Srimati Radharani's Beautiful Mood

There is a continuous competition between Srimati Radharani and Lord Krsna to see who can most increase the intensity of the love which they have between them.

She increases, He increases, She increases...there's no end to it. Neither of them wants to be defeated while increasing the intensity of Their love. Similarly, the beauty of Lord Krsna increases when He sees the beauty of the milkmaids. Concomitantly, the more the milkmaids see Lord Krsna's beauty, the more their beauty increases. In this way a competition takes place between them in which no one acknowledges defeat.

Now, Krsna becomes curious. He can understand this loving competition from His own angle of vision, but He does not understand what's going on in the mind of Srimati Radharani. He gets a desire to understand what it is like to be on the other side of this loving competition, and to understand this loving exchange from Her angle of vision. He becomes very curious about the mental activities of Srimati Radharani and Her attitude of ever-increasing love for Him.

Now, for Lord Krsna, it is not such a difficult thing to study the mental attitudes of Srimati Radhika, because Her mental attitudes are out there walking around in saris. Srimati Radharani expands Her mental attitudes as Her gopi girlfriends, all of whose activities are concentrated on the pastimes of Krsna. As expansions of Her personal form and transcendental disposition, they are agents of different loving reciprocations in Krsna's pastimes.

Therefore, Srimati Radharani and Her maidservants decide to help Krsna by setting up a school for Him at Radha Kunda. Radha is the Chancellor of this incomparable school, while Lalita and Visaka are the principal department heads. It is with their help that the only student, Lord Krsna, is then able to study with all those sakhis who are the personified mental activities of Srimati Radhika.

When the study course is finished, it is then time for Krsna to take His final exam, which is administered by Srimati Lalita Devi. Krsna passes the exam.

However, Lalita informs Him that this diligent academic learning is not enough. If He really wants to fully appreciate Radha's mental attitudes, then practical experience will also be required.

Again, this experience is not possible unless He actually takes up the position of the Asraya category. Radharani's attraction for Krsna is sublime, and to experience that attraction and understand the transcendental sweetness of Himself, He must personally accept Her mentality. Consequently, in order to fully appreciate the mental activities of Srimati Radhika, He comes as Sri Caitanya Mahaprabhu.

Krsna is the personification of conjugal beauty. At one point, in Dwaraka, He sees the beauty of His own reflection in a jewelled fountain. At that time He says, "My mind, bewildered upon seeing this beauty, impetuously wants to enjoy it in the same way that Srimati Radharani enjoys it." Lord Krsna's beauty attracts Lord Krsna Himself. However, because He cannot fully enjoy it, His mind remains full of sorrow.

Therefore, in order to relish His beauty the way that She does, He takes up the position of the Asraya category, accepting the emotions and bodily luster of Srimati Radharani, and comes as Sri Caitanya Mahaprabhu.

Thus, the primary cause for Krsna's descent as Sri Caitanya Mahaprabhu was to taste the above three moods of Srimati Radhika, which only She could taste. He therefore borrowed Her internal mood and beauty, and became tadatma with Her. By becoming tadatma with Radhika, He forgot that He is Krsna, and could taste as She does.

Some correlative details appear in a nectarian history told by His Divine Grace Gour Govinda Swami. This story reveals the origin of the final verse of the Sri Siksastikam:

One day Srimati Radharani had nicely decorated the kunja with the help of Her maidservants. With great anticipation, they are expecting Krsna to come and arrive at the planned rendezvous time. However, Krsna does not show up. They wait and wait, but still no Krsna. Radha is beginning to go into Her sulky mood, and also beginning to cry, so a messenger[dyuti] is sent out to find Him. Along the way, the dyuti encounters one of Candravali's servants who pleasurably reports that Krsna is over there in that kunja. When the dyuti returns, she of course gives a prompt report to Lalita and Visaka, who in turn relay the news to Srimati Radharani. At that point, Radha's leftist sulky mood reaches it's peak, and She forbids that Krsna can enter Her kunja. And She is crying, crying, crying.

