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Pages in category "Scene"
The following 119 pages are in this category, out of 119 total.
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- A picturesque scene of green paddy fields enlivens the heart of the poor agriculturalist, but it brings gloom to the face of the capitalist who lives by exploiting the poor farmers
- A Vaisnava is always tolerant, and Lord Siva is considered the topmost Vaisnava, so his character, as shown in this scene (in SB 4.2.33), is excellent
- After describing the scene in the battlefield, Sanjaya told the King (Dhrtarastra), "You are thinking of victory, but my opinion is that where Krsna and Arjuna are present, there will be all good fortune." BG 1972 purports
- All the Yadus and the residents of Vrndavana felt such great pleasure in meeting and talking together that it was a unique scene
- Although Jarasandha was equipped with a vast ocean of military strength, the fighting of Lord Krsna and Balarama converted the whole situation into a ghastly scene far beyond ordinary fighting
- Appearing on the scene, Krsna immediately collected all the garments of the gopis, climbed up into a nearby tree, and with a smiling face began to speak to them
- Arjuna, Krsna and numberless friends, admirers, relatives and sages had gathered on the scene as Maharaja Yudhisthira took moral and religious instructions from the dying Bhisma
- As a result of this misunderstanding (between Durvasa Muni and Maharaja Ambarisa), Durvasa Muni tried to kill the king, when the Sudarsana cakra, the celebrated weapon of Godhead, appeared on the scene for the devoted king’s protection
- As I am getting old, I wish to retire from an active part. Of course, I shall be behind the scene, but I am thinking of writing a constitutional will on my return from Europe
- As she was being led away, crying in fear like a kurari captured by a vulture, the great sage Narada, who at that time had no engagement, appeared on the scene and saw her in that condition
- As soon as mother Saci appeared on the scene, Caitanya Mahaprabhu fell before her like a stick. Mother Saci began to cry, taking the Lord on her lap
- Astonished by the ghastly scene, the cowherd boys began to praise Balarama with the words "Well done!" All of them then embraced Balarama with great affection, thinking that He had returned from death. They offered their blessings & congratulations
- At that time (when Srivasa Pandita was hearing the thousand names of Lord Visnu in the sraddha ceremony of his father) Gaurahari (Lord Caitanya) appeared on the scene, and He also began to hear the thousand names of Visnu with full satisfaction
- At that time Govinda appeared on the scene, offered his respectful obeisances and spoke submissively
- At that time Krsna appeared on the scene and touched the serpent with His lotus feet. Immediately upon being touched by the lotus feet of Krsna, the serpent shed its reptilian body and appeared as a very beautiful demigod named Vidyadhara
- At that time, in that beautiful scene, a woman appeared in the courtyard. The beauty of her body was so bright that it tinged the entire place with a yellow hue
- At that time, while Krsna, Balarama and the damsels were so much absorbed, almost in madness, a demoniac associate of Kuvera (the treasurer of the heavenly planets) appeared on the scene
- At that very moment, Lord Krsna, along with His father and mother, Devaki and Vasudeva, appeared on the scene. Krsna, the Supreme Personality of Godhead, could understand everything, yet in that situation He remained silent
- At the end of the month, Krsna, along with His friends, appeared on the scene. Another name of Krsna is Yogesvara, or master of all mystic powers
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- Balarama was surprised to see the action of yogamaya; therefore He inquired from Krsna, "What is happening in this scene? What is that mystery
- Because of the dead bodies of the asses, there was a panoramic scene. It appeared as if clouds of various colors were assembled in the trees. Hearing of this great incident, the demigods from the higher planets showered flowers on Krsna and Balarama
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- Devotees of the Lord never assert independent individuality; on the contrary, they utilize their individuality in pursuit of the desires of the Lord, and this cooperation of the devotees with the Lord makes a perfect scene of the Lord's pastimes
- During the season of springtime, when the rasa dance was going on, suddenly Krsna disappeared from the scene, indicating that He wanted to be alone with Srimati Radharani
