Post by Nitaidas on Mar 18, 2008 9:26:56 GMT -6
Thanks. Here's that couplet, well actually to get the context a bit more, I'll transliterate the one before and after.
mukunda balena, - vyAkaraNa zizuzAstra/
bAlake se ihAra vicAra kare mAtra//
alankAra vicAra kariba tomA sane/
prabhu kahe, bujha tomAra yebA laya mane//
viSama-viSama yata kavitva pracAra/
paDiyA mukunda jijnAsaye alankAra//
Thanks madanmohanji. This is from the Adi-lila, Chapter 9, verses 11-13, according to Radhagovinda Nath's edition. Here is how I would do it:
Mukunda said: "Grammar is a child's scripture;
One only studies it as a boy.
I will discuss literary criticism with you."
The Master said: "Tell me whatever is on your mind."
Whatever very difficult poetic passages there were,
Mukunda recited them and asked him about their figures [poetic ornaments]
Radhagovinda Nath has that problematic verse a little differently:prabhu kahe bujha tor yathA laya mane
He also has a note saying that there is another reading that has ye bA
instead of yathA
Post by Nitaidas on Mar 19, 2008 8:11:19 GMT -6
Great. I've made amendment. I'm trying to adhere to 5 iambic feet per line in the measure for the payar, but some of the lines stumble into more feet than they should. When I get to a tripadi section I will see if a longer measure can be applied.
I think I goofed on that problematic verse. For some reason I treated bujha
as if it were causative, "make me understand" or "tell me." It is not causative, though. The causative form would be bujhAo
. So what Prabhu seems to be saying is something more like: ``you know whatever is conceived in your mind," This is a bit more mysterious. It seems to be more philosophical critique: "however you conceive of it in your mind, that is how you know." This could be a more sophisticated form of "oh yeah? whatever you say." Anyway, I am not sure how you want to handle it. Radhagoviinda Nath throws no light on it.
Post by Nitaidas on Mar 19, 2008 8:31:31 GMT -6
I was wondering how your rendering of Murari Gupta's book was progressing. I have a Bengali prose edition, but keep getting stuck and loose interest. Your translation would be of great value.
I haven't been doing much work on it, I'm afraid. Too busy with other projects which continue to pile up and continue to age. I really would love to get back to it. It is the very first account of Mahaprabhu by one of his school chums. What better description of him can one find. Of course, some else takes over after Murari passes and writes the post-1520 portions of the text. But still, it is an important piece in understanding the roots of the tradition, the earliest view of Mahaprabhu. Already, for instance, rasa appears to have been important.
I will try to work some more on it. My original idea was to produce a single work with all the four major biographies of Mahaprabhu together in chronological order, kind of a Gospel according to Murari, Gospel according to Kavikarnapura, Gospel according to Vrndavana Das, Gospel according to Krsnadasa Kaviraja approach. Of course, the resultant text would be much bigger than the New Testament. Probably would fit in a single volume unless the paper were very thin and the print very small. Then something likes "Acts" would be works like the Narottama Vilasa
and the Bhaktiratnakara
of Narahari Cakravartin. Anyway, talk is cheap. Action is what is needed.
Post by Nitaidas on Mar 20, 2008 8:42:20 GMT -6
Do you not regard Locan das' work important? I thought is was. Poet Karnapura's work is a play is it not? I am ashamed to say I have not read it, but the citations in CC. I like the way Locana das treated the episode that Murari Gupta recounts how Narad, distressed at the degenerate condition of Kali yuga, seeks lord Narayan for remedy. Only in Locan das' version it's Krsna in Dvaraka.
Locana's account is not as important as the others, but it should still be included, I suppose. Thanks for reminding me. There are two works by Kavikarnapura, a kavya (1543?) that he did when he was a teenager (16-17 perhaps) and his most famous work, the play (1572?). Both are delightful and between the two of them they show an interesting development in the way Mahaprabhu was viewed by his followers.
Post by Nitaidas on Mar 22, 2008 10:22:52 GMT -6
Here is the rest of the invocation.