Radharani says, "I don't want Krsna to come. Don't allow Him to come to My kunja. Entrance is forbidden!"

When Krsna finally does arrive some time later, Lalita and Visaka are standing guard at the entrance, and stop Him. They block His entry and sharply tell Him to "Get out of here". He pleads for entry to the kunja, but there is no permission. Visakha, who is harder than Lalita, is especially tough on Him at this point. He must turn away and leave.

So Krsna went away to the banks of the Yamuna. Morose and disappointed, Krsna could not understand what to do. He had gone to Candravali's kunja only to heighten the leftist mood of Radhika, the mood which brings Him so much pleasure. He wanted an opportunity to have Her association while She was in that heightened leftist mood, but His plan firmly backfired. Now, what to do, what to do?

In the meantime, Vrndadevi learns of Krsna's predicament, so She comes to Him with a solution.

She tells Him that He must completely change His appearance, take up the position of a begging Sannyasi, and sing a special song. She tells Him that He must get rid of all that black hair and shave His head, discard the dress of a cowherd boy and wear sannyas cloth, refrain from the 3-fold bending form, give up the flute and the peacock feather, and learn the song that She will teach Him,.... and then there may be some hope.

When Vrnda said this, immediately that form appeared there. Krsna became that sannyasi form--shaved head, and His complexion was of molten gold. No peacock feather, no flute, no three places curved form. In sannyasi form He immediately appeared there. Vrnda then taught Him to sing a beautiful song in glorification of Radha, the last line of which is,

"Today Kanu, Krsna, is moving from door to door begging radha-prema, radha-prema, radha-prema".

So Krsna, singing, goes back to the kunja where Lalita and Visaka become very happy to see such a blissful sannyasi singer, and very happy to hear such a wonderful song. When they ask Him what He wants, The sannyasi answers, "I have nothing, I am a beggar. I've come here to get radha-prema, radha-prema. I am a prema-bhikhari. I am a beggar of prema."

So Visakha takes the sannyasi into the kunja. She requests Him, "Will You please again sing that nice song You were singing before?"

Then Krsna sang that song in glorification of Radha. "Today Kanu is a bhikari, He is a beggar, moving from door to door begging radha- prema."

When Radharani heard that last line, She responded thus:

"aslisya va pada-ratam pinastu mam
adarsanan marma-hatam karotu va
yatha tatha va vidadhatu lampato
mat-prana-nathas tu sa eva naparah"

Her response to this song is what we know as the final verse of the Siksastikam. It is the expression of a very deep mood of Srimati Radhika.

Soon after, the sannyasi obtains the audience of Radhika, and upon seeing Radha, immediately Krsna's form came, tri-bhanga-lalita. That sannyasi form disappeared.

Visaka was absolutely amazed. She says, "What is this? At first I saw You appear like a sannyasi, but now I am seeing You as Syamasundara, the cowherd boy. I saw You appearing as a golden doll, with Your entire body covered by a golden luster. I now see You holding a flute to Your mouth, with Your lotus eyes moving very restlessly due to various ecstasies."

Much later, in Caitanya lila, Visaka appears as Ramananda Rai. At one point, Lord Caitanya shows Ramananda Rai His Syamasundara form, and what happens? Ramananda faints. Why? As Visaka, He saw the metamorphosis of a Golden Sannyasi to the form of Sri Symasundara, and lo and behold, now again He sees this same transition! He faints.

Radharani was crying, and after the sannyasi reveals Himself to be Krsna, Visakha states, "One day You'll have to cry like that!" And that day comes at the Gambhira when, as a Golden Sannyasi, He is crying in the form of Sri Caitanya Mahaprabhu. Not only that, but Visaka [Ramananda] and Lalita [Swarup Damodara] are there to help Him understand how to cry........just as Srimati Radhika cried.

