Another side of Bhaktivinoda 20 :: Srimati Vishnupriya's Glories (2)

Gaura-Gadadhar at Gadai-Gauranga Kunj

Why did Thakur Bhaktivinoda inaugurate Lakshmipriya, Gauranga and Vishnupriya's nitya-sevā-pūjā in the yoga-pitha mandir that he founded at Mayapur? In this chapter we will attempt to answer this question, and go on to discuss how this yoga-pitha is worshiped in Goloka Nabadwip.

As we completed our guru-pūjā to Bhaktivinoda's guru-varga, that begins from Vipina vihari Gosvami and leads up to Sri Nityananda Prabhu, Ramai wishes to take us to Vamsivadana Thakura. For he is the next acharya of this paramparā whom we keenly desire to worship.

To meet Vamsi, Ramai leads us out from the western gate of Nityananda's abode, and we start heading up the hill towards Gauranga's breathtaking palace in the Dham's center. Then as we arrive on the palace's southwestern side, Ramai brings us into a hidden chamber within its high golden walls. And here we find Vamsivadana guarding a secret entrance which leads into Vishnupriya and Lakshmipriya's gupta-Vrindavana abode. But then a wonder happens: We see Ramai enter Vamsi's divine body and disappear!

Before we take up Vamsivadan's guru-puja, however, there are a few topics that need to be discussed first.

In Vrindavan, has anyone not heard about Radharani's glories? For on every street corner, in every lane, and in every home the people address one another by saying “Radhe! Radhe!”

Could this be a result of our Six Goswamis' preaching? Because in their Vraja lila literature they describe Radha's glories extensively. But if we ask, what have they written about Vishnupriya? ...the answer is, “almost nothing”. And if we go on to study the most popular account of Gauranga's biography and teachings, Caitanya caritamrita, we will discover that herein Vishnupriya's name is hardly mentioned at all.

So we may curiously ask: “As Radharani is duly glorified, why is Vishnupriya's topic so neglected?”

But if we carefully ponder this matter, we might begin to wonder: Could this be one of Vishnupriya's glories, that She truly desires to remain hidden? For the rasika Mahajan poet Vidyapati declares:

kahe bidyāpati ei kathā dhara
gopana pirīti viṣama baḍa
“Just mark my words – romantic love that is kept a secret is the most exciting of all!”

And suffice it to say, since our Gaudiya Mahajans declare Gauranga to be a pracchanna-nāgara (a hidden romantic) because His intimate prema affairs are rarely discussed, wouldn't it be appropriate that those of His nitya consort Vishnupriya be kept hidden as well?

To illustrate what often occurs from this, however, let us review a conversation that we once had with Sri Syamsundar Pandita of Radhakund. And we can surely regard him as a leading figure at the Kunda since his Bhagavat discourses during niyama seva attract hundreds of listeners.

As we were talking that day, Vishnupriya's topic came up, then Shyamsundar Maharaja-ji commented:

“Since our Vraja Goswamis haven't written about Vishnupriya, we don't feel inclined to take up Her worship.”

In hearing his verdict (which sounded a bit harsh), we asked: “Do our Six Goswamis write extensively about Radha-Krishna's lila, tattva and rasa?”

“Well, yes, certainly,” he replied.

“And do our Goswamis say that Gauranga and Krishna are non-different?” we questioned.

“Yes, of course,” he answered.

Thus we submitted: “Can we perceive, then, that our Vraja Goswamis wrote all about Vishnupriya-Gauranga's lila, rasa and tattva in a camouflaged way by focusing on Radha-Krishna's lila, rasa and tattva which are non-different – simply to preserve the pracchanna (hidden) aspect of Vishnupriya and Gauranga's intimate affairs? For example, as Radha-Krishna's astakala-lilas are narrated in Govinda-līlāmṛta, can we not say that Vishnupriya and Gauranga perform those same pastimes in Goloka Nabadwip?”

He became silent, and thought for a moment. Then he replied: “But where is Vishnupriya's place in the yoga-pitha?”

“Vishnupriya Gauranga's yoga-pitha lila is separate”, we replied.

Then he became silent again, and more thoughtful.

Rasa Analysis
Since our Six Goswamis and Krishnadas Kaviraja haven't written about Vishnupriya Devi, should we conclude that She cannot be the Supreme goal of our worship?

