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

II EDITOR'S NOTE. additions in Purushottamaji's hand in the fair copy. Thus the whole text of the Prakāś'a is based on the most authentic basis. The same lines will be followed in the edition of the subsequent portions. Another thing to note is this. The last Adhyāya and a half, though the authorship of the same is attributed to Vallabhacharya, is actually from the pen of Vitthaleś'vara, his second son. Scholars like Krishnachandraji and Purusho- ttamaji have mentioned this fact in their works Vritti and Prakās'a respectively III. 2-34. B. S. The Sāmpradayika Gatha also states that the last two Adhyā- yas of Aṇu-Bhashya were composed by Vitthaleś'vara under the directions of his father. But we did not learn from the above the materials on which their suggestion was based. The statement of Purushottamaji that the second Varṇa- ka of the Anandamayādhikaraṇa and the Aṇu-Bhāshya from III. 2-33 was Vitthales'vara's, appeared to be perfectly correct from the style and views express- ed there in. Any one familiar with the language of Vallabhacharya could without doubt say that the passage 'क्वचित् गोकुल' etc in III. 3-1 was not of the authorship of Vallabhacharya. This difficulty has been now solved beyond any doubt. In search of MSS. of the missing portions of Ras'mi, we again went on a tour to Nathadwara. Through very great kindness of H. H. Tiket S'ri Govardhana- lalji Maharaja and his son Lalbava Saheb S'ri Damodaralalji we got access to the original MSS. carefully preserved there. To our great delight and satis- faction we found an almost complete Manuscript of the Aṇu-Bhāshya Adhyā- ya IV and three last pages of Adhyāya III Pāda IV and second interpretation of III, 4-19. 'अनुज्ञेयं' in the handwriting of Vitthaleś'vara himself. This unexpec- ted discovery of the original Manuscript of the Anu-Bhāshya has been fruitful of many far-reaching results. It has put beyond the shadow of doubt the authorship of the last two Adhyāyas of the Anu-Bhashya. Purushottamaji's statement in Prakās'a III. 2-24. 'इत आरभ्य प्रभुभाषित' is based on a firm and reliable basis. He, it seems, had access to the above original of the Aṇu- Bhashya. On the leaves of this original MSS. there are fine paper-slips. On these paper-slips there are remarks pointing out the portions of the Aṇu-Bhāshya to which those pages belonged. These remarks, it appears to us, are in Purusho- ttamaji's own handwriting. This fact has led us to prefer Prakās'a's readings of the Aṇu-Bhāshya in preference to others. This original Manuscript with all its additions and revisions taken into consideration proves beyond doubt that Vitthaleś'vara is the author of the last Adhyāya and a half of Aṇu-Bhāshya, though the 'इतिश्री' in the name of Vallabhacharya in Vitthaleś'vara's own hand would suggest that he himself desired to allow the public to know that Vallabha- charya was also the author of the same. The ambiguous verse 'भाष्यपुष्पाञ्जलिः श्रीमदाचार्यचरणाम्बुजे । निवेदिता तेन तुष्टा भवन्तु मयि ते सदा' is consistent both with the author- ship of Vallabhacharya and Vitthaleś'vara. In one case we have to understand the word Acharya as referring to Badarayaṇa and in the other to Vallabhacharya. This fact explains the references to Vitthaleś'vara's Vidvanmaṇḍana and Bhakti- Hansa in this portion of the Aṇu-Bhāshya. References to the Adhyāyas III and IV in Subodhini and Nibandha would go to show that Vallabhacharya himself wrote complete Bhashyas on both the Mīmāṁsās. But it seems Vittha- 1999

