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RADHIKA’S FOOT DUST
RADHIKA’S FOOT DUST
21 & 22 April 2003, Vrindavan
If one serves and associates with advanced devotees who are absorbed in bhajana, gradually bhajana caturya, the art and skill how to do bhajana, is imparted in a very natural way.
Gurudeva said we should try to pray to Srimati Radhika:
yo brahma rudra suka narada bhisma mukhyaih
alaksita na sahasa purusasya tasya
sadhyo vasi karana curnam ananta saktim
tam radhikam carana-renum anusmarami
(Sri Radha-Rasa Sudha Nidhi, Prabodhananda Sarasvati)
When we want to do bhajana and if we want to attract the attention of Krsna very intensely, we must be very very humble. From far away we should pray: yo brahma rudra suka narada bhisma mukhyaih. I know that Brahmaji is very qualified and he is adi-guru of our sampradaya, Rudra (Mahadeva, Lord Siva) is very qualified, Sukadeva Gosvami is so qualified, Narada, Bhismadeva, the twelve mahajanas, the nine yogendras, the four Kumaras, the seven rsis-there are so many great personalities. But alaksita na sahasa purusasya tasya. I know that the param-purusa, Brajandranandana Syamasundara, who is playing His flute on the bank of Yamuna at Vamsi-Vata, is invisible to all these great personalities. It is very hard for them to see Him-very rare. It may be that at the time of their samadhi, being in trance for thousands of years-snap, like a flash of lightning they may see the tip of His toe, and then they think that their life is successful.
So, to have darsana of Krsna is not so easy. But sadhyo vasi karana curnam ananta saktim. There is one type of curna-curna means powder. If you go to the ayurvedic doctor, sometimes he will give some curna. There is one kind of curna, powder, that has ananta sakti, unlimited power. This ananta sakti curna has such power-what kind of power? Sadhyo vasi karana-that Krsna, whom even very great personalities cannot see, becomes vasi karana, controlled. This is the magic dust to completely control Krsna. What is that? Tam radhikam carana-renum anusmarami-I continuously remember the dust of the feet of Srimati Radhika, by which Krsna easily comes under control.
So first, we should pray like this, “O Krsna, I am very far away. I am very unfortunate. What can I do? I am taking complete shelter of the dust of the lotus feet of Radhika. Remembering this is my hope.”
What is the essence of this verse? The essence is that Radhika is mahabhava-svarupini. She is sri vigraha, the very embodiment, of the unlimited love for Krsna. This love is inconceivable. Though it is all-pervading, it is always increasing. Though nothing is greater than this love, it has no scent of pride in it. And although it is completely pure, it is very very crooked, or contrary in nature. Krsna becomes totally bewildered by this prema.
Brahmaji came to Vrndavana and stole the cowherd boys and calves. But actually he could not steal them. Krsna made maya boys and cows and He bewildered Brahma, and in addition Krsna expanded Himself as so many cowherd boys. Brahma became totally bewildered. That Brahma cannot understand Krsna. But that Krsna who bewildered Brahma is completely bewildered by Radhika. How? By Her svabhavika prema, by Her natural love. He cannot understand what is going on.
We glorify the svarupa of Radhika in so many ways.
nava-gorocana-gaurim pravarendivarambaram
mani-stavaka vidyoti veni vyalangana phanam
(Catu Puspanjalih 1)
One time Rupa Gosvami was at Manasa Pavana Ghata in the northeast corner by the sangam of Syama Kunda and Radha Kunda. He was writing this poem. At that time Sanatana Gosvami came there and asked, “What are you writing?” “Please look.” Rupa always wants the opinion of his tasyagraja, his elder brother and guru who gave him bhajana pranali. “Radhika, Your complexion is like gorocana. Your sari is more beautiful than a blue lotus flower. And the braid of Your hair, which is decorated on top with many jewels, appears to be like a serpent (black serpents have a jewel on their head).” When Sanatana Gosvami read this, he said, “O my dear Rupa, may I offer one suggestion? Why did you compare Radhika’s braid to a snake? Snakes are full of poison and our Svamini is full of nectar. If anyone will see a snake, they will become afraid, but if anyone will see Radhika, they will become overjoyed. So why did you use this comparison? I think it is not so good. You should think of something else.”
Rupa Gosvami answered, “Prabhu, you are right. You should think of something else to correct it.” Sanatana Gosvami agreed. Sanatana Gosvami is never at a loss for words. He was the prime minister of Navab Hussein Shah and was managing his whole empire. He is very intelligent. And he has such presence of mind, he is so quick-witted-anything that you say he will immediately give the answer as if he had prepared it beforehand. But today, when Rupa Gosvami said, “Can you change it?” nothing was coming in his mind. This was a first in Sanatana Gosvami’s life. “Nothing is coming right now. I will think about it and when it comes, I will tell you.”
