Krishna Seva

[Trusha]

Jai Shree Krishna

Thank you for your quick response.

We will patiently wait for you...
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Jai Shree Krishna
Vraj Bihari ki banu me vrajnaar
Trusha

[Pushtidas]

Jai Shree Krishna

Here is the introduction to 41 Pada of Shree Yamunaji. Next we will analyse the all 41 Pada and why they are chosen. Please let me know if you do not require the background of this compilation, then I will straight go into Pada vivachan and cut the history and the categories.

Shree Hariraiji in his writings has always maintained that Shree Yamunaji is the only swaroop who runs to Thakorji when ever a jiva takes Brahmasambandh. She loves Bhakta and she loves Thakorji. As soon as jiva surrenders everything to Thakorji, Shree Yamunaji will take charge to guide that soul, in fact it will not be out of concept if I say that she is really our Guardian Angel. And whenever or where ever we do Yamunaji’s patha or satsang, Shree Thakorji will be attending that satsang. Shree Hariraiji Prabhucharan has always maintained that we can easily make Shree Yamunaji happy by singing her glory and she will bestow her grace. As she is very close to Thakorji (4th Swaminiji), Thakorji also bestows the grace upon that jiva.

This is alokik swaroop and Yamunaji’s alokik mahatmay (greatness, virtues). As we now know the virtue of Shree Yamunaji, Shree Hariraiji spoke of doing Yamunaji’s padas, Kirtans and patha. In Shree Subodhiniji, Shree Mahaprabhuji stated:

“Gnatva Panai mahan rasaha:”

We do the patha as these are auspicious, glories related to religious connotation and it has that symbolic belief that it is for the salvation of the soul. This is mostly the starting point for a novice who is at the entrance level in the Marg. Shree Mahaprabhuji by stating: “Gnatva Panai mahan rasaha:” is merely asking us to increase our horizon and be more knowledgeable in the understanding of the patha. Equipped with knowledge, when doing path we will enhance the rasaha, that is the ultimate pleasure and this way we do not do things with blind faith.

Sitalji has extracted the introduction to the compilation of 41 Pada of Shree Yamunaji which I had written in Yamna.co site about 18 months ago. There was a desire to continue to put a compilation of 41 Pada of Shree Yamunaji on the map of this satsang tibari site and somehow due to many unforeseen circumstances, I never got around to develop the article. With the grace of Shree Hariraiji, the originator of this compilation, now Krishnaseva.com has bestowed this honour and thanks to Trushaji and Vasantbhai who has encouraged and prompted me to write on this subject.

Although these 41 Pada of Shree Yamunaji was compiled 350 years ago, it was difficult to find any proper vivachan, explanation on this compilation. There were some points and notes which had many pages missing, written by Shree Hariraiji in Sanskrit, and the only proper vivachan was in Gujarati and this was written by Shree Rameshbhai V. Parikh (written in 1999). In my search for articles on 41 Pada, the only other vivachan existed was by Shree Param Bhagvadiya Chakubhai Nanji of Bhalgaam (a village in Saurastra, India), believed to be written in 1933, I thank Nanji family for their help and for sending me their only copy of the Vivachan. Shree Rameshbhai had access to this vivachan and compiled the vivachan which he then published in 1999. The 1933 version by Chakubha Nanji, as he had compiled the vivachan using the original notes by Shree Hariraiji and did not use his personal bhava or opinion to influence the compilation in anyway, so this publication remained close to original vivachan and till today has remained the landmark of 41 Pada. During my research I came across a name of another vaishnav from Rajkot, Shree Param Bhagvadiya Nathubhai Mistry who had compiled vivachan on 41 Pada at the same time as Chakubhai, unfortunately his compilation was unavailable and family was unable to throw any light on his work.

We have many vivachan on Shree Yamnastakam and many other granths but not many vivachan on 41 Pada of Yamunaji, these Pada when opened and analyzed, brings that pleasure which has been locked in for more than 350 years. I have come across some magazines and one or to Pada explanation by Shree Vallabhkul present balaks, but these are neither here nor there as these vivachan does not cover whole compilation. On my visit to India in Ranavav, I had an opportunity to meet Shree Rameshbhai Parikh who had come to pay his condolences to my family, on Golockvas of my father. We happen to discuss 108 Pada of Yamunaji and this discussion led to 41 Pada. Rameshbhai was fortunate enough to be commissioned by Goswami Shree Parbhuji Mahoday Shree to write on 41 Pada.

