Chapter Six
The Gopala Mantra
Identity and Importance
"It is stated in the Brahma-samhita that Lord Brahma was initiated into the eighteen
letter Gopala-mantra, which is generally accepted by all the devotees of Lord Krishna.
We follow the same principle because we belong to the Brahma-sampradaya, directly
in the disciplic chain from Brahma to Narada, from Narada to Vyasa, from Vyasa to
Madhva Muni, from Madhva Muni to Madhavendra Puri, from Madhavendra Puri to
Isvara Puri, from Isvara Puri to Lord Chaitanya and gradually to His Divine Grace
Bhaktisiddhanta Sarasvati, our divine master.
The chanting of this holy Gopala-mantra is the only shelter of the desireless pure
devotee of the Lord." (SB 2.9.6 p.)
Of all the diksa mantras mentioned in the sastras, the Gopala-mantra (or Krishnamantra)
is the most important.
Shri Krishna is the svayam-bhagavan and the sarva-avatari (original Personality of
Godhead, the source of all other avataras), and His vraja-lila displays the greatest
amount of beauty and sweetness.
Similarly, the Gopala-mantra, which manifests Krishna and induces that unique vrajamadhurya-
rasa to flow in the heart, is the greatest of all diksa mantras.
The mantra is called the Krishna-mantra or Gopala-mantra because it describes
Krishna in Gokula, the abode of cows, wherein the Lord plays as Gopala, the eternal
lover of the gopis and the protector of the cows.
Nevertheless, one should always remember that the Hare Krishna mantra is called
the maha-mantra because it is more powerful than any other mantra in bestowing
Krishna-prema.
The eighteen syllable Gopala-mantra is described in the Gopala-tapani Upanisad and
Hari-bhakti-vilasa. It is one of the most important mantras in the Gaudiya-sampradaya.
Shri Chaitanya Mahaprabhu was initiated into the ten-syllable Gopala-mantra
(gopijanavallabhaya svaha) by His guru, Shripad Isvara Puri.
The mantra means, "I offer oblations unto Krishna, Gopijanavallabha, the beloved of
the gopis."
Since the gopis are Krishna's most intimate associates, the Gopala-mantra is one of the
most confidential mantras.
The Pancaratra also mentions a siddha Gopala-mantra that has an extra tantric
syllable or shrim. The Gopala-mantra is also mentioned in the Gautamiya-tantra and in
the Narada-pancaratra which describes how Lord Brahma gave the eighteen-syllable
Gopala-mantra to Lord Siva who then gave it to Narada Muni.
Although the Gopala-mantra is the same, it can be formulated differently with
eighteen, twelve, ten (as used by Lord Chaitanya) or eight syllables.
In chanting the ten-syllable Gopala-mantra, Shri Chaitanya Mahaprabhu tasted one
aspect of the gopis' prayojana, or pure love for Krishna.
By the mercy of Sanatana Gosvami and other exalted Vaishnavas, the Gopala-mantra is
now prevalent in the sampradaya.
Before the appearance of Shri Chaitanya Mahaprabhu this mantra was not made
available to everyone. It was only given to qualified persons with substantial piety.
The Gopala-mantra is cintamani, the sweetest of the secret mantras.
As described in the Brahma-samhita, the primary purpose of the Gopala-mantra is to
make the soul chase after Krishna, the all-attractive Lord of the gopis.
However, because it contains the kama-bija (the seed of desire), the Gopala-mantra
can also satisfy material or spiritual desires.
In Goloka Vrndavana or for a pure devotee, the kama-bija fulfills spiritual desires for
Krishna's loving service.
When the same kama-bija is pervertedly reflected in the material world, it satisfies
material desires. Lord Brahma fulfilled his material desire for creation by chanting
the Gopala-mantra.
One should pray to Krishna to become pure, totally free of all material desires.
Through the mercy of Gopala one may realize the true meaning of the mantra and
then run after Krishna to serve His lotus feet.
Gopala-mantra and Sambandha
The Gopala-mantra is a direct glorification and meditation on Krishna's form,
qualities and pastimes. This mantra establishes sambandha, abhidheya, and
prayojana.