Sanatana Gosvami went away. As he was going along on his parikrama, he saw that some young Brijbasi girls were playing in the forest. One very sweet, beautiful girl dressed simply like an ordinary village girl was sitting on a swing and Her sakhis were pushing Her. They was singing and laughing. Then he saw that there was a black snake behind the girl on the swing, and he wanted to warn her. He ran towards her, calling out, “O lali, lali, lali. Stop! There is a dangerous snake behind you.” As he ran towards her, the scene disappeared-no swing, no sakhi, no girls singing-everything had disappeared. Then he realized that this was not an ordinary girl. This was Radhika. “I thought there was a black snake, but this was Her braid. It really looked like a hissing snake rising with a jeweled hood.”
He went back to Rupa Gosvami, who asked him, “Prabhu, did you think of a good suggestion for my poem, Catu Puspanjalih?” Sanatana Gosvami replied, “Actually, on second thought, I think that your explanation is perfect. You can leave it as it is. Whatever you write is fine by me.” This is the speciality of Rupa Gosvami’s writings-he did not write anything from his imagination. He did not compose anything. He saw everything in his samadhi, and every letter that he wrote is perfect. When Sanatana Gosvami looked at Radhika’s braid, what did he see? He actually saw a snake.
Radhika’s svarupa is mahabhava-svarupa. It is manifested by the power of Yogamaya. It is totally vicitra-citra sancarac cakora sava locane; asesa hava bhava dhira hira hara bhusite, prabhuta sata kumbha kumbha kumbhi kumbha sustani. Our acaryas have compared Radhika’s breast to the cranial globes of a charging, mad elephant. They have compared Her braid to a snake. They compared Her nose-ring to makaranda, the nectar coming out from a lotus, the lotus of Her face. These comparisons are not just poetry. They come from their realization. But who will see in this way? Those who are vibhrama. Ananga ranga mangala prasanga bhangura bhruvam savibhramam. Krsna becomes vibhrama, completely bewildered by the beauty of Radhika. When Radhika looks at Yamuna River, She sees:
nadyas tada tad upadharya mukunda-gitam
avarta-laksita-manobhava-bhagna-vegah
alingana-sthagitam urmi-bhujair murarer
grhnanti pada-yugalah kamalopaharah
(SB 10.21.15)
“Oh, look at this river. This river has so much love for Krsna. Just see! When Krsna comes to the water, the waves rise up to His chest. Then they sink back down again. There are whirlpools in the water. When the whirlpools are turning, they twist the stems of the lotus flowers which break off and float on the waves. They wash up on the shore of Yamuna at the feet of Krsna. When Radhika sees this, She becomes completely absorbed. She is thinking what She will do if She will meet with Krsna. The mood of the maha-bhagavat is to see their own mood everywhere. And She is more than a maha-bhagavat-She is the crest jewel on the crown of all maha-bhagavats.
sarva-bhutesu yah pasyed
bhagavad-bhavam atmanah
(SB 11.2.45)
Maha-bhagavats see their own mood in everyone else. So Radhika is seeing Her own mood in the Yamuna River. What does it mean? When lovers meet, always one will be in bamya bhava and one in dakina bhava. One will have a contrary mood and one will have a submissive mood. If one will take the submissive mood, the other will become contrary. This is their nature. So Radhika is thinking, “This Yamuna is like a beloved of Krsna. She wanted to express her feelings-bhava, hava, hela and so many other bhava alankaras have come.” When the mind is completely pure, there is no vikara in the mind. When the first cinmaya vikara (modification) comes in the mind, then one has some attraction to satisfy the senses of Krsna. This first vikara is called bhava. And when this bhava starts to manifest in one’s posture-the way one is standing, turning the head to one side, looking from the corner of the eye, sitting in a particular way-this is called hava. Then hela-not only coming in one’s body language but actually deliberately making some sign or gesture to give the indication, “I want to serve You.”
So Radhika is thinking, “Just see how this bhava, hava, hela and everything are coming in the Yamuna. She is expressing her desire to meet with Krsna.” This avarta (whirlpool) is like the navel. It seems that Yamuna is looking at Krsna and showing Him her navel. This is described in the rasa-sastra-or if one raises her arm and shows her armpit-as a signal to the lover. But Krsna is ignoring her. Why? She is showing dakina bhava (submissive mood), but bamya bhava (contrary mood) has come in Krsna and He is ignoring her. So then she becomes ashamed and very embarrassed. As a result she takes her lotuses in a very humble mood and offers them at Krsna’s feet.
Radhika is thinking, “What will happen if I express My feelings to Krsna? Will He accept Me or not?” She has some fear, “What will happen if He just ignores Me? Then I will be so embarrassed.” In Her heart She is looking at Yamuna and expressing Her own mood. This is Radhika’s mahabhava.
Gurudeva explained this verse in another way. He said that another mood, purva raga, came in Radhika’s heart. Purva raga means some anticipation of meeting. Before meeting together, a feeling comes, “I want to meet. What will happen when We meet?” This separation in anticipation of meeting is called purva raga. In the context of Srimad-Bhagavatam, Venu Gita comes before the gopis have met with Krsna in rasa-lila so they have not met with Him intimately at all. Yet our acaryas have given comment in the context of all the Venu Gita verses as taking place after Their meeting together. One may raise the question, “How can purva raga come after meeting?” Don’t worry. Close up your logic department and send it very far away. Logic cannot touch these things. In this world before lover and beloved meet, they can have purva raga for each other. After they meet purva raga is gone, but not in transcendental Vrndavana. Even after meeting this purva raga remains. It is always there. This ananda cinmaya rasa is something different-it is not like this world.