We looked at his first draft and discussed the collections of Pada in this compilation. He had some hand written manuscript which was about 150 to 200 hundred years old, and Rameshbhai confirmed that he was looking for the original handwritten manuscript by Shree Hariraiji, but with no avail. We exchanged our findings and we came to a conclusion that the original Pada in its present state has changed a lot. These Pada have suffered modifications from its originality over the years, just like some of Pada of Ved Shruty. The 41 Pada have been tempered, altered and miss printed over the years and additionally taking into account the changes in our languages over the years, it is inevitable that the best way to re-establish the originality of the 41 pada is to find the original manuscript.

We both concluded that as these Pada were written in Vraj bhasha (language), the scholars in this language should study the modern version of Pada and try to bring these verses of 41 Pada in its original state. We did our best to rectify some of the known changes and after deliberation with experts in Vraj language, the Pada were slightly altered. In Tibari I will try to highlight the differences wherever possible and also will try to break the differences in their meanings. I hope you will appreciate these highlights.

Like any granth in our Marg, there is quite a lot hidden in it and only scholars and Shree Vallabh Parivar could open the locked meanings which blatantly stare at us all the time but we are not graced to understand and fathom its depth. A lovely vaishnav Param Bhagvadiya Shree Gopaldasbhai has said a lot about Shree Mahaprabhuji’s Granth. When reciting the famous sonnet (sonnet=akhiyan) (the only sonnet in Gujarati which has been translated into Sanskrit, Hindi and Vraj bhasha) the Vallabh akhiyan, he said “granth servay rasroop kidha potanay vistaar.” He re-iterates what Shree Hariraiji said about Mahaprabhuji, and that is that all Siddhant Granth and Bhavna Granth are full of that spiritual nectar (alokik ras). This is a reality in Pushtimarg and it is also that special grace bestowed on their entire followers who are known as Pushtimargiya Bhagvadiya or Vaishnavs. Everyone will take something out of these Granth in every whichever way, and who can depict this better than our very ardent Kirtankar, Kavi (poet) vaishnav Shree Dayarambhai. He wrote, “Uttam vastu adhikar vina malay, tadapi artha nav saray.”

I am hoping that I will only be able to open this 41 pada of Shree Yamunaji according to my adhikar (authority) and hope Shree Mahaprabhuji, Shree Hariraiji and Shree Yamunaji will bestow this grace upon me. I hope Param Bhagvadiya Trushaji who has been waiting for quite a while, and today her wish (manorath) is taking shape. Trushaji do enjoy the granth.

The ras (nectar) is all there but how and who will have that grace to enjoy is dependent on ones ability and the grace bestowed on that person. So everyone get involved and regale, pander satiate and treat your Bhagvadiya bhava according to your yield.

Anyway I am very grateful to all the vaishnavs who helped in making this task possible, may Shree Hariraiji Prabhucharan bestow his grace on them.

With the Grace of Shree Yamuna Maharaniji, today I am able to present this vivachan as an English version. I hope that I can justify the original compilation. Any error in compilation will remain mine and prominence in its incompleteness will also remain my responsibility. I will be grateful to any Vaishnav who will point these errors and communicate directly with me.

As discussed in the introduction, the compilation of 41 Pada of Yamunaji is collection of Pada which are as following:

1. Four Pada from Shree Hariraiji’s collection (1-4)
2. Four Pada from Shree Govind Swami’s collection (5-
3. Four Pada from Shree Chit swami’s collection (9-12)
4. Four Pada from Shree Chatterbhuj das’ collection (13-16)
5. Four Pada from Shree Nanddasdasji’s collection (17- 20)
6. Four Pada from Shree Surdasji’s collection (21 – 24)
7. Four Pada from Shree Kumbhandasji’ collection (25 – 2
8. Four Pada from Shree Gangabhai’s collection (29 – 32)
9. Four Pada from Shree Krashnadasji’s collection (33 – 36)
10. Four Pada from Shree Parmananddasji’s collection (37 -40)
11. One Pada from Krashnadasji’s collection (41).

