ब्राह्ममुहूर्तवर्णनBrahmamuhūrtavarṇanam

Now I shall describe the sweet meditation on the eight periods of the day, by remembering which the practitioner constantly attains supreme bliss.

atha vakṣyāmi madhurām aṣṭapraharabhāvanām |

yāṃ smṛtvā sādhako nityaṃ paramānandam āpnuyāt ||

अथ — now

वक्ष्यामि — I shall describe

मधुराम — sweet

अष्टप्रहरभावनाम् — the meditation on the eight periods of the day

याम् — which

स्मृत्वा — having remembered

साधकः — the practitioner

नित्यम् — constantly

परमानन्दम् — supreme bliss

आप्नुयात् — attains

अथ, अष्टप्रहरभावनाम्, मधुराम, वक्ष्यामि, यां, स्मृत्वा, साधकः, नित्यं, परमानन्दम्, आप्नुयात्,

• अथ — now
• अष्टप्रहरभावनाम् — the meditation on the eight periods of the day
• मधुराम — which is sweet
• वक्ष्यामि — I shall describe
• यां स्मृत्वा — having remembered which
• साधकः — the practitioner
• नित्यं परमानन्दम् आप्नुयात् — attains supreme bliss constantly

• The text introduces the aṣṭa-kālīya-līlā-smaraṇa, the core practice of internal devotional meditation in the Vaiṣṇava tradition.
• The term madhurā (sweet) emphasizes that this meditation is not a dry ritual but a process of relishing the sweetness of the Divine Couple.
• The practitioner (sādhaka) is promised paramānanda (supreme bliss) as the direct result of this focused, constant remembrance.

Having risen during the Brahma-muhūrta, one should perform a mental bath in the sacred waters of the Yamunā and meditate upon the son of Nanda.

brāhme muhūrte’bhyutthāya bhāvayen nandanandanam |

yamunāpuṇyasalile snānaṃ kṛtvā tu mānasam ||

ब्राह्मे — in the Brahma-muhūrta

मुहूर्ते — at the hour

अभ्युत्थाय — having risen

भावयेत् — one should meditate

नन्दनन्दनम् — on the son of Nanda (Kṛṣṇa)

यमुनापुण्यसलिले — in the sacred waters of the Yamunā

स्नानम् — bath

कृत्वा — having performed

तु — indeed

मानसम् — mental

ब्राह्मे मुहूर्ते, अभ्युत्थाय, यमुनापुण्यसलिले, मानसम्, स्नानं, कृत्वा, तु, नन्दनन्दनं, भावयेत्,

• ब्राह्मे मुहूर्ते — during the auspicious pre-dawn hour
• अभ्युत्थाय — having risen
• यमुनापुण्यसलिले — in the sacred waters of the Yamunā
• मानसम् स्नानं कृत्वा — having performed a mental bath
• तु — indeed
• नन्दनन्दनं भावयेत् — one should meditate upon the son of Nanda

• The Brahma-muhūrta (approximately 1.5 hours before sunrise) is considered the most auspicious time for spiritual practice.
• The "mental bath" (mānasa-snāna) signifies the internal purification required before entering the realm of divine meditation.
• Meditating on Nandanandana (Kṛṣṇa) immediately upon waking sets the tone for the entire day's devotional consciousness.

In the center of the heart-lotus, one should worship the couple named Rādhā and Kṛṣṇa, who are known through the essence of the Vedas, being of the very nature of consciousness, and appearing as a divine light of dark and golden hues.

hṛtpuṇḍarīkamadhye tu rādhākṛṣṇābhidhaṃ bhajet |

traivedyaṃ cinmayaṃ jyotirmithunaṃ kṛṣṇapiṅgalam ||

हृत्पुण्डरीकमध्ये — in the center of the heart-lotus

तु — indeed

राधाकृष्णाभिधम् — named Rādhā and Kṛṣṇa

भजेत् — one should worship

त्रैवेद्यम् — known through the three Vedas (or the essence of knowledge)

