Revision Notes: “ttd” = Things to Do, Working on “Prayers of Kunti” and Index edited to “ %%%”
Table of Contents
Summary of all Six Cantos .. 2
Personal Index of Topics from all Six Cantos .. 8
Homosexuality (Essay One on Indexed Topic) .. 16
Pada-padma: Details of Cantos One and Two .. 17
Epistemology (Essay Two) .. 21
Prayers of Queen Kunti (Not finished)
Origen of the Jiva
Essay One: Summary of all Six Cantos
Abreviations: [ttd]=things to do
The Big Picture
To put the first six Cantos in perspective we offer first a graphic representation of all of Srila Prabhupada’s principle works, The Bhaktivedanta Library, as Appendix One below. Here the reader can see that the Srimad Bhagavatam is the heart of the Library. The Vedas contain all that is knowable to man. These are divided into Sruti and Smrti, that which is directly heard from Lord Visnu and the subsequent appreciation or retelling of this by the Sages. Some people only accept Sruti as evidence and to this advantage we have the Isopanisad from Srila Prabhupada to relate to them. The Bhagavad-gita (BG) is also called the Gitopanisad and is the cultivation of the intellect whereas the Srimad Bhagavatam (SB) is the cultivation of the soul [ttd]. The SB begins historically and philosophically where the BG finishes.
From our graphic in Appendix One we can see this progression from the Vedas to Isopanisad to Bhagavad-gita to Srimad Bhagavatam. SB is the heart of the Bhaktivedanta Library. It is the duty of the spiritual master to teach SB to his disciple. We remember that in the Caitanya-bhagavata Vrndavana Das Thakura says that his only desire is to study SB life after life with Lord Nityananda as his teacher.
We look at Caitanya-caritamrta (CC) as a SB class. Lord Caitanya, as the ideal teacher of SB, is showing us how to appreciate SB. We remember in the CC Lord Caitanya saying that one can only understand SB when he becomes a madman like Himself.
In the appended graphic you can see the other books of Prabhupada and their relation to SB. A Power-Point show of this is available at: www.JayaRama.US/archives/[ttd]
The Medium Picture
Passing from the position of SB within the Vedic literatures and the Bhaktivedanta Library next we look at the structure of the entire SB so that we can see the position of the first six cantos within its entire twelve canto bulk. This is presented in Appendix Two.
Cantos 1-2, Pada-padma (The Lotus Feet of Krsna).
In general, we analyze the first two cantos as the lotus feet of Krsna, then, as described by Mother Narayani in her Srimad Bhagavatam At A Glance, Cantos Three and Four are Krsna’s legs, Canto Five His waste and thus rising up, Canto Ten is His smiling face. In SB 2.2.12, purport, Srila Prabhupada comments: The conclusion is that those who are still entrapped by sex indulgence should never progress to meditation above the feet of the Lord; therefore recital of Śrīmad-Bhāgavatam by them should be restricted to the First and Second Cantos of the great literature.
In the Third Canto Maitreya begins to answer Vidura’s natural question as to how God creates this world. During this course he asks: SB 3.7.25: O learned brāhmaṇa, please describe how the leader of all the demigods, namely Prajāpati, Brahmā, decided to establish the various Manus, the heads of the ages. Please describe the Manus also, and please describe the descendants of those Manus.
In answer Maitreya Muni explains how Svayambhuva Manu and his good wife Satarupa are born from Lord Brahma. Sri Vidura then asks a fundamental question that directs the structural development of Srimad Bhagavatam for all of the subsequent Cantos: SB 3.21.1: Vidura said: The line of Svāyambhuva Manu was most esteemed. O worshipful sage, I beg you — give me an account of this race, whose progeny multiplied through sexual intercourse.
Thus we see DAPUP, the dynasties of the daughters and sons of Svayambhuva Manu are describe done after another in the order of Devahuti, Akuti, Prasuti, Uttanapada and Priyavrata – first the three “uti” sisters. Thus in Canto Three we find Devahuti and her husband and son, the instructions of Lord Kapila Deva.
Canto Four describes Akuti and her husband Ruci and their children in just one chapter. Then it proceeds to describe Prasuti and her husband, Daksa, and daughter, Sati, and the pastime of Sati quiting her body in several chapters. Next we proceed to (DAPUP) Maharaja Uttama-pada, who is famous for the history of his son Dhruva. The canto continues with the descendants of Dhruva Maharaja down to the end where the meeting of Narada Muni with Maharaja Pracinibarihi is described. Maharaja had sent his sons of to do austerities to become good Grhasthas, as househoulders now send their sons to college to do austerities to become doctors, lawyer, engineers. They entered the water to do austerities and will stay there until the 6th Canto. Narada preaches for several chapters through a wonderful analogy.
