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Post by Jagannāth Miśra Dās on Feb 20, 2022 23:56:16 GMT -6
A short excerpt from Kahnāi Khunṭiā’s Śrī Śrī Mahā Bhāva Prakaśh, Chapter 2, verses 132-164, regarding Rādhā-tattva. In the first chapter of this manuscript Kahnāi Khunṭiā reveals how once, within the enclosure of Kāśī Misra’s courtyard at the conclusion of a kirtan, Gaurānga Mahāprabhu asks the assembly of Vaisnavas if they had any questions. Rāmānanda Rāya eventually questions the Lord on certain tattvas, and as he does so, Vakeśvara Pandita requests Kahnāi Khunṭiā to sit behind Mahāprabhu and write down the various questions and answers, which he did, and he named this the Mahā-Bhava-Prakaśh. Here then are a few verses spoken by Śrī Gaurānga on Rādhā tattva, taken from Kahnāi Khunṭiā’s Mahā Bhāva Prakāśh.
e-ante-rāmānanda-je-utsukha-hoile
karajoḍi-prabhu-pāse-minati-karile (132)
boila-bhāvarūpiṇī-tejaswarūpiṇī
śrī rādhā-tattva-gūṇa-prakāśile-pūṇi (133)
Rāmānanda Rāya, now filled with exhilaration, places his palms together in a prayerful posture as he addresses a modest petition to the Lord. (Rāya said) Once again speak to us of the virtues (gūṇa) pertaining to the tattva of Śrī Rādhā who is herself bhāvarūpiṇī (whose every limb is composed of bhāva) and whose inherent essential form (teja-swarūpiṇī) is that of bright radiance. (132-33)
sūṇī-semāne-mohara-sukruti-baḍila
bhakata-janankar-je-kalyāṇa-labhilā (134)
Listening to these topics my piety is magnified and all the bhaktas here are likewise blessed. (134)
ethaku-au-je-eka-sandhela-achai
prakāśh-karile-prabhu-swarūpa-je-pāiṅ (135)
āpane-aṭhanti-sāksāt-je-avatāra
bhāvarūpī-mahābhāva-prakruti-rūpara (136)
There is one other quandary which I have O Lord, and I trust that you will reveal the true nature of the matter to us, as you are directly an avatāra and the veritable embodiment of mahābhāva. (135-36)
krusnacandanka-karūṇā-pratyaksa-labhica
bhakta-tāraṇa-nāma-prabhu-bahi-acha (137)
You have directly received the mercy of Krsnacandra and your name, O Lord, delivers the Bhaktas. (137)
bhaktapriya-gosaiṅ-bāre-dayā-kari
tejarūpī-mahārānī-kemante-sūmari (138)
O Gosai, your Bhaktas are dear to you, so once again be graceful and tell us how the bright form of the Mahārāni (Rādhā) is to be remembered. (138)
kemante-teja-rūpara-udaya-haila
emane-kahi-mohara-samsaya-pheḍila (139)
How does her form of radiant limbs arise within? Deign to speak on this matter, and thus clear away my doubts. (139)
bhakta-kathā-sūnī-prabhu-bhakta-siromaṇi
dayita-bhavare-jaḍi-kruṣṇabhāva-guṇi (140)
The Lord, who is himself the crest jewel of all Bhaktas, heard these words of his Bhakta, Rāmānanda Rāya. Know that Lord is he who verily unites the dayita-bhāva (the beloved’s bhāva) with the virtuous krṣṇabhāva!(140)
boile-sadhīre-prabhu-bhakti-gadagade
sūnasi-he-bhakta-vrunda-teja...(missing)... (141)
The lord began to speak in a slow and measured pace, yet due to his bhakti his voice choked up, and he then declared to the assembled Bhaktas...(missing)…(141)
ekadā-se-bhānudeva-mandara-parvate
milile-satware-jāi-ati-gāḍa-citte (142)
(Gaurānga said) Once upon a time the sun god happened to alight upon the Mandara mountain and straight away he entered into a profound and attentive state of mind. (142)
dina-dina-tāpa-tārā-ati-guru-helā
devatāmānankar-je-teja-lopagalā (143)
Day by day he performed rigorous tapa, so much so that all the other gods entirely lost their splendour. (143)
emanta-je-nārāyana-prabhu-kruṣṇacandra
pravesa-hoile-surja-sammukhedevendra (144)
Then the Lord Nārāyana-Krṣṇacandra, who is the Lord of all gods, arrived and appeared directly before the sun. (144)
abhaya-vānī-dei-pūchāeka-kale
ki-nimante-devāngahe-tapa-acarile (145)
Consoling him with his words the Lord then proceeded to question him as to why he was performing this tapa.(145)
boile-he-bhānu-tumbe-jagatara-teja
tumbe gopya-hele-jāta-jagata (146)
(The Lord said) O sun! You are the splendour of this world! If you begin to hide yourself, the world will likewise lose its lustre too. (146)
boile-tejamaya-prabhu-divākar
kathora-tapasyā-kethi-nimante-ācara (147)
O lustrous bright lord of day! Why are you so preoccupied with this arduous discipline? (147)
boile-savitā tahan-āhe-hrusīkeśha
teja-mo-hoilā-guru-helā-gariyasa (148)
mohara-teja-mote-je-bādhaku-ānilā
ehā-mote-asambhāla-pari-janāhelā (149)
O Hrisikeśha! professed the sun, my radiant beams make me greater than everyone else; and it has become apparent to me that my own brilliance creates obstacles by making my presence unbearable.(148-49)
he-mahata-bhānu-tumbe-avatāra hela
teje-na-harila-prabhu-garu-mote-kala (150)
O Lord who are the greatest of all suns! When you descend as an avatāra you have never, O Lord, plundered me of my excessive dazzling rays. (150)
mohara-teja-na-hari...(missing)…
sarva-jāni-kāhiṅ-pūṇa-jignasuca-gūrū (151)
(note; due to a few words being missing from the end of the first line I still hesitate to translate verse 151.)
mo-teja-kara-haraṇa-prabhu-tejamaya
ananta-avaya-aṭha-jagatara-thaya (152)
Take away my brilliance, O endless and imperishable Lord who are full of splendour, and thus the world may know relief. (152)
emāna-suni-parama-krusna-te-ṣa-hele
(………….second line missing……….) (153)
Having heard him speak, the peerless Krsna...(missing) (153)
avatāra-hoi-mote-tejamāna-dia
(……….second line missing….) (154)
tohara-tejamāna-je-mora-krīḍānti
hoibe-mun-tāhā-sange-kariṇa-pīratī (155)
(Krsna says) When I advent, entrust your shiny glare to me...(missing)…your effulgence shall play host to my dalliances and I shall know of love in the company of your bold light. (154-55)
se-tohara-kanyā-boli-jagata-roṭhiba
mohara-bhāvinī-boli-sakala-jāṇiba (156)
tuhi-gokula-nagar-avatāra-hebu
tejamayī-kanyā-mote-samapaṇa-debu (157)
Let it be known to everyone in this world that your effulgence will appear as your own daughter and that she is destined to be my dearly beloved. Appear in the town of Gokula and offer your luminous daughter to me. (156-57)
emāne-kahiṇa-prabhu-antardhāna-hele
bhānuteja-vruṣabhānu-nāme-jāta-hele (158)
Having said this much the Lord disappeared and the bright sun was born bearing the name of Vriṣabhānu. (158)
tāhāra-gharaṇī-aṭhe-kīrttidā-ramaṇī
kīrttidā-aurasare-teja-janmi-pūṇi (159)
His wife was an exquisite beauty named Kīrttidā and it was from her womb that the radiance appeared. (159)
vibhakta-hoile-boli-dhā-nāma-dharile
teja-rākā-nāmare-rādhā-nāma-hele (160)
If we separate the name of Rādhā, then the “dha” denotes support, whilst “rā” implies effulgence, and thus we have the name of Rā-dhā. (160)
tejamayī-rādhā-mora-surja-tejuṅ-jāta
rādhā-nāme-jagatare-hoilekhyāta (161)
sehi-dinu-krusnarādhā-krīḍā-je-hoilā
rādhā-kruṣṇa-nāma-ehi-jagat-plāvilā (162)
Thereafter my lustrous Rādhā was born from the sun and has gained renown in this world by the name of Rādhā. From that day forth Krṣṇa and Rādhā’s dalliances commenced, and the world also began to flood with the names of Rādhā-Krṣṇa. (161-62)
bhāvamayī-swarūpa-je-pūrvaṅ-sūnī-thila
tejamayī-swarūpaku-ebe-ta-jānila (163)
Initially I made known to you her bhāvamayī swarūpa. Now I shall disclose to you her tejamayī swarūpa. (163)
THE END.
