Locan Das's Dhāmāli Part 2: Nāgara songs by Narahari
Some may find the erotic nature of these posts distasteful. Be forewarned.
Since Lochan Dasa is Thakur Narahari’s disciple, let us examine some of his poetry first. Then we will have a good idea about what inspired Lochan to write his Dhāmāli.
Gaura-kṛpā-kaṇikā
Wow! What has happened? Let’s try and analyse this scene. First of all, we need to understand Narahari’s position. For although he is a male and one of Gauranga’s closest Navadvipa associates, during these moments he has changed over to his nāgarī svarūpa. Why? His nāgarī kānta bhāva is his most deeply felt mood, and with this beautiful female form, she can offer by far the most pleasure to Gauranga. We should remember that previously in Vrindaban, Narahari was offering conjugal loving sevā to Krishna as Madhumati Sakhī.
So, as she is now Gauramayī or constantly steeped in thoughts of Gaura, she has a plan to lure him: coming to a lonely, secluded place that would be ideal for prema keli she removes all of her clothes and unloosens her lovely hair. Then to make herself look busy she starts rubbing kunkuma and chandan all over her gorgeous body. Although it would be much easier to do this sitting down, she remains standing to allow Gaurasundar the chance to get a better look at her attractive figure.
It doesn’t take long for Gaura to arrive; for Narahari’s nāgarī form is molded from mahābhāva prema with intense anurāga—as he has an equally intense attraction for her. This brings to mind Ramananda Raya’s famous pahilehi verse wherein, in context with Radha’s deep thirst to unit with Krishna, she says:
na khojaluṅ dūtī na khojaluṅ āna
duhuka milane madhye pañca-bāṇa
Thus we see that in Gaura’s overriding thirst to unite with Narahari’s nāgarī svarūpa he makes a hasty display of lovemaking with her. Yet Narahari’s testimony also reveals that this was a very exhilarating and memorable experience in his nāgarī svarūpa, too.
Gaura-kṛpā-kaṇikā
Who can imagine the beauty of Gaura? Beause just as the Braj gopis are the only ones who fortune to see nava kiśora Krishna’s superlative beauty, it is the nāgarīs alone who can view Gaurasundar’s topmost beauty as he captivates their hearts. Thus, as Narahari testifies, they are able to renounce their family attachment and chastity for him.
In this poem we learn something more about Gauranga’s associates who serve him in nāgarī-bhāva: they view themselves as newly married young girls. In other words, just as the Braj gopis are married, so are the Nadiya nāgarīs. This is to facilitate their parakiyā relationship with Gauranga. In this poem the presence of the sister-in-law (nanadi) creates a hindrance. Because of her the nāgarī can only briefly glance at Gauranga; and because of her the great fear of becoming disgraced haunts the nāgarī from moment to moment. Such fear even brings about a fever. Indeed, everything is there simply to heighten the rasa’s intensity.
But isn’t it amazing that the males in Gaura līlā imagine themselves this way? In Caitanya-caritāmr̥ta it is said:
parakīyā bhābe rasera adhika ullāsa
braja binā ihāra anyatra nāhi bāsa
Yet Vrindaban and Navadvipa are identical. Hence Navadvipa is called Gupta (hidden) Vrindaban. Since the Braj gopis have all assumed male forms in Gaura līlā, svayam bhagavan’s parakiya affairs are more hidden than before. But with this understanding now it is not so amazing that those males would be romantically attracted to Gauranga. After all, since they were all females in Braj, why can they not reassume their female bhāva and svarūpas? So nāgarī-bhāva is the natural outcome of what happens when Shyama becomes Gaura.
rasera bhramara mora gorā
b kibā jāne pirīti, naba naba yubatī, badana kamala madhu corā
śaẏane āsiẏā mora, nikaṭe basiẏā go, hāsiẏā hāsiẏā kaẏa kathā
kata nā yatane se, cibuka paraśe go, ghucaẏa śravaṇa mana byathā
kata nā ādare se, amiẏā rasa ḍhāle go, kata nā baṅgimā kare cale
adhare adhare kari, ki āra kahaba go, uraja jhāɱpaẏa karatāla
hiẏāte dhariẏā hiẏā, gaurāṅa rasiẏā go, saghane kāɱpaẏe mora deha
narahari parāṇa badhū, kata nā jānaẏe go, amiẏā pāthāre tāra leha
Gaura-kṛpā-kaṇikā
In Narahari’s last three selections what can be discovered? Here we shall say udarata, or the overriding compassion to award something which is highly exalted to fallen, undeserving people.