चिन्मयम् — being of the very nature of consciousness

ज्योतिः — light

मिथुनम् — the couple

कृष्णपिङ्गलम् — dark and golden

हृत्पुण्डरीकमध्ये, तु, राधाकृष्णाभिधं, त्रैवेद्यं, चिन्मयं, ज्योतिर्मिथुनं, कृष्णपिङ्गलम्, भजेत्,

• हृत्पुण्डरीकमध्ये — in the center of the lotus of the heart
• तु — indeed
• राधाकृष्णाभिधं — named Rādhā and Kṛṣṇa
• त्रैवेद्यं — known through the essence of the Vedas
• चिन्मयं — being of the very nature of consciousness
• ज्योतिर्मिथुनं — the divine couple of light
• कृष्णपिङ्गलम् — dark and golden in hue
• भजेत् — one should worship

• The heart-lotus (hṛt-puṇḍarīka) is the internal altar where the practitioner establishes the presence of the Divine.
• Kṛṣṇa-piṅgalam refers to the distinct complexions of the couple: Kṛṣṇa as dark (like a rain cloud) and Rādhā as golden (like molten gold).
• The description cinmaya confirms that this meditation is not on material forms but on the transcendental, conscious reality of the Divine.

I take refuge in the dark light and the golden light that arises from it; in this way, one should meditate upon the couple who are known by the Vedānta within the heart.

prapadye śyāmalaṃ jyotiḥ śyāmalācchabalaṃ tathā |

evaṃ vedāntavedyaṃ mithunaṃ hṛdi bhāvayet ||

प्रपद्ये — I take refuge

श्यामलम् — dark

ज्योतिः — light

श्यामलाच्छबलम् — the golden (lit. variegated/bright) from the dark

तथा — and

एवम् — thus

वेदान्तवेद्यम् — known by the Vedānta

मिथुनम् — the couple

हृदि — in the heart

भावयेत् — one should meditate

श्यामलं, ज्योतिः, तथा, श्यामलाच्छबलं, प्रपद्ये, एवं, वेदान्तवेद्यं, मिथुनं, हृदि, भावयेत्,

• श्यामलं ज्योतिः — the dark light (Kṛṣṇa)
• तथा — and
• श्यामलाच्छबलं — the golden light (Rādhā) arising from the dark
• प्रपद्ये — I take refuge in
• एवं — in this way
• वेदान्तवेद्यं मिथुनं — the couple known by the Vedānta
• हृदि भावयेत् — one should meditate upon in the heart

• The phrase śyāmalācchabalaṃ suggests the theological concept that Rādhā is the hlādinī-śakti or the golden radiance emanating from the dark Kṛṣṇa.
• Vedānta-vedyam asserts that the ultimate conclusion of all Vedic knowledge is the realization of this Divine Couple.
• The act of prapadye (taking refuge) establishes the devotional attitude of surrender required for successful meditation.

He is the embodiment of love for Rādhā, and she is the embodiment of love for Kṛṣṇa; he is devoted to the service of Rādhā, and she is dedicated to the service of Kṛṣṇa.

rādhāpremasvarūpaṃ ca kṛṣṇapremasvarūpiṇīm |

rādhādāsyaparaṃ caiva kṛṣṇadāsyaparāyaṇām ||

राधाप्रेमस्वरूपम् — the embodiment of love for Rādhā

च — and

कृष्णप्रेमस्वरूपिणीम् — the embodiment of love for Kṛṣṇa

राधादास्यपरम् — devoted to the service of Rādhā

च — and

एव — indeed

कृष्णदास्यपरायणाम् — dedicated to the service of Kṛṣṇa

राधाप्रेमस्वरूपं, च, कृष्णप्रेमस्वरूपिणीं, राधादास्यपरं, च, एव, कृष्णदास्यपरायणां,

• राधाप्रेमस्वरूपं — the embodiment of love for Rādhā (Kṛṣṇa)
• च — and
• कृष्णप्रेमस्वरूपिणीं — the embodiment of love for Kṛṣṇa (Rādhā)
• राधादास्यपरं — devoted to the service of Rādhā
• च एव — and indeed
• कृष्णदास्यपरायणां — dedicated to the service of Kṛṣṇa

• This verse highlights the reciprocal nature of their love, where each is the servant and the beloved of the other.
• The term svarūpa indicates that their very essence is defined by their mutual affection.
• This mutual service (dāsya) is the highest expression of their transcendental relationship in the Vaiṣṇava tradition.

