Sri Caitanya-caritamrta: Madhya-lila
by His Divine Grace A. C. Bhaktivedanta Swami Prabhupada

Chapter 21

Madhya21.127

TEXT 127

dui ganda sucikkana, jini’ mani-sudarpana,

sei dui purna-candra jani

lalate astami-indu, tahate candana-bindu,

sei eka purna-candra mani

SYNONYMS

dui—two; ganda—cheeks; su-cikkana—very shiny; jini’-conquering; mani-su-darpana—glowing gems; sei dui—those two; purna-candra—full moons; jani—I consider; lalate—on the forehead; astami-indu—eighth-day moon (half moon); tahate—on that; candana-bindu—the drop of sandalwood pulp; sei—that; eka—one; purna-candra—full moon; mani—I consider.

TRANSLATION

"Krsna has two cheeks that shine like glowing gems. Both are considered full moons. His forehead is considered a half moon, and His spots of sandalwood are considered full moons.

Madhya21.128

TEXT 128

kara-nakha-candera hata, vamsi-upara kare nata,

tara gita muralira tana

pada-nakha-candra-gana, tale kare nartana,

nupurera dhvani yara gana

SYNONYMS

kara-nakha—of the nails on the hands; candera—of the full moons; hata—the bazaar; vamsi—the flute; upara—on; kare—do; nata—dancing; tara—of them; gita—the song; muralira tana—the melody of the flute; pada-nakha—of the nails on the toes; candra-gana—the different full moons; tale—on the ground; kare—do; nartana—dancing; nupurera—of the ankle bells; dhvani—the sound; yara—whose; gana—musical song.

TRANSLATION

"His fingernails are many full moons, and they dance on the flute on His hands. Their song is the melody of that flute. His toenails are also many full moons, and they dance on the ground. Their song is the jingling of His ankle bells.

Madhya21.129

TEXT 129

nace makara-kundala, netra--lila-kamala,

vilasi raja satata nacaya

bhru--dhanu, netra--bana, dhanur-guna--dui kana,

nari-mana-laksya vindhe taya

SYNONYMS

nace—dance; makara-kundala—the earrings shaped like sharks; netra—the eyes; lila—for play; kamala—like lotus flowers; vilasi—the enjoyer; raja—the king; satata nacaya—always causes to dance; bhru—two eyebrows; dhanu—just like bows; netra—the eyes; bana—just like arrows; dhanuh-guna—the string of the bow; dui kana—the two ears; nari-mana—the minds of the gopis; laksya—the target; vindhe—pierces; taya—there.

TRANSLATION

"Krsna’s face is the enjoyer king. That full-moon face makes His shark-shaped earrings and lotus eyes dance. His eyebrows are like bows, and His eyes are like arrows. His ears are fixed on the string of that bow, and when His eyes spread to His ears, He pierces the hearts of the gopis.

Madhya21.130

TEXT 130

ei candera bada nata, pasari’ candera hata,

vinimule vilaya nijamrta

kahon smita-jyotsnamrte, kanhare adharamrte,

saba loka kare apyayita

SYNONYMS

ei candera—of this moon of the face; bada—big; nata—dancing; pasari’-expanding; candera hata—the marketplace of full moons; vinimule—without a price; vilaya—distributes; nija-amrta—its personal nectar; kahon—to some; smita-jyotsna-amrte—by the nectar of the sweetly smiling moonrays; kanhare—to someone; adhara-amrte—by the nectar of the lips; saba loka—all people; kare apyayita—pleases.

TRANSLATION

"The dancing features of His face surpass all other full moons and expand the marketplace of full moons. Although priceless, the nectar of Krsna’s face is distributed to everyone. Some purchase the moonrays of His sweet smiles, and others purchase the nectar of His lips. Thus He pleases everyone.

