One day Śrī Caitanya Mahāprabhu, Rāmānanda Rāya, Sārvabhauma Bhaṭṭācārya and others went to the place of Haridāsa Ṭhākura and heard some of the verses Rūpa Gosvāmī had composed for his books Lalita-mādhava and Vidagdha-mādhava. After examining the manuscripts of these two books, Rāmānanda Rāya approved and appreciated them very much.
- 1 Sri Caitanya-caritamrta
- 2 Other Books by Srila Prabhupada
- 3 Lectures
"Who manifests an abundance of sweetness greater than Mine, which has never been experienced before and which causes wonder to all? Alas, I Myself, My mind bewildered upon seeing this beauty, impetuously desire to enjoy it like Śrīmatī Rādhārāṇī."
This text is from the Lalita-mādhava (8.34) of Śrīla Rūpa Gosvāmī. It was spoken by Lord Kṛṣṇa when He saw the beauty of His own reflection in a jeweled fountain in Dvārakā.
“"My dear auspicious Rādhārāṇī, Your body is the source of all beauty. Your red lips are softer than the sense of immortal sweetness, Your face bears the aroma of a lotus flower, Your sweet words defeat the vibrations of the cuckoo, and Your limbs are cooler than the pulp of sandalwood. All My transcendental senses are overwhelmed in ecstatic pleasure by tasting You, who are completely decorated by beautiful qualities."
This verse, spoken by Lord Kṛṣṇa to Rādhā, is recorded in the Lalita-mādhava (9.9) of Śrīla Rūpa Gosvāmī.
In the beginning one should very regularly chant Śrī Gaurasundara's holy name and then chant the holy name of Lord Nityānanda. Thus one's heart will be cleansed of impure desires for material enjoyment. Then one can approach Vṛndāvana-dhāma to worship Lord Kṛṣṇa. Unless one is favored by Lord Caitanya and Nityānanda, there is no need to go to Vṛndāvana, for unless one's mind is purified, he cannot see Vṛndāvana, even if he goes there. Actually going to Vṛndāvana involves taking shelter of the six Gosvāmīs by reading the Bhakti-rasāmṛta-sindhu, Vidagdha-mādhava, Lalita-mādhava and the other books that they have given. In this way one can understand the transcendental loving affairs between Rādhā and Kṛṣṇa. Kabe hāma bujhaba se yugala-pirīti. The conjugal love between Rādhā and Kṛṣṇa is not an ordinary human affair; it is fully transcendental. In order to understand Rādhā and Kṛṣṇa, worship Them and engage in Their loving service, one must be guided by Śrī Caitanya Mahāprabhu, Nityānanda Prabhu and the six Gosvāmīs, Lord Caitanya's direct disciples.
In the Bhakti-ratnākara there is a list of the books Śrī Rūpa Gosvāmī compiled. Of all his books, the following sixteen are very popular among Vaiṣṇavas: (1) Haṁsadūta, (2) Uddhava-sandeśa, (3) Kṛṣṇa-janma-tithi-vidhi, (4 and 5) Rādhā-kṛṣṇa-gaṇoddeśa-dīpikā, Bṛhat (major) and Laghu (minor), (6) Stavamālā, (7) Vidagdha-mādhava, (8) Lalita-mādhava, (9) Dāna-keli-kaumudi, (10) Bhakti-rasāmṛta-sindhu (this is the most celebrated book by Śrī Rūpa Gosvāmī), (11) Ujjvala-nīlamaṇi, (12) Ākhyāta-candrikā, (13) Mathurā-mahimā, (14) Padyāvalī, (15) Nāṭaka-candrikā and (16) Laghu-bhāgavatāmṛta.
Śrī Caitanya Mahāprabhu used to praise the handwriting of Rūpa Gosvāmī. Śrīla Rūpa Gosvāmī could compose verses according to the desires of Śrī Caitanya Mahāprabhu, and by His direction he wrote two books named Lalita-mādhava and Vidagdha-mādhava.
"Once Lord Śrī Kṛṣṇa playfully manifested Himself as Nārāyaṇa, with four victorious hands and a very beautiful form. When the gopīs saw this exalted form, however, their ecstatic feelings were crippled. Even a learned scholar, therefore, cannot understand the gopīs' ecstatic feelings, which are firmly fixed upon the original form of Lord Kṛṣṇa as the son of Nanda Mahārāja. The wonderful feelings of the gopīs in ecstatic parama-rasa with Kṛṣṇa constitute the greatest mystery in spiritual life."
