अणुभाष्य (महाप्रभु वल्लभाचार्य - शुद्धाद्वैत वेदान्त ब्रह्मसूत्र महाभाष्य प्रकाश टीका सहित)

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In the year 1616, on Māhā Vad 13th, Vitthales'vara visited the shrine of
Jagannātha in Puri ( Orissa ). He was there accompanied by his wife
Rukmiṇī, his eldest daughter S'obhājī and his eldest son Giridharajī. He
stayed there for nearly six months. After witnessing the Rathotsava at
Puri, he seems to have returned to Adel. During his visit to Puri he had
taken with him a carpenter by name Rāsā. This was with a view to see the
model of the Jagannātha Car. It is said that when Vitthales'vara returned
to Adel, he got a car prepared of a similar model, and took his deity round
the village of Adel in a procession. During his stay at Gaḍā also he
celebrated a Rathotsava similarly. But when he shifted his abode to
Mathurā he had to give up the public celebration of Rathotsava on account
of the Mahomedan fanaticism. During his stay in Jagannātha, Vitthale-
s'vara came in contact with the immediate followers of Chaitanya, living
there. It is possible that the composition of Swāminyashtaka ( स्वामिन्यष्टक )
Swāminīstotra ( स्वामिनीस्तोत्र ) and several other minor stotras, in which the
Eternal consort-Rādhā-of S'ree Krishna is extolled, date from this period;
or their composition may be due to the direct or indirect influences of
Chaitanya saints. There is no stotra or writing of Vallabhāchārya to our
knowledge where Rādhā is extolled in the strain in which Vittales'vara has
done. How far and how much of this influence was retained by Vitthale-
s'vara it is difficult for us to determine from the materials available, though
the conclusion of the Aṇu-Bhāshya where Navanīta-priya ( नवनीतप्रिय ) and
Govardhanadhara ( गोवर्धनधर ) only are remembered would show that
Vitthales'vara in later times had completely freed himself from the Chaitanya
influences. His commentary on Krishṇapremāmṛita ( कृष्णप्रेमामृत ) and S'ringāra-
rasamaṇḍana ( शृङ्गाररसमण्डन ) may be due to Chaitanya mould of thought.
Or that was the time when the wave of Rādhā-Kṛishṇa worship
swept over the whole of India, and it would be difficult to say exactly how
far the influence of Chaitnya thought there is in the above Stotra. The
originality of thought and method of expression are Vitthales'vara's own.
But we would not be wrong if the composition of the above Stotras was
assigned to this period. It is possible that these Stotras are due to Sarasvatī-
Saṁvāda and nothing else.
After his return from Puri, Vitthales'vara seems to have resided at
Adel from Samvat 1616 Āshāḍh to the beginning of 1619. On the analogy
of Jagannātha, car-festivel was celebrated here. It was during this period,
that he composed his Vidvanmaṇḍana. A manuscript dating from वैशाख शु. १२
सं. 1619 leads us to this inference. In any case, we cannot assign any later
date than this to the composition. In 1619 it appears that Mahomedan
invasion made Vitthales'vara give up his abode at Adel for good.
From Adel, after his stay at two or three places, he seems to have
moved over to the kingdom of Bāndhe Gaḍhā. Rāmachandra, a Waghela
Rajput, was the king of the place. He seems to have received Vitthale-
s'vara well, who stayed at this place for a couple of months. The relations
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of Giridharaji the eldest son of Vitthales'vara were very cordial with this
prince. The eldest son of Giridharaji by name Muralidharaji was born here
on Vijaya Das'amī day. Tānsen the famous minstrel was formerly a musician
of king Rāmachandra, but he had to hand him over to Emperor Akbar. This
Tānsen seems to have come into contact with Vitthales'vara here. But
Vitthales'vara did not stay here long. In later days when Vitthales'vara
adopted Gokula as his permanent residence, this king Rāmachandra visited
Gokula. He was well received by Vitthales'vara and Giridharaji then.
From Bandhe-Gadhā, Vitthales'vara seems to have moved over to Gadhā.
It is difficult to say whether the modern Jubbulpore on the banks of the
Narbadā was Gadhā of those times. Vitthales'vara's Bethak near Jubbulpore
would go to show that Gaḍā was situated somewhere there. The havoc
wrought by Akbar's general Asafkhan is so complete that it has become
difficult to identify the place. Vitthales'vara's desire to go to Gaḍa was
natural. Gadhā was ruled over by queen Durgāvati. She was a princess of
great reputation. She was married to Dalpatishah in a very romantic
manner and out of this union a son was born. When he was three years
old, Dalpatishāh died. Since then Rāṇi Durgāvati was the de facto ruler
of Gadhā acting as Regent for her son Vīra Nārāyaṇa. Even after he was of
age she continued to rule over the kingdom. Fiftytwo Gaḍhas (fortresses)
were included in her kingdom. She fought many battles, and on account of
her exceptional valour she was called Durgashāh. She was very religious
and patronised numerous learned Brahmins. Some of the Telugu Brahmin
families who were connected with Vitthales'vara's family by marital ties
lived there. Besides, next to Vijayanagara, the only independent Hindu
kingdom where Vallabhāchārya was recognised as the greatest Āchārya by
the then ruling king Krishṇadeva, this princess Durgāvati was the only
independent Hindu princess in whose kingdom Brahmins were encouraged
and people were extremely happy. Her government was a faultless one and
Akbar's attack on this princess is considered by competent historians to be
nothing more than wanton destruction for self-aggrandizement. When
Vitthales'vara came to her Capital first of all, he put up on the banks of
Jammniya-talao or the Rāni-talao. Durgāvati was so much impressed with
his saintly character, high learning and sublime devotion to Krishṇa that
she visited his Ās'rama frequently and requested him to accept Gadhā as
his permanent residence. Suitable arrangements were made for his stay.
During his three years' stay the relations between him and the Queen were
very cordial. Vitthales'vara's first wife Rukmiṇī passed away about this
time, and he had absolutely no desire to marry again. But under the
pressure of Rāṇi Durgāvati Vitthales'vara had to marry Padmāwati daughter
of Krishnāraya Bhatta on Akshaya.Tritiya day of 1620. On another
occasion Durgāvati gave a gift of 108 villages to Vitthales'vara which were in
their turn gifted away by him to Bhattas, his caste people, who were living
there and whose descendants to this day are said to be in the enjoyment of
the same. During his stay at Gadhā, a Brahmin by name Brahmadāsa came
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in his contact. He was blessed by Vitthales'vara by giving him his own
waist-coat. From this day the fortunes of this Brahmadāsa began to rise
and ultimately he became one of the trusted advisers of Emperor Akbar
under the now well-known name of Birbal (बिरबल). This Birbal's relations
with Giridharaji were very intimate, as could be gathered from the letters
of Vitthales'vara. He seems to have helped Vitthales'vara a great deal
when the possession and control of the shrine of Shree Nāthaji on the
Govardhana Hill were taken over by Vitthales'vara some time later from
the Bengālee worshippers.

