20200715 Lord Viśvambhara Takes the Role of Ādyāśakti

Śrī Kṛṣṇa Caitanya Book Compilation by His Holiness Jayapatākā Swami Mahārāja on 15^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: Today the gṛhasthas are offering their homage to His Bhakti Cāru Swami. And Agnideva dāsa was speaking how he met Bhakti Cāru Swami. And Koladvīpa dāsa was speaking how he treated Bhakti Cāru Swami ayurvedically, touching his lotus feet. How his wife had prepared prasāda for Bhakti Cāru Swami, and Bhakti Cāru Swami said, it reminded him of his mother’s cooking. So different devotees had nice realizations, most of it was in Bengali. You can see it in YouTube on Bhakti Cāru Swami channel or Mayapur.TV. Hare Kṛṣṇa! Today we are continuing with the drama,

Lord Viśvambhara Takes the Role of Ādyāśakti

Caitanya-Bhāgavata Madhya-khaṅḍa 18.120

prabhura ādyāśakti-veṣe praveśa o sakalera jayadhvani—

henai samaye sarva-prabhu viśvambhara
praveśa karilā ādyā-śakti-veṣa-dhara

Jayapatākā Swami: At that time, the Lord of all, Viśvambhara, He entered the stage, and He was dressed as Adyasakti, the Supreme material goddess.

Murāri Gupta Kaḍaca 2.16.6

gopī-veśa-dharako baladevaḥ
prāviśad rasa-viśeṣa-vinodī
prāṇa-nātha-kara-pallava-pradhṛto
nayana-vāri-paripūrṇa-sudehaḥ

Jayapatākā Swami: Nityānanda Baladeva, who takes especial delight in rasa, then entered the stage, attired as an elderly gopī. In His hand He held the petal-like fingers of the Lord of His life, and His beautiful body was fully flooded by tears.

Jayapatākā Swami: Nityānanda Prabhu today is dressed as an elderly gopī, and He is crying in ecstasy.

Caitanya Maṅgala, Madhya-khaṇḍa 9.113

sakala vaiṣṇavagaṇe, ati ānandita mane,
premera sāgare dila ḍuba.
sakala vaiṣṇava mili’, āpane śrīgaura-hari,
prakāśaye saṁsārera sukha

Translation: All the Vaiṣṇavas found their hearts filled with bliss. They were plunged in an ocean of ecstatic spiritual love. Surrounded by the Vaiṣṇavas, Lord Gaura-Hari placed spiritual bliss within the world of birth and death.

Jayapatākā Swami: All the assembles Vaiṣṇavas with a very blissful ecstatic mind plunged themselves in the sea of ecstatic love. All the Vaiṣṇavas gathered together and Śrī Gaura-hari personally manifested the transcendental bliss upon this material world of birth and death.

Murāri Gupta Kaḍaca 2.16.7

vāsudeva-kṛta-veśa-viśeṣaḥ
prāviśat sa bhagavān amṛtāṁśuḥ
tapta-kāñcana-vapuḥ kanakādri-
śṛṅga-rāja iva jaṅgama-veśaḥ

Translation: Then entered Bhagavān Caitanya Vāsudeva. With his body complexion like molten gold and his effulgence like the nectar-radiating moon, it appeared as if Meru, the king of mountains, was somehow walking. He was suitably attired for His special mission of teaching the ecstasy of gopī-rasa.

Jayapatākā Swami: Lord Caitanya’s special mission is to teach pure love of Kṛṣṇa, in that the highest form of love is that of the gopīs. So, He was teaching that ecstasy, of the mellow of the gopīs, who are serving Lord Kṛṣṇa.

Caitanya Maṅgala, Madhya-khaṇḍa 9.114

ekhane kahiba śuna, sāvadhāne sabajana,
gopīkā āveśa-vaśa prabhu
hṛdaye kaṁcila dhare, śaṅkha-kaṅkaṇa kare,
duṭi āṁkhi rase ḍubuḍubu

Jayapatākā Swami: Now I will tell you, please listen carefully, all present. Lord Viśvambhara manifested the form of a gopī. In His heart, He accepted the role. He was wearing conch bracelets, and various bracelets, His eyes were filled with spiritual ecstasy.

Caitanya Maṅgala, Madhya-khaṇḍa 9.115

paṭra se vasana pare, nupura caraṇe dhare,
muṭhe pāi kṣīṇa mājhakhāni
rūpe trijagata mohe, upamā divāra kāṁhe,
gopīveśe ṭhākura āpani

Translation: His garments were silk. Anklets adorned His feet. His waist was slender like a fist. His beauty enchanted the three worlds. What metaphor can I speak to describe His form? In this way Lord Gaura manifested the form of a gopī.

