Srimati Radha Rani 

"In Vrndavana all the pure devotees pray for the mercy of Srimati Radharani, the pleasure potency of Lord Krsna. Srimati Radharani is a tenderhearted feminine counterpart of the supreme whole, resembling the perfectional stage of the worldly feminine nature. Therefore, the mercy of Radharani is available very readily to the sincere devotees, and once She recommends such a devotee to Lord Krsna, the Lord at once accepts the devotee's admittance into His association. The conclusion is, therefore, that one should be more serious about seeking the mercy of the devotee than that of the Lord directly, and by one's doing so (by the good will of the devotee) the natural attraction for the service of the Lord will be revived."

Srimad-Bhagavatam, 2nd Canto, 3.23

"Once Lord Krsna considered with His heart: 'Everyone says that I am complete bliss, full of all rasas. All the world derives pleasure from Me. Is there anyone who can give Me pleasure? One who has a hundred times more qualities than Me could give pleasure to My mind. One more qualified than Me is impossible to find in the world. But in Radha alone I feel the presence of one who can give Me pleasure.

Although My beauty defeats the beauty of ten million cupids, although it is unequalled and unsurpassed and although it gives pleasure to the three worlds, seeing Radharani gives pleasure to My eyes. The vibration of My transcendental flute attracts the three worlds, but My ears are enchanted by the worlds of Srimati Radharani. Although My body lends fragrance to the entire creation, the scent of Radharani's limbs captivates My mind and heart. Although the entire creation is full of different tastes because of Me, I am charmed by the nectarean taste of the lips of Srimati Radharani. And although My touch is cooler than ten million moons, I am refreshed by the touch of Srimati Radhika.

Thus although, I am the source of happiness for the entire world, the beauty and attributes of Sri Radhika are My life and soul. In this way My affectionate feelings for Srimati Radharani may be understood, but on analysis I find them contradictory. My eyes are fully satisfied when I look upon Srimati Radharani but by looking upon Me, She becomes even more advanced in satisfaction. The flutelike murmur of the bamboos rubbing against one another steals Radharani's consciousness, for She thinks it to be the sound of My flute. And She embraces a tamala tree, mistaking it for Me. 'I have gotten the embrace of Sri Krsna,' She thinks, 'so now My life is fulfilled. Thus She remains immersed in pleasing Krsna, taking the tree in Her arms. When a favorable breeze carries to Her the fragrance of My body, She is blinded by love and tries to fly into that breeze. When She tastes the betel chewed by Me, She merges in an ocean of joy and forgets everything else. Even with hundreds of mouths I could not express the transcendental pleasure She derives from My association. Seeing the luster of Her complexion after Our pastimes together, I forget My own identity in happiness.

The sage Bharata has said that the mellows of lover and beloved are equal. But he does not know the mellows of My Vrndavana. The happiness I feel when meeting Radharani is a hundred times greater than the happiness I get from meeting others.'"

Caitanya-caritamrta, Adi lila 4.238-272 Purport

HOW RADHARANI APPEARED AS THE DAUGHTER OF KING VRSHABHANU

From Sri Lalita Madhava by Rupa Goswami

(Scene 1, with text numbers)

4 Gargi: What is this "sweet nectar?"

5 Paurnamasi: It is Brahma's words "O Mount Vindhya, to fulfil your desire you will have two daughters that will give you a son-in-law who will defeat Lord Siva and whose virtues will fill the world with wonder."

6 Gargi: Why did Mount Vindhya desire a daughter and not a son?

7 Paurnamasi: He had become the rival of king Himalaya, who is the father of Gauri and very proud of the opulence of his son-in-law, (Siva).

8 Gargi: He could not tolerate the glory of his own family. In ancient times He tried to defeat Mount Meru. He could not rise again after he bowed down to offer respects to Agastya Muni. Note: Mount Vindhya grew taller and taller until he challenged even his relative, Mount Meru. Agastya Muni visited Mount Vindhya. The mountain bowed down to offer respects. Agastya asked Mount Vindhya to remain in that position until he returned. Agastya never returned and Vindhya could not raise his head again. In this way Mount Vindhya's pride was humbled.