After his stay for about three years, Vitthales'vara perhaps noticed
that even this kingdom of Durgāwati would ultimately be invaded by
Akabar's armies. In samvat 1621 (1564 A. D.) a pretext was found out
by Asafkhan by demanding from her, her favourite elephant Gurudār. She
naturally refused to comply with the demand. The attack of Asafkhan is
the more glaring because Durgāvati's prime minister Adhāradasa was
deputed by her to the court of Akbar. This seems to have influenced
Vitthales'vara in giving up his residence at Gaḍhā. He therefore expressed
his desire to Rāṇi Durgāvati that he wanted to go and reside on the banks
of the Yamunā (Jumna). To meet Vitthales'vara's desire Rani Durgāvati
caused to be built at Mathurā the Seven Houses which became ultimately
known as 'Sat-garā'. Vitthales'vara and his seven sons lived at Mathurā
in this Satgarā. It was in these Satgarā that for about two months or so
S'ree Nathaji was brought on Fālgun Kṛishṇa 7, 1623 from the Govardhana
Hill by Giridharaji when Vitthales'vara was on his visit to Gujarāt. These
seven houses do not exist now, but the place on which they stood is to this
day known as Sat-garā at Mathurā. It is situated behind Chhattā Buzaar on
the west, and the pilgrims for Parikramā start from this place. At Gaḍhā,
Vitthales'vara had very pleasant times. He celebrated the Rathotsava
festival. The car was taken in a big procession round the capital in which
Rāṇi Durgāvati took part with all the nobles of her court. In fact all
the resources of the state were requisitioned for the celebration of the
Rathotsava.

When Vitthales'vara left Gaḍhā, Rāṇi Durgāvati sent her minister
Adhardāsa, to accompany him with a large escort.

After he left Gaḍhā Vitthales'vara does not seem to have been visited
by Rāṇi Durgāvati. She lost her life while fighting valiantly with Asaf-
khan, and her son Veeranārāyana also seems to have met with a similar fate.
The rich treasures of the Royal treasury were looted by Asafkhan, and were
carried away by him. The ravage done was so complete that no definite
marks of this illustrious princess's kingdom could now be traced by
historians. The traces of Vitthales'vara's stay in Gaḍhā are fortunately
preserved by his Bethak, near Jubbulpore which is said to be the place where
his second marriage with Padmāvati was celebrated as mentioned above.

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From Gaḍhā,¹ Vitthales'vara seems to have migrated to Prayāga
(Allahābad). Here he stayed for some time in great happiness. He
engaged himself in the worship of Krishṇa and the performance of Somayāga.
From Prayāga Vitthales'vara seems to have migrated to Gokula on
भाद्रपदकृष्णा 3, 1622. Here he resided in a place where his father and his elder
brother used to reside during their visits in Chāturamāsa. Vitthales'vara
is said to have stayed in Gokula for about 84 days. Then on कार्तिकशुक्ल 11,
1623 he seems to have removed to Mathurā. He lived in Sat-garā built by
Rāṇī Durgāvati. From 1623 to 1629 Vitthales'vara passed his time in
Mathurā. In 1623 when he visited Gujarāt, the image of S'ree Nathaji was
brought by Giridharaji from the Govardhana Hill to his house and was
installed in his house in Sat-gara. The image continued to be wor-
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From the the year 1628 upto his passing away in 1642 Vitthales'vara
resided at Gokula and carried on his literary and other religious activities.
Emperor Akbar took delight in discussion of questions relating to the world
beyond. He is said to have paid a visit to Goswāmis of Brindāwan by
this time. Vitthales'vara Dīkshita was invited by Emperor Akbar for the
elucidation of the nature of the Supreme Being. Akbar was much pleased
with his explanations, and he requested him to ask for a gift. Vitthales'vara
asked the Emperor to give him Gokula, which being a quiet place was
congenial to his tastes and requirements, being situated on the banks of the
river Yamunā near Mahā Vana. Thereupon Emperor Akbar made a grant
to him of Gokula under his Royal Seal and handed over the Firman to
Vitthales'vara in the year samvat 1634 corresponding with 29th of Jamādi
the 2nd, A. H. 985 ( 1577 A. D. ). Vitthales'vara was the recipient of three
other Firmans granting him the privilege of grazing his cattle on all
lands including Khālsā or Jāgir. Another Firmān was granted to him by
Hamīdah Bānu Begum, mother of Emperor Akbar. He was also the
recipient of the grant of the Jatīpurā village where the Shrine of Govar-
dhanadhara was situated. During his stay at Gokula he visited Gujarāt
twice, once in the year 1631, and then in 1639. It was perhaps during this
last visit that Gopāladāsa, the author of Navākhyāna, came into his contact
and wrote his beautiful poem describing in the last chapter the whole family
of Vitthales'vara. This last chapter mentions seven sons of Vitthales'vara
and their wives. It does not mention the names of either of the wives of
Vitthales'vara. The inference is that this poem is written after Vitthale-
s'vara's both wives had passed away and his youngest son Ghanas'yāma,
if not actually married, was betrothed to Krishnāvatī. All his four
daughters were married, and the two widowed daughtets of his elder brother
Gopinātha, Lakshmī and Satyabhāmā, were residing with him, and passed
their widowhood in complete happiness in the service of S'ree Navanītapriya.
Thus from the year 1629 to 1642 Vitthales'vara lived at Gokula in
complete tranquility. During his stay there, he carried on and perfected
the mode of worship (Sevā-Prakāra), both at Govardhandhara's temple at
Jatīpurā and in Navanītapriya's temple at Gokula. Poet Gopāladāsa
describes beautifully how Vitthales'vara daily went on horseback from
Gokula to Govardhana. 'तुरग चाल्यो वायुवेगे उताबळो, जाणे नौका चाली सिन्धु तरवा.' Vitthale-
s'vara translated his father's teachings into actual practice and turned
them into a divine religion. His father mentioned two alternatives in the
verse गृहं सर्वात्मना त्याज्यं तच्चेत्त्यक्तुं न शक्यते । कृष्णार्थं तद्विनियुञ्जीत कृष्णोऽनर्थस्य मोचकः ॥ ( विवेकधै. ).