les'vara got Vallabhacharya's Bhashya on the Brahma-Sûtras upto III-2-33. It seems this was the only portion in his possession when he composed his Vidvan- maņdana. It was at a late stage, after he adopted Gokula near Muttra as his permanent residence, and when he seems to have lost all hopes of securing a complete manuscript of his father's Brahma-Sūtra-Bhashya, that he undertook to complete the Bhashya fragment of his father on the Brahma-Sūtras. In order to distinguish this Bhashya from that of his father, he seems to have named it Aņu-Bhāshya. In Subodhini Vallabhacharya does not refer to his commentary on Brahma-Sūtra as Aņu Bhashya, but only as Bhāshya without the word Aņu. The absence of any pungent expressions, which we find in the Vidvanmaņdana, against opponents in the Aņu-Bhāshya portion of Vitthales'vara would clearly show that the portion of the Aņu-Bhāshya by Vitthales'vara is the work of his mature age. We express our heartfelt obligations to H. H. S'rî Govardhanalalji Maharaja of Nathadwara and his son S'rî Damodaralalji for allowing us the use of the said original manuscript of the Aņu-Bhāshya, and for giving us photographs of some of its pages. In due course photo-blocks of the same will be ready, when the Vaishņava public will be in a position to know Vitthales'vara's handwriting. A picture of Purushottamaji is placed in this volume. The original was obtained by us from S'rî Dwarkanathaji's Mandira at Kankroli in Mewar, through the kindness of H. H. S'rîmad Goswamini S'rî Saundaryavati Vahuji, the mother of S'rî Vraja Bhushaņaji, the present occupant of the seat. We also thank Seth Lalji Naranji J. P. for having given his consent on behalf of the trustees for defraying the cost of getting the blocks made and printed. One of the manuscripts utilised in basing the text of this Pāda-Bhashya has turned out to be of S'rî Kalyāņarayaji, the frther of the Great S'rî Harirayaji. This Kalyāņarayaji is the first grandson of Vitthales'vara. We beg to draw the attention of the scholars of the Sampradāya as well as others to the Paris'ishta printed here. It is almost a complete commentary on the Guņopasaṁhāra Pāda of the Aņu-Bhashya. It was made available to us by the late Mr. Tansu- khram M. Tripathi B. A., the veteran scholar of Gujarat. On a comparison of the same with the Prakās'a, we find that almost the whole of it is incorporated in the Prakās'a. It seems possible from the style of expression and method of writing that Purushottamaji owes much to this. Its style resembles that of Krishņacha- ndraji's Vŗitti. If so, the comparative method of exposition followed by him in Prakās'a owes its origin to the genius of Krishņachandraji. This Krishņa- chandraji was born on the 7th day of Dark half of S'ravaņa 1655 Samvat. He was the guru of Purushottamaji both in name and fact. It is possible that Krishņa- chandraji wrote his commentary from the very beginning, and the same is incor- porated in the Prakās'a as here. We request scholars to make a search for the same. If found, it will be the oldest commentary on the Aņu-Bhāshya. The copy of the Guņopasaṁhāra-Pāda-Vivaraņa printed in the Paris'ishta seems to be the original in Krishņachandraji's own hand.

$\left.{l} Bombay, 27-4-27. \right}$ \hspace{4em} 2000 \hspace{8em} M. T. Telivala.

श्रीकृष्णाय नमः । श्रीमद्ब्रह्मसूत्राणुभाष्यम् । शुद्धाद्वैतब्रह्मवादनिर्गुणभक्तिमार्गप्रवर्तकाचार्यचक्रचूडामणि- श्रीमद्वल्लभाचार्यचरणप्रणीतम् । दशदिगन्तविजयिश्रीमद्गोस्वामिश्रीपुरुषोत्तमचरणप्रणीत- भाष्यप्रकाशसम्पूर्णवेत्तृश्रीमद्गोस्वामिश्रीगोपेश्वरजि- चरणप्रणीतभाष्यप्रकाशरश्मिपरिवृंहितम् । तृतीयाध्यायस्य चतुर्थः पादः । 'भगवद्धर्मपरायण सद्गत श्रेष्ठि गोवर्धनदास सुन्दरदास' इत्यस्य पुष्टिमार्गीय- संस्कृतसाहित्यसमुद्धारार्थं निर्दिष्टद्रव्यसङ्ग्रहतः 'प्राप्तभगवत्पद मूलचन्द्र तुलसीदास तेलीवाला, बी. ए., एलएल. बी., वकील, हाइ कोर्ट' इत्येतेषां सुहृद्भिः संशोध्य 'निर्णयसागर' मुद्रणालये मुद्रयित्वा प्रकटीकृतम् । श्रीवल्लभाब्दाः ४४९. संवत् १९८४. मूल्यमेकमुद्रिका ।

