Krishna Seva

[Nirupa]

Jai Shree Krishna

Thank you so much Pushtidasji for telling us about Maiya’s innocent pranks. We can now understand Maiya’s charitra (character) through your postings. And this made me think of the following stanza of pada number twenty-two of 41 pada by Surdasji.

“Anubhavi bina Anubhav kaha janiye”. We can only understand and know Maiya’s swaroop through satsang with pushtimargi (anubhavi) vaishnav.

I have one small question. When Shree Thakorji came to Priya Kunj to meet Shree Yamunaji, She had not changed her back from Svaminiji to her normal self. Pushtidasji is there any difference between Svaminiji’s form Maiya showed in her pithicka and Shree Svaminiji herself?
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Jai Shree Krishna
Darshan Abhilasi
Nirupa

[Pushtidas]

Jai shree krishna,

Nirupaji, with the grace bestowed by Hari,Guru and vaishnavs' like you (anubhavi) have made this possible, I am just a simple human who really is still trying to be proper Pushtimargiya vaishnav.

Any way here is the next episode of the story. I hope you and the tibari satsang vaishnavs will enjoy this lovely story.


Shree Krsna decided to wait till the Sakhis are gone. He hid himself behind a thick bush that was also well concealed by long grown grass heaps. Between the thick growths there were narrow slits of grass which made an opening so He could see Yamunaji chatting away with sakhis who were amazed by Shree Yamunaji’s revelation on the grace bestowed by Krsna. He was soon joined by Madhumangal.

‘What on hearth are you doing hiding behind the bush Kana?’ Madhumangal was surprised to see Krsna here and also found it weird lying low in the thick of greeneries.

‘Never mind what I am doing here, but I am surprised to see you here. Why are you here?’ Krsna asked.

‘Me?’

‘Yes you!’ and Krishna whispered and pulled him down and motioned him to stay low beside him.

‘Krsna, why are we whispering? Why are you lying on your stomach in these bushy greens?’ Madhumangal found the atmosphere bit sprawling, varying in compositional style and full of interpolations.

‘Madhumangal, I was supposed to meet Yamunaji here, but…’

‘He he, he .instead Radhaji is waiting here, are you sure it was not Radhaji whom you were suppose to meet? Kana you are getting old bhaiya, I told you that you should stick to one woman, but you never listen to my advice.’ Madhumangal laughed and whispered. He could see Svaminiji chatting away with sakhis.

Krsna gave a sharp look at his friend and added, ‘No, I am not old, and it is none of your business, I can date as many women I want to. You will never understand my leela. Just follow me and I will prove to you how wrong you are.’

Krsna started crawling in the thick span of greens like a combat army trainer. He moved few yards crawling and wriggling in the grass then stopped and looked back, ‘Come on, follow me!’ He saw Madhumangal, who did not move one iota from his position; instead he looked strangely, with an apprehensive expression.

‘Kana, I don’t understand all this!’ He whispered.

‘Follow me and all will be revealed soon.’ Krsna smiled and whispered.

Madhumangal quietly joined Krishna and they both crawled towards the back yard of Priya Kunj. They were now next to the back gate which was conspicuously set amongst thick set heavily covered green moss over hilly tracks which meandered into the inner yard, leading to a beautiful garden where a lovely open-air circular hexagonal ‘Chotro’ was built. In the middle of the chotro was a beautiful wooden swing with a head and hand rest. Dancing peacocks were carved on both hand rests and had multicoloured carvings of huge peacock feathers (morepeach). Svaminiji had taken seat on the swing few sakhis were sitting on the floor and chatting with Svaminiji. One of the Sakhi was tending her hair with a golden-backed brush. Her hair flowing down to her side and up to her waist, and as the sakhi stroked the brush, it made her hair shimmer in the mid-day sun-light. Krsna marvelled that Radhaji’s (Svaminiji) hair was more brilliant than the moon-shine.

Madhumangal also gazed at Svaminiji, her darshan was unique and the shine on the face was depicting love at its apex. Krsna also mesmerised by her, entranced, trying to follow each gesture of her fair complexioned hands, and each wonderful, graceful but delicate movement of her beautiful head. The sound of her enticing voice and soft laughter were balm to his hilag, the pain of separation.

‘Kana that is Radhaji, she is chatting with all those Gopis!’ Madhumangal whispered.

