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Conjugal Fountainhead

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									Four Great Esoteric Sanskrit Love Classics and
an unbelievably contemporary American Classic

These five books are flagships of the Rasa Renaissance.
They bring us good-tidings that the barren void in Art and
Spirituality will once again resound with the passionate calls
of cuckoos maddened by mango blossoms and hordes of
bumblebees lusting after honey.
All five of these books are great solace to the souls thirsting
for Rasa or juicy climax of emotional fulfillment that we are
all seeking from love, relationships, art and literature. They
are great reading for all seasons.
It is a fusion of great Rasa Art and great Rasa Literature. As
an artist, Mumbiram has lived the life of a romantic classical
painter. His perspective has the miraculous combination of a
profound understanding of the timeless Indian Classics and a
passion for innovation and originality in a painter´s life and
craft. Mumbiram is the prime mover of the Personalist
Movement in philosophy and art. His Art brings out the best
of east-west confluence. Here erudition meets innocence.
Here classics appear with a contemporary idiom. Mumbiram
is creating archetypes of a transculture ethos.

Mumbiram is leading a Rasa Renaissance as an artist. The
paintings that appear in the High Five of Love were not made
as illustrations. They are the outcome of a life led with the
aesthetic choice as the only guiding beacon, a life that was
inspired by the same romantic ideals as the great Rasa
Classics. It may be said that if the legendary Jayadeva and
his Gita Govinda did not exist, they would have to be
invented as literary equivalents of Mumbiram´s Art.

The persons appearing in the paintings exude the same
unabashed innocent passion that the five great Sanskrit Rasa
Classics arouse.
We have all seen Krishna-Leela depicted in Pahari or Mughal
miniatures. It is all stylized. The Gopis all look alike. They all
have the same fish eyes, the same straight noses that emanate
from the same curved foreheads. We can only relate to them
as distant mythological figures. Mumbiram’s Gopis are
individuals. Women that could be the girl next door or movie
actresses or rag-pickers or bird-catchers or whatever. They bring
the eternal causeless sporting of the divine with the living
entities, leela, to today’s light. They breathe life-air into scriptural
visions. Mumbiram’s treatment is free from painterly affectations
of brushstrokes and shadows. The lines are sweet and simple,
nearly minimal. Such leela ……!

These books are a consummate union of aphrodisia and
spirituality The books can be appreciated simply as books of
Art and Love. Yet if you see it as a Paradigm of Divine Love,
they elevate you to ecstatic heights of Esoteric High
                                                 ....continued on backflap
Sample Pages
Distant Drummer Publishing
Mumbiram & Party
  A Universal Paradigm of Divine Love
      These five books present a very beautiful paradigm
        of Divine Love that is universally attractive.

       Generations of romantics will find in these works
their Land of Divine Déjà vu’s, the perfect topics of meditation,
   as well as the very primeval source of aesthetic inspiration
                     and creative expression.

In the vast expanses of forests of eastern India since times immemorial tribal communities
have lived a life in harmony with nature and in intense communion with the creator. They
sang and danced gracefully and ecstatically in glorification of Neel Maadhav (Krishna the
Blue) that lived at Neelaachala (Blue Mountain). The tradition of temple-dancing in the
renowned temple of Jagannath (Lord of the Universe) at Puri in Orissa has its origins in those
tribal dances of the forest dwellers. Jayadev was born near Jagannath Puri in the 12th century.
A gifted poet and a self-taught master of the Sanskrit language, Jayadev was inspired by the
soulful dancing of a temple danseuse named Padmavati. The Gita Govinda is his only known
work, yet it has brought him undying fame and admiration through the centuries. The Gita
Govinda is in 12 Chapters. It has 24 dance compositions called prabandhas. These have
each become favorites with all those lovers of the musical arts. Krishna, Radha and their
mutual friend Sakhi are the only three characters that sing and dance the compositions. The
rest is the narrator’s utterances that join the dance compositions into the storyline. The
Table of Contents that follows lists the compositions by the refrain verses of each of them.
This Conjugal Fountainhead has presented all the compositions except two that are
invocations to the deities and to the audiences and would have been unneeded distractions
for readers unfamiliar with the scriptural references. The intensity of the passions of the
compositions is breath-taking. It is easy to lose track of the sequence of events described in
those two nights and a day in the lives of the adolescent Radha and Krishna in the spring
season in the beautiful bowers of Vrindavan. This is what really happened:
One day in the spring season, Vasanta, while wandering in the forest Radha heard about how
Krishna was flirting indiscriminately with all the other Gopis. Radha became very discouraged
and depressed at the thought that Krishna was treating their love all too casually. Then in a
sulking mood Radha decided to go somewhere else. Radha retired to the Kunja that was
covered with creepers and vines and where the tops of the trees were resounding with the
humming of companies of bumblebees obsessed with honey.

In that secluded place Radha confided in her Sakhi in a subdued mood.
Radha recounted how they sported with Krishna magnificently on the night of the Raasa
Dance. She clearly remembered all the lighthearted liberties they took with each other. She
implored the Sakhi to arrange it so she is overwhelmed by erotic dreams and Krishna is also
similarly agitated and that they are sporting together.
In the meantime Krishna was also overwhelmed by thoughts about Radha. He lamented his
flirting with other women in Radha´s presence. He felt sorry about making Radhika feel hurt
and angry. Krishna sat in the Bamboo Nikunja on the Bank of the Yamuna. He was feeling
dizzy with love and was very low energy.
That is when Radhika’s friend approached him and described to him how Radha was feeling
great separation from him and was agitated by Cupid’s penetrating arrows. Krishna decided
to stay right where he was. He implored the Sakhi to go to Radha and soothe her with his
assuring words and bring her over where he was.
The Sakhi went to see Radha in the Bower of the Vines and narrated to her how Krishna was
sitting forlorn without his Beloved on the Bank of Yamuna, at the famous Dheerasameer,
where the wind blows steadily. Radha was totally immersed in the thoughts of Krishna yet
she was unable to go out and meet him.
The Sakhi came back to Krishna, who himself appeared in a daze of conjugal expectation.
The Sakhi informed Krishna about Radha’s hopeless situation and how she repeatedly cried
out “Hari, my Love! Hari, my Love!”
In the meantime the full moon rose over the horizon of Vrindavan illuminating every corner
with its cool rays. The moon kept rising in the sky and still Krishna did not come to see
Radha. This increased the intense pangs of separation that Radha already felt. She cried out
in desperation how she was badly let down not only by Love but even by her Youth and her
Beauty. She felt badly let down by all her friends as well. She found the excruciating flames of
separation unbearable. With no one to turn to she felt it was really better that she should die.
She already felt nearly lifeless.
When Radha noticed that the Sakhi who had come from Krishna was silent and depressed,

Radha imagined the worst. She could clearly see Krishna enjoying himself with any of his
many beautiful woman friends.

Radha somehow spent the whole night, wounded though she was by the arrows of Kamadeva.
In the morning Krishna appeared at her door, humble and speaking sweet conciliatory words.
Radha spoke to him with great anger:

“ Oh Hari! Oh Madhava! Oh Keshava! Don’t tell me any lies ! Go follow that Lotus-Eyed One!
She alone is able to cheer you up. Your chest is smeared with the red Alaktaka from the feet
of your dear girlfriend. The meaning of that is obvious to everyone. Your and mine Love-
Affair is famous all over Vrindavan as something very special and very beautiful. But now it
is all over. You cheat! I am even more ashamed than sad when I look at you.”

After quarrelling in this way with Krishna, Radha went into solitude with all her amorous
fantasies broken to pieces. When the Sakhi came to see her, she found Radha morose with
passion, filled with sadness and immersed in the thoughts of Krishna. The Sakhi cajoled
Radha not to act so proud to Krishna howsoever much she cherished her self-respect.

Soon, eventually, at the end of the day, Krishna went to see his beautiful Radhika with great
eagerness. He found Radha bristling with anger. She was repeatedly sighing deep sighs.
From her face he could see it was unbearable for her. Radha turned her face towards the

Krishna spoke out with great happiness, but his voice was almost choking. He gently begged
her to give up her haughtiness. The fire of amour was already burning his mind. He confessed
how he thirsted to drink the nectar of her Lotus Face as the only solace for his malady.
In this way Krishna cheered up the doe-eyed Radha by speaking to her for a long time with
words that were full of love, humility and assurances. Thereafter Krishna went away to the
Kunja where he had fixed for themselves a nice bed.

When evening came, Radha had fully recovered from her desperation. As it got very dark,
Radha dressed herself in clothes that were clearly arranged to arouse Krishna’s passions.
The Sakhi urged Radha earnestly to go and meet Krishna on the beautiful Island of Reeds.

When the Sakhi saw Krishna at the entrance of the Nikunja, she ushered Radha to the company
of her dear Madhava. Radha bashfully but happily met Krishna’s eyes. Then as if hypnotized
she moved towards him, amorously resounding the bells around her hips. There she saw
Krishna waiting to unite with her for a long time. His face looked very attractive as he tried to
hide his great joy at seeing her. When Krishna did finally meet Radha, tears of joy profusely
flowed from Radha’s eyes. Now the Sakhi left Krishna and Radha alone. Krishna looked at
Radha with great Love and said: “Radhike, I have followed you all the way up to here. Now
will you just listen to me!”

The conjugal meeting between Radha and Krishna was very beautiful and quite wonderful. In
the stillness of the morning, Krishna looked at Radha. When the exhausted Radha stepped
out covering her breasts and thighs with her hands, she looked gloriously fresh and innocent.
Even while Radha spoke Krishna hovered around her in a playful, sweet mood. Then Krishna
was asked to decorate Radha’s face, arrange her loin-cloth, place garlands in her hair, put
bracelets around her hands, tie bells around her ankles and so on. Krishna lovingly did just


                            I - IV

Conjugal Fountainhead
            Sample Chapters
                         Chapter 1
      “Dear friend ! The beautiful spring season has arrived.
 Krishna is sporting and dancing with young beautiful damsels.
   I feel sorry for those who are separated from their beloved
                     in this beautiful Vasanta!”                      8

   “Oh lovely Radhe, see how wonderfully Krishna is sporting
       in the midst of a crowd of young beautiful damsels.”          14

                         Chapter 2                                  29
       “That is how I remember Krishna when he sported
magnificently on the night of the Raasa Dance. I clearly remember
      all the lighthearted liberties we took with each other.”       21

        “Dear Sakhi, arrange it so that I am overwhelmed
     by erotic dreams and Krishna is also similarly agitated
                 and that we are sporting together.”                25

                         Chapter 3
           “Alas ! Radhika is hurt and angry with me.”          31

                         Chapter 4
         “Radha ia feeling great separation from you.
   She is constantely thinking of you. She is very much
            afraid of Cupid’s penetrating arrows.”              39

“Radha is feeling intense separation from you. Oh, Keshava!”   42

                         Chapter 5
            “Krishna is suffering greatly without you!”        47

  “Krishna is sitting on the Bank of Yamuna at the famous
Dheerasameer where the wind blows steadily. He is wearing
 a garland of forest flowers and his hands are trembling in
   expectation of pressing the firm breasts of the Gopis.”     49

                         Chapter 6
             “She repeatedly cries out in the Kunja:
                 “Hari, my Love! Hari, my Love!”               59

                        Chapter 7                              39
          “I have been badly let down by my friends.
                   Who shall I now turn to?”                   65

 “Certainly some beautiful woman, that is far superior to me
            in every way, is enjoying with Krishna.”           69

      “Krishna is triumphantly sporting in the Forest
                on the Bank of the Yamuna.”                    71

“So why would the Lady who is enjoying Krishna complain?”      75
                          Chapter 8
       Radha spoke: “Oh Hari ! Oh Madhava ! Oh Keshava !
       Don’t tell me any lies, go follow that Lotus-Eyed One !
                  She alone is able to cheer you up.”                     81

                          Chapter 9
       “Radhe, I know you clearly cherish your self-respect,
             but please don’t act so proud to Krishna.”                   87

                          Chapter 10
  “My dear gentle Sweatheart. Give up this horrible haughtiness.
The fire of Kamadeva is already burning my mind. If you let me drink
          the nectar of your Lotus Face that will be some solace.”       93

                          Chapter 11
         “Guileless Radhe, you must go there and meet Krishna.
                       He is waiting for you!”                          103

         “Radhe, now enter the company of your Dear Madhava.”          108

    There she saw Krishna waiting to unite with her for a long time.
         His face looked like the very abode of Kamadeva
             as he tried to hide his great joy at seeing her.          112

                          Chapter 12                                   55
        “Radhike, I have followed you all the way up to here.
                    Now will you just listen to me !”                  119

       Even while Radha spoke in this way Krishna hovered
              around her in a playful, sweet mood.                     126


Notes about the ‘High Five of Love’   135

Notes about the Authors               139

A Brief Note about Rasa Theory        146

About Translating Gita Govinda        149

GLOSSARY                              155

INDEX                                 171

The Distant Drummer imprint           175
End-Notes in other Volumes:

The Rasa Masterpiece of Modern Art: “Forest Women visit
     Krishna and the Gopis” (Five Songs of Love, Vol.One)
About Translating Vyasa’s “Five Songs” (Five Songs of Love,

About Translating “The Jewel-Box of True Love” (The Jewel-Box of
     Highest Secrets of True Love, Vol.Three)

The Confluence of the Scholarly and Folk traditions
     in “Vrindavan Diaries”       (Vrindavan Diaries, Vol.Four)
Who´s Who of Vraja        (Vrindavan Diaries, Vol.Four)
Landmarks in Vraja        (Vrindavan Diaries, Vol.Four)

On the bank of the Yamuna          (Deluges of Ecstasy, Vol.Five)
Across the Potomac (Deluges of Ecstasy, Vol.Five)
On this side of the Potomac         (Deluges of Ecstasy, Vol.Five)

In the foreword of Deluges of Ecstasy you find ‘Deluges of Ecstasy - A Rasa Classic’,
‘The Prema Vivarta Mood’ and ‘An American Classic’.
                              Imagine !