9 Paurnamasi: Yes. The intelligent are like that.

10 Gargi: How did Radha go from Mount Vindhya to Gokula?

11 Paurnamasi: She was taken by Putana, the kidnapper of children.

12 Gargi: (with fear) Witches that steal children generally eat their victims. This girl is very fortunate to be saved.

13 Paurnamasi: O daughter, Kamsa ordered her to kill any extraordinary small boys and kidnap any small girls.

14 Gargi: Why did the king ask her to do those two things?

15 Paurnamasi: (He was pushed) by the words of Devaki's demigoddess daughter.

16 Gargi: What were those words?

17 Paurnamasi: She said to Kamsa: "This same person who in your previous birth severed your head with a cakra raised in battle, the same person who the sages know as He whose two lotus feet are worshipped by the demigods, the same person who pleases His loving devotees (by showering them) with oceans of the nectar of bliss, the same person who is the root from which the universe (has sprouted) has now appeared (in this world) at the time of the moon's rising."

18 She said: "Today or the day after, eight sublimely sweet saktis will appear on this earth. Two sisters, who are like great palaces of beautiful transcendental qualities, will also appear. When He defeats Siva, Lord Krsna, the king of kings, will accept the hand of both the girls (in marriage)."

19 Gargi: What happened to the second sister?

20 Paurnamasi: When Vindhya's chief priest chanted a demon-killing mantra, Putana's heart became struck with fear. As she was hastily flying over Vidarbha province the first of her victims dropped from her and fell into a river's current.

21 Gargi: My father (Sandipani Muni) is omniscient. Why then, has he said that, (as a result of) a benediction granted by Durvasa Muni, Srimati Radharani appeared from (King) Vrsabhanu's chest?

22 Paurnamasi: Requested by Brahma, Lord Hari's yogamaya potency removed these two infant girls from the wombs of the wives of Candrabhanu and Vrsabhanu and placed them in the womb of Vindhya's wife.

23 Gargi: (With astonishment) did the two fathers know what happened?

24 Paurnamasi: Certainly they understood. Why would Durvasa Muni not help them?

25 Gargi: How do you know all this?

26 Paurnamasi: (I learned this) by the mercy of my spiritual master's (Narada's) instructions, which have also made me attached to Radha.

27 Gargi: Is it true that when the witch Putana was killed you took Radha from her lap?

28 Paurnamasi: (I took) not only Radha, but five other girls also.

29 Gargi: Who were they?

30 Paurnamasi: They were 1. Radha's moon-faced friend Lalita, 2. Candravali's beautiful friend Padma, 3. Bhadra, who acts auspiciously, 4. auspicious Saibya, and 5. splendid and cheerful Syama.

31 Gargi: How were these girls placed among the gopis?

32 Paurnamasi: Swiftly and secretly I gave these five infant girls to five gopis in different parts (of Vrndavana). In a secret place I happily gave virtuous Radha to Yasoda's nurse, Mukhara, and said: "O elderly one, here is your son-in-law Vrsabhanu's daughter."

33 Gargi: This must be the way Radha's second close friend Visakha, appeared in Gokula (Vrndavana).

34 Paurnamasi: No. No. Jatila found her floating in the Yamuna.

35 Gargi: I did not know that. Who found the Vindhya's first daughter as she was floating in the river's current?

36 Paurnamasi: Bhismaka.

Transcendental Qualities of Srimati Radha Rani 

Srimati Radharani has twenty-five transcendental qualities, and She can control even Krsna by them. Her transcendental qualities are as follows:

1. She is sweetness personified

2. She is a fresh young girl

3. Her eyes are always moving

4. She is always brightly smiling

5. She possesses all auspicious marks on her body

6. She can agitate Krishna by the flavor of Her person

7. She is expert in the art of singing

8. She can speak very nicely and sweetly

9. She is expert in presenting feminine attractions

10. She is modest and gentle

11. She is always very merciful

12. She is transcendentally cunning

13. She knows how to dress nicely

14. She is always shy

15. She is always respectful

16. She is always patient

17. She is very grave

18. She is enjoyed by Krishna

19. She is situated on the highest devotional platform

20. She is the abode of love of the residents of Gokula

21. She can give shelter to all kinds of devotees

22. She is always affectionate to superiors and inferiors

23. She is always obliged by the dealings of Her associates

24. She is the greatest amongst Krishna's girlfriends

25. She always keeps Krishna under Her control

Teachings of Lord Caitanya, Chapter 14

64 Transcendental Art of Srimati Radha Rani 
ananada-cinmaya-rasa-pratibhavitabhis
tabhir ya eva nija-rupataya kalabhih
goloka eva nivasaty akhilatma-bhuto
govindam adi-purusam tam aham bhajami

"I worship Govinda, the primeval Lord, residing in His own realm, Goloka, with Radha, resembling His own spiritual figure, the embodiment of the ecstatic potency possessed of the sixty-four artistic activities, in the company of Her confidantes (sakhis), embodiments of the extensions of Her bodily form, permeated and vitalized by His ever-blissful spiritual rasa."