Gurudeva explained that Radhika, looking in the whirlpools in Yamuna, remembered that at that time when She meets with Krsna, Krsna becomes vibhrama, bewildered. Seeing the navel of Radhika, He thinks it is a whirlpool. This whirlpool attracts Him so much that He becomes completely bewildered. Radhika’s beauty is like this. She is made of mahabhava. If Krsna will see Her, He becomes vibhrama. It seems that Radhika is very young, in the age of vayah-sandhi-her adolescence has just come. And the next moment He sees Her as completely mature, having entered into purna yauvana. Again He will look and She appears to be in the age between adolescence and maturity. And a moment later She looks like She is entering maturity.
Her beauty is ever fresh before His eyes. Vicitra citra sancarac cakora sava locane-when He looks in the eyes of Radhika, newer and newer astonishing pictures are coming and He becomes vibhrama. Radhika’s bodily complexion shines very beautifully like gold-tapta kancana gaurangi. Sometimes it gives off a reflection like glass. Krsna, seeing His own reflection of His dark blue body reflected on Radhika’s shining body, thinks that Radhika is wearing a blue blouse. And with His hands He tries to take it off. There is nothing there but He is so vibhrama. He is trying to take off Radhika’s blouse but it is His own reflection. This makes Radhika laugh. To break His vibhrama She takes Her lila-kamala and hits Him, saying, “You stupid boy!” This is the confidential meaning of the verse:
yo brahma rudra suka narada bhisma mukhyaih
alaksita na sahasa purusasya tasya
This Krsna, who is the lover of Radhika, cannot be seen by Brahma, Rudra, Narada or any of the mahajanas, but sadhyo vasi karana curnam ananta saktim-Radhika’s mahabhava is so powerful that Krsna becomes completely vibhrama. He looks at Her and cannot understand what He is doing or what He is seeing. This is due to the effect of that powder, that curna, which has ananta sakti-that is the foot dust of Radhika. And Krsna easily comes into the smarana, the remembrance, of the devotee who does bhajana meditating on Her foot dust.
Try to simplify your life, make it very easy so that you can become antarmukhata, not in the stage of distraction all day. When your heart is steady, begin your sadhana. Sadhana means to follow the bhavas of the residents of Vrndavana. Pray from very far away: yo brahma rudra suka narada bhisma mukhyaih. And if you will pray from very far away, all the sweet nectar rasa of the pastimes will come. By being very far away, soon you will find that you are very close. If you try to be very close, you will see that after many years you are very far away. Knowing all these things is called bhajana caturya.
Yesterday I explained something about the inner meaning of this verse. The meaning is that Radhika’s mahabhava is so powerful that it causes Krsna to become completely vibhrama. Ananga-ranga-mangala-prasanga-bhangura-bhruvam savibhramam. Savibhramam-in ananga-ranga, in the wrestling arena of Kamadeva, Krsna becomes vibhrama because of the power of Radhika’s mahabhava. Tam radhikam carana-renum anusmarami-I continuously engage my mind in remembering the dust-one dust-on the feet of Radhika. Here the internal meaning is “krsnam smaran janan casya prestham nija samihitam.” This is the same meaning. I continuously remember one dust on the feet of Radhika means I remember one dasi of Radhika, one associate of Radhika-and the dust of Her dust, even.
Raghunatha dasa Gosvami prays like this:
adadanas trnam dantair idam yace punah punah
srimad-rupa-padambhoja-dhulih syam janma-janmani
I take a straw between my teeth and fall on the ground again and again crying, “O Sri Rupa (here Sri Rupa Manjari), I only want to become the dust of your feet life after life after life.
tambularpana-pada-mardana-payo-danabhisaradibhir
vrndaranya-mahesvarim priyataya yas tosayanti priyah
prana-prestha-sakhi-kulad api kilasankocita bhumikah
keli-bhumisu rupa-manjari-mukhas ta dasika samsraye
In Vraja Vilasa Stava Raghunatha dasa Gosvami is now opening up this verse, adadanas trnam dantair. “O Sri Rupa, I want to be the dust of your lotus feet.” How? He is explaining in this verse from Vraja Vilasa Stava: keli-bhumisu rupa-manjari-mukhas ta dasika samsraye. “By heart I take complete shelter of the dasis in the group headed by Sri Rupa Manjari.” How? Tambularpana-pada-mardana-payo-danabhisaradibhir. He is saying that in the forest of Vrndavana these dasis of Radhika always bring great joy to the heart of Radha and Krsna by rendering so many types of paricarya seva. Who can do this paricarya seva? Those who have intense mamata. If you know someone, you may give them a garland or a book or anything, but only when you are very intimate you can catch them and by force give them a massage. They may protest but by force you do it. Paricarya seva means all kinds of menial bodily services-bathing, dressing, decorating, massaging. This paricarya seva is our aim and object.