Madhya21.131

TEXT 131

vipulayataruna, madana-mada-ghurnana,

mantri yara e dui nayana

lavanya-keli-sadana, jana-netra-rasayana,

sukhamaya govinda-vadana

SYNONYMS

vipula-ayata—broad and spread; aruna—reddish; madana-mada—the pride of Cupid; ghurnana—bewildering; mantri—ministers; yara—whose; e—these; dui—two; nayana—eyes; lavanya-keli—of pastimes of beauty; sadana—home; jana-netra-rasa-ayana—very pleasing to the eyes of everyone; sukha-maya—full of happiness; govinda-vadana—the face of Lord Krsna.

TRANSLATION

"Krsna has two reddish, widely spread eyes. These are ministers of the king, and they subdue the pride of Cupid, who also has beautiful eyes. That face of Govinda, which is full of happiness, is the home of the pastimes of beauty, and it is very pleasing to everyone’s eyes.

Madhya21.132

TEXT 132

yanra punya-punja-phale, se-mukha-darsana mile,

dui ankhi ki karibe pane?

dviguna bade trsna-lobha, pite nare--manah-ksobha,

duhkhe kare vidhira nindane

SYNONYMS

yanra—whose; punya-punja-phale—by the result of many pious activities; se-mukha—of that face; darsana—seeing; mile—if one gets to do; dui ankhi—two eyes; ki—how; karibe—will do; pane—drinking; dvi-guna—twice; bade—increases; trsna-lobha—greed and thirst; pite—to drink; nare—not able; manah-ksobha—agitation of the mind; duhkhe—in great distress; kare—does; vidhira—of the creator; nindane—criticizing.

TRANSLATION

"If by devotional service one gets the results of pious activities and sees Lord Krsna’s face, he can relish the Lord with his eyes. His greed and thirst then increase twofold by seeing the nectarean face of Krsna. Due to one’s inability to sufficiently drink that nectar, one becomes very unhappy and criticizes the creator for not having given more than two eyes.

Madhya21.133

TEXT 133

na dileka laksa-koti, sabe dila ankhi duti,

tate dila nimisa-acchadana

vidhi--jada tapodhana, rasa-sunya tara mana,

nahi jane yogya srjana

SYNONYMS

na dileka—did not award; laksa-koti—thousands and millions; sabe—only; dila—gave; ankhi duti—two eyes; tate—in them; dila—gave; nimisa-acchadana—covering of the eyelids; vidhi—creator; jada—dull; tapah-dhana—assets of austerities; rasa-sunya—without juice; tara—his; mana—mind; nahi jane—does not know; yogya—suitable; srjana—creating.

TRANSLATION

"When the onlooker of Krsna’s face becomes dissatisfied in this way, he thinks, ’Why didn’t the creator give me thousands and millions of eyes? Why has he given me only two? Even these two eyes are disturbed by blinking, which keeps me from continuously seeing Krsna’s face.’ Thus one accuses the creator of being dry and tasteless due to engaging in severe austerities. ’The creator is only a dry manufacturer. He does not know how to create and set things in their proper places.

Madhya21.134

TEXT 134

ye dekhibe krsnanana, tara kare dvi-nayana,

vidhi hana hena avicara

mora yadi bola dhare, koti ankhi tara kare,

tabe jani yogya srsti tara

SYNONYMS

ye—anyone who; dekhibe—will see; krsna-anana—the face of Krsna; tara—of him; kare—make; dvi-nayana—two eyes; vidhi—an authority in creation; hana—being; hena—such; avicara—lack of consideration; mora—my; yadi—if; bola—instruction; dhare—accepts; koti ankhi—millions of eyes; tara—of him; kare—would create; tabe jani—then I would understand; yogya—suitable; srsti—creation; tara—his.

TRANSLATION

“ ’The creator says, ”Let those who will see Krsna’s beautiful face have two eyes." Just see the lack of consideration exhibited by this person posing as a creator. If the creator took my advice, he would give millions of eyes to the person who intends to see Sri Krsna’s face. If the creator will accept this advice, then I would say that he is competent in his work.’

