Śrīmad-Bhāgavatam 10.15.18
Blended reading (Sanskrit + English inline)
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tat-anurūpāṇi
—
suitable for the occasion
tat (that) + anurūpa (matching, suitable). The songs match the moment. Gauḍīya: rāgānuga-bhakti adapts to the bhāva; there is no fixed text — the heart selects from infinite Vraja-songs the one this moment wants.
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manaḥ-jñāni
—
attractive to the mind
manas (mind) + jña (knowing). Echoes verse 12's manaḥ-jñayā. The songs charm Kṛṣṇa's mind. Gauḍīya: Bhagavān's mind is charmable — He chooses to be charmed by His devotees. Mādhurya operates by mutual captivation.
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sneha-klinna
—
melted by love
sneha (affection, oily love) + klinna (wet, melted). Gauḍīya: sneha is a specific stage of prema (cf. Bhakti-rasāmṛta-sindhu) where love becomes oil-like — soft, melting, smoothing. The cowherds' hearts are already in this stage.
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dhiyaḥ
—
their hearts
Plural of dhī — intellect, heart. Gauḍīya: in bhakti, the dhī is moved by emotion, not by argument. The sakhās don't sing because they decided to; they sing because their dhī has already melted.
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mahā-rāja
—
O King Parīkṣit
mahā (great) + rāja (king). Vocative. Śukadeva addresses Parīkṣit. Gauḍīya: this direct address marks moments of special intimacy in the recitation — the speaker is sharing something precious; he wants the listener's full attention.
The boys began to sing the praises of Krsna which were suitable to the particular pastime (tad anurupani).
They would sing songs (this word should be supplied) suitable to the occasion or songs equivalent to the Lord. The songs were attractive to the heart since they had remarkable notes and rhythms. They sang slowly since this was suitable for resting and the character of excellent songs. From the nature of the singing their affection would manifest specifically (sneha-klinna-dhiyaḥ). Or since the words are at the end of the description, the words can apply to the previous verse as well. The hearts of other boys also melted while they massaged his feet and fanned him.
Others sang songs (word to be supplied) which were suitable to the Lord on that occasion (anurūpāni). The songs attracted the heart (manojñāni) of the Lord though he is undisturbed like the deep ocean (mahātmanaḥ), since the songs had various amazing notes and rhythms and were concerning the gopīs. Or mahātmanaḥ can refer to the boys. O great king! Though you are a great king, even you cannot experience the happiness of these pastimes. The boys had soft hearts (klinna-dhiyaḥ) with affection (sneha) which was the greatest (mahārāja), revealed to the extreme. They sang softly (śanaiḥ) because their throats were choked with tears. Having soft hearts is especially mentioned because, though they naturally had such hearts, now there was a special display of affection. The words can also describe the boys mentioned in the previous verse.
- What does this moment in my life call for me to sing, literally or otherwise?
- Where do I miss the moment's natural mood and impose a generic one?
At a village wedding, the singers who know the bride and groom personally sing the truest songs — not the hired professionals. The sakhās of Vraja are precisely such singers. Their hearts, melted by sneha, choose the song the moment requires. Kṛṣṇa receives no court-music; He receives love-music, sung in real time by friends who happen to be holding His fan.
My note
Source: vedabase.io