I have noticed, and tradition confirms, that the efficacy of mantra meditation depends significantly upon the quality of chanting. It is not that one's effort creates the effect of the mantra, but one must make the effort not to block the effect of the mantra — to open oneself fully to the mercy within it.

I would like to suggest chanting with five qualities, which I also think of as five “steps” towards efficacious, quality mantra meditation:

1. Be Attentive
2. Be Introspective
3. Be Sincere
4. Be Sweet
5. Have Longing

Attentive Chanting

The main focus of this step is to pay attention to the mantra itself. I have found it most effective to treat each syllable of the mantra as something important – and focus my attention on hearing that I am correctly enunciating each syllable each time I repeat the mantra.

The Hare Krishna maha-mantra has 32 syllables. The two sonically symmetrical lines of the mantra each have 16. Within each line are four word pairs, each with a symmetrical four syllables. Each word in each pair has two syllables. This perfect sonic symmetry will reflect in the sound I produce when I make sure to actually chant each syllable.

Mantras bear fruit when chanted correctly. The maha-mantra is not a mechanical ritual, but the general principle is still valid. Its fruit is the topmost goal of being: selfless divine love, prema bhakti. Be sure to include each syllable in each repetition of the mantra and certainly one will begin to taste its fruit at least in the budding stage.

Introspective Chanting

We must avoid extraneous thoughts when chanting. We do that by becoming more sensitive to thoughts that are directly related to the mantra. I call this “Introspective Chanting.”

Once I am chanting the syllables properly, I direct attention inward to become more aware of how I feel in response to the chant. First I try to literally feel the mantra vibrating in every pore and cell of my body. This focuses my attention on how the mantra is directly affecting me. I also try to listen for any instinctual response to the spiritual sound that is permeating me and vibrating in my being.

Since the sound of the mantra is non-different from Radha-Krishna Themselves, my responses to that sound are the very fledgling beginnings of my soul awakening to krishna-prema. Listen for them introspectively while enunciating the mantra's 32 syllables.

Sincere Chanting

Now that I am enunciating all the syllables with introspective alertness to the effect of the vibration, the next step is to deepen my sincerity.

To do this, I try to focus on the all-important attitude of love: the desire to serve Sri Sri Radha and Krishna, who are named in the 32 syllables of the divine mantra. I now try to experience the mantra not only as Krishna but also as prayer to Krishna. So, I now turn my ear towards the sound of sincerity within the mantra I am pronouncing. I find that by listening for sincerity, I automatically try to produce more of it. So gradually my recitation of the mantra produces the sound of heartfelt desire to be pleasing and loving towards Sri Sri Radha-Krishna.

Sweet Chanting

The sincerity in my chanting leads me to want to serve and please the object of the mantra: Radha-Krishna. Naturally, then, my next step is to shift the focus from my experience of the chant to Krishna's experience of it.

Now I open myself to the mantra as the shakti of Krishna. Being Krishna's shakti it exists for the sake of pleasing him. Opening myself to this, I hope to enter into the ocean of divine loving service that exists within the maha-mantra itself.

My main effort at this stage is to make the sound of the mantra I enunciate more pleasant, beautiful, loving and sweet. I have found it helpful to visualize Sri Krishna and Radha before me, listening to my chanting.

Chanting with Longing

As I envision Sri Sri Radha-Krishna near me, listening to my chanting, inevitably I must come to face the objective fact that They are not truly there, at least not in the tangible manner like I am envisioning. My goal at this step is to allow that truth to fill my heart with a bittersweet sadness. Sadness generates need, and need expresses itself as “longing.” In the fifth step of effective chanting I therefore try to focus on and amplify a longing for my hopes and visions within the maha-mantra to become a far more tangibly objective reality.

My main effort at this stage is to ignore all other desires in my heart and find the small voice of desire that longs for perfection of selfless divine love. I speak the maha-mantra to that voice, encouraging it to speak up. Louder and louder I want the maha-mantra to amplify that once small inner voice until it drowns out all other voices within me.