The first alternative of त्याग (complete renunciation) cannot be translated
into practice as an inflexible rule, by everyone. Hence Vitthale-
s'vara accepted the second alternative of अत्याग by which every thing was to
be utilised for Krishņa, thereby ultimately the goal enunciated in the first
alternative of त्याग was to be gradually reached. With this end in view he
promulgated an elaborate mode of rituals for the Sevā-mārga. The Sevā-
mārga was based purely on the dictates of the finer sentiments of heart.
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The result was that the very household of Vitthales'vara became free
from the experiences of the miserable surroundings of the worldly life.
The mode of worship was carried on in such a way that all the members
of his family, young and old, males and females, could take part in the
daily worship with such fervour and pleasantness that his house was a
sight which gods would envy. The poet Gopāladāsa gives expression to
this fact in the following couplets:—
हारकंकणकर्णभूषणमाद् नाना हींडतां । गान गाये स्वर सुहाये श्रीनवनीतप्रियजीने पोढतां ॥
सन्ध्यासमे शृंगार नूतन फूल गुंथे सौ मली । सदनशोभा निरखतां ते लक्ष्मी मन पाम्यां रली ॥
Emperor Akbar's two ministers Todarmall and Bīrbal seem to have
come into closer contact with him during this time and gave him their
help whenever required. The shrine of S'ree Nāthajī came into exis-
tence under circumstances in which the followers of Vallabhāchārya and
those of the Gaud school both worshipped it with equal reverence. S'ree
Nāthajī or Govardhanadhara was worshipped by the local people as
Devadamana ( देवदमन ). It is alleged that originally this shrine was set
up by king Vajra of the Yādava race who was brought to Muttrā by
Arjuna after the destruction of the Yādava race. The said image which
remained under-ground was then discovered. When Vallabhāchārya
visited Vraja, he installed this image of Govardhanadhara or S'ree
Nāthajī in the year 1576, अक्षयतृतीया. He appointed Mādhavendra-puri a
Tailanga Brāhmana Sannyāsi of the Mādhva school to carry on the worship
of Govardhana-dhara. This Mādhavendra-puri was a Krishna-worshipper.
He was the guru of Ishvarapuri who initiated the Bengal saint Chaitanya
into Krishna-worship. Mādhavendra-puri was instrumental in introducing
Krishna-worship in Bengal. To carry on the daily worship of S'ree
Nāthajī was a task difficult for a single individual. Hence he kept some
Bengāli Vaishnavas to help him. Rāmdāsa, another saint, was commissioned
by Vallabhāchrāya to act as first मुख्यप्रचारक. He was a Chauhana Rajput.
Krishnadās was appointed as the Adhikāri. Vallabhāchārya and his son
Gopīnātha used to visit Vraja during the Chātur-māsya of every year,
and during their absence they used to carry on the Sevā themselves. After
the passing away of Vallabhāchārya and Gopīnātha, some disagreement
seems to have arisen between the Bengāl Vaishnavas and Vallabha
Vaishnavas. So long as Mādhavendra-puri was there, no disagreement
seems to have arisen. The image is spoken of as Gopāla and described as
such in the works of Chaitanya writers. When Mādhavendra-puri went to
the south to fetch Malayāgaru chandana (sandal-wood) he passed away
there at an advanced age of about 130 years and the Bengāl Vaishnavas used
to carry on the worship of S'ree Nāthajī under the control and supervision
of Krishnadāsa Adhikārī. Gopinātha's visit to Gujarāt brought him about
a lakh of rupees as Sevā. The same was dedicated by him to S'ree
Nāthaji. Vitthales'vara's frequent visits to Gujarāt attracted its rich people
to visit the shrine of S'ree Nāthaji and they made rich presents to the Deity.
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It seems, Bengal Vaishṇavas who used to carry on the worship, secretly
carried away these presents to their Goswāmis who lived at Brindāvan.
This created great dissatisfaction among the Vaishṇavas of Gujarāt. One
Anantadāsa raised an emphatic protest against this misuse of the offerings
to the Deity. He persuaded Krishṇadāsa Adhikārī to put a stop to this and
drive out the said Bengali worshippers. Krishṇadāsa could not do it
unless he had the sanction of Vitthales'vara. For this purpose he was
persuaded to approach Vitthales'vara, who at first hesitated, because these
Bengalees were appointed by his father. But after some deliberations,
Krishṇadāsa succeeded in obtaining a letter of recommendation to Rājā
Birbal to help him in his mission. With this letter Krishṇadāsa saw
Birbal, then collected a number of men with him and set fire to the
huts of the Bengalees. The moment the latter came to know of this,
they came down from the Govardhana hill where the shrine was situated.
At first they offered great resistance to Krishṇadāsa, but ultimately
yielded, and he got exclusive control and possession of the shrine. Rājā
Birbal was intimate with Giridharajī, the eldest son of Vitthales'vara.
Perhaps to establish his absolute control, Giridharajī brought the shrine of
Gopāla-S'ree Nāthajī to his own house in Mathurā in 1623. From this date
the mode of worship was greatly elaborated by Vitthales'vara. It became
the exclusive resort of Vallabha Vaishṇavas, and Bengal Vaishṇavas began
to forget their early connection with it. The personal relations of Valla-
bhāchārya and Chaitanya were very cordial as can be inferred from
the above facts regarding the setting up of the shrine of S'ree Nāthajī.
The Chaitanya writers, and especially Krishṇadāsa, who lived in Bengal
and who is the author of Chaitanya-Charitāmrita perhaps felt bitterly this
loss of the control of the above shrine. In their zeal to extol Chaitanya
they try to belittle the achievements of Vallabhāchārya. Vallabhāchārya's
records are singularly devoid of any unpleasant reference to Chaitanya,
while the statement of Chaitanya writers that Vallabhāchārya, though praising
Chaitanya, slighted his companions, and that he had to take lessons in Bhā-
gavata at Puri from Jagadānanda, pupil of Chaitanya, seems to be due merely
to some sort of prejudice and historically impossible. There can be no greater
nonsense than this. The present Bengal writers like Dr. Sen and others
who copy this, seem to be rather uncritical. We believe the above
statements are the result of the disappointment felt by Chaitanya Goswāmis
of Brindābana on account of the loss of S'ree Nāthajī as mentioned above.
