20200220 Drama involving Śuklāmbara Brahmacārī

mūkaṁ karoti vācālaṁ paṅguṁ laṅghayate girim
yat-kṛpā tam ahaṁ vande śrī-guruṁ dīna-tāraṇam
paramānandaṁ mādhavaṁ śrī caitanya iśvaram
hariḥ oṁ tat sat

Today we are reading about a drama which involve Śuklāmbara Brahmacārī. This drama is in Sanskrit. So I will have someone to read the translation. If I get inspired, then I will speak something. This is from Caitanya-candrodaya Nāṭaka. 3.32, Prema-bhakti is speaking:

Caitanya Candrodaya Nāṭaka 3.32

premabhaktiḥ: tataḥ śrīvāsena manasi
sandihānena bhagavad-vaca iti vihita-niścayenāpi
gaṅgādāsa-nāmā bhagavataḥ paramāpto
bhūsura-varo dvāra-pālakatvena nyayoji.

Translation: Prema-bhakti: Then, although there was some doubt in his mind, accepting the Lord’s order, Śrīvāsa made the great brāhmaṇa devotee Gaṅgādāsa who is very dear to the Lord as the doorkeeper.

Caitanya Candrodaya Nāṭaka 3.33

maitrī: tado tado

Friendship: Then? Then?

Caitanya Candrodaya Nāṭaka 3.34

premabhaktiḥ: tato bhagavatā punar api śrīvāso nijagade ‘śrīvāsa, bhavatā nāradena bhavitavyam, śuklambareṇa tava snātakena bhāvyam, gāthakāḥ śrīrāmādayas tava sahodarās traya ācāryaratna-vidyanidhī ca’ iti devenaiva niyojitāḥ.

Translation: Prema-bhakti: Then the Lord told Śrīvāsa: "Śrīvāsa, you will be Nārada, and Śuklāmbara will be your brahmacārī assistant. The chorus of singers will be Acāryaratna, Vidyānidhi, and your three brothers headed by Śrīrāma." In this way the Lord assigned the parts.

Caitanya Candrodaya Nāṭaka 3.35

ataḥ paraṁ keṣām api tatra praveśaḥ, kintu śrīvāsādi-sahodara-vadhūbhiḥ sahācāryaratna-murāri-vadhū-prabhṛtayaḥ prāg eva tatra praviśya sthitāḥ adhikāra-bhājaś ca tāḥ.

Translation: Besides these, no one else was allowed entrance. Only the wives of Śrīvāsa and his brothers, and the wives of Candraśekhara, Murāri and some others who had already come were allowed. They were also qualified to be there.

Jayapatākā Swami: So, you can see how although we don’t hear much about the wives of the associates of Lord Caitanya, they were also great devotees and that is why they were also qualified to be there. So only they could see the excellent drama of Lord Caitanya and His associates. Haribol!

Caitanya Candrodaya Nāṭaka 3.36

(nepathye mṛdaṅga-tālādi-dhvaniḥ)

premabhaktiḥ: vatse, śrutam. ayam ārabdhaḥ pūrva-raṅgāṅga-bhūtaḥ pratyāhāraḥ.

Translation: (From behind the scenes the sound of mṛdaṅgas, karatālas, and other instruments.)

Prema-bhakti: Child, listen. The play has begun.

Caitanya Carita Mahā Kāvya 11.2

kramād etāṁ rātriṁ prahara-niyamenaiva vibhajan
dideśa prāyeṇa priya-janam asau yogya-lalitam
vicintyātho nṛtya-sthalam aniśam ācārya-nilaye
mudā raṅgī cakre prasṛmarataraṁ catvaram atha

Translation: Dividing the night into prahāras and considering that the Ācārya’s house (Candra-śekharācārya) was a suitable, he instructed his devotees and joyfully transformed that broad courtyard into a dancing place.

Jayapatākā Swami: In the drama of Lord Caitanya, everyone was expected to act their parts, and dancing was also part of the play.

Caitanya Carita Mahā Kāvya 11.3

tato ramye sthāne pariniyamite nirvṛti-kare
gurūtkaṇṭhā-bhājo dvija-vara-ramaṇyo’tinibhṛtāḥ
samaṁ śacyā devyā prabhu-matam abhijñāya samayo-
citaṁ dhairyārambhaṁ gṛham abhidadhatyaḥ praviviśuḥ

Translation: The brāhmaṇa women, having great desire, and understanding the Lord’s mind in that attractive, confined area, which gave joy, maintaining proper decorum along with Śacī, entered that place separately.

