Nectar of Devotion – Part 1 (Rasa) by HH Bhanu Swami Maharaj on Nov 9, 2021 @ ISKCON Japan

So this is actually material from the second part of the Nectar of Devotion. So this part discusses the nature of rasa. Of course the book in Sanskrit is called Bhakti-rasamrta-sindhu, ocean of sweet rasa. Subject of this work is rasa. However, the first part of the book called the Eastern section discuss different types of Bhakti. So we have sadhana Bhakti, bhava Bhakti, and prema Bhakti. And it’s in the prema Bhakti that the rasa manifests. So in one sense it’s very…so the description is something very high. And we are practicing sadhana, the first stage.

So we may think, well, that’s not very important because it’s so elevated, it’s so high. But three quarters of the book is about rasa. So there are four sections. Only the first section is dealing with sadhana Bhakti, bhava Bhakti, and prema Bhakti. So it is true that if we don’t practice Bhakti properly we won’t attain prema. So it is very important that we know the definition of pure Bhakti and also how to practice it.

However, we also have to know something about what we are trying to attain. Just as if you want to be a doctor, some type of doctor, maybe a speciality doctor or whatever, you have to study some courses. So probably you go to some general courses with some science in it, some biology, some physics, some chemistry, etc. And after that, then you start studying some medical subjects like anatomy and whatever. And then after that you may go into some specialty. However, if you just take courses but you don’t know actually what you’re trying to achieve, the result you get will not be satisfactory.

So that’s why those who aspire to be doctors and they have an idea of what type of doctor they would like to be, and they have some inspiration for that, those are the ones that become good doctors. And those who just took the course because they were forced to take it by their parents or something [Laughs], they may become….they may have the title of doctor but they have no real interest in you know diagnosing or whatever, so they’re not very skilful doctors.

So similarly, we can practice Bhakti, but we also have to know to some degree the…what result we’re trying to get. So of course, even in the beginner’s courses in devotion or whatever, ok, we know the goal is Bhakti, Krishna Prema. But what is that Prema? So we will say, well, it’s Bhakti in its purest form. So that is true.

But actually that Prema is an experience. It is not something we can just define by words. And to attain that state, we do have to practice in a certain way. And that Prema has a many types. So according to our practice, we can get those different types. Some are very general and inferior, and some are more intense and superior. So the intelligent person will strive for a good result that is superior type of Prema. And therefore, he has to practice in a certain way to get that result. So therefore, we do have to know something about what is Prema? what is rasa? So of course, we have at this stage an intellectual understanding of it. So that’s not a complete understanding. But nevertheless, it’s also necessary.

Just as if you study medicine, you have some theoretical things that you have to learn. And when you actually practice, then of course, that the theory is there, but the actual practice is a little different from the theory [Laughs]. But at least with that as a basic understanding at this stage we can go in the right direction.

We can also begin to appreciate the descriptions of the very advanced devotees that are given in the Bhagavatam. So now we’re celebrating the Damodar pastime. So in this pastime, we have Krishna and we have Mother Yasoda. And there are descriptions in the Bhagavatam of how Mother Yasoda is acting, how she’s feeling, what she is doing. And the same about Krishna. We see how He is dressed, what He looks like, what He is feeling, what He does. But all these feelings, all these actions, even the way they dress, is because of rasa.

So in other words, the whole descriptions of the pastimes of Krishna and His devotees in Bhagavatam is a description of rasa. So if we understand that to some degree, what is that rasa, then we can appreciate Krishna and Mother Yasoda and other devotees. So in the spiritual world, we have different persons with different emotions. And the relationships give rise to that rasa. And that rasa keeps increasing and changing all the time.

It has a reflection in the material world. Among human beings, we establish relationships. And those relationships gives rise to emotions. It also gives rise to actions. And this combination gives rise to rasa, material rasa. So there is a similarity between the rasa in the spiritual world between Krishna and the devotees there, and the relationship between people in the material world. So that can be analysed in a similar way.

So in the material world, we have intelligent material people who analyse material relationships. So Bharata Muni, he wrote something called Natya Shastra, a work on dramatics, understanding by plays… So in a play, we depict people. So the play has a story. So what is that story? It’s about people and how they interact with each other. And why do they act like they act? Because they have certain emotions towards certain people. So Bharata Muni studied the world because drama depicts people in the world. And the more realistically it can represent that, the better play it is. So by observing human beings interacting with each other, he made up a whole theory. And then he applied this to making a play.