Shree Hariraiji compiled only 40 Pada but as it was a tradition in Pushtimarg and the Vedic writings and also unwritten law that odd numbers were symbolic and auspicious, hence the last Pada was added to acknowledge the bondage of spiritual entity and attest the aurora of auspicious aura.
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Dasa nu das
Pushtidas

[Trusha]

Jai Shree Krishna

You have made my day Pushtidasji!!! So pleased that you have started this topic. Thank you so much, also thank you to Nanji family for their help and support.

We defienntly need to know the knowlegde and history behind the 41 Pada of Shree Yamunaji for us to understand the Pada. agree Pyara Vaishnavs !

I want to indulge into this granth in more depth, word by word, stanza by stanza and verse by verse please We can only advance with Thakorji's grace and your teachings plus aashirwaad.
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Jai Shree Krishna
Vraj Bihari ki banu me vrajnaar
Trusha

[Nirupa]

Jai Shree Krishna

Trushaji, agree with you that it is very important to know the histroy which will help us to understand 41 pada.

I too want to indulge into 41 pada word by word, stanza by stanza, just like Trushaji. But Pushtidasji, please continue with the history of 41 pada. Thank you.
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Jai Shree Krishna
Darshan Abhilasi
Nirupa

[Vasant Punjabi]

Jai Shri Krishna,

Pushtidasji, Thank you very much for fulfilling nearly everyone's wishes.

krishnaseva.com is shinning today is because of your lovely positngs and please do keep writing as and when you please and share the knowledge with all of us here.

Will just describe in short about the appearance of Shri Yamunaji.

Yamuna, the great among the greatest rivers is also known as the Queen consort of Lord Shri Krishna. Goloka the divine abode of the Lord is the home of Yamuna. When the Lord dictated Yamuna to descend on the earth, she first went round Shri Krishna. Thereafter, with great force, she descended on the peak of Sumeru Mountain.

Her journey began thence towards the southern side of the great mountain chains. In the course of her journey Yamuna crosses many lofty peaks. Right among the peaks, the dark-complexioned Yamuna parted with the fair-complexioned Ganga, and reached a peak Kalind, to start her journey downwards since Yamuna began her journey downwards from the peak Kalind, hence she got an epithet Kalindi.

Crossing and piercing many peaks and wetting expansive planes in the way, Yamuna reached Khandav Vana, where the modern city of Delhi stands. Yamuna had longed to see almighty Lord Krishna as her husband.

Hence taking the guise of an extremely pretty woman, she began severe penance in Khandava Vana. Lord Surya, Yamuna's father, built an under water palace there for her to tale rest. It is believed that she still resides there. From Khandava Vana, Kalindi travel fast to reach Vrindavana and Mathura in Vraja region.

In Gokul, the extremely pretty Yamuna constituted a group of teenaged girls to participate is Raas of Lord Krishna. She also selected an abode there for permanent stay. From Vraj, Yamuna continues her journey due south and south-east ward purifying many regions in the way. She reached Prayag, the holiest among all the holy places of pilgrimage. There she meets again with Ganga.

Both of them travel together from Prayag onwards upto Ksheer Sagar. Near the sea, with over whelming Yamuna says: Gangey, you are great that you originate right from the feet of Lord Krishna. You are venerable in all the three world. From here, I am ascending again to reach the abode of Shri Hari. If you wish, you may also accompany me.

Ganga says: Yamuney you have the power of sanctifying the whole universe. You originate from the left part of Lord Krishna. You are an embodiment of the supreme joy. You are the queen consort of Lord Krishna, hence venerable in the whole world. Your sight is rare, even to the gods. I greet you. But I can't accompany you. With Lord Krishna dictate, I now go to the Patal Loka. Thus, both of them greeted each other and went to their respective destinations. Yamuna ascended in the form of jog like stream, on the tops of the peaks. Thence, rising sky wards, she reached to the heaven. From there she reached Lord's Krishna Goloka via Brahma Loka, her original abode.

"Bolo Shri Shyam Sunder Shri Yamune Maharani Ki Jai!!!!!! "
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Vasant Punjabi.

