20200714 Roles of Gadādhara and Advaita Ācārya

Śrī Kṛṣṇa Caitanya Book Compilation by His Holiness Jayapatākā Swami Mahārāja on 14^th July 2020 in Śrīdhāma Māyāpur, India

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

Introduction: So, we are continuing with the drama at Candraśekhara’s house, and Lord Caitanya personally participated. In one act He was Rādhā, in another act He was Rukmiṇī. So, all the audience were also highly inspired, and the actors also somehow transformed themselves, and even Mother Śacī could not recognize her son, and when she saw Śrīvāsa Paṇḍita playing the role of Nārada muni, he looked so much like Nārada muni, that she fainted in ecstasy. Today we are reading:

Roles of Gadādhara and Advaita Ācārya

Caitanya-Bhāgavata Madhya-khaṇḍa 18.100

haridāsera haridhvani pūrvaka sakalake jāgratakaraṇa—

‘jāga jāga jāga’ ḍāke prabhu-haridāsa
nāradera kāce nāce paṇḍita-śrīvāsa

Jayapatākā Swami: “Wake up! Wake up! Wake up!” Called Haridāsa Ṭhākura to everyone. Śrīvāsa Paṇḍita came in the costume as Nārada muni and danced.

Caitanya-Bhāgavata Madhya-khaṇḍa 18.101

gadādhara o brahmānandera abhinaya evaṁ vaiṣṇavagaṇera sahita ukti-pratyukti—

prathama prahare ei kautuka-viśeṣa
dvitīya prahare gadādhara-paraveśa

Jayapatākā Swami: This was a long drama. The first three hours of the drama, had all these blissful pastimes and scenes. In the second three hours, Gadādhara came on the stage.

Purport by Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura: The phrase gadādhara-paraveśa refers to the entry of Gadādhara.

Caitanya-Bhāgavata Madhya-khaṇḍa 18.102

suprabhā tāhāna sakhi kari’ nija-saṅge
brahmānanda tāhāna baḍāi bule raṅge

Jayapatākā Swami: Gadādhara Prabhu wandered about the stage, along with Brahmānanda, who accompanied Him as His female companion, Suprabhā. So Gadādhara wandered about the stage happily, blissfully.

Caitanya-Bhāgavata Madhya-khaṇḍa 18.103

hāte naḍi, kāṅkhe ḍālī, neta paridhāna
brahmānanda ye-hena baḍāi vidyamāna

Jayapatākā Swami: Brahmānanda was dressed in a fine cloth, and he looked like an elderly lady. In one hand he carried a walking stick, and in another arm, he had a basket.

Caitanya-Bhāgavata Madhya-khaṇḍa 18.104

ḍāki’ bale haridāsa,—“ke saba tomarā?”
brahmānanda bale,—“yāi mathurā āmarā”

Jayapatākā Swami: So Haridasa Thakura, he called out, “Who are you?” Brahmānanda replied, “We are going to Mathurā.”

Caitanya-Bhāgavata Madhya-khaṇḍa 18.105

śrīvāsa balaye,—“dui kāhāra vanitā?”
brahmānanda bale,—“kene jijñāsa vāratā?”

Jayapatākā Swami: Śrīvāsa Prabhu asked, “Whose wives are these two?” Brahmānanda said, “Why are you asking?”

Caitanya-Bhāgavata Madhya-khaṇḍa 18.106

śrīvāsa balaye,—“jānibāre nā juyāya?”
‘haya’ bali’ brahmānanda mastaka ḍhulāya

Jayapatākā Swami: So Śrīvāsa said, “Is it not proper for us to know?” Brahmānanda shook his head and said, “That’s right.”

Caitanya-Bhāgavata Madhya-khaṇḍa 18.107

gaṅgādāsa bale,—“āji kothāya rahibā?”
brahmānanda bale,—“tumi sthāna-khāni dibā”

Jayapatākā Swami: Gaṅgādāsa inquired, “Today where will you stay?” And Brahmānanda said, “You will give us a place.”

