Player (Books)

Expressions researched:
"player" |"players"

SB Canto 1

Kṛṣṇa, You are invisible to the foolish observer, exactly as an actor dressed as a player is not recognized.

SB 1.8.19, Translation and Purport:

Being beyond the range of limited sense perception, You are the eternally irreproachable factor covered by the curtain of deluding energy. You are invisible to the foolish observer, exactly as an actor dressed as a player is not recognized.

In the Bhagavad-gītā Lord Śrī Kṛṣṇa affirms that less intelligent persons mistake Him to be an ordinary man like us, and thus they deride Him. The same is confirmed herein by Queen Kuntī. The less intelligent persons are those who rebel against the authority of the Lord. Such persons are known as asuras. The asuras cannot recognize the Lord's authority.

Expert players in drama, dancers, singers, speakers, etc., are required for the spiritual enlightenment of the common man.

SB 1.11.20, Purport:

Even one hundred years ago in India, all dramatic performances were centered around the superhuman activities of the Supreme Lord. The common people would be verily entertained by the performances of dramas, and yātrā parties played wonderfully on the superhuman activities of the Lord, and thus even the illiterate agriculturist would be a participant in the knowledge of Vedic literature, despite a considerable lack of academic qualifications. Therefore, expert players in drama, dancers, singers, speakers, etc., are required for the spiritual enlightenment of the common man. The genealogists would give account completely of the descendants of a particular family. Even at the present moment the guides in the pilgrimage sites of India submit a complete account of genealogical tables before a newcomer. This wonderful act sometimes attracts more customers to receive such important information.

SB 1.13.43, Translation:

As a player sets up and disperses his playthings according to his own sweet will, so the supreme will of the Lord brings men together and separates them.

At a particular moment when the child has to be removed from that place, he is also carried by the will of the Supreme, even if the child or the father does not wish to be separated from the happy relation. The same thing happens in the case of a poor man also. Neither rich man nor poor man has any control over such meetings or separations of living beings. The example of a player and his playthings should not be misunderstood.

SB 1.13.43, Purport:

We must know for certain that the particular position in which we are now set up is an arrangement of the supreme will in terms of our own acts in the past. The Supreme Lord is present as the localized Paramātmā in the heart of every living being, as it is said in the Bhagavad-gītā (13.23), and therefore he knows everything of our activities in every stage of our lives. He rewards the reactions of our actions by placing us in some particular place. A rich man gets his son born with a silver spoon in his mouth, but the child who came as the rich man's son deserved such a place, and therefore he is placed there by the will of the Lord. And at a particular moment when the child has to be removed from that place, he is also carried by the will of the Supreme, even if the child or the father does not wish to be separated from the happy relation. The same thing happens in the case of a poor man also. Neither rich man nor poor man has any control over such meetings or separations of living beings. The example of a player and his playthings should not be misunderstood.

One may argue that since the Lord is bound to award the reactionary results of our own actions, the example of a player cannot be applied.

SB 1.13.43, Purport:

One may argue that since the Lord is bound to award the reactionary results of our own actions, the example of a player cannot be applied. But it is not so. We must always remember that the Lord is the supreme will, and He is not bound by any law. Generally the law of karma is that one is awarded the result of one's own actions, but in special cases, by the will of the Lord, such resultant actions are changed also. But this change can be affected by the will of the Lord only, and no other. Therefore, the example of the player cited in this verse is quite appropriate, for the Supreme Will is absolutely free to do whatever He likes, and because He is all-perfect, there is no mistake in any of His actions or reactions.

SB Canto 2

SB 2.4.7, Translation:

Kindly describe how the Supreme Lord, who is all-powerful, engages His different energies and different expansions in maintaining and again winding up the phenomenal world in the sporting spirit of a player.

SB Canto 3

His acts in His incarnations and His partiality to the devotees are all imitations only, just like the stage makeup of an expert dramatical player. His acts in that capacity, however, are all omnipotent, and the remembrance of such activities of the incarnations of the Supreme Personality of Godhead is as powerful as the Lord Himself.

