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Songs (CC and other books)

Sri Caitanya-caritamrta

CC Preface and Introduction

CC Introduction:

In the pastimes of Lord Caitanya, Kṛṣṇa is manifested in five different features, known as the pañca-tattva, to whom Śrīla Kṛṣṇadāsa Kavirāja offers his obeisances in the fourteenth verse of the Caitanya-caritāmṛta. Kṛṣṇa and His associates appear as devotees of the Supreme Lord in the form of Śrī Kṛṣṇa Caitanya, Śrī Nityānanda Prabhu, Śrī Advaitācārya, Śrī Gadādhara Prabhu and Śrīvāsa Prabhu. In all cases, Caitanya Mahāprabhu is the source of energy for all His devotees. Since this is the case, if we take shelter of Caitanya Mahāprabhu for the successful execution of Kṛṣṇa consciousness, we are sure to make progress. In a devotional song, Narottama dāsa Ṭhākura sings, "My dear Lord Caitanya, please have mercy upon me. There is no one who is as merciful as You. My plea is most urgent because Your mission is to deliver all fallen souls, and no one is more fallen than I. Therefore I beg priority."

CC Adi-lila

CC Adi 1.46, Purport:

The real Vedic philosophy is acintya-bhedābheda-tattva, which establishes everything to be simultaneously one with and different from the Personality of Godhead. Śrīla Raghunātha dāsa Gosvāmī confirms that this is the real position of a bona fide spiritual master and says that one should always think of the spiritual master in terms of his intimate relationship with Mukunda (Śrī Kṛṣṇa). Śrīla Jīva Gosvāmī, in his Bhakti-sandarbha (213), has clearly explained that a pure devotee's observation of the spiritual master and Lord Śiva as being one with the Personality of Godhead exists in terms of their being very dear to the Lord, not identical with Him in all respects. Following in the footsteps of Śrīla Raghunātha dāsa Gosvāmī and Śrīla Jīva Gosvāmī, later ācāryas like Śrīla Viśvanātha Cakravartī Ṭhākura have confirmed the same truths. In his prayers to the spiritual master, Śrīla Viśvanātha Cakravartī Ṭhākura confirms that all the revealed scriptures accept the spiritual master to be identical with the Personality of Godhead because he is a very dear and confidential servant of the Lord. Gauḍīya Vaiṣṇavas therefore worship Śrīla Gurudeva (the spiritual master) in the light of his being the servitor of the Personality of Godhead. In all the ancient literatures of devotional service and in the more recent songs of Śrīla Narottama dāsa Ṭhākura, Śrīla Bhaktivinoda Ṭhākura and other unalloyed Vaiṣṇavas, the spiritual master is always considered either one of the confidential associates of Śrīmatī Rādhārāṇī or a manifested representation of Śrīla Nityānanda Prabhu.

CC Adi 4.105, Purport:

Prior to the Lord's acceptance of the renounced order, Puruṣottama Bhaṭṭācārya, a resident of Navadvīpa, desired to enter the renounced order of life. Therefore he left home and went to Benares, where he accepted the position of brahmacarya from a Māyāvādī sannyāsī. When he became a brahmacārī, he was given the name Śrī Dāmodara Svarūpa. He left Benares shortly thereafter, without taking sannyāsa, and he came to Nīlācala, Jagannātha Purī, where Lord Caitanya was staying. He met Caitanya Mahāprabhu there and dedicated his life for the service of the Lord. He became Lord Caitanya's secretary and constant companion. He used to enhance the pleasure potency of the Lord by singing appropriate songs, which were very much appreciated. Svarūpa Dāmodara could understand the secret mission of Lord Caitanya, and it was by his grace only that all the devotees of Lord Caitanya could know the real purpose of the Lord.

CC Adi 4.110, Translation:

Whenever a particular sentiment arose in His heart, Svarūpa Dāmodara satisfied Him by singing songs or reciting verses of the same nature.

CC Adi 4.180, Translation and Purport:

"O gopīs, I am not able to repay My debt for your spotless service, even within a lifetime of Brahmā. Your connection with Me is beyond reproach. You have worshiped Me, cutting off all domestic ties, which are difficult to break. Therefore please let your own glorious deeds be your compensation."

This verse from Śrīmad-Bhāgavatam (10.32.22) was spoken by Śrī Kṛṣṇa Himself when He returned to the gopīs upon hearing their songs of separation.

CC Adi 9.36, Translation and Purport:

"Therefore I order every man within this universe to accept this Kṛṣṇa consciousness movement and distribute it everywhere."

In this connection there is a song sung by Śrīla Bhaktivinoda Ṭhākura:

enechi auṣadhi māyā nāśibāra lāgi'
harināma-mahāmantra lao tumi māgi'
bhakativinoda prabhu-caraṇe paḍiyā
sei harināma-mantra la-ila māgiyā

The saṅkīrtana movement has been introduced by Lord Caitanya Mahāprabhu just to dispel the illusion of māyā, by which everyone in this material world thinks himself to be a product of matter and therefore to have many duties pertaining to the body. Actually, the living entity is not his material body: he is a spirit soul. He has a spiritual need to be eternally blissful and full of knowledge, but unfortunately he identifies himself with the body, sometimes as a human being, sometimes as an animal, sometimes a tree, sometimes an aquatic, sometimes a demigod, and so on.

CC Adi 10.40, Purport:

Sometimes Lord Caitanya Mahāprabhu chastised Mukunda Datta by calling him khaḍajāṭhiyā beṭā because he attended many functions held by different classes of nondevotees. This is stated in the Caitanya-bhāgavata, Madhya-khaṇḍa, Chapter Ten. When Lord Caitanya Mahāprabhu dressed Himself as the goddess of fortune to dance in the house of Candraśekhara, Mukunda Datta began the first song.

CC Adi 10.115, Purport:

The three brothers Govinda, Mādhava and Vāsudeva Ghoṣa all belonged to a kāyastha family. Govinda established the Gopīnātha temple in Agradvīpa, where he resided. Mādhava Ghoṣa was expert in performing kīrtana. No one within this world could compete with him. He was known as the singer of Vṛndāvana and was very dear to Śrī Nityānanda Prabhu. It is said that when the three brothers performed saṅkīrtana, immediately Lord Caitanya and Nityānanda would dance in ecstasy. According to the Gaura-gaṇoddeśa-dīpikā (188), the three brothers were formerly Kalāvatī, Rasollāsā and Guṇatuṅgā, who recited the songs composed by Śrī Viśākhā-gopī. The three brothers were among one of the seven parties that performed kīrtana when Lord Śrī Caitanya Mahāprabhu attended the Ratha-yātrā festival at Jagannātha Purī. Vakreśvara Paṇḍita was the chief dancer in their party. This is vividly described in the Madhya-līlā, Chapter Thirteen, verses 42 and 43.

CC Adi 11.59, Purport:

Śrīla Bhaktivinoda Ṭhākura has sung, kṛṣṇa se tomāra, kṛṣṇa dite pāra, tomāra śakati āche. In this song, Bhaktivinoda Ṭhākura describes that a pure Vaiṣṇava, as the proprietor of Kṛṣṇa and love of Kṛṣṇa, can deliver both to anyone and everyone he likes. Therefore to get Kṛṣṇa and love of Kṛṣṇa one must seek the mercy of pure devotees. Śrīla Viśvanātha Cakravartī Ṭhākura also says, yasya prasādād bhagavat-prasādo yasyāprasādān na gatiḥ kuto ’pi: ** "By the mercy of the spiritual master one is blessed by the mercy of Kṛṣṇa. Without the grace of the spiritual master one cannot make any advancement." By the grace of a Vaiṣṇava or bona fide spiritual master one can get both love of Godhead, Kṛṣṇa, and Kṛṣṇa Himself.

CC Adi 12.87, Purport:

In the family of Puruṣottama Cakravartī there are famous persons like Kuñjavihārī Cakravartī and Rādhāvallabha Cakravartī, who now live in the district of Birbhum. They professionally recite songs from Caitanya-maṅgala. It is said that when Maṅgala Ṭhākura was constructing a road from Bengal to Jagannātha Purī, he found a Deity of Rādhāvallabha while digging a lake. At that time he was living in the locality of Kāṅdaḍā, in the village named Rāṇīpura. The śālagrāma-śilā personally worshiped by Maṅgala Ṭhākura still exists in the village of Kāṅdaḍā. A temple has been constructed there for the worship of Vṛndāvana-candra. Maṅgala Ṭhākura had three sons—Rādhikāprasāda, Gopīramaṇa and Śyāmakiśora. The descendants of these three sons are still living.”

CC Adi 13.42, Translation and Purport:

The Lord used to read the books of Vidyāpati, Jayadeva and Caṇḍīdāsa, relishing their songs with His confidential associates like Śrī Rāmānanda Rāya and Svarūpa Dāmodara Gosvāmī.

Vidyāpati was a famous composer of songs about the pastimes of Rādhā-Kṛṣṇa. He was an inhabitant of Mithilā, born in a brāhmaṇa family. It is calculated that he composed his songs during the reign of King Śivasiṁha and Queen Lachimādevī, in the beginning of the fourteenth century of the Śaka Era, almost one hundred years before the appearance of Lord Caitanya Mahāprabhu. The twelfth generation of Vidyāpati's descendants is still living. Vidyāpati's songs about the pastimes of Lord Kṛṣṇa express intense feelings of separation from Kṛṣṇa, and Śrī Caitanya Mahāprabhu relished all those songs in His ecstasy of separation from Kṛṣṇa.

CC Adi 13.42, Purport:

The songs of Caṇḍīdāsa, Vidyāpati and Jayadeva describe the transcendental activities of the Supreme Personality of Godhead. Mundane reviewers of these songs simply help people in general become debauchees, and this leads only to social scandals and atheism in the world. One should not misunderstand the pastimes of Rādhā and Kṛṣṇa to be the activities of a mundane young boy and girl. The mundane sexual activities of young boys and girls are most abominable. Therefore, those who are in bodily consciousness and who desire sense gratification are forbidden to indulge in discussions of the transcendental pastimes of Śrī Rādhā and Kṛṣṇa.