So in other words, the play has to have certain elements in it. And by mixing these elements in certain ways, we can evoke a certain experience in the people who are watching the drama. So the end result is we…we feel an emotion. We may feel the emotion of the hero or the heroine. But that keeps changing throughout the story. Sometimes there is love. Sometimes there is hatred. Sometimes there is jealousy. Sometimes there is fear. Sometimes there is joking. And everything leads up to a conclusion. So to do all of that, he analysed everything and then he came up with the ingredients of rasa. We experience different things and we should have a final feeling at the end of the drama. It’s not exactly emotion. We can say it’s an aesthetic experience. [Laughs]

So emotions we experience every day. That’s very mundane. But the end result of an artistic drama is we get some sort of elevated experience after it. Of course we can say the same thing about music or artwork. If we look at a famous artwork or classical artwork or some music, we also get that kind of elevated feeling as a result.

So let’s just discuss the ingredients of rasas. So this comes from the theory of Bharata muni mundane rasa, mundane drama, mundane world but the same applies to the spiritual world. Of course with not mundane characters but Krishna and his devotees. And we get spiritual rasa. But it’s similar.

So there are five factors here in rasa. And throughout the work, Rupa Goswami will analyse shanta rasa, dasya rasa, Sakhya rasa, Vatsalya rasa, Madhurya rasa, in terms of these five factors. And the same at Ujjwala Nilamani, again, he divides it into these five factors.

So the first factor is called vibhava. So these are the…we say the… prerequisites [Laughs] for rasa. That means the people involved. We can’t have rasa unless we have some characters.

So usually, a drama will have more than one character or two characters or five characters or more. But the rasa will arise because of a relationship between two principal characters.

So in the case of, let’s say, Romeo and Juliet. So we have Romeo as one person and Juliet as the other. So they’re the main characters involved in some sort of Madhurya rasa. So the whole drama is about the development of that Madhurya rasa. And you can’t have that Madhurya rasa unless you have the two people there.

So, similarly in the spiritual world, we also need the people. We need Krishna and we need the devotees there without those two, we don’t get the rasa. So when we have the two people there, then we establish that relationship. It’s called the sthayi bhava. So in the spiritual world, the sthayi bhava is always that the main sthaya bhava, is this the primary rasa may be santa rasa, dasya, Sakhya etc., That’s the principal relationship between the two persons.

Of course, in the material world, where we don’t have Krishna, we have people, they may not have a loving relationship at all, so there’s no primary rasa [Laughs]. So the rasa may be one of hatred. And the whole story is about hatred between two people. Now they fight with each other. So the material rasa is a little different. So the sthayi bhava, they’re the main sthayi bhava maybe hatred, anger, [Laughs] revenge [Laughs].

Sometimes of course in the material world especially in dramas or movies then the major rasa may be a secondary rasa becomes a primary rasa. In other words, virya or heroism may be the main rasa. So we have super hero and whatever so the whole story is not about love or anything it’s about heroism. Or the main rasa may be fear so we get horrible [Laughs].

Or it may be a comedy so it’s all hasya rasa. So in the material world, the rasas, the secondary rasas may become the main rasas. Whereas in the spiritual world, those secondary rasas are very secondary, and the primary rasas are the most prominent.

So once they have a relationship, then to express the relationship, they do activities.

So these are called anubhavas. And some of the anubhavas are very particular to a particular type of rasa. Some are general for all the rasas. So in the spiritual world, spiritual rasa, doing kirtan or dancing are common to all the rasas. But then an activity like the rasa lila or dancing there, that type of dancing is particular for Madhurya rasa. Playing and wrestling, that’s only for the cowherd boys and Krishna in Sakhya rasa. That’s in anubhava.

Cooking for Krishna and feeding Krishna is Vatsalya rasa. So, in the Damodar pastime, mother Yasoda began to feed Krishna milk. So that’s her anubhava. She also went to take the milk off the fire because it was boiling over. That’s her anubhava. So these anubhavas are not expressed by the cowherd boys, [Laughs] for instance. So anubhava is the action with some conscious element. They’re aware of doing the action.

Then we have something called Sattvika bhavas. These are also actions…bodily, physical actions. But they don’t arise because we have a plan. They arise because of deep emotions. So we have, for instance, crying. It’s not that you’re trying to cry, but you just cry because of the emotions, so that crying is called a Sattvika bhava. Another is trembling of the body. So out of fear, one may tremble. One may change colour. So like in anger, one may turn red or blackish colour. Or one may fall on the ground and faint. So these are called Sattvika bhavas. They’re not a conscious expression of love like the Anubhavas are an expression of love.

