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Sri Sri Ramakrishna Kathamrita
E-Text Source: www.ramakrishnavivekananda.info

Section I

Sri Ramakrishna at Dakshineswar

Chapter One

The Kali Temple and garden
Sri Ramakrishna at Dakshineswar Kali Temple ­chandni (porch) and the twelve Shiva temples ­ brick courtyard and the Vishnu temple ­ Sri Sri Bhavatarini Mother Kali ­ Nata Mandir (the concert room) ­ the store, the pantry, the guest house and the place of sacrifice ­ the office rooms ­ Sri Ramakrishna’s room ­ Nahabat, Bakultala and Panchavati ­ Jhautala, Beltala and Kuthi ­ ghat for washing utensils, Gazitala, the main gate and the back gate ­ Hanspukur, stable, cow house and flower garden ­ the verandah of Sri Ramakrishna’s room ­ the ‘Abode of Joy.’
It is Sunday today. The bhaktas are free, so they are coming in numbers to the Kali Temple in Dakshineswar to see the Paramahansa Deva (Sri Ramakrishna). The door is open to all. Thakur freely talks with all the visitors. Sadhus, paramahansas, Hindus, Christians, Brahmos, Shaktas[1], Vaishnavas[2], men and women ­ all visit him. Blessed you are Rani Rasmani! It is because of your virtuous merit that such a beautiful temple has come up. Besides, there is such a living image! People are able to come here to meet and worship this great spiritual personality.

The chandni (porch) and the twelve Shiva temples
The Kali Temple is situated about five miles north of Calcutta. It is situated right upon the bank of the Ganga. Landing from the boat and climbing upon the broad staircase, one enters the Kali Temple as one faces east. It is at this very ghat that the Paramahansa Deva takes his bath. Just after the staircase is the chandni. Watchmen of the temple live there. Their cots, mango wood chests and one or two jugs etc. are lying about in that very chandni. When babus (gentlemen) of the neighbourhood come here to take their bath in the Ganga, some of them sit here and gossip as they take a massage of oil. The sadhus, fakirs, and Vaishnavas who come to take prasad[3] from the guest house, some of them await the bell of bhoga[4] in this very chandni. At times a Bhairavi (woman worshipper of the Mother) dressed in ochre-clothes and with a trident in her hand is seen seated at this very place. She too would go to the guest house at the right time. The chandni is exactly in the middle of the twelve Shiva temples ­ out of them six temples are exactly to the north of the chandni, and six exactly to the south. People passing by in boats and seeing the twelve temples from a distance exclaim, ‘That is the temple garden of Rani Rasmani.’

The brick courtyard and the Vishnu temple
There is a cemented brick courtyard to the east of the chandni and the twelve temples. In the middle of the courtyard, there are two temples facing each other. To the north is the temple of Radhakanta. Exactly to its south is the temple of Mother Kali. In the Radhakanta Temple, the idols of Radha and Krishna face west. One enters the temple through a flight of steps. The floor of the temple is paved with marble. In front of the temple, there is a chandelier hanging in the vestibule. It is not in use now; so it is protected by red linen covers. A watchman keeps a vigil. Canvas screens are provided, so that the deities do not feel inconvenience by the sun in the western sky during noon. Passages left open between the rows of the columns of the vestibules are covered by these screens. Towards the southeast corner of the vestibule, there is a pitcher of Ganga water. Near the threshold of the door of the temple is a vessel containing charanamrita[5]. Bhaktas come bow down before the deities and take some drops of this very charanamrita. Inside the temple are the images of Radha and Krishna on a raised seat. Sri Ramakrishna in the beginning was appointed as the priest of this very temple in 1857-1858.