Jayapatākā Swami: So the ladies entered the place of the drama with mother Śacī, and they entered very soberly and with decorum. They were allowed to see the wonderful drama of Lord Caitanya.

Caitanya Carita Mahā Kāvya 11.4

alinde gehasya prabhu-naṭana-sandarśana-mahot-
sukā līnā āsan nibhṛtam upaviṣṭāḥ saha-bhayaiḥ
amūś citrotkīrṇā vinimiṣa-gata-spanda-vapuṣo
na vai rāgaiḥ kāntāḥ phala-bhuvi tā mūrtaya iva

Translation: Eager to see the Lord, they fearfully sat separately, on the veranda of the house, not showing themselves. With unblinking eyes and trembling bodies, they seemed like figures painted on a canvas.

Jayapatākā Swami: So these Vaiṣṇavīs were having extreme ecstasy, in order to see the Lord perform this drama. But they stayed out of sight so that they could enjoy the pastime of the Lord.

Caitanya Carita Mahā Kāvya 11.5

niyamyaikaṁ dvāre dṛḍha-lalita-śauṭīrya-valitaṁ
yathaiko’py āyāti kṣaṇam api na tatreti nirataḥ
janān āptān āptān puram abhiniveśyaivam asakau
mahatyā nirvṛtyā jayati satataṁ gaura-śaśabhṛt

Translation: Restricting entrance at the door, with great valor the Lord said, “See to it that no one can enter even for a moment.” First having all the devotees enter, Gauracandra with great joy presided there constantly.

Jayapatākā Swami: So, generally the people were not allowed to enter. The ladies were allowed to enter and some of the associates entered to watch and some to participate in the play. But others were not allowed to enter.

Caitanya Carita Mahā Kāvya 11.6

gṛhaikaṁ nepathya-sthalam atha vidhāyāviśad asau
prabhur veśaṁ kartuṁ naṭana-kutukī prema-lalitaḥ
janenātmīyena svapada-parama-prema-vahatā
samāreje śrīmān atiśaya-kṛpā-pūra-subhagaḥ

Translation: Making one place the dressing room, the Lord, attractive with prema, fond of dancing, endowed with the greatest mercy, entered that room with one close friend who had great prema for his lotus feet.

Caitanya Carita Mahā Kāvya 11.7

gṛhītvāsau veśaṁ pūrata ṛṣi-varyasya paramaṁ
niśādau śrīvāsaḥ prabhu-caraṇa-padma-priyatamaḥ
jaṭābhiḥ piṅgābhiḥ sphaṭika-maṇi-mālāṁ kalayatā
kareṇorvī-deva-pravara iva tatrāviśad atha

Translatoin: At the beginning of the night, Śrīvāsa, dearest to the Lord’s lotus feet, assumed the costume of Nārada, and as the best brāhmaṇa, holding crystal beads for japa and wearing matted, tawny hair.

Caitanya Carita Mahā Kāvya 11.8

athāsyaiko dāso dhṛta-karaka-darbhāsana-varo
dyuvāpī-mṛc-chuklo vapuṣi bhuvi śuklāmbara iti
sa-daivenāviṣṭas tam ṛṣi-varam ānamya sahasā
gadādhṛṅ-nāmānāṁ prabhu-dayitam ūce sumadhuram

Translation: Then one pure servant named Śuklāṁbara, holding a kuśa seat and water pot in his hand and smeared with Gaṅgā mud, suddenly entered and offered respects to Nārada. He then sweetly spoke to the dear devotee named Gadādhara.

Jayapatākā Swami: They are giving you the description of the drama, how Śrīvāsa played the part of Nārada muni and Śuklāmbara Brahmacārī played the part of Nārada’s brahmacārī assistant. So Śuklāmbara Brahmacārī had to play a part of a brahmacārī!

Caitanya Carita Mahā Kāvya 11.9

aye tvaṁ devarṣiś caraṇam avanamyā vada idaṁ
kalau bhūyāṁ śrīmat-prabhu-caraṇa-sevāsu niratā
itīdaṁ śrutvāsau munir avadad etat suvadane
sura-srotaḥ-svatyāṁ snapanam adhi māghaṁ kuru sadā

Translation: “Offering respects to Nārada’s feet, you should say, ‘Let me be always engaged in serving the feet of Mahāprabhu in Kali-yuga.” Hearing this, Nārada said, “O handsome one! Go to the Gaṅgā in Māgha month and bathe there constantly.”