If Thakur Narahari hadn’t mercifully revealed these secrets, how would we have known that such līlās take place in Nadiya? For most people do not have the slightest idea about them. And having placed the garland of Gauranga’s scandals around his own neck, he has borne the burden only to bless others. Could there be any other reason which prompts him to tell all this? Now by his mercy even fallen people like you and I can become attracted to nāgarī bhajan. Indeed, such karuṇā invokes deep sentiment and tears.
As we are now ready to begin the text, let us observe how Lochan follows in Narahari’s footsteps in Dhāmāli.
Sri Narahari’s Padavali at a Glance
Since Lochan Dasa is Thakur Narahari’s disciple, let us examine some of his poetry first. Then we will have a good idea about what inspired Lochan to write his Dhāmāli.
(1)
Looking into the Mirror
tore kahi marama kī bāta
nibhṛta niketane hama ekākinī
dosara jana nāhi sāthe
mukura kare dhari nija mukha herāite
paridhāne bigalita bāsa
kuṅkuma candana aṅge bilepana
pīṭhopari keśa udāse
henaite samaẏa gaura sunāgara
āola hama nāhi jāna
pīṭhe āre rahi catura nāgara bara
deẏala mukere baẏāna
gaurāṅga badana bidhu mukura para herāite
taikhane camakita aṅga
grība phirāite mukhe mukhe lāgala
sakali haila majhu baṅga
bāhu pasāri karahi agoralo
paitalo madana bilāse
nija kāja sādhi calalo nāgara bara
kahatahi narahari dāse
“O sakhi! I have a secret to tell: while standing alone in a solitary place I thought that no one was around. So letting my clothes fall to the ground I took up a mirror to look at my face. Then as I started rubbing kunkuma and chandan over my unadorned limbs, my loosened hair fell over my back.
I was unaware of it but that great nāgara Gaura suddenly arrived. He stood right behind me and cleverly let his moon-face reflect in my mirror. So I was startled!
Upon turning around I looked into his eyes and could fathom his yearning to enjoy me. So I bent over to offer resistance. But that didn’t stop him. For O my! Outstretching his arms and pulling me to his chest he started making love with me. And when his madana bilāsa was finished, that best of nāgaras just disappeared!”
I was unaware of it but that great nāgara Gaura suddenly arrived. He stood right behind me and cleverly let his moon-face reflect in my mirror. So I was startled!
Upon turning around I looked into his eyes and could fathom his yearning to enjoy me. So I bent over to offer resistance. But that didn’t stop him. For O my! Outstretching his arms and pulling me to his chest he started making love with me. And when his madana bilāsa was finished, that best of nāgaras just disappeared!”
Gaura-kṛpā-kaṇikā
Wow! What has happened? Let’s try and analyse this scene. First of all, we need to understand Narahari’s position. For although he is a male and one of Gauranga’s closest Navadvipa associates, during these moments he has changed over to his nāgarī svarūpa. Why? His nāgarī kānta bhāva is his most deeply felt mood, and with this beautiful female form, she can offer by far the most pleasure to Gauranga. We should remember that previously in Vrindaban, Narahari was offering conjugal loving sevā to Krishna as Madhumati Sakhī.