We are told that in an early work, Brindāvandāsa's Chaitanya Bhāgavata,
there is no reference to the incident of Puri. The transference of the
control of the shrine to Vitthales'vara had very marked results. Emperor
Akbar presented the Jatipurā village to Vitthales'vara by a special Firmān.
The inner worship became confined to the agnates of Vitthales'vara and their
wives and daughters only. Among Brāhmaṇas, Geernārās and Sāchorās
who early joined the Faith were allowed to take part in the worship. But
the mass of Vaishṇavas were henceforth excluded from coming into direct
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contact with the holy shrine, a result which it is doubtful whether Vallabhā-
chārya or Vitthales'vara could have had in their minds, when Vallabhāchārya
installed the shrine and Vitthales'vara got its exclusive control. His
immediate object then was to exclude the Bengalees only. Perhaps it
would not be out of place to remark that this was the occasion when
Vitthales'vara lost all traces of Chaitanya thought which he had gained
during his visit to Jagannātha in 1616.
During his stay at Gokula in Samvat 1629, Rājā Todarmal paid a
visit to Vitthales'vara. He was ordered by Emperor Akbar to take the
command of the Imperial forces in Behar against king Daud. This was
an onerous task and before setting out on his expedition, Todarmall came
to Vitthales'vara to invoke his blessings. He was given by Vitthales'vara,
a 'Pītāmbara' which Todarmall tied over his head, while he started on
his expedition. This would show that Todarmall held Vitthales'vara in
very high esteem.
Rājā Birbal's connections with Vitthales'vara were equally intimate
as stated above. When Vitthales'vara was on his visit to Gujarāt, a
controversy seems to have arisen as regards the date on which the
Janmāshtami fast was to be observed. On his return he came to know
about this and composed a work named जन्माष्टमीनिर्णय stating his view
about it with reasons. Possibly the रामनवमीनिर्णय was also written by him
under similar circumstances. Having quietly settled at Gokula, he gave
definiteness to the religious practices initiated by his father.
After Vallabhāchārya, Vitthales'vara's elder brother S'ri Gopīnātha
succeeded as Achārya. S'ri Gopīnātha was a great devotee. Vittha-
les'vara entertained great respect for his brother. We have not got
materials enough to learn how S'ri Gopīnātha understood and expounded
the tenets promulgated by his father. We know that he used to reside at
Adel for the most part of the year and like his father used to visit Vraja
during the monsoon. There he used to perform Gopāla-upāsanā. There is
a work called Sādhana-Deepaka, the authorship of which is attributed
to him. From this work we do not learn much. One rule laid down
in it is that a widow is to worship Krishņa with Bāla-bhāva, while a
woman whose husband is living, is to worship Krishņa with Bhartri-bhāva.
Though we have failed to trace this distinction to any of the writings of
Vallabhāchārya which are extant, we feel that there is some ground for
the above rule which is based on common sense. Again, this work, though
purporting to detail Sādhanas a Bhakta has to follow, omits any
reference to the process of Nivedana which is practised in the Sampradāya
even to this day. Beyond this, there is not much in this work elucidating
any other point of Vallabhāchārya's philosophy. It seems therefore
clear that Vitthales'vara had to depend on his own exertions to under-
stand the works of his father. In this effort an unfortunate incident seems
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to have damaged the cause of the Sampradāya to a considerable extent, and
in spite of Vitthales'vara's attempts, one would feel that the loss to the
Sampradāya is irreparable.
It is not certain when S'rī Gopīnātha passed away. It seems
after his death some unpleasantness was caused between Vitthales'vara
and his sister-in-law, and these feelings of unpleasantness became
more embittered on the part of the sister-in-law when her only
son S'rī Purushottama also passed away soon after. The result of
this was that the original works of Vallabhāchārya which were in
possession of S'rī Gopīnātha as the eldest son of Vallabhāchārya were
consigned to oblivion by her. The greatness of Vallabhāchārya's personality
was so much felt by his devotees during his life-time that none of
them seems to have contributed anything to the composition of his works.
In the case of S'ankarāchārya and Rāmānujāchārya one feels that their
respective Bhāshyas are written, re-written, revised and recast with
the collaboration of their learned pupils. In the case of Vallabhāchārya
the distance felt by the devotees was so great that none has upto this
day ventured to add or subtract anything from them. This being the
position and the devotees being wholly engrossed in Krishṇa-worship as
taught by Vallabhāchārya, they did not try to get the copies of his writings.
Another reason for the loss of the original works of Vallabhāchārya seems to
be the great fire which destroyed almost the whole village of Adel at the
time he took to Sannyāsa. When the helm of the Sampradāya came into the
hands of Vitthales'vara it was a problem to him as to how he should get
authentic texts of his father's works. On the side of Adel counter influences
were working, and it was difficult, if not impossible, to get all the works.
He seems to have secured the original copy of the Brahmasūtra-Bhāshya
of his father upto 3-2-34. Nibandha seems to have been secured by
him, and he has attempted to finish Prakās'a on Nibandha by writing
commentaries on the Fourth skandha, and a portion of the Fifth of the
Bhāgavatārtha-prakaraṇa. From Gujarāt Vaishṇava Rāṇā Vyāsa
he secured the Subodhinī, a commentary on S'rīmad Bhāgavata of
Vallabhāchārya. We have no materials to learn whether he got
Pūrva-mīmāñsa Bhāshya of Vallabhāchārya, though there is plenty of
evidence in Aṇu-Bhāshya to show his great hold on the Sūtras of Jaimini,
to which he refers as a master. It is possible, as Purushottamji says,
that the Pūrva-mīmāñsa Bhāshya became उत्सन्न in his times. We may
infer from this that Vitthales'vara might have been in possession of the
Purva-mimansa-Bhashya of S'rī Vallabhāchārya, which became lost to us
during the period, so to say, of interregnum, between 1642 and 1724
Samvat. Thus it would seem that Vitthales'vara had before him almost
all the works of S'rī Vallabhāchārya which are now available to us.
From these materials we shall presently see how he has developed the
system promulgated by his father, both on the practical as also the
theoretical side.