Madhya21.135

TEXT 135

krsnanga-madhurya--sindhu, sumadhura mukha--indu,

ati-madhu smita--sukirane

e-tine lagila mana, lobhe kare asvadana,

sloka pade svahasta-calane

SYNONYMS

krsna-anga—of the transcendental body of Krsna; madhurya—of sweetness; sindhu—the ocean; su-madhura—very sweet; mukha—face; indu—like the full moon; ati-madhu—extraordinarily sweet; smita—smiling; su-kirane—beam of moonlight; e-tine—these three; lagila mana—attracted the mind; lobhe—with more and more greed; kare asvadana—relished; sloka pade—recites a verse; sva-hasta-calane—moving His own hand.

TRANSLATION

“The transcendental form of Lord Sri Krsna is compared to an ocean. A particularly extraordinary vision is the moon above that ocean, and another vision is His smile, which is sweeter than sweet and is like shining beams of moonlight.” While speaking of these things with Sanatana Gosvami, Sri Caitanya Mahaprabhu began to remember one thing after another. Moving His hands in ecstasy, He recited a verse.

Madhya21.136

TEXT 136

madhuram madhuram vapur asya vibhor

madhuram madhuram vadanam madhuram

madhu-gandhi mrdu-smitam etad aho

madhuram madhuram madhuram madhuram

SYNONYMS

madhuram-sweet; madhuram-sweet; vapuh-the transcendental form; asya-His; vibhoh-of the Lord; madhuram-sweet; madhuram-sweet; vadanam-face; madhuram-more sweet; madhu-gandhi-the fragrance of honey; mrdu-smitam-soft smiling; etat-this; aho-O; madhuram-sweet; madhuram-sweet; madhuram-sweet; madhuram-still more sweet.

TRANSLATION

" ’O my Lord, the transcendental body of Krsna is very sweet, and His face is even sweeter than His body. The soft smile on His face, which is like the fragrance of honey, is sweeter still.’

PURPORT

This is a verse quoted from Krsna-karnamrta by Bilvamangala Thakura.

Madhya21.137

TEXT 137

sanatana, krsna-madhurya--amrtera sindhu

mora mana--sannipati, saba pite kare mati,

durdaiva-vaidya na deya eka bindu

SYNONYMS

sanatana—O My dear Sanatana; krsna-madhurya—the sweetness of Lord Krsna; amrtera sindhu—an ocean of ambrosia; mora mana—my mind; sannipati—a disease of convulsions; saba—all; pite—to drink; kare—does; mati—desire; durdaiva-vaidya—a physician who suppresses; na—not; deya—gives; eka—one; bindu—drop.

TRANSLATION

"My dear Sanatana, the sweetness of Krsna’s personality is just like an ocean of ambrosia. Although My mind is now afflicted by convulsive diseases and I wish to drink that entire ocean, the repressive physician does not allow Me to drink even one drop.

PURPORT

When there is a combination of kapha, pitta and vayu, the three bodily elements, there occurs sannipati, or a convulsive disease. “This disease is caused by the personal features of Lord Krsna. The three elements are the beauty of Krsna’s body, the beauty of His face, and the beauty of His smile. Stricken by these three beauties, My mind goes into convulsions. It wishes to drink the ocean of Krsna’s beauty, but because I am undergoing convulsions, My physician, who is Sri Krsna Himself, does not even allow Me to take a drop of water from that ocean.” Sri Caitanya Mahaprabhu was ecstatic in this way because He was presenting Himself in the mood of the gopis. The gopis wanted to drink the ocean of sweetness arising from the bodily features of Krsna, but Krsna did not allow them to come near. Consequently their desire to meet Krsna increased, and being unable to drink the ambrosia of Krsna’s bodily features, they became very unhappy.

