Sadhakas Must Study Sandarbhas

Mahanidhi Madan Gopal Das

#SriJivaGoswami #SuccessInBhakti #BestGaudiyaBooks #UnderstandRadhaAndKrishna #BhagavanSriKrishna #GaudiyaVedanta #BhaktiVedanta #SriJivaGoswami #Radharani

By quoting mostly Srimad Bhagavatam, Sri Jiva Goswamipada wrote six essential books known as the Sandarbhas, which everyone must study and know to attain success in bhakti sadhana.

As philosophical treatises, the Sandarbhas prove the unique position of Bhagavan Sri Krishna and the eternal basis of Krishna consciousness; the eternal relationship between Bhagavan and the jivatma; exact details on how to practice bhakti bhajana to attain bhava; a complete explanation of Krishna prema; how to attain it; and the experience of the premi bhakta at the final sadhaka stage of spiritual perfection—priti.

Sri Jiva Goswamipada is blessed with incredible intelligence and the association of the wisest preceptors of Vaisnava siddhanta. By humbly serving Sri Rupa and Sanatana Goswamis, Sri Jiva realized the essence of Radha-Krishna’s Vraja madhurya-rasa.

Summary of the Sandarbhas

1. Tattva Sandarbha

Describes ways to attain knowledge i.e. direct perception (pratyaksha), inference (anumana). But of all forms of gaining knowledge,  the best way is to aurally receive transcendental sound manifesting from a divine liberated source (shabdha brahman). This knowledge is supreme, infallible and universally applicable at all times. Such wisdom includes the Vedas, Upanisads, Itihasa and the Puranas—crystalized in the topmost, sweet perfection as the Bhagavat Purana or Srimad Bhagavatam.

2. Bhagavata Sandarbha

This book describes the Bhagavat or Para-brahma, His three main saktis—antaranga (includes samvit, sandhini and hladini saktis); bahiranga “material energy”; and the jiva or tatastha sakti. The essence of hladini is the divinely sweet form of Srimati Radharani, the eternal, counter whole, and divine consort of Bhagavan Sri Krishna. Bhagavan has innumerable forms and manifests in infinite ways to His devotees according to their bhajana perfection. But for yogis and jnanis, Bhagavan simply manifests as either Brahman or Paramatma.

3. Paramatma-Sandarbha

This book deals with the concept of Paramatma, the three forms of Sri Vishnu, the jivas, living entities, and   manifestation of the material world “creation”.

4. Sri Krishna Sandarbha

This book proves that Krishna is Bhagavan Himself and not an incarnation of Bhagavan who are but His partial manifestations. The details of the transcendental holy dhama, eternal associates and divine lilas are all described.

5. Bhakti-Sandarbha

This book describes different kinds and levels of bhakti and how to perform proper, pure and offense less bhakti bhajana to attain Krishna prema.

6. Priti-Sandarbha

This book establishes that love divine, priti or Krishna prema-bhakti is the highest goal of self-realization and not moksha which most believe.

In summary, the Veda says, yasmin vijnate sarvam evam vijnatam bhavati, “If one knows the Absolute Truth, then one knows everything!” (Mundaka Up. 1.3) Thus by studying the Sandarbhas, one will clearly and convincingly understand the basis, principles, practice and goal of Krishna consciousness and bhakti bhajana. These most uplifting and inspirational teachings are the direct mercy of Mahaprabhu, the Six Goswamis, and especially Sri Jiva Goswamipada.

So don’t miss this ocean of mercy! Dive in and dive deeply to become drenched in bliss and radiant with wisdom. Attentively study, then hear audio or live classes by enlightened ones. And if possible, the absolute best way to learn transcendence is to hear directly from a Guru in whom your heart and mind are faithfully sheltered.

Sat Sandarbhas ki jai! Jai Jai Sri Radhe!

Same Guru Every Life?

