Maṅgalācaraṇam - Commentary
The purpose of Maṅgalācaraṇam is to begin with a sense of devotion, reverence, and dedication.
Verse 1
yatpādāmbujareṇavaḥ – the dust of whose lotus feet; svīyānāṃ – of their own devotees; cintāsantānahantāraḥ – destroyer of the lineage of anxieties; tān – them; nijācāryān – the revered preceptors; muhuḥ-muhuḥ – again and again; praṇamāmi – I bow down
Meaning
I repeatedly bow down to the Puṣṭimārgācārya Śrī Mahāprabhu, whose lotus feet’s dust is auspicious for the entire puṣṭi-lineage, and who removes the anxieties arising from a devotee’s concern related to bhagavad-bhakti or bhagavat-prapatti in Puṣṭimārgīya life.
Commentary
Puṣṭimārga is not a universal because it is exclusively the dharma of puṣṭijīvas (souls nurtured by divine grace). Hence, Śrī Mahāprabhu resolves the anxieties related to the bhakti-prapatti of puṣṭijīvas. In this maṅgalācaraṇa (invocatory verse), we surrender by venerating the bhagavanmukhāravinda (lotus mouth) of Śrī Mahāprabhu, who manifested on Earth in the form of an ācārya for the sake of puṣṭijīvas’ endeavors.
Without Him, puṣṭijīvas cannot remain assured in the puṣṭibhakti of Puṣṭiprabhu. Therefore, surrender to the ācārya through maṅgalācaraṇa is the primary means. Śrī Viṭṭhalanātha Prabhucaraṇa teaches this very principle.
Verse 2
yadanugrahato – by whose grace; jantuḥ – the living being; sarvaduḥkhātigo – transcends all sorrows; bhavet – becomes; taṃ – without whom; śrīmadvallabhanandanam – Śrī Gopīnāthjī, the son of Śrī Mahāprabhujī; ahaṃ – I; sarvadā – always; vande – bow down to
Meaning
I eternally bow down to Śrīmadvallabhācārya Mahāprabhu’s son, by whose grace the living being, born into this world and drowning in the ocean of worldly sorrows, becomes able to overcome all sufferings.
Commentary
This verse was composed by Śrī Viṭṭhalanātha Prabhucaraṇa to venerate his elder brother Śrī Gopīnātha Prabhucaraṇa. However, in contemporary Puṣṭimārgīya practice, while maintaining the principle of non-difference between the two brothers, devotees should remember and venerate both Śrī Gopīnāthjī and Śrī Viṭṭhalanāthjī.
Verse 3
yena – by whom; ajñānatimirāndhasya – blinded by the darkness of ignorance; (mama) – my; cakṣuḥ – eyes; jñānāñjanaśalākayā – with the collyrium stick of knowledge; unmīlitaṃ – were opened; tasmai – to that; śrīgurave – revered guru; namaḥ – obeisance
Meaning
My salutations to those gurus who have opened the eyes of blind people like me (who were blinded by the darkness of ignorance) with the collyrium stick of divine knowledge!
Commentary
This verse is for meditating upon and venerating the founding ācārya (mūlācārya) of the Puṣṭisampradāya - the father and son - who are the spiritual teachers of all puṣṭijīvas, as well as all subsequent gurus who instruct puṣṭijīvas in the Puṣṭimārga.
The characteristics of a qualified Puṣṭimārga guru are:
Being devoted to Śrī Kṛṣṇa’s service, free from hypocrisy, and knowledgeable about the profound secrets of the bhakti path as revealed in Śrī Bhāgavata
As explained by Śrī Mahāprabhu in Sarvanirṇayanibandha. The qualifications for giving initiation (dīkṣā) in the Puṣṭimārga - including the Aṣṭākṣaramantra and Gadyamantra-Pañcākṣaramantra - were established by Śrī Prabhucaraṇa in the Śrīmad-vallabha-vaṃśa (the revered lineage of Śrī Vallabha) by the name bhuvibhaktipracāraikakṛte svānvayakṛt.
