श्रीचैतन्याष्टकम् (१)
Śrī Caitanyāṣṭakam (1)
Eight verses of longing for the sight of Śrī Caitanya
By Śrīmad Rūpa Gosvāmīpāda
सदोपास्यः श्रीमान्धृतमनुजकायैः प्रणयितां
वहद्भिर्गीर्वाणैर्गिरिशपरमेष्ठिप्रभृतिभिः ।
स्वभक्तेभ्यः शुद्धां निजभजनमुद्रामुपदिशन्
स चैतन्यः किं मे पुनरपि दृशोर्यास्यति पदम् ॥१॥
sadopāsyaḥ śrīmān dhṛta-manuja-kāyaiḥ praṇayitāṁ
vahadbhir gīrvāṇair giriśa-parameṣṭhi-prabhṛtibhiḥ |
sva-bhaktebhyaḥ śuddhāṁ nija-bhajana-mudrām upadiśan
sa caitanyaḥ kiṁ me punar api dṛśor yāsyati padam ||1||
The Possessor of Śrī,
Eternally to be worshiped
By the devas—
Śiva (Giriśa), Brahmā (Parameṣṭhi), and so forth—
Who sustain love [for him]
And have assumed human forms [to do so];
For his own bhaktas
The Teacher of the pure mark
Of bhajana to himself—
Will he,
Caitanya,
Ever again enter the purview of my eyes?
Commentary
śrī-vṛndāraṇya-sthitaḥ śrī-rūpaḥ puruṣottama-kṣetrasthaṁ caitanyaṁ kṛṣṇa-varṇam ity ādi-śāstrāt tad-anugrahāc ca sākṣād-īśvaram anubhūya tattvena varṇayaṁs tad-darśanam āśāste—sadeti | sa caitanyo me dṛśor netrayoḥ padaṁ punar api kiṁ yāsyati | … man-netra-vyavasāyaṁ tad-viṣayatāṁ sa kadā gamiṣyatīti tādṛg-bhāgyaṁ kadā me syād iti bhāvaḥ |
(Excerpt from the ṭīkā of Baladeva Vidyābhūṣaṇa)
“Perceiving Caitanya situated in Puruṣottama Kṣetra as Īśvara himself on the basis of [statements in] śāstra, such as kṛṣṇa-varṇam … [i.e., SB 11.5.32], and as a result of his [i.e., Īśvara’s] grace, Śrī Rūpa situated in Śrī Vṛndāvana describes [him] as per [his] nature [i.e., as Īśvara] and prays for the sight of him: sadeti [i.e., he composes the first verse]. … Will he, Caitanya, ever again enter the purview of my eyes? [Meaning,] Will he enter the reach of my eyes, that is, the state of being their object?’ ‘Will such fortune [ever] be mine?’ is the purport.”
Śrī Vidyābhūṣaṇapāda further comments that the “Possessor of Śrī” (Śrīmān) refer to the Possessor of Lakṣmī, which can be read to mean Bhagavān Nārāyaṇa, the Husband of Lakṣmī, or, to mean Bhagavān in general, that is, he who possesses all wealth, beauty, virtue, and so forth. He then states that as the devas led by Śiva and Brahmā worship Bhagavān directly during his Kṛṣṇa-avatāra, so they have donned the forms of Advaita Ācārya, Hari Dāsa Ṭhākura, and so forth to worship him in his Caitanya-avatāra (Kṛṣṇāvatāre sākṣād eva tam upāsitavantaḥ, iha tv Ācārya-Hari-dāsādi-vapuṣopāsata ity arthaḥ). Moreover, the ‘pure mark of bhajana to himself’ (śuddhāṁ nija-bhajana-mudrām) refers to the technique of bhakti to himself that is uncovered by karma, yoga, and so forth (sva-bhakti-paripāṭīm … śuddhāṁ karma-yogādy-anāvṛtām) [see Śrī Rūpa’s definition of uttama-bhakti, BRS 1.1.11]. That he is a teacher of this “for his own bhaktas” (sva-bhaktebhyaḥ) means he performs the līlā of being a teacher for his associates led by Śrī Svarūpa Dāmodara (Svarūpa-Dāmodarādibhyo).