Mahanidhi Madan Gopal Das

#Guru #Bhakti #GuruDiscipleRelationship #RadhaKrishna #WhatIsDiksha #Mantra

Have you ever asked the question, “Will I really get the same Guru in every life? Does this principle only apply to “siddha gurus” and not “regular gurus?”

The answer lies with Sri Narottama Dasa Thakura who says, janme janme prabhu sei: “O Gurudeva! YOU are my Guru life after life!” in his famous “Sri Guru carana padma prayers. According to the Vaisnava conception, the word “sei” means the same one, or “that same Guru” who in this life gave me diksha mantras and transcendental Krishna bhakti knowledge.

It does not matter whether the Guru is a so-called “siddha”, “regular” or whatever Guru—diksha Guru is diksha guru—eternally, bas!

In summary, “sei” means that my diksha Guru today will also be my diksha Guru in every future life and after liberation too. This is the actual meaning of Sri Narottama Dasa Thakura’s realized words, janme janme prabhu sei. This is also confirmed by the fact that me and many other Vaisnavas have experienced an undeniable sense of recognition and acceptance immediately upon meeting a particular Guru for the “first time”.

This transcendental phenomena of birth after birth recognition of one’s eternal Guru is arranged by Sri Krishna within the heart who sends the disciple to exactly the same Guru from the previous life. Diksha establishes AN ETERNAL LINK WITH Guru.

And for the true and sincere disciple, Sri Krishna maintains that sweet loving, beautiful  and compassionate relationship forever! Jai Gurudeva!

ACHARYA VANI PRAMAN:

Srila Prabhupada tika:

[Sri Narottama Dasa Thakura’s verse means] “The [diksha] guru should be considered the disciple’s master, life after life. (SB 6.7.21) So where there is separation [from your diksha Guru], he is birth after birth your prabhu. (folio: 750721MW.SF) One [the diksha Guru] who has opened the eyes, he WILL REMAIN MY MASTER LIFE AFTER LIFE.” (folio: 760805BG.NMR)

Sri Ananta Das Babaji Maharaja tika:

“Therefore, Sri Narottama Dasa Thakura says that Sri Guru, the giver of love of Krishna and knowledge of Krishna, is my master birth after birth, and I am his servant birth after birth. This clearly indicates the PERMANENT NATURE of the relationship between Sri Guru and the disciple. The wandering jiva is born into various wombs and establishes connections with a different mothers and fathers, friends and relatives.

“But the guru-shishya relationship is much different. At a suitable time after many births, the VERY SAME GURU WILL REAPPEAR before the disciple and cause him or her to drink the sweet rasa of bhajana; attain the gift of prema and enter the kingdom of Radha-Krishna lila for the direct seva of one’s beloved Sri Sri Radha-Madhava. Ah! Just see the mercy of Sri Guru! Nothing compares with this!” (tika: Prema Bhakti Chadrika 5 Sri Guru shishya nitya seva sambandha ki jai! Jaya Jaya Sri Radhe! Jai Gurudeva!

Bhagavata Amrtam by Sri Jiva Goswamipada

Mahanidhi Madan Gopal Das

#VenuGita #JivaGoswamiComments #SrimadBhagavatam #VrajaGopis #Gopis #TenthCantoCommentaries #KrishnaLila #VrajaLila #RadhaKrishna

Herein we present a continuous sweet selection of tikas from the great rasika-acarya, Sri Jiva Goswamipada’s Krishna prema-filled comments on the Venu-gita (SB 10.21). By reading and studying these comments along with the verses of Venu-gita, you will attain a happy feeling in your heart, and renewed enthusiasm to love and serve Radha and Krishna more and more. Jai Jai Sri Radhe!

Srimad Bhagavatam 10.21.7

Trans: The sakhis say, “O sakhis! Is there any other purpose for the eyes than seeing the beautiful youthful face of Krishna as He and Douji pasture the cows from forest to forest in Vrndavana?”

Tika: I, Sri Jiva, surrender to the gopis by whose mercy one can understand their words, and by whom the fathomlessly deep heart of Sri Krishna heart is conquered, gopih-prapadye-ta-yabhih,-sa-gambhirasayo-jitah.

