Antya1.121

TEXT 121

yata bhakta-vrnda ara ramananda raya

sloka suni’ sabara ha-ila ananda-vismaya

SYNONYMS

yata bhakta-vrnda—all the personal devotees of Sri Caitanya Mahaprabhu; ara—and; ramananda raya—of the name Ramananda Raya; sloka suni’-hearing this verse; sabara—of everyone; ha-ila—there was; ananda-vismaya—transcendental bliss and astonishment.

TRANSLATION

When all the devotees of Sri Caitanya Mahaprabhu, especially Sri Ramananda Raya, heard this verse, they were all filled with transcendental bliss and were struck with wonder.

Antya1.122

TEXT 122

sabe bale,--’nama-mahima suniyachi apara

emana madhurya keha nahi varne ara’

SYNONYMS

sabe bale—every one of them said; nama-mahima—the glories of chanting the holy name; suniyachi—we have heard; apara—many times; emana—this kind of; madhurya—sweetness; keha—someone; nahi—not; varne—describes; ara—else.

TRANSLATION

Everyone admitted that although they had heard many statements glorifying the holy name of the Lord, they had never heard such sweet descriptions as those of Rupa Gosvami.

Antya1.123

TEXT 123

raya kahe,--"kon grantha kara hena jani?

yahara bhitare ei siddhantera khani?"

SYNONYMS

raya kahe—Ramananda Raya inquired; kon—what; grantha—dramatic literature; kara—you are writing; hena—such; jani—I can understand; yahara bhitare—within which; ei—these; siddhantera khani—a mine of conclusive statements.

TRANSLATION

Ramananda Raya inquired, “What kind of drama are you writing? We ca understand that it is a mine of conclusive statements.”

Antya1.124

TEXT 124

svarupa kahe,--"krsna-lilara nataka karite

vraja-lila-pura-lila ekatra varnite

SYNONYMS

svarupa kahe—Svarupa Damodara replied on behalf of Rupa Gosvami; krsna-lilara—of the pastimes of Lord Krsna; nataka karite—composing a drama; vraja-lila-pura-lila—His pastimes in Vrndavana and His pastimes in Mathura and Dvaraka; ekatra—in one book; varnite—to describe.

TRANSLATION

Svarupa Damodara replied for Srila Rupa Gosvami: "He wanted to compose a drama about the pastimes of Lord Krsna. He planned to describe in one book both the pastimes of Vrndavana and those of Dvaraka and Mathura.

Antya1.125

TEXT 125

arambhiyachila, ebe prabhu-ajna pana

dui nataka kariteche vibhaga kariya

SYNONYMS

arambhiyachila—Srila Rupa Gosvami began; ebe—now; prabhu-ajna pana—getting the order of Sri Caitanya Mahaprabhu; dui nataka—two different dramas; kariteche—he is compiling; vibhaga kariya—dividing the original idea.

TRANSLATION

"He began it in that way, but now, following the order of Sri Caitanya Mahaprabhu, he has divided it in two and is writing two plays, one concerning the pastimes of Mathura and Dvaraka and the other concerning the pastimes of Vrndavana.

Antya1.126

TEXT 126

vidagdha-madhava ara lalita-madhava

dui natake prema-rasa adabhuta saba"

SYNONYMS

vidagdha-madhava—one is named Vidagdha-madhava; ara—and; lalita-madhava—named Lalita-madhava; dui natake—in two plays; prema-rasa—ecstatic mellows of emotional love for Krsna; adabhuta—wonderful; saba—all.

TRANSLATION

“The two plays are called Vidagdha-madhava and Lalita-madhava. Both of them wonderfully describe ecstatic emotional love of God.”

PURPORT

Srila Bhaktisiddhanta Sarasvati Thakura informs us in this connection that Srila Rupa Gosvami composed the drama known as Vidagdha-madhava in the year Sakabda 1454, and he finished Lalita-madhava in Sakabda 1459. The discussion between Ramananda Raya and Srila Rupa Gosvami at Jagannatha Puri took place in Sakabda 1437.