CC Adi 13.106, Translation:

In outer space all the demigods, including the inhabitants of Gandharvaloka, Siddhaloka and Cāraṇaloka, offered their prayers and danced to the accompaniment of music, songs and the beating of drums. Similarly, in Navadvīpa city all the professional dancers, musicians and blessers gathered together, dancing in great jubilation.

CC Adi 17.122, Translation:

(All the devotees sang this popular song along with the Hare Kṛṣṇa mahā-mantra.) "Haraye namaḥ, kṛṣṇa yādavāya namaḥ/ gopāla govinda rāma śrī-madhusūdana."

CC Adi 17.123, Purport:

The International Society for Krishna Consciousness now has its world center in Navadvīpa, Māyāpur. The managers of this center should see that twenty-four hours a day there is chanting of the holy names of the Hare Kṛṣṇa mahā-mantra, with the addition of haraye namaḥ, kṛṣṇa yādavāya namaḥ, for this song was a favorite of Śrī Caitanya Mahāprabhu's. But all such saṅkīrtana must be preceded by the chanting of the holy names of the five tattvas—śrī-kṛṣṇa-caitanya prabhu-nityānanda śrī-advaita gadādhara śrīvāsādi-gaura-bhakta-vṛnda. We are already accustomed to chant these two mantras—śrī-kṛṣṇa-caitanya prabhu-nityānanda śrī-advaita gadādhara śrīvāsādi-gaura-bhakta-vṛnda and Hare Kṛṣṇa, Hare Kṛṣṇa, Kṛṣṇa Kṛṣṇa, Hare Hare/ Hare Rāma, Hare Rāma, Rāma Rāma, Hare Hare. Now, after these, the other two lines—namely haraye namaḥ, kṛṣṇa yādavāya namaḥ/ gopāla govinda rāma śrī-madhusūdana—should be added, especially in Māyāpur. Chanting of these six lines should go on so perfectly well that no one there hears any vibration other than the chanting of the holy names of the Lord. That will make the center spiritually all-perfect.

CC Adi 17.207, Translation:

"Now He loudly sings all kinds of songs, claps, and plays drums and hand cymbals, making a tumultuous sound that deafens our ears."

CC Adi 17.304, Purport:

Kṛṣṇa's accepting the part of the gopīs is certainly contradictory according to any mundane calculations, but the Lord, by His inconceivable character, may act like the gopīs and feel separation from Kṛṣṇa, although He is Kṛṣṇa Himself. Such a contradiction can be reconciled only in the Supreme Personality of Godhead because He has energy that is inconceivable (acintya), which can make possible that which is impossible to do (aghaṭa-ghaṭana-patīyasī). Such contradictions are very difficult to understand unless a devotee strictly follows the Vaiṣṇava philosophy under the direction of the Gosvāmīs. Therefore Kṛṣṇadāsa Kavirāja Gosvāmī ends every chapter with this verse:

śrī-rūpa-raghunātha-pade yāra āśa
caitanya-caritāmṛta kahe kṛṣṇadāsa

"Praying at the lotus feet of Śrī Rūpa and Śrī Raghunātha, always desiring their mercy, I, Kṛṣṇadāsa, narrate Śrī Caitanya-caritāmṛta, following in their footsteps."

In a song by Narottama dāsa Ṭhākura it is stated:

rūpa-raghunātha-pade ha-ibe ākuti
kabe hāma bujhaba se yugala-pīriti

The conjugal love between Rādhā and Kṛṣṇa, which is called yugala-pīriti, is not understandable by mundane scholars, artists or poets. It is simply to be understood by devotees who strictly follow in the footsteps of the six Gosvāmīs. Sometimes so-called artists and poets try to understand the love affairs of Rādhā and Kṛṣṇa, and they publish cheap books of poetry and pictures on the subject. Unfortunately, however, they do not understand the transcendental affairs of Rādhā and Kṛṣṇa even to the smallest degree. They are simply meddling in a matter in which they are not fit even to enter.

CC Madhya-lila

CC Madhya 1.5, Translation:

May Gopīnāthajī, who attracts all the gopīs with the song of His flute and who has begun the most melodious rāsa dace on the bank of the Yamunā in Vaṁśīvaṭa, be merciful upon us.

CC Madhya 1.56, Translation:

Lord Caitanya Mahāprabhu used to sing this song (seita parāṇa-nātha) especially during the latter part of the day, and He would think, "Let Me take Kṛṣṇa and go back to Vṛndāvana." This ecstasy was always filling His heart.

CC Madhya 2.29, Translation and Purport:

"Of what use are the eyes of one who does not see the face of Kṛṣṇa, which resembles the moon and is the birthplace of all beauty and the reservoir of the nectarean songs of His flute? Oh, let a thunderbolt strike his head! Why does he keep such eyes?"

The moonlike face of Kṛṣṇa is the reservoir of nectarean songs and the abode of His flute. It is also the root of all bodily beauty. The gopīs think that if their eyes are not engaged in seeing the beautiful face of Kṛṣṇa, it would be better for them to be struck by a thunderbolt. For the gopīs, to see anything but Kṛṣṇa is uninteresting and, indeed, detestable. The gopīs are never pleased to see anything but Kṛṣṇa. The only solace for their eyes is the beautiful moonlike face of Kṛṣṇa, the worshipful object of all senses. When they cannot see the beautiful face of Kṛṣṇa, they actually see everything as vacant, and they desire to be struck by a thunderbolt. They do not find any reason to maintain their eyes when they are bereft of the beauty of Kṛṣṇa.

CC Madhya 2.31, Purport:

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.

CC Madhya 2.31, Purport:

"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."

CC Madhya 2.56, Translation:

Śrī Caitanya Mahāprabhu used to lament by saying, "Where is Śrī Kṛṣṇa, whose form is curved in three places? Where is the sweet song of His flute, and where is the bank of the Yamunā? Where is the rāsa dance? Where is that dancing, singing, and laughing? Where is My Lord, Madana-mohana, the enchanter of Cupid?"

CC Madhya 2.77, Translation:

He also passed His time reading the books and singing the songs of Caṇḍīdāsa and Vidyāpati, and listening to quotations from the Jagannātha-vallabha-nāṭaka, Kṛṣṇa-karṇāmṛta and Gīta-govinda. Thus in the association of Svarūpa Dāmodara and Rāya Rāmānanda, Śrī Caitanya Mahāprabhu passed His days and nights chanting and hearing with great pleasure.

CC Madhya 3.114, Translation and Purport:

Advaita Ācārya said, "My dear friends, what shall I say? Today I have received the highest transcendental pleasure. After many, many days, Lord Kṛṣṇa is in My house."

This is a song composed by Vidyāpati. Sometimes the word mādhava is misunderstood to refer to Mādhavendra Purī. Advaita Ācārya was a disciple of Mādhavendra Purī, and consequently some people think that He was referring to Mādhavendra Purī by using the word mādhava. But actually this is not the fact. This song was composed to commemorate the separation of Kṛṣṇa from Rādhārāṇī during Kṛṣṇa's absence in Mathurā. It is thought that this song was sung by Śrīmatī Rādhārāṇī when Kṛṣṇa returned. It is technically called Mathurā-viraha.

CC Madhya 3.124, Translation and Purport:

Mukunda sang, "My dear intimate friend! What has not happened to Me! Due to the effects of the poison of love for Kṛṣṇa, My body and mind have been severely afflicted."

When Mukunda saw that Caitanya Mahāprabhu was feeling ecstatic pain and manifesting ecstatic bodily symptoms, all due to feelings of separation from Kṛṣṇa, he sang songs about Śrīmatī Rādhārāṇī"s meeting with Kṛṣṇa. Advaita Ācārya also stopped dancing.

CC Madhya 8.83, Purport:

There are many unauthorized parties pretending to belong to the Śrī Caitanya cult, and some are known as āula, bāula, kartābhajā, neḍā, daraveśa, sāṅi, sahajiyā, sakhībhekī, smārta, jāta-gosāñi, ativāḍī, cūḍādhārī and gaurāṅga-nāgari. Moreover, there are those who take the caste gosvāmīs' opinions of such parties as bona fide, comparing these opinions to those of the six Gosvāmīs, headed by Śrī Rūpa and Śrī Sanātana. This is simply another cheating process. There are also nondevotees who compose unauthorized songs, who establish different temples for money, who worship the Deity as priests for salaries, who accept caste brahmanism as all in all, and who do not know the value of a pure Vaiṣṇava.

CC Madhya 8.138, Purport:

"Then Gāyatrī, mother of the Vedas, having been manifested by the divine sound of Śrī Kṛṣṇa's flute, entered the lotus mouth of Brahmā, the self-born, through his eight earholes. Thus the lotus-born Brahmā received the Gāyatrī mantra, which had sprung from the song of Śrī Kṛṣṇa's flute. In this way he attained twice-born status, having been initiated by the supreme, primal preceptor, Godhead Himself. Enlightened by the recollection of that Gāyatrī, which embodies the three Vedas, Brahmā became acquainted with the expanse of the ocean of truth. Then he worshiped Śrī Kṛṣṇa, the essence of all the Vedas, with a hymn."

The vibration of Kṛṣṇa's flute is the origin of the Vedic hymns. Lord Brahmā, who is seated on a lotus flower, heard the sound vibration of Kṛṣṇa's flute and was thereby initiated by the Gāyatrī mantra.

CC Madhya 8.193, Translation:

Saying this, Rāmānanda Rāya began to sing a song he had composed, but Śrī Caitanya Mahāprabhu, out of the ecstasy of love of Godhead, immediately covered Rāmānanda's mouth with His own hand.