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On the formation of the Sāmpradāyika practices Vitthales'vara's
influence seems to be very marked, the nucleus having been supplied
by his elder brother Gopinātha in his Sevā-Paddhati. Vallabhāchārya
established the shrine of S'ri Nāthajī on the holy mount of Govardhana
and initiated a mode of worship which was extremely simple. This shrine
was entrusted by him to the devotees who resided there. The initiation
of Vaishṇavas was a very simple formula, as he puts it somewhere in his
Subodhinī, viz; Krishna, I am Thine. कृष्ण तवास्मि. This would seem to
be the ordinary mode of initiation as communicated to Vallabhāchārya
by Lord S'rī Krishṇa. But for the practical purposes of the Sampradāya,
some solemn declaration was a necessity, and hence we feel it is possible
that the language used in the explanation incorporated in the Gadya
formula ( सहस्रपरिवत्सरमितकालजातकृष्णवियोगजनिततापक्लेशानन्दतिरोभावोऽहं भगवते कृष्णाय देहेन्द्रियप्राणान्तः-
करणानि तद्धर्मांश्च दारागारपुत्राप्तवित्तेहापराव्यात्मना सह समर्पयामि, दासोऽहम्, 'कृष्ण तवास्मि ।') is the work
of S'rī Vitthales'vara. For the Sampradāya which was expanding in all
directions, some grave and solemn declaration appeared to Vitthales'vara
to be a necessity, and he without adding or subtracting anything to the sense
of कृष्ण तवास्मि added a solemn declaration by which the sense of the Mantra
became abundantly clear. The Sāmpradāyikas do understand that the
portion of the Gadya preceding कृष्ण तवास्मि is explanatory of the same. This
being an explanation coming from Vitthales'vara accounts for the difference
in the readings of the formula among his seven sons. This change was
most essential as it added to the solemnity of the initiation ceremony.
Vitthales'vara's personality was second to none in the Sampradāya after
S'ri Vallabhāchārya, and one feels admiration for his wisdom when he sees
how he has added to the gravity without sacrificing the sense of the original.
We are informed by Goswāmi S'rī Gokulanāthajī Mahārāja of
Bombay that the whole Gadya in the handwriting of S'ri Vallabhāchārya is
preserved in the daily worship in the temple of S'rī Damodaraji at
Junagadha in Kāthiāwār. We have not been able to satisfy ourselves as
to the authenticity of the same, but if it were so, the above reasoning
would be inapplicable.
It is rather difficult now to appreciate how much Vitthales'vara
contributed to the development of the aesthetics in the mode of worship,
Sevā-Prakāra. All the fine arts were requisitioned in the performance
of the daily worship. Vitthales'vara was himself a master-musician. He
knew both the theory and practice of the Indian Music. Some of the
most charming songs which are sung before the deity were composed
by him. The song 'मंगल मंगलम्' is daily sung in every Pushtimārgīya temple
in the early morning when the ( स्वरूप ) is made to awake. The famous
Prabodha is also daily recited. Another song 'प्रेङ्खपर्यङ्कशयनम्' is always sung in
'Rāmakalī' in the morning when the ( स्वरूप ) is swung in the cradle
(Palnā). During the Vasanta season an Ashtapadi 'मञ्जुलविकलवेगे' is daily
sung when Vasanta is being played during the Rāja Bhoga Dars'ana. This
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Ashtapadi can best compare with the finest ones of Jayadeva in Gīta-Govinda.
Govindaswāmi, the greatest musician of the times, was appointed by
him as the chief kīrtanakāra in the temple of Nāthadwāra. Nandadāsa,
Chaturbhujadāsa, Chhītuswāmi and Govindaswāmi composed some of the
finest songs in the local vernacular ( Vraja Bhāshā ) under the direct
inspiration of Vitthales'vara. The songs of Vitthales'vara are all in
Sanskrit. The Rāmānujiya saint Tyāgarājaswāmi composed beautiful
songs in Sanskrit. Vitthales'vara's mother-tongue was Telagu, and his
activities were confined to Gujarāt, Kāthiāwār, and Rajputānā where Telagu
was least known. Hence Sanskrit was preferred by him as the medium of
communication. Almost all the letters of Vitthales'vara which are now
available are in Sanskrit.
Thus after preparing materials for music, he utilised them in the
Sevā-Prakāra with consummate skill and erudition. The music to be sung
before the deity was in conformity with each season. Music in the morning
Sevā was to be sung in Rāgas which are to be sung in the morning.
Music in the evening is to be sung in Ragas which are to be sung in the
evening, the rule being relaxed during the big festivals of Janmāshtami,
Annakūta etc., when any Raga can be sung. In music, Ragas change according
to season. The finest musical instruments (Tambura, Bīn, Mridanga, Sarangi
etc. ) of the age were made use of in the daily Sevā. This practice is
continued to this day in the Sampradāya. Vitthales'vara's son Raghunāthajī
was, we believe, literally correct when he speaks about his father as गीतसंगीतसागर.
The daily worship changed according to seasons. Everything was
so arranged that if one entered a Pushtimārgīya temple during winter, the
moment he was within the precincts of it, he would least feel the unpleasant-
ness of winter cold. Similarly during summer, entrance in Vitthales'vara's
temple would make you forget that it was summer. The perfection was carried
to such an extent that the richest dainties that are daily offered to the deity
vary acccording to time and season. Akbar sometimes did pay visits to
Vitthales'vara and the latter made an exception by allowing the former
'Dars'an'. A Sāmpradāyika Gāthā records the following incident of Akbar's
visit on one S'ārada full-moon day (रासपूर्णिमा). Krishna is the symbol of
highest Rasa S'ringāra. He is described as S'yāma (श्याम). Accordingly
every thing in the Sevā i. e. पीछवा, पीछात, etc. was naturally श्याम. This
was changed to white silver cloth at Akbar's request, and this practice
continues to this day.
Painting too was a favourite pastime with Vitthales'vara. A beautiful
painting of his deity Navanīta-priyaraya drawn by him is in the possession of
Goswāmī Dwārkes'jee of Bombay. On Utsava days beautiful Ārtis were
drawn and filled with pearls and it was filled with harmonious blending of
colours. These Ārtis designed as they were by the ladies of Vitthales'vsra's
family are still current in the Sampradāya under their respective names, such
as Arti of Rukminiji etc. Some of these Ārtis show a considerable amount of
2014

accurate drawing. During the Vasanta season beautiful prints both in dried
and wet colours were utilised in the curtains etc. of the daily worship.
Similarly during the Sāñjī days, beautiful Sāñjīs in the choicest colours
depicting the particular sports of Kṛishṇa were prepared for the deity
under the inspiration of Vitthales'vara.
