The Gopis’ Vraja Kirtana Mandali

by Mahanidhi Swami

In Kṛṣṇa-līlā the gopīs play a drum similar to the mṛdaṅga but it is called a mṛdaṅgum. This drum is the same shape as a mṛdaṅga, but it is made of wood, and the small head is      slightly larger in diameter. The mṛdaṅgum is a very popular drum in temples throughout South India such as Tirūpati Balaji.

Dukhini Dāsa, a disciple of Śrīnivāsa Ācārya, wrote a wonderful bhajana wherein he mentions the instruments played by Śrīmatī Rādhikā’s aṣṭa-sakhīs:
Sri Radha—vina
Viśākhā plays the mṛdaṅgum
Lalitā- vīṇā
Tungavidya- vīṇā/ pinak/ saptasara
Indulekha- esarāj/ maṅjīrā [finger cymbals]
Citrā- sitār-like vīṇā /Kasa gong
Campakalatā- sāraṅgi/ taṁboura
Rāṅgadevī- bell/ ghaṇṭā
Sudevī- karatāls
(An excerpt from Appreciating Navadvipa Dhama by Mahanidhi Swami)

Sri Harinama Sankirtana ki jai!
Nitai Gaura Premanande ki jai! 

The Music Behind the Ecstatic Chanting part three

By Mahanidhi Swami

I. Gauranga’s Mrdanga: Pranams and Practice

In Sharanagati, Srila BhaktivinodaThakura reveals the impact of the mrdanga mellows and Gaurakirtana upon his heart:

mṛdaṅga-vadya, śunitemana, abasarasadāyāce.
gaura-vihita, kīrtanaśunī, ānandehṛdoyanāce
“My mind ever longs for the opportunity to hear the music of the mṛdaṅga. Upon hearing the kind of kīrtana ordained by Lord Gauracandra, my heart dances in ecstasy.” (Śaraṇāgati)

Mrdanga Obeisances (ŚrīKhol-Praṇāms)
Before playing the khol (mrdanga), one must offer obeisances to the demigod of the instrument [yantrādhiṣṭitadevatā], and then offer respects to the mrdanga instrument by chanting the following prayers or others:

mṛdaṅgabrahmā-rūpāya, lāvaṇyaṁ rasa-mādhurī
sahasra-guṇa-saṁyuktaṁ, mṛdaṅgāyanamonāmaḥ
“Unto the supreme brahma formed as the clay drum infused with the mellow sweetness of graceful enchantment, and endowed with thousands of transcendental qualities, I bow down again and again to the mṛdaṅga.”

namojagannāthasūtāya, namomṛdaṅganāmaḥ
lāvaṇyaṁ rasa mādhurī, sahasraguṇasaṁyuktaṁ
namomṛdaṅgāyanamonāmaḥ, namobaladevayonamonāmaḥ
“I offer my respectful obeisances unto the son of Śrī Jagannātha Miśra [Śr īCaitanya Mahāprabhu]. I offer my obeisances unto the mṛdaṅga, from which sweet and nectarean sound emanates. I offer my obeisances again and again unto the mṛdaṅga which has thousands of good qualities. And I offer my obeisances unto Lord Baladeva, who assumes the form of the mṛdaṅga to serve Lord Caitanya.”

After offering obeisances, one should practice the varṇas, or specific letters of the alphabet that correspond to particular hand and finger strokes upon the heads of the drum. One should articulate the musical sounds ‘ka’ ‘ga’ ‘gha’ and so on with the voice, while hitting the drum to produce the corresponding sounds. This exercise must be performed before playing anything else. Just as a singer has to regularly practice singing the scale “sāriga,” similarly it is necessary for a mṛdaṅga player to regularly practice the vaṛnas. With much practice in this system and by guru-kṛpā one can learn to produce very sweet music. Then devotees will declare, “It is just like the khol is talking!” 

II. Hand Cymbals Karatāl

During saṅkīrtana, the karatālsring out their famous “one-two-three’ rhythm, which conveys the following three messages to the devotees:
1) I will be victorious over death.
2) I will be victorious over Yamarāja.
3) I will very happily be victorious over all his servants. By hearing the sound of the karatāls from afar, these three (death, Yamarāja and his servants) certainly do not come anywhere near the performers of the kīrtana.

III. Horn Viṣāna

When devotion arises during nāma-saṅkīrtana, it acts like a fire to burn to ashes the impurities within the mind. Thereafter, the auspicious horn blasts away this filthy residue by the sound issuing forth from the path of its tube.

IV. Clap for Krishna (Kara-tālī)

Many birds of sin reside in the tree of the body. But as soon as they hear hand clapping in kirtana, they immediately fly away. In the Dvārakā-mahātmya, Narada Muni asserts, “From the body of any person who claps and dances before the Deity, showing manifestations of ecstasy, all the birds of sinful activities fly away upward.” Just as by clapping the hands one can cause many birds to fly away, similarly the birds of all sinful activities which are sitting on the body can be made to fly away simply by dancing and clapping the hands before the Deity of Kṛṣṇa.” (Bhakti-rasamrta-sindhu)

V. Dancing and Rolling on the Ground (Nṛtya and Lunthan)

Small children are prone to catch the attention of their fathers. For example, a kid will hold his arms up in the air, dance around while calling out to the father, who will then respond by placing the kid on his lap and caressing him lovingly. But if the father does not respond right away, the child cries and rolls on the ground. The father cannot bear to see this, so he will immediately pick up the child. In this mood, dancing and rolling on the ground are an integral part of the performance of saṅkīrtana. They are meant to petition the favor of the all-merciful Lord Śrī Kṛṣṇa, the Supreme Father.

Of course, this does not mean that devotees should abandon all sense of proper decorum, cry like banshees, and roll madly down the public sidewalk on street saṅkīrtana. In certain appropriate settings, however,  such as Navadvīpa Dhāma parikramā, devotees may, if they truly feel inspired, spontaneously cry out in ecstasy “Hariiiiiibol!” and madly roll in the dust of the Dhāma. Remember that in the beginning, Mahāprabhu held His nocturnal kīrtana parties behind locked doors in Śrīvāsa Ācārya’s house to prevent the faithless from offending the devotees by misunderstanding their emotional outbursts and personal kirtanaeuphorias.   

A devotee’s enthusiastic dancing in kirtana pleases Sri Krishna and creates auspiciousness for the world. This point is confirmed in Padma Purāṇa and Hari-bhakti-sudhodaya [20.68]:
“O king, when Krishna’s devotees dance, their footsteps crush the inauspiciousness of the earth; their glances destroy the inauspiciousness of the ten directions; and their upraised arms push away the inauspiciousness of the demigods’ planets.”

On the freighter just before arriving in America to start his world conquering Harinama Sankirtana movement, Srila Prabhupada opened his humble heart to his Lord Damodara:
“O Lord, I am just like a puppet in Your hands. So if You have brought me [to America] here to dance, then make me dance, make me dance. O Lord, make me dance as You like.”

In the Dvārakā-mahātmya,Bhagavan Sri Krishna Himself describes the importance of dancing before the Deity: “A person who feels profound devotional ecstasy while dancing before My Deity form, and who manifests different features of bodily expression can burn away all the accumulated sinful reactions he has stocked up for many, many thousands of years.” (Bhakti-rasamrta-sindhu)
(An excerpt from Appreciating Navadvipa Dhama by Mahanidhi Swami)

Sri Harinama Sankirtana ki jai!
Nitai Gaura Premanande ki Jai...

The Music Behind Ecstatic Kirtana part two

by Mahanidhi Swami

I. How did the Mrdanga Appear in Gaura Lila?

The following popular story explains the appearance of the mṛdaṅga in Gaura-līlā: Before coming to this world as the Golden Avatāra, Lord Sri Krishna said to His flute, “My dear flute, I am descending again to the material world but not in this form. You should stay here with Rādhārāṇī to pacify Her. I promised Rādhā that I would not take you with Me.”