Jayapatākā Swami: Māgha month. There are three months in the year which are especially sacred – the Kārtika month of Dāmodara, the Vaiśāka month and the Māgha month.

Caitanya Carita Mahā Kāvya 11.10

tadā tat-puṇyena prabhu-caraṇa-pāthoja-milanaṁ
bhaviṣyaty evaṁ te tad anu bhavatībhiḥ kṛtam idam
idānīṁ tena tvaṁ muni-vara-vareṇa prabhu-pada-
priyo bhūtvā yātaḥ kim u na viditaṁ tat suvadane

Translation: “If you do this, by that puṇya, you will attain the Lord’s lotus feet. You have now become dear to the Lord’s feet by Nārada’s blessings. Isn’t that not known to you, O handsome one?”

Caitanya Carita Mahā Kāvya 11.11

tato’sau devarṣiḥ svayam avadad uccaiḥ sulalitaṁ
mahattvaṁ tad-bhakter avidita-gurutvaṁ pulakitaḥ
vadāmaḥ kiṁ nāmnaḥ parama-mahimānaṁ yad agha-kṛd-
dvijābhāso dāsī-patir api ca mukto’gha-nivahāt

Translation: With hair standing on end, Nārada loudly explained the profound, charming glories of bhakti. “How can I describe the great glory of the name? It freed the sinful brāhmaṇa (Ajāmila), husband of a prostitute, from great sins.”

Jayapatākā Swami: Haribol! Haribol!

Caitanya Carita Mahā Kāvya 11.12

itīvokte tasmin parama-muditāḥ sarva-manujā
harer nāmnām uccaiḥ kim api vidadhuḥ kīrtanam atha
saharṣaṁ śrīvāsaḥ pulakita-tanus tatra kutukāt
puro nṛtyaṁ cakre prathamam iva nāndīṁ viracayan

Translation: When he said this, bringing great joy to all humans, he began singing the Lord’s name loudly. Śrīvāsa in joy, his hairs standing on end, began eagerly dancing, as if thereby making the first prologue to the play.

Jayapatākā Swami: So, playing the part of Nārada Muni, Śrīvāsa started to chant and dance in ecstasy.

Caitanya Carita Mahā Kāvya 11.13

tato’smin niṣkrānte kṛta-naṭana-saṅkīrtana-rase
viveśāsau śrīmān dhṛta-parama-veśaḥ sumadhuraḥ
praviṣṭo’sau reje hima-kara-samūha-pratikṛtir
gṛhītvā sad-vetraṁ sapadi haridāso’ṅgana-bhuvi

Translation: When he left the stage dancing and singing, Hari-dāsa, dressed sweetly, entered the stage like a host of moons, holding a fine stick (playing a Vaikuṇṭha guard).

Caitanya Carita Mahā Kāvya 11.14

vadann uccair uccair vada harim iti prema-vikalāḥ
kurudhvaṁ tad-gāthām iti sarabhasaṁ candra-lalitaḥ
diśan vetrāgreṇa pratipada-valad-dharṣa-vivaśas
trilokīṁ saṁsuptām iva sa yatate jāgarayitum

Translation: He said, “Loudly chant the name of the Lord.

Jayapatākā Swami: HARIBOL! Gaurāṅga! Gaurāṅga! Gaurāṅga! Joyful with prema, speak topics of the Lord.” Beautiful as the moon, overcome with great joy at every moment, pointing with the tip of his stick, he tried to wake up the sleeping people of the three worlds.

Jayapatākā Swami: Just like there is a song jīv-jāgo jiv-jāgo – wake up, wake up, sleeping souls. Lord Gaurāṅga wants you to wake up. In this play, He was trying to wake up the sleeping souls.

Caitanya Carita Mahā Kāvya 11.15

akuṇṭhād vaikuṇṭhāt prabhu-caraṇa-pāthoja-nikaṭāt
tadājñāto bhūmau prathamam avatīrṇo’ham adhunā
tad-ājñā-vācas tāḥ śṛṇuta paramāḥ sīdhu-madhurāḥ
kali-vyāla-grasta-prakaṭatara-sañjīvana-karīḥ

Translation: “By the order of the lotus feet of the Lord, who is unlimited Vaikuṇṭha, I have first appeared on earth. Please hear that order, sweet as nectar, which will give life to all the people swallowed by the snake of Kali-yuga.

