradana
TRANSLATION
“When a sober heroine sees her hero approaching from a distance, she immediately stands up to receive him. When he comes near, she immediately offers him a place to sit.
Madhya 14.145
hridaye kopa, mukhe kahe madhura vacana
priya alingite, tare kare alingana
TRANSLATION
“The sober heroine conceals her anger within her heart and externally speaks sweet words. When her lover embraces her, she also returns his embrace.
Madhya 14.146
sarala vyavahara, kare manera poshana
kimva solluntha-vakye kare priya-nirasana
TRANSLATION
“The sober heroine is very simple in her behavior. She keeps her jealous anger within her heart, but with mild words and smiles she refutes the advances of her lover.
Madhya 14.147
‘adhira’ nishthura-vakye karaye bhartsana
karnotpale tade, kare malaya bandhana
TRANSLATION
“The restless heroine, however, sometimes chastises her lover with cruel words, sometimes pulls his ear and sometimes binds him with a flower garland.
Madhya 14.148
‘dhiradhira’ vakra-vakye kare upahasa
kabhu stuti, kabhu ninda, kabhu va udasa
TRANSLATION
“The heroine who is a combination of sobriety and restlessness always jokes with equivocal words. She sometimes praises her lover, sometimes blasphemes him and sometimes remains indifferent.
Madhya 14.149
‘mugdha’, ‘madhya’, ‘pragalbha’,—tina nayikara bheda
‘mugdha’ nahi jane manera vaidagdhya-vibheda
TRANSLATION
“Heroines may also be classified as captivated, intermediate and impudent. The captivated heroine does not know very much about the cunning intricacies of jealous anger.
Madhya 14.150
mukha acchadiya kare kevala rodana
kantera priya-vakya suni’ haya parasanna
TRANSLATION
“The captivated heroine simply covers her face and goes on crying. When she hears sweet words from her lover, she is very satisfied.
Madhya 14.151
‘madhya’ ‘pragalbha’ dhare dhiradi-vibheda
tara madhye sabara svabhave tina bheda
TRANSLATION
“Both the intermediate and impudent heroines can be classified as sober, restless and both sober and restless. All their characteristics can be further classified in three divisions.
Madhya 14.152
keha ‘prakhara’, keha ‘mridu’, keha haya ‘sama’
sva-svabhave krishnera badaya prema-sima
TRANSLATION
“Some of them are very talkative, some are mild, and some are equipoised. Each heroine, according to her own character, increases Sri Krishna’s loving ecstasy.
Madhya 14.153
prakharya, mardava, samya svabhava nirdosha
sei sei svabhave krishne karaya santosha
TRANSLATION
“Although some of the gopis are talkative, some mild and some equipoised, all of them are transcendental and faultless. They please Krishna by their unique characteristics.”
Madhya 14.154
e-katha suniya prabhura ananda apara
‘kaha, kaha, damodara’,—bale bara bara
TRANSLATION
Sri Caitanya Mahaprabhu felt unlimited happiness upon hearing these descriptions, and He again and again requested Svarupa Damodara to continue speaking.
Madhya 14.155
damodara kahe,—krishna rasika-sekhara
rasa-asvadaka, rasamaya-kalevara
TRANSLATION
Damodara Gosvami said, “Krishna is the master of all transcendental mellows. He is the taster of transcendental mellows, and His body is composed of transcendental bliss.
Madhya 14.156
premamaya-vapu krishna bhakta-premadhina
suddha-preme, rasa-gune, gopika—pravina
TRANSLATION
“Krishna is full of ecstatic love and always subordinate to the love of his devotees. The gopis are very experienced in pure love and in the dealings of transcendental mellows.
Madhya 14.157
gopikara preme nahi rasabhasa-dosha
ataeva krishnera kare parama santosha
TRANSLATION
“There is no flaw or adulteration in the love of the gopis; therefore they give Krishna the highest pleasure.
PURPORT
Rasabhasa occurs when one’s relationship with Krishna is adulterated. There are different types of rasabhasa—first-, second-and third-class. The word rasa means “mellow,” and abhasa means “a shadow.” If one tastes one kind of mellow and something extra is imposed, that is uparasa. If something is derived from the original mellow, it is called anurasa. If something is appreciated that is far removed from the original mellow, it is called aparasa. Uparasa, anurasa and aparasa are, respectively, first-, second-and third-class rasabhasas. As stated in the Bhakti-rasamrita-sindhu (4.9):
purvam evanusishtena vikala rasa-lakshana
rasa eva rasabhasa rasa-jnair anukirtitah
syus tridhoparasas canurasas caparasas ca te
uttama madhyamah proktah kanishthas cety ami kramat
Madhya 14.158
evam sasankamsu-virajita nisah
sa satya-kamo ’nuratabala-ganah
sisheva atmany avaruddha-sauratah
sarvah sarat-kavya-katha-rasasrayah
TRANSLATION
“ ‘Lord Sri Krishna, who is the Absolute Truth, enjoyed His rasa dance every night during the autumn season. He performed this dance in the moonlight and with full transcendental mellows. He used poetic words and surrounded Himself with women who were very much attracted to Him.’
