10.16 · Kṛṣṇa Chastises the Serpent Kāliya

This chapter describes how Krsna brought Kaliya under control, Krsna’s pleasure with his prayers, and banishing him from the Yamuna. In this verse krsnam refers to the Yamuna river. Seeing how Kaliya was polluting the Yamuna with poison, Krsna decided to remove Kaliya from that place.

Yamunā is called kṛṣṇām here because of her dark color and because of being dear to Kṛṣṇa. Thus he had to take action when she was contaminated with poison, since she was a dear friend. The snake was black because of being full of intense poison. Kṛṣṇa did not act simply for her benefit, but for everyone’s benefit since Kṛṣṇa takes away (kṛṣ) all sorrows. The whole universe would be benefited by the rescue of such a great holy place of Vraja, since people could drink the water. Thus Kāliya would also be benefited. He is called vibhuḥ (powerful) since according to his choice as previously on some occasions, he would manifest his powers, even though he was absorbed in childhood pastimes.

Yamunā is called kṛṣṇām here because of her dark color and because of being dear to Kṛṣṇa. Thus he had to take action when she was contaminated with poison, since she was a dear friend. The snake was black because of being full of intense poison. Kṛṣṇa did not act simply for her benefit, but for everyone’s benefit since Kṛṣṇa takes away (kṛṣ) all sorrows. The whole universe would be benefited by the rescue of such a great holy place of Vraja, since people could drink the water. Thus Kāliya would also be benefited. This will be revealed later. Kṛṣṇa could perform such acts because he was able to many things by one act (vibhuḥ). Sarpa means a creature that crawls about. Kṛṣṇa prevented him from going elsewhere.

Please tell (kathyatam) with great intensity (vipra), how Kaliya was able to live there for so many yugas (mabhu yugavasam yathasit).

By what method (katham) did Bhagavān, who can act using all methods whatever, subdue the serpent? Vai means “and.” Please relate how he had been living (āvāsam) for many yugas there. Since this was a well-known fact, Parīkṣit mentioned it (though Śukadeva had not told him). O learned brāhmaṇa, expert in the highest knowledge (vipra)! Yājñavalkya says: janmanā brāhmaṇo jñeyaḥ saṁskārair dvija ucyate vidyayā yāti vipratvaṁ tribhiḥ śrotriya-lakṣaṇam A person is known as a brāhmaṇa by birth and as a dvija by saṁskāras. By knowledge he is becomes a vipra, and by knowledge of the three Vedas he becomes a śrotriya.

Vai means “and.” How was it that Kāliya lived so long in the lake contaminating it? This was well known, or if he had not been there a long time, it would not be so contaminated. O sage, master of persons like me (bhagavān)! He exclaims this out of bliss. He exclaims in this way in sorrow to express the suffering involved in punishing Kāliiya living deep in the water. Narrate this in detail, and excellently (vipra-kathyatām). Or narrate it to particularly (vi) satisfy all desires (pra). Or vipra is an address to Śukadeva, meaning “O person who can fulfill my desires!”

Gopala udara caritam means normally the pleasure-giving (udara) pastimes of Krsna, born in a cowherd family. However "go" can refer to the senses of the devotees. Gopala means the nourisher of the devotees senses. Udara means giving happiness. Thus gopala udara cairtam can also mean the pastimes which bring joy and nourish the senses of the devotee. "Who is satisfied with one taste of the pastimes which nourish the senses of the hearer and bring joy to the heart?"

Though Śukadeva has only summarized the story in the first verse, because he feared that Parīkṣit would be disturbed, Parīkṣit asks out of desire to hear the whole story, since he is ignorant of it. That is revealed in his words. Who could be satisfied tasting the sweetness of the stories which are magnanimous, giving the highest bliss (udāra) concerning Kṛṣṇa in the form of a cowherd, revealing his independent pastimes, endowed with all excellence to the extreme (bhūṁnaḥ), and endowed with the six great qualities (bhagavataḥ)? One is not satisfied because the topics are nectar (amṛtam).

“Because this story will give you great suffering, I have told it only in brief.” These are sweet stories of the lord full of all powers (bhagavataḥ), completely perfect (bhūmnaḥ) and independent (svacchanda-vartinaḥ) as a cowherd, most excellent or giving happiness (udāra). They can counteract great suffering equal to death. These are a medicine to counteract all suffering. Or the three phrases as causes modify gopālodara-caritam: the activities of the cowherd give happiness because he is a particular manifestation of bhagavān, and therefore endowed with unlimited glory (bhūmnaḥ), because he manifests by the desire of his devotees (svacchanda-vartinaḥ). Or one can tolerate the suffering because of the three qualities. Because he is bhagavān and full of powers, the Lord’s suffering does not actually exist. Because he acts by the desire of his devotees, these actions are done as play, by the master of play. There is no suffering for the Lord. Or because he follows the desire of the devotee he is always happy in all situations. Or his actions are amṛta. Though his activities may appear to have the greatest suffering, they are particular aspects of prema and actually full of the highest bliss. This explained in the second portion of Bhāgavatāmṛta. Or gopāla can be taken as an address “O master of words!” Or thinking of the guru as non-different from the Lord, it can mean “O Śukadeva! Kṛṣṇa!” The rest of the explanation is the same. I cannot stop hearing about those activities. What should I do? O Śukadeva, full of the Vedas (brahman)! Just as descriptions of suffering in the Vedas are not rejected, this story should not be avoided. You should tell me.

According to the Hari vamsa, the lake in the Yamuna was about one yojana wide, situated in the south part, where the Yamuna currents did not flow. If it were not so, the poisonous waters would also inconveniently flow towards the residents of Mathura. The waters of the lake were boiling hot (srapyamana).

Hearing Parīkṣit, full of affection because of having a similar mind, he speaks while thinking he should reveal everything, whether happy or sad, to such a person. He then related the story, which, for himself, was full of sorrow, since it brought sorrow to the people of Vraja, but he repeated everything he heard like a parrot. He did not elaborate on the details of the story elsewhere. The lake arose from within the Yamunā in its southern portion and flowed north in a separate stream, otherwise the Yādavas of Mathurā would also have been poisoned. The fire from the poison made the waters boil. The birds flying overhead even at a great height fell into the lake.

There was a lake of Kāliya in the Yamunā. It was a pool in the southern area, and joined the Yamunā which flowed from the north. Otherwise, the poison water would spread to Mathurā and the Yādavas. Āsīt is in the past tense, because it describes Kāḷiya’s relationship which was temporary. Kaścit indicates one lake or some indescribable lake. Its indescribable nature is described. Birds flying high in the sky fell into the lake because of the poison. This means the poison spread far away.

Moving and non moving entities died even upon touching (abhimarsita) the wind which had touched the poisonous waves and was filled with the poison water drops (viprusmata).