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Post by Nityānanda dāsa on Mar 25, 2023 10:17:40 GMT -6
A short but nevertheless lively description of Gaurānga Mahāprabhu’s dancing at Ratha Yātrā taken from Kahnāi Khunṭiā’s Mahā Bhāva Prakāśh, chapter 1, verses 58-89. (For more information on Kahnāi Kunṭiā see C.C. Madhya 15 verses 18-31.)
ମହାଭାବ ପ୍ରକାଶ.
kāśīmiśra mukundādi sarva bhakta gaṇe
beḍirahicanti gaurānga gahiṇe (58)
gajapati ābara je aṭhara karana
karina achanti eka ācāra gahaṇa (59)
laxsmīdhara nāmena je ekai sacīva
āvara haricandana taḍaunka ṭhāba (60)
Surrounding Gaurānga were Kāśī Misra, Mukunda and all the other bhaktas. The Gajapati was also present, encompassed by a select band of eighteen kayasthas who conducted their customary responsibilities. The proceedings were further directed by the kings assistants named Laxsmīdhara and Haricandana. (58 60)
kara paiṭha gheniṇa nrupa cūḍāmani
vijaya kālare muhiṅyoḍaveḍa gheru (61)
manimā vijaya boli harase ḍākili
utkantare śrīprabhu nrutya nirekhili (62)
Many people that tended the crest jewel of kings (Pratāp Rudra) were now locked arm to arm to create a protective barrier around their monarch. I was close by at this time, and was delighted to behold Lord Jagannāth's vijaya and with deep enrapture I watched ŚrīPrabhu (Gauranga) dance. (61 62)
śrīnavāsa nrutyarasa sekāle dekhai
prabhura bhāvare bāhyajnāna śūnyahoi (63)
And at that moment I also saw Śrīnivās enjoying nrutyarasa (the mellows of dance) in the company of Prabhu, who was now in bhāva, and who had lost awareness of anything external. (63)
emanta samaya haricandana karana
hasta thelā dei tāre karila bārana (64)
bhāvāvese pāilāka krodha śrīprabhu
nrutyrama tya bujhi na bujhilā vīra (65)
Haricandana forbade Gaurānga to come into the close proximity of Lord Jagannāth by making certain hand gestures. In bhāva āvesa ŚrīPrabhu was displeased and proclaimed; "What can you, O hero, possibly understand about my dancing?" (64 65)
śrīprabhura nrutya krīda netre dekhlai
janam puṇa janam kriyā mui huḍilaiṅ (66)
As I thus beheld the dancing of ŚrīPrabhu with my own eye, I quite forgot all about my life and the responsibilities of this existence. (66)
dekhili se kālare muiṅ trilokayaiśware
joyti prakāsai chāmunetra madhyasthale (67)
se joyti paḍai jai gaur badane
dekhilai mahābhāva ādāna pradāne (68)
It was at this moment that I then beheld a ray of light emerge from the space between the eyes of the Lord of the three worlds (Jagannāth.) This beam of bright illumination fell directly upon the face of Gaur, and I did observe the exchange of mahābhāva between them. (67 68)
jivana mo dhanya helā janama mo dhanya
adhika pāibā kisa dhika mora mānya (69)
carana dhari prabhure saraṅa paśili
dāsānudās samāna prāya mun maṇili (70)
My birth and life had thus been rendered glorious. Realising I could do even more than this, I then thought, "fie on my self esteem" and I took shelter of Prabhu’s feet considering myself to be the servant of his servitors. (69 70)
sāttvika vikāra puṇa uddanta narttana
tyāgakakari kolakale bhakata bandana (71)
Decorated with expressions of sāttvika bhāvas the Lord danced with exuberant and wild abandonment. The next moment he was seen to be bound in the laps of the bhaktas. (71)
kantakita sailila prāya romarāśi tāra (72)
(....second line missing...)
His limbs were thorny in horripilation and soaked in perspiration...(second line missing) (72)
(....first line missing...)
lāgi mora vakśadesa pulaka antara (73)
….and my chest began to horripilate from within. (73)
danta gharsana sabde mora kampi hiā
śarīraru gharma bahe jehenvās (baha) (74)
The sound of his grinding teeth made my heart shake, and a stream of perspiration was seen to flow from Gaurānga. (74)
asru jala bohi mora ganda je tintilā
ki bhāgya mohara prabhu anugraha kalā (75)
My cheeks were actually moistened by his tears! Such was my good fortune, which was surely the favour of Prabhu. (75)
e samaya prabhunkar bhāvāvesa helā
phalabhārākrānta gulu bhūmireloṭilā (76)
In bhāva āvese the Lord was assailed by the burden of many exalted humours that caused him to crawl and to roll on the ground. (76)
(...first line missing...)
bhūmire luṭile prabhu sthānanga je (77)
….and Prabhu rolled on the ground, next he was seen to be entirely still! (77)
śrīgoura kantha sustha acetana sarva
nāsādvāre buda buda ākāre voheśrāva (78)
sakala bhaktagaṇa ākulita hele
prabhura caraṇatale saśoke loṭile (79)
The throat of Śrī Gourā was parched, and he remained completely unconscious. Then foam like bubbles began to ooze from his nostrils as he breathed. Seeing this all the bhaktas were then troubled, and in distress they did roll at Prabhu’s feet. (78 79)
pāhunte āsanti prabhu nilādri iswara
uddante nāchanti bhakta hrudaya kiśora (80)
Next, the Lord of the blue mountain (Jagannāth) drew near causing all the bhaktas to dance wildly before he whom they perceived as the youthful (kiśora) love of their hearts. (80)
kāliā hātī samāna brahmānda ṭhākura
karabha prāya khelanti gaura sundara (81)
Like a black elephant was the Lord of the universe (Jagannāth,) and Gaurāsundar sported as if he were the trunk of that elephant. (81)
rādhā rādhā nāma prabhu karanti citkāre
jagannāth vije bhūmi tinte letakare (82)
During Jagannnāth's vijaya, Prabhu would roar aloud "Rādhā Rādhā" and the earth was drenched in his tears. (82)
ehipari mahāprabhu karile vijaya
etedine adhamara gotikari thaya (83)
tataparu muhiṅprabhu caraṇe majjili
bhagya heba sudayāru kānice majjili (84)
śrīcarane daraśana bhāgya muiṅ pāili
prabhura sangare nānā kaṭaka bulili (85)
In this manner Lord Jagannāth's vijaya unfolded. After so long this fallen ones actions have been stilled due to being immersed in Prabhu’s feet, and by some fortune I was enchanted by his little toes. Thus I had the fortune to have darasan of Prabhu's blessed feet. I would also move in his company in different places. (83 85)
(note; kanice means little finger and/or the little toe.)