SB 3.9.15, Purport:

When the Lord appeared as Lord Kṛṣṇa, He played the part of the son of Yaśodā and Nanda, and He lifted the Govardhana Hill, although lifting a hill is not His concern. He can lift millions of Govardhana Hills by His simple desire; He does not need to lift it with His hand. But He imitates the ordinary living entity by this lifting, and at the same time He exhibits His supernatural power. Thus His name is chanted as the lifter of Govardhana Hill, or Śrī Govardhana-dhārī. Therefore, His acts in His incarnations and His partiality to the devotees are all imitations only, just like the stage makeup of an expert dramatical player. His acts in that capacity, however, are all omnipotent, and the remembrance of such activities of the incarnations of the Supreme Personality of Godhead is as powerful as the Lord Himself. Ajāmila remembered the holy name of the Lord, Nārāyaṇa, by merely calling the name of his son Nārāyaṇa, and that gave him a complete opportunity to achieve the highest perfection of life.

SB Canto 5

Śrīmatī Kuntīdevī has explained that Kṛṣṇa appears in this world naṭo nāṭyadharo yathā, "exactly like an actor dressed as a player."

SB 5.18.26, Purport:

The Supreme Personality of Godhead is antarbahiḥ, present within and without everything. One must overcome the delusion caused by the Lord's external energy and realize His presence both externally and internally. In Śrīmad-Bhāgavatam (1.8.19) Śrīmatī Kuntīdevī has explained that Kṛṣṇa appears in this world naṭo nāṭyadharo yathā, "exactly like an actor dressed as a player." In Bhagavad-gītā (18.61) Kṛṣṇa says, īśvaraḥ sama-bhūtānāṁ hṛd-deśe 'rjuna tiṣṭhati: "The Supreme Lord is situated in everyone's heart, O Arjuna." The Lord is situated within everyone's heart, and outside as well. Within the heart He is the Supersoul, the incarnation who acts as the adviser and witness. Yet although God is residing within their hearts, foolish people say, "I cannot see God. Please show Him to me."

SB Canto 10.1 to 10.13

A player knows everything, but still he plays on the stage in such a way that others do not understand him.

SB 10.13.16, Translation and Purport:

Thereafter, when Kṛṣṇa was unable to find the calves, He returned to the bank of the river, but there He was also unable to see the cowherd boys. Thus He began to search for both the calves and the boys, as if He could not understand what had happened.

Kṛṣṇa could immediately understand that Brahmā had taken away both the calves and the boys, but as an innocent child He searched here and there so that Brahmā could not understand Kṛṣṇa's māyā. This was all a dramatic performance. A player knows everything, but still he plays on the stage in such a way that others do not understand him.

CC Adi-lila

Dramatic performances were enacted during the presence of Śrī Caitanya Mahāprabhu, but the players who took part in such dramas were all pure devotees; no outsiders were allowed.

CC Adi 10.13, Purport:

Dramatic performances were enacted during the presence of Śrī Caitanya Mahāprabhu, but the players who took part in such dramas were all pure devotees; no outsiders were allowed. The members of ISKCON should follow this example. Whenever they stage dramatic performances about the lives of Śrī Caitanya Mahāprabhu or Lord Kṛṣṇa, the players must be pure devotees. Professional players and dramatic actors have no sense of devotional service, and therefore although they can perform very artistically, there is no life in such performances. Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura used to refer to such an actor as yātrā-dale nārada, which means "farcical Nārada." Sometimes an actor in a drama plays the part of Nārada Muni, although in his private life he is not at all like Nārada Muni because he is not a devotee. Such actors are not needed in dramatic performances about the lives of Śrī Caitanya Mahāprabhu and Lord Kṛṣṇa.