This is a quotation from the Lalita-mādhava (6.54), by Śrīla Rūpa Gosvāmī.
The books compiled by Śrī Rūpa Gosvāmī include the Bhakti-rasāmṛta-sindhu, Vidagdha-mādhava, Ujjvala-nīlamaṇi and Lalita-mādhava.
Similarly, the Lalita-mādhava is a description of Kṛṣṇa's pastimes in Dvārakā. These pastimes were made into a drama, and the work was finished in the year 1459 Śakābda. The first part deals with festivities in the evening, the second with the killing of the Śaṅkhacūḍa, the third with maddened Śrīmatī Rādhārāṇī, the fourth with Rādhārāṇī’s proceeding toward Kṛṣṇa, the fifth with the achievement of Candrāvalī, the sixth with the achievement of Lalitā, the seventh with the meeting in Nava-vṛndāvana, the eighth with the enjoyment in Nava-vṛndāvana, the ninth with looking over pictures, and the tenth with complete satisfaction of the mind. Thus the entire drama is divided into ten parts.
The gopīs continued, "Dear Kṛṣṇa, the fragrance of the mellows of Your pastimes is spread throughout the forests of the glorious land of Vṛndāvana, which is surrounded by the sweetness of the district of Mathurā. In the congenial atmosphere of that wonderful land, You may enjoy Your pastimes, with Your flute dancing on Your lips, and surrounded by us, the gopīs, whose hearts are always enchanted by unpredictable ecstatic emotions."
This is a verse from the Lalita-mādhava (10.38), by Śrīla Rūpa Gosvāmī.
"Upon seeing His own reflection in a bejeweled pillar of His Dvārakā palace, Kṛṣṇa desired to embrace it, saying, "Alas, I have never seen such a person before. Who is He? Just by seeing Him I have become eager to embrace Him, exactly like Śrīmatī Rādhārāṇī.""”
This is a verse from Śrīla Rūpa Gosvāmī’s Lalita-mādhava (8.34).
“"Once Lord Śrī Kṛṣṇa playfully manifested Himself as Nārāyaṇa, with four victorious hands and a very beautiful form. When the gopīs saw this exalted form, however, their ecstatic feelings were crippled. A learned scholar, therefore, cannot understand the gopīs" ecstatic feelings, which are firmly fixed upon the original form of Lord Kṛṣṇa as the son of Nanda Mahārāja. The wonderful feelings of the gopīs in ecstatic parama-rasa with Kṛṣṇa constitute the greatest mystery in spiritual life.’”
This is a verse spoken by Nārada Muni in the Lalita-mādhava-nāṭaka (6.14), a drama written by Śrīla Rūpa Gosvāmī.
The highest achievement attained by the jñānīs, or impersonalists, is becoming one with the Supreme, generally known as mokṣa, liberation. The highest achievements of the yogīs are the eight material perfections, such as aṇimā, laghimā and prāpti. Yet these are nothing compared to the eternal bliss of the devotee who returns back to Godhead and tastes the fruit of devotional service to the lotus feet of the Lord. The material perfections, even up to the point of liberation, are very insignificant in comparison; therefore the pure devotee is never interested in such things. His only interest is in perfecting his devotional service to the Lord. The pleasure of the impersonalist, monist philosophers is condemned in the following verse, which is also found in Śrīla Rūpa Gosvāmī’s Lalita-mādhava.
"My dear friend, this dramatic actor appears like a second form of My own self. Like a picture, He displays My pastimes as a cowherd boy overflowing with wonderfully attractive sweetness and fragrance, which are so dear to the damsels of Vraja. When I see such a display, My heart becomes greatly excited. I long for such pastimes and desire a form exactly like that of the damsels of Vraja."
This verse is found in the Lalita-mādhava (4.19). It was spoken by Vāsudeva in Dvārakā.
"Who manifests an abundance of sweetness greater than Mine, which has never been experienced before and which causes wonder to all? Alas, I Myself, My mind bewildered upon seeing this beauty, impetuously desire to enjoy it like Śrīmatī Rādhārāṇī."