The perfection of my chanting comes when the longing need of that voice bursts through and expresses itself through stuttering and crying like a lost child crying out for her mother.

Conclusion

When I am done with my chanting session, I try not to focus on what I did not accomplish, but on what I did. I want to feel thankful to the mantra and grateful towards Krishna and those who have given me the rare and precious opportunity to attempt to chant it more fully and deeply. I want to feel grateful for whatever small steps they have empowered me to make during this chanting session.

As a practice, therefore, I like to conclude my chanting by folding my hands in prayer and encouraging that gratitude to flow through my hands towards my kind guides and protectors and towards the lotus-like feet of Sri Sri Radha-Krishna.

Actually, I would like the mood of gratitude to permeate all the five steps of chanting.

There are no rules about when, where or how to chant the Hare Krishna maha-mantra. You can and should chant the maha-mantra in the way that fits you as an individual. I have personally found that these five steps have significantly improved my own relationship to the divine mantra, and I hope they will also be of help to other servants of the holy name.

On March 29, 2012, Srila Dhanurdhara Swami gave a seminar entitled Paradox and Perfection at Yogamaya Studio in New York. The following are the recorded excerpts from the seminar.

Paradox and Perfection at Yogamaya New York

YAMUNA DEVI

Question: What instructions, guidelines, likes, or dislikes did Prabhupada express to you about kirtan?

Thank you for asking this question. Yes, Srila Prabhupada did give instructions about kirtan at various times, in various circumstances. A few I recall:

Instructions from Srila Prabhupada on Kirtan

1970 Mumbai: One morning soon after arriving at Kailash Seksaria's home, Srila Prabhupada called on a male devotee to lead kirtan. After two lines of guruvastaka he asked him to stop and asked another devotee to continue. The same thing happened, and he asked another devotee to lead, and another. Then he asked me to lead and did not stop me. When I asked him later about why he did that, he said:

“Learn to listen. You cannot follow nicely unless you hear nicely and you cannot lead nicely unless you have learned to follow nicely.”

August 1968 Montreal: Some mornings Srila Prabhupada had our London group meet with him in the temple room after the morning program and breakfast. On one occasion when he requested me to lead the mangalacarana prayers, he also interrupted my singing to correct my pronunciation as I chanted, he said:

“Learn how to pronounce Sanskrit or Bengali words to the best of your ability. Listen, then repeat.”

1971 Mumbai: On nagar sankirtana an Indian man criticized my pronunciation and Srila Prabhupada said:

“She is doing to the best of her ability. She is doing it in her own way.”

November 1969 London: We had some problems with volume levels. This was evident especially in store front temples where our neighbor store front occupants complained of excessive “noise”. Right from the vyasasana Srila Prabhupada would quietly instruct:

“Learn how to play instruments “softly”, quietly, if the kirtan leader is doing so.”

This proved to be difficult for the mostly passionate 20-something devotees at that time, most of whom generally felt the louder the better.

1971 India: I commented on Srila Prabhupada's chanting of jaya radha madhava, and made the statement that it was difficult for devotees to follow how he chanted, his rhythm changes, and his mood, even when chanting this simple prayer. He said jaya radha madhava was one of his favorite prayers.

Even forty years later, how many old timers can follow the subtlety of a kirtan leader, what to speak of the complexity of Srila Prabhupada's kirtan mood and rhythm.

Experiences, Impressions and Observations of Srila Prabhupada Leading Kirtan

When Srila Prabhupada leads kirtan, he opens sound windows to the spiritual world.

It was obvious that his senses and mind were fully focused on transcendental sound. He often closed his eyes at the beginning of prayer or kirtan. Later, when the beat increased or after some time, he would often open his eyes to observe his surroundings or the assembled chanters. This is especially true during long kirtans.

