Śrīmad-Bhāgavatam 10.25.33
Blended reading (Sanskrit + English inline)
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hṛdi - spṛśaḥ
—
(of Him) who touches the heart from within
hṛd (heart) + spṛś (touching). One of the chapter's most loved phrases in Gauḍīya literature — the touch is interior, not external. Kṛṣṇa's hand that lifted Govardhana is the same hand that, invisible, has touched every gopī's heart.
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gopikāḥ
—
the cowherd girls
Feminine of gopa. In Gauḍīya rasa-theory, the gopīs are mādhurya-rasa's perfection — Kṛṣṇa's most intimate devotees, models for the rāgānuga sādhaka. Their walking home singing is the chapter's true crown.
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gāyantyaḥ
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singing
Present participle, feminine plural, of √gai. Singing is itself sādhana in Gauḍīya practice — kīrtana, gīta, dhvani. The gopīs invent the līlā-gāna in this line; every kīrtana since is a continuation.
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anuraktaiḥ
—
loving (lit. attached)
anu + rakta (colored, attached, dyed). From √rañj — to be dyed. The cowherd boys are 'dyed' in love for Kṛṣṇa. Rāga (color, love) and rāgānuga (the path of following such love) take their name from this root.
Before returning to their homes, the gopīs shared intimate association with their lover, Śrī Kṛṣṇa, by exchanging secret glances. Ordinarily they could not publicly talk about Kṛṣṇa, since they were chaste young girls in a religious village, but now they took advantage of this wonderful exhibition by the Lord and freely sang of His beautiful qualities. It is natural that a young man wants to do something wonderful in the presence of a beautiful young girl. The gopīs were the most beautiful and pure-hearted young girls, and Śrī Kṛṣṇa performed the most wonderful activities in their presence. Thus He entered deep within their tender hearts, enlivening their eternal devotion to Him. Thus end the purports of the humble servants of His Divine Grace A.C. Bhaktivedanta Swami Prabhupāda to the Tenth Canto, Twenty-fifth Chapter, of the Śrīmad-Bhāgavatam, entitled “Lord Kṛṣṇa Lifts Govardhana Hill.”
While Krsna was lifting up Govardhana, Radha and the other dear gopis were glancing at him from far off, unnoticed by others. When they were returning to their houses they were singing with love. It should be understood that they had the ability to make songs about his activities at that moment. Hrdi sprsah gopyah can mean the gopis who touched krsna in their heart filled with prema, or who always meditated on Krsna. Or it can mean gopis whom Krsna touched to his chest or in his mind, that is , who were very dear to Krsna. In other words it describes Krsna’s quality.
Out of great joy, as if singing, Śukadeva describes their entrance into Vraja. He was surrounded completely by the cowherds since they were attracted to him (anuraktaiḥ). He (saḥ) who lifted Govardhana to protect Vraja, came to his house. Instead of saḥ goṣṭham sometimes sva-gosṭham is seen. He entered his own house, that of Nanda, within the village (goṣṭham). Out of bliss everyone went to his house. He is called Hari because he took away the suffering of Vraja caused by Indra’s pride and because he was most attractive in performing this pastime. All the gopīs became joyful. They were able to skillfully compose songs at that moment.
