To learn how Kṛṣṇa enjoys pleasure, we must study the first nine cantos of Śrīmad-Bhāgavatam, and then we should study the Tenth Canto, in which Kṛṣṇa's pleasure potency is displayed in His pastimes with Rādhārāṇī and the damsels of Vraja. Unfortunately, unintelligent people turn at once to the sports of Kṛṣṇa in the Daśama-skandha, the Tenth Canto. Kṛṣṇa's embracing Rādhārāṇī or His dancing with the cowherd girls in the rāsa dance are generally not understood by ordinary men, because they consider these pastimes in the light of mundane lust. They foolishly think that Kṛṣṇa is like themselves and that He embraces the gopīs just as an ordinary man embraces a young girl. Some people thus become interested in Kṛṣṇa because they think that His religion allows indulgence in sex. This is not kṛṣṇa-bhakti, love of Kṛṣṇa, but prākṛta-sahajiyā—materialistic lust.
Dancing (CC - Adi-lila)
Expressions researched:
"dance"
|"danced"
|"dances"
|"dancing"
Sri Caitanya-caritamrta
CC Preface and Introduction
To learn how Kṛṣṇa enjoys pleasure, we must study the first nine cantos of Śrīmad-Bhāgavatam, and then we should study the Tenth Canto, in which Kṛṣṇa's pleasure potency is displayed in His pastimes with Rādhārāṇī and the damsels of Vraja. Unfortunately, unintelligent people turn at once to the sports of Kṛṣṇa in the Daśama-skandha, the Tenth Canto. Kṛṣṇa's embracing Rādhārāṇī or His dancing with the cowherd girls in the rāsa dance are generally not understood by ordinary men, because they consider these pastimes in the light of mundane lust. They foolishly think that Kṛṣṇa is like themselves and that He embraces the gopīs just as an ordinary man embraces a young girl. Some people thus become interested in Kṛṣṇa because they think that His religion allows indulgence in sex. This is not kṛṣṇa-bhakti, love of Kṛṣṇa, but prākṛta-sahajiyā—materialistic lust.
There Kṛṣṇa's dear gopī friends serve Rādhā and Kṛṣṇa by singing, dancing, offering betel nuts and refreshments, and decorating Their Lordships with flowers. 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 Vṛndāvana to offer their respects to the Deities there.
Finally Kṛṣṇadāsa Kavirāja Gosvāmī offers his blessings to his readers in the name of the Gopīnātha Deity, who is Kṛṣṇa as master and proprietor of the gopīs. When Kṛṣṇa played upon His flute, all the gopīs, or cowherd girls, were attracted by the sound and left their household duties, and when they came to Him, He danced with them. These activities are all described in the Tenth Canto of Śrīmad-Bhāgavatam. These gopīs were childhood friends of Kṛṣṇa, and many were married, for in India the girls are generally married by the age of twelve. The boys, however, are not married before eighteen, so Kṛṣṇa, who was fifteen or sixteen at the time, was not married. Nonetheless, He called these girls from their homes and invited them to dance with Him. That dance is called the rāsa-līlā dance, and it is the most elevated of all the Vṛndāvana pastimes. Kṛṣṇa is therefore called Gopīnātha because He is the beloved master of the gopīs.
CC Adi-lila
Śrī Śrīla Gopīnātha, who originated the transcendental mellow of the rāsa dance, stands on the shore in Vaṁśīvaṭa and attracts the attention of the cowherd damsels with the sound of His celebrated flute. May they all confer upon us their benediction.
The Supreme Lord expands His personal forms in two primary categories. The prakāśa forms are manifested by Lord Kṛṣṇa for His pastimes, and their features are exactly like His. When Lord Kṛṣṇa married sixteen thousand queens in Dvārakā, He did so in sixteen thousand prakāśa expansions. Similarly, during the rāsa dance He expanded Himself in identical prakāśa forms to dance beside each and every gopī simultaneously. When the Lord manifests His vilāsa expansions, however, they are all somewhat different in their bodily features. Lord Balarāma is the first vilāsa expansion of Lord Kṛṣṇa, and the four-handed Nārāyaṇa forms in Vaikuṇṭha expand from Balarāma. There is no difference between the bodily forms of Śrī Kṛṣṇa and Balarāma except that Their bodily colors are different. Similarly, Śrī Nārāyaṇa in Vaikuṇṭha has four hands, whereas Kṛṣṇa has only two. The expansions of the Lord who manifest such bodily differences are known as vilāsa-vigrahas.
