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NITAAI-Veda.nyf > Compiled and Imp Scriptures > Chaitanya Bhagavata > Caitanya Bhagavata with Commentaries > Adi-khanda > 15-Marriage with Sri Visnupriya > Adi-khanda 15/101-150

Shri Chaitanya-bhagavata

Adi-khanda -


Vyasa Avatara Shrila Vrindavana dasa Thakura

Chapter Fifteen: Marriage with Shri Vishnupriya



CB Adi-khanda 15.100

TEXT 100

e-mata candana, mala, divya guya-pana

akatare keha kabhu nahi kare’ dana”


“We have never seen anyone distribute sandalwood paste, garlands, and pan so indiscriminately.”

CB Adi-khanda 15.101

TEXT 101

tabe raja-pandita ananda citta haiya

ailena adhivasa-samagri laiya


Carrying ingredients for the Adhivasa ceremony, Sanatana Mishra joyfully arrived.


Regarding adhivasa and gandha-sparsha, it is stated (in Shrimad Gopala Bhatta Gosvami’s Sat-kriya-sara-dipika): “Thereafter the activities of Adhivasa are described: One should collect suitable ingredients and duly perform the Adhivasa ceremony preferably at dusk, or else in the morning. The ingredients for Adhivasa are clay from the Ganges, sandalwood pulp, a stone, rice paddy, durva grass, flowers, fruits, yogurt, ghee, svastika, sindura (vermilion), conch, kajjala, cow urine, mustard seeds, a piece of gold, a piece of silver, a piece of copper, a ghee lamp, and a mirror. One should also have fragrant aguru powder, yellow cloth, a brahmana thread, a camara, and a cadara for welcoming the groom. Thereafter, while holding clay from the Ganges in one’s hands, one should chant the mantra, ‘Let the auspicious ceremony of gandha-sparsha, or applying sandalwood, and Adhivasa be performed,’ and after offering these items to Lord Vishnu one should offer them to the bridegroom and bride. It should be done like this everywhere. By chanting mantras, one should thereafter have the bridegroom and bride offer prayers. Then one should touch each of the groom’s limbs while chanting mantras and offer him four, five, or seven burning ghee lamps. One should perform the Adhivasa ceremony for a bridegroom and bride according to this procedure.”

CB Adi-khanda 15.102

TEXT 102

vipra-varga apta-varga kari’ nija-sange

bahu-vidha vadya nritya-gita-maharange


He came accompanied by brahmanas, family members, musicians, dancers, and singers.

CB Adi-khanda 15.103

TEXT 103

veda-vidhi-purvaka parama-harsha-mane

ishvarera gandha-sparsha kaila shubha-kshane


Following the Vedic injunctions, he then happily applied sandalwood pulp to the Lord’s forehead at an auspicious moment.


The word ishvarere refers to Mahaprabhu Gaurasundara.

CB Adi-khanda 15.104

TEXT 104

tata-kshane maha-jaya-jaya hari dhvani

karite lagila sabe maha-stuti-vani


At that time there arose tumultuous chanting in glorification of Lord Hari, and everyone began reciting mantras.

CB Adi-khanda 15.105

TEXT 105

pati-vrata-gane deya jaya-jayakara

vadya-gite haila mahananda-avatara


The chaste women made auspicious sounds of ulu-dhvani. The singing and playing of musical instruments filled the entire house with ecstasy.

CB Adi-khanda 15.106

TEXT 106

hena-mate kari’ adhivasa shubha-kaya

grihe calilena sanatana-vipra-raja


After completing the Adhivasa ceremony, Sanatana Mishra, the king of the brahmanas, returned home.

CB Adi-khanda 15.107

TEXT 107

ei-mate giya ishvarera apta-gane

lakshmire karila adhivasa shubha-kshane


Meanwhile, the Lord’s family members went to the bride’s house to perform the Adhivasa ceremony there.

CB Adi-khanda 15.108

TEXT 108

ara yata kichu loke ‘lokacara’ bale

donharai saba karilena kutuhale


Family members of both the bride and groom also performed the rituals that were in current practice.


The word lokacara refers to worldly or traditional family customs or ceremonies that are not based on Vedic injunctions.

CB Adi-khanda 15.109

TEXT 109

tabe suprabhate prabhu kari’ ganga-snana

age vishnu puji’ gauracandra bhagavan


Early the next morning the Lord took bath in the Ganges and then worshiped Lord Vishnu.

