Paan bai

 Paan Bai (or Paanbai) was a saintly devotee of Lord Krishna, often remembered in the Bhakti tradition for her deep surrender, wisdom, and humility. When facing the end of life, saints like her often utter words that awaken truth in listeners — truths of impermanence, devotion, and the eternal.

 Awakening Quotes Inspired by Paan Bai and the Bhakti Tradition:

1. "Govind naam lete lete marna hai. Mar bhi jaaun toh kya, Govind toh saath chalega."

"Let me die with the name of Govind on my lips. Even if I die, Govind will walk with me."

2. "Yeh deh toh mitti hai, par mera praan toh Hari ke charan mein basa hai."

"This body is mere dust, but my soul rests at the feet of Hari."

3. "Jo aaya hai, jaayega. Par jo Hari mein bas gaya, wo kabhi nahin mitayega."

"All who come must go. But one who dwells in Hari is never erased."

4. "Mitti ke ghade toot jaayein, toh mitti mein hi milte hain – main bhi prabhu mein mil jaaun."

"When clay pots break, they merge into earth – may I too merge into my Lord."

5. "Na main roti hoon, na main dard – main toh Hari ka naam hoon, jo sadaa rehta hai."

"I am neither body nor pain – I am the name of Hari, which lives forever."

Paan Bai’s Spirit of Surrender:

Tradition tells us that when her time came, she simply said:

"Mhara toh Giridhar Gopal, doosro na koi."

"Mine is only Giridhar Gopal, there is none else."

– echoing Mirabai too, but believed to be common to many Krishna bhaktas.

3 R,s

https://youtu.be/AaRyGJxpCqY?si=hJeYP6JAPWH-En8C
 During the Jagannath Rath Yatra in Puri, the Gajapati Maharaja of Odisha — the traditional king of Puri — plays a deeply spiritual and symbolic role. Though the Gajapati is no longer a ruling monarch in the political sense, he is still regarded as the first and foremost servitor (Adya Sevak) of Lord Jagannath.

The King's Role in the Yatra:

1. Chhera Pahanra – Ritual Sweeping

This is the most iconic and sacred duty of the king during the Rath Yatra.

"Chhera" means sweeping, and "Pahanra" means to cleanse.

The Gajapati Maharaja, dressed in simple white clothes and barefoot (symbolizing humility), comes to the chariots with a golden broom and sweeps the platform of each chariot (Nandighosa of Jagannath, Taladhwaja of Balabhadra, and Darpadalana of Subhadra).

He sprinkles sandalwood-scented water and flowers during this ritual.

Significance: This act symbolizes that in the eyes of the Lord, all are equal — even the highest king is but a humble servant of God.

2. Royal Attendance and Supervision

The king oversees many aspects of the Rath Yatra preparations.

His symbolic presence ensures the smooth functioning and sanctity of the festival.

3. Performance of Ritual Duties

The Gajapati also performs other temple rituals during the festival days, including offerings, prayers, and presence during key events, though he cannot enter the sanctum (due to ritual restrictions).

The king’s role during the Yatra reflects bhakti (devotion) and dasanattva (servitude).

It’s a unique moment in history when a monarch, revered by many, kneels before the Lord — reinforcing the equality of all before the divine.

In the grand Rath Yatra of Lord Jagannath in Puri, Odisha, three majestic chariots are built anew every year for the three deities: Lord Jagannath, Balabhadra, and Subhadra. Each chariot has its own name, color, number of wheels, guardian deities, and names of horses. Below are the detailed descriptions:

 1. Lord Jagannath's Chariot: Nandighosha (or Garudadhwaja / Kapidhwaja)

Chariot Name: Nandighosha

Color: Red and Yellow

Number of Wheels: 16

Height: About 45 feet

Flag: Garuda (eagle) emblem

Charioteer (Sarathi): Daruka

Horse Names:

Shankha (white)

Balahaka (white)

Swarna (white)

Haridashwa (white)

Guarding Deity: Hanuman

Rope Name (used to pull): Shankhachuda

2. Balabhadra's Chariot: Taladhwaja

Chariot Name: Taladhwaja

Color: Red and Green

Number of Wheels: 14

Height: About 44 feet

Flag: Palm tree (Tala)

Charioteer: Matali

Horse Names:

Tivra

Ghora

Dirghasharma

Swarnanava

Guarding Deity: Narasimha

Rope Name: Basuki

3. Subhadra's Chariot: Darpadalana (or Devadalana / Padmadhwaja)

Chariot Name: Darpadalana

Color: Red and Black

Number of Wheels: 12

Height: About 43 feet

Flag: Lotus emblem

Charioteer: Arjuna

Horse Names:

Rochika

Mochika

Jita

Aparajita

Guarding Deity: Vanadurga / Chamunda

Rope Name: Swarnachuda

Other Details:

The chariots are constructed fresh each year using wood from specific trees like Phasi, Dhaura, etc.

