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Prabhupāda: ...recording?
Hayagrīva:: Good.
Hayagrīva
Prabhupāda: The first scene is that people passing on with saṅkīrtana mo-
vement as we have, as we usually do, very nice procession with mṛdaṅga,
karatālas and that bugle, all people, just in the ordinary way. We have to
make a nice procession. The second scene is that Kali, the personified Kali,
a person should be decorated blackish. A blackish man with royal dress and
very ugly features. And his queen, another ugly featured girl or lady. So they
are disturbed. They'll talk between themselves that "There is saṅkīrtana mo-
vement now and how we shall prosecute our business of this Kali-yuga?"
There will be, in that scene, in some corner somebody is drinking. Two or
three persons drinking. The scene will be like that. They are sitting in the
center. In one corner somebody taking part in drinking, and another part
somebody is illicitly talking of lust and love with woman. In another section
there is slaughtering of a cow, and another section gambling. In this way
that scene should be adjusted. And in the middle, the ugly man, black man,
and the ugly woman will talk that "We are now in danger.
The saṅkīrtana movement has been started. What to do?" In this way you
have to finish that scene.
Hayagrīva:: Yes.
Hayagrīva
Hayagrīva:: Uh... Just before this... I'm not going to make this I don't believe
Hayagrīva
either eastern or western, but I think this can apply for the whole world in
the sense that the names may be Indian names, but I think the exhibition of
the assembly of Kali and his consort sin and the exhibition of illicit sex and
slaughterhouse, this can all be, it can be from western type prototype.
Prabhupāda: That may be. No, why should you... It may be sometimes mi-
sunderstood that western people are only under the influence of Kali. Be-
cause the world is under the influence of Kali. Not that in your country only
this intoxication, illicit sex. No, everywhere it is.
Hayagrīva:: Not only in that scene. My point is that I don't want to make this
Hayagrīva
an Indian play.
Prabhupāda: That you may do. That you may do. I have no objection. But
people may not misunderstand that here a scene is depicted simply critici-
zing the western way. That is my point. Yes.
Hayagrīva:: Yes. Now that other person, that other Lord Caitanya... Roy?
Hayagrīva
Who wrote the other Lord Caitanya? That other play?
Hayagrīva:: Yes. That's what I had in mind. I thought it was strictly an In-
Hayagrīva
dian type of play.
Prabhupāda: Yes, that was Indian type. Yes, that was Indian type. Or if you
like... I have no objection. If you present the characters in European style.
But Caitanya Mahāprabhu...
Hayagrīva:: No, no. They wouldn't be presented in a western style, but there
Hayagrīva
wouldn't be neither an eastern nor a western flavor.
Prabhupāda: Yes.
Hayagrīva:: The situation could be... Because it's transcendental. It's not he-
Hayagrīva
re, it's not there.
Prabhupāda: Yes, yes. No, the Kali is not transcendental. Kali is material.
Hayagrīva:: Yes. The earth, the whole world is affected, so it's not just one
Hayagrīva
section.
Hayagrīva:: Yes.
Hayagrīva
Prabhupāda: So next scene is rāsa dance. Rāsa dance means Kṛṣṇaand
Rādhārāṇī in the center, and the gopīs, they are surrounding. You have
seen that surrounding scene they were dancing the other day in the park,
hand to hand.
