The specifics of when, where, and for whom the texts Jalabheda and Pañcapadyāni were composed remain unknown.

In Jalabheda, the characteristics of the speaker of Bhagavat-kathā (divine narratives) are categorized as superior (uttama), intermediate (madhyama), and inferior (kaniṣṭha). Similarly, in Pañcapadyāni, the characteristics of the listener are categorized using the same framework. Although the subject matter of the first skandha (canto) of the Śrīmad Bhāgavatam also touches on these themes, it cannot be said that Jalabheda and Pañcapadyāni completely follow the first skandha in its entirety.

In the first skandha of the Śrīmad Bhāgavatam, the rights and qualifications of the speakers and listeners are explained in terms of superior, intermediate, and inferior roles. However, in Jalabheda and Pañcapadyāni, Śrī Mahāprabhuji explores the qualifications of speakers and listeners required for narrating and engaging with Bhagavat-dharma, including surrender (śaraṇāgati), nirguṇā bhakti (devotion beyond material attributes), and the śravaṇa-smaraṇa-kīrtana (listening, remembrance, and chanting) of Bhagavān’s form, qualities, and pastimes. The focus of these texts is not limited to the structured recitation or hearing of the Bhāgavata-purāṇa, but instead addresses the broader context of hearing and remembering Bhagavān’s divine form and pastimes as per the principles of the Bhāgavata.

Śrī Puruṣottamajī highlights that when unqualified individuals, driven by desires for fame, wealth, or competition, wrongly believe themselves fit to deliver discourses on the Bhāgavata and begin preaching everywhere, they not only lose the right to narrate or study the Bhāgavata but also forfeit their eligibility to practice the Bhāgavata-dharma. As stated:

Such individuals, consumed by envy and other faults, lack the qualification to follow the Bhāgavata-dharma, let alone recite or narrate it. Their deficiency of humility disqualifies them even as listeners. (Bhāṣyaprakāśa 1.3.38)

The ideal speaker or listener in Jalabheda and Pañcapadyāni need not be an initiated (upanīta) or twice-born (dvija) individual. It is also unnecessary for the speaker to be well-versed in the Vedas or other scriptures. What is deemed essential is their sincere and uninterrupted devotion, marked by loving contemplation (nirvyāja cintana) of Bhagavān’s form, attributes, and pastimes, uninfluenced by the Vedas and allied texts.

The Śrīmad Bhāgavatam (1.5.11) says:

tadvāg-visargo janatāgha-viplavo yasmin pratiślokaṃ avadya-vatty api।
nāmāny anantasya yaśo-‘ṅkitāni yat śṛṇvanti gāyanti gṛṇanti sādhavaḥ॥

Meaning: Literature that celebrates the transcendental glories of the Supreme Lord—His divine names, fame, forms, and pastimes—is of a unique and sacred nature. It is crafted with the purpose of inspiring a profound transformation in the lives of those who are lost or burdened by impiety. Despite any imperfections in its composition, such literature is cherished, sung, and accepted by genuinely pure and honest individuals. Its power lies in its divine essence, which uplifts and enlightens humanity.

The words spoken by devotees, whether in local dialects or Sanskrit poetry such as Gīta-govinda, eradicate the sins of humanity. Though such compositions may contain errors in meter or grammar, or interruptions in the flow of singing Bhagavān’s names, the infinite glory of Bhagavān’s fame and His countless names, when heard, sung, or remembered by devotees, cleanse all impurities. (Subodhinī)

Therefore, the Bhāgavata identifies 19 categories of speakers and listeners, as follows:

Categories of Qualified Speakers or Listeners:

  1. Nirguṇa (beyond material qualities)
  2. Saguṇa (influenced by material qualities)
    1. Extraordinary (asādhāraṇa)
      1. Sāttvika (Sattva-dominant: rā, tā)
      2. Rājasa (Rajas-dominant: sā, tā)
      3. Tāmasa (Tamas-dominant: sā, rā)
    2. Ordinary (sādhāraṇa)
      1. Sāttvika (Sattva-dominant: rā, tā)
      2. Rājasa (Rajas-dominant: sā, tā)
      3. Tāmasa (Tamas-dominant: sā, rā)

In this classification, nirguṇa speakers are regarded as superior (uttama). Among the asādhāraṇa (extraordinary) speakers, there are nine subcategories, such as sāttvika-sāttvika, rājasa-sāttvika, etc., and they are considered intermediate (madhyama). Similarly, the sādhāraṇa (ordinary) speakers have equivalent subcategories but are classified as inferior (kaniṣṭha).