In temple kirtans, he favored playing kartals or a gong. When alone, or with one or two others, when chanting Narottama dasa Thakura's or Bhaktivinoda Thakura's prayers, he enjoyed playing mridanga or harmonium.

Srila Prabhupada played instruments with expertise, and in a very individual distinct way, whether it was kartals, gong, bongo drum, mridanga, or harmonium. His harmonium was like no one else's I have ever heard. He said he asked his father for a harmonium when young, and his father obtained one for him. At that time, harmonium was considered a European instrument, not a temple kirtan instrument.

No matter what he played, instruments are there to support kirtan, they always took second place to the role of his voice. In other words, his voice was the main dominant kirtan instrument.

I recall an Albert Road kirtan, in the autumn of 1972 in Calcutta, where the devotee who was leading placed too much focus on their harmonium playing. Srila Prabhupada stopped the kirtan entirely and said, “Too much harmonium”, and indicated that devotee should lead kirtan. He said, “No harmonium,” and the kirtan resumed.

Srila Prabhupada's kirtan had no tinge of being a performance. It was purely for the pleasure of Krishna. It allowed the chanters access to the fact that the Lord's holy name and the Lord are non-different. He said that the key to anartha free kirtan was hearing and studying our literature, and gradually it would rise to the platform of pure devotional service.

Srila Prabhupada's kirtans and prayers were fully ego free and extremely potent.

One morning at John Lennon's estate in 1969, Srila Prabhupada asked me what my favorite prayer was and I responded, Lord Caitanya's Siksastaka prayers. In turn, I asked him what his favorite prayer was and he immediately replied, “Hari Hari Bifale” by Narottama dasa Thakura.

I had the good fortune of witnessing Srila Prabhupada chant his favorite prayer on four occasions. At Akash Ganga I was sitting right next to him holding a microphone in front of his face. Gurudas took photos of him chanting. His meditation that day was so deep and profound, that the skin on his face became slack — as close as I ever saw him to the point of bodily transformation.

Question: What makes a great kirtan? Talk about the best kirtan (or kirtans) you've ever been in. What made it (them) great?

Purity is the force. Great kirtan is experienced by the mercy of the holy name itself.

Question: What makes a great kirtan leader? What is the consciousness of a good kirtan leader?

No matter what the style of kirtan, that kirtaniya who at least knows that there is no difference between the Lord's holy name and the Lord Himself. A kirtaniya who closes the distance between a gross and subtle sound experience and the manifest presence of the pure holy name. Old or young, a kirtaniya who has tasted the mercy of service to the holy name, and therefore overflows with the desire to share that with others.

Question: Who are some of your favorite kirtan leaders? What is it about them and their style of kirtan leading that you like? Can you talk about any especially memorable kirtans you were in with such great kirtan leaders?

Deep, focused, uncomplicated, long, smooth, soulful, steady, spontaneous, and meditative are a few traits that come to mind. I prefer kirtans supported by a few well played instruments, not the big band kirtans popular today that can be more performance kirtans than Gaudiya tradition supplication and service to the holy name.

Question: A couple names of past appreciated kirtan leaders, and when?

Srila Prabhupada's kirtans in San Francisco in 1967 and 1968 are classic favorites; those early kirtans were non-responsive. In the temple, his congregation of chanters played instruments softly, while Srila Prabhupada generally played his kartals and chanted alone.

When the rhythm was established, he chanted through an entire prayer — most commonly the mangalacarana or guruvastakam prayers — and after finishing, chanted Hare Krishna and then the congregation chanted along with him. Nothing quite matches up to the power, purity or potency of those kirtans, where often the entire congregation was tearfully appreciative.

During this period, he introduced responsive kirtans. New San Francisco disciple kirtan leaders in this period: Visnujana for depth; Harsharani for sweetness; Mukunda for steadiness; and Jayananda for humility.

In London in late 1968: anyone in our party of six.

