He went to East Bengal to secure financial assistance, cultivate knowledge and introduce the saṅkīrtana movement, and there He met Tapana Miśra, whom He instructed about spiritual advancement and ordered to go to Vārāṇasī. While Lord Caitanya Mahāprabhu was touring East Bengal, His wife, Lakṣmīdevī, was bitten by a serpent or by the serpent of separation, and thus she left this world. When the Lord returned home, He saw that His mother was overwhelmed with grief because of Lakṣmīdevī’s death. Therefore at her request He later married His second wife, Viṣṇupriyā-devī. This chapter also describes the Lord's argument with Keśava Kāśmīrī, the celebrated scholar, and the Lord's criticism of his prayer glorifying mother Ganges. In this prayer the Lord found five kinds of literary ornaments and five kinds of literary faults, thus defeating the paṇḍita. Later the Kāśmīrī Paṇḍita, who was known to have been victorious all over the country, submitted himself to the goddess of learning, and by her order he met Lord Caitanya Mahāprabhu on the morning of the next day and surrendered unto Him.
Ornaments (CC)
Expressions researched:
"ornament"
|"ornamental"
|"ornamentally"
|"ornamentation"
|"ornamented"
|"ornamenting"
|"ornaments"
|"ornate"
|"ornately"
Sri Caitanya-caritamrta
CC Adi-lila
Sāṅgopāṅgāstra-pārṣadam further indicates that Lord Caitanya is Lord Kṛṣṇa. His body is always decorated with ornaments of sandalwood and with sandalwood paste. By His superexcellent beauty He subdues all the people of the age. In other descents the Lord sometimes used weapons to defeat the demoniac, but in this age the Lord subdues them with His all-attractive figure as Caitanya Mahāprabhu. Śrīla Jīva Gosvāmī explains that His beauty is His astra, or weapon, to subdue the demons. Because He is all-attractive, it is to be understood that all the demigods lived with Him as His companions. His acts were uncommon and His associates wonderful. When He propagated the saṅkīrtana movement, He attracted many great scholars and ācāryas, especially in Bengal and Orissa. Lord Caitanya is always accompanied by His best associates like Lord Nityānanda, Advaita, Gadādhara and Śrīvāsa.
They saw the lotus-eyed Lord Viṣṇu, the Supreme Personality of Godhead, mounted on Garuḍa and holding Lakṣmī, the goddess of fortune, to His chest. He resembled a bluish rain cloud with flashing lightning, and in two of His four hands He held a conchshell and disc. His arms stretched down to His knees, and all His beautiful limbs were smeared with sandalwood and decorated with glittering ornaments. He wore yellow clothes, and by either side stood His energies Bhūmi and Nīlā.”
Rudra, who is an expansion of Sadāśiva and who appears in unlimited universes, is also a guṇāvatāra (qualitative incarnation) and is the ornament of all the demigods in the endless universes.
Varieties of majestic service are rendered to Govinda there. His garments, ornaments and paraphernalia are all transcendental.
Śrī Buddhimanta Khān was one of the inhabitants of Navadvīpa. He was very rich, and it is he who arranged for the marriage of Lord Caitanya with Viṣṇupriyā, the daughter of Sanātana Miśra, who was the priest of the local zamindar. He personally defrayed all the expenditures for the marriage ceremony. When Lord Caitanya Mahāprabhu was attacked by vāyu-vyādhi (derangement of the air within the body) Buddhimanta Khān paid for all requisite medicines and treatments to cure the Lord. He was the Lord's constant companion in the kīrtana movement. He collected ornaments for the Lord when He played the part of the goddess of fortune in the house of Candraśekhara Ācārya. He also went to see Lord Caitanya Mahāprabhu when He was staying at Jagannātha Purī.
