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Dancing (CC - Antya-lila)

Expressions researched:
"dance" |"danced" |"dances" |"dancing"

Notes from the compiler: VedaBase query: dance or danced or dances or dancing not chant*

Sri Caitanya-caritamrta

CC Antya-lila

CC Antya 1.7, Translation:

Śrī Śrīla Gopīnātha, who originated the transcendental mellow of the rāsa dance, stands on the shore at Vaṁśīvaṭa and attracts the attention of the cowherd damsels with the sound of His celebrated flute. May they all confer upon us their benediction.

CC Antya 1.64, Translation:

When they received the remnants of Śrī Caitanya Mahāprabhu's prasādam through Govinda, they respected it, and then they both began to dance in ecstasy.

CC Antya 1.138, Translation:

“"The devotees now present are constantly thinking of the Supreme Lord and are therefore highly advanced. This work named Vidagdha-mādhava depicts the characteristic pastimes of Lord Kṛṣṇa with decorations of poetic ornaments. And the inner grounds of the forest of Vṛndāvana provide a suitable platform for the dancing of Kṛṣṇa with the gopīs. Therefore I think that the pious activities of persons like us, who have tried to advance in devotional service, have now attained maturity."

CC Antya 1.145, Translation:

“"Upon seeing peacock feathers in front of Her, this girl suddenly begins trembling. When She sometimes sees a necklace of guñjā (small conchshells), She sheds tears and cries loudly. I do not know what kind of new ecstatic influence has entered the heart of this poor girl. It has imbued Her with the dancing attitude of a player creating wonderful, unprecedented dances on a stage."

CC Antya 1.160, Translation:

“"My dear friend, this forest of Vṛndāvana is giving great pleasure to our senses in various ways. Somewhere bumblebees are singing in groups, and in some places mild breezes are cooling the entire atmosphere. Somewhere the creepers and tree twigs are dancing, the mallikā flowers are expanding their fragrance, and an overabundance of juice is constantly flowing in showers from pomegranate fruits."

CC Antya 1.171, Translation:

""When Śrīmatī Rādhārāṇī smiles, waves of joy flow over Her cheeks, and Her arched eyebrows dance like the bow of Cupid. Her glance is so enchanting that it is like a dancing bumblebee moving unsteadily due to intoxication. That bee has bitten the whorl of My heart.""

CC Antya 1.184, Translation:

“"While dancing on the stage after having killed the ruler of uncivilized men (Kaṁsa), Lord Kṛṣṇa, master of all arts, will at the proper time accept the hand of Śrīmatī Rādhārāṇī, who is qualified with all transcendental attributes."

CC Antya 1.185, Purport:

The vīthī 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 and other mellows to some degree. In the course of the introduction, all the seeds of the play are planted. This introduction is called udghātyaka because the player dances on the stage. This term also indicates that the full moon enters the stage. In this case, when the word naṭatā ("dancing on the stage") is linked with the moon, its meaning is obscure, but because the meaning becomes very clear when the word naṭatā is linked with Kṛṣṇa, this type of introduction is called udghātyaka.

CC Antya 1.203, Translation:

Śrīla Rāmānanda Rāya replied to Śrī Caitanya Mahāprabhu, “My Lord, You are the Supreme Personality of Godhead. If You like, You can cause even a wooden doll to dance.

CC Antya 2.5-6, Purport:

The Lord always manifested His āvirbhāva appearance in the following four places: (1) the house of Śrīmatī Śacīmātā, (2) wherever Nityānanda Prabhu danced in ecstasy, (3) the house of Śrīvāsa (when kīrtana was performed), and (4) the house of Rāghava Paṇḍita. Lord Caitanya Himself appeared in these four places. (In this connection, one may consult text 34.)

CC Antya 2.19, Translation:

He continuously exhibited bodily transformations of transcendental love. Thus he cried, trembled, became stunned, perspired, danced in love of Godhead and made sounds like those of a cloud.

CC Antya 2.80, Translation:

Similarly, He was always present when Nityānanda Prabhu danced, and He regularly appeared at the house of Rāghava.