Next, (DAPUP) Priyavrata Maharaja and his pastimes and descendants which include Maharaja Rsabadeva. Of course, His teachings are wonderful, and his son is Bharata. This leads us to the description of the universal form, the forest of material enjoyment, which includes a description of how people go to hell forced by their sinful activities.
Maharaja Pariksit asks:
SB 6.1.3-6: You have also described [at the end of the Fifth Canto] the varieties of hellish life that result from impious activities, and you have described [in the Fourth Canto] the first manvantara, which was presided over by Svāyambhuva Manu, the son of Lord Brahmā. My dear lord, you have described the dynasties and characteristics of King Priyavrata and King Uttānapāda. The Supreme Personality of Godhead created this material world with various universes, planetary systems, planets and stars, with varied lands, seas, oceans, mountains, rivers, gardens and trees, all with different characteristics. These are divided among this planet earth, the luminaries in the sky and the lower planetary systems. You have very clearly described these planets and the living entities who live on them. O greatly fortunate and opulent Śukadeva Gosvāmī, now kindly tell me how human beings may be saved from having to enter hellish conditions in which they suffer terrible pains
This then leads to an explanation of the story of Ajamala and how he was saved from his Karma by Bhakti-yoga, chanting the Holy Names. When that is finished we continue to the Pracetas who have been under wáter all this time, and the descendents in the line of Uttanapada and Druhva until we see the story of Vrtasura who was killed by the demigods with the help of Lord Visnu.
SB 7.1.1: King Parīkṣit inquired: My dear brāhmaṇa, the Supreme Personality of Godhead, Viṣṇu, being everyone's well-wisher, is equal and extremely dear to everyone. How, then, did He become partial like a common man for the sake of Indra and thus kill Indra's enemies? How can a person equal to everyone be partial to some and inimical toward others? Which question leads to the story of Hiranya-kasipu and how Krsna was equal to him by reciprocating his feelings of anger, but saved him also. Then Narada Muni describes Varna-ashrama-dharma in response to Maharaja Yuddhisthira’s question.
SB 8.1.1: King Parīkṣit said: O my lord, my spiritual master, now I have fully heard from Your Grace about the dynasty of Svāyambhuva Manu. But there are also other Manus, and I want to hear about their dynasties. Kindly describe them to us. Thus we see the storys of the other 13 Manus and the incarnations of the Lord who appear during their reigns.
SB 9.1.1-5: King Parīkṣit said: My lord, Śukadeva Gosvāmī, you have elaborately described all the periods of the various Manus and, within those periods, the wonderful activities of the Supreme Personality of Godhead, who has unlimited potency. I am fortunate to have heard all of this from you. Satyavrata, the saintly king of Draviḍadeśa who received spiritual knowledge at the end of the last millennium by the grace of the Supreme, later became Vaivasvata Manu, the son of Vivasvān, in the next manvantara [period of Manu]. I have received this knowledge from you. I also understand that such kings as Ikṣvāku were his sons, as you have already explained. O greatly fortunate Śukadeva Gosvāmī, O great brāhmaṇa, kindly describe to us separately the dynasties and characteristics of all those kings, for we are always eager to hear such topics from you. Kindly tell us about the abilities of all the celebrated kings born in the dynasty of Vaivasvata Manu, including those who have already passed, those who may appear in the future, and those who exist at present
Thus we see that Cantos 3-7 are DAPUP, Svayambhuva Manu, Canto 8 is the other 13 Manus and Canto 9 begins discussion of the current Manu, Vaivasvata and all of his decsendents which includes …
… Krsna and Rama.
Mauisala-lila: Final Instruction and Disappearance.
We return to the dynasty of Vaivasvata Manu after Krsna and Balarama and in Epilog see the disappearance of Maharaja Pariksit and the Summary and Glories of Srimad Bhagavatam.
The attached graphic in Appendix Two gives a practical overview of all twelve cantos and suffient details to navegate the first six. Many years ago we read all twelve cantos in twelve months with extensive notes and it was then that this analysis by Manus etc emerged. The following graphic took five major editions to produce. We see it is based on citations from SB, and the first time we presented a summary of SB based upon it the lecture took exactly 108 minutes! It happened again without our effort later. May we smile and say, “Confirmed”.