Govinda LilamritA

Introduction Sri Govinda-lilamrita is a lila smaran paddhati presenting Sri Chaitanya Devas mano'bhstha or inner desire to distribute Vraja prema bhakti. In Bhakti-rasmrita-sindhu, Sri Rupa Goswami advises:

Lord Vishnu (Sri Krishna) should always be remembered and never be forgotten; all shastric rules and prohibitions are subservient to this principle. (Brs 1.2.3) Govinda-lilamrita shows how to apply this instruction by providing us with details for remembering Sri Govindas pastimes. We learn from Caitanya-caritamrita, Antya 5, that Sriman Mahaprabhus formula for awarding Vraja prema centers around hearing, reciting, and remembering Sri Krishnas Vraja lilas. There the Lord himself states:

The heart-disease of lust will be destroyed in anyone who hears or recites with devotion the topics of Krishnas Rasa and other lilas with the gopis. The three modes of material nature will not affect such a self-contented person, and he shall obtain ujjvala madhura prema bhakti. This is the ultimate happiness, whereby one goes on constantly tasting Krishnas incomparable sweetness. (CC 3.5.4547) Thus I declare that if one hears or reads these topics, he shall achieve perfection, and being absorbed in the lila rasa, render seva both day and night. (CC 3.5.49) Hence, Sriman Mahaprabhu assures us that two important results occur through developing an attachment for Vraja lila katha: ! One attains madhura prema bhakti ! One becomes detached from material sense enjoyment. It is along these lines that Srila Kaviraj Goswami himself introduces his book in shloka 5 of the first chapter: Govinda-lilamrita is amazing because as one unceasingly hears, recites or contemplates it, the fascination of ones ears, tongue, and mind simply keep on increasing! And although these lilas are the mahaushadha (great medicine) that cures the bhava roga (material disease), they also produce effects that appear like a disease, namely bewilderment, blindness and a madness for prema! And though one goes on relishing these pastimes again and again, they go on producing profuse amounts of nectar which so soothe ones body and heart that even the desire to sip the gods elixir of immortality becomes forgotten! (GL 1.5) Govinda- lilamrita exclusively narrates Sri Krishnas Ashta kala lilas in Goloka Vrindavan. The term Ashta kala means eight time periods. In other words, through the eight divisions of a twentyfour hour day, Sri Krishna performs many select pastimes that make up his daily schedule. Sadhaka

bhaktas should meditate on these lilas, following the same sequence in which they unfold. Thus, at any given time of the day, the bhakta can tune in on the specific nitya lila that Krishna is performing. There are many benefits to this practice, but the most important is that we can relish the splendor of Goloka lila even while living in this world, and awaken the auspicious prema that makes us eligible to directly serve in those pastimes. Ashta kala lila smaran is not a new process. It has been mentioned in the ancient Vedic literatures like the Padma Purana and Sanat-kumAra-saMhitA. In the latter text, Sri Vrinda Devi describes these pastimes to Srila Narada Muni. In his book SmaraNa-maGgala, Sri Rupa Goswami follows this ancient tradition to establish the antaranga sadhana for the Gaudiya sampradaya. SmaraNa-maGgala consists of ten sutras, or nutshell verses, that briefly describe Radha Govindas Ashta kala lilas. When Sri Rupa observed Krishna Das Kavirajs exceptional poetic prowess, he ordered and blessed him to expand the SmaraNa-maGgala into a complete description of these pastimes. The Kaviraj followed Sri Rupas order: the original ten sutras can all be found in Govinda-lilamrita, but their lila rasa has been developed over twenty-three chapters. Hence, with the Goswamis blessings upon him, it is not at all surprising that Krishna Dass sweet narrations make one addicted to the joys of lila smaran. Govinda- lilamrita opens with the first verse of Sri Rupas Smaraa-mangala. Because this key shloka is the guideline for the entire book, let us try here to enter into its meaning: The sadhya (ultimate goal) of spiritual practices is prema seva to Radhas Prana-bandhu (lifelove), Sri Krishna. Although such prema seva is unknown to Brahma, Shiva or Ananta, it is available to those who follow in the Vrajavasis footsteps with a deep hankering. So, as I now begin to elaborate on this system, the manasi seva performed by those who travel on the raganuga bhakti path, I offer my prostrate pranams to Radha Krishnas pastimes, which unfold daily in Vraja. (GL 1.3) antaranga-sadhana = internal spiritual pranctice. Owing to the parama karuna of Sri Chaitanya and his followers, this priceless gift has been made available to the fallen people of this age. Caitanya-caritmrita, Srila Krishna Das states: When you realize that Krishna expects something more than vaidhi bhakti, and that by only following rules and regulations He will not be attracted, then it is inevitable that your attraction to perform raganuga bhakti will awaken. The spontaneous devotion of the Vrajavasis is called ragatmika. Only the most fortunate person hears about such devotion and becomes attracted. (2.22.147) Smarana-sadhana has two divisions: ! lila smaran, or remembering the pastimes ! manasi seva, or engaging in service to Radha Krishna within a mentally conceived siddha svarupa. The first process represents the beginning stage of raganuga sadhana, the latter is for advanced sadhakas. In his Harinama-cintamani, Srila Bhaktivinoda Thakur labels the first stage of raganuga

sadhana zravaNa-dazA, or the stage of hearing. When devotees discover their lobha for hearing Vraja lila katha awaken, the Govinda-lilamrita is the ideal basis for their sadhana. One should read this book as a daily practice so that the lilas may always fill the mind and mark ones heart. During the shravana dasha stage, it is also helpful to study rasa granthas such as Bhaktirasamrita and Ujjvala-nilamaNi, or other lila granthas like Dana keli-kaumudi, Vidagdha-mdhava and Madhava-mahotsava. Many Gaudiya mahajanas have written about the ashta-kala lila. For example, Srila Vishwanath Chakravarti closely follows Govinda-lilamrita in his Krishna-bhavanamrita, adding details but without repeating. On the other hand, Srila Kavi Karnapur sometimes matches the Govinda-lilamritas format and sometimes varies the sequence in his Krishnanika-kaumudi. The siddha mahatma, Sri Krishna Das Baba of Govardhan, also known as Dina Krishna Das, was a junior contemporary of Vishwanath Chakravarti. Besides writing songs in Bengali like the wellloved jaya radhe jaya krishna, jaya vrindavana and the Tulasi arati, he compiled two works on the ashta kala lila that are very highly regarded in the Gaudiya Vaishnava world. The first of these is Bhavana-sara-sangraha, a collection of 3100 verses taken from thirty-four different works of the Goswamis. The second is the Gutika, in which Siddha Baba presents a detailed guideline or manual of how to meditate on Vraja lila in manjari bhava. It is said that Radharani herself appeared to him and ordered him to write the Gutika, which skilfully blends both Sri Gauranga and Sri Krishnas ashta kala lilas. In the world of Mahajana-padAvali, the songs of the Bengali Vaishnava poets, there is no shortage of material related to the ashta kala lila. Many of Chaitanya Mahaprabhus direct associates, or other close associates such as Murari Gupta, Narahari Sarkar, Vasudeva Ghosh, Govinda Ghosh, Lochan Das and Narottam Das Thakur, made immense contributions to bringing Golokas prema dhana, Harinam sankirtan into the reach of the fallen people of the Kali yuga. The Rasa-tarangini Tika also contains numerous examples taken from this rich source of nectar. A brief description of Sriman Gaurasundars pastimes, has been taken from the Bhavana-sarasangraha and included at the beginning of each of the eight time periods. A rasa analysis has also been provided at the end of each chapter to help

Chapter One Nishanta Lila (Nights end pastimes, 3:36 a.m. to 6:00 a.m.) Vrinda Awakens Radha and Krishna Who Are Sleeping in the Kunja Mangalacharan (Beginning Invocation) Verse 1

I offer my pranams unto the Lord of Vrindavan, Sri Govindathe mandir of all pleasure, the pleasure-giver of the Vrajavasiswhose own pleasure overflows in the association of Srimati Radhika. Rasa-tarangini Tika: Govinda-lilamritas topics are presented in this nandi shloka or opening verse. Our Govinda is a dhira-lalita nayaka and a rasamaya-nagara. This means that he is a carefree youthful romantic, who is overflowing with the rasa of flirtatious love dalliances in the company of the Vraja sundaris. Herein lies Sri Bhagavans sweetest feature and eternal occupation. Vishwanath Chakravartis nandi shloka in the Krishna-bhavanamrita describes further: Rasamaya-nagara Shyama, and Rasamayi-nagari Radha are both expert in the practice of Cupids martial arts. Hence the irrepressible wish to prove the superiority of their own talents brought about Ananga's war! Then, finally, their sakhi named Fatigue invited Nidra Devi (sleep) to put an end to their battle. (Krishna-bhavanamrita 1.3) In other words, due to the fatigue of Kandarpa keli, Radha and Krishna fell asleep. With this beautiful metaphor, Srila Vishwanath Chakravarti paints a vivid picture of Sri Yugala Kishors mutual subjugation. This shloka is the main seed of Krishna-bhavanamrita, and it appears again at the end of the book as well (52). Srila Vishwanath is thus making the following interesting siddhanta: Radha Krishnas eightfold daily pastimes are like a jeweled japa mala, in which each lila represents a gem-like bead. This shloka is the head bead. Thus, just as a chanter begins and ends each round of his chanting at the malas head bead, the smaran of Radha Krishnas gem-like pastimes begins, ends, and continues on from this point. In this way, Srila Vishwanath hints that as one chants japa on his mala, he should also focus his attention deeply on Radha Govindas ashta-kala lila-mala. In this way, the Hare Krishna maha mantra and lila smaran go hand in hand. Govinda-lilamrita, Krishna-bhavanamrita, Vidagdha-madhava, Lalita-madhava, Dana kelikaumudi, etc., are all termed rasa-granthas because these books deal exclusively with the nectarean rasa of Radha Govindas madhura Vraja lilas. Gita-govinda is also a rasa grantha, and in its nandi shloka Sri Jayadeva Goswami addresses his Vaishnava readers as follows: yadi hari-smaraNe sa-rasaH mano yadi vilAsa-kalAsu kutUhalaH madhura-komala-kAnta-padAvalIH zRNu tadA jayadeva-sarasvatim If one desires to refresh his mind by remembering Sri Haris madhura pastimes, if ones curiosity to know about Sri Krishnas prema vilasa with the Vraja gopis awakensthen, by all means read the sweet poetry composed by Sri Jayadeva Goswami. (GG 1.3) This simple desire and innocent curiosity are the natural assets that render Vaishnavas eligible to appreciate the Govinda-llilamrita.

Verse 2 I offer my obeisances unto Sri Krishna Chaitanya whose activities are most amazing. He has come to relieve the peoples bhava roga (material disease) with the intoxicating medicine of his own prema-amrita! Rasa-tarangini Tika: This verse explains Lord Gaurangas parama karuna feature. The nectarean prema that Sriman Gaurasundar wishes to distribute is Vraja-prema. Our Gauranga shows the world how to attain this topmost treasure by relishing the mellows of Vraja lila. The purpose of the Gaura avatar is two-fold: sampling Vraja prema and giving it to others to taste. ye l~ agi' avat~ ara, kahi se m ula k ~ aran??a prema-rasa-niry~ asa karite ~ asv~ adana r~ aga-m ~ arga bhakti loke karite prac~ aran??a rasika- sekhara kr??s??n??a parama-karun??a ei dui hetu haite icch~ ara udgama Now let me speak about the root cause for the appearanceof this avatar (Gaura): (1) to personally taste the essence of prema rasa, and in connection with this, (2) to propagate the path of raganuga sadhan bhakti to the devotees, advented through his highest mercy the best relisher of rasa, Krishna, taking birth (as Gauranga) for these two reasons. These are the two main reasons why Sri Krishna, the Chief of all rasikas (connoisseurs) and merciful personalities, advents himself as Sri Chaitanya Mahaprabhu. (CC 1.4.13-15) The means to attaining Sriman Mahaprabhus foremost gift (Vraja prema bhakti) is specifically mentioned in the next shloka: Verse 3 The sadhya (ultimate goal) of spiritual practices is prema seva to Radhas Prana-bandhu, Sri Krishna. Although such prema seva is unknown to Brahma, Shiva and Ananta, it is available to those who follow in the Vrajavasis footsteps with deep hankering. So, as I now begin to elaborate on this system, the manasi seva performed by those who travel on the raganuga bhakti path, I offer my prostrate pranams to Radha Krishnas pastimes, which daily unfold in Vraja. Rasa-tarangini Tika: Here is the guideline of Govinda-lilamrita.This is the first verse of Sri Rupa Goswamis Smaranamangala. Sri Rupa ordered Sri Kaviraj Goswami to write a whole book simply for the execution of these instructions. Hence the advent of Govinda-lilamrita. This upadeshamrita forms the sadhana of the consummate Rupanuga Vaishnava. Its execution is the sure and fast way to Sri Sri Radha Govindas prema seva. Therefore one would do well to memorize this shloka, and follow its instructions with life and soul.