सुरेशानां दुर्गं गतिरतिशयेनोपनिषदां
मुनीनां सर्वस्वं प्रणतपटलीनां मधुरिमा ।
विनिर्यासः प्रेम्णो निखिलपशुपालाम्बुजदृशां
स चैतन्यः किं मे पुनरपि दृशोर्यास्यति पदम् ॥२॥
sureśānāṁ durgaṁ gatir atiśayenopaniṣadāṁ
munīnāṁ sarvasvaṁ praṇata-paṭalīnāṁ madhurimā |
viniryāsaḥ premṇo nikhila-paśupālāmbuja-dṛśāṁ
sa caitanyaḥ kiṁ me punar api dṛśor yāsyati padam ||2||
The Fortress of the lords of the suras,
The Ultimate Object of the Upaniṣads,
The Wealth of the sages,
The Sweetness of the reverent retinue,
And the Finest Extract of the prema of all the lotus-eyed gopīs—
Will he,
Caitanya,
Ever again enter the purview of my eyes?
Commentary
eṣa caitanya-devo na caturtha-yugāvatāraḥ kṛṣṇa-svāṁśaḥ—‘kṛte śuklo dharma-mūrtī raktas tretā-yuge mataḥ | dvāpare ca kalau cāpi śyāmalāṅgaḥ prakīrtitaḥ ||’ iti tasya śyāma-varṇatva-smaraṇāt, kintu preyasī-bhāva-kāntibhyāṁ pihita-sva-bhāva-kāntiḥ svayaṁ kṛṣṇa evāvirabhūd iti bhāvenāha—sureśānām iti |
(Excerpt from the ṭīkā of Baladeva Vidyābhūṣaṇa)
“This Caitanyadeva is not the avatāra of the fourth yuga [viz., Kali-yuga], that is, a svāṁśa of Kṛṣṇa, because of the remembrance [i.e., the statement in the Smṛti-śāstra] of his [i.e., the Kali-yuga-avatāra’s] having a swarthy (śyāma) complexion: ‘The two embodiments of dharma in Kṛta [i.e., Satya-yuga] and Tretā-yuga are known to be whitish and reddish. Also, in Dvāpara as well as in Kali, they are said to be of swarthy (śyāmala) figure.’ Rather, with his own bhāva and luster concealed by the bhāva and luster of his beloved, verily Kṛṣṇa himself appeared [i.e., Śrī Caitanyadeva is not a svāṁśa of Kṛṣṇa but rather is definitively Svayaṁ Bhagavān Śrī Kṛṣṇa himself]. With this thought, he states the second verse (sureśānām …).”
Śrī Vidyābhūṣaṇapāda further comments that ‘Fortress’ (durgaṁ) refers to the place of fearless (nirbhaya-sthānam), that is, the safe haven, of the devas; ‘Object’ (gatiḥ) refers to the Impetus of the Upaniṣads, that is, the Supreme Entity (Para-tattva); the sages’ ‘wealth’ (sarvasvaṁ) refers to the sages’ capital in this world and the next in the form of austerity and realization (tapo-vijñāna-lakṣaṇaihikaṁ pāratrikaṁ ca dhanam); ‘of the reverent retinue’ (praṇata-paṭalīnāṁ) refers to dāsa-bhaktas, that is, bhaktas imbued with dāsya-rati; and ‘sweetness’ (madhurimā) refers to the sweetness (mādhurya) of dāsya-bhakti. The “Finest Extract of the prema of all the lotus-eyed gopīs” (viniryāsaḥ premṇo nikhila-paśupālāmbuja-dṛśām) means the essence of the prema related to Kṛṣṇa of all the ladies of Vraja (samasta-vraja-vanitānāṁ premṇaḥ kṛṣṇa-viṣayakasya viniryāsaḥ sāraḥ).
