10.30 · The Gopīs Search for Kṛṣṇa

The thirtieth chapter describes the gopis’ madness in separation, their searching for Krsna in every tree, their imitation of Krsna’s pastimes, and his rejection of Radha after enjoying with her. Not seeing Krsna (acaksana), the gopis became filled with pain like female elephants losing their mate.

Since Śukadeva felt sorrow in telling about Kṛṣṇa’s disappearance he suddenly stopped speaking and finished the previous chapter. Remembering the good fortune of the one gopī among all of them with whom Kṛṣṇa disappeared, he regained composure and spoke again. Kṛṣṇa had disappeared suddenly, so that no one could discover the method. Sahasā means inconceivable according to Amara-koṣa. This inexplicable disappearance caused the gopīs’ great sorrow. Their sorrow was most intense because he was their sole beloved in Vraja. That is signified by the word vrajāṅganāḥ (women of Vraja). Their sorrow was great in separation because they depended on him alone, like female elephants dependent on the male leader.

Since Śukadeva felt sorrow in telling about Kṛṣṇa’s disappearance he suddenly stopped speaking and finished the previous chapter. Śukadeva endowed with śrī spoke. Lamenting the disappearance of Kṛṣṇa, he spoke sweet, unclear words like a parrot. Recovering after a moment, he spoke in lamentation. Kṛṣṇa had suddenly disappeared. It was unexplainable. Sahasā means unexplainable according to Amara-koṣa. This was a cause of great pain. Because the gopīs (vrajāṅganāḥ) loved him intensely they suffered greatly in separation. The elephant is said to be skilful at love. Thus the gopīs, dependent on Kṛṣṇa, are compared to female elephants suffering separation from a male elephant.

Then the gopis began searching for Krsna here and there, and not finding him, their pain in separation increased more and more. The sancari bhava of unmada which appeared due to this pain of separation is described in two verses in its manifest and unmanifest state. First, Krsna, rama pati, the master endowed with all beauty, approached the gopis with natural foot movements, and then he smiled his attractive soft, sweet smile, glancing with movements of the pupils of his eyes. Then he engaged them in attractive conversations such as the following. "O lotus laides! Will you give nor not give the honey of your lips to the thirsty bee?" "O bee! The husband of the lotuses is the sun, not the bee. How can be allow you to drink our honey?" Krsna answered, "O lotuses, Those who have natures like you do not give your honey to your husband the sun, but to their illicit lover the bee." He would carry out such pastimes as drinking the honey of the lips of the smiling gopis who had been defeated in such conversations. Or "I know, you have been bitten by a very proud snake while approaching me under the kadamba tree. That poison has risen to your chest. As you are a chaste women, you do not ask me to relive you of the poison, but I, being merciful, without asking, will come to you and, chanting a mantra to remove poison, will rub my hands on your body." " O poison remover, no snake has bitten me. You should rub your hands on the body of one who has been bitten by a snake." "O chaste woman, I understand by your choked voice that you are afflicted with the poison. Knowing this, if I ignore you, I will be tainted with the sin of killing a woman. Therefore I will remove this poison from you." Saying this he scratched her chest with his nails. Then they would have pastimes (vihara) of union (samprayoga). After that there would be vibhrama, madness due to love. The scriptures say, " Vibrama is the unsteadiness of the mental functions due to srngara." rasa." When in the state of separation, all these things arise intensely in the memory, the mind becomes aksipta (overturned). "O mind, what are you doing? Don’t go out seeking after the dearmost of our life." In this way one scolds the mind. When the mind leaves the body there is pramada. (pra extreme mada intoxication). When those who are pramada reach the state of unmada, their minds and intelligence attain that of Krsna (tadatmika), and thus they perform Krsna various pastimes. This means the gopis imitated the pastimes of Krsna , using their intelligence.

Their sorrow is described. This description continues for over two chapters (till 10.32.1). They were overwhelmed by his general movement, by his attraction to them, suitable for a lover (anurāga), by his smile and glance with sweetly moving eyebrows (vibhrama) as well as by his attractive speaking, his actions of conjugal love (vihāra) and his vibhrama. Citta-vrtty-anavasthānaṁ śṛṅgārād vibhramo mataḥ: instability of mental functions because of conjugal love is called vibhrama. This vibhrama and anurāga take place in the mind. His movements, smile, moving glance and conjugal actions are bodily features. His speaking is a verbal feature. This list is representative of other features as well. Movement is listed separately because of its general nature. His smiling and moving glances arise from anurāga and are thus mentioned together with anurāga. His conversations and conjugal actions arise from his vibhrama and are thus mentioned with it. The gopīs were agitated by these items which were mentioned in SB 10.29.43-46. These women identified with him and accepted various actions such as his embraces. Pramadā can be taken etymologically: those who by nature became extremely insane. But in this case, they became insane because of prema. Kṛṣṇa was the superintendent (pati) or supreme controller of the śakti (ramā) presiding over all sweetness, form, qualities and powers. Or ramā means Rādhā to indicate that she accompanied him when he disappeared. The gopīs then began imitating his various actions.

Their pain is described. This continues for two chapters. Their minds were overwhelmed by his all his bodily actions (gati--physical) by his affectionate smile, by his playful glances (mental), because they were offered with affection. They were overwhelmed by his attractive conversations (verbal), by his attractive actions such as lifting Govardhana and playing his flute and by his vibhrama, activities in śṛṅgāra-rasa. Citta-vrtty-anavasthānaṁ śṛṅgārād vibhramo mataḥ: instability of mental functions because of conjugal love is called vibhrama. The later elements in the list are of superior excellence. These were previously performed by Kṛṣṇa. They become filled with these memories. Or being overwhelmed in the mind and becoming completely absorbed can be taken as two separate actions since imitating his actions and becoming one with him are described later. They had extreme pride (pramadāḥ). This includes their previous anger as well. Or they had been extremely joyful (pramadāḥ), but now were filled with sorrow. They were absorbed in the actions of the husband of Lakṁsī. This indicates his cleverness in love and that they were his wives. Or he was the husband of Rādhā. He was with her. They imitated his actions which were were indescribable (tāḥ tāḥ). They were incapable of imitating him but did so. Or they imitated all his various activities (viceṣṭāḥ). These are natural to women in prema. Priyānukaraṇaṁ līlā: imitating the lover’s actions is called līlā. (Ujjvala-nīlamaṇi 11.28) Or the various pastimes of Kṛṣṇa accepted the women who were absorbed in him.

This verse describes the gopis when they reached a deep state of unmada. Absorbed in the gait and other characteristics mentioned in the previous verse, the gopis imitated the lord (pratirudha murti). That is, their bodies became similar to Krsna’s in senses and mind. First the actions of Krsna entered the senses and mind of gopis’ bodies and then the gopis bodies entered into the various actions and qualities of Krsna. When the two mixed due to unmada, there was a loss of distinction between "I am Krsna" and "Krsna is me." Attaining the deep state of "I am Krsna (asava aham)", for tasting rasa, the gopis became identical with Krsna (tad atmika). But this is not the same as the state of aham grahopasana. They announced to each other "I am Krsna". None of them were conscious at all that they were women of Vraja. They had attained a state of unmada (vibhramah) in which they identified completely with Krsna in his pastimes.

This verse describes their absorption in Kṛṣṇa. They imitated the movements, smiles, glance and speech of their beloved. Ādi indicates his conjugal actions and vibhrama which were mentioned in the previous verse. They imitated him with the whole bodies with all senses (mūrtayaḥ). They attained his state internally and externally. They were women (abalāḥ) and should have imitated other women. But now they imitated Kṛṣṇa. They said to each other “I am he, that fellow performing pastimes whom you desire.” They performed pastimes like Kṛṣṇa (kṛṣṇa-vihāra-vibhramāḥ) or they were bewildered by his pastimes. They identified with him because that is the nature of activities in prema (they are called priyāḥ) and not as a sādhana used by impersonalists (ahamgrahopāsana). They had natural prema (priyāḥ) for him and he had similar prema (priyasya) with remembrance of them. This anubhāva is called līlā. priyānukaraṇaṁ līlā ramyair veśa-kriyādibhiḥ: Imitating the lover by attractive garments and actions is called līlā. (Ujjvala-nīlamaṇi 11.28) This is illustrated in the following. Muhūr avalokita-manḍana-lilā madhu-ripur aham iti bhāvana śīlā: looking at her ornaments constantly, she thought “I am Kṛṣṇa.” (Gīta-govinda)

This verse describes their absorption in Kṛṣṇa. The list was mentioned in the previous verse. ādi indicates his activities and vibhrama. Since they were already mentioned, the adjectives used with them are not again mentioned. Their bodies with senses and limbs (mūrtayaḥ) were absorbed in imitating his pastimes. Internally and externally they were overcome with this bhāva. tadā pumān mukta-samasta-bandhanas tad-bhāva-bhāvānukṛtāśayākṛtiḥ nirdagdha-bījānuśayo mahīyasā bhakti-prayogeṇa samety adhokṣajam By those methods, that person, liberated from all bondage, with mind and body acting for the Lord and thinking of the Lord, having already burned up the seed of desire, achieves a direct meeting with the Supreme Lord through his rāga-bhakti. SB 7.7.36 They were women (abalāḥ). It was suitable that they imitate women. Or because of the pain they were without strength. Tu means certainly. They said “I am h” because of great pain or because of absorption in the pastimes. The reason is given. They were filled with Kṛṣṇa (tad-ātmikāḥ). They did not say “I am Kṛṣṇa” because of their separation or because they identified with him. Being filled with Kṛṣṇa is natural when one is absorbed in pastimes of prema. It does not mean that they became one with him as in jñāṇa. They were affection to him (priyāḥ priyasya) because he was Kṛṣṇa, most attractive. Or this identity with Kṛṣṇa can be part of the imitation. They show the imitation in this verse. They say, imitating Kṛṣṇa, “O women! I am that playful lover.” It is understood that previously he said this as a joke. Why is the statement not complete? It was their mental creation (tad-ātmikaḥ). Or tad-ātmikā indicates that the imitation was a complete duplicate. Their activities of kissing, embracing and vibhrama were like Kṛṣṇa’s actions. Or vihāra-vibhramā can mean that they performed his actions of losing a necklace. Kṛṣṇa-vihāra-vibhrama can also mean that they were completely bewildered about whether Kṛṣṇa was playing or not or that they imitated his playing. The incomplete sentence is because of confusion due to separation. Or she who had enjoyed with Kṛṣṇa in plenty (asau) said, “I am he.” Her identity is not revealed out of confusion in separation or out of playfulness. They spoke in this way because their minds were on death (tad-ātmikāḥ). They spoke with a desire to die out of great grief because they were mad (vibhramāḥ) for the pastimes of Kṛṣna. They became confused on remembering his pastimes.