Caitanya Carita Mahā Kāvya 11.16

vinā nāmnāṁ gāthāmṛta-rasa-dhunī-srotasi sadā
kṛta-snānān lokān iti tad adhunā vāñchitam iha
tad etad viśvasminn iha sa vikirann ājigamiṣur
bhavadbhiḥ kīrtyantāṁ guṇa-samudayāḥ śrī-bhagavataḥ

Translation: “Desiring to distribute the name to everyone other than those who are constantly bathing in the nectarean river of the name, I have come to this world.

Jayapatākā Swami: So Lord Caitanya didn’t only come to bless His devotees who are bathing in the river of the holy name. They already have the mercy. He came to deliver the holy name to those who are in māyā, in illusion. To wake them up and give them the nectar of pure love of Kṛṣṇa, chanting His holy name in great ecstasy.

Caitanya Carita Mahā Kāvya 11.17

idānīṁ tasyājñāṁ śravasi paripīya pratipadaṁ
bhavanto nṛtyantu prativihita-saṅkīrtana-rasāḥ
iti śrutvā tasyānana-śaśi-samudbhūta-vacaso
vilāsaṁ te sarve vipula-pulakāṅgāḥ sulalitam

Translation: “Drinking his order with your ears at every moment, you should dance, filled with the rasa of saṅkīrtana remedy.” Hearing these pleasant words flowing from his moonlike face, everyone’s hair stood on end.

Jayapatākā Swami: So Lord Caitanya, He gave the process, the remedy for this pollution of the age of Kali – chanting Hare Kṛṣṇa and dancing in ecstasy.

Caitanya Carita Mahā Kāvya 11.18

jagur gītaṁ ramyaṁ kalita-kara-tāla-dhvani-valan-
mṛdaṅgālī-bhaṅgyā svayam api nanartaiṣa paramaḥ
asau bhūyo bhūyaḥ kṛta-naṭana-saṅkīrtana-raso
viniṣkrānto bhūtvā tad anu virarāma pramuditaḥ

Translation: They sang a pleasant song along with karatāla and mṛdaṅga beats. Hari-dāsa danced in joy, and, dancing to the rasa of saṅkīrtana, exited and took rest.

Jayapatākā Swami: So in the saṅkīrtana rasa, one chants and dances in ecstasy, so Haridāsa, he demonstrated that naturally.

Caitanya Carita Mahā Kāvya 11.19

tato’dvaitas tatrānukṛta-bhagavad-veśa-caritaḥ
karābhyāṁ sānandaṁ kalita-muralīkaḥ samaviśat
prabhuḥ svaṁ svaṁ veśaṁ nija-muralikāṁ barhiṇa-śikhā-
vataṁsaṁ svaṁ pītaṁ vasanam api lāvaṇyam api ca

Translation: Advaita then assumed the identity of the Lord, imitating his dress and actions, holding a flute in his two hands with bliss. The Lord showed his ornaments, flute, peacock feather ornament, yellow cloth and beauty.

Caitanya Carita Mahā Kāvya 11.20

pradāyāmuṁ cakre kalita-kala-dhautojjvala-tanur
yathecchaṁ nṛtye’smin dhṛta-parama-sannāyaka-ruciḥ
tatas tais taiḥ sarvaiḥ parama-madhurākāra-kamanaḥ
praviṣṭo bhūtvāsau kim api kamalākṣaḥ pariṣadi

laghūdyan-mrdaṅga-dhvani-sumadhuraṁ nṛtyam
akarol layais tālair mānair malayaja-rasaiś carcita-tanuḥ

Translation: With body the color of molten gold, he danced at will. He was a supremely beautiful hero. The most attractive, sweet form with lotus eyes entered among the devotees. His body covered with sandalwood, he danced among the devotees to the accompaniment of soft sweet mṛdaṅgas, using laya, tāla and māna.

Jayapatākā Swami: So, Lord Advaita and Lord Caitanya, They assumed the most beautiful form. And very sweetly danced, showing that the process of saṅkīrtana is very sweet and very wonderful to bring the people into ecstasy.

Caitanya Carita Mahā Kāvya 11.21

tathā nṛtyaty asmiṁs tad anu jaratī-veśa-rasiko’
vadhūto dhṛtāṅgaḥ palita-lalitākīrṇa-cikuraḥ
praviṣṭas tv āviṣṭaḥ parama-paramonmāda-vivaśas
tadā cchittvā bhittvā naṭati jaratī-bhūmika-rucim

Translation: While Advaita was dancing, Nityānanda entered, wearing the costume of an elderly woman (Paurṇamāsī) with white, attractively scattered hair in the highest state of madness. As he danced his costume became disheveled.

