Shower of nectar

Expressions researched:
"shower of nectar" |"shower of the nectar" |"shower rains of nectar" |"showering nectar" |"showers of delicious nectar" |"showers of nectar"

SB Canto 6

Accompanied by the stringed instrument, the singing seems like a shower of nectar, and all the devotees dance in ecstasy to the fullest extent of their satisfaction.

SB 6.5.22, Purport:

The purport of this song is that Nārada Muni, the great soul, plays a stringed instrument called a vīṇā, vibrating the sound rādhikā-ramaṇa, which is another name for Kṛṣṇa. As soon as he strokes the strings, all the devotees begin responding, making a very beautiful vibration. Accompanied by the stringed instrument, the singing seems like a shower of nectar, and all the devotees dance in ecstasy to the fullest extent of their satisfaction. While dancing, they appear madly intoxicated with ecstasy, as if drinking the beverage called mādhurī-pūra. Some of them cry, some of them dance, and some of them, although unable to dance publicly, dance within their hearts. Lord Śiva embraces Nārada Muni and begins talking in an ecstatic voice, and seeing Lord Śiva dancing with Nārada, Lord Brahmā also joins, saying, "All of you kindly chant 'Hari bol! Hari bol!' " The King of heaven, Indra, also gradually joins with great satisfaction and begins dancing and chanting "Hari bol! Hari bol!" In this way, by the influence of the transcendental vibration of the holy name of God, the whole universe becomes ecstatic.

SB Cantos 10.14 to 12 (Translations Only)

SB 11.19.9, Translation:

My dear Lord, for one who is being tormented on the terrible path of birth and death and is constantly overwhelmed by the threefold miseries, I do not see any possible shelter other than Your two lotus feet, which are just like a refreshing umbrella that pours down showers of delicious nectar.

CC Madhya-lila

CC Madhya 4.5, Translation:

By nature all the activities of Śrī Caitanya Mahāprabhu are very wonderful and sweet, and when they are described by Vṛndāvana dāsa Ṭhākura, they become like a shower of nectar.

CC Madhya 8.167, Translation:

“Śrīmatī Rādhārāṇī takes Her first bath in the shower of the nectar of compassion, and She takes Her second bath in the nectar of youth."

CC Madhya 25.58, Translation:

"The words of Śrī Caitanya Mahāprabhu are a shower of nectar. Whatever He concludes to be the ultimate truth is indeed the summum bonum of all spiritual knowledge."

CC Antya-lila

CC Antya 1.172, Translation:

Having heard these verses recited by Rūpa Gosvāmī, Śrīla Rāmānanda Rāya said, "Your poetic expressions are like continuous showers of nectar. Kindly let me hear the introductory portion of the second drama."

CC Antya 1.193, Translation:

Śrīla Rāmānanda Rāya said, “This is not a poetic presentation; it is a continuous shower of nectar. Indeed, it is the essence of all ultimate realizations, appearing in the form of plays."

CC Antya 15.68, Translation:

"The cloud of Kṛṣṇa's pastimes is drenching the fourteen worlds with a shower of nectar. Unfortunately, when that cloud appeared, a whirlwind arose and blew it away from Me. Being unable to see the cloud, the cātaka bird of My eyes is almost dead from thirst."

CC Antya 19.42, Translation:

“The deep vibration of Kṛṣṇa's flute surpasses the thundering of new clouds and attracts the aural reception of the entire world. Thus the inhabitants of Vṛndāvana rise and pursue that sound, drinking the showering nectar of Kṛṣṇa's bodily luster like thirsty cātaka birds."

Krsna, The Supreme Personality of Godhead

Her smiling mouth and her necklace of gold all combined to shower rains of nectar, and thus it was definitely proved that Rukmiṇī was none other than the original goddess of fortune.

Krsna Book 60:

Rukmiṇī was very eager to get the opportunity to serve her husband, the Supreme Personality of Godhead. She therefore wanted to serve the Lord personally and took the handle of the cāmara from the hand of a maidservant and began to move the fan. The handle of the cāmara was made of gold and bedecked with valuable jewels, and it became more beautiful when taken by Rukmiṇī because all of her fingers were beautifully set with jeweled rings. Her legs were decorated with jeweled ankle bells, which rang very softly between the pleats of her sari. Rukmiṇī’s raised breasts were smeared with kuṅkuma and saffron; thus her beauty was enhanced by the reflection of the reddish color emanating from her covered breasts. Her high hips were decorated with a jeweled lace girdle, and a locket of great effulgence hung on her neck. Above all, because she was engaged in the service of Lord Kṛṣṇa—although at that time she was old enough to have grown-up sons—her beautiful body was beyond compare in the three worlds. When we take account of her beautiful face, it appears that the curling hair on her head, the beautiful earrings on her ears, her smiling mouth and her necklace of gold all combined to shower rains of nectar, and thus it was definitely proved that Rukmiṇī was none other than the original goddess of fortune, who is always engaged in the service of the lotus feet of Nārāyaṇa.