sadānubhūyamāno’pi karoty ananubhūtavat |
vismayaṁ mādhurībhir yaḥ sa prokto nitya-nūtanaḥ ||
(Bhakti-rasāmṛta-sindhu: 2.1.184)
“He who, even while being constantly perceived, produces with his sweetnesses astonishment as though never before perceived, is called ever-new (nitya-nūtana).”
tadātvābhivyaktīkṛta-taruṇimārambha-rabhasaṁ
smita-śrī-nirdhūta-sphurad-amala-rākā-pati-madam |
darodañcat-pañcāśuga-nava-kalā-meduram idaṁ
murārer mādhuryaṁ manasi madirākṣīr madayati ||
(Bhakti-rasāmṛta-sindhu: 2.1.64)
“Filled with the delight of the commencement of presently manifested youth, possessed of the beauty of a mild smile which has crushed the pride of the spotless, shining lord of the night [i.e., the full moon], and enriched with fresh, mildly expressed arts of the bearer of five arrows [i.e., Kāmadeva], this mādhurya of Murāri maddens the minds of the madira-eyed [i.e., the gopīs, whose ravishing eyes elicit remembrance of the wagtail (madira)].”
Twelve pairs of verses sung by the gopīs in separation from Śrī Kṛṣṇa
Excerpted from Śrīmad Bhāgavatam 10.35.1–26.
tatra śrī-vāsudevasya sarva-deva-śiromaṇeḥ |
pādāmbujaika-bhāg eva dīkṣā grāhyā manīṣibhiḥ ||
(Hari-bhakti-vilāsa: 1.103)
“In this regard [i.e., in regard to dīkṣā being accepted], dīkṣā, that is, taking shelter solely in the lotus feet of Śrī Vāsudeva, the crest-jewel of all devas, is to be accepted by the wise [since otherwise only indiscretion occurs].”
gopa-rāmā-jana-prāṇa-preyase’tiprabhuṣṇave |
tadīya-priya-dāsyāya māṁ madīyam ahaṁ dade ||
(Sārārtha-darśinī-ṭīkā on Śrīmad Bhāgavatam: 1.1.1, 2.1.1, 3.1.1, 4.1.1, 5.1.1, 6.1.1, 7.1.1, 8.1.1, 9.1.1, 10.1.1, 11.1.1, 12.1.1)
“I offer myself and my own [i.e., all that belongs to me and my very sense of possessiveness] unto the Beloved of the hearts of beautiful gopīs, he of all-surpassing capability, and the service of his beloveds.”
ābrahma-stambādi saba kṛṣṇera vaibhava |
‘nindā-mātra kṛṣṇa ruṣṭa’ kahe śāstra saba ||
anindaka ha-i ye sakṛt kṛṣṇa bale |
satya satya kṛṣṇa tāre uddhāriba hele ||
(Caitanya-bhāgavata: 2.20.147–148)
“From Brahmā to a clump of grass and so forth—everything is a manifestation of Kṛṣṇa. [Therefore,] All the śāstras say, ‘Kṛṣṇa becomes angry at any defamation at all.’ Truly, truly, Kṛṣṇa will easily deliver anyone who, being non-defaming, once chants, ‘Kṛṣṇa.’”
A meditation on Bhagavān Śrī Kṛṣṇa referred to in the Dig-darśinī-ṭīkā on Hari-bhakti-vilāsa and Bhakti-rasāmṛta-sindhu.
kuñjād goṣṭhaṁ niśānte praviśati kurute dohanānnāśanādyāṁ
prātaḥ sāyaṁ ca līlāṁ viharati sakhibhiḥ saṅgave cārayan gāḥ |
madhyāhne cātha naktaṁ vilasati vipine rādhayāddhāparāhne
goṣṭhaṁ yāti pradoṣe ramayati suhṛdo yaḥ sa kṛṣṇo’vatān naḥ ||
(Govinda-līlāmṛta: 1.4)
“At the end of night, from the kuñja he enters his homestead. In the early morning and evening, he performs līlās of milking [cows], eating food, and so forth. In the forenoon, he sports with friends while herding the cows. At midday and [mid-] night, he plays in full directly with Rādhā in the forest. In the afternoon, he returns to his homestead. In the evening, he delights his well-wishers. May he, Kṛṣṇa, protect us.”