CC Antya 4.64, Purport:

This verse (SB 10.29.35) was spoken by the gopīs when they were attracted by the vibration of Kṛṣṇa's flute in the moonlight of autumn. All of them, being maddened, came to Kṛṣṇa, but to increase their ecstatic love, Kṛṣṇa gave them moral instructions to return home. The gopīs did not care for these instructions. They wanted to be kissed by Kṛṣṇa, for they had come there with lusty desires to dance with Him.

CC Antya 4.74, Translation:

“My Lord, You are the omniscient, merciful, independent Supreme Lord. Exactly like an instrument of wood, I dance as You make me do so.

CC Antya 4.86, Translation:

"My dear Lord, as You cause one to dance, he dances accordingly, but how he dances and who is causing him to dance he does not know."

CC Antya 4.106, Translation:

During the Ratha-yātrā festival, Śrī Caitanya Mahāprabhu again danced before the car of Jagannātha. When Sanātana Gosvāmī saw this, his mind was astonished.

CC Antya 5 Summary:

The following summary of the Fifth Chapter is given by Śrīla Bhaktivinoda Ṭhākura in his Amṛta-pravāha-bhāṣya. Pradyumna Miśra, a resident of Śrīhaṭṭa, came to see Śrī Caitanya Mahāprabhu to hear from Him about Lord Kṛṣṇa and His pastimes. The Lord, however, sent him to Śrīla Rāmānanda Rāya. Śrīla Rāmānanda Rāya was training the deva-dāsī dancing girls in the temple, and when Pradyumna Miśra heard about this, he returned to Śrī Caitanya Mahāprabhu. The Lord, however, elaborately described the character of Śrīla Rāmānanda Rāya. Then Pradyumna Miśra went to see Rāmānanda Rāya again to hear about the transcendental truth from him.

CC Antya 5.13, Translation:

“There are two dancing girls who are extremely beautiful. They are very youthful, and they are expert in dancing and singing.

CC Antya 5.14, Translation:

“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.

CC Antya 5.14, Purport:

he 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 5.24, Translation:

Through the feminine poses and dances they were taught by Rāmānanda Rāya, the two girls precisely exhibited all these expressions of ecstasy before Lord Jagannātha.

CC Antya 5.26, Translation:

Every day he trained the two deva-dāsīs how to dance. Who among the small living entities, their minds always absorbed in material sense gratification, could understand the mentality of Śrī Rāmānanda Rāya?

CC Antya 5.38, Translation:

“The two professional dancing girls are beautiful and youthful, yet Śrī Rāmānanda Rāya personally massages their entire bodies with oil.

CC Antya 5.45-46, Translation and Purport:

“When one hears or describes with great faith the pastimes of Lord Kṛṣṇa, such as His rāsa dance with the gopīs, the disease of lusty desires in his heart and the agitation caused by the three modes of material nature are immediately nullified, and he becomes sober and silent.

Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura comments in this connection, “Any person seriously inclined to hear about the pastimes of Kṛṣṇa's rāsa dance, as mentioned in Śrīmad-Bhāgavatam, with great faith and a transcendental, spiritually inspired mind, is immediately freed from the natural lusty desires found within the heart of a materialistic man.”

CC Antya 5.48, Translation:

“"A transcendentally sober person who, with faith and love, continually hears from a realized soul about the activities of Lord Kṛṣṇa in His rāsa dance with the gopīs, or one who describes such activities, can attain full transcendental devotional service at the lotus feet of the Supreme Personality of Godhead. Thus lusty material desires, which are the heart disease of all materialistic persons, are for him quickly and completely vanquished."

CC Antya 5.49-50, Translation:

“If a transcendentally situated person, following in the footsteps of Śrīla Rūpa Gosvāmī, hears and speaks about the rāsa-līlā dance of Kṛṣṇa and is always absorbed in thoughts of Kṛṣṇa while serving the Lord day and night within his mind, what shall I say about the result? It is so spiritually exalted that it cannot be expressed in words. Such a person is an eternally liberated associate of the Lord, and his body is completely spiritualized. Although he is visible to material eyes, he is spiritually situated, and all his activities are spiritual. By the will of Kṛṣṇa, such a devotee is understood to possess a spiritual body.