Kṛṣṇa’s entrance into the village, while the gopīs sang, is described. He was surrounded by the cowherds because they by nature had great affection for him (anuraktaiḥ). Cowherds includes others, everyone living in Vraja, for he was the life of Vraja. (SB 10.25.22) It was described that the servants and priests also had entered the hole. O king (rajan)! Śukadeva calls for the attention of Parīkṣit who was bewildered by great joy. Or Kṛṣṇa shone (rajan), surrounded by the others affectionately. Saḥ indicates he who held up Govardhana to protect Vraja or he whose face was seen by the gopīs for seven days continuously or he who is the lord of your life (for Parīkṣit). He was with Balarām (sabalaḥ), holding hands or exchanging affection. Out of fear of the rain everyone had come close to Kṛṣṇa, who was in the center in order to hold up Govardhana. Now with them he went back to Vraja. One version has sa goṣṭham and another has sva-goṣṭham. Giving up other residences at of Govardhana, Kṛṣṇa entered his residence at Nanda’s place. He was surrounded by the cowherds. They came with him in great joy. He had taken away Inda’s pride and the suffering of the people (hariḥ), and attracted everyone with pastimes. He gave even more happiness to the gopīs. They were overjoyed by singing about the activities of Kṛṣṇa who attracts everyone’s heart (hṛdi-śpṛsaḥ), after seeing his sweet pastime. Or they were overjoyed by the nature of the singing. Or they were overjoyed by singing about activities which were indescribable (tathāvidhāni). Kṛtāni is in the plural though it refers to one event, lifting Govardhana, out of respect. Thus end the purports of the humble servants of His Divine Grace A.C. Bhaktivedanta Swami Prabhupāda to the Tenth Canto, Twenty-fifth Chapter, of the Śrīmad-Bhāgavatam, entitled "Lord Kṛṣṇa Lifts Govardhana Hill." 10.26: Wonderful Kṛṣṇa verses: Summary, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25 Chapter Summary In this chapter Nanda Mahārāja describes Kṛṣṇa's opulences to the cowherd men, as Nanda had heard of them from Garga Muni. The cowherd men, unaware of Lord Kṛṣṇa's power, were amazed to see His various extraordinary activities. The men approached Nanda Mahārāja and told him that after seeing how Kṛṣṇa, a boy only seven years old, had lifted a mountain, and how He had previously killed the demoness Pūtanā and generated extreme attraction in the hearts of everyone in Vṛndāvana, the men had become doubtful and bewildered about how Śrī Kṛṣṇa could possibly have taken birth in the unsuitable environment of a cowherd community. Nanda replied by relating to them what Garga Muni had told him about Śrī Kṛṣṇa. Garga Muni had said that in the previous three ages Nanda's boy had manifested Himself in white, red and yellow forms, whereas now, in the Dvāpara age, He had assumed His darkish-blue form, kṛṣṇa-rūpa. Because He descended as the son of Vasudeva, one of His many names is Vāsudeva, and He has innumerable other names indicating His many qualities and activities. Garga Muni had predicted that Kṛṣṇa would prevent all sorts of catastrophes in Gokula, spread unlimited auspiciousness, and increase the ecstasy of the cowherd men and women. In a previous age He had provided protection for the saintly brāhmaṇas when they were harassed by low-class dacoits and there was no proper ruler in society. As the demons in the higher planets can never defeat the demigods who have Lord Viṣṇu on their side, no enemy can ever defeat those who love Kṛṣṇa. In His affinity for His devotees and in His opulence and power, Kṛṣṇa is just like Lord Nārāyaṇa Himself. Overjoyed and awestruck by Garga Muni's statements, the cowherd men concluded that Kṛṣṇa must be an empowered representative of the Supreme Lord, Nārāyaṇa. Thus they worshiped Him and Nanda Mahārāja.
- After a recent miracle, am I singing as I return to the ordinary, or grieving the miracle's end?
- Where could joyful song fill the walk back to routine?
Kṛṣṇa walks back to the pasture surrounded by His friends and Balarāma, His arm probably on a cowherd boy's shoulder. The gopīs return to their homes carrying nothing but His pastime in their throats; they hum the lifting of Govardhana all the way back, and the chapter's final image is not a Lord on a mountain but a song in women's voices walking through evening.
Later, when Kṛṣṇa leaves Vṛndāvana for Mathurā, the gopīs will sing His pastimes to a bumblebee (SB 10.47) — the songs become inseparable from their breath. The pattern starts here, in this verse.
Gauḍīya kavis trace bhramara-gīta and every gopī-song back to the small line at the end of chapter 25: gāyantyaḥ, singing. From the day Kṛṣṇa held up the hill, song became the gopīs' interior weather.
Centuries later, on tour through Vṛndāvana, Caitanya Mahāprabhu came near Govardhana Hill and could go no closer — overcome by the very rasa this verse names hṛdi-spṛśaḥ, 'touching the heart from within.' He sang and wept and would not climb.
Caitanya-caritāmṛta reads this chapter as the source-spring of His own ecstasy. The gopikāḥ gāyantyaḥ īyuḥ muditāḥ is not a closing decoration; it is the founding hymn of the Gauḍīya line.
My note
Source: vedabase.io