CC Madhya 8.250, Translation and Purport:

Śrī Caitanya Mahāprabhu next asked Rāmānanda Rāya, "Among many songs, which song is to be considered the actual religion of the living entity?" Rāmānanda Rāya replied, "That song describing the loving affairs of Śrī Rādhā and Kṛṣṇa is superior to all other songs."

As stated in Śrīmad-Bhāgavatam (10.33.36):

anugrahāya bhaktānāṁ mānuṣaṁ deham āsthitaḥ
bhajate tādṛśīḥ krīḍā yāḥ śrutvā tat-paro bhavet

"Lord Kṛṣṇa descends apparently as a human being, and He exhibits His transcendental pastimes in Vṛndāvana so that the conditioned soul may be attracted to hearing His transcendental activities." Nondevotees are strictly prohibited from participating in songs celebrating the loving affairs of Rādhā and Kṛṣṇa. Unless one is a devotee, it is very dangerous to hear the songs about the pastimes of Rādhā and Kṛṣṇa that were written by Jayadeva Gosvāmī, Caṇḍīdāsa and other exalted devotees. Lord Śiva drank an ocean of poison, but one should not imitate this. One must first become a pure devotee of Lord Kṛṣṇa. Only then can one enjoy hearing the songs of Jayadeva and relish transcendental bliss. If one simply imitates the activities of Lord Śiva and drinks poison, one will certainly meet with death.

CC Madhya 8.276, Translation and Purport:

"The plants, creepers and trees were full of fruits and flowers due to ecstatic love of Kṛṣṇa. Indeed, being so full, they were bowing down. They were inspired by such deep love for Kṛṣṇa that they were constantly pouring showers of honey. In this way the gopīs saw all the forests of Vṛndāvana."

This verse (SB 10.35.9) is one of the songs the gopīs sang during Kṛṣṇa's absence. In Kṛṣṇa's absence the gopīs were always absorbed in thought of Him. Similarly, the mahā-bhāgavata, the advanced devotee, sees everything as potentially serving the Lord.

CC Madhya 10.112, Translation:

If someone wrote a book or composed verses and songs and wanted to recite them before Śrī Caitanya Mahāprabhu, Svarūpa Dāmodara would first examine them and then correctly present them. Only then would Śrī Caitanya Mahāprabhu agree to listen.

CC Madhya 10.115, Translation:

Śrī Svarūpa Dāmodara used to read the poems of Vidyāpati and Caṇḍīdāsa and Jayadeva Gosvāmī’s Śrī Gīta-govinda. He used to make Śrī Caitanya Mahāprabhu very happy by singing these songs.

CC Madhya 11.88, Translation and Purport:

"Here also are Govinda Ghoṣa, Mādhava Ghoṣa and Vāsudeva Ghoṣa. They are three brothers, and their saṅkīrtana, congregational chanting, pleases the Lord very much."

Govinda Ghoṣa belonged to the kāyastha dynasty of the Uttara-rāḍhīya section, and he was known as Ghoṣa Ṭhākura. Even to the present day there is a place named Agradvīpa, near Katwa, where a fair takes place and is named after Ghoṣa Ṭhākura. As far as Vāsudeva Ghoṣa is concerned, he composed many nice songs about Lord Śrī Caitanya Mahāprabhu, and these are all authorized Vaiṣṇava songs, like the songs of Narottama dāsa Ṭhākura, Bhaktivinoda Ṭhākura, Locana dāsa Ṭhākura, Govinda dāsa Ṭhākura and other great Vaiṣṇavas.

CC Madhya 11.176, Purport:

At the present moment we see that some of the members of the International Society for Krishna Consciousness are tending to leave their preaching activities in order to sit in a solitary place. This is not a very good sign. It is a fact that Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura has condemned this process for neophytes. He has even stated in a song, pratiṣṭhāra tare, nirjanera ghare, tava hari-nāma kevala kaitava: "Sitting in a solitary place intending to chant the Hare Kṛṣṇa mahā-mantra is considered a cheating process." This practice is not possible for neophytes at all. The neophyte devotee must act and work very laboriously under the direction of the spiritual master, and he must thus preach the cult of Śrī Caitanya Mahāprabhu. Only after maturing in devotion can he sit down in a solitary place to chant the Hare Kṛṣṇa mahā-mantra as Śrī Caitanya Mahāprabhu Himself did.

CC Madhya 11.209, Translation and Purport:

They ate all kinds of cakes and sweet rice, filling themselves up to their throats, and at intervals they vibrated the holy name of the Lord in great jubilation.

It is the practice of Vaiṣṇavas while taking prasādam to chant the holy name of Lord Hari at intervals and also sing various songs, such as śarīra avidyā-jāla. Those who are honoring prasādam, accepting the remnants of food offered to the Deity, must always remember that prasādam is not ordinary food. Prasādam is transcendental.

CC Madhya 13.113, Translation and Purport:

"Now I have gained the Lord of My life, in the absence of whom I was being burned by Cupid and was withering away."

This song refers to Śrīmatī Rādhārāṇī’s meeting with Kṛṣṇa at the holy place of Kurukṣetra, where Lord Śrī Kṛṣṇa and His brother and sister came to visit when there was a solar eclipse. It is a song of separation from Kṛṣṇa. When Rādhārāṇī met Kṛṣṇa at Kurukṣetra, She remembered His intimate association in Vṛndāvana, and She thought, "Now I have gained the Lord of My life. In His absence I was being burned by the arrow of Cupid, and thus I was withering away. Now I have My life again."

CC Madhya 13.117, Translation:

His eyes and mind fully absorbed in Lord Jagannātha, Caitanya Mahāprabhu began to play the drama of the song with His two arms.

CC Madhya 13.118, Translation:

When Caitanya Mahāprabhu was dramatically enacting the song, He would sometimes fall behind in the procession. At such times, Lord Jagannātha would come to a standstill. When Caitanya Mahāprabhu again went forward, Lord Jagannātha's car would slowly start again.

CC Madhya 14.45, Translation and Purport:

Observing the beggars eating prasādam, Śrī Caitanya Mahāprabhu chanted, "Haribol!" and instructed them to chant the holy name.

In a song, Śrīla Bhaktivinoda Ṭhākura chants:

miche māyāra vaśe, yāccha bhese’,
khāccha hābuḍubu, bhāi
jīva kṛṣṇa-dāsa, e viśvāsa,
ka’rle ta' āra duḥkha nāi

"O people! Why are you being captivated by the waves of the ocean of nescience? If you would immediately accept Lord Śrī Kṛṣṇa as your eternal master, there would be no chance of being carried away by the waves of illusion. Then all your sufferings would stop." Kṛṣṇa conducts the material world under the three modes of material nature, and consequently there are three platforms of life—higher, middle and lower. On whatever platform one may be situated, one is tossed by the waves of material nature. Someone may be rich, someone may be middle class, and someone may be a poor beggar—it doesn’t matter. As long as one is under the spell of the three modes of material nature, he must continue to experience these divisions.

CC Madhya 14.99, Translation:

As Vāsudeva Datta sang a different song beneath each and every tree, Śrī Caitanya Mahāprabhu danced there alone in great ecstasy.

CC Madhya 14.232, Translation:

Thus Śrī Caitanya Mahāprabhu's ecstatic love was awakened by hearing the songs of Vṛndāvana. In this way He inundated Puruṣottama, Jagannātha Purī, with love of Godhead.

CC Madhya 21.128, Translation:

"His fingernails are many full moons, and they dance on the flute in His hands. Their song is the melody of that flute. His toenails are also many full moons, and they dance on the ground. Their song is the jingling of His ankle bells."

CC Madhya 23.60, Translation:

"Mad emotional talks include ten divisions, called prajalpa and other names. An example of this is the ten verses spoken by Śrīmatī Rādhārāṇī called "The Song to the Bumblebee."

CC Madhya 24.56, Translation:

"My dear Lord Kṛṣṇa, where is that woman within the three worlds who would not be captivated by the rhythms of the sweet songs coming from Your wonderful flute? Who would not fall down from the path of chastity in this way? Your beauty is the most sublime within the three worlds. Upon seeing Your beauty, even cows, birds, animals and trees in the forest become stunned in jubilation."

CC Madhya 24.178, Translation:

"All the cranes and swans in the water are being enchanted by the melodious song of Kṛṣṇa's flute. They have approached and are worshiping the Supreme Personality of Godhead with full attention. Alas, they are closing their eyes and are becoming completely silent."

CC Madhya 24.255, Translation and Purport:

Nārada Muni assured the hunter, "If you listen to my instructions, I shall find the way you can be liberated."

Gaurāṅgera bhakta-gaṇe jane jane śakti dhare. The purport of this song is that the devotees of Lord Śrī Caitanya Mahāprabhu are very powerful, and each and every one of them can deliver the whole world. What, then, to speak of Nārada Muni? If one follows the instructions of Nārada Muni, one can be delivered from any number of sinful reactions. This is the process. One must follow the instructions of a spiritual master; then one will certainly be delivered from all sinful reactions. This is the secret of success. Yasya deve parā bhaktir yathā deve tathā gurau (ŚU 6.23). If one has unflinching faith in Kṛṣṇa and the spiritual master, the result is tasyaite kathitā hy arthāḥ prakāśante mahātmanaḥ: all the conclusions of the revealed scriptures will be open to such a person. A pure devotee of Kṛṣṇa can make the same demands that Nārada Muni is making. He says, "If you follow my instructions, I shall take responsibility for your liberation." A pure devotee like Nārada can give assurance to any sinful man because by the grace of the Lord such a devotee is empowered to deliver any sinful person if that person follows the principles set forth.