When unmada gave up its deep state and became somewhat stable, the gopis began to search for Krsna is a half conscious state. That is described in this verse. Grief stricken because of separation from their beloved, they thought, "we must search for him." Coming together in a group, they wandered from forest to forest as if half mad, searching. Asking the trees about Krsna’s whereabouts was one sign of their unmada state. "We know that Krsna was enjoying with Radha, the chief gopi at that time. But did he know of the questions that the gopis were asking in their state of unmada?" This is made clear in this verse by describing Krsna as pervading inside and outside of all entities like the akasa. Because Krsna is everywhere, certainly Krsna could hear the gopis’ questions in those places, though they could not see him.

Returning to normal state after a longtime, they then entered the state called unmāda. They sang loudly, so that he could hear from a great distance, about his killing Pūtanā in Gokula with the idea that he could give them protection as in the following example. viṣa-jalāpyayād vyāla-rākṣasād varṣa-mārutād vaidyutānalāt vṛṣa-mayātmajād viśvato bhayād ṛṣabha te vayaṁ rakṣitā muhuḥ O greatest of personalities, You have repeatedly saved us from all kinds of danger—from poisoned water, from the terrible man-eater Agha, from the great rains, from the wind demon, from the fiery thunderbolt of Indra, from the bull demon and from the son of Maya Dānava. SB 10.31.3 They also sang to attract him, since singing was dear to him and also because it was natural to do so when in great pain. He gave great suffering by giving them up but still they sang about him (amum). gaṇayati guṇa-grāmaṁ bhrāmaṁ bhrāmād api nehate: my mind only considers Kṛṣṇa's virtues, and completely discounts even one of his faults. (Gīta-govinda 2.10) They gathered together to search for him and to get relief from the pain by being with friends, since this is the natural action when in distress. They sang and searched at the same time and then began questioning the trees because they were almost insane (unmattaka-vat). The suffix ka indicates that the “madness applied to the self”. This indicates that their hair was unbound. They asked about him though he was antaryāmī spreading like the sky everywhere, inside and outside of all beings. They asked about him, considering him a human in these pastimes, out of their prema. Or it answers the question “Did they not uselessly cry in the forest?” No, Kṛṣṇa is pervasive like the sky. Later he will say: mayāparokṣaṁ bhajatā tirohitaṁ māsūyituṁ mārhatha tat priyaṁ priyāḥ Even when I removed myself from your sight by suddenly disappearing, I never stopped loving you. Therefore, my beloved gopīs, please do not harbor any bad feelings toward me, your beloved. SB 10.32.21 Or, they asked about their hero (puruṣam) who made his direct appearance inside and outside of all beings like the sky. Such an appearance (sphūṛti) arose from their prema. vana-latās tarava ātmani viṣṇuṁ vyañjayantya iva puṣpa-phalāḍhyāḥ praṇata-bhāra-viṭapā madhu-dhārāḥ prema-hṛṣṭa-tanavo vavṛṣuḥ sma Hearing the song of Mukunda’s flute, the rivers then stopped their currents, although the minds of the rivers could still be ascertained from the presence of whirlpools. With the arms of their waves the rivers seized the two lotus feet of Murāri, taking help from the lotus plants, and thus he became trapped in their embrace. SB 10.35.2 The external sphūrti is at a distance and the internal one is close up. In that state of madness it was quite suitable they inquired from the trees, even though the trees had no senses, since they saw Kṛṣṇa interacting with the trees.

Not only did they imitate his actions but disturbed by separation they searched for him there and there. They asked all beings whom they saw in front about him. They sang loudly so that he could hear of their pain or to attract him by singing songs he liked. Or they simple sang as a natural symptom of great pain. Though it is not proper to sing about him since he gave them up and gave them pain, they sang about him only, since he was their sole object of love or their quality was to sing about him. They gathered together (saṁhatāḥ) in order to search for him, or out of friendship they gathered to comfort each other or as a natural response to great pain. They asked the trees about him because they were almost insane (unmattaka-vat). The suffix ka indicates that the “madness applied to the self”. This indicates that their hair was unbound. They began searching and asking questions without discrimination. Thus they were not completely absorbed in these acts. Otherwise they would not ask trees. They wandered from forest to forest, for a long time. Just as ether is spread inside and outside so Kṛṣṇa is spread inside and outside all jivas as the puruṣa. They alsked the trees about him. Or they asked the trees out of madness about Kṛṣṇa who was in front of them, internally and externally in all the bowers (bhūteṣu). Or they asked about their master (puruṣa). That was their reason for searching and asking. Or they asked the trees out of pain in separation about Kṛṣṇa whom they knew was situated everywhere. They spoke out of great pain. This is the greatness of of lack of control because of pain in prema.

The gopis pose nine questions. Because the plaska or pilu and other trees mentioned in this verse are very tall, from far off they would be able to see Krsna. Because of this possibility, the gopis asked these trees. The plaksa tree is the pilu, vyagrodha is the banyan tree. Fearing the trees would ask , "Why are you asking?" the gopis said, "Though he is the son of pious Nanda, he has stolen the hearts of us women and fled away. His servants in the form of his bold glances with a special bewildering potion of prema which intoxicates all people, has entered through the door of our eyes into the city of our hearts and, stealing the jewel of our minds, has fled." Standing silently for a short time in expectation of an answer, the gopis thought, " What use do we have of these trees? These unconscious entities have not replied to our question. What need do we have of these trees with impure hearts, with meager fruit, ignorance of how to help others, and without even flowers." Thinking in this way, the gopis left the trees and went elsewhere.

They address each of the trees individually out of respect, seeing them as dear to Kṛṣṇa. “Why do you ask about him?” He stole our minds, like gems, and then left. We have come here, having lost our direction. We ask about the thief from you decent trees. Because we had faith in the son of Nanda, we deposited our treasure with him. Nanda (giving bliss) is the cause of bliss for all the people of Vraja. But his son only gives suffering. They do not mention his name directly out of hatred. Also yad adharma-kṛtaḥ sthānaṁ sūcakasyāpi tad bhavet: the person who points out the sinner attains the same place as the sinner. (SB 1.17.22) Kaccit indicate a question. Have you seen him? He was playing in this direction. We will search for him, with some comfort from you.

Has Kṛṣṇa been seen by you? Or has your Kṛṣṇa been seen? By stating a relationship with Kṛṣṇa, they indicate that the trees may have seen him. They could speak to the gopīs out of affection for him. Or they speak this way out of intense prema, thinking that others have their bhāva. They call to each tree individually, respecting them as devotees. The āśvattha is famous as a vibhūti of the Lord, a devotee. The Lord says to Arjuna “Know that I am in the banyan tree (nyāgrodha).” The plakṣa tree is their companion. These are the places of Viṣṇu, Śiva and Brahmā. The gopīs of course would not have this in mind when asking questions, since they were confused by separation. But I will elucidate things according to my promise to follow what Śrīdhara Svāmī explains in the five chapters, rather than according to the gopīs’ bhāva. The questions are to the trees they see in front of them. They will be explained in the order found in the text. Nanda-suta indicates their master, with the suggestion that he is a rasika. “Why do you ask about him?” He has stolen our minds, which are like gems, and departed. We have come here not knowing where he is. We ask you righteous trees about the thief. Kaccit indicates a question. Please tell us. They cannot complete the statement because of their disturbed state. We are searching for him with effort at this place. We infer that you have seen him. He is nearby. Being consoled, we block the life airs from leaving and preserve our lives. The sentence is incomplete because they cannot answer properly since they are in great pain (unmattakavat).

The gopis, entering a flower garden then thought, "Oh ,it is better to ask from these plants which have pure hearts. They are graciously serving the guest (bees) with their honey." Thus they approached the kuruvak and other trees. The Kuruvaka has red, unfading flowers. Naga means nagakesara. "Where has he gone?" or "Where is he hiding?" "Why do you want to know?" Fearing such a question, the gopis said, "He has stolen the pride of us women with wealth of high esteem, using his smile, and fled away, leaving us without wealth." When the wind shook the tips of the branches, the gopis thought, " Oh, they are shaking their heads, saying they do not know. What use do we have for these very hard, male trees?" Thinking like this, they went elsewhere.

Being great souls they will not speak to us insignificant women. Thus they ask other trees. Kurabaka is the śoṇomlāna tree and nāga refers to the nāgakeśara tree. Did he go from here? Or did he disappear here? Previously they asked “Did you see him?” Now they ask “Did he go that way?” It is possible for you to see far away. “He cannot easily be found.” Since he came here, we will find his footprints and find him by those foot prints. Another version has gataḥ instead of itaḥ. According to Śrīdhara Svāmī the word itaḥ should be added to gataḥ. They do not mention his name again for the reason mentioned previously. “How did he steal the minds of women as respectable as you?” His smile steals the pride of even respectable women. He has no discretion in this matter. Just now he has stolen our pride in our position by his false smile. Thus we are looking for him. We cannot live even for a moment in separation from that person who causes great bewilderment. Therefore we ask you about him.

Approaching the tulasi, malati and other plants, the gopis thought, "These plants, being female, and therefore knowing the pain that women experience in love, will be favorable to us. Therefore we will ask them." Thinking like this, they approached the chief plant, tulasi and asked, "O fortunate one! You are fortunate, being dear to the feet of the Govinda, and we are unfortunate, because of separation from Krsna. (govinda carana priya can also mean dear to the respectable Govinda, where carana indicates respect, as in the phrase acarya carana , the respectable teacher.) "You are also dear to him." Expecting such an answer, the gopis said, " True, though that is so, you are more fortunate because of additional attractive qualities, for you never experience separation. Wearing a garland of your leaves (tva vibhrat), he has gone off. That is because of your greater qualification. Not even considering the disturbance of thousands of bees that go along with you, he has gone off. Being fond of fragrances, Krsna has not accepted us, because we do not have such fragrance."