Caitanya-Bhāgavata Madhya-khaṇḍa 18.108

gaṅgādāsa bale,—“tumi jijñāsilā baḍa
jijñāsiyā kārya nāhi jhāṭa tumi naḍa”

Jayapatākā Swami: Gaṅgādāsa then said, “You are asking too much. There is no need to ask. Go somewhere else.”

Murāri Gupta Kaḍaca, 2.16.3

prāviśat tad anu vaiṣṇava-rājo
rājamāna iva tigma-marīciḥ
ākipann iva sudhā iva kāntim
abja-cāru-vadanaḥ sa mahatma

Translation: Then the great soul and king of the Vaiṣṇavas Advaita Ācārya entered. He shone with fierce brilliance like the sun, His attractive lotus face radiating nectar and splendor

Caitanya Maṅgala, Madhya-khaṇḍa, 9.110

tabe sarvaguṇadhāma, advaita-ācārya nāma,
āilā saba vaiṣṇavera rājā
rūpe ālokita mahī, sammukhe dāṇḍāyā cāhi,
prabhu-aṁśe janma mahātejā

Translation: Then the devotee who is the king of all the Vaiṣṇavas, the devotee who is an abode of all transcendental virtues, the devotee who bears the name Advaita Ācārya, arrived. By His effulgence, He spread illumination all over the world. He stood before Lord Gaura. He was very powerful. He was born as a plenary expansion of the Lord.

Jayapatākā Swami: The residence of all good qualities, who was known as Advaita Ācārya, He came as the king of the Vaiṣṇavas. His form was transcendental. He stood and gazed around, being the plenary portion of the Lord, He was exhibiting great spiritual effulgence.

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.

Jayapatākā Swami: So Advaita, He came on the stage and manifested Himself as Kṛṣṇa, and He was playing the flute in His two hands and blissfully looking at all the devotees, having all the ornaments of Kṛṣṇa.

Murāri Gupta Kaḍaca, 2.16.4

īśvarasya kalayā tu vijāto
‘dvaita-varya itarair anugaiḥ saḥ
ānanarta hari-pāda-rasārdro
matta-siṁha iva durdamanāntaḥ

Translation: He is a plenary portion of the Supreme Personality of Godhead, and His heart is soft because of absorption in the flavors of Śrī Hari's feet. Together with His servants and disciples, He danced towards them like a maddened lion or indomitable death.

Jayapatākā Swami: So Advaita who was Kṛṣṇa, He was dancing towards His devotees, very forcibly.

Caitanya Maṅgala, Madhya-khaṇḍa 9.111

harihari bali’ ḍāke, camaka lāgila loke,
ānande nācaye premabhare
pulakita sara gā, āpāda-mastakayā,
premabāri dunayāne jhare

Translation: Calling out, “Hari! Hari!”, Lord Advaita danced with bliss and love and created amazement for everyone. From head to foot the hairs of His body stood erect. Tears flowed from His two eyes.

Jayapatākā Swami: Calling out, “Hari! Hari!” People, the audience, they were struck with wonder! In great bliss He danced filled with loving ecstasy, and all the people’s hairs stood on end, from their feet to their head, and filled with loving ecstasy, their eyes were filled with tears.

Caitanya Maṅgala, Madhya-khaṇḍa 9.112

viśvambhara-śrīcaraṇe, nehārar ghane ghane,
huhuṅkāra māre mālasāṭa
sakala vaiṣṇava mili’, premera pasāra ḍāli,
pasārila aparūpa hāṭa

Translation: He repeatedly gazed at Lord Viśvambhara's graceful feet. He roared. He slapped His arms. The kīrtana had become like a great marketplace, a wonderful marketplace of ecstatic spiritual love.

Jayapatākā Swami: Gazing repeatedly at the lotus feet of Śrī Viśvambhara, roaring, slapping His arms. All the Vaiṣṇavas together were filled with loving ecstasy, became like the place resounded with the holy name, like a kind of transcendental marketplace, of spiritual love.