"Shri Vallabh Shri Vithal Sukh-kari naa-me nishpap thai nur-nari,
------Nitya Lila nitya nautam shruti na pame par."----

[Pushtidas]

Jai Shree Krishna

Thank you Vasantji, that was a beautiful render on Bhuatic (earthly) state of Shree Yamunaji and the insight and vivid description was lovely, I enjoyed the posting.

Please do blaze tibari with your presence.
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Dasa nu das
Pushtidas

[Pushtidas]

Jai Shree Krishna


From the above breakdown of compilation, we can now deduce that these were 41 gems of Shree Yamunaji created by very prominent and ardent Pushtimargiya Vaishnavs. We have Ashtasakhas (8 prominent poets) of Pushtimarg whose selection is compiled so eight poets contributed 4 Pada each that make 32 Padas (8x4). Then we have a selection from Shree Vithalnathji’s ardent sevak Gangabai. Four Pada from her collection makes the compilation to thirty-six Pada. Then Shree Hariraiji completed compilation by introducing four Pada from his creation. All this took the compilation to 40 Pada and it is said that Shree Hariraiji started doing 40 Pada as his “Nitya kram” that is, daily chores to recite the 40 Pada.

In our Sampradaya (Pushtimarg) “Sankhiya” (the sum) and “Ankda” (figures) also have that spiritual connotation, depiction of auspicious character. Even in Shastra many thoughts have been imminently been discussed and the nature of auspiciousness has been accepted. In auspicious state or event the figures with zero at the end is known as “varjit” number. Here varjit has been defined as a non auspicious, non vital and non-vigor number. Sometimes zero is called “rikta” which mean a figure that has not value, and the only value it carries is emptiness. This set trend, tradition and belief has generated a norm where by when one donates money to a charity or to a religious event, function and Utsav without zero at the end of the sum, that is one will donate eleven and not ten, one hundred and one and not only one hundred. Due to above reason someone felt that the compilation is incomplete and added the last Pada to make it 41 Pada.

Now we have established the compilation and its compiler, it is also important to understand the reason of this 41 compilation. Why compilation on Yamunaji? Why Shree Hariraiji was so much enticed in doing the recite of all these 41 Pada as daily chores? To understand this we have to caste into the events which unfolded in Pragat-leela.

The Pragat-Leela:
Neh Karan Jamunai prathama ayi ||

As Thakorji is a Bhagvad swaroop, on a similar base Shree Radhikaji and Shree Yamunaji have Bhagvad swaroop. They are Bhagvad swaroop because in Shastra it is being observed that only Bhagvad swaroop appears as they do not take birth like all the living beings, these are the swaroop who are known as Pragat swaroop and they do not take birth in a bhautic entity. That is why these swaroop’s creation is known as “avir-bhava” and their avir-bhava is called pragatiya and not birth. Thakorji is “anadee” (pronounce as anadi, -having no beginning) and “ananta” (eternal). He is Sachidanda and a truly complete Anand-swaroop.

When casting back into eternal era which was the time when only Thakorji existed all alone, this was anadee era, in which Thakorji (God) was the only entity in existence. As He was Anand-swaroop, He decided that He no longer wants to stay in dilatory atmosphere and as He was Anand-swaroop, He wanted to create fun and anand (happiness) for Himself. Although, He was atma-ram (self deduced swaroop) He felt to induce atma-kaam (self entreat for lust and desire). This, from Atma-ram to Atma-kaam, was possible because of the element of “virudhabhasha” within God. Virudhabhasha dharma is an element that has an ability to create a nature or activities which is entirely opposite to original normal nature. It is said that Thakorji does acquire this ailment of virudh–dharma and has depicted many leelas to proclaim a total opposite effect and anand. To have this kind of pleasure, He decided that He needed more swaroop to play with. This was the beginning, and also the birth of that famous immortal words “Ekohihum Bahushyam!” This was the leela in which God created many from one.

God then created from Himself a small playground know as Spiritual Suriyamai Golok-dham for his leela games (ramana). Then from His heart He created another swaroop known as Alhadini. Alhadini means a creation of His counterpart of female form. He gave her Shakti (power and strength) and the swaroop was a complete Alhadini Shakti swaroop. As Thakorji was the creator and the power He is known as Svami and His female counterpart is known as Svaminiji. So the swaroop created became the partner and the witness swaroop of all leela games and plays and she shared the anand, the pleasure in these leelas. Due to this partnership, Svaminiji is also known as Leela-vihar Sahabagini. Her pragatiya was to encourage and anchor pleasure in Thakorji. She was to infuse aradhna, that to create all variance of love and its permutation. The word for this lucrative action was “Radha” and as the personality that effluxes Radha is female the word “Shree” was added as prefix, hence, the swaroop Alhadini Shakti was named Shree Radha.