So, as she is now Gauramayī or constantly steeped in thoughts of Gaura, she has a plan to lure him: coming to a lonely, secluded place that would be ideal for prema keli she removes all of her clothes and unloosens her lovely hair. Then to make herself look busy she starts rubbing kunkuma and chandan all over her gorgeous body. Although it would be much easier to do this sitting down, she remains standing to allow Gaurasundar the chance to get a better look at her attractive figure.
It doesn’t take long for Gaura to arrive; for Narahari’s nāgarī form is molded from mahābhāva prema with intense anurāga—as he has an equally intense attraction for her. This brings to mind Ramananda Raya’s famous pahilehi verse wherein, in context with Radha’s deep thirst to unit with Krishna, she says:
duhuka milane madhye pañca-bāṇa
“We didn’t need a messenger or anything else, for it was Cupid with his five flower arrows who forcefully united us!”
Thus we see that in Gaura’s overriding thirst to unite with Narahari’s nāgarī svarūpa he makes a hasty display of lovemaking with her. Yet Narahari’s testimony also reveals that this was a very exhilarating and memorable experience in his nāgarī svarūpa, too.
(2)
Fear and Ecstasy
ke āche emana manera bedana kāhāre kahiba saī
na kahile buka bidariẏā mari tei sei tomāre koī
beli abasāne nanadinī sāthe jala ānibāre genu
gaurāṅga cādera rūpa nirakhiẏe kalasī bāṅgiẏā enu
saṅge nanadinī kāla bhujaṅginī kuṭila kumati bhela
nayanera bāri sambarite nāri bayāna sukaẏe gela
kāpe kalebara gāẏe āise jbara calite na cale pā
gauraāṅa cādera rūpa pāthāre sātāre na pāinu tā
aṅga jhalamala śrīaṅga sakala śarada cāndera mālā
suradhuni tīre daṇḍāiẏe āche dukūla kariẏā ālā
buka parisara tāhāre upara sugandhi candana māla
nayana bhariẏā dekhite nā pāinu nanadinī hailā kāla
dīghala dīghala nayana yugala viṣama kusuma śare
ramaṇī kemane dhairaja dhare madana kapay dhare
kahe narahari gauraāṅa mādhurī yāhāra hṛdaẏa jāge
kula śīla tāra sakali majila gauracādera anurāge
“O sakhi, as I suffer great mental distress there hasn’t been anyone to whom I can disclose my plight. And this breaks my heart. So will you kindly hear my confession:
Yesterday afternoon I went with my nanadī (sister-in-law) to fetch water from the Ganga. But O my! Upon seeing Gorachanda’s beautiful effulgent limbs my water jug slipped from my hip and broke to pieces! This triggered nanadī’s jealous anger and she lashed at me like a poisonous snake. Thus I shook, turned pale, cried, and remained stunned as a fever enveloped me.
O sakhi! I didn’t know how to swim within the ocean of Gauranga’s bodily splendor. Because as his entire form was shimmering like the autumn moon, both sides of the Ganga became lit up by his effulgence. And over his broad, candan anointed chest rested a fragrant mala.
Alas! Because of nanadī’s presence I couldn’t gaze upon him to my heart’s content. Yet his big blooming eyes are like Cupid’s devastating flower arrows. So how can the pretty, young girls remain sober when even Cupid shakes in fear?
Narahari concludes: Family attachment and chastity will all be devoured for those who relish the madhuri of Gauranga’s beautiful limbs within their hearts.
Yesterday afternoon I went with my nanadī (sister-in-law) to fetch water from the Ganga. But O my! Upon seeing Gorachanda’s beautiful effulgent limbs my water jug slipped from my hip and broke to pieces! This triggered nanadī’s jealous anger and she lashed at me like a poisonous snake. Thus I shook, turned pale, cried, and remained stunned as a fever enveloped me.
O sakhi! I didn’t know how to swim within the ocean of Gauranga’s bodily splendor. Because as his entire form was shimmering like the autumn moon, both sides of the Ganga became lit up by his effulgence. And over his broad, candan anointed chest rested a fragrant mala.
