Siddhi Lālasā (Part I, Songs 1-3)
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| Murti of Lata Manjari at Gadai Gauranga Kunj. |
সিদ্ধি লালসা
Siddhi Lālasā
This is a set of ten songs that comes at the end of Bhaktivinoda Thakur's Gīti-mālikā, published in 1893. The first one of the ten, Kabe gaura-bane, also appears in Śaraṇāgati, another collection.
Part II, songs 4-6
Part III, songs 7-10
[১] কবে গৌরবনে :: Sadhana in Gauda Mandal
কবে গৌর-বনে সুরধুনী তটে,
হা রাধে হা কৃষ্ণ বলে
কাঁদিয়া বেড়াব, দেহ সুখ ছাড়ি,
নানা লতা তরু তলে (১)
kabe gaura-bane suradhunī taṭe,
hā rādhe hā kṛṣṇa bale
kāɱdiẏā beḏāba, deha sukha chāḏi,
nānā latā taru tale (1)
In Gauranga's forest, on the banks of the Ganga
calling out "Hā Rādhe! Hā Krishna!"
when will I wander, weeping, abandoning worldly pleasure
beneath the many trees and vines?
(কবে) শ্বপচগৃহেতে, মাগিয়া খাইব
পিব সরস্বতীজল
(কবে) পুলিনে পুলিনে, গড়াগড়ি দিব,
করি কৃষ্ণ-কোলাহল (২)
(kabe) śvapaca-gṛhete, māgiẏā khaiba,
piba sarasvatī-jala
puline puline, gaḏāgaḏi diba,
kari kṛṣṇa-kolāhala (2)
Oh, when will I beg food from untouchable homes
and drink water from the Saraswati (Jalangi) ?
When will I roll on the banks of the sacred rivers,
making a great din, shouting, “Krishna! Krishna!”?
(কবে) ধামবাসী-জনে, প্রণতি করিয়া,
মাগিব কৃপার লেশ
(কবে) বৈষ্ণবচরণরেণু গায় মাখি,
ধরি অবধূত বেশ (৩)
(kabe) dhāma-vāsī-jane, praṇati kariẏā,
māgiba kṛpāra leśa
(kabe) vaiṣṇava-caraṇa-reṇu gāya mākhi,
dhari abadhūta beśa (3)
And when will I offer pranams to the residents of the Dham,
begging from them a single drop of mercy ?
And when will I smear Vaishnava foot dust on my body
and take the dress of an avadhüta ?
গৌড়ৱ্রজজনে ভেদ না দেখিব
হইব বরজবাসী
(তখন) ধামের স্বরূপ স্ফুরিবে নযনে
হইব রাধার দাসী (৪)
gauḏa-vraja-jane bheda nā dekhiba
ha-iba baraja-bāsī
(takhana) dhāmera svarūpa sphuribe nayane
ha-iba rādhāra dāsī (4)
When I cease to make distinctions between
the residents of Gauda and Vraja Dham,
I will become resident of Vraja.
Then the Dham will appear directly before my eyes
and I will become Radha’s dasi.
[2] Identity with the spiritual body
দেখিতে দেখিতে, ভুলিব বা কবে,
নিজ স্থুল পরিচয়
নয়নে হেরিব, ব্রজপুর শোভা,
নিত্য চিদানন্দময়
dekhite dekhite, bhuliba bā kabe,
nija sthula paricaẏa
nayane heriba, braja-pura śobhā,
nitya cid-ānanda-maẏa (1)
At that very moment I will forget
my gross bodily identity.
Then before my eyes, I will behold the beauty of Braj,
built of eternal, conscious bliss.
বৃষভানুপুরে, জনম লইব,
জাবটে বিবাহ হবে
ব্রজগোপীভাব, হইবে স্বভাব,
আন ভাব না রহিবে
bṛṣabhānu-pure, janama la-iba,
jābaṭe bibāha habe
braja-gopī-bhāva, ha-ibe svabhāva,
āna bhāva nā rahibe (2)
I will take birth in King Vrishabhanu's citadel,
and be married in Javat village.