Verse 4 Let us take shelter of Sri Krishna as he: (1) enters the goshtha from the forest bowers at the end of night (nishanta); (2 and 6) milks the cows and takes his meals in the early morning and in the evening (pratah and sayan); (3 and 5) sports with the sakhas while grazing the cows in the mid-morning and in the late afternoon (purvahna and aparahna); (7) attends various entertaining performances with his father and the Vrajavasis in the mid-evening (pradosha); (4 and 8 ) and midday and mid-night enacts prema- keli pastimes with Sri Radhika in the forest bowers of Vrindavan (madhyahna and nisha). Rasa-tarangini Tika: In this shloka, Sri Rupa presents the basis of Ashta-kala lila smaran. He briefly touches on the events of each of the eight praharas. In fact, however, the day is divided into ten periods and the midday (madhyahna) and mid-night (nisha) pastimes last two such periods each. So a normal prahara lasts two hours and twenty-four minutes and is divided into six dandas of twenty-four minutes each, but the two exceptional periods last twice so much. The reason for this is that these are Krishnas favorite times of the day when he performs the most enjoyable pastimes with Sri Radha and her sakhis. Even so, though Govinda-llmta especially focuses on Sri Sri Radha Govindas madhura pastimes, Srila Kaviraj Goswami also presents beautiful narrations of Vrindavans other rasasshanta, dasya, sakhya and vatsalya. Verse 5 These nectarean pastimes of Govinda are truly amazing. Though constantly drunk through the ears, tongue and mind, they cause one to become thirstier and thirstier. Strange indeed. And though they drive away the disease of material life, they driveus blind, mad and bewildered with divine love. Strange indeed. And though one chews on them over and over, they still produce limitless juice, which nourishes our hearts and bodies! Verse 6 I am not blessed with advanced intelligence, rather my mind is fickle. Moreover, I am inexpert and unworthy, yet I am still attempting to describe the rasa from Sri Krishnas lilamrita ocean. I expect that the Vaishnavas, who unceasingly swim in this nectar ocean, will find my efforts laughable. Verse 7 The Vrajavasi Vaishnavas are all very experienced, having read Vidagdha-mdhava and other compositions by the master poet Sri Rupa Goswami. Perhaps I shall become a laughing-stock when they see this book written by such a foolish imposter as myself. Verse 8

The sadhus declare: Even if Sri Bhagavans names, forms, qualities and pastimes are unexpertly narrated, still the sins of those who listen shall be destroyed. Having firm faith in their words, my hope is rejuvenated because such sadhus shall welcome my inferior writing due to their magnanimity. Thus do I write Sri Govinda-lilamrita. Verse 9 Just as an oasis gives shelter to a thirsty cow in the desert, I pray that the Gokula lila descriptions emanating from my desert-like tongue become refreshed upon reaching the cool, reservoir-like ears of the learned Vaishnavas. Vraja-Nishanta Lila I From 3:36 to 6:00 a.m. Sri Rupa Goswamis sutra : Verse 10 As the night ends, Sri Vrinda Devi becomes apprehensive on observing Sri Yugala Kishors precarious situation. She signals for a variety of forest birds to begin chirping, and when the parrots begin to recite selected poems, some pleasing and some piercing, Radha and Krishna rise up. The sakhis and manjaris then enter the Divine Couple's shayan mandir with laughter and merriment. But when Vrinda sees that everyone is forgetting the need to return quickly home, she motions to Kakkhati, an old female monkey, who shrieks: Jatila is coming! Jatila is coming! Then, Sri Sri Radha and Govinda separate in fear and haste to scurry homewards where they safely slip into their own beds, all before the sun rises. Rasa-tarangini Tika: This sutra summarizes the events described in Govinda-llmtas first chapter, containing 117 verses. The Vrindavan Setting The nishanta lila takes place in Vrindavans most excellent location, Sri Govinda Sthali, which is a large island caressed by the main stream of the Yamuna and its tributary. It is shaped like a tortoises shell, a low, round hill crested by Radha and Govinda's breathtaking Yogapith mandir. This enchanting temple is surrounded by four types of desire trees, namely harichandan, santanak, mandar and parijata. As the fragrant pollen from their flowers falls to decorate the ground, swarms of bumble bees buzz hither and thither, sounding like the humming vibration of Cupids bowstring. Encircling the desire trees are four beautiful mandaps or raised platforms for sitting, with madhavi, malati, mallika and golden juti flower vines growing from their bases. Beyond these mandaps are four kunjas 1. Svetambuja Kunja, the white lotus bower to the north, the site of Radha Govindas mead-drinking lilas. 2. Nilambuja Kunja, the blue lotus bower in the east. After dancing in the Rasa lila and enacting

their water sports in the Yamuna, Radha and Krishna come here for dressing. 3. Arunambuja Kunja, the red lotus bower in the south. This is where Radha Govinda enjoy their late evening meals. 4. Hemambuja Kunja, the golden lotus bower in the west. This immense bower is the resting place for all the sakhis and manjaris in Radhas yutha. In the center of this kunja is Radha Govindas jeweled shayan mandir encircled by a grove of golden banana trees. Beyond in the eight directions, are the shayan mandirs of the Ashta-sakhis. Next there are consecutive spheres of kunjas that progressively double in number, starting with sixteen, then thirty-two, sixty-four, and so on, wherein the infinite numbers of gopis take rest. On the outer perimeter of Hemambuja Kunja, in each of the four directions, Sri Vrinda Devi, Sri Vrindarika, Sri Menaka and Sri Murala Devi act as doorkeepers. (Gutika) Vraja-Nishanta Lila I From 3:36 to 6:00 a.m. Seva In his Bengali translation of Govinda-lilamriria, Sri Yadunandan Thakur here inserts the following comment: In the opening sutra, the codes for the nishanta lila were presented. Now listen to its expanded narration, which will bring you unending delight. At the end of night, Radha and Krishna are fast asleep on a flower bed in a flower-laden kunja, fatigued from their prema keli. As they embrace, Krishna appears like a figurine made of blue sapphire, Radha, one of pure gold. Sensing the days arrival, the manjaris rise to cheerfully perform their respective duties. The purpose of this verse is to quickly remind the Vaishnava sadhakas of the manjaris and their seva. Srila Vishwanath Chakravarti further illuminates this aspect of the lila in his Kabhvanmta: Eager to perform their timely nishanta seva, the manjaris spontaneously rise before the nights end. Is it the result of long habit, or is it Nidra Devi herself who personally awakens them? As soon as their eyes open, they look this way and that, wondering in panic, Are we late? Have we missed the time to begin our seva? Then, realizing that Rasika-nagara and Rasika-nagari are still asleep, exhausted from participating in Cupid's festival, the manjaris quietly sit up on their beds. Everyones eyes are whirling like tired bumblebees due to insufficient sleep. Yawning, they cleverly jest with one another as if to weigh the rasa from the previous evening. O sakhis! they say, Youve been sleeping after enjoying a night with the Nikunja Raja, but have you had sufficient rest? Their glances fall upon their lotus-shaped breasts, which show off the pollenlike bruise marks left by Krishnas fingernails. Meanwhile, some of the manjaris string flower garlands, while others prepare pan for the upcoming pastime. Suddenly, the cooling Malayan breeze carries Radha Krishnas bodily aroma to their nostrils. Malayan breezes are the southern winds. Since Malaya is the country of sandalwood, they are both cooling and fragrant. As it lingers there, one seva dasi arrives. O manjaris! she exclaims. Come and see the youthful couple for whom your flower malas and pan are intended. Just see how they are tightly embraced

within the kunja! O priya narma sakhis! Come and place your lotus faces next to the nikunja mandirs window and allow your beautiful eyes to freely roam! Having expertly performed the dance of love, Kishora and Kishori have been honored by Nidra Devi who now joyfully embraces them! The manjaris do as she says and observe how Radha and Krishna are tightly clasped in each other's arms, but their dress, ornaments and garlands are missing. Due to the sombre light emanating from the jeweled ghee lamps, Radhas body appears like a soft champak flower and Krishnas like a delicate blue lotus. (Krishna-bhavanmrita 1.4-9) Experiencing the Divine Couple's beauty, one manjari exclaims to another, O sakhi, look! At first sight this couple resembles a dark cloud garlanded by a streak of lightning! Are they bathing within the nectar shower of their own madhurya? Thus amazed, the manjaris conclude, The usual custom is that a master rewards his maidservant when she has finished her seva. But we are so fortunate that we get our reward even before beginning to serve! (Krishna-bhavanmrita 1.15) Srila Chakravartipada weaves his description in Krishna-bhavanmrita in and around that of the Govinda-lilamrita. The verses just quoted reveal an important direction that Srila Krishna Das does not touch upon until later. Indeed, we shall find that Srila Chakravartipadas bhva-dhr (line of thinking) and deep avesha (absorption) churn the nectar found in Govinda-lilamrita and thicken its rasa. The gentle Malayan breezes waft slowly across the kunja, lingering like a groggy person just rising from sleep. Kissing the newly bloomed flowers, it escorts their fragrance in every direction. The intoxicated bumble bees that have been sleeping inside the flowers also awaken and begin buzzing hither and thither. Hearing the bees, Sri Vrinda Devi becomes aware that nighttime is coming to an end. She anxiously signals to the birds, whose melodious chirping will awaken Vrindavan's ishwar and ishwari. Vraja-Nishanta Lila II From 3:36 to 6:00 a.m. The Birds Begin Chirping Verse 11 Seeing that night has come to an end, Vrinda Devi directs the forest birds under her command to awaken Madhusudan and his beloved Radhika. Verse 12 Since they have surrounded the nikunja mandir for that very purpose and are just waiting silently for her signal, despite their anxiety to serve, as soon as they receive her signal, they immediately begin chirping enthusiastically from all directions! Verse 13 The sharis sing in the grapevines and the shukas call from the pomegranate saplings. The mango groves resound with the peacocks cry, the bumble bees buzz in the flower latas, and the roosters crow on the ground! The Bees, Kokilas and Pigeons Resound Verse 14 The nikunja mandir is decorated with hanging flower garlands and a bed thickly smothered in lotus

petals. The male bumble bees enter this enchanting mandir in search of pollen; their humming drone resembles the auspicious sound of Ratipatis (the husband of Rati Devi, i.e., Kamadeva) conchshell! Verse 15 Overwhelmed with elation and intoxicated by the honey from the flowers, the delirious female bees make their gun-gun-gun-gun buzzing. This is likened to the clanging sound of kartals (jhankriti) made by Cupids wife. Rasa-tarangini Tika: Just as a talented musicians instrument induces the mind and body to dance in elation, the buzzing of the bees has the same effect on the Divine Couple. So Vrinda Devi has them begin their intoxicating concert within the flower vines. From there they enter the vilasa mandir to surround the flower bedstead with their sweet vibrations. Just as the sounds of the conch and kartals are pleasing to a mandirs devata, so is the intoxicating buzzing of the male and female bees to Radha Madhava, the deities of the vilasa mandir. Verse 16 The male kokilas continuously cry: ku-h ku-h in the fifth note. Their sound reverberates like Cupids vina. Verse 17 Seated by their drunken husbands, the female kokilas relish the soft mango buds and indistinctly echo, ku-h ku-h. Rasa-tarangini Tika: Expert in loud shrills and invoking pleasure, the kokilas singing is so maudlin and sweet that it seems that Cupid and his wife have directly appeared to play the vina and vipanchi (a smaller stringed instrument or lute, usually played by women) Thus, Radha Govinda can neither remain asleep nor sober! Verse 18 The sudden shriek of the pigeons resounds! Has Cupid taken the form of a hyena to plunder the doelike patience, shyness, and dharma of the Vraja gopis? This shrieking shakes the gopis pride that resembles a tiger cub!

The Calls of the Peacock and the Rooster Verse 19 Who else but Krishna can topple Srimati Radharanis mountain-like self-control? And who besides Radha is the chain that can hold the intoxicated elephant Krishna? Is it to ask these questions that the peacocks resound, ke-ka? ke-ka? Rasa-tarangini Tika: The peacocks make the sound keka. The Sanskrit word ke is the masculine interrogative pronoun, meaning Who? or What man? Here Krishna Das interprets the peacocks cry as a question, Who besides Krishna can topple Radhas self-control, which is as solid as a mountain? Similarly, ka is the feminine interrogative pronoun, meaning Who? or What woman? What other woman beside Radha can chain the drunken elephant to one spot? The word

chain (zRIkhalA) is also used to describe Srimati Radharani in the Gita-govinda kaMsArir api saMsAravAsanAbaddha-zRIkhalAm rAdhAm AdhAya hRdaye tatyAja vraja-sundarIH Even though he is the destroyer of the demon Kamsa, Krishna is chained to his desire to enjoy the rasa dance, embodied in Srimati Radharani. So, taking her into his heart, he left the other Vraja sundaris. (Gta-govinda 3.1) In other words, Krishna is entirely dependent on Radharani, his hladini shakti, for enjoying his lilas. The peacocks are thinking, Radha Govindas mutual attraction has now become unfavorable and their situation precarious, for they have forgotten all fear, modesty and family. So we shall awaken them with a pleasant kirtan of their glories! Verse 20 Just as brahmin boys recite the Vedas in the early morning with hrasva (short), drgha (long) and pluta (extended) syllables, the roosters call out, ku-ku-kuu, ku-ku-kuu! Rasa-tarangini Tika: Ku means inauspicious. When the roosters call ku-ku-kuu, ku-ku-kuu, they are in effect informing the divine lovers that for two lovers who are paradhina (under their guardians jurisdiction), sleeping together in a distant forest kunja at daybreak could certainly have the most catastrophic and inauspicious consequences! Krishna-bhavanamrita describes Radha Thakuranis reaction to the roosters crowing. In her mind, she first curses them: O roosters! Why dont you go to hell and wake up Yamaraja! You are unfit to remain in my Ananda Vrindavan creating such a displeasing racket! After a moment the roosters stop, so Radhika thinks, My curse must have worked. The roosters have gone to hell and mornings arrival has been delayed! And so she goes on dozing in Krishnas embrace. But then, a moment later, the shrill cries of the roosters starts up again and Srimati reawakens with a start. O roosters! Please forgive mejust allow us to rest a little longer! (Krishna-bhavanamrita, 1.21-23) Normally, one greets a person in the morning with pleasing and auspicious words, wishing them a nice day (suprabhatam). The roosters, however, repeatedly recite ku, which means the opposite. For their impoliteness, Radha Thakurani speaks to them sarcastically. Verse 21 Hearing the birds, Radha and Krishna sense the night ending; yet each is unaware that the other is awake. Dreading the thought of having to abandon their pleasurable embrace, they keep their eyes tightly closed and pretend to be asleep. Verse 22 Sri Radhikas pet shari named Manjubhashini sits in a bright golden cage in a corner of the vilasa mandir. This learned female parrot has witnessed Radha Govindas most intimate pastimes throughout the night. She begins reciting selected verses as follows: Verse 23 Jaya jaya Krishna Chandra, friend of Gokula! Jaya Vrindavan Nath, the ocean of rasa! Please rise

up from your flower bed, even though it is as refreshing as the moon! Awaken your beloved kanta (Sri Radha) who is nestled in the loving shelter of your arms, exhausted by the nights rati keli. Rasa-tarangini Tika: From verses 23-37, the shukas and sharis recite their poetry to awaken the Divine Couple. These parrots can speak just like human beings. This shouldnt seem astonishing, as in previous lifetimes they were all vastly learned sages and munis. Verse 24 Manjubhashini continues, Hey Vraja Raja! The sun is swiftly rising, out of its natural cruelty to the lovelorn Vraja kishoris! So take your beloved and go home. Quickly leave the wooded banks of the Yamuna. Rasa-tarangini Tika: By mentioning the wooded banks of the Yamuna, Manjubhashini warns Radha and Govinda that the Vrajavasis could discover the two of them when they come for their early morning Yamuna snana. Then Manjubhashini addresses Radha: Verse 25 Oh lotus-eyed sakhi! Oh chaste one! Your limbs are slack with fatigue from lovemaking, so there is no fault in sleeping with your vilasa nagara in the kunj! Even so, just look at the eastern sky, which is red with anger because, just like Chandravalis other friends, she cannot tolerate your happiness! Rasa-tarangini Tika: When Krishna spends the night with Chandravali, Radha suffers greatly. Then it seems to Radha that the sun is taking ages to rise. On the other hand, when Radha passes a evening with Krishna, it seems that the eastern sky becomes red with jealousy in no time at all! Thus, Manjubhashini portrays the dawn as Radhas adversary, like Chandravali. This verse brings to mind the siddhanta that Radha experiences a moment in Krishnas separation like a yuga; but when she is with Krishna, a yuga flies by like a moment! This is one of the great signs of madanAkhya-mahAbhAva. Verse 26 Manjubhashini continues: Oh, Padma-nayani (lotus-eyed) Rai! Night is over, morning has come. The orb of the sun is approaching the horizon to begin a new day. The time has come to cast aside the pleasure of your cooling bed of soft leaves! Vraja-Nishanta Lila III From 3:36 to 6:00 a.m. Vichakshans recital Verse 27 The shuka named Vichakshan, a most eloquent speaker with great equilibrium and depth of love for Krishna, began to recite appealing verses full of clear, sweet and succinct sounds, fully capable of awakening Madhava. Verse 28 All glories, all glories, to the root of the Vrajavasis good fortune! O Achyuta! You are the life of the Vraja ramanis and the lotus abode for their bee-like eyes! You increase Maharaj Nandas