PURPORT
This verse is a quotation from Srimad-Bhagavatam (10.33.25). The gopis are all transcendental spirit souls. One should never think that the gopis and Krishna have material bodies. Vrindavana-dhama is also a spiritual abode, and there the days and nights, the trees, flowers, water and everything else are spiritual. There is not even a trace of material contamination. Krishna, who is the Supreme Brahman and Supersoul, is not at all interested in anything material. His activities with the gopis are all spiritual and take place within the spiritual world. They have nothing to do with the material world. Lord Krishna’s lusty desires and ail His dealings with the gopis are on the spiritual platform. One has to be transcendentally realized before even considering relishing the pastimes of Krishna with the gopis. One who is on the mundane platform must first purify himself by following the regulative principles. Only then can he try to understand Krishna and the gopis. Sri Caitanya Mahaprabhu and Svarupa Damodara Gosvami are here talking about the relationship between Krishna and the gopis: therefore the subject matter is neither mundane nor erotic. Being a sannyasi, Sri Caitanya Mahaprabhu was very strict in His dealings with women. Unless the gopis were on the spiritual platform, Sri Caitanya Mahaprabhu would have never even mentioned them to Svarupa Damodara Gosvami. Therefore these descriptions do not at all pertain to material activity.
Madhya 14.159
‘vama’ eka gopi-gana, ‘dakshina’ eka gana
nana-bhave karaya krishne rasa asvadana
TRANSLATION
“The gopis can be divided into a left wing and a right wing. Both wings induce Krishna to taste transcendental mellows by various manifestations of ecstatic love.
Madhya 14.160
gopi-gana-madhye sreshtha radha-thakurani
nirmala-ujjvala-rasa-prema-ratna-khani
TRANSLATION
“Of all the gopis, Srimati Radharani is the chief. She is a jewel mine of ecstatic love and the source of all purified transcendental conjugal mellows.
Madhya 14.161
vayase ‘madhyama’ tenho svabhavete ‘sama’
gadha prema-bhave tenho nirantara ‘vama’
TRANSLATION
“Radharani is grown up, and Her character is equipoised. She is always deeply absorbed in ecstatic love and always feeling in the mood of a left-wing gopi.
PURPORT
The left wing and right wing of the gopis has been explained by Rupa Gosvami in Ujjvala-nilamani. The left wing is described in this way:
mana-grahe sadodyukta
tac-chaithilye ca kopana
abhedya nayake prayah
krura vameti kirtyate
“A gopi who is always eager to be jealously angered, who is very enthusiastic for that position, who immediately becomes angry when defeated, who is never under the control of a hero and who always opposes Him is called vama, or a leftwing gopi.”
Srila Rupa Gosvami describes the right-wing gopis in this way:
asahya mana-nirbandhe
nayake yukta-vadini
samabhis tena bhedya ca
dakshina parikirtita
“A gopi who cannot tolerate womanly anger, who speaks suitable words to the hero and who is satisfied by His sweet words is called a dakshina, or a right-wing gopi.”
Madhya 14.162
vamya-svabhave mana uthe nirantara
tara madhye uthe krishnera ananda-sagara
TRANSLATION
“Because She is a left-wing gopi, Her womanly anger is always awakening, but Krishna derives transcendental bliss from Her activities.
Madhya 14.163
aher iva gatih premnah
svabhava-kutila bhavet
ato hetor ahetos ca
yunor mana udancati
TRANSLATION
“ ‘The progress of loving affairs between young couples is by nature crooked, like the movement of a snake. Because of this, two types of anger arise between young couples—anger with a cause and anger without a cause.’ ”
PURPORT
This is a quotation from Srila Rupa Gosvami’s Ujjvala-nilamani (Sringara-bheda-prakarana 102).
Madhya 14.164
eta suni’ bade prabhura ananda-sagara
‘kaha, kaha’ kahe prabhu, bale damodara
TRANSLATION
When Sri Caitanya Mahaprabhu heard these talks, His ocean of transcendental bliss increased. He therefore told Svarupa Damodara, “Go on speaking, go on speaking.” And thus Svarupa Damodara continued.
Madhya 14.165
‘adhirudha mahabhava’—radhikara prema
visuddha, nirmala, yaiche dasa-vana hema
TRANSLATION
“Srimati Radharani’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.
Madhya 14.166
krishnera darsana yadi paya acambite
nana-bhava-vibhushane haya vibhushite
TRANSLATION
“As soon as Radharani gets a chance to see Krishna, Her body is suddenly decorated with various ecstatic ornaments.
Madhya 14.167
ashta ‘sattvika’, harshadi ‘vyabhicari’ yanra
‘sahaja prema’, vimsati ‘bhava’-alankara
TRANSLATION
“The transcendental ornaments of Srimati Radharani’s body include the eight sattvikas, or transcendental symptoms, the thirty-three vyabhicaribhavas, beginning with harsha, or jubilation in natural love, and the twenty bhavas, or ecstatic emotional ornaments.
PURPORT
The thirty-three vyabhicari-bhavas, bodily symptoms manifest in ecstatic love, are as follows: (1) nirveda, indifference; (2) vishada, moroseness; (3) dainya, meekness; (4) glani, a feeling that one is in a faulty position; (5) srama, fatigue; (6) mada, madness; (7) garva, pride; (8) sanka, doubt; (9) trasa, shock; (10) avega, intense emotion; (11) unmada, craziness; (12) apasmara, forgetfulness; (13) vyadhi, disease; (14) moha, bewilderment; (15) mriti, death; (16) alasya, laziness; (17) jadya, invalidity; (18) vrida, shame; (19) avahittha, concealment; (20) smriti, remembrance; (21) vitarka, argument; (22) cinta, contemplation; (23) mati, attention; (24) dhriti, forbearance; (25) harsha, jubilation; (26) autsukya, eagerness; (27) augrya, violence; (28) amarsha, anger; (29) asuya, jealousy; (30) capalya, impudence; (31) nidra, sleep; (32) supti, deep sleep and (33) prabodha, awakening.