Śrī Vidyābhūṣaṇapāda also explains that this verse is composed on the basis of the alaṅkāra (poetic ornament) known as hetu (iha hetv alaṅkāro darśitaḥ) because Śrī Caitanya is described as being the fortress of the devas and so forth even though in actuality he is cause the devas having shelter and so on. Śrī Vidyābhūṣaṇapāda cites the following definition of the poetic ornament known as hetu from Kāvya-kaustubha:
hetoḥ kāryātmanākhyānaṁ hetur ity abhidhīyate |
“Mention of a cause as being constituted of [its] effect is called [the poetic ornament] hetu [i.e., ‘cause’].”
He offers the following example and explanation:
adrīṇāṁ vidrutiḥ sākṣād ākṛṣṭir vraja-subhruvām |
sthairyaṁ srota-svatīnāṁ ca jīyād vaṁśī-dhvanir vibhoḥ ||
“May the melting of mountains,
The attraction of the fine-browed [gopīs] of Vraja,
And the solidity of rivers—
The sound of Vibhu’s [i.e., Kṛṣṇa’s] flute—
Triumph!”
ihādri-vidravādi-hetu-bhūto’pi vaṁśī-nādas tad-rūpatayā varṇitaḥ |
“Although the sound of the flute is the existent cause of the melting of mountains and so on, it is described here as having that form [i.e., as being the aforementioned melting, attraction, and solidity itself].”
Lastly, he notes that Śrī Caitanya’s being Kṛṣṇa himself will be expressed ahead [i.e., later in the composition] (asya sākṣāt Kṛṣṇatvaṁ tv agre vyaktībhaviṣyati).
स्वरूपं बिभ्राणो जगदतुलमद्वैतदयितः
प्रपन्नश्रीवासो जनितपरमानन्दगरिमा ।
हरिर्दीनोद्धारी गजपतिकृपोत्सेकतरलः
स चैतन्यः किं मे पुनरपि दृशोर्यास्यति पदम् ॥३॥
svarūpaṁ bibhrāṇo jagad-atulam advaita-dayitaḥ
prapanna-śrīvāso janita-paramānanda-garimā |
harir dīnoddhārī gajapati-kṛpotseka-taralaḥ
sa caitanyaḥ kiṁ me punar api dṛśor yāsyati padam ||3||
Supporting Svarūpa, who is unparalleled in the world;
He to whom Advaita is dear,
He to whom Śrīvāsa is surrendered,
He by whom the venerability of Paramānanda is begotten,
Hari,
The Deliverer of the distressed,
He who was trembling
With a shower of grace
Upon Gajapati—
Will he,
Caitanya,
Ever again enter the purview of my eyes?
Second translation:
Bearing a figure unparalleled in the world,
He to whom non-duality is dear,
The Abode of surrendered Śrī,
He by whom an abundance
Of the highest bliss is produced,
Hari,
The Deliverer of the distressed,
He who was trembling
With a shower of grace
Upon Gajapati—
Will he,
Caitanya,
Ever again enter the purview of my eyes?
Commentary
atha śleṣeṇa sākṣāt kṛṣṇatvaṁ varṇayan viśinaṣṭi—svarūpam iti |(Excerpt from the ṭīkā of Baladeva Vidyābhūṣaṇa)
“Now, he describes and distinguishes [Śrī Caitanya] as being Kṛṣṇa himself with an equivoque (śleṣa): svarūpam … [i.e., he writes this third verse, in which each word conveys multiple meanings simultaneously].”
The first set of meanings in the verse refer to Śrī Kṛṣṇa himself manifest as Śrī Caitanya in the company of his associates led by Śrī Svarūpa Dāmodara, and the second set of meanings refer to Śrī Kṛṣṇa, that is, Svayaṁ Bhagavān, in some cases by direct reference to his līlā in Śrī Vraja Dhāma, and in some cases by reference to līlās he performs with personal manifestations (svāṁśas) of himself.