To hide their complete attachment to Krishna, the gopis here externally glorify both Krishna and Balarama. IN essence the  gopis are saying, ‘All senses attain success if they can taste the sweet nectar of Syama’s lotus face.’

Srimad Bhagavatam 10.21.8

Trans: Krishna and Balarama look so attractively gorgeous (vicitra vesa) with Their colorful flower malas; water lilies hanging over Their ears; Their wavy locks entwined with peacock feathers, mango buds and clusters of flowers; and twirling pastime lotus flowers in Their hands. Shining magnificently among the gopas, Govinda and Douji look like a pair of professional dancers on a dramatic stage.

Tika: In this verse and others, the gopistry hard to conceal their intense loving attachment for Sri Krishna. Here the gopis are saying, “These two feel great happiness singing and dancing amidst Their cowherd friends. Sometimes Kanai Balai sing or listen to the gopas glorify Them with special songs. The gopas sometimes challenge, “Of you two, whoever sings best should sing for us.” Then to create a particular sweetness in their play, Krishna Balarama both proudly sing different songs.

Though not spoken, the gopis emotions are saying, “O these gopas are so fortunate! But we arenot since we cannot freely associate with Krishna due to fear public opinion!”

Srimad Bhagavatam 10.21.9

Trans: My dear gopis! What good deeds did Krishna’s flute perform to now independently enjoy the nectar of Damodara’s lips while leaving only a drop for us gopis who deserve that nectar!

Tika: In the madness of mahabhava, the gopis here express their desire mixed with envy, while falsely imagining that the flute has performed many pious deeds even though it’s just a piece of dry bamboo. ‘We will also do such pious acts to get the taste of Krishna’s lips.’

By calling Krishna “Damodara”, the gopis suggest that they have had a special  natural loving relationshipwith Him since Krishna’s balya-lila [age 1-5], wherein the sprouts appeared of their present blossoming emotions. In the daze of love, Damodara’s darlings disclose, “We see that even after enjoying Damodara’s lips for so long, His lips are still juicy and not dry, so the flute has not really enjoyed Krishna’s lips at all!”

Srimad Bhagavatam 10.21.10

Trans: O sakhi, Vrndavana has made the earth glorious because she possesses the treasure of Devakinandana’s lotus feet. Upon hearing Govinda’s vamsi, the peacocks madly dance, and all the creatures become stunned while standing on the hilltops to watch the dance.

Tika: Losing their interest in glorifying Krishna’s flute, the gopis focus on the glorious land of Vrndavana as being far superior to Vaikuntha for all the above reasons. In Vaikuntha, Krishna/Vishnu wears golden slippers and leaves no footprints for anyone to see or relish.

The gopis think, ‘Ah! The peacocks are dancing with Krishna to the thrill of all. But we, the most unfortunate, cannot see this. It should be understood that in all these verses, the gopis are actually expressing their dissatisfaction, an inherent quality of Krishna prema.

Venu-gita ki jai! Sri Jiva Goswamipada ki jai! Radha-Govinda Yugala ki jai!

Jai Jai Sri Radhe!

BhagavataAmrtam by Sri JivaGoswamipada

Mahanidhi Madan Gopal Das

#VenuGita #JivaGoswamiComments #SrimadBhagavatam#VrajaGopis #Gopis#TenthCantoCommentaries

Herein we present a sweet selection of rasika-acharya, Sri JivaGoswamipada’s Krishna prema-filled comments on the Venu-gita (SB 10.21). By reading and studying these comments along with the verses of Venu-gita, you will attain a happy feeling in your heart, and renewed enthusiasm to love and serve Radha and Krishna more and more.

10.21.3 When the Vraja-gopis hear Shyama’s flute song, which incites Cupid’s influence, some gopis privately describe Kåñëa’s qualities to their intimate friends.