The wind was filled with drops of poisonous water because the foam and bubbles would rise from the lake quickly at all times because the water was boiling. Thus the wind was burning with poison also. Hari-vaṁśa describes other details. dīrghaṁ yojana-vistāraṁ dustaraṁ tridaśair api gambhīram akṣobhya-jalaṁ niṣkampam iva sāgaram duḥkhopasarpaṁ tīreṣu sa-sarpair vipulair bilaiḥ viṣāraṇi-bhavasyāgner dhūmena pariveṣṭitam tṛṇeṣv api patatsv apsu jvalantam iva tejasā samantād yojanaṁ sāgraṁ tīreṣv api durāsadam The lake was quite wide—eight miles across at some points—and even the devatās could not cross over it. The water in the lake was very deep and, like the immovable depths of the ocean, could not be agitated. Approaching the lake was difficult, for its shores were covered with holes in which serpents lived. All around the lake was a fog generated by the fire of the serpents’ poison, and this powerful fire would at once burn up every blade of grass that happened to fall into the water. For a distance of eight miles from the lake, the shore could not be approached. Kāliya lived in a cave in the ground, or within the water, by using powers to stop the water from entering.

Only the kadamba tree remained unaffected by the poison of Kaliya, because according to the puranas, Garuda sat in this tree when taking nectar. It remained there to get the blessing of the touch of Krsna’s lotus feet in the future.

Seeing the power of the poison with no remedy (caṇḍa) and spreading quickly, and the river contaminated by Kāliya, Kṛṣṇa climbed to the top of a kadamba tree. This is understood from Hari-vaṁśa. He tied up his hair, ornaments etc. Hari-vaṁśa says he bound his waist band tightly. He jumped into the water because he had appeared from his own planet (including within him all other avatāras such as Matsya who can swim) to defeat the wicked (khala-saṁyamanāvatāraḥ)--to defeat Kāliya. Why did the kadamba tree remain on the bank when everything else died? Since it was Kṛṣṇa’s tree, it was similar to him: kadambaḥ krṣṇa-vṛkṣo hi kāḷiya-hrada-samīpagaḥ tasmad eko ‘na śuṣko sau viṣa-hāra-karaḥ parān The kadamba tree near the Kāliya Lake was Kṛṣṇa’s tree. Therefore it alone did not wither away since it could remove the poison from others. One should understand that Kṛṣṇa kept this tree at this place of his pastimes. It should be understood from the statement in Hari-vaṁśa that other tress nearby did not die because of the kadamba.

Seeing the power of the poison with no remedy (caṇḍa) and spreading quickly, and the river contaminated by Kāliya, Kṛṣṇa climbed to the top of a kadamba tree. This is understood from Hari-vaṁśa. He tied up his hair, ornaments etc. Hari-vaṁśa says he bound his waist band tightly. He jumped into the water because he had appeared from his own planet (including within him all other avatāras such as Matsya who can swim) to defeat the wicked (khala-saṁyamanāvatāraḥ)--to defeat Kāliya. Why did the kadamba tree remain on the bank when everything else died? Since it was Kṛṣṇa’s tree, it was similar to him: kadambaḥ krṣṇa-vṛkṣo hi kāḷiya-hrada-samīpagaḥ tasmad eko ‘na śuṣko sau viṣa-hāra-karaḥ parān The kadamba tree near the Kāliya Lake was Kṛṣṇa’s tree. Therefore it alone did not wither away since it could remove the poison from others. One should understand that Kṛṣṇa kept this tree at this place of his pastimes. It should be understood from the statement in Hari-vaṁśa that other tress nearby did not die because of the kadamba.

The force of Krsna jumping from the tree into the Yamuna raised huge waves, filled with the poison of the agitated snakes. There were huge, fearful waves colored reddish yellow (kasaya) with the poison. Kasaya also means a thick potion according Ksira Swami (commentator on Amara kosa dictionary). In all directions (paryak) there were waves 400 hands tall.

His jumping in the water caused a shock (vega) since he was the best of men (puruṣa-sāra). Or, the lake became disturbed by the speed of the Lord showing a little of his strength (sāra) when he fell into the water. The lake’s water swelled with the snake’s poison on being agitated by the speed of Kṛṣṇa’s fall. Citskuha and Śrīdhara Svāmī take the version with kaśāyita instead of kasāya. They explain that the water changed color because of the poison. Kaṣāya is a medicinal decoction or reddish color. Kṣīrasvāmī explains the same. Instead of dhavan the word dhīman is found. O intelligent king! Śukadeva pacifies him. The water spread for a hundred dhanus. aṣṭabhir yava-madhyaiḥ syād aṅgūlaṁ dvaḍaśāṅgulam tālam tri-tālako hasto hastau dvau kiṣkūr ucyate Kiṣkur dvayam dhanūh proktam Eight yava-madhyas make an aṅgula. Twelve aṅgulas make a tāla. Three tālas make a hasta. Two hastas make a kiṣku. Two kiṣkus make a dhanu. The water spread beyond its previous limits. The cows and boys however were safe. What was this action for Kṛṣṇa with unlimited strength? Or, the lake with the strong poison of the snake was nothing for Kṛṣṇa.

Krsna began playing in the water, by making musical sounds with the water and swimming. As he churned the water with his two arms, a thunderous roar arose. Hearing that sound, the snakes concluded that there must be some rebellion (abhibhavam) above their snake hole houses. Not being able to bear that ( tad amrsyamanah), they arrived there (samsarat).

Kṛṣṇa sported in the water by swimming about, making noise by splashing the water. He was powerful like an elephant of the directions (vara-vāraṇa). O king (aṅga)! Śukadeva calls him affectionately to remove his sorrow.

Kṛṣṇa sported in the water by swimming about, making noise by splashing the water. O king (aṅga)! Śukadeva calls him affectionately to remove his sorrow. Or “O relative acting as Kṛṣṇa’s limb (aṅga)!” He was powerful like an elephant of the directions (vara-vāraṇa). Or he had playful movements (vikrama) like a mad elephant in the water. Or he had special powers (vikrama) even in his little toe (aṅga) even greater than a mad elephant. He made loud sounds with his arms. That was not astonishing since he had such strength. Kāliya saw him, hearing being his eyes. This means that, hearing the sound, he looked, but he did not at all see Kṛṣṇa’s beauty. Otherwise it would be impossible for him to bite Kṛṣṇa. Or cakṣuḥ-śravāḥ means “he whose fame was in his eyes.” He perfected his hearing by seeing. He confirmed everything by seeing.

This verse shows that Krsna, who was actually beautiful, appeared the opposite to the enraged Kaliya. He was shining like a cloud (ghavadatam). Due to playing in the water, his yellow cloth covered his curl of srivatsa hair on his chest. Sri vatsa can also mean marked with the line of Laksimi (sri) on his chest (vatsa). Bhuja here means the body (coils) of the snake, not his arms. Kaliya squeezed Krsna in his coils.