Sri Sri Bhavatarini Mother Kali
In the southern temple is the beautiful stone image of Kali. The Mother is called Bhavatarini (the saviour of the world). The floor of the temple is paved with white and black marble. The raised platform is furnished with steps. On the platform there is a silver lotus with a thousand petals. On this lotus is Shiva lying down on His back with His head to the south and feet to the north. The image of Shiva is made of white marble. Upon His breast stands the stone image of this very beautiful three eyed Shyama Kali attired in a Banarasi sari and Her person decorated with jewels of many kinds. On Her lotus feet are nupur (tinkling anklets), gujari, panchem, paijeb, chutaki, red china rose and leaves of bel. The paijeb is used by the women of the West (Punjab and Utter Pradesh). It was put by Mathur Babu at the special desire of Sri Ramakrishna. The Mother’s arms are adorned with bauti (broad bangles), tavij (armlet) etc. made of gold. The lower arm has bala, flowery bangle, and pounche. In the middle arm she has a kada made of a two and a half round sections, tavij and baju. The last is with a hanging pendant attached to it. Round Her neck She wears the golden chek, a necklace made of seven strings of pearls, another necklace of thirty two gold strings, a chain of stars and a golden garland made of human skulls. On her head She wears a crown and her ears are adorned with kanbala, kanpash, gold earrings, chandni (round golden ear) and golden fish. There is a nose ring on her nose with a pearl attached to it. The three-eyed Goddess holds a decapitated human head and a sword in both Her left hands. Both Her right hands offer the boon of fearlessness. Round Her waist She wears the garland of human arms as well as golden waist-chains of neem and kamar-patta. In the north-east corner of the temple is a unique bed. On it the Mother takes rest. On one side of the wall hangs a chanvar[6]. Bhagavan Sri Ramakrishna fanned the Mother so many times with this chanvar. Upon the platform on a lotus seat there is a silver glass with water in it. Below on the ground are rows of vessels that hold water for Shyama to drink. To the northwest of the lotus seat is a lion made of eight metals, and the image of iguana and a trident towards the east. Towards the southwest of the platform is a she-fox, to the south is a bull made of black stone and to the north-east is a goose. On one of the steps leading to the platform is the image of Narayana installed on a small silver throne. On one side of his is the image of Ramalala, the nick name of Ramachandra, made of eight metals obtained by the Paramahansa Deva from a holy man and also an emblem of Vaneshwar Shiva. There are images of other gods too. The Divine Mother stands with her face to the south. Exactly in front of Her, that is to the south of the platform, is installed a pitcher. After the puja, this mangal-ghat[7] is dubbed with vermilion, covered with various kinds of flowers and decorated with flower garlands. On one side of the wall is a pitcher made of copper, filled with water. The Mother would wash Her face. Above in the temple is a canopy, behind the image is hanging a piece of beautiful Benarasi cloth. There are silver columns on all the four sides of the platform. A very expensive canopy spreads over them. It adds to the beauty of the image. The temple is of medium size. Some of the gates of the vestibule are protected by strong doors. The guard sits near one of the doors. Near the threshold is a small a vessel with the holy charanamrita in it. The top of the temple is adorned with nine pinnacles. Four of the pinnacles are in the lowermost line, in the middle also are four and above them there is one pinnacle which is now broken. The Paramahansa Deva had performed puja in this shrine as well as in the shrine of Radhakanta.

The Nata Mandir (the Theatrical Hall)
In front of the Kali’s shrine, that is to the south is a beautiful and spacious Nata Mandir. Over the Nata Mandir are Mahadeva, Nandi and Bhringi (latter two are attendants of Shiva). Before entering the Mother’s temple, Sri Ramakrishna would fold his hands and bow to Sri Mahadeva as though he would be entering the temple after taking His permission. Two rows of very high columns stand north-south of the Nata Mandir with a roof over them. To the east and west of the row of the columns are two portions of the Nata Mandir. At the time of festival worship, especially on the Kali puja day, yatras (theatrical performances) are performed in the Nata Mandir. It was in the Nata Mandir that Mathur Babu, the son-in-law of Rasmani, carried out dhanyameru (the ceremony of mound of cereal) at the instruction of Sri Ramakrishna. It was here that Thakur Sri Ramakrishna worshipped Bhairavi in the presence of all.