This verse spoken by Vāsudeva in Dvārakā is also recorded by Śrīla Rūpa Gosvāmī in his Lalita-mādhava (8.34).
"I shall write two separate invocations of good fortune and two different introductions. Let me think deeply about the matter and then describe two different sets of incidents."
The two works are the Vidagdha-mādhava and the Lalita-mādhava. The Vidagdha-mādhava describes pastimes in Vṛndāvana, and the Lalita-mādhava describes pastimes in Dvārakā and Mathurā.
"The two plays are called Vidagdha-mādhava and Lalita-mādhava. Both of them wonderfully describe ecstatic emotional love of God."
Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura informs us in this connection that Śrīla Rūpa Gosvāmī finished the drama known as Vidagdha-mādhava in the year Śakābda 1454 (A.D. 1532) and the Lalita-mādhava in Śakābda 1459 (A.D. 1537).
"O most beautiful friend, please accept the Supreme Personality of Godhead, who is standing before You full of transcendental bliss. The borders of His eyes roam from side to side, and His eyebrows move slowly like bumblebees on His lotuslike face. Standing with His right foot placed below the knee of His left leg, the middle of His body curved in three places, and His neck gracefully tilted to the side, He takes His flute to His pursed lips and moves His fingers upon it here and there."
This verse from the Lalita-mādhava-nāṭaka (4.27), a ten-act play by Śrīla Rūpa Gosvāmī, is spoken by Lalitādevī to Rādhārāṇī.
"O beautiful-faced one, who is this creative person standing before us? With the sharp chisels of His loving glances, He is splitting the hard stones of many women"s devotion to their husbands. And with the luster of His body, surpassing the brilliance of countless emeralds, He is simultaneously constructing private meeting places for His pastimes.’
This verse (Lalita-mādhava 1.52) is spoken by Rādhārāṇī to Lalitādevī.
"My dear friend, this newly youthful Lord Śrī Kṛṣṇa, the moon in the family of Nanda Mahārāja, is so beautiful that He defies the beauty of clusters of valuable jewels. All glories to the vibration of His flute, for it is cunningly breaking the patience of chaste ladies by loosening their belts and tight dresses."
This verse from the Lalita-mādhava (1.49) is spoken by Lalitādevī to Rādhārāṇī.
"It is even impudent for me to open my mouth before you." Then, having said this, he recited the introductory verse of the Lalita-mādhava.
""The beautiful moonlike glories of Mukunda give distress to the lotuslike faces of the wives of the demons and to their raised breasts, which are like gleaming cakravāka birds. Those glories, however, are pleasing to all His devotees, who are like cakora birds. May those glories forever give pleasure to you all.""
This is the first verse of Act One of the Lalita-mādhava.
""The moonlike Supreme Personality of Godhead, who is known as the son of mother Śacī, has now appeared on earth to spread devotional love of Himself. He is the emperor of the brāhmaṇa community. He can drive away all the darkness of ignorance and control the mind of everyone in the world. May that rising moon bestow upon us all good fortune.""
This is the third verse of Act One of the Lalita-mādhava.
"While dancing on the stage after having killed the ruler of uncivilized men (Kaṁsa), Lord Kṛṣṇa, master of all arts, will at the proper time accept the hand of Śrīmatī Rādhārāṇī, who is qualified with all transcendental attributes."
This verse is Lalita-mādhava 1.11.
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.
When Rāmānanda Rāya requested Śrīla Rūpa Gosvāmī to speak further about various portions of the play, Śrīla Rūpa Gosvāmī briefly quoted his Lalita-mādhava.
"The dust from cows and calves on the road creates a kind of darkness indicating that Kṛṣṇa is returning home from the pasture. Also, the darkness of evening provokes the gopīs to meet Kṛṣṇa. Thus the pastimes of Kṛṣṇa and the gopīs are covered by a kind of transcendental darkness and are therefore impossible for ordinary scholars of the Vedas to see."
This verse from the Lalita-mādhava (1.23) is spoken by Paurṇamāsī in a conversation with Gārgī.
"May the sweet sound of Lord Kṛṣṇa"s flute, His authorized messenger, be glorified, for it expertly releases Śrīmatī Rādhārāṇī from Her shyness and attracts Her from Her home to the forest.’
This verse from the Lalita-mādhava (1.24) is spoken by Gārgī, the daughter of Garga Muni.