CB Adi-khanda 15.110

TEXT 110

tabe sheshe sarva-apta-ganera sahite

vasilena nandimukha-karmadi karite


Thereafter He sat with His family members to perform the Nandimukha ceremony.


The word nandimukha-karma is a combination of nandi-“glorification or good fortune” and mukha-“principle,” or nandi-“auspicious” and mukha-“beginning.” This ceremony is an elaboration of shraddha, or offerings to the forefathers. The offerings are made to one’s (1) father, paternal grandfather, paternal great grandfather, maternal grandfather, maternal great grandfather, and maternal great great grandfather, as well as one’s (2) mother, maternal grandmother, maternal great grandmother, maternal great great grandmother, paternal grandmother, and paternal great grandmother. When one offers oblations for their satisfaction, it is called Nandimukha-karma. It also refers to the beginning of an auspicious ceremony or an extended shraddha ceremony. A compiler of the smritis has stated: “One should properly offer oblations to the forefathers through the rituals called Nandimukha. A householder should worship the forefathers through the ritual called Nandimukha on auspicious occasions like the marriage of sons or daughters, the formal entry into a newly built house, the name-giving ceremony of a child, the hair-cutting ceremony, the garbhadhana ceremony, and the ceremony of seeing the face of one’s son for the first time.


Shri Gopala Bhatta Gosvami, the author of Vaishnava smritis, has written in his Sat-kriya-sara-dipika: “Vaishnavas should not perform this ceremony out of fear of committing offenses against the holy names. In order to satisfy one’s forefathers one should remember Lord Vishnu, worship the spiritual master, and give cloth and foodstuffs in charity to the Vaishnavas and brahmanas according to one’s ability. In this way one’s forefathers will be satisfied.”

CB Adi-khanda 15.111

TEXT 111

vadya-nritya-gite haila maha-kolahala

catur-dike jaya-jaya uthila mangala


Musical instruments, dancing, and singing created a tumult, and on all sides the sweet sounds of triumphal rejoicing arose.


The word mangala means “auspicious sound.”

CB Adi-khanda 15.112

TEXT 112

purna-ghata, dhanya, dadhi, dipa, amra-sara

sthapilena ghare dvare angane apara


Waterpots, rice paddy, yogurt, ghee lamps, and mango leaves were placed inside and outside of the house.

CB Adi-khanda 15.113

TEXT 113

catur-dike nana-varne udaye pataka

kadali ropiya bandhilena amra-shakha


On all sides, various colored flags waved and strings of mango leaves were tied to banana trees.

CB Adi-khanda 15.114

TEXT 114

tabe ai pati-vrata-gana lai’ sange

lokacara karite lagila maha-range


Mother Shaci and other chaste women then began to perform the various rituals that were in current practice.

CB Adi-khanda 15.115

TEXT 115

age ganga pujiya parama-harsha-mane

tabe vadya-bajane gelena shashthi-sthane


Shaci first happily worshiped the Ganges, and then she went along with a group of musicians to worship goddess Shashthi.


For a description of Shashthi one should refer to the purport of Adi-khanda, Chapter 4, verse 19.

CB Adi-khanda 15.116

TEXT 116

shashthi puji’ tabe bandhu mandire mandire

lokacara kariya aila nija-ghare


After worshiping Shashthi, she went to the houses of her relatives, where she performed the rituals in current practice before returning home.


The phrase bandhu mandire mandire refers to the houses of relatives and friends.

CB Adi-khanda 15.117

TEXT 117

tabe khai, kala, taila, tambula, sindure

diya diya purna karilena stri-ganere


Thereafter Shaci satisfied the women with puffed rice, bananas, oil, pan, and vermilion.

CB Adi-khanda 15.118

TEXT 118

ishvara-prabhave dravya haila asankhyata

shaci o sabare dena bara panca sata


By the influence of the Supreme Lord, all the items multiplied unlimitedly. Thus Shaci also repeatedly gave the gifts to each woman.

CB Adi-khanda 15.119

TEXT 119

taile snana karilena sarva-nari-gane

hena nahi paripurna nahila ye mane


The ladies all appeared to have taken bath in oil. There was not a single woman who did not feel complete satisfaction.

CB Adi-khanda 15.120

TEXT 120

ei-mata mahananda lakshmira bhavane

lakshmira janani karilena harsha mane


Meanwhile, in great happiness at the house of Vishnupriya, her mother performed the various rituals in current practice.