Madhya21.138

TEXT 138

krsnanga--lavanya-pura, madhura haite sumadhura,

tate yei mukha sudhakara

madhura haite sumadhura, taha ha-ite sumadhura,

tara yei smita jyotsna-bhara

SYNONYMS

krsna-anga—the bodily features of Krsna; lavanya-pura—the city of attractive beauty; madhura—sweetness; haite—than; su-madhura—still more sweet; tate—in that body; yei—that; mukha—face; sudhakara—like the moon; madhura haite su-madhura—sweeter than sweetness; taha ha-ite—than that; su-madhura—still more sweet; tara—of which; yei—that; smita—smiling; jyotsna-bhara—like the moonshine.

TRANSLATION

"Krsna’s body is a city of attractive features, and it is sweeter than sweet. His face, which is like the moon, is sweeter still, and the gentle smile on that moonlike face is like rays of moonshine.

PURPORT

The smile on Krsna’s face is just like the smiling of the moon, which generates greater and greater happiness for the gopis.

Madhya21.139

TEXT 139

madhura haite sumadhura, taha haite sumadhura,

taha haite ati sumadhura

apanara eka kane, vyape saba tribhuvane,

dasa-dik vyape yara pura

SYNONYMS

madhura haite su-madhura—sweeter than sweet; taha haite—than that; su-madhura—still sweeter; taha haite—than that; ati su-madhura—still much more sweet; apanara—of Himself; eka kane—by one particle; vyape—spreads; saba—all; tri-bhuvane—throughout the three worlds; dasa-dik—ten directions; vyape—spreads; yara—whose; pura—the city of Krsna’s beauty.

TRANSLATION

"The beauty of Krsna’s smile is the sweetest feature of all. His smile is like a full moon that spreads its rays throughout the three worlds-Goloka Vrndavana, the spiritual sky of the Vaikunthas, and Devi-dhama, the material world. Thus Krsna’s shining beauty spreads in all ten directions.

Madhya21.140

TEXT 140

smita-kirana-sukarpure, paise adhara-madhure,

sei madhu mataya tribhuvane

vamsi-chidra akase, tara guna sabde paise,

dhvani-rupe pana pariname

SYNONYMS

smita-kirana—the shining of Krsna’s smile; su-karpure—compared to camphor; paise—enters; adhara-madhure—within the sweetness of the lips; sei madhu—that ambrosia; mataya—maddens; tri-bhuvane—the three worlds; vamsi-chidra—of the holes in the flute; akase—in the space; tara guna—the quality of that sweetness; sabde—in sound vibration; paise—enters; dhvani-rupe—the form of sound vibration; pana—obtaining; pariname—by transformation.

TRANSLATION

"His slight smiling and fragrant illumination are compared to camphor, which enters the sweetness of the lips. That sweetness is transformed and enters into space as vibrations from the holes of His flute.

Madhya21.141

TEXT 141

se dhvani caudike dhaya, anda bhedi’ vaikunthe yaya,

bale paise jagatera kane

saba matoyala kari’, balatkare ane dhari’,

visesatah yuvatira gane

SYNONYMS

se dhvani—that vibration; cau-dike—in the four directions; dhaya—runs; anda bhedi’-piercing the coverings of the universe; vaikunthe yaya—goes to the spiritual sky; bale—by force; paise—enters; jagatera—of the three worlds; kane—in the ears; saba—everyone; matoyala kari’-making drunk; balatkare—by force; ane—brings; dhari’-catching; visesatah—specifically; yuvatira gane—all the young damsels of Vrajabhumi.

TRANSLATION

"The sound of Krsna’s flute spreads in four directions. Even though Krsna vibrates His flute within this universe, its sound pierces the universal covering and goes to the spiritual sky. Thus the vibration enters the ears of all inhabitants. It especially enters Goloka Vrndavana-dhama and attracts the minds of the young damsels of Vrajabhumi, bringing them forcibly to where Krsna is present.

Madhya21.142

TEXT 142

dhvani--bada uddhata, pativratara bhange vrata,

pati-kola haite tani’ ane

vaikunthera laksmi-gane, yei kare akarsane,

tara age keba gopi-gane

SYNONYMS

dhvani—vibration; bada—very much; uddhata—aggressive; pati-vratara—of chaste wives; bhange—breaks; vrata—the vow; pati—of the husband; kola—the lap; haite—from; tani’-taking; ane—brings; vaikunthera—of the Vaikuntha planets; laksmi-gane—all the goddesses of fortune; yei—that which; kare akarsane—attracts; tara—of that; age—in front; keba—what to speak of; gopi-gane—the gopis of Vrndavana.