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- Even if they are illusioned by some ghastly scene or by any accidental occurrence, devotees never forget Krsna. Even in the greatest danger they can remember Krsna
- Even today in India people decorate swinging thrones and re-create this scene during the month of July-August. Generally at that time people go to Vrndavana to offer their respects to the Deities there - CC Intro
- Even today in India people decorate thrones and recreate this scene during the month of July. Generally at that time people go to Vrndavana to offer their respects to the Deities there
- Exactly at that time, however, Durvasa Muni, the great and powerful mystic, appeared on the scene as an uninvited guest
- Exchange of love between the mother (Yosoda) and the son (Krsna) was performed in a natural way, and Kunti, remembering the scene, was bewildered, and she could do nothing but praise the transcendental filial love
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- He (Bakasura) appeared on the scene suddenly and immediately attacked Krsna with his pointed, sharp beak and quickly swallowed Him up. When Krsna was thus swallowed, all the boys, headed by Balarama, became almost breathless, as if they had died
- He (Krsna) came there on the scene and asked Draupadi to give whatever food she might have in her stock. On being so requested by the Lord, Draupadi was sorrowful because He asked her for some food and she was unable to supply it at that time
- He (Krsna) then proceeded slowly, without fear, taking Rukmini away exactly as a lion takes a deer from the midst of jackals. Meanwhile, Balarama appeared on the scene with the soldiers of the Yadu dynasty
- He (Sukadeva Goswami) appears on the scene while traveling on the earth of his own accord. It appears that upon the inquiry of Maharaja Pariksit, the great sages were not unanimous in their decision as to what was to be done
- Hearing the nurse's cries, Jambavan appeared on the scene in a very angry mood. Jambavan was actually a great devotee of Lord Krsna, but because he was angry he could not recognize his master and thought Him to be an ordinary man
- Human life is the only opportunity to get out of the material scene, which is full of the miseries of birth, death, old age and diseases
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- I am an old man and I may shift away from the scene at any moment; but I am very much hopeful of my disciples who are so sincerely helping me
- If I (Radharani) want to go away from the scene because I am afraid of Him (Krsna), He will immediately spread His arms to block My path. If I piteously fall down at His feet, then this enemy of the Madhu demon, in an angry mood, bites My face
- In addition to the various flowers and living entities about the lake, there were also many musical vibrations. The void of the impersonalists, which has no variegatedness, is not at all pleasing compared with such a scene
- In order to keep the words of the great (Astavakra Muni) muni, the Lord Himself kidnapped His wives from the protection of Arjuna, otherwise they would have at once vanished from the scene as soon as they were touched by the rogues
- In order to show them (the gopis) His causeless mercy and to curb their false pride, He (Krsna) immediately disappeared from the scene, exhibiting His opulence of renunciation
- In the first part of the Gopala-campu the following subject matters are discussed: (24) Krsna’s enjoying the company of the gopis, the disappearance of Radha and Krsna from the scene, and the search for Them by the gopis; (25) the reappearance of Krsna
- In the Third Canto, 2nd Chapter, 13th verse, of Srimad-Bhagavatam there is a statement about this. "The SP of Godhead, in His pleasing dress, appeared at the scene of the sacrificial arena when King Yudhisthira was performing the raja-suya sacrifice"
- In this age of Kali, however, such sin (drunkenness) is to be seen everywhere, for people all over the world have become shameless. Long ago, when he saw the scene of the drunken sudra & the prostitute, Ajamila, who was a perfect brahmacari, was affected
- It might be argued that since Bali Maharaja had now left the scene, how could his faults be judged
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- Krsna said, "The chirping of the birds along with the cooing of the peacocks, surrounded by the whispering of the leaves in the trees, combine and present sound vibrations that echo one another. And this just enriches the beautiful scenery"