When the Personality of Godhead expands Himself in many forms, all nondifferent in Their features, as Lord Kṛṣṇa did when He married sixteen thousand queens and when He performed His rāsa dance, such forms of the Lord are called manifested forms (prakāśa-vigrahas).
"When Lord Kṛṣṇa, surrounded by groups of cowherd girls, began the festivities of the rāsa dance, the Lord of all mystic powers placed Himself between each two girls."
“When the cowherd girls and Kṛṣṇa thus joined together, each girl thought that Kṛṣṇa was dearly embracing her alone. To behold this wonderful pastime of the Lord's, the denizens of heaven and their wives, all very eager to see the dance, flew in the sky in their hundreds of airplanes. They showered flowers and beat sweetly on drums.”
He is decorated with sandalwood bangles and armlets and anointed with the pulp of sandalwood. He especially wears these decorations to dance in śrī-kṛṣṇa-saṅkīrtana.
Materialistic conditioned souls do not understand the transcendental exchanges of love, but they like to indulge in sense gratification in the name of devotional service. The activities of the Supreme Lord can never be understood by irresponsible persons who think the pastimes of Rādhā and Kṛṣṇa to be ordinary affairs. The rāsa dance is arranged by Kṛṣṇa's internal potency yogamāyā, and it is beyond the grasp of the materially affected person. Trying to throw mud into transcendence with their perversity, the sahajiyās misinterpret the sayings tat-paratvena nirmalam (CC Madhya 19.170) and tat-paro bhavet. By misinterpreting tādṛśīḥ krīḍāḥ, they want to indulge in sex while pretending to imitate Lord Kṛṣṇa. But one must actually understand the imports of the words through the intelligence of the authorized gosvāmīs.
Among them are various groups of consorts in Vraja who have varieties of sentiments and mellows. They help Lord Kṛṣṇa taste all the sweetness of the rāsa dance and other pastimes.
As expansions of Her personal form and transcendental disposition, they are agents of different reciprocations of love in the pastimes of Lord Kṛṣṇa, under the supreme direction of Śrīmatī Rādhārāṇī. In the transcendental realm, enjoyment is fully relished in variety. The exuberance of transcendental mellows is increased by the association of a large number of personalities similar to Rādhārāṇī, who are also known as gopīs or sakhīs. The variety of innumerable mistresses is a source of relish for Śrī Kṛṣṇa, and therefore these expansions from Śrīmatī Rādhārāṇī are necessary for enhancing the pleasure potency of Śrī Kṛṣṇa. Their transcendental exchanges of love are the superexcellent affairs of the pastimes in Vṛndāvana. By these expansions of Śrīmatī Rādhārāṇī’s personal body, She helps Lord Kṛṣṇa taste the rāsa dance and other, similar activities. Śrīmatī Rādhārāṇī, being the central petal of the rāsa-līlā flower, is also known by the names found in the following verses.
In youth He tasted the essence of rasa, fulfilling His desires in pastimes like the rāsa dance with Śrīmatī Rādhikā and the other gopīs.
In His youth Lord Kṛṣṇa made all three of His ages, and the entire universe, successful by His pastimes of amorous love like the rāsa dance.
"The love of Rādhikā is My teacher, and I am Her dancing pupil. Her prema makes Me dance various novel dances."
"O my beloved friend Vṛndā, where are you coming from?"
"I am coming from the feet of Śrī Hari."
"Where is He?"
"In the forest on the bank of Rādhā-kuṇḍa."
"What is He doing there?"
"He is learning dancing."
"Who is His master?"
"Your image, Rādhā, revealing itself in every tree and creeper in every direction, is roaming like a skillful dancer, making Him dance behind."