Mother Yasoda cooks for Krishna out of her love. But they’re physical actions or bodily responses that arise because of certain emotions. But when we see those Sattvika bhavas, then we can understand that, that person has a very intense emotion.

So, for instance, in people who are actors, then they have to portray the emotions of the particular person. So they can do that by word. So, I am angry. They can say I’m angry. But that’s not very skillful. A skillful actor doesn’t have to say I’m angry. But he can express that anger through his acting. So one is through the expressions of his face. And then if he’s really skillful, his color of his face will also change [Laughs] because of his anger. And he may start trembling. He may start perspiring. And he may even faint or something, who knows.[Laughs] Depends on the skill of the actor.

So from those different Sattvika bhavas, then we can understand the intensity of that emotion. And of course, if we take a spiritual example, for instance, we take Rādhā. So we often have descriptions of Rādhā fainting. Particularly in separation from Krishna. But that Sattvika bhava shows that…the intensity of her love.

Okay. So the last element, the fifth element, is called Vibhīcārī bhava. These are little disturbances. So they’re compared to little waves in the ocean. We have the big waves and we have little waves [Laughs]. So the Vyabhīcārī bhavas are the little waves. And they often create a little disturbance to the main emotion, like the Sthayi bhava. And they often create the Sattvika bhavas. So these are called minor emotions.

We have five primary Sthayi bhavas and then we have thirty-three minor emotions. So some of these are positive, some are negative. So we have positive ones like joy. Then we have negative ones like lamentation. Some of these negative ones turn into secondary rasas, Sthayi bhavas and rasas. And with these thirty-three Vyabhīcārī bhavas, then we get some more subtlety in the personality of a person.

We see that people naturally have complex emotions. And an actor also has to display the complexity of a person, not simply have either happiness or sorrow. So a very skillful actor will be able to portray all sorts of subtle emotions like doubt, worry, envy, determination, [Laughs] fickleness… Unsteadiness, you can say….[Laughs] we got some more intensely like insanity, feeling lazy,[Laughs]. Guilt, remorse. So, we have all sorts of shades of emotion that have to be expressed. So in the material world we have these, and actors and actresses we have that and in the spiritual world we also have this.

So in the material world, in making a drama, the playwright, the author, has to mix these together very skilfully to create the drama with interest and it progresses and it comes to a very good conclusion with something elevated as a result, an elevated emotion as a result. So in the spiritual world, there’s no creation, it’s spontaneous [Laughs]. So by Krishna and His energies, spiritual energies, everything mixes together very nicely and then creates an aesthetic experience called rasa. 

So rasa means a taste. Of course we’re not speaking only of the taste of the tongue, but the taste that we experience in our mind. But we can also limit it to one particular sense so we can use the tongue for taste also.

So who is good at taste? Cooks, they’re the ones that produce skilful tastes. So a famous cook is a cook who can combine the ingredients in a certain way to produce a certain taste. Well, everybody, any other person can also take the same ingredients but the result is quite different [Laughs].

So of course anybody can make a sweet, put a lot of sugar in something and it’s sweet. But if we cook with sugar in everything, everybody’s going to criticize it, all we taste is sugar. So similarly another cook maybe just put chilies in everything, make it hot. So that’s not skill. The skill requires a very say, careful combination to get a very interesting, delightful taste. But it depends on the ingredients.

So everybody can make a pizza pie. And you can all get the same ingredients, tomatoes and broccoli or whatever you put in the pizza pie [Laughs] . But of course if you’re a skillful cook maybe you’ll choose the ingredients very carefully so you choose a certain type of tomato or a certain type of broccoli, etc., a certain type of flour for the crust. And then certain amounts are very necessary. We cannot put too much tomato or too little tomato. We have to combine it with the other ingredients in the proper proportions. Then we have to add some spices. And if we combine it all properly then we get a pizza pie.

So everybody else makes a pizza pie, but some pizza pies are better than others. They may use the same ingredients but how the ingredients are combined and the proportions and how they cook it together and whatever, then that will make the better pizza. So the taste yeah, in this result is different from the taste of the individual ingredients. It’s not just like eating tomatoes [Laughs] or eating the cheese. It’s that combination at the end that creates a different experience, a different taste.

So similarly with rasa, the things or the ingredients…the five ingredients combine in a certain way and they produce a certain type of rasa. And sometimes if they’re combined wrongly we get bad rasa [Laughs]…apa-rasa.