Among the celebrated disciples of Maṅgala Ṭhākura are Prāṇanātha Adhikārī, Puruṣottama Cakravartī of the village of Kāṅdaḍā, and Nṛsiṁha-prasāda Mitra, whose family members are well-known mṛdaṅga players. Sudhākṛṣṇa Mitra and Nikuñjavihārī Mitra are both especially famous mṛdaṅga players.

CC Adi 12.87, Purport:

Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura writes in his Anubhāṣya, “Śrī Maṅgala Vaiṣṇava was a resident of the village Ṭiṭakaṇā in the district of Murśidābād. His forefathers were śāktas who worshiped the goddess Kirīṭeśvarī. It is said that Maṅgala Vaiṣṇava, formerly a staunch brahmacārī, left home and later married the daughter of his disciple Prāṇanātha Adhikārī in the village of Mayanāḍāla. The descendants of this family are known as the Ṭhākuras of Kāṅdaḍā, which is a village in the district of Burdwan near Katwa. Scattered descendants of Maṅgala Vaiṣṇava, thirty-six families altogether, still live there. Among the celebrated disciples of Maṅgala Ṭhākura are Prāṇanātha Adhikārī, Puruṣottama Cakravartī of the village of Kāṅdaḍā, and Nṛsiṁha-prasāda Mitra, whose family members are well-known mṛdaṅga players. Sudhākṛṣṇa Mitra and Nikuñjavihārī Mitra are both especially famous mṛdaṅga players.

CC Madhya-lila

CC Madhya 2.61, Translation:

“"O Kṛṣṇa, O flute-player, the sweetness of Your early age is wonderful within these three worlds. You know My unsteadiness, and I know Yours. No one else knows about this. I want to see Your beautiful attractive face somewhere in a solitary place, but how can this be accomplished?"

CC Madhya 8.133, Translation:

"My dear Lord, my tongue is just like a stringed instrument, and You are its player. Therefore I simply vibrate whatever arises in Your mind."

CC Madhya 13.33, Translation:

There were altogether four parties of kīrtana performers, comprising twenty-four chanters. In each party there were also two mṛdaṅga players, making an additional eight persons.

CC Madhya 23.31, Translation:

“"O Kṛṣṇa, O flute-player, the sweetness of Your early age is wonderful within these three worlds. You know My unsteadiness, and I know Yours. No one else knows about this. I want to see Your beautiful, attractive face somewhere in a solitary place, but how can this be accomplished?"

CC Antya-lila

CC Antya 1.134, Translation:

Rāmānanda Rāya inquired, "How have you introduced the assembly of the players?"

Rūpa Gosvāmī replied, “The players assemble at a suitable time under the heading of pravartaka.

When Śrīla Rāmānanda Rāya inquired about the arrangement for introducing the assembly of players in the drama, Rūpa Gosvāmī replied that when the players first enter the stage in response to the time, the introduction is technically called pravartaka.

CC Antya 1.134, Purport:

In a drama all the actors are called pātra, or players. This is stated by Viśvanātha Kavirāja in the Sāhitya-darpaṇa (6.283):

divya-martye sa tad-rūpo miśram anyataras tayoḥ

sūcayed vastu-bījaṁ vāmukhaṁ pātram athāpi vā

The meaning of āmukha is stated by Śrīla Rūpa Gosvāmī in the Nāṭaka-candrikā:

sūtra-dhāro naṭī brūte sva-kāryaṁ pratiyuktitaḥ

prastutākṣepi-citroktyā yat tad āmukham īritam

When Śrīla Rāmānanda Rāya inquired about the arrangement for introducing the assembly of players in the drama, Rūpa Gosvāmī replied that when the players first enter the stage in response to the time, the introduction is technically called pravartaka. For an example, see verse 136 below. Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura says that the introduction, which is technically called āmukha, may be of five different kinds, according to the Sāhitya-darpaṇa (6.288):

udghātyakaḥ kathodghātaḥ prayogātiśayas tathā

pravartakāvalagite pañca prastāvanā-bhidāḥ

"Introductions may be classified as follows: (1) udghātyaka, (2) kathodghāta, (3) prayogātiśaya, (4) pravartaka and (5) avalagita." These five kinds of introduction are called āmukha. Thus Śrīla Rāmānanda Rāya asked which of the five introductions had been employed, and Śrīla Rūpa Gosvāmī replied that he had used the introduction called the pravartaka.