Śrī Vidyābhūṣaṇapāda first explains the meanings referent to Śrī Kṛṣṇa manifest as Śrī Caitanya: “Supporting Svarūpa, unparalleled in the world” (Svarūpaṁ bibhrāṇo jagad-atulam) means that he sustains and nourishes with the nectar of his grace his associate named Svarūpa [i.e., Śrī Svarūpa Dāmodara Gosvāmī], who is incomparable [i.e., the foremost of Śrī Caitanya’s associates] (jagaty atulaṁ nirupamaṁ Svarūpaṁ tan-nāmānaṁ pārṣadaṁ bibhrāṇo dhārayan kṛpā-sudhayā puṣṇaṁś ca). “He to whom Advaita is dear” (Advaita-dayitaḥ) refers to he to whom the ācārya by the name Advaita is dear, or, he who is dear to him [i.e., to Advaita Ācārya] (Advaitasya tad-ākhyasyācāryasya dayitaḥ priyaḥ sa dayito yasyeti vā). “He to whom Śrīvāsa is surrendered” (Prapanna-śrīvāso) refers to he in whom the paṇḍita by the name Śrīvāsa has taken shelter (prapannaḥ śaraṇam āgataḥ Śrīvāsas tan-nāmā paṇḍito’yaṁ sa tathā). “He by whom the venerability of Paramānanda is begotten” (Janita-Paramānanda-garimā) means he by whom the status of being guru is begotten for Paramānanda [Purī], an itinerant and fellow student of his own guru [i.e., Śrī Caitanya’s own guru, viz., Īśvara Purī] (janitaḥ paramānande sva-guru-satīrthe parivrāji garimā guru-bhāvo yena saḥ). Śrī Caitanya is referred to here as Hari because of his removing ignorance from the world (jagad-avidyā-haraṇād Dhariḥ) [as the name Hari is made from the root hṛ, which means to take away]. This is what is referred to when he is then called “the Deliverer of the distressed” (etad evāha—dīneti (dīnoddhārī)), which means he whose disposition is to deliver the distressed, that is, those who are afflicted by the miseries produced by the self and so forth [i.e., he delivers jīvas suffering from the threefold miseries of material existence, viz., those brought about by (1) the body and mind, (2) by other living beings, and (3) by the devatās, by removing their ignorance (avidyā)] (dīnān ādhyātmikādi-tāpa-taptān uddhartuṁ śīlam asyeti sa tathā). “He who was trembling with a shower of grace upon Gajapati” refers to he who was swift in showering a stream of compassion upon the King of Utkala [viz., Mahārāja Pratāparudra] (Gajapatāv Utkalādhīśe nṛpendre yaḥ kṛpotsekaḥ kāruṇya-dhārayābhiṣecanaṁ tatra taralaḥ satvaraḥ).
Śrī Vidyābhūṣaṇapāda further comments in regard to the third foot of the verse there are there is an additional intended meaning of “lion” in the name Hari [since hari is also a word for lion] and of “the king (pati—rāja) of elephants (gaja)” in the name of Gajapati [since Gajapati literally means this even though its primary sense here is as the title used for the king of Odissa], and thus there is an ornament of apparent contradiction (viruddhābhāsa-alaṅkāra) in the verse whereby the sense of Śrī Caitanya being a “lion” of extraordinary nature is suggested [since he is said here to be a lion who is gracious to an elephant, which is contrary to the conventional nature of lion to fight with and kill elephants] (śleṣeṇa hariḥ siṁho’pi gajarāje sakṛpa iti viruddhābhāso’laṅkāraḥ; tenādbhuta-siṁhatvaṁ vyajyate).
Śrī Vidyābhūṣaṇapāda then goes on to comment on the second set of meanings in the verse that refer to Śrī Kṛṣṇa as Bhagavān in general. He states that ‘bearing a figure’ (svarūpaṁ bibhrāṇo) means manifesting a beautiful form (śrī-vigrahaṁ dhārayan, prakaṭayānn iti yāvat) and that this form is described by the author as “unparalleled in the world” (jagad-atulam) because of the statement in the Śruti [i.e., Śukla Yayur-veda: 32.3], “na tasya pratimāsti: he has no comparison.” “He to whom non-duality is dear” (Advaita-dayitaḥ) means he to whom the non-existence of distinction [within himself or between himself and another] even in the midst of his having various forms is dear, that is, he who is possessed of various forms without losing the status of being one [in constitution] (advaitaṁ nānā-rūpatve’pi bhedābhāvas tad-dayitaṁ yasya saḥ, … ekatām ajahad eva nānā-rūpa ity arthaḥ). He cites two verses from the Śruti to demonstrate this conclusion:
eko’pi san bahudhā yo’vabhāti |
(Gopāla-tāpanī Upaniṣad: 1.19)
“[Kṛṣṇa] Who, although being one, appears as many.”
ekaṁ santaṁ bahudhā dṛśyamānam |
(Caturveda-śikṣā)
“Being one, he is observable as many.”