CC Madhya 24.334, Purport:

In the Hari-bhakti-vilāsa (11.127–140) there is a vivid description of what is required in Deity worship. There are sixty-four items mentioned. In the temple, worship should be so gorgeous that all sixty-four items should be available for the satisfaction of the Personality of Godhead. Sometimes it is impossible to get all sixty-four items; therefore we recommend that at least on the first day of installation all sixty-four items should be available. When the Lord is established, worship with all sixty-four items should continue as far as possible. The sixty-four items are as follows: (1) There must be a big bell hanging in front of the temple room so that whoever comes into the room can ring the bell. This item is called prabodhana, or offering oneself submissively to the Lord. This is the first item. (2) The visitor must chant "Jaya Śrī Rādhā-Govinda!" or "Jaya Śrī Rādhā-Mādhava!" when he rings the bell. In either case, the word jaya must be uttered. (3) One should immediately offer obeisances to the Lord, falling down like a stick. (4) There must be regular maṅgala-ārati in the temple during the early morning, an hour and a half before the sun rises. (5) There must be an āsana, a sitting place before the altar. This āsana is for the spiritual master. The disciple brings everything before the spiritual master, and the spiritual master offers everything to the Supreme Personality of Godhead. (6) After maṅgala-ārati, the Deity is supposed to wash His teeth by using a twig; therefore a twig must be offered. (7) Water must be offered for washing the Deity's feet. (8) Arghya should be offered. (9) Water for ācamana should be offered. (10) Madhu-parka, a small bowl containing madhu (honey, a little ghee, a little water, a little sugar, yogurt and milk) should be offered. This is called madhu-parka-ācamana. (11) One should place wooden slippers before the Lord. (12) One should massage the body of the Lord. (13) One should massage the body of the Lord with oil. (14) With a soft, wet sponge one should remove all the oil smeared over the Lord's body. (15) One should bathe the Lord with water in which nicely scented flowers have been soaking for some time. (16) After bathing the body of the Lord with water, one should bathe Him with milk. (17) Then one should bathe Him with yogurt. (18) Then one should bathe Him with ghee. (19) Then one should bathe Him with honey. (20) Then one should bathe Him with water in which sugar has been dissolved. (21) Then one should wash the Deity with water and chant this mantra:

cintāmaṇi-prakara-sadmasu kalpa-vṛkṣa-
lakṣāvṛteṣu surabhīr abhipālayantam
lakṣmī-sahasra-śata-sambhrama-sevyamānaṁ
govindam ādi-puruṣaṁ tam ahaṁ bhajāmi
(Bs. 5.29)

(22) One should dry the entire body of the Lord with a towel. (23) A new dress should be put on the Lord's body. (24) A sacred thread should be placed on His body. (25) Water should be offered for cleansing His mouth (ācamana). (26) Nicely scented oils like liquid sandalwood pulp should be smeared over the Lord's body. (27) All kinds of ornaments and crowns should be placed on His body. (28) Then one should offer flower garlands and decorative flowers. (29) One should burn incense. (30) Lamps should be offered. (31) Precautions should always be taken so that demons and atheists cannot harm the body of the Lord. (32) Food offerings should be placed before the Lord. (33) Spices for chewing should be offered. (34) Betel nuts should be offered. (35) At the proper time, there should be arrangements so that the Lord may take rest in bed. (36) The Lord's hair should be combed and decorated. (37) First-class garments should be offered. (38) A first-class helmet should be offered. (39) The garments should be scented. (40) There should be Kaustubha jewels and other ornaments offered. (41) A variety of flowers should be offered. (42) Another maṅgala-ārati should be offered. (43) A mirror should be offered. (44) The Lord should be carried on a nice palanquin to the altar. (45) The Lord should be seated on the throne. (46) Again water should be given for the washing of His feet. (47) Something again should be offered for eating. (48) Evening ārati should be offered. (49) The Lord should be fanned with a cāmara fan, and an umbrella should be placed over His head. (50) The Hare Kṛṣṇa mantra and approved songs should be sung. (51) Musical instruments should be played. (52) One should dance before the Deity. (53) One should circumambulate the Deity. (54) One should again offer obeisances. (55) One should offer different types of prayers and hymns at the Lord's lotus feet. (56) One should touch the lotus feet of the Lord with one's head. This may not be possible for everyone, but at least the pūjārī should do this. (57) The flowers offered on the previous day should touch one's head. (58) One should take the remnants of the Lord's food. (59) One should sit before the Lord and think that he is massaging the Lord's legs. (60) One should decorate the Lord's bed with flowers before the Lord takes His rest. (61) One should offer one's hand to the Lord. (62) One should take the Deity to His bed. (63) One should wash the feet of the Lord and then sit Him on the bed. (64) One should place the Lord on the bed and then massage His feet.

CC Madhya 25.4, Translation:

For as long as Śrī Caitanya Mahāprabhu was in Vārāṇasī, Paramānanda Kīrtanīyā, who was a friend of Candraśekhara's, chanted the Hare Kṛṣṇa mahā-mantra and other songs to Śrī Caitanya Mahāprabhu in a very humorous way.

CC Antya-lila

CC Antya 1.159, Translation:

"My dear friend, see how this forest of Vṛndāvana is full of transcendental creepers and trees. The tops of the creepers are full of flowers, and intoxicated bumblebees are buzzing around them, humming songs that please the ear and surpass even the Vedic hymns."

CC Antya 2 Summary:

A devotee named Bhagavān Ācārya was exceptionally faithful to the lotus feet of Śrī Caitanya Mahāprabhu. Nevertheless, his brother, Gopāla Bhaṭṭa Ācārya, discoursed upon the commentary of impersonalism (Māyāvāda). Śrīla Svarūpa Dāmodara Gosvāmī, the secretary of Śrī Caitanya Mahāprabhu, forbid Bhagavān Ācārya to indulge in hearing that commentary. Later, when Junior Haridāsa, following the order of Bhagavān Ācārya, went to collect alms from Mādhavīdevī, he committed an offense by talking intimately with a woman although he was in the renounced order. Because of this, Śrī Caitanya Mahāprabhu rejected Junior Haridāsa, and despite all the requests of the Lord's stalwart devotees, the Lord did not accept him again. One year after this incident, Junior Haridāsa went to the confluence of the Ganges and Yamunā and committed suicide. In his spiritual body, however, he continued to sing devotional songs, and Śrī Caitanya Mahāprabhu heard them. When the Vaiṣṇavas of Bengal went to see Śrī Caitanya Mahāprabhu, these incidents became known to Svarūpa Dāmodara and others.

CC Antya 4.211, Translation and Purport:

Sanātana Gosvāmī met all the devotees of Śrī Caitanya Mahāprabhu and then, traveling by that same path, visited the places through which Śrī Caitanya Mahāprabhu had passed.

Śrīla Bhaktivinoda Ṭhākura writes in a song (Śaraṇāgati 31.3):

gaura āmāra, ye saba sthāne,
karala bhramaṇa raṅge
se-saba sthāna, heriba āmi,
praṇayi-bhakata-saṅge

"May I visit all the holy places associated with the līlās of Lord Caitanya and His devotees." A devotee should make a point of visiting all the places where Śrī Caitanya Mahāprabhu performed His pastimes. Indeed, pure devotees of Śrī Caitanya Mahāprabhu even want to see the places He simply visited for only hours or minutes.

CC Antya 5.14, Translation and Purport:

"Śrīla Rāmānanda Rāya has taken these two girls to a solitary place in his garden, where he is teaching and directing them to dance according to the songs he has composed for his drama."

The drama being rehearsed by Rāmānanda Rāya and the two young girls was the well-known Jagannātha-vallabha-nāṭaka. The songs and dances were meant for the pleasure of Lord Jagannātha; therefore Rāmānanda Rāya was personally giving instructions on how to sing and dance for the drama.

CC Antya 5.22, Translation:

Rāmānanda Rāya directed the two girls how to dance and express the deep meaning of his songs through dramatic performances.

CC Antya 5.95, Translation:

Customarily, anyone who composed a song, verse, literary composition or poem about Śrī Caitanya Mahāprabhu first had to bring it to Svarūpa Dāmodara Gosvāmī to be heard.

CC Antya 5.131, Purport:

Nowhere does Śrīmad-Bhāgavatam say that the Bhāgavatam should be heard for one week from professionals. Rather, Śrīmad-Bhāgavatam (1.2.17) says, śṛṇvatāṁ sva-kathāḥ kṛṣṇaḥ puṇya-śravaṇa-kīrtanaḥ: one should regularly hear Śrīmad-Bhāgavatam from a self-realized Vaiṣṇava. By such hearing, one becomes pious: hṛdy antaḥ-stho hy abhadrāṇi vidhunoti suhṛt satām. As one thus hears the Bhāgavatam regularly and sincerely, his heart is purified of all material contamination:

naṣṭa-prāyeṣv abhadreṣu nityaṁ bhāgavata-sevayā
bhagavaty uttama-śloke bhaktir bhavati naiṣṭhikī

"By regularly hearing the Bhāgavatam and by rendering of service to the pure devotee, all that is troublesome to the heart is almost completely destroyed, and loving service unto the Personality of Godhead, who is praised with transcendental songs, is established as an irrevocable fact." (SB 1.2.18)

This is the proper process, but people are accustomed to being misled by professional Bhāgavatam reciters.

CC Antya 6.6, Translation:

When the Lord acutely felt pangs of separation from Kṛṣṇa, only Śrī Rāmānanda Rāya's talks about Kṛṣṇa and the sweet songs of Svarūpa Dāmodara kept Him alive.

CC Antya 6.8, Translation:

Two people—Rāmānanda Rāya and Svarūpa Dāmodara Gosvāmī—stayed with the Lord to pacify Him by reciting various verses about Kṛṣṇa's pastimes and by singing appropriate songs for His satisfaction.

CC Antya 13 Summary:

Once, Śrī Caitanya Mahāprabhu became ecstatic upon hearing the songs of a deva-dāsī. Unaware of who was singing, He ran toward her through thorny bushes, but when Govinda informed the Lord that it was a woman singing, He immediately stopped. By this incident, Śrī Caitanya Mahāprabhu instructed everyone that sannyāsīs and Vaiṣṇavas should not hear women singing.

CC Antya 13.79, Translation:

She sang a gujjarī tune in a very sweet voice, and because the subject was Jayadeva Gosvāmī’s Gīta-govinda, the song attracted the attention of the entire world.

