Meditations on Transcendence

  Purport to Saint Vādirāja’s Hitōpadēśa (Ṣaṭślōkī) The opening command is uncompromising: “Smara Kṛṣṇaṁ, bhaja Hariṁ, nama Viṣṇuṁ, śrayācyutam.” Once one has entered Bhāvālaya , the inner abode of devotion, there remains only one duty: tyaja kāma, jahi krodha, jahi moha. Nothing more, nothing less. Why is this necessary? Because we quietly trade our svadharma for money, position, and imagined security. This trade happens due to moha , mistaken identity. Planning the future on the false notion of “I am this body and its ambitions” is moha. Future expectations born from this false self create further bondage. Real intelligence asks a different question: How will this enable my service to Vāsudeva? Thus the instruction turns inward. Increase japa , deepen kathā , and see the world not as bhogya but as havis . The body itself is yajña-huta , meant for offering. The primary havis we handle daily is sound, ideas, and thoughts . Even rasa, like cooking, becomes sacred when offered to ...

 https://madhwafestivals.com/2016/11/04/venunada-priya-gopalakrushna/ Purport to “Venunāda Priya Gopāla Kṛṣṇa” The song begins with Venunāda-priya , establishing the primary quality of the Lord. Sound comes first. In the order of perception, śabda (sound) precedes sparśa (touch), rūpa (form), rasa (taste), and gandha (smell) . Therefore nāda is the doorway to devotion. Before one can appreciate the Lord’s feet, one must hear. The flute sound awakens faith, and that faith carries the consciousness toward the lotus feet. Pastimes follow later; first comes attraction through transcendental vibration. Pallavi – Nāda The pallavi rests on nāda. Kṛṣṇa is not merely a form-holder; He is sound itself. The venunāda is non-different from Oṁkāra. By hearing, the conditioned soul begins its return journey. First Para – Pada and Kara The song then moves to the feet : caraṇa-vandita-caraṇa . Feet signify shelter. After sound awakens faith, the devotee bows. Next comes the hand , therefore Mandar...