“I worship Lord Keśava. Coming back from the forest of Vraja, He is worshiped by the gopīs, who mount the roofs of their palaces and meet Him on the path with a hundred manners of dancing glances and gentle smiles. The corners of His eyes wander, like large black bees, around the gopīs' breasts.”
"Lord Kṛṣṇa, the enemy of Kaṁsa, left aside the other gopīs during the rāsa dance and took Śrīmatī Rādhārāṇī to His heart, for She is the helper of the Lord in realizing the essence of His desires."
Lord Kṛṣṇa alone is the supreme controller, and all others are His servants. They dance as He makes them do so.
After saying this, he danced and sang to his heart's content, but the brāhmaṇa did not become angry, for he was then serving Lord Kṛṣṇa.
Some of them played horns and flutes, and others danced and sang. Some of them offered betel nuts, and others waved cāmara fans about Him.
Lord Madana Gopāla, the chief Deity of Vṛndāvana, is the enjoyer of the rāsa dance and is directly the son of the King of Vraja.
He enjoys the rāsa dance with Śrīmatī Rādhārāṇī, Śrī Lalitā and others. He manifests Himself as the Cupid of Cupids.
Thus they dance, sing and laugh like madmen, and they instruct everyone, "Just be loving servants of Lord Caitanya."
This verse in connection with the rāsa dance of Kṛṣṇa with the gopīs is quoted from Śrīmad-Bhāgavatam (10.31.6). When Kṛṣṇa disappeared from His companions in the course of dancing, the gopīs sang like this in separation from Kṛṣṇa.
This verse is quoted from Śrīmad-Bhāgavatam (10.30.39). When the rāsa dance was going on in full swing, Kṛṣṇa left all the gopīs and took only Śrīmatī Rādhārāṇī with Him. At that time all the gopīs lamented, and Śrīmatī Rādhārāṇī, being proud of Her position, requested Kṛṣṇa to carry Her wherever He liked. Then Kṛṣṇa immediately disappeared from the scene, and Śrīmatī Rādhārāṇī began to lament.
Intoxicated by ecstatic love for Lord Kṛṣṇa, he becomes overwhelmed and incessantly dances without clothing and sings about Lord Kṛṣṇa's qualities and pastimes.
Saying this, Advaita Prabhu dances and loudly sings. Then at the next moment He quietly sits down.
Lord Śrī Kṛṣṇa, the Supreme Personality of Godhead, is the supreme enjoyer in the rāsa dance. He is the leader of the damsels of Vraja, and all others are simply His associates.
The word rāsādi-vilāsī ("the enjoyer of the rāsa dance") is very important. The rāsa dance can be enjoyed only by Śrī Kṛṣṇa because He is the supreme leader and chief of the damsels of Vṛndāvana. All others are His devotees and associates. Although no one can compare with Śrī Kṛṣṇa, the Supreme Personality of Godhead, there are many unscrupulous rascals who imitate the rāsa dance of Śrī Kṛṣṇa. They are Māyāvādīs, and people should be wary of them. The rāsa dance can be performed only by Śrī Kṛṣṇa and no one else.
“Meditation and the study of Vedānta are the sole duties of a sannyāsī. Why do You abandon these to dance with fanatics?
In this connection Bhaktisiddhānta Sarasvatī Gosvāmī says that sometimes persons who have no love of Godhead at all display ecstatic bodily symptoms. Artificially they sometimes laugh, cry and dance just like madmen, but this cannot help one progress in Kṛṣṇa consciousness. Rather, such artificial agitation of the body is to be given up when one naturally develops the necessary bodily symptoms. Actual blissful life, manifested in genuine spiritual laughing, crying and dancing, is the symptom of real advancement in Kṛṣṇa consciousness, which can be achieved by a person who always voluntarily engages in the transcendental loving service of the Lord. If one who is not yet developed imitates such symptoms artificially, he creates chaos in the spiritual life of human society.