Since these trees are males, and siding with Kṛṣṇa, out of malice, they do not speak to us on understanding our pride. They then question Tulasī, on their side since she was a female, imagining that she has seen him since it was known that she had unlimited fortune by gaining his affection. O Tulasī who makes our birth auspicious! Or O Tulasī, most fortunate! The reason for her fortunate is mentioned: O Tulasī, dear to the feet of Govinda, lord of Gokula! śrīr yat padāmbuja-rajaś cakame tulasyā labdhvāpi vakṣasi padaṁ kila bhṛtya-juṣṭam yasyāḥ sva-vīkṣaṇa utānya-sura-prayāsas tadvad vayaṁ ca tava pāda-rajaḥ prapannāḥ Goddess Lakṣmī, whose glance is sought after by the devatās with great endeavor, has achieved the unique position of always remaining on the chest of her Lord, Nārāyaṇa. Still, she desires the dust of his lotus feet, even though she has to share that dust with Tulasī and indeed with the Lord’s many other servants. Similarly, we have approached the dust of your lotus feet for shelter. SB 10.29.37 Or caraṇa can mean respect as in the phrase ācārya-caraṇā vadanti: the respected ācārya speaks. That respect is submitted with humility: O Tulasī, dear to the king of Gokula! Since he loves you, he must have come here! She must be dear because he wears her garlands. He cannot ignore you since he has affection for you. They hint that he has great affection for the gopīs also. Or even though the garland is surrounded by bees, Kṛṣṇa wears it. This shows his affection. The bees cannot avoid that garland because of it is dear to the Lord. Thus Tulasī’s great qualities are indicated. It is also impossible for him to hide because of the buzzing bees. Therefore he must have come here and you must have seen him. He will not leave you (acyutaḥ).

Since these trees are males, and siding with Kṛṣṇa, out of malice, they do not speak to us on understanding our pride. They then question tulasī, on their side since she was a female, imagining that she has seen him since it was known that she had unlimited fortune by gaining his affection. O Tulasī who makes our birth auspicious! Or O Tulasī, most fortunate! The reason for her fortunate is mentioned: O Tulasī, dear to the feet of Govinda, lord of Gokula, revealing unlimited sweetness! You are dearer to him than Mahālakṣmī. She aspires for the dust from those feet with great endeavor. But you are naturally dear to Kṛṣṇa’s feet. They do not mention his lotus feet since they are angry with him. He wears you who are accompanied by bees. This means the tulasī leaves are within the vaijayantī garland. Or at this time he plucked tulasī and wore a garland of tulasī. Having you seen him, since he is affectionate to you? The garland is full of honey and thus the bees cannot leave it. Since they buzz with intoxication, it is impossible for him to hide. He must have come to you. And you have seen him. He never leaves you (acyuta). This confirms that he must be near. Ali-kulaih can also mean “with friends.” He wears you even though you have many friends. You are dear to him among many. Thus you are very dear to him. On the other hand, he holds many of us dear (atipriyaḥ). Or he holds everyone dear. This is a statement of hatred. śrīr yat padāmbuja-rajaś cakame tulasyā labdhvāpi vakṣasi padaṁ kila bhṛtya-juṣṭam yasyāḥ sva-vīkṣaṇa utānya-sura-prayāsas tadvad vayaṁ ca tava pāda-rajaḥ prapannāḥ Goddess Lakṣmī, whose glance is sought after by the devatās with great endeavor, has achieved the unique position of always remaining on the chest of her Lord, Nārāyaṇa. Still, she desires the dust of his lotus feet, even though she has to share that dust with Tulasī and indeed with the Lord’s many other servants. Similarly, we have approached the dust of your lotus feet for shelter. SB 10.29.37 Or caraṇa can mean respect as in the phrase ācārya-caraṇā vadanti: the respected ācārya speaks. That respect is submitted with humility: O Tulasī, dear to the king of Gokula! Since he loves you, he must have come here! You must be dear because he wears your garlands. He cannot ignore you since he has affection for you. They hint that he has great affection for the gopīs also. Or even though the garland is surrounded by bees, Kṛṣṇa wears it. This shows his affection. The bees cannot avoid that garland because it is dear to the Lord. Thus Tulasī’s great qualities are indicated. It is also impossible for him to hide because of the buzzing bees. Therefore he must have come here and you must have seen him. He will not leave you (acyutaḥ).

"This tulasi, intoxicated with pride of her good fortune, is not looking at us. Therefore we will ask the jasmine plants, who like us are cowives, without such good fortune." Saying this they went off in another direction. "Because Krsna has touched you while picking flowers, you are now blooming fully in the rainy and autumn seasons." Jati is a species of jasmine.

Because she proudly feels she is respected by him she does not speak. They then ask the flowering shrubs who are servants of Kṛṣṇa without pride, bowing down and offering their flowers to him. Out of great agitation they call each flower individually. According to Śrīdhara Svāmī, kaccit simply indicates a question. You have seen him. But did he touch you? We ask this particular question. Or they surmise that the flowering shrubs saw him since they see the marks of his hand on the plants. The reason is that he likes flowers just as he likes the spring season: he is called Mādhava (spring). “The touch of his hand” means that he plucked the best flowers with his hand. Tell us where he has gone since we are suffering greatly. They also joke with some envy that he has marked these flowering plants with his finger nails as if they were women.

“Since Tulasī is a co-wife, she will not speak.” They then ask Kṛṣṇa’s servants. They call out to each one in affection, thinking of the plants as Kṛṣṇa’s servants, since they offered suitable flowers to him. He gave you (vaḥ) pleasure, or he who is yours (vaḥ) gave pleasure to you. Did he come here and give you pleasure by the touch of his hand? Or they imagine that the flowers saw him. He plucked their excellent flowers with his hand. He must have come near you. Or he injured you with his nails as a jest. Cutting off the flowers with his nail, they question his motive in plucking flowers. He plucked them for the pastimes of madhura-rasa (mādhavaḥ) or he plucked them for Lakṣmī (mādhava—husband of Lakśmī). This is uttered in hatred. Actually mādhava means the consort of Rādhā. He picked them to decorate her. Though they did not specifically search for this meaning, because of their pure natures, or because of divine arrangement the words came out of their mouths, revealing the truth spontaneously.

The jasmines, out of fear of their cowife tulasi and Krsna, are not speaking, though they know. What used do we have of them, since they are dependent on others? Saying this, they went elsewhere. "In front of us are the mango and piyala trees standing motionless on the bank of the Yamuna. From that we guess that they are in meditation on Visnu. They will not lie to us." With this faith, they inquired, "O cuta, mango with creepers, nipa (dhuli kadamba), O kadama, with sweet fragrance, O piyala (type of sala tree), O asata (yellow sala tree), O kovidara (type of kancanara tree), O arka (though small is always with Krsna), coconut, supari and others, please tell us, who are without our souls, where Krsna has gone." "Why should we tell you?" "You have taken birth to help others. And you live on the bank of the Yamuna."

Those trees will not speak because they are his servants. We will ask trees which are trustworthy like sages. Cūta is a creeper mango and āmra is a tree mango. The poets called the creeper mango natāmra. It was seen in the central states. Nīpa is the dhūli-kadamba, with huge flowers and plentiful pollen. The seed of the priyāla is famous as cārubīja and is eaten. Panasa is the jackfruit tree. Asana is the yellow sāla tree. Kovidāra has double leaves and is famous in the Vindyā region as koyilāva. It is similar to the kāñcanāra. Though the arka tree is considered inferior, they asked this tree also since they were full of longing. “What do we gain in telling you about him?” You are dedicated to helping others. You have taken birth to help others. Or another version has parārtha-bhāvikā: producing auspiciousness for others. Since you are living at a holy spot, near the bank (upakula) of the Yamunā, you speak the truth and are merciful. Thus please tell us the truth. Do not cheat us. “You should search for him yourself.” Fearing this answer the gopīs speak with pain, hoping to generate compassion for their suffering state, “We have lost all consciousness. We are near death. We cannot search by ourselves.” Previously they asked the other trees if they had seen Kṛṣṇa but did not receive an answer. Now they cleverly ask only for the path he took.

"Because they are absorbed in meditation on Visnu, they are probably not replying to us, but as residents of a holy place they are hard-hearted, since they don’t say a word to us." After this one gopis spoke, "Since we cannot tell who knows about Krsna and who does not, why do you criticize these residents of the holy place? We should ask that person who knows the truth, that person who has seen him. O friends, do you know that person?" Asking all the gopis this, that one gopi pointed at the earth with her finger. The gopis said to that sakhi, "Yes, what you say is true. Wherever Krsna is, it is somewhere on the earth. The earth is never separated from Krsna. The earth is certainly most fortunate among all the elders, girl friends, lovers, and servants, because she never knows the pain of separation. We should not ask her as we did to others previously about news of Krsna, but rather ask her what austerities she did long ago to get this good fortune. If we know that, then we also can do the same austerity and become freed from separation from Krsna." Considering in this way, they then asked, "O earth, what austerities did you perform by which you shine with bliss borne from the touch of Kesava’s feet? Because your hairs in the form of grass are standing on end, we understand that he has touched you with his feet. What austerity did you do by which you constantly are absorbed day and night in close association with Krsna. You should tell us. Hearing that, our lives will become successful" Seeing that the earth did not reply, the gopis began to consider, thinking of the past. "Your strength was shown when you bore the great burden of Vamana’s foot as he stretched his other foot from patala to svarga. By what austerity did you get that strength? (va stands for vai (certainly), or can be considered added to complete the rhythm of the verse.) Or what austerity did you do to get the firm embrace of Varaha? That austerity by which you get happiness rarely achieved by others is also joyfully performed because it brings you, a woman, into contact with a man. There is no one more fortunate than you."

Asking about the footprints of Kṛṣṇa, they glance at the earth and then assume that the earth must have seen him since the earth is spread everywhere. They consider her sprouts of grass to be her hairs standing on end out of joy on being touched by his lotus feet. They then describe her great fortune while indicating his excellence. You must have done pious acts (tapaḥ) to touch his feet. Has the touch of his feet created your joy? Api indicates a question. Śruti says tredhā viṣṇu-vicakrame: Viṣṇu took three steps. Has your joy arisen from Trivikrama stepping with his feet to cover the three worlds, showing his power? That cannot be, since why would you show such joy now, after such a long time? Maybe it was not just touching with the foot, but Varāha lifting you up and enjoying you. Or, what was your previous act by which you attained joy in being touched Kṛṣṇa’s feet? Was it being touched by Trivikrama’s feet? Was it being embraced by Varāha? Please tell us. This indicates Kṛṣṇa’s greater glory. How can we endure separation then? You are most fortunate and we are most unfortunate. Be merciful and show us his path.