Murāri Gupta Kaḍaca, 2.16.5

taṁ vilokya muditair nayanābjaiḥ
sādhavaḥ sadasi tasya mukhendum
adbhutaṁ papur avaśya-hṛdas te
prema-sāgara-raseṣu nimagnāḥ

Translation: The saints of that assembly gladly gazed upon Him and drinking deeply of His marvelous moon-like face with its lotus-petal eyes, their hearts became spontaneously immersed in the manifold mellows of the prema-sāgara.

Jayapatākā Swami: The ocean or sea of loving ecstasy. So, the audience were all highly advanced devotees. So, they can be addressed as saints, and when they saw Kṛṣṇa dancing, they became filled with spiritual love, of loving ecstasy.

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-mārdaṅga-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 Caitanya was on the stage, and He had assumed His own form of molten gold. He was dancing in ecstasy, with His attractive eyes, looking at the devotees. And His body was covered with sandalwood paste, He danced among the devotees, and the sweet mṛdaṅga playing its beat harmoniously.

Caitanya-Bhāgavata Madhya-khaṇḍa 18.109

advaita balaye,—“eta vicāre ki kāja
‘mātṛ-samā paranārī’ kena deha’ lāja?

Jayapatākā Swami: So, Advaita in the form of Kṛṣṇa, He said, “No need to ask such questions. Other’s wives are equal to one’s mother. Why are you giving them embarrassment?”

Caitanya-Bhāgavata Madhya-khaṇḍa 18.110

nṛtya-gīte priya baḍa āmāra ṭhākura
ethāya nācaha, dhana pāibā pracura

Jayapatākā Swami: My dear Lord is fond of dancing and singing. So, dance here and you will obtain great wealth.

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 coming in and playing the role of Paurṇamāsī. He had white hair and He was dressed like an older lady.

Caitanya Carita Mahā Kāvya 11.22

nivṛtte’smin tais taiḥ kalita-lalanā-bhūmika-rucir
gadādhṛk-saṁjṣo’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: Lord Nityānanda was playing as Paurṇamāsī, the elderly lady, and Gadādhara was playing the role of Lakṣmī, coming in the dress of a woman with conch bangles. Usually that is worn in Bengal by married women.

Caitanya-Bhāgavata Madhya-khaṇḍa 18.111

advaitera vākya śuni’ parama santoṣe
nṛtya kare gadādhara prema parakāśe

Jayapatākā Swami: Being very satisfied on hearing the words of Advaita, Gadādhara Prabhu began to dance, manifesting ecstatic love.

Caitanya-Bhāgavata Madhya-khaṇḍa 18.112

ramā-veśe gadādhara nāce manohara
samaya-ucita gīta gāya anucara

Jayapatākā Swami: Gadādhara Prabhu was acting in the attractive role of Ramā-devī, the goddess of Fortune, appropriate songs for the time, were sung by her companion.

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: So, when Gadādhara Prabhu was dancing as the goddess of fortune, Ramā-devī, the audience became completely absorbed, and became submerged in an ocean of happiness, with unblinking eyes and paralyzed limbs. Did they achieve freedom from the repetition of birth and death?

Caitanya-Bhāgavata Madhya-khaṇḍa 18.113

gadādharera abhinaye sakalera premonmatta bhāva o jayadhvani—

gadādhara-nṛtya dekhi’ āche kon jana
vihvala haiyā nāhi karena krandana?

Jayapatākā Swami: Seeing the dancing and acting of Gadādhara prabhu, where is the person who would not become overwhelmed and cry on seeing this act?

Caitanya-Bhāgavata Madhya-khaṇḍa 18.114

gadādharera premāśruke nadīsaha tulanā—

prema-nadī vahe gadādharera nayane
pṛthivī hailā sikta, dhanya kari’ māne

Jayapatākā Swami: From the eyes of Gadādhara a river of tears flew. And the earth which was soaked with these tears, considered herself fortunate. the actors were feeling ecstasy, the audience was feeling ecstasy, this drama is ecstatic. Haribol! Haribol

Caitanya-Bhāgavata Madhya-khaṇḍa 18.115

gadādharera svarūpa—

gadādhara hailā yena gaṅgā mūrti
matīsatya satya gadādhara kṛṣṇera prakṛti

Jayapatākā Swami: Gadādhara appeared like the personification of the Ganges. In fact, the true identity of Gadādhara, is that He is the potency of Lord Kṛṣṇa.