My only identity will be that of a Braja gopi,
and no other spirit will remain in me.
নিজ সিদ্ধ দেহ, নিজ সিদ্ধ নাম,
নিজরূপ, স্ববসন
রাধা কৃপা বলে, লভিব বা কবে,
কৃষ্ণ প্রেম প্রকরণ (৩)
nija siddha deha, nija siddha nāma,
nija-rūpa, sva basana
rādhā-kṛpā-bale, labhiba bā kabe,
kṛṣṇa-prema-prakaraṇa (3)
My own eternal spiritual body, my own eternal name,
my beautiful form and clothing --
When will I acquire all these by the power of Radha's mercy,
along with the methods of serving Krishna in love.
যমুনা সলিল, আহরণে গিয়া,
বুঝিব যুগলরস
প্রেমমুগ্ধ হয়ে, পাগলিনী প্রায়,
গাইব রাধার যশ (৪)
yamunā salila, āharaṇe giẏā,
bujhiba yugala-rasa
prema-mugdha hoẏe, pāgalinī prāẏa,
gāiba rādhāra yaśa (4)
While off to collect water from the Yamuna,
I will suddenly understand the Divine Couple's love.
Infatuated with love, almost mad with it,
I will sing out Sri Radha's glories.
[3] Being introduced to Lalita Sakhi
হেন কালে কবে, বিলাস মঞ্জরী,
অনঙ্গ মঞ্জরী আর
আমারে হেরিয়া, অতি কৃপা করি',
বলিবে বচন সার (১)
hena kāle kabe, bilāsa mañjarī,
anaṅga mañjarī ar
āmāre heriẏā, ati kṛpā kari',
balibe bacana sāra (1)
At such a moment, when will Vilasa Manjari
accompanied by Ananga Manjari, take notice
and turning to me with exceeding grace
speak the very words I want to hear?
এসো, এসো, সখি ! শ্রীললিতা গণে ,
জানিব তোমারে আজ
গৃহকথা ছাড়ি, রাধা-কৃষ্ণ ভজ,
ত্যাজিয়া ধরম লাজ (২)
eso, eso, sakhi ! śrī-lalitā-gaṇe ,
jāniba tomāre āja
gṛha-kathā chāḏi, rādhā-kṛṣṇa bhaja,
tyājiẏā dharama-lāja (2)
"Come, come, O sakhi! From now on
you will be counted as one of Lalita Sakhi's group.
Give up your household concerns, duties and shyness:
join us and worship Sri Sri Radha-Madhava!"
সে মধুর বাণী, শুনিয়া এ জন,
সে দুঁহার শ্রী-চরণে
আশ্রয় লইবে, দুঁহে কৃপা করি,
লইবে ললিতাস্থানে (৩)
se madhura bāṇī, śuniẏā e jana,
se duɱhāra śrī-caraṇe
āśraẏa la-ibe, duɱhe kṛpā kari',
la-ibe lalitā-sthāne (3)
Hearing such sweet words, this fortunate soul
will take shelter of both guru sakhis' lotus feet,
and they will show me their merciful favor
by bringing me into Lalita's presence.
ললিতা সুন্দরী, সদয় হইয়া,
করিবে আমারে দাসী
স্বকুঞ্জ-কুটীরে, দিবেন বসতি,
জানি সেবা অভিলাষী (৪)
lalitā sundarī, sadaẏa ha-iẏā,
karibe āmāre dāsī
sva-kuñja-kuṭīre, dibena basati,
jāni sebā-abhilāṣī (4)
Then beautiful Lalita Sakhi will be gracious towards me
and make me her own maidservant.
She'll give me residence in a small cottage in her own garden,
knowing how deeply I desire to serve.