mahāprabhu karunāru bhakta gaṇaku
sevāpāi bhāgya balilā jīvanaku (86)
By the grace of Mahāprabhu I had the opportunity to shape my life as a servant of the Lords very own bhaktas. (86)
bahu bahu bhaktanka caraṇe dekhili
harināmāmruta mana buḍai rakhili (87)
I have seen the feet of many, many bhaktas, and as a consequence my mind has been immersed in the ambrosia of harināma. (87)
advaita nityānanada rayārāmānada
gajapatira bhakti āṇai ānanda (88)
Seeing the bhakti of Advaita, Nityānanda, Rāmānanda Rāya and the Gajapati brought me much delight. (88)
aṇaṣaṭhi vaisnava carana bheṭili
gambhīrā bhūnjina vahu bhāgya arajili (89)
I had the darasan of the feet of fifty nine vaisnavas altogether and I reaped much fortune by feeding them fully. (89)
THE END.
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Post by Nityānanda dāsa on Mar 25, 2023 10:20:32 GMT -6
Chapter 3 of Kahnāi Khunṭiā’s Mahā Bhāva Prakaśh, the closing passages, written in Puri during the time of Mahāprabhu. In theses verses (133-213) we come to learn of an Ādi-Dwārakā that exists within Dwārakā Puri, and although Krṣṇa has indeed left Vraja, Gaurānga informs the Vaisnavas that Govinda still enjoys the rāsa-līlā in Ādi-Dwārakā with Rādhā and the Vraja Gopīs.
dwārapre kruṣṇa je mathura tejile
asthapāṭha vamsīteji dwārakā milile (133)
sethābe dwārakānāth vihāra karanti
rājapana kari dusṭamānanku nāśanti (134)
In the Dwārapa yuga Krṣṇa left Mathura, forsaking his throne and flute, and came to Dwārakā wherein he did sport as Dwārkānāth, and in his role as a king he destroyed the wicked. (133-134)
santajanakar hrudapadmara sārasa
dwārakāre vijaya se hoi rajaveśa (135)
He is verily the moon of the saintly ones lotus-like hearts, and he reigned victorious in Dwārkā attired in his royal robes. (135)
davalachatra thekiṇa thānti pāriṣade
paśastimāna paḍanti nitya kovide (136)
His associates bear the ceremonial white parasol over him, while panegyrics sing his eulogies in the most accomplished style. (136)
telangi bājaṇā sadā kāle bājuthāe
vijaya thamakamāna tahiṅ sajathāe (137)
The Telangi clan provided the musical accompaniment, and the drummers victoriously played in harmony with the Telangi’s music. (137)
rājadaṇda dhari sehu vrajera nandan
ānandare pāluthānti dwārakā jana (138)
Thus they did surround the son of the king of Vraj on the high road, and in bliss the citizens of Dwārakā created such fine pageantry. (138)
agura candana māna lepana huanti
vraj kāchenire prabhu pūhārana dyanti (139)
They smeared the Lord of Vraj in agura and candana, and further adorned him in a variety of assorted cloth which were wrapped around his waist. (139)
tini doṣaḍā śrimālā hude lambuthāe
śankha cakra karajuge ati śobhāpāe (140)
Beautiful garlands swayed over his chest, and in his two hands he bore the śankha and cakra. (140)
emanta bahuta dina se kāle bitilā
śrīkruṣṇa rājasabhā sudhamā jinilā (141)
Thus Śrī Krṣṇa spent many a day in the royal court, which surpassed the splendour of the Sudhamā assembly hall. (141)
devamānava jāhāra karuṇaru jāta
sehu sāksāt hoile nupare vidita (142)
The gods come into existence by his mere grace, and now he himself has personally appeared as a king! (142)
ananatakoṭi-karūnā-jāhāra-achai
jāhāra-anta-na-jāṇe-syvam-mahāmāyī (143)
rādhā-āji-yogeśwarīmane-nabhālile
rūkminī-ādi-nārīku-rājendra-rahile (144)
The gods have received the boundless grace of he who knows of no end to even his own glory, and now he, the Lord of yogis, no longer muses upon Rādhā in his mind, as he has become a king dwelling with Rūkminī and some other ladies. (143-44)
pūrverū-śūnila-ta-he-radha-bhāvarūpī
kesane-tejile-tāku-parabrahma rūpī (145)
premamayī-kiśorīku-pāre-kebā-teji
anādi-pūrūṣa-rati-tāhākuta-heji (146)
(Rāmānanda Rāya asks) “Previously we heard that Rādhā was his bhāvarūpī (beloved). How did he who is the embodiment of parabrahma come to forsake her? How was he able to leave that kiśorī who is premamayī (full of prema) and whom he, who is the ādi-pūrūṣa, considered as his amorous consort?” (145-46)
jebe-sehi-premabhāva-smaraṇa-karanti
vrundāvana-boli-sethi-āsaita-bhrānti (147)
(Gaurānga says) When he merely recollects the premabhāva of Rādhā, then he erroneously imagines that he is now in Vrindāvana once again. (147)
ādi-dwārakāre-jāi-vanare-bhramanti
vamsī-dhariṇa-gopīnku-manare-smarati (148)
He now strays into Ādi-Dwārakā, and wanders therein within a forest bower holding his flute while he thinks upon the Gopīs. (148)
lalitādi aṣṭa sakhī milanti taksana
rāhāsa racanti tahiṅ nrupa nārāyana (149)
At once Lalitā and the asṭa-sakhis meet him, and orchestrate the rāhāsa (rāsa-līlā) with Nārāyana who has now become a king. (149)
madhūmaya hoitha e ameya rajanī
krīdāre majjanti prabhu gopīgana gheni (150)
The spotless evening bursts forth into the sweet season of spring, and the Lord was immersed in his playful dalliances with the Gopīs. (150)
sethābe sakala gopī krīḍā ācaranti
navakiśora vadana phulare sajānti (151)
As all the Gopīs sported therein, they prettified the face of nava-kiśora with flowers. (151)
emanta gūpta rāhāsa racantiṭi hari
kete bā pāribi maḍa mūiṅbā bistāri (152)
In this manner Hari performed his gūpta-rāhāsa (secret rāsalīlā). How can I possibly elaborate on this any further? (152)
emanta ekai dine sakala guāli
vamsī syane milileka āsi gopapūrī (153)
(Gaurānga continues) Once upon a time, all the Gopīs heard the notes of the flute, and gathered together in the cowherd settlement. (153)
gopare racūṇa thile rāhāsa jatana
lalitā pūchile sūṇa gopīnka jīvana (154)
āpanatta teji gopa dwārakāku gale
sethābe rājendra rāja līlāku racile (155)
Clandestinely and with great diligence they staged the rāhāsa; and then Lalitā said to Krṣṇa, “Now hear me. You are the life of these Gopis, yet you left our cowherd settlement, fled to Dwārakā, and therein performed pastimes as the king of kings!(154-55)
parama sundara tava rājyara vibhava
bhogile he naṭabara dela parābhava (156)
Exceedingly beautiful is the grandeur of your capital, enjoying which, O hey Naṭabara, you have surpassed everything. (156)
āmbeta guali nahiṅ āmba bala kichi
āpaṇata antarku jāṇa nanda vatsi (157)
āmbanku karūnā bāre kara banamāli
dekhibu rājendra kruṣṇa sakala guāli (158)
emanta bhāgyaku prabhu āpana kāraṇī
vānchākalpataru nāma taba cintāmaṇi (159)
We are mere milkmaids who have no strength, but this, O son of Nanda, you already know in your heart.