Jayapatākā Swami: Nityānanda was playing the part of Paurṇamāsī, His grandmother who made so many jokes about Kṛṣṇa. So, He had Advaita playing the part of Kṛṣṇa, Nityānanda playing the part of Paurṇamāsī, and Nityānanda was acting like a mad person. So His costume also became disheveled.

Caitanya Carita Mahā Kāvya 11.22

nivṛtte’smin tais taiḥ kalita-lalanā-bhūmika-rucir
gadādhṛk-saṁjño’sau dhṛta-valaya-śaṅkhojjvala-karaḥ
praviṣṭo gāyadbhir laghu laghu mṛdaṅge mukharite
tathā tālair mānair naṭana-kalayā tatra bibhavau

Translation: After Nityānanda finished dancing, Gadādhara (playing Lakṣmī), in the dress of a woman, with conch bangles on her shining wrists, entered to the clamor of quick mṛdaṅgas beats with singers, radiating great beauty.

Jayapatākā Swami: This showed how the drama is a very much a part of caitanya-līlā and all the associates of Lord Caitanya participated in this pastime of transcendental līlā.

I wanted to see the drama tonight offered by Bhakti Mārga Swami, but so many different things came up. That he is engaging many devotees in this drama, and that is a wonderful thing. You see, Lord Caitanya.

Tomorrow, one more show. I asked how a wheelchair bound person would be able to attend? There is something about that. Anyway.

Caitanya Carita Mahā Kāvya 11.23

tadā nṛtyaty asmin dhṛta-madhura-veśojjvala-rucau
mṛdaṅgālī-bhaṅgīśata-madhura-saṅgīta-kalayā
janair bhūyo bhūyaḥ sukha-jaladhi-magnair vinimiṣaiḥ
samantād āsede jaḍima-jaḍimāṅgaiḥ kim amṛtam

Translation: When he danced, emanating beauty from his attractive costume, with the accompaniment of sweet singing and mṛdaṅgas rhythms, the audience became submerged in an ocean of happiness, with unblinking eyes and paralyzed limbs. Did they attain freedom from death?

Jayapatākā Swami: How many of you would like to see the drama of Lord Caitanya? Ha! Ha! And His associates?

Caitanya Carita Mahā Kāvya 11.24

vṛṣabhānu-sutā rādhā śyāmasundara-vallabhā
kalau gadādharaḥ khyāto mādhavānanda-nandanaḥ
mādhavasya gṛhe jāto mādhavasya kuhū-tithau
śrī-rādhādbhuta-rūpeṇa paṇḍitaḥ śrī-gadādharaḥ

Translation: Rādhā, daughter of Vṛṣabhānu, the consort of Kṛṣṇa, was known in Kali-yuga as Gadādhara, the son of Mādhavānanda. Gadādhara was born in the house of Mādhava, on the dark moon tithi of Mādhava month with the astonishing form of Rādhā.

Jayapatākā Swami: So, Gadādhara, here is some hint. We have our temple in the birthplace, I mean at least in Mayapur and we have a temple in Ekacakrā. We have the actual birthplace of Advaita Gosāi and the actual birthplace of Śrīvāsa Ṭhākura. But so far we haven’t located where was Gadādhara born. So He was born on Mādhavānanda. But where is Mādhavānanda’s place? We have to find out. We still have to get that. The third branch of the Caitanya tree is Puṇḍarīka Premanidhi and that birthplace we have. Gadādhara, He appeared in the house of Mādhavānanda and He had the beauty of Śrī Rādhe.

Caitanya Carita Mahā Kāvya 11.25

vilola-bhrūbhaṅgī naṭana-jita-bhṛṅgī-vilasitā
smitāpāṅgī rājat-kuvalaya-dalā lola-nayanā
vahantī sattāmra-sphurad-adhara-vīthī viluṭhitāṁ
radac-chāyāṁ jyotsnām iva nava-dineśāṁśu-militām

Translation: Gaurāṅga’s brows moved. He danced with the skill of a bee and had a smiling glance, with fickle eyes like blossoming blue lotuses. His lips were copper colored like the sun, revealing teeth white like moonlight.

Caitanya Carita Mahā Kāvya 11.26

sphurat-kambu-grīvā-parisara-vilāsa-praṇayinā
gurūjroja-dvandvopari ghana-vilolatva-mayatā |
girer uccaiḥ pātāhita-bhaya-nivṛttena kha-dhunī-
pravāheṇevāti śriyam amala-hāreṇa dadhatī

Translation: He emanated beauty with a spotless necklace placed on his white, conch-like neck and riding on full chest which swayed profoundly. The necklace had the beauty of the Gaṅgā flowing from heaven, freed from fear of falling from a high peak.