Prabhupāda: So one Kṛṣṇa and one gopī, they are dancing. That should be,
scene should be... Then the rāsa dance should be stopped and Kṛṣṇa will
talk with the gopīs. Kṛṣṇa will say to the gopīs that "My dear friends, you
have come to Me in this dead of night. It is not very good because it is the
duty of every woman to please her husband. So what your husband will
think that you have come in such dead of night? A woman's duty is not to
give up her husband even he is not of good character or if he is unfortunate,
if he is old, or if he is diseased. Still, husband is worshiped by the wife. So
you have come here, it is very sinful. So you... People will decry it. Please go
back. Now we have finished." So in this way the gopīs will reply that, "You
cannot request us to go back because with great difficulty and with great, I
mean to say, ecstatic desire we have come to You, and it is not Your duty to
ask us to go back." In this way you arrange some talking that Kṛṣṇa is as-
king them to go back, but they are insisting, "No, let us continue our rāsa-
dance." Then when the rāsa dance is finished, the gopīs will go,
then Kṛṣṇa in His halilak(?), He says that "They are My heart and soul, the-
se gopīs. They are so sincere devotees that they do not care for family en-
cumbrances and all, any bad name. They come to Me. So how shall I repay
them?" He was thinking. "How shall I repay their so ecstatic love?" So He
thought that "I cannot repay them unless and until I take up their situation
to understand Me. Because I Myself cannot understand Me. I have to take
the position of the gopīs, how they are loving Me." So with that considera-
tion He took the form of Lord Caitanya. Therefore Kṛṣṇa is blackish,
Lord Caitanya is of the color of the gopīs. The whole life of Lord Caitanya is
representation of gopīs' love towards Kṛṣṇa. That should be painted in that
picture. You have got to ask anything?
Prabhupāda: In order to appreciate Kṛṣṇa in the form of gopī. Just like I ha-
ve got dealings with you. So you have got your individuality, I have got my
individuality, but if I want to study how you are so much obedient and lo-
ving to me, then I have to go to your position. It is very natural psychology.
Yes. You have to paint in that way.
Prabhupāda: Huh? That's clear. Accha. Then fourth scene is lunar eclipse.
You'll have to arrange a scene that just in the evening there is appearance of
the full moon on the side of the Ganges and people are taking bath half in
the water and half above the water, and they're all chanting, this same sce-
ne, Hare Kṛṣṇa, Hare Kṛṣṇa, with mṛdaṅga and... Yes. So somebody co-
mes, Advaita. Advaitacomes in the scene to take bath in the Ganges and be-
gins to dance. "Oh, my mission is now fulfilled! My mission is now fulfi-
lled!" He'll talk. He was very sorry to see the condition of the people that
everyone is engaged simply for material sense gratification. Nobody is enga-
ged in love of Godhead. So he wanted to rectify their behavior, but he
thought that "I am ordinary man, what can I do? If Kṛṣṇa Himself comes,
then He can do it." Therefore he worshiped Kṛṣṇa, and he simply offered
Ganges water and tulasīleaf. In this way Kṛṣṇa has taken His incarnation as
Lord Caitanya. So he has understood now at this moment Lord Caitanya is
now taken His appearance. So he was dancing, "Now my mission is fulfi-
lled. Now my mission is fulfilled."
Hayagrīva:: And Advaita is introduced there and he's very joyful on this oc-
Hayagrīva
casion because he had requested that this incarnation...
Prabhupāda: Yes.
Prabhupāda: Rādhārāṇī and Kṛṣṇa in the center. And Kṛṣṇa has expanded
Himself for other gopīs, hand to hand.
Hayagrīva:: That's the third scene, the rāsa dance. So Rādhārāṇī appears in
Hayagrīva
that?
Prabhupāda: That's the third scene, yes. There is the appearance, appearan-
ce of Rādhārāṇī.
Prabhupāda: No, the dance was in Vṛndāvana. Yes. Rāsa dance was
in Vṛndāvana.
Hayagrīva:: All right. Now we have the fourth scene. Does Advaitaspeak to
Hayagrīva
anyone in the fourth scene or is that...?
Prabhupāda: Yes.
Hayagrīva:: Is there anyone there? Any of these characters there? I'm trying
Hayagrīva
to introduce these characters.
Hayagrīva:: A few of them. Not all of them, but a few of them should be...
Hayagrīva
Prabhupāda: Just like the picture is, Advaita, say, his age is about forty
years, and Haridāsa and Advaita, he was about more than fifty years old at
that time when Caitanya Mahāprabhu was born. They were quite old men.
His father's age.
Prabhupāda: Feminine.
Prabhupāda: Oh, that is called eunuch. By nature, neither man, neither wo-
man.
Prabhupāda: No sex.
Prabhupāda: I do not exactly. But such people they have their own society
and their means of living is that whenever there is some good occasion, a
marriage or childbirth, like that, so they go there and pray God that this
child may be very long living. In this way they make some prayer and get so-
me...
Hayagrīva:: These people... Now I don't understand... This takes place at...,
Hayagrīva
the sixth scene...?