Store, pantry, guest house and place of sacrifice
To the west of the square courtyard are the twelve Shiva temples and on the three other sides are single storeyed rooms. The rooms to the east include the store room, the room for keeping puris (fried bread), the room for the food offerings of Vishnu, the room for food offerings, the room for the food offerings for the Mother, the kitchen for the gods and goddesses and the guesthouse. If the guests and sadhus do not eat in the guesthouse, they have to go to the office of the steward of the temple. On receiving orders of the steward, the sadhus take rations from the store. To the south of the Nata Mandir is the place of sacrifice.

The food prepared for Vishnu’s shrine is vegetarian. The kitchen for the food of Kali’s shrine is different. In front of the kitchen, the maid servants cut fish with big sickles. On Amavasya (the dark night of the month), a goat is sacrificed. The offering of the food is over before noon. In the mean time the beggars, the sadhus and the guests take plates made of sal leaves from the guesthouse and sit down in rows. The brahmins are allotted a separate corner. The brahmins working here have different seats. The prasad for the steward is sent to his room. The babus of Jaun Bazaar (descendants of Rani Rasmani) stay in the Kuthi when they visit the temple. They have their prasad carried to them in the Kuthi.

Office rooms
In the row of rooms to the south of the courtyard are the office rooms and the residences of the officials. Here the steward and the clerks are always present. And the storekeeper, the maidservants, the men servants, priests, cooks, brahmin cooks, and gate keepers are always found walking in and out. Some of these rooms remain locked. They contain the property of the temple ­ carpets, tents, etc. Some rooms of this row are utilized as storerooms on the birthday celebrations of the Paramahansa Deva. The cooking for the great festivity is done on the ground lying southwards.
There is a row of single storeyed rooms to the north of the courtyard. Right in middle is the main gate. As in the chandni, here too the gatekeepers keep a watch. Shoes have to be taken off before entering both the places.

Thakur Sri Ramakrishna’s room
Right in the northwest corner of the courtyard, i.e. to the north of the twelve Shiva temples, is Sri Ramakrishna Paramahansa Deva’s room. Exactly to the west of the room is a semi-circular verandah. It was from here that Sri Ramakrishna often watched Ganga with his face towards the west. Next to this verandah there is a path. To its west is a flower garden and then the terrace along the side of which flows the pure sweet melodious water of the Ganga, the symbol of all pilgrimages.

Nahabat (the concert room), Bakultala and Panchavati
Right to the north of the Paramahansa Deva’s room is a rectangular verandah. To its north is a garden path. Again to its north is a flower garden. Just beyond it is the Nahabat (the concert room). In the room below lived the revered mother of Sri Ramakrishna and later the Holy Mother. Next to Nahabat are the Bakultala and the Bakultala ghat. Here the women of the locality take their bath. It was at this very ghat that the venerable mother of the Paramahansa Deva had breathed her last with the lower half of her body immersed into the holy waters of the Ganga.

A little north to the Bakultala is Panchavati (a grove of five trees). It was at the foot of this Panchavati that the Paramahansa Deva practised many religious austerities. And he would often roam about here with his bhaktas. At times, deep at night, he would rise and come here. This grove is a collection of five trees ­ the bata (Indian fig), the peepal, the neem, the amalaki and the bel. These were got planted by Thakur under his own care. Coming back from Vrindavan, he scattered here the holy dust of that place. Right to the east of Panchavati, Bhagavan Sri Ramakrishna had a thatched hut built and meditated so much upon the Lord and practised so many austerities here. This hut has now been turned into a brick-built room.