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 1.183, Translation:

Rāmānanda Rāya inquired, "By which subdivision of style do the players enter?" Rūpa Gosvāmī then began to speak specifically about this subject.

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.

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.

Sometimes people go to see professional dramas and offer food and money to the players, who are expert at collecting these offerings very nicely. The result is that the members of the audience remain in the same position of gṛham andha-kūpam, family affection, and do not awaken their love for Kṛṣṇa.

CC Antya 5.131, Purport:

"By regularly hearing the Bhāgavatam and by rendering of service to the pure devotee, all that is troublesome to the heart is almost completely destroyed, and loving service unto the Personality of Godhead, who is praised with transcendental songs, is established as an irrevocable fact." (SB 1.2.18)

This is the proper process, but people are accustomed to being misled by professional Bhāgavatam reciters. Therefore Svarūpa Dāmodara Gosvāmī herein advises that one should not hear Śrīmad-Bhāgavatam from professional reciters. Instead, one must hear and learn the Bhāgavatam from a self-realized Vaiṣṇava. Sometimes it is seen that when a Māyāvādī sannyāsī reads the Bhāgavatam, flocks of men go to hear jugglery of words that cannot awaken their dormant love for Kṛṣṇa. Sometimes people go to see professional dramas and offer food and money to the players, who are expert at collecting these offerings very nicely. The result is that the members of the audience remain in the same position of gṛham andha-kūpam, family affection, and do not awaken their love for Kṛṣṇa.

Teachings of Lord Caitanya

"O Kṛṣṇa, O wonderful flute player, the beauty of Your boyhood activities is very wonderful in this world. You know the agitation of my mind, and I know what You are. No one knows how confidential our relationship is. Although my eyes are anxious to see You and Your face, I cannot see You. Please let me know what I shall do."

Teachings of Lord Caitanya, Chapter 13:

"I am poor in love of Godhead, and I have no asset for hearing about devotional service. Nor do I have any understanding of the science of devotional service, nor any cultivation of knowledge, nor any righteous activities to my credit. I am not even born in a high family. Nonetheless, O darling of the damsels of Vraja, I still maintain hopes of achieving You, and these hopes are always disturbing me." Such a devotee, being touched deeply by such strong desires, always chants Hare Kṛṣṇa, Hare Kṛṣṇa, Kṛṣṇa Kṛṣṇa, Hare Hare/ Hare Rāma, Hare Rāma, Rāma Rāma, Hare Hare.

In this regard, the following verse by Bilvamaṅgala appears in the kṛṣṇa-karṇāmṛta (32):

tvac chaiśavaṁ tri-bhuvanādbhutam ity avehi

mac cāpalaṁ ca tava vā mama vādhigamyam

tat kiṁ karomi viralaṁ muralīvilāsi

mugdhaḥ mukhāmbujam udīkṣitum īkṣaṇābhyām

"O Kṛṣṇa, O wonderful flute player, the beauty of Your boyhood activities is very wonderful in this world. You know the agitation of my mind, and I know what You are. No one knows how confidential our relationship is. Although my eyes are anxious to see You and Your face, I cannot see You. Please let me know what I shall do."

Rāmānanda Rāya compared his tongue to a stringed instrument, saying, "You are the player of that instrument." Thus as Lord Caitanya would play, Rāmānanda Rāya would vibrate the sound.

Teachings of Lord Caitanya, Chapter 31:

Lord Caitanya therefore requested Rāmānanda Rāya to go on teaching Him without hesitation, not considering Lord Caitanya's position as a sannyāsī. Thus Lord Caitanya urged him to continue speaking on the pastimes of Rādhā and Kṛṣṇa.