He was so expert in reciting Śrīmad-Bhāgavatam that he would recite each and every verse in three melodious tunes. While Raghunātha Bhaṭṭa Gosvāmī was living with Śrī Caitanya Mahāprabhu, the Lord blessed him by offering him betel nuts offered to the Jagannātha Deity and a garland of tulasī said to be as long as fourteen cubits. Under Raghunātha Bhaṭṭa Gosvāmī’s order, one of his disciples constructed the Govinda temple. Raghunātha Bhaṭṭa Gosvāmī supplied all the ornaments of the Govinda Deity. He never talked of nonsense or worldly matters but always engaged in hearing about Kṛṣṇa twenty-four hours a day. He never cared to hear blasphemy of a Vaiṣṇava. Even when there were points to be criticized, he used to say that since all the Vaiṣṇavas were engaged in the service of the Lord, he did not mind their faults. Later Raghunātha Bhaṭṭa Gosvāmī lived by Rādhā-kuṇḍa in a small cottage. In the Gaura-gaṇoddeśa-dīpikā (185) it is said that Raghunātha Bhaṭṭa Gosvāmī was formerly the gopī named Rāga-mañjarī.
She brought different kinds of golden ornaments, including armlets, necklaces, anklets and bangles for the hands.
There were also tiger nails set in gold, waist decorations of silk and lace, ornaments for the hands and legs, nicely printed silken saris, and a child's garment, also made of silk. Many other riches, including gold and silver coins, were also presented to the child.
From the gifts presented by Sītā Ṭhākurāṇī, Advaita Ācārya's wife, it appears that Advaita Ācārya was at that time a very rich man. Although brāhmaṇas are not the rich men of society, Advaita Ācārya, being the leader of the brāhmaṇas in Śāntipura, was considerably well-to-do. Therefore He presented many ornaments to the baby, Lord Caitanya Mahāprabhu. But Kamalākānta Viśvāsa's asking for three hundred rupees from the King of Jagannātha Purī, Mahārāja Pratāparudra, on the plea that Advaita Ācārya was in debt for that amount, indicates that such a rich man, who could present many valuable ornaments, saris, etc., thought it difficult to repay three hundred rupees. Therefore the value of a rupee at that time was many thousands of times what it is now. At present, no one feels difficulty over a debt of three hundred rupees, nor can an ordinary man accumulate such valuable ornaments to present to a friend's son. Probably the value of three hundred rupees at that time was equal to the present value of thirty thousand rupees.
On the day the mother and son bathed and left the maternity home, Sītā Ṭhākurāṇī gave them all kinds of ornaments and garments and then also honored Jagannātha Miśra. Then Sītā Ṭhākurāṇī, being honored by mother Śacīdevī and Jagannātha Miśra, was greatly happy within her mind, and thus she returned home.
In His childhood the Lord was taken away by two thieves outside His home. The Lord, however, got up on the shoulders of the thieves, and while they were thinking they were safely carrying the child to rob His ornaments, the Lord misled them, and thus instead of going to their own home the thieves came back to the home of Jagannātha Miśra.
In His childhood the Lord was profusely decorated with gold ornaments. Once upon a time, when the Lord was playing outside His house, two thieves passing on the street saw the opportunity to rob Him. Therefore they took Him on their shoulders, pleasing Him by offering Him some sweetmeats. The thieves thought they would carry the child to the forest and then kill Him and take away the ornaments. The Lord, however, expanded His illusory energy upon the thieves, so much so that instead of carrying Him to the forest they came right back in front of His house. When they came before His house they became afraid because everyone from the house of Jagannātha Miśra and all the inhabitants of that quarter were busy searching for the child. Therefore the thieves, thinking it dangerous to remain, went away and left Him. The child was brought within the house and given to mother Śacī, who was in great anxiety, and she became satisfied. This incident is also very elaborately explained in the Ādi-khaṇḍa of Caitanya-bhāgavata, Third Chapter.
