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Treatise on Sanskrit poetics and Vaishnava poetry.
Madhura-rasa is made even more relishable when accompanied by the ecstatic sentiments vibhava, anubhava, sattvika-bhava, and sancarl-bhava, which will all be described in this book. The learned devotees call this mellow madhura-rasa because it is the sweetest (madhura) of all mellows of devotional service
Treatise with English translation on Sanskrit poetics.
Two messenger poems with text & translation.
The two works, Vidagdha-mādhava and Lalita-mādhava were written by Śrīla Rūpa Gosvāmī. The Vidagdha-mādhava describes pastimes in Vṛndāvana, and the the pastimes in Lalita-mādhava begins in Vṛndāvana and ends in Dvārakā. Both of them, praised by Rāmānanda Rāya and Caitanya Mahāprabhu for its excellent verses, wonderfully describe the emotions of the highest rasa.Vidagdha-mādhava, a seven-act play was completed by Śrīla Rūpa Gosvāmī in the 1533 A.D. This work concerning Kṛṣṇa, friend of the gopīs, is permeated with ornaments in the form of conversations. The land within Vṛndāvana has become the arena for the performance of the drama. The spring season in which the moon has become newly red in response has become the suitable time.
Sanskrit text with English translation on manifestation of Krishna, Hindu deity and devotion (bhakti) presenting viewpoint of the Chaitanya school in Vaishnavism.
This (Dana Keli Kaumudi) is a divine play/drama, written by Srila Rupa Goswami, with commentaries of Srila Visvanath Cakravarti Thakur. In the Caitanya-caritamrta (Antya 4.226) there is a verse that describes the writings of Sril Rupa Gosvami: Srila Rupa Gosvami compiled 100,000 verses, beginning with the book Dana-Keli-Kaumudi. In all these scriptures, he elaborately explained the transcendental mellows of the activities of Vrndavna. This one-act drama describes the very celebrated pastime of Krsna’s efforts to extract a toll from Radha and her companions as they carried butter for the performance of a sacrifice being performed in the forest of Vrndavana. Of course, it cannot be emphasized enough that such pastimes are only to be relished by devotees who have thoroughly understood Lord Krsna’s position as the Supreme Personality of Godhead by carefully studying the first nine cantos of the Srimad-Bhagavatam.”
Play on Radha and Krishna, Hindu deities.
Lalita Mādhava is praised by Rāmānanda Rāya and Caitanya Mahāprabhu for its excellent verses depicting the emotions of the highest rasa. It begins in Vṛndāvana with separation from Kṛṣṇa and ends in Dvārakā when the gopīs reunite with Kṛṣṇa as his queens, while maintaining their previous identities. Thus separation resolves into union and marriage in Dvārakā. The story included details different from the pastimes described in Bhāgavatam. Thus Viśvanātha Cakravartī explains that details of the drama were enacted in a different kalpa of Brahmā.