He resides in the heart-lotus of Rādhā, and she resides in the heart-lotus of Kṛṣṇa; he is tender, beautiful, and dark like a rain cloud, while she is beautiful and possesses the luster of lightning.

rādhāhṛtpadmavāsaṃ ca kṛṣṇahṛtpadmavāsinīm |

snigdhacārughanaśyāmaṃ sundarīṃ ca taṭitprabhām ||

राधाहृत्पद्मवासम् — residing in the heart-lotus of Rādhā

च — and

कृष्णहृत्पद्मवासिनीम् — residing in the heart-lotus of Kṛṣṇa

स्निग्धचारुघनश्यामम् — tender, beautiful, and dark like a rain cloud

सुन्दरीम् — beautiful

च — and

तटित्प्रभाम् — having the luster of lightning

राधाहृत्पद्मवासं, च, कृष्णहृत्पद्मवासिनीं, स्निग्धचारुघनश्यामं, सुन्दरीं, च, तटित्प्रभाम्,

• राधाहृत्पद्मवासं — residing in the heart-lotus of Rādhā
• च — and
• कृष्णहृत्पद्मवासिनीं — residing in the heart-lotus of Kṛṣṇa
• स्निग्धचारुघनश्यामं — tender, beautiful, and dark like a rain cloud (Kṛṣṇa)
• सुन्दरीं — beautiful (Rādhā)
• च — and
• तटित्प्रभाम् — having the luster of lightning

• The mutual indwelling (hṛt-padma-vāsa) signifies their inseparable spiritual union.
• The metaphors of the "rain cloud" (ghana-śyāma) and "lightning" (taṭit-prabhā) are classic poetic descriptions of Kṛṣṇa and Rādhā.
• The adjectives snigdha (tender/affectionate) and cāru (beautiful) emphasize the aesthetic sweetness of their forms.

His lotus-feet are marked with kuṅkuma and adorned with golden anklets, while her lotus-feet are marked with red lac and adorned with tinkling bells.

kuṅkumāṅkitapādābjaṃ lākṣāṅkitapadāmbujām |

hemanūpurapādābjaṃ kvaṇatkiṅkiṇibhūṣaṇām ||

कुङ्कुमाङ्कितपादाब्जम् — lotus-feet marked with kuṅkuma

लाक्षाङ्कितपदाम्बुजाम् — lotus-feet marked with red lac

हेमनूपुरपादाब्जम् — lotus-feet adorned with golden anklets

क्वणत्किङ्किणिभूषणाम् — adorned with tinkling bells

कुङ्कुमाङ्कितपादाब्जं, लाक्षाङ्कितपदाम्बुजां, हेमनूपुरपादाब्जं, क्वणत्किङ्किणिभूषणाम्,

• कुङ्कुमाङ्कितपादाब्जं — whose lotus-feet are marked with kuṅkuma (Kṛṣṇa)
• लाक्षाङ्कितपदाम्बुजां — whose lotus-feet are marked with red lac (Rādhā)
• हेमनूपुरपादाब्जं — whose lotus-feet are adorned with golden anklets (Kṛṣṇa)
• क्वणत्किङ्किणिभूषणाम् — who is adorned with tinkling bells (Rādhā)

• The specific markings on the feet are traditional indicators of divine beauty and status in the Vaiṣṇava tradition.
• The mention of nūpura (anklets) and kiṅkiṇi (bells) adds an auditory dimension to the visual meditation.
• These details help the practitioner visualize the physical reality of the Divine Couple in their līlā.

His waist is adorned with chains, and her hips shine with a girdle; he wears divine yellow garments, and she is adorned with blue garments.