‘I know, I was supposed meet Yamunaji here, but I am surprised to see Radha.’ Krsna murmured and He laid on his back on the soft grass facing the sky, His hands clasped across His chest, and desperately looked at Madhumangal. But the images of Shree Yamunaji’s beauty also tormented Him. His body was burning to meet her; he rolled restlessly and faced Madhumangal.

‘Madhu, I am puzzled why Radhaji is here!’ He whispered aloud and clenched his fists until the knuckles cracked, ‘Do you know, not only Radika is here, but if you go to the front gate you will also see Yamunaji sitting with sakhis. That image of her chatting away with them is still buzzing in my brain like a swarm of bees.’

As Krsna spoke, once again He heard in His imagination, Yamunaji’s laughter mingle with the merry Sakhis and He no longer could bear these pangs of separation. He grunted and put his hands on Madhumangal’s shoulders and added, ‘Madhu, I am frustrated, I don’t understand why Yamunaji did not tell me about Radha’s visit. No warning was given.’

‘Kana, do not despair, Madhu is here. I will speak to Yamunaji and let her know that you are here.’ Madhumangal smiled and hugged Krsna, ’Don’t worry; I will sort this predicament with the snap of my finger, yuhi, chutki bajake.’
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Dasa nu das
Pushtidas

[Sital]

Jai Shree Krishna

Wow Pusthidasji, really enjoyed this episode and eager for the story to continue. Krishna and Madhumagal together make a hilarious team

Thanks a lot for such a lovely rendering

JSK
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Madhurkomalkant padavali namami
Sital

[Pushtidas]

Jai Shree Krishna

I thought the Satsang Tibari was quiet so came with the blazing saddles. I loved the story and the style I heard it made life long impact, it is a very unusual story.
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Dasa nu das
Pushtidas

[Pushtidas]

Jai Shree Krishna

Nirupaji you asked:

[Pushtidas]

Jai Shree Krishna

Here is the next episode of the story, I hope you all are fully engrossed in the story, I am loving every words of this prasang, and thanks to Nirupaji who provoked me to write about it. So please enjoy:

‘Well, you are here so do something useful. Just convey my message to Shree Yamunaji that I am here as arranged.’ Krsna sounded sad and anxious.

‘Sure Kana, I will make sure that the message is conveyed to Shree Yamunaji.’ Madhumangal smiled and stood up. As he did, Krsna pulled him down.

‘Now what is the matter, Kana? Do you want to add more to the message?’ Madhumangal whispered as he dropped down next to Krsna.

‘No Madhu, use your brain, if you make yourself visible to Radha then the game is over. She will know what is happening here, so be discrete. Now off you go.’ Krsna whispered and then gave a soft tap on Madhumangal’s cheek, ‘Please be sure to give the message to Yamunaji and no one else.’

‘Do you think Kana I am that stupid?’ Madhumangal looked at Krsna, Krsna could see that sadness and disappointment in his eyes.

‘No Madhu that is why I have complete trust in you. Now off you go friend.’ Krishna winked at him.

Krsna saw Madhumangal crawling like a cobra on his stomach. He admired the swift and speed with which Madhumangal was moving. Krsna gazed till Madhumangal disappeared into the thick forest, out of sight. Krsna now turned his gaze towards Svaminiji, who was merely chatting away; the Sakhi had stopped grooming her hair and was sitting with the other Sakhis listening to Svaminiji chatting away.

Madhumangal always had the sense of being adventurous about him. He loved Krsna as He was full of mystic adventures too. As he progressed towards the front gate, his imaginary scenarios started providing him with animate subject materials of what Krsna was going through right now. He wondered whether this was one of his leela, he had learned quite a lot from Krsna and also sometimes could anticipate His leelas, the way Krsna presented his games to draw Gopis (Sakhis) into the world of Nitya-leelas (regular daily games) through the proven powers of narrative tunes of flute, creative visualization of Raas-leelas, humour with his Rangan (Baal-leelas etc.) leelas and the mystery of slaying demons to protect Gokul, the scenarios are very much mystic, non-fabricated and non fictions. The leelas are very comprehensive and Madhumangal has witnessed that Krsna has been very careful to avoid being occidental and provided a balanced treatment of gendered, class, regional, or topical perspectives.