Life in the material world seems such a ridiculous proposition, even a cruel one.
Everything that is created must come to an end. There seems to be no clue
whatsoever about who we are and if there is anything more to us than a heap
of atoms and molecules that are held together by some laws of matter that we
can only surrender to.

Do we have a free will ? Are we responsible for what we do or for what we
are? What are feelings ? Just some chemical reactions ? What is happiness ?
What is unhappiness ? What are desires ?

Whose idea is it to have such a creation at all ? Is it possible to find out the
answers to these questions when all we can perceive through our senses are only
arrangements and rearrangements of matter ? Are living entities essentially
different than mere arrangements of matter ? Is there a domain that endures
even beyond this all too limited and transient domain ?

Welcome to the world of imagination, inspiration and revelations.
Welcome to a world that is so very familiar yet so very fanciful. Everything
that we know in this material world also exists there, yet so much more and so
very sure !

Goloka Vrindavan is a timeless space because time only makes everything
continue and proliferate in the lives of the inhabitants of Goloka. Everything
in Goloka is living and has a personality. Nothing is dead matter. Everything
is sentient and eternal. Nothing ever ceases to exist. There is no fear. All love is
pure. There is no envy whatsoever.

Goloka Vrindavan is the planet of Krishna where everybody is madly in love
with Krishna as if it is the only thing that ever matters !
It is a lovely pastoral scene. The cows are grazing in the pastures in the glades.The
trees are laden with flowers and fruit. The bumblebees are hovering over them
in symphony along with cuckoos that are calling out in harmony. The doe-eyed
damsels of firm bosoms and slender waists are finding excuses to go to the
forests to meet Krishna the most beautiful witty boy who plays the flute.
We all belong to Goloka, originally and eternally. Then by some causeless fancy
of Krishna, the Supreme, envy enters our Love for Krishna. That is when we
have to take birth in this perverted reflection of that world of perfect love and
harmony, Goloka.

Then Krishna and his eternal associates decide to descend to the material world
and give a glimpse of Goloka to the inhabitants and thereby dispel the deep
darkness of their existence conditioned by the stringent laws of material nature.
That glimpse of our eternal original existence is so all-enchanting that everything
in the material world reminds us of our blissful existence in the company of
Krishna and his associates in Goloka.

Those visions of Krishna sporting on our planet just as he always does in Goloka
are recounted, retold and reveled in by poets, playwrites, singers, dancers as
well as artists of all times. These visions become the only worthwhile objects of
meditation, they prepare us for our journey back to Goloka.
Even a little that you come to know about Krishna makes you want to know
more about him. Such is the magic of his personality.
Krishna’s very brief dialogue with his best friend Arjuna on the great battlefield
of Kurukshetra is the celebrated Bhagavat Gita, a book that has inspired men
to greatness for over 5000 years. Be they philosophers or politicians, poets or
artists; all have found the answers to the most perplexing intimate questions of
their souls in the Bhagavat Gita.

It is thrilling to find out that this philosopher of incisive intellect was also the
most charming lover of his times.

These books are about the exploits of the young boy-man Krishna in and around
the pastoral village Vrindavan on the bank of the meandering Yamuna river. It
is mostly about love, friendship, grace and fun.

Sages who have entirely conquered envy have found these acts of causeless
sporting of the Supreme to be the most profound and pleasing objects of
meditation. One whiff of its aroma has driven successful worldly men to abandon
family, friends and society to wander around the earth begging for alms like
birds !

Conjugal Fountainhead

Chapter II

While wandering in the forest Radha heard about how Krishna was flirting
indiscriminately with all the other Gopis. Radha became very discouraged
and depressed at the thought that Krishna was treating their love all too
casually. Then in a sulking mood Radha decided to go somewhere else.
Radha retired to the Kunja that was covered with creepers and vines and
where the tops of the trees were resounding with the humming of companies
of bumblebees obsessed with honey. In that secluded place Radha spoke to
the Sakhi in a subdued mood.                                        ll 1 ll

“The enchanting nectar of his lips was inspiring his flute and the atmosphere
was filled with sweet vibrations. His head moved from side to side, his eyes
danced from corner to corner and his earrings twinkled on his cheeks.” ll 1 ll

     “That is how I remember Krishna when he sported magnificently
            on the night of the Raasa Dance. I clearly remember
           all the lighthearted liberties we took with each other.”

“His hair was entwined with rows of beautiful peacock feathers. He was dressed
in soft graceful clothes that shone in the colors of the rainbow.”        ll 2 ll

His petal-like lips were adorned by an enthusiastic smile and reminded you of
the red Bimba Fruit. The lips looked clearly very eager to kiss the full-hipped
Gopis that were surrounding him.”                                         ll 3 ll

“As the countless multitude of Gopis embraced him with their graceful arms
they experienced goose bumps all over their bodies. The jewels that adorned
Krishna’s hands, feet and chest were dispelling all darkness away.”             ll 4 ll

“The sandalwood Tilak on Krishna’s beautiful dark forehead reminded you of
the moon playing hide and seek through the clouds. Krishna’s chest that
mercilessly pressed the full breasts of the Gopis appeared like rising ramparts
on this landscape.”                                                             ll 5 ll

“A beautiful ear-ornament in the form of a gem-studded shark was increasing
the beauty of Krishna’s cheeks. I could go on describing the beautiful form of
Krishna clad in yellow silks. But suffice it to say that demons as well as demigods,
the great liberated souls as well as ordinary mortals, all were fully overwhelmed
by his Beauty.”                                                                 ll 6 ll

“Krishna’s floating sidelong glances were hypnotizing me as well as the other
Gopis. Suffice it to say that this beautiful vision of a meeting under the Kadamba
Tree is capable by itself to dispel all fear of the dangers of the Kaliyuga.”
                                                                                ll 7 ll

“I know Krishna is sporting lustily with other young women of Vraja without me.
Yet I only think of his good qualities and I only remember the good times we
had. I am totally helpless about that. Such are the inconceivable ways of amour.”
                                                                            ll 1 ll

“Arrange it so that I’ve appeared at the dense secluded Nikunja and I am looking
around in expectation. Krishna is hiding and smilingly looking forward to
prolonged amorous activity.”                                               ll 1 ll

             “Dear Sakhi, arrange it so that I am overwhelmed
          by erotic dreams and Krishna is also similarly agitated
                     and that we are sporting together.”

“Arrange it so that I am shy because it is our first meeting and he is making me
favorable with his sweet clever talk.”                                     ll 2 ll

“Arrange it so that we are engaged in pleasant smiling conversation while our
loinclothes are getting loose.”                                            ll 3 ll

“Arrange it so that I am lying on a bed of soft bamboo-shoots. And he is lying on
my breast for a long time.”                                                   ll 4 ll

“Arrange it so that he is hugging me and kissing me and in return I am kissing
and hugging him.“                                                             ll 5 ll

“Arrange it so that my eyes are becoming lazy and closing down. And his cheeks
are looking wonderful with goose bumps appearing on their sides.”             ll 6 ll

“Arrange it so that I am wet with the sweat of exertion. And he is getting more
excited with the intoxication of love.”                                       ll 7 ll

“Arrange it so that I am uttering sweet melodies like the cuckoo bird. And he
has surpassed all the prescriptions in the various texts on the science of conjugal
union.”                                                                       ll 8 ll

“Arrange it so that the flowers in my hair are loosened and scattered and his
fingernails are making patterns on my firm bosom.”                          ll 9 ll

“Arrange it so that my ankle-bells are continuously twinkling. And he is bringing
the amorous expedition to its ecstatic fulfillment. The bells in my waistband are
jingling and he is lifting my hair and kissing me.”                        ll 10 ll

“Arrange it so that I am exhausted by the pleasure of love and his beautiful
Lotus Eyes are half closed. My delicate body is spread out in unbearable pleasure
and Krishna is very happy himself and making Kamadeva also happy.”         ll 11 ll

Chapter VII

In the meantime the full moon rose over the horizon of Vrindavan illuminating
every corner with its cool rays. The moon verily appeared like the Sandalwood
Tilak on the forehead of Lady Sky. But look closely, the moon is covered with
unseemly spots. When Lovers are going to meet their Beloved, the moon
betrays their journey to the secret meeting place. It must be for this
misdemeanor that the moon’s face is covered with spots.                ll 1 ll

The moon kept rising in the sky and still Krishna did not come to see Radha.
This increased the intense pangs of separation that Radha already felt. She
cried out in desperation and spoke out loudly:                         ll 2 ll

“Hari has not come to the forest at the appointed time. In vain is my youth, in
vain is my beauty. “                                                        ll 1 ll

                 “I have been badly let down by my friends.
                          Who shall I now turn to?”

“I came to this dense forest just to meet him. And he has rent my heart apart by
the Arrows of Kamadeva.”                                                    ll 2 ll

“I have said good-bye to my family and to my home, so it is really better that I
should die. I am feeling lifeless. How can I survive these excruciating flames of
separation?”                                                                Il 3 ll

“This night is so beautiful, but it is only making me sad. Krishna is certainly with
some lucky woman whose Cup of Good Karma is full.”                             ll 4 ll

“Alas, I find my bejeweled bracelets as well as other precious ornaments to be
an unbearable burden. My whole body is burning in the fire of separation.” ll 5 ll

“My body is tender as a flower and Kamadeva’s arrows are also made of flowers.
So why is it not a wonder that this flower garland on my bosom is almost killing
me!”                                                                           ll 6 ll

“So I am deciding to lie down at this obscure spot in the forest that is overgrown
with bamboo and cane. It is obvious Krishna does not even remember me.”
                                                                               ll 7 ll

“So what must have happened? Did Krishna go to see some beautiful lady?
Or his friends would not let him abandon the game they are playing? Or is
he wandering aimlessly in and out of the forest? I am sure Krishna is
exhausted. But I also know that when he is coming to see me, he is unable
to stop or wait anywhere along the way. Krishna had promised to see me in
this beautiful Kunja that is overgrown with reeds and vines. And still he has
not come.”                                                             ll 1 ll

When Radha saw the Sakhi who had come from Krishna, she noticed that the
Sakhi was silent and depressed. Radha imagined the worst. She could clearly
see Krishna enjoying himself with any of his many beautiful woman friends.
                                                                       ll 2 ll

“I can just see her beautifully dressed for the occasion of love. Her hair is loose
and the flowers in her hair are scattered.”                                   ll 1 ll

        “Certainly some beautiful woman, that is far superior to me
                   in every way, is enjoying with Krishna.”

“She is trembling in expectation of Krishna’s enthusiastic embraces. The
garlands hanging over her full bosom are also trembling uncontrollably.”
                                                                             ll 2 ll

“The curls that are encircling her moon-like face are moving attractively. She is
totally lost in drinking the Nectar of His Lotus Lips.”                       ll 3 ll

“Her swinging earrings are striking against her beautiful cheeks. Her thighs are
lustily swinging and her waist-bells are also loudly jingling.”            ll 4 ll

“She is looking at her Beloved, sometimes shyly, sometimes coyly and sometimes
laughingly. In the passion of sexual excitement she is making various
meaningless wonderful sounds.”                                             ll 5 ll

“The hair all over her body is standing on end. She is throbbing uncontrollably.
Her breathing is heavy, her eyes are closing and amour is rising to ever new
heights.”                                                                  ll 6 ll

“The Brave Beautiful One, who engaged Krishna in a one-on-one Battle of Love
is now covered with drops of sweat all over her body. The lucky combatant is
now blissfully spread out on the equally wet chest of her Beloved.”        ll 7 ll

“Krishna and his Beautiful Lady are both quite excited. Her face is looking very
beautiful and her lips are arranged in a pout of expectation. Krishna is making a
Tilak out of Deer-Musk on her forehead. It looks as if he is drawing a rabbit on
her moon-like face.”                                                          ll 1 ll

               “Krishna is triumphantly sporting in the Forest
                         on the Bank of the Yamuna.”