CB Adi-khanda 15.121

TEXT 121

shri-raja-pandita ati cittera ullase

sarvasva nikshepa kari’ mahanande bhase


As the Raja Pandita joyfully gave all his various possessions in charity, he floated in an ocean of bliss.


The phrase sarvasva nikshepa kari means “having spent all one’s wealth” or “by mentally offering Gaurasundara the hand of his daughter, Vishnupriya-devi, who meant everything to him and who was dearer to him than his own life.”

CB Adi-khanda 15.122

TEXT 122

sarva-vidhi-karma kari’ shri-gaurasundara

vasilena khanika haiya avasara


After completing all the prescribed rituals, Shri Gaurasundara sat down and relaxed for a while.


The phrase sarva-vidhi-karma refers to all the activities based on the smritis.

CB Adi-khanda 15.123

TEXT 123

tabe saba-brahmanere bhojya-vastra diya

karilena santosha parama-namra haiya


Thereafter the Lord humbly satisfied all the brahmanas with foodstuffs and cloth.

CB Adi-khanda 15.124

TEXT 124

ye ye-mata patra, ya’ra yogya yena dana

sei-mata karilena sabare samana


The Lord respectfully gave everyone charity according to their qualification.

CB Adi-khanda 15.125

TEXT 125

maha-prite ashirvada kari’ vipra-gana

grihe calilena sabe karite bhojana


All the brahmanas affectionately blessed Vishvambhara and went inside His house to eat.

CB Adi-khanda 15.126

TEXT 126

aparahna vela asi’ lagila haite

sabai prabhura vesha lagila karite


As the afternoon approached, everyone began to dress the Lord.

CB Adi-khanda 15.127

TEXT 127

candane lepita kari’ sakala shri-anga

madhye madhye sarvatra dilena tathi gandha


The Lord’s beautiful limbs were smeared with sandalwood pulp in which aguru had been mixed.

CB Adi-khanda 15.128

TEXT 128

ardha-candrakriti kari’ lalate candana

tathi-madhye gandhera tilaka sushobhana


His forehead was smeared with sandalwood paste in the shape of a half-moon, and an enchanting tilaka mark was drawn through it with aguru.

CB Adi-khanda 15.129

TEXT 129

adbhuta mukuta shobhe shri-shira-upara

sugandhi-malaya purna haila kalevara


He wore a wonderful crown on His head, and fragrant flower garlands covered His body.

CB Adi-khanda 15.130

TEXT 130

divya sukshma-pita-vastra, trikaccha-vidhane

paraiya kajjala dilena shri-nayane


He wore fine yellow cloth with three corners tucked in, and His beautiful eyes were decorated with kajjala.

CB Adi-khanda 15.131

TEXT 131

dhanya, durva, sutra kare kariya bandhana

dharite dilena rambha manjari darpana


Durva grass was tied with a thread around His right wrist, and He held a mirror and a fresh banana leaf in His hands.


The phrase rambha manjari refers to newly grown banana leaves or the middle portion of a banana tree.

CB Adi-khanda 15.132

TEXT 132

suvarna-kundala dui shruti-mule dole

nana-ratna-hara bandhilena bahu-mule


His ears were adorned with gold earrings, and His arms were decorated with various jeweled armlets.


The word shruti-mule means “the ear lobe.”

CB Adi-khanda 15.133

TEXT 133

ei-mate ye-ye shobha kare ye-ye ange

sakala ghatana sabe karilena range


In this way everyone joyfully decorated the Lord’s limbs with appropriate items.


The words ghatana karilena mean “joined,” “composed,” “beautified,” “assimilated,” or “entrusted.”

CB Adi-khanda 15.134

TEXT 134

ishvarera murti dekhi’ yata nara-nari

mugdha hailena sabe apana’ pashari’


On seeing the beautifully decorated form of the Lord, all the assembled men and women were overwhelmed and forgot themselves.

CB Adi-khanda 15.135

TEXT 135

prahareka vela ache, henai samaya

sabei balena,-“shubha karaha vijaya


At mid afternoon, everyone said, “Now let us begin our auspicious journey.

CB Adi-khanda 15.136

TEXT 136

prahareka sarva-navadvipe bedaiya

kanya-grihe yaibena godhuli kariya”


“We will pass through the streets of Navadvipa for a few hours and arrive at the bride’s house right at dusk.”