In Dasa Mula Siksa Bhaktivinoda Thakura explains: vilasakhye tattve parama-paricaryam sa labhate. This is our goal to attain this paricarya seva. So Raghunatha dasa Gosvami is saying, “I want to follow Rupa Manjari and those in her group, by whose mercy I can attain this paricarya seva.
In Manah Siksa Raghunatha dasa Gosvami prays to his own mind:
na dharmam nadharmam sruti-gana-niruktam kila kuru
vraje radha-krsna pracura paricaryam iha tanu
“O my dear mind, don’t worry about what is right and wrong. Try to always be engaged in paricarya seva of Radha and Krsna.” How? Pracura paricarya-pracura means “too much, always.” When it is time for Radhika to eat, you mix Krsna’s remnants with Her food. And before She eats, you will light incense. And while She is eating, you will fan Her. And before she is finished, you will have water on hand for washing Her hands and mouth when She is finished. Serving, serving, serving all the time. So Raghunatha dasa Gosvami is begging his mind, “O my dear mind, please, please, just do pracura paricarya seva-too much seva, too much seva.” This is the process. He is giving some examples here-tambularpana. . . Tam radhikam carana-renum anusmarami: the remembrance of the foot-dust of Radhika means tambularpana-pada-mardana-payo-danabhisaradibhir-to render all of these services.
Raghunatha dasa Gosvami is praying tambularpana-offering tambula. What is the offering of tambula? It is not an ordinary thing. Srila Rupa Gosvamipada says:
kada bimbhosthi tambulam maya tava mukhambuje
arpyamanam vrajadhisa-sunur acchidya bhoksyate?
(Catu Puspanjalih 21)
“When will I make the very best tambula? Inside there should be karpura and elaichi, supari, masala-many ingredients and in the right proportion, but more karpura, so much karpura because it is very fresh. When will I offer this into the mouth of Radhika?” This is vilasa-yukta seva. The service should be in such a way that these sweet pastimes will come. If there is some sport competition between some wrestlers or fighters, at the end of one round, the trainers come and give them water and make them feel quickly refreshed. “You lost this round, but we will refresh you quickly and the next round you will win.” Like this, if Radhika is tired, they will give Her water, fan Her, give Her tambula. She will feel refreshed. “Our Radhika should be victorious.” Krsna is thinking, “Oh, they are giving tambula to Her and not to Me! This is not fair.” So Rupa Gosvamipada is saying, “When will the day come when I will give tambula to Radhika? And Krsna will take that tambula directly from Her mouth.”
There are hundreds and hundreds of tambula lilas-all are very sweet. This is why our acaryas always mention giving tambula. Adhare tuliya dibo karpura tambule. So the devotee is chanting “kada bimbhosthi tambulam maya tava mukhambuje - Hare Krsna Hare Krsna.” Gurudeva has quoted this verse in his commentary on Manah Siksa.
Tambularpana-pada-mardana. Pada-mardana means massaging Her lotus feet. This seva is full of nectar. Someone will think, “Okay, I’ll massage Srimati Radhika’s lotus feet,” and chant Hare Krsna and then fall asleep. Because they have no relation with Her yet. No relation-no elation. Unless you have relation with the object of your service, you cannot feel joy in that service.
By hearing hari katha, sambandha-jnana comes. We have to know something about Radhika’s nature. Krsna never uses this word “Radhika.” He calls Her Srimati. But She is not only Srimati. Radhika is also Hrimati. Hri means shyness. She is very shy. If anyone will suggest that a new, very effulgent young girl is very suitable to render service to Her, She will become shy on hearing that She should be served. The idea that someone should serve Her makes Her become ashamed. Hri means lajja, shyness. Mati means “krsna bhakti rasa bhavita matih.” Her mind is full of shyness. So when Radhika goes on abhisara (secret journey in the night to meet with Krsna)-tambularpana-pada-mardana-payo-danabhisaradibhir-after walking very far in the forest, She may tell one dasi, “Massage My feet.” That manjari is overwhelmed with joy. Why? It is very hard for Radhika to tell anyone to do this because She is so shy. So these words, “Massage My feet,” should be understood in another way. They mean, “You are completely Mine. I accept you as being non-different from My own body.” You will not feel shyness if you massage your own feet.
Tambularpana-pada-mardana-payo-danabhisaradibhir. Payo dana means to bring fresh water. These pastimes are very high. I am only giving some ingit, sanket-a hint. This is enough. Anyone who will chant harinama under the guidance of sad-guru can enter into these pastimes only by ingit. So this is the meaning of tam radhikam carana-renum anusmarami. This is krti-sadhya bhavet sadhya-bhava sa sadhanabhidha. I gave the example of “krsnam smaran janam casya.” This is the infallible method. No one should have any doubt. Those who have greed should pass their life like this-hours and hours every day only chanting and remembering. And as Bharat became a deer, you can become Radhika’s dasi.