I bow to the truth beyond time's three phases,
known also by name as Jagannath's son.
To his attendants and to his sons,
to his kindred train, I bow in salutation.
I worship the brothers twain, gods eternal,
Sri Krsna Caitanya and the lord Nityananda,
incognito as all gracious compassion incarnate.
Hail to him of immaculate puissance!
Of golden sheen and wide lotus-petal eyes.
With six long glorious arm distending,
dancing to the measure of love's diverse themes.*
Hail and glory to Krsna Caitanya-moon, most worshipful;
Hail and glory to his hallowed and eternal fame.
Hail and glory to the universal lord and his attendants;*
Hail and glory to the dance of all his dearly loved ones.
Good job, madanmohanji. I was looking at my version of the invocation and realized that my edition (Radhagovinda Nath's) doesn't have your fourth stanza. It also looked familiar. Sure enough, it is from Murari Gupta's kadaca. It is the first verse in fact. Then I noticed a note in RGN from Prabhupada Atulakrsna Goswami noting that that fourth verse in only found in the printed versions not in the mss. Anyway, it is a good verse and one that rather surprised me when if first read it because of the mention of bhakti-rasa
. I did not expect that at the beginning of the earliest biography of Mahaprabhu. I was under the impression that bhakti-rasa
was a later development in the understanding of the tradition. It may be, since that verse may well be a later addition to Murari's text.
I don't think that sad-bhuja
means "six arms" as you have translated it. That would be SaD-bhuja
. Instead, I think a better translation would be something like: his fine arms reaching down to his choice knees. Whatever you decide, though. I would also do trikAla-satya as "existing in the three phases of time, past, present, and future." That is a standard Vedantic trope for the absolute truth.
Also, bahudhA bhakti-rasAbhinartaka
could mean "an actor portraying many forms of bhakti rasa." Acting and dancing are intimately connected in Indic theater.
Post by Nitaidas on Mar 23, 2008 23:24:23 GMT -6
Thanks Nitai. I had given some thought to that 'jayati vizudhavikrama.., sloka. The CB that I am working from is Gaudiya Mission edition, but it is not the same as the one published earlier with BSS' lengthy commentary. Apparently this is another edition they came across and published it without the commentary. The verse in question does read as saD bhuja and in the anuvad, saD bhuja yukta. Now, I am aware of the reading you propose as sad bhuja as that is how it reads in Dhyanacandra's padhati. In the foot note to that the editor points out that it is a citation from Murari's CC, where the reading is saD bhuja, be he considers it to be a case of lipikAra pramAd, which implies inadvertence on the part of the scribe or type setter. But it makes me wonder what should be the objection to six arms; further on in the text he does reveal such a form more than once, particularly to Nityananada. So I'm quite attached to that reading, but wherever I do come across variant readings I will go with what I feel and provide foot notes on such variants. I must admit that it is all too easy to dismiss a reading on the grounds of scribes error and it is an argument that could be diversely applicable, ie., one could just as easily propose that the scribe's error is in your favored reading.
TrikAla satya I will adjust according to your advice, but leave exactly what times three phases are in a foot note.
The thing that I thought would require some explanation was, ' I bow to his sons', for, he never 'ad any.
The two editions of Murari's text that I have both have sad
. It is true, however, the text was nearly lost and has survived in only a few, or maybe just one, badly copied manuscript. Even after much scholarly editing, efforts to recover the text, it is still very corrupt. It was unfortunately superseded by the later biographies. It is hard to image (at least for me) having six arms all of which reach down to his knees. On the other hand sad
) seems unnecessary there. It may just be there to fill out the meter.
As far as Mahaprabhu's sons are concerned, RGN also notes that he did not have any sons but points to the first verse in which he and Nityananda are called the "fathers" of sankIrtana. Thus, says he, sankIrtana is his son. He cites a passage from the Cc (2.11.86) in which Mahaprabhu is called the creator of prema-sankIrtana as added support. So the author (Vrndavana Das) is bowing to the "son" of Jagannathasuta (Mahaprabhu), sankIrtana.