In order to study Radharani, Krsna lived in Her role and tried to understand Himself. This is the secret of Lord Caitanya's incarnation.

Thus, the paramount internal reason why Krsna comes as Gaura is to understand the Glories of Her Love for Him.

The second reason for His descent is to bring with Him a wonderful present for this world. It is a special gift which is nicely explained in the famous verse below:

anarpita-carim cirat karunayavatirnah kalau
samarpayitum unnatojjvala-rasam sva bhakti-sriyam
harih purata-sundara-dyuti-kadamba sandipitah
sada hrdaya-kandare sphuratu vah saci-nandanah
(Caitanya-caritamrta Adi-lila 1.4)

"May that Lord, who is known as the son of Srimati Sacidevi, be trancendentally situated in the innermost chambers of your heart. Resplendent with the radiance of molten gold, He has appeared in the age of Kali by His causeless mercy to bestow what no avatara ever offered before - service to Srimati Radhika as Her confidential maidservant."

This verse is the mangalam caranam for the entire Sri Caitanya Caritamrita, and everything in that book appearing after it is there to explain this verse.

Srimati Radhika has a very ecstatic mood: "I want to become a dasi of that person who can please Krsna the most. I will become her maidservant". This mellow is Radharani's beautiful mood.

This mood of Radhika has taken so many forms------Rupa Manjari, Rati Manjari, Labanga Manjari, Kasturi Manjari........ Radhika's beautiful mood became so many different milkmaids. However, these particular maidservants of Radhika have only one mood.......that it is Radhika Herself who should meet with Krsna.......because it is actually She who can please Krsna more than anyone else. It is She whom they want to serve. That propensity is called unnatojjvala rasam sva-bhakti-sriyam --- the beauty of Srimati Radharani's mood, otherwise known as manjari-bhava.

Now, when Krsna becomes influenced by the compassionate, tenderhearted mercy of Radha, He develops a desire to bestow upon all jivas the highest mood of love for God that can be given, which is the service mood of the manjaris.

Wanting to give the world this most charitable present is His second internal reason for coming as Sri Gaurasundara. The first internal reason is to taste Radha's mood, and the second internal reason is to distribute the service to that mood. Inotherwords, He comes to taste Radha's bhava, and to give Radha's beauty.

Hare Krishna Maha Mantra

The Hare Krishna Maha Mantra directs one's attention and devotion to Radha as well as Krishna. Radha is also known as Mother Hara, which is the name Hare in the vocative form within the mantra. So in chanting Hare Krishna, we are first approaching the Lord's internal potency and asking Radha to please engage us in the service of Lord Krishna. Concentrating on Krishna through His names is one form of that service. In other words, it is through Radha that one more easily attains Krishna and service to Krishna. This is the advantage of approaching Lord Krishna through Radharani.

Sri Sri Radha Krishna Pastimes

Sri Sri Radha Krishna Pastimes

"When Srimati Radharani first saw Krishna, She suddenly became conscious of all transcendental happiness, and the functions of Her different limbs were stunned. When Lalita, Her constant companion, whispered into Her ear, the holy name of Krishna, Radharani immediately opened Her eyes wide.

"One day, in a joking mood, Krishna informed Radharani, 'My dear Radharani, I am going to give up Your Company.' Upon saying this, He immediately disappeared, and because of this, Radharani immediately fell down upon the ground of Vrindavana. she had practically stopped breathing, but when She smelled the flavor of the flowers on the ground, She awoke in ecstasy and got up.