On hearing this, the flute began to cry and said, “My dear Lord Kṛṣṇa, how can You leave me here alone. I have always been by Your side, but now You are neglecting me. What have I done to deserve this?”
Kṛṣṇa replied compassionately that He would bring him along but in a different form. The flute did not mind changing his form, as long as he could remain engaged in Kṛṣṇa’s personal service. In this way the flute transformed into a mṛdaṅga, and descended to this world with ŚrīCaitanyaMahāprabhu.

The mṛdaṅga is not an ordinary musical instrument. Being the incarnation of Kṛṣṇa’s flute, it is very dear to Lord Kṛṣṇa. The mṛdaṅga, like all of the Lord’s paraphernalia, is also completely spiritual since it is an expansion of Lord Baladeva. The Caitanya-caritāmṛta explains how Lord Baladeva expands into ĀnantaŚeṣa: “Lord Balarāma is thus called Lord Śeṣa, for He has attained the ultimate end of servitude to Kṛṣṇa. He takes many forms for the service of Kṛṣṇa, and thus He serves the Lord. He serves Lord Kṛṣṇa, assuming all the following forms: umbrella, slippers, bedding, pillow, garments, resting chair, residence, sacred thread and throne.” (Cc.Ādi 4.123,4)

II. The Danger of Singing Off Tune

There is a story describing the disastrous effect of singing incorrectly. Once, before Nārada Muni had learned the art of singing, he went to the heavenly planets and began singing. The words were good, but the tune and melody were incorrect. Svara, the demigod of melody, was present in that celestial assembly. When he heard Narada singing off key, Svara actually became physically deformed, and others felt pain in their hearts.

Someone told Nārada, “My friend, your improper singing has caused Svara and all of the beautiful singers present here to become ugly and deformed. You should immediately go and learn the art of singing correctly.”

Nārada learned the art of singing directly fromSarasvatī. Later Narada returned to heaven, sang again properly, and all the residents regained their original forms. Nāradawent on to become one of the world’s foremost preachers of beautiful devotional songs.

nārada muni, bājāyavīṇā, ‘rādhikā-ramaṇa’ nāme
nāmaamani, uditahoya, bhakata-gīta-sāme
“When the great soul Nārada Muni plays his stringed vīṇā, the holy name of Rādhikā-Ramaṇa descends, and immediately appears amidst the kīrtana of the Lord’s devotees.” (Gītāvalī)

Certainly one needs to sing properly according to the tal, svara and time of day. But in kirtana, as in all sevas, the main point is purity, sincerity of purpose and pure devotion. Purity is the force, not muscial expertise. Kīrtana singing is not a show of our ego or musical talents, but an expression of our heart’s desire to please Kṛṣṇa.

To conclude we will cite Sri Caitanya’s Teachings: “ŚrīCaitanyaMahāprabhu has not asked us to become proficient in high class music, and become well-practiced in the arts of expert musicians. He told us to constantly chant Hari-kīrtana. Hari-kīrtana does not consist in gratifying our own mundane senses, but in the gratification of ŚrīKṛṣṇa’s transcendental senses.”
(An excerpt from Appreciating Navadvipa Dhama by Mahnidhi Swami)

Madhukantha Describes Krishna’s Birthday

 
by Mahanidhi Swami  

Our acharyas advise us that on the path of raganuga-bhakti sadhana one must first read gaura-lila in order to successfully approach and benefit from reading Radha-Krishna’s vraja-lila. If possible, it’s best to read a particular gaura-lila that is analogous to the vraja-lila you intend to read or hear. 

For example, first read about Gaura-Gadadhara’s nishanta-lila (3.36-6 a.m.), waking in the flower groves of Srivasa Thakura’s estate before reading Radha-Madhava’s nikunja bhanga lila in Nidhivana during the same time. 

This practice is called Gaurachandrika, which means the moonbeams (chandrika) of Lord Gauranga’s most merciful and purifying lilas illuminate the dark forest path within our hearts to show us the way to the brilliantly, blissful keli-nikunjas, wherein Vrindavanachandra forever relishes conjugal intimacies with His dearly beloved Radha. 

Before we narrate the beautiful story of Bhagavan Sri Krishna’s appearance, let’s hear the acharyas conclusions regarding the interplay of Gaura and Krishna lila.

Srila Prabodhananda Sarasvati said (Sri Chaitanya-chandramrta 88), “As much as you are devoted to the lotus feet Lord Gaura, to that same extent the ocean of nectar at the lotus feet of Sri Radha will automatically arise in your heart” (gaura-padaravinde bhaktim…radha-padambhoja-sudhambu-rasih).”

Sri Narahari dasa an eternal intimate associate of both Gaura and Govinda reveals the essential contribution of Lord Chaitanya to raganuga-bhakti. In one bhajana, “Yadi Gaura Na Hoito”, he said, “If Mahaprabhu had not come to this world, who would have ever understood the glories of Sri Radha’s unlimited prema-rasa? And from whom would one get the power to render ecstatic devotional service that follows in the footsteps of the damsels of Vraja?” (radhar mahima, prema-rasa-sima, jagate janato ke, baraja-yuvati, bhaver bhakati, shakati hoito kar)

Srila Krishnadasa Kaviraja (Cc. 2.25.271) wonderfully describes the sweet connection between gaura and krisna-lila: “Krishna lila is the essence of bliss ambrosia flowing in all directions in hundreds of rivers. Chaitanya lila is an imperishable reservoir of nectar, saturated with the pastimes of Krishna. O swanlike mind, please wander in this transcendental lake” (krishna-lila amrta sara, caitanya-lila sarovara).

In Prarthana, Srila Narottama dasa Thakura says, “If you submerge yourself in the rasa-filled ocean of Gaura prema, you will become a confidential servant of Radha-Madhava” (gaura-prema rasarnave se, tarange yeba dube, se radha-madhava antaranga)

Following the principle of Gaurachandrika, we will first narrate from Chaitanya Caritamrta (2.15.17-31) how Sri Chaitanya Mahaprabhu and His associates celebrated Sri Krishna Jayanti. Then we will recount Madhukantaji’s wonderful narration of Krishna’s exciting birthday extracted from Sri Jiva Goswamipada’s Gopala Champu. 

Every year, Gauranga’s bhaktas would relish the four months of Chaturmasya in Jagannatha Puri observing various spiritual festivals in the blissful association of Mahaprabhu. One year they celebrated Krishna Janmastami and Nandotsava, the day after. Everyone including Mahaprabhu dressed up as a cowherd boys (prabhu gopa vesh). 

Everyone carried pots of milk and yogurt balanced on rods over their shoulders, and walked to the Janmastami festival grounds chanting euphorically, “Hari, Hari!” Kanai Khuntiya dressed as Nanda Maharaja and Jagannatha Mahiti dressed as Vrajeshvari Yasoda. Mahaprabhu danced jubilantly, and all the bhaktas began to throw milk, yogurt and turmeric (haldi) water on each other to celebrate Sri Krishna’s birthday. 

At this time, Advaita Acharya jestfully challenged Gaura Gopala, “I’ll believe You’re a cowherd boy only if You can wheel this lagudi (a stick carried by gopas).”
Mahaprabhu then wheeled His lagudi around and around, and repeatedly tossed it into the sky and caught it when it fell. Gaura Gopala threw the rod over His head, behind His back, in front of Him, and between His legs. Gauranga’s display of expertise in this playful art of the Vraja gopas, brought uproarious laughter to one and all. As His grand finale, Gaurasundara astonished everyone by whirling His lagudi so rapidly in a circle that it appeared like a firebrand (alata-cakra).

Entering the deep mood of Gaura’s sakhya-prema (gopa-bhaava gudha), Nitai-Balarama picked up His lagudi and also whirled it about in amazing ways. In this way, Gauranga-sundara experienced  the greatest ecstasy observing the Janmastami festival of Bhagavan Sri Krishna, who is non-different from Himself. 
 