If the descendants of Śrīmad-vallabha-vaṃśa are found lacking these qualifications, one should consider Śrī Mahāprabhu himself as the guru.
Verse 4 - 5
namāmi – I bow; hṛdaye – in the heart; śeṣe – on Śeṣa (divine serpent); līlākṣīrābdhiśāyinam – who playfully reclines on the ocean of milk; lakṣmīsahasralīlābhiḥ – served joyfully by thousands of Lakṣmīs; sevyamānam – being worshipped; kalānidhim – the treasury of arts. caturbhiśca caturbhiśca – by fours and fours; tribhiḥ tathā – and by threes as well; ṣaḍbhiḥ – by sixes; virājate – he shines; yo’sau – he who; pañcadhā – in five ways; hṛdaye mama – in my heart.
Meaning
Upon Śeṣaśayyā, or within the Śeṣarūpa heart, served by countless Līlās of Lakṣmī; or served by the Līlās performed by thousands of Lakṣmīrūpa Puṣṭibhaktas, abiding in Līlā and Kṣīrābdhi; or situated within the Līlārūpa Kṣīrābdhi, the treasure of sixty-four arts, I bow to the Daśamaskandhokta-Līlāvihārī Lord.
The first four chapters of the Tenth Skandha are known as ‘Janmaprakaraṇa.’ From the fifth chapter to the thirty-fifth chapter lies the second section, which includes four subsections: Tamasapramāṇa, Tamasaprameya, Tamasasādhana, and Tamasaphala. From the thirty-sixth chapter to the sixty-third chapter lies the third section, comprising four subsections: Rajasapramāṇa, Rajasaprameya, Rajasasādhana, and Rajasaphala. From the sixty-fourth chapter to the eighty-fourth chapter lies the fourth section, which includes three subsections: Sāttvikaprameya, Sāttvikasādhana, and Sāttvikaphala. From the eighty-fifth chapter to the ninetieth chapter lies the fifth section on virtues.
The Lord, who performed the divine Līlās described in these five sections, resides in my heart. I bow to Him.
Verse 6
śrīgovardhananāthapādayugalam – the sacred feet of śrīgovardhananātha; haiyaṅgavīnpriyam – the beloved of fresh butter; śrīmathurādhipam – the ruler of śrīmathurā; śrīviṭṭhaleśam – the glorious śrīviṭṭhalnātha; śrīmadvāravateśa(ṃ) – the supreme lord of śrīdvārakā; gokulapati(ṃ) – the master of gokula; śrīgokulenduvibhum – the divine moon of gokula; śrīmanmanmathamohanam – the enchanter of Cupid; naṭavaram – the supreme dancer; śrībālakṛṣṇam – the form of śrībālakṛṣṇa; sukhakaram – the giver of happiness; vibhum – the almighty; mudā – with joy; nityaṃ – eternally; bhaje – I sing praises.
Meaning
- Śrī Govardhan Nāthajī
- Śrī Navnītpriyajī
- Śrī Mathurādheeshjī
- Śrī Vitthal Nāthajī
- Śrī Dwārkādheeshjī
- Śrī Gokul Nāthajī
- Śrī Gokulchandramājī
- Śrī Madanmohanajī
- Śrī Naṭvarlālajī
- Śrī Bālakṛṣṇa Lālajī
In the home of Śrī Gusāñījī, all these forms of the Lord reside together. Along with the seven sons, the daughter, and the daughters-in-law, they grant extraordinary joy of divine service to Śrī Prabhucharan. Immersed in this divinity, I am filled with bliss and engage daily in meditative devotion to these forms.
Commentry
The descriptions of these forms (Swarūpas) have been given sequentially, but some ignorant beings indicate distinctions (Tāratamya) among the forms, which should be understood as mere ignorance. According to Śrī Gusāñījī’s Vachanāmṛta, “Who calls one Swarūpa greater or lesser?” Therefore, with regards to the worshipful forms of Śrī Mahāprabhu (1-8) and those of Śrī Prabhucharan (9-10), one should not perceive distinctions with a worldly intellect.