Not hearing any answer the gopis thought, " Oh, why will this earth, an independent women, very proud, intoxicated with pastimes with the Lord ,whose body is marked with his symbols of flag, thunderbolt and ankusa, look upon us?" As they went forward they saw a doe and spoke to her. "O friend, wife of the buck, has Krsna come near his loved one, you (priyaya)? Though you are the wife of the buck, like us, you are dear to Krsna and Krsna is dear to you. Krsna has given you great bliss with a vision of his limbs such as face and arms. Having attained such bliss of the eyes, you follow him everywhere, and therefore Krsna is never falls from your vision (acyuta)." (drsam is plural rather the dual to show respect.) Seeing the doe go forward naturally, the gopis said, "This doe has seen Krsna. She seems to say, ‘Why should I speak, rather I will show you. Just follow behind me,’ while she moves forward and looks back at us. It seems she is the only merciful person in merciless Vrndavana." The gopis followed behind the doe, but not seeing where she had gone, then said, "Why can we no longer see the doe who was showing us where Krsna is?" In answer to this question one gopis said, "Krsna must be somewhere here. She has now become afraid of Krsna and she is hiding somewhere in order to deny that she has shown us the path." While the gopi was reasoning in this way, suddenly that gopi smelled a sweet fragrance. "Yes, yes! This is the fragrance of his body. The fragrance of his kunda flower garland tinted with the kumkuma due to contact with his beloved is spreading here." When the fragrance of their two bodies, the kumkuma and the kunda garland entered the gopis’ nostrils, they were able to verify Krsna’s whereabouts. "Though he is the enjoyer of all the gopis (kula pati) see how unjustly he has given them up and is enjoying with only one of us."

The following should be considered. With whom did Kṛṣṇa disappear? Later this is revealed, but now it is unclear. Śukadeva’s intention is as follows. Among all the various avatāras of the Lord I have attraction for Svayam Bhagavān Kṛṣṇa. Among all the associates of the Lord I have attraction for the people of Vraja. Among the people of Vraja I have greater attraction for the gopīs. All know this secret. Among all the gopīs I have most attraction for Rādhikā. Everyone does not know this. The greater attraction is because of the greater excellence. I hesitate to reveal her directly but I wish to reveal my heart for fear of being miserly in giving knowledge. By revealing her through the words of her friends the secret will not be apparent. By disguised words, I will reveal the truth through the speech of her rivals. If I reveal her accidently because of my absorption, I will not speak her name directly. Not just her name, I will not utter the names of the other gopīs. I will also reveal the rasas by indirect expression, not by direct statement. If someone understands the real meaning, then it will be most astonishing. Therefore first he reveals Rādhā through her friend speaking. When the Lord disappeared taking her with him, her friends had some doubt. Though they went with the others, absorbed in searching for only Kṛṣṇa, and though they were in a state of unmāda, they remained in their own group, searching for the couple, desiring his appearance at a distance. While walking around they were able to have a vision momentarily even without seeing his foot prints (verses 32.33). The friends speak this verse. The sequence of verses indicate acceptance that Rādhā was with him. Their friendship with the couple and their desire to see them is also indicated. Probably (api) Kṛṣṇa came near you with his beloved. Or api can indicate a question: O friend, did Kṛṣṇa come near you with his beloved? “Since he wanders in the forest, is it surprising that he passed by us who live here?” But he was with his beloved. “That is astonishing.” On seeing him, there will spread amazing happiness in association with her. Your eyes and the eyes of others associated with you must have experienced great bliss, because your limbs are decorated with anubhāvas indicating bliss. Seeing him with her would produce much greater bliss. You should not hide this from us. Since we are his intimate servants, we can know everything about him by the fragrance carried by the breeze. The fragrance clearly comes from a garland smeared with kuṁkuma from her breast when there was intimate association between head of the dynasty and his beloved (kānta). We perceive this because of practice. Praise for the seer, the eye and the object seen indicates the friends’ joy. The word api shows great longing and sorrow, by expressing possibility. In addressing the wife of the deer, they praise the doe’s eyes. Patnī refers to a wife who takes part in sacrifice with her husband according to patyu no yajña-saṁyoge. (Pāṇini 4.1.33) The deer participates in the sacrifice, and his wife is addressed as patnī. Thus the wife of the deer, the seer, is praised. Acyuta has come close (upagataḥ). This is praise for the doe’s good fortune. By mentioning the beloved there is praise for the seer (the doe) and the object seen (Kṛṣṇa and Rādhā). Their limbs took on extraordinary features when they were together. This is praise for the eye, as is the statement “Great bliss for the eye spread out.” He does not fail to be with her (acyutaḥ). This is praise for what is seen. The word vaḥ (plural) indicates not only the doe but her companions of equal stature. Thus this is praise for the seers. The garland of kunda flowers, white and beautiful by nature, is praise as the object seen. It was tinged with kuṁkuma (praise for an object seen), from association with his beloved (praise for an object seen). Kula-pateḥ indicates praise for the lover seen. Iha (here) is praise for the place receiving the fragrance. The wind, combining with the fragrance, blows everywhere. The word gandha, combining with its modifiers, indicates praise for it.

The earth will not speak since, like Tulasī, she has the Lord’s affection and thus is a competitor, or she just does not want to speak. They then inquire from the doe, believing that she is a friend. O wife of the deer! You know about suffering in separation from a lover. Therefore please tell us. In great distress, in the distance, they see one doe. However dṛśām and vaḥ is in the plural, out of respect for her, since Kṛṣna has approached her. Or ena-patni in the singular refers to a class rather than an individual doe. Or out of many does, they ask the question to one only, who is the principal doe. Has he come here with some gopī? Did he give the greatest bliss to your eyes by showing his limbs? Otherwise you would not have such wide eyes, caused by happiness. He has given bliss greater than liberation (su-nirvṛtim). He must have revealed himself splendidly, otherwise you could not be so blissful. O friend! The doe is addressed as a friend because she has similar love of Kṛṣṇa, and she plays with the gopīs in the forest. You should not cheat us. Acyuta did not fail to distribute bliss, or he did not fail to come here. It seems they are familiar with his scent for they say that the wind is carrying his scent. It was previously said: upagīyamāna udgāyan vanitā-śata-yūthapaḥ mālāṁ bibhrad vaijayantīṁ vyacaran maṇḍayan vanam With the gopīs singing his praises, that leader of hundreds of groups of women sang loudly. He wandered in the forest wearing his Vaijayantī garland, beautifying the Vṛndāvana forest. SB 10.29.44 kaccit tulasi kalyāṇi govinda-caraṇa-priye saha tvāli-kulair bibhrad dṛṣṭas te ’ti-priyo ‘cyutaḥ O most kind Tulasī, to whom the feet of Govinda are so dear, have you seen that infallible one walk by, wearing you and encircled by swarms of bees? SB 10.30.7 Now he is wearing a jasmine garland. Thus he had three garlands. Or the vaijayantī garland was being worn and then he put on a tulasī garland when it appeared. Because the jasmine garland is beautiful in the moonlit night, he gave up the vaijayanti garland and put on the jasmine garland. Kula-pateḥ mean “of the king of Gokula, or the master of the gopīs.” Kṛṣṇa’s name is not directly mentioned out of shyness or cleverness. Having him alone as our master, we cannot maintain our lives in his absence. Therefore please quickly tell us. Or he is the master (pati) of persons who speak badly (kula). It is befitting that she is with such a person. They speak in hatred. Or he has associated with you (upagataḥ) and is still here. “Then search for him and find him.” He brought joy by his limbs. He has been seen by you, who are most fortunate. We cannot see him. “They are not here.” But the wind carries his fragrance.

The gopis, discussing further clues that Krsna was right there, began to speak about the trees bending over with fruit and flowers as if bowing down to Krsna. "O trees! Did Krsna, wandering here, acknowledge or not, with an affectionate glance, your obeisance with offerings of fruit and flowers, your offspring, in your hands? But how could there an opportunity of his loving glancing upon saintly persons like you?" With envy they said, "This brother of Balarama (who is well known for his intoxicated love affairs), who must be similarly intoxicated, put his left arm on the shoulder of his weak beloved, using it as a pillow, due to fatigue after loving exchanges, and held in his right hand a blue lotus in order to fend off the bees swarming around because of the fragrance of his beloved face. Being absorbed in serving his beloved, how could he glance upon you trees? The bees have given up the tender tulasi groves and have followed behind Krsna to this place. Therefore we can understand that Krsna is hiding here somewhere. If that is so, should we follow the bees? No, it is improper for respectable persons to follow after intoxicated persons."

Unsure when doe remained silent and staring, thinking she was stunned with great sorrow on seeing the pain of separation in the gopīs, the sakhīs left the doe and, seeing trees bowing low with fruits and flowers, thinking they were offering respects, they inquired from them. In this verse also by praising the items they attain great joy. The meaning is this. O trees! Did the brother of Balarāma take joy in your respects or not, by showing affectionate glances? They praise the qualities of the seers by indicating that the trees are the qualified objects of his mercy and affection. “Why would he not acknowledge our respects?” He was absorbed in sweet pastimes with his beloved. They knew this because of the fragrance. They were skillful at understanding their intimate pastimes. That is indicated in this verse by the description of Kṛṣṇa resting his arm on her shoulder. The general reason for not acknowledging the trees was that he was wandering around (caran) anxious for a place for his pastimes. “He always wanders around looking. What is special about today?” His arm is on the shoulder of his beloved who has great affection for him. Because her shoulder is tender he places his arm there lightly (upa). “He has come to show her to us. Why would he not acknowledge us?” He is followed by swarms of bees and he is absorbed in swinging a lotus in his right hand to prevent the bees from approaching his beloved. How can he acknowledge you? This also indicates the superb fragrance of the tulasī plants in the pastime forest. divya-gandha-tulasī-madhu-mattaiḥ ali-kulai alaghu gītām abhīṣṭam: maddened by the divine, honeylike aroma of the tulasī flowers on the garland Kṛṣṇa wears, swarms of bees sing loudly for him. (SB 10.35.10) He is followed by bees blind with intoxication from drinking the nectar. The special fragrance which arises when he presses against her body (to protect her from the bees) is shown. This indicates praise for the tulasī. The vaijayantī garland was mentioned in SB 10.29.44 and in this chapter verse 7 it is mentioned that Kṛṣṇa wears tulasī. Because it is described as most excellent, it should be inferred that he wears a tulasī garland. A garland of kunda flowers was mentioned in verse 11. It should be inferred that the vaijayantī and kunda garlands were given up because they disintegrated. By praising the various items the gopīs show their pleasure. The meaning of each word can be studied as in the previous verse. The speakers of this verse were friends of Rādhā. On the other hand the following verse is spoken by an opposing faction: tasyā amūni naḥ kṣobhaṁ kurvanty uccaiḥ padāni yat yaikāpahṛtya gopīnām raho bhunkte ‘cyutādharam These footprints of that special gopī greatly disturb us. Of all the gopīs, she alone was taken away to a secluded place, where she is enjoying the lips of Kṛṣṇa. SB 10.30.30