This indicates that he has not yet reached complete perfection in devotional life. In other words, a devotee who dances in ecstasy but after dancing and crying appears to be attracted to material affairs has not yet reached the perfection of devotional service, which is called āśaya-śuddhi, or the perfection of existence. One who attains the perfection of existence is completely averse to material enjoyment and engrossed in transcendental love of Godhead. It is therefore to be concluded that the ecstatic symptoms of āśaya-śuddhi are visible when a devotee's service has no material cause and is purely spiritual in nature.
Impersonalist Māyāvādīs always try to defy Vaiṣṇavas because Vaiṣṇavas accept the Supreme Personality as the supreme cause and want to serve Him, talk with Him and see Him, just as the Lord is also eager to see His devotees and talk, eat and dance with them. These personal exchanges of love do not appeal to the Māyāvādī sannyāsīs. Therefore the original purpose of the Māyāvādī sannyāsīs of Benares in meeting Caitanya Mahāprabhu was to defeat His personal conception of God. Śrī Caitanya Mahāprabhu, however, as a preacher, turned the minds of the Māyāvādī sannyāsīs. They were melted by the sweet words of Śrī Caitanya Mahāprabhu and thus became friendly and spoke to Him also in sweet words. Similarly, all preachers will have to meet opponents, but they should not make them more inimical. They are already enemies, and if we talk with them harshly or impolitely their enmity will merely increase. We should therefore follow in the footsteps of Lord Caitanya Mahāprabhu as far as possible and try to convince the opposition by quoting from the śāstras and presenting the conclusion of the ācāryas. It is in this way that we should try to defeat all the enemies of the Lord.
I offer my respects to the Supreme Personality of Godhead, Śrī Caitanya Mahāprabhu, by whose desire I have become like a dancing dog and suddenly taken to the writing of Śrī Caitanya-caritāmṛta, although I am a fool.
As a wooden doll is made to dance by a magician, I write as Madana-gopāla orders me to do so.
Persons who had formerly criticized Lord Caitanya Mahāprabhu, calling Him a drunkard, also ate the fruit and began to dance, saying, "Very good! Very good!"
Vakreśvara Paṇḍita, the fifth branch of the tree, was a very dear servant of Lord Caitanya's. He could dance with constant ecstasy for seventy-two hours.
In the Gaura-gaṇoddeśa-dīpikā (71) it is stated that Vakreśvara Paṇḍita was an incarnation of Aniruddha, one of the quadruple expansions of Viṣṇu (Vāsudeva, Saṅkarṣaṇa, Aniruddha and Pradyumna). He could dance wonderfully for seventy-two continuous hours. When Lord Caitanya Mahāprabhu played in dramatic performances in the house of Śrīvāsa Paṇḍita, Vakreśvara Paṇḍita was one of the chief dancers, and he danced continuously for that length of time. Śrī Govinda dāsa, an Oriyā devotee of Lord Caitanya Mahāprabhu, has described the life of Vakreśvara Paṇḍita in his book Gaura-kṛṣṇodaya. There are many disciples of Vakreśvara Paṇḍita in Orissa, and they are known as Gauḍīya Vaiṣṇavas although they are Oriyās. Among these disciples are Śrī Gopālaguru and his disciple Śrī Dhyānacandra Gosvāmī.
Śrī Caitanya Mahāprabhu personally sang while Vakreśvara Paṇḍita danced, and thus Vakreśvara Paṇḍita fell at the lotus feet of the Lord and spoke as follows.
O Candramukha! Please give me ten thousand Gandharvas. Let them sing as I dance, and then I will be greatly happy.”
The Gandharvas, who are residents of Gandharvaloka, are celebrated as celestial singers. Whenever singing is needed in the celestial planets, the Gandharvas are invited to sing. The Gandharvas can sing continuously for days, and therefore Vakreśvara Paṇḍita wanted to dance as they sang.
The fifteenth branch was Śrīmān Paṇḍita, who was a constant servitor of Lord Caitanya Mahāprabhu. He used to carry a torch while the Lord danced.
Śrīmān Paṇḍita was among the companions of Lord Caitanya Mahāprabhu when the Lord performed saṅkīrtana. When Lord Caitanya dressed Himself in the form of the goddess Lakṣmī and danced in the streets of Navadvīpa, Śrīmān Paṇḍita carried a torch to light the way.