śṛṅkhalālaṅkṛtakaṭiṃ kāñcīśobhinitambinīm |

divyapītāmbaradharaṃ nīlāmbaravibhūṣitām ||

शृङ्खलालङ्कृतकटिम् — waist adorned with chains

काञ्चीशोभिनितम्बिनीम् — hips shining with a girdle

दिव्यपीताम्बरधरम् — wearing divine yellow garments

नीलाम्बरविभूषिताम् — adorned with blue garments

शृङ्खलालङ्कृतकटिं, काञ्चीशोभिनितम्बिनीं, दिव्यपीताम्बरधरं, नीलाम्बरविभूषितां,

• शृङ्खलालङ्कृतकटिं — whose waist is adorned with chains (Kṛṣṇa)
• काञ्चीशोभिनितम्बिनीं — whose hips shine with a girdle (Rādhā)
• दिव्यपीताम्बरधरं — who wears divine yellow garments (Kṛṣṇa)
• नीलाम्बरविभूषितां — who is adorned with blue garments (Rādhā)

• The contrast between the yellow (pītāmbara) and blue (nīlāmbara) garments highlights the aesthetic harmony of the couple.
• Kāñcī (girdle) and śṛṅkhalā (chains) are standard ornaments that enhance the grace of their divine forms.
• This verse continues the detailed aṅga-praty-aṅga (limb by limb) meditation on the Divine Couple.

He wears a divine silk upper garment, and she wears a silk breast-band; both possess a graceful three-fold bending form.

divyakṣaumottarīyaṃ ca kauśeyastanapaṭṭikām |

tribhaṅgilalitākāraṃ tribhaṅgilalitākṛtim ||

दिव्यक्षौमोत्तरीयम् — wearing a divine silk upper garment

च — and

कौशेयस्तनपट्टिकाम् — wearing a silk breast-band

त्रिभङ्गिललिताकारम् — having a graceful three-fold bending form

त्रिभङ्गिललिताकृतिम् — having a graceful three-fold bending form

दिव्यक्षौमोत्तरीयं, च, कौशेयस्तनपट्टिकां, त्रिभङ्गिललिताकारं, त्रिभङ्गिललिताकृतिं,

• दिव्यक्षौमोत्तरीयं — wearing a divine silk upper garment (Kṛṣṇa)
• च — and
• कौशेयस्तनपट्टिकां — wearing a silk breast-band (Rādhā)
• त्रिभङ्गिललिताकारं — having a graceful three-fold bending form (Kṛṣṇa)
• त्रिभङ्गिललिताकृतिं — having a graceful three-fold bending form (Rādhā)

• The tribhaṅga (three-fold bend) posture is the signature aesthetic of Kṛṣṇa and Rādhā, representing the pinnacle of divine grace.
• Kṣauma and kauśeya refer to high-quality silks, emphasizing the royal and divine nature of the couple.
• The repetition of the tribhaṅga description for both underscores their perfect symmetry and unity in beauty.

His hand is adorned with a flute, and her lotus-hand holds a playful parrot; his body is smeared with white sandalwood paste, and she is anointed with Hari-candana.

muralīmaṇḍitakaraṃ līlāśukakarāmbujām |

śvetacandanaliptāṅgaṃ haricandanalarcitām ||

मुरलीमण्डितकरम् — hand adorned with a flute

लीलाशुककराम्बुजाम् — lotus-hand holding a playful parrot

श्वेतचन्दनलिप्ताङ्गम् — body smeared with white sandalwood paste

हरिचन्दनचर्चिताम् — anointed with Hari-candana (sandalwood)

मुरलीमण्डितकरं, लीलाशुककराम्बुजां, श्वेतचन्दनलिप्ताङ्गं, हरिचन्दनचर्चितां,

• मुरलीमण्डितकरं — whose hand is adorned with a flute (Kṛṣṇa)
• लीलाशुककराम्बुजां — whose lotus-hand holds a playful parrot (Rādhā)
• श्वेतचन्दनलिप्ताङ्गं — whose body is smeared with white sandalwood paste (Kṛṣṇa)
• हरिचन्दनचर्चितां — who is anointed with Hari-candana (Rādhā)

• The flute (muralī) is the iconic instrument of Kṛṣṇa, while the parrot (śuka) is a common companion of Rādhā in the groves of Vṛndāvana.
• Sandalwood paste (candana) is used to cool and decorate the Divine, signifying the loving service of the devotees.
• The distinction between śveta-candana and hari-candana adds a layer of sensory detail to the meditation.