In the middle of the Panchavati is a bata tree. Along side is a peepal tree. Both these trees have joined each other and look like one. Being very ancient and having many holes within, this old tree has become the living place of many birds and animals. Below it is a brick-built circular platform with steps. Seated on the northwestern side of this platform, Bhagavan Sri Ramakrishna carried out many devotional exercises, and with a yearning he would call upon Bhagavan in the manner a cow cries for its calf. Now across the hallowed seat there has fallen a branch of the peepal tree, comrade of the bata tree. This branch has not completely broken away and continues partially to adhere to the parent tree. It seems that no great man worthy to sit on that platform has yet been born again.

Jhautala, Beltala and Kuthi
Going a little ahead towards north of the Panchavati is a railing made of iron wire. On the other side of the railing is the Jhautala. There are rows and rows of willow trees. Moving a little east from the Jhautala is the Beltala. Here too the Paramahansa Deva practised so many difficult austerities. Beyond the Jhautala and the Beltala is a high wall. Just to the north of it, is the Government Magazine.

Coming out of the main gate of the courtyard and going to the north one sees a two-storeyed Kuthi. Whenever Rani Rasmani and her son-in-law, Mathur Babu, and others visited the temple they used to put up at this Kuthi. During their lifetime, the Paramahansa Deva used to live in a western room on the ground floor of the Kuthi. A path from this room leads to the Bakultala ghat from where a splendid view of Ganga is visible.

Ghat for washing utensils, Gazitala and gates
Going towards the east on the path between the main gate of the courtyard and the Kuthi, there is a fine tank with a specially built cemented ghat. Right to the east of Mother Kali’s temple, this tank has a ghat that is used for washing utensils and a little away from the above path is another ghat. Near this ghat to the side of the path, there is a tree called Gazitala. Going a little farther to the east on this path there is another gate ­ this is the main exit from the garden. People from Alam Bazaar or Calcutta visit the temple through this gate. People from Dakshineswar come in through the back gate. The Calcutta people usually enter the Kali Temple from the main gate. There too, a porter keeps a watch. When at midnight, the Paramahansa Deva used to return from Calcutta to the Kali Temple, the porter of this gate would open the lock. The Paramahansa Deva would call the porter to his room and give him puris, sweetmeats and other items of prasad offered to the gods.

Hanspukur, stable, cow house and flower garden
To the east of the Panchavati there is another tank called the Hanspukur (Goose tank). To the northeast corner of the tank are a stable and a cow house. To the east of the cow-house is the back gate. One goes to the village of Dakshineswar through this gate. The priests and the temple-officials who have brought their families and settled in Dakshineswar, they and their sons and daughters use this gate.

There is a pathway running from the southern extremity of the garden to the north up to the Bakultala and the Panchavati along the bank of the Ganga. This path runs with flower plants on both of its sides. And the path that runs east-west from the south of the Kuthi, too, has flower plants on both of its sides. From the Gazitala to the cow house, the stretch of land to the east of the Kuthi and the Hanspukur also has flower plants of different species, fruit-trees and another tank.
Very early in the morning when the eastern sky is taking a red hue, one can hear the sweet sounds of the morning arati and the morning music played on the shahnai. At this time they start plucking the flowers from Mother Kali’s flower garden. On the bank of the Ganga in front of the Panchavati are trees of vilva and the flower plants of fragrant (pagoda flower). Sri Ramakrishna was very fond of tulip, madhavi (myrtle) and gulachi flowers. He brought madhavi creeper from Vrindavan dham and planted it here. On a part of the land that is to the east of the Hanspukur and the Kuthi are champak plants on the bank of the tank. At a little distance are plants of jhumka, hibiscus, roses and kanchan (gold flower). On the hedges grows the aparajita and close to it are jasmine and shafalika flowers. Alongside the western wall of the line of the twelve temples are the white oleander, the red oleander, the rose, the jasmine and the larger jasmine. At places there are thorn apple flowers used for the worship of Shiva. At intervals there is the tulasi (basil) growing on high brick-built platforms. To the south of the Nahabat are larger jasmine, jasmine, gardenia and rose. Not far from the brick-built ghat are padmakarvi (lotus oleander) and the cuckoo-eyed. Near the Paramahansa Deva’s room are a couple of plants of cock spoon and close by are double jasmine, jasmine, gardenia, rose, tulip, white oleander, red oleander, double hibiscus and Chinese hibiscus.