Antya1.127

TEXT 127

raya kahe,--“nandi-sloka pada dekhi, suni?”

sri-rupa sloka pade prabhu-ajna mani’

SYNONYMS

raya kahe—Sri Ramananda Raya says; nandi-sloka pada—please recite the introductory verse; dekhi—so that I can see; suni—so that I can hear; sri-rupa sloka pade—Rupa Gosvami recites the verse; prabhu-ajna mani’-accepting the order of Sri Caitanya Mahaprabhu.

TRANSLATION

Ramananda Raya said, “PIease recite the introductory verse of Vidagdhamadhava so that I can hear and examine it.” Thus Sri Rupa Gosvami, being ordered by Sri Caitanya Mahaprabhu, recited the verse (1.1).

Antya1.128

TEXT 128

sudhanam candrinam api madhurimonmada-damani

dadhana radhadi-pranaya-ghana-saraih surabhitam

samantat santapodgama-visama-samsara-sarani-

pranitam te trsnam haratu hari-lila-sikharini

SYNONYMS

sudhanam—of the nectar; candrinam—produced on the moon; api—even; madhurima—the sweetness; unmada-damani—overpowering the pride; dadhana—distributing; radha-adi—of Srimati Radharani and Her companions; pranaya-ghana—of the concentrated loving affairs; saraih—by the essence; surabhitam—a good fragrance; samantat—everywhere; santapa—miserable conditions; udgama—generating; visama—very dangerous; samsara-sarani—on the path of material existence; pranitam—created; te—your; trsnam—desires; haratu—let it take away; hari-lila—the pastimes of Sri Krsna; sikharini—exactly like a combination of yogurt and sugar candy.

TRANSLATION

“May the pastimes of Sri Krsna reduce the miseries existing in the material world and nullify all unwanted desires. The pastimes of the Supreme Personality of Godhead are like sikharini, a blend of yogurt and sugar candy. They overpower the pride of even the nectar produced on the moon, for they distribute the sweet fragrance of the concentrated loving affairs of Srimati Radharani and the gopis.”

Antya1.129

TEXT 129

raya kahe,--’kaha ista-devera varnana’

prabhura sankoce rupa na kare pathana

SYNONYMS

raya kahe—Ramananda Raya says; kaha—now speak; ista-devera varnana—description of your worshipable Deity; prabhura sankoce—embarrassment in the presence of Sri Caitanya Mahaprabhu; rupa—Rupa Gosvami; na kare—does not do; pathana—recitation.

TRANSLATION

Ramananda Raya said, “Now please recite the description of the glories of your worshipable Deity.” Rupa Gosvami, however, hesitated due to embarrassment because Sri Caitanya Mahaprabhu was present.

Antya1.130

TEXT 130

prabhu kahe,--"kaha, kene kara sankoca-laje?

granthera phala sunaiba vaisnava samaje?"

SYNONYMS

prabhu kahe—Sri Caitanya Mahaprabhu says; kaha—speak up; kene—why; kara—you do; sankoca-laje—in shame and embarrassment; granthera—of the book; phala—the fruit; sunaiba—you should make heard; vaisnava-samaje—in the society of pure devotees.

TRANSLATION

The Lord, however, encouraged Rupa Gosvami, saying, “Why are you embarrassed? You should recite it so the devotees can hear the good fruit of your writing.”

Antya1.131

TEXT 131

tabe rupa-gosani yadi sloka padila

suni’ prabhu kahe,--’ei ati stuti haila’

SYNONYMS

tabe—at that time; rupa-gosani—of the name Rupa Gosvami; yadi—when; sloka padila—recited the verse; suni’-hearing this; prabhu kahe—Sri Caitanya Mahaprabhu says; ei—this; ati stuti—exaggerated offering of prayers; haila—was.

TRANSLATION

When Rupa Gosvami thus recited his verse, Caitanya Mahaprabhu disapproved of it because it described His personal glories. He expressed the opinion that it was an exaggerated explanation.