TRANSLATION

"The vibration of Krsna’s flute is very aggressive, and it breaks the vows of all chaste women. Indeed, its vibration takes them forcibly from the laps of their husbands. The vibration of His flute attracts even the goddesses of fortune in the Vaikuntha planets, to say nothing of the poor damsels of Vrndavana.

Madhya21.143

TEXT 143

nivi khasaya pati-age, grha-dharma karaya tyage,

bale dhari’ ane krsna-sthane

loka-dharma, lajja, bhaya, saba jnana lupta haya,

aiche nacaya saba nari-gane

SYNONYMS

nivi—the knots of the underwear; khasaya—loosens; pati-age—even in front of the husbands; grha-dharma—household duties; karaya tyage—causes to give up; bale—by force; dhari’-catching; ane—brings; krsna-sthane—before Lord Krsna; loka-dharma—social etiquette; lajja—shame; bhaya—fear; saba—all; jnana—such knowledge; lupta haya—becomes hidden; aiche—in that way; nacaya—causes to dance; saba—all; nari-gane—the women.

TRANSLATION

"The vibration of His flute slackens the knots of their underwear even in front of their husbands. Thus the gopis are forced to abandon their household duties and come before Lord Krsna. In this way all social etiquette, shame and fear are vanquished. The vibration of His flute causes all women to dance.

Madhya21.144

TEXT 144

kanera bhitara vasa kare, apane tanha sada sphure,

anya sabda na deya pravesite

ana katha na sune kana, ana balite bolaya ana,

ei krsnera vamsira carite

SYNONYMS

kanera—the hole of the ear; bhitara—within; vasa kare—makes a residence; apane—personally; tanha—there; sada—always; sphure—is prominent; anya—other; sabda—sounds; na—not; deya—allows; pravesite—to enter; ana katha—other talks; na—not; sune—hears; kana—the ear; ana—something else; balite—to speak; bolaya—speaks; ana—another thing; ei krsnera—of Lord Krsna; vamsira—of the flute; carite—characteristics.

TRANSLATION

“The vibration of His flute is just like a bird that creates a nest within the ears of the gopis and always remains prominent there, not allowing any other sound to enter their ears. Indeed, the gopis cannot hear anything else, nor are they able to concentrate on anything else, not even to give a suitable reply. Such are the effects of the vibration of Lord Krsna’s flute.”

PURPORT

The vibration of Krsna’s flute is always prominent in the ears of the gopis. Naturally they cannot hear anything else. Constant remembrance of the holy sound of Krsna’s flute keeps them enlightened and enlivened, and they do not allow any other sound to enter their ears. Since their attention is fixed on Krsna’s flute, they cannot divert their minds to any other subject. In other words, a devotee who has heard the sound of Krsna’s flute forgets to talk or hear of any other subject. This vibration of Krsna’s flute is represented by the Hare Krsna maha-mantra. A serious devotee of the Lord who chants and hears this transcendental vibration becomes so accustomed to it that he cannot divert his attention to any subject matter not related to Krsna’s blissful characteristics and paraphernalia.

Madhya21.145

TEXT 145

punah kahe bahya-jnane, ana kahite kahilun ane,

krsna-krpa tomara upare

mora citta-bhrama kari’, nijaisvarya-madhuri,

mora mukhe sunaya tomare

SYNONYMS

punah—again; kahe—He says; bahya-jnane—in external consciousness; ana—something else; kahite—to speak; kahilun—I have spoken; ane—another thing; krsna-krpa—the mercy of Lord Krsna; tomara—you; upare—upon; mora—My; citta-bhrama—mental concoction; kari’-making; nija-aisvarya—His personal opulence; madhuri—sweetness; mora mukhe—through My mouth; sunaya—causes to hear; tomare—you.