Madhya 14.168
‘kila-kincita’, ‘kuttamita’, ‘vilasa’, ‘lalita’
‘vivvoka’, ‘mottayita’, ara ‘maugdhya’, ‘cakita’
TRANSLATION
“Some of the symptoms critically explained in the following verses are kilakincita, kuttamita, vilasa, lalita, vivvoka, mottayita, maugdhya and cakita.
Madhya 14.169
eta bhava-bhushaya bhushita sri-radhara anga
dekhite uthale krishna-sukhabdhi-taranga
TRANSLATION
“When Srimati Radharani’s body manifests the ornaments of many ecstatic symptoms, the ocean of Krishna’s happiness immediately displays transcendental waves.
Madhya 14.170
kila-kincitadi-bhavera suna vivarana
ye bhava-bhushaya radha hare krishna-mana
TRANSLATION
“Now hear a description of different ecstasies, beginning with kila-kincita. With these ecstatic ornaments, Srimati Radharani enchants the mind of Krishna.
Madhya 14.171
radha dekhi’ krishna yadi chunite kare mana
dana-ghati-pathe yabe varjena gamana
TRANSLATION
“When Sri Krishna sees Srimati Radharani and wants to touch Her body, He prohibits Her from going to the spot where one can cross the River Yamuna.
Madhya 14.172
yabe asi’ mana kare pushpa uthaite
sakhi-age cahe yadi gaye hata dite
TRANSLATION
“Approaching Her, Krishna prohibits Srimati Radharani from picking flowers. He may also touch Her in front of Her friends.
Madhya 14.173
ei-saba sthane ‘kila-kincita’ udgama
prathame ‘harsha’ sancari—mula karana
TRANSLATION
“At such times, the ecstatic symptoms of kila-kincita are awakened. First there is jubilation in ecstatic love, which is the root cause of these symptoms.
PURPORT
Whenever Srimati Radharani leaves Her house, She is always well-dressed and attractive. It is Her womanly nature to attract Sri Krishna’s attention, and upon seeing Her so attractively dressed, Sri Krishna desires to touch Her body. The Lord then finds some fault in Her and prohibits Her from going to a river crossing and stops Her from picking flowers. Such are the pastimes between Srimati Radharani and Sri Krishna. Being a cowherd girl, Srimati Radharani regularly carries a container of milk and often goes to sell it on the other side of the Yamuna. To cross the river, She has to pay the boatman, and the spot where the boatman collects his fares is called the dana-ghati. Lord Sri Krishna stops Her from going, telling Her, “First You have to pay the fee; then You will be allowed to go.” This pastime is called dana-keli-lila. Similarly, if Srimati Radharani wants to pick a flower, Sri Krishna claims to be the garden’s proprietor and prohibits Her. This pastime is called kila-kincita. Radharani’s shyness arises due to Sri Krishna’s prohibitions, and ecstatic loving bodily symptoms called kila-kincita-bhava are manifest at this time. These ecstatic symptoms are explained in the following verse, which is from Srila Rupa Gosvami’s Ujjvala-nilamani (Anubhava-prakarana 44).
Madhya 14.174
garvabhilasha-rudita-
smitasuya-bhaya-krudham
sankari-karanam harshad
ucyate kila-kincitam
TRANSLATION
“ ‘Pride, ambition, weeping, smiling, envy, fear and anger are the seven ecstatic loving symptoms manifest by a jubilant shrinking away, and these symptoms are called kila-kincita-bhava.’
Madhya 14.175
ara sata bhava asi’ sahaje milaya
asta-bhava-sammilane ‘mahabhava’ haya
TRANSLATION
“There are seven other transcendental ecstatic symptoms, and when they combine on the platform of jubilation, the combination is called mahabhava.
Madhya 14.176
garva, abhilasha, bha ya, sushka-rudita
krodha, asuya haya, ara manda-smita
TRANSLATION
“The seven combined ingredients of mahabhava are pride, ambition, fear, dry artificial crying, anger, envy and mild smiling.
Madhya 14.177
nana-svadu ashta-bhava ekatra milana
yahara asvade tripta haya krishna-mana
TRANSLATION
“There are eight symptoms of ecstatic love on the platform of transcendental jubilation, and when they are combined and tasted by Krishna, the Lord’s mind is completely satisfied.
Madhya 14.178
dadhi, khanda, ghrita, madhu, marica, karpura
elaci-milane yaiche rasala madhura
TRANSLATION
“Indeed, they are compared to a combination of yogurt, candy, ghee, honey, black pepper, camphor and cardamom, which, when mixed together, are very tasty and sweet.
Madhya 14.179
ei bhava-yukta dekhi’ radhasya-nayana
sangama ha-ite sukha paya koti-guna
TRANSLATION
“Lord Sri Krishna is thousands upon thousands of times more satisfied when He sees Srimati Radharani’s face light up from this combination of ecstatic love than He is by direct union with Her.
This is further explained in the following verse from the Ujjvala-nilamani (Anubhava-prakarana 46) of Srila Rupa Gosvami.