SJG: Seeing the autumnal beauty, Sri Krishna gets excited and practices flute playing to attract the gopis. Thus they become aroused (verse word smaraudaya), and start glorifying Krishna in this chapter. Although now Krishna is in pauganda period (5-10 years), His flute playing arouses amorous desires in the gopis because it magically manifests the kaisora age (10-15).

Not only ladies but all living entities in Vraja become immensely attracted (verse word sarva-bhuta-manoharam) to Krishna’s venu-nad. For Yashoda, it arouses vatsalya, motherly affection, and not smara or amorous intimacies. But for Radha it is smara, and thus Sriji herein reveals Her mental anguish to Her confidantes like Lalita-sakhi.

10.21.4 While speaking about Krishna, the damsels of Vrajabhumi remember His lilas. The power of Cupid, however, arises to agitate their minds and then they stop speaking.

SJG: This verse describes the sequence of rising love. Although they try, because of love’s impulses (verse word smaravegena), the gopis become mum. They simply thinkabout that “heart stealer”, Muralimanohara, again and again.

10.21.5 Featuring a peacock-feather ornament upon his head, yellow karnikara flowers on his ears, a brilliant golden yellow garment, and a Vaijayanti garland, Sri Krishna looks like the best of dancers as He prances into Vrndaranya, beautifying it with the unique marks of his footprints. As Krishna fills the flute with the nectar of his lips, the gopas sing his glories.

SJG: Among all the sakhas, Govinda is most attractive, and even more so because now Krishna is dressed as a dancer (verse word natavesa). Filling the flute with the nectar of his lips means Krishna’s flute song is as attractive as Krishna’s adharaamrta.  The verse word vrndaranya means that sakhiVrnda-devi has already cleaned and specially decorated the forest to stimulate Krishna’s lilas. The presence of Krishna’s extraordinary 19 footprints in the forest of Vrndavana gives bliss (verse word ramanam), to everyone especially Vrnda-devi. And the charming, soft dust, fragrant flowers, leaves etc. give delight (ramanam) to Radha-ramana’s lotus feet.

The verse describes Krishna’s natural adornments of feathers, leaves and Vraja flowers, and not His usual gold and pearl necklaces etc. Why? Because upon entering Vrndaranya, Krishna sets these aside in preference to decking Himself out with Vraja’s natural opulences of leaves, flowers, feathers, mineral pigments and gunja berries. Krishna is also sporting only forest decorations as appropriate for the first day of His Autumnal pastimes.

10.21.6 When the young Vraja-gopis hear Krishna’s venu, which steals the minds of all living beings, they embrace each other and describe it.

SJG: All the gopis (verse word vraja-striyasarva) indicates all degrees of attachment to Krishna i.e. deep, medium and light. Somegopis mentally embrace (verse word abhirebhire) Krishna who is seizing their hearts. Or due to arising love, other gopis mistake their sakhis to be Krishna and embrace them. And some sakhis embrace each other because their natural love is awakened.

Venu-gita ki jai! Sri Jiva Goswamipada ki jai!

Radha-Govinda Yugala ki jai! Jai Jai Sri Radhe!

Sleep in Bhakti Yoga

Mahanidhi Madan Gopal Das

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Srila Prabhupada spoke both negatively and positively about sleeping. Mostly he discouraged it by saying: “Sleeping is death—a waste of time—a great loss—maya—forgetfulness of Krishna.” We fully agree!

In Sri Gita (6.16), Bhagavan Sri Krishna advocates moderation: “A yogi does not eat or sleep too much or too little, na-ati-ashnatah, na-ati svapna.” So for Krishna bhakti yogis, eating and sleeping are also acts of devotion.

Although Srila Prabhupada often said we should give up all sleeping like the six Goswamis, he was also a realist who gave practical, sound advice to his followers. When speaking conservatively about sleeping, Srila Prabhupada said:

“Your [his disciples] eating and sleeping are also God consciousness. One should think, ‘I have to keep this body fit for working for Krishna’. Sleep is also necessary to keep the intelligence in working order. If there is no sleep, the brain cannot work nicely.

