Śrīmad-Bhāgavatam 10.14.47
Blended reading (Sanskrit + English inline)
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barha-prasūna-vana-dhātu-vicitrita-aṅgaḥ
—
His body decorated with peacock feathers, flowers and forest minerals
Compound: barha (peacock-feather) + prasūna (blossom) + vana (forest) + dhātu (mineral) + vicitrita (colored) + aṅga (body). Five-deep compound. The cosmetics of Vraja: no royal jewelry, only forest ornaments. Mādhurya's signature wardrobe.
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veṇu-dala
—
the leaf-tube flute
Compound: veṇu (flute) + dala (leaf, bamboo-section). The flute as section-of-bamboo — Kṛṣṇa's instrument is intimate, organic, not a manufactured horn. Same root veṇu as in verse 1 — Brahmā's hymn-stuti and the boys' walk-home arc share this word.
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vatsān gṛṇan
—
calling the calves (by name)
Phrase: vatsa (calf) + gṛṇat (calling). The personal calf-call. Each calf has a name; Kṛṣṇa knows each. The shepherd-pastorale of the Bhāgavatam matches the antaryāmin-pastorale of Vedānta — He calls each jīva by name.
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gopī-dṛk-utsava
—
the festival for the gopīs' eyes
Compound: gopī (cowherd woman) + dṛk (eye) + utsava (festival). The gopīs' eyes are the festival-site; Kṛṣṇa's approaching figure is the festival itself. Mādhurya-rasa in a three-word compound.
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pavitra-kīrtiḥ
—
whose glories are purifying
Compound: pavitra (purifying) + kīrti (fame, glory). Kīrtana of His glories purifies the hearer. The anuga-gīta of the boys — singing of His fame as they walk home — is the original kīrtana-saṅkīrtana of Vraja, the prototype for Caitanya's saṅkīrtana movement.
According to Śrīla Jīva Gosvāmī and Śrīla Viśvanātha Cakravartī Ṭhākura, the gopīs mentioned here are the elder cowherd ladies such as mother Yaśodā, who loved Kṛṣṇa with parental affection. Kṛṣṇa’s cowherd boyfriends were so proud of Kṛṣṇa’s wonderful activities that while entering the village they all sang His glories.
With great affection Krsna called out each of the calves names. Seeing him was a feast for the eyes of the elder gopis in vatsalya rasa.
He entered Vraja giving joy to the eyes of the women of Vraja because of being dressed in forest attire and being intensely joyous from associating with the boys and calves. The minerals of the forest included gaurika. The forest is mentioned to distinguish the decorations from gold and other ornaments obtained in their houses. His limbs were decorated colorfully with peacock feathers, flowers and minerals by his friends. He loudly sounded the flute and horn with joy, or he engaged in dancing, playing and singing festively as well as playing the flute and horn. The boys loudly glorified him with joy, as if singing, because of their attractive voices. This purified the whole world. Or they glorified him by talking about killing Agha, by which the world was purified. The gopīs were Yaśodā and all the women of Vraja. Seeing him now was more joyful than previously because of Kṛṣṇa’s joy. He was more joyful because the real boys were superior to the expanded forms that he had created.
- Which 'ordinary' procession in my life — a walk, a commute — could be sanctified by chanting?
- Am I letting Kṛṣṇa enter my day with this kind of music, or rushing past Him?
A village procession returns at dusk — peacock feathers in the boys' hair, flute calling each calf by name, songs gathering as they walk — and the mothers, having waited all day, drink the boys' approach with their eyes as if for the first time in a thousand years. Kṛṣṇa's homecoming each evening is the gopīs' festival, a festival that the Gauḍīya tradition holds in eternal recurrence in Goloka.
The Bhāgavatam returns again and again to the moment of the gopīs' first sight of Kṛṣṇa each evening — at dusk, dust-covered, flute at the mouth, calves before him. Each evening they 'drink' him through their eyes (dṛk-utsava) as if for the first time (SB 10.21, 10.35).
Verse 47's gopī-dṛk-utsava-dṛśiḥ is the verse-grammar of that drinking. Caitanya Mahāprabhu held this verse to be one of the loci of mādhurya — the evening homecoming as eternal rasa-stage.
My note
Source: vedabase.io