Prabhupāda: Śacīdevī.
Prabhupāda: Śacīdevī is the mother of Lord Caitanya. She is sitting with the
child and everyone is visiting, visiting, presenting, or all, everyone's saying,
"Oh, how nice child He is."
Prabhupāda: Yes. They are dancing, Hare Kṛṣṇa. Yes, like that.
So Hare Kṛṣṇa dancing is going there?
Hayagrīva:: Yes.
Hayagrīva
Prabhupāda: And visitors coming and presenting. That is a very nice scene.
Yes. The sixth scene is Lord Caitanya, a naughty boy. He would go to the
Ganges side and it is the system of orthodox brāhmaṇas that they meditate
in the Ganges, half. That is the system. Now He will go and swim over the
water and throw water in their mouth in this way. Naughty boy. And they
will be very much disgusted. "You naughty boy! You come here!" "Stop your
meditation. What is this meditation? Chant! Chant Hare Kṛṣṇa!" He'll say
like that. So they will come and complain to His father. "Your child has be-
come too much naughty and just see that..., teased us like this." The father
will say, "Oh, the boy is going to be very naughty. I'll punish Him. Let Him
come." So father, angry father was waiting. As soon as the boy will come he
would punish. But when the boy returns the father sees that He's just co-
ming from school. There is no sign that He has gone to Ganges and taken
bath. How is that these gentlemen complained? He will be puzzled. In that
way, we have to show.
Hayagrīva:: How old is He here? How old is Caitanya here? Maybe five, six?
Hayagrīva
Prabhupāda: That was, He was five or six years old. That's all.
Prabhupāda: Yes.
Hayagrīva:: All right. That's the... Does He meet any of these characters at
Hayagrīva
the river? Does He meet any of the characters up there?
Prabhupāda: End of the first... I think you should first of all write this, then
you take. Or you take all the notes at a time?
Hayagrīva:: Do you feel like going on? I don't think I'm going to write these
Hayagrīva
now. I'm just going to use this tape. When I go over a scene I'll just play it
back. It's too much to write.
Hayagrīva:: Sixteen?
Hayagrīva
Prabhupāda: Fifteen, sixteen, like that. Yes. Fifteen, sixteen. Yes, you ask
me questions, any about that.
Prabhupāda: Yes.
Prabhupāda: Haridāsa, Śrīnivāsa, and Advaita. They were taking part. Ot-
herwise, all, they were young friends, yes. Young boys. No girls. That is not
the system in India. (laughs) Yes. Now when the second scene, mainly their
movement was going on and it was becoming popular. Now Caitanya Mahā-
prabhu preached that simply by the saṅkīrtana movement everything will
be fulfilled. You need not do anything. So the priest class brāhmaṇas they
became very much dissatisfied that "He is inviting Muhammadans and all
others..." Because according to Hindu society, except the brāhmaṇas... Es-
pecially in those days, only the brāhmaṇas were considered the highest in
the society, and even the kṣatriyas, vaiśyas, they all calculated to, in the
group of śūdras. So CaitanyaMahāprabhu was allowing everyone, the Mu-
hammadans, the śūdras, the low class, the high class, the brāhmaṇas... He
was amalgamating everyone. So these brāhmaṇas, they took objection. "He
is making a disastrous movement! The prestige of the brāhmaṇas will go."
So they became very much dissatisfied and they concluded that "We shall
go to the magistrate and file our complaint that He is doing against Hin-
du religion and He's crying always 'Hare Kṛṣṇa Hare Kṛṣṇa' loudly. The
Lord is sleeping. He will be disturbed and there will be disaster, Lord being
angry." In this way they filed complaint. Ask anything, questions.
Hayagrīva:: Yes. All right. I can't think of anything there. That leads into the
Hayagrīva
next scene, third scene.
Prabhupāda: Yes. Then the next scene is that some constables came and du-
ring the Hari-saṅkīrtana, they broke the mṛdaṅgasthat "You have disobe-
yed the magistrate order that... So you cannot do it." So as the constables,
they do some violence or assault, so they did that. And after the constables
went away Caitanya Mahāprabhu was informed. He came. He saw that
the mṛdaṅgas are broken and everything is strewn away so CaitanyaMahā-
prabhu saw. He decided, "All right. Now we shall organize a civil disobe-
dience movement. Now tomorrow we shall organize thousands and thou-
sands of people with mṛdaṅgas and we shall approach the magistrate hou-
se." So He... Next scene... What is that next scene?