Madhya 14.180
antah smeratayojjvala jala-kana-vyakirna-pakshmankura
kincit patalitancala rasikatotsikta purah kuncati
ruddhayah pathi madhavena madhura-vyabhugna-torottara
radhayah kila-kincita-stavakini drishtih sriyam vah kriyat
TRANSLATION
“ ‘May the sight of Srimati Radharani’s kila-kincita ecstasy, which is like a bouquet, bring good fortune to all. When Sri Krishna blocked Radharani’s way to the dana-ghati, there was laughter within Her heart. Her eyes grew bright, and fresh tears flowed from Her eyes, reddening them. Due to Her sweet relationship with Krishna, Her eyes were enthusiastic, and when Her crying subsided, She appeared even more beautiful.’
Madhya 14.181
bashpa-vyakulitarunancala-calan-netram rasollasitam
helollasa-caladharam kutilita-bhru-yugmam udyat-smitam
radhayah kila-kincitancitam asau vikshyananam sangamad
anandam tam avapa koti-gunitam yo ’bhun na gir-gocarah
TRANSLATION
“ ‘Agitated by tears, Srimati Radharani’s eyes were tinged with red, just like the eastern horizon at sunrise. Her lips began to move with jubilation and lusty desire. Her eyebrows curved, and Her lotus-like face smiled mildly. Seeing Radharani’s face exhibit such emotion, Lord Sri Krishna felt a million times happier than when He embraced Her. Indeed, Lord Sri Krishna’s happiness is not at all mundane.’ ”
PURPORT
This is a quotation from the Govinda-lilamrita (9.18).
Madhya 14.182
eta suni’ prabhu haila anandita mana
sukhavishta hana svarupe kaila alingana
TRANSLATION
Upon hearing this, Sri Caitanya Mahaprabhu became very happy, and, being absorbed in this happiness, He embraced Svarupa Damodara Gosvami.
Madhya 14.183
‘vilasadi’-bhava-bhushara kaha ta’ lakshana
yei bhave radha hare govindera mana?
TRANSLATION
Sri Caitanya Mahaprabhu then asked Svarupa Damodara, “Please speak of the ecstatic ornaments decorating the body of Srimati Radharani, by which She enchants the mind of Sri Govinda.”
Madhya 14.184
tabe ta’ svarupa-gosani kahite lagila
suni’ prabhura bhakta-gana maha-sukha paila
TRANSLATION
Being thus requested, Svarupa Damodara began to speak. All the devotees of Sri Caitanya Mahaprabhu were very happy to hear him.
Madhya 14.185
radha vasi’ ache, kiba vrindavane yaya
tahan yadi acambite krishna-darasana paya
TRANSLATION
“Sometimes when Srimati Radharani is sitting or when She is going to Vrindavana, She sometimes sees Krishna.
Madhya 14.186
dekhite nana-bhava haya vilakshana
se vailakshanyera nama ‘vilasa’-bhushana
TRANSLATION
“The symptoms of various ecstasies that become manifest at that time are called vilasa.
PURPORT
This is described in the following verse, taken from the Ujjvala-nilamani (Anubhava-prakarana 31).
Madhya 14.187
gati-sthanasanadinam
mukha-netradi-karmanam
tatkalikam tu vaisishtyam
vilasah priya-sangajam
TRANSLATION
“ ‘The various symptoms manifested in a woman’s face, eyes, and the other parts of her body and the way she moves, stands or sits when she meets her beloved are called vilasa.’ ”
Madhya 14.188
lajja, harsha, abhilasha, sambhrama, vamya, bhaya
eta bhava mili’ radhaya cancala karaya
TRANSLATION
Svarupa Damodara said, “Timidity, jubilation, ambition, respect, fear and the characteristics of the left-wing gopis were all ecstatic symptoms combined to agitate Srimati Radharani.
PURPORT
This is explained in the following verse found in the Govinda-lilamrita (9.11).
Madhya 14.189
purah krishnalokat sthagita-kutilasya gatir abhut
tirascinam krishnambara-dara-vritam sri-mukham api
calat-taram spharam nayana-yugam abhugnam iti sa
vilasakhya-svalankarana-valitasit priya-mude
TRANSLATION
“ ‘When Srimati Radharani saw Lord Krishna just before Her, Her progress stopped, and She assumed an attitude of opposition. Although Her face was slightly covered by a blue garment, Her two starry eyes were agitated, being wide and curved. Thus She was decorated with the ornaments of vilasa, and Her beauty increased to give pleasure to Sri Krishna, the Supreme Personality of Godhead.’
Madhya 14.190
krishna-age radha yadi rahe dandana
tina-anga-bhange rahe bhru nacana
TRANSLATION
“When Srimati Radharani stands before Krishna, She stands bent in three places—Her neck, waist and legs—and Her eyebrows dance.
Madhya 14.191
mukhe-netre haya nana-bhavera udgara
ei kanta-bhavera nama ‘lalita’-alankara
TRANSLATION
“When there is an awakening of various ecstatic features on Srimati Radharani’s face and in Her eyes, the lalita ornaments are manifest.
Madhya 14.192
vinyasa-bhangir anganam
bhru-vilasa-manohara
sukumara bhaved yatra
lalitam tad udahritam
TRANSLATION
“ ‘When the bodily features are delicate and expertly curved, and when the eyebrows are very beautifully agitated, the ornament of charm, called lalita alankara, is manifest.’