A doubt arises concerning the other numerous Nidhiswarūpas of Śrī Mahāprabhu and Śrī Prabhucharan that have not been explicitly mentioned. The reason is that one should not bring a sense of inferiority towards other Nidhiswarūpas. If distinctions such as Puṣṭipurūṣottamatā or Pūrṇapurūṣottamatā are perceived among the other forms, it would result in the severe offense of seeking support elsewhere (Anyāśraya).
Although all the worshipful forms possess the same Puṣṭipurūṣottamatā, the service of a particular Swarūpa being performed within the lineage of the seven sons (of Śrī Prabhucharan) or by any Vaiṣṇava does not diminish the greatness of the Swarūpa. Śrī Harirāyajī has emphasized this very truth in the text Swarūpatāratamyavimarśa. Therefore, those who perceive Tāratamya among Puṣṭiswarūpas with a worldly intellect are offenders against Bhagavatswarūpa, Ācārya, and the Path (Mārga).
Verse 7
giridharaṃ – śrīgiridhara; govindarāyābhidham – śrīgovindarāya; śrīmadbālakṛṣṇa-gokulapati – śrībālakṛṣṇa and śrīgokulnātha; raghūṇāṃnātham – śrīraghunātha; śrīyadunāyakaṃ – śrīyadunātha; ghanaśyāmam – śrīghanaśyāma; evaṃ – similarly; tadvaṃśajān – their descendants; ca – and; kālindīṃ – śrīyamunā; svagurum – one’s Guru; (govardhana)girim – śrīgovardhana girirāja; guru(sevya)vibhuṃ – the venerable Lord worthy of service; svīyaprabhuṃ ca – and one’s Lord; smaret – should be remembered.
भावार्थ
Śrīmad Vallabhacharya Mahāprabhu, Śrī Vitthalnāth Prabhucharan, Śrī Giridharjī, Śrī Govindrāyajī, Śrī Bālakṛṣṇajī, Śrī Gokulnāthjī, Śrī Raghunāthjī, Śrī Yadunāthjī, Śrī Ghanashyāmjī; along with their descendants, Śrī Yamunājī, the Guru who bestows the Aṣṭākṣara mantra and Brahmasambandha mantra, Śrī Govardhangiri, the worshipful form (Sevyaswarūpa) of their initiating Guru, and their own worshipful forms, are remembered.
टीका
If the modern Guru offering initiation in one’s path visibly and integrally displays the qualities of “Kṛṣṇasevāparatā (dedication to Krishna’s service), Dambhādirahitatā (absence of pride and deceit), and Bhāgavatatattvajñatā (knowledge of Bhāgavata’s essence),” then the Guru sentiment and the commands of Bhagavatseva provided by them are considered equal to the direct statements/commands of Puruṣottama. However, if these qualities are not visible, then the Guru sentiment should remain limited to Śrī Mahāprabhu and Śrī Prabhucharan, and the modern Guru should only be considered as a medium (Gurudvāratā). Hence, through Gurudvāratā, the indispensability of the Puruṣottama sentiment is not required.
Verse 8
barhāpīḍaṃ – the peacock feather crown; (bibhrad) – adorned with; naṭavaravapuḥ – the form of the supreme dancer; (bibhrad) – bearing; karṇayoḥ – on both ears; karṇikāram – with kaner flowers; (bibhrad) – adorned with; kanakakapiśaṃ – golden-hued; vāsaḥ – attire; (bibhrad) – and; vaijayantīṃ – the garland made of five types of flowers; mālām – garland; (bibhrad) – worn by; adharasudhayā – with nectar-like lips; veṇoḥ – of the flute; randhrān – the holes; pūrayan – filling; gopavṛndaiḥ – surrounded by groups of cowherds; gītakīrtiḥ – whose glories are sung; svapadaramaṇam – rendering the ground joyful with his footprints; vṛndāraṇyam – in the forest of Vrindavan; prāviśad – he entered.