Antya1.132

TEXT 132

anarpita-carim cirat karunayavatirnah kalau

samarpayitum unnatojjvala-rasam sva-bhakti-sriyam

harih purata-sundara-dyuti-kadamba-sandipitah

sada hrdaya-kandare sphuratu vah saci-nandanah

SYNONYMS

anarpita—not bestowed; carim—having been formerly; cirat—for a long time; karunaya—by causeless mercy; avatirnah—descended; kalau—in the Age of Kali; samarpayitum—to bestow; unnata—elevated; ujjvala-rasam—the conjugal mellow; sva-bhakti—of His own service; sriyam—the treasure; harih—the Supreme Lord; purata—than gold; sundara—more beautiful; dyuti—of splendor; kadamba—with a multitude; sandipitah—illuminated; sada—always; hrdaya-kandare—in the cavity of the heart; sphuratu—let Him be manifest; vah—your; saci-nandanah—the son of mother Saci.

TRANSLATION

“May the Supreme Lord, who is known as the son of Srimati Sacidevi, be transcendentally situated in the innermost core of your heart. Resplendent with the radiance of molten gold, He has descended in the Age of Kali by His causeless mercy to bestow what no incarnation has ever offered before: the most elevated mellow of devotional service, the mellow of conjugal love.”

PURPORT

This verse (Vidagdha-madhava 1.2) also appears in Adi-lila (1.4 and 3.4). In his commentary on Vidagdha-madhava, Srila Visvanatha Cakravarti  Thakura remarks: maha-prabhoh sphurtim vina hari-lila-rasasvadananupapatter iti bhavah. Without the mercy of Sri Caitanya Mahaprabhu, one cannot describe the pastimes of the Supreme personality of Godhead. Therefore Srila Rupa Gosvami said, vah yusmakam hrdaya-rupa-guha yam saci-nandano harih, pakse, simhah sphuratu: “May Sri Caitanya Mahaprabhu, who is exactly like a lion that kills all the elephants of desire, be awakened within everyone’s heart, for by His merciful blessings one can understand the transcendental pastimes of Krsna.”

Antya1.133

TEXT 133

saba bhakta-gana kahe sloka suniya

krtartha karila sabaya sloka sunana

SYNONYMS

saba bhakta-gana—all the devotees present there; kahe—say; sloka suniya—hearing this verse; krta-artha karila—you have obliged; sabaya—everyone; sloka sunana—by reciting this verse.

TRANSLATION

All the devotees present so greatly appreciated this verse that they expressed their gratitude to Sri Rupa Gosvami for his transcendental recitation.

Antya1.134

TEXT 134

raya kahe,--“kon amukhe patra-sannidhana?”

rupa kahe,--“kala-samye ’pravartaka’ nama”

SYNONYMS

raya kahe—Ramananda Raya says; kon—what; amukhe—by introduction; patra-sannidhana—presence of the players; rupa kahe—Srila Rupa Gosvami replies; kala-samye—in agreement of time; pravartaka nama—the introduction called pravartaka.

TRANSLATION

Ramananda Raya inquired, “How have you introduced the assembly of the players?” Rupa Gosvami replied, "The players assemble at a suitable time under the heading of pravartaka.

PURPORT

In a drama all the actors are called patra, or players. This is stated by Visvanatha Kaviraja in the Sahitya-darpana (6.283):

divya-martye sa tad-rupo
misram anyataras tayoh
sucayed vastu-bijam va-
mukham patram athapi va

The meaning of amukha is stated by Srila Rupa Gosvami in the Nataka-candrika:

sutra-dharo nati brute
sva-karyam pratiyuktitah
prastutaksepicitroktya
yat tad amukham iritam

When Srila Ramananda Raya inquired about the arrangement for introducing the assembly of players in the drama, Rupa Gosvami replied that when the players first enter the stage in response to the time, the introduction is technically called pravartaka. For an example one may consult the Antya-lila, First Chapter, verse 17. Srila Bhaktisiddhanta Sarasvati Thakura says that the introduction, which is technically called amukha, may be of five different kinds, according to the Sahitya-darpana (6.288):

udghatyakah kathodghatah
prayogatisayas tatha
pravartakavalagite
panca prastavana-bhidah

Introductions may be classified as follows: (1) udghatyaka, (2) kathodghata, (3) prayogatisaya, (4) pravartaka and (5) avalagita. These five kinds of introduction are called amukha. Thus Srila Ramananda Raya asked which of the five introductions had been employed, and Srila Rupa Gosvami replied that he had used the introduction called the pravartaka.