Jayapatākā Swami: We can see that, Lord Gaurāṅga He manifested the forms He was acting as. No actor can change their body, but Lord Caitanya would assume that particular form. As a gopī, He appeared with a very thin waist, but that’s not His normal appearance! So, He actually manifested the form of a gopī, sometimes in His drama, He would manifest the form of Rukmiṇī, sometimes Rādhā, this time a gopī.

Murāri Gupta Kaḍaca 2.16.8

gopīkeva vara-kañculi-vakṣā
śaṅkha-kaṅkaṇa-dharo’ruṇa-vastraḥ
nūpureṇa nuta-pāda-supadmaḥ
sūkṣma-madhya-vapuṣā sa nanarta

Translation: Like a gopī He wore a beautiful bodice on His chest, bracelets made of tiny conchells, and a saffron dress around His very slender waist. He danced with sweet lotus feet celebrated by tinkling ankle-bells.

Caitanya Maṅgala, Madhya-khaṇḍa 9.116

alaukika aṅgateje, vāyu bahe malayaje,
taṁhi naba mālatīra mālā
sumeruśikhare yena, suradhunī-jala hena,
gaurā-aṅge bahe dui dhārā

Translation: The splendor of His limbs was beyond anything of this world. The breeze from them was like the fragrant breezes from the Malaya Hills. He was adorned with a garland of new jasmine flowers. He was like the peak of Mount Sumeru. It was as if two flooding celestial Gaṅgā rivers flowed over Lord Gaura's limbs.

Jayapatākā Swami: The transcendental splendor of His limbs, with the breeze that came over His body, came the fragrance of the Malaya sandalwood, and He was wearing a mālatī garland, He was like a personified Mount Sumeru, with two Ganges flowing over Lord Gaura’s body.

Murāri Gupta Kaḍaca 2.16.9

jyotiṣātimilite bhuvas tale
dehajena nṛ-hareḥ kṛte tadā
divya-gandha-pavanaḥ sa kampayan
mālatī malayajo vavau muhuḥ

Translation: The earth became immersed in the luster from Nṛhari's body, and a divinely perfumed breeze blew from the Malaya Hill again and again, causing the mālatī flowers to tremble.

Murāri Gupta Kaḍaca 2.16.10

kheda-śoka-kalayāvidito’pi
pūrṇa-maṇḍala iva pracakāśe
candramā divi sureśa-maheśa-
loka-pāla-sa-gaṇāvṛta-mārge

Translation: As the full moon shines to illuminate the paths of the heavens for Indra, Śiva and the various planetary deities, the moon of Gaura shone and dispelled any trace of depression or grief.

Jayapatākā Swami: So, by seeing the form of Lord Gaurāṅga manifested, the effulgence of His form, gave spiritual bliss to everyone, and eradicated all kinds of depression or grief. So, by witnessing this drama, the audience was immersed in spiritual bliss. Who would like to see this drama?

Murāri Gupta Kaḍaca 2.16.11

kīrtanaṁ sa bhagavān atitejā
nartanaṁ ca muditaḥ pracakāra
bhāvam āśu vidadhe kamalāyāḥ
kānti-bhāva-bhṛd vapuṣo’syāḥ

Translation: The Lord began to blissfully sing and dance with much energy. Then, replete with ecstasy and loveliness, He played the part of the goddess of fortune.

Murāri Gupta Kaḍaca 2.16.12-13

tatra deva-gṛha-madhya-gatāyāḥ
kṛṣṇa-divya-vapuṣaḥ pratimāyāḥ
sannikarṣam upasṛtya vinīto
navya-vastra-daśayā kusumāni

vigrahād apanayan punar eva
tatra tāni nidadhe sumanāṁsi
prema-bhakti-rasa-pūrita-koṭi-
mātṛ-sneha-paripūrito’bhavat

Translation: The goddess humbly approached the Deity form of Kṛṣṇa in the middle of the temple. She took some jasmine flowers from the Deity with the hem of her new sārī, and as she offered them again to Him, her heart became filled to overflowing with prema-bhakti-rasa, like the affection of ten million mothers.

Jayapatākā Swami: Lord Caitanya, in the form of the goddess of fortune, He was offering jasmine flowers to the lotus feet of the Lord, and in this way, she was filled with love and affection. So, this was the presentation of Lord Caitanya, during this transcendental drama.

Murāri Gupta Kaḍaca 2.16.14

tāṁ striyaṁ pramuditāḥ parinemuḥ
saṁstavena śrutibhiḥ pratuṣṭuvuḥ
ājñayā sakala-deva-mayasya
tasya hṛṣṭa-manaso dvija-mukhyāḥ

Translation: Then, by the order of the Lord, who is the sum total of all the gods, the eminent brāhmaṇas very jubilantly offered their homage to that lady. They praised her with exultant hearts, singing a hymn from the Vedas.