Prabhupāda: Yes. Because in India the village houses they have got some
compound. Not that only fixed house. Every house has got a compound.
Hayagrīva:: All right. Very good. Now the fourth scene, this is the meeting
Hayagrīva
with the magistrate.
Prabhupāda: Magistrate house and in the courtyard all the people, they we-
re very much enthusiastic.
Prabhupāda: Several thousand. And they were loudly chanting and meeting
Lord... So when the chanting was going on the Chand Kazi appeared and
there was discussion between... Chand Kazi was also very great scholar, and
Lord Caitanya was also scholar. So Chand Kazi, just to pacify them, he ad-
dressed Caitanya, "My dear boy, You happen to be my nephew. You are my
sister's son. Why You are so angry upon Your maternal uncle?" Caitanya-
Mahāprabhu got the clue that he was prepared to make compromise. So He
also mildly replied, "Yes, you are My uncle, I know. So because you are My
uncle, therefore I have come to your house. How is that when the nephew
comes that you do not receive Him? In an angry mood you go upstairs?" So
in this way, the situation was pacified. Then they sat together and there was
a very learned discussion between the two. Because Hindus are always
against cow killing. So he was Muhammadan. They were killing cow.
Hayagrīva:: Chand...
Hayagrīva
Hayagrīva:: Muhammadan.
Hayagrīva
Prabhupāda: Yes. Muhammadan. Chand Kazi was a... Maulana Chand Kazi.
His name is Maulana Chand Kazi. He was a great scholar in the Ko-
ran scripture. So Caitanya Mahāprabhu first of all asked the Chand Kazi,
"My dear uncle, what is your religion that you are eating your mother and
father?" (laughs) So he could understand that He was attacking the cow ki-
lling process. So he said, "Well, You are just trying to criticize our cow ki-
lling, but in Your Vedic literature also I have seen that cow killing is allowed
in sacrifice." Then Lord Caitanya said, "Yes. That is not killing. That is reju-
venating. That is not killing." The sacrifice of cow recommended in the Ve-
dic śāstra means that the brāhmaṇas prove how powerful was Vedic man-
tra that it could give a new life to the old cows and bulls. So then Caitan-
ya Mahāprabhu said, that "Such kind of learned brāhmaṇas and Vedic yaj-
ña is not possible in this age. Therefore cow killing..." Not cow killing. "Sa-
crifice by offering cow, sacrifice by offering horse,
and..." Aśvamedhaṁgavālambhaṁ [Cc. Ādi 17.164]. And sannyāsaṁ pala p
aitṛkam.Sannyāsa means to become in the renounced order of life. And the-
se five things. One thing is sacrifice by offering cow. Second, sacrifice by of-
fering horse. Third, to accept renounced order of life. And fourth, offering
ablutions... Or what is called? Offering some, something to the forefathers?
What is called?
Hayagrīva:: Oblations.
Hayagrīva
Prabhupāda: Oblations. Yes. This, and to beget child by the husband's youn-
ger brother. Formerly, the society allowed that if a woman is young, she has
no child, but husband died, so if the husband has younger brother, through
the younger brother she could have a child. This system was current.
But CaitanyaMahāprabhu says that these five things are forbidden in this
age. So Chand Kazi also replied that "Cow killing is also not generally re-
commended in the Koran. Actually, beef-eating or flesh-eating is not in the
higher stage. But those who are inclined to take flesh, for them it is recom-
mended that instead of killing many small animals, one big animal should
be killed. So actually in Mecca, Medina, they kill camel. That is also in the
mosque." So the substance of his speech was that flesh-eating ultimately is
not recommended. "But those who have no other means, they eat flesh and
they recommend that one big animal should be killed. So India, the cow is
big animal, therefore we kill. But that is not recommended for advanced
spiritual students." In this way... So they were friends, and he understood,
Chand Kazi understood that it is very nice movement, that "You are prea-
ching love of Godhead. So I did not understand. So my dear boy, hencefor-
ward there will be no hindrances in Your movement and I promise that not
only myself but all my descendants will never object Your movement,
this saṅkīrtana movement."