Unsure when the does remained staring, thinking they were stunned with great sorrow on seeing the pain of separation in the gopīs, the sakhīs left the does and, seeing trees bowing low with fruits and flowers, thinking they were decent and offering respects, they inquired from them. Inferring that a lover had come with Kṛṣna by her fragrance previously mentioned, they now imagine the fragrance of his shoulder mixed with his arm. The fragrance of his hand was mixed with the fragrance of a lotus he was holding. This was mixed with the fragrance of her shoulder. There was also the fragrance of the tulasī on his body. Or there should be such arrangements among women lovers. He was followed by swarms of bees, blind with intoxication attracted to the sweet fragrance of the tulasī. The bees were attracted to the tulasī because the tulasī was related to Kṛṣṇa. All of this manifests a special rasa. Thinking his secret pastimes with his lover would be detected by the loud humming of the bees which were blind with intoxication, he tried walking away to get rid of them and came here, or he came here to pick the flowers from you trees. Or he came here thinking of giving mercy to you since you are plants, similar to tulasī while fulfilling his own purposes. And particularly out of affection for your offering of respects he came here. Did he accept you with affectionate glances? Those glances are very rare. Kimvā indicates a question. Please tell us. Or seeing his foot prints and, to the left, a woman’s foot prints, and seeing, to the right, the trees bowing down as if having achieved relief, they assumed he held a lotus in his right hand. Seeing groups of a woman’s footprints, deep and grouped together as if running in fear, they assumed that intoxicated bees had come. Or seeing drops of honey everywhere on the footprints, they assumed the bees had come. Or in an insane condition they uttered these words. This is mentioned in verse 14. Or since the intoxicated bees followed him, he also by contact became intoxicated. They say this in anger. Or he is followed by bees with pride (mada). It is suitable then that he is followed by us, who have lots our pride.

Showing the other gopis signs that Krnsa was there, some gopi said, "O friends, ask these creepers who have signs of having the association of Krsna. You should not say that, because they are still embracing the trees, these creepers did not meet Krsna, because even while they are tightly embracing the branches of their husbands the trees, they exhibited strong desire for Krsna. They must have been touched by the nails of Krsna, for see, their hairs are standing on end. This does not take place in meeting their husbands the trees. Seeing this symptom they cannot tell us a lie, "We did not see Krsna." as the others have one after another."

Another group of gopīs whom later ask, “Whose foot prints are these?” (SB 10.30.30) did not hear the present verses since they do not raise doubts at this time. Though some may have paid attention, they did not really hear since they did not have either attraction or hatred for Rādhā. They simply showed everyone the foot prints of Kṛṣṇa. Śukadeva in this verse shows the gopīs’ indifference to what was just said in order to show gopīs with different desires from those who just spoke. Ask this creeper embraced by the arms of her husband. “If that is so, how can you infer that they creepers associated with Kṛṣṇa?” Nūnam indicates conjecture. They have been touched by Kṛṣṇa’s fingernails. “How do you infer that?” Their hairs in the form of buds are standing on end. This is astonishing (aho). It was not like this before!

The trees are his devotees and follow him. They will not speak. We will ask the creepers, since they are female, like us. They say to each other, “Let us ask the creepers.” They are embracing the arms of their husbands. This is our bhāva also.

"Stunned by bliss they cannot speak," they concluded. Asking such questions to inanimate objects shows the internal love of the gopis and is a sign of unmada. Searching for Krsna while speaking in this way, the gopis could not find him. Some gopis among them gave them this advice. "By imitating the form and activities of Krsna, I will now show myself as Krsna, and this way momentarily you and I will get relief from our extreme pain." As all Krsna’s pastimes gradually came to memory, with their minds absorbed in Krsna (tad atmika) they began to enact those pastimes including the killing of Putana. Yogamaya took the form of a gopi and played the parts involving unfavorable moods in order to complete this pastime. The gopis played the favorable roles.

Speaking word like those of an insane person, the gopīs were unable to search for him because of grief (kātarāḥ). They began singing loudly as before (verse 4) and began acting out the pastimes such as killing of Pūtanā. This was because their consciousness was completely in Kṛṣṇa (tad-ātmikāḥ): they were deeply attached to him. They imitated him because of this, not because of completely non-difference with him. “She lifted her shawl above her head” (verse 20) shows effort. In saying “I am Kṛṣṇa! Just see how gracefully I move!” (verse 20) a gopī uses words to indicate that she is acting as Kṛṣṇa. They imitated the killing of Pūtanā to indicate Kṛṣṇa’s fear of her, out of deep attachment to Kṛṣṇa, just as a madman may imitate a tiger to indicate his fear of a tiger. These imitations had no elements contrary to their love for him. When one of them imitated Yaśodā, it did not represent their own type of love but was done on thinking of his infancy. Because of intense general love, they identified with Kṛṣṇa’s emotions such as fear, without touching her type of motherly love. There was no combination of conflicting bhāvas because they imitated only Kṛṣṇa’s bhāvas. This imitation was done suddenly because of their state of unmāda.

Speaking in this way (iti) the gopīs enacted Kṛṣṇa’s pastimes. Or with insane words, as was mentioned previously (unmattaka), they enacted his pastimes. The repetition of unmatta from verse 4 emphasizes their condition. Though they should not be called insane, from their questions to the various objects this is the conclusion. They imitated Kṛṣṇa’s pastimes because they were pained by separation, after searching for he who is most attractive (kṛṣṇa). Because of the pain they imitated him, not whimsically, or thinking that it would create happiness. They did this because their hearts were stolen by him (tad-ātmikāḥ). Or tad-ātmikāḥ can mean that they became absorbed in the pastimes in order to enact them. Or “by remembering him, the prāṇas of those who are pained by separation will suffer more. By the ghee of imitating the pastimes how can the ātmā remain in the hearts of those burning from the fire of increased separation?” The ātmā will not leave because it has a relationship with a sweet, soothing ocean. If they remain as they are, they will burn up. Or tad-ātmikāḥ can mean that they were absorbed in Kṛṣṇa. Their imitations depended on this. They were not whimsical.

The imitation of Krsna’s pastimes is described in four verses. One gopi acted as Putana and another as Krsna, pretending to drink milk from her breast. One gopis cried like a baby and kicked another gopi imitating the cart.

Their imitation is described in nine verses. Situated in their own natures, they acted like Pūtanā, and did not take on her contrary mentality. One gopī acted like Kṛṣṇa (kṛṣṇāyantī). The next verse indicates that someone assumed the mood of Kṛṣṇa. (This does not mean they became Kṛṣṇa.) “Drinking milk from her breast” is only acting since acting is being discussed. One of them took the role of the cart, placing hands and feet on the ground and raising up the body.

Their imitation is described in nine verses. Anucakruḥ in the previous verse indicates that the imitation was complete. They became absorbed in the enactment. Otherwise it would have just been stated that they imitated Kṛṣṇa. One can imitate the bodily actions with one’s body, verbal actions with one’s speech and mental activities with the mind. Though one truly imitates by assuming the mood of the other person, it depends on these three elements. First three examples of bodily imitation are described. One gopī imitated Pūtanā, by using her gestures, not by dress, since that was lacking at the time. The next verses explains that one gopī thought she was Kṛṣṇa (kṛṣnārbha-bhāvavān). This was done in the confusion generated from separation. Even though not perfectly accomplished, it occurred because of the nature of pain in separation, with absorption in the pastimes. Though it is not proper for exalted devotees to imitate demons, they were overcome with special, indescribable bhāvas and thus imitated his pastimes, thinking that their friends were also overcome with such bhāvas. With intention they imitated Pūtanā and others in order to dissipate their great suffering by contact with his mind by doing that. (verse 14) Or iti means thus they were pained by searching for Kṛṣṇa. The pastimes next (anu) made all the gopīs suffering separation become full of the pastimes (tad-ātmikāḥ). Thus it was suitable that they portray demons, since demons were involved in the pastimes. They were not at fault. One gopī imitated sucking her breast, not actually sucking her breast, since it was imitation. This applies to later actions also. One imitated a cart above another gopī imitating Kṛṣṇa.

One gopi imitated Trnavarta (daityayitva eka) who stole another gopi acting like the small child Krsna (krsnarbha bhavanam)

One gopī imitated the mood of Kṛṣṇa as a baby, and became absorbed in fear. One gopī crawled, making sounds with ankle bells, or employing ankle bells since she already had ankle bells on her feet. In this way she imitated Kṛṣṇa crawling about.

Two gopīs took the roles of Kṛṣṇa and Balarāma and others took the roles of cowherd boys to enact herding the calves. Another pastime was then enacted in the group. One gopī took the role of Kṛṣṇa and enacted the killing of Vatsāsura. One other gopīs as Kṛṣṇa enacted the killing of Bakāsura.

Two gopīs took the roles of Kṛṣṇa and Balarāma and others took the roles of cowherd boys to enact herding the calves. The word ca indicates that a gopī also imitiated Aghāsura. Present tense is used to indicate that the event was not long ago.

One gopi acted like Krsna, playing the flute to call the cows who had wandered far off, and having them follow after him.

After enacting various pastimes, in the enacted of pastimes of the summer previous to killing Pralamba, the anubhāva called līlā is portrayed, imitating their beloved, in two verses, since this marked the appearance of his kaiśora age favorable for śṛṅgāra-rasa. Dūra-gā means cows which wandered away.

Now vocal imitation is described in five verses. Various pastimes before killing Pralamba are imitated in two verses. Since it was vocal imitation, or because of greater and greater absorption in imitating, there is no mention of imitating Kṛṣṇa. He called the cows situated far off in Vraja, just as he called the gopīs with the sound of his flute. Some praised others who had taken the role of cowherds (anuvartatīm), singing etc.