“So regular, six or seven hours a day is sufficient. However, sleeping should be kept to a minimum. We want to be wide awake and conscious of Krishna all the time.” (quotes from BBT FOLIO)

In pursuit of the practical, we humbly present our personal sleeping tips so that everyone will be healthy and enthusiastic in their Krishna bhakti bhajana.

I. BEFORE SLEEPING

1. Two hours before sleeping time—keep the home lighting dim, not bright lights everywhere. This promotes the brain’s melatonin production which helps one to sleep quickly and soundly. Bright lighting taxes the eyes and brain making it hard to fall asleep quickly. It can also make you toss and turn restlessly until the brain slows down.

2. Bathe & Dress in fresh clothes.

3. Eat a light meal AT LEAST two hours before sleep.

4. Fresh air walk 20 minutes.

5. While sleeping, point your head EAST (promotes wisdom) or SOUTH (promotes health and disease recovery). This is VERY IMPORTANT and it may necessitate moving your bed.

6. Hear/read some Radha-Krishna sweet lila-katha before sleeping.

7. Bed prayer before sleeping: “O Gurudeva and Giridhari-Syama! Please forgive me for all my wrongs. If I leave my body tonight, then please I beg You to help me remember You fully at my last.”

II. WAKING TIME

1. Don’t use alarm clock, bright lights, music, etc.!

Determine your sleep requirement, and rest early enough so your internal bio clock will automatically wake you at the right time. It’s actually being done by the all-merciful Paramatma Sri Krishna! Jai Sri Krishna! Gudakesa Arjuna ki jai!

2. Before moving or opening your eyes remember Sri Krishna, Sri Guru and pray:

“O Krishna! You are so loving and kind. You have given me another day to serve and love You. Throughout this day, may I please you with my every thought, word and movement.”

3. Keeping eyes closed; rub palms together briskly and continually while slowly inhaling and exhaling three times; now rest palms over closed eyes; take two very deep breaths. Now stretch your arms, extend your feet, and hold both knees against your chest.

4.. Open eyes, roll over on your RIGHT SIDE, slowly get up, and stand next to the bed without moving. Inhale deeply while stretching arms above head, and then slowly exhale while lowering arms.

Waking up slowly like this enables the body to adjust between rest and movement. It gives your system a chance to turn on and activate your vital human organs. To just open your eyes, jump out of bed, and run to the bathroom (emergencies excluded) is very bad for health. And for the elderly this can cause heart failure and “Hari Bol”!  

We close with a blessing: “May you all have Radha Syama sweet dreams, svapna vilasa,  as you remember the following transcendental nectar drops.

The Skanda Purana (Purusottama-ksetra Mahatmya) glorifies the astonishingly amazing power of ordinary acts done in Jagannatha Puri Dhama: “For those staying in Jagannatha Puri sleeping is equal to samadhi!”

As for our sweeter than sweet Thakuraji Syamasundaraji, Sri Vallabhacarya Ji says, “Syama’s singing is sweet, Syama’s drinking is sweet, Syama’s eating is sweet, Syama’s   sleeping is sweet, Syama’s beauty is sweet, and Syama’s tilaka is sweet. Everything is sweet about the original King of the sweet.

gītaṁ- madhuraṁ –pītaṁ- madhuraṁ

bhuktaṁ -madhuraṁ –suptam- madhuraṁ

rūpaṁ –madhuraṁ-tilakaṁ -madhuraṁ

madhurādhi-pater- akhilaṁ- madhuraṁ  (Madhurastakam 4)

Happy, healthy Krishna bhakti yogis ki jai! Jai Jai Sri Radhe!

Prabhupada’s Books & Me

Mahanidhi Madan Gopal Das

#Prabhupada’sBooks #KrishnaConsciousness #Bhakti #RadhaKrishna #Krishna

I took birth in an exciting life of Krishna consciousness 43 years ago from the mother of Srila Prabhupada’s wonderful transcendental books: Krsna Book, Nectar of Devotion and Bhagavad-gita As It Is.