Choicest flowers such as rose, jasmine, Bakula, Kadamba, lotus etc,
were utilised in preparing the garlands to be offered daily to the deity.
During summer, flower-houses (फूलमंडली) were organised in such a way that
flowers were knit and strung together in the most artistic way. In short the
finest arts which were developed during the Akbar-period were all availed of
in the daily worship of Kṛishṇa.
Vitthales'vara's field of activities lay chiefly in Gujarāt and Kāthiāwāḍ.
The people of those countries were by instinct commercial. It would be
rather difficult to make them take interest in books dealing with the subtle
and abstruse problems of philosophy. It was a question to Vitthales'vara as
to how he should make them accept Kṛishṇa-Sevā as their goal. For this
purpose Vitthales'vara organised bands of amateurs who would give life-like
representations of the various sports of Kṛishṇa. This method proved very
successful and whole communities of Gujarāt accepted the Kṛishṇa-Sevā-
creed with marvellous zeal and rapidity. In fact everything that belongs to
any one is to be dedicated to Krishna. There was no actual parting with the
thing but there was the ingrained remembrance that everything of you is not
for your own self but for God, a doctrine like this which Vallabhāchārya
preached in अविद्या पूतना नष्टा गन्धमात्रावशेषिता was translated into the daily life of
Vaishṇavas by turning this अहंता and ममता from संसार towards God. Vitthale-
s'vara achieved this for his devotees by this simple and sure remedy of
Kṛishṇa-worship in which every member of the family could take part and
all their belongings could be best utilised. Thus Vitthales'vara made
Vaishṇavism a living religion among the masses of Gujarāt. The influence of
Vitthales'vara was so deep-rooted, and in course of time it went on increasing
to such an extent that when one speaks of a Vaishṇava in Gujarat the
reference is generally understood to be to a Pushtimārgiya Vaishṇava. Dr.
Bhāṇḍārkar's remark that Vallabha's mode of worship was more dramatic
than emotional seems to be rather unfounded. All the paraphernalia of the
Sevā without the deity's special grace अनुग्रह and intense love was a thing
never approved of nor preached by Vitthales'vara. Dr. Bhandarkar's remark
was rather due to the learned scholar's unfamiliarity with or distant
acquaintance from hearsay evidence about the Sevā-Prakāra followed in
Pushtimārgīya temples. Our own experience of the temples of Rāmānujās,
Madhvas, Godias, and the chief shrines of Jagannātha and Vitthala leads us to
the inevitable conclusion that in the mode of Kṛishṇa-worship Vitthales'vara's
position is unique and unrivalled. This fact was whole-heartedly acknow-
ledged by one great Vaishṇava teacher Swāminārāyaṇa of Gujarāt when he
speaks of Vitthales'vara as the king of Vaishṇava teachers in his शिक्षपत्री, where

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he preaches his followers to follow the mode of worship as laid down by
Vitthales'vara. The fact is that the Seva-Prakāra was modelled to develop
the finer sentiments of the human heart, and to term it dramatic would
certainly do injustice to the great Āchārya. Experience has proved that
by following this Sevāprakāra the devotees not only forgot the bonds
of Sansāra, but it helped them in feeling the living presence of the deity.
In actual practice flaws might be noticed, the ideal set up by Vitthales'vara
might not be attained, but to term the whole Sevāprakāra as dramatic is
rather an abuse of language.
In the construction of temples Vitthales'vara followed a plan of his
own. He did not approve of the idea of rich and costly buildings for temples.
He realised that gorgeous temple buildings were not safe under the maho-
medan rule. For this reason he constructed temples of an extremely simple
style. Nothing could be seen from outside. From outside appearance his
temple would appear to be a simple dwelling-house. But at the same time,
inside the temple, great care was bestowed on its construction. Free passage
of light and air was always borne in mind. The temple of S'rī Nathaji to
this day is a building of an exceptionally simple type. Inside the temple,
in the middle, there was kept a chawk surrounded by three arched-door-
gallaries. Behind one of such gallaries was the inner chamber called Nija-
Mandira. On one side of this Nija-Mandira was kept the sleeping-apart-
ment or S'ayana gṛiha which was always constructed in the most costly and
artistic fashion. On the other side were kept the Bhoga-gṛiha-dining
apartment where the deity was offered Bhoga-food etc. Beyond the Bhoga-
gṛiha were situated two rooms where food to be offered to the deity was
prepared. Separate rooms were kept for prepartion of flower garlands,
vegetables, Betelleaves, and baths, known as Fula-gṛiha, s'aka gṛiha, Pāna-gṛiha,
Jalagṛiha etc. Valuable ornaments and dresses with which the deity is
adorned were similarly kept in a safe place. This temple was situated in
the centre and round the temple were raised dwelling places fort he Mahārāja
and his prachārakas. The idea that the deity was the Lord and the others
including the Goswāmi Mahārāja were His servants was kept in mind in the
construction of their dwelling places.
Side by side with the development of the sevā-prakāra, he devoted
himself with equal earnestness with elaborating and expounding the doctrines
of his revered father. He wrote his literary works with maturity of thought
and expression. The completion of the Anu Bhāshya on the Vedānta-Sūtras
belongs to this period. His reputation as a great religious teacher was
established beyond question. Rich presents from Vaishnavas of Gujarāt
flowed to him here. The patronage of Emperor Akbar and his famous
ministers Todarmull, Birbal, Rai Purushottama and others came to him
unsolicited. The learned men of his caste who stayed with him at Gadha
came to him and they were all patronised by him. With these men he
netered into matrimonial relations. His daughters were given in marriage
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to the sons of these learned men and their daughters were taken in marriage
by him for his sons. These people of his caste came to be known as Bhattas.
Vitthales'vara's connection with the country of his forefathers now being no
longer necessary was practically severed. He became naturalised in Gokula.
Gradually the mother-tongue Telugu came to be replaced by the local
language. Both Vaishnavas and Bhattas began to revere Vitthales'vara with
intense devotion. The result was that Vitthales'vara was made conscious
of his greatness to such an extent that he could with equal propriety speak
of himself in plural. While explaining the Subodhinī to Vaishnavas, during
the evening recess, he wrote out notes on difficult passages on Subodhini.
These notes were ultimately put together and given the name of विद्वत्प्रकाश.
The मंगलाचरण, 'श्रीविट्ठलैः' क्रियते suggests the above mentioned self-consciousness.