In London 1969: George Harrison for connection and expansiveness; new devotee Jaya Hari for enthusiasm; Dhananjaya for warmth; Yogeswara for his focus.

In India late 1970 through 1972 on sankirtan with Srila Prabhupada: Dinanath for soul; Nanda Kumar and Rishi Kumar for keeping the beat without force; Bharadraj for smoothness.

From 2004 to 2009: Kartamasya, lover and servant of the holy name and Bhaktivinoda prayer kirtan leader for his pure intent, rich bhakti, and subtlety. Akincina Krishna and Amul for love of kirtan and expertise.

On September 17-18, 2011, Srila Dhanurdhara Swami gave a 15 hour seminar on bhakti at Yogamaya Studio in New York. The following are excerpts from the seminar.

Bhakti Seminar at Yogamaya New York – Part 1

Bhakti Seminar at Yogamaya New York – Part 2

Bhakti Seminar at Yogamaya New York – Part 3

Dhanurdhara Swami speaks at St. Albans School

As part of his monthly satsang series at Yogamaya Studio in New York, Srila Dhanurdhara Swami recently gave a talk entitled “The Yoga of Forgiveness” wherein Maharaja discusses forgiveness and explores the possibilities of overcoming deep resentment from the standpoint of bhakti and yoga psychology.

The Yoga of Forgiveness

Japa Thought

For me, good japa meditation boils down to inner necessity. How much do I need the holy name, not just from a platform of understanding, but from my heart?

What creates that feeling of need? It is humility only. The extent to which we humbly realize that our existence, sustenance, and even devotion rests beyond our power, is the extent to which we feel need, especially for the grace of the holy name.

How to get that humility? Well, one thing we can do is to admit the obvious: Everything beyond God's mercy is failing or will fail in time.

The foundation of everything in spiritual life is the humble mood. Without a deep sense of the need for God's mercy, real spiritual life does not begin and nama bhajan remains tasteless.

Sri Caitanya sat attentively at the feet of His divine master, Sri Isvara Puri, who had just promised to disclose to Him the verse that is the essence of the Bhagavatam. Emphatically, but devotionally, Isvara Puri recited:

“One who chants the names of one's beloved Lord without material attachment or inhibition awakens deep attachment to his Lord. As his hearts melts with ecstatic love, he laughs very loudly or cries or shouts. Sometimes he sings and dances like a madman oblivious to public opinion.” [1]

No serious student of the Bhagavatam questions that nam kirtan is stressed in the text as the best means for realizing the Absolute Reality. [2] How does that, however, make it the fundamental ingredient of everything spoken, the topic that weaves together the myriad subjects found within the text that are geared to establishing Krishna as the full manifestation of Godhead? [3]

To decipher the actual theme of any book the first place to look is the history of its composition, specifically the intention of the author in writing the text. That account is told in the Bhagavatam itself:

Sri Vyasa, the empowered editor of the eternal Vedas, had just failed in his attempt to present the Vedas in a relevant way for this present age of discord. Seeing his despondency, Sri Narada, his spiritual master, confirmed what Sri Vyasa had already suspected, that he had not sufficiently glorified Krishna. Shaken by his teacher's mild rebuke, Sri Vyasa entered a deep meditation to attain greater realization. The result was the Bhagavatam, a text systematically and directly glorifying Krishna in 18,000 beautiful verses meant to be read and sung in various melodies. The Bhagavatam is therefore kirtan itself.

Srila Viswantha Thakur supports the continuity of the composition as kirtan in his commentary on verse three of the Bhagavatam. Commenting on the phrase describing the Bhagavatam as “the mature fruit of Vedic Knowledge” he affirms everything in the text as an expression (kirtan) of the highest devotion:

“The inherent nature of this fruit is rasa (perfected devotion), which implies that there are no parts like the seed or skin that are to be rejected." [4]

There are nine main devotional practices beginning with hearing (sravanam), chanting (kirtanam) and remembering (smaranam) each traditionally represented by a particular exemplar. [5] Saintly Sukadeva Goswami, the main speaker in the Bhagavatam, [6] is the exemplar for kirtan for having devotionally recited the text non-stop for seven days, further affirming the Bhagavatam as kirtan.