“The Abode of surrendered Śrī” (Prapanna-śrī-vāso) refers to he who is the dwelling place and refuge of Lakṣmī, who is engaged in serving his feet (prapannāyāḥ pāda-sevinyāḥ Śriyo Lakṣmyā nivāsaḥ samāśrayaḥ). “He by whom an abundance of the highest bliss is produced” (janita-paramānanda-garimā) means he by whom a mass of joy boundless in profusion is manifested by means of his birth [and subsequent līlās] (janitaḥ sva-janmanā prādurbhāvitaḥ paramānanda-garimā niḥsīmātiśayaḥ sukha-rāśir yena saḥ). Gajapati refers to Gajendra, the king of elephants who was attacked by a crocodile [as described in the Eight Canto of Śrīmad Bhāgavatam]. The meaning of the rest [of the compound as explained above] is clear [i.e., it applies in the same way, meaning, Bhagavān was swift in showering the elephant Gajendra with his grace by quickly descending to rescue him from the clutches of the crocodile] (gajapatir grāha-grasto gajendraḥ; sphuṭārtham anyat).
Lastly, Śrī Vidyābhūṣaṇapāda summarizes the character of the verse by stating that it features the poetic ornament known as saṅkara [i.e., “mixture”] wherein there is a combination of meanings of the words, that is, wherein there are multiple meanings of each of the words (śabdārtha-śleṣayoḥ saṅkaro’yam).
रसोद्दामा कामार्बुदमधुरधामोज्ज्वलतनु-
र्यतीनामुत्तंसस् तरणिकरविद्योतिवसनः ।
हिरण्यानां लक्ष्मीभरमभिभवन्नाङ्गिकरुचा
स चैतन्यः किं मे पुनरपि दृशोर्यास्यति पदम् ॥४॥
rasoddāmā kāmārbuda-madhura-dhāmojjvala-tanur
yatīnām uttaṁsas taraṇi-kara-vidyoti-vasanaḥ |
hiraṇyānāṁ lakṣmī-bharam abhibhavann āṅgika-rucā
sa caitanyaḥ kiṁ me punar api dṛśor yāsyati padam ||4||
Unrestrained because of rasas,
His figure splendorous
With the allure of the sweetness
Of crores of Kāmas,
The Crest of ascetics,
His garments shining like the rays of the rising sun,
Defeating with his bodily luster
The beauty of a stockpile of gold—
Will he,
Caitanya,
Ever again enter the purview of my eyes?
Commentary
Śrī Vidyābhūṣaṇapāda comments that “Unrestrained because of rasas” (rasoddāmā) means greatly intoxicated by the tastes of the joys of bhakti (rasair bhakti-sukha-svādair uddāmo’timattaḥ). “The allure of the sweetness of crores of Kāmas” (kāmārbuda-madhura-dhāma) refers to the enchanting influence of the charm of crores of Kāmadevas (kāmārbudasyeva madhuraṁ svādu yad dhāma mohana-prabhāvas), and thus that he has a figure splendorous because of such influence means he has an extremely enchanting figure (tenojjvalā tanur yasya saḥ … atimohana-mūrtir ity arthaḥ). “His garments shining like the rays of the rising sun” (taraṇi-kara-vidyoti-vasanaḥ) means they are dyed with reddish chalk (gairikākta-vastra ity arthaḥ).