Jayapatākā Swami: So Gadādhara dressed as Lakṣmī was dancing in the drama of Lord Caitanya. And it is describing the beauty of Her or His dancing and presentation.

Caitanya Carita Mahā Kāvya 11.27

vahanty ūru-dvandvaṁ kanaka-kadalī-kāṇḍa-masṛṇaṁ
pade raktāmbhoja-prathama-sad-avasthā-praṇayinī
tanu-kṣumaṁ vāsaḥ parihitavatī tatra lalitaṁ
prabhoḥ śrīman-mūrtir laghu-padam athaiṣā niviviveśa

(kulakam)

Translation: His thighs were soft like golden banana trunks. His feet were like fresh red lotuses. Wearing fine, attractive cloth, the beautiful form of the Lord entered the stage with light steps

Jayapatākā Swami: Now Gaurāṅga enters, and this is a description of Lord Gaurāṅga.

Caitanya Carita Mahā Kāvya 11.28

tadā pīyūṣāṁśukaḥ pariṇata ivaikādaśa-kalo
rarāja śrīmūrtau rahasi vilasantyāṁ sukha-paraḥ
tathā tat tat kṣaumāñcala-lalita-khelāṁ viracayan
vavau mandaṁ tat tat parimala-sakhaś candana-marut

Translation: The moon of nectar rays, full of bliss, maturing with eleven digits, was reflected in the form of Mahāprabhu. The Malaya Mountain with fragrant branches blew softly, playing with the hem of his silk cloth.

Caitanya Carita Mahā Kāvya 11.29

tatas tair gāyadbhir laghu laghu mṛdaṅga-dhvani-paraṁ
sahāvaṁ nṛtyantī laya-valita-tālādi-lalitam
tathā bhajyan madhyā madhurima-parīpāka-vilasat-
pada-nyāsaiḥ śiñjan-maṇi-maya-tulākoṭi-madhurā

Translation: That form, sweetly jingling his ankle bells, danced with gestures in the center with the singers, while mṛdaṅgas beat swiftly, with skillful laya and tāla, using graceful, intensely sweet steps.

Jayapatākā Swami: So, playing of the mṛdaṅgas using different types of beating, laya and tāla, these are descriptions of the type of playing of the mṛdaṅga and Lord Caitanya was dancing, very gracefully, very beautifully while ending on the streets.

Caitanya Carita Mahā Kāvya 11.30

tathā vaktrāmbhojaṁ laghu-samudayat-sveda-kaṇikā-
vikāśaṁ muktābhiḥ khacitam iva cāmīkara-vidhum
vahantī sindūraṁ vilasad-alike rujyad-alake
tamaḥ-spṛṣṭaṁ sandhyāruṇitam iva ramyārka-kiraṇam

Translation: Shining drops of perspiration swiftly oozed from his lotus face. It appeared he was carrying a golden moon embedded with pearls. He had sindūra on his shining forehead framed by curling locks. This was like the red attractive rays of the sun in the twilight surrounded by darkness.

Jayapatākā Swami: Lord Caitanya was also dressed as a woman, because it says that He had sindūra on His forehead, that is the red mark of a married lady. So, these are very special pastimes of the Lord.

Caitanya Carita Mahā Kāvya 11.31

tathā pāṇi-nyāsaiḥ kalita-valaya-dhvāna-mukharair
ali-śreṇīm uccair upari parilolāṁ vidadhatī
udañcad-bhrū-vallīṁ manasija-dhanuṣkāṇḍa-kuṭilāṁ
muhuḥ kṣiptvā śyāmaṁ kim api vidadhaty ambara-talam

Translation: As he moved his hands, jingling with bracelets, swarms of bees hovered above. Moving his elevated brows, like Cupid’s bent bow, he appeared to make the sky black.

Jayapatākā Swami: So He was wearing different bracelets, and He was moving His eyes while dancing. And this created a very attractive scene.

Caitanya Carita Mahā Kāvya 11.32

skhalad-vakṣaḥ-kṣaumāñcala-hati-lasan-madhyama-lasaṁ
balī-bhaṅgair bhaṅgī-garima-naṭayantī kara-mitam
ślathan-nīvī-bandha-cchurita-vimala-dyoti-kalayā
nitamba-svedārdraṁ ghana-jaghanam anyādṛśam iva

Translation: His dancing became attractive as the loose edge of his cloth struck his body and bent his body and moved like waves, close to the spectators. He revealed his remarkable, thick shanks, damp with the perspiration from his waist, sparkling like bright lights as his belt came loose.