Alas! Because of nanadī’s presence I couldn’t gaze upon him to my heart’s content. Yet his big blooming eyes are like Cupid’s devastating flower arrows. So how can the pretty, young girls remain sober when even Cupid shakes in fear?
Narahari concludes: Family attachment and chastity will all be devoured for those who relish the madhuri of Gauranga’s beautiful limbs within their hearts.
Gaura-kṛpā-kaṇikā
Who can imagine the beauty of Gaura? Beause just as the Braj gopis are the only ones who fortune to see nava kiśora Krishna’s superlative beauty, it is the nāgarīs alone who can view Gaurasundar’s topmost beauty as he captivates their hearts. Thus, as Narahari testifies, they are able to renounce their family attachment and chastity for him.
In this poem we learn something more about Gauranga’s associates who serve him in nāgarī-bhāva: they view themselves as newly married young girls. In other words, just as the Braj gopis are married, so are the Nadiya nāgarīs. This is to facilitate their parakiyā relationship with Gauranga. In this poem the presence of the sister-in-law (nanadi) creates a hindrance. Because of her the nāgarī can only briefly glance at Gauranga; and because of her the great fear of becoming disgraced haunts the nāgarī from moment to moment. Such fear even brings about a fever. Indeed, everything is there simply to heighten the rasa’s intensity.
But isn’t it amazing that the males in Gaura līlā imagine themselves this way? In Caitanya-caritāmr̥ta it is said:
braja binā ihāra anyatra nāhi bāsa
Love in the parakiya mood produces the most exciting of all rasas; it is found nowhere but in Braj. (Madhya 8)
Yet Vrindaban and Navadvipa are identical. Hence Navadvipa is called Gupta (hidden) Vrindaban. Since the Braj gopis have all assumed male forms in Gaura līlā, svayam bhagavan’s parakiya affairs are more hidden than before. But with this understanding now it is not so amazing that those males would be romantically attracted to Gauranga. After all, since they were all females in Braj, why can they not reassume their female bhāva and svarūpas? So nāgarī-bhāva is the natural outcome of what happens when Shyama becomes Gaura.
(3)
The Rasika Bumblebee
b kibā jāne pirīti, naba naba yubatī, badana kamala madhu corā
śaẏane āsiẏā mora, nikaṭe basiẏā go, hāsiẏā hāsiẏā kaẏa kathā
kata nā yatane se, cibuka paraśe go, ghucaẏa śravaṇa mana byathā
kata nā ādare se, amiẏā rasa ḍhāle go, kata nā baṅgimā kare cale
adhare adhare kari, ki āra kahaba go, uraja jhāɱpaẏa karatāla
hiẏāte dhariẏā hiẏā, gaurāṅa rasiẏā go, saghane kāɱpaẏe mora deha
narahari parāṇa badhū, kata nā jānaẏe go, amiẏā pāthāre tāra leha
“O what kind of romantic is my Gora? He’s a rasika bumblebee mad after stealing the honey from every pretty young girl’s lotus face. (He is zealous to kiss their sweet lips.)
He came at bedtime and sat down beside me… and began smiling and speaking all sorts of sweet words. Aha! As he fondled my chin all of my distress departed.
Ah! How affectionate he was, and how sweet were his numerous gestures. Then he kissed my lips, and O! His hands plundered by breasts! Then as we embraced chest to chest Gauranga made love to me, and my whole body shivered! O what more can I say? The love of Narahari’s prāṇa-ballabha Gauranga is like a nectar ocean.”
He came at bedtime and sat down beside me… and began smiling and speaking all sorts of sweet words. Aha! As he fondled my chin all of my distress departed.
Ah! How affectionate he was, and how sweet were his numerous gestures. Then he kissed my lips, and O! His hands plundered by breasts! Then as we embraced chest to chest Gauranga made love to me, and my whole body shivered! O what more can I say? The love of Narahari’s prāṇa-ballabha Gauranga is like a nectar ocean.”
Gaura-kṛpā-kaṇikā
In Narahari’s last three selections what can be discovered? Here we shall say udarata, or the overriding compassion to award something which is highly exalted to fallen, undeserving people.