Keśava Kāśmīrī first wanted to bluff Śrī Caitanya Mahāprabhu by saying that since He was not an advanced student in literary style, He could not review a verse full of metaphors and literary ornaments. This argument has some basis in fact. Unless one is a medical man he cannot criticize a medical man, and unless one is a lawyer he cannot criticize a lawyer. Therefore Keśava Kāśmīrī first depreciated the Lord's position. Because Śrī Caitanya Mahāprabhu was to the champion a student of grammar, how could He dare criticize a great poet like him? Lord Caitanya, therefore, criticized the poet in a different way. He said that although He was certainly not advanced in a literary career, He had heard from others how to criticize such poetry, and as a śruti-dhara, possessing a complete memory, He could understand the process for such a review.
“My dear sir, in this verse there are five faults and five literary ornaments. I shall state them one after another. Kindly hear Me and then give your judgment.
In the verse beginning with mahattvaṁ gaṅgāyāḥ there are five literary ornaments and five examples of faulty composition. There are two examples of the fault called avimṛṣṭa-vidheyāṁśa and one example each of the faults viruddha-mati, punar-ukti and bhagna-krama.
“Although there are five literary ornaments decorating this verse, the entire verse has been spoiled by these five most faulty presentations.
If there are ten literary ornaments in a verse but even one faulty expression, the entire verse is nullified.
As one's body, although well-decorated with ornaments, is made unfortunate by even one spot of white leprosy, so an entire poem is made useless by a fault, despite alliteration, similes and metaphors.’
Now hear the description of the five literary embellishments. There are two ornaments of sound and three ornaments of meaning.
There is a sound ornament of alliteration in three lines. And in the combination of the words "śrī" and "lakṣmī" there is the ornament of a tinge of redundancy.
In the fourth line the letter "bha" occurs four times. This arrangement of alliteration is a pleasing ornamental use of sounds.
Describing Lakṣmī as possessed of śrī (opulence) offers a difference in meaning with a tinge of repetition. This is the second ornamental use of words.
The use of the words "lakṣmīr iva" ("like Lakṣmī") manifests the ornament of meaning called upamā (analogy). There is also the further ornament of meaning called virodhābhāsa, or a contradictory indication.
The real glory of mother Ganges is that she has grown from the lotus feet of Lord Viṣṇu. Such a hypothesis is another ornament, called anumāna.
As He entered His youth, the Lord decorated Himself with ornaments, dressed Himself in fine cloth, garlanded Himself with flowers and smeared Himself with sandalwood.
One day in the house of Śrīvāsa Ṭhākura, Lord Caitanya Mahāprabhu sat down on the bed of Viṣṇu, and all the devotees worshiped Him with the Vedic mantras of the Puruṣa-sūkta, beginning with sahasra-śīrṣā puruṣaḥ sahasrākṣaḥ sahasra-pāt. This veda-stuti should also be introduced, if possible, for installations of Deities. While bathing the Deity, all the priests and devotees must chant this Puruṣa-sūkta and offer the appropriate paraphernalia for worshiping the Deity, such as flowers, fruits, incense, ārati paraphernalia, naivedya, vastra and ornaments. All the devotees worshiped Lord Caitanya Mahāprabhu in this way, and the Lord remained in ecstasy for seven praharas, or twenty-one hours. He took this opportunity to show the devotees that He is the original Supreme Personality of Godhead, Kṛṣṇa, who is the source of all other incarnations, as confirmed in the Bhagavad-gītā (10.8): ahaṁ sarvasya prabhavo mattaḥ sarvaṁ pravartate. All the different forms of the Supreme Personality of Godhead, or viṣṇu-tattva, emanate from the body of Lord Kṛṣṇa. Lord Caitanya Mahāprabhu exposed all the private desires of the devotees, and thus all of them became fully confident that Lord Caitanya is the Supreme Personality of Godhead.
CC Madhya-lila
If by chance such a moment comes when I can once again see Kṛṣṇa, then I shall worship those seconds, moments and hours with flower garlands and pulp of sandalwood and decorate them with all kinds of jewels and ornaments.
