ŚRĪ ŚRĪ RĀDHĀ KṚPĀ KAṬĀKṢA STOTRA

 

from Urddhamnāya tantra

 

munīndra vṛnda vandite triloka śoka hāriṇī
prasanna vaktra paṅkaje nikuñja bhū vilāsinī
vrajendra bhānu nandini, vrajendra sūnu saṅgate
kadā kariṣya sīha māṁ kṛpā kaṭākṣa bhājanam
 

The host of sages whom adore,
Grief of three spheres who drives away,
Whose face like lotus blooms with joy,
In secret groves who loves to play,
Vrishbhānu’s daughter,- who remains
With Nanda’s son where he may go,
A sidelong glance, compassion filled,
O when will she upon me throw?
 

munīndra - the best of sages; vṛnda - the assembly; vandite
- worshipped; triloka - the three planetary systems; śoka -
distress; hāriṇī - who takes away; prasanna - blooming with
joy; vaktra - face; paṅkaje - lotus flower; nikuñjabhū - solitary
forest groves of Vrindaban; vilāsinī - who enjoys sporting;
vrajendra - the king of Vraja; bhānu - of Vṛsabhānu; nandini
- you who are the delightful daughter; vrajendra - Maharaja
Nanda, king of Vraja; sūnu - the son, (Krsna); saṅgate -
association; kadā - when oh when; kariṣya - will you make;
sīha - here in Vrindaban; māṁ - unto me; kṛpā kaṭākṣa -
your side-long glance of mercy; bhājanam - the object.
 

Adored by the host of sages, she drives away the distress of the three worlds; Her face blooms with joy like a fully expanded lotus flower; delighting in loves games in secret and solitary forest groves; She is the daughter of King Vrishabhānu and lives in the heart of the son of the King of Vraja. Oh when will she shower upon me her sidelong glance of over-flowing grace.

 

aśoka vṛkṣa vallarī, vitāna maṇḍapa sthite
pravāla-vāla pallava prabhā ruṇāṅghri komale
varābhaya sphurat kare prabhūta sampadālaye
kadā kariṣya sīha māṁ kṛpā kaṭākṣa bhājanam
 

A canopy of creepers and boughs
of Ashok her fond retreat,
Like coral red, yet soft as are,
New sprouted leaves, whose blessed feet,
Whose eager hands give fearlessness,
In whom all boons and riches grow,
A sidelong glance, compassion filled,
O when will she upon me throw?
 

aśokavṛkṣa - Asoka trees; vallarī - creepers; vitāna - spreading
canopy; maṇḍapa - pavillion; sthite - situated therein; pravāla
- coral (reddish); jvāla - burning bright; pallava - foliage;
prabhā - splendorous aura; ruṇāṅghri komale - soft pink
feet; varābhaya - boon of fearlessness; sphurat - confers;
kare - your hand; prabhūta - profuse; sampadālaye - divine
riches and opulences; kadā - when oh when; kariṣya - will
you make; sīha - here in Vrindaban; māṁ - unto me; krpā
kaṭākṣa - your side-long glance of mercy; bhājanam - the
object.
 

She rests upon a flower throne beneath a canopy of creepers and boughs of Ashok trees, the foliage of which is decorated with coral-coloured reddish blossoms burning bright but no less so than the splendiferous aura emanating from her pinkish feet which are more soft and delicate than a lotus flower. Her raised hand signifies the conferred blessings of freedom from fear and is the source of all celestial treasures and divine opulence. Oh when will she shower upon me her sidelong glance of over-flowing grace.

 

anaṅga raṅga maṅgala prasaṅga bhaṅgura bhruvāṁ
suvibhramaṁ sasambhramaṁ dṛganta bāṇa pātanaiḥ
nirantaraṁ vaśīkṛta pratīta nanda nandane
kadā kariṣya sīha māṁ kṛpā kaṭākṣa bhājanam
 

Displays her blissful movements,
Plays the God of love in eyebrows whose,
By casting of her rolling and,
Love-laden sidelong glance a noose,
Who captive holds Śrī Śyām a, who owes,
To any else allegiance no,
A sidelong glance, compassion filled,
O when will she upon me throw?
 

anaṅga - Cupid; raṅga - delights; maṅgala - auspicious;
prasaṅga - association; bhaṅgura - crookedly bending;
bhruvām - eyebrows; suvibhramaṁ - flirtatious, amorous
gestures and movements; sasambhramaṁ - noble
submission; dṛganta - corners of the eyes; bāna - arrows;
pātanaiḥ - shooting; nirantaraṁ - for all of eternity; vaśīkṛta -
subdued into complete submissive control; pratīta - absolute
conviction and self-surrender; nanda nandane - the son of
Nanda; kadā - when oh when; kariṣya - will you make; sīha
- here in Vrindaban; māṁ - unto me; kṛpā kaṭākṣa - your
side-long glance of mercy; bhājanam - the object.
 