Just once, be merciful to us O Banamāli, and reveal your form as Rājendra (the king of kings.) O Lord, bestow this favour upon us, for after all you are renowned as a wish fulfilling tree, and as a veritable touchstone.” (157-59)
emanta kahi sakala gopī sāṣṭangile
e samaye nandavatsi maneka pāchile (160)
Saying this, the Gopīs then lay themselves flat on the earth in an eight limbed salutation, which threw the son of Nanda into a contemplative spirit.
boile emānta āmbanku kāraṇa
emāne biki acanti bhāvare parāṇa (161)
(Krṣṇa thought) “They live only for my sake, and I am indeed purchased by those whose prana (life and soul) is bhāva. (161)
bhāva-ā-(...missing...)-āmbankuta-labhiṇa-acanti
rājendra-rūpa-āmbara-pāiṅ-manāsanti (162)
Through bhāva they have attained to me, and they now wish to behold my Rājendra-rūpa.” (my form as the king of kings) (162)
emanta pānchiṇa krusna darahāsya kale
caturbhuja hoi śankhcakraku dharile (163)
sadya veṇu adharare lagāi thāṇire
rāja rājendra rūpare prabhu ubhāhele (164)
Cogitating thus, Krsna smiled and showed his four arms bearing conch and discus. At once he rested a flute on his lower lip, and thus the Lord stood before them in his form as the king of kings. (163-64)
pādare rājai bādya nupūra kinkiṇī
balā virājai pāde manara hāreṇī (165)
balā goḍe śobhapāe markata pinchuka
pītāmbara sobhita je kaṭitaṭe tānka (166)
The sound of his nupara (ankle bells) and waist bells captivate the mind, and the balā (ankle-bracelets) that graced his feet were enchanting. Those anklets were interlaced with emeralds, and his hips adorned with golden robes. (165-66)
pītāmbara pare angī ati suaobhana
angire sobhai maṇi mūktā dhādimāna (167)
The golden ornaments appeared exquisitely beautiful upon his limbs, which were further enriched by his garments that were curiously embroidered with jewels and pearls. (167)
angīpare paḍithāi hāra sari sari
galāre achai mūktā khanjā cāpasari (168)
Strings of necklaces swayed over him, pearl necklaces hung close to his neck, and he wore a pearl studded belt. (168)
padaka-mālare-hruda-diśai-manuja
banamāla-nāhiṅ-tahiṅ-hīrakara-māla (169)
Most beautiful was the padaka that hung over his chest, yet there was no forest garland, but he wore instead a necklace of diamonds. (169)
(note: padaka is a coin-like ornament.)
sūvarṇa yagna sūtra je kāndare virāje
angurīya māna hasta pada bahu sāje (170)
A rich golden yagna-sūtra reigned over his shoulder, and multitudes of rings bedecked his fingers and toes. (170)
adhare mūralī ṭhāṇi mukhe mandahāsa
kapole śobhai gorocanā bindusarā (171)
tatipare kastūrīra tilaka śobhai
mukūta maṇdita śira ratne jhaṭakai (172)
A flute rested on his lower lip along beside his gentle smiles, and his forehead was arrayed with many dots of goracanā, which was further adorned with a beautiful kasturi-tilak, and the base of his top knot of hair was entwined with glowing jewels. (171-72)
dhāḍi dhāḍa hoi tahiṇ ratna virājanti
nindai śyām meghare naksetrara panti (173)
His dark limbs surely deride the splendour of a cloud, and the assortment of gems on his form ridicule the dark night sky bespangled with stars. (173)
nindai pūrṇimā niśi sāgara taranga
nindai śyam durbāre sikarara ranga (174)
Diverse jewels that lie scattered in his dark hair verily mock the appearance of the waves of the ocean at night as the rays of the full moon glisten upon them. (174)
emanta sundara veśa syām cakradhārī
ubhāhele gopīmele āpe madhūhārī (175)
Thus Syām-Cakradhārī (Syām, the wielder of the discus) manifested himself bedecked in charming attire, and in this way Madhūhāri appeared and stood amongst the Gopīs. (175)
gopī dekhile kruṣṇa cintāmaṇi veśa
dekhiṇa rādhikā hele manare haraṣa (176)
Thus the Gopīs now beheld Krṣṇa’s cintāmaṇi-veśa, and they all revelled in delight upon seeing Rādhikā in their midst. (176)
rājasabhā vidhire je lalitā majjile
āpaṇe prabhu chāmure nrutya ārambhile (177)
While Lalitā was immersed in the customs of the royal court, the Lord himself commenced to dance in her presence. (177)
emanta vibhava rūpa kruṣṇa cintāmaṇi
gopīgopāle ehele bhāgyamanagūṇi (178)
Thus the touch stone-like Krṣṇa revealed the treasure of his form, and the Gopīs thought of themselves as very fortunate to have achieved Gopal in this guise. (178)
dwārakānāth krusnanku sabhāre dekhile
rāja rāja kruṣṇanku se chāmare pāile (179)
Thus they beheld Krṣṇa, the lord of Dwārakā, in the midst their assembly; and Krṣṇa, the king of kings, was indeed truly by their side. (179)
bhāvahiṇ bhakti mūla bhāve bhakti gūrū
bhāvare ṭalai sinā hima mahāmerū (180)
Bhāva is indeed the root of bhakti, bhāva is the bhakti-gūrū, and bhāva can shake huge ice capped mountains. (180)
bhāvara āveśe goi krusnanku dekhile
āpaṇa bhāgya jogaru puṇya arajile (181)
In bhāva-āveśe the Gopīs looked upon Krṣṇa, and this was surely the outcome of their previously acquired puṇya. (181)
emanta rājana krusna sethāru antara
milile jāiṇa pūṇa dwārakā navara (182)
Thereafter king Krṣṇa vanished, and once again returned to his palace in Dwārakā. (182)
rūkminī satyabhāmā je sevā acarile
āpaṇe rājakārjaku sudhāri lagile (183)
Meanwhile, Satyabhāmā and Rūkminī tended to his needs, and rendered him the sevā which behoves a king. (183)
bhāvare majjiṇa hari thānti sabukāle
bhāvarūpī rādhānāma hrudapaṭe bhāle (184)
Hari dwells in an unbroken bhāva, and his heart is forever inclined toward the bhāvarūpī which embodies rādhā-nāma. (184)
emante ekai dina dwārakā bhuvane
palanke pahuḍicanti rūkminī gahaṇe (185)
One day, within a palace in Dwārakā, it so happened that Rūkminī was holding court surrounded by her companions as she reclined upon her cot. (185)
satyabhāmā mahārāṇī payara sancāli
hoicanti bhāvare se sakala je bāli (186)
Satyabhāmā, who is a Mahārānī (a prominent queen,) wandered to and fro, and all the young queens were in bhāva. (186)