"One night, Srimati Radharani was talking in a dream. “My dear Krishna”, She said, “please do not play any more jokes on Me! Please stop! And please don't touch my garments either. Otherwise I shall inform the elder persons, and I shall disclose all of Your naughty behavior. She was talking like this in a dream. She suddenly awoke and saw some of Her superiors standing before Her. Thus Radharani became ashamed and bowed Her head"

Concerning Radharani’s sixteen items of beautification, Subala says to Sri Krsna, "After bathing, Sri Radhika decorates the tip of Her nose with an effulgent jewel. She dresses in blue clothing, with a sash (nivibandhana) around Her waist. Her hair is plaited and She wears ornaments on Her ears. Her limbs are smeared with camphor, musk and sandal paste. She wears flowers in Her hair and a garland around Her neck. In Her hand She playfully carries a lotus flower. In Her mouth She has tambula, and on Her chin a dot of musk. She wears kajjala around Her eyes and on Her cheeks are muskpaintings of dolphins, etc. The bottoms of Her lotus feet are painted red and She wears tilaka on Her forehead."
Concerning Radharani’s twelve ornaments, Subala says, "Sri Radhika wears a diamond on Her head, golden earrings on Her ears, and tiny golden bells around Her hips. A golden locket hangs around Her neck. She wears a cakri-salaka (an elaborate ornament that encircles the entire ear and fastens at the top) over Her ears, bangles on Her hands, and a necklace around Her throat. There are rings on Her fingers and a group of star-like necklaces on Her bosom. She is adorned with jewelled armlets, jewelled ankle bells and radiant toe rings. She is very beautiful wearing these twelve ornaments."

सुनु दाता नंदकुमार हो , पतितन को सरदार

सुनु दाता नंदकुमार हो , पतितन को सरदार |
तू पतितन सुनत पुकार, चह भीख प्रेम सरकार ||
रिरियात परो तव द्वार, तू प्रेम रूप साकार |
तुक हमारिहूँ अरु निहार, चह भीख प्रेम सरकार ||
जग सुख नहीं चह रिझवार, चह मुक्ति न पांच प्रकार |
चह नहीं वईकुंठ बिहार, चह भीख प्रेम सरकार ||
इक रही पूतना नार, विष प्यायो तोहिं उर धार |
गति दिनी तुम बलिहार, चह भीख प्रेम सरकार ||
हो जानत तुम मम यार, परखत मोहिं भुजहीं पसार |
तव अति 'कृपालु' दरबार, चह भीख प्रेम सरकार ||

राधे राधे

इनकी नजरों में माय का जाम हे तोबा तोबा

इनकी नजरों में माय का जाम हे तोबा तोबा |
जिसने देखा हुआ नाकाम हे तोबा तोबा |
दर्द देना रुलाना ही इनको अत हे ,
काम कडुवा हे मधुर नाम हे तोबा तोबा |
लगा के आग बुझाना तो जानते ही नहीं,
मुस्कुराने से इन्हें कम हे तोबा तोबा |
इनके पहलु में कहीं दिल ही नहीं हे शायद,
इसीलिए ये सब अंजाम हे तोबा तोबा |
ये बताते मुहब्बत में हे देना देना,
ये 'कृपालु' हे कृपा काम हे तोबा तोबा |

जय व्रुन्दाविपिन बिहारी

जय व्रुन्दाविपिन बिहारी, जय श्री बरसाने वारी |
वारी वारी कुंजबिहारी, आरी वारी भानुदुलारी |
मेरो धन नंदनंदन बनवारी, तन मन धन वन पर वारी |
मेरी स्वामिनी भानुदुलारी, प्यारी बरसाने वारी |
में तो उन प्यारी पर वारी, जा पर वारी बनवारी |
जय हो, जय हो, जय हो, जय हो प्यारी |
जय हो, जय हो, जय 'कृपालु' बनवारी |

राधे राधे

रंगीली महलन वारी

रंगीली महलन वारी, सोई मम वृषभानुदुलारी |
रंगीली महलन वारी, सोई बरसाने वारी |
रंगीली महलन वारी, सोई नाथबेसर वारी |
रंगीली महलन वारी, सोई नीलाम्बर वारी |
रंगीली महलन वारी, जेहि संग लाख लाख ब्रजनारी |
रंगीली महलन वारी, बनवारी जा पर वारी |
रंगीली महलन वारी, जेहि पद राज चह बनवारी |
रंगीली महलन वारी, जेहि पग चापत बनवारी |
रंगीली महलन वारी, जेहि हो 'कृपालु' उरधारी ||