Where does that "kindred train" come from? sakalatrAya? kalatra means wife and ordinarily means "along with his wife," but RGN takes it as sakala + tra "the savior of all." Kind of typical, I guess. Squeeze out the wife.
Post by madanmohandas on Jul 24, 2012 4:12:09 GMT -6
Here is another rendering of the invocation, AjAnulambitabhujau.........etc.
I bow in reverence to the lordly pair,
Whose beauty shines than gold more fair,
Whose long arms to the knees extend;
Sankirtan's founding fathers, and
Whose eyes are lotus petals wide,
Who sustenance to the worlds provide;
Foremost of the twice-born sages,
True virtue's guardians in the ages;
Workers of grace, compassionate,
And boundless mercy incarnate!
In the first line ' lordly pair' perhaps ' noble pair' is better?
Post by madanmohandas on Jul 25, 2012 5:33:41 GMT -6
Here are four lines from a section of Madhya 1
' I gained my lord, but which way did he go?'
Swooning, the lord embraced a pillar, saying so;
The pillar collapsed, and in his deep despair
Said, ' where is Krsna?' and fell with loosened hair.
And from Madhya 23
The Master himself this teaching gave to all,
' Hear with joy the great mantra of Krsna's name;
Hare Krsna Hare Krsna Krsna Krsna Hare Hare,
Hare Rama Hare Rama Rama Rama Hare Hare.
' This', said the Master, ' is the Mahamantra of which I speak.
It should be muttered, keeping count, by all,
From which all of you shall every perfection gain.
Always utter the name, for restrictions there are none.
Gather in groups of five or ten within your homes,
And sing aloud the names with clapping hands,
Haraye namah Krsna Yadavaya namah,
Gopala Govinda Rama Sri Madhusudana.
Also there is somewhere a discussion with Gauranga and Srivasa where the latter says rather than go begging or shopping if three days pass and no meal is to be had he will plunge into the Ganga. He demonstrates this by clapping his hands thrice and saying one two three. Anyway I came across a verse in the Garuda Purana which says,
A brahmana oppressed by great poverty shall fast for three days. The king on seeing the brahmana without means of support shall provide him with one. 1.106.25
Post by madanmohandas on Jul 27, 2012 14:13:38 GMT -6
Vrndavan das' signature couplet.
Sri Krsna Caitanya and moon-like Nityananda,
To whom he ever prays,
Vrndavan das, at their hallowed feet,
humbly sings his lays.
Where the reference to his sons is concerned I'm surprised no one has suggested the fact that in his guise as Devi he did suckle his followers with breast milk, and thereby they became his sons. How can sankirtan, though he is the father, be his sons?
Post by madanmohandas on Jul 27, 2012 14:21:12 GMT -6
sakalatrAya te namah//
I bow to truth beyond time's three phases,
known also by name as Jagannath's son.
I bow to him with his servants and sons,
I bow to him with his consorts belov'd
Post by madanmohandas on Jul 29, 2012 13:57:01 GMT -6
In his speech with Isvara Puri, Gauranga cites the following,
mUrkho vadati visnAya dhIro vadati visnave/
ubhayostu samaM puNyaM bhAvagrAhI janardanah//
The unschooled when they to Visnu pray
Visnaya say, the wise say Visnave;
Yet both are with equal merit fraught-
Janardan apprehends the pious thought.
Post by madanmohandas on Jul 29, 2012 14:10:57 GMT -6
Here is part of a speech delivered to the devotees by Gauranga at the time of his assumption of the sannyasa order from Antya Kanda 1.
I am Krsna, I am Rama, I am Narayan,
I am Matsya, I am Kurma, Varaha and Vaman,
I am Budha, Kalki, Hamsa, I am Haladhar,
I'm Prsnigarbha, Hayagriva, and mighty Mahesvar,
I am Blue mountain's moon, Kapila and Lion-man;
All beings seen and unseen are bees at my lotus-feet,
My glory and my excellences all the Vedas sing,
Infinite million universes render service unto me.
I am to all the Time-spirit, excepting my devotees;
All adversity ends by but remembering me;
It was I who Draupadi from indignity saved,
And rescued the five Pandavs from the house of lac.