Mukunda Datta, a class friend of Lord Caitanya's, was another branch of the Caitanya tree. Lord Caitanya danced while he sang.
It was by his endeavor that Gadādhara Paṇḍita Gosvāmī became a disciple of Puṇḍarīka Vidyānidhi, as stated in Śrī Caitanya-bhāgavata, Madhya-khaṇḍa, Chapter Seven. When Mukunda Datta sang in the courtyard of Śrīvāsa Prabhu, Mahāprabhu danced with His singing, and when Lord Caitanya for twenty-one hours exhibited an ecstatic manifestation known as sāta-prahariyā, Mukunda Datta inaugurated the function by singing.
Sometimes Lord Caitanya Mahāprabhu chastised Mukunda Datta by calling him khaḍajāṭhiyā beṭā because he attended many functions held by different classes of nondevotees. This is stated in the Caitanya-bhāgavata, Madhya-khaṇḍa, Chapter Ten. When Lord Caitanya Mahāprabhu dressed Himself as the goddess of fortune to dance in the house of Candraśekhara, Mukunda Datta began the first song.
After the passing away of Haridāsa Ṭhākura, the Lord Himself took his body on His lap and danced with it in great ecstasy.
Śrīdhara was a poor brāhmaṇa who made a living by selling banana-tree bark to be made into cups. Most probably he had a banana-tree garden and collected the leaves, skin and pulp of the banana trees to sell daily in the market. He spent fifty percent of his income to worship the Ganges, and the balance he used for his subsistence. When Śrī Caitanya Mahāprabhu started His civil disobedience movement in defiance of the Kazi, Śrīdhara danced in jubilation. The Lord used to drink water from his water jug. Śrīdhara presented a squash to Śacīdevī to cook before Lord Caitanya took sannyāsa. Every year he went to see Lord Caitanya Mahāprabhu at Jagannātha Purī. According to Kavi-karṇapūra, Śrīdhara was a cowherd boy of Vṛndāvana whose name was Kusumāsava.
Śrī Caitanya Mahāprabhu taught His principles through four chief followers. Among them, Rāmānanda Rāya is exceptional, for through him the Lord taught how a devotee can completely vanquish the power of Cupid. By Cupid's power, as soon as one sees a beautiful woman he is conquered by her beauty. Śrī Rāmānanda Rāya, however, vanquished Cupid's pride. Indeed, while rehearsing the Jagannātha-vallabha-nāṭaka he personally directed extremely beautiful young girls in dancing, but he was never affected by their youthful beauty. Śrī Rāmānanda Rāya personally bathed these girls, touching them and washing them with his own hands, yet he remained calm and passionless, as a great devotee should be. Lord Caitanya Mahāprabhu certified that this was possible only for Rāmānanda Rāya.
Śubhānanda, who formerly lived in Vṛndāvana as Mālatī, was one of the kīrtana performers who danced in front of the Ratha-yātrā car during the Jagannātha festival. It is said that he ate the foam that came out of the mouth of the Lord while He danced before the Ratha-yātrā car. Īśāna was the personal servant of Śrīmatī Śacīdevī, who showered her great mercy upon him. He was also very dear to Lord Caitanya Mahāprabhu.
The three brothers Govinda, Mādhava and Vāsudeva were the eighty-second, eighty-third and eighty-fourth branches of the tree. Lord Caitanya and Nityānanda used to dance in their kīrtana performances.
The three brothers Govinda, Mādhava and Vāsudeva Ghoṣa all belonged to a kāyastha family. Govinda established the Gopīnātha temple in Agradvīpa, where he resided. Mādhava Ghoṣa was expert in performing kīrtana. No one within this world could compete with him. He was known as the singer of Vṛndāvana and was very dear to Śrī Nityānanda Prabhu. It is said that when the three brothers performed saṅkīrtana, immediately Lord Caitanya and Nityānanda would dance in ecstasy. According to the Gaura-gaṇoddeśa-dīpikā (188), the three brothers were formerly Kalāvatī, Rasollāsā and Guṇatuṅgā, who recited the songs composed by Śrī Viśākhā-gopī. The three brothers were among one of the seven parties that performed kīrtana when Lord Śrī Caitanya Mahāprabhu attended the Ratha-yātrā festival at Jagannātha Purī. Vakreśvara Paṇḍita was the chief dancer in their party. This is vividly described in the Madhya-līlā, Chapter Thirteen, verses 42 and 43.