This hierarchy—superior, intermediate, and inferior—is based on four criteria:

  1. Devotion (bhakti),
  2. Detachment (vairāgya),
  3. Two types of knowledge:
    • Experiential knowledge (anubhava-paryavasāyī arthajñāna), and
    • Non-experiential, verbal knowledge (śābdika-jñāna).

Those excelling in all four are classified as superior (uttama). Intermediate (madhyama) individuals possess experiential partial knowledge and devotion but lack detachment. Inferior (kaniṣṭha) individuals have only verbal knowledge combined with devotion but lack detachment.

Accordingly, the distinctions of water (jalabheda) recognized in the Subodhinī also amount to nineteen. There, Śrī Mahāprabhu explains,

Despite there being nineteen distinctions, the two primary classifications are flowing water and stagnant water”* (dṛṣṭi: Subodhinī 10.3.3).

However, in the current context, both water and the speaker’s disposition (vaktṛbhāva) are divided into twenty categories, indicating that the qualifications set forth in the first canto of the Śrīmad Bhāgavatam are strictly confined to the discourse on the Bhāgavata. Here, in contrast, it is imperative that Bhagavān’s form, attributes, and pastimes follow the principles of the Bhāgavata or are consistent with it (bhāgavatānusārī or bhāgavata-avirodhī). Therefore, the speaker must also conform to bhāgavatānusārī standards, but it is not necessary for every speaker to be a formal narrator of the Bhāgavata-purāṇa. The present context specifically addresses how a Puṣṭimārga listener should engage in śravaṇa (listening), smaraṇa (remembrance), and kīrtana (chanting) of Bhagavān’s pastimes through association with ideal speakers.

Thus, instead of enumerating nineteen categories of listeners, only three or four distinctions are provided, signifying that the differentiation between nineteen and twenty classifications must be contextually understood.

As a result, the mandatory requirement of upanayana saṃskāra (initiation ceremony), dvijatva (twice-born status), or even being male—conditions often applied to Purāṇa discourses—are not deemed essential here.

However, other qualities indicative of a superior Bhāgavata narrator, such as having listened to Bhagavān’s pastimes and philosophy from virtuous individuals within their own lineage (sampradāya), abstaining from narrating Bhagavat-kathā for monetary gain (or any hetuki gain), and being enriched with knowledge (jñāna), devotion (bhakti), and detachment (vairāgya), remain applicable. As described:

Vaktādhikārī sarvajaḥ sampradāyena sanmukhāt śruta-bhāgavato bhakto… (Bhāgavata-nirṇaya 1.23)

According to Śrī Mahāprabhu, the greatest achievement in life is for the heart (citta) to become fully absorbed in Śrī Kṛṣṇa. Two methods are prescribed for this:

  1. Tadāśraya-prapati – Surrendering to Him.
  2. Tadīyatā-bhakti – Developing a sense of belonging to Him through devotion.

The Viveka-Dhairyāśraya-grantha elucidates the means of surrender, emphasizing discernment (viveka), patience (dhairya), and exclusive reliance (ananyāśraya). Similarly, texts such as Navaratna, Catuḥślokī, Siddhānta-muktāvalī, and Bhakti-vardhinī outline the principles of tadīyatā, focusing on self-offering (ātma-nivedana), total surrender (sarva-samarpana), wholehearted service (tanvittajā-sevā), and the practices of śravaṇa, smaraṇa, and kīrtana of Bhagavat-kathā.

In Bhakti-vardhinī, the method to strengthen the seed sentiment (bīja-bhāva) is prescribed as living in one’s own home, performing duties aligned with one’s varṇa (caste) and āśrama (life stage), while leading a life centered on bhagavat-sevā and kathā. If circumstances prevent the individual from performing bhagavat-sevā, they should engage exclusively in śravaṇa, smaraṇa, and kīrtana of Bhagavat-kathā. Furthermore, when the seed sentiment strengthens, renunciation of household life is encouraged. For those unable to renounce, participation as an assistant in the service performed by bhagavadīyas or attendance at their kathā sessions is recommended.