Although the eighteen-syllable Gopala-mantra progresses through sambandha,
abhidheya, and prayojana, it mainly emphasizes sambandha-jnana and abhidheya.
Madana-mohan, the Lord of sambandha-tattva is represented in the Gopalamantra.
The Kama-gayatri, however, represents prayojana. This mantra is the complete
means to develop one's love for Krishna.
It will give darsana of Radha and Krishna, Gopijanavallabha, surrounded by
Lalita, Visakha and the sakhis. The sadhaka will be given a chance to serve
Them.
The general meaning of the mantra is that anyone desiring to enter the
pastimes of Krishna will have to practice his transcendental service along with
the culture of devotional knowledge in relationship to Krishna (sambandhajnana).
There are six aspects of sambandha-jnana denoted in the Gopala-mantra:
(1) Krishna svarupa—knowledge of the personal form of Krishna.
(2) Krishnasya cin-maya-vraja-Ula-vilasa-svarupa— true knowledge of Krishna's
blissful transcendental pastimes in Vraja (Vrndavana).
(3) Tat-parikara-gopijana-svarupa—knowledge about Krishna's vraja-gopis and
His eternal associates in Vrndavana.
(4) Tad-vallabha—knowledge of self surrender to Krishna in the footsteps of
the Vraja gopis.
(5) Suddha-jivasya-cid (jnana)-svarupa—knowledge of the spiritual form of
the pure, unalloyed soul.
(6) Cit-prakrtir arthat krishna-seva-svabhava—knowledge of transcendental
service to Krishna which is established with the awakening of one's pure
cognition.
Both the Brahma-gayatri and the Gopala-mantra reveal the three aspects of
transcendence:
(1) sambandha
(2) abhidheya
(3) prayojana
However, Gaudiyas emphasize the aspect of abhidheya, transcendental loving service to
Govinda Deva, which is indicated by the word Govindaya in the Gopala-mantra.
Actually the central point of love and attraction for the Lord is expressed through
service. Govindaji, the beloved Deity installed by Shri Rupa Gosvami, is the
inspirational Deity of devotional service for the entire Gaudiya Sampradaya.
Moreover, both as a sadhaka and a siddha one is always under the shelter of Govindaji
and Shri Rupa Gosvami. As a sadhaka one serves Shri Rupa Gosvami, and as a realized
soul one serves Shri Rupa Manjari and her maidservants.
The word gopijanavallabhaya indicates the prayojana aspect displayed in the intimate
loving exchanges between Radha and Krishna. On this level Shri Radha serves alone
as Ananga (the embodiment of amorous love) and the maidservants watch in
appreciation.
The Gopala-mantra reveals three manifestations of Krishna as three presiding Deities
with different moods and effects.
Krishnaya refers to Krishna as Madan-mohana, the supreme enchanter presiding over
sambandha-tattva.
Govindaya refers to Govindaji, the supreme engager, who oversees abhidheya-tattva.
Gopijanavallabhaya refers to Gopinatha, the beloved Lord of the gopis who directs and
distributes the prayojana-tattva.
What the Gopal-mantra awakens is fully revealed in the Kama gayatri, which reveals
Radha and Krishna's pastimes in the divine realm of Vraja.
These two mantras work together to bring the devotee closer to perfection. All
these truths are found within the bija-mantras, but in a seed-like or unmanifested
form.
The bija-mantra Om, for example, which some acaryas say represents Radha-Krishna,
Their blissful pastimes and the living entity, contains this sweet reality in a hidden
way, whereas, in the bija-mantra klim these truths are significantly more manifest.
Gopala-mantra —Svarasiki and Mantra Upasana
There are two methods for internally visualizing the unmanifested pastimes of Radha
and Krishna known as svarasiki and mantra upasana (mantra-mayi).
(1) Mantra upasana—chanting or meditating upon a particular mantra that causes the
manifestation of only one pastime of Krishna.
In mantra upasana the sadhaka meditates on a particular form of Krishna (rupa-dhyana)
or a scene from His transcendental pastimes as depicted in a sastric sloka or a mantra
given by the guru.