Śrī Mādhava Ghoṣa was a principal performer of kīrtana. While he sang, Nityānanda Prabhu danced.
Paṇḍita Purandara met Śrī Nityānanda Prabhu at Khaḍadaha. When Nityānanda Prabhu visited this village, He danced very uncommonly, and His dancing captivated Purandara Paṇḍita. The paṇḍita was in the top of a tree, and upon seeing the dancing of Nityānanda he jumped down on the ground and proclaimed himself to be Aṅgada, one of the devotees in the camp of Hanumān during the pastimes of Lord Rāmacandra.
Maheśa Paṇḍita, the seventh of the twelve gopālas, was very liberal. In great love of Kṛṣṇa he danced to the beating of a kettledrum like a madman.
Yadunātha Kavicandra was a great devotee. Lord Nityānanda Prabhu always danced in his heart.
The Caitanya-caritāmṛta, Ādi-līlā, Chapter Ten, states that Acyutānanda, the son of Advaita Ācārya, lived in Jagannātha Purī, taking shelter of Lord Caitanya Mahāprabhu. Gadādhara Paṇḍita, in the last years of his life, also lived with Lord Caitanya Mahāprabhu at Jagannātha Purī. There is no doubt, therefore, that Acyutānanda was a disciple of Paṇḍita Gadādhara. In the accounts of Lord Caitanya Mahāprabhu's dancing in front of the car during the Ratha-yātrā festival, Acyutānanda's name is to be found many times. It is stated that in the party of Advaita Ācārya from Śāntipura, Acyutānanda was dancing and others were singing. At that time the boy was only six years old. Text 87 of the Gaura-gaṇoddeśa-dīpikā, compiled by Śrī Kavi-karṇapūra, describes Acyutānanda as a disciple of Gadādhara Paṇḍita and a great and dear devotee of Lord Caitanya Mahāprabhu.
When Lord Caitanya personally cleansed the Guṇḍicā-mandira in Jagannātha Purī, Gopāla danced in front of the Lord with great love and happiness.
While all of them danced, Gopāla, dancing and dancing, fainted and fell to the ground unconscious.
When Lord Caitanya Mahāprabhu came to know of this, He punished Mukunda, forbidding him to see Him again. Although Caitanya Mahāprabhu was soft like a flower, He was also strict like a thunderbolt, and everyone was afraid to allow Mukunda to come again into the presence of Śrī Caitanya Mahāprabhu. Mukunda, therefore, being very sorry, asked his friends whether he would one day be allowed to see Lord Caitanya Mahāprabhu. When the devotees brought this inquiry to Lord Caitanya, the Lord replied, "Mukunda will get permission to see Me after many millions of years." When they gave this information to Mukunda, he danced with jubilation, and when Lord Caitanya Mahāprabhu heard that Mukunda was so patiently waiting to meet Him after millions of years, He immediately asked him to return. There is a statement about this punishment of Mukunda in the Caitanya-bhāgavata, Madhya-khaṇḍa, Tenth Chapter.
Just prior to His youthful life, He began the saṅkīrtana movement. Day and night He used to dance in ecstasy with His devotees.
Jayadeva was born during the reign of Mahārāja Lakṣmaṇa Sena of Bengal, in the eleventh or twelfth century of the Śaka Era. His father was Bhojadeva, and his mother was Vāmādevī. For many years he lived in Navadvīpa, then the capital of Bengal. His birthplace was in the Birbhum district, in the village Kendubilva. In the opinion of some authorities, however, he was born in Orissa, and still others say that he was born in southern India. He passed the last days of his life in Jagannātha Purī. One of his famous books is Gīta-govinda, which is full of transcendental mellow feelings of separation from Kṛṣṇa. The gopīs felt separation from Kṛṣṇa before the rāsa dance, as mentioned in Śrīmad-Bhāgavatam, and the Gīta-govinda expresses such feelings. There are many commentaries on the Gīta-govinda by many Vaiṣṇavas.