Here are a few points that support Her Yugal upasana with Sri Gaursundar:

• In Vaishnava worship, it is recommended that we approach Sri Bhagavan through His nitya consort. Therefore, the yugal upasana of Laksmi Narayan, Sita Rama, Radha Krishna and Vishnupriya Gauranga is universally supported in all forms of Vaishnava Dharma.
• Just as Radha Krishna's yugal upasana is Krishna's greatest worship, Vishnupriya Gauranga's yugal upasana is Gauranga's greatest worship. We can say this because just as Gaura is Krishna, Vishnupriya is Radha, as Rupa Goswami affirms in Lalita madhava;
• When sending the Six Goswamis to Vraja, Mahaprabhu requested them to preach all about the Vraja rasa; He didn't instruct them to write about Vishnupriya, His most intimate topic;
• Since our Vraja Goswamis could not be there to take part in Gauranga's madhura Nabadwip lilas, they humbly felt that they were not the delegated ones to write about those pastimes – especially to broadcast the intimate form of worship that is contained therein. Hence, in Caitanya caritamrita, Srila Kaviraja Goswami describes Gauranga's Adi lilas only briefly, in codes alone;
• On the other hand, as the Nabadwip bhaktas take part in Gauranga's kaishora pastimes, it is only befitting that we hear about those madhura lilas from them;
• As Vishnupriya Devi is the Sampradaya Acarya of Thakur Bhaktivinoda's guru-paramparā in Goloka Nabadwip, Her paramparā members receive the priviledge to join Her madhura pastimes with Gauranga in divine female forms.

Sri Nabadwip's Yoga-pitha Worship and Thakur Bhaktivinoda
Shyamsundar Pandit-ji did, however, raise a relevant question: “Where is Vishnupriya's place in Nabadwip's Yoga-pitha?” And because She is not found in the most common one that he refers to, he means to question: Is Vishnupriya Devi really worshipable in our Gaudiya Vaishnava tradition?

So who is there in this Yoga-pitha? The answer is: In the lotus formation's central whorl stand the Pancatattva. And closest to them are the Asta Goswamis (headed by Rupa and Sanatan Goswami) and then come the Ashta Mahantas (headed by Svarupa Damodara and Raya Ramananda), and so on.

Now what has Thakur Bhaktivinoda done which is truly revolutionary? By installing Lakshmipriya, Gauranga and Vishnupriya on the central altar of the Mayapur Yoga-pitha Mandir (instead of the Pancha-tattva), he has established a form of worship that exists nowhere else in our Vaishnava world.

But what was his intention? To answer, we will say that the seed of inspiration behind this special inauguration came from his close friend and admirer, Sishir Kumar Ghosh, who wished to congradulate him after he discovered Sri Gauranga's janmasthan.

Sishir then wrote saying: “Thakur Mahasaya, as there are Six Goswamis in Vrindavan, I verily see you as the Seventh Goswami. We wish you good luck in your excavation work, but please don't forget Navadvipesvari.”

We can testify what lead up to this. Bhaktivinoda once wrote articles for Sishir Kumar Ghosh's Sri Vishnupriya Journal as its co-editor. During this time Bhaktivinoda revered Sishir for his steadfast enthusiasm to preach about Gaura and Vishnupriya's worship. So when Sishir requested him not to forget about Navadvipesvari, Bhaktivinoda took his message to heart when choosing the Archa-vigrahas for the Mayapura Yoga-pitha Mandir.

But now a deeper question arises: Why did our Thakur also install Lakshmipriya's worship beside Vishnupriya and Gauranga, because we know that the Two Priyas never appeared together in Gauranga's earthly bhauma pastimes?

But this is exactly what prompted Thakur Bhaktivinoda to do this, because he intended to demonstrate that such prema-seva goes on eternaly in Goloka Nabadwip – where Lakshmipriya and Vishnupriya serve their Prana-vallabha Gauranga along with millions of sakhi followers. And thus he directs our attention to another Yoga-pitha lila which is distinclity different from the renowned one where the Panca tattva stand in the center. Bhaktiratnakara, Chapter Twelve, verses 4038-47, reveal the picture of what goes on:

“Visvakarma has constructed Gauranga's Goloka palace to outmatch the splendor of Indra's abode. In every room Gauranga can be seen performing a different activity (just as Narada saw Krishna in countless forms performing a different activity in each one of Dvaraka's palaces.)

Outside of Lakshmipriya and Vishnupriya's inner quarters there are beautiful flower gardens, a sarovara, and a yoga-pitha mandir. Above the mandir's raja-singhasana hangs a colorful canopy. And when Gauranga stands here with Lakshmipriya and Vishnupriya who are attractively dressed and bedecked in jewels – Their beauty can easily steal the attention of everyone in the three worlds!

As millions of sakhis surround Them, some twirl chamaras, some anoint Them with chandan – as countless others perfom other kinds of seva. In the splendid nikunjas here Gaura enjoys vilasa-keli with Lakshmipriya, Vishnupriya and all of Their sakhis.”

