Sri Krishna Kathamrita

Bindu Issue 606

abhisārikā-nāyikā
The Suffering of the Anxiously Waiting Heroine

www.gopaljiu.org
 Sri Krishna Kathamrita
तवकथामृतं तप्तजीवनम्
tava kathāmṛtaṁ tapta-jīvanam
Bindu
Fortnightly email mini-magazine from Gopal Jiu Publications

Issue No. 606 Śrī Indirā Ekādaśī 17 September 2025

• Searching and Seeing

His Divine Grace A.C. Bhaktivedanta Swami Prabhupada
Highlights

• Krishna’s Covered Form

Srila Rupa Goswami
• Radha-prema, the Supreme Guru
Sri Srimad Gour Govinda Swami Maharaja
• Dress of the Yogini, part 3
The medieval Gaudiya Vaishnava poet Raghunandan Goswami

Searching and Seeing

His Divine Grace

A. C. Bhaktivedanta Swami Prabhupada
There are still many devotees of the Lord
lingering there [in Vrindavan] in ecstasy in
search of Krishna and his childhood associates,
the gopīs. It is not that such devotees meet

Unknown potographer
Krishna face to face in that tract of land, but
a devotee’s eagerly searching after Krishna is
as good as his seeing him personally. How this
is so cannot be explained, but it is factually
realized by those who are pure devotees of
the Lord. Philosophically, one can understand
that Lord Krishna and his remembrance are Krishna's Covered Form
on the absolute plane and that the very idea
of searching for him at Vrindavan in pure
God consciousness gives more pleasure to the Srila Rupa Goswami’s
devotee than seeing him face to face. Such Bhakti-rasāmṛta-sindhu 2.1.20-21
devotees of the Lord see him face to face at anya-veśādinācchannaṁ svarūpaṁ proktam āvṛtam
every moment. Text 20: The covered svarūpa is explained: The
— Purport to Bhāg. 3.1.24 svarūpa is called covered when it is covered or
disguised by others’ clothing.
Cover: Abhisārikā-nāyikā. Radharani as the heroine anxiously waiting for her lover. Rāgamālā series
painting by an unknown artist. C. 19th century.
 Issue Six Hundred Six Page — 2
Vintage painting by an unkown artist. Circa 1770.

Krishna approaches Radha in the disguise of a gopī

māṁ snehayati kim uccair mahileyaṁ dvārakāvarodhe ’tra

āṁ viditaṁ kutukārthī vanitā-veśo hariś carati Radha-prema, the
Text 21: An example of a disguised svarūpa is Supreme Guru
given: “Why does this queen in the inner chambers
of Dwarka attract me so much? Ah! I can understand Sri Srimad Gour Govinda Swami Maharaja
that Krishna has assumed the dress of a queen out of Rādhā-prema is vibhu vastu, guru vastu, it is the
curiosity and is wandering about the palace.” supreme guru. Rādhā-prema is anādi, without
Srila Jiva Goswami’s Commentary: These are beginning and unlimited. There is no limit to it. It is
the words of Uddhava. The attraction caused by the incomparable, it cannot be compared to anything.
queen is the same as that directed to the Lord. This Rādhā-prema has no limit. It is unlimited, yet it increases.
incident is supported by the show of Krishna’s power How can you conceive of it? That is nitya-vardhana, it is
of yoga-māyā in Dwarka described in the Bhāgavatam: eternally increasing and increasing. In Ujjvala-nīlamaṇi
avyakta-lingaṁ prakṛtiṣv antaḥ-pura-gṛhādiṣu Srila Rupapada describes four types of viraha, separation,
kvacic carantaṁ yogeśaṁ tat-tad-bhāva-bubhutsayā and four types of milāna, union. Viraha, separation, is the
Somewhere Krishna, the Lord of mystic power, topmost level of prema. In viraha, you cannot describe the
was moving about in disguise among the homes of ānanda, the pleasure you get in the heart. Viraha means
ministers and other citizens in order to understand external separation, but internal union. This union is in
the heart. Externally, Krishna is away, but internally he
what each of them was thinking. (Bhāg. 10.69.36)
— From Śrī Bhakti-rasāmṛta-sindhu, with commentaries of Jiva is in the heart. There is internal union. That is viraha.
Goswami and Vishwanath Chakravarti Thakur. English translation — From The Last Limit of Bhakti, chapter three. Gopal Jiu Publications.
by Bhanu Svami. Sri Vaikuntha Enterprises. Chennai. 2006. Bhubaneswar. 1994.
Sri Krishna Kathamrita Bindu Issue Six Hundred Six Page — 3

Painting by by an unknown artist. Deccan school. 1720-1730.