And just like a bad cook he may put the wrong ingredient in he may put sugar in the pizza instead of salt or something and we end up with the wrong taste. So sometimes the poets they want to be spiritual so they describe the rasas of Krishna but they put the wrong ingredients in the wrong places so they end up with the wrong result. They don’t end up with rasa anymore. This we call rasa-abhash.

So Lord Chaitanya had his devotees look at all the people that wanted to submit poetic works to Him because He was looking for rasa-abhash and if they have rasa-abhash He could reject the people runout, he didn’t want to hear those works. So the rasas had to be properly presented and then Lord Chaitanya would listen to those poems.

So here’s just a diagram we have that main emotional relationship we have the Vibhavas, the two persons creating the relationship. We have the actions, the Anubhavas the Sattvika bhavas, involuntary actions the Vyabhīcārī bhavas, the minor emotions together they all combine, this produces rasa the final experience.

Translator devotee: Can I just check, so vibhava is the two people and anubhava is the action with intention. Sattvika bhavas, involuntary, like fainting, etc. and Vyabhichri bhavas is the minor emotions the Sthai bhava is the main relationship?

HH Bhanu Swami Maharaj: Yeah, like Madhurya rasa or Sakhya bhava, etc.

Translator devotee: Ok, ok.

HH Bhanu Swami Maharaj: So the sthayi bhava manifests at the bhava stage. We start out with sadhana Bhakti. We do hearing and chanting deity worship etc., as a result of that, we end up with bhava which is the sthayi bhava. This sthaya bhava actually is our experience of Krishna. But it’s composed of the internal energy of Krishna the haladini and some samvit sakthis but these enter the Jiva and then the Jiva experiences this bhava and then the Jiva sees Krishna and serves Krishna and then this matures into prema and we get full rasa manifesting.

Okay let’s see should I go on. Okay, let’s go on with vibhava.

So the vibhava was the characters this is called the cause of everything unless we have the two characters there, there’s going to be no rasa [Laughs]. So this is divided into two parts one is called the alambana, which means support. It’s divided into two parts, one is the vishaya the object of love. So that is Krishna. The other is the asraya which means shelter, the experiencer of the love. So these two interact and then the asraya the devotee experiences the sthayi bhava. But we can’t have an experience of sthayi bhava unless it’s related to Krishna, so we need Krishna and the devotee.

So in the pastimes in the tenth canto, we always have to have the characters. We have Krishna and then we have the devotees. In the case of Damodara lila is mother Yasoda and Krishna. So Yasoda is the asraya of Vatsalya rasa and Krishna is the Vishaya.

So in this Vibhava, besides the alambana portion which is the vishaya, asraya we got something called Uddipana which means stimulus. So uddipana means a stimulus. In other words in Krishna, there are certain things which will stimulate our love, like the qualities of Krishna will stimulate the love or His peacock feather will stimulate love or the sound of His flute may stimulate love. So these are related to the Vishaya. Krishna is the vishaya, then He has certain Uddipanas which will stimulate love in the asraya, the devotee.

I think that’s as far as we’ll go today.

Any questions?

Q & A

1. Maharaj, can you give example of like rasa-abasha?

Yeah, so sometimes rasas they mix people mix rasas together, but some rasas are not compatible. So famous example may be Vatsalya rasa and Madhurya rasa. So mother Yasoda cannot express Madhurya rasa with Krishna, it will be very contrary.

Ofcourse probably no poet would depict that. But another example would be santa rasa. Madhurya rasa and santa rasa are also contrary. So santa rasa very peaceful, Madhurya rasa very emotional [Laughs]. So a person in santa rasa will not appreciate Madhurya rasa or experience it. Some different rasas are compatible.

So the Sakhya may be mixed with a little Vatsalya. So some of the cowherd boys have Sakhya but it’s mixed with a little Vatsalya because they’re older than Krishna. Some of the cowherd boys are younger than Krishna. So they have a little dasya mixed with their Sakhya.

2.So I was always wondering because we always hear like Madhurya rasa is like the top most but then does that mean if somebody naturally has like they feel attraction for  let’s say something like Vatsalya rasa or Sakhya rasa that means they are like less or i’m always…[Maharaj Laughs] we know the highest wouldn’t everyone want to experience Madhurya rasa because we are taught that’s the highest ?