PURPORT
This verse is from Ujjvala-nilamani (Anubhava-prakarana 56).
Madhya 14.193
lalita-bhushita radha dekhe yadi krishna
dunhe dunha milibare hayena satrishna
TRANSLATION
“When Lord Sri Krishna happens to see Srimati Radharani decorated with these lalita ornaments, They both anxiously want to meet one another.
Madhya 14.194
hriya tiryag-griva-carana-kati-bhangi-sumadhura
calac-cilli-valli-dalita-ratinathorjita-dhanuh
priya-premollasollasita-lalitalalita-tanuh
priya-prityai sasid udita-lalitalankriti-yuta
TRANSLATION
“ ‘When Srimati Radharani was decorated with the ornament of lalita-alankara, just to increase Sri Krishna’s love, an attractive curve was manifest by Her neck, knees and waist. This was brought about by Her timidity and apparent desire to avoid Krishna. The flickering movements of Her eyebrows could conquer the powerful bow of Cupid. To increase the joy of Her beloved’s love, Her body was decorated with the ornaments of lalita-alankara.’
PURPORT
This verse is quoted from the Govinda-lilamrita (9.14).
Madhya 14.195
lobhe asi’ krishna kare kancukakarshana
antare ullasa, radha kare nivarana
TRANSLATION
“When Krishna comes forward and greedily snatches at the border of Radharani’s sari, She is actually very pleased within, but overtly She tries to stop Him.
Madhya 14.196
bahire vamata-krodha, bhitare sukha mane
‘kuttamita’-nama ei bhava-vibhushane
TRANSLATION
“This ecstatic dress of Srimati Radharani’s is called kuttamita. When it is manifest, She externally tries to avoid Krishna, and She apparently becomes angry, although She is very happy within.
Madhya 14.197
stanadharadi-grahane
hrit-pritav api sambhramat
bahih krodho vyathitavat
proktam kuttamitam budhaih
TRANSLATION
“ ‘When the border of Her sari and the cloth veiling Her face are caught, She externally appears offended and angry, but within Her heart She is very happy. Learned scholars call this attitude kuttamita.’
PURPORT
This is a quotation from Ujjvala-nilamani (Anubhava-prakarana 49).
Madhya 14.198
krishna-vancha purna haya, kare pani-rodha
antare ananda radha, bahire vamya-krodha
TRANSLATION
“Although Srimati Radharani was checking Her sari with Her hand, internally She was thinking, ‘Let Krishna satisfy His desires.’ In this way She was very pleased within, although She externally displayed opposition and anger.
Madhya 14.199
vyatha pana’ kare yena sushka rodana
ishat hasiya krishne karena bhartsana
TRANSLATION
“Srimati Radharani externally displays a kind of dry crying, as if She is offended. Then She mildly smiles and admonishes Lord Krishna.
Madhya 14.200
pani-rodham avirodhita-vancham
bhartsanas ca madhura-smita-garbhah
madhavasya kurute karabhorur
hari sushka-ruditam ca mukhe ’pi
TRANSLATION
“ ‘Actually She has no desire to stop Krishna’s endeavor to touch Her body with His hands, yet Srimati Radharani, whose thighs are like the trunk of a baby elephant, protests His advances and, sweetly smiling, admonishes Him. At such times She cries without tears on Her charming face.’
Madhya 14.201
ei-mata ara saba bhava-vibhushana
yahate bhushita radha hare krishna mana
TRANSLATION
“In this way, Srimati Radharani is ornamented and decorated with various ecstatic symptoms, which attract the mind of Sri Krishna.
Madhya 14.202
ananta krishnera lila na yaya varnana
apane varnena yadi ‘sahasra-vadana’
TRANSLATION
“It is not at all possible to describe the unlimited pastimes of Sri Krishna, even though He Himself describes them in His incarnation of Sahasra-vadana, the thousand-mouthed Sesha Naga.”
Madhya 14.203
srivasa hasiya kahe,—suna, damodara
amara lakshmira dekha sampatti vistara
TRANSLATION
This time, Srivasa Thakura smiled and told Damodara Pandita, “My dear sir, please hear! Just see how opulent my goddess of fortune is!
Madhya 14.204
vrindavanera sampad dekha,—pushpa-kisalaya
giridhatu-sikhipiccha-gunjaphala-maya
TRANSLATION
“As far as Vrindavana’s opulence is concerned, it consists of a few flowers and twigs, some minerals from the hills, a few peacock feathers and the plant known as gunja.
Madhya 14.205
vrindavana dekhibare gela jagannatha
suni’ lakshmi-devira mane haila asoyatha
TRANSLATION
“When Jagannatha decided to see Vrindavana, He went there, and upon hearing this, the goddess of fortune experienced restlessness and jealousy.
Madhya 14.206
eta sampatti chadi’ kene gela vrindavana
tanre hasya karite lakshmi karila sajana
TRANSLATION
“She wondered, ‘Why did Lord Jagannatha give up so much opulence and go to Vrindavana?’ To make Him a laughingstock, the goddess of fortune made arrangements for much decoration.
Madhya 14.207
“tomara thakura, dekha eta sampatti chadi’
patra-phala-phula-lobhe gela pushpa-badi
TRANSLATION
“Then the maidservants of the goddess of fortune said to the servants of Lord Jagannatha, ‘Why did your Lord Jagannatha abandon the great opulence of the goddess of fortune and, for the sake of a few leaves, fruits and flowers, go see the flower garden of Srimati Radharani?
