Tenth Canto of the Srimad-Bhagavatam: Difference between revisions
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[[Category:Ten]] | |||
[[Category:Tenth]] | [[Category:Tenth]] | ||
[[Category:Cantos of the Srimad-Bhagavatam]] | [[Category:Cantos of the Srimad-Bhagavatam|210]] | ||
[[Category:The First Nine Cantos of the Srimad-Bhagavatam|210]] | |||
[[category:Srimad-Bhagavatam (Bhagavata Purana)]] | [[category:Srimad-Bhagavatam (Bhagavata Purana)]] | ||
[[category:Srimad-Bhagavatam - Bhagavata Purana - Umbrella Category]] | [[category:Srimad-Bhagavatam - Bhagavata Purana - Umbrella Category]] | ||
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Latest revision as of 09:00, 21 April 2024
Subcategories
This category has only the following subcategory.
T
Pages in category "Tenth Canto of the Srimad-Bhagavatam"
The following 95 pages are in this category, out of 95 total.
A
- A pure devotee of the Lord, therefore (because the first nine Cantos lay the ground for the tenth Canto), must begin reading or hearing Srimad-Bhagavatam from the very beginning, and not from the Tenth Canto
- As factually stated by Nanda Maharaja (in Chapter 8 of SB Canto 10), Garga Muni, being a devotee, had no needs. Similarly, when Krsna comes He has no needs, for He is purna, atmarama
- As we shall find in the Tenth Canto of this great literature, Lord Sri Krsna exhibited His humanly impossible activities even from the days of His lying on the lap of His mother
- At the beginning of this chapter 7 (of SB Canto 10), two extra verses sometimes appear: In this way, to chastise and kill the demons, the child Krsna demonstrated many activities in the house of Nanda, & the inhabitants of Vraja enjoyed these incidents
I
- Impersonalists twist some meanings out of Bhagavatam to suit and support impersonalist views, and the professional readers at once go to the Tenth Canto to misexplain the most confidential part of the Lord's pastimes
- In Bhagavad-gita the Lord Himself says that there is no paratattva (summum bonum) superior to Himself. Therefore the author at once worships the paratattva, Sri Krsna, whose transcendental activities are described in the Tenth Canto
- In order to learn how Krsna's pleasure can be obtained, we must read the Tenth Canto of Srimad-Bhagavatam in which Krsna's pleasure potency is displayed in His pastimes with Radharani and the damsels of Vraja
- In other words, one should not try to understand the topics of the Tenth Canto, such as the rasa-lila (love dance), unless he has spontaneous attraction for Srimad-Bhagavatam
- In Srimad-Bhagavatam, Tenth Canto, it is stated that Rudra is always associated with the material nature when she is in the neutral, unmanifested stage, but when the modes of material nature are agitated he associates with material nature from a distance
- In the Bhagavatam there are twelve cantos, and the rasa-lila is in the tenth. So before one comes to the Tenth Canto, the Bhagavatam tries to convince him of the transcendental nature of the Absolute Truth
- In the Bhagavatam, the transcendental nature of the Lord is described in nine cantos, and in the Tenth Canto His specific pastimes are taken up. All this becomes known as one's reading of this literature progresses
- In the Dasama-skandha, the Tenth Canto, of Srimad-Bhagavatam, there is a vivid description of how the demons appear before Krsna in various wonderful forms. For instance, Bakasura appeared before Krsna and His cowherd boyfriends as a gigantic crane
- In the Srimad-Bhagavatam the rasa dance pastimes are delineated in the Tenth Canto
- In the Tenth Canto of Srimad-Bhagavatam there is a description of the asraya-tattva, Sri Krsna. There are two tattvas - asraya-tattva and asrita-tattva. Asraya-tattva is the objective, and asrita-tattva is the subjective
- In the Tenth Canto of Srimad-Bhagavatam, Chapter 68, verse 23, there is a nice example of Rukmini shedding tears of lamentation
- In the Tenth Canto of Srimad-Bhagavatam, Chapter Six, verse 43, it is stated, When magnanimous, broad-hearted Nanda Maharaja came back from a tour, he immediately took his son Krsna on his lap and experienced transcendental bliss by smelling His head