TRANSLATION

Resuming His external consciousness, Sri Caitanya Mahaprabhu told Sanatana Gosvami, "I have not spoken of what I intended. Lord Krsna is very merciful to you because by bewildering My mind, He has exposed His personal opulence and sweetness. He has caused you to hear all these things from Me for your understanding.

PURPORT

Sri Caitanya Mahaprabhu admitted that He was speaking like a madman, which He should not have done for the understanding of those who are externally situated. Statements about Krsna’s body, His characteristics and His flute would appear like a madman’s statements to a mundane person. It was actually a fact that Krsna wanted to expose Himself to Sanatana Gosvami due to His specific mercy upon him. Somehow or other, Krsna explained Himself and His flute to Sanatana Gosvami through the mouth of Sri Caitanya Mahaprabhu, who appeared as though mad. Sri Caitanya Mahaprabhu admitted that He wanted to tell Sanatana Gosvami something else, but somehow or other, in a transcendental ecstasy, He spoke of a different subject matter.

Madhya21.146

TEXT 146

ami ta’ baula, ana kahite ana kahi

krsnera madhuryamrta-srote yai vahi’

SYNONYMS

ami ta’ baula—I am a madman; ana kahite—to speak something; ana kahi—I speak on something else; krsnera—of Lord Krsna; madhurya-amrta—of the nectar of the sweetness; srote—in the waves of; yai—I go; vahi’-being carried away.

TRANSLATION

“Since I have become a madman, I am saying one thing instead of another. This is because I am being carried away by the waves of the nectarean ocean of Lord Krsna’s transcendental sweetness.”

Madhya21.147

TEXT 147

tabe mahaprabhu ksaneka mauna kari’ rahe

mane eka kari’ punah sanatane kahe

SYNONYMS

tabe—thereupon; mahaprabhu—Sri Caitanya Mahaprabhu; ksaneka—for a moment; mauna—silence; kari’-making; rahe—remained; mane—within His mind; eka kari’-adjusting things; punah—again; sanatane—unto Sanatana Gosvami; kahe—instructs.

TRANSLATION

Sri Caitanya Mahaprabhu then remained silent for a moment. Finally, adjusting things within His mind, He again spoke to Sanatana Gosvami.

Madhya21.148

TEXT 148

krsnera madhuri ara mahaprabhura mukhe

iha yei sune, sei bhase prema-sukhe

SYNONYMS

krsnera—of Lord Krsna; madhuri—the sweetness; ara—and; mahaprabhura mukhe—in the mouth of Sri Caitanya Mahaprabhu; iha—this statement; yei—anyone who; sune—hears; sei—that person; bhase—floats; prema-sukhe—in the transcendental bliss of love of Godhead.

TRANSLATION

I now summarize these teachings of Sri Caitanya Mahaprabhu. If anyone gets an opportunity to hear about the sweetness of Krsna in this chapter of Sri Caitanya-caritamrta, he will certainly be eligible to float in the transcendentally blissful ocean of love of God.

Madhya21.149

TEXT 149

sri-rupa-raghunatha-pade yara asa

caitanya-caritamrta kahe krsnadasa

SYNONYMS

sri-rupa—Srila Rupa Gosvami; raghunatha—Srila Raghunatha dasa Gosvami; pade—at the lotus feet; yara—whose; asa—expectation; caitanya-caritamrta—the book named Caitanya-caritamrta; kahe—describes; krsnadasa—Srila Krsnadasa Kaviraja Gosvami.

TRANSLATION

Praying at the lotus feet of Sri Rupa and Sri Raghunatha, always desiring their mercy, I, Krsnadasa, narrate Sri Caitanya-caritamrta, following in their footsteps.

Thus end the Bhaktivedanta purports to Sri Caitanya-caritamrta, Madhya-lila, Twenty-first Chapter, describing the blissful characteristics of Krsna.

Next chapter (Madhya 22)