Madhya 14.208
ei karma kare kahan vidagdha-siromani?
lakshmira agrete nija prabhure deha’ ani’ ”
TRANSLATION
“ ‘Your master is so expert at everything, but why does He do such things? Please bring your master before the goddess of fortune.’
Madhya 14.209
eta bali’ maha-lakshmira saba dasi-gane
kati-vastre bandhi’ ane prabhura nija-gane
TRANSLATION
“In this way all the maidservants of the goddess of fortune arrested the servants of Jagannatha, bound them around the waist and brought them before the goddess of fortune.
Madhya 14.210
lakshmira carane ani’ karaya pranati
dhana-danda laya, ara karaya minati
TRANSLATION
“When all the maidservants brought Lord Jagannatha’s servants before the lotus feet of the goddess of fortune, the Lord’s servants were fined and forced to submit.
Madhya 14.211
rathera upare kare dandera tadana
cora-praya kare jagannathera sevaka-gana
TRANSLATION
“All the maidservants began to beat the Ratha car with sticks, and they treated the servants of Lord Jagannatha almost like thieves.
Madhya 14.212
saba bhritya-gana kahe,—yoda kari’ hata
‘kali ani diba tomara age jagannatha,
TRANSLATION
“Finally all of Lord Jagannatha’s servants submitted to the goddess of fortune with folded hands, assuring her that they would bring Lord Jagannatha before her the very next day.
Madhya 14.213
tabe santa hana lakshmi yaya nija ghara
amara lakshmira sampad—vakya-agocara
TRANSLATION
“Being thus pacified, the goddess of fortune returned to her apartment. Just see! My goddess of fortune is opulent beyond all description.”
Madhya 14.214
dugdha auti’ dadhi mathe tomara gopi-gane
amara thakurani vaise ratna-simhasane
TRANSLATION
Srivasa Thakura continued to address Svarupa Damodara: “Your gopis are engaged in boiling milk and churning it to turn it into yogurt, but my mistress, the goddess of fortune, sits on a throne made of jewels and gems.”
Madhya 14.215
narada-prakriti srivasa kare parihasa
suni’ hase mahaprabhura yata nija-dasa
TRANSLATION
Srivasa Thakura, who was enjoying the mood of Narada Muni, thus made jokes. Hearing him, all the personal servants of Sri Caitanya Mahaprabhu began to smile.
Madhya 14.216
prabhu kahe,—srivasa, tomate narada-svabhava
aisvarya-bhave tomate, isvara-prabhava
TRANSLATION
Sri Caitanya Mahaprabhu then told Srivasa Thakura, “My dear Srivasa, your nature is exactly like that of Narada Muni. The Supreme Personality of Godhead’s opulence is having a direct influence upon you.
Madhya 14.217
inho damodara-svarupa—suddha-vrajavasi
aisvarya na jane inho suddha-preme bhasi’
TRANSLATION
“Svarupa Damodara is a pure devotee of Vrindavana. He does not even know what opulence is, for he is simply absorbed in pure devotional service.”
Madhya 14.218
svarupa kahe,—srivasa, suna savadhane
vrindavana-sampad tomara nahi pade mane?
TRANSLATION
Svarupa Damodara then retorted, “My dear Srivasa, please hear me with attention. You have forgotten the transcendental opulence of Vrindavana.
Madhya 14.219
vrindavane sahajika ye sampat-sindhu
dvaraka-vaikuntha-sampat—tara eka bindu
TRANSLATION
“The natural opulence of Vrindavana is just like an ocean. The opulence of Dvaraka and Vaikuntha is not even to be compared to a drop.
Madhya 14.220
parama purushottama svayam bhagavan
krishna yahan dhani tahan vrindavana-dhama
TRANSLATION
“Sri Krishna is the Supreme Personality of Godhead full of all opulences, and His complete opulences are exhibited only in Vrindavana-dhama.
Madhya 14.221
cintamani-maya bhumi ratnera bhavana
cintamani-gana dasi-carana-bhushana
TRANSLATION
“Vrindavana-dhama is made of transcendental touchstone. Its entire surface is the source of all valuable jewels, and the cintamani stone is used to decorate the lotus feet of the maidservants of Vrindavana.
Madhya 14.222
kalpavriksha-latara—yahan sahajika-vana
pushpa-phala vina keha na mage anya dhana
TRANSLATION
“Vrindavana is a natural forest of desire trees and creepers, and the inhabitants do not want anything but the fruits and flowers of those desire trees.
Madhya 14.223
ananta kama-dhenu tahan phire vane vane
dugdha-matra dena, keha na mage anya dhane
TRANSLATION
“In Vrindavana there are cows that fulfill all desires [kama-dhenus], and their number is unlimited. They graze from forest to forest and deliver only milk. The people want nothing else.
Madhya 14.224
sahaja lokera katha—yahan divya-gita
sahaja gamana kare,—yaiche nritya-pratita
TRANSLATION
“In Vrindavana, the natural speech of the people sounds like music, and their natural motion resembles a dance.
Madhya 14.225
sarvatra jala—yahan amrita-samana
cid-ananda jyotih svadya—yahan murtiman
TRANSLATION
“The water in Vrindavana is nectar, and the brahmajyoti effulgence, which is full of transcendental bliss, is directly perceived there in its form.