Antya1.135

TEXT 135

aksiptah kala-samyena

pravesah syat pravartakah

SYNONYMS

aksiptah—set in motion; kala-samyena—by a suitable time; pravesah—the entrance; syat—should be; pravartakah—named pravartaka.

TRANSLATION

’When the entrance of the actors is set in motion by the arrival of a suitable time, the entrance is called pravartaka.’

PURPORT

This verse is from Nataka-candrika (12) by Srila Rupa Gosvami.

Antya1.136

TEXT 136

so ’yam vasanta-samayah samiyaya yasmin

purnam tam isvaram upodha-navanuragam

gudha-graha ruciraya saha radhayasau

rangaya sangamayita nisi paurnamasi

SYNONYMS

sah—that; ayam—this; vasanta-samayah—springtime; samiyaya—had arrived; yasmin—in which; purnam—the complete; tam—Him; isvaram—the Supreme Personality of Godhead; upodha—obtained; nava-anuragam—new attachment; gudha-graha—which covered the stars; ruciraya—very beautiful; saha—with; radhaya—Srimati Radharani; asau—that full-moon night; rangaya—for increasing the beauty; sangamayita—caused to meet; nisi—at night; paurnamasi—the full-moon night.

TRANSLATION

’Springtime had arrived, and the fuIl moon of that season inspired the Supreme Personality of Godhead, who is complete in everything, with new attraction to meet the beautiful Srimati Radharani at night to increase the beauty of Their pastimes.’ "

PURPORT

Srila Bhaktivinoda Thakura interprets this verse (Vidagdha-madhava 1.10) in two ways, for Lord Krsna and for Srimati Radharani. When interpreted for Krsna, the night is understood to have been a dark moon night, and when interpreted for Srimati Radharani, it is considered to have been a full moon night.

Antya1.137

TEXT 137

raya kahe,--“prarocanadi kaha dekhi, suni?”

rupa kahe,--“mahaprabhura sravaneccha jani”

SYNONYMS

raya kahe—Srila Ramananda Raya says; prarocanadi kaha—please recite the prarocana; dekhi—I shall see; suni—and hear; rupa kahe—Srila Rupa Gosani replies; mahaprabhura—of Sri Caitanya Mahaprabhu; sravana-iccha—desired to hear; jani—I think.

TRANSLATION

Ramananda Raya said, “Please recite the prarocana portion so that I may hear and examine it.” Sri Rupa replied, "I think that the desire to hear of Sri Caitanya Mahaprabhu is prarocana.

PURPORT

The method of inducing the audience to become more and more eager to hear by praising the time and place, the hero and the audience is called prarocana. This is the statement regarding prarocana in the Nataka-candrika:

desa-kala-katha-vastu-
sabhyadinam prasamsaya
srotrnam unmukhi-karah
kathiteyam prarocana

Similarly the Sahitya-darpana (6.286) says:

tasyah prarocana vithi
tatha prahasana-mukhe
anganyatronmukhi-karah
prasamsatah prarocana

Any literature presented in Sanskrit must follow the rules and regulations mentioned in the authoritative reference books. The technical inquiries by Srila Ramananda Raya and the replies of Srila Rupa Gosvami indicate that both of them were expert and fully conversant with the techniques of writing drama.

Antya1.138

TEXT 138

bhaktanam udagad anargala-dhiyam vargo nisargojjvalah

silaih pallavitah sa ballava-vadhu-bandho prabandho ’py asau

lebhe catvaratam ca tandava-vidher vrndatavi-garbha-bhur

manye mad-vidha-punya-mandala-paripako ’yam unmilati

SYNONYMS

bhaktanam—of devotees; udagat—has appeared; anargala-dhiyam—constantly thinking of Radha-Krsna; vargah—the assembly; nisarga-ujjvalah—naturally very advanced; silaih—with natural poetic decorations; pallavitah—spread like the leaves of a tree; sah—that; ballava-vadhu-bandhah—of the friend of the gopis, Sri Krsna; prabandhah—a literary composition; api—even; asau—that; lebhe—has achieved; catvaratam—the quality of a quadrangular place with level ground; ca—and; tandava-vidheh—for dancing; vrnda-atavi—of the forest of Vrndavana; garbha-bhuh—the inner grounds; manye—I consider; mat-vidha—of persons like me; punya-mandala—of groups of pious activities; paripakah—the full development; ayam—this; unmilati—appears.