भावार्थ
With a crest of peacock feathers adorning His divine head, embodying the form of both a dancer and a hero, wearing earrings made of Kaner flowers, dressed in golden-hued garments and adorned with the Vaijayantī garland, playing the nectar-like flute upon His lips, accompanied by cowherd boys, whose glory is sung continuously—such a Lord, with His devotion-filled lotus feet, entered Vṛndāvana, making it enchanting.
टीका
In the Tenth Skandha of the Bhāgavata, within the Tāmas-prameya section, the description of the prameya form of the Lord is presented in this verse. The divine form, qualities, and Līlās of the Lord described here were supernaturally perceived and heard by the devotees of Vraja. This experience was manifested through the veṇunāda (flute melody), which resonated within their hearts as an embodiment of Brahmavidyā. Just as the Śraut (grounded in the śruti) form of Brahman established in the heart through śrutivachan (scriptural utterances), similarly, the sweet form, qualities, and Līlās of the Lord residing in Vṛndāvana were experienced through veṇunāda in the hearts and senses of the devotees of Vraja. This description, therefore, elucidates the divine Prameya.
The peacock, dancing in its ecstasy, spreads its tail feathers into a bouquet-like arrangement. Inspired by this, the Lord adorned His divine head with a bouquet of peacock feathers. This manifestation of the Lord is both enlightening and rasātmaka (full of essence). Like a skilled dancer exhibiting the sentiments of śṛṅgārarasa (aesthetic sentiment of love), and as a hero (vara), who directly experiences the bliss of love, this dual form of the Lord is revealed. Just as the enlightened realize the Supreme within, these dual forms are similarly experienced. However, the true meaning lies in the fact that the Lord assumes an external form to provide happiness to His devotees.
The Kaner flowers adorning the Lord’s ears reveal the awakening power of beauty and essence. The śṛṅgāra rasa, which manifests as union and separation, is revealed through the Lord’s two ears. In separation as in union, the emotional expressions of devotees are heard by the Lord.
Rasa remains rasa only when concealed; otherwise, it becomes rasābhāsa (pseudo essence). To maintain this concealment, the Lord adorned Himself with Pītāmbara (yellow garments). The Pītāmbara appears like an enchanting veil of illusionary Māyā resembling gold. Alongside, the Lord wore the glory-filled garland of Vaijayantīmālā.
The nectar-like lips of the Lord, adorned with adhara-sudhā (nectar on His lips), are accessible to all. Only through listening to the veṇunāda can this nectar be consumed; otherwise, it is impossible. This veṇuvādana reveals the profound emotions of enjoyment and accessibility. Through this process, the Lord, who possesses self-delight (ātmarama), expresses the sentiment of His innate blissful form (svarūpānanda). The sound of veṇunāda created by the Lord enters the hearts of devotees through their ears and reveals the sentiment of enjoying the bliss of the Lord’s divine form. Compared to the bliss of material pleasures (viṣayānanda) or liberation (mokṣānanda), the bliss of the Lord’s form appears insignificant and petty. Devotees who partake in the bliss of the Lord’s form become completely immersed in it, forgetting the world and its objects. Thus, through veṇunāda, the Lord granted the devotees of Vraja the suitable enjoyment of the bliss of His form.
The lotus feet of the Lord are the embodiment of devotion. His feet first establish devotion, enabling Vṛndāraṇya or Vṛndāvana to gain the right to merge into the bliss of the Lord’s form. Only those who are absorbed (niruddha) by forgetting the material world and fully immersed in the Lord’s form can independently partake in the bliss of the Lord’s form. Submissive to such devotees, the Lord reveals the profound emotional essence within His blissful form. Thus, this verse provides the ultimate description of the Prameya form of the Lord.