Hayagrīva:: All right. Now I don't have any questions there. I probably
Hayagrīva
wouldn't deal quite at such length about the meat. I don't see how that...
The main thing was about the saṅkīrtana, the chanting.
Prabhupāda: Yes.
Hayagrīva:: This is at age...? This is considerably later then. This is about ten
Hayagrīva
years later.
Prabhupāda: No. Renunciation... Now this Chand Kazi, he was... This move-
ment when He was about 20 years old. Do you follow?
Hayagrīva:: The saṅkīrtana was when He was around 20. The Kazi.
Hayagrīva
Prabhupāda: The saṅkīrtana was going on.
Hayagrīva:: How does He, How does He accept sannyāsī? I mean how does
Hayagrīva
He...?
Prabhupāda: Sannyāsa, there is a ceremony. Just like we have got the initia-
tion ceremony.
Prabhupāda: No. Of course, mother's blessings are always there. But the
scene was that mother was crying and He was falling on the feet and His
mother was very sorry that He had very beautiful hair. Now it is all cut off.
In this way, the scene is very pathetic. So in this way, after remaining at Ad-
vaita's house, His mother was asking Him through Advaita, "Let Him re-
main for some time." Then He consulted "Mother, now just you think over
that I have taken sannyāsa. And if I remain in this way, leaving My own fa-
mily, and if I leave another family, do you think this is very nice for a sann-
yāsī? So give Me permission to go away." Then mother agreed and other
friends like Advaita and Śrīnivāsa requested His mother that "You give Him
permission." Then (s)he said, "Yes, I have to give Him permission because
He has already accept sannyāsa. If somebody blames Him, blasphemy, that
is also not good. So my last request is that He may make His headquarter
at Jagannātha Purī so that... Because people generally go to Jagannātha Pu-
rī, so I shall be able at least to know about Him, how He is faring there.
That is my last request." So CaitanyaMahāprabhu at once accepted. "My
dear mother, I shall always stay in Jagannātha Purī, and sometimes I may
come to Bengal also to take bath in the Ganges. So there will be meeting.
Now let Me go." So in this way they departed and Caitanya Mahāprabhu for
the last time saw His friends and mother.
Prabhupāda: Oh, Nityānanda was not actually a family brother. But He was,
He is the incarnation of Baladeva, the elder brother of Kṛṣṇa. So He took
His birth in a different family, but He joined Caitanya's movement as other
friends joined. So He is considered the elder brother of Caitanya Mahāprab-
hu. He's actually.
Prabhupāda: No, no. He did not oppose. He did not oppose. He simply, af-
ter Caitanya's acceptance of sannyāsa, He wanted simply that He should co-
me to Advaita's place so that His mother may see Him for the last time.
That was His plan.
Prabhupāda: No. Oh, you did not hear. Caitanya, after seeing the Deity, He
was sitting and seeing and meantime Nityānanda Prabhunarrated the story
how His name became Kṣīra-corā-gopīnātha.You did not follow me?
Hayagrīva:: Nityānanda?
Hayagrīva
Hayagrīva:: Now what direct relationship does this have to Lord Caitanya?
Hayagrīva
Prabhupāda: Lord Caitanya also visited. Anyone in those days going to Ja-
gannātha Purī from Bengal they had to pass that way. And on the way
the Kṣīra-corā-gopīnātha temple is there. So everyone used to visit. So for-
merly Madhavendra Purī, he also visited, and for him the Deity stole the
condensed milk. From that time He's known as Kṣīra-corā-gopīnātha. That
story was narrated to Caitanya Mahāprabhu. So while sitting before the
Deity, the story was narrated and Caitanya Mahāprabhu relished it that
God is so kind that sometimes He steals for His devotee. This is the signifi-
cance of this. So here the scene should be arranged that very nice temple,
the Deity within, and Lord Caitanya entered while chanting Hare Kṛṣṇa and
saw the worship, ārātrika. These things are to be shown in this scene. And a
little story about Him, that's all.