मेरो प्रियतम कुंज बिहारी

मेरो प्रियतम कुंज बिहारी , तन मन धन उन  पर वारी |
मेरो प्राण प्राण बनवारी, विहरत नित सनद बिहारी |
मम पिय बनी गयो बनवारी, में बनी गई उनकी प्यारी |
वे व्रिन्दविपिं बिहारी, हे गई उनतेई मम यारी |
लिए मधुर भाव उर धरी, किये यार निकुंज बिहारी |
हम्रिहूँ सुधि लो बनवारी, रिरियात पारित बनवारी |
मन सुनत न नेकु हमारी, तुम सुस्नु 'कृपालु' बनवारी |

लाडलिहिन लीला ललित रसाल |

लाडलिहिन  लीला ललित रसाल |
तुत्रिन बतियाँ कहती मातु ते, पकरी चिबुक अरु भाल
मईया ! गई रही खेलत वन, संग सखिन ब्रजबाल |
इतनेहीं माहीं अनेक्नी नौतनु, आई तहाँ ततकाल |
देखन लगीं मोहिं सब इकटक, पुनि चुमेहूँ मम भाल |
पुनि कानन कछु कहीं पस्पर, भई शंक मोहिं हाल |
पुनि 'कृपालु' अस कहत चलीं भाल, जोरी लालिहीं-लाल  ||

भावार्थ - श्री किशोरी जी की बाल लीला सरस से भी सरस हे | क्जिशोरी जी कीर्ति-मईया की ठोढ़ी एवं उनका ललाट पकड़कर तोतली भाषा में कहती हैं - "आरी मईया आज में ललितादिक सखियों के साथ वन में खेलने गई थी | वहां अनेक युवतियों का अचानक ही एक झुण्ड आ गया और वे सब - घुर घुर कर मुझे देखने लगीं | फिर प्रत्येक ने मेरे गाल का चुम्बन किया | पश्चात आपस में कुछ कानाफूसी की , कदाचित मेरी कोई बुराई की |'कृपालु के शब्दों में पुनः वे सब युवतियां यह कहती हुयी चली गई की लाल एवं लाली की जोरी बनी ही अनूठी रहेगी |