We have discussed the Bhagavatam as kirtan itself. Another way to understand kirtan. specifically nam kirtan as the essence of the Bhagavatam, is to understand the message the song delivers. What is the message of the Bhagavatam?

To decipher the theme of a complex text, classical hermeneutics places stress on, among other things, the first and last thing spoken in the text. The crux of the Bhagavatam is the question of King Pariksit (a dying ruler and great devotee) to that same Sukadeva Goswami, the saintly monk that appears at his death to enlighten him. The King asks Sri Sukadeva:

“What is the duty of a man who is about the die and what should he not do?” [7]

The first thing said in answer to this seminal question points not only to kirtan, but nam kirtan as the prime message of the text:

“O King, constant chanting of the holy name of the Lord after the ways of the great authorities is the doubtless and fearless way of success for all, including those who are free from all material desires, those who are desirous of all material enjoyment, and also those who are self-satisfied by dint of transcendental knowledge.”
[8]

The very last verse of the Bhagavatam also supports nam kirtan as the text's fundamental teaching:

“I offer my respectful obeisances unto the Supreme Lord, Hari, the congregational chanting of whose holy names (nama-sankirtanam) destroys all sinful reactions, and the offering of obeisances unto whom relieves all material suffering.” [9]

Every age (yuga) has a particular practice effective for its time. As Bhagavatam was written specifically for the present age called Kali-yuga, evidence for nam kirtan as the prescribed practice for Kali-yuga would also support nam kirtan as the essence of the Bhagavatam.

Such evidence is found in the eleventh canto of the Bhagavatam, where the recommended spiritual practice for each age is listed along with the incarnation that inaugurates that practice. For Kali-yuga, nam kirtan is recommended:

“In the age of Kali, intelligent persons perform congregational chanting (sankirtan) to worship the incarnation of Godhead who constantly sings the names of Krishna[…]” [10]

Although nam kirtan is certainly highlighted in the Bhagavatam, how is one to understand the many other diverse subjects that are apparently unrelated to nam kirtan? If the essence of something is that which pervades everything, how then is nam kirtan the svarupa (the inherent nature) of such assorted and apparently unconnected topics as calculation of time from the atom to the dynasty of Kings?

Sri Jiva Goswami gives the clue to the resolution of this quandary. At the beginning of Sri Bhakti Sandarbha he describes the two ways in which one can approach the text: for good instruction or to relish one's relationship with Krishna. [11] First we need good and repeated instruction to finally surrender to Krishna. Then having realized one's relationship with Krishna, the approach changes. No longer needing instruction one just relishes each statement in the Bhagavatam, including the instructional ones, as inspiration for one's relationship with Krishna.

In other words, for an advanced devotee each and every text of the Bhagavatam nourishes one's relationship with Krishna, which is the foundation of full absorption in chanting, [12] while the apparently diverse subjects of the text provide instruction to attain and support that stage. [13]

For example, after Sri Sukadeva answers Maharaja Pariksit's initial inquiry about one's ultimate duty in life by instructing him to do nam kirtan, he immediately describes non-attachment, seeing God in the world, meditation and other favorable conditions for spiritual life. [14]

We can understand the supplementary topics in the Bhagavatam in relation to kirtan in yet another way. If the purpose of the Bhagavatam is to chant the holy names of the Lord with devotion, then the text must also explain His worthiness for such dedication. The importance of this connection between understanding and devotion is confirmed in one of the key verses in the Bhagavad-gita where Sri Krishna affirms that the learned (budha) become devoted (bhajante). The term budha here is not referring to mere scholarship, but an understanding of the Absolute Reality, in this case realization that Krishna is the absolute source of all. If such knowledge, appropriately called sambandha-jnana (knowledge of relationship), is lacking and one misunderstands one's relationship with God by thinking oneself God, then what is the question of chanting with devotion? True devotion is for others, not oneself.