"My dear friend, who is this fearless young man? He is as bright as a lightning cloud, and He wanders in His pastimes like a maddened elephant. From where has He come to Vṛndāvana? Alas, by His restless movements and attractive glances He is plundering from the vault of My heart the treasure of My patience."
This verse (Lalita-mādhava 2.11) is spoken by Śrīmatī Rādhārāṇī to Her friend Lalitādevī.
""Śrīmatī Rādhārāṇī is the Ganges in which the elephant of My mind enjoys pastimes. She is the shining of the full autumn moon for the cakora birds of My eyes. She is the dazzling ornament, the bright and beautiful arrangement of stars, on the border of the sky of My chest. Now today I have gained Śrīmatī Rādhārāṇī because of the highly elevated state of My mind.""
This verse from the Lalita-mādhava (2.10) expresses the thoughts of Lord Kṛṣṇa in relation with Rādhārāṇī.
Śrīla Rūpa Gosvāmī also compiled two important dramas named Vidagdha-mādhava and Lalita-mādhava, from which one can understand all the mellows derived from the pastimes of Lord Kṛṣṇa.
Pralāpa, mad talking, is explained in the Lalita-mādhava as follows:
- kva nanda-kula-candramāḥ kva śikhi-candra-kālaṅkṛtiḥ
- kva mandra-muralī-ravaḥ kva nu surendra-nīla-dyutiḥ
- kva rāsa-rasa-tāṇḍavī kva sakhi jīva-rakṣauṣadhir
- nidhir mama suhṛttamaḥ kva tava hanta hā dhig vidhiḥ
This is Śrīmatī Rādhārāṇī’s lamentation for Her beloved Kṛṣṇa, who was away from home. A woman whose husband has left home and gone to a foreign land is called proṣita-bhartṛkā. Lamenting for Kṛṣṇa in the same way that such a woman laments for her husband, Śrīmatī Rādhārāṇī said, "My dear friend, where is the glory of the family of Mahārāja Nanda, who wears a half-moon ornament on His head? Where is Kṛṣṇa, whose hue is like that of the indranīla jewel and who plays so nicely on His flute? Where is your friend, the best of all men, so expert in dancing in the circle of the rāsa dance? Where is He who is the real medicine to save Me from dying of heart disease? I must condemn Providence, for he has caused Me so many tribulations by separating Me from Kṛṣṇa."
Vyādhi, disease, is also described in the Lalita-mādhava:
- uttāpī puṭa-pākato ‘pi garala-grāmād api kṣobhaṇo
- dambholer api duḥsahaḥ kaṭur alaṁ hṛn-magna-śūlyād api
- tīvraḥ prauḍha-visūcikāni cayato ‘py uccair mamāyaṁ balī
- marmāṇy adya bhinatti gokula-pater viśleṣa-janmā jvaraḥ
Being greatly afflicted by the pain of separation from Kṛṣṇa, Śrīmatī Rādhārāṇī said, "My dear Lalitā, kindly hear Me. I cannot bear suffering the fever of separation from Kṛṣṇa, nor can I explain it to you. It is something like gold melting in an earthen box. This fever produces more distress than poison, and it is more piercing than a thunderbolt. I suffer exactly like someone almost dead from cholera. To be giving Me so much pain, this fever must be very strong indeed."
“"My dear friend, where is Kṛṣṇa, who is like the moon rising from the ocean of Mahārāja Nanda"s dynasty? Where is Kṛṣṇa, His head decorated with a peacock feather? Where is He? Where is Kṛṣṇa, whose flute produces such a deep sound? Oh, where is Kṛṣṇa, whose bodily luster is like the luster of the blue indranīla jewel? Where is Kṛṣṇa, who is so expert in rāsa dancing? Oh, where is He, who can save My life? Kindly tell Me where to find Kṛṣṇa, the treasure of My life and best of My friends. Feeling separation from Him, I hereby condemn Providence, the shaper of My destiny.’
This verse is found in the Lalita-mādhava (3.25) of Śrīla Rūpa Gosvāmī.
The First Chapter describes how Rūpa Gosvāmī met Śrī Caitanya Mahāprabhu for the second time and how the Lord heard his two dramas (Vidagdha-mādhava and Lalita-mādhava).