Caitanya-Bhāgavata Madhya-khaṇḍa 18.116

āpane caitanya baliyāche bāra bāra
“gadādhara mora vaikunṭhera parivāra”

Jayapatākā Swami: Lord Caitanya Mahāprabhu had said many times, that, “Gadādhara is My consort in Vaikuṇṭha.”

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, we are trying to get the birthplace of Gadādhara Prabhu in the south east of Bangladesh.

Caitanya-Bhāgavata Madhya-khaṇḍa 18.117

gāyaka, draṣṭādi sakalerar vāhyahīnatā—

ye gāya, ye dekhe, saba bhāsilena preme
caitanya-prasāde keha bāhya nāhi jāne

Jayapatākā Swami: Those who sang and acted and those who watched, everyone was floating in an ocean of kṛṣṇa-prema, pure love of Kṛṣṇa. By the mercy of Lord Caitanya, no one had any external consciousness. By the mercy of Lord Caitanya everyone present whether they were actors or audience, all were feeling transcendental, loving ecstasy.

Caitanya-Bhāgavata Madhya-khaṇḍa 18.118

sarvatra harikīrtanera dvārā ānanda-kolāhala—

‘hari hari’ bali’ kānde vaiṣṇava-maṇḍala
sarva-gaṇe haila ānanda-kolāhala

Jayapatākā Swami: “Haribol! Haribol! Hari! Hari!” All the assembled Vaiṣṇavas were crying, in transcendental bliss. Everyone, all those present were filled with loving ecstasy. Loving ecstasy arose amongst them.

Caitanya-Bhāgavata Madhya-khaṇḍa 18.119

caudike śuniye kṛṣṇa-premera krandana
gopikāra veśe nāce mādhava-nandana

Jayapatākā Swami: All directions it appeared, everyone was crying in ecstatic love for Kṛṣṇa, as Gadādhara Prabhu danced and played in the role of a gopī.

Purport by Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura: “The phrase mādhava-nandana refers to Śrī Gadādhara Paṇḍita, the son of Mādhava Miśra.”

Thus, ends the chapter, Roles of Gadādhara and Advaita Acarya.

So this is the all night drama of Lord Gaurāṅga, at the house of Māmā Ṭhākura and all the devotees – Mother Śacī, and all the wives of the devotees, they were watching while Lord Caitanya, Gadādhara, Advaita, etc. were playing, acting on the stage, and the audience was chanting, and the actors were dancing. Everyone was filled with spiritual love.

Any question? Time for only one question.

Question: Hare Kṛṣṇa Gurudeva! Please accept my respectful obeisances. Today in the class it was mentioned that Jaratī is the Yogamāyā but earlier we heard that Paurṇamāsī was Yogamāyā. Can you please make me understand more clearly, Gurudeva?

Your insignificant daughter,
Saṅgītāmayī Gopī devī dāsī.

Jayapatākā Swami: Sometimes Nityānanda played the part of Jaratī, sometimes Paurṇamāsī. So, there are different scenes, sometimes in Vṛndāvana, sometimes in Dvārakā, sometimes Mathurā. So, this drama was showing different pastimes of Kṛṣṇa, and different personalities acted at different times, in different roles. Sometimes Gadādhara was playing as Lalitā, sometimes Lord Caitanya was playing as Rādhā, sometimes Lord Caitanya was playing as Rukmiṇī, sometimes Gadādhara was playing as the goddess of Fortune, sometimes as a gopī. The drama is very ecstatically manifesting. It says for the first three hours, it’s like this, and the next three hours, it’s like that, that means it is a whole night drama. So many things are happening, many acts, and nobody is bored, everyone is overwhelmed! Who would like to be present in this drama? Hare Kṛṣṇa!