pleasure at every moment! Hey Govinda! You bring delight to your surrendered devotees! All glories to you! Rasa-tarangini Tika: Vichakshan (vicakSaNa) means clever. These names of Krishna fit the moment and subtly remind Krishna that he should get on his way home as soon as possible. Because the Vrajavasis consider Krishna to be their only source of good fortune, they will surely visit, come anxiously looking for him as soon as they awaken. Similarly, the Vraja gopis all rush to Nandagram as restless honey bees dart to the early mornings blossoming indivaras (blue lotuses)! Then Vichakshan mentions Maharaj Nanda, as if to ask, What will happen if he enters your bedroom and finds you missing? But then he calls Krishna by his name Achyuta (the Infallible), implying of course, if you move quickly you will arrive home on time and no one will ever discover your prema lila with Srimati Radharani. Vichakshana continues: Verse 29 Hey Govinda! The lotus for all the cowherd villagers thirsty bee-like eyes! Morning is here! Nandagram, where all your dear family members and superiors are, is quite far away. So hurry, otherwise youll be embarrassed before them! Verse 30 Hey Kamala-nayana! Have you noticed how Suryas mistress, the eastern sky, has put on a red dress on seeing that her lover, red with desire, is about to arrive after being absent for so long. Therefore, O Krishna, now is the time to awaken here in this clandestine kunj! Rasa-tarangini Tika: In the Puranas, the eastern sky is described as an independent and daring nayika (heroine), and the sun is her dearest kanta (beloved). The unbridled loving affairs of these two sweethearts is an open secret. Even so, though the eastern sky is unchaste, she preserves her modesty before Surya Deva by covering her head with the red garment of the suns reflected rays. Vichakshans words are also a subtle hint to Radha, For a chaste woman like you, losing your reputation is more fearsome than death! O Krishna! Vichakshan continues, It is your duty to protect Radharanis reputation. You are kamala-nayana (lotus-eyed), so why are your lotus eyes not opening like the other lotuses at the first hint of the suns rays? Verse 31 O Krishna! Fearing the suns appearance, the night flees with her husband, the moon! Therefore, like them, you and your Radha should quickly leave the Yamunas forest banks! Verse 32 Hey Govinda! The chakravaki birds turn one eye toward the reddening eastern sky, while the other searches for their absent husbands. Meanwhile, the owls, who are blind in the daytime, have entered their tree hollows in fear of their arch enemies, the crows, and have gone silent. All these signs tell me that the sun is about to rise, so please, Krishna, wake up! Rasa-tarangini Tika : By natures arrangement, there is a proper time and place in all forms of conjugal love. At this

moment, the chakravakis anxiously await their husbands from whom they have been separated throughout the night. And what could be a better proof of the nights cessation than the owls behavior? Attached to the darkness, they have retired to their tree hollow homes where they will sleep throughout the day, safe from their enemies, the crows. Vichakshan thus hints to Krishna that the right time for sharing loving pastimes with Radha is over. 1. Vraja-Nishanta Lila IV From 3:36 to 6:00 a.m. Sukshmadhi Sharikas Recital Verse 33-34 Next the sweet-spoken female parrot named Sukshmadhi (of fine intelligence) steps forward. Having memorized all that Vrinda Devi has taught her, she wears innumerable verses of fine poetry around her neck like a locket. Intoxicated by the affection Radha has given her, she takes up the task of trying to awaken her. Her feathers standing erect in ecstasy, she makes her poetic message dance on the stage of her tongue. Rasa-tarangini Tika: One of the Sanskrit words for tongue is rasajJA, or the knower of flavors. The implication here is that Sukshmadhis is a connoisseur of the rasas of Radha Krishna lila. It is said of parrots that they make fruit taste even sweeter by pricking them with their beaks. Here, Sukshmadhi makes the poetry taught her by Vrinda Devi even more sweet through her subtle intelligence and knowledge of the rasas. Verse 35 O Vrajendra-nandana-priya! Rise quickly and head homeward before the Vrajavasis take to the pathways to begin their daily business! Verse 36 O Sumukhi one with a beautiful face. Rai! Just see how the lord of the day is peeking over the horizon! So dont delayget out of bed and hurry home! Verse 37 Hey Sakhi Radhe! Stop sleeping! Leave this forest kunja right now! Go home! Dont be lazy! Wake up your kanta (beloved Krishna)! Dont give rise to public disgrace! Remember, smart people always do what has to be done when it has to be done. Rasa-tarangini Tika: Due to Radha and Krishnas mutual determination, their prema alingana (loving embrace) remains unshaken despite the foreboding calls of numerous forest birds and the selected poetry of the shukas and sharis. Finally, Vrinda Devis most learned shari, Sukshmadhi, succeeds in arousing alarm in the hearts of the Divine Couple with a series of sharp commands. Although devoid of glitter, her simple words are very pertinent, because fear of public disgrace is especially acute for a respectable woman. Thus, this approach, backed by deep loving concern for Radha is the first to get some

results. Sri Yadunandans padavali translation beginning with verse 21 (jaya jaya krishna-candra gokulera bandhu) are ideal material for pujaris to recite as they awaken Radha and Krishna in the Brahmamuhurta. These padas are to be sung in kirtan. Verses 41-44 recited by the shuka named Daksha are also applicable. In Krishna-bhavanamrita, the shari named Shubha addresses Radharani as follows. he bhAnu-nandini, prema saubhAginI, nArI-UDAmaNi jaya ramaNa-vadana-padma, madhu-pAne matta haiyA, tumi nidre jAo prabhAta samaya, e to bhAlo nAhi, jAgo vadhUre jAgAo tIvra-nidrA chAro, nIti anusAro, rAkho lajjA gEhe jAo ke zikhAbe tomA, nItira mahimA, sabAre tumi zikhAo Hey Vrishbhanu-nandini Radhe! All glories to you! Because of your exalted prema, you are the most fortunate gopi and the crown-jewel of all women. Even so, if you fall asleep after drinking the intoxicating madhu of Krishnas mukha-aravinda (lotus face), trouble may come to you this morning. So wake up, wake up! Arise, young one! Give up your deep sleep and do the right thing: proceed quickly homeward to save your reputation. Who am I to teach you what is right, for your behavior is the example for everyone. (Krishna-bhavanamrita, 1.33-35) In Srila Kavi Karnapurs Krishnahnika-kaumudi, the sharikas wake up Radha as follows with the following song: Hey Chandra-mukhi Rai! With the mornings arrival, why are you still carelessly sleeping in the lap of Vraja-pati-nandana? You shoudnt delay a moment more in this bumblebee-laden kunja! Have you forgotten about the unbefitting sneers and curses that your guardians may deliver? Therefore, quickly preserve your chaste reputation and wake up. Hey Vilasini Radhe! Just see, by turning deep red, the eastern sky is trying to match the color of your lotus feet. The chakravakas are swiftly returning to their mates. And lookdisappointed for not having the beauty of your moon-facethe moon is sinking below the horizon as if wishing to end its life! Nothing you do can stop him. And look here, Sumukhi! Yesterday evening the manjaris who brought you to this Krishna kelikunja are returning. As they join together from their respective resting places, they are smiling and coming to meet you in paramananda! Hey Sumukhi Rai! Wake up, open your eyes, and look upon these lightning-complexioned young damsels. Theyre wanting to dress and decorate you to conceal the evidence of your surata-samara (loving rati keli battle)! (Krishnahnika-kaumudi, 1.3-9) Verse 38 Though Radha and Krishna now lie awake, they are still unable to abandon each others

amorous embrace. And although the nights conclusion creates alarm, neither one is able to discard the enchanting happiness of their flower bed! Verse 39 Radharanis nitamba (hips) lies between Krishnas knees, and her stana-yugala (two breasts) lay offered to his chest. Resting cheek to cheek, Radhas arms entwine Krishnas neck while his arms serve as a pillow. Even though she is now awake, Radha is unable to move from this position. 1. Vraja-Nishanta Lila V From 3:36 to 6:00 a.m. Verse 40 Krishna is anxious to return home, but the piercing thought of discarding Radhas pleasurable embrace is too painful. So he too pretends to still be asleep. Rasa-tarangini Tika: When two or more conflicting sanchari bhavas (transitory emotions) attack the heart at the same time, this is called bhava-shavalya. Here the eagerness for union (autsukya) and despair caused by the necessity of returning home (vishada) create Krishnas anguish. Although the thought of abandoning his personal enjoyment in Radhas amritamaya-sanga (nectar-like association) afflicts Krishnas heart, the pain he feels when considering Radharanis plight is even greater. Verse 41 As a teacher of a hundred thousand shukas, the parrot named Daksha is an expert orator of Krishnas pastimes. Perched at the kunjas doorway, he begins flapping his wings in Krishna premaananda and recites: Verse 42 Oh Krishna! Quickly sneak back into your bedroom before your mother gets up and goes there. She will be telling her maidservants, O dasis! Please churn the yogurt quietlyKrishna is still happily resting after exhausting himself by herding the cows all over the forest! Verse 43 Hey Govinda! Your cows like Kalindi are afflicted by their overweight, unmilked udders and are mooing, calling for their thirsty calves. Anxiously waiting you for you to come and milk them, their heads are raised, their eyes fixed on the path by which you enter the goshala and their ears perked up attentively. Verse 44 As for Bhagavati Paurnamasi Devi, she has gotten up and will soon finish her morning duties. Then she will accompany your mother in the eagerness to have your early morning darshan. Youd better rise quickly and get back into your own bed before she gets there! Rasa-tarangini Tika: The events described in shlokas 42-44 happen daily. Daksha skilfully reminds Krishna of the affection of his mother, his cows, and the mother of his guru, Sri Paurnamasi Devi. Sri Krishna is dutybound to these mothers, and neglect on his part will surely result in an aparadha. Verse 45

Hearing Dakshas words, Krishna prepares to proceed homeward. After carefully separating himself from Radhas embrace, however, he silently sits up on the bed. Rasa-tarangini Tika: Daksha succeeds, but due to the bhava-shavalya or confusion of emotions described above, Krishnas mind reels in two directions. In the end, however, Priyajis unadorned loveliness gets the better of him. Verse 46 Radhas sakhis and manjaris have already awakened and now, together with Vrinda, they are peeking through the nikunja mandirs windows to relish Radha Krishnas nishanta keli-vinoda. Rasa-tarangini Tika: The following verses taken from Srila Kavi Karnapurs Krishnanika-kaumudi and Krishnabhavanamrita briefly describe what is going on. As Radha and Krishnas eyelids open, they look at one another without satiation! But as they gaze at each others insurmountable beauty, dizziness (ghurna), and this fills them with anguish and despair as they become aware that soon they will be separated and this will impair this delight of reciprocal darshan! (Krishnanika-kaumudi , 1.29) Aho! Radha Shyamasundars yugala madhuri is beyond descriptiontheir enchanting tinkling ornaments, bangles and ankle bells, the wave-like effulgence of their glistening bodies, their scattered curled locks and their tilting necklaces and earringsit all enhances their luminous moonlike faces! As their lotus hands anxiously grope for their discarded apparel, Radha keli-chandas lotuslotus stemsed eyes fill with amour! Aho! Is the splendor of the entire universe arising from their limbs as the Creator offers them arati? (Krishna-bhavanamrita, 1.36-37) Verse 47 The peahen named Sundari, her breast full of Radha prema, now suddenly abandons her husband and swoops down from a kadamba tree to appear in the courtyard of the Divine Couples rati mandir. Verse 48 The peacock named Tandavika then follows suit and, in prideful love for Krishna, opens his tailfeathers and joyfully dances! Rasa-tarangini Tika: Tandavik is Krishnas dearest peacock, and Sundari is Radhas peahen. Once upon a time Radha and Krishna performed the amusing pastime of marrying these two birds. Verse 49 Meanwhile, Radharanis pet dear Rangini leaves her husbands company and ran frolicking from behind the mango trees! Then after poking her head in the doorway, her soft eyes affectionately gaze upon Radha Krishnas mukharavinda. Verse 50 Following Rangini is Krishnas pet stag Suranga. Shaking off his drowsiness, he dances about for

Krishnas pleasure and lovingly glances upon his lotus face. Rasa-tarangini Tika: Ranginis life is Radha, and Krishna is everything to Suranga. Because of their affection for these two animals, Radha and Krishna have arranged their marriage also. Ranginis restless eyes first turn towards Radha, then towards Shyama. Surangas glance, however, is firmly fixed on Krishnas beauty alone. In Krishnanika-kaumudi , a shari describes these deer when attempting to awaken Radharani: Hey Chandra-mukhi! Just look! Your beautiful per deer, Rangini, is coming nearby. O doe-eyed Radhe, why not be merciful and let your restless glance fall upon her? This will make her fulfilled and make it possible for her to lovingly serve you. O Krishna-kante Rai! The deer are very innocent indeed. Just see why: Rangini is thinking that your soft crimson feet are newly blossomed leaves and so shes trying to nibble them. And even though your manjaris repeatedly brush her away, she keeps coming back! O Sashi-mukhi! This harini (doe) only finds joy in eating your remnants, and she loves to sip your charanamrita. But, alas! She is sad because you wont look at her and so her eyes are filled with tears as she steadily gazes upon your moon face! Therefore, O Rai Kishori! Please save this poor deer by opening your eyes just once to bestow your darshanmrita! And look here, Radhe! Your Priya-kanta, Krishna, is amusing himself by playing with Rangini. He is measuring her eyes with a strand of pearls, and then comparing their width with yours! Then he declares: Ooh! How amazingRadha really does have doe-eyes (harinakshi)! (Krishnanikakaumudi , 1.12-15) 1. Vraja-Nishanta Lila VI From 3:36 to 6:00 a.m.

Sri Yugala Shayana madhuri (The beauty of Radha Krishna at rest) Sri Yadunandan Thakur here adds the following bridge to the upcoming description: Seeing Radha Shyamasundars incomparable madhuri, the manjaris begin to describe it to each other. Sri Yadunandana Thakurs mention of the manjaris here is befitting. The joy of peeking through the forest foliage to witness Radha Govindas prema keli constitutes the highest reward for Rupanuga Vaishnavas. In Krishna-bhavanamrita, Srila Vishwanath Chakravarti also reveals the following kathamrita of the manjaris: One dasi exclaims to another: Oh enchanting one! Were our Yugala Kishor inexpertly dressed by the sakhis? Surely their clothes and ornaments were cast aside by Shringara Sakhi (the sakhi of erotic love)! Just seeshe has decorated them with her own love marks (rati-cihna)! So now the beauty of Radha Krishnas shringar is fully visible! Another manjari deliberates: Hey auspicious one! I can guess the reason why Radha and Krishnas yellow and blue dress are missing: Krishnas bluish bodily effulgence elegantly covers Radhas body and, similarly, Radhas yellow effulgence adorns Krishnas body. Therefore Kamadeva thought, It would surely be unbefitting and redundant to dress them again in their blue and yellow outfits!