As explained above that Shree Radha was Alhadini Shakti, she observed that to really enjoy the leela games one needs more players and a bigger field. She observed the vast expanse of anand that effluxes from Thakorji and this anand expanse of leela games were bigger and needed a better playground and a crowd to enhance the pleasure in eternal folds. She then relayed to Thakorji her observation and requested different playground for Anand ras leelas.

Thakorji agreed and accepted Shree Radha’s observation. As a gift for this observation He infatuated the love from his heart and inspired the love to fill with an intense and reassured expanse of passion. The expanse of love when compressed created the passion which infatuated into mountain of pleasures and happiness. This compressed mountain of love covers vast and huge part of land. The mountain and light of love-mountain became Mount Shree Girirajji. Surrounding this Mount Girirajji appeared twelve “vana” (forest) and twenty-four “upavana” (jungle, sub forest) and with this also there appeared six seasons which vowed to serve the Yugal swaroop (the couple) day and night in their vihar games, all the permutation of love and Yugal leelas.

Next Shree Thakorji created another Alhadini swaroop from His heart. This Alhadini female form was full of Thakorji’s grace so this female counterpart swaroop was depicted as Alhadini Krupa swaroop. This swaroop full of happiness, Krishna grace and had all the ailment of Him (Krishna), hence, the swaroop was called Krushnah. As she was Krupa-Shakti, she was infused with love, grace and rays that created concentrated light and rays that eluded Thakorji’s desire to play and do leela-games that flowed within Girirajji. This way the Krushnah was created to enhance leela surround Girirajji. We now know her as Shree Yamunaji or Shree Maharani Yamunaji, who became an important swaroop in Pushtimarg and became a swaroop which enhanced Nitya-leela in Golok-dham.

As Shree Girirajji was created as Mountain in Golok-dham and was surrounded by green forest, the Vana and Upavana, and to maintain these forest water was essential, so Yamunaji decided to become “Rasa-sarita” which started flowing in the valley of Shree Girirajji. This way Shree Yamunaji created lovely banks and many trees and flowers started growing encircling Shree Girirajji and Yamunaji. This encircling area is known as Leela-sthal. This area also became famous for raas-leelas and Leela-Parikar. After raas-vilas all Parikar (everyone who took part in the games are known as Leela-Parikar) become full of shrum-jal (sweat) and everyone jumps into Yamuna-jal (Yamuna river). This cools everyone and instigates water games. These water games are known as jal-vihar. This way Shree Yamunaji became Svaminiji and Sarita in Golok-dham.

Although Yamunaji has two swaroop, Svaminiji and Sarita (sarita=river) they are not separate swaroop and are known as one. She is full of Thakorji’s anand ras and prem ras and because of these two ras, they get compressed into solid state of Svaminiji priya swaroop. The priya swaroop is also known as “Ghana” swaroop that is the solid state of Priyaji. When Ghana swaroop entangles with Thakorji into leela games, she becomes full of anand and prem ras which expands within her swaroop and then overflows as liquid form of water and she become sarita, the river. This form of swaroop is known as draviibhut swaroop.

As Shree Thakorji is Ghana anand and Ghana ras swaroop He is said to be Ghanibhut and on the same token Shree Yamunaji is the river of this Ghanibhut Krishna and when Ghana is melted it converts into sarita, the river. The conversion is known as draviibhut. Krishna is Ghanibhut then Yamunaji is draviibhut. They both are similar except one is ice state of Ghana and the other is the water state, the Dravi. One is Krishna and the other is Krushnah, one is Svami the other is Priyaji and one is Thakorji and the other is Yamunaji.
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Dasa nu das
Pushtidas

[Sital]

Jai Shree Krishna

Wow, Pusthidasji your writing is remarkable, must state that I loved the full contents of your posting. It’s really nice to be able to read the actual version translated into English, as of the original books. Fascinating when you study the creation of both Svaminiji’s and their correlation with Thakorji

Hope you will continue very soon………Pretty Please

Thank You So Much

JSK
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Madhurkomalkant padavali namami
Sital

[Nirupa]

Jai Shree Krishna

Pushtidasji, the above posting is beautifully written and explained so well.