Other Books by Srila Prabhupada
Teachings of Lord Caitanya
In the two-handed form, as the cowherd son of Nanda Mahārāja, Kṛṣṇa fully exhibits His opulence, form, beauty, wealth, attractiveness and pastimes. Indeed, in some of the Vaiṣṇava literatures it is found that sometimes, in His form as Vāsudeva, He becomes attracted to the form of Govinda in Vṛndāvana. Thus as Vāsudeva He sometimes desires to enjoy as the cowherd boy Govinda does, although the Govinda form and the Vāsudeva form are one and the same. In this regard, there is a passage in the Fourth Chapter of the Lalita-mādhava (4.19), in which Kṛṣṇa addresses Uddhava as follows: "My dear friend, the form of Govinda, the cowherd boy, attracts Me. Indeed, I wish to be like the damsels of Vraja, who are also attracted by this form of Govinda." Similarly, in the Eighth Chapter, Kṛṣṇa says: "O how wonderful it is! Who is this person? After seeing Him, I am so attracted that I am now desiring to embrace Him just like Rādhikā."
How Kṛṣṇa is attracted by His own beauty is described in Lalita-mādhava (8.34). Upon seeing His own picture, Kṛṣṇa lamented, "How glorious this picture is! It is attracting Me just as it attracts Rādhārāṇī."
Nectar of Devotion
A person who sometimes exhibits humility and bashfulness is called shy. As described in the Lalita-mādhava, Kṛṣṇa's shyness was manifested when He lifted Govardhana Hill by the little finger of His left hand. All of the gopīs were observing Kṛṣṇa's wonderful achievement, and Kṛṣṇa was also smiling at seeing the gopīs. When Kṛṣṇa's glance went over the breasts of the gopīs, His hand began to shake, and upon seeing His hand shake, all of the cowherd men underneath the hill became a little disturbed. Then there was a tumultuous roaring sound, and they all began to pray to Kṛṣṇa for safety. At this time Lord Balarāma was smiling, thinking that these cowherd men had been frightened by the shaking of Govardhana Hill. But, seeing Balarāma smile, Kṛṣṇa thought that Balarāma had understood His mind in observing the breasts of the gopīs, and He immediately became bashful.
Regarding Kṛṣṇa's attractive features being ever fresh, there is a statement by Rādhārāṇī in the Lalita-mādhava in which Kṛṣṇa is compared to the greatest sculptor, because He is expert in chiseling at the chastity of women. In other words, although chaste women may follow the rules and regulations of Vedic principles to become ever faithful to their husbands, Kṛṣṇa is able to break their stonelike chastity with the chisel of His beauty.
In Rūpa Gosvāmī's Lalita-mādhava, it is said, "One day Kṛṣṇa happened to see the shadow of His beautiful form reflected on the jeweled foreground. Upon seeing this bodily reflection, He expressed His feelings: 'How wonderful it is that I have never seen such a beautiful form! Although it is My own form, still, like Rādhārāṇī, I am trying to embrace this form and enjoy celestial bliss.'" This statement shows how Kṛṣṇa and His shadow reflection are one and the same. There is no difference between Kṛṣṇa and His shadow reflection, nor between Kṛṣṇa and His picture. That is the transcendental position of Kṛṣṇa.
When one becomes arrogant with false prestige due to drinking intoxicants or being too lustful, the voice becomes faulty, the eyes become swollen, and there are symptoms of redness on the body. There is a statement in the Lalita-mādhava that Lord Baladeva, intoxicated from drinking excessive quantities of honey, once began to address the ants, "O you kings of the ants! Why are you hiding yourselves in these holes?" At the same time He also addressed the King of heaven, "O King Indra! You plaything of Śacī! Why are you laughing? I am now prepared to smash the whole universe, and I know that Kṛṣṇa will not be angry with Me."* Then He addressed Kṛṣṇa, "My dear Kṛṣṇa, tell Me immediately why the whole world is trembling and why the moon has become elongated! And O you members of the Yadu dynasty, why are you laughing at Me? Please give Me back My liquors made of honey from the kadamba flower!" Śrīla Rūpa Gosvāmī prays that Lord Balarāma will be pleased with all of us while He is thus talking just like an intoxicated person.