Madhumangal accepted the reality of leelas as ‘sui genres’ that is sacred, in his experience accepted and acknowledged such reality among adherent Sakhis and Gopis. He came to a conclusion that the leelas are thus also intended to evoke a sense of an encounter with Krsna with natural and supernatural, which is intrinsic to any such experience and study of Krsna-leelas.

Madhumangal soon arrived to the front gate. As the sun rose above the eastern horizon, it bathed his face and it also covered the riverbank of Yamunaji with a golden light. This reminded him what Shree Krsna talked about eastern horizon sun, and how it bathes the Ganga (River Ganges) and its western banks with golden light, suggestive of one of Banaras’s other names, Kasi, the “luminous”.

Madhumangal made sure that his dhoti is properly in its place, all this crawling was exhausting and the vigorous movements had loosened the knots of his dhoti which was snuggled over his waist. As he raised his head up he saw an elderly Gopi who had finished her bath and donned a clean dry red sari, then carried away a pot of Yamuna-water and she started walking towards him. He quickly crawled behind a huge tree and made sure he was not visible to this Gopi.

The Gopi walked on the natural track made by villagers to get easy access to Yamuna River. Madhumangal’s heart was pacing fast and he could hear the heart-beats quite loud. He was scared to be discovered. As she came closer, he recognised the Gopi as his mother! He shivered on the thought of being discovered. Suddenly he felt something wet touching is back, it was a wandering cow which was grazing nearby. The cow was licking his dhoti.

‘Hush…hush.’ Madhumangal motioned the cow to go away, but the cow was more interested in his dhoti. Madhumangal quickly got up and climbed the tree, just as his mother was passing the wandering cow. She stopped and gave cow some Yamuna-water to drink. She venerated the cow. Every second she venerated the cow, Madhumangal was praying that his mother stop doing the cow seva.

At that moment a group of men were approaching from nowhere, one of them squatted on a stone platform by the river. Their hair were wild and matted, the long beards and moustaches covered their face. The men’s bodies were smeared in ash, foreheads and upper arms were marked with three horizontal lines and one of the men appeared to be holding trident (trishul). As they walked, they passed around a clay pipe filled with hashish, calling out in praise some of the many names of the great god Shiva, and then drew deeply of the intoxicating smoke.

‘Ma hamai bhi pani piladona!’ One of the men asked the Gopi for water.

‘Ha chalo Yamuna kinare, aap saab ko jal pila ungi.’ (Follow me to Yamuna River bank, I will let you have water to drink) Gopi cheerfully replied.
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Dasa nu das
Pushtidas

[Nirupa]

Jai Shree Krishna

Pushtidasji, its your wonderful writing which has promted me to ask you about Maiya's innocent pranks.

Thoroughly enjoying this prasang.........what happened next? Did Madhumangal manage to relay the message to Yamuna Maiya? When does Thakorji realise why He can see Maiya and Svaminiji? Can't wait to find out what happens next?
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Jai Shree Krishna
Darshan Abhilasi
Nirupa

[Pushtidas]

Jai Shree Krishna,

Here is the reply to all your questions Nirupaji, the final episode of this very beautiful story. Hope you enjoy it.


The group of men, the Shiva Bhaktas, followed the Gopi. Madhumangal took a sigh of relief and watched his mother giving water to Shiva Bhakta who appeared to be very thirsty and their face showed that sign of peace after their quench was satisfied. Madhumangal loved his mother and also her love for jana (social) seva.

Madhumangal threw back his head, flicking black hair out of his eyes. He shrugged of a fly from his shoulder and rose balancing his feet on the branch. He held his head high as he looked in the direction of the Priya-Kunj. The shoulder eklaiyi (decorative cloth to cover the shoulder) flapped around his naked back. He balanced high on the tree branch with both hands, already the palms of his hands and both his shoulders were rubbed raw by the tree branch and the rough tree-bark. He manhandled up the rickety branches of the tree. He slipped and the tough skin on his palms burst open due to his exertions and was weeping blood. He looked at bruised skin and with unison he hauled up the upper branch and lifted himself to a more comfortable position. Once settled on the branch he plucked a leaf and rubbed it on his wound and then squeezed the leaf which produced green liquid. The burning sensation feeling took over the wound and it stopped the blood oozing.

As he relaxed, he disturbed a few rotten branches which tore off its growth and hurled towards the cow which narrowly missed and made a thudding noise as it landed on the ground below. This scared the cow. Madhumangal saw it running away towards the village.

