The practice of Leela Chintan
The pastime of dreaming and weaving a fantasy land in scientific language is known as the land of fiction. This ‘Fiction’ is the concoction of the mind and a great roadblock for spiritual aspirants. When this same act of contemplation and rumination is done by keeping Bhagavan as the focus point, then instead of being termed fictitious, it is given the supreme position of ‘Leela chintan’ by the Acharyas of Bhakti Shastras. This Leela Chintan is the most powerful and beneficial of all practices. It not only purifies the heart and removes all obstacles from the life of the practitioner but also plunges one into an ocean of bliss. Because, the same blissful embodiment Bhagavan situates himself in the deep recesses of one’s heart and manifests his sweet pastimes. This is my Manorajya, the world of my Lord. Hence I have documented it with the mood that this humble work may help you build a similar Manorajya. And if through this humble work, the Lord descends in your heart even for a few moments, then I would consider myself to be most blessed.
Sudrashan Singh Chakraji writes-
After the completion of the Nama Sankirtana Yajya that was carried out in Jhoosi, I came running to Vrindavan. In Vrindavan, I wrote my first book “Tribhuvan Sundar”. Later, the special edition of that book under the ‘Sankirtan’ publishing house (Meerut) was published. But after publishing the very same edition the publishing house closed down. Sri Krishna has always been partial to me. As a child, my parents left this world. There was no one left in the family line of both my parents. In this manner, Krishna never wanted me to enter the shackles of materialistic life, so he himself forcefully pulled me out of it. When the congress party resorted to internal Satyagraha, I proceeded to a place just a few miles away from Varanasi on the Western Ghats of river Ganga where I resided in the humble home of a Sadhu by the name Vamanji. The deep friendship with Pandit Pravar Sri Shantanu Bihari Dvivedi (now known as Ananta Shri Swami Akhanadanandaji Saraswati), pulled me to visit his place in Mahuraiya. It is with him that I visited Haridvar two-three times during summers. We would stay at Maha Mandaleshwar Swami Bhagavatanandaji Maharaj’s residence in Kanakhal but had made it a routine to attend the Satsanga of Bhikshu Shankaranandji during daytime. It was by his insistence and inspiration that I first started translating Goswami Tulsidaji’s Gitawali and then on returning to Vrindavan from Jhoosi wrote “Tribhuvan Sundar.” After completing the book, I started writing Sakhaon ka Kanhaiya but astonishingly after having written 250-300 pages it appeared so bizarre that I quit writing and threw it out of a running train. Now dear Vishnuhari Dalmiya was greatly insisting on having Sakhon ka Kanhaiya written. This could be a coincidence that only after writing four cantos of ‘Shri Krishna charita’, I got inspired to begin writing Sakhaon ka Kanhaiya. There is no chronology in Manorajya. ‘Manorajya’ can neither follow chronology nor be confined within a boundary.
Regarding the illustrated depictions
With the publication of “Ram Shyam ki Jhanki” in “Kalyan”, Shri Bhaiji (Nitya Leela leen Sri Hanuman Prasadji Poddar) was greatly in for having illustrations to depict the stories. Sadly, illustrations couldn’t be made, but you need not be disheartened. In this edition, for the very similar stories, we present well detailed illustrations. It is my heartiest desire that this humble attempt of ours might be pleasing and mind-ravishing for the readers.
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