In the Lalita-mādhava, a friend tells mother Yaśodā, "How wonderful it is that when the Śaṅkhacūḍa demon—vast and strong as a great hill—attacked your Cupid-like beautiful son, there was no one present in Vṛndāvana to help. And yet the demon was killed by your little son. It appears to be due to the result of severe penances and austerities in your past lives that your son was saved in this way."
In the same Lalita-mādhava there is an account of Kṛṣṇa's kidnapping Rukmiṇī at her royal marriage ceremony. At that time all of the princes present began to converse among themselves, saying, "We have our elephants, horses, chariots, bows, arrows and swords, so why should we be afraid of Kṛṣṇa? Let us attack Him! He is nothing but a lusty cowherd boy! He cannot take away the princess in this way! Let us all attack Him!" This is an instance of emotion caused by the presence of enemies.
In the Lalita-mādhava by Rūpa Gosvāmī there is the following statement by Dāruka, one of the servants of Kṛṣṇa: "Certainly Lord Viṣṇu is very beautiful with His necklace of kaustubha jewels, His four hands holding conchshell, disc, club and lotus flower, and His dazzlingly beautiful jewelry. He is also very beautiful in His eternal position, riding upon the shoulder of Garuḍa. But now the same Lord Viṣṇu is present as the enemy of Kaṁsa, and by His personal feature I am completely forgetting the opulence of Vaikuṇṭha."
In the Lalita-mādhava, compiled by Rūpa Gosvāmī, Kṛṣṇa is addressed as follows: "My dear Kṛṣṇa, when You are engaged in herding the animals, the dust caused by the hooves of the calves and cows covers Your nice face and artistic tilaka, and You appear very dusty. But when You return home, the milk flowing out of the breasts of Your mother washes Your face of its dust covering, and You appear to be purified by this milk, just as when the Deity is washed during the performance of the abhiṣeka ceremony."
There is a similar statement in the Lalita-mādhava: "How wonderful it is that Yaśodā, the wife of King Nanda, out of her parental affection for Kṛṣṇa, mixed her tears and the milk from her breasts and thus bathed her dear son Kṛṣṇa."
In the Lalita-mādhava, Rūpa Gosvāmī explains that the movements of Kṛṣṇa's eyebrows are just like the Yamunā and that the smiling of Rādhārāṇī is just like the moonshine. When the Yamunā and the moonshine come in contact on the bank of the river, the water tastes just like nectar, and drinking it gives great satisfaction. It is as cooling as piles of snow.
In the Lalita-mādhava of Śrīla Rūpa Gosvāmī it is stated, "After Kṛṣṇa's arrival in Kaṁsa's arena, Kaṁsa's priest looked at Kṛṣṇa with a detestful expression. The entire arena was filled with dread on the part of Kaṁsa and his priest and restless expressions of pleasure on the cheeks of Kṛṣṇa's friends. Frustration was felt by His envious rivals. The great sages meditated. Hot tears were in the eyes of Devakī and other motherly ladies, and hairs stood on the bodies of the expert warriors. There was astonishment in the hearts of demigods such as Indra. The servants danced, and the restless eyes of all the young girls glanced about." In this statement there is a description of a combination of different mellows, but there is no incompatibility.
A similar statement, which is free from incompatibility, is in the Lalita-mādhava, wherein the author blesses all the readers of the book in the following manner: "Although the Supreme Personality of Godhead is able to lift a mountain with a finger of His left hand, He is always humble and meek. He is always very kind to His loving devotees. He has frustrated Indra's attempt at vengeance by refusing him the sacrifice of Indra-yajña. He is the cause of all pleasure to all young girls. May He be ever compassionate upon you all!"
In the Lalita-mādhava, Śrīla Rūpa Gosvāmī says, "The wives of the yājñika brāhmaṇas were all young girls, and they were attracted to Kṛṣṇa in the same way as the gopīs of Vṛndāvana. Out of their attraction, they distributed food to Kṛṣṇa." Here the two devotional mellows are conjugal love and parental love, and the result is called uparasa in conjugal love.
Nectar of Instruction
To achieve the highest success in life by becoming a gosvāmī and then a pure devotee of the Lord, one must follow the instructions known as Upadeśāmṛta, which have been given by Śrīla Rūpa Gosvāmī. Śrīla Rūpa Gosvāmī has given many other books, such as Bhakti-rasāmṛta-sindhu, Vidagdha-mādhava and Lalita-mādhava, but Upadeśāmṛta constitutes the first instructions for neophyte devotees. One should follow these instructions very strictly. Then it will be easier to make one's life successful.