The previous seva dasi continues: Hey sakhi! When Madan Raja (Cupid) conquered Radhas bodily kingdom, he ordered Modesty Devi to reside in her eyes, face and breasts as their gatekeeper in order to guard them. So why has he now gone and destroyed chased her away? Since every trace of Modesty Devi has disappeared, she must be guilty of some grave aparadha! Or, maybe it has nothing to do with her, and it is our unseen good fortune that has descended in order to satiate our eyes with joy! Then again, perhaps Modesty Devi, after seeing her protectorate prosper offered it as a gift to King Kandarpa and left on her own. Now when Radha awakens, Modesty will find in her body the unequalled riches left behind by Cupid! (Krishna-bhavanamrita 1.10-14) In Krishnahnika-kaumudi, one manjari addresses another: Aho! Have our Priya-yugala become one? Owing to their tight embrace, I cant tell the difference between them! Their superb rati utsava took place last night, but has it now started up again on Kamadevas request? Surely he must have thought: Oh no! Radha and Krishnas milan is coming to an end, so Id better do something! Thus, using the gem-like needles of their romancha (hairs standing on end) and the threads of their rati ananda, Kamadeva sewed Radha and Govindas divine, effulgent bodies together. (Krishnahnika-kaumudi, 1.30-31) Verse 51 Krishna picks up Radha and places her on his lap; she is listless due to fatigue. As Krishna ardently gazes upon her anga madhuri, Sri Radhika pretends to be asleep. Rasa-tarangini Tika: As described in shloka 45, Krishna separated himself from his prana-koti-priyatama (One who is more dear than a million lives), sat up on the flower bed, and lost himself in fascination! Understanding Radhas slumber to be a pretense, Krishna mildly smiles. Then taking advantage of the situation, his eyes drink in the wonderful sweetness of her bodily limbs until tears of ecstasy come to his eyes and fall, bathing her! Knowing Krishnas inner desire, Radha continues her feigned sleep so that his netra utsava (festival for the eyes) can increase. 1. Vraja-Nishanta Lila VII From 3:36 to 6:00 a.m.

Lalita and Vishakhas Debate In Krishnaa-bhavanamrita, Lalita and the other sakhis arrive to join the manjaris who have been relishing Radha Shyamasundars shayana sobha (beauty at rest). While peeking through the window of the nikunja mandir, Vishakha exclaims, Oh sakhi Lalite! Our Radha Govindas bodies are never bereft of superb dress and ornaments! Just see! Although they are unclothed, they are still covered with a radiant effulgence. Although lacking a mani-hara (jeweled necklace)theyre manohara (stealing to the mind) with a necklace of nailmarks! Although their angada (arm bracelets) are missingtheyre anangada (bestowing love)! And, even though they are niranjana-nayana (without any mascara on the eyes)theyre nirantararanjana (always pleasing) to one another! Observing these auspicious symptoms on Radha

Madhava, and on the flower bed also, I conclude that an unbounded festival of prema has taken place here! Lalita remarks: Radha and Krishnas hair is strewn all over, yet it appears lovely. Their lips are bruised, yet fascinating! Their chests are covered with nailmarks, but they resemble uncountable moonbeams! Seeing the Divine Couple equally assaulted, however, my mind has become puzzled: During Kandarpas battle last night, who emerged victorious? Vishakha answers with a grin: Neither has won! Just observe, the kunkum from sakhi Radhas breasts now appears on Sri Krishnas lotus feet, and the red alta from the bottom of Sri Radhas charana padma can clearly be seen on Krishnas forehead. Therefore, I declareprema has scored the victory! (Krishnaabhavanamrita, 2.2-5) 1. Vraja-Nishanta Lila VIII From 3:36 to 6:00 a.m. Sri Yugala Kishor Rise I Verse 52 Radhas face is like a blossoming svarna-padma (golden lotus), and the curling hairs falling over her forehead resemble black bumble bees resting there. Moreover, her restless eyes could be mistaken for darting hummingbirds. Upon viewing Radhas stunning beauty, Krishna smiles. Verse 53 Radharani interlocks her fingers, raises her arms, and stretches her entire body to relieve fatigue. As she yawns, a light-ray beams from her glistening teeth. Seeing Radha in this position fascinates Krishna ! Rasa-tarangini Tika: Because Radhika is clever, the sakhis call her Caturini Rai. In this pose, she nonchalantly shows off her beautiful kucha yugal (pair of brests) to increase Krishnas captivation! As her teeth are slightly revealed, their sparkle illumines the nikunja bhavan. Thus Krishna looks onagape! Krishnahnika-kaumudi adds that when Radha and Krishna yawna ray of peace glistens from their teeth. Then with the help of their bright faces, the combined effulgence acts as Sri Yugala Kishors mangala arati. Verse 54 In order to increase Krishnas ananda, Radha sits on his lap and glances at him with tired, rolling eyes! Her hair is slightly undone, her pushpa-mala is crushed, and her necklace of jewels dangles. But then, along with her feigned distress and dry pouting, she shows a tender smile which reveals her hearts inner joy! Verse 55 Still feeling fatigue from the previous nights Kndarpa keli, Radha relinquishes her soft creeper-like body unto Shyamasundar, who is dark like a tamala tree. If a streak of lightning could steadily rest within a newly formed rain cloud, such a scene might compare to the beauty of Radha embracing Krishna.

Verse 56 Krishnas eyes are tired and intoxicated, his body is covered with nail marks and smeared with black mascara, yet he smells like a fragrant lotus! Curling hairs decorate his forehead, plus mind-teasing dolphin earrings dance over his glossy cheeks, but herein lies a cunning sweet smile! Seeing Krishnas face thus captivatingly displayed, padma-locana (lotus-eyed) Radha again becomes pierced by Kamadevas arrows! Verse 57 When Krishnas glance falls over Srimati, she smiles and contracts her eyes due to shyness. Beholding Radhas enticing sweetness, Krishna also succumbs to the temptation for resuming Ananga keli! Verse 58 Krishna holds the base of Radhas veni (braid of hair) with his left hand. Then placing his right hand on her chin, he raises her face to kiss Radhas lovely smiling cheeks again and again! Verse 59 Radha slightly closes her eyes and submerges in an ananda-sagara from touching Krishnas lips! Yet, with restless hands, she obstructs himuttering na na in a soft, indistinct voice! This utterance gives great joy to the sakhis peeking through the windows. Rasa-tarangini Tika: Obtaining Krishnas adhar-suddha-rasa (the sweet taste of his lips) satiates Shyama sohagini (the object of Shyamasundars affection. Sohagini is derived from saubhagini, or most-fortunate one) Radha. Yet, due to shyness and due to being a bama-nayika, she refutes Krishna to increase his transcendental bliss! Although ashta-sattvic emotions cause Srimatis words to falter, still her voice defeats the madhura pitch of the vina. Aho! Simply these two syllables, n, n, are so captivatingly uttered That Krishna becomes completely enthralled! 1. Vraja-Nishanta Lila VII From 3:36 to 6:00 a.m.

Lalita and Vishakhas Debate In Krishnaa-bhavanamrita, Lalita and the other sakhis arrive to join the manjaris who have been relishing Radha Shyamasundars shayana sobha (beauty at rest). While peeking through the window of the nikunja mandir, Vishakha exclaims, Oh sakhi Lalite! Our Radha Govindas bodies are never bereft of superb dress and ornaments! Just see! Although they are unclothed, they are still covered with a radiant effulgence. Although lacking a mani-hara (jeweled necklace)theyre manohara (stealing to the mind) with a necklace of nailmarks! Although their angada (arm bracelets) are missingtheyre anangada (bestowing love)! And, even though they are niranjana-nayana (without any mascara on the eyes)theyre nirantararanjana (always pleasing) to one another! Observing these auspicious symptoms on Radha Madhava, and on the flower bed also, I conclude that an unbounded festival of prema has taken place here!

Lalita remarks: Radha and Krishnas hair is strewn all over, yet it appears lovely. Their lips are bruised, yet fascinating! Their chests are covered with nailmarks, but they resemble uncountable moonbeams! Seeing the Divine Couple equally assaulted, however, my mind has become puzzled: During Kandarpas battle last night, who emerged victorious? Vishakha answers with a grin: Neither has won! Just observe, the kunkum from sakhi Radhas breasts now appears on Sri Krishnas lotus feet, and the red alta from the bottom of Sri Radhas charana padma can clearly be seen on Krishnas forehead. Therefore, I declareprema has scored the victory! (Krishnaabhavanamrita, 2.2-5) Vraja-Nishanta Lila VIII From 3:36 to 6:00 a.m. Sri Yugala Kishor Rise I Verse 52 Radhas face is like a blossoming svarna-padma (golden lotus), and the curling hairs falling over her forehead resemble black bumble bees resting there. Moreover, her restless eyes could be mistaken for darting hummingbirds. Upon viewing Radhas stunning beauty, Krishna smiles. Verse 53 Radharani interlocks her fingers, raises her arms, and stretches her entire body to relieve fatigue. As she yawns, a light-ray beams from her glistening teeth. Seeing Radha in this position fascinates Krishna ! Rasa-tarangini Tika: Because Radhika is clever, the sakhis call her Caturini Rai. In this pose, she nonchalantly shows off her beautiful kucha yugal (pair of brests) to increase Krishnas captivation! As her teeth are slightly revealed, their sparkle illumines the nikunja bhavan. Thus Krishna looks onagape! Krishnahnika-kaumudi adds that when Radha and Krishna yawna ray of peace glistens from their teeth. Then with the help of their bright faces, the combined effulgence acts as Sri Yugala Kishors mangala arati. Verse 54 In order to increase Krishnas ananda, Radha sits on his lap and glances at him with tired, rolling eyes! Her hair is slightly undone, her pushpa-mala is crushed, and her necklace of jewels dangles. But then, along with her feigned distress and dry pouting, she shows a tender smile which reveals her hearts inner joy! Verse 55 Still feeling fatigue from the previous nights Kndarpa keli, Radha relinquishes her soft creeper-like body unto Shyamasundar, who is dark like a tamala tree. If a streak of lightning could steadily rest within a newly formed rain cloud, such a scene might compare to the beauty of Radha embracing Krishna. Verse 56 Krishnas eyes are tired and intoxicated, his body is covered with nail marks and smeared with black mascara, yet he smells like a fragrant lotus! Curling hairs decorate his forehead, plus mind-teasing

dolphin earrings dance over his glossy cheeks, but herein lies a cunning sweet smile! Seeing Krishnas face thus captivatingly displayed, padma-locana (lotus-eyed) Radha again becomes pierced by Kamadevas arrows! Verse 57 When Krishnas glance falls over Srimati, she smiles and contracts her eyes due to shyness. Beholding Radhas enticing sweetness, Krishna also succumbs to the temptation for resuming Ananga keli! Verse 58 Krishna holds the base of Radhas veni (braid of hair) with his left hand. Then placing his right hand on her chin, he raises her face to kiss Radhas lovely smiling cheeks again and again! Verse 59 Radha slightly closes her eyes and submerges in an ananda-sagara from touching Krishnas lips! Yet, with restless hands, she obstructs himuttering na na in a soft, indistinct voice! This utterance gives great joy to the sakhis peeking through the windows. Rasa-tarangini Tika: Obtaining Krishnas adhar-suddha-rasa (the sweet taste of his lips) satiates Shyama sohagini (the object of Shyamasundars affection. Sohagini is derived from saubhagini, or most-fortunate one) Radha. Yet, due to shyness and due to being a bama-nayika, she refutes Krishna to increase his transcendental bliss! Although ashta-sattvic emotions cause Srimatis words to falter, still her voice defeats the madhura pitch of the vina. Aho! Simply these two syllables, n, n, are so captivatingly uttered That Krishna becomes completely enthralled! Vraja-Nishanta IX From 3:36 to 6:00 a.m. Sri Yugala Kishor Rise II Verse 60 Hearing Radhas repressing words, the sakhis bodies erupt with goose-bumps as they grin and stagger forward to tease Srimati. While pushing one another forward, they exclaim: Oh sakhi, you go first! Oh sakhi, you go first! Struck with alarm seeing the approaching daylight, they enter the nikunja mandir that is reverberating with the steady drone of intoxicated bumble bees. Rasa-tarangini Tika: Now Krishna-bhavanamrita presents a lucid account of Radhas svadhina-bhartrika mood along with a description of the manjaris seva as follows: As the sakhis peek through the windows and enjoy the Yugala-darshansuddenly the manjari (stamen) of Radha Krishnas rupa (divine beauty) appears from that festival! In other words, Radha Krishnas dearest maidservant, Sri Rupa Manjari, comes forward to perform the needful seva. Taking permission from Bhanumati sakhi and others, she enters the vilasa mandir and observes: Radha Nikunja-nagaras dress, ornaments, makeup and flower garlands have all become either disheveled, smeared or removed! The flower bed is indeed most amusing to behold! Taking charge,