TRANSLATION

’The devotees now present are constantly thinking of the Supreme Lord and are therefore highly advanced. This work named Vidagdha-madhava depicts the characteristic pastimes of Lord Krsna with decorations of poetic ornaments. And the inner grounds of the forest of Vrndavana provide a suitable platform for the dancing of Krsna with the gopis. Therefore I think that the pious activities of persons like us, who have tried to advance in devotional service, have now attained maturity.’

PURPORT

This is verse eight of the First Act of Vidagdha-madhava.

Antya1.139

TEXT 139

abhivyakta mattah prakrti-laghu-rupad api budha

vidhatri siddharthan hari-guna-mayi vah krtir iyam

pulindenapy agnih kimu samidham-unmathya janito

hiranya-sreninam apaharati nantah-kalusatam

SYNONYMS

abhivyakta—manifested; mattah—from me; prakrti—by nature; laghu-rupat—situated in a lower position; api—although; budhah—O learned devotees; vidhatri—which may bring about; siddha-arthan—all the objects of perfection; hari-guna-mayi—whose subject matter is the attributes of Krsna; vah—of you; krtih—the poetic play known as Vidagdha-madhava; iyam—this; pulindena—by the lowest class of men; api—although; agnih—a fire; kimu—whether; samidham—the wood; unmathya—rubbing; janitah—produced; hiranya—of gold; sreninam—of quantities; apaharati—vanquishes; na—not; antah—inner; kalusatam—dirty things.

TRANSLATION

“O learned devotees, I am by nature ignorant and low, yet even though it is from me that Vidagdha-madhava has come, it is filled with descriptions of the transcendental attributes of the Supreme Personality of Godhead. Therefore, wiIl not such literature bring about the attainment of the highest goal of life? Although its wood may be ignited by a low-class ma, fire can nevertheless purify gold. Although I am very low by nature, this book may help cleanse the dirt from within the hearts of the golden devotees.’ ”

PURPORT

This verse is also from Vidagdha-madhava (1.6).

Antya1.140

TEXT 140

raya kahe,--"kaha dekhi premotpatti-karana?

purva-raga, vikara, cesta, kama-likhana?"

SYNONYMS

raya kahe—Srila Ramananda Raya further inquires; kaha—please recite; dekhi—so that I may know; prema. utpatti-karana—the causes of awakening the loving propensity; purva-raga—previous attachment; vikara—transformation; cesta—endeavor; kama-likhana—writing of letters disclosing the gopis’ attachment for Krsna.

TRANSLATION

Then Ramananda Raya inquired from Rupa Gosvami about the causes of the loving affairs between Krsna and the gopis, such as previous attachment, transformations of love, endeavors for love, and exchanges of letters disclosing the gopis’ awakening love for Krsna.

Antya1.141

TEXT 141

krame sri-rupa-gosani sakali kahila

suni’ prabhura bhakta-ganera camatkara haila

SYNONYMS

krame—gradually; sri-rupa-gosani—Srila Rupa Gosvami; sakali kahila—explained everything; suni’-hearing; prabhura—of Sri Caitanya Mahaprabhu; bhakta-ganera—of the devotees; camatkara—astonishment; haila—there was.

TRANSLATION

 Srila Rupa Gosvami gradually informed Ramananda Raya about everything he asked. Hearing his explanations, all the devotees of Sri Caitanya Mahaprabhu were struck with wonder.

PURPORT

Srila Rupa Gosvami has explained kama-likhana in his book Ujjvala-nilamani (Vipralambha-prakarana 26):

sa lekhah kama-lekhah syat
yah sva-prema-prakasakah
yuvatya yuni yuna ca
yuvatyam samprahiyate

“Exchanges of letters between a young boy and young girl concerning their awakening of attachment for one another are called kama-lekha.”