Jayapatākā Swami: Lord Caitanya was dancing and His attractive dancing was catching all the minds of the viewers.

Caitanya Carita Mahā Kāvya 11.33

muhuś cakra-prāya-bhramaṇa-vigalat-keśa-kusumais
tathā bhrāmyad-bhṛṅgī-lalita-para-bhāgaiḥ prasṛmaraiḥ
svayaṁ nṛtyollāsād upari mukha-candrasya na dadhe
sita-cchatraṁ citraṁ marakata-surekhā-vilasitam

Translation: As he whirled around like a spinning wheel, with desirous bees hovering above, the flowers flew from his hair in all directions. In the joy of dancing, it seemed that there was a white umbrella (of flowers) marked with dark lines (bees) above his moon-like face.

Jayapatākā Swami: Lord Caitanya was spinning around and His dancing was in such a way that flowers flew from His hair to the surrounding and He was in great joy of dancing. So it seemed that the flowers were a white umbrella and the bees were dark lines above His moonlike face.

Caitanya Carita Mahā Kāvya 11.34

tathā nṛtyonmāda-pramada-madhurimnātimahatā
natāṅgī saṅgītojjvala-rucira-rociḥ-paṭalikā
tato lakṣmī-bhāvaṁ tad-anugirijā-bhāvam api sā
krmād āviṣkṛtya prakaṭam aviśad deva-bhavanam

Translation: The dancer’s body was glorious with the joyful sweetness of insane dancing, shining brightly with the beauty of song. Clearly assuming the mood of Lakṣmī and Pārvatī, he then entered the temple.

Jayapatākā Swami: So, this act of the play where He was dancing and along with the musical accompaniment and assuming the mood of Lakṣmī or Pārvatī, He entered the temple.

Caitanya Carita Mahā Kāvya 11.35

tatas tāṁ te natvā stuti-vacana-bhaṅgī-viracanair
mahatyāḥ khaṭṭāyā upari sarasāṅgīṁ sthitavatīm
vidhehi premāṇaṁ bhagavati samantād iti jagus
tato’ṅke sā cakre jhaṭiti haridāsaṁ śiśum iva

Translation: The devotees, offering respects to that form sitting with beautiful limbs on an excellent throne, sang praises with word ornaments. “Please distribute prema everywhere, O goddess!” That form took Hari-dāsa on his lap like child.

Jayapatākā Swami: Haridāsa Ṭhākura got taken on the lap of Lord Caitanya appeared as Lakṣmī, as a goddess and everyone was praying, please distribute that love of Kṛṣṇa to us.

Caitanya Carita Mahā Kāvya 11.36

itīdaṁ sā nānā-vidha-kutuka-ceṣṭā-vilasitair
niśāṁ nītvā prātaḥ sva-bhavanam agāc citra-caritaḥ
tadā bhūyas tasminn akṛta bahu nṛtyaṁ sumadhuraṁ
mahasvān saptāhaṁ malayaja-rasaiś carcita-tanuḥ

Translation: Passing the night in this way with various attractive pastimes, in the early morning the Lord returned to his house. For seven days, anointed with sandalwood, the shining Lord danced sweetly in various ways at that house.

Jayapatākā Swami: So at Candraśekara’s house, He was performing dramas, dancing in ecstasy for seven nights.

Caitanya Carita Mahā Kāvya 11.37

samantād uccerur diśi diśi mṛdaṅgādi-ninadā
madonmattāḥ sarve kati sarve kati rasāḍhyaṁ na jagaduḥ
prasūnaiḥ srag-gandhair malayaja-rasaiḥ pūrṇam abhavaj
jagat saptāhaṁ śrīmati vilasati śrī-bhagavati

Translation: The mṛdaṅgas and other instruments sounded loudly in all directions and all the devotees sang various songs like madmen, drenched in rasa. As the Lord performed pastimes for seven days, the universe became full of the scent of flower garlands and sandalwood.

Jayapatākā Swami: Haribol! HARIBOL! HARI HARI HARI BOL! Gaurāṅga! Nityānanda! Advaita! Gadādhara! Śrīvāsa ādi gaura bhakta vṛnda! Seven days of transcendental bliss, with Lord Caitanya dancing in the drama. I heard that even mother Śacī could not recognize Him!