He relaxed and gazed at where Shree Yamunaji was seated. He looked at the front of the Kunj gate which was conspicuously set amongst thick set heavily covered green moss over hilly tracks which meandered into the inner yard, leading to a beautiful front garden where a lovely open-air circular hexagonal ‘Chotro’ was built. In the middle of the chotro was a beautiful wooden swing with a head and hand rest. Dancing peacocks were carved on both hand rests and had multicoloured carvings of huge peacock feathers (morepeach). Shree Yamunaji had taken seat on the swing; few sakhis were sitting on the floor and chatting with Yamunaji. One of the Sakhi was tending her hair with a golden-backed brush. Her hair flowing down to her side and up to her waist, and as the sakhi stroked the brush, it made her hair shimmer in the mid-day sun-light. Madhumangal marvelled that Yamunaji’s hair was more brilliant than the moon-shine.

Madhumangal gazed at Yamunaji, her darshan was unique and the shine on her face was depicting love at its apex. He also mesmerised by her, entranced, trying to follow each gesture of her dark complexioned hands, and each wonderful, graceful but delicate movement of her beautiful head. The sound of her enticing voice and soft laughter were balm to his happiness, the pain of separation from Yamunaji was quite obvious for Krishna.

‘No wonder Krishna loves Yamunaji.’ He muttered and silently, quietly descended from the tree, as he landed on the ground he stopped and checked his palms, they had stopped bleeding. He swiftly moved towards the Kunj and stopped close to the gate, he was now close to the crowd of sakhis. Silently he walked parallel to growth where there was a small opening in the natural growth of greens which cordoned as fence encasing the Priya Kunj.

Madhumangal saw Lalitaji standing in front of Shree Yamunaji. Her back was turned towards him and she obscured the vision. He could not see Yamunaji’s face (mukharvind) so he tried to shake the bush to make kind of whooshing noise to attract their attention.

Lalitaji was engaged in a deep but interesting conversation with Shree Yamunaji.

Lalitaji said, ‘Maiya, how wonderful sidhi has been bestowed on you, Krsna really has bestowed an amazing grace.’

Shree Yamunaji smiled and placed a katoro (bowl) filled with milk in her hand and said, ‘Here is the milk just go and offer it to Svaminiji.’

Lalitaji was very amused by the suggestion; she was always interested in offering directly to Svaminiji. But, she also knew that Svaminiji will never take any offerings without first offering to Krishna. So Lalitaji was quite amused and was anxious to find out whether Svaminiji will accept the milk without first offering to Krsna. She could not see Krsna anywhere in the vicinity, so she wondered what Svaminiji was going to do in this circumstance.

Madhumangal shook the bush to get her attention but Lalitaji just walked behind Shree Yamunaji. Madhumangal shifted his position and saw Shree Svaminiji behind Shree Yamunaji. He moved back to his previous position and saw Shree Yamunaji. He was puzzled; he was surprised to see both the swaroop in one. He moved back to the next position to observe what Lalitaji was up to. He saw her offering the milk to Svaminiji.

Madhumangal now concentrated on Shree Yamunaji. She was engrossed in a conversation with Chandravaliji. Madhumangal shook the bush to seek her attention. But at that time Lalitaji walked in with empty bowl.

‘Maiya Shree Svaminiji did accept the milk, amazing.’ Lalitaji sounded excited.

Shree Yamunaji smiled and replied, ‘Ofcourse, she loves milk when you offer it.’ The smile on her face freshened up. And brightened up to drive away the darkness and the thought of Krsna again freshened her face by inflaming it with passion.

‘Psst..’ Madhumangal tried to get her attention again. But Shree Yamunaji was surrounded by these Sakhis and she glowed brilliantly, revered, like a woman in possession of all her powers. Then she looked at the Madhumangal who was frantically shaking the bush.

‘O Madhumangal? What are you doing here?’ She asked.

Madhumangal smiled and got up. As he got up he reached a lovely orchard full of sweet and delicious fruits from the tree. He plucked the fruit by jerking the tree and many fruit fell on the ground. He gathered them and then presented them to Shree Yamunaji.

‘Maiya, these are for you.’ He put all the gathered fruit at her lotus feet.