emanta bhāvare krusna citkāra karile
rādhānāma sāra mukhe dhariṇe raṭile (187)
Somewhere in the palace Krṣṇa suddenly began to roar aloud the name of Rādhā. (187)
emanta citkāra śūṇi dwārakāra rānī
boile prabhu e kisa viparīta vānī (188)
Hearing his roar the queen of Dwārakā (Rūkminī) began to wonder, “what are these contrary words of the Lord?” (188)
āpaṇa ta sarvanga je sakala jānati
āpaṇata brahmāṇdara sakala srujanti (189)
(she said to him) You know everything, and are fully aware of all matters, as this entire brahmāṇda is nothing but your creation. (189)
āpana je lokamate anīti karile
parinārī nāma mukhe kemante dharile (190)
Yet you have clearly transgressed social and moral precepts, for how is it that your tongue now utters the name of another damsel? (190)
āvara carana dāsī pāśe nirantara
khaṭaṇī kālare prabhu e keuṇ bebhāra (191)
Besides, I am a servant of your feet who endlessly toils in your service, never but once leaving your side, and hence, O Lord, I do much wonder at this conduct of yours? (191)
āmbara pāśare nāth ehā na je gāi
pheḍantu sandeha manu kemante e hoi (192)
Do not, O Lord, sing again in this manner in our presence, and deign to clear away our doubts as to how this may have happened. (192)
rādhānāme-achi-jebā-keuṅ-sehi-nāri
kebā-sehu-bhaktarāja-thilā-bā-sumari (193)
Who is the damsel who bears the name of Rādhā? Who is she? and why do your thoughts dwell upon her O Bhaktarāja? (193)
e sakala na kahile dukhare saḍibu
nāth padapankajaku bhājana nohibu (194)
If you do not reveal everything then our despair will not be removed, and are we not after all worthy of your lotus feet? (194)
emanta vacana śūnī prabhu cintāmanī
boile āmbara mukhe ehā kahiṅ śūṇī (195)
vrindāvatī nāme canti jeuṅ narīmāṇi
tāhāku pacāra se je kahiba vakhāṇi (196)
Hearing her words, the Lord whose nature is like a touchstone, then said; “now listen to these words from my very own lips. There is a jewel of a woman, who bears the name of Vrindāvati, she is here, somewhere about the court, inquire from her and she will tell you. (195-96)
ambā mukhe ambā kathā nuhaiṇ śobhana
puṇa e kathā aṭai atīva gopana (197)
e kathāmānanku jebā hrudagate smare
muhiṇ jāi praveśila tā hrudayakandare (198)
I find it unbecoming that you should hear about matters pertaining to me from myself; and besides, this topic also happens to be highly confidential. When this subject begins to dwell in my own heart through contemplation of it, then I find myself entering into the inner chamber of my own heart.” (197-98)
emanta srikrusna jahuṅ antar hoile
dui rāṇī jāi vrundā paśare milile (199)
Having said this much Sri Krṣṇa departed and the two queens (Rūkminī and Satyabhāmā) went to meet Vrindā. (199)
karajoḍi boile je āpanābhāvare
āmbara sandehamāna pheḍibu hrudare (200)
Folding their hands together in a prayerful posture, and disclosing their sentiments to her, they then asked her to clear away the suspicion that lay in their hearts. (200)
kebā aṭe rādhā sevā ke deśa kumārī
kemanta gūṇa tāhāra nelānāthe kiṇi (201)
sarvadāta rādhā bhāve śrīhari vyākula
tāhānkar paricaya neina sambāla (202)
(They asked Vrindā) Who is the one named Rādhā? In which country does this kumārī live, and what are her virtues which have enabled her to purchase the Lord? Śrī Hari appears to be always restless in this rādhā-bhāva, and yet he keeps her identity covered! (201-02)
emante vrundā je sadhīre śūṇile
nayanaru lotaka je vasi gaḍāile (203)
After having patiently heard them, tears then gushed from Vrinda’s eyes, and she began to roll on the ground. (203)
boile achā kathāku balāila mati
jāhā krusna deha sāra jagatara jyoti (204)
(Vrindā said) I shall indeed speak on this topic according to my understanding, and disclose to you that which is the essence of Krsna’s body, as well as the light of this world. (204)
jāhā ati gūdakathā kemante kahibi
krusnankar manaku ta ucāta karibi (205)
rādhā nāma jahiṅ tahiṅ ucchāraṇa hoi
krusna nisce pravesive āsi śīghra tahiṅ (206)
Yet how may I speak on that which is a hidden mystery, as it will excite the mind of Krṣṇa himself? Know for certain, that wherever rādhā-nāma happens to be heard, then Krṣṇa swiftly appears at that place. (205-06)
kemante kahiṅbi mūhiṅ tāhākaha tebe
dwārakā iśwara āsi ethi praveśibe (207)
How therefore am I to speak of her? For the Lord of Dwārkā will arrive and enter therein. (207)
(note: if Krṣṇa arrives when Vrindā is telling them about Rādhā, not only will he interrupt their conversation, but Vrindā fears he may then leave Dwārakā and return to Vraj; hence they need to go somewhere where Krsna will not be able to hear them!)
e gūḍa vacana jebe śūṇibāku vara
yogamāyī subhadrānkku dakā a satwara (208)
To allow us to listen to this confidential and excellent topic, you must go at once and call for Yogamāyī Subhadrā. (208)
yogamāyā subhadrā je dwāra ācolibe
kruṣṇarāma mānaku je bhitare na debe (209)
Yogamāyā Subhadrā shall guard the portal and will not give entrance to Krṣṇa and Rāma to come inside. (209)
māyā-ekā-māyādhara-rodhibāku-ksama
tebe-rādhā-kruṣṇa-kathā-kahibāku-ksama (210)
Māyā alone has the strength to obstruct Māyādhara, and thus I will be able to speak on rādhā-krṣṇa-kathā. (210)
sehimati sakala je kale mahārānī
rādhā tattva kahile vrundā je vakhāṇī (211)
Vrindā thus openly disclosed all matters relating to the Mahārānī (Rādhā) and did further expounded upon rādhā-tattva. (211)
subhadrā pratihāriṇī prāyeka basile
sakale se guḍatattvamānanku śūṇīle (212)
Subhadrā remained sitting by the door guarding its entrance for sometime, and as she did so, she overheard all of the confidential tattvas. (212)
rohiṇī kahile rādhā tattvamāna gūṇi
bhāva bhāvamaya kruṣṇa mahimā vakhāṇi (213)
Rohiṇī also spoke upon rādhā-tattva and its inherent verities and virtues, as well as the glory of bhāva-bhāvamaya-krṣṇa. (213)
END OF CHAPTER 3.
END OF THE MAHĀBHĀVAPRAKAŚH.