The essence of the Bhagavatam according to the text [15] is thus not to just chant the holy name, but to do it with sambandha, with a sense of relationship. Relationship, which is the foundation of devotion, also requires an understanding of the relationship of God with matter and the relationship of the soul with matter, all subjects covered extensively in the Bhagavatam. For example, if one misunderstands the relationship of God with matter, and thinks God to be material, [16] or misunderstands the soul's relationship with matter, and thinks one is the body, then what is the impetus or ability to chant with devotion, the essence of the Bhagavatam? [17] Thus to support devotional kirtan the Bhagavatam is full of metaphysical knowledge that clearly establishes the ontological position of Krishna and detaches one from the bodily concept of life.

The Bhagavatam, as described in the second canto of text, [18] is thus comprised of ten subjects, the first nine primarily meant to give one sambandha-jnana, [19] an appropriate understanding of Krishna, the proper object of devotion, whose full nature with pastimes is delineated in the tenth canto, which is the tenth subject, the asraya. [20]

The tenth canto, although just one of twelve cantos, is thus by the far the most substantial in both its depth and shear number of verses. Any analysis of the Bhagavatam as nam kirtan, must therefore also show the relevance between Krishna's pastimes and nam kirtan.

Hearing the pastimes of Krishna is essential for the practitioner of nam kirtan as a mature sense of our relationship with Krishna, the key to devotional chanting, is primarily awakened and nourished by hearing about the activities of one's beloved, especially with those devotees whose relationship one inherently covets. [21]

And although it is true that the practice and goal of bhakti is to absorb oneself fully in thoughts of Krishna, the full manifestation of that contemplation being His lila, nam kirtan still remains the foundation of such remembrance as within His name also rests His form, quality, and pastimes. [22] That is seen within the initial verse cited about the essence of the Bhagavatam where the result of chanting the names of one's beloved Lord are crying, laughing, and other emotions. Such symptoms of pure chanting are the spontaneous response to the awakening of various lilas in one's heart. [23] And nowhere is it recommended to give up nam kirtan at this stage. Rather nam kirtan remains the root of remembering the Lord's pastimes, especially for that person who has properly heard them as delineated in the tenth canto. And that was the example of Sri Caitanya, especially in the last 18 years of his life in Puri. There in the gambhira [24] He continuously chanted the holy name and nourished His relationship with Krishna, in this case the mood of Sri Radha, with narrations and songs based on the Bhagavatam spoken and sung by his most confidential associates, Sri Ramananda Roy and Sri Svarupa Damodar. [25]

It should be noted here also, that Sri Caitanya's example also shows the healthy relationship between nam kirtan and the other forms of kirtan. Although nam kirtan remained the base practice, the others forms of kirtan are not to be neglected. The genuine rupa, guna, and lila kirtan based on the Bhagavatam are also essential in the life of serious practitioner.

One question remains: if nam kirtan is the essence of the Bhagavatam, is it the main mode of expression of the residents of Vrindavan as described in the tenth canto? The answer is no. The residents of Vrindavan are not chanting kirtan as a practice to achieve love of Godhead. Rather their kirtan is an expression of such love (the goal of practice) which manifests accordingly as calling Krishna's name (nam kirtan), [26] speaking about his form (rupa kirtan), talking about his qualities (guna kirtan), or singing His pastimes (lila kirtan). [27] Nam kirtan, however, remains the essence of the Bhagavatam for the reasons mentioned above; it is the main process recommended in and supported by the Bhagavatam to achieve the goal of life: love of Godhead.