- In the Tenth Canto of Srimad-Bhagavatam, that spiritual nature, the spiritual world, is described as Vrndavana, Goloka Vrndavana or Vraja-dhama
- In the Tenth Canto the sublime dealings with His conjugal associates, the gopis, as well as with His married wives at Dvaraka are mentioned
- In the Tenth Canto, 12th Chapter, 41st verse of Srimad-Bhagavatam, Maharaj Pariksit asked about Lord Ananta, and upon hearing this question, Sukadeva Gosvami began to show symptoms of collapsing
- In the Tenth Canto, 21st Chapter, 13th verse of Srimad-Bhagavatam there is an appreciation by the gopis of the inertia of the cows in Vrndavana
- In the Tenth Canto, 25th Chapter, 11th verse of Srimad-Bhagavatam, there is a description of Indra's causing severe torrents of rain at Vrndavana
- In the Tenth Canto, 39th Chapter, 48th verse, of Srimad-Bhagavatam a faltering voice due to jubilation was exhibited by Akrura when he was shown all of the Vaikuntha planets resting within the River Yamuna
- In the Tenth Canto, 71st Chapter, 35th verse of the Srimad-Bhagavatam, there is an account of King Yudhisthira's bewilderment after his bringing Krsna into his home with the greatest respect
- In the Tenth Canto, 7th Chapter, 22nd verse of Srimad-Bhagavatam there is a description of Krsna's being taken away by the whirlwind demon Trnavarta. As Krsna was being thus carried up into the sky, all the gopis began to cry aloud
- In the Tenth Canto, Ninth Chapter, verse 21, it is said, This Personality of Godhead (Krsna), appearing as the son of a cowherd damsel, is easily available and understandable to devotees
- It is said in the Tenth Canto of the Srimad-Bhagavatam that Lord Krsna is just like the moon and the internal potential damsels are like the stars around the moon
- It is stated in the Tenth Canto, 33rd Chapter, 12th verse of Srimad-Bhagavatam: "Upon seeing that Krsna's arm was placed on her shoulder, one of the gopis engaged in the rasa dance became so ecstatically happy that she kissed Krsna on His cheek"
K
- King Kamsa's death is only briefly described here (SB 3.3.1) because such pastimes are vividly and elaborately described in the Tenth Canto. The Lord (Krsna) proved to be a worthy son of His parents even at the age of sixteen years
- Knowing myself to be an old man and almost an invalid because of rheumatism, I have already translated the essence of all literatures, the Tenth Canto of Srimad-Bhagavatam, as a summary study in English
- Krsna is described in the Tenth Canto, and other nine cantos are specially meant for purifying the heart and understanding real Krsna, as it is described in the Bhagavad-gita
- Krsna's transcendental activities are specifically described in the Tenth Canto of Srimad-Bhagavatam, the canto which is considered to contain the substance of the whole work
O
- Oh, Tenth Canto
- Once the sons of Kuvera fell in the wrath of Narada for being intoxicated, but afterwards they regained their original forms by the grace of the Lord Sri Krsna. We shall find this story in the Tenth Canto
- One must complete the purificatory process by assimilating the contents of the first nine cantos. Then one should be admitted into the realm of the Tenth Canto of Srimad-Bhagavatam
- One should not approach the Tenth Canto immediately but should approach it gradually by developing knowledge of the subject matters first presented
- One who cannot understand Krsna, what is Krsna, which Vyasadeva has described what is Krsna in nine cantos, to understand Krsna, and then in the Tenth Canto he begins the birth advent of Krsna
- One's life is successful if he is absorbed in the attraction of Krsna's strength, beauty and pastimes as described in the Tenth Canto of Srimad-Bhagavatam
R
- Regarding the attractiveness of Krsna's bodily beauty and the sound vibration of His flute, in the Tenth Canto, 29th Chapter, 37th verse, of Srimad-Bhagavatam, the gopis address Krsna as follows
- Rukmini had ten sons, like Pradyumna. There were other queens also taken away by Lord Krsna in a similar way. Full description of this beautiful booty of Lord Krsna will be given in the Tenth Canto
- Rupa Gosvami writes, "I think now it is certain that gradually the verses of the Tenth Canto of Srimad-Bhagavatam, describing the pastimes of the Lord, will enter your ears and go into your heart"