At one time Sri Ramakrishna too used to gather flowers. One day he was plucking the leaves of the bel tree in front of the Panchavati. While plucking leaves of bel tree, a small portion of the bark of the tree came off. Then it seemed to him as if the one that lies within all things had received a severe pain. Thenceforward, he could no longer pluck the bel leaves. On another day, he was walking about to pluck flowers. Suddenly an unknown power made him aware that the various flower plants before him were but so many bouquets ­ adoring the great image of Shiva ­ that He was thus being worshipped night and day. Henceforth, he ceased to pluck flowers.

Verandah of Thakur Sri Ramakrishna’s room
There is a verandah running to the east of Sri Ramakrishna’s room. A wing of the verandah faces the courtyard, i.e. to the south. Sri Ramakrishna often sat with bhaktas in this verandah and talked to them about the Lord and sang songs with them of the name of God. The other wing of this eastern verandah faces the north. In this verandah bhaktas would come to him to celebrate his birthday with him and sing hymns with him. Moreover, at times, he would sit and partake of prasad with them here. It was also in this verandah that Keshab Chandra Sen would come to meet him and converse with him for long hours like a disciple. They would enjoy themselves and sit together to partake of popped rice, coconut, puri, sweets, etc. It was also here that Sri Ramakrishna had gone into samadhi at the sight of Narendra.

The Abode of Joy
The Kali Temple has become the Abode of Joy. Radhakanta, Bhavatarini and Mahadeva are daily worshipped here. Here offerings of worship are made and guests served. On one side stretches afar the sacred view of the Bhagirathi (the Ganga), on the other side there is a unique flower garden with flowers of variegated hues which charm with their overflowing fragrance and beauty. Then there is a god man intoxicated night and day with the love of the Lord. Here is the perennial festival of the ever joyful Mother. Musical notes always emerge from the Nahabat. Once music is played at early dawn at the time of the morning arati. After that at about nine o’clock when the worship starts. Then again at noon when after bhoga arati the Deities retire to rest. It is again played at four o’clock when they rise after their rest and take a wash. After this it is repeated at the time of evening arati. And last of all, at nine in the night, when after the evening offerings of food the deities go to bed, the music is heard from the Nahabat.

Chapter Two

The nectar of Thy story revives the parched soul of man. Poets (men of knowledge) praise it. It wipes away our sins. To hear it is in itself auspicious. It is pervasive, limitless and beautiful. Only those understand it who have been generous in their past lives.

­ Srimad Bhagavata, Skandha 10 , Sloka 9

The first meeting ­ month of February 1882
The Kali Temple in Dakshineswar on the bank of the Ganga. The temple of the Mother Kali. Spring time, the month of February 1882. One day after the birthday of Thakur on Thursday, 23 February, Thakur went for a cruise on a steamer with Keshab Sen and Joseph Cook. It is a few days later. The evening shades are approaching. M. comes in Thakur Sri Ramakrishna’s room. This is his first visit.

He sees a roomful of people, seated motionless and drinking the nectar of his words. Thakur is seated on the bedstead, his face towards the east. He is talking of Hari with a smiling face. The bhaktas are seated on the floor.