‘Madhumangal, they are lovely fruit. Now tell me why were you hiding?’ She smiled and looked at kneeling Madhumangal, who also smiled and put his hands together and bowed down. Then he looked up and said in a very soft voice, ‘Maiya, I have come as a messenger. Shree Krsna has sent me here.’
‘Oh Prabhu, where is He, where is my beloved Krsna?’ Maiya quickly held Madhumangal’s hand and made him get up.

‘Maharaniji, Kana is at the back yard, where Shree Svaminiji is in conversation with the Gopis. So he was puzzled and now is performing a devout penance to propitiate His pyari Shree Yamunaji.’ Madhumangal gave that cheeky look and then smiled at Yamunaji.

Shree Yamunaji laughed and said, ‘Shree Krsna in devout penance, oh no! Oh Prabhu I am so sorry, I did not realise the time as I was engrossed in your leela with the sakhis’

She realised that it was the sweet prank she had played that confused Thakorji. Now she understood the situation. The confusion was cleared and she quickly with her pramaybal made the Svaminiji disappear.

‘Maiya, the real Svaminiji and your Pithika Svaminiji are slightly different.’ Lalitaji said.

‘In what way she is different, Lalitaji?’ She looked surprised and was anxious to hear the answer.

‘I always thought that Svaminiji always offers everything to Krsna and then eats or uses for herself. But when I offered to this Svaminiji she just drank the milk without offering to her Krsna.’ Lalitaji answered.

‘Oh Lalitaji, you are wrong, just look into the empty utensil you are holding. See yourself and you will realise that both real Svaminiji and the one you saw in my pithika is the same Svaminiji. Thakorji and Svaminiji are full of grace and they both have given this gift to me.’

Lalitaji looked into the bowl. She was surprised to see little swaroop of Krsna drinking milk and then offered it to little Svaminiji. ‘Oh Maiya, I am so sorry that I was in doubt about the swaroop. I am indebted to you; you have bestowed your grace upon us and given us such a leela darshan. I bow to thee.’

‘Now look behind you, the real Krsna is right behind you Yamunaji.’ Madhumangal pointed behind Shree Yamunaji.

Shree Krsna saw Svaminiji disappearing from back yard and saw Shree Yamunaji’s pithikaji, quickly realised the leela Shree Yamunaji played. He smiled and appeared behind Shree Yamunaji.

Shree Yamunaji turned round and when she saw Krsna, she quickly hugged him, ‘I am so sorry Nath.’ She whispered.

‘Chalo, chalo. C’mon let us all go, the leela is over. Everyone let this two create another leela.’ Madhumangal jokingly spoke and then politely asked every one to leave.

Krsna and Yamunaji were so much engrossed with each other that they did not realise that all the Sakhis were gone. Madhumangal looked at Krsna and winked. Krishna, with his eyes motioned Madhumangal to get lost.

Madhumangal left Priya Kunj and reached the bank of the Yamuna River. He sat down kneeling and facing the Yamuna-jal. He sprinkled jal on his face and then did Yamuna-pan and whispered, ‘This Kana is also a real personality, when he needs me then he is so goody, goody and when his work is done he drops you like a stone on the surface of the water.’

Madhumangal picked up a stone and threw on the water surface and as it hit the surface, it bounced, Maiya immerged from Yamuna River and caught the stone in her right hand, ‘Madhumangal, Krsna never leaves his Bhakta and friends, turn round look who is behind you.’

Madhumangal turned around and saw Krsna running towards him. He also rushed and both hugged each other, ‘Kana yeh teri kaisi leela hai.’ Madhumangal whispered as he squeezed Krsna towards him.

Shree Yamunaji saw the smile on both friends and the tears of happiness from her eyes dropped on the surface of the water making a lovely whirl pool.

‘Taranga bhuj kankanam….!’
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Dasa nu das
Pushtidas

[Nirupa]

Jai Shree Krishna

WOW......... is all I can say because I am speechless.

Thank you so much Pustidasji for writing the wonderful prasang of Maiya's innocent prank. I really enjoyed it. Thank you again.
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Jai Shree Krishna
Darshan Abhilasi
Nirupa

[Sital]

Jai Shree Krishna

Thanks Pusthidasji, a beautiful story, the ending was magnificient. I have previously read a varta in 252, where it states that Shree Krishna and Yamuna Maharaniji are always intensely engrossed with one another and as a result forget their surroundings including devotees, also it is written that there is a close sakhi present who reminds the couple from time to time of bhakto’s who are suffering on earth feeling the pangs of separation. This reading always brought sorrow as I failed to understand this concept. God being the supreme & Yamunaji who loves devotees, forgetting the souls

Reading this story brought a real thrill, it was lovely to read that no matter how busy or engrossed they are within their lila, yet at the same they are also with devotees.