Sri Rupa first instructs one seva dasi to set up the pillows and backrest for the Rasika yugala. Another seva dasi is requested to cover their forms with a thin, silken cloth. Another manjari prepares the drink called piyusha-bati to help relieve Radha and Krishnas drowsiness. Lajja Devi (the Goddess of Shyness) had been sleeping outside of the keli mandir. Upon hearing the jingling ankle bells of the manjaris, however, Lajja Devi awakens, enters the mandir of Radha heart, and (with great difficulty) severs her from Govindas embrace! In other words, due to hearing the sound of the manjaris bracelets and ankle bells, Radha' amorous mood subsides. Seeing Radhika Devi anxiously trying to untangle her earrings and beshora (nose ring) from Krishnas hair, another manjari smilingly jests: Ohey, Rasika yugala a! When Kamadeva saw your mutual anuraga* drawing your bodies together, he decided to shackle them in bondage! Seeing the out come, both of your necklaces, earrings and flower malas, etc., decided to hold each other at leash! Irritated by the assertion, Rai Kishori exclaims, Hey dasis, just be quiet! I know all of you very well! Unaffected by Radhas temper, the dasi continues smiling and quickly unloosens Srimatis ornaments from Krishnas body. During rati-vilasa, Radha keli-candas eye mascara blotted their lips, and the moisture of their lips smeared their mascara. Sri Krishna has also rubbed the red alta from Radhas feet on his head. Seeing the state of affairs, a seva dasi takes a soft precious cloth (slightly moistened with rose water) and devoutly cleans Radha and Krishnas faces to shine like a polished mirror. Someone prepares tambul (pan) and slips it into their lotus mouths. Another dasi holds a multi-wick ghee lamp and performs mangala-arati to Radha Govinda as though she were offering her life a million times! Someone brings a jewel box containing Radha and Krishnas ornaments, and another manjari gently fans to remove their beads of perspiration. Meanwhile, Radha takes up a mirror to gaze upon her lotus face. Seeing the bruise marks caused by Krishnas teeth, she observes, Today Madhusudan has plundered the nectar from my mukharavinda (lotus face)! Charmed by such thought, Srimati is unable to remove her eyes from the mirror as she merges in blissful samadhi! The more Radha looks upon her face, the more she considers that Krishnas tooth marks are sweet to behold! Smiling to herself she concludes, The supreme beauty and sweetness of my youth is today proven successful because my Priyatama (dearest beloved) has fully enjoyed this rupa-amrita-madhurya! As Radha contemplates, Krishnas eyes take the opportunity to relish more of her loveliness. And feeling his glances, Radhas happiness is boundless, as his lotus face becomes the apple of her eye! Apprehending Krishnas subjugation, Sri Radhikas pride awakens. Thus, still in the mood of a svadhina-bhartrika nayika, Radha addresses him as follows, Oh hey Vilasin (sensuous, enjoying one)! Today my superb dress and ornaments were disheveled due to your indulging proclivities! Are you desiring to case me into an ocean of embarrassment by displaying me like this? Why are you remaining indifferent? Quickly re-dress me before my dearest sakhis return! Hey Nirlajja Raja (King of the audacious)! Youve become an aparadhi to your worshippable devata, Sri Ananga.* So, without delay, skillfully re-dress me as I appeared before! Only then will your ishta Deva forgive you! Take for example a pujari. He first removes the devata from the altar and after puja, the area is

cleansed and the devata placed back on the altar. If he neglects to do so after worship, he is guilty of aparadha. And so are you! After bringing your worshippable Kamadeva from your minds mandir and performing puja, youve nor yet cleaned the area nor replaced him back on the altar! So what are you waiting for? Quickly take kunkum, chandan, deer musk and the rest to cover up the vilasacihnas (bruise marks) on my body! Then dress and decorate me so that the sakhis wont know what haw happened! Rasika-curamani replies, Radhe! Youre right! Ananga Deva has certainly appeared on the altar of your bodily limbs! Therefore, I shall use the fire articles of basana (dress), bhusana (ornaments), gandha (scent), pushpa (flower) and chandan (sandalwood paste) to fully satisfy my ishta Devata! Hearing Krishnas words, Bhanumati Manjari comes forward and offers a comb. The Nagarshekhar* gathers Srimatis hair and begins to comb it with utmost concentration to spare his beloved to slightest discomfort. After tying Priyajis hair into a veni,* Krishna further decorates it with malati flowers. Next he carefully anoints the borders of Sri Radhikas beautiful eyes with an anjanmixture (black mascara) prepared by Ragalekha Manjari. Krishna take a pearl necklace offered by Ruchi Manjari and affectionately places it around Rairanginis* neck. By now, Sri Radhika Devis self-esteem is aroused, and in a prideful voice she addresses Shyamasundar: Hey you bluffing, dressing expert! Before re-painting the attractive chandan designs that you smeared on my breasts, why have you covered then with a pearl necklace? If the necklace is first given, later it wont be possible to paint the chandan designs. Therefore, your boasting among the sakhis of being my expert dresser is but a pretention! Hearing Radhas assertion, Krishnas pride increased, and he continues to boast as follows: O Radhe! Your most celebrated artist is Vishakhabut just watchIll paint such marvelous designs on your breasts that even she will be stunned! Thus speaking, Krishna gestures to Sri Rupa, Sri Rati and Sri Lila Manjari to give the necessary painting ingredients. And complying, the seva dasis eagerly stand ready to view Radha Krishnas raho lila.* But as Krishna takes up the brush, all at once he is pelted by Kamadevas panca-bana (five flower arrows) *! Because Shyama-nagaras hand incessantly shakes, the lines become crooked. Hence, again and again, Krishna rubs his own chest over Radhas to erase his quirky brush strokes! Meanwhile, the manjaris consider: Under the guise of smearing the crooked lines on Radhas kucha yugal, Vidagdha-raja Shyamasundar is setting ablaze the fortress of Radhas patience! Moreover, he himself is smoldering in Kandarpa Rajas kama-agni ! But thereafter, Kamadeva heeds that Krishnas decorations are unbefitting! Thus, by his direction, the shringar becomes re-arranged for both partners! In other words, after removing Sri Sri Yugala Kishors patienceKandarpa keli begins, and during the mutual-tussle, Radhas dress is transferred to Krishnas body and visa-versa! Thus, in Cupids estimation, now the Yugala-shringar displays incomparable wonder! The manjaris viewing this lila through the keli mandirs windows now declare: Aha! If this moments fortune for the eyes could only last forever! But seeing a new day arriving, they lament, Hay, hay! The Creator is cold-hearted, for now Radha Govindas prema keli is coming to a close! Rasika-bhakta-curamani Srila Vishwanath Chakravartipada next advises: Sadhaka bhaktas should contemplate these topics to cultivate similar moods, because just as to the manjaris, this madhurameditation is to be worn around the neck like a precious locket.

One noteworthy specialty of Ka-bhvanmta is that Radha Govindas raho lila (most confidential pastime) appears in each of the eight periods of the day. This excerpt has included the first. Vraja-Nishanta X From 3:36 to 6:00 a.m. Verse 61 Thereafter, Sri Radhika devi sees the sakhis approaching with their beautiful faces enhanced with wide smiles and restless roaming eyes. Then she removes herself from Krishnas lap to increase his ananda two fold! Rasa-tarangini Tika: Overtaken by surprise and intoxicated in Shyama-nagaras rasamaya sanga, Premamayi-Radha cannot understand why are sakhis brightly smiling. But then as she looks upon each approaching sakhi with wonder, she fathoms the reason. Thus she removes herself from Krishnas lap. Verse 62 Feeling embarrassed, Radha quickly takes up Krishnas yellow chador to cover herself. Then while sitting on Krishnas left side, she regains her gravity and pensively glances toward the sakhis! Verse 63 The sakhis delightedly observe: Our unclad Rasika yugala are covered with nail marks, their lips are bruised and they are drowsy due to the fatigue of prema keli! Moreover, their hair is scattered as their necklaces and pushpa malas lie astrewn! All this makes the sakhis blush! Verse 64 The middle of the flower bed is blotted with thick blotches of Krishnas kunkum and on either side there are drops of Radhas vermilion, mascara, chandan, and the red-alta from the bottom of her feet. Hence the bed bears witness to a special kind of love sporting! Rasa-tarangini Tika: Sri Yadunandan Thakurs padya translation defines this special love sporting as viporit keli. At such times Surata-rangini the sporting mistress of kandarpa keli Radha takes the dominating role to satiate Krishnas desires (up to the point of his fainting) ! Verse 65 To the sakhis, the bed, with its wilted flowers, pan stains, and smudges of various bodily ointments, all resemble Radha, since these same symptoms appear on her body also. Verse 66 They drink in the beauty of Krishnas lips, which are about to utter some joking words, and seeing Sri Radhikas lotus face, which is lowered from shyness. Verse 67 Knowing the sakhis minds and desiring to see the sweetness of Radhas confused emotions, Krishna openly displays his chest and says with a grin:

Verse 68 Hey sakhis! Look! With the mornings arrival, the star named Radha became fearful on seeing her beloved kanta, the moon, disappearing! So, out of a desire to keep on seeing him, she scratched hundreds of moon marks onto the canvas of the sky! Rasa-tarangini Tika: The inner meaning to this last verse is, O sakhis! Just see how Radha has scratched her beloveds chest, making hundreds of nail marks in her anxiety to delay his early morning departure! And saying this, Krishna shows everyone the marks she has made on his chest. Verse 69 Hearing Krishnas words and seeing the sakhis laughing, Radhas unblemished cheeks light up like a blooming flower. Her restless eyes align with her dancing eyebrows to catapult a crooked sidelong glance meant to strike Krishnas heart! Verse 70 Radhas eyes are slightly closed, filled with tears and red around the borders. They convey shyness, fear, restlessness, crookedness, jealousy, anger, wonder and the thirst for amour! Submerged in extreme rapture due to being fixed on Madhavas lotus face, Radhas intriguing eyes deliver paramananda to her Nagara nilamani! Rasa-tarangini Tika: These passages invoke meditation. As Srila Kaviraj Goswamis pen merges with Sri Sri Yugala Kishors prema-sindhu, this bhavadhara (wave of emotions) portrays Sri Krishnas dhira lalita (carefree, witty and amorous lover who remains under the control of his sweethearts) personality, and Radha as rasavati-sarvasva-shiromani (the crown jewel of his rasika consorts). Here Radha fulfills Krishnas most inner desire with her renowned kila-kincita bhava that includes a bouquet of divine symptoms: By arching her back and thrusting her breasts forward, rolling her eyes with dancing eyebrows, Srimati exhibits the alankara named hel, which reveal her amorous intentions. Her slightly closed eyes display jealousy, the redness of her eyes show anger, while a stream of tears implores, Please protect me! Pretentious dry pouting and nervousness imply fear, and her crooked sidelong glances re-enforces a jealous pride that communicates: Just wait! I shall seek revenge! In this way, as the eight symptoms of pride, desire, crying, smiling, jealousy, fear, anger and jubilation combine, Srimati Radharanis kila-kincita bhava blossoms to excite pleasure within Krishnas mind, a pleasure that surpasses the joy of conjugal union a millionfold! Vraja-Nishanta XI From 3:36 to 6:00 a.m.

Verse 71 Thus, as the sakhis and manjaris completely submerge within the prema sukha sagara (the joyful ocean of prema) of Sri Sri Radha Govindas vilasa madhuri (sweet loving-play) the urgency of returning home is forgotten!

Here is the means to overcome worldly attachment. By contemplating Radha Krishnas lilas in the footsteps of these fortune gopis, ones family, home, friends and worldly identity are all forgotten. In its place, a growing attachment for Sri Sri Radha Ramans nikunja seva awakens. Caitanya-caritmrita advises: sei gop?-bh~ ?v~ ?mr??te y~ ? ?ra lobha haya veda-dharma-loka tyaji' se kr??s??n??e bhajaya r~ ?g~ ?nuga-m ~ ?rge t~ ? ?re bhaje yei jana sei-jana p~ ?ya vraje vrajendra-nandana vraja-lokera kona bh~ ?va la ~ ? yei bhaje bh~ ?va-yogya deha p~ ? ~ ? kr??s??n??a p~ ?ya vraje Those hwo are anxious - y~ ? ?ra lobha hayafor that nectar of the ecstasy of the gopis -sei gop?-bh~ ?v~ ?mr??te discard -tyaji the prescribed duties described in the vedas and the opinion of worldy people - veda-dharma-loka to serve Krishna (as the gopis) -se kr??s??n??e bhajaya That person who worships that (Krihsna) - yei jana bhaje t~ ? ?re on the sadhana path of following the atachment-r~ ?g~ ?nuga-m ~ ?rge , that person attains in Vraja -sei-jana p~ ?ya vrajethe son of the King of Vraja -vrajendra-nandanaanyone who accepts some mood - la ~ ? yei kona bh~ ?va form Goloka Vr??nd~ ?vana -vraja-lokera and serve (accordingly in the antascintita deha) -yei bhaje he gets a body suitable for that loving relation -bh~ ?va-yogya deha and gets also Krishna in Vraja -kr??s??n??a p~ ?ya vraje . (CC 2.8.220-222) Vraja-Nishanta XII From 3:36 to 6:00 a.m.

Vrindas Alarm Verse 72 Seeing Radha Krishna sinking deeper into their lilamrita sindhu, and seeing the sakhis and manjaris intoxicated and blind due to prema, Vrinda becomes apprehensive! Verse 73 Thus she turns to her trained shari named Shubha, who is expert in averting the shame from her superiors, the fear of her husband, or the ridicule that could come from the people in general if they should be found out, and signals for her to try to alert her to the danger. Rasa-tarangini Tika: In Krishna-bhavanamrita, Srila Chakravartipada elaborates on Vrindas dilemma as she thinks, Radha Govindas prema keli has lit up the Vraja kishoris moon faces, but they will turn pale as soon as the moon sets. Although the Vedas compare light with knowledge and darkness with

ignorance, the opposite effect is happening in our madhura Vrindavan. For here, as the daylight approaches, it only darken the pure hearts of the Vraja sundaris with deep anxiety. Hence, even the Vedas can be naive about Sri Krishnas unique Vrindavan pastimes! Vraja-Nishanta XIII From 3:36 to 6:00 a.m.

Subha-sharikas Recital I Verse 74 Subha exclaims, Hey lotus-eyed sakhi! You had better hurry up because Jatila will soon enter your bedroom saying: O Radhe! Abhimanyu and his servants are coming. Theyre bringing the milkpails from the goshala. Before he arrives, quickly go and perform your morning duties! Rasa-tarangini Tika: Abhimanyu was born a eunuch. In order to keep this matter secret from Radha, he spends his nights sleeping at the goshala. Verse 75 Subha continues: Just see, oh Innocent one! The stars are disappearing having enjoyed a romantic night with their husband, the moon. Similarly, you should also swiftly depart from this kunja! Rasa-tarangini Tika: The stars represent the wives of the moon. As they are devis who remain in the sky, no one criticizes their loving affairs. Nevertheless, by disappearing at the opportune moment, they display the proper etiquette for married women. With this example, Subha hints that a woman spending the evening with a paramour should terminate such fascination upon the nights conclusion; otherwise disgrace surely awaits! Verse 76 O virtuous Radhe! The mural of the sky is painted orange by the suns rays. People are coming onto the main roads. So put aside your amusement and proceed homeward taking the hidden forest path. Verse 77 Subha then turns to Krishna and says: Hey Shyama! Are you unaware that Radhas shashuri (mother in law) is covered with the mud of suspicion? Furthermore, her bitter husband lives up to his name Abhimanyu (always angry), and her nanadini (Kutila) is a low-minded scandal monger. As Radhikas family members are all nasty, how can you keep her at a time like this? Rasa-tarangini Tika: This verse reveals Radharanis position. Just as a lotus resides within the mud but displays its blooming splendor above the water, our padmini Radha lives in fear of her cruel inlaws, yet flourishes outside of their mud-like association. 78The sharis foreboding words churn Radhas heart as the Mandar Mountain was churned within the ocean of milk! Thus, as Krishnas separation draws near, Radhas minnow-like eyes dart this way and that; in this condition she leaves the bed!