When does renunciation of karma take place?
M. looks in and stands speechless. He wonders as if it is Sukadeva talking of the story of the Lord and at that spot have gathered together all the places of pilgrimage. Or is it Sri Chaitanya sitting in the holy land of Puri singing the names and glories of Bhagavan (the beloved Lord) and seated before him are Ramananda, Swarup and other bhaktas! Says Thakur, “When just at the name of Hari or Rama your hair stand on end and tears flow from your eyes, know it for certain that sandhya[8] and other daily services will not be needed any more. And other daily services are over for you. You have then gained the right to give up karmas (work). Karmas, indeed, fall off on their own. In that state mere repetition of the name of Rama, or Hari, or Omkar[9] is enough.” And he adds, “Sandhya ends in Gayatri[10] and Gayatri in Om.”
M. has come here walking from garden to garden with Siddhu[11] from Barahnagar. It is Sunday, 26 February, 15th Falgun. It is holiday, so he has come out for a walk. A little earlier he was having a stroll in the garden of Prasanna Bannerji. It was there that Siddhu said, “There is a beautiful garden on the bank of the Ganga. Will you like to see it? A paramahansa lives there.”

Entering the garden through the main gate, M. and Siddhu came direct to Sri Ramakrishna’s room. M. stands speechless as he beholds. He thinks, “How charming is this place! How charming is this man! How sweet is his talk! I don’t feel like leaving this place!” After a while he says to himself, “But let me once see where I have come! I will then come back and sit here.”

As he comes out of the room with Siddhu, the sweet sound of arati[12] starts. Cymbals, bells and drums all begin to sound together. From the southern side of the garden musical notes emerge from the Nahabat. Floating over the bosom of the Bhagirathi (Ganga), the musical notes begin to merge somewhere far far away. The breeze of the spring is gentle and fragrant with the sweet odour of many a flower. Moonlight starts spreading. It seems as if preparations for the arati of deities are afoot all around. Witnessing arati in the twelve Shiva temples and in the temples of Radhakanta and Bhavatarini, M. is filled with supreme joy. Siddhu says, “This is Rasmani’s temple. Here the gods are ministered everyday from morning till evening. Many holy guests and the poor come here.”

Both of them wend their way through the grand brick quadrangle, as they emerge talking out of Bhavatarini temple and again reach in front of Sri Ramakrishna’s room. Now they find that the door of the room is closed.

The incense has been burnt a little while before. M. is educated in English ways, he cannot enter the room all at once. Atthe door stands Vrinde (the maidservant). Asks M., “I say, is the sadhu maharaj (holy man) in the room now?”

Vrinde — Yes, he is inside the room.
M. — How long has he been here?
Vrinde — Oh! many many years.
M. — Well, does he read many books?
Vrinde — Oh dear, books or such like that! They are all on his tongue.
M. is fresh from college. He is all the more surprised to hear that Thakur Sri Ramakrishna does not read books at all.
M. — Well, perhaps he will now perform sandhya! Can we enter the room? Will you please tell him about us?
Vrinde — Why, go in my children. Go inside and sit in the room.

Thereupon they enter the room and see that no other person is there. Thakur Sri Ramakrishna is seated alone on the bedstead in the room. Incense is burning in the room and all the doors are closed. M. folds his hands to pay his obeisance as he enters the room. At the bidding of Thakur Sri Ramakrishna, M. and Siddhu take their seats on the floor. Thakur asks, “Where do you live? What do you do? What has brought you to Barahnagar?” etc. M. answers all his queries but he notices that in the course of conversation, Thakur lets his mind go to some other object on which he is meditating. Later, he heard that this is called bhava[13]. It is like a man sitting with a fishing rod in his hand to catch a fish. The fish comes and begins to bite at the bait. The float trembles. The man is now all attention. He grasps the rod and looks at the float with a concentrated mind. He talks to no one. Sri Ramakrishna’s state is exactly like this. Later, he hears and sees that Thakur goes into this state after sandhya (evening). At times, he loses all external consciousness.

M. — You would now perform your sandhya. In that case, we may leave.
Sri Ramakrishna (in bhava) — No. Sandhya! No, it is not that.

And after some conversation, M. offers obeisance and takes his leave.
Says Thakur, “Come again.”

On his way back, M. says to himself, “Who may this god man be! How is that my soul longs to see him again! Can a man be great without reading books? What a wonder that I feel like visiting him again! He too has said, ‘Come again.’ I shall come tomorrow or day after in the morning.”