Murāri Gupta Kaḍaca 2.16.15

tat-kṣaṇāt punar abhūt bhagavatyāḥ
sarva-śakti-mayatā tu vahatyāḥ
bhāvam eva sujanā mudam āpus
tuṣṭuvuḥ sura-kṛtaiḥ stava-rājaiḥ

Translation: A moment later, the Lord entered into the all-powerful mood of goddess Durgā. The people became enlivened and offered praises by chanting excellent hymns composed by the saints.

Jayapatākā Swami: So, for Kṛṣṇa all the energies are the same. Just like for the government, the police department, the social welfare department, all are equal. Similarly, goddess Durgā is the superintendent, the Supreme Power, in this material world. So, the Lord assumed the form of goddess Durgā, and so all the devotees became excited, seeing the different transformations of the Lord, and the brāhmaṇas, they chanted appropriate hymns for the goddess Durgā.

Murāri Gupta Kaḍaca 2.16.16

āsane samupaviśya sukḷpte
devatā-pratikṛtī punar āha
prāviśan naṭana-vīkṣaṇa-kāmā
‘trāgatāsmi bhavatā kutukena

Translation: Then seating Himself on a fine āsana, the Personality of Godhead in the form of the goddess again spoke, "I have come here eager to see a dance performed by your good selves."

Jayapatākā Swami: So, the Lord, assuming the form of Durgā-devī, she wanted to see a dance.

Caitanya-Bhāgavata Madhya-khaṇḍa 18.121

āge nityānanda buḍī-baḍāira veśe
baṅka baṅka kari' hāṅṭe, prema-rase bhāse

Jayapatākā Swami: Lord Nityānanda came dressed up as an old lady. She bent over and, in that way, walked, hobbled. She was filled with loving ecstasies. She came in front of the Lord, on the stage.

Purport by Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura: The word baṅka means “bent over,” “crooked,” or “hunched.”

Caitanya-Bhāgavata Madhya-khaṇḍa 18.122

maṇḍalī haiyā saba vaiṣṇava rahilā
jaya jaya mahādhvani karite lāgilā

Jayapatākā Swami: All the Vaiṣṇavas as a group together, chanted, “All glories! All glories! Jaya! Jaya!” Loudly.

Caitanya-Bhāgavata Madhya-khaṇḍa 18.123

prabhuke nā ciniyā sakalera prabha-viṣaye vibhinna dhāraṇā—

keha nāre cinite ṭhākura viśvambhara
hena alakṣita veśa ati manohara

Jayapatākā Swami: No one could recognize Lord Viśvambhara. He was disguised in such a very attractive dress, that no one could recognize Him.

Caitanya-Bhāgavata Madhya-khaṇḍa 18.124

nityānanda-mahāprabhu—prabhura baḍāi
tāṅra pāche prabhu, āra kichu cihna nāi

Jayapatākā Swami: Lord Nityānanda Mahāprabhu acting as Lord Gaurāṅga’s old lady companion, was followed by Lord Gaurāṅga. But no one could understand who They were.

Caitanya-Bhāgavata Madhya-khaṇḍa 18.125

ataeva sabe cinilena ‘prabhu ei’
veśe keha lakhite nā pāre `prabhu sei'

Jayapatākā Swami: Thus everyone, they understood, this must be the Lord, but according to His dress, no one could actually understand that this is the Lord.

Caitanya-Bhāgavata Madhya-khaṇḍa 18.126

sindhu haite pratyakṣa ki hailā kamalā?
raghusiṁha-gṛhiṇī ki jānakīāilā?

Jayapatākā Swami: Has Kamalā, the goddess of fortune, come directly from the ocean? Or has Jānakī, the wife of Lord Rāma, the lion of the Raghu dynasty, has She come?

Caitanya-Bhāgavata Madhya-khaṇḍa 18.127

kibā mahālakṣmī, kibā āilā pārvatī?
kibā vṛndāvanera sampatti mūrtimatī?

Jayapatākā Swami: Is this Māha-lakṣmī, the Supreme goddess of fortune? Or has Pārvatī devī come? Or has the treasure of Vrndavana, the beauty of Vrndavana come personally?

Purport by Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura: “The phrase vṛndāvanera sampatti, ‘the treasure of Vṛndāvana’, refers to Vārṣabhānavī, the daughter of King Vṛṣabhānu.”