Antya1.142

TEXT 142

ekasya srutam eva lumpati matim krsneti namaksaram

sandronmada-paramparam upanayaty anyas ya vamsi-kalah

esa snigdha-ghana-dyutir manasi me lagnah pate viksanat

kastam dhik purusa-traye ratir abhun manye mrtih sreyasi

SYNONYMS

ekasya—of one person; srutam—heard; eva—certainly; lumpati—take away; matim—the mind; krsna iti—Krsna; nama-aksaram—the letters of the name; sandra-unmada—of intense madness; paramparam—a shower; upanayati—brings; anyasya—of another; vamsi-kalah—the sound vibration of the flute; esah—this third one; snigdha—giving love; ghana-dyutih—lightninglike effulgence; manasi—in the mind; me-My; lagnah—attachment; pate—in the picture; viksanat—by seeing; kastam dhik—oh, shame upon Me; purusa-traye—to three persons; ratih—attachment; abhut—has appeared; manye—I think; mrtih—death; sreyasi—better.

TRANSLATION

Experiencing previous attachment to Krsna [purva-raga], Srimati Radharani thought: “Since I have heard the name of a person called Krsna, I have practically lost My good sense. Then, there is another person who plays His flute in such a way that after I hear the vibration, intense madness arises in My heart. And again there is still another person to whom My mind becomes attached when I see His beautiful lightning effulgence in His picture. Therefore I think that I am greatly condemned, for I have become simultaneously attached to three persons. It would be better for Me to die because of this.”

PURPORT

This verse is from Vidagdha-madhava (2.9).

Antya1.143

TEXT 143

iyam sakhi suduhsadhya

radha hrdaya-vedana

krta yatra cikitsapi

kutsayam paryavasyati

SYNONYMS

iyam—this; sakhi—my dear friend; suduhsadhya—incurable; radha—of Srimati Radharani; hrdaya-vedana—palpitation of the heart; krta—done; yatra—in which; cikitsa—treatment; api—although; kutsayam—in defamation; paryavasyati—ends in.

TRANSLATION

“My dear friend, these palpitations of Srimati Radharani’s heart are extremely difficult to cure. Even if one applied some medical treatment, it would only end in defamation.”

PURPORT

This verse (Vidagdha-madhava 2.8) is spoken by Srimati Radharani Herself.

Antya1.144

TEXT 144

dhari-a padicchanda-gunam

sundara maha mandire tumam vasasi

taha taha rundhasi bali-am

jaha jaha ca-ida palaemhi

SYNONYMS

dhari-a—capturing; padicchanda-gunam—the quality of an artistic picture; sundara—O most beautiful one; maha—my; mandire—within the heart; tumam—You; vasasi—reside; taha taha—that much; rundhasi—You block; bali-am—by force; jaha jaha—as much as; ca-ida—being disturbed; palaemhi—I try to escape.

TRANSLATION

“O dearly beautiful, the artistic loveliness of Your picture is now impressed within My mind. Since You are now living within My mind, wherever I wish to run because I am agitated by impressions of You, I find that You, O My friend, are blocking My way.”

PURPORT

This verse (Vidagdha-madhava 2.33) is written in the Prakrta language, not in Sanskrit. When transformed into Sanskrit, it reads as follows:

dhrtva praticchanda-gunam sundara mama mandire tvam vasasi
tatha tatha runatsi balitam yatha yatha cakita palaye

The meaning is the same, but the native language is different. It was spoken by Madhumangala to Sri Krsna.

Antya1.145

TEXT 145

agre viksya sikhanda-khandam acirad utkampam alambate

gunjanam ca vilokanan muhur asau sasram parikrosati

no jane janayann apurva-natana-krida-camatkaritam

balayah kila citta-bhumim avisat ko ’yam navina-grahah

SYNONYMS

agre—in front; viksya—seeing; sikhanda-khandam—some peacock feathers; acirat—all of a sudden; utkampam—trembling of the heart and body; alambate—takes to; gunjanam—of a garland of gunja (small conchshells); ca—also; vilokanat—by seeing; muhuh—constantly; asau—She; sa-asram—with tears; parikrosati—goes around crying; no—not; jane—I know; janayan—awakening; apurva-natana—like unheard-of dramatic dancing; krida—of activities; camatkaritam—the madness; balayah—of this poor girl; kila—certainly; citta-bhumim—within the heart; avisat—has entered; kah—what; ayam—this; navina-grahah—new ecstatic influence.