[unnati]

Jai jai shri gokulesh

Pustidasji, thanx for the beautiful posting.. njoying a lot reading it.. please continue....

Nirupaji, Sundarvatiji Vahuji consulted Shree Hariraiji and between them a Pada number forty-one was selected. As explained by Pustidasji in his posting regarding “Sankhiya” (the sum) and “Ankda” (figures). The selection of this Pada was from Shree Mahaprabhuji's Sevak Shree Krashnadasji. His pada was chosen because this pada depicted the overview of Shree Yamunaji's swaroop and thus was rendering the summary of all 40 Padas.
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Shri Vallabha Charan Vina Sharan Koni Jaou.....Shri Vitthala Nam Vina Mantra Kya Thi Paou......Shri Vallabha Charan Vina Sharan Koni Jaou.....
Unnati M. Kadakia

[manish]

Jai Shri Krishna,

great post, enjoying it very much. thankyou vaishnavs for requesting this topic and Pushtidasji for taking effort to compile it.

Jai Shri Krishna,

Manish

[Pushtidas]

Jai Shree Krishna

Thank you every one for lovely reponse. Yes Unattiji thank you for your reply to Nirupaji. Thanks Manishji I hope to justify the subject and I did put a lot research time on the subject. I just hope that everyone enjoys this lovely compilation of 41 Pada.

Anyway, here is the next posting, please enjoy it and respond if you may, as I do value your opinions.

Shree Yamunaji is also Ghana ras swaroop like Shree Krishna. She is always there for Him and loves to serve Him with all the aspects of Bhakti. Due to this nature she has acquired a special quality, this quality is known as “Tat-sukh”. Tat-sukh is a label bestowed on a personality that always, no matter what, will think of others at any cost. In being Tat-sukh she has developed a flare for Krishna sukh and Krishna seva. Whenever she sees an element regarding Thakorji’s sukh or Thakorji’s seva, she gets excited. This excitement is so intense that she generates love and Bhakti heat, which produces effervesces of Dravi.

When Yamunaji is in this state Mahaprabhuji has described it as “Premlakshana Bhakti”. So when Shree Yamunaji becomes charged with Premlakshana Bhakti then the Dravi enters into her Ghana ras state and the heat generated in penetration melts the Ghana ras into Dravi ras. This Dravi ras flows outward and the flow takes the shape of meandering river of love and Bhakti. This sarita is the water form of Premlakshana Bhakti infused by the excitements of seva and Bhakti for Krishna.

This Draviibhut Sarita swaroop of water has Svaminiji swaroop inside the Draviibhut and because of the characteristic of Draviibhut state she was depicted as Thakorji’s Priyaji.

When the process of melting Ghanibhut starts Dravi looks inside Yamunaji’s heart there it looks at Ghana Ras. This Ghana Ras is in the shape of Sarita, and in this sarita Yamunaji hides the swaroop of Svaminiji (Radha). Draviibhut then copies this swaroop and become Draviibhut Sarita itself and this then flows as water as Yamuna river. Therefore this establishes that Ghana Ras Sarita inside Yamunaji has Shree Svaminiji as her resident (Yamunaji na rhadayama Ghana Ras Sarita swaroop tareke Radha (Svaminiji) biraje che). When the internal Ghana Ras sarita melts into Dravi Sarita, which flows as water, it takes the form of Priyaji or Shree Yamunaji. This way Yamunaji has two Sarita, one inside her heart as Svaminiji and the second sarita that flows from Kalind Mountain in the shape of water.