Over 1000 artisans, including carpenters, painters, and sculptors, are involved in making them.

No nails or metal parts are used; traditional wooden joinery methods are followed.

The Rath Yatra usually falls in June–July (Ashadha month).

The journey starts from the Jagannath Temple to the Gundicha Temple, a distance of about 3 km.

 “The Chariot of the Lord” 

(A poem on Lord Jagannath’s Rath Yatra)

Drums resound, the conch shells blow,

On Puri's path, the chariots glow,

Three tall towers of wood and grace,

Move through the crowd, a holy pace.

Jagannath rides on Nandighosha, bright,

Cloaked in yellow and red delight.

Garuda flies upon his flag,

The Lord who rules with gentle swag.

Balabhadra strong, in green and red,

Taladhwaja where lions tread.

The palm tree soars upon his mast,

He guards the path, serene and vast.

Subhadra shines in black and red,

Her chariot, Darpadalana is led

By horses fierce, yet gently drawn,

The goddess rides like rising dawn.

White steeds neigh in rhythm deep,

As ropes of love the people keep,

No rich or poor, no caste, no line—

All souls are equal, all divine.

They pull with cries of “Jai Jagannath!”

The Lord of Cosmos clears their path,

Through sweat and tears and heartfelt song,

The wheels of mercy roll along.

For once the Lord comes out to see,

His children’s world—both bond and free.

He leaves His shrine, His royal seat,

To walk with dust beneath His feet.

O soul, rejoice! For now is near,

The time when love dissolves all fear.

The chariot rolls, the heart shall sway,

With God Himself upon the way.

The Ratha Yatra (Chariot Festival) at Puri typically spans 9 days. Here's a breakdown of the key events:

 Day 1 – Ratha Yatra (Gundicha Yatra)

Lord Jagannath, Balabhadra, and Subhadra leave the main Jagannath temple and travel in three grand chariots to the Gundicha Temple, about 3 km away.

This marks the beginning of the journey.

Days 2 to 8 – Stay at Gundicha Temple

The deities stay at Gundicha Temple for 7 days.

During this time, they receive seva (worship) in a special relaxed mood, often described as a vacation from the main temple.

Day 9 – Bahuda Yatra (Return Journey)

On the 9th day, the deities return to the Jagannath Temple in their chariots.

On the way, they stop at Mausi Maa Temple, where they are offered Poda Pitha, a special baked delicacy.

 After Return – Suna Besha (Golden Attire)

The day after Bahuda Yatra, the deities are dressed in gold ornaments, called Suna Besha. This draws massive crowds.

So, the main journey itself lasts 9 days, but the full cycle including associated rituals can stretch over 11 to 12 days depending on the calendar and temple traditions.

Surrender

 Saadhanaantarayuktaa vaa prapattih  svayameva van

Saadhayet muktikaamaanaam vimuktim pranavo yathaa.

Either alone by itself or as assistance to other means including the devotional path, surrender affords liberation to those desiring it,  even as does pranava mantra .

Yathaaha bhagavaan vyaktam vishvaksenaaya sunbathe itarupaaya daushkaryyat afhikaaraadihaanitah,

Upaayamiha vakshyaamisaampratam saarvalaukikam,

Kaaladoshaat manushyaanam manaschaanchalyayogatah,

Vishayendriyasamyogaat nishiddhakaranaadapi,

Vihitaakaranaannaapi Jesus sakyam ganaadhipa,

Indriyaani indriyaarthaascha nrunaam kaalasvabhaavatah.

Bhagavan himself made it clear to the attentive Vishvaksena, "other means for liberation are difficult to practice and may not be available to all,  so I shall tell you here and now the only means upaya which is available to everyone regardless of birth, knowledge or capability etc.

