CC Antya 5.20 (1975): Difference between revisions

Latest revision as of 02:32, 27 January 2020

Śrī Caitanya-caritāmṛta (1975) - Antya-līlā - Chapter 5: How Pradyumna Miśra Received Instructions from Rāmānanda Rāya

Antya-līlā 5.19 - Antya-līlā 5.21

Compare Versions: CC 1975 with CC 1996

His Divine Grace
A.C. Bhaktivedanta Swami Prabhupada

TEXT 20

sevya-bujhi āropiyā karena sevana

svābhāvika dāsī-bhāva karena āropaṇa

SYNONYMS

sevya-bujhi āropiyā—considering worshipable; karena sevana—engages in service; svābhāvika—by his natural position; dāsī-bhāva—as a maidservant; karena āropaṇa—considers.

TRANSLATION

Śrīla Rāmānanda Rāya used to act in that way because he thought of himself in his original position as a maidservant of the gopīs. Thus although externally he appeared to be a man, internally, in his original spiritual position, he considered himself a maidservant and considered the two girls gopīs.

PURPORT

Śrīla Bhaktivinoda Ṭhākura writes in his Amṛta-pravāha-bhāṣya: "Śrīla Rāmānanda Rāya composed a drama named Jagannātha-vallabha-nāṭaka, and he engaged two young girls who were professional dancers and singers to demonstrate the ideology of the drama. Such girls, who are called deva-dāsīs, are still employed in the temple of Jagannātha, where they are called māhārīs. Śrī Rāmānanda Rāya engaged two such girls, and because they were meant to play the parts of gopīs, he taught them how to awaken thoughts like those of the gopīs. Because the gopīs are worshipable personalities, Rāmānanda Rāya, who considered the two girls gopīs and himself their maidservant, engaged in their service by massaging their bodies with oil to cleanse them completely. Because Rāmānanda Rāya always placed himself in the position of a maidservant of the gopīs, his rehearsal with the girls was actually on the spiritual platform."

Because there was no question of personal sense gratification when Śrī Rāmānanda Rāya was serving the girls, his mind was steady and his body untransformed. This is not to be imitated, nor is such a mentality possible for anyone but Śrī Rāmānanda Rāya, as Śrī Caitanya Mahāprabhu will explain. The example of Śrī Rāmānanda Rāya is certainly unique. The author of Śrī Caitanya-caritāmṛta has given this description because in perfect devotional service one can attain such a position. Nevertheless, one must understand this subject very seriously and never attempt to imitate such activities.

Antya-līlā 5.19 - Antya-līlā 5.21

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 <div style="float:left">'''[[Sri Caitanya-caritamrta (1975)|Śrī Caitanya-caritāmṛta (1975)]] - [[CC Antya (1975)|Antya-līlā]] - [[CC Antya 5 (1975)|Chapter 5: How Pradyumna Miśra Received Instructions from Rāmānanda Rāya]]'''</div>
 <div style="float:right">[[File:Go-previous.png|link=CC Antya 5.19 (1975)|Antya-līlā 5.19]] '''[[CC Antya 5.19 (1975)|Antya-līlā 5.19]] - [[CC Antya 5.21 (1975)|Antya-līlā 5.21]]''' [[File:Go-next.png|link=CC Antya 5.21 (1975)|Antya-līlā 5.21]]</div>
+{{CompareVersions|CC|Antya 5.20|CC 1975|CC 1996}}
 {{RandomImage}}
-''Below is the 1996 edition text, ready to be substituted with the 1975 one using the compile form.''
 ==== TEXT 20 ====
 <div class="verse">
-:sevya-buddhi āropiyā karena sevana
+:sevya-bujhi āropiyā karena sevana
 :svābhāvika dāsī-bhāva karena āropaṇa
 </div>
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 <div class="synonyms">
-sevya-buddhi āropiyā—considering worshipable; karena sevana—engages in service; svābhāvika—by his natural position; dāsī-bhāva—as a maidservant; karena āropaṇa—considers.
+sevya-bujhi āropiyā—considering worshipable; karena sevana—engages in service; svābhāvika—by his natural position; dāsī-bhāva—as a maidservant; karena āropaṇa—considers.
 </div>
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 <div class="purport">
-Śrīla Bhaktivinoda Ṭhākura writes in his Amṛta-pravāha-bhāṣya: “Śrīla Rāmānanda Rāya composed a drama named Jagannātha-vallabha-nāṭaka, and he engaged two young girls who were professional dancers and singers to demonstrate the ideology of the drama. Such girls, who are called deva-dāsīs, are still employed in the temple of Jagannātha, where they are called māhārīs. Śrī Rāmānanda Rāya engaged two such girls, and because they were meant to play the parts of gopīs, he taught them how to awaken thoughts like those of the gopīs. Because the gopīs are worshipable personalities, Rāmānanda Rāya, who considered the two girls gopīs and himself their maidservant, engaged in their service by massaging their bodies with oil to cleanse them completely. Because Rāmānanda Rāya always placed himself in the position of a maidservant of the gopīs, his rehearsal with the girls was actually on the spiritual platform.”
+Śrīla Bhaktivinoda Ṭhākura writes in his Amṛta-pravāha-bhāṣya: "Śrīla Rāmānanda Rāya composed a drama named Jagannātha-vallabha-nāṭaka, and he engaged two young girls who were professional dancers and singers to demonstrate the ideology of the drama. Such girls, who are called deva-dāsīs, are still employed in the temple of Jagannātha, where they are called māhārīs. Śrī Rāmānanda Rāya engaged two such girls, and because they were meant to play the parts of gopīs, he taught them how to awaken thoughts like those of the gopīs. Because the gopīs are worshipable personalities, Rāmānanda Rāya, who considered the two girls gopīs and himself their maidservant, engaged in their service by massaging their bodies with oil to cleanse them completely. Because Rāmānanda Rāya always placed himself in the position of a maidservant of the gopīs, his rehearsal with the girls was actually on the spiritual platform."
 Because there was no question of personal sense gratification when Śrī Rāmānanda Rāya was serving the girls, his mind was steady and his body untransformed. This is not to be imitated, nor is such a mentality possible for anyone but Śrī Rāmānanda Rāya, as Śrī Caitanya Mahāprabhu will explain. The example of Śrī Rāmānanda Rāya is certainly unique. The author of Śrī Caitanya-caritāmṛta has given this description because in perfect devotional service one can attain such a position. Nevertheless, one must understand this subject very seriously and never attempt to imitate such activities.
 </div>