Vallabhāchārya had given several Swarupas to his devotees. When
these devotees and their descendants became extinct or unable to carry on
the Seva of the Swarupas, they returned the same to Vitthales'vara. Of these
about seven or eight were received by him. These Swarupas were distributed
by Vitthales'vara in Dāya-Bhāga among his seven sons in Samvat 1634. All
the seven sons were given a joint right to Sevā of S'ri Nathaji, the eldest
son Giridharaji being left in control of the same under the primogeniture
rule. These seven Swarupas came to be known in the sampradāya as the
seven Nidhis. Separate houses for all the seven sons (except perhaps
for Yadunāthaji who being the youngest son of Rukmiṇi remained joint with
Giridharaji, the eldest son ), were built in Gokula and given to each of the
sons. Each son thus set up the Swarūpa given to him in Dāyabhāga as
a shrine of his own. This came to be known in the Sampradāya as seven
Gādis or seats. In a letter Vitthales'vara asks his sons to select a site for
the house of Yadunātha. It seems he passed away before the house of
Yadunātha actually came to be built. The result of this has been rather
undesirable in the Sampradāya because it proved fruitful in giving scope to as
many as four persons to put forward their claims to the Gādi of Yadunātha.
The last years of Vitthales'vara were passed very happily at Gokula.
One Murarī Pandit wrote to him to give him a work which would explain to
him the fundamental principles of Pushti-mārga in such a way that he could
silence all his opponents on his side of the country. For him Vitthales'vara
wrote out the Bhakti-hansa and sent it to him. On receipt of the same the
Pandit was much delighted and asked for a further explanation of the root
cause of Bhakti. Thereupon Vitthales'vara wrote out the Bhakti-hetu. Both
these works together in a nutshell explain that the cause of Bhakti is
God's Grace ( अनुग्रह ) alone and that the Supreme Purushottama plays among
his select devotees, unapproched by मख, तप etc.
Vitthales'vara lived for over 70 years. His was a life in which there
was a happy perfection of the theory and practice of the Sampradāya.
His devotees have drawn a veil on the manner of his passing away, but from
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( 18 )
one Gopāldāsa of Vyāra we learn that he had fever and some pain in stomach
when he passed away on Māgha Kṛṣṇa seventh Samvat 1642. Thus a
life full of events was closed, the happy memories of which are enshrined
in the hearts of the Vaishṇavas even to this day.
Good comes out of evil is well illustrated in an incident in the life of
Vitthales'vara. Kṛishṇadāsa was appointed as the Adhikārī in the temple
of Nāthadwāra on Govardhana hill by Vallabhāchārya. On account of some
disagreement with Vitthales'vara, Kṛishṇadāsa prohibited his access into the
temple. Vitthales'vara submitted to the order of the Adhikārī, and lived at
Chand Sarovara, Parasoli, for about six months of the exile. During the
period he has penned some of the finest Vijnaptis-prayers. It is said that one
such Vijnapti was written per day and the same was taken to S'ri Nāthaji
by Rāmdāsa. These Vijnaptis reveal the depths of Vitthales'vara's heart.
In them there is a harmonious blending of thought and expression. A
perusal of these Vijnaptis leaves a lasting impression on our mind. They
are the outcome of a burning heart yearning passionately to meet the object
of his intense love. A veil has been drawn as to the reason which led to the
exile of Vitthales'vara by Krishṇadāsa. However, ultimately Krishṇadāsa
came round, begged Vitthales'vara's pardon and requested him to return to
the temple. In these Vijnaptis each verse stands by itself. One publisher
grouped them together into a collection of 25 each, but there seems to be
little warrant for the same. It would not be out of place to record our
own view as to the origin of these Vijnaptis. Vitthales'vara was a great
letter-writer. He used to send and receive letters from a good many
Vaishṇavas. These letters were in Sanskrit prose, but in the beginning and
end of each letter a verse or two were written by Vitthales'vara to remind
his pupils of their sublime mission. In course of time, the uninteresting
matter of the letters came to be neglected, but the verses were collected
and preserved. This being the origin of these Vijnaptis, we can well
understand why these verses are unconnected. Unconnected as they are,
they do breathe the fervent devotion of the great author. In some of
them the highest and noblest sentiments find expression.
Vitthales'vara's family-life was exteremely happy. He himself
was blessed by God with a big family. By his first wife Rukmiṇī he had
seven sons and four daughters. S'obhā, Yamunā, Kamalā and Devakā were
his daughters by the first wife. They were all married, and they lived with
their husbands in Vitthales'vara's house. Giridhara, Govinda, Balkrishṇa,
Vallabha, Raghunātha and Yadunātha were six sons by his first wife Rukmiṇī.
Ghanas'yāma was the seventh and the only son of Vitthales'vara by his second
wife Padmāvatī. The first child of Vitthales'vara was S'obha and after her
Giridhara the eldest son was born. Purushottama the only son of his brother
Gopinātha had passed away, but his two sisters Lakshmi and Satyabhāmā
lived with Vitthales'vara. They passed their widowhood in the service of
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( 19 )
S'rî Navanîtapriya, the family deity, in perfect happiness. In spite of his
being a big family-man, he had freed his house from the shortcomings of the
Sansārika miseries. In short there was no touch of Sansāra in his family-
life. One Devakīnandana, a grandson of his, son of Raghunātha the fifth son,
records the mode in which he was fondled by Vitthales'vara in his childhood
in a poetical work Rasābdhi composed by him. 'श्रीकृष्णः शरणं ममेति शनकैरूचार्य
वात्सल्यतः श्रीदृशाम्बुजमाननोपरि मम व्यापारयन् सर्वतः । × × × श्रीविठ्ठलः शर्मणे। This would show that
while fondling his children Vitthales'vara would not forget his Lord Krishņa
.himself, but would leave a lasting impression on the tender minds of his
children that primarily their duty was to serve Lord Krishņa. A Kīrtana
attributed to his another grandson Kalyāņarāya gives an exquisitely delicate
expression to his unwillingness to leave Vitthales'vara's house, at the
time when Vitthales'vara's uncle who was childless came to ask him to
give him any one of his male children. At this time Kalyānarāya was
afraid that he, being the first-born grandson, would be given away. The
idea of remaining at the gate of Vitthales'vara and thereby singing
praises of Lord Krishņa was a thing which appealed to Kalyāņarāya
more than anything else in the world howsoever attractive. Vitthale-
s'vara understood all his children and he knew very well that none of them
would be willing to leave his house, so he asked his uncle to take away any
of them who would be willing to go with him. The uncle was baffled by
this reply and went away disappointed. The Sampradāyika Gāthā relates
that the uncle administered three curses to Vitthales'vara's progeny. These
three are—(1) maintenance of daughters' husbands, (2) debts, and (3) tra-
velling. How far and how much truth there is in this Gāthā, it is difficult
for us to determine, but so far as the first charge is concerned, it is literally
true. Even to this day the Bhattas, the so-called husbands of the daughters
of a Goswami's family, are maintained in Goswāmi's house with almost all the
members of their family. So far as the second charge is concerned, we find
some evidence for accepting the truth of the same. In a letter written by
Vitthales'vara himself he asks his sons to wipe out the debts. As regards
the third, it is a blessing in disguise, it would add to the number of
वैष्णवs, and the religion would prosper. Whatever that may be, Vittha-
les'vara's attitude seems clear. He had accepted the second alternative
of Atyāga. He did not want his daughters to plunge into Sansāra. So he
kept them in his house, so that they could also serve Lord Krishņa with the
same facilities as his sons would do. They were married of course, but
their husbands the Bhattas had no access into the Sevā-prakāra of Lord
Krishņa in the family of Vitthales'vara. Even to this day no Bhatta is
admitted in the inner worship in a temple owned by a Goswāmi. Debts for
the Sevā of Lord Krishņa were never considered objectionable. They are
not for the Sansāra, and as such, the evil influences are few. Thus
these curses had no evil effect on the descendants of Vitthaleshvara.
