Bhaktisiddhanta Sarasvati quotes...

Expressions researched:
"Bhaktisiddhanta Sarasvati Thakura again quotes" |"Bhaktisiddhanta Sarasvati Thakura next quotes" |"Bhaktisiddhanta Sarasvati Thakura quotes" |"quoted by Bhaktisiddhanta Sarasvati" |"quoted by Bhaktisiddhanta Sarasvati"

Notes from the compiler: Error creating Table of Contents for this quote; Adi 13.86

BG Chapters 7 - 12

As it is quoted by Bhaktisiddhānta Sarasvatī Gosvāmī in his Anubhāṣya comments on Caitanya-caritāmṛta, deha-dehi-vibhedo 'yaṁ neśvare vidyate kvacit. This means that there is no difference in Kṛṣṇa, the Supreme Lord, between Himself and His body.

BG 9.34, Translation and Purport:

Engage your mind always in thinking of Me, become My devotee, offer obeisances to Me and worship Me. Being completely absorbed in Me, surely you will come to Me.

In this verse it is clearly indicated that Kṛṣṇa consciousness is the only means of being delivered from the clutches of this contaminated material world. Sometimes unscrupulous commentators distort the meaning of what is clearly stated here: that all devotional service should be offered to the Supreme Personality of Godhead, Kṛṣṇa. Unfortunately, unscrupulous commentators divert the mind of the reader to that which is not at all feasible. Such commentators do not know that there is no difference between Kṛṣṇa's mind and Kṛṣṇa. Kṛṣṇa is not an ordinary human being; He is Absolute Truth. His body, His mind and He Himself are one and absolute. It is stated in the Kūrma Purāṇa. As it is quoted by Bhaktisiddhānta Sarasvatī Gosvāmī in his Anubhāṣya comments on Caitanya-caritāmṛta (Fifth Chapter, Ādi-līlā, verses 41-48), deha-dehi-vibhedo 'yaṁ neśvare vidyate kvacit. This means that there is no difference in Kṛṣṇa, the Supreme Lord, between Himself and His body. But because the commentators do not know this science of Kṛṣṇa, they hide Kṛṣṇa and divide His personality from His mind or from His body. Although this is sheer ignorance of the science of Kṛṣṇa, some men make profit out of misleading people.

CC Adi-lila

When one becomes inimical to the Supreme Personality of Godhead, adopting an atheistic attitude (āsuraṁ bhāvam), even if one is a learned scholar the essence of knowledge does not become manifested in him; in other words, the essence of his knowledge is stolen by the illusory energy of the Lord. In this connection Śrī Bhaktisiddhānta Sarasvatī Ṭhākura quotes a mantra from the Śvetāśvatara Upaniṣad.

CC Adi 17.257, Purport:

In the Bhagavad-gītā it is said, māyayāpahṛta-jñānā āsuraṁ bhāvam āśritāḥ: when one becomes inimical to the Supreme Personality of Godhead, adopting an atheistic attitude (āsuraṁ bhāvam), even if one is a learned scholar the essence of knowledge does not become manifested in him; in other words, the essence of his knowledge is stolen by the illusory energy of the Lord. In this connection Śrī Bhaktisiddhānta Sarasvatī Ṭhākura quotes a mantra from the Śvetāśvatara Upaniṣad (6.23):

yasya deve parā bhaktir yathā deve tathā gurau

tasyaite kathitā hy arthāḥ prakāśante mahātmanaḥ

(ŚU 6.23)

The purport of this verse is that one who is unflinchingly devoted to the Supreme Personality of Godhead, Viṣṇu, and similarly devoted to the spiritual master, with no ulterior motive, becomes a master of all knowledge. In the heart of such a devotee, the real essence of the Vedic knowledge becomes manifested. This essence is nothing but surrender unto the Supreme Personality of Godhead (vedaiś ca sarvair aham eva vedyaḥ [Bg. 15.15)). Only unto one who fully surrenders to the spiritual master and the Supreme Lord does the essence of Vedic knowledge become manifested, not to anyone else.