Rasa-tarangini Tika: Premamayi Radha feels Sri Krishnas discomfort a million times more than her own, and reasons: Let my family members and superiors criticize or torture me as they likeI shall tolerate everything. But if my Praneshwar Sri Krishnas name be abusedthats intolerable! Thus thinking, Radhas mind and eyes whirl. When the devatas abd asuras churned the milk ocean with the Mandara Mountain, the fish were tormented. Similarly, upon hearing Subhas words, Shyama gauravini (Radha whose pride rests in Krishnas dignity) Radhas eyes toss in waves of anxiety as she deliberates: If I am caught today, my in-laws may deliver such a severe punishment that my Krishna seva will be impaired for life! Verse 79 As Sri Krishna notices Vrishabhanu-nandinis restless eyes and beautiful face lighting up with fear, he (mistakenly) covers himself with her deep blue orana and quickly rises from the flower bed. Verse 80 Putting on each others garments in their hurry, Radha and Krishna hold hands and leave the nikunja mandir! Rasa-tarangini Tika: Sri Radhika Devi has also mistakenly covered herself with Krishnas bright yellow chador. (See verse 62.) Verse 81 When Krishna leaves the kunja holding his mohan vamshi in the right hand and Priyajis hand with his left, he appears like a soft rain cloud garlanded by a radiant streak of lightning! Rasa-tarangini Tika: In Krishna-bhavanamrita, Srila Chakravartipada adds: When Radha comes out of the vilasa mandir into the kunjas courtyard, she laments, Hay! The nights brief pleasure is fleeting! Now the long dark spell of Jatila's suppression will trample the rising creeper of my desire! When the peacocks see Radha approaching with Krishnas hand resting above her shoulder, they mistakening think that a majestic raincloud embraced by lightning has descended to move through the Vrindavan forest! Thus they open their tail feathers and dance, calling out, ke-kaa, ke-kaa! Misled by the peacocks behavior, the sakhis and manjaris also conclude: Surely a beautiful cloud garlanded by lightning is moving through this forest! Vraja-Nishanta XIV From 3:36 to 6:00 a.m. The manjaris clean the ananga's battle field Verse 82 Now the manjaris collect the previous nights seva paraphernalia. Someone carries a golden lota, someone picks up a golden-handled chamara, another manjari takes a jeweled mirror, another picks up the colorful chandan box and the jeweled pan containers, while another seva dasi takes the sharika Manjubhashini in her golden cage. Thus the manjaris joyfully exit from the kunja bhavan, following the Divine Couple.

Verse 83 Another manjari smilingly carries away the special kunkum canister that is shaped like a proud Vraja ramanis breast. It is made from ivory, studded with gold, and has a blue sapphire cap. Rasa-tarangini Tika: With a playful smile and giggling, this rasavati manjari taunts Sri Krishna by dangling the kunkum canister before his eyes. Her motive is to remind him of Ramani-mani Rais superb kucha yugala. They increase the pride of all her maidservants. Verse 84 One clever manjari gathers the loose pearls from the bed and wraps them in her garment. They belong to Radhas necklce which broke in her loving tussle with Krishna. Verse 85 Sri Rati Manjari quickly scurries to the flower bed, retrieves a set of earrings, and then comes outside to replace them on Srimatis ears. Verse 86 Sri Rupa then recovers Radhikas kanchuli (blouse) from a corner of the flower bed and privately returns it to her. Rasa-tarangini Tika: Once, after enjoying with Krishna, Radha forgot to cover herself with a kanchuli and Lalitaji took the opportunity to tease her: kAGculi chAriyA Aji bujhi tumi puruSa sAjiyA vilAsa-vikrama matiAchile I see you took off your blouse like a man preparing for battle! You must want to take the male role in order to overpower Krishna in Kandarpas battle! It is to protect Radha from this type of joking that Sri Rupa secretly returns her kanchuli, and Srimati smiles to express her gratitude. Verse 87 Sri Guna Manjari takes hold of the spittoon and freely distributes the prasadi pan to the sakhis. Verse 88 Then Manjulali Manjari goes to the bed, recover the prasadi flower garlands and chandan, and exits from the keli mandir to distribute them. Rasa-tarangini Tika: In the previous shlokas, Srila Kaviraj Goswami directs his attention to the manjaris seva. Herein he mentions the names of Sri Rupa, Sri Rati, Sri Guna and Manjulali Manjari. If we add Sri Rasa, Sri Vilasa, Sri Labanga and Sri Kasturi ManjariSri Radhas topmost group of seva dasis are formed. These chief eight manjaris are renowned as Radhas Ashta Manjaris. Just as the Ashta-sakhis

especially predominate, these Ashta Manjaris direct all of the other manjaris in lila seva. Their identities in Gaura lila are as follows: ! Sri Rupa ManjariSri Rupa Goswami ! Sri Rati ManjariSri Raghunath Das Goswami ! Sri Labanga ManjariSri Sanatan Goswami ! Sri Guna ManjariSri Gopal Bhatta Goswami ! Sri Vilasa ManjariSri Jiva Goswami ! Sri Rasa ManjariSri Raghunath Bhatta Goswami ! Sri Manjulali ManjariSri Lokanath Goswami ! Sri Kasturi ManjariSri Krishna Das Kaviraj At this time, Sri Prabodhananda Saraswati prays for jhru-sev, the privilege to sweep the floor of the kunja. Yet while rapt in the lila, he hears the following conversation: Oh hey! I am not the Trinavarta asura, so dont pierce my neck with your nails! And dont mistake me for Putana either, so stop pinching my breast nipples! Thus he prays as a Vraja gopi: Oh sakhi Radhe! While sweeping your keli mandir in the early morning, when will I overhear the parrots repeating such rasamaya-kath, the words that you exchanged with your vilasi nagara! (Radha-rasa-sudha-nidhi, 164) Prabodhananda Saraswati is Tungavidya Sakhi in Vraja, in his Radha-rasa-sudha-nidhi, he reveals his intense desire to engage in Radhas dasya-rasa. Verse 89 The sakhis giggle, covering their mouths with their hands, seeing Radhikas blue garment adorning Krishnas body and his lightning-colored pitambara wrapped around her. They exchange frolicking glances to share their amusement. Rasa-tarangini Tika: The sakhis wonder, What has caused this mix-up in Radha-Shyamas apparel? In jest someone declares, Syamas belonging are dear to Radha, as Radhas belongings are dear to Shyama. These garments have understood this truth and spontaneously exchanged places! Another sakhi disagrees, Na, na, I think that during Radha Krishnas prema keli, these clothers felt neglected when they were case aside. Being jealous, they took shelter of their opposites! In this way, the sakhis rasamaya-katha continues. Vers 90 The sakhis laughter puzzles Radha and Krishna. Thus they curiously glance at each otherand yet again become subjugated! Hence, Sri Yugala Kishor look like painted pictures deeply merged within a swelling ocean of bliss! Verse 91 Just as one cannot detect milk inside a conchshell due to the matching colors, Radha was unable to recognize her meghambara against Krishnas cloud-like complexion. Similarly, Krishnas pitambara is unnoticeable against Srimatis golden bodily effulgence. Krishnas garment is pitambara, bright yellow cloth, and Radhas cloth is meghambara, cloth the color of a deep blue cloud".

Vraja-Nishanta XV From 3:36 to 6:00 a.m. The sinful sun Verse 92 Lalita is angry with the newly risen sun for spoiling Radha Krishnas enjoyment. Thus she insults Surya Deva: Verse 93 Hey Radhe, just look! Even though the sun became a leper for upsetting the amorous pastimes of every romantic couple, he still hasnt given up his sinful ways! Therefore, the sages are certainly right when they declare that it is almost impossible to change ones ways!

Verse 94 Nodding with a grin, Sri Vrishabhanu-nandiniss eyes turn red with anger for the interruption of her prema keli with Krishna. Nevertheless, remaining calm, she answers Lalita with a soft smile: 95Sakhi, although the sun lost its legs when he set in the West, he has returned in a mere flash to repeat his sinful deed! Just consider, if he had legs, even the brief night wouldnt exist! Rasa-tarangini Tika: Srimati Radharani cannot tolerate the lack of consideration for the precendence of love. In this regard, the sun has neither daya (mercy), nor rasa-bodha (discernment in the matter of transcendental mellows). Hence, his two legs have melted away as if from leprosy! Vraja-Nishanta XVI From 3:36 to 6:00 a.m. khandita-bhava and mana lila Verse 96 Inspired by the early mornings charm and intoxicated by Radhas kathamrita, Krishna forgets once again the impending need to return home and exclaims, Verse 97 Hey Priya! Just as a young girls face turns red with anger seeing her boyfriends affairs with another damsel, the suns wife, the eastern sky, is red with jealousy on seeing the nail marks of another sweetheart decorating her husband when he returns in the morning! Rasa-tarangini Tika: Vrindavans red sky reawakens the sweet portrait of Srimati Radharanis khandita-bhava and mana lila in Krishnas memory. Thus to re-taste these mellows by seeing Priyajis reaction, Krishna cleverly reminds her of these moments by using the example of the suns wife, the eastern sky. In Ujjvala-nlamani (5.85), Sri Rupa describes a khandita nayika as follows: A heroine who spends the entire night anxiously waiting in her beloveds absence, who sees him

approaching in the morning bearing the love marks of another damsel is called khandita. Such a nayika displays anger, heavy breathing and silence. This happens occasionally to Radha when she becomes firey angry after being stood up by Krishna. Lets follow an example of what happens when Radharani discovers Krishnas cheating propensity: One evening, a sanketa or meeting place is set for Radhas milan with Krishna. In great expectation, Srimati enters the sanketa kunja and begins preparing for Krishnas arrival. As Shyamasundar proceeds towards the kunja, however, Chandravalis sakhis intercept him and takes him to her for an evening of pleasure. Thus Krishnas promise to Radha is broken. The next morning, however, Krishna arrives at the door of Radhas kunja feeling guilty for his grave aparadha. But as soon as Priyaji glances towards him from the corner of her eye, she understands everything! She is instantly pained, jealous and angryher heart is completely shattered! After taking great risk and casting everything aside to meet Krishna in the dead of night, the rushing river of her hearts yearning anuraga comes to a halt! The Mahajanas say: premera sadAi abhimAna preme cAi Sola-AnA prANa Prema always carries pride, for in prema, one demands the beloveds full attention. Prema doesnt compromise for give and take. It cannot fathom logical reasoning, nor does it wait for predestination. Similarly, sense of duty, etiquette or makeshift politeness find no place next to prema. svar ?pa kahe, premavat?ra ei ta' svabh~ ?va k ~ ?ntera aud~ ?sya-le ?e haya krodha-bh~ ?va Svarupa Damodar said, It is the nature of a woman in love to become angry as soon as she sees even the slightest indifference in her lover. (CC 2.14.127) Srimatis suspicion of her Prana-vallabhas eka-niSThA-prema (one-pointed love) causes the obstruction. Take for an example a dam: if it is suddenly placed within a raging river during the rainy season, it cannot stop the current because the force of the water is insurmountable. Instead, the water comes over the banks to create a flood. Similarly, when Radhas irrepressible desire to meet Krishna is blocked due to his misbehavior, her rushing river of Shyama anuraga doesnt stop, but overflows instead! This condition is called mana, or jealous loving anger. As the mana rasa of Sri Vrindavan is an incredible phenomenon, Sriman Mahaprabhu states, The Vraja gopis mana is a reservoir of transcendental mellows (vraja gopIr mAna hoy raser nidAna, CC 2.14.138). In the present situation, Radha becomes dhIrAdhIrA to address Krishna with crooked sobriety: eso eso bandhu, karuNAr sindhu rajani goAile bhAle AmAre chAriyA, Ana sukha peye bhAlo to sukhete chile ? kAndiyA jAminI, pohAila Ami

tumi to sukhete chile? Welcome, welcome, my friend! Youre an ocean of mercy! After leaving me, its nice that you found pleasure elsewhere. Did you pass your evening well? Although I spent the whole night crying, but you must surely have been happy with her. (Chandi Das) As Krishna comes forward to apologize, Srimatis tone changesshe rebukes him as follows: chuio nA, chuio nA, bandhu oikhAne thAko mukura loiyA cAnda mukha-khAni dekho nayaner kajor, bayane legeche, kAlo upore kAlo prabhAte uDhiyA, o mukha dekhinu, din jAbe Aja bhAlo Dont touch me, nagara, dont touch me! Stay where you are! Take a mirror and look at your moon-face; its just covered in the eye mascara of your girlfriendblack on black. How auspicious to get your darshan so soon after rising. My day is sure to go well! Krishna is caught off guard! So trying to conceal his offense, he pretends to be faultless. But after all attempts fail, Srimati explicitly replies, Ive heard from others that youre flirtatious. But today I am getting to see it with my own eyes! So, take my pranams from a distance. I understand, you belong to someone else! For your pleasure, I threw away my patience, pride, dharma, home, family and everything else! Then, in the darkness of night, I entered this forest hoping to find you. But, after forgetting me, where were you? From a distance, I offer a million obeisances to your feet. I understand it all nowyoure not mine! Saying this, Srimati covers her head, turns her back to Krishna, and begins crying! Vowing to never look upon his face again, Srimatis mana becomes durjaya, extremely difficult to overcome. In Krishnas separation. Radha would chant Shyamas name to relieve her pain, but now, as the life of her life Prana Govinda falls at Radhas feet to offer hundreds of appeasing words, she defends her gravity with the heavy weight of durjaya manathe tongue that continuously utters Krishnas names is silent! In GIta-govinda, this tender moment is lucidly described. There, the parama rasika Vaishnava kavi, Sri Jayadeva Goswami, has achieved immortal acclaim, having recorded Sri Govindas heartrending words meant to appease Srimati Radharanis durjaya mana. That excerpt runs as follows: O Priya! If you speak just a few words, the bright glimpse of your teeth will overcome the dark fear of my heart! And the effulgence of your moon-like face is causing my chakora eyes to seek the nectar of your lips. Oh delicate one, please discard your ill-founded mana! Please relieve my suffering by the touch of your sweet lips! O Radhe, your teeth are beautiful. If youre angry with meplease lance me with your eyes, strangle me with your arms, and bite me with your teeth, or do whatever else that comes to your mind! Youre the ornament of my body, the life of my life, and the jewel that surfaces from the ocean of my existence! The only desire left in my heart is to see you reciprocate with me! Hey slender one! Although your eyes are like the blue lotus, today, due to anger, they resemble a red one. If you kindly use those eyes to pelt me with Kamadevas flower arrows, then they will be refreshed with newer and newer charm!

O Priya! Let a necklace of pearls dangle from your jug-like breasts to decorate your heart. And the enchanting sound of the small bells strung around your hips proclaim the birth of Cupid! Ayi, sweet-spoken one! Just order me once, I shall carefully take your graceful feet, which are lovelier than a crimson rose and which delight my heart, and decorate them with bright red alta ! Your delicate feet will fulfill all of my desires. Oh Priya! Kindly place them as a decoration on my head! Im burning in the flames of Kamadevas bonfire. Please relieve my suffering by the touch of your tender lotus feet! Oh delicate-one, please discard your ill-founded mana. At the mere sight of you, the fire of kama is scorching my mind! Kindly relieve my suffering by the touch of your sweet lips! (GIta-govinda, 10.2-8 ) At the time of composing these verses, Sri Jayadeva Goswami became perplexed. As he wrote, smara garala-kandanam, he thought to himself, Would Krishna really beg Radharani to place her lotus feet upon his head? Indeed, this is no small matter; how can I write such a thing? Yet, if I do not write these lines, Srimati Radharanis exceptional standard of prema will remain unknown. Even so, Sri Jayadeva couldnt gather the courage to finish the verse. In this frame of mind, he went to bathe in the Ajaya River. But meanwhile, his worshipable devata, Sri Madhavaji, came to his desk, picked up Jayadevas pen and finished the verse: dehi pdapallavam udram. Thus we learn about Krishnas zeal to disclose just how complete is his subjugation to Srimati Radharani, for he wrote with his own hand, O Priya, kindly place your reddish lotus feet upon my head! This is the charming feature of Krishnas madhurya: Who could imagine that the Supreme Lord, whose lotus feet are nor seen in meditation even by great sages and yogis, has gone so far as to fall at the feet of a young cowherd girlimploring her to place her feet upon his head! Gaudiya Vaishnavas can appreciate it, however: here is our worshipable Bhagavan, the aparadhi lampata, whose tears of repentance wash Priyajis charana kamala (lotus feet)! Sadhakas performing smaran sadhana recall Sri Radhas mana bhanjan lila at this time. Vraja-Nishanta XVI From 3:36 to 6:00 a.m. Krishna's speach Verse 98 Just look! The suns proud mistress, the lotus, addresses the lily: Your husband the moon is the chief of the brahmin community, the destroyer of peoples sins, and peaceful by nature. But after drinking the varuni wine of the western sky, he was dispossessed of his caste! Seeing the lotus laughing, the lilies are embarrassed and close their petals. Rasa-tarangini Tika: This verse is based on a number of puns. Dvijea means both the moon and the best of the twice born. The moon is known as dvija because it is reborn each month after disappearing completely on the dark moon night. And just as a brahmin rids the community of its sins through his own holy behavior and example, the moon destroys the darkness of the night. The word tamas means both sin and darkness. The god of the West is Varuna, but Varunas daughter Varuni is the goddess of wine.