Her arched eyebrows are like the bow of Cupid, creating an auspicious atmosphere for the activities of the God of Love. The amorous gestures and flirtatious movements produced from her excited and agitated temperament culminate in the glances from the corners of her eyes which are compared to the arrows of Cupid, all of whom have subdued the son of Nanda into complete submissiveness for all of eternity, thus perpetually holding capture his everlasting allegiance. Oh when will she shower upon me her sidelong glance of over-flowing grace.

 

taḍit suvarṇa campaka pradīpta gaura vigrahe
mukha prabhā parāsta-koṭi sāradendu maṇḍale
vicitra citra sañcarac cakora śāva locane
kadā kariṣya sīha māṁ kṛpā kaṭākṣa bhājanam
 

Like lightning flash, or gold, or still,
Like Champa flow’r complexion whose,
The orbs of million autumn moons,
Before whose face their glory lose,
Like young Chakoras, in various ways,
Whose playful eyes skip to and fro,
A sidelong glance, compassion filled,
O when will she upon me throw?
 

tarit - lightning; suvarṇa - gold; campaka - campak flowers;
pradīpta - brilliantly effulgent; gaura - fair complexion;
vigrehe - form; mukha - face; prabhā - splendour; parāsta
- eclipsed and put to shame; koṭi - 10 million; sāradendu -
autumnal full moon; maṇḍale - multitude; vicitra - variegated;
citra - wonderful; sañcarac - moving to and fro; cakora -
cakora birds; śāva - babies; locane - eyes; kadā - when oh
when; kariṣya - will you make; sīha - here in Vrindaban;
māṁ - unto me; krpā kaṭākṣa - your side-long glance of
mercy; bhājanam - the object.
 

Her bodily complexion is compared to the brilliant effulgence of lightning, gold and Campak flowers. The splendour of her lotus face puts to shame the aggregate beauty of a multitude of ten million autumn moons. The movement of her eyes is very amazing and wonderful, like the eyes of the Chakora bird (who is said to subsist on moonbeams) as she frantically searches out the Moon (KṛṣṇaCandra), her only source of satisfaction. Oh when will she shower upon me her sidelong glance of over-flowing grace.

 

madon madāti yauvane pramoda māna maṇḍite
priyānu rāga rañjite kalā vilāsa paṇḍite
ananya dhanya kuñja rājya kāmkeli kovide
kadā kariṣya sīha māṁ kṛpā kaṭākṣa bhājanam
 

Whose madd’ning youth is e’er so more,
Delightful sulking moods who shows,
Who in her Darling’s love is steeped,
All arts of making love who knows,
In groves most blissful, blest, unique,
Who seeds of all love-plays does sow,
A sidelong glance, compassion filled,
O when will she upon me throw?
 

madon madāti - extremely and wildly intoxicated with maddening
joy; yauvane - fresh youth; pramoda - great dellight; māna -
jealous, pouting anger; maṇḍite - decorated; priyānurāga - pure
loving affection (for Śyāmsundar); rañjite - charmed; kalā - classic
arts; vilāsa - loving pastimes of enjoyment; paṇḍite - learned;
ananya - unparalleled; dhanya - gloriously opulent; kuñja - forest
bower houses; rājya - royal kingdom; kāmkeli - amorous pastimes
of pure, divine lust; kovide - expert; kadā - when oh when; kariṣya
- will you make; sīha - here in Vrindaban; māṁ - unto me; krpā
kaṭākṣa - your side-long glance of mercy; bhājanam - the object.
 