CC Antya 5.67, Translation:

Rāmānanda Rāya paid great respect to Pradyumna Miśra and bade him farewell. Pradyumna Miśra said, "I have become very satisfied." He then began to dance.

CC Antya 6.102, Translation:

Lord Nityānanda Prabhu first influenced all the devotees to dance, and finally He Himself began dancing, thus inundating the entire world in ecstatic love.

CC Antya 6.103, Translation:

Lord Śrī Caitanya Mahāprabhu was observing the dancing of Lord Nityānanda Prabhu. Nityānanda Prabhu could see this, but the others could not.

CC Antya 6.104, Translation:

The dancing of Lord Nityānanda Prabhu, like the dancing of Śrī Caitanya Mahāprabhu, cannot be compared to anything within these three worlds.

CC Antya 6.105, Translation:

No one can properly describe the sweetness of Lord Nityānanda's dancing. Śrī Caitanya Mahāprabhu personally comes to see it.

CC Antya 6.106, Translation:

After the dancing and after Lord Nityānanda had rested, Rāghava Paṇḍita submitted his request that the Lord take supper.

CC Antya 6.140, Translation:

“By His causeless mercy He ate the chipped rice and milk. Then, after seeing the dancing of the devotees at night, He took His supper.

CC Antya 6.244, Translation:

The Lord again danced with the devotees during the Ratha-yātrā festival. Seeing this, Raghunātha dāsa was struck with wonder.

CC Antya 7.29, Translation:

“"When Lord Śrī Kṛṣṇa was dancing with the gopīs in the rāsa-līlā, the gopīs were embraced around the neck by the Lord"s arms. This transcendental favor was never bestowed upon the goddess of fortune or the other consorts in the spiritual world. Nor was such a thing ever imagined by the most beautiful girls in the heavenly planets, girls whose bodily luster and aroma resemble the beauty and fragrance of lotus flowers. And what to speak of worldly women, who may be very, very beautiful according to material estimation?’

CC Antya 7.77, Translation:

Then Śrī Caitanya Mahāprabhu stopped the dancing of the others, and as He had done previously, He personally began to dance.

CC Antya 9.32, Translation:

“Gopīnātha Paṭṭanāyaka is in charge of collecting money on behalf of the government, but he misappropriates it. Not fearing the King, he squanders it to see dancing girls.

CC Antya 10.7, Translation:

During the rāsa dance, Kṛṣṇa asked all the gopīs to return home, but they neglected His order and stayed there for His association.

CC Antya 10.69, Translation:

Simply because of this line, Śrī Caitanya Mahāprabhu was dancing in greatly ecstatic love. People all around Him floated in the water of His tears.

CC Antya 10.75, Translation:

His transcendental bliss increased at every moment. Therefore even by midafternoon the dancing had not ended.

CC Antya 10.102, Translation:

Thus I have briefly described Śrī Caitanya Mahāprabhu's dancing in the hall of the Jagannātha temple. The servants of Śrī Caitanya Mahāprabhu sing about this dancing even now.

CC Antya 10.105, Translation:

As previously, He danced in front of the Jagannātha car and observed the festival of Herā-pañcamī.

CC Antya 10.159, Translation:

In the midst of that narration are descriptions of Rāghava Paṇḍita's bags of food and the dancing in the temple of Jagannātha.

CC Antya 11.1, Translation:

Let me offer my respectful obeisances unto Haridāsa Ṭhākura and his master, Śrī Caitanya Mahāprabhu, who danced with the body of Haridāsa Ṭhākura on His lap.

CC Antya 11.29, Translation:

“My dear Lord, You are the fully independent Personality of Godhead. You act by Your own free will. You cause the whole world to dance and act as You like.

CC Antya 11.30, Translation:

“My dear Lord, by Your mercy You have made me dance in many ways. For example, I was offered the śrāddha-pātra, which should have been offered to first-class brāhmaṇas. I ate from it even though I was born in a family of meat-eaters.

CC Antya 11.59, Translation:

The Lord raised the body of Haridāsa Ṭhākura and placed it on His lap. Then He began to dance in the courtyard in great ecstatic love.