Gaura premanande!
21 & 22 April 2003, Vrindavan
If one serves and associates with advanced devotees who are absorbed in bhajana, gradually bhajana caturya, the art and skill how to do bhajana, is imparted in a very natural way.
Gurudeva said we should try to pray to Srimati Radhika:
yo brahma rudra suka narada bhisma mukhyaih
alaksita na sahasa purusasya tasya
sadhyo vasi karana curnam ananta saktim
tam radhikam carana-renum anusmarami
(Sri Radha-Rasa Sudha Nidhi, Prabodhananda Sarasvati)
When we want to do bhajana and if we want to attract the attention of Krsna very intensely, we must be very very humble. From far away we should pray: yo brahma rudra suka narada bhisma mukhyaih. I know that Brahmaji is very qualified and he is adi-guru of our sampradaya, Rudra (Mahadeva, Lord Siva) is very qualified, Sukadeva Gosvami is so qualified, Narada, Bhismadeva, the twelve mahajanas, the nine yogendras, the four Kumaras, the seven rsis-there are so many great personalities. But alaksita na sahasa purusasya tasya. I know that the param-purusa, Brajandranandana Syamasundara, who is playing His flute on the bank of Yamuna at Vamsi-Vata, is invisible to all these great personalities. It is very hard for them to see Him-very rare. It may be that at the time of their samadhi, being in trance for thousands of years-snap, like a flash of lightning they may see the tip of His toe, and then they think that their life is successful.
So, to have darsana of Krsna is not so easy. But sadhyo vasi karana curnam ananta saktim. There is one type of curna-curna means powder. If you go to the ayurvedic doctor, sometimes he will give some curna. There is one kind of curna, powder, that has ananta sakti, unlimited power. This ananta sakti curna has such power-what kind of power? Sadhyo vasi karana-that Krsna, whom even very great personalities cannot see, becomes vasi karana, controlled. This is the magic dust to completely control Krsna. What is that? Tam radhikam carana-renum anusmarami-I continuously remember the dust of the feet of Srimati Radhika, by which Krsna easily comes under control.
So first, we should pray like this, “O Krsna, I am very far away. I am very unfortunate. What can I do? I am taking complete shelter of the dust of the lotus feet of Radhika. Remembering this is my hope.”
What is the essence of this verse? The essence is that Radhika is mahabhava-svarupini. She is sri vigraha, the very embodiment, of the unlimited love for Krsna. This love is inconceivable. Though it is all-pervading, it is always increasing. Though nothing is greater than this love, it has no scent of pride in it. And although it is completely pure, it is very very crooked, or contrary in nature. Krsna becomes totally bewildered by this prema.
Brahmaji came to Vrndavana and stole the cowherd boys and calves. But actually he could not steal them. Krsna made maya boys and cows and He bewildered Brahma, and in addition Krsna expanded Himself as so many cowherd boys. Brahma became totally bewildered. That Brahma cannot understand Krsna. But that Krsna who bewildered Brahma is completely bewildered by Radhika. How? By Her svabhavika prema, by Her natural love. He cannot understand what is going on.
We glorify the svarupa of Radhika in so many ways.
nava-gorocana-gaurim pravarendivarambaram
mani-stavaka vidyoti veni vyalangana phanam
(Catu Puspanjalih 1)
One time Rupa Gosvami was at Manasa Pavana Ghata in the northeast corner by the sangam of Syama Kunda and Radha Kunda. He was writing this poem. At that time Sanatana Gosvami came there and asked, “What are you writing?” “Please look.” Rupa always wants the opinion of his tasyagraja, his elder brother and guru who gave him bhajana pranali. “Radhika, Your complexion is like gorocana. Your sari is more beautiful than a blue lotus flower. And the braid of Your hair, which is decorated on top with many jewels, appears to be like a serpent (black serpents have a jewel on their head).” When Sanatana Gosvami read this, he said, “O my dear Rupa, may I offer one suggestion? Why did you compare Radhika’s braid to a snake? Snakes are full of poison and our Svamini is full of nectar. If anyone will see a snake, they will become afraid, but if anyone will see Radhika, they will become overjoyed. So why did you use this comparison? I think it is not so good. You should think of something else.”
Rupa Gosvami answered, “Prabhu, you are right. You should think of something else to correct it.” Sanatana Gosvami agreed. Sanatana Gosvami is never at a loss for words. He was the prime minister of Navab Hussein Shah and was managing his whole empire. He is very intelligent. And he has such presence of mind, he is so quick-witted-anything that you say he will immediately give the answer as if he had prepared it beforehand. But today, when Rupa Gosvami said, “Can you change it?” nothing was coming in his mind. This was a first in Sanatana Gosvami’s life. “Nothing is coming right now. I will think about it and when it comes, I will tell you.”