Conclusion: The essence of any text and path of yoga is samadhi, absorption in the object of one's meditation to the point of non-awareness of anything external to that object. In bhakti-yoga such absorption in Krishna is best attained by the practice of nam kirtan. Nam kirtan is thus the essence of the teachings of the Bhagavatam best exemplified by the spontaneous nam kirtan of eternal residents of Sri Vrindavan:

“O virtuous lady, if trees or other obstacles block Krsna from sight even briefly, His companions at once shed tears and call in anxious drawn-out voices, “Sri Krishna! Sri Krishna!” [28

[1] Srimad Bhagavatam 11.2.40

[2] It should be noted that the Bhagavatam specifically recommends Sri Krishna kirtan. You will not find the practice of kirtan emphasized in the texts regarding the worship Siva, Durga or even Visnu to nearly the extent it is promoted in the Bhagavatam in relation to Sri Krishna.

[3] In Tattva Sandarbha Sri Jiva Goswami describes SB 1.3.24, which declares Sri Krishna the original personality of Godhead, as the theme verse of the Srimad Bhagavatam.

[4] Srimad Bhagavatam 1.1.3 Commentary by Vishwanath Cakravarti.

[5] The exemplars of the various types of devotionals service are described in the Bhakti-rasamrita sindhu in chapter 14.

[6] Sri Sukadeva Goswami is the son of Vyasa and the first speaker of the Bhagavatam .The story of Sri Sukadeva speaking the Bhagavatam to King Pariksit is the crux of the Bhagavatam itself.

[7] SB 1.19.24

[8] SB 2.1.11

[9] SB 12.13.23

[10] SB 11.5.32

[11] Sri Bhakti Sandarbha, Anuchedda 1

[12] Verse 11.2.40, our seed verse, recommends full non inhibited chanting of the names of one's beloved Lord.

[13] It should be noted that the various subjects in the Bhagavatam are also meant to attract a wide variety of people to devotional service.

[14] In the purport to SB 2.1.14, which comes right after Sukadeva's initial instruction to do nam kirtan (2.1.11) and just before his description of a gradual process to deepen one's meditations, Srila Prabhupada introduces that process with his comment, “The rituals are not formal, but there are also some favorable conditions, which are required to be carried out, as instructed hereafter.”

[15] This specifically refers to text 11.2.40 quoted at the beginning of the paper.

[16] This conception is at the core of Mayavada philosophy – that Krishna is also material and thus illusory.

[17] If one identifies with the body and thus is overwhelmed with selfish impulses what is the question of chanting purely?

[18] SB 2.10.1

[19] Sri Jiva Goswami at the beginning of Sri Bhakti Sandarbha, Anuccheda I, explains that the Bhagavatam is primarily sambandha-jnana, metaphysical knowledge of Krishna. Such knowledge automatically implies that one should adopt the means to realize Him (abhideya) and attain the goal (prayojana), although the means and the goal are also certainly described in their own right.

[20] Sri Jiva Goswami describes the tenth canto as the asraya, ultimate shelter. Other Vaisnava lines such as Vallabha have a different delineation of which cantos represent which subjects.

[21] In the first of his seminal verses outlining the practice of raganuga bhakti, Srila Rupa Goswami writes, “The devotee should always think of Krishna within himself and one should choose a very dear servitor of Krishna in Vrindavan. One should constantly engage in topics about that servitor and his loving relationship with Krishna […]” (BRS 1.2.294)