Vamsivadana Thakura's Guru-pūjā
This beautiful inner world of Gauranga's pastimes is accessable to Bhaktivinoda's guru-paramparā members because Vamsivadana is Vishnupriya's intimate disciple. Although, to enter, we must assume a divine female form. In his Vishnupriya mangala, Haridasa Goswami tells about this:

priyājīra sakhī dāsī gaurāṅgera premikā, nadīẏā yugala rase tāhāra rasika |
nadīẏā nāgarī prāṇa gaura rasamaẏa, nabadbīpa puṣpodyāne nitya rasa haẏa
nāgarī jana ballabha viṣṇupriyā nātha, nitya rāsa puṣpodyāne nāgarīra sātha
nāgarīra carita kichu bhuja nāhi haẏa, parama cātura tāra dharā nāhi deẏa
priyājīra kṛpāẏa haẏa sakhī anugata, sakhīrūpa guru haẏa nāgarī tattba
“Vishnupriya's sakhis and dasis are all Gauranga's premikas (beloved consorts) – and the rasikas who relish Vishnupriya Gauranga's madhura pastimes. Because rasamaya Gauranga is the nāgarīs' life and soul, He enjoys Rasalila with them in Goloka Nabadwip's flower nikunjas. Hence Vishnupriya's Prananath is nāgarī -jana-vallabha.

It is not easy to fathom the nāgarīs' loving affairs with Gauranga because they keep these pastimes hidden. By Priyaji's mercy, however, if we can follow in Her sakhis' footsteps – then all of these secrets can be revealed by our guru-rūpa-sakhi.”


Rasa Analysis
Thakur Bhaktivinoda's contribution is magnanimous for numerous reasons:

• By establishing Lakshmipriya, Gauranga and Vishnupriya's worship in the Mayapura Yoga-pitha mandir, a hidden secret comes out to reveal itself: The ashraya vigrahas of this worship are the nāgarīs. For just as Radha's sakhis and dasis are the ashraya vigrahas for Radha-Krishna's yugal seva, the Nabadwip nāgarīs are the ashraya vigrahas of Lakshmipriya, Gaura and Vishnupriya's yugal seva;
• Herein Bhaktivinoda reveals that Gauranga's lila is not only bhāvāḍhya, it is rasatmikā as well. Now what does this mean? In the Guṭikā , the Nabadwip yoga-pitha worship that features the Pancha-tattva is called bhāvāḍhya upāsanā because herein the bhaktas focus on Gauranga in His Radha-bhāva and Bhakta-bhāva features – a rasa relish that the Lord and His bhaktas experience within their mind.
• In the Nabadwip yoga-pitha that features Lakshmipriya, Gauranga and Vishnupriya, however, the rasātmikā aspect of the lila manifests. Because just as Krishna enjoys embracing, kissing and rati-keli with the gopis, those same activities take place with Lakshmipriya and Vishnupriya's sakhis with Gauranga.
• In today's Vaishnava world many bhaktas mistakenly conclude that Nadiyā-nāgarī bhajan is an unbonafide form of worship that was invented by unauthorized persons. But in the yoga-pitha worship that Bhaktivinoda established, it is revealed that this is the internal form of Gauranga's worship that has simply been kept hidden.
• Since Vishnupriya Devi is the sampradāya acharya of Thakur Bhaktivinoda's guru-paramparā – to follow in the footsteps of Vishnupriya's intimate sakhis is the highest form of worship.

Now the important question comes, how can we take up this form of worship? Here we can say that the same process that Caitanya-caritāmṛta (C.c. Madhya 8, 200-205) prescribes for attaining Radha-Krishna can be applied for attaining Vishnupriya-Gauranga:
rādhā-kṛṣṇera līlā ei ati gūḏhatara | dāsya-bātsalyādi-bhābe nā haẏa gocara ||
sabe eka sakhī-gaṇera ihāṅ adhikāra | sakhī haite haẏa ei līlāra bistāra ||
sakhī binā ei līlā puṣṭa nāhi haẏa | sakhī līlā bistāriẏā, sakhī āsvādaẏa ||
sakhī binā ei līlāẏa anyera nāhi gati | sakhī bhābe ye tāɱre kare anugati ||
rādhā kṛṣṇa kuñja-sebā sādhya sei pāẏa | sei sādhya pāite āra nāhika upāẏa ||
We will present the translation of these verses for Radha-Krishna's lila first, and then apply the same meaning as it applies for Vishnupriya and Gauranga's pastimes.

(1)
Because Radha-Krishna's pastimes are very confidential, they are unknown to the bhaktas who worship in other rasas – only the sakhis can take part in them. So as these lilas are expanded upon, nourished and relished by the sakhis – only by following in the sakhis' footsteps in sakhi-bhāva can we attain Radha-Krishna's nikuñja-sevā – for no other process will suffice to attain this supreme goal.

