Jagat

āḥ kīdṛk puṇya-rāśeḥ supariṇatir iyaṁ keyam āścarya-rūpā kāruṇyaudārya-līlā sphurati bhagavataḥ ko nu lābho'dbhuto'yam | yad vā nāścaryam etan nija-sahaja-guṇa-mohita-śrī-vidhīśādy atyuccair vastu vṛndāvanam idam avanau yat svayaṁ prādurāste || Ah! Is this some kind of beautiful end result of great accumulations of pious works? Is it the dance of God's compassion and charity that appears before me in such wondrous form? Indeed, what a amazing attainment it is! Or perhaps it is not so astonishing at all: This is the land of Vrindavan, a most elevated substance, which enchants with its natural qualities Lakshmi, Brahma, Siva, and all the gods and has now itself appeared on this earth. Prabodhananda Saraswati has had a chain of sphūrtis in the previous verses culminating in a vision of the sakhis of Radha, who serve the Divine Couple in such intimacy. Radha, Krishna and the sakhis, but it was all simply to glorify this place, Vrindavan. Without Vrin...

kiṁ krīḍaiva śarīriṇī ? smara-kalā kiṁ dohinī ? kiṁ ratiḥ svābhā mūrtimatī ? kim adbhuta-manojanmāstra-vidyaiva vā ? kiṁ vā jīvana-śaktir eva satanuḥ śyāmasya ? na jñāyate sā rādhā vijarīharīti hariṇā vṛndāvane'har-niśam||2.20|| Is this that appears before me nothing other than play possessing a body? Or is it the art of erotic love, yielding its gifts? Or is it the pleasures of love, taking an effulgent form? Or is it only the science of Cupid's wondrous weaponry? Or perhaps it is Shyamasundara's life energy embodied:   I do not know. It must be Sri Radha, who is dallying with Hari day and night with eternally increasing intensity in Vrindavan. This verse follows the formula of sandehālaṅkara , based on doubt. One speculates about the nature of the object being perceived by pointing to its qualities and those things to which they can be compared. In this case, it is the third kind of sandehālaṅkara called niścayānta , in which the doubt is resolve...