In imitating the pastimes of catching each other (cowherd boys), by the strength of the sancari bhava of unmada and the absorption in the pastimes, the gopis lost their own identity and attained a oneness with Krsna. This is described in four verses. "I am Krsna and go around with my arm on the shoulders of Subala. See my graceful actions."

Gatiṁ refers to dance movements.

One gopī said with certainty (nunam), “I am Kṛṣṇa.” You should not doubt this. Or O cowherds! Or O gopīs! (nunam) See my attractive movements or how I attractively walk. She was absorbed in Kṛṣṇa (tan-manāḥ). Thus there is no fault in saying this. “I am Kṛṣṇa, full of all qualities. See the gopī Lalitā, who has taken shelter of me (gatim).” Do you remember this? Kṛṣṇa had previously said this. Why is the statement not complete? Her mind was taken by Kṛṣṇa (tan-matāḥ). Or she was absorbed in the imitation.

In order graphically to depict the Govardhana pastime, one gopi with great care (yatanti) took her upper cloth and raising it above her head imitating Krsna’s lifting Govardhana.

When wind arose they enacted the Govardhana pastime. The fire in verse 22 the pastime was not enacted because imitating intense fear would restrict śṛṅgāra-rāsa.

Absorbed imitation, she used only words, or absorbed in the pastime, she felt if the wind was actually present. This is also true of verse 22 and other enactments. This indicates that because of the separation, they had lost strength to enact with the whole body. She held her shawl high or for a long time, imitating lifting Govardhana.

"Dusta he" here indicates Kaliya.

Using her feet, putting them on the head of another gopī, she spoke. Nanu indicates certainty or calling out. Sometimes the word nṛpa is inserted. This indicates astonishment. Duṣṭāhe means “O wicked snake!” Leave this place or else I will punish you. Nanu means certainly. Though in the actual pastime Kṛṣṇa did not say this, the gopī said this as a conclusion or to explain the meaning of the pastime.

Nanu indicates certainty. One version has nrpa (O king)! This expresses astonishment. O Kāliya (duṣṭāhe)! Go from. Otherwise I will punish you. Using her feet, putting them on the head of another gopī, she spoke. Nanu indicates certainty or calling out. Sometimes the word nṛpa is inserted. This indicates astonishment. Duṣṭāhe means “O wicked snake!” Leave this place or else I will punish you. Nanu means certainly. Though in the actual pastime Kṛṣṇa did not say this, the gopī said this as a conclusion or to explain the meaning of the pastime.

One version has tatra ca: after enacting Kāliya’s punishment, then one gopīs spoke. Another version has tatraika. The word re is also seen instead of he but this is not acceptable. Kṛṣṇa ordered them to close their eyes because of the fierce fire. Since the intensity of the fire would harm the eyes, he told them to close their eyes. Though this happened in the grove of reeds, this is not mentioned. The correct form of the verb is apidhadhvam according to the rule dadhas tathośca. (Pāṇini 8.2.38) Apidadhvam is poetic license or a mistake by the transcriber. Añjasā means easily.

One version has tatra ca: after enacting Kāliya’s punishment, then one gopīs spoke. This event took place there (tatra). Saving them from the forest fire also (ca) took place in the reed grove. Thus he saved the cowherds twice. Or tatra ca can mean “among the gopīs one said.” She imitated the fire in the reed grove. Anjasā means easily.

When the sudden appearance of strong unmada was pacified, the identification with Krsna also slackened. Returning to their identities as gopis, seeing one gopi showing enthusiasm in imitating Krsna’s stealing butter and breaking the yogurt pots, Yogamaya played the role of Yasoda and performed the required actions. "O naughty child, you have stolen butter and run away. I will tie you up." Yogamaya, playing the role of a gopi imitating Yasoda, bound up a gopi with a garland. The gopi hid her face with her two hands, enacting fear.

One gopī acted as Yaśodā as previously described. The other gopī who was slender because of suffering from separation acted as Kṛṣṇa. Another gopī acted as the mortar. The gopī made movements with her eyes to suggest fear (sudṛk). She covered her face with her two hands, acting like a fearful child. She imitated his trembling and crying. They also enacted other pastimes.

Now imitation predominantly mental is described. One gopīs, different from the others, a messenger who was more elderly (anayā), following behind acted as the mother. Or one gopīs who was most gentle, most outstanding acted as his mother. Previously his mother had bound him up with a very soft rope of cow hair. Or first with a garland, and then with another material (anayā) a gopī acting as Kṛṣṇa was bound. Attempting to tie him up many times, they were able to bind him with a garland. They acted according to their fancy. One gopī was thin. Because of the pain of separation she immediately became thin. Out of prema they imitated the Lord being controlled by his devotee. Tatra can mean “in that imitation” or among the gopīs (tatra) one became the mortar. One gopī imitated fear by moving her eyes and covered her face with her hands. This is a quality of a small child when he is afraid. She imitated his characteristics of fear: trembling, hairs standing on end, crying slightly and pitiful voice. By imitating fear, it is imitation of his mentality. Fear is a product of the mind. The Dāmodara pastime, which shows he is controlled by the devotee is the best of all pastimes. Thus it is at the end since one should conclude with sweetness: madhureṇa samāpayet. Since killing Dhenuka and Pralambha were done by Balarāma, they were not enacted. They did not imitate his stealing the gopīs clothing or attracting the wives of the brāhmaṇa, since they were shy. They did not consider the particular rasas of each pastime, since they concluded in the soul of the rasas (Kṛṣṇa) Breaking the Yamalāruna trees was not imitated as it was included in the Dāmodara pastime. The pastimes imitated are not in correct order because Śukadeva, in describing the gopīs bewilderment in separation attained a similar bhāva and gave up inspecting the sequence closely. Or the gopīs imitated the pastimes in the order written, for single to group enactments, and in that, from lesser to major pastimes. Or they manifested the pastimes from single to group enactments. Or because of pain in separation or absorption in the enactments they lost awareness of the correct order.

In this way the gopis searched for Krsna in forest after forest (evam), asking his whereabouts from the trees. The sancari bhava called unmada which appear in the state of separation is characterized by identity with the object of affection when it is in its most intense state of self forgetfulness. This has been described in three verses beginning with (priyah priyasya (10.30.3).and Krsnoham pasyata (sb 10.30.19). In the medium stage there is imitation of the beloved behavior with some self awareness, as in the following statement in the story of Prahlad, "kvacit tad bhavanayuktas tammayonucakara ha.7.4.40) "Sometimes, upon seeing the Supreme Personality of Godhead, Prahlada Mahārāja would loudly call in full anxiety. He sometimes lost his shyness in jubilation and began dancing in ecstasy, and sometimes, being fully absorbed in thoughts of Krsna, he felt oneness and imitated the pastimes of the Lord." "One gopi imitated Putana, while another acted like infant Krsna and pretended to suck her breast. Another gopi, crying in imitation of infant Krsna, kicked a goip who was taking the role of the cart demon, Sakatasura." (10.30.15) In its weak state, unmada is expressed with self identity returning, and asking questions to trees and other objects.

In enacting and singing about his pastimes repeatedly they also asked questions. They saw in one part of the forest the foot prints of the root form of all beings (paramātmanaḥ). The sages speculate about traces of him in the form of sound as indicated in the Vedas but the gopīs actually saw his foot prints in one place where he performed pastimes in the forest. All of the sages have not attained even a portion of equality with these gopīs in seeing the foot prints, what to speak of attaining a portion of their eternal conjugal love accomplished through their excellent prema. Śrīdhara Svāmī explains that first they felt pain only. Then they began searching while singing. Then they enacted his pastime of killing Pūtanā. Then they again began searching. Then they saw his foot prints. However my version is as follows. First they felt pain. Then they enacted pastimes such as his placing his arm on her shoulder. Then they began searching while singing, and while doing so enacted his pastimes such as killing Pūtanā. Then they saw his foot prints.

Asking the creepers in this way (evam) or imitating his pastimes as described and asking the creepers, they saw footprints, because Kṛṣṇa attracted all their hearts. Falling within their sight, they saw the footprints on the ground. Previously they only thought of the footprints (SB 10.30.10). Now they directly saw them. Previously they saw the footprints but because they were bewildered by prema, it was as if they did not see them, since they did not look closely. Therefore they did not follow those footprints. Now, slightly recovering because of imitating with absorption, their intelligence arose. They now saw what they previously could not recognize. Thus the affix vi is added to indicate special seeing. They saw the footprints of he who was dearest (paramātmanaḥ). Even though it was night they could recognize his footprints by their characteristics. Or when the twilight passed and the autumn full moon rose, they could see clearly in the moonlight even to a distance. Or they simply saw the footprints while asking questions. The rest of the description is repetition.

After describing the three stages of unmada, the gopis’ reasoning when they suddenly discovered Krsna’s footprint is described. In the Skanda Purana the placement of the foot symbols and their function is described as follows: at the base of the big right toe is a cakra, for cutting down the six enemies of the devotee. At the base of the middle toe is a lotus, to attract the bees of meditator’s mind. Below the lotus a flag, which indicates victory of the soul over all anarthas. At the base of the little toe is the thunderbolt, which destroys the mountain of sins of the devotee. On the heel is an ankusa which controls the elephant of the mind of the devotee. On the creases of the big toe are barley grain symbols indicating enjoyment of wealth. On the side are thunderbolt and before that an ankusa. In the Skanda Purana, Krsna’s right foot is described with the ankusa at the base of the little toe and below that the thunderbolt. Therefore the gaudiya followers say that the first description is the foot of Narayana. In addition to the cakra, flag, lotus, thunderbolt, ankusa and barley grain, other signs are described in the vaisnava tosani. There is a line starting between the big and first toe extending half way down the foot is a prominent line. Below the cakra there is an umbrella. Below the prominent line are four svastikas in four directions. Joining the four stastikas are four jambu fruits, and in the center of the svastikas is an eight pointed figure. Thus there are eleven distinct signs. On the left foot, from the base of the big toe there is a conch with mouth, for the purpose of revealing all knowledge. At the base of the middle toe there are two concentric circles, below that a bow without string, below that a cow hoof print, and at the bottom a triangle, surrounded by four water pots (sometimes only three water pots are mentioned). Below that is a half moon, touched by two more triangles. Below that is a fish. With these eight symbols, the total is then nineteen.