Thank You

JSK
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Madhurkomalkant padavali namami
Sital

[Pushtidas]

Jai Shree Krishna,

Thanks everyone and I am very excited that you all have enjoyed the story. Sitalji, you are absolutely right, the ending of the story does hold a krupa material which has been a refreshing experience in which we see the actual grace bestowed by Thakorji. Thank you for you insight.

Now back to ektalish pada.

Sabanko sukh daina, Piyaso karate sen

It seems like ages; we were side tracked on Kari kalole and went on to the innocent prank story. When I reiterated the story, it made me think about the relationship between Swaroop and also one thing that distinctly became obvious that Krsna, Svaminiji and Shree Yamunaji have so much love and understanding between them. It also showed how Shree Yamunaji bestows grace on these Sakhis. What about the end of the story? Wasn’t it sweet how Krishna and Madhumangal’s friendship is depicted. When Yamunaji saw the love between Krsna and His Sakha, the portrayal of love and friendship represented the real character of Bhakta and Bhagwan. This darshan showed how Yamunaji felt about Bhakta and Bhagvan’s relationship.

This characteristic of Shree Yamunaji is also well woven by Shree Hariraiji when Aapshree wrote the above stanza. Shree Yamunaji always loves to see Bhakta to be happy. She will go to any length, with a boundary that has no limit. In Shree Yamnastakam when Shree Vallabh discusses the stanza where Shree Yamunaji bestows her grace to everyone, here one has to read as Pushti Jiva instead of ‘everyone’. The Pushti Jiva who has been deprived of Pushti Happiness, that is the happiness that should have been bestowed on them by Shree Krsna, must be bestowed on these Jiva as it is their right after entering the Pushtimarga. This is what Shree Yamunaji believes.

Every actor has to play his or her part, as these characters are written and decided in advance. In a similar way on the stage of Thakorji’s leela-shrusti (celestial world), every Pushti jiva has a destined part to play as per his/her pre-empted role set by Thakorji. Every Pushti-jiva has different part, different character and different approaches to reach the designated destiny. All jiva’s (souls’) duties are to do Bhakti and in return Thakorji will compensate rewards per Bhakti. This is very clearly suggested by Shree Mahaprabhuji in a Granth (book) called ‘Pushti-pravah-mariyada-bheda’:

Bhagvadadrupa sevarthai tatshrusti

Meaning: God created these Jiva atma only for Swaroop seva and Bhakti.

This beautiful creative notion of God is auspicious and also beneficial to Bhaktas but, unfortunately despite this safety net, souls managed to get separated from Him (God) and such pangs of segregation, separation, is felt by Shree Yamunaji. When a soul decides to take Brahmasambandh, Yamunaji takes much pleasure in announcing this to Thakorji, this is because she can envisage this soul to be a part of Thakorji’s ever growing Bhaktas who will be another additional gem and who will be bestowed in seva, (worshiping).

As explained previously, the Bhaktas are of different characters, for instance, Rajas, Tamas and Satvika. Shree Yamunaji recognises the characteristics of these Bhakta and runs to Thakorji and announces about a new Bhakta and the Bhakta’s Character. With Brahmasambandh the veneer, the thin layer of materialistic Maya’s bonded to the surface of Kaliyug jiva atma, the deceptive appearance and superficial appearance, is torn off allowing for the soul realisation to seep in and leave the Kaliyug into something of a jagged edged helpless evil. This is recognised by Shree Yamunaji. She has those virtues, six elements, which help her to weed Pushti Bhakta from Mariyada Bhaktas and also Kaliyug.

Atma-nivedanam, exhibits the compelling way one understands the final submission in the Pushti career of a twice born vaishnav, in which the final oblation is oneself.
Vaishnavs are embodiments of disintegrated unity and it is only through the inner sacrifice of Self-realization or through participation in the rites and external sacrifice that reintegration can occur. As the Upnishads maintain, the path of external sacrifice rites can lead to rebirth in realm of the ancestors and antyesti (final sacrifice) initiates this process of orchestrated rebirth.