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Post by Nityānanda dāsa on Mar 25, 2023 10:40:18 GMT -6
Introduction to the Mahabhava Prakash by Kaniya Kuntiya
(Intro by Sri Fakir Mohan Das, disciple of Prabhupada Kanupriya Goswami)
By the causeless and boundless grace of Sri Sri Gaurahari, I have come to possess Kaniya Kuntiya's manuscipt entitled the maha- bhava-prakash. I first came to hear of the maha-bhava-prakash in 1947 whilst in Calcutta, from the revered lips of my most honourable instructing guru (siksha-guru), who has attained to the immortal realms, (nitya-dhama-gatta) Srila Haridas Das Babaji Maharaja. I also noted in his thesis called sri-gaudiya vaisnava-sahitya, and in his gaudiya-vaisnava-abhidana, clear references to the maha-bhava-prakash. The honorable Srila Sundarananda Vidyavinode Prabhu, now in the eternal dhama, who was renowned for his high and sublime counsel, also mentions the maha-bhava-prakash in his Sri-Khetra, in the following words," One hears of a text by Kahnia Khuntiya named maha-bhava-prakash, which remains, as yet, undiscovered.”
One also hears of another theory which holds that the original document went to America. I eventually uncovered this present imperfect text in Cuttack. It had been in my mind to publish for a while, yet I hesitated, until a dear friend and editor, Pandit Sri Krsna Nanda Das, encouraged me to print this deficient document. From Sri Sadasiva Rathasharma, the Utkala University's librarian, I received on the 31/08/1960, another missing portion, to add to this still yet incomplete manuscript. Eventually, after untold research, and by the grace of Sri Gaura Sundar, this manuscript has now been published in 1970, and is offered into the lotus hands of the gentle vaisnavas. The entire document remains as till now undiscovered, if someone does find the missing text, or indeed the entire text, then I request them to please inform me. Due to the high acclaim I have received from you noble readers and critics I now present this third edition.
Entering the book.
Sri Sri Kaniya Kunthia made his appearance in the renowned Haracandi vicinity of Puri. His fathers name was Niranjana Kuntiya. Everybody in his family were servants of Lord Jagannath [This is Kaniya Kuntiya’s own declaration found in the mahabhavaprakash]. Khunthia is a title and family name of Orissian brahmins [This is according to accounts from Iswara Das's Oriya Caitanya-Bhagavat, Adi-lila 47]. Others are of the opinion that it is of a non-brahminical caste who served the King [The History Of Medieval Vaisnavisim Of Orissa, pages 128-29; by Prabhat Mukherjee. Calcutta, 1940]. Yet others suggest that the Kunthia caste supplied various materials to be used in the worship of Lord Jagannath. In Devaki Nanda Das's Vaisnava-Vandan we find the following verse;
kaniya kuntiya vande visweswar char
jagannath balarama, dui putra jar
In the second line of this verse we read that Kahniya Kunthia had two sons, one named Jagannath, and the other Balarama. Yet others are of the opinion that the Jagannath mentioned in this verse refers to an associate of Caitanya named Jagannath Mahati, who is mentioned in Caitanya-Caritamrita [Madhya-lila 15.18-31. I have only provided an abridgement of the verses here]. "Once, on the festive occasion of nandutsva [nandutsva literally means the festival of Nanda (Krsna’s father) observed the day after janmastami when Nanda celebrates the birth of his son, Krsna, the night before], Caitanya and his acquaintances joyfully gather with pots of yogurt and milk hanging from staffs resting on their shoulders and jubilantly inaugurated a magnificent shower of milk, yoghurt and turmeric water while singing hari-hari in festive mirth. Present therein are Jagannath Mahati who is now gloriously appareled as queen Yasoda herself, and Kahnia Khuntiya joins in the festivities richly bedecked in the habiliment of the king Nanda. Advaita Acarya announces, "I can distinguish an authentic cowherd boy by how dexterously they whirl the staff." Accepting the challenge prompted by his remark both Caitanya, Nityananda and other select associates of the Lord exhibit astonishing staff manoeuvrers. Caitanya delights in beholding Kahnia Khunthia and Jagannath Mahati, possessed [possessed: from the Bangala “avese” meaning “absorbed in the identification of.” In other words Kahniya Khuntiya and Jagannath Mahati were engrossed in the uncommon sentiments of Nanda and Yasoda respectively] by the lively and genuine sentiments of Nanda and Yashoda, freely giving away in a charitable and joyful spirit whatever riches and treasures they had at home; and acknowledging them both as his mother and father, Caitanya offers them unreserved respects and obeisances; and in the parama-avesa [Gaurasundara is himself deeply absorbed in the identification of Kahnia Khuntia and Jagannath Mahati as his parents, and himself as being their son] of them being his parents, Caitanya returns to his own abode."
Yet some claim that his name Jagannath Mahati, was changed to Jagannath Kunthia when he entered into the King’s service. This is however a false and baseless claim, for even today Kahnia Kunthia's family lineage reside in Haracandi Sahi at the southern gate of the Jagannath temple; and at this exact location dwell several Brahmin families who hold and perpetuate the Kunthia title. In the maha-bhava-prakash Kahniya Kunthia discloses his own identity as the son of a Brahmin, and that he was serving lord Jagannath. It is likewise observed that Kahnia Kunthia is directly named as being amongst those who accompanied Gauranga to greet the vaisnavas at atharnala when they arrive in Puri after an arduous journey from Bengal undertaken every year prompted by a deep longing to have Caitanya’s darasan at the time of ratha-yatra.
According to caitanya-caritamrita Madhya 15.18-31, we hear how Kahnia Kunthia adored Caitanya with parental affection, looking upon Caitanya as his own son, while Caitanya, who is none other than lord Jagannath himself, acknowledged Kahniya Khuntia as none other than Nanda Maharaj, and even pays respects to him in that mood. Therefore it can be concluded without a doubt, that the two sons of Kahnia Kunthia are assuredly Lord Jagannath and Lord Balarama, who have appeared as Kaniya Kunthia's two sons to relish the mellows of parental affection [Caitanya’s acknowledgement of Kahniya Khuntiya and Jagannath Mahati as being Nanda and Yashoda respectively is recorded in the caitanya-caritamrita. Fakir Mohana furnishes no reference stating that Lord Jagannatha and Lord Balarama had incarnated as Kahnia Khuntia’s sons. What about Subhadra Devi? Or perhaps he just named his sons Jagannath and Balarama?]. There is no need for any doubt in this regard. Having returned from his south Indian tours, Mahaprabhu was once again residing in Puri. On the occasion of lord Jagannath's pahandhi-vijaya festival, Kahnia Kunthia was serving Lord Jagannath on the chariot, and it was then, with his companions, that Caitanya arrived, and as he beheld Lord Jagannath, an extraordinary mahabhava dawned in the heart of Caitanya which caused his limbs to horripulate and his eyes to fill with tears, and in deep longing he uttered ja-ja-ga-ga. Sometimes he would weep, at other times simply smile. At other times he would fall to the ground in a fainting swoon. Next he was seen to dance with wild abandonment. As Mahaprabhu was thus overcome with this astonishing mahabhava, a ray of light came from Lord Jagannath's lotus face and was seen to directly fall upon and illuminate the lotus face of Caitanya. Likewise, a similar beam emerged from Gauranga and shone upon Jagannath's face. Kaniya Kunthia was profoundly touched by this astonishing spectacle he had just witnessed and hastened to throw himself at Gaurangas feet, falling before him like a rod, he took refuge at his feet. By the touch of Mahaprabhu's horripulating limbs, his heart filled with indescribable joy whilst his body was soaked in Gauranga's tears. From that moment onwards Kaniya Kuntiya passed the rest of his days investing all his earthly treasures, his life, and his all in all, in the exclusive seva of Mahaprabhu who is non different from lord Jagannath himself.