Because he was wicked, Kāliya acted in this way. To show the great offense of Kāliya, Śukadeva, taking the mood of the people of Vraja, laments and describes the beauty of Kṛṣṇa. Kṛṣṇa was playing in the water because he was without fear of others. This indicates that Kāliya had no intelligence. The word cakṣuḥśravā (snake) literally means he who hears through his eyes. (He had no ears to hear good instruction.) He wrapped Kṛṣṇa in his body which looked like an arm (bhujayā). Thus the snake is called bhoga or bhujaṅga. Here bhujayā means the snake’s coil.

Actually biting Kṛṣṇa in his sensitive points was like kissing his limbs. Gripping Kṛṣṇa in his coils was like embracing Kṛṣṇa’s limbs. He did him in anger or passion (ruṣā), or actually prema, since he was most beautiful. Thus later Kṛṣṇa would show him great mercy. Because he was wicked, Kāliya acted in this way. To show the great offense of Kāliya, Śukadeva, taking the mood of the people of Vraja, laments and describes the beauty of Kṛṣṇa. Kṛṣṇa was playing in the water because he was without fear of others. This indicates that Kāliya had no intelligence. The word cakṣuḥśravā (snake) literally means he who hears through his eyes. (He had no ears to hear good instruction.) He wrapped Kṛṣṇa in his body which looked like an arm (bhujayā). Thus the snake is called bhoga or bhujaṅga. Here bhujayā means the snake’s coil.

In order to increase the fighting spirit of Kaliya, Krsna was motionless (adrsa cestam) and appeared paralyzed with fear, surrounded by (parivitam) Kaliya’s coils . Or Krsna remained motionless out of pride in his abilities: "O Kaliya, you first try to bite me and then squeeze me. After that, I will show my powers." Some of the adult cowherds and men tending the grains in the field came there quickly. They are described as having offered him everything, including friends and wife in order to please him.

The cowherds took Kṛṣṇa as their dearest friend (priya-sakhāḥ). As cowherds, their hearts melted out of natural, straightforward affection. They offered themselves, friends (including fathers, brothers etc.), wealth, family, and goals of this life and the next (kāmāḥ) to help him. Family or wife (kalatra) is included in friends (suhṛd) but is mentioned separately for emphasis. However some say that kalatra refers to boys elder than Kṛṣṇa who had received the upavīta (sacred thread). Everyone depended on Kṛṣṇa. They became filled with sorrow, or wailed in painful voices. They lamented out of grief, “What will become of us without him?” Afflicted with lamentation and fear, they then lost their discrimination or fainted (mūḍha-dhiyaḥ). Or they became filled with pain on seeing him wrapped in the coils and, seeing him motionless, they lost consciousness in fear and lamentation. They fell to the ground like uprooted trees with no action (ni—petuḥ). Because they fainted they did not enter the lake. Though they fell in places where the water overflowed, they were not affected by the poison, for Kṛṣṇa made the lake devoid of poisons by his touching it. Kṛṣṇa remained motionless to show Kāliya’s wives their husband’s faults, so that he would be removed from the lake.

The real reason they could not see movement in Kṛṣṇa (adṛṣṭa-ceṣṭitam) was that Kṛṣṇa became stunned by the bliss of being embraced in prema, in order to show Kāliya’s wives their husband’s faults, so that he could be removed from the lake. The cowherds took Kṛṣṇa as their dearest friend (priya-sakhāḥ). As cowherds, their hearts melted out of natural, straightforward affection. They offered themselves, friends (including fathers, brothers etc.), wealth, family, and goals of this life and the next (kāmāḥ) to help him. Family or wife (kalatra) is included in friends (suhṛd) but is mentioned separately for emphasis. However some say that kalatra refers to boys elder than Kṛṣṇa who had received the upavīta (sacred thread). Everyone depended on Kṛṣṇa. They became filled with sorrow, or wailed in painful voices. They lamented out of grief, “What will become of us without him?” Afflicted with lamentation and fear, they then lost their discrimination or fainted (mūḍha-dhiyaḥ). Or they became filled with pain on seeing him wrapped in the coils and, seeing him motionless, they lost consciousness in fear and lamentation. They fell to the ground like uprooted trees with no action (ni—petuḥ). Because they fainted they did not enter the lake. Though they fell in places where the water overflowed, they were not affected by the poison, for Kṛṣṇa made the lake devoid of poisons by his touching it. Kṛṣṇa remained motionless to show Kāliya’s wives their husband’s faults, so that he would be removed from the lake.

Because the water in their eyes had dried up from fear, they could not really weep. Thus they are described "as if weeping."

The animals, crying loudly in pain, as if weeping and uttering human words, while shedding tears, stood there. The cattle with the highest affection were stunned because of intense grief. Sometimes it is seen that because of intense poison, a living being, even though dead, remains upright. The atmanepada verb is poetic license. Not only the cattle, but the buffalos, deer and other animals also acted like this. Since they were more distant they came later, and thus are not mentioned.

Three inauspicious signs appeared in Vraja: on the earth, earthquakes; in the sky, meteors falling; and in the body, twitching of the left eye. Though there can be nothing inauspicious for the Lord, in order to indicate the lamentation of the inhabitants of Vraja, the devatas in charge of earthquakes and other disturbances did this. Or being attracted to the intimate mood of Vraja, out of affection for Krsna, to make his aisvarya become forgotten, they produced omens indicating misfortune for Krsna.

After this, omens greatly fearful by their very nature and portending disaster by their nature appeared. These omens appeared in order to bring great devotees like Nanda and others to the lake to show the great wickedness of Kāliya.

Seeing the inauspicious omens, the inhabitants left Gokula. This is described in three verses. Seeing the omens, they thought Krsna had died (nidhanam matva). But what kind of death can God have? Nidhana can also mean great treasure. Krsna had obtained a great treasure: he was joyfully playing in the Yamuna. The inhabitants were like animals. They lost their power of knowledge and thinking out of great lamentation.

Disaster could not happen if Balarāma were present since he was full capable, affectionate and profound, and always occupied with helping Kṛṣṇa. Three verses can be taken as one sentence with the verb in verse 15. Or, this verse can be taken separately with the verb babhūvūḥ understood. Seeing the omens, the cowherds headed by Nanda became agitated with fear. Nidhanam means death. They thought Kṛṣṇa had died. But by the ingenuity of words, the phrase can mean “great treasure” (nitarām + dhanam). They thought of him as the greatest treasure. They did not think about his powers (atad-vidaḥ). “Why did they develop doubts?” He was their life, and their minds were always absorbed in him. They were famous for their complete dedication to him alone. Because of their natural affection they lost their intelligence and became like animals. Or in their affection they were like the cows (paśu-vṛttayaḥ). They stumbled about and fell down constantly (dīnāḥ). They become greedy to see Kṛṣṇa, who attracts everyone’s heart. “Where is he? How is he?” Or by their very nature they were greedy to see him.