Śrī Caitanya Mahāprabhu did not encourage sannyāsīs to eat very palatable dishes, for the whole Vaiṣṇava cult is vairāgya-vidyā, as renounced as possible. Caitanya Mahāprabhu also advised Raghunātha dāsa Gosvāmī not to eat very palatable dishes, wear very nice garments or talk on mundane subjects. These things are all prohibited for those in the renounced order. A devotee does not accept anything to eat that is not first offered to Kṛṣṇa. All the rich foods offered to Kṛṣṇa are given to the gṛhasthas, the householders. There are many nice things offered to Kṛṣṇa—garlands, bedsteads, nice ornaments, nice food and even nicely prepared pan, betel nuts-but a humble Vaiṣṇava, thinking his body material and nasty, does not accept such preparations for himself. He thinks that by accepting such things he will offend the lotus feet of the Lord. Those who are sahajiyās cannot understand what Śrī Caitanya Mahāprabhu meant when He asked Advaita Ācārya to bring two separate leaves and give a small quantity of the prasādam to Him.
When the Gopāla Deity was installed at Kaṭaka, the Queen of Puruṣottama-deva went to see Him and, with great devotion, presented various kinds of ornaments.
The body of Śrī Caitanya Mahāprabhu was naturally very beautiful. It was like molten gold dressed in saffron cloth. Indeed, He was most beautiful for being ornamented with the ecstatic symptoms, which caused His bodily hair to stand on end, tears to well up in His eyes, and His body to tremble and perspire all over.
“Her beauty is more and more enhanced, being decorated with the red kuṅkuma of beauty itself and the blackish musk of conjugal love. Thus Her body is decorated with different colors. Her ornaments embody the natural symptoms of ecstasy—trembling, tears, jubilation, stunning, perspiration, faltering of the voice, bodily redness, madness and dullness. In this way Her entire body is bedecked with these nine different jewels. Over and above this, the beauty of Her body is enhanced by Her transcendental qualities, which constitute the flower garland hanging on Her body. The ecstasy of love for Kṛṣṇa is known as dhīrā and adhīrā, sober and restless. Such ecstasy constitutes the covering of Śrīmatī Rādhārāṇī’s body, and it is adorned by camphor. Her transcendental anger toward Kṛṣṇa is embodied as the arrangement of the hair on Her head, and the tilaka of Her great fortune shines on Her beautiful forehead. Śrīmatī Rādhārāṇī’s earrings are the holy names of Kṛṣṇa, as well as the hearing of His name and fame. Her lips are always reddish due to the betel nut of ecstatic affection for Kṛṣṇa.
The ornaments decorating Her body are the blazing ecstasies of goodness and the constantly existing ecstasies, headed by jubilation. All these ecstasies are the ornaments all over Her body.
Also ornamenting Her body are the twenty kinds of ecstatic symptoms beginning with kila-kiñcita. Her transcendental qualities constitute the flower garland hanging in fullness over Her body.
Some materialistic sahajiyās who cannot actually understand the pastimes of Rādhā and Kṛṣṇa manufacture their own life-styles without referring to authority. Such sahajiyās are called sakhī-bhekī, and sometimes they are called gaura-nāgarī. They believe that the material body, which is fit to be eaten by jackals and dogs, is enjoyable for Kṛṣṇa. Consequently they artificially decorate the material body to attract Kṛṣṇa, thinking themselves sakhīs. But Kṛṣṇa is never attracted by the artificial grooming of the material body. As far as Śrīmatī Rādhārāṇī and Her gopīs are concerned, their bodies, homes, dresses, ornaments, endeavors and activities are all spiritual. All of these are meant to satisfy the spiritual senses of Kṛṣṇa. Indeed, they are so pleasing and endearing to Kṛṣṇa that He is subjugated by the influence of Śrīmatī Rādhārāṇī and Her friends. They have nothing to do with anything mundane within the fourteen planetary systems of the universe. Although Kṛṣṇa is attractive to everyone, He is nonetheless attracted by the gopīs and Śrīmatī Rādhārāṇī.
"All these pure devotees serve as ornaments to Jagannātha Purī. They are always undeviatingly meditating upon Your lotus feet."
"All the symptoms mentioned in the verse from the Viṣṇu-sahasra-nāma-stotra are visible in the body of Śrī Caitanya Mahāprabhu. His arms are decorated with sandalwood pulp and the thread received from the Śrī Jagannātha Deity, and these are His ornamental bangles."