If Thakur Narahari hadn’t mercifully revealed these secrets, how would we have known that such līlās take place in Nadiya? For most people do not have the slightest idea about them. And having placed the garland of Gauranga’s scandals around his own neck, he has borne the burden only to bless others. Could there be any other reason which prompts him to tell all this? Now by his mercy even fallen people like you and I can become attracted to nāgarī bhajan. Indeed, such karuṇā invokes deep sentiment and tears.
As we are now ready to begin the text, let us observe how Lochan follows in Narahari’s footsteps in Dhāmāli.
Comments
Dear Parikshit,
Some more reading for you brother.
The Amanaska: King of All Yogas:
https://www.ora.ox.ac.uk/objects/uuid:4edd5abe-0aa6-4c52-96d2-c4acfce1ad60/download_file?file_format=pdf&safe_filename=Birch_2013_The_Amanaska.pdf&type_of_work=Thesis
Notes
Page 77 of the above text:
"When the yogin's mind and breath have dissolved into his inward focus, while he is looking outwards and below and [yet] also not looking [at anything] with a gaze in which his pupils are unmoving, [then] this, indeed, is Śāmbhavī Mudrā. O guru, by your favour, it is that state of Śambhu which manifests as the [highest] reality free from what is void and not void. [The yogin's] eyes are half open, his mind steady and his gaze placed at the tip of the nose. Even his moon and sun have dissolved and his body is motionless. He goes to that supreme intensely
radiant state, the highest reality, which has the appearance of light and is devoid of everything external. What could be spoken of here that is greater [than this]?"
N.B.* The Potential of the Bi-Directional Gaze: A Call for Neuroscientific Research on the Simultaneous Activation of the Sympathetic and Parasympathetic Nervous Systems through Tantric Practice:
https://www.academia.edu/attachments/47146440/download_file?s=portfolio
27. Whether the reservoir (of consciousness) in the skull is filled with (the essence of) the tree (of knowledge) or not, the peaceful one who’s essence is located at the end of the energy centre (of the subtle body) shines forth, as (the light of) a lamp in a vase (shines).
31 Through this (process), one should fill the head-end (of the subtle body) with (the essence of) the tree (of knowledge), and, having made the mind free from all forms, one ascends to the highest state.
Vijñānabhairava Tanta (see the Muktabodha online Digital Library for the original Sanskrit text).
कररुद्ध दृगस्तेन भ्रूभेदाद्द्वाररोदनात् |
दृष्टे बिन्दौ क्रमालीने तन्मध्ये परमास्थितिः || ३६ ||
kararuddha dṛgastena bhrūbhedāddvārarodanāt |
dṛṣṭe bindau kramālīne tanmadhye paramāsthitiḥ || 36 ||
36. By controlling the gaze and holding it steady at a point (one arm’s length) in front of and between the eyebrows (at the door of Brahma), restraining the breath and the senses, and blocking the openings of the body (in breath retention), one gradually perceives a point of light appear at this spot before the brow, when the gaze is concentrated and fixed on this point of light in meditation, one attains the supreme state.
Vijñānabhairava Tantra
A copy of the original Sanskrit text of the Vijñānabhairava Tantra may be found online at the Muktabodha Searchable E-text Library:
https://muktalib7.com/DL_CATALOG_ROOT/digital_library.htm
Dandavat Pranams.
I just came across your blog, and have read 15-20 of your articles during the past 2 days. The Traditional Gaudiya perspective, as you present it in your posts, has been the biggest eye opener for me in a long time.
I am a boy from Norway, been associating with different Gaudiya Mathas as well as ISKCON since the age of 16. I have always stayed completely non-sectarian, taking inspiration from SP, GGM, BR Sridhara Maharaj, BV Narayana Maharaj, BS Sundar Maharaja, BP Puri Maharaja etc.
I just turned 23. I humbly ask for your advice as i am at a very confusing point of my life.