The most common form of mantra upasana is meditation on the Vrndavana Yogapitha
at Govindasthali. Radha-Govinda are sitting on a gem-studded, golden throne
surrounded by the asta-sakhis and manjaris who sing blissfully while Lalita-sakhi
offers arati.
The following verse, which acaryas claim to be the "best sloka in the entire Shrimad
Bhagavatam for remembering Krishna", can be used for the process of mantra
upasana.
barhapidam nata'Vara-vapuh karnayoh kamikaram bibhrad vasah kanaka-kapisam
vaijayantirh ca malam
randhran venor adhara-sudhayapurayan gopa'vrndair vrndaranyam sva-pada-rarnanam
pravisad gita-kirtih
"Wearing a peacock feather upon His head, yellow karnikara flowers on His ears, a
glittering golden yellow garment, and the Vaijayanti garland, Krishna exhibited His
supremely captivating form, just like the best of dramatic dancers, as He entered
the charming forest of Vrndavana, beautifying it with the marks of His lotus feet.
He filled the holes of His flute with the nectar of His lips. The cowherd boys
followed behind Him singing His glories which purify the entire world." (SB 10.19.5)
The transcendental words contained in the Gopala-mantra make a manifestation
of only one pastime of Krishna. Lord Brahma himself was doing mantra upasana as
mentioned in the Chaitanya-charitamrita:
yahra dhyana nija-loke kare padmasana
astadasaksara-mantre kare upasana,
"Lord Brahma, sitting on his lotus seat in his own abode, always meditates on
Him, (Govinda surrounded by Radharani and the gopis as mentioned in verse 22),
and worships Him with the mantra consisting of eighteen-syllables."
(CC. Adi 5.221)
"In his own planet, Lord Brahma, with the inhabitants of that planet, worships
the form of Lord Govinda, Krishna, by the mantra of eighteen-syllables:
klim krsnaya govindaya gopi-jana-vallabhaya svaha
Those who are initiated by a bona fide spiritual master and who chant the
Gayatri-mantra three times a day, know this astadasaksara (eighteen-syllable)
mantra.
The inhabitants of Brahmaloka and the planets below Brahmaloka worship Lord
Govinda by meditating with this mantra.
There is no difference between meditating and chanting, but in the present
age medication is not possible on this planet.
Therefore loud chanting of a mantra like the maha-mantra, Hare Krishna, with
soft chanting of the astadasaksara, the mantra of eighteen syllables, is
recommended." (CC. Adi 5.22l)
In his purport to the Brahma-samhita text three, Shrila Bhaktisiddhanta
Sarasvati defines mantra as "inaudibly recited, liberating, self-dedicatory,
transcendental sound." In transcendence there is no duality; consequently the
distinction between an object and its name cease to exist in the spiritual
world.
Thus a mantra consisting of Krishna's holy names is non different from the
person Krishna. This transcendental phenomenon is experienced when
"worshiping through the channel of the mantra,'" which is known as mantra
upasana.
Shrila Bhaktisiddhanta Sarasvati further states that the "transcendental
words contained in the said mantra being differently placed make a
manifestation of only one lila."
In other words, the specific arrangement of the mantra's component words in
relationship to each other determines its meaning. The twenty-four syllable
Kama-gayatri mantra, for example, reveals Radha and Krishna's
transcendental pastimes.
The conjugal mood predominates in Krishna's transcendental abode with all
the other rasas playing supporting roles. In the eighteen-syllable Gopalamantra,
Krishna, Govinda, is being worshiped as the lover of the gopis.
Yet based upon one's sthayi bhava (eternal loving mood), one will meditate
upon the mantra according to his specific corresponding emotion.
(2) Svarasiki: The spontaneous outflow of the heart's spiritual love for Krishna, which
reveals variegated pastimes performed in different moods and planes.
Meditation on rasa-lila, which moves through many moods and scenes, is an example of
svarasiki. Mantra upasana is compared to a placid lake existing alongside a rushing
river. Svarasiki meditation is that constantly moving river of dynamic visualization.
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