(2)
Because Vishnupriya and Gauranga's pastimes are very confidential, they are unknown to the bhaktas who worship in other rasas – only the nāgarīs can take part in them. So as these lilas are expanded upon, nourished and relished by the nāgarīs – only by following in the nāgarīs' footsteps in nāgarī -bhāva can we attain Vishnupriya-Gauranga's nikuñja-sevā – for no other process will suffice to attain this supreme goal. It is in this spirit that we approach Vamsivadanananda Thakur to perform his guru-pūjā. For he is the guide who can lead us into the hidden transcendental world of Vishnupriya and Gauranga's madhura pastimes that the nāgarīs skilfully arrange.

 Since Ramai has merged into Vamsivadan, Rajavallabha Goswami will perform his arati. And as he begins by offering a ghee lamp and incense, the bhaktas line up one by one to surrender before Vamsi as they offer puṣpāñjali at his lotus feet. But as this goes on something amazing happens: Vamsi's beautiful nāgarī-svarūpa manifests! And what is more, when each bhakta comes to offer puṣpāñjali, their stunningly beautiful nāgarī-svarūpa also appears! In this way the arati continues until not one male is left in our assembly.

As we follow Vamsi's nāgarīsvarūpa to enter Vishnupriya's gupta Vrindavan abode, she points and exclaims: “Oh sakhis! Just see Vishnupriya's kund which is surrounded by Her ashta sakhis' kunjas. On its four banks precious gemstone steps lead to four jeweled bathing ghats that beautify the water's edge. But in a forest of desire trees not far from here is the yoga-pitha mandir. It is made from a myriad of precious jewels, stones and gold, and it can change color during different times in the day.”

As Vaṁśī-nāgarī leads us up the yoga-pitha mandir's crystal steps, it appears small and charming from the outside. But as she opens the eastern door – everyone gasps because the inside appears to be endless! Then the golden effulgences of Vishnupriya's sakhis are more shimmering than the brightness of millions of suns – but as we look to each one of them – the inner glow of their divine bodies are more soothing than millions of moons! Then our attention goes to Vishnupriya Who is the most breathtaking goddess of all!

When Vaṁśī-nāgarī leads us right past all of the other sakhis to arrive before Vishnupriya and Gauranga, a realization awakens: “Oh my! What incredible fortune has brought us here? For haven't we reached the lotus feet of Sri Bhagavan's most supreme form, which stands before us with His supreme consort?” Vaṁśī-nāgarī then exclaims: “Oh sakhis! Let's offer Them Their yugal pranam mantra:”

śrīman-navadvīpa-kiśora-candra
hā nātha viśvambhara-nāgarendra
hā śacīnandana citta-caura
prasīda he viṣṇupriyeśa gaura
“Oh handsome moon-like youth of Nabadwip! Oh Vishwambhara, You are our Prananath and the lord of all nagaras! Oh Sachinandana! Although You are stealing our patience, we know very well that You are Vishnupriya Devi's Golden-pranesvara!” Falling before Vishnupriya's lotus-feet, Vaṁśī-nāgarī earnestly prays: “Hey Gaura-vallabha! Hey Navadvipeshwari! Hey Karunamayi! As Your paramparā-sakhi members wish to perform the carana-puja of Your Priyatam and You surrounded by Your dearest sakhis will You please grant Your permission?”

Smiling gracefully Vishnupriya places Her lotus-hand on Vaṁśī-nāgarī 's head, and utters: tathāstu, “Let it be done.”

Vaṁśī-nāgarī becomes our purohit (head-pujari) and after bringing us before Gaurasundar, she instructs: “Let's first offer eight Tulasi dipped in chandan to our Prana-vallabha's lotus-feet.” Then as we offer each Tulasi, she recites the mantra that Vishnupriya initiated her with:

klīṁ gopī-jana-vallabhāya svāhā
But for us, gopī-jana-vallabha Krishna simply means nāgarī-jana-vallabha Gorā – as we see the Two as being non-different. “Now I shall recite the puja-stava,” Vaṁśī-nāgarī exclaims. “But as I do this, you sakhis can offer pushpa, chandan and malas to your Praneshwar according to your wish. Thus she begins reciting:

jaẏati jaẏati deba nabadbīpa-candra
naṭabara nāgara ānanda kaṇḍa
kasita-kāñcana jini ḍaga-maga aṅga
sarba aṅge bahe prema taraṅga
nāgarī prāṇa badhū nabadbīpa indu
patita pābana gorā karuṇāra sindhu
nadīẏā binoda gorā jaẏa madhura nṛtya
viṣṇupriyā gaura nāma sarba kāla satya
“Glories, glories to our param-devata Nabadwip-candra! You are a charming romantic dancer and the reservoir of all pleasure. As Your body radiates with the luster of molten gold, waves of prema emanate from Your limbs. You are the nāgarīs' beloved, the moon of Nabadwip and an ocean of mercy. Oh Nadiya-vinoda Gorā! All glories to your madhura dancing, and to Vishnupriya-Gaura's yugala-nama which is parama-satya.” (Viṣṇupriyā-maṅgala)