“Her thick dark hair looks like the forest of Kamadeva. Rather it looks like an
assembly of dark clouds. The flowers that Krishna is arranging in her hair look
as beautiful as lightening in those dark clouds.”                             ll 2 ll

“Her beautiful firm breasts are like the wide open sky. The nail-marks that Krishna
has left on her bosom appear like as many crescent moons rising in that sky.
And the pearl ornaments that Krishna is arranging on her bosom appear like the
stars in that sky.”                                                           ll 3 ll

“Her arms are tender and graceful like the Stems of the Lotus Flower. And the
palms of her hand appear like cool Leaves of the Lotus Plant. When Krishna
puts bracelets of Marakata Gems in her arms it appears as if bumblebees are
swarming around that Lotus.”                                               ll 4 ll

“Her thighs are verily the abode of Kamadeva’s beloved consort Rati Devi. Or is
it the Golden Throne of Kamadeva himself? When Krishna sees her abundant
and opulent limbs, he is extremely agitated. When he arranges a Mala of precious
gems around her thighs it appears like the gate of Kamadeva is being decorated
for an enthusiastic welcome.”                                              ll 5 ll

“Krishna takes her bare feet on his own bosom. Those feet are tender as bamboo
shoots. The nails of her toes appear like a beautiful garland of jewels. Krishna
paints the soles of her feet with beautiful red Alaktaka Colors.”          ll 6 ll

“That Wicked Younger Brother of Balarama is again and again enjoying some
Beautiful-Eyed Lady. Tell me dear friend, what am I doing in this dense forest
waiting for him in vain!”                                                  ll 7 ll

“If that heartless cheat does not come at all, why should you be sad dear
Sakhi? He does as he pleases and he has many girlfriends. So if he goofs off
how are you to be blamed? My own mind is attracted to the wonderful qualities
of Krishna so much that the expectation of seeing him almost breaks my
heart. Yet my mind is helplessly drawn to him and helplessly makes plans of
going to see him.”                                                     ll 1 ll

“Krishna is wearing a Garland of Beautiful Forest Flowers and his eyes are
unsteady like a Lotus Flower in the wind. So why would the Lady who is enjoying
Krishna complain about the bed of tender bamboo shoots?”                  ll 1 ll

      “So why would the Lady who is enjoying Krishna complain?”

“The expressions on Krishna’s face are as beautiful as a Blooming Lotus in a
Clear Pond. So why would the Lady who is enjoying Krishna burn in the flames
of Kamadeva?”                                                             ll 2 ll

“Krishna speaks sweet gentle nectarian words with his Beloved. So why would
his Beloved find the cool sandal-scented wind from the Malaya Mountain
unpleasant?”                                                              ll 3 ll

“Krishna touches his Beloved with hands that are cool and soft like a Land
Lotus. So why would his Beloved complain about the cool moonbeams?”
                                                                            ll 4 ll

“Krishna is as beautiful as a freshly appearing cloud full of water. So why would
his Beloved be hurting in the heart from long separation?”                  ll 5 ll

“Krishna is clad in beautiful soft golden clothes. So why would his Beloved
care if her friends tease her?”                                            ll 6 ll

“Krishna is the best amongst all the eligible young men in the whole universe.
So what ever could make his Beloved be afflicted by this incurable malady that
is afflicting me?”                                                          ll 7 ll

“Oh Sandal-Scented Wind from the Malaya Mountain! You are very pleasing
even to Kamadeva. Please stop playing so fickle with me. You are famous as
the very Life-Air of the Universe. Please bring Krishna in front of me, otherwise
my Life-Air is going to leave me.”                                         ll 1 ll

“I am absolutely smitten by Krishna. And just see the result. My girlfriends
are appearing to me like my enemies. The cool wind is appearing to me like
blazing flames of fire. The moonlight is appearing to me like poison. And
yet my mind is attracted to him alone, again and again. It just goes to show,
that the amorous desires of beautiful doe-eyed women are absolutely
inexplicable and uncontrollable, like a horde of wild elephants in rut.”
                                                                           ll 2 ll

“Alright, Wind from the Malaya Mountain, make my life miserable. Okay,
Kamadeva, kill me with your arrows. I don’t want to go home again. And
dear Yamuna, I hear you are the Sister of the God of Death. So please
envelop me with your waves. It is the only way I can think of ending this
desperate misery.”                                                         ll 3 ll

Chapter XII

After the Sakhis left, Krishna looked at Radha with great Love. There she
stood looking at the bed made of tender leaves and shoots. Her lips trembled
in a faint smile.   Now she was feeling bashful. Now she was feeling
overwhelmed by great passion. Krishna said to his Beloved:             ll 1 ll

“Radhike! Here I have come to meet you as a guest. Yet I request you to do just
this one favor for me. Place your lotus-like feet on this bed of tender shoots. Let
it be seen how your feet easily defeat the beauty of these tender shoots.” ll 1 ll

            “Radhike, I have followed you all the way up to here.
                        Now will you just listen to me!”

“Let me join you on this bed. I have been following you just as your ankle bells
are following your feet. You have come a long way, let me press your feet.”
                                                                              ll 2 ll

“Your face is beautiful as an Ocean of Nectar. Please speak sweet words to me,
like drops of nectar from this ocean. Here I remove the cloth that is holding your
breasts captive. That will also remove the great pangs of separation that I am
suffering for a long time.”                                                   ll 3 ll

“Your breasts are trembling with passion and I see goose bumps all over your
body. I request you to place your full breasts on my chest. It is the only way to
mitigate this fever of passion I am suffering.”                             ll 4 ll

“I have been thinking of you all the time. But without your company and our
blissful intimate union, my body is burning in the fire of separation. Proud One,
I am your slave and almost dead. Bring me back to life with the nectar from your
beautiful lips.”                                                            ll 5 ll

“Without your company my ears have been hurting listening to the loud calls of
the cuckoos. My Moon-Faced Beloved, please soothe my ears by the jingling
sounds of bells around your hips. Let me hear your sweet voice. It is the only
cure for this great sadness I have been experiencing.”                      ll 6 ll

“I am greatly hurt by your inconceivable anger. Your eyes look exhausted by
the agony of passion. They look almost closed as if in bashfulness. If you will
look up at me it will make us both very happy.”                             ll 7 ll

The conjugal meeting between Radha and Krishna was very beautiful and
quite wonderful. When they were embracing deeply the goose bumps that
broke out on their bodies seemed like an obstruction. When they were lovingly
observing the ecstatic expressions on each other’s faces even the blinking
of the eyes seemed like an obstruction. The sweet nothings they spoke to
each other seemed like an obstruction in their long passionate kisses. In
short, at the height of the conjugal battle the great joy they experienced
also appeared like a distraction.                                      ll 1 ll

Krishna was firmly constricted between Radha’s arms. He was subdued under
the weight of her firm breasts. She scratched him with her fingernails and
gave him bites with her teeth. She pulled him down by the hair. The nectar
from her lips made him unconscious. What pleasure Krishna gets from such
harsh treatment only he knows. Indeed Kamadeva’s ways are inconceivable.
                                                                       ll 2 ll

When the conjugal battle between them reached its height she boldly climbed
upon him. She was feeling victorious. Just then her thighs became still and
her eyes closed. Men and women are in many ways quite different.         ll 3 ll

In the stillness of the morning, Krishna looked at Radha. Her bosom was
decorated with his nail-marks. Her sleepy eyes looked red. On the other
hand, the redness of her lips looked quite faded. All her garlands looked
scattered and her hair was disheveled. Her girdle-bells hanged loose and
low on her hips. All this had the same effect on Krishna as the Arrows of
Kamadeva himself. Indeed these arrows pierced Krishna’s mind very deeply.
                                                                         ll 4 ll

When the exhausted Radha went out of bed, her hair was free of all bondage.
Curly locks beautifully encircled her face. Her forehead was covered with
drops of sweat. Her full lips looked uneven in color. The beauty of her breasts
far surpassed the beauty of the gem-studded necklace she wore. Her skirt
was in a hopeless condition. Yet when Radha bashfully stepped out covering
her breasts and thighs with her hands, she looked gloriously fresh and
innocent.                                                                ll 5 ll

Her eyes are half-closed. She is fully engrossed in the conjugal ecstasy she
has newly discovered. Sometimes she is repeatedly sighing. When she makes
strange murmuring sounds overcome by ecstasy, her teeth and lips look
most attractive. After repeated embraces her breasts look still and satisfied.
Lucky is the man who sees the face of his doe-eyed Beloved after she has
climbed the highest peaks of ecstasy and has lost all self-control.     ll 6 ll

At the end of the conjugal union every limb of Radha’s body was placid. All
of a sudden Radha spoke to Krishna with great love and respect.         ll 7 ll

“These two brothers on my bosom are really the two beautiful auspicious
Kalashas of Kamadeva. Decorate them with deer musk, flowers and leaves. Your
hands smell cool like sandalwood.”                                           ll 1 ll

           Even while Radha spoke in this way Krishna hovered
                    around her in a playful, sweet mood.

“My eyes are always releasing Kamadeva’s arrows. It will be better if you put
mascara on my eyelashes. Then it will look like bumblebees are hovering around
my face. Please redo my Kaajal. It is smeared by the kisses from your lips.”
                                                                             ll 2 ll

“The pupils of my eyes are jumping, like graceful deer, to the outer edges of my
eyes. The only thing that stops them in that direction are my ears. They look like
Kamadeva’s lassos. Decorate my ears with ornaments. You are dressed so
nicely.”                                                                     ll 3 ll

“Take your time arranging the curls of my dark hair around my face, so there will
be more bumblebees hovering around my Clear Lotus Face. You always do it in
a novel witty way.”                                                           ll 4 ll

“Lotus-Faced Beloved! Wipe off the drops of sweat from my forehead. If you put
a nice Tilak of Deer Musk on it then it will look like the beautiful moon with the
beautiful spots on it.”                                                        ll 5 ll

“Do you like my hair, when it is messed up after love-making? Arrange flowers
in my hair. It will look like a proud peacock’s rising crest. Those will be
Kamadeva’s flags and festoons.”                                                ll 6 ll

“My firm full thighs lead to a beautiful cave that is fit for Indra’s Baby Elephant.
Be descent. Decorate my thighs with gem-studded garlands and soft silky cloth.”
                                                                               ll 7 ll

Thus Krishna was asked to decorate Radha’s face, arrange her loincloth,
place garlands in her hair, put bracelets around her hand, tie bells around
her ankles and so on. Krishna lovingly did just that. Krishna looked glorious
just in his yellow silk dhoti.                                                ll 1 ll

May the intelligent listener of this Gita Govinda happily discover in it
consummate musical excellence, divine meditation, secrets of conjugal
aesthetics, as well as inspired poetic variety. It is all possible, because Jayadeva
who has composed the Gita Govinda is fully immersed in the Love of Krishna.
                                                                              ll 2 ll

Lady Honey! You are not even in the competition. Dear Sugar! You are quite
tasteless. Milk seems like water. Mangoes can only cry. Nobody looks at
grapes anymore. Even Beloved’s lips lose all attraction. The taste of this
beautiful composition of Jayadeva surpasses everything as it brings out the
very essence of Shringara Rasa.                                               ll 3 ll


The five books that are presented here
are links of an unbroken Tradition of
            over 5000 years.

“FIVE SONGS of RASA” is a favorite selection from the Tenth Canto of Shri
Vyasadeva’s authoritative work, Shrimad Bhagavatam, composed nearly 5000
years ago, at the beginning of the present Kali Yuga. Vyasadeva also composed
the great epic Mahabharata. Shrimad Bhagavatam is all about Krishna the
real hero of the Mahabharata.Vyasadeva is considered to be the literary
incarnation of Krishna himself !

“Conjugal Fountainhead” is the celebrated Gita Govinda of 12th century
poet Shri Jayadev. It is about intense longings and consummate unions of the
lovers Radha and Krishna in the spring season in Vrindavan. Shri Jayadeva’s
melodious Sanskrit compositions of “Gita Govinda” have been inspiring singers
and dancers of India since the 12th century. These remain unsurpassed examples
of perfect harmony of poetic excellence and musical virtuosity.

“The Jewel-Box of Highest Secrets of True Love” tells of a
delightfully witty and touching episode when Krishna appears as an exquisitely
beautiful demigoddess in the company of Radha and her sakhis, only to lustily
criticize Krishna’s miserable failure as a True Lover. Radha then reveals the most
confidential secrets of True Love. Shri Vishvanath Chakravarti, who is considered
to be a re-incarnation of Rupa Gosvamiji, lived in Vrindavan in the 17th century.

“VRINDAVAN DIARIES” give us intimate accounts of happenings in the woods
of Vrindavan, in the local vraja dialect of Vrindavan. These folk-accounts that
are passed on in oral traditions are traceable to Shri Rupa Gosvami’s early 16th
century Sanskrit plays. The scholars of Vrindavan and the folk-people of Vraja
have a very innate on-going symbiotic rapport. Rupa Gosvami is considered to
be the original exponent of ‘spontaneous attachment to Krishna’ as distinct
from ‘attachment cultivated by practice of scriptural injunctions’.

“DELUGES of ECSTASY” were experienced in the age of matted hair
and xerox copies somewhere along the Potomac river, in the shadow of the
Library on the Hill, amongst inhabitants of Haridvaar and RadhaCliff. As a
compilation of very contemporary vraja déjà vu’s it makes all the earlier works
eminently relevant.

The first four books of ‘The High Five of Love’ set the mood and provide the
context for Mumbiram’s: “Deluges of Ecstasy”, a path-breaking work of theophily
in the highest Prema Vivarta mood, verily a passionate Love Affair.

“Deluges of Ecstasy” is an original contemporary work by Mumbiram that was
composed and compiled during a young Mumbiram’s 12 year sojourn of North
America. It has been a work ahead of its times by a quarter of a century.