This concept is explained by Shree Gusainji when Aapshree was writing on Shree Yamnastakam. Aapshree explained that when Shree Mahaprabhuji did Yamnastakam he prayed for Yamunaji and Svaminiji as Sarita swaroop. When we read “Taranga Bhuja kankanam” this stanza of Yamnastakam is depicted as that spiritual vision of Shree Mahaprabhuji which really reflects that knowledge of Yamunaji’s swaroop in Kunj and then the bhautic (earthly) sarita swaroop. The bhuja (hands) and taranga (ripples in the water) kankan (pearls) were vision of what Yamunaji showed to Shree Vallabh. The spiritual vision was of beautiful hands wearing bangles (hence the ripples depicting bangles) and these bangles had real pearl (kankan) embedded within. This was alokik swaroop of Shree Yamunaji and Shree Vallabh wanted us to have realization of such swaroop of sarita (river). That was the reason why Shree Vallabh also stated in his stuti to Yamunaji, “Stutim tav karotika”. Here Aapshree is also explaining to Yamunaji that as Jiva (Atma, soul) is innocent of your real swaroop and they (souls) only know you as a river; I (Mahaprabhuji) have to do this stuti which ultimately attain that realization in the soul, that you are the same sarita swaroop who also flows in Kunj as well as that Shree Yamunaji who was created from the heart of Thakorji. This was a further realization of Shree Yamunaji and her swaroop as a spiritual Krushnah.

So this is that Bhagvad swaroop, which is in Golok-Dham as Bhagvad swaroopa, the Krupa-Shakti of Thakorji and Bhaktimaharanirupa, Shree Yamuna Maharaniji, Svaminiji and sarita. Shree Thakorji can be experienced as two swaroop – as Dharmi swaroop and as Dharma swaroop. Yamunaji also can be experienced as Shree Svaminiji swaroop which is her Dharmi swaroop and Sarita swaroop as her Dharma swaroop.

These two swaroop of Shree Maharaniji has been from Ananta-kal (the beginning) in Leela-Parikar in Golok-Dham and has been partaking in all the leela games including vihar with Thakorji. In Golok-Dham, many Leela-Parikar, knowingly or unknowingly were victim of dosh (sins) and to repent from this apradh (sin, dosh) they had to take birth on earth. Many of these Parikar took birth in Vraj-mandal as human beings; the era in which they came was Sarasvat kalpa.

Then there was Veda-Shruty who had intensively indulged in worshiping Thakorji. When they saw the changes being made in Sarasvat kalpa knowing that the Parikar were also taking part in Sarasvat kalpa leela, they decided that they want to also be a part of such a beginning. As the token of their Bhakti, the fal, Ved Shruty fell in love with the Sarasvat Kalpa swaroop of Krishna and could not resist that intense desire to enjoy Thakorji’s Krishna swaroop. They approached Thakorji and did vinanti (requested Him); they declared their intention to serve Krishna in Sarasvat kalpa in Vraj-mandal. This way Ved Shruty took form of Shruty roopa Gopis and joined Vraj-mandal.

In Rama-avtar when Shree Ramchandraji did vanvas leela He happened to reach a place called Dandakaraniya vana. In this place there were sixteen thousand sages who were intensively involved in meditation and were granted the alokik darshan of Shree Rama, the most hunky, beautiful vision of a real Mariyada man glazed their eyes and melted their hearts. They begged to Rama that He become their husband.

To this Mariyada Purshottam Shree Rama replied, “At the moment in Treta-yuga your wish cannot be granted, but in Dwapar-yuga when I will appear as Shree Krishna, I will be able to fulfill your wishes.”

These sixteen thousand sages became beautiful female forms who were residing in Bengal. Shree Nandbaba was searching for staff for his vast expanse of Nand Bhuvan and his search lead him to Bengal and there with the grace of Krishna he came across these sixteen thousand females and he decided to take them to Nand-Bhuvan. These “kumarikas” (virgins) were employed to serve Krishna.

This way in dwapar-Yuga of Sarasvat-kalpa there appeared three types of Bhakta in Vraj, the separated Parikar known as Nitya-sidha, Shruty-roopa and Rushi-roopa (rushi=sage, hermit). To fulfill His promises Shree Krishna also decided to appear in Vraj and He also asked Golok-Dham Parikar to join Him at Vraj-mandal and this way everyone entered Vraj from Golok-Dham. These movements also encouraged Yamunaji to appear on earth as Svaminiji-sarita swaroop
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Dasa nu das
Pushtidas

[jagdish]

Jai Shri Krishna

Thoroughly enjoying the narrations and explanations - thank you
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Best Wishes
Jagdish

[Sital]

Jai Shree Krishna

Each of these posting are exceptional, and I sense that everyone reading these agrees? One can deduce from this article that Svaminiji and Yamnaji are both one and their closeness between each other and Thakorji cannot be fathomed.