Gaura Lila & Krishna Lila

Gaura Lila 

Acyuta gopi Acyutananda
Akrura Gopinatha Simha -Ambikä Mäliné Ananga manjari
(vara gopi) Jahnavi mata, Vasudha devi, Nityananada Aniruddha
Vakresvar Pandit- Arjuna Pandava
Ramananda Raya Arjuna (priya-narma-sakha) Paramesvara das Thakur / Ramananda Raya
Balaram- Nityananada
Bhandan Muni -Devananda Pandit
Bhangura Sri Govinda Bhrngara Kasisvara Pandit
Bhu-sakti(Mother of the Universe) Vishnupriya devi Bindumati gopi Kavi-karnapura's mother Brahma/Prahlad -Namacarya Haridas Thakur
Brihaspati Sarvabauma Bhattacarya Campaka manjari- Narottama das Thakur
Campakalata (varistha gopi)- Raghava Gosvami
Candra Uddhava / Candrasekhar Acarya Candrahasa (dancer)
Jagadisa Pandit- Candrakanti Purnananda
Gadadhara das Pandit -Lalita sakhi
Candramukha (dancer)- Makaradhvajakara
Candravali -Sadasiva Pandit
Citra (varistha gopi) -Sri Vanamali
Citrangi gopi -Srinatha Misra Daksa (parrot)
Caitanya dasa Dama (priya-sakha) -Nagara Purusottama
Dhanistha- Raghava Pandit Duti devi(messenger of Radharani)
Sivananda Sena- Gandharva (priya-narma-sakha)
Kumudananda Pandita -Ganges River Srimati Ganga devi
Garuda Garuda -Pandita Gauraseni gopi
Narayana Vacaspati -Guna manjari
Gaurakisora das Babaji / Gopal Bhatta Gosvami
Gunacuda -Kavi Karnapura
Garga Muni -Nilambara Cakravarti
Hanuman -Murari Gupta
Indira gopi- Jiva Pandita
Indradumnya- Maharaja Prataparudra Maharaja
Indulekha sakhi -Krsnadasa Brahmacari Jaya and Vijaya Nandini and Jangali Kalakantha devi
(Gandharva dancer) Ramananda Vasu
Kalakeli devi- Madhavi devi
(Sikhi-mahiti's sister) Kalambika devi
Narayani devi -Kalavati (vara gopi)
Govinda Ghosh- Kalpavrksa tree from Vraja
Madhavendra Puri- Kamala manjari
Bhaktivinode Thakur- Kanaka manjari
Syamananda Prabhu- Karna manjari
Ramacandra Kaviraj- Kastüré Maïjaré
Kåñëadäsa Kaviräja- Katyayani devi
Srikanta Sena -Kaveri gopi
Pitambara Kirtida-devi(Wife of Maharaja Vrsabhanu)
Ratnavati-devi(Wife of Pundarika Vidyanidhi)
Krsna- Caitanya Mahaprabhu
Krsna's Flute- Vamsivadananda Thakur
Ksirodakasayi Visnu- Viracandra Prabhu
Kubja- Kasi Misra
Kulaka- Kasinatha
Kumuda-Garuda- Kusumapida (sakha) Vrindavan das Thakur Kusumasava Kholaveca Sridhara Pandit Kuvera Kuvera Pandit Lalita (varistha gopi) Gadadhara Pandit / Svarupa Damodara Gosvami / Ramananda Raya / Dhruvananda Brahmacari Lavanga Kaliya Krsna das Lila manjari (Manjulali manjari) Lokanath Gosvami Madhavi gopi Madhvacarya Madhukanta Madhava Datta Madhukantha (a singer in Vraja) Mukunda Datta Madhumati Narahari Sarakara Thakur Madhureksana gopi Balabhadra Bhattacarya Madhuvrata (a singer in Vraja) Vasudeva Datta Thakur Mahabahu sakha Mahesh Pandit Mahabala Kamalakara Pippalai Maharaja Janaka (King of Mithila) Vallabhacarya Maladhara (flute carrier) Vanamala Pandita Malli gopi Kali dasa Mani manjari Srinivasa Acarya Manjumedha manjari Gopalguru Gosvami Manohara gopi Kavicandra Nanda Maharaja
(Krsna's Father) Jagannath Misra
(Mahaprabhu's Father) Nandimukhi Saranga das Thakur Närada Muni Srivas Pandit Nayanamani manjari Bhaktisiddhanta Sarasvati Nisatha and Ulmuka Minaketan Rama das One of the Pandavas Gopinath Pattanayaka One of the Yajnapatnis Suklambar Brahmacari Parjanya
(Krsna's paternal grandfather) Upendra Misra Partial incarnation of Lord Caitanya Bhagavanacarya Partial incarnation of Lord Caitanya Pradyumna Misra Patala devi, (wife of Sumukha) Saci devi's mother Patraka Brhacchisu Paurnamasi Govinda Acarya / Sita devi Payoda gopa   Prabala, friend of Balaram Halayudha Thakura Pradyumna Raghunandana Thakur Pradyumna Misra Pradyumna Brahmacari Prema manjari Bhugarbha Gosvami Pundarikaksa Govinda Purnananda gopi