S'rī Vitthales'vara and Aṇu Bhāshya. S'rī Vitthales'vara Dīkshita, the author of the last Adhyāya and a half of the Aṇu Bhāshya was the second son of S'rī Vallabhāchārya. He was born at Charaṇāta near Allahabad on the 9th day of the dark half of Mārgas'īrsha, 1572, Saṁvat. Vallabhāchārya in his later life adopted Adel as his permanent residence, and therefore Vitthales'vara passed his childhood there. When Vallabhāchārya took up Tridaṇḍa-Sannyāsa in 1587, Vitthales'vara was a boy, fifteen years old. His elder brother S'rī Gopīnātha was senior to him by five years. His Upanayana ceremony was performed by Vallabhāchārya, but his early education seems to have been of a desultory character. A Gāthā current in Sampradāya states that 'Vitthales'vara in his childhood was given to playfulness. He did not seem to realise the heavy responsibility that lay on his shoulders, so Dāmodaradāsa, the chief among Vaishṇavas, is said to have remonstrated with young Vitthales'vara and persuaded him to study, and thus be fit to bear the responsibility of the Sampradāya as the worthy son of a worthy father. There is no doubt that Dāmodaradāsa had his share in turning 'Vitthales'vara ffom worldly playfulness to the meditation of Krishṇa-Leelā. Chāchā Harivaṁs'ajī was another personality who influenced Vitthales'vara in the successful discharge of his duties as Āchārya. Chāchā Harivaṁ- s'ajī's proselytizing tendencies were great. It was he who generally visited a place in advance and prepared it for the acceptance of Vitthales'vara's teachings. It is not known from whom Vitthales'vara got direct help in the profound learning which is manifest in his works which are available now. A Gāthā says that Vitthales'vara was sent by Vallabhāchārya to Mādhava Sarasvatī for his studies, but instead of studying anything at his place, he devoted his time to reading S'rīmad Bhāgavata. Whatever may be the truth in the above Gāthā, it is an undisputed fact that like his father, Vitthales'vara had a very great hold on and absorbing attachment to S'rīmad Bhāgavata. After Vallabhāchārya passed away in 1587, Gopīnātha and Vitthales'vara lived together at Adel. Except perhaps two small works named Sādhanadīpaka and Sevāpaddhati, we are not aware of any important work of S'rī Gopīnātha, and so we have not got materials to decide how far Vitthales'vara was indebted to his elder brother S'rī Gopīnātha, for his future literary activities. S'rī Gopīnātha and his son Purushottama seem to have passed away between 1590 and 1600. After this, Vitthales'vara became the recognised representative of his father, and thereafter he seems to have planned various tours, and thought of writing works for the propagation of the Sampradāya. Unlike S'aṅkara, Rāmānuja, Madhva, Chaitanya, and a host of others, Vallabhāchārya preferred to follow the Aupanishada traditions, and like Yājnyavalkya and others, became a Grihastha Āchārya. After him, his

( 2 ) elder son-too, became a Grihastha Āchārya. S'rī Gopīnātha got Vitthales'vra married to S'rī Rukmiṇī, a daughter of Vis'vanātha Bhatta and Bhawānī of his own caste. The relations of the two brothers were of a very cordial nature. A letter* addressed by Vitthales'vara to his elder brother reveals the high regard which he had for him. When Gopīnātha and his son Purushottama passed away, Vitthale- s'vara seems to have begun his tours. His first visit was from Adel to Gujarāt in the year 1600, and his second visit to Gujarāt was also from Adel in 1613. In Gujarāt his activities were chiefly confined to Ahmedabad, Cambay and Godhra. In Godhra, one Nāgajī Bhatta was initiated in the Sampradāya by him. This Nāgajī Bhatta was, it is said, a state-officer, and the name Pancha Mahals owes its origin to his activities. He was a Sāthodrā Brahmin. Mr. Kes'havalāl Harshadraya Dhruva, the veteran Gujarātī scholar, is said to be a descendant of this Nāgajī Bhatta. When- ever Vitthales'vara visited Gujarāt, Nāgajī Bhatta always took advantage of his company. A few of the original letters addressed by Vitthales'vara to Nāgaji Bhatta are preserved even to this day at Nathadwara in Mewar. Nāgajī Bhatta seems to have been a very intelligent follower. Various questions seem to have been put by him to Vitthales'vara. He seems to have been a very active agent in spreading the doctrines of Vallabhāchārya in his country. After having read Subodhinī, Nibandha etc., he wanted to know as to what was the kernel of Vallabhāchārya's teachings. In answer to this query, Vitthales'vara sent to him a beautiful couplet which sum- marises the doctrine in the choicest words. It runs as follows:— श्रीवल्लभाचार्यमते फलं तच्चात्मसमर्पणमव्यभिचारिहेतुः । प्रेमैव तच्चित्तवचोधनक्रियान्योन्योपयोगोऽखिलसाधनानाम् ॥ According to the view of Vallabhāchārya, भगवत्प्राप्य is the फल, and the unfailing remedy for it is love for Him, while all other Sādhanas are useful in generating this love. Nāgajī Bhatta remained in company of Vitthales'vara not only in Gujarāt, but he often visited Adel to pay his respects to him. He is said also to have visited the shrine of S'rī Nāthajī-Govardhanadhara- at Jatīpura on the Govardhana Hill, and stayed there for a couple of months. Thus it would seem that Nāgajī Bhatta was familiar both with the practice and theory of the Sampradāya, and he was instrumental in the rapid spread of the Sampradāya from Samvat 1600 onwards in Gujarāt. Another personality who helped in the spread of Sampradāya was *The letter runs as follows:— स्वस्ति श्रीमन्महेन्द्रभ्रातृचरणकमलेषु यवीयसो विठ्ठलस्य प्रणामकोदिनिवेदनमेवं परम्परतः । समिह, भगवत्प्रसादात्थे । अहं भगवदाज्ञया रासोत्सवपर्यन्तं श्रीगोवर्धनवरधरचरणारविन्दसंनिकटे स्थितोऽस्मि । हरिद्वारे प्रसादा न वाट्येति न मन्तव्यम् । अत्र ममास्वास्थ्यं बहु जातमासीत् । उपवासदशकं कृतम् । अधुना भगवत्कृपयया च नैरुज्यं जातमस्ति । कापि चिन्ता न कार्या । अद्या-अम्बा-अष्टादशपर्वसु गन्तव्यः । अद्या यथा दुःखं न करोति ममास्वास्थ्यं श्रुत्वा तादृक् कर्तव्यम् । अत्रापि कापि चिन्ता न कार्या मम, अश्वादि सर्वत्र । यादवेन्द्रपुरीषु महात्मनेषु दीक्षितेषु हरिहरवाग्भटायण्णूआदिषु हास्यकथाः । ...भिक्षाप्रसादिप्रसादिभिः । अस्मत्संबन्धिनाम्नां मन्तव्यः । 2002