In Gopal Champu, Sri Jiva Goswamipada describes the appearance of Sri Krishna thus: One night when all his family members had assembled in the palace entertainment hall, Nanda Baba asked Madhukanta, a court pandita and reciter, to narrate the lila of Krishna’s birth, Janmastami. 

Thus Madhukantha spoke: One day Nanda Baba said to Vrajeshvari (Yasoda), “O devi! I see very attractive child with a dark complexion and long lotus petal eyes playing on your lap. And milk is profusely flowing from your breasts. O my priya-patni! Tell me the truth. Is this a dream or is this jewel-like child within your womb?”
 Then some time later, a middle-aged, saffron-clad yogini arrived in Nandagrama accompanied by a slightly chubby brahmana boy. Introducing herself to Nanda Baba she said, “My name is Paurnamasi and this boy is my grandson, Madhumangala. O Baba, I can predict the future, and I see that you will have a most beautiful and sensational son who fill the universe with bliss.”

After a some months had passed, Yasoda Ma had a vision of a celestial child entering the lotus of her heart and a divine maiden (Yogamaya) entering her womb. The presence of the Bhagavan Sri Krishna within her womb made Yasoda Ma radiant like a thousand suns. Understanding she was pregnant, all the elderly gopis of Nanda Vraja brought gifts and auspicious items to offer Yasoda. As it often happens with pregnant mothers, Yasoda Ma had a craving to eat tulasi decorated rice mixed with camphor and lots of ghee and sugar, a favorite of Gopala. 
 
On Wednesday, Bhadra krishna-astami, as the moon rose in the Rohini star during a harsha-yoga, Krishnachandra, the ocean of surprises, appeared to relish the intense motherly love of Yasoda Ma. Baby Krishna’s tender body was more effulgent than a brilliant blue sapphire. The moon of Nandulala’s face conquered the full moon. Gopala’s eyes resembled astonishing lotuses. Krishna’s lovely hands were more splendorous than the newly unfurled leaves of a celestial desire tree. Gopala cried sweetly while slightly moving His splendid hands and feet. 
 
While gazing lovingly at her newborn, Yasoda thought, “Is He an empire of radiant darkness? Is He the topmost object of beauty for the eyes to see?” When the child cried at this time, Yasoda Ma took it to mean, “Yes, Yes Indeed I am all that and much more!”   
 
When the village ladies came to see the baby, they all became overwhelmed with motherly affection. Gathering around Yasoda’s bed, they gazed at Gopala and started chattering excitedly. One lady said, “Ah! I will caress His darling head.” A second lady said, “I want to offer my very self to His heart and reside there forever.” While looking lovingly upon the Lord of Love, each lady expressed her personal desires. 
 
Although Yasoda Ma gazed continually at her baby Gopala, she could not satiate her thirst. Streams of nectar poured from her breasts and tears of trickled from her loving eyes. 

Concluding the story of Krishna’s birth, Madhukantha said, “O Nanda Baba! Your son Gopala bestows extraordinary auspiciousness to the people of Vraja, and gives the highest bliss to the people of the universe.” 
 
Though not speaking this openly to the assembly, Madhukantha thought the following after narrating the pastime of Krishna’s appearance: “These Vrajavasis have a unique perfection, for there is nothing but Krishna in their hearts. All their heart’s affection is for Krishna alone. And Krishna will only reveal Himself to a devotee whose heart is full of love for Him. Thus Sri Krishna is always present in the hearts of these Vrajavasis.

Sri Krishna Jayanti ki jai!
Jai Jai Sri Radhe!

The Music Behind the Ecstatic Chanting (part one)

By Mahanidhi Swami

In this series of articles we will describe all the traditional musical instruments, including hands, used by Sri ChaitanyaMahaprabhu and His followers in the GaudiyaVaisnava tradition to broadcast Sri Krishna’s Holy Names in Sri HarinamaSankirtanaki jai!

Most of the information here comes from authorized Sanskrit and Bengali works expertly translated by our GodbrotherŚrīmanDaśarathaSutaDāsa.

The primary instruments used in saṅkīrtana are the khol [mṛdaṅga] and karatāls [hand cymbals]. Sometimes a horn [shingāor viṣāna] is also played. Other essential items of kīrtana are hāta-tālī [clapping the hands], nṛtya [dancing], and lunthan[rolling on the ground].

Mṛdaṅga
Clay Drum

The khol [mṛdaṅga] is only made of clay, and if a drum is made of any substance other than clay, it cannot be called a khol. Kīrtana is not completely pure [viśuddha] without being accompanied by the khol. The mrdanga speaks the syllables “dhiktān, dhiktān, dhigetān.”Paṇḍitas of ancient times have indicated that when the mṛdaṅga makes this bol it is condemning the material world by saying:

“To those people who have no devotion for the lotus feet of the son of Yaśodā; To those whose tongues are not lovingly attached to speaking of the transcendental qualities of the beloved of the cowherd girls; To those whose ears are not fond of hearing the kathā of the charming qualities of ŚrīKṛṣṇa’s divine pastimes, ‘Fie unto them! Fie unto them!! Fie unto them!!!’ Thus speaks themṛdaṅga during kīrtana.”

It is understood that during kīrtana, when this bol is heard being spoken by the mṛdaṅga, such persons [as mentioned above] are being condemned, whereas others are being auspiciously engaged in hari-nāma-saṅkīrtana.

By the use of the mṛdaṅga, this benefit is acheived.

Traditionally, in kīrtana, only the khol and karatāls are used because they are easily available.
Playing these common instruments, all classes of people, even the most destitute, can enjoy the bliss of bhāgavat-saṅgīta. When music is made with the khol and karatāls combined, a mohinīśakti [potency of enchantment] is produced that is naturally able to intoxicate the mind.

The sound of the khol creates auspiciousness exactly like the sound of the conch shell. Inauspiciousness cannot remain wherever the khol and karatāls resound.

(An excerpt form Appreciating Navadvipa Dhama by Mahanidhi Swami)

Sri HarinamaSankirtanaki jai!
NitaiGauraPremanandeki jai!

Yamaraja Dances Like A Madman

By Mahanidhi Swami

“Everyday the demigods watched Gaurāṅga’s pastimes. When Gauranga-sundara slept they returned to their celestial homes. After the deliverance of Jagāi and Mādhāi, Yamarāja asked Citrāgupta [his secretary] for a list of their sins. He said they committed millions and millons of sins beyond tabulation. But by Lord Caitanya’s causeless mercy they were all nullified.

“Hearing this report, Yamarāja became filled with ecstatic Kṛṣṇa-prema and fell unconscious on his chariot. Meanwhile, the demigods, travelling nearby, were relishing a most blissful kīrtana. Becoming aware of Yamarāja’s condition, Brahmā and Śiva sang a kīrtana in his ear. Yamarāja immediately jumped up, and started dancing like a raving madman absorbed in Kṛṣṇa-premānanda. He roared, bellowed, and the hairs on his body stood erect. Meditating on Lord Caitanya, Yamarāja cried out, ‘All glories to the paṭita-pāvana-avatāra!’

“Overcome with love for Kṛṣṇa, Yamarāja’s associates rolled on the ground in bliss. Citrāgupta loudly clapped his arms. Naked, his matted locks disheveled, Lord Śiva chanted ‘Rāma! Rāma! Rāma!’ and danced blissfully. His two sons, Kārttikeya and Gaṇeśa, danced behind him. Lord Brahmā, intoxicated by drinking Kṛṣṇa-premāmṛta, also danced along with many great sages like Kardama and Bhṛgu Muni.

“Remembering the glorious mercy of Gaurāṅga, Nārada Muni started crying, dropped his vīṇā, and danced ecstatically. Śukadeva danced and rolled in the dust while chanting, ‘Jagāi! Mādhāi!’ Overwhelmed with Kṛṣṇa-premāmṛta, Indra shed ceaseless tears from his thousand eyes, and happily rolled on the ground. Candra, Sūrya, Vāyu, Varuṇa and all the demigods, overjoyed at heart, danced with abandon. 