CC Antya 13.80, Translation:

Hearing the song from a distance, Śrī Caitanya Mahāprabhu immediately became ecstatic. He did not know whether it was a man or a woman singing.

CC Antya 13.136-137, Translation:

In this chapter I have spoken about three topics: Jagadānanda Paṇḍita's visit to Vṛndāvana, Śrī Caitanya Mahāprabhu's listening to the song of the deva-dāsī at the temple of Jagannātha, and how Raghunātha Bhaṭṭa Gosvāmī achieved ecstatic love of Kṛṣṇa by the mercy of Śrī Caitanya Mahāprabhu.

CC Antya 15.26, Translation:

To enhance the ecstatic mood of the Lord, Svarūpa Dāmodara Gosvāmī would sing appropriate songs and Rāmānanda Rāya would recite suitable verses. In this way they were able to pacify Him.

CC Antya 15.27, Translation:

The Lord especially liked to hear Bilvamaṅgala Ṭhākura's Kṛṣṇa-karṇāmṛta, the poetry of Vidyāpati, and Śrī Gīta-govinda, by Jayadeva Gosvāmī. Śrī Caitanya Mahāprabhu felt great pleasure in His heart when His associates chanted verses and sang songs from these books.

CC Antya 15.82, Translation:

Śrī Caitanya Mahāprabhu then said to Svarūpa Dāmodara Gosvāmī, "Please sing a song that will bring consciousness to My heart."

CC Antya 15.85, Translation:

When Svarūpa Dāmodara Gosvāmī sang this special song, Śrī Caitanya Mahāprabhu immediately got up and began to dance in ecstatic love.

CC Antya 17.5, Translation:

As they talked of Kṛṣṇa, Svarūpa Dāmodara Gosvāmī would sing songs exactly suitable for Śrī Caitanya Mahāprabhu's transcendental emotions.

CC Antya 17.31, Translation:

(The gopīs said:) "My dear Lord Kṛṣṇa, where is that woman within the three worlds who would not be captivated by the rhythms of the sweet songs coming from Your wonderful flute? Who would not fall down from the path of chastity in this way? Your beauty is the most sublime within the three worlds. Upon seeing Your beauty, even cows, birds, animals and trees in the forest are stunned in jubilation."

CC Antya 17.41, Translation:

"Kṛṣṇa's deep voice is more resonant than newly arrived clouds, and His sweet song defeats even the sweet voice of the cuckoo. Indeed, His song is so sweet that even one particle of its sound can inundate the entire world. If such a particle enters one's ear, one is immediately bereft of all other types of hearing."

CC Antya 17.43, Translation:

"The tinkling of Kṛṣṇa's ankle bells surpasses the songs of even the swan and crane, and the sound of His bangles puts the singing of the caṭaka bird to shame. Having allowed these sounds to enter the ears even once, one cannot tolerate hearing anything else."

CC Antya 17.62, Translation:

Suddenly Śrī Caitanya Mahāprabhu returned to external consciousness and said to Svarūpa Dāmodara Gosvāmī, "My dear Svarūpa, please sing some sweet songs." The Lord's ears were satisfied when He heard Svarūpa Dāmodara sing songs from the Gīta-govinda and those by the poet Vidyāpati.

CC Antya 18.5, Translation:

He walked from garden to garden, seeing the pastimes of Lord Kṛṣṇa and hearing and reciting songs and verses concerning the rāsa-līlā.

CC Antya 19.54, Translation:

Svarūpa Dāmodara and Rāmānanda Rāya then devised various means to pacify the Lord. They sang songs of meeting that transformed His heart and made His mind peaceful.

CC Antya 19.107, Translation:

The evidence of the truth of these talks is found in Śrīmad-Bhāgavatam. There, in the section of the Tenth Canto known as the Bhramara-gīta, "The Song to the Bumblebee," Śrīmatī Rādhārāṇī speaks insanely in ecstatic love for Kṛṣṇa.

CC Antya 19.107, Purport:

After hearing the bumblebee's sweet songs and recognizing that the bee was singing about Kṛṣṇa for Her satisfaction, the gopī replied:

kim iha bahu ṣaḍ-aṅghre gāyasi tvaṁ yadūnām
adhipatim agṛhāṇām agrato naḥ purāṇam
vijaya-sakha-sakhīnāṁ gīyatāṁ tat-prasaṅgaḥ
kṣapita-kuca-rujas te kalpayantīṣṭam iṣṭāḥ

"Dear bumblebee, Lord Kṛṣṇa has no residence here, but we know Him as Yadupati (the King of the Yadu dynasty). We know Him very well, and therefore we are not interested in hearing any more songs about Him. It would be better for you to go sing to those who are now very dear to Kṛṣṇa. Those women of Mathurā have now achieved the opportunity of being embraced by Him. They are His beloveds now, and therefore He has relieved the burning in their breasts. If you go there and sing your songs to those fortunate women, they will be very pleased, and they will honor you."

CC Antya 19.107, Purport:

"O My dear messenger, I am just like a foolish bird that hears the sweet songs of a hunter, believes in them due to simplicity, and is then pierced in the heart and made to suffer all kinds of miseries. Because we believed in Kṛṣṇa's words, we have suffered great pain. Indeed, the touch of Kṛṣṇa's nails has injured our faces. He has caused us so much pain! Therefore, you should give up topics concerning Him and talk about something else."

CC Antya 19.108, Translation and Purport:

The songs of the queens at Dvārakā, which are mentioned at the end of the Tenth Canto of Śrīmad-Bhāgavatam, have a very special meaning. They are not understood even by the most learned scholars.

These songs of Śrīmad-Bhāgavatam are verses 15–24 of the Ninetieth Chapter of the Tenth Canto.

kurari vilapasi tvaṁ vīta-nidrā na śeṣe
svapiti jagati rātryām īśvaro gupta-bodhaḥ
vayam iva sakhi kaccid gāḍha-nirbhinna-cetā
nalina-nayana-hāsodāra-līlekṣitena

All the queens incessantly thought of Kṛṣṇa. After their pastimes in the water, the queens said, "Our dear friend the osprey, Kṛṣṇa is now asleep, but we stay awake at night because of Him. You laugh at us when you see us awake at night, but why are you not sleeping? You seem absorbed in thoughts of Kṛṣṇa. Have you also been pierced by Kṛṣṇa's smile? His smile is very sweet. One who is pierced by such an arrow is very fortunate."

CC Antya 19.108, Purport:

"O moon, you appear to be suffering from a severe fever, perhaps tuberculosis. Indeed, your effulgence does not have the strength to destroy the darkness. Have you become mad after hearing the songs of Kṛṣṇa? Is that why you are silent? Seeing your suffering, we feel that you are one of us."

CC Antya 20.4, Translation:

Day and night He tasted transcendental blissful songs and verses with two associates, namely Svarūpa Dāmodara Gosvāmī and Rāmānanda Rāya.

CC Antya 20.121, Translation:

The Thirteenth Chapter tells how Jagadānanda Paṇḍita went to Mathurā and returned and how Śrī Caitanya Mahāprabhu by chance heard a song sung by a deva-dāsī dancing girl.

Other Books by Srila Prabhupada

Teachings of Lord Caitanya

Teachings of Lord Caitanya, Chapter Intoduction:

One devotional song by Narottama dāsa Ṭhākura states: "My dear Lord Caitanya, please have mercy upon me. There is no one who is as merciful as You. My plea is most urgent because Your mission is to deliver fallen souls, and no one is more fallen than I. I beg priority."

Teachings of Lord Caitanya, Chapter 9:

Because He is master of all opulences, all Vedic literatures acclaim Kṛṣṇa to be the Supreme Personality of Godhead. Lord Caitanya then sang a nice song about the opulences of Kṛṣṇa, and Sanātana Gosvāmī listened. "All the pastimes of Kṛṣṇa are exactly like the activities of human beings," the Lord sang. "Therefore it is to be understood that His form is like that of a human being. Indeed, a human being is but an imitation of His form. Kṛṣṇa's dress is just like that of a cowherd boy's. He has a flute in His hand, and He seems to be just like a newly grown youth. He is always playful, and He plays just like an ordinary boy." Lord Caitanya then told Sanātana Gosvāmī about the beautiful aspects of Kṛṣṇa. He said that one who understands these beautiful qualities enjoys an ocean of nectar. The yogamāyā potency of Kṛṣṇa is transcendental and beyond the material energy, but the Lord exhibits His transcendental potency even within this material world just to satisfy His confidential devotees. Thus He appears in the material world to satisfy His devotees, and His qualities are so attractive that Kṛṣṇa Himself becomes eager to understand Himself. When He is fully decorated and stands with His body curved in three ways—His eyebrows always moving and His eyes so attractive—the gopīs become enchanted. His spiritual abode is at the top of the spiritual sky, and He resides there with His associates, the cowherd boys, the gopīs, and all the goddesses of fortune. It is there that He is known as Madana-mohana.

Teachings of Lord Caitanya, Chapter 16:

One must be qualified with the symptoms of a brāhmaṇa, as the symptoms are described in the śāstras. In the disciplic succession of the Gauḍīya Vaiṣṇava sampradāya, there are two great ācāryas (Ṭhākura Narottama and Śyāmānanda Gosvāmī) who were not born in brāhmaṇa families but were accepted as spiritual masters by many brāhmaṇas of fame, including Gaṅgānārāyaṇa, Rāmakṛṣṇa, etc.

In this way there are symptoms which the prospective devotee evinces, and both the disciple and the spiritual master must see whether each other is eligible to become either a bona fide spiritual master or a bona fide student. One should then know that the only worshipable object is the Supreme Personality of Godhead, and one should learn the various mantras and sacred songs.