CC Antya 11.61, Translation:

Śrī Caitanya Mahāprabhu danced for some time, and then Svarūpa Dāmodara Gosvāmī informed Him of other rituals for the body of Ṭhākura Haridāsa.

CC Antya 11.103, Translation:

When Haridāsa Ṭhākura was at the last stage of his life, Śrī Caitanya Mahāprabhu gave him His company and allowed him to touch Him. Thereafter, He took the body of Ṭhākura Haridāsa on His lap and personally danced with it.

CC Antya 12.61, Translation:

All the devotees engaged in the cleansing ceremony of the Guṇḍicā temple and danced in front of the Ratha-yātrā chariot, just as they had done in the past.

CC Antya 12.84, Translation:

Śrī Caitanya Mahāprabhu is the fully independent Personality of Godhead and makes everyone dance as He likes. Leaving His company, therefore, all the devotees returned to their homes in different parts of the country.

CC Antya 12.85, Translation:

As a wooden doll dances to the will of a puppeteer, everything is accomplished by the will of the Lord. Who can understand the characteristics of the Supreme Personality of Godhead?

CC Antya 13.73, Translation:

Jagadānanda Paṇḍita offered obeisances to the Lord on behalf of Sanātana Gosvāmī. Then he gave the Lord the dust from the site of the rāsa dance, along with the other gifts.

CC Antya 14.17, Translation:

One day while He was resting, Śrī Caitanya Mahāprabhu dreamed He saw Kṛṣṇa performing His rāsa dance.

CC Antya 14.19, Translation:

The gopīs were dancing in a circle, and in the middle of that circle, Kṛṣṇa, the son of Mahārāja Nanda, danced with Rādhārāṇī.

CC Antya 14.20, Translation:

Seeing this, Śrī Caitanya Mahāprabhu was overwhelmed with the transcendental mellow of the rāsa dance, and He thought, "Now I am with Kṛṣṇa in Vṛndāvana."

CC Antya 14.37, Purport:

These are the feelings of Śrīmatī Rādhārāṇī. First Lord Caitanya felt that He had been taken to Vṛndāvana, where He saw Kṛṣṇa's rāsa dance with the gopīs. Then He was brought to Kurukṣetra to see Lord Jagannātha, His sister (Subhadrā) and Lord Balarāma. Śrī Caitanya Mahāprabhu lost Vṛndāvana and Kṛṣṇa, the master of Vṛndāvana. At this time, Caitanya Mahāprabhu experienced divyonmāda, transcendental madness in separation from Kṛṣṇa. At Kurukṣetra, Kṛṣṇa displays His opulence, whereas in Vṛndāvana He is in His original position. Kṛṣṇa never goes even a step away from Vṛndāvana; therefore Kurukṣetra is less important for the gopīs than Vṛndāvana.

CC Antya 14.37, Purport:

Although devotees who worship Kṛṣṇa in opulence (His Vaikuṇṭha aspect) may prefer to see Lord Kṛṣṇa at Kurukṣetra along with Subhadrā and Balarāma, the gopīs want to see Kṛṣṇa in Vṛndāvana, performing the rāsa dance with Śrīmatī Rādhārāṇī. Śrī Caitanya Mahāprabhu showed by practical example how one can cultivate the mood of Rādhārāṇī and the other gopīs in separation from Kṛṣṇa. Devotees absorbed in this mood do not like to see Kṛṣṇa anywhere else but Vṛndāvana. Therefore Śrī Caitanya Mahāprabhu lamented, "I found Kṛṣṇa in Vṛndāvana, and now I have again lost Him and come to Kurukṣetra."

CC Antya 14.38, Translation:

When Śrī Caitanya Mahāprabhu dreamed of the rāsa dance, He was fully absorbed in transcendental bliss, but when His dream broke, He thought He had lost a precious jewel.

CC Antya 14.53, Purport:

This is Śrīmatī Rādhārāṇī’s lamentation for Her beloved Kṛṣṇa, who was away from home. A woman whose husband has left home and gone to a foreign land is called proṣita-bhartṛkā. Lamenting for Kṛṣṇa in the same way that such a woman laments for her husband, Śrīmatī Rādhārāṇī said, "My dear friend, where is the glory of the family of Mahārāja Nanda, who wears a half-moon ornament on His head? Where is Kṛṣṇa, whose hue is like that of the indranīla jewel and who plays so nicely on His flute? Where is your friend, the best of all men, so expert in dancing in the circle of the rāsa dance? Where is He who is the real medicine to save Me from dying of heart disease? I must condemn Providence, for he has caused Me so many tribulations by separating Me from Kṛṣṇa."