According to Hari Vamsa, Madhava means master (dhava) of intelligence (ma). Balarama is here described as the master of intelligence and knowledgeable of the power of Krsna’s lila sakti (prabhava jna). Though he had the greatest affection for his younger brother Krsna, he understood there was a concealing of Krsna’s powers through his lila sakti, operating under Krsna’s will. Because of this, it would have to be Balarama who would prevent Nanda and others from drowning themselves in the Yamuna out of grief. Balarama smiled: "Krsna is not interesting in playing with me, Sesa naga. Rather he gets enjoyment from playing with a common material snake." Remembering Krsna’s pastimes as an ordinary mortal, Balarama smiled. He did not speak a word, as this covering of knowledge did not seem proper and the situation was beyond tolerance. However, when he gave a mere smile, they lost their lamentation, and they thought that nothing unfortunate could possibly happen. Becoming joyful after his smile, they gave up their desire to give up their lives.

Seeing them in such distress, though he was strongly attached to Gokula (balaḥ), though he was endowed with all powers (bhagavān), though he was the master of all knowledge (mādhavaḥ), he did nothing. As if incapable and as if ignorant he did not give any instructions. Though suffering because of their suffering, he smiled visibly (pra--- hasya) to help them recover a little while remaining silent. He knew the true nature of Kṛṣṇa. He smiled out of affection for him, and to show the people that he was not worried about him. And to maintain the lives of the people he smiled. He smiled because, as a pastime of the Lord, this action was naturally endowed with the śakti which makes all adjustments. Why did he not show his own powers even when the people were in this condition and why did he not tell them about Kṛṣṇa’s powers? Knowing Kṛṣṇa (prabhāva-jñaḥ), he could not do so without Kṛṣṇa’s desire. The word Mādhava is derived as follows in Hari-vaṁśa: mā vidya ca yataḥ proktā tasyā iśo yato bhavet tasmān mādhava-nāmāsi dhavaḥ svāmīti kīrtitaḥ Mā means knowledge and dhava means master or lord. These two words form the name Mādhava.

Seeing them directly (vikṣya) fearful or agitated (kātarān) though they were full of all knowledge (tathā) or seeing them in such a (tathā) fearful state, he who was dear to his younger brother (saḥ), Balarāma, laughed loudly but said nothing at all. Or he slightly laughed and said nothing, because he was omniscient (bhagavān), and more particularly had appeared in the dynasty of Madhu (mādhavah) and thus knew the powers of his younger brother. Or he knew the intentions of his brother in acting this way to punish Kāliya. He smiled in order to lighten their lamentation. He said nothing to assure the people that he knew Kṛṣṇa’s intentions. Or his laughter and silence is an indication of Śukadeva’s anger in love towards Balarāma: he was supremely independent or indifferent (bhagavān) and appeared in the Madhu dynasty, without the soft heart of a cowherd. Or he was a drinker of honey liquor (mādhavaḥ) and strong (balaḥ) but not intelligent, because he was holding a plough (saḥ). Therefore his laughing and silence were suitable to him.

They followed the path made by footprints marked with symbols of the Lord (sankha, cakra etc.)

They searched for him because he was dear (dayitam), since he was Kṛṣṇa.

Because they knew the signs of his feet, it is hinted that they would find him soon. He was dear (dayitam), since he was Kṛṣṇa. Thus they searched.

This verse describes how they recognized his footprints. Vis pateh means of the leader of the vaisyas and refers to Krsna. Excluding the other foot prints of cows, they followed the footprints of Krsna. There is the hint here of discerning yogis, going through the path of the Vedas (like cows), pursuing the path of the highest truth by rejecting all illusory appearances.

They saw there, where he had stepped, the foot prints of the master of the cowherds (viś-pateḥ). Though he had departed from the village long ago, and was surrounded by cows, his foot prints were not erased because the earth had kept those prints as her ornaments. Those prints were the abode of prema for all. They had such great power that even the non-conscious wind could disturb them. These are the three reasons why the prints remained. This is summarized by the words of the previous verse bhagavat-lakṣaṇaiḥ (having the qualities of the Lord). It is astonishing that the prints could be the shelter of such prema, and that they could not be stepped on by Kāliya.

They saw his footprints everywhere (tatra tatra) where he had stepped. “Why were footprints not erased, since he, surrounded by friends, had tread there long before? Why had the animals and birds not erased the prints?” He was the master (pati) of all living beings (viś). The earth thus preserved those prints as her ornaments. The inhabitants of Vraja accepted those prints as the greatest treasure. No one would step on those prints.

This verse depicts the distress of the gopas and gopis. Seeing Krsna motionless in the coils of the serpent in the lake, they asked the boys, "Tell us what happened. Did Kaliya snatch Krsna from the bank and pull him in the water, or did Krsna jump from the bank into the water? Was this his own idea or someone else’s order?" Seeing the boys wanting but not able to answer because their minds had stopped functioning, Nanda and the other cowherd men and women became even more stunned than the boys.

They saw the cowherds unconscious (mūḍha-dhiṣaṇān), scattered all over (paritaḥ) the bank. The lake was a little over a yojana in breadth. The boys were scattered on the east, south and west shores. They saw that the animals were crying intensely (sankrandataḥ) all around the lake. Unlimited animals had gathered to see Kṛṣṇa play. Now the animals remained there crying. The cowherds saw both the unconscious boys and the crying animals (ca ca). Or the first ca indicates all the boys and the second ca indicates that there were birds crying as well.

This verse describes the distress of the young women attracted to Krsna. Bhagavati here means most beautiful. Ananta means filled with unlimited qualities. Seeing the most beautiful Krsna endowed with infinite attractive qualities bound in the coils of the serpent, remembering the prema that Krsna had for them (tat sauhrda), his soft smiles , his secret glances, his conversations during love making, they viewed the three worlds as empty without their beloved, for due to the fire of separation, the three worlds became consumed into ashes. If the phrase vyati krtam is alternativly read vyati hrtam then the sentence means they felt the worlds vacant having become completely (visesena atisayena vyati) unconscious through loss of their beloved.

The general description of everyone’s condition has been described. Now the gopīs’ condition is specifically is described. Kṛṣṇa was full of all powers (bhagavate), and without destruction (anante), or was inseparable from devotees. Thus it was impossible that he could be held by the snake. But by his will he was trapped in the snake’s coils. The gopīs were extremely afflicted with grief at this because by their nature they were constantly filled with prema for him. He alone was most dear by his nature. Ātma is dear, Paramātmā is dearer, and Kṛṣṇa is dearest because of his particular qualities. Thus, because of their great prema for him, they did not recognize his great powers. That is the significance of using the word priyatama. Or Kṛṣṇa was most beautiful (bhagavān) with unlimited qualities. He was very dear to some, but most dear to the gopīs, because their minds were constantly attracted to him (anurakta-manasaḥ). Now, when he appeared to be caught, completely surrounded by the snake’s coils, they remembered his words, glances and smiles arising from his prema (sauhrḍa) and became overcome with intense grief. They saw that the universe completely taken away by him (priyavyati-hrṭam). That means the universe lost its memory, becoming deaf and blind. Another version has priya-vyatikrṭam: the universe was devastated because of the condition of their dear one. Śrīdhara Svāmī says the meaning is “the universe was separated from their dear one.” Thus the gopīs saw the world to be vacant. Because of the intensity of grief, they considered the world to be like themselves. Thus everything took on the form of grief for their beloved.