S
- Sri Gunaraja Khan was one of the topmost Vaisnavas, and he translated the Tenth and Eleventh Cantos of Srimad-Bhagavatam for the understanding of the common man
- Sridhara Svami gives a clear analytical study (of the spiritual and material energies) in his commentary on the first verse of the Tenth Canto of Srimad-Bhagavatam. Sridhara Svami was accepted by Lord Caitanya as an authorized commentator on SB
- Srila Sanatana Gosvami wrote a commentary on the Tenth Canto known as Dasama-tippani, from which we can understand the transcendental pastimes and ecstatic love of Lord Krsna
- Srila Sukadeva Gosvami has concluded the Ninetieth Chapter of the Tenth Canto of Srimad-Bhagavatam by pointing out five particular excellences of Lord Krsna
- Srimad-Bhagavatam gives the full narration of Krsna’s transcendental activities. The first nine cantos explain who Krsna is, and the Lord’s birth and activities are narrated in the Tenth Canto
T
- Tenth Canto is ninety chapters. That is Krsna's face, Krsna's beautiful face. Everyone is attracted by the smiling face of Krsna
- The beauty of Krsna, especially the beauty of His face, is described in SB 9.24.65. At the end of the Ninth Canto, in the Twenty-fourth Chapter, we find a hint of Krsna's beauty. Now we are proceeding to the Tenth Canto, which is considered Krsna's head
- The Bhagavatam deals exclusively with devotional service. Only one who studies Srimad-Bhagavatam in the spirit of renunciation can understand the pastimes of the Lord which are described in the Tenth Canto
- The Bhakti-ratnakara refers to the following books by Sanatana Gosvami: (1) the Brhad-bhagavatamrta, (2) the Hari-bhakti-vilasa and his commentary Dig-darsini, (3) the Lila-stava and (4) the commentary on the Tenth Canto of SB known as Vaisnava-tosani
- The concluding portion of Krsna's pastimes is found in the Ninetieth Chapter of the Tenth Canto of Srimad-Bhagavatam, and in this chapter Sukadeva Gosvami wanted to explain how Krsna lived happily at Dvaraka with all opulences
- The Dasama-tippani is a commentary on the Tenth Canto of Srimad-Bhagavatam. Another name for this commentary is Brhad-vaisnava-tosani-tika. In the Bhakti-ratnakara, it is said that the Dasama-tippani was finished in 1476 Sakabda - A.D. 1554
- The elaborate description of the above (Vrndavana, Goloka Vrndavana or Vraja-dhama) - mentioned sloka from the Ninth Canto - jato gatah pitr-grhad (SB 9.24.66) - will be found here, in the Tenth Canto
- The entire Srimad-Bhagavata Purana is the embodiment of Krsna's form, and the Tenth Canto is His face
- The evidence of the truth of these talks is found in Srimad-Bhagavatam. There, in the section of the Tenth Canto known as the Bhramara-gita, "The Song to the Bumblebee," Srimati Radharani speaks insanely in ecstatic love for Krsna
- The following verse (CC Madhya 8.5) was composed by Sridhara Svami in his commentary on the Tenth Canto of Srimad-Bhagavatam - SB 10.87.1
- The Gopinatha Deity is Krsna as master and proprietor of the gopis. He attracted all the gopis, or cowherd girls, by the sound of His flute, and when they came, He danced with them. These activities are all described in the Tenth Canto of SB
- The sixteen thousand cowherd damsels are a display of sixteen varieties of internal potencies. This will be more elaborately explained in the Tenth Canto
- The smiling face of the Lord is the Tenth Canto of Srimad-Bhagavatam, and there are many upstarts who at once try to begin with the Tenth Canto and especially with the five chapters which delineate the rasa-lila of the Lord
- The songs of the queens at Dvaraka, which are mentioned at the end of the Tenth Canto of Srimad-Bhagavatam, have a very special meaning. They are not understood even by the most learned scholars
- The Tattvavadis, or followers of Madhvacarya, do not accept the incident of Lord Brahma’s illusion, which is recorded in the Tenth Canto of Srimad-Bhagavatam
- The Tenth Canto (of Srimad-Bhagavatam) is the actual center of all discussions of mukti because the Personality of Godhead Sri Krsna, who is the tenth subject discussed in Srimad-Bhagavatam, is the exclusive subject of the Tenth Canto