[22] Described in Sri Bhakti Sandarbha by Srila Jiva Goswami

[23] In the commentary to 11.2.40 Srila Viswanatha Cakravarti has described the cause of emotional symptoms mentioned in the verse as a manifestation of the Lord's lila: “Srila Visvanath Cakravarti Thakur has given a very nice example to illustrate ecstatic laughing and other symptoms of love of Godhead: ‘Oh, that thief Krishna, the son of Yasoda, has entered the house to steal the fresh butter. Grab Him! Keep Him away!’ Hearing these menacing words spoken by the elderly gopi Jarati, Krishna immediately prepares to leave the house. The devotee to whom this transcendental pastime is revealed laughs in ecstasy. But suddenly he can no longer see Krishna. He then cries in great lamentation, ‘Oh! I achieved the greatest fortune in the world, and now it has suddenly slipped from my hands!’ Thus the devotee cries loudly, ‘So my Lord! Where are You? Give me Your answer!’ The Lord answers, ‘My dear devotee, I heard your loud complaint, and so I have again come before you.’ Upon seeing Lord Krishna again, the devotee begins to sing, ‘Today my life has become perfect.’ Thus overwhelmed with transcendental bliss, he begins to dance like a madman." From BBT translation on 11th canto.

[24] Sri Caitanya spent the last 18 years of his life in a small cave-like room in the house of Sri Kasi Misra, the pandit to the King of Puri, called gambhira.

[25] “Two people—Ramananda Raya and Svarupa Damodara Gosvami—stayed with the Lord to pacify Him by reciting various verses about Krishna pastimes and by singing appropriate songs for His satisfaction. “ – Antya 6.9

[26] A particularly beautiful example of nam kirtan in the Bhagavatam is when Krishna asks the cowherd boys to do kirtan of the names of Balaram and Himself to awaken the Vedic Brahmanas from slumber. See 10.23.4.

[27] A brief list of kirtan as the main activity in Goloka, based on the Bhagavatam:

• Mother Yasoda's kirtan – 10.9.1
• Kirtan of elderly gopis – 10.16.21
• Kirtan in morning – 10.15.2
• Kirtan in the forest with cowherd boys – 10.15. 10-12.
• How to do kirtan – 10.15.16
• Kirtan returning from forest – 10.15. 41
• Kirtan of gopis – 10.21.4, 10.30.43
• Kirtan of cowherd boys – 10.21.5

[28] Brhad Bhagavatamrta 1.6.122 spoken by Rohini to Devaki.

I escort a small group of visiting western pilgrims on my favorite Vrindavana hike. Just a mile from the temple, a secluded forest path paralleling the Yamuna escorts us past the multitude of Vrindavana flower garden farms. Just as pleasing as the beautiful farms are the scattering of locals who occasionally cross our path greeting us warmly with a Vrindavana hello, “Jaya Radhe!”

Unfortunately, the worst floods in nearly forty years have wiped out this season's crop and even destroyed many of the flower bearing trees. Still, the beauty of Vrindavana is evident.

We continue our walk. An extraordinarily blissful farmer is walking our way. His beaming smile and glistening eyes reflect a happy heart. His joy is radiant. I feel impelled to stop and meet this beautiful soul. I am surprised to learn of his deep troubles:

“My farm was wiped out by the floods. I lost two lacs rupees. It took many years to develop the farm and it will take at least a year to sufficiently rebuild it.”

“Do you have family,” I ask.

“I have four daughters and a son.”

I listen with sadness, but I am puzzled. How can such unbounded joy still shine in his smile? I ask him. We are stunned by the depth and beauty of his simple expression of bhakti.

“Happiness is a heart full of devotion!”

Japa Thought VI:

A breakthrough in chanting! I can think of no other reason then I went around the sacred Govardhana Hill and kicked up some dust. It’s the dust, the sacred dust. I’m thoroughly convinced of it. There is no other reason.

Japa Thought VII:

Realizations come only when there is sufficient effort and attention in chanting. A blank page is a wake up call that one’s chanting is inattentive. It’s a good reason to write after japa.

Japa Thought VIII:

The Key to Chanting:

The key to chanting is feeling mercy.

But how to feel mercy?

One way: Remember and pray to those that you appreciate and who have touched your heart, past or present.

Remembering kindness helps one to feel kindness. Kindness softens the heart and puts one in a humble mood.

Only in a humble mood can one naturally chant with feeling. And feeling is the key to taste in devotional activity, especially chanting.