O Leader of heavenly forces! Ordinary, people who have wavering minds and are easily swayed by changing times, are not capable of subduing the senses which run after objects of desire.impelled by uncontrolled senses and under the influence of evil times, people fail to perform their prescribed duties and start indulging on forbidden activities.

Tasmania karmayogesmun adhikaro hi vidyate,

Vigiteshu sarveshu tadabhaavaat mahatma,

Jnaanayoge pyabhiratih kasyachit vidyate na cha

Tadabhaavaanmayi preening bhaktischa jaayate,

Tasmaat matpaadayugalam aikaantyaat Saranac vrajet,

Aatmano durdarsaapattim viruses cha gunman mama

Madekopaayasamvittih ma'am prapanno vimuchyate.

Consequently, O wise one, such persons become ineligible for the path of action. Karmayoga, being incapable of performing the prerequisit rites with due diligence. Hence they do not have the frame of mind for the next step, namely path of knowledge and in the absence of knowledge they totally lack devotion, which is nothing but love for me. Therefore, taking refuge solely at my feet, rowing his own sad lot and my endearing qualities, knowing me as the only means prostration before me he attains liberation.

How many more times should God have to come and give this message. This runs through in words and deeds performed time and time again by the. LORD. but man and his fickleness. Wishes to go from person to person from book to book from deity to deity trying to find something anything to quench his monkey mind. The simple principle lies spelt out before him yet he goes searching devouring books for that extra knowledge. When it's all there before his very eyes. It can't be made simpler. Just imagine God's furry trying his best to get mankind to surrender to his lotus feet. 

Ma su ca. 

Kaveri ranga.

https://youtu.be/PbkHXSa9eQQ?si=yXiGuJQc2mm7uUzV

 Song: kangaLidyAtakO

---

kangaLidyAtakO
raagam: tODi

Aa:S R1 G2 M1 P D1 N2 S
Av: S N2 D1 P M1 G2 R1 S

taaLam: rUpaka
Composer: Purandara Daasar
Language: Kannada

pallavi

kangalidyAtakO kAvEri rangana nODade

anupallavi

jagangaLaLage mangaLa mUruti shrI rangana padangaLa nODade

caraNam 1

endigAda romme janaru bandu nintu candra puSkaraNi snAnavu mADi Anandadinda shrIrangana nODi

caraNam 2

haripAdOdaka samakAvEri vrjanadiya snAnava mADi parama vaikuNTha ranga mandira para vAsudEvana nODada

caraNam 3

hArakEyura vaijayanti tOra muttina hAra padaka tEranEri bIdili baruva ranga viTTala dEvana nODada

PRR

 "Prem ke Dās āṅg" (प्रेम के दास अंग) — this phrase can be interpreted in multiple beautiful, poetic, and devotional ways, especially in the context of Bhakti literature and saint poetry from traditions like that of Tulsidas, Kabir, Meera, or Surdas.

Prem (प्रेम): Divine love — the love that is selfless, pure, and unconditional, often directed toward God.

ke (के): Of, belonging to.

Dās (दास): Servant, devotee, one who is surrendered.

Āṅg (अंग): Limb, part, or essence.

"Prem ke Dās āṅg" means:

“The limbs/essence of one who is a servant of love.”

“That which constitutes the being of a devotee of divine love.”

In Bhakti traditions, saints often describe the body, mind, and soul of a devotee as being made up of "prem" (divine love). Every "aṅg" (limb) of a true bhakta (dās) should vibrate with love for the Lord — whether it is:

the eyes, which long to see God,

the ears, eager to hear His name,

the tongue, constantly chanting,

the hands, engaged in seva (service),

or the heart, burning with love.

It reflects complete surrender — where love for the Divine is not just an emotion, but a total transformation of one's being.

Short Poetic Line (Inspired by Bhakti Saints):

> "Prem ke Dās ke aṅg-aṅg mein Hari vāse,

jise dekho, vāhī Rām samān lāge."

(In every limb of the servant of love, the Lord dwells; whoever looks upon them sees the Lord alone.)

This is a beautiful and poetic story from the bhakti traditions surrounding Lord Jagannāth of Puri, and highlights the deep emotional connection between the Lord, His devotees, and especially Śrī Rādhā.