For one year, I did not see or even know who my father was. Mama told me, “Your father is very busy traveling around the world expanding our family business of writing and distributing spiritual books. You will see him after some time.”

That didn’t matter so much anyway, because I myself was too busy being loved, fed and fattened by my Mama. In that tender first year of my life, mother showered me with so much compassion, patience and care.

I just can’t believe how she so slowly and personally taught me how to correctly think and desire, feel, love and act, not only for my own benefit, but interestingly enough for the benefit of everyone around me too. Believe it or not, after one year of being Mama’s wild, wining babe, I soon became a “fairly” good Krishna conscious kid.  

Then Papa finally came home. “How radiant, down-to-earth, warm and compassionate,” I thought as I gazed upon his beautiful, golden transcendental form with my clear and innocent baby eyes.

Father picked me up, and held me tightly in his arms with the kind of embrace that says, “I will always be here to help you, protect you and guide you throughout your life. Don’t worry and don’t be afraid of anything!”

My little baby heart whimpered a reply, “Yes, father! I fully believe you. I will take shelter in your words, and always follow the transcendental teachings received from mother.”

Since we are often asked, “What do you think about Srila Prabhupada and his books?” This short story is my reply, along with the obvious fact that whatever I am and have attained, wherever I am, and wherever I am going it is…

ALL BECAUSE OF SRILA PRABHUPADA AND HIS WONDERFUL TRANSCENDENTAL BOOKS!”

Srila Prabhupada’s transcendental book distribution ki jai! Jaya Jaya Sri Radhe!

Sri Visakha Devi’s Amazing Solo Dance

Mahanidhi Madan Gopal Das

#RasaLila #GopisInRasa #VisakhaSakhi #DancingInRasaLila

When portraying Sri Krishna’s divine Rasa Lila in his Ananda Vrndavana Campu (chapter 20), Srila Karnapura Kavi says, “Because it is impossible to describe the fantastic dancing of the individual gopis, the dancing of one favorite gopi of Radha’s group [Her asta-sakhis] will now be described, from which everything can be understood.”

Karnapura Kavi then highlights the most amazing Rasa Lila solo dance performance of one confidential sakhi of Srimati Radhika. Because the esteemed author does not name that gopi, that special sakhi could be Lalita, Visakha, Citra or perhaps Rangadevi. Every reader and commentator on the Rasa Lila will see Krishna’s divine love dance according to his/her own angle of vision [drsti-kon], heart’s devotion and spiritual realization.

Being in the Gaudiya Vaisnava spiritual lineage of Sri Advaita Prabhu, we choose to see and will now present that this “special gopi” is none other than Sri Visakha sakhi, our personal sakhi leader, yutesvari. Thus we present Sri Karnapura Kavi’s most beautiful portrayal of the amazing solo dance of Srimati Visakha-sakhi.

VISAKHA SAKHI’S AMAZING SOLO DANCE

“As the voices and instrumental music blend in a pleasant way, Visakha-sakhi, the embodied essence of the art of dancing, stands up amidst the singers to appear like the corolla center of a flower surrounded by golden petals. When the beat drops off, Visakha-sakhi appears like a devata making a sudden appearance amidst the clanging of musical instruments.

Visakha-sakhi’s waist is very thin waist and her breasts are heavy and swollen. While bending her delicate left and right hands to display the ardhendu (half-moon) and padmakosa (lotus bud) mudras, Visakha-sakhi glances slowly from right to left. Perspiring profusely, her body seems to be as soft as molten wax as Visakha-sakhi moves gracefully executing the most intricate dance steps.

According to the proper method, Visakha-sakhi extends and contracts her arms while touching her waist, forehead, neck and knees, and forming mudras such as hamsasya. Dancing in this way, Visakha-sakhi’s waist becomes even thinner and her breasts more firm. Her braid licks her heels and the three lines on her belly disappear.