Teachings of Lord Caitanya, Chapter 17:

There is a very nice song sung by Śrī Narottama dāsa Ṭhākura, a great devotee and ācārya in the disciplic succession from Lord Caitanya. Narottama dāsa sings: "When will there be transcendental vibrations all over my body simply by my hearing the name of Gaurāṅga? When will tears incessantly flow from my eyes simply by my uttering the names of the Lord? When will Lord Nityānanda have mercy upon me, and when will all my desires for material enjoyment become insignificant? When shall I be purified by giving up all contaminations of material enjoyment? And when shall I be able to see the transcendental abode, Vṛndāvana? When shall I be eager to accept the six Gosvāmīs as my prime guidance? And when will I be able to understand the conjugal love of Kṛṣṇa?" No one should be eager to understand the conjugal love of Kṛṣṇa without undergoing disciplinary training under the six Gosvāmīs of Vṛndāvana.

Teachings of Lord Caitanya, Chapter 29:

A member of the Ventor Gosvāmī Society, or the caste called gosvāmī, cannot be accepted as a descendant of the six original Gosvāmīs. Nor can so-called devotees who manufacture songs about Lord Caitanya, nor those who are professional priests or paid reciters, be accepted. One who does not follow the principles of pañcarātra, or one who is an impersonalist or addicted to sex life, cannot be compared with those who have dedicated their lives to the service of Kṛṣṇa. A pure devotee who is always engaged in Kṛṣṇa consciousness can sacrifice everything for the service of the Lord.

Teachings of Lord Caitanya, Chapter 31:

In Brahma-saṁhitā the transcendental land of Vṛndāvana is described as being always spiritual. That spiritual land is populated by goddesses of fortune, who are known as gopīs. These are all beloved of Kṛṣṇa, and Kṛṣṇa is the only lover of all those gopīs. The trees of that land are kalpa-vṛkṣa, wish fulfilling trees, and one can have anything he wants from them. The land is made of touchstone and the water of nectar. In that land all speech is song, and all walking is dancing, and one's constant companion is the flute. Everything is self-luminous, just like the sun in this material world. The human form of life is meant for understanding this transcendental land of Vṛndāvana, and one who is fortunate should cultivate knowledge of Vṛndāvana and its residents.

Teachings of Lord Caitanya, Chapter 31:

"It is very difficult for me to express anything beyond this," Rāmānanda Rāya replied. "I can only say that there is an emotional activity called prema-vilāsa-vivarta, which I may try to explain but I do not know whether You will be happy to hear it." In prema-vilāsa there are two kinds of emotional activities—separation and meeting. That transcendental separation is so acute that it is actually more ecstatic than meeting. Rāmānanda Rāya was expert in understanding these highly elevated dealings between Rādhā and Kṛṣṇa, and he composed a nice song which he narrated to the Lord. The purport of the song is that the lover and the beloved, before meeting, generate a kind of emotion by the exchange of their transcendental activities. That emotion is called rāga, or attraction. Śrīmatī Rādhārāṇī expressed Her willingness that "this attraction and affection between Us rise to the highest extent," but the cause of this attraction is Rādhārāṇī Herself. "Whatever the cause may be," Rādhārāṇī said, "that affection between You and Me has mixed Us in oneness. Now that it is the time of separation, I cannot see the history of the evolution of this love. There was no cause or mediator in Our love save Our meeting itself and the visionary exchange of feelings."

Teachings of Lord Caitanya, Chapter 32:

"And out of all songs, what song do you think is the best of all?" Caitanya Mahāprabhu asked. And Rāmānanda replied that any song which describes the pastimes of Rādhā and Kṛṣṇa is the best song. In conditional life, the soul is captivated by sex. All fictions—dramas and novels—and material songs describe love between men and women. Since people are so attracted to this kind of literature, Kṛṣṇa appeared in this material world and displayed His transcendental loving affairs with the gopīs. There is an immense literature dealing with the transactions between the gopīs and Kṛṣṇa, and anyone who takes shelter of this literature or of the stories about Rādhā and Kṛṣṇa can enjoy actual happiness. In Śrīmad-Bhāgavatam (10.33.36) it is said that the Lord displayed His pastimes in Vṛndāvana in order to reveal His actual life. Any intelligent person who tries to understand the pastimes of Rādhā and Kṛṣṇa is most fortunate. The songs that tell of those pastimes are the greatest songs in the world.

Nectar of Devotion

Nectar of Devotion 9:

There are many songs about the Lord's activities. For example, there is the Brahma-saṁhitā, sung by Lord Brahmā; Nārada-pañcarātra, sung by Nārada Muni; and Śrīmad-Bhāgavatam, sung by Śukadeva Gosvāmī. If these songs are heard by any person, he can easily get out of the clutches of material contamination. There should be no difficulty in hearing these songs of God. They are coming down from many, many millions of years ago, and people are still taking advantage of them. So why, at this time, should one not take full advantage and thus become liberated?

Nectar of Devotion 11:

This self-surrender is called ātma-nivedana. According to different authorities, self is differently defined. Self is sometimes considered to refer to the spirit self, or soul, and self is sometimes considered to refer to the mind or to the body. Full self-surrender, therefore, means not only surrendering one's self as spirit soul, but also surrendering one's mind and body to the service of the Lord. Śrīla Bhaktivinoda Ṭhākura has sung a nice song in this connection. While offering himself as a fully surrendered soul, he said, "My mind, my household affairs, my body, whatever is in my possession, my dear Lord, I offer to You for Your service. Now You can do with them as You like. You are the supreme possessor of everything, so if You like You can kill me, or if You like You can give me protection. All authority belongs to You. I have nothing to claim as my own."

Nectar of Devotion 17:

An example of rising to the stage of ecstatic love by executing the regulative principles of devotional service is given in the life story of Nārada, which is described to Vyāsadeva in Śrīmad-Bhāgavatam. Nārada tells there of his previous life and how he developed to the stage of ecstatic love. He was engaged in the service of great devotees and used to hear their talks and songs. Because he had the opportunity to hear these pastimes and songs of Kṛṣṇa from the mouths of pure devotees, he became very attracted within his heart. Because he had become so eager to hear these topics, he gradually developed within himself an ecstatic love for Kṛṣṇa. This ecstatic love is prior to the pure love of Kṛṣṇa, because in the next verse Nārada confirms that by the gradual process of hearing from the great sages he developed love of Godhead. In that connection, Nārada continues to say in the First Canto, Fifth Chapter, verse 28, of the Bhāgavatam, "First I passed my days in the association of the great sages during the rainy autumn season. Every morning and evening I heard them while they were singing and chanting the Hare Kṛṣṇa mantra, and thus my heart gradually became purified. As soon as I heard them with great attention, the influence of the modes of material ignorance and passion disappeared, and I became firmly fixed in devotional service to the Lord."

Nectar of Devotion 21:

One who can talk and dress himself very artistically is called vidagdha. This exemplary characteristic was visible in the personality of Śrī Kṛṣṇa. It is spoken of by Rādhārāṇī as follows: "My dear friend, just see how Kṛṣṇa has nicely composed songs and how He dances and speaks funny words and plays on His flute, wearing such nice garlands. He has dressed Himself in such an enchanting way, as though He had defeated all kinds of players at the chessboard. He lives wonderfully at the topmost height of artistic craftsmanship."

Nectar of Devotion 21:

A person who can perform various types of work at once is called clever. In this connection one of the gopīs said, "My dear friends, just see the clever activities of Śrī Kṛṣṇa! He has composed nice songs about the cowherd boys and is pleasing the cows. By the movement of His eyes He is pleasing the gopīs, and at the same time, He is fighting with demons like Ariṣṭāsura. In this way, He is sitting with different living entities in different ways, and He is thoroughly enjoying the situation."

Nectar of Devotion 26:

When Kṛṣṇa arrived at the age of thirteen to fourteen years, His two arms and chest assumed an unspeakable beauty, and His whole form became simply enchanting. When Kṛṣṇa attained thirteen years of age, His two thighs were challenging the trunks of elephants, His rising chest was trying to come to peace talks with doors of jewels, and His two arms were minimizing the value of the bolts found on doors. Who can describe the wonderful beauty of these features of Kṛṣṇa? The special beauty of Kṛṣṇa's body was His mild smiling, His restless eyes and His world enchanting songs. These are the special features of this age.

There is a statement in this connection that Kṛṣṇa, on arriving at this age, manifested such beautiful bodily features that His restless eyes became the playthings of Cupid, and His mild smile resembled the newly grown lotus flower. The enchanting vibration of His songs became a great impediment to the young girls, who were supposed to remain chaste and faithful to their husbands.

Nectar of Devotion 30:

In the Tenth Canto, Twenty-first Chapter, verse 13, of Śrīmad-Bhāgavatam, there is an appreciation by the gopīs of the inertia of the cows in Vṛndāvana. The gopīs saw that the cows were hearing the sweet songs vibrated by Kṛṣṇa's flute and were appearing to be drinking the nectar of these transcendental sounds. The calves were stunned, and they forgot to drink the milk from the milk bags. Their eyes seemed to be embracing Kṛṣṇa, and there were tears in their eyes. This is an instance of inertia resulting from hearing the transcendental vibrations of Kṛṣṇa's flute.

When Lakṣmaṇā became disturbed upon hearing words against Kṛṣṇa, she remained inert and did not move her eyelids. This is another example of inertia caused by hearing.

Nectar of Devotion 36:

Those who are from the very beginning of their self-realization attached to devotional service are called sevā-niṣṭha. Sevā-niṣṭha means "simply attached to devotional service." The best examples of such devotees are Lord Śiva, King Indra, King Bahulāśva, King Ikṣvāku, Śrutadeva and Puṇḍarīka. One devotee says, "My dear Lord, Your transcendental qualities attract even the liberated souls and carry them to the assembly of devotees where Your glories are constantly chanted. Even great sages who are accustomed to living in solitary places are also attracted by the songs of Your glory. And, observing all Your transcendental qualities, I have also become attracted and have decided to dedicate my life to Your loving service."