CC Madhya-lila

"Topics about Kṛṣṇa are like waves of nectar. If such nectar does not enter one’s ear, the ear is no better than the hole of a damaged conchshell. Such an ear is created for no purpose." In this connection, Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura quotes the following verses from Śrīmad-Bhāgavatam.

CC Madhya 2.31, Translation and Purport:

"Topics about Kṛṣṇa are like waves of nectar. If such nectar does not enter one’s ear, the ear is no better than the hole of a damaged conchshell. Such an ear is created for no purpose.

In this connection, Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura quotes the following verses from Śrīmad-Bhāgavatam (2.3.17–24):

āyur harati vai puṁsām udyann astaṁ ca yann asau

tasyarte yat-kṣaṇo nīta uttama-śloka-vārtayā

taravaḥ kiṁ na jīvanti bhastrāḥ kiṁ na śvasanty uta

na khādanti na mehanti kiṁ grāme paśavo ’pare

śva-viḍ-varāhoṣṭra-kharaiḥ saṁstutaḥ puruṣaḥ paśuḥ

na yat-karṇa-pathopeto jātu nāma gadāgrajaḥ

bile batorukrama-vikramān ye

na śṛṇvataḥ karṇa-puṭe narasya

jihvāsatī dārdurikeva sūta

na copagāyaty urugāya-gāthāḥ

bhāraḥ paraṁ paṭṭa-kirīṭa-juṣṭam

apy uttamāṅgaṁ na namen mukundam

śāvau karau no kurute saparyāṁ

harer lasat-kāñcana-kaṅkaṇau vā

barhāyite te nayane narāṇāṁ

liṅgāni viṣṇor na nirīkṣato ye

pādau nṛṇāṁ tau druma-janma-bhājau

kṣetrāṇi nānuvrajato harer yau

jīvañ-chavo bhāgavatāṅghri-reṇuṁ

na jātu martyo ’bhilabheta yas tu

śrī-viṣṇu-padyā manujas tulasyāḥ

śvasañ-chavo yas tu na veda gandham

tad aśma-sāraṁ hṛdayaṁ batedaṁ

yad gṛhyamāṇair hari-nāmadheyaiḥ

na vikriyetātha yadā vikāro

netre jalaṁ gātra-ruheṣu harṣaḥ

"Both by rising and setting, the sun decreases the duration of life of everyone except one who utilizes the time by discussing topics of the all-good Personality of Godhead. Do the trees not live? Do the bellows of the blacksmith not breathe? All around us, do the beasts not eat and discharge semen? Men who are like dogs, hogs, camels and asses praise those men who never listen to the transcendental pastimes of Lord Śrī Kṛṣṇa, the deliverer from evils. One who has not listened to the messages about the prowess and marvelous acts of the Personality of Godhead and has not sung or chanted loudly the worthy songs about the Lord should be considered to possess ears like the holes of snakes and a tongue like that of a frog. The upper portion of the body, though crowned with a silk turban, is only a heavy burden if not bowed down before the Personality of Godhead, who can award mukti (freedom). And the hands, though decorated with glittering bangles, are like those of a dead man if not engaged in the service of the Personality of Godhead Hari. The eyes which do not look at the symbolic representations of the Personality of Godhead Viṣṇu (His forms, names, qualities, etc.) are like those printed on the plumes of a peacock, and the legs which do not move to the holy places (where the Lord is remembered) are considered to be like tree trunks. The person who has not at any time received upon his head the dust from the feet of a pure devotee of the Lord is certainly a dead body. And the person who has never experienced the flavor of the tulasī leaves from the lotus feet of the Lord is also a dead body, although breathing. Certainly that heart is steel-framed which, in spite of one’s chanting the holy name of the Lord with concentration, does not change and feel ecstasy, at which time tears fill the eyes and the hairs stand on end."

"After the mahā-snāna was finished, the Deity was again massaged with scented oil and His body made glossy. Then the last bathing ceremony was performed with scented water kept within a conchshell." In his commentary on this occasion, Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura quotes from the Hari-bhakti-vilāsa.

CC Madhya 4.62, Translation and Purport:

After the mahā-snāna was finished, the Deity was again massaged with scented oil and His body made glossy. Then the last bathing ceremony was performed with scented water kept within a conchshell.