“Absorbed in blissful love for Kṛṣṇa, they forgot their respective positions, and started pushing each other as they danced. ĀnantaŚeṣa danced with Garuḍa and all the other demigods. With his thousand mouths Lord Ānanta sang about Gaurāṅga’s glorious deliverance of the two fallen brāhmaṇas, Jagāi and Mādhāi.” (CB) 

Sri HarinamaSankirtanaki jai!
NitaiGauraPremanandeki jai!

Vaishnav etiquettes

The Magha Month Vrata

By Mahanidhi Swami

* What is it?

Extensively described in the Puranas, the magha month vrata is a one month long penance, vow or vrata observed from pausa purnima until magha purnima to please Bhagavan Sri Kåñëa worshiped as Lord Madhava, the presiding Deity of the month of January 15 to February 15.

The vrata involves mainly taking a bath daily before sunrise in a holy river like Ganga, Yamuna, especially in a holy place like Radha-kunda, Vrndavana, Navadvipa, Jagannatha Puri, Prayaga Triveni (Allahabad)

* Is the magha month vrata for Gaudiya Vaisnavas?

Yes, definitely for Srila Rupa Gosvamipada mentions it in Bhakti-rasämåta-sindhu (1.2.260), “bathing in the Ganga or Yamuna in magha month is part of hari-bhakti, pure devotion to Sri Kåñëa.”
In Hari-bhakti-vilasa, Srila Sanatana Gosvami gives a 40 page description of this vrata, which is summarized herein with reference verses in brackets. 

* Who observed the magha month vrata?

In Chamatkara Chandrika, Srila Visvanatha Cakravarti Thakura describes a wonderful pastime of how Sri Kåñëa, on the pretext of observing a magha month vrata, secretly met Çrématé Rädhäräëé and the Vraja-gopis early in the morning in the keli-kunjas near Keshi Ghata beside the Yamuna river in Vrndavana.

At that time, Kutila devi, the crooked, inane and suspicious sister-in-law of Çré Radha, came to spy on Radha in hopes of catching Her with Syamasundara. However, Sri Kåñëa cleverly fooled Kutila by disguising Himself as Çré Radha’s alleged husband Abhimanyu, the brother of Kutila. Then after tricking Kutila, Sri Kåñëa went to Yavat, and enacted even more hilarious and satisfying conjugal pastimes with Çrématé Rädhäräëé right inside the home of Kutila and her nasty mother Jatila.

Sri Caitanya Mahaprabhu passed ten days in Prayaga bathing daily at the confluence of the Ganga and Yamuna (Triveni) during the yearly magha-mela, the magha month vrata (Cc. 2.18.222). All the pious demigods and their chaste wives like Aditi, Anasuya, Arundhati, Rohini and Saci observed the magha month vrata.

In 1971, Srila Prabhupada and 40 disciples attended the Kumbha Mela in Allahabad to honor the magha month vrata and preach pure Kåñëa consciousness. 

* What benefits does it give?

Like most of the austerities and vratas mentioned in the Puranas, the magha month vrata gives good health, beauty, good qualities, wealth and long life. Bathing outdoors in any body of water during Magha month is very pleasing to Bhagavan Sri Kåñëa, and it also destroys unlimited sins because the demigods place all their individual potencies in water (163). Magha snana in a holy place instantly destroys all sinful reactions (115), and grants residence in Vaikuntha (78, 154, 164).

* When to observe the vrata?

Start on Pausa Purnima and end on Magha Purnima. (67) * How to observe the vrata? Admittedly, most devotees do not observe this vow, but everyone should be familiar with it and then decide accordingly what is best for your devotional advancement. At least, this most beneficial magha month vrata gives one a good reason to spend a few days in a holy dhama to bathe in Radha kunda, Yamuna or Ganga. And do not think this vrata is only for neophytes, because I have personally seen one of the biggest Bengali preachers at Radha kunda observing the magha month vrata with a daily pre-sunrise bath. Like any vow or vrata, this vrata also includes many details concerning diet, prayers, pujas, personal restrictions, chanting astakams etc. but specifically in relation to this vrata, the Hari-Bhakti Vilasa stipulates, “You don’t have to follow any other vow except bathing in a holy place (88). Thus the main vrata or activity is to bathe before sunrise (90, 138) in an outside body of water, preferably Radha-kunda, Yamuna or Ganga (or a bucket of water left outside over night to collect the celestial nectar). Every step one takes to go outside for bathing pleases Yamaraja, and burns up the reactions of sins that have not yet fructified. 
a. Daily Sankalpa Mantra (affirms your determination or vow)Upon waking, recite: “O Supreme Lord Madhava! I will bathe every morning without fail during Magha masa.”
b. Before bath, chant this mantra: “O Acyuta, O Govinda, O Madhava! I am bathing in the month of Magha when the sun travels to the Makara rasi. O Govinda, Madhava kindly bestow upon me the appropriate fruit of this vow.”
c. Puja: Offer your Thakurji lots of tulasi leaves, manjaris, kitri, kheer, sesame seed preps, fried items and dry fruits.
d. Charity: Magha, Vaisakha, and Kartika are the most auspicious and beneficial months of the year to observe vratas and give charity. Hari-bhakti-vilasa says Bhagavan Sri Kåñëa becomes very pleased if one donates blankets, quilts, warm clothes, shoes, rice, ghee, oil, wood, ghee lamps and kumkuma (47). 
e. Breaking the vrata: On magha purnima, feed Vaisnava Brahmins and give them money and gifts. At the end of the Purnima tithi, break your fast if you fasted.

 Concluding prayer; “O Acyuta, O Govinda, O Madhava! Please give me the fruit of this magha vrata and grant me the eternal service of the lotus feet of Srimati Radharani in the groves of Vrndavana as Her eternal maid in attendance.” 

Jai Jai Sri Radhe

Eleven Points of Arati

by Mahanidhi Swami

The eleven points below reveal different aspects of the common daily practice of Thakuraji puja, or the worship of the Deity whom each devotee loves and serves. I collected the article from the "Acarya Folio" and am presenting it here for your benefit. Although the author was not mentioned, I sincerely thank that great soul for this wonderful illumination. May the light of these words brighten your minds, and may the light of your love forever be offered to your beloved Thakuraji.

Jai Jai Sri Radhe! 

I. Arati Ritual and the Five Elements
   The Sanskrit word arati literally means "before night." Ratri (night) when prefaced with the letter a indicates dusk. The waving of the lamp before the Deity thus implies the dispelling of the night of our material sojourn with the light of devotion through which God is revealed.
In addition to the lamp, the traditional arati includes other items, which along with the lamp correspond with the eightfold material elemental constituents. In the Bhagavad-gita, Sri Krsna mentions these elements thus:
bhumir apo 'nalo vayuh kham mano buddhir eva ca
ahankara itiyam me bhinna prakrtir astadha
"Earth, water, fire, air, ether, mind, intelligence, and material ego, these eight elements constitute my separated material energy." These material elements, five gross and three subtle, cover our soul. Corresponding with the gross material elements are the senses and sense organs: earth-smelling (nose); water-tasting (tongue); fire-seeing (eyes); air-touching (skin); and ether-hearing (ears). These five senses make up our physical dimension, while mind, intelligence, and material ego make up our psychic dimension. Under all of this we reside, like a diamond in the rough. Although our consciousness is covered by a mountain of material misconception causing us to identify ourselves with our body and mind, its potential to shine remains undiminished. Rituals such as arati are intended to remove the mountain of our misconception, as well as shed light on our positive potential in a life of transcendental love.