Verse 9
saundaryaṃ – beauty; nijahṛdagataṃ – situated in his own heart; prakaṭitaṃ – manifested; strīgūḍhabhāvātmakam – with the hidden mood of femininity; puṃrūpañca – masculine form; punastadantaragataṃ – and then imbued into the beloved; prāviviśat – entered; svapriye – into his beloved. saṃśliṣṭāvubhayau – united together, both; babhau – became radiant; rasamayaḥ – filled with divine bliss; kṛṣṇaḥ – Lord Kṛṣṇa; hi yatsākṣikam – as witnessed. rūpaṃ tattritayātmakam – that form comprises three aspects; paramabhidhyeyam – worthy of supreme meditation; sadāvallabham – always dear.
भावार्थ
Within the all-essence-encompassing Kṛṣṇa resides profound beauty characterized by enjoyment, intended for granting the bliss of His divine form (Svarūpānanda). Similarly, to consume Kṛṣṇa’s Svarūpānanda (bliss of His divine form), Swāminī embodies a secret (gūḍha) Bhoktṛbhāva (secret sentiment of being the enjoyer). This profound beauty remains present in the Lord as enjoyment and in the Swāminī as the enjoyer, which sometimes manifests and overflows during the state of ultimate essence-arousal (Rasodbodhana); otherwise, it remains concealed.
The overflow of this profound beauty supports the eligibility of witnessing forms during Rāsātmikā Līlā. The mixture of the overflowed profound emotional beauty of Bhagavat and the beauty of Swāminī during the Rāsalīlā reveals the essence-filled (Rāsātmk) Kṛṣṇa as the beloved of His dear ones, leading to:
- Profound feminine (Bhogya) sentiment
- Profound masculine (Bhoktṛ) sentiment
- Witnessing sentiment
This triadic form is eternally beloved by the lives in the Puṣṭi tradition and is suitable for the highest meditation.
टीका
In the verse “Barhāpīḍaṃ Naṭavaravapuḥ,” the Prameya form of Lord Śrī Kṛṣṇa is elucidated, whose Pramānswarūpa is none other than Mahāprabhu Śrīmad Vallabhāchārya himself. This verse describes Mahāprabhu’s divine form as elaborated by Śrī Gopīnath Prabhucharan. The reason being, without evidence, Prameya cannot be established. If Mahāprabhu had not manifested, the revelation of Śrī Kṛṣṇa’s profound beauty—which serves as the foundation for Puṣṭibhakti sentiment—would have been impossible.
Certain hypocritical beings exploit Mahāprabhu’s triadic nature (Tritayatmaktā) as described in this verse to express their hidden resentment towards Mahāprabhu’s teachings on exclusive devotion to Śrī Kṛṣṇa. They argue that Śrī Kṛṣṇa’s original form is singular and that the triadic form is supreme for meditation, which is Mahāprabhu’s form. These hidden resentments are negated by this verse itself, as the triadic form is meant for meditation, not for service.
Just as in the world, someone performing righteous or unrighteous deeds is recognized as a witness, but the primary results are experienced by the doer of righteousness or unrighteousness. Similarly, in Swāminīji, the manifested Bhogya sentiment and concealed Bhogytā sentiment are constituent. To validate these, the Lord, through His Līlā companions, manifested the witnessing proof in the form of Puṣṭimārg’s Ācārya on Earth. Through this manifestation, He granted the bliss of Śrī Kṛṣṇa’s concealed Bhogytā form and provided teachings on the Puṣṭimārg.
No plan of those harboring envy towards Śrī Kṛṣṇa’s Puṣṭibhakti teachings succeeds. When such individuals misrepresent Mahāprabhu’s triadic nature and wrongly present the service to Mahāprabhu’s triadic form as separate from service to Śrī Kṛṣṇa’s original form, their ignorance is exposed. Śrī Kṛṣṇa, who is essence-filled with both Bhogya-Bhoktṛ sentiments, resides profoundly within Mahāprabhu’s heart. In His manifested form, Mahāprabhu represents the witness to these profound sentiments and serves as proof. He did not manifest in a form resembling Ardha-nārīśvara.