When Lord Jagannātha Began to Melt Hearing His Own Glories

Once, Nārada Muni, the divine sage who roams the three worlds singing the glories of the Lord, arrived in Śrī Vaikuṇṭha. There he saw Lord Nārāyaṇa in an unusual state — the Lord was not seated regally, but rather trembling, eyes moist, and His body glowing with intense bhāva (emotion).

Curious, Nārada asked,

“Prabhu! What is it that moves You so deeply today?”

The Lord smiled gently and said,

“O Nārada, I am listening to My own description — not in pride, but in the voice of the one who knows Me best — Śrī Rādhā. She is describing Me not with words, but with her anubhava (deep inner experience). Her love is so intense, so pure, that every word melts Me.”

As the Lord said this, His form began to soften, swell, and melt like molten gold. His arms seemed to draw inward, His eyes stretched wide in ecstatic absorption, His limbs were becoming round and undefined — it was as though He would soon become a stream of divine emotion and flow away.

Alarmed, Nārada cried,

“O Lord! If You keep listening, there will be no Lord left — You will dissolve into love itself! Let me go to Rādhā and plead with her to pause her glorification.”

At once, Nārada flew to Goloka Vṛndāvana, where Śrī Rādhā sat with her sakhīs, lost in sweet remembrance of Kṛṣṇa. Her voice, like the softest veena, was pouring out His names, His form, His playful leelās. She was describing Kṛṣṇa's smile, the curl of His hair, the beauty of His lotus eyes — and each word was weighing on the heart of the cosmos, bending even Nārada's own breath.

Falling at her feet, Nārada begged,

"O Devi! Please, stop! The Lord is melting… your love is so intense, He cannot hold His form. He will become a river of prema and flow away from this world!”

Rādhā smiled through her tears and replied,

“Then let Him flow — for He is made of rasa. If He melts, He only returns to His truest form — love itself.

The Murti of Jagannātha

This story is often connected to Jagannātha’s form in Puri — with big round eyes, no defined hands or feet, and a rounded body — as the "Melted Form of the Lord" when overwhelmed by the love of Rādhā and the Vrajavāsīs.

Jagannātha’s form is not a sculpture of wood — it is premamay swarupa (a form made of divine love).

Thus, every year during Ratha Yātrā, Jagannātha comes out with Balabhadra and Subhadrā, leaving the temple, symbolizing His desire to visit Vṛndāvana again — to reunite with Rādhā and the gopīs who melted Him with their devotion.

राधा की बानी में रस की धार,

溶け गए श्याम, न रहीं आकार।

नारद ने रोकर किया पुकार,

ठहरो राधे, प्रभु हो गए पार।

"In Rādhā’s voice, a stream of rasa flowed,

Shyām melted, lost His very form.

Nārada cried out in sacred alarm,

‘Hold, Rādhā! The Lord has become a storm.’"

now invoking Rukmiṇī, the foremost queen of Śrī Krishna in Dvārakā — a divine personality filled with deep devotion, quiet strength, and royal dignity. Here’s a beautiful story, full of bhakti and emotion, that also connects her to the Jagannātha Leelā and Rādhā’s love.

 When Rukmiṇī Saw Jagannātha’s Form Melted by Rādhā’s Love

One day in Dvārakā, Rukmiṇī Devi entered Krishna’s private chamber and found Him sitting silently, staring at nothing — His eyes were wide, and His body shivering. He looked overwhelmed by an emotion beyond words.

Rukmiṇī gently placed her hand on His shoulder and asked,

“My Lord, are You in pain? What troubles You?”

Krishna looked at her with soft eyes and whispered,

 “I was remembering Vṛndāvana… and Rādhā.”

Though Rukmiṇī was His queen, she felt a quiet pang in her heart — not of jealousy, but of deep wonder. Who was this Rādhā, whose remembrance could steal away even the great Krishna’s senses?

Later, Nārada Muni came to Dvārakā. Rukmiṇī asked him,

“You travel the three worlds — tell me truly, who is Rādhā?”

Nārada smiled and said,

 “Devi, only when you see her bhakti, you will understand.”

He then took Rukmiṇī to Nilachala, where Lord Jagannātha resided. She stood before the Lord in His unusual form — big eyes, hands drawn inward, a round body, no clear limbs.

She asked Nārada,

“Why does He look like this?”

Nārada replied:

“This is Krishna melted by Rādhā’s love. When He heard Rādhā describing Him with such bhāva, His form could not hold itself. His limbs merged into His heart. That melted form is what the world worships as Jagannātha.”