Narada-bhakti-sutra (sutras 1 to 8 only)
In a verse in the Lalita-mādhava (5.2), Śrīla Rūpa Gosvāmī describes renunciation in devotional service:
- ṛddhā siddhi-vraja-vijayitā satya-dharmā samādhir
- brahmānando gurur api camatkārayaty eva tāvat
- yāvat premṇāṁ madhu-ripu-vaśīkāra-siddhauṣadhīnāṁ
- gandho 'py antaḥ-karaṇa-saraṇī-pānthatāṁ na prayāti
"Activities such as mystic trance, becoming one with the Supreme, and the religious principles of brahminism, such as speaking the truth and tolerance, have their own respective attractions, but when one becomes captivated by love of Kṛṣṇa, the Supreme Personality of Godhead, all attraction for mystic power, monistic pleasure, and mundane religious principles becomes insignificant."
One may know Kṛṣṇa, but it is very difficult to know the love of Kṛṣṇa. Gopī-bhāva-rasāmṛtābdhi-laharī-kallola-magnau sadā. Rūpa Gosvāmī... About the Gosvāmīs... They knew what is Kṛṣṇa, what is love of Kṛṣṇa. They wrote many books—Vidagdha-mādhava, Lalita-mādhava, Bhakti-rasāmṛta-sindhu. Actually... Vande rūpa-sanātanau raghu-yugau śrī-jīva-gopālakau. So actually to understand Kṛṣṇa, one has to follow the footprints of the six Gosvāmīs.
Prabhupāda: Because he knows that "I am part and parcel of God. So my duty is to serve God." So where is the suffering?
Śyāmasundara: Yes. Yeah.
Prabhupāda: That is pleasure, serving God. Just like Rūpa Gosvāmī, just see, in the cottage. They are minister. They are ministers. Tyaktvā tūrṇam aśeṣa-maṇḍala-pati-śreṇīm. They are living most aristocratically, and now they are taking the place of mendicants living in the cottage, no bodily comfort, no servants, nothing of the sort. Does it mean they are suffering? There is one... That is stated in the, that vande rūpa-sanātana, that they, tyaktvā tūrṇam aśeṣa-maṇḍala-pati-śreṇīṁ sadā tuccha-vat. They gave up as most insignificant this society, this aristocracy. Tyaktvā tūrṇam aśeṣa-maṇḍala-pati-śreṇīṁ sadā tuccha-vat. It is... What is the value of this? Give up. And bhūtvā dīna-gaṇeśakau karuṇayā kaupīna-kanthāśritau. And in order to become merciful to the mass of people, they accept simply loincloth, any way covering, that's all. That is a suffering? No. They are not suffering. Then people may say that that is suffering. But for them, there is a... Gopī-bhāva-rasāmṛtābdi-laharī-kallola-magnau muhur. Then he merged into the ocean, in the thought that how gopīs, gopī-bhāva, they are transacting their business with Kṛṣṇa. Gopī-bhāva-rasāmṛta. That is a ocean of transcendental bliss. So because they're merged into that ocean, what is this suffering? They have no sense of suffering. One man is suffering because he has identified with this body, he is suffering. But they were identified with the cause of the gopīs. They are simply writing Kṛṣṇa's pastimes with gopīs, Vidagdha-mādhava, Lalitā-mādhava, Bhakti-rasāmṛta-sindhu. They are simply engaged in thoughts of Kṛṣṇa and the gopīs and writing, writing, writing. So what is the suffering? Other fools may think, "Oh this man was minister. He was so comfortably situated. Now they have taken this cloth and they've no home, no food, nothing of this..." They are thinking that is suffering, but they are not suffering. They are not suffering. They are enjoying.
Purports to Songs
And the next stage is that one has to understand what is the loving affairs, conjugal love, between Rādhā and Kṛṣṇa. And that will be possible if we carefully study the literatures left by the Gosvāmīs. Just like Rūpa Goswami has left behind him bhakti-rasāmṛta-sindhu, Vidagdha-mādhava, Lalitā-mādhava. Many books. Especially that Bhakti-rasāmṛta-sindhu.