CC Antya 14.53, Purport:

In the following letter, Lalitā chastised Kṛṣṇa for staying in Mathurā: “Simply by dancing in the circle of the rāsa dance, You attracted Śrīmatī Rādhārāṇī’s love. Why are You now so indifferent to my dear friend Rādhārāṇī? She is lying nearly unconscious, thinking of Your pastimes. I shall determine whether She is alive by putting a cotton swab under Her nostrils, and if She is still living, I shall chastise Her.”

CC Antya 14.115, Translation:

Śrī Caitanya Mahāprabhu said to Purī Gosvāmī and Brahmānanda Bhāratī, "Why have the two of you come so far?"

Purī Gosvāmī replied, "Just to see Your dancing."

CC Antya 15 Summary:

On the night of the rāsa dance, the gopīs, bereaved by Kṛṣṇa's absence, searched for Kṛṣṇa from one forest to another. Śrī Caitanya Mahāprabhu adopted the same transcendental thoughts as those of the gopīs and was filled with ecstatic emotion.

CC Antya 15.30, Translation:

After Kṛṣṇa disappeared with Rādhārāṇī during the rāsa dance, the gopīs wandered in the forest looking for Him. In the same way, Śrī Caitanya Mahāprabhu wandered in that garden by the sea.

CC Antya 15.67, Translation:

“The luster of Kṛṣṇa's body is as beautiful as the glow of a spotless full moon that has just risen, and the vibration of His flute sounds exactly like the sweet thundering of a newly formed cloud. When the peacocks in Vṛndāvana hear that vibration, they all begin to dance.

CC Antya 15.70, Purport:

This verse quoted from Śrīmad-Bhāgavatam (10.29.39) was spoken by the gopīs when they arrived before Kṛṣṇa for the rāsa dance.

CC Antya 15.73, Translation:

“The earrings dancing on Kṛṣṇa's cheeks are shaped like sharks, and they shine very brightly. These dancing earrings attract the minds of all women. Over and above this, Kṛṣṇa pierces the hearts of women with the arrows of His sweetly smiling glances. He is not at all afraid to kill women in this way.

CC Antya 15.81, Translation:

""The gopīs became proud of their great fortune. To subdue their sense of superiority and show them special favor, Keśava, the subduer of even Lord Brahmā and Lord Śiva, disappeared from the rāsa dance.""

CC Antya 15.84, Translation:

""Here in the arena of the rāsa dance, I remember Kṛṣṇa, who is always fond of joking and performing pastimes.""

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 15.88, Translation:

Lord Caitanya Mahāprabhu had Svarūpa Dāmodara sing the same verse again and again. Each time he sang it, the Lord tasted it anew, and thus He danced again and again.

CC Antya 15.89, Translation:

After the Lord had been dancing for a long time, Svarūpa Dāmodara Gosvāmī stopped singing the verse.

CC Antya 16.150, Translation:

While thus speaking like a madman, Śrī Caitanya Mahāprabhu became full of ecstatic emotion. In the company of His two friends, Svarūpa Dāmodara Gosvāmī and Rāmānanda Rāya, He sometimes danced, sometimes sang and sometimes became unconscious in ecstatic love. Śrī Caitanya Mahāprabhu passed His days and nights in this way.

CC Antya 17.33, Translation:

Śrī Caitanya Mahāprabhu said, “The gopīs entered the arena of the rāsa dance in ecstasy, but after hearing Kṛṣṇa's words of negligence and detachment, they understood that He was going to renounce them. Thus they began to chastise Him in anger.

CC Antya 17.60, Translation:

“Alas! Where is Kṛṣṇa, the treasure of My life? Where is the lotus-eyed one? Alas! Where is the divine ocean of all transcendental qualities? Alas! Where is the beautiful blackish youth dressed in yellow garments? Alas! Where is the hero of the rāsa dance?