II. Arati Means Offering Your Self
   During the arati, first and foremost the devotee offers himself. In so doing, he removes ahankara, the material ego. He identifies no longer as the material body and mind. He identifies not with his personality derived from material association and experiences, rather with the notion that he is a servitor of the Deity. Thus in preparation for performing the arati, the devotee will often perform bhuta-suddhi, a ritual in which one adopts the ego of a servant. He may think of himself as such in a general sense or, in more advanced stages, in terms of his particular awakened siddha rupa, the perfected spiritual body in which he will participate eternally in Krsna's lila. A typical mantra chanted during the bhuta-suddhi in the Gaudiya Vaisnava lineage is one that Sri Chaitanya himself chanted.
nähaà vipro na ca nara-patir näpi vaiçyo na çüdro
nähaà varëé na ca gåha-patir no vana-stho yatir vä
kintu prodyan nikhila-paramänanda-pürëämåtäbdher
gopé-bhartuù pada-kamalayor däsa-däsänudäsaù
"I am not a brähmaëa, I am not a kñatriya, I am not a vaiçya or a çüdra. Nor am I a brahmacäré, a householder, a vänapratha or a sannyäsé. I identify Myself only as the servant of the servant of the servant of the lotus feet of Lord Çré Kåñëa, the maintainer of the gopés. He is like an ocean of nectar, and He is the cause of universal transcendental bliss. He is always existing with brilliance. " (Padyavali 74)
In this mantra, Sri Chaitanya dismisses identification with the structure of varnasrama, the Vedic socioreligious system in which souls are classified in accordance with their physio/psychological karmic makeup. Reaching beyond religion, Sri Chaitanya identifies himself as a maidservant of Krsna, the eternal husband of the gopis. If one can perform the arati with this ego, one needs not a lamp and oil, for such a perfected sadhaka's eyes darting in sidelong glances serve as the lamp, and the prema of their hearts the oil.

III. Offering Articles Represent What?
   In the traditional arati ceremony, the flower represents the earth (solidity), for all fragrance is found therein. The water and the accompanying handkerchief correspond with the water element (liquidity). The lamp represents the fire element (heat), the peacock fan the air (movement), and the yak tail camara fan the ether (space). The incense represents the purified state of mind, and one's intelligence is offered in the discrimination required with regard to timing and order. The priest offers these items with the right hand, while ringing a bell with his left hand.

IV. Role of Chanting Hare Kåñëa in Arati?
In the Gaudiya tradition, true to its emphasis on the efficacy of chanting the sacred names of God, the offering of all the arati items is preceeded by uttering the name of the Deity one is worshipping. Additionally, the Hari-bhakti-vilasa of Sanatana Goswami and Gopala Bhatta Goswami states that the blowing of the sankha, or conchshell, before and after the items are offered is essential.

V. Articles Represent Uncovering the Self
Thus during the arati, the devotee unravels himself from the entanglement of material nature by offering the Deity all of the material elements that color his consciousness. In the case of krama mukti (going step by step through all levels of consciousness, as Gopa-kumara did in Sanatana Goswami's Brhad-bhagavatamrta), the devotee will meet all of the deities presiding over the material elements and realize that they are eternally worshipping the supreme Deity. Those who perform arati can thus conceive that they are in presence of all of these deities in their purest expression of devotion to Krsna, an experience witnessed at the time of liberation.

VI. Private and Public Aspect of Arati
Arati is both an individual activity performed regularly by the temple pujari and a public activity that devotees attend with great enthusiasm. During the arati the sweet aroma of pungent incense pervades the room, lights are dimmed, and gongs, bells, drums, and cymbals reverberate. Temples are traditionally illuminated by natural lighting, such as ghee or oil lamps, adding much to the mystical atmosphere that purifies all the participants.

VII. Arati Needs Three Types of Purity
Three types of purity are necessary for arati. The articles offered must be pure, dravya-suddhi. The offering procedure must be pure, kriya-suddhi, which depends on strictly following the instructions of revealed scripture and one's guru. And finally, the consciousness of the offerer must be pure, bhava-suddhi. One's consciousness is pure by having a service attitude and absorbing oneself in meditation. As bhava-suddhi intensifies, one enters into the spiritual world of Krsna lila, and the ritual becomes one's reality.

VIII. Puja According to Seasons
Many temples, which understand their Deity seva to be nondifferent from the direct service of Radha-Krsna, modify certain aspects of the worship according to changes in season and climate. During the coldest winter months in Vrndavana, the Deities are bathed with hot water and a burner of hot coals heats the Deity rooms. Going for darsana, one sees that gloves, hats, foot-warmers, shawls, and even earmuffs are offered to most Deities. In the peak of the hot season, from Candana-yatra to Sarat Purnima, flowers and incense replace the (hot) ghee lamp at the noon arati in the Radha-ramana temple in Vrndavana. Many festivals with grand flower arrangements are held, sometimes with water fountains and fine mists of aromatic scented water cooling the Deities. Other times, during the last evening arati, musical accompaniment is played very softly just before the Lord takes rest.

IX. Raganuga Bhakti Arati
While arati is a ritual that purifies the heart, a ritual leading to higher reality, it is also a reality unto itself. Such is the nature of bhakti, for devotion is both means and end. As we have heard, even the gopis perform arati, thus there is arati for the sadhaka and arati for the siddha. The Gaudiya Vaisnava lineage advocates the raga-marga, the path of passionate love of Godhead. As the sadhaka qualifies himself for raganuga sadhana, his orientation toward the rituals of devotion changes. The path of raga requires that the sadhaka regularly contemplate the eternal lilas of Radha-Krsna, and thus in the beginning stages of raganuga bhakti, the sadhaka thinks of the arati ceremonies throughout the day in relation to the eightfold daily pastimes of Radha-Krsna. Indeed, it is from these pastimes that the arati ceremony derives.

X. Asta Kaliya Lila and Arati
The eternal daily lila of Krsna is divided into eight sections that comprise the twenty-four hours from sunrise to sunrise. It is in the sunset pastime that the arati ceremony has its origins. At sunset Krsna returns from the forest with his friends and calves. The sun sets with embarrassment, acknowledging Krsna as the light of lights, who lights both day and night, defeating the splendor of the sun. All the residents of Vrndavana have been waiting impatiently for him throughout the day. Were it not for Krsna's friend Madhumangala and his appetite, Krsna might not return home, so absorbed he is in his sportive play with his friends. As he approaches the village, Nanda Baba, his father, sees him from the rooftop of his house and signals to all of his dear son's arrival. Decorated with the dust of the pasturing grounds raised by the hooves of his calves, Krsna appears more beautiful than when he left that morning. Mother Yasoda collects him in her arms, mildly admonishing him for his tardiness. She praises Madhumangala for bringing him home, as mother Rohini brings a ghee lamp to inspect Krsna's body for scratches incurred in his sportive forest play (although in fact they may be due to his secret rendezvous with the gopis ). The lamp dissipates the night and enhances the union of Krsna and his devotees, dispelling the pangs of their separation. From this lila, just before night, arati has its eternal beginning. The lamp of his devotees' love is thus held to the Krsna sun and that love-lamp itself is thus further illumined.

XI. Asta-Kala Lila Arati Application
During the ritualistic day of the sadhaka, the day begins with mangal arati, one and a half hours before sunrise. This time corresponds with nisanta lila, the end of night and the waking of Radha and Krsna in the bowers of Vrindavana. While the beginning sadhaka views the arati as the end of the long night of his material slumber, and the dawning of his day of service to sri guru, the siddha envisions his soul's participation in the lila, assisting those waking Radha-Krsna and helping the divine couple to reach their homes before the sunrise speaks of their secret love to all. As ordinary souls dread the end of night and slumber on in ignorance, the sadhaka rises early to conquer the ignorance of sleep. Yet the ultimate soul, Radha-Krsna, dreads the sunrise in the lila of love, for it brings to a close the union of Radha and Krsna and gives rise the pangs of their daytime separation, in which their secret paramour love must remain hidden. Thus it is stated in Sri Gita:
ya nisa sarva-bhutanam tasyam jagarti samyami
yasyam jagrati bhutani sa nisa pasyato muneh
"What is night for all beings is the time of awakening for the self-controlled, and the time of awakening for all beings is night for the introspective sage." (Bg. 2.69)
It is said in the Vedas that proportionate to the removal of darkness, the light of knowledge awakens in one's heart, and to that extent kama, the heart's longing, is destroyed. Yet it appears that in Vrindavana this is just the opposite. When the darkness of night comes to an end, the light of daybreak only increases the desire of Radha and Krsna to be united again. The customs of Vraja are beyond the reach of even the Vedas ! What is day for the sadhaka is night for those not treading the spiritual path. Yet what is day for the sadhaka is at the same time night for the siddha who lives in the lila of Radha-Krsna. The sadhaka takes joy in rising early to the new day, while the siddha laments in transcendental ecstasy over the separation of Radha-Krsna that the rising of the sun mandates. This transcendental lamentation is most desireable, and awakening to this ideal is mangal arati, the most auspicious arati of all.