With Pushtimarga after Atma-nivedanam, Shree Yamunaji indirectly or directly becomes vaishnavs guardian angel. This concept is actually depicted in Shree Yamnastakam. In this granth Shree Mahaprabhuji has depicted Yamunaji as ‘Tatsukh’ swaroop. She always wanted all Pushti Jiva to have their adhikar (Pushti-right) to enjoy that Bhagvad Anand which Shree Krsna depicts, whether Pushti-jiva is on Bhutal or in Kunj (Leela). She will express or imply this whenever a new vaishnav decides to become sevak. That is why Shree Hariraiji Prabhucharan wrote:

‘Sabanko sukh daina’.

She is not only anxious to help Bhakta, but equally becomes very excited and runs to see Thakorji and breaks the news about an addition of a vaishnav in Pushtimarga. Here after giving the badhai (good news) she then seeks promise from Thakorji that he will include this vaishnav in leela and bestow that pleasure and happiness which she is enjoying immensely with Thakorji.

Shree Yamunaji is aware that when Thakorji bestows his grace on His Bhaktas and this way He makes His Bhaktas “Bhojay” and in return the Bhaktas makes Thakorji happy, so in this way He becomes “Bhokta”. Thakorji’s happiness is in both, making Bhojay and in turn getting Bhokta. This process between Bhagwan and Bhakta is really a strong bond in which Shree Yamunaji plays an important part.

Earlier on we established that Shree Yamunaji becomes very excited when she hears about a new vaishnav making their début in Pushtimarga. She is excited because now that particular vaishnav will indulge in seva marg.

In Pushtimarga to enhance our spiritual level, Shree Mahaprabhuji insists we do seva. Although in Shastra it is depicted that charity (daan), fasting on auspicious days (vrat), chanting lords name (jaap), meditation (taap), pilgrimage (Tirthyatra), repent (prischit) and studying spiritual scriptures (gyan karma) and so on are the ways of enhancing once spiritual life, but in Pushtimarga Shree Mahaprabhuji has emphasised on seva. Why seva?

The answer to the question lies in Shreemad Bhagvatam. In ekadash skandha (chapter 11), there is an intense dialogue between Uddhavji and Shree Krishna, in an extracted part of the dialogue Shree Krishna explains:

‘A momentary (pratikshan) seva can achieve such a degree of my Bhakti which even Yog (meditation), Gyan (spiritual knowledge), tiyaag (to do away with material world) and Vedabhyas (scholar in Vedas) will not have that impact. Kryapadi (physical indulgence) seva is only Anananiya (exclusive for Krishna) Bhakti element which is classified as Prem-Bhakti, the Bhakti which will touch me till I’m besotted.’

In Sanskrit the word ‘bhaj’ means seva. Hence, activities under bhaj, a service dedicated to Lord is known as ‘Bhakti’. The word Bhakti is derived from bhaj and since these words were interlocked with each other grammatically as well as in activities they associate with, the enhanced meaning of Bhakti over the years describing it as serving Lord with love and principles within its permutation. This has now become the definition of Bhakti since Mahaprabhuji defined the Bhakti of Shree Gopis in Dwapar Yuga for Krishna as ‘Premdha Bhakti’.

So Shree Yamunaji becomes excited when a Pushti soul takes initiation mantra and promises to be Lord Krsna’s ardent and only Shree Krsna’s sevak, serving Him without expectation. She becomes so overwhelmed about this process and the prospect of the Bhakti; she wants Thakorji to straight away accept the vaishnav into His abode and games (leela).
With this unusual request, Thakorji is poised momentarily, and this poised moment was like a yug (a period of celestial years, anniversaries) for Shree Yamunaji. She quickly tries to bribe her beloved Lord by saying that if He agrees then she will reward Him.

The reward she is insinuating is an ingenious way of showing one of the permutations of Premdha Bhakti. In Premdha Bhakti, the Bhakta and Bhagwan are interlocked by ‘love-relation’ (sneha-sambandha). The character of sneha-sambandh is a total devotion to each other and it also includes a complete and exclusive submission. This brings them both closer and then sneha-sambandh enclaves into physical bond. Shree Yamunaji and Shree Thakorji are also bonded in this permutation of physical love and its variation.