The nāgarīs gravely begin the puja by offering flowers to Gauranga's lotus-feet, painting enchanting tilaka-designs over His forehead, decorating His cura (topknot) with malati garlands, placing a vaijayanti mala around His neck, and anointing His beautiful limbs with chandan. But as they repeatedly touch their dearly beloved, the flames of Cupid's loving desires awaken. And similarly, Gauranga is getting pelted by Cupid's arrows again and again by their madhura touch. So what was bound to happen finally happens: As a few of the bolder sakhis start to lovingly embrace and kiss Gauranga – the rest of them join in too – to lovingly embrace and kiss him in whatever part of His stunning body they fortune to hold! Now to speak quite frankly, doesn't this scene closely resemble what is going on in this famous Gita-govinda verse: “Oh vinodini Radha! Just see how Krishna is enjoying with all of the Vraja -sundaris! For as they embrace and kiss every limb of his soft shyamal body which is more pleasing than a blue lotus – He inaugurates Cupid's love festival – to enliven them and the whole universe – as He is truly Sringara (amorous love) personified!” (G.g. 1,48) In seeing Her sakhis frolic, however, Priyaji behaves just like Radha in Gita govinda's next verse (here we have inserted Vishnupriya in Radha's place, and Gaura in place of Krishna): Aho! Love-blind Vishnupriya moves right past those vilasini sakhis to boldly embrace Gauranga around His chest, and exclaim: “Aha! What a nectar-sweet-face You have!” As She robustly kisses Him right on His glossy red cheek! While observing Vishnupriya's unusual behaviour – Vaṁśī-nāgarī horripulates and excitedly exclaims: “Hey sakhis! What an excellent opportunity! Let's now perfom our Swamini's yugal-rūpa-pūjā as She madly embraces Her rasamaya nagara. Thus she begins singing Their yugala-pūjā-stotra:

jaẏa – śrī śacīnandana, jaga jana bandana, jagannātha nandana, sarba guṇa nidhiẏā
jaẏa – sanātana-nandinī, tribhubana bandinī , gaura sohāginī, debī biṣṇupriẏā
jaẏa – nadīẏā purandara, jaẏa biśbambara, rasa-sāgara-nāgara, nabadbīpa indu
jaẏa – nabadbīpeśbarī, trailokya sundarī, pada-yugale dhari, deha karuṇā bindu
“Glories ! To the Son of Saci and Jagannatha! You are praised by the whole world for Your virtuous qualities;

Glories ! To the Daughter of Sanatana Mishra, Gauranga's most dearly beloved, devi Vishnupriya, you are glorified throughout the three worlds;

Glories! To Vishwambhara, the virtuous moon of Nabadwip. You are a great romantic and an ocean of madhura prema;

Glories! To the goddess of Nabadwip. You are the most beautiful woman in the three worlds. Please give us a drop of your mercy as we take shelter at Your lotus-feet.” (Biṣṇupriẏā-maṅgala)

As Vaṁśī-nāgarī sings this kirtan, the sakhis are bubbling with intoxication as they worship Vishnupriya Who tightly embraces Gaursundara. And according to the pūjā-vidhi, at this auspicious moment, they can offer Tulasi to Priyaji's carana-padma as well. So as tears stream from their eyes, their bodies tremble with horripilation, and their sweet voices falter, they complete Priyaji's puja in a state of parama-ananda!

The Asta-sakhis' puja
(1)
On Priyaji's request, Vaṁśī-nāgarī then leads us to the yoga-pitha's northern lotus-petal where Kanchana Sakhi is standing. She is the prakāśa vigraha of Radha's leading sakhi Lalita. As the sakhis begin to perform her puja, Vaṁśī-nāgarī recites her stotra:

brahma-kanyāṁ mahāmāyāṁ brahmādi-deva-vanditām  svarṇa-vidyuta-vijitāṅgīṁ pītāmbara-vidhāriṇīm  gaura-prema-mayaṁ rāmāṁ nānālaṅkāra-bhūṣitām   saṅgīta-kuśalāṁ rāmāṁ mṛdaṅga-yantra-dhāriṇīm  snehamayīṁ sadārādhyāṁ gaura-prema-pradāyinīm   vande kāñcanā-devīṁ gaura-dāsīṁ manoharām
Kanchana Sakhi is the daughter of a brahmin and the form of Mahamaya whom Lord Brahma and all the devatas worship. Her body is lightening color, she wears a yellow sari, and as a beautiful kishori ramani overflowing in Gaura-prema she wears many gold and jeweled ornaments. She is an expert singer, a skilfull mridanga player, and always affectionate and merciful tho whomever takes her shelter. Let us offer our pranams to Srimati Kanchana devi, who is Gaura's most enchanting dasi.