                Notes about the Authors

‘Krishna Dvaipayana’ Vyasa
Matsyagandha was a fisherman’s handsome daughter who had an affair
with the learned sage Parashar on an island in the stream of the great
Ganga river. The child that she bore was Vyasa. He was secretly brought
up on the island by the unwed mother. When the brave dark-hued child
eventually went away on its own, the mother returned to her father as a
King Shantanu was smitten by her beauty and made her his favorite queen.
Their progeny turned out to be genetically impotent. Thereupon Vyasa was
invoked to beget inheritors for the Dynasty. Thus Vyasa became the common
ancestor of the warring cousins of the great epic Mahabharata that Vyasa
eventually composed.
The Five Songs of Rasa is a celebrated selection from his Shrimad
Bhagavatam that he composed to write specifically about Krishna, the real
hero of the Mahabharata. ‘The Dark Sage born on the Island’ (Krishna
Dvaipayana) is considered a literary incarnation (avatar) of Krishna.

Shri Jayadeva
Shri Jayadeva lived near Jagannath Puri in the 12th century. His passionate
love affair with the cortesan beauty Padmavati is said to be the inspiration
behind his superexcellent compositions describing Radha and Krishna’s
intimate conjugal meetings. Or was it the other way around ?
The lyrical compositions in the ‘Gita Govinda’ have inspired dancers through
the centuries to present their own interpretations of the rhyme and rhythm
of Krishna’s separation and union with Beloved Radha as described in this
supremely sonorous work. Jayadeva’s love for Padmavati was also put to
some life-or-death ordeals but Love finally triumphed.

Rupa Goswami
Rupa along with brother Sanatana grew up to be fine scholars of the Sanskrit
and Persian languages, then gave it all up to rise in the court of the Muslim
ruler Hussain Shah as the Prime Ministers. Their tryst with destiny came
when in a secret midnight rendezvous Caitanya Mahaprabhu made them
realize their real identity as loving confidential assistants of Krishna and
his damsels. Rupa along with brother Sanatana and nephew Jeeva gave
up all worldly glories and wandered around the land of Vraja in the mood
of the Gopis of Vrindavan. Their divine longings inspired great literary works
that brought alive the ever-youthful paradigm of Divine Love: KRISHNA.
According to Rupa, attachment to God that develops spontaneously can
bring one into closer communion than attachment cultivated by religious
practice. Rupa’s original Krishna Dramas were popular amongst scholars
and folk-people alike.
In his monumental works, ‘Bhaktirasa-amrita-sindhu’ (Ocean of Immortal
Love) and ‘Ujjvala Niilamani’ (The Blue Gem of Conjugal Love), the moods
of all the intimate associates of Krishna are described in great detail. Rupa
laid out the principles of the Rasa Theory of aesthetic appreciation.

Vishvanath Chakravarti

Appearing over a 100 years after Rupa Goswami, Vishvanath Chakravarti
manifested the same glorious combination of divine revelations and
extraordinary literary excellence. Prema Samputa (Jewel-Box of Highest
Secrets of True Love) is his most delightful original work. Vishvanath
Chakravarti wandered in the foothills of Govardhan Mountain without any
place home. It never rained where Vishvanath Chakravarti was writing ! He
has written an authoritative commentary on every important classic of
Krishna Literature. Rival scholars in the courts of Jaypur Maharajas once
sent contract-killers to get rid of him. When the assassins came face-to-
face with Chakravartiji they could only see a young damsel out in the forest
with her girlfriends to pick flowers on behalf of Beloved Radha !
The sensitive intelligent wit manifest in the dialogues and dramatic situations
that he conjures up is glowing testimony that Krishna is the ultimate
inspiration of all Artistic Excellence. As an erudite scholar of the classics, a
passionate lover of Krishna and an author of great original wit, Vishvanath
Chakravarti is revered as reincarnation of Rupa Gosvami.


Artist Mumbiram grew up in India in an atmosphere inundated with Art
and Sanskrit scholarship. His love for Mathematics brought him to America.
A fateful introduction to the “Incredible Emotional Ways of Love and
Friendship in the Beloved Land of Vraja” (vraja anuraga riiti ) brought about
a transformation in the gifted artist who now had a doctor of philosophy
degree from Berkeley. Deluges of Ecstasy gives us a good picture of how
Mumbiram lived in America as a sovereign artist, an itinerant theophile, a
philosopher outside the walls of academia. It was composed when
Mumbiram was living in an abandoned cowshed on a farm in Potomac
Maryland. Its protagonist Mumbi is an adolescent androgynous personality
not to be mistaken for Mumbiram the author-artist of this marvelous rasa
classic who is also passionately in love with Krishna. Krishna’s Vraja
boyfriends find even a moment’s separation from Krishna to be intolerable.
Mumbi has a déjà vu in every lane, around every corner and across every
bridge over the river.

Returning to India, after 12 eventful years in America, Mumbiram produced
the masterly paintings appearing in this ensemble and more. His art that
goes beyond the caste-barriers of India was readily admired and appreciated

by art-lovers from all corners of the world. His residence had a steady
stream of handsome visitors of the indigenous castes and tribes of India on
the one hand and overseas art-lovers that were attracted by his very unique
fame on the other hand.

Mumbiram’s paintings have been admired for the same guileless charm
and passion that the real-life rustic exotic dark beauties appearing in those
spontaneous renderings exude. Yet the broader perspective which would
provide the integrated understanding of his versatile virtuosity remained
elusive. Juxtaposed with the verses of the great rasa masters the full impact
of Mumbiram’s contribution as one of the leading artists of our times
becomes all too evident.

Mumbiram’s poems speak in idiom that is honed on the best that American
Universities can produce. Yet in Mumbiram’s writing we hear the voice of
one who has imbibed the best that a classical India stands for.

One cannot help feeling that here Mumbiram is fulfilling Walt Whitman´s
“Passage to India”. The poet who will arrive after all the explorations and
discoveries have been accomplished has arrived. He is offering a universal
paradigm of Man-God rapport that can unite us all.

                  A Brief Note about Rasa Theory

Rasa Theory is about the qualitative shades and textures of emotions aroused in the
personalities appearing in a work of art or literature as also the emotions that are
aroused in the viewers or readers of such works. The nuances of such arousal of
emotions as also the bodily and behavioural symptoms of such ecstatic states are the
subject matter of Rasa Theory. Rasa Theory enables us to evolve a noble ideal for
critical appraisal of qualities of personalities. It is a Personalist Theory of aesthetics.

Classical Rasa Theory of critical appreciation of art and literature recognizes eight
moods of a woman in love. Such as when she eagerly hopes to meet him (utkanthitaa),
when she goes to meet him secretly or has him visit her secretly (abhisaarikaa), when
she invites him then decorates her house and herself and waits for him
(vaasakasajjaa), when he cheats on her (khanditaa), when he doesn’t come when
promised (vipralabdhaa), when she quarrels with him then repents in solitude
(kalahaantaritaa), when he is gone on a journey (proshitabhartrikaa), when he is
obedient and agreeable (svaadhiinapatikaa).

Krishna is considered dhiirlalit. He is light-hearted, youthful and free of anxieties. He is
amorous, sporting, charming and graceful.
He is vidagdha. He is clever, shrewd, sharp, subtle,…, intriguing.

The five rasas in devotional context are: shaanta (neutral), daasya (servitude), sakhya
(friendship), vaatsalya (filial affection) and maadhurya (conjugal) rasas. The Sakhi is in
a combination of dasya and sakhya rasas. The “Five Songs of Rasa” give us a taste of
all the five rasas in different degrees and different ecstatic admixtures from the
versatile genius of Vyasadeva himself. “Conjugal Fountainhead” (Gita Govinda) is
about attachment between Radha and Krishna in the madhurya rasa. “The Jewel-Box
of Highest Secrets of True Love” is esoteric and pure madhurya rasa. The predominant
rasas in “Vrindavan Diaries” are sakhya and madhurya.

Radha, Krishna and their associates are called aalambana vibhaava. All things that are
stimuli for ecstatic love of Krishna are called uddiipana vibhaava. These may include:
His transcendental qualities, His uncommon activities, His smiling features, His
apparel, His garlands, His flute, His buffalo horn, His leg bells, His conchshell, His
footprints, His place of pastimes (such as Vrindavan), His favorite plant (tulasi) and His

The bodily symptoms that are manifested by one in love are called anubhaava. These
include: dancing, rolling on the ground, singing very loudly, stretching the body, crying
loudly, yawning, breathing very heavily, neglecting the presence of others, drooling,
laughing like a madman, wheeling the head and belching.

There are eight other ecstatic symptoms known as saattvik bhaavas. These are:
becoming stunned, perspiring, standing of the hairs on the body, faltering of the voice,
trembling of the body, changing bodily colors, shedding tears, and devastation.

These may appear in combinations in a person in love with Krishna. Yet all of them are
known to appear simultaneously only in Radharani.
There are other expressions of ecstatic love called vyabhichaari. These may include:
disappointment, lamentation, humility, guilt, fatigue, intoxication, pride, doubt,
apprehension, intense emotions, madness, forgetfulness, disease, confusion, death,
laziness, inertness, bashfulness, concealment, remembering, argumentativeness,
anxiety, thoughtfulness, endurance, happiness, eagerness, haughtiness, envy,
impudence, dizziness and alertness.

Indeed, attachment takes on an unending variety of subtle shades. Rasa Theory is
profound in perceiving the myriad nuances of Love. It provides us a glorious
framework to strive for all that is noble, elevating and enlightening in human
relationships. Here we have a credible aesthetic ideal for human emotions and actions.

The inquisitive reader is encouraged to refer to authorities on Classic Rasa Theory
such as:
Bharat Muni’s “Natya Shastra”
Rupa Goswami’s “Ujjvalanilamani”

                  About Translating Gita Govinda
Gita Govinda is great literature. It is much more. It is a collection of songs that are
composed according to certain rules of meters. These are to be sung in specified
ragas. They are also compositions for classical dance recitals. The Sanskrit language
lends itself to choice of words that can create an interplay between sounds and
meaning. Every language has unique cultural references and conventions built into it.
Sanskrit has long tradition of associated cultures that evolved from the ancient vedic
right up to the late medieval.

A translation has a certain readership in mind that belongs to a certain cultural milieu.
This readership by all means has different expectations out of literature. Yet this
readership may be open to variety and innovation that can arise out of alien modes of
expression. It would therefore be unfair and unproductive to put the translation entirely
into the strait-jacket of contemporary conventions.
A translator of Sanskrit compositions that are simultaneously about love and
spirituality into contemporary English prose of a comparably youthful, emotional,
vibrant, spontaneous and sensitive generation has indeed a daunting task ahead. The
translator must be equally adept in the cultural milieu and idiom of expression of the
two civilizations he is attempting to connect.

Yet love and spirituality are universal and timeless. They are perceived, comprehended
and practiced in remarkably identical ways going beyond the temporal and cultural.
Bringing out this congruence across the language-divide is the challenge as well as joy
of the translator´s endeavor.

The juxtaposition of Mumbiram´s charcoal masterpieces as well as oil and watercolor
paintings next to the verses adds an entirely new dimension to these translations. All
these works were independently made in entirely contemporary settings but were
inspired by the same ideals of rasa aesthetics that these Sanskrit classics embody.
Living in his studio in downtown Pune or cohabiting with the tribals and gypsies on the
hills of coastal wilderness the artist was making paintings that showed these swarthy
contemporaries of ours in the context of these Krishna classics. Here is an artist who
is determined to bring the scriptural visions into today´s daylight. Here you see the
folk-people of India who were never before seen in the sublime context of high-
spirituality and neo-modern aphrodisia. For this reason alone even Indians find these
presentations a thrilling and eye-opening experience. Add to it the great delight at
hearing the forgotten tales of antiquity retold with great attention to detail and in an
idiom that is honed on the best that American universities can produce.

All four classics translated in this ensemble are descriptions of the conjugal sporting
of the adolescent Krishna entering into Manhood. Yet they span a long period of time in
their dates of creation. Besides, they are each of a different literary genre. Vyasa´s Five
Songs of Rasa are verses in the epic category. Jayadeva´s Conjugal Fountainhead is
very nearly an opera. Vishvanath Chakravarti´s Jewel-Box of True Love is really just an
episode with an ingenious plot howsoever profound. In contrast Vrindavan Diaries is
fast moving incessant colloquial prose in the guileless tongue of village-damsels who
wouldn´t dream of ever leaving their fair Vrindavan.

These translations have more then lived up to the challenge of conjuring up
appropriate linguistic aura for these different classics. This joyous versatility of words
nearly matches Mumbiram´s artistic versatility that effortlessly embraces different
cultures, different races and different creeds and castes.
Some one has complained that attempting to translate a wondrous Sanskrit classic
such as Gita Govinda is to live in the shadow of certain defeat. A translation, like a
woman, can either be faithful or beautiful. It just may be that these presentations of
High Five of Love have given a lie to those words of popular prudence.

Take the word leela. It refers to activities that one performs entirely out of one´s own
sweet will rather than out of a sense of duty or helplessness. It implies total ease and a
sense of wonder. There exists no word in the English language that renders the same
meaning. Translators have used “sporting activities” which is quite inadequate. We can
clearly foresee “leela” entering popular English usage just as “avatar” already has.

There are certain subtle states of consciousness that are acknowledged by the popular
culture associated with a language. These have a word in that language. Mere mention
of that word conjures up a gamut of associated emotions. Other languages that don´t
have such a word will struggle to achieve that same expression. The French word déjà
vu is an example. English language has already adopted it. Everyone that knows
Sanskrit or one of its derivative Indian languages is familiar with the ecstatic symptom
“romaancha”. The English equivalents “hair standing on end” or “goose-bumps” are
too clinical. “Hair-raising” is simply horrible. Sanskrit “rasa” is another example. Thus
far English has had to make do with “transcendental mellows” which leaves it quite
vague for all those who are unfamiliar with Sanskrit.