They all spoke at once. These are clearly the foot prints of the son of Nanda because of the marks like the flag which are well known (hi). The combination is found in the supreme person (mahātmanaḥ). Ādhibhiḥ indicates other signs also. ṣoḍaśaiva tu cihnāni mayā dṛṣṭāni tat-pade | dakṣiṇenāṣṭa-cihnāni itare sapta eva ca || dhvajāḥ padmaṁ tathā vajram aṅkuśo yava eva ca | svastikaṁ cordhva-rekhā ca aṣṭa-koṇas tathaiva ca || saptānyāni pravakṣyāmi sāmprataṁ vaiṣṇavottama | indra-cāpaṁ trikoṇaṁ ca kalasaṁ cārdha-candrakam || ambaraṁ matsya-cihnaṁ ca goṣpadaṁ saptamaṁ smṛtam | aṅkāny etāni bho vidvan dṛśyante tu yadā kadā || kṛṣṇākhyaṁ tu paraṁ brahma bhuvi jātaṁ na saṁśayaḥ | dvayaṁ vātha trayaṁ vātha catvāraḥ pañca eva vā || dṛśyante vaiṣṇava-śreṣṭha avatāre kathañcana || ṣoḍaśaṁ tu tathā cihnaṁ śṛṇu devarṣi-saptam | jambū-phala-samākāraṁ dṛśyate yatra kutracit || I have seen sixteen marks on his feet. On His right foot are eight marks and on his left foot are seven marks. O best of Vaiṣṇavas! On his right foot can be seen the marks of the flag, lotus, thunderbolt, goad, barley corn, svastika, an upward line and an octagon. O best of the Vaiṣṇavas! Now I will tell you about the seven marks on his left foot. There is a rainbow, a triangle, a pot, a crescent moon, a compass, a fish and a hoof print of a cow. Hear about the sixteen marks, O best of the sages among the devatās. Sometimes a mark resembling a jambu fruit will be seen. Padma Purāṇa Krama-dīpikā says matsyāṅkuśāri-dara-ketu-yavābja-vrajaiḥ: he has the marks of the fish, goad, cakra, conch, flag, barley corn, lotus and thunderbolt. Gopāla-tāpanī Upaniṣad says śaṅkha-dhvajātpatrais tu cihnitaṁ carana-dvayam: his two feet are marked with the conch, flag and umbrella. Ādi-varāha Purāṇa says yatra kṛṣṇena saṅkīṛṇam krīḍitaṁ ca yathāsukham cakrāṅkita-padā tena sthāne brahmamaye śubhe: wherever Kṛṣṇa plays that place is marked by auspicious foot prints with the mark of the cakra. Nineteen marks are mentioned there including the sixteen mentioned in the Padma Purāṇa plus cakra, conch and umbrella. Skanda Purāṇa also mentions the six marks starting with cakra. These however are the marks of Viṣṇu and other avatāras. Padma Purāṇa also says: aṅkāny etāni bho vidvan dṛśyante tu yadā kadā || kṛṣṇākhyaṁ tu paraṁ brahma bhuvi jātaṁ na saṁśayaḥ | dvayaṁ vātha trayaṁ vātha catvāraḥ pañca eva vā || dṛśyante vaiṣṇava-śreṣṭha avatāre kathañcana || Whenever one sees these marks on the feet of someone, O learned sage, without doubt the supreme Brahman has taken birth on earth as that person. O best of Vaiṣṇavas, two, three, four or five of these marks will sometimes be found on the feet of Kṛṣṇa’s avatāras. The placement is as follows: madhye dhvajā tu vijñeyā padmaṁ tryāṅgulam ānataḥ | vajraṁ vai dakṣiṇe pārśve aṅkuśo vai tad-agrataḥ || yavo’py aṅguṣṭha-mūle syāt svastikaṁ yatra kutracit | ādiṁ caraṇam ārabhya yāvad vai madhyamā sthitā || tāvad vai cordhva-rekhā ca kathitā pādma-saṁjñake | aṣṭa-koṇaṁ tu bho vatsa mānaṁ cāṣṭāṅgulaiś ca tat || nirdiṣṭaṁ dakṣiṇe pāde ity āhur munayaḥ kila | evaṁ pādasya cihnāni tāny eva vaiṣṇavottama || dakṣiṇetara-sthānāni saṁvadāmīha sāmpratam | caturaṅgula-mānena tv aṅgulīnāṁ samīpataḥ || indra-cāpaṁ tato vidyād anyatra na bhavet kvacit | trikoṇaṁ madhya-nirdiṣṭaṁ kalaso yatra kutracit || aṣṭāṅgula-pramāṇena tad bhaved ardha-candrakam | ardha-candra-samākāraṁ nirdiṣṭaṁ tasya suvrata || bindur vai matsya-cihnaṁ ca ādyante vai nirūpitam | goṣpadaṁ teṣu vijñeyam ādyāṅgula-pramāṇataḥ || On the right foot, in the middle is the flag. Three fingers below the middle toe, above the flag is a lotus. On the right side is the thunderbolt and above it is the goad. At the base of the big toe are the barley corn and also the svastikas creating great beauty in all directions (on four sides). There is a line from between the big toe and next toe (ādim) to the middle of the foot. The octagonal figure eight fingers below. This is how the sages describe the right foot. On the left foot four fingers below the toes is the rainbow. In the center is the triangle. The pots are in the four directions. Below the triangle is the crescent moon by eight fingers. The circle is at the top and the fish is at the bottom of the foot. Below the rainbow is the cow’s foot print. Skanda Purāṇa confirms that the lotus is above the flag. Yatra kutra means “creating great beauty in many places.” Ādim refers to the place between the big and next toe. The octagonal figure is eight fingers below the thunderbolt. The feet measure fourteen fingers in length and six fingers wide according to Hayaśīrṣa-paṇcarātra and Matsya Purāṇa. On that basis, the locations of the symbols have been explained. The rainbow is described in the verse as “not being found anywhere else” since it has its unique color (not like the ordinary rainbow) and is without a string. The rainbow is four fingers below the toes since it is situated below the circle below the middle toe. Its length is also four fingers, since it has splendid form. The circle is in the center of the foot below the triangle measures by eight fingers. The triangle extends to the sides of the foot. Bindu means a circle. It is formed of two lines running concentrically. The circle is placed above all the lines and the fish is at the bottom. The hoof is two fingers below the circle, below the rainbow. Also there is the symbol of the lotus (circular) situated with the triangular flag. This is on the right foot. The left foot does not have a line going upwards. The sixteen symbols are on both feet combined. The mark of the jambu fruit has color and is not just a line. There is also a cakra at the base of the big toe of the right foot and conch at the base of the big toe of the left foot according to Skanda Purāṇa. Viṣṇu Purāṇa says vilokyaika bhuvaṁ prāha gopīr gopa-varāṅganā pulakācita-sarvāṅgī vikaśi nayanotpalā dhvaja-vajrāāṅkuśābjāṅka-rekhāvanty āli paśyata padānyetāni kṛṣṇaysa līlāṅkṛta-gāminaḥ Seeing those foot prints one gopī, best of the cowherd women, her hairs standing on end, with wide eyes, said “O friends! Look at the footprints of Kṛṣṇa, who walks about ornamented with pastimes. Those prints are marked with the flag, thunderbolt, goad, and lotus!”

They speak to each other. Clearly these are the footprints of Kṛṣṇa and no one else because they are marked with the flag and other symbols, which indicate a mahā-puruṣa. Ādhibhiḥ indicates other signs also vilokyaika bhuvaṁ prāha gopīr gopa-varāṅganā pulakācita-sarvāṅgī vikaśi nayanotpalā dhvaja-vajrāāṅkuśābjāṅka-rekhāvanty āli paśyata padānyetāni kṛṣṇaysa līlāṅkṛta-gāminaḥ Seeing those foot prints one gopī, best of the cowherd women, her hairs standing on end, with wide eyes, said “O friends! Look at the footprints of Kṛṣṇa, who walks about ornamented with pastimes. Those prints are marked with the flag, thunderbolt, goad, and lotus!” dakṣiṇasya padāṅguṣṭha-mūle cakraṁ bibharty ajaḥ tatra bhakta-janasyāri-ṣaḍ-varga-cchedanāya saḥ At the base of the large toe on his right foot, the unborn Lord carries the mark of a disc, which cuts down the six [mental] enemies of his devotees. madhyamāṅguli-mūle ca dhatte kamalam acyutaḥ dhyātṛ-citta-dvirephāṇāṁ lobhanāyāti-śobhanām At the bottom of the middle toe of that same foot Lord Acyuta has a lotus flower, which increases the greed for Him in the minds of the beelike devotees who meditate on his feet. Padmasyādho dhvajaṁ dhatte sarvānarthajayadhvajam Below the lotus is a flag which conquers all anarthas. kaniṣṭha-mūlato vajraṁ bhakta-pāpādri-bhedanam pārṣṇi-madhye 'ṅkuśaṁ bhakta cittebha-vaśa-kāriṇam At the base of His small toe is a thunderbolt, which smashes the mountains of his devotees' reactions to past sins, and in the middle of his heel is the mark of an elephant goad, which brings the elephants of his devotees' minds under control. bhoga-sampan-mayaṁ dhatte yavam aṅguṣṭha-parvaṇi The joint of his right large toe bears the mark of a barleycorn, representing all kinds of enjoyable opulences. Tathā vāma padāṅguṣṭhamūlatas tanmukhaṁ daram Sarvavidyāprakāśāya dadhāti bhagavan asau Padmādīny api cihnāni tatra dakṣināpādavat At the base of the left foot is a conch which bestows all knowledge. There are also lotus and other symbols similar to those on the right foot.

The gopis then saw the footprints of Krsna mixed (suprktani) with those of Radha.

They followed his path by the foot prints marked with the symbols. The repetition (tais taiḥ) suggests that the foot prints were scattered in many places, since some places were covered with grass. Because Kṛṣṇa was carrying Rādhā, her foot prints were not visible in the beginning. After some distance, they saw those foot prints. They were weak (abalāḥ) because of separation and searching. But still they followed his path. The consort was Rādhā since she will be established as the most fortunate of all.

They followed his path by the foot prints marked with the symbols. The repetition (tais taiḥ) suggests that the foot prints were scattered in many places or there were isolated footrpints. Thought weak (abalāḥ) from separation and searching, they searched in front for his path, or they saw in front his footprints mixed with those of another gopī (vadhvāḥ), or of a woman who was like a daughter-in-law, since the prints were delicate, because of her shyness. Or this means Rādhā, who was famous in Gokula as Kṛṣṇa’s wife, since Yāśodā had that desire and expressed it sometimes. Her name is not directly stated but simply written as vadhu. Kāpi tena samaṁ yātā kṛtapuṇyā madālasā padāni yasyāś caitāni ghanāny alpatanūni ca Someone with great piety, pride and laziness has gone with him. Her footprints are deep and thin. Viṣṇu Purāṇa His prints were very mixed (supṛktāni) with hers since her arm was on his shoulder. He had not left them because of anger, hatred or detachment, but to lead one of them away. She had been with them, but by some signal he left with her. His footprints appeared at a distance, and then after walking for some time met with hers. They were pained because he had accepted one of them and given up the others. Or though pained by separation, they spoke to each other while reflecting on the situation.