man-manā bhava mad-bhakto mad-yājī māṁ namaskuru |
mām evaiṣyasi yuktvaivam ātmānaṁ mat-parāyaṇaḥ ||
(Śrīmad Bhagavad-gītā: 9.34)
“Be of mind fixed on me, [be] my bhakta, and [be] my worshipper. Offer obeisance to me. You will come to me alone, having engaged your self [i.e., the body and mind] in this way [in me] as one whose shelter is in me.”
tatrāpi gokule tasya mādhurī sarvato’dhikā ||
caturdhā mādhurī tasya vraja eva virājate |
aiśvarya-krīḍayor veṇos tathā śrī-vigrahasya ca ||
tatra aiśvaryasya—
kutrāpy aśruta-pūrveṇa madhuraiśvarya-rāśinā |
sevyamāno haris tatra vihāraṁ kurute vraje ||
krīḍāyāḥ yathā pādme—
caritaṁ kṛṣṇa-devasya sarvam evādbhutaṁ bhavet |
gopāla-līlās tatrāpi sarvato’timanoharā ||
śrī-bṛhad-vāmane—
santi yadyapi me prājyā līlās tās tā manoharāḥ |
na hi jāne smṛte rāse mano me kīdṛśaṁ bhavet ||
veṇoḥ, yathā—
yāvatī nikhile loke nādānām asti mādhurī |
tāvatī vaṁśikā-nāda-paramāṇau nimajjati ||
cara-sthāvarayoḥ sāndra-paramānanda-magnayoḥ ||
bhaved dharma-viparyāso yasmin dhvanati mohane ||
mohanaḥ ko’pi mantro vā padārtho vādbhutaḥ paraḥ |
śruti-peyo’yam ity uktvā yatrāmuhyaś chivādayaḥ ||
cara-sthāvarayoḥ sāndra-paramānanda-magnayoḥ ||
bhaved dharma-viparyāso yasmin dhvanati mohane ||
śrī-vigrahasya, yathā—
asamānordhva-mādhurya-taraṅgāmṛta-vāridhiḥ |
jaṅgama-sthāvarollāsi-rūpo gopendra-nandanaḥ ||
yathā tantre—
kandarpa-koṭy-arbuda-rūpa-śobhā-
nīrājya-pādābja-nakhāñcalasya |
kutrāpy adṛṣṭa-śruta-ramya-kānter
dhyānaṁ paraṁ nanda-sutasya vakṣye ||
(Laghu-Bhāgavatāmṛta: 1.520, 526–526, 530–533, 538–539)
“Even therein [i.e., even in regard to the three abodes—Gokula, Mathurā, and Dvārakā], his [i.e., Śrī Kṛṣṇa’s] sweetness in Gokula is superior to all [i.e., to his sweetness in Mathurā and Dvārakā]. … Only in Vraja [i.e., Gokula] shines the fourfold sweetness of his power, play, flute, and beautiful figure. Regarding [his] power therein: ‘Being served by multitude of sweet powers unheard of before anywhere else, Hari sports there in Vraja.’ Regarding [his] play, as in Padma Purāṇa: ‘All of Kṛṣṇadeva’s activities can certainly be astonishing. Even among them, [however,] his līlās with the gopas and gopīs are the most charming of all [i.e., are more charming than his līlās as a king in Mathurā and Dvārakā].’ In Śrī Bṛhad Vāmana Purāna: ‘[Bhagavān:] Although I have many well-known charming līlās [e.g., the līlā of being tied around the belly by Yaśodā], when I remember the rāsa-līlā, I do not know what becomes of my mind.’ Regarding [his] flute, as follows: ‘All the sweetness of the sounds that exist throughout the entire world become engulfed in an atom of the sound of the flute. A reversal of the nature (dharma) of [all] mobile and stationary beings, who become absorbed in intense, paramount bliss, can occur when the enchanting flute resounds [i.e., mobile beings can become stationary, and stationary beings can become mobile].’ … Regarding [his] beautiful figure, as follows: ‘An ocean of nectar filled with waves of incomparable sweetness, the figure of the Son of the gopa’s king delights [all] mobile and stationary beings.’ As in the Tantra, ‘I will describe the supreme meditation on the Son of Nanda, the tips of the toenails of whose lotus feet are worthy of lustration by the beauty of the figures of crores and crores of Kandarpas [i.e., Kāmadevas], and whose pleasing luster is unseen and unheard of anywhere [else, i.e., including even in Mathurā and Dvārakā].’”