Prabhupāda: About the temple. This will finish the first scene.
Hayagrīva:: We might be able to... Now what is this second scene? This is
Hayagrīva
another temple.
Prabhupāda: This is another temple, yes. Here also, this temple, Sākṣi-go-
pāla.
Hayagrīva:: I might be able to combine these if they...
Hayagrīva
Hayagrīva:: Well I don't know if I have enough information for that first sce-
Hayagrīva
ne. But I'll think of something ... I don't know if I have enough information
for the first scene. It can be very short.
Prabhupāda: First scene, why you have to... The ārātrika is going on and kīr-
tana is going on, you can continue for five minutes, ten minutes the kīrta-
na, and short description of the Deity. That's all. That will finish.
Prabhupāda: A Deity like that should be situated in that temple. And His
name is Sākṣi-gopāla. Similarly Lord Caitanya entered with His party and
saw the ārātrika in Gopāla temple. Then the story of the Gopāla, Sākṣi, why
He was known as Sākṣi-gopāla.
Prabhupāda: Ārati.
Hayagrīva:: Entered and saw in the Sākṣi temple and saw...? What did you
Hayagrīva
say?
Prabhupāda: Sākṣi-gopāla means witness Gopāla. So how He became wit-
ness, that story was also narrated by Nityānanda to Caitanya Mahāprabhu.
That story is that in that village, two brāhmaṇas... That's a very long story.
Hayagrīva:: What does this have to do with this temple? What does this
Hayagrīva
story have to do with the temple? Lord Caitanya has entered this temple.
Prabhupāda: That's all. But how this temple was established, how Gopā-
la was established, that history is in that story. The Sākṣi-gopāla means wit-
ness. This Gopāla was situated in Vṛndāvana, but to give witness for His de-
votee He came to Orissa, that place. That is the significance of this Gopā-
la. Do you follow?
Hayagrīva:: I think from a dramatic point of view, that in your third act, you
Hayagrīva
can't have too many narrations. It becomes very tedious. If you have a na-
rration. Someone telling the history of various temples. Like in the first sce-
ne, now there's a story being told Lord Caitanya by Nityānanda. Now in the
second scene He visits another temple. And is there going to be another na-
rration about how the temple was founded? I don't think that's... I don't
know. (laughs) Do you think that will be all right?
Prabhupāda: No. That will be all right in this way, that the narration should
be shortly described in poetry and that will be chanted with kīrtana. In that
way, you see.
Hayagrīva:: Yes. You see the first two acts there was a lot of action. Now
Hayagrīva
we're in the third act and we have two scenes of description. Now they can
be two short scenes of description. That will be all right, I think.
Prabhupāda: Yes.
Hayagrīva:: Saba...Be...
Hayagrīva
Prabhupāda: Bhauma.
Prabhupāda: Gadādhara.
Hayagrīva:: Yes.
Hayagrīva
Hayagrīva:: That might even be mentioned in this scene. I don't know if you
Hayagrīva
can mention it here.
Prabhupāda: It is not mentioned, but...
Prabhupāda: Yes.
Prabhupāda: No, not in that way, but kīrtana goes on in the temple still.
Hayagrīva:: In Jagannātha.
Hayagrīva
Hayagrīva:: All right. Now is that all of the fourth scene? Anything else in
Hayagrīva
the fourth scene?
Hayagrīva:: All right. Then that's the end of the third act.
Hayagrīva
Hayagrīva:: Oh yes.
Hayagrīva
Hayagrīva:: Vijaya...
Hayagrīva
Prabhupāda: Sannyāsīn, the restriction is the sannyāsī should not beg from
pound-shilling man or see them. That is a restriction. Women and men of
pounds-shillings-pence.
Prabhupāda: Yes.
Hayagrīva:: Well, is that important? That's the scene about the meeting.
Hayagrīva
Hayagrīva:: All right. Now the second scene. Is that the end of the first?
Hayagrīva
Hayagrīva:: Now you say the trees were old friends because He could re-
Hayagrīva
member that He was Kṛṣṇa. Kṛṣṇa used to play in these forests. He used to
play in the forest. Yes. Now He met RūpaGosvāmī.