Through these varied approaches, the development of the seed sentiment (bīja-bhāva) is described, from its initial state (of bīja-bhāva) through love (prema), attachment (āsakti), longing (vyasana), and finally to sarvātma-bhāva (complete surrender) or transcendental capabilities (alaukika-sāmarthya).

These options underscore the extraordinary importance and utility of Bhagavat-kathā on the path of devotion. While a speaker is essential for listening (śravaṇa), a listener is required for chanting (kīrtana). Although self-remembrance (smaraṇa) is possible, even this becomes more effective when facilitated by an association with like-minded bhagavadīyas.

In essence, both listeners (śrotā) and speakers (vaktā) inherently rely on each other for the mutual fulfillment of śravaṇa (listening) and kīrtana (chanting) of Bhagavat-kathā. In the absence of qualified speakers or listeners, not only does Bhagavat-kathā risk losing its essence (rasābhāsa), but the development of the seed sentiment (bīja-bhāva) might also falter or break instead of becoming steadfast. Therefore, in Jalabheda, the qualities of an ideal speaker are explained in relation to the listening aspect, while in Pañcapadyāni, the qualities of an ideal listener are explained in relation to the chanting aspect.

Even though the attributes of Bhagavān, who is ever-blissful and all-removing, remain absolute, their expression takes on diverse forms when conveyed through the emotions and inclinations of different speakers. For example, water is naturally cool, pure, soft, universally cleansing, and heat-relieving. However, water adopts the qualities of its container or source—whether a well, lake, river, ocean, spring, or drain. Similarly, the absolute qualities of Bhagavān manifest uniquely according to the qualifications and emotions of the narrator in Bhagavat-kathā.

Twenty Forms of Water and Their Respective Speaker Types

In the Taittirīya Saṃhitā (Seventh Kāṇḍa), twenty forms of water are enumerated:

  1. Water in a well
  2. A canal
  3. A field channel
  4. A pit filled with river water
  5. A ditch formed by dirty drain water
  6. A large pond created by river water
  7. A large pond with drinkable water
  8. A beautiful lake adorned with flowers like lotuses
  9. Small ponds
  10. Algae-rich ponds
  11. Rainwater
  12. Sweat (sveda-jala)
  13. Waterfalls (jala-pratāpa)
  14. Dewdrops (oṣa-bindavaḥ)
  15. Unsteady water from seasonal streams or rivulets
  16. Constantly flowing perennial rivers
  17. Rivers with fluctuating flows based on monsoons or seasons
  18. Great rivers flowing into the ocean
  19. The ocean itself
  20. Other waters that have been stored or spilled.

Though water is intrinsically uniform, it reflects diverse attributes based on the source it occupies. Likewise, Bhagavān’s qualities, when narrated in Bhagavat-kathā, adapt to the qualifications and emotions of the speaker.

1. Devotional Singers (Well Water)

Those who sing Bhagavān’s attributes with attention to melody (svara), rhythm (lāl), and harmony (laya), akin to celebrated Gandharvas, resemble wells. Some wells contain sweet water, others salty water; some are pure, carrying scriptural glory, like the Nyagrodha well to the north or the Damodara well in Dvārakā or the Gopa well in Vraja. Others are impure, containing unclean water. Similarly, singers vary—some integrate devotional lyrics with melody and rhythm, while others treat melody and rhythm as primary, relegating devotional content as secondary. The first type of singer is likened to a salty well, while the second, to a sweet water well. Deep wells offer relief in both summer and winter, just as narrators with emotional depth offer spiritual coolness to worldly hearts scorched by afflictions and warmth to those numbed by material attachment.

2. Paurāṇika Narrators (Canals)

Those who narrate ancient Purāṇic tales resemble canals. A canal’s water does not originate within itself but is drawn from a river or reservoir. Similarly, Paurāṇika narrators express emotions not their own but adopt them from the Purāṇic narratives they recite. Their tears, emotional voice breaks, or joy manifest only during the act of storytelling, not persistently.