- Krsna showed His universal form to Arjuna just to show him that these people were already killed for their unlawful action. That scene was shown to Arjuna because devotees are always peaceful, & they cannot perform such horrible actions. BG 1972 purports
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- Long ago, when he saw the scene of the drunken sudra and the prostitute, Ajamila, who was a perfect brahmacari, was affected. Nowadays such sin is visible in so many places, and we must consider the position of a brahmacari student who sees such behavior
- Looking at His mother with great respect, He appealed to her with feeling, "Yes, Mother, I have offended you. Kindly excuse Me." Then He immediately bowed His head. Kuntidevi appreciated this scene, for this was another of Krsna's perfections
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- Maharaja Pariksit, therefore, was astonished to see such a horrible scene. He inquired whether the bull was not a demigod assuming such a wretched condition to indicate the future of the cow and the bull
- Male, his (Kali's) feature black, and dressed like a king. Black means ignorance. And similarly the scene is also blackish
- My dear Vidura, Indra, being the King of heaven and very powerful, immediately brought a dense darkness upon the sacrificial arena. Covering the whole scene in this way, he again took away the horse, which was chained with golden shackles
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- Ordinary dealings, there will be cheating. That is stated in the Bhagavata, mayaiva vyavahari. The sooner you get out of this scene is better. That is Krsna consciousness
- Other princes supporting the King of Kalinga and Rukmi were also captured, and Balarama beat them with His club, breaking their legs and hands. They did not try to retaliate but thought it wise to run away from the bloody scene
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- People do not know, however, that at any time they themselves may be kicked out of the scene and forced to accept bodies that have nothing to do with these enormous houses, palaces, roads and automobiles
- People may not misunderstand that here a scene is depicted simply criticizing the western way. That is my point
- Prahlada Maharaja said to his father, - My dear father, if somebody quits this scene of grham andha-kupam, a dark well of this material life, and goes to the forest and takes shelter of Krsna, oh, that is very nice thing
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- She (Radharani) immediately left the scene and took shelter in a nice flower bush where the black drones were humming. Then, hiding Herself behind the creepers, She began to express Her sorrow to one of Her consorts
- Simultaneously, Krsna appeared on the scene, accompanied by His new wife, Jambavati, and all the inhabitants of Dvaraka and relatives of Krsna became joyful
- Sometimes love affairs between two persons culminate in ghastly murder scenes. Such rasas are displayed between man and man and between animal and animal
- Sometimes the grass is covered by a certain kind of red insect, and when the green and red combine with the umbrellalike mushrooms, the entire scene changes, just like a person who has suddenly become rich
- Srila Ramananda Raya used highly technical terms when he discussed this subject (five kinds of introductory scenes) with Srila Rupa Gosvami
- Srimati Radharani, being proud of Her position, requested Krsna to carry Her wherever He liked. Then Krsna immediately disappeared from the scene, and Srimati Radharani began to lament
- Suddenly there awoke within Sri Caitanya Mahaprabhu the scene of Lord Krsna's departure to Mathura, and He began exhibiting the symptom of ecstatic madness known as udghurna
- Sukadeva Gosvami said, "(Krsna and His friends) thus enjoyed joking amongst themselves, the denizens of heaven would become struck with wonder and would only stare at the scene"
- Suta Gosvami said: Being afraid for having killed so many subjects on the Battlefield of Kuruksetra, Maharaja Yudhisthira went to the scene of the massacre. There, Bhismadeva was lying on a bed of arrows, about to pass away
- Swans are instead seen in the atmosphere of natural scenic beauty where there are transparent reservoirs of water nicely decorated with stems of lotus flowers in variegated colors of natural beauty. That is the difference between the two classes of birds
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- The belly, although filled, still wants to eat more & the ear, not attempting to hear about You, is generally attracted to cinema songs. The sense of smell is attracted to yet another side, the restless eyes are attracted to scenes of sense gratification