While all the ladies vibrated the holy name of Hari on earth, in the heavenly planets dancing and music were going on, for the demigods were very curious.
It is understood that Advaita Prabhu, at that time, was in His own paternal house at Śāntipura. Haridāsa Ṭhākura frequently used to meet Him. Coincidentally, therefore, he was also there, and upon the birth of Śrī Caitanya Mahāprabhu both of them immediately began to dance. But no one in Śāntipura could understand why those two saintly persons were dancing.
When he saw that the whole world was jubilant, Haridāsa Ṭhākura, his mind astonished, directly and indirectly expressed himself to Advaita Ācārya: "Your dancing and distributing charity are very pleasing to me. I can understand that there is some special purpose in these actions."
In this way all the devotees, wherever they were situated, in every city and every country, danced, performed saṅkīrtana and gave charity by mental strength on the plea of the lunar eclipse, their minds overwhelmed with joy.
Dressing themselves as the wives of brāhmaṇas, all the celestial ladies, including the wives of Lord Brahmā, Lord Śiva, Lord Nṛsiṁha-deva, King Indra and Vasiṣṭha Ṛṣi, along with Rambhā, a dancing girl of heaven, came there with varieties of gifts.
In outer space all the demigods, including the inhabitants of Gandharvaloka, Siddhaloka and Cāraṇaloka, offered their prayers and danced to the accompaniment of music, songs and the beating of drums. Similarly, in Navadvīpa city all the professional dancers, musicians and blessers gathered together, dancing in great jubilation.
No one could understand who was coming and who was going, who was dancing and who was singing. Nor could they understand one another's language. Yet all unhappiness and lamentation were immediately dissipated, and people became all-jubilant. Thus Jagannātha Miśra was also overwhelmed with joy.
The same Absolute Truth who enjoys as Kṛṣṇa, Śyāmasundara, who plays His flute and dances with the gopīs, sometimes takes birth in a brāhmaṇa family and plays the part of Śrī Caitanya Mahāprabhu, accepting the renounced order of life. It appears contradictory that the same Kṛṣṇa accepted the ecstasy of the gopīs, and of course this is very difficult for an ordinary person to understand. But if we accept the inconceivable energy of the Supreme Personality of Godhead, we can understand that everything is possible. There is no need of mundane arguments in this connection, because mundane arguments are meaningless in regard to inconceivable potency.
One day Śrī Caitanya Mahāprabhu felt the ecstasy of the boar incarnation and got up on the shoulders of Murāri Gupta. Thus they both danced in Murāri Gupta's courtyard.
Śuklāmbara Brahmacārī resided in Navadvīpa on the bank of the Ganges. When Śrī Caitanya Mahāprabhu was dancing in ecstasy, he approached the Lord with a begging bag containing rice. The Lord was so pleased with His devotee that He immediately snatched the bag and began to eat the raw rice. No one forbade Him, and thus He finished the entire supply of rice.
He therefore devised a plan to antagonize the Lord. He began to explain the path of philosophical speculation in the midst of some unfortunate Māyāvādīs, and when Lord Caitanya Mahāprabhu heard about this, He immediately went there and in a very angry mood began to beat Advaita Ācārya. At that time, Advaita Ācārya, greatly pleased, began to dance, saying, "Just see how My desire has now been fulfilled! Lord Caitanya Mahāprabhu used to treat Me honorably for so long, but now He is treating Me neglectfully. This is My reward. His affection for Me is so great that He wanted to save Me from the hands of the Māyāvādīs." Hearing this statement, Lord Caitanya Mahāprabhu was somewhat ashamed, but He was very pleased with Advaita Ācārya.
Then Lord Caitanya, adopting the mood of Lord Śiva, got on the man's shoulders, and thus they danced together for a long time.
On another day a mendicant came to beg alms from the Lord's house, but when he saw the Lord dancing, he also began to dance.