This verse describes the distress of those in parental love. Tah refers to the famous women of Vraja with children. Yasoda is described as being torn apart (prataptam) upon seeing (anu) her son (apatyam). Another reading is pravistam instead of prataptam. That would mean she entered the same state as her son (who seemed to have fainted), or fainted as he did. Seeing her try to jump in the river, other elder gopis took her by the arms (samanugryha), as she was still fairly conscious, and washed her face covered with sweat and tears. In loud voices, they began to recite stories about the dear boy of Vraja (vrajapriya) in order to revive her. These elder gopis were rivers of lamentation (sucah sravantyah . amara kosa says svaranti means river). With the waves of their lamentation they drowned others as well. Thus the gopis became paralyzed like corpses (mrtika pratikah).

What happened to his mother? Overcome with grief, Śukadeva describes her a little, and gives a detailed description of all of the women. Tāḥ refers to those gopīs previously mentioned who were friends of Yaśodā. The word apatyam means he who does not cause the family to fall into any sort of suffering: a son who is the object of the highest affection. Because of (anu) her son (apatyam) she was suffering extremely (prataptam). Another version has anupraviṣṭām: she started to enter the water. Though the other women were equally afflicted, they held on (gṛhya) to her firmly (sam) and constantly (anu). They released tears of grief in streams (śucaḥ sravantyaḥ). They began to relate to each other topics dear to Vraja such his being protected by the Lord from Pūtanā and his killing of Baka and Vatsa using his strength. “He has killed many great demons. What is this one rascal snake among all of them? He will kill the snake and come now.” They spoke like this to pacify Yaśodā. They stood with their eyes fixed on Kṛṣṇa, and later appeared like corpses. Viṣṇu Purāṇa describes their grief in detail. sarvā yaśodayā sārdhaṁ viśāmo ‘tra mahā-hrade nāga-rājasya no gantum asmākaṁ yujyate vraje divasaḥ ko vinā sūryaḥ vinā candreṇa kā niśā vinā vṛṣeṇa kā gāvo vinā kṛsṇena ko vrajaḥ vinākrtā na yāsyāmaḥ kṛṣṇenanena gokulam araṇyaṁ nātisevyaṁ ca vārihīnaṁ yathā saraḥ yatra nendīvara-dala-prakhyakāntir ayaṁ hariḥ tenāpi mātarvāsena ratir astīti viṣmayaḥ utphulla-paṅkaja-dala spāṣṭakānti-vilocanam apaśyanto hariṁ dīnāḥ kathaṁ goṣṭhe bhaviṣyatah atyartha-madhurālāpa-hṛtāśeṣa-manodhanāḥ na vinā puṇḍarīkākṣaṁ yāsyāmo nandagokulam bhogenāveṣṭitasyāpi sarpa-rājasya paśyataḥ smita-śobhimukhaṁ gopyaḥ kṛṣṇsyāsmad vilokane We will all enter the huge lake of the snake king with Yaśodā. It is not proper for us to return to Vraja. What is the day without the sun, the night without the moon, and what is the cow without the bull, and what is Vraja without Kṛṣṇa? Without Kṛṣṇa we cannot return to Gokula incomplete. Where Kṛṣṇa with the complexion of a blue lotus is absent it is like a forest having a lake without water. It is surprising that living there would be pleasant. O Yaśodā! Not seeing Kṛṣṇa with lotus eyes, how could the wretched people continue living in the village? Since the unlimited treasures of our minds have been captured by his sweet speech, without lotus eyed Kṛṣṇa, we will not go to Nandagokula. O cowherd women! Look at his smiling face when he looks at us, even though he is held by the coils of the king of snakes.

What happened to his mother? Overcome with grief, Śukadeva describes her a little, and gives a detailed description of all of the women. Tāḥ refers to those gopīs previously mentioned who were friends of Yaśodā. The word apatyam means he who does not cause the family to fall into any sort of suffering: a son who is the object of the highest affection. Because of (anu) her son (apatyam) she was suffering extremely (prataptam). Another version has anupraviṣṭām: she started to enter the water. Though the other women were equally afflicted, they held on (gṛhya) to her firmly (sam) and constantly (anu). They released tears of grief in streams (śucaḥ sravantyaḥ). Tās tāḥ means these previously mentioned cowherd women or the women who were in an indescribable condition. They began speaking topics about Kṛṣṇa, dear to Vraja (vraja-priya) or who had affection for Vraja. Or they spoke topics in Vraja about dear Kṛṣṇa. Or they spoke dear topics of Vraja such as his childhood pastimes. Or they talked about his joking speech (kathāḥ), while sweetly smiling and glancing. But they were in complete lamentation. Or they talked about the powerful demons like Baka and Vatsa killed by Kṛṣṇa. So what is this snake? He will kill it now. They said this to console the mothers. Viṣṇu Purāṇa describes their grief in detail. sarvā yaśodayā sārdhaṁ viśāmo ‘tra mahā-hrade nāga-rājasya no gantum asmākaṁ yujyate vraje divasaḥ ko vinā sūryaḥ vinā candreṇa kā niśā vinā vṛṣeṇa kā gāvo vinā kṛsṇena ko vrajaḥ vinākrtā na yāsyāmaḥ kṛṣṇenanena gokulam araṇyaṁ nātisevyaṁ ca vārihīnaṁ yathā saraḥ yatra nendīvara-dala-prakhyakāntir ayaṁ hariḥ tenāpi mātarvāsena ratir astīti viṣmayaḥ utphulla-paṅkaja-dala spāṣṭakānti-vilocanam apaśyanto hariṁ dīnāḥ kathaṁ goṣṭhe bhaviṣyatah atyartha-madhurālāpa-hṛtāśeṣa-manodhanāḥ na vinā puṇḍarīkākṣaṁ yāsyāmo nandagokulam bhogenāveṣṭitasyāpi sarpa-rājasya paśyataḥ smita-śobhimukhaṁ gopyaḥ kṛṣṇsyāsmad vilokane We will all enter the huge lake of the snake king with Yaśodā. It is not proper for us to return to Vraja. What is the day without the sun, the night without the moon, what is the cow without the bull, and what is Vraja without Kṛṣṇa? Without Kṛṣṇa we cannot return to Gokula. We are incomplete. Where Kṛṣṇa with the complexion of a blue lotus is absent it is like a forest having a lake without water. It is surprising that living there would be pleasant. O Yaśodā! Not seeing Kṛṣṇa with lotus eyes, how could the wretched people continue living in the village? Since the unlimited treasures of our minds have been captured by his sweet speech, without lotus eyed Kṛṣṇa, we will not go to Nandagokula. O cowherd women! Look at his smiling face when he looks at us, even though he is held by the coils of the king of snakes. They remained standing (āsan) with eyes fixed on his face in order to see him. Or they were sitting (āsan) on the ground overcome with grief. Then they appeared like clay dolls, motionless. Or speaking about Kṛṣṇa and fixing their eyes on him, they were like clay dolls, because they had fainted. These women were all the same age as Yāśodā. The gopīs mentioned in the previous verse were young, beloved of Kṛṣṇa.