- The Tenth Canto (of the Srimad-Bhagavatam) is distinct from the first nine cantos because it deals directly with the transcendental activities of the Personality of Godhead Sri Krsna
- The Tenth Canto of Srimad-Bhagavatam reveals the tenth object, the Supreme Personality of Godhead, who is the shelter of all surrendered souls. He is known as Krsna, and He is the ultimate source of all the universes. Let me offer my obeisances unto Him
- The time was very short, and naturally Sukadeva Gosvami could have gone directly to the Tenth Canto to make a shortcut of the whole thing, as generally done by the professional reciters
- The verse quoted in this connection (of CC Adi 14.68) is the twenty-fifth verse of the Twenty-second Chapter, Tenth Canto, of Srimad-Bhagavatam
- There are also instances of pralaya in distress. One such example is described in the Tenth Canto, 39th Chapter, 14th verse of Srimad-Bhagavatam, where Sukadeva Gosvami tells King Pariksit
- There is a class of less intelligent devotees of the Bhagavata Purana who desire to relish at once the activities of the Lord narrated in the Tenth Canto without first understanding the primary cantos
- These (foolish devotees) readers are specifically told herein that the other cantos of the Bhagavatam are as important as the Tenth Canto
- These dealings (between Krsna and the gopis) are given in the Tenth Canto of Srimad-Bhagavatam, and this indicates that we have to understand Krsna as He is by first reading the preceding nine cantos
- These songs (from CC Antya 19.108) of Srimad-Bhagavatam are verses 15-24 of the Ninetieth Chapter of the Tenth Canto
- These verses (of CC Madhya 14.8) from Srimad-Bhagavatam, Canto Ten, Chapter Thirty-one, constitute what is known as the Gopi-gita
- They (less intelligent devotees) are under the false impression that the other cantos are not concerned with Krsna, and thus more foolishly than intelligently they take to the reading of the Tenth Canto
- This (CC Adi 2.95) quotation comes from Sridhara Svami’s commentary on the first verse of the Tenth Canto, Chapter One, of Srimad-Bhagavatam
- This (how Krsna displayed His transcendental characteristics) is very vividly described in Srimad-Bhagavatam - specifically, the Tenth Canto - and thus the basis of this book will be the Tenth Canto of Srimad-Bhagavatam
- This (reading or hearing Srimad-Bhagavatam starting from the Tenth Canto) is forbidden by such authorities as Sri Brahmaji
- This entire (tenth) canto of Srimad-Bhagavatam is full of activities performed in Vrndavana and Dvaraka. The first forty chapters describe Krsna's Vrndavana affairs, and the next fifty describe Krsna's activities in Dvaraka
- This is the foundation of Bhagavata. The nine cantos must be thoroughly read, then one can understand what is rasa-lila and what is Krsna
- To learn how Krsna enjoys pleasure, we must study the first nine cantos of Srimad-Bhagavatam, and then we should study the Tenth Canto, in which Krsna's pleasure potency is displayed in His pastimes with Radharani and the damsels of Vraja - CC Intro
- To understand Krsna, Vyasadeva has devoted nine chapter, nine cantos. And then, from Tenth Canto, he begins Krsna-lila
- Try to understand the philosophy of Bhagavata. Then gradually, when you are accustomed to understand what is Krsna, then go to the Tenth Canto, wherein Krsna's rasa dance is described
U
- Unfortunately, unintelligent people turn at once to the sports of Krsna in the Dasama-skandha, the Tenth Canto (of SB) - CC Intro
- Unfortunately, unintelligent people turn at once to the sports of Krsna in the Dasama-skandha, the Tenth Canto - SB
- Unscrupulous people go at once to the Tenth Canto, especially to the five chapters which describe the Lord's rasa dance. However, this portion of Srimad-Bhagavatam is the most confidential part of that great literature
W
- We have several times been requested by so-called devotees to take up the Tenth Canto immediately, but we have refrained from such an action because we wish to present SB as the science of God and not as a sensuous understanding for the conditioned soul
- When we have understood these nine cantos, we can go on to the tenth. In this way we can understand that Krsna's activities are not ordinary but divine, and we can immediately become liberated