The prince was dressed in yellow cloth, and there were jeweled ornaments decorating his body. Therefore anyone who saw him would remember Lord Kṛṣṇa.
Lord Jagannātha was garlanded, dressed with nice garments and adorned with beautiful ornaments. His face was glittering from the rays of sunshine, and the entire atmosphere was fragrant.
When a woman is neglected and disappointed, out of egoistic pride she gives up her ornaments and morosely sits down on the ground, marking lines on it with her nails.
As soon as Rādhārāṇī gets a chance to see Kṛṣṇa, Her body is suddenly decorated with various ecstatic ornaments.
“The transcendental ornaments of Śrīmatī Rādhārāṇī’s body include the eight sāttvikas, or transcendental symptoms, the thirty-three vyabhicārī-bhāvas, beginning with harṣa, or jubilation in natural love, and the twenty bhāvas, or ecstatic emotional ornaments.
“When Śrīmatī Rādhārāṇī’s body manifests the ornaments of many ecstatic symptoms, the ocean of Kṛṣṇa's happiness immediately displays transcendental waves.
Now hear a description of different ecstasies, beginning with kila-kiñcita. With these ecstatic ornaments, Śrīmatī Rādhārāṇī enchants the mind of Kṛṣṇa.
Śrī Caitanya Mahāprabhu then asked Svarūpa Dāmodara, "Please speak of the ecstatic ornaments decorating the body of Śrīmatī Rādhārāṇī, by which She enchants the mind of Śrī Govinda."
‘When Śrīmatī Rādhārāṇī saw Lord Kṛṣṇa just before Her, Her progress stopped and She assumed an attitude of opposition. Although Her face was slightly covered by a blue garment, Her two starry eyes were agitated, being wide and curved. Thus She was decorated with the ornaments of vilāsa, and Her beauty increased to give pleasure to Śrī Kṛṣṇa, the Supreme Personality of Godhead.
When there is an awakening of the various ecstatic features on Śrīmatī Rādhārāṇī’s face and in Her eyes that are appropriate to a charming feminine attitude, the lalita ornament is manifest.
When the bodily features are delicate and expertly curved, and when the eyebrows are very beautifully agitated, the ornament of feminine charm, called lalita alaṅkāra, is manifest.’
When Lord Śrī Kṛṣṇa happens to see Śrīmatī Rādhārāṇī decorated with these lalita ornaments, They both eagerly want to meet each other.
"When Śrīmatī Rādhārāṇī was decorated with the ornament of lalita alaṅkāra, just to increase Śrī Kṛṣṇa"s love, an attractive curve was manifested by Her neck, knees and waist. This was brought about by Her timidity and apparent desire to avoid Kṛṣṇa. The flickering movements of Her eyebrows could conquer the powerful bow of Cupid. To increase the joy of Her beloved, Her body was decorated with the ornaments of lalita alaṅkāra.
his ecstatic attitude of Śrīmatī Rādhārāṇī’s is called kuṭṭamita. When this ecstatic ornament is manifested, Rādhārāṇī externally tries to avoid Kṛṣṇa, and She apparently becomes angry, although She is very happy within.
In this way, Śrīmatī Rādhārāṇī is ornamented and decorated with various ecstatic symptoms, which attract the mind of Śrī Kṛṣṇa.
Rāghava Paṇḍita also offers all kinds of pickles, such as kāśamdi. He offers various scents, garments, ornaments and the best of everything.
Śrī Kṛṣṇa-vijaya is a book of poems considered to be the first poetry book written in Bengal. Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura states that this book was begun in the year 1395 Śakābda (A.D. 1473). After seven years, it was completed (in 1402 Śakābda). This book was written in plain language, and even half-educated Bengalis and women could read it very clearly. Even ordinary men with little knowledge of the alphabet could read this book and understand it. Its language is not very ornamental, and sometimes the poetry is not very sweet to hear. Although according to the sonnet style each line should contain fourteen syllables, there are sometimes sixteen, twelve or thirteen syllables in his verse. Many words used in those days could be understood only by local inhabitants, yet this book is still so popular that no bookstore is complete without it. It is very valuable for those who are interested in advancing in Kṛṣṇa consciousness.