Balarama prevented Nanda and others from jumping in the river. "Garga has said, that you will be saved from all obstacles by this son. Keeping this in mind, don’t you think he will be saved from this danger? Just be patient. If after you all jump in the river, Krsna comes back, who will care for and raise my little brother? You will be neglecting Gagra’s order to take care of the boy well. How will he be raised?" This was Balarama’s reasoning.

He (saḥ), who was made to leave his house by Kṛṣṇa in order to protect the people, or he who is famous for his affection for his friends, saw the cowherds headed by Nanda attempting to enter the lake together, after having recovered their senses after some time. “How was it possible for him to prevent everyone from entering?” He was endowed with all powers (bhagavān). He gave pleasure (rāmaḥ) to all by his good advice, by his show of strength and by internal inspiration. “Why did he remain undisturbed in this situation?” He knew the powers (anubhāva) the form of the Supreme Brahman, Kṛṣṇa.

He (saḥ), who was made to leave his house by Kṛṣṇa in order to protect the people, or he who is famous for his affection for his friends, saw the cowherds headed by Nanda attempting to enter the lake together, after having recovered their senses after some time. “How was it possible for him to prevent everyone from entering?” He was endowed with all powers (bhagavān). He gave pleasure (rāmaḥ) to all by his good advice, by his show of strength and by showing that Kṛṣṇa was safe by his smiling face. “Why did he remain undisturbed in this situation?” He knew the powers (anubhāva) of the form of the Supreme Brahman, Kṛṣṇa. It is understood that, overcome with intense affection they fell to the ground and fainted because they felt great pain on seeing Kṛṣṇa in that situation and experienced great sorrow because they could not enter the lake to help him. Later it is mentioned that they rose from the ground. (SB 10.17.14)

Seeing that they had no other resort (anyanya gatim) , and understanding completely (ajnaya) the sorrow of the inhabitants of Vraja, after remaining for a muhurta (two hours) in a motionless state, Krsna said, " You have shown enough of your strength to me. Now, I will show you a little prowess of my own, though I am just a cowherd boy." Saying that, he broke free from the snake (uranga) and stood up (udatisthat).

Seeing the people of Gokula in that condition, having no other protector, understanding completely the extreme suffering of everyone including women and children because of him, after remaining in the coils for a moment, to follow the path proper conduct, Kṛṣṇa then released himself from the snake’s coils. He saw all the people of Gokula in a condition in that condition of bewilderment (ittham). They had no other shelter than him, having accepted him as their protector. Instead of gatim the word patim is sometimes seen, with a similar meaning. He then rose up from the coils of the snake. After some moments he got free. Why did he remain there for some time? He followed the conduct of letting people see the fault of the person whom he would punish (martya-padavīm anuvartamānaḥ). Why did he rise up? If he did not rise up, he saw that Gokula which was himself (sva) would not live. Gokula had no other protector (ananya-gatim). Or, they could not but go into the water (gatim) because of his precarious condition in the coils of the snake. He saw that they were about to enter the water. Seeing their condition he decided to rise because of their actions. The form udatiṣṭhat is poetic license. He completely understood (ājñāya) that all people including the women and children had reached the pinnacle of suffering on account of him. Sa-strī-kumāram is an indeclinable compound expressing a group. Kṛṣṇa by his nature cannot tolerate the suffering of any being. And they were suffering because of him, not themselves. And they were suffering because of his suffering. Thus he released himself from the snake’s coils. He did this quickly. All this was seen by the people of Vraja.

Seeing the people of Gokula in that condition, having no other protector, understanding completely the extreme suffering of everyone including women and children because of him, after remaining in the coils for a moment, to follow the path proper conduct, Kṛṣṇa then released himself from the snake’s coils. He saw all the people of Gokula in that condition of bewilderment (ittham). They had no other shelter than him, having accepted him as their protector. He then rose up (udatiṣṭhad) from the coils of the snake. Instead of gatim the word patim is sometimes seen, with a similar meaning. Or being grieved by their lamentable condition (ittham), seeing himself as the lord of dedicated souls (ananya-patim), he thought he must immediately protect them. He accepted that he was the cause of their suffering. Understanding that Gokula should be protected, he could not tolerate the suffering of others by his nature. Therefore he quickly rose, because he felt he was the cause of misery for his devotees. He was particularly disturbed by the suffering of women like Yaśodā (śtrī) and young boys like Śrīdāmā (kumaram). Or seeing Gokula (sva-gokulam) in this state (ittham), suffering and wanting to die, understanding (ājñāta) Nanda who had nothing in life except Kṛṣṇa (ananya-patim), or understanding Nanda, the lord of the surrendered devotes (ananya-patim), along with women and boys, was suffering because of him, Kṛṣṇa released himself from the snake’s coils. Or ananya can be an address to Parīkṣit. O surrendered soul! As with you, Kṛṣṇa necessarily gave these surrendered souls unlimited auspiciousness while protecting their lives. Patim still refers to the lord of Gokula. The rest of the meaning is the same. Showing human pastimes (martya-padam anuvartamānaḥ), or showing to the people Kāliya’s fault by punishing him, remaining for another moment in the snake’s coils, he quickly freed himself. The real meaning is that he remained for a moment in the snake’s coils because he followed the world’s custom of being unable to free himself from a loving embrace.

This verse describes how Krsna got free of Kaliya and how Kaliya’s powers weakened. Kaliya let go of Krsna because he was pained (vyatthita) by the expanding body of Krsna (prathyamana vapusa), which had previously been much smaller. Freeing Krsna, the snake raised his huge hood, and breathing heavily stared at Krsna. His nostrils were full of poison, his glaring eyes were like flaming pots of poison, and his mouths emitted fire balls.

This verse describes how he released himself. Kāliya became fatigued. By Kṛṣṇa slightly expanding his body the snake’s coils began to ache as if being torn. The word ātmā indicates that Kāliya identified with his body and thus felt extreme pain. He raised his hoods. The word sva indicates the hoods’ extraordinary nature (he had great regard for them). His nostrils were like fiery vessels. He glared at the Lord who would take away his false pride (harim) or who would take away his residence.