Wildly intoxicated with a maddening joy, produced by her extremely delicate age, being as she is just on the brink of fresh and eternal youth, her moods of merriment and rapture are sometimes broken by a jealous, pouting anger which is one of the chief ornaments with which she is decorated. Totally absorbed in pure loving affection and dedication to her Darling (Syāmsundar), she is a pandit in the matter of the sixty-four arts and their application in the field of amorous sports within the kingdom of the forest bower houses, the glorious opulence of which is unparalleled anywhere within the material and spiritual universes. No one is more expert than her in the study of love’s novelties and the amorous pastimes of divine lust. Oh when will she shower upon me her sidelong glance of over-flowing grace.

 

aśeṣa hāva bhāva dhīra hīra hāra bhūṣite
prabhūta śāta kumbha-kumbhakumbhi kumbha sustani
praśasta manda hāsya cūrṇa pūrṇa saukhya sāgare
kadā kariṣya sīha māṁ kṛpā kaṭākṣa bhājanam
 

Love’s gestures feelings’ ocean calm,
A diamond necklace and who wears,
Whose lovely breasts like cranial globes,
Of elephant, like golden spheres,
A radiant smile who wears,
Who is a sea wherefrom joys overflow,
A sidelong glance, compassion filled,
O when will she upon me throw?
 

aśeṣa - limitless variety; hāva - artistic amorous gestures;
bhāva - ecstatic moods; dhīra - slow and gentle; hīra
- diamond; acute intelligence; hāra - necklace; bhūṣite -
decorated; prabhūta - high, conspicuous; śāta - beautiful;
kumbha-kumbha - water pots: kumbhi kumbha - temples
of an elephant; susthani - healthy; praśasta - praiseworthy;
manda - mild and gentle; hāsya - sweet smile; cūrṇa - pollen;
pūrṇa - full, complete; saukhya - happiness; sāgare - ocean;
kadā - when oh when; kariṣya - will you make; sīha - here in
Vrindaban; māṁ - unto me; krpā kaṭākṣa - your side-long
glance of mercy; bhājanam - the object.
 

 She is decorated with a limitless variety of artistic amorous gestures and ecstatic moods expressed with patient and acute intelligence, compared to a diamond necklace which rests on her neck. Her high, raised breasts are very plump and appear very healthy like beautiful golden water pots. Her mild and gentle, sweet smile is most praiseworthy and as though heavily laden with a kind of pollen which causes her friends to become so intoxicated that they drown in an ocean of happiness. Oh when will she shower upon me her sidelong glance of over-flowing grace.

 

mṛṇāla vāla vallarī taraṅga raṅga dorlate
latāgra lāsya-lola nīla locanāvalokane
lalal lulan milan manojña-mugha mohan āśraye
kadā kariṣya sīha māṁ kṛpā kaṭākṣa bhājanam
 

Whose lovely arms like creepers slim,
Like lotus fibre wave and dance,
Like dancing creeper’s top whose eyes,
Blue cast a captivating glance,
Refuge of charmed Śrī Śyāma,- whose plays,
Quick movements, meeting lovely so,
A sidelong glance, compassion filled,
O when will she upon me throw?
 

mṛṇāla - lotus stem; vāla - fresh; vallarī - young creepers;
taraṅga - waves (of a river); raṅga - playfully swaying;
dorlate - arms which move as such; latāgra - tips of creepers;
lāsya - feminine dance; lola - restlessly roving; nīla - deep
blue; locana - eyes; avalokane - observe, survey; lalallulan
- sportive frolics; milan - meeting; manojña - captivating;
mugha - infatuated; mohan - stupefying; āśraye - resort,
refuge; kadā - when oh when; kariṣya - will you make; sīha
- here in Vrindaban; māṁ - unto me; krpā kaṭākṣa - your
side-long glance of mercy; bhājanam - the object.
 

The playful movements of her arms are compared to the swaying of the stems of lotus flowers within the waves of a river or the tips of creepers engaged in a kind of feminine dance. Her deep blue eyes are similarly dancing and restlessly roving about as she engages in sportive frolic, playing and moving about with Her friends, sometimes meeting together with them in great splendour, all of which is enough to completely fascinate, charm and captivate even Mohan himself. Such activities are in fact the shelter of the transcendental Cupid himself. Oh when will she shower upon me her sidelong glance of over- flowing grace.