(dear friend of Balaram) Gadadhara dasa pandit Radharani Gadadhara Pandit / Caitanya Mahaprabhu Raga manjari Raghunath Bhatta Gosvami Raktaka Haridasa das Rangadevi (varistha gopi) Gadadhara Bhatta Rangalekha sakhi Sikhi Mahiti Rasa manjari Raghunath das Gosvami Rasika manjari Jagannath das Babaji Rasollasa Vasudeva Ghosh Rati/Lavanga manjari Sanatana Gosvami / Sivananda Cakravarti Ratnarekha / Kasturi manjari Krsna das Kaviraj Gosvami Ratnavali devi Baladev Vidyabhusan / Gopinatha Acarya Revati devi Jähëavä Devé Rohini Padmavati Rukmini devi Laksmipriya
(Daughter of Vallabhacarya) Rupa manjari Rupa Gosvami Sadasiva Advaita Acarya Saibya sakhi Damodara Pandit Sandipani Muni Kesava Bharati Sankarsana Visvarupa Sasirekha devi Sri Kasisvara Gosvami Sarasvati Damodara Pandit Satrajit (King) Sanatan Misra Satyabhama devi Jagadananda Pandit Sribhadra gopi Sankara Pandit Sridama (priya-sakha) Abhiram Thakur Stokakrsna (priya-sakha) Purusottama das Thakur Subahu gopa Uddharan Datta Thakur Subala (priya-narma-sakha) Gauri das Pandit Subhana from Vraj Subuddhi Raya Sudama (priya-sakha) Sundarananda Thakur Sudama Brahmana Vanamali Thakur Sudevi (varistha gopi) Ananta Acarya Gosvami Sudhakara (mridanga player) Sankara Ghosa Sukadeva Gosvami Vallabha Bhatta Sukantha devi
(Gandharva dancer) Satyaraja Sukesi gopi Makaradhvaja Sumukha (Yasoda's father) Srimati Saci-devi's father Tungavidya (varistha gopi) Prabodhänanda Sarasvaté Uddhava Sri Paramananda Puri Variyasi devi
(Krsna's paternal grandmother) Kamalavati devi Varuni devi Vasudha devi Varuthapa Rudra Pandita Vasistha Muni Ganga das Pandit and Sudarsana Vasudama (priya-sakha) Dhananjaya Pandit Vasudeva Mukunda Vibhisan / Jatila Ramacandra Puri Vicaksana (parrot) Rama das Vilasa manjari Jiva Gosvami Vinode manjari Visvanath Cakravarti Thakur Vira devi (messenger) Sivananda Sena Varida Nandai Visakha (varistha gopi) Svarupa Damodara Gosvami Visvakarma Bhaskara Thakura Visvamitra Muni Vanamali Acarya (Astrologer) Vivisvan Sriman Visvesvara Acarya Vrinda devi Sri Mukunda dasa Vrsabhanu Maharaja Pundarika Vidyanidi and
Sri Madhava Misra Yasoda-devi (Krsna's Mother) Saci devi (Mahaprabhu's Mother)

Radharani's Birth

Raval is the birthplace of Srimati Radharani. It is not so frequently visited place, which inspires unique mood of separation in the hearts of Her devotees.

Once King Vrisabhanu went to the Yamuna river to take bath. He saw a golden lotus flower that shone like a million suns in the middle of the river... In the middle of the lotus flower was baby Srimati Radharani... ...Lord Brahma appeared before King Vrisabhanu and told him that in his previous life he and his wife, Kirtida, had performed great austerities to get the consort of Lord Vishnu as their daughter... ...King Vrisabhanu took the child home, but found her to be blind...

...Narada Muni appeared before the king and told him that despite the child's blindness he should go ahead and perform all the auspicious birth ceremonies...

...Nanda Maharaja brought baby Krishna along for the ceremonies held by king Vrisabhanu for his daughter...

...When baby Krishna crawled before Srimati Radharani, She could smell the wonderful aroma of His body, and at that moment She opened Her eyes. The first person She saw was Her eternal consort, Sri Krishna.

Radhey Radhey