"Once during the ninth day of the bright moon in the month of caitra, in Kasi Misra's abode, Mahaprabhu collapsed whilst intensely absorbed in bhava. After some time he regained consciousness and embraced Ramanada Raya. Then they all partook in a feast of maha-prasadam. The next day at dawn, Mahaprabhu's astounding bhava-avesa unfolds amidst a kirtan at Kasi Misra's abode, and Mahaprabhu showered everyone in the kirtan with the uncommon and opulent splendour of his limbs. Once the kirtan had concluded Ramananda Raya petitions Gauranga in the most humble fashion to divulge particular tattvas, such as jagannath tattva, yoga tattva, sri tulasi tattva etc. The instructions that Mahaprabhu imparted were preserved in writing by Kaniya Khuntiya, who had been asked to write down Mahaprabhu’s remarks by Vrakeswar Pandita: and he sat directly behind Mahaprabhu, and whatever Kaniya-Khuntiya wrote, that is the maha-bhava-prakash." [This is a quotation from the mahabhavaprakash.]
After Mahaprabhu's disappearance Kaniya Khunthia and all the devotees were sorely afflicted and turned restless. But with the arrival to Nilacala of Srinivasacarya everybody was much consoled. It is further noted that when Srinivasacarya entered the abode of Sri Sikhi Mahanti, then she and Kaniya Khuntia both took Srinivasacarya in their laps.
kahnai-khuntia-kahe-suna-srinivasa
aji-tumi-kaila-andha-nayana-prakasha
"Kaniya Kunthia says, listen Srinivas, you are a light for my blinded eyes." (Bhakti Ratnakar)
In the thirteenth chapter of Deebakar Das's Jagannath Caritamrita (Chapter 13 - Bada Oriya Math 1963) we get to hear of a certain Kanu Kuntiya, who is counted amongst the sixteen principle followers of atibadi Jagannath Das. Yet this Kanu Kunthia cannot be mistaken for Kaniya Khanthia because according to the jagannath-caritamrita Kanu Khunthia is a partial incarnation of Sasirekha. Sasirekha is one of Radha's handmaids who serves Radha in the sringara rasa. Also we have seen in the caitanya-caritamrita that Kaniya Khunthia displayed the transcendental emotions of vatsalya rasa as he was absorbed in the mood of Nanda Maharaj. Besides there are many differences between Mahaprabhu’s sampradaya and the atibadi sampradaya. Neither did Kaniya Khunthia actually write his own name, or mention the name of atibadi. Although they share the same name, they are by no means the same person.
Whilst in Puri, Mahaprabhu taught through the exemplary action of his devotees, how to perform nama-bhajan. Through Chota Haridas we are instructed in the obligations of a vairagi and the need of incorruptible behaviour. Through Sarvabhaumya's son-in-law, Amogha, we learn the undesirable outcome of looking upon Visnu and the Vaisnavas with mundane vision, and through Kaniya Khunthia and Sikhi Mahanti how to offer everything in the seva of Visnu and the Vaisnavas.
There is a book in Bangala called pada-ratnavalli, which is as yet unpublished. In the concluding passages, wherein it is customary for the poet to mention his name, the name Kaniya Khunthia actually appears in verse number 434." Kaniya Khunthia says, it appears to my mind, that this flute is the slayer of the gopis". This however could not have been composed by Kaniya Khunthia because the above statement expresses the sentiments of a seasoned gopi, and Kaniya Khunthia was always merged in vatsalya seva rasa. Some say that Kaniya Khunthia wrote the maha-prakash and it was later renamed maha-bhava-prakash [The History Of Medival Vaisnavism in Orissa, by Prabhat Mukherjee]. Although the entire document is still missing, from a document I got from my friend Babaji Srila Krsnananda Das, the maha-bhava-prakash is divided into the following six chapters. (Chapter 1) The first chapter begins with the mangalacaran, homage to Gauranga, the authors own identity; and descriptions of the beginning of the book. (Chapter 2) radha-tattva and the excellence of gopi-bhava. (Chapter 3) jagannath-tattva, tattva pertaining to the advent of Sri Krsna; and julhan-tattva and Candravalli’s rasa.(Chapter 4) The glory of Sri Tulasi, Sri Guru vandanam, the signs of Sri Guru; and the signs of devotees in the kali-yuga.(Chapter 5) yoga tattva, risthi tattva, jnana tattva and bhakti tattva.(Chapter 6) jugal tattva.
From the maha-bhava-prakash we are introduced to many novel truths about the time it as written in. Some state that Pratapa Rudra was initially inclined to Jain and Buddhist traditions [Orissa and her Remains, by Manomohan Gangulli] However it is noted in Ragunnath Das Goswami’s padyavalli, the Caitanya-Caritamrita and Ramdas's dardhyata-bhakti, that by the grace of Lord Jagannath, Pratapa Rudra appeared in this exalted linage of kings; and that his mother and father were both Krsna devotees. Also, the most intimate and dear acquaintances of the king, like Bhavananda Pattnayika, Ramanada Raya and Kasi Misra, were all Krsna devotees and not advocates of a dharma outside the Vedic culture. The maha-bhava-prakash describes, (on page 24 of this edition), that Pratapa Rudra maintained an avid interest in Vedic culture and righteous conduct, and was himself a votary of Maha Rudra. One reads a description in the caitanya-caritamrita (Antya 9.81-82) how it was the custom of the king, and in keeping with his parampara, to hear about the procedures of worship as they were being executed in the Jagannath temple, from his priest Kasi Misra, and he would massage Kasi Misra's feet at this time. This all testifies to his firm faith in Vaisnava and Brahminical culture. Further more, it is stated in the madala panchi, that Pratapa Rudra ordered that many Buddhists have their heads cut off; and thus we can see that Pratapa Rudra was completely antagonistic to the Buddhist doctrine.(two verses by Balaram das, left blank)
In 1497, at the time when Pratapa Rudra’s reign began, his territories stretched to the districts of Hugalee and Mednipura in Bengal. A few years after Pratapa Rudra’s coronation, the monarch of Vijaya Nagara, king Krsna Deva Raya, began to attack his provinces from the south with military force, and taking advantage of this opportunity, Badasaha Hussen Saha invaded Orissa from Bengal, and laying waste to many glorious Hindu edifices, eventually arrived in Puri in 1509.At this time Kahnia Khunthia and other servants of lord Jagannath took the Lord, via a secret passage to Bali-lokanath, and from there gradually to a mountain cave in the Chillika district of Orissa; and then sent news to the king. Pratapa Rudra immediately proceeded to the cave and that very night Lord Jagannath instructed him in a dream (as described in the maha-bhava-prakash) to take vaisnava-diksa. After this, he returned to Puri and chased the Sultan away and pursued him to the southern banks of the Ganges, and there defeated him in battle. Then Pratapa Rudra returned to Puri, worshipped lord Jagannath, and then went to South India.