Caitanya Carita Mahā Kāvya 11.38

tathā saptāhānte dinakara-śata-prāya-mahasā
sphurantaṁ śrīvāsaḥ sabhaya-cakitollāsam avadat
kalau nāmnāṁ gāthā yad iha vihitā tatra nanu kiṁ
phalaṁ nūnaṁ śāṭhye bhavati kim u vā neti vada tat

Translation: After seven days, Śrīvāsa with fear and timidity as well as joy, spoke to the Lord, shining like a hundred suns. “In Kali-yuga singing the Lord’s names is prescribed in the scriptures. Is the result which is described false or true? Please tell me.”

Jayapatākā Swami: Question Answer Session

Caitanya Carita Mahā Kāvya 11.39

kṛte tretāyāṁ ca dvija tvad-anu dvāpara-yuge
samastaṁ dhyānādyair bhavati nitarāṁ sādhitamam
kalau tatrāśaktiṁ svayam iha vilokya prakaṭitaṁ
prabhur nāmākhyo’bhūt tad iha kim iva nyūna-phalatā

Translation: The Lord said, “O brāhmaṇa! In Satya, Tretā, and Dvāparā the result is achieved by meditation, sacrifice and deity worship. In Kali-yuga these are without power. Seeing this, the Lord has manifested himself as the name. Can this give a lesser result?”

Jayapatākā Swami: Haribol! So thus ends the chapter. So in this since the name of the Lord is not different from the Lord, therefore by chanting the name, we get the direct association of the Lord. How can we limit the power of the holy name? It can have unlimited power! So in this Age of Kali, the people should chant the holy name of Kṛṣṇa and in this way we can achieve all the success and more than what we could achieve in other yugās by meditation, fire sacrifice and deity worship. Haribol!

So, any questions?

Question: Hare Kṛṣṇa Jayapatākā Swami! Please accept my respectful obeisances. Guru Mahārāja said: Accepted. I have two questions, no. 1, what is the difference between sheltering to Guru Mahārāja lotus feet and initiation. Only by sheltering to guru, one can go to Goloka Vṛndāvana? Question no. 2, after initiation, if somebody completes his chanting rounds by digital machine without chanting on beads, is it okay? - Your insignificant servant, Sucāru Madusudana dāsa.

Jayapatākā Swami: Taking shelter of the guru is a trial period and taking initiation means that you are convinced that following the guru’s order you will be successful. If you are under shelter, it may have similar effect as initiation, if you are very sincere in your practice. But taking initiation is a confirmation that you actually are accepting the spiritual master as your guide. So, as far as whether you can use a counter or a bead, bead is obviously better it accumulates the various powers of chanting. At the same time, sometimes it may not be possible to use the beads. Lord Caitanya also, counted on His fingers. So I think that counting on the fingers or counting on a digital device is more or less the same. In fact, maybe a digital device is easier, finger chanting very complicated. But we should chant a certain number of rounds, a certain number of mantrās and beads gradually get the power of the chanting. Since I had a stroke in 2008, my right side is not coordinated and therefore it is very hard for me to chant on my right hand. I chant on beads sometimes using both hands. But otherwise, Rādhānātha Swami gave me the counter because I cannot use my right hand. So I cannot tell people that you cannot use the counter, when I have to use it because of my physical difficulty.

Question: Dear Guru Mahārāja! Please accept my humble obeisances, all glories to Śrīla Prabhupāda, In the purport to Śrīmad-Bhāgavatam, Canto 4, Chapter 24, verse 15, Śrīla Prabhupāda says that a disciple must meditate on the instruction of his guru. Why is it necessary to meditate on guru’s instruction and what is the method of meditation on his instruction? - Your insignificant fallen servant, Prema Gaurasundara dāsa.

Jayapatākā Swami: Śrīla Prabhupāda said his guru asked him to preach in the western countries and also to print books. So he tried to do that. He went to the West and he gave priority to the printing and distribution of books. I think meditating could mean that trying to think how to implement this order of the spiritual master. His Holiness Bhakti Vaibhava Swami in the ILS, he said that together we can achieve anything. So we should work together. So he gave the example of the TOVP. Many people thought that it was impossible, but together, the devotees have been able to do this! So, he was saying that we should work together and try to manifest the orders of Śrīla Prabhupāda, of the spiritual master.

So, I wanted to give you some possibility to have my books, which are now BBT published from Mumbai, but no one brought the books! So I will do it tomorrow.