Vilasa Manjari is the spiritual name of Bhaktivinoda Thakur's guru, and Ananga Manjari is Jahnava Mata, the founder of our initiating succession. They are seen as the ones who take Kamala into Lalita's association and arrange for direct service. This is how Bhaktivinoda Thakur saw the disciplic succession.
Comments
I always love to read your articles. I can't thank you enough for them.
I wish to ask something, kindly clarify it, it'll be a big thing for me.
Query: I have heard people who have taken birth in Vrindavan are special, being evolved spiritually.
How true is this?
What I've observed is people here are as good or as worse as anywhere else. There are thieves, cheaters here. There are young men lusting after girls on streets.
What exactly is the position of people born in Vrindavan?
It would be really a big help to me.
Thank you so much.
Ys
More posts, please!
Radhe Radhe!
I noticed that you mentioned the "Gīti-mālikā" of Bhaktivinoda - i have a poorly scanned copy of this book and noticed that there is an arati song at the beginning that starts with "maṅgala ārati jaya kiśora-kiśorī" - do you happen to have a copy of this bhajan at all?
I wonder why the Thakur didn't include this in the later Gitamala...?
_ Gajendra
Currently I am singing the mangal arati from the regular Vaishnava sampradayas. The problems with Bhaktivinoda Thakur's bhajans is that they do not fit the usual ashtakala smaranas. This is especially noticeable in the bhoga arati, which describes the morning bhojan in Nandalaya rather than the midday meal in Advaita's house or Shrivas Angan and then Mahaprabhu goes into trance and remembers the noontime meal in Radha Kund. The Thakur wrote his bhoga arati because he worked and ate his main meal before going to the kachari (court). The evening arati is the same. For the regular sampradaya, at the sandhya time, Radha and Krishna are not together and so they have separate aratis. Bhaktivinoda Thakur envisages a time when they are together. But he probably felt no need to have a separate mangal arati because everyone is agreed that Radha and Krishna are together at the end of night.
For some reason, people began to think that one had to have their own separate aratis, so you see that now many different Gaudiya Maths have aratis written by their own acharyas. In some ways I can understand that. For instance, the bhoga arati ascribed to Narottam Das has Advaita sitting down to eat with Mahaprabhu at his own house where Mahaprabhu is an invited guest. This really irritates me. There are also other problems with the meter and so on, it is certainly not written by Narottam Das, who was a much better poet. Somehow or another it became the standard, but it really needs revision IMHO.
And, I may add, Bhaktivinoda Thakur was himself on a very high level of poetic ability and insight where kirtan is concerned. It is a shame that the sectarian spirit that has arisen in the Gaudiya sampradaya has resulted in much of his really good stuff being neglected by the non Gaudiya Math sector. The only problem I have with BVT's kirtans (like Vibhavari Shesha, etc.) is his tendency to mix rasas, like putting Nrisingha into the same song where Krishna's madhura names are found. Jai Radha Madhava is like that, mixing vatsalya with madhura. No Vrindavan rasika sampradaya would do that.