For a explanation of godhuli one should refer the purport to Adi-khanda, Chapter 10, verse 91.

CB Adi-khanda 15.137

TEXT 137

tabe divya dola kari buddhimanta-khana

harishe aniya karilena upasthana


At that time Buddhimanta Khan happily brought an exquisite palanquin for the Lord.


The phrase upasthana karilena means “[a divine palanquin] was brought before,” in other words, “set in front.”

CB Adi-khanda 15.138

TEXT 138

vadya-gite uthila parama kolahala

vipra-gane kare veda-dhvani sumangala


Musical instruments and singing created a tumult, while the brahmanas chanted auspicious Vedic mantras.

CB Adi-khanda 15.139

TEXT 139

bhata-gane padite lagila rayavara

sarva-dike haila ananda-avatara


Professional blessers began to recite various prayers. The whole scene appeared as if bliss personified had advented.

CB Adi-khanda 15.140

TEXT 140

tabe prabhu jananire pradakshina kari’

vipra-gane namaskari’ bahu manya kari’


Lord Gauranga circumambulated His mother and offered obeisances to the brahmanas.

CB Adi-khanda 15.141

TEXT 141

dolaya vasila shri-gauranga mahashaya

sarva-dike uthila mangala jaya-jaya


Then, as He got into the palanquin, auspicious sounds of “Jaya! Jaya!” were heard in all directions.

CB Adi-khanda 15.142

TEXT 142

nari-gane dite lagilena jayakara

shubha-dhvani vina kona-dike nahi ara


As the women joined in with sounds of ulu-dhvani, nothing other than auspicious vibrations could be heard.

CB Adi-khanda 15.143

TEXT 143

prathame vijaya karilena ganga-tire

ardha-candra dekhilena shirera upare


The Lord’s procession first proceeded to the bank of the Ganges, where the half-moon was seen overhead.


Another reading for ardha-candra is purna-candra. On the evening of the full moon, the moon is seen on the eastern horizon. It is not seen directly above. From the eighth day of the waxing moon up to Ekadashi, the eleventh day of the moon, half of the moon is seen directly overhead in the evening. Therefore the reading purna-candra is not appropriate here.

CB Adi-khanda 15.144

TEXT 144

sahasra-sahasra dipa lagila jvalite

nana-vidha baji saba lagila karite


Thousands of lamps were lit, and various fireworks were set off.

CB Adi-khanda 15.145

TEXT 145

age yata padatika buddhimanta-khanra

calila dui-sari hai’ yata patoyara


The procession was led by Buddhimanta Khan’s infantry, followed by the city tax collectors.


The word sari (formed when nic is added to the Sanskrit verb shri) means “row” or “class.”


The word patoyara (used in ancient Bengali) refers to one who is expert in carrying out the worldly dealings of his master. It also refers to an accountant, a tax-collector, or a clerk. In common language a patoyara is called a gomasta.

CB Adi-khanda 15.146

TEXT 146

nana-varne pataka calila ta’ra pache

vidushaka-sakala calila nana-kace


They in turn were followed by people carrying various colored flags. Next came a group of jesters, who dressed in various costumes.


The word vidushaka refers to a joker, a flatterer, or one who makes caricatures.

CB Adi-khanda 15.147

TEXT 147

nartaka va na jani kateka sampradaya

parama-ullase divya nritya kari’ yaya


They were followed by diverse groups of dancers, who all danced jubilantly.

CB Adi-khanda 15.148-149

TEXTS 148-149

jayadhaka, viradhaka, mridanga, kahala

pataha, dagada, shankha, vamshi, karatala

varanga, shinga, panca-shabdi-vadya baje yata

ke likhibe,-vadya-bhanda baji’ yaya kata?


Various musical instruments were played like jayadhakas, viradhakas, mridangas, kahalas, kettledrums, snare drums, conchshells, flutes, karatalas, varangas, horns, and panca-shabdis. Who can name all the instruments that were played?

CB Adi-khanda 15.150

TEXT 150

laksha-laksha shishu vadya-bhandera bhitare

range naci’ yaya, dekhi’ hasena ishvare


Millions of children danced along with the music, while the Lord watched and smiled.


Commentary and Chapter Summaries of His Divine Grace Om Vishnupada Paramahamsa Parivrajakacarya Shri Shrimad Bhaktisiddhanta Sarasvati Gosvami Prabhupada.