Sanatana Gosvami went away. As he was going along on his parikrama, he saw that some young Brijbasi girls were playing in the forest. One very sweet, beautiful girl dressed simply like an ordinary village girl was sitting on a swing and Her sakhis were pushing Her. They was singing and laughing. Then he saw that there was a black snake behind the girl on the swing, and he wanted to warn her. He ran towards her, calling out, “O lali, lali, lali. Stop! There is a dangerous snake behind you.” As he ran towards her, the scene disappeared-no swing, no sakhi, no girls singing-everything had disappeared. Then he realized that this was not an ordinary girl. This was Radhika. “I thought there was a black snake, but this was Her braid. It really looked like a hissing snake rising with a jeweled hood.”
He went back to Rupa Gosvami, who asked him, “Prabhu, did you think of a good suggestion for my poem, Catu Puspanjalih?” Sanatana Gosvami replied, “Actually, on second thought, I think that your explanation is perfect. You can leave it as it is. Whatever you write is fine by me.” This is the speciality of Rupa Gosvami’s writings-he did not write anything from his imagination. He did not compose anything. He saw everything in his samadhi, and every letter that he wrote is perfect. When Sanatana Gosvami looked at Radhika’s braid, what did he see? He actually saw a snake.
Radhika’s svarupa is mahabhava-svarupa. It is manifested by the power of Yogamaya. It is totally vicitra-citra sancarac cakora sava locane; asesa hava bhava dhira hira hara bhusite, prabhuta sata kumbha kumbha kumbhi kumbha sustani. Our acaryas have compared Radhika’s breast to the cranial globes of a charging, mad elephant. They have compared Her braid to a snake. They compared Her nose-ring to makaranda, the nectar coming out from a lotus, the lotus of Her face. These comparisons are not just poetry. They come from their realization. But who will see in this way? Those who are vibhrama. Ananga ranga mangala prasanga bhangura bhruvam savibhramam. Krsna becomes vibhrama, completely bewildered by the beauty of Radhika. When Radhika looks at Yamuna River, She sees:
nadyas tada tad upadharya mukunda-gitam
avarta-laksita-manobhava-bhagna-vegah
alingana-sthagitam urmi-bhujair murarer
grhnanti pada-yugalah kamalopaharah
(SB 10.21.15)
“Oh, look at this river. This river has so much love for Krsna. Just see! When Krsna comes to the water, the waves rise up to His chest. Then they sink back down again. There are whirlpools in the water. When the whirlpools are turning, they twist the stems of the lotus flowers which break off and float on the waves. They wash up on the shore of Yamuna at the feet of Krsna. When Radhika sees this, She becomes completely absorbed. She is thinking what She will do if She will meet with Krsna. The mood of the maha-bhagavat is to see their own mood everywhere. And She is more than a maha-bhagavat-She is the crest jewel on the crown of all maha-bhagavats.
sarva-bhutesu yah pasyed
bhagavad-bhavam atmanah
(SB 11.2.45)
Maha-bhagavats see their own mood in everyone else. So Radhika is seeing Her own mood in the Yamuna River. What does it mean? When lovers meet, always one will be in bamya bhava and one in dakina bhava. One will have a contrary mood and one will have a submissive mood. If one will take the submissive mood, the other will become contrary. This is their nature. So Radhika is thinking, “This Yamuna is like a beloved of Krsna. She wanted to express her feelings-bhava, hava, hela and so many other bhava alankaras have come.” When the mind is completely pure, there is no vikara in the mind. When the first cinmaya vikara (modification) comes in the mind, then one has some attraction to satisfy the senses of Krsna. This first vikara is called bhava. And when this bhava starts to manifest in one’s posture-the way one is standing, turning the head to one side, looking from the corner of the eye, sitting in a particular way-this is called hava. Then hela-not only coming in one’s body language but actually deliberately making some sign or gesture to give the indication, “I want to serve You.”
So Radhika is thinking, “Just see how this bhava, hava, hela and everything are coming in the Yamuna. She is expressing her desire to meet with Krsna.” This avarta (whirlpool) is like the navel. It seems that Yamuna is looking at Krsna and showing Him her navel. This is described in the rasa-sastra-or if one raises her arm and shows her armpit-as a signal to the lover. But Krsna is ignoring her. Why? She is showing dakina bhava (submissive mood), but bamya bhava (contrary mood) has come in Krsna and He is ignoring her. So then she becomes ashamed and very embarrassed. As a result she takes her lotuses in a very humble mood and offers them at Krsna’s feet.
Radhika is thinking, “What will happen if I express My feelings to Krsna? Will He accept Me or not?” She has some fear, “What will happen if He just ignores Me? Then I will be so embarrassed.” In Her heart She is looking at Yamuna and expressing Her own mood. This is Radhika’s mahabhava.
Gurudeva explained this verse in another way. He said that another mood, purva raga, came in Radhika’s heart. Purva raga means some anticipation of meeting. Before meeting together, a feeling comes, “I want to meet. What will happen when We meet?” This separation in anticipation of meeting is called purva raga. In the context of Srimad-Bhagavatam, Venu Gita comes before the gopis have met with Krsna in rasa-lila so they have not met with Him intimately at all. Yet our acaryas have given comment in the context of all the Venu Gita verses as taking place after Their meeting together. One may raise the question, “How can purva raga come after meeting?” Don’t worry. Close up your logic department and send it very far away. Logic cannot touch these things. In this world before lover and beloved meet, they can have purva raga for each other. After they meet purva raga is gone, but not in transcendental Vrndavana. Even after meeting this purva raga remains. It is always there. This ananda cinmaya rasa is something different-it is not like this world.