This verse describes how he released himself. Kāliya became fatigued. By Kṛṣṇa slightly expanding his body, the snake’s coils began to ache as if being torn. The word ātmā indicates that Kāliya identified with his body and thus felt extreme pain. Kṛṣṇa’s body was bound tightly by the coils. When Kṛṣṇa expanded his body the snake began breathing loudly because of anger arising from pain inflicted on his coils. His nostrils were filled with poison and thus, by breathing heavily, he released more poison. His nostrils were like pots of poison. His glances were red, filled with poison. He released flames of poison from his mouth (ulmuka-mukhaḥ). The descriptions become more and more fearsome. The descriptions portray more poisonous aspects of the snake then previous ones. The snake glared at Kṛṣṇa who was eager to take away Kāliya’s residence (harim) or remove his bad qualities. The real meaning is that the snake did not feel pain (avyathita). He was angry out of affection because Kṛṣṇa quickly separated from his embrace. He looked at Kṛṣṇa because Kṛṣṇa was most attractive. His heavy breathing was a sāttvika-bhāva. His nostrils holding pots of poison and his mouth emitting flames are natural qualities of the snake.

Kaliya repeatedly licked his lips (dve srkkani pari lelihanam). Krsna moved around Kaliya so that Kaliya would keep turning around. Kaliya kept following Krsna, looking for an opportunity to bite him. But because of Krsna’s skilful movements, Kaliya could find no chance. Krsna began to move in the opposite direction to avoid Kaliya.

He played with Kāliya who was constantly licking his two lips (pari) simultaneously with his forked tongue. Though it is the nature of snakes to do so, out of extreme anger he now did this. This indicates his ferocious nature. His glance was full of terrible fire. This description is repeated from the previous verse to indicate his nature. Hi is used for emphasis. Kṛṣṇa circled him. The example of Garuḍa is used to show his strength while playing or to show his quickness. Kāliya at every step (pra) watched intently (sam) for an opportunity to bite him. This showed Kṛṣṇa’s fun in playing with the snake.

He played with Kāliya who was constantly licking his two lips (pari) simultaneously with his forked tongue. Though it is the nature of snakes to do so, out of extreme anger he now did this. This indicates his ferocious nature. His glance was full of terrible fire. This description is repeated from the previous verse to indicate his nature. Jihvayā is in the singular, but indicates all the tongues of his many mouths. His two nostrils stands for the many nostrils of his many heads. Each head had one tongue and two nostrils. Hi is used for emphasis. Kṛṣṇa circled him. The example of Garuḍa is used to show his strength while playing or to show his quickness. Kāliya at every step (pra) watched intently (sam) for an opportunity to bite him. This showed Kṛṣṇa’s fun in playing with the snake.

Kaliya, who had very high shoulders, gradually became tired from turning around to catch Krsna, and thus Krsna was able to bend down his head with one hand. Raising himself upon Kaliya’s head, he began to dance. Hari vamsa confirms this. He danced with his lotus feet which were reddened (ati tamra) because of the hard touch of all the jewels on Kaliya’s head. The dancer somtimes dances on various objects such as dishes to show his expertise. Krsna danced on the moving heads of Kaliya for this reason, and also to show that he was the original guru of all arts. It should be understood however that he especially want to show the young women of Vraja who were attracted to him his skill in dancing.

Though Kāliya was fatigued from Kṛṣṇa circling him, his shoulders were still raised. Therefore with his hand Kṛṣṇa lowered his shoulders. Hari-vaṁśa says śiraḥ sa kṛsṇo jagrāha svahastenāvanamya ca: Kṛṣṇa grasped his head and lowered it. Kāliya’s head was broad, making it suitable as a dancing arena. Kṛṣṇa lightly touched his jeweled head with his feet, but because his feet were very soft, they became red. This indicates the beauty of Kṛṣṇa’s feet. Because Kṛṣṇa is first (ādyaḥ), he is the first guru (adi-guruḥ). By this, Kāliya’s great fortune is indicated.

Though Kāliya was fatigued from Kṛṣṇa circling him, his shoulders were still raised. Therefore Kṛṣṇa lowered them. Kāliya’s head was broad, making it suitable as a dancing arena. Dancing on his head revealed Kṛṣṇa’s beauty, his absorption in dancing and his skill. He was the best teacher of all arts, or the first promoter of arts. Or because he was supreme (ādi) he mounted his hoods. This hints at great auspiciousness for Kāliya (having a guru). Later more will be explained. The word kalā will also be explained.

Nartum is an alternative to nartitum, to dance. Krsna began dancing even without instrumental accompaniment by calling out syllables such as "thai thai " himself. The impression given is that he was considering, "We will meet together at some time in the future."

To give him happiness in dancing many instruments were used. These are described. Another version has avetya instead of avekṣya. The meaning is the same. The roots iks and i (ava is added) both mean “to know.” Tadīya refers to the Lord’s associates like Garuḍa. The others in the list are from Svarga. Or the Gandharvas and others in the list can be those residing in Vaikuṇṭha. Cāraṇas served by playing instruments, Gandharvas served by singing. The devatās and their wives served by showering flowers. The Siddhas served by offering various fragrances and perfumed powders. The sages served by offering prayers. The sequence of persons and their services are not corresponding order because Śukadeva was blissful. Or, out of love, everyone performed all other’s services.

To give him happiness in dancing many instruments were used. These are described. Tadīya refers to the Lord’s associates like Garuḍa. The others in the list are from Svarga. Or the Gandharvas and others in the list can be those residing in Vaikuṇṭha. Cāraṇas served by playing instruments, Gandharvas served by singing. The devatās and their wives served by showering flowers. Apsarās also showered flowers since they did not dance while Kṛṣṇa was dancing. In fact it is not stated that any heavenly female danced. The Siddhas served by offering various fragrances and perfumed powders. The sages served by offering prayers. The order of the offerings mentioned in the verse is not the standard order in worship because this was performed out of affection as a sudden worship, in a crowded situation. Or the order is not correct because Śukadeva was blissful. Or, out of love, everyone performed all other’s services.

Sataika here means one hundred chief heads, because in the thirtieth verse one thousand heads are mentioned. Krsna suddenly jumped upon those heads which had not bowed down, striking them with his feet. Blood began to flow from his Kaliya’s mouths and noses.

Kāliya had a hundred chief (eka) heads among many more, since in verse 30 it is said that he had thousands of hoods. He was almost dead (kṣīnāyuṣaḥ). Ulbaṇam means profuse. He experienced pain because blood flowed from his nostrils and mouths, blocking the openings so he could not breathe.