Well  of course  we expose everybody to Madhurya rasa and Lord Chaitanya’s movement and we encourage people that way. But for instance Anupam, who was the brother of Rupa and Sanatan he was a devotee of Ram Chandra and he wouldn’t worship Krishna [Laughs] he was attached to Ram Chandra in dasya so he didn’t move from that or Murari Gupta was a devotee of Ram Chandra and Lord Chaitanya said oh you should worship Radha and Krishna he said no i cannot do so and then Lord Chaitanya said very good that’s fine [Laughs]. So if one is fixed in one particular relationship  no one can disturb that relationship.

Devotee: It doesn’t mean like, that devotee is like a lower ?

HH Bhanu Swami Maharaj: [Laughs] Mother Yasoda is not going to become a Gopi [Laughs] so they don’t change they’re fixed and they’re satisfied with the particular relationship and they don’t change so some people in the material world sadhakas might be attracted to those other rasas so if they pursue that fine and they are satisfied with that very good

Devotee: I see, okay thank you.

3.Maharaj how we know that we in which rasa we are developing into? Because we see that most of us are still in dasya or like servant mood you know like doing sadhanas and except for Chaitanya Mahaprabhu we don’t find anybody that who are that deeply involved in Madhurya rasa.

So, that can develop as one progresses in Bhakti. So by hearing the pastimes of Krishna and then we can develop an attraction for particular rasa or particular character in Krishna’s pastimes, based on that then we can start developing a rasa.

4.So I think some of the Gopis they were like elevated so when it was when Ramachandra was on Earth there were some servants of Ramachandra and it is not sure if they were in dasya rasa but they developed that they wanted to become they wanted to have like a loving relationship like a Madhurya with Ramachandra so when Krishna appeared next  these servants they became Gopi so that they were able to  experience that Madhurya rasa with the Lord, so he wants to know like the significance of the meaning of this past time

Oh so that means that with Ramachandra they could not really express they had Madhurya sentiments but they could not express it with Ramachandra because He only has Sita in Madhurya rasa. So but they had this desire for Madhurya rasa so therefore was fulfilled by becoming Gopis with Krishna so they were they’re called sadhana siddhas, they did sadhana with the aspiration of Madhurya rasa and they attained Madhurya rasa as Gopis with Krishna.

The other group of sadhana siddhas are the personified Vedas they desired Madhurya rasa so they became Gopis also [Laughs]

Devotee : Thank you very much.

5.So is this rasa already like there ? or Like for example someone already has Madhurya rasa and you awaken it or it’s something you choose, I always confuse which it is?

The rasa itself is the internal energy of Krishna, which is separate from the Jiva shakti, so by developing Bhakti it will manifest in the Jiva.

Devotee: hmm okay; So it’s already determined ? if it’s Madhurya or Sakhya or something like already it’s already been decided or it’s already there

HH Bhanu Swami Maharaj: Well, it’s hard for us to do because we have to do sadhana we may not practice sadhana until we start sadhana then nothing’s going to happen at all. Once we that of course is by mercy of devotees once we start sadhana then we may choose one or the other

Devotee: oh i see! So…

HH Bhanu Swami Maharaj: So depending on our sadhana then we get the result. So that’s why in sadhana we do have to know something about prema if we don’t know the different rasas how can we choose one.

Devotee: oh i see so okay i see ! Can i add one more question ? Like but if we were like for example we already had a relationship with Krishna and we came to material world so is the rasa we choose based on that relationship we used to have with Krishna ?

HH Bhanu Swami Maharaj: Well generally we don’t speak of anything else except NOW and now we don’t have a rasa then we take to Bhakti and then rasa develops so that’s how we don’t go from previous or whatever….

Devotee: I see. Thank you so much.

6.Hare Krishna Maharaj, Dandavat pranam. I have heard in I heard somewhere that worshipping Bal gopal / Laddu gopal and worshipping Radha and Krishna is it a rasa-abhasha?

HH Bhanu Swami Maharaj: is it ???

Devotee: Is it a Rasa-abhasha like worshipping Laddu Gopal at the same time worshipping Radha and Krishna.

HH Bhanu Swami Maharaj: [Laughs]..So that’s Madhurya rasa and Vatsalya rasa together. At our stage of course we haven’t developed rasa so it’s not so important but later on it would be a rasa-abhash to do both. In other words you cannot be mother Yasoda and Radha at the same time, it’s difficult.