Eagerly waiting for the next posting……………………..


JSK
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Madhurkomalkant padavali namami
Sital

[Pushtidas]

Jai Shree Krishna

Thank you Sital, I am encouraged to put more postings because lovely Bhagvadiya like you so eagerly reads and then actually takes pain to write and convey the appreciation. I am grateful. Hope you will enjoy this posting as well. Enjoy!


Now we have established that Shree Yamunaji is Bhagvad-swaroop of Shree Thakorji. This is the reason Shree Yamunaji will only appear at a special designated place and will choose special starting place from where she can flow as sarita. She was destined to take sarita (river) form and appear on earth. She chose mount “Kalind” as her first appearance. Why Kalind mountain? What is so significant about this place (mountain)?

The Mount Kalind is part of the peaks of Mount Himalaya. Hima means ice or snow and Alaya means the peak that is sky high. Mount Himalaya has very high summit and hence this name was bestowed. The original old name is Mount Himachal and it means the mountain that is wrapped in ice. These mountains are found on the North of India. Every peaks and summits of this mountain has different names and as I mentioned before, Kalind parvat (mountain) is one of the summit of this garland of mountains.

According to scripts of Suhddaiwait Brahmavad every atoms or element has three descriptive forms (swaroop). This includes living and non living entities. One of the form is Adhidaivik and these mountains are categorizes as Adhidaivik form. As the mountains were depicted as spiritual entity by Suhddaiwait Brahmavad, Shree Yamunaji chose Kalind mount for her first appearance. There were many other reasons why She chose this mountain. One of the reasons was the name Kalind. Kalind means the one who devourers the sins of Kaliyug. Since the beginning of mankind, this mountain was known as a sacred place for penance and meditation. It became popular amongst sages and hermits and they dwelled in the mountain. As the route to these mountains was full of hazards it was virtually very difficult to find your way to these mountains, it was barely visited by human beings so this was an ideal and secluded place for meditation, far from maddening crowd of the rest of the world. This was the second reason, quiet and peaceful environment, for Yamunaji to choose this mountain.

Mount Kalind has also history that goes long way back in the times of Dwapar yug, an era of Rama-avatar. According to Puran-katha (story from Puran’s scriptures) it was noted that when Shree Ram’s ardent disciple Shree Hanumanji after setting Lanka on fire (this episode of setting Lanka on fire is known as “Lanka-dahan”) with his tail, tried to distinguish the fire by submerging the tail in the sea. But the fire was so intense and Hanumanji could not distinguish the fire, so he decided to visit Mount Kalind and douched his tail in the cool ice on the mountain. The snow on the mountain did extinguish the fire on the tail. From that day Mount Kalind was nick named as “Bandar-puncha” (Bandar=monkey, puncha = tail).

Shree Yamunaji appeared on Mount Kalind as sarita and it was in the month of Chaitra Sood and the day of the month was chatta (six). In our Sampradaya this date is celebrated as the birthday for Shree Yamunaji.

Shree Yamunaji’s journey downward, from the summit of Kalind to the bottom of the mountain where human beings could barely visit, is described in a sonnet written by Shree Mahaprabhuji. This sonnet was written as descriptive stanzas of Yamunaji’s form as water and her journey on the earth. As it was earthly description of such a lovely personality, the sonnet was written as “Pruthvi Chanda” (Pruthvi=earth, Chanda=sonnet or ragas).

This sonnet is known as Shree Yamnastakam. And it is the stuti (prayer) to Shree Yamunaji and it also describes her alokik (spiritual) form.

The journey has been described very well by our Admin Shree Vasantbhai and it will not be justifiable for me to repeat this journey from Kalind Mount. The description is picturesque and very well written. Shree Yamunaji although started her journey on 6th day of Chaitra Sood, she carried her journey till she met her sister river Ganges (Gangaji) at the king of pilgrimage (Tirthraj) Prayag, the date was Jeth Sood (month) 10th (the day of the month), the day is known as Ganga-Yamuna Sangam. Here Shree Yamunaji stopped and did not continue her journey. Do you know why she did not continue her journey?
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Dasa nu das
Pushtidas