Prabhupāda: At Prayag.
Hayagrīva:: What is His age? I just want to keep checking on this, His age
Hayagrīva
now. Is He twenty, in His twenties still?
Hayagrīva:: Couple years later. All right. Because time is an important fac-
Hayagrīva
tor. You have to keep track of the time in the play.
Prabhupāda: Yes. He toured, after His sannyāsa, He toured all over India
for six years only. That means up to 30th year He toured all over India. And
from 30th year to 48th year, 18 years, He constantly remained at Jagannāt-
ha Purī. He used to chant in the temple and meet His visitors. Especially
during car festival ceremony of Jagannātha, from Bengal about 400, 500
devotees would go and meet Him, and they would remain there for four
months continually. July, August, September, October. Four months. And
then they would come back. In this way, for 18 years He passed in Jagannāt-
ha Purī. So Rūpa Gosvāmī, He met RūpaGosvāmī and He taught him about
the science of devotion for ten days. That devotional service He instructed
that the living entities they're roaming in the 8,400,000 species of life. For-
tunately, if by the mercy of Kṛṣṇa and if he gets one good spiritual master,
then he learns about devotional service. So He taught him about the science
of devotional service. That is the importance of meeting Rūpa Gosvāmī. So
here the scenery must be mentioned. It is on the bank of Ganges. There is a
nice ghāṭa, just like... You have been to Benares? No. You have been to
Hardwar?
Hayagrīva:: Yes.
Hayagrīva
Prabhupāda: Similarly, there are ghāṭas in Benares, Prayag, and all, I mean
to say, Vṛndāvana. That is the specific significance of Indian places of pilgri-
mage.
Prabhupāda: Oh, he was old enough. He was not less than fifty years at that
time.
Hayagrīva:: I see. All right. Anything else in the second scene, fourth act?
Hayagrīva
Hayagrīva:: Yes.
Hayagrīva
Hayagrīva:: Now this third scene, meets Sanātana Gosvāmī, that's in Bena-
Hayagrīva
res. And Sanātana is how old?
Prabhupāda: Sanātana was older than Rūpa Gosvāmī. He was the eldest.
He was not less than about 65 or 70 years old. He was old man. Sufficiently
old man.
Hayagrīva:: Yes. And of the instructions to Sanātana Gosvāmī are in the Tea-
Hayagrīva
chings of Lord Caitanya. All right. Now...
Prabhupāda: Yes. Similarly, the fourth scene, the teachings with Prakāśā-
nanda Sarasvatī, that is also in there.
Prabhupāda: Prakāśānanda Sarasvatī? He was also old man. Not less than
sixty years old. Yes.
Hayagrīva:: And what was his role again in the town? What was he... He was
Hayagrīva
a Vedantist?
Prabhupāda: Yes.
Hayagrīva:: Caitanya...
Hayagrīva
Prabhupāda: While, I mean to say, Haridāsa was alive, he was dancing. But
after the death of Haridāsa, Caitanya MahāprabhuHimself took the body
and began to dance with kīrtana. That means his funeral ceremony was con-
ducted by CaitanyaMahāprabhu Himself. He took the body to the seaside
and in the graveyard He...
Prabhupāda: With kīrtana. Kīrtana is always there. And after burial there
was distribution of prasādam and kīrtana. HaridāsaṬhākura. So here you
have to show some talks with Haridāsa, how feelingly.
Hayagrīva:: All right. Are there any other... Is there any other information
Hayagrīva
about Haridāsa?
Hayagrīva:: All right. That's the end of the fourth act. Now the fifth act...
Hayagrīva
Prabhupāda: The fifth act...
Prabhupāda: Yes. This is the, in the fifth act, ecstasy. At night Caitanya Ma-
hāprabhu would become mad in separation of Kṛṣṇa. He would dash His
head on the floor. Sometimes He would write with His nails and sometimes
He would go away. Although the house was locked, He would go away, and
sometimes He would be found amongst the cowshed of Jagannātha Purī.
Sometimes He would be seen in the seashore. One day it was so found that
He fell in the ocean and some fisherman caught Him in the net. And as
soon as He was in the net and the fisherman touched CaitanyaMahāprabhu,
he also began to dance, Hare Kṛṣṇa, Hare Kṛṣṇa, Kṛṣṇa Kṛṣṇa Hare Hare.
