When the gopis could not speak, Sukadeva, being omniscient, began the description of Krnsa’s pastimes according to mood of their intense love. Krsna was bedecked with peacock feather (barhapidam), had a body of a dancer (nata vara vapuh), with karnikara flower in his ears, in the singular whereas ears in dual form, to indicate that sometimes he wore one kanrikara flower in the left ear and sometimes in the right ear. Use of the word bibhrat (wore) indicates that he purposefully displayed his youthful charms in order to incite the extreme love of the gopis. He wore a vaijayanti garland, made of five different colors of flowers. Since the gopis may criticize the flute for having holes in it, Krsna filled the holes with the nectar from his lips. Though the flute is non-living, the touch of the nectar of his lips brought it to life, and thus it was able to madden the three worlds. Then, recognizing the flute as just unconscious wood and therefore not so capable, the nectar of his lips flowed out from the holes of the flute and entered through the gopis’s ears into their minds. In this way, that nectar from his lips, its mission accomplished, showed its prowess. Vrndavana particularly gave pleasure to his feet (svapada ramanam), more so than Vraja, as it was the place where his feet performed the rasa dance. When the disturbance caused by their remembrance of Krsna’s pastimes decreased after some time, the gopis were able to begin the description of the flute’s song, though they could not do it perfectly. Iti indicates cause as well as the end of a statement or chapter. The sound of the flute, like the rasa dance, attracted not only the gopis and Radha, but all living entities (sarva bhuta manoharam). The gopis embraced one another, with the realization of their common emotions. " O friend, talking about Krsna’s embrace, you have read my mind, for I also want to speak about this."

“All the gopīs” indicates all strengths of attachment such as deep, medium and light. They mentally embraced Kṛṣṇa who had overpowered their hearts. Or out of awakening of love they mistook their friends as Kṛṣṇa and embraced them. Or they embraced each other because their natural love had awakened. This was because the sound of the flute was attractive to all beings, what to speak of only the gopīs. Citsukha accepts the version with abhirebhire (they attained complete attraction). O king! Śukadeva addresses Parīkṣit for the same reasons mentioned previously.

Saying this, or in this way (iti), situated far away or close by, all of them (sarvā), with varying degrees of love, or all in a group, began to describe the sound of the flute since they had already described him. They should speak only what was not already mentioned. When later his form and dress are again described it should be understood that it is mentioned as an assistant to other statements. Or the statement describing Kṛṣṇa’s activities (kṛṣṇa-ceṣṭitam) can be correlated with the statement in verse 20, varṇayantyo mitho gopṣaḥ krīḍāḥ: they narrated to one another the playful pastimes of the Lord. (The playing of his flute is one of his activities). They mentally embraced (abhirebhire) Kṛṣṇa who had overpowered their hearts. Or they embraced each other because their natural love had awakened. Or they embraced the sound of the flute with affection: they became attached to the sound. This was because the sound of the flute was attractive to all beings, what to speak of only the gopīs. Citsukha accepts the version with abhiremire (instead of abhirebhire--they attained complete attraction). O king! Śukadeva addresses Parīkṣit for the same reasons mentioned previously. Or Śukadeva exclaims, “O king shining with this special bhāva.” He takes him by the hand, raises him up and embraces him