Nectar of Devotion 42:

Another example of acute affection for Kṛṣṇa is given in the Tenth Canto, Fifteenth Chapter, verse 18, of Śrīmad-Bhāgavatam. In the pasturing ground Kṛṣṇa felt a little tired and wanted to take rest, so He lay down on the ground. At that time, many cowherd boys assembled there and with great affection began to sing suitable songs so that Kṛṣṇa would rest very nicely.

Nectar of Devotion 42:

An example of helplessness is described in the following statement: "Due to Kṛṣṇa's departure from Vṛndāvana to Mathurā, Kṛṣṇa's dearest cowherd boys felt as mentally light as possible. They were like fragments of cotton, lighter than the air, and were all floating in the air without any shelter." In other words, the minds of the cowherd boys became almost vacant on account of Kṛṣṇa's separation. An example of impatience was also shown by the cowherd boys when Kṛṣṇa went to Mathurā. Out of the sorrow of separation, all these boys forgot to take care of their cowherding and tried to forget all the melodious songs they used to sing in the pasturing ground. At last they had no desire to live anymore, being separated from Kṛṣṇa.

Krsna, The Supreme Personality of Godhead

Krsna Book 5:

In that ceremony, all the assembled brāhmaṇas began to chant different kinds of Vedic mantras to invoke all good fortune for the child. There are different kinds of chanting, known as sūta, māgadha, vandīja and virudāvalī. Along with this chanting of mantras and songs, bugles and kettledrums are sounded outside the house. On this occasion, the joyous vibrations could be heard in all the pasturing grounds and all the houses. Within and outside of the houses there were varieties of artistic paintings, done with rice pulp, and scented water was sprinkled everywhere, even on the roads and streets. Ceilings and roofs were decorated with different kinds of flags, festoons and green leaves. The gates were made of green leaves and flowers. All the cows, bulls and calves were smeared with a mixture of oil and turmeric and painted with minerals like red oxide, yellow clay and manganese. They wore garlands of peacock feathers and were covered with nice colored cloths and gold necklaces.

Krsna Book 5:

When the cowherd men saw the pastimes of the cowherd women, they became very joyful, and in response they also began to throw yogurt, milk, clarified butter and water upon the bodies of the gopīs. Then both parties began to throw butter on each other's bodies. Nanda Mahārāja was also very happy to see the pastimes of the cowherd men and women, and he became very liberal in giving charity to the different singers who were assembled there. Some singers were reciting great verses from the Upaniṣads and Purāṇas, some were glorifying the family ancestors, and some were singing very sweet songs. There were also many learned brāhmaṇas present, and Nanda Mahārāja, being very satisfied on this occasion, gave them different kinds of garments, ornaments and cows in charity.

Krsna Book 14:

After finishing their lunch, Kṛṣṇa and His friends and calves began to return to their Vrajabhūmi homes. While passing, they enjoyed seeing the dead carcass of Aghāsura in the shape of a gigantic serpent. When Kṛṣṇa returned home to Vrajabhūmi, He was seen by all the inhabitants of Vṛndāvana. He was wearing a peacock feather in His helmet, which was also decorated with forest flowers. Kṛṣṇa was also garlanded with flowers and painted with different colored minerals collected from the caves of Govardhana Hill. Govardhana Hill is always famous for supplying natural red oxides, and Kṛṣṇa and His friends painted their bodies with them. Each of them had a bugle made of buffalo horn and a stick and a flute, and each called his respective calves by their particular names. They were so proud of Kṛṣṇa's wonderful activities that, while entering the village, they all sang His glories. All the gopīs in Vṛndāvana saw beautiful Kṛṣṇa entering the village. The boys composed nice songs describing how they were saved from being swallowed by the great serpent and how the serpent was killed. Some described Kṛṣṇa as the son of Yaśodā, and others as the son of Nanda Mahārāja. "He is so wonderful that He saved us from the clutches of the great serpent and killed him," they said. But little did they know that one year had passed since the killing of Aghāsura.

Krsna Book 15:

They were given palatable dishes by Their mothers, and They pleasantly ate everything. After eating, They were seated nicely on clean bedding, and the mothers began to sing various songs of Their activities. As soon as They lay down on the bedding, They very quickly fell fast asleep. In this way, Kṛṣṇa and Balarāma used to enjoy Vṛndāvana life as cowherd boys.

Krsna Book 15:

All the gopīs in Vṛndāvana remained very morose on account of Kṛṣṇa's absence. All day they were thinking of Kṛṣṇa in the forest or of Him herding cows in the pasture. When they saw Kṛṣṇa returning, all their anxieties were immediately relieved, and they began to look at His face the way drones hover over the honey of the lotus flower. When Kṛṣṇa entered the village, the young gopīs smiled and laughed. Kṛṣṇa, while playing the flute, enjoyed the beautiful smiling faces of the gopīs.

Then Kṛṣṇa and Balarāma were immediately received by Their affectionate mothers, Yaśodā and Rohiṇī, who, according to the time's demands, began to fulfill the desires of their affectionate sons. Simultaneously, the mothers rendered service and bestowed benediction upon their transcendental sons. They took care of their children by bathing Them and dressing Them very nicely. Kṛṣṇa was dressed in yellowish garments, and Balarāma was dressed in bluish garments, and They were given all sorts of ornaments and flower garlands. Being relieved of the fatigue of Their day's work in the pasturing ground, They looked refreshed and very beautiful.

They were given palatable dishes by Their mothers, and They pleasantly ate everything. After eating, They were seated nicely on clean bedding, and the mothers began to sing various songs of Their activities. As soon as They lay down on the bedding, They very quickly fell fast asleep. In this way, Kṛṣṇa and Balarāma used to enjoy Vṛndāvana life as cowherd boys.

Krsna Book 16:

As Kṛṣṇa and Kāliya moved in a circle, the serpent gradually became fatigued, and his strength seemed to diminish considerably. Kṛṣṇa immediately pressed down the serpent's hoods and jumped up on them. The Lord's lotus feet became tinged with red from the rays of the jewels on the snake's hoods. Then He who is the original artist of all fine arts, such as dancing, began to dance upon the hoods of the serpent, although they were moving to and fro. Upon seeing this, the denizens of the upper planets showered flowers, beat drums, played different types of flutes and sang various prayers and songs. In this way, all the denizens of heaven, such as the Gandharvas, Siddhas and demigods, became very much pleased.

Krsna Book 29:

“Dear Kṛṣṇa, we have simply been captivated by seeing You with tilaka and with earrings and by seeing Your beautiful face covered with scattered hair and bearing Your extraordinary smile. Not only that, but we are also attracted by Your arms, which always give assurance to the surrendered souls. And although we are also attracted by Your chest, which is always embraced by the goddess of fortune, we do not wish to take her position. We shall simply be satisfied by being Your maidservants. If You accuse us, however, of encouraging prostitution, then we can only ask, Where is that woman within these three worlds who is not captivated by Your beauty and the rhythmic songs vibrated by Your transcendental flute? Within these three worlds there is no distinction between men and women in relation to You because both men and women belong to the marginal potency, or prakṛti. No one is actually the enjoyer, or the male; everyone is meant to be enjoyed by You. There is no woman within these three worlds who cannot but deviate from her path of chastity once she is attracted to You, because Your beauty is so sublime that not only men and women but also cows, birds, beasts and even trees, fruits and flowers—everyone and everything—become enchanted, and what to speak of ourselves? It is, however, definitely decided that as Lord Viṣṇu is always protecting the demigods from the onslaught of demons, so You have also advented in Vṛndāvana just to give the residents protection from all kinds of distress.

Krsna Book 33:

As the gopīs and Kṛṣṇa danced together, a very blissful musical sound was produced from the tinkling of their bells, ornaments and bangles. It appeared that Kṛṣṇa was a greenish sapphire locket in the midst of a golden necklace decorated with valuable stones. While Kṛṣṇa and the gopīs danced, they displayed extraordinary bodily features. The movements of their legs, their placing their hands on one another, the movements of their eyebrows, their smiling, the movements of the breasts of the gopīs and their clothes, their earrings, their cheeks, their hair with flowers—as they sang and danced these combined to appear like clouds, thunder, snow and lightning. Kṛṣṇa's bodily features appeared just like a group of clouds, the gopīs' songs were like thunder, their beauty appeared to be just like lightning in the sky, and the drops of perspiration visible on their faces appeared like falling snow. In this way, the gopīs and Kṛṣṇa fully engaged in dancing.

Krsna Book 34:

The young damsels of Vraja were very nicely dressed and anointed with pulp of sandalwood and decorated with flowers. The moon was shining in the sky, surrounded by glittering stars. The breeze was blowing, bearing the aroma of mallikā flowers, and the bumblebees were mad after the aroma. Taking advantage of the pleasing atmosphere, Kṛṣṇa and Balarāma began to sing very melodiously. The damsels became so absorbed in Their rhythmical song that they almost forgot themselves; their hair loosened, their clothes slackened, and their garlands began to fall to the ground.

Krsna Book 35:

One of the gopīs told mother Yaśodā, "My dear mother, your son is very expert among the cowherd boys. He knows all the different arts of how to tend the cows and how to play the flute. He composes His own songs, and to play them He puts His flute to His mouth. When He plays, either in the morning or in the evening, all the demigods, including Lord Śiva, Brahmā, Indra and Candra, bow their heads and listen with great attention. Although they are very learned and expert, they cannot understand the musical arrangements of Kṛṣṇa's flute. They simply listen attentively and try to understand, but they become bewildered and nothing more."

Krsna Book 38:

Akrūra's journey to Vṛndāvana is exemplary. One who intends to visit Vṛndāvana should follow the ideal footsteps of Akrūra and always think of the pastimes and activities of the Lord. As soon as one reaches the boundary of Vṛndāvana, he should immediately smear the dust of Vṛndāvana over his body without thinking of his material position and prestige. Śrīla Narottama dāsa Ṭhākura has sung in a celebrated song, viṣaya chāḍiyā kabe śuddha habe mana: "When my mind will be purified after leaving the contamination of material sense enjoyment, I shall be able to visit Vṛndāvana." Actually, one cannot go to Vṛndāvana by purchasing a ticket. The process of going to Vṛndāvana is shown by Akrūra.