These are the footprints of some woman upon whose shoulders Krsna has placed his left arm.

They all spoke. They understood the other foot prints were those of a woman because of the softer impressions, since she was lighter in weight. They did not say Kṛṣṇa’s name directly out of anger, as previously. They recognized the foot prints of some woman. Her arm was placed on his shoulder. Though this created particular pleasure, he did this so that he could quickly lead her off easily, since she was stumbling in the dark. And this shows his great affection for her. They are compared to a pair of elephants since the two wander together out of desire and affection.

What is this? We should recognize the footprints of whoever has gone off with Kṛṣṇa. With pleasure he placed her arm on his shoulder. Or he did this to lead her far away with force so that they could travel easily since she was stumbling in the dark. It indicates that he was especially affectionate to her. They are compared to a pair of elephants since the two wander together out of desire and affection.

Those gopis in the suhrd paksa such as Lalita recognized the footprints of Radha, and deep within were satisfied, but in the group of gopis they pretended not to recognize those foot prints. They began to speak with joy for her good fortune without mentioning her name. "Certainly Narayana (bhagavan) who takes away the sorrow of the devotees (hari), who is capable of bestowing all desires on the devotees (isvara), has been worshipped by this fortunate woman (by this other woman anaya). Not by us, for giving us up, he has run away alone with her." In this statement the name of Radha is revealed (aradhita). (In the puranas the name Radhika means one who satisfies the desires of Krsna by worship.) Sukadeva has carefully mentioned her name secretly here, but in other places, by Radha’s mercy, her name flows spontaneously from his moonlike mouth. (purusa bodhini, arthava upanisad : dve parsve candravali radhika, bhrat gautamiya tantra : devaki krsna maya prokta radhika para devata, krsnopanisad : vamanga sahita devi radha vrndavanesvari). Another meaning of this verse is as follows. "O unfortunate gopis (anaya), uselessly you are thinking yourselves equal to that fortunate woman, and are wandering around thinking yourselves mistreated. It is a fact (numan) that Hari has obtained Radha at this place (radhita). This handsome person, full of lust, proclaiming his own glories (bhagavan), who is capable of cheating you (isvara), because he has given us up (yan no viaha), is skilful at giving pleasure to the all the senses of that woman (govinda). With a satisfied heart (pritah) he has taken her off alone." In the commentary on the Ujjvala Nilamani, Radha’s foot markings are mentioned as follows. At the base of the big toe of the left foot is the mark of a barley grain, below that a cakra and below that an umbrella. Below that is a bracelet. There is a line starting from between the big toe and the next toe, to the middle of the sole. Below the middle toe is a lotus ,below that a flag with staff, below the flag is a creeper and flower. Below the little toe is an ankusa. On the bottom of the heel is a half moon. Thus there are eleven marks on the left foot. At the base of the big toe of the right foot is a conch, and below that a club. Below the little toe is an altar, and below that an earring. Below that is a spear. Below the first toe and others is a mountain, below the mountain a ratha, and on the heel a fish. There are eight marks on the right foot. The total is nineteen.

First her friends spoke, since her friends had deep interest because of intimacy, since the opposing party suddenly was overcome with sorrow, and since the neutral party was not paying attention. Nūnam indicates conjecture or certainty. Nārāyaṇa (bhagavān), who takes away all distress (hariḥ), who is capable of fulfilling the desires of the devotees, or is independent (īśvaraḥ), is controlled by (ārādhitaḥ) her, not by us since he is the lord of Gokula (govindaḥ). The name Rādhā means one who worships or conciliates (rādhayati). This is because he gives pleasure to her senses. He has left us far away, in the night, in the middle of the forest and taken her only to a private place to which we cannot go. Or, rejecting us all he went away (yan) and took only her to a private place.

Some gopīs speak of her good fortune in joy, without mentioned the gopī’s name, since they recognized the footprints as Rādhā’s and were relieved. Nūnam indicates conjecture or certainty. Nārāyaṇa (bhagavān), who takes away all distress (hariḥ), who is capable of fulfilling the desires of the devotees, or is independent (īśvaraḥ), is controlled by (ārādhitaḥ) her, not by us. If he had not gone with her we would not be suffering in separation. Rādhā means “one who controls or worships.” As lord of Gokula (govinda) he has given us up though we and she are equal. Leaving us in the forest in the night, he has brought her to a place where we cannot go (rahaḥ). Or Govinda only was worshipped by her. She was most fortunate. Govinda reveals his unlimited powers, removes all suffering or is attractive with his form and qualities (hariḥ) and is the lord of the lives of the people of Vraja. She has realized this person. Or he was controlled by the gopī whom he loved (yat prītaḥ) and whom he took away. Or he was controlled by the gopī whom he took away, going with her secretly.

The neutral gopis, who were inattentive to what the friends of Radha knew, seeing the footprints of Krsna, then spoke. "Blessed is the dust of Krsna’s feet, for Brahma and Siva hold that dust on their heads in order to remove the sorrow and suffering. Every day in the morning when Krsna comes from the cow pens with his friends, they are seen coming down from svarga to take the foot dust of Krsna on their heads." This is mentioned in 10.35.21, 22. "It is seen that the devatas offer obeisances to Krsna’s foot dust but we cannot because the restraints of modesty. Because of this we sink further into sin."

The neutral gopīs speak. O my friends (amī ālyaḥ)! Out of great astonishment and because all become unified in mutual sorrow, they all cried out together. The past tense of dadhuḥ (took) is used to indicate certainty of the action. The order of the personalities in accordance to greater importance (Lakṣmī is supreme among them). She is addressed as devī to indicate her superiority. They take his foot dust on their heads, because of great devotion, in order to remove pain of separation or offenses. The reason the dust is most fortunate is that it is from the lotus feet of Govinda. That dust is fortunate because it has a relationship with Govinda. The phrase govindāṅghry-abja should actually be in the locative case, but is placed in the compound for metrical reasons. Because we do not have that relationship we are insignificant. Glorifying the dust from his feet takes place because of the gopīs’ prema. Even without their prema, the dust shows its greatness. With their prema, how much more greatness it has! According to the intensity of their prema, the greatness of the dust increases. Similarly Bharata describes the fortunate of the earth on seeing the foot prints of the deer: kiṁ vā are ācaritaṁ tapas tapasvinyānayā yad iyam avaniḥ: what penance the earth must have done! (SB 5.8.232)

O friends (ālyaḥ). They are addressed to make them unified in mind or to generate special bhakti. This (amī) dust is most fortunate. In listing Brahmā, Śiva and Lakṣmī the word ca is not used, to show that they are all prominent. However the latter in the list are most excellent (Lakṣmī.) They take his foot dust on their heads. The gopīs see this all the time. This is what they saw, not an admission of his great powers. Ramādevī means Lakṣmī and excludes Rādhā. Or in taking the foot dust Lakṣmī is indicated to have developed bhakti for Kṛṣṇa. Thus she is worshippable as devī. Or since Rādhā and Lakṣmī are generally the same devī is used to indicate Lakṁsī. As a devī Lakṣmī never touches her feet on earth. Or devī means Vraja-devī, Rādhā. They place the dust on their heads as an indication of their bhakti. They do this to destroy offenses or the suffering from separation (agha-nuttaye). They are without offense but we are full of offenses since we do not hold the dust on our heads. Or the dust is the highest (dhanyaḥ) or capable of giving the treasure of Kṛṣṇa’s form. Or this dust which exists in Vaikuṇṭha and has fallen in the cow pens or this dust which we previously saw, unmixed with her footprints, is most excellent. This is a statement of envy. Or this dust and this friend (in the plural to show respect for Rādhā) , having been taken away by Kṛṣṇa, are fortunate. Like the dust, she is fortunate. Even Lakṣmī and others bow before her.

In this verse, the opposing group of gopis (prati paksa) speak. "The footprints of this woman give us great sorrow. She has stolen the lips of Acyuta which should be enjoyed by all of us gopis, and is drinking those lips by herself alone. Bringing Krsna under control by some unknown pious acts, she has made him reject us, who are filled with prema, and taken him far away."

The gopīs in the opposing group speak. These footprints cause us great (ucchaiḥ) sorrow. She took him away for private enjoyment. He has given us up and come here because she has used magic powers to bring him here, acting like a thief. Otherwise why should he come here? She enjoys his lips which belong to all of us. Another version has dhanam (treasure) instead of raho. Śrīdhara Svāmī explains dhanam as meaning “all in all.” But raho is the commonest version. She enjoys the lips of the person who does not give her up and go elsewhere (acyuta). Out of envy they surmise that Kṛṣṇa lifted her up. That is Śrīdhara Svāmī’s opinion. They saw his foot prints without hers. Or the second verse can be spoken by Rādhā’s friends. Her tender feet were injured by the sprouts. Thus the lover lifted up the dearest gopī using his hands.

The friends of Candrāvalī speak. The footprints cause us great (ucchaiḥ) pain, or make us lose our composure, because of what was said about them. Or the footprints being offered on our heads with pride give us pain. She has taken him alone for private enjoyment. Or since she stole him, he has given up all the gopīs (generally) and come here. Otherwise why would he come here? She enjoys his lips which belong to all of us. Another version has dhanam (treasure) instead of raho. Śrīdhara Svāmī explains dhanam as meaning “all in all.” But raho is the commonest version. She enjoys the lips of the person who does not give her up and go elsewhere (acyuta). Or she enjoys the lips of he who does not give up that enjoyment. Or she enjoys the lips which were enjoyed by us already (cyuta). Or should those footprints which by passed us (ucchaiḥ) cause us disturbance? No. This is a statement made by all of them. He has lifted up this most loved one on his shoulders. This is understood from verse 39. They say this to slander her. All of them are dear to Kṛṣṇa but among all of them, he has affection for her the most. Therefore lifting her up is to be expected. Or he lifted her with both hands onto his lap. By embraces etc. it is understood that she was the dearest.