On a Thursday, on a dwadasi, in the month of caitra in 1510, Mahaprabhu arrived in Puri. At this time the king was not present. This is stated in the Caitanya Caritamrita (Antya 3.169-170) "At the time when the Lord arrived in Puri, the king was not in Orissa, but was in Vijaya Nagar, enjoying the rasa of his military campaigns, and therefore did not see the Lord." Whist in the south, sixteen of Pratapa Rudra's ministers were bribed with jewels and wealth to desert their king. Yet Pratapa Rudra, in order to strengthen his alliance with Krsna Deva Raya, married his daughter, Jaganmohini, and as a dowry bestowed on her the lands that lie to the south of the river Krsna. By the time he returned to Puri in the month of June 1510, Mahaprabhu had already left Puri for his south Indian tours. The madala panchi describes that after Pratapa Rudra left his body, a traitor named Govinda Vidyadhara slew the 31 sons of Pratapa Rudra and commandeered the throne and kingdom. Such killings are of course quite common in history. (one sentence missing) Yet even after his death, due to Pratap Rudra's judicious maxims of policy and the impetuosity of his virtuous influence, Orissa remained, at least for some time, undefeated within her territorial boundaries. In acknowledgement of and paying his respect to Prapta Rudra's uncommon influence, Ramananda Raya composed the following verse in the beginning of his sri-jagannath-vallaabha-natakam. " What more need we say? simply by hearing his name, Pratapa Rudra, the yavana king named Sekanda fled in terror and hid himself in a mountain cave. He made the king of Gulbarga weep in front of his family and friends, and at the very mention of his name the king of Gujjara at once began to think of his own kingdom as a barren wasteland; whilst the great sovereign of Bengala thinks of himself as a piece of straw in a whirlwind. At the command of this Pratap Rudra, who arises from his dynasty like the devastating fire of lord Rudra, we now begin this drama, having taken our shelter at Hari's lotus feet."
The name maha-bhava-prakash readily suggests the glory and majesty of this document. maha-bhava-prakash is full of bhava and knowledge from different scriptures. From this point onwards we shall discuss the transcendental rasa of the maha-bhava-prakash. According to ancient and accepted codes of literary ornamentation (alankar), the word bhava means priti. In Bharata Muni's Natyasastra (6/7) and in Hemacandra's matanga-kabya; and also in Bhoja's saraswati-kantabharana, and indeed in Visvanath's sahitya-darpana we find no mention of bhakti, but only the word bhava is used to explain bhakti. Kalidas refers to the sringara-rasa of his own parents in the raghuvamsa and in his kumarsambava mentions Siva and Parvati's sringara-rasa. Yet Kavikarnapurna states that sringara-rasa is only really applicable when describing Radha and Madhava's lila. This is confirmed in the Tenth canto (S.B/10/33/40) " Whoever hears or recites with faith these accounts of Krsna's amorous dalliances with the gopis, attains to the highest devotion, and quickly the heart disease of lust is removed and one achieves peace." In the third canto of the bhagavat Kapila Muni says to Devahuti;(S.B/3/25/24) " In the company of such holy men you will hear accounts of my Holy deeds, which form a veritable cup of ambrosia to the ear and heart, by quaffing which you will soon develop, one after another, sraddha, rati and bhakti." Visvanath comments on this verse saying, " Initially faith leads one to sadhusanga, and in sadhusanga, bhajana kriya begins, which destroys all the anarthas in the heart; then ruci arises and hearing the pastimes with pritti the sadhaka soon arrives at the door of liberation called asakti; and from there rati, bhava and prema are soon realised”. Rupa Goswami also writes of this progression from sraddha to bhakti, which has been captured and written down by Krsnadas Kaviraja in the caitanya-caritamrita as follows; (ML/23/9-13).(I have not included the quote) Just as sugar passes through different stages of refinement, such as kanddanda, rasa, guda, chinnni, khanda, misri etc. and just as the varying degrees of the intensity of sugar are manifest, in the same manner, the relishment of Krsna prema from sneha, mana, pranaya, raga, anuraga, bhava and mahabhava are achieved. When bhava is attained, the only occupation is the savouring of an indescribable rasa. The example is Mahaprabhu himself, as when he was in his Kurma form whilst relishing some deep bhava, then he was certainly not thinking " I am Radha" or " I am Krsna" but was constantly decorated with shinning sattvika-bhavas in complete forgetfulness of himself.
That Krsna remained in vraj-bhava whilst performing his lila in Dwarka has been described in the bhagavat as well as in Sanatana Goswami's brihatbhagavatamritam. Even today, there is a six armed form of Gauranga inside the Jagannath temple, and in the Jagannath Vallabh Matha, and in the Orissa museum, there are altogether three murtis of a four armed Krsna, the two upper arms holding a cakra in his right and a conch in his left, and the two lower arms holding a flute. Not many are aware of the confidential pastimes behind these particular Deity images.
The maha-bhava-prakash describes in the following verses that whilst residing in Dwaraka, there was also an "adi-dwaraka," and in this realm, Krsna showed his four armed sankha-cakra-vamsi-rajendra-swarupa. (what follows is three quotes from MBP all from the same chapter) First quote; " Somewhere in adi-dwaraka Krsna wanders in a forest playing the flute whilst thinking of the Gopis. Lalita says to him, O Listen, you who are the lives of the Gopis, you left here and went to Dwaraka, and there performed pastimes as the king of kings." Second quote, " At sometime have pity on us milkmaids, O Banamalli, and let us see you in your kingly attire." Third quote," And smiling thus, Krsna revealed his four-armed form holding a conch and disc, and the flute always remained on his lips; and thus the king of kings, the lord, appeared before them."
During the rathayatra, mahabhava and its attendant emotional and physical transformations and characteristics that were all seen on Mahaprabhu's transcendental form as described in the maha-bhava-prakash were also described too by Krsna Das Kaviraj. (CC Madhya 13.101-109) (Prabhu quotes all the verses, plus five more verses from the antya-lila describing Gauranga's Kurma manifestation). As the mahabhava of Gauranga has been thus depicted, similarly the mahabhava of Krsna is detailed in this maha-bhava-prakash as such, " Once, in the inner chambers of a palace in Dwaraka, Sri Rohini devi and Rukmini Devi and other notable queens of Dwarka were all lost in the guna and lila kirtan of Vraj's mahabhava-swarupini sri radha. Jagannath and Balaram, themselves overwhelmed in vraj-bhava, attempted to enter at the chamber door, yogamaya Subhadra stopped them at the portal. The very moment that Subhadra stopped them, the "mahabhava" that was created at that exact instant transformed the lotus-eyed Gods into the Kurma forms. This has been described from the beginning of time as such,(Prabhu quotes a couple of lines of a Sanskrit verse) " With eyes half open that roll, with arms and legs contracted, and uttering indistinct words in a deep and mellifluous tone.."
In the back of this book I have provided a glossary and readers will benefit by making the effort to read it. Finally I offer my deepest gratitude to Sri Paramananda Acarya and Sri Purusottama Patrika, and to my dear friend Pandita Sri Krsnananda Das who have helped me on a daily basis with this project. I am also indebted to Sri Yati Sekhara Das and to Bhakti Sastri Sri Yayati Kesari Sathapati from Cuttack for their invaluable help with the printing of this book. Only through the blessings of SriGuru and the Vaisnavas have I, who have no learning, wealth, family or bhakti, undertaken this courageous task. I offer everything at the feet of the Lord as I beg your forgiveness with this prayer in my heart;
dante-nidhya-trinikam-padayornipatya
krtva-ta-kakusatameta-daham-vadami
hey-sadhava-sakatameba-vihaya-durata
caitanyacandra-carane-kurubhanturagam
(no translation given)
Sri Panchami, 9th of Februry 1981.
Sri Vaisnavadasundas
Sri Fakir Mohana Das.
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