 The eight sakhis who serve in Srimati Kanchana's group are Indira, Kuranyakhi, Hemalata, Katyayani, Vidyuta-lata, Krishna-mata, Krishna-kanta and Shaila-bala.

(2)
Vaṁśī-nāgarī next leads us to Vishnupriya's second sakhi, Amita Devi, who stands in the lotus' northeast petal. She is the prakāśa-mūrti of Vishakha Sakhi. As we bow to her and begin to perform her puja, Vaṁśī-nāgarī recites her pūjā-stotra:

amitāṁ sundarīṁ rāmāṁ puṣpāraṇya-vihāriṇīm
tapta-hema-gaurāṅgīṁ śyāma-vastra-vidhāriṇīm
pūrṇendu-vadanāṁ cāruhāsīṁ prema-rūpiṇīm
ratnālaṅkāra-bhūṣāṅgīṁ tāla-vādya-vinodinīm
nava-yauvana-sampannāṁ lalita-namra-bhāṣiṇīm
vande tām amitāṁ devīṁ lakṣmīpriyaika-jīvanām
“Amita Sundari is a beautiful kishori who loves to wander through the flower gardens. Her complexion is like molten gold, her sari is shyama colourd and her face beams like the full moon. She is the abode of Gauraprema, she has a lovely figure, and her speech is amiable and pleasing. Let us offer our pranam to Amita Sakhi who is the very life of Lakshmipriya.”

The eight sakhis serving in her group are: Madhavi, Priyamvada, Sucarita, Rupa Manjari, Sarasvati, Vedamata, Satyabama and Rukmini.

(3)
Coming to the lotus' eastern petal, we offer our pranam to Vishnupriya's third sakhi, Sukeshi, and begin to perfom her puja. She is the prakāśa-vigraha of Radha's sakhi named Citra. Vaṁśī-nāgarī then recites her following pūjā-stotra:

sucitra-vasanāṁ rāmāṁ kati-vādya-vinodinīm   cāru-kuñcita-keśādyāṁ veṇi-yukta-manoramām
nānālaṅkāra-bhūṣitāṁ pīnonnata-payodharām
kaṭi-kiṅkinī-saṁyuktāṁ komalāṅgī-kṛpāmayīm
kalyāṇa-rūpiṇīṁ śāntāṁ gaurānanda-pradāyinīm
vande gaura-priyāṁ devīṁ sukeśīṁ cāru-hāsinīm
Sukeshi Sakhi wears a muli-colored sari, she plays the violin enchantingly, and her fine curly hair looks very attractive tied in a veni (pony-tail). She wears many gold and jeweled ornaments, has beautiful large breasts and when she musingly walks the bell string tied over her lovely nitamba sweetly tinkles. Her body is soft and mind-stealing, and she is very merciful to whom ever takes her shelter. She can award shanti, auspiciousness, and the pleasure of Gauranga's rati-sanga. Let us take shelter of Sukeshi Sakhi who smiles enchantingly and who is exceptionally dear to Gauranga.

 Her eight sakhis are: Surabala, Sukumari, Goloka-vasini, Lalita, Sucaru-hasini, Labanga-lata, Suradhuni and Jaganmata.

(4) Coming to the yoga-pitha lotus' south-eastern petal, we bow to Candrakala Sakhi, and begin to perfom her puja. She is the prakāśa-mūrti of Radha's Indulekha Sakhi. Vaṁśī-nāgarī then recites her pūjā-stotra:
raktāmbarāṁ hemagaurīṁ nānālaṅkāra-bhūṣitām
cāturīṁ cāruhasinīṁ sāraṅgī-vādya-dhāriṇīm
pūrṇendu-vadanāṁ rāmāṁ rasa-nṛtya-vinodinīm
padma-netrāṁ kṣīṇa-kaṭiṁ hara-gaurī-vanditām
pīka-svanīm prema-dhātrīṁ pāpa-tāpa-vināśinīm
vande candrakalāṁ devīṁ viṣṇupriyaika-jīvanām
Chandrakala Sakhi's sari is deep red, her body is golden and she loves to wear lots of gold and jeweled ornaments. She is clever and attractively smiles as she plays the sarangi and dances fantastically during the Rasalila. Her face shines brighter than the full-moon, and by her wonderful dancing she can intrigue Gauranga. She has a charming thin waist, lovely lotus-eyes and even Shiva and Parvati sing her glories. Let us offer our pranam to Chandrakala devi's lotus-feet, for Vishnupriya loves her as Her very life.