I see that rasa-abhasha and food. Well i don’t know too much about food in the material world and the Vedic concept of food. But I suppose like in, that may be relative also because like it’s not absolute. For instance in idly, it would be rasa-abhasha if you put pineapples and your pizza pie…[Laughs]

Maybe in terms of broad taste, hot like chili with sugar would be rasa-abhasha also [Laughs]

7. Hare Krishna Maharaj! So in ISKCON do devotees worship Laddu Gopal or not?

Prabhupad didn’t encourage I suppose, because that our main idea is to worship Radha Krishna for Madhurya rasa that’s what Lord Caithanya taught, but individuals may have a preference of what’s all the rasas they could worship.

8.Does Sakhya rasa conflict with Madhurya rasa ? – is from Sri Radhika mataji.

I think it’s not really a rasa-abhash. It’s not a rasa-abhash so there is within Madhurya rasa there is also Sakhya, feelings of friendship

And some of the cowherd boys are very intimately associated with Madhurya rasa like Madhu Mangal, whereas we’ll see the parents are completely separate from Madhurya rasa so mother Yasoda doesn’t know about the rasa lila at all.

9.Hare Krishna Please accept my humble obeisances. All glories to Srila Prabhupad! I have question like in this world right now we are living in this material world and and can i consider there are two types of maybe the two or three types of the Jiva. One is like Nitya-bhaddha, who is eternally bounded here in this material world and who never go to the spiritual world and the second type maybe the person who once who was in material world but he fall down here and he’s like he’s forgetting the previous life and the third is the Nitya siddha do you think ?

 HH Bhanu Swami Maharaj: oh no

 Devotee : okay

HH Bhanu Swami Maharaj: Actually there’s only two categories here Nitya… two types of Jivas – Nitya-siddhas and Nitya-bhaddhas. Nitya siddhas never fall and if they come to the material world they participate in Krishna’s pastimes. The Nitya-bhaddhas, some of them, if they get mercy then they can start developing Bhakti and then they become sadhana siddhas and they go to the spiritual world

Devotee : So, there is very few possibility for us once we were in the spiritual world and we fall down ?

HH Bhanu Swami Maharaj: What is that?

Devotee: There is very few chance to for us like me once like we were in a spiritual world and we fall down and we are here because once we went there then it’s eternal place ?

HH Bhanu Swami Maharaj:  Yeah! you don’t fall once you’re there with Krishna you are eternally there.

So if we’re sadhana siddhas once we’re sadhana siddhas we don’t fall.

Devotee: oh i see sadhana siddhas once they go to the spiritual world then they never back to here this material world ?

HH Bhanu Swami Maharaj: Yeah, that’s Krishna’s promise yeah you come to me you don’t return.

Devotee: Yes [Laughs] okay okay thank you thank you so much !

HH Bhanu Swami Maharaj: Okay Hare Krishna

10. There is a question in the chat. Does there is a flight between Sakhya and others who are wanting Krishna at the same time?

HH Bhanu Swami Maharaj: flight or fight???

Translator Devotee: Maybe fight i think.

HH Bhanu Swami Maharaj: Between who ? different devotees or what??

Translator Devotee: Yes, she said…

HH Bhanu Swami Maharaj: Well, everybody gets Krishna at a certain time [Laughs]

So Mother Yasoda and Nanda Maharaj – Vatsalya rasa, they get that in the morning when Krishna wakes up until He leaves for the fields, that’s all Vatsalya rasa. And then in the daytime they’re separated. Evening time again there’s some Vatsalya rasa when Krishna comes back from the fields. So before Krishna leaves, the Gopis also get some association of Krishna, when He leaves they get separation.

So when Krishna goes to the fields in the daytime, then there is Sakhya rasa with the cowherd boys. But in the middle of the day, Krishna also goes off and He meets the Gopis so that’s a little Madhurya rasa there. And when Krishna returns in the evening then there is separation from the cowherd boys. But when Krishna goes to bed at night, then He goes up meets the Gopis so there’s Madhurya rasa again. So there is you know different rasas throughout the day.

11. Hare Krishna Maharaj. In one of the conversation Prabhupad was telling one devotee that there is like five percent chance that some devotees fall down from the spiritual world, So what what kind of devotees Prabhupada was talking about in that conversation?

HH Bhanu Swami Maharaj: I don’t know actually [Laughs]

Devotee: okay thank you Maharaj, Hare Krishna!

HH Bhanu Swami Maharaj:  okay Hare Krishna!

Devotees: Dandavat Pranam Maharaj! Thank you so much…HH Bhanu swami Maharaj ki jai!!