Tears welled in Rukmiṇī’s eyes. She bowed her head and said,

“Now I understand. My love serves Him in royalty — but Rādhā’s love rules Him completely.”

Rukmiṇī represents Lakṣmī, the goddess of fortune. She is Krishna’s queen in Dvārakā — composed, wise, and devoted. But Rādhā is the personification of prema-bhakti — love that is raw, unending, and selfless. Where Rukmiṇī serves Krishna as her Lord, Rādhā loses herself in Krishna, and Krishna loses Himself in her.

That is why Jagannātha's form is said to be Krishna in the remembrance of Rādhā — His heart overflowing, His body melting in love.

 Rukmiṇī’s Realization

राजमहल की रानी थी मैं,

पर मन में एक सवाल रहा।

जब देखा रूप जगन्नाथ का,

तब जाना – प्रेम ही असली राह।

"I was queen of a royal throne,

Yet a question stirred unknown.

When I saw Jagannātha’s face,

I knew — pure love is the highest grace."

S C A.

 The phrase Satya, Chaitanya, and Ānanda—often expressed together as "Sat-Chit-Ānanda"—is a profound way the Hindu philosophical tradition describes the true nature of God (Brahman) in Vedanta. Let's break it down and explain why God is considered Satya (Truth), Chaitanya (Consciousness), and Ānanda (Bliss):

1. Satya (सत्य) – Truth / Existence

What it means: Satya refers to absolute, unchanging existence or reality. It is that which always is, beyond time and space.

Why God is Satya:

God (Brahman) is not subject to creation or destruction. Unlike the physical world, which changes, decays, or dies, God is eternal and unchanging.

In the Upanishads, it is said: "Sadeva somya idam agra āsīt" – “In the beginning, there was only Being, one without a second.”

All things exist because of God’s existence. God is the foundation of all reality.

2. Chaitanya (चैतन्य) – Pure Consciousness / Awareness

What it means: Chaitanya is the intelligent, aware principle—the power of knowing, seeing, and being aware. It is the light of consciousness.

Why God is Chaitanya:

Everything that is alive, aware, or sentient reflects a spark of this divine consciousness.

God is not a dead force but fully alive, all-aware, and the source of all intelligence and perception.

The Upanishads say: "Prajnānam Brahma" – “Consciousness is Brahman.”

Our own awareness (the "I am") is seen as a reflection of this Chaitanya.

3. Ānanda (आनन्द) – Bliss / Joy

What it means: Ānanda means deep, transcendental bliss—a joy not dependent on external objects or events.

Why God is Ānanda:

God is the source of all happiness, peace, and contentment.

True joy arises not from possessions, but from contact with the divine.

In the Taittiriya Upanishad, it is said: "Ānando brahma iti vyajānāt" – “Bliss is Brahman.”

When sages realize the Self or God, they dwell in unbroken inner joy—this is the natural state of the soul reunited with the divine.

So why are gods called Satya, Chaitanya, and Ānanda?

Because God is not just a person or form, but the ultimate reality itself:

Satya – the unchanging Truth behind the changing world.

Chaitanya – the conscious principle that illumines everything.

Ānanda – the blissful nature of that perfect being.

These three are not separate qualities, but inseparable aspects of the one divine presence. When one realizes God, one experiences all three together: eternal truth, radiant awareness, and limitless joy.

Story for children.

Once in a quiet forest, a little boy named Arjun wandered too far from his village. He came upon a glowing, ancient tree. At its base, sat a wise old sage with a smile that warmed the heart.

“Are you lost?” the sage asked kindly.

“Yes,” said Arjun. “But more than that… I feel like I don’t know who I really am.”

The sage laughed gently and said, “Come. I will show you something.”

He took Arjun to a secret cave, where there was a magical mirror—but this mirror showed not your face, but your true self.

Arjun peered into it and saw something dazzling:

First, he saw a light that never faded. “What is this?” he asked.

“Satya,” said the sage. “The truth of your being. You always exist, even when your body sleeps or grows.”

Then, he saw pure awareness, like a sky filled with light. “I can feel everything,” said Arjun.

“That is Chaitanya,” said the sage. “You are consciousness itself. You are the one who sees, hears, thinks, and knows.”

Finally, he saw a deep joy, like a waterfall of love pouring from within.