( 3 ) Bhāilā Kothārī of As'arvā near Ahmedabad. When Vitthales'vara visited Dwarka or Gujarāt, he used to put up with him for a couple of months. Bhāilā's son-in-law Gopāladāsa has given the Sampradāya a charming and unique poem in Navākhyāna. The Sampradāyika Gāthā relates that this Gopāladāsa was Narsinha Mehtā in his preceding birth. Whatever that may be, it helps one in furnishing the latest date of Narsinha Mehtā. Vitthale- s'vara's first visit to Gujarāt was in 1600 St, and Gopāladāsa was then nine years old. The poem of Gopāladāsa (Navā Khyāna) has been the most popular and revered among Vaishṇavas. Every Vaishṇava, male and female, recites it. Commentaries in Sanskrit and Vraja Bhāshā are written on it. The commercial people of Gujarāt have been fascinated by it. This poem, it seems, has been instrumental in shaping Vaishṇava attitude towards the Mahārājas. The intensely tender feelings with which the Mahārājās are looked upon have their genesis in the spread of this lyric. It speaks of Vitthales'vara as Goswāmiji. He assumed the surname of Goswāmi in 1634, after he was granted permission by Emperor Akabar to graze his cattle on all lands including the Royal ones. From this it would seem that this poem of Gopāladāsa could not have been composed before 1634. The Sāmpra- dāyika Gāthā informs us that the inspiration of this poem came to Gopāladāsa from Vitthales'vara himself. It is said that Gopāladāsa, who was dumb, miraculously got his powers of speech as a result of the chewing of the betelleaf offered by Vitthales'vara. When he visited Bhāilā's house, numerous persons came to see him and joined his Sāmpradāya. In Cambay, Jivā Pārekh, a celebrated Baniā merchant was instru- mental in the early spread of Vaishṇavism. On the whole the spread of Vaishṇavism in Gujarāt was not only rapid but complete. Numerous castes and sub-castes wholly embraced the Vaishṇava Cult. This continued in increasing proportions during the times of the succeeding generations of Vitthales'vara. Vitthales'vara himself visited Gujarāt not less than six times. His first visit was in 1600 from Adel. The second one was also from Adel in 1613. The third one was from Gaḍā in 1619. The fourth one was from Mathurā in 1623. The fifth one was in 1631 from Gokula. And his sixth and last visit was also from Gokula in 1638. This would show that for nearly forty years Vitthales'vara exercised his influence over Gujarāt and Kathiāwād. The visits to Gujarāt were incidental to his visit to the shrine of Dwārkānāthaji at Dwārkā. His desire for and interest in Dwārakā and Gujarāt were created by the early reception of his father and his elder brother S'rī Gopīnātha. Rānā Vyāsa, a learned pupil of Vallabhāchārya, was an active worker at Siddhāpura. So also there was one Gopāladāsa of Naroda. Vallabhāchārya himself had visited Dwārakā not less than three times, his last visit being in 1585. He is said to have stayed at Dwārakā for over six months. The Swarūpa of Dwārkānāthaji at Bet-Dwārkā was installed there by Vallabhāchārya. 2003

( 4 ) 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 2004

( 5 ) 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 2005

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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.

2006

( 7 ) 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- [L14

( 8 ) 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. 2008

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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. 2 2009

( 10 ) 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 2010

( 11 ) 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 2011

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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. 2012

( 13 ) 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 2013

( 14 ) 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

( 16 ) 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 2016