Krsna mounted those hoods which remained high, and lowered them all with the blows from his feet. At that time the gandharvas and others showered flowers as if worshipping him. Krsna was pleased, and for their benefit, he brought the snake under control.

Though all his limbs were out of control, Kāliya’s eyes produced poison. This indicates his wicked nature.

Now, poison came gushing only from his eyes. This indicates the snake’s cruel glance. There are two meanings here. Pounding with his feet on his head while dancing, Kṛṣṇa removed the natural faults of the snake. But the snake also received great fortune from the touch of the feet. He used his head as the main prop, and removed his evil nature, his strength and pride. He punished the snake in places holding the poison. By that, the snake fainted with the bliss of prema. Vomiting poison was the expulsion of his unlimited internal faults. He had anger (ruṣā) arising from love. Or the word can be taken as aruṣā, no anger. Thus he breathed without anger, with devotion. Kṛṣṇa made the snake give up his faults due to his nature (damayāṁ). By that he gave benefit to the snake. That is also explained by Śrīdhara Svāmī. Another version has dayayām babhūva. What did he do to get such mercy? Kṛṣṇa himself asked the cause. It was as if Kṛṣṇa in Vṛndāvana (iha) was worshipped with flowers at the lake as the greatest person (purāṇaḥ pumān). Or he was ever fresh, though existing eternally (purā naḥ). Or he is the person who gives life to the city of Mathurā (purāṇaḥ).

Though the seed of bhakti in the form of mercy had previously been planted in Kaliya’s heart by his wives who were exalted devotees, it could not sprout because of his cruel conduct arising from aparadha, as seeds sown on barren ground cannot sprout. But when his offense vanished through the punishment by the touch of Krsna’s lotus feet, suddenly the seed began to sprout. He thought (smrtva) that Krsna’s power was thousands of times greater than that of his enemy Garuda. Therefore this person must be the supreme Lord, approachable by bhakti, mentioned by his wives. "Making me realize that I am a fool to think that I am god by displaying his extraordinary strength, he has accepted the position of my guru and placed his feet on my head. I take shelter of (aranam) him (tam)."

Kāliya’s thousand heads were seriously (vi) broken or injured (rugna) by the variety of dancing moves such as bhrānti and recaka. By being punished by the Lord’s feet directly, thousands of Kāliya’s internal faults were destroyed. By his touch pure love arose within him and, similar to Bali, he recognized the Lord. He then took shelter of the Lord. He remembered Kṛṣṇa (tam) as the guru of moving and non-moving entities since he is their father—since he is the first among all beings (purāṇam puruṣam)—since he is Nārāyaṇa from whose navel the worlds arise, or since he is Nārāyaṇa who is the shelter (ayana) of all jīvas (nāra). These are the reasons for his surrender. Hearing hundreds of times previously about Kṛṣṇa, his evil nature was destroyed. Thus he could remember Kṛṣṇa’s identity. He surrendered in his mind because he could not utter the words “I am yours” since he was in extreme pain. Or, he remembered that Kṛṣṇa was Nārāyaṇa, having heard from his wives. He then surrendered.

The dancing was amazing because it included various moves such as bhrānti and recaka described by Bharata Muni. Or it was amazing because by dancing Kṛṣṇa struck Kāliya on his head. Or though he danced to punish the snake he ultimately gave him mercy. By the dancing the snake’s thousand hoods were severely (vi) wounded (rugnam) or broken. Or king! Though kings like punish the wicked, they actually give the wicked mercy. The actual meaning is that by dancing on his hoods, the snake received the highest mercy. Getting wounded indicates that the dancing was the greatest mercy, like the explanation of being trampled earlier. The snake became humbled with the removal of his pride when his hoods were damaged. Actually by destroying a thousand faults, he became pure. Thus he remembered the Lord. His surrender is described. Kṛṣṇa is the producer (gurum) of moving and non-moving beings because he is the first among all persons (purāṇam puruṣam), because his lotus navel holds the worlds (nārāyaṇam) or because he is the shelter of all jīvas (nārāyaṇam). These are causes of completely surrendering. Kāliya fixed his mind (smṛtvā) on Kṛsṇa, or contemplated him and surrendered to him alone. He took shelter of the Lord in his mind (manasi) since he could not physically act because of great pain. Or he surrendered to Kṛṣṇa because Kṛṣṇa always (purāṇam) exits in the city of the heart (puruṣam). The rest is the same explanation. The real meaning is this. Knowing (smṛtvā) Kṛṣṇa (tam) as Nārāyaṇa, because he is heavier (guru) than the whole universe made of moving and non-moving beings, since he supports everything, and because, though he was a child he was not a child, being the oldest person (purāṇam puruṣam)—since he danced in this way, he surrendered to him.

The wives approached Krsna, seeing how Kaliya was burdened with Krsna who, having the universe in his belly, had become most heavy. The wives until now had been indifferent towards their cruel husband, but now they were in sorrow (artah). They thought, "Let him die, and then as widows we can fully surrender to the Lord." But when they saw the symptoms of sancari bhava such as humility, regret, doubt, and indifference to his suffering condition manifest in his body, they thought, "He has become a vaisnava. This is good fortune for us. We should try to save him." With this in mind they came together with affection in their hearts, and with sorrow for his condition, approached Krsna.

Kāliya’s wives, devotees of Kṛṣṇa, were happy when he stopped beating Kāliya’s head with his feet after he surrendered. They had not come forward previously because of restrictions from their wicked husband. Now they surrendered to the Lord, who continued dancing on his head in order to induce his surrender further and to show that mercy to his wives. Two verses describe this. The universe is within him. This shows Kṛṣṇa’s power. It was said that he has no inside or outside (SB 10.9.13). The word garbha thus indicates everything is within him: he is spread everywhere. But he does not touch the universe: mayā tatam idaṁ sarvaṁ jagad avyakta-mūrtinā | mat-sthāni sarva-bhūtāni na cāhaṁ teṣv avasthitaḥ ||4|| I pervade this whole universe by my form invisible to material senses, since I am the cause. All entities are situated in me, since I am their cause, but I am not in them, since I am completely detached. BG 9.4 Since he contains the universe, what weight he could produce on Kāliya! That he did not crush Kāliya completely depended on the appearance of his iccha-śakti. Thus it was possible that it could happen. Since his hoods which were like umbrellas were broken, Kāliya’s external beauty was destroyed. They came to the side of the Lord. In great distress their clothing and hair were disarrayed. This indicates their pitiful condition.

Though the Lord was pleased with his surrender, in order to show the greatness of his wives, in order to give special mercy to the wives of Kāliya, Kṛṣṇa did not give up his position on Kāliya. The wives showed complete surrender, more than their surrender to their husband, because they knew the true position of the Lord. That is expressed in two verse. Since his hoods which were like umbrellas were broken, Kāliya’s external beauty was destroyed. They came to the side of the Lord. In great distress, their clothing and hair were disarrayed. This indicates their pitiful condition.