Krishna feeling separation due to Radharani's sulky anger

Unknown artist. Possibly from Mankot, Punjab Hills. circa 1700-10.
Issue Six Hundred Six Page — 4

Radha as the proṣita-bhartṛkā nāyikā — the heroine longing for Krishna in separation

I would not have uttered all those words. Anger

Dress of the Yogini broke the love between Shyama, the darling of my
life, and myself.” (71-72)
Part Three dekha dekha yāñra lāgi gela dhārma bhaya
kulera gaurava āra lāja haila kṣaya
From Śrī Rādhā-mādhavodaya
yāra pade diyāchi e tanu mana prāna
By Raghunandan Goswami yāhā bine ekaksaṇe haya kalpa bhāna
For more about Raghunandan Goswami see Bindu issue tāhe prema tyajile ki jīvana thākaya
604. The story continues from Bindu issue 605. jala vine mīna kothā parāṇa dharaya
latilāra mukhe śuni e sava vacana
[Radha recalls,] “As I would gaze and gaze upon
rādhikā huṅkāra chāḍi kāndi tāñre kana
him, all my dharma and fear fled far away. My
sakhī mora bhāgya ha-iyāche baḍa duṣṭha
family prestige, and all my modesty were utterly
teṅi torā sakalei ha-itecha ruṣṭa
destroyed. Without him, unto the feet of whom I
Having heard all these words of Lalita, Radhika had given my very mana and prāṇa (my mind and
then began to wail. She cried, “Oh friend! My fate my life), the burden of a moment feels like a kalpa.
has turned very wicked, for I have given you and Having disowned his love, what kind of life do I
Vishakha so much pain too.” (69-70) have now? I feel like a fish trying to remain alive
ye hetuka kahitecha bhūli yei vāṇī without water.” (73-75)
e saba mora prati krodhe ei māni ekhana thākaye yāhe abhāgīra prāṇa
krodha nā ha-ile pāra kabhu ki kahite karaha tāhāra prati upāya vidhāna
jīvana-vallabha śyāme pīriti bhāṅgite dekhite nā pāi tāra se cānda vadana
[Radha continued,] “All that has transpired is kṣaṇa kāla sthira nāhi haya mora mana

precisely why you told me [not to entertain any [Radha goes on,] “And yet [despite feeling
love for him,] and yet, I mistakenly did not heed herself to be like a fish out of water] the life of this
your counsel. If I had not become enraged, then unfortunate one remains! O kindly furnish me with
Sri Krishna Kathamrita Bindu Issue Six Hundred Six Page — 5

A Pahari Kangra style painting by an unknown artist. Late 18th century

Krishna secretly looks on as a gopī advises Srimati Radharani

Painting by Sukhvir Sanghal. 1980
Issue Six Hundred Six Page — 6

The gopīs serve and console Radharani during her separation from Krishna

some precepts [or wise counsel, or some remedial Therefore, tell me of some way how I may soon attain
prescription], for now [such is my predicament the sight of him!” (79-81)
that] unless I can behold his moon-like face then
kulera kalaṅka āra ayaśa āmāra
my mind can by no means maintain a steady ye hayeche nivṛtti nā habe kabu tāra
composure for even a moment.” (76-77)
yadi vā tāhāi haya tabhū prāṇeśvare
tāhe tāra sei saba sudhā sama vāṇī prema bhāṇgibāra kathā sahe nā antare
hṛdaye jāgiyā dhairaye kare khāni khāni
dekha dekha aṅgāra lāgiyā konajana
“His nectar-like words [which issue from his moon- haste pāi cintāmaṇi kare upekṣaṇa
like face] constantly awaken in my heart and break
[Radha then announces,] “The scandalous disgrace
my heart to pieces.” (78.)
with which I have stigmatised my family, and my very
āra ye karila bandu anucita kriya personal disrepute, will never leave me. So let all that
tāhā bhāvi buka jena jāya vidariya
remain, but as he is the Lord of my life, my heart can
tāhe punah madana bindiche bahu śara by no means endure the severing of our love. Someone
jāhāte ha-ila mora tanu jvara jvara
may have a bad reputation, but that does not mean
ataeva upāya ki kari dekhite pāba tare that if a touchstone were to fall into their hands they
tāhāra upāya śīghra balaha āmāre would throw it away [or disregard it]. [Despite the
“My heart breaks yet again as I recall all my ignominious impropriety of her love for him, she will
improper behaviour toward him, and now Cupid not let go of her cintāmaṇi-like Lord.] (82-84)
pierces my heart too, with countless arrows, which tāhe puna yāhā vine prāṇa nāhi raya
cause my every limb and mind to burn like a fever. tāhe prema bhaṅga kathā kemane ghaṭaya
Sri Krishna Kathamrita Bindu Issue Six Hundred Six Page — 7

Kangra painting by an unknown artist. Circa 1810 to 1820.

Virahiṇī nāyikā — the heroine in separation

 Issue Six Hundred Six Page — 8
Vintage painting by an unknown artist.