हरे कृष्णेत्युच्चैः स्फुरितरसनो नामगणना
कृतग्रन्थिश्रेणीसुभगकटिसूत्रोज्ज्वलकरः ।
विशालाक्षो दीर्घार्गलयुगलखेलाञ्चितभुजः
स चैतन्यः किं मे पुनरपि दृशोर्यास्यति पदम् ॥५॥
hare kṛṣṇety uccaiḥ sphurita-rasano nāma-gaṇanā-
kṛta-granthi-śreṇī-subhaga-kaṭi-sūtrojjvala-karaḥ |
viśālākṣo dīrghārgala-yugala-khelāñcita-bhujaḥ
sa caitanyaḥ kiṁ me punar api dṛśor yāsyati padam ||5||
He whose tongue pulsates
With loud utterances of “Hare Kṛṣṇa,”
He whose hand appears splendid
Holding an elegant waist-string
With a series of knots
Made for counting the name,
He whose eyes are wide,
He whose arms are adorned with the play
Of a pair of long door bars—
Will he,
Caitanya,
Ever again enter the purview of my eyes?
Commentary
Śrī Vidyābhūṣaṇapāda comments that “He whose tongue pulsates with loud utterances of ‘Hare Kṛṣṇa’” (Hare Kṛṣṇety uccaiḥ sphurita-rasano) means he whose tongue dances with the uttered mantra of thirty-two syllables constituted of sixteen names [i.e., the Hare Kṛṣṇa mantra] (ṣoḍaśa-nāmātmanā dvātriṁśad-akṣareṇa mantreṇoccāritena sphuritā kṛta-nṛtyā rasanā jihvā yasya saḥ). The hand that is described as appearing splendid with the string for counting the chanting of the name is Prabhu’s left hand (karo vāma-hasto yasya saḥ). “He whose eyes are wide” (viśālākṣaḥ) implies his eyes extend to the edges of his ears (karṇānta-netraḥ). “He whose arms are adorned with the play of a pair of long door bars” (dīrghārgala-yugala-khelāñcita-bhujaḥ) conveys that his arms extend down to his knees (ājānu-bāhur ity arthaḥ) and is an instance of the ornament known as nidarśana [“illustration”], which Śrī Vidyābhūṣaṇapāda has explained in his Sāhitya-kaumudī to mean contriving a comparison between two things that have no relationship with each other (abhavan vastu-sambandha upamā-parikalpakaḥ). In this case, the thick bars of wood traditionally placed on fixtures on the insides of doors to lock them closed, which are known as argalas, have no relationship with movement, much less play, since they are inanimate objects, yet the author compares Prabhu’s arms to such long door bars because Prabhu’s arms possess great length and strength reminiscent of them yet are also admirable for their playful movement as Prabhu dances and performs other gestures. The author’s usage of the ornament of nidarśana thus describes the wonder that Prabhu’s arms evoke by simultaneously exhibiting remarkably graceful playful movement along with exceptional length and strength that are never otherwise perceived in the same locus.
पयोराशेस्तीरे स्फुरदुपवनालीकलनया
मुहुर्वृन्दारण्यस्मरणजनितप्रेमविवशः ।
क्वचित्कृष्णावृत्तिप्रचलरसनो भक्तिरसिकः
स चैतन्यः किं मे पुनरपि दृशोर्यास्यति पदम् ॥६॥
payorāśes tīre sphurad-upavanālī-kalanayā
muhur vṛndāraṇya-smaraṇa-janita-prema-vivaśaḥ |
kvacit kṛṣṇāvṛtti-pracala-rasano bhakti-rasikaḥ
sa caitanyaḥ kiṁ me punar api dṛśor yāsyati padam ||6||
Overwhelmed by prema
Produced by sudden remembrance of Vṛndāvana
As a result of seeing the glistering gardens
On the bank of the ocean,
His trembling tongue
Repeating [the name of] ‘Kṛṣṇa’ somewhere—
The Relisher of bhakti-rasa—
Will he,
Caitanya,
Ever again enter the purview of my eyes?
Commentary
Śrī Vidyābhūṣaṇapāda comments that “overwhelmed” (vivaśaḥ) means he becomes divested of composure (vivaśo’dhairyaṁ gataḥ). He also explains that the cause of Prabhu’s becoming overwhelmed by prema and repeating the name of Kṛṣṇa with a trembling tongue is that he is a relisher of bhakti-rasa (yasmāt bhakti-rasikaḥ).