Madhya 14.226
lakshmi jini’ guna yahan lakshmira samaja
krishna-vamsi kare yahan priya-sakhi-kaya
TRANSLATION
“The gopis there are also goddesses of fortune, and they surpass the goddess of fortune who abides in Vaikuntha. In Vrindavana, Lord Krishna is always playing His transcendental flute, which is His dear companion.
Madhya 14.227
sriyah kantah kantah parama-purushah kalpa-taravo
druma bhumis cintamani-gana-mayi toyam amritam
katha ganam natyam gamanam api vamsi priya-sakhi
cid-anandam jyotih param api tad asvadyam api ca
TRANSLATION
“ ‘The damsels of Vrindavana, the gopis, are super goddesses of fortune. The enjoyer in Vrindavana is the Supreme Personality of Godhead Krishna. 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 Krishna is His flute. The effulgence of transcendental bliss is experienced everywhere. Therefore Vrindavana-dhama is the only relishable abode.’
PURPORT
This is a quotation from Brahma-samhita (5.56).
Madhya 14.228
cintamanis carana-bhushanam angananam
sringara-pushpa-taravas taravah suranam
vrindavane vraja-dhanam nanu kama-dhenu-
vrindani ceti sukha-sindhur aho vibhutih
TRANSLATION
“ ‘The anklets on the damsels of Vraja-bhumi are made of cintamani stone. The trees are wish-fulfilling trees, and they produce flowers with which the gopis decorate themselves. There are also wish-fulfilling cows [kama dhenus], which deliver unlimited quantities of milk. These cows constitute the wealth of Vrindavana. Thus Vrindavana’s opulence is blissfully exhibited.’ ”
PURPORT
This is a verse written by Bilvamangala Thakura.
Madhya 14.229
suni’ premavese nritya kare srinivasa
kaksha-tali bajaya, kare atta-atta hasa
TRANSLATION
Srivasa then began to dance in ecstatic love. He vibrated sounds by slapping his armpits with the palms of his hands, and he laughed very loudly.
Madhya 14.230
radhara suddha-rasa prabhu avese sunila
sei rasavese prabhu nritya arambhila
TRANSLATION
Thus Sri Caitanya Mahaprabhu heard these discussions about the pure transcendental mellow of Srimati Radharani. Absorbed in transcendental ecstasy, the Lord began to dance.
Madhya 14.231
rasavese prabhura nritya, svarupera gana
‘bala’ ‘bala’ bali’ prabhu pate nija-kana
TRANSLATION
While Sri Caitanya Mahaprabhu was dancing in ecstatic love and Svarupa Damodara was singing, the Lord said, “Go on singing! Go on singing!” The Lord then extended His own ears.
Madhya 14.232
vraja-rasa-gita suni’ prema uthalila
purushottama-grama prabhu preme bhasaila
TRANSLATION
Thus Sri Caitanya Mahaprabhu’s ecstatic love was awakened by hearing the songs of Vrindavana. In this way He inundated Purushottama, Jagannatha Puri, with love of Godhead.
Madhya 14.233
lakshmi-evi yatha-kale gela nija-ghara
prabhu nritya kare, haila tritiya prahara
TRANSLATION
Finally the goddess of fortune returned to her apartment. In due course of time, as Sri Caitanya Mahaprabhu was dancing, afternoon arrived.
Madhya 14.234
cari sampradaya gana kari’ bahu sranta haila
mahaprabhura premavesa dviguna badila
TRANSLATION
After much singing, all four sankirtana parties grew fatigued, but Sri Caitanya Mahaprabhu’s ecstatic love increased twofold.
Madhya 14.235
radha-premavese prabhu haila sei murti
nityananda dure dekhi’ karilena stuti
TRANSLATION
While dancing absorbed in Srimati Radharani’s ecstatic love, Sri Caitanya Mahaprabhu appeared in Her very form. Seeing this from a distant place, Nityananda Prabhu offered prayers.
Madhya 14.236
nityananda dekhiya prabhura bhavavesa
nikate na aise, rahe kichu dura-desa
TRANSLATION
Seeing the ecstatic love of Sri Caitanya Mahaprabhu, Nityananda Prabhu did not approach but remained a little distance away.
Madhya 14.237
nityananda vina prabhuke dhare kon jana
prabhura avesa na yaya, na rahe kirtana
TRANSLATION
Only Nityananda Prabhu could catch Sri Caitanya Mahaprabhu, but the ecstatic mood of the Lord would not stop. At the same time, kirtana could not be continued.
Madhya 14.238
bhangi kari’ svarupa sabara srama janaila
bhakta-ganera srama dekhi’ prabhura bahya haila
TRANSLATION
Svarupa Damodara then informed the Lord that all the devotees were fatigued. Seeing this situation, Sri Caitanya Mahaprabhu came to His external senses.
Madhya 14.239
saba bhakta lana prabhu gela pushpodyane
visrama kariya kaila madhyahnika snane
TRANSLATION
Sri Caitanya Mahaprabhu then entered the flower garden with all His devotees. After resting there for some time, He finished His afternoon bath.
Madhya 14.240
jagannathera prasada aila bahu upahara
lakshmira prasada aila vividha prakara
TRANSLATION
Then there arrived in large quantities a variety of food that had been offered to Sri Jagannatha and a variety that had been offered to the goddess of fortune.