When the beat stops, Visakha-sakhi waves her hands in the air and suddenly bends her back in such a way as to conquer the beauty of the campaka flower bow of Cupid. Fixing her knees firmly on the ground and stretching her arms out to the sides, Visakha-sakhi twirls around with lightning speed. Her ornaments jingle, her necklace and earrings swing, and swarms of bees circle around, being attracted by the fragrance of her mouth.

Visakha-sakhi appears like a golden wheel spun rapidly by a mad potter. The combination of the pale luster of her gold necklace, the redness of Visakha-sakhi’s lips, and the blackness of the bees make an extraordinary picture.

While contracting her belly, dropping her sash, and expanding her breasts, Visakha-sakhi digs her toes into the earth, straightens her legs and raises herself on her feet. Clenching her fists and pressing her thumb against her breasts, Visakha-sakhi recites the bol “tat-ta, ta-thai, tiki-da, tiki-thai in unison with the beat while ringing her bangles and ankle-bells.

When the song finishes, Visakha-sakhi suddenly disappears from the center of the circle and positions herself on the circumference of the rasa mandala. While the voices, vinas, flutes, karatalas, and mrdangas resound, Visakha-sakhi stands behind the singers, resting rests her arms on the shoulders of a friend.

While chewing betel nut, Visakha-sakhi extends her legs so that a manjari can untie the strings of her heavy, dancing ankle-bells. To relieve Visakha-sakhi’s fatigue her manjaris fan her with their shawls. Her breasts heaving, Visakha-sakhi takes a few deep breaths and falls asleep with her head on the tender lap of a blessed manjari.

After resting for some time, Visakha-sakhi hears the singers expertly recite the alapa to introduce a new song. Then Visakha-sakhi reenters the rasa mandala like Cupid personified. Illustrating the song with intricate mudras, Visakha-sakhi dances so enthusiastically that Siva becomes inspired to dance His perform His tandava dance.

Visakha-sakhi’s thumb is supremely beautiful, her forefinger excels the pride of Cupid, her middle finger defeats the grace of the universe, her ring finger defeats the pride of Cupid’s wife, and her little finger establishes the meaning of colorful expression.

Visakha-sakhi is most beautiful with her sparkling white teeth, raised firm breasts, and nicely shaped buttocks. While expertly dancing, Visakha-sakhi waves her graceful hands, and excites her golden bracelets to jingle attractively. Visakha-sakhi raises her knees and arms in turn to the beat of “tat-ta, ta-thai, tiki-da, tiki-thai.”

Golden-bodied Visakha-sakhi appears like continually rising golden light as she twists and turns higher and higher. Visakha-sakhi appears like a stream of golden pollen stirred up by a storm amongst a group of lotuses composed of singers and musicians.

As Visakha-sakhi sways in the sky like a glowing vine, she displays many complicated movements. Indeed, her unique dancing is not due to dance lessons.

As the essence of gracefulness, Visakha-sakhi’s feet never touch the ground. If a group of lightning bolts from a cloudless sky remains stationary for a long time swaying in the breeze and roaring with the beat “tat-ta, ta-thai” it might compare with Visakha-sakhi’s dancing. As the beat subsides and Visakha’s footsteps lighten, she sways her body back and forth, revealing the perfection of beauty in her upper limbs.

Visakha’s sakhis fear that her thin waist, unable to bear the bending, will break like a tender lotus stem. Jingling her golden ankle-bells to start, Visakha-sakhi then dances with great skill. Moving her feet to the different beats (laghu, guru, pluta, druta, drutata, and ardha drutapada), she rings ankle-bells. Sometimes Visakha-sakhi jingles only a few, and most amazingly, sometimes not even one bell resounds!

Being very satisfied with Visakha-sakhi’s extraordinary dance performance, Radha and Krishna cheer, “Very good! Very good!” and warmly embrace her. Visakha-sakhi’s most astonishing and uniquely spectacular solo dance performance completely astounds all the assembled Apasaras the leading Devatas of music and dance!

Radha-Krishna’s divine Rasa Lila ki jai! Srimati Visakha-sakhi ki jai! Jai Jai Sri Radhe!