Mahāprabhu’s divine form is described as:
“Daivoddhāraprayatnātma… Bhaktimārgābjamārtandaḥ… Aṅgīkṛtyaiva Gopīśavallabhīkṛtamānavaḥ… Sānnidhyamātradattaśrī Kṛṣṇapremā… Bhuvi Bhaktipracāraikakṛte Svānvyakṛt… Tatkathākṣiptacittaḥ Tadvismṛtānyaḥ”
This description emphasizes the glory of the Puṣṭimārg Ācārya. Those who do not follow your teachings on Śrī Kṛṣṇabhakti cannot be considered divine. Just as lotus blooms at sunrise while flowers blooming in darkness wilt, similarly, the heart lotuses of divine beings blossom into Śrī Kṛṣṇabhakti due to Mahāprabhu’s teachings, whereas demonic tendencies wilt away.
The beings accepted by Mahāprabhu gain proximity to Him. Those who attain true proximity immediately experience Śrī Kṛṣṇaprema. Such beings perceive Gopīpati Śrī Kṛṣṇa in His form as Vallabha. Mahāprabhu revealed His teachings and lineage for this very purpose—to enable Puṣṭijīvas to become absorbed in the system of serving the blissful form of Puṣṭiprabhu, forgetting everything else. Beings who do not follow Mahāprabhu’s teachings on Puṣṭimārg are renounced by Him. It should be firmly understood that there is no discrimination based on Nādasṛṣṭi or Bindusṛṣṭi in this matter.
श्लोक १०
तेजोराशीं – तेज के भंडार; दयार्णवं – दया के सागर; गुणातीतं – गुणों से अतीत; गुणनिधिं – गुणों के भंडार; श्रीवल्लभप्रतिनिधिं – श्रीवल्लभ के प्रतिनिधि; श्रीगोपीनाथम् – श्रीगोपीनाथजी को; (अहं) – मैं; आश्रये – आश्रय करता हूं
भावार्थ
लौकिक पुष्टिभक्ति के कमल को खिलाने वाले, श्रीमहाप्रभु के समान, श्रीगोपीनाथजी तेजोराशि और भक्तिमार्ग के सूर्यस्वरूप हैं। आप दया के समुद्र हैं और भक्ति-कमल के प्रस्फुटन में आधारस्वरूप हैं। प्राकृत गुणों से अतीत, अस्पर्श और अलौकिक पुष्टिभक्ति-मार्गीय गुणों के निधिरूप हैं।
विरुद्ध धर्मों के आश्रय के संदर्भ में कहा गया है कि आप श्रीवल्लभ के प्रतिनिधि हैं, जिन्हें शास्त्र वचन “आत्मा वै जायते पुत्र:” के अनुसार वर्णित किया गया है। ऐसे दिव्य श्रीगोपीनाथजी को मैं सादर अपना आश्रय करता हूँ।
टीका
प्राचीन भाषासाहित्य में कहीं-कहीं श्रीगोपीनाथजी के मर्यादामार्गीय होने का उल्लेख मिलता है। परंतु श्रीमहाप्रभु तो “अङ्गीकृतौ समर्याद” हैं! अतः इस मर्यादा को पुष्टिमार्ग से बाह्य मर्यादा न मानकर, पुष्टिमार्ग के अंतर्गत ही विद्यमान मर्यादा समझना चाहिए। इसी संदर्भ में श्रीपुरुषोत्तमजी ने यह स्तुतिश्लोक प्रकट किया है।
श्रीगोपीनाथजी द्वारा रचित ‘सेवाश्लोक’ और ‘साधनदीपिका’ जैसे ग्रंथों में पुष्टिभक्ति का निरूपण मिलता है, परंतु उसमें मर्यादाभक्ति का कोई संकेत नहीं है। अतः इस विषय में किसी भी प्रकार की भ्रांति या विपरीत धारणा नहीं लानी चाहिए।