Nisanta-lila: Pastimes at the End of Night
The brahma-muhurta, beginning an hour and a half before sunrise is the most spiritually auspicious time of day. The first and foremost arati of the day, mangala-arati, is performed during this time period, sometimes as early as 4 a.m. Any devotional activities performed during this time are greatly enhanced in terms of their spiritual potency and acquired benefits. Thus attendees are recipients of a heightened spiritual upliftment especially manifest during the brahma-muhurta. It is the pujaris good fortune to awaken the Deities by the melodious recitation of auspicious verses while gently massaging the Deities lotus feet.
Visvanatha Cakravarti Thakura has written in his Gurvastaka, a popular song revealing the exalted position of the spiritual master, that one who meticulously sings this song daily during the brahma-muhurta achieves spiritual perfection. Mangala-arati corresponds with the awakening of Sri Sri Radha and Krsna in their forest nikunja (grove) slightly before the rising of the sun. As their loving pastimes close for the night they hurry to their respective homes. Sadhakas meditate deeply at this auspicious time of day on this important pastime and the strong feelings of separation of Radha and Krsna as they part company. Sincere devotees who are eager to increase their devotional dedication, faithfully attend mangala-arati without fail.
Prata-lila: Morning Pastimes
After returning home and being awakened by Mother Yasoda, Krsna bathes and milks the cows, sometimes meeting Radha for pastimes at the Yamuna River. Here they may enjoy an early morning light meal, like sweets (Bala bhoga ). Srimati Radhika leaves for Nandagram to cook for Krsna in Mother Yasoda's kitchen. Similarly, after mangala-arati, sadhakas bathe the Deities, dress Them and feed Them various nicely prepared sweets and other preparations. Deity seva includes many opportunities for service of the highest order. Cooking many varieties of tasty foodstuffs to offer the Deities is a most important service, for this is reserved for Krsna's best servitors, Srimati Radharani, Mother Yasoda and their most qualified associates. Cleaning is another very important service--for cleanliness is next to Godliness. In the advanced stage of devotional service, one continuously remembers these eternal daily pastimes of the Lord and His associates, while engaging in their various Deity sevas.
Purvahna-lila: Forenoon Pastimes
Returning home once again, Krsna bathes and dresses for the forest, simply and elegantly with many flowers and other natural things such as peacock feathers, valuable jewels and gunja-bead malas. He wears a vaijayanti garland composed of at least five different colored flowers, which is always long enough to touch his knees or feet. Krsna decorates other parts of his body such as his head, neck and chest extensively with flower garlands. He then appears for his morning meal cooked by Sri Radha, after which he goes to the forest of Vrndavana with his cows and cowherd boy friends. Srimati Radharani also goes to the forest on the pretense of performing surya-puja, worship of the sun, but in actuality Her sole purpose is to meet Krsna at Radha-kunda. Sadhaka's meditate on these pastimes as they dress the Deities of Radha and Krsna in a mood of preparation for a day of forest sporting and perform the morning dhupa arati. Enthusiastic devotees eagerly await the darsana of the Deities in Their nicely dressed state with multicolored silken dresses adorned with beautiful jewelry and aromatic garlands of flowers.
Madhyahna-lila: Midday Pastimes
The noon raja-bhoga offering of a full meal to the Deities is their main offering of the day and corresponds to Krsna's lunch-often a forest feast send by Mother Yasoda. This happens amidst many wonderful and enchanting amorous pastimes with Sri Radha and her charming associate gopis in the many wonderful groves of Radha-kunda. At the time of the offering of these foodstuffs to the Deities, devotees traditionally sing the Bhaja Bhakata-vatsala, Bhoga-arati song of Bhaktivinoda Thakura for the pleasure of the Deities--a heartfelt expression of Krsna's enjoyment of the innumerable tasty preparations offered.
Aparahna-lila: Afternoon Pastimes:
Awakening from a midday rest (Utthapana ), Krsna joins the Surya puja disguised as a pujari and then returns home to bathe and dress for the evening. Similarly the Deities are awakened from Their afternoon rest, offered a light snack and arati.
Sayam-lila: Dusk Pastimes
The Sandhya-arati takes place at twilight, the sandhi or joining of day and night, just after the evening offering of foodstuffs. It is the time when Krsna takes his evening meal and after milking the cows takes rest. This is perhaps the most festive arati of the day with many enthusiastic visitors in attendance. This arati is also called the Gaura-arati by Gaudiya Vaisnavas, for they absorb themselves in thoughts of the arati of Sri Chaitanya Mahaprabhu singing the Kiba Jaya jaya gauracander song, vividly describing this arati.
Pradosa-lila: Evening Pastimes
The last darsana of the evening is called aulai darsana, arising from the Hindi word meaning to call or holler "last darsana." Krsna will no longer be available publicly--retiring to his inner chambers for the night, only to leave for his nightly rendevous with Sri Radha and close associates.
Nakta-Lila: Midnight Pastimes
Lord Krsna's most confidential pastimes take place at night in the bowers of Vrndavana. Here He engages in many wonderful lilas with His beloved gopis such as rasa-lila, water sports, amorous pastimes and sleeping. Devotees, realizing the inherent sweetness of this service, are happy to dress the Deities in nightclothes and after offering a light refreshment and short arati, invite the Deities to take rest. A perfect way to end the day.

Perfection at Your Fingertips

By Mahanidhi Swami 

Each and every Holy Name of Bhagavan Sri Krishna is all powerful, all beautiful, all merciful and all beneficial. 

Tremendous blessings and benefits will come to anyone who chants, regardless of time, place, method or condition. However, the benefits and degree of mantra perfection will vary according to one’s endeavor. 

Developing the following six qualities will help the chanter quickly attain mantra-siddhi and experience all the sublime treasures (japa sampatti hetavah) of the Holy Name. 

Srila Sanatana Goswamipada explains in Hari-bhakti vilasa (17.128):
manah samharanam shaucam, maunam mantrartha chintanam
avyagratvam anirvedo, japa sampatti hetavah

1) One-pointed mind (samharanam) means withdrawing it from all sense objects, especially during japa.
2) Cleanliness (shaucam) of body, clothes, asana and mind.
3) Meditation on meaning of mantra (mantra artha chintanam).
4) Undisturbed mind (avyagratvam) Sit peacefully and chant without mental restlessness.
5) Patience (anirvedo). Even though the promised results and treasures are not manifesting, one should continue chanting without feeling despondent or disappointed (nirveda).

Sri Harinama Japa ki jai!   Hare Krishna Maha Mantra ki jai!

Sri Harinama Acharya Haridasa Thakura ki jai!

Jai Jai Sri Radhe! 

The Devotee is More Merciful than God

By Mahanidhi Swami
 
In Bhagavata-gita (18.54), Bhagavan Sri Krishna says, “After one [a bhakta] becomes liberated from the three modes of material nature, he attains para-bhakti or pure devotion, uttama-bhakti to Me (brahma bhuta prasannatma, mad-bhaktim labhate param)”.
 