 

suvarṇa māli kāñcite trirekha kambu kaṇṭhage
trisutra maṅgalī guṇa triratna dīpti dīdhiti
salola nīla kuntale prasūna guccha gumphite
kadā kariṣya sīha māṁ kṛpā kaṭākṣa bhājanam
 

A golden necklace round whose neck,
Adorned with lines of beauty three,
Three pendants bright in cords three strung,
All fortune and good luck decree,
Whose tresses black with flowers tied, wave,
As towards the heels they go,
A sidelong glance, compassion filled,
O when will she upon me throw?
 

suvarṇa - pure gold; mālikā - garland; añcite - raised,
worshipped; trirekha - three lines; kambu - conchshell;
kaṇṭhage - neck; trisutra - three strands; mangalī - small
jasmine flowers; guṇa - garlands; triratna - diamond, emerald,
pearl; dīpti - brilliancy of beauty; dīdhiti - splendiforous in
effulgent auras; salola - moving to and fro; nīla - deep blue;
kuntale - locks of hair; prasūna - flower blossoms; guccha -
bunches; gumphite - interwoven, tied; kadā - when oh when;
kariṣya - will you make; sīha - here in Vrindaban; māṁ -
unto me; krpā kaṭākṣa - your side-long glance of mercy;
bhājanam - the object.
 

Her neck which is marked with three lines like a conchshell is decorated with a necklace made of pure gold and three strands of small jasmine flower garlands. Another necklace set with diamonds, emeralds and pearls is brilliant with a beauty which sets off splendiferous and effulgent auras shining from her being. Her deep blue locks of hair twined into braids and interwoven with bunches of flower blossoms, swing to and fro as she moves her head. Oh when will she shower upon me her sidelong glance of over-flowing grace.

 

nitamba bimba lambamāna puṣpa mekhalā guṇe
praśasta ratna kinkiṇī kalāpa madhya mañjule
karindra śuṇḍa daṇḍikā varoha saubhagoruke
kadā kariṣya sīha māṁ kṛpā kaṭākṣa bhājanam
 

Whose hips are round and wide and where,
A flower garland goes around,
A bright waistband of costly gems,
Emits a soft melodious sound,
As tap’ring trunk of tusker king,
Whose thighs are round and slopy so,
A sidelong glance, compassion filled,
O when will she upon me throw?
 

nitamba - hips; bimba - rounded; lambamāna - wide,
expanded; puṣpa - flowers; mekhalā - ornament for the
hips; guṇe - mine of merit and excellence; praśasta -
excellent; ratna - bejewelled; kinkiṇī - girdle producing
a sweet jingling sound; kalāpa - collection, ornament,
moon, peacock’s tail; madhya - waist; mañjule -
delightfully pleasing; karindra - elephants (king of);
śuṇḍa - trunk; daṇḍikā - necklace; varoha - straight,
ascending; saubhaga - opulently beautiful; uruke -
thighs; kadā - when oh when; kariṣya - will you make;
sīha - here in Vrindaban; māṁ - unto me; krpā kaṭākṣa -
your side-long glance of mercy; bhājanam - the object.
 

 The fullness of her swaying hips is circled with a wreath of flowers of excellence; Her splendid diamond girdle bright sings out sweet applause in her fair delight; Whose graceful soft smooth thighs taper as the sloping trunk of the king of elephants. Oh when will she shower upon me her sidelong glance of over-flowing grace.

 

anek mantranāda mañju nupūrāravaskhalat-
samāja rājahaṁsa vaṁśa nikvaṇāti gaurave
vilola hema vallarī viḍambi cāru cañkrame
kadā kariṣya sīha māṁ kṛpā kaṭākṣa bhājanam
 

The chant of many mantras sweet,
Is heard in jingling anklets whose,
No flock of swans with all its art
So sweetly warbles sings or coos,
When walks along who looks she was
A creeper made of gold as though,
A sidelong glance, compassion filled,
O when will she upon me throw?
 

anek - many; mantranāda - sounds of sacred
mantras; mañju - charming; nupūrārava - sounds
of jingling ankle bracelets; skhalat - swinging;
samāja - assemblage; rājahaṁsa - swans; vaṁśa -
multitude; nikvaṇāti - warbling sounds; gaurave - in
excellence; vilola - swaying; hema - golden; vallarī -
creepers; viḍambi - cheat; cāru - most lovely; cañkrame
- stroll; kadā - when oh when; kariṣya - will you make;
sīha - here in Vrindaban; māṁ - unto me; krpā kaṭākṣa -
your side-long glance of mercy; bhājanam - the object.
 