श्लोक ११
सायं – संझा के समय; कुञ्जालयस्थासनम् – कुंज में जिनका आसन है; उपविलसत्-स्वर्णपात्रं – समीप में रखा हुआ सोने का पात्र; सुधौतं – अच्छी प्रकार से धोया हुआ; परितनुवसनं – वस्त्र को धारण किया हुआ; राजद्यज्ञोपवीतं – यज्ञोपवीत धारण किया हुआ; गौरम् – गौर वर्ण वाले; अम्भोजवक्त्रं – कमल समान मुख वाले; प्राणानायम्य – प्राणायाम करके; नासापुट-निहित-करं – नासिका पर हाथ रखा हुआ; कर्णराजद्विमुक्तम् – कानों में मोती धारण किया हुआ; अर्धोन्मीलिताक्षं – आधे नेत्र बंद किये हुए; मृगमदतिलकं – कस्तूरी का तिलक धारण किया हुआ; सुकेशं – सुंदर केश वाले; विट्ठलेशं – श्रीविट्ठलनाथजी को; वन्दे – वन्दन करता हूं
भावार्थ
सायंकाल में कुञ्जभवन में आसन पर विराजमान, सकंध्यावन्दन हेतु जिनके सम्मुख स्वर्णपात्र सजे हुए हैं। कटि में सुंदर धोती धारण की हुई है, यज्ञोपवीत श्रीअंग पर शोभायमान है। ऊपरनाहु ओढ़े हुए, मुखारविन्द गौरवर्ण, प्राणायाम के लिए नासापुट पर श्रीहस्त रखा हुआ है। कर्णपुट में विशिष्ट मुक्तिका शोभायमान है, नेत्र ध्यान में अर्धोन्मीलित हैं। ललाट पर मृगमद का तिलक धारण किया हुआ है। श्रीमस्तक पर सुंदर केशावली विराजमान है। ऐसे श्रीविट्ठलनाथ प्रभुचरण को मैं वंदन करता हूँ।
टीका
इस श्लोक के माध्यम से श्रीरघुनाथजी ने श्रीगुसांईजी के आचार्यभावोचित स्वरूप का ध्यानात्मक वंदन किया है। ठीक वैसे ही जैसे “सौन्दर्यं…” पद्य में श्रीगोपीनाथजी ने श्रीमहाप्रभु के गूढ़ रसमय भावात्मक और प्रकट साक्षिभावात्मक आचार्यभावोचित रूप का ध्यान किया है।
गूढ़ पुरुषभावात्मक श्रीस्वामिनीजी और गूढ़ स्त्रीभावात्मक श्रीप्रभु के स्वरूप में किसी भी प्रकार का भेद नहीं है। फिर भी श्रीस्वामिनीजी को केवल तनिया पहनाकर कोई दर्शन खुलता नहीं है और श्रीठाकुरजी के भी लहंगा-चोली और साड़ी में दर्शन नहीं होते। इसी प्रकार श्रीमहाप्रभु और श्रीप्रभुचरण के गूढ़ पुरुषोत्तम भाव को प्रकट करके भक्ति के माध्यम से रसाभास उत्पन्न करना, बैठकजी में गेंद-छड़ी-चोपड़ लेकर प्रदर्शन करना उचित नहीं है।
आचार्य के अभाव में जब ये दोनों प्रकट होते हैं, तब आचार्यभावोचित वस्त्र, आभूषण और सेवा ही उचित मानी जाती है। अतः तुलसी की कंठी, तिलक, गोमुखी, सकंध्य का साज, श्रीमद्भागवत की पोथी, धोती-उपरण के वस्त्राभूषण और सेवा के साज को ही आचार्यभावोचित समझना चाहिए।
अस्वीकरण और श्रेय
हमने संरचना और भाषाई गुणों (जैसे व्याकरण, वाक्यशुद्धि आदि) में संपादकीय और भाषाई संशोधन लागू किए हैं, हालांकि हमने मूल शिक्षाओं और सिद्धांतों से भटकने से बचने का हर संभव प्रयास किया है। किसी भी प्रकार की चूक या त्रुटियाँ अनजाने में हुई हैं, और सुधार के लिए सुझावों का स्वागत है।