"Because You are asking me to speak of the pastimes of Rādhā and Kṛṣṇa," Rāmānanda Rāya humbly submitted, "I will obey Your order. I will speak in whatever way You like." Thus Rāmānanda Rāya humbly submitted himself as a puppet before Lord Caitanya, the puppet master. He only wanted to dance according to the will of Caitanya Mahāprabhu. He compared his tongue to a stringed instrument, saying, "You are the player of that instrument." Thus as Lord Caitanya would play, Rāmānanda Rāya would vibrate the sound.

Nectar of Devotion

"He has dressed Himself in such an enchanting way, as though He had defeated all kinds of players at the chessboard. He lives wonderfully at the topmost height of artistic craftsmanship."

Nectar of Devotion 21:

Artistic

One who can talk and dress himself very artistically is called vidagdha. This exemplary characteristic was visible in the personality of Śrī Kṛṣṇa. It is spoken of by Rādhārāṇī as follows: "My dear friend, just see how Kṛṣṇa has nicely composed songs and how He dances and speaks funny words and plays on His flute, wearing such nice garlands. He has dressed Himself in such an enchanting way, as though He had defeated all kinds of players at the chessboard. He lives wonderfully at the topmost height of artistic craftsmanship."

I can guess that in this condition he has been captivated by the transcendental beauty of that expert flute-player, Śrī Kṛṣṇa, and being attached to Him, he is simply staring at the black cloud, remembering the bodily hue of Śrī Kṛṣṇa." This is an example of how a devotee can become inert due to ecstatic love.

Nectar of Devotion 38:

The following statement is about a brāhmaṇa devotee: "This brāhmaṇa is very expert in all kinds of activities, but I do not know why he is looking up without moving his eyes. It appears that his body is fixed motionless just like a doll's. I can guess that in this condition he has been captivated by the transcendental beauty of that expert flute-player, Śrī Kṛṣṇa, and being attached to Him, he is simply staring at the black cloud, remembering the bodily hue of Śrī Kṛṣṇa." This is an example of how a devotee can become inert due to ecstatic love.

Krsna, The Supreme Personality of Godhead

Śrī Balarāmajī was not a very expert chess player, and this was known to the King of Kaliṅga.

Krsna Book 61:

The King of Kaliṅga was a friend of Rukmī and gave him the ill advice to play chess with Balarāma and thus defeat Him in a bet. Among kṣatriya kings, gambling on chess was not uncommon. If someone challenged a kṣatriya to play on the chessboard, the kṣatriya could not refuse the challenge. Śrī Balarāmajī was not a very expert chess player, and this was known to the King of Kaliṅga. So Rukmī was advised to retaliate against the family members of Kṛṣṇa by challenging Balarāma to play chess. Although not an expert chess player, Śrī Balarāmajī was very enthusiastic in sporting activities. He accepted Rukmī’s challenge and sat down to play. Betting was with gold coins, and Balarāma first of all challenged with one hundred coins, then one thousand coins, then ten thousand coins. Each time, Balarāma lost, and Rukmī was victorious.

"If the brāhmaṇas feel unwanted separation from their wives and children," Arjuna continued, "and the kṣatriya kings do not take care of them, then such kṣatriyas are to be considered no more than stage players.

Krsna Book 89:

"If the brāhmaṇas feel unwanted separation from their wives and children," Arjuna continued, "and the kṣatriya kings do not take care of them, then such kṣatriyas are to be considered no more than stage players. In dramatic performances in the theater, an actor may play the part of a king, but no one expects any benefits from such a make-believe king. Similarly, if the king or the executive head of a state cannot give protection to the head of the social structure, he is considered merely a bluffer. Such executive heads simply live for their own livelihood while occupying exalted posts as chiefs of state. My lord, I promise that I shall give protection to your children, and if I am unable to do so, then I shall enter into blazing fire so that the sinful contamination which has infected me will be counteracted."