Is there any way I could please contact you personally?
Either through Email, Whatsapp or somewhere else?
I understand if you do not want to post your personal info here.
If possible I could post my Email adress here in the comments and could contact via there.
Thank you in advance if you took the time to read this.
Please forgive me as English is not my first language.
vancha-kalpatarubhyash cha
kripa-sindhubhya eva cha
patitanam pavanebhyo
vaishnavebhyo namo namaha
Dandavat Pranams.
I am humbly asking for your help.
Please forgive me for my English as it is not my fist language.
If you take your time to read this, thank you so, so much in advance.
I am a 23 year old boy from Norway. Just came across your blog, and your way of presenting the more traditional approach to Gaudiya Vaishnavism through Srila Bhaktivinod Thakura, Lalita Prasad Thakura etc. has been the biggest eye-opener for me in years.
I been staying at different Gaudiya Mathas, as well as ISKCON since i was 16.
I have always stayed completely non-sectarian, accepting teachers from seemingly contradictory Mathas which have had issues with each other. However I have noted that their respective acharyas` teachings are not neccesarily opposed to each other (for example BV. Narayana Mhjs Mathas and the SCS Matha, especially Srila BS. Govinda Mhj).
I am currently at a very confusing point in my life and I am humbly asking for some help as ti what to do next.
Is there any way i could contact you personally?
Either through Email, Whatsapp or somewhere else?
I could post my Email here in the comments and could message there?
Again, thank you again if you have taken time to read this.
vancha-kalpatarubhyash cha
kripa-sindhubhya eva cha
patitanam pavanebhyo
vaishnavebhyo namo namaha
Yours in service,
Atmarama Dasa
आनन्दमुत्गतं ध्यात्वा तल्लयस्तन्मना भवेत् |
दग्धमानरसोल्लाअस रसानन्दविजृम्भनात् || ६९ ||
तावतोद्भरितावस्थां महानन्दस्ततो भवेत् |
गीतादि विषया स्वादात्समसौख्यैकतन्मनः || ७० ||
ānandamutgataṃ dhyātvā tallayastanmanā bhavet |
dagdhamānarasollāsa rasānandavijṛmbhanāt || 69 ||
tāvataudbharitāvasthāṃ mahānandastato bhavet |
gītādi viṣayā svādāt samasaukhyekatanmanaḥ || 70 ||
69. By meditating on the arisen bliss, the mind becomes immersed in the melting essence, experiencing the overflowing joy of the nectar of bliss.
70. As the state becomes filled to the brim with this bliss, great happiness arises; savouring the taste of the Bhagavad Gita and other subjects, equal pleasure is attained with a unified mind.
vijñānabhairava
Notes
Verse 69:
आनन्दमुत्गतं ध्यात्वा - Bliss (ānanda) arisen (utgata) having meditated (dhyātvā)
तल्लयस्तन्मना भवेत् - melting (tallaya) essence (stan) with the mind (manā) becomes (bhavet)
दग्धमानरसोल्लास - melted (dagdha) mind (manas) essence (rasa) joy (ullāsa)
रसानन्दविजृम्भनात् - nectar (rasa) of bliss (ānanda) overflowing (vijṛmbhanāt)
Verse 70:
तावतोद्भरितावस्थां - so far (tāvat) filled (udbhārita) state (avasthām)
महानन्दस्ततो भवेत् - great bliss (mahānanda) then (tataḥ) becomes (bhavet)
गीतादि विषया स्वादात् - Bhagavad Gita and other (ādi) objects (viṣayā) from the taste (svādāt)
समसौख्यैकतन्मनः - equal pleasure (sama-saukhya) with unified (ekatā) mind (manaḥ)
γνῶθι σεαυτόν “Know yourself" (in spiritual carnality), and all else will become known to you.
See Comment (Friday, 03 July, 2020):
https://jagadanandadas.blogspot.com/2020/06/priti-sandarbha-711-conclusion-of-anu-7.html?showComment=1593772878795#c4250491695831351038
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