""My dear Lord, the garlands, scented substances, garments, ornaments and other such things that have been offered to You may later be used by Your servants. By partaking of these things and eating the remnants of food You have left, we will be able to conquer the illusory energy.""
""For a person devoid of devotional service, birth in a great family or nation, knowledge of the revealed scriptures, performance of austerities and penance, and chanting of Vedic mantras are all like ornaments on a dead body. Such ornaments simply serve the concocted pleasures of the general populace.""
All the cowherd boys had unlimited calves. Similarly, their canes, flutes, lotus flowers, horns, garments and ornaments were all unlimited. They cannot be limited by writing about them.
To exhibit the strength of His own spiritual potency, Lord Kṛṣṇa manifested a form just suitable for His pastimes in the material world. This form was wonderful even for Him and was the supreme abode of the wealth of good fortune. Its limbs were so beautiful that they increased the beauty of the ornaments worn on different parts of His body.’
Ornaments caress that body, but the transcendental body of Kṛṣṇa is so beautiful that it beautifies the ornaments He wears. Therefore Kṛṣṇa's body is said to be the ornament of ornaments. Enhancing the wonderful beauty of Kṛṣṇa is His three-curved style of standing. Above all these beautiful features, Kṛṣṇa's eyes dance and move obliquely, acting like arrows to pierce the minds of Śrīmatī Rādhārāṇī and the gopīs. When the arrow succeeds in hitting its target, their minds become agitated.
The five ingredients for Deity worship are (1) very good scents, (2) very good flowers, (3) incense, (4) a lamp and (5) something edible. As for ṣoḍaśopacāra, the sixteen ingredients, one should (1) provide a sitting place (āsana), (2) ask Kṛṣṇa to sit down, (3) offer arghya, (4) offer water to wash the legs, (5) wash the mouth, (6) offer madhu-parka, (7) offer water for washing the mouth, (8) bathe the Lord, (9) offer garments, (10) decorate the Lord's body with ornaments, (11) offer sweet scents, (12) offer flowers with good fragrance, like the rose or campaka, (13) offer incense, (14) offer a lamp, (15) give good food, and (16) offer prayers.
(22) One should dry the entire body of the Lord with a towel. (23) A new dress should be put on the Lord's body. (24) A sacred thread should be placed on His body. (25) Water should be offered for cleansing His mouth (ācamana). (26) Nicely scented oils like liquid sandalwood pulp should be smeared over the Lord's body. (27) All kinds of ornaments and crowns should be placed on His body. (28) Then one should offer flower garlands and decorative flowers. (29) One should burn incense. (30) Lamps should be offered. (31) Precautions should always be taken so that demons and atheists cannot harm the body of the Lord. (32) Food offerings should be placed before the Lord. (33) Spices for chewing should be offered. (34) Betel nuts should be offered. (35) At the proper time, there should be arrangements so that the Lord may take rest in bed. (36) The Lord's hair should be combed and decorated. (37) First-class garments should be offered. (38) A first-class helmet should be offered. (39) The garments should be scented. (40) There should be Kaustubha jewels and other ornaments offered. (41) A variety of flowers should be offered. (42) Another maṅgala-ārati should be offered.
With all humility, I submit myself to the lotus feet of all of you devotees, taking the dust from your feet as my bodily ornaments. Now, my dear devotees, please hear one thing more from me.
CC Antya-lila
"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."
"The beauty of Kṛṣṇa"s eyes surpasses the beauty of white lotus flowers, His yellow garments surpass the brilliance of fresh decorations of kuṅkuma, His ornaments of selected forest flowers subdue the hankering for the best of garments, and His bodily beauty possesses mind-attracting splendor greater than the jewels known as marakata-maṇi (emeralds).’