Her golden anklets sweetly resound as the divine and timeless chanting of many mantras, far excelling the enchanting sounds made by a flock of noble swans. Her elegant movements are like the bewitching dance of golden creepers. Oh when will she shower upon me her sidelong glance of over-flowing grace.

 

ananta koṭi viṣṇu loka namra padmajārcite
himādrijā pulomajā virañcijā varaprade
apāra siddhi vṛddhi digdha satpadāṁ gulī nakhe
kadā kariṣya sīha māṁ kṛpā kaṭākṣa bhājanam
 

The Goddess lotus throned,
The Queen of endless heavens before whom bows,
Who on Himachala’s, Brahma’s and Puloma’s
Daughters boons bestows,
From whose toenails in endless streams,
All wealth, supernal powers flow,
A sidelong glance, compassion filled,
O when will she upon me throw?
 

ananta - unlimited; koṭi - tens of millions; viṣṇu loka
- universes; namra - humbly bowing down; padmaja
- respective Lord Brahmas; ārcite - worshipped;
himādrijā - Parvati; pulomajā - Sacī (wife of Lord
Indra); virañcijā - Sarasvati; vara - benediction; prade
- bestow; apāra - boundless; siddhi - mystic perfections;
vṛddhi - prosperity; digdha - annointed, besmeared,
steeped; sat - transcendental; padāngulī - toes; nakhe
- nails; kadā - when oh when; kariṣya - will you make;
sīha - here in Vrindaban; māṁ - unto me; krpā kaṭākṣa -
your side-long glance of mercy; bhājanam - the object.
 

At whose lotus feet the gods and goddesses of millions of endless heavens of Viṣṇu, stoop to bow in all humility. For the daughters of Himachala, Puloma, and Brahma, who worship her, she is the bestower of boons. All riches, super-natural powers, perfection and liberation are sustained within the light of her small toenail. Oh when will she shower upon me her sidelong glance of over-flowing grace.

 

makheśvari kriyeśvari svadheśvari sureśvari
triveda-bhāratīśvari pramāṇa śāsaneśvari
rameśvari kṣameśvari pramoda kānaneśvari
vrajeśvari vrajādhipe śrī rādhike namostute
 

Who over sacrifices, rites,
And over hosts of gods presides,
To Vedic words, to arguments of logic
All their force provides,
O sov’reign Queen of heav’n and earth,
And of Pramod-named garden great,
Oh Vraja King’s Queen, Oh Queen of Vraja,
Before Thee, Rādhā‚ I prostrate.
 

makheśvari - Goddess of Vedic sacrifices; kriyeśvari - Queen
of pious activities; svadheśvari - Goddess of Nature; sureśvari
- Goddess of all the demigods; triveda-bhāratīśvari - Queen
of all learning (Ṛg, Yājur, Sāma); pramāṇa-śāsaneśvari -
Queen of the enforcement of scriptural principles; rameśvari
- Queen of all the Goddesses of Fortune; kṣameśvari -
Goddess of forgiveness; pramoda kānaneśvari - Goddess
of the most pleasurable forest of Vrindaban; vrajeśvari
- Goddess of Vraja dhām; vrajādhipe - the one and only
authority who regulates entrance into that dhām; śrī rādhike
- Oh Śrī Rādhikā; namostute - let me offer my respectful
obeisances to you.
 

Oh Goddess Supreme of all sacrifice and action and of the host of Gods and sages. Oh Goddess Supreme of the speech of the three Vedas and of all laws and logic. Oh Goddess Supreme of love, forgiveness and delight. Oh Goddess Supreme of all the Goddesses of Fortune, of the pleasure groves of Vrindaban, of Vraja and of the Son of the King Vraja. Śrī Rādhikā, I prostrate to Thee.