3. Speakers with Worldly Desires (Field Channels)

Speakers who deliver narratives for the purpose of earning wealth or achieving fame, akin to irrigation channels in a field, resemble these channels whose primary purpose is to produce crops. Similarly, such speakers make Bhagavat-kathā a means for worldly pursuits, and the result reflects the same for the listener as well.

4. Narrators Surrounded by Indulgences (Pit Filled with River Water)

Those surrounded by indulgences, such as vices like gambling or intoxication, or improper company, such as immoral individuals, are likened to polluted pits formed by river water. These are referred to as “Pradara” in the Vedas and are considered unfit even for purification rituals.

5. Narrators for Livelihood (Drainage Ditches)

Singers or narrators who use the glorification of Bhagavān’s attributes as a livelihood for their subsistence or to support their family are likened to dirty drainage ditches filled with stagnant water. This polluted water contaminates the surroundings, just as such speakers’ discourses—aimed solely at sustaining themselves—taint their message.

6. Narrators with Scriptural Knowledge (Large Ponds Created by River Water)

Narrators, enriched by continuous study of sacred texts such as the Gītā, Bhāgavata, and Pāñcarātra, build a vast reservoir of Bhagavān’s sentiments within their hearts and intellect. Much like large water reservoirs, their feelings cannot be dried by the heat of worldly afflictions nor polluted by doubt, denial, or conflicting emotions.

7. Narrators with Doubt-Resolving Abilities (Large Ponds with Drinkable Water)

However, the ability to internalize scriptures is distinct from the capability to resolve the doubts of listeners. Speakers capable of dispelling doubts are compared to large reservoirs with drinkable water, which are free from impurities such as algae or sediment.

8. Narrators with Devotion (Beautiful Lakes Adorned with Flowers)

Even when equipped with scripture study and the ability to resolve doubts, speakers may occasionally lack personal devotion (bhakti-bhāva). When this quality is present, such a speaker is compared to a scenic pond adorned with beautiful lotuses.

9. Narrators with Love for Bhagavān (Small Ponds)

Some speakers are endowed with love for Bhagavān (bhagavad-prema) but have limited scriptural knowledge. These speakers are like small ponds—pure in themselves but susceptible to contamination by external forces (like buffalo bathing in the pond), symbolizing their emotional immaturity or vulnerability to external influences.

10. Narrators with Emotional Instability and Selfless Duties (Algae-Rich Ponds)

Speakers who have neither studied scriptures adequately nor cultivated sufficient devotion, yet are steadfast in practicing selfless duties (niṣkāma dharma) and rituals, resemble small ponds. Such ponds dry up quickly and are easily polluted, reflecting the fragility and vulnerability of their emotions to external circumstances.

11. Narrators with Emotional (Pure) Surges (Rainwater)

Individuals deeply immersed in yogic meditation have naturally pure emotions. However, when they are surrounded by an audience, their feelings begin to shift. The refinement of yogic discipline thrives in solitude. Thus, yogis with a tendency to remain amidst crowds squander their meditative practice, rendering their sentiments akin to rainwater—initially pure but quick to adopt the qualities of the terrain upon which it falls.

12. Narrators Engaged in Austerity (Sweat Water)

Individuals solely engaged in practices of austerity (tapas), knowledge (jñāna), and detachment (vairāgya), when found narrating Bhagavat-kathā, should have their sentiments compared to sweat-water (sweda-jala). Sweat is evidence of one’s physical effort but does not necessarily serve others’ needs. Similarly, the austerities or dry knowledge-based efforts of such speakers may reflect their spiritual exertion but are generally unfruitful for listeners.

13. Narrators with Divine Inspiration (Waterfalls)

The water of cascading mountain streams or waterfalls is pure, cool, sweet, and consistently pleasing, offering comfort through hearing, touch, and use. Similarly, due to the grace of Bhagavān or the compassion of enlightened devotees, speakers endowed with transcendental insight into Bhagavān’s divine, sweet qualities make their narrations as delightful and soothing as encountering a charming waterfall. Such narrators are rare to find. Just as one can sense the presence of a waterfall from afar through the sound of its cascade, hearing compositions or words of such enlightened devotees reveals their extraordinary realization.