These translations of Sanskrit classics are a “juicy” introduction, for the entire English
reading fraternity, to all that the word “rasa” conjures up. There are other innumerable
such words and such emotions. Browsing through the glossary to these High Five of
Love is a “mind expanding” experience. Reading Mumbiram´s original path-breaking
“Deluges of Ecstasy” is even more so. The present ensemble is sure to hasten the
unequivocal inclusion of many such words in popular English usage thereby enriching
emotional expression in the English language.
This is just a corollary of the larger ambition of this ensemble of introducing an entirely
new framework for aesthetic criticism of works of art and literature: Rasa Theory.

(aa, ii and uu are used to denote respective long vowels only when a Sanskrit noun is introduced for the first time. Thus
Bhaava, Giridhaarii and Puutanaa are subsequently written as Bhava, Giridhari and Putana. )


Acyuta yoga siddhi
    Art of Communion with Krishna the Infallible.
    The mystic power of uniting with Krishna at will.
    See ‘Mystic Powers’.
    The vision of Krishna in his opulence as in Mathura or Dvaraka; contrasted with his Maadhurya vision of a beautiful dusty cowherd
    Also known as Mahaavar or Yaavak. It is of pink to red colour and is applied to the soles and edges of the feet as decoration.
    The ambrosial drippings from flowers.
    The delicious drink of the demigods that bestows immortality.
    The demons and the demigods once got together to churn the causal ocean just to get Amrit. When it finally appeared they began to fight
    over it. Krishna once again appeared as the voluptuous beauty Mohini. Mohini deluded the demons and deprived them of the Amrita.
    While the demigods were receiving the Amrita from Mohini the Planet Raahu and the Moon had a dispute. Raahu was a demon, but was
    deceitfully joining the demigods to receive amrita from Mohini. The Moon exposed Raahu. Raahu retaliated by attempting to swallow
    the Moon even as the Moon was drinking the amrita. Raahu could not swallow the Moon‘s head which had already become immortal.
    (This is what happens at the lunar eclipse according to mythology.)
     The face of Radha incessantly shedding tears is compared to the Moon dripping amrita as Raahu sinks his teeth into the Moon.
     Vishnu is reclining on the coils of this infinite–hooded serpent Ananta on the causal ocean. Ananta is glorifying a new Leela of Krishna
     with each of his infinite mouths without ever repeating himself. Ananta is an eternal associate of Vishnu. When the Supreme Personality
     descends as Krishna, Ananta also descends as his elder brother Balaram. When the Supreme descends as Rama, Ananta descends as his
     younger brother Laxmana.
     A tree whose wood burns into the brightest red cinders.
    The bodily symptoms that are manifested in one who is in love.
Arishta, Baka, Agha ...and that Devious Demoness Puutanaa
     When Krishna was growing up in Gokula and Vrindavan, Kamsa the king of Mathura sent many of his trusted lieutenants in different
     disguises to kill the Boy Krishna. Arishta came in the form of a ferocious bull. Baka was in the form of a huge stork. Agha was in the
     form of a gigantic python whose gaping mouth appeared to the cowherd boys like an entrance to a museum. They just walked into it in
     great amazement. Krishna could only watch with surprise. Krishna followed the boys into the stomach of the Python and expanded
     himself till the Python burst to pieces.
     Putana appeared as an exquisitely beautiful well-endowed woman who walked straight into the backyard of Chief Nanda´s palace where
     Baby Krishna was crawling. With great show of affection Putana offered her poison-tipped breast for Krishna to suck on. Krishna
     smilingly sucked on her breast till the very life-air of Putana left her.
     In their great frustration, after loosing Krishna in the middle of the Mahaaraasa Dance, the Gopis accused Krishna of being a habitual
     killer of women, citing his killing of Putana as an example.
     In truth the killing of demons was performed by Krishna in his Narayana Manifestation (the four-armed manifestation).
     Cousin and Best Friend of Krishna in Dvaraka. The Bhagavad Gita is a dialog between Krishna and Arjuna on the battlefield of
     Name of a tree.

Arrows of Kamadeva
     Kamadeva, the God of Love, has five arrows with which he attacks his victims. These are the five flowers: lotus, ashoka, mango-
     blossoms, mallikaa and the blue lotus.
Arts of Kamadeva.
     Various loving ways of sexual union.
‘Art of Communion With Achyuta’ (acyuta yoga siddhi)
     Literally, ´the mystic power of uniting at will with Krishna the Infallible´.
     See ‘Mystic Powers’.
Arya Civilization
     A civilization based on Varna and Ashrama classification of society. Every child is handed over to the guru at the age of five. The guru
     expertly perceives the natural inclinations and aptitudes of the disciple. Then the guru guides the individual in choosing the right
     occupational category (varna): Intellectuals (brahmans), administrators and rulers (ksatriya), farming, industry, trade enterprises (vaishya),
     employment (shudra).
     An individual passes through four stages in life (ashrams): celibate student (brahmachary), householder (grihastha), retirement
     (vaanaprastha), renunciation (sanyas).
     Arya is a civilization, not a race. It appreciates the superiority of the soul over the body and over bodily differences.
Ashoka Tree
     Flower of the Ashoka Tree is one of the arrows of Kamadeva. Krishna has made a bed of tender Ashoka leaves for his conjugal sporting
     with Radha. (Gita Govinda)
     It is believed that the Ashoka Tree must be kicked and spat upon by a truly beautiful woman before it will blossom.
     1. The guru’s abode in the forest.
     2. One of four stages in an individuals life recognized in the arya civilization.
     See Arya Civilization
ashta saattvika bhaavaah
     See Eightfold Symptoms of Ecstasy.


    Bali Maharaj was born a scion of the atheistic demon dynasty. On the advice of his atheistic guru Shukra Acharya he completed 100
    great ritualistic sacrifices in order to obtain complete supremacy over the universe as the ruler of the heavenly planets. After all the
    learned guests at the 100th sacrificial festival had departed, Krishna appeared at the sacrificial arena as a newly-initiated Brahmana Boy,
    Vaamana. Vamana innocently asked for and was granted a charity of three paces of land. Guru Shukra Acharya´s atheistic teachings
    were decisively defeated when Bali ignored Shukra Acharya´s advise and surrendered to the Boy Vamana recognizing Him as the
    Supreme Personality. After Vamana occupied the material and the spiritual universes with the first two paces Bali invited Vamana to
    step on top of his head for his third pace. Bali´s heroic act of supreme surrender is remembered ever since on every Diwali New Year´s
    Day. Bali was granted dominion of the paataala nether-domains. Krishna provides security at his palace-gates there in tribute.
Bhagavad Gita
    The dialog between Krishna and his best friend Arjuna on the battlefield of Kurukshetra, where all the kings of the planet were arrayed
    on either of the two opposing sides. Bhagavad Gita espouses a transcendental ethic based on God-consciousness. Arjuna was overwhelmed
    by mundane material ethic based on bodily relationships. Krishna revealed the superior transcendental ethic based on a personal
    relationship with the Supreme Personality.
    The revered scripture Shrimad Bhagavatam. Shri Vyasadeva did not find spiritual fulfillment even after composing the epic Mahaabhaarata.
    He was advised by his guru, the sage Naarada, to write about Krishna the real hero of the Mahabharata. Shri Vyasadeva composed
    Shrimad Bhagavatam specifically to describe the glories of Krishna in all his energies, activities and incarnations.
    A person living by the principles and ethic described in the Bhagavad Gita and Shrimad Bhagavatam is called a Bhaagavata. Bhaagavatas
    believe in the spiritual equality of all living entities as sparks of the Supreme. Bhaagavatas keep away from meat eating, alcohol,
    prostitution and gambling.

    The first stage of ecstatic appreciation that becomes the cause of future exchanges of loving affairs with Krishna.
    ´Subtle Sophisticated Charmer´, Radha addresses Krishna dressed as a demigoddess as Bhaavini.
    The first created living entity of any material universe. Brahma is born in the lotus coming out of the navel of Vishnu reclining on the
    coils of the serpent Ananta. The Supreme Personality inspires all knowledge, material and spiritual, into the heart of Brahma. Brahma
    then proceeds to create the elements and species of that material universe. There are innumerable material universes and each has its
    own Brahma. Our Brahma has four heads, other might have sixteen, etc.

Chakora Bird
    A bird that thirsts after and drinks Moonbeams.
    A spiritual gem. Every thought related to the Supreme is a spiritual gem. A Krishna Lover‘s mind is like a whole city where every stone
    is a spiritual gem.
Confidential Leelas
    The most intimate happenings between Krishna and the gopis in the bowers of Vrindavan. Also see Leela.
Consummate Resolution of all Philosophical Dispute
    “Krishna’s clever, witty, hilarious speech sowed the seed on which the nectarean subdued laughter of the Sakhis was sprinkled. A
    sprout came out of the Parapet of Radha’s Heart as the Logical Conclusion of such Loving Devotion. Loving Affairs can be said to be
    the branches of the Tree of Loving Devotion that instantly grows up. The juicy ripe fruit of that tree is the Consummate Resolution of
    all Philosophical Dispute.” (Jewel-Box)
Cuckoo Bird
    In the Vasanta season the cuckoos move about in the forests in groups, responding to each others’ calls in a rising crescendo of notes.
    They raise quite a racket that resounds the forest and rouses amorous passions in the hearts of the youthful romantic lovers.
    In the meanwhile on a more practical level, the male cuckoos are distracting the crows so the female cuckoos can sneak into the crows’
    nests and lay their eggs. The eggs are hatched by the crows and the cuckoo babies are brought up by the crows. Come Vasanta season, the
    mango-blossoms inspire the cuckoo youngster to call out in its characteristic cuckoo crescendo. Cuckoos are the artist-musicians of the
    avian world.
Cup of Good Karma
    Whatever appears as sheer good luck is really your past good karma coming to fruition in an inconceivable way.
    See Karma.

    Milk curds, yogurt.
     Attachment to Krishna in servitude. One of the rasas.
     The musk-deer oozes a resinous substance through the navel. Its aroma pervades the forest ambience.
Delusions in Ecstasy (prema vivarta)
     In the mood of intense separation Radharani used to mistake a Tamaala Tree for her dark beloved Krishna and embrace it. Such an
     ecstatic delusion is called prema vivarta.
Demigods (deva, sura)
     Inhabitants of the heavenly planets (svarga). One can be elevated to the planets of the demigods by performing sacrificial offerings
     (yagya), penances (tapa) or charity (daana). Such stay is however temporary. On depleting one’s karmic account one returns to the
     earthly planets. A devotee, however, does not aspire for the heavenly planets.
     Contrast with demons (asura) who are atheists.

     A spot along the Yamuna river in Vrindavan, where the wind blows steadily. Here Krishna would play upon his flute the secret notes of
     invitation to arrange secret meetings with the gopis.
    A long cloth worn by men around the loins.
    Festival of Lamps celebrated in autumn season.
Doe-Eyed One (mriganayanaa)
     The guileless damsels of Vraja are often so described.
Dvaadas Aditya Mandir
    Temple of the twelve manifestations of the Sun God.

Eightfold symptoms of ecstasy (ashta saattvika bhaavaah)
     ‘Suffering in every eightfold manner’’, (Jewel- Box).
     There are eight different bodily symptoms that are manifest at the height of spiritual ecstasy. These are: hair standing on end,
     trembling, tears, change in voice, being stunned, sweating, being deluded, losing consciousness. When Krishna abandoned Radha at
     the height of the Mahaaraasa dance Radha experienced the highest ecstasies of ‘Love in Separation’ (vipralambha). Krishna as the
     demigoddess is calling Radha’s eightfold ecstatic symptoms her eightfold suffering.
Exalted Throne of Self Realization (svabhaava-simhaasan)
     See svaruupa
Eyes without Collyrium (niranjana)
     Radha looked like a yogini when she invoked the Sun-God to bear witness to the absolute unity of Gaandharvikaa and Giridhaari. Her
     eyes were without Collyrium. She had also attained the Niranjana state of yogic perfection where your vision is without blemish.


Fever of Kamadeva (atanu mahaajvara)
     The state of being agitated with passion to a fever pitch.
     The demigoddesses of the heavenly planets were agitated to a fever pitch upon hearing the sound of Krishna’s flute. (Jewel-Box)

Fifth Note
      The cuckoo birds call out in the fifth note of the musical scale when mango trees are in blossom in the Vasanta season. Lovers also call
      out in the fifth note at the height of conjugal ecstasies.
      Krishna has a whole collection of flutes mostly made from certain varieties of bamboo, called Vamsha. The gopis felt jealous of the flute
      that tasted the nectar from Krishna’s beautiful lips.
      The trees including the Vamsha bamboos would shed tears of joy, as elders of the civilized Arya society would, because one born
      amongst them obtained such intimacy with the Supreme. The lakes along which the bamboo would grow would break out with goose-
      bumps on their surfaces in the form of the lotuses that would bloom upon them.
      Once Krishna´s flute fell in the hands of Radha and her sakhis who chastised the flute for being an usurper of the nectar from Krishna’s
      lips. The flute then spoke back and described all the austerities and sufferings it went through at the hands of Krishna before getting to
      be in its covetous position.
Four Armed Narayana Incarnation
      Krishna maintains the material universes in his four armed Narayana (Vishnu) form. The gopis associate with Krishna in his beautiful
      two-armed form that plays the flute and sports causelessly in Vraja-Vrindavan.
Fruits of the Taala Palm
      The Taala Palm bears fruit that has a luscious succulent core. It is soft yet firm. The sakhi compares Radha’s breasts to the fruit of the
      Palm Tree.