Jayapatākā Swami: That means Rādhārāṇī. In other words, Lord Gaurāṅga was dressed as a sakti, and the audience could not understand at first, whether He was the goddess of fortune, or mother Pārvatī, or Rādhārāṇī. But they knew that He was a goddess, Which goddess, unfortunately, they didn’t know.

Caitanya-Bhāgavata Madhya-khaṇḍa 18.128

kibā bhāgīrathī, kibā rūpavatī dayā?
kibā sei maheśa-mohinī mahāmāyā?

Jayapatākā Swami: Is this the personified Ganges? Or, is She the personified compassion? Or, is She the mahāmāyā, the enchanter of Lord Maheśa, Lord Śiva?

Caitanya-Bhāgavata Madhya-khaṇḍa 18.129

ei mate anyonye sarva-jane-jane
nā ciniyā prabhure āpane moha māne

Jayapatākā Swami: In this way, all the audience, all the people in the audience, had different ideas, and they were unable to recognize the Lord, being bewildered.

Caitanya-Bhāgavata Madhya-khaṇḍa 18.130

ājanma dhariyā prabhu dekhaye yāhārā
tathāpi lakhite nāre tilārddheka tā'rā

Jayapatākā Swami: Those who knew Lord Gaurāṅga since His birth, when they saw the Lord on that stage, they could not recognize at all, who He was. They could not recognize Him at all. Even His mother, could not recognize Him. So, this is the amazing drama of Lord Caitanya. When Lord Nityānanda took the role of an elderly gopī, He looked just like that. He was hunched over, and hobbling, maybe He had a walking stick, and Lord Caitanya was walking behind as a goddess, and they thought it must be the Lord, but they could not really recognize.

So, we will continue the drama tomorrow. We just have time for a question or two.

Question: Dear Guru Mahārāja, Please accept my respectful obeisances, All glories to Śrīla Prabhupāda, You instructed the devotees to go out in their balconies in three sandhyās every day at 5.30, 12.30 and evening 7.15 and sing a loud kīrtana for 20 minutes. Why is it important to do this at this time, and what is the reason? Are these reasons suitable for Moscow and Russia, or do we need to calculate the time for each area? Thank you for your mercy and care for all of us.

Suvarṇagopī devī dāsī,
Moscow, Russia.

Jayapatākā Swami: You see, since the devotees in Māyāpur were in lockdown at that time, and since maṅgala-ārati and announcements were going on from 4.30 am to almost 5.30 am, since I thought that people may like to witness the maṅgala-ārati and hear the announcements, so I said chant at 5.30 am. Similarly, 12 to 12.30 pm they offer the arati, so we said have kīrtana at 12.30 pm. Similarly, since my class and the ārati goes on, till about 7.15 pm, so we gave that time as the kīrtana time. In Māyāpur, the devotees, they are addicted to kīrtana. So, since we wanted devotees to observe social distancing, so we said they could chant from their windows or balconies. And since Śrīla Prabhupāda said we should chant at the tri sandhyas, so like that I recommended those times. Now if you have no problem, you can chant in Moscow. I don’t know whether the neighbors will object. In Māyāpur, they don’t object. You can chant kīrtana here, you can wear tilaka, no problem But in China or Russia or in other places, I don’t know whether you can chant in the same way. If you can, maybe people will be blessed to hear the holy name! So, you have to see according to time, place and circumstance.

Question: Hare Kṛṣṇa Gurudeva! Please accept my respectful humble obeisances unto your lotus feet. Dear Gurudeva, what tapasya we have to do in this caturmāsya time. Please explain.

Your unqualified servant,
Pūrṇa Bhagavān Śyāma dāsa, Vijayawada.

Jayapatākā Swami: Thank you Pūrṇa Bhagavān Śyāma dāsa, Vijayawada, Andhra Pradesh, India! In the four months of the caturmāsya, we observe four fasts. First month, no spinach or leafy vegetables, no cooked leafy vegetables, second month, no yogurt third month, no milk and fourth month, no urad dal. But fourth month for the nondevotees they should be vegetarian. But for the devotees since we are already vegetarian, we don’t take urad-dal which is high protein. And for the last five days, from Ekādaśī to Pūrṇimā, we observe the Bhīṣma-pañcaka, and there are three levels of fasting. We will announce that before Bhīṣma-pañcaka. Here we have many devotees who do the Bhīṣma-pañcaka, and part of it is, to offer special prayers to the Ganges, for Bhīṣmadeva who is the son of the Ganges. But most devotees do the fruits and roots, and some devotees do the haviṣyānna. And other devotees do the pañca-gavyā. That’s very difficult. As I said, most people do the fruits and roots. Since that is high sugar, those who have blood sugar, take haviṣyānna.

Thank you!