14. Narrators with Superficial Devotion (Dewdrops)

Sacrificial or Paurāṇika narrators devoted to deities such as Varuṇa, Indra, Durgā, Gaṇapati, Bhairava, and Navagrahas, when narrating Śrī Kṛṣṇa’s stories, resemble dew drops. Dew drops appear prominent on the surface where they fall but lack true substance or utility. Similarly, the stories narrated by such narrators, placed against their own practices of worshipping other deities, can be equated to superficial presentations of Śrī Kṛṣṇa’s pastimes. Just as dew is aesthetically pleasing but unfit for drinking or bathing and disappears with sunlight, these narrators’ emotions are only superficial and vanish after the narration ends, providing no lasting benefit to the listener.

15. Narrators with Temporary Devotion (Unsteady Water from Seasonal Streams)

Speakers who adhere to the Varnāśrama duties while practicing the ninefold devotion (navadhā bhakti) toward Śrī Kṛṣṇa may, at times, exhibit divine inspiration due to a surge of love (premāveśa). Their sentiments are like the streams of monsoon-fed rivers—vigorous but temporary and inconsistent.

16. Narrators with Steady Devotion (Perennial Rivers)

Some rivers are perennial, experiencing neither surges nor reductions in water flow. Similarly, narrators on the disciplined path (Maryādā-mārga), who neither experience excessive emotional outbursts nor a decline in interest, have sentiments resembling these steadily flowing rivers.

17. Narrators with Fluctuating Devotion (Rivers with Seasonal Flows)

Certain rivers, especially at their sources, perpetually generate water, maintaining uninterrupted flow. However, rainfall and heat cause their levels to rise or fall. Similarly, narrators whose sentiments vary due to the influence of their surroundings or companions—sometimes intensifying, sometimes diminishing, but never entirely ceasing—have emotions akin to perennial rivers born of long-standing devotional practices from previous births.

18. Narrators with Unaffected Sentiments (Great Rivers Flowing into the Ocean)

Some great rivers are ocean-bound and unaffected by seasonal changes. Though they may swell, they never run dry. The sentiments of speakers immune to external influences like negative associations are comparable to these grand ocean-bound rivers.

19. Narrators with Profound Sentiments (Ocean)

There are various classifications of oceans in scriptures, such as:

  1. Kṣārod (salty ocean)
  2. Ikṣurasod (sugarcane-juice-like ocean)
  3. Surod (liquor-like ocean)
  4. Ghṛtod (clarified-butter-like ocean)
  5. Kṣīrod (milk ocean)
  6. Dadhi-maṇḍod (curd ocean)
  7. Śuddhod or Amṛtod (pure or nectar-like ocean).

These oceans are profound and possess inexhaustible volumes. Similarly, the emotions of speakers resembling these ocean types vary based on whether their narratives combine worldly, scriptural, or mixed qualities.

  • Kṣārod: Speakers who regard Śrī Rāma or Śrī Kṛṣṇa as merely great individuals rather than as Supreme Bhagavān themselves, express sentiments comparable to the salty ocean. Just as salty water does not quench thirst, such narrations fail to satisfy a devotee’s spiritual longing. Interpreting divine incarnations in humanistic terms results in dry and unappealing perspectives for the path of devotion.

  • Ikṣurasod: Narrators who recognize Paramātmā’s transcendental nature but view incarnations as bound by material attributes produce sentiments like sugarcane juice—initially sweet but ultimately lacking depth or becoming insipid.

  • Surod: Those, either deluded themselves or driven to create delusion, who regard Bhagavān’s qualities as material (māyika) and perceive Brahman as impersonal (nirguṇa, attributeless) give narrations akin to consuming sura (liquor). Just as liquor leads to self-forgetfulness and errors, hearing such narrations fosters various forms of confusion and misunderstanding. Often, such speakers may personally be deeply devoted individuals (akin to a vast ocean), yet their guidance opposes the path of devotion, much like Śrī Mahādeva who, by divine will, propagated Māyāvāda philosophy.