- The death of an ordinary man is vastly different from a devotee's passing away from the active scene of material existence
- The Deities come out onto the street and travel in the neighborhood while the people of the neighborhood come out to offer prasadam. The residents of the neighborhood all follow the procession so that it is a very nice scene
- The fallen person continued, "There are so many insects and worms, surrounded by the stools left by different kinds of diseased persons. And after visualizing this horrible scene, my eyes have become sore, and I am becoming nearly blind"
- The friend of Radharani continued, "The only advice I can give You (Radharani) is that You had better leave this scene immediately, because Your misbehavior is giving me too much pain"
- The fully beautiful scenery after the rainy season was attractive to the eyes of everyone, including Sri Krsna, the cause of all causes
- The gopis' intense desire to satisfy Krsna surcharges the entire scene with pure love of Godhead, with not a spot of sexual indulgence
- The great sage Maitreya continued: My dear Vidura, being very much satisfied by the performance of ninety-nine horse sacrifices, the SPG, Lord Visnu, appeared on the scene. Accompanying Him was King Indra. Lord Visnu then began to speak
- The horrible scene in the hospital is certainly ghastly. But we should at the same time know that this ghastly scene is in the matter of bodily concept of life. This is Maya's illusion
- The innumerable living entities merge into that dissolution, which appears to be the dropping of the curtain of the scene of the Supreme Lord's energy, and so everything becomes silent
- The moon is far away from the clouds and is fixed in its own orbit, but illusion presents a scene in which the moon appears to be moving. A living being should not float with the misconception of the temporary body
- The mountain's waterfalls, herbs, etc., with a panorama of flowers, seem like garlands, but the Lord's gigantic body, and His hands and legs, decorated with jewels, pearls, tulasi leaves and flower garlands, mocked the scene on the mountain
- The picture of Vasudeva exchanging the babies is not correct because Nanda Maharaja should not be in this scene. Vasudeva silently exchanged babies with the sleeping Yasoda, and neither Yasoda nor Nanda Maharaja knew about this till long after
- The procession was taken along about an 8 mile distance, and the people followed all through, simply chanting the Hare Krishna Mantra. This was a unique scene in this part of the world
- The scene of separation that took place when Sanatana Gosvami and Sri Caitanya Mahaprabhu took leave of each other is so piteous that it cannot be described herein - CC Antya 4.208
- The second scene is that Kali, the personified Kali . . . a person should be decorated blackish. A blackish man with royal dress and very ugly features. And his queen, another ugly-featured girl or lady
- The sense of smell is attracted to yet another side, the restless eyes are attracted to scenes of sense gratification, and the active senses are attracted elsewhere. In this way I (Prahlada Maharaja) am certainly embarrassed
- The Supreme Personality of Godhead creates, maintains and dissolves the cosmic manifestation merely by His will. For Him to create such a vast scene of devastation while fighting with an enemy is not so wonderful
- The technical names for the five kinds of introductory scenes of the drama are listed as udghatyaka, kathodghata, prayogatisaya, pravartaka and avalagita
- The two brothers, Rupa Gosvami and Vallabha, stayed aloof in an uncrowded place and witnessed the great crowd and wonderful scene
- The vithi beginning of a drama consists of only one scene. In that scene, one of the heroes enters the stage, and by means of opposing statements uttered by a voice from the sky (offstage), he introduces the abundant conjugal mellow to some degree
- The wives of the performers of the sacrifice said: This sacrifice was arranged under the instruction of Brahma but unfortunately Siva, being angry at Daksa, devastated the entire scene & because of his anger the animals meant for sacrifice are lying dead
- Then He began running madly toward it, and all the Vaisnavas ran after Him. This scene awakens in my heart and maddens me
- Then, as she stared at the scene with broadened eyes, she saw Krsna begin to exhibit varieties of facial caricatures. Mother Yasoda then became very happy and began to smile
- There was a demigoddess named Kotara who was worshiped by Banasura, and their relationship was as mother and son. Mother Kotara was upset that Banasura's life was in danger, so she appeared on the scene (battlefield)