It is significant here that Bhagavan uses the word labhate (achieves, attains), instead of the word kurute (do, make). Labhate means that uttama bhakti is achieved only by the mercy of Bhagavan or His bhaktas; it is not attainable by one’s own efforts.
 
This is the position of Bhagavan Sri Krishna and the Bhagavad-gita: first liberation then para-bhakti.
 
Now let’s look at the grantha-raja Srimad Bhagavatam (10.33.39). Here the devotee, Sri Sukadeva Goswami promises that simply by hearing or describing Radha-Krishna’s Rasa Dance, one will first attain uttama-bhakti, para-bhakti, pure devotion to Bhagavan Sri Krishna. And then he will quickly attain liberation from the modes of nature, and their concomitant qualities like lust, anger, greed and so on (vikriditam vraja-vadhubhir, srnuyad atha varnayed, bhaktim param bhagavati pratilabhya, kamam
hrd-rogam ashu apahinoti acirena).
 
This is the position of the bhakta Sukadeva Goswami and the Bhagavatam: first para-bhakti then liberation.
 
The conclusion is that the devotees of Krishna are more merciful than Bhagavan Sri Krishna.

Grantha-raja Srimad Bhagavatam ki jai!

Krpa-shakti murti Sukadeva Goswami ki jai!
Jai Jai Sri Radhe!

Four Ways Out

Mahanidhi Swami 
June 30, 2014

We are all trapped in Maya, mad after sense gratification, and endlessly moving on the wheel of repeated birth and death (samsara chakra). If Krishna does not save us, we are lost forever.

In four wonderful ways, our loving Lord Sri Krishna extends His causeless mercy to free us.

1) In the form of Guru, Krishna goes house to house to initiate everyone;

2) In the form of Vaisnavas, Krishna instructs everyone;

3) In the form of scriptures, Krishna speaks transcendental knowledge;

4) In the form of Supersoul, Krishna internally guides, reveals and advises (Bg. 10.10)

ParamaKrpalu Sri Krishna ki jai!
Jai Jai Sri Radhe!

Shrimati Nitya Kunj Viharine Namah

Bring the Ecstasy and Dance!

by Mahanidhi Swami

If you chant “Paramātmā! Paramātmā! Paramātmā!” nothing will come but thirst and fatigue. But if you chant “RādheRādheGovinda, GovindaRādhe! RādheRādheGovinda, GovindaRādhe!” you will soon become intoxicated with ambrosial nectar, and completely forget your bodily identity.

Śrīla Prabhupāda confirms this point, “This chanting of Hare Kṛṣṇa. You chant whole day and night, and dance, you'll never get tired. But take another name. Just after half an hour, finished. It is botheration.” (SPT 69/2/17)

“As far as possible, people should be encouraged to chant Hare Kṛṣṇamahā-mantra, and try to bring the ecstasy and dance. Even there is no ecstasy, dance, it will bring ecstasy. Dancing is so nice. Chanting, dancing and take prasāda. Take rest. That's all. Not that you shall take rest like Kumbhakarna.” (SPT 73/16/7)

“In the Padyāvalī, there is a statement by some devotees: ‘We shall not care for any outsiders. If they should deride us, we shall still not care for them. We shall simply enjoy the transcendental mellow of chanting Hare Kṛṣṇa, and thus we shall roll on the ground and dance ecstatically. In this way we shall eternally enjoy transcendental bliss.’ ” (NOD)

“All these people [devotees of Lord Caitanya] become like madmen. They simply dance and chant the Holy Name of Kṛṣṇa. Sometimes they even cry and roll on the ground.” (Cc. Madhya 16.166)
(An excerpt from Appreciating Navadvipa Dhama by Mahanidhi Swami)

Sri Harinama Sankirtana ki jai!
Nitai Gaura Premanande ki jai!

Why Vrajavasis Did Not Go to Mathura?

by Mahanidhi Swami

Devotees often ask, “If the Vrajavasis loved Krishna so much, then why didn’t they go to Mathura to meet their dearest after Akrura whisked Krishna away from their hearts one dismal day in February? After all, Mathura is only eight kilometers from Vrndavana.”
For the following five reasons, the Vrajavasis did not go to Mathura:

1) Sweet Intimate Pastimes:
Mathura and Dvaraka are filled with opulence and grandeur (aishwarya), formality and social etiquette which generate an atmosphere of awe and reverence that creates a bridge between loving hearts. Vaikuntha is God’s office and Vrndavana is God’s playground. Only here in Vrndavana, and nowhere else, can Krishna experience the sweet and natural, free-flowing, uninhibited love of the Vrajavasis. In Vrndavana, Krishna carries Nanda’s slippers on head; Yasoda bathes Krishna in cow urine and dung; Govinda carries the winning gopas upon His shoulders; Madhava massages Radha’s feet and bathes them with His tears to mollify Her maan; and Krishna sometimes dons a female disguise to meet Radha in Her in-laws home. In nowhere else but Vraja Dhama can such inconceivably close and warm loving exchanges take place. Thus the Vrajavasis could not leave Vrndavana, and visit Krishna in Mathura.

2) Faith in Krishna’s Promise:
Because of their innocence and simple love, the Vrajavasis had full faith in Krishna’s promise that He would return soon. Thus they patiently awaited Krishna’s arrival.”

3) Memories
Although the Vrajavasis were all burning in separation from Krishna, they sustained their lives by remembering Krishna’s lilas in the fields, forests and towns of Vraja. Memories connect separated hearts.

4) News Reports
The regular visits of Narada Muni and Uddhava to Vraja, bringing the latest news of Krishna’s activities in Mathura, gave immense pleasure. Thus the Vrajavasis remained in Vrndavana, because for them, Vrndavana was Krishna and Krishna was Vrndavana.

5) Prevent Suffering for Krishna
The Vrajavasis felt so distressed without Krishna that they wanted to give up their bodies. But they didn’t, because they thought it would cause too much pain to Krishna when He finds out. So they dragged on somehow maintaining their lives.
Our goal is Vrndavana and Vraja Prema; to lovingly serve Radha and Krishna like the Vrajavasis do in Vrndavana. I have revealed here just one drop from the unlimited ocean of attachment for Krishna that the Vrajavasis swim in. By hearing this, we can get a little understanding of the degree and depth of their absolutely selfless, totally self-sacrificing pure divine love for Krishna.    

Krishna Falls in Love with Radha

By Mahanidhi Swami 

A previous article called “Radha Falls in Love” described how Shyama caught a glimpse of Radha one day from Her palace window. What happened to Krishna after that blessed moment He received the beautiful darshana of Rai Kishori? 

“Krishna became so overcome with loving attraction to Radha that His hands and feet refused to move and He just stood motionless, stunned on the footpath. At that time a comforting sakha said, ‘O friend! You just had a vision of Sri Radha high upon a jeweled palace. With Her splendid golden complexion clad in garments of cloud-dark hue, Radhika appears like the play of lightning bolts within a raincloud. None of the young girls in Vraja can equal Rai in superb elegance. I think Providence has produced this perfect girl, who is an ocean of beauty and virtues, just for Your happiness. May that Rai Kishori occupy Your heart throughout the day and night.’” (Shashi Shekara, padakarta) 

The next wonderful pastime, unveiling more of Sri Krishna’s purva raga, clearly shows why Radha is called Madana Mohini, the only one who can attract the attractor of all embodied beings, Kamadeva Shyama. One day while walking along the banks of the Yamuna with His bosom friend Subala, Gokulendu beheld a most astonishingly captivating sight. 

Overwhelmed with bliss, Krishna described it to Subala, “O My dear friend! Please tell Me clearly who was that blessed girl we just saw by the bathing ghata? Being of tender age and fresh youthfulness (navina-kishori), She had a brilliant golden complexion. She was sitting partially immersed in the water with one leg crossed over another while cleansing Her body. While coming out of the river after Her bath, the tresses of Her dark hair fell upon the curve of Her golden hips. She was using Her sari as a ground-cover to sit upon, and Her braid was untied and disheveled. 