I redeemed lord Sankara when I Vrkasura slew,
And delivered up my servant the lordly tusker chief.
Verily it was I who released Prahlad from adversity;
Verily it was I who saved the cowherds from distress;
Verily it was I who churned nectar in ancient times,
I deceived the asuras and guarded the gods.
It was I who the great devotee-hater Kamsa slew.
I destroyed the wicked Ravan and his clan.
It was I who upheld Govardhan in my left hand,
And it was I who the black serpent subdued;
In satya yuga I taught the way of strict austerity;
To establish sacrifice in treta yuga I descend;
It was I who in dvarpara yuga made descent,
And the path of ritual worship taught the world.
What my incarnations e'en the Vedas do not know....
Post by madanmohandas on Aug 5, 2012 6:36:20 GMT -6
I was wondering what scholars have said if anything about the strikingly abrupt end to Caitanya Bhagavat. I suspect that it was either unfinished or missing. There are allusions earlier in the text to such as the sanyasis at Kasi where Vrndavan das says he will narrate in detail later, or he mentions how Paramanada Puri and Svarupa Damodara were the worthies at Nilacal, however apart from the brief incident in connection with Paramanand's water well, there is no mention of any episodes with Svarupa aside from his fraternity with Pundarika Vidyanidhi.
Krsna das Kaviraja does point out the lack of information and makes that a prime reason for his own work. But he does'nt suggest that it was actually unfinished or that any portion of the work had been lost.
Post by madanmohandas on Aug 11, 2012 15:38:43 GMT -6
Lord Gauranga visits an astrologer.
Now the independent master, almighty Gauracandra
Arrived at the home of an all-knowing astrologer.
Beholding the master’s potent luster, the seer,
Prostrated himself with modesty and reverence.
The master said, ‘ you are a fine astrologer I hear;
Observe and recount to me who in my former life I was.’
At which the pious seer said, ‘ very well,’
And began to contemplate in deep absorption,
His incantation to Gopal, and lo, suddenly he saw
A dark form, four armed, holding conch, disc, mace and lotus;
He beheld on the bosom of that mighty radiant being
The glistening Kaustubha and shining Srivatsa.
Next he saw the lord on that dark night in the prison cell;
He saw the mother and the father address hymns of praise;
He saw the father take the infant in his arms, and,
How by stealth brought him to Gokula that night.
Now he beheld the two armed, sky-clad, enchanter;
About his belly a belt of jewels, fresh cream in hands.
Indeed he saw his own deity, in whose contemplation
He was wont to be ceaselessly absorbed.
The seer beheld the lord with all divine characteristics
And distinguishing attributes. Again in amazement,
He saw the triple-bending figure, lifting the flute to his lips,
Surrounded by cowherd damsels, singing and playing music.
Perceiving these wonders, the seer opened his eyes
And saw Gauranga before him, and closed his eyes again
In meditation, and opened them again, thus back and forth
He strayed, and finally the seer made this supplication,
‘ Hear me child Gopal, who is this young brahamana?
Reveal that to me withal,’ and lo, thereupon
He beheld one dark as durva grass, bow in hand,
Seated in stately hero’s posture; next he saw
The almighty one sporting in the cosmic deluge,
A wondrous boar, lifting with his tusks the earth.
Now he beheld the mighty lion-man Nrsimha,
Of fierce aspect, yet affectionate to his votary.
Next he saw the lovely form of the primal dwarf,
Deluding Bali by deception at his sacrifice.
Next he saw the fish in the waters of dissolution,
Making merry dashing through the mighty flood.
Now once again the seer beheld the master
As the inebriate wielder of the plough and pestle.
The all-knowing seer now saw the lord Jagannath
With beauteous Subhadra in the middle and
Mighty Balarama upon her right hand.
In this manner the all-knowing astrologer
Bore direct witness to the truth and realty,
And still nothing understood – such is delusion.
After deliberation the wise seer was perplexed.
‘ This brahmana,’ he thought, ‘ knows some potent spell,
Or some god has come here to play tricks with me……..