FolioCorpusŚrīmad-Bhāgavatam

Śrīmad-Bhāgavatam 10.33.5

वलयानां नूपुराणां किङ्किणीनां च योषिताम् । सप्रियाणामभूच्छब्दस्तुमुलो रासमण्डले ॥ ५ ॥
valayānāṁ nūpurāṇāṁ
[valayaanaam noopuraanaam]
kiṅkiṇīnāṁ ca yoṣitām
[kinkineenaam cha yoshitaam]
sa-priyāṇām abhūc chabdas
[sa-priyaanaam abhooch chabdas]
tumulo rāsa-maṇḍale
[tumulo raasa-mandale]
Word-for-word
valayānām — of the armlets nūpurāṇām — ankle bells kiṅkiṇīnām — bells worn around the waist ca — and yoṣitām — of the women sa - priyāṇām — who were with their beloved abhūt — there was śabdaḥ — a sound tumulaḥ — tumultuous rāsa - maṇḍale — in the circle of the rāsa dance .
Blended reading (Sanskrit + English inline)
valayānāṁ nūpurāṇāṁ
valayānām
of the armlets
nūpurāṇām
ankle bells
kiṅkiṇīnāṁ ca yoṣitām
kiṅkiṇīnām
bells worn around the waist
ca
and
yoṣitām
of the women
sa-priyāṇām abhūc chabdas
sa - priyāṇām
who were with their beloved
abhūt
there was
tumulo rāsa-maṇḍale
śabdaḥ
a sound
tumulaḥ
tumultuous
rāsa - maṇḍale
in the circle of the rāsa dance .
Important Words
  • sa-priyāṇām — who were with their beloved
    Sa (with) + priya (beloved). Priya is Kṛṣṇa's standing name in Vraja — He is the priya, the gopīs are priyā. Mādhurya-rasa lives in this pair of words.
  • rāsa-maṇḍale — in the circle of the rāsa dance
    Locative of rāsa-maṇḍala. Sound itself becomes location: where the tumult of ornaments is, there is the maṇḍala. Gauḍīyas: the rāsa-maṇḍala is not a place but a configuration of rasa.
  • tumulaḥ — tumultuous
    From √tum (to swell, throng). The same word Mahābhārata uses for battle-roar — here the swell is of bhakti, not war. The grammar of intensity is shared; only the object differs.
A tumultuous sound arose from the armlets, ankle bells and waist bells of the gopīs as they sported with their beloved Kṛṣṇa in the circle of the rāsa dance.
Gauḍīya Ācāryas
Viśvanātha Cakravartī Ṭhākura Gauḍīya
Translation
A tumultuous sound arose from the armlets, ankle bells and waist bells of the gopīs as they sported with their beloved Kṛṣṇa in the circle of the rāsa dance.
Commentary

The bangles, ankle bells and waist bells of the those women with Krsna (sa priyanam) made a great sound. Ca indicates that musical instruments such as various types of drums also were played. However, indicating them only by ca means that they were not the principal instruments, and did not cover the sound of the gopis’ornaments.

Jīva Gosvāmī Gauḍīya
Commentary

Having described the festival produced by the devatās, the instruments and singing suitable for the rāsa dance are described. First the sounds from the gopīs’ ornaments are described. The bells were on the belts and other accessories of the gopīs. The word yośitām suggests that it was natural for these ornaments and sounds since they were women. The sound arose from the women each of whom had Kṛṣṇa with them (sapriyānām). That sound arose in the circle they formed for the rāsa dance.

Related values & verses
Related values
Anahankarah (Freedom from False Ego)Prema (Divine Love)Kshama (Forgiveness / Patience)
Related verses
BG 15.9 BG 9.1 BG 4.8 BG 10.1 BG 18.64 BG 15.7 BG 2.62 BG 3.11 BG 10.4 BG 12.3 BG 15.2 SB 4.29.2 BG 2.21 BG 16.1 BG 9.11 BG 3.30
Concepts
Jiva
Related lectures
Personal Guidance
Armlets, ankle bells, and waist bells of the gopīs ring tumultuously as they sport with Kṛṣṇa in the rāsa circle. Devotion has sound as well as silence — the body itself becomes an instrument of worship.
Reflection Questions
  • What 'sound' does your devotion make in the world — joy, words, song, or only silence?
  • Where could you let worship be more bodily and audible?
Analogy

Bangles, anklets, waist-bells — each ornament was made for stillness but speaks only in motion. So too the soul: its faculties are silent until set in motion by association with Bhagavān, and then every limb becomes an instrument of His glory.

📝 My note

Source: vedabase.io

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