रथारूढस्याराद् अधिपदवि नीलाचलपते-
रदभ्रप्रेमोर्मिस्फुरितनटनोल्लासविवशः ।
सहर्षं गायद्भिः परिवृततनुर्वैष्णवजनैः
स चैतन्यः किं मे पुनरपि दृशोर्यास्यति पदम् ॥७॥
rathārūḍhasyārād adhipadavi nīlācala-pater
adabhra-premormi-sphurita-naṭanollāsa-vivaśaḥ |
saharṣaṁ gāyadbhiḥ parivṛta-tanur vaiṣṇava-janaiḥ
sa caitanyaḥ kiṁ me punar api dṛśor yāsyati padam ||7||
Overwhelmed by a profusion of dancing
Manifested by waves of abounding prema
On the road before the Lord of Nīlācala
Mounted on his chariot,
His figure surrounded
By Vaiṣṇavas singing with joy—
Will he,
Caitanya,
Ever again enter the purview of my eyes?
Commentary
Śrī Vidyābhūṣaṇapāda comments that the “Lord of Nīlācala” (Nīlācala-pateḥ) refers to Śrī Jagannātha. The verse, evidently, refers to Prabhu’s dancing during Śrī Jagannātha’s Ratha Yātrā.
भुवं सिञ्चन्नश्रुश्रुतिभिरभितः सान्द्रपुलकैः
परीताङ्गो नीपस्तवकनवकिञ्जल्कजयिभिः ।
घनस्वेदस्तोमस्तिमिततनुरुत्कीर्तनसुखी
स चैतन्यः किं मे पुनरपि दृशोर्यास्यति पदम् ॥८॥
bhuvaṁ siñcann aśru-śrutibhir abhitaḥ sāndra-pulakaiḥ
parītāṅgo nīpa-stavaka-nava-kiñjalka-jayibhiḥ |
ghana-sveda-stoma-stimita-tanur utkīrtana-sukhī
sa caitanyaḥ kiṁ me punar api dṛśor yāsyati padam ||8||
Sprinkling the earth with streams of tears,
His figure completely enfolded
By intense horripilation
That conquers the fresh filaments
Of kadamba clusters,
His body moist
With a profusion of thick perspiration,
Overjoyed in vibrant kīrtana—
Will he,
Caitanya,
Ever again enter the purview of my eyes?
Commentary
This verse may be a further description of Prabhu’s ecstasy during the Ratha Yātrā as Śrī Rūpapāda observed him, or may describe Prabhu as he appeared at other times.
अधीते गौराङ्गस्मरणपदवीमङ्गलतरं
कृती यो विश्रम्भस्फुरदमलधीरष्टकमिदम् ।
परानन्दे सद्यस्तदमलपदाम्भोजयुगले
परिस्फारा तस्य स्फुरतु नितरां प्रेमलहरी ॥९॥
adhīte gaurāṅga-smaraṇa-padavī-maṅgalataraṁ
kṛtī yo viśrambha-sphurad-amala-dhīr aṣṭakam idam |
parānande sadyas tad-amala-padāmbhoja-yugale
parisphārā tasya sphuratu nitarāṁ prema-laharī ||9||
May billowing waves of prema
For his two supremely blissful,
Faultless lotus feet
Manifest immediately and always
To an adept of a taintless mind
Shining with conviction
Who recites this poem of eight verses,
Which is very advantageous on the path
Of remembrance of Gaurāṅga.
Commentary
aṣṭaka-pāṭha-phalam āha—adhīta iti |
(Excerpt from the ṭīkā of Baladeva Vidyābhūṣaṇa)
“He describes the result of reciting this poem of eight verses: adhīte … [i.e., he writes this final verse].”
Śrī Vidyābhūṣaṇapāda further comments that an “adept” (kṛtī) here refers to a learned person (vidvān janaḥ).
Meter
Śikhariṇī
Source
Stava-mālā editions by Śrī Purī Dāsa Mahāśaya, Śrī Rāma Nārāyaṇa Vidyāratna, and Nirṇaya Sāgara Press.