"Śrīmatī Rādhārāṇī is the Ganges in which the elephant of My mind enjoys pastimes. She is the shining of the full autumn moon for the cakora birds of My eyes. She is the dazzling ornament, the bright and beautiful arrangement of stars, on the border of the sky of My chest. Now today I have gained Śrīmatī Rādhārāṇī because of the highly elevated state of My mind."
Śrī Caitanya Mahāprabhu praised the metaphors and other literary ornaments of Śrīla Rūpa Gosvāmī’s transcendental poetry. Without such poetic attributes, He said, there is no possibility of preaching transcendental mellows.
The scent of her body perfumed all directions, and the tinkling of her ornaments startled the ear.
My dear Sanātana, although you are the deliverer of the entire universe and although even the demigods and great saints are purified by touching you, it is the characteristic of a devotee to observe and protect the Vaiṣṇava etiquette. Maintenance of the Vaiṣṇava etiquette is the ornament of a devotee.
He personally bathes and dresses them and decorates them with ornaments. In this way, he naturally sees and touches the private parts of their bodies.
A poet who does not know the grammatical regulative principles, who is unfamiliar with metaphorical ornaments, especially those employed in drama, and who does not know how to present the pastimes of Lord Kṛṣṇa is condemned. Moreover, the pastimes of Śrī Caitanya Mahāprabhu are especially difficult to understand.
Subsequently Raghunātha Bhaṭṭa ordered his disciples to construct a temple for Govinda. He prepared various ornaments for Govinda, including a flute and shark-shaped earrings.
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."
On Kṛṣṇa's chest are the ornaments of the Śrīvatsa marks, indicating the residence of the goddess of fortune. His chest, which is as broad as a plunderer's, attracts thousands upon thousands of damsels of Vraja, conquering their minds and breasts by force. Thus they all become maidservants of the Supreme Personality of Godhead.
"Lord Śrī Kṛṣṇa is just like a bluish lotus flower for the ears; He is ointment for the eyes, a necklace of indranīla gems for the chest, and universal ornaments for the gopī damsels of Vṛndāvana. Let that Lord Śrī Hari, Kṛṣṇa, be glorified."
“I entered the bower just behind Kṛṣṇa, My ears captivated by the sound of His ornaments.
Because you brought Me back here, I could no longer hear the nectarean voices of Kṛṣṇa and the gopīs, nor could I hear the sounds of their ornaments or the flute.
"The nectarean buttermilk of Your flute"s vibration, the nectar of Your sweet words and the nectarean sound of Your ornaments mix together to attract our ears, minds and lives. In this way You are killing us.
Śrī Caitanya Mahāprabhu continued, “‘My dear friend, the Supreme Personality of Godhead, Kṛṣṇa, has a voice as deep as a cloud resounding in the sky. With the tinkling of His ornaments He attracts the ears of the gopīs, and with the sound of His flute He attracts even the goddess of fortune and other beautiful women. That Personality of Godhead, known as Madana-mohana, whose joking words carry many indications and deep meanings, is increasing the lusty desires of My ears.
All the gopīs entrusted their silken garments and ornaments to the care of their friends and then put on fine white cloth. Lord Kṛṣṇa, taking His beloved gopīs with Him, bathed and performed very nice pastimes in the water of the Yamunā.
Śrī Caitanya Mahāprabhu continued, “In His pastimes, Kṛṣṇa displayed the two ornaments of hyperbole and reverse analogy. Tasting them brought gladness to My mind and fully satisfied My ears and eyes.
Then they all bathed again, and after putting on dry clothing, they went to a small jeweled house, where the gopī Vṛndā arranged to dress them in forest clothing by decorating them with fragrant flowers, green leaves and all kinds of other ornaments.
| Page Title: | Ornaments (CC) |
| Compiler: | Visnu Murti, Mayapur |
| Created: | 11 of Mar, 2012 |
| Totals by Section: | BG=0, SB=0, CC=80, OB=0, Lec=0, Con=0, Let=0 |
| No. of Quotes: | 80 |