- This foretelling (of the devastation up to the earthly planets) is by the past experience of Brahmaji, who knew that in that fearful devastating scene, the Vedas would come out of his mouth
- This introduction is technically called udghatyaka, and the whole scene is called vithi. You are so expert in dramatic expression that each of my statements before you is like a wave from an ocean of impudence
- This is the first verse, the first chapter of Second Canto Srimad-Bhagavatam, spoken by Sukadeva Gosvami. Sukadeva Gosvami came to the scene when Maharaja Pariksit was on the verge of his death. So he was perplexed what to do at the time of death
- This scene (Mother Yasoda binding child Krsna because of His disturbance) is very much appreciated by pure devotees, for it shows how much greatness there is in the Supreme Person, who plays exactly like a perfect child
- Those who are very, very sinful, they cry, because they see horrible scenes at the time of death
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- Wearing a garland, a necklace and other bodily ornaments, she (Rohini) appeared on the scene and moved hither and thither
- When death comes, you are unable to do anything; you have to immediately leave the scene. And according to the laws of nature you'll have to accept a body according to your karma
- When he lay on the ground with his followers, his thighs broken although he was powerful, the Lord was not happy to see the scene
- When Krsna disappeared from the scene of the rasa dance, all the gopis began to repent, saying, "Dear Krsna! We have come here and have left aside our husbands, sons, relatives, brothers and friends! Neglecting their advice, we have come to You"
- When Krsna disappeared from the scene of the rasa dance, all the gopis began to repent, saying, "You are so cunning that in the dead of night You have left girls and women like us! This is not very good for You"
- When Krsna disappeared from the scene of the rasa dance, all the gopis began to repent, saying, "You best know the reason for our coming here. You know that we have come because we are captivated by the sweet sound of Your flute"
- When Krsna was holding up Govardhana Hill with His left hand, His hair became scattered all over His shoulders, and He appeared to be perspiring. When mother Yasoda saw this scene, she began to tremble
- When Lord Balarama appeared on the scene, King Yudhisthira and his younger brothers Nakula and Sahadeva, as well as Lord Krsna and Arjuna, immediately offered Him their respectful obeisances, but they did not speak at all
- When Lord Krsna went ahead to a distant place in order to see some specific scenery, the boys behind Him ran to try to catch up and be the first to touch Him. So there was a great competition
- When the bridegroom, Sisupala, came there with his party with the desire to marry Rukmini, Krsna all of a sudden swept her from the scene, stepping over the heads of all the princes there, just as Garuda carried away nectar from the hands of the demons
- When they were just ready to put the oblation in the fire, Lord Brahma appeared on the scene and forbade them to start the sacrifice
- When we perform the class I remembered that scene. Yes. That Caitanya Mahaprabhu is dancing before Jagannatha. Every evening four parties. In each party four mrdanga and eight karatalas
- While fully manifesting the Visnu expansions, He (Krsna) suddenly pulled His curtain of yogamaya over the scene. In the Bhagavad-gita it is said that the Supreme Personality of Godhead is not visible due to the curtain spread by yogamaya
- While Krsna was joking in this way with the damsels of Braja, who with great hope had come to enjoy the rasa dance with Him, Subala was also on the scene, and he began to look at Krsna with wide and laughing eyes
- While Sanjaya was thus speaking, Sri Narada, the powerful devotee of the Lord, appeared on the scene carrying his tumburu. Maharaja Yudhisthira and his brothers received him properly by getting up from their seats and offering obeisances
- While such things were going on, the great and powerful son of Vyasadeva appeared on the scene
- While they (Krsna and His cowherd boyfriends) were thus enjoying their childhood pastimes, a demon known by the name of Vyomasura, "the demon who flies in the sky," appeared on the scene. He was the son of another great demon, named Maya
- While this scene (Kaliya and Krsna) was taking place on the bank of the Yamuna, there were ill omens manifest. The earth trembled, meteors fell from the sky, and the left side of men's bodies shivered. All these are indications of great immediate danger