  • Ghṛtod: Narrations emphasizing Bhagavān’s compassion and other virtues are like clarified butter (ghṛtod), nourishing and enhancing the strength of a devotee’s faith (bhaktibala).

  • Kṣīrod: Narrators who highlight Śrī Hari’s omniscience, omnipotence, and ability to remove all suffering provide sentiments akin to the milk ocean—flavorful, invigorating, and purifying.

  • Dadhi-maṇḍod: Those narrators who focus solely on re-establishing Vedic codes without understanding the ultimate purpose of divine incarnations dilute the essence of their narratives. Like the residue of churned curd (dadhi-maṇḍa), which though digestible and tasty, lacks the richness of butter, their narrations fail to offer the supreme bliss (paramānanda) of direct divine realization.

  • Śuddhod or Amṛtod: These terms, used interchangeably, signify oceans of purity and nectar. Described as surrounding Śvetadvīpa in texts like the Varāha Purāṇa: arnāmāmṛtāmbhodhiḥ ṇyānāmāmṛtasāgaraḥ, and the Chāndogya Upaniṣad: aras ca vai ṇyas ca arṇavāṃ brahmaloke..., they represent the ultimate pure sentiment untainted by worldly or scriptural blends. This pure devotion reflects Bhagavān’s unalloyed divinity, enriching both the speaker and listener with bliss.

Thus, the varying qualities of narrators, akin to diverse oceanic types, influence the transformative potential and depth of Bhagavat-kathā for their audience.

The teachings of exalted devotees such as Saṃkarṣaṇa Śeṣa, who guided the Sanatkumāras; Sage Bādarāyaṇa Vyāsa, the divine incarnation of knowledge, who imparted the Bhāgavata to his son Śuka; Agni, the narrator of the Agni Purāṇa; Vāyu or Hanumān, the speaker of the Vāyu Purāṇa; Avadhūta Jaḍa Bharata, who enlightened King Rahūgaṇa; Nārada, the teacher of multiple devotional scriptures; and Maitreya, the disciple of Sanatkumāra and guru of Vidura—listening to their discourses can be equated to drinking the nectar of the Amṛtod ocean.

According to a detailed analysis by Śrīsha Bhatt, the teachings of illustrious spiritual lineages have been preserved by notable incarnations: Śrī Rāmānuja Ācārya, Śrī Viṣṇusvāmī, Mahāprabhu Vallabhācārya, Śrī Madhvācārya, Śrī Rāmānanda, Śrī Caitanya Mahāprabhu, and Śrī Nimbārka Ācārya. The instructions of these Acharyas, spanning the four main Vaiṣṇava traditions and their sub-traditions, are also considered akin to the nectar of Amṛtod.

Speakers who narrate Bhagavān’s transcendent, pure, and divine attributes, free from material or illusory qualities, are comparable to the Amṛtod ocean. Partaking of their nectar-like words is a rare and precious opportunity in life. Among them are both adherents of the Puṣṭi Bhakti Mārga and the Maryādā Mārga, yet all are akin to the Amṛtod ocean.

When the words of Viṣṇudūtas entered Ajāmila’s ears, they brought about a transformative change in his actions, thoughts, and emotions. Similarly, even a single utterance from speakers akin to Amṛtod can provide profound joy and comfort, akin to sipping a droplet of nectar. When their words are continually heard, they gradually remove mental impurities like attachment (rāga), ignorance (ajñāna), lust (kāma), and anger (krodha). This is no longer like tasting a droplet of nectar but akin to fully imbibing it, leading to the expression of supreme bliss (paramānanda). The listener feels fulfilled and liberated!

Translation:

20. Other Speakers (Stored or Spilled Water)

Apart from these, any other speakers (vaktā) or their sentiments (bhāva) should be understood as analogous to water either drawn from or spilled into the aforementioned nineteen types of water sources, such as wells (kūpa), rivers (nadī), and others. Accordingly, the nature of the fruits derived from listening to their narratives should also be evaluated based on their qualities and characteristics.

In this manner, the exposition concludes on how the singular and transcendental qualities (guṇa) of Viṣṇu adopt diverse forms when expressed through the speech (vāg-indriya) of different living beings (jīva), and how the resultant outcomes (phala) are influenced by the medium through which these qualities are narrated.