 

iti mamādbhutaṁ stavan niśamya bhānu nandinī
karotu santataṁ janaṁ kṛpā kaṭākṣa bhājanam
bhavet tadaiva sañcita tri-rūpa karma nāśanaṁ
labhet tadā vrajendra sūnu maṇḍala praveśanam
 

May daughter of Vṛsabhānu, thus,
On hearing wonderful this hymn,
For ever make me object of her glances
Which with mercy swim,
Then let at once all karmas past,
In store for me be set at naught,
Let entrance to eternal realm
Of Nanda’s son fall to my lot.
 

iti - this; mama - mine; adbhutaṁ – wonderful; stavan -
prayer, hymn; niśamya - bhānu - Vṛsabhānu Mahārāja;
nandinī - the daughter of; karotu – make; santataṁ –
everlasting; janam – person; kṛpā kaṭākṣa - side-glance
of mercy; bhājanam - object of; bhavet – become;
tadā – then; eva – certainly; sañcita - accumulated; tri-
rūpa - three kinds; karma - fruitive reaction; nāśanaṁ
- destroyed; labhet - attain; tadā - then; vrajendra -
Lord of Vraja; sūnu - the son of; maṇḍala - province;
praveśanam - enter into.
 

May Śrī VṛsabhānuNandini, upon hearing this most astonishing prayer of mine being recited by someone, constantly make that person the object of her most merciful side-glance. Then, at that time, one will feel that all the effects of all his accrued karma is being completely destroyed. At that time, one will finally gain entrance into the assembly of NandaNandan’s eternal associates.

 

Fal stuti

 

rākāyām ca sitāṣṭamyāṁ daśamyāṁ ca viśuddhadhīḥ
ekādaśyāṁ trayodaśyāṁ yaḥ paṭhet sadhakaḥ sudhīḥ
yaṁ yaṁ kāmayate kāmaṁ taṁ taṁ prāpnoti sādhakaḥ
rādhā kṛpā kaṭākṣeṇa bhaktiḥ syāta prema lakṣaṇā
14-15
 

Pure seekers wise, on lunar dates,
The 13th, 10th, 11th bright,
Fortnights the eight, on full moon day,
Should with devotion it recite,
Whatever things the seeker wants,
He gets them each and all no doubt,
By Rādhā’s glance compassion filled,
Devotion based on love does sprout.
 

That practising devotee (sādhak) who possesses purified intelligence, who recites this stava with a fixed mind on the lunar days: full moon, bright aṣṭamī, ekādaśī, trayodaśī- then each and every desire that he has will be obtained one by one. By that merciful side-glance of Śrī Rādhā, he obtains pure devotional service which has one special symptom— pure, ecstatic love (prema). 14-15

 

urumātre nābhimātre hṛnmātre kaṇṭhamātrake
rādhākuṇḍa jale sthitvā yaḥ paṭhet sādhakaḥ śataṁ
tasya sarvārtha siddhiḥ syāt vāksāmarthya tato labhet
aiśvaryaṁ ca labhetsākṣāt dṛśā paśyati rādhikām
16-17
 

Thigh deep or navel deep, chest deep or,
e’en neck deep in Rādhā’s lake,
If standing one a hundred times,
does recitations of it make,
One’s fulfilled desires are all,
what utters one becomes it true,
And Lordship flies to one
and one enjoys Śrī Rādhā’s direct view.
 

That sādhaka who recites this stava 100 times while situated in the waters of RādhāKuṇḍa up to his thighs, navel, chest or his neck, attains complete perfection in all the five purusārthas or goals of human existence. He also attains the power by which everything he says will come true. He becomes very powerful and opulent due to attaining transcendental majesty, and he gets to meet Śrī Rādhikā face to face, seeing her even with his present eyes. 16-17

 

tena sā tatkṣanādeva tuṣṭā datte mahāvaram
yena paśyati netrābhyāṁ tat priyaṁ śyāmasundaram
nitya līla praveśaṁ ca dadāti śrī vrajādhipaḥ
ataḥ parataraṁ prāpyaṁ vaiṣṇavānāṁ na vidyate
18-19
 

She getting gratified grants,
A mighty boon instantly true,
Which comes to be,
And one perceives her darling Lord of azure hue,
A place in his eternal sports,
Now Vraja’s Lord grants in his turn,
And for the Vaiṣṇavas there is,
No higher thing to seek, to earn.
 

Thereby Śrī Rādhikā becomes so pleased that she instantly bestows a great benediction - that one sees her own beloved Śyāmasundar with his very own eyes. Then that very Lord of VrajaDhām grants one entrance into his own eternal pastimes of daily fun and sports. Other than attaining this goal, there is nothing else to aspire after by the real Vaiṣṇavas. 18-19