Sri Brahma-samhita, Text 37

 

1. gita - art of singing
2. vadya - art of playing on musical instruments
3. nrtya - art of dancing
4. natya - art of theatricals
5. alekhya - art of painting
6. visesakacchedya - art of painting the face and body with colored unguents and cosmetics
7. tandula-kusuma-bali-vikara - art of preparing offerings from rice and flowers
8. puspastarana - art of making a covering of flowers for a bed
9. dasana-vasananga-raga - art of applying preparations for cleansing the teeth, cloths and painting the body
10. mani-bhumika-karma - art of making the groundwork of jewels
11. sayya-racana - art of covering the bed
12. udaka-vadya - art of playing on music in water
13. udaka-ghata - art of splashing with water
14. citra-yoga - art of practically applying an admixture of colors
15. malya-grathana-vikalpa - art of designing a preparation of wreaths
16. sekharapida-yojana - art of practically setting the coronet on the head
17. nepathya-yoga - art of practically dressing in the tiring room
18. karnapatra-bhanga - art of decorating the tragus of the ear
19. sugandha-yukti - art of practical application of aromatics
20. bhusana-yojana - art of applying or setting ornaments
21. aindra-jala - art of jugglery
22. kaucumara - art of kaucumara - a kind of art
23. hasta-lagava - art of sleight of hand
24. citra-sakapupa-bhaksya-vikara-kriya - art of preparing varieties of salad, bread, cake and delicious food
25. panaka-rasa-ragasava-yojana - art of practically preparing palatable drinks and tinging draughts with red color
26. suci-vaya-karma - art of needleworks and weaving
27. sutra-krida - art of playing with thread
28. vina-damuraka-vadya - art of playing on lute and small x-shaped drum
29. prahelika - art of making and solving riddles 29a. pratimala - art of caping or reciting verse for verse as a trial for memory or skill.
30. durvacaka-yoga - art of practicing language difficult to be answered by others
31. pustaka-vacana - art of reciting books
32. natikakhyayika-darsana - art of enacting short plays and anecdotes
33. kavya-samasya-purana - art of solving enigmatic verses
34. pattika-vetra-bana-vikalpa - art of designing preparation of shield, cane and arrows
35. tarku-karma - art of spinning by spindle
36. taksana - art of carpentry
37. vastu-vidya - art of engineering
38. raupya-ratna-pariksa - art of testing silver and jewels
39. dhatu-vada - art of metallurgy
40. mani-raga-jnana - art of tinging jewels
41. akara-jnana - art of mineralogy
42. vrksayur-veda-yoga - art of practicing medicine or medical treatment, by herbs
43. mes-kukkuta-lavaka-yuddha-vidhi - art of knowing the mode of fighting of lambs, cocks and birds
44. suka-sarika-prapalana (pralapana?) - art of maintaining or knowing conversation between male andfemale cockatoos
45. utsadana - art of healing or cleaning a person with perfumes
46. kesa-marjana-kausala - art of combing hair
47. aksara-mustika-kathana - art of talking with letters and fingers
48. mlecchita-kutarka-vikalpa - art of fabricating barbarous or foreign sophistry
49. desa-bhasa-jnana - art of knowing provincial dialects
50. puspa-sakatika-nirmiti-jnana - art of knowing prediction by heavenly voice or knowing preparation of toy carts by flowers
51. yantra-matrka - art of art of mechanics
52. dharana-matrka - art of the use of amulets
53. samvacya - art of conversation
54. manasi kavya-kriya - art of composing verse mentally
55. kriya-vikalpa - art of designing a literary work or a medical remedy
56. chalitaka-yoga - art of practicing as a builder of shrines called after him
57. abhidhana-kosa-cchando-jnana - art of the use of lexicography and meters
58. vastra-gopana - art of concealment of cloths
59. dyuta-visesa - art of knowing specific gambling
60. akarsa-krida - art of playing with dice or magnet
61. balaka-kridanaka - art of using children's toys
62. vainayiki vidya - art of enforcing discipline
63. vaijayiki vidya - art of gaining victory
64. vaitaliki vidya - art of awakening with music at dawn

Sri Brahma-samhita, Text 37 Purport