And finally, just as a brahmin is considered fallen if he drinks alcohol, the moon is about to fall over the horizon and disappear. Normally, the night lilies close their petals when dawn comes, but here, Krishna is joking that the real reason for closing their petals is their embarrassment at being mocked by the lotus flowers, who are the beloved of the sun and open their petals with its rising. Verse 99 O Radhe! As the daylight destroys the darkness, the kokilas think as follows: Because we are also black like the night, perhaps the daylight will destroy us too! Thus they anxiously call for their friend, the dark-moon night of Amavasya, by shrieking kuh kuh. The kokilas are thinking, If the moonless night comes, then Rahu will cover both the sun and the moon to protect us! Rasa-tarangini Tika: The word kuh, which is the sound made by the kokilas, is also a name for the dark-moon night, Amavasya. This example also hints at another intimate lila: Although the kokilas mistake the sun and the moon for enemies and call to sentence their punishment, still their sweet voices invoke intoxicating bliss. Similarly, Krishna reminds Radhika, Even when you consider me an aparadhi and order your sakhis to ruthlessly escort me out of the kunja, still the sound of your voice is more beautiful to me than that of the kokilas and delivers unceasing joy! Sri Krishna says in ?r? Caitanya Carit~ ?mr??ta } ?di 4.26 priy~ ? yadi m ~ ?na kari' karaye bhartsana veda-stuti haite hare sei mora mana When my Priya, Sri Radha, chastizes me in her loving anger, then her words steal my mind as no recital of Vedic prayers can! Verse 100 Krishna continues: O Priye! The cooing of the she-pigeons appears to be the sound of the forest moaning ecstatically in the arms of her husband, the spring season. Rasa-tarangini Tika: Krishna wishes to tell Srimati that the pigeons cooing reminds him of the ecstatic pleasure he experiences while hearing her madhura moaning at the height of their rati keli. Verse 101 Hey Chandramukhi! Look how this restless male bee, marked with yellow pollen after playing in the lilies all night, is still so thirsty for honey that he is following the female bee, who spent the night trapped inside a lotus flower and is only now coming out as the flowers petals spread at the hint of daylight. Rasa-tarangini Tika: Here Krishna again reminds Srimati Radhika of her mana lila with the lady bees example: Hey Radhe! When a young girl sees her boyfriend after he has enjoyed another girl, she becomes jealous to preserve her rasa-maryd, the esteem her love deserves. Im quite fond of this rasa-maryd, for I derive great pleasure in seeing it displayed. O Radhe! In your prema dham, Sri Vrindavan, even the birds and bees are endowed with this pride. Just see: while this female bee was trapped the whole

night inside a lotus, her lover spent his time enjoying the lilys pollen. Now as he appears before her covered with yellow pollen, the lady bee chastizes him! Seeing her jealousy, Im diving into an ocean of bliss reminded of your beautiful moon-face when it becomes contorted with mana! Verse 102 Fearing her husbands delay, the female chakravaka ecstatically kisses the raktotpala, red lotus, that is even redder in the early mornings sunrays. Rasa-tarangini Tika: Krishna continues: O Radhe, how enchanting! Heres another incident which causes my heart to dance as I remember your lila of mistakingly embracing a tamal tree! Just see, as the red sunrays fall upon the red lotus increasing its brightness, a chakravaki bird mistakes it for her husband and ecstatically kissed it! Isnt it amazing how prema causes blindness! Verse 103 O sweet-spoken one! Look here, the swan named Kalasvana is approaching the bank of the river. Hes ecstatically flapping his wings and leaving his mate, even though she wants to make love with him! 104And just see, Kalasvanas wife Tundikeri clasps a lotus stem in her mouth and gazes upon your lotus face. Shes swiftly swimming behind her husband making a sweet quacking sound! Rasa-tarangini Tika: As Kalamsvana is Krishnas dearest swan and Tundikeri is most dear to Radha, the Divine Couple have arranged their marriage. Krishna remarks, O Radhe, just see how much these swans love us! At the mere sight of us, theyve discarded their own love-making to come near to us! Verse 105 Oh Priya! The Malayan breezes have merged with the fresh mountain air to carry the fragrance of the lotus and teach the forest latas to dance. This breeze soothes everyones fatigue, but it especially acts to relieve the perspiration of loving couples engaged in prema keli! Rasa-tarangini Tika: Rasika shekhar continues: Oh Priye! Why only the birds and the animalseven the trees, the vines, the air and the water of madhura-Vrindavan share your unconditional maha-prema! Just observe the selfless love of the southern breezes! Acting as the guru for the young maiden-like forest vines, it teaches them the art of dancing. It also carries the cooling moisture form the Yamuna to relieve the perspiration of those nayikas (especially you, Radha) who engage in Ananga keli. Seeing the winds amazing prema seva, I praise its good fortune! Vraja-Nishanta XVII From 3:36 to 6:00 a.m. Radha and Krishna separte eachother Verse 106 In this way, as Sri Krishna exchanges madhura rasamaya katha with Radha and the sakhis, everyone forgets once again the pressing need to return home. Verse 107

Thus Vrinda Devi anxiously signals to an elderly female monkey named Kakkhati. Verse 108 Understanding what to do, Kakkhati suddenly shrieks from the treetops, Praised by the sadhus, the yogini of morning and sunsetJatilais swiftly approaching with her matted locks and attired in saffron garb! Rasa-tarangini Tika: The actual meaning of the riddle is: The newly arrived sun is coming to spread its light-rays which are compared to jaTilA, a yogini with long matted hair, known as jaTA. Verse 109 When Vrajas mangala svarupa (the reservoir of auspiciousness), Sri Radhe-Shyama, suddenly hears the name of Jatila, which means ill-tempered by nature, fear and panic overtake them! Although still anxious for prema vilasa, they quickly exit from the kunja! Rasa-tarangini Tika: Lets return to Krishna-bhavanamrita to follow Srila Chakravartipadas description: Without the protection of the stately king of night, Radhas arch-enemy, the sun, begins to torture her and the Vraja sundaris. Seeing a stark tree trunk without foliage, the gopis panic, thinkingheres Jatila! In fact, due to intense fear, wherever their eyes chance to fall, they imagine that Jatila is approaching from that direction! Although Krishna proceeds along placing his arm on Radhikas shoulder, still Madan Raja, Cupid, is unable to pierce them with his stock of arrows. And whats the reason? In Kandarpas kingdom, everyone knows that when Padmini bandhu (a name for the sun, the friend or lover of the lotus flowers) rises, the lotuses become rejuvenated. But today as he rises in the sky, the Vraja padminis, Radha and her sakhis, become frantic! Seeing their plight, Madan Raja became confused and thought: A revolution must be taking place within my kingdom! Thus being distracted, he didnt take up his bow. Otherwise, Cupid would surely have pierced Sri Yugal Kishor with his flower arrows at this moment also! Radha and Shyamasundar embrace as they moved through the nikunjas courtyard, but upon reaching the crossroad to Vraja, Sri Krishna suddenly removes his arm from Srimatis shoulder. Radha frantically realizes, Protected within this kunja by my bodyguards of elation, Ive enjoyed the maha-nidhi (great jewel) of Madhavas embrace! But hay! Now I am unprotected, and the dacoit named panic is forcefully plundering my treasures! Seeing this tragedy, the sakhis and manjaris burst into tears and loudly cry in despair! (Krishna-bhavanamrita, 2.67-70) Verse 110 Upon hearing Jatilas name, Radha and Krishna become so afraid that they separate. Seeing them fleeing on separate pathways with their dangling ornaments, loosely falling garments, and hair cast astrewnthe sakhis become bewildered and hide! Rasa-tarangini Tika: Continuing from Krishna-bhavanamrita: As Radha and Krishna traverse different paths, viraha turns their moon-like faces pale. Hence its quite astonishing that the vanishing stars could make two moons fadefor this is unheard of! No one becomes depressed upon receiving a valuable gem. But even though Radha and Krishna have

each others hridaya mani (the hearts jewel, i.e., prema) their mutual separation causes grief. Therefore, premas amazing influence arranges a direct reunion! In other words, due to intense prema, a sphurti of the beloved manifests, and union within separation becomes possible. (Krishnabhavanamrita 2.72) At this point, Krishnahnika-kaumudi contains the description of an interesting lila. As Radhika and Krishna Chandra swiftly traverse the path, their fearful eyes scan every direction to make sure that no one is watching. Yet their thirst for rati keli remains ever unabated! Thus taking the help of their own hladini shakti and their deep mutual anuraga, tribhuvana-manohari (enchanting to the three worlds) Sri Yugala Kishor perform rati vihara right on the pathway! And hence the sakhis and manjaris experience complete nayanananda (ecstasy for the eyes). After the Surata-yajna, Radha and Krishna take a Yamuna snana, which signifies the last function of Ratis evening sacrifice. (Krishnahnika-kaumudi 1.43-44) It is noteworthy that when Radha stays in Javat, she remains with Krishna as far as kadamba-khandi before returning home. And during her stay at Varshana, their parting takes place at Dhuman Vana. Vraja-Nishanta XVIII From 3:36 to 6:00 a.m. Radha and Krishna's pangs of separation Verse 111 After leaving Radha, Krishna feels melanchoy and struggles anxiously along, watching in every direction. Chandravalis sakhis lie in waiting on the left, and the senior gopa-community are ahead. Krishna anticipates Jatilas arrival from the West, and his eyes look back to Radha who fearfully proceeds homeward in the southern direction. Rasa-tarangini Tika: Krishna surmises: Perhaps it was jealous Chandravali who had informed Jatila today. Therefore he fears Chandravalis wrath and cautiously tries to avoid meeting her. Krishna also reflects: Hearing Kakkhatis foreboding warning, weve gone deep into the forest to side-step Jatila. Although, by now, she must have entered our kunja from the Yamuna pathway. Then after having not found us there, surely she must be following from behind and waving her stick! Is my nitambini Radha still safe? Was she detected by adverse persons? Or could she have fallen unconscious from the severe pangs of my separation? Such thoughts occupy Krishnas mind as his eyes conscientiously look back towards Radha. Krishna-bhavanamrita describes: As Madan-mohan returns alone to Vraja, the female form of distress tightly embraces him to render him paralyzed. In other words, due to the intolerable pain of Radhas separation Krishna is unable to move, and hot tears stream from his eyes! (Krishnabhavanamrita, 2.73) Verse 112 In fear and palpitation, Ishwari-Radha thinks that Jatila is close behind! Adding to the difficulty are Radhas large breasts and broad nitamba which impair her ability to move quickly. Nevertheless, using one hand to grasp her dropping garment and the other to clasp her open locks of hair, Srimati scurries towards Vrajaas quickly as she can!

Rasa-tarangini Tika: Krishna-bhavanamrita, adds: As Krishna is afflictedso is Radha! She feels Krishna viraha like a plague of bruises covering her entire body! At every step, she nearly trips, even though helped by a sakhi. Speaking to her attendants, Radha exclaims, Im being tortured by the excruciating pain of my hridaya-naths separation! So why are you escorting me home? Is this befitting? Cruel Fate has stolen my prana-nath! But I cant fathom why you sakhis, who are more dear than my life, have turned against me. Please dont throw me back into the dark well of Jatilas samsara! Hay! Is there no one to give me shelter? Although passing the whole night enjoying Krishnas amritamaya sanga, still due to extreme anuraga, Radha considers that she has been deprived of Krishnas association! Thus she addresses Lalita, Oh sakhi! Didnt you promise: Radhe, come with me, I shall bathe you in the nectarean ocean of Sri Krishnas anga sanga! Hay! Why did you entice me with such false assurance? Just a moment ago we left homenow were returning so quickly? Hey priya sakhi! Why didnt you bathe me in that amrita sagara? Did I commit some offense? Oh Lalite! I just saw the sun setting a moment ago, but now its rising on the eastern horizonhas the night ceased to exist? Hey prana sakhi! My deprived ears couldnt hear Krishnas wonderful kathamrita, my lips couldnt taste the sweetness of his adharamrita, and my eyes couldnt drink the sweetness of his rupamrita; therefore, my ears, lips and eyes have been cursed! Lalita answers, O Radhe, for the entire night you studied yoga with Krishna according to the process of transgressing the Veda religious regulations. That is called the nirveda-paddhati. And now, during viyoga or separation, youre still following the nirveda (distress) process by cursing your misfortune. During yoga, you tasted Krishnas kathamrita, adharamrita, and rupamrita, but now in viyoga, youre drinking kalakuta poison! Being obsessed, Bhagavati Radha is unable to comprehend Sri Lalitas words. (Ka-bhvanmta, 2.74-80) Verse 113 To safely escort Radha, Sri Rupa Manjari lifts her into her minds palaquin while her eyes act like a protective curtain to shelter Swaminiji from the view of others. Out of fear, her ash-colored eyes flicker while scanning the pathway ahead! Rasa-tarangini Tika: Just as one riding in a palaquin has to submit to the persons carrying it, Sri Radha proceeds along depending on Sri Rupa Manjaris watchful guidance. Verse 114 When a king walks down the road, his bodyguards precede him to clear the pathway. Similarly, Sri Rati Manjaris eyes become like spears to ward off undesirable persons who could interfere with Srimati's secret journey. Verse 115 Reaching their respective homes, Radha and Krishna nervously glance towards the doors of their elders. Then, with a sigh of relief, they tiptoe to their own bedroom chambers and their fear subsides. Thus, in weariness and anguish, Sri Sri Yugala Kishor at last fall asleep in their own beds. Rasa-tarangini Tika: Their weariness comes from spending most of the night awake. Anguish results from being separated