“This feeling is so peaceful,” said Arjun.

“That is Ānanda,” the sage said. “Joy is not outside you. It is your own nature.”

Tears came to Arjun’s eyes—not from sadness, but from remembering who he truly was. He wasn’t just a boy lost in the forest. He was part of the divine—truthful, conscious, and full of bliss.

He bowed to the sage and returned home—but he was never the same again. For now, he walked the world knowing who he really was.

In silence deep, where thoughts are few,

A golden light comes shining through.

Not from the sun, nor stars above—

It glows with truth, with joy, with love.

Satya is the truth that stays,

Through changing forms and passing days.

Like the sky that holds the rain,

It stands untouched by joy or pain.

Chaitanya is the light we feel,

That makes the dream and world seem real.

The seer, the knower, pure and wide,

A conscious flame that burns inside.

Ānanda is the bliss we seek,

Not in gold or mountain peak.

But in the stillness of the soul,

Where we are one, at last, made whole.

O child of stars, do not forget—

Your deepest truth has not been met

In things outside, but deep within:

You are Sat, Chit, and Ānanda's kin.

Enchanting.

Krishna and the Sasural 

A tale from the enchanting lanes of Gokul

Once, little Sri Krishna and his friends were playing in the soft sands of Gokul, laughing and teasing each other as children do. Among them was a friend named Rama, who suddenly stood up and announced, “I must go now. I have to go to my sasural (in-laws' house).”

Krishna, just five years old, tilted his head curiously. “Sasural? I have heard of Gokul, Mathura, and Vrindavan... but where is sasural? Shall we all go there?”

Rama chuckled, “Not our sasural—my sasural.”

Now Krishna was thoroughly puzzled. “Then where is my sasural?”

Rama grinned, “That, you must ask your mother.”

And so, the curious little Krishna ran home, upset. He burst into Yashoda’s arms, demanding, “Ma! Why have you kept a secret from me? Where is my sasural?”

Yashoda couldn’t help laughing. Stroking his curls, she said gently, “Lala, you are still a little child. When you grow up, you too will have a sasural.”

Just then, Krishna’s friends came running, shouting with excitement, “Rama is returning from his sasural! He has brought his bride in a palanquin!”

Krishna’s eyes sparkled. “A bride! Let’s go see!”

He dashed outside, following the music and laughter. The bride, Madhuri, sat shyly in the palanquin, her face covered tightly. Krishna peered in and said sweetly, “Show me your face.”

But Madhuri replied, “My parents told me never to show my face to you. They said, ‘Everyone in Gokul loses their heart to Krishna upon seeing him. You must be careful.’”

Krishna smiled mischievously and warned, “One day, you will regret this.”

But Madhuri stayed firm.

Days passed. Life in Gokul was as always — full of music, laughter, and stories of Krishna. Wherever one went — to the riverside, in the courtyards, in the markets — the only topic was Krishna: his mischief, his dance, his smile.

Though she tried not to, even Madhuri’s thoughts were slowly filled with Krishna. Unknowingly, he began to appear in her dreams. One night, she suddenly woke up in a daze, thinking she had overslept. In panic, she rushed to the Yamuna to fetch water.

But it was midnight. The riverside was silent. There was no one in sight.

She thought to herself, “Oh no, everyone must have come and left. I am so late.” She filled her pot hurriedly, but when she tried to lift it, she couldn’t.

Just then, she saw a small boy walking towards her. His face… exactly like the one in her dreams, like the one everyone had described — Krishna!

He smiled and asked gently, “Shall I help you?”

She nodded, awestruck. He lifted the pot with ease, and as he passed it to her, something magical happened — he grew in size until he stood tall, face-to-face with her.

She stood frozen, heart trembling.

And then… he vanished.

The pot crashed to the ground.

She stood there weeping silently, overcome by longing. The sun rose, and her friends came looking for her. They found her motionless, tears flowing. They tried to revive her, splashing Yamuna’s water on her face. She fainted.

When she woke, she whispered only one name: Kannaiya... Kannaiya...

In that moment, Madhuri had crossed the threshold — she had become one of the brijvasis, those forever enchanted by Krishna, not just in thought, but in soul.

To think of Krishna is sweet. To dream of him is sweeter. But the truest grace is when Krishna thinks of you. Devotion is not just love offered, but love returned. Blessed are those whose hearts Krishna chooses to enter.