Full-hipped Gopis
     The full-hipped gopis have full thighs that lead to a beautiful cave that is fit for King Indra’s baby elephant.

     Gandharvas are the artists-musicians of the heavenly planets.
     Radha liked to refer to herself as Gandharvika and to Krishna as Giridhari.
Garland of Beautiful Forest Flowers (vana-maalaa)
     Krishna and his cowherd boyfriends went to the forests with the calves and the cows every day. There they sported all day long. The boys
     loved to dress Krishna up and decorate him with whatever was available in the forests along the bank of the Yamuna. They would smear
     each other with clays of various colors. They would put peacock feathers and flowers in Krishna’s beautiful curly locks.
     Sometimes they would improvise a wonderful headgear out of the ropes and lassos they carried to herd in the cows. They would make
     handsome gunja-mala garlands out of red little gunja seeds that the gunja bushes would yield in abundance. Krishna was especially fond
     of the ‘vana-mala’ made out of forest flowers, leaves, seeds, feathers and whatever else they could string in an attractive way.
     Krishna who lifted the Govardhan Mountain to protect the inhabitants of Vrindavan from torrential rains.
     The eternal abode of Krishna. Here Krishna sports out of his own sweet will with his eternal associates. That includes the lovely doe-
     eyed cowherd damsels, the playful cowherd boys, the cows, the calves, the peacocks, the trees, the rivers, the lotuses, even the clouds.
     Everything is sentient in Goloka. Everyone is attached to Krishna in a unique loving way. Time does not bring anything to an end, it
     makes everything only continue. There is no envy, nor any fear. Every word is a song and every step is a dance.
Goosebumps (romaancha)
     The ecstatic symptom of bodily hair standing on end.
     End of the sari carried overhead in modesty.
     The doe-eyed damsels of cowherd families are considered to be Krishna’s eternal associates from Goloka. They are considered to be
     Vedic hymns personified. Greatly realized sages from the Ramayana wanted to intimately unite with the Supreme. They had their
     desires fulfilled when they appeared as the gopis.
     The gopis made supreme sacrifices for the sake of their love for Krishna. Not only did they abandon homes, relatives and friends but also
     the traditions and injunctions of the civilized Arya Society, which is most difficult to do.
     Great devotees like Uddhava bow low to the lotus-feet of the gopis and wish to take birth even as a blade of grass in Vrindavan so
     they may get covered by the dust from the land treaded upon by the gopis.
Govardhan Mountain
     The mountain in Vraja that is considered to be very close to Krishna’s heart. The boys would take the cows to graze on the Govardhan
     mountain. The mountain would offer the boys fresh waters, fresh fruit, as well as wonderful shelters to rest and sport.
     The inhabitants of Vraja once brought upon themselves the wrath of Indra, the King of demigods, when they decided to worship
     Govardhan Mountain instead of Indra. Indra sent torrential rains that threatened to inundate the villages of Vraja in flash-floods.
     Krishna casually lifted the mountain and held it overhead like an umbrella. All the cowherd families and cows were safely huddling
     around Krishna for full seven days that they would never forget.
Great Artist
     Krishna can separate lust from love. He is a great artist.
Great Lecher
     Krishna disguised as the demigoddess is calling Krishna a ‘fellow obsessed with company of women’ (Jewel-Box).
Great Suffering of Separation (viraha)
     For those in Love viraha brings out the most intimate estatic moments of the Love-Affair..
      A garland of red gunja seeds.
     A preceptor who simply passes on spiritual knowledge to the disciples exactly as it came down to him.

     The consort of the Himalaya Mountain.
    Yellow turmeric.
     The wise monkey of Ramayana is considered to be the paragon of devotion and surrender to the Supreme. Hanuman flies on the flag on
     Arjuna‘s chariot where the Bhagavad Gita was spoken.
     Literally ‘one who steals’. Krishna steals the minds of great devotees as also the fresh butter of the gopis of Vrindavan. Hari is a generic
     name of the Supreme. It is used to refer to the other incarnations of Krishna (such as Rama) as well.
      Mansion or palace.
     ‘The great reservoir of snow’. The famous mountain.
Holy Place of Pilgrimage of Kamadeva
     The place where Krishna practiced the Arts of Love with his beloved Radha.
Horde of wild elephants in rut
     Amorous desires of beautiful doe-eyed women are absolutely inexplicable and uncontrollable, like a horde of wild elephants in rut.
     (Gita Govinda)

    Theories that deny human attributes to divinity. A Theory that only perceives the energies of God, not the Personality of God. A form of
    materialism, that denies supremacy of spirit over matter. Those who are dazzled by the effulgence of the Supreme Personality, but are
    not sensitive to his personality are Impersonalists.

    The fragrant and delicate navamallika flower is one of the five arrows of Kamadeva.

       The living entity, eternally a fraction of the Supreme.


Kadamba Tree
     Anthocephalus Kadamba blooms into beautiful ball-like flowers that have a delightful aroma. Kadamba tree figures importantly in
     Krishna’s activities in Vrindavan. Krishna climbed a Kadamba tree after stealing the clothes of the unmarried gopis. Krishna climbed
     a Kadamba tree to jump into the lagoon in which the poisonous snake Kaaliya had made his home.
     The Kadambkhandi forest was a favorite place for the gopis to go picking flowers.
Kailash Mountain
     The abode of Lord Shiva in the Northern Himalayas.
     Eye-unguent made from the soot caught over a ghee lamp. It may contain other ingredients such as camphor. It may smart and make the
     eyes water when first applied but then it clears the vision and also makes the eyes look more attractive.
     Also Collyrium.
     Another name of the Yamuna river.
     Water pitcher made of metal or clay. Kalashas are auspicious symbols in ritualistic paraphernalia.

Kalashas of Kamadeva
     The full breasts of the gopis are often compared to the Kalashas of Kamadeva.
     Our material universe goes through a circle of four time periods (Yugas); Satyayuga, Tretaayuga, Dvaaparayuga and Kaliyuga. At the
     end of every cycle there is a partial dissolution and a new beginning. The whole circle is 4.32 million solar years. The Kaliyuga is only
     the last tenth fraction of it. The human civilization gradually deteriorates through the cycle. The Kaliyuga is characterized by a civilization
     that is full of conflict and hypocrisy. The influence of Kali is most prevalent in places where there is gambling, prostitution, alcohol and
     avoidable slaughter of animals. Yet there is hope for living entities of the Kaliyuga. The path of liberation from material existence has
     become gloriously easy. Meditating upon the Vrindavan Leelas of Krishna and his associates through body, mind and words is revealed
     to be the relishable road to realization as well as liberation.
     The God of Love has five arrows of enamorment with which he attacks his victims. His flag has a shark emblem on it.
     Once Kamadeva attacked Lord Shiva with his weapons of seduction. Lord Shiva´s deep meditation was disturbed. Therefore Lord
     Shiva was furious at Kamadeva. Shiva opened his third eye and burnt Kamadeva to ashes. Kamadeva remained without any body till
     he could take birth as Krishna´s son from Rukmini, Pradyumna. Kamadeva is also called ´The One Without a Body´ (Ananga).
     Kamadeva’s beloved consort is the beautiful Rati Devi. Rati remained faithful to the memory of Kamadeva even after his body was
     burned to ashes. Baby Pradyumna was kidnapped by the demons and thrown into the ocean where a big fish swallowed him. As luck
     would have it, that very fish was caught by a fisherman who brought it to the kitchen in the demon´s palace where a forlorn Rati was
     working as a maid in disguise. When the fish was cut open Rati instantly was attracted to the infant. Rati brought up the orphan baby
     to manhood. Rati and Kamadeva recognized each other as eternal lovers. Krishna rescued Pradyumna and Rati and arranged a
     wonderful wedding for them in Dvaraka.
     Amour, Cupid, God of Love, Kamadeva has been used synonymously.
   Black woolen handloom blanket
     The ethical essence of one´s thoughts and actions. Good karma leads to spiritual elevation, bad karma leads to degradation. This is the
     basic Law of Karma. To a God-conscious person it is the supreme assurance of a built-in automatic Universal Justice System that is fully
     operative in all of God´s Creation.
     Whatever appears as sheer good luck is really your past good karma coming to fruition in an inconceivable way. Similarly, what appears
     as bad luck is only some past bad Karma coming to fruition in an inconceivable way.
     The Law of Karma allows one to take total ultimate responsibility of one´s present condition, without guilt about a largely unknowable
     past and without hopelessness about an entirely open-ended future.
     The Law of Karma is accepted or rejected as a matter of Faith in as much as we accept or reject existence of God as a matter of Faith. The
     Law of Karma works in inconceivable unfathomable precision and certitude. It is futile to guess which past activity is the cause of which
     present condition.
     A name of the Universal Mother. A form of Durga, Lord Shiva’s consort. The unmarried gopis of Vrindavan did a month-long fast in the
     month of Maargashiirsha (Orion) to ask Katyayani Devi for the blessing that they may get Krishna as husband.
     A name of Krishna, the one with beautiful curly locks of hair.
Ketaki Plant
     A bush-like plant that bears cob-like flowers. The petals have sharp points on the edges.
     The ripe flower has a pleasing golden color and a haunting aroma.
Khanjana Birds
     Love-birds that make a tumultuous love-dance during copulation.
Kimshuka Tree
     A tree with bright red flowers that conspicuously point towards the sky.
     Krishna means the ‘attractor‘ and also the ‘dark one‘. The central character of these works as of this universe.
Kunda Flowers
     A bush-like plant with delicate small white flowers. Beautiful rows of teeth are compared to the Kunda flowers. Krishna is sometimes
     called Mukunda, the one with a smile that reminds one of rows of Kunda flowers.
     Shady coves in wild bushy overgrowth. The young boys and girls of Vrindavan frequented the various Kunjas to have intimate meetings.

    Prince of the Shady Bowers.
     Red powder or paste used to decorate the forehead.

Lakuti stick
      The light stick used by cowherd boys when they go tending cows.
Lalitaa and Vishaakhaa
      The dearest girlfriends of Radha.
     A brief loin-cloth.
Laxmi the Daughter of theOcean
      See Vishnu.
      Activities not performed out of any obligation or sense of duty, but purely inspired by once own sweet will. Only Krishna and his
      associates are able to act thus independently. Embodied living entities are limited by the stringent laws of material nature.
      Pants that are tied with draw-strings and are gathered at the ankle.
Life-air (Praana)
Life-Air of the Universe
      Kamadeva, the God of Love, is addressed as Life-Air of the Universe, jagatpraana.
Little Box that contains the Jewel of the Highest Secrets of True Love
      ‘Prema-samputa’ is the title of Vishvanath Chakravarti’s classic composition.
Lord Ramachandra
      See Ramayana.
Lotus with a Broken Stem
      The beautiful Radha incessantly shedding tears appeared like a lotus with a broken stem.
      “Those who think they know ‘Love is like this, or this is Love and that is not Love’ don’t know a thing about it ....even though they
      may be great scholars of the Vedas and other great books of knowledge.”
      “Those who thus preach to the eager, what they preach and that they preach is all indeed a Great Pain. For Love is truly Beyond all
      that. It disappears on Analysis yet it vanishes without Analysis also.” (Jewel-Box)
      Love that fails to consider the feelings of the beloved in a love-affair.
      Lust for Krishna (lobha) is considered to be the first state experienced on the path of spontaneous attachment to Krishna (Raagaanugaa


    A name of Krishna. The Consort (dhava) of the Goddess of Fortune (maa).
    A fragrant flower.
    The rasa of attachment to Krishna in the mood of conjugal love. In this sense it is also called Ujjvala or Shringaara Rasa. The mood
    of those who are attracted to the Vrindavan activities of Krishna as contrasted to his Dvaraka opulence (aishvarya).
    A fragrant white flower.
   Sulking mood.
    The theory that the world we experience is only an illusion or a dream. In the 7th century Shri Shankara Acharya wrote a commentary
on      the Bhagavad Gita that conjures up a maayaavaadi interpretation of Krishna´s words.