He danced with the Lord because he was favored by love of Kṛṣṇa. Thus he flowed in the mellows of love of Godhead.
After drinking the water, Lord Caitanya became so ecstatic that He began to dance. Thus everyone saw the pastime of attracting the river Yamunā.
Vanamālī Ācārya saw a golden plow in the hand of Balarāma, and the devotees all assembled together and danced, overwhelmed by ecstasy.
In this way they danced continuously for twelve hours, and in the evening they all took a bath in the Ganges and then returned to their homes.
In the front party danced Ṭhākura Haridāsa, and in the middle party danced Advaita Ācārya with great jubilation.
Lord Gaurasundara Himself danced in the rear party, and Śrī Nityānanda Prabhu moved with Lord Caitanya's dancing.
‘We do not know what He eats that makes Him become mad, dancing, singing, sometimes laughing, crying, falling down, jumping up and rolling on the ground.
The Lord asked the Kazi to go back home. Then the son of mother Śacī came back to His own home, dancing and dancing.
One day the two brothers Lord Nityānanda Prabhu and Śrī Caitanya Mahāprabhu were dancing in the holy house of Śrīvāsa Ṭhākura.
This incident is described as follows by Śrīla Bhaktivinoda Ṭhākura in his Amṛta-pravāha-bhāṣya. One night while Śrī Caitanya Mahāprabhu was dancing with His devotees at the house of Śrīvāsa Ṭhākura, one of Śrīvāsa Ṭhākura's sons, who was suffering from some disease, died. Śrīvāsa Ṭhākura was so patient, however, that he did not allow anyone to express sorrow by crying, for he did not want the kīrtana going on at his house to be disturbed. Thus kīrtana continued without a sound of lamentation. But when the kīrtana was over, Caitanya Mahāprabhu, who could understand the incident, declared, "There must have been some calamity in this house." When He was then informed about the death of Śrīvāsa Ṭhākura's son, He expressed His regret, saying, "Why was this news not given to Me before?" He went to the place where the son was lying dead and asked him, "My dear boy, why are you leaving the house of Śrīvāsa Ṭhākura?"
Saying "I have seen! I have seen!" and dancing in ecstatic love as though mad, he became a first-class Vaiṣṇava.
There was a Muslim tailor near the house of Śrīvāsa Ṭhākura who used to sew the garments of the family. One day he was very pleased with the dancing of Śrī Caitanya Mahāprabhu; indeed, he was enchanted. The Lord, understanding his attitude, showed him His original form as Kṛṣṇa. The tailor then began to dance, saying, "I have seen! I have seen!" He became absorbed in ecstatic love and began to dance with Lord Caitanya. Thus he became one of the foremost Vaiṣṇava adherents of Śrī Caitanya Mahāprabhu.
Śrīvāsa Paṇḍita narrated all the pastimes enacted during the six changing seasons. He described the drinking of honey, the celebration of the rāsa dance, the swimming in the Yamunā and other such incidents.
When the Lord, hearing with great pleasure, said, "Go on speaking! Go on speaking!" Śrīvāsa Ṭhākura described the rāsa-līlā dance, which is filled with transcendental mellows.
One day when Śrī Caitanya Mahāprabhu had finished His dancing, a woman, the wife of a brāhmaṇa, came there and caught hold of His lotus feet.
During the season of springtime, when the rāsa dance was going on, suddenly Kṛṣṇa disappeared from the scene, indicating that He wanted to be alone with Śrīmatī Rādhārāṇī.
"Prior to the rāsa dance, Lord Kṛṣṇa hid Himself in a grove just to have fun. When the gopīs came, their eyes resembling those of deer, by His sharp intelligence He exhibited His beautiful four-armed form to hide Himself. But when Śrīmatī Rādhārāṇī came there, Kṛṣṇa could not maintain His four arms in Her presence. This is the wonderful glory of Her love."
| Page Title: | Dancing (CC - Adi-lila) |
| Compiler: | Mayapur |
| Created: | 01 of Oct, 2011 |
| Totals by Section: | BG=0, SB=0, CC=91, OB=0, Lec=0, Con=0, Let=0 |
| No. of Quotes: | 91 |