He is adorned with the Vaijayantī garland, and she is adorned with a lotus garland; his neck is adorned with the Kaustubha gem, and she is adorned with a necklace.

bhūṣitaṃ vaijayantyā’pi bhūṣitāṃ padmamālayā |

kaustubhālaṅkṛtagrīvaṃ graiveyakavibhūṣitām ||

भूषितम् — adorned

वैजयन्त्या — with the Vaijayantī garland

अपि — also

भूषिताम् — adorned

पद्ममालया — with a lotus garland

कौस्तुभालङ्कृतग्रीवम् — neck adorned with the Kaustubha gem

ग्रैवेयकविभूषिताम् — adorned with a necklace

भूषितं, वैजयन्त्या, अपि, भूषितां, पद्ममालया, कौस्तुभालङ्कृतग्रीवं, ग्रैवेयकविभूषितां,

• भूषितं वैजयन्त्या — adorned with the Vaijayantī garland (Kṛṣṇa)
• अपि — also
• भूषितां पद्ममालया — adorned with a lotus garland (Rādhā)
• कौस्तुभालङ्कृतग्रीवं — whose neck is adorned with the Kaustubha gem (Kṛṣṇa)
• ग्रैवेयकविभूषितां — who is adorned with a necklace (Rādhā)

• The Vaijayantī garland and the Kaustubha gem are traditional symbols of Kṛṣṇa’s divinity.
• The lotus garland (padmamālā) reflects Rādhā’s connection to the lotus, a symbol of purity and beauty.
• These ornaments serve as focal points for the practitioner to visualize the majesty and elegance of the Divine Couple.

He is adorned with a peacock feather, and she is adorned with a crest-jewel; in this way, one should meditate upon Mādhava and Rādhikā in the heart with joy.

śikhipiñchamaṇḍanaṃ ca cūḍāmaṇivibhūṣitām |

mādhavaṃ rādhikāṃ caivaṃ sānandaṃ hṛdi bhāvayet ||

शिखिपिञ्छमण्डनम् — adorned with a peacock feather

च — and

चूडामणिविभूषिताम् — adorned with a crest-jewel

माधवम् — Mādhava (Kṛṣṇa)

राधिकां — Rādhikā

च — and

एवम् — thus

सानन्दम् — with joy

हृदि — in the heart

भावयेत् — one should meditate

शिखिपिञ्छमण्डनं, च, चूडामणिविभूषितां, माधवं, राधिकां, च, एवं, सानन्दं, हृदि, भावयेत्,

• शिखिपिञ्छमण्डनं — adorned with a peacock feather (Kṛṣṇa)
• च — and
• चूडामणिविभूषितां — adorned with a crest-jewel (Rādhā)
• माधवं राधिकां च — Mādhava and Rādhikā
• एवं — in this way
• सानन्दं — with joy
• हृदि भावयेत् — one should meditate upon in the heart

• The peacock feather (śikhi-piñcha) is the quintessential ornament of Kṛṣṇa, symbolizing his pastoral beauty.
• The crest-jewel (cūḍāmaṇi) signifies the exalted status of Rādhā.
• The instruction to meditate sānandam (with joy) emphasizes that the practice must be infused with bhakti and internal happiness.

Then, one should perform the morning duties such as bathing and twilight prayers.

snānasaṃdhyādikaṃ karma prabhātīyam athācaret ||

स्नानसन्ध्यादिकम् — bathing, twilight prayers, etc.

कर्म — duties/activities

प्रभातीयम् — of the morning

अथ — then

आचरेत् — one should perform

अथ, प्रभातीयं, स्नानसन्ध्यादिकं, कर्म, आचरेत्,

• अथ — then
• प्रभातीयं — of the morning
• स्नानसन्ध्यादिकं कर्म — duties such as bathing and twilight prayers
• आचरेत् — one should perform

• This verse transitions from internal meditation to the external devotional duties of the morning.
• The term snāna-sandhyādikaṃ refers to the standard daily rituals performed by a practitioner in the Vaiṣṇava tradition.
• By performing these duties after the internal meditation, the practitioner integrates their spiritual focus into their daily life.

॥ त्रयोदशः परिच्छेदः समाप्तः ॥