    On the one hand Shankara´s commentary preached virtual atheism that attracted the disenchanted Buddhists towards the Bhagavad
    Gita. On the other hand Shankara´s personal charisma and his magical rhetorical prowess made Buddhism just wither away from India.
    Shankara´s commentary presents the Bhagavad Gita as words of the Supreme Personality denying its own Supreme Personality. Shankara´s
    hypnotic logic conceals its own paradox with such élan and authority that a vast majority in India accepts even today Shankara as the
    ultimate authority on the Bhagavad Gita.
    The paradox of Shankara´s commentary was exposed nearly a thousand years later by Shri Krishna Chaitanya in his talks to
    Sarvabhauma Bhattacharya and Prabodhanand Saraswati who were the greatest scholars and exponents of Shankara´s philosophy
    in their times.
Madhuuka Flower
    A flower of glistening petals of light orange color.
    One with Intoxicating Eyes.
    Those who awaken your Love for Krishna are considered to be the most magnanimous persons on the planet.
    The highest ecstatic state in the mood of separation, such as the gopis experienced when Krishna disappeared from the scene of the
Maharaasa dance. All different eight ecstatic bodily symptoms (see ashta saattvika bhaavaah) are manifested in the Mahaabhaava state.
    The great epic composed by Shri Vyasadeva nearly 5000 years ago. It is the history of the planet up to the beginning of the Kaliyuga. The
    Bhagavad Gita appears as a dialogue in one episode of this epic.
    The great dance innovation that Krishna manifested on that first full-moon night of the autumn season. Krishna danced simultaneously
    with all the damsels of Vrindavan till every one of them was thinking He was dancing exclusively with her alone. At that point Krishna
    all of a sudden disappeared from amongst them. In their intense feelings of separation the gopis experienced the most elevated state of
    love of God called Mahaabhaava.
    Red organic colour applied to the soles of feet as decoration
    Shark. Kamadeva‘s flag has a shark emblem on it. Krishna wears earrings in the shape of sharks.
Make me happy or make me broken hearted
    The state of total surrender to the Supreme, the mood that the gopis of Vrindavan manifested. The mood of Shri Krishna Chaitanya who
    enlivened every town and village with his movement of congregational chanting and dancing.
    A garland.
Malaya Mountain
    A mountain in the south-east that is overgrown with sandalwood trees. All of the Indian subcontinent is cooled by the fragrant winds
    from the Malaya Mountain. In the heat of intense separation the cool breezes from the Malaya Mountain appear unbearably scorching
    to Radha. She speculates it is because the wind had passed through the bellies of poisonous snakes that wrap themselves around the
    sandalwood trees to keep themselves cool.
    The tribal Bhil women that inhabit the Malaya Mountain are known to treat those precious sandalwood trees quite casually. They use it
    as firewood for cooking !
Manifesto of Love
    The scratches, nail-marks and bites that lovers leave on each-others’ bodies appear like sacrosanct Manifestos of the God of Love.
    A composition of words and sounds that ‘purifies the mind’. Certain mantras have specific spiritual potencies or material prowess. A
    guru passes on the mantra to the disciple. The Gayatri mantra, for example, manifests the very essence of all vedic spiritual knowledge.
    There are also mantras that invoke various missiles and weapons for a warrior on the battlefield.
    One of the progenitors of the human race. Manu composed the ´Manu Smriti´, the Book of Laws for mankind. Manu Smriti divides the
    human race based on birth and is considered to be the basis of the caste-system in India. Krishna Devotees, Vaishnavas, Bhagavatas
    ignore the Manu Smriti as also any discriminatory distinctions based on birth.
Many-Branched Tree of Kamedeva
    The scratches, nail-marks and bites that lovers leave on each-others’ bodies appear like the many-branched tree of the God of Love.

Marakata Gem
    A precious bluish-green emerald that has the same luster as Krishna’s body.
    The theory that living entities are no more then complex configurations of atoms and molecules.
   Fired clay-pitcher.
Meru Mountain
    The great mountain at the centre of the material universe.
Mohini Incarnation
    A demon named Vritra once obtained a boon from Lord Shiva that on whosesoever’s head he would place his hand would be burned to
    ashes. The demon chased Shiva himself to turn him to ashes. Shiva ran to take shelter of Krishna. Krishna then took the form of an
    exquisite exotic beauty called Mohini and appeared before the demon. Mohini seduced Vritra with her feminine charms and made him
    dance to her tune. Vritra followed her and imitated every one of her dance gestures. When Mohini placed her hand over her own head
    Vritra also placed his hand over his own head. He thus burnt himself to ashes (Also see Amrita).
    The guileless damsels of Vraja are often so described.
    Bestower of liberation, one with smile as beautiful as kunda flowers. A name of Krishna.
    One of Krishna’s many flutes.
    One who carries the Murali, a name of Krishna.
Mutual Hypnosis (vyatimohanam)
Mystic Powers (siddhis)
    Supernatural powers that can be obtained by performing self-abnegating penances and austerities. Atheists strive to obtain such powers
    to lord it over the material world. Atheists delude themselves into believing that obtaining siddhis is the goal of so-called spiritual
    pursuits. Lovers of the Supreme, bhaktas, find the pursuit or possession of such mystic powers to be a distraction if not an outright
    hindrance in their unalloyed unconditional attachment to the Supreme.
    On the other hand, bhaktas seem to have acquired many amazing mystic powers even without striving for them.
    In Vishvanath Chakravarti´s ‘Jewel-Box’ Krishna in the guise of the beautiful demigoddess asks Radha whether she has obtained the
    yogic perfection (yogic siddhi) of ‘communion with Acyuta‘, the mystic power of entering other people’s minds. As the eternal Beloved
    of Krishna, Radha is indeed in constant communion with Krishna, the infallible Achyuta. As a true lover she indeed knows the mind of
    her beloved as she would know her own.
    Later Krishna speculates that some demigoddess comes to meet Radha from whom Radha has learned the mystic power of drawing any
    person helplessly to herself. Krishna would like to meet the demigoddess just to learn that mystic power from her. Indeed Radha has
    brought Krishna out of his disguise by simply meditating upon him. The sakhis suggest that Radha herself should take Krishna to some
    secluded place and teach him that mystic power. In a secluded place with Krishna alone, Radha will certainly be in perfect communion
    with the infallible Krishna. (Jewel-Box)

    Nandakumaar, Vrajeshnandana, Vrajaraajkumaar are all names of Krishna, son of Nanda.
Nectar (amrita)
     See Amrita.
‘Nectarean Ways of Love in our Beloved Land of Vrindavan, our Vraja’ (vraja anuraaga caryaa), ( vraja anuraaga riiti )
     Eternal ideal ways of ecstatic loving affairs between living entities that are full of rasa. In Vrindavan Krishna is fulfilling everyone’s
     secret desires according to each individual’s svarupa. Even a blade of grass in Vraja is experiencing ecstatic fulfillment. Even a humble
     Gunja seed from Vraja is more dear to Krishna than all the treasures of the world. Relationships in Vraja Vrindavan are causeless,
     spontaneous and constitutional. They are free from mundane envy. To discover your own very unique and individual relational identity
     in Vraja is the essence of self-realization.

     Bowers where Radha and Krishna sported confidentially.
     Blue garment. An epithet of Krishna´s brother Balaram who usually wore a blue silk dhoti.

     Spices and catechu folded in a betel leaf. It is offered in friendship and hospitality.
      It colors the tongue and lips red when chewed. It has soothing, relaxing and digestive qualities.
     The passionate fifth note of the musical scale.
Pacharangi mala
     A garland of beads of five colours.
     Supersoul. God as simultaneous and eternal individual companion of every living entity.
Parvati the Daughter of the Himalaya
     The consort of Lord Shiva appears as the daughter of the Himalaya Mountain in one of her several births.
Past good Karma
     See Karma.
Perceiving Love
     “When the mind is free from both of these, when it is in the state of pure guileless unmitigated attachment, it is situated on the Exalted
     Throne of Self Realization. Only the Happiness experienced by the Beloved’s Happiness in Transactions of Love can be equal to the task
     of Perceiving Love.” (Jewel-Box)
‘Perfect Communion with Achyuta’
     See acyuta-yoga-siddhi.
Perfect Repose (vishrambhavaan)
     Yellow garments. An epithet of Krishna. Krishna preferred to wear a yellow silk dhoti that wonderfully contrasted with his bluish
     complexion reminding one of lightening on the background of dark clouds.
     Love for Krsna.
     A True Lover.
Prema Vivarta
     See delusions in ecstasy.
Providence (daiva)
Pure guileless unmitigated attachment (shuddha raaga)

    Eternal consort of Krishna.
Raagaanugaa Bhakti
    The path of spontaneous attachment to Krishna.
    See Amrita.
    See Ramayana.
    The epic story of Krishna´s appearance as Raama, the King of Ayodhyaa, almost a million years ago. Lord Ramachandra is the epitome
    of the virtues of monogamy. Rama along with Wife Sita and Brother Laxmana were exiled to fourteen years in the forests of Central
    India. Raavana, the King of Lanka, had the ambition to rule over the entire material universe. Raavana´s Sister Shuurpanakhaa desperately
    lusts after the handsome young Rama and Laxmana. Rama as well as Laxmana jilt her advances. An insulted and humiliated

       Shuurpanakhaa incites Brother Raavana against Rama and Sita. Raavana sees the lovely and loving barefoot couple Rama and Sita as
       the antithesis of his materialistic world-view. With the help of illusionists Raavana abducts Sita and carries her away to Lanka. While
       searching for Sita, Rama and Laxmana meet Sugriiva, the great Monkey King in exile and his Prime Minister Hanuman. Rama and
       Sugriiva make a mutual agreement whereby Rama would help Sugriiva regain the Monkey Kingdom of Kishkindhaa by defeating his
       brother Vaali. In return Sugriiva would send the monkey-armies in all four directions in search of Sita. Hanuman´s thrilling adventures
       in search of Sita and the eighteen-day-long battle between Rama and Raavana are the most memorable chapters of the epic Ramayana
       composed by contemporary Sage Valmiki nearly a million years ago.
       Rama is considered to be the perfect incarnation of the Supreme , whereas Krishna is the most perfect Supreme Himself. Krishna´s
       appearance as Himself nearly a million years after the Ramayana makes up for many of the lacunae in his straight jacket act as the
       virtuous Rama.
     Until recently, in Bhakti literature ‘Rasa´ was translated as ´transcendental mellow´. Rasa has no exact English equivalent. So now
     we use Rasa in English.
     Rasa is the aesthetic appreciation of an emotional experience. Six to nine distinct varieties of rasa are enumerated in theories of
     aesthetics. In devotional aesthetics neutrality (shaanta), servitude (daasya), parental affection (vaatsalya), friendship (sakhya), conjugal
     love (maadhurya) are the five different rasas or moods of attachment to the Supreme.
Rasa Theory
     Classical theory of critical appreciation of works of art and literature. Arousal of rasas and their qualitative analysis are the main
     concerns and criterions in judging a work according to Rasa Theory.
     Incompatible mixing of rasas.
     An emotional experience may be enriched if more than one compatible rasas are aroused. Conversely, if an experience exhibits a mixing
     of incompatible rasas (rasaabhaasa), that is considered to be a case of perverted emotions. Thus, mixing of sakhya and vaatsalya rasas
     (as in the case of Balaram and other cowherd boyfriends of Krishna that were slightly older than him) is relishable. A mixing of
     vaatsalya and maadhurya rasas would be rasaabhaasa. It would smack of incest.
Raasa Dance
     See Mahaaraasa.
      A Bengali cottage-cheese sweet preparation.
Rasa Vigraha
     Analysis of the qualitative aesthetics of an emotional experience.
Rati Devi
     See Kamadeva.
     Hair standing on end as an ectatic symptom.

     The gopis would put a paste of saffron and sandalwood on their bosoms.
     Attachment to Krishna in friendship. One of the rasas.
Sandal-Scented Wind from the Malaya Mountain
     See Malaya Mountain.
     A person in the renounced order of life (ashram).
Separation (viraha)
Shaanta rasa
     Attachment to Krishna in neutrality.

Shark (makara)
      Kamadeva‘s flag has sharks on it. Krishna wears earrings in the shape of a shark.
     Certain mountains have rocky hillsides that ooze out a potent resin called shilajit.
      Lord Shiva is the original wild one. He has long matted hair. He has ashes smeared all over his body. He hangs out at Burning-Ghats
      with weird goblins and ghosts. His beauty and pure heart shine through all those oddities. Only Shiva could agree to swallow the deadly
      poison halaahala, that emerged from the churning of the ocean by the demons and the demigods. Shiva´s neck turned blue on account
      of that. Shiva´s body is decorated with live snakes. A crescent moon adorns his crown of matted hair. The heavenly Ganga first descends
      onto Shiva´s dreadlocks and then into the material world.
      Progenitor Daksha’s darling daughter Satii is madly in Love with Shiva, much to the distress of her father. Shiva presides over Tamas
      Guna, the Mode of Darkness. Lord Shiva, ‘Bholenaath’, is famously credulous. Even his ill-wishers find it easy to obtain a boon from
      him. See ‘Mohini Incarnation’.
    Name of Laxmi.
Shringaara Rasa (or maadhurya rasa, ujjvala rasa)
      Another name for the mood of conjugal attachment.
      See Ramayana.
     Red oxide powder put in the parting of hair over the forehead especially by married women.
Sister of the God of Death
     Yamuna river.
      Yama, the God of Death, and Yamuna, the river of Vrindavan are both offspringa of the Sun-God.
      See Ramayana.
      Sweet Nothings uttered in Ecstasy.
      Bow-Browed Beauty.
      One´s original identity in Goloka. One comes to know ones Svarupa by the grace of Krishna or Krishna´s devotees. It is the essence
      of self-realization on the path of devotional attachment.
     A symbol of Auspiciousness.

     Krishna is affectionately called Thakurji or Lord.
The family priest Gargamuni
     Gargamuni was the family priest of the Yaadava Dynasty to which Krishna‘s father Vasudeva belonged. Gargamuni made the astral
     chart or horoscope for Baby Krishna.
Three Worlds
     The three divisions of the material world. The upper world of the demigods, the middle world of humans and the lower world of the
     demons (atheists).
     A decorative mark on the forehead, made with sandalwood paste or dear musk or saffron or clay from the Yamuna.
Total Devastation in Vipralambha (pralaya)
     One of the eightfold ecstatic symptoms manifested by Radharani at the height of her feelings of separation.
Transcendental Ecstasy
     The blissful experience of Communion with the Supreme.
True Lover (premii)

    The holy basil plant, also called Vrinda after a gopi from Goloka. Tulasi plants grow in great abundance in Vrindavan. Krishna is very
    fond of the Tulasi plant. Any food preparation prepared for Krishna must have a Tulasi leaf placed on top of it. Krishna does not even look
    at any food-preparation that does not have a Tulasi leaf placed on top of it.