from the beloved. Verse 116 In every yuga, the Creator (Maha-Vishnu) creates, maintains and destroys the universe. Then returning to his own dhama, he rests upon the bed of Ananta while the Vedic Shrutis who describe this lila secretly return to their celestial abodes. Similarly, Sri Krishna performs kunja vilasa with Radharani and sneaks back amongst his family members to fall asleep in his own bed. Coincidentally, the clever sakhis and manjaris who expand this lila also secretly return to their residences. Verse 117 As a result of Sri Rupa Goswamis mature seva aroused by drinking the madhu at Sri Chaitanya Devas lotus feet, the request of Sri Raghunath Das, the association of Sri Jiva and the benediction of Sri Raghunath Bhatta, the first chapter of Govinda-llamata entitled Nishanta Keli is complete. Rasa-tarangini Tika: The time is now 6:00 a.m. Sri Yadunandana Thakur concludes the first chapter by saying : govinda-caritmRIta kathA anupama aparUpa rasete jurAya karIa mana vizvAsa koriy jei koroye zravaNa ihAte pAya rAdhA-kRSNera caraNa The Govinda-lIlAmRta is incomparable. This fascinating rasa will completely satisfy the mind and ears. Those who hear it with faith and attention will attain Radha Krishnas yugal charan. The Gaudiya Mahajanas affirm that one having faith (shraddha) is eligible to read Govindalilamrita. Similarly, through advanced faith in this hearing process, one attains Radha Krishnas lotus Rasa Analysis to Chapter One I Govinda-lIlImRta is a lila smaran manual that leads one to direct seva in Krishnas Vrindavan pastimes. Because the mind controls the body and its activities, and because the minds nature is to be attached to something, lila smaran, based on attachment for the nitya seva for Krishna and his Vraja associates, is the ideal means to guide ones various devotional activities. In Bhakti-rasmtasindhu, Sri Rupa advises : kRSNaM smaran janaM cAsya preSThaM nija-samIhitam tat-tat-kathA-rataz cAsau kuryAd vAsaM vraje sadA Smaran is to be performed by focussing on Krishna in the company of the priya Vrindavan associates that one desires to eternally serve. Related lila katha should always be discussed while residing in Vrindavan. (Brs 1.2.294) In the light of this instruction, the best use of Govinda-lilamrita will be made by bhaktas hankering for the privilege of serving Gopijanavallabha Krishna with Radha and her dearest associates. The

purport of Rupa Goswamis verse is that one should engage in smaran of these pastimes, of which interrelated lila katha with like-minded devotees is an integral part. Ashta-kala lila smaran is also sometimes called daNDa atmikA sevA, or devotional meditation in which each unit of time (a daNDa = 24 minutes) is assigned to a particular pastime. One can thus know at any given moment during the day what pastimes the Divine Couple are engaged in. There are six dandas within the Nishanta lila. The first chapter can thus be broken down as follows: 3:36-4:00 a.m. The manjaris awaken, begin their various seva, and arrive at the nikunja mandir for Yugala darshan. 4:00-4:24 a.m. By Vrindas order, numerous forest birds surround the keli mandir and begin chirping. The manjaris ecstatically view Radha Krishnas shayana madhuri and describe its beauty to one another. 4:24-4:48 a.m. As the Divine Couple awaken and relish each others splendor, the sakhis and manjaris enter the vilasa mandir full of suggestive jokes and laughter. 4:48-5:12 a.m. Sri Lalita Devi performs arati as the Vraja sundaris join in the singing and dancing. Intoxicated by the beauty of the moment, everyone forgets the need of returning home. 5:12-5:36 a.m. On Vrindas signal, the shari named Shubha incites fear. Radha and Krishna leave the kunja and the manjaris follow, carrying the seva paraphernalia. Seeing a mixup in the Divine Couples dress, the sakhis smile and joke with one another. Krishna points out some interesting features of Vrindavans early morning panorama, using various poetic devices. 5:36-6:00 a.m. The female monkey named Kakkhati shrieks out a warning of Jatilas arrival. Radha Krishna panic and flee homeward separately. Upon reaching their respective residences, they safely return to their own beds. Lila smaran blends nicely with Sriman Gaurasundars Goloka-prema-dhana sankirtan. In order to assist the Lords preaching, many Gaudiya Mahajanas recorded Vrindavans lila rasa in the form of padavali kirtan. A pada is a song composed in Bengali verse describing the Lords form, pastimes or mellows. Lila smaran is usually performed to the accompaniment of Harinam japa. However, Mahajana padavali makes a nice alternative. In many temples, kirtan of the lilas accompanies the Deity seva. The following padas have been selected in accordance with the division of dandas given above. Each song has an raga appropriate to it which, according to custom, is named before the song. (1) Raga vibhasa nizi abasAne vRndAdevi-jAgalo sakala sakhIgaNa meli nibhRta nikuJja dvAra korimocana mandira mAjhe caligelo ratan pAlaGke zute rohu duhujana atizayaAlase bhora ghana dAmini kIye markata kAJchana aicana duhU tanu jora bigalito veNi cAruziski-candraka TuTala maNimaya hAra pahiraNa basana Adhabhela bigolita candana AbharaNa bhAra

ratisukha baGgabhaye sabsakhigaNa vidikadei bahu gAli ihA sukha rajanitvaritabheloabasAna nirdaya hRdaya tohAri nizi abazeSa kamala AdhavikAsala daza diza aruNita manda kaicana kuhuka jagAibo rocaite uddhava dAsA hiya dhanda (1) As the night ends, Vrinda Devi and the sakhis awaken and proceed to the secret nikuja where Radha and Krishna are resting. After unlatching the door, they enter the vilasa mandir. (2) The Divine Couple lie asleep on a jeweled bedstead, weary from the exhaustion of their night of prema keli. They tightly embrace, resembling a dark cloud garlanded by lightning, or a goldenlocket containing an emerald. (3) Radhas hair and Krishnas peacock feathers are scattered, their necklaces have been broken and the gems dispersed. As it were, their clothing has partly vanished along with various golden ornaments that became a needless burden. (4) Fearing the nights cessation and the end of the Divine Couples pleasure, the sakhis scorn Providence, saying, The night was so full of joy, but you have taken it away so quickly. How hardhearted you are! (5) With the approaching day, the lotus has half opened and the sky in all the ten directions has become red with the suns rays. In this situation, Sri Uddhava Dass heart becomes confused, How will I be able to awaken Sri Yugala Kishor, and how will I dress them? (2) RAga lalita jAgahU vRzabhAnu nandini mohan-jubarAje ei nava juJje bhramara juJje kokila bhana jAje AkarunA punaH taruNa aruNa udita mudita kumuda badana camaki cumbi cacuri paduminika sadana sAje kijAni sajani rajani bhora ghu-ghu ghanaghoSata ghora gato jAminI jita dAminI kUla lAje phukarata hatazoka-koka jAgahu eba sabahu loka zuka zArikA pIka kAkuli nidhuban bhori gAje galitao lalila basana sAja maNijuta venI phani virAje uchu koraka ruca coraka kuca joraka mAjhe torito jorito jalada bhAti duhu sukhe sute rohalo mAti jini bhAdararasabAdara paramAdara zeje baraja kulaja jalaja nayani bhumalo bimala kamala bayani kRta lAlisa bhuja bAliza nAhi tyaje TuTala kitra phula dhanuguNa kitra ratiraNe bhelo tuNa zuno samara majha poralo lAjja ratipati bhaye bhAje vipatti porala jubati vRndA gurujana suni kahabi manda jagadAnanda sarasa birasa rasabatI rasarAje (1) Arise, O Vrishabhanu Nandini and Mohan yuvaraj! The bees are buzzing and the kokilas are clamoring in your pleasure bower. (2) The cruel early morning sun is rising again! As the lilies close their petals, the bees give them one last kiss and fly to the lotus patches.

(3) O sakhi Radhe! Whats happening to your pleasure-filled night? The pigeons low-toned sounds distinctly echo through the dark mist, and now the lightning-complexioned Vraja kaminis will be humiliated! [Or, The brief night has appeared like a flash of lightning, bringing humiliation to the gopis!] (4) The chakravaki birds rejoice, however, because they can unite with their husbands. The Vrajavasis will soon awaken, and the Nidhuvan forest of your lovemaking now resounds with the maudlin cries of the kokilas, shukas and sharis. (5) Radha Madhavas lovely raiments have been torn and fallen aside, and Radhas veni, braided with pearls, looks like a black snake crawling between her raised golden lotus breasts. (6) Yugala Kishor are saturated within their own prema rasa like a lightning-streak resting within a dark monsoon raincloud. (7) Lotus-eyed Radha, the noblest of Vrajas beauties, happily sleeps on the pillow of Krishnas two arms. She is unable to shake her drowsiness. (8 ) What has happened to the stamina of Kamadevas flower bow? During the prema keli battle, he exhausted his entire stock of arrows! Embarrassed and afraid, Ratipati (Cupid) retreated from the battlefield! (9) The Vraja kishoris will face danger, and if discovered, there will be a scandal! Thus, the poet Jagadananda is both elated and downcast on seeing the plight of Rasavati Rai and Rasaraj Shyama! Jagadananda Thakur was a contemporary of Narottam Das Thakur in the family descending from Sri Narahari Sorkar of Srikhanda. This song served as the model for Bhaktivinoda Thakurs Udila aruna. (3) Raga mangala rAdhe govinda jaya rAdhe govindarAdhe gocinda jaya rAdhe ThAkura hAmAri nanda-ki-lAl ThAkurANi zrImati rAdhe vRzabhAnu nandinI zrInanda nandana sakala guNa agAdhe bhora samaya kAle kokila kuhU DAle bhramara hari guNa gAoye rattaNa palGka upari baiThalo duhuG jana du huN mukha sundara sAje zyAma zira zikhI curA virAje rAi zire veNI sAje zyAma gale vanamAlA virAje rAi gale gaja moti sAje zyAmer kore mohana muralI rAi kore kaGkaNa sAje zyAma kaTi tate ghurghura virAje rAi kaTi kiGkiNI bAje jugla caraNe maNimaya nUpura runu jhunu runu jhunu bAje

sakhI maJjarI jata maGgala gAoto jaya rAdhe govinda jaya rAdhe sundara badane aruNima locana baGkima cAhani sAje zuka pIka zArI mayUra mayUri kuJja bhavana bhari gAje vRSabhAnu nandini ramaNI ziromaNi nava sakhi gana mAjhe zrI vRndAvana kusuma kAnane bhramarI rAdhA guNa gAoe dIna kRSNa dAsa bhaNe madhura zrI vRndAvane yugala-kizora virAje

(1) The gopis sing, Radhe Govinda! Jaya Radhe Govinda! Radhe Govinda! Jaya Radhe! Sri Nandalal is our worshipable Thakur, and Srimati Radhika is our Thakurani. (2) Before daybreak, the kokilas shrill from the trees while the bumblebees sing Haris guna kirtan. (3) Upon awakening, Radha Krishna sit up on the jeweled bedstead and display their lovely faces. Radhika sits on Shyamasundars left, and her blushing smile befits a nava-kishori. (4) Krishnas silken garments are flashy yellow and Radhas are deep blue like a newly-formed raincloud caressed by lightning. Shyamas headpiece is fashioned with peacock feathers, and Radhas curling hair is tied in a braid. (5) Shyama sports a forest garland, and a necklace of pearls adorns Rais chest. Shyama holds his notorious mohan murali, as numerous bracelets and bangles glitter on Radhikas wrists. (6) Shyamas hips are enamored with jingling bells, and Rais hips display a kinkini mala. Radha Krishnas shringar is complete with anklebells of gems that jingle runu jhunu runu jhunu from their lotus feet. (7) In jubilation, the sakhis and manjaris cry, Jaya Radhe Govinda! Jaya Radhe! Kishora Kishoris mukharavinda portrays intrigue with darting sidelong glance; their eyes have a soft reddish hue. (8 ) The cuckoos, kokilas, peacocks, parrots and other forest birds fill the kunja with sonorous tumult, Jaya Ramani shiromani Vrishabhanu Nandini Radhe! Jaya Jaya nava nava sakhi vrinda! (9) In this flower kunja, even the honey bees sing Radhas glories. Sri Dina Krishna Das ( the same Siddha Krishna Das of Govardhan who wrote the Gutika) concludes, Thus Sri Sri Yugala Kishor reign within their madhura Vrindavan dhama!

(4) Raga Mangala (1) It is Yugala Kishors mangala arati! The sakhis and manjaris sing jaya jaya and clap in unison! (2) A jeweled ghee lamp is offered, slightly flickering and illuminating Shyama and Gauris effulgent moon faces. (3) Lalita and Vishakha Sakhi and are totally absorbed in premas fascination as they offer arati to the Divine Couple! (4) From within the Vrindavan kunj, Yugala Kishors manohara murati lights up the entire world! (5) The parrots and cuckoos sing, the peacocks dance, and even the chakora birds have forsaken the moon to drink the sweetness of their faces! (6) All types of instruments resound to fill the sky. The poet Shyamananda ecstatically concludes,

Let the music play on! (5) Raga vibhasa (1) The night creatures have gone home as the dawn rises; the moon has lost its brightness. The lilies have closed and the lotus have begun to blossom. How calamitous for those who are dependent on others. (2) Observing the situation, Vrinda Devi becomes afraid and on her order, the kokilas sing, the bees begin buzzing and the impassioned peacocks resound ke-kaa, ke-kaa. (3) At last Kakkhati calls out: Radha! Krishna! What are you doing? Hurry up and get out of here. Jatila has seen that Radha is not at home and has entered the forest waving a stick in search for her! (4) On hearing Kakkhatis lie, Vrishabhanus daughter becomes afraid. What else can Rai and Kanu do except run to safety? They and the sakhis flee on a secret pathway, leaving the woods behind. (5) The Vraja kishoris perk their eyes in every direction like frightened deer! Standing by Sri Sri Nagari Nagara (Radhe Shyama), the poet Raya Shekhara smiles and offers them consolation: Theres nothing to fear! Raya Shekharawas the disciple of Raghunandan Thakur of Srikhanda. He himself was a descendant of Nityananda Prabhu. He flourished in the early 17th century. He is best known for the Datmik verses, which are a summary of the ashtakal lila in Bengali song from which the above has been taken. (6) Raga suhai (1) Krishna starts home, half walking, half slipping. Then he stops and turns around to give Radha a last kiss! (2) Looking into each others faces, a stream of tears glides down their cheeks, the sakhi loudly cry, becoming motionless! (3) Struck with fear, Radha Krishnas eyes whirl, their loose garments sag, and their flower decorations dangleall have become a burden! (4) After removing their anklebells and jingling ornaments, Radha and Krishna set off in distress, each on different paths. (5) Looking back again and again at one another, but they can see nothing, for the tears flow so profusely from their eyes that their clothes are drenched! (6) Approaching their homes, the gopis cover themselves with yellow chadars in an effort to remain unseen. (7) Covering themselves from head to foot, they tiptoe, also covering their feet to make even less sound. (8 ) Radharani enters her home; in fear of the elders, Radhas eyelids flutter! (9) Finally Radhika Sundari reaches her own bed and falls asleep. (10) The poet Sri Balaram Das concludes with a prayer: As Radha Krishnas pastimes regularly unfoldlet me see each lila at its prescribed time! Thus ends the Nishanta lilas Rasa-tarangini Tika commentary.