Krsna Book 45:

After hearing only once from Their teacher, Kṛṣṇa and Balarāma learned all the arts and sciences. In sixty-four days and sixty-four nights, They learned all the necessary arts and sciences required in human society. During the daytime They took lessons on a subject from the teacher, and by nightfall They were expert in that department of knowledge.

First of all They learned how to sing, how to compose songs and how to recognize the different tunes; They learned the favorable and unfavorable accents and meters, how to sing different kinds of rhythms and melodies, and how to follow them by beating different kinds of drums. They learned how to dance to the rhythm of melody and different songs.

Krsna Book 47:

Uddhava was attracted by the attitude of the gopīs because they were completely attached to Kṛṣṇa, and he was inspired by the gopīs' anxiety for Kṛṣṇa. He offered them his respectful obeisances and composed songs in praise of their transcendental qualities as follows: "Among all the living entities who have accepted the human form of life, the gopīs are superexcellently successful in their mission. Their thought is eternally absorbed in the lotus feet of Kṛṣṇa. Great sages and we ourselves also try to be absorbed in meditation on the lotus feet of Kṛṣṇa, but the gopīs, having lovingly accepted the Lord, are automatically accustomed to this and do not depend on any yogic practice. The conclusion is that one who has attained the gopīs' condition of life does not have to take birth as Lord Brahmā or be born in a brāhmaṇa family or be initiated as a brāhmaṇa."

Krsna Book 50:

The denizens of heaven were very much pleased, and they offered their respects by chanting in glorification of the Lord and showering Him with flowers, accepting the victory with great appreciation. Jarāsandha returned to his kingdom, and Mathurā City was saved from the danger of imminent attack. The citizens of Mathurā organized the combined services of professional singers like sūtas and māgadhas, along with poets who could compose nice songs, and they began to chant the victory glorification of Lord Kṛṣṇa. When Lord Kṛṣṇa entered the city after the victory, many bugles, conches and kettledrums sounded, and the vibrations of various musical instruments like bherīs, tūryas, vīṇās, flutes and mṛdaṅgas all joined together to make a beautiful reception.

Krsna Book 58:

When Kṛṣṇa brought the bulls under His control by bridling their noses, their strength and pride were immediately smashed. The name and fame which the bulls had attained was thus vanquished. When Kṛṣṇa had the bulls bridled, He pulled them strongly, just as a child pulls a toy wooden bull. Upon seeing this advantage of Kṛṣṇa, King Nagnajit became very much astonished and immediately, with great pleasure, brought his daughter Satyā before Kṛṣṇa and handed her over to Him. Kṛṣṇa also immediately accepted Satyā as His wife. Then there was a marriage ceremony with great pomp. The queens of King Nagnajit were also very much pleased because their daughter Satyā got Kṛṣṇa as her husband. Since the King and queens were very much pleased on this auspicious occasion, there was a celebration all over the city in honor of the marriage. Everywhere were heard the sounds of the conchshell and kettledrum and various other vibrations of music and song. The learned brāhmaṇas showered their blessings upon the newly married couple. In jubilation, all the inhabitants of the city dressed themselves with colorful garments and ornaments. King Nagnajit was so much pleased that he gave a dowry to his daughter and son-in-law, as follows.

Krsna Book 71:

The audience of the Supreme Personality of Godhead, Kṛṣṇa, is not at all commonplace. Therefore, when King Yudhiṣṭhira heard that Lord Kṛṣṇa had arrived in his capital city, Hastināpura, he became so joyful that all his bodily hairs stood on end in great ecstasy, and he immediately came out of the city to properly receive the Lord. He ordered the musical vibration of different instruments and songs, and the learned brāhmaṇas of the city began to chant the hymns of the Vedas very loudly. Lord Kṛṣṇa is known as Hṛṣīkeśa, the master of the senses, and King Yudhiṣṭhira went forward to receive Him exactly as the senses meet the consciousness of life. King Yudhiṣṭhira was the elder cousin of Kṛṣṇa. Naturally he had great affection for the Lord, and as soon as he saw Him, his heart became filled with great love and affection. He had not seen the Lord for many days, and therefore he thought himself most fortunate to see the Lord present before him. The King therefore embraced Lord Kṛṣṇa again and again in great affection.

Krsna Book 75:

Once upon a time, King Yudhiṣṭhira was sitting on his golden throne in the palace constructed by the demon Maya. His four brothers and other relatives, as well as his great well-wisher Kṛṣṇa, the Supreme Personality of Godhead, were present, and the material opulence of King Yudhiṣṭhira seemed no less than that of Lord Brahmā. When he was sitting on the throne surrounded by his friends and the reciters were offering prayers to him in the form of nice songs, Duryodhana came to the palace with his younger brothers.

Krsna Book 78:

In this way, after killing Śālva and destroying his wonderful airplane and then killing Dantavakra and Vidūratha, Lord Kṛṣṇa at last entered His city, Dvārakā. It would not have been possible for anyone but Kṛṣṇa to kill these great heroes, and therefore all the demigods from heaven and the human beings on the surface of the globe were glorifying Him. Great sages and ascetics, the denizens of the Siddha and Gandharva planets, the denizens known as Vidyādharas, Vāsuki and the Mahānāgas, the beautiful angels, the inhabitants of Pitṛloka, the Yakṣas, the Kinnaras and the Cāraṇas all showered flowers upon Him and sang songs of His victory in great jubilation. Decorating the entire city very festively, the citizens of Dvārakā held a great celebration, and when Lord Kṛṣṇa passed through the city, all the members of the Vṛṣṇi dynasty and the heroes of the Yadu dynasty followed Him with great respect. These are some of the transcendental pastimes of Lord Kṛṣṇa, the master of all mystic power and the Lord of all cosmic manifestations. Those who are fools, who are like animals, sometimes think that Kṛṣṇa is defeated, but factually He is the Supreme Personality of Godhead, and no one can defeat Him. He always remains victorious over everyone. He alone is God, and all others are His subservient order-carriers.

Krsna Book 81:

While the learned brāhmaṇa was considering this, a group of beautiful men and women with features resembling those of the demigods, accompanied by musical chanters, approached to welcome him. All were singing auspicious songs. The wife of the brāhmaṇa was very glad on hearing the tidings of her husband's arrival, and with great haste she came out of the palace. The brāhmaṇa's wife appeared so beautiful that it seemed as if the goddess of fortune herself had come to receive him. As soon as she saw her husband present before her, tears of joy fell from her eyes, and her voice became so choked up that she could not even address her husband. She simply closed her eyes in ecstasy. But with great love and affection she bowed down before her husband, and within herself she thought of embracing him. She was fully decorated with a gold necklace and ornaments, and while standing among the maidservants she appeared like a demigod's wife just alighting from an airplane. The brāhmaṇa was surprised to see his wife so beautiful, and in great affection and without saying a word he entered the palace with her.

Krsna Book 84:

When everything was complete, there was heard the vibration of mṛdaṅgas, conchshells, kettledrums and other musical instruments. Professional dancers, both male and female, began to dance. The sūtas and māgadhas, who were professional singers, began to offer prayers by singing. And the Gandharvas and their wives, whose voices were very sweet, began to sing many auspicious songs. Vasudeva anointed his eyes with black cosmetic, smeared butter over his body and then, along with his eighteen wives, headed by Devakī, sat before the priests to be purified by the abhiṣeka ceremony. While the ceremony was being observed strictly according to the principles of the scriptures, Vasudeva resembled the moon encircled by stars. Because he was being initiated for the sacrifice, he was dressed in a deerskin, but all his wives were dressed with very nice saris, bangles, necklaces, ankle bells, earrings and many other ornaments. Vasudeva looked very beautiful surrounded by his wives, exactly like the King of heaven when he performs such sacrifices.

Krsna Book 90:

One who prematurely goes to Vṛndāvana to live in pursuance of the instructions of Śukadeva Gosvāmī again falls victim to māyā, even while residing in Vṛndāvana. To check such unauthorized residence in Vṛndāvana, Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura has sung a nice song in this connection, the purport of which is as follows: "My dear mind, why are you so proud of being a Vaiṣṇava? Your solitary chanting of the holy name of the Lord is based on a desire for cheap popularity, and therefore your chanting is only a pretension. Such an ambition for a cheap reputation may be compared to the stool of a hog because such popularity is another extension of the influence of māyā." One may go to Vṛndāvana for cheap popularity, and instead of being absorbed in Kṛṣṇa consciousness, one may always think of money and women, which are simply temporary sources of happiness. It is better that one engage whatever money and women he may have in his possession in the service of the Lord because sense enjoyment is not for the conditioned soul.

Renunciation Through Wisdom

Renunciation Through Wisdom 5.1:

The word hari-kīrtana used in these verses, which means "singing or chanting the glories of Kṛṣṇa," could very well apply to the Bhagavad-gītā, the song sung by God Himself. The promulgation of the Bhagavad-gītā's knowledge on a world-wide scale will establish a foundation upon which the edifice of the science of love of God will be constructed. This edifice will be the repository of the sublime treasure of devotional service as taught by Lord Caitanya in Kali-yuga, and it will serve as a shining monument to the transcendental endeavors of the Lord's pure devotees.

Light of the Bhagavata

Light of the Bhagavata 8, Purport:

A rich man displays his opulence in various colorful ways. He has a good residential bungalow with sufficient property and a well-trimmed garden. The bungalow is decorated with up-to-date furniture and carpets. There are motorcars with dazzling polish, and a radio set receiving and broadcasting colorful news and melodious songs. All these captivate their proprietor as though he were in a dreamland of his own creation.

Page Title:Songs (CC and other books)
Compiler:MadhuGopaldas, Alakananda
Created:28 of Jun, 2010
Totals by Section:BG=0, SB=0, CC=80, OB=41, Lec=0, Con=0, Let=0
No. of Quotes:121