 Her ashta-sakhis' names are Hemavati, Hemakanti, Susobhana, Candramukhi, Candrabhaga, Sri Candrabadana, Kalakanthi and Subha-nana.

(5)
Arriving at the lotus' southern petal, we offer our pranam to Vishnupriya's renowned fifth sakhi, Manohara devi, and begin her puja. She is the prakāśa-vigraha of Radha's Chhampakalata Sakhi. And Vaṁśī-nāgarī recites her stotra as follows.

śuklāmbarāṁ campakābhāṁ siṅga-vādya-vidhāriṇīm
saralāṁ sarasijākṣīṁ karuṇā-sāgarāṁ samām
sarvāṅga-sundarīṁ vāmāṁ rasanārthana-kāriṇīm
dhīrādhīrārūḍha-bhāvāḍhyāṁ pīna-stanīṁ manoramām
rasajñānāṁ rasika-śreṣṭhāṁ raṅginī-rasa-paṇḍitām
manoharāṁ mahādevīṁ vande gaura-vinodinīm
Manohara Sakhi's sari is swan-white, her body is the color of a campaka flower, and she plays a buffalo horn. She is shy, peaceful, and has beautiful lotus-eyes. She is a vāmā-nāyikā, an ocean of mercy, and has a captivating figure. She teaches her Rasa dancing skills, posesses deep loving bhāvas, and has very large mind-stealing breasts. She is the greatest rasika and a fantastic lover in rati-keli. Let us offer our pranam to Manohara Sakhi's lotus-feet, as she can always captivate Gauranga's mind.

 Her eight sakhis are: Komalangi, Carubala, Manjubhasini, Dirgha keshi, Vishalakhi, Mana-mohini, Tilottama and Surabala.

(6)
Arriving at yoga-pitha lotus' southwestern petal, we bow to Sakhi Vishnupriya, and begin to perform her puja. She is the prakāśa-murti of Radha's Rangadevi. Since she looks almost like Vishnupriya, the sakhis call her Sakhi Vishnupriya. Vaṁśī-nāgarī recites her following stava:

viṣṇupriyā-priyāṁ devīṁ kañjanī-vādya-dhāriṇīm
svarṇa-vidyud-vijitāṅgīṁ bālārkāmbara-dhāriṇīm
kiśorīṁ keli-rūpāṁ ca rāsa-lakṣmī-kṛpāmayīm
saṅgīta-kuśalāṁ śāśvat rāsa-nṛtya-vihāriṇīm  lāvaṇya-rūpiṇīṁ hāsya-nṛtya-abhinaya-kāriṇīm
sakhīṁ viṣṇupriyāṁ vande gaura prema-vinodinīm
Sakhi Vishnupriya is the most dear to Vishnupriya, she plays the kanjani vina, and her bodily colour resembles a golden lightening-streak. Her Sari's colour appears like the rising sun, she is a pretty kishori and expert in rati keli. During the Rasalila she becomes the Rasa's Laksmi-svarūpini. She is very merciful, an expert singer and a fantastic dancer. Her body is exceptionally glamorous. When she dances she can act out wonderful dramas. Let us offer our pranam to Sakhi Vishnupriya who can always captivate Gauranga's mind.

 The names of her eight sakhis are: Krishna-priya, Shyama, Rama, Candramukhi, Sundari, Sumadhya, Bhadra and Priyamukhi.

(7)
Coming to the lotus' western petal, we offer our pranam to Prema-latika Devi, and begin her puja. She is the prakāśa-vigraha of Radha's Tungavidya Sakhi. Vaṁśī-nāgarī recites her pūjā-stotra which runs as follows:

nīla-paṭṭāmbarāṁ beri-vādya-vidāriṇīm
puṣpodyāna-priyāṁ gaura-mohinīṁ cāru-bhāṣiṇīm
tapta-hema-gaurāṅgīṁ ratnālaṅkāra-bhūṣitām
nṛtya-gaṇa-rase mattāṁ nānā-bhāva-prakāśinīm  vinā gaura-kiśoreṇa tucchavat sarva-tyāginīm  vande premalatāṁ devīṁ pora-bhakti-pradāyinīm
Prema-latika Sakhi's sari is deep blue, she plays the beri drum, and she loves to enchant Gauranga in the flower nikunjas. She has an attractive sweet voice, her bodily color resembles molten gold, and she wears many gold and jeweled ornaments. She is expert in dancing and singing rasa sangita, and can portray numerous deep bhāvas to enchant Gauranga. Except for Gauranga's loving sanga she can renounce everything else. Let us offer our pranams to Prema-latika Sakhi who can bestow the highest form of Prema bhakti.