   A dear friend of Krishna in Mathura. A highly realized soul. He even resembled Krishna in appearance. Krishna sent Uddhava to
   Vrindavan to console the bereaved inhabitants of Vraja.
   See Kaajal.


    The rasa of parental affection.
    A name of Krishna, son of Vasudeva.
Vaidhi Bhakti
    Path of devotion to the Supreme as prescribed in ritualistic religious practice.
    Contrast with raagaanugaa bhakti.
    The planet of the Liberated.
    Those who are attached to the opulent Mathura or Dvaraka Leela of Krishna (aishvarya leela) attain the Vaikuntha planets. Only those
    who are attracted to his Vraja Vrindavan Leela (maadhurya leela) are elevated to the magical Goloka. The four armed Vishnu expansion
    of Krishna presides over the Vaikuntha planets. Laxmi is his consort there.
    A devotee of Vishnu, a devotee of Krishna, a devotee of God in his personal form, a personalist. A person awakened to the spiritual realm.
    A person who emanates noble human ideals on account of his proper understanding of God and Man as well as Spirit and Matter.
    See Ramayana.
Vamshi Vata
    A great banyan tree on the bank of the Yamua. It is Krishna’s favorite place of secret rendezvous with the gopis. Vamshi means the
    bamboo flute. Vat means a banyan. Krishna would play the secret notes of invitation on his flute to send a message to the gopis.
    Garland of forest flowers.
Various texts on the science of conjugal union
    Such as the Kamasutra of Vatsyayana.
    The spring season when all trees are blossoming, the bumblebees are humming, the cuckoos are singing and love is on everyone’s mind.
    Ancient books of spiritual knowledge of the ideal original Arya civilization. The vedas are of suprahuman origin. The Supreme Personality
    inspires them into the heart of Brahma the first living entity of any material universe. Thereafter the knowledge is passed on in a Guru-
    disciple-chain of unbroken succession. The vedas describe and glorify the Supreme as manifest in the material universe, yet stop short of
    describing the causeless sweet sporting (leela) of the Supreme in the eternal Goloka Vrindavan. The gopis of Vraja Vrindavan achieved
    the state of unconditional love of the Supreme which is beyond the reach of even those well-versed in vedic knowledge.
     One of Krishna’s many bamboo flutes.
    Radha, Krishna and their associates are called aalambana vibhaava. All things that are stimuli for ecstatic love of Krishna are called
   uddiipana vibhaava.

     Ecstatic love manifests itself in meeting (Sambhog) as well as in separation (vipralambha).
     One of Radhika´s two best girlfriends.
     The expansion of Krishna that looks after maintenance of the material worlds. The presiding deity of the Vaikuntha planets of the
     liberated. He is the consort of Laxmiji, the Goddess of Fortune. He carries a lotus, a conch-shell, a discus and a mace in his four hands.
     One in the state of Perfect Repose, Self-confidence and Trust.
     The land in a circumference of nearly 168 miles around Vrindavan on the bank of the Yamuna river.
     Vraja appeared like an exact replica of Goloka Vrindavan when Krishna appeared there nearly 5100 years ago. Every living entity in
     Vraja is continuously engaged in participating in and proliferating the wonderful Leelas of Krishna and his confidential associates. The
     causeless loving exchanges between Krishna and his companions in Vraja are the ultimate object of meditation for all living entities of
     all times, anywhere and everywhere.
Vraja anuraaga charyaa
    ‘Nectarean Ways of Love in our Beloved Land of Vrindavan, our Vraja’. (Also vraja anuraaga riiti).
     The presiding deity of Vraja Vrindavan. A gopi in Goloka who became jealous of Radha. She was therefore exiled to the material world.
     Born as the daughter of King Dharmadhvaja she performed penances and austerities (tapa) to get a husband of her choice. She chose an
     atheist materialist named Shankhachuuda as her husband just to incite Krishna. Shankhachuda became nearly invincible by dint of
     Vrinda´s chaste devotion to him as his wife. At an opportune time Krishna had to appear in the guise of Shankhachuda and seduce
     Vrinda. A triumphant Vrinda returned to Goloka leaving behind the holy Tulasi plant as a reminder of her intense love for Krishna.
     Vrinda means the Tulasi plant that was very dear to Krishna (holy basil). Van means a forest. Vrindavan has an abundance of fragrant
     Tulasis. When Krishna was three years old the cowherds of Gokula decided to move up the river some 8 miles to Vrindavan. When
     Krishna was in Vrindavan it appeared like an exact replica of the eternal Goloka Vrindavan. Vrinda Devi is the presiding deity of the
     forests of Vrindavan. She is ever assisting Love and Beloved in their loving meetings.
Vrishni Dynasty
      Krishna is variously mentioned as belonging to the yadu, satvata or vrishni dynasties.
     Mutual Hypnosis.
Wind from the Malaya Mountain
    See Malaya Mountain.

Yamuna River
     River Yamuna and Yama, the God of Death, are children of the Sun-God (Surya). Yamuna is a great Lover of Krishna. The sweetest of
     Krishna´s Vrindavan-Leelas took place on the banks of theYamuna River.
    A very long period of time.
    Couple of lovers.


Zeroism (Shuunyavaada)
     The theory that the essence of existence is emptiness. Adherents of zeroism try to meditate on emptiness. Compare with atheism,
     impersonalism, maayaavaada.

Alaktaka 72, 82, 96
amorous expedition 27
amour 24
Arrows of Kamadeva 65, 124
Arts of Kamadeva 48
Ashoka Tree 108

Bakula Trees 8
Bamboo Nikunja 38
Bank of the Yamuna 5
Battle of Love 70
Beautiful Fortunate One 55
beautiful patch of reeds 15
beautiful vision of a meeting under the Kadamba Tree 22
beautiful women of Vraja 16
Bed of Cupid’s Arrows 39
bed of soft bamboo-shoots 26
bells in my waistband 27
Bimba Fruit 21
Blooming Lotus in a Clear Pond 75
Bower of the Vines 58
bumblebees obsessed with honey 20

Cacophony of Cuckoos’ Calls 8
Chakora Bird 53
colors of the rainbow. 21
combined glories of the Shiliimukha and Paatal Tree 9
Confidential Leelas 5
cool sandal-scented wind from the Malaya Mountain 75
cuckoo birds 12
Cup of Good Karma 66
Cupid 40
Cupid’s arrows 39

dangers of the Kaliyuga 22
deer-musk 40
demigods 16
dense secluded Nikunja 25
Dheerasameer 49
Diva 15
Doe-Eyed One 61

ear-ornament 22
erect stamens of the saffron flowers 9

Fever of Kamadeva 110
Fifth Note 14
Fruits of the Tala Palm 87
full-hipped Gopis 21

Garland of Beautiful Forest Flowers 75
goose bumps 22
Gopis 20

Himalayas 17
his melodious flute 15
Holy Place of Pilgrimage of Kamadeva 48
horde of wild elephants in rut 77
hordes of Bumblebees obsessed with honey 8

inconceivable ways of amour 24

Jasmin Flowers 7, 10, 12
jaws of death 9

Kadamba Tree 22
Kaajal 81, 106
Kalashas of Kamadeva 126
Kaliyuga 22
Kamadeva 9
Kamadeva’s bow 9
Keshawa 42
Ketaki Plant 9
Khanjana Birds 113
Kimshuka Tree 9
Kunja 20, 50, 67
Kunja on the Bank of the Yamuna 30

Land-Lotuses 96
Laxmiji 5
Leaves of the Lotus Plant 72
lightening 50
loinclothes 25
Lotus Eyes 27
Lotus with a Broken Stem 42

Madhava 40
Madhavika 10
Mala 95

Mala of precious gems 72
Malatii 10
Malaya Mountain 8, 39
Manifesto of Love 81
Many-Branched Tree of Kamedeva 82
Marakata Gems 72
Most Glorious Theme of Meditation 5

Nandamaharaj 5
nectar 40
Nikunja 5, 107, 115

Paatal Trees 9
passionate Fifth Note 14
past good karma 50
peacock feathers 21
planet Rahu 40
Puutanaa 82

Raasa Dance 21
Radha’s Companion-Sakhi 7
Rahu 40
Rati Devi 72
rising ramparts 22
rows of Swans 50

saffron ooty 5
Sakhi 7
Sandalwood Tilak 22, 114
sandalwood trees on the Malaya Mountain 17
Secret Notes of Invitation 49
shark 22
sharks that she imagines on your flag 40
Shiliimukha and Paatal Trees 9
Shringara Rasa 130
Siren 15
Sister of the God of Death 77
Slender-Waisted Radha 95
Stems of the Lotus Flower 72

Tamal Trees 5
tender bamboo shoots 52
Tilak 22
Tilak of Deer Musk 129
tiny fragrant star-like flowers 8

various texts on the science of conjugal union 26
Vasanta 7, 12
very confidential bowers at the Kunjas 8
Vraja 24
Vrindavan 10

waistband 52
wet Lotus Leaves 39
Wicked Younger Brother of Balarama 72
wind from the Malaya Mountain 17

Yamuna 10, 77
Yellow garments 14
yellow silk dhoti 112
yellow silks 22

                        The Distant Drummer imprint

Five years ago a group of young India-lovers hailing from historical Leipzig in Germany discovered Artist
Dr.Mumbiram of India whose Personalist Art has already been a proven German Favorite for the past
twenty-five years. This group calling itself “Distant Drummer Publishing and Holding Company” went on to
support the efforts of Mumbiram&Party to lay the groundwork of the ambitious task of reviving the classical
Rasa Theory of aesthetics of Art and Literature.
Leipzig University once had a strong Indology Department. (Max Mueller first studied Sanskrit at Leipzig.)
Leipzig also once had led in Book Printing. Forces of war and politics had reduced all that to naught.
Distant Drummer represents a glorious revival of erudite German interest in treasures of classical India.
Zestful collaboration between Distant Drummer and Mumbiram&Party has produced bounties beyond
everyone’s wildest dreams. A new aesthetic movement is taking shape under the banner of Rasa Renaissance.

Five years on, Distant Drummer is holding valuable rights to Books, Exhibitions, Catalogues, series of
Collected FolkTales, Poster campaigns and reproductions of Rasa Art and Literature. With intelligently
designed promotional campaigns for its debut, Distant Drummer stands in an enviable position.

Distant Drummer now will work under the wings of a large Publishing House, with a global reach, as an
imprint. Distant Drummer has its own editorial board and is dedicated to the publishing of Rasa Classics
and Rasa Art in a contemporary popular avatar that has Universal Appeal.

     The Original Masterpieces of Personalist Art
   appearing in this ‘High Five Ensemble’ are with
proud individual collectors or with Distant Drummer.
 Distant Drummer maintains an extensive catalogue
    of a large body of Mumbiram’s original works.

These books are in the same league of classic first-ever
translations such as Sir Richard Burton´s renderings of Arabian
Nights and Kama Sutra, Sir Edwin Arnold´s Light of Asia and
Fitzgerald’s renditions of Omar Khayyam´s Rubaiyat.

The first four books of the High Five of Love, which are
celebrated Indian Classics, set the mood and provide the context
for Mumbiram´s path-breaking original work of theophily:
Deluges of Ecstasy.

Deluges of Ecstasy are very contemporary outpourings of
ecstatic delusions in an intimate passionate Love Affair in the
lofty Prema Vivarta Mood. It is an original contemporary work
by Mumbiram that was composed and compiled during
Mumbiram’s 12 year sojourn of North America. It has been a
work ahead of its times by a quarter of a century. It is an American
Classic. One cannot help feeling that here Mumbiram is fulfilling
Walt Whitman´s Passage to India. The poet who will arrive after
all the explorations and discoveries have been accomplished
has arrived. He is offering a universal paradigm of Man-God
rapport that can unite us all.

Each one of these books has the remarkable quality that you
open it anywhere and you are instantly transported to the world
of a classical rustic romance that is simultaneously innocent
and passionate, like nature itself. They gracefully rise above
language and culture. They speak the universal language of

Mumbiram&Party have presented here books that may become
the basis for a popular movement of Universal Mutual Attraction
that is against nobody. Here we have the prime proponent of an
artistic movement matching his painterly virtuosity with his
literary flourish. The world of Contemporary Art is in chaos and
confusion. It has worked itself into terrain that is meaninglessly
abstract, impersonal and, at best, conceptual. It has neither
any Romance nor any Rasa. These Unabashed Presentations
of Sanskrit Love Classics rekindle our hopes for an aesthetic

The entire English-reading fraternity stands to benefit from these
“High Five of Love”. They add a New Dimension for the English
Language. They offer a New Philosophy of Comparative
Religion. They present a Universal Paradigm of Divine Love.

For admirers of Krishna it is a Contemporary Incarnation of the
classical Bhagavat Dharma where the joy, the beauty and the
essential equality of all living entities shines gloriously through
all the confusion of the material world.

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