CC Antya 18.6, Translation:

He sang and danced in ecstatic love and sometimes imitated the rāsa dance in emotional ecstasy.

CC Antya 18.18, Translation:

Ecstatic love of Kṛṣṇa makes Kṛṣṇa and His devotees dance, and it also dances personally. In this way, all three dance together in one place.

CC Antya 18.24, Translation:

Thus all the verses about the rāsa-līlā dance were recited. Then finally the verse concerning the pastimes in the water was recited.

CC Antya 18.25, Translation:

"As an independent leader among elephants enters the water with its female elephants, Kṛṣṇa, who is transcendental to the Vedic principles of morality, entered the water of the Yamunā with the gopīs. His chest had brushed against their breasts, crushing His flower garland and coloring it with red kuṅkuma powder. Attracted by the fragrance of that garland, humming bumblebees followed Kṛṣṇa like celestial beings of Gandharvaloka. In this way, Lord Kṛṣṇa mitigated the fatigue of the rāsa dance."

CC Antya 18.44, Translation:

Passing along the beach, they saw a fisherman approaching with his net over his shoulder. Laughing, crying, dancing and singing, he kept repeating the holy name "Hari, Hari."

CC Antya 18.117, Translation:

Śrī Caitanya Mahāprabhu said, “In My dream I went to Vṛndāvana, where I saw Lord Kṛṣṇa perform the rāsa dance with all the gopīs.

CC Antya 19.35, Translation:

“"My dear friend, where is Kṛṣṇa, who is like the moon rising from the ocean of Mahārāja Nanda"s dynasty? Where is Kṛṣṇa, His head decorated with a peacock feather? Where is He? Where is Kṛṣṇa, whose flute produces such a deep sound? Oh, where is Kṛṣṇa, whose bodily luster is like the luster of the blue indranīla jewel? Where is Kṛṣṇa, who is so expert in rāsa dancing? Oh, where is He, who can save My life? Kindly tell Me where to find Kṛṣṇa, the treasure of My life and best of My friends. Feeling separation from Him, I hereby condemn Providence, the shaper of My destiny.’

CC Antya 19.81, Translation:

A mild breeze was blowing, carrying the fragrance of aromatic flowers. The breeze had become a guru and was teaching all the trees and creepers how to dance.

CC Antya 19.84, Translation:

In this atmosphere, the Lord had His associates sing the verse from the Gīta-govinda beginning with the words "lalita-lavaṅga-latā" as He danced and wandered about with them.

CC Antya 19.100, Translation:

Both Svarūpa Dāmodara and Rāmānanda Rāya sang to the Lord, who danced and enjoyed happiness until the morning arrived. Then the Lord's two associates devised a plan to bring Him to external consciousness.

CC Antya 19.101, Translation:

Thus, I, Kṛṣṇadāsa, the servant of Śrīla Rūpa Gosvāmī, have sung of four divisions of the Lord's pastimes in this chapter: the Lord's devotion to His mother, His words of madness, His rubbing His face against the walls at night, and His dancing at the appearance of Lord Kṛṣṇa's fragrance.

CC Antya 20.118, Translation:

Also in that chapter is a description of how the Lord examined Govinda and how He danced in the temple.

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.

CC Antya 20.127, Translation:

Also in that chapter is a description of the attraction of Lord Caitanya's five senses to Kṛṣṇa and how He searched for Kṛṣṇa in the rāsa dance.

CC Antya 20.147, Translation:

The mercy of their lotus feet is my spiritual master, and my words are my disciples, whom I have made dance in various ways.

CC Antya 20.148, Translation:

Seeing the fatigue of the disciples, the spiritual master has stopped making them dance, and because that mercy no longer makes them dance, my words now sit silently.

CC Antya 20.149, Translation:

My inexperienced words do not know how to dance by themselves. The mercy of the guru made them dance as much as possible, and now, after dancing, they have taken rest.

Page Title:Dancing (CC - Antya-lila)
Compiler:Mayapur, Rishab
Created:01 of Oct, 2011
Totals by Section:BG=0, SB=0, CC=93, OB=0, Lec=0, Con=0, Let=0
No. of Quotes:93