In his commentary on this occasion, Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura quotes from the Hari-bhakti-vilāsa. Barley powder, wheat powder, vermilion powder, urad dhal powder and another powder preparation called āvāṭā (made by mixing banana powder and ground rice) are applied to the Deity’s body with a brush made from the hair at the end of a cow’s tail. This produces a nice finish. The oil smeared over the body of the Deity should be scented. To perform the mahā-snāna, at least two and a half mānas (about twenty-four gallons) of water are needed to pour over the body of the Deity.

Adhirūḍha-bhāva, or adhirūḍha-mahābhāva, is explained in the Ujjvala-nīlamaṇi of Śrīla Rūpa Gosvāmī. Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura quotes Rūpa Gosvāmī.

CC Madhya 6.13, Purport:

Adhirūḍha-bhāva, or adhirūḍha-mahābhāva, is explained in the Ujjvala-nīlamaṇi of Śrīla Rūpa Gosvāmī. Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura quotes Rūpa Gosvāmī as follows: "The loving propensity of the āśraya (devotee) toward the viṣaya (Lord) becomes so ecstatic that even after enjoying the company of the beloved, the devotee feels that his enjoyment is insufficient. At such a time, the lover sees the beloved in different ways. Such a development of ecstasy is called anurāga. When anurāga reaches its highest limit and becomes perceivable in the body, it is called bhāva. When the bodily symptoms are not very distinct, however, the emotional state is still called anurāga, not bhāva. When bhāva ecstasy is intensified, it is called mahā-bhāva. The symptoms of mahā-bhāva are visible only in the bodies of eternal associates like the gopīs."

In his Anubhāṣya, Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura quotes the following verse from the Vedic literature describing udbhāsvara.

CC Madhya 23.51, Purport:

In his Anubhāṣya, Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura quotes the following verse from the Vedic literature describing udbhāsvara:

udbhāsante sva-dhāmnīti proktā udbhāsvarā budhaiḥ

nīvy-uttarīya-dhammilla-sraṁsanaṁ gātra-moṭanam

jṛmbhā ghrāṇasya phullatvaṁ niśvāsādyāś ca te matāḥ

"The ecstatic symptoms manifest in the external body of a person in ecstatic love are called udbhāsvara by learned scholars. Some of these are a slackening of the belt and a dropping of clothes and hair. Others are bodily contortions, yawning, a trembling of the front portion of the nostrils, heavy breathing, hiccupping and falling down and rolling on the ground. These are the external manifestations of emotional love." Stambha and other symptoms are described in Madhya-līlā 14.167.

In his Anubhāṣya, Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura quotes the following verse from the Vedic literature describing udbhāsvara.

CC Madhya 23.51, Purport:

"The many external ecstatic symptoms, or bodily transformations which indicate ecstatic emotions in the mind and which are also called udbhāsvara, are the anubhāvas, or subordinate ecstatic expressions of love." Some of these symptoms are dancing, falling down and rolling on the ground, singing and crying very loudly, bodily contortions, loud vibrations, yawning, deep breathing, disregard for others, the frothing of saliva, mad laughter, spitting, hiccups and other, similar symptoms. All these symptoms are divided into two divisions—śīta and kṣepaṇa. Singing, yawning and so on are called śīta. Dancing and bodily contortions are called kṣepaṇa.

In his Anubhāṣya, Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura quotes the following verse from the Vedic literature describing udbhāsvara:

udbhāsante sva-dhāmnīti proktā udbhāsvarā budhaiḥ

nīvy-uttarīya-dhammilla-sraṁsanaṁ gātra-moṭanam

jṛmbhā ghrāṇasya phullatvaṁ niśvāsādyāś ca te matāḥ

CC Antya-lila

Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura quotes from the Nāṭaka-candrikā.

CC Antya 1.35, Translation and Purport:

In Vṛndāvana, Rūpa Gosvāmī began to write a drama. In particular, he composed the introductory verses to invoke good fortune.

Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura quotes from the Nāṭaka-candrikā, wherein it is written:

prastāvanāyās tu mukhe nāndī kāryā śubhāvahā

āśīr-namaskriyā-vastu-nirdeśānyatamānvitā

aṣṭābhir daśabhir yuktā kiṁ vā dvādaśabhiḥ padaiḥ

candra-nāmāṅkitā prāyo maṅgalārtha-padojjvalā

maṅgalaṁ cakra-kamala-cakora-kumudādikam

"This introduction is technically called udghātyaka, and the whole scene is called vīthī. You are so expert in dramatic expression that each of my statements before you is like a wave from an ocean of impudence." In this connection Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura again quotes the following verse from the Sāhitya-darpaṇa.

CC Antya 1.185, Translation and Purport:

"This introduction is technically called udghātyaka, and the whole scene is called vīthī. You are so expert in dramatic expression that each of my statements before you is like a wave from an ocean of impudence.

In this connection Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura again quotes the following verse from the Sāhitya-darpaṇa (6.288):

udghātyakaḥ kathodghātaḥ prayogātiśayas tathā

pravartakāvalagite pañca prastāvanā-bhidāḥ

Thus the technical names for the five kinds of introductory scenes of the drama are listed as udghātyaka, kathodghāta, prayogātiśaya, pravartaka and avalagita. When Śrīla Rāmānanda Rāya inquired which of these five Śrīla Rūpa Gosvāmī had used to accomplish the technical introduction to his drama Lalita-mādhava, Rūpa Gosvāmī replied that he had used the introduction technically called udghātyaka. According to the Bhāratī-vṛtti, three technical terms used are prarocanā, vīthī and prahasanā. Thus Rūpa Gosvāmī also mentioned vīthī, which is a technical term for a certain type of expression. According to the Sāhitya-darpaṇa (6.520):

vīthyām eko bhaved aṅkaḥ kaścid eko "tra kalpyate

ākāśa-bhāṣitair uktaiś citrāṁ pratyuktim āśritaḥ

The vīthī beginning of a drama consists of only one scene. In that scene, one of the heroes enters the stage, and by means of opposing statements uttered by a voice from the sky (offstage), he introduces the abundant conjugal mellow and other mellows to some degree. In the course of the introduction, all the seeds of the play are planted. This introduction is called udghātyaka because the player dances on the stage. This term also indicates that the full moon enters the stage. In this case, when the word naṭatā (“dancing on the stage”) is linked with the moon, its meaning is obscure, but because the meaning becomes very clear when the word naṭatā is linked with Kṛṣṇa, this type of introduction is called udghātyaka.

Referring to the Bhakti-sandarbha, Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura quotes the following statements from the Garuḍa Purāṇa in this connection.

CC Antya 3.222, Purport:

Śrāddha is prasādam offered to the forefathers at a certain date of the year or month. The śrāddha-pātra, or plate offered to the forefathers, is then offered to the best of the brāhmaṇas in society. Instead of offering the śrāddha-pātra to any other brāhmaṇa, Advaita Ācārya offered it to Haridāsa Ṭhākura, considering him greater than any of the foremost brāhmaṇas. This act by Śrī Advaita Ācārya proves that Haridāsa Ṭhākura was always situated in a transcendental position and was therefore always greater than even the most exalted brāhmaṇa, for he was situated above the mode of goodness of the material world. Referring to the Bhakti-sandarbha, text 177, Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura quotes the following statements from the Garuḍa Purāṇa in this connection:

brāhmaṇānāṁ sahasrebhyaḥ satra-yājī viśiṣyate

satra-yāji-sahasrebhyaḥ sarva-vedānta-pāragaḥ

sarva-vedānta-vit-koṭyā viṣṇu-bhakto viśiṣyate

vaiṣṇavānāṁ sahasrebhya ekānty eko viśiṣyate

"A brāhmaṇa qualified to offer sacrifices is better than an ordinary brāhmaṇa, and better than such a brāhmaṇa is one who has studied all the Vedic scriptures. Among many such brāhmaṇas, one who is a devotee of Lord Viṣṇu is the best, and among many such Vaiṣṇavas, one who fully engages in the service of the Lord is the best."

Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura quotes the following definition of rasābhāsa from the Bhakti-rasāmṛta-sindhu.

CC Antya 5.97, Translation and Purport:

If there were a hint that transcendental mellows overlapped in a manner contrary to the principles of the bhakti cult, Śrī Caitanya Mahāprabhu would not tolerate it and would become very angry.

Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura quotes the following definition of rasābhāsa from the Bhakti-rasāmṛta-sindhu (Uttara-vibhāga, Ninth Wave, 1–3, 33, 38 and 41):

pūrvam evānuśiṣṭena vikalā rasa-lakṣaṇā

rasā eva rasābhāsā rasajñair anukīrtitāḥ

syus tridhoparasāś cānurasāś cāparasāś ca te

uttamā madhyamāḥ proktāḥ kaniṣṭhāś cety amī kramāt

prāptaiḥ sthāyi-vibhāvānubhāvādyais tu virūpatām

śāntādayo rasā eva dvādaśoparasā matāḥ

bhaktādibhir vibhāvādyaiḥ kṛṣṇa-sambandha-varjitaiḥ

rasā hāsyādayaḥ sapta śāntaś cānurasā matāḥ

kṛṣṇa-tat-pratipakṣaś ced viṣayāśrayatāṁ gatāḥ

hāsādīnāṁ tadā te "tra prājñair aparasā matāḥ

bhāvāḥ sarve tadābhāsā rasābhāsāś ca kecana

amī prokta-rasābhijñaiḥ sarve "pi rasanād rasāḥ

"A mellow temporarily appearing transcendental but contradicting mellows previously stated and lacking some of a mellow’s necessities is called rasābhāsa, an overlapping mellow, by advanced devotees who know how to taste transcendental mellows. Such mellows are called uparasa (submellows), anurasa (imitation transcendental mellows) and aparasa (opposing transcendental mellows). Thus the overlapping of transcendental mellows is described as being first grade, second grade or third grade. When the twelve mellows—such as neutrality, servitorship and friendship—are characterized by adverse sthāyi-bhāva, vibhāva and anubhāva ecstasies, they are known as uparasa, submellows. When the seven indirect transcendental mellows and the dried-up mellow of neutrality are produced by devotees and moods not directly related to Kṛṣṇa and devotional service in ecstatic love, they are described as anurasa, imitation mellows. If Kṛṣṇa and the enemies who harbor feelings of opposition toward Him are respectively the object and abodes of the mellow of laughter, the resulting feelings are called aparasa, opposing mellows. Experts in distinguishing one mellow from another sometimes accept some overlapping transcendental mellows (rasābhāsa) as rasas due to their being pleasurable and tasteful." Śrīla Viśvanātha Cakravartī Ṭhākura says, paraspara-vairayor yadi yogas tadā rasābhāsaḥ: "When two opposing transcendental mellows overlap, they produce rasābhāsa, or an overlapping of transcendental mellows."

1971 Correspondence

In the Kurma Purana, as it is quoted by Bhaktisiddhanta Sarasvati Goswami in his Anubhasya comments of Caitanya Caritamrta, 5th chapter Ādi lila, verses 41-48, "deha dehi bibhedo 'yang nesvare vidyate kvacit" which means that there is no difference in Krishna, the Supreme Lord, between Himself and His body.

Letter to Satsvarupa -- Calcutta 9 February, 1971:

I hope that everything is going on well there with the production of Bhagavad-gita. In this regards please make the following addition to the text:

Chapter IX, The Most Confidential Knowledge, in the purport of the 34th verse you will read "Krishna is not an ordinary human being; He is the Absolute Truth, His Body, Mind and He Himself are One and Absolute". Immediately therefore you can add the following: In the Kurma Purana, as it is quoted by Bhaktisiddhanta Sarasvati Goswami in his Anubhasya comments of Caitanya Caritamrta, 5th chapter Ādi lila, verses 41-48, "deha dehi bibhedo 'yang nesvare vidyate kvacit" which means that there is no difference in Krishna, the Supreme Lord, between Himself and His body.

This evidence is given here to show that there is no distinction between Krishna's body and Himself since such commentators as Dr. Radhakrishnan make such distinction.