And his brothers, his fellow men thought, "Oh, he's caught ghost, haunted."
So in the meantime, His secretary, Damodara Svarupa came to the seashore
and he saw that the fisherman was dancing. Then he could understand that
he must have some connection with Caitanya Mahāprabhu, (laughs) other-
wise why this fisherman is dancing and Hare Kṛṣṇa? Then asked him,
"What has happened to you?" He said, "Sir, I do not know. I am a fish-cat-
cher. Now this morning I caught one big fish, and as soon as I caught I am
haunted. So I am dancing." So Swarup Damodar, "Where is that fish, big
fish? Let me see." So he saw in the net Caitanya Mahāprabhu. He saw Cai-
tanya Mahāprabhu, then he told him, "Yes. I'll chant some mantra so the
ghost will go away." So he made him some show. "All right. Now your ghost
is over." So he took away Caitanya Mahāprabhu and when CaitanyaMahā-
prabhu saw, He told Swarup Damodar, "Why you have brought Me in the
seaside? Oh, I was seeing rāsa dance of Kṛṣṇa. I was enjoying." In this way
He was always in ecstasy. And in the last stage, the same ecstasy, He ente-
red Jagannātha temple and He never came back. That is the end of (voice
trails off) CaitanyaMahāprabhu's... So you have to arrange scenes and
sounds. That's all.
Prabhupāda: No! He, at night out of His own accord, He came to the seas-
hore and fell on the sea.
Hayagrīva:: Oh, He threw Himself in the ocean.
Hayagrīva
Prabhupāda: In the ocean. Bay of Bengal. And the fishermen they came to
catch fish. So instead of fish, Caitanya Mahāprabhu's body was in the net.
Hayagrīva:: So they brought Him out and some of His friends went to find
Hayagrīva
Him.
Prabhupāda: Not all. His secretary. Because he knew that Caitanyamust ha-
ve gone somewhere. So while inquiring where is CaitanyaMahāprabhu,
when he came to the seashore he saw that the fisherman was dancing. Then
he could understand he is dancing with Hare Kṛṣṇa, that means he must ha-
ve some connection with Caitanya Mahāprabhu.
Hayagrīva:: Oh.
Hayagrīva
Prabhupāda: Then when he inquired, he told him that "I have caught this
morning a big fish and since then I am dancing. I do not know. I got mad.
Perhaps I have been caught by some ghost. So I do not know." So Swarup
Damodar just to pacify him, "Yes. I am just driving away ghoul, mean to
say, ghost. Don't worry. Where is that fish? Let me see it." And when he saw
that fish was caught in the net, and it was Caitanya Mahāprabhu.
Hayagrīva:: Now the second scene here, this is when Caitanya on the seasho-
Hayagrīva
re, this is when He would walk around saying, "Where is Kṛṣṇa?" Is that
right? "Where is Kṛṣṇa" He would...
Prabhupāda: Yes. He was seen on the seashore within the net after being
caught by the fisherman. And when He fell on the sea, that is not seen. You
can make a scene that Caitanya Mahāprabhu is co-
ming, Hare Kṛṣṇa, Hare...and fall down in the sea. Then He was caught by
the net of the fisherman.
Prabhupāda: This is the second scene I have described. First scene and se-
cond scene.
Prabhupāda: They are all. First, second scene, they are all ecstasies. Yes.
And the third scene similarly...
Prabhupāda: Yes. These ecstasies were going on daily from His age 30th to
48th year.
Hayagrīva:: 30.
Hayagrīva
Prabhupāda: Third scene. In the same way, one day when He was 48 years
old He entered the Jagannātha temple...
Hayagrīva:: They never knew what happened to Him. They never found...
Hayagrīva
Prabhupāda: Yes, they knew that He was Kṛṣṇa. He has merged into the
existence of Jagannātha.
Hayagrīva:: He left. Took off. All right. Now no more. That's the end.
Hayagrīva
Prabhupāda: Now you write and I shall make some addition or alteration
when you write. This is the synopsis and framework. Now you can proceed.
(end)