Gurudeva explained that Radhika, looking in the whirlpools in Yamuna, remembered that at that time when She meets with Krsna, Krsna becomes vibhrama, bewildered. Seeing the navel of Radhika, He thinks it is a whirlpool. This whirlpool attracts Him so much that He becomes completely bewildered. Radhika’s beauty is like this. She is made of mahabhava. If Krsna will see Her, He becomes vibhrama. It seems that Radhika is very young, in the age of vayah-sandhi-her adolescence has just come. And the next moment He sees Her as completely mature, having entered into purna yauvana. Again He will look and She appears to be in the age between adolescence and maturity. And a moment later She looks like She is entering maturity.
Her beauty is ever fresh before His eyes. Vicitra citra sancarac cakora sava locane-when He looks in the eyes of Radhika, newer and newer astonishing pictures are coming and He becomes vibhrama. Radhika’s bodily complexion shines very beautifully like gold-tapta kancana gaurangi. Sometimes it gives off a reflection like glass. Krsna, seeing His own reflection of His dark blue body reflected on Radhika’s shining body, thinks that Radhika is wearing a blue blouse. And with His hands He tries to take it off. There is nothing there but He is so vibhrama. He is trying to take off Radhika’s blouse but it is His own reflection. This makes Radhika laugh. To break His vibhrama She takes Her lila-kamala and hits Him, saying, “You stupid boy!” This is the confidential meaning of the verse:
yo brahma rudra suka narada bhisma mukhyaih
alaksita na sahasa purusasya tasya
This Krsna, who is the lover of Radhika, cannot be seen by Brahma, Rudra, Narada or any of the mahajanas, but sadhyo vasi karana curnam ananta saktim-Radhika’s mahabhava is so powerful that Krsna becomes completely vibhrama. He looks at Her and cannot understand what He is doing or what He is seeing. This is due to the effect of that powder, that curna, which has ananta sakti-that is the foot dust of Radhika. And Krsna easily comes into the smarana, the remembrance, of the devotee who does bhajana meditating on Her foot dust.
Try to simplify your life, make it very easy so that you can become antarmukhata, not in the stage of distraction all day. When your heart is steady, begin your sadhana. Sadhana means to follow the bhavas of the residents of Vrndavana. Pray from very far away: yo brahma rudra suka narada bhisma mukhyaih. And if you will pray from very far away, all the sweet nectar rasa of the pastimes will come. By being very far away, soon you will find that you are very close. If you try to be very close, you will see that after many years you are very far away. Knowing all these things is called bhajana caturya.
Yesterday I explained something about the inner meaning of this verse. The meaning is that Radhika’s mahabhava is so powerful that it causes Krsna to become completely vibhrama. Ananga-ranga-mangala-prasanga-bhangura-bhruvam savibhramam. Savibhramam-in ananga-ranga, in the wrestling arena of Kamadeva, Krsna becomes vibhrama because of the power of Radhika’s mahabhava. Tam radhikam carana-renum anusmarami-I continuously engage my mind in remembering the dust-one dust-on the feet of Radhika. Here the internal meaning is “krsnam smaran janan casya prestham nija samihitam.” This is the same meaning. I continuously remember one dust on the feet of Radhika means I remember one dasi of Radhika, one associate of Radhika-and the dust of Her dust, even.
Raghunatha dasa Gosvami prays like this:
adadanas trnam dantair idam yace punah punah
srimad-rupa-padambhoja-dhulih syam janma-janmani
I take a straw between my teeth and fall on the ground again and again crying, “O Sri Rupa (here Sri Rupa Manjari), I only want to become the dust of your feet life after life after life.
tambularpana-pada-mardana-payo-danabhisaradibhir
vrndaranya-mahesvarim priyataya yas tosayanti priyah
prana-prestha-sakhi-kulad api kilasankocita bhumikah
keli-bhumisu rupa-manjari-mukhas ta dasika samsraye
In Vraja Vilasa Stava Raghunatha dasa Gosvami is now opening up this verse, adadanas trnam dantair. “O Sri Rupa, I want to be the dust of your lotus feet.” How? He is explaining in this verse from Vraja Vilasa Stava: keli-bhumisu rupa-manjari-mukhas ta dasika samsraye. “By heart I take complete shelter of the dasis in the group headed by Sri Rupa Manjari.” How? Tambularpana-pada-mardana-payo-danabhisaradibhir. He is saying that in the forest of Vrndavana these dasis of Radhika always bring great joy to the heart of Radha and Krsna by rendering so many types of paricarya seva. Who can do this paricarya seva? Those who have intense mamata. If you know someone, you may give them a garland or a book or anything, but only when you are very intimate you can catch them and by force give them a massage. They may protest but by force you do it. Paricarya seva means all kinds of menial bodily services-bathing, dressing, decorating, massaging. This paricarya seva is our aim and object.