Madhya 14.241
saba lana nana-range karila bhojana
sandhya snana kari’ kaila jagannatha darasana
TRANSLATION
Sri Caitanya Mahaprabhu finished His afternoon lunch, and after His evening bath, He went to see Lord Jagannatha.
Madhya 14.242
jagannatha dekhi’ karena nartana-kirtana
narendre jala-krida kare lana bhakta-gana
TRANSLATION
As soon as He saw Lord Jagannatha, Sri Caitanya Mahaprabhu began to chant and dance. Afterward, accompanied by His devotees, the Lord enjoyed sporting in the lake called Narendra-sarovara.
Madhya 14.243
udyane asiya kaila vana-bhojana
ei-mata krida kaila prabhu ashta-dina
TRANSLATION
Then, entering the flower garden, Sri Caitanya Mahaprabhu took His meal. In this way He continuously performed all kinds of pastimes for eight days.
Madhya 14.244
ara dine jagannathera bhitara-vijaya
rathe cadi’ jagannatha cale nijalaya
TRANSLATION
The next day Lord Jagannatha came out from the temple and, riding on the car, returned to His own abode.
Madhya 14.245
purvavat kaila prabhu lana bhakta-gana
parama anande karena nartana-kirtana
TRANSLATION
As previously, Sri Caitanya Mahaprabhu and His devotees again chanted and danced with great pleasure.
Madhya 14.246
jagannathera punah pandu-vijaya ha-ila
eka guti patta-dori tanha tuti’ gela
TRANSLATION
During the Pandu-vijaya, Lord Jagannatha was carried, and while He was being carried, a bunch of silken ropes broke.
Madhya 14.247
pandu-vijayera tuli phati-phuti yaya
jagannathera bhare tula udiya palaya
TRANSLATION
When the Jagannatha Deity is carried, at intervals He is placed on cotton pads. When the ropes broke, the cotton pads also broke due to the weight of Lord Jagannatha, and the cotton floated in the air.
Madhya 14.248
kulina-grami ramananda, satyaraja khanna
tanre ajna dila prabhu kariya sammana
TRANSLATION
Ramananda and Satyaraja Khan were present from Kulina-grama, and Sri Caitanya Mahaprabhu, with great respect, gave them the following orders.
Madhya 14.249
ei patta-dorira tumi hao yajamana
prati-vatsara anibe ‘dori’ kariya nirmana
TRANSLATION
Sri Caitanya Mahaprabhu ordered Ramananda and Satyaraja Khan to become the worshipers of these ropes and every year bring silken ropes from their village.
PURPORT
It is understood that silken rope was being manufactured by the local inhabitants of Kulina-grama; therefore Sri Caitanya Mahaprabhu asked Ramananda Vasu and Satyaraja Khan to get ropes every year for Lord Jagannatha’s service.
Madhya 14.250
eta bali’ dila tanre chinda patta-dori
iha dekhi’ karibe dori ati dridha kari’
TRANSLATION
After telling them this, Sri Caitanya Mahaprabhu showed them the broken silken ropes, saying, “Just look at this sample. You must make ropes that are much stronger.”
Madhya 14.251
ei patta-dorite haya ‘sesha’-adhishthana
dasa-murti hana yenho seve bhagavan
TRANSLATION
Sri Caitanya Mahaprabhu then informed Ramananda and Satyaraja Khan that this rope was the abode of Lord Sesha, who expands Himself into ten forms and serves the Supreme Personality of Godhead.
PURPORT
For a description of Sesha Naga, refer to Adi-lila (5.123–124).
Madhya 14.252
bhagyavan satyaraja vasu ramananda
seva-ajna pana haila parama-ananda
TRANSLATION
After receiving orders from the Lord for the rendering of service, the fortunate Satyaraja and Ramananda Vasu were highly pleased.
Madhya 14.253
prati vatsara gundicate bhakta-gana-sange
patta-dori lana aise ati bada range
TRANSLATION
Every year thereafter, when the Gundica temple was being cleansed, Satyaraja and Ramananda Vasu would come with other devotees and with great pleasure bring silken rope.
Madhya 14.254
tabe jagannatha yai’ vasila simhasane
mahaprabhu ghare aila lana bhakta-gane
TRANSLATION
Thus Lord Jagannatha returned to His temple and sat on His throne while Sri Caitanya Mahaprabhu returned to His residence with His devotees.
Madhya 14.255
ei-mata bhakta-gane yatra dekhaila
bhakta-gana lana vrindavana-keli kaila
TRANSLATION
Thus Sri Caitanya Mahaprabhu showed the Ratha-yatra ceremony to His devotees and performed the Vrindavana pastimes with them.
Madhya 14.256
caitanya-gosanira lila—ananta, apara
‘sahasra-vadana’ yara nahi paya para
TRANSLATION
The pastimes of Lord Caitanya are unlimited and endless. Even Sahasravadana, Lord Sesha, cannot reach the limits of His pastimes.
Madhya 14.257
sri-rupa-raghunatha-pade yara asa
caitanya-caritamrita kahe krishnadasa
TRANSLATION
Praying at the lotus feet of Sri Rupa and Sri Raghunatha, always desiring their mercy, I, Krishnadasa, narrate Sri Caitanya-caritamrita, following in their footsteps.
Thus end the Bhaktivedanta purports to Sri Caitanya-caritamrita, Madhya-lila, Fourteenth Chapter, describing the Hera-pancami-yatra.