“A golden necklace was swaying near the base of Her upraised breasts, which defeated the peaks of mount Sumeru in shapeliness. How dazzling were Her two conchshell bangles, looking like two slender phases of the moon that are as sweet as nectar and make Me forget everything.

“She was wending Her way while wringing out Her wet blue sari, and along it My very life! Since that darshana, Subala, My heart has been very restless, overcome with the feverish passion of love.”

Out of compassion for his dear friend, Subala reveals the identity of that amazing girl, saying, “O Nagara Chanda, sweetest moon of lovers, that girl is the daughter of the prince Vrishabhanu, and Her name is Vinodini Radha.” (Chandidasa)

Jai Jai Sri Radhe !!!

Hari’s Radha Japa

by Mahanidhi Swami

Hari sits alone in a kunja mandira by the Yamuna’s shore. Like the king of yogis, Yogindra Krishna meditates on the radiance of Radha’s lotus feet.

His eyes full of loving tears, Shyama always and repeatedly mutters the two enchanting syllables RA DHA. May these two supremely astonishing, blissful and rasa-filled syllables RA DHA always manifest in my heart.” (Radha-rasa-sudha-nidhi 96)

A Verse Meditation:
Look at a beautiful painting of Sri Radha; 
Read the verse above with full concentration;
Pray to Radhika for the memory power or shakti to remember it; 
Close your eyes; 
Chant japa while immersing your mind and heart in this divine illumination.  

Jai Jai Sri Radhe! 

Sweet Radha Kunda

By Mahanidhi Swami

Can ISKCON devotees live in Radha Kunda?

The answer is yes!

Daivi-shakti Devi Dasi, a disciple of Srila Prabhupada serving in Krsna Balarama Mandir, Vrndavana personally told me (Mahanidhi Swami) in1995 the following anecdote about her meeting with Srila Prabhupada:
Daivi-shakti d.d.: Srila Prabhupada, most of the major temples in Vrndavana like Madanamohana, Govindaji etc have smaller representative temples in Radha Kunda. Can we have a small Krsna Balarama Mandir in Radha Kunda?
Srila Prabhupada: Yes, we can do that. Land is very cheap there. But what will you do there living in Radha Kunda?
Daivi-Shakti d.d.: We will preach and sell your books there, in Radha Kunda, Srila Prabhupada.
Srila Prabhupada: No, not there. Radha Kunda is for relishing, not for preaching.
From this anecdote, one can realize that Srila Prabhupada is allowing his disciples to live in Radha Kunda for the purpose of relishing the beauty and sweetness of Krsna counsciousness. From these encouraging words of our spiritual master, devotees can feel confident  that living in Radha Kunda is perfectly sanctioned  by Srila Prabhupada.

Jai Jai Sri Radhe !!!

Devine Pastimes of Krishna and friends

HOLI PASTIMES OF GAURANGA

By Mahanidhi Swami

From the first day of spring, Vasanta Pancami (Visnupriya's appearance day) until Gaura Purnima, Lord Gauranga plays Holi for 40 days continuously. On each day of these 40 days, Sri Gaurasundara performs Holi lila in the homes of His various confidential devotees.

First Holi is in Advaitacarya's house on Vasanta Pancami. Then on Trayodasi, He plays Holi in Nityananda's house. In this month on Sukla Sasthi (March 6) , Gauranga plays Holi in Gauridasa Pandita's house.

Then on astami, in Uddharana Datta's house. On Purnima, Mahaprabhu plays Holi in own home.Holi Pastimes of GaurangaOn the bank of the Ganga, Sri Gauranga divided His intimate devotees into two groups: One team with Gauranga, and one team with Gadadhara Pandita. In Gadadhara’s team, there were Svarupa Damodara, Mukunda, Vasu Ghosa and many others. Gauranga's side was led by Gauridasa Pandita. As previously in Krsna-lila, all the sakhis and manjaris sided with Radha and all the sakhas teamed up together with Krsna to attack the sakhis.

And now in Nadiya, the same devotees sided with either Gaura or Gadadhara respectively. Picking up pichkaris (syringes), Gauranga's team squirted Sri Gadadhara and his team. Then in retaliation, Svarupa Damodara and others began to hurl coloured powders bombarding Gauranga and His party from all sides. As the fun pastimes of Holi progressed, Gauridasa started clapping his hands and shouting excitingly, "Gauranga has won, Gauranga has won!" Then Svarupa Damodara angrily replied, “No, Gauranga has lost. The winner is my Gadadhara!" At this instant, some devotees slapped their chests and others sang and danced raising their hands into the sky, “Haribol! Haribol! Gaura Haribol!” (Mohandasa, disciple of Srinivasa Acarya)

Yashoda Nandan ki Jai

Vrinda Devi ki jai

Brief description of Radhika's Birth (Garg Samhita)

Placing the glorious transcendental form in the womb of King Vrishbhanu’s wife, Sri Radhika descended in a great place, in a garden by the shore of Yamuna, in the month of Bhadra. The sky was covered with clouds to celebrate Radha’s descent. The demigods gathered flowers that had blossomed in the Nandana gardens. Because of Radha’s descent, the rivers became very pure and clear, the directions became auspicious and happy and graceful, cooling breeze carried the pollen of flowers. Gazing at her daughter as beautiful as hundreds of moons, the gopi Kirti became happy. To bring auspiciousness Kirti gave 200 thousand cows in charity to please the brahmanas.  Then being placed on a jeweled swing, Radha who was decorated with sandalwood paste shone brightly. Thus Radha the heroine of Rasa lila, the jewel in the necklace of Krishna appeared in the house of King Vrishbhanu

Bhootnatha—A Ghost Story

By  Mahanidhi Swami


Every day when Govinda takes the cows out to pasture, all the Vrajavasis eagerly come out to marvel at Krishna’s incomparable beauty. Especially all the newlyweds stand in their doorways, on the rooftops or peer through the lattice windows to catch a glimpse of Shyama. And with love-thirsty eyes Manohara is also always searching for new hearts to steal. One particular newlywed gopi girl was very restless, hankering to have darshana of Krishna whom she had heard so much about. Her mother-in-law forbid her from going, however, and warned her that if she goes she would be bitten by a black snake whose poison  is impossible to remove. The mother-in-law and her daughter then went to see Krishna and she was left behind. Opening the front door a crack, that new gopi peeked out and saw Krishna in the distance playing His flute and filling the entire area with showers of pure nectar.
Sri Krishna knows the pure hankering of every devotees’  heart, so when the time is right He mercifully grants His sweet darshana. In order to see that newlywed gopi, Krishna played a trick by twisting the tail of a calf. Somehow or other …that calf ran straight  to her door. Following the calf, Shyama appeared directly before that new gopi, gave His beautiful darshana, stole her heart in an instant and slipped away.
Dumbstruck, the newlywed just stood there motionlessly for fifteen minutes or so. Upon returning and observing her condition, her envious sister-in-law said, “Just see, I warned you. That black snake Syamasundara has bitten you!” Shaking the girl out of her trance, she managed to bring her inside the house. To bring her back to consciousness, the sister-in-law engaged her in preparing butter. But she got the pots mixed up and started “churning” mustard seeds instead of yogurt. Seeing this, the sister-in-law shouted, “Hey! What are you doing you paagal? I’m going to tell my mother about you!”
 The mother in-law came and told her to take a water pot and fill it at the well, and also take her other son’s child with her. Arriving at the well, she tied the rope for lowering the water pot into the well around the neck of the child instead. Just as she was about to drop the kid down the well, someone shouted, “Wait, stop! What are you doing?” Running over there, he took the rope from her hands and saved the child. At that time, one gopi said, “It appears she’s possessed!” Another gopi who knew everything, said, “But it’s not just any ordinary ghost, it is the ghost of Nandanandana!”

Jai Jai Sri Radhe