Bhagavat Tatparya : Signification

                                                   Bhagavat Tatparya :  Signification

                        (From the 12th canto trans-created Bhagavat Puran by Srimanta Sankardev)

1.  Nigadati Suta   Suniu Sounaka                                           

     Pramukhhye Rishi Jateka                       

Barhaya Skandhar  jitu tatparjjya

    Suniyu Tak  Partekka 

Suta said ,o Saunaka and other sages,hear the compendium of all cantos. 

2.Hari Guna Nam      Sravana Kirtana

    Samaste Dharamare Sar

Barha skandha mili    ake pratipadye

      Suna tar fal sruti

 Sravana (listening) ,Kirtana (Chanting) of Hari Nama and Hari’s divine qualities together is the essence of all Dharma(s)  or religious path.That’s what is the Twelve cantos’ summary  . Now listen to the fala sruti or merit.

3.Pore ba pisole        jadi ba khudraye

    Trisaye pirita huiya

Namo Hari buli           daki uccha kari

  Madhava nama loiya

Chanting the Name of Madhava  loudly ,or Chanting Namo Hari ,even in the unknowing situation such as while being hungry or thirsty or while one is falling or slipping ,

4.Etekote tar    jateka pataka

 Aneka koti janmar

Tate lagi jui   puri bhasma hui 

Maha suddha huya noror

His enormous sins of many births will burnt into ashes (by the Fire of Holy Name) and he becomes pure .

5.Jitu Jone kore      Krishnar Sravan

  Krishnar Kori Kirtan

Ihar cittat          huwanta prabesha

Bhagavanta Narayana

He who listens to the deeds of Krishna by Chanting Krsna ,Lord Narayana enters into His Citta (through Ears ).

6.Eteke pateko    polai tar jen

  Surjyo aage aandhar

Prachanda batase   jen uruwabe

 Nathake meghor sanchar

Just like the darkness can’t stand in presence of the Sun (day light) or Wind blows the clouds , that way , the sin will go ,it can’t stand there .

7.Hari Kirtanese   jana mahabala

Samastare hare pap

Tate botireke   jata aan katha

Samaste misa pralap

 Hari Kirtana is the great force* ,it destroys the  terrible sin . Except it ,other means are just mere dialogue  (or false argument ).

(*Here, Mahabal/great strength is also an salutation for Parikshita too ,as it’s originally the dialogue between Suka Deva  and Parikshita.) 

8.Jitu Bakya sabe    Krishnaka nakahe

   Nakare nam prakkhyata

Sehi bakya missa   sehitu asati

Asantar katha joto

The speech ,where Krishna is not present ,or where, the  glory of Name is absent , is fallacious . These faulty words are Asati (like an unfaithful wife) and Asanta (rogue). 

9. Sehi mahasatya     sehise mangala

    Sehi mahapunyasaya

Kare jitu bakye ishwar Krishnar

    Guna nam abhuday

Those speeches are truthful ,those are auspicious ,those are meritorious ,where Ishvara Krishna’s name and divine qualities are present . 

10. Sehi maharamya  mahantar tate 

    barhe priti nava Nava

Mahante tahate prem  upajaya 

  Manar maha utsava

The great souls find their joy in those Dialogues (filled with Name Krsna) , Saints’ pleasure increases in those holy names ,They find love and feeling of great festivity in those divine dialogues.

11.Sehise harisa     barhaye sehise

    Sosaya soka sagar

Uttam slokar  guna yasha gabe

    Jitu vakye nirantar

The Uttam Sloka increases happiness and dry ups the ocean of misery . Wherever is the constant narration of Guna Yasha  /glory (of Krishna) is a uttama Sloka.

12.Nana citra pade  rachit se bakya 

    Sunante amrita praya 

Kintu hari yasha   jagat pravirta 

    Nahike tat sadaya 

Even if there are many good literary expressions present in some speech or conversation ,even if the poetry sounds like ambrosia to the ears ,but without glorification of Hari ,who purifies the world ,it is just useless.  

13.Kak tulya situ kami purushar

  Janiba ratir sthan

Param bhakat jatane sunanta

  Tat napatanta kan .

Only crow like lustful person has the love for such sensual narration .The great devotees never listen to such devotion-less narrations.

14.Ji kathata krsna    asanta sakshata

        Maha mahantaru gati 

Nirmala bhakat   sakale tatese

       Karanta sadaya rati

Where, Krishna is narrated and life of great devotees are glorified ;only such Narrations are embraced by the pure devotees .

15.Sehi Mahavakye   loka samuhara

   Pataka kare bighat

Keasavar Jase      Ankita ji nam 

    Pratipade ase jat.

Where, the Names of Kesava is present (in every sentence ),those are Maha-Vakyas , These holy Vakya or words will destroy the offenses .

16.Kahanta Thakile   apuni sunayo

     Sunanta sakale ave

Ekeleu smare    jitu Hari Namo

   Sehise mokhys pabe 

When, a narrator is available, devotees listen to the glories of Hari. When,  some percipient are present ,then a devotee narrates the glory to them.In absence of both narrator and beholder, the devotee himself remembers the glory and thus they receives Mokshya /liberation .*

(*Mokshya,  here, is not the absorption or other forms of Mukti,here it’s more like the higher devotional stage ; Just like the Namghosha begins with the Hymn Muktio Nisspriho , Devotee who has no desire even for the final liberation .This stage is Krishna-Maya Abastha – no thoughts of samsar ,but only thoughtfulness of Krishna ,His names and His plays ! )

^In painting : Kaliya Daman,Citra Bhagavata assamese wikisource