Radharani bows down to Krishna's footprints

ataeva yadi cāha āmāra jīvana ataeva tāra prati utkaṇṭhā chāḍiyā
tabe kona mate tāre karāo daraśana bhavane basiyā thāka niścanta ha-iya
nā dekhite pāile se śrīmukha tāhāra (Vishakha continues) “and even if we do happen to
kona mate mana sthira habe nā āmāra see him, as we sorely displeased him, he may not even
[Radha concludes,] “As I cannot live without him, I do listen to our words. Therefore, give up all your longings
not understand how our love could ever have managed for him, and keep yourself here, within the confines of
to break [in the first place]! Therefore, if you wish to your chamber, and quite free from all worry.” (91-92)
see me alive, then, somehow or other, let me have his viśākhāra eta vāṇī kariyā śravaṇa
darshan! If I cannot behold his charmingly beautiful kahena rādhikā tāñre sajala nayana
face, then I cannot make my mind steady.” (85-87) sakhī jadi torā āmāra prati
viśākhā kahena sakhī se bahu vallabha ha-ile sakale nidaya mati
karileo ādara nā haya se sūlabha tabe bujhi prāṇa bandure āra
tāhe tumi kariyācha baḍa anādara dekhite nā pāba āmiha chāra
ki kari dekhite pābe puna se nāgara yadi nāi pāi dekhite tāya
cali gela kothā seha kari abhimāna tabe kibā phala rākhiyā kāya
dekhite pāiba tāre gele kona sthāna Having thus listened to Vishakha’s words of counsel,
“But sakhī!” said Vishakha, “He is known as Radhika, with tears in her eyes, said, “Sakhī, if your
bahu-vallabha (having many mistresses) and heart feels so unkindly disposed toward me, then I must
although you love him, he is not so easy to attain. acknowledge that this worthless one will never see her
Besides, considering that you behaved in the most prāṇa-bandu again! But yet, if I cannot attain the sight of
unloving manner, how can you expect to even him, then it is fruitless to continue on in my body!” (93-96)
see that nāgara (a paramour expert in the arts of se yāhāra prati vimukha haya
dalliance) again! Who knows just where he went tāhāre vācite ucita naya
in a fit of pique (offended state of mind) and so ataeva deha garala āni
where exactly will you go to see him?” (88-90) khāiyā tyajiba e chāra prāṇī
yadi vā dekhite pāi tabu nā āsibe yadi torā viṣa āni deha
abhimāne āmādera kathā nā śuniba tabe hrade dubi tyajiba deha
Sri Krishna Kathamrita Bindu Issue Six Hundred Six Page — 9

Pahari painting by an unknown artist. First half of the 19th century.

The pangs of separation

By an unkown artist. From Bikaner. 19th century. Issue Six Hundred Six Page — 10

A vintage window shutter painted with Radha and Krishna

ekamātra kheda rahila cite sei citrapaṭa āniyā deha

nāhi pāilāma tāre dekhite hṛdaye dhariyā tyajiba deha
[Radha continues,] “Those to whom he has turned his ihāteo gauṇa nā kara āra
face away from, it is not proper that they remain alive! e duḥkha sahana hayeche phāra

Therefore, bring me poison. I will eat it and abandon this eteka kahiyā kāndena rāi
dui sakhī kana bedanā pāi
worthless life. If you [Lalita and Vishakha] bring some
poison to me, [having eaten it] it shall sink [or descend] [Radha then makes another request:] “Bring me
into my heart, and I shall resign this body. My only the citrapaṭa [the amorous portrait of Krishna]
regret being that I did not get to see him again!” (97-100) and I shall bear his vision [as portrayed in the
sketch] within my heart and then renounce my
body. [Bring the portrait and] delay no longer,
Sri Krishna Kathamrita Bindu for I cannot endure this increasing pain. Having
A free bi-monthly service provided by uttered these words, Radha broke into tears, and
Gopal Jiu Publications her two sakhīs, now in considerable pain too,
spoke unto Radha as follows: (101-03)
Gopal Jiu Publications is a section of the
[Note: Radha could also just mean that she intends
International Society for Krishna Consciousness, to hold or clasp his picture to her heart, or chest, and
Founder-Acharya: His Divine Grace A.C. then die. The phrase, “hṛdaye dhariyā” in the verse
Bhaktivedanta Swami Prabhupada. (101) can have several meanings, including “hold”,
or “bear within”, or “in the heart”. Raghunandan
Quotations from the books, letters, and lectures
Goswami, described earlier in Rādhā-mādhavodaya,
of His Divine Grace A. C. Bhaktivedanta Swami
that the painting was previously made by Vishakha
Prabhupada ©Bhaktivedanta Book Trust. All
to augment Srimati Radharan’s pūrva-rāga, her
other materials, unless specified, © ISKCON
Gopal Jiu Publications. All rights reserved. feelings of attraction to Krishna before meeting
Blanket permission is given to redistribute him. [Continued in the next issue.]
Bindu in electronic or print form provided no — English translation by Jagannath Mishra Das, from
changes are made to the contents. Raghunandana Goswami’s Śrī Śrī Rādhā-mādhavodaya, pages
180 to 194. Published by Niradachandra Chakravarti. Kolkata.
1312 Sal. (1905 CE.) Bengali.