Family-life led by them was happy. The wives of Giridhara and Ra-
ghunātha were two sisters, so also those of Yadunātha and Ghanashyāma
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( 20 )
were sisters. Not only were members of the family happy but even
those who came in Vitthales'vara's contact were extremely happy and
contented. One Mahādeva Dwivedi gives expression to this fact in the follow-
ing verse 'श्रीविठ्ठलदीक्षिते राजमाने महीतले। वैकुण्ठगमनेच्छा कुण्ठिता वैकुण्ठवासिनाम्'. The Girinārā and
Sachorā Brahmins who early joined the faith and were taken by Vitthales'vara
in the inner worship did so without any monetary remuneration. Their duty
was to serve Lord Krishņa according to the directions of Vitthales'vara.
All their other wants were looked after by Vitthales'vara. How much he
cared for the comforts of his Sevakas could be well seen from the following.
In the daily worship, water was to be brought from the Jamunā river by
Sevakas, but writes Vitthales'vara in his letter, that if it was found trouble-
some to them, it should not be done because his Swāmī—Lord Krishņa
was delicate, and the inference was that he would not accept anything which
arose out of Kles'a. (श्रीयमुनाजलनिर्वाहः सेवकैः कर्तव्यः, परन्तु नातिक्लेशेन, मत्स्वामिनः कोमलस्वभावत्वात् ).
Endowed as he was with such tender feelings for his devotees, it is no
wonder that the hearts of his devotees should reciprocate the same sentiments
in greater degrees. It is in fitness of things that poet Gopāladāsa after
describing all the details of Vitthales'vara's family should describe the same
as Kalpa Vriksha. ( श्रीविठ्ठलकल्पद्रुम फल्यो तेनी शाखा प्रसरी अनेकरे ).
2020

प्राप्तभगवत्स्वरूप
मूलचन्द्र तुलसीदास तेलीवाला, बी. ए., एल्‌एल. बी.
जन्म—१९४३ आश्विन शुक्ल ७.] [ भगवद्धामप्राप्ति:—१९८३ ज्येष्ठ कृष्ण १२.

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The late Editor Mr. Mulchandra Tulsidas Teliwala, B.A., LL. B.
The above introduction is left incomplete, because the Editor suddenly
passed away on 26th June 1927, at the early age of 39. A short sketch of
his life, which was destined to be a life of sacrifice in the cause of पुष्टिमार्ग,
will not be out of place. He was born on 23rd September 1887 ( Aso Sud
7, 1943 ) in the ancient and holy city of Bhṛgucutchha or Broach situated on
the right bank of the Narmada. It was here that king Bali performed his
एकाश्वमेध, and gave Lord वामन three steps of earth. It is the abode from most
ancient times of Bhārgava and other Brahmins well-versed in कर्मकाण्ड. Further
up the river are situated the holy places of व्यासाश्रम and शक्रतीर्थ the abodes of
व्यास and शुक्लनारायण. He was born in a very rich and famous family of दिशामोद वैश्य.
The caste being a very small one, his grand-father Mr. Lalbhai was not married
till he was about 55 years old. He went to the pilgrimage of श्रीनाथद्वार and
कांकरोली and at कांकरोली, गोस्वामी श्रीपुरुषोत्तमजी, (who flourished later than his namesake
the writer of प्रकाश on अणुभाष्य ) gave him a blessing that he would have two sons.
He replied that he was unmarried and there was no chance of marriage at that
age but the गुरु smiled and asked him to go home. The वरदान came to be true,
he married and he had two sons. The family business of cotton also prospered
and their firm had agents at Palej, Miyagaum and other places, and a branch
at Bombay. A marriage of a member of the family was performed at Gulal-
wady in the 3rd Bhoiwada, Bombay, with great pomp and large vessels were
given in gift by the family to Gulalwady, which even now may be traced.
Their prosperity increased, and the cellars of their house were filled with
Silver bars. But when God shows special favour to any one, he takes
away the burden of wealth, and by the grace of God it happened so in this
case. A year before the birth of Mulchandra there came a sudden crash,
there was a heavy loss and all the money vanished. On account of worldly
worries and troubles with which his parents were surrounded, Mulchandra
inherited a very poor, lean, physical body. At any time of life his weight
was not more than 72 lbs., but this slender body contained a spirit, which was
dauntless, not ruffled by any obstacles, not deceived by any outward show or
pomp, and could easily spurn wealth, of which his family had more than en-
ough till his birth. His early years were spent in playfulness and he was
accustomed to run on the city-walls and swim in the river. But he was
always the top-boy in his class. His memory was so sharp that he could easily
remember what he read once. He was the pet of his teachers. The light
jovial nature of this pigmy monitor commanded willing obedience from the
strongest, tallest and most mischievous boy in the class. After passing his
Matriculation Examination in 1905 he joined the Wilson College for further
studies. In the College hostel he picked up some knowledge of singing and
music from his Deccani friends. He graduated B. A. with वेदान्त as his optionl
subject in 1909, and he was a favourite student of Mr. Bhadkamkar, Professor
of Sanskrit. In the absence of any other calling, he took up government