A lot of the other songs also are ascribed to various Mahajans when they clearly are interpolations. What to do? Oh well, here is my Prabhu's mangala arati (transliterations below) in following comment:
গোরাচাঁদ গোরাচাঁদ গোরাচাঁদ বলি । মঙ্গল আরতি করে ভক্ত গণ মিলি ॥
বিভাবরী শেষ দেখি অরুণ উদিল । অমনি গৌরাঙ্গ চাঁদ জাগিয়া বসিল ॥
অদ্বৈত নিতাইচাঁদ আসি যোগ দেয় । মঙ্গল আরতি তরে সকলেতে ধায় ॥
প্রেমের তরঙ্গে ভাসি মঙ্গল গান । খোল করতালে নাচে মাতাইয়া প্রাণ ॥
জগদানন্দের সাথে নাচে হরিদাস । মুকুন্দ সঞ্জয় বাসু গায় শ্রীনিবাস ॥
নরহরি আদি করি ঢুলায় চামর । কারুণ্য কটাক্ষে রহে প্রিয় গদাধর ॥
মঙ্গলপ্রদীপ ধূপ ল ইয়া স্বরূপ । মঙ্গল আরতি করে কিবা অপরূপ ॥
ভকতিবিনোদ রহি নিকটে তাঁহার । যোগায় আরতি দ্রব্য অতি চমৎকার ॥
বিনোদের পদরজ শিরেতে ধরিয়া । তাঁহার কিঙ্কর দেখে আনন্দে মজিয়া ॥
nabadbīpa pañcatattba līlāẏa
gorācāɱda gorācāɱda gorācāɱda bali | maṅgala ārati kare bhakta gaṇa mili ||
bibhābarī śeṣa dekhi aruṇa udila | amani gaurāṅga cāɱda jāgiẏā basila ||
adbaita nitāicāɱda āsi yoga deẏa | maṅgala ārati tare sakalete dhāẏa ||
premera taraṅge bhāsi maṅgala gāna | khola karatāle nāce mātāiẏā prāṇa ||
jagadānandera sāthe nāce haridāsa | mukunda sañjaẏa bāsu gāẏa śrīnibāsa ||
narahari ādi kari ḍhulāẏa cāmara | kāruṇya kaṭākṣe rahe priẏa gadādhara ||
maṅgalapradīpa dhūpa la iẏā sbarūpa | maṅgala ārati kare kibā aparūpa ||
bhakatibinoda rahi nikaṭe tāɱhāra | yogāẏa ārati drabya ati camatkāra ||
binodera padaraja śirete dhariẏā | tāɱhāra kiṅkara dekhe ānande majiẏā ||
যুগল লীলায়
মঙ্গল আরতি জয় কিশোর কিশোরী । আনন্দে ভাসল সবু সখী তাহা হেরি ॥
রাত্রি শেষে নিদ্রা যায় শ্রী রাধা মাধব । বৃন্দা দেবী কুঞ্জে নানা করাইল রব ॥
অরুণ উদয় কালে শুক শারী গায় । ললিতাদি মিলি অবে আরতি করায় ॥
কক্খটীর রবে ভীত রাধা বিনোদিনী । নিদ্রা ত্যজি মাধবেরে জাগায় অমনি ॥
মঙ্গল আরতি ধ্বনি সখীগণ করে । ময়ূর ময়ূরী পক্ষ বিস্তারিয়া ধরে ॥
নিজ নিজ ঘরে গিযা অতি শীঘ্র করি । নিভৃতে শয়ন কৈল শ্রী রাধা শ্রী হরি ॥
কমল মঞ্জরী পদ হৃদয়েতে ধরি । আনন্দে ভাসিয়া রহে তাঁহার কিঙ্করী ॥
yugala līlāẏa
maṅgala ārati jaẏa kiśora kiśorī | ānande bhāsala sabu sakhī tāhā heri ||
rātri śeṣe nidrā yāẏa śrī rādhā mādhaba | bṛndā debī kuñje nānā karāila raba ||
aruṇa udaẏa kāle śuka śārī gāẏa | lalitādi mili abe ārati karāẏa ||
kakkhaṭīra rabe bhīta rādhā binodinī | nidrā tyaji mādhabere jāgāẏa amani ||
maṅgala ārati dhbani sakhīgaṇa kare | maẏūra maẏūrī pakṣa bistāriẏā dhare ||
nija nija ghare giyā ati śīghra kari | nibhṛte śaẏana kaila śrī rādhā śrī hari ||
kamala mañjarī pada hṛdaẏete dhari | ānande bhāsiẏā rahe tāɱhāra kiṅkarī ||
Thanks for all your insights and comments. I had no idea that these were composed by Srila Lalita Prasada Thakura. I thought i had stumbled across some rare words of BHaktivinoda. In Giti-Malika there's also a Bengali rendition of Visvanath's Guruvastakam - was that also by Lalita Prasada?
So was Giti-Malika a book by Sri Lalita Prasada Thakura that included some of the works of BHaktivinoda also?