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Srila Venkata Bhatta

The Conversation on Krishna and Lakshmi-Narayana

A verse-by-verse look at the theological exchange that reshaped a lifelong Sri Vaishnava's devotion.

Srirangam, South India, A.D. 1511

Krishna with the gopis of Vraja, a Kishangarh-school Rajasthani painting (circa 1750-1800) held at the V&A Museum, London - the intimate mood of Vraja bhakti at the heart of Mahaprabhu's conversation with Venkata Bhatta.
Krishna with the gopis of Vraja, a Kishangarh-school Rajasthani painting (circa 1750-1800) held at the V&A Museum, London - the intimate mood of Vraja bhakti at the heart of Mahaprabhu's conversation with Venkata Bhatta.Wikimedia Commons · CC BY-SA 4.0
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Sri Chaitanya-charitamrita tells the most important theological part of Venkata Bhatta's whole story at length and with care, in roughly eighty verses of Madhya-lila's ninth chapter. We follow it here in some detail, because the argument is more subtle than "Krishna is greater than Narayana." Krishnadasa Kaviraja Goswami opens by noting Mahaprabhu's own satisfaction. Seeing how sincerely Venkata Bhatta worshipped the Deities of Lakshmi and Narayana, "Sri Chaitanya Mahaprabhu was very satisfied" (Chaitanya-charitamrita, Madhya 9.109). This is not a story about false devotion being corrected. It begins from real devotion, which is then deepened.

The Question That Started Everything #

Mahaprabhu began, not with an argument, but with a tender observation: "Your worshipable goddess of fortune, Lakshmi, always remains on the chest of Narayana, and she is certainly the most chaste woman in the creation" (Madhya 9.111). And yet, He continued, this same Lakshmi left the comfort of Vaikuntha for long ages of austerity and regulated vows, all just for the chance of joining Krishna's rasa dance in Vraja (Madhya 9.113). If Narayana and Krishna are simply the same, why would such a perfectly chaste goddess need to go anywhere at all?

Venkata Bhatta's Scholarly Answer #

Venkata Bhatta answered as his training had prepared him to, with an exact verse on rasa. He argued that in ultimate truth there is no difference at all between the forms of Narayana and Krishna. Yet, he said, Krishna's form carries a special, superior sweetness (rasa) because of the conjugal mellow: "This is the conclusion of transcendental mellows" (Madhya 9.117). It was a learned and fully traditional answer. It was so exact that Krishnadasa Kaviraja Goswami adds a striking note of his own. This same verse appears in Rupa Gosvami's own Bhakti-rasamrta-sindhu (1.2.59). That is a text on the science of devotional rasa, which Rupa would not set out in writing as a system for another generation. In other words, Venkata Bhatta was already at home in the exact technical language of rasa-shastra that the Gaudiya Goswamis would later build into a full philosophy.

Widening the Question #

Instead of rejecting this answer, Mahaprabhu widened it, turning to Srimad-Bhagavatam itself. He described how the great sages and the personified Vedic hymns are said to have taken birth as gopis in Vraja. In doing so, they are said to have given up their own liberated status, purely to enter Krishna's company in Vraja's own intimate way (Madhya 9.128). He also quoted a verse still cited across the Gaudiya tradition today: "when Lord Sri Krishna was dancing with the gopis in the rasa-lila, the gopis were embraced around the neck by the Lord's arms. This transcendental favor was never bestowed upon the goddess of fortune or the other consorts in the spiritual world" (Srimad-Bhagavatam 10.47.60, quoted at Madhya 9.121). The point was not that Lakshmi's love is inferior in quality. The point was that the love of Vraja is an unguarded intimacy, free of any sense of opulence. It is a kind of love that even the goddess of fortune cannot enter, because she is bound to Narayana's majesty. She could enter it only by first giving up that very majesty, and this she does not do. A companion verse from Rupa Gosvami's own play Lalita-madhava-nataka makes the same point with an unforgettable image. Once Krishna playfully manifested a four-armed Narayana form before the gopis. Their love was fixed so completely on the two-armed cowherd boy of Nanda's Vraja, and not on any form of opulence at all, that their ecstatic feelings for Him were, in the text's own word, "crippled" (Madhya 9.150).

Surrender, Not Defeat #

What makes this exchange remarkable is how it ends. Venkata Bhatta does not simply admit that he has lost an argument. He surrenders. "The transcendental pastimes of the Lord are unfathomable, and I do not know anything about them," he says. "Whatever You say I accept as the truth" (Madhya 9.158). Srila Prabhupada's own purport compares this language directly to Arjuna's surrender in Bhagavad-gita 10.14, where Arjuna says much the same thing to Krishna Himself. Then Venkata Bhatta adds a line that shows exactly how Gaudiya Vaishnavism understands this whole episode: "I have been engaged in the service of Lakshmi-Narayana, and it is due to Their mercy that I have been able to see Your lotus feet" (Madhya 9.159). His years of sincere Sri Vaishnava worship were not thrown away as an error. They were honored as the very means by which Krishna's own mercy had reached him.

A Household Transformed tells what that surrender meant for his household in the days and years that followed. It also tells what it did not change about the great public temple of Sri Ranganatha itself. The broader and even warmer story of the friendship that made this whole conversation possible is in Mahaprabhu's Four-Month Stay.