Her eight sakhis names are: Capala, Radha, Suddhamukhi, Raseshwari, Santi, Khemankari, Krishnadevi and Maheshwari.
(8)
Vishnupriya's eighth sakhi, Sura-sundari devi, is the prakā'sa-mūrti of Radha's Sudevi Sakhi, and she stands in the yoga-pitha lotus' northwest petal. As we come to bow down before her and begin her puja, Vaṁśī-nāgarī recites her following puja stava:

hema-padma-varṇāmbarīṁ devīṁ ḍamaru-vādinīṁ śubhām
svarṇa-vidyut-dyuti-gaurīṁ nānālaṅkāra-dhāriṇīm
urvaśī-menakā-rambhā-vijayetrīṁ svarūpena ca  lakṣmī-sarasvatī-gaurī-vijayetrīṁ svarūpeṇa ca  satyavatīṁ prema-dhātrīṁ sundarīṁ śiromaṇim  viṣṇupriyā-priyāṁ rāmāṁ namāmi sura-sundarīm
Sura-sundari Devi's sari resembles the color of a golden lotus, she plays the damaru drum, and her bodily color matches that of a golden streak of lightening. She wears lots of gold and jeweled ornaments and her attractive figure outmatches that of svarga devi's such as Urvasi, Menaka and Rambha. Moreover, she has wonderful qualities that surpass those of Laksmi, Sarasvati and Parvati. She is truthful, and can bestow Gauraprema – and amongst all attractive woman she is the most beautiful of all. Let us offer our pranam to Sura-sundari devi who is very dear to Vishnupriya.

Her eight sakhis are: Sulocana, Vraja-bala, Urmila, Menaka, Pratibha, Gayatri, Shyama and Sugandhika.

Rasa Analysis
Now we may wonder: Where do the names and the descriptions of Vishnupriya's ashta sakhis come from? Here we will admit, it is miraculous that such invaluable material has been uncovered. To unveil the mystery, we can first mention what a treasure Siddha Krishna Das Baba's śrī śrī Gaura-govinda-aṣṭa-kāla-līlā-smaraṇa-guṭikā is. Because if Siddha Baba hadn't compiled it, perhaps still today raganuga sadhakas would be at a great loss for gaining the deep insight that this lila smaran manual presents. But for those who wish to learn the secrets of Gauranga's internal worship, the Bhajana-guṭikā of Siddha Caitanya Das Babaji Maharaja of Nabadwip is similarly a very rare and priceless jewel. It is a tragedy, however, that as Siddha Krishna Das's Guṭikā has been published, Siddha Caitanya Das's Guṭikā still remains lupta, or hidden from our world.

The names and the pūjā-stotra's of Vishnupriya's aṣṭa sakhis are taken from Caitanya Das's Guṭikā and noted down by Shashibhusan Goswami of Vishnupriya's parivara more than a 150 years ago. Then Haridas Goswami later published this material in his Gambhira Sri Vishnupriya grantha.

Siddha Caitanya Das lived at Dhameshwar Gauranga Mahaprabhu's mandir in Nabadwip. And when he attained siddhi there, he uttered these famous words:

āmāra sādhana hala sārā āmāra bhajana hala sārā
nadera cānda kāntā āmi, kānta āmāra gorā
My sadhana is completed, my bhajan is completed – I am Nadiya-canda Gauranga's consort, and he is my dearly beloved!”

Siddha Baba chanted Gaura mantra in japa. His following siddha mantra has 16 names and 32 syllables just like the Hare Krishna maha mantra:

gorā gorā gorā gorā, gorā gorā gorā gorā
gorā gorā gorā gorā, gorā gorā gorā gorā
Here the go stands for Govinda, and the rā is for Radha. When they merge together They become Gorā, Sri Bhagavan's highest feature. As we conclude this chapter there is one more important matter that deserves mentioning: In the siddha-praṇāli for manjari bhāva that Bhaktivinoda Thakur's guru-paramparā offers to its initiated members, the bhaktas follow (according to their choice) one of Radha's aṣṭa sakhis. Then they serve under her as her pālya-dāsi (fostered maidservant) and receive a kunja for their residence within her kunja at Radhakund. Yet similarly, these paramparā members can also take shelter of one of Vishnupriya's aṣṭa sakhis, and consider herself as her palya-dasi, after attaining a residence in her kunja that is located beside Vishnupriya's Kunda within Her Nava Vrindavan abode.