TRANSLATION

“Upon seeing peacock feathers in front of Her, this girl suddenly begins trembling. When She sometimes sees a necklace of gunja [small conchshells], She sheds tears and cries Ioudly. I do not know what kind of new ecstatic influence has entered the heart of this poor girl. It has imbued Her with the dancing attitude of a player creating wonderful, unprecedented dances on a stage.”

PURPORT

This verse (Vidagdha-madhava 2.15) is spoken by Mukhara, Lord Krsna’s grandmother, in a conversation with the grandmother of Radharani, Paurnamasi.

Antya1.146

TEXT 146

akarunyah krsno yadi mayi tavagah katham idam

mudha ma rodir me kuru param imam uttara-krtim

tamalasya skandhe vinihita-bhuja-vallarir iyam

yatha vrndaranye ciram avicala tisthati tanuh

SYNONYMS

akarunyah—very cruel; krsnah—Lord Krsna; yadi—if; mayi—unto Me; tava—your; agah—offense; katham—how; idam—this; mudha—uselessly; ma rodih—do not cry; me-for Me; kuru—do; param—but afterwards; imam—this; uttara-krtim—final act; tamalasya—of a tamala tree; skandhe—the trunk; vinihita—fixed upon; bhuja-vallarih—arms like creepers; iyam—this; yatha—as far as possible; vrnda-aranye—in the forest of Vrndavana; ciram—forever; avicala—without being disturbed; tisthati—remains; tanuh—the body.

TRANSLATION

Srimati Radharani said to Her constant companion Visakha: “My dear friend, if Krsna is unkind to Me, there will be no need for you to cry, for it wiIl not be due to any fault of yours. I shall then have to die, but afterwards please do one thing for Me: to observe My funeral ceremony, place My body with its arms embracing a tamala tree like creepers so that I may remain forever in Vrndavana undisturbed. That is My last request.”(Vidagdha-madhava 2.47)

Antya1.147

TEXT 147

raya kahe,--“kaha dekhi bhavera svabhava?”

rupa kahe,--“aiche haya krsna-visayaka ’bhava”

SYNONYMS

raya kahe—Ramananda Raya says; kaha—kindly recite; dekhi—so that I may see; bhavera svabhava—the characteristic of emotional love; rupa kahe—Rupa Gosvami replies; aiche—such; haya—is; krsna-visayaka—concerning Krsna; bhava—emotional love.

TRANSLATION

Ramananda Raya inquired, “What are the characteristics of emotional love?” Rupa Gosvami replied, "This is the nature of emotional love for Krsna.

Antya1.148

TEXT 148

pidabhir nava-kala-kuta-katuta-garvasya nirvasano

nisyandena mudam sudha-madhurimahankara-sankocanah

prema sundari nanda-nandana-paro jagarti yasyantare

  jnayante sphutam asya vakra-madhuras tenaiva vikrantayah

SYNONYMS

pidabhih—by the sufferings; nava—fresh; kala-kuta—of poison; katuta—of the severity; garvasya—of pride; nirvasanah—banishment; nisyandena—by pouring down; mudam—happiness; sudha—of nectar; madhurima—of the sweetness; ahankara—the pride; sankocanah—minimizing; prema—love; sundari—beautiful friend; nanda-nandana-parah—fixed upon the son of Maharaja Nanda; jagarti—develops; yasya—of whom; antare—in the heart; jnayante—are perceived; sphutam—explicitly; asya—of that; vakra—crooked; madhurah—and sweet; tena—by him; eva—alone; vikrantayah—the influences.

TRANSLATION

’My dear beautiful friend, if one develops love of Godhead, love of Krsna, the son of Nanda Maharaja, all the bitter and sweet influences of this love will manifest in one’s heart. Such love of Godhead acts in two ways. The poisonous effects of love of Godhead defeat the severe and fresh poison of the serpent. Yet there is simultaneously transcendental bliss, which pours down and defeats the poisonous effects of a snake, as well as the happiness derived from pouring nectar on one’s head. It is perceived as doubly effective, simultaneously poisonous and nectarean.’ "

PURPORT

This verse is from the Vidagdha-madhava (2.18). It also appears in Madhya-lila, Chapter Two, verse 52. It is spoken by Paurnamasi.