As this bond enclaves togetherness, Shree Yamunaji when mentioning the reward is motioning the physical enmesh. This bond is such between Thakorji and Shree Yamunaji that, they entangle each other in such a strength from which it is difficult to be extricated or separated.

Such physical enmeshing is depicted by Shree Hariraiji Prabhuchan in this pada when Aapshree wrote ‘Piya so karate sen’. This was the reward. Yamunaji did the bargain with Thakorji that she will reward Him with ‘sen’ (physical love) if Thakorji accepts the Bhakta in His leela. Until acceptance is not fulfilled by Thakorji, she does not rest, but pursues till Thakorji’s reply is positive, then she becomes excited and offers all the permutations of Physical Bondage to Thakorji. This again is very clearly suggested by Shree Hariraiji Prabhucharan.
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Dasa nu das
Pushtidas

[Sital]

Jai Shree Krishna

Thanks Pusthidasji, feels like Parivatsar since your last posting on Ektalis Pad. Yet again a remarkably outstanding posting. The contents and style of writing is wonderful.

Pusthidasji, could you please elaborate on Bhojay? Does it mean that at the point when the soul has received Brahmasamband, the close bond between Thakorji and Bhakt is not yet established? Only when Shree Yamunaji intervenes and requests for Thakorji to allow immediate entrance in leela and He agrees is the soul graced to become Bhojay?

Bhokta I guess means that He graces a soul with devotion, in return accepts soul's bhakti then as a reward bestows devotee with fal depending upon their desire in a continuous cycle where after he cannot abstain from Bhakt and vice versa?

I do apologise for all these questions

JSK
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Madhurkomalkant padavali namami
Sital

[Nital]

Jai Shree Krishna,

Pushtidasji, that was an amazing posting - thank you for opening it up further...although I agree with Sitalji in that it felt like parivatsar since you have put a posting - it was worth the wait!!

Sitalji, in response to your question although you will now have the answer having discussed it on friday at satsang, I will briefly mention for the benefit of fellow vaishnavs that bhojay and bhogta is what Sitalji thought. Bhojay is the giver, so one who does seva of Thakorji, and this is only valid once the soul has had bhramsabandh. Bhogta is when Thakorji receives and accepts the souls seva.

I hope that I have answered this correctly?!

JSK

[Inaxi]

Jsk

Hey Nitalji, so here you are, I was looking for you everywhere and I should have known better, you would be in Satsang Tibari.

Nitalji, I have stolen Pushtidas' article where he replied to Sitalji's question. I think it is in its first draft (sorry not that Guiness) and it looks he has nearly done the article, but he will not post it till he has cut his tees and dot his 'i's. But I could not stand to see you all waiting in agony and here, I took a risk and pulled out his computer file and about to do a 'Maya TATSUKH' act (Oh shut up Palna it is not a chori...just tatsukh bhava...ok?) and will post it here. If there are any mistakes please do not tell Pushtidas and you know what? What you ask! Well work is fine if it doesn't take up too much of your time. In this case Pushtidas takes time to work and I without too much fuss have posted it...wow I am good, am I not?

Why are you laughing Unnatiji, I can't write like Pushtidas and he has that Photographice memeory. Everyone has a photographic memory; some people just don't have film and don't even have that darn camera...

Anyway here is the article, I am sure Pushtidas is going to kill me when he finds out about this article! I'm not afraid to die. I just don't want to be there when it happens.

Life is unsure and Hetalji always eat your dessert first.

Here we go....Ankho michiney jamplavo..prem thi vanchjo Unnatiji...


Thank you Sitalji, I am tied down to few personal projects and now and then, it takes quite a lot of time and thus moves me away from krishnaseva, my apology. Anyway, on a lighter side you must be immortal as you can live for Parivatsar!

Hmmm… back to the point.

Sitalji you asked:

[Sital]

Jai Shree Krishna

Yes, Head of Toofani Masti Crew Mrs Inaxi has returned, so lovely to read your posting. Thank You for stealing Pusthidasji notebook, my aashirwaad is always with your for eternally being able to carry out this Maha Kariye....

Wow, Pusthidasji thank you for answering my questions and explaining Bhojay, Bhokta and Maiya‘s role so well. The Ektalish Pad is a real eye opener, leading one into various avenues, Maiya’s virtues are exceptional, she is just amazing.

Thank You

Ps: Inaxiji I hope you will steal the next article very soon
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Madhurkomalkant padavali namami
Sital