Scriptural sources for this pastime

Quoted in the text above:

Further verses:

'śrī-vaiṣṇava' bhaṭṭa seve lakṣmī-nārāyaṇa
tāṅra bhakti dekhi' prabhura tuṣṭa haila mana

Word for word

śrī-vaiṣṇava: a devotee of the Rāmānuja-sampradāya; bhaṭṭa: Veṅkaṭa Bhaṭṭa; seve: used to worship; lakṣmī-nārāyaṇa: the Deities of Lakshmi and Narayana; tāṅra: his; bhakti: devotion; dekhi': seeing; prabhura: of Lord Chaitanya Mahaprabhu; tuṣṭa: happy; haila: became; mana: the mind.

Being a Vaishnava in the Ramanuja-sampradaya, Venkata Bhatta worshiped the Deities of Lakshmi and Narayana. Seeing his pure devotion, Sri Chaitanya Mahaprabhu was very satisfied.

Madhya 9.109 Sri Chaitanya-charitamrita

Establishes that Mahaprabhu approached the conversation from evident respect for Venkata Bhatta's existing devotion, not as a corrective debate.

prabhu kahe, — bhaṭṭa, tomāra lakṣmī-ṭhākurāṇī
kānta-vakṣaḥ-sthitā, pativratā-śiromaṇi

Word for word

prabhu kahe: Lord Chaitanya Mahaprabhu said; bhaṭṭa: My dear Bhattacharya; tomāra: your; lakṣmī-ṭhākurāṇī: goddess of fortune; kānta-vakṣaḥ-sthitā: situated on the chest of her husband, Narayana; pati-vratā-śiromaṇi: the topmost chaste woman.

Sri Chaitanya Mahaprabhu told the Bhattacharya, "Your worshipable goddess of fortune, Lakshmi, always remains on the chest of Narayana, and she is certainly the most chaste woman in the creation."

Madhya 9.111 Sri Chaitanya-charitamrita

The opening move of the whole conversation - framed as praise for Lakshmi, not as an attack on her position.

ei lāgi' sukha-bhoga chāḍi' cira-kāla
vrata-niyama kari' tapa karila apāra

Word for word

ei lāgi': for this reason; sukha-bhoga: the enjoyment of Vaikuṇṭha; chāḍi': giving up; cira-kāla: for a long time; vrata-niyama kari': accepting vows and regulative principles; tapa karila apāra: performed unlimited austerity.

Just to associate with Krishna, Lakshmi abandoned all transcendental happiness in Vaikuntha and for a long time accepted vows and regulative principles and performed unlimited austerities.

Madhya 9.113 Sri Chaitanya-charitamrita

The pointed question at the heart of the exchange: why would perfect chastity in Vaikuntha need austerity to reach Krishna, if Krishna and Narayana are simply identical?

siddhāntatas tv abhede 'pi śrīśa-kṛṣṇa-svarūpayoḥ
rasenotkṛṣyate kṛṣṇa-rūpam eṣā rasa-sthitiḥ

Word for word

siddhāntataḥ: in reality; tu: but; abhede: no difference; api: although; śrī-īśa: of the husband of Lakshmi, Narayana; kṛṣṇa: of Lord Krishna; svarūpayoḥ: between the forms; rasena: by transcendental mellows; utkṛṣyate: is superior; kṛṣṇa-rūpam: the form of Lord Krishna; eṣā rasa-sthitiḥ: this is the reservoir of pleasure.

Venkata Bhatta continued, "According to transcendental realization, there is no difference between the forms of Narayana and Krishna. Yet in Krishna there is a special transcendental attraction due to the conjugal mellow, and consequently He surpasses Narayana. This is the conclusion of transcendental mellows."

From the purport: Purport excerpt: "This verse quoted by Venkata Bhatta is also found in the Bhakti-rasamrta-sindhu (1.2.59)."

Madhya 9.117 Sri Chaitanya-charitamrita

Venkata Bhatta's own answer, given as a trained Sri Vaishnava scholar of rasa - the same verse Rupa Gosvami would independently include, a generation later, in his own systematic work on devotional aesthetics.

gopīnāṁ paśupendra-nandana-juṣo bhāvasya kas tāṁ kṛtī
vijñātuṁ kṣamate durūha-padavī-sañcāriṇaḥ prakriyām
āviṣkurvati vaiṣṇavīm api tanuṁ tasmin bhujair jiṣṇubhir
yāsāṁ hanta caturbhir adbhuta-ruciṁ rāgodayaḥ kuñcati

Word for word

gopīnām paśupa-indra-nandana-juṣaḥ bhāvasya: of the gopis' ecstasy in loving service to the son of Vraja's king; kaḥ kṛtī vijñātum kṣamate: what learned man is able to understand; durūha-padavī: very difficult to comprehend; āviṣkurvati vaiṣṇavīm tanum: when He manifested the form of Vishnu; bhujaiḥ jiṣṇubhiḥ caturbhiḥ: with four beautiful arms; adbhuta-rucim rāga-udayaḥ kuñcati: their wonderful evoking of ecstatic feelings became crippled.

Once Lord Sri Krishna playfully manifested Himself as Narayana, with four victorious hands and a very beautiful form. When the gopis saw this exalted form, their ecstatic feelings were crippled. A learned scholar cannot understand the gopis' ecstatic feelings, fixed as they are upon Krishna's original form as the son of Nanda Maharaja.

From the purport: Purport excerpt: "This is a verse spoken by Narada Muni in the Lalita-madhava-nataka (6.14), a drama written by Srila Rupa Gosvami."

Madhya 9.150 Sri Chaitanya-charitamrita

A vivid image of exactly why the gopis' love is fixed on Krishna's two-armed cowherd form and not on any four-armed form of opulence, however magnificent.

Nandgram Dham
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