In Dasa Mula Siksa Bhaktivinoda Thakura explains: vilasakhye tattve parama-paricaryam sa labhate. This is our goal to attain this paricarya seva. So Raghunatha dasa Gosvami is saying, “I want to follow Rupa Manjari and those in her group, by whose mercy I can attain this paricarya seva.
In Manah Siksa Raghunatha dasa Gosvami prays to his own mind:
na dharmam nadharmam sruti-gana-niruktam kila kuru
vraje radha-krsna pracura paricaryam iha tanu
“O my dear mind, don’t worry about what is right and wrong. Try to always be engaged in paricarya seva of Radha and Krsna.” How? Pracura paricarya-pracura means “too much, always.” When it is time for Radhika to eat, you mix Krsna’s remnants with Her food. And before She eats, you will light incense. And while She is eating, you will fan Her. And before she is finished, you will have water on hand for washing Her hands and mouth when She is finished. Serving, serving, serving all the time. So Raghunatha dasa Gosvami is begging his mind, “O my dear mind, please, please, just do pracura paricarya seva-too much seva, too much seva.” This is the process. He is giving some examples here-tambularpana. . . Tam radhikam carana-renum anusmarami: the remembrance of the foot-dust of Radhika means tambularpana-pada-mardana-payo-danabhisaradibhir-to render all of these services.
Raghunatha dasa Gosvami is praying tambularpana-offering tambula. What is the offering of tambula? It is not an ordinary thing. Srila Rupa Gosvamipada says:
kada bimbhosthi tambulam maya tava mukhambuje
arpyamanam vrajadhisa-sunur acchidya bhoksyate?
(Catu Puspanjalih 21)
“When will I make the very best tambula? Inside there should be karpura and elaichi, supari, masala-many ingredients and in the right proportion, but more karpura, so much karpura because it is very fresh. When will I offer this into the mouth of Radhika?” This is vilasa-yukta seva. The service should be in such a way that these sweet pastimes will come. If there is some sport competition between some wrestlers or fighters, at the end of one round, the trainers come and give them water and make them feel quickly refreshed. “You lost this round, but we will refresh you quickly and the next round you will win.” Like this, if Radhika is tired, they will give Her water, fan Her, give Her tambula. She will feel refreshed. “Our Radhika should be victorious.” Krsna is thinking, “Oh, they are giving tambula to Her and not to Me! This is not fair.” So Rupa Gosvamipada is saying, “When will the day come when I will give tambula to Radhika? And Krsna will take that tambula directly from Her mouth.”
There are hundreds and hundreds of tambula lilas-all are very sweet. This is why our acaryas always mention giving tambula. Adhare tuliya dibo karpura tambule. So the devotee is chanting “kada bimbhosthi tambulam maya tava mukhambuje - Hare Krsna Hare Krsna.” Gurudeva has quoted this verse in his commentary on Manah Siksa.
Tambularpana-pada-mardana. Pada-mardana means massaging Her lotus feet. This seva is full of nectar. Someone will think, “Okay, I’ll massage Srimati Radhika’s lotus feet,” and chant Hare Krsna and then fall asleep. Because they have no relation with Her yet. No relation-no elation. Unless you have relation with the object of your service, you cannot feel joy in that service.
By hearing hari katha, sambandha-jnana comes. We have to know something about Radhika’s nature. Krsna never uses this word “Radhika.” He calls Her Srimati. But She is not only Srimati. Radhika is also Hrimati. Hri means shyness. She is very shy. If anyone will suggest that a new, very effulgent young girl is very suitable to render service to Her, She will become shy on hearing that She should be served. The idea that someone should serve Her makes Her become ashamed. Hri means lajja, shyness. Mati means “krsna bhakti rasa bhavita matih.” Her mind is full of shyness. So when Radhika goes on abhisara (secret journey in the night to meet with Krsna)-tambularpana-pada-mardana-payo-danabhisaradibhir-after walking very far in the forest, She may tell one dasi, “Massage My feet.” That manjari is overwhelmed with joy. Why? It is very hard for Radhika to tell anyone to do this because She is so shy. So these words, “Massage My feet,” should be understood in another way. They mean, “You are completely Mine. I accept you as being non-different from My own body.” You will not feel shyness if you massage your own feet.
Tambularpana-pada-mardana-payo-danabhisaradibhir. Payo dana means to bring fresh water. These pastimes are very high. I am only giving some ingit, sanket-a hint. This is enough. Anyone who will chant harinama under the guidance of sad-guru can enter into these pastimes only by ingit. So this is the meaning of tam radhikam carana-renum anusmarami. This is krti-sadhya bhavet sadhya-bhava sa sadhanabhidha. I gave the example of “krsnam smaran janam casya.” This is the infallible method. No one should have any doubt. Those who have greed should pass their life like this-hours and hours every day only chanting and remembering. And as Bharat became a deer, you can become Radhika’s dasi.
Gaura premanande!
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